Newspapers / North Carolina Wesleyan University … / Nov. 2, 1970, edition 1 / Page 3
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MONDAY, NOVEMBER 2, 1970 THE DECREE PAGE 3 ‘MAN FOR ALL SEASONS’ Shakespeare’s claim in AS YOU LIKE IT that "All the world’s a stage” presents ra ther grim humor when seen light of the Wesleyan College Theatre. For at least two or three productions per year, the Wesleyan troupe sets its stage in music classrooms, gymna siums, and other unlikely nooks in and about the Wesleyan mi lieu. As if this arbitrary stag ing were not enough, the col lege actors have established a proud tradition of displaying proficiency at bombasting their lines at the dinner table, in the shower, over a beer at Lums, and anywhere elsewhere an audience might be found. The above has been typical of the Wesleyan College Threa- tre since its inception in 1962, and points to the fact that per haps more than most depart ments, theatre at Wesleyan has eral more completed final cos tumes. The propos crew has finally managed to locate a headsman’s axe. Director Dingman’s cry of “Scripts and pencils, please”, occurs now only once per night rather than between each scene. A ten sion is beginning to build as cast and crew face the reali zation that Thursday is open ing night to The Play. A MAN "’OR ALL SEASONS chronicles the life and death of Sir Thomas More, the gift ed .‘-I - . lar/lav.'yer , ..o became chancellor of "ngland during the reign of the most contro versial ’ of monarchs, Henry VIIL It is a study of the con sequence of scruples during an unscrupulous age. Bc>lt crea tes the ambiseasonal More not as a super-human but as a man victim to men. This award- ABOVE: . . The study of a man who cannot corrupt his ideals.” Sir Thomas More (Roland Shaw) L. Duke of Nor folk (Dave Siple) R. LEFT: “They are assured that the costumes will be perfect ly complementary to the roles.” (Liz Martin) RIGHT: “It is a study of the consequence of scruple dur ing an unscrupulous age.” Car dinal Woolsey (Joe Vinson, L.) Sir Thomas More (Roland Shaw, R.) m. Text And Photos By Gary Christopher LEFT: “Director Dingman’s cry “scripts and pencils, please,” occurs now only once per night rather than between each scene. BELOW: “After weeks of rehearsing, building sets and memo rizing lines; the production is finally coming down to the line; production week is here.” Mary Ella Tetterton, Bob Thompson, and Pat McLean. established a proud tradition. Few other campus organiza tions have proved so demanding and yet so successful. And its happening again this year. Both actors and techni cians are firmly convinced that their current production of Ro bert Bolt’s A MAN FOR ALL SEASONS will surpass all pre vious theatrical endeavors. They are assured that the act ing will be marvelous; that the lighting, sound, and music will be something beyond crea tive; that the costumes will be perfectly complementary to the roles. After weeks of rehearsing, building sets, and memorizing lines, the production is final ly coming down to the line; pro duction week is here. Rehear sals have moved into Everett Auditorium (no one would dare to call it a gymnasium this week). The stark Tudor set is nearing completion, and each night's rehearsal boasts sev- winning play has been hailed by critics as perhaps the best play of the 1960’s. Director Anthony Dingman has cast Roland Shaw, Sean Moran, and Daniel Shepard in the leading roles of Thomas More, Thomas Cromwell, and the Common Man, respective ly. The development of each of these roles is left largely to the creativity of the indivi dual actors, and each has ar rived at his own definition of the role. Shaw sees the role of More as “the study of a man who cannot corrupt his ideals”. Cromwell, the “King’s ear” and Secretary to the coun cil is termed by Sean Moran as “the prototype of casual cold ness . . . accustomed to using people by dominating them.” One of the more innovative as pects of the play is Bolt’s crea tion of “the Common Man”. In addition to effecting the scene (Continued On Page 4)
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