Brunswick Chronicle - November 2009

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The

runswick Chronicle

All The News That Fits We Print

What’s Inside Headlines

Elie Wiesel Visits Wick By Willy Fein(P. 1, 3, 9, 12) Arsenic and Old Lace ByAddison Bennett (P. 1, 7)

Around Brunswick

Snack Bar Review By Johnny Erdman (P. 2) Chronicle Interviews GAP By Drew McMahon (P. 3, 6)

Brunswick Sports/Arts

NCAAB Season Preview By Devin Mehra (P. 4) NBA Season Predictions By Sean Forrester (P. 5, 6)

Student Editorials/News

Christie NJ Upset: Wall St. By Peter D’Agostino (P.8) Why Write? HS Paper By Gus Ruchman (P.9) America-Pakistan Alliance By Nikhil Menezes (P.10) NASA Mission STS-129 By Jake Matthews (P.11) Giving Thanks By Holden Fett (P. 12)

Issue 3: November 2009

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Elie Wiesel Visits Wick

By Willy Fein ‘13 Staff Writer

O

n Tuesday, November 3, Brunswick welcomed writer, teacher, and statesman Elie Wiesel

Upper School, Brunswick’s eighth graders, and several girls from Greenwich Academy—buzzed in excited

to Baker Theater. Mr. Wiesel shared stories of tears and triumph, answered our questions—and then posed his own. Most importantly, he spoke of four simple words: “Think higher, feel deeper.” A packed Baker Theater—whose audience included members of the

anticipation. As the lights dimmed, the conversations came to an abrupt stop, and all eyes were focused on the stage. The whole room

stood in applause as Senior Dean Paul Withstandley said, “Please welcome, Professor Elie Wiesel.” Professor Wiesel was taken to the concentration camp at Auschwitz at the age of fifteen. Later moved to the camp at Buchenwald, Wiesel watched his father die of dysentery mere days before the liberation of the camp by the American army. See “Wiesel” Page 12

The Making of Arsenic and Old Lace By Addison Bennett ‘12 Staff Writer

N

o production is ever easy to put on, and this month’s production of Arsenic and Old Lace was no exception. Though perhaps not as complicated as a few previous shows, like Les Miserables, in terms of set movement, lighting, and sound, this show presented its own issues and challenges. Arsenic and Old Lace marked the first time the tech crew built a set that didn’t consist of a few smaller, moving units,

but rather a single large, stationary set—more closely

resembling a traditional theatrical set than previous

shows performed in Baker Theater. Comprised of “flats”, which are basically walls that are specifically designed for theater, the impressive set included a flight of stairs led up to a balcony and second floor to the apparent interior of a house. Through the large window by an eating table, there was the illusion of a view looking out into a graveyard; in addition the tree outside the window next to the front door augmented the realistic feel of the set. Provided with a nonmoving set, the director See “Arsenic” Page 7


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