Pickering College - Voyageur Yearbook (Newmarket, Ontario Canada)

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Bassanio, the chief lover in the play, was taken by Peter Stephens, an old hand in Pickering dramatic performances. Stephens has greatly im- proved overthe years, showing more maturity and ease on stage. Sometimes thelight-hearted note of a romantic was missing from his speeches and act- ing but in most instances he gave an excellent accounting of himself. Antonio and Gratiano, Bassanio's two companions, were played by Peter Alrnquist and Hugh Gilbert. Other male parts were taken by Allan Earle, John Grimes and Walter Griffin who were very good in their parts, while thearistocratic suitors were portrayed by Lepofsky and Doug Vaisey. The latter was Oh! so haughtyn. The noble Duke of Venice was played by Tom Bustinduy who might have been more majestic and lordly without the huge moustache which seemed to inhibit his speech. Bustinduy doubled in the part of Old Gobbo and Harry Huriy made an admirable Tubal. Itis no exaggeration to say that Howard Isaacs literally held the audi- encein the palm of his hand as he played the role of the little servant boy, Launcelot Gobbo. Isaac's performance was one of the highlights of the evening. He possesses that rare quality of stage presence. He captivated us from the very beginning with his display of wit, playfulness and good cheer. He added a lyric quality to the part which is so rarely seen. He and Grande easily produced the best performances of the evening. As usual with Pickering College productions, the female parts were taken by delightful young women from Newmarket High School. This year they gave us a lovely Portia. Jill Pemberton was the very incarnation of the leading lady with her golden hair and pink and white complexion. She has fine acting ability which should, be developed and used more often. Similarly, Wendy Caradonna looked and acted as one would expect Jessica to do. Her voice had the deepness of tone and quietness that is associated with the lovely Jewess. The other female part, that of the maid Nerissa, was played by Caroline Back. Indeed, one could not fail to mention the very beautiful and colourful Costumes used in the play. Venice itself, of course, is an extremely colour- ful city and the use of these clothes and other decorations certainly crea- ted a Venetian atmosphere for the large new stage which was so expertly utilized by both players and designers. The set, designed by Mr. John Taylor, was extremely effective in its simplicity and starkness. It was easily converted into a number of uses in a very genuine manner. The other technical aspects of the production, especially make-up and lighting, handled by Mr. A.H. Jewell and David Newcome respectively, were exe- cuted with expertness. Mr. Lundgren did an admirable piece of work with his young thespians and, in the tired but true words, is to be heartily congratulated for his excellent results. It was truly a wonderful and stimu- lating experience for both actors and audience. -Judson D. Purdy. Twenty-one

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Student Prince To the lilting voices of pretty frauleins, the flash of foaming beer steins, and the riotous antics of university students, the golden curtain of Pickering College's stage opened onto a brilliant performance of Sigmund Romberg's Student Prince. For two evenings, under the accomplished direction of P.F. Schaus, theGlee Club of the College, assisted by girls from the New- marketHigh School, played and frolicked through the romantic tale of student days at old Heildelberg. The story is essentially a romantic love tale and a rather familiar one although, thankfully, it avoids the traditional happy ending in which the prince carries off the poor young girl and everyone lives happily ever after . Naturally, as in any operetta, the music is the essential ingredient and certainly the Student Prince is no exception. The music is not only well known but it provides ample opportunities for a number of different types of voices. After an introduction to the story by four gorgeously dressed and powdered lackeys QA. Earle, D. Keenan, D. Hope, and R. Shermanj two of the main protagonists, Prince Karl Franz QMichael Stevenson, and Dr. Engel QJim MacLeanj sang one of the most familiar numbers from the operetta, Golden Days . They immediately displayed the fine qualities ofvoice which each possessed. Stevenson was perfect as the young, charm- ing but innocent prince. His voice had the range and pitch needed to carry him through the wide variety of songs which this role demanded. He pos- sessed a sureness and a touch which indicated that he was in command of his role and he never once faltered. Jim MacLean, whose tenor voice has a distinctive tone, was equally in control of his part. He exhibited a naturalness on stage which added weight and dignity to his performance, a very fine one. I lfC'II1N I