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Show 4 Vernal ExpreSS Friday, Jonuory 20, 1984 32 cast in community production of 'Camelot' Nels Carlson will step from his usual position backstage to play the role of King Arthur in Utah State University Kducation Center's musical community communi-ty theatre production, "Camelot." Karlene Young of Roosevelt will play f ,ady Guenivere and Doug Barlow will be Lancelot du Loc to complete this world famous trio. The Camelot cast also features Blaine Pierce as Merlin, the magician; magi-cian; Philip Walton as the loveable, eccentric ec-centric King Pellinore; Claire Spencer as Morgan La Fey; Donny Sawyer as Mordred and Denise Angulo as Nimue. The celebrated knights of the round table will be played by Harold Tyus, as Sir Dinadin, Duane Barney as Sir Lionel, Dan Praeuner as Sagamore and Kvan Smith, Larry Crowl, Dennis Hatch, Mike Karren and Richard Parmeter, as knights of the round table. The ladies in waiting to the Queen are Marci Dick, Taunia Wheeler and Jo Daley. The ladies of the court are Wendy Mathis, Ruth Grinstead. Pat Hill, Norma Nor-ma Smith, Susan Anthon, Lynn Herron and Betty Griffen. lluss Bellon and Steve Gober will play the court heralds and Casey Smith and Lindsay Enloe will be the court pages. Kathy Jo Tucker will direct "Camelot," and joining her in leading roles backstage are Paul Hendricks, set designer and technical director; Melinda Barlow, costume designer; Gail Bentley, stage manager; and Julie Hansen as choral director and vocal coach. Claire Spencer, drama coach at Uintah High School, will act as choreographer for the show, and Taunia Wheeler will choreograph and dance the ballet number for "Follow Me." This cast and crew will recreate the exciting days of King Arthur and his knights of the round table. "Camelot" sparkles with comedy, tenderness, romance, compassion, charity and the new ideas of might for right, unheard of in this medieval era. It mixes these with treachery, heartbreak heart-break and tragedy and ends with the hope that one day the dreams and ideals of Camelot will prevail in the world. This dream will never be forgotten. "Camelot" has opened rehearsals with choral practice on Thursday nights. It will be in rehearsal for the next 11 weeks and will open on April 6 and run for nine performances. The Boy Scouts of the Uintah, Duchesne and Daggett region will again sell tickets for this show. ( sxhx - y w 4b - a v- .vTf ... THE CAST for USU Education Center's production of "Camelot" are announced and begin rehearsal. They are beginning an 11 week period of rehearsals and preparation for the community theatre production. They will receate the days of King Arthur and his knights of the round table and his new idea of might for right. me work begins before anyone stfeps on sflcogje .. "v: WHEN SHE gets the fabric home, Melinda surveys her purchases and decides which piece will be combined to make a costume. The USU production of "Camelot" will not open until April, but two of the staff members have long since begun work on it. Melinda Barlow is the costume designer for "Camelot." She begins the design process with research. First she reads the play. Then she researches resear-ches the time that the play takes place and the type of dress in that era. This includes men's, women's dress and accessories, ac-cessories, etc. Melinda then goes through the play carefully and decides when she thinks the characters should have costume changes. She tries to portray the mbod of the scene with the costumes. When she has completed her research, Melinda begins to design the costumes. This usually is about the time the play is cast. It is easier for her to design the costumes when she knows the stature of each of the cast members, although she designs the costumes with the character in mind rather than the particular cast member playing that character. She tries to create a mood with her costumes. Her goal is to have the audience au-dience get a feeling of the type of person per-son the character is by just seeing that character in hisher costume. For example, ex-ample, in "Camelot" Lancelot is a very pure person, so he will be wearing wear-ing silvers and grey. Mordred, on the other hand, will be in green to give the audience a feeling for his nasty personality. .. . . When she has made her preliminary sketches, Melinda meets with the director, Kathy Tucker, and checks to see if they fit Kathy's idea of how the characters should be costumed. Melinda Melin-da also coordinates her efforts closely close-ly with Paul Hendricks, the set designer, so that the costumes and the sets are complimentary. It wouldn't work well if the costumes and the sets were exactly the same color and the actor blended with the scenery and couldn't even be seen. Melinda then purchases the fabric. Melinda draws and prepares her patterns, cuts the fabric and begins sewing. She does the bulk of the sewing sew-ing for the production, but welcomes help in cutting and sewing the costumes. Melinda says that this production will be a little more difficult than some others because people are familiar with "Camelot." They have certain "expectations. In designing the costumes, she is staying quite close to what was done on Broadway rather than what was done in the movie. There are 32 people in the "Camelot" cast and Melinda has decided that there will be 124 costume changes. That means 124 complete outfits to make. By the time the designing, sewing, fitting and alterations are completed, Melinda figures that she will have thousands of invested hours in the costuming for this production. This does not include the help she will have; with the sewing. This seems like a lot of work, but she loves to do it. "I hurry to get my other work done so I can sew," says Melinda. Melin-da. "Everyone has their own way to relax when they get uptight. Some . . - A-i Ul n tm ! i m lili II ' I B -Hfc. ." Ill . . ' . I If i I I ,- 1 If ; ill nap, some read, I sew." She is very excited about making the elaborate gowns that are required for this production. It's very enjoyable except for the last couple of weeks before the show. Then everything is rushed, there are always alterations. changes, finishing touches and details' to be taken care of. Since much of the money for the production pro-duction of "Camelot" will come from the community, they are trying to use as little money as possible for the production, pro-duction, yet maintain high quality. Melinda says they welcome any donations, dona-tions, which may include time, money or even fabric or old clothes. They are always looking for items to build up the costume and prop department. depart-ment. They especially like hats, jewelry, shoes. Sometimes they hunt for special items for a particular part in a show and sometimes people donate items that fit perfectly with their productions. The costumes that are used in these community productions are saved and kept here to be used in the community. They do rent these out for other productions pro-ductions or to individuals. The USU program bureau also uses these costumes. In fact, they rented the entire en-tire costuming for their "Man of La Mancha" production to a professional company from Salt Lake City last year. The money received on rental is used to clean and repair the costumes and build up the theater department. Melinda has two specialists helping her with costuming this year. Lee Gibbons, Gib-bons, a teacher at the junior high, is designing and making the armor for the knights, and Blaine Pierce, also in -the cast, is designing the hats. Another person who has been working work-ing on the production for several months is Paul Hendricks, the set designer and technical director. Paul has been working on the set design since October. He explained that there are two kinds of scenery 1 ' r. , a i V 4 I, i y., . wh 1 1 "LW, .IS- K: ' E i X usually used in plays, hard and soft. The Broadway production set cost in the neighborhood of $200,000; and since they are trying to keep their set budget under $1,000, most of the scenery for "Camelot" will be soft scenery, or drops.-These will mostly be wood frames, covered with muslin and painted. These will be moved up and down during the production; they call it to "fly" the scenery. This production of "Camelot" will have 18 to 20 of these drops. There will be some hard pieces also, such as a three-dimensional tree that will be free standing and will be rolled roll-ed on and off stage. The scenery for "Camelot" will be "theatrical realism," which means that what the audience will see can be recognized as a tree or a wall but will not be totally authentic. The scenery will be designed to set the mood, so the audience feel as though they are in a castle in the time of King Arthur. Also, the set will ge designed with a Shakespearean flavor. There will be three arches with a tapestry behind each. These archways will be used one at a time or in combination for different dif-ferent scenes, for more rapid scene changes. When designing the sets for a play, Paul first reads the play, formulates his ideas, then meets with the director, direc-tor, who gives him an idea of the feeling feel-ing she wants in each scene. : J I AFTER STUDY and research, Melinda begins her sketches. She coordinates her efforts with the director, Kathy Tucker and the set designer, Paul Hendricks. MELINDA BARLOW purchases fabric for the costumes for "Camelot." She will be designing 124 costumes changes for this local production. i He then makes up preliminary sketches, sket-ches, trying to create the moods the director wants. He then checks with the director again, redesigns where necessary until he has the feeling the director wants. He says she decides - what mood she wants and he makes sure it works; "she has the plot and I write the dialog." When they have arrived at something they like, they look at the budget and decide what type of sets will work. Paul then does color renderings and construction drawings, which are three dimensional drawings with dimensions on them like a set of house plans. He then gives these to the workers to build and supervises the work. At this point he has pretty much completed the designing and he becomes the technical director, concerned con-cerned with the execution. He supervises super-vises and helps build the sets and works out the lighting design. . About a week to ten days before the opening performance, the technical crew begins technical rehearsals. During Dur-ing these rehearsals, they run through the entire play without the actors. They set the lighting, and go through all the scene changes. The last two or three rehearsals are Continued on page 5 penny a pound fespecial Only a penny for each pound your child weighs for a 5x7 color portrait. Reg. 4.00 Age limit 12 years No appointment necessary Add 1.00 for 2 or more children together Limit one portrait special per child 'from ongintl 8'ivSope , , v Offer valid from Jan. 24 through Jan. 28 jurenney Jf Jan. 24 27 9:00 AM - 4:30 PM Saturday Jan. 28 9:00 AM 2:00 PM Vernal |