Sacramento City College - Pioneer Yearbook (Sacramento, CA)

Page 28 text:

■ A NEW WAY TO PAY OLD DEBTS The second play of the season was presented at the Stanford Junior High School on December seventh and eighth, under the direction of Mr. Seymour, who was assisted by Charlotte Wilson. This play, which has the reputation of being the most popular Elizabethan comedy with the exception of Shakespeare ' s plays, has a varied cast of characters, both serious and comic. Its people have the bold colors and somewhat exaggerated personalities of the comedy of humours. John Moller was quite dashing as merry master Wellborn, the hero who found a new and unusual way to pay his old debts,—a way, which, unfortunately, is not practicable in all cases. Russell Azzarra gave another brilliant performance as Sir Giles Overreach, an extortioner, and the villain of the piece. His spectacular fall in the mad scene in the last act of the play was particularly effecti ve. Lady Allworth, a charming widow, was played by Mildred Houston. Margaret Overreach and Tom Allworth, the young lovers, were pleasingly done by Ruth Freidburg and Margaret Gleason who played Margaret in alternation, and by Laurence Davis who played Tom Allworth. That tipsy low-comedy pair—Tapweli and Froth—were acted by Dorothy Pratt and Ruth Gartler. Marrall, the shyster lawyer, was characterized in broad strokes by John Ferguson. In his case the reward for vice w ' as to be kicked off the stage. Lord Lovell was played by George Sutter. Charlotte Wilson, Joe and John Coppin, and Charles Rajnus were the amusing and spoiled servants of Lady Allworth. Other members of the cast were Mary Lynn, Martha Minter, Sarah Heilbron, and Ruth Gardner. This production was staged against a background of curtains. The costumes were elaborate and strikingly beautiful. The make-ups, many of which were unusual character studies, were done by the make-up class under the supervision of Miss Frater. The lighting was designed by Marshall Brooke. Laurence Davis and Margaret Gleason George Sutter and Mildred Houston Ruth Freidburg Left to right— John Moller, George Sutter, Mildred Houston, Margaret Gleason, Russell Azzara, Laurence Davis, John Ferguson and Owen Hiddleson.

Page 27 text:

YOU AND I The Junior College Players opened the current season with a contemporary comedy by the popular American playright, Philip Barry. This charming play combines a serious problem and a semi-tragic ending with a general lightness and gaiety. The leading role was taken by Russell Azzara who was so successful in both of last year ' s plays. Azzara gave a finished and sympathetic perform¬ ance in the role of the artist who was forced to choose between love and a career. Evelyn Culver, another of last year ' s students, was charming as Nancy, the perfect wife who couldn ' t quite com¬ pensate Matey for the loss of his beloved career. George Sutter as Ricky, the son of Matey and Nancy, and Leone Arnold as Ricky ' s sweetheart—both newcomers in the Junior College—were, delightful and natural as the young pair who were faced with the same problem Matey had beon forced to solve. Thanks to the sacrifice of Matey and Nancy, Ricky was able to have both career and wife. John Mollar, one of our most versatile players, was fine as Geoffrey Nichols, the popular novelist. Owen Hiddleson, another newcomer, was amusing as the soap manufacturer. June Phares took the part of Etta, the painfully beautiful and still more painfully dumb maid, bent on self- improveemnt. The fire which destroyed most of our scenery made it impossible for You and I to be stagad with the elaborate settings of past Junior College productions. However, You and I was quite attractively done with modern furniture, against a background of curtains. In this production, Director John Lawrence Seymour was capably assisted by Charlotte Wilson as assistant director and stage manager. The make-up of the cast was supervised by Miss Frater, and the lighting designed by Marshall Brooke. Above, left to right—John Molier, Owen Hiddleson, Evelyn Culver, Russell Azzara, Leone Arnold, George Sutter, June Phare s. Below, left to right—George Sutter, Leone Arnold, John Molier, Russell Azzara, Leone Arnold, Owen Hiddleson, George Sutter, Evelyn Culver. Below—Evelyn Culver, Russell Azzara.

Page 29 text:

Shakespeare ' s last original and uncollaborated play, The Comedy of the Tempest, was presented in two public performances on the evenings of March first and second at the Stanford Junior High School Auditorium. A private performance was sponsored by the educational department for Sacramento school children on Friday afternoon. Painted forests against a background of luxurious velvet cur¬ tains furnished a pleasing setting for the play, the action of which takes place on an uninhabited island. Changes of scene were designated by slight shifts in curtain arrangements and the addition of a few stage properties. Clever effects were obtained by the lighting which was designed by Marshall Brooke. The Tempest is full of human interest, fun and magic like A Mid¬ summer Night ' s Dream, but with a more wistful beauty and a deeper significance. The characters were well cast as to ability. Several important characters were double cast and both parties did equal justice to their roles. Russell Azzara and John Moller, as the savage Caliban, had two different but fascinating interpretations. Dorothy Pratt, as the sweet and innocent Miranda, and Elizabeth Gutherie, a more animated Miranda, proved that freshman can do fine things. Perhaps the most outstanding part in the play was Shakes¬ peare ' s brilliant character of Ariel, de¬ lightfully and successfully portrayed by Margaret Gleason. Ariel dominated prac¬ tically every one of the numerous scenes in which she appeared. Miss Gleason was charming in her depiction of the fairy sprite and her delightful singing voice added much to the difficult role. Kind old Prospero was played by John Ferguson and Ferdinand by Forrest Darby, both newcomers. Excellent bits of humor were inserted by the drunken trio of Trinculo, Ste- phano, and Caliban, the first of the two parts enacted by Joe Silva and George Sutter. These scenes rivalled Ariel in popularity with the audience. Mystery was added by the masque in which Prospero calls upon the spirits for enter¬ tainment. The appearance of goddesses, nymphs, dancers, monsters and divers spirits form a striking picture as well as furnishing a lull in the action. Top of page—Russell Azzara. Center—George Sut¬ ler, Joe Silva, John Moller. Bottom — Margaret Gleason, Dorothy Pratt, Forrest Darby, John Ferguson.