Trinity College School - Record Yearbook (Port Hope, Ontario Canada)

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Arts

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Boulden House PRINCIPAL C. J. Tottenham (1937), B A,, Queens University, Kingston. ASSISTANT MASTERS A.J.R Dennys (1945), B.A., Trinity College, Toronto. J B. Geale ( 1965-67, 1971), B. Sc., University of Toronto. Permanent First Class Certificate. G.E. Lewis (1968), B.A., University of Toronto. D. W. Morris (1944), l niversitv of Western Ontario; Teachers College. London: Permanent First Class Certificate. Mrs, Cecil Moore (1942), Teachers College, Peterborough: Permanent First Class Certificate. E.G. Staunton (1973), B.A., Trent University, MUSIC MASTER J AM. Prower (1951 ), A.Mus.. McGill; Royal Conservators , Toronto. ART MASTER D.L.G. Blackwood (1963), A.O.C.A., OS. A., Canadian Society Graphic Art, Canadian Society Painters in Watercolour. DEVELOPMENTAL READING Mrs. Marion Garland ASSISTANT LIBRARIAN Mrs. John Gordon SCHOOL OFFICE Bursar Lieut. Commander J.L. Lindop, R.N. (Ret’d), A C. I S. School Manager Major P. R. Jack, C.D., R.C.E. ( Ret d ), Queen’s University Food Service Manager E.M.D. Bogvay, Diploma, Lewis Hotel School Headmaster’s Secretary Mrs. R.J. Doggett Assistant Headmaster s Secretary Mrs. S.W. Gainer Boulden House Secretary Mrs. C.J. Tottenham Bookkeeper Mrs. H.E. Brisbin Assistant Bookkeeper Mrs. B. Watts Mail Room Secretary Mrs. J.E. Kelley Receptionist Mrs. D.H. Palmer Superintendent J. Fenton Head Groundsman E. Nash INFIRMARY AND HOUSEKEEPING Physician Dr A G. Harrison, M.R.C.S. (Eng.,), L.R.C.P. Nurse, Senior Schoo 1 M rs. Boyd S in yard, R.N. Nurse-Matron, Senior School Mrs. M E. Wheeler, S.R.N. Nurse-Matron, Boulden House Mrs. M. Ewart, R.N. A. Assistant Matron Boulden House Mrs. K. McConville THE SCHOOL CONVOCATION Executive Secretary J.W. Kerr Secretary Mrs. A.J.D. Johnson, B.A. 8

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The Stage In the cool and silent night the theatre sits, stoic and cold in its stately emptiness. It seems very dead standing there in the cold, yet long before the out- side floodlights are switched on, before the first fur- coated patrons arrive to mingle about the great dark doors, deep inside, life has begun. Inside the old east end stage door, past the snarly old guard nurs- ing his coffee cup, and beyond a single red sign de- claring “Silence”, lies the backstage world of the Royal Alexandra Theatre. Jake has worked at the Alex for thirty years. He sits with his feet propped up on a small table just off stage. “Sure, I’ll show ya the place,” he says. “Just be sure not to touch anything.” We go out onto the stage and I gaze out into the emptiness. From this viewpoint, with the theatre lighted only by the red glow of the “EXIT’ signs, one cannot discern any depth ahead of him. There is nothing but a wall of red velvet seats, stretching from your feet to the high arched ceiling. There is a total silence. It is very eerie. Jake escorts me around the massive living room set, chattering idly about amusing incidents that have occurred in the play so far. “Openin’ night,” he giggles. “Ya see the beer cans over there? Well, seems the trip up from De- troit didn’t agree with that there beer and Jeez, did she blow! Sprayed the cast, the lights, some of the audience, too. Missed a lighting cue I was laughing so hard.” I ask of the whereabouts of Forrest Tucker, The star of the production, who plays the coach. “Locked in his dressing room. Goes in coupla hours before showtime and no one goes near him. We knock on his door ten seconds before the lights go on and when he comes steamin’ out that door he is the coach and nobody better get in his way.” Soon on our tour we meet up with Tucker’s under- study, a giant man bearing a striking resemblance to George C. Scott, named Joe Hill. He sports green overalls and carries a well dog-eared script. “My bible,” he says. “Prompt ’em every night.” I ask him what it’s like being an understudy in a tra- velling company. “Hell, it ain’t bad. Get paid bout as much as the “bit part” actors and there’s really not that much work.” “Better clear the stage, men,” says Jake. “They 11 be opening the doors soon.” Outside the lights come on and the first theatre- 10