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Boar's Head Dramatic Society of Syracuse University:
Sharing Memories

Boar's Head Pin

Please share your memories of Boar's Head.

Memories are presented in class year order.

Looking for Year




Shirley Metz Frank, Class of 1935

Place Memory: Crossing a dark, deserted campus (we had curfews then!) late at night from Boar's Head rehearsals at Crouse or Slocum to my sorority house on College Place and feeling very special!

Person Memory: Professor Sawyer Falk, incomparable teacher, director, producer, who never hesitated to tell us how good-or how bad-we were!

Vivid Memory: Prof. Falk telling me I would never be a great actress because I was acting my roles instead of being them!

Final Outcome: Prof. Falk was right, of course and after graduation I confined my "acting" to amateur groups becoming, instead, a writer of promotion and publicity for NBC and, subsequently, for a performing artists management company. However, I put my Boar's Head and Syracuse University's School of Speech and Drama training to good use over the years by writing and directing programs and plays for local non-professional groups.



Roland James, Class of 1939

"A Tragic Story"
Yes-at Crouse College first day before classes I wandered all over C.Col up back stairs which top steps squeaked. Soon came Martha Wagensile of Oil City and we had a barrel of fun playing the pianos and organs-practice units only. (We met at our lockers). Becoming fed up with the practice rooms, we tried first (main) and 2nd floor-all the doors! Whoops-here's a stairs so we took it-up up to the belfry-at about 1 pm. We climbed big ben's wheel and bell-carefully up the pigeon netting! On the way down a careless step bonged big ben-wow how to get out fast. But nobody seemed to react. I walked Mar back to our lockers where she missed her pocketbook. We looked and I heard those squeaks again. She left in a huff but I went up the stairs and found the pocketbook empty of money. I turned it in to the red haired lady but offered to take it to Martha living w/ her aunt across the street from me; she wouldn't come to the door-said she had $100 in it and I never saw her again!



Sally Kelly Class of 1942

CLOWNING ADDS ZEST TO LIFE: When my husband and I moved to Havenwood-Heritage Heights Continuing Care Retirement Community in Concord, NH, I wondered if any of the residents would want to be clowns. I had had a clown ministry troupe in my former hometown Sheffield,Mass. After introducing myself as a clown, and subsequently performing at the New Year's Eve Party, I invited any "would-be clowns to a workshop at 10 o'clock the next Thursday morning". Lo and behold, 8 residents showed up! They were in their 70's and 80's, one woman was 91, and I was 83. We were off and running as a clown ministry troupe which we later named The Joyful Joeys.

Now we are in our 7th year! We have performed in many churches, visited most of the local nursing homes more than once, as well as the Veterans Home, performed workarounds at all kinds of community events, paraded down Main Street with Kiwanis, been interviewed on local radio and featured in the local newspaper. We visit Concord Hospital monthly as Caring Clowns, and continually add fun and laughter to the residents of our retirement community. Our Laughter Clinics are hilarious!

We are now 10 strong; some have left, others have joined. Two local, independent clowns asked to be part of our troupe. A 97 year old resident pianist enjoys accompanying us with her lively Scott Joplin tunes. We all love being clowns! It has added a happy dimension to our lives! Our children and grandchildren brag about us! Majoring in Drama at Syracuse opened many fulfilling opportunities for me, and even now in my retirement I had the confidence to start a clown troupe!

I'm sorry I can't attend the reunion, but I know it will be wonderful! I loved Boar's Head. Sawyer Falk was our leader.



Rosemary Coon Taylor, Class of 1944

My four years (actually three and a half-as with the start of the war, I went through the summer of '43 and so finished ahead of my class) in Syracuse under Sawyer Falk in the drama department were just great. One year Helen Hayes had a tryout of a new play produced at the Stage theater of the University on Salina Street. It was Victoria Regina, which she then took to Broadway.

The Stage was an old movie theater, but worked out very well for productions. It was a little scary though walking back to campus at 11:30 PM after play practice when we had to go up Harrison Street to the campus. This was back in 1940-1943, before route 81 was built and the housing area on Harrison was rather menacing. I remember putting on a musical written by Joyce Crabtree about the old south. Can't remember the name, but still hum one of the songs "a mint tulip, a magnolia, a bonny moon above and you to love." Joyce was a very talented actor and I later visited with him when he was rehearsing for the play "Oklahoma" on Broadway. "Grapes of Wrath" was another play we did. The plays got a good response from the students and were great fun to do. Professor Falk had a wide reputation among theatrical people.



Barbara Moon Perry, Classes 1944 and 1963

I don't recall being a member of Boarshead. But when they needed help with the sets, they turned to the Art Dept. I was an Art major and a journalism minor. The beginning of combining the two, began at Syracuse. The director, I believe his name was Larry Crabtree, said my talent was wasted on sets, and he taught me the tricks of make-up, which helped me in later years as a New York Model. Crabtree was a very intense person, and I have learned from 40 years as a Celebrity journalist/artist that intense people are perfectionists dedicated to their craft. Which is good…we need more of that in all of the arts.



Jona Heimlick Clarke, Class of 1946

I studied at the (then) School of Speech and Drama from '42-'46 under Prof. Sawyer Falk, and acted in productions of both Boar's Head and Tambourine and Bones until '48. Some of my co-participants were Jerry Stiller, Gerald Reidenbaugh, Priscilla Gillette, Bernard Barrow (who spent years on television as Ryan in "Ryan's Hope").

Fine productions were presented during those WWII years, including Wilder's "The Skin of Our Teeth", "Angel Street", "Shadow and Substance", and of course, "Claudia"!

I look forward to the Memory Book.



Dorothy N. Holmes, Class of 1946

I attended Sept 1942-May 1945. Left to join the WAVES in WWII. I completed my education (BA) at San Diego State under the GI Bill.

At Syracuse I was a member of Zeta Phi Eta. I do not recall Boar's Head.

I acted in Thornton Wilder's "The Skin of Our Teeth", Green Grow the Lilacs which afterwards evolved into the musical Oklahoma. Helen Hayes attended opening night because a young protogé of hers was the lead.

I had the part of the elderly housekeeper in Gaslight.
I worked backstage on other productions.
I loved being at Syracuse.

I also attended the summer dramatic program or camp the summer before my freshman year.



Gloria J. Yorton Meyering, Class of 1948

I wish that I could help find some of the wonderful people who shared my love for the theatre. When I moved to Washington, D.C. I joined The National Theatre Assoc. which has since changed its name. However, I activily participated in Theatre for Children in Fairfax County. After moving to Greenwich, CT I formed a Young Player's Co. setting up workshops in acting techniques. The company produced several successful children productions which distinguished itself from adults playing to children. Instead trained young players held center stage drawing more participation from the audience because they could relate to the age group playing characters on stage. What I really needed was business training in theatre management and production. An artistic success but a financial disaster for me after spending so much of my own money to keep prices down and large audiences enjoying the shows.

Of course, I'm very interested in receiving a memory book celebrating one hundred years of Boar's Head Productions. Everything related to my theatre experience began with Sawyer Falk's Boar's Head program.

Of course, I'm very interested in receiving a memory book celebrating one hundred years of Boar's Head Productions. Everything related to my theatre experience began with Sawyer Faulk's Boar's Head program.



Virginia (Jean Roxi) Mason (now Swartzendruber), Class of 1948

Memories of favorite teachers!
Janet Bolton-tall, elegant swan's neck like a ballet dancer, blonde hair in a bun or chignon, warm brown eyes-an excellent teacher/coach, graduate of Northwestern.
Marjorie Hurtubise-also a Northwestern product, an excellent teacher of radio performance and programming.
Sawyer Falk-head of the Drama Dept. He was very good in his instruction, direction, etc. but could be quite immiscible, leaving us tremblingly!
Fritz?-who was both in music and drama departments and produced our music-drama production. His wife was a voice coach in NYC.

Student performer I admired!
Jean Slade '46, Bernice Barrow '46, Priscilla Gillette '47, Bill Clotworthy '48-all of whom I saw in NYC-still in touch w. Jean S and Clotworthy. Also Ilene Lehrer '46, Harriet Van Alsk '46, Bruce Clarke '47, Dave Fairchild '47, Kitty Blanchard and Bill Riker '47, Connie Trickett '48.

Productions I loved being in!
"The Student Prince", where we wore gorgeous period gowns from NYC-but which took us by surprise with their weight and initially off balance in our dances. I danced with Stu Wallace. Also "Roberta" with Wao Gillette, De Hartegan and Bill Clotworthy and Bruce Clarke ( becamse CIA analyst). Kitty's "I'll Be Hard to Handle" was great.



Robert J. Varga, Class of 1949

The first musical production on which I worked, spring 1948, was “Girl Crazy”, which we did at the old Civic Theater downtown. It is most remembered for Jerry Stiller’s performance as the taxi driver.

We had just moved to the little theater on Westcott St. and converted it from a movie house to a stage area with minimum depth, little wing space and no fly space. But we had fun. The biggest problem was crossing from campus through Thornden Park. “The Skin on our Teeth” was the most difficult production to mount in that space, but it worked well, even including a motion picture “newsreel” segment which featured professor Olla Rickett as a cleaning woman.

In the Westcott Theater we had a large room upstairs which was the Boar’s Head Room. There are lots of tales which could be told about our operations there.



Earl F. Simmons, Class of 1949

Boar's Head and Related Memories

School of Speech and Dramatic Arts
Matriculated-May 1946
First acting role in "Jane Eyre"-summer, 1946
Followed by appearances in "The Rope" (Eugene O'Neill One-Act), "Temper the Wind", "Golden Boy", "All My Sons" (Arthur Miller) 27 Wagons Full of Cotton (Tennessee Williams)
Boar's Head Treasurer-1948-1949
Two seasons of summer stock-Oneida Castle (NY) Playhouse 1948-1949 With a few exceptions, all involved were current or future members of Boar's Head (We didn't belong to actor's equity yet, but we were paid.)
Graduation-B.S. June 1949
Post S.U.
Working equity actor-15 years-Broadway, summer and winter stock (I still am, equity, ie but no longer work)
In 1964, joined the speech and theatre faculty of Long Island University (Brooklyn Center) and was held over for 22 years. (They had no choice-I was tenured)
For those reading this who might remember me, break a leg. I'm still in the Yonkers (NY) phone book.



Edward C. Campbell, Class of 1950

Here is a summary of my experience with Syracuse Stage. I never really got into Drama with the same intensity that I did radio, but, interestingly, I have participated in more drama after Syracuse than radio.

My career path took me into sales, and the Speech and Drama Department at Syracuse prepared me better for that kind of career than did Radio. I have never forgotten the drama department. Some of my most memorable moments came when I was working with Mr. Crouse backstage.

It was after college that I got back into theatre with rolls in "The Man Who Came to Dinner" (Mr. Stanley) and "Front Page" (Woodenshoes Eichorn) at the Winnetka, Ill. Community Theatre, and in Sarasota, Florida with the Players Theatre productions of "The Importance of being Ernest", "Room Service", "Bye Bye Birdie", "Annie" twice as Drake, Pajama Game and others. And, I also put in some time doing modeling.

So, while my Drama career at Syracuse was not stellar, it paid off with benefits that have helped me immeasurably in the fulfillment of my life.

Thank you very much for allowing me to relive a few of my experiences during my life at Syracuse University.

I remember taking some beginning acting classes in my Freshman year at Syracuse (1946/1947). I do not remember if Jerry Stiller was in that class or not. We were doing scenes from "Our Town". I became involved with Syracuse Stage as a stagehand working with Bill Crouse who was either stage manager or set designer at the time. I remember working with him on sets for the production of "Roberta" with Anita Gillette in the lead roll. I had the job of constructing two elaborate transparent columns that were used on the set for the production number "A Pretty Girl". During the scene, I was watching from back stage and noticed the solder joints at the top of the columns was coming apart. Needless to say, I prayed like crazy that the columns would hold up until the number was over. My other experience came one evening at my Fraternity (Kappa Sigma) when one of my brothers asked me to play a bit part in a show he was in. It called for me to sit by a campfire and raise a mug, supposedly filled with spirits and say "Coobilimey," in a cockney accent. When the time came to utter the line my voice cracked, as a teen's would as you are transforming into adulthood. I do not think the dean of the Drama Dept. was very amused. It was life's most embarrassing moment. My acting career at Syracuse Stage ended and I turned my focus to Radio and WAER where I met and worked with Dick Clark. Post Syracuse experience has found me participating in alot of community and amateur theatre in Chicago, Ill and Sarasota, FL. As they say, if you fall off the horse, get back on to regain your self-confidence.



Millicert "Billie" Howells Evans, Class of 1950

In 1946 I joined Boar's Head. I remember the theater on Comstock..I was in "A Night with Tennessee Williams"-a group of one acts produced by students. Also had a small part in " Long Live Love". In my senior year I had a decent part in "The Bougeois Gentleman" which was done by Sawyer Falk. It was a real treat to be in this group, headlining Jerry Stiller. We rehearsed for month-went to schools to do bits of the play as a come-on. We had classic and our theater-in, the round in (I think it was called) Mechanics Hall (near Waverly but on campus).

Other people I recall were: Peg Mansffee, Rex Partington, Diane Anthony, Vinnie Gerbino, Jerry Gershwin, Al Corbin, Art Carnes. I also remember Janet Bolton, Miss Robinson, Tom Fitzsimmons and a real sweet grad student-Jerry Reidenbaugh (Is he a relative of the gal who wrote this note?) I f I recall correctly, early on we held events at the theater on Westcott-actually I helped with Children's theater in those early years. Good luck with this-I hope this helped.



John Jay Moore, Class of 1950

Full of very fond memories of everyone I knew and time spent, specially the overnighters, making theater at the University. My very best to you all and many thanks.



Bob Bowles, Class of 1951

Boar's Head Memories: I came to Syracuse the Fall of '47 enrolled in the College of Liberal Arts. Vin Gerbino and I rode up together on the train from Valley Stream,L.I. I was a chorus boy in "Girl Crazy". The leads were Jerry Stiller. Midge Cobb, Sue Benjamin, Bill Clotworthy. Midge and I among several others formed a Television Society. We produced shows for WHEN-TV. Midge and I had several shows of our own---one a charade show, a country and western show. We also did local commercials and public service announcements.Midge was a member of Tamborine and Bones. I have real fond memories of Fred Schweppe whose acting classes I participated in. Midge and I were married and moved to California. We continued in theater and eventually had our own theater company for 10 years. I continue to hear from Clotworthy a Sigma Chi brother.



Gloria Loebenson Bloom, Class of 1951

Prof. Sawyer Falk's classes on the history of the theater were extraordinary! He was indeed a very learned man.

I was in a one-act play or scene in a drama class with Jerry Stiller. I think it was called "Pierrot and Pierrette". It was obvious even then (1948?) that he had a gift for comedy.

Marvin Chomsky directed a Spring Pageant in which I appeared as a member of the Modern Dance Production Group. He was an excellent director even then!



Marion Reingold Chase and Jay Chase, Class of 1951

The Drama Dept. and Boar's Head were fabulous times for us, our future ahead of us. We met as freshmen and married in our junior year. We thrived in the courses taught by Sawyer Falk, a remarkable teacher, though attractive female students had to keep a safe distance. Great times in class, in productions on and backstage, and socially with our peers-Gerry Reidenbaugh, who later headed the department, Richard Harris, who eventually also taught his wife Betty Glenzing Harris, a spectacular actress, Jerry Cidler, Jerry Gershman, Jerry Stiller, Rex Partington, Marvin Chomsky, Helen Bachta, Barbara Haines, Peggy Menafee, Vince Gerbiono, Leo Bloom, Rudy and Walter Marinetta, all come to mind. Unfortunately, we have lost contact with all. Bernard Sachs, who taught lighting and stage design and his wife Naomi became very good friends, and indeed, were godparents to our first born. He passed away three years ago.

We participated on and off stage in Boar's Head and student productions. As a student Jay directed S.N. Behrman's "Second Man". Gerry Reidenbaugh then still a student, was in it with Barbara Havner, Ronnie Bettes, and Marion Chase. The student days at Syracuse, and in the School of Speech and Drama, and in Boar's Head, particularly, were defining years for us and only fond memories remain.



Helen Slayton (Hughes), Class of 1951

Judy Marrus Montell and Joe Munn in Fry's Boy with a Cart!

The musical Red Rose and the Briar and first glimpse of Pete Taylor in a flying leap across our little arena stage.

Gerry Reidenbaugh's play about the Amish-hurray for Shirley Fenner, Gerry Leider, and all of the rest!

And was it also Joe Munn (and who else?) in a rather haunting "Hello Out There"--? "Witches Sabbath" -Anita Keal and everyone! "Richard III"-the late, great Ken Bowles and lovely Ilse Popper.

Bergliot Thorstiensson (sp?); we had her in our midst before Iceland became cinematically popular!

Does anyone else find him/herself referring to Syracuse '48-'51 as the "sink or swim" school of acting?

Love to all from Sunny Los Angeles. slaytonhughes@aol.com



Laura-Jean Learned MacDonald, Class of 1952

Most of my “Drama” time was spent with the Children’s Theater group. In “The Wizard of Oz” it was difficult to manage a herd of 5-6-7 year old “munchkins” but, Dorothy made it to the Emerald City okay with just a few mishaps along the way.

My favorite play was “The Bourgeois Gentleman” with Jerry Stiller, where I worked props with my friend Arlene Lieberman. We were surprised at how easy it was to persuade large department stores to loan expensive items like flatware, silver platters, satin pillows – you name it – for a college production. I thought Jerry was a very talented guy then but never dreamed he would have the phenomenal success he has now. Could it be the Boar’s Head training?



Patricia (Tish) O'Conner Toner, Class of 1952

--Climbing those 4 LONG double flights of stairs in HL to drama class with pretty JANET BOULTON who was so encouraging-

--those stuffy and tough lectures by SAWYER FALK

--PETER FALK in front row of those lectures-was no relative BUT "teachers pet"

--seeing Peter on Broadway in Simon play and visiting back stage-was same nice guy who "trudged" "Columbo style across campus--

--recalling Jerry Riedenbaugh's energy and enthusiasm

--appearing with Jerry Stiller in "The Apple Cart"-also visited with Jerry after a show at Dennis Playhouse, Cape Cod five years back-same SWEET guy!

--oh yes seeing DICK CLARK always impeccably dressed sometimes in a raincoat hiking across campus



Ruth Davis (Winokoor), Class of 1952

During my four years at Syracuse University I had occasion to appear in several productions… the first one I did was singing (in the round) in a presentation of "Down in the Valley". (Down in the valley…the valley so low…ect) I used to perform regularly at a college nightclub called "The Club Candide". The Boar's Head shows were innovative and always entertaining…I even recall Jerry Stiller performing in Moliere's "bougeoire gentihomme"…where else could one be introduced to Moliere on such a marvelous level? I still perform (cabaret singing) and I was so pleased to be a part of Boar's Head.



Jerry Leider, Class of 1953

Great memories!!

Recall I won the cup two years running-'52 and '53.

Anybody else???



Harriet Sunderhauf, Class of 1953

As an impressionable 18 yr old I can still remember how far away the theatre was from the temps on campus. Then there were the lectures presented to us by the graduate teachers who tried to convince us as to the fact Theatre majors lived, breathed, and existed only to be in the plays on campus.

And how about the prof whose final exams were so impossibly difficult no student expected to pass them! Certainly these things all convinced me to be a Speech Ed major.

The actors and actresses at Syracuse were great and certainly worked very long hours to achieve their success.



Shirley Fenner Reidenbaugh, Class of 1954

I arrived at SU having graduated with a HS class of 14, but it took very little time to find a “home” and that was Machinery Hall & my drama classes. In short order I got Prof. Falk’s attention. Remember yellow slickers and ratty sneakers? Well, he called me to his office & asked if my father knew how badly I was shod! Straight away I visited Flah’s & purchased penny loafers. Of course, I was afraid of him but never more so than when he summoned me again in my sophomore year. A small, battered book was in his hand & his face was livid. (That’s white with anger, not red!) “Do you understand how important the Broder Collection is to the Drama Department?” He had found it on the basement floor of MH. Lesson #2: Never loan your library card to another student. (Lesson #1 being never dress like your folks can’t afford shoes!) “My Heart Don’t Say So” that same year was corrected grammatically by the DO to read “My Heart Doesn’t…” “Night Must Fall” kicked off my junior year and brought a newcomer from Michigan – Millie McIntyre. She has remained my dear friend for these 50+ years. We were together again for “The Tempest” & “Antigone”. Great casts, hard work – always trying to impress “Professor”. How I loved my senior year. “Lysistrata” played for 30 performances. Wow! “Gigi” was not easily won. Falk said I was too old, but opening night was mine! I owed that to Kenney Bowles, Gerry R. and Cesca Trantum, who were willing to work with the understudy.

Being married to Gerry R. enhanced my association with Boar’s Head as I came to know so many talented people from the 40’s. When Gerry took over the department, I never missed a performance and so it was also my good fortune to know those students after I had graduated. All told, many years of rich & fulfilling experiences.



Bob Scarpato, Class of 1954

"Boar's Head Memories"

My biggest regret was missing the Boar's Head Picnic in the early 50's, when, during the softball game-Sawyer Falk called Peter Falk 'OUT!'-Pete was safe by a mile-but in the argument tried to hand his false eye to Sawyer saying, "Here! You need this more than I do!" Sorry I missed that moment.

One of my fondest memories of SU was shortly after being inducted into Boar's Head! A group of six of us went to see Singin' in the Rain-on Salinas Street to celebrate-Coming out of the movie-it was pouring. We were so upbeat by the ceremony (Boar's Head) and the movie-we lined up and danced down Salinas Street in the downpour-stopping traffic. The group included myself, Judy Deechler, Sam Barkin (deceased), Ralph Ellis, and two others-I wish I could remember who they were.



Donald J. Abramoske, Class of 1955

I have many vivid memories of the Drama Department in the early 1950's. I admired especially Sawyer Falk, the old "Professor" who governed the Department.

One of the best productions was a charming "Gigi" with Shirley Fenner and Gerald Reidenbaugh. I was the very efficient state manager for "Gigi".

My "star" turn came as the messenger at the end of Professor Falk's production of "Antigone".

My best friend among the students was Maris Ubans, who has had a career in college drama in California. But I really don't know all that much of what became of him.

I also remember well Peter Falk's performance in Professor Falk's "The Tempest". Peter was then an English graduate student.

Isn't it marvelous that Bob Dishy is still on Broadway, now in "Sly Fox" (July 17, 2004)?

I have pretty well forgotten the pressures of being a student, and I now remember Syracuse very fondly.



Marjorie Austrian, Class of 1955

I was a drama major for 2 of the 4 years I was at SU. I then transferred to speech and hearing. (My parents advised me to be practical) However, I am back in the "drama business" in NYC's Manhattan Plaza, a residence for performing artists! (and loving it)

While a drama major at SU and working for Boar's Head, I was enamored of Richard Harris, my drama instructor and appeared in the productions of "Patience" (as a love-sick maiden) and "Richard the III" as a lady-in-waiting. I remained very friendly with him until he's death and he saw me in plays. I am still in touch with his daughter who is a singer.



Teri Seidman, Class of 1955

Boar's Head was SU! I hardly remember attending other classes but my drama courses are indelible as are the auditions, rehearsals, and performances. I loved Sawyer Falk's reminiscences of Broadway. I loved when Shirley Fenner and Gerry Reidenbaugh fell in love and remember well when Gerry gave me an "A" in playwriting.

How clearly I can recall Peter Falk in his Callaban costume in The Tempest, my arms papier-mached up to the elbows from making props. When Jerry Leider directed Up in Lights, I cried on his shoulder because the costume for my sashaying down the runway showed my navel. He said I could sew the bikini up one inch.

What fun it was to get special permission to stay out past curfew to rehearse into the wee hours. Waiting in the wings and flirting with cheerleader-dancer Frank Lewis was sweet too.

Outstanding is a moment I've recalled many times as I've watched the Oscar telecasts. Gil Cates was my pal and stage manager for a one act play I directed. While it was being performed in Machinery Hall, I got such a case of uncontrollable giggles I had to leave the theater.

I usually sat in class alphabetically behind Matt Seidman and next to Sheldon Weiner. Bob Dishy was always nearby. One day Sue Plechette made her first appearance, throaty and sophisticated in a ski suit and earrings. We cheered when she got her first role in a Jerry Lewis film.

What priceless excitement the productions were. What priceless anticipation of being in the theater. What glamour the stars in our eyes. My freshman class numbered 64 and we were graduated with 16. I was proud to have remained.



Parker Connors, Class of 1956

It was probably '55 when Sawyer Falk mounted a production of The Winters Tale. I was cast as the old shepherd and Bob Dishy played the clown, my son. One evening, performance evening, I arrived at the theatre 'crocked'. [I had won a junior scholarship trophy and filled [in celebration] with gin more than once…] Well, we made it through the end of act one although Dish had to say both our lines. I had fallen asleep stage center. I was better after the intermission. But without Bob's professionalism, act one might never have ended. And he recently played Willie Loman in the Big Apple.



Andra Tompkins Frank, Class of 1956


Freshman year and my introduction to being in a Sawyer Falk production "The Tempest". Sitting on the steps backstage with my fellow thespians waiting to go on. So much fun. Beroused we were all so starry eyed we also realized what a wonderful opportunity we had been given. Our classes with Gerry Riedenbaugh brought us together as a group. Not all of us were drama majors, myself included, but the memories and training were invaluable. Machinery Hall will always hold a special place in my heart.



Gail Mackta Heinou Weinstein, Class of 1956

My recollections of Syracuse, the Drama Dept., and Boar's Head are wonderful, exhilarating, and special. I remember well Sawyer Falk and Gerald Reidenbaugh whose talents and dedication to theatre perfection made an indelible and lasting impression upon me. Performing in "Antigone" as well as "A Winters Tale" by Shakespeare were two highlights of my time at the University. Working with Peter Falk and Bill Persky as well as Suzanne Pleshette who did achieve major acclaim is a lovely memory.

So many years have passed but the "art for arts sake" philosophy that permeated the atmosphere at the Drama School has held me in good stead throughout my lifetime as I continued my participation in the performing arts and pursued my cultural life.



Jane Dubin Cates, Class of 1957

As a child I had studied ballet, singing, and acting for many years. When the drama department put on the production of "UP IN LIGHTS" in the 2nd semester of my freshman year, I was so thrilled to be in it. Jan O'Kun wrote a special song for me to dance to. Jerry Leider was the director and Gil Cates was the stage manager (he later became my husband for 25 years and fathered my four great children). Being in that show, which was so professionally produced, was the highlight of my college days. I felt like I was on Broadway!



Fradele Feld, Class of 1957

Boar's Head Memories: I enjoyed the shows when I was a student, & have recently moved, packing away a recording of "Up in Lights" that I didn't want to get rid of, as I had to do with so many other things. I am hoping to attend the reunion in the fall, & would be happy to donate this record if you are interested.



Helaine (Levine Feldman), Class of 1958

I was a proud member of Boar's Head in the 1950's and am a proud member of Boar's Head today.



David Katz, Class of 1959

Boar's Head Memories: I would feel remiss to not add my two bits here. due to switching majors several times, and going part time as well four years to more like 5 1/2 and them some gradduate work, but Machinery Hall, and Sawyer Falk were what made my life, not only bearable but wondeful as did Gerry Reidenbaugh, J J Moore and Bob Scarpato. And through the nexty 40 years of trodding the boards in 25 different states, the lessons that I learned and the times that I had came back to me time and again. Thank you all who made that and these memories possible to relive time and time again



Pat Schrack Hogeboom, Class of 1959

TOLERATE NO CHEAPNESS IN YOUR SOUL

An education seeps into our souls, shapes our outlook on life, our value system, shaping whatever kind of human being we eventually become. BOAR'S HEAD, the Dramatic society of Syracuse University offered more than just honors for being in shows. In 1959 it was defined by the people who ran it. We young people longed to join the world of those who had gone before us to be part of the stage. Television was still young. It was the world of theatre that was our dream. Whatever way, theatre would be part of our lives; for most of us it would not be our major career. But we would all live our lives deeply affected by the personalities of the leaders of Boar's Head.

Sawyer Falk had been our hero as well as our teacher. He was old to us then, although just in his fifties and he would die just a few years later. He had mentored each of us; a small group, only thirteen as I remember, who were to graduate that year. He had set a standard for our love of the dramatic arts; he had insisted we develop techniques and skills and he drew out the best of us as performers and as people.

At the Boar's Head dinner, he spoke to us for the future, and he gave us words that became, for me, a model to cling to all through my life. In June of 2003, I wrote an article for a small literary magazine I contribute to regularly. I told of "the Professor", which was how we spoke of him, and those final words, when he summed up his talk and sent us out saying, "Above all, tolerate no cheapness in your soul."

Just one week before I was to visit the SU campus again for the June '04 reunion, I met an old friend, who pulled out his wallet and showed me those words, which he had cut out of the article and carried with him. He thanked me for writing about Professor Falk.

But I thank you, SU, and the tradition of Boar's Head, and our Professor, who gave us so much, and shaped our lives in ways we could never have imagined. We have carried on. It was Syracuse University who gave us our teachers and who gave us our codes for living. Tolerate no cheapness in your soul.



Bob Alonzo, Class of 1960

I am enclosing a copy of Sawyer Falk's original director notes for the "Desire Under the Elms" program. It is interesting to note that he beings "With the consent of Boar's Head…" It was equally interesting to learn that he considered Boar's Head as something special. Then again, Sawyer Falk himself was special.

I came to know Sawyer Falk as a stand up kind of guy. Once we had a quarrel and I gave him a barrage of 4 years of learned Navy expletives including telling him to do a sex act upon his person that it is impossible to do. In return I got a professorial lecture and praise on swearing for effect followed only by a very mild admonishment.

Gerry Reidenbaugh was someone whom I thought of as a friend despite a very rocky beginning. We talked theatre and shared a lot of time together, including a number of summer stock seasons and the selling price of a car that was given us in place of bonus. I mercilessly teased him about his Walter Matthaus acting style and marvel how he hid his cut-off finger as he often want to point "with a rapier-like thrust".

John Jay Moore and his wife, nicknamed "Bruce" were a great couple. If you see them, ask Jay about the time he and Bruce came home to find Larry Parks and Betty Garrick attempting to wipe off the excrement their child had so lavished used to decorate the bedroom wall. Jay, just to let you know, you instructions on set design and construction have held up for me over those years. Thanks!

Without getting too maudlin, some of the best times in my life were spent with the instructors and my fellow students in the drama department at SU. To all of you, I hope you "broke a leg" often and well. I look forward to reading your experiences. Drop me a line at robtdalonz@cs.com



Neila Dunay Fisher, Class of 1960

Summer and Smoke I was Bianca
The Review directed by Bob Scarpato (I was a lemon sister)
Bob Scarpato's "Review" I sang "Tueuckous"
Bob Scarpato's "Yanesco plan"-I sang beginning song.

Mr. Reidenbaugh was an idol. Judy Fonay in Rose Tatoo. The Tennessee Williams Productions were totally professional and inspiring. Eileen Shapiro-outstanding in Othello. Set-design class w/John? Was terrifying and exhilarating-I actually made a window! Sawyer Falk was a legend in his time.

Cast from my first play..with Frank Langella, Jan Pevazone-a comedy 1956
John Alderman "Should have been a star" as should have many others!
Chesca Trantum good actress and teacher. So many talents-forgotten names.



Mary Lou Juras Ramirez, Class of 1961

Whether listening to the sounds of Frank Sinatra's Lonely Town in Dave Axelrod's apartment, creating skits with Carl Gottlied at the Orange, or drinking coffee to the tunes of "Summer Place" at the Savoy, we drama majors had many memories. Mr.Gerry Reidenbaugh, our drama teacher, nurtured us through four wonderful years under his and Sawyer Falk's guidance. As a past president of Boar's Head, I remember Peter, our technical teacher, who loved to relate his adventures in Mexico about tacos (which were nonexistent on the East Coast at that time) while we built flats. He created sets, and we spent many hours and days of building throughout the night only to find Norma Mindell asleep on the top bunk of the set of Desire Under the Elms. Then there was Tommy Finnian, our dancer, Frank Langella in Androcles, and the cast of Gamma Gurton's Needle. I remember how Mr. Reidenbaugh dealt with the disappointment when Paint Your Wagon was cancelled. These were lessons we needed to learn. Most of all, I fondly remember Sawyer Falk and Mr. Reidenbaugh for their knowledge, patience, and concern for us in our home away from home.



Jack Gilhooley, Class of 1962

My biggest Boar's Head/Drama Dept. influence was not a faculty "star" but a young GA from the UK named Elsa Bolam. Smaller than any of us and younger than some of us, Elsa wearied on day of hearing the same interpretations (often misinterpretations) of Williams, O'Neill (what were those 19-year-old actresses thinking when they presented Mary Tyron?), and Wilder. She challenged us to read the new British playwrights and I took the bait. I wasn't any better an actor with a Cockney accent but the "angries" stimulated me tremendously. I guess that I identified when my parents cut my allowance or rendered some other injustice.

Anyway, my awakening led me to a SU semester in the UK which led to a GA of my own to study playwriting, an MA thesis and a college teaching job. Three decades later when I rec'd an NEA International grant, Elsa and her grand husband, Maurice Podbrey welcomed me to their wonderful, Centaur Theatre in Montreal.

Thanks, Elsa. After all these years your influence is still felt.



Peter Maloney, Class of 1963

My father had been a professional actor, and from an early age I knew that I wanted to work in the theatre. I had worked with my father in the community theatre which he founded, first as "call boy" letting the amateur actors know how close we were to curtain time, then as stage manager, tracking props and keeping the stage and backstage areas clean. My father usually directed the plays, and often played one of the leading roles. We acted together only once, in a farce called See My Lawyer. Other than that, my performance experience had been limited to talent contests and variety shows where I usually appeared as a boy magician. I arrived on the campus of Syracuse University in the fall of 1959 excited about beginning my career as a Drama Student.

The Drama Department during those years was located on the top floor of Machinery Hall, a narrow stone building which the department shared with R.O.T.C. There were two theatres in the building, the Boar's Head and The Coronet, and one classroom. The Coronet was a traditional proscenium theatre with wings and borders and a red house curtain. The Boar's Head Theatre featured a very wide thrust stage, almost no wing space and, usually, no house curtain at all. The seats in the Coronet were regular theatre seats, faded red velvet with wooden arm-rests, but the chairs in the Boar's Head had once been used in military aircraft, heavy metal painted olive-drab and upholstered with olive-drab canvas over lumpy cotton batting. Both of the theatres were small, which made possible one of the major precepts of Sawyer Falk, Chairman of the department, which was that it is during the long run that actors learn how to sustain a performance and grow in a role. A play would open and run for as long as two months, no matter how few people came to see it. Most of the plays I did as a student at Syracuse ran longer than those I've appeared in since entering the profession forty years ago. The one classroom in the Department was at the top of the stairs next to the offices, and it was numbered, for some reason, 402. All classes but those dealing with techical theatre were taught there, and during performances it was turned into a dressing room, a curtain down the middle providing privacy for the young men and women who shared it.

The scene shop was in the basement of the building, and there was no elevator. Any scenery built for a show had to be carried up from basement to theatre, or hoisted up with block and tackle if it could fit in the narrow space between the three flights of stairs. The only thing that made it upstairs easily from down below was the terrible smell of burning animal-hide glue if someone forgot and left the hotplate on under the double boiler in the shop. At the first whiff of this awful stuff, someone on the tech crew would realize that the water had boiled away and would dash down the stairs to pull the burning glue pot off the fire. There were no computerized lighting systems in those years, and all lighting cues were accomplished by hand, by arms pulling levers attached to old "resistance" boards. The boards being old, a rusty lever would often prove difficult to raise or lower, and a hammer had to be taken to it in order to accomplish an effect, the hammer's banging hopefully covered by a music cue.

In other words, at approximately the same time that Jerzy Grotowski in Poland was developing his famous theory of a "Poor Theatre," Syracuse University already had one. Legend had it that Professor Falk had for years dreamed of a new theatre and plant, and that the University, for whatever reasons, had thus far failed to provide it. That they had offered him the Regent Theatre, an old movie house down on Genesee Street, and that he had turned it down, preferring to sit it out at Machinery Hall until the administration recognized the theatre's needs, showed him and the Department the respect he felt they deserved.

But there was something about those theatres in Machinery Hall, something elemental that I will never forget. I am certainly capable of being sentimental about my time in the Department, but I don't think I'm being so when I say that there was something essential in the poverty of our theatre's physical circumstances during those years. We had in our hands at that time something of great value, something that, because of irreversible advances in technology, theatre students will never have again. Grotowski in Wroclaw was attacking the "Rich Theatre" by stripping away everything that distracted audiences from the actor, while Falk in Syracuse was dreaming, perhaps, of something grander than he'd been given. But we students in 1960 had to hit the levers on the resistance boards with hammers to change the scene from day to night! We had to re-patch the light board between acts, and sometimes between scenes, in order to meet the demands of the play. We had to use stop-watches, or count silently as accurately as we could, to accomplish the lighting designer's changes all the while paying attention to what was going on onstage. We had to splice magnetic tape by hand and keep an eye on it as it spooled from reel to reel in case it jammed! Without computers, Xerox machines, digital sound chips, or "smart" lights, the theatre of those days was a much more primitive, hands on experience. Cause and effect was a constant and obvious operating principle. The effect on audiences was, hopefully, a magical one, but there was nothing magical about the work we had to do to achieve it. We arrived at Syracuse University not knowing how to do these things and we learned how to do them, because we had to.

The first thing I learned at Syracuse was how to smoke. My parents and anyone who knew me, (and in my small home town everybody knew me) were far away and now I could light up. It seemed as if all the Drama students smoked, sitting in the lounge area outside the department office. And though there must have been an ashtray of some kind nearby, we would often put our cigarettes out on the concrete floor. On one of my first days at school I sat in the lounge area waiting for an appointment with Professor Falk, whom I had yet to meet. He wanted to talk to me about the Department and how things work there. I chatted with some of my classmates, who were waiting for their appointments with the Professor. We gossiped about the Department's famous alumni, secretly wondering if we would ever be as famous as Sheldon Leonard or Suzanne Pleshette or Peter Falk or Bob Dishy or Jerry Stiller. And we smoked. The floor was littered with cigarettes. A pall of smoke hung in the air. It was delicious. An old man wearing suspenders, his shirt-sleeves rolled up, suddenly appeared with a push broom. He pushed the broom back and forth, in and around our chairs, and we lifted our feet so he could clean. He muttered to himself about the mess and the students who made it, swept several dozen cigarette butts onto a dust pan and emptied them into a standing ash tray. Oh yes, there it was! The janitor disappeared, we kept on talking and smoking, and soon I was called in for my meeting. The secretary opened the door to the Professor's office, announcing my name, and there behind the desk sat...the janitor! Oh, my God, the Chairman of the Drama Department just swept up after me while I lifted my feet to let him do it!

All the Professor wanted to know was what my expectations were about life at Syracuse University. I told him that I was looking forward to working in the Drama Department and that I also wanted to continue those extra-curricular activities that had given me so much pleasure in high school, like singing in the University Choir and....Professor Falk, looking down at his desk, raised a hand to stop me right there. He looked up at me, lowered his hand, and said that for the next four years I would be doing two things: studying to maintain high grades in all my courses and, when not studying, working in the Department. He made it clear that students who weren't acting in a play were expected to work backstage. On every production. And the interview was over.

The Drama Department was,in other words, not a "conservatory," a place where students focus on one discipline and one discipline only for the length of their residency, but a school which aimed to develop the complete theatre person, who would graduate after four years with knowledge of and experience in all aspects of the theatrical arts. To that end, it was the students, not the University or the College of Speech and Dramatic Art, who produced the plays on the Coronet and Boar's Head stages. This is where Boar's Head came in.

Boar's Head was the Drama Departments honorary society. It was also, at times, the Department's producing arm. A production would be decided upon by the administration and the faculty and a director chosen, then Boar's Head would get to work. Meetings were held to discuss the project, committees were formed, committee chairmen appointed, all with the aim of seeing that the work of getting the production up got done. Casting, set building, costume construction, electrical installation, property making, stage managership, rehearsal scheduling, publicity, box office, all these things had to be planned in coordination with the Department's faculty members and accomplished on schedule.

John J. Moore was the school's principal designer and teacher of design when I arrived on campus, and many of my early days and nights at Syracuse were spent in the basement of Machinery Hall working under Jay's tutelage. I could not have wished for a better teacher. He was demanding, exacting and funny. The lessons learned about the cost of not measuring twice before cutting once were invaluable. We learned to build scenery the old fashioned way (which was, at that time, the only way), out of wood and muslin artfully painted to look like whatever was required. We learned about cornerblocks, keystones and clinch-plates; comer braces and lash lines; cycloramas and ground rows; sizing and animal-hide glue; how to mix colors from dry pigment; how to paint curved cardboard to look like a seventeenth century cove ceiling adorned with intricate plasterwork. I worked with Jay Moore for four years, in school and in summer stock, and I don't think I ever saw him use a piece of moulding on a set. Jay's realistic sets looked as if they were made of wood and plaster and featured lots of moulding, but it was all an illusion created by a master scene painter with a brilliant understanding of the principles of form and light and shadow. After a show I would sometimes bring friends from the audience backstage to show them that what they had taken to be an oak-paneled room, or a villa with walls covered in old damask silk, was really just paint on stretched muslin, but paint applied by the artist John J. Moore.

During our sophomore year, Carol "Shultze" Lucha and I were co-technical directors for the G.F.Reidenbaugh's production of MOZaIi's Cosi Fan Tufte. The show was designed by Jay Moore as a wing and border set for the Coronet Theatre. The wing pieces lived in a series of slots in the stage floor, three on each side. Six of them would be pushed into view by stagehands as six others were simultaneously pulled offstage and out of sight, in coordination with the flying in and out of borders and backdrops. Thus a view of a formal European garden would be artfully transformed into an eighteenth century Neopolitan interior before the eyes of the audience. Arduous technical rehearsals stressed the synclu'onisation of these moves by student stagehands, for the sliding on and off of the painted panels had to be synchronized with Mozart's music in order to achieve the effect desired by director G.F.R. One of our student stagehands was a young woman named Mary Mintzer of Ogdensberg, New York. During an early performance of the opera Mary must have gotten distracted because in the a vista change between Scene 2 (a seaside garden) and Scene 3 (A pretty room with several chairs, a little table and three doors) she pulled offstage a seaside garden wing piece and pushed onstage.... a different garden wing piece. The wonderful singer and comedienne Bonnie Bradt had just made her first entrance as Despina. While singing about the thankless job of being a maid to Dorabella and Fiordiligi she couldn't help but notice that a large portion of "seaside garden" had invaded the ladies' "pretty room." She complains that she has "to serve my mistresses' breakfasts and all I get is the wonderful aroma of fresh coffee. Do they want me to live on mere aroma?" Bonnie might have gone on to improvise about the aroma of the bank of flowers which had just burst through the wall stage left. Shultze and I, on opposite sides of the backstage area, were on head-sets connected by wire to the Stage Manager. His side-ways view of the stage was enough to tell him that all was not right in Mozart's little world, and he whispered that we had better do something about the situation, and fast. Mary had done her scene change (she thought) and was relaxing at the fly rail when we rushed up to her. "What? What?" the poor girl exclaimed as we approached. A frantic discussion ensued, sotto voce, about whether we should change the wing piece during the scene in progress or "just leave it" rather than call attention to the mistake. I forget what we did, but I do know that later in the run, when the same thing happened again, we said to dear Mary, and she said to us:"There's a wee bit 0' green in the interior."

In F.E. Halliday's A Shakespeare Companion, we find this: "Boar's Head Theatre. The name of the Eastcheap tavern is not mentioned by Shakespeare in Henry IV, though it is implied in the text... '.. .At the old place, my lord, in Eastcheap.' There was a Boar's Head tavern in Eastcheap, but it seems unlikely that it became the Boar's Head theatre, as play-houses within the city were suppressed in 1596. Queen Anne's Men were licensed c. 1604 to play at 'the Curtayne, and the Bores head, within our county of Middlesex,' i.e. outside the city and the liberties. Perhaps the Boar's Head tavern in Whitechapel, east of Aldgate, was converted into a theatre, or a theatre built nearby might have take its name from the inn."

Candidates for Boar's Head were nominated and voted on within the membership, usually at the end of the school year. The organization was an honorary one, and candidates for membership must have distinguished themselves during their time in the Department. Upon being tapped, candidates were summoned to Machinery Hall on a Sunday morning, and there were guided through a ceremony meant to impress upon them the historical continuum of which they were now a part, and the seriousness with which they must approach entry into such a demanding profession. Members representing the theatre's different 'ages' were dressed in period costume and, following a written text, welcomed the newcomers into their "world" before passing them on to the next tableau and recitation. Music from the different cultures and historical periods added to the beauty of the ceremony. It was very simple and direct. Candles lit the Boar's Head and the Coronet stages and there was a feeling, at the same time, of solemnity and delight. So, one was honored, and one went back to work.

Sawyer Falk was a great educator. His course in Drama Appreciation (Drama 33) was legendary and a lifetime source of inspiration to many who had the good fortune to sit in his classroom. He was a man whose interests embraced all the arts. He would come back from vacation to tell us of his reading Sophocles' Oedipus Rex on the plane (for the thirtieth time), and of the new things he had discovered in it; of the art exhibit he'd seen in New York, describing with quiet excitement the mysterious quality of a small wooden cross painted neon-blue and studded with rusty nails. His influence was felt not only in the classroom but in the theatre. The first production during my freshman year was the Professor's production of Othello. Warren Munson played the Moor, Michael Montel was a pathetically funny Roderigo, Eileen Shapiro a touching Emilia. Iago was played wickedly and skillfully by faculty member G.F. Reidenbaugh. I was Assistant Stage Manager and was given the small role of "herald." We rehearsed for six months. At the end of that time, during dress rehearsal in front of the entire cast, Professor Falk cut twenty-eight of my thirty lines. I stood on the Boar's Head stage in brown velvet doublet and plumed hat, declaiming what remained of the speech I had worked so hard on for so long: "Heaven bless the Isle of Cyprus and our noble General Othello!," and hoping that the cut was made for reasons of expediency in story-telling and not because of any inadequacy on my part. Work on Othello was work on voice, verse-speaking, movement, swordplay, and stage-fighting. The Professor was a great believer in the eloquence of the "stage picture," and to watch him work with groups of actors was thrilling. The experience of those months of rehearsal continues to inspire me as I do my own directing.

Springtime was usually the time when Bob Scarpato worked his magic. At the end of my freshman year he directed an original musical review called Play it Cool! After auditioning with a Shelley Berman monologue which I memorized from a record, I was cast in the show. Each member of the cast played a number of roles, and we were encouraged to write for the show as well. I was quite proud of the satire on "beat" poetry that I wrote and performed with Larry Hankin. We satirized West Side Story, the films of Ingmar Bergman, and TV commercials (Donna Hayes and Steve Telepman did a take-off on a spot for "Ban Roll-On" deodorant that brought the house down). Among the immensely talented upperclassmen I remember from that time were Norma Mindell, Jesse Waller, and Nancy Salomon. Bob was an adventurous director who brought the plays of Ionesco to Syracuse and later the one-act plays of Edward Albee. I played "Daddy" in The American Dream, with Marion Present and Esen Wiegand, a talented grad student from Turkey.

Elsa Bolam, a young graduate student from England, was my first acting teacher at Syracuse. During sophomore year she directed me in two one-acts, Gammer Gurton 's Needle, and Goldoni's Rivals in Love, with Pat Latronica, Donna Hayes, Jesse Waller, Norma Mindell and Mary Lou Juras. I played Arlecchino for the first time in Rivals, which began my love affair with the Commedia dell' Arte. Brighella was played by Patrick Latronica. Pat moved to Italy years ago and has become one of that country's most sought-after lighting designers. He and I remain friends to this day.

My sophomore year began with Sawyer Falk's production of Andre Obey's Noah, in which I played Shem. The production was distinguished by John 1. Moore's fanciful sets, and by the animal masks designed by Fine Arts faculty member Ed Fricke. It was in this production that I met my friend Eliot Leibowitz, who played the Wild Man left behind by Noah and his family. And in Noah I worked for the first time with the woman who would become my wife and colleague for twenty years, the actress Ellen Schindler. Ellen played the Tiger. Bob Scarpato staged Richard Harris' allegory The Fourth Pig, which, though a big hit on campus, failed a few years later when it was brought to New York's Maidman Theatre. I stagemanaged the show at Syracuse, which led to my working as Stage Manager at the Fayetteville Country Playhouse that summer and for the next three years. Scarpato closed out the year with his production of Sketchbook '61, a collection of Harris' short plays.

Sawyer Falk died in Paris in the summer of 1961. PETER MALONEY is an actor, director and writer. Since graduating from Syracuse University in 1963 he has appeared in over ninety professional productions, most recently with Bill Irwin in Irwin's Mr. Fox: A Rumination at the Signature Theatre and with the lateTony Randall in Pirandello's Right You Are at the National Actors Theatre. He has appeared in forty-seven films, including K-Pax with Kevin Spacey and Jeff Bridges, Boiler Room, with Vin Diesel and Requiem for a Dream, with Ellen Burstyn. His plays Lost and Found, Pastoral and Last Chance Texaco are published by Samuel French, Inc. A recent play In the Devil's Bathtub was published in the Kenyon Review. He recently performed his fourth autobiographical solo work Kolossal Hero at Ensemble Studio Theatre, where he is a member. He is also a life member of the Actors Studio and an alumnus of the New Dramatists. Mr. Maloney is a Fox Foundation Fellow. He is currently playing opposite Estelle Parsons and Angelica Torn in David Hare's The Bay at Nice at Hartford Stage.



Barbara Moon Perry, Classes 1944 and 1963

I don't recall being a member of Boarshead. But when they needed help with the sets, they turned to the Art Dept. I was an Art major and a journalism minor. The beginning of combining the two, began at Syracuse. The director, I believe his name was Larry Crabtree, said my talent was wasted on sets, and he taught me the tricks of make-up, which helped me in later years as a New York Model. Crabtree was a very intense person, and I have learned from 40 years as a Celebrity journalist/artist that intense people are perfectionists dedicated to their craft. Which is good…we need more of that in all of the arts.



Susan DeCicco Woodland, Class of 1967

I am amazed at how much I remember! The Boar's Head Theatre in Machinery Hall - David Hamilton introduced me to the avant garde-Ganet's "The Maids"-also "The Liger and the Typest" Two years of touring summer theatre! "The Plough and the Saks", "Thurder Carnival", "Thieves Carnival", etc. Wonderful Profs! G. Reidenbaugh, "Mr. R." drilled us in "Diction" from the back rows of the Regent Theatre. The Sage and delightful Joe Golden: "Down in the Valley", "Ten Nights in a Barroom," etc. Gerry Moses put us through voice and movement warm-ups before every rehearsal of "A Country Wife". Ben Woodland taught me to think about what my character was doing "off stage". ("A Taste of Honey") etc. He was my favorite, so I mirrored him-38 years so far! I remember so many terrific friends and fellow actors-Allen Williams, George Wyner, Neal Tonken, Ann Sweeney, Sandy Land, Bobby D'Angelo, Bruce McCurdy, "Baz", "Tom", Disk Falmer, Jace, Lauaince, Rest Miller,-too many to mention AND, above all the memories-The Regent Bar, The Regent Bar, The Regent Bar! Our home away from home!



Rebecca "Becki/Schwartz" Bradford, Class of 1969

I remember Gerry Moses my acting teacher. The new building was under construction and one day when we came into class, a workman with a jack hammer was blasting away on the new stage. We all complained to Mr. Moses about how impossible classroom conditions were going to be having to conduct class to the rhythm and loudness of a jack hammer. In so many words he told us to get over it. If we couldn't concentrate and speak over a jack hammer, we might as well go home and give up theatre. I have used that illustration often when teaching acting, and students have complained about their ability to "concentrate" over distractions.

Dr. Reidenbaugh seemed to like to modernize Shakespeare. One fall when the Scottish play was on the schedule we had a convocation meeting of all the students. Dr. "R" kept asking us how we could modernize MACBETH. However, every hand that went up kept suggesting we should do it 11th century Scotland. We didn't!

I was playing the equivalent of Dopey in SNOW WHITE AND THE SEVEN DWARFS. I was down in the costume room about 11pm the night before we started our school tour, sewing on costumes when the needle of the machine went right through my index finger. There was no blood but fortunately the opera was performing on the main stage and they had a doctor. He was summoned and told me I should go to the emergency room. Off we went, and there at midnight I had to call my parents to ask permission for the hospital to remove the needle which had been lodged in the bone. While I had a local and the doctor operating called all the interns and nurses around to watch him remove the needle, my fellow students were in the waiting room having sandwiches and drinks served by the hospital. Well the doctor was doing his darndest to get the needle out but it just wouldn't budge. So he told me he would give it one more try and then he would sew me up and bring me back the following week. Well it came out but it was 1:30am and I had a performance at 8am. There I was with a big bandaged finger, "drugged" to kill the pain performing the next day. We always greeted the kids following the show and don't you know some kid would always test my bandaged finger to see if it was real…ouch! Well after that event at the beginning drama student convocation each fall, Dr. "R" would always highly recommend that students get the student insurance offered by the University and somehow look directly at me.

Dr. Krempel encouraged my love of film. Dr. Reidenbaugh and Syracuse University indirectly helped me get into a TV movie "Hobson's Choice", because the director, Gil Cates had gone to Syracuse with Dr. "R" and that opened the door.



Esther A. Zaretsky, Class of 1972

I attended Syracuse University from 1969-1972 and have many fond memories of my activities with the Drama department. I made copies of the play bill for the play, "Can Can" which toured New York State and Connecticut in the summer of 1970. My maiden name at the time was Esther Friedgood, and you will see I played the part of Mimi Ann Marie. I still remember the solo I danced with Bob Geary who played Judge Aristede Forestier and enclose some photos.

I also finally remember my work with the Dance department. My sister, Toba Friedgood, attended Syracuse with me and we danced in the show, "From Caterfly to Butterpillar" in 1971 in the dance, "Primitive Man" and "On Discovery". My boyfriend at the time, Richard Zaretsky, was the technical director and enjoyed working the lights and sound system during the performance. We married in 1970, finished college together in Syracuse, and both attended the Delaware Law School of Widener University. We currently practice law in West Palm Beach, FL and have three (3) children, Sosha, Max, and Zev. I am enclosing other articles I wrote in the "Daily Orange" newspaper regarding some of our performances and other play bills and photos. If you need the originals, of any of these documents do not hesitate to contact me.



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