Carry Nation will open Thursday
By Cheryl Hentsch
CARRY NATION STARS Patricia Brooks. Beverly Wolff and John Reardon relax before dress rehearsal.
★ ★ ★
For every theater production, hours of planning and preparation backstage precede every minute of acting time on stage.
The opera Carry Nation, which has its world premiere tomorrow night in Murphy Hall, is no exception. Actors, chorus and crewmen are busy adding the final touches as production goes into dress rehearsals.
Formal dress is suggested; not required
Every detail of the opera is planned and outlined weeks in advance of rehearsal time. Work schedules organize a timetable of deadlines for completion of each phase of the production, from setting the lights to sewing the last costumes.
To allay the concern expressed by some persons with tickets to the opening night of "Carry Nation," Lewin Goff, director of the University Theatre, said that formal dress was a request, not a requirement for attendance.
"We aren't going to turn anyone away just because he isn't wearing a tuxedo or she isn't wearing a formal," he said. "All the tickets are sold for the opening night of this unique event. Many of the ticketholders have welcomed the opportunity to 'dress up' for it. Let me assure the others that they will not feel out of place in a buisness suit."
DIRECTOR LEWIN GOFF directs the over-all preparation for the play and sets the tone of the opera. Costume designs, lighting, props and sets must complement each other to produce a total effect. It takes teamwork and cooperation to put on a play.
12 Daily Kansan Wednesday, April 27, 1966
The eight set platforms for the prologue and two scenes include two barrooms, a bedroom, living room, porch and graveyard. A large scrim which arrived yesterday divides the stage. Two logos of Carry Nation will hang suspended in front of the scrim for the opening scene. Each scene begins as a tableau behind the scrim.
"Carry Nation is one of the heaviest' plays we've produced." said Charles R. Lown, University Theatre staff member. Not only are there seven sets, some of which move together to form larger platforms, but each set must be strong to withstand the strain of travel for performances in Wichita and Kansas City with the student touring company.
Every prop used in the opera must look as real as possible. For the opening scene in which Carry
Most of the basic set materials were obtained from the University Theatre's backlog of props; however, period furniture such as rocking chairs and bed had to be reconstructed in late 19th century styles. The fireplace used in the living room scene is a copy of the original mantle found in the Carry Nation home.
STUDENTS AND assistants located a baby carriage and dolls for props. "In fact, we're still trying to locate authentic dolls of the Carry Nation era," said James Hawes, lighting and prop director. Not every doll, even if it looks like those used during the period, is suitable. It may not be large enough for the audience to see.
and her followers destroy a bar, stage crews assembled breakaway furniture. Railings, barrels, footlights and piano crumble before the wrath of Carry. After each performance, the pieces are painstakingly put together for the next night. Toothpicks hold the railings in place and liquor bottles are wrapped with tape.
In addition to supervising the crews, Bickle's job often calls for domestic skills. His sewing machine set up on stage hummed as he hited a seam in the curtain
Clarence P. Seaver, theatre shop foreman, assists University Theatre stage manager Glenn Bickle, Hawes and Lown in the construction of stage settings. With the help of students, these men create the visual backdrops for the opera. Each student worker may average nine hours a week working on sets for his classwork. Others spend many additional hours. One student climbing a ladder to paint a flat estimated that he had spent about 30 hours in the last few weeks working on Carry Nation.
Bickle, who worked with the early stage productions in old Fraser Hall theater, supervises the rigging of the stage and will direct the stage operations for the touring group. He and his crew make the scene changes and check the mobile parts of the sets to see that they move smoothly and at the right time.
scrim. A few feet away, Lown worked on the gas lanterns for the hoe-down sequence.
BELOW THE stage, Chez Haehl, costume designer and makeup director, supervised the final costume changes—a trouser zipper had to be replaced, a panel sewed into pantaloons torn in last night's dress rehearsal.
This week until opening night, the costume department concentrates on the small but important facets of making a complete costume ensemble. During rehearsals the color of a shirt may be changed, a skirt hem lowered.
Approximately 130 costumes are needed for the Carry Nation production. In order to complete them on schedule—before dress rehearsals—Haehl studied the script early last fall to research costume styles, plan color schemes and choose material. Many of the costumes came from the University Theatre wardrobe room and others were ordered from Hollywood costuming houses.
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