CLEVER SCHOOL PLAY

Wanganui Chronicle, Volume 79, Issue 280, 26 November 1936, Page 9

CLEVER SCHOOL PLAY

“ HIAWATHA’S CHILDHOOD’’ PRODUCED AT OPERA HOUSE What a vast amount of work and patience has contributed to the production of “Hiawatha’s Childhood,” by the Wanganui Intermediate School, which opened a two-night season at the Opera House last night, and is to be repeated to-night. Part of Longfellows poem, “The Song of Hiawatha,” has been set to a collection of Indian folk music by Bessie M. Whitely, and before an enthusiastic audience, pupils cast as the various characters, told three phases of “Hiawatha's” story. He was seen first as an infant tended by his aged grandmother, “Nokomis.” In the second scene the atmosphere of his upbringing and education was created, and in the third “Hiawatha” was shown on. his first hunting expedition. Realistic scenery and appropriate dressing lent that realism to the play so essential to success. All the characters can be said to have acquitted themselves well. A page from out the Western Indian's strangely fascinating past, was unfolded quite effectively, the juvenile players seeming to enter into the spirit of the story as though they really belonged to that world wherein “Hiawatha” and his associates lived, loved and died. The principals in the cast were: “Hiawatha” (in scene II.), Heather Kingham; “Hiawatha” (in scene III.), Pani Korowhiti; “Nokomis," Valda Southcombe; “lagoo,” Jack Wills; The Messenger. Dorothy May; “Mudjekeewis,” Donald Grant. Their lines were well spoken, clear and distinct, and their acting quite good. Around them they had a host of Indian warriors and maidens, phantoms, weird spirits and fireflies, all blending into the story and all typical examples of the vast amount of preparatory work and interest taken to complete the play. There were tomahawks “stained with blood,” Redskin headgear which took hours of patient creating, decorative material and costumes, some of which were, perhaps, created in a vale of tears, but all of them played big parts in the unfolding of Longfellow’s imagination. Musically the play was a distinct success, and a great deal of credit was due, not only to the school staff in its training of the solo and choral work, but to the orchestra collected by that public-spirited conductor, Mr H. J. Trussell. Miss G. Dunlop, the pianiste, shared the commendation bestowed on the musical side of the play, her work contributing greatly to its success. Miss shirley Cramond’s “Dance of the Fireflies,” in which Betty Ball was the soloist, was a pleasing number, and so, too, were the solo dances at. the end, arranged by Miss Eva Matthews, and in which Joyce Dacre and Lloma Dacre were the stars. From a scenic point of view the producers caught the right atmosphere. A forest by daylight, the same forest at night, and then a repetition of the first daylight scene represented the sequence. It was an ambitious but appropriate undertaking for a school, but the standard set must have rewarded those who were inspired by that ambition. Miss Gwen Duncan, the producer, was responsible for a great deal and the part of musical director was ably filled by Mr A. O. Edwards. Dancing, ensembles and chorus work were excellent and memories linger still of the sweetly blended notes — “At the door on summer evenings, sounds of music, words of wonder . . .” It was all so typically Indian—its forest, its war dancing, its smoking of the pipe of peace, its forest spirits. In story and in song one lived in the trail of the wigwam. Even in prologue, clearly spoken and essential to the balance of the play, the right, atmosphere was never Jost. The school has reason to be pleased with the whole presentation. Following was the complete programme: Orchestral selection, “Indian Love Lyrics” (Woodforde Fenden); prologue, spoken by M. Murchie, of Merrington, R. Smith and R. Robbie. Scene I.: Introductory war dance, entrance of messenger and the smoking of the Pipe of Peace; chorus, “By the Shores of Gitchee Gurnee”; recitation, Stella Hermans; solo. “Ewa-yea,” Nokomis (Valda Southcombe); recitation, T. Hooker, A. Hogben, R. Robbie; Dance of Phantoms and Wind Spirits; chorus, “At the Door on Summer Evenings.” Scene II.: “Dance of Fireflies” (arranged by Shirley Cramond with Betty Ball as soloist); recitation. Betty Canty; solo. “Wah-wah-taysee,” “Hiawatha” (Pani Korowhiti); chorus and recitation, “Saw the Moon Rise,” “Nikomis” and others; chorus. “Their Little Hiawatha”; recitation, N. Lange and A. Hogben; solo, “Go, My Son,” “lagoo” (Jack Wills); chorus, “All Alone Walked Little Hiawatha”; chorus, with flute and violin obligato, “And See the Birds Sang Round Him”; recitation, H. Finlayson, J. McElwain and JS. Hermans; solo, dance (arranged by Eva Matthews). Joyce Dacre; finale (a), “Then Upon One Knee,” “Dead He Lay There,” “But

I the Heart of Hiawatha”; solo dance (arranged by Eva Matthews), Lloma , I Dacre; (b), "Strong Heart." It was a happy production which , will he repeated to-night. Plans are , at the D.I.C.