Sacramento City College - Pioneer Yearbook (Sacramento, CA)

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f i A Margaret Minard, Art Ball Queen into even the minutest detail, executed under the competent supervision of skilled directors. Committees were formed for this purpose, with Miss Amalia Fishbacher as advisor for papier mache work and color arrangements; Mr. H. M. Ward directing scenery construction; Marjo Chappuis and Eleanor Eastin as co-chairmen of costume design and construction; Marshall Brooks directing the lighting; Sue Robinson as chairman of the pageant and ballet; and Jack Dole as chairman of the poster committee. Surely, the art department out-did itself in original design and ingenuity. The executive committee, without which no project could materialize, played its own important part and those with businesslike inclinations lent a willing hand to the cause of art. J. S. Hughes was general chairman, with J. B. Matthew as chairman of the pageant, decorations and dance; M. J. Brickley, of finance; John Norton, of tickets; Carson Sheetz, of publicity; Clarence Nash was comptroller, and the list is complete with Student Body President Bob Mallet and Art League President Mac Norwood. Those who went (and who didn ' t) enjoyed donning their best bibs and tuckers (tuxes and formals, if we must eludicate) and sallying forth to the great social event of the season that had been looked forward to from the time school began. Everyone appreciated the South Pole Idea not one wit less than the glamour, glitter and glory of the clossal productions turned out by Hollywood ' s master minds. The Annual Art Ball has now grown into a well-established institution and tradition, something to be planned for and expected each year. True, it ' s not quite as elaborate as the Ziegfeld Follies or George White ' s Scandals, but it ' s ours and we love it, and will continue to do so with each succeeding Ball that brings forth new ideas and new talent, and provides for these through the Student Scholarship Fund that comes from its proceeds. The 1934 Art Ball was an unparalleled success; only time will tell whether other years will equal that success. —19—

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; fij ART BALL • - -i Wholehearted ‘eMhusiasm, painstaking effort, and cheerful co-operation kt went into the ma mg of tffe finished and practically professional 1934 Arctic t Art Ball. It was a spectacle without being too much of the spectacle, combin¬ ing a good show with the popular orchestra and dance that we all love so well. It was entertainment not soon to be forgotten. It was fun! The entire pageant was directed by Miss Marjorie Graham, who can’t be complimented enough. She was aided in every possible way by Miss Honora Beard, who ably supervised all the dances and by Arthur McCue, who acted as pianist. They carried out the South Pole theme to the ninth degree. The Snow Sprites included Bliss Bater, Kathryn McCleary, Eleanor Cohun, Louise Shepard, Jacquelyn Madden, Anne Buckman, Joan Kercheval and Camille Reynolds, and formed a fitting background for the effective dance of Glenn Vroman in his role of King Winter. The ballet was composed of Jean Stoddard, Elizabeth Landsberg, Blanche Goldstein, Shirley Beatty, Betty Coleman, Marie Eubanks, Dorothy Damm, Elaine Wheaton, Catherine White, Margaret Briggs, Hannah Mary Silver, Matina Compaginis, Anna Marie Haley, and Ruth Stark. They executed the intricate steps of the dance with an effortless rhythm and a poised assurance surprising in amateurs. The queen and her court.” This has always been a phrase to catch the eye and ear, and the reality did indeed catch the eye of every one present. Margaret Minard was the queen, but her maids seemed no less lovely than she, and the judges had a difficult time choosing among Margaret, Sue Robinson, Peggy Edwards, Dorothy Douglass, Dorothy Evans, Jean Toffee and Betty Pratt. The high spot of the evening came when the Penguins stole the show from Sprites, Ballet, Queen and all, and literally brought down the house. Spectators called for an encore, and, as if that one evening wasn ' t enough, the perky little oilcloth birds later gave three command” performances. We ' re still chuckling over them. All this could never have been possible without the unfailing aid of the art department, which, through the Art League, is responsible for the Ball. It would take unlimtied time and space to tell of the patient work that went —18—

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Left to Right: Speich, Dumont, Ferguson, Fackler, Lipps, Morgan, Clayton, Rivette, Bartler, Artz, Gold and Davis. A LIVE WOMAN IN THE MINES The Department of Dramatic Art opened their 1934-35 season with the production, A Live Woman in the Mines, a typical melodrama of pioneer days described as a highly diverting, moving, and moral comedy of life in early California. Ruth Gartler and Jean Toffee alternated in the title role of Mary Wilson at the two performances, on December 6 and 7, with George Artz as John Wilson, Mary ' s husband and the upstanding young hero. George Sutter and Tom Wilde portrayed Cash and Dice, two most villainous villains with base designs upon the inexperienced and virtuous John and Mary. John Ferguson was seen as Pike County Jess, a diamond in the rough, while Dorothy Pratt and Margaret Dumont alternated as High Betty Martin, Pike ' s rough and ready girl friend. Other members of the cast were Laurence Davis, James Clayton, Celeste Johnson, Margaret Knox, Joseph Rivette, Wesley Speich, Cecil Morgan, Robert Gold, Max Fackler, Owen Hiddleson, Mary Louise Atkinson, Dorothy Lipps and Lawrence Schei. The play was directed by John Laurence Seymour, with Miss Frances Frater as production manager and technical director.