Racine High School - Kipikawi Yearbook (Racine, WI)

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, wllllllllla 'u ll A1'A1 3i5iEE E 1EE:a3:E12':i2E5i Z::iEff2E22fg ' llmllllllllllf IQ ' llllllllllll ' l I 'ull' tie . . l t 2 rl e 1 i .. . l '1-wilI l l.'lllmlll l lllilllllttllll ll visit-it ill, ll ll nm mqmmmmi lllllll 35 .35 1:,' 253 , tilzzli 2131 ziiz num illIllllllIIIIJumillllilllllllllllgllllllllll ..s?::r: fonef a fapanefe .Mandarin coat, and laft of all Eleanor in a dazzling Jcarlet evening gown.j SANDELIN: That's enough. I'll take the one in red. All right now. CCallf 0-ff Jtagel Fairies, line up and make it snappy. QBertha Ott stumble: in, one hand on her hip and the other twisting a long chain of beadyj SANDELIN: Say, that's awfull Eugene Elkin can do it as well. Nextl All march out, and try a little acting. fMarjorie Sooboda, Laura Krauf, Doro- thy La Londe, Francef Corbett, Rofe Man- tell, Elizabeth Iflfalker, and Ruth Tidyman toddle gracefully on to the ,rtagej SANDELIN: Hey, you with the jade earrings, act a little more dramatic. Use some pepper-raisins, I mean. Ah, that's the girl fpointing to Elizabeth Walherj. You win the hand-painted flag pole. You're hiredl All off but Lizzie. CTO Chadwichj Now let's see the vamps. I suppose they're a bunch of prunes. Cfofeph Robotlea, Roy Hfhitley, Carl Lange, Milton Lewif, and Emil Geyer prance around the Jtage in a circle, Jhriehing wildlyj SANDELIN: Heyl Who let you dubs in? I'll have to kill that doorkeeper, Henry Kark. He's always asleep and snoring. You aren't supposed to do a goose-step. SANDELIN: CTO jofeph Robotkaj Off the stagel You look too much like a park bench. CTO Carl Lange.l You resembles a lamp-post at midnight. CEmil Geyer and Milton Lewixfleefrom the .rtage in fear. Thif leave: Roy Whitley attired in a brownifh tweed fuit, cane, golf cap, and uxing a cigarette holder fix inchef long, Jtanding in the middle of the Jtagej SANDELIN: With that telephone post in your mouth, you could do anything. You'll do. tHe turnf to Chadwiclej Now show me the aspirants for the French Maid. CEllen Rofhar and lllarjorie Afdahl appear in the wingf but refute to adzfance on the ftagej SANDELIN: Aw, come on, girlicsl Don't be afraid. That's it. Let's see you curtsy and parley-vous a little for us. CPoint- ing to .Marjorie Afdahlj. You're dainty enough. Now let's hear your French. MARJORIE ASDAHL: lTimidlyD Oh, Sir, I can't speak French. You see I never was in France. V - SANDLEIN: Humbugl Qlndicating Ellen Rofharj You talk for us. ELLEN ROSHAR: fGe5ticulating wildlyj Mais oui, Monsieur, vous etes tres bienl SANDELIN: Wonderful dramatic abil- ity. Be here when we start practices. tHe turnf to Chadwiclej Well, we've had pretty good luck with the maids. We need a little kitchen help now. CThe applicantf for the part of the Swedixh cook, Delta Sorenfen and Lucille Schulte, :talk acroff the .vtage and Jtand with their handy firmly planted on their hipf.j SANDELIN: CTO Lucille.D Now, pre- tend I'm your employer and see if you can quit your job decently. - LUCILLE SCHULTE: CWithfee1ing.H V Oh, dear, I never could give notice. Yvhen- ever my mistress would start to weep, I'd always relent. SANDELIN: You'd never do. CPoinling to Delta Sorenfenj Are you soft hearted too? DELTA SORENSEN: I should say notg believe me, if anybody gets fresh with me, it goes hard with them. SANDELIN: That's the right spiritl You're hired. CTO Chadwickj Well let's see. There's some more kitchen help in this play. The French chef. Throw 'em inl CRobbinJ Foyter and Theodore Stewart glide in, each bearing a griddlej SANDELIN: Ah, I see you are both well equipped for your jobs. Let's see vou flip pan cakes. Every real chef has to be an accomplished flapper. CBoth would-be chefx attemptflapping a rubber mat. FOIlET,I.fdllI to the floor with a thud,' Stewart turn: gracefully, balancef it in the air for a moment, and returnf it to the pan.j SANDELIN: Wonderfull An artist in- deed. Even if you are a bone-head, you can flap pancakes. All right. CTo Chadwiclej Call in the villains.

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lll llTtl'llillilll11'llllllllllttil Ulibe Seniors 1515111 Tryouts for the famous play Don't Chew Your Nails by the author Donald Wadewitz are being held in the Good For Something Theatre. Director Floyd Sandelin is in charge. He Speaks in quick brusk tones to the group gossiping idly in the left wing of the half-lit empty theatre. SANDELIN: Let's start. The first chorus comes for the Hrst act. CTurning to the assistant director Wi'lliam Chad- wickj. Start 'em in. Let's See how rotten they are. CMartha Hood, the orchestra leader, begins some wild gestures with a dumb-bell and finally succeeds in attracting the atten- tion of Gildard Konz., the drummer, who is pounding gaily on the tom-tom, and smiling sweetly at Beatrix Buell, the ukelele player. Ruth Kristerius is sitting alone in a corner blowing her old favorite, So Long Letty , on her saxophone. Ted Larson caters to Martha's frantic ejacu- lations in French by sliding his trombone straight into the face of the cornet player, Eleanor Sackrider. Rae Verby, the pianist, is calmly powdering her nose, thereby jlling the air with dust. Martha finally persuades Harlan Snoke to play Home Sweet Home on his accordian with the aid ofthe jazz whistle played with accomp- anying action by Katharine Feiker.j CDirector Sandelin starts a try-out for the chief dancer of the chorus.j CEnter Helen Moore.D SANDELIN: Well, you're not so bad looking. Let's see how high you can kick. HEI.EN2 Oh, Sir! SANDELIN: You're hopeless. Nextl CEdith Kovar comes mincing in.J SANDELIN! Because of your radiant smile and graceful walk I need not try you out. You're hired. Now trot out with the rest. CEnter the chorus girls, Helen Barta, Vivian Davies, Alice jensen, Helen Greene, Margaret Brown, Marjorie Svoboda, and Ursula Bauman. They start their dance. When they are half through, Sandelin begins to tear his hair until he has a black pile at his feet.j Hey! CThe orchestra stops in lively discord and the girls on the stage immediately take up the latest gossip-the elopement of Wilbor Morgan and jeanette Roskillyj SANDELIN: CTo Chadwickj Waddya think this is? A barn-yard? This is a chorus try-out and they dance like a bunch of raisins. Take them awayl Now the tryouts for Percy, the hero. CEnter Frank Eichelberg, Orrin Loomis, Harold Newman, Carl Albright, David Buchta, and Wilbor Morganj CI-IADWICK, ASSISTANT DIRECTOR: CTo contestants? One at a timel CThe aspirants fade into the wings, leaving Frank Eichelberg standing alone on the stage.j CHADWICK: Twirl your mustache and Say, How delightfullu EICHELBERG: Haven't got one. CHADWICK: What? EICHELBERG: Moustache. CHADWICK: Next! HAROLD NEWMAN: CHe comes forward and is given the same order. He begins to gesticulatewildlysorne where in the direction of his nose and speaks in a weak voice hardly above a whisper.j How delightful. CThe rest, excepting Orrin, flee with looks of despondency on their faces.Q SANDELIN CTO Orrinj You look the part of Percy, the hero. You'll do. CCEnter critics: Forest Leaf, Elizabeth Donner. Alice Engels, and Francis Buj- ham. They rest themselves at all angles at extreme right of stage.j DIRECTOR: CTO Chadwickj Now the heroine will be chosen mostly for looks. Send in the rest of your girls. CTO bevy of girls who come trooping in at left. Ruth Evans, Edna Gunther, Frances Allen, jean Harvey, Eleanor Hindley, Ruth Bye, and Katharine jones glide gracefully toward the footlights, smiling cordially at the criticsj All of you line up, let me see what you look like. CEdna Gunther is in a long black sparkling evening gown, a huge red rose at her waist. jean Harvey wears a jade green tajfeta riding habit, Ruth Evans is inflame coloredfairy dress, and Katharine

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llllIlllf ' A : it E2iE2:iil:E:11:E32ii E:EEiEg 2 igiiiiea ' Hmllll mlllllllllll ll ll l ll! Ill ii1t:'lli'f!i4fl'll.?'tl.llllittfll ll Cllarvard Carroll, Earl Fredrickwn, Arthur Ol:on, and Wallace fohanning, ru:h in and :top abruptly, :tumbling over each other in their frenzied efort: to find the heroine.j SANDELIN: Well, that might pass in the dark. Let's hear you say, Foiledl CA!! try to oblige the director, u:ing their be:t facial exprc::ion:.j HAIWARD CARROLL: CWith a depth of pa::ionate feelingj Foiledl SANDELIN: CTO Ilarvardj You're hired. All the rest of you'd better clear out. We're going to have something real now: no imitation about our ministers. QKenneth Kehl come: in, walking :lowly and with much dignity. Ile ha: hi: u:ual :anctimoniou: look on hi: face. Rufu: King al:o arrive:, dre::ed in a tweed :uit and twirling a walking :tick. Behind him walk: David Buchta in a :wallow tail coat and a high hat.j SANDELIN: Say, you, Cpointing to Rufu:l what do you think this is? No- body'd ever let you tie their knot if you were dressed like that. Fade away, please, and you tto Buchtaj why you look like head lettuce. Now you findi- cating Kenneth Kehlj seem to know what you're doing. Nothing superhcial about you. You're hired. tWi'n.7ield Fo:ter and Marvin Hintz are :een :hifting :cenery in the background, while Randolph Kreul diligently du:t: one :pot on a box with the expectation of being :eated before going about hi: work.D SANDELIN: CWringing hi: hand: in de:pair.D For the love of mud, bring me in something decent now. I haven't got any more time to waste. I want some spinsters - real nice bony, old-fashioned girls. fRuby forgen:en, Grace Cahoon, and Lorraine Olle come :talking in, rolling their eye:.j SANDELIN: QRegi:tering approvalj Fine! Any of you would do. Here I'Il take you Cpointing to Lorraine Ollej. You don't seem to know what to do with your hands and feet. Here's hoping the appli- cants for the Policemen's chorus are as true to type. Where's that apple that wanted to be the leader? CEdmund Gilday come: in and jump: back and forth acro:: the :tage. He brandi:he: a huge magnifying gla:.f and wear: green :pectacle:. The critic: :ud- denly awake became of the reflection of gla:: pa::ing over their eye:.D CRITICS: A vivid characterization. SANDELIN: Oh, all right. Have it your own way. QThe re:t ofthe policemen come ru:hing in, frantically :earching under the rug: and the cu:hion:, and behind picture: and wall-paper. They are Bernard Schulz, Lewi: Payne, Walter Lindh, Leo fert:en, Bernhard Strand, Felix Boyak, and Ger- ald Nel:on. A: :oon a: they hear the voice ofthe director, they :tand at attentionj SANDELIN: You're hired. Every one of you. It's a long time since anyone paid so much respect to me. CAV racket i: heard in the wing:, and Robert Bane come: noi:ily in.j ROBERT! I call this an outrage, sir. Me - I mean - I - a loyal subject of his Majesty treated thusl I tell you, sir, your workmen ought to be discharged. SANDELIN: tGe:ticulating weakly.j Say, you're the deaf and dumb waiter. Anything to shut you up. Bachelors, you're nextl tRoy Poul:on advance: to the center of the :tage and :trike: a manly attitude.j SANDELIN: Too good looking. You'd have been snapped up long ago. Next! tWilmer Davi: come: in timidly.D SANDELIN: No good. You're a fake. You've been married. Next! CVincent Olle marche: in, looking neither to the right nor to the left.D SANDELIN: Ah, here at last is the per- fect bachelor. I have searched for such a type my whole life time. My work is repaid. Fortune has sent you to mel tTo Chadwickj Now the long-haired poets. Bring 'em out. Cfimmie Anderzron and Colville Owen are e:corted to the :tage. They are cujed and weepingj SANDELIN: Who told you to cry? QTO Ilimmiej Say, your hair's curly. Good- iye. CTO 0wen,j You're better than nothing, only stop crying. I won't hurt you. Q0wen. bur:t: into another fit of tear: