TRIO MUSIC ART DRAMA By MEREDITH THOM ~ Palette Club met last Saturday even– ing in the home of the Perry Masons. The club plans to sponsor several edu– cational movies on various art subjects along- with the principle purpose of an organization for art majors. The meet– ings are held the second Saturday of ~ch month. Tonight at eight o'clock in the Searcy High School Auditorium you may hear The National Male Quartet. You should take advantage of these programs not only because you have already paid for them, but that they will broaden your appreciation. Some of you heard the quartet last year in Little Rock and others of you have heard them in your home towns, thus you know what you have in store for tonight. There is a group of people that you know, who have been working for the past weeks in preparation for "A Con– necticut Yankee in King Arthur's Court". Along with tonight's and other programs, you have previously paid for your ticket to see "Connecticut Yankee". • Why should a group of this size spend so much time preparing for three per– formances? There is a pay-roll for them that few of you have experienced. There comes a satisfaction of doing a good job, giving a group of people-you the aud– ience-a couple of hours of relaxation, yes, and even something for you to think about. There is the man at the curtain that can make or break the play, he can pull the curtain in jerks or at a speed not in keeping with the mood of the play. There is the crew who puts a flat up right or does a quick job and everytime during the play that a door is shut the wall waves "hello" or "good– bye", whatever the case might be. There is the actor that plays by himself or treats the other actors on stage as though they were all a part of a team. Yes, the same could be said of directors, scene designers, and even you the aud– ience. It all requires the most complete team work that I know of. The hardest way for you to find this out is to try working without cooperation and along with that cooperation goes consider– ation. Working on a play, like anything else, will have some effect on you. By team work you can bqild your character to a more mature and Christian personality. You probably consider yourself to be quite an adult in your thinking and atti– tude, but unless yo~t're an ex_ception, that I've never met even in the mirror, you ·can still grow a little "taller". Ac– cept my challenge, if you will, and work with the team known as Dramatic Club. You will probably try out for parts that you won't get, work hard without praise, but at the same time you can be grow– ing. Along this same line, I would like td encourage the actors of "Connecticqt Yankee" and other productions to help with the stage work. Just because you appear out on stage doesn 't make you more impor't ant than the make-up or stage crews. You, as an actor will have more appreciation for the work that is done if You do a part of it. Remember it takes complete team work before the last curtairr call with it's rewarding ap– plause. t;r''1;f"'" II lilmlill!!illli!O r{i! ·'· -~RI 1 TRIO ~~fiC DRAMA By MEREDITH THOM 0. K., so you've been wanting a com– edy. Well, here it is. Even at that it doesn.:t mean ~hat you can ."he-haw" continually, because there are some scenes, believe it or not, that don't call for a laugh. You don't need to be laugh– ing t o enjoy a play but how many times has that been said and forgotten? Do you realize that we show less respect for someone that we know than for a complete stranger? I have in mind the two one-act plays of last week, "Sky– Fodder" and "Minor Miracle". The an– nouncement of "no children admitted" wasn't put to work, or was it'? Il was hard to lell, from the stage. Alft·ed Petrich deserves special men– lion for taking Reid Bush's role of Las– los, it happened that both boys were i11 Lhe infirmary the day of the production. Cecil May is playing the part of Sit· Launcelot in "Connecticut Yankee", due to Rejd's illness. We certainly hope to see Ueid improving. David Pot·tei·, Sarah Copeland, Helen Moffett, Chru·les Pittman, Charles Craw– ford, nnd others have been cutting down flats , painting them, and othe.r similar tasks necessary for the small stage and a three act production. It aU takes work, bul it's worth it. Dramatic Club Does · Garner's One-Act On Thursday, March 20th, a one-act play, "The Addict," will be presented in the High School Auditorium ilt lhe regular Dra– matic Club Meeting. This play was writ ten by an ex-IIardingile, Don Gamer, and a feature of the program will be the presentation of the author. Garner was a member of Campus Players for several years, and Vice-president of that group in his senior year. He was also President of Alpha Psi Omega, and is now doing post-graduate : worl< at Kent University, Ohio. j Th@ action of the play takes place in a small. dingy room of a chrap hotel, and IIH' Rlory C<'ll· ters around a dope addict, played hy Meredith Thom The other characters are Ethel, Margaret \Villis; Thelma, Mary Etta Grady; Joan, Mary Lou Johnson; aiHi a m;~rri.cd couple, playcrl by La Verne Crowson and H.ay Wright. Admission to the produc1lon will be free', since li1ere is no eoyalty charge for the perform– ance. Final Curtain On Three Plays .Goes Up Tonight The final performance of three one-act plays presented by the Harding Academy Dramatic Club will begin tonight at 8:30. Directed by Eileen Snurc, the plays are being presented for the purpose of providing tile for the floor in the new training school. Prices !or this presentation are 25¢ for students and 50¢ for faculty members and other adults. 1 "Time For Everything," the 1st I play includes Joe Lewis, Mary Turman, Dwight Smith, Lenora Archer, Frances Johns. Bob Jor– dan and Edward Ritchie, in the cast. The C3st for "Elizabeth," the second play is Andy Ritchie. Pat Johnson, Joe Lewis, Mary Ruth Herren, Rita J o Baldwin, Miriam Draper and Detta Morris. The last play, "Word Without Men," includes Suzy Green, Mir– iam Draper, Lenora Archer, Verna Vaughan, Marilyn Sassar, Ann \Vohlford and Frances Johns. Prompters for the play are Dot Goodwin and Suzy Green. 1
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