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Page 32 text:
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28 •To be alive is to be fortunate,” relates Countess Aurelia (Linda Roblee) as she tells of the joys of life during the first act of Thr Madwoman of Chaillot. The madwoman's lecture is directed toward Pierre who had tried to commit suicide as his way out of a situation which called for him to bomb the city architect’s office.
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Page 31 text:
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Father (Neil Bailey) threatens his mother-in-law (Barb Christen- look on. This bit of “poetic justice” took place in Noel Coward’s one sen) while Mama (Jean Bigelow) and daughter Elsie (Sue Divan) act, Fumed Oak. Dave Sizer, one of the College Theatre technical assistants, ran the light control board during the one acts. Hanlon (Bill Link) discusses the ground rules for' a game of Russian Roulette with Riccio (Jerry Walsh) in the one act, Shad- ows on a Brick Wall, by Victor Cawthon. 27
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Page 33 text:
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Madwoman Presented By Newcomer Archer Dr. Stephen Archer, a newcomer to the College Theatre staff, directed the second production of the College Theatre season this year. Choosing one of his favorite scripts, Dr. Archer selected 29 actors for the 40 parts in the French production, The Madwoman of Chaillot, by Jean Giraudoux. In this drama. Giraudoux suggested that the human values of the individual are of more worth than the cold, calculating, laissez-faire intelligence of modern enterprise in Western Europe. To em- phasize this point, the playwright showed how peo- ple should come before property as “individualism” (the madwoman and her group) was able to de- feat the evils in the “great society.” As the second act begins. The Madwoman of Passy (Jean Bigelow), The Madwoman of La Concorde (Peg Nelson), and The Madwoman of St. Sulpice (Gloria Hollingsworth) discuss how to dispose of criminals with their hostess, The Madwoman of Chaillot (Linda Roblee). “f tell you. Countess, we’re finished. It's the end of free enterprise in this world!” stated The Ragpicker (Ray Dage) as he told The Madwoman of Chaillot (Linda Roblee) how the world had changed. Shaken from her world of unreality, the Countess decides it’s time to set things right. Dr. Stephen Archer discussed blocking changes with his actors during one of the nights of play rehearsal. 29
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