Matawan High School - Pillar Yearbook (Matawan, NJ)

Page 33 text:

HISTORY in March, which helped us practice the routine for our big special per- formance of the year, our Prom. Hard work and good judgment were essential for the success of the Prom and we came ahead winning ad- miration. Once again our season ended and we looked forward to the following year when we would be the star attraction. September 1953 saw our troop start with heads high and shoulders back. We went to work immediately selling candy and souvenirs at all our activities. Big occasions and shows occurred often for our troop. The first big one came in December with our Christmas Ball. We attempted more difficult tricks and put over the performance of Don't Ever Grow Up. This was a success and because of our hard work a trip to Washington was awarded to our group. We carne back and settled down to our regu- lar routine. Time passed quickly and soon the biggest moment of our lives arrived. It was our last performance, and our greatest. This was what we had been waiting for Graduation, starring the troop of 1954. We grasped our diplomas and walked proudly out of Matawan High School.

Page 32 text:

CLASS September 1950 was the month of our very first performance in Matawan High School. We were all a bit nervous, but self-assurance grew as we performed day after day. We joined the activities that suited us and because of our successful show, we had a dance to close our year of per- formance. This, by the way, was worth all the hard work. September 1951 was the beginning of our next big performance. No longer classed as Freshmen, we had gained recognition in the eyes of the entire troop. Our best performance of the year was at our Bunny Hop given before Easter. Already people were beginning to notice our star per- formers. We closed the year looking forward to our next season. September 1952 found us relaxed and ready for our show ahead. We had polished off most of our rough spots and our head ringmasters placed more confidence in our performance. To meet the expenses of our troop, Christmas Cards were sold at side shows. We had a St. Patty's Day Dance

Page 34 text:

CLASS I must call to see if my tickets have been reserved for the opening of the Zingling Brothers Circus. Hello, Ida Irons? Please get me the ticket department of the Zingling Brothers. Did you know Dora Jiosne is their receptionist now? Yes, really. . . . Hello, Dora? Let me speak to J.Z. Darling, have you reserved my tickets for tonight? You know I don't want to miss Carlos Concepcion's new mambo band, darling, or that terrific new singer you've hired, Loretta McGee. No, darling, I won't forget to stop in and see you. Toodleloo. Donald Gleichman, once-famed stock-car driver, drives my gold- plated Jaguar out to La Guardia where the plane is scheduled for take-off in fifteen minutes. While waiting for the plane to be announced, who should walk in but that famed comedienne of stage, screen, and television — Joan Campbell. I call to her, but when she is half way across the room she is rushed by a swarm of reporters and photographers. Among them are James Hodge, recently noted for his excellent coverage of the Blink's Bank robbery, and Ann Jobes and Valerie Marvel, reporters on the World Letter and Moon. Headed Joan's way is that eccentric scientist, Arthur Meixner, and on his arm is the terrific blonde, Betty Rosenbohm, who made her Broadway debut in Born the Day After Tomorrow. Mauvline Bilarczyk, air-line stewardess, is at the door of the plane to greet the passengers, many of whom are also on their way to the' premiere. As I sit down I notice James Armour, scientist, Ronald Orr and Robert Carlson, engineers, and John McKenna, electrician, on their way to Space Port No. 93 to start planning for the interplanetary bridge, Creatole,- also among the prominent people present are Alice Blanken, who recently won the Nobel Prize for her poetry, and James Milligan, millionaire. While glancing through my program, I learn the costumes are de- signed by Joan Brown, who is noted for her work in Hollywood. The hair styles are created by Ann Foti, also known for her work in Hollywood, and Elaine Erdmann. The props are made by Joseph Berbrick, brother of Winifred Berbrick, columnist and an associate of mine. As the acts progress I notice Fred Stahlbaum and Jerome Becker are again astounding their audiences with superhuman feats of lifting 900,000 pound weights. During the trapeze performer's act, one falls. A doctor is called but there doesn't seem to be one in the house. Five nurses rush to the disaster: Ann 30