three-act play to fruition is a formidable one, and perhaps nowhere is the old iceberg analogy better epitomized. Nine tenths is beneath the surface, or behind the scenes in the former case. In addition, Thatchers responsibilities as chairman of a department that then combined both speech and drama increased as it expanded. Relatedly, such expansion saw the emergence of other talented teachers and directors, people passionately committed to advancing the tradition that had been so strongly established. Such a man is Dr. T. Leonard Rowley who joined the faculty in 1955. It was he who introduced Summer Theatre to Weber with a production of Ali Baba and The Forty Thieves, one presented on the lawn and adjoining area just northwest of the Old Moench. That production was viewed by thousands of adults and children during its week-long schedule. Thus Summer Theatre took root and before long was transplanted to the upper campus stadium with such productions as Teahouse of The August Moon. A vital new dimension had been added to drama at Weber. As more faculty were added, every member of the Department began staging one full-length production each quarter, in most cases without any released time. Reflecting upon that regimen today, Leonard himself is a bit incredulous. It was absolutely staggering, he says. In addition to the directing, we also did a lot of the stage work, obtaining help from unpaid students and often our families. Recalling late-night efforts of his own family, painting scenery and building props, he admits that there were real dividends despite the struggle. As a result, my children developed a great love of the Theatre. Leonards plays have ranged widely from Greek tragedy to Shakespeare, to original scripts directly from some of our most capable local playwrights. Included among his favorite productions are Death of a Salesman, Much Ado About Nothing, The Abdication, and The Sound of Music with Glen Hansen of the Music Department. Leonard views todays Theatre Arts Department under the able direction of Dr. Ronald V. Ladwig, as a strong one. One of our greatest accomplishments has been the acquisition of a staff so that directors no longer have to worry about building their own scenery and related tasks. Although community theatre has sometimes flourished, it is inoperative at present. The Theatre here at Weber continues as the only viable one in Ogden, he says. Consequently, I view it as a sacred trust and a tremendous responsibility. JOHN ELZEY A VITAL AND GROWING FORCE Another important figure in Weber State Theatre is Dr. John Elzey who arrived at Weber in 1958, having been asked to design the set for Amahl and The Night Visitors. A year later he directed his first dramatic production there, and it was a weighty one: Oedipus Rex. Asked by an innocent office partner whether it was a dirty play, John grinned and replied, Only if you object to having the main character kill his father, marry his own mother, and have four children by her. Apparently the office partner decided to draw his own conclusions regarding any such productions henceforth, but Oedipus Rex, despite its grim and bizarre plot, is considered one of the worlds great dramas. The incident to which it relates underscores well two salient Elzey characteristics a penchant for challenging enterprises along with geniality and humor. These qualities combine with marked artistic talent to make John Elzey a vital and growing force in the Theatre. During his tenure at Weber State, John has directed approximately sixty full-length dramas ranging all the way from Greek tragedy to light-hearted childrens plays. He has also guest directed a number of performances outside the area including the famed annual Shakespearean Festival at Cedar City. More recently, having studied in Japan and Hawaii, he has introduced Kabuki Theatre to Ogden. Increasingly it has become clear, however, that popularity with local audiences resides with the musical, a fact discovered when John staged Oklahoma, with Ly-neer Smith as musical director, in the summer of 1979. Kiss Me Kate, directed by Leonard Rowley, and Bells Are Ringing, directed by Kim Burningham, followed that same summer and helped to create the trend. Earlier John had established the Festival of American Theatre from which the ongoing tri-yearly musical tradition was born. That formula, he says, and those musicals led, in turn, to The Golden Spike Repertory Theatre. The latter organization, launched by Leonard Rowley and by Sherwin Howard, Dean of Arts and Humanities, was directed by Leonard from 1980 through 1983. Currently under the direction of Theatre Arts Chairman Ronald Ladwig, it holds forth great promise. LET THERE BE MUSIC CLAIR W. JOHNSON A HORN WORTH TOOTING One of the early pillars in music at Weber State College, Dr. Clair W. Johnson arrived on campus in 1937, having directed a Provo High School band good enough to win national first-place honors at the Golden Gate Bridge Festival in San Francisco. At Weber, he swiftly took root and became a flourishing part of that institution. During his thirty-three years there, Dr. Johnson not only served as director of band and orchestra, but also taught music theory, harmony, history, and orchestration. In addition, he served for many years as Chairman of the College Lecture and Concerts Committee and as Chairman of the Music Department. I didnt necessarily seek these latter two assignments, Clair explains, I simply accepted them as something that had to be done. His responsibilities were obviously numerous and detailed under such a regimen and often even included collecting tickets with the aid of other faculty members at the door during concerts. The phrase, something that had to be done, however, was typical of the Johnson temperament, a policy of determining what was required, then persistently, methodically pushing ahead until the task was accomplished. Clair Johnson was a quiet man who has never tooted his own horn except in the literal sense as a musical performer who has mastered the coronet, French horn, and tuba. In consequence, most people are unaware of his remarkable achievements as a composer, of the fact that during his four-decade career, he has published more than three-hundred numbers for band