University of Toronto Engineering Society - Skule Yearbook (Toronto, Ontario Canada)

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Homecoming 1959 15

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Freshman Initiations Brute Force Committee member supervises. Intelligent garbage . . . 14

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Skate Nite Inspired by this year ' s rallying cry of ah, sol , the foremost comedians (and comediennes), dancers, musicians, stage hands, and party types of this city combined their many talents to present this year ' s superlative production of Skule Nite 6T0. Produced by Bob Richardson and directed by Bob Zacharczuk, the show was considered by many (particularly Richardson and Zacharczuk) as the best revue on campus this year. The skits were witty, satirical, racy, smashing, and clean (?). The topics covered were universal; from a character assassination of America ' s male singing sweet- heart and his piles of payola to the snide wisecracks of two of the biggest penguins this side of Disneyland; from a sophisticated Noel Coward type love triangle of a veddy British trio deep in the steaming jungles of Africa (Will those native drums never stop, etc., etc.) to a garlic chewing, salami swinging, violin playing private eye as he played corpse and robbers through the sin dens and boudoirs of downtown Toronto (sin dens in Toronto?); from the uproarious Shelly Berman type vignettes of life to a mad romp through Sherwood Forest with the men and maids in Lincoln Green of Robin ' s merry band of hoods as they got thoroughly snarled up in the complexities and inconsistencies of trading stamps. Perhaps the highpoint of the humour was a biting and farcial rehash of Canada ' s defence policy by the head of the American missile program, Herr Doktor Franz Feuer- spitzenousenden von Schmidt. Musically, the best effort for the show was swinging Gord Staples ' swaying ensemble. Varsity reviewers to the contrary, this group provided some of the smoothest music the show has had yet. Vocally, the show had balladeer Gary Faulkner who cast a spell over the audience, and the Belle Aires, an all girl type trio who made sounds which were the coolest. This year the show was without the perennial Skule- house Four. There was, however, that stout-hearted yeo- man Jim McKee, who trained, directed and disciplined, in the finest tradition, a barbershop choir (with girls yet). This group set a standard for a choral group that Skule would do well to maintain, let alone surpass, in the future. As in the past, Arline Patterson ' s choreography and staging of dance numbers resulted in show stoppers. This was in no small part due to the dancing girls, those lovely, lithe, eye openers for which Skule Nite is famous. The beatnick number was swingingly the craziest (like, wow, man!), while the rhumba number was scintillating in the best Latin American tradition (Ole, muchachos!) 6T0 Being engineers, our sets were, of course, magnificent. This was due to the efforts of set designer Marion Diltz, a comely and fair lass, and assistant producer Gary Young and stage manager Paul Scully in company with their host of bleary-eyed eager beavers. There were others of course,- the lighting crew who burned out lightbulbs, the props men who stole the neces- sary accoutrements (Gibson and Nobert are out on bail), the sound men who kept us in a constant state of suspense (are you listening Joe White?), the makeup girls whose touch was a caress as they applied the grease paint, the costume girls who made us look presentable (Helen Marie Stieger is still in a state of shock), the head waiter at Diana Sweets who was thoroughly cheezed off with the whole affair and of course the actors, writers, ushers (and usherettes) and general other trouble makers who made this year ' s show and parties a smash. 16