Back-Stage with the Players
ANEW standard was set in February when the Players broke with tradition and offered a play instead of the usual student musical comedy selected for Carnival guests.
The decision of the Players to eliminate the old type of "Carnival Show" was the result of much unfavorable comment upon past musical productions, received from both the student body and alumni of the College. It must be said here, however, that many past Carnival shows have been failures, not because of lack of creative talent, but because of lack of funds to produce spectacles equal in merit to those rendered by the "Triangle Club" or the "Mask and Wig Club" of Princeton and Pennsylvania. Those two organiza- tions, unlike the Dartmouth Players, have tremendous followings, and have ample means for support of any productions they may undertake. It is unfortunate that the Players have such little support or backing, but in view of the fact that they have not, the Players have done a wise thing in eliminating musical farces. From the very favorable attitude shown by both audiences at the Carnival play, all indications point to the adoption of the "straight play" as a permanent attraction of future Carnival guests.
Never before have the Players boasted such a spectacular production as this year's Carnival play, George Kaufman's and Marc Connelly's "Beggar On Horseback." Yellow billboards were to be seen throughout Hanover and the neighboring towns advertising this "show of shows" . . . Cast of 60 . . . Revolving stage . . . The Davidod Marionettes . . . Barbary Coast Orchestra . . . 20 scenes . . . Intricate lighting effects. . . . The audience expected something great and they were not disappointed.
Director Warner Bentley deserves more than ordinary congratulations. To undertake a play of such elaboration shows that he is endeavoring to establish not merely a Players organization which produces a general run of collegiate plays, but an organization that will go beyond the usual limited field of amateur undertakings, and present plays regardless of dramatic or technical difficulty.
Although the cast was a large one, leads were well played by many newcomers. George Pettingill (who was seen all fall on the football field), ably filled the role of Mr. Cady, owner of the Widget industry of America. Robert Lindstrom played the part of Mr. Cady's son and was continually referred to as "Homer is sick." Mrs. Cady and Gladys Cady, wife and daughter of "old man Cady" were played by Mrs. Hunter and Betty McWhood, both of whom have appeared frequently on the Webster Hall stage. R. P. Leach, had the "lead," while Patsy Decker played opposite him. Jim Shevlin, president of the Players, took the part of Dr. Albert Rice, a friend of the "beggar." No one actor was outstanding, but as is desirable, all shared honors equally for the mutual success of the play.
DION Boucicault's "Streets of New York" was the play presented for the Green Key week-end. So successful was this production and so highly praised by those who saw it, that the Players have unanimously decided to make this their Commencement production. This choice was made primarily because the audience is as much responsible for the success of the play as the actors themselves. To those who are not already familiar with "The Streets of New York" (sometimes called "Poverty Is No Crime"), it might be remarked that it is one of the most melodramatic melodramas of the eighteen fifties including all the blood and thunder of that period. The deep-died machinations of the craftiest of villains, a selfsacrificing hero and heroine, a destitute mother and her loved ones, sudden death by apoplexy and suffocation, and the firing of the old homestead by the villain, must all be received by the audience amidst tears andlaugh laughter, sighs, boos and bravoes.
Mr. Bentley has cast the play, calling for eleven major roles and numerous minor ones, exceptionally well. Jim Shevlin, immediately after having taken his make-up off for his role in "The Beggar On Horseback," commenced work on his new part of Gideon Bloodgood, the villainous financier; Allan Hewitt plays the crafty Badger who, before the play ends, realizes the errors of his evil ways and sinful life, and brings much applause from the audience by reforming. David F. Pierce, Carlton Yail, Mrs. Green, and Betty Cushman are the harassed Fairweather family "noble and true." Alida, the villainous daughter of the villainous Bloodgood, played by Aileen McDaniel, seeks to unite herself with Mark Livingstone (Warren Hallamore), scion of one of the first families of New York. The comedy element is played by Sol Jacobson, Alice Cox and Robert Sellmer, all members of the Puffy family. Unlike a modern play, the cast had to be very careful in their gestures and voice control in order to keep the play in its correct period and at the same time not to overstep their limits by undue exaggeration. Warner Bentley directed in his usual excellent manner and saw that the parts were portrayed to perfection.
Evidently the potentialities of the technical departments have not been realized, as all indications show that the scenery for the "Streets" was the finest in every detail to have ever rested on a Hanover stage. All the work was executed by members of the Players and under the expert eye of Henry Williams.
The members of the cast showed their versatility between the acts by rendering many old songs which included "Listen To The Mocking Bird," "Whoa Emma" and "Woodman Spare That Tree." One might think that the Mills Brothers were performing, judging from the amount of applause and number of encores received. Because of this splendid reception, Mr. Bentley announces that a larger number of selections will be rendered for the alumni and that any alumnus who has a particular choice he would like to hear, if he will send in his request to the Dartmouth Players, arrangements will be made to have the selection rendered at the performance during Commencement.
CARNIVAL SHOW—1932
