Organized Nineteen Hundred and Sixteen CLUB MOTTO: “The drama’s laws, the drama’ patrons give, For we that live to please, must please to live.” Dr. Samuel Johnson pemer' | isa ite es ee Se Ss: aE 3 sR imal4hTsUa Cnt i : PROSIGO IB vccscncsasccsscssasisnavesssivsivicostecdea Ke QTOU BrUCSTC Vice President............cccsereee BONNIG e Whitaker Recording Secretary...............4:0....Michelle McGarry Corresponding Secretary..................Teresa Sanderson 5 POS iio: Mlb Treasurer...... Veedoasidenewen MICRA Tot S WEppe Ri. Pelee ia a Z PUILOT sesesssicsssnacercactnccncareansnssensiecennsdeic Rte Bll PUSLOM AM snssissssvsrssrvesrsncsncssiecrensersaconea d OVC StU Well Parliamentarian.............ssseseee.-.JO D’Ann Dance Past President................s:0ss-s0-..-9UZIe Venable CUSLOGIANS, ss csvsccorsccinissssycbensivesewostornnnd dOVCR Stillwell Janette Bischoff (music stands) The theme for the year was “MixUps, Hiccups, & Breakups” — a theme carried out not only in the plays presented, but also in the many changes of hostesses, cast members, houses, illnesses and broken bones. The plays/musicals presented were: Red Carnations, Wicked, When Shakespeare’s Ladies Meet, Barefoot in the Park, Charley’s Aunt, Into The Woods, Harvey, and Sorry, Wrong Number. Ten meetings were held (including Guest Night at the Hope Community Center, the Christmas Party and June Breakfast held at the Country Club). There were 27 active members including our newest member Karen Yonemura, three sustaining members, and nine emeritus members. We were deeply saddened by the death of our dear Carol Hurst. We will miss her striking beauty and personality and her virtuoso piano playing. Many of our members directed and/or performed in community and professional productions. These included Char Adams, Janette Bischoff, Karen Bruestle, Pam Higginson, Michelle McGarry, Meg Naisbitt, 4 RAS ee gy Jolene Rausch, Teresa Sanderson, Carrie Stevens and Jolene Zito. The Drama Club of Ogden was featured in the first issue of a new magazine - FOCUS: Ogden. The article was entitled “The Ladies of the Club — The Beginnings of Ogden’s Vibrant Art Community” and highlighted early productions in Ogden. There has been discussion regarding housing our old documents at the Weber State University library. No decision has been agreed upon as yet. A committee chaired by Geneva Peterson and Jo D’Ann Dance is presently working on a special program to celebrate the centennial of the Drama Club, which will be held in June of 2016. Mi ee he Ba =~ nF | ais le MeGarry and Bonnie wen - pnts antl : yen wo Bonnie ng " wel - prone, ‘ eal en Sa al cae an gens, canst Pin watt ports wut yore wa _ walt ane a — most “ee snc rates, i : wa ‘ on : sina et a inna wan a f i nas t won e al ne Ha i J ; Geneva era ws we ff 3 3z i Z F. i f U tug dic itaker and Suzie Venable ) Kar When niprncnney oe by Charles Mee Suzanne January 22nd Poole and members of a. 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It must be held and used only by or on behalf of the person to whom it has been issued, and anyones presenting it thereby represents to the Office of Price Administration, an agency of the United States Government, that it is being #o held an so used. For any misuse of this book it may be taken from the holder by the Office of Price Administration. i @ In the event e be Si the departure from the United States of the pee is issued, or his or her death, the book must be ee with the Regulations. Guest Speakers HR eh ke ge a «ate, leer SRE eSRTAB® Li nana natamainrannamara soups gat Bars ak aI SOSA Lemont ye: cata i acattyer* AE AOT EUR at 20 # é f Pr ; 3 3 4 3 . 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Found: Teresa Sanderson With back-to-back he dysfunctional matriarch in “Augus ummit Theatre Company and Utah Repertory Theater Com red a knockout in “Who's Afr:Tai d of Virginia Woolf” at Pinnacle Act who play rainan . qguc IVE + knockor ABOUT THE DIRECTOR: KAREN BRUESTLE SSCOHSSSOHTSHESOHHGSHSHE HP EEEES eoe SOSSHHHOCHSHSEHHOHASEHESHEHEHESEOHRHSOTORSHSHEBHOEEE Karen Bruestle has en- joyed a rich and varied career that includes rio, recital, and opera, oratoconcert works and She throughout the United Canada. States has_per- formed the roles of Cathleen in Riders to the Sea in Boston, MA, and Susan B. Anthony in The Mother of Us All for Lyric Op- } era Theatre in Tempe, AZ. Recital credits include the complete songs of Henri Duparc performed widely in Arizona, as well as performances on the : | * | | 2 Temple Square Recital Series in Salt Lake City. Ms. Bruestle has premiered the works of such composers as Judith Cloud, Michael Cunningham, and Mark Henderson. She appeared as the soprano guest artist with the Utah Symphony on the Holiday Pops Concert with conductor Jerry Steichen. Karen’s particular interest lies in concert and chamber music where she has been a featured guest artist with the Arizona New Music Ensemble, the St. Paul Chamber Orchestra in Minneap- olis. She has been a frequent guest artist on the Bonneville Cham- ber Festival Series at Weber State University and she has been a re- curring soprano soloist in The Messiah with The Oratorio Society of Utah. Ms. Bruestle has taught vocal master classes on technique ADA} and interpretation throughout the United States. She has been a member of NATS since 1992 and has held various positions, from local to national, within the organization. She received a doctor of musical arts degree from Arizona State University and now serves as professor of voice and vocal pedagogy and director of the opera program at Weber State University. in eat ly 20th century lapas, 4 vaive. young beisha-wite steadiastly awaits the relat of her beloved American _ Naval officer husband. Woes sie reslizes Be never in fended te bonot his mattisge vows, Cio-Chio Sas chooses. adie mith bonor rather than live ia shame ; : , oe | _ SHAKESPEAREAN SUMMER : BENJAMIN ZACK’Standard-Exarnines ee of Shakespeare's's “A Midsum ‘AMI mer tbs Night's i : Sydney Carson plays Helena ininad a dress rehearsal jotS te Oe fon School District’ third annual Summer Theatre Camp at Ben aide Mipsis aM ayy: Twenty. M LYSseven itt students Dis are performing the play Thursday through S . ; ¢ ELOW: Daisi BS’ © make sure the kids understand the language of the play. B y ; as Carolyn Stevens applies flower makeup to her face before a dress rehear i : es Sal. Oe: Youths at Ogden district camp work to understand complex language of ‘Night's Dream ¢ “) GDEN — Rose Ga e didn’t want to was 4 stummer vacation naa the couch, watching tel 6 acting,” Joining Rose g other Beat and childr in age from 3 to 17 up For Ogden Sch Se seat District opted to se From iyo ah ds oe kids aren't reading the c assics, said Joyce Wilson, a membei : of the Ogden School Board who volunteers at the camp. Students performed “Peter Pan” 5 y." : "ange during the first = camp. Last year’s show was Racomen” Sawye CO This year’s parnoaprses pee sroduction is a bigger c ualleng because the playwright wrote in summer Theatre Car This is the third 5 ie Carolyn seca Stevens, a has a little concern that ee sn lways somethinginne I aS been bon “She some classics Decenee so she became a fairy Roe, nid fi “J love Summer resident who previously worked with the Terrace Plaza Playhouse and then had her own theater o group, was recruited as director. By BECKY WRIGHT Standard-Examiner staff early modern English, forming the it text into verse: and using phrases : , Ogden and words with more than one See SUMMER | Page 6A a OC EE 1 EVES Mh S Ce RS ENG The curtain rises on ‘A Midsummer Night’s Dream” at 7 p.m. Thursde in the auditorium of Ben Lomond High School at 1080 Ninth St. i iditional shows are scheduled for 7 p.m. Friday anc1d Saturday, and < 1 ot Sluice Tickets cost $7 for adults -~ vale lire * younger. VIP tickets, which: include reserved seating, g sibel eos arid redoghinnis, are $12 tor axis a a - 1A meaning. “I have watched over this sixweek process,” Wilson said. “The kids will learn several lines, and the director will sa y, ‘Do you know what that means?’ * Helping the kids understand makes it easier for them to act with feeling. “I don’t like to hear kids up there, speaking in monotone,” Stevens said. “We've worked on that.” Stevens and co-director Chelsea Nelson, of North Ogden, adapted the play for young actors. “We cut some lines where Shakespeare gets so flowery and Says the same thing nine times,” Stevens said, but they worked hard 10 Maintaim the meter and flavor. “We didn’t want to lose the full language — they had to learn the words.” The youths have risen to the challenge. “With the help of the directors, lve been able to understand better,” said Zach Billings, 14, of West Haven. Brock Delgado, of Roy, a 12-year-old cast as Demetrius, agrees that understanding the play has been complicated, “I don’t know about the other people, but ’'m getting it now.” Brock and a few of the teens in the group say they’ve so absorbed the language of the Bard that they find themselves accidentally using “thee,” “thou” and other Elizabethan-era words in everyday conversation, Eric Tabor, 12, of Ogden, was cast as Snug the Joiner, He understands what a joiner is, he said, because he does woodwork at home. “He’s kind of a noneducated Fairies dance during a dress rehears BENAAR ZACK/Standard- Examiner al for Shakespeare's “A Midsum mer Night's Dream” at the Ogden Summer Theatre Camp at Ben Lomond High School on Monday. Schoo! District's Students are performing the play Thursday through Saturday. kind of person that at the end is in was at a soccer tournament. a play and is a lion,” Eric said Zach, who plays Lysander, of his The work went is worth it, Stevens character. to a lot of work to memorize said, because the Stage is more his He said he usually uses big lines. than a place to learn acting. words, so tackling Shakespeare “You just take it little “Tt feels like a safe place for by little, wasn’t too difficult. He interp and eventually, once you have reted kids to learn valuable charac the one of his longer lines to mean, ter whole thing memorized, it gets lessons, without making big “I’m dressed up as a lion, but easy,” he said. don’t mistakes,” she said. get scared and chop my head None of the students quit, off.” Among those lessons are how The play has presented special Stevens said, to make friends, how to work challenges for the directors, asa “I told them, if you can too. team and how to take critici Stevens said one of the bigges sm. make it to the end. your sense t One of the biggest lessons is tasks was sewing period costum of accomplishment will be so es self-discipline. for so many kids. She and Nelson fulfilling,” she said. “T just try to tell the kids not also created special hairstyles to “You'll have done something and be afraid of hard work, becaus you Stage makeup for each charac e didn’t think you could.” ter. that’s when you grow,” Steven And at Monday’s dress s Sontact reporter Becky Wright said. “If things are always made rehearsal, Nelson had to read at 801-62 5-4274 the or bwrigh easy, t@ they take less thought and role of Puck because a young standard.net. Follow her on actor _ imagination.” Twitter at @ReporterB Wright. Standard-Examiner _ Tale of family, tradition still - felevant today By SONJA CARLSON Standard-Examiner staff hose involved in the Ziegfeld Theater's opening production i of its 2015S season, ®iddler on the Roof,” are aying the show is still perinent today, despite the fact b at it has been on stages 7 ‘radition, tradition -¢ ile ol © aq. C ill & > Si o o - at «3 “Fiddler on the Roof,” 1music by Jerry Bock, Irics by Sheldon Har ick and a book by Joseph te in, is based on Sholem chem’s stori sour ry evye the Dairy ‘Man. tvye is the father of five f ughters 3 and lives in the 1, fictional Jewish vilbe of Anatevka, Russia. hene S. show is set in 1903, + n Ru uSsSIa Was in the % St of a revolution and b > for the Jews was dif. Tevye is ee with mstances, cially marrying ¢oft shter s, that cau a serious look ¢ and whethe er or not it is : iT have always loved kidler’ for some reason, id director Caleb Parry. hen [ was a kid my par 3 were in it and I was z> kid who came to every hearsal and every show.” arry said that while loved the musical as a iid, he didn’t understand tompletely. Now that he’s ler, the message is more -- and more near and Gory Waite photo e cast of Ziegfeld Theater's “Fiddier on the Roof" includes Carolyn Stevens (third from ief) as i id Layne Willden (right) as Tevye. The daughters are portrayed by Hailey Weeks, Abigail Howard, Samantha Kilmer, Alia Strank and Erica Choffel. sage is “knowing when to llow your heart.versus rou’ ve always been * which he said is Vv ant to culture in Utah Ww ith Th :¢ Church of Jesus Christ of Latter-day Saints faith. “I think that partici arly th jaa te 2 ecepting -- no matter what me per iod you are in, Willen, of Ogden, said. for us in our area : wich he LDS faith when people ove away from the faith it be difficult for famihes,” Parry said, mentioning that it also doesn’t just happen with those who are LDS, and that other religi erience se situations Later in the show Tevyye needs to decide if his tradition is really worth disowning one of his daughters, Chava, whe has decided to marry a man not of the Jewish faith. “Tt’s s so hard to think that your religion could push you to a pace where you would have to look your daugh iter in the face who is desperately trying to make you understand and say no and that she’s dead to you,” Parry said. The scene in which “It’s so hard to think that your religion could push you toa pace where you would have to look your daughter in the face who is desperately trying to make you understand and say no and that she’s dead to you.” — CALEB PARRY, director that happens is called the “Chavaleh Sequence,” and is a favorite for many, including Parry, Willden and Carolyn Stevens. Stevens, who plays Tevye’s wife, Golde, said that ever though she isn’t i the scene, it’s her favorite. Tevye sings of his daughter and how she was a “sweet little bird,” who was kind and affectionate, and that he doesn’t understand what is happening with her. “Sometimes I’ve felt growing up that I was Chavaieh, that I was the little bird,” Stev ens, of South Ogden, said. She also said she’s seen her own children that way. “They’ve all made choices that have been hard for them to come back from, but they’ve come back. ... You tend to look at your kids like that then and just remember the sweetness,” Stevens sai Willden said he has seven children, and that it’s a struggle to accept that they don’t all want to pee the same way he doe “T think that’s real y what you're seeing with Tevye, is this is what he grew up with (and) believed in since he was little, and his children aren’t following that same path and he’s having a ¢ ficult time understandir but because he loves thi he’s willing to bend a lit bit in his beliefs to unde stand where they're cor from,” Willden said. But the situation witl Chava is too much and causes a separation bec: he can’t go any further, den said. “It’s such a struggle i him to say no to his dau; ter because he loves her much,” he said. Standard-Examit Friday, January 30, 2015 Jewish culture Parry brought in Pau Draper, an anthropologi: who is Jewish, to help te the cast about the Jewis) culture. “There's so much thai goes inte the show and background and everyor so eager tc learn about t) culture, time period, cha acter, how to best tell the piece of the story,” Parry said He also said that they been using “Tevye the Dairyman” as a backstor to fuel the characters. A great deal of research he gone into the show as we G vetting the wedding scene, “Sunrise, Sunset,” right took Parry hours ch said. He wanted to make sure that “everything abr it was exactly the way it should be.” Much of Parry’s vigual concepts have come from Jewish painter Mar Chagall, who painted “Th Fiddler” in 1912, which w never used as a metaphor the story of the book but. LEFT: A new facade graces the Ziegfeld Theaterin South Ogden. ABOVE: The theater is keeping one origir feature —- the “theatre” sign. Photos courtesy of Caleb Parry [heater presents a newly remodeled facad See FIDDLER | Page 4 gee By SONJA a3 on “Te 3 really + 40th ‘Str “eet Ic ba Caleb Parry. change tl : S a Serie e rrrifflicals pee as‘ “Les ‘serables,” “West Side Story” and dairspray.” i® se ired the a ti to match the new sign. “What the new facade will do is oe with a cast meet and staph refreshment 3 and dr inks wil f _ f the show arry ‘i saothe oe Parry said he wanted t xplore C hagall’ $ artwork, nd that pieces of his art u Pp po ip c Scenes. pr & aS Tev $3 jections ye or €am s sequence is the furthest go sith the concept, pageaid, as the cast will be yrig SSE colors8, in bright pha -inging the piece eee to life. ‘Life lessons It’s not important for in p eg p le sia i I >, the thea er is really being of : the < qd. comnvy munity , and 7 Fiddler and cone ude t ae BY io sai Caleb Parry said ees “ she sais food and food for the > g gentil: as well. —_g91.625-4229 or scarison@standa tic director Rick Rea. The facade remodel was made k “Riddler on the Roof.” A small really,” said Ziegfeld Theater artis- dollar theater, which is what it was, reme to 190 members cared for. ... Up until this point it’s kind of looked like an abandoned weird look. Ww iil but also really draw the people to a place Shee a _ was hideous, it gave South Ogden the for recognition, neon lights, Caleb Parry said, LED theater and the big “Ziegfeld” sign 428 been redone ne swith LE with LED out : front has backlighting.u Since 11948 ail the historical pictures of that facade have b: cally been the same,” he said.Ds ‘ T ; : j he Roof.” T7 he € ven t - ill also act ? ' i i | Caleb Parry said a few improve- ments have been made inside the look at a “grand re- ghtof its production of “Fiddle mowned be starring in the theater tion ) of “Les Miserables” : in April ap ill precede the per formanc¢ wife, Morgan ter Wi Hi reve eal its new improved history of the theater during its remodel is keeping the “thea sign — it will just be redone with only > th its right n Rea said. oa looking, Caleb Parry said . was WY ce “y F f cial performance OV Bue One thing the theater is doing 2 PS aha : ee bose it eit to pay homage toand maintain the — artist J. es _ oe chia @ TICKETS: $12-$17 855-ZiG- ? produces p Ziegfeld with his onning” event ARTS or www.heziegieidiheater. com el not @ WHEN: 7:36 p.m. Feb. 6 The Ziegfeld The@ WHERE: ater, 3934 8, Washington Bivd., Ogden Shanage + the corner of 40th Stree B shingion Boule evar a. rr The th possible thi rough donations from successful Kickstarter campaigt icede ion S F Uke spring. last bbhos ee ee a EVIEW PR @ WHAT: The Ziegield Theater's Grand Reopening Se on Ziegfeld Theater he Og ing ttO SY e :a Me rhe Ziegfeld is doing the remod to improve the look of that side of eect y boat wi>t rd wforos cow good tk oe 8 eefe theater doe pron CARLSON ery age is of love, caring and poi yd | “If you took our show nd put everyone in modern jothes it would still be reivant,” said Layne Wilden, tho plays Tevye. The Tony award-winning eis musical’s mes- Pat oa ears. Br.com creermir sey cross the world for over 50 i 3 % be S12-S: 855-ZIG-ARTS or ww thezi mber arr y Rus said, bu f tha ARAL iau p=zh but .stul a t makes $ there Contact reporter Sonja Carlso net. Follow her on Twitter @son- jacSE. le COpic peor are times from Ura. Musical ater th eat is fu rather g the jessons the show a teaches. shes “If the show weren’timportant it 1wouldn’t be done g like you vou get get to do things class at's aa classic, Fiddler’ that’s but you have so many ie it,” he from things to learn that way because you ca ‘a : take a serious topic and -araer ; more enjoyable, aepeo ae 1€ aoe We said that as artists, those at the Ziegfeld have the responsibility toexpose. “Yeah we do some fun Willden said audience fe members can watch the show and feel where the characters are coming Carison at 801-625-4229 z ge heron Titer Foto 0} Follow her on Twitter ¢ anymore,” Parry said. said. repor sonjacSE. on 4 Friday, April 10, Standard-Examiner 2015 Musica offers Broadway music, vintage views PREVIEW VAN VALKENBURG Standard-Examiner staff harlene Adams grew up swooning over a dashing, young Howard Keel. “1 was an MGM musical baby, and I loved Howard Keel,” said Adams, of Layton. “He made me fall in love with musicals.” So when Adams was asked to direct “Annie Get Your Gun,” there was no question which of two versions she would choose. After all, Keel made his 1950 film-musical debut with a script based on the 1946 Broadway original, and not on the 1999 version that had been altered for modern sensibilities. “Pve really tried to be reminiscent of the MGM musical because I love it so much,” said Adams, director of the Terrace Plaza Playhouse show, opening April 17. “When you come in to see it, you're in for a night of fun, but it was written in the 1940s, so if you take it at face value, there might be moments where it seems misogynistic.” The musical, based loosely on the life of Western sharpshooter Annie Oakley, tells a story of how Oakley in 1875 agreed to.a competition @ WHAT: Annie Get Your Gury @® WHEN: 7:30 p.m. Mondays, Fridays and Saturdays, April 17-May 30 @ WHERE: Terrace Plaza Playhouse, 99 E. 4700 South, Washington Terrace @ TICKETS: $9-$14, terraceplayhouse.cony bev/tickets or 801393-0070 against marksman Frank Butler, whom she would join in Buffalo Bill’s Wild West Show. The two would later marry. But in all versions of the musical, Frank’s ego gets in the way of his romance with Annie, and their future comes down to a second shooting competition. Spoiler alert. In the 1946 version, Annie misses on purpose, hiding her talent to let Frank feel superior. In the 1999 version, Annie misses on purpose, but then Frank does as well. The 1946 version also has a song, “I’m An Indian, Too,” which has been judged by critics as everything from _ stereotypical to straight-out racist. See ANNIE | Page 5 (Left to right) Shelby Ferrin, Brandon Stauffer and Annie Ferrin star in ‘Annie Get Your Gun,” playing soon at Terrace Plaza Playhouse in Washington Terrace. &0! COVER STORY ‘xaminer Friday, April 10, 2015 5 - From 4 “You have a lead character who seems to be . very chauvinistic,” Adams said. “There’s stereotyping . - because Hollywood was big into stereotypes, but if you stick with the story, it’s really about embracing “You have a lead character who seems to be very chauvinistic. There’s stereotyping because Hollywood was big into stereotypes, but if you stick with the story, it’s really about embracing differences and coming together. And above all that, it’s just really ye es differences and coming eanet. And above all that, 's just-really fun Shelby Ferrin, trom. Centerville, plays Frank. “Tt’s stylized in a very 1940s way,” said Ferrin, 37. “It’s bigger than life, and there’s an arrogance, yet a fragility that. Frank has. He is so confident until he is the slightest bit threatened. He ‘really has to work through . that every time a challenge comes up, and in the end, he still doesn’t get there. He still has to win Ferrin said-he was - attracted to the show because of the chance to “really open up my voice and sing like Howard Keel,” in some spots, and because the “Annie” he plays opposite is Annie Ferrin, his wife of 14 years. “My initial reaction was Annie has got to play ‘Annie,’ so she can showcase *. ” — CHARLENE ADAMS, director , how good she is in this role,” he said. “Plus it’s just a good show, and the score is so strong. Te’ 's a lot.of fun to be in, and I think people will really enjoy it.” Ferrin said he sees strengths and weaknesses in both versions. ’ “T do think the sexism in the show is pretty dated, and the racism is just on © the surface. I try to play it at that superficial level, and paint it as what it is. In our (marriage) relationship, I view Annie as my equal if not my superior, soit all strikes me as ironic.” Brandon Stauffer, of — Layton, steps out of the shadows to play Buffalo Bill, owner of the Wild West. “ show. Stauffer usually stage manages Terrace Plaza Playhouse productions, as well as handling publicity. “It’s amazing how different the versions . are,” said Stauffer, 33. “The original version we are doing focuses on the characters more, and you get to see the love story | -between Frank and Annie. The revival is more about the Wild West show. I like this version better.” It’s not surprising that period pieces of theater would not reflect modern ideals, of course. All plays are written for the people of their time. Some modern audiences have struggled with Shakespeare’s “The Taming of the Shrew,” which seems to be about breaking a strong woman’s spirit in order to make her a good wife and society member. Other critics have suggested that Shakespeare’ 'S protagonist, Kate, simply learned to work within the system to get the outcome she desired. “My first reaction to ‘Annie Get Your Gun’ was that it wasn’t written. right,” Stauffer said. “You really see that was a time period where the woman was.the secondary character. You see in the script, but you don’t see it on stage, Annie (Ferrin) plays it so well. “It almost becomes her (Annie Oakley’s) idea to be secondary, and it almost gies her more power in the end.” Annie Ferrin, 34, admits her character’s submissive arial did bother her at rst “T consider myself something of a feminist,” she said. “At first, it was like, ‘Oh, my gosh,’ but I got back to knowing it was © a period piece, and really a snapshot of the time it was written. I like to remember that in real life it wasn’t like that between Annie and Frank. They played together for years on equal billing. I have also done ‘My Fair Lady’ where-I played Eliza, and it was kind of the same situation, where she givés in for his comfort. I always find a place in my heart where I believes she knows she is being the strong one, making a sacrifice for the good of the whole. There are things in. the show that are shocking, but it’s from a period past. And it’s worth examining how far we have come.” Contact reporter Nancy Yan Valkenburg at 801-6254275 or nvan@standard. . net. Follow her on Twitter at @SE_NancyVanv; on Facebook at facebook.con/ SE_NancyVanvy. FOE ASA RS ARSE He OT DIR Pak POPS AAM aT PORKD ona sp eee ere By) Ross Reeder, Director of Sales & Maketing.&> David Eccles Conference Center & Peery’s Egyptian [ (orewere vemertssiows oa Theater T , wcll sah Phat wasn’t always the case. The first European settler in Ogden was a trapper named Miles Goodyear. He set up Fort Buenaventure as a way station in 1846. In November 11847, James Brown was directed by Brigham Young to buy the fort and 210 additional square miles for $1,950. Ogden City was incorporated February 6, 1851, and was named after Peter Skene Ogden, who had been a brigade leader for the Hudson Bay Company when he was in the area about ten years earlier. Between 1851 and 1870, Ogden was a small farming community. In 1860, it only had 1,463 residents. It turns out that the 1,463 people who settled there missed the arts. But if you wanted music, you had to play it or sing it; if you wanted a play, you had to perform it; if you wanted to d ance, you had to learn the steps. And so they got to work creating tl ne thing they missed. Since the LDS influence was strong, many wards created drama groups and musical bands in order to entertain themselves. The area changed when the railroad came and Ogden was selected as the junction between Union Pacific and Central Pacific railroads. Many new people came. Some of them wanted a wild frontier life, but others were accustomed'to < gentler and more cultured life east of Utah. The opportunities for entertainment improved, thoug sh; acting troupes used to travel the country by train, so it was inevitable that many of these groups stopped in Ogden to perform, too. It provided entertainment for 12 years, some of those years as the Ogden Opera House, until it was re The people in Ogden were interested in theater, and they began to build places where people could see plays. Since the city was still so young, it placed by the Grand Opera House. The Grand Opera House opened in 1890. It could seat an audience of 1,500 people, and it was later renamed the Orpheum. didn't have a lot of hitching posts for horses in front of these theaters. People improvised. They used leather The first Lyceum Theater, run by F.C. Foy, gave vaudeville perform ers a place to put on shows between straps weighted down by rocks as a substitute, somewhat like a ship being held in position by an anchor. ; : 7 | | in 1870 by a store owner named Charles Woodmansee and his wife The drum-and-pictures machine, patented by Thomas Edison in Other theaters followed, including the Ogden in 1908, the Alhambra in 1897, was called a Kinetoscope. As the drum turned, the pictures flipped so quickly that the person watching them through a peephole had the illusion that the pictures were moving. | The Great Train Robbery, an 11-minute movie released December 1, 1903, could be seen in Ogden : Harriet. Charles was born March | 4, 1828, so he was about 40 when the theater was built. (He would 1918, and the Egyptian in 1924. live another 22 years before dying March 24, 1894.) The theater was After the turn of the century, it also oe, ~ = oe bon A few of these early theaters are listed below: The first official theater was built = 1878 and 1892. Vaudeville per formers usually did specialty acts. They sang, danced, juggled, did acrobatic feats, and performed skits. Another Lyceum Theater was opened in 1903. It moved to a newly constructed building in 1910 ss 2 gee Po | 4 called the Woodmansee Theater at first, but it became known later as : Ogden Theater, and it could seat an audience of 500 people. Eight years later, in 1878, the Union Opera House opened its doors. less than a year after its release. became possible to see films, al- By 1915, some people even wanted to though the early ones were primitive: A “moving picture” was shown at start a film studio in Ogden. Some of the most important women in Ogden Glenwood Park on July 19, 1903. got together to found The Drama > Penny arcades allowed one person at time to watch a series of pictures that had been attached to a drum. Club of Ogden on Saturday, September 16, 1916, complete with a con stitution that outlined its goals and eT ee ae was originally associated with the Historical Association, but the two organizations officially separated on Saturday, April 21, 1917. Membership dues were originally $2 per year for both kinds of members. The size of the club was limited at first to 45 members. Its goal was to understand dra ma and to develop a taste for high-quality dramatic art, with the intention of bring- the Orpheum Theater. Their art galleries, museums, club is stil pot to be enjoyed. Ogden is a place where the arts are thriving, probably because of the interest that so many people have taken in the arts since the city was found. ed. If you look at photos taken between 1940 and 1975, you can see pictur ; orchestras, choirs and choruses ing the best plays to Ogden. audiences Over the years, children, dressed as a bride and groom, the women who joined were some of the most prominent wom- en in the area: Eccles, Perrys, Lindguists, ‘Taylors, and David O. McKay’s sister. All of them took their membership seriously. They saw the club as a way to develop so cial skills, a sense of style, and confidence. It was a personal outlet at an age when women had very few outlets available; they could not even vote in a national election until 1920, for example, and so this theater club was a place to use their abilities and energy in a way that enriched their lives. They created sets and costumes, learned i Sa AB BS a ae a at performances, concerts, and plays. One photo even shows two young who appeared in an operetta thal was pre- sented by the first-through-third-grade children at Wahiquist School. The people who live in Ogden now from benetit everything from visits featuring New York’s classical Chinese dance company, Shen Yun, to Peery’s Egyptian Theater, which (despite its being built in 1924) has state-of-the-art equipment and a place in the Annual Sundance Film Festival each January. Peery’s Egyptian and a fascinating history of a not-always-civilized melting thriving more than 98 years later. Today, of course, Niiasachea: everything from films to ballet. There are parts, and performed in settings such as SRS, The Drama Club of Ogden Theater has a Facebook page, and it hosts it’s a little tricky to determine the consequences that result from neglecting the arts, but it can be obvious how a community benefits from their presence. And (for those who like to see a dollar return on their investments), it also turns out that the arts, when combined with technology, have proven themselves to be excellent revenue generators. That makes at least one starting point for discussions about the benefits of art within any community. The creative environment Is a seed bed for revitalization and synergy. Spin and honorary. People will come to an area to participate ee created two kinds of membership: active in art-related events, and they will spend at places other than art venues. rhe ladies of The Drama Club of Ogden, and any others who nurtured the arts in Odgen, were wise people. They intuitively understood that the arts develop critical thinking skills: « They encourage people to use individu alized and creative solutions for problems. « Those involved in the arts ask questions and solve problems in the context of a facts and artistic standards, making for broader and ultimately more sophisticated understanding of problems. « They encourage abstract thinking skills; visual literacy skills are important, and one way to develop them is through the arts. Those benefits are not just limited to be the general population. They can also part of a better, and more well-rounded, educational curriculum. Not all students are alike; some students need the arts to help them organize learning through pictures and charts. ‘The arts effectively of allow schools to reach a greater variety students and skills, and they can be fun. Is it any wonder that children will respond better to something they enjoy, that gives validation and teaches them them positive positive self-expression in a variety of ways, tly than they will to an approach that is stric utilitarian? Someone ground who has a strong artistic will see more accurately persistent, have a better capacity to envi- sion a new way of understanding something, be less self-important and more able to experiment and learn from mistakes, and will have a stronger grasp of alternative viewpoints All these things help children (and adults) on perform better in measurable ways even a purely pragmatic level. Not only do the a community together and generate arts pull city definite economic benefits, they make a more attractive and more livable. ‘The arts are at the very heart of a rich cultural environment, and they benefit us all on many levels. That is why organizations such as ‘The Drama Club of Ogden are still active today. If the arts are cultural flowers, the benefits are substantial and welcome fruit. Carol was a resp Carol Joan Watkins Hurst d member of community. She was ecte president of the Sem December 27, 1932 ~ February 11, 2015 ang the Drama Club of Ogden. She served paced er igh ane Arts Commission ; : and O Sese hls and frenly nature gden Community Co ; : mand a eee Rovian Intermo the untain viah “W on Piano teachers are as devoted to the; O their s e Pie =io hers. teachin careerds thatof benne ee she Ina mentor ed ghundre young dhae musicians teacher Ie oom remained in close contact with their beloved a Te after she retired. : ne ie as |+a of ne faithful member of The Church of Jesus Christ wee ee apols and served in some musical capacity in Carol jovfully served othe Crystal Rose Jeppson and Eddis William Watkins who named tiful melodies. : Thursday afternoons i Pineview Reservoir, Bear Lak y ee sions to Lake Powell, Park City. The exquisite feasts i : Carol's extraordinary beauty manifested itself early. At 22 months, she won a silver cup in a national baby contest, setting into motion a lifelong fascination with beauty pageants. As a their three children Kristen (R : ald Nazeeri) Hurst and Karin ee [Weber College] Associated Men Students' Queen and Excelsior Club Sweetheart. A runner-up to Miss Utah 1952, Carol re- ot 62 years, Dean and ) Hyde, Kevin (Yasmeen pher (Briana) Olsen Jessica Hyd ee andchildren, ChristoOlsen, Sophie Hurst ‘Vanessa Ols ae! Christensen, Katey ceived a special talent award. For more than 30 years, she great-grandchildren, Micah Ols Se judged state and local competitions. The annually televised Miss America scholarship pageant was a treasured family event, never to be missed. _ While majoring in music at Utah State Agricultural Col- . lege, Carol met Dean W. Hurst on a blind date. They were married in the Salt Lake LDS Temple on October 17, 1952. putting her education on hold to care for her Will Hurst; and three coln Olsen. Carol was Bree tae Te Christensen and Linolder siblings, Myles Watidne an Woe by her parents and Funeral services wil] be held at noo a ae MASECY, 16, 2015 at the Weber Heights Stak n a onday, February Hills Drive. Friends may pay their € Center, 1401 Country on Sunday from 6 p.m. to 8pm respects at the stake center a.m. to 11:30 a.m. prior to fhe higer young children, Carol eventually completed her bachelors degree at Weber State College, graduating with honors in 1971. Carol was WSC's Opera Theatre staff pianist for 11 years. She on Monday from 10 Those so inclined are encour, bea ce anrs to either the Ogden Symphon 7 Bal donate in Carol's name Street, Ogden, UT 84401) or W b - Association (638 E. 26th accompanied 38 musical theatre productions, 12 of which featured family members. Carol was awarded an honorary doctorate from Weber State University in 2010. program (University Develo ever State Universitys piano 4018, Ogden, UT 84408-4018 anand 1265 Village Drive Dept. Interment, Brigham City Pes © at weber.edu/giveagift). Music was a vital component of Carol's long and productive Arrangements entry sted to a sil life. At four, she began taking piano lessons from her mother. Condolences may be sent to he Showing remarkable aptitude, Carol won a national piano a church aboard the fam- a longtime ambition to learn how t pers. At 0, Carol fulfilled she and her husband en joyed to ri ski, a winter activity Carol is survived by her oe a young woman, Carol won numerous titles including: Miss Og- at five, became awall, Jackson Hole and ily's boat were the envy of other pes Sey den Arsenal, [Utah State] Engineers Queen, Miss Utah State, competition spital tal p piano Suu suild and spent many plano music for iets pth pape providing soothing Carol was a fun-lov; Her happiest ee pate mother and grandmother. their daughter Carol in honor of the Christmas season's beau- Temporarily eee Sra music. oughoShe uthelped her life esough hher tablish the McKay-Dee Hosp} a 7.3 : oo i — a “OGDEN - Carol Joan Watkins Hurst quietly passed from this life on February 11, 2015 after a courageous struggle with cancer. She was born in Ogden, Utah on December 27, 1932 to 9 www.myers-mortuary.com organist at nine and Ss Ogden Mortuary. € family at: gave her first solo recital at 11. Carol also played the cello and performed in a musical trio with her mother at the piano and older sister, Marian, on violin. As a teenager, Carol studied with former concert pianist Frederic Dixon. Later, she studied ing compositions by Chopin, Debussy, Rachmaninov, Schumann and Tchaikovsky. In 1989, Carol performed George Gershwin's Rhapsody in Blue-with the WSC Symphonic Band. Known primarily as a pianist, Carol also possessed a lovely alto voice. She sang with the Ogden-Weber College Symphonic Choir, Ogden Chorale and WSC Chorale. In 1977, she stepped away from the keyboard long enough to fulfill a secret desire to act. Portraying the elegant Desiree Armfeldt in a WSC Alumni Community Theatre production of Stephen Sondheims "A Little Night Music," Carol dazzled audiences at Ogden's historic Orpheum Theatre with her heartfelt interpreta- tion of "SendIn the Clowns." ace - ee with Lowell Farr at the University of Utah. Carol was partial to the passionate music of the Romantic era and enjoyed play- :‘ a boy ad | | i Oa ed Carol Joan Watkins Hurst December 27, 1932 ~ February 11, 2015 Officiating Bishop Ron Hyde Family Prayer Ron Hyde Prelude Lowell Harrop Chorister Karen Lofgreen Opening Hymn #98 J Need Thee fvery Hour Jessica Hyde Christensen, Piano Katey Olsen, Flute Invocation Bill Watkins Tribute Ron Hyde Speaker ‘Karin Hurst Piano Solo Clair de Lune By Yu-Jane Yang Speaker ‘Kevin Hurst Memories ch ristoph er Olsen Sophie Hurst Vanessa Olsen Carol Joan Watkins Hurst Vocal Funeral Services 12:00 (Noon Monday, february Country Jttlls 1gor country 16, 2015 Ward Hills Drive Chapel |: ~ Ogden, Utah Dedication Christopher Olsen Lowell Harrop Jerry Harrop a oa Jim Casket Bearers a Ifyde Yang Lighteenth Varration From Rapsodte on a Theme of Pagannt Brigham City Cemetery 500 South ~ Brigham City, Utah of Grave ee ‘Aristen Ftlurst FRIED Sirs iceaseariczeaaticiianhscitnniahindintcntnanel Yu-fane Rachmaninoff Interment 495 East Quartet... Let me Grow Lovely Growing Od Janette Bischoff, Mark Bischoff, Spencer Stokes, Karen Bruestle Closing Remarks Hurst Kevin Bischoff Sean Steiner ‘Mike Taylor Bishop Ron Hyde Closing Hymn #166 Abide Jessica Hyde Christensen, Piano Katey John —— Me Olsen, Flute Benediction POSCERAC scsi cay With Dineen elon Massey Castiemain