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-

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D. M.C. 1. BREEZES 17 fer to pace up and down backstage. They claim this tends to calm jarred nerves and stimulate confidence. Space, unfortunately, is rather at a premium on the Isaac Brock stage, and thus these ambitious Thespians have to grin and say nothing. Method number three is a sure bet, “Be Non¬ chalant.” The only drawback to this method is that it is rather difficult to be nonchalant when you are striving to remember your words, your music, your cues, your dances, your exits, your entrances, and incidentally, your acting. Not only this, alas, but to maintain a dignity and sparkle with scintillating personality! “Wool - gathering” (apologies to Edw. Thomas’ “Aunt Ann’s Cottage”) is a dangerous practice for an opera singer, and should at all times be avoided. This is extremely bad for am¬ ateur theatricals, as it inevitably leads to the “I wonder where the family is sitting” plot. Here the mind may wan¬ der into several fields (or shall we call them sub-plots?) The most fre¬ quented field of thought-rambling is number one, which results in a scan¬ ning of brown hats, red hats, green hats—and before the actor can deter¬ mine the color of the hat behind the third post to his right ,he has missed, his cue and left his confrere stranded appallingly midstage. Of course, “wool-gathering” offers a splendid means of revenge, but in “respectable” theatrical circles it isn’t considered “sporting.” Co-operation is as necessary in musical and dra¬ matic production as it is in any other field of endeavor, and it is with great satisfaction that we report the splen¬ did feeling and co-operation that pre¬ vailed, among the members of the “Pinafore” cast. Now I hope next year when you go to see the opera, you will just keep in mind this little “revelation,” and don’t forget “The actor lives on his applause.”—No! I didn’t say “apple¬ sauce”—I said “applause.” DAVE YEDDEAU, 25. CONGRATULATIONS! To Miss Kinley and the Girls’ Glee Club, on having successfully defended the Hon. James Cox Aikens shield in the competition for Senior High School choruses. Also, on again winning the Earl Grey trophy, which is awarded to the winner in the competition, open to the winners in all classes of public school choruses. This is the fifth time this honor has come to Miss Kinley and the Daniel McIntyre Collegiate. To the Mixed Choir, on winning the Success Business College shield. This, as a new class in the Festival, was looked on as an experiment by the adjudicators. However, Sir Hugh Roberton pronounced it a triumph, and we may be justly proud of our Mixed Choir. To the Orchestra, which, under Miss Kinley’s capable conducting, gave such fine performances and obtained such great praise from Mr. Jacobson. To Ross Pratt, on winning the Aik¬ ens Memorial trophy, the J. S. Bach composition, and the Concerto for piano and orchestra. To Robert Brown, pianist in the winning trio for pianoforte, violin and violoncello. To Margaret Pincock, on winning second place in the Intermediate piano¬ forte duet. To Agnes White, on winning second place in the duet for two pianos, and on receiving special praise from Sir Hugh Robertson for her splendid ac¬ companiment of the Girls’ Glee Club. To Jessie Scott, Agnes White, and Grace Smith, on winning the Junior Girls’ trio. Also to Edna Chapman and Evelyn Monteith who, with Grace Smith, substituting for Winnie Inskip, won the highest marks in the prelim-