Sacramento City College - Pioneer Yearbook (Sacramento, CA)

Page 24 text:

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.

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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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Left to Right: Wilde, Atkinson, Sutter, Graff, Ford and Davis. TWO GENTLEMEN OF VERONA The Two Gentlemen of Verona ' presented by the Dramatic Art Department March 15 and 16 as their first Spring play, offered the first opportunity for Miss Frances Frater to direct a major production at the Sacramento Junior College. The sprightly Shakespearean comedy was played on a specially constructed set designed by Miss Frater in the style of the Italian renaissance, with its characters costumed in the authentic manner of the period. The cast included John Ferguson in the role of the Duke; Elizabeth Guthrie and Dorothy Lipps alternating as Julia; Tom Wilde, Proteus; Margaret Dumont and Theresa Graff, Sylvia; George Sutter, Valentine; Elaine Pagel and Celeste Johnson, Lucetta; Laurence Davis, Thurio; Robert Gold, Launce; James Clayton, Speed; Wesley Speich, Antonio; John Dutton, Panthino; Max Fackler, Sir Egla- mour; Owen Hiddleson, Host; George Strouse, an outlaw; Mary Louise Atkin¬ son, Ursula, and Crab, a dog, who almost stole the show. The technical staff consisted of Marshall Brooke, electrical design; Vincent Learned and Roy Jensen, assistant electricians; Wesley Speich, stage manager; Edith Brazil, assistant stage manager; Jean Toffee, properties; Ruth Friedberg, makeup; Mary Louise Atkinson, promptress; Ruth Gartler and John Dutton, wardrobe, and Laurence Davis, business manager. The vocal music was directed by Miss Ivine Shields, with Calvin Ford as soloist, and the orchestra by David L. Burnam. —21