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

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Rehearsing The Righteous are Bold are Karen Suenholz (l-r), Kevin Finnegan, Bob Griener, Nancy Saccomanni, Mary Claire Havas, Pat Welch and Mike Mahon. 28

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anc Talking with his hands as well as an interpreter was Alexander Ginsberg. plained the effort which ended in his 1960 arrest, The idea of a poetry magazine arose because poets understood the situa- tion at a time when no one else did. Commenting on the progression of Communism since 1917, Ginzburg noted that during its first 40 years, the Com- munist regime became a huge legal system that deprived human rights. Although Ginzburg wa s active in founding the Moscow-Helsinki Watch Group to monitor the Soviet Union ' s adherence to humanitarian provision of the Helsinki Accords, Ginzburg became a world-renown figure during his 1977 arrest when human rights groups and Nobel prize-winner Andrew Sakharow came to his defense while protesting his treatment. Ginzburg concluded his cause for world human rights has been based on the sim- ple idea of nonviolence. 0 Ttieater “Wliitelieadecl Bcy M The Theatre-in-the-Round ' s ' 80- ' 81 season opened with The Whiteheaded Boy, a lighthearted and winsome Irish comedy by Lennox Robinson. The play tells the story of the amusing cir- cumstances arising out of a not uncom- mon family situation. One of the sons of the Geoghegan family, Denis, is the mother ' s darling favorite because he is the youngest. He is a bright boy (or so the mother would tell us) but he is spoiled a nd consequently quite lazy. When he returns home after failing entrance exams to medical school because he was out betting on the horses, his three sisters and two brothers no longer will tolerate their mother ' s doting. Off to Canada he must go to prevent shaming the family. The plot is complicated by the threat of a breach of promise suit by John Duffy, father of Delia Duffy, Denis ' sweetheart. Denis has lost interest in the poor girl, as he usually does with most things, and has no intentions of taking her with him to Canada. All conflicts are resolved by some kindhearted and loving maneuvers of Aunt Ellen. Dr. James McGlone, once again, has channeled fine talent into a very en- 27

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Susan Petricione is on her knees before Lauren Koch in The Power and the Glory. joyable production, as was shown by the warm reception it received from un- usually large crowds. Richard Paul was an undoubtedly spoiled Denis, though he remained lovable and human throughout his perfor- mance. Geraldine Murphy was the perfect over-protective mother, cooing and cud- dling her favorite son. Marie-Claire Havas as the mischievous Aunt Ellen, and Mark Roger as the irascible John Duffy were most adept in their portrayal of the older characters of the play. Their charming courting scene was one of the highpoints of the production. 0 “Trie Pcwer and Tre Glory” The Power and the Glory is the story of one of the last remaining priests in a South American country that has fallen into the clutches of Godless communism. But this priest is no saint, openly battling the enemy of faith; he is a weak man, tor- mented by the conflict of his own cow- ardice and sinfulness on the one hand, and his duties as a priest on the other. In his portrayal, Mark Roger has scored a tour-de-force, superbly displaying the character ' s wide emotional gamut from fear to zeal, despair to hope, pride to humility — culminating in the final scene, in which he, preparing himself to be ex- ecuted, tearfully defends the religion for which he is about to give up his life. The supporting cast must also be com- mended for fine performances. It is also in the last scene that Al Sachs excels, as the stern and intimidating Lieutenant, pas- sionately professing the glories of com- munism. Mike Perreca was vill ianously good as the Mestizo — the avaricious half- breed that betrays the priest. An especially fine performance was turned in by Matthew Dougherty as the English dentist, Tench, a link in an un- derground network to freedom. Although having a relatively small role, Dougherty, in his attention to details, created a truly real and believable character. Also of merit were the performances of Susan Petricione, as the emotional Maria, mistress to the priest; Pat Welch as the lax chief of police; and Mark Reeth, as 29