Severely handicapped class arrives - The Lowell

ftp 10, 7V tmiV. Man* 8.19S1
PROFILES:
Orva Hoskinson and
The Lamplighters
By Jason Mlntz
There Is a sign backstage al the Presentation
Theatre which reads: "One possible reason why
things aren't going according to plan...is thtl there
never was a plan."
As director of Gilbert & Sullivan operetta* for the
past 34 Jtars, Orvr. Hoskinson always has a plan.
"There's no way >ou can fool htm. because he knows
exactly what ycu should be doing at a given moment,"
remarked Judy Jackson, a singer who his
worked under Hoskinson's direction Tor the last 14
yean. "He knows the operettas inside and out."
Concerning a direction he had just given to one of
his cast members at a rehearsal. Hoskihson rulf>
jokingly retorted. "If you don't like it. get your own
company!" He laughed. "That's funny," he recalled.
"I remember when they used to say that to me!"
Hoskinson founded The Lamplighter*, n group of
San Francisco actors and lingers devoted to the quali
Orra Hoiklrooc b a dlncior of The Lwnplljthtm.
ty perfomuncc of Gilbert & Sullivan operettas, in
1951. The Lamplighters have performed at tltc
Presentation Theatre at Turk and Masonic for the last
17 yean.
Hoskinson continues to devote his time to the company,
which is enjoying increasing popularity as
word spreads about the accuracy and perfection of
Lamplighter productions.
In establishing The Lamplighters. Hoskiiuon wasluccessfully
able to say, "I don V like it, and I *itt get
my own theatre company." Hoskinson explains:
"We wanted to do Gilbert & Sullivan because we
thought there was more to the operettas than had been
gotten out of them in the shows we'd been in."
"We" refers to Hoskinson and his friend, actress
and singer Ann Pool. Hoskinson met Pool when he
began to teach voice after returning from the army.
Ann and I felt that they could be done in an artistic,
elegant, polished way. Wr thoroughly
respected the Gilbert & Sullivan matetla). It's really .
sophisticated, and so literate...so knowledgeable, so
verbal, so articulate."
Hoskinson first encountered Gilbert & Sullivan
while arending Presidio Junior High School, in the
form of Pirates of Penztmce. He proudly admits,
"I've been a fan ever since."
While serving in World War II. Hoskinson wu
.again influence! by the writings of Gilbert &
Sullivan. Hs attributes much of bis theatrical
knowledge to the over 75 performances of The
Mikado which he played in, sometimes performing in
the back of a truck. "Even today,** says Hoskinson.
"As I keep doing it, 1 keep learning."
Kosldiuon has held leading roles while he lias been
busy "learning,** in Die Fledermaus, The Gondoticn,
htanthe. The Mikado. H.M.S, Pinafore, The
Pirales of Penzance, Ruddigore. Princta Ida. Trial
by Jury, Yeoman of the Guard, and The Sorcerer, and
has directed productions of each of these operettas.
He insists thai experience has been his most valuable
training. "Whatever I know today about acting ami
, oirccting. 1 learned with The Lamplighters in the best
possible way — in front ol live audiences in many.
many performances over many years."
Ttv* Lampl'ghtcr* opened their first leaser in San
Francisco with H.M.S. Pinafore in 1952 A music
critic from the San Franciico Chronicle saw this production.
"We were lucky," Ho\kinson recalls, "thty
gave us a good review." The icvtew noted that the
production "tcltcs heavily on Orva Hosltinson'< extremely
able stage direction...the main appeal of the
performance docs not !ir in the work of any individual
but in its >p»riteO, nicely organize*! rnscmblc.Mr.
H^kinson has really achieved something."
Tlic Lamplighters* 1963 production of Patience,
featuring Hoskmion as Reginald Bunthomc. drew
"Whatever I know today
about acting and
directing, I learned with
Vie Lamplighters ..."
ruvj reviews, attracting mo:.- crouds than the production
ol Partner being prc*cntcd by Britain's
renowned (visiting Gilbert & Sullivan) pla>en:. The
D'Oyly Carte Opera Company.
Although he lakes fau craft very seriously. Hmkinson
realize.* that the thcatrr is a place to have fun. As
the current cast is rehearsing one portion of The
Siircrrer where everyone on stage is supposed Co be
"froun." one can hear pennies and mckcK being
hurled from the hands of one "frozen" performer to
their target: another "fro/en" performer. Other
"frown" performer arc muttering jokes under their
hrcalh in an allenipl m get their "fnt/cn" fellow ca«
members to Uugh and break character. They uMially
succeed, for Hoskinson helps them along by gelling
in on the game\ himself.
"Imagine yourself gazing at a vision of
lo\elincss." he infracts hi* .rule cost members as
they awaken under ihe power of a love potion and
discover (heir true love at last. He adds, "Even if \he
isn't."
From
Cyrano
to
Caesar
By Curia Newmcycr
"For me. acting is mainly an experience by myself.
The audience is there — I'm sharing the sonc with
the audience but also watching myself."
As n member of the American Conservatory
Theater (ACT). Ray Reinhanlt his shared many roles
— from Cyrano dc Bcrgcrac (o Julius Caesar ^ with
audiences for the past 20 years.
Rcinhanlt's introduction to actinv cjmc when he
read the pan of Macbeth in a h^.i school Engl&i
class. He remembers being flattered by his Englnh
teacher's suggestion that he become an actor. btU
"didn't lake it (the suggestion) to hcirt" for some
time.
After graduating from nigh school, he joined the
Army's Drama Society, where he did his first play.
Once out of the Array, he decided upon acting as
something he might like to do and studied at the
Dmmatic Workshop in New York City. *
For technical and language training he went to
England. !o the London Academy of ?-1ustc and
Dramatic Arts for & year.
His professional careei started with a job off-
Broadway in 1957. "By the lime ACT had seen nie, I
had been in uther regional theaters and had quite a bit
of experience. I Utink they saw (in me) Ul actor
capable of versatility, able to play many kinds of
parts in many styles, who might be useful in a repertory
company," he sdd.
"Basically a repertory company has versatile actors
so they don't have to hire a fresh actor for each
pax" Rcinhardt laughed. "I saved Dam money!"
"Being in a repertory stretches tlic actor. He pliys
all kinds of pans — farce. Uagcdy. young, old — the
whole gamut of character," he noted.
Reinhardt most enjoys "... the very bravura pans
— like Cyran. de Bcrgcrac": plays in which there arc
only two actots: and ".. .plays that use language and
ideas — like those of Shakespeare, like those of
Shaw."
"You're aha projecting ideas in some of the fincw
prae «nd poetry ever written, so that it tests your
L& ! T%2St ar - •«*«•*-
Presenting San Francu
Performing
Ballet isn't jus\
ha-*'
bllaecc. '
y.ypa.taailwavsl
my ballet, bat they neve
into doing it. I b«vc alv.
to be a balta daaccr." i
Zirarnermin irair.l
DimUri and Frtucesc !
Sin Jose, studied in
i year, and then retun
Joie. -
li 1974. after perform]
Sin Jose Dance Thca;-l
manbctannuJyiRgaa-J
Cisco dallct School.
"One cannot b:
dance at the same time .
Zimmerman. "In Jariua
look the btglifhool pal
and got out of %ihooi r
grade." Looking bsci i-J
tion she added. "llu.vc
alt."
In 1977. Zimrncr irar ]
• Company Member
Frtnciuo Diixt.
She decided to join Sal
Ba!lct for H w*> ck»r to A
home in Saolo* Shell
what time they got op — *U Ihe trivialities of dail
life. Behaviors haven"!