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HomeMy WebLinkAboutThe Huron Expositor, 1952-05-16, Page 76T. 16,, 19,52 • (1, I& w T r ME W1 NA 9 11141 Yau Mit a fit IN MOW WE NV KONA 'SIM t V N EMdl A 61-5811 WNW gy 1 la me me Q 45/ JAMES M,, CAI N Vet44). RELEASE 40. CHAPTER VI synopsis The contracting business is in the doldrums but Leonard Bor- land, of the Craig -Borland En- gineering Co., New York, has ample funds when his pretty, opera -struck wife Doris decides she Is going to resume her sing- ing, interrupted by her marriage at 19 and the birth of their two children, to help out the family income. Borland protests, Doris repeats that he has always thwarted her career, and she had' her way as always. The presence of Hugo Lorentz, her teacher, ir- ritates him. After Doris gives a recital at Town Hall, Cecil Car- ver, opera singer, phones Bor- land. At her hotel she tells him Doris has a good voice but lacks style. Cecil is to sing for war veterans 'but hasn't the words of a certain song He sings it for her and she says he has a fine baritone voice. Cecil know's of loris through Lorentz, says Hu- ge is hopelessly in love with Dor- ris, and that Doris tortures every man she gets in her clutches.. Leonard ought to wake her up by giving a recital, she says. "Go get yourself a triumph. Hurt het; where it hurts." Cecil will give e6hnn lessons but demands pay- ment—kisses. ay- ment kisses. He pays but says be loves his wife. Ile makes good: •progress in three or four months and spends much time with Cecil. Doris tells itim Jack Leighton is f✓n��r� YOUR FAVOURITE BEVERAGE KIST T114 ALL FLAVOURS', NOTICE Under Government regula- ^lions, I urgently request all growers of corn in the north part of Huron County, which includes garden plots as well as field corn, to have all refuse of corn either burned or buried before the ,2Oth of May, 1952. Penalties are provided for the non-compliance in the Plant Disease Act. CORN - BORER INSPECTOR Thos. Dougherty P.O. Box 927 Goderich - Ont. THE VOICE OF TEMPERANCE So the brewer's money has won again. This time it is the •C•anadian tleama league. It had. no money. It 'wanted to make extravagant wards. 'Tare brewer has lots of money. He „would underwrite the financial needs of the drama league. The price he asked was that the trophy should bear his name. The drama league succumbed' to the brewer's temptation. So now it will not be the Governor -General's trophy, but the brewer's trophy that will be the award offered to the winning dramatic society. It is high class publicity for the brewer. For the drama league it is an association that it cannot afford to make if it wants to be free and independent and if it wants to hold the respect rind good ivill of the Canadian pub: lit. It is not to be tolerated that our institutions of learning and cul- ture should accept the patronage of the brewer.—(Advt.). DIAL -980 CFPL 7 DAYS A WEEK ,aJ 12:45 P.M. (Monday, Wednesday, Friday) THE SMILEY BURNETTE SHOW The Clown Prince of Western Entertainment 4±nu4PhGiA'4n+i�11 •r 1%"Ills • '112SY going to get her an engagement singing at a movie palace. Cecil wires him, he sings in recitals upstate, makes a hit and she gets • him an engagement with an opera ,company. He is now in the midst of his first rehearsal. —Rossi put chairs around to show doors, windows, and other Stuff in the set, took the ,piano, and started off. The rest of them paid no at- tention, tteation, to him at all, or to me. They knew "Boheme" frontward, backward and sidewise, and tleey sat around with their hats on the back of their heads, working cross - Word puzzles in the Sunday .paper. When it came time for them to come in they came in without even looking up. Cecil acted just lake the others. Every now and then a tall, disgusted -looking Italian would walk through and' walk out again. I asked who he was, and they told me Mario, the conductor. Rossi rehearsed me until blood was running out of my nose, throat and eyeballs. I never got enough pep in it to suit him. Monday I tried, to keep quiet and not thinly about it, but it was one long round of costumes, phone calls and press releases. Around six - thirty Cecil said it was time to go, We had to go early because she had to make me up. When we went in the stage door of the Auditorium. theatre that night and I got my first look at that stage, I almost fainted. I had never had any idea that a stage could be that big. You only see about half of it from out front. The rest of it stretches out through the wings and back and up overhead, until you'd think there wasn't any end to it. Cecil didn't waste any time on it. She went right up to No. 7 dressing - room, where I was to be, and I followed her up. She was in No, 1 dressing -room, on the other side of the stage. There was nothing in the room at all but a long table against the wall, a mirror above that, a couple of chairs, :and my costume trunk, which had been sent around earlier in the day. Ieopened it, and she took out the make-up kit, and spread it out on the table, saying, "Always watch that you have plenty of cloths and towels. You need them to get the make-up off after you get through." "All right; I'll watch it." "Now get out your costume, check every item that goes with it, and hang it on the hooks. When you have more than one costume in an opera, hang each one on a sep- arate hook, in the order you'll need them." "O.K. What else?'9 "Now we'll make you up." She showed me how to put the foundation on, how to apply the. color, how to put on the whiskers with gum arabic and trim them 'up with scissors so they would look right. They come in braids and you• ravel them out. Then she had me put on the costume. and inspected me. I looked at myself in the mir- ror. "Around eight o'clock," she said, "you'll get your first call. Take your hat and mtlfeler with you, and 'be sure you put them ht their pro- per place on tike set. They go on the 'table near the door, and put them on for your first exit." "I know." "When you've done that, read the curtain calls." "Never mind the curtain. calls'. If I ever—" "Read your curtain calls! You're in some and not in others, and heaven help you if you come bob- bing out there on a call that (be- longs to somebody else." "Oh" "Keep quiet. You can vocalize a little, but when you feel your voice is up, stop." "All right." "Now I leave you. Goodbye and good luck." At eight o'clock there was a knock on the door, and somebody said somethiiig in Italian. I went down. They were all there, Cecil and the rest, all dressed, all walking around, vocalizing under their breaths. Cecil was in black, with a little shawl, and looked pretty. Just as I got down, the chorus came swarming in from somewhere. They weren't in' the fia'st. act, but Rossi lined them up and began checking them over. I went on the set and put the hat and muffler where she told me. The tenor came and ;put his hat beside mine. The basses came and moved both hats to make more room on the table. There had to be places for their stuff when they came on, later. I went to the bulletin board and read the calls. We were all in the first two of the first act—Cecil, the tenor, the two basses, the comic, and myself—then for the other calls it was only Cecil and the tenor. On the calls for the other acts I was in most of them, but I did what she said, read them over and remembered how they went. "Places!" I hurried out on the set and sat down behind the Basel. I had al- ready made sure that the paint-, brush was in place. The tenor came on and took this place by the win- dow. His name was Parma. From the other side of the curtain there came a big burst of handc'lapping. Parma nodded.. "Mario's in: Sound like nice 'ouse." From where you sat out front, I suppose that twenty seconds be- tween the time Mario got to his. stand and made his bow and waited till a late couple got down .the aisle, and the time he brought down his' stick on bis strings, was just twen- ty seconds, and nothing more. To me it was the longest wait I ever had in my life. I .thought nothing would ever happen. And then, all of a sudden, it broke loose. When the orchestra sounded off, it was terrific, the most frighten- ing thing I ever heard in my life. And. It no sooner started. than the curtain w-en:.up, except that I nev- er t'a'w• it go up. All I saw was that blaze of footlights in my eyes: I was so rattled I didn't even know where I was. "Cecil had warned me about it a hundred! times, but you can't warn anybody about 'a SEAFORTH MONUMENT. WORKS OPEN DAILY • — PHONE 363-J T. PRYDE & SON ALL TYPES OF CEMETERY MEMORIALS Enquiries are invited.. Exeter Phone 41-J Clinton Phone 103 No Profit! Only Loss in Weeds! SPRAY TO KILL WEEDS! We will take O'Mara to §prajy your grain and pasture fields this ' IApping, and if ordered early will Spray when the growth is right for an effective kill. We have had lots of experience. We know the weeds and know the proper solution for the different weeds for an effective kill. If you desire it, we will refer you to farmers for whom we have killed weeds. It costs you nothing to spray -kill your weeds' since the increased crop pays for spraying several times over, and you • clean your farm of weeds. Consider your weedy fields last year— they will be as bad or worse this year. CHARLES BARNETT Phones; 130-W ; 481-M — Seaforth thing lllte OW. 1 dgizt 'was! 1tit me from everywhere, ,and t'hPA saw Mario out there, but he looked; about a mile away, and my heart just stopped heating. My heart stopped, btit that Or- chestra, didn't. ' It ripped gir'ough that introduction a mile, a minute, and I knew then what Rossi bad been trying to get through ray head about speed, .There's a page and a half of introduction in the score, and that looks like plenty, of music, doesn't it? They ate it up in noth- ing flat, and next thing I knew they were through with it and it was time for me to sing. Oh, yes, I was the lad -who had to open the epera. Me, the four-fus•her who as so scared he couldn't even breathe. But they had thought about that. Mario found him up there, and that stick came down on me, and it meant, get going. I began to sing the phrase that begins "Questo Mar Rosso," but I swear I had no more to do with it than a rabbit looking at a snake. That stick told my mouth what to do, and it did it, that was all. Oh, yes, an operatic con- ductor knows buck fever when he sees it, and he knows what to do about it. There was some more, stuff in the orchestra, and I sang th.e next two phrases, where he says that to get even with the picture for looking so „cold, .he'll drown a Pha- raoh. The picture is supposed to be the passage of the Red Sea. But I was to take the brush and actual- ly drown one, and it was a second or two before' I remembered about it. When I actually did it I must have looked funny, because there was a big laugh. I was so rattled I looked .sound to seewhat they were laughing at, and' in that sec- ond eaand I' took my eye off Mario. It was the 'place where I was sup- posed to shoot a "Che fai?" at the tenor. And while I was off picking daisies, did that conductor wait? He dud not. Next thing I knew the or- chestra was roaring again, and I had missed the boat. Parma sang .the first part of his "Nel cielo bigi" at the window, then as hlsfinis,hed it he crossed in front of me, and it was murderous the way he shot it at me as he went by: "Watch da conductor!" I watched "da conductor," I glued my eyes on him from thea on, and didn't miss any more cues, and by the help of hypnotism, pray- er, and the rest of them shoving me around, we got through it some- how.• What I never got caught up with was the speed. You see, when you learn those roles and then coach them with a piano, you al- ways think of them as a series of little separate scenes, and you take a little rest after each one. But it's not like that at a performance. It goes right through, and it's cruel the way it sweeps you along. I remembered the hat and thel lei ter, and; Qn I p ile ofE Deal'' • 'Ina tlletre sunai tg a Qkgar- ate,, ready to gf) on. ',You're. e do- igg all right, ,lying to them, not to brio;' she said. , I, She rapped at the door, 85U A ,note or two, put her heel on the' cigarette and went on. We had a little off -$age *WI coming, I and the two basses, .and. We stood in the wings liste4p,ing to them out there doing their stuff. I found out something about an op- eratic tenor. He doesn't shoot it in rehearsals! and he doesn't shoot it in the preliminary stuff, either. He saves it for the place where it counts. Parma, who at the rehears- als hadn't shown enough even to make me look at hint, uncorked a voice that was a beauty. He tin- corked incorked a voice, and he uncorked a style that even I knew was good. He took his aria, the "Che gelida manina," slow and easy at first; the just drifted along with it; he made them wait until he was ready to give it to them. But when he did give it to them he had it. That high C near the end was a beauty, and well they knew it. Cecil sang bet- ter than I had ever heard, her sing. I began to see why they paid' her the dough. 1 went out on the first two calls, as the bulletin said, but when we came in from the second, Parma whispered at me, "You hide, you. You hear me, guy? You keep outa ways dat Mario!" I didn't argue. I got behind some flats out there in the wings and stayed there. Cecil had heard him, and after a few minutes she found me there. "What happened?" "I missed a cue." "Well, what's he talking about? He missed three." "I wasn't watching the conduc- tor." "Is, that bad?" "It's?, the cardinal sin, the only unforgivable sin, in all grand op- era. Always watch him. Sing to them, try not to let them see you watch him. But—never let him out of your sight. He's the perform- ance, the captain of the ship, the one on whom everything depends. Always watch him." "I got it now." The next act was better. I Was getting used to it now. I got a couple of laughs in the first part, and then when it came time for me to take up the waltz song Mario threw the stick on me and I gave her the gun. It got a hand, but,he played through it to the end of the act. The "Musette and I did the carry -off we had practiced, and it went all right. The regular way is for Marcel to pick her up and run off with .her, but she was small and I'm big, so, instead of that, I threw her up on my shoulder and she kicked and waved and the cur- tain came down to cheers. The third' act I was all right, and we', riC: �V} ?... n ?!,!? f�^;,+i::r �•Fli?ti�rf4::;? J.PAF`J.`lL:'•./.?iTr:::i:'.i'�.."''o;''. • ... that you should not pick the Trillium, our provincial floral emblem. Since its three leaves are near the top of the stem, they usually get picked with the blossom. And as the leaves feed the root, the whole plant dies of starvation. Protect the Trillium ... it is part of your outdoor enjoyment. CARLING!S THE CARLING BREWERIES LIMITED WATERLOO— TORONTO — WINDSOR 1f•t3 • 414. Hofic sow ''FcOHOm s'1 The Question Box Mxa. R. W. M. asks': How do you can fing4r strips of pineapple? ' Answer: Start with .ripe pine- apples and a sharp knife. Cut off the tops. Remove a piece from the bottom. Slice the pineapple from top to bottom in haleinch slabs. Peel off the covering, cut into half- inch strips and trim to even lengths. Discard the core. • Make a syrup of 2 cups water with 1 cup sugar. (This is suffici- ent for 2 pints). Cook pineapple in boiling syrup for 10 minutes. Pack hot pineapple into steriliz- ed pint jars and 811 to within one: half inch of the top. Seal mason jars. Seal zinc -top jars to within a quarter turn. Process in pres- sure saucepan at 5 lbs. pressure for 15 minutes. J Mrs. B. S. asks: How much sug- ar should we mix with rhubarb for a 9 -inch pie? Answer: Mix 1 cup sugar with had another nice curtain. The four of us, Parma, Cecil, the Musette, and I were in all the calls, and after we took the last one Parma followed me to the hole where I did my hiding. "O.K., boy. Now, on the duet." ((Continued Next Week) Here's your chance to cash in. 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