The coastland times. [volume] (Mnateo [i.e. Manteo], N.C.) 1947-1959, 1957-07-05
THE LOST COLONY
OPENS ITS 18TH
SEASON SATURDAY
New Director. Many New Lead
ing Characters. Good Choir
and Good Organisf Put On
Credifable Performance
By CATHERINE D. MEEKINS


with good performance. Consid-
ering the fact that the show is
headed by a new director, with
most of the leading characters
played by newcomers to the show,
it went remarkably well. Being
the opening night, there swere a
few rough spots that undoubtedly
viii be ironed out within the week.
The chief trouble seems to be
that most of the new leads have
not yet had time to become ac-
customed to projecting their
voices in outdoor theatre. This is
an art not learned on an indoor
stage. The music, directed by Ell
wood Keister for the second year,
is a decided improvement over last
years performance. The choir is
strong and well-balanced, except
for a slight weakness in the
blending of the soprano section.
Hedley Yost at the organ for the
second year gave strong support
throughout the show.
A few minor changes have been
made in staging, but the show re-
mains practically the same as be-
fore. In lieu of a historian relat-
ing the struggles of the colony,
Captain John White now acts as
historian, telling the story in the
first person, thus giving it a more
personal touch and a more direct
appeal to the audience. The part
of John White is played by Earle
Rankin in a most authentic man.
ser.
The Indian dances, as usual, are
colorful, and of tremendous audi
ence appeal. Perhaps they are a
little more mechanical this year
somehow they seem to lack the
spontaniety that should be there,
although they are still we'll exc
cuted. The milkmaid dance re-
mains as it should be-simple and
countryside, with no fancy ballet
steps. The Indian solo dancer,
Glynn Sprinkle, gives an excel
lent performance in the part of
Uppowoc. John Lehman, returning
to the show after an absence of
two years, has put in many hours
of hard work and instruction as
photographer.
Diane Rousseau, as Eleanor
Dare, and William Walsh as John
Borden play the female and male
leads very well, but need to learn
little more about outdoor voice
projection. Walsh's part lacks a
little of the fire with which it has
formerly been played, but that
will improve as the show moves
on into the season.
Mary Wood Long plays Queen
Elizabeth in her usual dynamic
style. Edward Reeves as Sir Wal
ter Raleigh gives the part a
courtly dignity. Ray Smith, as
"Old Tom," shows a fine under
standing of the role, but seems to
rush headlong into some of his
speeches, without the usual DELHI
erateness which has previously
characterized the early entrances.
His performance in the final
scenes seems to have slowed down
to the usual tempo.
Page Williams has stepped into
the role of Dame Coleman, the
midwife, in fine style. Marjalene
Thomas plays Joyce Archard even
better than in previous years.
Hal Fur makes forceful and
stately Chief Wanchese. John
Meadows plays the part of Simon
Fernando well, but could make it
little more colorful. The part of
Master of the Queens Ceremonies,
played by Richard Newdirk, SEEM
ed rather colorless on opening
night. Philip Amadas, played by
William Watson, seemed to have
diction trouble. Chief Manteo,
played by Charles Briggs, showed
need for more deliberation and
force. Ananias Dare, played by
George Perry, was well done, but
again the outdoor voice projection
problem was discernible. Steve
Stephenson plays the part of Fa-
Their Martin with a fine under
standing of the part.
Cora Mae Basnight of Manteo
is natural for the part of Agona,
the Indian role played for many
years, by the late Grace Davis, also
of Manteo.
Director Burnet Hobgood, re-
placing Clifton Britton who was
for a number of years director Of
the drama, has done a terrific
job. He has had the odds stacked
against him, being new and hav-
ing so many other new actors
working with him, but he has
turned out a show Of which he
may justly be proud.
The realism with which the mas
sacre scene was played was made
evident by small boy in the back
of Waterside Theatre. His father
moved from his seat and the boy
must have thought he was going
toward the stage, for he called
otak in n terrified voice Daddy.