85 he saw how the show could serve as an initiation into show business and how it strengthened relationships within clubs. He fully committed the next year, and continued to be deeply involved in the process, serving as a Spring Sing producer from 1974 until 2005. He died in 2012, but his legacy lived on through not only the award, but also in Spring Sing itself. His legacy also lived on through Frye, whom he hired in 1989. Frye had been Spring Sing director since the mid ’90s. His wife, Dottie Frye, was asked to be co-director of the hosts and ensemble in 1992, and a few years later, the position of artistic director was created by President David Burks specifically for Steve Frye, and the couple worked together on the show for almost 30 years. Under their direction came the reinstatement of the annual themes, which disappeared in the early ’80s until 1995, and they continued to be some of the largest influences of the show. Steve Frye’s ambition for Spring Sing was to match the professionalism of a Branson show, as well as provide students with the opportunity to collaborate on something that is bigger than themselves. 2020 was one of the most memorable years, as it brought the cancellation of the show due to COVID-19. It was planned to instead take place the next year, and the theme was changed from “Once Upon A Time,” to “Twice Upon A Time.” Clubs were required to keep their show themes, and anyone who held a role in the show – whether a host/hostess or in ensemble – was allowed to hold on to it. When 2021 came around, the show was moved up an additional two weeks to accommodate for extra practices, so it did not coincide with the Easter holiday for the first time since 1999, and several regulations were in place, including a limit of 36 people on stage at a time (fully masked), and pre-recorded Jazz Band and production numbers. After having two years to prepare, the anticipation was high. It was also the first year that Theta officially participated in Spring Sing, which they did with Gamma Sigma Phi, Pi Theta Phi and friends. Their show, “Can’t Stop The Feelings,” won the John H. Ryan Sweepstakes Award and $2,000 for Sparrow’s Promise. Then, there were also the several horror stories that circulate, the best being the ones that were told directly — or that were experienced — however, there are others, that were found in the archives of records, such as “Spring Sing Horror Stories” by Emily Nicks in Bison (April 18, 2019). In 1984, one of the hosts, David Slater, fell into the orchestra pit, landing on the grand piano, to the shock of the pianist, who asked him what he was doing down here. Then Slater clawed his way out and on stage, and took a bow. In 2018, a senior Ju Go Ju member hit her head on concrete after tripping, then, due to embarrassment and adrenaline, she went on stage and performed. Afterwards, she found she had a concussion. Behind each and every performance, however successful, was a group of people designing and building the set, tailoring and keeping track of the costumes, frantically working to make sure everything ran smoothly, running lights and sound, playing the instruments, making sure no one tripped backstage and picking up the trash and sweeping up the glitter when the show was over. Without them, Spring Sing would not exist. “Don’t forget about the minority dozen who changed people’s clothes and picked up trash. This was their moment too,” wrote Joshua Johnson (Bison, “The Bluecollar of Spring Sing,” Aug. 20, 2017). It is no small thing to serve, and they deserve recognition. At the end of the day, Spring Sing stood for service, tradition and community. Like many other facets of Harding life, there would be those who were cynical and those who unabashedly love it, and there would be flaws and imperfections, yet, God willing, it would continue. Fifty years from now, may it still be a chaotic blend of neurotic and profound, etching rewritten lyrics in students’ craniums and giving large amounts to charties. May tech crews still run the lights and theatre kids build and paint the set. May it continue to build relationships between peers in the Harding community, and may it provide the common student with an opportunity to perform on stage for thousands. Much would change, as it has in the past, yet may it remain a way to serve and connect with others, and remain a monument to the history of the University. Written by Rebecca Waner Ladies of the ‘80s | One hostess performs her solo in a Spring Sing show from the ’80s. Hosts and hostesses of Spring Sing each have a solo act during the performance. Knights Final Battle | In the 2014 Spring Sing show, Knights social club makes history with their performance based on the American Revolution. They swept awards and took home the winning title. Knights has not participated in Spring Sing since 2014. Photo Courtesy of Brackett Archives
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