THURSDAY. JULY 19. '1962
Nip*Or . .s* - cmet . . Thurber _ Takks
;Olt bipalt . ON _ THE WALL, who is the best acting
apprentice of them all. might' be the thought of Bob Valanty
as he applies his makeup before going •on stage. Valanty, a
recent Penn State graduate. plays several roles including the
wolf in the fable. "The Wolf at the Door."
BEFORE EACH WEEK'S PRODUCTION the sets are built and
assembled in TAPS, the converted Nitlany Dining Hall. Joan
Skew, a* itinnt to the designer. paints while Ronald Dobkin,.
an acting apprentice, works on one of the panels.
RADIO ANTENNAS?—No. _ are wire frames bent to
characters. Dancer Anita Goshko 'is having her wire caricature painted by dancer Gene Maisie.
whose wire frame is in turn being painted by Jos Bella. manager of costumes and properties.
These ballet-set characters dance between scenes under ultraviolet lamp so that the audience
sees only the glowing wire kames.
SUMMER COLLEGIAN, UNIVERSITY PARC PENNSYLVANIA
MAX FISCHER is the director of the musical
review. Earlier in the season he played the
load role in." The 49th Cousin." •
'Carnival' Marks Musical First
Imaginative staging and ver
tatile actors brought vitality to
James Thurber's "A Thurber Car
nival", at- its Mateer Playhouse
opening Tuesday night.
NINE MEMBERS of Mateer's
regular company appeared in a
series of scenes based on Thur
ber short stories and fables on
such subjects as invisible uni
corns, a drunken Grant at Appo
matox, gentlemen shoppers and
pet doctors. Featured also was
Thurber's tale of "The Secret Life
of Walter Mitty."
The show opened and closed
with high-keyed word dances
which were carried off with lively
and well-timed performances.
The major problem in these
scenes was that Lydia Bruce
could not regulate her voice. She
Colloglan Photos
By TOM BROWN!
By JOAN MEHAN
and KAY MILLS
Collegian Reviewers
LAST MINUTE changos in sat layout and
design are discussed by Ed Anderson. stags
manager, and Bill Allison. set designer.
seemed to be screaming at the wearing black tights and fluores
audience. I cent wire masks. Particuiarl!, in-
The customary professional triguing was the dancing of Anita
polish was lacking in severallGoshko while male partners Frank
scenes as line problems and pre-iKaufrnan, Gene Mantle and James
Martfel did the heavy scene shift
mature entrances marred thisl
initial performance. The sequencesil% L
on Macbeth and the island visitor! uavid Frank and - Max Gulack
failed to draw the laughter theiwerili the cast's- most consistency
lines warranted due to these dit-lamusing members. Lean B. Ste
ficulties plus the need for faster l yens made it a tipsy trio when.
tempo. overcoming line lapses in earlier
sequences, he joined Frank and
KISS BRUCE also contributed Gulick in a gay romp about hus
to ;the Macbeth fiasco but re- bands on a shopping spree. Esther
deemed herself ably later as the Benson as the salesgirl gave the
wife who would not cooperate in scene art extra touch of humor.
plans for .her burial. Kay Frey in her second Mateer
Connecting the Thurberesque performance added lite and girlish
vignettes into a unified musical beauty to the production. Miss
revue was the Jean-Ann Trio, Frey also displayed an ability`for
which displayed the essentiallhumorofis facial expreslion.
sense of rhythm and coordination' THIS CARNIVAL. of laughs,
of ,found with action onstage. (directed by Max Fischer, marks
EVen set changes were a de-!an entertaining and enterpris‘ng
light as four stage hands became,"first" for Mateer in the field of
animated Thurber drawings by'musical revue.
LITTLE GIRL IS STOPPED BY A WOLF while going tosses
grarsdnunhsa's house in the scene. "The Little Gisl end The
Wolf." The 11111 e girl is played by Kay Frey and the wolf by
Leon B. Stevens.
PAGE' FIVE