Page Five
”Mary Stuart** Promises To Be An Excellent Production
Production
Staff Readies
Stage, Props
As the time for the presentation
of Mary Stuart draws near, mem
bers of the production staff under
the supervision of Ann Howes
Sprinkle are finding themselves
going—to use Mr. Britt’s words—
“Northkit, Southkit, Eastkit, and
Weskit” in search of sets, costumes,
and props for the play. The heads
of the various production commit
tees, appointed last fall by the
Pierrette Council, are busily set
ting the scene for the appearance
on Salem’s campus of Mary Stuart
of Scotland and Elizabeth, Queen
of England.
^‘The production is being done
in a stylized manner,” Miss Battle,
head of the Dramatic Department
explained. “We are not using a
realistic set but space staging to
place emphasis on acting and cos
tumes”. There will be just one
set consisting of platforms of dif
ferent levels, one table, and one
chair. Another feature of this in
teresting set designed by Miss Bat
tie will be three gothic arches con
taining symbolic figures.
Set manager, Grace Walker, ex
plained that her committee will
cover the platforms made by Mr.
Yarborough with cardboard and
canvas. She also mentioned that
Miss Battle’s dramatic class^ was
helping her a great deal with the
set.
As curtains won’t be used, light
ing is one of the most important
features of the production and
Jackie Reeves, director of lighting,
has admitted that she’ll have to be
on her “toes.” There will be no
use of footlights, and changes of
scenery will be indicated by black
outs”. . . -j
In the basement of Bitting amid
bits of cloth and tissue paper,
thread and scraps, Bebe Daniels
chairman of the costume commit
tee, brought Elizabeth to life, sew
ing for her a dress of deep red,
with an effect of rich brocade and
a pleated organdy ruff. The cos
tumes, not authentically Eliza
bethan but suggestive of the period,
are in deep, rich colors for the
royalty and drab brown for the im
prisoned Mary. Me{ibers of the
costume committee have secured
hats and plumes, medallions and
capes, and other items of clothing
typical of the Elizabethan age.
Betsy Gilmour, in charge of props,
explained while pulling a dagger
from a generous tree the difference
between “working props” and the
props used in the actual production.
During' rehearsals props such as
twigs for daggers and Betsy’s in
genious combination of pencil and
brightly colored plastic clothespins
to represent an “old-fashioned baby
rattler” are used. Items such as
parchment papers, old inkwells and
sandshakers, and other objects from
antique stores are beginning to ap
pear as the props committee joins
the rest of the production staff in
recreating the world of Mary Stu
art.
Actors Push
For Concept
Of Character
“Sarah Ann, don’t stand there
like a ten-year-old! Ah, Jean,
that’s right—tease him a bit!”
These strange comments and
others just as strange can be heard
echoing from Old Chapel five nights
a week. And, if one dares venture
within those ancient walls, he
should behold another peculiar
spectacle. In every out-of-the-way
cranny, stretched out in various
contorted positions, are people,
busily engaged in talking to them
selves as they stare into space.
What are these weird happen
ings? The explanation is simple.
The shouts come from Miss Bar
bara Battle, director of the Pier
rette fall production, “Mary Stu
art”, and the curious figures who
drape themselves in the corners of
Old Chapel are the actors who, be
tween scenes steal away to memor
ize lines. While this action takes
place in the background, the actors
on stage work to create the court
of Elizabeth I at the time of the
beheading oF Mary, Queen of Scots.
In the starring role of Mary Stu
art is Sarah Ann Price, who aptly
projects the emotions of a long-
imprisoned queen, awaiting the
verdict of freedom or death. Jean
Smitherman characterizes a vigor
ous, shrewd, yet at times, coquet-
■S^aiST^ne of 'the climactic scenes from the play “Mary Stuart” are Miss Barbara Battle, the Direc
tor, Sarah Ann Price, Jean Smitherman and Nan Williams.
tish Queen Elizabeth I. Robert
Dudley, Earl of Leicester, is art
fully portrayed by Nan Williams.
Leicester is a brilliant politician
whose devotion is divided between
his physical attraction for Mary,
and the political power he enjoys
through loyalty to Elizabeth.
In the part of Mortimer, the
nephew of Mary’s guardian, is
Lynne Sowder, whose English ac"
cent and expressive voice contri
bute to the success of her char
acterization. Martha Goddard, as
Lord Burleigh, Lord High Treasur
er, employs a demanding, pompous
manner as she incites Elizabeth
“to demand the Stuart s head.
C.JIIIllllllllltJIlllllllllllHlIllllllllllHlllMIIIIIIIHIMlIIIIIIMHIMIIIIIllllHIIIIIIIIMIlHIIIIMIMlllfJllllinillllHIIIinilllllHIIIIIlllllliailllg
COFFEE BREAK? j
Spend it at |
Harry’s Hideaway |
_ □
5llllHIIHIIIIIIIinilllllllllllClllllllllllllCilllllllll1IIHIIIIIIIIIIIIHIIIIIIIIIMIHIIIIIIIIIIIIHIIIIIIIIIIIIHIIIIIIIIIIIIHIIllllllllllC3IIIIIIIIIIIIC».«
'COKE" IS * REOTSTEBEO TR«OE-M»BK. COPYSIOHT © 1958 THE^OC«^OOI>_eeME»;;^
CAFETERIA
YOUR KIND OF AN EATING PLACE
422 N. CHERRY ST.
WINSTON-SALEM, N. C.
n
y.-
I
4
THRUWAY SHOPPING
CENTER
Home of LANZ Drestet
and Smart SporUwear
Coordinates
Open ’Til 9:00 P.M.
Mondays thru Fridays
Sat. 9:00 A.M. To 5:30 P.M.
Out of this world!
Space travelers—be on the alert! Make
sure there’s a cargo of Coke tucked
away in the rocket! You may not be
able to buy your favorite sparkling
drink on the moon . . . but that’s just
about the only place you can’t. So
when you’re ready for the big lift, be
sure the cheerful lift of Coca-Cola
goes along!
SIGN OF GOOD TA§TE
Bottled under authority of The Coca-Cola Company by
WINSTON COCA-COLA BOTTLING COMPANY