Seton Hall University - Galleon Yearbook (South Orange, NJ)

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Tradition, along with the breaking of tra- dition, paved the way for a mellow 1975 Homecoming Weekend. In the past, Your Father ' s Moustache had kicked off the Homecoming festivities, how- ever this year ' s student body was not to ex- perience the rowdy peanut and beer throw- ing good times in the big tent. Replacing the ragtime music, the ' 75 event began on Thurs- day night with a combination of the Edmonds and Curley Comedy Team and the Pousette Dart Band. Having appeared on television, at college concerts and in nightclubs across the United States, Edmonds and Curley ' s debut at Seton Hall was both humorous and entertaining. The Dart Band, playing Beatle medleys and songs from Billy Joel, J. Geils and the Byrds, added life to the double feature. After a Friday afternoon picnic of music by Willowstreet and long lines waiting for warm beer and cold hot dogs, Paul Simon arrived via the New Jersey Turnpike on the first stop of his long awaited tour in America. The sell-out crowd, singing and clapping along with his old-time favorites, gave Rhymin ' Simon a warm welcome with much of the Hall spirit. Saturday afternoon ' s activities featured a sparse crowd of umbrella clad diehards view- ing the parade of three fraternity floats and the Pirates match with the Flying Dutchmen from Hofstra. For the second consecutive year. Sigma Tau Gamma proved to be the class of the IFC float competition. With their adapta- tion of a pirate ship, the Tau ' s sailed away with First Prize. By popular acknowledgment. Phi Kappa Theta deserved the poor taste award for their attempt to give the Dutchmen the runs. Once again, the football game, what Home- coming is supposed to be all about, seemed to have little appeal for the Seton Hall student. The game itself was rather dismal. The power- ful Dutchmen walked away with a 21-0 vic- tory as both teams bathed in the muddy con- dition of Owen Carroll Field. Finally, Saturday night had long last ar- rived. The tie and jacket affair along with cocktail parties and the traditional open bar and hot buffet were all reruns from last year. Unfortunately for many, Ralph, the eleven- piece combo, was unable to meet the expect- ations of those who had come to dance. Yet, as one recalls, who could be disappointed when there was no room on the dance floor. Nevertheless, the semi-formal was a good time for all as many left with staggering good- byes. And it was good-bye for Homecoming 1975, but the stories and traditions, old and new, will live on. 17

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HOMECOMING 75:

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Schroeder , do you love me as much as you love Beethoven? Lucy, would you get angry if I said no? CHARLIE BROWN by Mark Ortolani Photos by Dave Emmerling Christmas, comics, and candy are similar in that they share the capability of bringing out the children in all of us, although, to be sure, in varying degrees. It is no great surprise, therefore, that the Theatre-in-the-Round ' s sec- ond production of the season was such a suc- cessful one. For, coincindentally commencing performances with the Christmas season and based on Charles M. Schulz ' s Peanuts comic strip, the show. You ' re A Good Man Charlie Brown, was a palatable proffering delighting young and old with its light-hearted comedy and music. The direction of Gilbert Rathbun emerged intelligent on two levels: it did not attempt to burden the production by stressing any adult overtones in the script (the play is, in the end, a children ' s one); it maintained an even bal- ance among the various characters, not allow- ing such potential show stealers as Snoopy and Linus to do just that . . . dominate the pro- ceedings to the detriment of everyone else. But of course it goes without saying that part of the even-handedness of the production was thanks to the performers themselves. Be- sides Snoppy and Linus, there are four other characters who make the transition from draw- ings to dramatic players: Charlie Brown, Lucy, Schroeder, and Patty. The middle two, Lucy and Schroeder, were most responsible for keeping the play on an even keel. As Lucy, the veteran Audrey Witko was at her best, giving a characterization both right- fully pertinacious and yet, in its way charm- ing. Scott Bernstein ' s composition of Schroeder invigorated, to say the least. In what stands as Bernstein ' s finest work to date on the round stage, this portrayal was uninhibited and pur- posefully exaggerated, to the amusement of all. When Witko ' s brassiness joined with his eccentricity in the number Schroeder , it turned out to be one of the most memorable musical moments of the entire production. (Continued on page 19)