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

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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

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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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the sarcastic Governor ' s cousin. Praise should also go to Gilbert Rath bun ' s excellent staging of the large crowd scenes, and of course to the cast of townspeople who performed as well. In the pantomimed sequences outside the dentist ' s office, the effect of a bustling South American market place was im- mediate and vivid, with a variety of actions taking place all over the scene. This pic- ture was wonderfully intensified by the music of Jim Moore, who, with the first strum of the guitar, added a subtle and Latin counterpoint to the movement on stage. Beneath it all were the simple, but realistic sets, designed by Professor Owen McEvoy. 0 • l le lijlttii Are K i r The spring season began with Frank Carney ' s gripping melodramas of demonic possession, The Righteous Are Bold, directed by Dr. James McGlone. As the play begins, Michael and Mary Geraty learn, through a letter from a priest, that their daughter Nora, who has been living in London, has been afflicted with a strange illness and is returning home. The girl arrives at the poor Irish farmhouse during a terrible storm. As she warms herself by the fire the girl and her family start to talk. She begins to reveal some of the doubts she has been having over her Catholic faith. When her mother, a devout believer, shows her disapproba- tion, the girl suddenly breaks into a violent fit, smashing a statue of the Blessed Virgin and speaking in foreign tongues. Both priest and physician are asked to examine the girl. In them is personified the classic conflict of science and medicine, the doctor saying the trouble is a psychological disorder, the priest in- dicting the devil. The girl ' s attacks grow worse and more frightening; the family finally agrees to an exorcism. In an intense and dramatic scene, the priest comes face to face with his supernatural adversary. He succeeds in exorcising the demon, only to have it take possession of his own body. In his weakened state he succumbs to the nefarious spirit. In her portrayal of the difficult role of Nora, Marie-Claire Havas must be praised for her acting skill and artistic grace. The Nancy Saccomanni flirts with the camera on the set of The Righteo Are Bold. Nancy Saccomanni consoles Mary Claire Havas in The Righteous A Bold. 30