Daniel McIntyre Collegiate Institute - Breezes Yearbook (Winnipeg, Manitoba Canada)

Page 17 text:

D. M.C. 1. BREEZES 15 dined to take all the corners. Once or twice when the chorus shouted ‘Aye, Aye’ or ‘Horrible, Horrible,’ the effect made one think of little girls and boys who say their piece at the Christmas treat. The role of Butter¬ cup, “who mixed the infants on her baby farm,’ was filled by a very tal¬ ented young person with a voice well suited to it. Josephine, the Captain’s daughter, did some sweet singing. The parts of Captain Corcoran, Ralph Rackstraw, Dick Deadeye, the boat¬ swain, mate, midshipman, and Cousin Hebe were carried out with an amount of capability and resourcefulness that gave great pleasure and was full of promise for the future. The accom¬ paniment was given on the piano throughout, but a splendid orchestra played the overture. The dances be¬ tween the acts were very much ap¬ plauded. “Miss M. Cussans is the dancing director, Miss M. Anderson and Mr. Martin Murphy, the dramatic direc¬ tors. Mr. A. Beech and Mr. W. Mount- ford had charge of the scenery. The list of principals includes: Dave Yed- deau, George Murray, Sydney Cohen, Norman Blackie, Frank Thorofson, Vernon Leatherdale, Joe McCracken, Gilbert Johnson, Kenneth Hayes, Rob¬ ert Kibblewhite, Edna Chapman, Nora Edwards, Ethyl Doig, Janet Kenner, Grace Smith, Evelyn By¬ water andi Hazel Searle.—L.S.” The cast chosen for the Friday evening performance proved to be identical with that of Wednesday evening. This was purely coincidental, however, for the characters were all judged separately. ROY HEIDE, 25. “FACING THE FOOTLIGHTS” Gilbert’s wit, Sullivan’s catchy tunes—gorgeous costumes on beauti¬ ful “blushing” maidens, delightful scenery, bronzed heroes of the sea (to make young ladies’ hearts palpitate more rapidly), a rhythmical overture, fragrant flowers, the dazzle of foot¬ lights—all play their part in the pro¬ duction of a successful light opera, and are all necessary for the enjoy¬ ment of an audience which applauds most worthily. But did. you ever stop to consider the anxiety and nervous tension back of that beautiful, calm sea? The bliss¬ ful dread of making a triumphant entry, the constant fear that the pins won’t hold, the wonder (perhaps doubtful) whether you know and re¬ member the action, a hasty last look at the libretto or vocal score, a final glance to see if you have forgotten any properties, then a fervent prayer —and you’re “on”! I really don’t think there is any¬ thing that turns your hair white, or brings beads of perspiration to your brow more quickly than not knowing what your “next line” is. The hor¬ rible agony of not being able to recall it, starts you off on a “wool gather¬ ing” expedition, and you immediately begin to wonder how you forgot to remember it. What will happen, sup¬ pose the prompter isn’t there! What if you can’t hear him when he does give the line! What will so-and-so do if you don’t give him the right cue! All these dreadful things are magni¬ fied an hundredfold at the time, and you see the abyss of oblivion slowly opening its vast jaws to destroy you for not paying more attention to the directors. Oh well! you’ll remember it next time. Wait a minute, though, that music sounds familiar. Mm-Pa! Um-Pa! Of course, stupid, you don’t say anything this time. This is where you burst into song, and “Boy, what joyous song it is!” O course there must be a remedy for stage fright. “The three long breaths” idea is a good one, but it doesn’t completely satisfy. Some pre-