Pickering College - Voyageur Yearbook (Newmarket, Ontario Canada)

Page 32 text:

the dramatic club on THEIR PRODUCTION ox XTISITORS, DAY this school year, the Dramatics Club chose Herman XVouk's The Caine,' Mutiny Court Illartikd. This is a challeng- ing work, its success depends on at psychological insight and a depth of characteriza- tion which will create the tension necessary to hold the audience. The change of setting and physical action which often, and wisely, help put across an amateur production are lacking: all depends on acting and timing, not only by the more prominent protagonists, but also by the silent ITlGIlllJO1'S of the cast. NVe think We may say that Pickering's actors, backed by an imaginative and hard-working stage crew, met extremeley well the demands of this play. The part of Utrptfziri Queeg was taken by Dale Lovett. His painstaking study of the role, and the intensity of his emotional indentifieation with it, created an artistic portrayal which moved the audience deeply. Charles Fisher, with his quiet, incisive reading of Lt. Greenuiaild, proved a devastating foil, Charles showed that he could reach emotional heights in the final scene of the play, when he explained his motives in acting for the defendant and his ideals of the Naval Service. Ronald Hons as the senior judge, Uapirziiii Blalfcly, brought dignity and authority to the charaeterg his expressiveness prevented his becoming Wooden or pompous, in this he was ably assisted by his colleagues on the bench, Ron Alston, Nick Ayre, Barry Lee, and John Palmer.

Page 31 text:

To people in the audience it seemed impossible for so mature a portrayal ot Ruth, the tPiratical Maid-of-all-work' to be done by such a young person as Nancy Stocks. The demanding 1'ole of Mabel, Frederic's love was sung by Carol Graham. Despite her youth, Carol carried this part well and her voice showed great develop- ment since her last year's appearance. Brian Blackstock appeared as the model major-general, Major General Stanley. He repeated past triumphs by demonstrating once again his definite flare for comedy. The other principals, all of whom contributed their share to the operettas success were: The Pirate King, Peter Newbery, Samuel, his lieutenant, Scott McNeill, Sergeant of Police, Jack Eldridge, General Stanley's Daughters: Edith, Jean J Barnes, Kate, Nora Stevens, and Isabel, lat Brennand. In his two-fold part as director of the operetta and The Pirate Apprentice, Frederic, Digby Peers showed a sympathetic but lively understanding of Gilbert and Sullivan. These were the leaders, the officers ot the seige, but behind them worked a group of people who made up the chorus. Their singing, dancing, reactions and movements provided suitable back drop for the leads to work against. Without them the operetta, would have been Hat and uninteresting. This was the 1958 Gilbert and Sullivan Production as the audience saw it. To the cast and crew it was far more than just two hours' entertainment. To them at times, it was an ordeal, but an ordeal that involved infinite pleasure. To them it was afternoons and evenings of practices. To them it was a lesson in fellow- ship, discipline and eo-operation. To them go the sincerest thanks and appreciation of the members of this community. Twenty-se vert

Page 33 text:

ii.'llHl'll'S Beer played Tlllt defendant, Lt. .ll11ryl.', with a just balance ot' rig'l1t- eousness and youthful lIlQ'CIlll0USIlOSS1 this latter aspect of the cliaracter was effectively played 11po11 by Peter Newberry as Lf. Ulzallee, the prosecutor, wl1ose flexible voice aud effective timing were marked assets. One of tl1e less conspicuous parts which required considerable subtlety and understanding' was lllill of tl1e novelist, Lt. Kecfcr: he was portrayed with finesse by David Beer, who gave tl1e right iinpression of a inan who delighted to play upon l1u1nan personalities b11t who, when he en- couraged tl1em i11to practical crises. shied away from the o11teo111e. Ken MacDonald provided excellent comic relief as STQIUIIHIGII FI'bfI17l,' To11y ,5nll0ll'S Lt. Keith was inarked by fOl'llll'lglll, aggressive honestyg Philip Davies contributed a convincing' touch of Old Navy 5 Addie Blankestijn a11d Joey Schlein created distinct and interesting eliaracters as testifying psycliiatristsg and John Stephens and Dane NVray, as a stenograplier and an orderly, inade themselves appear essential to the proceedings of the court by stance, pantoinime, and expression. The set was designed by Nicholas Ayreg he was assisted i11 its execution by Gordon Willson and John Pahner. The inost. was made of limited stage space to provide effective balance and groupings in the Court Rooing key positions were well-flooded witl1 light. A few well cl1ose11 props Zllltl a niasking' screen s11e'g'ested a. hotel banquet-rooin for tl1e sl1ort concluding' scene. An alert and intelligent stage- crew, consisting of John Plltlllliitbtbl, Les tfllavir, and Bruce Bennett, assisted i11 at-l1ievi11g1 all these effects. Tl1e success of tl1e play was due i11 large lll02lSlll'0 to tl1e experienced direction of F. D. L. Stewart. Twenty-nine