Page 4
North Carolina School of the Arts
30 +2 +80 =
Shakespeare’s
HENRY IV,
Part I
Shakespeare’s tale of kings and clowns, “Henry IV,
Part I,” is the School of the Arts major fall drama
production, scheduled to run November 1-4 and 6-10 at
Summit School. All performances will be at 8:15 p.m.
Dr. William Jaeger, instructor in acting, who is
directing the production, feels the play is a significant
dramatic experience for modern audiences. “Through
the impulse of comedy and political intrigue,” he ex
plains, “Shakespeare probes the meaning of responsible
leadership through the character of Prince Hal, King
Henry’s son. As the prince matures, he has the choice of
accepting the values of two diverse characters, the
clown Falstaff or the mock-hero Hotspur, or, what is
more valuable, the best of both.”
Produced by the School of Drama in association with
the School of Design and Production, “Henry IV” in
cludes a cast of thirty drama students and two faculty
members and a production staff of eighty.
Kenneth Frazelle, a composition niajor, from
Jacksonville, N.C., has composed an original score,
recorded for the production by members of the NCSA
Chamber Orchestra.
The setting is designed by Ernie Foster, a senior from
Knoxville, Tenn. Mark Pirolo, instructor in design and
visual arts, has designed the lavish period costumes.
Lighting design is by'Charles Devine III, make-up
design by Maureen Trotto and sound design by Steve
Gable. Max DeVolder is production coordinator.
The willful heir. Prince Hal, is played by Paul Meier,
instructor in voice and speech, who appeared as John
Adams in the North 'Carolina Summer Festival
production of “1776.” Dr. Jaeger, as well as directing
“Henry IV,” will play the role of the prince’s genial,
self-loving companion Sir John Falstaff.
Frederic Serino, of W. Pittson, Pa., who starred in
last year’s NCSA production of the Misanthrope,” will
appear as the brilliant young warrior. Hotspur, who
rebels against the crown. The anxious King Henry is
portrayed by A. Thomas Cavano, who was a member of
the Summer Festival musical company.
Other members of the cast are Daniel Arden, Craig
Strong, San Diego, Calif.; Dennis Wilson, Kailua,
Hawaii; Sonny Linder, David Taylor, Philip deMarco,
James Dudley, Sandra LaValle, Wren Goodrum,
Winston-Salem; Stephen Geiger, Millington, N.J.; Lee
Ewing, Kathy Lindsey, Louisville, Ky.; Lucius
Houghton, Miami, Fla.; Leslie McConnell, Greenwood,
S.C.; Glyn O’Malley, Central Falls, R.I.; Peter Olson,
Judy Montgomery, Katharine Buffaloe, Raleigh, N.C.;
Steve Carson, Leesburg, Fla.; Craig Eubanks, Aiken,
S.C.; Joe Henderson, Durham; Robert Richardson,
Lafayette, La.; Robert Wood, Sweet Briar, Va.; Connie
Kincaid, Newton; Pam Reid, Gastonia; Brandt Clark,
Ml. Airy; Will Barrow, Kernersville; Guilla Rodriguez,
Durham.
Tickets are now on sale at the School of the Arts box
office. For reservations or information, call 784-7843,
Monday through Friday, 9 a.m. - 5 p.m.
Paul Meier
From Rogue to King,
From Teachers to Students
Watching Paul Meier in
rdiearsal as Prince Hal in Henry
4, Part 1, is watching a teacher
become a student. Perhaps this
transition is one reason faculty
members are in this production
of a Shakespearian history: they
set a good example prior to
opening curtain.
This is the first regular season
school production where both
faculty and students are working
together. Nutcracker usually
affords another such opportunity
in December.
Meier feels that it is good for
teachers “to put their money
where their mouths are - wear
different hats!”
“It takes a lot of discipline to be
a teacher in a classroom and the
son of one of students on stege,”
he added. One thing is obvious to
this result-it takes versatility
and a willingness to work closely
with students and at the same
time letting them see the teacher
as their equal.
When asked if some students
would resent a teacher’s taking
away a potential role, Meier
said, “Henry 4 has so many parts
that I do not feel I am taking
away from a student’s training.”
Meier iand director William
Jaeger are the only two drama
faculty members in Henry IV.
LesUe Hunt was at rehearsal to
assist. Meier said “She probably
would have taken a part in the
acting of the play but there were
only three speaking parts for
womoi.” Meier stress^ that
student-teacher co-operation was
the important factor, not
teadiers getting roles. Further,
tliere was no precasting. Meier
himself, did not get the part he
wanted but through auditions he
was cast as Prince Hal (he
wanted Hot-spur!).
As Hal, he has discovered
many new sides to his character.
“Getting a balance between Hal’s
debandery and the other side of
this character, the good-boy side
isn’t easy,” Meier interjected.
Choosing to work under a
fellow faculty member would
appear risky as well but not so to
Meier. “I jumped at the chance,”
he commented. “He’s one of the
best directors on the faculty,
though demanding. He has gotten
us to get as many facts as we can
about our character. He wants us
to know and be fully submerged
in their period.” (Jaeger has
gotten the cast members to trace
a portion of their family tree so
they will understand a little
better the workings of Henry 4.)
At rehearsals, I saw little
evidence of people wasting time.
The members of the cast were
studying, exercising, and getting
ready to portray their charac
ters. In fact, it took me a while to
find Paul Meier. He was tucked
over to one side of the stage
studying and researching young
Hal. When I next saw him, he
emerged as Prince Hal, not the
man most of us are used to
meeting in the halls each day.
Meier later admitted that
actors are often lazy people and
working for someone like Jaeger
is a challenge. It appeared that
the other actors felt the same. I
saw few idle. “Jaeger expects a
lot,” Meier concluded. “Each
player must know where he is
coming from.”
Meier admitted that like
r^earsals for every play Hen^
IV has its ups and downs. As in
the play, it appeared to get
stormy on the set, but at least to
Meier “the adrenalin is flowing.”
Meier feels that the department
should do a tragedy (King Lear) •
and perhaps a poetic drama
(“The Tempest”) next. He did
not mention whether teachers
diould have roles in such per
formances. .However, this
reporter feels that there is a
place for faculty performances
only if there are many roles.
In any case, in Henry IV, Part
1, the student-teacher relation
ship should prove a winning one.
Sheila Creef