Carolina watchman. [volume] (Salisbury, N.C.) 1871-1937, 1936-11-27
Lighting Equipment,
Vivid Make up Enli~
vensB Blue Masque Play
The Truth About Blayds
Reveals Fine Talent
|LAUCHMAN, NEW FIND
Large Audience Present
At First Production
Of Thespian Group
LAUCHMAN, NEW FIND
by Herbert L. Stoolman

major production Of the twelfth
season of the Blue Masque, was
we'll received last Friday night by.
an appreciative audience in the COL
lege auditorium.
The play, a tragi-comedy, clear
ly reflected the excellent direction
of the Blue Mosques mentor, Mrs.
John Busby, and evidenced the
long hours of rehearsal necessary to
make this finished production
ready for viewing by a large audi
ence. Enlivened by players never
before seen on the local boards, the
cast clearly interpreted this tale of
the wreckage left behind by an
eminent English poet, who turned
out to be a fiasco.
The evenings honors undeniably
go to Caroline Lauchman, who
portrayed her difficult role with a
maturity that bellies her age. Miss
Lauchman did not play the part
of Isobel Bladys. She was Isobel
Blayds. The depth and sincerity
of her Interpretation has new
been equalled by a Catawba college
actress. Despite her quiet manner,
which was a direct contrast to the
other members of the cast, Miss
Lauchman provided a refreshing
touch in a play over-burdened with
dialogue. In her every move she
was the symbol of sacrifice. Mr..
Carolus was completely eclipsed in
his every scene with the daughter
of Blayds. Miss Lauchman is a new
find who displays promise of de-
veloping into the best actress in
the Blue Mosques fold.
Paul Strauch's presentation of
the bearded old prophet of the
Blayd's household deserves COM
mendation. Aided by excellent
makeup, old Oliver Blayds was a
living personality, who continually
gave evidence Of his penchant for
life. Our only regret is that the
author provided for the poets
death. The appearance of Mr..
Strauch in at least another act
could have raised "The Truth
About Blayds" from the level of
medocrity to the summit of ex-
cellence.
Displaying fine sense of comedy,
both Helen Baer and E. K. Whit
ener aptly handled the juvenile
leads, combining to save many
scenes from actually becoming
boresome. Miss Baer proved her
self to be a sparkling ingenue, with
a definite flair for vivaciousness.
Her peeved name and stamping
of her foot provided this reviewer
with more than one enjoyable
moment. Displaying a welcome
contrast to the solemnity OF MIR.
Dunlop, E. X. Whitener more than
held his own against the other ex-
perienced members of the cast.
Harry Carolus, as Royce the
younger poet, delivered his usual
good performance. The intensity
of Interpretation achieved by Miss
|Lauchman was not equalled by
Mr.. Carolus. He could have been
more sympathetic with his role,
and abandoned a little of his stage
like atmosphere. Mr.. Carolus has
done better in other plays. How
ever, no other member of the Blue
Masque could have equalled his per-
Torrance in this particular char
acterization-which speaks we'll
for our student body president.
At times reaching an Alice
Brady lew" in her comical touches,
Dorothea Hopper, as Mrs. Com
way, proved the versatility of her
dramatic talents in Fridays drama.
Miss Hupper appeared so dumb
that she actually irritated one,
which testifys to her mastery OF
the character. She and Mr.. Dun
lop formed a combination that
kept the play from standing still
through most of the first act.
Despite his apparent Dutch &C
cent with all due apologies to
those from the Keystone state)
Keneth Dunlop carried off the role
of the meticulous English gentle
man-secretary, William Blayds-
Conway, with the dignity Of an x
perienced trouper. Mr.. Dunlop
appeared rather rough in spots, but
remained austere and dignified at
all times, thanks to the use Of his
monocle. His one big emotional
scene was appealing and I thought
II heard one sympathetic lady sob