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Conger Reynolds correspondence, July 1918
1918-07-26 Article: ""Sammy Backers""
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Ning, July 26, 1918 "Sammy Backers" (Continued from page 1) of times when the opera house was in use. The "Sammy Backers" is a musical comedy with a patriotic setting and a rollicking, go-as-you-please program full of comedy stuff, catchy songs and dances. The musical numbers, the score and words of which were composed by Mrs. Reynolds, are light comics with one exception. The song "Mother" which was sung by Miss Verna Thompson and chorus is a beautiful selection and left a marked impression upon the audience both evenings. The play opens with a garden scene at the home of Major Blaire at the time of the severing of relations between America and Germany. America's entrance into the war is the theme of the scene which is made very realistic by the presence of two visiting nurses, one English and one French, whose narratives fill the Blaire household with enthusiasm that ends in the resolve that all shall go to France for service. Percy Brown and Barbara Milton, daily visitors at Hillcrest, the home of the Blaires, do not share the enthusiasm and are roundly denounced as slackers. But the former, as the scene closes, decides to try for a commission in the American army and the latter, refusing to be left behind, goes across as a Red Cross nurse. The scene is interspersed with songs, dance and comedy patter which keeps the interest at high tide to the end. The second scene shows a base hospital on the American front in France, a lapse of two years extending between the time of the two scenes. One of the patients in the hospital is none other than Captain Percy Brown whose heroism had saved the station from a surprise attack by the enemy. He was badly wounded and is saved from capture by Nurse Barbara Milton, the "she-slacker" of two years before. His surprise at learning that "Bobbie" Milton is his deliverer is only equaled by Barbara's surprise that heroic Captain Brown is none other than Percy Brown, sissy and slacker of two years ago. New interests for each other awaken and the scene ends with the old, old story. Allan May scored a distinct hit in the character of Percy Brown, the slacker. He made the character a callow, insipid young man without ambition or patriotism until the war came to America, when he casts off his silly mannerisms and becomes a dashing young cavalry officer. Mr. May's fine tenor voice added immeasurably to his success in the character. ther of the terrible twins. She showed splendid stage presence and portrayed the character as that of a patriotic mother and a woman worthy to be the wife of an American officer. Matthew Weis filled a double role. In the first scene he appeared as Private Jack Croft, a splendid young American who dons the khaki at the first call of his country. His lines were well rendered and brought forth a loud applause from the audience. In the second act he appeared as Dr. Marquette, department head of the base hospital and in the second role he was very satisfactory. Gordon Orr, Clayton Tinnes and Porter Kilpatrick appeared as wounded Sammies and supplied the background for the second scene. As George Washington Jackson, the Blaires' colored servant, M. E. Carrigan added a touch of vaudeville that made "The Sammy Backers" a real musical comedy. Mike was right at home in his part, having appeared as black-faced comedian in other home talent plays in Adrian. The ballet dancers and chorus girls were well trained and went through the songs and dances without a mistake. This is remarkable considering the short time that the girls had for rehearsals. An Irish Jig and the Highland Fling were introduced as specialties and made a pronounced hit. The Irish Jig was danced by Agnes Lamm, Lucy Kilpatrick, Helen Eppers, Helen Hayward, Stella Eppers and Mary Shelton. The highland Fling was danced by Katherine Ter Haar, Stella Eppers, Elinor Hohn, and Helen Hayward. The closing number of the program was a tableau, which was most impressive. Russia, England, France, Italy and little Belgium are seen with their eyes turned toward America who enters, strikes the chains from the wrists of Belgium and shelters her behind the folds of the Stars and Stripes. The applause which followed the tableau lasted for many minutes and bespoke the true patriotism of the audience. The tableau was assembled as follows: Russia, Helen Umhoefer; France, Lillian Sell; England, Rose Becker; Italy, Elinore Hohn; Belgium, Margaret Faragher; America, Viola Gunderson. Everything considered, the entertainment stands out as one of the best performances ever witnessed in Adrian and the fact that it was produced entirely by Adrian people proves conclusively that Adrian should congratulate herself as being a community where dramatic and musical talent have not been allowed to disappear. The lead was taken by Miss Verna Thompson who took the character of Barbara Milton, an American girl who needed the crisis of a great national peril to awaken her to the realization of duty. The role was splendidly portrayed by Miss Thompson and her song numbers, especially "Mother" brought her many hearty rounds of applause. As the Blaire angel (?) twins, Irene Libaire and Eva Prideaux made a pair of dainty, captivating comediennes. In curls, pinafores, and half-hose they sang, danced and chattered their way through the scenes and into the hearts of their audience. Whenever the twins appeared it was expected that something was going to happen and it usually did. The young ladies showed clever dramatic ability in being able to fill the difficult roles of Kitty and Peggy Blaire. Marie, the Blaire's French maid was played by Miss Mary Shelton in a real professional performance. Her grasp of the French manners and accent was above criticism and her lines were read with clear, resonant enunciation which testified to the elocutionary ability. The roles of Gwen Hughes and Geraldine Marr, Red Cross enthusiasts, were taken respectively by Lucy Kilpatrick and Katherine Ter Haar. They gave color to the piece in the manner in which they roundly denounced all slackers, male and female. Miss Ter Haar's solo in the second scene was very well rendered and received. Lucy and Katherine made Red Cross nurses that ought to be sufficient inducement for any young Sammy to go out and get shot. The role of Maxine Richmond, an English nurse who visited Hillcrest and later was head nurse of the American hospital, was filled by Miss Cora Gunderson. It is by pure chance that Miss Gunderson was given the role of the English nurse and yet a good many in the audience noticed the marked resemblance which she bore to the late Edith Cavall. Miss Gunderson's task of representing a noble, dignified Englishwoman was very well done. Katherine Leguil had something in her favor in the role of Celeste Duprez, the French nurse. Of French descent, she naturally found the part easy and her lines spoken in English with a strong French accent, gave a dash of local color to the play. Agnes Lamm took the part of Mrs. Blaire, wife of Major Blaire and mo-
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Ning, July 26, 1918 "Sammy Backers" (Continued from page 1) of times when the opera house was in use. The "Sammy Backers" is a musical comedy with a patriotic setting and a rollicking, go-as-you-please program full of comedy stuff, catchy songs and dances. The musical numbers, the score and words of which were composed by Mrs. Reynolds, are light comics with one exception. The song "Mother" which was sung by Miss Verna Thompson and chorus is a beautiful selection and left a marked impression upon the audience both evenings. The play opens with a garden scene at the home of Major Blaire at the time of the severing of relations between America and Germany. America's entrance into the war is the theme of the scene which is made very realistic by the presence of two visiting nurses, one English and one French, whose narratives fill the Blaire household with enthusiasm that ends in the resolve that all shall go to France for service. Percy Brown and Barbara Milton, daily visitors at Hillcrest, the home of the Blaires, do not share the enthusiasm and are roundly denounced as slackers. But the former, as the scene closes, decides to try for a commission in the American army and the latter, refusing to be left behind, goes across as a Red Cross nurse. The scene is interspersed with songs, dance and comedy patter which keeps the interest at high tide to the end. The second scene shows a base hospital on the American front in France, a lapse of two years extending between the time of the two scenes. One of the patients in the hospital is none other than Captain Percy Brown whose heroism had saved the station from a surprise attack by the enemy. He was badly wounded and is saved from capture by Nurse Barbara Milton, the "she-slacker" of two years before. His surprise at learning that "Bobbie" Milton is his deliverer is only equaled by Barbara's surprise that heroic Captain Brown is none other than Percy Brown, sissy and slacker of two years ago. New interests for each other awaken and the scene ends with the old, old story. Allan May scored a distinct hit in the character of Percy Brown, the slacker. He made the character a callow, insipid young man without ambition or patriotism until the war came to America, when he casts off his silly mannerisms and becomes a dashing young cavalry officer. Mr. May's fine tenor voice added immeasurably to his success in the character. ther of the terrible twins. She showed splendid stage presence and portrayed the character as that of a patriotic mother and a woman worthy to be the wife of an American officer. Matthew Weis filled a double role. In the first scene he appeared as Private Jack Croft, a splendid young American who dons the khaki at the first call of his country. His lines were well rendered and brought forth a loud applause from the audience. In the second act he appeared as Dr. Marquette, department head of the base hospital and in the second role he was very satisfactory. Gordon Orr, Clayton Tinnes and Porter Kilpatrick appeared as wounded Sammies and supplied the background for the second scene. As George Washington Jackson, the Blaires' colored servant, M. E. Carrigan added a touch of vaudeville that made "The Sammy Backers" a real musical comedy. Mike was right at home in his part, having appeared as black-faced comedian in other home talent plays in Adrian. The ballet dancers and chorus girls were well trained and went through the songs and dances without a mistake. This is remarkable considering the short time that the girls had for rehearsals. An Irish Jig and the Highland Fling were introduced as specialties and made a pronounced hit. The Irish Jig was danced by Agnes Lamm, Lucy Kilpatrick, Helen Eppers, Helen Hayward, Stella Eppers and Mary Shelton. The highland Fling was danced by Katherine Ter Haar, Stella Eppers, Elinor Hohn, and Helen Hayward. The closing number of the program was a tableau, which was most impressive. Russia, England, France, Italy and little Belgium are seen with their eyes turned toward America who enters, strikes the chains from the wrists of Belgium and shelters her behind the folds of the Stars and Stripes. The applause which followed the tableau lasted for many minutes and bespoke the true patriotism of the audience. The tableau was assembled as follows: Russia, Helen Umhoefer; France, Lillian Sell; England, Rose Becker; Italy, Elinore Hohn; Belgium, Margaret Faragher; America, Viola Gunderson. Everything considered, the entertainment stands out as one of the best performances ever witnessed in Adrian and the fact that it was produced entirely by Adrian people proves conclusively that Adrian should congratulate herself as being a community where dramatic and musical talent have not been allowed to disappear. The lead was taken by Miss Verna Thompson who took the character of Barbara Milton, an American girl who needed the crisis of a great national peril to awaken her to the realization of duty. The role was splendidly portrayed by Miss Thompson and her song numbers, especially "Mother" brought her many hearty rounds of applause. As the Blaire angel (?) twins, Irene Libaire and Eva Prideaux made a pair of dainty, captivating comediennes. In curls, pinafores, and half-hose they sang, danced and chattered their way through the scenes and into the hearts of their audience. Whenever the twins appeared it was expected that something was going to happen and it usually did. The young ladies showed clever dramatic ability in being able to fill the difficult roles of Kitty and Peggy Blaire. Marie, the Blaire's French maid was played by Miss Mary Shelton in a real professional performance. Her grasp of the French manners and accent was above criticism and her lines were read with clear, resonant enunciation which testified to the elocutionary ability. The roles of Gwen Hughes and Geraldine Marr, Red Cross enthusiasts, were taken respectively by Lucy Kilpatrick and Katherine Ter Haar. They gave color to the piece in the manner in which they roundly denounced all slackers, male and female. Miss Ter Haar's solo in the second scene was very well rendered and received. Lucy and Katherine made Red Cross nurses that ought to be sufficient inducement for any young Sammy to go out and get shot. The role of Maxine Richmond, an English nurse who visited Hillcrest and later was head nurse of the American hospital, was filled by Miss Cora Gunderson. It is by pure chance that Miss Gunderson was given the role of the English nurse and yet a good many in the audience noticed the marked resemblance which she bore to the late Edith Cavall. Miss Gunderson's task of representing a noble, dignified Englishwoman was very well done. Katherine Leguil had something in her favor in the role of Celeste Duprez, the French nurse. Of French descent, she naturally found the part easy and her lines spoken in English with a strong French accent, gave a dash of local color to the play. Agnes Lamm took the part of Mrs. Blaire, wife of Major Blaire and mo-
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