Lewis Central High School Thespians & Drama

LCHS Drama to Perform Murder Mystery THEN THERE WERE NONE

2011-08-31T13:49:00.001-05:00

Justice Wargrave, Vera Claythorne, Philip Lombard, General Macarthur, Emily Brent, Anthony Marston, Doctor Armstrong and William Blore have been invited to a mansion on the fictional Soldier Island, which is based upon Burgh Island off the coast of Devon. Upon arriving, they are told their hosts, a Mr. and Mrs. U.N. Owen (Ulick Norman Owen and Una Nancy Owen ), are currently away, but the guests will be attended to by Thomas and Ethel Rogers. Each guest finds in his or her room an odd bit of bric-a-brac and a framed copy of the nursery rhyme "Ten Little Soldiers" hanging on the wall.
The currently published, not the original version, of the rhyme goes:

Ten little Soldier boys went out to dine;
One choked his little self and then there were nine.

Nine little Soldier boys sat up very late;
One overslept himself and then there were eight.

Eight little Soldier boys traveling in Devon;
One said he'd stay there and then there were seven.

Seven little Soldier boys chopping up sticks;
One chopped himself in halves and then there were six.

Six little Soldier boys playing with a hive;
A bumblebee stung one and then there were five.

Five little Soldier boys going in for law;
One got in Chancery and then there were four.

Four little Soldier boys going out to sea;
A red herring swallowed one and then there were three.

Three little Soldier boys walking in the zoo;
A big bear hugged one and then there were two.

Two Little Soldier boys sitting in the sun;
One got frizzled up and then there was one.

One little Soldier boy left all alone;
He went out and hanged himself and then there were none.

Before dinner that evening, the guests notice ten soldier boy figurines on the dining room table. During their meal, a gramophone record plays, accusing each of the ten of murder. Each guest acknowledges awareness of (and in some cases involvement with) the deaths of the persons named (except Emily Brent, who tells only Vera, who later tells the other guests), but denies any malice and/or legal culpability, except for Lombard.

The guests now realize they have been tricked into coming to the island, but find that they cannot leave: the boat which regularly delivers supplies has stopped arriving. They are murdered one by one, each death paralleling a verse of the nursery rhyme, with one of the figurines being removed after each murder.

First to die is the spoiled Anthony Marston, whose drink is poisoned with cyanide ("one choked his little self"). That night, Thomas Rogers notices that a figurine is missing from the dining table. Mrs. Rogers dies in her sleep that night, which Dr. Armstrong attributes to a fatal overdose of sleeping draught ("one overslept himself"). General Macarthur fatalistically predicts that no one will leave the island alive, and at lunch, is indeed found dead from a blow to the back of his skull ("one said he'd stay there"). Meanwhile, two more figurines have disappeared from the dining room. In growing panic, the survivors search the island in vain for the murderer. Justice Wargrave establishes himself as the decisive leader of the group and asserts one of them must be the murderer playing a sadistic game with the rest. The killer's twisted humor is evidenced by the names of their "hosts": "U.N. Owen" is a pun and a homophone for "unknown". The next morning, Rogers is missing, as is another figurine. He is found dead in the woodshed, struck in the back of the head with an axe ("one chopped himself in halves"). Later that day, Emily Brent is killed in the kitchen by an injection of potassium cyanide that leaves a mark on her neck ("A bumblebee stung one"), which at first appears to be a sting from a bumble bee placed in the room. The hypodermic needle is found outside her window next to a smashed china figurine. The five survivors — Dr. Armstrong, Justice Wargrave, Philip Lombard, Vera Claythorne, and William Blore — become increasingly frightened and almost frantic.

Wargrave suggests they lock up any potential weapons, including Armstrong's medical equipment and the judge's own sleeping pills. Lombard admits to bringing a revolver to the island, but says it has gone missing. Resolved to keep the killer from catching anyone alone, they gather in the drawing room and only leave one at a time. Vera goes up to her room and discovers a strand of seaweed: an allusion to the boy the gramophone alleged that she had drowned. Her screams attract the attention of Blore, Lombard, and Armstrong, who rush to her aid. When they return to the drawing room, they find Wargrave in a mockery of a judicial wig and gown with a gunshot wound in his forehead ("one got into Chancery"). Armstrong confirms the death, and they lay Wargrave's body in his room and cover it with a sheet. Shortly afterward, Lombard discovers his revolver has been returned.

That night, Blore hears someone sneaking out of the house. He and Lombard investigate and, discovering Armstrong missing, assume the doctor is the killer. They wake Vera and the three spend the night outdoors. In the morning, Blore leaves for food and does not return. Vera and Lombard soon discover his body on the terrace, skull crushed by a bear-shaped clock ("a big bear hugged one")—and on the shore, Armstrong, drowned ("a red herring swallowed one"). Paranoid, each assumes the other is the murderer. In the tense standoff that follows, Vera feigns compassion and has Lombard help her move Armstrong's body out of the water, using the opportunity to pick his revolver from his pocket. She kills Lombard with a shot through the heart on the beach ("one got frizzled up") and returns to the house. Dazed and disoriented with relief and drowsiness, Vera Claythorne is unsurprised to find a noose prepared in her room. In a trance of exhaustion, guilt, and relief, she hangs herself, fulfilling the final verse of the rhyme.[8]

[edit] EpilogueInspector Maine, the detective in charge of the Soldier Island case, discusses the mystery with his Assistant Commissioner, Sir Thomas Legge, at Scotland Yard. There are no clues on the mainland—the man who arranged "U.N. Owen's" purchase of the island covered his tracks well, and was killed the day the party set sail—and while guests' diaries establish a partial timeline, the police cannot determine the order in which Blore, Armstrong, Lombard, and Vera were killed. Blore could not have dropped the clock on himself; Armstrong's body was dragged above the high-tide mark; Lombard was shot on the beach, but his revolver was found outside Wargrave's room. Lombard's pistol having Vera's fingerprints and the clock that killed Blore coming from her room both point to Vera as "U.N.Owen"-yet that someone was alive after Vera's suicide is obvious since the chair Vera used to hang herself had been righted and replaced against the wall.

Inclement weather would have prevented the murderer from leaving or arriving separately from the guests: he or she must have been among them. Yet all the murders appear to be accounted for, and the inspectors are confused, leaving them asking - Who killed them, and why?

The following details of the characters are based on the original novel. Stage and film adaptations have often varied with names and backgrounds, such as Judge Wargrave being renamed Cannon and Lombard accused of causing the death of his pregnant girlfriend.

Anthony James Marston, a rich, spoiled, good-looking man with a well-proportioned body, crisp hair, tanned face and blue eyes known for his reckless driving. Mr. Owen accused Anthony of running over and killing two children, while drunk, for which Marston felt no remorse. Marston was the first of Owen's victims, poisoned by potassium cyanide slipped into his drink while gathered in the drawing room with the others.

Mrs. Ethel Rogers, the cook and Mr. Rogers's wife. She is described as a pale-faced, ghostlike woman with shifty light eyes, who is very scared of something. Despite her respectability and efficiency, she was obliged to help her domineering husband, Thomas, to kill their former employer, the elderly Miss Jennifer Brady, by withholding her medicine, in order to inherit her money. She was Owen's second victim, dying in her sleep from an overdose of chloral hydrate, which she did not self-administer.

General John Gordon Macarthur, a retired World War I hero, who sent his wife's lover (a younger officer named Arthur Richmond) to his death by assigning him to a suicide mission. MacArthur fatalistically accepts that no one will leave the island alive, which he confides to Vera. Shortly thereafter, he becomes Owen's third victim, his head being crushed in as he sat along the shore.

Thomas Rogers, the butler and Mrs. Rogers's husband. He and his weak-willed wife, whom he dominated, killed their former elderly employer by withholding her medicine, causing the elderly woman to die from heart failure, in order to inherit the money she had left them in her will. He was Owen's fourth victim, being struck in the head with an axe as he cut firewood in the woodshed.

Emily Caroline Brent, a rigid and repressed elderly woman of harsh moralistic principles who uses The Bible to justify her inability to show compassion or understanding for others. She firmly believes in racial equality, stating "Black or white, they are our brothers.". She dismissed her maid, Beatrice Taylor, as punishment for becoming pregnant out of wedlock. As a result Beatrice, who had also been rejected by her own family, threw herself into a river and drowned. Miss Brent became Owen's fifth victim after being injected with a dose of potassium cyanide into her neck as she sat alone at the dining table after being drugged.

Dr. Edward George Armstrong, a Harley Street surgeon, blamed for the death of his patient, Louisa Clees, while operating under the influence of alcohol. Armstrong became Owen's seventh victim after being pushed off a cliff into the sea. His body goes missing for a while, leading others to think he is the killer, but his corpse washes up at the end of the novel, leading to the climax.

William Henry Blore, a retired police inspector and now a private investigator, accused of having an innocent man, James Landor, sentenced to life imprisonment as a scapegoat after having been bribed. The man later died in prison. He initially denies the accusation-although he later privately admits the truth to Lombard. Blore became Owen's perceived eighth victim, having his skull crushed by a bear-shaped clock, dropped from a window above outside the house.

Philip Lombard, a soldier of fortune. Literally down to his last square meal, he comes to the island with a loaded revolver. Though he is reputed to be a good man in a tight spot, Lombard is accused of causing the deaths of a native African tribe when he stole food from the tribe, thus causing their starvation and subsequent death. Unlike the other characters, he admits openly that the accusations against him are true, but feels no remorse for his actions.Though not an actual victim of Owen's, Lombard fulfilled the ninth referenced verse of the rhyme, shot to death on the beach by Vera, who at the time believed him to be the murderer.

Vera Elizabeth Claythorne, a young teacher, secretary, and ex-governess, who takes mostly secretarial jobs since her last job as a governess ended in the death of her charge, Cyril Hamilton. She let young Cyril swim out to sea and drown so that his uncle, Hugo Hamilton, could inherit his money and marry her; the plan backfired, as Hamilton abandoned her when he suspected what she had done. Of all the "guests" Vera is the one most tormented by latent guilt for her crime, yet is made to suffer the most, being the last survivor. She eventually meets her demise when she walks back to her room after shooting Lombard. There she finds a readied noose, complete with chair beneath it, suspended from her ceiling. Again, not technically a victim of Owen's, but guilt-ridden and delusional, Vera climbs the chair, adjusts the noose round her neck, and kicks the chair away, fulfilling the rhyme's final verse as the tenth and final victim.

Justice Lawrence John Wargrave, a retired judge, well-known as a "hanging judge" for liberally awarding the death penalty in murder cases. He himself is suspected of murder because of his summation and jury directions during the trial of an accused murderer named Edward Seton, despite doubts about Seton's guilt during the trial.
Sir Thomas Legge and Inspector Maine, two detectives who discuss the case in the epilogue.
Isaac Morris, a man hired by Mr. Owen who arranges for Phillip Lombard to come to the island and meet Mr Owen for a later payment of 100 guineas (105 GBP) to Lombard. In the book's postscript, the detectives discuss Morris' death, caused by a medication given to him by Mr. Owen, apparently to help with his "gastric juices." Morris' crime was having supplied a young woman with illegal drugs that led to her suicide by overdose.

Fred Narracott, the boatman who delivered the guests to the island. After doing so he does not appear again in the story, although Inspector Maine notes that it was Narracott who found the bodies.
[edit] Publication history

For the United States market, the novel was first serialised in the Saturday Evening Post in seven parts from 20 May (Volume 211, Number 47) to 1 July 1939 (Volume 212, Number 1) with illustrations by Henry Raleigh and then published separately in book form in January 1940. Both publications used the less inflammatory title And Then There Were None. The 1945 motion picture also used this title. In 1946, the play was published under the new title Ten Little Indians (the same title under which it had been performed on Broadway), and in 1964 an American paperback edition also used this title.

British editions continued to use the work's original title until the 1980s and the first British edition to use the alternative title And Then There Were None appeared in 1985 with a reprint of the 1963 Fontana Paperback.[10] Today And Then There Were None is the title most commonly used.[citation needed] The original title survives in many foreign-language versions of the novel: for example, the Spanish title is"Diez negritos", the Greek title is Δέκα Μικροί Νέγροι, the Bulgarian title is Десет малки негърчета, the Romanian title is Zece negri mititei,[11] the French title is Dix petits nègres[12] and the Hungarian title is Tíz kicsi néger, while the Italian title, Dieci piccoli indiani, mirrors the "Indians" title. The Dutch 18th edition of 1994 still used the work's original English title Ten Little Niggers. The 1987 Russian film adaptation has the title Десять негритят (Desyat Negrityat). The computer adventure game based on the novel uses "Ten Little Sailor Boys".

Christie, Agatha (January 1940). And Then There Were None. New York: Dodd, Mead. OCLC 1824276. Hardback, 264 pp. (First US edition)
1944, Pocket Books, 1944, Paperback, 173 pp (Pocket number 261)
1947, Pan Books, 1947, Paperback, 190 pp (Pan number 4)
1958, Penguin Books, 1958, Paperback, 201 pp (Penguin number 1256)
Christie, Agatha (1963). And Then There Were None. London: Fontana. OCLC 12503435. Paperback, 190 pp. (The 1985 reprint was the first UK publication of novel under title And Then There Were None).[13]
Christie, Agatha (1964). Ten Little Indians. New York: Pocket Books. OCLC 29462459. (first publication of novel as Ten Little Indians)
1964, Washington Square Press (paperback – teacher's edition)

For those who understand EXCELLENCE by Example

2011-06-16T17:06:00.003-05:00

1940s Radio Hour

2011-02-11T14:47:00.004-06:00

CAST LIST

Hunter Andrews,

Pops Bailey

Jake McCollum,

Stanley

James Hodge*,

Clifton A Peddingtonm will be added to additional songs

TBA,

Zoot Doubleman

Jake McCollum,

Stanley

Maggie Miller,Wally becomes Sally

Ashley Love*,

Lou Cohn, will not do all sound effects

Shawn Moore*,

Johnny Cantone

Katie Jacoby,

Ginger Brooks

Molly Lightfoot*,

Connie Miller

Noah Anderson*,

B.J. Gibson

Sarah Gates*,

Neal Tilden becomes Jan Tilden

Alex Tucker*,

Neal Tilden becomes Dan Tilden

Paityn Korner*,

Anne Collier

Hannah Jacoby*,

Geneva Lee Brown

Blake DeForest*,

Biff Baker

Lauren Christiansen*,

Alyse Higgins*,

Morgan Jones,

Madison Massey*,

Taryn Reese*,

The McCartney Sisters,

Helen, Marilyn, Sallie; Linda & Kathryn

Alaura Bingham*,

Kurt Lee*,

Emily White*,

The Sisters Struther, Add a Brother

DIRECTING & PRODUCTION TEAM

Cami Cortney*,

Jessica Willadsen*,

Student Directors

Andrew O’Reilley*,

Stage Manager

Becca Piercy*,

Assistant Stage Manager

Jorge Villalta*,

Technical Director

Stacie Brandt*,

Bailey Shaw*,

Scenic Artists/Assistant Set Designers

Taylor Kuhn*,

Program Coordinator

Megan Fender*,

Props Design

Taylor Stuart*,

Kelsey Walker*,

Choreographers

Samantha Wimmer,

Production Secretary

Stephanie Brandt*,

Wigs & Makeup Design

Zach Finley*,

Lightboard Operator & Designer

Ricky O’Doniell*,

Oliver Villalta,

Spotlights

Tyler Coljat,

Andrew Sachs,

Sound Board Operators

Marina Greco,

Suraj Mahathantila,

Alex Turner,

Jeff Wallin*,

Technical Flex Team is

a team that supports all production elements

DIRECTOR’S NOTE

PLEASE READ

It’s nice to begin in such a “chillaxed” manner. It’s also nice to be working with such a small, talented cast. Very nice.

Thanks to all of the 75 students who attended general meetings for this year’s musical. We think we’ve chosen a great group to make our show successful.

We will have a read-through/sing-through for all actors and directors on Monday, February 21, 2011 and Tuesday, February 22, 2011 at 3:00 PM in the Drama Room.

Please check your texts this weekend about the Parent Meeting scheduled for Monday evening. There is a possibility that it will be rescheduled for the following Monday.

Thanks! Be excited…we are.

McG & Ms. D

TONY N' TINA'S WEDDING CAST & PRODUCTION TEAM PROUDLY ANNOUNCED

2010-09-12T17:50:00.003-05:00

Congratulations to the nearly 80 students who attended general meetings for this year's fall production of TONY N' TINA'S WEDDING. Thanks to everyone who auditioned or completed the application proccess. We applaud your energy, creativity and sense of adventure. We wish there were more roles to accommodate all of the talent.

EVERYONE IN THE PRODUCTION NEEDS TO ATTEND A SHORT MEETING MONDAY, SEPTEMBER 13, 2010 IN THE DRAMA ROOM. ALL ACTORS WILL BE DISMISSED AT 3:30. ALL DIRECTING & PRODUCTION TEAM MEMBERS WILL STAY UNTIL 6:00 PM ON MONDAY TO BEGIN PLANNING & WORK.

Please bring a three-ring binder, a pencil and a notebook or loose-leaf paper with you to Tuesday's ALL CALL. We would like you to get a three ring binder that has a insert on the front cover. We do have a cover page for the scripts. There will be an ALL CALL (that means everyone) on Tuesday September 14, 2010 from 6:30-9:30 in the LCHS Drama Room.

Those who are also in Company, should be aware that Drama rehearsal comes first and both Mr. Johnson and Ms. Dunn know this. All those cast in acting roles should pick up a script after school on Monday and all actors are to read the ivory section prior to the beginning of Tuesday's ALL CALL. It is especially important that you read your character sketch and familiarize yourself with the basic background of your character.

We're excited to get started and need you to be excited too.

Mr. McLaughlin
Mr. Heckman

Noah Anderson*
TONY NUNZIO, the groom.

Lauren Christensen*
TINA VITALE, the bride.

James Hodge*
FATHER MARK Priest, 30s-50’s, natural comedian, thinks he's hip and one of the gang.

Josh Whittmore
BARRY Best Man, 20s – 30s, everybody's pal, life of the party.

Katie Jacoby*
CONNIE maid of honor, 20s – 30s, sarcastic, jaded, party girl

Tayrn Reese*
LOLA
bridesmaid, 20s – 30s, studious, nerdy party girl that doesn’t quite fit.

Ryne Beckman
DOMINICusher, 20s – 30s, a body-builder, bull dog, dumb.

Sarah Gates*
DONNA
Bridesmaid, 20s-30’s, cute, aspiring American Idol winner, and a good singer.

Kurt Lee*
JOHNNYusher, 20, Tony's little brother. A cute flirt.

Ashley Minnick*
MARINA
bridesmaid, 20s – 30s, wants to be loved desperately, tag-along, and the gang's doormat.

Andrew Sachs
ALFREDO
usher, 20, sidekick to the group.

JJ Love
GIOVANNI VITALE ring bearer.

Emily White
FIONA NUNZIO Tony’s little sister and an unwilling ring bearer.

Liz Knoble*
JOSEPHINA VITALE Tina’s mom, 50s, strong willed, controlling, and a martyr. Proud grandmother to Giovanni.

Alex Tucker*
UNCLE LUIGI Tina's great uncle, late 70s, old world gentleman, speaks Italian

Kyle Greelis
MUNICH
Uncle Luigi’s bodyguard.

Blake DeForest*
JOEY
Tina's brother, 20s – 30s, gay, loves "show biz," super-flamboyant.

Hannah Jacoby*
SISTER ALBERT MARIA
Tina's cousin, nun, 20s – 30s, sings, family oddball.

Taylor Kuhn*
SISTER PERPETUA A Godly woman who is appalled by the wedding, the family in a Godly manner.

Alexis Jeffrey
CARMELLA VITALE
Josephine’s single, angry, micro-managing sister.

Trever Daniels*
TONY NUNZIO, SR.
Tony's dad, 50, owner of a chain of car-washes where cars are hand-washed by bikini-wearing workers, charismatic in a sleazy way, sees himself as a king.

Shayla Barber*
MADELINE MONROE Tony Sr.'s girlfriend, 20s – 30s, great body, hard living, lives on 0the kindness of strangers.

Ellen Overholtzer*
GRANDMA NUNZIO Tony's grandma, 70s, spry, a little crazy, matchmaker.

Seth Hicks
MICHAEL JUSTTina's ex-boyfriend, 20s – 30s and can't get over her.

Alex Smith*
MARIA ANTONUCCIphotographer, 40s – 50s, pushy, loud, eccentric.

Shawn Moore*
VINNIE BLACK Caterer, thinks he's a stand-up comedian.

Taylor Stuart*
LORETTA BLACK Vinnie's wife, 20s - 40s, Ex pageant girl, natural comedian, browbeaten.

Molly Lightfoot*/Heidi Mailahn*
NICKI & VICKI BLACK Caterer's daughters, 20’s, Totally opposites, Niki is the Goth type. Vikki is daddy’s little girl. Mickey is a tomboy.

Lucas Johnson
MICKEY BLACK
Caterer’s son, 20’s, Geeky, nerdy type.

Becca McMillen*
AUNT ROSE Tony's aunt; 40's, cosmopolitan, urbane, big-city girl.

Ashley Love*
|INGRID DEMARCO
Videographer, 20s-30’s, hired to videotape wedding, flamboyant, and thinks she's making a major motion picture..

Blake DeForest*, Director/Trumpet/Guitar Megan Fender*, Trumpet Hannah Jacoby*, Bass Lucas Johnson, Drums Jeremy Robbins, Sax Ben Tweedt*, Keyboard
FUSION—the wedding band.

DIRECTING TEAM & PRODUCTION TEAM

Cami Courtney*
Jessica Willadsen*
STUDENT DIRECTORS

Andrew O’Reilly*
Becca Piercy*

STAGE MANAGER

Jorge Villalta
TECH DIRECTOR

Ricky O'Doniel*
Oliver Villalta
SOUND BOARD/TAPED SOUND/SPOTLIGHTS

Kayla O’Doniel
MAKEUP CHIEF

Taylor Kuhn*
PUBLICITY DIRECTOR

Kristina Vang
TECHNOLOGY DIRECTOR
BANQUET STAFF-- CHARACTER NAME TO BE DEVELOPED BY ACTOR

Amanda Schoening
HOUSE MANAGER/TICKET COORDINATOR/PUBLICITY ASSISTANT

Hunter Andrews
MASTER CARPENTER CHARACTER NAME TO BE DEVELOPED BY ACTOR

Whitney Clark* Taylor Kastrup* ASSISTANTS TO THE DIRECTORS/PRODUCTION SECRETARIES

Krystal Jones
Alexis Harris
Hannah Piercy
PROPS
Alaura Bingham*
MAKEUP CREW CHIEF/BANQUET STAFF--CHARACTER NAME TO BE DEVELOPED BY ACTOR

Stacie Brandt
COSTUMES/MAKEUP/BANQUET STAFF--CHARACTER NAME TO BE DEVELOPED BY ACTOR

Stephanie Brandt COSTUMES/MAKEUP/BANQUET STAFF--CHARACTER NAME TO BE DEVELOPED BY ACTOR

Alyse Higgins*
COSTUME COORDINATOR/BANQUET STAFF--CHARACTER NAME TO BE DEVELOPED BY ACTOR

Courtney Lorenzen
MAKEUP TEAM/BANQUET STAFF--CHARACTER NAME TO BE DEVELOPED BY ACTOR

Maggie Miller BANQUET STAFF--CHARACTER NAME TO BE DEVELOPED BY ACTOR/CHARACTER NAME TBA

Samantha Wimmer
BANQUET STAFF--CHARACTER NAME TO BE DEVELOPED BY ACTOR

Tara VanRiper
SOUND CREW/BANQUET STAFF--CHARACTER NAME TO BE DEVELOPED BY ACTOR

TONY & TINA'S WEDDING--Audience Participation Play with a Meal & Wedding Reception--Returns to LC this Fall.

2010-08-30T15:52:00.002-05:00

TONY & TINA'S WEDDING Audition Form

We are lucky to have been granted a license to perform TONY N' TINA'S WEDDING this fall. The event begins with the side-splitting ceremony where anything can happen (and usually does!). As a show that is improvisationally heavy, the audience really plays a role in the direction of each evening's four performances. A favorite performed in 2001 at LC, this audience participation event is back by popular demand!

After the ceremony, it’s time for the most hilarious wedding reception you’ll ever attend! You’ll enjoy a full Italian meal, throw rice, raise a glass for a cider toast, eat the wedding cake and dance the night away at the party you and your friends will be laughing about for years to come. The show stars "Tina," the headstrong 20-something party girl bride with an attitude – and "Tony," the rowdy, handsome, yet charming groom-to-be. Other hilarious characters emerge from this quirky cast, which includes an entire wedding party of guests ranging from "Connie," the pregnant maid of honor, to "Father Mark," a priest who thinks he's hip. As the evening unfolds, the only guarantee is that there will be plenty of drama all around.

So, save a date for this production that's guaranteed to tickle your funny bone, fill your stomachs and get your feet moving in the dance. The show plays Friday, October 29 and Saturday, Ocotber 30, Friday November 13 & Saturday November 14.

Auditions begin this week! There will be a general/informational meeting on Thursday, September 2, 2010 at 3:00 PM in the LCHS Drama Room. There will also be an informational meeting at 3:00 on Tuesday, September 7, 2010 at 3:00 PM in the LCHS Drama Room and a meeting on Wednesday, September 8, 2010 at 6:50 AM. Students need to attend ONLY ONE informational meeting. Auditions will be held after school September 7 & 8.

So, come join Tony & Tina and their family and friends, and see for yourself why theirs is still the most talked about wedding in town - rated the second longest running Off Broadway show in theater history, the #1 Dinner Show in the world, and the show the New York Times calls

"Audaciously imaginative!"

"One of the most successful and imaginative hits in Off-Broadway history." - Liz Smith, New York Daily News

This all-inclusive evening of entertainment will be something you and your friends will be talking about for many years to come. In this hilarious interactive comedy, the audience is part of the show.

FATHER MARK: Priest, 30s-50’s, natural comedian, thinks he's hip and one of the gang.

BARRY: Best Man, 20s – 30s, everybody's pal, life of the party.

CONNIE: maid of honor, 20s – 30s, sarcastic, jaded, party girl

DOMINIC: usher, 20s – 30s, a body-builder, bull dog, dumb.

DONNA: Bridesmaid, 20s-30’s, cute, aspiring American Idol winner, and a good singer.

JOHNNY: usher, 20, Tony's little brother. A cute flirt.

MARINA: bridesmaid, 20s – 30s, wants to be loved desperately, tag-along, and the gang's doormat.

JOSEPHINA VITALE: Tina’s mom, 50s, strong willed, controlling, and a martyr.

LUIGI: Tina's great uncle, late 70s, old world gentleman, speaks Italian

JOEY: Tina's brother, 20s – 30s, gay, loves "show biz," super-flamboyant.

SISTER ALBERT MARIA: Tina's cousin, nun, 20s – 30s, sings, family oddball.

TONY NUNZIO, SR.: Tony's dad, 50, owner of a chain of car-washes where cars are hand-washed by bikini-wearing workers, charismatic in a sleazy way, sees himself as a king.

MADELINE MONROE: Tony Sr.'s girlfriend, 20s – 30s, great body, hard living, lives on the kindness of strangers.

GRANDMA NUNZIO: Tony's grandma, 70s, spry, a little crazy, matchmaker.

MICHAEL JUST: Tina's ex-boyfriend, 20s – 30s, just got out of re-hab...

SAL ANTONUCCI: photographer, 40s – 50s, pushy, loud, eccentric.

LORETTA BLACK: Vinnie's wife, 20s - 40s, Ex pageant girl, natural comedian, browbeaten.

NIKI/VIKKI BLACK: Caterer's daughters, 20’s, Totally opposites, Niki is the Goth type. Vikki is daddy’s little girl.

MICKEY BLACK: Caterer’s son, 20’s, Geeky, nerdy type.

AUNT ROSE: Tony's aunt; 40's, cosmopolitan, urbane, big-city girl.

RICK DEMARCO: Videographer, 20s-30’s, hired to videotape wedding, flamboyant, flirt, Joey's boyfriend.

Audience Participation Script Finalists Announced

2010-08-09T20:43:00.007-05:00

So, although there's an outside chance of producting TONY N' TINA'S WEDDING, it doesn't look good. The good new is there are tons of improvisational, interactive shows handled through Samuel French. We are busy researching the shows for quality. I am calling a meeting of any ITS Members who are interested in helping us make a final selection.

The first two choices are probably the finalists. We need all ITS Members to help us promote auditions, the show and to get the "best and the brightest" to be involved in the fall play. Mr. Heckman and Mr. McLaughlin will meet this week and review the scripts to make a choice. We are leaning towards AWESOME 80's PROM because it would sort of be a hybrid between a school dance and a play and could be great fun. We also like HAPPY ANNIVERSARY, ANGEL! LOVE, GINO as it seems like TONY N' TINA at their five year anniversary. Regardless of the choice, we really don't like directing the same show more than once. We can use our experience with TONY N' TINA to make this a smooth process. We're excited about the improv, the audience participation and the food!

·THE AWESOME 80s PROM By Ken Davenport and the Class of '89 Comedy, Audience Participation/Interactive. 11m, 8f Unit Set 80s. Prom is a brand new blast-from-the-past party in the style of Tony 'n Tina's Wedding and The Donkey Show set at Wanaget High's Senior Prom... in 1989! All your favorite characters from your favorite '80s movies are at THE PROM, from the Captain of the Football Team to the Asian Exchange Student, from the Geek to the hottie Head Cheerleader, and they're all competing for Prom King and Queen. And just like on "American Idol", the audience decides who wins! Come back in time and join the breakdance circle or just sit back and watch the '80s drama unfold.
WINNER! 2006 IMPROV THEATER AWARD - "BEST INTERACTIVE SHOW"

· HAPPY ANNIVERSARY, ANGEL! LOVE, GINO By Family Jewels Creations. Conceived and written by Jay D. Spencer, Stefanie R. Coletti and Cheryl D. Smith. 10m, 8f, optional extras. Gino Paolucci is throwing a big anniversary bash for his beautiful wife, Angel! You're invited to join in the celebration of their fifth wedding anniversary as they renew their vows at the zaniest party you'll ever be a part of! Watch the loving couple attempt to "re-tie their knot" and witness the crazy calamities and mishaps surrounding the celebration. Then sit down to a sizzling family feast, dance to a live DJ and interact with the Guests of Honor and their crazy but lovable relatives and delightful friends!

·FINNEGAN’S FAREWELL by Kevin Alexander. 8m, 6f plus dancers and musicians.
The audience has come to say goodbye to Patrick James Finnegan a mailman who won 2.5 million dollars playing the slots at Atlantic City and then promptly dropped dead.

·NOIR SUSPICIONS by David Landau. Music and Lyrics by Nikki Stern. 4m., 3f.
This hard-boiled comic mystery sequel to the ever-popular Murder at Café Noir ex-private dick Nick Archer is now the confused manager of Café Noir on the island of Mustique. A tribute to Casablanca with many references to the classic movie, Noir Suspicions is guaranteed to delight audiences whether of not they are familiar with Murder at Café Noir.

·LAFFERTY’S WAKE by Susan Turlish. 4m., 3f. Our darlin' wild rover Charlie Lafferty is being waked in grand style in his home away from home, the local pub. The audience joins Charlie's widow, his sweet daughter and bumbling son in law, the parish priest and the savvy innkeeper as they celebrate the life and times of ramblin', gamblin' Lafferty.

· GRANDMA SYLVIA’S FUNERAL by Glenn Wein and Amy Lord Blumsack. 12 m., 10 f.
Audiences flock to join the bereaved at this Jewish funeral, where the mourners (i.e. the audience) are treated to fond remembrances, biographical anecdotes, shameless bickering and vaudeville like turns with the dearly departed's friends and family.

...to my 2010 former students...and will you succeed? 98 3/4 % guaranteed...KID YOU'LL MOVE MOUNTAINS.

2010-07-31T18:47:00.008-05:00

As we look to the future, we can't help but look back. This moment of reflection goes out to some folks that I will always hold dear. Not becuse of the shows, not because of what they gave the programs, BUT BECAUSE they made our/my world a better place just one step at a time.

WE ARE SO EXCITED FOR YOU. Please remember that you come from "good people." We're rooting for you...and will always be you're fan club...

Bad News! Back to the Drawing Board.

2010-07-30T20:12:00.006-05:00

BACK TO THE DRAWING BOARD

The play selection committee will work quickly to choose the fall 2010 LCHS play. Unfortunately, I was contacted by a very nice man from Samuel French plays in New York and our "hopeful" selection for this fall's play is probably going to be unavailable to us as it is restricted for "amateur productions."

Samuel French and other companies have thousands of plays that are available. We'll just need to put our minds togethet to find a great show for us. Although there's an "outside chance" that we'll be granted a license, we probably better be proactive. Sorry for announcing early. McG

FAME CALENDAR March 30-April 15

2010-03-07T20:35:00.010-06:00

Wednesday 3/31
3:00-6:00 Actors with Wragge in Vocal Music-- If we dismiss early, we need folks to help us.
3:00-6:00 DT/PT work at the auditorium.

Thursday 4/1
Mabel's Prayer 3:00-4:30 Choreography

Friday 4/2
8:00-Noon Act I Transitions
1200-300--Menards Run

Saturday 4/3
9:00-Noon--Shift One
11:30-2:30 --Shift Two
2:00-5:00--Shift Three

Monday 4/5
11:30-3:30 Act II Transitions Principals
2:00-3:30 ENTIRE ENSEMBLE
6:30 Presentation for the School Board, Butler/Zucca as Emcees; Jordan Morgan These are My Children; Korner/DeForest

Tuesday 4/6
6:30-9:30 All Call
6:30-7:30 Choreography for FAME finale
7:30-9:15 Tyrone's Rap & Dancing on the Sidewalks

Wednesday 4/7
3:00-6:00 ALL ACTORS with Wragge in auditorium.

Thursday 4/9
3:00-6:00 PRINCIPALS

Saturday 4/3
9:00-Noon--Shift One
11:30-2:30 --Shift Two
2:00-5:00--Shift Three

The entire production calendar was made available for all FAME Team members & parents on Monday 3/15/2010. It will be updated occassionally (for principal actors) and posted so that families can plan accordingly.

FAME THE MUSICAL--The Team

2010-03-01T06:11:00.009-06:00

FAME
NOTE FROM THE DIRECTORS
Please read for valuable information.

APPLICATIONS FOR PRODUCTION TEAM & DIRECTING TEAM ARE STILL OPEN UNTIL THURSDAY 3/4/2010 AT NOON.
Thanks to each of the 97 students who completed the general meeting, audition and application process. We are very excited about the cast for this year's musical. Please understand that all casting is contingent upon eligibility. There are several students who need to improve their term II grades prior to being cast.
Schedule this Week
There will be no meeting on Tuesday, March 2. Consider supporting the Drama II students and their performance of GREATER TUNA. We will have our first "Production Day" meeting on Wednesday, March 3, 2010 at 3:00 in the Drama Room.

There will be a meeting of Principal Players (FAME Teachers & FAME Students) on Thursday, March 4, 2010. Members of the KIDS FROM FAME PA are welcome to but not required to attend this meeting as they may be needed to assist with the LC Clash of the Titans Show Choir Invitational.

Mr. McLaughlin will be meeting with a few select members of the Directing Team on Friday. These students will be contacted by Mr. McLaughlin. All FAME THE MUSICAL students should be preparing for finals or working on the Show Choir Invitational.

Thanks and congratulations to one and all. Please bring a pencil and a binder with you to all rehearsals. As always, thank you to all who auditioned. We look forward to celebrating all of the great talent at LC in this show.

Mr. McLaughlin
Mr. Johnson
Ms. Wragge

These students need to see

Mr. McLaughlin prior to further casting

Stephanie Brandt
DJ Doebelin
Melanie Ellis
Andi Kerkoff
Kelsey Kipe
Tyler Larsen
Sara Marshall
Kira McMullen
Natalie Olberding
Kelsey Pruett
Cody Rolfe
Ryan Simmons
Trevor Stephens
Kyle Wineland
AshleY Zerwas

THE FAME TEACHERS

CATIE GEIER
Miss Bell
dance teacher, arty.
Needs to act, dance and sing.
Vocal range C4 to E5 (alto).

JORDAN MORGAN*
Miss Sherman
English teacher, traditionalist
“These Are My Children”
Needs to act and sing. Vocal range F3 to F5 (alto).

TBA
Mr Myers
drama teacher, easy going.
Male Acting Callbacks Occur this Week.
Needs to act.

JAMES HODGE*
Mr Sheinkopf music teacher, distinguished.
Needs to act.

THE FAME STUDENTS

JENNA LADD*
Carmen Diaz insecure, talented.
“Bring on Tomorrow,” “In LA,” “Original FAME Theme”
Needs to act, sing and dance.
Vocal range Bb3 to G5 (soprano)

HANNAH JACOBY*
Grace Lamb comic.
Needs to act and play music.

SABRINA McKEEVER*
Iris Kelly well-to-do, classical dancer.
Classical ballet essential; pointe work.
Needs to act and dance.

KATIE JACOBY*
Mabel Washington
“Mabel’s Prayer”
comic, plump.
Needs to act and sing.
Vocal range D4 to G5, Bb5 preferred (soprano).

PAITYN KORNER
Serena Katz
Reserved, shy.
Needs to act and sing.
Vocal range Bb3 to Eb5 (alto).

RYAN PENNEY*
Goodman King
Jazz musician.
Needs to act and play music.

DANNY LICH*
Joe Vegas
High energy, charming.
Needs to act and sing.
Vocal range C3 to G4 (baritone or tenor).

BLAKE DEFOREST*
Nick Piazza
“I Wanna Make Magic”, “Let’s Play a Love Scene”
handsome, serious.
Needs to act and sing.
Vocal range D3 to G4, B4 preferred (tenor)

WILLIAM WELTER
Schlomo Metzenbaum
affable, sensitive.
Needs to act, sing and play violin & other instruments
Vocal range C3 to G4 (tenor).

MOLLY COX*
Doris Kravitz, Instrumental & Mallet Student
“Hot Lunch Jam” Director

TYLER BUTLER*
Tyrone Jackson
headstrong, a functional illiterate
“Tyrone’s Rap” “Dancing in the Streets”
Needs to act, sing and dance.
Vocal range E3 to G4 (baritone)

NOAH ANDERSON
Male Understudy All Male Student Roles

TYLER COTA*
Male Understudy All Male Teacher Roles

TAYLER STUART
Female Understudy All Teacher Roles

SARAH GATES*
Female Understudy All Female Student Roles

THE KIDS OF FAME PA FAME CHORUS & ARTISTS

Pray I Make PA Can’t Keep it Down—Guys I Still Believe in Me replaces Think of Meryl Streep Bring on Tomorrow Finale Fame Finale & More

Noah Anderson
Matt Beer
Alaura Bingham*

Crysta Brewer

Lauren Christensen

Camilla Cortney*

Tyler Cota*
Molly Cox*
Sarah Gates*
Mckenna Goodman
Kyle Greelis
Andrew Gulden*
Alyse Higgins
Lucas Johnson
Elizabeth Knoble*
Kurt Lee
Molly Lightfoot
Natalie Madsen
Kait Madsen*
Heidi Mailahn
Erick Martin
Madison Massey*
Nicole McGuire*
Shawn Moore*
Jamie Mundt*
Jessica Nightser*
Ellen OverholtzerTrenton Peterson

Lauren Petri*

Taryn Reese
Megan Reif*
Bailey Shaw
Dylan Smith
Alex Smith*
Taylor Stuart
Jeff Wallin*Bianca Zerwas

THE FAME DIRECTING & PRODUCTION TEAMS

Tom McLaughlin,
Director

Brian Johnson
Rachael Wragge
Vocal Directors

Andy Walters,
Conductor

Becca McMillen
Jessica Willadsen
Courtney Zucca
Student Directors

Shaylia Barber
Andrew O’Reilly
Stage Managers

Rachael Shrader
Jorge Villalta
Technical Directors

Whitney Clark
Taylor Kastrup
Brooke Elliff
Assistants to the Directors

Taylor Stuart
Kait Madsen
Andrew Gulden
Sabrina McKeever
Choreographers

Matt Beer
Tyler Cota
Sheila Doebelin
Madison Massey
Dance Captains

Becca Piercy
Costumes & Program Team

Jorge Villalta
Ricky O’Doniell
Sound Board Operators

Taylor Mehsling
Drama South Director & Props

Elizabeth Knoble
Courtney Annin
Makeup Coordinators

Zach Finley
David Mescher
Lighting Design & Light Board

Zach Finley
Alex Tucker
Spotlights

Camilla Cortney
Program Coordinator

Alaura Bingham
Taylor Kuhn
Madison Massey
Publicists

Megan Fender
Special Signs & Programs

Jennifer Leafty
Ashley Love,
Production Secretaries

Amanda Schoening
Emily Marshall
Cassidy Miller
House Managers & Lobby Display

Courtney Annin
Vivian Koehler
Michaela Sutherland
Jessica Powers
Makeup

Holly Leafty
Tyler Turner
Assistant Technical Directors Tools & Materials

FAME THE MUSICAL An Overview

2010-02-14T09:24:00.002-06:00

Fame The Musical

Book by David De Silva and José Fernandez Music by Steve Margoshes Lyrics by Jacques Levy Conceived and Developed by David De Silva

Two Acts, Book Musical, Pop / Rock, Rated PG
International Hit Version

It is nothing short of a global phenomenon. First came the hit motion picture, then the long-running television series. Now the screen sensation of the 1980's is the stage sensation of the 1990's and beyond! And if the recent smash-hit West End production is any indication, "Fame-The Musical" is indeed "gonna live forever."

Set during the last years of New York City's celebrated High School for the Performing Arts on 46th Street (1980-1984), "Fame-The Musical" is bittersweet but ultimately inspiring story of a diverse group of students as they commit to four years of grueling artistic and academic work. With candor, humor and insight, the show explores the issues that confront many young people today: issues of prejudice, identity, self-worth, literacy, sexuality, substance abuse and perseverance.

FAME THE MUSICAL--Synopsis

2010-02-14T09:22:00.001-06:00

SYNOPSIS OF FAME

ACT ONE

A group of vibrant, energetic young people, African-American, white, Hispanic, rich and poor alike, converge on 46th Street to audition for the chance to study at the famous New York High School of Performing Arts (P.A.). Praying they make P.A.," the students tear open a letter from the school, learn of their acceptance and begin a joyous dance of celebration.

On the first day of school, the freshman meet Miss Sherman, their English teacher, who warns them that it takes a lot more than dreams to succeed at "P.A." The students, with a mixture of excitement, trepidation and raw energy, acknowledge that what it really takes to succeed is ("HARD WORK").

Drama Class. Nick and Serena rehearse a scene and discuss their life experiences. Nick's goal in life is to move people emotionally ("I WANT TO MAKE MAGIC"). Mr. Myers, the drama teacher asks his students to recall how a physical sensation can trigger an emotional response. Joe, a funny, uninhibited young man, graphically recounts the very personal reactions that occur whenever he thinks of a certain beautiful girl in dance class ("CAN'T KEEP IT DOWN").

Dance Class. Tyrone, a sexy, streetwise African-American, is partnered with Iris, a very wealthy, classically-trained dancer. Iris obnoxiously derides Tyrone's lack of classical dance experience. Tyrone, enraged at her comments, begins a rap which expresses his anger ("TYRONE'S RAP"). Iris apologizes and, unexpectedly, kisses him passionately.

While Nick and Serena rehearse another scene, she tells him of her yearning to try something romantic and passionate. It becomes obvious Serena is in love with Nick. Nick, concerned only with acting, becomes upset and leaves. Heartbroken, Serena laments her unrequited love ("LET'S PLAY A LOVE SCENE").

At lunch, Carmen, a self-assured, cocky Latina spitfire, dreams of seeing her name in lights and people gasping as she walks down the street ("THERE SHE GOES/FAME"). The other students join in her fantasy and begin an exciting, electrifying dance.

The hallway. Miss Sherman expresses concern over Tyrone's care-free attitude towards education and threatens to keep him out of the Fall Festival if his grades don't improve. Miss Bell overhears this and argues that Tyrone's artistic talent is more important than his academic ability ("THE TEACHERS' ARGUMENT"). As Tyrone threatens to drop out of school, the other students try to focus on the reason why they are really there ("HARD WORK").

ACT TWO

After two arduous but rewarding years, the students now begin their junior year with the P.A. Fall Festival ("I WANT TO MAKE MAGIC").

Dance rehearsal. Mabel, a bit overweight for a dancer but full of spunk and wit, complains about the water her body is retaining. In a hilarious yet touching turn, she prays aloud for God's help in keeping her from becoming "the world's fattest dancer" ("MABEL'S PRAYER").

The scene shifts. Serena enters to see Carmen and Nick kissing. Heartbroken once again, Serena tearfully remembers one of the first lessons she learned at P.A. and tries to channel her emotions into her acting ("THINK OF MERYL STREEP").

"Carmen confronts Schlomo with her plan to leave school and go to Los Angeles. She has met a Hollywood agent named Elliot Greene, who is sending her a plane ticket. Schlomo begs her not to go. He has seen her get into Elliot's limousine outside of school before and accuses her of using cocaine with him. Schlomo tells Carmen he loves her, but when he realizes he is powerless to stop her, he turns his attention to his violin.

In Miss Sherman's English class, Tyrone is spotted reading a Superman comic book. Miss Sherman confronts him by forcing him to stand up in front of the class and read from the comic book. Embarrassed, he accuses her of trying to make him look stupid: "Wanna fail me again? Go ahead. I'll pass in summer school, bitch." Miss Sherman gives him a resounding slap in the face and walks off. Defensively, Tyrone says to his shocked classmates he doesn't need her help. " I'm choreographin' my own life." This leads to his fantasy dance number, "Dancin' on the Sidewalk." Confronting his pain and frustration, Tyrone goes to the blackboard, writes "I WILL READ," and runs off. Miss Sherman enters, sees what he has written, and is deeply touched. ("These Are My Children.")

A baroque trumpet-call sounds as the drama students rehearse Romeo and Juliet. Joe, insecure playing Romeo, has been ad-libbing. Serena pleads with him to be serious in the part. Nick offers to show him how to play Romeo and winds up kissing Serena in their first romantic moment. Tyrone asks Iris why she has been avoiding him all year. She says she doesn't want to be tied to a loser. He takes out a copy of Leaves of Grass and reads to her, showing her he has a whole new attitude about learning. They dance a pas de deux.

Mr. Sheinkopf, Mr. Myer and Miss Sherman confront Miss Bell about influencing a summer school teacher to pass Tyrone even though he never showed up. They insist he must repeat the year. But the Dance Theatre of Harlem is ready to take him, says Miss Bell. "Let them wait!" says Mr. Sheinkopf. Miss Bell, left alone with Miss Sherman, finally admits she may be losing her perspective and suggests she take a sabbatical.

Carmen is standing in front of the school looking physically wasted and disoriented. She spots Schlomo and after a warm embrace, she tells him the truth about her experiences in Hollywood ("In L.A."). Carmen promises him she is going to go for her equivalency diploma, but right now she needs money. He gives her a couple of dollars and sadly departs.

At the farewell party, everyone is dressed up and the celebration is loud and festive. Tyrone tells Miss Sherman he is going to repeat his senior year and give her another chance to whip him into shape. Joe announces not only is Lambchops finally wearing a dress, but he is going to be opening at a comedy club - and they'd all better be there. Serena is on her way to Brooklyn College and Nick is headed for Yale. They wonder about their future together ("Let's Play a Love Scene").

FAME THE MUSICAL Authors & Biographies

2010-02-14T09:19:00.002-06:00

Biography of David De Silva

David De Silva (Concept and Development) is known as "Father Fame." He conceived, developed and produced the MGM motion picture Fame. The film received four Academy Award nominations. He was Consulting Producer on the television series which ran for six years on network television and in syndication, received numerous Emmy Awards, and has been seen in sixty-eight countries. Mr. De Silva believes that Fame will have its greatest success in the theatre. Its youth-oriented idealism and "live" performance energy will be an inspiration to young people everywhere.

Biography of José Fernandez

José Fernandez began his theatrical career as an actor. On Broadway, THE ME NOBODY KNOWS, for which he received The Variety Critic’s Poll Nomination for Best Actor, as well as HAIR, TRUCKLOAD and TWO GENTLEMEN of VERONA. José’s turns as a writer includes the Off-Broadway musical, EL BRAVO!, produced by Kenneth Waissman and has co-authored several comedies. In 1984, with David De Silva, he began the task of transforming FAME into a new and timeless musical. Born in Cuba and raised in New York City, he died at 46, but not before he saw FAME in Stockholm, in 1993. Performed in Swedish it was this hit production that launched the global FAME phenomenon. The theater filled with youngsters, many with their parents, Jose carefully observed the reactions, hushed gasps and teary eyes, thunderous applause and joyous laughter. He needed no further evidence; convinced of the impact the show would have on the world.

Biography of Steve Margoshes

Steve Margoshes in collaboration with David De Silva has composed orchestrated and recorded new symphonic works for symphony orchestra under the banner,”SYMPHONIC FAME” (a double CD) and ”SYMPHONIC FAME” for violin and orchestra. These recordings were made with the Budapest Symphony Orchestra with Laszlo Kovacs conducting and Barnabas Kelemen as virtuoso violinist. His newest recording is a CD, “Sawing to New Heights With Steve and Dale,” a new work for saw and piano with Dale Stuckenbruck on saw and Steve on piano.

As orchestrator, Steve's numerous credits include 6 Broadway shows: Elton John and Tim Rice's AIDA, The Who's TOMMY, BIG RIVER, (Tommy Tune's revival of) GREASE!, SMOKEY JOE'S CAFE (The songs of Leiber and Stoller), and Jim Steinman and Roman Polanski's upcoming DANCE OF THE VAMPIRES. Steve won Drama Desk awards for his orchestrations of BIG RIVER and TOMMY.

Biography of Jacques Levy

Jacques Levy has written lyrics with and for many well-known recording artists. He wrote Bob Dylan's album Desire with Dylan, and it became one of Dylan's biggest-selling albums ever, with the single Hurricane" released from it. Levy has written a half dozen albums with Roger McGuinn... for the Byrds, the Thunderbyrd Band, and McGuinn's solo works, including the hit single "Chestnut Mare." His lyrics have also been recorded by Carly Simon, Crystal Gayle, Joe Cocker and Jerry Lee Lewis. A member of the Dramatists Guild, Levy has written a considerable amount for the theatre, including five produced musicals, two of them, Oh, Calcutta! and The Golden Land, presented on the New York stage. Along the way, Levy's work has been honored with three Grammy nominations. He is currently head of the Theatre Program and Director of University Theatre at Colgate University. He lives in Hamilton, NY, with his wife and two children.

FAME THE MUSICAL Instrumentation

2010-02-14T09:16:00.002-06:00

1 X KEYBOARD 2/CONDUCTOR ACT 1 1 X KEYBOARD 2/CONDUCTOR ACT 2 1 X PIANO CONDUCTOR'S SCORE ACT 1 1 X PIANO CONDUCTOR'S SCORE ACT 2

Orchestra Size

MEDIUM
ROCK COMBO

Instrumentation: Doublings:

DRUMS COWBELL, CROTALES, TIMBALES, TYMPANI

ELECTRIC BASS

GUITAR

KEYBOARD 2

PERCUSSION AGOGO BELL, BELL TREE, BELLS, BONGO, CABASA, CHIMES, CONGA, COWBELL, CROTALES, FINGER CYMBAL, FLEXITONE, MARK TREE, SCRAPER, SLAPSTICK, TAMBOURINE, TIMBALES, TRIANGLE, TYMPANI, VIBRAPHONE,
VIBRASLAP, WIND CHIMES, WOOD BLOCK

REED ALTO SAXOPHONE, CLARINET, FLUTE, SOPRANO SAX, TENOR SAXOPHONE

TROMBONE

TRUMPET

Casting FAME THE MUSICAL Character Breakdown

2010-02-14T09:10:00.004-06:00

Casting FAME THE MUSICAL

Cast size: Large (over 20)
Cast Type: Ensemble Cast - Many featured roles, Ethnic Roles, Older Role(s), Showcases trained dancers, Teenage Roles

Dance requirement: Medium- Heavy
(Extensive Dance Sections/Solos)
Casting notes: Ethnic roles, ideally, the performers should be able to perform the specialty art of their assigned character, especially the instrumentalists.

Character Breakdown

Adult Cast

Miss Bell dance teacher, arty. Needs to act, dance and sing. Vocal range C4 to E5 (alto). Dance background desirable. Vocal Callbacks The Teacher’s Argument; Script – Pg 41-42 & 47-48.

Miss Sherman English teacher, traditionalist. Needs to act and sing. Vocal range F3 to F5 (alto). Vocal Callbacks These Are My Children; Script – Pg41-42 & 61-62.

Mr Myers drama teacher, easy going. Needs to act. General audition only. Script – Pg16-17.

Mr Sheinkopf music teacher, distinguished. Needs to act. Script – Pg24-25.

Students

Carmen Diaz insecure, talented. Needs to act, sing and dance. Vocal range Bb3 to G5 (soprano). Vocal Callbacks – In LA and Fame; Script – Pg29-30 & 51-52.

Grace Lamb comic. Needs to act and play music. Drums desirable. Script – Pg24-25.

Iris Kelly well-to-do, classical dancer. Needs to act and dance. Classical ballet essential; pointe work desirable. General and dance auditions. Script – Pg26-28.

Mabel Washington comic, plump, R&B. Needs to act and sing. Vocal range D4 to G5, Bb5 preferred (soprano). Vocal Callbacks – Mabel’s Prayer; Script – Pg29-30 & 56-57.

Serena Katz insecure, shy. Needs to act and sing. Vocal range Bb3 to Eb5 (alto). Vocal Callbacks-- Let’s Play a Love Scene; Script – Pg34-35 & 53 55.

Goodman King jazz musician. Needs to act and play music. Trumpet desirable. General audition only. Should prepare: Vocal – own choice of (contemporary pop) song; Script – Pg12.

Joe Vegas high energy, charming. Needs to act and sing. Vocal range C3 to G4 (baritone or tenor). Vocal Callbacks – Can’t Keep it Down; Script – Pg 13 & 66-67.

Nick Piazza handsome, serious. Needs to act and sing. Vocal range D3 to G4, B4 preferred (tenor). Vocal Callbacks – I Want to Make Magic; Script – Pg34-35 & 48 & 53-55.

Schlomo Metzenbaum affable, sensitive. Needs to act, sing and play music. Vocal range C3 to G4 (tenor). Violin and/or piano desirable. General audition only. Should prepare: Vocal – Bring on Tomorrow; Script – Pg37-38 & 51-52.

*Tyrone Jackson headstrong, a functional illiterate. Needs to act, sing and dance. Vocal range E3 to G4 (baritone). Rap dancing desirable. Vocal Callbacks– Dancing on the Sidewalk/ Tyrone’s Rap; Script – Pg26-28 & 61-62. or
*Jack Jakowski (alternate casting for Tyrone Jackson) headstrong, able, dancer - a functional illiterate. A Russian immigrant student from Brighton Beach in Brooklyn who wants to be John Travolta. Rap dancing desirable. Vocal Callbacks – Dancing on the Sidewalk/ Tyrone’s Rap; Script – Pg26-28 & 61-62.

Kids from FAME Chorus
15-30 Students at P.A., who have lines and sing, and who constantly interact and grow with the others. Need to act (some parts), sing and dance. All vocal ranges. General and dance auditions (see notes above). General vocal audition.

FAME THE MUSICAL--Interesting Additional Facts

2010-02-14T08:31:00.004-06:00

FACTS ABOUT FAME

It all started with one man-- David De Silva, who, although he had no connection to New York's High School for Performing Arts, was endlessly fascinated by the institution, and the dedication and passion of the students there. De Silva, known as "Father Fame" conceived and developed the now classic 1980 film, as well as the television series, the reality show, and finally, the stage version of FAME: THE MUSICAL.

Although the show didn't arrive in New York until 2004, FAME-THE MUSICAL was first presented at the Coconut Grove Playhouse in Florida in 1988. Since then, it has become an international phenomenon, with productions in Spain, Australia, Japan, Poland, Hungary, Mexico and Korea, to name but a few. In London, the show has played six separate times since 1995, and has been running continuously at the Aldwych Theatre since 2002. The New York production played Off-Broadway at the Little Shubert Theater. It was directed by Drew Scott Harris and spawned a cast recording that was released in 2004.

A CurtainUp Review
Fame On 42nd Street
By Brad Bradley

Hallelujah! Three minutes into this effervescent high-energy show, I knew I was enjoying myself. After enduring horridly annoying retreads of rocking movie musicals lamely adapted for the stage (the likes of Footloose and Saturday Night Fever), I was prepared for the worst. But, wondrously, David De Silva, this project's longtime promoter and developer, along with a top-notch company, has brought it off. His Fame on 42nd Street is a terrific stage adaptation that matches the challenges of the live medium, presenting a gallery of interesting, convincing characters, singing and dancing in a manner that soars the spirit and soothes the soul as well.

While the opening song, "Pray I Make P.A" set in 1980 and sung by hopeful freshman students to New York's High School of Performing Arts in a series of isolated spotlights, does start with repetitive and monotonous utterances, this lackluster device in no way reflects the sparkling show to follow. Dynamite explodes by song's end, and never lets up until after the last note the post-bows finale a little more than two hours later.

Director Drew Scott Harris has assembled a wonderful cast, and works his ensemble hard; the actors' tasks include the moving of sets and props to maintain the show's brisk, even driving pace, and Swedish choreographer Lars Bethke keeps the company virtually airborne in exhilarating dances.

This remarkable cast of 22 (18 students and four teachers) is truly an ensemble, with even the chorus members having ample opportunity to shine. The entire cast is appealing, certainly including the two most troubled teens as beautifully played by Shakiem Evans and Nicole Leach, both key musical resources in this Fame. Evans, playing a dancer with great talent but impoverished in his discipline and even basic academic skills, not only presents an electric dance solo, but also has honed an arc of character development that moves many to tears. Other standouts include Cheryl Freeman as an English teacher who understands the scarring of the streets, Christopher J. Hanke as an acting student with unusual professional maturity masking his uncertain social development, Dennis Moench as a precocious violinist trying to escape his famous parent's shadow, Sara Schmidt as an uncertain but determined young actress, and Michael Kary, shining even in a peripheral role as a trumpet player.

The score (excepting only the unavoidable iconic title tune written for the 1980 film and central to the six-year-long television series) is new, and quite attractive. Composer Steve Margoshes and Lyricist Jacques Levy have fashioned a collection of songs that effectively service their story and characters, and comfortably fit both the period and contemporary ears, including even manageable doses of Spanish in deference to the multi-cultural nature of the population, both onstage and in New York City in general. Highlights include "I Want to Make Magic", an actor's vocal solo counter pointed by an upstage violin lesson, "Think of Meryl Streep", a gospel-style assertion by Q. Smith as a chubby street-wise girl who rechannels her dream from dancing to acting, 'These are My Children", Miss Sherman's riveting blues anthem, and "Let's Play a Love Scene", a touching unexpected connection that is emblematic of the genuine emotional and theatrical center of this lovable show.

Musical book writers rarely get the credit they deserve, only the blame when a show fails to work, and the late Jose Fernandez did a masterful job of balancing more than a dozen key characters into a fine stage tapestry. He unfortunately lived to see his work staged only in Stockholm in 1993, missing the extraordinary and deserved international success that a decade later finally has found its way to New York.

Although set in the intimate new Little Shubert, about half the size of the smaller Broadway musical venues, Fame has production values to burn, with a wonderful use of levels and textures in the mostly school building locations designed by Norbert U. Kolb. Paul Tazewell's sharp costumes and Ken Billington's powerhouse lighting add to the design pizzazz. Fame on 42nd Street knows its goals and achieves them. Its predictable line that "artists are special" gets full endorsement here. This sometimes crusty critic left the theater on a performance high.

“SEEING FAME WAS AN EXHILIRATING EXPERIENCE!”
UPI.

Perform is what the buoyant new musical, Fame, does dance number after exhilarating dance number, song after sweet song, never losing sight of its mission to entertain... a nice sensitivity to the condition of being young and hopeful and gifted... Exhilarating."
- The Philadelphia Inquirer

"Completely uplifting, something that speaks to the quiet idealism
in all of us."
-The Miami Herald

"Wild horses couldn't have dragged me away from Fame - The Musical."
-Mail on Sunday

"Engages passionately with the here and now."
- Evening Standard"

FAME: THE MUSICAL Chosen as 2010 LC Spring Musical

2010-02-13T17:46:00.002-06:00

Everything You Want & Need to Know About Fame

Fame - The Musical

Book by David De Silva and José Fernandez
Music by Steve Margoshes
Lyrics by Jacques Levy
Conceived and Developed by David De Silva

Two Acts, Book Musical, Pop / Rock, Rated PG International Hit Version

It is nothing short of a global phenomenon. First came the hit motion picture, then the long-running television series. Now the screen sensation of the 1980's is the stage sensation of the 1990's and beyond! And if the recent smash-hit West End production is any indication, "Fame-The Musical" is indeed "gonna live forever."

Set during the last years of New York City's celebrated High School for the Performing Arts on 46th Street (1980-1984), "Fame-The Musical" is bittersweet but ultimately inspiring story of a diverse group of students as they commit to four years of grueling artistic and academic work. With candor, humor and insight, the show explores the issues that confront many young people today: issues of prejudice, identity, self-worth, literacy, sexuality, substance abuse and perseverance.

To Connect to Fame Forever Around the World Log on to:
www.famenetwork.com

FAME: THE MUSICAL SYNOPSIS

ACT ONE

A group of vibrant, energetic young people, African-American, white, Hispanic, rich and poor alike, converge on 46th Street to audition for the chance to study at the famous New York High School of Performing Arts (P.A.). Praying they make P.A.," the students tear open a letter from the school, learn of their acceptance and begin a joyous dance of celebration.

On the first day of school, the freshman meet Miss Sherman, their English teacher, who warns them that it takes a lot more than dreams to succeed at "P.A." The students, with a mixture of excitement, trepidation and raw energy, acknowledge that what it really takes to succeed is ("HARD WORK").

Drama Class. Nick and Serena rehearse a scene and discuss their life experiences. Nick's goal in life is to move people emotionally ("I WANT TO MAKE MAGIC"). Mr. Myers, the drama teacher asks his students to recall how a physical sensation can trigger an emotional response. Joe, a funny, uninhibited young man, graphically recounts the very personal reactions that occur whenever he thinks of a certain beautiful girl in dance class ("CAN'T KEEP IT DOWN").

Dance Class. Tyrone, a sexy, streetwise African-American, is partnered with Iris, a very wealthy, classically-trained dancer. Iris obnoxiously derides Tyrone's lack of classical dance experience. Tyrone, enraged at her comments, begins a rap which expresses his anger ("TYRONE'S RAP"). Iris apologizes and, unexpectedly, kisses him passionately.

While Nick and Serena rehearse another scene, she tells him of her yearning to try something romantic and passionate. It becomes obvious Serena is in love with Nick. Nick, concerned only with acting, becomes upset and leaves. Heartbroken, Serena laments her unrequited love ("LET'S PLAY A LOVE SCENE").

At lunch, Carmen, a self-assured, cocky Latina spitfire, dreams of seeing her name in lights and people gasping as she walks down the street ("THERE SHE GOES/FAME"). The other students join in her fantasy and begin an exciting, electrifying dance.

The hallway. Miss Sherman expresses concern over Tyrone's care-free attitude towards education and threatens to keep him out of the Fall Festival if his grades don't improve. Miss Bell overhears this and argues that Tyrone's artistic talent is more important than his academic ability ("THE TEACHERS' ARGUMENT"). As Tyrone threatens to drop out of school, the other students try to focus on the reason why they are really there ("HARD WORK").

After two arduous but rewarding years, the students now begin their junior year with the P.A. Fall Festival ("I WANT TO MAKE MAGIC").

Dance rehearsal. Mabel, a bit overweight for a dancer but full of spunk and wit, complains about the water her body is retaining. In a hilarious yet touching turn, she prays aloud for God's help in keeping her from becoming "the world's fattest dancer" ("MABEL'S PRAYER").

The scene shifts. Serena enters to see Carmen and Nick kissing. Heartbroken once again, Serena tearfully remembers one of the first lessons she learned at P.A. and tries to channel her emotions into her acting ("THINK OF MERYL STREEP").

"Carmen confronts Schlomo with her plan to leave school and go to Los Angeles. She has met a Hollywood agent named Elliot Greene, who is sending her a plane ticket. Schlomo begs her not to go. He has seen her get into Elliot's limousine outside of school before and accuses her of using cocaine with him. Schlomo tells Carmen he loves her, but when he realizes he is powerless to stop her, he turns his attention to his violin.

In Miss Sherman's English class, Tyrone is spotted reading a Superman comic book. Miss Sherman confronts him by forcing him to stand up in front of the class and read from the comic book. Embarrassed, he accuses her of trying to make him look stupid: "Wanna fail me again? Go ahead. I'll pass in summer school, bitch." Miss Sherman gives him a resounding slap in the face and walks off. Defensively, Tyrone says to his shocked classmates he doesn't need her help. " I'm choreographin' my own life." This leads to his fantasy dance number, "Dancin' on the Sidewalk." Confronting his pain and frustration, Tyrone goes to the blackboard, writes "I WILL READ," and runs off. Miss Sherman enters, sees what he has written, and is deeply touched. ("These Are My Children.")

A baroque trumpet-call sounds as the drama students rehearse Romeo and Juliet. Joe, insecure playing Romeo, has been ad-libbing. Serena pleads with him to be serious in the part. Nick offers to show him how to play Romeo and winds up kissing Serena in their first romantic moment. Tyrone asks Iris why she has been avoiding him all year. She says she doesn't want to be tied to a loser. He takes out a copy of Leaves of Grass and reads to her, showing her he has a whole new attitude about learning. They dance a pas de deux.

Mr. Sheinkopf, Mr. Myer and Miss Sherman confront Miss Bell about influencing a summer school teacher to pass Tyrone even though he never showed up. They insist he must repeat the year. But the Dance Theatre of Harlem is ready to take him, says Miss Bell. "Let them wait!" says Mr. Sheinkopf. Miss Bell, left alone with Miss Sherman, finally admits she may be losing her perspective and suggests she take a sabbatical.

Carmen is standing in front of the school looking physically wasted and disoriented. She spots Schlomo and after a warm embrace, she tells him the truth about her experiences in Hollywood ("In L.A."). Carmen promises him she is going to go for her equivalency diploma, but right now she needs money. He gives her a couple of dollars and sadly departs.

At the farewell party, everyone is dressed up and the celebration is loud and festive. Tyrone tells Miss Sherman he is going to repeat his senior year and give her another chance to whip him into shape. Joe announces not only is Lambchops finally wearing a dress, but he is going to be opening at a comedy club - and they'd all better be there. Serena is on her way to Brooklyn College and Nick is headed for Yale. They wonder about their future together ("Let's Play a Love Scene").

CASTING FAME

Cast size: Large (over 20)

Cast Type: Ensemble Cast - Many featured roles, Ethnic Roles, Older Role(s), Showcases trained dancers, Teenage Roles

Dance requirement: Medium-Heavy (Extensive Dance Sections/Solos)

Casting notes: Ethnic roles, ideally, the performers should be able to perform the specialty art of their assigned character, especially the instrumentalists.

Character Breakdown

*JACK ZAKOWSKI (alternate casting for Tyrone Jackson) Headstrong, able, dancer - a functional illiterate. A russian immigrant student from Brighton Beach in Brooklyn who wants to be John Travolta.

*TYRONE JACKSON Headstrong, able, dancer - a functional illiterate

CARMEN DIAZ Insecure, talented dancer/ singer

CHORUS 15-45 Students at P.A., who have lines and sing, and who constantly interact and grow with the others.

GOODMAN (GOODY) KING ) Jazz trumpeter

GRACE (Lambchops) LAMB A drummer, comic

IRIS KELLY Well-to-do, lovely dancer

JOE (JOSE) VEGAS High energy, charming actor

MABEL WASHINGTON R&B singer, plump, comic

MISS BELL Dance teacher, puts art first

MISS SHERMAN Traditionalist, English teacher

MR. MYERS Drama teacher, easy-going

MR. SHEINKOPF Music teacher, distinguished

NICK PIAZZA Handsome, serious actor

SCHLOMO METZENBAUM Affable, sensitive violinist

SERENA KATZ Insecure, shy actress

ADDITIONAL FACTS ABOUT FAME

It all started with one man-- David De Silva, who, although he had no connection to New York's High School for Performing Arts, was endlessly fascinated by the institution, and the dedication and passion of the students there. De Silva, known as "Father Fame" conceived and developed the now classic 1980 film, as well as the television series, the reality show, and finally, the stage version of FAME: THE MUSICAL.

Although the show didn't arrive in New York until 2004, FAME-THE MUSICAL was first presented at the Coconut Grove Playhouse in Florida in 1988. Since then, it has become an international phenomenon, with productions in Spain, Australia, Japan, Poland, Hungary, Mexico and Korea, to name but a few. In London, the show has played six separate times since 1995, and has been running continuously at the Aldwych Theatre since 2002. The New York production played Off-Broadway at the Little Shubert Theater. It was directed by Drew Scott Harris and spawned a cast recording that was released in 2004.

REVIEWS OF FAME
A CurtainUp Review Fame On 42nd Street By Brad Bradley
Hallelujah! Three minutes into this effervescent high-energy show, I knew I was enjoying myself. After enduring horridly annoying retreads of rocking movie musicals lamely adapted for the stage (the likes of Footloose and Saturday Night Fever), I was prepared for the worst. But, wondrously, David De Silva, this project's longtime promoter and developer, along with a top-notch company, has brought it off. His Fame on 42nd Street is a terrific stage adaptation that matches the challenges of the live medium, presenting a gallery of interesting, convincing characters, singing and dancing in a manner that soars the spirit and soothes the soul as well.

While the opening song, "Pray I Make P.A" set in 1980 and sung by hopeful freshman students to New York's High School of Performing Arts in a series of isolated spotlights, does start with repetitive and monotonous utterances, this lackluster device in no way reflects the sparkling show to follow. Dynamite explodes by song's end, and never lets up until after the last note the post-bows finale a little more than two hours later.

Director Drew Scott Harris has assembled a wonderful cast, and works his ensemble hard; the actors' tasks include the moving of sets and props to maintain the show's brisk, even driving pace, and Swedish choreographer Lars Bethke keeps the company virtually airborne in exhilarating dances.

This remarkable cast of 22 (18 students and four teachers) is truly an ensemble, with even the chorus members having ample opportunity to shine. The entire cast is appealing, certainly including the two most troubled teens as beautifully played by Shakiem Evans and Nicole Leach, both key musical resources in this Fame. Evans, playing a dancer with great talent but impoverished in his discipline and even basic academic skills, not only presents an electric dance solo, but also has honed an arc of character development that moves many to tears. Other standouts include Cheryl Freeman as an English teacher who understands the scarring of the streets, Christopher J. Hanke as an acting student with unusual professional maturity masking his uncertain social development, Dennis Moench as a precocious violinist trying to escape his famous parent's shadow, Sara Schmidt as an uncertain but determined young actress, and Michael Kary, shining even in a peripheral role as a trumpet player.

The score (excepting only the unavoidable iconic title tune written for the 1980 film and central to the six-year-long television series) is new, and quite attractive. Composer Steve Margoshes and Lyricist Jacques Levy have fashioned a collection of songs that effectively service their story and characters, and comfortably fit both the period and contemporary ears, including even manageable doses of Spanish in deference to the multi-cultural nature of the population, both onstage and in New York City in general. Highlights include "I Want to Make Magic", an actor's vocal solo counter pointed by an upstage violin lesson, "Think of Meryl Streep", a gospel-style assertion by Q. Smith as a chubby street-wise girl who rechannels her dream from dancing to acting, 'These are My Children", Miss Sherman's riveting blues anthem, and "Let's Play a Love Scene", a touching unexpected connection that is emblematic of the genuine emotional and theatrical center of this lovable show.

Musical book writers rarely get the credit they deserve, only the blame when a show fails to work, and the late Jose Fernandez did a masterful job of balancing more than a dozen key characters into a fine stage tapestry. He unfortunately lived to see his work staged only in Stockholm in 1993, missing the extraordinary and deserved international success that a decade later finally has found its way to New York.

Although set in the intimate new Little Shubert, about half the size of the smaller Broadway musical venues, Fame has production values to burn, with a wonderful use of levels and textures in the mostly school building locations designed by Norbert U. Kolb. Paul Tazewell's sharp costumes and Ken Billington's powerhouse lighting add to the design pizzazz. Fame on 42nd Street knows its goals and achieves them. Its predictable line that "artists are special" gets full endorsement here. This sometimes crusty critic left the theater on a performance high.

“SEEING FAME WAS AN EXHILIRATING EXPERIENCE!” UPI.

Perform is what the buoyant new musical, Fame, does dance number after exhilarating dance number, song after sweet song, never losing sight of its mission to entertain... a nice sensitivity to the condition of being young and hopeful and gifted... Exhilarating." - The Philadelphia Inquirer

"Completely uplifting, something that speaks to the quiet idealism in all of us." -The Miami Herald

"Wild horses couldn't have dragged me away from Fame - The Musical." -Mail on Sunday

"Engages passionately with the here and now." - Evening Standard"

Fame -- The Musical' will live forever in high schools everywhere By Denise Grollmus Beacon Journal staff writer

Pirouetting through the hallways of a New York City performing arts high school in leg warmers and off-the-shoulder sweat shirts, the feisty Irene Cara emblazoned the taste for Fame into every little girl's hot-pink '80s heart.

But dancing on taxicabs and ``making it'' was not necessarily the message Fame's creator David DeSilva was trying to send.

``It's not that I'm pushing kids to be professional performers,'' DeSilva said. ``The theme of the show is not about making it, it's really about finding the arts and letting them make a difference in your life, whatever you do. Whatever you do in your life you're going to do better if you expose yourself to the arts.''

DeSilva, known to his fans as ``Father Fame,'' has made the story line of struggling performing arts school teens something of a cottage industry for himself, as the creator and executive producer of the 1980 Oscar-winning film, the long-running television program, and the reality show, all of which are called Fame.

Improving on the finer points of the film, DeSilva has finally taken the cult classic to the stage as Fame -- The Musical, coming Tuesday and Wednesday to Cleveland's Palace Theater.

``It's really gonna live forever as live theater,'' he said.

``I don't think the movie or the TV show really captured it the way the musical does. It's not the same as it is on the stage, where no two performances are the same and young people all over the world can do it,'' DeSilva said.

``The creative process just stops once the camera stops rolling. Here, the creative process is infinite.''

If you go to the show expecting to hear Hot Lunch or to witness a Cara-incarnate named ``Coco,'' you'll be much surprised because Fame -- The Musical is not a stage-mounting of the original film.

In fact, even the diverse group of characters within the musical have criticisms to air about the movie.

As the musical begins with the first day of freshman year, the homeroom teacher announces: ``If you've come here because you think you're gonna live forever or envision dancing on cars down 46th Street, you're humming the wrong tune.''

With a whole new arsenal of songs, thanks to lyricist Jacques Levy and composer Steve Margoshes, and characters courtesy of writer Jose Fernandez, Fame -- The Musical is being performed everywhere from off-Broadway to Norway and from professional theaters to high schools.

DeSilva said that the intention of creating the musical was to allow enough flexibility for every director and young actor to put his or her own stamp on the show's flavor.

But a few things do remain the same: The iconic theme song, Fame, is still present along with the 1980s leg warmers and the trials and tribulations of everyday teen life.

``I decided to keep the musical set in the '80s, because I wanted this to be the story about the last class to graduate from the old school building before it moves to a more modern building in Lincoln Center,'' DeSilva said.

``So I decided to make this the class of 1984, following them through all four years of school. That was a special thing to do theatrically, that this is the last class from the old school.''

DeSilva first created the story when he became fascinated by the idea of magnet schools, particularly New York City's LaGuardia High School of the Performing Arts.

``I believe these magnet schools are really the best thing in education. If your kid has a special talent, they can receive special attention for that and really make the most of it and not just in the performing arts, but computer science, or whatever it may be that someone excels at,'' he said.

Since the advent of the first Fame incarnation, magnet schools, and particularly performing arts schools -- dubbed ``Fame schools'' -- have skyrocketed in popularity.

``There is at least one performing arts school in every major city, and when we made this film, that just wasn't true. It's amazing how many performing arts schools are everywhere, now,'' DeSilva said.

(Akron's Miller South Visual and Performing Arts Middle School is not just an example of DeSilva's beloved magnet school structure, but they take it to a whole new level by introducing children in grades 4 through 8 to their talents at an even younger age and integrating the arts into every aspect of academics, said principal Margot Snider.)

For DeSilva, the most crucial aspect of the New York run of Fame -- The Musical is its adjoining apprentice program for high school juniors to get a taste of professional theater.

DeSilva also hopes to make the show an annual event at performing arts high schools around the nation. He is already in discussion with the LaGuardia High School of Performing Arts to kick off the program with a performance at the end of this year.

``I wouldn't have created any other show like this,'' DeSilva said.

``I feel that this is something I was destined to do. I channel the energy that is Fame.''

ABOUT THE AUTHORS
Biography of David De Silva

David De Silva (Concept and Development) is known as "Father Fame." He conceived, developed and produced the MGM motion picture Fame. The film received four Academy Award nominations. He was Consulting Producer on the television series which ran for six years on network television and in syndication, received numerous Emmy Awards, and has been seen in sixty-eight countries. Mr. De Silva believes that Fame will have its greatest success in the theatre. Its youth-oriented idealism and "live" performance energy will be an inspiration to young people everywhere.

Biography of José Fernandez

José Fernandez began his theatrical career as an actor. On Broadway, THE ME NOBODY KNOWS, for which he received The Variety Critic’s Poll Nomination for Best Actor, as well as HAIR, TRUCKLOAD and TWO GENTLEMEN of VERONA. José’s turns as a writer includes the Off-Broadway musical, EL BRAVO!, produced by Kenneth Waissman and has co-authored several comedies. In 1984, with David De Silva, he began the task of transforming FAME into a new and timeless musical. Born in Cuba and raised in New York City, he died at 46, but not before he saw FAME in Stockholm, in 1993. Performed in Swedish it was this hit production that launched the global FAME phenomenon. The theater filled with youngsters, many with their parents, Jose carefully observed the reactions, hushed gasps and teary eyes, thunderous applause and joyous laughter. He needed no further evidence; convinced of the impact the show would have on the world.

Biography of Steve Margoshes

Steve Margoshes in collaboration with David De Silva has composed orchestrated and recorded new symphonic works for symphony orchestra under the banner,”SYMPHONIC FAME” (a double CD) and ”SYMPHONIC FAME” for violin and orchestra. These recordings were made with the Budapest Symphony Orchestra with Laszlo Kovacs conducting and Barnabas Kelemen as virtuoso violinist. His newest recording is a CD, “Sawing to New Heights With Steve and Dale,” a new work for saw and piano with Dale Stuckenbruck on saw and Steve on piano.

As orchestrator, Steve's numerous credits include 6 Broadway shows: Elton John and Tim Rice's AIDA, The Who's TOMMY, BIG RIVER, (Tommy Tune's revival of) GREASE!, SMOKEY JOE'S CAFE (The songs of Leiber and Stoller), and Jim Steinman and Roman Polanski's upcoming DANCE OF THE VAMPIRES. Steve won Drama Desk awards for his orchestrations of BIG RIVER and TOMMY.

Biography of Jacques Levy

Jacques Levy has written lyrics with and for many well-known recording artists. He wrote Bob Dylan's album Desire with Dylan, and it became one of Dylan's biggest-selling albums ever, with the single Hurricane" released from it. Levy has written a half dozen albums with Roger McGuinn... for the Byrds, the Thunderbyrd Band, and McGuinn's solo works, including the hit single "Chestnut Mare." His lyrics have also been recorded by Carly Simon, Crystal Gayle, Joe Cocker and Jerry Lee Lewis. A member of the Dramatists Guild, Levy has written a considerable amount for the theatre, including five produced musicals, two of them, Oh, Calcutta! and The Golden Land, presented on the New York stage. Along the way, Levy's work has been honored with three Grammy nominations. He is currently head of the Theatre Program and Director of University Theatre at Colgate University. He lives in Hamilton, NY, with his wife and two children.

INSTRUMENTATION
Rehearsal Set:

1 X KEYBOARD 2/CONDUCTOR ACT 1
1 X KEYBOARD 2/CONDUCTOR ACT 2
25 X LIBRETTO/VOCAL BOOK
1 X PIANO CONDUCTOR'S SCORE ACT 1
1 X PIANO CONDUCTOR'S SCORE ACT 2

1 X STUDY GUIDE

Orchestra Size

MEDIUM
ROCK COMBO

Instrumentations with Doublings

DRUMS COWBELL, CROTALES, TIMBALES, TYMPANI

ELECTRIC BASS

GUITAR

KEYBOARD 2

PERCUSSION AGOGO BELL, BELL TREE, BELLS, BONGO, CABASA, CHIMES, CONGA, COWBELL, CROTALES, FINGER CYMBAL, FLEXITONE, MARK TREE, SCRAPER, SLAPSTICK, TAMBOURINE, TIMBALES, TRIANGLE, TYMPANI, VIBRAPHONE, VIBRASLAP, WIND CHIMES, WOOD BLOCK

REED ALTO SAXOPHONE, CLARINET, FLUTE, SOPRANO SAX, TENOR SAXOPHONE

TROMBONE

TRUMPET

FAME, An Inspirational Musical that Changed My Life

2010-02-13T16:01:00.003-06:00

LYRICS TO FAME: THE MUSICAL

DIRECTOR'S NOTE

In the late 1970's my friend Scott Hogan and sat in his basement in our neighborhood. Scott popped a copy of the original film FAME into the laser disc (the newest technology of the decade) and I was lost. Not even in high school yet, I watched the film over and over again. These students in New York were getting a shot at what I wanted in my life--the excitement of live performances, the audiences, the spectacle, the success.

As the years passed, Debbie Allen's famous lines "You want fame? This is where you start paying for it." And as I was cast in my first high school productions, I gained a glimpse of the dedication and "Hard Work" that it took to "Make Magic." During the summer of my sophomore year, we discovered that we would be getting a new drama teacher at Holy Name High School. Mrs. Wilson certainly changed my life. And as I watched episodes of "Fame" and the "The Kids from Fame" on tv, that little stage at Holy Name High School became a launching pad for a life in the theatre. And what a wonderful ride it has been. "The drafty halls, the penciled scripts, the stories...ow, the stories that you hear, the people you grow to love. Ephemeris, ephemeris, eh?"

In the early 80's the stage grew into stages and opportunities that have forever changed who I am. Northwest Missouri State's friendships and opportunities along with the training and the life lessons that I learned there have served me well. I can't imagine what I might be like had Dr. Schultz, Dr. Ross, Mike Ludwick, Chan Fischer, Sheila, Roger, Steve, Chris & Linda, Steve, Jonathon, Pink Boy, Buckethead, Harry, Russ, Chuck, Tom, Trisha, Kim, Robert, Jerdwa, Jerry, Doug, Jim, Denny not been in my life. The shows that we did were absolutely incredible. And the songs from "FAME" quietly played in the drafting room, the costume shop, the scene shop.

In the late 80's I met Dana Pinkston at K-State. A fantastic scenographer who designed the set for MASTER HAROLD...AND THE BOYS. She was also designing a set for the Wamego High School production of FAME. Her renderings were beautiful. And when I took the job at Concordia High School in Kansas, the show would surface now and again as a possibility. The songs from the television serious, though were used on more than one occasion to inspire casts. In ORDINARY PEOPLE the songs were used to inspire Darrick, Monica, Rich, Amanda, Erica, Marsha, Kevin, Bob, Nancy and so many more kids that I still cherish. People who remarkably are still part of my life and valued life-long friends.

In 1998 I directed the production at Lewis Central. Dusty, Katrinka, Mandy, Erin, Andy, Andrew, April, Marty, Kevin and those students were incredible in the production. It is still the largest cast in LC history with 120 students in the cast alone. We held double-rehearsals every day to accomodate everyone's hectic schedules.

And now 30 years later, after seeing the Broadway production on tour with Heckman, another chapter for FAME in my life. As we prepare to audition for the production and I get to work with Brian, Andy, Rachael, & Mel, I am excited to celebrate the tradition that has been built at LC by all of the dedicated students who know that the "Magic" on stage is an illusion painted with the brush of sacrifice and "Hard Work."

I am considering adding one or both of these songs to the production.

McG

I STILL BELIEVE IN ME

LIFE IS A CELEBRATION

Extra Credit Opportunity--Leave a Comment Here

2009-08-21T05:46:00.003-05:00

Congratulations for showing the initiative to earn some extra credit in your Drama I class. That's the way to start!

You need to go down to the pencil icon on the bottom of this post. Click on it and leave a comment after you take a look at the blog. Let us know what you think about it.

Please make sure that you leave your full name and the class period that you are in. I am excited to have you in class. Just think...you already have an "A+". Way to go.

Mr. McLaughlin

A MIDSUMMER NIGHT'S DREAM Team Announced

2009-05-26T13:26:00.003-05:00

TEAM LIST

ACTORS

THE ROYALS

Danny Lich
THESEUS

Katie Madsen
HIPPOLYTA

Doug Johnstone
EGEUS

Tyler Cota
PHILOSTRATE

THE LOVERS

Blake DeForest
LYSANDER

Mark Hamilton
DEMETRIUS

Jenna Ladd
HELENA

Catie Geier
HERMIA

THE CREATURES

Tyler Butler
PUCK

Patrick Cox
PUCK DOUBLE

Ryan Epperson
OBERON

Jordan Morgan
TITANIA

Alex Smith
Sarah Anson
Alli James
Sarah Gates
Molly Lightfoot
FAIRIES

Lauren Christensen
Alyse Higgins
Hannah Kreitzinger
Taylor Stuart
Emily White
FAIRY DOUBLES

THE RUSTICS

Trever Daniels
BOTTOM

Katie Jacoby
QUINCE

Dylan Wulff
FLUTE

Shawn Moore
SNOUT

Ben Tweedt
STARVELING

James Hodge
SNUG

UNDERSTUDIES
Tyler Cota, Lover & Creature Understudy
Molly Cox, Royal & Creature Understudy
Thomas Jacobs, Rustic Understudy
Madison Massey, Lover Understudy

DIRECTING TEAM

Eric Clark
PRODUCTION DIRECTOR

Brooke Elliff
Courtney Zucca
STUDENT DIRECTORS

Bianca Zerwas
Shaylia Barber
ASSISTANT STUDENT DIRECTORS

Becca McMillen
PUBLICIST

Jorge Villalta
STAGE MANAGER

Andrew O’Reilly
Jeffrey Wallin
ASSISTANT STAGE MANAGERS

Derek Sevener
Rachel Shrader
TECHNICAL DIRECTORS

Maddie Overholtzer
Trever Stephens
ASSISTANT TECHNICAL DIRECTORS

Whitney Clark
Taylor Kastrup
ASSISTANTS TO THE DIRECTOR

Kaiti Madsen
Sabrina McKeever
CHOREOGRAPHERS

Camilla Cortney
Megan Fender
Hannah Jacoby
PROGRAM DIRECTOR

Joe Stokes
Jessica Willadsen
TECHNOLOGY DIRECTORS

Kyle Wineland
LIGHTING DESIGNER

Cesly Gouchanour
Ashley Minnick
MAKEUP DESIGNERS

Charlotte Berryman
Alex Tucker
SOUND DESIGNERS

PRODUCTION TEAM

Matt Beer
MASTER SCENIC ARTIST

David Mescher
Erik O’Doniel
Alex Tucker
SPOTLIGHTS & HANG/FOCUS CREW

Charlotte Berryman
Eric Finnegan
SOUND BOARD OPERATOR

Taylor Kuhn
HOUSE MANAGER

Alaura Bingham
Courtney Anin
Emily Raygor
MAKEUP TEAM LEADERS

Tayler Mehsling
Nick Narmi
PROP MASTER

Liz Knoble
Becca Piercy
COSTUME CREW CHIEF

RUNNING CREW SHIFT, PROPS,
COSTUMES, MAKEUP, LIGHTS

Courtney Annin
Stevi Brougham
Ronette Bruner
Yadi Diaz
Saedy Hartley-Purdy
Jasmine Knudsen
Cassidy Miller
Michael Miller
Morgan Miller
Anna Mohatt
Ellen Overholtzer
Andrew Sachs
Dillon Smith
Bailey Shaw
Amanda Shoening
Dylan Smith
Brianna Steele
Raquel Weis

DIRECTOR’S NOTE
PLEASE READ

Congratulations to all who were cast in an acting, directing team or production team position.

Condolences to all those who were not cast. You were all wonderful. It’s too bad we can’t use everyone who wants to act. We’re sure you’re as disappointed as we are--our decision was very difficult. We will be happy to visit with any of you about our decision and your audition.

We are missing audition forms from several people.
We will be contacting them and revising the cast list.

109 students attended the general meetings. We cast 27 actors and 4 understudies. We chose 27 students on the directing and design team. We also chose 31 students for production team.

Anyone who was not cast who is still interested in working on the production should see Mr. McLaughlin. Please check your emails and text messages. We will be communicating with you then.

Thank you for all your energy and efforts. We are excited about the production.

A MIDSUMMER NIGHT'S DREAM Actor Callbacks

2009-05-17T23:00:00.005-05:00

AMSND ACTOR CALLBACK LIST

PLEASE READ THIS ENTIRE NOTE
...if you do not, we will consider this when we choose
the cast for our production.

ANYONE WHO HAS NOT TURNED IN AN AUDTION FORM WILL NOT BE CONSIDERED. PLEASE SEE THAT THESE ARE TURNED IN BY NOON ON TUESDAY.

THE FOLLOWING STUDENTS
NEED TO TURN IN AUDTION FORMS
IF THEY WANT TO BE CONSIDERED

Trevon Barber
Matt Beer
Trevor Carl
Eric Finnegan
Erica Frain
Josh Lawrence
Jenn Leafty
Heidi Mailahn
David Mescher
Cassidy Miller
Kayla O'Doniel
Hannah Piercy
Jessica Powers
Kyle Ranney
Nina Sauvin
Jorge Villalta
Kyle Wineland

We believe that we can use 17-23 actors; 11 directing team members and a production team of 34 students.

The following code should show you what role(s) we want you to read for during A MIDSUMMER NIGHT’S DREAM callbacks:

RO=Royals
C=Creatures
L=Lovers
RU=Rustics

Sarah Anson--C
Tyler Butler—Ro, L, C, Ru
Lauren Christensen--C
Tyler Cota—L, Ru
Molly Cox-- Ro, L, C, Ru
Patrick Cox—C, R
Trevor Daniels--Ru
Blake DeForest--L, C, Ru
Yadi Diaz--C
Brooke Elliff-- Ro, L, C, Ru
Ryan Epperson-- Ro, L, C,
Sarah Gates—C, Ru
Catie Geier-- Ro, L, C, Ru
Mark Hamilton—Ro, L
Elise Higgins--C
James Hodge—Ro, Ru
Thomas Jacobs—Ro, Ru
Hannah Jacoby—Ro, C, Ru
Katie Jacoby—Ro, C, Ru
Alli James—Lo, C
Doug Johnstone--Ru
Hannah Kreitzinger--C
Jenna Ladd—Ro, L, Cr, Ru
Danny Lich—Ro, C
Molly Lightfoot--C
Ashley Love—C, Ru
Kaiti Madsen—L, C
Erick Martin—L, Ru
Madison Massey--L
Becca McMillen—Ro, C, Ru
Michael Miller--Ru
Anna Mohatt—L, C
Shawn Moore--Ru
Jordan Morgan—Ro, L, C
Ellen Overholtzer--Ru
Maddie Overholtzer—C, Ru
Alex Smith—C, Ru
Dillon Smith--Ro, C, Ru
Joe Stokes—Lo, Ru
Taylor Stuart--C
Drew Tudzin--Ru
Ben Tweedt--C, Ru
Emily White--C
Dylan Wulff—Lo, R

Please see the CALLBACK SCHEDULE below. Please be “ON-TIME” for ALL CALLBACKS. If you are called back in more than one category, we NEED to see you during the scheduled CALLBACK times.

DIRECTOR’S NOTE

PLEASE READ THIS ENTIRE NOTE
...if you do not, we will consider this when we choose the cast for our production.

Thanks so much to the 109 students who were brave enough to attend the general meeting and audition/interviews for A MIDSUMMER NIGHT’S DREAM. We are overwhelmed by the talent pool. Although this is a large production, we can only offer up to 70 of you jobs on this team.

ANYONE WHO HAS NOT TURNED IN AN AUDTION FORM WILL NOT BE CONSIDERED. PLEASE SEE THAT THESE ARE TURNED IN BY NOON ON TUESDAY.

It’s truly unfortunate that we cannort work with all of you. We are happy that this ‘student-centered” program will afford all those who are interested with an opportunity sometime in the future.

We believe that we can use 17-23 actors; 11 directing team members and a production team of 34 students.

It appears that our A MIDSUMMER NIGHT’S DREAM Team will be 70 students strong.

We will offer any student who successfully completed the application process, a role on our challenging SETS/PAINTS team. Please let us know if you are NOT INTERESTED.

44 students have been called back for acting roles. 32 students have been called back to read for one of the creature roles. 28 students have been called back to read for one of the rustic roles. 18 students have been called back to read for one of the lovers. 15 students have been called back to read for one of the royals. 44 students have been called back for the 17-23 roles. Please be prepared to attend one of our workshops if you are seriously interested in a role for our production.

Please read the following information carefully if you are called back. You will tell us a lot about your team-mindedness based on your attention to these details.

Callback auditions will be held from 3:00-6:00 PM on Tuesday, May 19, 2009.

EVERYONE WHO IS CALLED BACK needs to attend the CALLBACK GENERAL MEETING FROM 3:00-3:30 on Tuesday, May 19, 2009.

Homework tables will be available in the Commons for students as they wait for their “shitft” to read.

ACTOR’S WORKSHOP SCHEDULE

There will be two characterization/actor workshop held from

3:15-3:45 on Monday, May 18, 2009 &
6:55-7:25 on Tuesday, May 19, 2009

ALL STUDENTS WHO ARE CALLED BACK SHOULD ATTEND ONE OF THE TWO SESSION. ATTENDING BOTH SESSIONS IS A PLUS.

CALLBACK SCHEDULE

EVERYONE CALLED BACK MEETS FROM 3:00-3:30
32 Creatures will read from 3:30-4:00
28 Rustics will have callbacks from 4:00-4:45
18 Lovers will read from 4:45-5:30
15 Royals will read from 5:30-6:00

Thanks so much for the overwhelming response. The directors worked until the late hours of Sunday night to make our final choices for actors.

ANYONE WHO HAS NOT TURNED IN AN AUDITION FORM WILL NOT BE CONSIDERED FOR A ROLE. If you would like to revise your production team, directing team and crew preferences, please see Mr. McLaughlin or Courtney Zucca ASAP.

Thanks again for throwing your name in the ring to considered. This was truly a difficult task.

Mr. Heckman
Mr. McLaughlin

A MIDSUMMER NIGHT'S DREAM Audition Scenes

2009-05-11T17:20:00.003-05:00

WELCOME TO AUDITIONS FOR OUR AWESOME 2009-2010 SEASON

General Meetings are listed below. Actors and interested production team members should attend one of the three meetings listed below. Both actors and production team folks need to sign up for an audition/interview in the times we have open for auditions. Anyone interested in any position should attend one of our general/informational meetings.

Those interested in Directing Team positions will need to answer some open ended questions and be prepared to interview. Those interested in acting, should find a partner and sign up for one of the audition times with a friend/group of friends.

Please see the audition scenes we'll be using:

AMSND Audition Scene 1 Bottom and Flute.doc

AMSND Audition Scene 2 Peter Quince.doc

AMSND Audition Scene 3 The Rustics.doc

AMSND Audition Scene 4 Demetrius & Helena.doc

AMSND Audition Scene 5 Lysander & Hermia.doc

AMSND Audition Scene 6 Hippolyta & Theseus.doc

AMSND Audition Scene 7 Titania & Oberon.doc

AMSND Audition Scene 8 Puck & Fairy.doc

More scenes are likely to be filed tonight... Hopefully, you'll receive our text messages and check your email.

WE ARE SO EXCITED TO BRING THIS SHOW TO LC.

A Midsummer Night's Dream

2009-05-07T13:20:00.007-05:00

Lewis Central High School proud to announce A MIDSUMMER NIGHT'S DREAM as Fall 2009 School Play
Come back here later tonight (Thursday, May 7, 2009) to see audition scenes and more about auditions. You will be able to access a Word version of the scenes right here.
1. First, you need to attend ONE of the three general meetings.
Tuesday, May 12, 2009--3:15-4:00 PM--LCHS Drama Room
Students may sign up for auditions from 4:00-7:00 PM in 15 minutes slots. Sign up sheets will be located outside the Drama Room on Tuesday, May 12, 2009.

Wednesday, May 13, 2009--6:55-7:30 AM--LCHS Drama Room
Students may sign up for auditions from 4:00-6:30 PM. Sign up sheets will be located outside the Drama Room on Tuesday, May 12, 2009.

Thursday, May 14, 2009--3:15-4:00 PM--LCHS Drama RoomStudents may sign up for auditions from 4:00-7:00 PM. Sign up sheets will be located outside the Drama Room on Tuesday, May 12, 2009.

2. You attend the general meeting and we'll tell you all of the following, give you an audition form and let you sign up for an audition (acting) or interview (production) time.

Those interested in production team and directing team do need to attend one of the general meetings. We explain the responsibility and time commitment of each job. If you are not sure that you can make the commitment, you should not audition. We don’t want everyone; we want the best.

Those interested in acting need to attend the general meetings as well. Usually, we have students choose a reading and their partners. However, we don’t always need to see a student read a specific role to consider them for that role. We are asking that students read for their top choice and bring a friend/friends to read with them. We may still cast the student in a different role than what he/she reads for BUT we will need to see everyone read for the role in which they are cast.

Here’s what Mr. McLaughlin and Mr. Heckman will do in the general meeting:

*Welcome you and talk about the play, our approach, what we’re looking for and the calendar.

*Talk to you about how auditions will function. How you sign up, where you find readings, what you need to do if you’re interested in production.

*Read the “LCHS Casting Policy” to students. All students must sign off that they have read and understand the policy.

*Show photos of research, film clips and other possibilities.
*Get us fired up to take on a great show.

3. You sign up for an audition time or for an interview time. You come in and do your best. We look at our talent pool and try to use as many of the fantastic students who attend as possible. Get excited! We are.

Plot and Characters

A Midsummer Night's Dream is a tale of simplicity itself. It's about ideas and emotion rather than plot. Notice that the fairies' magic takes place at night -- how much is really a dream?

Theseus, Duke of Athens, is about to marry Hippolyta, a lady warrior who he conquered. Egeus brings his daughter Hermia to court. She and Lysander want to get married, but Egeus wants her to marry Demetrius, who also wants her. Under Athenian law, Hermia must marry the man of her father's choice, choose "single blessedness" (i.e., celibacy in a religious order), or be executed. Theseus says he will enforce this law and gives everyone a few days to decide. Demetrius has seduced and abandoned Helena, Hermia's friend. Lysander and Hermia decide to elope and get married in the next town, beyond the reach of Athenian law. (Probably Theseus and everybody else expects them to do this anyway.) Hermia tells Helena, who tells Demetrius in order to ingratiate herself to him. Hermia and Lysander flee into the woods, Demetrius follows the lovers, and Helena follows him.

Out in the forest, Oberon and Titania, king and queen of fairyland, have quarrelled over who will raise an orphaned Indian boy. Oberon sends Puck to find a magic flower. Cupid's arrow, aimed at Queen Elizabeth, was diverted and hit the flower ("love in idleness", a pansy). Now this flower's juice, applied to a sleeper's eyes, will make the person fall in love with whoever he or she sees first upon awakening. Puck brings the flower, and Oberon applies it to the eyes of sleeping Titania. Oberon then tells Puck to apply it to the eyes of Demetrius, so that when he wakes and sees Helena he will love her instead.

Hermia and Lysander fall asleep, with Lysander honoring Hermia's request to sleep a little distance away. Puck mistakes Lysander for Demetrius and puts the love juice in his eyes. Helena sees Lysander, thinks he may be hurt, and wakes him. Lysander sees Helena and falls in love with her. This gives rise to a comic situation, with much clever language and remarks about the ironies and irrationality of love.

Some skilled laborers have gone into the woods to rehearse a play for the wedding. They rewrite it, replacing the lovers' parents by "the moon" and "a wall". Puck puts a donkey head on Bottom the weaver. Titania, awakening, falls in love with him. (In Elizabethan times, the male donkey was proverbial for his generous sexual endowment.)

Demetrius and Lysander meet Helena and Hermia and the love-comedy continues, with the men about to come to blows. Oberon sees what has happened, and instructs Puck to separate the two men, which he does using ventriloquism, and to apply the love-juice to Demetrius's eyes. Lysander is lost in the dark and decides to sleep it out. Demetrius is tired and rests, and Puck reapplies the antidote to Lysander. Oberon applies the antidote to Titania. Demetrius wakes up and falls in love with Helena. After more dialogue and action, Theseus enters, the now properly-paired lovers are united, and everybody is happy. The humans wonder how much of the night's events have been real, and how much was a dream. The laborers perform their play-within-a-play. Although it's bad, Theseus and the others appreciate the sincerity and effort.

Don't look for depth of characterization in "A Midsummer Night's Dream". It's about ideas rather than personalities.

Theseus: Kind and generous. He must enforce the law, but talks privately with Egeus and Demetrius (I.i.115) to get them to relent. He appreciates the effort that goes into the play-within-a-play, and the sincerity of the ordinary people. He lets his imagination turn good people's sincere effort into a good performance.

Hippolyta: More literal-minded than Theseus. She cannot bring her imagination to consider a bad play good. But she notes that the lovers' tale of paranormal experience in the woods presents "great constancy" -- what paranormal investigators look for today. Like most of us, Hippolyta decides, "If they're all telling the same story, there may be something to it."

Philostrate: Master of ceremonies for Theseus. In Chaucer's The Knight's Tale, one of the rival lovers takes the name "Philostrate" to work for Theseus and Hippolyta. This is almost certainly an oblique reference to Chaucer's tale.

Demetrius: Not a nice person. By the time he says he wants to feed Lysander's carcass to his hounds, this seems completely in character. I don't know what Helena sees in him. Neither does she -- such is the irrationality of love, even before the lovers enter the forest. He is the only one who remains under the influence of the magic juice. This is probably good.

Helena: Tall, blonde beauty. Verbal abuse from Demetrius has made her think she's ugly. We have to hope that the love juice never wears off Demetrius, or she is in trouble

Hermia: Short, dark-complected beauty. Spunky and likable.

Lysander: Likable, rationalizer, sense of humor. He suggests Egeus and Demetrius get married. He cites classic stories as models for "the course of true love", and thinks the effects of the love juice are the workings of his own "reason".

Peter Quince: Playwright for the amateurs.

Nick Bottom the Weaver: Enthusiastic. Wants to play all the roles. Likes to overact.

Francis Flute the Bellows Mender: Young man. He points out that he's just getting his facial hair. He thinks this will make playing Thisbe a problem, but this is actually why he was chosen.

Robin Starveling the Tailor: Just a few lines portray a pessimist. He plays the part of the moon. He seems to forget his lines, and explains who he is in prose.

Snug the Joiner: "I am slow of study". The lion need only roar. Actually Snug does learn a few lines.

Tom Snout the Tinker: Literal-minded. Plays the wall.

Often the same actor who plays Theseus also plays Oberon, the same actor who plays Philostrate plays Puck, and the same actress who plays Hippolyta plays Titania. You may enjoy thinking about why this makes sense, especially if the dream-world is a shadow of ours. One of my correspondents reminded me that this also happens in the film version of "The Wizard of Oz".

CHARACTERS (from another point of view)

MALE CHARACTERS

THESEUS. The Duke of Athens. About to marry the conquered Amazon queen, Hippolyta. Confident and authoritative, yet benevolent.

EGEUS. A respected nobleman in Theseus's court. Hermia’s father.

LYSANDER. A young nobleman of Athens in love with Hermia. Although Hermia's father refuses to let her marry him, Lysander believes that love conquers all.

DEMETRIUS. A young nobleman of Athens. Demetrius thought he loved Helena, but after Helena fell for him, he changed his mind and pursued Hermia.

OBERON. The king of the fairies. Oberon begins the play at odds with his wife, Titania. (may be doubled with role of Theseus)

NICK BOTTOM. The overconfident weaver chosen to play the lead in the play-within-a-play. Is also turned into a donkey by Puck and Titania falls in love with him. Must possess excellent comedic timing.

FRANCIS FLUTE. The bellows-mender chosen to play the female lead in the play-within-a-play. Is not pleased about playing a female role. Must possess excellent comedic timing.

FEMALE CHARACTERS

HIPPOLYTA. The legendary queen of the Amazons, engaged to marry Theseus. Although Theseus defeated her in combat, she does not act like an unwilling bride. Confident and strong.

HERMIA. Egeus' daughter. A beautiful young woman of Athens; both Demetrius and Lysander are in love with her, but Hermia defies her father because she loves Lysander. (must be shorter than Helena)

HELENA. A young woman of Athens in love with Demetrius. Helena has been rejected and abandoned by Demetrius, who said he loved her before he met her best friend, Hermia. (must be taller than Hermia)

TITANIA. The beautiful queen of the fairies. Titania resists the attempts of her husband, Oberon, until he gives up his demands. (may be doubled with role of Hippolyta)

MALE OR FEMALE CHARACTERS
ROBIN GOODFELLOW/“PUCK”. The mischievous fairy who delights in playing pranks on mortals; Oberon's “right hand man”.

QUINCE. A carpenter and leader/director of the play-within-a-play. Must possess excellent comedic timing.

STARVELING. The anxiety-ridden tailor chosen to play Moonshine in the play-within-a-play. Must possess excellent comedic timing.

SNOUT. The reluctant and frightened tinker chosen to play Wall in the play-within-a-play. Must possess excellent comedic timing.

SNUG. The timid and dimwitted joiner chosen to play the lion in the play-within-a-play. Must possess excellent comedic timing.

PEASEBLOSSOM, COBWEB, MOTH, AND MUSTARDSEED. The fairies whom Titania orders to wait on Bottom after she falls in love with him.

OTHER FAIRIES AS NEEDED.

Once on This Island Tentative Calendar

2009-03-04T11:46:00.003-06:00

Calendar will be complete Friday, March 6, 2009 following the Directing & Production Team meetings.

An electronic copy of this is posted on the school website. An electronic copy of the final calendar will be sent out this weekend. Parents will receive calendars at the Parent Meeting on Monday, March 9, 2009. Students will receive copies at the ALL CALL on Tuesday, March 10, 2009.

See the calendar online at
http://www.lewiscentral.org/vnews/display.v/ART/2009/03/03/49ae8bff86e81

Wednesday, March 4

Rehearsal for ensemble members and directing team in the Drama Room from 3:00-6:00.

Thursday, March 5

Vocal rehearsal with Mr. Pivonka will all ensemble and extended ensemble members from 3:00-4:30. Acting rehearsal with Mr. McLaughlin from 4:30-6:00 pm. in the Drama Room. Directing Team members need to attend no production team members need to attend.

Friday, March 6

Production Team and Directing Team meet with Mr. McLaughlin from 3:00-6:00 in the Drama Room.

Saturday, March 7

Dark

Sunday, March 8

Dark

Monday, March 9

Pivonka with Ensemble and Extended Ensemble from 3:00-4:00. Directing Team with McLaughlin from 3:00-4:00. Ensemble and Extended Ensemble with McLaughlin from 4:00-6:00.

PARENT MEETING 6:30-7:30 PM in the Drama Room.

Tuesday, March 10

ALL CALL FULL CAST SING THROUGH from 6:30-9:30.

Wednseday, March 11

Pivonka with Ensemble and Extended Ensemble from 3:00-4:30. McLaughlin with Directing Team from 3:00-4:30. McLaughlin with Directing Team and Ensemble from 4:30-6:00.

PLEASE PAY ATTENTION--Thursday, March 12
Directing Team and all ensemble members except Mundt, Rausch and Ladd from 3:00-6:00 with McLaughlin.

Rausch, Ladd, Mundt and choreographers with Mrs. Walters in the evening.

Friday, March 13

Pivonka with Ensemble and Extended Ensemble from 3:00-4:30. McLaughlin with Directing Team from 3:00-4:30. McLaughlin with Directing Team and Ensemble from 4:30-6:00.

Saturday, March 14

TECH DAY ONE. Booster Club Auction.

ONCE ON THIS ISLAND Team Chosen

2009-03-03T23:20:00.004-06:00

THE PERFORMING ENSEMBLE

Blake DeForest*
AGWE,
God of Water

Jenna Ladd*
ANDREA,
An elegant and refined your
woman betrothed to Daniel

Danny Lich*
ARMAD,
Daniel’s stern father

Annie Smith
ASAKA,
Mother of the Earth

Ben Rausch*
DANIEL
A young handsome, aristocratic
young man who falls in love with Ti Moune

Jordan Morgan*
ERZULIE
Goddess of Love

To Be Announced
LITTLE TI MOUNE

Amberley Proctor*
MAMA EURALIE
Ti Moune’s adoptive mother

Seth Means
PAPA GE
Demon of Death

Jami Mundt*
TI MOUNE
A beautiful peasant girl with a childish innocence

Matt Sharp*
TONTON JULIAN
Ti Moune’s adoptive father

Milky Agreda
Noah Anderson
Tyler Cota
Molly Cox*
Brooke Elliff*
Sarah Gates
Andrew Gulden*
James Hodge
Hannah Jacoby*
Katie Jacoby*
Kelsey Johnson
Molly Lightfoot
Alex Mares*
Madison Massey*
Nicole McGuire*
Sabrina McKeever
Becca McMillen*
Michael Miller
Shawn Moore
Maddie Overholtzer*
Megan Reif*
Cole Schnitker*
Ben Tweedt
John Tweedt*
THE VILLAGERS
Jewels of the Antilles

Tayler Mehsling*
Cole Templeton
GOD PUPPET COORDINATOR/LIAISONS

Ryan Epperson
Ali Almazen
Trever Daniels
AGWE Puppeteers
God of Water

Nathan Black*
Alex Smith
Emily Raygor
ASAKA,
Mother of the Earth

Ryan Penney*
Billy Coon*
Ashley Minnick
PAPA GE Puppeteers
Demon of Death

Tyler Robbins
Alaina Walker
Ashley Zerwas
ERZULIE Puppeteers
Goddess of Love

DIRECTING TEAM

Tom McLaughlin*
DIRECTOR

Ryan Pivonka
VOCAL DIRECTOR

Brian Johnson
VOCAL DIRECTOR

Melanie Walters
CHOREOGRAPHER

Andy Walters
CONDUCTOR

Blake Christiansen*
PRODUCTION DIRECTOR

Taylor Kastrup
ASSISTANT TO THE PRODUCTION DIRECTOR

Courtney Zucca
STUDENT DIRECTOR

Kelsey Moore*
STAGE MANAGER

Camilla Cortney*
ASSOCIATE STATE MANAGER

Elizabeth Knoble*
ASSISTANT STAGE MANAGER

Whitney Clark*
Jessica Willadsen
ASSISTANT TO THE DIRECTOR

Eric Clark*
Rachel Shrader*
TECHNICAL DIRECTOR

Jeff Wallin*
ASSISTANT TECHNICAL DIRECTOR

Shannon Gascoigne*
Andrew Gulden*
Sabrina McKeever
Kaiti Madsen*
Alysha Rau*
STUDENT CHOREOGRAPHERS &
DANCE CAPTAINS

PRODUCTION TEAM

Jorge Villata
SOUND BOARD OPERATOR

Kyle Wineland*
LIGHT BOARD TEAM LEADER

Kyle Stazzoni
Ashley Zerwas
LIGHT BOARD OPERATORS/FOCUS CREW

Alaura Bingham,
Jennifer Leafty
COSTUME COORDINATORS

Shaylia Barber
Alaina Walker*
PUBLICISTS

Ali Almazen
Jessica Powers
ASSISTANT PUBLICISTS

Ashley Minnick
COSTUME COORDINATOR

Chloe Smith*
MAKEUP COORDINATOR

Becca Piercy
Michaela Sutherland
ASSISTANT MAKEUP COORDINATOR

David Mescher*
Ricky O’Doniel
Matt Wolf*
SPOTLIGHT OPERATORS

Tayler Mehsling*
Cole Templeton
GOD PUPPET COORDINATOR/LIAISONS

Ryan Epperson
Ali Almazen
Trever Daniels
AGWE Puppeteers
God of Water

Nathan Black*
Alex Smith
Emily Raygor
ASAKA,
Mother of the Earth

Ryan Penney*
Billy Coon*
Ashley Minnick
PAPA GE Puppeteers
Demon of Death

Tyler Robbins
Alaina Walker
Ashley Zerwas
ERZULIE Puppeteers
Goddess of Love

Tayler Mehsling*
PROPS COORDINATOR

Taylor Kuhn*
ASSISTANT PROPS COORDINATOR

Nate Black*
Austin Blay*
Tyler Butler
Billy Coon*
Trever Daniels
Lily Mescher
Kayla O’Doniel
Ryan Penney*
Emily Raygor
Jordan Reese
Tyler Robbins
Sara Piercy*
Brady Wells
PRODUCTION TEAM & CREW MEMBER

ONCE ON THIS ISLAND Callback List

2009-02-07T13:48:00.008-06:00

A big thank you to all of the 96 students who attended our general meetings, to everyone for their auditions and for your interest in working on the Production Team, Directing Team or one of our crews.

If you were not called back, please consider working on the production team, directing team or on one of our crews. The competition for top roles was strong--especially for the girls who auditioned. Many of you have wonderful talents for other productions. The small cast and challenging music in this show requires us to use only the top voices in our school.

Please look for your name on the list below. Although most have completed the application process, some students still need to complete some paper work prior to casting.

We will NOT be doing callbacks on Tuesday, February 10th. There will also be no dancing workshop on Monday this week. Instead, we will be having a dance and acting workshop on Tuesday, February 9, 2009 after school from 3:00-3:45 pm; another workshop on Wednesday, February 10, 2009 from 7:00-7:30 am. Dancing, acting and singing callbacks will be held Thursday, February 11, 2009 from 3:00-6:00 pm.

Students who wish to update their audition form or complete them, should get them on Monday or Tuesday this week and give them back to Mr. McLaughlin.

Thanks so much for the great auditions and all of the enthusiasm. We're excited to make the most important decisions that we will for our production in casting the actors and production team folks.

FEMALES
CALLED BACK

Milky Agreda
Alaura Bingham
Molly Cox
Brooke Elliff
Sarah Gates--please complete audition form
Hannah Jacoby
Katie Jacoby
Kelsey Johnson
Jenna Ladd
Molly Lightfoot
Madison Massey
Nicole McGuire
Sabrina Mckeever
Becca Mcmillen
Jordan Morgan
Jami Mundt
Maddie Overholtzer
Amberley Proctor
Emily Raygor
Megan Reif
Alex Smith
Annie Smith
Ashley Zerwas

MALES CALLED BACK

Noah Anderson--needs to complete audition form
Tyler Cota
Blake Deforest--needs to complete audition form
Andrew Gulden
James Hodge
Danny Lich
Alex Mares
Shawn Moore
Ben Rausch
Cole Schnitker
Matt Sharp
Ben Tweedt
Jon Tweedt

STUDENTS WHO NEED TO SING AGAIN FOR MR. PIVONKA IF INTERESTED IN BEING CALLED BACK

Jay Burmeister--needs to complete audition form
Trever Daniels--needs to complete audition form
Catie Geier
Kaiti Madsen--needs to complete audition form
Michael Miller--needs to complete audition form
Tyler Robbins

WE HAVE COMPLETED APPLICATIONS FROM THE FOLLOWING STUDENTS

Shaylia Barber
Nate Black
Austin Blay
Eric Clark
Whitney Clark
Camilla Cortney
Kandice Festner
Shannon Gascoigne
Elizabeth Knoble
Taylor Kuhn
Tayler Mehsling
Lily Mescher
Ashley Minnick
Kelsey Moore
Jessica Nightser
Eric O'Doniel
Kayla O’Doniel
Ryan Penney
Becca Piercy
Jessica Powers
Alysha Rau
Jordan Reese
Tyler Robbins
Rachel Shrader
Chloe Smith
Kyle Stazzoni
Michaela Sutherland
Jorge Villalta
Alaina Walker
Jessica Willadsen
Courtney Zucca

WE ARE MISSING AUDITION FORMS
FROM THE FOLLOWING PEOPLE
WHO ATTENDED GENERAL MEETINGS

Gabby Alvarez
Sarah Anson
Billy Coon
Pat Gillespie
Mark Hamilton
Jade Harrison
Alli James
Taylor Kastrup
Holly Nicolosi
Andrew Sachs
Cole Templeton
Bianca Zerwas

WE ARE MISSING PAGE 4
FROM THE FOLLOWING PEOPLE

Allie Almazen
Ryan Epperson
Mandy Grady
Jennifer Leafty
Brandon Mabbit
Trenton Peterson
Jeanne Phillips
Jeff Wallin
Kyle Wineland

LCHS Musical Selection Committee Meets, Discusses Choices

2008-12-04T16:37:00.016-06:00

Members of the Lewis Central International Thespian Society's Musical Selection Committee met on Thursday, December 4, 2008 and began discussing and listening to samples from five of the finalists for this year's musical.

Please check out the five musicals discussed in the meeting. Stay tuned for more details.

GYPSY--click here to access show information

The story starts in Seattle with stage mother, Rose, pushing her two daughters into Uncle Jocko's Kiddie Show. June, her mother feels, is the most likely to become a star. Louise is plainer and quieter; she stands meekly in her sister's shadow. A new act called 'Baby June and her Newsboys' is conceived by Rose, and the family is off to the 'big time' in Los Angeles. The act steeped in star spangled banners, dancing horses (Louise plays the rear end), and screaming newsboys moves to Dallas, Akron, New York, Buffalo and Omaha. Along the way Rose meets Herbie, a theatrical agent, and hires him as manager. He makes himself father to the troupe, sharing with them their meals of chow mein, Rose's favorite food. Rose scrimps as she schemes and scrambles for bookings and billings to maintain their hand to mouth existence. She sleeps her charges six in a dingy hotel room and makes their costumes from hotel blankets. Her object is to make her two penniless girls into world stars. The girls begin to grow up and the act becomes 'Dainty June and her Newsboys.' Unfortunately its quality does not improve. Bookings are cancelled and the act moves on.

Louise wishes that Momma would marry a plain man so they could settle down. Herbie proposes but is rejected. June elopes with Tulsa, one of the boys in the act. Rose sets out to make Louise into the star. She bursts into new enthusiasm with the rousing number Everything's Coming Up Roses. Behind Rose lies a worrying sense of doom; a feeling that she never will fulfill her dream of stardom for her girls because it is really a dream of stardom for herself.

Finally the troupe reaches the bottom, a burlesque house in Wichita. Rose laments that she would rather starve than perform there. Louise realizes there is no vaudeville left except for burlesque. Here the clumsy Louise shoots into stardom by becoming something different: a ladylike stripper. Three strippers dressed respectively in a ballet costume, a trumpet and well placed electric light bulbs are used in a most exaggerated, but very funny number, You Gotta Get a Gimmick, to indicate the difference between the usual brassy stripper and the very elegant Louise. At last Louise breaks away from her mother and goes out on her own as Gypsy Rose Lee.

Rose bursts into the plaintive Rose's Turn in which she sings of her suppressed talents that she has sacrificed to further the careers of her unappreciative daughters.

ONCE ON THIS ISLAND--click here to access show information

Listen to samples of the music from ONCE ON THIS ISLAND

This highly original and theatrical Caribbean adaptation of the popular fairy tale “The Little Mermaid” sings and dances the story of Ti Moune, the black peasant girl who rescues, nurses and falls in love with Daniel, a mulatto from a wealthy family. When Daniel is returned to his people, the gods who rule the island guide Ti Moune on a quest to test the strength of her love against the powerful forces of prejudice, hatred and death.

“Once On This Island” is a director/choreographer’s dream, an intimate show presented in a dance/movement-driven style reminiscent of story theatre, with a small band and minimal – though colorful – sets and costumes that capture the imagination of the audience. Its catchy, contemporary, and Caribbean-flavored score by the Tony® Award-winning songwriting team of Lynn Ahrens and Stephen Flaherty (“Ragtime” and the animated film “Anastasia”) includes tender ballads and rousing celebratory numbers for an ensemble cast of strong singers.

Optional text substitutions from the authors allow “Once On This Island” to be performed in the amateur market by actors of any race, making the minimal production requirements of this moving, uplifting show even more flexible.

To order vocal selections and other musical collections by Lynn Ahrens and Stephen Flaherty, visit their website at www.ahrensandflaherty.com!

To find out how to order CDs in bulk quantity for resale purposes, contact the Marketing Department at MTI via email at marketing@MTIShows.com

Opened 10/18/1990 Ran for 469 performances.

A rattling good time! A carnival of swirling rhythm. Delightful." - New York Post

"Explodes with music and motion! The best musical of the season!"- Associated Press

"Rousing, musical theatre! Everyone is likely to emerge from the theatre ready to dance down the street" - The New York Times"

http://www.onceonthisisland.net

PIPPIN--click here to access show information

Listen to samples of the music from PIPPIN.

Once upon a time, the young prince Pippin longed to discover the secret of true happiness and fulfillment. He sought it in the glories of the battlefield, the temptations of the flesh and the intrigues of political power (after disposing of his father King Charlemagne the Great). In the end, he found it in the simple pleasures of home and family.

This hip, tongue-in-cheek, anachronistic fairy tale captivated Broadway audiences and continues to appeal to the young at heart everywhere (the show has become a staple on high school and college campuses). The energetic pop-influenced score by three-time Oscar®-winning composer/lyricist Stephen Schwartz (“Godspell,” “Children of Eden” and the animated films “Pocahontas,” “The Hunchback Of Notre Dame” and “The Prince Of Egypt”) bursts with one showstopping number after another, from soaring ballads to infectious dance numbers.

Featuring a strong ensemble cast and a show-stealing song-and-dance narrator, “Pippin” is equally effective as an intimate, black-box production (as envisioned by the authors) or as original director/choreographer Bob Fosse’s splashy, dance-driven spectacle, which included some of the most brilliant staging in Broadway history.

Opened 10/23/1972 Ran for 1944 performances.

Beguiling, highly original and...just plain wonderful!" - Boston Globe

"Extraordinary music theatre!" - Daily News

"Splendiferous theatricality, the kick of a lighting bolt and a passionate knack for being entertaining." -Time Magazine

The Wiz--click here to access show information

The New Musical Version of The Wonderful Wizard of Oz by L. Frank Baum. Book by William F. Brown. Music and Lyrics by Charlie Smalls.

11 principals, various small parts, singers and dancers.

Var. sets.

Dorothy's adventures in the Land of Oz have been set to music in a dazzling, lively mixture of rock, gospel and soul music. Everybody knows the story, but now it's a new fantasy for today-- mysterious, opulent and fanciful.

"Radiates so much energy you can hardly sit in your seat . . . great fun."-- N.Y. Post.

"A continuous festival of movement ... splendid character songs."-- WWD. "A carnival of fun ... wickedly amusing show."-- Time.

"A virtual musical circus ... driving rhythms, soaring songs ... boisterous, exuberant."-- WABC TV

THE WIZARD OF OZ--click here to access show information

Little Dorothy Gale of Kansas, like so many girls her age, dreams of what lies over the rainbow. One day a twister hits her farm and carries her away over the rainbow to another world. Come join Dorothy, the Scarecrow, the Tinman, the Cowardly Lion and Toto as they travel the universe of Dorothy's imagination.

There are two versions of THE WIZARD OF OZ. Both include the songs Over The Rainbow, Munchkinland (Ding Dong! The Witch Is Dead), If I Only Had A Brain, If I Only Had A Heart, If I Only Had The Nerve , We're Off To See The Wizard (Follow The Yellow Brick Road), The Jitterbug, and The Merry Old Land of Oz. The MUNY version has Evening Star. The RSC version also includes Poppies (Optimistic Voices) and If I Were King Of The Forest.
The MUNY version is the more theatrically conservative and employs its stage, actors, singers, dancers and musicians in traditional ways to tell Mr. Baum's story. The story and the music are treated by the adapters as elements of a classic stage musical without reference to their use in the film.

The RSC version is a more technically complex production and uses as much of the aura of the film as is possible to create in a modern theatre. It is an adaption for live stage performance, even while it strives to look and sound just like the famous film, in telling the story. There is more work for the SATB chorus and small vocal ensembles in the music material for the RSC version.

Put a smile on everyone's face with THE WIZARD OF OZ!

BRIEF HISTORY

A version of WIZARD OF OZ based on the motion picture was presented with book adaptations by Frank Gabrielson by the Municipal Theatre of St. Louis in 1945. A second version with book adaptations by John Kane follows the famous motion picture even more closely and was presented by the Royal Shakespeare Company at the Barbican Centre in London in 1988.

SYNOPSIS

Dorothy Gale, a young girl who lives on a farm in Kansas with her Aunt Em and Uncle Henry, gets in the way while the adults try to work. She finds a quiet place where she won't get into any trouble -Over The Rainbow. The girl is upset because their mean neighbor, Miss Gulch, presents her with a Sheriff's summons for her cherished dog, Toto. Toto escapes from Miss Gultch's bicycle basket and joins Dorothy as she runs away from the farm. They meet up with kind Professor Marvel, who convinces her to go back home. A cyclone hits the area, and Dorothy and Toto are locked out of the family's storm cellar. They go into her room in the house, where Dorothy is accidently hit on the head. This begins their journey to the Land of Oz.
When she wakes up in Oz, Dorothy is greeted by Glinda, the Witch of the North (who has an uncanny resemblance to Aunt Em.) Upon landing, Dorothy's house inadvertently lands on and fatally strikes the Wicked Witch of the East. This frees the Munchkins from the Wicked Witch of the East's power, so they now consider Dorothy their heroine -Ding Dong! The Witch Is Dead & Munchkin Musical Sequence. The Wicked Witch of the West (Miss Gulch) comes to avenge her sister's death and to claim her sister's magic ruby slippers, only to find that Glinda has already put them on Dorothy's feet. The Wicked Witch of the West has a new challenge - to get those slippers for herself. Dorothy wants to go back home to Kansas, but the Munchkins tell her the only one who may help her get back home is the Wizard of Oz. So Dorothy is off to see the Wizard -Yellow Brick Road.

Along the way she meets three new friends and travel companions. The Scarecrow (Hunk, the first of Uncle Henry's farmhands) explains why he needs to see the Wizard in If I Only Had A Brain. The Tinman (Hickory) joins them because his life would be better If I Only Had A Heart and the Lion (Zeke) comes along -If I Only Had The Nerve. All four sing We're Off To See The Wizard.

The Wicked Witch of the West makes her second unsuccessful attempt to get Dorothy's ruby slippers when Dorothy is with the Scarecrow and the Tinman. But she fails to scare them. Her next plan includes the Lion, and involves a beautiful field of poppies with a poisonous scent. Glinda rescues the travelers by turning the poppies into snowflakes -Poppies.

Our travelers arrive at the Emerald City to be discouraged from entering by the Gatekeeper (Uncle Henry). He finally lets them in -Merry Old Land Of Oz. Before they are allowed to meet the Wizard, the travelers must be cleaned up by the Osians. Even after they prepare for the meeting, the Wizard refuses to meet them. The Wicked Witch appears again. The lion fantasizes in King Of The Forest. The guard finally brings them to the Wizard, but the four friends must prove themselves worthy of the Wizard's help by bringing him the Wicked Witch of the West's broomstick. The only way to get her broomstick would be to kill her. So off the foursome goes, to the land of the Winkies (the Wicked Witch's slaves) and the Wicked Witch's castle.

The group is in the haunted forest filled with jitterbugs that spook them. The jitterbugs make them dance until they all collapse from exhaustion - Jitterbug and then the Wicked Witch's flying monkeys swoop down and capture Dorothy and Toto. At the castle the Wicked Witch again fails to take the ruby slippers off Dorothy's feet, so threatens Dorothy with her life. Toto manages to escape. The Lion, Scarecrow and Tinman recover from the poppies' scent, and make it to the castle to rescue Dorothy. Toto meets them at the entrance, and they sneak in, wearing Winkie uniforms, as part of the Winkie army. The foursome and Toto are reunited, but the Wicked Witch prevents their escape. The Wicked Witch becomes even meaner and threatens the Scarecrow with fire on her broomstick. Dorothy throws a bucket of water at the fire and ends up dousing the Wicked Witch. The Wicked Witch screams, smoulders and shrinks. She melts into nothing. -Ding Dong The Witch Is Dead (reprise). The foursome take the broom back to the Wizard.

The Wizard is again reluctant to see the travelers, but Toto playfully pulls aside the curtain that separates the Wizard from them. An ordinary man (Professor Marvel) speaking into a microphone is revealed. As the Wizard he performs graduation exercises, giving the Scarecrow a Dr. of Thinkology, making the Lion a member of the Legion of Courage and giving the Tinman a heart-shaped watch. He offers to take Dorothy back to Kansas in his hot-air balloon. The balloon accidently takes off without Dorothy and Toto, but Glinda saves the day. She explains to Dorothy that all this time, Dorothy has had the power herself to go home. All she has to do is close her eyes, tap her heels together three times and repeat to herself "there's no place like home."
Back in Kansas the storm is over. Dorothy wakes up confused, with a bump on her head. She and Toto were not the only ones who had an adventure during the storm. Miss Gulch was hit by a telegraph pole and broke her leg. At least Miss Gulch won't be bothering Toto for a while. Dorothy appreciates her family and friends even more than ever.

Students narrowed the first list of five to three titles: The Wiz, Pippin and Once on this Island. Please see one of the members of the musical selection committee: Cami Cortney, Molly Cox, Blake DeForest, Hannah Jacoby, Katie Jacoby, Taylor Kuhn, Jenna Ladd, Kelsey Moore, Maddie Overholtzer, Ben Rausch, Matt Sharp

LCHS Drama & LCHS I.T.S. Winter Performing Arts Series

2008-11-20T13:39:00.006-06:00

In our November 20, 2008 MARAT/SADE Post-Mortem, I.T.S. and Department leaders chose two productions for our Term II LCHS Performing Arts Series as possibilities for us to attend in order to sample and experience good theatre in the Omaha/Council Bluffs Metropolitan area. Students chose A CHRISTMAS CAROL (Omaha Community Playhouse) and AVENUE Q (Omaha Broadway Series) as possibilities for our program.
Students may attend one, both (or more than two) of the experiences. Scholarship opportunities are available for students who are leaders in the program and demonstrate financial need. Please see Mr. McLaughlin if interested in a scholarship.

We will choose dates next week. Students interested in attending one or both of the events will begin payments prior to the event.

A CHRISTMAS CAROL
An Omaha Classic
A Christmas Carol – Omaha, Omaha Community Playhouse
Nov 21- Dec 23
Sunday, December 21, 2008 at 6:30 PM
$24 students, $39 adults
*attendance to this performance requires a parent permission slip for content and travel
**paying adult/parent chaperones requested

AVENEUE Q

Avenue Q – (Broadway) Iowa City, Hancher Auditorium
February 24-March 1Avenue Q – (Broadway) Omaha, Orpheum Theater Mar 25 – 29
*attendance to this performance requires a parent permission slip for content and travel
**paying adult/parent chaperones requested
$25 - $50 (depends)
AVENUE Q Official Website
AVENUE Q Broadway on Tour Photos
AVENUE Q Reviews

Stomp – (Broadway Series) Orpheum Theater
Dec 12-14
$25 - $50 (depends on date and time)

Cats – (Broadway) Orpheum Theater
Jan 30 – Feb 1
$25 - $49 (depends)

Grease – (Broadway) Orpheum Theater
Feb 18 – 22
$28 - $63 (depends)

Bat Boy – Omaha Community Playhouse
Feb 20 – Mar 29
$24 students, $39 adults

Wicked – (Broadway) Orpheum Theater
May 6 – 31
$30 - $80 (depends)

Gypsy – Omaha Community Playhouse
May 29 – June 28
$24 students, $39 adults

ITS Meeting Minutes 8-26-2008

2008-08-27T19:26:00.000-05:00

CALL TO ORDER

The meeting was called to order at 2:53PM in the Lewis Central High School Drama Room.

ROLL CALL

Members In Attendance: Nate Black, Tyler Butler, Whitney Clark, Billy Coon, Camilla Courtney, Molly Cox, Blake DeForest, Brooke Elliff, Shannon Gascoigne, Andrew Gulden, Mark Hamilton, Olivia Handy, Taylor Hughes, Hannah Jacoby, Katie Jacoby, Jarren Jenkins, Liz Knoble, Jenna Ladd, Nicole McGuire, Becca McMillen, Tayler Mehsling, David Mescher, Kelsey Moore, Jordan Morgan, Jami Mundt, Jessica Nightser, Maddie Overholtzer, Ryan Penney, Lauren Petri, Sarah Piercy, Alysha Rau, Ben Rausch, Megan Reif, Cole Schnitker, Rachel Shrader, Chloe Smith, Alaina Walker, Kyle Wineland, Matt Wolf, Courtney Zucca

Excused Absence: Austin Blay, Pat Gillespie, Alexix Grgrich, Danny Lich, Matt Sharp

Unexcused Absence: Eric Clark, Jared Juel, Alex Mares, Sarah Marshall, Jerrod Scheffel, Mikael Scheffel

PROJECTS

We are going to focus on fewer projects this year and actually get them done excellently.

Nebraska Theatre Caravan: McG informed us that LC will host the Nebraska Theatre Caravan, a professional Actor's Equity repertory company on September 30, 2008. They will be bringing a production of A Midsummer Night's Dream to be performed outside in the space that was initially set aside for the LCHS auditorium.

20 lucky ITS members will be chosen to attend workshops at IWCC that will be lead by the company.

ITS is thankful to Mr. Hale for helping make this a reality for us a Lewis Central. This package would normally cost several thousand dollars and our student body will be receiving it free of charge. We are extremely excited about this opportunity.

Display Case: It was decided that we are actually going to use the drama display case this year. Many cool ideas are being put together. For example curtains, mega pictures, ‘LC DRAMA’ in wood letters, plastic columns, masks, and tv screens.

We need to put together a great team that can get this project on the road. We want to show the rest of the school how amazing the drama department really is. If you would like to help with the display case, keep your ears open as a meeting will be scheduled soon.

SPRING MUSICAL

An idea came about that we start sparingly in January so that it will be less chaotic. The production team would get a plan in order, the calendar written, and the Bible set up. With the choir directors the music will be learned, the auditions will happen, and the cast will be determined.

*WINTER ACTIVITIES* We need to make sure that students invovled in Winter Activities don’t feel like we are trying to keep them out. We want them and they need to know that. Members responded favorably to this idea.

Having a choreographer come in is trying to be arranged. So that the dancers are having fun and looking great! This would also allow McG to leave so he can help the production team.

We want the approval letter sent for the spring musical a lot sooner this year so that we can get started! We need another team of ITS members to start sampling musicals. Anyone can do this and we encourage you to find some musicals so that we have a wide selection. If you have any ideas already, let your ITS Senior-President Ben Rausch, your ITS Junior-President Courtney Zucca, or McG know.

So go online…..with some friends…..or by yourself…..find ideas…..but don’t get attached. Ready? Go!

PERFORMING ARTS DEPARTMENT CALENDAR

Something that is going to change for this year is that the students are not going to be the messengers for teachers, directors, or coaches. If they have something to say to McG, or McG has something to say to them, make sure that you don’t do it for them.

The directors will be meeting on every Wednesday early out to review the master Performing Arts Calendar and "hammer out"

FALL PLAY SELECTION

Many people agreed that since we have done a comedy for the past five years, that we should try something new and show the community that the LCHS drama department can take on something new. Others expressed how they still want a comedy because we have many funny people in our department and that we should show off their talents.

Other genres were thought up. Melodrama, Horror/Thriller/Mystery, Drama. Also the idea of having a dinner theater came up.
Thoughts on having a Melodrama: It would be something that has a hero and villain. The actors would get to interact with the audience. It would be very easy for us to do. The technical requirements are very low, but the costumes are very elaborate. Students show interest.

Thoughts on having a Horror/Thriller: The technical requirements for this genre would be quite high. But of course our drama students could handle it. We want to keep the audience on the edge of their seats. Since it will be around the holiday of Halloween, members thought that we could attract more audience members. And with the arrival of our new light board (Yes, you may scream at this exciting news), we could get some really cool scenes in. This would allow a lot of opportunities. But other students think that the audience won’t want to be scared the whole time and that we would lose audience members. Either way, we still had interest shown.

Thoughts on Dinner Theatre: This would not be in the auditorium. The audience would eat while watching us perform. Some thought this could be a great learning experience. Since everyone likes to eat, it might be fun. It was asked if we could do a thriller and the dinner theatre. But we would want all the special effects that the auditorium could give us. Audience Participation, Melodrama, and a Romantic Comedy could work for dinner theatre. A disclaimer arose though. Since we would be serving food, the cost would go up. We want as many people to come as possible and this may cause a problem.

After a vote, dinner theatre was ruled out.

Genre Decision: Everyone had one vote to select the genre for this year’s fall play.
The count came to Melodrama: 14. Thriller/Horror/Mystery:18.

Some other important decisions had to be made. Cast size and set size.

Thoughts a small cast: It would turn out really well, for they would have a lot of time to work with McG. But it wouldn’t give anyone experience who isn’t part of the cast.

Thoughts on a large cast: It would give a lot of people experience. But it might not have as great as quality as a small cast. It also might confuse the audience members with so many characters.

The decision: A small-medium cast size. This means from about 8-14. Based on that decision, we decided to have a large set.

Auditions are going to be held in two weeks!

If you don’t like the results, get over it. You can’t change it. So turn your harsh energy into helpful energy. Think of ways that your talents can be used to help make this an amazing year!

Lead by example!

Groups will be sent to the 9th grade Leadership Classes to try and recruit freshman. We will talk about auditions, what the drama kids are like, and what the whole experience is about.

An executive board will be created. It will contain all current officers and two representatives from each class.

Keep your ears open! Meeting times and important notes will be announced. It is your job after that to remember them and let others know.

The meeting ended at 4:00PM.

Submitted respectfully,

Camilla Cortney,
ITS Secretary

ITS Summer Leadership Academy Part I of III: Tuesday, June 17, 2008

2008-06-09T12:50:00.012-05:00

SAVE THE DATE

June 17, 2008 * ITS Dinner Meeting

6:00 PM * Location To Be Announced

Newly elected ITS President Ben Rausch and Mr. McLaughiln have started plans for a blockbuster 2008-2009 season for the Lewis Central Drama Department. We do need to take care of some business before the school year starts.

In the past we have had a two or three day ITS Summer Leadership Academy in August. However, since we are publishing a joint Performing Arts Calendar this year and since our vocal and band camps are beginning in late July and running up until the Friday before school starts, we will be splitting our meeting up during the summer. WE ALSO WANT TO MAKE SURE THAT WE DO SOME TEAM-BUILDING, SOCIALIZING & FUN THINGS BEFORE SCHOOL STARTS.

So, please save Tuesday, June 17, 2008 at 6:00 PM for a dinner meeting. We are looking into the possibility of Buffalo Wild Wings, Quaker Steak Oil and Lube. However, we do have some business to conduct and we are concerned about having an environment where we can (1) install our officers; (2) begin the play and musical selection process; (3) discuss some possible changes in the calendar; and (4) have some fun, fun, fun... We are thinking about using the meeting room at Village Inn or the meeting room at Tish's. What are your thoughts? Let us know... None of us is as strong as ALL OF US.

If you have any suggestions, ideas, or need to chat Mr. McLaughlin (712.326.8557), Ben Rausch (618.979.7925) or Courtney Zucca (402.980.8029). We look forward to seeing you on Tuesday, June 17, 2008 at 6:00 PM. Email Mr. McLaughlin to let us know whether you can make it or not so we can make reservations. We will need a pretty accurate number. Hope summer is treating you well!

ITS Induction Script

2008-06-02T09:00:00.000-05:00

Lewis Central High School
International Thespian Society Induction
Spring of 2009

Mr. McLaughlin: We will begin tonight with our induction ceremony. If you could please take your seats and turn off your phones or silence them as we are about to begin. Please refrain from taking photographs during the ceremony. There will be an opportunity to take photographs at the conclusion of the ceremony.

(Blake waits 15 seconds and begins drum beat. Lights fade once drum beats begin. Five beats into the ceremony, Danny knocks on the door three times, pauses 10 second and knocks three times again.)

Who are these strangers that knock on the doors of our theatre and seek admittance into this, our Society.

Danny Lich: They are worth initiates who have proved their commitment to our school, the drama program and their peers.

Mr. McLaughlin: Then bid them enter and take their spots on the stage to await further instructions.

(Wait for students to take their spots on the stage. )

Ben: “Friends, it is a pleasure to welcome you here to share in the induction of 18 members into Lewis Central High School’s Troupe No. 5150 of the International Thespian Society.

Through hard work, sacrifice, and dedication, the candidates have earned the right to be called Thespians. It is a title of honor, signifying a commitment to an art as old as humanity.

Courtney: “Commitment to theatre is what the International Thespian Society is all about. The Society was established in 1929 by a group of college and high schools teachers in Fairmont, West Virginia. They named their organization for Thespis. During the Sixth century before Christ, one of the writers of tragedy who won the approval of the priests at the Festival of Dionysus was Thespis.

Jenna: About 535 BC a new dimension was added to drama when Thespis, a prominent leader of the chorus, stepped from that group and recited portions of the drama alone, thereby becoming the first professional actor.

Brooke: We also believe that it was he who first used masks so that a person could portray more than one part. In honor of this early Greek playwright, all actors are called thespians.

Cami: In his honor we are the International Thespian Society. We have as our emblem the two masks of comedy and tragedy etched in colors of gold and blue bound together with the Thespian ’T.’

Nicole: Wearers of this emblem should remember that it represents a proud and dignified heritage, and that this heritage is now entrusted to us—to you.

Blake: In the 77 years since, the Society has grown into an international organization with more than two million members, but its goals haven’t changed; the Thespian Society still strives to make arts education and drama programs places for good theatre and to honor those students whose work in the theatre is excellent.

Jenna: The Society is the highest honor a secondary student can earn in drama. It is an organization dedicated to service and integrity. As a member of ITS, you join a group that includes not only accomplished actors but people who have distinguished themselves in business, science, law, medicine, and every other field of endeavor.

Katie: “We join here for a rite of renewal and celebration.” We now ask all new members of the Thespian Troupe #5150 to please step forward as we read your name.

Brooke Elliff: The new Inductees are:
(students step forward into the spotlight, there is a pause in the reading after each inductee, inductee crosses to light his/her candle)
Shaylia Barber
Alaura Bingham
Ryan Epperson
Megan Fender
Taylor:
(students step forward into the spotlight, there is a pause in the reading after each inductee, inductee crosses to light his/her candle)
James Hodge
Sarah Gates
Doug Johnstone
Jennifer Leafty

Megan:
(students step forward into the spotlight, there is a pause in the reading after each inductee, inductee crosses to light his/her candle)

Kaiti Madsen
Erick Martin
Sabrina McKeever
Michael Miller
Liz:
(students step forward into the spotlight, there is a pause in the reading after each inductee, inductee crosses to light his/her candle)
Shawn Moore
Ricky O'Doniel
Rebekah Piercy
Derek Sevener

Rachel:
(students step forward into the spotlight, there is a pause in the reading after each inductee, inductee crosses to light his/her candle)
Ben Tweedt
Jorge Villalta
Jessica Willadsen
Jeff Wallin

ALL: Congratulations on earning the right of calling yourself a Thespian.

Courtney: Will all current members and members in our audience please stand, and join the new members in saying our Thespian Pledge. Raise your right hand and repeat after the Honorable Troupe Director.

MCLAUGHLIN: “I promise to uphold the aims and ideals of the International Thespian Society. / I am a friend to the performing arts, / to morality, / to integrity, / to character, / to loyalty and to my fellow Thespians, / and to the Lewis Central Theatre Department. /
I am and always will remain a student of drama. / Excellence – not perfection – is my ideal. / I promise to perform my part as well as I can; / to accept praise and criticism with grace; / to cooperate with my fellow Thespians/ and work for the good for the troupe; / and the share my love of theatre. / It is my goal that after having labored in the theatre, / it will stand a taller and stronger institution.”

Guest members and alums may now be seated.

Hannah: “Congratulations and welcome to the Society, and remember our motto, which comes from Alexander Pope’s ‘Essay on Man’:’Act well your part; there all the honor lies.”

Becca: Your hard work, dedication, enthusiasm, and love of the theatre has rewarded you with on of the greatest honors that you could receive in high school.

Nicole: We, too, are honored to have you join our Troupe. The tradition of the International Thespian Society at Lewis Central High School has seen many talented people come and go and we are certainly glad that all of you have joined us.

Molly: It has been amazing to see your talent blossom in this program. The past years have been wonderful for drama and we are glad that you are, and will be, a part of it. We will not forget what each individual will bring to the program.

Mark: Miracles have taken place where you have stood. Just look around you, everyone that is here tonight has given something great to the theatre and to you.

Blake: No one could fill the shoes that you wear… we gave you the baton and you ran madly with it.

Whitney: For that, the world and we recognize you into the International Thespian Society at Lewis Central High School. Congratulations!!

McLaughlin: Please join us in welcoming the newest member of our three million member Society by standing and applauding their excellence.

Parents and guests who would like to take photographs can join us in taking photographs now.

Please join us in the front two rows of the auditorium for our awards show tonight.

ITS Members Elect 2008-2009 Titan International Thespian Society Officers

2008-05-31T17:36:00.009-05:00

LCHS INTERNATIONAL THESPIAN SOCIETY
MEETING MINUTES * May 28, 2008 * 2:55 PM
Lewis Central High School Drama Room

Mr. McLaughlin called the meeting to order at 2:55 pm.

Members in Attendance: Austin Blay, Tyler Butler, Whitney Clark, Camilla Cortney, Billy Coon, Blake DeForest, Brooke Elliff, Shannon Gascoigne, Pat Gillespie, Alexis Grgurich, Andrew Gulden, Mark Hamilton, Olivia Handy, Taylor Hughes, Hannah Jacoby, Katie Jacoby, Elizabeth Knoble, Taylor Kuhn, Jenna Ladd, Nicole McGuire, Becca McMillen, Tayler Mehsling, David Mescher, Jordan Morgan** , Kelsey Moore, Jami Mundt, Jessica Nightser, Maddie Overholtzer, Ryan Penney, Lauren Petri, Sarah Piercy, Alysha Rau, Ben Rausch, Megan Reif, Cole Schnitker, Rachel Shrader, Alaina Walker, Matt Wolf, Courtney Zucca

Absent Members: Nathan Black, Eric Clark**, Molly Cox (excused), Jarren Jenkins, Jared Juel, Danny Lich (excused), Alex Mares, Sara Marshall, Jerrod Scheffel, Mikael Scheffel, Matt Sharp, Chloe Smith , Kyle Wineland

**Non-voting member until inducted

The members of Lewis Central's Chapter of the International Thespian Society packed the LC Drama Room on the last official school day of the term to elect its officers and begin plans for some summer social activities to kick-off a fantastic 2008-2009 LC Department of Drama season.

Troupe #5150 members amended the ITS Constitution to rewrite the description of Vice-President to be ITS Junior President, an assistant to the ITS Senior President in achieving the Troupe's goals and conducting its business. The vote carried unanimously.

Mr. McLaughlin appointed an ad-hoc elections committee to count the ballots for the elections.

Ben Rausch was elected 2008-2009 ITS President.

Mr. McLaughlin handed the gavel over to ITS President Ben Rausch to conduct the remainder of the business for the meeting.

Courtney Zucca was elected 2008-2009 ITS Junior President.

Camilla Cortney was elected 2008-2009 Secretary.

Matt Wolf was elected 2008-2008 Treasurer.

Members decided to modify its ITS Summer Leadeship Academy to move from a two or three day meeting to three days spread out over the summer. One day will be held in each month of the summer. The group will socialize and begin planning the fall play, the Drama II play and the spring musical. The group will also work to implement the Drama I Showcase each term during the year.

The meeting adjourned at 3:40 PM.

2008-03-04T06:25:00.002-06:00

Jesus- Must be the most charismatic individual in the cast.
High energy, charming, funny, gentle but with strength. He is the
sort of person others instinctively follow.

John the Baptist/Judas- He has attributes of both
Biblical figures: he is both Jesus' lieutenant and most ardent
disciple and the doubter who begins to question and rebel. Like
Jesus, he is also charismatic, but in more of an overt
revolutionary way. Usually played by someone handsome and
masculine, with an undertone of sexuality. He is the most "serious"
and intellectual of the group, though as with all the actors, he
must still possess a good sense of physical comedy.

Jeffrey- Very high energy. Impish and playful. In the
original, he played several musical instruments, including
concertina and recorder.

Lamar- Not the brightest in the bunch, he is a little
slow on the uptake. But there is a great sweetness and innocence
about him. Because he sings "All Good Gifts," he must be a very
good singer.

Herb- The comedian, the class clown. The guy who can do a
hundred voices and imitations. This is also the role that sings the
least, so it is wise to cast it for a comedian rather than a
vocalist.

Robin- A bit of a tomboy, but basically open and sweet.
She is the first of the group to commit to following Jesus in the
song "Day by Day."

Joanne- The confident one, the show-off. The first one to
volunteer, sometimes jumps in before she really understands what's
going on.

Peggy- The shy one. Sometimes a little slow to get
things, but when she does, she commits all the way. Has an "earth
mother" kind of warmth to her.

Sonia- Sassy and slightly cynical, the most urban of the
group. Also the "sexy" one, but her sexiness contains a large
element of put-on, in the manner of Mae West or Madonna (who in
fact once played this role).

Gilmer- The female equivalent of the class clown. Goofy
and a cut-up. this is the female role that sings least, and
therefore should be cast with a strong comedienne.

Two More Unnamed Disciples

Using the Four Temperaments to Inspire Character Movement

2007-09-30T16:57:00.003-05:00

THE FOUR TEMPERAMENTS
by
REV. CONRAD HOCK

Revised and enlarged by
Rev. Nicholas M. Wilwers, S.A.C.; M.A.; S.T.B.

NIHIL OBSTAT:
H. B. RIES
Censor librorum

IMPRIMI POTEST:
OTTO BOENKI, S.A.C.
Superior Maior

CONTENTS

FOREWORD

CHAPTER

I THE FOUR TEMPERAMENTS
Introduction. The Four Temperaments in General. How to Determine One's Temperament.
The Knowledge of Temperaments Very Important.

II THE CHOLERIC TEMPERAMENT
Character. Dark Sides. Bright Side. Things to be Observed by the Choleric in His Training. Special Considerations in the Training and Treatment.

III THE SANGUINE TEMPERAMENT
Character. Fundamental Disposition. Dark Side. Bright Sides. Methods of Self-Training. Points of Importance in Dealing with and Educating a Sanguine Person.

IV THE MELANCHOLIC TEMPERAMENT
Characteristics. Fundamental Disposition. Peculiarities. Bright Side. Dark Side.
Method of Self-Training. Important. Points in the Training.

V THE PHLEGMATIC TEMPERAMENT
Nature. Fundamental Disposition. Bright Side. Dark Side. Training.

VI MIXED TEMPERAMENTS

VII QUESTIONNAIRE
Character Traits arranged according to Temperaments. Sanguine Temperament.
Choleric Temperament. Melancholic Temperament. Phlegmatic Temperament.

FOREWORD

1. Modern educators realize more and more that a well rounded, complete education demands not only training of the intellect but training of the will and of the heart as well. In other words, the formation of character is as important as, if not more important than, the acquisition of knowledge.

2. Intellectual ability is no proof that a man will be able to master the difficulties of life and to adhere to right principles of action in times of distress. Only a strong will and a firm character enable man to stand such trials unshaken. Life is filled with trials; hence the necessity of character formation.

3. The formation of character requires, first of all, the knowledge of an ideal that will "give direction, measure, and value to effort," (Monsignor William J. Kerby) from which the aim and the ways and means of education must be derived. The man who aims at being the perfect gentleman, i.e., the Christian, will of necessity follow other ways and use other means than he whose aim is only to make as much money as possible.

4. It requires also a fair knowledge of one's self, of one's powers of body and soul, of one's strong and weak points, of one's assets and defects. The old Greek saying, "Know yourself!" holds true also today.

5. There is no lack of, nor interest in, books on self-improvement. Man is painfully conscious of his many shortcomings and feels a great desire to eliminate unsatisfactory personality traits in order to achieve greater harmony within himself and with his environment.

Such self-knowledge is often offered in learned and high sounding phrases, but more often than not is of little help in daily life. A knowledge of the Four Temperaments, (though sometimes frowned upon by modem psychology), has proved very helpful in meeting and mastering the situations of everyday living. A short but valuable knowledge with practical suggestions is supplied by Conrad Hock, 'The Four Temperaments'. Having been out of print for some years it is now herewith revised, enlarged and offered to the public.

The Pallottine Fathers Milwaukee

CHAPTER I

THE FOUR TEMPERAMENTS

I INTRODUCTION
Socrates, one of the most renowned of the Greek sages, used and taught as an axiom to his hearers: "Know yourself."

One of the most reliable means of learning to know oneself is the study of the temperaments. For if a man is fully cognizant of his temperament, he can learn easily to direct and control himself. If he is able to discern the temperament of others, he can better understand and help them.

II THE FOUR TEMPERAMENTS IN GENERAL
If we consider the reaction of various persons to the same experience, we will find that it is different in every one of them; it may be quick and lasting, or slow but lasting; or it may be quick but of short duration, or slow and of short duration. This manner of reaction, or the different degrees of excitability, is what we call "temperament." There are four temperaments: the choleric, the melancholic, the sanguine, and the phlegmatic.

The sanguine temperament is marked by quick but shallow, superficial excitability; the choleric by quick but strong and lasting; the melancholic temperament by slow but deep; the phlegmatic by slow but shallow excitability. The first two are also called extroverts, outgoing; the last two are introverts or reserved.

Temperament, then, is a fundamental disposition of the soul, which manifests itself whenever an impression is made upon the mind, be that impression caused by thought - by thinking about something or by representation through the imagination - or by external stimuli. Knowledge of the temperament of any person supplies the answer to the questions: How does this person deport himself? How does he feel moved to action whenever something impresses him strongly? For instance, how docs he react, when he is praised or rebuked, when he is offended, when he feels sympathy for or aversion against somebody? Or, to use another example, how does he act if in a storm, or in a dark forest, or on a dark night the thought of imminent danger comes to him?

On such occasions one may ask the following questions:

1. Is the person under the influence of such impressions, thoughts, or facts, quickly and vehemently excited, or only slowly and superficially?

2. Does the person under such influences feel inclined to act at once, quickly, in order to oppose the impression; or does he feel more inclined to remain calm and to wait?

3. Does the excitement of the soul last for a long time or only for a moment? Does the impression continue, so that at the recollection of such impression the excitement is renewed? Or does he conquer such excitement speedily and easily, so that the remembrance of it does not produce a new excitement?

The replies to these questions direct us to the four temperaments and furnish the key for the understanding of the temperament of each individual.

The choleric person is quickly and vehemently excited by any impression made; he tends to react immediately, and the impression lasts a long time and easily induces new excitement.

The person of sanguine temperament, like the choleric, is quickly and strongly excited by the slightest impression, and tends to react immediately, but the impression does not last; it soon fades away.

The melancholic individual is at first only slightly excited by any impression received; a reaction does not set in at all or only after some time. But the impression remains deeply rooted, especially if new impressions of the same kind are repeated.

The phlegmatic person is only slightly excited by any impression made upon him; he has scarcely any inclination to react, and the impression vanishes quickly.

The choleric and sanguine temperaments are active, the melancholic and phlegmatic temperaments are passive. The choleric and sanguine show a strong tendency to action; the melancholic and phlegmatic, on the contrary, are inclined to slow movement.

The choleric and melancholic temperaments are of a passionate nature; they shake the very soul and act like an earthquake. The sanguine and phlegmatic are passionless temperaments; they do not lead to great and lasting mental excitement.

III HOW TO DETERMINE ONE'S TEMPERAMENT
In order to determine one's temperament, it is not wise to study the bright or dark sides of each temperament and to apply them to oneself; one should first and foremost attempt to answer the three questions mentioned above.

1. Do I react immediately and vehemently or slowly and superficially to a strong impression made upon me?

2. Am I inclined to act at once or to remain calm and to wait?

3. Does the excitement last for a long time or only for a short while?

Another very practical way to determine one's temperament consists in considering one's reactions to offenses, by asking these questions: Can I forgive when offended? Do I bear grudges and resent insults? If one must answer: usually I cannot forget insults, I brood over them; to think of them excites me anew; I can bear a grudge a long time, several days, nay, weeks if somebody has offended me; I try to evade those who have offended me, refuse to speak to them, etc., then, one is either of choleric or melancholic temperament.

If on the contrary the answer is: I do not harbor ill will; I cannot be angry with anybody for a long time; I forget even actual insults very soon; sometimes I decide to show anger, but I cannot do so, at least not for a long time, at most an hour or two - if such is the answer, then one is either sanguine or phlegmatic.

After having recognized that one is of the choleric or melancholic temperament the following questions should be answered: Am I quickly excited at offenses? do I manifest my resentment by words or action? Do I feel inclined to oppose an insult immediately and retaliate? Or, do I at offenses received remain calm outwardly in spite of internal excitement? Am I frightened by offenses, disturbed, despondent, so that I do not find the right words nor the courage for a reply, and therefore, remain silent? Does it happen repeatedly that I hardly feel the offense at the moment when I receive it, but a few hours later, or even the following day, feel it so much more keenly? In the first case, the person is choleric; in the second, melancholic.

Upon ascertaining that one's temperament is either sanguine or phlegmatic one must inquire further: Am I suddenly inflamed with anger at offenses received; do I feel inclined to flare up and to act rashly? Or, do I remain quiet? Indifferent? Am I not easily swayed by my feelings? In the first case we are sanguine, in the second, phlegmatic.

It is very important, and indeed necessary to determine, first of all, one's basic temperament by answering these questions, to be able to refer the various symptoms of the different temperaments to their proper source. Only then can self-knowledge be deepened to a full realization of how far the various light and dark sides of one's temperament are developed, and of the modifications and variations one's predominant temperament may have undergone by mixing with another temperament.

It is usually considered very difficult to recognize one's own temperament or that of another person. Experience, however, teaches that with proper guidance, even persons of moderate education can quite easily learn to know their own temperament, and that of associates and subordinates.

Greater difficulties, however, arise in discovering the temperament in the following instances:

1. A person is habitually given to sin. In such cases the sinful passion influences man more than the temperament; for instance, a sanguine person, who by nature is very much inclined to live in peace and harmony with others can become very annoying and cause great trouble by giving way to envy and anger.

2. A person has progressed very far on the path of perfection. In such cases the dark sides of the temperament, as they manifest themselves, usually, in ordinary persons, can hardly be noticed at all. Thus, St. Ignatius Loyola, who by nature was passionately choleric, had conquered his passion to such an extent, that externally he appeared to be a man without passions and was often looked upon as a pure phlegmatic. In the sanguine but saintly Francis de Sales, the heat of momentary, irate excitement, proper to his sanguine temperament, was completely subdued, but only at the cost of continual combat for years against his natural disposition.

Saintly people of melancholic temperament never allow their naturally sad, morose, discouraging temperament to show itself, but by a look upon their crucified Lord and Master, Jesus Christ, conquer quickly these unpleasant moods.

3. A person possesses only slight knowledge of himself. He neither recognizes his good or evil disposition, nor does he understand the intensity of his own evil inclinations and the degree of his excitability; consequently he will not have a clear idea of his temperament. If anyone tries to assist him to know himself by questioning him, he gives false answers, not intentionally, but simply because he does not know himself. If such persons begin to devote themselves to a more spiritual life, they can usually acquire a fairly reliable diagnosis of their temperament only after they have practiced meditation and examination of conscience for some length of time.

4. A person is very nervous. With such persons the signs of nervousness, as restlessness, irritability, inconstancy of humor and resolution, the inclination to melancholy and discouragement, manifest themselves so forcibly that the symptoms of temperament are more or less obscured. It is especially difficult to discern the temperament of hysterical persons, if the so-called hysterical character is already fully developed.

5. A person has a so-called mixed temperament. Mixed temperaments are those in which one temperament predominates while another temperament also manifests itself. It will be a great help in such cases to know the temperaments of the parents of such person. If father and mother are of the same temperament, the children will probably inherit the temperament of the parents. If father and mother are of a choleric temperament, the children will also be choleric. If, however, the father and mother are of different temperaments, the children will inherit the different temperaments. If, for instance, the father is of a choleric temperament and the mother melancholic, the children will be either choleric with a melancholic mixture, or melancholic with a choleric tendency, according to the degree of influence of either of the two parents. In order to learn the predominant temperament, it is absolutely necessary to follow closely the above-mentioned questions concerning the temperaments. But it also happens, although not so often as many believe, that in one person two temperaments are so mixed that both are equally strong.

In this case it is naturally very hard to judge with which temperament the respective person is to be classified. It is probable, however, that in the course of time, e.g. on occasion of ordeals or difficulties one of the temperaments will manifest itself predominantly.

A very valuable help for the discernment of the mixed, and especially of the pure, temperaments is the expression of the eye and more or less the manner in which a person walks. The eye of the choleric is resolute, firm, energetic, fiery; the eye of the sanguine is cheerful, friendly, and careless; the eye of the melancholic looks more or less sad and troubled; the eye of the phlegmatic is faint, devoid of expression.

The choleric steps up firmly, resolutely, is more or less always in a hurry; the sanguine is light-footed and quick, his walking is often like dancing; the gait of the melancholic is slow and heavy; that of the phlegmatic is lazy and sluggish.

The expression of the eye rather quickly reveals the choleric temperament (the well-known type of Napoleon, Bismark) and the temperament of the melancholic (perhaps the Cure of Ars). If, from the expression of the eye neither the resoluteness and energy of the choleric nor the gloom of the melancholic can be discerned, it is safe to conclude that a person is either sanguine or phlegmatic. After a little experience, one quite easily determines a person's temperament, even at the first meeting, or even after a casual observation on the street. Physical symptoms of different temperaments, however, such as the shape of the head, complexion, color of the hair, size of the neck, etc., are worthless despite the insistence on such like characteristics frequently found in popular writings.

IV THE KNOWLEDGE OF TEMPERAMENTS VERY IMPORTANT
It may be difficult in many cases to decide upon the temperament of any particular person; still we should not permit ourselves to be discouraged in the attempt to understand our own temperament and that of those persons with whom we live or with whom we come often into contact, for the advantages of such insight are very great. To know the temperaments of our fellow men helps us to understand them better, treat them more correctly, bear with them more patiently. These are evidently advantages for social life which can hardly be appreciated enough.

A choleric person is won by quiet explanation of reasons and motives; whereas by harsh commands he is embittered, hardened, driven to strong-headed resistance. A melancholic person is made suspicious and reticent by a rude word or an unfriendly mien; by continuous kind treatment, on the contrary, he is made pliable, trusting, affectionate. The choleric person can be relied upon, but with a sanguine person we can hardly count even upon his apparently serious promises. Without a knowledge of the temperaments of our fellow men we will treat them often wrongly, to their and to our own disadvantage.

With a knowledge of the temperaments, one bears with fellow men more patiently. If one knows that their defects are the consequence of their temperament, he excuses them more readily and will not so easily be excited or angered by them. He remains quiet, for instance, even if a choleric is severe, sharp-edged, impetuous, or obstinate. And if a melancholic person is slow, hesitating, undecided; if he does not speak much and even if he says awkwardly the little he has to say; or if a sanguine person is very talkative, light-minded, and frivolous; if a phlegmatic cannot be aroused from his usual indifference, he does not become irritated.

It is of the greatest benefit furthermore to recognize fully one's own temperament. Only if one knows it, can he judge correctly himself, his moods, his peculiarities, his past life. An elderly gentleman, of wide experience in the spiritual life, who happened to read the following treatise on temperaments said: "I have never learned to know myself so well, as I find myself depicted in these lines, because nobody dared to tell me the truth so plainly as these lines have done."

If one knows one's own temperament, he can work out his own perfection with greater assurance, because finally the whole effort toward self-perfection consists in the perfection of the good and in the combating of the evil dispositions. Thus the choleric will have to conquer, in the first place, his obstinacy, his anger, his pride; the melancholic, his lack of courage and his dread of suffering; the sanguine, his talkativeness, his inconsistency; the phlegmatic, his sloth, his lack of energy. The person who knows himself will become more humble, realizing that many good traits which he considered to be virtues are merely good dispositions and the natural result of his temperament, rather than acquired virtues. Consequently the choleric will judge more humbly of his strong will, his energy, and his fearlessness; the sanguine of his cheerfulness, of his facility to get along well with difficult persons; the melancholic will judge more humbly about his sympathy for others, about his love for solitude and prayer; the phlegmatic about his good nature and his repose of mind.

The temperament is innate in each person, therefore it cannot be exchanged for another temperament. But man can and must cultivate and perfect the good elements of his temperament and combat and eradicate the evil ones. Every temperament is in itself good and with each one man can do good and work out his salvation. It is, therefore, imprudent and ungrateful to wish to have another temperament. "All the spirits shall praise the Lord" (Ps. 150,6).

All of man's inclinations and peculiarities should be used for the service of the Lord and contribute to His honor and to man's welfare. Persons of various temperaments who live together should learn not to oppose but to support and supplement one another.

CHAPTER II

THE CHOLERIC TEMPERAMENT

I CHARACTERISTICS OF THE CHOLERIC TEMPERAMENT
The choleric person is quickly and vehemently excited by any and every influence. Immediately the reaction sets in and the impression remains a long time.

The choleric man is a man of enthusiasm; he is not satisfied with the ordinary, but aspires after great and lofty things. He craves for great success in temporal affairs; he seeks large fortunes, a vast business, an elegant home, a distinguished reputation or a predominant position. He aspires to the highest also in matters spiritual; he is swayed with a consuming fire for holiness; he is filled with a yearning desire to make great sacrifices for God and his neighbor, to lead many souls to heaven.

The natural virtue of the choleric is ambition; his desire to excel and succeed despises the little and vulgar, and aspires to the noble and heroic. In his aspiration for great things the choleric is supported by:

1. A keen intellect. The choleric person is not always, but usually endowed with considerable intelligence. He is a man of reason while his imagination and his emotions are poor and stunted.

It is said that Julius Caesar was able to dictate different letters to several secretaries at the same time without losing the line of thought for each dictation.

2. A strong will. He is not frightened by difficulties, but in case of obstacles shows his energy so much the more and perseveres also under great difficulties until he has reached his goal. Pusillanimity or despondency the choleric does not know.

Hamilcar of Carthage in North Africa took his son Hannibal to the altar of their god and made him swear eternal hatred for Rome, their implacable enemy. Later, Hannibal assembled a complete army and elephants and led them through Spain, over the Pyrenees, through Southern France and over the Alps into Italy, a feat never equaled before or after, and came very close to conquering and destroying Rome.

3. Strong passions. The choleric is very passionate. Whenever the choleric is bent upon carrying out his plans or finds opposition, he is filled with passionate excitement. All dictators, old and new, are proof of this statement.

4. An often times subconscious impulse to dominate others and make them subservient. The choleric is made to rule. He feels happy when he is in a position to command, to draw others to him, and to organize large groups.

A very great impediment for the choleric in his yearning for great things is his imprudent haste. The choleric is immediately and totally absorbed by the aim he has in mind and rushes for his goal with great haste and impetuosity; he considers but too little whether he can really reach his goal.

A high Nazi official told a former chum, (later a priest): "We cannot back out; we have gone too far."

He sees only one road, the one he in his impetuosity has taken without sufficient consideration, and he does not notice that by another road he could reach his goal more easily. If great obstacles meet him he, because of his pride, can hardly make up his mind to turn back, but instead he continues with great obstinacy on the original course. He dashes his head against the wall rather than take notice of the door which is right near and wide open. By this imprudence the choleric wastes a great deal of his energy which could be used to better advantage, and he disgusts his friends, so that finally he stands almost alone and is disliked by most people. He deprives himself of his best successes, even though he will not admit that he himself is the main cause of his failures. He shows the same imprudence in selecting the means for the pursuit of perfection, so that in spite of great efforts he does not acquire it. The choleric can safeguard himself from this danger only by willing and humble submission to a spiritual director.

II DARK SIDES OF THE CHOLERIC TEMPERAMENT
Pride which shows itself in the following instances:

a) The choleric is full of himself. He has a great opinion of his good qualities and his successful work and considers himself as something extraordinary and as one called upon to perform great feats. He considers even his very defects as being justified, nay, as something great and worthy of praise; for instance, his pride, his obstinacy, his anger.

The Italian dictator Mussolini had himself called 'II Duce,' the Leader. Adolf Hitler followed his example by assuming the title: 'Der Fuehrer,' The Leader.

b) The choleric is very stubborn and opinionated. He thinks he is always right, wants to have the last word, tolerates no contradiction, and is never willing to give in.

The Russian dictator Stalin brooked no opposition. A friend of his, during a drinking bout, voiced his disagreement with Stalin's opinion. Fearing for his safety some of his friends approached Stalin the next day to excuse their friend on the ground of having been drunk. Stalin coolly told them that their intervention came too late.

c) The choleric has a great deal of self-confidence. He relies too much upon his own knowledge and ability. He refuses the help of others and prefers to work alone, partly because he does not like to ask for help, partly because he believes that he is himself more capable than others and is sure to succeed without the help of others.

Hitler relied on his 'hunches' in his war against Russia despite the advice of his generals, convinced that he knew better. He lost the war and everything.

It is not easy to convince the choleric that he is in need of God's help even in little things. Therefore he dislikes to ask God's help and prefers to combat even strong temptations by his own strength. Because of this self-confidence in spiritual life the choleric often falls into many and grievous sins. This trait is one of the main reasons why so many cholerics do not acquire sanctity in spite of great efforts. They are infected to a great extent with the pride of Lucifer. They act as if perfection and Heaven were not in the first place due to grace but to their own efforts.

d) The choleric despises his fellow man. To his mind others are ignorant, weak, unskilled, slow, at least when compared with himself. He shows his contempt of his neighbor by despising, mocking, making belittling remarks about others and by his proud behavior toward those around him, especially toward his subjects.

A Russian general, asked what he would do if his soldiers came to a mine field, responded that he would order a company of soldiers across it. The fact that he would sacrifice the lives of these soldiers meant nothing to him. (General Eisenhower).

e) The choleric is domineering and inordinately ambitious. He wants to hold the first place, to be admired by others, to subject others to himself. He belittles, combats, even persecutes by unfair means those who dare to oppose his ambition.

Julius Caesar said that he would rather be the first in the smallest Alpine village than the second in Rome.

Alexander the Great, considered one of the greatest generals of all time, was found by a friend of his one clear night looking at the stars and weeping. Asked why he wept he said: "See those thousands of stars in the sky to be conquered, and I cannot even conquer this world of ours."

f) The choleric feels deeply hurt when he is humiliated or put to shame. Even the recollection of his sins fills him with great displeasure because these sins give him a lower opinion of himself. In his disgust over his sins he may even defy God Himself.

2. Anger. The choleric is vehemently excited by contradiction, resistance, and personal offenses. This excitement manifests itself in harsh words which may seem very decent and polite as far as phrasing is concerned, but hurt to the core by the tone in which they are spoken. Nobody can hurt his fellow man with a few words more bitterly than a choleric person. Things are made even worse by the fact that the choleric in his angry impetuosity makes false and exaggerated reproaches, and may go so far in his passion, as to misconstrue the intentions and to pervert the words of those who irritated him, thus, blaming with the sharpest of expressions, faults which in reality were not committed at all. By such injustice, which the choleric inflicts in his anger upon his neighbor he can offend and alienate even his best friends.

The choleric may even indulge in furious outbursts of anger. His anger easily degenerates into hatred. Grievous offenses he cannot forget. In his anger and pride he permits himself to be drawn to actions which he knows will be very detrimental to himself and to others; for instance, ruin of his health, his work, his fortune, loss of his position, and complete rupture with intimate friends. By reason of his pride and anger he may totally ignore and cast aside the very plans for the realization of which he has worked for years.

P. Schram says: "The choleric prefers to die rather than to humble himself."

3. Deceit, disguise and hypocrisy. As noble and magnanimous as the choleric is by nature, the tendency to pride and self-will may lead him to the lowest of vices, deceit and hypocrisy. He practices deceit, because he is in no way willing to concede that he succumbed to a weakness and suffered a defeat. He uses hypocrisy, deception, and even outright lies, if he realises that he cannot carry out his plans by force.

For the true Communist everything that will help his cause is right and just: he makes and breaks treaties and promises; robbery and lies and murder are considered justified if done for the Party and the Cause, without consideration of the cost in human suffering.

4. Lack of sympathy. The choleric, as said above, is a man of reason. He has two heads but no heart.

Wars, torture, concentration camps, the death of millions of people meant nothing to modern dictators like Lenin, Hitler, Stalin, Mao Tse Tung, and their like.

This lack of human sentiment and sympathy is, in a way, of great advantage to him. He does not find it hard to be deprived of sensible consolations in prayer and to remain a long time in spiritual aridity. Effeminate, sentimental dispositions are repugnant to him; he hates the caresses and sentimentality which arise between intimate friends. False sympathy cannot influence him to neglect his duties or abandon his principles. On the other hand, this lack of sympathy has its great disadvantages. The choleric can be extremely hard, heartless, even cruel in regard to the sufferings of others. He can cold-bloodedly trample upon the welfare of others, if he cannot otherwise reach his goal. Choleric superiors should examine their conscience daily, to discover whether they have not shown. a lack of sympathy toward their subjects, especially if these are sickly, less talented, fatigued, or elderly.

III BRIGHT SIDE OF THE CHOLERIC
If the choleric develops his faculties and uses them for good and noble purposes, he may do great things for the honor of God, for the benefit of his fellow men, and for his own temporal and eternal welfare. He is assisted by his sharp intellect, his enthusiasm for the noble and the great, the force and resolution of his will, which shrinks before no difficulty, and the keen vivacity which influences all his thoughts and plans.

Saul, the persecutor of the infant Church, became Paul, the great Apostle who, as he himself said, did more than any other apostle for the spread of Christianity. He made himself "all things to all men that I might save all." (1. Cor. 9:22.) He suffered all kinds of trials and persecution (see 2 Cor. ch. 12) in order to preach Christ, and Him Crucified, and sealed his mission by his martyrdom for the Gospel.

Many Saints, men and women, have done likewise, dedicating their unremitting labor and intense sufferings under severe persecutions to the service of Christ, as is proved by the thousands and thousands of martyrs of years past and of the present, outstanding among them Joseph Cardinal Mindszenty of Hungary.

The choleric may with comparative ease become a saint. The persons canonized, with few exceptions, were choleric or melancholic. The choleric who is able to control his temperament is recollected in prayer, because by his strong will he can banish distractions and especially because by force of his nature, he can with great facility concentrate his attention upon one point. The latter may also be the cause, why the choleric so easily acquires the prayer of simplicity, or as St. Francis calls it, the prayer of recollection. With no other temperament do we find the spirit of contemplation, properly so called, as often as with the choleric. The well-trained choleric is very patient and firm in endurance of physical pains, willing to make sacrifices in sufferings, persevering in acts of penance and interior mortification, magnanimous and noble toward the indigent and conquered, full of aversion against everything ignoble or vulgar. Although pride penetrates the very soul of the choleric in all its fibers and ramifications, so much so that he seems to have only one vice, i.e., pride, which he shows in everything he undertakes, he can, nevertheless, if he earnestly aspires for perfection, easily bear the greatest and most degrading humiliations and even seek them. Because the choleric has not a soft but a hard heart, he naturally suffers less from temptation of the flesh and can practice purity with ease. But, if the choleric is voluntarily addicted to the vice of impurity and seeks his satisfaction therein, the outbursts of his passion are terrible and most abominable.

The choleric is very successful also in his professional work. Being of an active temperament, he feels a continual inclination to activity and occupation. He cannot be without work, and he works quickly and diligently. In his enterprises he is persevering and full of courage in spite of obstacles. Without hesitation he can be placed at difficult posts and everything can be entrusted to him. In his speech the choleric is brief and definite; he abhors useless repetitions. This brevity, positiveness, firmness in speech and appearance gives him a great deal of authority especially when engaged in educational work. Choleric teachers have something virile about themselves and do not allow affairs to get beyond their control, as is often the case with slow, irresolute, melancholic persons. A choleric can keep a secret like a grave.

IV THINGS TO BE ODSERVED BY THE CHOLERIC IN HIS TRAINING
1. A choleric needs high ideals and great thoughts; he must draw them from the word of God by meditation, spiritual reading, sermons, and also from the experience of his own life. There is no need of a multiplicity of such thoughts. For the choleric St. Ignatius it was sufficient to think: All for the greater glory of God; for the choleric St. Francis Xavier: What does it profit a man if he gain the whole world, but suffer the loss of his soul? One good thought which deeply impresses the choleric acts as a miraculous star which leads him, in spite of all obstacles, to the feet of the Redeemer.

2. A choleric must learn day by day and repeatedly to implore God fervently and humbly for His assistance. As long as he has not learned to beg he will not make big strides on the road to perfection. To him also apply the words of Christ: "Ask and you shall receive." The choleric will make still greater progress if he can humble himself to ask his fellow men, at least his superiors, or his confessor, for instructions and direction.

3. The choleric must above all keep one strong resolution in his mind: I will never seek myself, but on the contrary I will consider myself:

a) An instrument in the hands of God, which He may make use of at His pleasure.

b) A servant of my fellow men, who desires to spend himself for others. He must act according to the words of Christ: "Whosoever will be first among you, shall be the servant of all", (Matt 20:27 or Mark 10:44), or as St. Paul says of himself: He must become all things to all men, in order to save them.
(1 Cor. 9:22).

4. The choleric must combat his pride and anger continually. Pride is the misfortune of the choleric, humility his only salvation. Therefore he should make it a point of his particular examination of conscience for years.

5. The choleric must humiliate himself voluntarily in confession, before his superiors, and even before others. Ask God for humiliations and accept them, when inflicted, magnanimously. For a choleric it is better to permit others to humiliate him, than to humiliate himself.

6. He must practice a true and trusting devotion to the humble and meek Heart of Jesus.

V SPECIAL CONSIDERATIONS IN THE TRAINING AND
TREATMENT OF THE CHOLERIC
Cholerics are capable of great benefit to their family, their surroundings, their parish, or to the state on account of their ability. The choleric is naturally the born and never discouraged leader and organizer. The well-trained choleric apostle indefatigably and without fear seeks souls who are in danger; propagates good literature perseveringly, and in spite of many failures labors joyfully for the Catholic press and societies and consequently is of great service to the Church. On the other hand, the choleric can, if he does not control the weak side of his temperament, act as dynamite in private and public and cause great disturbance. For this reason it is necessary to pay special attention to the training of the choleric, which is difficult but fruitful.

1. The choleric should be well instructed so that he can apply his good talents to the best advantage. Otherwise he will in the course of time pursue pet ideas to the neglect, of his professional work, or what is worse, he will be very proud and conceited, although in reality he has not cultivated his faculties and is not, in fact, thorough.

Cholerics who are less talented or not sufficiently educated can make very many mistakes, once they are independent or have power to command as superiors. They are likely to make life bitter for those around them, because they insist stubbornly upon the fulfillment of their orders, although they may not fully understand the affairs in question or may have altogether false ideas about them. Such cholerics often act according to the ill-famed motto: Sic volo, sic jubeo; stat pro ratione voluntas: Thus I want it, thus I command it; my will is sufficient reason.

2. The choleric must be influenced to accept voluntarily and gladly what is done for the humiliation of his pride and the soothing of his anger. By hard, proud treatment the choleric is not improved, but embittered and hardened, whereas even a very proud choleric can easily be influenced to good by reasonable suggestions and supernatural motives. In the training of cholerics the teacher should never allow himself to be carried away by anger nor should he ever give expression to the determination to 'break' the obstinacy of the choleric person. It is absolutely necessary to remain calm and to allow the choleric to 'cool off' and then to persuade him to accept guidance in order to correct his faults and bring out the good in him. In the training of the choleric child one must place high ideas before him; appeal to his good will, his sense of honor, his abhorrence of the vulgar, his temporal and eternal welfare; influence him voluntarily to correct his faults and develop his good qualities. Do not embitter him by humiliating penances, but try to show him the necessity and justice of the punishment inflicted; yet be firm in what you must demand.

CHAPTER III

THE SANGUINE TEMPERAMENT

I CHARACTER OF THE SANGUINE TEMPERAMENT
The sanguine person is quickly aroused and vehemently excited by whatever influences him. The reaction follows immediately, but the impression lasts but a short time. Consequently the remembrance of the impression does not easily cause new excitement.

II FUNDAMENTAL DISPOSITION
1. Superficiality. The sanguine person does not penetrate the depth, the essence of things; he does not embrace the whole, but is satisfied with the superficial and with a part of the whole. Before he has mastered one subject, his interest relaxes because new impressions have already captured his attention. He loves light work which attracts attention, where there is no need of deep thought, or great effort. To be sure, it is hard to convince a sanguine person that he is superficial; on the contrary, he imagines that he has grasped the subject wholly and perfectly.

2. Instability. Because the impressions made upon a sanguine person do not last, they are easily followed by others. The consequence is a great instability which must be taken into account by anyone who deals with such persons, if he does not wish to be disappointed.

St Peter assured our Lord that he was ready to go with Him, even die for Him, only to deny a few hours later that he did not know "this man."

The crowds hailed our Lord with their Hosannas on Palm Sunday but cried: Crucify Him! a few days later.

The sanguine is always changing in his moods; he can quickly pass from tears to laughter and vice versa; he is fickle in his views; today he may defend what he vehemently opposed a week ago; he is unstable in his resolutions. If a new point of view presents itself he may readily upset the plans which he has made previously. This inconsistency often causes people to think that the sanguine person has no character; that he is not guided by principles. The sanguine naturally denies such charges, because he always finds a reason for his changes. He forgets that it is necessary to consider everything well and to look into and investigate everything carefully beforehand, in order not to be captivated by every new idea or mood. He is also inconsistent at his work or entertainment; he loves variety in everything; he resembles a bee which flies from flower to flower; or the child who soon tires of the new toy.

3. Tendency to the external. The sanguine does not like to enter into himself, but directs his attention to the external. In this respect he is the very opposite of the melancholic person who is given to introspection, who prefers to be absorbed by deep thoughts and more or less ignores the external. This leaning to the external is shown in the keen interest which the sanguine pays to his own appearance, as well as to that of others; to a beautiful face, to fine and modern clothes, and to good manners. In the sanguine the five senses are especially active, while the choleric uses rather his reason and will and the melancholic his feelings. The sanguine sees everything, hears everything, talks about everything. He is noted for his facility and vivacity of speech, his inexhaustible variety of topics and flow of words which often make him disagreeable to others. The sanguine person in consequence of his vivacity has an eye for details, an advantageous disposition which is more or less lacking in choleric and melancholic persons.

4. Optimism. The sanguine looks at everything from the bright side. He is optimistic, overlooks difficulties, and is always sure of success. If he fails, he does not worry about it too long but consoles himself easily. His vivacity explains his inclination to poke fun at others, to tease them and to play tricks on them. He takes it for granted. that others are willing to take such things in good humor and he is very much surprised if they are vexed on account of his mockery or improper jokes.

5. Absence of deep passions. The passions of the sanguine are quickly excited, but they do not make a deep and lasting impression; they may be compared to a straw fire which flares up suddenly, but just as quickly dies down, while the passions of a choleric are to be compared to a raging, all-devouring conflagration.

This lack of deep passions is of great advantage to the sanguine in spiritual life, insofar as he is usually spared great interior trials and can serve God as a rule with comparative joy and ease. He seems to remain free of the violent passions of the choleric and the pusillanimity and anxiety of the melancholic.

III DARK SIDE OF THE SANGUINE TEMPERAMENT
1. Vanity and self-complacency. The pride of the sanguine person does not manifest itself as inordinate ambition or obstinacy, as it does in the choleric, nor as fear of humiliation, as in the melancholic, but as a strong inclination to vanity and self-complacency. The sanguine person finds a well-nigh childish joy and satisfaction in his outward appearance, in his clothes and work. He loves to behold himself in the mirror. He feels happy when praised and is therefore very susceptible to flattery. By praise and flattery a sanguine person can easily be seduced to perform the most imprudent acts and even shameful sins.

2. Inclination to flirtation, jealousy and envy. The sanguine person is inclined to inordinate intimacy and flirtation, because he lacks deep spirituality and leans to the external and is willing to accept flatteries. However, his love is not deep and changes easily. An otherwise well-trained sanguine would be content with superficial familiarities as tokens of affection, but in consequence of his levity and readiness to yield, as well as on account of his optimistic belief that sin may have no evil consequences, he can be easily led to the most grievous aberrations. A bad woman with a sanguine temperament yields herself to sin without restraint and stifles the voice of conscience easily.

Vanity and tendency to love-affairs lead the sanguine person to jealousy, envy, and to all the petty, mean, and detestable faults against charity, which are usually the consequence of envy. Because he is easily influenced by exterior impressions or feelings of sympathy or antipathy, it is hard for the sanguine person to be impartial and just. Superiors of this temperament often have favorites whom they prefer to others. The sanguine is greatly inclined to flatter those whom he loves.

3. Cheerfulness and inordinate love of pleasure. The sanguine person does not like to be alone; he loves company and amusement; he wants to enjoy life. In his amusements such a person can be very frivolous.

4. Dread of virtues which require strenuous efforts. Everything which requires the denial of the gratification of the senses is very hard on the sanguine; for instance, to guard the eyes, the ears, the tongue, to keep silence. He does not like to mortify himself by denying himself some favorite food. He is afraid of corporal acts of penance; only the exceptionally virtuous sanguine succeeds in performing works of penance for many years for sins committed in earlier youth. The ordinary sanguine person is inclined to think that with absolution in the sacrament of penance all sins are blotted out and that continued sorrow for them is unnecessary and even injurious.

5. Other disadvantages of the sanguine temperament:
a) The decisions of the sanguine person are likely to be wrong, because his inquiry into things is only superficial and partial; also because he does not see difficulties; and finally because, through feelings of sympathy or antipathy he is inclined to partiality.

b) The undertakings of the sanguine fail easily because he always takes success for granted, as a matter of course, and therefore does not give sufficient attention to possible obstacles, because he lacks perseverance, and his interest in things fades quickly.

c) The sanguine is unstable in the pursuit of the good. He permits others to lead him and is therefore easily led astray, if he falls into the hands of unscrupulous persons. His enthusiasm is quickly aroused for the good, but it also vanishes quickly. With Peter he readily jumps out of the boat in order to walk on the water, but immediately he is afraid that he may drown. He hastily draws the sword with Peter to defend Jesus, but takes to flight a few minutes later. With Peter he defies the enemies of Jesus, only to deny Him in a short time.

d) Self-knowledge of the sanguine person is deficient because he always caters to the external and is loath to enter into himself, and to give deeper thought to his own actions.

e) The life of prayer of the sanguine suffers from three obstacles: He finds great difficulty in the so called interior prayer for which a quiet, prolonged reflection is necessary; likewise in meditation, spiritual reading, and examination of conscience. He is easily distracted on account of his ever active senses and his uncontrolled imagination and is thereby prevented from attaining a deep and lasting recollection in God. At prayer a sanguine lays too much stress upon emotion and sensible consolation, and in consequence becomes easily disgusted during spiritual aridity.

IV BRIGHT SIDES OF THE SANGUINE TEMPERAMENT
1. The sanguine person has many qualities on account of which he fares well with his fellow men and endears himself to them.

a) The sanguine is an extrovert; he readily makes acquaintance with other people, is very communicative, loquacious, and associates easily with strangers.

b) He is friendly in speech and behavior and can pleasantly entertain his fellow men by his interesting narratives and witticisms.

c) He is very pleasant and willing to oblige. He dispenses his acts of kindness not so coldly as a choleric, not so warmly and touchingly as the melancholic, but at least in such a jovial and pleasant way that they are graciously received.

d) He is compassionate whenever a mishap befalls his neighbor and is always ready to cheer him by a friendly remark.

e) He has a remarkable faculty of drawing the attention of his fellow men to their faults without causing immediate and great displeasure. He does not find it hard to correct others. If it is necessary to inform someone of bad news, it is well to assign a person of sanguine temperament for this task.

f) A sanguine is quickly excited by an offence and may show his anger violently and at times imprudently, but as soon as he has given vent to his wrath, he is again pleasant and bears no grudge.

2. The sanguine person has many qualities by which he wins the affection of his superiors.

a) He is pliable and docile. The virtue of obedience, which is generally considered as difficult, is easy for him.

b) He is candid and can easily make known to his superiors his difficulties, the state of his spiritual life, and even disgraceful sins.

c) When punished he hardly ever shows resentment; he is not defiant and obstinate. It is easy for a superior to deal with sanguine subjects, but let him be on his guard! Sanguine subjects are prone to flatter the superior and show a servile attitude; thus quite unintentionally endangering the peace of a community. Choleric and especially melancholic persons do not reveal themselves so easily, because of their greater reserve, and should not be scolded or slighted or neglected by the superiors.

3. The sanguine is not obdurate in evil. He is not stable in doing good things, neither is he consistent in doing evil. Nobody is so easily seduced, but on the other hand, nobody is so easily converted as the sanguine.

4. The sanguine does not long over unpleasant happenings. Many things which cause a melancholic person a great, deal of anxiety and trouble do not affect the sanguine in the least, because he is an optimist and as such overlooks difficulties and prefers to look at affairs from the sunny side. Even if the sanguine is occasionally exasperated and sad, he soon finds his balance again. His sadness does not last long, but gives way quickly to happiness. This sunny quality of the well trained sanguine person helps him to find community life, for instance, in institutions, seminaries, convents much easier, and to overcome the difficulties of such life more readily than do choleric or melancholic persons. Sanguine persons can get along well even with persons generally difficult to work with.

V METHOD OF SELF-TRAINING FOR THE SANGUINE
1. A sanguine person must give himself to reflection on spiritual us well as temporal affairs. It is especially necessary for him to cultivate those exercises of prayer in which meditation prevails; for instance, morning meditation, spiritual reading, general and particular examination of conscience, meditation on the mysteries of the rosary, and the presence of God. Superficiality is the misfortune, reflection the salvation of the sanguine.

In regard to temporal affairs the sanguine person must continually bear in mind that he cannot do too much thinking about them: he must consider every point; anticipate all possible difficulties; he must not be overconfident, over optimistic.

2. He must daily practice mortification of the senses, the eyes, ears, tongue, the sense of touch, and guard the palate against overindulging in exquisite foods and drinks.

3. He must absolutely see to it that he be influenced by the good and not by the bad; that he accept counsel and direction. A practical aid against distraction is a strictly regulated life, and in a community the faithful observance of the Rules.

4. Prolonged spiritual aridity is a very salutary trial for him, because his unhealthy sentimentality is thereby cured or purified.

5. He must cultivate his good traits, as charity, obedience, candor, cheerfulness, and sanctify these natural good qualities by supernatural motives. He must continually struggle against those faults to which he is so much inclined by his natural disposition, such as, vanity and self-complacency; love of particular friendships; sentimentality; sensuality; jealousy; levity; superficiality; instability.

VI POINTS OF IMPORTANCE IN DEALING WITH
AND EDUCATING A SANGUINE PERSON
The education of the sanguine person is comparatively easy. He must be looked after; he must be told that he is not allowed to leave his work unfinished. His assertions, resolutions, and promises must not be taken too seriously; he must continually be checked as to whether he has really executed his work carefully. Flatteries must not be accepted from him and especially constant guard must be kept lest any preference be shown him on account of his affable disposition. It must be remembered that the sanguine person will not keep to himself what he is told or what he notices about anyone. It is advisable to think twice before taking a sanguine person into confidence.

In the education of a sanguine child the following points should be observed:

1. The child must be consistently taught to practice self-denial especially by subduing the senses. Perseverance at work and observance of order must be continually insisted upon.

2. The child must be kept under strict supervision and guidance; he must be carefully guarded against bad company, because he can so easily be seduced.

3. Leave to him his cheerfulness and let him have his fun, only guard him against overdoing it.

CHAPTER IV

THE MELANCHOLIC TEMPERAMENT

CHARACTERISTICS OF THE MELANCHOLIC TEMPERAMENT

The melancholic person is but feebly excited by whatever acts upon him. The reaction is weak, but this feeble impression remains for a long time and by subsequent similar impressions grows stronger and at last excites the mind so vehemently that it is difficult to eradicate it.

Such impression may be compared to a post, which by repeated strokes is driven deeper and deeper into the ground, so that at last it is hardly possible to pull it out again. This propensity of the melancholic needs special attention. It serves as a key to solve the many riddles in his behavior.

II FUNDAMENTAL DISPOSITION OF THE MELANCHOLIC
1. Inclination to reflection. The thinking of the melancholic easily turns into reflection. The thoughts of the melancholic are far reaching. He dwells with pleasure upon the past and is preoccupied by occurrences of the long ago; he is penetrating; is not satisfied with the superficial, searches for the cause and correlation of things; seeks the laws which affect human life, the principles according to which man should act. His thoughts are of a wide range; he looks ahead into the future; ascends to the eternal. The melancholic is of an extremely soft-hearted disposition. His very thoughts arouse his own sympathy and are accompanied by a mysterious longing. Often they stir him up profoundly, particularly religious reflections or plans which he cherishes; yet he hardly permits his fierce excitement to be noticed outwardly. The untrained melancholic is easily given to brooding and to day-dreaming.

2. Love of retirement. The melancholic does not feel at home among a crowd for any length of time; he loves silence and solitude. Being inclined to introspection he secludes himself from the crowds, forgets his environment, and makes poor use of his senses - eyes, ears, etc. In company he is often distracted, because he is absorbed by his own thoughts. By reason of his lack of observation and his dreaming the melancholic person has many a mishap in his daily life and at his work.

3. Serious conception of life. The melancholic looks at life always from the serious side. At the core of his heart there is always a certain sadness, 'a weeping of the heart,' not because the melancholic is sick or morbid, as many claim, but because he is permeated with a strong longing for an ultimate good (God) and eternity, and feels continually hampered by earthly and temporal affairs and impeded in his cravings. The melancholic is a stranger here below and feels homesick for God and eternity.

4. Inclination to passivity. The melancholic is a passive temperament. The person possessing such a temperament, therefore, has not the vivacious, quick, progressive, active propensity, of the choleric or sanguine, but is slow, pensive, reflective. It is difficult to move him to quick action, since he has a marked inclination to passivity and inactivity. This pensive propensity of the melancholic accounts for his fear of suffering and difficulties as well as for his dread of interior exertion and self-denial.

III PECULIARITIES OF THE MELANCHOLIC
1. He is reserved. He finds it difficult to form new acquaintances and speaks little among strangers. He reveals his inmost thoughts reluctantly and only to those whom he trusts. He does not easily find the right word to express and describe his sentiments. He yearns often to express himself, because it affords him real relief, to confide the sad, depressing thoughts which burden his heart to a person who sympathizes with him. On the other hand, it requires great exertion on his part to manifest himself, and, when he does so, he goes about it so awkwardly that he does not feel satisfied and finds no rest. Such experiences tend to make the melancholic more reserved. A teacher of melancholic pupils, therefore, must he aware of these peculiarities and must take them into consideration; otherwise he will do a great deal of harm to his charges.

Confession is a great burden to the melancholic, while it is comparatively easy to the sanguine. The melancholic wants to manifest himself, but cannot; the choleric can express himself easily, but does not want to.

2. The melancholic is irresolute. On account of too many considerations and too much fear of difficulties and of the possibility that his plans or works may fail, the melancholic can hardly reach a decision. He is inclined to defer his decision. What he could do today he postpones for tomorrow, the day after tomorrow, or even for the next week. Then he forgets about it and thus it happens that what he could have done in an hour takes weeks and months. He is never finished. For many a. melancholic person it may take a long time to decide about his vocation to the religious life. The melancholic is a man of missed opportunities. While he sees that others have crossed the creek long ago, he still deliberates whether he too should and can jump over it. Because the melancholic discovers many ways by his reflection and has difficulties in deciding which one to take, he easily gives way to others, and does not stubbornly insist on his own opinion.

3. The melancholic is despondent and without courage. He is pusillanimous and timid if he is called upon to begin a new work, to execute a disagreeable task, to venture on a new undertaking. He has a strong will coupled with talent and power, but no courage. It has become proverbial therefore: "Throw the melancholic into the water and he will learn to swim." If difficulties in his undertakings are encountered by the melancholic, even if they are only very insignificant, he feels discouraged and is tempted to give up the ship, instead of conquering the obstacle and repairing the ill success by increased effort.

4. The melancholic is slow and awkward.
a) He is slow in his thinking. He feels it necessary, first of all, to consider and reconsider everything until he can form a calm and safe judgment.

b) He is slow in his speech. If he is called upon to answer quickly or to speak without preparation, or if he fears that too much depends on his answer, he becomes restless and does not find the right word and consequently often makes a false and unsatisfactory reply. This slow thinking may be the reason why the melancholic often stutters, leaves his sentences incomplete, uses wrong phrases, or searches for the right expression. He is also slow, not lazy, at his work. He works carefully and reliably, but only if he has ample time and is not pressed. He himself naturally does not believe that he is a slow worker.

5. The pride of the melancholic has its very peculiar side. He does not seek honor or recognition; on the contrary, he is loathe to appear in public and to be praised. But he is very much afraid of disgrace and humiliation. He often displays great reserve and thereby gives the impression of modesty and humility; in reality he retires only because he is afraid of being put to shame. He allows others to be preferred to him, even if they are less qualified and capable than himself for the particular work, position, or office, but at the same time he feels slighted because he is being ignored and his talents are not appreciated.

The melancholic person, if he really wishes to become perfect, must pay very close attention to these feelings of resentment and excessive sensitiveness in the face of even small humiliations.

From what has been said so far, it is evident that it is difficult to deal with melancholic persons. Because of their peculiarities they are frequently misjudged and treated wrongly. The melancholic feels keenly and therefore retires and secludes himself. Also, the melancholic has few friends, because few understand him and because he takes few into his confidence.

IV BRIGHT SIDE OF THE MELANCHOLIC TEMPERAMENT
1. The melancholic practices with ease and joy interior prayer. His serious view of life, his love of solitude, and his inclination to reflection are a great help to him in acquiring the interior life of prayer. He has, as it were, a natural inclination to piety. Meditating on the perishable things of this world he thinks of the eternal; sojourning on earth he is attracted to Heaven. Many saints were of a melancholic temperament. This temperament causes difficulties at prayer, since the melancholic person easily loses courage in trials and sufferings and consequently lacks confidence in God, in his prayers, and can be very much distracted by pusillanimous and sad thoughts.

2. In communication with God the melancholic finds a deep and indescribable peace.

He, better than anyone else, understands the words of St. Augustine: "Thee, O Lord, have created us for yourself, and our heart finds no rest, until it rests in Thee." His heart, so capable of strong affections and lofty sentiments, finds perfect peace in communion with God. This peace of heart he also feels in his sufferings, if he only preserves his confidence in God and his love for the Crucified.

3. The melancholic is often a great benefactor to his fellow men. He guides others to God, is a good counselor in difficulties, and a prudent, trustworthy, and well-meaning superior. He has great sympathy with his fellow men and a keen desire to help them. If the confidence in God supports the melancholic and encourages him to action, he is willing to make great sacrifices for his neighbor and is strong and unshakable in the battle for ideals. Schubert, in his Psychology, says of the melancholic nature: "It has been the prevailing mental disposition of the most sublime poets, artists, of the most profound thinkers, the greatest inventors, legislators, and especially of those spiritual giants who at their time made known to their nations the entrance to a higher and blissful world of the Divine, to which they themselves were carried by an insatiable longing."

V DARK SIDE OF THE MELANCHOLIC TEMPERAMENT
1. The melancholic by committing sin falls into the most terrible distress of mind, because in the depth of his heart he is, more than those of other temperaments, filled with a longing desire for God, with a keen perception of the malice and consequences of sin. The consciousness of being separated from God by mortal sin has a crushing effect upon him. If he falls into grievous sin, it is hard for him to rise again, because confession, in which he is bound to humiliate himself deeply, is so hard for him. He is also in great danger of falling back into sin; because by his continual brooding over the sins committed he causes new temptations to arise. When tempted he indulges in sentimental moods, thus increasing the danger and the strength of temptations. To remain in a state of sin or even occasionally to relapse into sin may cause him a profound and lasting sadness, and rob him gradually of confidence in God and in himself. He says to himself: "I have not the strength to rise again and God does not help me either by His grace, for He does not love me but wants to damn me." This fatal condition can easily assume the proportion of despair.

2. A melancholic person who has no confidence in God and love for the Cross falls into great despondency, inactivity, and even into despair.

If he has confidence in God and love for the Crucified, he is led to God and sanctified more quickly by suffering mishaps, calumniation, unfair treatment, etc. But if these two virtues are lacking, his condition is very dangerous and pitiable. If sufferings, although little in themselves, befall him, the melancholic person, who has no confidence in God and love for Christ, becomes downcast and depressed, ill-humored and sensitive. He does not speak, or he speaks very little, is peevish and disconsolate and keeps apart from his fellow men. Soon he loses courage to continue his work, and interest even in his professional occupation.

He feels that he has nothing but sorrow and grief. Finally this disposition may culminate in actual despondency and despair.

3. The melancholic who gives way to sad moods, falls into many faults against charity and becomes a real burden to his fellow men.

a) He easily loses confidence in his fellow men, (especially Superiors, Confessors), because of slight defects which he discovers in them, or on account of corrections in small matters.

b) He is vehemently exasperated and provoked by disorder or injustice. The cause of his exasperation is often justifiable, but rarely to the degree felt.

c) He can hardly forgive offences. The first offense he ignores quite easily. But renewed offenses penetrate deeply into the soul and can hardly be forgotten. Strong aversion easily takes root in his heart against persons from whom he has suffered, or in whom he finds this or that fault. This aversion becomes so strong that he can hardly see these persons without new excitement, that he does not want to speak to them and is exasperated by the very thought of them. Usually this aversion is abandoned only after the melancholic is separated from persons who incurred his displeasure and at times only after months or even years.

d) He is very suspicious. He rarely trusts people and is always afraid that others have a grudge against him. Thus he often and without cause entertains uncharitable and unjust suspicion about his neighbor, conjectures evil intentions, and fears dangers which do not exist at all.

e) He sees everything from the dark side. He is peevish, always draws attention to the serious side of affairs, complains regularly about the perversion of people, bad times, downfall of morals, etc. His motto is: things grow worse all along. Offenses, mishaps, obstacles he always considers much worse than they really are. The consequence is often excessive sadness, unfounded vexation about others, brooding for weeks and weeks on account of real or imaginary insults. Melancholic persons who give way to this disposition to look at everything through a dark glass, gradually become pessimists, that is, persons who always expect a bad result; hypochondriacs, that is, persons who complain continually of insignificant ailments and constantly fear grave sickness; misanthropes, that is, persons who suffer from fear and hatred of men.

f) He finds peculiar difficulties in correcting people. As said above he is vehemently excited at the slightest disorder or injustice and feels obliged to correct such disorders, but at the same time he has very little skill or courage in making corrections. He deliberates long on how to express the correction; but when he is about to make it, the words fail him, or he goes about it so carefully, so tenderly and reluctantly that it can hardly be called a correction.

If the melancholic tries to master his timidity, he easily falls into the opposite fault of shouting his correction excitedly, angrily, in unsuited or scolding words, so that again his reproach loses its effect. This difficulty is the besetting cross of melancholic superiors. They are unable to discuss things with others, therefore, they swallow their grief and permit many disorders to creep in, although their conscience recognizes the duty to interfere. Melancholic educators, too, often commit the fault of keeping silent too long about a fault of their charges and when at last they are forced to speak, they do it in such an unfortunate and harsh manner, that the pupils become discouraged and frightened by such admonitions, instead of being encouraged and directed.

VI METHOD OF SELF-TRAINING FOR THE MELANCHOLIC PERSON
1. The melancholic must cultivate great confidence in God and love for suffering, for his spiritual and temporal welfare depend on these two virtues. Confidence in God and love of the Crucified are the two pillars on which he will rest so firmly, that he will not succumb to the most severe trials arising from his temperament. The misfortune of the melancholic consists in refusing to carry his cross;
his salvation will be found in the voluntary and joyful bearing of that cross. Therefore, he should meditate often on the Providence of God, and the goodness of the Heavenly Father, who sends sufferings only for our spiritual welfare, and he must practice a fervent devotion to the Passion of Christ and His Sorrowful Mother Mary.

2. He should always, especially during attacks of melancholy, say to himself: ''It is not so bad as I imagine. I see things too darkly," or "I am a pessimist."

3. He must from the very beginning resist every feeling of aversion, diffidence, discouragement, or despondency, so that these evil impressions can take no root in the soul.

4. He must keep himself continually occupied, so that he finds no time for brooding. Persevering work will master all.

5. He is bound to cultivate the good side of his temperament and especially his inclination to interior life and his sympathy for suffering fellow men. He must struggle continually against his weaknesses.

6. St. Theresa devotes an entire chapter to the treatment of malicious melancholics. She writes: "Upon close observation you will notice that melancholic persons are especially inclined to have their own way, to say everything that comes into their mind, to watch for the faults of others in order to hide their own and to find peace in that which is according to their own liking." St. Theresa, in this chapter touches upon two points to which the melancholic person must pay special attention. He frequently is much excited, full of disgust and bitterness, because he occupies himself too much with the faults of others, and again because he would like to have everything according to his own will and notion.

He can get into bad humor and discouragement on account of the most insignificant things. If he feels very downcast he should ask himself whether he concerned himself too much about the faults of others. Let other people have their own way! Or whether perhaps things do not go according to his own will. Let him learn the truth of the words of the Imitation (I, 22), "Who is there that has all things according to his will? Neither I nor you, nor any man on earth. There is no man in the world without some trouble or affliction be he king or pope. Who then is the best off? Truly he that is able to suffer something for the love of God."

VII IMPORTANT POINTS IN THE TRAINING OF THE MELANCHOLIC
In the treatment of the melancholic special attention must be given to the following points:

1. It is necessary to have a sympathetic understanding of the melancholic. In his entire deportment he presents many riddles to those who do not understand the peculiarities of the melancholic temperament. It is necessary, therefore, to study it and at the same time to find out how this temperament manifests itself in each individual. Without this knowledge great mistakes cannot be avoided.

2. It is necessary to gain the confidence of the melancholic person. This is not at all easy and can be done only by giving him a good example in everything and by manifesting an unselfish and sincere love for him. Like an unfolding bud opens to the sun, so the heart of the melancholic person opens to the sunshine of kindness and love.

3. One must always encourage him. Rude reproach, harsh treatment, hardness of heart cast him down and paralyze his efforts. Friendly advice and patience with his slow actions give him courage and vigor. He will show himself very grateful for such kindness.

4. It is well to keep him always busy, but do not overburden him with work.

5. Because melancholics take everything to heart and are very sensitive, they are in great danger of weakening their nerves. It is necessary, therefore, to watch nervous troubles of those entrusted to one's care. Melancholics who suffer a nervous breakdown are in a very bad state and cannot recover very easily.

6. In the training of a melancholic child, special care must be taken to be always kind and friendly, to encourage and keep him busy. The child, moreover, must be taught always to pronounce words properly, to use his five senses, and to cultivate piety. Special care must be observed in the punishment of the melancholic child, otherwise obstinacy and excessive reserve may result. Necessary punishment must be given with precaution and great kindness and the slightest appearance of injustice must be carefully avoided.

CHAPTER V

THE PHLEGMATIC TEMPERAMENT

I NATURE OF THE PHLEGMATIC TEMPERAMENT
The soul or mind of the phlegmatic person is only weakly or not at all touched by impressions. The reaction is feeble or entirely missing. Eventual impressions fade away very soon.

II FUNDAMENTAL DISPOSITION OF THE PHLEGMATIC PERSON
1. He has very little interest in whatever goes on about him.

2. He has little inclination to work, but prefers repose and leisure. With him everything proceeds and develops slowly.

III BRIGHT SIDE OF THE PHLEGMATIC TEMPERAMENT
1. The phlegmatic works slowly, but perseveringly, if his work does not require much thinking.

2. He is not easily exasperated either by offenses, or by failures or sufferings. He remains composed, thoughtful, deliberate, and has a cold, sober, and practical judgment.

3. He has no intense passions and does not demand much of life.

IV DARK SIDE OF THE PHLEGMATIC TEMPERAMENT
1. He is very much inclined to ease, to eating and drinking; is lazy and neglects his duties.

2. He has no ambition, and does not aspire to lofty things, not even in his piety.

V THE TRAINING OF PHLEGMATIC CHILDREN
The training of phlegmatic children is very difficult, because external influence has little effect upon them and internal personal motives are lacking. It is necessary to explain everything most minutely to them, and repeat it again and again, so that at least some impression may be made to last, and to accustom them by patience and charity to follow strictly a well-planned rule of life. The application of corporal punishment is less dangerous in the education of phlegmatic children; it is much more beneficial to them than to other children, especially to those of choleric or melancholic temperament.

CHAPTER VI

MIXED TEMPERAMENTS

Most people have a mixed temperament. Some persons, however, have one predominant temperament, for instance, the choleric; but the fundamental characteristics, the light and dark sides of this principal temperament are extenuated or accentuated by the influence of the other temperaments. In general a person is happier if his temperament is not a pure one. The combination smoothes the rough edges of the main temperament. In order to facilitate the recognition of one's own temperament these mixtures of temperaments are herewith mentioned briefly.

1. In the choleric-sanguine temperament the excitement is quick, and the reaction also; but the impression is not so lasting as with the pure choleric temperament.

The pride of the choleric is mixed with vanity; the anger and obstinacy are not so strong, but more moderate than in the pure choleric. This is a very happy combination.

2. The sanguine-choleric temperament is similar to the choleric-sanguine temperament; only the sanguine characteristics prevail, the choleric ones recede to the background. Excitement and reaction are quick and vehement and the impression does not fade so quickly as with the pure sanguine, even though it does not penetrate so far as with the pure choleric. The sanguine fickleness, superficiality, extroversion, and garrulity are mitigated by the seriousness and stability of the choleric.

3. The choleric-melancholic and the melancholic-choleric temperaments. In this one, two serious, passionate temperaments are mixed; the pride, obstinacy, and anger of the choleric with the morose, unsocial, reserved temper of the melancholic. Persons who have such a mixture of temperaments must cultivate a great deal of self-control, in order to acquire interior peace and not to become a burden to those with whom they work and live.

4. The melancholic-sanguine temperament. In this the impressions are feeble, the reaction is weak, and it does not last as long as with the pure melancholic. The sanguine gives to the melancholic something flexible, friendly, cheerful. The melancholic persons with a sanguine alloy are those cordial, soft-hearted people who cannot bear to hurt anyone, are quickly touched, hut unfortunately also fail where energy and strength are needed. Sanguine persons with a melancholic mixture are similar. Only in this case the sanguine superficiality and inconstancy prevail.

5. The melancholic-phlegmatic temperament. People of this type succeed better in community life than the pure melancholic. They lack, more or less, the morose, gloomy, brooding propensity of the melancholic and are happily aided by the quiet apathy of the phlegmatic. Such people do not easily take offense; they can readily bear injuries and are contented and steady laborers.

Welcome Back! Thanks for Visiting Our Department Blog!

2007-08-18T21:35:00.000-05:00

Welcome back to a fantastic 2007-2008 year and to the LCHS Drama Blog. If you haven't done so yet, take our fall play survey for 2007-2008. We'll be making important decisions soon.

For those of you new to us, this is another place for us to share information about the LCHS Drama Department, ITS Activities, Drama Club Activities and production information that is aimed to assist us in "Continuing Our Winning Tradition of Excellence." We will be using the LC Website for most of our information this year. On the blog, though, we have a chance to create an on-line community and have discussions.

This has been a great way to share photos, calendars, student testimonials and also archive "hands-on" work done in the LCHS Drama Department. We'll test this out to see how effective a tool it is for learning and promoting excellence within the already successful Drama Department at Lewis Central High School. Welcome!

Mr. M.

Exciting Year Planned for 2007

2007-08-17T15:48:00.000-05:00

Happy new school year to one and all!

I hope you've had a summer that you can remember positively because of what you've accomplished, how you've spent your time and that you're ready to help us "carry on our 'Winning Tradition of Excellence.'"

Our first major production is just around the corner. We have selected several short, short-lists.

Like many of you, I've been really busy this summer. I've worked on tons of projects, traveled lots and kicked-off my campaign to be ISEA's next Vice-President. We also have a "tentative calendar put together for the year. Take a look at the Drama Calendar for 2007-2008 here. We still need to have all the Performing Arts faculty sit down to iron out conflicts. But this is pretty close.

Anyways, it's time for us to make some decisions. I hope you're excited to be part of this process. So, here's some things that we need to start taking care of to maintain our place in the program's great history:

(1) We have a brochure prepared for all of our "new students" and want to give it to them on their first day of school like we did last year. E-Mail to tell me whether you're going to be there to help or not. IT'S IMPORTANT THAT YOU PASS OUT THESE LETTERS AND WELCOME OUR NEW STUDENTS. These first impressions are very important. They are part of our program's future.

(2) We have to start planning for our season. Please take a moment to respond to the poll questions to the right.

(3) ITS members and the seniors need to sit down and look at our short lists. We need to choose our fall play and--as you can see--we're going to do it a little differently this year.

(4) We need to organize our "CARE PACKAGE" program for all the cool kids who are going off to college. I have a great piece to put in their packages.

(5) We need to decide how we're going to put our ITS Meetings together. We have reserved the second Tuesday of each month for our grouop.

(6) We need to get busy with our seniors. It's time to help you put together your resumes, get letters of recommendation stared, time to prepare for standardized tests if you need to improve your score or get one, time to find you some scholarship money and time to put a plan of action for the year together. This needs to be a big priority.

It's exciting to start off with lots of good goals in mind. I hope that you're excited.

Let me know what you're thinking. So, don't just read this--respond! What you think matters. Please be honest--with politeness. I hope that you're as excited as I am about a great new year.

Please fill out the survey questions that are on the sidebar. If they don't show up, try refreshing a few times. It's a glitch in the code. Auditions are early this year... LET'S GET READY TO RUMBLE.

I'm excited to work with you again this year. You guys rock!

Here's to us,

Mr. McLaughlin

VOICES IN CONFLICT Challenges Censorship of Ideas

2007-06-09T13:30:00.000-05:00

Credit goes to VOICES IN CONFLICT, an original drama created by students at Wilton High School in Connecticut. The powerful and moving drama is drawn from interviews, letters and essays written by Iraqi civilians and American soldiers serving in Iraq. The students planned to perform the show at their school, but those plans were cut short. According to Bonnie Dickinson, the Drama Advisor for the students, the Principal deemed the play too controversial, and cancelled the performances. Then as media attention grew, the superintendent on behalf of the school district backed the principal's decision, calling it "Sensational and inappropriate."

Music Theatre International has joined with everyone from our soldiers in Iraq to students across the country, a creative coalition (including playwrights Edward Albee, Christopher Durang, John Weidman, Marsha Norman, Doug Wright, John Guare and John Patrick Shanley representing the Dramatists Guild of America,) the National Coalition Against Censorship and the national media to make sure VOICES IN CONFLICT would not disappear. We created our first-ever "Courage in Theatre Award," which will be presented to the Wilton students as part of a very special performance at the Public Theatre in New York on June 15.

According to Freddie Gershon, Chairman of Music Theatre International, Wilton's advanced-theater students' "non-performance of their original theater piece is unique in our experience of licensing over 500,000 high school performances in the last two decades and deserving of special recognition." In a letter to the Wilton High School principal, Gershon goes on to explain, "Collaboration by 15 students acting as a microcosm of society working together, exchanging views, bending, honing, editing and ultimately sharing a vision requires perseverance, tenacity, resilience, compromise and passion, particularly when their shared vision may not be shared by a large segment of the full community. Although we have witnessed students in College and University theatre groups go down this road, we have never before been made aware of it at the high school level."

MTI applauded the drama students of Wilton High School and their advisor, Bonnie Dickinson and proudly awarded them the "Courage In Theatre" Award.

Click here to read the story published in The New York Times on March 24, 2007.

Click here to read a follow-up NYT article from June 7, 2007

Courageous high school students and their sponsor fight censorship and address social relevance through drama. Click here to read more about this inspirational story and follow the play all the way to Broadway! Cheers to freedom of thought.

ANOTHER PART OF THE FOREST

2007-03-11T19:41:00.000-05:00

Another Part of the Forest
Sep 1, 2002 12:00 PM,
from LIVE DESIGN
David Johnson & Ellen Lampert-Gréaux

For the new Broadway revival of Into the Woods, the creative team played it by the book—the storybook, that is. In re-imagining this Stephen Sondheim musical about what happens after happily ever after, director James Lapine (who also directed the original production) wanted the designers—Susan Hilferty (costumes), Doug Schmidt (sets), Brian MacDevitt (lights), Elaine McCarthy (projections), and Dan Moses Schreier (sound)--to look beyond the fairy tales that populate the show—Cinderella, Jack and the Beanstalk, The Baker and His Wife, Little Red Riding Hood--to the actual act of storytelling, and ultimately to the books themselves.

Douglas Schmidt's show curtain.

"James wanted us to free our imaginations," says Hilferty. "The only thing he brought to the table was a pop-up book, and we kept trying to figure out what it was we connected to in the book. It all came down to the memory of books--the idea of storytelling--and how it brings you back to childhood."

One of the first things the team tried to establish in early meetings was an actual vocabulary of the fairy-tale world. "People would say, ‘Well it’s just fairy stories,’ as if there were a vocabulary for fairy stories, which there isn’t," says Hilferty. "If you look back to your favorite illustrators, every single one of them is different. You look up Cinderella on the Internet, and there’s edition after edition. So we had to create our own vocabulary."

Hilferty’s vocabulary would end up including moos, howls, oinks, and a variety of other barnyard sounds; she felt early on that giving a real voice to the various animals that populate the musical—the big bad wolf, the three pigs, and especially Jack’s beloved Milky-White—was the key to connecting the overlapping fairy-tale worlds. "This was a world in which I thought the animals should talk, because animals do talk in this world," she says. "Though there are human events happening onstage, nobody’s surprised when a wolf walks onstage, and nobody’s surprised to see Milky-White. Just as in fairy stories, where you accept these things—a bear talks, a snake talks—what this world needs is to accommodate the animals."

Perhaps the biggest accommodation—indeed one of the production's major innovations—is the introduction of Milky-White as an animated being. Jack’s bovine friend was nothing more than a prop in the 1987 Broadway incarnation; today, she’s a living, breathing creature, played by actor Chad Kimball. But because the decision to animate Milky-White came well into the creative process, there was in turn a long evolution process in coming up with the right look and feel to the creature. Hilferty and her team—which included associate designers Devon Painter and Michael Sharpe and assistant designers Amanda Whidden and Chris Peterson—sketched innumerable variations of the animal, ranging from a girl with a cow’s body, to a cow with a girl’s face. "All the initial goals of the cow for me were to find this level of humanness and then to find the level of character," Hilferty says. "This went on for a long time as we tried to get James to visualize by what I had sketched by what we were ultimately trying to figure out and accomplish."

The final sketch was a four–legged cow that combined the idea of storytelling with the idea of movement, giving the creature something of a sad, stuffed animal quality (as in a rag doll, or Eeyore), while making it clear that an actor was playing the role.

"I broke all the rules of real cows," Hilferty says. "It became important that the head was low because it made it sadder and sweeter. We gave a humanness to the face, and eyes that have nothing to do with a cow. I knew that this was the right idea because whenever anybody looks at the sketch they’d go, ‘Awww.’ We kept finding whenever we tried to do something different we didn’t get the same response."

The next step was to actually make the thing, and for that Hilferty turned to fabricator Andrew Benepe. "He made the cow head and the fabrication of the cow body, but his real masterpiece is the head," says Hilferty. Actually, the head and the neck: it is the neck that has to hold up the head. Sure, the cow’s eyes open and close, her ears flap, and she can move her mouth from side to side to mimic chewing. But the head, even though lightweight, needed to be supported. Kimball has to use crutches to create the front legs of the cow, and his head is actually over a foot away from the cow’s head. "The actor is in one place, and the head is in another, so what’s holding the head in place? And at the same time, it has to be flexible, so if you’ve got a hard spine holding it up, you’re out of luck.

"The brilliant thing Andrew did," Hilferty continues, "was to try a coil. The coil gave support to the neck and allowed an enormous amount of flexibility. The other critical thing was that it gives some space for the actors to see. As soon as I saw it, I said, ‘Okay, we’re going to feature that. We stuffed it and wrapped it at the neck, and it immediately became not about being a cow."

The cow’s body is deceptively simple, made up essentially of Polartec, a lightweight, fleecelike material, worn like a pair of longjohns, with a long spine connecting the tail and the neck, and a strapped-on udder. This gives Kimball the freedom of movement that Lapine and Carrafa sought in bringing Milky-White to life.

It’s telling that Milky-White elicits the same "awws" from the audience every night that Hilferty got from that final sketch of the cow. Still, doesn’t it seem odd that a costume designer gets such acclaim (Hilferty was nominated for a Tony for her work) for creating this lovable but essentially silent bovine entity? Not at all, says the designer. "The key to it is character, which is what we work with every day. That’s the difference between a costume designer and a fashion designer."

And apparently, a set designer as well. "Doug [Schmidt] was thrilled that I was so interested in the animals," Hilferty adds, "because it meant that he didn’t have to do them!" --David Johnson

The Forest and the Trees

"I was reluctant at first, almost hesitant," says set designer Douglas Schmidt about designing this production of Into the Woods. "I had fond memories of the earlier Broadway version. It's not that I didn't want to tread the waters, but Anthony Straiges had done a great job. It was just beautiful to watch, but James Lapine was anxious to rethink the whole thing."

Schmidt's version was inspired by Lapine's interest in using Victorian books as a frame for the production. "We did a lot of research into old books, looking at the typography, the binding, and the graphics, to find something that would sustain enlarging to a giant scale and not fall apart visually," Schmidt says. After entering the world of fairy tales through a large book, three of the stories jump to life, each in its own "book" set. The "books" were built by ShowMotion in Norwalk, CT. with the intricate design detail and faux embossing by Scenic Art Studios.

a set model by Schmidt

The books serve as houses for Cinderella, Jack (of beanstalk fame) and his mother, and the baker and his wife. One of the books revolves to create Rapunzel's tower. There is also a finale book that the characters go back into at the end of the story. "The book metaphor worked very well and gave me permission to use the period illustrations to root our production in reality," says Schmidt.

Schmidt created a child's fairy-tale version of a forest, where much of the action takes place. "I looked at illustrations by English artists such as Arthur Rackham and Walter Crane," he says. "I added a complexity to give the illustrations a magical quality. It is ominous and has a scary quality; this is important in a fairy tale."

In Schmidt's forest, things move around to accommodate the action. "There is a big danger you could get sick of looking at the forest, so we had to do a moveable feast," he says. To do so, things shuffle about the stage to create the feeling that the characters have moved to another part of the forest. The trees move about on overhead tracks, with the trees and tracks also built by ShowMotion.

"Each tree has its own set of parameters of where it can move via a computer interface," explains Schmidt. The trees reach as high as 25' and were laser-cut out of huge sheets of aluminum, with scrolly trunks and roots based on Schmidt's initial drawings. To add textures, fabric was dipped in a glue-based substance that was applied to the trees. "There were great globs of glue-soaked rags twisted into bark and roots. It was not an easy job," Schmidt allows. The trees were then painted to look like the 1/2" models and topped with leaves that have a gauzy see-through quality, allowing them to let light through.

Schmidt worked with video designer Elaine McCarthy to create projections of Cinderella's mother and one of the giants atop Jack's beanstalk. "We wanted to do something different for the apparition of Cinderella's mother, and find an evocative way to present her," Schmidt says. The end result is the mother's face in one of the trees in the forest. The projection of the giant's shadow was rather complicated, as there is a mix of live action with the projection, and the sound track had to be cued with very close timing. "It took a lot of work in Los Angeles to get it right, but the subtlety of the gestures make it look as it the giant is listening."

Seeing all the elements come together confirmed for Schmidt that the entire creative team was on the same page. "The musical itself is so touching and funny, and beautifully written, you want it to have one sensibility. I think we achieved that."

Fairy Lights

"Winning the Tony was a thrill," says Brian MacDevitt, who was honored for his lighting design for Into the Woods. "The lighting follows the investigating that set designer Douglas Schmidt did to give the musical a literary point of view, with ornate, illustrated children's books spinning and popping open." As if you entered the fairy tales through the text," MacDevitt notes. Clickstrip runs along the edge of the book layers to give them a pop-up effect."

set model of Red Riding Hood's granny's cottage.

Following the lead set by Schmidt's sets, the lighting adds an extra vibrancy to the natural colors witnessed in nature. The show follows a big arc, from the dappled sunlight of a beautiful forest to a devastated, almost war-torn look," MacDevitt explains. "The scenery is painted with fairly neutral colors so the lighting could push deep greens, blues, and ambers. The lighting is more colorful, with a very saturated palette. It needed to be magical."

In the numerous scenes that take place in the forest, MacDevitt layered the light, with overlapping five to six different colors and various templates, including leaves. "I tried to really mix things so they weren't recognizable to look at," he notes. The layers range from large breakup templates to GAM's pointilism patterns, with the size of the patterns varying with the intensity of the colors. "A source, such as the moon, would be portrayed by the densest templates, where the least light gets through, and the palest colors, and layers of larger breakups and deeper colors would follow.

MacDevitt describes his rig, as supplied by Fourth Phase, as "fairly conservative," and that of a traditional Broadway musical. "There is no special truss, just booms and overhead pipes," he adds. The rig does include 40 automated luminaires; a mixture of 21 ETC Source Fours on City Theatrical AutoYokes, and both 17 Studio Beams® and 12 X Spots from High End Systems. The show is run via one Wholehog II and one ETC Obsession III console.

MacDevitt worked with programmer David Arch, associate LD Jason Lyons, and assistant LD Yael Lubetzky. In working with projection designer Elaine McCarthy, MacDevitt strove to incorporate the projections seamlessly, actually using the video projectors as sources.

"There is subtle movement in the moving lights. Every choice we made was influenced by the score, so there are not too many moments of flash, except for the vogue-ing by Vanessa Williams in her transformation scene," MacDevitt says. Other moves in the automated fixtures helped during scene shifts, adding to the movement of the scenery. "You never see a template change or the gobos flipping, yet there are a few visible changes of focus, zoom, and color."
--ELG

Fee Fi Fo Fum

You notice sound designer Dan Moses Schreier’s work on Into the Woods before you even sit down in your seat—the preshow features a collage of bird cues emanating from various parts of the theatre, all chirping and tweeting happily away. These fine feathered friends can be heard during transitions throughout the first act, a far cry from the ominous sounds of the scavenger birds Schreier unleashes for the much darker second act. Such inventive specificity is par for the course for Schreier, a designer best known for his work on straight plays whose extensive collaborations with director James Lapine (Dirty Blonde, The Diary of Anne Frank, Twelve Dreams, Golden Child, A New Brain) led to working on this revival.

While the bird cues were relatively simple to pull off, Schreier and his crew (associate Simon Matthews and assistant Fitz Patton) had much bigger fish to fry. The giant casts a, um, giant shadow over the proceedings in Act II of Into the Woods—the grieving wife of the giant slain in Act I who has come down to earth looking for revenge is heard but never seen aside from shadowed video projections by Elaine McCarthy—and it was up to the sound designer to create a believable, threatening, but not overpowering presence.

"The biggest challenge was creating the giant," Schreier explains. "It takes up a large part of Act II. And because it evolved as we were working on the piece, it took us a long time to get to where it got finally. Not only were there technical issues involved, which were considerable—the synching with the video became a big issue—but also because of what we wanted the sounds to be."

The genesis of the giant began in rehearsals, courtesy of musical director Paul Gemignani. "He had a giant bass drum in the rehearsal room in order to begin to give the actors a sense of what the approaching giant might do to them emotionally," Schreier says. "That became my marker for how to build the giant, just jotting down when Paul hit the drum, and taking note of when the steps should begin to be heard, and when they have to arrive and disappear." From there, it became a matter of adding different layers of sounds that would go with the moving giant—the brushing of leaves and trees, the cracking of branches, not to mention the big thud when the male giant hits the ground in Act I.

"I also decided," Schreier adds, that as the giant moves, the animals in the forest are being displaced, so whenever the giant approaches, you’re hearing birds fluttering and going off in different directions in order to give a real sense of being within the forest. It’s not just the giant steps, there’s a whole environment that moves very much in the space as the giant approaches."

The next step was the addition of McCarthy’s video. As her ideas were added to the mix, more sound would be added, video would be moved around, or some of the scenery would be shifted to create the total picture. During this time, the female giant’s vocals were added to the mix; originally done by cast member Linda Mugleston as a marker, the final voiceover, by Dame Judi Dench, was added while the production was still in tryouts in LA. Dench was in a recording studio in London, Lapine and Schreier were in a studio in LA, and Schreier recorded her performance via a digital link while Lapine provided direction over the phone.

Schreier generally prefers to record as many effects himself as possible, then opts for the standard libraries, using a sampler to make them all sound as different from the original sources as possible. He also goes for extreme layers, rarely opting for a single effect, except obviously in the case of the cow, though even that was altered. He used the Performer music-sequencing program for much of the show, which was especially useful with the giant cues. "Performer was invaluable in making that happen," he says. "Version 3.0 is new and it has these things called MOTU Panners. It’s very flexible in creating how you want sound to move within a space and how many speakers you want. It has a great capacity for linking things together, and you can also track through reverb."

Speakers include the d&b E3 full range compact speaker, an increasingly popular choice among theatre sound designers in the US (it’s been a fixture in the UK for a couple of years now), as well as EAW JF-80 and JF-60s and Meyer’s new MM-4 compact speaker. Schreier also used a variety of subwoofers, including Meyer UPA-1Ps, EAW SB-48s, and Sunfire True subwoofers, which were placed all over the theatre, one, to deal with the giant effects, and two, to help with the orchestra. Control comes via the Cadac K-Type, the small, sidecar console, which supplier Masque Sound custom-modified to Schreier’s specifications, and which, needless to say, provides a smaller footprint than standard-sized boards. Microphones included AKG CK91s, DPA 4022s, Sennheiser MKH-80s, and Shure SM-58s. There are also a handful of the new Sennheiser SK5012 mini UHF lavalier transmitters on the show.

Some eyebrows might have raised at the prospect of Schreier, best known for his effects-driven work on straight plays (Topdog/Underdog, The Diary of Anne Frank, The Tempest), working on a big Broadway musical. His long collaboration with Lapine helped, but, as the designer notes, he’s also a composer. "When I got hired the refrain that kept coming was ‘Remember Dan, this is a chamber piece, it’s not a full-blown rock piece, it shouldn’t be amplified in a very strong way. And I kept telling everyone, ‘I’m your man.’ Because I’m a music lover. I’ve never been averse to musicals; that’s not where my reputation is, but I’m very happy to do it."
--DJ

INTO THE WOODS Team List

2007-03-07T06:17:00.000-06:00

WE ARE PROUD TO CONGRATULATE
THE MEMBERS OF THE INTO THE WOODS TEAM

CAST LIST
(in order of appearance)

Narrator
JOSEPH TWEEDT*

Baker
ZACH MAILAHN*

Baker's Wife
JENNIFER ETTINGER*

Cinderella
NATALIE JACOBY*

Jack
BRETT COON

Milky White
BEN RAUSCH*

Cinderella's Stepmother
VICTORIA MEANS

Lucinda
COURTNEY DUSING*

Florinda
ERICA SHOCKEY

Jack's Mother
HANNAH HOPSON*

Little Red Ridinghood
KRISTEN SCHWEER*

The Witch
JESSICA FORMANEK*

Cinderella's Father
DANNY LICH*

Cinderella's Mother
HALEY GREGORY

Mysterious Man
CALEB HOUSLEY*

Wolf
ADAM EVANS

Rapunzel
BONNIE SOUTH

Rapunzel's Prince
BRETT EPPERSON*

Granny/The Giant
NICOLE McGUIRE

Cinderella's Prince
DAVID EBKE*

Steward
RYAN PENNEY

Royal Protocol Liaison
TESSA HOPSON*

Sleeping Beauty
LAUREN PETRI

Snow White
MEGAN REIF

*Indicates membership in the International Thespian Society (ITS) which is part of the Educational Theatre Association (EdTA). Since its inception in 1929, ITS has honored over two million students for excellence in theatrical arts. Its members have gone on to distinguished careers in medicine, law, education, business and, of course, theatrical arts. We are proud of the active members of LC's Chapter #5150 of the organization.

PRODUCTION TEAM LIST

Coordinating/Drama Director
MR. TOM McLAUGHLIN*

Vocal Directors
MR. BRIAN JOHNSON
MS. SHELBY SEIVERS

Orchestra Conductor
MR. ANDY WALTERS

Assistant Director
DIANA MESCHER

Assistant to the Director
JORDEN HARDEN
COURTNEY ZUCCA

Production Secretary
ANDREW GULDEN
SARA MARSHALL

Stage Manager
TEDI SWANSON*

Choreographer
CARLY SINN*

Associate Choregraphers/Dance Captains
SHANNON GASCOIGNE*
ANDREW GULDEN
ALYSHA RAU*

Associate Stage Managers
OLIVIA HANDY
KELSEY MOORE

Technical Directors
NATHAN BLACK*
DANNY LICH*
MATT WOLF

Associate Technical Directors
MARK HAMILTON
JARED JUEL

Web Page/Technologist
ALEX MARES
SARA MARSHALL
SARAH PIERCY

Lightboard Operator/Lighting Design
ROSALIE WARNER
KYLE WINELAND

Sound Board Operator
COLE TEMPLETON

Headset Crew Chief
KYLE WINELAND

Spotlight Operators
TYLER LARSEN
ALEX MARES

Costume Coordinators
TYLER LARSEN
KAYLEE McKINLEY

Program Coordinators
KAILIN BELLOWS
MAKENNA DOPHEIDE

Publicists
MOLLY COX
KAYLENE PAGE
ALAINA WALKER

Makeup Crew
JENNIFER BURNETT
CHLOE SMITH
ALAINA WALKER

of the active members of LC's Chapter #5150 of the organization.

LCHS Performing Arts to present INTO THE WOODS

2007-02-18T12:04:00.000-06:00

LCHS Performing Arts Department
announce Spring 2007 Musical,
INTO THE WOODS
SAVE THE DATES
April 20 & 21, 2007
Important Audition Information in this Entry
(more posts about the show and auditions follow)

An ambivalent Cinderella? A blood-thirsty Little Red Ridinghood? A Prince Charming with a roving eye? A Witch...who raps? They're all among the cockeyed characters in James Lapine and Stephen Sondheim's fractured fairy tale. When a Baker and his Wife learn they've been cursed with childlessness by the Witch next door, they embark on a quest for the special objects required to break the spell, swindling, lying to and stealing from Cinderella, Little Red, Rapunzel and Jack (the one who climbed the beanstalk). Everyone's wish is granted at the end of Act One, but the consequences of their actions return to haunt them later, with disastrous results. What begins a lively irreverent fantasy in the style of “The Princess Bride” becomes a moving lesson about community responsibility and the stories we tell our children.

Look to the sidebar---------------> for some video clips of different INTO THE WOODS productions.

OUR APPROACH

The original production was lauded with many major awards and nominations. However, Sondheim and Lapine rethought their approach in the 1988 Broadway production and revived the hit in 2002. This version was much richer in dance, spectacle and acting. The LCHS version of INTO THE WOODS will move in the same direction as the revival production of 2002. Although the original DVD (with Bernadette Peters) is a treasure for singing, sets and costumes, it is not the approach we will be taking with the production.

PREPARATION & AUDITION INFORMATION

Mrs. Sievers and Mr. Johnson will be passing out music on February 19 & 20, 2007 to give students an opportunity to rehearse prior to auditions. Needed are 12 female actors, 7 male actors, a stage manager, an assistant director, a technical director and several choreographers. The set for this production is ambitious. The costumes are goregeous. It will truly be a BEAUTIFUL production.

The first audition for most roles will be ONLY singing. Please check out the links below to see vocal range for characters and the link to MTI Shows' online versions of the songs. Those who are "called back" will be asked to sing and act.

General meetings and auditions will begin on February 26, 2007. Callbacks will be held Thursday March 2, 2007. The cast list will be posted on Friday afternoon March 3, 2007. Rehearsals will begin the week of March 6, 2007.

With plenty of unforgettable roles, and no chorus, “Into The Woods” is a great way to showcase a talented ensemble cast. And since the show's emphasis is on character rather than spectacle, it is equally at home in large or intimate spaces. One of Sondheim's most popular works, this timeless yet relevant piece is a rare modern classic.

Opened 11/5/1987 Ran for 764 performances.

Total enchantment. A spellbounding score, witty enough to make old stories fresh for adults, lovely enough to enchant youngsters."- Daily News

"Bewitching... dazzling... triumphant." - New York Post"Non-stop pure pleasure. A ravishing explosion of color and melody and magic and laughter." - Time Magazine"

DOUBLE CLICK HERE to take the Quizilla Quiz to determine which INTO THE WOODS character you are most like.

INTO THE WOODS Characters with Singing Ranges

2007-02-18T09:00:00.000-06:00

SINGING INFORMATION
(More INTO THE WOODS information follows this post)

DOUBLE CLICK HERE to the taken to the Music Theatre International Web Page. This page has hyperlinks to the songs so that you can listen to them. Please pay special attention to "Agony" and "No One is Alone".

NARRATOR Intellectual and pleasant.
Baritone: G - High E

CINDERELLA Earnest, warm-hearted.
Soprano: G - High G

JACK The feckless Giant Killer, almost a man.
Tenor: A - High G

JACK'S MOTHER Browbeating and weary.
Soprano: B - High F sharp

THE BAKER Harried and insecure.
Baritone: A - High G

THE BAKER'S WIFE Determined and bright.
Mezzo-Soprano: G - High F

CINDERELLA'S STEPMOTHER Mean-spirited.
Mezzo-Soprano: A sharp - High F

FLORINDA Cinderella's stepsister, lovely but black of heart.
Mezzo-Soprano: C - High E

LUCINDA Cinderella's stepsister, lovely but black of heart.
Mezzo-Soprano: C - High E

CINDERELLA'S FATHER

LITTLE RED RIDINGHOOD A spoiled smart aleck.
Mezzo-Soprano: B - High F

THE WITCH Sarcastic, ugly-then-gorgeous.
Mezzo-Soprano: Low F - High F

CINDERELLA'S MOTHER

MYSTERIOUS MAN A mischievous vagrant.
Baritone: G - High E flat

WOLF Hungry and insatiable.
Baritone: B - High G flat

GRANNY Red's fiesty, savage grandmother.

RAPUNZEL A loopy-but-lovely maiden.
Soprano: C - High A sharp

CINDERELLA'S PRINCE Vain and gorgeous.
Baritone: B - High F

RAPUNZEL'S PRINCE Just as vain and gorgeous.
Baritone: C sharp - High E

STEWARD Surly and bureaucratic.

GIANT

SNOW WHITE

SLEEPING BEAUTY

JACK'S COW (2)

INTO THE WOODS Plot Synopsis w/ Pictures

2007-02-18T08:43:00.000-06:00

INTO THE WOODS SUMMARY
(more production information below this post)

Act One

We discover three dwellings in a large forest. In one, we see Cinderella cleaning; in the second, we see Jack trying to milk his pathetic-looking cow, Milky-White; and in the third, we see the Baker and the Baker's Wife preparing tomorrow's bread.

The Narrator leads the company through The Prologue" as we learn about a series of wishes that are more important than anything - even life itself - to these characters. Cinderella wants to go to the King's Festival; Jack wishes his cow could give milk; and the Baker (who believes his parents were killed in a baking accident) wishes he and his Wife could have a child. As these characters express their wishes, we meet Cinderella's Stepmother and stepsisters who laugh at the idea of her going to a ball; Jack's aging mother who wishes for a lot of gold and a less foolish son; and Little Red Ridinghood, who comes to buy bread, sticky buns and pies from the Baker and his Wife before starting her journey into the woods to see her sick Grandmother.

We learn Jack's cow (whom Jacks foolishly persists in refering to as "he") is no longer giving milk. Jack's Mother says he must sell the cow so they can survive. He is crushed because he thinks the cow is his best friend, but sets off to the market to sell it. Leaving Cinderella in tears, her family rides off to the ball without her.

The Baker and his Wife learn the Witch next door, a humpbacked crone with long gnarled fingers, has placed a curse on them to prevent their having a child. She explains the Baker's father had stolen various vegetables from her garden many years ago to satisfy his wife's insatiable desire for greens. He also stole the Witch's magic beans. To punish him for the theft, she demanded and had been given the Baker's sister, a sibling the Baker never knew existed. She claims she still has the Baker's sister hidden away and that he can break the spell that makes him childless only by bringing her a cow as white as milk, a cape as red as blood, hair as yellow as corn and a slipper as pure as gold.

The Baker puts on his father's old jacket as he prepares to journey into the woods. He finds six beans in the pockets and wonders if they are the Witch's magic beans. He forbids his Wife to join him on this dangerous quest as he tries to memorize the list of things the Witch says he must deliver. As "The Prologue" ends, Cinderella decides to visit her mother's grave.

At this point, the show takes on a rapid pace.

Cinderella tells her mother her wish and is given a fancy dress and slippers to wear to the ball. While walking through the Woods to market, Jack encounters a Mysterious Man who tells Jack his cow is only worth a sack of beans. Little Red Ridinghood meets a Wolf who targets her and her grandmother as his next meal ("Hello, Little Girl"). The Baker appears and is concerned harm will come to Little Red Ridinghood. The Witch warns him not to worry about the child's welfare; his task is simply to steal her cape. We hear the sound of a woman singing in the distance; it is the voice of the Baker's lost sister, Rapunzel.

As the Baker struggles to remember the four objects on his list, his Wife appears, with another offer to help him. They argue about her presence as they encounter Jack and his cow, a beast like the one the Witch has demanded. The Baker's Wife persuades Jack to sell the cow for five of their beans (which leaves them with one remaining bean). After Jack sings a sad farewell to the cow ("I Guess This Is Goodbye"), the Baker is upset they used deceit to acquire the animal. The Baker's Wife insists they did Jack a favor. ("Maybe They're Magic"). She says you have to go after what you want and not hesitate. The Baker sends his wife home with the cow and continues on his way, as Rapunzel sings again.

The Witch visits Rapunzel at the tower where she is kept prisoner. A handsome prince sees the Witch climb Rapunzel's hair and decides to try it himself the following day.

The Baker makes an unsuccessful try at stealing Little Red Ridinghood's cape - thievery does not come naturally to him. Little Red Ridinghood enters her Grandmother's house to find the Wolf, in bed, pretending to be the old woman (whom he has eaten). After the Wolf eats Little Red Ridinghood, he takes a nap. The Baker sees a corner of the red cloak hanging out of the Wolf's mouth and hoping to get the whole thing cuts his stomach open, releasing Little Red Ridinghood and her Grandmother. After the ordeal, Little Red Ridinghood realizes that "I Know Things Now." Grateful to the Baker for saving her life, Little Red Ridinghood gives him her cloak.

Jack's Mother is furious with him for selling their cow for five seemingly worthless beans and she throws them away. The Baker's Wife, leading Milky-White through the forest, encounters Cinderella, who is running from the Prince (the brother, coincidentally, of the prince who is smitten with Rapunzel) and his Steward. When Cinderella reveals she isn't sure she wants the Prince, the Baker's Wife thinks she is being very foolish ("A Very Nice Prince.") The Baker's Wife tries to take one of Cinderella's gold shoes, but is forced to chase after the runaway cow instead.

The next morning the characters realize one midnight has gone and they have not realized their wishes. Jack discovers a beanstalk has grown up overnight.

As the Baker sleeps beneath a tree, Jack appears with an oversized money sack. He sings about "Giants In The Sky" and relates his adventure. He describes the sensation of being high in the sky and meeting a lady giant who drew him close. The appearance of her husband, an even bigger giant who intended to harm him, sent him scrambling back to earth with one of the giant's sacks of gold. Jack's Mother, delighted by his acquistion, has let him keep five gold pieces which he wants to use to buy back Milky-White. He finds the Baker and demands his cow. The Baker cannot sell the cow because the Witch wants it. Jack, thinking the Baker is holding out for more money, goes off in search of additional funds, leaving the gold with the Baker. The Baker's Wife appears, confessing she has lost the cow.

Rapunzel's Prince and Cinderella's Prince exchange tales of woe ("Agony"), each insisting his romantic problem is more serious than his brother's.

The Baker's Wife, who is searching for the hair as yellow as corn, encounters Jack's Mother, who is looking for Jack. The Mysterious Man returns the cow to the Baker. The Witch warns the Mysterious Man to stay out of her business. The Baker's Wife, recognizing Rapunzel's hair as the perfect shade to satisfy the Witch's hair demand, grabs one of the girl's substantial tresses, rips it out, and runs into Cinderella, who is on her way home from another night at the Festival. The Baker's Wife tries, without success, to take Cinderella's shoe. The Baker and his Wife run into each other and he finally agrees it will take both of them to accomplish their goal ("It Takes Two").

Jack appears with the hen that lays golden eggs. The Baker's Wife realizes the Baker has considered selling the cow for money. The cow drops dead and all seems lost for the Baker and his Wife. Two midnights are gone.

The Baker goes in search of another cow. The Baker's Wife goes off to try again to grab a golden slipper. The Witch warns Rapunzel to obey her ("Stay With Me") and to remain shielded from the world. Rapunzel says she is no longer a child and wants to see the world. Enfuriated, the Witch cuts off most of Rapunzel's hair and exiles her. The Narrator reveals, while pursuing Rapunzel, Rapunzel's Prince has fallen into a patch of thorns and blinded himself.

Little Red Ridinghood has turned bloodthirsty, replacing her red cloak with one made from the skins of the Wolf. Jack, questing after more money for his mother, has returned to the giant's domain to steal more gold.

Leaving her third visit to the royal ball with only one slipper, Cinderella reflects on her indecision about leaving her miserable home for the unknown aspects of life with the Prince ("On The Steps of the Palace"). She decides not to decide. She has left a shoe for the Prince to find and it will be his decision.

The Baker's Wife gives Cinderella her own shoes in exchange for the remaining gold slipper. She then has a struggle with the Prince's Steward who also wants the second gold slipper. The Mysterious Man becomes involved in the struggle. The Prince decides they only need one shoe. There is a horrible thud. Jack's Mother screams that a dead giant has fallen from the sky. No one seems to care. The third midnight is near. The Baker and his Wife report to the Witch with their four objects, but she rejects the new cow which they have covered with flour to look like the dead Milky-White. The Witch demands they bring the dead Milky-White to her and she'll bring it back to life. Jack appears with a golden harp. The Witch restores Milky-White to life and commands the Baker to feed the cow the other objects. A clock chime begins to strike. The Witch insists the cow be milked to fill a silver goblet. Jack tries, but no milk flows. When the Baker's Wife says she pulled the hair as yellow as corn from a maiden in the tower, the Witch explains she, the Witch, cannot have touched any of the objects needed to break the spell. The Mysterious Man says to feed the cow an ear of corn. The Witch reveals the Mysterious Man is the Baker's father. The cow eats the corn, the milk flows into the goblet and the Witch drinks it. She is transformed into a beautiful woman and the Baker's father dies as the third midnight strikes.

The Narrator explains the Witch had been cursed with ugliness after her beans were stolen, but is now beautiful once again. Milky-White is reunited with Jack. The Prince searches for Cinderella with the golden slipper. Lucinda and Florinda try to fit into the slipper by cutting off parts of their feet, but their tricks are discovered and the Prince finally finds Cinderella.

The Narrator states Rapunzel, who has had twins, has been reunited with her blind husband and Rapunzel's tears restored his vision. The Witch attempts a reconciliation with her adopted daughter, but Rapunzel refuses. When the Witch tries to enchant Rapunzel and her prince, she realizes that in exchange for her own youth and beauty, she has lost her magical power over others.

At Cinderella's wedding, her stepsisters are blinded. The Baker's Wife appears, very pregnant.

The Narrator observes that everything which seemed wrong is now right. The kingdoms are filled with joy and those who deserve happiness to are certain to live long and satisfying lives. Only tenderness and laughter are foreseen forever after. As everyone congratulates themselves on their unswerving determination to get their wishes, a giant beanstalk emerges from the ground and stretches to heaven. No one notices it.

Act Two

As in the opening of Act I, we discover three structures. The first is the castle where Cinderella lives with the Prince; the second is Jack's house which is filled with all the conveniences gold will buy; the third is the home of the Baker and his Wife, which is cluttered with nursery items.

While the characters seem content ("Prologue: So Happy"), minor disturbances are quietly disrupting the joyous scene. The Baker's Wife wants a bigger cottage and she is squabbling with her husband over the baby's care. Suddenly a huge crash is heard and their home caves in.

The Baker goes off to tell the Royal Family. The Witch, who has lost her garden in the incident, insists they will not be of any help. When the Baker stops at Jack's house he is refused help by Jack's Mother who is still angry because no one cared when she had a giant in her backyard. The Baker is granted an audience with Cinderella who seems unable to offer any concrete assistance. Despite his mother's warnings, Jack goes out to investigate.

Little Red Ridinghood stops at the Baker's. She is on her way to move in with her Grandmother because her own home was destroyed and her mother has disappeared. The Baker and his Wife offer to escort her through the woods. The birds come to lead Cinderella through the woods, warning of trouble at her mother's grave. The characters re-enter the woods "To flee the winds - To find a future - To shield - To slay - To flee - To find - To fix - To hide - To move - To battle - To see what the trouble is."

The royal brothers, Rapunzel's Prince and Cinderella's Prince, meet and again compare their problems. Rapunzel's Prince complains his wife finds it impossible to be happy because of her pain-filled upbringing. He has fallen for Snow White. Cinderella's Prince lusts after Sleeping Beauty (Reprise: "Agony").

The Baker, his Wife and child and Little Red Ridinghood are lost in the now chaotic woods. They see the Royal Family staggering down a path and learn the castle has been set upon by a giant. When the Baker reminds the Steward he tried to warn them, the Steward replies "I don't make policy, I just carry it out."

Suddenly the Giant appears and the group realizes it is the wife of the giant Jack killed. She has come to exact revenge and demands Jack be handed over to her. Since she is near-sighted, the group thinks they can substitute someone else. Everyone in the group has an idea who should be sacrificed. First they sacrifice the Narrator. When the Giant realizes he isn't the boy she's after, she destroys him and again demands Jack. Jack's Mother engages the Giant in a furious verbal battle; the Steward bashes Jack's Mother over the head to stop her from endangering everyone else and Jack's mother is fatally wounded. The Steward reveals that Jack is hiding in Rapunzel's tower. Then, hysterical, Rapunzel runs toward the Giant and is crushed. The witch mourns that this is the world she was trying to save Rapunzel from confronting ("Lament").

The group disagrees about turning Jack over to the Giant. The Royal Family, without concern for anyone else, run to another kingdom. The Baker and his Wife leave their child with Little Red Ridinghood and go off to save Jack from the Witch, who is on her way to turn him over to the Giant.

The Baker's Wife encounters Cinderella's Prince in the woods and they have a romantic encounter in a glade. The Prince is ready to forget his commitment to Cinderella, but The Baker's Wife is ambivalent ("Any Moment"). The Baker meets Cinderella next to her mother's ruined grave and invites her to join his group. The Baker's Wife realizes she has to let the moment go, but says she will never forget her time with the Prince ("Moments In The Woods"). She knows it is time for her to leave the woods, but she becomes lost, the giant appears and she is crushed.

Jack is discovered by the others. He reports the Baker's Wife is dead. Everyone blames him, but he blames the Baker for giving him the beans which set the scenario in motion ("Your Fault"). As the song evolves, everyone blames every one else. The Witch stops their accusations, declaring it's the "Last Midnight." She says everyone is looking for someone to blame, when they should look inward instead. She says "You can tend the garden. Separate and alone." She disappears as they begin to see the connections between their earlier individual actions and the current problem.

The Baker starts to leave the Woods, believing his child is better off with Cinderella than with him. Suddenly, his father, the Mysterious Man, reappears. The Baker says, "I thought you were dead." The Mysterious Man answers "Not completely. Are we ever?" The Baker cries out that the whole situation was caused by the father's invasion of the Witch's garden years before. The Mysterious Man accuses the Baker of running from his own guilt ("No More"). As his father leaves, the Baker realizes he is just like him. He decides to stay and fight alongside the others.

As the Baker, Jack, Little Red Ridinghood and Cinderella plan their attack, a flock of birds whispers to Cinderella that her prince has been unfaithful. She says she doesn't care and enlists their help to kill the Giant. As each perepares to execute the plan, the Prince reappears. Cinderella dismisses him saying, "My father's house was a nightmare. Your house was a dream. Now I want something in between."

Cinderella and the Baker try to reassure Little Red Ridinghood and Jack, who are now orphans trying to make sense of right and wrong ("No One Is Alone").

The Giant is killed and the dead in the community appear as ghosts, joining in a pronouncement of the moral lessons learned from the experience in the woods. The Baker and Cinderella become the responsible adults in a re-constituted family made up of the Baker's child, Little Red Ridinghood and Jack. The ghost of the Baker's Wife encourages him to believe in his power to raise their child without her. The Witch reappears to warn the Baker to be careful of the tales he tells his child ("Children Will Listen").

The final reprise of "Into The Woods" reminds us there will be times when each of us must journey into the woods but that we must mind the future and the past.

YOU JUST CAN'T ACT
YOU HAVE TO LISTEN
YOU CAN'T JUST ACT
YOU HAVE TO THINK.

The show ends as Cinderella says "I wish ... "

INTO THE WOODS--About the Pultizer Prize Winning Authors

2007-02-18T08:00:00.001-06:00

The original production ran for 764 performances on Broadway and had a 17-month national tour. The original cast featured Bernadette Peters (the Witch) and Joanna Gleason (the Baker's Wife). Other Witches included Phyllicia Rashad, Nancy Dussault, Betty Buckley, Ellen Foley and Cleo Laine. Dick Cavett played the Narrator for several weeks on Broadway in 1988. There was also a much-heralded London production, which is also available as an RCA cast album. The original Broadway cast was videotaped for PBS' Great Performances" series; that show was made available on laserdisc and now on videotape.

Stephen Sondheim, one of the most influential and accomplished composer/lyricists in Broadway history, was born in New York City and raised in New York and Pennsylvania. As a teenager he met Oscar Hammerstein II, who became Sondheim's mentor. Sondheim graduated from Williams College, where he received the Hutchinson Prize for Music Composition. After graduation he studied music theory and composition with Milton Babbitt. He worked for a short time in the 1950s as a writer for the television show Topper; his first professional musical theatre job was as the songwriter for the unproduced musical Saturday Night. He wrote the lyrics for West Side Story (1957), Gypsy (1959) and Do I Hear A Waltz? (1965), as well as additional lyrics for Candide (1973). Musicals for which he has written both music and lyrics include A Funny Thing Happened On The Way To The Forum (1962), Anyone Can Whistle (1964), Company (1970 - 1971 Tony Award Music and Best Lyrics), Follies (1971 - 1972 Tony Award Score and New York Drama Critics Circle Award; revised in London, 1987), A Little Night Music (1973 - Tony Award Score), The Frogs (1974), Pacific Overtures (1976 - New York Drama Critics' Circle Award), Sweeney Todd (1979 - Tony Award Score), Merrily We Roll Along (1981), Sunday In The Park With George (1984 - New York Drama Critics Circle Award; 1985 Pulitzer Prize for Drama), Into The Woods (1987 - Tony Award Score), Assassins (1991) and Passion (1994 - Tony Award Score). He composed the songs for the television production Evening Primrose (1966), co-authored the film The Last of Sheila (1973) and provided incidental music for The Girls of Summer (1956), Invitation to a March (1961) and Twigs (1971). Side By Side By Sondheim (1976), Marry Me A Little (1981), You're Gonna Love Tomorrow (1983; originally presented as A Stephen Sondheim Evening) and Putting It Together (1993) are anthologies of his work. He has written scores for the films Stavisky (1974) and Reds (1981), and composed songs for the film Dick Tracy (1990 - Academy Award for Best Song). He is on the Council of the Dramatist Guild, the national association of playwrights, composers and lyricists, having served as its president from 1973 until 1981, and in 1983 was elected to the American Academy of Arts and Letters. In 1990 he was appointed the first Visiting Professor of Contemporary Theatre at Oxford University. He was also recipient of a Kennedy Center Honor in 1993.

James Lapine also collaborated with Stephen Sondheim on Sunday in the Park with George, a revised version of Merrily We Roll Along and, most recently, Passion. Mr. Lapine collaborated with William Finn on the musicals March of the Falsettos and Falsettoland, which were later presented on Broadway as Falsettos. He has written and directed the plays Luck, Pluck and Virtue; Twelve Dreams; Table Settings; and adapted Gertrude Stein's poem/play Photograph. He has also directed The Winter's Tale and A Midsummer Night's Dream for the New York Shakespeare Festival and directed the films Impromptu and Life With Mikey. His work has been recognized with Tony, Drama Desk Obie and NY Drama Critics Circle awards and the Pulitzer Prize for Sunday in the Park With George.

History & Awards of INTO THE WOODS

2007-02-18T08:00:00.000-06:00

The original production ran for 764 performances on Broadway and had a 17-month national tour. The original cast featured Bernadette Peters (the Witch) and Joanna Gleason (the Baker's Wife). Other Witches included Phyllicia Rashad, Nancy Dussault, Betty Buckley, Ellen Foley and Cleo Laine. Dick Cavett played the Narrator for several weeks on Broadway in 1988. There was also a much-heralded London production, which is also available as an RCA cast album.
The original Broadway cast was videotaped for PBS' Great Performances" series; that show was made available on laserdisc and now on videotape.

This same team won the Pulitzer Prize for Sunday in the Park With George three years before."

"Total enchantment. A spellbounding score, witty enough to make old stories fresh for adults, lovely enough to enchant youngsters."- Daily News

"Bewitching... dazzling... triumphant." - New York Post

"Non-stop pure pleasure. A ravishing explosion of color and melody and magic and laughter." - Time Magazine

Highlights of Major Awards Won:

2002 Tony® Award nominee Best Revival of a Musical -- Into the Woods

2002 Tony® Award nominee Best Actor in a Musical -- John McMartin

2002 Tony® Award nominee Best Actress in a Musical -- Vanessa Williams

2002 Tony® Award nominee Best Actress in a Musical -- Vanessa Williams

2002 Tony® Award nominee Best Featured Actor in a Musical -- Greg Edelman

2002 Tony® Award nominee Best Featured Actress in a Musical -- Laura Benanti

2002 Tony® Award nominee Best Scenic Design -- Douglas W. Schmidt

2002 Tony® Award nominee Best Costume Design -- Susan Hilferty

2002 Tony® Award winner Best Lighting Design -- Brian MacDevitt

2002 Tony® Award nominee Best Choreography -- John Carrafa

2002 Tony® Award nominee Best Director of a Musical -- James Laine

2002 Drama Desk Award winner Outstanding Revival of a Musical -- Into The Woods

2002 Drama Desk Award nominee Outstanding Actress in a Musical -- Vanessa Williams

2002 Drama Desk Award nominee Outstanding Actress in a Musical -- Laura Benanti

2002 Drama Desk Award nominee Outstanding Featured Actor in a Musical -- Greg Edelman

2002 Drama Desk Award nominee Outstanding Featured Actress in a Musical -- Kerry O'Malley

2002 Drama Desk Award nominee Outstanding Director of a Musical -- James Lapine

2002 Drama Desk Award winner Outstanding Set Design of a Musical -- Douglas W. Schmidt

2002 Drama Desk Award nominee Outstanding Costume Design -- Susan Hilferty

2002 Drama Desk Award winner Outstanding Sound Design -- Dan Moses Schreier

1999 Olivier Award Winner Best Actress In A Musical -- Sophie Thompson
1997 Tony® Award nominee Best Costume Design -- Ann Curtis

1988 Tony® Award nominee Best Musical -- Into the Woods

1988 Tony® Award winner Best Book of a Musical -- James Lapine

1988 Tony® Award winner Best Original Score -- Stephen Sondheim

1988 Tony® Award Winner Best Actress in a Musical -- Joanna Gleason

1988 Tony® Award nominee Best Featured Actor in a Musical -- Robert Westenberg

1988 Tony® Award nominee Best Scenic Design -- Tony Straiges

1988 Tony® Award nominee Best Costume Design -- Ann Hould-Ward

1988 Tony® Award nominee Best Lighting Design -- Richard Nelson

1988 Tony® Award nominee Best Choreography -- Lar Lubovitch

1988 Tony® Award nominee Best Direction of a Musical -- James Lapine

1988 Theatre World Award winner Best Debut Performance -- Danielle Ferland

1988 Drama Desk Award nominee Outstanding Actress in a Musical -- Bernadette Peters

1988 Drama Desk Award winner Outstanding Book of a Musical -- James Lapine

1988 Drama Desk Award nominee Outstanding Costume Design -- Ann Hould-Ward

1988 Drama Desk Award nominee Outstanding Director of a Musical -- James Lapine

1988 Drama Desk Award winner Outstanding Featured Actor in a Musical -- Robert Westenberg

1988 Drama Desk Award winner Outstanding Featured Actress in a Musical -- Joanna Gleason

1988 Drama Desk Award winner Outstanding Lyrics -- Stephen Sondheim

1988 Drama Desk Award nominee Outstanding Music -- Stephen Sondheim

1988 Drama Desk Award nominee Outstanding Musical -- Into the Woods

1988 Drama Desk Award nominee Outstanding Orchestrations -- Jonathan Tunick

1988 Drama Desk Award nominee Outstanding Set Design -- Tony Straiges

1988 NY Drama Critics Circle Award Winner Best Musical -- Into the Woods

Your Raise Me Up...You Raise Each Other Up...You Raise the Program Up

2007-02-05T19:35:00.000-06:00

To all of my students who do their best each day:

So many of you do such fantastic work each day. I am proud to be your teacher or to have been your teacher. Thank you for helping me celebrate what I love doing most: teaching & directing. I hope you find the following words to be a fitting tribute for your commitment, hard-work, loyalty and for carrying on our "Winning Tradition of Excellence" with such great pride.

Thank you for all the times that I forget to tell you...and, I fear, that's more often than I'd like to admit.

What I love best about this song for you is that you do it for each other so selflessly. It's wonderful to work with a group of students who care about their work, their peers, the performing arts programs and who have such great pride in our school.

Mr. M.

Drama Logo

2006-07-13T15:08:00.000-05:00

A CHORUS LINE Hits the Front Page

2006-04-25T10:21:00.000-05:00

A CHORUS LINE PHOTOS

The LCHS Department of Theatre continued its traditon of producing "cutting edge" theatre with its Spring 2006 production of Michael Bennett's A CHORUS LINE.

The talented student performers worked extensively to create a professional production that captured the essence of the classic American musical that took the America and the Tony's by storm in the 1970's and 1980's when the musical was given a Special Golden Tony Award as the longest running musical on Broadway.

With a challenging vocal score, incredibly complicated and demanding dance sequences and a wonderful blend of both comedy and drama, the LCHS A CHORS LINE Team nailed its performances--especially closing night by capture the spirit of the production that will reopen on Broadway in October 2006.

With an incredibly simple set, stunning lights and a dedicated cast, the LCHS production was welcomed by audiences with excitement and thanked with well-deserved "standing ovations."

Students were congratulated with emails from literally around the world. Special thanks go out to all who worked so diligently to "Continue Our Winning Tradition of Excellence."