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"The Ramona Pageant": A Historical And Analytical Study

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"The Ramona Pageant": A Historical And Analytical Study

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Content THE RAMONA PAGEANT: A HISTORICAL AND ANALYTICAL STUDY by W illiam A ugustus P u llen A D is se rta tio n P re s e n te d to the FA CU LTY OF THE GRADUATE SCHOOL UNIVERSITY OF SOUTHERN CALIFORNIA In P a r ti a l F u lfillm e n t of the R e q u irem en ts fo r the D egree DOCTOR OF PHILOSOPHY (C om m unic atio n - D r am a) June 1973 INFORMATION TO USERS This material was produced from a microfilm copy of the original docum ent. While the m ost advanced technological means to photograph and reproduce this docum ent have been used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to help you understand markings or patterns which may appear on this reproduction. 1.T he sign or "target" for pages apparently lacking from th e docum ent photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along w ith adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black m ark, it is an indication that the photographer suspected th a t the copy may have moved during exposure and thus cause a blurred image. You will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., was part of the material being photographed the photographer followed a definite m ethod in "sectioning" the material. It is customary to begin photoing at the upper left hand corner of a large sheet and to continue photoing from left to right in equal sections with a small overlap. If necessary, sectioning is continued again — beginning below the first row and continuing on until complete. 4. The majority of users indicate that the textual content is of greatest value, however, a somewhat higher quality reproduction could be made from "photographs" if essential to the understanding of th e dissertation. Silver prints of "photographs" may be ordered at additional charge by writing the Order Department, giving the catalog number, title, author and specific pages you wish reproduced. 5. PLEASE NOTE: Some pages may have indistinct print. Filmed as received. Xerox University Microfilms 300 North Z eeb Road Ann Arbor, M ichigan 48106 73-31,381 PULLEN, William Augustus, 1917- THE RAMONA PAGEANT: A HISTORICAL AND ANALYTICAL STUDY. University of Southern California, Ph.D., 1973 Theater ! U niversity Microfilms, A XEROX C om pany, A nn Arbor, M ichigan : C opyright © by W ILLIAM AUGUSTUS P U L L E N 1973 THIS DISSERTATION HAS BEEN MICROFILMED EXACTLY AS RECEIVED. UNIVERSITY O F SO U TH ER N CALIFORNIA THE GRADUATE SCHOOL UNIVERSITY PARK LOS ANGELES. CALIFORNIA 9 0 0 0 7 This dissertation, written by ..................... under the direction of h.is .... Dissertation Com mittee, and approved by all its members, has been presented to and accepted by The Gradu ate School, in partial fulfillment of require ments of the degree of D O C T O R O F P H I L O S O P H Y Dean D ate June. 1973 DISSERTATION COMMITTEE Chairman D edicated to the m e m o ry of G A R N E T H O L M E G enius, A rtis t, F r ie n d ii ACKNOW LEDGM ENTS The au th o r w ish es f ir s t to acknow ledge in g en eral h is debt to a ll :hose who aided and co m fo rted him during h is y e a r s of a s so c ia tio n w ith The R am ona P ageant, fo r in a sen se th e ir contributions m ade this w o rk possible. P r im a r y and p a rtic u la r ap p re cia tio n m u s t go to M ay fair and Ralph F re u d : to M ayfair, fo r f ir s t suggesting the author as a p o ssib le m em b er of the cast; to Ralph, fo r guiding the thought to re a liz a tio n . Without this in itia l im p etu s, or th e ir fu rth e r aid, affection, and w ise counsel, th is w o rk would not e x ist. In addition, the author g ratefu lly acknow ledges h is debt to A yleen and F r e d B ru d erlin , A lb erta and H a rry Hofmann, the A ria s fam ily, D orothy and Bill V osburg, K athleen and E a rl G ilm an, G eraldine and Jim Daley, H elen and L a rr y Bandick, C harlotte and R o b e rt M axw ell, and H elen and R o b e rt Finch. In a s p e cial categ o ry , devoted to those who over the y e a r s have been a source of unique in sp ira tio n and affection, a re J e a n and V ictor Jory; Geneva, A rth u r, and R o b e rt W aggoner. In r e s p e c t to obtaining m a te r ia l fo r the study, the a u th o r r e ceived counsel and in fo rm atio n fro m P ag ean t p e rso n n e l w ithout w hich he could not have p ro ceed ed . Only through the activ e support and guid ance of W illard C ouncilm an, G en eral M anager of the Pageant, and his wife, A rd is, w as it p o ssib le to re c o rd m uch of th e accu rate h is to ric a l background. Through the kind p e rm is s io n of M r. Ja m e s Gill, J r., E d ito r and P u b lish e r of The H em et News and the San Jacinto V alley R e g iste r, the au th o r w as given the invaluable aid of a c c e ss to the files of those n e w sp a p ers. A dditional vital in fo rm atio n w as g a th e re d from o th ers ex p e rie n c e d in the h is to ry of the P ageant. The author h e re gratefu lly acknow ledges the tim e and in fo rm atio n afforded h im in p e r sonal in terv iew s by the following: A yleen and F r e d B ru d erlin , A rdis _____________________________________ iii and W illa rd Councilm an, Jeff Divine, Ralph F reu d , G eorge and Connie Gerwing, M elba and W atso n G ilm o re, M ild red and M au re H urt, H ilda and M a u ric e J a ra , Je a n and V icto r Jo ry , Aim W aggoner Pullen, R u sse ll Stim m el, Dorothy and B ill V osburg, Geneva and A rth u r W aggoner. An interview with E dw ard P o o rm a n , conducted by Ralph F re u d and m ade available to the author by M r. F re u d , w as of ex trem e value. A lso, im portant advice and r e s e a r c h w as fre e ly and g rac io u sly m ade available by T h eo d o re Junior Shank. In the r e s e a r c h dealin g w ith E a s te r n outdoor e p ic -d ra m a the author re c e iv e d --a n d h e r e gives thanks f o r - - th e in fo rm atio n , guidance, and en co u rag em en t of P r o f e s s o r Jo h n Cauble, of U .C .L.A ., and of M r. M ark R. Sum ner, D ire c to r of The Institute of Outdoor D ram a, the Uni v e rsity of N orth C a ro lin a a t C hapel Hill. T he author ta k e s th e g r e a te s t of p le a s u re in e x p re ss in g h is g ratitu d e fo r the help, guidance, and in sp ira tio n re c e iv e d fro m h is C h airm an , P ro fe s s o r H e r b e r t M. Stahl, and the other m e m b e rs of his guidance com m ittee a t th e U n iv ersity of S outhern C alifo rn ia: P r o f e s s o rs J a m e s H. B utler, M ilto n C. D ickens, W alter R. F is h e r , and L e slie W ilbur. The study was typed, w ith c e rta in editing, by M rs . B illie R. Riley. A lso, d eserv ed a p p re c ia tio n m u st be given to M rs . L illia n S kadron fo r a ssis ta n c e w ith c e r ta in proofreading. B ut the final w o rd s of g ratitu d e m u st go to the a u th o r's son, Bill, w ho w as deprived of m uch co m m u n icatio n and r e c re a tio n fo r too m any s u m m e rs , falls, w in te rs , an d sp rin g s, yet who re m a in e d a loyal so u rce of love and devotion; and to his wife, Ann, who w as lik ew ise d e p riv ed , y e t who gave not only love and devotion but a ls o ex cellen t advice and m a n y h ours of activ e a s s is ta n c e - - a n d without w hom the w o rk would not have been finished. iv T A B L E O F CO N TEN TS C h ap ter % P age I. STA TEM EN T OF TH E PR O B LEM AND DESIGN OF THE S T U D Y ............................................................ 1 S ta te m e n t of the P ro b le m D esign of the Study D efinitions of T e rm s R eview of the L ite r a tu r e O rg a n iz a tio n of the R em aining C h a p te rs II. AN OVERVIEW OF TH E ORIGIN AND D E V E L O P M EN T OF OUTDOOR EPIC-D R A M A IN A M E R IC A ............................................................................................. 16 The O rig in of O utdoor D ra m a in England T he O rig in of O utdoor D ra m a in A m e ric a T he D evelopm ent of E a s te r n O utdoor E p ic -D ra m a T he D ev elo p m en t of W e ste rn O utdoor E p ic - D r a m a S u m m ary III. ORIGIN AND D E V EL O PM E N T OF TH E RAMONA PA G EA N T: TH E GARNET HOLM E E R A ........................ 101 The F i r s t Y ear T he R e m a in d e r of the H olm e E r a , 1924-1928 IV. FU R TH ER D EV ELO PM EN TS OF TH E PAGEANT: 1929-1947 ............................................................... 247 M an ag em en t P u b licity P ro d u c tio n A n aly sis of M ajo r S trengths v P a g e L A T E R PAGEANT D EV ELO PM EN TS: 1947-1972 . . 324 1947: P h il W hiting, D ire c to r 1948-1949: W illiam B e rs s e n , D ire c to r 1950-1953: G eorge G erw ing, D ire c to r 1954-1964: R alph F re u d , D ire c to r 1965-1967: V ictor and J e a n J o ry , D ire c to rs 1968-1972: M a u ric e J a r a , D ire c to r R eview of Changes fro m 1947 T hrough 1972 A n aly sis of M ajo r S tren g th s SUMMARY, CONCLUSIONS, AND SUGGESTIONS FO R FU R T H E R STUDY . . ................... 438 S u m m a ry C onclusions S uggestions fo r F u r th e r Study APPENDIXES A. R am o n a P a g e a n t A sso c ia tio n --A tte n d a n c e , R e c e ip ts, and D is b u r s e m e n ts ........................................ 461 B. B reakdow n of Y early E x p e n s e ......................................... 464 C. R am o n a P a g e a n t--L a n d and I m p r o v e m e n ts .............. 472 D. S elected R am o n a P a g e a n t A sso c ia tio n F in a n c ia l S ta te m e n ts ............................................................ 478 E . C om m unity I n v o l v e m e n t ...................................................... 481 F . S elected P r o g ra m s of The R am o n a P ag ean t . . . . 483 G. Y early P ro d u c tio n Staff and C a st L istin g s F r o m R am o n a P a g e a n t P r o g r a m s .............................. 528 H. R am o n a P a g e a n t A sso c ia tio n --M a n a g e rs and B o ard s of D i r e c t o r s ............................................................ 544 I. A rtic le s of In c o rp o ra tio n and B y-L aw s of the R am o n a P a g e a n t A s s o c i a t i o n ........................................ 549 J . V irg in ia C a l h o u n ...................................................................... 556 K. C o rre sp o n d e n c e B etw een L ittle , Brow n and C om pany and the R am o n a P a g e a n t A sso c ia tio n . 574 L. G a rn e t H olm e L e t t e r s ....................... 584 M. D o rise S c h u k o w ......................................................................... 615 N. S elected C o rre sp o n d e n c e B etw een H a rry H a m m ond B eale P u b licity E n te r p r is e s and the R am ona P a g e a n t A s s o c i a t i o n ........................................ 623 C h ap ter V. VI. v i C h a p te r P a g e O. O utdoor D ra m a s in the United S t a t e s - - 1937 T hrough 1971 644 P . P a g e s of the F i r s t R am ona P a g e a n t Souvenir P r o g ra m - -1 9 2 8 .................................................................. 647 Q. D raw ings and P h o to g ra p h s ................................................... 682 B IB L IO G R A P H Y ................................................................................................... 725 v ii CH A PTER I STA TEM EN T OF THE PR O B L E M AND DESIGN O F THE STUDY P a g e a n try , as such, has enjoyed a wide range of po p u larity and su c c e ss throughout the w orld. It h as taken on m any f o rm s , ranging fro m the fo lk -p ro c e ssio n s with im ag es of a n im als and m en, at the dawn of h isto ry , to the re sp le n d e n t tra p p in g s of the ro y a l-e n try , to a co m b i nation of S h a k e sp e a rea n c h ro n ic le -p la y and c o m m e m o ra tiv e , p r o c e s sional p ageant. This la tte r fo rm was c re a te d in 1905 and consequently becam e known as the "new p ag ean try ."* It in tu rn fo rm e d the nucleus jfor the m o d e rn A m e ric a n outdoor e p ic -d ra m a w hich developed p r i- i ]m arily in the E a s t and the W est, s im ila r in fo rm , but not identical. E a s te r n outdoor e p ic -d ra m a began 32 y e a rs ago with P au l G re e n 's The L ost Colony, a t M anteo, Roanoke Islan d , N orth C aro lin a. W esterr W ithington r e fe r s to the blend of pag ean try and d ra m a which f i r s t a p p eared in England in 1905 as "m o d ern " p ag ean try (see E nglish P ag e an try : An H is to ric a l O u tlin e, Vol. I [2 v o ls.; C am bridge: H a r v ard U n iv ersity P r e s s , 1918], p. xix), but he also called it "the new p ag ean try " (II, 196). The la tte r te r m seem ed a b e tte r desig n atio n for the v ariatio n of fo rm s ap p earin g in the United S tates betw een 1905 and, roughly, 1916, in view of the m o re "m o d ern " developm ents since then. 1 2 outdoor e p ic - d ra m a began with The R am ona P ag e an t, which stands alone as the o ld e st continuing, as w ell as m o st su c c e ssfu l, d ra m a of its kind in A m e ric a . It has been s u c c e ssfu l financially e v e ry y e a r sin ce its opening in 1923. A lthough A m e ric a n p ag ean try in g e n e ra l has flo u rish e d and been I re la tiv e ly su c c e ss fu l, the "new p a g e a n try " included one fo rm - - com - 2 m unity d r a m a --w h o se philosophy all but d e stro y e d it during those e a rly y e a r s . T h e re a r e signs that the sam e philosophy m ay be c r e a t ing a co m p a ra b le infection in com m unity d r a m a 's m o d e rn f o r m - - o u t door e p ic -d ra m a . In any c a s e , th e re is a stro n g p a ra lle l betw een the fo rc e s th at w ere re sp o n sib le fo r the se rio u s decline of com m unity d ra m a in the 1920s and th o se th at s e e m to have cau sed a s im ila r decline in outdoor i j e p ic -d ra m a , com m encing around 1961. The p re s e n t th re a t is not that outdoor e p ic - d ra m a in A m e ric a will " c lo se ," but th at the decline in p roduction and the dam age to both the a r tis ts and the audience that As w ill be se e n in the d isc u ssio n of the w ork of P e rc y M acK aye in C h ap ter II of this study, his philosophy w as m o re devoted to his dem ands than to th o se of his audience. F u r th e r , his r e a l in te r e s t was in d ra m a , not p a g e a n try , and in poetic d ra m a . C om bined, his two p rim a ry in te re s ts c re a te d a com plex, c la s s ic a lly -o rie n te d ap p ro ach w hich did not, u ltim ately , succeed in c re a tin g the in te re s t and audience n e c e s s a r y to e s ta b lis h his g o a l--co m m u n ity d r a m a - - a s he conceived it. 3 _ o c c u rre d betw een 1925 and 1937 m ay be re p e a te d , to the m utual lo ss of a r tis ts and audience. One cannot help but be c o n c ern e d fo r the fu tu re of this fo rm of th e a tre , e sp e cia lly when one has been as clo sely a s s o ciated as the au th o r has been w ith the outstanding s u c c e s s of the form --- The R am ona P ag ean t. S tatem en t of the P ro b le m On the b a sis of the above, then, the p ro b le m of this study was the identification of the re a l stre n g th s and p o ssib le w e a k n e sse s in A m e ric a 's lo n g e st-ru n n in g and m o s t s u c c e ss fu l outdoor e p ic -d ra m a , The R am ona P a g e a n t at H em et, C alifo rn ia. It b ecam e a p p a ren t th a t in o r d e r to identify th e se stre n g th s and w eak n esses with any d eg re e of a c c u ra c y , it would be n e c e s s a r y to m ake a co m p arativ e a n a ly sis of the p hilosophies and p r a c tic e s of other i A m e ric a n outdoor e p i c - d r a m a s - - a ll in the hope of helping to p rev en t p o ssib le pitfalls fo r anyone in te re s te d in o r fo r th at m a tte r a lread y producing outdoor e p ic -d ra m a . D esign of the Study Im p o rtan ce of the Study The chief im p o rtan c e of th is study is th at it will supply the f ir s t h isto ry and an aly tical study of the o rig in , developm ent, and sig n ifi cance of The R am o n a P a g ean t, the only ex istin g su c c e ss fu l, annually- given outdoor e p ic - d ra m a in the United S ta te s which began in the e r a of the "new p a g e a n try ." A second im p o rta n c e of the s tu d y - - r e s u ltin g fro m pointing out s tre n g th s and p o ssib le w e a k n e sse s - - is th a t it w ill a s s i s t o th e rs in planning and p ro ducing outdoor e p ic - d r a m a s , and p erh ap s help avoid the confusions th at have in th e p a s t c a u se d fa ilu re . A final sig n ifican t a s p e c t of the stu d y is that it w ill p rovide an h is to ric a lly -o rie n te d p e rsp e c tiv e on the r e a l and actu al con trib u tio n s i of the a c a d e m ic a lly and n o n -a c a d e m ic a lly -o rie n te d d isc ip les of P e rc y M acK ay e's com m unity d r a m a . L im itatio n s of the Study The study is lim ited to the sin g le ta s k of fu rn ish in g a h isto ry I of The R am ona P a g e a n t, with the p r im a r y o b jectiv e of pointing out the in h e re n t stre n g th s of outdoor e p ic - d r a m a th a t have m ade fo r its long and continuing s u c c e s s . To a c c o m p lish this ob jectiv e s u c c e s s fu lly , it w as n e c e s s a r y to lim it the study to the fo rm of A m e ric a n p a g e a n try co m p a ra b le to that c h a ra c te riz e d by The R am ona P a g e a n t, w hich in e sse n c e can b e s t be identified as ou td o o r e p ic -d ra m a . With r e s p e c t to E a s te r n outdoor e p ic - d r a m a , only those p r o ductions re p re s e n tin g the w id est ran g e of s u c c e s s and fa ilu re w ere sele cted . ------------------------------------------------------------------------------------------------------------------- 5“ A f u rth e r and le s s sig n ifican t lim ita tio n was the in clu sio n of 3 only the m o s t re p re s e n ta tiv e p ro g ra m s and av ailab le tex tu al changes. F u r th e r D esign of the Study An in -d e p th study w as m ad e of the philosophic co n cep ts, o b je c tiv e s, p ro c e d u re s , and actu al p r a c tic e s co n cern ed with the o rig in and d ev elo p m en t of p ag e an try in A m e ric a , w hich eventually cu lm in ated in the outdoor e p ic - d ra m a of the E a s t and the W est. A ll av aila b le m a te r ia ls on The R am o n a P a g e a n t w e re collected and studied c a re fu lly , with chief e m p h a sis on the philosophy, o b je c tiv e s, and p ro c e d u re s which e sta b lish e d the P a g ean t. S p ecial attention was given to the changes w hich took place in th e se fa c to rs during its j The re m a in in g study was then devoted to an in -d ep th d escrip tio r. and a n a ly sis of the philosophic concepts and actu al p r a c tic e s in The R am o n a P a g e a n t, w ith sp e c ia l focus on those a sp e c ts w hich constituted lits g r e a te s t stre n g th s and p o ssib le w e a k n e sse s. F in a lly , a c o m p a ra tiv e a n a ly sis w as m ad e betw een The R am ona P a g e a n t and s e le c te d outdoor e p ic - d ra m a s r e p re s e n ta tiv e of the E a st. A lthough of late y e a rs a tte m p ts have been m ade by the P a g e a n t's m a n a g e rs to keep so m e re c o rd of s c r ip t ch an g es, th e re is no body of a c c u ra te ly dated s c rip ts ; n o r is th e r e an a c c u ra te re c o rd of w hat s c r ip t changes have been m a d e , o r when. idevelopm ent F r o m a s u m m a ry of this a n a ly s is , conclusions and suggestions for fu rth e r study w ere draw n. D efinitions of T e rm s B ec au se of the v a rie ty of d ra m a p e rfo rm e d outdoors today, m uch confusion e x ists co n cern in g the ex a ct n a tu re of outdoor d r a m a . F o r ex am p le, the te r m d e s c rib e s outdoor p roduction of S h a k e sp e a re , m u sic a l com edy, and o ld -fash io n ed m e lo d ra m a ; of what has been called " p a g e a n t-d ra m a "; and of such outdoor e p ic -d ra m a s as The R am ona 4 P ag ean t in the W est and The L o s t Colony in the E a s t. S ource of m uch of the confusion has been the p ra c tic e of r e fe r r in g to the la tte r two c a te g o rie s as pageants. D efinitions of two te r m s , "new p ag ean try " and "outdoor e p ic -d ra m a ," hopefully w ill p rev e n t fu rth e r confusion. New p ag ean try is the te r m used by W ithington to identify the fo rm s of fo lk -d ra m a that began with the S h erb o rn e P a g e a n t of Louis N. The In stitu te of O utdoor D ra m a , an affiliate of the U n iv ersity of N orth C a ro lin a at Chapel H ill, N orth C a ro lin a , publishes a "N ew s le tte r" w hich gives in fo rm atio n on outdoor d ra m a tic p ro d u ctio n s. A ll of the v a rie ty above was included in th e ir iss u e s of F e b ru a ry , 1971 and M arch, 1972. The te r m " p a g e a n t-d ra m a " was used by G eorge M cC al- mon and C h ristia n Moe in th e ir tex t on C reatin g H is to ric a l D ram a (C arbondale: S outhern Illinois U n iv ersity P r e s s , 1965), in d isc u ssin g the th re e types of h is to ric a l d ra m a : b io g rap h ical d ra m a , pageant d ra m a , and epic d ra m a (pp. 190-341). The ex ten siv e production and the grow ing po p u larity of the outdoor th e a tre is the d ire c t re s u lt of acad em ic in te re s t and influence as evidenced by the w ork of Chapel Hill and M cC alm on and M oe, am ong o th e rs. 7 P a r k e r in England in 1 9 0 5 --a blend of p ag ean try and the old E nglish ch ro n icle fo rm of d ra m a . O utdoor e p ic -d ra m a is th e a tric a l p ro d u ctio n of h is to ric a lly - o rie n te d events whose adaptation to the stag e c o n c e n tra te s on the g e n eric r a th e r than the p a rtic u la r, and com bines the plot and c h a r a c te riz a tio n of d ra m a w ith the c o m m e m o ra tio n and sp e c ta c le of 5 pag ean try . The au th o r is indebted to M cC alm on and Moe fo r the concept oi e p ic -d ra m a as a focus on the g e n e ric r a th e r than the p a r tic u la r (cf. ■ C reatin g H is to ric a l D r a m a , pp. 277ff). P a g e a n try is defined as: •"1. pageants co llectiv ely ; 2. g ran d sp e c ta cle ; 3. em pty show or d is play" (W e b ste r's In te rn a tio n a l D ictio n ary ). " P a g e a n try " thus m ay be u sed to denote any fo rm exhibiting sp e c ta c u la r e ffec ts, w h e re a s the word "p ag ean t" has an e n tire ly d if f e re n t m eaning. | "P a g e a n t" n a m e s , in the o ld est s e n se , p ro c e ss io n s of people jcarrying fig u re s of pagan d iv in itie s, "p erh ap s su rv iv a ls of hum an s a c rific e ." (See W ithington, E n g lish P a g e a n tr y , II, 2 9 7 -2 9 9 .) T hese p ro c e ssio n s w e re to c o m m e m o ra te the p a st and honor the gods and th e ir w a y s--th u s affecting the d e s ir e of the com m unity. ( F r a z e r , in The Golden Bough [New York: The M acm illan C om pany, 1958], p. 761, w rite s: ". . . it a p p ea rs that the s a c rific ia l rite s of the C elts of an cien t Gaul can be tra c e d in the p opular fe stiv a ls of m o d e rn E u ro p e.") U nder the influence of the C hurch, th e se p r e - C h r is tia n folk custo m s w ere re v is e d , and the im ag es b e c a m e those of sa in ts , in h o n oring p ro c e ss io n s. U nder Guild influence, they b e c a m e , again, anim al im ages and fo lk -g ia n t fig u re s in p ro c e s s io n s . Next, the pageant se rv e d the c o u rt in the p ro c e ss io n s of the r o y a l-e n tr ie s . F r o m the m iddle of the six teen th cen tu ry , the pageant g rad u ally tu rn e d fro m the M id su m m er Show and b ecam e the vehicle fo r the L o rd M a y o r's Show, to re m a in th e re into the tw entieth cen tu ry along with o th er c e le b ra tio n s. In 1905, as noted, the s p e c ta c le - - o r atten tio n -p ro d u cin g fa c to r of p a g e a n try --a n d the c o m m e m o ra tio n w ere blended w ith the plot and c h a ra c te riz a tio n of c h ro n icle d ra m a , and the "new p a g ea n try " o r "m o d ern p ag e a n try " w as born. 8 R eview of the L ite r a tu r e The lite r a tu r e fo r this study fe ll into two g e n e ra l c a te g o rie s. The f i r s t e n c o m p a sse d a ll those w orks th a t w e re n e c e s s a r y to develop the o v erv iew of the o rig in and d ev elo p m en t of outdoor e p ic -d ra m a in A m e ric a. The seco n d c o m p ris e d all m a te r ia l which gave p e rtin e n t in fo rm atio n on the o rig in s and the d ev elo p m en t of The R am ona P ag ean t. T h e re a r e no p rev io u s stu d ies of The R am ona P ag ean t. T h ree M a s te r 's th e se s w e re consulted. A ll th re e d ealt with re la te d su b je c ts. S ources co n su lted w e re in the lib ra r ie s of th e U n iv ersity of S outhern C a lifo rn ia and at the U n iv e rsity of C a lifo rn ia in Los A ngeles. In a d d i tion, the s e rv ic e s of the I n te r - L ib r a r y L oan D e p a rtm e n t of the S tate of C a lifo rn ia w ere u s e d , as w ell as the m a te r ia l in the files of the San Ja c in to V alley R e g i s t e r , The H em et N ew s, and the Los A ngeles T im es n e w sp a p e rs. The p r im a r y d ata c o n siste d of m a te r ia l fro m the files of the R am o n a P a g e a n t A sso cia tio n , w hich included p ro g ra m s of the P a g e a n t, c o rre s p o n d e n c e , o fficial r e c o rd s and d o cu m en ts, M inutes of the m eetin g s of the B o ard of D ire c to rs of the R am ona P a g e a n t A s s o c i ation, and any o th e r d ata p e rta in in g to the P ag ean t. F u r th e r d ata w e re fu rn ish e d by n e w sp a p e r clippings and by p e rso n a l in terv iew s with people who have b een involved in so m e m eaningful way w ith the origin, a n d /o r the d ev elo p m en t of The R am ona P a g e a n t. 9 T heses W illiam C. K auffm an's "A Study of the H is to ric a l P la y s and P ag e an ts of C a lifo rn ia" fu rn ish ed h is to ric a l m a te r ia l on the d ev elo p m ent of C alifo rn ia outdoor d ra m a .^ J e s s ic a M ille r W e s s le r 's "The Civic T h e a tre T heory of P e rc y M acK aye" provided background m a te r ia l on the fam ily background and the youth of a p ro m in e n t c o n trib u to r to A m e ric a n "new p a g e a n try " -- 7 P e rc y W allace M acK aye. T heodore Ju n io r S hank's "G arn et H olm e: C a lifo rn ia P a g e a n t M a k er," which dealt b rie fly w ith The R am ona P a g e a n t, had m uch m a te ria l on the m an who c re a te d the P a g e a n t--G a rn e t H olm e. Shank ^covered H o lm e 's w ork at the U n iv e rsity of C a lifo rn ia a t B e rk e le y , his p ag ean try and c h ild re n 's th e a tre w ork in and around San F r a n c is c o , jand his p ag ean try in S outhern C alifo rn ia. A lthough th e re is not m uch detail in the study on H o lm e's sp ecific m ethods of d ire ctin g o r his g e n era l technique of o rg an izin g , Shank did provide u sefu l in fo rm atio n through in terv iew s conducted w ith a n u m b er of people who had known W illiam C. K auffm an, "A Study of the H is to ric a l P la y s and P ag ean ts of C a lifo rn ia " (unpublished M a s te r 's th e s is , U n iv ersity of Southern C alifo rn ia, Los A n g eles, 1931). 7 J e s s ic a M iller W e s sle r, "The Civic T h e a tre T heory of P e rc y M acK aye" (unpublished M a s te r 's th e s is , U n iv ersity of S outhern C a li fornia, Los A n g eles, 1949). 10 H olm e o r had w orked u n d er his d ire c tio n . Texts D ealing w ith P a g e a n try R o b ert W ithington's tw o-volum e w ork, E n g lish P a g e a n tr y , was an e x ce lle n t s o u rc e fo r tra c in g the developm ent of the d iffe re n t fo rm s 9 of p a g ean try fro m its beginnings to 1918. The C ase of A m e ric a n D ra m a , by T hom as H. D ickinson, a p ro fe s s o r of d ra m a at the U n iv ersity of W isconsin at the tim e of his w ritin g , was valuable as an exam ple of the id e as and a ttitu d es of u n i v e rs ity p r o fe s s o r s of d ra m a of th at p erio d tow ard the so c ie ty , the "new p a g e a n try " in the U nited S tates a t th at tim e , and the sta tu s and fu tu re of d ra m a in this c o u n t r y .^ S elected w orks of P e r c y M acK aye gave the in fo rm atio n n e c e s - isary to docum ent c e r ta in im p o rta n t events and philo so p h ies in the o rig in and d ev elo p m en t of the "new p a g e a n try " in A m e ric a . H is p r o p o sals fo r a C om m unity D ra m a , w hich he claim ed to have o rig in a ted , co n stitu te the m o st m eaningful co m m en ts on th at fo rm . T hese g T h eo d o re Ju n io r Shank, "G a rn et H olm e: C a lifo rn ia P ag ean t M ak e r" (unpublished M a s te r 's th e s is , U n iv e rsity of C alifo rn ia at Los A n g eles, 1953). Q R o b e rt W ithington, E n g lish P a g e a n try : An H is to ric a l Outline (2 vols. ; C am b rid g e: H a rv a rd U n iv ersity P r e s s , 1918). 10T hom as H. D ickinson, The C ase of A m e ric a n D ra m a (Boston: Houghton M ifflin C om pany, 1915). 11 p ro p o sa ls , defined in his e s s a y s , b e cam e the b a sis of E a s te r n outdoor e p ic - d r a m a - - in p rin c ip le , if not in fact. P e r c y M acK aye w rote th re e tex ts th at have left a m a rk e d in flu ence on the E a s te r n o utdoor e p ic - d ra m a of today. P a u l G reen , now le a d e r of this m o v em en t, has acknow ledged influence fro m M acK aye. W ithout so m e know ledge of the goals and the m e a n s M acK aye h o n o red , one cannot u n d ersta n d the outdoor e p ic - d ra m a m o v em en t in the E a st. The P la y h o u se and the P l a y ** (1909) defines M acK ay e's f ir s t c o n c e p tion of his fiv e -p o in t p r o g ra m -fo r C om m unity D ra m a ; The C ivic T h e- 12 a tr e (1912) adds m o re -c le a rly -d e fin e d a im s to M acK ay e's p ro g ra m . 13 C om m unity D ra m a (1917) gives his la te s t (and last) definition of his i I p r o g ra m . Throughout the th re e books, he has the sa m e b a sic p r o g ra m ; he adapts it fro m tim e to tim e , to keep it to p ical. 14 f P a g e a n ts and P a g e a n try , by E s th e r W illard B a te s, with an I I "Introduction" by W illiam O r r , gives a c le a r p ic tu re of the p a g e a n try u se d by th o se te a c h e rs who sought to u se the "new p a g e a n try " --w ith its ^ P e r c y M acK aye, The P la y h o u se and the P la y (New York: The M ac m illa n Com pany, 1909). 12 P e r c y M acK aye, The C ivic T h e a tre (New York: M itch ell K en n erly , 1912). 13 P e r c y M acK aye, C om m unity D ra m a (New York: Houghton M ifflin, 1917). 14 E s th e r W illard B a te s, P a g e a n ts and P a g e a n try (Boston: Ginn and C om pany, 1912). _______ I n ability to depict h isto ry with d ra m a tic f o r c e - - f o r c o m m e m o ra tio n and affirm a tio n , w hich w as P a r k e r 's intent in inventing the fo rm . 15 A Handbook of A m e ric a n P a g e a n tr y , a h an d so m e volum e lib e ra lly illu s tra te d with photographs of m any of the pageants d esc rib e d , p re se n ts D avol's r e p o rts and opinions of the burgeoning "new p ag ean try .' It is p a rtic u la rly in te re stin g fo r the a u th o r's co m m en ts on the ro le of w om en and ed u ca to rs in the p a g ean try of the tim e. 16 Sheldon C heney's The O pen-A ir T h e a tre gave u sefu l in fo rm a tion on the attitu d es of the avant g ard e of his e r a . P r im a r ily , he co v e r s types of th e a tr e s , with sp e c ia l re s p e c t to the effect of the physical plant on the psy ch o lo g ical values of plays. He included so m e d is c u s sion of the m asq u e w ork done in the educational th e a tre th at w as ju s t Jbeing fo rm u la te d at th at tim e . ! 17 I The Technique of P a g e a n tr y , by Linwood Taft, w as a good re fe re n c e for u n d erstan d in g the thinking and feelings of the c o lle g e - lev el te a c h e r in te re s te d in m aintaining the s ta tu s quo in E a s te r n so c ie ty , acad em ic o r o th e rw ise . T aft is v ery c o n se rv a tiv e . What he 15 R alph D avol, A Handbook of A m e ric a n P a g e a n try (Taunton, M a ssa c h u se tts: Davol P u b lish in g Com pany, 1914). ^ S h e ld o n Cheney, The O p en -A ir T h e a tre (New York: M itchell K en n erley , 1918). 17 Linwood T aft, The Technique of P a g e a n try (New York: A. S. B a rn e s and Com pany, 1925). 13 say s about p a g e a n try re la te s a lm o s t e n tire ly to the P a r k e r ia n fo rm ; his a w a re n e s s of the m asq u e fo rm s e e m s highly r e s tr ic te d . H ow ever, the te x t was im p o rta n t for its in d icatio n of the continuing im p o rta n c e of p ag ean try . 18 H isto ry of the T h e a tre , by O s c a r G. B ro ck ett, is an ex cellen t tex t, with excep tio n ally c le a r d ev elo p m en t of m a te ria l. It was helpful in th at the "new p a g e a n try " had a n u m b e r of a s so c ia te d fa c to rs th a t B ro c k ett identified and placed in p e r s p e c tiv e - - s u c h as the re la tio n of the l i t tle th e a tre and D ra m a tis t Guild m o v em en ts to the change in p ag ean try . 19 C re a tin g H is to ric a l D r a m a , by M cC alm on and Roe, is the a u th o rita tiv e te x t on outdoor d ra m a . It has v ery thorough d isc u ssio n s on all cogent p rin c ip le s , with a m p le su p p o rtin g m a te ria l. The a p p en dixes and b ib lio g rap h y a re ex cellen t. D ra m a Into H istory: A S o u rc e Book on Sym phonic D ra m a , by 20 W illiam F r e e and C h a rles L o w er, contains a n u m b er of s h o rt a r tic le s s by m en im p o rta n t in E a s te rn outdoor e p ic -d ra m a . It has a r tic le s by su ch c ritic s as John G a ssn e r and B ro o k s A tkinson and is a helpful text, 18 O s c a r G. B ro c k e tt, H is to ry of the T h e a tre (Boston: A llyn and B acon, 1968). 19 G eo rg e M cC alm on and C h ris tia n M oe, C reatin g H is to ric a l D ra m a (C arbondale: Southern Illin o is U n iv e rsity P r e s s , 1965). 20 W illiam F r e e and C h a rle s L o w er, H isto ry Into D ram a: A S ource Book on Sym phonic D ra m a (New Y ork: O dyssey P r e s s , 1963). 14 The F i r s t N ational O utdoor D ra m a C o n feren ce, edited by 21 C h a rle s B. L o w er, is a r e p o rt of the 1963 c o n feren c e on outdoor d ra m a at C hapel H ill, N orth C a ro lin a . It is in v alu ab le fo r its r e p o rts of the id eas of the m en of C hapel H ill. F u r th e r , not only p lay w rig h ts a re re p re s e n te d ; o th e r sk ills a re also re p re s e n te d . The F i r s t P la y w rig h ts C on feren ce of the In stitu te of O utdoor 22 D r a m a , published by the In stitu te of O utdoor D ra m a of C hapel H ill, is also an invaluable in d ic a to r of w hat the c re a tiv e le a d e rs of the E a s te r n fo rm a r e thinking and feelin g . Both of th e se tex ts give a v ery c le a r p ic tu re of the acad e m ic n a tu re of the E a s te r n e s ta b lis h m e n t. A S urvey of O utdoor D ra m a P ro d u c tio n T e c h n iq u e s, by M ark 23 S u m n er, gives m uch im p o rta n t in fo rm atio n as to the m o re re c e n t tre n d s in E a s te r n outdoor e p ic - d ra m a , as re p o rte d in the lite ra tu r e . The su rv e y r e fle c ts , so m ew h at, the attitude of C hapel H ill in r e s p e c t 21 C h a rle s B. L o w er, ed. , The F i r s t N ational O utdoor D ra m a C o nference (Chapel H ill: In stitu te of O utdoor D ra m a , U n iv e rsity of N orth C a ro lin a , 1963). 22 In stitu te of O utdoor D ra m a , The F i r s t P la y w rig h ts C o n fe r ence of the In stitu te of O utdoor D ra m a (Chapel Hill: In stitu te of O ut door D ra m a , U n iv ersity of N orth C a ro lin a , 1964). 23 M ark S u m n er, A Survey of O utdoor D ra m a P ro d u c tio n T e c h niques (New Y ork: A m e ric a n N ational T h e a tre and A cadem y; and Chapel Hill: In stitu te of O utdoor D ra m a , U n iv e rsity of N orth C a ro lin a , 1968). 15 to the acad em ic o rie n ta tio n tow ard the m ov em en t. But that does not in any way d e tra c t fro m the value of the in fo rm atio n re p o rte d . O rg an izatio n of the R em ain in g C h ap ters C hapter II tr a c e s the o rig in and developm ent of A m e ric a n o u t door e p ic - d r a m a - - th e e m p h a sis being on d ra m a of the R am ona type, and the kind developed by P a u l G reen and o th e rs at C hapel H ill since 1937. C hapter III d eals with the founding and developm ent of The R am ona P a g e a n t d uring its e a rly y e a rs fro m 1923 th ro u g h 1928 u n d er the p rim a ry influence of G arn et H olm e. C hapter IV d e s c rib e s the p ro g re s s of the P a g e a n t fro m 1929 through the d e p re s s io n and its clo sin g fo r the w ar y e a r s , 1942-1945. i C hapter V continues the s to ry , bringing the P a g e a n t fro m 1947 up through the 1972 production. C hapter VI is a s u m m a ry , with conclusions and su g g estio n s ifor fu rth e r study. C H A PT E R X I AN OVERVIEW O F TH E ORIGIN AND D E V ELO PM EN T O F OUTDOOR E PIC -D R A M A IN AM ERICA E u ro p e a n p a g e a n try , the s o u rc e of a ll m o d ern outdoor d ra m a in A m e ric a , f i r s t a p p e a re d in th is co u n try in 1627.* A lw ays a popular f o rm of e n te rta in m e n t, it w as used by the people to c o m m e m o ra te th eii p a s t, to give thanks fo r the b en efits of th e ir h e rita g e . B ut at the end of the n in eteen th cen tu ry , although m any A m e ric a n s had m u ch to be thankful fo r, o th e rs had m u ch to dem and. The p ro m is e of A m e ric a had a ttra c te d m illio n s of im m ig ra n ts --4 0 0 , 000 a y e a r betw een 1880 anc 2 1901 --m a n y of w hose d re a m s w e re not fulfilled. By 1894, A m e ric a 3 led the w orld in in d u s tria l p ro d u ctio n , y et m o s t of its la r g e r cities h a rb o re d in d u stry , w ith its accom panying sw e a t-sh o p s and slu m s. Thus c o m m e m o ra tiv e p a g e a n try , though p o p u lar, did not a n sw e r the n eed s of all. *Ralph D avol, A Handbook of A m e ric a n P a g e a n try (Taunton, M a ss a c h u se tts : Davol P u b lish in g C om pany, 1914), p. 33. 2 O s c a r T h eo d o re B a rc k , J r . , and N elson M an fred B lake, Since 1900 (New Y ork: The M a cm illa n C om pany, 1947), p. 2. ^Ibid. , p. 5. 17 A s if in an sw e r to the p ro b le m , a new fo rm of outdoor d ra m a w as invented in E ngland. The strik in g fe a tu re of th is new fo rm was th a t it n o t only e n te rta in e d and c o m m e m o ra te d , as of old, but it also educated the com m unity in its h isto ry . It was an in sta n t s u c c e ss . Soon the fo rm re a c h e d the U nited S ta te s, w h ere te a c h e r s , reco g n izin g th a t h isto ry could be u sed fo r p ro te s t as w ell as fo r c o m m e m o ra tio n , gave it a c a d e m ic o rie n ta tio n and put it to im m e d ia te u se. 4 The re v iv a l h e re , also in 1905, of an o th er old E n g lish fo rm , the m a sq u e , b a se d in sy m b o lism and a lle g o ry , had even g r e a te r p o ten tia l. The re su lta n t boom in the "new p a g e a n try " along the e a s te r n s e a b o a rd was nothing s h o rt of phenom enal. D uring the next 20 y e a rs the two f o rm s , individually o r in com bination, u sed fo r e n te rta in m e n t o r id e a listic p ro p ag an d a, g rad u ally ex h au sted th e ir u se fu ln e ss as the 1 a n n iv e rs a ry o c ca sio n s ended and r e fo rm s w e re in stitu te d . By 1925, the "new p a g e a n try " had, to a ll p r a c tic a l p u rp o se s , ended. But with the g re a t d e p re ss io n of the 1930s, the old d ism ay re tu rn e d , and the com m unity d ra m a of the "new p a g e a n try ," with its acad em ic o r ie n ta tion, was rev iv ed in 1937 in its new fo rm --o u td o o r e p ic -d ra m a . D uring all this tim e , a d iffe ren t fo rm of outdoor d ra m a had e m e rg e d in the W est. W ithout influence fro m the E a s t, w ithout the T h o m as H. D ickinson, The C ase of A m e ric a n D ra m a (Boston: H oughton Mifflin C om pany, 1915), p. 160.______________________________ 18 so c ia l p r o te s t and id e a listic p ro p ag an d a, an outdoor th e a tre developed 5 at C a rm e l, C a lifo rn ia , in 1910, w hich pro d u ced plays speciallyw xitteni for the outdoor th e a tr e - - th e f ir s t tru e outdoor d ra m a in A m e ric a . F r o m th a t beginning cam e A m e ric a 's f ir s t outdoor e p ic -d ra m a in 1923 at H em et, C a lifo rn ia , The R am ona P ag ean t. As the two fo rm s have developed, c e rta in b a sic stre n g th s and w ea k n e sse s have a p p e a re d . Viewed in the p e rsp e c tiv e of the o rig in of the "new p a g e a n try ," both in England and in A m e ric a , and in the d e v e l opm ent of the fo rm in A m e ric a , th ese stre n g th s and w ea k n e sse s define the b a sic p rin c ip le s of s u c c e ss fu l outdoor e p ic -d ra m a . The o rig in of A m e ric a n outdoor d ra m a and, in a se n se , of o u t door e p ic - d ra m a , thus began in England and w as p rim a rily the w ork of fo u r m en , the f i r s t of w hom w as Louis N apoleon P a r k e r , an E n g lis h m an . The o th e r th re e w e re A m e ric a n s. I ! | The O rig in of O utdoor D ra m a in England Louis N apoleon P a r k e r : The Rom ance of the P a s t D uring the second half of the n in eteen th cen tu ry , s c ie n tis ts and philosophers in tro d u ce d d isc o v e rie s and concepts that rev o lu tio n ized T h eo d o re Ju n io r Shank, "G arn et H olm e: C alifo rn ia P a g ean t Vlaker" (unpublished M a s te r 's th e s is , U n iv ersity of C a lifo rn ia at Los A ngeles, 1953), p. 55. I 9 ~ E u ro p ean and A m e ric a n so c ie ty . The s p ir it of inquiry th at brought fo rth th ese new ideas c a m e p r im a r ily fro m the fo rm a l ed u catio n of the u n iv e rsitie s of E u ro p e. T h e re , the im p etu s behind this in te lle c tu a l fom ent was an in c re a sin g b elief in m a n 's ability to co n tro l n a tu re and his own destiny through the pow er of know ledge. The m a te r ia l benefits accru in g to society fro m the w ork of su ch m en as B e s s e m e r , C u rie , D arw in, F re u d , and M a rx soon d e m o n stra te d the validity of th at h y p o th esis. The re s u lt w as th at in E u ro p e the so ciety b e c a m e m o re m a te ria lis tic , m o re p ro s p e ro u s , and m o re a g n o s tic - - if not a th e istic . And fo rm a l education b e c a m e m o re pow erful. I The new in te lle c tu a l in sig h ts had th e ir effect on E u ro p e an T h e a tre . The ro m a n tic is m of the 1830s gave way to r e a lis m , then to i a n a tu ra lis m whose e x c e s s e s , by 1890, re s u lte d in an equally e x tre m e id e a lism , e x p re sse d in the "new s ta g e c ra ft." T his challenging of t r a ditional concepts, and the tu rm o il th at re s u lte d , delighted so m e a r t is ts , but revolted o th e rs . In E ngland, a r e tir e d m u sic te a c h e r who had becom e a s u c c e ssfu l London p lay w rig h t d ra m a tiz e d his d ism ay . i In June, 1905, a t S h e rb o rn e , D o r s e ts h ire , E ngland, L ouis Napoleon P a r k e r p re se n te d The P a g e a n t of S h e rb o rn e , the f i r s t m o d e rn pageant.^* R e fe rrin g to the cau se of his r e v o lt- - m o d e r n ity - - P a r k e r R o b ert W ithington, E n g lish P a g ea n try : An H is to ric a l O utline (2 vols. ; C am bridge: H a rv a rd U n iv e rsity P r e s s , 1918), II, 196. 20 sta te d , "T h is m o d e rn isin g s p ir it, w hich d e s tro y s all lo v elin ess and has no lo v elin ess of its own . . . is the neg atio n of p o e try , the negation of ro m a n c e . . . . This is ju s t p r e c is e ly the kind of s p ir it which a p ro p - 7 e rly o rg an ized and p ro p e rly conducted pageant is d esig n ed to k ill." W hile teach in g at S h e rb o rn e School, P a r k e r had conceived the id ea of doing a fo lk -p lay th e re , "to b rin g back the p a s t g lo rie s of a se e g w hich an ted ated S a lisb u ry ." He did not re a liz e his d e s ir e , h ow ever, until 13 y e a r s la te r . In 1905, the tw e lv e -h u n d red th a n n iv e rs a ry of the school, b ish o p ric , and town w as to be c e le b ra te d . A y e a r o r so p rio r to that tim e , P a r k e r p re se n te d his idea; it was a c c e p te d , and w ork co m m en ced in 1904. In a c c o rd with his o rig in a l conception, he te rm e d l I jhis id ea a "fo lk -p lay "; it ex cited no in te re s t. A fter c o n sid e ra tio n , he I Jchanged the n am e to "p ag ean t," "which su g g ested delightful m a s q u e ra d - J 9 |ing to the p la y e rs . All th e ir apathy v an ish ed ." Then th e re was dif ficulty in te re s tin g the p r e s s . H ow ever, by a c c id e n t, two n e w s p a p e r- Ibid. , p. 195. P a r k e r had been m o d e ra te ly s u c c e ss fu l as a playw right b e fo re resig n in g fro m teach in g at S h e rb o rn e School in 1892 '(see P h y llis H a rtn o ll, ed. , The O xford C om panion to the T h e a tr e , 2d ed. [New York; Oxford U n iv e rsity P r e s s , 1957], p. 602). With P a r is such a s h o rt d ista n c e away, and with h is in te r e s t in th e a tre , it is r e a sonable to b eliev e he m ig h t have v isited P a r is and seen the highly n a tu ra lis tic prod u ctio n s th e r e , which w e re not calc u la te d to ex cite feelings of ro m a n c e and lo v e lin e ss, n o r was the m a te r ia lis tic tre n d of the tim e conducive to such. 8 W ithington, E n g lish P a g e a n tr y , II, 197. ^Ibid. , pp. 197-198.______________________ 21 m en w e re p re s e n t a t the d r e s s r e h e a r s a l. " T h e ir n o tices bro u g h t fifty thousand people to the little D o rse t village. All England took fire ." * ^ P a r k e r produced m o re h is to ric a l m o d e rn p ag ean ts, all p opular and a ll fin an cially s u c c e ss fu l, except the D over P a g e a n t, w hich lo st m oney "fo r v a rio u s r e a s o n s . " ^ S tim u lated by P a r k e r 's ideas and s u c c e s s , a n u m b e r of o th e r E n g lish m en b ec am e p a g e a n t- m a s te r s , and m o d e rn p a g ean try flo u rish e d th e re fo r a n u m b er of y e a r s , declining jafter 1914, acc o rd in g to P a r k e r , b e cau se of e x c e ssiv e " c o m m e r c i a l i s m . " ^ The fo rm and n a tu re of P a r k e r 's "invention" a re im p o rta n t to n ote, b ecau se the re a s o n s for the p o p u larity of this "new p a g e a n try " and its influence on the su b seq u en t d ev elo p m en t of outdoor d ra m a a r e in h e re n t in th e se two f a c to rs . P a r k e r v isu alized E n g lish h isto ry , a d d ing the sp e c ta c le of p a g ean try to d ra m a tic ev en ts, and stopping the tra d itio n a l p ro c e s s io n to p e r m it the in tro d u ctio n of plot, dialogue, and i c h a ra c te riz a tio n . The la tte r , of c o u rse , was som ew hat lim ited by the i scope of the sto ry . The S h e rb o rn e p ageant, then, contained d ra m a , 13 p a g e a n try , and the m u sic and dance f e a tu re s of the m asq u e . The ^ Ibid. , p. 198. * *Ibid. , p. 206. ^ Ibid. , p. 207. 13 Ibid. , p. 211. The S h erb o rn e pageant contained elev en e p i so d e s, all of w hich w ere clo sely connected w ith the h isto ry of the site . The f ir s t was "T he Com ing of E a ld h e lm ," in 705 A. D. ; the la s t was "S ir W alter R aleig h C om es to S h e rb o rn e ," in 1593. B etw een ev e ry two ep iso d es the o r c h e s tr a played a se le c tio n and the n a r ra tiv e c h o ru s told 22 so u rc e of the f o rm 's p o p u larity was proudly p ro c la im e d by P a r k e r: D ilettan tes and quidnuncs p ra te about the N ational D ram a. H e re it is. D ra m a co vering all E n g lish h isto ry fro m 800 B. C. | to the G re a t R ebellion; w ritte n by E n g lish m en , se t to m u sic by E n g lish m e n , co stu m ed and acted by E n g lish m en and w o m e n -- a c te d by th irte e n thousand of th e m --a n d liste n e d to by o v e r h alf- a -m illio n s p e c ta to rs in tw elve w eeks. D ra m a lifting our souls to God, and o u r h e a rts to the K in g --is not th at N ational D r a m a ? ^ P a r k e r 's invention was the f i r s t m o d ern outdoor d ra m a ; yet it was n o t fully outdoor d ra m a as the fo rm e x ists today. A lthough it did ihave the ch ro n icle fo rm , and th e re fo re the c h a ra c te riz a tio n and d ia logue n e c e s s a r y to m e e t the b a sic re q u ire m e n ts of d ra m a , its sto ry was of a place, not a p erso n . j I That e a r lie s t fo rm , h o w ev er, did e s ta b lis h m o st of the b asic j 'p rin cip les of outdoor d r a m a -- th e n and now. One of the m o s t im p o rta n t p rin c ip le s in outdoor com m unity d ra m a is le a d e rsh ip . "T he p e r s o n a l ity of a p a g e a n t-m a s te r counts fo r a g re a t deal; fo r the m o d e rn pageant ! 15 (is c a r r ie d th rough by the fo rc e of p e rso n a l m a g n e tism ." M uch of I iP a r k e r 's su c c e ss was due to his p ro fe ssio n a l attitu d e. T hat is , he b rie fly what had happened since the events of the p revious scen e or p re p a re d for the ensuing s c e n e s. T h e re was a final p ro c e ss io n a l m a rc h . The acting and speaking w ere sim p le , and the effects cam e fro m the en sem b le r a th e r than fro m individual c h a ra c te riz a tio n and plot (ib id . ) 14 Ibid. , p. 196. The affirm a tio n and e n te rta in m e n t gained by the audience fro m the c o m m e m o ra tio n of its h isto ry is the p rim a ry draw ing pow er of h is to ric a l outdoor d ra m a . 15Ibid. , p. 200. 2 3 16 dem anded th at his productions be as a c c u ra te and as w ell produced 17 as p o ssib le , and although he was in te re s te d in the education of the 18 com m unity in its p a s t, he did not ig n o re the p rim e p u rp o se of th e - a tr e - - e n te r ta in m e n t. He reco g n ized th a t outdoor d ra m a , as he co n ceived it, was la rg e ly dependent upon its p ageantry; and that e s s e n tially p ag ean try fulfills "the joy of a com m unity on a holiday • „19 o c c a s io n ." P a r t and p a rc e l of le a d e rs h ip is the com m unity. "T he o s te n sib le aim of p ag ean try is to rev iv e o r m a in tain a m e m o ry of the p a st, 20 giving the h isto ry of the town, and honoring its g re a t m e n ." This j * j m u s t be done by the com m unity: "M r. P a r k e r holds . . . that a p ag - j i ean t m u st, of n e c e s sity , be a com m unity a ffa ir, given of the town, by | the town, for the tow n, and only incidentally fo r the s tr a n g e r s that a r e 21 ‘w ithin the g a te s." Some of the ru le s P a r k e r developed fo r m a in ta in ing the com m unity p rid e and e ffo rt in th e ir outdoor d ra m a s w e re that 22 all la b o r should be v o lu n tary , all in itia l ex p en ses should be Ibid. , p. 221. W ithington r e m a r k s : " 'Be a c c u ra te : but, if you c a n 't be a c c u ra te , be as a c c u ra te as you c a n .' E ven M r. P a r k e r , w hose in siste n c e on the im p o rta n c e of h is to ric a l a c c u ra c y in pageants is founded on the b elief th a t laxity in this r e s p e c t w eakens th e m as educational v eh icles, has allow ed h im se lf a c e rta in m a rg in ." 17 18 19 Ibid. , p. 199. . Ibid. , p. 195. Ibid. , I, xvii. 7 n 21 22 Ib id ., II, 221. Ibid. , I, x v ii,;n . 1. I b id ., II, 198. 24 23 g u a ra n te e d , the p ro d u c tio n should not be given fo r p ro fit n o r fo r 24 25 c h a rity , n o r should p e r f o r m e r s be paid. P a r k e r in sis te d th a t the " e p iso d e s" be w ritte n by lo c a l d r a m a tis ts o r poets w henever p o ssib le , 26 and the m u sic com posed by local m u s ic ia n s ." As fo r the s to ry of P a r k e r 's outdoor d r a m a s , the h is to ry was 27 the m o s t im p o rta n t e le m e n t. "W hat m ak es the h isto ry we le a r n by m ean s of fic tio n . . . s ta y with u s, long a fte r the fac ts we have re a d in jbooks have gone" is th a t "th ro u g h o u r sym pathy fo r, and in te r e s t in, j 28 the c h a r a c te r s , we gain an in te r e s t in e v e n ts." J Akin to the im p o rta n c e of the h is to r ic a l s to ry is th a t of holding the p roduction on the h is to r ic a l s ite . "No one w ill deny th a t if the site of a pageant be the sc e n e of even one event re p ro d u c e d , a g r e a t advan- 29 tage is gained; that it is a n e c e s s ity , is not u n iv e rsa lly a d m itte d ." F in a lly , as an in d ic a tio n of the im p o rta n ce to this type of m o d e rn outdoor d ra m a of the p rin c ip le of c o m m e m o ra tio n , P a r k e r called a pageant: . . . p a r t of a g r e a t fe stiv a l of T hanksgiving to A lm ighty God fo r the p a s t glory of a c ity and fo r its p r e s e n t p o s te rity . Such an in te rp re ta tio n re m o v e s the whole thing at once to a high plane and 23 24 Ibid. , p. 206. Ib id . 25 Ibid. , p. 198. H o w ev er, it m u st be noted th at P a r k e r paid sicians. 26Ibid. 27Ibid. , p. 215. 28Ibid. , p. 220. 29Ib id ., p. 199. the m u sic ia n s. 2 5 out of the a tm o sp h e re of the m e r e sp e c ta c u la r e n te rta in m e n t. The actu al pageant should b e - - in the ca se of m y p ageants it has alw ays b e e n --o p e n e d and clo se d by g re a t c o m m e m o ra tiv e s e rv ic e s on the p rev io u s and concluding Sundays in all the places of w o r s h i p . ^0 C o m m e n su ra te with this attitude of thanksgiving, P a r k e r n e v e r chargee fo r the opening p e rfo rm a n c e . "The whole town could thus see its pageant fo r nothing; the p e rfo rm a n c e m ade a good 'd r e s s - r e h e a r s a l , 1 31 and nothing was lo s t by the o m issio n . . . . " P a r k e r u su ally ra n his 32 pageants a w eek, and believed they should not be re p e a te d often er 33 th an e v e ry ten y e a rs . In s u m m a ry of this f i r s t m o d e rn outdoor d r a m a - - th e beginning jform of the "new p ag ean try " th a t was to c ro s s the ocean and find m uch the sa m e p o p u larity in A m e r i c a - - P a r k e r invented and s e t the fo rm of j ch ro n ic le outdoor d ra m a . He gave it its p rin c ip le s of philosophy, j tech n iq u e, and p ra c tic e . He also e sta b lish e d its acad e m ic o rien tatio n ; the "new p ag e a n try " was c h a ra c te riz e d by this p rin c ip le. But P a r k e r 's I lo rien tatio n for teaching was the c o m m e m o ra tio n of the p a st. He knew i th a t E n g lan d 's co lo rfu l h isto ry , when told with the pom p and c irc u m - I stan ce of the actu al ev en ts, with the co lo rfu l cu sto m s and co stu m es 30 31 I b id ., p. 212. I b i d ., p. 232, n. 2. ^ I b i d . ^ I b i d . , p. 205. IE th a t w ere the v ery so u rc e of "p a g e a n try " itse lf, would both e n te rta in 34 jand in stru c t. | } W ithington, w ritin g of E n g lish and A m e ric a n p ag ean try in 1918, I m ade this o b serv atio n : ". . . in the m ain , the d ifferen ce betw een the i [pageants in E ngland and A m e ric a is due to the m e n ta l attitude of the I two c o u n trie s. As M r. P a r k e r sa y s, England talk s of the 'good old 35 tim e s ,' and A m e ric a of 'the good tim e s th at a re to c o m e .' " M uch of the re a so n fo r th at fu tu ris tic outlook, and fo r the acad em ic o rie n ta tio n th a t d ire c te d it, was the effect of the p a rtic u la r genius of P e r c y M a c K a y e --th e second of m o d e rn outdoor d r a m a 's "four m e n ." I The O rig in of O utdoor D ra m a in A m e ric a j IP e r c y W allace M acK aye: iThe R om ance of the F u tu re I The A m e ric a n "new p a g e a n try ," by the dem and of its audiences P a r k e r 's p rin c ip le s , w hich pro v ed to be those of su c c e ssfu l outdoor e p ic - d ra m a , w e re in su m m a ry : (1) le a d e r s h ip , c h a ra c te riz e d by (a) stro n g , a ttra c tiv e p e rso n a lity , (b) o rie n ta tio n to p ro fe ssio n a l s ta n d a rd s , and (c) devotion to the p ro d u ctio n above the individual; (2) s to r y , c o n cern ed w ith h is to ric a lly -o rie n te d ro m a n tic events of n a tio n al as w ell as lo cal sig n ifican ce that a ffirm e d u n iv e rs a l values and w e re pro d u ced fo r the sake of e n te rta in m e n t m o re than fo r th a t of in stru c tio n ; (3) com m unity p a rtic ip a tio n w hich was e n th u sia stic and continuous, and co n trib u ted w o rd -o f-m o u th ad v e rtisin g ; (4) b a sic ex p en ses of the p ro d u ctio n w e re gu aran teed ; and (5) th e re was an i n t e r e ste d public, w hich attended. The p r im a r y w eakness which developed in the E n g lish "new p a g e a n try " begun by P a r k e r was the "blight of c o m m e r c ia lis m " w hich by 1914 had cau sed a decline in the m o v em en t. Towns began to com pete with one a n o th e r, and p ro fit b ecam e the p r i m a ry m otive (W ithington, E n g lish P a g e a n tr y , II, 206-207). ________ 35Ibid. . p. 233._________ __ _________________________________________ 2 7 and by the n a tu re of the fo rm , w as dom inated fro m its inception by te a c h e rs and a c a d e m ic o rie n ta tio n . At the beginning of th e e r a , the public dem anded the c o m m e m o ra tiv e type of pag ean t, to c e le b ra te c e n te n n ia l a n n iv e rs a rie s o r to c e le b ra te p re s e n t a c c o m p lish m e n ts which, h o w ev er, had th e ir ro o ts in the p a st. The te a c h e rs w e re the logical ! ones to conduct th e se c o m m e m o ra tiv e p ageants b e c au se h isto ry was involved, and te a c h e rs w ere the a u th o ritie s . A lthough few had any jex p erien ce in d ra m a a t the beginning of the p ag ean tic f lu r r y , through i i e x p e rie n c e c re a te d by dem and, they le a rn e d . F u r th e r , b e cau se of the j ! gains won fo r th e so c ia l statu s of a c to rs and the th e a tre by the knight- j j 1 iing in England of H enry Irv in g sh o rtly b efo re the tu rn of the cen tu ry , ithe people of the th e a tre w ere beginning to enjoy in c re a s in g r e s p e c ta - ! Ibility. T hus, m any te a c h e rs b e c a m e in te re s te d in th e a tre a r ts . j P a g e a n try w as alw ays a p o p u lar fo rm . The new d im en sio n s for teaching in h e re n t in P a r k e r 's m o d e rn outdoor d ra m a , w hich could also be done in d o o rs, stim u la te d both the acad e m ic and the a r tis tic d e s ir e s jof good te a c h e r s . The com bination of au d ie n c e -d e m a n d and te a c h e r - t I j a r t is t d e s ire and av ailab ility b ro u g h t into being by the o ccasio n s fo r j 1 a n n iv e rsa ry c e le b ra tio n began the r a s h of p ag ean ts that b ro k e out in A m e ric a around 1905. C o m m e m o ra tiv e and c o n g ra tu la to ry p ageants la ste d throughout the tw e n ty -so m e y e a rs d u ratio n of the "new p a g e a n try 's " boom; how e v e r, by 1915 that so u rc e had been la rg e ly sa tisfie d . But by then the 2 T “ 3 6 pag ean try of the fu tu re w as e sta b lish e d , and continued the activity. P a g e a n ts b ased on h is to ric a l episodes had been produced as '37 e a rly as 1801; betw een 1890 and 1905 a n u m b er of h isto ric a l p ag eants w ere given, in w hich the ed u catio n al p ro ce ss figured p ro m i- 38 39 nently. In 1908, the N o rm a l School P a g ea n t at Boston took place. It had elem en ts in it of the techniques of both the co m m em o rativ e p a g ean try , which w as b a sic a lly the c h ro n ic le fo rm of d ra m a allied with pageantic sp e c ta c le , and of fu tu ristic p ag ean try , which was based in m a sq u e , which is h alf d ra m a , half p ageant. M rs. Colonna M u rray D allin, who had been "e n tru ste d " with the task of planning "som e s o r t of p ro c e s s io n o r tab leau x suitable to p re s e n t on such an o ccasio n ," w ro te that she had f i r s t thought of re p re s e n tin g "E ducation," the fre s c o by P u v is de C havannes at the Sorbonne, "and le t the fig u res in it fo rm a p ro c e ss io n . . . . Then the id ea cam e to m e, as the a ir was full of echoes of E n g lish p a g e an ts, th a t the h isto ry of education m ight be 40 p re se n te d in pageant f o rm ." H e re w as evidence of P a r k e r 's 3 6 T h e re is no sp ecific date as to when the "new p ag ean try " b e gan in A m e ric a , allow ing the exact o rig in of th ese two fo rm s to be identified. 37 W ithington, E n g lish P a g e a n try , II, 236. 38 W ithington lists a s e r ie s of p ag ean ts, beginning with the M a rie tta P a g e a n t of 1888 and ending with the Yale B icentennial of 1901, all of which w e re , as he r e f e r r e d to th e m , " 'h isto ric fe s tiv a ls ' o r 'p a g e a n ts,' " and which w e re "at the end of the nineteenth cen tu ry . . . com m on enough" (Ibid. , pp. 258-262). 30 40 __________ Ibid. , pp. 260-261.________Ibid. . pp. 281-283._________________ 2 9 invention; the P a r k e r ia n fo rm had m asq u e e le m e n ts in it. But th e re m ay also have been p r e s e n t the influence of P e r c y M acK aye, fo r as a s c h o la r noted, "The sa m e m onth and y e a r in w hich the S h erb o rn e P a g eant w as given, Ju n e, 1905, P e rc y M acK aye and o th e rs gave the Saint - G audens P a g ea n t in C o rn ish . S tric tly , this was probably m o re m asq u e 41 than p ag ean t." R e g a rd le s s , by 1908 both the c h ro n icle and the m asq u e w e re at loose in A m e ric a n p a g e a n try --th e one to te ll the g lo rie s of the p a st, the o th e r to p ro m o te th o se of th e fu tu re. 42 M acK aye did not invent the "new p a g e a n try " of A m e ric a . Although he w rote a n u m b e r of p a g e a n t-m a s q u e s , d ire c te d at le a s t one iof th em , and se e m e d to be c e n tra l to the p ro d u ctio n of all of them , his m ain fo rc e on A m e ric a n "new p a g e a n try " was his co n trib u tio n of a th eo ry and a fo rm which provided a r t is t s , te a c h e r s , and so c ia l r e fo r m e rs with a m e a n s to in s tru c t, p ro te s t, and to so m e extent, 43 e n te rta in . In this r e s p e c t, he, m o re than any o th e r, influenced the o rig in and developm ent of E a s te rn outdoor e p ic -d ra m a . ^ D ic k in s o n , The C ase of A m e ric a n D r a m a , p. 160. ^ S u p ra , p. 18. In his The Civic T h e a tr e , M acK aye defined his co n trib u tio n to the S aint-G audens m a sq u e , w hich along w ith P a r k e r 's m o d e rn pageant fo rm e d the b asis fo r A m e ric a n "new p a g e a n try ." As M acK aye d e sc rib e d it: "The m a sq u e , w ritte n by M r. Louis Evan S hip m an , the d ra m a tis t, w ith a prologue by m y se lf, . . ." (P e rc y M acK aye, The Civic T h e a tre [New York: M itchell K en n erley , 1913], p. 166). 43 The focus of M acK aye'o im p o rta n c e in the "new p ag ean try " lies in h is th eo ry of C om m unity D ra m a , which is d isc u s s e d in the follow ing p ages. 30 M acK ay e's in te r e s t in the "new p a g e a n try " began with his own p a r tic u la r p ro b le m s: he w anted a c a r e e r in the c o m m e rc ia l, p r o f e s sio n al th e a tre as a p lay w rig h t, but he had been unable to achieve it. H e, like m any o th e rs , su ffered fro m conditions in the so ciety . At the tu rn of the cen tu ry , the new E u ro p ean philosophies and scie n tific fin d ings in tro d u ced into A m e ric a n in d u stry c re a te d g re a t w ealth, but also g re a t so cia l p ro b le m s. As a r e s u lt of the w ealth, the country was d i- vided betw een th o se with fo rtu n es who sought to in c re a s e and p ro te c t th em , and th o se w ithout fo rtu n e s , who sought to a c q u ire th em . The f o r m e r , in g e n e ra l, b eliev ed in the divine rig h t of God and fo reig n kings, in la is s e z - f a ir e econom y, in R ep u b lican ism , in law and o r d e r, j and in a c o m m e rc ia l, p ro fe ssio n a l th e a tre . M any of the la tte r believed in o th er values and in o th e r m ean s by w hich to a c q u ire the w ealth and pow er of the f o rm e r. P a r tic u la r ly am ong the la tte r w e re a group of a r t is t s , a good nu m b er of th em te a c h e r s , who w e re in te re s te d in b rin g " ing about a new th e a tr e -- o n e not dom inated by the c o m m e rc ia lis m of 44 the " T h e a tric a l S yndicate," but r a th e r , d edicated to the so c ia l 44 The " T h e a tric a l S yndicate" w as the n am e given to two P h ila delphians - -S am Nixon and F r e d Z im m e rm a n --a n d fo u r New Y o r k e r s - - C h a rle s F ro h m a n , A1 H aym an, M arc Klaw, and A b rah am E r la n g e r - - who, through th e ir pow er as e ith e r booking agents o r th e a tre o w n e rs, gained co n tro l o ver the New Y ork th e a tre fro m about 1896 th ro u g h 1914. (F ro h m a n was the only exception; he was a th e a tric a l p ro d u c e r.) They achieved this th ro u g h co n tro l of the " ro a d ," a te r m given to those key ro u te s betw een p rin c ip a l c itie s. T ouring, a lu c ra tiv e s o u rc e of e n g ag em en ts, dem anded th at prod u ctio n s play a t c itie s along th o se key ro u te s. By co n tro llin g the th e a tre s along the ro ad and the booking of y r b e tte rm e n t of the people through the id e a lism of a c a d e m ic o rie n ta tio n . In s h o rt, m any unem ployed a r tis ts and m any te a c h e rs w anted a u n i v e rs ity th e a tr e - - b u t none such ex isted . Follow ing his e x p e rie n c e at the C o rn ish P a g e a n t and o th e r e x p o su re s to the "new p ag ean try " sc e n e , M acK aye s e t out to c re a te one. Being a w rite r, he chose the obvious m ean s: The P lay h o u se and the P la y , a book in w hich he diagnosed the ills of the th e a tre and 45 p re s c rib e d the rem ed y , w as published in 1909. The m alad y of the th e a tre (and of the so ciety it reflected ) he a ttrib u te d to th re e c a u se s: F i r s t , the c o m m e rc ia l, p ro fe ssio n a l th e a tre w as indulging public ta ste ! 46 ;in ste a d of guiding it. Next, d ra m a tis ts w ere not being acc o rd e d the | I i > 47 | | com m unity le a d e rsh ip they d e se rv e d . F in a lly , the "people" w e re notj | (being given th e ir rightful h e r ita g e -- " T h e m e ss a g e of an u n iv e rsa l 48 v isio n ." His rem ed y c o m p rise d five tre a tm e n ts : 1. "A new d ra m a " w hose "m ain ro o ts " sh a ll be in the E n g lish language but "sh a ll p e rm e a te the su b so il of the c e n tu rie s as f a r as the age of P e r ic le s . . . . A d ra m a . . . adapted to a people of m any m illio n s . . . th e ir p r a ir ie s , th e ir m oun ta in s , th e ir v ast r iv e r valleys . . . it sh a ll hum anly i n t e r p r e t and m ake vocal to th e m and th e ir p o s te r ity ."49 plays into th o se th e a tr e s , as the Syndicate did, it w as also able to c o n tro l the New Y ork th e a tre (O sc ar G. B ro ck e tt, H isto ry of the T h e a tre [Boston: A llyn and Bacon, 1968], pp. 510-511). 45 P e r c y M acK aye, The P lay h o u se and the P lay (New York: (The M acm illan Com pany, 1909). 46 47 48 I b i d ., p. 12. Ibid. , pp. 18-19. Ibid. , p. 113. 49 I b id ., p. 114._________ 32 2. A new d ra m a tis t: " P e e rin g through the im ag in atio n of the p a st, the p re s e n t, the fu tu re , sh all s triv e (as K eats says) 'to se e as a god s e e s ,' and m ake th o se im ag es th e ir D ra m a tis P e r s o n a e . . . beings as sim p ly u n d e rstan d a b le to o u r A m e ric a n m a s s e s as the G re e k -s ta g e Zeus and A gam em non w e re to the A thenians 3. A new a c to r and a new technique: "A new and n o b le r a r t of im p e rso n a tio n . "51 4. A new th e a tre : "W ith the new d ra m a of D em o c ra c y , then, w ill a r is e a d iv e rg e n t d ra m a tic technique, a native appeal and m e s s a g e ."52 5. A new m an ag em en t: ". . . above a ll- - to a d m in iste r and ! develop its v a st function, a new th e a tric a l in stitu tio n , w ith b a sic lib e rty and p e rm a n e n t s e c u rity fo r its grow th [endow m en t, o r s u b sid y ]."53 M acK ay e's " m e s s a g e " re a c h e d his p u b lic --fe llo w -a rtis ts and th e a tre s c h o la rs - -and m ad e a deep im p re s s io n upon th em , e sp e c ia lly 54 the la tte r. O th er te x ts on p ag e a n try began to a p p e a r around 1912, ^ Ibid. , pp. 114-115. ^*Ibid. , p. 118. 52 53 Ibid. Ibid. 54 As noted, M acK ay e's The P lay h o u se and the P lay was p u b lish ed in 1909 (s u p r a , p. 31). In 1912, E liz a b e th W illard B ates gave M acK aye h o n o rab le m ention; h o w ev er, in h e r " P re fa c e " she w ro te th at c e rta in of P a r k e r 's p ageants "exceeded all o th e rs in beauty and lite r a r y q u ality " (P a g e a n ts and P a g e a n try [Boston: Ginn and C o m pany, 1912], p. iv). In D ick in so n 's The C ase of A m e ric a n D ra m a , published in 1915, th a t author echoes M acK ay e's attitu d es to w ard c o m m e r c ia lis m and outdoor d ra m a , p a rtic u la rly the m a sq u e fo rm . And as w ill be se e n , P a u l G reen and, su b seq u en tly , h is a s so c ia te s at C hapel H ill, o rie n te d his com m unity d ra m a on the sam e b asic p rin c ip le s . 33 and in th e m M acK aye and his id eas re c e iv e d e n th u sia stic p ra is e . W h ereas in The P lay h o u se and the P la y he c ritic iz e d the c o m m e rc ia l th e a tre and p re se n te d his p rin c ip le s of the th e a tre and d ra m a of D e m o c ra c y as the c o rre c tiv e , in The Civic T h e a tre he reco m m en d ed th at a n atio n al civic th e a tre be in stitu te d , b ased on his concepts of the D ra m a of D e m o c ra c y , but th a t it c o -e x is t with, and act as an in s p ir a tion fo r im p ro v e m e n t in th e c o m m e rc ia l th e a tre . In 1917, his la s t e s sa y on the su b jec t was published. H e re , he en titled the e s s a y and 56 his concept C om m unity D ra m a . He rec o m m e n d ed it as a su b stitu te fo r w ar and as an in s tru m e n t fo r in te rn a tio n a l goodwill and c o o p e ra tion. But d esp ite the fa c t th a t by then he had ach iev ed m a rk e d s u c c e ss with h is m a s q u e s , his id eas did not find p opular su p p o rt, and his com m unity d ra m a continued p r im a r ily in his tex ts and in the m inds of , • , 57 his d evotees. 55 j A lthough ap p earin g so m ew h at la te r (1918), Sheidon C heney's ! The O p en -A ir T h e a tre p re s e n ts p ro b ab ly the b e s t re p re s e n ta tio n of the a r tis tic and a c ad e m ic opinion on M acK ay e's id eas c u r re n t a t th a t tim e. He w rote: "It is sig n ifican t th a t P e r c y M ackaye [sic], the leading A m e ric a n exponent of the 'civ ic d r a m a ,' tu rn s to o p e n -a ir th e a tre fo r an adequate se ttin g fo r his co m m unal p ro d u ctio n s, finding th e r e alone the c o -o p e ra tio n of a r tis ts and people that m a k e s p o ssib le the fin e st in te rp re ta tio n of d ra m a " (Sheldon Cheney, The O p en -A ir T h e a tre [New Y ork: M itch ell K en n erley , 1918], pp. 129-130). 56 P e r c y M acK aye, C om m unity D ra m a (New York: Houghton M ifflin, 1917). M acK aye w ro te quite a few m a sq u e s, the b est-k n o w n of which w e re The M asque of Saint L ouis (T hom as Wood Stevens and P e rc y 3 4 The "new p a g e a n try " u n d erw en t a change beginning around 1910 I jAs the u se of the c h ro n icle fo rm d e c re a se d , the u se of the m asq u e M acK aye, The Book of W ords of the P ag ean t and M asque of Saint Louis [2d ed. ; St. Louis: N ixon-Jones P rin tin g Co. , 1914]) and C aliban, by |the Yellow Sands (G arden City, New York: D oubleday, P a g e & Co. , 1916). M agnitude w as one of his su c c essfu l e ffe c ts, w hich he p racticec in both of th ese p ro d u ctio n s. At St. L ouis, the sta g e w as 1,000 feet w ide, and "150,000 citizen s of St. L ouis g ath ered in M ay, 1914, to w itn ess the P ag ean t and M asque of Saint L o u is, in w hich o ver 7,000 of th e ir fe llo w -c itiz e n s took p a rt. . . . " (M acKaye, C aliban, p. 156). |E a r l i e r in the sa m e e s sa y , M acK aye had re c a lle d th a t "the outgoing c o st of the Saint L ouis production was $122,000; the incom e $139,000. The b alan ce of $17,000 has been devoted to a fund fo r civic a r t. The co st of producing a single play by Sophocles a t A thens w as $500,000" (Ibid. , p. xix). T h e re w as nothing in the r e p o rt to in d icate the in itial co st of C a lib a n . H ow ever, in 1917, it was re p e a te d a t H a rv a rd S ta- d iu m --th is tim e with 5, 000 people in it, and fo r the benefit of the Red C ro s s . As W ithington re p o rte d it, " C aliban lo s t m oney, in stead of m aking it; and h a rd feelin g s w e re a ro u se d " (W ithington, E n g lish P a g - e a n try , I, xx). In his study of H olm e, T heodore Ju n io r Shank re m a rk e d on the c o n tra s t betw een the w ork of G arn et H olm e and th at of M acKaye: "H o lm e's conception of p ag ean try did not include o ste n ta tio n o r c o m m e r c ia lis m and this is exactly w h ere C aliban was leading the pageant. One point should be re m e m b e re d : w hile the E a s te r n pageant h as long been dead, the p a g ean try of G a rn et H olm e co n tin u es" ("G arn et H o lm e," p. 78). Two re a so n s for the fa ilu re of M acK aye's C om m unity D ra m a j s e e m to e m e rg e . F i r s t , the sc a le of his am bition, w hich dem anded that C om m unity D ra m a be nationw ide, if not w o rld w id e --in keeping with h is concept th a t it be m ade a su b stitu te fo r w ar as the re s u lt of its adoption as an in stru m e n t of "in te rn a tio n al goodw ill," and encouraging such a g ran d io se s c a le was the fa c to r of s u b s id y --a p rim a ry one in M acK ay e's fiv e -p o in t p ro g ra m fo r his C om m unity D ra m a . E qually co n trib u to ry se e m s to be the confusion of d ra m a , m a sq u e , and pageant c re a te d by M acK aye in su ch productions as C a lib a n , in w hich he ap p e a re d to s triv e m o re fo r poetic d ra m a than fo r e ith e r m asq u e o r pageant. As W ithington, even in 1918, d isc e rn e d the p roblem : "M r. M acK aye, em p h asiz in g sy m b o lism , seek s to give an a r tis tic p e r fo rm a n c e w hich w ill not only leave the com m unity m o re clo sely knit, but w ill also o rg a n iz e m ilita n t so c ia l s e rv ic e as an effective su b stitu te fo r w a r. The fu tu re alone can show w hether h isto ry [ P a r k e r 's 3 5 in c re a se d . The fo rc e behind this change was a n u m b e r of m en teaching in u n iv e rs itie s in the E a s t and M idw est who w e re in te re s te d in d ra m a and in esta b lish in g an acad em ic th e a tre . P r in c ip a l am ong th e se th e a tr e -te a c h e r s w as G eorge P ie r c e B ak e r, who in au g u rated " f ir s t at R adcliffe, in 1905, and a y e a r la te r at H a rv a rd , a c o u rse in p ra c tic a l 58 p la y w ritin g ." As an adjunct to this c la s s , B ak e r w as allow ed to open 59 the "47 W orkshop" in 1913, a c o u rse fo r the p ro d u ctio n of plays. With B a k e r, the u n iv e rsity acad em ic th e a tre w as re a liz e d . At C a r n e gie In stitu te of Technology in 1914, "T hom as Wood Stevens in stitu ted the c o u n try 's f ir s t d e g re e -g ra n tin g p ro g ra m in t h e a t r e . F r e d e r i c k H en ry Koch began teach in g at the U n iv ersity of N orth D akota in 1905, e n terin g into active e x tr a c u r r ic u la r p roduction with the o rg a n iz a tio n of the D akota P la y m a k e rs in 1910.^* And at the U n iv ersity of M innesota, Thom as H. D ickinson developed a c u rric u lu m in d ra m a . D uring the tim e that th e se m en w ere e sta b lish in g d e p a rtm e n ts of th e a tre at th e ir re sp e c tiv e sch o o ls, each w orked in the "new p ag e a n try , " and m o re o rie n ta tio n ] o r sy m b o lism w ill p ro v e the m o re potent fo rc e " (W ithing ton, E n g lish P a g e a n tr y , II, 302). H isto ry , as called upon by W ithing ton and provided by H o lm e 's adaptation of an h is to ric a l novel, has won. 58 H artn o ll, O xford Com panion to the T h e a tre , p. 47. 59 B ro c k e tt, H isto ry of the T h e a tre , p. 631. Ibid. ^ H a r t n o l l, Oxford Com panion to the T h e a tre , p. 443. 3 6 p a rtic u la rly , with the m a sq u e fo rm . Stevens se e m s to have been the fo re r u n n e r , putting on the P a g e a n t of the Ita lian R e n a is s a n c e , using 62 p red o m in an tly the m asq u e fo rm , at Chicago in J a n u a ry of 1909. The n ex t y e a r, G eorge P ie r c e B a k e r was the m a s te r of the p a g e a n t-m a sq u e 63 at P e te rb o ro u g h , New H a m p sh ire ; B ak er continued doing o c c a sio n a l 64 pageants fav o rin g th at fo rm until 1930, at le a s t. D ickinson and Koch a s c rib e d to the fo rm in th e ir pag ean ts. In c re a sin g ly a fte r 1910, then, p roduction of m asq u e s in c re a s e d , fav o red by the f o re ru n n e rs of the aca d e m ic th e a tre . Since in The Civic T h e a tre M acK aye p ro p o sed the p rin c ip le of subsidy as a m e a n s to b rin g his c iv ic - th e a tre concept into being, and fu rth e r p ro p o sed th at u n iv e rsitie s would m ake ex cellen t tr u s te e s , w h e re v e r th e se u n iv e rsity m en produced m a sq u e s under such an a e g is, they w ere in effect p ra c tic in g the p rin c ip le s of M acK ay e's com m unity d ra m a . Y et, even w ith th e ir h elp , by 1920 outdoor m asq u e s 65 had d e c re a se d to n e a r extinction. C om m unity D ra m a had run its j c o u rse ; new e n te rta in m e n ts took its p la ce . I I I By 1917, the "new p a g e a n try " as a whole w as beginning to 62 W ithington, E n g lish P a g e a n tr y , II, 283. ^ Ibid. , p. 264. 64 G eorge M cC alm on and C h ristia n M oe, C re a tin g H is to ric a l D ra m a (C arbondale: S outhern Illinois U n iv e rsity P r e s s , 1968), p. 333. 65 B ro ck ett, H isto ry of th e T h e a tre , p. 631. 3 7 decline. M ost of the a n n iv e rs a ry c e le b ra tio n s had taken place. The te a c h e rs and com m unity people who had engaged in the P a r k e r ia n c o m m e m o ra tiv e p a g ean ts, to sa tisfy th e ir d e s ire fo r th e a tre , found continuance in the little th e a tre m o v em en t, the D ra m a L eague activity, and the a r t th e a tr e s w hich began around 1910. T hese v ario u s m o v e m en ts in g e n e ra l had th e ir s o u rc e in the independent th e a tre s of E u ro p e , new s of w hich began to re a c h A m e ric a in c re a sin g ly a fte r 1910, in tro d u ced by su ch people as W inthrop A m e s, S am uel H um e, Sheldon j 67 Cheney, P e r c y M acK aye, and o th e rs. In the concepts and d re a m s of M acK aye, c a r r ie d on by the i ! |"u n iv e rsity m e n ," and in the a c a d e m ic th e a tre e sta b lish e d by th em , J lay the s o u rc e fo r the re v iv a l of his com m unity d ra m a , fully re a liz e d in m o s t of the p rin c ip le s , if not in the e ffe c ts, of E a s te r n outdoor ep ic- d ra m a . F r e d e r ic k Koch w as re sp o n sib le fo r the stim u la tio n of that re v iv a l, and in s tru m e n ta l in the actu al deed. Shank p laces the co m m e n c e m en t of the decline around 1915; h o w ev er, his f ra m e of r e fe re n c e w as p ag ean try in g e n e ra l. The l i t e r a tu re s e e m s to in d icate th at the m asq u e prod u ctio n s of the "new p a g e a n try " did not begin to dw indle quite that e a rly (Shank, "G arn et H o lm e," p. 40). fi 1 B ro c k e tt, H isto ry of the T h e a tr e , pp. 630-631. B ro c k e tt n a m e s A m es in p a rtic u la r; S am uel H u m e's in te r e s t in E u ro p e a n d e v e l opm ents w as m entioned by R alph F re u d (p riv ate in te rv ie w , Los A nge le s , C a lifo rn ia , S e p te m b e r 16, 1971). C h en ey 's re fe re n c e is found in v ario u s r e m a r k s in The O p en -A ir T h e a tr e , and P e rc y M acK aye's in te re s t w as d e s c rib e d by T hom as H. D ickinson in An O utline of C on te m p o ra ry D ra m a (Boston; Houghton M ifflin C om pany, 1927), p. 276. 3 8 Koch m oved fro m N orth D akota to the U n iv ersity of N orth C a ro lin a at C hapel H ill, N orth C a ro lin a , in 1918. T h e re he put into effect a p ro g ra m , the p rin c ip le s of w hich he had sk etch ed in an a d d re ss d eliv ere d b e fo re the D ra m a League of A m e ric a a t D e tro it, M ichigan: ! O ur m o d e rn attitu d e tow ard d ra m a has becom e too c o n s e rv a tiv e, too a rtific ia l, too m u ch confined to books and w alls. . . . Sophocles and S h a k e sp e a re have been v e rita b ly hide-bound in the schools and cabined and crib b ed in the th e a te r s . But now, at length, the aca d e m ic attitude tow ard the in stitu tio n of the th e a te r and the p ro fe ssio n of the a c to r is undergoing a g re a t change. The A m e ric a n sta g e and u n iv e rsity a re actu ally joining hands. The c la s s ic s a r e being hu m an ized and r e s to r e d to the sunny playhouse of life, to the sp acio u s T h e a te r of N a tu re , in w hich the m a s te r s d re a m e d th e ir d re a m s and w rought th e m in im m o rta l m old. It would se e m , too, th at the whole m o d e rn m o v em en t tow ard a new th e a te r m ay , in a s e n se , be d esig n a te d an a m a te u r re n a iss a n c e , o rig in atin g , as it does, with the laity r a th e r than with the p r o f e s sion. . . . The new p a g ean try o ffers a g r e a t opportunity for co n se rv in g this p ro m isin g a m a te u r s p ir it in the m a s s e s ; for, a fte r a ll, the d ra m a of the fu tu re m u st be found in the people th e m se lv e s; it m u st be an a r t- e x p r e s s io n of all the p eo p le .^8 He saw in the "new p a g e a n try " a m e a n s to ac c o m p lish m uch the sa m e 69 vision held by P e r c y M acK aye. To a c c o m p lish this id ea l, he o r g a n ized the C a ro lin a P la y m a k e rs : The a c to r s , draw n fro m the u n d e rg ra d u a te body of the U n i v e rs ity of N o rth C a ro lin a , to u re d fro m G eo rg ia to W ashington, c a rry in g th e ir sc e n e ry and p ro p s with th em , and pro d u ced p lay s, m ainly in one a c t w ritte n by th e m se lv e s and th e ir fellow students 6 8 F r e d e r ic k H enry Koch, "A m ateu r V alues in P a g e a n try ," Q u a rte rly Jo u rn a l of P u b lic Speaking, I (O cto b er, 1915), 291 *292 . Ibid. j - 39 1 I I I | of the d ra m a , on th em es of S outhern fo lk lo re , su p e rs titio n , and lo cal h isto ry . i | Koch did his w ork well: Not only did his stu d e n ts, am ong th e m T hom as Wolfe, M axw ell | A n d erso n , and P a u l G reen te stify to h is influence, but the d ev el- i opm ent of the little th e a tre m o v em en t, the r is e of N egro d ra m a , ! M exican and C anadian folk d ra m a and the exploitation of reg io n a l j s o u rc e s by play w rig h ts Lynn R iggs, H a tc h e r H ughes, L ula V oll- j | m e r , and Eugene O 'N eill a r e g e n e ra lly c re d ite d to the p e r s u a s iv e - j n e ss of K och's id e a s. ' I I In r e s p e c t to outdoor d ra m a , this m o st su c c e ss fu l stu d en t was j P a u l G reen , who in 1926 won a P u litz e r P r iz e fo r a play pro d u ced by j I 72 I Ithe P ro v in ce to w n P la y e rs - -In A b ra h a m 's B o so m .. A tra g e d y , the | . \ s to ry was of a N egro who trie d to help educate his people. With K och ! l ■as his te a c h e r and M acK aye as his p ro p h et, little w onder G reen was draw n to so c ia l co m m en t, to sy m b o lism and alleg o ry . But he w as to jc a rry his id e a lism even fu rth e r. i l jP a u l G reen: The L o s t C o lo n y -- 'O rig in of E a s te r n O utdoor E p ic -D ra m a G re e n had at le a s t fo u r of the chief c h a r a c te r is tic s of P e r c y iM acKaye. He w as co n c e rn e d with so c ia l re fo rm : 1 His f i r s t plays . . . w ere m ain ly in one a c t, and d e a lt with the p ro b le m s of the N eg ro es and poor w hites in the South. . . . His 70 I H a rtn o ll, O xford C om panion to the T h e a tre , p. 443. i 7 1 Edw in B u rr P e tte t, " F re d e ric k H enry K och," E n c y clo p aed ia B rita n n ic a, 1967, XIII, 437. 72 H a rtn o ll, O xford C om panion to the T h e a tre , p. 339. 40 j b e s t o n e -a c t plays of N egro life w ere published in 1926 in L one- so m e R oad, w ith a p re fa c e w hich show s a deep and unfailing s y m pathy fo r the N egro in his s tru g g le w ith life.^3 Like M acK aye, he tu rn ed to the co n cep t of an a c a d e m ic th e a tre w hich would e x p re s s a r tis tic , in te lle c tu a l id e a lism . L ike M acK aye, he w anted to find a way to o v e rc o m e the r e s tr ic tin g c o m m e r c ia lis m in the | p ro fe s sio n a l th e a tre : In com pany w ith o th e r n ativ e p lay w rig h ts and k in d red s p ir its of the tw enties and th ir tie s , G ree n is d iss a tisfie d w ith the su b jec t m a tte r then being d ra m a tiz e d in the A m e ric a n th e a tre . P ro m p te d by his own u rg in g s and stim u la te d by what he e x p e rie n c e d a b ro a d , he l s e a rc h e s fo r a p e rso n a l m e an s of e x p re ss in g the changes and te n - j sions in c o n te m p o ra ry A m e ric a n lif e .74 And like P e r c y M acK aye, he knew the b e s t way to a c c o m p lish his d e s ir e s was to invent a s u c c e ss fu l new fo rm . In the autum n of 1934, I his e x p e rim e n t, R oll, Sw eet C h a r io t, in w hich the p ro ta g o n ist was an 75 [entire N egro v illag e, opened a t the C o rt T h e a tre in New Y ork City. :H is th e o ry , w hich he n am ed "sym phonic d r a m a ," c a lle d fo r "the em p lo y m en t of th e a tr ic a l m e a n s su ch as 'd an ce p a n to m im e , p o e try , m e n ta l sp eech , m a s k s , c h o re o g ra p h y , s to r y - lin e , sound and m u s i c ,1 76 'but beyond th a t, th e ir sy n th e sis into a m eaningful d ra m a tic u n ity ." [All of th ese e le m e n ts w ere u sed in the p e rfo rm a n c e a t the C o rt: "In I 1 [the o r c h e s tr a p it th e re is a c h o ru s of tw enty-tw o v o ic e s, su p p o rted by 73 Ibid. 74 M cC alm on and M oe, C re a tin g H is to ric a l D r a m a , pp. 277-278. ^ I b i d . , p. 277. ^ I b i d . , p. 278. 5 1 - tim p an i and c la rin e t, chanting the joy and g rie f of the d ra m a tic action j 'not in re co g n iz a b le w ords but in m u sic a lly n o tated so u n d s." The play, i I 77 jwith techniques v ery s im ila r to th o se of M acK aye, "was a fin a n cial jflo p ."78 j • ! ! B ut w ith the d e p re s s io n at hom e and the w ar im pending in j i I j j [E urope, G reen saw as a n sw e r to th o se v a st p ro b le m s the v ery so lu tio n s- ! ‘ j |he had a ttem p ted to su g g e st in his flop. H is second sym phonic d ra m a , | i | Johnny J o h n so n , opened in 1936, co m m u n icated G re e n 's " sh a tte rin g j I ia n ti-w a r m e s s a g e in a s u c c e s s io n of e x p re s s io n is tic sk e tc h e s, p e r - ! | 7 9 •vaded by w eird songs, b a lla d s, m a r c h e s , and hym ns by K u rt W eill." ; I With this s u c c e s s , G re e n 's faith in the fo rm was a ffirm ed . The n ex t ! • ■ ! |y e a r, fro m this sym phonic d ra m a tech n iq u e, cam e at once the re v iv a l of P e rc y M acK ay e's C om m unity D ra m a and the o rig in of E a s te r n o u t d o o r e p ic - d r a m a - - P a u l G re e n 's The L o st Colony. i In the " P re f a c e " to C aliban, by the Yellow S a n d s, M acK aye 'had w ritte n of his technique: "To th e-c asu a l r e a d e r , this M asque . . . ’m ay . . . a p p e a r to be a s tr u c tu r e sim p ly of w ritte n w ords: in re a lity :it is a s tr u c tu r e of in te rr e la te d p an to m im e, m u sic , dance, lighting, |actin g , song (c h o ra l and ly ric ), scen e v alu es, stag e m an ag e m e n t and j spoken w o rd s. ; W ords spoken, then, co n stitu te in this w ork but one o f n u m e r- ;ous e le m e n ts, all re la tiv e ly im p o rta n t. If no w ord of the m asq u e be { h e a rd by the audience [ita lic s m in e], the plot, action, and sy m b o lism {will s till re m a in u n d e rstan d a b le and, if p ro p e rly produced, d r a m a ti ze ally in te re s tin g " (p. xxiii). 78 M cC alm on and M oe, C re a tin g H is to ric a l D r a m a , p. 277. 79 T h eo d o re Ju n io r Shank, ed. , A D ig est of 500 P lay s (New York: The C ro w e ll-C o llie r P r e s s , 1963), p. 316. 42 A ugust 18, 1937 w as the th re e -h u n d re d -fiftie th a n n iv e rsa ry of the b irth d a y of V irginia D a re , the f ir s t E nglish child born in A m e ric a , at M anteo, Roanoke Isla n d , N o rth C a r o lin a - -s ite of the "lo st colony." To c e le b ra te th is, and at the sa m e tim e to benefit th e m se lv e s by show ing th e ir p rid e in th e ir h e rita g e with so m e s o rt of fe stiv a l, the c o m m unity, th ro u g h som e b u s in e s s m e n , ap proached P a u l G reen to a sk his help. He accep ted . D isap p o in ted by the re c e n t fa ilu re of R oll, Sweet C h a rio t, he reco g n ized that the unique n a tu re of an outdoor d ra m a would allow him to d e m o n stra te again the worth of his sym phonic d ra m a tech n iq u e, arid to fulfill a n u m b e r of o th e r d e s ir e s . P a r tic u la r ly he w anted to e s ta b lis h his d r e a m - - a "p e o p le 's th e a tre " : . . . a th e a tre in w hich plays a r e w ritte n , acted , and produced for and by the p e o p le --fo r th e ir enjoym ent and e n ric h m en t and not for any sp e c ia l m o n etary p ro fit. Then when the country b eco m es th e a tre -m in d e d , the le v e l of ta s te and ap p re c iatio n w ill gradually r is e h ig h e r and h ig h e r. And so m e day the m ountain peaks of d r a m a - - m e n like A e sc h y lu s, Lope de Vega, and S h a k e s p e a re - - m ay r is e on the solid b a se beneath. As long as the A m e ric a n d ra m a sta y s bottled up in the n a rro w neck and c u l- d e -s a c of B ro ad w ay we can ex p ect nothing b e tte r than w hat we h a v e .ou At th e tim e G reen w as teach in g at the U n iv ersity of N orth C a r o lina, a t C hapel H ill. The n a tu ra l r e s u lt was an in fo rm a l affiliation of the u n iv e rsity with the pro d u ctio n ; S am u el Selden, on the staff th e re , 81 d ire c te d . F r e d e r ic k K och, in c h a rg e of D ra m a , helped both to plan 80 W illiam F r e e and C h a rle s L o w er, H isto ry Into D ram a: A S ource Book on Sym phonic D ra m a (New York: O dyssey P r e s s , 1963), p. 121. d 1 Ibid. . p. 167. '41 82 the p h y sical th e a tre and to in s p ire the w ritin g . H is philosophy, fro m w hich m ay be in fe rre d its effect on G re e n , a p p e a re d in an a r tic le he w ro te fo r the second y e a r 's official p ro g ra m : The p roduction is unique in the co lla b o ra tio n of a c to r s , m u s i c ia n s, and te c h n ic ia n s, in uniting the WPA F e d e r a l T h e a tre p r o fe ss io n a l p la y e rs , C a ro lin a P la y m a k e rs fro m the U n iv e rsity of N orth C a ro lin a , and the people of R oanoke Islan d . I know of no s im ila r u n d ertak in g anyw here in the h isto ry of the A m e ric a n th e a tre . P e rh a p s this R oanoke Island d ra m a m ay show us the way to w ard a new t h e a t r e - - a th e a tre of a ll the p e o p le --a th e a tre c h e r ish ed and su stain ed by the n ational g o v ern m en t as a n e c e s s a r y adjunct to o u r s p iritu a l w e lfa re . Such a th e a tre m ay co n trib u te m uch to o u r nativ e c u l t u r e . ^ 84 T hrough local su p p o rt, and the help of the f e d e ra l g o v ern m en t and the u n iv e rsity , the com m unity le a d e rs w e re able to r a is e enough m oney to build a th e a tre and produce the play G reen w r o t e - - The L o st Colony. In w ritin g the play, G reen w anted to k eep e v e r b efo re h im se lf 82 C h a rle s B. L o w e r, ed. , The F i r s t N ational O utdoor D ra m a C onference (Chapel Hill: In stitu te of O utdoor D ra m a , U n iv e rsity of N orth C a ro lin a , 1963), p. 38. 83 F r e e and L o w er, H isto ry Into D r a m a , p. 137. 84 In addition to providing a c to r s , the WPA e sta b lish e d a p r o je c t to build the th e a tre . "W ith the aid of C o n g re ssm a n L in d say W a r re n , 25,000 m e m o ria l fifty -c e n t coins w e re m in ted by the U nited S tates w hich w ere sold to c o lle c to rs fo r a d o lla r and a half each. T hrough this m ean s so m e funds w ere r a is e d to pay the n e c e s s a r y p r o p o rtio n of m a te r ia ls fo r the p ro je c t" (Ib id ., p. 119). A lso, the F e d e r a l T h e a tre fu rn ish e d th irte e n p ro fe s sio n a l a c to rs fo r th at f ir s t y e a r (Institute of O utdoor D ra m a , The F i r s t P lay w rig h ts C o n feren ce of the In stitu te of O utdoor D ra m a [C hapel H ill: U n iv e rsity of N orth C a ro lin a , 1964], p. 83). -------------------------------------------------------------------------------------------------------------------------------- 4 4 ' "the s e n se and im age of th is group of tra g ic su fferin g people . . . th ese k e e p e rs of a d re a m ." His intent w as that "out of this play m u st com e a su sta in in g faith , th e ir faith , a pu rified s ta te m e n t of aim and intent, of hum an p u rp o se , o r then all w as w aste and s a c rific e m ade • ,.85 vain." T im e m a g a z in e , in 1938, d e s c rib e d the play as: An e la b o ra te s p e c ta c le , The L o st Colony opens w ith sc e n e s of Indians w orsh ip in g trib a l gods b e fo re the w hite m a n 's com ing, soon sw itch es to E ngland and the c o u rt of Q ueen E liz ab e th . Then it te lls the a d v en tu ro u s, tra g ic s to ry of the d isc o v e ry and la te r co lonization of Roanoke. In P la y w rig h t G re e n 's account, the s e t t l e r s sought out the C ro a tia n s b ec a u se they w e re sta rv in g . The play ends as they s e t fo rth on th e ir p ilg rim a g e .85 The play was a s u c c e s s . Som e y e a rs la te r , G reen d e s c rib e d som e of th e fa c to rs fo r the e a rly popularity: We got te c h n ic a l h elp , and we got M r. (P re sid e n t) R o o se v e lt in te re s te d and he cam e down. We had 3, 000 people a t one p e r fo rm a n c e , and the co lo red fellow th e re said , "L o rd God, you a r e going to sin k the is la n d ! " We played an o th er p e rfo rm a n c e to 5,000 o r 6 ,0 0 0 people (the th e a tre held 3,000). W ell, we have n e v e r had su ch crow ds since; but, with the aid of the F e d e ra l T h e a tre , the c o m p re ss io n of B roadw ay, and the ex p en se of B roadw ay, the id ea w as fo rc e d o u td o o rs. So, that is the p h ilo sophy of the sym phonic d ra m a . The th e a tre of the people cannot e x is t in B roadw ay and on B roadw ay. . . . W alter K e r r sa id , "You have got to g et the th e a tre with the people. "8? F r e e and L o w er, H isto ry Into D r a m a , p. 124. 88Ibid. , p. 167. P la y w rig h ts C o n fe re n c e , p. 83. M uch about G reen and his philosophy a r e re v e a le d in this co m m en t. The re fe re n c e to B roadw ay points to the re a s o n G reen accep ted the Roanoke p ro p o sa l, beyond the fa c t th a t it was a job in his chosen p ro fessio n ; through this re v iv a l of _ . He re co g n ized o th e r influences such as "o u r b u sin e ss m a n a g e r . . . was a c o n firm ed and e n e rg e tic o p tim ist. No sig h t of bad lu ck o r fe a r of fa ilu re could stop him . A lso an o th er re a s o n w as th at the local people w ere in te re s te d both as h e lp e rs and as activ e p a rtic ip a n ts in 88 the show ." I I I In flu en tial E a s te r n c r itic s such as B rooks A tkinson helped by w ritin g sy m p a th e tic e n c o u ra g e m e n ts p ra isin g the dancing, the m u sic , |and the th em e. B ut A tkinson found the difficulty of th e play to lie in I the r e s tr ic tio n s of a ll b io g ra p h ic al m a te ria l: "T he n a tu re of the c u r - j re n t o c c a sio n confines the fre e d o m of an a u th o r's im ag in atio n . He can j i n o t m a s te r a scen e in h isto ry as p a ssio n a te ly as he can m a s te r the | I s p ir it of the individual m an . A t b e st p a g e a n try is a h o riz o n ta l a rt; I 89 d ra m a is v e rtic a l, . . . " F in a lly , G re e n 's p ro d u ctio n re c e iv e d the a c c la im of his p e e rs . Koch w ro te th a t "In The L o st Colony P a u l G reen has re c la im e d the a n c ie n t and h o n o rab le a r t of p ag ean try . He h as lifted the p opular p ag ean t fo rm , fo r the m o st p a r t su p e rfic ia l and shallow today, to the 90 plane of im a g in a tio n and high p o e try ." Koch w ent on to liken G re e n 's com m unity d r a m a w ith its b a sic philosophy of a " p e o p le 's " d ra m a and th e a tr e , this Roanoke c e le b ra tio n , if s u c c e ss fu l, could p ro m o te the in stitu tio n of G re e n 's outdoor sym phonic d ra m a and his d re a m of an a c a d e m ic , id e a lis tic th e a tr e a d m in iste re d by C hapel H ill. 88 F r e e and L o w er, H isto ry Into D r a m a , p. 120. 89 90 Ibid. , pp. 159-160. 7 Ibid. , p. 136. w o rk to The P a g e a n t and M asque of Saint L o u is , w hich "in itia te d a g r e a t o p e n -a ir th e a tr e w hich h as been u tilized e v e r sin ce fo r m u n icip al d ra m a , o p e ra , and c o n c e rts w ith a p e rm a n e n t com pany of a c to rs and 91 m u sic ia n s of n atio n al re p u ta tio n in the leading r o le s ." A n u m b e r of a c a d e m ic c o m m e n ta to rs , p r o fe s s o r s of th e a tre , of lite r a tu r e , p ra is e d 92 the play; John G a s s n e r a lik e, but he also had c e rta in r e s e rv a tio n s . He w arn ed that although the se n tim e n ts and b eliefs can be fully e n d o rse d , "the re q u ire m e n ts of o p e n -a ir p ro d u ctio n s s e e m to e n c o u r- age u n ifo rm ity of view point and su p p re s sio n of the individual in te lle c t and a r t is t r y of th e p lay w rig h t. The p a g e a n t-d ra m a s a r e Ln d a n g e r of 91 Ibid. , pp. 136-137. H o w ev er, acc o rd in g to the lite r a tu r e , at th a t th e a tre th e r e have not been any o th e r p ag ean tic e x tra v a g a n z a s such as the one m en tio n ed . M ac K a y e 's two p ro d u c tio n s, The M asque of Saint L ouis and C aliban, by the Yellow S a n d s, although p ro p o sed as the m o d els fo r M acK ay 's com m unity d ra m a , se e m in g ly ex h au sted the p o ten tial fo r p ro d u ctio n s of th a t s iz e . The re v iv a l of C aliban in 1917 m en tio n ed e a r l i e r in this study (s u p r a , p. 34) was not a fin a n cial s u c c e s s . W ith its d e m ise , th a t type of m a sq u e p ro d u ctio n declined to n e a r e x tin c tio n -- c a r rie d on m ain ly in c o m m e rc ia l p ag ean ts. 92 A n u m b e r of C hapel H ill p r o fe s s o r s w ro te a r tic le s w hich have b een included in F r e e and L o w e r's so u rc e book, H isto ry Into D r a m a , p ra is in g the p ro d u ctio n and philosophy of G re e n 's play and the e n t e r p r is e as in itia ted at C hapel H ill and w ithin u n iv e rsity a c a d e m ic th e a tre . A pproval is e s p e c ia lly im p o rta n t in th e a tre , and m o re so in a c a d e m ic th e a tr e , w h ere s u c c e s s am ong o n e 's p e e rs is the b a s is , u su a lly , fo r ad v an cem en t. F u r th e r , p e e r ap p ro v a l is v ital in a c a d e m ia b e c a u se the v ery life of a p r o g ra m often depends upon th a t a p p ro v al, d e sp ite a p p ro bation f ro m stu d en ts o r public. Indeed, p e e r .ap p ro v al is one m a n ife s tatio n of a fu n d am en tal p rin c ip le of fo rm a l education: all m in d s co o p e ra tin g and s triv in g fo r the know ledge with w hich to e s ta b lis h the b e s t of a ll p o ssib le w o rld s --th ro u g h the pow er of the in te lle c t. 47 93 becom ing too s im ila r in o rg a n iz a tio n , sty le and attitu d e. . . . " S u m m ary of The L o s t Colony Both as the E a s te r n outdoor e p ic - d ra m a and as the s o u rc e fro m w hich the fo rm developed in the E a s t, The L o st Colony contained c e r tain p rin c ip le s th at a r e im p o rta n t to note. It exhibited the sa m e five s tre n g th s th at c re a te d su c c e ss fo r P a r k e r : com m unity e n th u sia sm , stro n g , p ro fe s s io n a lly -o rie n te d le a d e rsh ip ; h is to ric a lly -o rie n te d , 94 ro m a n tic sto ry ; fin an cial se c u rity ; and an in te re s te d public. The w o rk and background of both P a r k e r and G reen , as re g a rd s th e ir o u t d oor d ra m a s , w e re stim u la te d by an aca d e m ic o rie n ta tio n . Both w ere su c c e ss fu l p lay w rig h ts of the c o m m e rc ia l, p ro fe s sio n a l th e a tre b efo re com m en cin g th e ir p ag ean try . Both w e re also m u sic ia n s . H ow ever, 93 F r e e and L o w er, H is to ry Into D r a m a , p. 170. H e re is the re fle c tio n of the p e e r-a p p ro v a l p rin c ip le . G a s s n e r is d ed icated to a c ad e m ic th e a tre . He has w orked in c o m m e rc ia l, p ro fe s sio n a l th e a tre , and in the m otion p ic tu re in d u stry . Y et his pronounced id eal is the u n iv e rsity th e a tr e , devoted to high id e a lism in philosophy, fo rm , c o n ten t, and technique. G a s sn e r jo in s w ith G reen and o th e r aca d e m ic ia n s in m ain tain in g th a t the p r im a r y function of a c ad e m ic th e a tre is to r a is e the audience lev el of ta s te and u n d erstan d in g to th a t point a t w hich the h ig h e st sta n d a rd s of th e a tric a l and lite r a r y a r t w ill be a p p re c ia te d by "the p eople" and will be the b a s is of the acad em ic "p eo p le's d ra m a and th e a tr e ." D isc u ssio n of this e n tire a r e a of a ca d e m ic philosophy w ill be found in the tre a tm e n t of the d ev elo p m en t of E a s te r n outdoor e p ic - d ra m a th a t follow s sh o rtly . 94 D oubtless G re e n 's know ledge of the th e a tre led h im to the sa m e p rin c ip le s as th o se of P a r k e r . W hether G reen m ade any study of P a r k e r 's w ork is u n certain ; th e re is no m en tio n of it in the lite ra tu r e . 48 th e re the s im ila rity m o re o r le s s ended. P a r k e r p re s e n te d the p a st so th at its values and tra d itio n s m ig h t m a in ta in th at type of so ciety in the p re s e n t and fu tu re; G reen intended th a t h is chosen v alu es of the p a st should both challenge and change the p r e s e n t and build an idyllic fu tu re . Next, P a r k e r held th a t although his " m o d e rn p a g e a n ts" w e re d ra m a , m o re ex actly they w e re fe stiv e o c c a sio n s, to be h eld a w eek at a tim e , and only ev ery ten y e a rs o r so. With G reen , his p u rp o se was u n m is tak ab ly to c re a te d r a m a -- o f a p a rtic u la r kind. He w anted to see: . . . hu n d red s of s u m m e r d ra m a tic fe stiv a ls and p ro d u ctio n s s c a tte re d o v er the land fro m c o a st to c o ast. T h at would be one m o re way of m aking o u t p e o p le ’s lives vivid and m o re w orth w hile. I say w orth w hile. Then m aybe would begin to h av e a r e a l p eo p le's th e a tre , o th er than the m o v ies. 95 With such an ed u catio n al p ro g ra m it is little w onder th at G reen re m a rk e d in a " P re f a c e " to an e a rly edition of the p rin te d play, "We w ill continue it [The L o st C olony] as long as the public w ill su p p o rt it. 96 I hope it w ill be going fifty y e a r s fro m now ." As The L o st Colony exhibited the b a sic c h a r a c te r is tic s of P a r k e r 's w ork, so it also fulfilled M acK ay e's five re q u is ite s fo r his com m unity d ra m a . It w as a new d ra m a : c e n te re d in the people and th e ir land, it was m o re d ra m a than p ageant, m o re m a sq u e than c h ro n icle. It was the w ork of the new d ra m a tis t: G re e n was c e rta in ly 95 F r e e and L o w er, H isto ry Into D r a m a , pp. 120-121. 96 7 I b i d .. p. 118__________________________________________ 49 not the u su a l c o m m e rc ia l p lay w rig h t, d esp ite his B roadw ay s u c c e s s e s . I | M ore than a te a c h e r , he was the f i r s t of the new "u n iv e rsity m e n ." He had le a rn e d the tra d itio n s fro m K o c h --m a sq u e fo rm , n ativ e su b je c ts, com m unity affiliatio n , and a c a d e m ic o rie n ta tio n --th e " d ra m a of the people, fo r the people, by the p eo p le," to r a is e th e ir ta s te and clarify th e ir vision. A lthough G reen identified two so u rc e s of in sp ira tio n fo r 97 his sym phonic d ra m a concept, h is m o st obvious debt w as to P e rc y 98 M acK aye, which he acknow ledged. The L o st Colony p ro v id e d new 97 At the F i r s t N ational O utdoor D ra m a C o n feren ce, he re m a rk e d , "About 'sym phonic d r a m a ' . . . I had been in G erm any iw here I m e t A lexis G ranow ski, the d ire c to r of the Je w ish M oscow S tate T h e a tre . He had a new d ra m a tic fo rm using m u s ic , a fo rm w hich im p re s s e d m e. I decided I would w rite an epic d ra m a on the N egro in w hich I fe lt f re e to u se all the e le m e n ts of the th e a tre sounding to g e th e r" (L ow er, F i r s t O utdoor C o n fe re n c e , p. 24). 98 In the " P re fa c e " to the 1946 edition of the p lay , G reen w rote of h is id eas th ro u g h the device of a h y p o th etical in te rv ie w with a p r o fe ss io n a l th e a tre c r itic . As the " c r itic ," he asked h im s e lf if the s y m phonic d ra m a fo rm w e re new. Then he re p lie d , "people of m ed iev al and E liz a b e th a n E ngland produced outdoor plays like th is . And y e a rs ago P e r c y M acK aye w ro te and produced m a sq u e s and p ag ean ts s o m e w hat like it" (F re e and L o w er, H isto ry Into D ra m a , p. 120). G ran o w ski m ay have stim u la te d G reen to m o re unconventional u se of the e le m en ts of d ra m a , w hich b ecam e the sym phonic d ra m a tech n iq u e, but the l a tte r 's re fe re n c e to the "m asq u es and p ag e an ts" of M acK aye in d icates his in debtedness to M acK aye fo r the to tal com m unity d ra m a philosophy. A gain, w h eth er G re e n le a rn e d of th is blend of a c a d e m ic , com m unity, and a r t i s t e f f o r t- - a s rec o m m e n d e d and p ra c tic e d by m o s t of the o r ig i nal "u n iv e rsity m e n " - - f r o m read in g M acK ay e's w orks o r through Koch - -w h o m e v e r--b y the tim e the R oanoke people ap p ro ach ed h im , he was d ed icated , at le a s t in outdoor p ro d u ctio n , to M acK ay e's five p rin c ip le s of th e o ry , with sp e c ia l e m p h asis on u n iv e rsity le a d e rs h ip and subsidy. 50 tech n iq u es: the s to ry , a c to r s , actin g , and s ta g in g --a ll changed through the m e a n s of sym phonic d ra m a to s u it the new fo rm , p u rp o se , and id eal. It w as a new th e a tre : The L o st Colony c re a te d a new kind of th e a tr e -- o u td o o r e p ic -d ra m a ; a new kind of stag e and au d ito riu m ; new te c h n iq u e s, and new a c to r s . The c lim ax of th ese innovations dem anded, and re c e iv e d , a new m an ag em en t: a blend of g o v ern m en t subsidy, com m u n ity e n te r p r is e , and u n iv e rsity le a d e rs h ip and o rie n ta tio n . Thus G re e n 's p ro d u ctio n d e m o n stra te d his u se of p hilosophies and tech n iq u es s im ila r to those of P a r k e r and M acK aye. The L o st Colony had the h is to r ic a l, ro m a n tic s to ry and affirm a tio n of p a s t v al- ( j ues c h a ra c te riz in g P a r k e r 's w ork, plus the c h ro n icle fo rm , w hich p r o vided the b a s is fo r re a lis tic actio n and c h a ra c te riz a tio n , infused with oppo rtu n ity fo r sp e c ta c le . G re e n 's sym phonic d ra m a tech n iq u e, in so m e d e g re e su g g e ste d by the m a sq u e s of M acK aye, added the e n t e r taining p o ten tial fo r a "sounding to g e th e r" of all applicable ele m e n ts of th e a tre . The h is to r ic a l s to ry allow ed avoidance of the a lle g o ric a l c o m plexity of M a c K a y e 's m a s q u e -p lo ts . F u r th e r , its ro m a n tic and tra g ic a s p e c ts ap p ealed to the people of the region and of the n ation alik e, as a fa c to r of th e ir h e r i ta g e - - a fa c to r a b se n t in M acK ay e's a b s tr a c t fu tu ris tic th e m e s. Y et the blend s tru c tu rin g The L o st Colony, by the m ixing of the two d iffe re n t p h ilo so p h ies and f o rm s , c re a te d c e rta in in h e re n t w eak n e s s e s - - t h e g r e a te s t being the su b tle conflict betw een th e goals of 51 in stru c tio n and e n te rta in m e n t. O th er w e a k n e sse s w ere to a p p e a r d u r ing the developm ent of the fo rm , w hich in tu rn c re a te d the d ifficu lties now a p p a re n t in E a s te r n outdoor e p ic -d ra m a . The indication of w eak n e s s e s does not, h o w ev er, im ply th at the fo rm o r m o v e m e n t is u n s u c c e s s f u l. W herein the b a sic stre n g th s of outdoor d ra m a , developed by jP a rk e r, have been m ain ta in e d , E a s te r n outdoor e p ic - d ra m a h a s been su c c e ssfu l. The D evelopm ent of E a s te r n O utdoor E p ic -D ra m a The E s ta b lish m e n t of Chapel jH ill L e a d e rs h ip The su c c e ss 'of The L o st Colony c re a te d a d em and fo r s im ila r ! p ro d u ctio n s. This re s u lte d in an ex p an sio n of C hapel H ill and G re e n 's a c tiv itie s, w hich b e cam e the E a s te r n outdoor e p ic - d r a m a m o v em en t. Innovations re su lte d fro m the m a rk e d in c r e a s e in C hapel H ill th e a tre 99 staff and stu d e n ts, a ttra c te d by the new lu re of the U n iv e rsity . Yet the m o s t sig n ifican t effect of C hapel H ill expansion was th a t the changes w ere th o se in h e re n t in the founding p rin c ip le s . Thus the w e a k n e sse s In 1937, Koch, G reen , and S am uel Selden w ere the p r im a r y n a m e s m entioned in the lite r a tu r e on The L o st Colony and C hapel H ill. In 1963, F r e e and L o w er published th e ir H isto ry Into D r a m a , a so u rc e book on The L o st C olony. H e re , in a r tic le s w ritten on the play, o th er n a m e s began to a p p e a r. By this tim e , the staff had grow n a p p reciab ly ; th e re can be no q u estio n th at the c o lla b o ra tio n of G reen and the "H ill" in outdoor e p ic - d ra m a p ro d u ctio n a ttra c te d staff and stu d en ts. 52 as w ell as the s tre n g th s of P e r c y M acK aye and the "u n iv e rsity m e n ," c a r r ie d on by K och and in h e rite d by G reen , w ere to do m in ate E a s te r n outdoor e p i c - d r a m a . * ^ The e s s e n tia l c h a r a c te r is tic of the d ev elo p m e n t of the m o v e m e n t was an in c r e a s e in its a c a d e m ic o rie n ta tio n , the p rim a ry p rin c ip le of its philosophy. G re e n 's d e s ir e to " se e h u n d re d s of s u m m e r d ra m a tic fe s tiv a ls and p ro d u ctio n s s c a tte re d o v e r the land" to m ake "o u r p eo p le's liv e s vivid and m o re w orth w hile" th ro u g h a "p eo p le's th e a tr e ," and a t the sa m e tim e to r a is e the "lev el of ta s te and a p p re c ia tio n ," r e p re s e n te d not only his philosophy but also th at of C hapel H ill, w here he a c q u ire d it. In effect, G reen and C hapel H ill I 'a re one, fo r even in the in itia l planning he had included K och and jSelden;**** and with his e n th u sia stic ap p ro v al and c re a tiv e c o n trib u tio n s, the m o v e m e n t h as c e n te re d in the U n iv e rsity . A second c h a r a c t e r is tic h as evolved fro m this in c re a s e d d e s ir e to c re a te a n atio n -w id e 102 outdoor com m unity e p ic -d ra m a : " c o m m e rc ia lis m ." By 1972, these W ith few exceptions (R am o n a being one of th em ), outdoor e p ic -d ra m a in A m e ric a today e m a n a te s fro m the fo rm and philosophy if hot the actu al p ro d u ctio n in flu en ce, of C hapel H ill. T h rough the I n s ti tute of O utdoor D ra m a e s ta b lish e d a t C hapel H ill in 1963, the "H ill" do m in ates A m e ric a n outdoor p roduction. ^ ^ L o w e r , O utdoor D ra m a C o n fe re n c e , p. 38. 102 By " c o m m e rc ia lis m " the au th o r m e a n s the c o n c e rte d e ffo rt to c re a te an outdoor e p ic - d ra m a , n ationw ide, which is c o n tro lled by the u n iv e rs itie s , although with com m unity p a rtic ip a tio n . The author does not condem n th is, except w herein the b a sic m o tiv atio n s of a c a dem ic th e a tre people have d isto rte d the in h e re n t n a tu re and p u rp o se s of d ra m a ; this w ill be d isc u s s e d in the ensuing m a te ria l. 53 c h a r a c te r is tic s w e re c le a rly ev id en t, along with the o th e r g e n e ra l stre n g th s and w e a k n e s se s , pro v id in g the b a s is fo r c o m p a riso n with the stre n g th s of R a m o n a . The F i r s t P h a s e : 1937-1949 C om m unity e n th u sia s m and dem and fo r sym phonic d ra m a was stim u la te d r a th e r im m e d ia te ly on the e a s te r n se a b o a rd , upon the s u c c e s s of The L o st C olony, fo r a p a r tic u la r re a so n : "The a r e a around M anteo, w h ere The L o st Colony is p e rfo rm e d , had in the late 1930’s m o re people on re lie f than any o th e r p a r t of N orth C a ro lin a . The play was g e n e ra te d fro m a d e s ire to p rovide o ccu p atio n and incom e fo r the j lo cal a r e a . " ^ ^ The w ords w e re spoken by M rs . M ario n F itz -S im o n s , i a p rin c ip a l a c tr e s s of both The L o st Colony and Unto T h e se H ills , an o th er highly s u c c e ss fu l outdoor e p ic - d r a m a in N o rth C aro lin a. She explained: The sa m e was tru e of the beginnings of Unto T hese H ills . At C h ero k ee we spend the s u m m e r w ith people who s o m e tim e s see the f ir s t folding m oney th at goes into th e ir hom e bro u g h t in by c h ild re n who p e rfo rm in Unto T h ese H ills . T hat m oney has dug w ells and bought w in ter clothes fo r c h ild re n who did not have s h o e s .104 H e re , obviously, was th e o rig in of the c o m m e rc ia l a sp e c t th a t was to in fe c t the E a s te r n fo rm . The e lem e n t was in tro d u ce d by com m unity n eed , and the p ro d u ctio n s w ere to be b e n e fic ia l, both to the c u ltu re and econom y of the a r e a , but the effect w as n o n eth e le ss in s id ious to the a r t. Low er, Outdoor D ra m a Conference, p. 71. 54 O th er co m m u n ities m ade s im ila r d em an d s, and by 1949, five E a s te rn outdoor e p ic -d ra m a s had gone into p ro d u c tio n --o n e in Illin o is, 105 one in V irg in ia, and th re e in N orth C aro lin a. L e a d e rs h ip of the E a s te r n m o v em en t n a tu ra lly went to P au l G reen . Not only c o n ceiv er of sym phonic d ra m a , he also w ro te the firs'; play to begin the expansion of the fo rm , The H ighland C a ll, pro d u ced at F a y e tte v ille , N orth C aro lin a, in 1 9 3 9 --ju st two y e a r s a fte r The L o st Colony opened. W hile the functions of the d ire c to r, the b u sin ess m a n a g e r, and the com m unity b o a rd of d ire c to rs a r e im p o rta n t elem ents in le a d e rs h ip of com m unity d ra m a , at C hapel H ill (and likely in any o th e r u n iv e rsity -c o m m u n ity production) r e s p e c t fo r G reen , for the lite r a r y a s p e c t of d ra m a , and fo r the playw right (who, e sp e c ia lly in e p ic -d ra m a , m u s t d eal with h isto ry ) m ak es the p lay w rig h t the le a d e r. In 1947, G re e n 's The C om m on G lory opened at W illiam sb u rg , 105, See A ppendix O. By the te r m " E a s te rn o u td o o r e p ic - d ra m a ,' o r " E a s te r n " the author m ean s productions of e p ic - d ra m a u sin g the sym phonic d ra m a technique. Not all outdoor e p ic -d ra m a s pro d u ced in the E a s t a re u n d er C hapel Hill a e g is, nor do they a ll use the technique, but the m a jo rity do. With the s p re a d of the fo rm , " E a s te rn " -ty p e p r o ductions a r e found, now, throughout the country. The ex ten t of the s p re a d is d isc u sse d la te r in this ch ap ter. * ^ S e e A ppendix O. T his play, although pro d u ced a t F a y e tte v ille, w as r e h e a r s e d on the cam pus at C hapel H ill (L ow er, O utdoor D ra m a C o n feren ce, p. 83). A ctually, the title of the u n iv e rsity is the U n iv e rsity of N orth C a ro lin a a t C hapel H ill. Thus "C hapel H ill, " as u sed h e r e in a fte r , m e a n s the U n iv e rsity of N orth C aro lin a. 5 5 V irg in ia. E n th u sed w ith the s u c c e s s of The L o st Colony and devoted to the u se of his c o n c e p t--sy m p h o n ic d r a m a - - G r e e n extended the u se of the id e a lis tic , o r e x p re s s io n is tic tech n iq u es in this la te s t play. The C om m on G lo ry , which tr a c e s the A m e ric a n R evolution th ro u g h the fig u re of T hom as Je ffe rs o n , u se s b a lle t to d e s c rib e e n v iro n m e n t, m o d e rn dance p an to m im e fo r s to ry te llin g , c h o ra l m u s ic in d ir e c t p re se n ta tio n , and an a lm o st m otion p ic tu re style lig h t and sound m ontage for the b attle of Yorktown. It is a g ra n d ly e x tro v e rte d th e a tric a l e x p e rim e n t th a t w o rk s. In an a c a d em ic s e n se it defies d e s c rip tio n --a n d rightly so. The C om m on G lory was the second lo n g -la stin g outdoor play by P a u l G re e n , but in sp ite of c e rta in s im ila r itie s in scen e s e le c tio n , it is a v astly d ifferen t execution of the play w ritin g a r t fro m the p oetic im a g e ry and r o m a n tic - r e a lis m found in G re e n 's fam ed d r a m a The L o st C olony. F o r m , in outdoor e p ic - d ra m a s , is, of c o u rse , p r im a r ily the dom ain of the p layw right. H ow ever, o th er a r tis ts have m ad e sig n ifi- fican t additions to both productions and to the thinking of the p la y w rig h ts. K e rm it H u n ter, one of the two m o s t s u c c e ss fu l and p ro lific See A ppendix O. 108 M a rk S u m n er, A Survey of O utdoor D ra m a P ro d u c tio n T echniques (C hapel Hill: U n iv ersity of N orth C a ro lin a , 1968), p. 17. This in c r e a s e in s p e c ta c le , c h a r a c te r is tic of the d evelopm ent of E a s te r n o utdoor e p ic -d ra m a , in d ic a te s the influence of M acK ay e's m a sq u e s on G re e n , re g a rd le s s of h is c re d it to G ran o w sk i (s u p r a , p. 49, n. 97). In h is rev iew of The L o st C olony, G a s sn e r m entions the only s p e c ta c u la r effect as the b rie f and quiet "p a ssin g of a ship behind the p a lis a d e " (F re e and L ow er, H isto ry Into D r a m a , p. 168). _ 5~6~" of C hapel H ill a u th o rs, g ra tefu lly a d m itte d the c o n trib u tio n s of 109 d ire c to rs and te c h n ic ia n s. The in te r e s t of the public in th e se e a rly C hapel H ill p ro d u ctio n s can b e s t be judged by the fa c t that The L o s t Colony and The C om m on 110 G lory a r e both still ru nning, in 1972. A llied to the public in te r e s t, of c o u rs e , is the p rin c ip le of fin a n cial s e c u rity . In E a s te r n outdoor e p ic - d r a m a , although box-office re c e ip ts sufficient to m e e t o p e ra tin g c o s ts s till re m a in the p rin c ip a l c r i te r i a of s u c c e s s , th re e o th e r fa c to rs im p o se conditions upon the E a s te r n definition of fin a n c ia l s e c u rity . F i r s t , th e r e is G re e n 's d e sire for extended ru n s, to a c c o m p lish his goal of ra is in g the public ta s te to a lev el of a p p re c ia tio n fo r s u p e rio r d ra m a .* * * M any E a s te r n p ro d u c tions fa il in this r e s p e c t, due to en co u n terin g d iffic u ltie s --o fte n in the fo u rth s e a so n --w h ic h e ith e r cau se th em to c lo se then o r soon th e r e - 109 "The j a r r in g thing fo r m e is th a t the m o st m e m o ra b le things about th e se show s a re alw ays things th at the d ir e c to r , o r the lighting d ire c to r, o r the c o s tu m e r, o r som ebody h as put into the play by his p roduction m eth o d s. The things at C h ero k ee [N orth C aro lin a] th a t I know a r e m e m o ra b le a r e the things th at H a rry [H a rry D avis, the d ire c to r] h as done to it. So, ,. . . th e c re a tio n of one of th e se d ra m a s is a com bination of m an y people, and the s c r ip t is ju s t the beginning" (L ow er, O utdoor D ra m a C o n fe re n c e , p. 37). **^See Appendix O. 111_ S u p ra, p. 48. 57 112 a fte r. Next is the assu m p tio n by the com m unity b u s in e s s m e n of the 113 lo sse s freq u en tly in c u rre d by s u m m e r-lo n g p ro d u ctio n s. In th ese c a s e s , the p ro fit to the local b u sin e ssm e n , re su ltin g fro m the to u ris t tra d e a ttra c te d by the production, is such as to w a rra n t this p ra c tic e . F in a lly , th e re is the fa c to r of subsidy, which h as la rg e ly c h a ra c te riz e d E a s te r n p roduction sin ce its inception with The L o st Colony. In fact, p riv a te endow m ent a n d /o r public funds have beco m e such an accep ted i p rin c ip le in E a s te r n p roduction th a t S um ner, in his S u rv e y , lis ts it as 114 a p rin c ip a l m ean s of "Fund R a isin g ." H ow ever, b e c a u se subsidy u su ally functions p rim a rily in the e sta b lish m e n t of the in itia l producv tion, box office re c e ip ts re m a in the fundam ental b a s is of fin an cial s e c u rity . As m entioned above, two of the five outdoor e p ic -d ra m a s of the f ir s t phase of E a s te r n developm ent found the box office b u sin e ss 112 At the F i r s t P la y w rig h ts C onference of the In stitu te of O ut door D ra m a in 1964, K e rm it H unter d isc u sse d the p ro b le m of m aking s c rip t ch an g es, n e c e s sita te d by dim inishing box office r e tu rn s . "We have s e e n - - P a u l [G reen] has se e n it and so have I - - th e s e lo cal o rg a n i zations who begin with the b e st intentions and a fte r fo u r y e a rs a re com pletely so u re d on the whole thing. . . . 11 (P lay w rig h ts C o n fe re n c e , p. 14). 113 M cC alm on and Moe found that "it m u s t be fran k ly sta te d th a t the m a jo rity of s u m m e r-lo n g outdoor e p ic -d ra m a s r a r e ly m e e t o p e r a t ing ex p en ses. The fin an cial benefits a re thos in d ire c tly re c e iv e d by com m unity m e rc h a n ts , r e s ta u r a te u r s , m otel o w n e rs, and s e rv ic e statio n o p e r a to rs " (M cC alm on and M oe, C reatin g H is to ric a l D r a m a , p. 41). Sum ner, Survey, p. 11. 58 su fficien t to p ro v id e fin an cial s e c u rity , although as w ill be seen , in c re a sin g ly m any E a s te r n show s have en c o u n te re d difficulty a ttra c tin g su fficien t atten d an ce. T he re la tio n s h ip betw een co m m u n ity dem and and e n th u sia sm , and fin a n c ia l s e c u rity (im p o rta n t to the d ev elo p m en t of E a s te r n p r a c tice ), was defined by John C auble, who a t th at tim e w as the g e n e ra l m a n a g e r of H om e Is the H u n te r, a p ro d u ctio n a t H a rro d s b u rg , K entucky: The point of view of the co m m u n ity o rg a n iz a tio n s e rv in g as p r o m o te r is p r im a r ily fin an cial. The L o st Colony began b e c a u se e a s te rn N o rth C a ro lin a was a d e p re s s e d a r e a . The Stephen F o s te r S tory cam e to B ard sto w n b e c a u se the B a rd sto w n people w anted so m eth in g th a t would p ro m o te to u r is ts to com e into the a r e a . I was at a m e e tin g w here som ebody . . . ca lle d up the p re sid e n t of the bank in M anteo and a sk ed "W hat does th is play m e a n to the people of M an teo ?" And the p re s id e n t of the bank sa id , "It m ean s ten thousand d o lla rs a day in d e p o s its ." T his m e a n so m eth in g to the b u s in e s s m e n . . . . fra n k ly , we in outdoor d ra m a a r e in a b u s in e s s , and we g e n e ra l m a n a g e rs r e p r e s e n t th is b u sin e ss a s p e c t of outdoor d ra m a . When we sp e a k to a R o tary Club o r a K iw anis Club, we a r e talking to people who a r e in te re ste d in to u ris ts and cold c a s h . * ^ L o w er, O utdoor D ra m a C o n fe re n c e , p. 76. One of the s e v e r a l d ile m m a s fa c e d by a c a d e m ic , o r ed u c a tio n a l, th e a tre is the q u e s tion of fin an ce. M acK aye's long c ru s a d e a g a in st B r o a d w a y --p rim a rily the effects of the T h e a tric a l S yndicate d u rin g its tim e and a f te r - - h a s c re a te d a tra d itio n in acad em ic thinking, it s e e m s . An ex am p le w as a co m m en t m ad e by C a ro l W hite, a lso a g e n e ra l m a n a g e r, a t the sa m e c o n feren ce a t w hich Cauble m ad e h is s ta te m e n ts . W hite re p lie d to C au b le's contention: "I would like to ex a m in e , if I m ig h t . . . the m o tiv es in p ro d u cin g an outdoor d ra m a . W hen Unto T h e se H ills was e sta b lish e d , the p rim a ry p u rp o se w as to a ttr a c t v is ito rs to the a re a . I d o n 't se e th a t th a t is a bad a p p ro a c h to the p ro d u ctio n of an outdoor d ra m a , b e c a u se you certa in ly d o n 't w ant to p ro d u ce one th a t w ould not a ttr a c t people. The m e re fa c t th a t the co m m u n ity se le c te d to produce 59 A lthough C au b le's r e m a rk s w ere m ade in 1963, the sa m e p r in c ip les p e rta in e d to the d ev elo p m en t of C hapel H ill's activ ity in th a t f i r s t p erio d . G reen , as s ta te d , had the b en efit of subsidy in h is o p e n ing production. In fa ct, his own p e rso n a l philosophy, as an a c a d e m i cian , was b a se d in the s e c u rity of s u b s i d y . T h i s , too, was a m a jo r fa c to r in developing the attitu d e of C hapel H ill prod u ctio n . With com m unity in te r e s t a ro u se d and with the fo rm and the d ire c tio n of its ex pansion Into fu rth e r id e a listic staging e s ta b lis h e d - - u n d e r G re e n 's le a d e r s h ip - -th e f i r s t p e rio d of the d evelopm ent ended re la tiv e ly su c c e ssfu lly . a d ra m a , r a th e r than som ething e lse to p ro m o te to u ris m in the a r e a , in d ic a tes to m e an in te r e s t in outdoor d ra m a itse lf. In 1946, a g roup of people fro m w e s te rn N orth C a ro lin a w anted to a ttr a c t to u ris ts to th e ir a r e a . And they w anted to r e p r e s e n t the h isto ry of th e ir a r e a in an outdoor sym phonic d ra m a s im ila r to P a u l G re e n 's The L o st C olony. T hat they s e le c te d a d ra m a as the m ean s to p ro m o te to u ris t tra ffic in d ic a te s, to m e a t le a s t, m o re than s tr ic tly a c o m m e rc ia l in te r e s t in the outdoor d ra m a m o v e m e n t" (Ib id . , p. 77). The a tte m p t to avoid the is s u e of " c o m m e rc ia lis m ," as though it w ere a stig m a , is obvious. This kind of confusion c h a r a c te r iz e s E a s te r n outdoor e p ic - d ra m a philosophy re g a rd in g the need fo r fin a n cial s u c c e s s . The solution lies in re a liz in g th at the c o m m u nity h as a rig h t to d ifferen t points of view about th e ir p a rtn e rs h ip with an acad e m ic in stitu tio n in an outdoor d ra m a . The "q u estio n " is p u re ly a c ad em ic; th e re in lies the p ro b le m , and the solution. ^ ^ G r e e n gave this ad v ice, "Stay a t h o m e, re a d books, ig n o re a rtific ia l c r itic a l sta n d a rd s and keep a stead y job. T hose a r e m y p r e cep ts fo r y o u n g ste rs who w ant to w rite . . . . E ven if I m ade a fo rtu n e by m y p la y s--w h ic h does not s e e m lik e ly -- I 'd keep m y little old job in the U n iv e rsity on C hapel H ill and go on living .the sim p le life in the 's tic k s ' " (F re e and L o w er, H isto ry Into D r a m a , p. 165). 60 The Second P h a se : 1950-1959 D uring th is p h a se , E a s te r n p roduction, u n d e r the am bitious le a d e rs h ip of C hapel H ill, in c re a s e d fro m the five p roductions of the 117 f ir s t p erio d to the a m azin g n u m b e r of tw e n ty -six new offerings ! The a r e a expansion of C hapel H ill activ ity d uring the f i r s t p e rio d -- c e n te re d in N o rth C a ro lin a --e x te n d e d in this p e rio d as fa r w est as , , 118 T e x a s, and south to F lo rid a . L e a d e rs h ip s till c e n te re d in G reen , but an im p o rta n t new nam e a p p e a re d alo n g sid e h i s - - K e r m it H u n ter. A lso a stu d en t of K och's at C hapel H ill, H u n ter b e c a m e a lm o s t as pro d u ctiv e as G reen . B etw een 1950 and I960, G reen w ro te six new outdoor e p ic - d ra m a s th at w ere Of th ese fo u rte e n p la y s, fo u r--tw o by e a c h a u t h o r - - a r e s till running to d a y . 1 2 1 One b u s in e s s p ra c tic e se e m s to have o rig in a te d d uring that ph ase which was p ro b ab ly n e c e s s a r y , but which h as led to un fo rtu n ate co n seq u en ces: the s u m m e r-lo n g se a so n , u su ally la stin g som e ten 122 w eek s. W ith the high co st of o rig in a l p ro d u ctio n , p a rtic u la rly with re s p e c t to building the au d ito riu m (a cu sto m s ta r te d with The L o st pro d u ced . 119 H u n ter; in the sa m e p e rio d , w ro te eig h t th at opened. 120 ^ ^ S e e A ppendix O. 122 K e rm it H u n ter, "The T h e a tre M eets the P e o p le ," E d u c a tio n al T h e atre Jo u rn a l, VII (M ay, 1955), p. 128. ! T i C olony) , sound b u s in e s s p ra c tic e d em an d ed a m ax im u m r e tu rn . The ;su m m er-lo n g s e a s o n did in c r e a s e the box office ta k e --w h e n the show i I 123 jwas s u c c e ss fu l, but it also in c re a s e d p ro d u ctio n cost. F u r th e r , jthe extended s e a s o n m ad e im p o ssib le the p a rtic ip a tio n of m any c o m - jmunity p e r f o r m e r s and te c h n ic ia n s. The r e s u lt was the n eed to " im - jport" o u ts id e rs , w hose ded icatio n to the play was le ss than th a t of the j j j com m unity a r t is t s . T h is , in tu rn , lo w e re d both com m u n ity m o ra le i I 124 ! and p ro d u ctio n s ta n d a rd s . | O ther th an th is ch an g e, no new b u sin e ss p ra c tic e s of note w e re j i ! iestab lish ed . H o w ev er, the " c o m m e rc ia l" asp e c ts of this change in j | ! ibasic com m unity o rie n ta tio n pointed to the d ire c tio n C hapel H ill w as | ; I j 125 ih e a d e d --a kind of " c o m m e rc ia l" a c a d e m ic th e a tre . j : I ; ^ ^ M c C a lm o n and M oe, C re a tin g H is to ric a l D r a m a , pp. 73-78. 124 S u m n e r, S u rv e y , pp. 35-36. C om m unity dem and a t this -point was such as to c r e a te , fo r C hapel H ill, a kind of in d u stry in w hich its w r ite r s , d ir e c to r s , p r o d u c e rs , and a c to rs could " w o rk ." H en ce, the m e d iu m b e c a m e , in a v e ry r e a l se n se , " c o m m e rc ia l." 125 "S c a rc e ly o n e -tw e n tie th of our people live in o r around New ■York and p e rh a p s le ss th an half e v e r get to New Y ork. . . . If we have !an " A m e ric a n th e a tr e ," it e x ists n o t on B roadw ay but in com m unity iplay groups all o v er the land, in c o lleg es and u n iv e rs itie s w h ere dram a. 1 is taught and p ra c tic e d , in th e se ou td o o r d ra m a s with th e ir q u a r te r of • a, m illio n s p e c ta to rs a n n u a lly - - and e sp e c ia lly in the h e a r ts and m inds ! of the A m e ric a n people. . . . The o u td o o r d ra m a , d ealing w ith epic ith e m e s, p ro m o ted by lo cal im p r e s a r io s , produced by s e m i- p r o f e s s io n als fro m co lleg es and u n iv e rs itie s . . . c o m e s n e a r e r to being tru ly A m e ric a n th e a tre th an any o th e r fo rm . . . . T hose of us involved in it . . . , tr y to h o n o r the anxious s tru g g le s of the lo c a l im p r e s a r io s Vz W ith re g a rd to f o r m , the p rin c ip a l changes d u rin g the p erio d w e re the in c r e a s e s in the n u m b e r of p ro d u ctio n s (noted above) and in the d e g re e of id e a lis tic sta g in g --b o th the effects of the in c re a s e d acad e m ic o rie n ta tio n . H u n te r's w o rk , which f ir s t a p p e a re d in 1950, w ith Unto T hese H ills , a d ra m a of the C h ero k ee n a tio n 's tra g ic tra n s p la c e m e n t, is, a cco rd in g to S u m n e r, in r a th e r s e v e re c o n tra s t to th a t of G reen . N eith er The C om m on G lory n o r The L o st Colony has m uch in com m on with the fo rm a l ap p ro ach of J o s e f M e ie r's the B lack H ills P a s s io n P la y , w hose g e n e ra l s tr u c tu r e m o re n e a rly ap p ro x im a te s the b ro ad , bold handling of K e rm it H u n te r's Unto T h e se H ills . H u n te r's Indian c la s s ic and the re lig io u s play p a rtly build e x cite m e n t by the c a re fu l c re a tio n of en v iro n m e n t as the plays p r o g r e s s . They both take the s p e c ta to r co m p letely away in tim e b efo re g ath erin g sp eed . Y et they do not a p p e a r o r sound alike. H u n te r's second play, H orn in the W e st, about events leading to the B attle of K ing's M ountain . . . is m o re n e a rly a fa irly r e a l i s tic fic tio n al b io graphy. It b e a rs little re la tio n sh ip to any of the o th e r scrip ts. 1 2 6 we try to unify and d ire c t the boundless e n e rg ie s of young a c to r s , and we tr y to give w ise co u n sel to the m any new lo c a litie s w hich . . com e to us w ith plans fo r outdoor d ra m a . W hy? B ecau se . . . a g re a t n atio n al d ra m a can r is e only out of the people th e m se lv e s and b ecau se we fe e l th a t h e re in the s u m m e r outdoors is being b o rn the g r e a te s t and n ew est and m o s t im p o rta n t m o v em en t y e t see n in the A m e ric a n th e a tr e " (K e rm it H u n te r, "O utdoor D r a m a s ," New Y ork T im e s , July 18, 1954, se c . 2, p. 1). In his S u rv e y , M a rk S u m n er w ro te, "In 1966 p ro fe ssio n a l outdoor h is to r ic a l p a g e a n t-d ra m a s played to slig h tly o v e r 1 , 0 0 0 , 0 0 0 p a tro n s in ten w eeks in 22 lo c a tio n s" (p. 15). T h e re can be little doubt of the acad e m ic o rie n ta tio n of such r e m a r k s , o r of the d ire c tio n of the m o v em en t and its g o a l- - c o m m e r - c ia l, " p ro fe s sio n a l," a c a d e m ic th e a tre run by u n iv e rs itie s . S u m n er, S u rv ey , pp. 17-18. Z3 Two ele m e n ts m entioned in S u m n e r's co m m en t w a rra n t a tte n tion h e re : (1) H u n te r's g r e a te r u se of r e a lis m , and (2) the h is to ric a l background in A m e ric a n life depicted in th e se plays of H unter and G reen . In s h o rt, while both playw rights w rite o f'th e ro m a n tic , c o lo r ful events of A m e ric a n h isto ry , H unter fa v o rs the affirm atio n of a r e a lis tic p a st, while G reen fav o rs m o re th a t of a sym bolic fu tu re. Unto T hese H ills te lls the trag ed y of the C herokee n ation, v ic tim s of A m e ric a n expansion. Yet the play is a su c c e ss with to u ris t audiences; obviously no s e n se of guilt is co m m u n icated . The re a so n is th a t an in d iv id u al--A n d rew J a c k s o n --n o t the A m e ric a n public, b e a rs 127 the guilt. With tru e d ra m a tic iro n y , the sym pathy for the Indians, 128 fe lt by the au d ien ce, a ffirm s the A m e ric a n v alu es. Both of G re e n 's plays m entioned by S u m n e r - - The L o st Colony and The C om m on G lo ry --c o m m e m o ra te A m e ric a n ro m a n tic, h is to ric a l valu es. A lso, The L o st Colony is a tra g e d y . Yet acco rd in g to G reen, "The two m o s t su c c e ssfu l outdoor plays a re d a rk tra g e d ie s: K e rm it's 127 At the P lay w rig h ts C onference G reen applauded H u n te r's tre a tm e n t of Jackson: "K e rm it th e re in his Unto T h e se H ills - - ! re m e m b e r when I w ent up to see it. I was so shocked and p le a sed , to see that he m ad e A ndrew Jack so n a s o n -o f-a -b itc h . (Think of old Andy Ja c k so n in the White H o u se --y o u know, the com m on m an and all th at b u s in e s s , N ational Bank b u s in e s s , a h e r o . ) H ere was u n co v ered an o th er kind of a fellow " (P lay w rig h ts C o n fe re n c e , p. 8 8 ). 128 H elen Hunt Ja c k so n had used the sa m e technique in h e r novel, R am ona, as w ill be seen. play, Unto T h ese H ills , and The L o st C olony. Both end in w eeping 129 and w ailing and b eating on the b r e a s t." At an o th er c o n fe re n c e , G reen gave his thought on th e ir popularity: When m a n g ets in d o o rs, he can take d elig h t in h im se lf and his w orld and play his quips and fa n c ie s b ecau se he is not o v e ra w e d ' by any m o n stro u s po w er, b ecau se he has c re a te d his own e n v iro n m en t. Indoors m a n 's p re tty sa fe , fo r h e 's not conscious of death. B ut outdoors he fe e ls the tre m e n d o u s pow er of n a tu r e - - th e lig h t ning, the th u n d e r, and the re a c h of the e a r th and the sky and the s e a . O utdoors he b eco m es co n scio u s th a t he is re la te d to s o m e thing th a t re q u ire s a c e rta in attitude of a w e .*30 A nother e p ic - d ra m a of the second p h ase, b ased in sym phonic d ra m a and im p o rta n t fo r the ex ten t of its id e a listic te c h n iq u e s, w as a sto ry of the A lam o, w ritte n by R a m se y Y elvington, and p ro d u ced out- 131 doors in 1957. The ex ten t to w hich e x p e rim e n ta tio n was c a r r ie d 129 P la y w rig h ts C o n fe re n c e , p. 11. 130 L o w er, O utdoor D ra m a C o n fe re n c e , p. 29. H u n te r, both in his plays and in the co m m en ts he m ad e at two c o n fe ren c e s on E a s te r n outdoor e p ic -d ra m a held a t C hapel H ill in 1963 and 1964, c o n siste n tly shows a m o re p r a c tic a l a p p ro ac h to the plays and p ro d u ctio n th an G reen. H u n te r's ap p ro a c h , th u s, is m o re r e a lis tic in philosophy and technique. H ow ever, the p rin c ip le behind the s u c c e ss of the two t r a g edies m en tio n ed lies in the a ffirm a tio n of A m e ric a n values w hich e n ables people to p lace faith in the h ig h e r pow er m entioned by G reen . Both G reen and H u n ter a ffirm the A m e ric a n p a s t in th e ir h is to r ic a l e p ic -d ra m a s . T h e re in s e e m s to lie th e ir s u c c e s s . But when, as will be brought out in the follow ing d e s c rip tio n of the d evelopm ent, they becom e too " p re a c h y " and too " a r ty ," the plays fail. Such was the evidence in the lite ra tu re . 131 See A ppendix O. The play w as f i r s t produced in d o o rs at B aylor U n iv ersity in 1955. In 1957, Y elvington took it to San A ntonio, w here it was put on in the patio of the San J o se M issio n . L a te r , it was m oved into a sp e c ia lly c o n stru c te d a m p h ith e a tre , also o u tdoors (M cC alm on and M oe, C re a tin g H is to ric a l D ra m a , pp. 300-301).________ 65 d uring the 1950s, f o s te re d by the s u c c e s s of sym phonic d ra m a and the e n th u sia sm fo r the fo rm h eld by u n iv e rsity p lay w rig h ts of the " E a s te rn ’ school, w as ev id en t in A Cloud of W itn e s s e s . The th e a tr ic a l p r e m is e s of W itn e sse s a r e sw iftly exposed in a prologue spoken by D r. A m os P o lla rd , an a rm y p h y sician involved as a m in o r c h a r a c te r in the fo cal plot. D r. P o lla rd explains to the audience th a t the au th o r w ishes not only to d em o n s tr a te what it a lre a d y knows (the legend of the A lam o) but also to apply its m ean in g to the h u m an condition now. The d o cto r fu rth e r m a k e s acknow ledgem ent of the p la y 's te c h n ic a l in debtedness to the c h o ric aids found in c la s s ic G re e k and J a p a n e se d ra m a and to a sto ck c h a r a c te r type found in the m o ra lity play of the M iddle A ges. This la s t re fe re n c e is p re p a ra tio n fo r the in tro d u ctio n of S atan who also doubles as a c h a r a c te r in the fo cal plot. N o n re a listic u se of sound and lighting e ffe c ts, a b ru p t in te rru p tiv e illu sio n - b re a k in g d e v ic e s , subtly in tro d u ce d re tro s p e c tiv e " v isio n s ," the e v e r - p r e s e n t ch o ru s of w om en, s o m e tim e s n a r ra tin g , so m e tim e s c o m m en tin g co lle c tiv e ly o r in d iv id u a lly --a ll of th e se and o th e r devices m ake fo r a c o m p lex p re se n ta tio n a l m ode. Y elvington j s tr u c tu r e s th e a tric a l e x p e rie n c e fo r the p u rp o se of s ta rtlin g the audience "into a k e e n e r, s h a r p e r s o r t of re c o g n itio n --to m ake and old s to ry f r e s h and v ita l."132 Y elvington's d ra m a ra n fo r a to ta l of five y e a r s - - o n e s e a so n in d o o rs at B a y lo r, fo u r s e a so n s o u td o o rs. It was abandoned, acc o rd in g to its a u th o r, b e c a u se "we ra n it five s u m m e rs and we m e t c e rta in situ atio n s 133 th a t se e m e d not w orth fooling with a n y m o re ." The public in te r e s t in E a s te r n outdoor e p ic - d ra m a was re fle c te d , in th a t second p h a se, by the in c re a s e d com m u n ity in te r e s t 132 M cC alm on and M oe, C re a tin g H is to ric a l D r a m a , p. 303. 133 P layw rights C onference, p. 16. , 66 which dem anded the tw e n ty -six new p lay s, and su sta in e d six th ro u g h 134 1959. S om ething of the n a tu re of th at in te re s t was defined by the type of play th a t su c c e e d e d and the type th a t failed . As noted, the " a ffirm a tiv e " ro m a n tic , h is to r ic a l tra g e d ie s w ere the m o st s u c c e ss fu l. 135 H o rn in the W e st, the " fa irly r e a lis tic fic tio n a l b io g ra p h y ," is still running in 1972. W ild e rn e ss R o a d , the s to ry of B re a C ollege, K en tucky, The Stephen F o s te r S to ry , and The Book of J o b , all running In 136 1971, a re d ra m a s w hich depict ro m a n tic , h is to r ic a l, a ffirm a tiv e values of the p a st. D uring the p e rio d a tre n d in h e re n t in the n a tu re of outdoor d ra m a and p re d ic te d by G reen e a rly in the f i r s t phase w as c o n firm e d as fact: the audience was c o m p ris e d la rg e ly of to u ris ts t r a v e l ing by auto, and th o se th e a tre s n e a r h eav ily tra ffic k e d to u ris t ro u te s 137 w e re the m o st s u c c e ss fu l at the box office. G e n e ra lly , the s e a s h o re and the m o u n tain s w e re the two m o st s u c c e ss fu l lo c a tio n s. F u r th e r , 138 s m a ll c itie s and co u n try lo catio n s w ere fav o red . P h a s e two, th en , co n so lid ated the o rig in a l p ra c tic e s and c l a r i fied the philosophy. P a r k e r 's p rin c ip le s continued to be the s o u rc e s of 134_ A ^ See A ppendix O. 135_ S u p r a , p. 62. 1360 A ^ See A ppendix O. 137 C h ris to p h e r C ritte n d e n , " T h e a tre U nder the S ta r s ," A m e r i can H e r ita g e , V (S u m m er, 1954), pp. 16-23. 1 3 8 ^ Ibid. 6 7 stre n g th . The h is to ric a lly -o rie n te d ro m a n tic s to ry a ffirm in g the p eo p le's p a st v alu es w as e sp e c ia lly a ttra c tiv e , as it had been fo r 139 P a r k e r . F a ith , hope, and c h a rity , so to speak, with th e e v e r - popular p rin c ip le of love, w ere highly p e rsu a s iv e f o rc e s . H is to ric a l site continued to be a v ery stro n g fa c to r. T hese e le m e n ts c o m p ris e d the s o u rc e of both com m unity dem and and public in te re s t. C hapel H ill p ro d u ctio n s and fo rc e s in c re a s e d , notably with the advent of H unter. And acad em ic o rie n ta tio n in c re a s e d in all r e s p e c ts as s u c c e ss brought about th e C om m unity D ra m a en v isio n ed by P e r c y M acK aye. That d r e a m - - a ls o K o c h 's, then G reen and C hapel H ills '-- w a s finding e x p re s s io n in the m illio n s of v ie w e rs, if not in the h u n d red s of th e a tr e s . The fo rm of the fu tu re --s y m p h o n ic d r a m a -- w a s being "g ra n d ly e x tr o v e rte d " u n d e r th e faith of G reen and the am b itio n of m en like Y elving- ton. But in the two chief c h a r a c te r is tic s of the d e v e lo p m e n t--th e in c re a s in g th e a tr ic a l co m p licatio n s of id e a lism and th e le ss e n in g of c o m m unity p a rtic ip a tio n th ro u g h c o m m e r c ia lis m -- p o te n tia l fo r public doubt and confusion w as developing. E vidence of fu tu re difficulty show ed in the la s t ele m e n t of the p e rio d to be e x a m in e d --fin a n c ia l se c u rity . Of the th irty -o n e outdoor e p ic -d ra m a s p ro d u ced in the E a s t o r u n d er C hapel H ill stim u lu s , fro m 1937 th ro u g h 1959, with the hope of I I ( -------------------------------- I 139„ | S u p ra, p. 24. 68 140 running fo r G re e n 's "fifty y e a r s ," th irte e n w e re running at the end 141 of the p erio d . Of th e s e , only fo u r had ru n lo n g er th an five y e a r s . The T h ird P h a se : 1960-1971 C om m unity dem and continued throughout this p e rio d , although to so m e ex ten t it was m odified by the re a c tio n to the in c re a s in g n u m b e r of prod u ctio n s w hich had fa ile d . F r o m 1937 through 1965, th irty - six outdoor e p ic -d ra m a s opened; in 1965, nine of th e se plays w ere still 142 running. By the end of the 1971 se a so n , a to ta l of fifty -e ig h t p ro - 143 ductions of e p ic - d ra m a had tak en p lace; ten have la ste d . T hus, only one in six la s ts fo r any length of tim e . The o ld e st, The L o st C olony, h as ru n fo r th irty -tw o y e a rs ; the next lo n g est ru n has been th a t of an o th er P a u l G reen show , The C om m on G lo ry , w hich opened in 1947. In an a r tic le on the c u r r e n t outdoor d ra m a sc e n e , W illiam G lo v er, A P D ra m a w r ite r , stated : " T h e r e 's a c u r r e n t flood of re q u e s ts about new show s b e c a u se of the n atio n al b icen ten n ial in 1976," says S u m n er. H asty planning, he w a rn s, is the b ig g e st re a s o n of fa ilu re . The c o s t of se ttin g up a show is $ 2 00,000, annual o p e ra tio n fro m $75,000 up and up. H alf the p roductions opened sin ce 1937 have su ccu m b ed a fte r a se a so n o r tw o, but in c re a s in g know -how is c re d ite d with a fall-o ff *40^ . q S u p ra , p. 48. * ^ S e e A ppendix O. 142 , . . Ibid. 143 Ibid. 69 in fa ilu re ra tio to ju s t one m is s in fo u r am ong show s s ta rte d d uring the p a s t d ecad e. 144 An in te re s tin g innovation h as developed d u rin g this th ird p h ase. At B ra n so n , M is s o u ri, a d ra m a tiz a tio n of H aro ld B ell W rig h t's b e s t sellin g novel, The S h ep h erd of the H ills , opened a y e a r o r so ago. M ark T rim b le , the p ro d u c e r, co m m en ted on his unique production: "The com m o d ity we a r e sellin g h e re is a lo cal show with local p e o p le --O z a rk h illb illie s ," a s s e r t s T rim b le . "No one would com e h e re to see a B roadw ay type show. T his is a blue c o lla r audience. "It m a k e s m e la u g h ," say s the m a n who sig n ifican tly is alw ays re a c h in g fo r a slid e ru le , "when o th e r show s copnplain about having su b sid ie s cut. If you a r e going to be a s u c c e s s , the a n sw e r is p riv a te e n te r - p r is e - - th e n you've got to find a way to do it. If we b o rro w m oney, we pay it b a c k with in te r e s t plus t a x e s ."145 The B ra n so n e x p e rim e n t is esp e c ia lly in te re s tin g , as is the co m m en t of its p ro d u c e r, in light of r e m a rk s m ad e by P a u l G reen c o n c e rn in g the in c re a s in g c o m m e r c ia lis m of co m m u n ity dem and: "If we do n 't w atch out th e se to u r is t p ro m o te rs a r e going to k ill what beauty w e've b een able to get in it, and it is up to us a ll to stand som ehow o r o th e r and d e te rm in e th a t we w on't get sucked into a p ro je c t th a t is ..146 b a sic a lly a to u ris t p ro je c t.' 144 W illiam G lo v er, " A m e ric a 's O utdoor T h e a tre s ," Sunday P r e s s - E n t e r p r i s e (R iv e rsid e , C alifo rn ia) , A ugust 20, 1972, se c . D, pp. 1 ,- 2 . 145 Ibid. , p. 2. 146 Low er, Outdoor D ra m a Conference, p. 36. 70 In 1963, to red u ce this u n p leasan tly high ra te of fa ilu re , C hapel H ill in itiated the In stitu te of O utdoor D ra m a , d esigned to p r o vide needed in fo rm atio n and to aid co m m u n ities and a r tis ts in te re s te d 148 in s ta rtin g outdoor e p ic -d ra m a . C o n feren ces w ere held by the In stitu te in 1963 and 1964 to d isc u ss the p ro b le m s and to en co u rag e the exchange of ideas am ong th o se in te re s te d in outdoor e p ic -d ra m a , esp e c ially . O v er the y e a rs since the o rig in of The L o st Colony and the " d re a m " of P a u l G reen and F r e d e r ic k Koch, c e rta in slow changes in [philosophy and p rin c ip les of p ra c tic e had taken place. T h e se changes i 1 in attitu d es and goals w ere defined in the com m en ts of the a r tis ts a sse m b le d at the c o n feren ces ju s t m entioned. F o u r b asic hum an dem ands g o v ern c re a tiv ity and b eh av io r in the th e a tre a rts : fin a n cial se c u rity , c r itic a l a c c la im , a r tis tic fre e d o m , and p ro fe ssio n a l sta tu s. See A ppendix O. As m entioned, ac co rd in g to the s ta tis tic s fu rn ish e d th ro u g h the M cC alm on and Moe list of p ro d u ctio n s, a u g m en ted by the lis t fro m the In stitu te of Outdoor D ra m a , the fa ilu re ra te is five fa ilu re s to one s u c c e s s . A ccording to G lo v er, in the e a rly p e rio d --b e fo re about 1962--the fa ilu re rate w as one to o ne! C o n sid e rin g the high c o s t of production, r e g a rd le s s of g o v ern m en tal subsidy, those r a te s of fa ilu re a re d isc o u ra g in g to co m m u n ities. T hat, in tu rn , d isc o u ra g e d C hapel Hill. 148 P a m p h le t of the In stitu te of O utdoor D ra m a , C hapel Hill. 149 The F i r s t N ational O utdoor D ra m a C o nference w as held in 1963 and The F i r s t P lay w rig h ts C o nference of the In stitu te of O utdoor D ra m a w as held in 1964 (see L o w e r, O utdoor D ra m a C o n fe re n ce , and The F i r s t P la y w rig h ts C onference). 71 A ccording to the dialogues of the c o n fe re n c e s, the b a sic p ro b le m of E a s te r n outdoor e p ic - d r a m a in the e a rly six tie s w as the lack of fin a n c ia l s e c u rity , c a u se d by the high ra te of fa ilu re attack in g the m o v e m en t. T h is, in tu rn , effected p ro b le m s in the o th e r th re e a r e a s . 150 John C auble, the f i r s t g e n e ra l m a n a g e r of H om e Is the H u n te r, was ask ed if, a fte r the f i r s t s e a so n , any changes in the s c r ip t w ere intended, e ith e r fo r fin a n cial o r a r tis tic re a s o n s . C auble rep lie d : . . . the a n sw e r should be fo r both a r tis tic and fin a n cial re a s o n s . Im p ro v em en t in the s c rip t should be re fle c te d a t the box office, and change was u rg ed p r im a r ily to im p ro v e the tra ffic at the box office. I d a re say if a p ro fit had been shown at the end of the f ir s t y e a r th e re would not have been a hue and c ry fo r s c r ip t change. 151 The fin a n c ia l s ta te of the m o v em en t as of 1963 w as s u m m a riz e d in a sta te m e n t m ad e by K e rm it H unter at the O utdoor D ra m a C o n fe r ence: "D on't you think th at th e re is som e sig n ifican ce in the fact th at 152 only one o r two of th e se plays h as ev e r m ade a n ic k le ? " F r o m the stan d p o in t of the m e ch an ics of p ro d u ctio n , S um ner explained the c a u se of the fin a n c ia l difficulty: "M ore fa ilu re s have com e through ru sh in g the financing, play w ritin g , and p ro d u ctio n into 150 T his outdoor e p ic - d ra m a opened in 1963, at H a rro d s b u rg , K entucky (M cC alm on and M oe, C re a tin g H is to ric a l D r a m a , p. 338). 151 L e tte r fro m John C auble to G eorge M cC alm on, C o rn e ll U n iv ersity T h e a tre , Ith a c a , New York, M a rch 2, 1964. 152 Low er, Outdoor D ram a Conference, p. 36. 72 153 a too h a sty f i r s t se a so n , than any o th e r re a s o n I can n a m e ." When one c o n s id e rs G re e n 's w ish to see "hundreds of s u m m e r fe s tiv a ls d o t- 154 ting the lan d ," and h is im p o rta n c e in the E a s te r n m o v em en t, the h a s te to pro d u ce b eco m es so m ew h at u n d e rsta n d a b le . H o w ev er, it has re s u lte d in such e r r o r s of planning as ( 1 ) lo catin g e p ic - d ra m a s too fa r off the "beaten tr a c k " fo r to u r is ts , and (2 ) indulging the a r t i s t s ' d e s ir e s fo r the co m p le x itie s of d ra m a r a th e r than the s im p lic ity of p ag ean try . A lthough the p lay w rig h ts and p e r f o r m e r s have sought to achieve the u tm o st a r tis tic quality in h e re n t in the m ed iu m , fin a n c ia l re w a rd h a s also played its p a rt. F o r e x a m p le , d esp ite s ta te m e n ts by both G reen and Y elvington to the effect th at they had no ex p ectatio n s of g re a 155 fin a n cia l r e tu rn fro m th e ir p la y s, S u m n er noted in h is S urvey that in budgeting for a pro d u ctio n the ite m of ro y alty should be included to the ex ten t of $11,250 fo r a " m o d e ra te -s iz e d outdoor d r a m a " th at was ,.156 to run fo r a te n -w e e k s e a s o n .” 153 L e tte r fro m M a rk S u m n er to G eorge M cC alm on, C o rn e ll U n iv e rsity T h e a tre , Ith aca, New Y ork, F e b r u a ry 26, 1964. 154 S u p ra , p. 48. 155 F o r G re e n 's c o m m en t, see s u p r a , p. 59, n. 116. Y elv in g ton sta ted th a t he thought long ru n s w ere " n o n se n se ," d esp ite "a ll the m oney it m ight po ten tially m ake m e " (P la y w rig h ts C o n fe re n c e , p. 16). H is play, in its outdoor p ro d u ctio n , ra n fo u r se a so n s (see A ppendix O). 156_ _ , S u m n e r, S urvey, p. 6 . 73~ The need fo r fin a n cial s u c c e ss is not q uestioned by C hapel Hill; the m ea n s fo r providing it is. T hat is , in c re a sin g ly so m e fo rm of gov e rn m e n ta l aid h as been sought and provided. The g e n e ra l s ta te of s u b sidy in 1964 was in d icated by C auble, who re m a rk e d in his le tte r to M cC alm on, ". . . K entucky found it n e c e s s a r y to m ak e up lo s s e s at e v e ry outdoor th e a te r this y e a r os [sic] $25, 000 was a llo ca te d to each 157 o n e - -n e t c o s t of $100, 000 !" A cco rd in g to G lo v er, "A few y e a rs age the d ra m a about the f ir s t a ttem p t at E n g lish s e ttle m e n t in the New W orld [The L o st Colony] a lm o st succum bed to audience dw indle. Since th en sh re w e d m an a g e m e n t, L ay to n 's [Joe L ayton, d ire c to r /c h o r e o g - ra p h e r] re sta g in g and upbeat w o rd -o f-m o u th have tu rn e d M anteo's 158 a u d it-s h e e t fro m re d to black. " The fin a n c ia l d ifficu lties of the E a s te r n d r a m a have c re a te d p ro b le m s , so m e of which have been solved as ju s t d e sc rib e d . A n o th er indication of the confusion c re a te d by the fin an cial situ atio n , co m p lic ate d as it is by u n iv e rsity c o n tro l, com m unity c o n trib u tio n of funds and p a rtic ip a n ts , and g o v ern m en tal aid , w as voiced by G reen at one of the c o n fe re n c e s. And so, you have a tre m e n d o u s su b sid ized th e a tre . R ight h e re , the C a ro lin a P la y m a k e rs have such a big staff w hich is paid for by the S ta te --th e re is, no one m an paying the b ill. They a re a lre a d y su b sid iz e d , they have got a building, they don't pay ta x e s , 157 L e tte r , C auble to M cC alm on, M a rch 2, 1964. 158 Glover, "A m e ric a 's Outdoor T h e a tre s ," pp. 1, 2. 74 I re c k o n they d o n 't even pay the light b ill--n o th in g . So th at is tru e a ll o v e r the co u n try . And y e t, the g r e a t e x p e rim e n ta l, im ag in ativ e th e a tre th a t we have d re a m e d about d o e s n 't com e into being. They im ita te B roadw ay. T hey keep putting on th e se B roadw ay th in g s. Why, w ith a su b sid ize d th e a tre , sh o u ld n 't we have the b o ld est kind of e x p e rim e n ta tio n ? F o r in sta n c e , take the South. I did a p la y - -I 'v e done s e v e ra l N egro p la y s --b u t this play I w ro te , In A b ra h a m 's B o so m , h as n e v e r been pro d u ced below the M ason-D ixon Line th a t I know about. And th e re m u s t be a thousand o th e r plays av ailab le. H e re , obviously, not only fin an cial s e c u rity c o n c e rn e d G reen , but the a s so c ia te d c r itic a l e s te e m . The th ird effect of fin a n cial in s e c u rity was je o p a rd y to a r tis tic Jfreedom . The p lay w rig h ts fe lt h a m p e re d and handicapped in th e ir jform and content by the r e s tr ic tio n s placed on th e m th ro u g h the n e c e s - ! i jsity fo r c o m m e rc ia l s u c c e s s , and by the dem an d s of the s p o n so rs. iYelvington voiced co m p la in ts th at s u m m a riz e d the e s s e n tia ls at point: I "I think th at b ec a u se of the su c c e ss of M r. H u n ter and M r. G reen we 160 en co u n ter a p re c o n c e iv e d notion of w hat c o n stitu te s an outdoor play." He sta te d th at anything could be done o u td o o rs, if the d ire c to r found the way. H u n ter asked h im if he m e t a $4, 500 w eekly budget. He re p lie d , "No, we cut it out. I think th at w as p a rt of the p ro b le m , too. It was a n o n -p ro fit thing, e n t i r e l y . " ^ * Then he m en tio n ed a n o th e r difficulty: "I found th a t in five y e a r s o u r a c to rs got dead on th e ir fe e t looking a t 159 P la y w rig h ts C o n fe re n c e , p. 31. ^ O , . , 161 , I b i d . , p. 15. I b id ., p. 16. 75 the sa m e s c r ip t y e a r a fte r y e a r. They lo st . . . so m e confidence in it. . . . I played in m y own show th re e y e a r s and I got p re tty b o red 1 6 2 with it." F u r th e r , he told of a group in V irg in ia th a t had approachec him to w rite a play about the R ev o lu tio n ary W ar and G eorge W ash in g ton. "B eing bullheaded, I d id n 't w rite it the way they w anted it. . . . I went ahead and w rote th e m a play . . . and it d id n 't have a single b attle in it. I think it would go, but they w on't try it. . . You know why 163 they a r e s c a r e d - - th e ir b udget." To a ll this John G a s s n e r, guest s p e a k e r at th at co n fe re n c e , re p lie d , ". . . you have to educate y our 164 public. You have to educate y o u r s p o n s o rs , to o ." i Y elvington in d icated an o th er so u rc e of d ism ay fe lt by the p lay - 165 w rig h ts: he w anted to stop doing shows th a t ra n fo r tw enty y e a r s , and do a v a rie ty of d iffere n t fo rm s . A D r. C layton added: "It is p o s sib le th a t we a r e being led down the g a rd en path by tu rn in g our atten tio n to the p a st. In so doing, we a r e out of touch with w hat is re a lly v ital in 166 this so c ie ty ." Irw in Shaw, O dets, Ib sen , and the G re e k p lay w rig h ts 1 6 7 a cc o rd in g to C layton, w ro te c o n te m p o ra ry th e m e s. E x p r e s s e d in a n u m b e r of d iffe re n t w ays, the p lay w rig h ts w e re saying the sa m e thing: they w e re tire d of w ritin g a ffirm a tiv e , ro m a n tic , h is to r ic a l e p ic - d ra m a s about fam ous A m e ric a n h is to r ic a l f ig u r e s - - a s Y elvington put it: 1 6 2 _, . 163_,. . 164tv>j 165t, . , Ibid. Ibid. Ibid. Ib id . l66Ibid. , p. 18. l67I b id ., p. 19. 76 1 6 8 " c lic h e s ." John G a ssn e r su g g ested th a t the way out of th at d iffi culty was th ro u g h an im ag in ativ e ap p ro ach and the u s e of g re a te r c h a ra c te riz a tio n ; the G reek s had faced the sa m e p ro b le m s in th e ir outdoor d ra m a and conquered it through such g re a t c h a ra c te riz a tio n s 169 as O edipus, A ntigone, M edea, and P h a e d ra . A M r. P a tte rs o n re m a rk e d that C a e s a r and C le o p a tra and In h e rit the Wind had done very 170 w ell a t the outdoor th e a tre at C hapel Hill. H unter told of c o rre c tin g so m e b asic difficulties in an outdoor e p ic -d ra m a he had ju s t opened, S ta rs in My C row n (the s to ry of A lbin B ark ley and the TVA). The m a te r ia l had b een too co m p lex , but th rough re w ritin g he had sim p lified it. He thought th at m o st show s could be m ad e p o p u lar by th e sa m e 171 p r o c e s s . G reen enthused: "We can ju s t go a h e a d --b o y , th at 172 opens up e v ery th in g ." H unter defined w hat G re e n m ean t. He d e s c rib e d the kind of th e a tre th a t would c o r r e c t the situ atio n by rem o v in g a ll the fru s tra tin g r e s tr ic tio n s to which the p lay w rig h ts had been su b jec te d by the n a tu re 1 6 8 T K ^ 9 9 Ibid. , p. 22. 169 Ibid. , p. 23. The stro n g influence of acad em ic orien tatio n - th e a tre fo r in stru c tin g b e fo re e n te rta in in g (excused by the th eo ry that g re a t in stru c tio n also e n te r ta in s ) - - is evident h e re and c le a rly in d i c a te s acad em ic th e a tric a l philosophy at C hapel Hill. 170 Ibid. Note th at w h ere th e se plays did w ell was at the outdoor th e a tre at C hapel Hill, at the u n iv e rsity , not out in th e country. 171 172 Ibid. , pp. 23-24. Ibid. , p. 24. 77 of h is to r ic a l e p ic - d ra m a and by the dem ands fo r fin a n cial s u c c e s s . His d e s c rip tio n of the "new " th e a tre defined the change in philosophy at C hapel H ill. We tr ie d to build a th e a tre c e n te r at G atlin b u rg . It was m o re than an outdoor d ra m a ; it w as supposed to be a th e a tre c e n te r. The id ea w as th a t if we could m ak e any m oney, we would go into the building of a S h a k e sp e a re a n th e a tre on the grounds of w h ere this th e a tre is lo cated . A fter the S h a k e sp e a re a n th e a tre , we would go into the building of a s m a ll r e p e rto r y th e a tr e indoors and that s o rt of thing. We would have a th e a tre c e n te r and s ta r t th ese p r o ductions in May fo r the to u ris ts and ru n th e m c le a r through O c to b e r. When the s e a so n c a m e , do the outdoor d ra m a , do the S h ak e s p e a re , and have plays going on co n stan tly a fte rn o o n and night, sev en days a w eek, and have two o r th re e re s id e n t co m p an ies. . . . U nfortunately, the f i r s t play d id n 't go and the w hole thing c o llap se d , but th at is w hat we had in m ind th e re and th a t is w hat we have in m ind in a ll of th e se p la c e s. We have n e v e r b u ilt one yet, as we n e v e r get o v er the hum p. At B eckley and a ll th e se p laces, we ju s t b a re ly b re a k even. We keep the show going y e a r a fte r y e a r and th at is the b e st th a t we can do. Som eday we a r e going to h it one w here we can put the whole thing into a th e a tr e c e n te r and have so m eth in g la rg e . We have to ed u cate the im p r e s a r io , the people in the tow n, they have to see th is f i r s t of all. You c a n 't ju s t go th e re and s e ll th em th is to begin w ith --th e y w ill d ro p dead. But you can s e ll th e m on Th o m a s_ Je ffe rso n and get this play going and g rad u ally w ork the o th e r into it. It is the id ea that we have had all along. 173 We a r e ju s t getting around to m aybe getting o rg a n ize d . The d e s ire fo r p ro fe s sio n a l s ta tu s , in d icated above, would be Ibid. , pp. 81-82. A cco rd in g to G re e n , the two m o st s u c c e ssfu l plays in E a s te r n outdoor e p ic - d ra m a a r e The .Lost Colony and Unto T h e se H ills - -th e b a s is upon w hich o th e rs have been c o n stru c te d , leading to Y elvington's c h a rg e of " c lic h e ." The re je c tio n of th e se fo rm s lie s w ith the p la y w rig h ts, not with the a u d ien ce, which continues th e ir p o p u larity . The d e s ire of the a c a d e m ic ia n s is no longer fo r o u t door e p ic - d ra m a of th e tra d itio n a l fo rm , but fo r d ra m a . 78 fulfilled th ro u g h the ex iste n c e of a c o m m e rc ia l th e a tr e su ch as H unter d e s c rib e d . It would be an a c a d e m ic p ro fe s s io n a lis m , fo r the th e a tre would e x ist in the c o m m u n ity , not a t the u n iv e rsity , and would be open to c o m p etitio n fro m a ll se g m e n ts of th e a tre . But, as G a s sn e r r e m a rk e d , "I hope th a t th e re is no s h a rp d isju n ctio n b etw een p ro fe s s io n a lis m and education. A g r e a t a im in education is to tra n s f o rm the ed u ca to r into a p ro fe s sio n a l. The fa c t is , it is only then that I think 174 he re a lly b eco m es an o p tim al e d u c a to r." As m ig h t be ex p ected , the d e s ir e fo r p ro fe s s io n a l sta tu s is r e la te d to the need f o r c r itic a l a p p ro v a l and fo r fin a n c ial se c u rity . H u n te r, at the 1963 c o n fe re n c e , s ta te d th a t he had not y et le a rn e d the way to w rite s u c c e ss fu l outdoor e p ic -d ra m a : "My r e a s o n for saying this is th a t, sin ce I left C h ero k ee in 1951, th e re h a s n 't b een one s u c - 175 c e s sfu l play in m y 24." G reen added: 174 Ibid. , p. 35. L o w e r, O utdoor D ra m a C o n fe re n c e , p. 37. H unter was speaking of a d e g re e of sk ill and s u c c e s s fu l re a liz a tio n of audience dem and th a t he w ished to a tta in -- n o t of what he h as attain ed . He is a s u c c e ss fu l outdoor e p ic - d r a m a tis t. But he w ants to be m o re , if one judges f ro m his w o rd s. He s e e m s to be m o re in te re s te d in giving the public the b e st p o ssib le show than in the c r itic a l a c c la im of his p e e rs . H o w ev er, fro m the n a tu re of the r e m a r k s G reen m a k e s , the sa m e c a n not be said fo r h im . T his is not m e a n t to b e little G r e e n -- h is d e s ire to c r e a te p o etic, lite r a r y m a s te r p ie c e s fo r outdoor d ra m a is lau d ab le, but he h as achieved outstanding re c o g n itio n fo r his w o rk fro m c r itic s . He s e e m s to su ffer the s a m e confusion as M a c K a y e --o u td o o r d ra m a is not the field fo r blank v e r s e and high tra g e d y . It is the p lace fo r h i s to r ic a l " p a g e a n try ." G re e n 's p r o b le m - - if his obvious c re a tiv e a m b i- ---------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------79 “ W e've got to co n fess h e re . The o th e r day so m eo n e asked m e , "Why d o n 't you quite w ritin g th e se outdoor d ra m a s and do s o m e thing w o rth w hile?" T h a t's rig h t. E x c ep t fo r The L o st C o lo n y , I have n e v e r had any of th e se outdoor d ra m a s re p rin te d in an th o lo g ie s, but they a r e a ll the tim e re p rin tin g th e se folk plays I u sed to w rite . T hat is a so b e rin g fact. I h a v e n 't h it upon the way yet. We h a v e n 't h it the way to te ll th e se s to rie s w ith beauty and lite r a r y a r t . *76 » W hat the acad e m ic le a d e rsh ip of the p lay w rig h ts w ill achieve tow ard re a liz a tio n of th is " id e al" re m a in s to be seen . In a s e n se , p e r haps the S h a k e sp e a re a n t h e a tr e - e n te r p r is e a t A shland, O regon, is an indication. Thus f a r , it has p ro s p e re d , it s e e m s . It is a c a d e m ica lly o rie n te d , and h as re c e n tly e m b a rk e d upon a tw o -th e a tre p ro je c t. W hile the p lay w rig h ts w e re re v isin g th e ir philosophy and p r a c tic e , the b u sin e ss m a n a g e rs also w e re developing c h a n g e --b u t of a m o re c o n stru c tiv e n a tu re . They w orked with m any p re d ic ta b le fa c to rs , allow ing fo r a tra in in g th a t d e a lt with c o n c re te fa c ts and fig u re s , not a e sth e tic p rin c ip le s . M ark S u m n e r, e x p e rie n c e d in both the a r tis tic and m a n a g e m en t a s p e c ts of outdoor e p ic - d ra m a , and p re s e n t h ead of Ithe In stitu te of O utdoor D ra m a at C hapel H ill, concluded: M ore fa ilu re s have com e th ro u g h ru sh in g the financing, play w ritin g , and p roduction into a too h a sty f i r s t se a so n , than any o th e r re a s o n I can n am e. As in any o th er b u sin e ss the p ro d u ct tion can be c a lle d a .p r o b le m - - is th at, seem in g ly like M acK aye, he w ants to be a p ro p h e tic , poetic le a d e r; the p ro b le m a g a in --h e has ch o sen (or ach iev ed su c c e ss in) the w rong field by w hich to attain g r e a te r fa m e and fo rtu n e than he a lre a d y enjoys. m u st be good and the s a le s m u s t be co m p eten t o r the plant w ill s e t idle. In addition bad w e ath er can put an inadequate fin an ced show out of b u sin e ss in one s e a s o n . *^7 C hanges in fo rm in th is p h a se, re su ltin g f ro m the p la y w rig h t's changing a ttitu d e s, w e re fo cu sed in the d ev elo p m en t of sp e c ta c le . T y p ical of the E a s te r n e p ic - d ra m a s th a t have opened in th is la s t p h ase is P a u l G re e n 's T e x a s ; "Along with e x u b e ra n t c h o re o g ra p h y , a s i m p listic n a r r a tiv e of s e ttle r feuds and v ib ra n t singing, 'T e x a s ' like 'T r a il of T e a r s ' u tiliz e s co m p lex te c h n ic a l e ffects, clim ax e d by a 178 th u nderous d isp lay of tra in e d fo rk ed lig h tn in g ." P ublic atten d an ce a t outdoor e p ic - d r a m a in 1966 w as r e p o rte d by the In stitu te of O utdoor D ra m a to have been at the m illio n fig u re; in 1971, the fig u re w as one and o n e-h a lf m illio n , w ith an expected 179 in c r e a s e in the 1972 count. Although com m unity dem and, c o m p risin g the two ele m e n ts of th a t b o d y --"to w n " and " g o w n " --c re a te s the in itia l im p etu s to outdoor d ra m a , fin al ju d g m en t lie s w ith the public. R e s e a r c h u n d e rta k e n by the In stitu te of O utdoor D ra m a has developed im p o rta n t in fo rm a tio n on audience c h a r a c te r is tic s and s o u rc e s . In fo rm atio n in d icates a sp e c ia l type of p er s o n --" fa m ily incom es of the g roup a r e above $7, 500, and 177 L e tte r , S um ner to M cC alm on, F e b r u a ry 26, 1964. 178 Glover, "A m e ric a 's Outdoor T h e a tre s ," p. 2. 81 the m a jo rity of fa m ilie s have at le a s t one m e m b e r w ith a co lleg e edu- 180 catio n o r w h ite -c o lla r jo b ." T hen, "in te r m s of buying pow er th e se fa m ilie s have m o re m oney to spend th an the g e n e ra l ru n of to u ris ts and tend to su p p o rt a c tiv itie s th a t a re h is to r ic a l and ed u catio n al as well 181 as e n te rta in in g ." A cco rd in g to S u m n e r, th e re is a " s e n s e of p il g rim a g e " about attending an outdoor e p ic - d ra m a . "It is c le a r fro m the su c c e ss fu l outdoor d ra m a s th a t the p u b lic's sa tis fa c tio n in ex p erien cin g this 's e n s e of p ilg rim a g e ' is as keen as its p le a s u re in e n te rta in - ,,182 m ent. What s e e m s to be the m o st im p o rta n t finding is th a t "audiences attending the p re s e n t outdoor d ra m a s have at f i r s t com e b a sic a lly fro m 180 ^ S u m n er, S u rv e y , p. 3. Ibid. 182 Ibid. P ro d u c tio n s at " s h r in e s " which m a r k the spot of actions w hich have fe a tu re d p ro m in en tly in c re a tin g the p o sitiv e values of the A m e ric a n p a s t, and w hich have fe a tu re d ro m a n tic s to rie s that a ffirm th o se p o sitiv e , u n iv e rs a l v a lu e s, have su cceed ed o v e r the y e a rs and define the s tre n g th s of the outdoor e p ic -d ra m a . The th re e o ld est of the E a s te r n f o r m - - The L o st C olony, The C om m on G lo ry , and Unto T h e se H ills - - a ll te ll s to rie s which win audience sym pathy and a d m ir a tion fo r the h e ro e s w hose actions and values the s to ry te lls . F u r th e r , the h is to ric s ite s , being in p laces re a d ily av ailab le to to u r is ts , such as the C h ero k ee s to ry , have a lm o st a re a d y -m a d e au d ien ce. As one C hapel H ill p r o fe s s o r d e s c rib e d it, "In C h ero k ee, w onderful as the show is , getting an audience is like getting w a te r by standing in the m iddle of N ia g a ra with a bucket. I m ean , you c a n 't m is s it in the Smoky M ountains" (P la y w rig h ts C o n fe re n c e , pp. 70-71). A lso , both The L o st Colony and The C om m on G lory lie, if not on to u ris t ro u te s so n e a r the g e n e ra l h is to r ic a l a r e a and have such av aila b ility to tra ffic ro u te s th at the quality of the show s soon b u ilt a path fo r the to u r is ts . 82 an a r e a w ithin 150 m ile s of the a m p h ith e a tre , w ith e ach su cceed in g m onth advancing the d raw a r e a to an a v e ra g e d ista n c e of about 300 183 m ile s fro m the a m p h ith e a tre ." T his p rin c ip le r e la te s , in potential, and d o u b tless in fa c t, d ire c tly to w o rd -o f-m o u th , one of the g re a te s t s o u rc e s of audience fo r any e n te rta in m e n t fo rm . H ow ever a ttra c te d , the au d ien ce, o r in te re s te d public, has grow n in n u m b e r as the p ro d u ctio n s have in c re a s e d in n u m b e r. In 1966, the to tal audience fo r outdoor e p ic - d ra m a in A m e ric a was e s ti- 184 m ated by the In stitu te to have been 1 ,0 0 0 ,0 0 0 people. In 1971, the 185 count was 1 ,5 0 0 ,0 0 0 , with an ex p ected in c re a s e fo r 1972. D ependent upon both com m unity dem and and an in te re s te d pub lic, the fin a n c ial s e c u rity of E a s te r n outdoor epic d ra m a flu ctu ates a cc o rd in g to the se a so n . T h a t is , the "old sta n d b y s" s e e m to continue, with a ll in d icatio n s th at they w ill r e a c h the d e s ire d "fifty y e a r s ." As m en tio n ed , The L o st Colony had a p erio d of difficulty, fro m w hich it was re s c u e d by in c re a s e d s p e c ta c le , in effect, and by b e tte r m a n a g e m en t, w hich effected b e tte r w o rd -o f-m o u th ~ -th e id eal re c u p e ra tio n , w ith a ll fo rc e s stre n g th e n e d . H o w ev er, the s ta tis tic that one in four show s s till fa ils in d icates a r e a s of d an g er. John C auble gave a word S u m n e r, S u rv e y , p. 3. Ibid. , p. vi. 185 G lo v er, " A m e ric a 's O utdoor T h e a tre ," p. 2. 5 3 “ of advice th at h as the rin g of w isdom : . . . I would su g g e st that the plays set out fo r one [run] such as a cen ten n ial and then with the re a liz a tio n of p o ten tial su c c e ss a re a lis tic p ro sp e c tu s can be draw n. If you fa il with one y e a r you have only to b ack up and try again, if you fail rep e a te d ly the town lo ses faith and no fu rth e r atte m p ts e v e r w ill be m a d e --w itn e s s the vine co v e re d a m p h ith e a tre s of K entucky, V irg in ia, T e n n e sse e , and N orth C a ro lin a. S tim u lated by the a r tis tic and fin an cial s u c c e s s e s of the f ir s t and second p h a se s of E a s te rn outdoor e p ic -d ra m a , the com m unity dem and and e n th u sia sm of the th ird ph ase w as c h a ra c te riz e d by a m a rk e d in c r e a s e in its acad em ic o rie n ta tio n and by the in tro d u ctio n of a kind of " c o m m e rc ia lis m ." T h ese f a c to rs , e x p re ss in g the d e s ir e of the two e le m e n ts of the c o m m u n ity --"to w n " and "g o w n "--fo r the c o m m on goals of c re a tin g a fo rm by w hich to e x p re s s th e ir a r tis tic c r e a tivity and sa tisfy th e ir p rid e , and obtaining fin a n cial re w a rd , accounted fo r the expansion of E a s te r n e p ic - d ra m a fro m I960 into 1972. R eactin g to the fa ilu re s c re a te d by the in c re a s e d com plexity of f o rm and content in the second p h a se , the u n iv e rsity le a d e rsh ip , in the th ird ph ase, c o n c e n tra te d on in c re a s in g sp e c ta c le and m o re efficient b u sin e ss tech n iq u es. The re s u lt was a shift in philosophy e x p re ss e d by the d e s ire to c r e a te a c o m m e rc ia l, p ro fe s sio n a l, u n iv e rsity d ra m a , sup p o rted by com m unity and g o v ern m en tal subsidy. The town c o m m u n itie s, on the o th e r hand, in c re a s e d th e ir dem and fo r p ro d u ctio n s, L e tte r , Cauble to M cC alm on, M arch 2, 1964. 84 m o tiv ated both by th e ir so c ia l and fin a n c ia l r e w a rd s . As a r e s u lt, the p ro d u ctio n s b e c a m e m o re la v ish , m o re ex p en siv e, m o re o rie n te d to the p re s e n c e of p ro fe s sio n a l and stu d en t o r te a c h e r a r tis ts in the c a s ts and c r e w s , with le s s com m unity p a rtic ip a tio n . T hrough im p ro v ed m a n a g e m e n t and publicity te ch n iq u es, g r e a te r atten d an ce was ach iev ed , and E a s te r n outdoor e p ic -d ra m a re a c h e d as fa r w est as A lask a , th ereb y co v e rin g the co n tin en tal U nited S ta tes. The g e n e ra l s u c c e s s of the m o v e m e n t, defined in te r m s of fin a n cial s e c u rity , w as in d icated by the continuance of such shows as The L o st Colony and Unto T h e se H ills - - the h a llm a rk s of the m ovem ent. The p rin c ip le of su b sid y , p rim a rily j i t f ro m g o v e rn m e n ta l s o u rc e s , p rovided m uch of the pow er to in itia te j p ro d u ctio n s, and to som e ex ten t, th at of continuing th em . But the j ex p en se c re a te d by extending the ru n s, which had begun d uring the s e c ond p e rio d , so added to p ro d u ctio n c o sts th a t a n u m b e r of fa ilu re s (also c re a te d to so m e extent by the com plexity of the su b ject m a tte r and sym phonic d ra m a technique of production, e. g. , A Cloud of W it n e s s e s ) took place during the p erio d . The n u m b e r of new prod u ctio n s re a c h e d the high point in the 1 9 6 0 s and a d eclin e has s e t in sin ce. In g e n e ra l, com m unity dem and and the d e s ir e of C hapel H ill a r tis ts have acted to in c re a s e the E a s te r n activ ity , but f ru s tra tio n s , e sp e c ia lly am ong p lay w rig h ts, c re a te d by fa ilu re s have cau se d a drop in e n th u sia s m fo r the fo rm , and a shift in philosophy to w ard d ra m a done o u t-o f-d o o rs has re s u lte d . W here the o rig in a l stre n g th s of The 85 L ost Colony have been m ain ta in ed , s u c c e s s h as continued; w h ere the planning has been too h a sty , a c c o rd in g to S u m n e r, th e re h a s been fa ilu re . S u m m ary of E a s te r n O utdoor E p ic -D ra m a Two fa c to rs m ade The L o st Colony both the o rig in of E a s te r n outdoor e p ic - d ra m a and the re v iv a l of the "new p a g e a n try ." F i r s t , G re e n 's s e a rc h fo r a new f o rm of th e a tr ic a l c o m m u n ic a tio n by which to p ro te s t conditions in so c ie ty p a ra lle le d M acK ay e's ad ap tatio n of the old E n g lish m a sq u e , to the sa m e end. G reen a d m itte d the influence of M acK aye. F u r th e r , G re e n 's philosophy and u se of the f o rm has fo l lowed the p rin c ip le s th a t M acK aye p ro p o se d fo r his C om m unity D ra m a . E a s te r n pro d u ctio n today is the r e a liz a tio n of M acK ay e's " d re a m ," with its d ifficu lties included but la rg e ly ch eck ed by the p o p u larity of the second fa c to r- -a ff irm a tiv e c o m m e m o ra tio n of the h is to r ic a l p ast. The c e le b ra tio n of the founding of the "lo st co lo n y ," to w hich the play was d ed icated , invited the u se of P a r k e r 's ro m a n tic tr e a tm e n t of h isto ry . Thus G reen rev iv ed and com bined the b e s t of P a r k e r and M acK aye. T hrough the c irc u m s ta n c e s of the tim e and th ro u g h c re a tiv e additions of his own, G reen achieved the s u c c e s s w hich had atten d ed P a r k e r , but w hich had eluded M acK aye. G re e n 's s u c c e ss led to an ex p an sio n w hich has continued, with c e r ta in r e s tr ic tio n s and r e s e r v a tio n s , to d ate. U nder the ae g is of w ~ G reen and C hapel H ill, the outstanding fe a tu re of the fo rm has been its a cad em ic o r ie n ta tio n - - p a r t of the debt to M acK aye and the o th e r "u n i v e rs ity m e n " who p ro m o ted his C om m unity D ra m a . So o rie n te d , the goal of G reen and h is a s s o c ia te s has been to r a i s e the audience ta s te and a p p re c ia tio n of the m o re id e a listic th em es and p ro d u ctio n te c h niques of d ra m a , and to c r e a te a "p eo p le 's d ra m a and th e a tre . " A ctually, the benefits have been sought as m uch for th e le a d e rsh ip as for the "p eo p le." With the e n co u n ter of fa ilu re as w ell as s u c c e s s , the le a d e rs have m odified th e ir philosophy fro m em p h a sis on outdoor e p ic - d ra m a to th a t of the r e a l " d re a m " behind the w o rk of M acK aye, Koch, and now G r e e n - - a c o m m e rc ia l, p ro fe ssio n a l, u n iv e rsity th e a tre . And in a c c o rd with acad e m ic o rie n ta tio n , this th e a tre is to be devoted to esta b lish in g the h ig h e st sta n d a rd s of d ra m a and to re tu rn in g the le a d e rs h ip in d ra m a , and in so ciety , to the p la y w rig h t--th e p ro p h etic c o m - m e n ta ria n . To w hat ex ten t this u ltim a te goal w ill be achieved re m a in s to be seen. S tren g th s of E a s te r n Outdoor E p ic - D r a m a .--T h e "new p a g e a n try " of P a r k e r was c o n stru c te d of five e le m e n ts: (1) com m unity p a rtic ip a tio n , (2) a r t is t le a d e rsh ip , (3) h is to ric a l sto ry told th ro u g h a blend of c h ro n ic le and m asq u e fo rm s , (4) fin a n cial s e c u rity through com m unity p a rtic ip a tio n and g u a ra n te e , and (5) an in te re s te d public. 87 W herein E a s te r n outdoor e p ic - d ra m a has su c c e ssfu lly applied th e se p rin c ip le s in its p ro d u c tio n s, the show s have su c ceed ed and the stre n g th s of the activ ity d e m o n stra te d . The innovations m ade by C hapel Hill have been the in tro d u ctio n of g o v ern m e n ta l subsidy as a fundam ental m o d ificatio n of P a r k e r 's "financial s e c u rity ." T his f a c to r, h o w e v e r, h a s both p o sitiv e and negative a s p e c ts. A nother addition has been the "sym phonic d r a m a " technique of s p e c ta c le added by G reen A ctually, this is an ex ten sio n of b a sic ele m e n ts nativ e to the m asq u e; th e ir expansion to include e x p re s s io n is tic and id e a listic fo rm s of s ta g ing and p e rfo rm in g was G re e n 's co n trib u tio n . W eak n esses of E a s te r n O utdoor E p ic - D r a m a .- - T h e e s s e n tia l w eakness of the m o v em en t is th at it is in itially a confusion of the a c a dem ic f ra m e of re fe re n c e to w ard th e a tre and the c o m m e rc ia l, p r o fe ss io n a l f ra m e of r e fe re n c e . Thus im m e d ia te ly th re e b a sic p rin c ip le s a re involved, co n cern in g w hich the philosophy and p ra c tic e of the a c a dem ic and p ro fe s sio n a l th e a tre s a re re la tiv e ly opposed. The acad em ic th e a tre is devoted to su b sid y , in stru c tio n b e fo re e n te rta in m e n t, and d ictatio n of public ta s te . The p ro fe s sio n a l, c o m m e rc ia l th e a tre is devoted to p ro fit, e n te rta in m e n t b efo re in stru c tio n , and re fle c tio n of public ta s te . The d ifficu lties c re a te d by the m ixing of th ese two f ra m e s of r e fe re n c e c an be w ell illu s tra te d by Y elvington's A Cloud of W itn esse s. 88 W ith r e s p e c t to su b sid y , this play w as f ir s t p ro d u ced a t B ay lo r 187 U n iv e rsity , w h ere the c o st was b o rn e by the in stitu tio n . When it was p ro d u ced in San A ntonio, it was a n o n -p ro fit v e n tu re , ag ain m e a n - 188 ing th a t p ro fit w as not the m o tiv e. While none of the E a s te r n o u t door e p ic - d r a m a c o m p an ies (except the B ra n so n , M is so u ri production) s e ts out to "m ak e m o ney" as the p r im a r y o b jectiv e, all s e e k to d efray c o s ts , and to build up r e s e r v e s if p o ssib le . Thus p ro fit is , in a se n se , a m o tiv e. In c re a s in g ly , the " c o m m e rc ia l a s p e c ts " a r e c re e p in g in. G o v ern m en t su b sid y both aids in in itiatin g p ro d u ctio n and, in so m e 189 in sta n c e s, su ch as the K entucky sta te aid m en tio n ed by C auble, helps m a in ta in the show s. W hile the s e a rc h fo r p ro fit has c a u sed co m m u n itie s to u n d e r take e p ic - d ra m a s th a t have su ffe re d f ro m too h a sty p ro d u ctio n , on the i * o th e r hand su b sid y has c r e a te d p ro d u ctio n c o sts th at, with fa ilu re , cau se s e v e re lo s s e s to the c o m m u n itie s sp o n so rin g th e m . In m any c a s e s , h a s te is d o u b tless a p ro d u c t of both p a r tn e r s . The second confusion of p r in c ip le s - - th a t of e m p h a sis omins tru e - tion in p re fe re n c e to e n te r ta in m e n t- - c r e a te s a n u m b e r of p ro b le m s. C om plexity of su b jec t m a tte r and p ro d u ctio n tech n iq u es is a leading 1 8 7 o Ac S u p ra, p. 65. 188 P la y w rig h ts C o n fe re n c e , p. 16. 1 8 90 S u p ra, p. 73. 89 so u rc e of difficulty c re a te d by this e m p h a s is . E v id en ces of this w ere 190 fre q u e n t in C loud. Y elvington w rote to p le a se h im se lf, as an in s tru c to r would. He also in s tru c te d his audience as to w hat th e play 191 was to te a c h th e m , w hich is to say w hat they w ere to c a r r y away fro m it. He f u rth e r gave th em a le c tu re on the d iffe re n t tech n iq u es he 192 had a b so rb e d into his p ro d u ctio n , fro m the " tr ic k s " of w o rld d ra m a . A s to dictating his a u d ie n ce 's ta s te , he ch o se c h a r a c te r s , ev en ts, and settin g s th a t re fle c te d som ew hat the re a lity of the A lam o, but he exp o sed his audience to e x p re s s io n is m and id e a lism , sy m b o lism 193 and a lle g o ry , w illy -n illy . In g e n e ra l, w h e re in subsidy o r p ro fit-ta k in g , dom ination of e n te rta in m e n t by in stru c tio n , and d ictatio n of au d ien ce ta s te by the p layw right o c c u r s , pro d u ctio n is affected by th e se in h e re n t w e ak n e sse s The D evelopm ent of W e ste rn O utdoor E p ic -D ra m a G arn et H olm e: The S ource and Su s ta in e r D e sp ite the fa c t th a t f ro m 1878 on th e re was an in c re a sin g 194 am ount of outdoor th e a tre in the W est, and p a rtic u la rly in ^ ^ S u p ra , p. 75. *9 *S u p ra , p. 65. 1 9 2 Ibid. 1 9 3 Ibid. ^9 ^Shank, "G arn et H o lm e," p. 55 (h e re in a fte r r e f e r r e d to as TJS in the text). V ery e a rly outdoor th e a tr e w as begun by the B ohem ian Club of San F r a n c is c o . The club was o rg an ize d in 1872; th e ir f ir s t p ro d u ctio n s, beginning with " Jin k s ," w e re begun in 1878 (ibid., p. 104). 90 C alifo rn ia , p rim a rily the w o rk of G arn et H olm e led to the o rig in and developm ent of W e ste rn outdoor e p ic -d ra m a . The f i r s t A m e ric a n d ra m a , as su ch , w ritte n fo r p ro d u ctio n in an outdoor th e a tr e , was begun at the F o r e s t T h e a te r at C a rm e l, C a lifo rn ia , in the w in te r of 1909-1910 (T JS, pp. 55-58). F ro m ^th is^p articu latv th eatreT d n d ]type of j pro d u ctio n c a m e , in 1923, the f i r s t A m e ric a n ou td o o r e p ic - d r a m a - - The R am o n a P a g e a n t. Influential in the o rg a n iz a tio n of the f i r s t fo rm and c r e a to r of the second w as an E n g lish m an , G a rn e t H olm e. 195 B o rn at H em el H e m p ste a d , England on A u g u st 11, 1873, G arn e t H olm e, when he was six te e n y e a rs old "played and d ire c te d in h is f i r s t p ageant, w hich in cid en tally he w rote h im s e lf, and it was done 196 so m ew h ere in C o rn w a ll." A fte r being g ra d u a te d fro m C h r is t C o l- I I lege, C a m b rid g e , H olm e joined th e F ra n k B enson p la y e rs , w ith whom 197 he re m a in e d fo r s e v e r a l y e a r s , p erfo rm in g as an a c to r and also as stag e m a n a g e r. Upon leaving B enson, H olm e jo in ed the com pany of Sir Jo h n so n F o r b e s - R o b e r ts o n , as sta g e m an a g e r (T JS , p. 46). D uring the s u m m e rs of 1899 th ro u g h 1903 H olm e, in a s so c ia tio n w ith 195 B e tte r fro m Sidney S c h le sin g e r, San F r a n c is c o , to E dw ard P o o rm a n , H em et, C a lifo rn ia, J a n u a ry 4, 1930. 196 P e r s o n a l in te rv ie w w ith V ictor Jo ry , S an ta M onica, C a li fo rn ia , A ugust 10, 1970. 19 7 T . • j Ibid. 19f E. H a rc o u rt W illia m s, a rra n g e d to u rs of S h a k e sp e a re a n R e p e rto ire . 199 In 1904, H olm e a r riv e d in A m e ric a . His f i r s t w o rk h e re w as to p ro d u ce a pageant at the Yale Bowl, en titled Caliban. H i s next a p p e a ra n c e in the w orld of th e a tre was as B ottom , in C o n stan ce C ra w le y 's A M id su m m e r N ight's D r e a m , in S ep tem b e r of 1906 a t the B erk ele y cam p u s of the U n iv e rsity of C a lifo r nia. D uring the prod u ctio n , he b ec a m e acquainted with a student, Sam H u m e - -a v ery s ta g e - s tr u c k young m an who played the p a rt of Q uince. The E n g lish Club, student th e a tr ic a l outlet on the cam p u s, decided to put on The M e rry W ives of W in d so r, and S am H um e, im p re s s e d by H o lm e's p e rfo rm a n c e both as a co ach fo r the clown s c e n e s and as B ottom , a rra n g e d fo r H olm e to d ire c t the production, w hich opened O cto b er 27, 1906 (TJS, pp. 47-48). Thus began H o lm e 's n in e -y e a r a s so c ia tio n with the U n iv ersity . S e v e ra l a tte m p ts w ere m ade by stu d en ts to have H olm e added to the faculty, but each was re je c te d "fro m above" (TJS, p. 53). C onsonant with the n a tu re of the E n g lish C lub, w hich was in te l le c tu a l, l ite r a r y , and th e a tric a l (d e sirin g "plays w hich a re not 198 P r o g r a m of T o u r, H olm e F ile , R am o n a P a g e a n t A s s o c ia tion, H em et, C alifo rn ia. 199 L e tte r , S ch le sin g e r to P o o rm a n , Jan u ary 4, 1930. 20° . , . , Ibid. 92~ p re se n te d on th e o rd in a ry sta g e "), H olm e next p re se n te d a s p e c ta c u la r p ro d u ctio n of King S h u d rak a 's T he L ittle C lay C a r t , tra n s la te d by A lfred R y d e r, S a n sk rit p r o fe s s o r at the U n iv e rsity . Adding to the u n iq u en ess w as the fa c t th at this w as the f i r s t p ro d u ctio n of the play in the U nited S ta te s, and the f ir s t p ro d u ctio n of a S a n sk rit play w est of the M is s is s ip p i (TJS, p. 49). H olm e cu t the play fro m ten a c ts to five; built an im p re s s iv e jdivided-stage set; and a rra n g e d a pageantic p ro c e s s io n of one hundred stu d en ts led by a band "playing ai so m ew h at d isc o rd a n t Hindu tune, on d ru m s , p ic c o lo s, and c y m b a ls, a s s is te d by the b eating of gongs and jtorn-tom s, and the rin g in g of b e lls " (TJS, p. 51). The r e a r of the p ro - i i [cession was fo rm e d by "the Hindu th ro n g in th e ir m u lti-c o lo re d t u r - ! j bans and gow ns." But im m e d ia te ly behind the m u sic ia n s , and ahead of the c o lo rfu l g a rm e n ts , H olm e p laced "an elephant in gorgeous t r a p p in g s" (TJS, p. 51). Not s a tisfie d w ith th at, he a rra n g e d fo r a Hindu m ining stu d en t to give a prologue in S a n s k rit. "And y et an o th er t r a it is evidenced in th is p ro d u c tio n --a c e r ta in in te lle c tu a l c u rio sity and a tte n tion to a c c u ra c y of d etail. In o r d e r to a s s u r e a c c u ra c y with re g a rd to Hindu cu sto m s and conventions, two San F ra n c is c o sw am is w e re c alled in to o b s e rv e " (TJS, p. 51). The D e c e m b e r, 1907 is s u e of S unset M agazine c a r r ie d an a r tic le by H olm e d e sc rib in g The L ittle Clay C a r t , w hich told as m uch of H olm e as of his production. "The play was a splendid s p e c ta c le ," he 93 w ro te , "but a sid e f ro m the th e a tr ic a l triu m p h , the p ro d u ctio n has brought a noble d r a m a to the n o tice of th o u san d s who o th e rw ise m ight n e v e r have b een c o n scio u s of its a ttra c tiv e in te r e s t" (T JS , p. 52). M otivating the " in te lle c tu a l c u r io s ity ," Shank noted, w as a deep love of d ra m a th a t bro u g h t fo rth such e x p re s s io n s as "sp le n d id ," and "noble." D uring his n in e y e a rs a s so c ia tio n w ith the u n iv e rs ity d ra m a g ro u p s, H olm e d ire c te d fo u rte e n p ro d u ctio n s fo r the E n g lis h C lub, and five n o t so affiliated . B ecau se the E n g lish Club p ro d u ctio n s w ere s e m i-a n n u a l, the in co m e he gleaned f ro m th e m did not a p p ro a c h s u s taining h im .an d Holme, was fo rc e d to s e e k o th e r e n g a g e m e n ts. " F ro m 1 9 0 6 u n til 1 9 1 0 , any su p p le m e n ta ry in co m e w as a c q u ire d th ro u g h the coaching of v a rio u s high school plays in the v icin ity " (TJS, p. 55). But a m u ch b ig g er ch allen g e was to a b s o rb his tim e and effo rt. In the w in ter of 1909-1910, an id e a "co n ceiv ed and p ro m o te d " by M ich ael W illiam s, a "n e w sp a p e rm a n and s to ry w r ite r " m a te ria liz e d as the F o r e s t T h e a te r Society of C a rm e l. T his th e a tr e w as d edicated . . . f ir s t, the p ro d u ctio n of plays of high a r tis tic m e r it, p r e f e ra b ly till th en u n a c te d , and p re fe ra b ly by C a lifo rn ia a u th o rs, and, seco n d , the p ro m o tio n of in te r e s t in d ra m a by m e a n s of l e c tu re s and d is c u s s io n s , and th ird , the e s ta b lis h m e n t of a lib ra r y of d ra m a tic lite r a tu r e and p e rio d ic a ls . (TJS, p. 55) H olm e d ire c te d the f i r s t p ro d u ctio n , "D avid, a p oetic play b ased on the B ib lical s to ry by a new a u th o r, C o n stan ce S k in n e r," H o lm e 's d e g re e of influence on the F o r e s t T h e a tre c an be in fe rre d 94 fro m S h an k 's co m m e n t th a t although "the ta s k of actu ally o rg an izin g the so c ie ty fe ll to H e r b e r t H ero n . . . G a rn et H olm e was in s tru m e n ta l in e sta b lish in g its p ro d u ctio n philosophy" (TJS, p. 55). A d e s c rip tio n of the p h y sic a l plant re v e a ls H o lm e 's p re s e n c e and in te r e s t. The th e a tr e was on a "hilltop at the edge of tow n, its wooden ben ch es ran g ed along the h ill's own c u rv in g slo p e, its back c u rta in , wings and w alls fo rm e d by p in e s, c y p r e s s e s and e u caly p ti that have been m any d ecad es attain in g th e ir lofty s t a t u r e . T h e th e a tre se a te d 2 0 0 0 , had a sta g e six ty by fo rty fee t, and its own lighting s y s te m . In addition to u sin g only new plays (if p o ssib le ), only lo c a l a m a te u r ta le n t w as u sed (if p o ssib le ). A c h ild re n 's play w as to be p r o duced y e a rly , at the sa m e tim e as the m a jo r p ro d u ctio n , w hich w as to be aro u n d the fo u rth of Ju ly . But th e r e w as no lim it p laced on p ro d u c tio n s, and in 1911 th e re w e re fo u r (T JS, p. 57). T he F o r e s t T h e a te r was u n d e r the co n tro l of a B o ard of T r u s te e s , and at the o u tse t " a rra n g e m e n ts w ere m ade w ith the C a rm e l D evelopm ent C om pany fo r the financing of one play e ach y e a r , and a c o m m itte e w as appointed to choose th is play" (T JS, p. 57). T his could w ell have b een H o lm e 's id ea, fo r as m u ch as the F o r e s t T h e a te r r e p re s e n te d opportunity fo r h im to w o rk and in c r e a s e his re p u ta tio n , he also n eed ed m oney to live on. He w as, as Shank d e s c rib e d h im , 201 G ra c e M a c F a rla n d , "A nnual P la y s at C a r m e l's F o r e s t T h e a tre ," O v erlan d M onthly, LXVIII (S ep te m b e r, 1916), p. 239. 95 " n e a rly alw ays 'b ro k e! " (TJS, p. 111). He w as also a ttem p tin g to e s ta b lis h fo r h im se lf a to u rin g circu it: "By the late 1920's, G arn et H o lm e 's d re a m had b eco m e p a rtia lly tru e ; he had o rg a n iz e d o r o r ig i n ated a s e r ie s of p a g e a n t-p ro d u c in g g roups w hich he d ire c te d an n u a lly " (T JS, p. 138). W ith the F o r e s t T h e a te r e sta b lis h e d solidly in y e a rly p ro d u c tion, H olm e c a s t about fo r o th e r en g ag em en ts to fill out his c a le n d a r. jBefore long he found h is next " n o b le " w ork, in the p re se n c e and id ea of a San F r a n c is c o a tto rn e y , John C. C atlin: the p roduction of plays on a m ou n tain to p ! R ead in g H o lm e 's d e s c rip tio n of the p a n o ra m a viewed fro m the s ite he ch o se fo r the th e a tr e , one can im agine with what exultation he m u st have looked fo rw a rd to his fu tu re w ork. I [ The scen e w hich m e e ts the eye s tr e tc h e s away fo r fifty m ile s in e v e ry d ire c tio n , to the rig h t lie s the g litte rin g P a c ific w ith its long w hite line of b r e a k e r s dashing upon the rocky s h o re , to the c e n te r is the Bay of San F r a n c is c o w ith its p ic tu re sq u e isla n d s set in the s ilv e r sea; to the left Mt. H am ilton and the C o a st Range f o rm a ru g g ed line as f a r as the eye c an re a c h . (TJS, p. 60) The f ir s t p ro d u ctio n at the M ountain T h e a te r was an old m ira c le l play, A b ra h a m and Isa a c . H olm e had done it at B e rk ele y in 1907. The s to ry is "of the t r i a l of A b ra h a m , who has been com m anded by Jehovah to s a c rif ic e his son Isa a c on a h illto p " (TJS, p. 62). The ch allen g e of m aking a th e a tre of a m ountain top, w ith none of the u s u a l fa c ilitie s and m any ad d itio n al h a n d ic a p s, would s ti r the invention of anyone. By 1923, and the advent of R a m o n a , H olm e had 1-— - . .... ■■ 1 % ■ ■ ■ —■ — — w - b een in a n u m b e r of su c h challenging situ a tio n s. It w as in ju s t such c irc u m s ta n c e s that he m u s t have le a rn e d to judge outdoor sound, m odify light, adapt to n a tu ra l topography, and co n q u er all the h a z a rd s of outdoor production. At T a m a lp a is, w ith no c u rta in , H olm e u sed a c h o ru s of robed m onks to open the play, a ttr a c t atten tio n , and co v er the e n tran c e of the two p rin c ip a ls who, sleep in g on th e ground, w ere d isc o v e re d a t the exit of the c h o ru s. The s to ry co n tain ed m eaningful dialogue, the so m ew h at ap p reh en siv e in cid en t of the knife p o ised above the son, and the d e liv e ry by the angel. H olm e u sed c h o ra l e ffects, chanting, and "m usic f ro m u n se e n tru m p e ts " (TJS, p. 62). And as an i in d icatio n of h is w isdom , the whole p ro d u ctio n re q u ire d a m in im u m of s e t and p ro p e rtie s . I The f i r s t perfo rm an ce, was on May 4, 1913 (T JS, p. 149). "The f i r s t audience of a p p ro x im a te ly 1 , 2 0 0 people pro v ed to be som ething of a se le c t g ro u p ." It was an audience of stra n g e ly m ix ed p io n ee rs who a s se m b le d for this o p e n -a ir play on the M arin u p lan d s. P r o f e s s o r s and th e ir fa m ilie s , Sunday tr a m p e r s e scap ed fro m th e ir w eek -d ay c o m m e rc e in the c itie s , to u ris ts w id e-ey ed w ith c u rio sity , so c ie ty f o lk --a ll ab so rb e d in the unfolding of h isto ry -m a k in g ev en ts. (TJS, pp. 61 - 62 ) T hat e a r lie s t au d ien ce w alked fo u rte e n m ile s to see th a t p la y -- sev en m ile s up and sev en m ile s back. E ven so m e n e w s p a p e rm e n took the walk. W alter Anthony, w ritin g in the San F r a n c is c o C h ro n ic le , en titled his a r tic le , " T a m a lp a is Top Is the Scene of Two M ira c le s : 97 One Is How C row d R each ed 'A b ra h a m and I s a a c '- - O th e r How It Got Back. M ountain Not F i t fo r Staging!' (TJS, p. 60). H olm e continued to d ire c t m ountain plays through 1927. His own play, D rak e , w as done th e re in 1925 (TJS, p. 150). With the addition of the m ou n tain play, H o lm e's y e a rly s c h e d ule was a ssu m in g m o re fa v o ra b le d im e n sio n s. In 1913, he w as still d ire c tin g at B e rk eley ; A p ril n in eteen th saw th e production of his ,Tw elfth N ight- - a t the G re e k T h e a te r th e r e , of c o u rs e (TJS, p. 148). i I A lthough'he did not d ire c t anything fo r the F o r e s t T h e a te r that y e a r , he was s till an in te g ra l p a rt of the o rg a n iz a tio n . Som ething of a new s id e line c a m e along th a t y e a r, h o w ev er, to co m p en sa te h im so m ew h at fo r th a t lo ss; in D e c e m b e r he pro d u ced The P a g e a n t of the Seven S e a s , at D rea m la n d R in k in San F r a n c is c o as an e n te rta in m e n t fo r the S e a m a n 's In stitu te B enefit (T JS, p. 151). O ver the y e a rs betw een this f ir s t "p ag ean t" and the P a g e a n t of the Sun given a t San Diego in 1925, he did an astounding v a rie ty of p la y s, p a g e a n ts, and c h ild re n 's th e a tre th a t ran g ed th ro u g h o u t the y e a r, and fro m San F r a n c is c o to R edlands (TJS, pp. 151-156). The la s t p ro d u ctio n H olm e did a t B erk e ley was a double b ill, co m p o sed of T e ja , by S u d erm an n , and The C o u n tess C a th le e n , by Y eats, on A p ril 17, 1914. In Ju ly , he d ire c te d Sons of Spain fo r the F o r e s t T h e a te r, th e w o r ld -p r e m ie re of a play by Sidney H ow ard. As the B erk eley p h ase of his w o rk ended, he se e m e d to m ove m o re to w ard 98 San F r a n c is c o , to b eco m e involved in the p a g ean ts, c h ild re n 's th e a tre , and the M ountain P la y . (T JS, pp. 148-152). C a b rillo (a w a te r c a rn iv a l) took H olm e south in 1920 (TJS, p. 153), to begin the new e r a of his life; th is aquatic e x e r c is e took place a t San P e d ro . The s a m e y e a r , he did P a g e a n t of the R ose at R edlands Bowl (TJS, p. 153). V ery likely so m eo n e in tro d u ce d h im to the ex iste n c e and lo catio n of P a lm S prings a t th at tim e , fo r Shank te lls of his w an d erin g into the town with plans fo r putting on M ary A u stin 's Indian fo lk -d ra m a , F i r e , and being g re e te d with open a r m s (TJS, pp. 79-80). Thus began the D e s e rt P la y , done in T ah q u itz C anyon, open- i ing fo r its f i r s t s e a so n in 1921 (TJS, p. 153). T his began yet an o th er innovation fo r H o lm e --th e s e Indian p lay s. He produced and d ire c te d th e D e s e rt P lay fro m 1921 th ro u g h 1928; in 1922 he added h is own play, T ahquitz, to the r e p e r to ir e , a lte rn a tin g it w ith A u stin 's F i r e un til 1926, a fte r w hich tim e he did only T ah q u itz fo r the re m a in in g th re e y e a r s of his life and th a t of the D e s e rt P la y (TJS, I pp. 153-154). P ro d u c e d in the T ahquitz Bowl, in the canyon of the sa m e n a m e , both F i r e and T ah q u itz had in te re s tin g s to r ie s built' aro u n d Indian le g en d s, and so m e in te re s tin g sp e c ta c le . The audience sa t on the ground, and enjoyed th e s c e n e ry and the sim p le s to r ie s , and w ent hom e feeling the h e a lth ie r fo r it. 99 In the fall of 1922, publicity on the D e s e rt P la y was m aile d out fro m P a lm S prings; a c ir c u la r happened to re a c h the attention of B u rd ette R ay n o r, s e c r e ta r y of the H em et V alley C h am b e r of C o m m e rc e . F o r so m e y e a r s , the towns of San Jacin to and H em et had been talking and w ondering about putting on som e kind of a re p re s e n ta tio n of the R am o n a sto ry . The a d v e rtise m e n t of T ahquitz in trig u ed R aynor; he took th re e o th e r in te re s te d p a rtie s w ith h im and went to H o lm e 's play. A fter the play, they w ent to see H olm e, convinced he w as th e ir m an. The re s u lt was th at the follow ing A p ril, The R am o n a P a g e a n t opened at R am ona Bowl, H em et, C alifo rn ia. H olm e continued to do the F o r e s t P lay and the M ountain P lay , in th e ir s e a so n s , along with o th e r outdoor plays and pageants - -notably plays fo r the N ational P a r k S e rv ic e , fo r whom he w as m ade official P a g e a n t M a s te r in 1924. But R am o n a b ecam e his g r e a te s t s u c c e ss . His death, on F e b r u a ry 12, 1929, ended m o st of the outdoor d ra m a activ ity of C a lifo rn ia th a t he had m ain tain ed . The F o r e s t T h e a te r and the M ountain P la y A sso c ia tio n continue today, as does The R am ona P a g e a n t. A r a th e r unusual se t of facts have com e to c h a r a c te r iz e H olm e's w ork and p erso n . He se e m s to have been the only a r t i s t of re a l ac c o m p lish m e n t in W e ste rn outdoor d ra m a ; he is the only one w hose w ork has en d u red . He did not found a "sch o o l" o r fo rm a l philosophy, but his u n d erstan d in g of w hat needed to go into outdoor th e a tre to m ak e 100 It s u c c e ss fu l, and the m e a n s by w hich it m u st be ap p lied , h as c re a te d and m a in tain e d a m o re m eaningful w o rk of a r t th an m o s t " sc h o o ls" o r "p h ilo so p h ie s," fo r H olm e was in te re s te d p r im a r ily in the a r t, not the rew ard . S u m m ary An E n g lish m a n , G arn et H olm e, and two A m e ric a n s , P e r c y M acK aye and P a u l G reen , w ere re sp o n sib le fo r beginning A m e ric a n outdoor e p ic -d ra m a . P e r c y M acK aye called his C om m unity D ra m a "p o e try fo r the 202 m a s s e s ." P a u l G re en w rote his to r a is e the "le v e l of ta s te and 203 a p p re c ia tio n " of the people. G a rn et H olm e w ro te, d ire c te d and la rg e ly p ro d u ced R am o n a fo r the b en efit and p a rtic ip a tio n of the 204 "n e ig h b o rs." A m e ric a n o u td o o r e p ic - d ra m a w as o rig in a te d and developed by th e se attitu d e s to w ard the public. 202 M acK aye, The Civic T h e a tr e , p. 174. 203 F r e e and L o w er, H isto ry Into D r a m a , p. 121. 204 L e tte r f ro m G a rn e t H olm e to B u rd e tte R a y n o r, N ovem ber 29, 1922 (see A ppendix L). C H A PTE R III ORIGIN AND D E V E L O PM E N T OF TH E RAMONA PA G E A N T : TH E GARNET HOLM E ERA The F i r s t Y ear B e c a u se G a rn e t H olm e had so m u ch to do w ith p ro ducing the P a g e a n t, he w as as re sp o n s ib le fo r its e x iste n c e as th o se of the V alley who sought and follow ed his advice. He s e le c te d the Bowl site and su p e rv is e d its p re p a ra tio n . He w ro te the s c r ip t, ad ap ted fro m H elen H unt J a c k s o n 's novel. He d ire c te d it. He had fin a l say on c a s t, co stu m e , m a k e -u p , p ro p , m u sic , and s c e n e ry se le c tio n . He gave ex p e rie n c e d advice on publicity, tic k e t s a le s , d ra m a tic rig h ts , and com m unity inv o lv em en t. In s h o rt, he o v e rsa w all a s p e c ts of the p roduction. A rtis tic a lly and b u s in e s s -w is e , he o rig in a te d the P a g e a n t, developed it and guided it fro m opening in 1923 th ro u g h 1928, and in h is w ill he left h is c la im in it "to the people of H em et and San J a c in to , b ec a u se they a r e m y f r ie n d s ." W ithout G arn et H olm e, The R am o n a P a g e a n t, as it w as and i s , would not have com e into being. No q u estio n , G arn et H olm e w as the chief influence in the e s ta b lis h m e n t and s u c c e s s of The R am o n a P a g e a n t. 101 102 R am o n a and the H em et-S an Jacin to Valley„.to..l922 B efo re d e sc rib in g H o lm e's w o rk on the P a g e a n t and the f ir s t se a so n , the b ackground m u s t be given of those fa c to rs w hich m otiv ated the fo u r people who co n tacted G arn et H olm e a t P a lm S p rin g s on N ovem b e r 4, 1922, to in te r e s t h im in w orking with th em on The R am ona P a g e a n t. F o r m uch of the in itial im p etu s and continuing s u c c e ss of the P a g e a n t depended upon the p a rtic u la r n a tu re of the people of the . jcom m unities of San Ja c in to and H em et, who pro d u ce the play. The fo re m o s t p rin c ip le of The R am ona P a g e a n t, one w hich m u st be bo rn e in m ind when studying both its founding and continuing s u c c e s s , was sta te d as the lead sen ten ce in an a r tic le about the P a g ean t by E d w ard P o o rm a n , one of the m en chiefly re sp o n sib le fo r the in itial planning and production: The R am o n a P a g e a n t was founded in 1923 as a publicity e n t e r p ris e of the H e m e t-S a n Jacin to C h am b er of C o m m e rc e , a jo in t o rg a n iz a tio n re p re s e n tin g the two towns of th is valley.* As m en tio n ed a t the beginning of this study, The R am o n a P a g ean t had as its fu n d am en tals a n u m b er of p rin c ip le s w hich w e re c o n tr a d icto ry to the accep ted ones of 1923. The d ed icatio n of p a g ean try to p ro fit-m a k in g w as decidedly ag ain st P a r k e r 's p re c e p ts; m any of the E a s te r n p a g e a n te e rs and w rite rs on the p ro d u ctio n of p a g e a n try , such E d w ard P o o rm a n , "Y e ste rd a y , Today, T o m o rro w ," T he;H em e N ew s, R am ona P la y .Edition, 1.941',- i { l . , 7.. 103 as B a te s, D avol, and W ithington, w ro te th at p ag ean ts should n e v e r be c o m m e rc ia lly o rie n te d . A n u m b e r of unique f a c to rs o p e ra te d in the c a s e of R a m o n a , h o w ev er, to m ak e it an exception. T h ese w e re brough' out in the study of the developm ent of the P ag ean t. The i n te r e s t of the people of the V alley (San J a c in to -H e m e t Valley) fo r publicity was m o tiv ated by the d e s ir e to in c r e a s e the p r o s p e rity of the co m m u n ity by the sa le of land to n e w co m e rs who would b rin g ad d itio n al rev en u e to the V alley, and to le t the w orld know th at su ch a p lace as the V alley ex isted , in o r d e r to a ttr a c t people who 2 would in c r e a s e the c o m m e rc e . P o o rm a n e x p re s s e d w ell the condition th at c re a te d th is need: . . . due to its p e c u liar topography [the V alley] was m o re or le ss iso la te d ; h em m e d in by high m o u n tain s on th re e s id e s , th ro u g h which highw ay c o n stru ctio n s e e m e d , at the tim e , w ell-n ig h im p o s sib le. In ad d itio n , th e se co m m u n itie s had th e q u estio n ab le d i s tin ctio n of being lo cated at the te rm in u s of a b ra n c h ra ilro a d . In g re s s and e g r e s s was by way of tra n s p o rta tio n and c o m m u n ic a tion o u tlets to the w est only.^ P u b lic ity sc h e m e s w ere nothing new to H em et, for it w as the r e s u lt of one. And in a se n se , th is accounted fo r the fact th a t it was the H em et C h a m b e r of C o m m e rc e f i r s t (before it was joined by the San Jacinto C h a m b e r to fo rm the V alley o rg an izatio n ) th at in itiated the San Ja c in to has always m o re o r le ss r e s is te d expansion; not sc H em et. 3 The H em et N ew s, R am ona P la y E d itio n , 1941, p. 7. 104 p a rtic u la r action th a t brought the P a g e a n t into being. The r iv a lry th a t e x ists betw een the two towns can b e st be u n d ersto o d in re la tio n to the fo rm in g of H em et as independent of the e sta b lish e d San Ja c in to . O rig in ally , the whole V alley a r e a was p a r t of a g r e a te r t e r r i to ry th a t c o m p ris e d the huge land g ra n t given Don F r a n c is c o E stu d illo by the M exican g o v ern m en t. In tim e , the E stu d illo fam ily began to sell p a rc e ls of th e ir land. Thus was founded a tiny se ttle m e n t in 1872 w hich w as n am ed San Jacin to . The o rig in a l site was w hat is now r e f e r r e d to as "old tow n," and c e n te re d on H ew itt S tre e t, south of Seventh. H ew itt was the "m ain s tr e e t" o r th o ro u g h fare. The se ttle m e n t g rew rap id ly jand buildings soon lined the s tr e e t. The P a lm a H ouse (with hotel u p s ta ir s ) was the p rin c ip a l building. The ground flo o r included a post office, a saloon, and a g e n e ra l m e rc h a n d ise s to re . In fro n t w as, of c o u rs e , a hitching ra c k . This w as to fe a tu re p ro m in en tly in the h i s to ry of the P a g e a n t, fo r it was fro m this ra c k th a t Ju an Diego took Sam T e m p le 's h o r s e , w hich led to the fam ous "shooting of A le s s a n d ro ." The P a lm a H ouse was owned by H. T. H ew itt and m an ag ed by M rs. J. C. J o rd a n , who p u rp o rted ly gave H elen Hunt J a c k so n the id ea for h e r novel, R am o n a.^ By 1890, the population of San Jacin to was 1, 500, and it w as the second la r g e s t city in San Diego County (la te r the V alley b ecam e a p a rt 4 •See A ppendix P, p. 653. 105 of R iv e rsid e County). In the s a m e y e a r, a San F r a n c is c o fin a n c ie r, W. F . W h ittier, having seen the V alley and re a liz in g its p o ten tial, began building H em et D am , "a m a s s iv e g ra n ite s tr u c tu r e w hich took 5 five y e a r s to c o m p le te ." W h ittier was the f i r s t "d e v e lo p e r" in the V alley. He sent agents to all p a rts of the United S tates and even to England to se ll H em et V alley land, the w a te r fo r which w as to be f u r nished by H em et D am . The E n g lish colony of H em et was the re s u lt of W h ittie r's p rom otion. A n u m b er of fa m ilie s c o m p ris e d the sm a ll group. F o r a tim e the E n g lish colony was d istin c t fro m the r e s t of the V alley, the people g ath ered fo r the w eekly te a s , playing te n nis (a rev o lu tio n ary gam e in this country) and going on "p ap er c h a s e s ," a v a ria tio n of "hound and h a r e " played on h o rs e back. S e v e ra l of th e se o rig in a l E n g lish s e ttle r s still re s id e in the V alley.^ A fter the tu rn of the c e n tu ry , H em et grew rapidly. Its e stim a te d popu lation in 1939 w as 3,323, w h ereas that of San Jacin to was 1,688. The sam e y e a r San Jacin to was e sta b lis h e d , 1872, m a rk e d the f i r s t y e a r th at H elen Hunt J a c k s o n - -a t the tim e H elen F is k e H u n t-- v isited C alifo rn ia. H ow ever, on th at f i r s t trip , she did not go to S outhern C alifo rn ia. She v isited San F ra n c is c o , which she disliked, "B ackw ard G la n ce s," The H em et N ew s, R am ona P lay E dition, 1939, p. 8 . ^Ibid. 106 and Y o sem ite, w hich she a d o red . H e r n e x t v isit was in 1881, un d er 7 quite d iffe re n t c irc u m s ta n c e s . D uring the in terv en in g y e a r s , she had m a r rie d W illiam S h a rp - le ss Ja c k so n , a ra ilro a d m a n a g e r and fin a n c ie r of C olorado. (Both h e r f i r s t husband, C aptain E d w ard B is s e ll Hunt, a su c c e ss fu l naval in v en to r, and h e r son m e t tra g ic deaths in the e a rly 1860s. ) She had tra v e le d e x ten siv e ly a b ro a d and at hom e. D uring h e r jo u rn e y s in the U nited S ta te s, she had attended a le c tu re in B oston given by so m e P o n c a Indians. B ec au se of w hat she h e a rd , she was " se iz e d w ith a d e s ir e to do so m eth in g fo r the A m e ric a n In d ian ." That sa m e y e a r (1881), she published A C en tu ry of D is h o n o r, bound in b lo o d -re d co v e r s and stam p ed with a quotation fro m B en jam in F ra n k lin : "Look upon your hands ! They a r e stain ed with the blood of your r e la tio n s ," and se n t a copy to e a c h m e m b e r of C o n g re s s. In D e cem b er of the sam e y e a r, she cam e to S outhern C a lifo rn ia to obtain m a te r ia l fo r a s e rie s of a r tic le s on C a lifo rn ia m iss io n s and the M ission Indians, fo r C entury M agazine. It w as d uring th at tr ip th a t sh e m e t Abbot Kinney of S ie r r a M a d re, a m an fa m ilia r with the le g a litie s entangling the In d ian s. As a 7 "H elen Hunt J a c k s o n ," San Ja c in to V alley R e g is te r , R am ona E d itio n , 1958 S eason, [n. p. ]. The a r tic le c a r r ie d this co m m e n t at its beginning: "T he follow ing account of H elen Hunt J a c k so n 's v isits to C a lifo rn ia and of h e r w ritin g of R am ona is fro m A L ite r a r y H isto ry of S outhern C a lifo rn ia by F ra n k lin W alk er, published by the U n iv e rsity of C a lifo rn ia P r e s s in 1950." 107 consequence of this m e e tin g , she obtained g o v ern m en t app o in tm en ts fo r h e rs e lf and M r. Kenney as sp e c ia l c o m m is s io n e rs to in v e stig a te Indian a ffa irs. Thus in 1883, she m ad e h e r th ird tr ip to the C o a st, during which she and Kinney to u re d the S outhern C a lifo rn ia Indian v illag es fo r five w eeks. C om pleting th e ir w ork, they filed "an im p o rta n t and d i s cern in g re p o rt w ith the F e d e r a l C o m m issio n e r of Indian A ffa irs." Then, acc o rd in g to W alk er, she left C a lifo rn ia and "the evidence in d icates . . . she w ro te e v e ry w ord of R am o n a thousands of m ile s g away fro m C a lifo rn ia ." W hile the w ritte n e x p re s s io n w hich b e cam e the novel R am ona m ay have o c c u rre d f a r fro m the actu al sc e n e , M rs . J a c k s o n 's o ra l e x p re ss io n , w hich p robably began the whole e n te r p ris e , took place in the p re s e n c e of M rs . J. C. Jo rd a n . M rs . J a c k so n stay ed with M rs. 9 J o rd a n as a g u est w hile co llectin g h e r in fo rm atio n aro u n d San Jacin to . It w as d u rin g th a t tim e th a t M rs . J o rd a n told h e r of R am o n a and Ju an D iego, w hose n am e M rs. Ja c k so n changed to the m o re ro m a n tic " A le ss a n d ro ," when w ritin g h e r novel. The next y e a r, 1884, R am ona was published and soon b ec am e w o rld -fa m o u s. The d ra m a tic p o ten tial of M rs. J a c k s o n 's tra g ic s to ry did not go long unnoticed. In C a lifo rn ia , at le a s t, as e a rly as 1905 th e re was ^Ibid. 9 See A ppendix P . 108 a p ro d u ctio n of R a m o n a . A so m ew h at w ell-know n a c tr e s s , M iss V ir g inia C alhoun, did a d ra m a tiz a tio n in c o lla b o ra tio n with G en eral Jo h n sto n e Jo n e s th a t w as f ir s t produced a t the M ason O p era H ouse in L os A ngeles on F e b r u a r y 27, 1905, under the a u sp ic e s of the Los A ngeles se c tio n of the E l C am ino R eal A sso c ia tio n . ^ On S ep tem b er 20 of the s a m e y e a r , M iss C alhoun and h e r com pany p re se n te d it at the L o rin g O p e ra H ouse in R iv e rs id e , C alifo rn ia. The p ro g ra m , a copy of w hich is in the R iv e rsid e P ublic L ib ra ry , showed fo u r acts and eight s c e n e s . The play b egan at the conventional tim e of 8:30 P . M. , ending a t the n o t-so -c o n v e n tio n a l hour of 1:30 A. M. ^ T hat m ay ex p lain the r e tic e n c e of G a rn e t H olm e so m e y e a rs la te r to u se h e r s c rip t. M iss C alhoun was to fe a tu re p ro m in en tly in the s to ry of the P ag ean t. The San Ja c in to V alley R e g is te r is R iv e rsid e C ounty's old est w eekly n e w sp a p e r, f i r s t p rin te d in 1884. In its 1958 R am ona E dition j u s t m en tio n ed , the R e g is te r c a r r ie d a f e a tu re on "P a g e a n t H isto ry , " w hich co n tain ed m u ch valuable in fo rm a tio n on the e a rly a tte m p ts to in stitu te the P a g e a n t. The a r tic le quoted fro m th e R e g is te r of June 19» 1913, d e s c rib e s the re p o rte d opinion of E d ito r and P u b lish e r C h e ste r M. K line, who noted: ^ P e r s o n a l in te rv ie w w ith R alph F re u d , Los A n g eles, C a li fo rn ia , S ep te m b e r 16, 1971. *^Ibid. 109 F o r the p a st two m onths the R e g is te r has been thinking of the ad v isab ility of w eaving the s to ry of R am o n a into o u r c a rn iv a l plans and m aking it an annual a ffa ir. . . . The la s t half of the book te e m s with r e fe r e n c e s to San Jacin to ; . . . The R e g is te r b eliev es th a t this should be tak en up at once . . . it's an opportunity lying at our d o o r . ^ M r. K line, it should be re m a rk e d , was quite a good a m a te u r a c to r and v ery m uch in te re s te d in th e a tre and playing. The 1958 R e g is te r a r tic le continued th a t in the issu e of O cto b er 30, 1913, K line re p o rte d the statu s: "A m eetin g of th o se in te re s te d in the p ro d u ctio n of R am o n a was held M onday n ig h t." The s to ry sta te d th at all p re s e n t w e re in fav o r of hom e ta le n t and using M r. M onroe S a lisb u ry of V alle V ista (a s m a ll a r e a about 5 m ile s so u th e a st of San Ja cin to ), as "co ach ." M r. Kline re p o rte d th a t "he had co m m u n icated w ith both M r. S a lisb u ry and Nat Goodwin." A lso, th a t "the only co p y rig h t to the play is now held by 13 M iss V irg in ia C alhoun." The sam e "P a g e a n t H isto ry " told of E d ito r K lin e 's dealings w ith M iss Calhoun: M iss C alhoun showed c o n sid e ra b le e n th u sia sm fo r the id e a , but the publishing f ir m of L ittle , B row n & C om pany dam pened E d ito r K lin e's s p irits when they said th a t the d ra m a tic rig h ts w ere not av ailab le, as a big m otion p ic tu re w as being m ade by W. H. Clune. A single a m a te u r p e rfo rm a n c e would be , 12 "P a g e a n t H is to ry ," San Jacin to V alley R e g is te r, R am o n a E dition, 1958 (not paged). 110 p e r m is s ib le , they sa id , but that no s c r ip t w as av ailab le. i |This d ev elo p m en t o c c u rre d in D e c e m b e r, 1913. j i On N o v em b er 29, 1917, the San Ja c in to R e g is te r c a r r ie d the jstory of a m e e tin g to be held to d isc u ss the i I ! . . . fe a sib ility of putting on a d ra m a tiz a tio n of R am o n a . . . . The R e g is te r has now an offer fro m M iss V irg in ia Calhoun.who ! ! f i r s t d ra m a tiz e d the book to b rin g h e r com pany h e r e fro m Los A ngeles fo r two p e rfo rm a n c e s . But the b e s t plan se e m s to be to i u se lo cal ta le n t a lto g e th e r using M iss C alhoun as c o a c h .*5 i And in the is s u e of D e c e m b e r 6 , 1917, a n o th e r 'a rtic le indicated th a t ! | i jsteps had been tak en a t the M onday night m ee tin g to r a is e the n e c e s s a r y | | 'finances by a c itiz e n 's g u aran tee sc h e m e . ; A rra n g e m e n ts a re now being m ade with M iss V irg in ia C alhoun, i of Los A n g eles, who has d ra m a tiz e d the only ad ap tab le v e rsio n to • com e h e re and d ire c t the play this y e a r. The m ee tin g decided th at ! it should be by lo cal ta le n t and an annual a ffa ir. Som ething that should grow y e a r by y e a r . ^ I i The "P a g ea n t H is to ry " a r tic le in the 1958 R am o n a E dition of I ,the R e g is te r noted th a t in O cto b er, 1917, M iss C alhoun again w ro te to M r. K line about h e r d e s ir e to e s ta b lis h a H elen H unt Ja c k so n m e m o ria l fe stiv a l. H o w ev er, she "w as c a lle d to New Y ork by a death in h e r fa m - i |ily and M r. K line w as elec te d to th e C a lifo rn ia L e g is la tu re and the ! 14 j Ibid. ! 15 1 "R am o n a M eeting a t R e g is te r O ffice," San Jacin to V alley 'R e g is te r, N o vem ber 29, 1917* p. 1. ^ " R a m o n a D ra m a Now A s s u re d ," San Ja c in to V alley R e g is te r, D e c e m b e r 6 , 1917, p. 1. I l l plans lag g ed ." W hile San Ja c in to was engaged in ten tativ e a c tiv itie s tow ard getting so m e f o rm of p ro m o tio n a l sch em e for the V alley s ta rte d , the r e s t of C a lifo rn ia was also activ e in such a way as to have ap p reciab le effect on the V alley once its sc h em e b ecam e an actu ality . The H em et N ew s, on N o vem ber 16, 1917 (p. 6), noted with s a tisfa c tio n that "S outhern C a lifo rn ia Is H eaven of A utoists; P e r f e c t Road S ystem and C lim a tic C onditions M ake M otoring P o p u la r." T h re e y e a r s la te r , on F e b ru a ry 20, 1920 (p. 7), The H em et News p rin te d a s to ry tellin g of the w onders of John S teven M c G ro a rty 's The M issio n P la y . And the A p ril 16, 1920 edition (p. 3) told of the " b rillia n t, co stly and e la b o ra te P a g e a n t" entitled "C oncha del O ro ," to be given at R ed lan d s. E d ito r John K ing's s e n se of h u m o r was evident in his sto ry , '.'Walt M ason Is T ire d of R a m o n a ," on page 3 of the D e c e m b er 10, 1920 issu e : W alt M ason, the poet of n atio n al rep u tatio n , now living in L a J o lla , is tire d of the old R am ona stuff with which a ll to u ris ts in San Diego and vicinity a r e re g a le d , and w rite s to h is hom e p a p e r, the E m p o ria G azette: "S outhern C a lifo rn ia is full of re lic s of R am ona. . . . I had the h a r d e s t kind of a tim e getting any au th en tic in fo rm a tio n about th at g r e a t m an [G en eral F re m o n t]; everybody w anted to show m e R a m o n a 's o v e rsh o e s. I was n e v e r so tire d of anybody as I a m of R am ona. An a r tic le on page 2 of The H em et News issu e of A ugust 12, 1921 te lls of an Indian P a g e a n t at Laguna B each, K itshi M anido, The 112 Pipe of P e a c e . . . D irectin g is M iss V irg in ia C alhoun, who tak e s the p rin c ip a l fem in in e p a r t as w ell. M iss C alhoun h as s ta r r e d w ith the Ben G re e t P la y e r s and in B roadw ay s u c c e s s e s ." The News of O ctober 7, 1921 (p. 1) stated th at H e m e t's r e p r e sen tatio n a t the S o u th ern C alifo rn ia F a i r w as to be a booth "b u ilt to re se m b le an Indian cottage . . . and th e chief exhibit is to be the o r ig inal R am o n a, now about 75 y e a rs of age. . . . " | F e b r u a ry 24, 1922, bro u g h t an ap p eal on page 7 of The H em et News, "C h am b er of C o m m e rc e N eeds U nited S upport of C itiz e n s ." The C h am b er needed money;; as it sta te d , a t th a t tim e of the y e a r th e re was "not m uch m oney com ing into the v alle y ." It noted th at m any m e m b e rs w ere in a r r e a r s in th e ir dues. F in a lly , in The H em et News on O cto b er 27, 1922, a p p e a re d a publicity sto ry w hich in a s e n se began The R am ona P ag ean t: "F am o u s D e s e rt P la y Will Be R ep eated " (p. 2). The play w as G a rn e t H o lm e 's T ahquitz at P a lm S p rin g s. P ro b a b ly the m o s t im p o rta n t w ords in the a rtic le w ith re s p e c t to the fu tu re of R am o n a w ere: "A g re a t crow d attended the p e rfo rm a n c e la s t y e a r and the affair s e e m s likely to be a g re a t a ttra c tio n not only to the to u ris t, but also to the m any C a lif o r nians who have n e v e r seen the b eau ties of the d e s e rt. . . . " T h ese could w ell have been the w ords th a t se n t the fo u r H e m e t people m e n tioned e a r lie r on the long (for th o se tim e s ) , hot, dusty rid e to the o u t door play in T abquitz Canyon, P a lm S p rin g s. And, to G a rn et H olm e. 113 Of the fo u r, th e m o s t im p o rta n t in the g e n e sis of the P a g e a n t was B u rd e tte R ay n o r, its f i r s t m a n a g e r. Indeed, in all the V alley he was one of the p rim a ry influences fo r e sta b lish in g and m ain tain in g the run of the show d uring its e a rly y e a r s . In 1935, he was re q u e ste d to w rite his r e m e m b ra n c e s of th a t f ir s t y e a r fo r The H em et N ew s. M uch of the thoughtful ob jectiv ity th a t c h a ra c te riz e d R a y n o r, as he was d e s c rib e d , was evident in his e x p re s s iv e account: S e v e ra l of m y frie n d s have re q u e ste d th a t I w rite som ething of the e a rly h isto ry of the R am o n a pageant. To aid and v erify m y m e m o ry upon so m e of th e se points I have rev iew ed th e r e c o rd s of H em et V alley C h am b er of C o m m e rc e and the R am o n a P a g e a n t A sso c ia tio n , w ith o th e r r e c o rd s o r m e m o ra n d a of my own with d ata obtained fro m The H em et N ew s. ^ In developing h is h is to ry , R aynor began by tellin g of being e le c te d the s e c r e ta r y of the H em et V alley C h a m b er on D e c e m b e r 6, 1920. He went on to r e la te th a t sh o rtly a fte r com ing to H em et about 1907, he had re a d M rs . J a c k s o n 's fam o u s novel (tw ice, as a m a tte r of fa ct, he was th a t im p re s s e d ). "It se em e d to m e th a t if H em et could put on so m e outdoor p e rfo rm a n c e th a t would d ra w a la rg e n u m b e r of people to o u r valley at le a s t once a y e a r it would be a fine thing. To a c c o m p lish this end, nothing p re se n te d itse lf so fa v o ra b ly to m y m ind 1,18 as the R am ona S tory. 17 The H em et N ew s, R am o n a P lay'Ediii'bii^j 1953•, ^p. 29. 18 T h e re is no c le a r in d icatio n ju s t when the thought o c c u rre d to h im . With all the publicity the San Jacin to V alley R e g is te r had been giving the idea, it would have been difficult not to think of such an 114 D uring the la tte r p a r t of 1921, R ay n o r d is c u s s e d his id e a of doing an outdoor p e rfo rm a n c e of R am o n a w ith J. O. P e r c iv a l, P r e s i dent of the C h a m b e r of C o m m e rc e , and M rs . Jo se p h H enck, Vice P re s id e n t. Then he took the id e a to the e n tire b o a rd of d ir e c to r s . They ap p ro v ed , but a t the tim e , not with the e n th u sia s m of M r. P e r c i - I val and M rs . H enck, who w e re " a rd e n t s u p p o rte rs of the m o v em en t fro m the v e ry f i r s t . " H is id e a a c ce p te d , R ay n o r p ro c e e d e d to get som eone to w rite a s c rip t. He "co n su lted w ith P ro f. P a u l G. W ard" of the high sch o o l, who su g g ested th at he e n list the h elp of M iss Ire n e M u ller, also a te a c h e r in the high school. "M iss M u lle r rec o m m e n d ed j th a t M iss H elen S. S tu rg e s . . . be ask ed to w rite th e play. . . . " M iss S tu rg es began im m e d ia te ly . H ow ever, "about th a t tim e " R aynor re c e iv e d an a d v e rtis e m e n t of the D e s e rt P la y a t P a lm S p rin g s. He su g g ested to P e r c iv a l th a t they go see th e play, to get w h atev er id eas they could. He also su g g e ste d they tak e M is se s S tu rg e s s and M u lle r 19 with th em , w hich they did. id ea. N or is th is patency intended to d e p re c ia te M r. R aynor; but s u re ly a C h a m b e r of C o m m e rc e o ffice r would u n d e rsta n d p o ten tials of th a t n a tu re . In view of the r iv a lr y , ho w ev er frie n d ly , betw een H em et and San Ja c in to , and H em et people r e f e r r in g to the V alley as the H em et V alley, and cla im in g to o rig in a te the P a g e a n t, it needs to be re m a rk e d th a t in p rin t, at le a s t, San Ja c in to a n s f i r s t conceived of the novel, R am o n a, as the b a s is fo r a play, indoor o r o u tdoor. ^ The H em et N e w s, R am o n a P la y E d itio n , 4953','rp., 29. 115 G arn et H olm e, 1922 On F r id a y , N ovem ber 3, 1922, The H em et News ra n a d e s c r ip tion of "R am o n a P la n for H e m e t," tellin g of the intended v isit of "a n u m b er of th e m e m b e r s " of the "R am ona pageant c o m m itte e " to the play, T ah q u itz, "w hich is to be played next S atu rd ay and Sunday." On S atu rd a y , the fo u r s e t out, and R aynor re c a lle d , "I b eliev e th e r e was little thought of c o n sid e rin g the em p lo y m en t of M r. H olm e; we w ere sim p ly out to le a r n fro m o b se rv a tio n a ll we could about outdoor p lay s. H ow ever, . . . we b ecam e so im p re s s e d with the p ro d u ctio n th at we a g re e d th a t we m u s t see M r. H olm e, the a u th o r." R ay n o r d e s c rib e d H olm e as "of a v ery g enial and kindly d isp o sitio n ." As R aynor d e s c rib e d th e ir c o n v e rsa tio n , "we in tro d u ced o u rse lv e s and im m e d ia te ly m ad e known to h im our am bition fo r H em et. In b rie f, we m ade a rra n g e m e n ts w ith M r. H olm e to v isit us w hich he se e m e d v ery w illing to d o ." 20 On the follow ing W ednesday, N ovem ber 8th, H olm e m e t in H em et with a c o m m itte e fro m the C h a m b e r, and "was im p re s s e d with the id e a th at the s to ry of 'R am o n a' has m o re appeal to C alifo rn ian s as re p re s e n tin g the Indian h isto ry and ro m a n c e of the s ta te than any o th e r in c id e n t.1 " The a rtic le in The News quoted H olm e as saying: An outdoor p roduction of R am ona in late M a rc h would, b rin g thousands of v is ito rs to H em et. . . . It is the se a so n when to u ris ts 20-,, Ibid. 116 a r e m o st n u m e ro u s, and a t the b re a k in g of S pring th e re is a n a tu ra l d e s ir e on the p a r t of ev ery o n e to take a spin in the co u n try . H em et has the advantage of good ro a d s, and the d ista n c e is ju s t rig h t fo r a d a y 's jo u rn e y fro m Los A ngeles. The co m m itte e of the C h a m b e r w as to m e e t w ith H olm e a t R iv e rsid e the follow ing S a tu rd a y , when H olm e and com pany w e re to p re s e n t the A r m is tic e Day c e re m o n y a t M t. Rubidoux. H o lm e's " d re a m " w as beginning to m a te r ia liz e . He was known th ro u g h o u t the s ta te fo r his ab ility , he had g a th e re d about h im a group of a c to rs and tec h n ic ian s w hom he liked and w ork w ell w ith, and he w as beginning to fo rm h is sch ed u le of y e a rly outdoor plays and p a g ea n ts in such a way th a t he would have su fficien t w ork, h en ce, in co m e, to su p p o rt h im se lf y e a r-ro u n d . R am ona was to be his m o s t s u c c e ss fu l production. On Sunday, the day a fte r the A rm is tic e P a g e a n t at Rubidoux, H olm e and his two " (p rin c ip a ls" --M rs. W illiam S e v e ran c e and M r. Don T r a v e r s - - m e t in H em et w ith B u rd e tte R ay n o r, John E . King, and J. O. P e r c iv a l to d isc u s s the p ro p o se d p ro d u ctio n . As R aynor told of the occasion: When M r. H olm e a r r iv e d in H em et he said one of the f ir s t and im p o rta n t things to do w as lo cate a su itab le p lace in the h ills fo r the p ro d u ctio n . So on th is p a r tic u la r m o rn in g M r. P e r c iv a l, John E . King and m y se lf, w ith M r. H olm e and his two frie n d s , s e t out on the s e a rc h . M r. P e r c iv a l su g g ested th at th e re was a s o r t of canyon in the h ills south of H em et, back of his old h o m e, ^*The H em et N ew s, N o vem ber 17, 1922, p. 20. 117 w hich he would like us to se e b e fo re we w ent e lse w h e re . We d ro v e o u r c a r as f a r as we could and w ith m uch difficulty w orked o u r way th ro u g h the den se s a g e b ru s h and th ick ets to the ex a c t spot th at is now the R am o n a Bowl. A fte r try in g the a c o u stic p ro p e rtie s of this p a r tic u la r p la c e , M r. H olm e b e c a m e e n th u sia stic o v er its s u r roundings and p o s s ib ilitie s . I co n fess I could see but little of the beauty and lo v e lin e ss fo r w hich M r. H olm e w as so en th u sed , but M r. H olm e w as a g re a t lo v e r of n a tu re and w hat w as co m m o n p lace to so m e would beco m e a thing of beauty to h im .^2 R aynor m ay not have seen all "of the b e a u ty ," but The H em et News w r ite r d e s c rib in g the m o rn in g 's events saw m u ch of it, if the w ords of the a r tic le r e p r e s e n t his thoughts. The p a r tic u la r p a ra g ra p h was en titled "B eautiful N atu ral A m p h ith e a te r" and re a d s as follow s: A n a tu ra l a m p h ith e a te r cap ab le of se a tin g f ro m 8,000 to 10,000 people w as found in a canyon ju s t south of the G o v ern o r B oise ran ch . T e sts proved th a t the o rd in a ry voice could be h e a rd d istin ctly in e v e ry c re v ic e of the canyon, and the co n to u r is such th a t it m ig h t e a s ily have been d esig n ed fo r an outdoor th e a te r. F r o m the opening of the canyon San G orgonio is seen with its snowy su m m it, and n e a r e r a t hand a r e the b eau tifu l co lo rin g of the H em et valley o r c h a rd s . It is a sig h t to d elig h t the eyes of a n a tu re l o v e r . ^ The a r tic le continued with a d e c la ra tio n by H olm e th a t the people of H em et "have a w onderful opportunity to c a p ita liz e th e ir s lo gan, 'T he H e a rt of R am o n a la n d ,1' sin c e the R am o n a s to ry is b e s t known of all C a lifo rn ia r o m a n c e s ." S e c r e ta ry R a y n o r's plan to finance the p ro je c t was v ery sim p le , the a r tic le sta te d . He p ro p o se d th a t a c o m p a ra tiv e ly "few e n te rp ris in g c itize n s can g u a ra n te e the p ag ean t w ithout 22 The H e m e t N ew s, R am o n a P la y E d itio n s '1953; p. 29* 23 The H e m e t N ew s, N o v em b er 17, 1922, p. 1. 118 s e rio u s d an g er of lo s s ." The su g g ested days w ere F rid a y , S atu rd ay , and Sunday, the play to co m m en ce about two o 'c lo c k ea c h afternoon. W hat the a r tic le did n o t sta te but w hich B u rd ette R aynor did in h is " F i r s t Y e a r" a r tic le , was that G a rn e t H olm e in itia ted the id ea of th e g u a ra n to rs . . . . em ploying M r. H olm e and putting on an outdoor play m ean t co n sid e ra b le co st. Som e m oney had to be in sight rig h t away. It was su g g ested by M r. H olm e th a t we get the b u s in e s s m e n of H em et to g u a ran tee the fin a n c e s, and I s e t out and s e c u re d the n am es of 50 m en on a g u a ra n te e to the extent of $25 each. On the stre n g th of this g u a ra n te e we w ere able to s e c u re funds fro m one of the banks. 2 4 R a y n o r's re m e m b ra n c e s re c o rd th a t an im m e d ia te p ro b le m was en co u n te re d in the g eo g rap h ical situ atio n of the bowl. The m o st c o n ven ien t and a c c e s s ib le way to get to the bowl was by a continuation of G ira rd S tre e t. The ow ner of the p ro p e rty through w hich this ex ten sio n would have to p ass "stoutly refu se d to c o n sid e r such a p ro p o sitio n . It w as then th at M r. and M rs . C la re n c e S m ith g en ero u sly consented fo r th e e n tran c e o r roadw ay to cu t down th ro u g h th e ir p ro p e rty fro m C olum bia S tre e t. (A fterw ard they deeded a 45 foot roadw ay to the R am o n a P a g e a n t a s s o c ia tio n .)" V irg in ia Calhoun and R am ona D ra m a tic R ights In R a y n o r's account of that f ir s t y e a r and the p re p a ra tio n s 24 __________ The H em et N ew s, R am ona P la y Edition,;. 1,953i p., 45. ._____ 119 leading to its p e rfo rm a n c e s , he w rote th at H olm e signed a c o n tra c t. But no date w as given. A fte r signing the c o n tra c t, H olm e advised R ay n o r of so m e of the p ro b le m s re q u irin g im m e d ia te attention. A m a jo r c o n s id e ra tio n was the fa c t th at "M iss V irg in ia Calhoun of Los A ngeles w as ow ner of the ex clu siv e d ra m a tic rig h ts to the R am ona sto ry fo r C alifo rn ia , and rig h ts to produce a play would have to be se c u re d d ire c t fro m h e r ." R ay n o r, le a rn in g h e r a d d re s s in Los A ngeles, c a lle d on h e r "w ith m uch e n th u sia s m ." But about two h o u rs la te r he "le ft th at lady w ith m u ch of m y e n th u sia sm gone and m y d isp o sitio n c o n sid e ra b ly ruffled and u p se t. I su g g ested to M r. H olm e th at he v isit M iss Calhoun and try to a r ra n g e te r m s , but this w as the one thing M r. 25 H olm e alw ays re fu s e d to do." R a y n o r's fru s tra tio n s with V irg in ia C alhoun m u s t have been m o n u m en tal, fo r he d e s c rib e d his p re d ic a m e n t in th e se te r m s : "I do not r e c a ll how m any tim e s I went to see th is lady and e ach tim e I went aw ay baffled and d isap p o in ted ." He had p re fa c e d his plight with the r e m a r k th a t he had no in ten tio n of d isc re d itin g M iss C alhoun, "but h e r id eas and visio n s of the tre m e n d o u s p o s sib ilitie s of d ra m a tiz in g this s to ry of H elen Hunt J a c k s o n 's c a r r ie d h e r so f a r away fro m points of re a so n in g th at it se e m e d n ex t to im p o ssib le e v e r to re a c h sa tis fa c to ry a rra n g e m e n ts ." R aynor w as counseled to give up on Calhoun. One ^ I b i d . , p. 44. 120 su g g estio n w as to have H olm e w rite a play on a n o th e r su b jec t. But R ay n o r re fu se d to give up, b e c a u se "I could n e v e r get away fro m the p o s sib ilitie s in this s to ry of R am o n a, . . . So I continued m y n e g o tia tions fo r the p riv ile g e o r p e r m it fo r M r. H olm e to w rite a play and a 26 rig h t to p ro d u ce the play in this v a lle y ." He had also to rec k o n with the p u b lish e rs who owned the co p y rig h t on the s to r y - - L ittle , B row n & C om pany of B oston. He gave a ll of his tim e to this ta s k fo r s e v e ra l w eeks. The b o a rd of d ire c to rs of the H em et V alley C h a m b e r of C o m m e r c e m e t in s p e c ia l m eetin g on J a n u a ry 22, 1923 to d isc u s s the R am ona m a tte r , and R ay n o r quoted fro m the m in u tes: A d isc u ssio n as to the a d v isa b ility of signing a c o n tra c t with M iss C alhoun fo r the u se of the R am o n a s to ry in w ritin g o r p lacing a pageant at H em et w as c o n sid e re d . A fte r c o n sid e ra b le d isc u ssio n , a m otion w as m ad e by M r. King . . . th a t th e follow ing re so lu tio n be adopted: "T he H em et V alley C h am b er of C o m m e rc e w ishes to extend its thanks and a p p re c ia tio n to M iss V irg in ia Calhoun fo r h e r c o n s e n t to u se the s to ry of R am o n a as w ritte n by H elen Hunt Ja c k so n , and it fe els th a t re a so n a b le co m p en satio n should be g ra n te d M iss C alhoun fo r the d ra m a tic rig h ts as a c q u ire d by h e r fro m the pub- . lis h e r s , L ittle , B row n and C om pany of B o sto n ." T his p r e m a tu re re so lu tio n was indeed the opening p a ra g ra p h of 27 the c o n tra c t u ltim a te ly signed by V irg in ia Calhoun. ^ I b i d . , p. 44. 27 See A ppendix J fo r c o n tra c t and c o rre sp o n d e n c e . 121 " F in a lly , in d e s p e ra tio n ," R ay n o r s u m m a riz e d , "I s e t about to d raw up a c o n tra c t m y se lf, thinking it b e s t not to em ploy an a tto rn ey . T his c o n tra c t when co m p leted w as fe a rfu lly and w onderfully m a d e , fo r I u se d all the diplom acy and sk ill th a t I as an a m a te u r could com m and for the o c c a s io n ." He r e la te s th a t he th en show ed it to O liv e r P. E n sle y , a m e m b e r of th e b o a rd of d ir e c to r s , who w as an a tto rn e y (R aynor does not c o m m en t on why he though h e, r a th e r than an a t t o r ney, should d ra w up the c o n tra c t o rig in ally ; but h is cau tio n m ade him check h im se lf, obviously). E n sle y said " it would do w ithout alte ra tio n .' R ay n o r th en got b o ard a p p ro v a l, saw H olm e, and told h im it w as "now o r n e v e r ," and w ent d e te rm in e d ly to co n q u er M iss C alhoun. With g rim d e te rm in a tio n I se t out for w hat I fully expected would be m y la s t and u n s u c c e ssfu l v isit. I ru sh e d m y p ro p o sitio n w ith all the a rg u m e n ts I could m u s te r and fin ish ed up by saying, "this d ocum ent b eco m es a c o n tra c t when you and I atta c h o u r n a m e s . W ill you sig n it, M iss C alhoun?" To m y e v e rla s tin g s u r p r is e and g ra tific a tio n M iss C alhoun signed the c o n tra c t w ithout f u rth e r q u estio n o r a rg u m e n t. On F r id a y , J a n u a ry 26, 1923, The News r e la te d th at "T he R am o n a P a g e a n t will be p ro d u ced in H em et d u rin g the la tte r p a r t of A p ril in an open a ir th e a te r th re e m ile s south of tow n" and " C o n tra cts w ith G a rn e t H olm e . . . and w ith M iss V irg in ia C alhoun, ow ner of the d ra m a tic rig h ts of the book 'R am o n a' w e re signed y e s te rd a y by B u r dette R a y n o r, re p re s e n tin g the H em et V alley C h a m b e r of C o m m e rc e ." 28 __________ .The,H em et N ew s, R am o n a P la y E d itio n ;OI9531 , p. 44. 122 The g u a ra n te e fund had re a c h e d $2500 and "all d e ta ils fo r the p ag ean t a re a rra n g e d . It is expected th a t the p ag ean t w ill be a th re e -d a y a ffa ir, the play being p re s e n te d T h u rsd a y and F rid a y aftern o o n s and S atu rd a y afternoon and evening" (p. 1). E a rly P ro b le m s T h e re had b een in sta n t and v eh em en t objectio n s fro m c e r ta in seg m e n ts of the co m m u n ity to the o rig in a l plan of holding a Sunday p e r fo rm a n c e , as a tte ste d to by the n u m ero u s le tte r s on the su b ject to be found in the R am o n a P a g e a n t file s of th a t p e rio d . One, dated A p ril 6th, 1923,fro m two lad ies of the WCTU re m in d e d the C h am b er of C o m m e rc e th a t "G od's w ord te lls us th a t R ig h teo u sn e ss ex a lte th a nation, but sin is a re p ro a c h to any p eo p le." The lad ies also quoted a b it of p o e try to the C h am b er, "A S abbath w ell sp en t, b rin g s a w eek of content, And s tre n g th fo r the to ils of the m o rro w . But a S abbath pro fan ed , w h at- s o e c r [sic] be gained, Is a c e r ta in fo re ru n n e r of s o rro w ." R ay n o r w ro te th a t a fte r the d e c isio n by th e B oard of the C h a m b e r to ap p ro v e the p ro je c t and sig n the c o n tr a c ts , "G en eral in te r e s t began to develop about this tim e . B e st of all th e B o ard of D ir e c to rs b ecam e g re a tly in te re s te d and gave w onderful su p p o rt in the p ro p o s i- 29 tion.". H is sa tis fa c tio n with the outcom e s e e m e d im p lied in his s u m m a ry of the cam paign: "A gitation fo r the p ag ean t had now been going ________^ I b i d . . pp. 44-45.__________________________________________________ 123 on fo r o v e r a y e a r , fo r the m in u tes show as fa r b ack as May 24, 1922, M rs . H enck d is c u s s e d b e fo re the b o ard the ad v an tag es and p o s s ib ili tie s of a R am o n a P a g e a n t fo r H e m e t." F u r th e r , he re c a lle d th a t she . 30 had talk ed b efo re the W om en's Club on the su b ject. D uring the tim e b etw een the in itia l co n tact by the R aynor p a rty w ith H olm e a t the D e s e rt P la y in e a rly N ovem ber of 1922 and th e s ig n ing of the c o n tra c ts w ith M iss C alhoun and H olm e, The H em et News !had contained s e v e r a l in te re s tin g re la te d a r tic le s . On D e c e m b e r 8, j 1922 (p. 1), The News noted th a t "M onroe S a lisb u ry , fam ous m otion p ic tu re a c to r, is to r e tu r n to the leg itim a te sta g e , and w ill su cceed } F r e d e r ic k W arde as F a th e r Ju n ip e ro S e r r a . . ." in the M issio n P lay . "It had b een the hope of so m e of our people th at M r. S a lisb u ry m ig h t fa v o r us by playing the p a r t of A le s sa n d ro , the p a r t he took in the m o tion p ic tu re p ro d u ctio n of 'R am o n a' but M r. S a lisb u ry s ta te s th a t this w ill be quite im p o ss ib le , sin ce he is engaged fo r the s e a so n w ith the M issio n P la y ." M r. S a lisb u ry was quoted as sta tin g th a t he w as not p e rso n a lly acq u ain ted w ith M r. H olm e, but th at H olm e had an ex cellen t rep u tatio n . And on D e c e m b e r 19, the H em et V alley C h am b er of C o m m e r c e h o sted a m eetin g of the A sso c ia te d C h am b e rs of C o m m e rc e at Soboba Hot S p rin g s (a r a th e r ex clu siv e h ealth sp a r e s o r t at the foot of N orth M ountain, about th re e m ile s n o rth e a s t of San Jacin to ), w h ere M r, ^ I b i d . , p. 45. 124 J. O. P e r c iv a l, P r e s id e n t of the H em et C h a m b e r, announced the plans fo r The R am o n a P a g e a n t and u rg e d "the im p o rtan c e of the pageant to the e n tire co u n ty ." The id ea was " e n th u sia stic a lly e n d o rse d ." The sa m e is s u e of The News c a r r ie d an a r tic le en titled "M any S u b sc rib e to P a g e a n t F u n d ," w hich told of a te le g ra m fro m G a rn e t H olm e "who w ill w rite and d ire c t the p a g ea n t," in fo rm in g that he would " v isit the south a fte r C h r is tm a s , as he is now engaged in putting on a C h ris tm a s pag- 31 ean t in San F r a n c is o , . . . " The cau tio n with w hich "b u sin e ssm a n " R ay n o r p ro c e ed ed was evidenced by the fa c t th a t he sen t a n u m b er of in q u irie s re q u estin g in fo rm a tio n on G a rn et H olm e. T h e re a r e a n u m b e r of re p lie s to th e se re q u e sts in the R am o n a P a g e a n t file of that p eriod. R e p re s e n ta tiv e of the re p lie s was a le tte r fro m P e r r y N ew b e r r y of C a r m e l- b y -th e - S e a , dated D e c em b e r 6, 1922, w hich stated: In re p ly to y o u r in q u irie s of M r. G arn et H olm e; I have w atched his w o rk , both h e re and e lse w h e re , fo r a n u m b e r of y e a r s , and have the g r e a te s t a d m ira tio n fo r it and him . He is , w ithout q u e s tion, the g r e a te s t pageant m a s te r on the C o a s t--w h ic h m ean s the U .S . As I a m m y se lf a p ro d u c e r of p ag ean ts, having produced the Long B each , S anta C ru z , C o u rt of the U n iv e rse, P . P . I. E. , and o th e r o u t-d o o r p a g ean ts, I can sp eak with know ledge when I say th a t in M r. H olm e, you w ill s e c u re the b e st m an to be had. He is efficien t at a ll p a rts of the onerous la b o r of pageant building; in the o rg a n iz a tio n , a rra n g e m e n ts , coaching, etc. He Ibid. , p. 48. The a r tic le , obviously, w as a push fo r the s u b sc rip tio n fund th a t H olm e had su g g ested to the C h a m b e r and which had won the co m p le te ap p ro v al of the b u sin e ssm e n , n e v e r a ttra c te d by high- r is k v e n tu re s. 125 is ab so lu tely tru s tw o rth y , alw ays a g en tlem an , p e rfe c t in his a s so c ia tio n with the c a st; a m an of in tellig en ce and p re s e n c e , of c h a r a c te r and dignity, and will give you the h ig h e st g rad e of s e rv ic e . The c o n tra c t w hich H olm e signed with the P a g e a n t officials . 32 stip u lated th at he was to re c e iv e , fo r h im se lf, $500 fo r both w ritin g 33 the p lay and p ro d u cin g it "in a w orthy and a r tis tic m a n n e r. . . . " H olm e helped th em w ith so m any p ro d u ctio n d e ta ils and so m any ta sk s in h e re n t to th e a tre about w hich they u n d e rsta n d a b ly knew nothing th at it is safe to a ssu m e th a t he also w rote out his own c o n tra c t. He was to get $200 for w ritin g the play: "$100 to be paid a t th e tim e this le tte r is a ccep ted , the o th e r on dem and any tim e b efo re the p roduction of the 34 p lay ." The w ords "a t the tim e this le tte r is a c c e p te d " and "on dem and any tim e b e fo re the p ro d u ctio n " c e rta in ly s e e m to in d icate th a t H olm e w rote th o se w o rd s, plus the fa c t th a t the whole docum ent, although a c o n tra c t, is w ritte n in the f ir s t- p e r s o n fo rm of a d d re s s . The fin al c la u se , o r p a ra g ra p h is also in d icativ e of H o lm e 's o p eratio n . This is the sa m e am ount this w r ite r was paid y e a rly fo r p la y ing the p a rt of A le ssa n d ro in the y e a r s fro m 1948 th ro u g h 1951. In his c a s e , a lm o st a ll th e m oney went f o r paying a m o n th 's ro o m and b o ard at the V osburg H otel in San Ja c in to , and thus the m oney stay ed in the V alley. M uch of the sa m e was undoubtedly tru e in H o lm e 's c a se . See A ppendix L fo r H olm e c o rre sp o n d e n c e . 33 The H em et N e w s, Ramona. P la y E dition, 1953, p. 45. 34Ibid. 126 I r e s e r v e to m y se lf full pow ers in the se le c tio n of the c a s t, m u sic and dancing, to g e th e r with a ll the d ec isio n of a ll questions w hich affect the d ra m a tic p ro d u ctio n , su b je c t only to a d e c isio n of the p ag ean t co m m itte e as a whole in m a tte r s th at affect the good of th e com m unity. Nothing in this le tte r co n c e rn s any p e rm a n e n t im p ro v e m e n t m ad e to the bow l, o r any ex p en ses a ris in g fro m ad d itio n al c e re m o n ie s such as c r o s s r a i s i n g . ^ The R am o n a P a g e a n t A sso c ia tio n file on G a rn et H olm e co n tain s le tte rs fro m h im re v ea lin g in te re stin g and im p o rta n t in fo rm a tio n about those e a rly n eg o tiatio n s. One, dated N ovem ber 20, 1922, fro m H olm e to R ay n o r, sta te d , "H erew ith , at y o u r re q u e s t, a few lines on the p r o posed R am o n a P lay . The copy is w ritte n in h a ste and u n c o rre c te d but m ay s e rv e your p u rp o se ." He went on to say th at in a few days he would "be glad to c o n su lt w ith y o u r c o m m itte e , if they p ro p o se to co n tinue w ith the s c h e m e ." If, in his w o rd s, "the plan a r e [sic ] to p r o ceed, I will r e tu rn to H em et fo r the p u rp o se of draw ing up p re lim in a ry no tices and of m aking the n e c e s s a r y b u sin e ss a r ra n g e m e n ts ." On the 27th H olm e an sw ere d a re q u e s t fro m R ay n o r as follow s: R eplying . . . a re q u e s t fo r a d etailed sta te m e n t of c o s t for a R am o n a P lay I en clo se the lis t of e x p e n se s, w hich w e re in c u rre d at th e C a rm e l P la y . It is im p o ssib le to f o re c a s t ex actly the d iffe re n t e x p e n d itu re s, but h e re is at le a s t so m e e s tim a te on which you can fig u re . He in d icated th a t so m e of the ex p en ses would be m o re , so m e le s s . B eneath his sig n a tu re , he added as an afterth o u g h t, "I su g g est you 35 Ibid. - r z 7 ~ aam ing a su m fo r p ro d u ctio n and a su m fo r publicity, o v e r w hich no 36 sum w ill be a u th o riz e d ." On N o v em b er 29, 1922, H olm e w ro te R a y n o r, thanking h im fo r enclosing "the p ic tu re s w hich w e re exceedingly in te re s tin g ." The next m a tte r he subtitled: A Sunday P e rfo rm a n c e T his would undoubtedly d ra w n u m b e rs of people, who would be unable to com e on any o th e r day. It would be a w orthy o b je c t fo r th e ir d a y 's outing w hich they would tak e in any c a s e . The play is to be ed u catio n al and h is to r ic a l in its fo rm a tio n , and the m o re we all le a r n of the h is to ry and tr ia ls and v ic to rie s of th o se who w ent b e fo re , th e b e tte r people we all a re . If I thought th at we w ere s e rio u s ly in te rfe rin g o r draw ing the people away fro m the C h u rc h e s, I would u n d e rsta n d , but sin ce th e lo ss of this day would m e a n so m u ch to o u r s u c c e ss o r fa ilu re , I a m of opinion th a t the m a tte r should be s e rio u s ly c o n sid e re d . The D e s e rt, The M issio n and the M ountain P la y a ll a re p ro d u ced on Sunday. He w ent on to the next su b je c t, subheaded "H em et P l a y e r s ." He pointed out th a t fo r re a so n s of "econom y and lo cal in te r e s t and en th u s ia s m , w h e re v e r p o ssib le it would be a d v isa b le to u se the n e ig h b o rs." H ow ever, he w arn ed th a t the p rin c ip a l ro le s should be tak en by those who would allow "the sta n d a rd s of the play to c o m p a re fav o rab ly with T hro u g h o u t his a s so c ia tio n w ith the P a g e a n t, H olm e w as very c a re fu l to p ro te c t the fin a n cia l in te r e s ts of th o se who sp o n so re d the play. Had it faile d at any tim e d u rin g his a s so c ia tio n w ith it, no one individual (with the p o ssib le ex cep tio n of h im self) would have su ffered a lo ss of m o re than a p p ro x im a te ly $50. 128 37 o th er com peting a ttra c tio n s ." D e c e m b e r 17, 1922 pro d u ced a le tte r to R aynor thanking h im for "your two en co u rag in g le t t e r s ," and statin g th a t im m e d ia te ly a fte r C h ris tm a s when he (Holme) had finished his C h ris tm a s E ve P a g e a n t, w hich w as given annually by the City of San F r a n c is c o , he w as com ing I down. He co m m en ted on two points w hich R aynor had m ad e. The f i r s t was "to m ake the 'R am o n a' P lay a p e rm a n e n t fe stiv a l. T hat was the id ea w ith w hich I s ta r te d out and fo r w hich I am w o rk in g ." H olm e | advised R ay n o r th at h e , H olm e, was v e ry s u re th a t they would be able to "find a ground fo r a s q u a re d eal all round" (even back in 1922 they u sed the te r m " s q u a re d eal" !)» but he cautioned "of c o u rs e all fu tu re plans m u s t depend on the putting o v er of an ex cellen t and w ell- a d v e rtise d p e rfo rm a n c e th is y e a r ." H olm e w as im m e d ia te ly aw are of the value of publicity. The second point c o n c e rn e d the d ra m a tic rig h ts. H olm e a s s u re d R aynor th a t he w as m aking in q u irie s; he would in fo rm R aynor of his findings w hen he saw R ay n o r. He clo sed w ith the a s s u r ance th at he would do a ll in his pow er "to c o -o p e ra te w ith your C o m m itte e in gaining a g r e a t s u c c e ss fo r the e n te r p r is e ." In H o lm e 's next le tte r , he began by re la tin g th at he had co n su lted w ith S tu a rt O 'M elveney (a law y er), who had advised "th at a l e t te r be se n t a t once to B oston asking fo r the ex act sta tu s of the ex istin g 37 T his was one of H o lm e's e sta b lish e d tra d itio n s --p ro fe s s io n a ls Ln the leading r o le s . 129 r ig h ts ." He had also gone to see C. C. P a r k e r , "the w ell known book s e l l e r ," and w ith his advice had d raw n up a le tte r th a t H olm e en clo sed to R a y n o r. W ithout m entioning V irg in ia C alhoun by n a m e , H olm e m ade c le a r his attitu d e tow ard h e r play and to w ard having any dealings with h e r: "G rea tly as I d e s ir e to c o -o p e ra te with you, I should not fe e l j u s tified in doing so , w e re the e n te r p ris e handicapped w ith the in tro d u ctio r of id e a s and p re ju d ic e s w hich have a lre a d y sp e lt f a ilu r e ." This le tte r was dated D e c e m b e r 28, 1922. As see n p re v io u sly , the c o n tra c ts of Calhoun and H olm e w ere signed by B u rd e tte R a y n o r, fo r the H em et C h a m b e r, on J a n u a ry 25, 1923; th e r e a fte r the co m m itte e m e m b e rs in c h a rg e of the planning and p ro c e s s in g of the v ario u s a c tiv itie s re q u ire d to e s ta b lis h the f ir s t s e a so n began to take action. On M a rc h 16, 1923, The H em et News stated : The R am o n a P a g e a n t w ill be pro d u ced a t the R am o n a Bowl, a b eau tifu l ra v in e in the h ills n e a r H em et on A p ril 12, 13, and 14. G a rn e t H o lm e, noted w r ite r of outdoor p lay s, is p ro d u c e r and the P a g e a n t is u n d er h is p e rso n a l d ire c tio n . The H em et-S a n Jacin to V alley C h a m b e r of C o m m e rc e is financing the p ro d u ctio n . B u r d ette R a y n o r, s e c r e ta r y , is devoting all his tim e to publicity w o rk fo r the e n te r p r is e . P eo p le of H e m et and San Ja c in to a r e e n th u s ia s tic o v e r the p ro je c t. A pplications fo r p a rtic ip a tio n in the d ra m a a r e o v e rw h e lm in g .38 The a r tic le went on to n am e the c o m m itte e "in c h a rg e of g e n e ra l a r ra n g e m e n ts " ; it c o m p ris e d R ay n o r, P a u l G. W ard, R e v e re n d F r e d 38 The H em et N ew s, R am o n a P la y E d itio n , 1953, p. 45. 130 M ille r, O liv er P . E n s le y , J. O. P e r c iv a l, J . A. F a u ll, M rs . H. B. Jo n e s, H. P . H untington, Ire n e M u lle r, and G a rn e t H olm e. Jo h n E. King, F r a n k F e l t a n d B u rd e tte R ay n o r w e re in c h a rg e of publicity and a d v e rtisin g . R ay n o r d e s c rib e d how "about a m on th b efo re stag in g the f ir s t p ag ean t a m o v e m e n t was m ad e to co m b in e the c h a m b e rs of c o m m e rc e of H em et and San Ja c in to , thinking th a t such a m e r g e r . . . would be of m u tu al b en efit to both to w n s." A s R ay n o r put it, The f i r s t public m o v em en t in th a t d ire c tio n w as b ro u g h t about in the K iw anis club m e e tin g a t H o tel V osburg when M. S. G la s s e r m oved the club fa v o r su ch a m e r g e r . A fter the plan had b een d i s c u sse d in sp e c ia l m e e tin g s a t H e m e t and San Ja c in to and th ro u g h the H e m e t-S a n Ja c in to K iw anis clu b , it w as adopted. . . . ^9 The H e m e t News of M a rch 9, 1923 (p. 1) c a r r ie d a s to ry headed "San Jacin to M ay E n d o rs e C h a m b e r." The s to ry re v e a le d th is s ig n ifi c a n t fact: ". . . a m ee tin g of the b u s in e s s m en . . . is to be held . . . to c o n s id e r the p ro p o sa l to take m e m b e rs h ip in the H em et V alley C h a m b e r of C o m m e rc e and a s s i s t in financing the o rg a n iz a tio n ." The I a r tic le w ent on to r e m a r k th a t "the in te r e s ts of the two c itie s a r e id e n tic a l is g e n e ra lly re c o g n iz e d " and th a t joining would "affo rd m o re m oney to o p e ra te the c h a m b e r. T h e re is no lo n g er a re a s o n , if th e re e v e r was one, why a sin g le c o m m e r c ia l body could not ad eq u ately and fa irly r e p r e s e n t both ends of the v a lle y . . . . " F in a lly , the a r tic le 39 I b i d ., p. 48. 131 lo ted th a t if the m e r g e r w ent through " s e v e ra l San Jacin to people will ae p laced on th e b o ard of d ire c to rs . . . . 1 1 T hus, on A p ril 9» 1923, M eyer S. G la s s e r, E d w ard P o o rm a n , and H ow ard W a rre n w e re m ade 40 d ire c to rs of the jo in t C h am b er. P u b licity and P ublic R e latio n s, 1923 R ay n o r, being a "C of C " m an , fully re a liz e d the value of pub licity and the added w o rk it en tails: " P r io r to sta rtin g the a d v e rtisin g cam p aig n , it b ec a m e im p e ra tiv e to have added help in the office, s o m e one to aid and a s s i s t M r. H olm e in his w o rk and take c a r e of the m ain d etails th at had to be h an d led ." A M rs . S. C. M iller w as induced to tak e o v er the job, and she was appointed c h a irm a n of the pageant co m - 41 m itte e a t its m eetin g of F e b ru a ry 11, 1923. R aynor began conducting h is publicity cam paign a t hom e as w ell as ab ro ad . T he News a r tic le of M arc h 16, 1923 (p. 1), r e f e r r e d to above, c a r r ie d added new s of the c a stin g and c o m m ittee ch o ices. "The m a in p a r ts , th o se of R am ona and A le s sa n d ro , a r e to be taken by w ell- known p ro fe ssio n a l p la y e rs w hose n am es a r e to be announced next w eek ." M iss A delaide C la rk e , "who has su c c e ssfu lly d ire c te d so m any d ra m a tic p e rfo rm a n c e s ," was d e s c rib e d as helping M rs. S. C. M ille r, head of the P a g e a n t o rg an izatio n . And Ray B ra n t was " p r e p arin g the Indian d a n c e s ," an activity he w as w ell qualified fo r, the 40_, 4 1 T V • J A r . Ibid. Ibid. , p. 45. 132 publicity sta te d . "Spanish fie s ta s w ith dance and song w ill re lie v e the tra g ic s to ry and the au th o r h as c le v e rly in tro d u ced so m e sc e n e s of hap p in ess and lau g h ter to c o n tr a s t w ith the g rim fate that p u rsu e s the unhappy A le s sa n d ro ." The p ro d u ctio n was to becom e an annual event, and " p e rm a n e n t im p ro v e m e n ts a re co n tem p lated w hich w ill m ake R am o n a Bowl one of the m o s t re m a rk a b le outdoor a m p h ith e a te rs in the w o rld ." The n ex t w eek's News of M a rc h 23, 1923, told of: R am ona P a g e a n t P la n s P r o g r e s s as D ate N earin g C o m m itte e s Nam ed fo r V arious F u n ctio n s of the V alley 's Big C e le b ra tio n . The w ork of the R am o n a P a g e a n t is going stead ily f o r w ard . . . . The la rg e S p an ish hom e of S en o ra M oreno is being built in the canyon. . . . A te a m of oxen have been s e c u re d fro m the lu m b e r c a m p s of San B e rn a rd in o m o u n tain s, and w ill be put into actio n on the 28th. D r. C oldw ell [s ic ] with o th e rs of his c o m m ittee a re busy building the " c a r r e t a ," o r m iss io n ox c a r t, w hich w ill be d e c o ra te d and p la c ard e d w ith the a d v e rtise m e n ts of the R am ona P a g e a n t. This outfit w ith M exican and Indian atten d an ts w ill be d riv e n th ro u g h the s o u th e rn c itie s d istrib u tin g lite r a tu r e , (p. 1) V ario u s groups and th e ir c h a irm e n (or chairw om en) w e re nam ed: The Spanish g roup, d ire c te d by "M isse s G rce [s i c ] T h u rsto n and H elen S tu rg e s ." The Indian d a n c e rs , d ire c te d by Ray B ra n t, w ere liste d , as w e re the "two s c o re of Spanish and Indian c h ild re n , s u p e r vised by M rs . H. P . H untington." The "A m e ric a n s on h o rs e b a c k " were led by D r. John W. M cCann. M rs . R o b e rt K. S am pson w as the Spanish s o lo ist, the ch o ru s of s h e e p s h e a r e r s led by M iss A delaide C la rk e , who d ire c te d a ll the m u sic. M rs . W inifred Hunt was in c h a rg e of a ll c o s- tu m e s, w ith a co m m ittee of tw elve f ro m the W om an's Club to a s s is t; 133 and M rs. L. H. W a rre n w as c h a irm a n of the co m m ittee to look a fte r the p ro p e rtie s . C. E. Goodhue was c h a irm a n of the s tr e e t d eco ratio n s c o m m itte e , and W. G. Gay headed a " s e le c t c o m m itte e " to handle tic k e ts. M rs. Gay headed those e n tru ste d with se llin g p o st c a rd s and so u v en irs; "sp e c ia l p o st c a rd s a r e being p rin te d fo r the o cc a sio n , and can be p u rc h a se d at one cen t e ach to m a il to frie n d s and r e la tiv e s ." San Jacin to was fu rn ish in g "a la rg e n u m b e r of a s s is ta n ts ," and E dw ard jP o o rm an "is acting as g e n e ra l c h a irm a n fo r th at p a rt of the v alley ." The F rid a y p e rfo rm a n c e was to be "Club D ay," and the H em et W om en's Club "is inviting all of the w o m en 's o rg an izatio n s in S o u th ern C a lifo rn ia to p a rtic ip a te . The K iw anis, R o ta ry and Lions Clubs of th is p a r t of the sta te w ill also have sp e c ia l invitations to attend. . . . " F in a lly , "S a t u rd ay is to be c h ild re n 's day and the schools of the county w ill c o n trib u te la rg e ly to the a tte n d a n c e ." C h ild re n w ere to get in fo r 50 ad u lts, $ 1 .0 0 . R a y n o r's account gave so m e in te re stin g additional d e tails of the o x - c a r t publicity stunt. A cco rd in g to h im , F ra n k F e lt, a lo c al m an who o rig in ated the ro le of F a th e r S a lv e d ie rra , su g g ested it. But w here w e re oxen to be o b tain ed ? R aynor a d v e rtise d in "one of the Los A ngeles p a p e rs. W ord c am e to us of a te a m of oxen at a logging cam p in the San B e rn ard in o m o u n tain s. The d ire c to rs appointed a co m m ittee . . . to v is it the logging cam p . . . find out the p ric e and r e p o rt." The co m m ittee le a rn e d th at the an im als w ere out to p a s tu re in V icto rv ille. I M - V isiting th e m , the c o m m itte e adjudged th e m and the p ric e to be rig h t, 42 and paid $150 fo r th em . The H em et News d e s c rib e d the sch em e on page 1 of the A p ril 16, 1923, is s u e , w ith the heading " C a r r e ta and O xen P ro m o te P ag ean t; P r im itiv e Conveyance A d v e rtise s 'R am o n a' T hroughout Southland." A S p an ish c a r r e t a , draw n by a te a m of oxen and d riv e n by M anuel C osto, is p arad in g the s tr e e ts of the p rin c ip a l c itie s of S outhern C a lifo rn ia th is w eek. . . . T uesday the c a r r e t a s ta rte d fro m R iv e rs id e , going fro m th e re to San B e rn ard in o and thence along F o o th ill B o u lev ard to Los A ngeles. The c a r r e t a will re tu rn to H em et via the V alley B oulevard. Sitting on the c a r r e t a is M iss R o se C osto, the handsom e d aughter of M r. and M rs . Iso d o r C osto of V alle V ista, who will take p a r t in the pageant. The c a r r e t a is g a ily .d e c o ra te d with v ario u s c o lo rs of ribbon and th e re is a la rg e sign on the side of the vehicle giving the d ates of the p ageant. . . . The s tra n g e conveyance, re fle c tin g the p rim itiv e glory that once w as f a m ilia r to S o u th ern C a lifo rn ia , is a ttra c tin g m uch a tte n tion, and the n e w sp a p e rs a r e giving it m uch publicity. As m en tio n ed e a r l i e r , th e re had been indignant o b jects to the su g g estio n of a Sunday p e rfo rm a n c e . In his d e sc rip tio n of that f ir s t se a so n , R ay n o r sta te d th a t o rig in a lly the plan had been "to hold the pageant on w eek days only, but on fu rth e r c o n sid e ra tio n of the m a tte r by the b o a rd of d ir e c to r s , s h o rtly b efo re the p ag ean t the dates w ere changed, putting on the play F rid a y , S atu rd ay and Sunday." As m ight be expected of th at r a th e r c o n se rv a tiv e co m m u n ity , " c o n sid e ra b le f r i c tion" ex isted fo r a tim e , "but it was the contention of the m a jo rity of the d ire c to rs th a t the play was to be of su ch a high c h a r a c te r th a t its 135 influence fo r good would outw eigh the o b jectio n s. . . . " The H em et News of M a rch 30, 1923 r a n an e d ito ria l, w hich R ay n o r quoted, c o m m ending the decision: The News has re c e iv e d n u m e ro u s a r tic le s giving p e rso n a l opinion pro and con re la tiv e to showing of the R am o n a P a g e a n t on Sunday. T h e re would be no u se fu l p u rp o se s e rv e d in p rin tin g th ese a r tic le s . A lo cal n e w sp a p e r is no place fo r d isc u s s io n of ten ets o r re lig io u s faith , and when an im m ovable body co llides with an ir r e s i s t i b l e fo rc e th e r e can be no s e ttle m e n t of the c o n tro v e rsy through d eb ate. P e rs o n a lly and fo r h im se lf alone, th e ed ito r of The News ap p ro v es of the show ing of the P a g e a n t on Sunday. It is a beautiful, h is to r ic , w orthw hile production, a rra n g e d by an em in en t d ra m a tic a r tis t. T h e re is not a line of it irre lig io u s o r unw orthy. It te lls the s to ry of the ro m a n ce of the H em et-S a n Jacin to co u n try . A Sunday th a t w ill not w ithstand the a s s a u lt of peaceful a sse m b la g e in the beauty and su b lim ity of G od's g re a t o u td o o rs, of the h ap p in ess of H is c h ild re n , la ck s so m e of the e l e m en ts w hich m ake the Sabbath tru ly re lig io u s. The News r e c o g n izes and r e s p e c ts the views of th o se who hold d iffe ren tly , but none of us has the rig h t to d e te rm in e the m o ra l o r re lig io u s views of his n e ig h b o r.^3 The publicity cam p aig n , w hich played such a v ita l p a r t in the su c c e ss of the P a g e a n t, was launched around the end of M a rc h , 1923. Both H olm e and R aynor w e re e n th u sia stic ad v o cates of th o ro u g h a d v e r t i s i n g ! H olm e had co u n seled the fu lle s t u se of exploitation. R aynor I had a p p re c ia te d the value of F r a n k F e lt's su g g estio n about the ox te am , had found one, and se n t it upon its way with a c a r r e t a . He also had g re a t faith in the com bined e ffo rt of lo cal c h a m b e rs of c o m m e rc e and n e w sp a p e rs. He w ro te the Los A n g eles T im e s, on M a rc h 23, 1923: 43 Ibid. , p. 48. 136 In a c c o rd a n c e w ith m y v isit re c e n tly m ade a t the Los A ngeles T im e s , we a r e sending you a r tic le s b e a rin g upon the R am o n a P a g e an t to be given in H em et the m iddle of A p ril. We w ish to thank you fo r the su p p o rt you a r e giving us in this m a tte r and a r e en clo sin g two c o m p lim e n ta ry tic k e ts w hich we t r u s t you w ill m ak e u se of and v isit o u r P lay . A note a t the bottom of the le tte r in p encil in d icated the sa m e le tte r had been sen t to the E x a m in e r , the' H e r a ld , the R e c o rd , and the E x p r e s s , all Los A ngeles p a p e rs of th at day. A "sec o n d " s h e e t b ea rin g a m e s s a g e in p en cil, obviously to be reco p ied and se n t to p a p e rs , gave "copy" fro m th a t e a rly cam paign. The le tte r , on one side of the sh eet, sta te d "for D a ilie s ," and ran: R iv e rsid e P r e s s , E tc. W ill you kindly place the follow ing 2" x 5" ad in your p a p e r A p ril 11th. We a re also en clo sin g an ite m on the R am o n a P a g e a n t w hich we hope you can u se. HSJC of C Secy The o th e r side of the le tte r, b o re fu rth e r in fo rm atio n . In the u p p er left q u a rte r w as w ritten : "B eaum ont L e a d e r, 5; Banning R e c o rd , 11; E ls in o re P r e s s , 12; S. J . R e g is te r, 12; P e r r i s P r o g r e s s , 5; R iv e rsid e E n te r p r is e , 12; R edlands F a c ts , 11; San B e r n a r dino Sun, 12." The ad ra n as follow s: 137 R am ona P a g e a n t P ro d u c ed by G arn et H olm e R am ona Bowl, H em et A p ril 13, 14, 15 2:30 p. m . O ver 100 people to take p a rt in an outdoor play showing incidents of H elen Hunt J a c k so n 's im m o rta l sto ry A d m issio n $1.00 C h ild ren 50£ The bottom of the page b o re the following: (sam p le le tte r to w eeklys) B eaum ont L e a d e r E n c lo sed p lease find 2 " x 5 " ad fo r y o u r p a p e r about A p ril 12th. A lso we w ill be p leased if you will p rin t the en clo sed news ite m on the R am ona P a g ean t. (# ) HSJC of C Secy On M a rc h 28, 1923, R aynor w ro te a le tte r to a M r. W. B. B e rry of Los A n g eles, w hich gave the dates of the P a g e a n t as "A pril 1 3 -1 4 -15th a t 2:30 each a ftern o o n ." "We a re enclosing a fo ld e r which w ill give you m o s t of the in fo rm atio n you d e s ir e ." The next p a ra g ra p h contained an in te re s tin g b it of inform ation: "The H otel V osburg, at San Jac in to , is the b e s t h o tel to stop at and we would advise you to m ake your r e s e rv a tio n at o n ce." T h e re w ere h o tels in H em et c lo s e r to the R am ona Bowl. The reco m m en d in g of one hotel as the " b e st" would s e e m a p re fe re n c e and a fa v o ritis m fo reig n to the c irc u m sp e c t R aynor. 138 But the m a tte r m ay p e rh a p s be explained by the fa c t th at E d w ard P o o r m a n , who w as to be one of th e p rim a ry influences in the P ag ean t, lived a t the V osburg and cam p aig n ed activ ely fo r his h o s t's good f o r tu n es. F u r th e r , the San Jacin to contingent of the P a g e a n t w as not w ithout its influence, and San Jac in to had as m u ch rig h t as H em et to b en efit fro m the to u ris ts who c am e to se e the play. F in a lly , G arnet H olm e stay ed a t the V osburg; tra d itio n was to e s ta b lis h th a t the A le s sa n d ro s w ere also to stay th e re . T h at was one of the ta c it u n d e r standings accom panying being c a s t; at le a s t, su ch was the c a s e when 44 this w r ite r did the show. The g e n e ra l publicity cam paign th at R aynor conducted focused in the activ ity and influence of the C h am b er of C o m m e rc e , w hich was a n a tu ra l a c t for R ay n o r. T im e has proved it to have been p robably the 45 v ery b e s t backing p o ssib le . Not only is The R am o n a P a g e a n t the o ld est y e a rly outdoor play in e x isten c e in the U nited S ta te s, but it is 44 The p ro d u ctio n of the P a g e a n t its e lf b ecam e a tra d itio n , and w ithin th a t la r g e r tra d itio n m any l e s s e r ones evolved, e ac h gen eratin g its s h a re of the pow er tra d itio n as a whole plays in the P a g e a n t's continuation. 45 When the b u sin e ss se c tio n of com m unity su p p o rts an a rtis tic p ro je c t, its chance of su c c e ss is im m ed iately im proved; when that group of in v e sto rs o rig in a te s the production, it is lite ra lly g u aran teed a s u c c e s s , at le a s t fo r a tim e. A c a rd in a l ru le in p a g e a n try and o u t door n o n -p ro fit d ra m a (the only way to go) is th a t the p ro d u ctio n m u st have the active su p p o rt of the b u sin e ssm e n . B a te s, M cC alm on and M oe, etc. , all a g re e . 139 also the f i r s t , as w ell as o ld e st, of the ex istin g outdoor d ra m a s in itiated by a c h a m b e r of c o m m e rc e . When R aynor began h is publicity cam p aig n in e a r n e s t, he did so by sending a le tte r and e n c lo su re s of p o s te r s , le a fle ts, and po st c a rd s to the c h a m b e rs of c o m m e rc e of n u m e ro u s S outhern C a lifo rn ia c o m m u n itie s, and as fa r n o rth as P e ta lu m a . P a g e a n t re c o rd s did not co n tain a m a s te r lis t n o r a fo rm le tte r, but judging fro m the 23 le tte rs of acknow ledgem ent in the P ag ean t file s , the co n ten ts m u st have been s im ila r to th at of a copy dated A p ril 2, 1923 and se n t to the O range C h a m b e r of C o m m erce: I O range C h am b er of C o m m e rc e O ran g e, C a lifo rn ia D ea r Sir: We a re en clo sin g a c o m p lim e n ta ry tic k e t fo r the R am ona P a g e a n t given in H em et A p ril 13-14-15 w hich we tr u s t you will u se and v isit the play. Y ours v ery tru ly , H em et-S an Jacin to C h am b er of C o m m e rc e M anaging S e c re ta ry B R :0 E ncl. A ccording to the re p lie s , the date of the e a r lie s t of th ese publicity l e t te r s was M arc h 29, 1923. The G lendale C h a m b e r of C o m m e rc e , r e p re se n te d by the a s s is ta n t s e c r e ta r y , E . F . S a n d e rs, re p lie d to R aynor: "D ear S ir: I have y o u r le tte r of M a rc h 29th with e n c lo su re s and p ass to 'R am o n a '. . . . " S an d ers went on to in q u ire the b est way to H em et; 140 le also v o lu n teered to "do ev ery th in g we can to a d v e rtise th is p lay," and ask ed fo r m o re lite r a tu r e . P e n c il notes in the m a rg in of the le tte r indicate th at 12 p o s te r s , 100 le a fle ts, and 50 c a rd s w ere sen t. M ore Letters w ere se n t on A p ril 2, 1923, as indicated above. The v ario u s c h a m b e r s ' re p lie s fo rm e d an in te re stin g p atte rn ; th e ir c o n c e rn with c h a m b e r activ ity , th e ir own and o th e rs, m ir r o r e d th e ir d e s ire for grow th and s u c c e s s . And looking at the lis t, one can see in th at 1923 attitu d e and action the c a u se of the burgeoning th at has o c c u rre d to th ese c o m m u n itie s, on the whole. They w ere: A zu sa H untington B each P e ta lu m a B eaum ont H untington P a r k R edlands B uena P a r k Long B each San B ern ard in o C olton Los A ngeles San Diego F u lle rto n M onrovia San F ern an d o G lendale O range Venice G lendora P alo V erde V alley W hittier Hollywood P a sa d e n a In addition to contacting c h a m b e rs of c o m m e rc e , R ay n o r also se n t p o s te rs , le a fle ts , and c a rd s to the Sixth D is tric t A g ric u ltu ra l A sso c ia tio n , to a n u m b e r of r e a l e sta te f ir m s , and to n u m ero u s civic le a d e rs in the su rro u n d in g co m m u n itie s. But the pow er and action of the c h a m b e rs was undoubtedly one of his two g re a te s t a s s e ts . The whole p ro m o tio n al philosophy, which gained s u c c e ss for R a m o n a , as it did fo r all of S outhern C a lifo rn ia (indeed, C a lif o rn ia !), was well e x p re s s e d in the fin al p a ra g ra p h of the A p ril 2, 1923, le tte r fro m F . E. A lm an, m anaging s e c re ta r y of the H untington P a r k C h a m b e r - -a --------------------------------------------------------------------------------------------------------------------------------m " le tte r in which he, too, ask ed fo r m o re lite ra tu re : I a s s u r e you th at we a r e v ery glad to bo o st our d ifferen t events in S outhern C a lifo rn ia and if you have any ideas o r s u g g estio n s, booklets, etc. , of your sec tio n , send th em along, we p ro fit by o th e r's s u c c e s s e s . The o th e r s u c c e ssfu l m ean s of R a y n o r's p ro m o tio n was his n ew sp ap er cam paign. On M arch 30, 1923, he sen t an appeal to a t le a s t the fifteen p a p e rs liste d h e re : B eaum ont L e a d e r O ntario H erald R edlands F a c ts The H em et News O range County News R iv e rsid e E n te r p r is e Los A ngeles E x a m in er P a sa d e n a Evening P o s t R iv e rsid e P r e s s Los A ngeles H erald P a s a d e n a S ta r News San B ern a rd in o Sun Los A ngeles T im es P o m o n a B ulletin San Jacin to R e g is te r The le tte r, which this tim e was m im e o g rap h e d on H em et V alley C h am - b e r of C o m m e rc e sta tio n e ry , read : The new s ite m en clo sed re a d as follow s: "A g re a t annual festiv a l is being planned by the two towns of H em et and San Jac in to , who a re joining th e ir fo rc e s to g e th e r u n d er the H em et-S an Jacin to C h am b er of C o m m e rc e , and un d er the d ire c t s u p e r ■ ■ vision of G arn et H olm e, a g re a t play known as the R am o n a P a g e a n t will be staged in a la rg e open a ir th e a te r in a beautiful canyon south of H em et. This P a g e a n t o r play h a s also been w ritten by G a rn e t H olm e and is e sp e c ia lly adapted to conditions and su rro u n d in g s. O ver one hundred people will take p a rt, d epicting in re a l life th e scen es of R am ona as given to us by H elen Hunt J a c k s o n 's book. The old hom e of S en o ra M oreno and Don F ilip e w ill be p re se n te d in all its Spanish g lory. A sso c ia te d with it w ill be the M exican c a ttle m e n , the s h e e p s h e a re rs led by A le ssa n d ro , the h ero of the s to ry . L ittle c h ild re n w ill give a touch of life to the populous hom e of the S en o ra. Spanish and Indian song and dance w ill enliven the o ccasio n . The tragic: shooting affair of A le ssa n d ro by the w icked J im F a r r a r w ill be show n in m odified fo rm . The two towns a re alive with e n th u sia sm in the a c tiv i ties of this affa ir as this play w ill be p re se n te d each y e a r as an annual event fo r th ese two c itie s , b ecau se in the San Jacin to V alley, not only 142 G entlem en: We a r e en clo sin g an a r tic le on our P a g e a n t, to be given in H em et next m onth, also a c o m p lim e n ta ry ticket fo r sa m e . We tr u s t you w ill be able to m ak e u se of this tick et and v isit o u r play, and th at you m ay be w illing to u se the news item fo r y o u r p ap er. Thanking you, we a r e , Y ours v ery tru ly , H em et-S an Jacin to C h am b er of C o m m e rc e M anaging S e c re ta ry B R :0 E ncl. The O ntario H e ra ld took the tro u b le to re tu rn th e ir copy with the following footnote: B u rd e tte s [s ic ] R aynor. D ea r S ir:-W o u ld it not be a good id ea to include the d ates of your P a g e a n t in th e se le tte rs you send to th e p re s s ? I looked up the d ates in the c ir c u la r , and am p rin tin g th em in the a r tic le I am publishing. P o ssib ly o th e rs m ay not go to the tru b le [s ic ], and the n o tic e s, in th at c a s e , would be of little value to you as an a d v e r tis ing m edium . Y ours tru ly , D D M cDonald O ntario H erald T hat the B eaum ont G azette also se n t back its copy with "We do not a c c e p t c o m p s." w ritten a c ro s s the bottom in blue p encil and signed by "W. J. Burdick,," and with the "co m p s" affixed, gave the file s of the P a g e a n t its only ex istin g copy of th a t f ir s t y e a r 's c o m p lim e n ta ry p a ss. the r e a l R am o n a and A le ssa n d ro lived and died, but h e re in th is valley and su rro u n d in g m ountains a r e a s so c ia te d p ra c tic a lly all the fa c to rs and events th at H elen Hunt Ja c k so n used in h e r w onderful book. M iss V irg in ia C alhoun, who owns the acting rig h ts of H elen Hunt J a c k so n 's novel, has kindly given p e rm is s io n to the people of H em et and San Jacin to to pro d u ce th e ir own v e rsio n ex clu siv e ly within the R am ona Bowl. " 143 The a d v e rtisin g cam p aig n "o u tsid e " of the n e w sp a p e rs and c h a m b e rs of c o m m e rc e lite r a tu r e and b u lletin s w as not so ex ten siv e that f i r s t y e a r as it w as to b eco m e. H ow ever, the W om an's Club "designed the b rig h t o ra n g e p ennants, 1 0 0 0 en toto, th a t w ere s u b s e quently stru n g high above H e m e t's m a in a r t e r i a l , F lo rid a A venue, to 47 publicize the p a g e a n t." T he im p o rta n t fa c to r of public re la tio n s was fully ap p re c iate d by R ay n o r. On A p ril 9, 1923, he w ro te a le tte r to E. R. C o llin s, who was stay in g a t G ilm an Hot S p rin g s, a h ealth r e s o r t som e th re e m ile s n o rth e a s t of San Ja c in to . "We w e re p leased to le a rn th a t you a re s o jo u rn in g at G ilm a n 's Hot S p rin g s, and a re sending you a co m p lim e n ta ry tic k e t to our R am o n a P a g e a n t, along with our h e a rty inv itatio n to attend the P la y ." It se e m e d th a t R aynor had been "m oved" to take th at action by a le tte r fro m som eone with the unlikely n am e of H ira m J. W am bold. T h at la tte r w as a d d re s s e d to John King, who w as the ed ito r of The H em et N ew s, and re sp o n s ib le fo r m o s t of the s u c c e ss of R a y n o r's n e w sp a p e r cam p aig n . F o r it was on behalf of King, a m an v ery populai with h is p r e s s c o lle a g u e s, th a t m o s t of the n e w sp a p e rs helped as they did. W am bold w as a King s u p p o rte r. His undated "to n g u e -in -c h e ek " le tte r s ta te s te rs e ly : 47 The H em et N e w s, R am ona P la y E d itio n , 1959, p. 15. 144 John: Send two F R E E tick ets to your w orm y show to E. R. C ollins G ilm an Hot S p rin g s, San Jacin to Do. it. now ............................. C ollins is m anaging ed ito r of the L ouse A ngel [s ic ] H e ra ld and b e sid e s it w on't h u rt you none. You m ight r ite [s ic ] h im a c o rd ia l le tte r, also . T his is N elso n 's only S aturday idea. G ards Hi H. W. The s ta tio n e ry is le tte rh e a d e d "Public R ights L eague, S outhern C a li fo rn ia D ivision, 412 C h am b er of C o m m e rc e Building, Los A n g eles," 48 and shows H ira m J. W am bold to be S e c re ta ry of the o rg an izatio n . A t V irg in ia C alhoun's in sis te n c e , no doubt, R ay n o r co v ered 49 the legal angle. In an A p ril 9, 1923 le tte r, he sought h elp fro m the D is tric t A tto rn ey of R iv e rsid e County: D is tr ic t A ttorney Loyal K elly R iv e rsid e , C a lifo rn ia D e a r Sir: We a re enclosing a c o m p lim e n ta ry tick et fo r o u r R am ona P a g e a n t. We a re p a rtic u la rly in te re s te d in having you attend this play, as h e re to fo re , som e d ra m a s produced fro m the s to ry of R am ona have m e t with c r itic is m on m a tte rs affecting the g o v e rn m ent in connection with Indian a ffa irs. M uch of the p ro m o tio n al su c c e ss of the P a g e a n t w as due to the o ff-sta g e th e a tric a lity of m any who w ere a sso c ia te d with it; n e w s p a p e rs a ttr a c t the John K ings, and they a ttra c t the W am bolds. And to g e th e r they m ount a good show. 49 __________ See Appendix J._________________________________________________ 145 It h as been su g g ested th at you be invited to attend and give us any su g g estio n s you m ay have to m ake in re g a rd to th e se m a tte rs . Y ours v e ry tru ly , H em et-S an Ja cin to C h am b er of C o m m e rc e M anaging S e c re ta ry B R :0 Encl. A p p aren tly the co m p lain ts a g ain st the Sunday p e rfo rm a n c e w ere the only r e a l objections the P ag e an t ra is e d th a t f ir s t y e a r; th e r e is no re c o rd of su g g estio n s by M r. K elly, n o r even of his attending. But doubtless R ay n o r fe lt s a fe r. H o lm e's S c rip t The b a s ic fa c to r of the whole p ro d u ctio n , the s c rip t, was solely H o lm e's re sp o n sib ility . A b rie f study of th e.n o v el and of H o lm e's technique of adaption show s h is a p p re c ia tio n of the dem ands of the stage upon s to ry and plot, his fidelity to the novel and its d ra m a tic p o tential, and h is ingenious, u se of the p h y sic a l plant to develop and enhance the s to ry fo r the stag e. To b eg in w ith, the s to ry is a good one; it has h e ro and h e ro in e who a re id en tified with the u n iv e rs a l e le m e n ts of r a c e , c o lo r, c re e d , native land, h u m an fellow ship, fam ily tie s , and m any conflicts in h e re n t to these p rin c ip le s --c o n flic ts th at s tir both su sp en se and p a rtis a n s h ip . The geographic fa c to r of the s to ry has p o p u lar a sp e c ts both to the native C a lifo rn ia audience and to the to u ris t. Although fiction, it is 146 p red o m in an tly h is to ric a l ro m a n tic is m . The " s tir r in g " n a tu re of the tale was not the re s u lt of a c c id en tal in sp ira tio n ; M rs. Ja c k so n d e lib e ra te ly s e t out to w rite a d ocum ent th at would b rin g the n atio n al public attention to the sickening in ju stice done the A m e ric a n Indian, and the C a lifo rn ia M issio n Indian in p a rtic u la r. The fic tio n al tale begins during the e a rly 1850s, sh o rtly a fte r C alifo rn ia b ecam e a p a r t of the United S ta te s. The scen e of the novel is in S outhern C a lifo rn ia, p rim a rily the g e n e ra l a r e a of T em ecu la. Although m any of the geographic n a m e s u sed a r e factu al, c e rta in a re n o t--s u c h as h e r re fe re n c e in C h ap ter Two to the ra n c h house being the c e n te r of a ra d iu s th at to the w est was fo rty m ile s to the se a , to the e a s t fo rty m ileg fro m the San F ern a n d o M ountains. No "San F e r nando" m ountains e x ist today, if they e v e r did. N or is th e re any re c o rd of a B o n av en tu ra M issio n , w hich acc o rd in g to the book would 50 have been so m ew h ere in the San Ju an C a p istra n o g e n e ra l a re a . In g e n e ra l, the novel deals with th re e fa c to rs of society: (1) the individual, (2) the com m unity and its sta te , and (3) the n atio n al and in te rn a tio n a l re la tio n sh ip s. M uch of the b ook's hold upon its m illio n s of r e a d e rs h as been e sta b lish e d by the ro m a n c e and vigor of the 50 P e rh a p s M rs. Jac k so n had in m ind the B u en av en tu ra M issio n , esta b lish e d in 1786, and sim p ly u sed the Ita lia n n am e fo r it, as she did in a n u m b e r of in sta n ce s in the book, notably A le ssa n d ro , the I ta l ian fo r A lex an d er. Things "Italian " w ere v e ry popular in C a lifo rn ia during the tim e of h e r v isits. S outhern C a lifo rn ia was c o n sid e re d 1 'M e d ite rra n e a n " in c lim a te , and V enice on th e P a c ific c a m e into being. 147 cu sto m s and people of the Spanish e r a . T rag ed y m a rk s all th re e e le m en ts in the sto ry , but th at tra g e d y is m ade accep tab le by the fact th at the w rongs c o m m itted w ere not the d e s ire of the m a jo rity n o r approved by them . The S en o ra M oreno is the pivotal c h a r a c te r in the f ir s t half, or Spanish se c tio n , of the book. H er p en in su lar Spanish background and in te n se devotion to the F ra n c is c a n s defines m uch of h e r c h a r a c te r , accounts fo r m o s t of h e r actio n s, and se ts the tone of the S panish 51 e ra . The S e n o ra 's d o m in eerin g n a tu re and p re ju d ic e s pro d u ce the conflicts and a d v e rs itie s in h e re n t in the situ atio n w h erein h e r w ard , R am ona, falls in love with A le ssa n d ro , a "low, com m on Indian." Inevitably, seeking to m ake a life of th e ir own, the couple flee the M oreno household. And the second, o r Indian, se c tio n of the book d eals with the d e stru c tio n of th e ir h ap p in ess by invading white s e ttle rs who a r e d is p o s se ss in g the Indians of th e ir lan d s, and the u ltim a te m u r d e r of A le ssa n d ro by a white s e ttle r. The Spanish in ju stic e s p e rp e tra te d on th e Indians as epitom ized 51 "T hrough w a r s , in s u rre c tio n s , rev o lu tio n s, dow nfalls, S panish, M exican, civ il, e c c le s ia s tic a l, h e r standpoint, h e r p o ise, re m a in e d the sam e . She sim p ly grew m o re and m o re proudly, p a s sio n ately , a S p an iard and a M oreno; m o re and m o re stan ch ly and fie rily a C atholic, and lo v er of the F ra n c is c a n s " (Helen Hunt Jack so n , R am o n a [New York; G ro s s e t & Dunlap, n .d .] ,. p. 25). 148 by the S e n o ra a r e b alan ced by h e r son F e lip e 's co m p assio n . And the callo u s c ru e lty of the A m e ric a n s is o ffset by the k indness of Aunt Ri H y er and h e r fam ily. The s to ry ends with F e lip e 's re s c u e of R am ona fro m h e r s o r r y plight and th e ir m ove to M exico, w h ere m ix ed m a r r ia g e s have becom e a ccep tab le and R a m o n a 's infant d au g h ter (by A le ssa n d ro ) w ill not s u f f e r the stig m a of a h alfb reed . The le s s w o rk re q u ire d to adapt any piece of lite ra tu r e to play fo rm , the g r e a te r the chance of its being s u c c e ss fu l on stag e and the g r e a te r the a p p re c ia tio n of the au d ien ce, g ran tin g that the o rig in a l was p o p u la r--a s R am o n a w as. The in h e re n t d ra m a tic quality and s tru c tu re of the novel can be e sta b lish e d by re la tin g it to the th e sis of B ru n e - t i e r e 's "law of the d ra m a ," which s ta te s : "The g e n e ra l law of the th e a te r is defined by the action of a will conscious of itse lf, and the d ra m a tic sp ec ie s a re d istin g u ish ed by the n a tu re of the o b sta c le s en- 52 c o u n tered by this w ill." C e rta in ly the b asic s to ry co m es about as a r e s u lt of the conscious will of the S e n o ra opposing the conscious w ills of R am ona, A le s s a n d ro , and F e lip e , at the individual lev el. At the com m u n ity o r s ta te lev el, the plight of the In d ia n s --th e conflict c re a te d a g a in st th e m by the A m e ric a n s, and the In d ia n s' d ep riv atio n and 52 F e rd in a n d B ru n e tie re , "The Law of the D ra m a ," in E u ro p ean T h e o rie s c.e . D r a m a , ed. by B a r r e tt H. C la rk (New York: C row n P u b - lis h e r s , I n c ., 1965), p. 384. --------------------------------------------------------------------------------------------------------------------------------— T 5 9 ~ b o n d a g e --w a s the r e s u lt of the con scio u s w ill of the A m e ric a n s to take the In d ia n s' lan d s. And b efo re the A m e ric a n s , the S panish robbed th em . A t the n atio n al le v e l, Spain and M exico opposed the A m e ric a n w ill to take C a lifo rn ia. The novel is the s to ry of th e se th re e co n flic ts, told b a sic a lly at the individual lev el of R am o n a and A le s sa n d ro , but with the two g r e a te r s p h e re s of influence e v e r p r e s e n t, e v e r conflicting. The s to ry itse lf begins w ith exp o sitio n w hich explains the conflict withir. the S e n o ra re g a rd in g R am ona; rap id ly the b a ttle g ro u n d b ro ad en s to include A le ssa n d ro and even F e lip e . The c r i s i s o c c u rs when R am ona decid es to oppose the S e n o ra and m a r r y A le s sa n d ro . T hat se c tio n of the novel c lim ax e s when R am o n a and A le ssa n d ro flee the ran ch o . In the second se c tio n , the fo resh ad o w in g is the e n tire s tr u c tu r e of o p p o si tion to the couple, as runaw ays fro m the rancho and as Indians o p p re ss e d by the A m e ric a n s who v ictim iz e d any and a ll In d ian s. The c r i s i s is the d e cisio n of A le ssa n d ro to flee fro m the in v a d er. The c lim a x is the shooting of A le s sa n d ro . Since the two e p iso d e s, the S panish and the Indian, a re connected by the lives of the two, and they re a lly ep ito m ize all the v ictim s of the ru th le s s n e s s of change o r p r o g r e s s , the play is epic in sco p e, going th ro u g h a n u m b e r of c r i s e s , fro m the o rig in a l choice of A le ssa n d ro by R am ona, to his death; fro m the ch allenge of Spain and M exico by A m e ric a to the triu m p h of the A m e ric a n s e ttle r s and the death of the Indian and S panish e m p ire s in C alifo rn ia. 150 F in a lly , in addition to a s to ry with individual, s ta te , n atio n al, and in te rn a tio n a l sco p e, this s to ry has a stro n g them e of good v e rsu s evil; it is a tra g ed y w hose c h a r a c te r s a re v ery re a l in one s e n se , as was the su fferin g of the m any In d ian s, M ex ican s, and S p an iard s r e p r e sented by the c h a r a c te r s ; it is a d ra m a tic novel; the th em e of in ju stice is a u n iv e rs a l one; the s to ry re fle c ts the cu ltu re of its tim e s , c la rifie s the is s u e s , and the language, w hile not d e a th le s s, is such as to p r e se rv e the p erio d . H olm e, in his adaptation, divided the sto ry into two acts: A ct One was en titled "T he C am ulos R an ch ," and c o m p ris e d four ep iso d es; A ct Two w as entitled "In E x ile ," and also contained fo u r e p iso d e s, but w ith an epilogue added. Noting the e s s e n tia l c h a r a c te r s and actions of each a ct and episode e s ta b lis h e s the ex cellen ce of H o lm e 's technique. The n a tu ra l division of the novel betw een the ra n c h -life and the w an d erin g s of R am ona and A le ssa n d ro p re se n te d a n e c e s s a r y fe a tu re to be d ealt w ith in the play, but J a c k s o n 's steady th em e of in ju stic e to the Indian gives a com m on and p r o g re s s iv e bond, p rev en tin g a b re a k in the plot, y et fo rm in g a n a tu ra l d ivision in the a c ts and staging. H olm e opens the play w ith p ag ea n try , the p ro c e ss io n of the casi b e fo re the audience. He en titled E pisode One of A ct One "A lessan d ro co m es to the R anch." The scen e begins with c h ild re n playing, which M ard a, the olde M exican cook, soon ends by adm onishing th e m to be 151 quiet, o r they w ill d istu rb S enor F e lip e , who is ill. M ard a and It is im p o rta n t to note h e r e how c le v e rly H olm e has u s e d this jvery s h o rt c h ild re n 's scen e. Though the scen e is only b rie fly outlined in th e’ o rig in a l s c r ip t, the p ro p lis t and in te rv ie w s with A rth u r and G eneva W aggoner (both San Jacin to re sid e n ts of o v er fifty y e a r s ) , who attended the f i r s t p e rfo rm a n c e and y e a rly th e r e a fte r fo r at le a s t e ig h te en y e a r s , a tte s t to the fa ct that the scene was in the f ir s t p e r f o r m an ce as outlined below , and re m a in e d unchanged fo r m any y e a r s . The scen e began with two little Indian boys ste a lin g apples (or pies) fro m M a rd a 's kitchen, then a group of S p an ish c h ild re n e n te r and Isa b e lla , an o ld e r g irl, te lls th em a s h o rt s to ry about th re e b e a r s , one of w hich got sick , an o th er fell down and b ro k e his leg, ", . . and guess w hat happened to the v e ry naughty b e a r ?" One child yells out, "He died and w ent to h e a v e n !" T his cues a group of Indian c h ild re n , who run on stag e and join the S panish c h ild re n in a sim p le " rin g - a r o u n d -th e - ro s y " type of gam e in w hich they sing and e n a c t "this is the way we s h e a r the sh e e p ." The second v e rs e is "T his is the way we fill our b a g s ," and the th ird is "T his is the way we s ta m p it [the wool] down." H olm e has given the c h ild re n lines w hich they can handle without sounding u n n atu ra l. Any child te llin g a m e m o riz e d s to ry m ig h t te ll it m e c h a n ic a lly . This is accep tab le to the audience. The o th er c h ild re n 's lines a re a ll s h o rt and d e liv e re d in y ells: " L e t's p la y !"; • "T ell us a s to r y ! " ; "The th re e b e a rs !" etc. T hen th e re is the singing g am e. A gain a thing c h ild re n can do on sta g e and still ap p ea r n a tu ra l and c o nvine in g . By a s tro k e of g en iu s, H olm e had acco m p lish e d four things through the use of this c h ild re n 's sc e n e . (1) He gave a chance fo r local ch ild re n (and th ro u g h n a tu ra l in v o lv em en t, th e ir p a re n ts) to p a r tic ip a te in the show, in c re a s in g lo cal i n t e r e s t- - p r e s e n t and fu tu re . (2) He u sed the c h ild re n f ir s t, so the little o n e s ' p atience would not be s e v e re ly trie d by being held quietly b a c k sta g e fo r a long p erio d of tim e They w e re on f i r s t , then taken to an a r e a w ell away fro m the ra n c h house sta g e , to w ait until the f ie s ta sc e n e . (3) The lines he w ro te for th em p e rm itte d th e ir p a rtic ip a tio n w ithout low ering the quality of the show. (4) The sc e n e w as e x p o sito ry , se ttin g the m ood fo r the action to follow . The f i r s t line of the book is "It w as sheep sh earin g tim e in S outhern C alifo rn ia , . . . F e lip e M oreno had been ill." The s to r y tells of one "b e a r" who w as ill, and one " b e a r" who fe ll down and b ro k e his leg (as Ju an had, in the novel). The gam e te lls of sh eep s h e a rin g tim e , and how the s h e a rin g is done. The song in the gam e r e la te s the m ethod of sh e a rin g as d e sc rib e d in the b o o k --fillin g the bags w ith wool and stam p in g it down. 152 54 F a th e r S a lv e d ie rra have a scen e in w hich th ro u g h exposition they e la b o ra te on F e lip e 's illn e s s , J u a n 's b ro k en leg, the S e n o ra 's loss of land, and the plight of poor S p an iard s and M exicans in the face of the intruding A m e ric a n o s. O th er c h a r a c te r s of the novel a re in tro d u ce d to fu rth e r the exposition. The scen e ends with p ag ean try and m u sic: the household going to ch ap el and the d e p a rtu re of the s h e e p s h e a re rs . Thus H olm e picked up the s to ry a t about C h ap ter E ig h t of the novel, and se le c te d the e le m e n ts n e c e s s a r y fo r the g e n e ra l background, fo r the co n flict betw een R am ona and the S en o ra, fo r A le s s a n d ro 's b a c k ground, fo r the frie n d sh ip of F e lip e fo r A le s sa n d ro , and fo r the love of R am ona and A le ssa n d ro . The f i r s t scene then is b a sic a lly ex p o sito ry , w ith enough c h a r a c te r -a c tio n to get the plot going, but the exp o sitio n is som ew hat obvious. H ow ever, a ll things c o n sid e re d , it does not re a lly d isen c h an t the au d ien ces. E p iso d e Two, "R am ona and A le ssa n d ro L e a rn to Love E ach O th e r," opens w ith the S e n o ra and Ju an (the o v e r s e e r of the Rancho) d isc u ssin g A le ssa n d ro . The S e n o ra 's d ile m m a a r i s e s - - s h e d islik es Indians and y et has u se fo r A le s sa n d ro , so she cannot d ism is s him Note the change in the spellin g of S a lv e d ie rra fro m J a c k so n 's spelling of S a lv ie r d e r r a , a change th a t probably cam e about to f a c ili tate s im p le r p ro n u n ciatio n and b e tte r production. The nam e is v a r i ously sp elled in the s c rip t, even as S a lv e d ie e ra , but by the tim e of the p rin tin g of the 1923 play p ro g ra m , they had settle d on S a lv e d ie r ra , and it has re m a in e d thus e v e r sin ce. 153 en tirely . H e r su b lim atio n is to c o n sid e r him s u p e rio r to o th e r Indians. The a ttra c tio n betw een R am ona and A le ssan d ro g ro w s, and A le ssa n d ro 's d isco v e ry th a t R am o n a is p a rt Indian (a fa ct the S en o ra h as n e v e r d i s closed to R am ona) gives hope of fu lfillm en t. In this ep iso d e, H olm e has u sed the e le m e n ts fro m C h a p te rs Seven, E ig h t, and Nine of the novel th a t fo rw a rd th e love sto ry to the im pending c r i s i s . E p iso d e T h re e , "The S en o ra D isc o v ers T h e ir S e c re t," in effect continues the p rev io u s sc e n e , but b rin g s it to the d e c la ra tio n of love and th e d isc o v e ry by the S en o ra th a t o c c u rre d in C h a p te r Ten of the novel. The S e n o ra com m ands A le ssa n d ro out of h e r sight and confines R am ona to h e r ro o m . A le s sa n d ro , on the advice of F e lip e , leav es the rancho fo r a w hile, to allow the situ atio n to cool down. The conflict g e n era te d by the S en o ra re a c h e s its clim a x in this sc e n e . W isely, H olm e re lie v e s the te n sio n by the in tro d u ctio n of p ag ean try again, in the f o rm of the fie s ta scen e. The eig h teen days of A le s s a n d ro 's a b se n c e , as told in the novel, e lap se b efo re the fo u rth episode co m m e n c e s, w hich H olm e entitled "The L o v e rs F le e the R ancho." R am o n a's d is tr e s s o v e r the ab sen ce is s tr e s s e d . A le ssa n d ro re tu rn s w ith the news that his fa th e r is dead, th at the w hite m an has taken all he owns, and th at he is a b eg g ar. R am ona p re v a ils on h im to take h e r with h im , and th e ir d e p a rtu re from the ran ch o co m p le te s the scen e. A ccording to the p ro g ra m for that f i r s t y e a r , this scen e ended the f ir s t a c t, and a day w as to elap se in 154 the sto ry b efo re the lo v e rs re a c h e d th e ir re s tin g p la c e , the secluded canyon. A ct Two began with E p iso d e F iv e , e n title d "A Hidden C anyon in the H ills." The o rig in a l s c rip t contains a c o v e r -s c e n e betw een Ju an , M a rg a rita (M a rd a 's d au g h ter), and M a rd a th a t was intended to allow A le ssa n d ro and R am ona tim e to g et to the L o v e r s ' R ock, the site of the H idden Canyon sc e n e . A p p aren tly that has been th e sc e n e in the h is to ry of the play th at h a s been ex p e rim e n te d with m o re than any. It has been tak en out and put back in and tak en out again, e n d le ssly , it seem ed . The L o v e rs ' R ock scen e is m o re p o etry th an plot. C o m p arin g the J lines with the sam e sectio n of the novel, the lines a r e re a lly all • i H o lm e's; none of the sp ecific w ords a p p e a r in the novel. The feeling is th e re , but not the w ords. E pisode Six, "The C h riste n in g of R a m o n a 's Child at P a s q u a le ," begins with a s h o rt exposition of the events of the two y e a rs th at have elap sed since th e p revious sce n e. This is follow ed by the in tro d u ctio n of the A m e ric a n o s who have com e to c la im Indian land. The c h r is te n ing of the child follow s, and h e re ag ain H olm e in tro d u ce s p ag ean try , the Indian d a n c e s, and song. In c o n tra s t to th e gaiety of the c h r is te n ing ce rem o n y , the scen e ends with the white m an taking A le s s a n d ro 's land. The tra g e d y h as begun. With E p iso d e Seven, "Soboba S p rin g s," th a t p a r t of the novel tellin g of the lo v e r s ' flight to San Ja c in to , th e ir m ee tin g w ith the 155 H y e rs, and the building of the frie n d sh ip am ong th e m is co v ered through exposition. The H y ers d e p a rt and again the couple a re th re a te n e d by h o stile w hites. The scen e ends w ith the death of the baby, and the f i r s t signs of A le s s a n d ro 's in san ity . A scen e follow s, in th at f i r s t s c rip t, but th e re is nothing in the p ro g ra m to in d icate it, though the scen e content m ig h t have been p a rt of E p iso d e Seven. It tak es place at the C am ulos R anch, rev e a lin g the death of the S e n o ra and F e lip e 's s e a rc h fo r R am ona. If this scen e was u sed at a ll--w h ic h is highly d o u b tfu l--it was undoubtedly cu t a fte r the f i r s t y e a r. The fin al ep iso d e, E ight, en titled "The D eath of A le ssa n d ro on Mt. San J a c in to ," begins with Jo e H y er bidding goodby to R am ona, and re v e a ls the fa c t that A le ssa n d ro has rid d en hom e on a s tra n g e h o rs e . The scen e shifts to the A m e ric a n o s who, as p a r t of a p o s se , a re tra c k in g F a r r a r 's sto len h o rs e . They d isc o v e r th at F a r r a r has gone on ahead of th e p o s se , then they sig h t h im rid in g up to talk to R am ona at h e r h ouse. F a r r a r c a lls to h e r to send A le ssa n d ro out. He a p p e a rs R am ona c r ie s fo r h im to "Go b a c k !" but too late ! F a r r a r shoots him . F a r r a r rid e s off p u rsu ed by the p o sse. The Epilogue tak es place "back at the ra n c h ," lite ra lly . Ju an Canito co m es out of th e ra n c h h o u se, to the c e n te r of the patio stage and gives the th em atic fin al sp eech , a fa re w e ll to Spain and a p lea fo r ju stic e fo r the Indian. F e lip e , R am ona, M a rd a c a rry in g the baby______ 156 (R am o n a's second child), and the crow d e n te r. F e lip e bids fa re w e ll to the ra n c h . He a d d re s s e s the re tin u e who is to accom pany h im , telling of the m ove to M exico and of R a m o n a 's p ro m is e to be his wife. A t the end of his sp e e c h , a ll leav e the ra n c h , w alking up the path th a t leads to the la rg e fa lse ro c k , and the play ends. Som e of the lin e s, p a rtic u la rly so m e of F a th e r G a s p a ra 's , the E x p o s ito r's , and Ju a n C an ito 's final sp eech , a r e re a lly in sp ire d v e rs e . jAs m any y e a rs as the P a g e a n t h as been d o n e --fo rty -fiv e through 1972-- the m a jo rity of the lines a r e s till th o se of G a rn e t H olm e, fro m the o rig in a l s c rip t. A lthough m any m in o r changes have been m ad e in the s c rip t o v er the y e a r s , as a whole it h as w ithstood the y e a rs of d ire c tin g and playing re m a rk a b ly w ell. T h re e fa c to rs account fo r th is fidelity to H o lm e 's o rig in a l concept. F i r s t , H olm e h im se lf d ire c te d the pageant fo r its f i r s t six y e a r s and had the m a jo r say in those prod u ctio n s. D uring that tim e he had o p p o rtu n ity to w o rk w ith the show, sm oothing out the d ifficu lties and o b serv in g the stre n g th s; w orking out d etails. D uring th o se y e a r s , he led the P a g e a n t to s u c c e s s , and consequently he b u ilt a follow ing in the v alley . A fter his death, th e re w as m uch s e n tim e n t to keep the P a g e a n t as he had developed it. Am ong his frie n d s and c o -w o rk e rs , su ch as Ed P o o rm a n , th e re was m uch a p p r e c iatio n of H olm e, and it b eca m e tra d itio n to p r e s e r v e the o rig in a l p r o duction: as f a r as p o ssib le , w ithout at the sam e tim e denying the 157 n e c e s sity fo r change. Thus the second fa c to r b ecam e th o se frie n d s anc a s s o c ia te s of H o lm e 's who held re sp o n sib le positions in the P a g e a n t s tru c tu re and who w orked to p r e s e r v e the body of the s c rip t. F in a lly , tim e has p ro v en the P a g e a n t s u c c e ssfu l, and th e re can be but few who a re so fo o lish as to ta m p e r with th e a tr ic a l s u c c e s s . Once a play has su cceed ed , it is v ery unw ise to m odify it noticeably. S o m etim e b efo re M a rc h 15, 1923, H olm e ap p aren tly v isited H em et and left, fo r R ay n o r, a lm o st all of the s c r ip t w hich he had been developing. R aynor sent a le tte r on M a rc h 15, 1923, in fo rm in g H olm e th at he could not find half the sc rip t; had H olm e m ixed it in with his p a p e rs ? He also w anted H olm e to w rite to "M iss A delaide C la rk " and l give "h e r as definite in fo rm atio n as p o ssib le as to ju s t w hat w ill be expected of h e r in re g a rd to the m u sic . . . h e r ideas a r e v ery vague as to what is to be expected of h e r. . . . " R aynor clo sed with: "The A m e ric a n L egion is to e r e c t the c r o s s on the h ill and things s e e m to be 55 going on in v e ry fa ir shape. W ill be glad when you w ill be able to be i with us ag ain ." H olm e rep lie d by w ire fro m M erc e d , C alifo rn ia: "W hat day is c r o s s ra isin g have your play w ire sen t ael H otel Y o sem ite H o lm e." W ritten in pen cil on the low er p a r t of the w ire w as "No date 55 F r o m the m in u tes of the F e b r u a ry 1, 1923 P a g ea n t C om m ittee m eeting: "M r. H olm e su g g ested th a t a la rg e c r o s s be e re c te d on the h ill south of H em et, to be known as the R am o n a C ro ss and be a fe a tu re of in te r e s t in the fu tu re , in connection w ith the p ro g re s s of this w ork fro m y e a r to y e a r ." 158 b e t ad v ise A delaide m u st know about m u s ic ." |Cast and R e h e a rs a ls , 1923 A t w h atev er point H olm e co m p leted the s c rip t, he had begun ! jre h e a rsin g so m e tim e b efo re M a rch 30, 1923, the date of a page one, j ;column one s to ry in The H em et News e n titled , "P a g e a n t P la n s A re j j j p e r f e c te d , G a rn e t H olm e, P r o d u c e r, Is D evoting E n tire T im e to : R e h e a rs a ls " ; the s to r y 's p ro m is e th at a "co m p lete lis t of c h a r a c te r s j [re p re se n te d in the play w ill be published nex t w eek . . . " probably j I brought so m e sk e p tic a l re sp o n s e fro m the o b se rv a n t r e a d e r , fo r The I I News of M a rc h 16th (p. 1) p ro m is e d th at the n a m e s of the p ro fe ssio n a l ' i I a c to rs to take the m ain p a rts w ere "to be announced n ex t w eek," but did not a p p e a r in The N ews.. The sto ry w ent on to r e p o r t th a t the play had b een divided into two p a rts and gave the list of e p iso d e s. On A p ril 6 , 1923 (p. 1), an a rtic le a p p e a re d in The News en titled , "C om plete le a s t R am o n a P a g e a n t," w ith the su b title s, " R e h e a rs a ls Taking I P la c e E a c h Da yat [sic] R am o n a Bowl, Big C row d E x p e c te d ." The I [a rticle sta te d th a t the "m a jo r p a rts . . . a re tak en by p ro fe ssio n a l !a c to rs fro m Los A ngeles, w hile the re m a in d e r of the c a s t is m ad e up jfrom H em et and San Ja c in to people. . . ." "R am ona" was liste d as I i ! "D o ris Sucho, Los A n g e le s," the sta n d a rd m issp e llin g of a c to r 's n am es I th at se e m e d in h e re n t to The News of th at p erio d . The w rite -u p of the opening show, ho w ev er, did get the c o r r e c t s p e llin g --D o ris e Schukow. 159 "A le ssa n d ro " w as "B ru c e B o te le r," w hich should have been B o tte le r. He also was liste d fro m L os A n g eles. Then the p a rt of " P h ilip e ," which the novel and H o lm e 's s c r ip t both sp e lled as F e lip e , was n am ed as taken by J. K ary l M a rk e r, of Los A ngeles. H olm e, by h is c o n tra c t, had co m p lete c o n tro l of the a r tis tic a sp e cts of the P ag ean t; he c o n tro lled all but the b u sin e ss a rra n g e m e n ts and he helped g re a tly with them . As sta te d , his co n tro l was su b ject only to a d ec isio n of the pag ean t c o m m itte e as a whole in m a tte rs that "affect the good of the c o m m u n ity ." H ow ever, th e re is nothing in any re c o rd s th at this r e s e a r c h e r en co u n tered to show th a t the p ag ean t c o m m itte e e v e r had the s lig h te s t difficulty w ith H olm e o r his a s s o c ia te s , o r his p ra c tic e s . He c a s t the R am ona, A le s sa n d ro , and F e lip e ro le s fro m his com pany of a c to rs . D o rise Schukow b ec a m e a fa v o rite of m any, both in the P a g e a n t and in the valley. She fe a tu re d in the d evelopm ent of the P a g e a n t as a v ery p o p u la r, cap tiv atin g a c tr e s s ; one who contributed g re a tly to com pany h arm o n y . It was im p o ssib le to a s c e rta in ex actly who c o m p ris e d H o lm e 's "co m p an y ," but c e rta in ly a n u m b e r of th em w orked in R a m o n a . Although they did not w ork in R a m o n a , M rs . W illiam S ev e ra n c e and Don T r a v e r s , who had played the leads in the D e s e rt P la y , w ere H o lm e 's people and c am e w ith h im to look o v er the "lay of the lan d ." R u s se ll S tim m e l, G eorge G erw ing, and P h il W hiting w e re tre m e n d o u sly 160 influential in the developm ent of that f ir s t y e a r. S tim m el took c a re of the a rra n g e m e n ts fo r H olm e and Whiting f r o m h is b ase in Los A ngeles as w ell as aiding H olm e in planning the s c e n e ry and undoubtedly m any o th e r aids not re c o rd e d . G eorge G erw ing was alw ays on tap when needed. W hiting seem ed to have been H o lm e's "leg m an " and was involved in a lm o st ev e ry p h ase of planning and buying. He also sta g e - m anaged and acted , in addition to building the s e t. As fo r a c to rs , H olm e, it m u st be re c a lle d , cam e to Los A ngeles in 1906 with the C onstance C raw ley company, and he p ro b ab ly m ade co n tact with Los A ngeles people in th e a tre to whom he could tu rn in s e a rc h of a c to rs land te c h n ic ia n s. Much of p ro fe ssio n a l th e a tre is conducted by an exchange of " frie n d s"; th a t is , one p e rso n reco m m en d s an o th er. i F u r th e r indication of the "com pany" attitu d e was the fac t that the m oney for the th re e " p ro fe s s io n a ls " - -Schukow, B o tte le r, and M a rk e r -- w a s c a r r ie d u n d er H o lm e's budget. Beyond w hat can be re m e m b e re d by the few people left who p a rtic ip a te d in th at f i r s t y e a r and r e c a ll anything about the castin g (and whose opinions have been g a th e red in in terv iew s quoted h e re in ), th e re is v ery little in fo rm atio n in e x iste n c e . In R a y n o r's a rtic le on the f ir s t y e a r, he w rote som ew hat on the subject: One of the things I re m e m b e r in connection with M r. H olm e was the in q u iry he m ade of an old frie n d he had in San Jacin to by the nam e of Ed P o o rm a n . When M r. H olm e c am e to H em et, one of the f i r s t things he did was to look fo r "E ddie, old d e a r ," as he T&T often affectionately c a lle d h im . M r. P o o rm a n w as the p rin c ip a l a d v iso r to M r. H olm e in se le c tin g the c a s t fo r the f ir s t play, and the good ju d g em en t as evidenced by the su c c e ss of th e se p lay ers is v ery co m m en d ab le. M r. P o o rm a n la te r b ec am e g e n e ra l m a n a g e r of the p a g e a n t .^ T h e re is also p r a c tic a lly no c o rre sp o n d e n c e . H olm e did in d i c a te his philosophy about u se of "lo c a ls" in his le tte r to R ay n o r, w r it ten N ovem ber 29, 1922: F o r the re a so n s of econom y and lo cal in te r e s t and e n th u sia sm , w h e re v e r p o ssib le it would be ad v isab le to u se the n eig h b o rs. But the play should not be w eakened to the outside and visiting audience (who judge by the p ro d u ctio n alone) fo r the sake of including th o se who a r e not sk illed enough to b e a r the p rin c ip a l ro le s . My idea would be in all c a s e s to u se re sid e n ts w here it was p o ssib le , at the sa m e tim e keeping up the sta n d a rd of the play to c o m p a re fa v o ra b ly with o th e r com peting a ttra c tio n s . I have had a g re a t deal of ex p e rie n ce with n o n -p ro fe ss io n a l p la y e rs , both at the U n iv e r s i tie s and e lse w h e re , and w elcom e th e ir c o -o p e ra tio n .^ ^ F ra n k F e lt, who fo r y e a rs played the p a rt of F a th e r S alvedierra], w ro te an a rtic le review ing th at f i r s t y e a r 's production; the s to ry a p p e a re d in the "R am ona P a g e a n t E d itio n " of The H em et News dated A p ril 1941 and was e n titled "T he F i r s t P e rfo rm a n c e ." F e lt w ro te 56 The H em et N e w s, R am o n a P la y E d itio n , 1953, p. 48. 57 H olm e m ade it c le a r in his c o rre sp o n d e n c e th a t the ro le s of R am o n a, A le ssa n d ro , and F e lip e m u st be tak en by p ro fe s sio n a ls . C astin g during his y e a rs with the P a g e a n t in d icate fu rth e r th a t he a s c rib e d to the p erio d ic in jectio n of p ro fe ssio n a ls in o th e r ro le s to o --th e m o s t lo g ical explanation being to b rin g up the local a c to r s ' p e r f o r m a n c e s , by ex am ple. In addition to the th re e p ro fe ssio n a l lead s in 1923, S tim m el d e liv e red the in te rlu d e sp eech es and P h il W hiting played Ja k e . In 1924, H olm e h im se lf played G asp a ra . C o rre sp o n d e n c e in d i c a te s th at Ruth M ontague (the M a rg a r ita of 1926 and 1927) and G eorge M cB rid e (who played Luigo and the E x p o sito r in 1928) w ere both p r o fe s s io n a ls . G eorge G erw ing p lay ed the E x p o sito r in 1927.______________ 162 w rote of the castin g : The s c rip t w as co m p leted and the next p ro b le m w as the s e le c tion of a c a s t. This w as quite a p ro b le m . I r e m e m b e r one g a th e r ing in the lib r a r y b a se m e n t and a n o th e r in a vacant s to re on H a r v ard S tre e t. T h ese elim in a tio n c o n te sts p ro d u ced all the co m m o tio n and d is tra c tio n of the a v e ra g e m ob sc e n e , but they did develop c o n sid e ra b le fun and com edy, as w ell as a few d isap p o in tm en ts. T his b o re out the r e p o rt in The H em et News of M a rc h 16, 1923 (p. 1 ), th a t "ap p licatio n s fo r p a rtic ip a tio n in the d ra m a a r e o v e r w h elm in g ." F e lt's a r tic le also d e s c rib e d a good m any of the i n t e r estin g fe a tu re s of the w eeks of r e h e a rs a l. He began by te llin g of the tra n s p o rta tio n p ro b le m involved in getting to the Bowl. M r. H olm e had n e v e r b eco m e m o to r-m in d e d ; in fac t, he was v e ry a lle rg ic to d riv in g any v eh icle in tra ffic , so "E ddie old boy" (as he alw ays c a lle d Ed P o o rm a n ), w ith his untold c h o re s and r e s p o n s ib ilitie s , b ec a m e the chief c h a u ffe u r--th e "G unga D in" of th a t p erio d . On days of r e h e a r s a l, at about one m inute b efo re 2 p .m . the " R ic k e n b a c k e r" m ig h t be se e n , o v erlo ad ed w ith p la y e r s , Ed at the w heel and G a rn e t H olm e d riv in g by re m o te c o n tro l, taking the c u rv e s and bum ps on the la s t s tr e tc h to the bowl. O ur r e h e a r s a ls s ta r te d on the u n a lte re d h illsid e s a t about the tim e th a t P h il W hiting and his c re w of w o rk e rs a r riv e d w ith picks and shovels and the tools n e c e s s a r y to shape a stag e fo r u s. As we w ent th ro u g h o u r lines fro m day to day, paths and tr a ils b e gan to w o rm th e ir way th ro u g h the heavy b ru s h and sh ru b s . F a ls e ro ck s m ad e th e ir a p p e a ra n c e at the head of the canyon, and, as the day of the f i r s t p e rfo rm a n c e a p p ro ach ed , a ll the sage and native b ru s h on the h illsid e s b lo sso m e d , fa lse ly , into full bloom as a s m a ll v in e -c o v e re d ra n c h house g ra c e d the fo re g ro u n d of the p i c t u r e . ^ 58 The H em et N ew s, R am o n a P lay E d itio n , 1941, p. 11. ^ I b i d . , pp. 1 1 - 1 2 . 163 A co m m en t th at F e lt m ade about r e h e a r s a ls was v ery im p o rta n t to u n d ersta n d in g m uch of the e a rly p o p u larity of the P a g e a n t with those people who p a rtic ip a te d in it. And they, of c o u rs e , s e t m uch of the tone adopted to w ard the e n te r p ris e by the people of the V alley. As F e lt w ro te of it: We had a g re a t deal of fun at r e h e a r s a ls . P a g e a n try w as new to u s --w e had not developed te m p e ra m e n ts and we m a n ife ste d few sy m p to m s of the Hollywood com plex. While we did take the whole s e rio u s ly , yet betw een sc e n e s, it was quite a panic to m o st of H olm e w as re sp o n sib le fo r m uch of the "fun," as F e lt fu rth e r indicated: G arn et H olm e was in te re s te d and am u sin g in his d ire c tio n of the play. H is read in g of the lines was often funny, as his E n g lish accen t m ig h t re a d ily give one of the Indian sce n es all the co lo r and fla v o r of "good old London tow n." A lthough V ictor J o ry was not in the o rig in a l p ro d u ctio n , he was the A le ssa n d ro in the second y e a r, and fo r a n u m b er of o th e r y e a rs u n d er H olm e, as w ell as a fte r G a rn e t's death, in e a rly 1929. "V ic," as he is affectio n ately known, d e s c rib e d fo r th is w r ite r a n u m b e r of H o lm e's tr a its and p ra c tic e s th a t won the people of the V alley and the c a sts of the v a rio u s y e a r s . He told of H o lm e 's o rg a n iz a tio n a l and in sp ira tio n a l pow er: He en g en d ered in m e and in ev ery o n e who w orked w ith him a ^ Ibid. , p. 1 2 . ^*Ibid. , p. 11. u s > _ r5¥ love of that p a rtic u la r P a g e a n t p la y --e v e ry th in g th at w ent w ith it. . . . They b eliev ed in it so firm ly b ecau se G a rn e t H olm e taught th em to believe in it. T h e re was a c h ic a n e ry w ith it, too. You know he w as an old r a s c a l, and . . . he would go aro u n d and c o m p lim en t people, and get the K iw anians w orking with the R o ta r ia n s , and the disc and the dry f a r m e r s w orking w ith the irr ig a tin g f a r m e r s . . . . He had the r a r e quality of allo ttin g c e rta in functions to c e rta in people. . . J o ry re m e m b e re d o th er of H o lm e 's tric k s . He said , " I'll te ll you so m e of the w onderful little things he did to m ak e the c a s t want to be t h e r e ." F o r in sta n c e , ev e ry day at lunch, when w e'd com e in and s it down fo r lu n c h --a n d that would be a lm o st everybody who w as in the c a s t - - th e r e would alw ays be a big bowl in the c e n te r of the tab le and G a rn e t would be the f ir s t one at the tab le and to who e v e r would be the nex t one, he would sa y , "Anybody who today m en tio n s 'o ra n g e s ' h a s to put m oney in the bow l." W ell, s u re enough, everybody would w o rk on som ebody and w e'd get th e m to say "o ra n g e " and Bang ! would go th e ir q u a r te r in the bowl and this was the tip m oney fo r the w a itre s s th at would finally end up at the end of the w eek. And he had a v a rie ty of th ese g a m e s. L ik e, h e 'd say, "The f i r s t p e rso n who m uffs a sp eech up on the h illsid e to d a y - - we told him th re e tim e s now, that he m u s t say 'given' in ste a d of 'g iv e th '- -and if he say s it now, it'll c o st h im a d im e ."63 Som e in d icatio n of H o lm e 's te m p e ra m e n t w as given by F elt: He was quite n a tu ra lly confused on the n a m e s of the m any p la y e rs . He knew m e as "M r. F lin t" fo r so m e tim e , but he would stop the sc e n e if so m eo n e chanced to c a ll h im "M r. H o lm e s." He would tak e tim e out to s ta te that th e re was no S on the end of his n a m e - - i t was H o lm e --ju s t like "the place you go to get your s u p p e r."64 V icto r and Je a n J o ry , p e rso n a l in te rv ie w , S anta M onica, C a lifo rn ia, A ugust 10, 1970. 63 Ibid. 64 The H em et N ew s, R am o n a P lay E d itio n , 1941, pp. 11-12. J ^ - 5 This w as also b o rn e out in a le tte r w ritte n by H olm e to B u rd ette R ay n o r in the J a n u a ry a fte r the f i r s t y e a r (Ja n u a ry 2, 1924): " P le a s e o m it th e s at the end of m y nam e in any publicity you m ay get out. In a le tte r [sic] to m e it does not m a tte r so m u c h ." And as to H o lm e 's " te m p e ra m e n t" as a d ire c to r, F e lt d e s c rib e d it: S o m etim es r e h e a r s a ls o r atten d an ce was bad, and M r. H olm e had a r a th e r p ain le ss way of blowing up h o rrib ly . But, a fte r a few ex c lam atio n s and the lighting of a f r e s h c ig a re tte fro m the butt of one th a t was p e rh a p s b u rning his fin g e rs , he would chuckle it off and w e'd all g et a lau g h .65 The Bowl J o ry c re d ite d H olm e w ith g r e a t ta le n t fo r staging. T his was l b o rn e out by the u se of the h illsid e s c o m p risin g the bowl. C e rta in p h y sica l conditions helped, such as the fa c t that of the th re e h ills id e s , the two th at face each o th e r and thus fo rm the n a tu ra l opposition of stag e and au d ien ce, a re e a s t and w est; h ence it w as no g r e a t fe a t to put the audience on the w e s te rn h illsid e and the stag e on the e a s t, giving the audience and the a c to rs light. A sim p le d ecisio n , but not n e c e s s a rily one th at would o cc u r to, sa y , a m a te u rs . F u r th e r , he was ingenious in his u se of th e sp ace to ap p ro x im a te , g e n e ra lly , the d iffe r ent lo catio n s of the C am ulos R anch needed to te ll the d iffe re n t incidents of the s to ry . To a p p re c ia te his stag in g , the r e a d e r m u st se e the n a tu re of the bowl. The to p o g ra p h ic al draw ing in A ppendix Q in d icates the • ^ I b i d ., p. 12. 166 g en eral lay of th e land. The bowl is n e stle d am ong the h ills running jgenerally e a s t and w est, and fo rm in g the so u th e rn boundary of H em et. !The shape of the bowl is d e te rm in e d by th re e h illsid e s th at fall into a p a tte rn roughly lik e the m a th e m a tic a l sy m b o l, pi, so m ew h at like this: nr. The long line on top re p re s e n ts the m ain body of the h ills: those running e a s t and w est. The two s h o rt lines extending fro m the m ain body a r e the two sp u rs th at, running into the m a in body, fo rm the rav in e th a t is the bowl. Looking fro m the open e n d --a s it w e re --to w a rc the c lo se d end, th e audience is on the rig h t, and the stage is both at the back, o r end of th e ra v in e, and on the left. H olm e in tellig en tly u sed the bed of the ra v in e as the path up w hich to bring the p ag ean t-lik e p ro c e ss io n of the c a s t that opens the jplay. The a c to rs wind up, b efo re and below the audience, and go out of sig h t behind the ra n c h house. E p iso d e One fo cu ses around the ran ch house and the c o u rty a rd in fro n t of it. The end of the episode s e e s the s h e e p s h e a re rs and F a th e r i S a lv e d ie rra leave the ra n c h by the m a in tr a il th a t runs fro m audience rig h t, in fro n t of the ran ch h o u se, and e a s t, up to the canyon that is fo rm e d by the con v erg en ce of the e a s te rn h ill with the so u th ern h ill. They exit behind the big fa ls e ro c k at the m outh of the canyon. D uring those f ir s t y e a r s b efo re the p e rm a n e n t stag e was built, the s h rin e was on the ou tsid e of the ran ch h o u se, attach ed to the wall th at was the n o rth end of the chapel. With the p e rm a n e n t stag e 167 c o n stru c tio n , the sh rin e w as m oved down to the p ath below the chapel. In re c e n t y e a r s , the s h rin e was again m oved, to the e a s t end of the path. In E p iso d e F o u r, A le s sa n d ro , re tu rn in g f ro m T em ecu la, goes to the ra m a d a to play the scen e in which he te lls R am o n a of his plight. H olm e placed this " a r b o r" n e a r enough to the s h rin e th a t A le ssa n d ro , in calling to R am ona, would be b e liev ab le, but f a r enough away th a t the scen e would not s e e m in th e im m e d ia te , thus o b s e rv a b le , a re a of the ran ch house. Thus the f i r s t a c t tak es place im m e d ia te ly about the ran ch house and its patio, with ju s t enough u se of the a r e a s su rro u n d in g the house to allow fa c sim ile of the v ario u s spots d e s c rib e d in the novel. H o lm e's staging allow s in tro d u ctio n of the m a jo r actio n s of the n o v el- plot, yet m ak es good u se of the stag e w ith r e s p e c t to se p a ra tin g the C am ulos se c tio n fro m the " e x ile " sectio n , w hich c o m p ris e s San P a s - quale, T e m e c u la , San J a c in to , and the vale high on M t. San Jacinto. The site s of the ep iso d es of the second a c t a r e in d icated on the draw ing in A ppendix Q. The ra n c h house H olm e placed on the side of th e so u th ern h ill. W hile in itially this m ay have been a p r a c tic a l d e c isio n , in te rm s of th a t location being b e s t su ited to c le a rin g an a r e a fo r both the ran ch house and the sp ace needed fo r the fie s ta scen e, H olm e- also brought about a r tis tic and a e sth e tic values by th is p la c e m e n t. In the p ro g ra m 168 for th at f i r s t y e a r, he w rote a c o m m e n ta ry on "The S to ry of R am o n a" th a t ap p e a re d on the back of the p ro g ra m , along w ith a b rie f co m m en t on the P a g e a n t itse lf. In clo sin g the lines on "R am o n a," H olm e w rote: The whole note of the tra g e d y d raw s its light fro m the su n se t sch em e of co lo rin g . The sun sinks on the Indian, the Spanish c iv ilizatio n , and on the tru e love of R am ona; and a fte r the su n se t, - - f o r th em a t le a s t, the night. --G a r n e t H olm e. Now the in te re s tin g fa c t is th a t the ra n c h house is so situ ated that ju s t about the tim e the f i r s t a c t ends and the p h y sical sc e n e s of the s to ry shift fro m the ra n c h to the m o u n tain s, the sun has begun to descen d below the r im of the hill th at r is e s up fro m the ra n c h house; thus the j h ouse, and the S panish a r e a is c a s t into deepening sh ad e. But the sun stay s on the Indians throughout. P e rh a p s had the topography of the bowl been d ifferen t H olm e would not have been able to get that effect. And p e rh a p s he c am e a c ro s s it by accident; p e rh a p s (but it se e m s i m p o ssib le in view of h is com m ent) he did not h im se lf re a liz e the allegory of the shade. J o ry d e s c rib e d H o lm e 's m ethod of w orking: He w as a m an who w as not a fra id to ad m it th a t his f i r s t i m p re s s io n s w e re w rong. In o th e r w o rd s, he would say , "Now you com e down the t r a il and the g irls w ill be about six fe e t behind you and the s in g e rs w ill be about th irty fe e t behind th em , and then w e 'll have the m en on h o rse b a c k s ta rtin g up th a t o th e r tr a il at the sa m e tim e. Now, le t's do th a t." And so you'd go out on the h ill side and y ou'd do it and in about a m inute you'd h e a r him yelling, "No, no, no, no! Stop! Stop! Now le t's r e v e r s e it, le t's put the g irls a ll in fro n t and w e 'll put the h o rs e m e n com ing down the sa m e t r a i l and w e 'll have you and R am o n a and the baby going up the 169 o th e r tr a il. L e t's try th a t." "W ell," h e 'd say, " T h a t's b e tte r, but i t's s till n o t W ell, you m ight go on fum bling aro u n d like th a t fo r the r e s t of the day, but at the end of the day he had s o m e thing th a t w as v isu ally ex citing, and had rhythm to it; a c e rta in rh y th m w hich the p roduction needed a t th at tim e. B e sid e s building t r a il s , the fa lse ro c k s , the " a r b o r," and R a m o n a's hut on Mt. San Ja c in to , the big job was c o n stru c tin g the ra n c h h o u se. This re c e iv e d a good deal of atten tio n fro m th o se e a r l i e s t p a rtic ip a n ts ; R aynor m entioned it in his a rtic le , as did F ra n k F e lt, and R o b e rt F in ch , who fo r y e a rs did publicity fo r the P a g e an t. R aynor d e s c rib e d his in tro d u ctio n to P h il W hiting, who was in c h a rg e of the s c e n e ry , in such a way as to in d icate the confusion en co u n te re d by b u s in e s s m e n taking th e ir f i r s t " fly e r" in "show b iz ." P h il W hiting w as an o th er one of the p io n ee rs who p a rtic ip a te d in the f ir s t y e a r 's a rra n g e m e n ts . M r. H olm e in tro d u ce d P h il to m e one day when in Los A n g eles, suggesting th a t we em ploy h im , "fo r with P h il's h e lp ," said M r. H olm e, "all o u r p ro b le m s would be so lv ed ." Since M r. H olm e felt the help of M r. W hiting was such an ab so lu te n e c e s s ity , and P h il's a g re e m e n t to com e the f i r s t y e a r fo r su ch a m e a g e r su m to get the thing s ta r te d , it se e m e d as though I could re a lly do nothing e lse but co n sen t to M r. H o lm e 's w ish e s, and tim e proved the w isdom of this a c t . 6 ? The actu al building R ay n o r d e s c rib e d as: The C am ulos ra n ch house had been e re c te d at a point d e s ig n ated by M r. H olm e. The lu m b e r was hauled to the sp o t by J. G. ^ J o r y in te rv ie w , A ugust 10, 1970. 6 7 The H em et N ew s, R am ona P lay E dition, 1953, p. 48. 170 W est, g ra tis . P h il W hiting, with h is a s s is ta n ts , co v e red the fra m e w o rk w ith sh eetin g and kalsom ine.^® R o b e rt F in ch , in an a r tic le in The N e w s, R am ona P la y E d i tion fo r 1954 (p. 67), told of the building: P ro d u c e d on its p re s e n t s ite , the R am ona Bowl, then without benefit of se a ts and w ith the ra n c h house a c ru d e c re a tio n of tw o- b y -fo u rs, lath and painted c a n v as, the R am o n a P la y s c o re d a p u b lic a ttra c tio n fro m the f ir s t. F ra n k F e lt gave the m o st co m p lete d escrip tio n : The c o n stru c tio n of the ra n c h house w as P h il W hiting's m a s te r stro k e . It se e m e d p re c ip ita te d fro m the thin and b alm y a i r - - c re a te d ap p aren tly fro m but a few p o le s, lath, cheese, cloth and a lot of cheap paint. Y et, "The old M oreno ra n c h h o u se " boldly ^ p ro m ise d to s h e lte r us through our th re e p e rfo rm a n c e s . F o r P h il th e re c a m e a new w o rry , le s t the wind tr a n s p o r t the little "h acien d a" to so m e o th e r q u a rte r of the rancho. I re c a ll s e v e ra l o ccasio n s w hen he held his b re a th as gusty b r e e z e s g a l loped through the flu tte rin g c h e e se cloth and on o v er the h ill, f o r tunately leaving the s e t in ta c t and in b e tte r shape than our n e r v e s . ^ A t so m e tim e in e ith e r late M ay of th a t y e a r 1923, o r e a rly Ju n e, a M rs . E . B. S ta rk w e a th e r, of R ed lan d s, C a lifo rn ia , w ro te the P a g e a n t re q u e stin g in fo rm a tio n on the d ata they had u sed in rep ro d u cin g jthe house in the re c e n t P ag ean t: . . . It se e m s to m e th at the r e p lic a was p e rfe c t and I am d e siro u s of building such a house but w ant the tru e in fo rm a tio n to guide m e such as you m u s t have had. I would c o n sid e r this a g re a t fav o r if not asking too m u ch of you. On June 6 , 1923, R aynor re p lie d to h e r undated le tte r th a t they had had 6 8 Ibid. , pp. 48-49. 69 The H em et N ew s, R am ona P la y E d itio n , 1941, p. 12. 171 no definite plan fo r the c o n stru c tio n of the building: M r. G a rn e t H olm e stu d ied the m a tte r of planning fo r this building, o u r P a g e a n t M a s te r, and I think he s e c u re d such d ata as he had fro m photographs tak en fro m books in o u r public lib ra ry . The w r ite r h a s , o r h a s had a couple of m a g a z in e s w hich gave v ery c le a r photographs of this old ra n c h h ouse. I do not know w h eth er I can find th em o r not. If you d e s ire th em , p le a se le t m e know and I w ill se e w hat I can do in th a t way. . . . P e rh a p s the fin a l note in this m a tte r w as one th a t a p p e a re d in the p r o g ra m fo r the f i r s t y e a r, as one of a lis t of acknow ledgem ents by the g e n e ra l c o m m itte e extending " s in c e re thanks and a p p re c ia tio n " to c o n trib u to r s . The one co n ce rn e d h e re was "To P e te r W ebber of R iv ersid e fo r the designing of the e n tire C am ulos R an c h ." C o n sid e rin g H o lm e 's to R aynor of F e b r u a ry 15, 1923, quoted e a r l i e r in this c h a p te r, m e n tioning th at he and Rus S tim m el had "planned the s c e n e ry ," it would be difficult to say w ith c e rta in ty who was re sp o n sib le fo r the C am ulos ra n ch house p la n s. The m o st lo g ical a n sw e r would s e e m to be th a t H olm e and S tim m el did the planning with advice fro m W ebber. H ow e v e r, P h il W hiting and his w o rk e rs did build it. The publicity th a t R ay n o r had been sending out d e s c rib e d a c a s t of 100; to his c re d it, and as one m ig h t a s su m e of R ay n o r, the fig u re was " c o r r e c t," in the th e a tric a l te r m s : The News p rin te d 97 n a m e s in the o rig in a l c a s t. W hether th e se actu ally a p p e a re d is unknown, fo r the f i r s t- y e a r p ro g ra m s liste d only the speaking p a r ts . 172 M akeup, C o stu m e s, and C o m m itte e s , 1923 The m akeup fo r th a t f i r s t y e a r, as d e s c rib e d , sounds v ery fo re ig n to to d a y 's a c to r u n le ss he began about th a t tim e . P h il W hiting ru sh e d an o r d e r fo r m ak eu p to Rus S tim m e l at an a d d re s s in Hollywood on A p ril 6 , 1923: D e a r S tim m el: P le a s e r u s h the follow ing o r d e r to m e a t once. 1 stic k of Indian F oundation = See M ax F a c to r I 1 stic k of L e ic h n e rs tin t, No. 3 foundation, M ax F a c to r 1 y a rd of d a rk brow n h a ir. 1 / 2 y a rd of g rey h a ir 2 b o ttles of S p irit Gum 1 brow n lin e r stic k 1 g rey lin e r stic k 1 stic k of b lack lin e r 1 stic k of blue 1 can of H e p n e rs No. 4 P o w d e r, Im p. 3 boxes of d ry rouge 1 stic k of re d , sm a ll. 1 s m a ll can of cold c re a m . 2 bdles of lin e r s tic k s . 1 can of m e d iu m P o w d e r fo r S panish D an c e rs 50£ of B oll A rm e n ia 1 w hite lin e r 1 stic k of P u rp le B ro n ze. 1 box of 38 blank c a r trid g e s . Send th is C. O. D. o r pay the b ill and send it to m e. Y ours v e ry tru ly , P W :0 The n a tu ra l com panion to m ak eu p ap p eared a t this tim e , to o -- c o stu m e s. E ven th en it was W e ste rn C o stu m e C om pany, w hich at th at tim e w as lo cated at 908 South B roadw ay in downtown Los A ngeles. R ay n o r w ro te th e m on A p ril 6 , 1923, en clo sin g "the lis t of c o stu m e s, etc. . . . w hich we m u s t have by T u esd ay , A p ril 10th. Send th ese by 173 E x p re s s C. O. D ." On the 12th w ent an o th er le tte r: P le a s e send the follow ing o rd e r to us by b e a r e r [the show opened the n ex t day!]: Exchange the en clo sed Spanish co stu m e fo r o th e rs w ith b lack k n ic k e rb o c k e rs , w hite stockings and b o le ro s. Send down a good Spanish su it fo r S enor F e lip e , a su it such as a g en tlem an would w e a r. The o th e r one se n t was not dignified enough. He also re q u e ste d th at they send "the b ra c e le t and e a r rin g s w hich w ere sen t fo r S enor a M oreno fo r h e r p ic tu re ." P ro b a b ly what he m e a n t was the co stu m e je w e lry w hich had been re n te d e a r lie r to be u sed in pub licity shots and had been re tu rn e d . F in ally , he ask ed fo r sev en a d d i tio n al "long h a ir Indian w igs. One b rig h t shaw l. One Indian B lan k et." iThe to tal spent fo r "C ost of re n ta l, co stu m es and m a k e -u p " th at f ir s t s e a so n w as, a cco rd in g to the budget p rin ted in The H em et News of M arc h 18, 1923, $167. 76. T hat did not include the ite m of "R ent on co stu m e s for publicity p ic tu re s $26." On May 1, W e ste rn C o stu m e sen t the P a g e a n t a fo rm le tte r devised fo r paym ent of m oney. The m e s s a g e was: "E n clo sed p le a se find check fo r $71.25 co v erin g p a y m en t fo r refunds on c o s tu m e s ." F o u r tic k e t n u m b e rs w ere listed ; then 70 noted w ere "S hortage on one wig $ 8 .0 0 " and " P ro p , re n ta l $5. 75." A nother a s p e c t of p ro d u c tio n --th e v ario u s c o m m itte e s and th e ir ta s k s - -w a s beginning to dem and attention about th at tim e . H olm e had A refund of o v er half the am ount of the b ill m ight m ake one w onder how W estern stayed in b u sin e ss. Or it m ight be quite a c o m m en t on w hoever was in ch arg e of c o stu m e s. -------------------------------------------------------------------------------------------------------------------------------- en listed th e aid of the W om an's Club, as m en tio n ed e a r l i e r , and m e m b e rs w e re busy on the C ostum e C o m m ittee, sew ing on c o stu m es fo r the d a n c e rs, s h e e p s h e a r e r s , and o th e rs. They also stitch ed the canvas co v erin g that enveloped the f ir s t fra m e ran ch o and stuffed pillows (ren ted at 1 0 cen ts apiece) fo r the f ir s t p e rfo rm a n c e s when p a tro n s, se a te d on the ground, w atched the unfolding of "R am ona and A le s s a n d r o 's " sto ry . P r o p e r tie s w ere the p ro v in ce of M rs. L. H. W a rre n and h e r c o m m itte e . The co m m ittee fo r f ir s t aid w as headed by M rs . V. S. T e rr y , ca lle d " C h a irm a n of the F i r s t Aid T e n t." The "C h a irm a n of the P a g e a n t C o m m itte e ," M rs . S. C. M ille r, w ro te to M rs . T e rr y on M arch 29, 1923, acknow ledging a le tte r nam ing the c o m m itte e and c o n g ratu latin g M rs . T e rr y on h e r choice. M rs . M ille r in fo rm ed h e r that the lo catio n of the ten t would be d e te rm in e d by " th re e g en tlem en who have c h a rg e of the a r tis tic plans fo r the bowl. . . . M r. G arn et H olm e, M r. Wm. [s ic ] W hiting, of L os A n g eles, and M r. B u rd ette R aynor w ill decide this/. . . . " M rs. M ille r added th a t she w as v ery iglad to have M rs . T e rr y provide the " d istille d w a te r" and th a t the w o rk e rs in the ten t would be provided with b ad g es, w hich they would have to w e a r e v e ry day, to be ad m itted . She ended with the o p tim istic d e c la ra tio n th a t "All plans a re w orking out splendidly and we see only s u c c e ss ahead of u s ." ^*The H em et News, R am ona P la y E dition, 1959, pp. 14-15. 175 F in a lly , in R a y n o r's w o rd s, "E v ery th in g w as m ade read y fo r the s u p re m e m o m en t. The ox te a m w ith its retin u e of atten d an ts spent th e ir la s t two days of activ ity b efo re the play in p arad in g the s tr e e ts of H em et and San J a c in to ." P ro d u c tio n , 1923 On A p ril 13, 1923, The H em et News stated : H em et and San Ja cin to a r e all re a d y fo r the R am o n a P a g e a n t, and J u p ite r P lu v iu s is the only agent th a t can in te rf e r e w ith the su c c e ss of the m o st m om entous ev en t in the h isto ry of the valley. R am ona Bowl is read y to re c e iv e the la r g e s t g ath erin g of people e v e r re c e iv e d in th is co m m u n ity , and the people of the twin cities a re w earin g th e ir Sunday clo th es and th e ir m o st g ra c io u s s m ile s to re c e iv e the v is ito rs . In the 1950 R am o n a P la y E d itio n of The 'N e w s, R o b ert M. F in c h w rote an a rtic le en titled "R am o n a Known A round W orld'/ (p. 10), in which he d e s c rib e d the " h a rd sh ip s" en co u n tered by o u t-o f-to w n to u ris ts in getting to the P a g e an t in th o se f i r s t y e a rs : I re m e m b e r s ta rtin g fro m Los A ngeles e a rly one m o rn in g in a R ic k e n b a c k e r Six, a de luxe fo rm of m o to r tra n s p o rta tio n of th a t e r a , w ith a load of n e w sp a p e rm e n to attend one of the f i r s t p e r fo r m a n c e s . A fter lunching at R iv e rsid e , we en co u n tered our f i r s t delay a few m ile s out of the city on w hat was then called the Box S prings g rad e. In th o se days b efo re gas taxes this was a n a rro w winding ro ad th a t te ste d the sta m in a of the b e s t m o to rc a rs and th e ir d r i v e r s . A long p ro c e s s io n of M axw ells, J o rd a n s , and M odel T s, etc. , of th at day w e re huffing and puffing, r e a r b u m p e r to c ra n k , in an e ffo rt to re a c h the su m m it. H e re and th e re the old fa b ric tir e s w ere popping and h ard y m o to ris ts w e re putting cold p atch es on pu n ctu red tubes and m a n ning the hand pum ps. 176 The a sp h a lt-w h a t th e re was of it-- w a s bum py, and w here it w as not, it was v e ry , v ery dusty. H ow ever, the R ick e n b a c k e r lived up to the rep u tatio n of its n a m e sa k e and d e liv e re d us to H e m e t w ithout incident. In those days everybody c a r r ie d w a te r fo r the ra d ia to rs and lunch fo r the p a s s e n g e r s . T h e re w ere not filling statio n s and few g a ra g e s. A rriv in g a t the bowl the v is ito rs packed auto cushions and ro b es to vantage points on the rocks to view the play. It was a r e a l a d v en tu re, but everybody loved it. They w rote le tte rs tellin g frie n d s in the e a s t of th e ir exciting e x p e rie n c e s and the beauty and f ra g ra n c e of the o ran g e g ro v es en route to the play. F ra n k F e l t 's a rtic le on the f ir s t y e a r told of a bad d re s s r e h e a r s a l but s u c c e ss fu l p e rfo rm a n c e s . He also m entioned H o lm e's in siste n c e on s ta rtin g on tim e and ending as soon as p o ssib le , alw ays a good technique. But F e lt liste d the s ta rtin g tim e of th at f ir s t p e r - 73 fo rm a n c e as "a t exactly 3 o 'c lo c k , the f i r s t show was on." H ow e v e r, a page in the beginning of the o rig in a l s c r ip t gives the scen e tim e s of th o se f ir s t y e a r s , and the c u rta in tim e was liste d as 2:30, the conventional m atin ee tim e; and the show ended at ap p aren tly 4:33 P .M . , as noted in the s c rip t. The n e w sp a p e rs w ere kind th at f i r s t y e a r. As m ig h t be ex p ected , The H em et News found no fault. The opening p a ra g ra p h of the re v ie w in the issu e d dated A p ril 20, 1923 (p. 1), s e t the tone: The s u c c e ss fu l f ir s t p roduction of the R am ona P ag ean t has a lre a d y a s s u r e d annual re p e titio n of this epic of C alifo rn ia 73 The H em et N ew s, R am ona P la y E d itio n , 1941, p. 12. 177 ro m a n c e. F r o m e v e ry w h e re co m es ap p ro v a l of the th em e of this g re a t outdoor play, as w ell as sa tis fa c tio n w ith the m a n n e r in which it was p re se n te d . All of the a c to rs w e re co m p lim en ted . D o rise Schukow "e a rn e d e n c o m iu m s; . . . she was splendidly a s s is te d by B ru c e B o te lle r [s ic ] . 11 The News had le a rn e d to sp e ll Schukow but not B o tte le r . " J. K ary l M a rk e r a d m ira b ly r e p re s e n te d Senor F e lip e M o ren o ." The News also c o m p lim en ted , e sp e c ia lly , M iss A delaide C la rk e , as the S e n o ra M oreno; E d w ard P o o rm a n as Ju an C anito, and F r a n k F e lt as F a th e r S a lv e d ie rra , who "took th e ir ro le s like v e te ra n a c to r s ." M rs . H. B. S te w art as M a rg a r ita was "ex cep tio n ally m e r ito r io u s ." All the s p e a k ing p a rts w e re p ra is e d in one way o r a n o th e r, and each of the group p e rfo rm a n c e s , such as the s in g e rs and the S panish d a n c e r s , ca m e in fo r sp e c ia l m en tio n . The re v ie w e r found the Indian d a n c e rs in the c h riste n in g scen e "the m o st s p e c ta c u la r of the s c e n e s ." And " p a r tic u la rly strik in g w e re the p o ses of the C o stello b r o th e r s , in the fe a th e re d h e a d g e a r of the ch ief." I The sa m e issu e of The News ra n an e d ito ria l head ed "S uccess of the P a g e a n t," in w hich the w r ite r (probably John King, E d ito r) re m a rk e d : T h e re is little of m e r it in the fin a n c ia l outcom e alone, although it is m oney th a t m a k e s p ag ean ts as w ell as the m a r e go, but th e re is a g re a t deal of sa tis fa c tio n in the thought th a t th e se little c itie s have given so m eth in g to the w orld th a t g lo rifie s and p e rp e tu a te s the ro m a n tic h is to ry of C alifo rn ia. 178 F a r th e r on, a n o th e r th em e w as p ro c laim e d : "C e rta in ly o u r people have the rig h t to a c c la im a s u c c e ss fo r the p ag e a n try th a t puts beauty in the life of o u r people and tu rn s the hum an h e a r t in sym pathy fo r a ra c e w hose pleadings have b een choked with the sobs of the a g e s ." The News did not m en tio n its a rtic le s of 1916, beginning N o v em b er 3rd and continuing fo r two w eek s, w hich re p o rte d th a t the C itiz e n s ' W ater C om pany of San Ja c in to had filed su it a g a in st the Soboba In d ian s, in an atte m p t to a c c o m p lish w hat am ounted to leg al b la c k m a il--th e com pany th re a te n e d to tak e r e s e r v a tio n land u n less given g r e a te r w a te r rig h ts . A fte rm a th , 1923 On A p ril 19. 1923, the P a g e a n t C o m m ittee held a m e e tin g at I the P a lo m a r Inn in H em et to ev alu ate th e ir s u c c e s s and plan fo r the fu tu re . The follow ing e x c e rp ts fro m the m in u tes of th a t m e e tin g a r e of p a r tic u la r in te re s t: . . . M r. P o o rm a n su g g ested s e v e ra l im p ro v e m e n ts , and su g g ested th a t San Ja c in to be r e p re s e n te d in a s tro n g e r m a n n e r next y e a r .74 E n se ly su g g ested th a t an adobe house be built in place of the p r e s e n t s tr u c tu r e . . . . M rs. H. B. Jo n es su g g ested th at R a m o n i's child in the play did not grow , and th a t 18 c a s e s of pop w ere sto le n , and th at a night w atchm an be pro v id ed n ex t y e a r. . . . M r. Gay sa id th at the la s t page of the J e w 's B ible say s "G et The n a tu ra l s p ir it of co m p etitio n betw een the two towns has co n trib u ted fa v o ra b ly to the su c c e ssfu l continuation of the P a g e a n t. It has s e rv e d as an added stim u lu s to co m m u n ity in te r e s t and p a r t ic i pation, sin ce n e ith e r town w ished to be outdone by the o th e r in its su p p o rt of the p ro je c t. 179 th e m oney!" He e x p re s s e d the b elief that he had had ex cellen t su p p o rt in the w ork th a t he did in sellin g tick ets and sug g ested th at we have signs pointing to w here tic k e ts fo r the P a g e a n t w ere sold. . . . . P r o f e s s o r W ard said that he was glad the high school s tu dents had h ad a p a r t in the P a g e a n t and th at he had re q u ire d students p a rtic ip a tin g to a c q u ire a c e rta in sta n d a rd in th e ir w ork. Rev. F r e d e r ic k M ille r said that he believed that o u r play had the p r o s p ects of m aking this the g r e a te s t place in the State of C alifo rn ia, th a t it was a b e tte r s e rm o n than he could p re a c h and b e tte r than m o st se rm o n s p re a c h e d fro m the pulpits on Sunday. . . . O. P . E n sle y re a d a le tte r fro m a frie n d who co m m en ted m o st highly on the P a g e a n t and su g g ested that the crow ds be kept in th e ir se a ts by fo rc e if n e c e s s a r y until the full co m p letio n of the play, and be not allow ed to leave until a bugle should sound announcing the clo se and also th a t H em et autos w ait until all the v isito rs had p a sse d out the gate, also th a t we b la s t c e rta in ro ck s and se a ts be m ade of ro c k fo rm a tio n . . . . M rs. Hunt spoke of the p o ssib ility of m aking m o re c o stu m e s n ex t y e a r and saving the c o s t of r e n ta ls , also e n larg in g the pennants fo r the s tr e e t d ec o ra tio n . She said th at 200 y a rd s of cloth had been m ade up into c o stu m e s. . . . M rs . M iller su g g ested th at p ro g ra m s with p ic tu re s of the a c to rs be sold next y e a r a t 10£ each. . . . E a ch one e x p re s s e d th e m se lv e s as having been w onderfully p leased with the w ork M r. G arn et H olm e did fo r us and th a t a su itab le le tte r be d ra fte d im m e d ia te ly and sen t to M r. H olm e, e x p re ss in g o u r a p p re c ia tio n along th a t line. On A p ril 20, 1923, R aynor w ro te to H olm e, conveying the g r a t itude of the P a g e a n t C o m m ittee, the B o ard of D ire c to rs and h im se lf, ". . . Of c o u rse , you know th a t I n a tu ra lly feel p re tty good over the A nother e x tre m e ly in te re stin g facet.of. com m unity su p p o rt is th at a ll e lem en ts of the com m unity (ethnic, re lig io u s, and age) have activ ely p a rtic ip a te d and w orked to g e th e r in the P a g e a n t fro m the beginning. T his includes A nglos, M ex ican s, Indians, J e w s, P r o t e s ta n ts , C ath o lics, and f ir s t- g r a d e r s on up the age sc a le to se n io r c i t i zen s. All of this happened long b efo re the w ords "m in o rity ," " d is c rim in a tio n ," and " g e n e ra tio n -g a p " had the so cio lo g ical connotations they b e a r today. This sp eak s well not only of the V alley, but of the P ag e an t as a unifying agent, due p r im a r ily to the p la y 's u n iv e rsa l appeal, in th a t it h a s e n te rta in e d all while offending none. The e a rly p ro te s t ag ain st Sunday p e rfo rm a n c e s was not d ire c te d a tth e play itse lf. 180 outcom e and w o rd s fa il to e x p re ss to you m y thanks fo r w hat you did foi u s ." He goes on to say th a t "We w ill probably p u rc h a se the canyon so beyond any q u estio n o r doubt this is going to be a p e rm a n e n t m a tte r , p rovided V irg in ia does not com e in and sp ill the b e a n s ." ("V irg in ia " w as, of c o u r s e , V irg in ia Calhoun, th e c ro s s R aynor h ad to b e a r .) He e n clo sed th e c o n tra c t they had with h e r and asked H o lm e, "p e rh ap s you have am ong y o u r m any frie n d s , so m e law y er of high stan d in g , who will p a ss as to the stre n g th of this c o n tr a c t." R aynor m u s t have also e n c lo sed a copy of the m in u tes of the D ir e c to r 's M eeting, o r in so m e way conveyed to H olm e the co m m e n ts and c ritic is m s re c o rd e d in the m in u te s, b e c a u se in H o lm e's re p ly dated A pril 23, 1923, he noted "w ith in te r e s t and a p p re c ia tio n the c o n stru c tiv e c r itic is m s of the D ire c to rs . If we do not p r o g re s s we m u s t go back. . . . S uggestions w ill be w elco m e b efo re an o th er y e a r s ta r ts its p re p a ra tio n s ." He also sta te d that he hoped . . . V irg in ia w as s a tisfie d w ith h e r royalty. I think the c o n tra c t is binding I 'll get a law y er to look a t it. I should a c t, as if it w e re , and not b o th e r about h e r. H as sh e done any com p lain in g lately . If not I think she will be content to allow you to pay h e r the m oney each y e a r w ithout too g re a t a lam en tatio n . On page 2 of the M ay 18, 1923 is s u e , The H em et News pub- lish ed a fin a n cia l re p o rt on the r e s u lts of the P a g e a n t, acco m p an ied by a so m ew h at apologetic c o m m en t by R ay n o r. F o r ex am p le: It is the w r i te r 's [R a y n o r's] opinion th at th e re is little a r g u m e n t o r re a s o n fo r questioning the accounts as th ey stan d , b ecau se 181 in co n n ectio n with so m e of the ite m s w hich a p p e ar e x c e s siv e , th e re was a tre m e n d o u s am o u n t of w ork done g ra tu itio u sly by those in connection w ith the w ork. He went on to d eal with c o m m en d atio n s, or th e ir lack: P e rh a p s so m e m ay have thought they did not re c e iv e as m uch n o tice as they w e re e n titled to co m p a rin g th e ir w ork w ith som e o th e rs . T his also m ay be tru e , but co n sid e rin g th e s u c c e s s of the o c c a sio n , we would sa y th e re is g lo ry en o u g h fo r ev ery b o d y . . . . The to ta l atten d an ce th a t f ir s t y e a r was 3,023 and the incom e liste d as $3672. 36; e x p e n se s as $3370. 74. The ite m iz e d account w as illum inating: E x p e n d itu res G a rn e t H olm e, w ritin g and p roducing P a g e a n t, (including a c t o r s ) $ 1 0 0 0 . 0 0 C ost of re n ta l, c o stu m e s and m a k e - u p ................................. 167.75 C o st of p e rm a n e n t c o stu m e s and s tr e e t d e c o r a tio n s ............................................................................................ 133. 16 R ent on c o stu m e s fo r publicity p i c t u r e s ............................... 26. 00 C o st of b u i l d i n g s ................................................................................ 279. 33 U se of h o r s e s and fe ed , m a n to c a r e fo r t h e m .................... 56. 95 R a n d a ll's o r c h e s t r a ......................................................................... 35.00 T ra n s p o rta tio n Indian b a n d ......................................................... 30.00 R o y alties due M iss C a lh o u n ......................................................... 203.41 H otel b ill fo r M iss C a l h o u n ................................................................ 3. 50 P i c t u r e s .......................................................................................................... 70. 00 To M iss A delaide C l a r k e ............................................................ 25.00 G e n e ra l iexpenses on the b o w l .................................................. 118.21 I n s u r a n c e ........................................... 164.25 P h il W hiting, clean in g w o rk ..................................................... 10.00 P a g e a n t c o m m itte e d i n n e r .................................................................. 13. 00 N ew spaper a d v e rtisin g , c a r d s , p ro g ra m s , p o s te rs , e t c ...................................................................................... 400.33 C a r r e ta a d v e rtisin g , c o s t of oxen, c a r t, and trip .................................................................................................... 626.35 T otal e x p en d itu res 3370. 74 B alance in bank 301. 52 182 The P a g e a n t w as e sse n tia lly a C h a m b e r of C o m m e rc e e n te r p ris e and good public re la tio n s is a b asic p rin c ip le of C h am b er policy. R a y n o r--a b o v e all e lse a good C h am b er m a n --th u s m ain tain ed v ery good "P R O ." An in sta n ce w as a le tte r of A p ril 16, 1923, fro m a M rs . J. T. [Kuhns, of E ls in o re , C alifo rn ia , who while w atching the P a g e a n t th at l {first Sunday lo st h e r beaded bag at the Bowl: "It contained a h a n d k e r chief, and a brow n silk glove fo r the left hand, no m oney. If it should i jbe handed in to the C of C p lease m a il it to m e. . . . " The bag was found and a le tte r tellin g of sending the bag to h e r was dated A p ril 17, 1923. | R aynor w rote le tte rs of thanks to O. E . Ingals fo r the u se of {"Black B ab a," R a m o n a 's h o rs e , and to M r. C. L. E m e rs o n , of Idyll- w ild, fo r the u se of his h o r s e s . Both of th e se le tte r s w e re w ritte n on the 21 st of A p ril, 1923; th a t was a busy day, fo r an o th er le tte r went out, a lso . This was to A llen 's P r e s s Clipping B u re au , in the M ortgage G u aran tee B uilding, Los A n g eles, stating: We re c e iv e d th ro u g h som e s o u rc e , clippings fro m the d ifferen t n e w sp a p e rs re la tiv e to o u r R am ona P a g e a n t given h e re A p ril 13- 1 4 -15th. We do not know ju s t how this w as b ro u g h t about but c e r tain ly a p p re c ia te the r e s u lts . W ill you kindly ad v ise us what the expense is fo r becom ing a m e m b e r of y o u r o rg a n iz a tio n , the b e n e fits , etc. ?" On A p ril 24, 1923, C h e s te r M. K line, p u b lish e r of the San Ja c in to V alley R e g is te r , and at that tim e a S tate A sse m b ly m a n fro m the 77th D is tric t, w ro te R aynor acknow ledging a le tte r th at R ay n o r had 183 w ritte n h im re g a rd in g A ssem b ly B ill 1051, th at had to do w ith auto tru c k in g in the sta te . He thanked R aynor fo r the le tte r; then he spoke his m ind on the P ag ean t; I am c e rta in ly glad to h e a r fro m you, and also glad th a t the R am ona P a g e a n t w as a g r e a t s u c c e s s . O ver tw elve y e a rs ago when I f i r s t cam e to San Jac in to I re a liz e d the g r e a t value the p ro d u ctio n of "R am o n a" would have to San Jacin to and fo r y e a r s I continued boosting fo r it. It re m a in e d , h o w ev er, fo r H em et to p ro d u ce it, and I co n g ra tu la te you and the o th e r o ffic e rs fo r the good w ork you have done. i P ro b a b ly the b e s t su m m a ry of th a t f i r s t y e a r by one a ctiv e in the p ro d u ctio n w as th at of B u rd ette R ay n o r, ap p earin g to w ard the clo se of h is a r tic le on th a t f i r s t y ear: T h e re had been high hopes as to the outcom e but the actu a l r e s u lts w ere above and beyond any of o u r ex p ectatio n s. R e p o rte rs fro m so m e of the la r g e r city n e w sp a p e rs w ere in a tte n d an ce, p e r haps as m uch a m a tte r of c u rio sity as anything e lse , but th e ir re p o rts and p r a is e th ro u g h the p r e s s w ere m o s t g ratify in g . An e d ito r of a p o p u lar daily in one of o u r n e a rb y citie s a fte rw a rd said to m e; "I c a m e the f i r s t day b e cau se I w anted to se e w hat you people of H em et and San Jacin to could do. I cam e the second day b ecau se I w anted m y wife and c h ild re n to see it. We all cam e the th ird day b e c a u se we all w anted to se e it ag ain ." A lady to u ris t stated : "I c am e all the way fro m C hicago to see y our beautiful C alifo rn ia. Had I se e n nothing e lse but this w o n d er ful p ag ean t I would have fe lt paid for the tr ip ." At the c lo se of the second d a y 's p e rfo rm a n c e a m an c a m e to see m e and said he was so p le a se d with the pageant he w anted to add a little m o re to the p ric e of h is tic k e t and handed m e a $ 1 0 . This is the $10. noted in the fin a n cia l re p o rt as "pageant d o n a tio n ," and the m an was the late C. B. W oodhead, fa th e r of M rs. H ow ard W a rre n , then w ell known in H em et and San Ja c in to , and M rs . L a u ra W oodhead S te e re , noted s c u lp tr e s s , who has a studio at Idyllw ild. Not only did the pageant play g rip and enthuse the au d ie n c e s, but th e re w as som ething th a t g rip p e d and held th o se who p a r tic i- pated in its p e rfo rm a n c e . W ell do I re m e m b e r the feelings______ 184 e x p re s s e d by th o se who g a th e re d around the stag e at the end of the p e rfo rm a n c e th at la s t day, re g re ttin g th a t anything w hich they had helped pro d u ce should suddenly com e to a clo se . B ru c e B o tte le r, who played A le s sa n d ro , said , "I only w ish it could go on and on." It was indeed a sad p a rtin g , ,but this thought b rought so m e c h e e r as they s a id , "We w ill all m e e t again next y e a r ." F o r they re a liz e d th at h e re w as som ething w hich would continue, th a t the R am o n a P a g e a n t had com e to stay . The fin a n c ial re p o rt, w hich gave a s m a ll su rp lu s o v e r ex p en ses was m o s t g ratify in g . It was a m o d e st beginning but an augury of the g r e a te r su c c e ss to com e in the fu tu re y e a r s . 76 i iM ajo r S tren g th s of the F i r s t S eason The s tre n g th s in h e re n t to the s u c c e ss of the f i r s t s e a so n of the R am o n a P a g e a n t e m e rg e c le a rly upon an a ly sis of the elem en ts which I com bined to o rig in a te and pro d u ce the show. C onditions in S outhern C a lifo rn ia in 1923 w e re a lm o st p e rfe c t for the su c c e ss fu l p ro d u ctio n of an outdoor d ra m a . O utdoor p roductions iw ere alre a d y a p opular fo rm of e n te rta in m e n t, due p rim a rily to the m ild w e a th e r, beautiful c o u n try sid e , burgeoning autom obile tra v e l, fine n etw o rk of ro ad s and lively to u ris t b u s in e s s . The id eal s to ry fo r adap tatio n ex iste d . The book itse lf was a p ro v en n atio n al s u c c e s s . The s to ry was a ffirm a tiv e , with u n iv e rs a l v a lu e s, and its ro m a n tic h is to r ic a l th em e was a popular one in C a li fo rn ia and held p a rtic u la r sig n ifican ce fo r the V alley com m unity. C h e s te r K line and his San Jacin to group had a lre a d y g en e ra te d 7 6 The H em et N ew s, R am o n a P lay E d itio n , 1953, p. 48. 185 a good d eal of e n th u sia s m in the com m unity fo r a production of R am ona by the tim e the H em et b u s in e s s m e n conceived the notion of in c re a sin g the p ro s p e rity of th e ir town th ro u g h a ttra c tin g v is ito rs to the a r e a with a p ageant. G iven th e se id e a l co n d itio n s, the one ele m e n t n e c e s s a ry to weld th e m to g e th e r in o r d e r to b rin g the idea to fru itio n w as the rig h t kind of le a d e rsh ip . F o rtu n a te ly fo r the V alley, G arn et H olm e filled this p o sitio n . An e x p e rie n c e d pageant m a s te r , he p o s s e s s e d a background of s u c c e s s fu l outdoor p ro d u c tio n s, an u n d erstan d in g of com m unity r e s o u rc e s , and th e v ery im p o rta n t ab ility of uniting a com m unity in a c o n c e rte d effo rt. And so the p r im a r y stre n g th co n trib u tin g to the f ir s t y e a r 's s u c c e s s of The R am ona P a g e a n t was s tro n g le a d e rsh ip . This p rim a ry s tre n g th infusing the e x istin g e le m e n ts gave b irth to the o th er m a jo r s tre n g th s . H o lm e 's fid elity to the novel in his s c r ip t adaptation p re s e rv e d and enhanced the q u alities th at had m ade the novel p o p u la r -- an a f fir m ative s to ry of u n iv e rs a l v alu es couched in h is to r ic a l ro m a n tic ism . His s c r ip t w as beautifully adapted to the se ttin g in w hich it was p re se n te d . It w as w ritte n in such a way th a t w ith his e x p e rt stag in g and d ire c tio n , the blend of p ro fe s sio n a l a c to rs in the leads and lo cal ta le n t in the s u p p o rtin g ro le s and groups m ain ta in e d a high sta n d a rd of p roduction and a t the sa m e tim e in su re d com m unity involvem ent. 186 The opportunity for the com m unity to be involved in the p ro d u c tion its e lf, to c o o p e ra te in the p re s e rv a tio n of the ro m a n tic is m of th e ir own a r e a , and to ex p e rie n c e the p rid e of p re se n tin g a quality show to o u ts id e rs , c re a te d a sw ell of com m unity e n th u sia sm fo cu sed on c r e a t ing its own tra d itio n . H o lm e's own intention w as to m ake the P a g e a n t an annual event, and he knew th at in o rd e r to do this the f ir s t show m u s t be a fin a n cial su c c e ss to m ain ta in th e in te r e s t of the b u sin ess com m unity. T h e r e fo re , by in stig atin g the g u a ra n to rs lis t, keeping his own fee m in im a l, suggesting lim its be s e t on p roduction and publicity b udgets, and e n listin g the voluntary s e rv ic e s of the people of the co m m u n ity , he p r o duced the show on a s h o e strin g budget, th ereb y in su rin g th a t no one p e rso n would lo se m o re than fifty d o lla rs should the show fail. This sound b u sin e ss p ra c tic e in stig a te d by H olm e, com bined w ith the e x te n sive co o p eratio n of S o u th ern C a lifo rn ia c h a m b e rs of c o m m e rc e and n e w sp a p e rs in fu rn ish in g f re e publicity, esta b lish e d a b ase of fin an cial s e c u rity fo r the P a g e a n t th a t v e ry f ir s t y e a r. G en eral conditions e x iste n t in S outhern C alifo rn ia, the popu la rity of the novel R a m o n a ,and the ro m a n tic e r a it re p re s e n te d , the ex ten t of the publicity cam paign and the e n th u sia sm of the com m unity itse lf stim u lated public in te r e s t in the show and produced the audience th at f i r s t y e a r which in su re d the continuance of the P ag e a n t. 187 B riefly r e ite ra te d , the five m a jo r stre n g th s of the f i r s t y e a r w ere: 1. S trong p ro fe ssio n a lly o rie n te d le a d e rsh ip . 2. An a ffirm a tiv e s to ry of u n iv e rs a l values and lo cal s ig n ifi can ce, couched in h is to r ic a l ro m a n tic is m , and produced fo r the p u rp o se of e n te rta in m e n t. 3. C om m unity e n th u siasm . 4. F in a n c ia l se c u rity . j 5. An in te re s te d public. T im e has p roved th a t G a rn et H olm e s tru c k the p e rfe c t b alance o r blend of in g re d ie n ts that f ir s t y e a r to p ro d u ce and p e rp e tu a te s u c c e ssfu lly The R am o n a P a g e a n t. C on scio u sly o r u n co n scio u sly he 77 c lo se ly follow ed the p re c e p ts of Louis P a r k e r , p a rtic u la rly with r e g a rd to stro n g le a d e rsh ip , in sp irin g d ra m a of h is to r ic a l and g e o g ra p h ic a l sig n ifican ce, com m unity involvem ent, and fin a n cia l s e c u - 78 rity . To th ese he added ju s t enough p ro fe s s io n a lis m to in su re a q u al- 79 ity production, and yet not im pinge on com m unity p ro p rie to rs h ip . 77 No doubt the fa c t th at they w ere both E n g lish m e n of the sam e c u ltu ra l background is of im p o rta n t sig n ifican ce, but the proof of th at is beyond the scope of this study. ^ S u p r a , p. 26, n. 34. 79 The com m unity has (with r a r e exception) fe lt stro n g affection and p ro p rie to ry p rid e fo r the p ro fe ssio n a ls involved, and the p r o fe ss io n a ls have c o n siste n tly been in stru m e n ta l in elev atin g the p e r fo rm a n c e s of the lo cal a c to rs . 188 The R e m a in d e r of the H olm e E r a , 1924-1928 f | As h is to ry is divided into e r a s by the p a tte rn s of events of the i Jphysical w orld and the people upon it, so the P a g e a n t re c o rd is divided into e r a s . F i r s t was the H olm e p erio d , divided betw een the e s ta b lis h m e n t of the o rg a n iz a tio n , including se ttin g the p roducing p ro c e d u re s and those of the ac tu a l p ro d u ctio n through its f i r s t seaso n ; then the continuing of th o se p o licies and p r o c e d u re s , adapting to the c irc u m - i (Stances that a ro se during H olm e's rem aining y ea rs. I The s u c c e s s of the P a g e a n t in that f i r s t y e a r and in subsequent y e a rs w as the r e s u lt of H o lm e's p o licies and p r a c tic e s , fundam entally. I [R am ona w as fo rtu n a te in its m an a g e m e n t and a r tis ts ; a lso , in its iaudiences. B efo re d e s c rib in g the r e m a in d e r of the H olm e e r a , a b rie f in q u iry into the n a tu re of the audience is illu m in atin g . I The y e a r s of 1924 th ro u g h 1928 w ere p ro sp e ro u s ones fo r the co untry. The population of S outhern C a lifo rn ia was in c re a sin g rapidly, I jin r e s p e c t to both new re s id e n ts and to u r is ts . A utom obiles w ere being produced on a la rg e s c a le and w e re becom ing m o re and m o re a m ean s of r e c re a tio n . With th e ir in c r e a s e , new ro ad s w ere being bu ilt and old ones re p a ire d . And C a lifo rn ian s w ere developing th at habit th at asto n ish ed v is ito rs and new re s id e n ts : the w eekend outin g s, by c a r , to see the sig h ts of the beautiful s ta te . The H em et-S an Jacin to V alley was w ithin e asy driving d istan ce of San B e rn a rd in o , R iv e rsid e , Los A n g eles, and the c o a s ta l c itie s fro m 189 Santa B a r b a r a to San Diego; and fro m the inland d e s e r t co m m u n ities as jwell. In a s e n se , the V alley w as the g eo g rap h ical hub of the S outhern i jCalifornia a re a . But like a c u l- d e -s a c tucked away in the h ills , it was off the beaten path of the burgeoning n etw o rk of ro ad s that connected those c itie s at th at tim e. i The p ro b le m was to b eco m e a destination; to draw people off the b eaten path and into the V alley. ‘ I The R am ona P a g e a n t began to solve this p ro b le m . Its popularity in c re a s e d during th o se la tte r H olm e y e a rs to the point th a t attendance a£ the play was 15,203 in 1928, an in c re a s e of m o re than five tim e s th e ! 80 jattendance of 3,023 in 1923. And the to ta l re c e ip ts had clim b ed to i 8 i $19, 925. 97, as c o m p a re d to the $3, 672. 36 of 1923. The publicity and m an a g e m e n t p ra c tic e s e sta b lish e d the f ir s t y e a r continued and im p ro v ed d u rin g the H olm e e r a . T e stim o n y of th eir su c c e ss is p e rh a p s b e s t illu s tra te d by the fa c t th at The R am o n a P ag e a n : ibecam e m uch b e tte r known and re m e m b e re d in m any in sta n c e s than the i ! co m m u n ities th a t produce it. P eo p le have h e a rd of the P a g e a n t but often cannot re m e m b e r ju s t w h ere in C alifo rn ia it is held. ^ S e e A ppendix A. 8 1 u .a Ibid. . ^ 0 ' • I i ! M an a g e m e n t j T he m o s t im p o rta n t change th a t o c c u r re d in the H olm e e r a , i 5 a f te r the e s ta b lis h m e n t of the P a g e a n t as a s u c c e s s , w as in i I m a n a g e m e n t. j T h e re w as no doubt th a t H olm e w as the fin a l a u th o rity , but the • c h a in of c o m m a n d f ro m H olm e down w as not th a t c le a r . M rs . S. C. i M ille r w as the c h a irm a n of the R am o n a P a g e a n t G e n e ra l C o m m itte e the? f i r s t y e a r i h e r n am e w as m e n tio n ed s e v e ra l tim e s in the accounts of the i i f i r s t y e a r , and R ay n o r w ro te in his a r tic le , "I doubt if we can re a liz e j i th e value of the w o rk of M rs . S. C. M ille r . . . ," but ju s t w hat she ! 82 did w as q u ite vague. The point w as th a t R a y n o r, u n d er H o lm e, did th e w o rk . ' ■ | R a y n o r continued to m an ag e the P a g e a n t th ro u g h the 1924 s e a son. He w as in m any w ays an e x c e lle n t m a n a g e r - - a n in te llig e n t, e ffi c ie n t, and w illing w o rk e r w ho, w hen a d e c isio n had to be m a d e , p r e f e r r e d to c o n fe r with one m o re know ledgeable than h im se lf, u su a lly H o lm e. H is m o d e sty w as p e rh a p s both an a s s e t and a d raw b ack , a t l e a s t in r e s p e c t to his own s e lf - in te r e s ts . In the p r o g ra m of th e f ir s t y e a r , he w as not d e sig n a te d as " M a n a g e r," and his only m en tio n w as as 82 The H em et N ew s, R am o n a P la y E d itio n , 1953, p. 49. It is th e a u th o r 's opinion th at M rs . M ille r 's so c ia l p ro m in e n c e p robably acco u n ted fo r h e r ap p o in tm en t to the c h a irm a n sh ip . 191 one am ong a n u m b e r to whom th e g e n e ra l c o m m itte e p a rtic u la rly ! 83 jextended its s in c e re thanks and a p p rec ia tio n . E x c e rp ts fro m two i (letters w ritte n in M a rch of 1924 to M rs . S. C. M ille r, who by th a t {time had m oved to Los A n g eles, give good in sig h t into R a y n o r's gentle (diplom acy. In the f i r s t le tte r dated M a rc h 6 th, he show ed his c o n c e rn I (about the opposition th a t had a r is e n o v e r Sunday p e rfo rm a n c e s : i I a m of the opinion th a t it would be w ell to w o rk M r. B ry an t ; to have c h a rg e of the tic k e ts and to have M r. M c F a rla n d have ch arg e of the g ro u n d s. M r. B ry a n t is v e ry efficien t and he was j opposed to having the P a g e a n t on Sunday, so I w ant to give h im a j good la rg e job. I (His second le tte r of M a rc h 11th was new sy and in d icated his h o n e st j co n c e rn fo r the w elfare of the P a g ea n t. He b eg an by d e sc rib in g the I {poor luck the ox te a m and c a r r e t a had e x p e rie n c e d on the f i r s t day out,j i due to the oxen "acting up in the w o rst kind of w ay ." He w ent on to d isc u ss the id e a of s e a t cushions and o th e r m o n e y -m a k in g sc h e m e s I su b m itted to h im . j j My id ea is th a t we should n o t c o m m e rc ia liz e things too m u ch up h e re . Too m u ch fancy things fo r sa le and too m u ch c o m m e r c ia l is m would b re a k up the th e m e of o u r play. I am of the opinion th a t M r. H olm e would o b ject to it. . . . I have not h e a rd fro m J M r. H olm e w h ere he is. I c e rta in ly would be glad to know w here he is so I could co n fer w ith him . H is p lain tiv e c o n c e rn c le a rly in d icated th a t H olm e gave the advice and m ad e the d e c isio n s, u sin g the b e s t q u alitie s of B u rd ette 83 P r o g r a m of The R am ona P a g e a n t, 1923 (Appendix F ). 192 ' R aynor to c a r r y th e m out. It also gave a clue to w hat m u st have been ;a difficult situ atio n fo r R a y n o r--H o lm e being a lm o st co n stan tly on the .road and difficult to co n tact. It has been the P a g e a n t's good fo rtu n e to jso often have the rig h t m an fo r the rig h t job; in th a t in sta n ce and at thal i jtime it was R ay n o r. F o r had he d isa g re e d w ith H olm e o r stood in i jopposition to h im , the re su ltin g s c h is m am ong the V alley people would j | I jhave en d an g ered the com m unity co o p eratio n , e n th u sia sm , and unity of | p u rp o se th at m ade m uch of the P a g e a n t's s u c c e ss . J Since H olm e had re fu se d to have anything to do w ith V irg in ia | ! | jCalhoun p e rso n a lly , it was R a y n o r's doggedness and diplom acy (fol- j lowing H o lm e 's advice) th at se c u re d fro m h e r the rig h t to do the s c rip t| I ' I land P a g e a n t. In all, R a y n o r's ability to follow H o lm e 's d ire c tio n s , his 'w illin g n ess to do so, and his n a tu ra l k indness and good s e n se m ade hirr. I i |th e ideal m a n a g e r fo r th a t f ir s t y e a r - - p e r h a p s for any y e a r , but c e r - :tainly fo r th at opening se a so n . R ay n o r m anaged the nex t se a so n , and i then, though he left the m a n a g e r's p osition, he continued his active ; in te r e s t in the P ag e an t. The m o s t d ra m a tic trib u te to h im , when one j thinks about the v e ry u n d ra m a tic q u alities of sile n t s e rv ic e and selfless | | devotion, w as th at his n am e did not a p p e a r anyw here on the 1924 p r o g ra m ! Nothing s im ila r w as the c a se of the m an who su cceed ed R aynor i 1 in 1925. I J The n am e E d w ard P o o rm a n a p p e a rs in bold face type on the j fro n t of the 1925 p ro g ra m . It is , in fa c t, in the la r g e s t, b o ld est type used f o r n am es on th at p ro g ra m , including th o se of H elen Hunt Ja c k so n and G a rn e t H olm e! But ag ain the P a g e a n t had found the rig h t m an fo r the rig h t job at the rig h t tim e , R aynor not being av a ila b le . P o o rm a n 84 m an ag ed the P a g e a n t f ro m 1925 through 1934, d e fe rrin g to no one but t i H olm e, who p roved to be an e x p ert in dealin g w ith h im . | ; j I Having in h e rite d fa rm la n d and so m e w ealth fro m his fa th e r, I | I ip o o rm an w as a s u c c e s s fu l f a r m e r w hose m ean s and occupation allow ed| : j h im am p le tim e to spend on the P a g e a n t. He had been a stu d en t a t i I ! [B erkeley, and th ro u g h being in one of th e p lay s, had becom e acquaintedj iwith H olm e, the d ire c to r. As m entioned e a r l i e r , H olm e had co n tacted j 85 j him sh o rtly a fte r e n te rin g into the n eg o tiatio n s fo r R a m o n a . P o o r - j ! ! jman had been v ery helpful th a t f ir s t y e a r , advising H olm e on lo cal j i iacting ta le n t (he had long been influential in V alley d ra m a tic ac tiv ities) jand helping with the p ro d u ctio n in g e n e ra l. He a lso played the ro le of iJuan C anito, the old ra n c h o v e r s e e r , f ro m the f i r s t y e a r through 1934, ■ 86 so he was c o n v e rsa n t w ith the production m a tte r s . P o o rm a n had m an y q u alificatio n s fo r the m a n a g e r of a stru g g lin g e n te r p ris e . He had g r e a t e n th u sia sm and c o n c e rn fo r th e P ag ean t. He i 84 P r o g r a m s of the P ag ean t, 1923 through 1934 (Appendix F). 85 S u p ra , p. 160. 8 6 P r o g r a m s of the P ag ean t, (Appendix F). jwas p e rso n a b le and c h a rm in g o r h a rd -h e a d e d and sh re w d , as the s itu - i ation d em anded. He w orked long h o u rs , devoting g r e a t en erg y to p ro - ! jmoting the p roduction. He w as capable of m aking d ecisio n s a n d --o f igreat im p o rta n c e to the P a g e a n t a t that tim e - - h e was a p en n y -p in ch er ( i j and a m a n who dem anded, and u su ally re c e iv e d , s e rv ic e s fro m in d i v id u als f a r beyond th e ir c o n tra c te d o bligations. W hile th e re is su f- j ! | fic ie n t evidence in B o ard m in u tes and c o rre sp o n d e n c e to su p p o rt the i l i t co n clu sio n th a t P o o rm a n connived to e lim in a te th o se w hom he im aginedj .th reaten ed his au th o rity , th e se ten sio n s w ere held w ithin the "fa m ily ," J ; I so to sp eak , and they had no aw kw ard effect on h arm o n io u s com m unity j j involvem ent. With the exception of a h iatu s fro m 1935 through 1937 j P o o rm a n was on the B o ard of D ire c to rs fro m 1926 th ro u g h 1952; at 87 th at, in 1936 he was liste d as being on an ad v iso ry c o m m itte e . D u r- I I I jing H o lm e 's e r a , P o o rm a n w as "w orking up"; a fte r H o lm e 's death, in j i 19291 P o o rm a n took o v e r. In m an a g e m e n t, he was th e outstanding i in flu en ce, a fte r H olm e. He was not th e b e s t b u s in e ssm a n , but u n q u e s tionably he w as the m o s t in flu en tial P a g e a n t m a n a g e r, o v e ra ll. One of the changes th a t s u c c e ss and continuation bro u g h t upon I the P a g e a n t w as the n e c e s s ity fo r additional c o m m itte e s - -th a t is, 195 people to do the d etail w ork. In 1924, c o m m itte e s fo rm e d w ere P u b - 1 jlicity, with I. E . F a r r a r as ch a irm a n ; Bowl S u p e rv is o rs , J. R. Bell; I ;Auto P a rk in g , H. R. W ilson; A d m issio n s, Guy S tew art; and U s h e rs , ' 88 |S. C. Moon. In 1925 cam e additional c h o re s: F i r e P ro te c tio n , J. H. ! jSpencer; C o n c e ssio n s, H en ry G. W eston; T ra n s p o rta tio n , R o b e rt ! jR ecord (he was one of the loyal, quiet s ta lw a rts who y e a r a fte r y e a r i did the job efficiently and could alw ays be counted on for e x tra effort); ^D ecorations, M rs . E r n e s t E inquist; F i r s t Aid, M iss G race W eston; 89 jand S e a ts, C. C. Abbey. The w ork of the P a g e a n t, o th e r than the i !actual stag e p ro d u ctio n , could be re a d in th e se c o m m itte e s. One of the m o st s e v e re te s ts of the P a g e a n t, and e sp e c ia lly of m an ag em en t, cam e in the second s e a so n , w hile R aynor w as s till m a n a g e r. The d read ed hoof and m outh d is e a s e s tru c k S outhern C alifo rn ia. I | In 1924 the play was postponed b e c a u se of the foot and m outh j d ise a se p re v a le n t am ong the c a ttle of S outhern C alifo rn ia. The play was sch ed u led fo r the sp rin g show ing T h u rsd ay , F rid a y and S atu rd ay , A p ril 10th, 11th and 12th, but the play w as not p re se n te d until a fte r the epidem ic w as o v e r, the dates being May 30th and 31st, and June 1st, 1924. As a r e s u lt of this p o stp o n em en t, the P ag e an t C o m m ittee su sta in e d a lo ss of $3300. 00. By public su b sc rip tio n , the $3300.00 w as ra is e d , all b ills w ere paid and the d o n o rs' n a m e s w ere filed in o u r safe fo r fu tu re re fe re n c e . A fter . th re e o r four y e a r s , e v e ry cen t of the m oney was re tu rn e d to the d o n o rs .90 89^ Ibid. 90 E d w ard P o o rm a n , "R am ona P a g e a n t N o tes," San Jacin to V al- lley R e g is te r, July 19» 1948. 196 This se tb a c k in th e ir second y e a r of p ro d u ctio n could have .spelled the end of The R am ona P a g e a n t, and p e rh a p s would have, had i jit o c c u rre d the f i r s t y e a r. B ut in 1924 the e n th u sia sm and im ag in atio n |of the com rpunity had been g e n e ra te d by G arn et Holm e; the sw eet fe e l- 'ing of s u c c e ss and the in c re a s e d b u sin e ss the V alley had enjoyed the [previous y e a r w ere s till f r e s h in m e m o ry . And the d ecisio n to go ! 1 I I I ahead with the P a g e a n t as soon as the q u a ra n tin e was lifted paid off. | I . i | As The H em et News re p o rte d it: j ! A ttendance at the second annual R am o n a P a g e a n t, given la s t I F rid a y , S atu rd ay and Sunday u n d er the a u sp ic e s of the H em et-S an j Jacin to C h am b er of C o m m e rc e , was 3871. C ash re c e ip ts exceeded $3, 600, it is re p o rte d . All m a rk s e sta b lish e d by the P a g e a n t la s t y e a r w e re broken. . . . In the opinion of the g e n e ra l c o m m itte e and b u sin e ss m en of H em et and San Jacin to the s u c c e s s this y e a r e sta b lish e d the i R am ona P a g ea n t as an annual event. P la n s a re alre a d y being m ade fo r nex t y e a r 's presentation.*^* ! ' An im p o rta n t change was m ade in the 1925 seaso n : the dates | w ere changed fro m th re e days of one w eekend to fo u r days divided betw een two w eekends. As The H em et News re p o rte d it: j The d ire c to rs w e re e n th u sia stic o v er the p ro sp e c ts fo r n ex t y e a r 's production. The d e c isio n to hold it on two w eekends was | b ased on the b elief th a t the f i r s t two p e rfo rm a n c e s would a d v e r tis e the second tw o.92 91 The H em et N ew s, June 6, 1.924, se c . I, p. 1. ^ T h e H e m et N ew s, N ovem ber 21, 1924, p. 1. 197 ‘ The d e cisio n p roved fo rtu ito u s; the in c re a s e d m e tro p o lita n publicity ’ and the s p e c ia l tra n s p o rta tio n a rra n g e m e n t n eg o tiated w ith the M otor iT ra n sit C om pany com bined to m o re than trip le the atten d an ce of the jfirst y e a r. The a rra n g e m e n t the P a g e a n t had with the M otor T r a n s it C o m - jpany, a d iv isio n of the P a c ific E le c tr ic R ailw ay, ra n fro m 1925 through jat le a s t 1935. The T ra n s it C om pany ra n sta g e s fro m Long B each, i I Los A n g eles, P o m o n a , O n tario , R iv e rsid e , P e r r i s , and in the la te r j : i jyears fro m P a s a d e n a and o th e r lo catio n s. They ch a rg e d a no m in al | i j icoach f a re and w ere issu e d blocks of the R am o n a one d o lla r tic k e ts , j w hich they w e re allow ed to s e ll fo r sev en ty -fiv e c e n ts. They pu b li- j , ! cized the P a g e a n t e x c u rsio n s on th e ir radio p ro g ra m and c a r r ie d 93 ;P ageant b a n n e rs on the sid es of th e ir sta g e s. I ' E n c o u ra g e d by s u c c e s s , the P a g e a n t began to m ake im p ro v e - i jm ents. The lis t of c a p ita l im p ro v e m e n ts show ed th a t in 1925 a fen ce, i b rid g e , and r e s tr o o m s w e re b u ilt a t the bowl, the to ta l c o s t of th e se 94 ite m s being $302.28. T h e re is so m e confusion about a " ro a d " being (Constructed d uring th is p erio d . In the fin an cial sta te m e n ts of the P a g - j jeant, the f i r s t ite m re g a rd in g a ro ad a p p e a rs in the 1927-1928 s e a so n 93 M otor T r a n s it file , R e c o rd s of the R am o n a P a g e a n t A sso ciatio n . 94 A lis t of c a p ita l im p ro v e m e n ts was a s se m b le d fro m the fin a n cial s ta te m e n ts and a p p e a rs in A ppendix C of th is study. r e c o r d s , a t a c o s t of $476; th e re is no e n try in the 1924-25 r e c o rd s noi^ i any in th e 1925-26 r e c o rd s m en tio n in g a road. Y et in the A p ril 19# 1940 R a m o n a P la y E d itio n of The H em et N ew s, an a r tic le on the p la y 's h is to r y (p. 1 0 ) d e s c rib e d the f i r s t m a jo r im p ro v e m e n t as an au to m o b ile ro ad up the h ill, "but th e re w as s till no p ark in g s p a c e , and the d r iv e r s of the c a r s w e re fo rc e d to re tu rn to the level and e ith e r c a tc h a rid e o r w alk to th e ir s e a t s ." In 1961, the R am o n a P la y E d itio n m en tio n ed the I m a tte r ag ain , w ith a slig h t change; this a r tic le re a d , "T he f i r s t m a jo r j im p ro v e m e n t w as m ad e in 1925 when an autom obile ro ad w as co n - 95 s tr u c te d up the h ill, w ith a tu rn in g a r e a a t the to p ." In r e s e a r c h in g I th is m a tte r , the w r ite r could find no fa c ts on the s u b je c t, but the m o s t lo g ic a l co n clu sio n would a p p e a r to be th a t in 1925 a d irt ro ad w as c le a r e d to the top of the h ill by v o lu n te e r la b o r, h e n c e , no c o s t. It p ro b ab ly w as im p ro v e d in 1927. , ! The a r tic le on the "R am ona B ow l" in the 1940 R am o n a P la y E d i- I tion told th a t "the f i r s t c o n c re te s e a ts w ere c o n s tru c te d in 1 9 2 6 when a 1 ; g ro u p of 24 valley m e n m ad e up a fund of $2400 fo r the p u rp o se . F ro n v th at tim e on the se a tin g se ctio n h as b e e n stea d ily e n la rg e d and im - j 96 97 ^ p ro v e d ." T w e lv e-h u n d red s e a ts w e re built th a t y e a r . In te re s tin g ! 95 I The H em et N ew s, R am ona P la y E d itio n , A p ril 20, 1961, ; p. 44. 96 The H em et N ew s, R am ona P la y E d itio n , A p ril 19# 1940, p. 1 0 . 97 i See A ppendix C. ] 199 ad d itio n al in fo rm a tio n c am e fro m Ed P o o rm a n , in an in te rv iew taped i I jby R alph F re u d : i ! We d e c id e d --p e o p le got tire d of sittin g on the ro c k s, and the i snakes d id n 't help out e ith e r, so we decided to do som ething about i it, and b e c a u se we thought of a p e rm a n e n t p ro p o sitio n we decided I on cem en t. . . . "W ell," I sa id , " I'll go down and see F ra n k M ille r [ow ner of the M issio n Inn, R iv e rs id e , C a lifo rn ia ]. . . who I'd done a g r e a t fa v o r fo r at one tim e . And so I went to the ! Inn and I s a id , 'F ra n k , we need cem en t s e a ts . . . .' " So he goes | and calls H. E. H untington . . . th a t's w h ere he got a ll his m oney, i . . . He sa id , "Now you go on and do n 't b o th e r about it . . . but i they alw ays like to have th e ir bags back. "9® I I jP o o rm an went on to te ll F re u d of the designing of the se ats: i . . . S tetso n and I designed the s e a ts . . . the r e s u lt of m y sittin g in the G reek T h e a tre at B erk eley . . . [the s e a ts ] w ent s tra ig h t back and s tra ig h t up and th e se people w ere on the b ack of your c o a t... . . and you co u ld n 't put your legs u n d e r you. So I r e m e m b e re d all th o se things . . . [the Bowl] s e a ts w ere designed as a re s u lt of m y sittin g in the G reek T h e a tre and liste n in ' to a lot ' of hooey. . . .99 In 1927, an o th er in c re m e n t of 1200 c o n c re te s e a ts and 3000 wooden b le a c h e r s e a ts w e re c o n stru c te d . The follow ing ap p eared u n d e t '"A c k n o w led g em en ts" in the 1927 p ro g ra m : "T he f ir s t two u n its, c o n s i s t i n g of 2400 of a p ro g ra m calling fo r 6 0 0 0 ce m e n t s e a ts , have been I in sta lle d in R am ona Bowl. F o r the f i r s t u n it of 1200 s e a ts , cem en t ' . . 1 0 0 w as donated by the R iv e rsid e P o rtla n d C em en t C om pany." F ra n k 98 R alph F re u d in te rv iew of E d w ard P o o rm a n , San Jacin to , C alifo rn ia, ap p ro x im a te ly I960. 99T , . , Ibid. * ^ ° P ro g ra m of The R am o n a P a g e a n t, 1927 (Appendix F). 2 m jM iller and H. E . H untington w e re not m entioned. F o r a n u m b e r of i ^years, the p ro g ra m s c a r r ie d this acknow ledgem ent and c o m p lim e n ta ry .'tickets w ere se n t to the ex ecu tiv es of the com pany, i It is in te re s tin g to note th a t in 1926 the goal they esta b lish e d t fo r the bowl w as a se a tin g cap acity of 6000. W ith this goal a c c o m - .plished, the m a x im u m atten d an ce fo r the six p e rfo rm a n c e s would be |36,000. In 1963, fo r the f ir s t tim e , the atten d an ce s u rp a s s e d this e a r ly d re a m , to talin g 36, 7 0 2 .^ * j By June 30, 1928, the end of the fis c a l y e a r , the P a g e a n t jowned 1 0 0 a c r e s ; a w ell and a fountain had been in sta lle d a t the bowl; tr a ils had been c le a re d ; plants s e t out; and the ro a d im p ro v ed . The R am o n a P a g e a n t A sso c ia tio n had a to tal of $14, 076. 76 in land and capi-l . . 102 J tal im p ro v e m e n ts , the lio n 's s h a re of t h a t - - $ 8 , 281. 4 8 - -in s e a ts . I | U ntil The R am o n a P a g e a n t A sso c ia tio n w as fo rm e d on N ovem bey |29, 1927, the P a g e a n t b u sin e ss w as handled in a r a th e r h i t - o r - m i s s fash io n . D ecisio n s re g a rd in g bowl im p ro v e m e n ts w e re m ad e by the P a g e a n t G e n e ra l C o m m itte e, and the c o n sc rip tio n fo r the g u a ra n to rs lis t w as handled by the C h a m b e rs of C o m m e rc e . But all m a tte rs re m o te ly re la tin g to p ro d u ctio n w e re decided by H olm e. H ow ever, G a rn e t H olm e was often difficult to lo cate. * ^ S e e A ppendix A fo r atten d an ce re c o rd s . 102 See A ppendix C, Land and Im p ro v e m e n ts. H olm e was involved in p ro d u ctio n s fro m one end of C alifo rn ia to the o th e r, and he freq u e n tly w ent ab ro ad . It w as evident th a t he l Idevoted h im s e lf to tally to w h ich ev er p ro je c t he was involved w ith at thej m o m e n t. On D e c e m b e r 12, 1922, he w ro te on sta tio n e ry head ed "The t I M ountain, F o r e s t and D e s e rt P l a y e r s " to "My d e a r M r. R a y n o r" th a t j j he was in the n o rth e rn p a r t of the s ta te , "v ery busy in planning events | ; I fo r the n ex t s e a s o n ." H e ask ed R ay n o r to in fo rm h im as to how things j i stood in r e g a rd to R a m o n a , but re m a rk e d th at he p r e f e r r e d to d isc u ss : : i |it in an in terv iew . He o ffered to com e south if th e re seem ed to be ' ■ i I ^grounds fo r a g re e m e n t, but a sk ed R ay n o r to "w rite to m e as fully as : you can"; if the conditions se e m e d rig h t, he would m ake the trip . He i 1 c lo se d , tru s tin g s in c e re ly "that the P la y can be put on." A le tte r to j E d w ard P o o rm a n , w ritte n M a rc h 6 , 1927, show ed h im to be c o n siste n t. i "'I find th a t th e d ates fo r R am o n a cu t sq u a re ly a c r o s s this P ro d u ctio n i •[the M ountain P lay ] in the N orth. I am not at a ll in fav o r of leaving the j R am o n a P la y a fte r its f i r s t p ro d u ctio n on S atu rd ay and Sunday A pril 30th and May 1 st." F a r th e r on, he in d icated "I sh a ll be South very e a rly in A p ril and re ad y to u n d e rta k e w h atev er re h e a rs in g of new and ;old p a r ts is e s s e n tia l." He c lo se d by asking P o o rm a n to " P le a s e let I :m e h e a r fro m you a t y o u r e a r lie s t convenience, both in r e g a rd to te rm s :and also about any d eta ils of p e rso n n e l, both p rin c ip a l, m u s ic a l and I i jte rp s ic h o re a n ." A p p aren tly P o o rm a n had w ritte n h im about the con- | jtem plated th re e -w e e k e n d ru n (which was in stig a te d that y e a r, and T02~ b ecam e tra d itio n a l), fo r H olm e co m m en ted in his u su al thoughtful, a g re e a b le way: The th re e w eek ru n is som ew hat of an e x p e rim e n t, e s p e c i ally with r e g a rd to the prolonged s e rv ic e of the P la y e r s . On the o th e r hand I am s u re fro m the w e ath er r is k point of view it is a good thing. This le tte r, in cid en tally , w as w ritte n on "D ep a rtm e n t of the I n te rio r, 103 N ational P a r k S e rv ic e " statio n ery . It was h is habit to begin lining up his schedule fo r the y e a r in D ecem b er o r Ja n u a ry , as his le tte r, above, to R aynor in d icated . F ro m Ja n u a ry until s ta r t of re h e a rs a ls (usually the beginning of A p ril), he engaged in lengthy c o rre sp o n d e n c e with the m a n a g e r, o r m e t him p e rio d ic a lly in Los A ngeles to co n fer. H ow ever, th ro u g h r e h e a rs a ls and production, he devoted his e n tire (energy to R a m o n a. That c lo se d , he was off im m e d ia te ly to r e h e a r s a ls fo r the Mt. T a m a lp a is show at 104 the M ountain T h e a tre . He was p rone to leave the V alley in such a ru sh he freq u en tly fo rg o t som e ite m of p e rso n a l belonging. In 1925, P o o rm a n found H o lm e 's pipe in his c a r; ^ in 1926 he fo rg o t his c a m e ra ; and in * ^ S e e A ppendix L. 104 T h eo d o re Ju n io r Shank, "G a rn e t H olm e: C a lifo rn ia P a g e a n t M a k e r" (unpublished M a s te r 's th e s is , U n iv e rsity of C alifo rn ia a t Los A ngeles, 1953), p. 150. 105 L e tte r fro m P o o rm a n to H olm e, O cto b er 18, 1925, P a g e a n t file s. ^ ^ L e t t e r fro m R aynor to H olm e, M ay 17, 1926, P a g e a n t file s. 203 ' 107 1927 he fo rg o t his " lu m b e r-ja c k s h ir t." A ll of th is show ed th a t fro m M ay to J a n u a ry , H olm e was r a th e r i ^difficult to c o n tact and as a consequence, m o st P a g e a n t b u sin e ss was i j conducted betw een J a n u a ry and M ay each y e a r. I I I ! In the y e a r s up th ro u g h 1927 m any m a tte rs a ro s e th a t would j ; ' I I s e e m to be triv ia l, but it was in p a r t P o o rm a n 's clo se atten tio n to th o s 6 • j jm a tte rs th a t e s ta b lish e d the so lid fin an cial b a se and the good public I re la tio n s the P a g e a n t enjoys today. An exam ple of P o o rm a n 's e v e r- i l i Iwatchful eye w as his le tte r of N o vem ber 30, 1926, to M r. C. M. ! 1 ! |M cA dam s of H em et: "We notice th at the c ro p has been h a rv e s te d which i I w as r a is e d on o u r land a t the Bowl and at your e a r lie s t convenience we! : i would a p p re c ia te an accounting of the re n ta l due u s ." M cA dam s r e - j sponded on D e c e m b e r 21, 1926, th at he did not know at the tim e he had (planted his c ro p th a t the land had changed h an d s. He had had a con- i j t r a c t w ith M rs . B row n th a t he would give h e r o n e -fifth of w hat the i (ground p ro d u ced . "I am sending you m y check fo r $20. 00 as I think I ira is e d aro u n d 5 tons off of this g ro u n d ." In 1926, $20 was a size ab le |sum to The R am o n a P a g e a n t o rg an izatio n . i P o o rm a n , like m any p io n e e rs, had his tro u b le s with the Indians [He w ro te to D r. C hilcott, re s id e n t p h y sician of the Soboba Indian R e s - j ierv atio n , lo cated about th re e m ile s n o rth e a s t of San Jacin to : 107 | Ibid. , May 11, 1927. 204 j i I am en clo sin g h e re w ith an o r d e r fo r the a d m issio n of fo rty Indians to the P a g e a n t S atu rd ay , A p ril 24th, only, as p e r m y c o n v e rsa tio n w ith you. It is u n d ersto o d th a t it is good on th a t day only and we w ill not be a sk ed fo r any f re e a d m issio n s fo r Indians on any o th e r day. Kindly p e rso n a lly accom pany the Indians on th at i day and p re s e n t the en clo sed le tte r to M r. Guy Stewart.*®® j F o r a ll the d iffe re n c e s betw een the re d m an and the w hite m an even in ; ! I 1 1 9 2 6 , the tone of the le tte r se e m e d in conflict with the in ten t of the ! Iplay, R am ona. ! ! I ! In a le tte r to the H em et-S an Jacin to C h a m b er of C o m m e rc e , j i a d d re s s e d fro m the D e p a rtm e n t of the In te rio r , U. S. Indian F ie ld i j ! iS ervice, T h e rm a l, C a lifo rn ia , on M a rc h 17, 1927, a Condino Hopkins ' ; i sta te d th at although the P a g e a n t was sup p o sed to h o n o r the Indian - I i w om an of M rs . J a c k s o n 's s to ry , it was w ell known "th at it is p r i- \ | im a rily a publicity sch em e on the p a r t of the r e a l e s ta te in te re s ts in ;your locality. I a m the son of th is fam ous Indian w om an, and I w ish to I c a ll y our atten tio n to the fact th at the use of h e r nam e in connection I w ith this e n te r p ris e is e n tire ly u n a u th o riz e d by m e. . . . 11 Hopkins stated that the p ro c e e d s n etted th o u san d s of d o lla rs each seaso n ; he thought th a t he should s h a re in the r e c e ip ts . P o o rm a n a n sw e re d that 1 ithe P a g e a n t w as n o n -p ro fit, "ac tu a lly losing m o n ey ," its p u rp o se being " p re s e rv in g the h is to ry and ro m a n c e of C alifo rn ia, and c re a tin g an in te re s t in the beautiful Indian h is to ry th a t we have h e re . . . . " 1 !<; 1 108 | L e tte r to D r. C hilcott, Soboba Indian R e s e rv a tio n , San | Ja c in to , C alif o r n ia . A p ril 2 1 , 1926, P a g e a n t c o rre sp o n d e n c e file s. 205 j He invited Hopkins to com e to the C h a m b er of C o m m e rc e and they i 109 would gladly show h im the books. H opkins, ap p aren tly , n e v e r went to see. j T h e re w e re m any le tte rs to the P a g e a n t, m o stly in p ra is e ; but th e re w ere so m e c r itic is m s t o o . ^ ^ The m o st co m m on co m p lain t w as ! i ! I jagainst the c o n c e s sio n a ire s who sold d uring the play. This w as finally j ! ] 'elim in ated , but had been to le ra te d fo r som e y e a rs b ecau se of the r e l a - | i tively long d istan ce to the c o n c e ssio n stan d s. A lso , a n u m b er of c o m - ' I iplaints w ere m ade about cry in g babies and row dy c h ild re n . P o o rm a n ' brought in G irl S co u ts.as b a b y -s itte rs ; la te r a n u r s e r y was built. Irri-j tation at late a r r iv a ls and people leaving b efo re the play was o v er w erei iother fa v o rite co m p la in ts. In 1923, the p ro g ra m sta te d th a t the play i 'began at "2:30 O 'clo ck "; in 1924, on the la s t page it stated " P r o g r a m ■ s ta r ts at 4 p .m ." The 1925 p ro g ra m changed to 3 P .M . In 1931, the ,p ro g ram re a d " O v e rtu re 2:45 P .M . - - P la y S ta rts 3 P .M ." In 1947, the p ro g ra m re a d " P e rfo rm a n c e s at 2:45." In 1952, " P e rfo rm a n c e s at .2:30." By 1967, it w as back to " P e rfo rm a n c e at 2:45. " In 1970 and a fte r, back to " P e rfo rm a n c e at 2:30." O bviously, m any ap p ro ach es Iwere trie d , but as of 1972, la te c o m e rs a re s till a p ro b lem . H ow ever, L e tte r to Condino H opkins, T h e rm a l C alifo rn ia , M a rc h 19, ;1927, P a g e a n t c o rre sp o n d e n c e file s. 1 HO,, „ I See P a g e a n t c o rre sp o n d e n c e file s. 206 they a r e now held at the b ack of the stad iu m until they can be se a te d at the f i r s t show b reak . In 1924, the p ro g ra m c a r rie d th is re sig n e d I ^request: "The audience is re q u e ste d to re m a in se a te d until the clo se jof the fin a l song and the sound of the bugle. A bsolute sile n c e during p e rfo rm a n c e is re q u e ste d ." This g e n e ra l idea a p p e a re d on all p ro - 1 111 Igram s th e r e a fte r , in one w ording o r an o th er. i T hen th e re w ere co m p lain ts about the o ran g e ju ic e sold, the m aps th a t w ere not e x p licit enough; about the painted ro c k th a t the p ro - Igram ca lle d attention to but th a t nobody could find, and about the s ta te - Iment in a so u v en ir p ro g ra m th a t "R am ona went to live with an o th er | m an, they w ere not ex actly m a r r ie d ." But th e re w e re n e v e r m any j ; t !co m p lain ts about the show itse lf. In 1928, one m an o b jected to the fact! that L uigo, in the scen e w e re he k ills a snake, c a r r ie d a m o d e rn i 112 :A m e ric a n g ard en ra k e . A p itch fo rk was su b stitu ted . i ; Not only did P o o rm a n a n sw e r all th e se c r itic is m s and take c a re I of lo o se ends a fte r each se a so n , he also w ro te le tte rs of acknow ledge- 113 m en t to th o se who had been involved in the p ro d u ctio n s. | He was a good c o o rd in a to r and would p u rsu e a p ro je c t e n d le ssly t !in o r d e r to obtain ju st the r e s u lts he w anted. In 1926, he in stitu te d a * ^ P r o g r a m s of the P a g e a n t (Appendix F). 112 P a g e a n t c o rre s p o n d e n c e file s. U 3 Ibid. . 2T> 7 J i s e a rc h fo r w hat he c o n sid e re d to be the p e rfe c t M adonna fo r the outdoor sh rin e . At one point he contacted W e ste rn C o stu m e C om pany in the i hope th a t they m ig h t advise h im w h ere to find such a M adonna. They Ireplied in an undated te le g ra m , w hich m u s t have been th e so u rc e of I som e c o n ste rn a tio n fo r the te le g ra p h o p e ra to r: UNABLE TO FURNISH MADONNA WITH OR WITHOUT CHILD ! HAVE ONLY CHRIST IN THIRTY INCHES. W ESTERN | COSTUME C O 1 1 4 j One stro k e of b rillia n c e on P o o rm a n 's p a r t w as to e s ta b lis h ! | jvery good re la tio n s w ith R. H. M ack, the s e c r e ta r y of the C h am b er of j I ;C o m m erce of San B e rn a rd in o . M ack w as of g re a t a s s is ta n c e in the ; f ir s t y e a r of the P a g e a n t, and th e r e a fte r . E a ch y e a r he fu rn ish ed : I Ithem w ith in fo rm a tio n re g a rd in g audience atten d an ce at the N ational j : i O range Show, w hich P o o rm a n w rote to M ack, "has been our guide | leach y e a r in p re d ic tin g our atten d an ce and the e s tim a te s have been re m a rk a b ly a c c u ra te . It was to M ack th at P o o rm a n tu rn e d when tim e c a m e to fo rm the R am ona P a g e a n t A sso ciatio n . He w ro te th at the H e m e t-S a n Jacin to I |C h a m b e rs of C o m m e rc e had decided to place the P a g e a n t u n d er its own j _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ I j 2 4 ! T e le g ra m fro m the W e ste rn C o stu m e C om pany, 1926, 'P a g e a n t c o rre sp o n d e n c e file s. 1 ^ L e t t e r to R. H. M ack, San B e rn a rd in o C h a m b e r of C om - jm e rc e , M a rc h 30, 1930, P a g e a n t c o rre sp o n d e n c e file s . The O range iShow is held at San B ern ard in o e a rly each sp rin g , u su ally F e b r u a ry o r i M arch , a m onth o r so b efo re the P a g e a n t. Thus th e ir fig u re s w ere an 'excellent-indication_tQ _R am ona of the g e n e ra l s tate of the audience._____ 208 •m anagem ent, as it had grow n unw ieldy. He re q u e ste d a copy of the i 116 N ational O range Show a r tic le s of in c o rp o ra tio n . -•■:Mack re p lie d two I days la te r that: The N ational O range Show was in c o rp o ra te d fo r the pu rp o se of building its p ro p e rty , and I w ill be v ery glad to send you a copy of its in c o rp o ra tio n a r tic le s and b y -la w s. They a re r a th e r unusual, but I b eliev e you could adapt them to your r e q u i r e m e n t s .^ ^ i The R am ona P a g e a n t A sso c ia tio n was o fficially fo rm e d on j ;N ovem ber 29, 1927, an e x tre m e ly im p o rta n t ste p in in su rin g the j j lo n g ev ity of the R am ona O utdoor P lay . It brought to the lo o sely - j fo rm e d com m unity e ffo rt am an ag eab le, b u sin e sslik e p ro c e d u re , yet | allow ed com m unity co n tro l and involvem ent. j The A rtic le s of In c o rp o ra tio n and the B y-law s of the R am ona ' I i * ^Pageant A sso c ia tio n w ere so w ell put to g eth er th at only tw ice have they *been am en d ed , and then only to change the annual and r e g u la r m eetin g i dates. The A rtic le s define the A s so c ia tio n 's aim s as: 1 1. To p ro m o te the so cia l w elfare of its m e m b e rs and w ork for th e ir m u tu al im p ro v e m e n t, to be u sefu l to the com m unity and to s p re a d such in fo rm atio n , as will advance and elev ate the c iv ic, ed u catio n al and so c ia l w elfare of its m e m b e rs and the com m unity in a ll r e s p e c ts , and to p r e s e r v e fo r p o s te rity the h is to ric a l i ro m a n c e and tra d itio n s of S outhern C a lifo rn ia , all without p ro fit ; to th is c o rp o ra tio n o r a sso c ia tio n and its m e m b e rs . * ^ L e t t e r to M ack, June 2, 1927, P a g e a n t c o rre sp o n d e n c e files 117 L e tte r to P o o rm a n , June 4, 1927, P ag e an t c o rre sp o n d e n c e ! file s. 209 2. To produce each y e a r in the H em et-S an Ja c in to V alley a I RAMONA PAGEANT o r o th e r su itab le e n te rta in m e n t to p e rp e tu a te | the h is to r ic a l ro m a n c e and tra d itio n s of S o u th ern C a lifo rn ia . * I In a few y e a r s , one ite m in the A rtic le s of In c o rp o ra tio n w ill re q u ire j 'another am en d m en t, o r re -in c o rp o ra tin g : A rtic le IV s ta te s , "T hat ! the te r m s fo r which said c o rp o ra tio n is to e x ist is fifty (50) y e a rs fro m and a fte r the date of its in c o rp o ra tio n ." The f i r s t o fficial B o ard of D ire c to rs m e e tin g of the R am ona P a g e a n t A sso c iatio n was h eld on Ja n u a ry 12, 1928. E d w a rd P o o rm a n j jwas e le c te d p re sid e n t, as w ell as being appointed m a n a g e r, and M rs. i , 1 1 9 E m ily F r e e m a n was appointed executive s e c r e ta r y . j P ro d u c tio n dates fo r 1928 w ere s e t as the la s t two w eekends in j i I 'A p ril and the f i r s t w eekend in M ay; P o o rm a n and C h a rle s C. Abbey, I ! t 'the t r e a s u r e r , w ere appointed to negotiate with G arn et H olm e fo r p ro - I j ducing the show. They re so lv e d th at the " c a s t be r e c r u ite d fro m I j H em et fo r two w eekends of the p e rfo rm a n c e and f ro m San Ja c in to fo r I the o th e r w eekend . . ." and appointed c o m m itte e s to in te rv ie w San Ja c in to and H em et School B o a rd s re g a rd in g p a rtic ip a tio n of students in L i 1 2 0 I the play. 118 A rtic le s of In c o rp o ra tio n and B y -law s of the R am o n a P a g ean t A sso c ia tio n (Appendix I). 119 R am ona P a g e a n t A sso cia tio n , M inutes of M eetin g s of the B o ard of D ir e c to rs , m eetin g of J a n u a ry 12, 1928. 120 I b id ., Ja n u a ry 20, 1928. _ 2 T C T The c o m p etitiv e s p ir it th a t ex iste d betw een the two co m m u n ities in th o se days v erg ed on h o stility , and in o r d e r to gain full c o o p eratio n I f r o m both of th em , the f i r s t P a g e a n t c o m m itte e s had to tr e a d c a re fu lly |in th e ir planning in o r d e r not to offend one com m unity o r the o th e r. | The ra tio of $2. 00 fro m San Ja c in to and $3. 00 fro m H em et in financing I ; I land u n d e rw ritin g all funds fo r the pro d u ctio n had been e sta b lish e d j I I i 121 | [according to the re la tiv e populations of the two. U ntil 1928, the j i c a s t was ch o sen acco rd in g to ta le n t and w illin g n ess, but then, although j ' i |no r e c o rd s sp ec ific a lly m en tio n the su b ject, so m e p r e s s u r e m u s t have j ! I -been bro u g h t to b e a r to in su re equal re p re s e n ta tio n in the c a s t. The j plan to have H em et people in the groups fo r the f i r s t two w eekends and J ; I 'those f ro m San Jacin to for the th ird w as, of c o u rs e , not p ra c tic a l, n o r j 'w as it acc e p tab le to e ith e r co m m unity. So in th at y e a r the tra d itio n i jwas e sta b lish e d th a t the S panish d a n c e rs w e re fu rn ish e d by the H em et I | sch o o ls, the c h ild re n of the ra n c h by the San Ja c in to sch o o ls. The j c h o ru s groups w ere fro m both c o m m u n itie s. As the n u m b e r of " ro c k 122 In d ian s" g rew , they w e re draw n f ro m the two high sch o o ls. In 1972, although th e re is s till c o m p etitio n a t the high school | [level, th e re is v irtu a lly no co m p etitio n at the adult lev el. The two 121 P a g e a n t c o rre sp o n d e n c e file s, 1923-1931. 122 P e r s o n a l in te rv iew w ith Ann W aggoner P u lle n (who was r e a r e d in th e V alley and was in the P a g e a n t fro m 1932 th ro u g h 1946), B a rsto w , C a lifo rn ia , July 5, 1972. 211 towns have p ra c tic a lly grow n to g e th e r g eo g rap h ically . Both groups ishare the C om m unity C ollege, w hich is in San Jac in to . Both avail i ithem selves of the H em et C om m unity H o sp ital, and as they have fo r m a n y y e a r s , they s h a re the sa m e c e m e te ry . On M arc h 9» 1928, the B o ard voted to b o rro w $2000 on a note se c u re d by the g u ra n to rs lis t of $5000, in o rd e r to m e e t th e ir budget I fo r the 1928 production. On A p ril 12, 1928, the B o ard m oved to: R ecom m end to the C h am b ers of C o m m e rc e of H em et and San Ja c in to , re sp e c tiv e ly , th at th ro u g h th ese o rg an izatio n s an u rg e n t | r e q u e s t be m ade to the re sid e n ts of both c itie s to clean y a rd s, v acant lo ts, etc. , b efore the opening of the P a g e a n t, A p ril 21st and th a t it is e sp e c ia lly u rg ed th a t the highw ays along the m ain ro u te of tra v e l be kept in n e a t condition d uring the P a g e a n t w eeks. | F in ally , on M ay 15, 1928, the B oard voted to pay back to su b s c r ib e r s the total of m onies ra is e d at the tim e of th e hoof and m outh j (d ise a se i n -1924. A f o rm le tte r was m aile d to each p e rso n who had i ! donated m oney at th a t tim e , w hich in p a rt read: A lthough the m oney was given o u trig h t a t the tim e , s till the B o ard feels it is a m o ra l obligation and in a c c o rd a n c e with th e ir actio n T uesday night, it gives m e g r e a t p le a s u re to en clo se our ! check fo r $________, which is the am ount of your s u b sc rip tio n to | this fund. The D ire c to rs w ish m e to e x p re ss th e ir a p p re c ia tio n of your | v e ry g en ero u s a s s is ta n c e at a tim e when it was m o st needed and | to a s s u r e you th a t they a re v e ry happy to be hble to r e tu r n this j m oney. j 1 The le tte r was signed by E dw ard P o o rm a n and dated May 17, 1928. 123 M inutes, R am ona P a g e a n t A sso ciatio n , A p ril 12, 1928. 212“ ] The B o ard also voted a t th e ir May 15th m eetin g to in v estig ate t the fe a sib ility and c o s t of building a f ir e b r e a k around the bowl p ro p e rty , |This m ove re s u lte d in d ire co n se q u en c e s, as w ill be se e n in the follow - iing c h a p te r of th is study. As the P a g e a n t b ecam e m o re and m o re a living p a r t of the com - jm unities, they began to tu rn to it m o re and m o re fo r th e ir fin an cial, i jre c re a tio n a l, and c u ltu ra l n eed s. In M a rc h of 1928, the V alley A r c h e r s ' Club re q u e ste d the u se of the low er p ark in g lot fo r a ta rg e t jrange. They re c e iv e d p e rm is s io n "pro v id ed they d o n 't m ak e tra ils on 124 the h illsid e o r b re a k down the n a tu ra l g ro w th ." The Boy Scouts j u sed the Bowl p ro p e rty fo r th e ir c a m p -o u ts. G rad u ally , the Bowl has I * beco m e a re c re a tio n a l and c u ltu ra l c e n te r fo r the V alley, as w ell as I 125 a to u r is t a ttra c tio n . ! j ; P u b lic ity i 1 The publicity fo r the 1924 pro d u ctio n was handled in the sam e way as th at of 1923, ex cep t th at so m e fre e radio spots w e re given to ithe P a g ean t. The ox c a r t m ad e its sw ing around the c o u n try sid e . C h am b er of C o m m e rc e c o o p eratio n w as so lic ite d , p o s te rs w e re se n t out, ' 124 ; P a g e a n t c o rre sp o n d e n c e f i l e s , 1928. ! 125* j This focusing of a c tiv itie s a t the Bowl site s e rv e s as a n a t- ju ra l p re s e rv a tiv e of com m unity loyalty and in te r e s t in the P ag ean t. 213 ~ jbanners s tru n g a c r o s s ro a d s , new s s to r ie s sen t to p a p e rs . The j m u s ic ia n s of the P a g e a n t, J o se A ria s and his o r c h e s tr a , did a sp o t on jthe KHJ Radio T im e s S tation the evening of A p ril 9th. Then at the la s t im inute, the p ro d u ctio n w as ca lle d off b e c a u se of the c a ttle d is e a s e , and jail effo rts had to be re p e a te d when the new d ates of M ay 30 and 31 and j I - , 126 | iJune 1 w e re ch o sen . i i ! I ! [ In 1925, H a rry H am m ond B e a ll, a Los A ngeles p u b lic ist, was | h ire d to handle the publicity in the m e tro p o lita n p a p e rs , and fo r the j | jfirst tim e the pu b licity fo r R am o n a took on a b u s in e s s -lik e i ! I i I p ro fe s s io n a lis m . j "H a m ," as B eall w as m o re f a m ilia rly known, w as a frie n d of | H o m e r K ing, the e d ito r of The H em et News and son of Jo h n King. It I I ,was on H o m e r ’s re c o m m e n d a tio n th a t B ea ll w as h ire d . F rie n d s h ip undoubtedly explains the rid ic u lo u sly low su m of $150 "H am " w as paid j !. 127 I I in 1925. j ; How effective the publicity was is show n by, am ong o th er in d i c a tio n s , a c o m p a riso n of the a v e ra g e p e rfo rm a n c e atten d an ce in 1923 I of 1,007 and in 1924 of 1,290 with th a t of 1925. With fo u r p e r f o r m a n c e s in 1925, the to tal atten d an ce w as 9 .5 0 8 , o r 2 ,3 7 7 p e r day, * ^ S u p ra , p. 195. 127 H a rry H am m ond B e a le , 1923-1931, P a g e a n t file s . 214 j 128 a lm o s t double the 1924 a v e ra g e ! j In rep ly to in q u irie s fro m G eorge G erw ing, who w as then w o rk - jing w ith G a rn e t H olm e in the M issio n P a g e a n t of San J u a n C a p istra n o , JPoorm an se n t c o m p re h e n siv e d ata on the 1925 publicity cam paign: 'B eall handled the m e tro p o lita n p a p e rs ;'H o m e r King, th e co u n try p a p e rs i (throughout S o u th ern C a lif o rn ia - - 100 of th em . The P u b licity Committee! I I (furnished s p e a k e rs to high schools and luncheon clubs th ro u g h o u t the southland; h a lf-s h e e t posting was done by P h il Whiting. P o o rm a n 's : | (office se n t c ir c u la r s and in fo rm a tio n to e v e ry C h am b er of C o m m e rc e ; ! ! I i ' ! to W om an's C lu b s, high schools and g r a m m a r sch o o ls, auto c lu b s, | t s e rv ic e clubs; and, again, to luncheon clu b s. A lso, P o o r m a n 's office | I ! i isent p o s tc a rd s to ev ery telephone s u b s c r ib e r in R ed lan d s, San B e rn a r-j Idino, Colton, R iv e rs id e , C o ro n a, S anta A na, A naheim , O ran g e, B eau m ont, B anning, and E ls in o re . At the O range Show, 30,000 c ir c u la r s jw ere d istrib u te d ; e x c e rp ts fro m the play w e re given th e r e and e l s e w h e re . The su m of $223. 86 w as sp en t in n ew sp ap er a d v e rtisin g ; $150 w ent to B eall. O th e r e x p en se s included: $79 paid to b rin g n e w sp a p e rs m e n fro m the city p a p e rs fo r the opening day; $68 fo r p o s tc a rd s ; I ($460. 98 fo r ro ad signs and p o s te rs ; $254. 74 fo r s tic k e rs and fo ld e rs; $158. 50 fo r tic k e ts a n d ip ro g ra m s; $113. 32 fo r stam p s; $119* 70 for See A ppendix A. | ~ 215 129 m isc e lla n e o u s office ex p en se, su p p lies, etc. P o o rm a n re m a rk e d : . . it is difficult to say j u s t w hich I [branch of publicity was m o st effective, h o w ev er, we all a g re e th a t o u r [stories in the n ew sp a p e rs a re the thing w hich b ro u g h t us the tr e m e n d o u s c r o w d s . B e a l l handled publicity th ro u g h 1932.*^* | In 1928, the P a g e a n t A sso cia tio n c o n tra c te d with the C a lifo rn ia ! jN ew spaper P u b lish e rs A sso cia tio n , fo r $350.00 the f i r s t y e a r and $300.00 in succeeding y e a rs to place fro m 5 to 10 publicity s to r ie s < j jwith th e ir m e m b e rsh ip c o n sistin g of a p p ro x im a te ly 150 S o u th ern C a li- j i i ifornia w eekly and 20 daily n e w sp a p e rs. The P a g e a n t fu rn ish e d the j . 132 I s to r ie s . i ' F o r s e v e ra l of the y e a rs up to 1928 and a fte r, the W hitehead B r o th e r s , w holesale d is trib u to rs of eg g s, a t the so lic ita tio n of the i ^Riverside C h am b er of C o m m e rc e , d istrib u te d p am p h lets fo r the 1 [Ramona P a g e a n t fre e of c h a rg e . In 1926, they d istrib u te d 1,800 p am - i [phlets: ". . . they w e re packed in our egg c a rto n s , one fo ld e r in each c a rto n of eggs. . . . 1000 of th e se w ere packed in eggs going to Los I 129 [ L e tte r to G eorge G erw ing, San Ju an C a p istra n o , May 15, [1925, P a g e a n t co rre sp o n d e n c e file s . ! 130tk .„ I Ibid. i 1 131 i B e a llr P a g e a n t file s. I . O Q j CN PA , P ag ean t file s. Z T 6- lAngeles fo r d istrib u tio n , and the re m a in d e r w e re d istrib u te d in the im m ed iate vicinity of R iv e rsid e . . . sta ted H ira m W hitehead in a 133 l e t t e r to H o m er King, in 1926. j F r o m 1924 th ro u g h 1928, B u rd ette R aynor and Irw in E. F a r r a r ; ! 'delivered m any sp eech es about the P a g e a n t to county sch o o ls. An i ; i in te re s tin g sid elig h t in this re g a rd w as th a t County S u p erin ten d en t of j 1 I i Schools E. E . S m ith g ra n te d th e m p e rm is s io n to talk at a s s e m b lie s j b e cau se he re g a rd e d the P a g e a n t as "highly h is to r ic a l and educational,", ; ' i |but he re q u e ste d th a t the " s p e a k e rs re m a in sile n t on the Sunday q u e s - j ! j ition as the school should n o t be u sed to ju stify a situ atio n w h ere th e re j i is a d ifferen ce of opinion." A p p aren tly the Sunday iss u e w as s till alive ! 1 134 : in 1927. j T h e re w e re le c tu re c o m m itte e s fo rm e d in th o se e a rly y e a r s , |and the lo cal K iw anians se n t re q u e sts to o th e r Kiw ana Clubs to sp eak I i !on the P a g ea n t, as did the E lk s , W om an's Club, and o th e rs . B efo re s ithe u se of the C a lifo rn ia N ew sp ap er P u b lis h e rs A sso c ia tio n , H o m er (King contacted the w eekly n e w s p a p e rs , sending th em copy and so m e i a d v e rtisin g as an e n tice m e n t to u se the copy. The C h am b e rs of C o m m e r c e of o th e r c itie s , p a rtic u la rly of San B ern a rd in o and R iv e rsid e , 1 i 1 i 1 1 3 3 L e tte r to H o m er King, A p ril 9, 1926, P a g e a n t c o r r e s p o n dence file s. 134 L e tte r to B u rd e tte R ay n o r, A p ril 11, 1927, P a g e a n t c o r r e s pondence file s. 217 i Continued th e ir activ e su p p o rt by d istrib u tin g fo ld e rs and o th e r a d v e r tisin g m a tte r . A change took place betw een 1925 and 1928 th a t so m e - I yvhat in d icated the s u c c e s s of the P a g e a n t. In le tte r s se n t to the v ario u s C h a m b e rs in 1925, c o m p lim e n ta ry tic k e ts w e re en clo sed au to m atically . ; I ; I In 1928, th e se p ro m o tio n al le tte rs said th a t c o m p lim e n ta ry tic k e ts were! a v a ila b le , but also ask ed , "Kindly le t us h e a r fro m you in advance w ith 135 j re g a rd to y o u r needs fo r c o m p lim e n ta ry tic k e ts . . . . " j I l Though the C h a m b e rs w ere s till b o o s te rs of the play, and so m e i i ; sp e e c h e s w e re m ade at v ario u s clubs on re q u e s t, w ith the em p lo y m en t j | I of "H am " B e a ll and, la te r , the C a lifo rn ia N ew sp ap er P u b lis h e rs A s so -j c iatio n , the bulk of the publicity was handled by the p ro fe s sio n a l agents! B eall was a good publicity agent, with a genuine in te r e s t in the ! P a g e a n t and w ith e x c elle n t p ro fe s sio n a l c o n ta c ts. Yet an und erto n e of an im o sity ra n th ro u g h h is c o rre s p o n d e n c e with m a n a g e r P o o rm a n , who I icontinually trie d to te ll B eall how to ru n his b u sin e ss on the one hand, !and tre a te d B ea ll like an e r ra n d boy on the o th e r. T h e re w ere m any in sta n c e s in the c o rre s p o n d e n c e in w hich P o o rm a n re q u e ste d B eall to ‘ c o n tact rad io sta tio n s and tic k e t a g e n c ie s, to obtain p ric e s fo r p o s te rs iand in v itatio n s to m o v ie s - - a ll duties beyond the scope of B e a ll's I 136 ire sp o n sib ility to the P ag ean t. 135 P u b licity file s , R am o n a P a g e a n t A sso c ia tio n . | * ^ S e e A ppendix N. 218 In 1925, the publicity accen tu ated the new road up to the Bowl, and w hat d r e s s was a p p ro p ria te fo r view ing the play, in addition to the jusual publicity about the ro m a n c e , tra g e d y , and beauty of the play. In 1926, pu b licity was s ta r te d fo u r w eeks in advance of the j |opening. B ea ll w ro te th at he had a rra n g e d fo r good ro to g ra v u re re p - j jresentation for A p ril 17th; w as en clo sin g som e clip p in g s, but th a t th e re i Jwere not m any b e c a u se "in a c c o rd a n c e with a g re e m e n t with H o m e r King, I 137 we have not s ta rte d n e w sp a p e r publicity as y e t." I The addition of the 1,200 c o n c re te s e a ts w as fe a tu re d in the j hew s s to r ie s of 1926 and, in 1927, m uch a c cen t w as placed on the i b eau ty of the v alley , it being a p a rtic u la rly good y e a r fo r wild flo w e rs. j j B e a ll w as paid $250 in 1926, as a g a in st $150 in 1925. In 1927, he w as paid $350; in 1928, $400, plus m in o r expense m oney. i I | M ag azin es th a t c a r r ie d s to rie s on the P a g e a n t in 1927 and 1928 Jwere: W orthw hile M a g a z in e , Long B each; A m e ric a n L egion B u lle tin , |Los A n g eles; Seeing C a lifo rn ia , Los A ngeles; N ational M o to r is t, San I IF ran cisco ; and The Los A ngeles C h a m b e rs of C o m m e rc e B u lle tin , Los i 138 lA ngeles. In 1926, the A utom obile Club of S outhern C a lifo rn ia pub- i llication, T o u rin g T o p ics, gave th e m a nice play in its p ag es. A 137 Ibid. 138 F r o m an undated lis t of publications in the "M agazine" fo ld e r, P a g e a n t files , 1923-1931. 219 (M orris R athbun of th e Club w ro te "H am " re q u e stin g " c o m p s" fo r the th re e g irls on the staff and th e ir beaux, chiding h im with: "I p re s u m e I you a re now a t an age when you o v erlo o k th e se little a m e n itie s , and the I .leaping p u lses of youth. It tak es a young fellow like m y se lf to a p p r e - I c iate and u n d e rsta n d ; h ence this r e m in d e r." The publicity m e n put j I |on as good a show on th e ir stag e as the a c to rs of the P a g e a n t did on itheirs. | i (Production | ! I j j I In d isc u s s in g p ro d u ctio n changes o v er th e y e a r s , the w r ite r j ! ' i , I began with the s c rip t, fo r b a sic changes should a p p e a r th e re f ir s t. j I ‘H ow ever, th e re was an im m ed iate difficulty. As sta te d e a r l i e r , ' ! j H olm e u se d the sa m e m a s te r s c rip t y e a r a fte r y e a r th ro u g h 1928. The (deletions, to rn out o r o b lite ra te d , and the additions o r ch an g es, added I jas pages o r as p a r ts of pages p aste d o v e r old m a te r ia l, w e re im p o s- t 1 'sib le to a s s ig n to any date of c e rta in ty . No y e a rly s c r ip t catalo g u e has been kept. And th e re w as no indication in H o lm e 's s c r ip t of when he im ade w hat ch an g es o r even if the changes w e re re ta in e d --m a n y o f the I i j notations a r e r a th e r c ry p tic . I j In th e e a rly y e a r s , " s id e s " w e re fu rn ish e d to m o s t of the j j c a s t , * ^ and only a few of the "le a d s" w e re given full s c rip ts . T h e re 139 See A ppendix N. 140 Ann P u lle n in te rv ie w , Ju ly 5, 1972. jwas no policy fo r tu rn in g th e m in at the end of the se a so n , and v e ry few have done so; this w r ite r r e m e m b e re d th a t he w as n e v e r in s tru c te d to jturn in h is s c rip t. C onsequently th e re a r e a n u m b e r of s c r ip ts , o b v i-. p u sly fro m d iffe re n t e r a s , but seld o m a d ate in any, and no in d icatio n I ' j Of the y e a r in w hich the b u sin e ss o r lines w e re changed. H olm e, whom ! one would ex p ect to keep a m o re d etailed r e c o rd , p robably c a r r ie d I e v e ry th in g in h is head and only w ro te down w hat o th e rs n eeded to re a d . An exam ple of a late s c rip t, although th e re w as no date on it, in d icated jhow m uch is le ft to the a c to rs to r e m e m b e r fro m the p rev io u s y e a r. i T his m ig h t have been a s c r ip t fro m 1971: j i A ct II - Scene I I l ; , (F ie s ta cro w d s e n te r d iffe re n t d ire c tio n s . F e lip e g re e ts the j g u e sts. T h e re is ex cited c h a tte r and ta lk . The S e n o ra e n te rs and j tak es c e n te r place) Ju an S ilen ce, frie n d s , the S en o r would sp eak to you. S e n o ra ' < My d e a r frie n d s , m y house is y o u r h o u se. May your v isit be long and your h o u rs filled w ith h a p p in e ss. F o r the long jo u rn e y you have m ad e and the lau g h te r you have b ro u g h t u s, you have o u r d e e p e st g ratitu d e . 'I * 'o 'I' 'I' v ! F elip e j S enors an d S e n o ra s. . . atten tio n . . . por fa v o r. . . atten tio n . A m igos | m io , u n d er the tre e s in the g a rd e n ta b le s have been a rra n g e d . I Com e and jo in m y m o th e r and m e in a f e a s t such as only o u r own ■ M a rd a and d e a r frie n d s know how to p r e p a r e . C om e, am ig o s, com e. C row d , ., 141 M uchas g ra c ia s J G ra c ia s ! (Crow d goes singing) S c rip t co llectio n , P a g e a n t file s. r ' 2 2 1 ” i ! i j In the o rig in a l s c rip t, the fie s ta scen e co m es in the th ird scene of the f i r s t act. In the e a rly y e a r s , the play w as divided into only two a c ts . T h e re was so m e d ire c tio n as to who cam e fro m w here fo r the fie s ta , but co n sid e rin g that the o rig in a l s c rip t was used fo r six y e a rs , j | and the d ire c tio n s of the f ie s ta scen e a re obviously not p a rt of the j I ‘ o rig in a l typing, th e re is no way to know when w hat was done. A gain, the s c rip ts th a t do e x ist a r e u su ally u n m ark ed . In a few c a s e s , som eone had w ritte n in th em , but the d ire c tio n s o r changes only! ^reflected the needs of the p a r tic u la r p erso n ; the g e n e ra l b u sin e ss was : I ! I hot re c o rd e d . j In c o n v e rsa tio n s with such o ld -tim e rs as M au re H u rt, who I : ! played in the o rig in a l c a s t, and V ictor J o ry , who joined the c a s t in the I second y e a r , som e g e n e ra l im p re s s io n s w e re gained, but too m any l I y e a r s had p a sse d fo r m uch in the way of sp e c ific s about who did what, Iwhen, and w h ere, to be re m e m b e re d . C onsequently, the p ro g ra m s , with th e ir listin g of acts and ep iso d e s, have been the m o st re lia b le so u rc e of d e te rm in in g change. Som e sp ecu latio n was p o ssib le , because I ;of the d ifferen t kinds of type used in the d ifferen t ty p e s c rip ts , and som e handw riting was s im ila r in the d ifferen t s c rip ts . S till, the p ro g ra m s j irem ained the m o st a u th o rita tiv e s o u rc e . I In 1923, the f ir s t a ct ended with E pisode 4, "The L o v e rs F lee l f ro m the R an c h ," and the second a c t began with E p iso d e 5, "The Hid- |den Canyon in the H ills" (or "The L o v e rs ' R ock" sc e n e , as it has com e 222 jto be known). In 1924, the " L o v e rs ' R ock" w as put into Act I, and i"The C h riste n in g of R am o n a's C hild at P a s q u a le " began the second act. In 1924, the p ro g ra m listin g of the ep iso d es included a com m ent 'following the E pilogue: "(N ote-~ A fter E p iso d e six and seven the in te r- i ! jlude will be spoken by C a rro ll N ye)." In 1927, th e se speeches a p p e a r j j I to have been re w ritte n and they b e c a m e the E x p o s ito r's s p e e c h e s, fo r I ! I ; I (in 1927 the " E x p o s ito r" f ir s t a p p e a rs in the p ro g ra m , with G eorge G er-| : . j wing taking the p a rt. The fa re w e ll sp eech by Ju an , entitled in the j jsc rip t, "In tro d u ctio n to the E pilogue by Ju an C an ito ," was also probably l iadded in 1927. T h e re w ere th re e E x p o sito r sp ee c h e s and the Ju an j '" fa re w e ll" sp ee c h added at the b ack of the s c rip t, like appendixes, I i 1 : . I !w ith notations as to w h ere they w e re to be u sed . The th ird E x p o sito r j sp eech was o rig in a lly m e a n t for ju s t b efo re the E pilogue, but a h and- i w ritte n n o tatio n , "c u t" ap p eared on the page, and ap p aren tly this (speech was n e v e r u se d , Ju a n 's " fa re w e ll" being u sed in stead . In 1925, the scen e of P e d ro and Suena in tro d u cin g the c h r is te n i n g scen e was cu t and was n ev er re in tro d u c e d . In 1926, H olm e w ro te | ■Poorm an about a change he had b een thinking of m aking in the scen es i .'before and a fte r the flig h t of the lo v e rs b e cau se he f e lt so m e com edy i | re lie f w as need ed about that tim e in the play. T hus, around 1927 o r I ' 1928, the scen e in which M arda c a tc h e s M a rg a rita peeking th ro u g h the 1 jkeyhold into R a m o n a 's room was added. ------------------------------------------------------------------------------------------------------------------------------- z z r The a p p e a ra n c e on the t r a i l of an Indian w om an s in g e r a c c o m p a n ie d by a v io lin ist w as added in 1925, then d eleted in 1926 and n e v e r i Jput back . H ow ever, in 1927, the Indian "S u n rise Song" was added and j jit h as re m a in e d . j ! In 1928, A ct I, E p iso d es 1, 2, and 3 re m a in e d the sa m e . But j i i lEpisode 4, "The L o v e rs F le e F r o m the R ancho" (by 1927, the w ord j j i j j j"ra n c h " had changed to "ran ch o ") was e n la rg e d to include the " L o v e r s 'j i i : i iRock" sc e n e , and w hat had been E p iso d es 6, 7, and 8 w e re re n a m e d i j !"Act Two, E p iso d es 1, 2, and 3 ." The seq u en ce of the ep iso d es thus j ibecam e: ACT ONE: The C am ulos R anch E p iso d e O n e --A le s sa n d ro co m es to th e ran ch o . E p iso d e T w o --T h e love sto ry . E p iso d e T h r e e - -T h e S en o ra d isc o v e rs th e ir s e c r e t, i E p iso d e F o u r - - T h e lo v e rs fle e fro m the ran ch o . In te rm is s io n ACT TWO: In E x ile E p iso d e O n e --T h e c h riste n in g of R a m o n a 's child a t P a s q u a le . E p iso d e T w o--S oboba S p rin g s. ^ 2 E p iso d e T h r e e - -D e a th of A le ssa n d ro on M t. San Jacin to . j F r o m 1925 through 1928, the p a r t of J o s e , the Indian r id e r , i j was o m itted fro m the p ro g ra m , so it is a ssu m e d th at the rid e to ■Tem ecula fo r A le s s a n d ro 's violin was cut d uring th o se y e a r s . The p a r t re a p p e a rs on the 1929 p ro g ra m . 142 P r o g ra m s of the P a g e a n t, 1928 (Appendix F ). I In 1925 and 1926, th e fe a tu re d fie s ta d a n c e r w as cut; in 1927, | she re tu rn e d , and fo r m any y e a rs those d a n c e rs w ere p a r t of the Jo se I A ria s tro u p e fro m Los A ngeles. ' W hile th e re a re one o r two lines of dialogue co n cern in g jR am ona's second child in the o rig in a l s c rip t and H olm e gave the d ire c -j i jtion th at M ard a a p p e a r in the Epilogue with the baby in h e r a r m s , these jwere cut so m e tim e during the e a rly y e a rs . In 1940, when the R am ona P a g e a n t A sso ciatio n decided to copy rig h t the s c rip t, the follow ing e n try was m ade in the B o ard m inutes: M r. P o o rm a n re p o rte d th a t the o rig in a l copy of the R am ona S c rip t by G arn et H olm e had been c o m p a re d with the p re s e n t s c rip t and o th e r copies w hich had been typed o v e r a p erio d of s e v e ra l y e a rs and th at o th er than a few m e c h a n ic a l changes and a few lines 1 h e re and th e re , th e re have been v ery few ch an g es. 143 I C a st Of the o rig in a l c a s t of tw en ty -fo u r speaking p a rts in 1923, th irte e n re tu rn e d in 1924 and th re e m o re re tu rn e d to the play in la te r 144 y e a r s . In the m inds of m any longtim e V alley re s id e n ts , som e of the ; a c to rs of the p erio d th ro u g h 1928 b ecam e so identified w ith th e ro le s i i they played th at even today when the n am e of Ed P o o rm a n o r A delaide 143 M inutes, R am ona P a g e a n t A sso c ia tio n , F e b r u a ry 16, 1940. 144 F o r y e a rly c a s t l i s t , , se e A ppendix G. j 225 jciarke is m en tio n ed , they w ill im m e d ia te ly think of Juan C anito o r the i S en o ra. Anyone of th a t e a rly e r a p a ssin g M au re H u rt on the s tr e e t thinks of F a r r a r , in le a th e r ch ap s, an old re d s h ir t, and cowboy hat 145 |with the b rim tu rn e d up in fro n t, a la the "Rough R id e r s ." S u p p o rt- I I ing ro le s played by the m o re m e m o ra b le lo cal a c to rs of th at e a rly l p erio d w ere: i I ! I i ! M arda: M rs, N ancy M ille r o rig in a te d the ro le in 1923 and | : i re tu rn e d to play the p a r t th ro u g h 1934, when a tra g e d y s tr u c k h e r, and jthe V alley. The s to ry was told in a le tte r to E . A. B lak esley of T r i n i dad, C o lo rad o , fro m M rs . E m ily F re e m a n , executive s e c r e ta r y of the j A ssociation: j ■ . . . M rs . Nancy M ille r was m u rd e re d by h e r husband who was a ! I d o cto r h e re in town and then he killed h im se lf ju s t a fte r settin g fir e to th e ir hom e. D r. M ille r had evidently been using dope and | had lo st his m ind b ecau se of fin a n cial w o rrie s and ill h ealth . He i left a note saying th a t he was a fa ilu re and th a t Nancy w as the only ' w om an he had e v e r loved and th at he did not want to le a v e h e r to su ffe r. It was such a shock to us th at it took a long tim e fo r us to 1 get o v er it, as M rs . M ille r was v ery p o p u lar. We have m is s e d h e r a g re a t deal in h e r p a r t this y e a r t o o . * ^ F a th e r S a lv e d ie rra : F ra n k F e lt c re a te d the ro le and played it i Ithrough 1946. He m oved to the S espe co u n try in the late 2 0 s, but r e - i I iturned each y e a r to play the p a rt, his ex p en ses being paid by the P a g eant A sso ciatio n . By 1947, poor h e a lth fo rc e d his r e tir e m e n t, and 145 I Ann P u llen in te rv ie w , July 5, 1972. ! 1 4 5 I L e tte r to E . A. B lak esley , M ay 14, 1935, P a g e a n t c o r r e s - jpondence file s. I 226 I an o th er lo cal a c to r was c a s t in the p a rt. i • Ju a n C anito: E d w ard P o o rm a n played th is p a rt fro m the b eg in ning th ro u g h 1934, when he w ithdrew fro m the play. Som e tre a tm e n t h a s been given h im to date; m o re follow s in su b seq u en t c h a p te rs. L uigo: In 1925, A rch ie O 'L oan was c a s t in the ro le and'w ith the i iexception of 1928, in sp ite of the fac t th at he had m oved to Los A ngeles, j i ihe re tu rn e d e a ch y e a r th ro u g h 1935 to play the ro le . His p a r e n ts , M r. ; j and M rs . G eorge O 'L o an w ere m e m b e rs of the ch o ru s g ro u p of the j jP ageant fo r m any y e a r s . S e n o ra M oreno: A delaide C lark e o rig in a te d the ro le and playedj I ;it th ro u g h 1935. In 1936, fric tio n developed betw een h e r and the m a n - ! ag em en t, and she dropped out of the play. This incident is d isc u sse d ;in C h ap te r IV. M iss C la rk e re tu rn e d to the play again fo r one se a so n jin 1950. j M ara: M rs. Isa d o r C osto o rig in a ted the ro le in 1923, played it again in 1925, then dropped out again fo r a n u m b er of y e a r s . Spurious publicity to the c o n tra ry , M rs . Costo did not s e ttle into the ro le until 1931; then she continued in the p a r t through 1962, fo r a to ta l of 29 j y e a r s . F o r m o s t of this tim e sh e lived away fro m the V alley, and the | R am o n a P a g e a n t A sso c ia tio n a rra n g e d fo r h e r tra n s p o rta tio n and paid h e r h o tel e x p e n se s. D uring the 40s and 50s, she lived in A nza, and j I a rra n g e m e n ts w e re m ad e with the m a il m an to give h e r tra n s p o rta tio n . j I [ It b ec a m e popu la r in the publicity of the 50s to sta te that M rs. Costo r— i ! 227 had played the ro le of M a ra continuously fro m th e f ir s t y e a r, hence the I i a n n o u n cem en t of h e r death in the R iv e rsid e E n te r p r is e of June 25, 1970; I ----------------------------------- - I i(Valley S ectio n , p. 1), contained a few e r r o r s : ! M rs . Isa d o r C osto, 87, the well known Indian w om an . . . ; died in E scondido M onday a fte r a long illn e s s . M rs. C osto was the widow of an e a rly day le a d e r of the C ah u illa Indian R e se rv a tio n ; n e a r A nza. She had been in the c a s t of the R am o n a P lay 32 s e a so n s. M rs . C osto played M a ra , the v e n e ra b le Indian w om an, in I the R am o n a P la y fro m the f ir s t seaso n in 1923 until h e r age fo rc e d ' h e r r e tir e m e n t five y e a rs ago. . . . i A unt R i: E x c ep t fo r the 1928 sea so n , M rs . H. B. Jones played, • I i i ithe ro le continuously fro m 1923 through 1939. In the R am ona P ag ean t j j j A sso c ia tio n B o ard M inutes of M a rc h 13, 1940, the follow ing en try j i a p p e a rs: i . . . A d isc u ssio n w as held re g a rd in g the p a rt of Aunt Ri. It | i was the opinion of the b o ard th a t M rs. Jo n es sho.uld bq rep la c e d by a younger w om an, sin ce it is dangerous fo r h e r to be clim bing the h ills and r e h e a r s a ls this y e a r will dem and m o re tim e . iP o o rm a n m ad e a m otion th a t a le tte r of thanks be se n t to h e r , and a I 'lif e - p a s s , but th at no o th e r le tte r be sent. The m otion c a r rie d . F a r r a r : M au re H u rt, who played J o s e in 1923, took this p a r t ol ;the v illa in fro m 1926 th ro u g h 1937. L a te r, M r. H u rt b ecam e a m e m - ;ber of the B o a rd and continued in th a t cap acity fo r a n u m b er of y e a r s . I ! I J a k e : O liv er P . E n sle y , one of the fo u n d e rs of the P a g ean t and 'lo n g -tim e B o ard m e m b e r took this p a rt in 1924 and played it through ] 1938. ' The leading ro le s and the p ro fe ssio n a l a c to rs who played th em [through 1928 w ere: ; R am ona: M ild red B re w s te r w as c a s t in the ro le in 1924. In | ------------- 11925, D o rise Schukow re tu rn e d a fte r a y e a r 's ab sen ce and continued as j jRam ona until 1931. The 1928 S o u v en ir P r o g r a m d e s c rib e d h e r p e r - I fo rm a n c e as "poignantly b eau tifu l" and "so sy m p ath etic to the s p ir it of M rs. J a c k so n 's id eal of the c h a r a c te r th a t a ll fu tu re R am onas m u s t bei ! i 1 147 1 jlargely indebted to h e r conception of the r o le ." D o rise was only 19| ! ' I o r 20 when she f i r s t played the p a rt. H e r c o rre s p o n d e n c e re v e a le d a , w a rm -n a tu re d , sp a rk lin g , and w itty g irl. In re ad in g h e r le tte r s one 148 • only r e g re ts th a t m o re of th e m w ere not p r e s e r v e d . She w as u n a s sum ing and alw ays w illing to give of h e r s e lf . She m dde only one dem and, w hich she sta ted in a le tte r to P o o rm a n in 1927: ". . . You 1 | know how happy I w ill be to get back to all the people th a t a re so kind tcj | m e and th e re is ju s t one point th a t I in s is t on, that A le ssa n d ro be at ' 149 |le a s t six fe e t high, seein g th at I am five fe e t sev en m y se lf." Thus :she e sta b lish e d the p re c e d e n t of ta ll A le s s a n d ro s , unb ro k en f o r m any 150 y e a r s . She died a tra g ic death in 1935, at the age of 31. F o r a i whole g e n e ra tio n of now e ld e rly V alley folk, D o ris e Schukow w ill ! | alw ays be the R am ona. A le ssa n d ro : V ictor J o ry f ir s t played the p a r t in 1924 and 147 See A ppendix M. 1 4 8 - ,.. 149t. . , 150tk^ Ibid. Ibid. Ibid. I 229 I I (becam e an im m e d ia te s u c c e s s with the V alley. E a r l Schenck played in I j 1925; J o ry re tu rn e d in 1926. V ictor K o lb erg did the p a r t in 1927, with | ijo ry re tu rn in g in 1928. He w as gone again fo r th re e y e a r s , but r e - jturned in 1932 to continue th ro u g h 1939. J o r y 's im p o rta n c e to the play and to the V alley is tre a te d in C h ap ter IV. F e lip e : J. K ary l M a rk e r played the ro le fo r the f ir s t fo u r y e a rs of the P a g e a n t. He w as su cceed ed in 1927 by D avid Im boden, and in J 1928 B e r tr a m G ra ssb y took the ro le and continued it th ro u g h the 1931 I I | se aso n . K ary l M a rk e r b ecam e ill in late 1926, and by the beginning of j 1927, not re a liz in g how ill he re a lly w as, he w ro te to H olm e, re q u e s t-; I ing to play F e lip e in the 1927 production. } An ex am p le of H o lm e 's diplom acy and su b tlety w as fin ely i l l u s - : I ‘tra te d in his le tte r of F e b r u a r y 10, 1927, to P o o rm a n on the qu estio n i ! |of M a r k e r 's situation: I ; . . . K a ry l M a rk e r has w ritte n in. W hat do you th in k ? He is v ery j good, and the play D EPEN D S upon th a t p a rt. I judge he w ill be about as cheap as getting a new p e rs o n and keeping h im th e re , w hile we r e h e a r s e h im . B u t 1 a m not p e rso n a lly anxious to have h im and th a t little c r e a tu r e tagging a fte r h im gives m e the w oolies. D unham , who played F a th e r A m u rrio , m ig h t be got v ery I re aso n ab ly and is c le v e r, and looks as if he w ere going to die ! e v e ry m in u te. l jHolm e obviously w anted M a rk e r; the r e m a r k as to D u n h am 's ab ility to i 'look aged and dying m ig h t ju s t have been to keep P o o rm a n fro m wanting 151„ A . , _ See A ppendix L. 230 him , as F r a n k F e lt, playing F a th e r S a lv e d ie rra , w as supposed to look the s a m e . And F e lt and P o o rm a n w ere clo se frie n d s . J o se A ria s and T ro u p e : J o se A ria s and his tro u p e w ere c o n tra c te d to play fo r the 1924 show , and his o r c h e s tr a has played fo r the P ag ean t e v e r sin ce . His sons and d au g h ters and re la tiv e s have grow n with the P a g e a n t. In 1950, the R am ona P lay E dition of The H em et Hews c a r r ie d the following: No m a tte r how m any tim e s one h as se e n the R am o n a O utdoor P la y , th e re a r e s till m any th rills th at com e to s tir the h e a rt. One of the m o s t p le a sa n t of th e se is th at w hich co m es w hen the f ir s t fain t s tr a in s of M exican M a rc h m u sic begin to filte r into the b e a u tiful R am o n a Bowl to sig n a l the beginning of the tra d itio n a l p r o c e s sio n of a c to rs into the a m p h ith e a tre . That g lo rio u s m u sic , and all the m u sic in the play, is f u r n ish ed by J o se A ria s and his tro u b a d o rs . This s e a so n m a rk s the tw en ty -seco n d y e a r th a t the beloved M exican m u sic ia n has le n t his e n th u sia sm , p e rso n a lity and b rillia n t m elody to the R am o n a O utdoor P la y . His c h ild re n have grow n not only in the s p ir it of Old M exico, but also in the a u ra of the d ra m a of R am ona and h e r Indian lo v e r. 152 F o r y e a r s , the S panish fe a tu re d d a n c e rs, one o r m o re so lo ists fo r the fie sta sc e n e , often the S u n rise Song so lo is t (all m e m b e rs of the A ria s T roupe), and J o se and his o r c h e s tr a of g u ita rs and violins (usually num bering five o r six m u sic ia n s) have been an in te g ra l p a r t of the P ageant. In s u m m a riz in g the c a s t of th o se f ir s t y e a r s - - t h a t is, the Holme p erio d , 1923 through 1928--one of the stre n g th s of the P ag ean t 152 The H em et N ew s, R am o n a P lay E dition, I960, p. 62. | ;------------------------------------------------------------- 2 t i ~ i i jbecame a p p aren t. As noted e a r l i e r , of the tw en ty -fo u r speaking p a r ts , j th irte e n re tu rn e d the second y e a r, and th re e o th e rs re tu rn e d in la te r i jyears. F u r th e r , of the six y e a rs of the e r a , eighteen a c to rs played in ;at le a s t th re e of the six p ro d u ctio n s. T hus, the continuance fa c to r ; i was v ery high. j C o stu m es j j j i In his "In tro d u ctio n " to E s th e r W illard B a te s ' P a g e a n ts and i P a g e a n try , W illiam O rr com m en ted on c o stu m es and th e ir value in j ; ! .pageantry, re m a rk in g that "m o re depends fo r the illu sio n upon the | ' 153 i d re s s of the a c to rs in a pageant than upon any o th er d e ta il." iR am ona c o stu m es have alw ays been im p o rta n t, but not alw ays authen- : : j tic. D ifferen t attem p ts have been m ad e o v er the y e a rs by v ario u s d i- ! jre c to rs o r o th e rs to bring au th en ticity to the P ag ean t; those e ffo rts a re ■ | d isc u sse d as they a r e en co u n tered . j | i The e a rly publicity p ic tu re s (1923 through 1927) showed th a t the only flo o r-le n g th d r e s s e s w ere w orn by the o ld er c h a r a c te r w o m en -- :the S en o ra, M ard a , Aunt R i, and the Indian squaw s. The younger jSpanish w om en w ore d r e s s e s ending w ell above the ankle; full, r a th e r i I I I i 153 | E s th e r W illard B ate s, P a g e an ts and P a g e a n try (Boston: Ginn and C om pany, 1912), p. 56. 232“] I j !lim p -s k irte d , with p e a sa n t cu t n ec k lin e s. R a m o n a 's d r e s s e s had a 154 jm odest b ib -lik e lace t r im d rap ed to co v e r the bustlin e. ! A le ssa n d ro w ore boots, a lo n g -sle e v e d s h ir t buttoned at the l icuffs and up the fro n t, and tucked in at th e w aist; a s a s h and a n e c k e r- ! I chief; and pocketed tr o u s e r s , tucked into the boots. In s e v e ra l of the j ; e a rly photos, both B o tte le r (the f i r s t A le ssa n d ro ) and J o ry (the second) w ore plaid s h ir ts . The s h e e p s h e a r e r s w e re d r e s s e d like A le ssa n d ro . I | By 1930, the co stu m e s had beco m e m o re co lo rfu l and a t t r a c t i v e ly ro m a n tic . They b ecam e the tra d itio n a l co stu m e s fo r y e a r s . 1 ! ! ; The young Spanish w o m en 's d r e s s e s w ent to flo o r length, and j w ere fu lle r w ith m o re ru ffles and fitted b o d ic es. The d r e s s e s w ere ; I . m ade of s ilk s , s a tin s , o rg a n z a s, and co tto m s. A le ssa n d ro and the ! s h e e p s h e a r e r s w ore full, b u tto n le ss, p u llo v er s h ir ts , v -n e c k e d , with | I long, full, cu ffless s le e v e s. The s h ir t was w orn o u tsid e th e tr o u s e r s ! 155 land s a sh e d at the w aist. A le s s a n d ro 's s h ir ts w ere a ll of solid c o lo r. I The Indian w om en of the rancho w o re long, lo o se -fittin g s k irts with lo n g -sle e v e d b lo u ses and k e rc h ie fs on th e ir h e a d s. The m a te r ia l | of th e se ite m s was cotton ca lic o , u su ally in solid c o lo rs , and the ; sa m e m a te r ia l w as used fo r the s h e e p s h e a r e r s .1 s h ir ts . Of the c h il- i j j d re n , the S panish g irls w ore s h o rt b lack s k ir ts and b o le ro s with o ran g e i i 154 See A ppendixes P and Q. I 155 | Ann P u lle n in te rv ie w , Ju ly 5, 1972. jtrim and o ra n g e o r yellow b lo u ses and b lack sto c k in g s. The little I In d ian g irls w o re s h o rt calico d r e s s e s , b lack sto c k in g s, k e rc h ie fs on (their h ead s (which hid m any a blonde head of h a i r - - t h e blondes w e re j , • { (usually the Indians and the d a r k -h a ir e d little g irls w e re u su ally the i 156 ! S panish c h ild re n ). The little Indian boys w ore brow n s h o rts and I | I w igs. ; j | F e lip e w as elegantly but c o n se rv a tiv e ly co stu m e d in a b lack | i Spanish su it w ith a s h o rt, fitte d ja c k e t trim m e d w ith gold o r s ilv e r j i .braid; a w hite s h ir t, and a b lack s trin g tie. The S e n o ra , too, w as ; I (elegant in a b lack m o u rn in g d r e s s of ru stlin g silk . Luigo w ore a fu ll- ( , ' i sleev ed , co lo rfu l sa tin s h ir t, c o lo rfu l sa sh , and b lack , fla re d tro u - j js e r s . Ju an Canito had a brow n v e lv e t-lik e su it, p ro b ab ly m e an t to ! look like le a th e r. M a rd a w o re a c o lo r le s s , s a c k -lik e s k ir t and b lo u se, i I and a w hite ap ro n . ( M a r g a r ita 's d r e s s e s w e re ruffled and p ro v o c a tiv e . R a m o n a 's I d r e s s e s w e re often in sa tin of blues and y ello w s, and v e ry d e m u re . The p r ie s ts w ere the m o s t au th en tically c o stu m e d , fo r they I w ore the ro b e s of th e ir p a r tic u la r o r d e r. ' The " ro c k In d ia n s" (so -c a lle d b e c a u se they w e re those boys | (who at the c h riste n in g c e re m o n y , on cue, stood up f ro m behind the I ro ck s which had hidden th e m , elic itin g alw ays a s u r p r is e d g asp fro m (the audience) w o re loin cloths and m o c c a s in s. The Indian m aid en s w e re in tan cotton d r e s s e s , with brow n frin g e , m ade to look like buck- ; sk in d r e s s e s . The A m erican o s w o re cowboy hats and s h ir ts , n e c k e r- | c h ie fs, ch ap s, and boots. Aunt R i's co stu m e w as s im ila r to M a rd a 's . • i ! Joe w as d r e s s e d in rough, n o n d e sc rip t clothing, and h e, too, w ore a j ; I I n e c k e rc h ie f. j i I i 1 R eview s j j . I As fo r w hat the audience thought of the P a g e a n t, th a t w as j | I | evinced in th re e fo rm s of e x p re ssio n . M ention was m a d e , in the dis - I i c u ssio n of the m an ag em en t, of the le tte r s com m ending the P a g e a n t, asj i 1 5 7 ^ (w ell as those w ith com plaints and su g g estio n s. The stead y year-to-1 I I y e a r in c re a s e at the box office, extending in c red ib ly to 1972, was of 1 c o u rse the a u th o rita tiv e a n sw e r. But the co m m en ts of the p r e s s w ere i ' • a s o u rc e of m o re d isc rim in a tin g opinion. It was in te re stin g to note i ! th at although m u ch was done to en co u rag e the in te re s t of the m e t r o politan p a p e rs in th e ir co v erag e of the a ffa irs and p r o g re s s of the I P a g e a n t and d e sp ite the in c re a s e d activ ity of "H am " B ea ll, the Los l I A ngeles T im es did not actu ally rev iew the P ag ean t until 1927. Even j then, the r e p o r t (for it was m uch m o re a re p o rt than a review ) gave a i | fa c tu a l account of the afternoon and did not tr e a t it as the u su al i 157 S u p ra, pp. 205-206. 235 jth e a tric a l re v ie w e r w ould have. H ow ever, this w as probably a c o m b in atio n of the policy of the T im e s to enco u rag e Southland c u ltu ra l j I iactiv ities r a th e r th an to d isc o u ra g e , and the fa c t th at fro m the w ritin g jin the a r tic le , one m ig h t suppose th a t the w r ite r, B u rto n L. Sm ith, • I t was not e s se n tia lly a th e a tr ic a l re v ie w e r. But his a rtic le told "who, 'w hat, when, w h ere, how, and why" re la tiv e ly w ell: The f ir s t p e rfo rm a n c e of the 1927 p ro d u ctio n of the R am ona play was given today and fully 3000 p e rso n s found th e ir way to the R am o n a Bowl n e a r h e r e to w itn e ss the fifth annual p re se n ta tio n of H elen Hunt J a c k s o n 's h is to ric a l ro m a n c e . L ike its p r e d e c e s s o r s , ! it is a s u c c e ss . i R am ona Bowl is situ ated betw een the s is t e r c itie s of H em et and San Jacin to and is p e rh a p s the m o st id eal se ttin g in all S outhern ; C a lifo rn ia fo r an outdoor p ageant. With a b eau tifu l v ista of an ! a lm o s t p e rfe c t v a lle y , o rn a m e n te d at this s e a so n with a c r e s of wild j flo w e rs and fru it b lo sso m s as a background, w hile in the fo reg ro u n d ' to w e rs snow -capped old M t. San Jac in to , N atu re has outdone h e r s e lf to p rovide an outdoor th e a tre . Added in te r e s t c a m e fro m the fa c t th a t m o st of the actio n of the s to ry was laid in the valley , w here H elen Hunt J a c k so n sp en t m onths in g ath erin g data. i M o re Than F e te The R am ona P la y has b eco m e m uch m o re than ju s t an annual ! fete. The valley h as com e to c o n s id e r it p a r t of the com m unity life and a c to rs in the p lay a re all re sid e n ts with the exception of V ictor K o lb erg , who plays A le s s a n d ro , and D o rice Schukow, who plays R am ona. F r o m the tim e of one pageant until the n ex t th e se m en i and w om en, boys and g irls , live th e ir p a rts . The long tra in in g m ad e itse lf a p p a re n t in to d a y 's production w hich was as n e a r p e r fe c t as a play of th is c h a r a c te r is e v e r produced. E a c h m e m b e r of the c a s t s h a re d th e fre q u e n t applause of the audience and f a v o r able co m m en ts of the c r itic s . Standing out b e c a u se of the b ig n ess of th e ir p a rts w e re F r a n k F e lt, E d w ard P o o rm a n , A rc h ie O loan, R uth M ontague, A d elaide C la rk , and David Im boden. A side fro m th e s e , s c o re s o f d th e rs go to m ak e up groups of d a n c e rs , w om en and ch ild re n on the ra n ch o , sh e e p h e r d e r s , Indians and e a rly s e t- | t i e r s . The la rg e c a s t m ak es p o ssib le a c o lo rfu l fie s ta sc e n e and 1 m any p retty stag e p ic tu re s w hich com e at the end of the v ario u s J ep iso d e s and d u rin g the actio n of the play. 236 j M a s te r P ro d u c e r G arn e t H olm e, d ire c to r of the pageant fo r the n atio n al p ark s | and who has had c h a rg e of the p ro d u ctio n fro m the beginning, is a m a s te r at this p a r tic u la r kind of s ta g e c ra f t and tak e s advantage of j the b ig n ess of the thing which in d o o r p ro d u ctio n s leav e to the im ag in atio n . The m u sic fu rn ish e d by J o s e A ria s and his M exican T ro u b a d o re s is of the h ig h e st o r d e r . | The dancing of D o lo res and C a rlo s w as m u ch a p p re c ia te d . ■ C itizen s of the H em et-S an Ja c in to V alley, the C h am b er of 1 C o m m e rc e , and all who have had a p a r t in the p ro d u ctio n have ■ e v e ry re a s o n to be p roud of th e ir e ffo rts. They have rev iv e d a ] g r e a t ro m a n c e , bu ilt an a lm o st p e rfe c t outdoor th e a tre , developed i u n u su al d ra m a tic ta le n t in the co m m u n ity and p ro v id ed fo r a ll who c a m e an e x tra o rd in a ry e n te rta in m e n t. The pageant w ill be re p e a te d to m o rro w , again on S atu rd ay and ! Sunday, A p ril 30 and M ay 1, and then on S atu rd a y and Sunday May j | 7 and 8 fo r the la s t p e rfo rm a n c e th is y e a r .^ ® j i I ; S m ith w ro te the rev iew s th ro u g h 1930, continuing h is sty le of ; fa c tu a l accounting m ix ed with a p p re c ia tio n of the p o ten tial fo r co lo r i p ro v id e d by the sta g e , and esp e c ia lly the outdoor sta g e . j T hrough the v a rio u s frie n d s H o m er King, e d ito r of The H em et iN ew s, had in the n e w sp a p e r w orld, th ro u g h w h atev er paid a d v e rtisin g jthe P a g e a n t could do in th o se e a rly y e a r s , and th ro u g h the in te r e s t 'developed by the P a g e a n t's s u c c e s s and u n iq u e n e ss, n e w sp a p e rs gave it ikindly tre a tm e n t. In the 1925 " fly e r" p u b lish ed by the P a g e a n t, a n u m b e r of n e w sp a p e r c o m m en ts w ere included in a ffirm a tio n . The Los A ngeles E x a m in e r w as quoted as re p o rtin g : 158 Los A ngeles T im e s , A p ril 24, 1927, P a r t I, p. 12. The a r tic le w as e n titled , "T housands See R am o n a D ram a," and was s u b h eaded "F ifth A nnual F i e s ta P ro v e s Renew ed S u c c e s s ," " B lo sso m - b o w ered Setting Adds to Its C h a rm ," "S ta rs and O th er A c to rs Get P r a is e fo r E ffo rts ." 237 The town of H em et has given to the w orld so m eth in g genuinely ; g r e a t- - th e R am o n a P lay . They c a ll it "The O utdoor R am o n a" on the p ro g ra m , but it is a tre m e n d o u s d ra m a with such a stag e of i action as h as n e v e r been used b efo re. Unlike m o s t s o -c a lle d ! p ag ean ts, it h a s an o n -m a rc h in g d riv e of s c e n e s, ep iso d e s and developm ents w hich c a r r i e s on into c lim ax es th at fa irly c r a s h . 1^9 i |The R iv e rsid e E n te r p r is e had this to say: The R am ona P a g e a n t m ay becom e as fam ous and as widely known as the M issio n P la y a t San G ab riel. It is m o re tru ly a I sto ry of C alifo rn ia h isto ry than any d ry facts could be. It has a | h e a r t in te r e s t th at no m e re s to ry could have. 1 6 0 S im ila r ap p ro b atio n s w e re given by quotations fro m the S anta P a u la iC h ro n ic le , the P o m o n a B u lle tin , and the R iv e rsid e P r e s s . In the "fly- ;e r"fo r 1927 w ere m o re p r e s s plaudits: A lm a W hitaker in the Los A ngeles T im es: J I T hat lovely halcyon valley of H em et and San Ja c in to is having i a glorious tim e , basking in d ra m a , ro m a n c e , and h is to r ic a l la n d m a r k s - - i t w elcom ed the populace to the R am ona P a g e a n t, w hich is no m e r e a lle g o ric a l sy m b o lism , but a live, p alp itatin g , d r a - j m atic m e lo -d r a m a with rugged m ountain sid es fo r its stage : settin g . 1 ^ 1 The San F ra n c is c o C h ro n icle re p o rte d th a t "N o rth e rn m o to ris ts who v isit Los A ngeles w ill find the th re e hour to u r to H em e t to view ■ 162 I the R am ona P a g e a n t w ell w orth w h ile." And th e re w e re o th e r p a- i ipers re p re s e n te d , co v erin g the Southland. 159 P u b lic ity " fly e r," 1925, P a g e a n t file s. 1 6 0 t k Ibid. P u b licity " fly e r," 1927, P a g e a n t file s. 1 6 2 tk-^ Ibid. r 2 3 8 G a rn e t H olm e, The M an : Since in a v e ry r e a l s e n se the la s t w ord re s id e d w ith G a rn e t iHolme, it is a p p ro p ria te th a t the h is to ric a l acco u n t of h is e r a should j !end with c o m m en t on him . ! ' V icto r J o ry , n ex t to H olm e the m o st in flu en tial p e rs o n in the developm ent of the P a g e a n t, spoke of Holm e: I was the second p e rso n to play [A lessa n d ro ] and the second y e a r of The R am ona P a g e a n t. And I think th a t the s u c c e s s of the m o m e n t--w h e n I say , "of the m o m e n t," le t m e say the f ir s t six o r sev en y e a r s - - i t r e v e r ts e n tire ly to the w ork of one p e rso n , and | th a t's G a rn e t H olm e. 163 A gain to quote J o ry , he fe lt th a t H olm e j i . . . had the r a r e quality of allo catin g c e r ta in functions to c e rta in j people. And the love he en g en d ered in the a c to r s , none of us e v e r 1 w anted to quit playing. It w a s n 't the m oney. The m oney m ean t j ab so lu tely nothing. You alw ays did it at a s a c rific e . B ut w h e re v e r I w as in those days in m y c o n tra c t it said d uring such and such a i p erio d I am to be allow ed off so th at I could go to C a lifo rn ia , g en e ra lly at m y own ex p en se, play th at P a g e a n t fo r anyw here fro m fifty d o lla rs fo r th re e w eeks up to, finally, I think they paid m e i th re e hu n d red d o lla rs fo r th re e w eeks. B ut I loved e v e ry ro ck of it. In a s tra n g e way I s till do. I feel this is m y one g r e a t s e n ti m e n ta l a tta c h m e n t--to the th e a tr e - - o f the things I w ant m oney fo r. 164 ; A le tte r to P o o rm a n fro m D o rise Schukow in 1928 told of h e r I i feelin g s: "So glad to h e a r fro m you but as y et have not h e a rd o r seen j G arn et. I am so anxious to see the d e a r, ju s t think it h a s been fully a I i 165 ! y e a r sin ce I have h e a rd a w o rd ." And f a r th e r on in the sam e le tte r * ^ J o r y in terv iew , A ugust 10, 1970. ^ ^ I b id . ^ ^ S e e Appendix M. 239 she a sk ed P o o rm a n to send h e r a s c rip t b e c a u se " . . . I would like to have one as soon as p o ssib le as I am frig h tfu lly busy but would so like ito know m y lines on a r r iv a l as it m ak es it so m u ch e a s ie r fo r G a rn e t." i i I J o ry spoke of H o lm e 's d ire c tin g technique: j j ! By the tim e I'd co m e back fo r the second y e a r M r. H olm e and J I w e re g re a t frie n d s and I'd go to h im in r e h e a r s a l and say , "T h is j scen e is te r r ib le , G a rn e t." And h e 'd sa y , "W ell, if it 's so te rrib le ,! le t's se e w hat you can do with it to n ig h t." And I'd w rite so m eth in g i ! out and h e 'd sa y , "W ell, som e of it's not too b ad." O r h e 'd say , j "T his is b a ld e rd a sh !" and throw it all aw ay. S o m etim es h e 'd keep. \ so m e of it, so m e tim e s h e 'd re ta in it [all], and so m e tim e s h e 'd cut ; so m e things of his own th a t we o b jected to. ^ 6 j ; I ' T h e se q u alities of H o lm e --th e ab ility to d eleg ate au th o rity , the ! ! p e rso n a lity th at en g en d ered devotion, a re a d in e s s to a c c e p t good su g - ! : I j ig estio n s, and h is w illingness to ad m it th a t he was w ro n g --m a d e it a ' idelight to w ork w ith h im and to be with h im . | By delegating a u th o rity , he w as able to a c c o m p lish fa n ta stic am ounts of w ork. The Shank study, in its A ppendix A, show ed th at he d ire c te d eight p a g e a n ts, including R am o n a (which was not and is not 167 tru ly a p ag ean t), at sev en d iffe re n t lo catio n s in C a lifo rn ia . And sev en of th e se he au th o red h im se lf. A ctu ally , he did m o re shows than j Shank d e s c rib e d , fo r in a le tte r to P o o rm a n dated June 16,- 1926, I I !w ritte n at C am p C u rry in Y o sem ite, he stated : "This la s t six w eeks, Jo ry in te rv ie w , A ugust 10, 1970. 167 Shank, "G a rn e t H o lm e," A ppendix A. I ----------------------------------------------------------------------------------------------------------- zw~ ! I jl have given The M e rc h a n t of V e n ic e , Rip Van W inkle tw ice. E r s a th r e e tim e s , T ahquitz once. And am now so m ew h at lim p since the 168 ,'various p e rfo rm a n c e s w ere on d ifferen t M ts, P a r k s , and th in g s." I iThe Shank study show ed R ip Van W inkle only once, at Mt. T a m a lp a is, I I69 land did not m en tio n The M e rc h a n t of V enice. A lso, in 1924, during I ------------------------------------------------------------- I [the L a b o r Day h o lid ay s, H olm e did Rip Van W inkle at Idyllw ild, n e a r I 170 (the Idyllw ild Inn on Mt. San Ja c in to . D uring the six w eeks th a t H olm e spoke of in his le tte r to P o o r m a n , he w as a s s is te d by G eorge G erw ing, who, along with R u sse l S tim m e l and P h il W hiting, w as one of H o lm e 's "co m p an y ." T hese th re e m en he tru s te d and depended upon. W hiting w as stage m a n a g e r of the P a g e a n t d uring the y e a rs th at I H olm e w as a s s o c ia te d with it. And b e c a u se of th is e a rly a sso c ia tio n , ;he was to have fu rth e r a s so c ia tio n s with the P a g e a n t a fte r H o lm e 's death. W hiting w as a devoted w o rk e r. He was paid only about $65 a w eek fo r the th re e actu al w eeks of the show , but b e c a u se he lived in • Hollyw ood, P o o rm a n exploited h im throughout the y e a r to ru n such I j e r ra n d s as lo catin g to m -to m s , m akeup, c o s tu m e s , and to take c a r e of * ^ S e e A ppendix L. 169 Shank, "G arn et H o lm e ," p a s s im . 170 The H em et N ew s, S e p te m b e r 5, 1924, p. 2. wig r e p a irs and a ll the o th e r m y ria d odds and ends th a t com e up a fte r a p ro d u ctio n is o v e r, o r when it is getting u n d er w ay. H olm e had not b e e n facetio u s when he r e m a rk e d to R aynor e a r ly in th a t f ir s t y e a r , ! I 171 . . w ith P h il's h elp , all o u r p ro b le m s w ill be so lv e d ." | j | W hile H olm e w as w illing to a c c e p t su g g e stio n s, he would not j i i i * j lo w er the quality of the play n o r in any way know ingly p re s e n t p ro b - , i ! I llem s fo r the p ro d u ctio n . He liked his p ro d u ctio n s to ru n sm oothly, i I j w ithout co n flict. One of his m eth o d s of achieving su ch a condition w as j |to gently and d ip lo m a tic a lly evade and avoid c irc u m s ta n c e s th at h e did [ i ! | ! 'not w ish. An ex am p le w as the m a tte r of s u b s titu te s , o r u n d e rstu d ie s , j I w hich R aynor b ro a c h e d to h im in a le tte r in 1924. H olm e rep lie d : ! i j 1 S u b stitu te s, o r u n d e rstu d ie s , would be v ery u se fu l. This is a som ew hat m o re difficult m a tte r to handle and I should like to be kept in fo rm e d as to w hat you think should be done. You know | as w ell as I do th at the p e rs o n a litie s in things d ra m a tic a re in i need of v e ry c a re fu l m a n a g e m e n t. I am e n tire ly in fav o r of the : id ea but su g g e st e x tre m e c a r e in the ap p o in tm en t of th e se s u b stitu te s. No " su b s titu te s" (u n d erstu d ies) w ere appointed d u rin g H o lm e's tim e . j R o b e rt F in ch , p u b licity m an fo r the P a g e a n t fo r m any y e a r s , I w ro te an anecdote of w hat happened to H olm e at a v is it to the San Ju a n C a p istra n o M issio n to tak e publicity p ic tu re s w hen H olm e was c o n n ected w ith th at v e n tu re . "The fa th e r in c h a rg e of the m issio n had a 171 The H em et N ew s, R am o n a P la y E d itio n , 1953, p. 48. 172 See A ppendix L. I 242 jmacaw th a t was the undisputed o v e rlo rd of one of the c lo is te r s in the m is s io n patio w h ere he w as confined by a chain to a six -fo o t-h ig h i p e r c h ." H olm e w as ask ed to pose with the b ird , as a gag p ic tu re in w hich H olm e w as supposed to be re h e a rs in g the b ird in his p a rt in the i p ageant. The b ird would not c o o p e ra te , and F in ch could not get him I | jinto the lens with H olm e. Annoyed, H olm e finally trie d to pull the birdj j i iinto p osition. It g rab b ed his e a r -lo b e in its "pow erful m a n d ib le s." j F in c h w rote th at he expected stro n g language, "knowing H o lm e's fluent 1 : I Ivocabulary. . . . B ut as the P a d r e cam e to H o lm e 's re s c u e . . . the i p a g e a n t-m a s te r choked off a choice ex p letiv e, and, as he wiped the , blood fro m his e a r , re m a rk e d calm ly to th e p rie s t: 'I w as lucky he i ! i 17 3 'is n 't big enough to get m e by the n eck !" ! i H o lm e's w ork was his life. And R am ona w as v ery m uch p a r t of| I ! I |his life; p erh ap s the b ig g est p a r t, a t th at tim e . He gave in d icatio n of | his c o n c e rn fo r the play in a r e m a r k to J o ry quoted by V icto r in th e in te rv ie w w ith him : He had a p rem o n itio n , G a rn e t had. He said to m e , "V icto r, j if anything happens to m e , w ill you continue w orking w ith th is? " and I sa id , "Y es, I w ill G a rn e t." And he said , "Good, good, old | boy." And then sm oked an o th e r Im p e ria l c ig a re tte . j | The p rem o n itio n c a m e about. As an o th er a d m ir e r of H o lm e 's I I w ro te of th a t saddening event: 173 The H em et N ew s, R am o n a P la y E dition, 1954, p. 67. 174 J o ry In te rv iew , A ugust 10, 1970. 243 | He bought a hom e in L a rk s p u r n e a r M ount T a m a lp a is w h ere he lived a few m onths in the y e a r while he was in th at p a r t of C a li fo rn ia . It w as h e re a few y e a rs la te r , in F e b r u a ry , 1929. th a t he fe ll, fra c tu rin g his skull. On F e b r u a ry 12, a t R oss G e n eral H o s p ita l, he died. His a sh e s w ere deposited in P o h li R ock high on the m ou n tain w h ere he had d ire c te d som e of his e a r lie s t outdoor p r o ductions and a plaque was e re c te d to his m e m o ry . 175 I I LINGERED ON THE H ILL , WHERE WE HAD PLA Y ED GARNET HOLME 1873 * * * 1929 1 I The 1929 se a so n , the seventh production of The R am o n a P a g - ' eant, was d ed icated to G arn e t H olm e. Invitations w ere se n t to a lis t of ) 34 people, all of w hose lives had been affected by M r. H olm e, to attenc I a m e m o ria l s e rv ic e to be held during the in te rm is s io n betw een the j j jfirst and seco n d acts of the play, on the f ir s t Sunday, A p ril 21, 1929. A s m a ll announcem ent b o re the d etails of the s e rv ic e and was en titled , j 176 "In M e m o ria m ." It liste d the "O rd e r of S e rv ic e " as: ! R eading M r. H o lm e 's poem , "Founding of the M issio n In n " --G ilm o r B row n, D ire c to r P a s a d e n a C om m unity P la y e r s E u lo g y --Jo h n E. King, of The H em et News T aps P la c in g of W reath M a s te r of C e r e m o n ie s - - J . O. P e rc iv a l, one of the fo u n d ers of the R am o n a P ag ean t. 175 , Shank, "G arn et H o lm e," p. 138. j 176 I M e m o ria l P r o g r a m , G arn et H olm e file , P a g e a n t r e c o rd s , | 1923-1931. 244 P a r t of John K in g 's eulogy was: i ; We m o u rn today the p a ssin g of a colleague and a frie n d . His | eulogy is not any w ork of m in e, but the litany of s o rro w th at co m es | to the h e a rts of his legion of frie n d s . O ur s o rro w is fo r a p e r - , so n al, r a th e r than an official lo ss . We have lo s t a P a g e a n t d ir e c - | t o r - - th a t could be b o r n e --b u t we have lo st a g r e a t h e a rte d frie n d , j and th a t is h a rd to b e a r. But w hile we s o rro w th a t we have lo st him , le t us also re jo ic e that such a m a n e v e r lived, and th at we had the fo rtu n e to be his c o m ra d e s. | H is death was sudden. The sun is s tric k e n fro m the sky w hile | it is y et noon. The s ta r is extinguished b efo re its c o u rs e is run. | ! The ship did not re a c h p o rt, but w ent down in m id -o c e a n . Not the | 1 w ork of any m an , but his own fu lfillm e n t is the ta s k of life. We j ; m is s h im , b e c a u se we, as his f rie n d s , w ere looking fo r fu tu re t r i - i um p h s. He had given to the people of his sta te and nation a b rig h te r j j g leam of the beauty of ro m a n c e , the a r t is t r y of p ag e a n try . ^ 7 7 i I j John King spoke of frie n d sh ip , of losing "a g r e a t h e a rte d j frie n d ." To d ate, the R am o n a P a g e a n t A sso c ia tio n h as not d edicated a ! I ; i I m e m o ria l to G a rn e t H olm e, o th e r than th at seventh p ro d u c tio n --th e • I sev en th p ro d u ctio n of the play w hose au th o r and d ire c to r w ro te in his I i jlast w ill and te sta m e n t: "The play of 'R am o n a' and a ll its ro y a ltie s !and fe e s , I should like to be given to the people of H em et and San ' , , * • , . . 1 7 8 Jac in to , b ecau se they a re m y frie n d s ." ^ A n aly sis of M ajo r S tren g th s j A n aly sis of th is second p h ase of the H olm e e r a re v e a ls th at the m a jo r stre n g th s in h e re n t to the s u c c e ss of the f i r s t s e a so n w e re fu rth e i 177 Ibid. 178 "1929" file , R am o n a P a g e a n t A sso c iatio n . -------------------------------------------------------------------------------------------------------------------------------- 2 ^5 “ re in fo rc e d and re m a in e d e s se n tia lly the b a sic s tre n g th s of the P ag ean t. i I 1. The s tro n g le a d e rs h ip continued in the p e rso n of H olm e. jThe y e a r s of h is a s so c ia tio n w ith the com m unity added new d im en sio n s !to h is s tre n g th of le a d e rsh ip , fo r as h as been c le a rly show n, to know jG arnet H olm e w as to r e s p e c t him . The fo rm a tio n of the R am o n a P a g - ieant A sso c ia tio n added c o n sid e ra b ly to the in su ra n c e th at le a d e rs h ip ! j Iwould continue, r e g a rd le s s of c irc u m s ta n c e s . It e s ta b lish e d the P a g - I i ! jeant as a s e p a ra te entity and defined its p u rp o se. The A sso c iatio n was| ; i the id eal co m p lim en t to H o lm e 's le a d e rsh ip . In its e a r ly inception, it ! ! iprovided the v eh icle fo r b u sin e ss tra n s a c tio n s and Bowl im p ro v e m e n ts,; | i two a sp e c ts th a t had taken on in c re a s e d sig n ifican ce as the su c c e ss of j I : the P a g e a n t grew . ; I 1 2. The s c rip t re m a in e d e s se n tia lly as H olm e had o rig in a lly ! jw ritten it. But the p ro d u ctio n was p o lish ed and stre n g th e n e d y e a r by i i [year. A c to rs se ttle d into th e ir r o le s , im p ro v in g th e ir p e rfo rm a n c e s , j j ICostum ing im p ro v e d , and p a rtic ip a tio n in the p e rfo rm a n c e groups in c re a s e d , b rin g in g m o re sp e c ta c le to the show. 3. C om m unity e n th u sia s m w as in c re a s e d and fo rtifie d th ro u g h - I " I lout th is phase of the H olm e e r a . H o lm e 's p o p u larity and the p o p u larity 1 !of the lead s of the show w e re stro n g f a c to rs in the com m unity. I i lA nother v e ry im p o rta n t fa c to r e m e rg e d during>this tim e th at c o n tr ib uted g re a tly to m a in tain in g the e n th u sia sm of the com m unity. By 1928 jthe p re se n ta tio n of the P a g e a n t had b eco m e a com m unity tra d itio n . As |---------------------------------------------------------------------------------------------------------------- 246~1 | w ill be se e n in su b se q u e n t c h a p te r s , th is f a c to r of tra d itio n b e ca m e ;vitally im p o rta n t to the continuation of the P a g e a n t in the face of o v e r- i ! jw helm ing o b s ta c le s . And of c o u r s e , s u c c e s s c o n trib u te d to m a in ta in - I jing the c o m m u n ity in te r e s t, too. I | 4. S u c c e ss also re in fo rc e d the fin a n c ia l s e c u rity of the P a g - j ; I leant. The p u rc h a se of the Bowl p ro p e rty and its im p ro v e m e n ts se rv e d ; | i as a c o m m itm e n t to the continuation of the P a g e a n t. Sound b u sin e ss J ! ! * 1 Ip ractices w e re continued, incom e in c r e a s e d , and ex p e n d itu re s w e re j ; i | m ad e only a fte r cautious c o n sid e ra tio n . i ! i 1 5. One of the l a r g e s t ite m s of ex p e n d itu re s d u rin g th is p e rio d j w as on pu b licity th at would in s u re continued public i n t e r e s t . The P a g - j leant continued to enjoy the c o o p era tio n of the v ario u s c h a m b e rs of j ic o m m e rc e and n e w sp a p e rs of S o u th ern C a lifo rn ia , but the em p lo y m en t i of a p ro fe s s io n a l publicity agent added m e a s u ra b ly to the siz e of the au d ien ce. A lm o st all of the Bowl im p ro v e m e n ts d u rin g this p e rio d j i | we re to im p ro v e audience c o m fo rt. And tra d itio n also played its p a r t in m ain tain in g public in te r e s t. I In s u m m a ry , the five m a jo r s tre n g th s w hich accounted fo r the i |P a g e a n t's s u c c e s s in its f i r s t y e a r p re v a ile d and w ere re in fo rc e d th ro u g h o u t th is second p h ase of the H olm e e r a . The m o s t im p o rta n t !changes d u rin g th is p e rio d w e re the e s ta b lis h m e n t of the y e a rly p resen -' j Jtation of the play as a co m m u n ity tra d itio n , and the fo rm a tio n of the R am o n a P a g e a n t A sso ciatio n . C H A PTE R IV FU R T H E R D EV ELO PM EN TS OF THE PAGEANT: 1929-1947 "The c r i s i s of 1929 d escen d ed like a s tro k e fro m the blue upon j a w orld little su sp e c tin g , e sp e c ia lly the United S ta te s, w hat the next 10 y e a rs had in s to re fo r it." With a re a liz e d n atio n al incom e th at I t 'was 44 p e rc e n t below that of 1929 and an u n em p lo y m en t e s tim a te d at i I ■fifteen m illio n out of a population of a p p ro x im a te ly 124 m illio n , the d e p re ss io n had h its its n a d ir in 1933, and the n ation co m m en ced its long, slow clim b to w ard re c o v e ry . By m id -J u ly , 1940, w ith WPA and jCCC s till activ e, the re c o v e ry w as not y et co m p le te . "It re m a in e d fo r Jwar, . . . to solve this p ro b le m , at le a s t fo r a few y e a r s , but at a c o st i , .,2 I th at w as sta g g e rin g ." i C a lifo rn ia , along w ith the nation, su ffere d the d e p re ss io n . The "30s b ro u g h t an influx, p a rtic u la rly fro m the blighted land of the dust | ^ C h e ste r W hitney W right, E conom ic H is to ry of the United iStates (New York: M cG raw -H ill Book Co. , Inc. , 1949), pp. 777-778. i - - - - - - - - - I 2 j I b id ., p. 793. i I | 247 248 I |bowl. The w ar y e a rs in the e a rly 1940s saw the youth leaving to fight. I M ilita ry c a m p s , a e ro n a u tic a l p la n ts, and sh ip y a rd s sp ra n g up th ro u g h - l -out S o u th ern C a lifo rn ia . R yan School of A ero n au tic s was e sta b lish e d in, iHemet, and young flie r s cam e fro m all o v e r the co u n try to re c e iv e j th e ir p r im a r y flig h t tra in in g th e re . N earb y M a rc h F ie ld grew and ; i ! * i h u m m e d with ac tiv ity , and a c r o s s the highw ay, C am p Hahn w as built j | i Jand g re w to a v a s t siz e during the w ar. j By 1946, the s tr u c tu r e of the V a lle y 's so ciety had changed. j A fte r the R yan School shut down, m any of the flig h t in s tr u c to rs and ! I i i ' lother p e rso n n e l attach ed to Ryan re m a in e d to m ake th e ir h o m es in the j V alley. This in je c tio n of new blood had its effect upon both the V alley j land th e P a g e a n t. j The y e a rs of 1928 th ro u g h 1946 re p re s e n te d the m o st try in g i iperiod in the h is to ry of the P a g e a n t to date. F ir e sw ept the Bowl in i 1 1928 and G a rn e t H olm e died in 1929. The d e p re s s io n fo rc e d the B o ard j to sh u t the P a g e a n t down in 1933; W orld W ar II d ark en ed it fo r fo u r ;m ore y e a r s . But through it all, the people of the V alley held th e ir love ifor the show and ra llie d to its re s c u e each tim e it was th re a te n e d . With iCareful m a n ag e m e n t, the P a g e a n t su rv iv e d and cam e back s tro n g e r | i I ithan e v e r in 1946. i j i One of the m o s t im p o rta n t fa c to rs in its s u rv iv a l was the stro n g p e rso n a lity evinced by both V ictor J o ry and h is w ife, Jean; they jbecam e the living sym bols of the P a g e a n t d u rin g th at e r a . C e rta in ly jthe continuing p re s e n c e and influence of E d w ard P o o rm a n c o n trib u ted igreatly to the v itality of the p ro d u ctio n and m a n ag em en t. Yet it was I th e J o ry s who m ad e the show "go on"; and ju s t as 1923 through 1928 I jwas the H olm e p e rio d , so the '30s, e s p e c ia lly , w ere the J o ry period. H o lm e 's d eath was a s e v e re blow to the P a g e a n t, but as I , I S h a k e s p e a re so w isely o b s e rv e d , "Sw eet a r e the u se s of a d v e rsity , " j I 'for the P a g e a n t continued, and grew . H olm e h im se lf had helped p r e - j j p a re fo r rude sh o c k s, including his own d e m ise (of w hich he had spoken ; 3 i jto J o ry , as noted), by w illing the s c r ip t to the people of the V alley, by: I I e sta b lish in g the P a g e a n t p ro c e d u re and tra d itio n , and by su rro u n d in g j ithe play with d ed icated people who would c a r r y on a fte r him . j i j M an ag em en t I j A ctually, the m o s t se rio u s th r e a t to the continuance of the I | show th a t has been e x p e rie n c e d to date was the c a n c ellatio n of p ro d u c - i I ! tion fo r the 1933 se a so n . A ttendance dropped in 1932 to 11,551 fro m i 4 the 1931 atten d an ce of 17, 103. At the B o ard m eetin g of June 13, i 5 j 1932, a re p o rt was m ad e sta tin g th a t th e re w e re not funds in the bank, ; th a t an e s tim a te d $926. 56 would be needed to pay off the 1932 i | ■ — 1 3 ; S u p ra , p. 242. 4 See A ppendix A. 5 A ll quotations and r e fe re n c e s to the m eetin g s of the B o ard may be found in the M inutes of the M e e tin g s, R am o n a P a g e a n t A sso c ia tio n files . j 250 i I j ‘ p ro d u ctio n expense and to c a r r y the ex p en ses fo r the next six m onths. The B o ard voted to b o rro w a su m not to exceed $1,000, using as col- t l a t e r a l R am o n a P ag ean t-o w n ed bonds bought fro m the S outhern C a li fo rn ia E d iso n C om pany. It was the co n sen su s of the B o ard that they I b o rro w m oney on the bonds as c o lla te ra l r a th e r than c a s h a bond at ! i i •the then re d u ced value. | : j A t the N ovem ber 14, 1932 m eetin g , the B oard appointed co m - j i m itte e s and d isc u sse d publicity fo r the 1933 production. T h e re was j : | jalso m uch d isc u ssio n of cutting c o sts in c u rre d in the 1932 production. i iThen, on N ovem ber 28, 1932, a sp e cia l B o ard m e e tin g was called , and on a m otion m ade by M r. C ovell, seconded by M r. T ib b e tts, and c a r - j ; i rie d u n anim ously, it was decided to postpone the P a g e a n t until 1934. A fu rth e r indication of th e ir d ire fin a n cial situ atio n w as an en try in the I B o ard m in u tes of A p ril 10, 1933, noting th at n e w sp a p e rs should be j advised of the p o stp o n em en t of the P a g e a n t, and statin g that this shouldj be done a t a c o s t not to exceed $10. 00. The P a g e a n t was not p r e - ; sented in 1933. | i The d e p re ss io n w ore on. At a B o ard m eetin g on N ovem ber 27, j 1933, it was decided th at the P a g e a n t would not be p re se n te d in the I i | sp rin g of 1934. 1 ! It was ap p a re n t th at, to th at point, the atten tio n of the B oard j had been d ire c te d p r im a r ily tow ard the m o n e ta ry a s s e ts of the A s so - I ! ciation, and th at they had not co n sid e re d th e ir m o s t valuable a s s e t - - r 25T-] I ' I jthe e n th u sia s m of the com m unity fo r the P a g e a n t. They w e re shown itheir m ista k e in a fittingly d ra m a tic fa sh io n a t the B oard m eetin g of !ja n u ary 29» 1934, when, a fte r the a p p ro v a l of the m in u tes of the p r e - I | jvious m ee tin g and the ad jo u rn m en t to the B anquet Room of the A le s - \ Isandro H otel (in H em et), " M rs . E ttie D ale p re se n te d a g u a ra n te e lis t ! iof $850. 00 w hich had been r a is e d by M rs . C la re n c e S m ith and M rs . ! i : ; i iDale fo r the 1934 show. M r. P o o rm a n ca lle d upon each d ire c to r to ! i ! ispeak, also m any o th ers p r e s e n t." The d ire c to rs e x p re s s e d g re a t 'w illingness to re c o n sid e r re tu rn in g the P a g e a n t if the n e c e s s a r y $5,000 i i .g u aran tee fund could be r a is e d . M r. E n sle y m ade a m otion th a t M rs . j ' ! Sm ith and M rs . Dale be given a ris in g vote of thanks fo r th e ir w ork in j » I t i se c u rin g g u a ra n to rs . The d ire c to rs then ad jo u rn ed to the office fo r a j d isc u s s io n of the m a tte r. F in a lly , M r. C ovell m oved and M r. Spauld- jing seco n d ed a m otion th at the B o ard re c o n s id e r p ro ducing the P a g e a n t I jin 1934, and f u rth e r m oved to s e t a sid e a budget of $ 8 ,0 0 0 , an am ount 6 c o n sid e ra b ly low er than any budget of the p re c ed in g five y e a r s . They voted th at the g u aran tee fund of $5,000 be ra is e d (with 20 p e rc e n t in ! jcash ), and th a t in the event of lo s s , the r e s e r v e of the A sso c ia tio n be I l 'u se d f i r s t to d efray any su ch lo ss up to w ithin $ 1 , 0 0 0 of the to ta l I | r e s e r v e fund. Then, at the B o ard m e e tin g of F e b ru a ry 12, 1934, it was m o v ed , seconded, and c a r r ie d th a t the R am o n a P a g e a n t be See Appendix B. ip resen ted in 1934. The A sso c ia tio n re c e iv e d help fro m d iv e rs q u a r te rs th a t y e a r. I The M inutes of the B o ard m eetin g on M a rc h 12, 1934 show ed th a t M r. I P o o rm a n re p o rte d w ork a t the Bowl w as being fu rn ish e d by the F ederalj E m e rg e n cy R elief u n d e r the d ire c tio n of Lyle P la tt at a c o st of $2 . 0 0 J p e r day fo r his s e rv ic e s and no c o st fo r the m en w orking w ith him , ; i ex cep t $1. 50 p e r day fo r tra n sp o rta tio n . And a t the B o ard m e e tin g of i M a rc h 30, 1934, P o o rm a n re p o rte d th a t the R iv e rsid e County Cham berj j of C o m m e rc e was going to donate $200 to the P ag e an t. I T hus, the P a g e a n t was p re se n te d in 1934 on a sh o e strin g budget; i a sm a ll p ro fit was re a liz e d and attendance w ent up f ro m the 1932 fig - \ \ I u re of 11,551 to 12, 928. 7 | I On June 11, 1934, the B oard voted to send V ictor and J e a n J o ry ;each $ 1 0 0 , as a token of a p p re c ia tio n , sin ce they had w orked fo r • ex p en ses only, in o r d e r to help the P a g ean t. It w as also voted to give F ra n k F e lt an additional $25 fo r his s e rv ic e s ; and by a vote of 5 to 3 the B oard fu rth e r a g re e d to d istrib u te fro m the p ro fits $300 to the H em et C h am b er of C o m m e rc e and $200 to the San Jacin to C h a m b e r of ; C o m m e rc e . j ; This sp lit vote re g a rd in g d istrib u tio n of the p ro fits to the two C h am b ers of C o m m e rc e was an indication of the d is a g re e m e n t th a t had See A ppendix A. 253 I I Ibeen fom enting fo r so m e tim e betw een two factions of the B oard c o n c e rn in g the C h a m b e rs ' dem ands for sh a rin g in the p ro fits of the A sso - I 1 8 ciation. P o o rm a n led the opposition to the p ro fit-s h a rin g with the ^Cham bers, as in d icated by the M inutes of the m eetin g of June 6 , 1934: ! The P r e s id e n t [P o o rm an ] gave his v e rsio n of the re a c tio n to j • the policy of donating m oney to the C h a m b e rs of C o m m e rc e which | he thought a bad p re c e d e n t to s ta r t and the tendency would be to j , in c re a s e the am ount asked each y e a r r a th e r than dim in ish . He | spoke e sp e c ia lly of m e m b e rs of the c a s t and g u a ra n to rs d e sirin g J th at the b o a rd be appointed by d iffe re n t re p re s e n ta tiv e groups in | the Valley r a th e r than ju s t the two C h a m b e rs of C o m m e rc e . This j m a tte r w as bro u g h t up at the beginning of the fis c a l y e a r so th a t the j j d ire c to rs m ig h t give the m a tte r c o n sid e ra tio n b efo re the active j se a so n in the fall. I i At the B oard m eetin g of N ovem ber 2 0 , 1934, P o o rm a n resig n e d as J I p re sid e n t, m a n a g e r, and d ire c to r of the A sso ciatio n , statin g that h is I i i i p e rso n a l a ffa irs re q u ire d his attention. He had s e rv e d continuously as im anager since 1925; in addition, he s e rv e d as p re s id e n t of the B oard fro m 1927. ^ The fin a n cial re c o rd s of the A sso c ia tio n did not show any f u r th e r con trib u tio n s to the C h a m b e rs until 1938, although it is p o ssib le th at som e w e re m ad e. It was not until 1951 that re g u la r and size ab le ! ■donations to the C h a m b e rs b ec a m e y e a rly e n trie s in the fin an cial sta te - j m e n t s . ^ A t the B oard m eetin g of July 19, 1954, the m a n a g e r, M ilton E videnced by P o o rm a n 's resig n atio n . 9 See A ppendix H. ^ S e e A ppendix B. 254 i jR. N im s, ask ed and rec e iv e d a u th o rity to dispose of old re c o rd s " o th er than th o se of an h is to ric a l n a tu r e , back of five y e a r s ," he to u se his own d isc re tio n . As a co n seq u en ce, with the ex cep tio n of the B oard I (m inutes, m any of the r e c o rd s and m o s t of the c o rre sp o n d e n c e fro m I 1934 th ro u g h the e a rly '50s, w hich would have been valuable to this ' ! 'study, w e re u n av ailab le. J ! i I j A cco rd in g to the M inutes of D e c em b e r 21, 1934, P o o rm a n was | I su cceed ed as M an ag er in 1935 by M rs . E m ily F r e e m a n , although she j 'was given only the title "M anaging S e c r e ta ry ." C o rresp o n d in g S e c re - i j Itary fo r the P a g e a n t fro m 1925 th ro u g h 1927, at the f i r s t m eetin g of j I < I the B oard on J a n u a ry 12, 1928, she was elected E x e cu tiv e S e c r e ta ry , j i and held th a t p o sitio n u n til 1935, when she succeeded P o o rm a n . She j was a d ed icated and devoted w o rk e r, able to a s s e r t in itia tiv e as w ell as (take d ire c tio n . She was P o o rm a n 's " rig h t a rm " and " g irl F r id a y ," as !the volum inous c o rre sp o n d e n c e of th a t p erio d a tte ste d . D uring h e r one y e a r as M a n a g e r, she follow ed c lo se ly the p re c e d e n ts and p ro c e d u re s (estab lish ed by G a rn e t H olm e and e n la rg e d upon by P o o rm a n . 1 It re m a in e d fo r an o u tsid e r to expand the h o riz o n s of the P a g - | Jeant. \W hereas P o o rm a n had sp en t a g r e a t deal of tim e co n cern in g i [him self w ith the d etails of the play production, c a stin g , d ire c tio n , and the g e n e ra l to ils of a p ro d u c e r, Lloyd M itchell (the new m a n a g e r) was |co n ten t to tu rn o v er th o se m a tte rs w hich co n cern ed the D ire c to r to the [D ire c to r. He co n c e rn e d h im se lf w ith the b u sin ess of the P ag ean t; he 255 pro d u ced g r e a te r public re la tio n s , in c re a s e d atten d an ce, and im p ro v e m en ts of the Bowl. i l j M itc h e ll's f i r s t a sso c ia tio n with The R am o n a P a g e a n t cam e in i 11929, w hen the M itch ell T ick et Agency c o n tra c te d with the R am ona i 1 1 |P a g e a n t A sso c ia tio n to handle tic k e t s a le s in the m e tro p o lita n a re a . 1 i ; . I iThe agency continued to handle the tic k e t sa le s in the city through i ! i 1 12 ! 11932. j ! ! I P o o rm a n had developed the h a b it of re q u e stin g the attendance j I i 13 ! jfigures fo r th e San B e rn a rd in o O range Show fro m R. H. M ack. j I (Beginning in 1930, he also w ro te to o th er p roductions and b u s in e s s e s re q u estin g s im ila r in fo rm atio n . John M cG ro arty of the San G ab riel j !M issio n P la y w ro te back in glowing te r m s th at the 1931 s e a so n "has (been quite the m o s t p ro sp e ro u s of all the sea so n s of the P la y sin ce its ! 14 iinception." B ut in M a rc h of 1932, M ack w ro te to P o o rm a n , ". . . if 15 !I w ere you I would fig u re a t le a s t 40% off in a tte n d a n c e ." P o o rm a n i w ro te Lloyd M itch ell fo r an opinion on 1933 gate r e c e ip ts , and M itchell (rep lied in te r m s of the n u m b e r of tic k e ts p rin te d by one of the leading, I ^ L e t t e r fro m P o o rm a n to M itch ell, Los A n g eles, A p ril 2, 1929 12 R am o n a P a g e a n t A sso c ia tio n file s , Lloyd M itch ell c o rre s - jpondence. 1 13 R am o n a P a g e a n t A sso c ia tio n file s , " T h ru 1934." ^ L e t t e r fro m M cG ro a rty to P o o rm a n , M a rc h 12, 1931. 15 L e tte r fro m M ack to P o o rm a n , M a rc h , 1932. j ' 256 I n a tio n a lly -re p re s e n te d tic k e t-p r in te r s : "1 9 29--29 m illio n , 1930-- 19 m illio n , 1931 — 13 m illio n and 1932--10 m i l l i o n ." ^ This in fo rm a tion no doubt influenced the B oard in its d ecisio n not to pro d u ce the iP ageant in 1933. i On O ctober 26, 1935, M rs. F r e e m a n w rote to M itchell on an i : ! I im p o rta n t subject: i I i : As I am resig n in g fro m this office, I am w riting to you to | a s c e rta in w h eth er o r not you would be in te re s te d in m anaging the ! 1936 pageant. I am s u re th at you would be a good m an fo r the | job if you can a rra n g e to com e to H em et. It would probably take J I th re e m onths of your tim e . j D uring the B o ard m eetin g of N ovem ber 25, 1935, M itchell was offi- j i I cia lly appointed M an ag er fo r the 1936 production. In his fo u rth y e a r ! | i as M an ag er (1939), The H em et N ew s, in a publicity re le a s e , pointed ! out that: This is his fo u rth s e a so n as G en e ra l M an ag er of the R am ona P la y and u n d e r his guidance a long ran g e p ro g ra m of im p ro v e m en ts at the R am o n a Bowl has been in stitu te d and la rg e ly c o m p leted and the d ra m a has been m o re widely publicized than e v e r b efo re. ^ M itch ell re m a in e d as M an ag er through 1941. j P o o rm a n also was a kind of h is to rio g ra p h e r. He w rote n u m e r- ; ious a r tic le s about the P a g e a n t for v ario u s publications. One of his L e tte r fro m M itch ell to the R am ona P a g e a n t A sso ciatio n , N o vem ber 23, 1932. i 17 The H em et N ew s, R am ona P la y E dition, A p ril 21, 1939, ip. 36. r 257 a r tic le s , found in the files of the P a g e a n t, entitled "R am ona P a g e a n t N otes by Ed P o o rm a n ," and dated Ju ly 19, 1948, contained this 'd escrip tio n of an o th er p ro b le m of th a t e a rly period: On Ju ly 17th, 1928, the P a g e a n t m e t an o th er d is a s te r , when | about two m onths a fte r the show th a t y e a r, the Bowl w as sw ept by ' f ir e , and all the n ative tr e e s and sh ru b b e ry around the buildings and on the h illsid e was [s ic ] bu rn ed . It took a n u m b er of y e a rs | fo r the grow th to c o v er the s c a re d [s i c ] and b a r r e n h ills id e s . i On July 19, 1928, a sp e c ia l m ee tin g of the R am o n a P a g e a n t A sso ciatio n w as convened, a t w hich tim e F ir e W arden F . M. B a ird j ^explained th at the f ir e had been due to the n egligence of the A sso cia tio n Icrew that had been burning off the f ir e b r e a k aro u n d the Bowl. B a ird j j f u rth e r stated that the A sso ciatio n w as liable fo r the firefig h tin g \ j j E x p en se, but th at he would apply fo r o n e-h alf the expense fro m the ] i ,County budget and the A sso c ia tio n could pay the b alan ce. The to tal I icost of the f ir e to the A sso ciatio n w as $435. M ost of the p lan ts th at I I re fo liated the h illsid e s w e re donated by lo cal people; ho w ev er, th e re was at le a s t one in te re s te d " s t r a n g e r " - - F r a n k M ille r of the M issio n :Inn in R iv e rs id e , who a rra n g e d fo r the c a rlo a d of f re e c e m e n t that I 18 w entinto m aking the f i r s t co n c re te s e a ts . j M ille r was the ow ner of the M issio n Inn, the in s tig a to r of both jthe f i r s t E a s te r s u n ris e s e rv ic e s at Mt. Rubidoux in R iv e rsid e and The 'M issio n P la y a t San G ab riel. T hroughout his life tim e , he w as dedicated jto the p re s e rv a tio n of the h is to ric a l ro m a n ce of e a rly C a lifo rn ia . At jthe M issio n Inn was a re p lic a of A nton's clo ck fro m N u re m b u rg , G e r- jm any, which c a r r ie d the in sc rip tio n , "W here th e re is no v isio n , the ipeople p e r is h ." And it w as to F r a n k M ille r th a t A rc h e r H untington r e - im a rk e d ,, "A ny e n te r p ris e which has an h is to r ic al b a ckgr ound and a_____ Z58T ! P e rh a p s it was fo rtu n a te th at p rev io u s to the f ir e , with the iexception of building the c o n c re te s e a ts , only m in im a l im p ro v em en ts had been m ad e a t the Bowl; o th e rw ise , the lo ss m ig h t have been m uch ;g r e a te r . It w as during the p erio d a fte r the f ir e , through 1941, th at the Bowl took on its p e rm a n e n t c h a r a c te r is tic s . The s ta g e -a re a im p ro v e - jm ents follow ed exactly the o rig in a l conceptions of G a rn e t H olm e, and : i !the o th e r im p ro v e m e n ts m ain tain ed the e a rly C a lifo rn ia th em e. In May of 1929, the A sso c ia tio n p u rc h a se d 60 a c re s of land adjoining the Bowl fro m M rs . R eev es fo r $ 3 ,0 0 0 . The land was I I deeded on M ay 9, 1929, acco rd in g to the m a p s, and it was th ro u g h this| 19 i land th at the G ira rd S tre e t ap p ro ac h to the Bowl w as c o n stru c te d . I i 1 T his gave the A sso c ia tio n an a lte rn a te ro ad to w hich they soon joined , the ro ad ap p ro ach in g fro m C olum bia S tre e t. D uring the p e rio d fro m 1928 th ro u g h 1932, ex ten siv e lan d - ! scaping and fencing was done, 6 6 0 m o re c o n c re te s e a ts w e re in sta lle d , 20 and the u p p er p arking lo t was e sta b lish e d . Then a hiautus in i m p ro v em en ts took place d uring the d e p re s s io n y e a r s , 1932 through m id - 1936. A fter h is appointm ent as M an ag er, and his assu m p tio n of the ■ j relig io u s sig n ifican ce h as as good a chance of p e rm a n e n t su c c e ss as anything on e a rth " (F ra n k lin W alk er, A L ite r a r y H isto ry of S outhern ; C a lifo rn ia [B erkeley: U n iv e rsity of C a lifo rn ia P r e s s , 1950], pp. 240-241). 19 See A ppendix C. I 259 ! [job in e a rly 1936, M itch ell began the new building p ro g ra m . U nder h is d ire c tio n , 500 new b le a c h e r s e a ts w ere added and m o d e rn r e s tr o o m s w e re p e rm a n e n tly in sta lle d in la te 1936 and in 21 11937. A lso d u rin g this p e rio d , the p e rm a n e n t ra n c h house of stucco ’ and b ric k was b u ilt, copying the o rig in a l C am ulos ra n c h house in |V entura County. In addition, a th atch ed hut of woven willow w ithes jrep laced the f ra m e s tr u c tu r e th a t had been R am ona and A le s s a n d ro 's refu g e in e x ile , and h as b eco m e known as "R a m o n a 's H ut." In 1937, Ithe Bowl e n tra n c e w all and gate w ere c o n stru c te d to em u late the e n tra n c e to a C a lifo rn ia h acien d a. An a r tic le in The H e m et N e w s, R am o n a P la y E dition, of A p ril 19, 1940 d is c u s s e d the w a te r supply: D evelopm ent of an adequate w a te r supply had been one of the i m a jo r p ro b le m s a t the Bowl. In the p a st drin k in g w ater and w a ter I to ir r ig a te the sh ru b s and s e ttle the d u st cam e fro m a c le a r sp rin g in the h ills behind the ra n c h h o u se, but in d ry y e a rs the flow was in su fficen t to m e e t all n ee d s. The p ro b le m was solved in 1938, 1 when a p ipeline was laid and the v alley w ater s y ste m tapped, in su rin g ad eq u ate w a te r fo r all p u rp o se s , (p. 1 0 ) A lso d uring this tim e a b a ck stag e re s tr o o m was in sta lle d and I c o n sid e ra b le ro ck w o rk and planting w e re co m p leted , to enhance the 1 22 ;Bowl. In 1939 and 1940, c o n sid e ra b le w ork was done to im p ro v e the I j j park in g fa c ilitie s , and in 1941 the new a d m in istra tio n building abutting 21 xu. , Ibid. 22 See A ppendix C. I 260 jthe e n tra n c e w all was com pleted. The p e rm a n e n t sta g e , the e n tra n c e , | ( and the a d m in istra tio n building w ere all designed by a rc h ite c t Dwight ! jGibbs, who fo r a n u m b er of y e a rs was liste d on the p ro g ra m s as a I 23 ^member of the P a g e a n t staff. With the co m p letio n of the a d m in is- j j 'trativ e building, the Bowl p ro p e rty then s e rv e d as a co m p lete hom e for | | all the A sso c ia tio n 's a c tiv itie s, as w ell as fo r the p ro d u ctio n itse lf. j 1 (The building h oused a d m in istra tiv e o ffices, an in fo rm atio n c e n te r, and i ! the B oard m eetin g room . D uring the W orld W ar II y e a r s , an o th e r ; I jhiatus in building took p lac e , and no fu rth e r im p ro v e m e n ts w e re m ade until late in 1946. i As the P a g e a n t g rew , so did the need fo r w o rk e rs , and the staff j i ! was in c re a se d . New c o m m itte e s w e re added, such as those fo r p a rk - j ing, h o s te s s e s , liv esto ck , flo w e rs , fie sta , etc. T hrough 1931, only jthe staff and the c o m m ittee c h a irm e n w ere liste d in the p ro g ra m s . In | 1 i 1932, fo r the f i r s t tim e , all the lo cal people involved in the p r e s e n ta tion of the P a g e a n t w ere liste d . In 1932, th e re w e re 105 w o rk e rs in the P a g e a n t, ex clu siv e of the c a s t. By 1936, the fig u re had grow n to 171, i ;and by 1939. to 302. The y e a r 1946 saw a d e c re a s e to 276 w o rk e rs , 24 | w ith 311 in the c a s t, fo r a to tal in p roduction of 587. 23 P r o g ra m s of the P ag e an t (Appendix F). 24 See Appendix E. _ g _ The P a g e a n t m a n a g e m e n t had e s ta b lis h e d th re e p o licies th at I jcontributed g re a tly to receiv in g co o p eratio n f ro m all lev els of g o v e rn - I jm ent. F i r s t , they p ro m o te d the educational a sp e c ts by giving group r a te s to sch o o ls, the Boy S couts, and the s e rv ic e m e n at M arc h F ie ld . I In 1932, a total of 16 g ro u p s, c o m p risin g fro m 20 to 90 individuals p e r 25 Igroup and to talin g 580 in a ll, attended the P a g e a n t. The n u m b e r of j | Igroups, p a rtic u la rly fro m sch o o ls, h as in c re a s e d stea d ily o v e r the j ; i y e a r s . Second, they w illingly gave "co m p s" fo r c h a rita b le p u rp o se s i I i i I such as schools fo r disadvantaged c h ild re n , and to the e ld e rly . F o r j I I j I ex am p le, a t the re q u e s t of the R iv e rsid e L io n s' Club, the P a g e a n t sen t: ! tic k e ts to an old fo lk s' hom e in R iv e rs id e w hich w as m a in ta in e d by j : ■ i 2 ^ j v a rio u s s e rv ic e clubs of R iv e rsid e . T h ird , they c o o p erated with | o th e r C h a m b e rs of C o m m e rc e , p a rtic u la rly th a t of R iv e rsid e . Many ipeople attending the P a g e a n t tra v e le d to H em et th ro u g h R iv e rs id e , i joccasioning the following le tte r dated F e b r u a ry 18, 1930, fro m E a r l W. P o r te r , M anaging S e c re ta ry of the R iv e rsid e C h am b er: I am taking the lib e rty of w ritin g to you again calling to your i atten tio n a p rev io u s le tte r in which we m ad e the su g g estio n th a t you s t a r t the R am o n a P a g e a n t about a half h o u r e a r l i e r than la s t y e a r if p o ssib le in o rd e r th at those who atten d and who find it im p o ssib le to g et th e ir m e a ls in H em et m ay be able to re tu rn to j R iv e rsid e in tim e fo r d in n er. You w ill re m e m b e r th a t we b ro u g h t ! this m a tte r to y o u r atten tio n la s t Ju ly but have not h e a rd fro m you ! sin ce that tim e. 25 1932 "G roup" file , R am o n a P a g e a n t A sso c ia tio n . 2 6 L e tte r fro m the R iv e rsid e L ions Club, A p ril 11, 1929. j 2 6 2 jP o o rm an re p lie d to P o r t e r 's le tte r on F e b r u a ry 20, 1930, with the a s s u ra n c e th a t although the A sso c ia tio n could not change the tim e , | iwhich w as tra d itio n a l, and b e cau se of the h e a t, they had m ade a r r a n g e m e n ts to sp eed the d e p a rtu re of th e ir p a tro n s by c o n stru c tin g new j ro ad s w hich they b eliev ed would em pty the Bowl in o n e-h alf hour le ss I |tim e than in the p ast. ! A s a c o n seq u en ce of th ese p o licies and the value of the P a g e a n t i i to the County as a w hole, the County w illingly aided the P a g e a n t in j jmany w ays. The County B o ard of S u p e rv is o rs helped g re a tly by a lio - j i ! !eating funds to be u sed to im p ro v e the ro ad s to the Bowl, the County | and State C h a m b e rs of C o m m e rc e gave a s s is ta n c e in publicizing the j 1 I 2 7 i P a g e a n t, and the S h e riff's office fu rn ish e d p e rso n n e l fo r policing the j 28 Bowl during p e rfo rm a n c e s . The S tate M otor P a tr o l (la te r known as jthe C a lifo rn ia Highway P a tro l) w as alw ays "on h a n d --to help with the ! 29 I itraffic conditions d uring the days of the P a g e a n t." Beginning in 1934,1 the C om m anding G e n e ra l of M a rc h F ie ld iss u e d in stru c tio n s to p re v e n t i a ir c r a f t fro m th a t sta tio n flying in the vicinity of the R am ona Bowl ^ M i n u t e s , M a rc h 19, 1929, M a rc h 17, 1930, and May 10, j1939. | j o 8 ; L e tte r to S h eriff R ay b u rn , A p ril 20, 1931. I 29 L e tte r fro m L. S an ard , State M otor P a tr o l, to the A s s o c ia tio n , A p ril 19, 1929. jduring the aftern o o n s on the d ates on w hich The R am ona P a g e a n t w as h e ld . 3 0 i : W hile the v ario u s b ran ch es of g o v ern m en t w ere becom ing m o re j jaw are of The R am ona P a g e a n t as an h is to ric a l and c u ltu ra l a s s e t and a 'to u rist a ttra c tio n , s till in the e a rly '30s it was not the household w ord I i 'in S outhern C a lifo rn ia th at Lloyd M itc h e ll's m a n a g e rsh ip w as to m ake jit. Since M itch ell, the o c c u rre n c e of such an incident as the following j is highly im p ro b ab le: On F e b ru a ry 26, 1930, P o o rm a n w ro te to the j I I j C o m m e rc ia l A r t & E n g rav in g C om pany of Los A n g eles, req u estin g thatj Ithey s e a rc h th e ir files fo r the o rig in a l draw ings used fo r "cuts m ade j fo r the R am o n a P a g e a n t la s t y e a r ." M r. C onnicott, of th at com pany, j : i an sw e re d on M arc h 1, 1930, "D ear M r. F o re m a n [s ic ] , I have checked c a re fu lly through o u r a r t files and do not find any of the draw ings th at I we re p ro d u c e d for you la s t y e a r on the P o m o n a [sic] P a g e a n t. . . . " i j P o o rm a n w ro te asking if it w e re p o ssib le the draw ings had been sen t j to P o m o n a in ste a d of to the R am ona P a g e a n t. M r. C onnicott rep lied ; again to M r. F o re m a n [sic ] th at they had indeed sen t the draw ings to 31 P o m o n a. In 1934, in o r d e r to m a in ta in com m unity in te re s t, fie sta s w ere 32 ! in stig ated as p a r t of the P a g e a n t a c tiv itie s. When the id ea f ir s t went | " ^ L e tte r fro m H. R. H arm o n , Lt. C ol., USAF, A p ril 4, 1936. j " ^ L e tte r to " F o re m a n ," M a rc h 1, 1930, P a g e a n t c o rre s p o n - | dence file s. I P u b lic ityJ:ald.ex,.-P-ageantcoxr£Ji.pondencejU es1 _l_9MJ________ j 264 I i Jinto effect, the fie s ta s w e re held on two w eekends; ho w ev er, the towns a lte rn a te d . T hat is , the f ie s ta w as held one w eekend a t H em et and on I ’ I th e next fo r San Ja c in to . In 1937, Lloyd M itch ell changed the c e le - I jbration so th a t the fie s ta w as held in one city fo r the y e a r; 1937 was I I I jgiven to San J a c in to , 1938 to H em et, etc. M itch ell also in stig a te d I . I ! Ibringing a w ell-know n p e rso n a lity to the fie s ta to e n te rta in . F o r ' i ! i 33 j (exam ple, he b ro u g h t L eo C a rillo to the fie s ta in 1936. j ; I M itc h e ll's vision was to m ak e the Bowl a g eo g rap h ic - I j [h isto rical la n d m a rk in the sta te . To th a t end, d uring the M a rc h 13, ; i i 1940, B oard m e e tin g , he su g g ested that the Bowl becom e a com m unity i ;art c e n te r, w h ere i n te r e s t in the v ario u s sk ills could be developed j I • 'throughout the y e a r-.-w h e re they could tra in th e ir own ta le n t and esta b -i lish a y e a r-ro u n d office and m u se u m w h ere p o s tc a rd s and o th e r sou- I jvenirs could be p u rc h a se d by v is ito rs . A ll of th e se id e a s of M itc h e ll's i ! Jwere in c o rp o ra te d , but not u n til a fte r he had left the P a g e a n t. M itc h e ll's v isio n e m b e llish e d r a th e r than c o n tra d ic te d H o lm e's (vision of the play as an annual event. M itchell knew th a t in o r d e r to !achieve th is end, m e re ly im p ro v in g the Bowl and b e tte rin g o r in c r e a s - j jing publicity w e re not enough. The com m unity in te r e s t and p a r tic ip a tion in the P a g e a n t had to m ain tain ed , at le a s t, if the p ro je c t was to [continued. He devoted m u ch thought and m any actio n s to providing i 33 P u b licity fo ld e r , P a g ea n t co rresp o n d en ce f i l e s , 1937. i 265 i I | iboth publicity and m a n a g e m e n t th a t kept the V alley and the au d ien ces at the P a g e a n t p le a se d and c o m fo rta b le . He en co u n tered g r e a t difficulty, I ihow ever, when Ed P o o rm a n re tu rn e d to the B o ard in Ju n e, 1937. I On being m ad e M an ag er in 1935, M itc h e ll's f i r s t effo rts had j been to im p ro v e , f ir s t, publicity, then b u sin e ss p ro c e d u re s , th en plan ! t ! I j 'the lo n g -ra n g e building p ro g ra m . T h ese begun, he tu rn e d to c o m m u - j : i jnity in te re s t. At the B oard m e etin g of M ay 10, 1939, he d isc u s s e d the j i "p o ssib ilitie s of doing so m eth in g to b e tte r show a p p re c ia tio n to c a s t ; | |and staff . . . and the building up of e n th u sia s m and loyalty lo c a lly ." I i ; !At the June 27, 1939> B o ard m eetin g , P o o rm a n m oved th a t at com m ittee- of th re e be appointed "to analyze and c la rify the c o n tra c t with M r. ' M itc h e ll." The m otion c a r r ie d , and C ovell, F a u ll, and P o o rm a n w e re i appointed. D uring the m e etin g of M a rc h 13, 1940, M itch ell gave his ] su g g estio n fo r m aking the Bowl a com m unity a r t c e n te r. At the J a n - I ■uary 19, 1941 m eetin g , P o o rm a n re p o rte d , and denied, the ru m o r th at I ! he was try in g to get M itc h e ll's job. The B o ard m in u tes of F e b ru a ry 26, 1941, re c o rd e d the following: I M r. M itch ell e x p re s s e d the opinion that w id e sp re ad m is u n d e r - j standing e x ists co n cern in g the A s so c ia tio n 's a ffa irs , th a t we have j faile d to stim u la te o r en co u rag e a d e s ira b le local in te r e s t, and j th at this situ atio n re p re s e n ts the g r e a te s t w eak n ess in the A s s o c i a tio n 's c u r r e n t p osition. As a co n trib u tin g fa c to r to this condition | M r. M itch ell cited the grow ing tendency on the p a r t of the d ire c to rs to devote too m u ch tim e to the c o n sid e ra tio n of d e ta ils; m o s t of | w hich could be skfely le ft to the atten tio n and d ire c tio n of the m a n - | a g e r, with a re s u lta n t in c r e a s e of o p e ra tin g efficiency and a g r e a te r ! opportunity fo r the individual d ire c to r to devote a la r g e r p o rtio n of I his tim e to the study of and a s s is ta n c e w ith the fo rm u la tio n of m o re 2 6 6 | sig n ifican t and im p o rta n t p olicies and th e ir o p eratio n , w hich will co n trib u te to continued s u c c e s s . 34 As an exam ple given, is the p re s e n t p ro b le m of building and m ain tain in g a m o re c o n stru c tiv e ! local attitu d e. Not only do m any o p p o rtu n ities e x is t fo r the d i r e c to rs to be of valuable s e rv ic e in this fie ld , but a t p re s e n t th e re a p p e a rs to be n e c e s s ity fo r im m e d ia te action. . . . ; A t the B o ard m eetin g of June 24, 1941, M r. C ovell stated that he did not approve of the ex ten sio n of the M a n a g e r's c o n tra c t and M r. ■ M itchell said he did not w ant the c o n tra c t extended. i When the m a tte r as to w hether o r not to hold a 1942 P a g e a n t a r o s e , M itch ell su g g ested that all plans fo r p e rm a n e n t Bowl im p ro v e - jm ents be suspended and th a t ex p en d itu res be held to a m in im u m un til ■the B oard m e m b e rs m ade up th e ir m in d s. This su g g estio n w as m ade on F e b ru a ry 17, 1942, and on F e b ru a ry 21, P o o rm a n called a sp e c ia l m eetin g to d isc u ss M itc h e ll's c o n tra c t. It was m oved to pay M itch ell '$750 as p ay m en t in full on his c o n tra c t and send h im a le tte r of a p p re - j ciation. At this sa m e m eetin g , it was decided to c a n c e l the 1942 P a g eant. The B o ard m in u tes of A p ril 13, 1942 state: The s e c r e ta r y re a d a copy of the le tte r of a p p re c ia tio n w ritte n to M r. M itch ell as au th o riz ed a t the b o ard m eetin g of F e b r u a ry 21, 1942. Since M r. M itchell had ask ed th a t the V ice P r e s id e n t (A rw edson) sign the le tte r and so m e of the b o ard fe lt th at it should i be signed by the p re sid e n t [P o o rm an ] who re fu se d to sign it fo l- i lowing M r. M itc h e ll's re q u e st, the m a tte r was dropped and the ! le tte r w as not sent. 34 M itchell w as speaking of B o ard D ir e c to rs , not P ro d u c tio n D ir e c to r s . I 267 i | The B o ard m e e tin g m inutes of O cto b er 10, 1945, show th at P o o rm a n re c o m m e n d e d A d rian Awan be c o n tra c te d as m a n a g e r fo r the I 4946 se a so n . T h e re w as no re c o rd as to w h eth er M itch ell applied. T h e re had been a n u m b e r of ap p lican ts; P o o rm a n had in terv iew ed th em ' j j and ch o sen Awan b e c a u se of h is q u alifica tio n s and his co nnections. i 1 i 'P o o rm an was also im p re s s e d by his p ro p o sitio n to have P h il W hiting asj ; | d ire c to r, and to fu rn is h a publicity m an . At the follow ing B o ard m e e t-j i ing on O cto b er 19, P o o rm a n re p o rte d on the a c to rs who would be avail-; lable: F r a n k F e lt had w ritte n th a t he w anted to p lay , and so had Ju a n ita ! I E n c e ll. A lso, a M iss H eadley had evinced in te r e s t. The B o ard su g - j g este d P o o rm a n c o n ta c t M iss E n cell re g a rd in g R am o n a, M iss H eadley j ! I I re g a rd in g M a rg a rita , and M r. Schott re g a rd in g Ju an C anito. The B o ard also decided th a t the J o ry s w e re not to be co n tacted . i I On the 30th of N o v em b er, 1945, an in te rv ie w w as held by the ! B o a rd w ith M r. A w an, who e x p re s s e d h is w illin g n ess to w ork w ith the | J o r y s , if su ch an a rra n g e m e n t could be m ad e. A te le g ra m fro m the J o ry s was re a d , e x p re s s in g th e ir d e s ir e to be a s so c ia te d with the P a g e an t again. The B o ard p a sse d a m o tio n th a t Awan be m ade m a n a g e r, i j ( w ith the stip u latio n th a t if he could w o rk w ith the J o r y s , one o r both, | lit would be a g re e a b le with the B oard. Awan a g re e d , the J o ry s a g re e d , I and Awan w as h ire d . He s e rv e d as m a n a g e r fo r two s e a so n s. i i If th e re w ere in te rn a l p ro b le m s in the la te r '30s, th e re was an e x te rn a l one in the e a r ly '40s; the w a r. As m en tio n ed above, the j 2 6 8 i B o ard voted to ca n cel the 1942 P a g e a n t. The c o n s tru c tio n of the A d m in istra tio n building a t a c o s t of $3, 703. 30 and the e n la rg e m e n t of i ! jthe p ark in g a r e a fo r $ 1 ,0 3 9 . 25 having been co m p leted re c e n tly , the t jfinancial sta te m e n t of Ju n e 24, 1941 show ed the P a g e a n t's n et w orth at ! 35 |only $ 6 ,5 7 0 . 11. Of th is b alan ce, $ 4 ,0 0 0 was in sav in g s and te r m i j 1 I | accounts and $ 2 ,5 7 0 . 11 w as in c a sh . The land and im p ro v e m e n ts werej * 36 l I th en valued at $41,331. 89. Thus the P a g ea n t e n te re d the w ar y e a rs i i ; i w ith funds a t a low ebb. E a ch fall d u rin g the w a r, the B o ard m e t and I j decided on dates fo r the P a g e a n t fo r the follow ing s p rin g . With sp rin g ■ draw ing n e a r , but not the end of the w a r, the B o ard m e t to can cel : th e ir plans They cut c o s ts . At the m e e tin g of A p ril 13, 1942, they voted: |(1) to red u ce the in su ra n c e on the Bowl to a m in im u m ; (2) to le t the i fish pond d ry up in o r d e r to red u ce the w a te r bill; (3) to rem o v e the I ! telephone fro m the Bow l, th e re b y saving $12 a m onth; and (4) to a r - , ran g e fo r m a in ten an ce of the f ir e b r e a k by v o lu n teer la b o r. At the I m eetin g of O cto b er 27, 1943, they voted to loan th e ir file cab in ets and I any o th e r equipm ent they m ig h t need to the n e w ly -fo rm e d H em et H o s p ital A sso c ia tio n until needed, again by the P a g e a n t A sso c ia tio n . ^ S e e A ppendix D. 3 6 n ^ Ibid. ^ M i n u t e s , 1942-1945. z ^ r By the sp rin g of 1944, the fin a n cial situ atio n was becom ing d ire , and a t the m eetin g of May 11, 1944, the B o ard d isc u s s e d ways and m ean s of ra isin g funds to c a r r y on the w ork of the A sso ciatio n . An a rtic le en titled , "R am ona P a g e a n t Fund D riv e O pens," a p p e a re d in the Los A ngeles T im es of F e b ru a ry 15, 1945: H em et, F eb. 14. A nnouncem ent was m ade h e re today of the opening of a cam paign to ra is e by public s u b sc rip tio n $ 1 0 , 0 0 0 w ar em erg en cy fund fo r m ain ten an ce ex p en ses of the R am ona P ag e an t A sso c ia tio n until the fam ous R am ona outdoor play can be rev iv ed a fte r the w ar. The m oney w ill be u sed p rin c ip a lly fo r m ain ten an ce of the R am ona Bowl, the $100,000 a m p h ith e a tre in which m o re than 300, 000 p e rso n s have se e n the play in the la s t 20 y e a rs . N am ed as a c o m m itte e to r a is e the funds a re D r. L e slie J. C la rk , c h airm an ; H a rry B. W ells, E d w ard P o o rm a n and H o m er D. King. ( P a rt II, p. 7) And fro m an undated le tte r fro m the R am o n a P a g e a n t A sso c ia tio n signed by E dw ard P o o rm a n : . . . a cam paign now un d er way to ra is e a W ar E m e rg e n c y Fund to keep the R am o n a P a g e a n t A sso c iatio n alive until co n d i tions p e rm it the re v iv a l of the R am o n a O utdoor P lay. . . . F ixed co sts and m ain ten an ce of R am ona Bowl p ro p e rty and o th e r n e c e s s a ry expenses have exh au sted the A s so c ia tio n 's r e s e r v e fund. . . . C o n tra ry to the r e p o rt in the T im e s , the goal of the A sso c ia tio n was $ 6 , 000, and by the tim e the B oard m e t on June 26, 1945, the am ount of $5, 535 had been donated. With donations com ing in fro m Los A ngeles and o th e r a r e a s , u ltim a te ly $5, 695 w as co llected , but the m a jo r am ount was contributed C o rresp o n d e n c e file s , R am ona P a g e a n t A sso c ia tio n , 1945. Z 7 o " jjy V alley people. T h e re w ere 121 c o n trib u tio n s in all, and m any c am e fro m people a s so c ia te d with the P a g e a n t fo r m any y e a rs . The la r g e s t i co n trib u tio n was fro m G ilm an H ot S p rin g s --$ 5 0 0 . O ther co n trib u tio n s of $100 o r m o re c a m e fro m John G. A lthouse, ow ner of Soboba Hot \ | S prings; fro m B ill V osburg, of the V osburg H otel in San Jacin to ; fro m j j i jClayton, Lloyd, and R o b e rt R e c o rd , who e a c h co n trib u ted $100, as ■ | i 'did H enry A rw edson, H. H. Spaulding, John F a u ll, and E d w ard j 1 . i 39 : P o o rm a n . i ! | The w ar o v e r, the 1946 sea so n w as the m o s t su c c e ss fu l fin a n - j l Icially to th at date; tic k e t p ric e s had been r a is e d to $2 . 0 0 , the w e a th e r j ; t w as good, and b ecau se of the g re a t dem and fo r tic k e ts , the P a g e a n t was ■ 40 I igiven fo r an e x tra w eekend. A fter th a t se a so n , b ecau se the w ea th er i i n o rm a lly w as too w a rm by m id -M ay and b e c a u se of the e x tr a tim e i i ^demanded of the c a s t, m an ag em en t decided th a t fo u r w eekends w ere Jtoo m any. E x cep t in c a s e s when ra in o r o th e r e m e rg e n c ie s have fo rc ed c a n c e lla tio n of re g u la r p e rfo rm a n c e s and additional show s m u s t ibe given, the policy h a s b een to ru n only the tra d itio n a l th re e w eek- i I lends. I | The attendance for 1946 w as 26, 586, and the to tal re c e ip ts w ere | |$ 4 9 ,4 0 5 .2 8 . The d isb u rs e m e n ts for th a t fis c a l y e a r w ere $31,859.07, i 3g j U ndated lis t, "W ar E m e rg e n c y " fo ld e r, A sso ciatio n file s . i I 4 0 i R ec o rd s of the A sso cia tio n , 1946. *x X leav in g a m o re than adequate r e s e r v e fo r the n ex t production. A t the June 25, 1946, B o ard m eetin g , it was m oved and c a r rie d "th a t we pay back to th o se who donated m oney [for the W ar E m e r - igency fund] the full su m s e t opposite th e ir n am e and th at we do so im - i m e d ia te ly ." In July of 1946, the m oney was refunded, acco m p an ied by j ;an undated fo rm le tte r signed by E d w ard P o o rm a n , w hich stated : : I ! D e a r F rie n d : As a r e s u lt of your g en ero u s co n trib u tio n to the W ar E m e rg e n c y fund of the R am o n a P a g e a n t A sso c ia tio n , it has been p o ssib le fo r i u s, th is y e a r , to re v iv e our g r e a t outdoor play. We have ju s t c o m p leted the m o s t su c c e ss fu l s e a s o n --b o th a r tis tic a lly and fin an cially - - th a t th is play has had sin ce its inception tw e n ty -th re e y e a rs ago. In reco g n itio n of y our splendid co o p eratio n , the b o a rd of j d ir e c to r s , not only extends its thanks and a p p re c ia tio n , but also j has au th o riz e d the re p a y m e n t of all m oneys donated d u rin g our | W ar E m e rg e n c y Fund d riv e . It th e re fo re gives us m uch p le a s u re j to e n c lo se o u r check c o v e rin g the am ount of your co n trib u tio n . I P le a s e a c cep t o u r s in c e re thanks fo r your valued a s s is ta n c e and continued in te r e s t d u rin g o u r h o u r of need.42 The P a g e a n t was back in b u sin e ss. P u b licity P u b lic ity w as an ab so lu te n e c e s sity th a t H olm e had fully re c o g nized, and P o o rm a n follow ed the convention. H ow ever, in 1929, in w hat can only be c o n stru e d as an effo rt to obtain in fo rm a tio n ju stify in g i ^*See A ppendix A. 42 | "W ar E m e rg e n c y F und" fo ld e r, A sso c ia tio n file s. T his act i was in consonance w ith H o lm e 's e sta b lish e d policy th at fin a n cial | dem ands upon the com m unity should be kept to a m in im u m . 272 Jreplacem ent of H am B ea ll, the publicity agent, P o o rm a n se n t out a n u m b e r of co n fid en tial in q u irie s to such f ir m s as the Hollywood C iti zens News and the Hollywood Bowl A sso ciatio n , asking fo r re c o m - 43 m e n d atio n s on o th e r publicity ag en ts. In each c a s e , the a n sw e r cam e j back th at H am B eall was the m an fo r the job. W ord m u s t have gotten ) j laround th a t P o o rm a n would like to re p la c e B ea ll, fo r on A ugust 17, !1929, John Long, the E x ecu tiv e S e c re ta ry of the C a lifo rn ia N ew spaper P u b lis h e rs A sso c ia tio n , w ro te to P o o rm a n c a stin g an in te re stin g light j on the attitu d e of his o rg a n iz a tio n to w ard p r e s s agents: J ! j We u n d e rsta n d confidentially th at th e re is a p o ssib ility that j the p r e s s ag en t of p a s t y e a r s , handling the R am o n a P a g e a n t, m ay j not be u sed next y e a r and I w ant you to know that such a m ove w ill | ! su it us v ery w ell and we would be m o re than glad to c o o p e ra te to the fu lle s t ex ten t to put o v er the 1930 P a g e a n t a t what we believe would be a siz e a b le saving to the P a g e a n t A ssn . As you know, we b eliev e p r e s s agents c o lle c t too high a fee ! fo r value re c e iv e d sin ce in the la s t a n aly sis all they do is p re p a re the copy w hile o u r p u b lish e rs spend the m oney and do the w ork of ! getting the s to r ie s and p ic tu re s b efo re th e ir r e a d e r s . | N ext tim e you a re in Los A ngeles com e in to se e us and m aybe we can w ork out plans fo r n ex t y e a r s show to o u r m u tu al b e tte r ad vantage. 44 In stead of consulting the CN PA , P o o rm a n handled the n ew s- i p a p e r a d v e rtis e m e n t p la c em e n t h im se lf, deciding w hich p a p e rs would re c e iv e the paid a d v e rtisin g and w hich would not. This led to som e d iss a tisfa c tio n . On A p ril 26, 1932, E xecutive S e c re ta ry John Long 43 "P u b lic ity F o ld e r, 1924-1934," A sso c iatio n file s. 44 C o rre sp o n d e n c e file s , R am ona P a g e a n t A sso ciatio n . 273 jwrote to the p u b lish er of The H em et N ew s, Jo h n E . King, the follow ing t Iwords, am ong o th e rs: ! ' . . . I am en clo sin g the sto ry on the R am o n a P a g e a n t which we sen t out la s t w eek so that you m ay re a d the note at the bottom . | We have had a n u m b er of c o m p lain ts on this fro m p u b lish e rs in v a rio u s tow ns, and I w anted to c a ll this to your atten tio n as one { i of the re a s o n s why we su g g ested this y e a r th at we be included in ' ; the d e lib e ra tio n s on the a d v e rtisin g d istrib u tio n . I believe we j could have saved-you som e of th is. 3 ! i |The typed note on the bottom of the e n c lo su re Long s e n t to King, dated j i A p ril 23, 1932, re a d as follow s: : i John o r E dith: I have given this p ro p o sitio n [the P ag ean t] plenty j of publicity a t all tim e s , and re c e iv e d nothing. Now they a r e a d v e r tisin g in the n e w sp a p e rs and leave out the 'P r e s s 1 [The P a lm d a le P r e s s ]. T hat is ju s t too dam ned m u ch fo r m e. Good night, R am o n a 1^6 ‘ In M a rc h of 1931, H a rry C a r r , of the Los A ngeles T im e s , w rote an a r tic le in w hich he co m m en ted that the plans the P a g e a n t had i ifor m a rk in g the g rav e of R am ona Lubo w e re in a p p ro p ria te b e c a u se the I 'Ram ona of H elen H unt J a c k s o n 's novel w as p u re ly fic tio n al. H o m e r D. King, of The H em et N ew s, took u m b ra g e at this and w ro te to C a rr: . . . I have no c r itic is m to o ffer re g a rd in g your r e m a r k s o th e r th an to re m in d you th at about tw en ty -fiv e y e a rs ago it w as no o th e r than y o u rse lf who "d isc o v e re d " the o rig in a l R am o n a h e re . , ... If you w ill jog y o u r m e m o ry you w ill r e c a ll th a t you v isited i M rs . J. C. J o rd a n (the Aunt R i of the R am o n a sto ry ) in Old San | Jacin to and she told you about M rs . J a c k s o n 's extended v is it at h e r hom e d uring w hich tim e sh e , M rs . J o rd a n , gave M rs . J a c k so n ; the foundation fo r the la r g e r p a r t of the R am o n a sto ry . 45 46 Ibid. Ibid. In th e a r tic le you w ro te fo r the T im e s a t th a t tim e you quoted M rs . J o rd a n e x te n siv e ly and id en tified R a m o n a Lubo of the C a h u illa 1 trib e as th e o rig in a l of M rs . J a c k s o n 's h e ro in e . . . j 1 King co n tin u ed on at so m e length re co u n tin g the ev en ts of the s to ry told i by M rs . J o rd a n to M rs . J a c k s o n , and th en ended his le tte r by stating: 1 The p eo p le h e r e can n o t a g re e w ith you th at the p ro je c t fo r the m a rk in g of R a m o n a L u b o 's g ra v e is in a p p ro p ria te . H oping it w ill be p o ssib le fo r you to se e the R am o n a P a g e a n t this s e a s o n I r e m a in F r a te r n a lly y o u rs , ; C a r r , known f o r h is h u m o r, rep lie d : I am g la d th a t you fe e l as you do ab o u t the s to ry we had in the T im e s . . A s a n e w s p a p e rm a n , you re a liz e th a t we c a n 't keep on saying th e sa m e th in g about R am o n a in te rm in a b ly and fo re v e r , and it w as la r g e ly fo r the sak e of v a rie ty th a t I put th a t in the L a n c e r. I h av e alw ays found th a t if you can m ake people debate am ong th e m s e lv e s on q u e s tio n s , th a t is the b e s t p o ssib le publicity you can g e t out of it. ^ 8 i On A p ril 2, 1934, H a r r y C a r r ag ain w ro te to H o m e r K ing, in d icatin g ! h is feelings o n th e P a g e a n t: ! A s you know w ithout m y say in g so, I sh a ll alw ays be only too i glad to h e lp you in any way p o ssib le to put o v e r the R am o n a P a g - j eant. It is one of the m o s t v alu ab le things th a t C a lifo rn ia h as to j o ffer the t o u r i s t and it would be a b u rn in g sh a m e to le t it drop. j ! The p u b lic ity b u d g et had c lim b ed f ro m $2, 810. 85 in 1928 to j 49 ! $ 4 ,9 1 5 .5 5 in 1932. In 1934, it p lu m m e te d back to $ 2 ,3 7 5 .2 9 . B ea ll j I re m a in e d on the job th ro u g h the 1932 s e a so n ; then M iss C h a rlo tte . i 1 R o g e rs of L o s A n g eles w as em p lo y ed to handle the m e tro p o lita n i l 4-7 48 Ib id . Ibid. 49 See A ppendix B. n e w sp a p e r publicity in 1934, fo r a s a la ry of $200, plus $50 in ex p en ses. ;A n u m b e r of h e r r e le a s e s a r e on file in the P a g e a n t publicity s c ra p - ibooks, and in d ire c t co n tra d ic tio n to H a rry C a r r 's sta te m e n t to H om er iKing, h e r publicity, and th at of the y e a rs sin ce , re m a in s v ery m uch the i ■ I isam e. P e r u s a l of the scrap b o o k s b ec a m e m onotonous, but the re a d e r j ! ! |of the n e w sp a p e rs in w hich the a r tic le s a p p e a re d undoubtedly did not j i | {encounter m o re than one at a tim e; n o r w e re th e re a rtic le s e v ery day j ; i on the su b je c t. j j The s to rie s u su ally included s h o rt b io g rap h ies of the leading j a c to r s , a d e sc rip tio n of the Bowl, u su ally a m en tio n of the beauty of i ,the V alley o r a d e s c rip tio n of its h is to r ic a l la n d m a rk s, a recounting of! ■ . I j 'the d ates of the play and a sy n o p sis of the s to ry , including com m en ts j on its o rig in .a n d h is to ry . ; W hatever the publicity, the au d ien ces kept com ing y e a r after jy ear. R alph F re u d , long acquainted with the P a g e a n t, sta te d th at in his opinion an im p o rta n t so u rc e of audience . . . w as the people th at lived in the V alley tellin g th e ir re la tiv e s and frie n d s fro m all o v er and in the su rro u n d in g a r e a s , having th e m co m e. "C om e and se e o u r show. " I think that had m o re to | do w ith the se llin g of the P a g e a n t than anything.50 But v is ito rs c am e to the P a g e a n t, too. The following w as a le tte r fro m a M rs . P a tr ic M acG ill to the S e c re ta ry of the R am ona P a g e a n t i l . _ .......... i i i 50 | R alph F re u d , p e rso n a l in terv ie w , Los A n g e le s, C alifo rn ia, {Septem ber 16, 1971. 276 'A ssociation, w ritte n fro m the P a r a d is e Lodge a t Idyllw ild, C alifo rn ia, on M ay 21, 1935: 1 As an E n g lish v isito r to your co u n try , X should like to e x p re ss ; m y s in c e re thanks fo r the opportunity to se e what is e a sily the i m o s t m oving, beautifully staged and acted outdoor play th a t I have ; e v e r beheld, and I am speaking fo r m y husband as w ell as m y self. We have se e n outdoor plays and p ageants in m any c o u n trie s, and j have often found p le a s u re in the lo cal leg en d s, c o lo r, and c h a ra c - j ! te riz a tio n s ; but to o u r m inds RAMONA is the h e a r t c ry of a ra c e j and goes d e e p e r th an po ssib ly even the au th o r intended. ! I The ex q u isite settin g , the n a tu ra ln e ss of the whole lovely | p roduction w ill alw ays re m a in o u r m o s t vivid m e m o ry of j C alifo rn ia. 51 j i ! In F e b ru a ry of 1935, the P a g e a n t again changed m e tro p o lita n j i i | n ew sp ap er publicity ag en ts. The B o ard m in u tes of F e b r u a ry 11, 1935, j I re c o rd th at R o b e rt M. F in c h had been em ployed by th e publicity c o m - | j m itte e to handle the m e tro p o lita n n e w s p a p e rs , at a s a la ry of $450.00. j 'Bob F in c h had w orked fo r H am B eall and had handled m u ch of the p u b li c i t y in the y e a r s th at B eall had the c o n tra c t. He w as th e re fo re v ery 52 I fa m ilia r with the P ag ean t. By 1937, M itchell (then m a n ag er) had c o n tra c te d John O rlando N orthcutt as publicity d ire c to r, and J. H ow ard Johnson to handle rad io ' 53 i publicity. The e n tire publicity p ro g ra m w as placed on a m o re | b u s in e s s -lik e b a sis; this was the f i r s t y e a r th a t an agent w as h ire d to ^ F o l d e r "M ," A sso ciatio n file s , 1935. 52 See A ppendix N. 53 " P u b lic ity - - 1937" fo ld e r, A sso cia tio n file s. j 277 ! {handle ra d io ex clu siv ely . M itchell tu rn ed o v er the m a tte rs of radio !and n e w sp a p e r publicity and a d v e rtisin g to p ro fe s sio n a ls . The J. t I jHoward Jo h n so n Agency was s till handling the rad io and TV publicity in l ; 1972, fo r a to ta l of th irty -tw o y e a rs s e rv ic e . j 1 N o rth cu tt re p re s e n te d the P a g e a n t d u rin g M itc h e ll's ten u re; j ! jwhen M itch ell le ft in 1941 and Awan took o v er a fte r the "d a rk y e a r s ," j |Awan b ro u g h t in D ick Hunt, a m e m b e r of his own o rg an izatio n , as pub-j 54 1 licity d ire c to r. Hunt re m a in e d in th at cap acity for the two y e a r s of i iAwan's m an ag em en t. | ! i : I ! P ro d u c tio n j j i P h il W hiting, 1929-1931 j ! i j W ith H o lm e 's death, production, of c o u rs e , changed. P o o rm a n {continued to handle the m an a g e m e n t un til N o vem ber of 1934. But as | ! R alph F r e u d com m ented; I P o o rm a n was running the show sin g le -h a n d e d ly --I m e a n the b u sin e ss end of it, and the o rg an iz a tio n a l end, and then in a lo t of o th e r th in g s, too. You s e e , P o o rm a n was d iffe re n t than a lot of ! the la te r B o ard b ecau se P o o rm a n w as in the show and p a r t of the : S h o w . ^ 54 " P u b lic ity - -1946" fo ld e r, A sso c ia tio n file s . 55 F re u d in te rv ie w , S ep tem b er 16, 1971. B ec au se of h is clo se frie n d s h ip with V icto r J o ry dating back b efo re R alph saw Vic in the 1924 p ro d u ctio n (J o ry 's f i r s t y e a r with the play), F re u d has had clo se tie s w ith R am o n a throughout the y e a rs . Thus he knows a g r e a t deal about the show, fro m in fo rm atio n given h im by the J o ry s and by o th er frie n d s c lo se to the production. In addition, he h a s the knowledge 278 A nother r e m a r k of F r e u d 's co m p leted the p ic tu re of this second e r a of ;the P a g e a n t's h isto ry : "Vic [V ictor Jo ry ] was the guiding s p ir it in the i I 56 iwhole thing, b ack sta g e , and P o o rm a n was the m a n a g e r." A fter I (H olm e's death, th roughout the '30s and through 1946, P o o rm a n c e r tainly was a dom in an t fo rc e in the P a g e a n t, both in fro n t and b ack stag e, I j I But the g r e a te s t influence and the g r e a te s t changes w e re produced by j I j ’V icto r and J e a n J o ry . Study of the B o ard m in u te s, the correspondence!, i ! and the p ro g ra m s p ro v e s th is. ! N eith er Vic n o r Je a n began the e ra ; he was aw ay, acting so m e -! 'w here else ; she did not w ork in the P a g e a n t until 1932. In the e a rly i y e a r s , Ed P o o rm a n ra n it- - f r o n t and back. A t the B o ard m eetin g of j F e b ru a ry 25, 1929, P h il W hiting was invited to the m e etin g to sta te hisj q u alificatio n s fo r the p o sitio n of P a g e a n t d ire c to r. The B o ard i n t e r viewed him , d esp ite his y e a rs w ith H olm e and, fo r th a t m a tte r , with 57 | the P a g e a n t. He had also d ire c te d the P ilg rim a g e P la y in Hollywood. ( A fter he le ft the m e e tin g , the d ire c to rs d isc u sse d the m a tte r a t so m e gained fir s t- h a n d fro m d ire c tin g the play in the 1934 and 1935 s e a so n s, iplus the y e a rs of his second d ir e c to r s h ip - -1954 th ro u g h 1964. F re u d 'w as also a c lo se frie n d of M o rr is A nkrum , who d ire c te d fo r two y e a rs follow ing F r e u d 's f i r s t d ire c to rs h ip . 56t v , Ibid. j 57 L e tte r fro m P h il W hiting to E d w ard P o o rm a n , J a n u a ry 2, 1930. jlength. B e c a u se of M r. W hiting's connection with the R am ona P a g e a n t ; i isince its inception and acting fo r a like p erio d as a s s is ta n t to M r. I - ■ j H olm e, a m otion was m ade by C. C. Abbey, seconded by O. P . jE nsley, th a t W hiting be em ployed as P a g e a n t d ire c to r fo r the 1929 seaso n . A le tte r co n stitu tin g a c o n tra c t stated : "As was the c a s e in J . | |la s t y e a r 's c o n tra c t, you a g re e to allow m e fo r the R am ona P a g e a n t, j | i ito have final say in all m a tte r s re sp e c tin g c a s t and policy b e c a u se of j 58 I lo cal conditions. F r e u d 's c o m m en t on W hiting was: j ) j A fter G a rn e t died, the people who d ire c te d the P a g e a n t, like ! P h il W hiting, re a lly w ere not d ir e c to r s . P h il W hiting was a j stage m a n a g e r; th a t's what P h il w as. . . . He had no im ag in atio n , no re a l c re a tiv e ab ility at all. . . .59 j i F re u d spoke highly of W hiting as a stag e m a n a g e r and as a p erso n ; his I : ' i ; co m m en t on W hiting as a d ire c to r was m ad e in s im ila r te r m s by two j 60 j o th e r c o -w o rk e rs of W hiting, R u s se ll S tim m e l and G eorge G erw ing. i | Thus w hat m ig h t s e e m r a th e r r e s tr ic tiv e b eh av io r on P o o rm a n 's p a rt i | • was obviously the r e s u lt of the g e n e ra l attitude of the P a g e a n t people of H o lm e 's tim e: W hiting was accep tab le as a stag e m a n a g e r, but had to jbe w atched, as a d ire c to r. | W hiting did r e tu r n the p a rt of J o se to the play th a t y e a r. The i 58 L e tte r fro m P o o rm a n to W hiting, M a rc h 5, 1930. 59 | F re u d in te rv iew , S ep tem b er 16, 1971. I ^ °R u s se ll S tim m el, p e rso n a l in te rv ie w , San Ja c in to , July 17, 1972; G eorge G erw ing, p e rso n a l in terv iew , San Ja c in to , July 19, 1972. I 280 i i only explanation the au th o r of th is study w as able to get as to why the p a r t w as dropped during '26, '27, and '28 was the thought of G eorge | jGerwing (who w as in touch w ith H olm e d uring those y e a rs) th a t th e re ! ^ J w as not a sufficiently e x p e rt r id e r to take the p a rt. ! 62 A ll but six of the p rin c ip a ls re tu rn e d in 1929. W hiting had a j i I I Inew A le ssa n d ro ; ho w ev er, H e rb e rt H ayes w as a p ro fe ssio n a l a c to r and j ! i Ireceived a good re v ie w fro m the T im es c r itic . D o rise Schukow was | l 'R am ona again, which m ad e W hiting's c h o re e a s ie r , and H a y e s' too, : mo doubt. Schukow se e m e d loved by all and she was devoted to the play! : i 63 and the people in the V alley. j ( F o r the th ird y e a r , B urton L. Sm ith, a T im es staff rep re se n ta -j tive, rev iew ed the play, seein g it on the opening S atu rd ay and phoning J his re v ie w in fro m H em et (it is a ssu m e d ). F o r m any y e a r s , the i | rev iew s ap p e a re d in the Sunday m o rn in g Los A ngeles T im e s , u su ally ; in the f i r s t sectio n . In 1929, S m ith headed his s to ry "R am ona Story S et in B eauty, " with the su b h ead in g s, " F o u r Thousand See D ra m a of D uring the y e a r s this au th o r played A le s sa n d ro , the Jo se i " rid e " was m ad e b a re b a c k and w as r a th e r d a n g ero u s, the path used ! leading am ong jagged ro ck s p ro tru d in g into the tr a il , and ris in g steeply | a t one point a c r o s s a s tr e tc h of sm o o th g ra n ite . It u su ally re c e iv e d ! ap p lau se. j ^ S e e A ppendix G. i ^ ^ D o rise , alw ays p o p u lar w ith the com m unity (to this day affec | tio n a te ly re m e m b e re d by m an y o ld -tim e r s of the Valley) was undoubt- | edly of v ital im p o rta n c e in fillin g the void c re a te d by H o lm e's death, i The co m m u n ity needed a stro n g p e rso n a lity on w hich to focus affection. 281 (Old C a lifo rn ia , M a rv els of S cen ery E nhance P a g e a n t's E ffe c ts, L o cal A cto rs P ro d u c e F a m e d Indian R o m a n c e ." He began his a r tic le with, i '"Two h u n d red p la y e rs in the c a s t of the R am o n a P a g e a n t today took I p a rt in the sev en th annual p ro d u ctio n of the co lo rfu l s tir r in g h isto ric | 'play of Indian love and ro m a n c e which H elen Hunt J a c k s o n 's novel of the 64 j sa m e nam e has m ade fa m o u s." Then S m ith sp en t so m e tim e d e- iscrib in g th e Bowl, the a u d ie n c e -- "F o u r thousand p ilg rim s , who have j le a rn e d to love and a p p re c ia te this com m unity e ffo rt . . . follow ed the j I lines of the a c to rs with th at quiet a tte n tiv e n e ss w hich w as the h ig h e st j l : | p o ssib le c o m p lim en t the audience could o ffer. . . ." He co m m en ted onj i i H o lm e 's death; th en w ent on to d isc u ss the p la y 's s p e c ta c u la r e le m e n ts I ' l ! - -" g a ily a ttire d dons and s e n o r ita s , its delightfully p le a s a n t m u sic , its ! sce n es full of h u rry in g people and galloping h o r s e s . . . . " He p ra is e d | | the c a s t, re m a rk in g th a t "all have caught the s p ir it of the lo c a l people i (and re a lly live the p a rts in ste a d of acting th e m ." He a lso identified ;D o rise Schukow, H e r b e rt H ay es, and B e r tr a m G ra ss b y as p ro fe ssio n a l a c to r s . He c lo se d his a r tic le with a re m in d e r of the P a g e a n t d ates fo r , 6 5 th at y e a r. 64 Los A ngeles T im e s , Los A n g eles, C alifo rn ia , A p ril 21, 1929, s e c . II, p. 9. 65 B ecau se S m ith caught the show on the opening day, he m is s e d the m e m o ria l s e rv ic e to H olm e th at w as held on the f i r s t Sunday. He also did not note th at the e n tire seventh p ro d u ctio n was d ed icated to H olm e. | 282 i | In 1930, W hiting was again the d ir e c to r , with the sa m e r e s tr ic tio n on his c a stin g and d e c isio n s. T hat y e a r th e re w ere eight i l I ;new a c to rs in the speaking p a r ts , the only o n e 's of any siz e being j j M a rg a rita , which was tak en by B elle M itch ell, who su cceed ed T h elm a H arv iso n ; and the ro le of F a th e r G a s p a ra was played by B u rd e tte R ay- jnor, the o rig in a l m a n a g e r and one of the sta u n c h e st s u p p o rte rs of the ! P ag ean t. A gain B urton S m ith review ed the P a g e a n t, but this y e a r his i m iddle in itia l was m y s te rio u sly changed fro m the "L " of 1929 to " K ." His lead w as, "A uditors F ill R am ona B ow l," and he had equally c o lo r ful su b h ead in g s, beginning with "E ighth A nnual P re se n ta tio n of P lay S u p erb ," follow ed by " P a g e a n t M ore F in ish e d With E a ch Y e a r 's G iv ing," and " L a r g e s t A udience of R ec o rd W itness P e rfo rm a n c e ." He ! began, "F u lly 5000 S outhern C a lifo rn ia folk and v isito rs m ade the p il- • g rim a g e to R am ona B ow l." He th en sta te d th at the V alley a c to rs b ro u g h t a r e a lis m th at p ro fe ssio n a ls could no t, and gave his opinion that none of the o th e r S o u th ern C a lifo rn ia outdoor d ra m a s ap p ro ach ed ; R am ona. He d e sc rib e d the beauties of the Bowl, and likened the P a g - ! eant to O b e ra m m e rg a u . He noted this tim e th a t P h il Whiting w as the i { d ire c to r, and the m a n ag em en t was u n d er E d w ard P o o rm a n , and that I I : "the play p r o g re s s e s w ith th at fin ish and sm o o th n ess m ade p o ssib le by j | long study and h a rd p ra c tic e . . . U nder "S tar Adds L a u re ls ," he i | w rote that " D o rise Shukow [sic] again headed the c a s t . . . and once jmore added to the abundant la u re ls she has won. H e r b e rt H ay es, as I A le s sa n d ro , the Indian lo v e r, is su p e rb in the p a rt. He sw ays the i I audience with the beautiful lin es of the play and m a k e s h is h e a r e r s i fully sy m p ath ize w ith the R ed M an. . . . " He noted the new M a rg a rita ■ l | i and ap p ro v ed of h e r , as he did of the new "S u n rise Song" so lo ist, j ,,66 ! H aske N asw ood, a Navajo Indian, with a " su p e rb b a rito n e voice. | F r o m S m ith 's account of the "S u n rise Song," w hich, as he j i d e sc rib e d it, w as "given fro m atop a g re a t ro c k in the rugged b ack - j iground of the a m p h ith e a te r, w hich is m ade the c e n te r of an e la b o ra te ! j i istage p ic tu re and is one of the outstanding fe a tu re s of the d r a m a ," the j h is to ria n could d e te rm in e th a t at th at p erio d of the P a g e a n t, the "Sun- ! \ i 'rise Song" was not y et done fro m the top of the m o u n tain , as it has ' been done in m o re re c e n t y e a r s . I ! W hiting's la s t y e a r as d ire c to r, in th a t p e rio d , w as 1931. At I i jthe B o ard m eetin g of J a n u a ry 12, 1931, the m e m b e rs voted to offer I i W hiting e ith e r $500 n e t o r $400 plus 3 _ p e rc e n t of the n et p ro fits. At the B o ard m eetin g of M a rc h 9» 1931, P o o rm a n re p o rte d that he had i lobtained W hiting's sig n a tu re on a c o n tra c t fo r $400 plus 2 1 p e rc e n t of 'the n e t p ro fits. I j A n u m b e r of c a s t changes took place d u rin g th e se th re e y e a r s oi ^Whiting's d ire c to rs h ip , but e ach y e a r - - a s has been tru e throughout I i _____________________ I 66 Los A ngeles T im e s , Los A ngeles, C a lifo rn ia , A p ril 27, 1930, sec. I, p. 7. 284 P a g e a n t h i s t o r y - - a su fficien t n u m b er of a c to rs fro m p rev io u s y e a rs continued in th e ir ro le s to in su re the continuity and sta b ility th at has j beco m e su ch an im p o rta n t fa c to r in the sh ow 's s u c c e ss . j j Of the p ro fe ssio n a ls in the 1931 show , B e r tr a m G ra ssb y r e tu rn e d in the ro le of F e lip e . A le ssan d ro w as played by a n ew c o m e r to the ro le , K arl H uebl. D o rise Schukow continued as R am ona; I h o w e v e r, the 1931 se a so n p roved to be a v ery rain y one, the a c to rs got wet, and D o rise c o n tra c te d pneum onia b efo re the end of the se a so n , j jAnother p ro fe s sio n a l a c tr e s s , V iolet Knight, was bro u g h t in to play the| i i I ' p a rt, a t v e ry s h o rt n o tice, and did re m a rk a b ly w ell. | ; i Of the ro le s tak en by lo cal a c to r s , it is of p a r tic u la r in te r e s t to| I ■ I note that the ro le of F ra n k H ayton was taken o v er by D r. L e s lie J. C la rk , who la te r b eca m e a b o a rd m e m b e r and fig u red p ro m in en tly in 'the P a g e a n t's su rv iv a l during the y e a rs of W orld W ar II. I ! The rev iew of the 1931 p e rfo rm a n c e c a r r ie d no byline. S m ith I idid not a p p e a r again as re v ie w e r. W hoever w ro te the a rtic le en titled : it " 'R am o n a' A gain C laim s With Its E x q u isite B eau ty ." T h e re was I a fo u r-p ic tu re heading, beneath w hich was stated : "R om antic P a g e a n t i j O p en s," and "Annual P re s e n ta tio n of P lay of E a rly Days Gives New I ! lv alu es to Old S to ry ." The a r tic le began: 67 Los A ngeles T im e s , A p ril 19» 1931, se c . II, p. 6. 2 ¥ 5 ~ ] I H em et, A p ril 1 8 --R am o n a Bowl on the o u tsk irts o£ th e city today ! again b ecam e the setting fo r the annual re v iv a l of H elen Hunt J a c k s o n 's im m o rta l d ra m a tic s to ry of Indian love and ro m a n c e . I N ev er b efo re have the p la y e rs b e tte r p o rtra y e d th e ir p a rts . iThen follow ed a b rie f h isto ry of the re s tric tio n s the w hites placed on the re d m an , and a h isto ry of the sto ry . The re v ie w e r then d isc u sse d i I the cast: : • I ' M r. H uebl is a finished a r t is t of both s c re e n and stag e and ; fitted into the c a s t as could only a thoroughly seaso n ed a c to r. . . . E d w ard P o o rm a n , p re sid e n t and m a n a g e r of the pageant and a p ro m in e n t c a ttle m a n and ra n c h e r of San Ja c in to , was see n fo r the ninth tim e in the ro le of Ju an Canito. jF ran k F e lt as F a th e r S a lv e d ie rra was m entioned, note m ade that he j ; I was a f o r m e r autom obile d e a le r and now lived in V en tu ra County. The j t ! o th e r m a jo r ro le s w ere m entioned. M em b e rs of old V alley fa m ilie s j ; I taking p a r t in the fie s ta scene w ere id e n tifie d --H e le n S allee, g ra n d - { I d aughter of H enry F . B erg m an , who o p e ra te d a leg of th e fam ed B u t te rfie ld Stage fro m Los A ngeles to E l P a s o , and G race Rubidoux I ■ W oods, w hose a n c e s to rs held the Spanish g ra n t to Rubidoux rancho. 1 The a r tic le concluded with m o re of the h isto ry of the a r e a and of the , sto ry . A t the B o ard m eetin g of N ovem ber 9, 1931, the d ire c to rs m oved that "the m a n a g e r in v e stig a te the p o ssib ility of em ploying j an o th er P a g e a n t d ire c to r. It was the co n sen su s . . . a change in the * 68 ! th re e leading ro le s . . . be m ade at this tim e . . . . " They d ire cte d I T h e re is no re c o rd as to why D o rise Schukow did not re tu rn . !Howeyej,-by-that.tim e_sheJiad-m ove<i_tQ_Salt .Lake C ity, h e r h e a lth was P o o rm a n to co m m u n icate w ith V iolet K night and V icto r J o ry re g a rd in g jth eir a p p e a ra n c e in the 1932 pageant. A t the m ee tin g of Ja n u a ry 28, i |1932, P o o rm a n re p o rte d th a t he had in te rv ie w e d fo r the p a rts of R a- |m ona, A le s sa n d ro , and F e lip e , and had c o n fe rre d w ith G ilm o r B row n, i i i ! who highly rec o m m e n d e d V icto r J o ry and J e a n In n e ss. M r. P o o rm a n i 1 i i ! ire p o rte d an in te rv ie w with K u rt B a e r, who a t th a t tim e was teaching atj !O ccidental C ollege, and who could be signed to d ire c t the P a g ean t fo r aJ I s a la ry of about $400. P o o rm a n said th a t he had also in terv iew ed P h il i ! W hiting. It w as decided th at the m a tte r of s e c u rin g a d ire c to r would be !left to the d isc re tio n of the p re s id e n t, but th a t it would be a good policy! ! I to m ake a change th a t y e a r. j I R u s s e ll S tim m e l, also a lo n g -tim e a s so c ia tio n of H olm e and ! i the m an who helped H olm e plan and stak e out the ra n c h house set, ; applied fo r the p o sitio n of d ir e c to r , but w as not chosen. I i K u rt B a e r, 1932 I .............. K u rt B a e r w as ch o sen as the new d ire c to r; V icto r and Je a n j J o ry played A le ssa n d ro and R am ona, th e ir f i r s t y e a r as this s ta r r in g ; couple. A new F e lip e , P a u l P o w e r, a p p ea red . A n o th er m a jo r change I ! was the a p p e a ra n c e of S h erm a n L ew is as F a th e r G a s p a ra , a p a rt he | 'w as to play through 1946. L ew is w as an o th er " A c to r-B o a rd m e m b e r ." I !not good, and she m ay have been having m a r ita l d ifficu lties (see Appen dix M). B ec au se of h e r p o p u larity in the co m m u n ity , it m u st be a ssu m e d th at had she w anted to re tu rn , she would have been asked. Z 8 7 ! "R am ona F e te D raw s T h ro n g " w as the heading of the 1932 T im es review ; the subheading re a d " D ire c to r Wins P la u d its as P la y e r s ! (T rium ph." The opening included San Jacin to in the id en tificatio n of site . |"H em et-S an Ja c in to , A p ril 23. W ith in sp irin g v ista s of M t. San Jacintcj i ! ;as a b ackground, events of d ecad es ago w e re r e -e n a c te d p ic tu re sq u ely ! ' I ! |here today. . . . P a g e s of h is to ry tu rn e d back . . . w hile d escen d an ts | of p io n e e rs . . . p re s e n te d the love sto ry . . . . " The r e p o r te r noted j I I th a t e x c u rsio n s "by m o to r bus and c a v a lc a d e s of p riv a te autom obiles | jbrought a la rg e open in g -d ay throng. . . . " A luncheon a t Soboba Hot j I 1 (Springs fo r G o vernor R olph, who atten d ed , w as d e s c rib e d . U nder the j : I l su b title " D ire c to r A pplauded," the re v ie w stated : j ! j The 1932 p ro d u ctio n outshone p rev io u s p e rfo rm a n c e s in g la m - | o u r by re a s o n of the a m p lificatio n of the m o re s p e c ta c u la r s c e n e s, and K u rt B a e r, who stag e d the play fo r the f i r s t tim e this y e a r, i won the p laudits of the th ro n g fo r the ex c e lle n c e of the opening p e rfo rm a n c e s . | J e a n Xnness, in the ro le of R am o n a, and V icto r J o ry as h e r j ill-fa te d Indian lo v e r, A le s s a n d ro , w e re applauded fo r th e ir | p re se n ta tio n of the leading ro m a n tic r o le s . P a u l P o w e r, as ; F e lip e , s c o re d in h is f i r s t a p p e a ra n c e in the role.^9 The r e p o r te r did not e la b o ra te on how B a e r am p lified the m o re | s p e c ta c u la r s c e n e s , but the n u m b e r of Indian d a n c e rs , w hich in c re a s e d i f r o m th irte e n in 1931 to tw e n ty -six in 1932, c e rta in ly w as p a r t of the (effect. He did note th a t " F ra n k E . G eig er intoned the fam ous s u n ris e 69 Los A ngeles T im e s, A p ril 24, 1932, se c . IV, p. 12. Icall fro m a to w erin g cliff of the bowl to in tro d u ce a s p e c ta c u la r Indian f ta b le a u x ." i C ostum ing was becom ing a p ro b le m by that tim e . W h ereas the itotal c a s t fo r 1924 had been 100, by 1932 the to tal had in c re a s e d to l ' 70 193. In h e r le tte r of re sig n a tio n as head of the c o m m itte e fo r the |Spanish d a n c e rs , C a r r ie E . S m ith w ro te to P o o rm an : t i I would su g g e st th at'y o u s e c u re so m e one o th e r than a te a c h e r \ fo r the w o rk as few te a c h e rs can afford to put in fifte e n h o u rs p er | / w eek o u tsid e of school d u ties. T his w as the a v e ra g e am ount of j , tim e I sp en t each P a g e a n t w eek la s t y e a r. This did not include j j tim e sp en t a t the Bowl d uring p e rfo rm a n c e s . The co stu m e s have j re a c h e d the stag e w h ere they re q u ire c o n sid e ra b le attention each J ; tim e they a r e w orn to keep th em in w e a ra b le c o n d i t i o n . j i j R alph F re u d , 1934-1935 | i | When the P a g e a n t began again in 1934, R alph F re u d d ire c te d . !T h e re was nothing in the B o ard m in u tes to indicate who rec o m m e n d ed I ;F re u d o r how he w as s e le c te d , o r who co n tacted him . F re u d h im se lf, ■ in 1971, w as r a th e r am u se d th a t he did not re m e m b e r how he f i r s t 72 c a m e into a s so c ia tio n w ith the P a g e a n t. T h e re w e re m any p o s s ib ili t i e s . H olm e knew G ilm o r B row n of the P a s a d e n a C om m unity P la y - | jhouse. F re u d had m e t B row n in D e tro it around the e a rly '20s, had |-------------------------------- : 70 i P r o g r a m s of the P ag ean t; a lso , see A ppendix E. ' 71 L e tte r fro m C a r r ie E . S m ith to E dw ard P o o rm a n , H em et, jJa n u a ry 10, 1932. 1 72 I F re u d in te rv ie w , S e p te m b e r 16, 1971. 289 h e a rd about the P a s a d e n a C om m unity P lay h o u se f ro m B row n, and had I m oved W est when his fam ily m ad e the change to C a lifo rn ia about that tim e . F r e u d 's co n tact w ith the P lay h o u se and G ilm o r B row n and i iVictor J o ry goes b ack to th at e a rly tim e . And F r e u d had jo u rn e y ed to i H e m e t in 1924 to se e his frie n d J o ry in the P a g e a n t. With su ch a b ack - i j I |ground of a sso c ia tio n w ith the people of the P a g e a n t o v er so m any : i y e a r s , it is little w onder th a t he did not r e m e m b e r exactly how it J 73 I happened. i A R am ona P a g e a n t A sso c iatio n new s r e le a s e of 1934 gave bio-j ^graphical m a te r ia l on F re u d : "H em et, A p r i l --R a lp h F re u d , direc-j to r of the eleventh annual R am o n a P a g e a n t, today e x p re s s e d enthusiasrrj. lover the s u c c e ss of the opening p e rfo rm a n c e s of th e 1934 s e a s o n of the i jfamous outdoor play, w hich is to be re p e a te d in the R am ona Bowl at j iHem et S atu rd ay and'Sunday a fte rn o o n s. . . . It is M r. F r e u d 's f ir s t se a so n w ith the R am ona P ro d u c tio n , although he h a s seen s e v e ra l of ithe p e rfo rm a n c e s of p rev io u s y e a rs and h as long w anted to b eco m e a s so c ia te d w ith it in an actin g o r d ire c tin g cap acity . 1 M r. F re u d has been a s so c ia te d w ith V ic to r J o ry , the A le s- :san d ro of the R am ona P a g e a n t, sin ce 1920. They have acted to g eth er iin m any plays and have w ritte n one w hich is called 'B odies by F is h e r .' | He was b o rn in E ngland in 1901 and was ed u cated th e re and at the U n iv ersity of M ichigan. F ro m 1918 to 1921 M r. F re u d was a im em b er of the B onstelle sto c k com pany in D e tro it, w here he played w ith Ann H arding, F ra n k M organ, K a th erin e C o rn e ll and o th e rs now fam ous but then unknown. In 1922 he joined fo rc e s with G ilm o r B row n |a t the P a s a d e n a C om m unity P lay h o u se, and has played 110 ro le s th e re , a n u m b e r th a t is exceeded only by B row n h im se lf. Since 1931 he has b een a s so c ia te d w ith G ilm or B row n in the o p e ra tio n of a s m a ll p riv a te th e a tre in P a s a d e n a known as the P laybox. In the s u m m e rs of 1932 and 11933 F re u d conducted c la s s e s in acting and play p ro d u cin g a t the U ni- jv e rsity of C a lifo rn ia at Los A ngeles. In the fa ll of 1933 he w ent to New Y ork to a p p e a r in the ro le of P r o f e s s o r M cIntyre in 'G row ing P a in s ' or B roadw ay. P e rc y H am m ond, w idely re a d New Y ork c r itic , w rote of his p e rfo rm a n c e : 'F re u d ap p e are d to m e as giving one of the b e s t "2W i G eorge G erw ing, also long connected and in te re s te d in the P ag ean t, and a d ire c to r fro m 1950 to 1953, re m e m b e re d a little m o re . In an in te rv ie w , he d e s c rib e d how he had reco m m en d ed F re u d fo r the ^position. A t the tim e , 1934, G erw ing was head of the F e d e ra l T h e a tre I (P ro ject on the W est C o ast. R alph F re u d was one of its d ir e c to r s , and I G erw ing saw one of the shows th at F re u d d ire c te d in San F ra n c is c o , s i 74 |and re co m m en d ed h im fo r the R am o n a P a g e a n t position. R esponding to a question as to w hat his co m m itm e n ts and inten-( (tions w ere in th o se e a rly y e a rs of his e x p e rie n c e with the P a g e a n t, i F re u d an sw ered : I was an e la b o ra te d stag e m a n a g e r; th a t's re a lly w hat it w as. I was th e re to see that it got o rg an ized along the lines th a t it had ; functioned b efo re. And Vic and J e a n w e re th e re , you know, the m a in sta y s , anyway. . . . I d id n 't do anything w rong . . . but I c e rta in ly d id n 't m ak e any ch an g es, o r evep think of m aking any c h a n g e s.75 Those w ords define the h ie ra rc h y of th e p ro d u ctio n le a d e rsh ip of the I 'P a g e a n t d u rin g that p erio d . As F re u d s a id , "Vic and J e a n w ere th e re . . . ." T h at Vic and J e a n " ra n the show " was b o rn e out by o th er | p e rfo rm a n c e s in a s e a so n of good acting. i J u s t b efo re com ing to H em et fo r the R am ona P a g e a n t, M r. ;F re u d produced 'E lizab eth , the Q ueen,' a t the U n iv ersity of C alifo rn ia , | Los A ngeles. The Los A ngeles H e ra ld -E x p re s s r e f e r r e d to the p r e - i sen tatio n as 'a n in sp ire d p ro d u ctio n ,' and the Los A ngeles T im es callec jit 'tru ly a m a z in g .' " 74 1 G eorge G erw ing, p e rso n a l in te rv ie w , San Ja c in to , C a lifo rn ia, July 19, 1972. 75 F re u d in te rv ie w , S ep tem b er 16, 1971. r ' ' 2 9 1 I Jsources, and p a rtic u la rly by re m e m b ra n c e s of Ann W aggoner P u llen , who w as in the P a g e a n t fro m 1932 th rough 1946. A lthough r a th e r young in 1932, she w as quite o b se rv a n t. She re m e m b e re d K u rt B a e r as j"w earing brow n t r o u s e r s , and quite blond. He s o r t of 'stood a ro u n d . 1 ‘ P eo p le d id n 't quite know who he w as, but he used to talk to V ictor a 76 ■ Igood d e a l." P ro o f of the J o r y s ' p re s e n c e was alw ays found in the j ! 1 i iin c re a se in the n u m b er of people taking p a r t in the P a g e a n t during the J | tim e Vic and Je a n w e re a s so c ia te d with the show. W hat d rew the ; l I a c to rs and the audience alike was the in c r e a s e in sp ec ta c le; the J o ry s bro u g h t e x c ite m e n t and c o lo r r- a n d la rg e c a s ts . If K u rt B a e r c o n trib - I uted m uch, no one re m e m b e rs it. But th a t was not to d erid e his w ork; ! j I it sim p ly a tte ste d V ic to r's d e g re e of influence, w hether he was acting i : j lor d ire c tin g , o r both. F re u d indicated th at such was the c a se during j his d ire c to rs h ip in '34 and '35. The m a jo r c a s t change in 1934 was the new F e lip e , J. W. 77 F itz p a tric k . An in te re s tin g addition to the show th a t y e a r was a w om an so lo ist. M rs . B e re n ic e Van L ean G aines a p p ea red b efo re the 76 j Ann P u lle n in te rv ie w , July 5, 1972. 77 i T h e re is no in d icatio n in the r e c o rd s th a t F itz p a tric k was a ;p ro fe s sio n a l a c to r. The indications a r e , in fac t, th at he was not. A T e tte r fro m h im to the P a g e a n t A sso c ia tio n indicated th at he w orked in i an office in R iv e rsid e . T h e re fo re , 1934 w as the f i r s t y e a r that the | ro le of F e lip e w as taken by a n o n -p ro fe ssio n a l. 292 jBoard at the m eetin g of F e b ru a ry 26, 1934, and re q u e ste d th at the !song "M ajella" w hich she com posed fo r the P a g e a n t be sung during the second act. At the n ex t B oard m eetin g on M a rc h 12, 1934, M rs. iGaines a g re e d to have M iss V iola E llis sing "M ajella" at the beginning ■of the second a c t, in a co n cealed position. The P a g e a n t a g re e d to give j ' i Iboth lad ies p ro g ra m c re d it. j ! j ! The Los A ngeles T im es even co n trib u ted som ething new to the j ’ I show: in 1934 a co lu m n ist who w as to c re a te a g r e a t deal of good w ill i land publicity fo r the P a g e a n t began to w rite re v ie w s --E d A insw orth. ! ! :His a rtic le was headed by a la rg e p ic tu re s p re a d , divided into two sec-j I l tions; the top was a p ic tu re of snow -capped Mt. San Ja c in to , the bottom! | ; Iwas a p ic tu re of the ra n c h house. The p ic tu re s w e re captioned J | "R am ona P a g e a n t Wins New A cclaim as T housands H ail H em et R e- ! ;vival." The a r tic le itse lf was headed "Huge C a s t G ives P la y ," and s u b h eaded " Jo ry and In n ess in S ta r R o le s ," "T hrong a t Scenic Bowl Given T h rill as Guns R o ar in D ra m a tic C lim ax ," and fin a lly , "P ag e an t Will Be R ep eated Today and D uring Next Two W ee k -e n d s." The a rtic le was I Ibylined by Ed A in sw o rth , S p ecial Staff R e p re s e n ta tiv e , and began: i j H em et-S a n Jac in to , A p ril 21. White fir e sp u rted tw ice fro m ! a long b lack rifle . A le ssa n d ro plunged b ackw ard fro m a gigantic I b o u ld er to his death. R am ona gave one g r e a t agonizing c ry of | d e s p a ir. H o rse s hooves pounded up the ro c k tr a il a fte r the s la y e r, ' guns ro a re d and a g ray du st co v ered the m ou n tain side. It was the ! c lim a x to the rev iv ed R am ona pageant h e re to d a y .78 I 78 i Los A n g eles, T im e s 1 , A p ril 22, 1934, Sec. VI, a, p. 6. I 293 I lAinsworth d e s c rib e d the re m a rk a b le settin g of the B o w l--"th a t a c o u s tic a l s a u c e r in a tiny v alley am id a thousand b o u ld e rs." Then he r e counted the sto ry . " Je a n Innes [sic] as R am ona and V ictory J o ry as jA lessandro . . . played a d ra m a of love and fa ta lity ." He m entioned j iP o o rm a n 's com edy re lie f, and gave such helpful d e sc rip tio n s as J i j j"Ju an 's continual b attle with c o lo ss a l old M a rd a , a s e rv a n t who h u rls i i |a w icked pail of w a te r and flo u rish e s a te rrify in g b ro o m , fo rm s the | ■ j com edy re lie f th roughout the p lay ." He also p ra is e d F r a n k F e lt. The j jexpositor he n am ed as T hom as M cC orkle. In c lo sin g , he noted th a t { | " 2 0 6 p e rso n s a p p e a r . . . ," and he gave v a rio u s c a te g o rie s of groups m aking up th a t to tal fig u re . T h e re was nothing in c o m m en t on F r e u d 's j i i j ! d ire c tio n . ' ■ i I B ut the P a g e a n t people se em e d to approve of F r e u d 's d ire c tio n . 1 iln 1934, F re u d had applied fo r the p o sitio n of d ire c to r fo r the Je w ish I C om m unity C e n te r in San F ra n c is c o , and M r. L ouis H. B lum enthal, executive d ire c to r of the C e n te r, w ro te to the A sso c ia tio n , asking th e ir opinion of F re u d . E d w ard P o o rm a n a n sw e re d on S e p te m b er 5, 1 1934, statin g in p art: 1 I | . . . M r. F re u d is a d ra m a tic d ire c to r of outstanding ability, | disp lay in g at all tim e s r a r e ta c t in h is c o n ta c t with the 250 m e m - | b e rs of o u r c a st. He is an educated g en tlem an of the h ig h est type. ! As a r e s u lt of the co o p eratio n he re c e iv e d fro m the c a s t b e cau se of his sy m p ath etic attitude to w ard th em , in addition to his I ab ility as a D ire c to r, the R am o n a P a g e a n t th is y e a r was u n q u es- j tionably the fin e st, d ra m a tic a lly and a r tis tic a lly , y et produced. i I ■291 | In the 1935 p r e -P a g e a n t se a so n , th e re was again no m en tio n in B o ard m in u tes of re ta in in g R alph F re u d as d ire c to r, but he did j 79 .d irec t th at y e a r. The B o ard , on F e b r u a ry 11, 1935, d isc u s s e d the [possibility of getting the S h e rm a n In stitu te Indians to put on the Indian ! 'dance fo r the c e re m o n ia l sc e n e , but they deem ed it in ad v isab le because I lit m ight "take this away fro m the local p eople" and "the tra n sp o rta tio n 'would be h ig h ." On M a rc h 15, 1935, the B oard m oved to e lim in a te M rs . G ain es' song, " M a rje lla ," fro m the P a g e a n t th a t y e a r. 80 | T h e re w e re s e v e ra l im p o rta n t c a s t changes in 1935. B a rb a ra P a r m le y played M a rd a , rep la c in g M rs . Nancy M ille r, who had been lo st to the P a g e a n t th ro u g h the tra g ic c irc u m s ta n c e s d e s c rib e d in I g I C h ap ter III. M iss P a r m le y continued in the p a r t w ith m a rk e d s u c c e s s . N ext, a fte r P o o rm a n re sig n e d fro m all activ e p a rtic ip a tio n in i the P a g e a n t, his p a r t (Juan Canito) was tak en by F r a n k Schott, a r e p o r te r fo r The H em et N ew s, who continued in the p a r t th ro u g h 1941, then m oved to H aw aii. As u su a l, Y sid ro was "the d isp la c e d Indian"; th a t y e a r E . L. M a ra n v ille re p la c e d J a c k C o llin s, who had re p la c e d L a w ren ce C o llin s, who had re p la c e d . . . . S h eriff M e rr ill was played t i by a n e w c o m e r to the ro le , B o ard m e m b e r H a rry C. D ane. And of 79 P r o g r a m of the P a g e a n t, 1935. Ibxd. ^*Supra, p. 225. ! 295 I I (sp ecial note w as the E x p o sito r of that y e a r, Hugh H ippie, who was la te r to beco m e quite s u c c e ss fu l as the m o v ie 's Hugh M arlow e. Hugh j jhad been b ro u g h t in by V ictory J o ry as an u n d erstu d y to h im se lf b e c a u se his m otion p ic tu re co m m itm en ts that y e a r re q u ire d his ab sen ce i fro m the P a g e a n t during one of the w eekends. J a c k H u rt, a local r e s i dent, u n d erstu d ied M arlow e and took the p a r t of the E x p o sito r when j J M arlow e played A le ssa n d ro in J o r y 's p lace. i i ! I j The T im es again gave the P a g e a n t a la rg e photo sp re a d at the : ! Ihead of its rev iew ; th e re w ere p ic tu re s of R am ona and A lessan d ro to - ! ! j Ig eth er, of the fie s ta scen e at the ra n c h house, and one of the two | I Spanish p ro fe ssio n a l d a n c e rs. The title was "T ra g ic S tory Unfolded inj ] j N atu ral A m p h ith eatre "; the s u b h e a d --ju s t one this y e a r - - r e a d , " I "C row ds Defy E a rly T h re a t of R ain to W itness In itial P re se n ta tio n ; i j j New P la y e rs A c c la im e d ." Although no nam e o th e r than " T im e s Staff i R e p re s e n ta tiv e " a p p eared in the byline, the sty le was fa m ilia r: H em et, A p ril 2 7 .--A lith e red body with a rm s u p ra ise d poised for a m o m e n t upon the top of a m ighty b o u ld e r--b la c k sm oke sp u rte d fro m a long rifle . A le s sa n d ro , the n o b lest Indian of th em all, plunged headlong fro m the ro ck to his death. R am o n a s c re a m e d , and the th u n d e r- i ing hoofbeats of avenging h o rse m e n pounded am ong the g re e n h ills. . . . D ire c to r Ralph F r e d F re u d [s ic ] saw two new p rin c ip a ls in the c a s t acq u it th e m se lv e s c red ita b ly . B a r b a r a P a rm le y p o r tra y e d the ro le of M a rd a . . . and F ra n k C. Schott took the p a rt of Ju an C anito, the ra n c h o v e r s e e r . . . . The only flaw in the f i r s t a ct is the fa c t th a t the gay and tu n e ful fie s ta sc e n e is in tro d u ced too a b ru p tly into the d ra m a tic c la sh of R am ona, S e n o ra M oreno and F e lip e o v e r R am o n a 's p ro p o sed m a r ria g e . The fie s ta itse lf, h o w ev er, is b rig h t and ch arm in g . Good w o rk is done by K enneth Slaybaugh as Jo e and by M rs. I H. B. Jo n es as Aunt Ry H y er. The E x p o sito r, Hugh H ippie, also i is w orthy of p r a is e , m o re than can be said fo r m o s t e x p o sito rs. 'The re v ie w e r no ted th a t th e re had been ra in th a t m o rn in g , but th at by i I j (show tim e, the sun was b rig h tly out. The a r tic le m entioned th a t P o o r - I ! i iman had " re sig n e d this y e a r on a cco u n t of the p r e s s u r e of p riv a te i 1 - j I I ja ffa irs." He also sta te d that both J o r y and M iss Inness gave fine in- | 82 ite rp re ta tio n s of d ifficu lt p a rts . By 1935, the P ag ean t was so w ell thought of th at W e ste rn C o s- ; ; j tum e Com pany of Hollywood w ro te to the A sso c ia tio n asking fo r "so m e j still photographs of co stu m es and s c e n e s " fro m the "y e a rly pageant. i l !. . . One of the m o tio n p ictu re co m p an ies h e r e is planning to m ake a ! 1 (picture of M rs . J a c k s o n 's book "R am o n a", and we should like if p o s - I 83 sib le, to have m o re r e s e a r c h on the s u b je c t." A good d e a l of im p ro v e m e n t w as m ad e in the A le ssa n d ro c o s tum ing in the '30s to enhance the h e ro im age and m ake the c h a r a c te r I 'm o re a ttra c tiv e . Indian je w e lry w as in tro d u ced fo r the c h riste n in g I I sc e n e , notably a heavy s ilv e r sq u a sh -flo w e r n eck lace th at b ecam e 82 L os A n g eles T im e s , A p ril 28, 1935, se c . I, p. 29. 83 L e tte r fro m W estern C o stu m e C om pany, Hollywood, C a li fo rn ia , J a n u a ry 31, 1935. 297 tra d itio n a l w ea r fo r the h e ro . And in th a t sc e n e , beautiful light beige, I frin g e d , and o rn a te ly -b e a d e d buckskin outfits w ere w orn by both I , 84 A le ssa n d ro and R am ona. I i M o r r is A nkrum , 1936-1937 I | M o rris A nkrum c am e to d ire c t in 1936 and 1937. As w ith j jF reu d , the B oard m in u tes did not re v e a l anything of A n k ru m 's h irin g , j ;P o o rm an , attending the B o ard m ee tin g of O cto b er 23, 1935, to r e je c t j ' I I the B o a rd 's o ffer of the p o sitio n of m a n a g e r w hich had been voted a t the' ! ! iprevious m eetin g on O ctober 11, su g g ested J o ry as d ire c to r. The f ir s t i ■ m en tio n of A nkrum in the m in u tes was on A p ril 1, 1936, when M itch ell j I iexplained to the B o ard the situ atio n c re a te d by A delaide C lark e F itz - I J i ! i P a tric k 's w ith d raw al fro m the c a s t. The B oard voted to su p p o rt the j ("actions of the m a n a g e r [Lloyd M itchell] and p ro d u ctio n d ire c to r ! j[M o rris A nkrum ] in r e s p e c t to all d ecisio n s of c a stin g and m an a g em en t * 85 |of the R am ona P a g ean t to d a te ." 84 Ann P u lle n in te rv iew , July 5, 1972. 85 I The co n sen su s was th a t M rs. F itz p a tric k w ithdrew b ecau se 'h e r husband w as asked to play F e lip e on only th o se p e rfo rm a n c e s that M arlow e played A le ssa n d ro . (M arlow e was again u n d erstu d y in g J o r y .) M arlow e was h ire d not only b e ca u se he was a good a c to r, but b e c au se he could and would play F e lip e , and b e c au se he w as also capable of playing A le ssan d ro when V ic to r's film w ork dem anded his ab se n c e . I F itz p a tric k could not play A le ssa n d ro convincingly enough to allow him Ito double. j This was one of the v e ry few tim e s in the h isto ry of the P a g - jeant th a t difficulties about c a stin g a ro s e . It was also the only tim e 298 j i A nkrum w as an o th e r of the P a s a d e n a P lay h o u se talen ted a c to r- ■ d ire c to rs . He was an old frie n d of both the J o ry s , of G ilm or B row n, i ,and of R alph F re u d . He had attended the U n iv ersity of C a lifo rn ia a t I j B e rk e le y , and during the '30s was on the staff of the P a s a d e n a P la y - ! 'h o u se. D uring W orld W ar II and a fte rw a rd , he b ecam e quite s u c c e s s f u l as an a c to r in m otion p ic tu re s . The au th o r w orked in two plays J which A nkrum d ire c te d at P a s a d e n a and re c e iv e d m uch help fro m him . i i 'A s J o ry in d icated , A nkrum was an in sp irin g d ire c to r. V icto r co m - jm en ted , in an in te rv ie w , th at A n k ru m as a d ire c to r: | . . . had tre m e n d o u s d y n am ism . He w ouldn't be too good w ith som eone like you, b ecau se you w e re a p re tty good a c to r by th a t tim e [ jo r y was re fe r r in g to the y e a rs th a t the au th o r played 1 the A le ssa n d ro in the P ag ean t], and th a t's a stra n g e thing to say, n e ith e r was he e v e r v ery good with m e . But you take and give h im som eone who could h a rd ly a c t at all and g en era lly he could ; do re m a rk a b le things with th em . 8 6 j The m a in c a s t changes th at y e a r w ere those of the S en o ra, I 87 I M a rg a rita , Luigo, Jo e , and S h eriff M e rr ill. Y sid ro , of c o u rse , I ; changed ! A fter M rs . F itz p a tric k 's w ith d raw al, Ja n e t Scott, of the ! th at the M inutes of the B oard show ed th em taking sid es w ith one factior | as opposed to a n o th e r. T hat they "stood behind" th e ir d ire c to r and * m a n a g e r w as, in the opinion of the a u th o r, a " stre n g th " which p r e - | vented fu tu re d ifficu lties a ris in g fro m h u rt feelings p ro m p ted by lack of p e rsp e c tiv e . H ow ever, the B o ard did note th a t such s itu a tio n s - - d ifficulties about c a s tin g --c o u ld get out of hand and that d ire c to rs and . m a n a g e rs m ight "go too f a r ." 86 J o ry In terv iew , A ugust 10, 1970. 87 P r o g r a m of the P a g e a n t, 1936. 299 I jPlayhouse, was bro u g h t in. She re m a in e d as the S en o ra th ro u g h 1941. i T he new M a rg a r ita was a V alley g irl, Ju a n ita E n c ell, who played the p a r t th ro u g h 1940. H a rry H offm an, who in 1923 was one of the Boy I Scouts who helped to c le a r the tr a ils fo r the f i r s t p roduction, was c a s t as Luigo; he continued u n til 1940, when he b ec a m e the second non- Iprofessional to play F e lip e . A fter a long ru n as Jo e, K enneth S lay- i | Ibaugh finally gave o v er to Bob G leason. The Indian so lo ist w as an o th er i , i P lay h o u se a c to r, J a m e s Judson. j | ! In 1936, Ed A in sw o rth was b ack c o v e rin g the P a g e a n t fo r the | I I ; I iT im es. He w a rra n te d a th re e -p ic tu r e h e a d in g --o n e of the ran ch -h o u se j : i :set d u rin g the f ie s ta scene; an oval in s e t p ic tu re of V ictor J o ry ; and j the second la rg e p ic tu re , to the rig h t of the f ie s ta scen e, show ed the j I i ISenora a t the s h rin e . A in sw o rth title d his r e p o r t "R am ona P a g e a n t i (Unfolds B rillia n t S p ectacle a t H em et Bowl O pening.1 '1 - He began w ith a I |good A in sw o rth le ad -in : j Seventy Indians sp ra n g fro m n o w h ere to the tops of g ray g ra n ite b o u ld ers on the g re e n h ills id e s . T h e ir a r m s s tre tc h e d tow ard the sky. T h eir re d bodies glinted in the full aftern o o n sunlight. F r o m the one on the to p m o st pinnacle th e re ro lle d a deep b a rito n e c ry . The c ry echoed a g a in st the m ountain sid es and was ; re p e a te d and m a g n ifie d . 8 8 j The p ro g ra m fo r th a t y e a r liste d tw e n ty -six "Indian D a n c e rs ," i 'th at, judging f ro m the n a m e s , se e m e d to be all m ale. J u s t how 88 Los A ngeles T im e s , A p ril 19, 1936, se c . II, A, p. 14. i 300 I i k in s w o rth a r r iv e d a t the fig u re of seventy w as c o n je c tu ra l. T h e re was t the p o ssib ility th a t he was so taken with the tab leau x , in w hich a p p a r ently fo r the f i r s t tim e , the s o lo is t, o r " s u n ris e so n g " s in g e r, ap p eared at the v e ry top of the stag e left "m o u n tain ," th at A in sw o rth saw trip le , j o r th e re a b o u ts. O r, knowing J o ry and A nkrum and w hat happened when they got to g e th e r, the au th o r feels it v ery p o ssib le th a t a t the la s t m in - i I jute, a fte r the p ro g ra m had gone to p r e s s , they cam e up with the new " p ic tu re ." The point w as th at the sp e c ta c le , w hich V ictor alw ays ! b ro u g h t by h is v ery p re s e n c e , was in c re a se d ; the e x c item e n t added. And while A n k ru m w as a v e ry inventive d ir e c to r , J o r y 's long e x p e r i ence with the P a g e a n t gave h im a m uch m o re ex ten siv e f ra m e of re f- I e re n c e fro m w hich to choose effects. A in sw o rth p ra is e d In n e s s 's p e rfo rm a n c e , also M iss P a r m l e y 's , i ' . 89 jand M a rlo w e 's F e lip e . i j The B o ard m in u tes fo r the balan ce of the 1936 s e a so n (May to th e beginning of the new fis c a l y e a r on July 1st) and th ro u g h the 1937 s e a so n m ad e no m en tio n of A nkrum . He was the 1937 d ire c to r, as the -program and rev ie w in the T im e s verify. 89 j In 1936, B a r b a r a P a rm le y (M arda), M arlow (F elip e), Ja n e t Scott (Senora), V icto r J o ry (A lessan d ro ), J e a n Inness (R am ona), Judsoiji |(the Indian so lo ist), and A n k ru m w ere all fro m the P a s a d e n a P lay h o u se jThis te m p o ra ry in jectio n of e x tr a p ro fe s s io n a lis m w as in consonance iwith H o lm e 's p ra c tic e : To im p ro v e the lo cal a c to r s ' p e rfo rm a n c e s by Igiving th e m ex am p les to im ita te . I i In 1937, Sellw yn M y ers played F e lip e (m ainly, he told the ;author, b e c a u se he w as w illing to a ct as ch au ffeu r fo r Jo ry ; but in ' 90 jtruth M y ers was a v e ry fine a c to r). Y sid ro th at y e a r was Douglas t jW illiam s, who had the d istin ctio n of holding the ro le fo r th re e co n secu - i i tive y e a r s . I I I j ' A in sw o rth enjoyed the P ag ean t; he gave it his b est: In 1937, he j ititled his d e s c rip tio n , "D ra m a of Love, H ate and D eath A gain D epicted | 9 1 i ,in O utdoor P la y ." A fter his u su a l in tro d u c to ry m a te r ia l, he began: i : i I "B uckskin d ru m s boom ed a g a in s t the flanks of snow c o v e red old Mt. ! ! ! t J Jac in to . Love, h a te , and d eath played th e ir p a r t am id the giant boul- j d e rs of the ro ck y h ills id e ." (The " b o u ld e rs" d e s c rib e d by m o st of the ! v ie w e rs se e m e d to fa sc in a te the r e p o r te r s ; e ith e r th a t o r they re a d | jeach o th e r 's copy and thought th em im p o rta n t to the play. They a re j (obstacles fo r the a c to rs !) | A in sw o rth co m m en ted th at "m o re than 250 joined in the p e r - j fo rm a n c e ." He also noted th a t the "voices of the p la y e rs c am e a c ro s s i w ith a lm o st in c re d ib le c le a r n e s s . . . . Som e of the a c to rs actually I iw ere a q u a r te r of a m ile aw ay." He en titled one su b se c tio n "Added jC o lo r," and w ro te of a new piece of b u sin e ss th a t V ictor and M o rrie i jhad com e up w ith th at y e a r: i ! 90 | The au th o r has se e n M y ers p e rfo rm m any tim e s. | Q I J Los A ngeles T im e s , A pril 18, 1937, Southland Sec. , p. 6 . j 302 I j I A new touch at the s ta r t showed the c a re th a t D ire c to rs M o rris A nkrum and V ictor J o ry have u sed to add c o lo r to the whole p e r - ' fo rm a n c e . I F r o m th re e giant ro ck s situ ated a t in te rv a ls a c r o s s the h ill- ■ side cam e the th undering d ru m b e a ts of Indian w a r r io r s , one fo l- : lowing the o th e r. And as the la s t one died out an Indian p r ie s t i p o rtra y e d by J a c k H u rt stood silh o u etted on the h ig h est sky line | and intoned a su p p licatio n th at was the keynote of the play. 1 A in sw o rth approved the pace of the show: ". . . the actio n i n ev er lagged. . . . " He also liked the c a st: "Ju a n ita E n c ell as M a r - i g a rita , H a rry H offm an as Luigo, M rs. H. B. Jones as Aunt R i, R o b e rt G leaso n as Joe and in n u m e ra b le o th e rs of the lo cal a c to rs i | jreceived ap p lau se fo r th e ir fine p o r tr a y a ls ." : , i R alph F r e u d 's c o m m e n t to the effect th at V icto r and J e a n w e re | I j :the show in the '30s was b o rn e out by A in sw o rth 's r e m a r k th a t " D ire c - ; to rs M o rris A n k ru m and V icto r J o ry u sed [c a re ] to add co lo r to the Iwhole p e rfo rm a n c e ." T e ch n ically , J o ry w as not a d ire c to r th at y e a r . 1 i J o r y 's c h a r a c te r is tic stre n g th e n in g of the P a g e a n t in th o se i i lyears th a t he had anything to do with it w as evident in the change in the 92, ,p ro g ra m --in the listin g of "Indian B r a v e s ." In 1937, fifty w e re liste d . !F u rth e r, the to ta l c a s t in 1936 had been 178; in 1937 it jum ped to 93 272. 92 P r o g r a m of the P a g e a n t, 1937. 93 P r o g r a m s of the P ag ean t, 1936 and 1937. A lso se e A ppendix IE. IV icto r J o ry and J e a n In n e ss, 1938-1946 F in a lly , and lo g ically , V icto r and J e a n J o ry b ecam e the 1 id ire c to rs in 1938 and continued so throughout the 1946 production, iafte r w hich they left the P ag ean t fo r n in eteen y e a r s . They m ade an e x cellen t te a m . H aving been R am ona sin ce 1932, J e a n knew the show j : • i |thoroughly. F u r th e r , she was an a cco m p lish e d a c tr e s s , having played 94 |on B roadw ay b efo re com ing to the P a g e a n t. V ictor said this of h e r d uring an in terv ie w w ith the author: j She w as kind and thoughtful to everybody. She has a r e m a r k - i able ab ility not to lo se h e r te m p e r in d ire c tin g and if need be to ' get a s o r t of ste e ly quality into w hat she h as to say th at would acc o m p lish exactly the sa m e th a t I m ig h t a c c o m p lish by throw ing , a ta n tru m o r s c re a m in g . She co n trib u ted in a lm o st e v e ry way ! th at a w om an could c o n trib u te .95 The J o ry s b ro u g h t in as stag e m a n a g e r H elen T ry o n , who had j been V ic to r's s e c r e ta r y and had w orked c lo se ly with the J o ry s at the I | P a s a d e n a P lay h o u se. H elen, th ro u g h the J o r y s , had m e t L a r r y B an - i j i dick, a b u s in e s s m a n of San Ja c in to , and m a r r ie d h im in 1938; a fte r i I th a t she re m a in e d in the V alley. She and L a r r y had two c h ild re n , both ; of w hom n a tu ra lly took p a r t in the P a g e a n t as soon as they w e re old 96 i enough to p a rtic ip a te . In the 1938 show, L a r r y played Jo se . i 94 ! J o ry in te rv ie w , A ugust 10, 1970. I 9 5 Ibid. j 96 M any m a r r ia g e s re su lte d fro m P a g e a n t a s so c ia tio n s, w hich | in tu rn has re s u lte d in the show having g r e a t se n tim e n ta l value fo r 304 C a st changes th at y e a r in tro d u ced a new R am ona. Jean Jo ry was fo rc e d to d ro p out b e c a u se of the b irth of th e ir second child, Jon. C h ristin a W elles played R am ona, L a r r y B andick w as Jo se . Stevan D a r re ll, a P a s a d e n a P lay h o u se a c to r, was F e lip e. The new Indian so lo ist, M olio S h ero n , w as b rought to the c a s t by J o se A ria s. A p r o fe ss io n a l, he w as one of the outstanding sin g e rs of the P ag ean t and is re m e m b e re d fav o rab ly to this day. C h arle s Childs m oved fro m Jo se to D r. M orong, and C. A. R ockholz rep la c e d M au re H u rt, who had 97 played a v ery convincing and popular v illain , as F a r r a r . "R am o n a P la y Opens S easo n , S tory of Indian Love T h rills L a rg e 98 C row d in O p en -A ir T h e a te r" was Ed A in sw o rth 's lead to his sto ry . m any people; m uch of the s tre n g th of the play co m es fro m such a tta c h m en ts fo rm e d am ong c a s t m e m b e rs and am ong V alley people affected by such a tta c h m e n ts. A delaide C la rk e , as m entioned e a r l i e r , m a r r ie d J. W. F itz p a tric k as the r e s u lt of th e ir m eetin g in the play. The a u th o r, who played A le ssa n d ro fo r fo u r y e a r s , m a r r ie d Ann W aggoner, who began in th e P a g e a n t a t the age of eight, re m a in in g in it fo r m any y e a rs ; h e r b r o th e r R o b e rt w as also in the play m any y e a r s , playing a n u m b e r of d iffe re n t ro le s . Ann, being a blonde, w as an "Indian child"; la te r , she b e cam e a s s is ta n t stag e m a n a g e r. H a rry H ofm ann, who played F e lip e fo r y e a r s , m e t and m a r r ie d his w ife, A lb e rta , when she, as a Life m a g a z in e p h o to g ra p h e r, cam e to c o v e r the show. T h e ir son, F e lip e , played in the show fo r a n u m b er of y e a rs . D orothy B ailey, the R am o n a fo r m an y y e a r s , m a r r ie d B ill V osburg a fte r h e r f ir s t y e a r in the play. T h e ir d au g h ters have n a tu ra lly been in the show. The r o m an ce of the play is m a n ife ste d in m any w ays, w hich is one of the p la y 's g re a t stre n g th s. 97 P r o g r a m of the P a g e a n t, 1938. 1 Q 8 Los A ngeles T im e s , A p ril 24, 1938, se c . I, p. 24. 30 5 Still a b o u ld er fa n c ie r, A in sw o rth 's re v ie w began: i Indian love ro s e to new heights h e re today am id the g ray j b o u ld ers. . . . | A new R am o n a helped c a r r y an old d ra m a to its in itia l t r i - i um ph of the 1938 seaso n . ! F i r s t A p p earan ce i i I C ris tin a [s ic ] W elles playing R am ona fo r the f i r s t tim e , the | e v e r ro b u st and convincing V icto r J o ry as A le s sa n d ro , h e r lo v e r j j and c a s t of 250 blended the poignant e lem en ts of the H elen Hunt J Jac k so n m a s te rp ie c e . ! I | Indians in the C a s t ! i R ea l Indians in the dance sce n es this tim e , a new sin g e r with i ! a m ag n ificen t voice in the fie s ta , a re c o n stru c te d stag e and added j I vigor in m uch of the action co n trib u ted to the im p ro v e m e n t of the j | d ra m a . i C hanges w rought by J o ry take effect in th e fie s ta . . . th a t gifted s in g e r M olio S heron, running up and sw inging into a new song to quiet the c e le b ra n ts . . . e le c trifie s p e r f o r m e r s and audience alike. Bugle C alls Echo In cid en tally , the singing of R am o n a h e r s e lf . . . is a p leasin g innovation. Bugle c a lls echo fro m the giant ro ck s a t in te rv a ls to augm ent the ringing of the ra n c h bell in denoting la p se s of tim e. D an c e rs Im p re s siv e j ' 1 | . . . The d a n c e rs this y e a r a re fro m the S h e rm a n In stitu te a t | R iv e rsid e . * | | S o m etim e during the r e h e a r s a l p erio d th a t y e a r, the "Indian 1 (D a n ce rs 11 (a lo cal n on-Indian group th at had done this scen e fo r som e i i jyears) ap p ro ach ed J o ry with the dem and th at they be paid o r they would not p e rfo rm . T h is, of c o u rs e , was u n p re c e d e n te d --lo c a ls w ere not-paid. H ad.the_group_approached anyone-else .in a u th o rity ,— they_____ m ig h t have gotten away with the th re a t, but J o ry w as not so ea sily .in tim id ated , and b e sid e s he had a lre a d y been c o n sid e rin g the p o s s i- i t !bility of a change in th a t scen e. He w ent im m e d ia te ly to the S h erm a n I iIndian In stitu te and m ad e a rra n g e m e n ts to have a group of the young I i 'Indian m en p e rfo rm th e ir authentic dances in the show. T hus, J o ry j jnot only in tro d u ce d one of the m o s t s p e c ta c u la r sc e n e s in the h isto ry j !of the P a g e a n t, he also bro k e the f ir s t (and la st) r e a l s trik e in PageantJ 99 1 'h is to ry . I A t the B o ard m eetin g of Ju ly 25, 1938, ways to in c r e a s e co m - i I l jm unity in te r e s t in the P a g e a n t w ere d isc u s s e d . Som e of the people who j ^had b een in te re s te d in p a s t y e a r s w ere dropping aw ay. The id ea of j 'giving "c o m p s" to those who had taken p a r t in p a s t y e a rs was d is - [ i ! c u sse d . The in te re s tin g fe a tu re of the B o ard topic was th a t sin ce J o ry jhad tak en o v e r, the n u m b er in the c a s t had in c re a s e d each y e a r , and I I sta rtlin g ly in 1937, as noted (272, o v er 178 in 1936), and in 1938-- j i,~, 979 100 j 3 2 6 o v e r 27;2. i j In 1939, a n u m b er of im p o rta n t changes took p lace. F i r s t , the I J o ry s m ade im p o rta n t changes in the s c rip t, the f i r s t to be m ade sin ce j H o lm e 's day. I | A t the opening of E pisode Two, A ct One, they added a good d eal 1 I 99 | J o ry in te rv ie w , A ugust 10, 1970. ! I ^ ^ P r o g r a m s of the P a g e a n t, 1936, 1937, and 1938. |of e x c ite m e n t and dialogue when M a rd a and M a rg a r ita e n te r calling ex cited ly , " P e d r o ! , F r a n c is c o ! J o s e ! " The S en o ra d e liv e rs a lo n g i 'sp eech in stru c tin g the m en to c a r r y invitations to o th e r ran ch o s to | jattend a fie s ta in c e le b ra tio n of F e lip e 's re c o v e ry . The m en and M a rd a and M a rg a r ita ex it and the scen e betw een the S e n o ra and Juan I [takes p lace, as fo rm e rly . B efo re long, it is in te rru p te d by the wild | [ride of the th re e m en b e a rin g the in v itatio n s; e ach rid e s in a d ifferen t ;d ire c tio n , once p a s t the ra n c h h o u se. The b alan ce of the a c t re m a in s i [relativ ely the s a m e , ex cep t th at the M a rd a - M a r g a r ita scen e and the I [" lo v e rs ' ro c k " scen e w e re cut. The a c t ended w ith R am ona and I [A lessandro leaving the ran ch o . The second a c t u n d erw en t r a d ic a l change. H olm e h im se lf had m ad e a n u m b er of changes in it fro m the beginning. In 1939, no m a jo r line changes w e re m ad e; h o w ev er, in so m e c a s e s , the lines w ere spoken by d iffe re n t c h a r a c te r s . The p a r ts of Jak e and D r. M orong w ere co n so lid ated into one p a r t - - J a k e M orong. And a new c h a r a c te r , F r a n k M ath erso n , was added (and cut the nex t y e a r). The sequence of the f i r s t sc e n e s w as changed and the a ct divided into fo u r e p iso d e s, w ith a new E x p o sito r sp e e c h added. A c o m p a riso n of scen e seq u en ces 102 as played in 1938 and 1939 w ill b e s t illu s tr a te the changes: i i ^ ^ S e e 1938 and 1939 s c rip ts and p ro g ra m s fo r th o se y e a r s . 1 0 2 ibid. ! 1938 E p iso d e I The C h risten in g ; E x p o sito r Y sid ro , G a s p a ra , M orong, j Hayton | (the A m e ric a n s c la im Y sid ro 's I land) ' C h riste n in g I (Indian c e re m o n ia l) | H ayton and A le ssa n d ro (claim of A le s s a n d ro 's land) lEpisode II Soboba Springs ; E x p o sito r Jo e , Aunt R i, R am ona I (H y er's d e p a rtu re ) J a k e , F a r r a r , R am o n a (claim A le ssa n d ro a thief) M e rr ill e n te rs I (vindicates A lessan d ro ) Jak e and R am o n a (insult to Ram ona) i R am ona ! (Baby d eath scene) i A le ssa n d ro and Joe ; (Jo e 's d e p a rtu re ) : A le ssa n d ro and M e rr ill j (tells of in su lt to Ram ona) i A le ssa n d ro and R am ona J (A lessan d ro le a rn s of | B aby's death) j E pisode III D eath of A lessa n d ro ! Jo e and R am o n a (tell of A le ssa n d ro taking | h o rse) I M e rr ill and Hayton i (waiting fo r posse) 308 1939 E p iso d e I The C h risten in g E x p o sito r C h risten in g of child (Indian cerem o n ial) H ayton and A le ssa n d ro (claim of A le s s a n d ro 's land) i E pisode II R aid on Indian Lands E x p o sito r, (new speech) j Y sid ro , G a sp a ra , J a k e , F a r r a r (A m erican s c laim Y s id ro 's land) I E pisode III (sam e as 1938 E p iso d e H, ex cep t M a th e rso n and F 'a r r a r have scen e with R am o n a, and F a r r a r in su lts R am ona) j E pisode IV (sam e as 1938 E p i sode III except that M e rr ill and Jak e a r e w aiting fo r the posse) | 3UT~ i j i F a r r a r , R am ona, A le ssa n d ro (shooting of A le ssa n d ro ) P o s s e ch ase N ext, the E pilogue w as changed, in th at R am ona did not ap p ea r in th e d e p a rtu re fro m the ran ch o . T his had alw ays been a clu m sy 'scene to a c co m p lish , b e c a u se R am ona had to r e tu rn to the rancho set, I I jdisguised as an Indian squaw; th e re w as no o th e r way fo r h e r to r e tu r n j u n o b se rv e d . F e lip e 's lines w e re changed to include the explanation that R am o n a would m e e t th e m w h ere the tr a il divides. The "S p a n ia rd s" le ft the ran ch o singing the th em e song, "L a G olondrina"; when they had i ^disappeared behind the fa lse ro c k (the la r g e s t fa lse ro c k , in the saddle j j I of the p a ss), R am ona, in a sk y -b lu e cloak, and F e lip e , in a b lack cape,| c lim b ed to the top of the ro ck and ra is e d th e ir a r m s in fa re w e ll. The j ;"rock Ind ian s" and the " s u n ris e song" so lo ist a p p e a re d silen tly , s ta n d in g sto ic a lly e r e c t w ith a rm s c ro s s e d , and the A m e ric a n h o rs e m e n i i a p p e a re d in a line a c r o s s the h o riz o n of the m ou n tain top. It was a i b reath tak in g ly beautiful fin a l tab leau fo r the audience to re m e m b e r. iAfter a long count, the h o rs e m e n wound th e ir way slow ly down the h ill, I jand the r e s t of the c a s t d isa p p e a re d and re m a in e d hidden until a fte r the ' , , , 1 0 3 laudience began to leav e. I ; T hese changes n e c e s s ita te d an in c re a s e in the n u m b e r of s p e a k - j ling p a r ts , and th e re w e re as u su al a few changes am ong the re g u la r i I | - I 103 ! Ann P u lle n in te rv ie w , July 5, 1972. 310 p a r ts . R uth K ribs took o v e r the p a rt of M a rd a fro m B a r b a r a P a rm le y . i 'Jean J o ry re tu rn e d as R am ona. Bob W aggoner played J o s e . Yet j an o th er P a s a d e n a P la y h o u se a c to r cam e to play F e lip e - - C h a r le s Wood. i iHayton w as played by L ovell P e r r y ; C h a rle s C hilds m oved fro m D r. ! i ^Morong to the v illain , F a r r a r . T hat y e a r, L a r r y B andick changed j I . i i r -r 104 I Ifrom J o se to D r. M orong. | ! | A in sw o rth w as given a fo u r-p ic tu re s p re a d fo r h is s to ry that y e a r: one of the ra n c h house d uring the ch ap el scen e; one of the llndian so lo ist, M olio Sheron; one of a g irl d a n c e r in the fie s ta scene; } i j I land one of V ictor and J e a n as A le ssa n d ro and R am ona. The a r tic le j i ! i iwas en titled "R am ona P la y T h rills A gain," with "R om antic D ra m a of | I | 1 105 H ills H as L a rg e s t Opening in H is to ry ." He began, "Indian love j icam e back to the h ills , w h e re the Y erb a S anta was in bloom h e re this 1 ia fte rn o o n ." A in sw o rth co m m en ted , " F a s te r th an e v e r b efo re m oved !the sto ry . In g r e a te r volum e than e v e r sw elled the gay and sad son g s. . . ." Je a n In n ess re tu rn e d "to h e r fa v o rite r o le ," and she and " Jo ry s e rv e d lik ew ise as c o - d ir e c to r s ." T h e re w e re "new p la y e rs in I im p o rta n t ro le s . . . but each one fitted into the actio n so sm oothly j |th at th e re was no d etectin g the v e te ra n fro m the la te s t r e c r u it." He j re p o rte d th at "only two p la y e rs of the e n tire 350 had taken p a r t in all I I ! ^ ^ P r o g r a m of the P a g e a n t, 1940. ! i 1 A C | Los A ngeles T im e s, A p ril 23, 1939, P a r t II, p. 7. 311 p e rfo rm an c e s of 'R a m o n a 1 sin ce its s ta r t ." They w e re , a cco rd in g to A in sw o rth , F ra n k F e lt as F a th e r S a lv e d ie rra and M rs. Isa d o re C osto, I as M a r a / ^ As A in sw o rth counted th em , "50 r id e rs c a m e d riftin g p v e r the skyline and down the m ountain in the opening sc e n e . . . . The 'dram atic a p p e a ra n c e of th e se r id e r s silh o u etted a g a in st the blue sky l jwas a new touch this y e a r ." He w ent on to m en tio n , "So w as the m u s i- |cal e n tra n c e of A nnette Stahly singing 'Ave M a ria ' at the head of a i p ro c e s s io n of Indians. So was the placing of a n u m b e r of p la y e rs in the! l a t e r sc e n e s on h o rs e b a c k ." A in sw o rth noted th a t Ruth K rib s w as new ! | | ■in the ro le of M ard a. i i i The book co p y rig h t due to ex p ire th a t y e a r , ^ ^ the B oard m e t on| l i ^January 15, 1940, and p a sse d the m otion th at "we em ploy the office of ! ;L.loyd W right to copyright at the e a r lie s t p o ssib le tim e , our v e rsio n of Ithe d ra m a 'R am o n a.' " The nex t B o ard m eetin g on F e b r u a ry 9, 1940, ! !was a sp e c ia l one, held to h e a r th at the "c o m m itte e had contacted M r. j G oldw ater re g a rd in g the co p y rig h t of our v e rsio n of the d ra m a 'R am ona land at a la te r m eetin g of the co m m itte e it was decided to co p y rig h t the j ioriginal G arn et H olm e s c r ip t." A t the re g u la r m eetin g on F e b r u a ry 16, I j IP oorm an re p o rte d th a t copies of H o lm e's o rig in a l w ere being m ad e, * ^ M r s . C osto was good "copy," but she had been gone s e v e ra l j tim e s . ! 107 See Appendix K. 312 sin ce "o th er than a few m e c h a n ic a l changes and a few lin es h e re and th e re , th e re have been v ery few ch an g es." On A p ril 18, 1940, "A l e t t e r fro m M r. G oldw ater w as re a d in w hich he sta te d th a t he was j [enclosing co p y rig h t c e r tific a te on our v e rsio n of the R am o n a P lay . " I ! In the 1940 show , the p a r t of D o lo re s, a second d au g h ter of 108 [M arda, was added. It w as a sm a ll p a rt, u sed p r im a r ily in the j i I |f ir s t- a c t scen e th at had b een added in 1 9 3 9 --c allin g the r id e r s to the j I | ra n c h o s. She also had a few s h o rt a p p e a ra n c e s to spy on M a rg a rita , ! as a younger s is t e r m ig h t do. The p a rt w as tak en by the J o r y s ' daugh- I ■ ' t e r , "little J e a n ." T h a t, w ith the dropping of the F r a n k M a th e rso n j ; I j p a r t in the second act, w e re the only changes in s c rip t. j ! . i [ B esid es the addition of "little J e a n ," th e re w e re the u su al new j I ifaces in old p a rts and old fa c e s in new (to them ) p a r ts . D ouglas W il- I ' lia m s m oved into Luigo, H a rry Hofm ann took o v e r F e lip e . Y et anothei [P layhouse leading m an jo in ed the lis t of th o se who had w orked in the j P a g e a n t--O n slo w Stevens played A lessa n d ro th at y e a r. Aldyne B re n e - m a n was the E x p o sito r; B ill G ilm an played F a r r a r ; H en ry E vans b e c am e the new Jo e , and Bob H agopian was the e v e r-n e w Y sid ro . A fter i [playing ev e ry p e rfo rm a n c e of the play ex cep t fo r one y e a r th at illn e ss | in h e r fam ily p rev en ted h e r fro m doing the show , M rs . H. B. Jones I i did not a p p e a r as Aunt Ri; F r e d a L ew is, wife of S h e rm a n L e w is, the i | -------------------------------- | ^ ^ P r o g r a m of the P a g e a n t, 1940. 313 iF ather S a lv e d ie rra , took the p a rt, playing it again in 1941 and 1946. In 1940, E d A in sw o rth d e sc rib e d w hat he saw as "New T riu m p h for R am ona, F am o u s P a g e a n t D ra m a O pens Its 17th S eason With 109 jRecord C a st of 380." (T hat th e re w ere only 368 on the p ro g ra m could be fo rg iv en M r. A in sw o rth , who was indeed a stau n ch frie n d to ithe P a g e a n t. A ccording to R alph F re u d , he even w ro te a novel e n title d D eath S trik e s the P a g e a n t. A fter one of his u su al sty lish j i • j openings, he tu rn e d to the h illsid e s: "N atu re played h e r ro le w ell, j too. The sun, fro m a clo u d -d o tted sky, b le ss e d the scen e. T he Yuc- I c a s , G od's c a n d le stic k s, w e re blazing in th e ir c re a m y ra d ia n c e . . . . E ven the ca lls of the quail w e re sp aced so as to re n d e r an obbligato. '. . ." He co m p lim en ted O nslow Stevens "who as A le s sa n d ro , p o rtra y e d w ith genuine feelin g the ro le of the kindly and a r is to c r a tic Indian lo v e r." jHe n am ed the o th e r a c to rs new in th e ir r o le s , d e c la rin g th a t they "all .filled th e ir new ro le s with vigor and talen t. . . . " He co m p lim en ted j J e a n In n ess on h e r d ire c tio n . As se e m e d to be becom ing a h ab it, on F e b ru a ry 26, 1941, the B o ard co m m en ted on and d isc u s s e d the re a so n s fo r the lack of enthu- i isia s m . T h e re w as no m en tio n of any c a stin g o r d ire c to ria l a r ra n g e - i im ents fo r the 1941 show in the m in u te s, although Je a n In n ess d ire c te d 'the show th at y e a r. j ^ ^ Los A ngeles T im e s , A p ril 21, 1940, P a r t II, p. 1. * ^ F r e u d in te rv ie w , S ep tem b er 16, 1971. j 3 1 4 i | T h e re w e re no s c r ip t changes in 1941. J a m e s L ew is, son of F r e d a and S h erm a n L e w is, played the B ugler fo r the second y e a r; he 'was killed in actio n in W orld W ar II, and at the tim e of this w ritin g , jboth of his p a re n ts have died. M a rd a was played by H elen Schield, who had been a s so c ia te d fo r m any y e a rs with the c h ild re n of the V alley ;as a te a c h e r in the San Jacin to E le m e n ta ry School. This was a sp ec ia l |y e a r fo r the P a g e a n t, in th a t Ju a n ita E n c e ll, who had grow n up in the j i P a g e a n t, was c a s t as R a m o n a --a V alley g irl had finally m ade it. H er j . : place as M a rg a rita was taken by L u cille B re n em an . And th e re was a ; new A le ssa n d ro , R o b e rt K e lla rd . H aro ld Owens w as that y e a r 's Jo se , j j R o b e rt W aggoner m oved into the p a r t of Jak e M orong. R ic h a rd B. I i ! Cook b ecam e the y e a r 's Y sid ro , and L a r r y B andick m oved into the ro le of S h eriff M e rr ill, w here he was to stay fo r a n u m b er of y e a r s . Molio i jS heron continued as " s u n ris e so lo is t" as he had fo r a n u m b er of I i 111 I y e a rs . I Tom P a r k e r was a new T im e s re v ie w e r. A little m o re c o n s e r vative than A in sw o rth , he en titled his rev iew , " T ra g ic Love Story 1 1 2 i R eto ld ." But he m ade up fo r his slow s ta r t by w ritin g th a t "the ] i v a st stag e m e a s u re s one h alf m ile in w idth and which w as m ade lo v elie:’ ! i — ■ — — ■ "^^All c a stin g changes w e re d eriv ed fro m the P r o g ra m s of the ‘ P a g e a n t fo r the y e a rs co n cern ed . 1 | U 2 j Los A ngeles T im e s , A p ril 20, 1941, P a r t II, p. 1. 315 | 11 3 [than fo r m any y e a r s by the abundant ra in s of the w in te r s e a so n ." | iThen he r e s o r te d to an o th er of A in sw o rth 's fa v o rite o b se rv a tio n s - -the I (boulders. "The b o u ld e r-s tre w n h illsid e s w ere bathed in a golden glow (by a beam ing sun. The d a rk g re e n c h a p a r ra l g row th fo rm e d a lush i background for wild lila c , wild r o s e s , y ucca and c a c tu s. The a ir was j (flavored w ith the s h a rp s c e n t of s a g e b ru s h ." j i I j He gave M iss E n c e ll's b ackground, show ing how she had grow n j (into the p a r t of R am ona; he gave K e lla rd 's back g ro u n d in m uch the i j ! ■same way. F in a lly , he co m m en ted on the " lo c a ls ," including p ra is e j ! j 'and sp e c ia l m en tio n fo r the S h e rm a n In stitu te Indian d a n c e rs and E v e - j lyne Lobo, th e ir so lo ist. | i ! As d isc u s s e d e a r l i e r , the P a g e a n t c lo se d fo r the next fo u r ; : i (y e a rs, reopening in 1946 w ith the J o ry s back to d ire c t. T h ere w ere nol ! I j s c r ip t changes th a t y e a r, but th e re w ere so m e new a c to r s , and the ! { (usual shuffling about in the c a v a lry . F r a n k Schott, only the second Juan i t (Canito in the h is to ry of the play, had m oved to H aw aii; Ja c k H u rt r e p laced h im that y e a r. M a rg a r ita w as done by P o lly C h a se , whose i (fath er, C h a rlie C h a se , and m o th e r, B ebe, had both been w ell-know n i j com edy a c to rs of vaudeville, as well as sile n t and e a rly talking - p ic tu re s . They m ad e the V alley th e ir hom e in the e a rly '30s. P olly |_____________________ 113 The au th o r does not know w h ere M r. P a r k e r beganand ended his h a lf-m ile , but it does not s e e m to the f o r m e r th a t any p a rt of the (stage could be c o n sid e re d to have a w idth of o n e -h a lf m ile ! jplayed M a rg a r ita fo r two y e a r s , then m oved into the M ard a ro le . H er i I ;two so n s, P ix ie and C h a rlie , w e re also to be in the show o v er the ly ears. In 1946, Je a n In n ess played the S en o ra as w ell as c o -d ire c tin g jwith V icto r. H enry B randon, y e t an o th e r P a s a d e n a P lay h o u se a c to r, t j played A le ssa n d ro . Ju a n ita E n c e ll re tu rn e d as R am ona. The ro u g h - iriding J o se was Dick S e ssio n s. That y e a r , R o b e rt W aggoner e s ta b - ! i jlished a new m ode fo r the P a g e a n t by playing F r a n c is c o , one of the i" rid e rs to the ra n c h o s ," in the f i r s t a c t, and then a p p e arin g as Jak e l ,M orong in the second act. A new s in g e r fo r the " s u n ris e song" was i :Roger M ille r; R alph Ju n is b e cam e the E x p o sito r; G regg F ig g in s did Joe; and the Y sid ra w as R ic h a rd H all. The Ed H ayton fo r 1946 was ^Watson G ilm o re , J r . , a th ird -g e n e ra tio n V alley re s id e n t who had s ta r te d in the play as one of the " ro c k In d ia n s." He played H ayton in | j 1946, then w ent on in fu tu re y e a r s to play a v a rie ty of p a rts unequalled ! , H 4 ito date. "R am o n a L ives A gain in S p e c ta c u la r R evival, C apacity A u d i ence Sees D ra m a Opening in O utdoor T h e a te r at F o o t of Mt. San J a c in - 115 jto," was the r e v ie w e r's heading in the T im e s. A fter the u su al |id en tificatio n of place and d ate, but w ith no b y -lin e c re d it of any kind, i ! j - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - I 114 ^ P r o g r a m of the P a g e a n t, 1946. I 1 15 j Los A ngeles T im e s , A p ril 28, 1946, P a r t I, p. 9. I I I |came "The five blank w ar y e a rs faded away as the W e st's m o s t s p e c - ! ta c u la r outdoor d ra m a w as rev iv ed at the foot of to w erin g snow -capped | M t. San J a c in to ." The re p o rt then p ra is e d Ju a n ita E n c e ll, called h e r ! j"lovely," and sa id she re tu rn e d in the "w ell re m e m b e re d c h a r a c t e r i z a tio n ." Of H en ry B randon the re v ie w e r w ro te that h is "sim p le and n a tu ra l p o r tr a y a l added m u ch to the genuineness of th e illu sio n c re a te d ! j |on the h illsid e s ta g e ." In fa c t, m o s t of the speaking p a rts and the J { j d ire c tio n w e re p ra ise d ; and " P re s id e n t E d w ard P o o rm a n and E x ecu tiv e j I !P ro d u cer A d rian Awan [Awan was the only m a n a g e r to u se th is title] j : ! w ere chiefly re s p o n s ib le ." j As a fin a l note of in te r e s t to the 1946 p roduction, the B o ard i j au th o riz ed P h il W hiting, at its m eetin g of A p ril 15, 1946, to get 116 som eone to tak e o v er the snake m e n ace. On A p ril 25, 1946, Whiting j jre p o rted th a t the F o r e s t R a n g e rs a t San Jacin to b eliev ed th a t the I ■ in c re a s e d activ ity a t the Bowl would d riv e the sn ak es away. The B o ard finished its y e a r with fo u r m eaningful tra n sa c tio n s w hich, although they did not s e rio u s ly a lte r the d estin y of the P a g e a n t, lyet had b e n e fic ia l e ffects. At the m eetin g of A p ril 20, 1946, the jBoard p a s se d a m otion to s e t asid e a fund of $2,000 fo r the fo rm a tio n I The Bowl had not been u sed v ery ex ten siv ely during the w ar y e a r s , and the sn ak es had ap p aren tly taken o ver. T h e re se e m e d a stra n g e kind of d ra m a tic iro n y to a ssig n this task to P h il Whiting. I 318 I I jof the R am o n a P la y e r s , to be a d m in iste re d by a c o m m ittee appointed j ( by the B o ard . Thus another of Lloyd M itc h e ll's reco m m e n d a tio n s fo r I 117 im p ro v e m e n t c am e about. At the sam e m eetin g , the B o ard voted :"that a c o m m itte e be appointed to ex a m in e , study, and reco m m en d I changes n e c e s s a r y in the R am ona s c r ip t to be p re s e n te d to the b o ard j jfor fu rth e r d isc u ssio n and re c o m m e n d a tio n ." The o th er two item s ! i icam e at the la s t m eetin g of the y e a r on June 25th. The f ir s t was the | ; t ; I d efeat of a m otion to have the 1947 P a g e a n t run fo u r w eekends, fo l lo w ed by the p a ssa g e of an o th er m otion th a t e s ta b lish e d fo r the '47 se a so n th re e w eekends, w ith a fo u rth in the event of ra in . The 1946 se a so n , ju s t clo se d , had been p ro fitab le, but the w d ar and te a r on the ! 118 i c a s t and com m unity had o ccasio n ed m any g ru m b le s. T hose on the j B o ard who did not put in the tirin g w ork of re h e a rs in g , n o r give, up i i I j vacation tim e (the P a g e a n t, com ing in the late s p rin g , often d ep riv ed I i people of p a rts of vacations when the show ra n as it s o m e tim e s did into ! ;two w eekends in M ay), w e re n a tu ra lly often faced w ith the te m p tatio n to ;be m o re co n cern ed with m aking m oney th an with g uarding th e b e s t in te re s ts of the c a s t and co m m unity. F o rtu n a te ly , a t that tim e th e re 117 B o ard m in u te s, M arch 13, 1940, This was a fu rth e r proof , of M itc h e ll's fa rs ig h te d n e ss . | i 118 j The au th o r re m e m b e rs h e a rin g co m p lain ts o v er th a t fo u r- I w eekend se a so n the y e a r he f i r s t w orked in the P a g e a n t- -1948. r : ------------------------------------------------ 3 T 9 ~ I t jwere enough "old t i m e r s " and c a s t m e m b e rs on the B o ard to p re v e n t the g re e d fro m getting out of h a n d .* ^ I j And fin ally , the B o ard m oved and c a r r ie d "th at we pay back to i jthose who donated m o n ey the full su m s e t opposite th e ir n am e and that I ! we do so im m e d ia te ly ," w hich r e f e r r e d to the m oney donated to the 120 iW ar E m e rg e n c y R elief Fund. Thus the s e a so n ended on a high note. i i J As was evident in the re c o rd of this second p h ase of the P a g - i 'e a n t's e x iste n c e , those who c o m p ris e d the P a g e a n t, w h eth er p roduction I I p a rtic ip a n ts o r sim p ly com m unity s u p p o rte rs , triu m p h e d o v e r n e a rly i j ! jthe w o rs t th at fate could offer; death, f ir e , fin a n cial drought, in s u r - j : i re c tio n , and the v ip e rs . Yet, as se e n , P a g e a n t p e rso n n e l not only j 121 | !continued the p la y 's s u c c e s s , they also expanded its sco p e. | I j A n aly sis of M ajo r S tren g th s | A n a ly sis a t this point show s th a t in sp ite of the lo s s e s and hard* i ships su ffe re d , in sp ite of the changes on the n atio n al, s ta te and c o m - I m unity s c e n e s , as w ell as the changes in P a g e a n t p e rso n n e l, the i stre n g th s in h e re n t to the H olm e e r a , while undergoing a lte ra tio n , re m a in e d the backbone of the P a g e a n t's s u rv iv a l and s u c c e s s d uring **^See A ppendix H. 120o S u p ra , p. 271. * ^ S e e A ppendix A, 1928-1947. j 320 j (this m o st try in g e r a in P a g e a n t h isto ry . j The stro n g p ro fe ssio n a lly o rie n te d le a d e rs h ip w as m ain tain ed , t Jthough d r a s tic a lly a lte re d . H o lm e 's d eath w as, of c o u rs e , a te r r ib le jloss to the P a g e a n t. T his lo ss re s u lte d in an im m e d ia te though u n r e c ognized (at th a t tim e , and p e rh a p s even today) p ro b lem : No one p e r - j i ■ • i (son was able to re p la c e h im . | 1 j j As sta te d in the a n a ly sis of the f i r s t y e a r 's s u c c e s s , H o lm e 's j , i ile a d e rsh ip --in d e e d , H olm e the m a n --h a d infused the o th e r stre n g th s of; ! j 'the P a g e a n t and w elded th e m into a unified whole. He had w ritte n the ! I i i ; id eal s c rip t, and m olded the production; he had tak en the ex istin g com -j : I m unity e n th u sia sm , in c re a s e d and channeled it into productivity; he i t i ihad shown the way to fin a n c ia l sta b ility and he had been e x tre m e ly | in s tru m e n ta l in building public in te r e s t and m a in tain in g it. In sh o rt, jhe was a w are of those s tre n g th s th a t m ad e the P a g e a n t a s u c c e s s , and |v e rs a tile enough to s u sta in th em . To so m e ex ten t tra d itio n s e rv e d as a unifying fa c to r. T hat is , each s tre n g th had been infused w ith tra d itio n , and its m o m en tu m i helped s u sta in the P a g e a n t a fte r H o lm e 's death. As d isc u s s e d e a r lie r , the p re se n ta tio n of the play had b eco m e a com m unity tra d itio n , w hich i j c e rta in ly played a g r e a t p a r t in su sta in in g e n th u sia sm . P h a s e s of p ro - I iduction had b eco m e tra d itio n a l, notably ad h erin g to the o rig in a l s c rip t, |the re tu rn y e a r a fte r y e a r of c e r ta in a c to r s , and the ra tio of p ro fe s - jsio n als to a m a te u rs . B u sin e ss p ro c e d u re had its tra d itio n s to o --th e 321 i g u a r a n to rs ' lis t continued (stric tly as a tra d itio n ) m any y e a rs beyond i its n e c e s s ity , p o licies of re m u n e ra tio n (or lac k of it) to a c to rs and I i 'w o rk ers, etc. And publicity p ro c e d u re s also had b eco m e tra d itio n a l. E ven, stra n g e ly , the rev iew s (beyond the c o n tro l of P a g e a n t p erso n n el) had e sta b lish e d a tra d itio n a l fo rm . But tra d itio n , as stro n g a fo rc e as it is , is w ithout p e rso n a lity , talen t, and b u sin e ss acu m en - -th o se th re e ^ J i q u alities th a t H olm e em bodied. F o r the f i r s t few y e a r s a fter H o lm e 's | death, D o rise S ch u k o w --a lre a d y w ell-lo v ed in the V a lley --n o doubt jsupplied the fa c to r of p e rso n a lity so n e c e s s a r y to the m ain ten an ce of j com m unity e n th u sia sm . P h il W hiting, w hile not p a rtic u la rly ta le n te d | I as a d ire c to r h im se lf, had been so in tim ately a s so c ia te d with H olm e ! i i th at he was able to re p ro d u c e the show in the H olm e sty le. P o o rm a n , of c o u rs e , knew the b u sin e ss end and, dom inating the P a g e a n t A s so c i- ! iation, c a r r ie d on in th at d e p a rtm e n t. So fo r th re e y e a r s , th re e people m a n a g e d to fulfill the v ital n e c e s s a r y s tre n g th of le a d e rsh ip . The evidence is th a t P o o rm a n a s p ire d to fillin g H o lm e 's boots all by h im s e lf--a n d this cau sed a good d eal of d isse n tio n and u n r e s t for i so m e tim e. P o o rm a n sim p ly did not have the p e rso n a lity to unite 1 the Icom m unity n o r, in a ll p ro b ab ility , the ta le n t to d ire c t the show, though j [that quality was n e v e r te ste d . F o rtu n a te ly fo r the P a g e a n t, V icto r J o ry 're tu rn e d to the show and e sta b lish e d h im se lf as the unifying fo rc e in the com m unity and the cu sto d ian of the p roduction b efo re the pow er i I [struggle fo r m a n a g e rsh ip co m m enced. 322 P o o rm a n 's f i r s t cla sh w as with o th e r B o ard m e m b e rs o v er the I iss u e of donations to the c h a m b e rs of c o m m e rc e . He lo s t th at round i in 1934 and dropped out of active p a rtic ip a tio n in the P a g e a n t un til 1 j 1938 , when he re tu rn e d to the B o ard fo r a re m a tc h . This tim e , how - lever, the fight w as with Lloyd M itch ell, who had b eco m e m a n a g e r in jl936. I As d is c u s s e d in this c h a p te r, the evidence shows c le a rly th a t P o o rm a n d e lib e ra te ly s e t out to u n d e rm in e M itch ell, who had b e e n - - I jand continued to be throughout his te n u r e - - a n e x c e llen t m a n a g e r. I j I {U ltim ately, P o o rm a n won this round, o r at le a s t he m an ag ed to fo rc e j ; ' I M itch ell out, and a fte r the hiatu s of the w ar y e a r s , P o o rm a n w as v ery j in s tru m e n ta l in b rin g in g in A d rian Awan A s so c ia te s . Though P o o rm a n iwon the b a ttle , so to sp eak , he w as losing the w a r--A w a n was not a Ipopular m a n a g e r. O th er m e m b e rs of the B o ard , as w ell as c e r ta in j 1 fa c tio n s of the co m m u n ity , w e re losin g th e ir confidence in P o o rm a n 's ! {leadership of the m a n a g e ria l d e p a rtm e n t. M eanw hile, "out fro n t" V icto r J o ry was M r. P a g e a n t. He and i | J e a n n o u rish e d the show, polished it, adding g re a tly to the s p e c ta c le , iand a t the sa m e tim e m ain tain ed fid e lity to H o lm e 's o rig in a l s c r ip t and i Jconcepts, p a rtic u la rly with r e s p e c t to the b alan ce of p ro fe s s io n a lis m jand com m unity p artic ip a tio n . 1 J The com m unity ad o red Vic and Je an , and w hile he w as involved I jin a few m in o r c la s h e s --n o ta b ly the A delaide C lark e in cid en t and the | 323 i I In d ian d a n c e r s ' in s u r r e c tio n - - th e com m unity at la rg e reco g n ized that (the J o r y s ' c o n c e rn w as fo r the good of the P a g e a n t, and th at they w ere I igood fo r the P a g e a n t. T h e re is no doubt th a t the J o ry s su sta in e d the (Pageant th ro u g h this e r a of tr ia l and tra n sitio n . j In s u m m a ry then, the five stre n g th s that had o rig in a te d and (m aintained the su c c e ss of the! P a g e a n t p re v a ile d a t the clo se of this iperiod. I I I ! 1. The stro n g le a d e rsh ip , though still in a s ta te of tra n s itio n jwith re g a rd to m a n a g e rsh ip , was n o n eth e le ss m ain tain ed by the J o ry s I in the com m unity and the p ro d u ctio n . And the P a g e a n t A sso c ia tio n was fu rn ish in g stab ility d uring the tra n s itio n in m a n a g e rsh ip . 2. The quality of the show w as m ain tain ed and v astly im provec by the addition of the p e rm a n e n t s e ts , the ro m a n tic e m p h a sis of the co stu m in g , and the s p e c ta c u la r e le m e n ts in tro d u ce d by the J o ry s . j I 3. C om m unity e n th u sia sm w as fo rtifie d by the J o ry s , by t r a - j i dition, and by facing and su rm o u n tin g a d v e rsity . 4. F in a n c ia l s e c u r ity , re in fo rc e d by com m unity su p p o rt and ] tra d itio n , su rv iv e d the a d v e rs itie s of this e ra . | 5. The public in te r e s t re m a in e d c o n sta n t and, follow ing I I j W orld W ar II, ex p e rie n c e d a renew ed v itality . A fter the long y e a rs of i (w ar, the public c la m o re d fo r e n te rta in m e n t. CHAPTER V LA TER PAGEANT D EV ELO PM EN TS: 1947-1972 D uring.the p erio d of this th ird p h ase in the h isto ry of the | | J 'P ag e an t, the country ex p erien ced tre m e n d o u s change and grow th. j i "The p o st-W o rld W ar II p e rio d was m a rk e d by a co n stan tly a c c e le r a t- j ing tech n o lo g ical com petition am ong the g re a t pow ers of the w orld. j j "A ccording to the b e s t av ailab le e s tim a te s U .S . In d u stria l prod u ctiv ity j ; i at m id 2 0 th cen tu ry w as n e a rly two and o n e-h alf tim e s th a t of any | 2 ! (E uropean n atio n ." The population of the United S tates ro s e fro m 3 ap p ro x im a te ly 132 m illio n in 1940 to o v er 179 m illio n in I960, and 4 ; to ta l em p lo y m en t ro s e fro m ap p ro x im a te ly 47 m illio n to 72 m illio n . i i T e le v isio n , s u p e rso n ic je t tra v e l, and ro c k e ts to the m oon changed the | c h a ra c te r of the country and the d istrib u tio n of the people in it. * A lfred G oldberg, "U nited S tates of A m e ric a --V I A d m in is tra tion and S ocial C o n d itio n s," E n c y clo p aed ia B rita n n ic a , 1967, XXII, 721 2 Dwight E d w ard R obinson, "U nited S tates of A m e ric a --V II The E co n o m y ," E n c y clo p aed ia B rita n n ic a , 1967, XXII, 723. i 3 I C onrad T a e u b e r, "U nited S tates of A m e r ic a -- T h e P opulation, : E n cy clo p aed ia B rita n n ic a , 1967, XII, 689. 4 F re m o n t E llsw o rth K a st, "U nited S tates of A m e ric a --T h e E co n o m y ," E n c y clo p aed ia B rita n n ic a , 1967, XII, 725. 324 C a lifo rn ia , too, fe lt th is s u rg e in tech n o lo g ical and population | grow th. In 1940, the state ran k ed fifth in the union in population. By I 5 4960, it w as s u rp a s s e d only by New Y ork. By 1956, "highway tr a n s - i iportation by tru c k , m o to r co ach and autom obile was m o re highly de- ! 6 I veloped in C a lifo rn ia than in any o th e r s ta te ." j ; I ! i ! I j The burgeoning population of C a lifo rn ia b ecam e m o re and m o re J lurbanized, w ith Los A ngeles showing an in c r e a s e to ap p ro x im a te ly two j i and o n e-h alf m illio n re sid e n ts in I 9 6 0 o v er the ap p ro x im a te ly one and ; , i jone-half m illio n in 1940. The population of R iv e rsid e , C a lifo rn ia , j | . I ^exceeded 84,000 in I960, as c o m p a re d with ap p ro x im a te ly 34,000 in | I i 1 7 : 1940. The population of H em et show ed a p ro g re s s iv e grow th fro m i i 8 1 1, 480 in 1920 to 2, 595 in 1940; to 3, 386 in 1950; to 5, 416 in I960, and! 9 an explosive in c re a s e to 13,950 in 1971. San Jacin to has grow n a t a i slo w er ra te . ! W hile the H em et-S an Ja c in to V alley has enjoyed so m e in d u s- I | t r i a l grow th, a g r e a t deal of the population in c re a s e is accounted fo r by .the fa c t th a t it has becom e a p opular r e tir e m e n t a r e a fo r s e n io r c iti- 1 1 izen s. To acco m m o d ate this influx of the e ld e rly , m o b ile -h o m e p ark s i 1 / ! i j 5 j C h a rle s E dw ard C hapm an et a l . , "C a lifo rn ia ," E n cy clo p aed ia : B rita n n ic a , 1967, IV, 638. 1 ________ / 7 O I b i d ., p. 640 I b i d . , p. 637. Ibid. o The H em et News, R am o n a P la y E dition, A p ril 12, 1972. 326 and adult r e tir e m e n t c e n te rs have sp ru n g up all o v e r the a r e a , with an In c re a se in c o n v a lesc e n t h o m es and m o rtu a r ie s . The old la n d m a rk s a r e d isa p p e a rin g , m any of w hich gave E orm er-day v is ito rs to the P a g ean t the s e n se of Indian c o lo r and S p an ish ro m a n c e . The H em et L ib r a r y - - th a t fo r so m any y e a rs h o u sed the m akeup a c tiv itie s fo r the P a g e a n t ^ - - h a s been re p la c e d by the new C. B. Covell M e m o ria l L ib ra ry , n am ed fo r and financed by a tr u s t in honor of one of the o rig in a l d ire c to rs of the R am o n a P a g e a n t A s s o c ia tion B oard. The "big" house at the Rancho P ic o , h e a d q u a rte rs of the ea rly Spanish land g ra n t e s ta te , burned in re c e n t y e a r s . The old San Jacinto and H em et High Schools have been re p la c e d by m o d e rn s t r u c tu re s , and a m o d e rn com m unity college and a w ell-eq u ip p ed h o sp ita l now s e rv e both co m m u n ities. M uch of the Spanish and Indian a r c h ite c tu re of the e a r lie r days is d isa p p e a rin g o r re c e d in g into o b sc u rity as m o d ern c o n c re te and g la ss s tr u c tu r e s su rro u n d what is left. With its e a rly C a lifo rn ia m otif, the annual p re se n ta tio n of I R am o n a, c o n c e rts un d er the s ta r s , school g rad u atio n c e re m o n ie s , E a s te r s u n ris e s e rv ic e s , and the m u s e u m --th e Bowl, m o re and m o re , jhas b ecom e the c u ltu ra l c e n te r and the m a jo r g u ard ia n of the V alley (traditions and h isto ry . Thus the Bowl has beco m e the " c e n te r" th a t A rth u r and G eneva W aggoner, p e rso n a l in te rv ie w , San Jacin to , C alifo rn ia , July 26, 1972. , J r r ! JlJLoyd M itchell envisioned b ack in 1940.** 12 As d isc u s s e d in C h ap ter IV, M itch ell, b ecau se of fric tio n I w ith E dw ard P o o rm a n , did not r e tu rn to m anage the P ag e a n t a fte r.th e h ia tu s of the w a r y e a r s . And P o o rm a n was in stru m e n ta l in bringing in I 'A drian Awan A s so c ia te s to take o v er the m a n a g e m e n t fo r the 1946 ‘sea so n . In e a rly 1947, the R am o n a P a g e a n t B oard was faced with a j i d ilem m a: It was not happy w ith the way A d rian Awan had conducted thej jm anagem ent of the 1946 P a g e a n t, but it did not have a d e sira b le i ^replacem ent fo r h im . U nder the c irc u m s ta n c e s , it renew ed A w an's ; i t c o n tra c t. i i i I I i Awan sold his s e rv ic e s to the P a g e a n t as a "p ack ag e," which in | the "A d m in istra tiv e & G e n e ra l E x p e n se s " of the 1946 P a g e a n t F inancial S ta te m e n t was liste d as "A d rian Awan and A s s o c ia te s ." In this account w e re listed : "The E x ecu tiv e P ro d u c e r, the P u b licity D ire c to r, the P ro d u c tio n M a n ag e r, the Stage D ir e c to r , the p ro m o tio n c o s ts , the L . A. office o v e rh ea d , and tra v e l and o th e r c o s ts ," each as a s e p a ra te item , , w ith its c o st, the to tal being $7, 669. 93. All of this was in addition to P a g e a n t office and a s so c ia te d c o s ts . T h e re fo re , a ssu m in g that the M inutes of the M eeting, R am ona P a g e a n t A sso ciatio n B oard j of D i r e c to r s , M a rc h 13, 1940. i 12 i S u p ra, pp. 265-266. 328 P a g ean t had to pay its m a n a g e r, its d ire c to r, and a publicity m an , the to tal of th e ir s a la r ie s fo r th a t y e a r su b tra c te d fro m th e Awan A s so c i- | a te s ' to ta f c o s t would p rovide the fig u re re p re s e n tin g the e x tra c o st to ,the P a g e a n t of h irin g Awan and A s so c ia te s . Lloyd M itc h e ll's s a la ry Ifor 1941 was $1,790; the d ire c to r, J e a n In n ess, re c e iv e d $750, and \ (assum ing th e publicity d ire c to r got the sam e $1,250 as fo r 1941, the ! I 1 i | (total would have b een $3, 790. That su b tra c te d fro m $7, 6 6 9 . 93 equals j ' ! j $3, 879. 93, the am ount th at Awan c o s t the P ag ean t above th e ir n o rm a l : i jcosts. | A fter the 1947 s e a so n , the B o ard was fu rth e r d isen ch an ted w ith j Awan; it m ade a change by appointing as m a n a g e r F r e d M. B ru d e rlin , ! I i iof w hom The H em et News w rote: ! : i L a s t y e a r 's F a r m e r s F a ir and F e s tiv a l, s u c c e s s o r to the ' H em et U tility T u rk ey Show and C o n g re s s, stepped into the c irc u it 1 of C a lifo rn ia 's o th e r big tim e f a ir s and expositions w ith g re a t s u c - i c e s s u n d er the d ire c tio n of B ru d e rlin . The 1947 ev en t won m uch 1 a c c la im and p r a is e fro m the th o u san d s of v is ito rs in atten d an ce ' and fro m s ta te o fficials who cam e fro m S a c ra m e n to to w itn ess the f a i r . 13 W ith its u su al fo rtu ito u sn e ss in p e rso n n el, the P a g e a n t's new m a n a g e r w as a re s id e n t of the V alley, but was not a m e m b e r of the i"old g u a rd ." It also found in this actio n the policy th a t w as to c h a r a c - 1 jterize the th ird p h ase of the P a g e a n t's d e v e lo p m e n t--co n so lid atio n 13 The H em et N ew s, R am o n a P lay Edition, A p ril 16, 1948, ;p.. 13,_______________________________ ___ ______ _____________ _______ _ 329 I 1(1947-1972). T hroughout th e h isto ry of the P ag e an t, the governing ipersonnel have u tiliz e d two p rin c ip le s to m a in ta in th e p lay 's s u c c e ss: i I j(l) p re s e rv a tio n and (2) innovation. S o m etim es a b alan ce was ach iev ed , I iso m etim es one p rin c ip le dom inated. In the f ir s t p erio d , c re a tiv ity , o r i (innovation, obviously dom inated both m a n a g e m e n t and production. Y e t' (Holme w as c a re fu l to se e th at his innovation p re s e rv e d the b e s t e le - J i i Jments of both the H elen H unt Jac k so n s to ry and its intent, and the basic! p rin c ip le s of d ra m a (although he added so m e s p e c ta c le to them ). By j ! | 11947, p ro d u ctio n and m a n a g e m e n t w e re read y m o re fo r p re s e rv a tio n j i . ; ! than fo r innovation, y et both continued to be e s s e n tia l. The obvious j I in te g ra to r was co n so lid atio n . j i t ‘ A s this th ird p e rio d of the P a g e a n t's h isto ry e x e m p lifie s, one ;of the p r im a r y ta sk s of the P a g e a n t h as been the balancing of p r e s e r v a - I jtion and innovation. P r e s e r v a tio n has re ta in e d the d ed icated , talen ted (personnel, th o se people who have p a rtic ip a te d y e a r a fte r y e a r, m aking the show su c c e ss fu l. P r e s e r v a tio n is a t the h e a r t of all of the elem ents |of the P a g e a n t--th e p re s e rv a tio n of the p a s t through the re p lic a tio n of it. I i iThe a w a re n e s s of the need fo r p re s e rv a tio n has re su lte d in a r e l u c tance to change th a t has allow ed keeping the b est. Yet the ab ility of the " o ld " --th o s e of the o rig in a l production o r those who have in v ested y e a rs i in it - - t o m ak e needed change has also been re sp o n sib le fo r m uch of thai: s u c c e s s . Tw ice "old b o y s" have in jected new id e a s, a p p ro a c h e s, and 'p ro c e d u re s--n e w ways of doing old th in g s - - a t tim e s w hen v a rie ty was 14 needed. H um an n a tu re dem ands v a riety ; but the p rin c ip le u n derlying I su c c e ssfu l, y e a r - a f te r - y e a r p roduction of the sa m e s h o w --a p rin c ip le .that the P a g e a n t has been founded u p o n --is : Change th at does not p r e s e rv e the b e s t of the "old" while adding the advantage of the "new " is i jd etrim en tal and m u s t be avoided. j ; i ! The P a g e an t was fo rtu n ate in having during this p erio d , as it ] i I had up u n til then, d ire c to rs (except one, W illiam B e rs se n ) who had I I I Ibeen in so m e way connected with the o rig in a l p roduction o r who had ; l I been frie n d s o r a s so c ia te s of those who w ere . Of the sev en d ire c to rs i I who guided the P a g e a n t in th is p erio d , th re e had w orked with H o lm e -- ! i i 'P h il W hiting, V ictor J o ry , and G eorge G erw ing. W hiting and G erw ing i : _ ' I w orked in the P a g e a n t that f i r s t seaso n ; J o ry joined it the second i 15 jy ear. R alph F re u d , who re tu rn e d to d ire c t fro m 1954 through 1964, | I ,'had known V ictor b efore the P a g ean t began; thus he knew a good deal about both H olm e and the P ag ean t. J e a n Inness (M rs. Jo ry ) had played the p a r t of R am ona fro m 1932 through 1940; she had c o -d ire c te d with | | V ictor in 1938 and 1939, d ire c te d by h e r s e lf in 1940, and c o -d ire c te d | again with V ictor in 1941. M au rice and H ilda J a r a had been connected i j ■ ■ ■ i 14 i In the '30s and '6 0 s, J o ry m ad e s c rip t changes and added | s p e c ta c le , and F re u d m ade innovations during the p erio d under ' co n sid e ratio n . I 15 i See A ppendix G. I 331 (with the P a g e a n t fo r sev en teen y e a rs b e fo re they began d ire c tin g in I 1968; he had been A le s sa n d ro fro m 1952 th ro u g h 1966. Only W illiam B e rs s e n , who d ire c te d in 1948 and 1949, had no " ro o ts " in the V alley, , „ 16 ,nor in the P ag ean t. 1 ! i By the o rd e r of th e ir re tu rn and the n a tu re of th e ir c o n trib u - j i jtion, the d ire c to rs of this e r a divide the o v e ra ll p erio d into th re e s e c - ! I ! 'tio n s, which in this study a r e tre a te d acco rd in g ly . The f ir s t is the j p erio d of P h il W hiting and G eorge G erw ing, divided by the two y e a rs ofi |W illiam B e rs s e n . W hiting was co n ce rn e d with s c r ip t ch an g es, at the d ire c tio n of the B oard; G erw ing, w ith staging and the innovation of th e f i r s t singing j I I lA lessan d ro . B e rs s e n c o n c e n tra te d on au th en ticity of cu sto m and c o s tu m e. In the second se c tio n of the o v e ra ll p e rio d , F re u d was con- i icern ed with stim u la tin g in te r e s t fo r the P a g e a n t, p a rtic u la rly as ; re sp e c te d getting young people in te re s te d in p a rtic ip a tin g in the P a g eant. As with all shows th a t ru n fo r y e a r s , those in c h a rg e , and e sp e c ia lly the d ire c to r (or d ire c to rs ), a r e faced with the p ro b le m of .flagging in te re s t. T his la c k of in te r e s t was noted in the B o ard m in - I lutes as e a rly as A p ril 24, 1938. F re u d sought to help solve th is p ro b lem by fo s te rin g m o re in te r e s t in d ra m a in the V alley th ro u g h w ork with the R am o n a P la y e r s , an adjunct of the P a g e a n t, and through i 1 6 i In fra , pp. 338-339. 332 changes in the s c rip t th a t would v ita liz e the p roduction and c re a te i additional p a rts fo r the young. He also in stitu te d new m ean s of c o m - i f Im unication b etw een the c a s t and the m an a g e m e n t th at effected g re a te r 17 ,understanding and h arm o n y . B e c a u se of his e a r ly connection with | Ithe play, his frie n d sh ip with the J o r y s , the B ru d e rlin s , and o th e r j ; I |people in the V alley, F re u d , so m ew h at like J o ry , n ev e r re a lly left the j ! i jp a g e a n t co m p letely . Thus his r e tu rn to sta y , fro m the m id -fiftie s to j : ' I the m id -s ix tie s , fo rm e d the second d iv isio n in th is phase of the P a g - i ' j lean t's developm ent. F in a lly , the J o ry s re tu rn e d in the y e a rs 1965 \ I ! jthrough 1967. They m ade a n u m b e r of ch an g es, p r im a r ily ones th a t j 'in c re a s e d the e le m e n t of " c o lo r," as d isc u s s e d la te r in this c h a p te r. J i i ;In 1968, M a u ric e J a r a began d ire ctin g ; his w ife, H ilda, was his co - j t d ire c to r. T h e ir focus se e m e d to be the au th en ticatio n of c u sto m and I 18 ;Costume, as had been the ca se with B er ssen . ! V ictor J o ry was w orking with the A m e ric a n R e p e rto ry T h e a tre in New Y ork d u rin g the w in ter of 1946 and the sp rin g of 1947, th e r e fo re could not d ire c t the P a g e a n t, and a t its m eetin g on M a rc h 11, i 1947, the B o ard declined to a cc e p t J e a n 's offer to re tu rn as d ire c to r. iT h ere is no evidence as to w h y --w h e th e r "m ale ch a u v in ism ," P o o rm a n 1 R alph F re u d , p e rso h a l in te rv ie w , L o s A n g eles, C alifo rn ia, jSepterhber 16,; 1-971. ! 18 1 In fra , pp. 394-396. 333 s till fighting fo r le a d e rs h ip , o r so m e o th e r r e a s o n - - f o r Je a n was an e x ce lle n t d ire c to r and p o p u lar in the V alley. In r e tro s p e c t, co n sid - i e rin g the tre m e n d o u s c o n trib u tio n the J o ry s had m ad e to the P a g e a n t, 'this actio n on the p a r t of the B o ard se e m s in ex cu sab le. It re s u lte d in the e ra d ic a tio n of the e le m e n t of stro n g a ttra c tiv e p e rso n a lity fro m jthe stre n g th of le a d e rsh ip , and v este d co m p lete pow er and c o n tro l of jthe P a g e a n t in the hands of the B o ard of D ire c to rs . A t any ra te , the J o ry s left the P a g e a n t. T h e ir ab sen ce left m any of th e ir s u p p o rte rs 19 iand frie n d s an g ry with th e B o ard , and m a rk e d a r a th e r sin g u la r change in P a g e a n t a f fa ir s , fo r it te rm in a te d fo r a n u m b e r of y e a r s the im m e d ia te influence of J o ry , who nex t to H olm e had the g r e a te s t o v e r- I all influence on the P a g e a n t to date, and p a rtic u la rly with r e s p e c t to the a c tu a l show itse lf, as the h isto ry of the P a g e a n t m ak es evident. 1947: P h il W hiting, D ire c to r T he f i r s t d ir e c to r , then, of this la s t se g m e n t of the P a g e a n t's h is to ry w as P h il W hiting. As a m e m b e r of A w an's com pany, he 're tu rn e d to the scen e as d ire c to r. 19 ! On the evening of the day th a t th is au th o r won the p a r t of (A lessandro in try o u t, he attended a p a rty at w hich m any of the J o r y s ' (friends w ere g a th e red . H aving been a t th e P la y h o u se, I knew m o st of th e m and they told m e th e ir thoughts and feelin g s. They w ere not Ihappy about the situ atio n , and m any th e re had been in the P a g e a n t fo r y e a r s . A lso, a t r e h e a r s a ls o th e r a c to rs in the P a g e a n t e x p re ss e d th e ir re s e n tm e n t a t the B o a rd 's actio n s. 334 I ! As a r e s u lt of A w an's re p o rt to the B o ard th at the d ra m a c r itic s had liked the 1946 production, but fe lt th at the f i r s t act was too long, i ithe B oard decided th a t the play should be b ro k en up into th re e a c ts. A t the m eetin g of the B oard on M ay 20, 1946, they voted to s e t up a c o m m itte e M to ex am in e, study, and re c o m m e n d changes as n e c e s s a r y in ; i jthe R am ona s c r ip t to be p re se n te d to the b o ard fo r fu rth e r re c o m m e n - | i | Idation." At the B o ard m eetin g on J a n u a ry 20, 1947, Awan re p o rte d on j ! i the c o m m itte e 's findings: The f i r s t a c t should end with the fie sta ; the I ! | j isecond with the Indians on the h ill at the clo se of the c h riste n in g c e r e - ; imony. The th ird a c t should begin w ith the h o rs e m e n com ing down the s ta g e -r ig h t h illsid e , sym bolizing the com ing of the A m e ric a n o s. The sh o w -tim e would not be affected, for the addition of a second in te r - | m is s io n could be m ade up by cuts h e re and th e re . i The B oard approved the c o m m itte e 's action. D r. C la rk su g - j ; _ I Igested th a t the s c rip t c o m m ittee be in s tru c te d to re v is e the s c r ip t with the conception of bringing back the o rig in a l s c rip t as m u ch as p o ssib le in the th re e a c ts . This suggestion was accep ted and m ad e p a r t of the m otion, w hich c a r rie d . At the M a rc h 11 B o ard m eetin g , the s c r ip t jcom m ittee re p o rte d the w ork done. i j W hat p a r t Whiting had in all this was not c le a r; n o r w ere the l m e m b e rs of the s c rip t co m m ittee n am ed . But it was W hiting's job to jput th e se changes into effect. S e rio u sly affected w ere so m e of the i i I 335 ! i 20 'changes the J o ry s had m ad e in 1939. F o r ex am p le, the scen e at the 'beginning of A ct One, Scene Two, am ong M a rd a , M a rg a r ita , and Ju an j |was cut. The sp e e ch th a t they had w ritte n fo r the S en o ra , sending two ;rid e rs to all the n eig h b o rin g ran ch o s to announce a fie s ta c e le b ra tin g i 'F e lip e 's r e tu rn to good h ea lth w as given to Juan.^* N ext, the " lo v e r's jro ck " scen e (called in the p ro g ra m "A hidden canyon in the h ills" ), jwhich Vic and J e a n had cut, was re tu rn e d , as was the scen e am ong j ! i Ju a n , M a rg a rita , and M a rd a w hich p re c e d e d it, giving R am ona and I ! ! jA lessan d ro tim e to get to the " L o v e r's R o c k ," quite a jau n t. A ct Threej I [rem ain ed the sa m e as it had been (that is , the la s t th re e ep iso d es of iAct II in the past) sin c e 1939- T h u s, the acts and sc e n e s b ecam e as ] I i follow s: A ct O n e --T h e C am ulos R anch I | E p iso d e I.- -A le s s a n d r o co m es to the ra n c h . (Some w eeks l a t e r .) ! E p iso d e I I.-- T h e love sto ry . (One m onth e la p s e s . ) j E p iso d e III.--T h e S e n o ra d isc o v e rs the lo v e rs . (18 days e la p s e .) [act ends a fte r fie sta ] j (In te rm iss io n of ten m in u tes) i ^ S u p r a , pp. 307-309. I 21 1 Though th e re is no in d icatio n of which m e m b e rs c o m p ris e d the s c r ip t c o m m itte e , it is a p p a re n t th a t Ed P o o rm a n had a g re a t deal to do w ith the ch an g es, as in d icated by the fa c t th a t he gave the long sp e e c h by the S e n o ra to Ju an (his ro le , even though he no lo n g er played ;-it).----------------------------------------- —............ — ------— ----------------------- 3 3 T ! A ct T w o --In E x ile i E p iso d e I .- - T h e lo v e rs flee the ran ch o . (Two y e a rs e la p s e .) ! [begins w ith L u ig o -M a rg a rita scen e] [ E p iso d e II.-- T h e c h riste n in g of R am o n a 's child a t P a sq u a le . I (in te rm is s io n of five m in u tes) A ct T h r e e - -S a n Jac in to M ountains i E p iso d e I . —A nza. R aid on Indian land co n tin u es. j E p iso d e II.--S o b o b a S p rin g s. E p iso d e III.--D e a th of A le s sa n d ro on Mt. San Ja c in to . J E p ilo g u e --T h e Love of F e lip e l A p p aren tly th e se changes m ad e no g r e a t im p re s s io n upon any J I :but the in itia te d , for the 1947 rev ie w in the Los A ngeles T im e s, w rit- | te n by the u su ally o b s e rv a n t Ed A in sw o rth , who had been rev iew in g the I 22 I P a g e a n t sin c e a t le a s t 1938, faile d to note the ch an g es. A in sw o rth I I did r e m a r k on the a ssu m p tio n of new p a rts by "old" a c to r s , and upon i ! n e w c o m e rs . As fo r c a s t ch an g e s, the n u m b er of B u g le rs w as red u ced fro m i two in 1946 to one in 1947. O th e rw ise , the c a s t of p rin c ip a l p a rts was ! 23 the s a m e . The to tal n u m b e r of the c a s t fo r 1946 w as 311; fo r 1947, 22 Los A ngeles T im e s , A p ril 20, 1947, P a r t II, p. 8. 23 P r o g r a m s of the P a g e a n t, 1947. 337 24 i296. Those p rin c ip a ls liste d on the p ro g ra m totaled 36 in 1946; 35 i 25 .in 1947. W hiting was fo rtu n a te in th a t he had tw elve of the p rin c ip a ls ' r 26 jfrom the p rev io u s y e a r, including th re e of the five im p o rta n t p a r ts . H is R am ona, A le s sa n d ro , and F e lip e w e re the s a m e - - J u a n ita E n c ell, i H e n ry B randon, and H a rry H ofm ann. The im p o rta n t p a rt of the Senora ;was done by F r ie d a L ew is, who had u n d e rstu d ie d it and played as an {alternate in 1939. His Ju an C a n ito --G e o rg e G erw in g --w a s new to the I i p a rt, but c e rta in ly not to the P a g e a n t! E d A insw orth liked th e m all: j : . i I " . . . Ju a n ita E n c e ll as R am ona and H en ry B randon as A le ssa n d ro j I ' ! i I giving even m o re convincing p e rfo rm a n c e s than b e fo re ." The "new j I s in g e r Ben T hom as C ru z . . . ac c la im e d fo r his 'S u n rise C a l l .1 . . . j : i 'G eorge G erw ing . . . sufficiently ex p lo siv e as the c rip p le d o v e r s e e r , | Ju an C anito. . . . H a rie t H anebry [s ic ] p e rfe c te d the ro le of M ard a. i 1 27 j. . . S h erm a n Lew is capably p o rtra y e d F a th e r S a lv e d ie r r a ." i j O ther than th e se changes in the s c r ip t and c a s t, th e re w ere no I !notable changes in the o th e r a sp e c ts of p roduction th a t s e a so n . All in all, it was c o n s id e re d a re aso n ab ly su c c e ssfu l se a so n , p e rfo rm a n c e - i w ise. H ow ever, b e c a u se of the g e n e ra lly un fav o rab le re a c tio n of the I 74. 25 2 A i Ibid. , 1946, 1947. Ibid. Ibid. ~ n i 1 i 27 "R am ona P lay A gain R evives C olorful P a s t," Los A ngeles T im e s , A p ril 20, 1937, sec. II, p. 8. | 338 i I jBoard and co m m u n ity to A w an's philosophy and ta c tic s , 1948 b ro u g h t a i new m a n a g e r, as noted, and a new d ire c to r, plus c a s t ch an g es. ! ■ i i ; 1948-1949: W illiam B e r s s e n , D ire c to r j ! The d ire c to r fo r the y e a r s 1948 and 1949, W illiam B e rs s e n , ! i i b rought " m o re th an 19 y e a r s of th e a tric a l e x p e rie n c e and a k een in- i ( ! sight into the h is to r ic a l and d ra m a tic in te rp re ta tio n s w hich have m ade ■ 28 |R am ona one of the o u tstan d in g e a rly C a lifo rn ia s p e c ta c le s . . . . " j j ; t He re c e iv e d his BS fro m H a rv a rd in 1937, b eco m in g a m e m b e r of its i ! i I ! ISum m er School facu lty th a t s a m e y e a r, " a s s is tin g John M ason B row n ! ! | land in stru c tin g in p lay w ritin g and the h isto ry of the th e a tr e ." A w arded; ! i I a C arn eg ie G ra n t, he stu d ied a b ro a d and fo rm e d his own p ro d u ctio n ! j I .com pany in E ngland. As d ir e c to r , his focus was to "faithfully p o rtra y |the e a rly C a lifo rn ia h is to ry as p re se n te d in the p ro d u ctio n and, a t the i ! isam e tim e , to keep in ta c t the s p ir it of the s p e c ta c le as it had been i !handed down, s e a s o n a fte r se a so n , through the f i r s t p ro d u ctio n staged 29 by the late G a rn e t H o lm e ." : D uring the two y e a r s of B e r s s e n 's d ire c to rs h ip , at le a s t six ;of the ten B o ard m e m b e rs had m o re than ten y e a rs a sso c ia tio n with I 3 0 jthe P ag ean t, in one cap acity o r an o th er. And a fte r having ju s t I j - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - j ^ The H em et N ew s, R am o n a P lay E d itio n , A p ril 16, 1948, p. 18, j ^ Ibid. , p. 62. 30 See A ppendix H. 3 3 9 e x p e rie n c e d an u n p leasan t two y e a r s w ith an a g g re s s iv e " o u tsid e r" (Awan), the B o ard was v ery con scio u s of the need to keep c o n tro l. The |B oard was re la tiv e ly united; it w as co n se rv a tiv e ; and it w as devoted to | jH olm e's philosophy. With such a co m p o sitio n and outlook, it w as little ! i i • i w onder th a t the B o ard h ire d a lo cal m an to re p la c e Awan as m a n a g e r, j ;As The H em et News of A p ril 6, 1948 (R am ona P la y Edition) d e s c rib e d j | ihim, "The new g e n e ra l m a n a g e r is f a m ilia r w ith the R am o n a O utdoor j | • t P la y , with its h isto ry of the H em et-S an Jac in to V alley. He has a wide i ! ’acq u ain tan cesh ip throughout the e n tire v icin ity ." F u r th e r , he was m ar-f | i rie d to A yleen S e a rl, d au g h ter of one of the V a lle y 's p ro m in e n t ra n c h - 1 ' i ing fa m ilie s . i | _ I 1 F r e d M. B ru d e rlin was h ire d as g e n e ra l m a n a g e r at the B o ard m eetin g of O cto b er 20, 1947. At the n ex t m e e tin g on N o vem ber 17, i j 1947, the B o ard approved p u rc h a se of a building fro m C am p Hahn, to !be u sed as a c a s t h ouse. B ru d e rlin also re c o m m e n d e d the B o ard con- j |sid e r open c a stin g fo r all p a r ts , to be held at the Bowl, "so th a t the re sid e n ts in the valley would fe e l they had a p a r t in the c a stin g of the iplay." The B o ard took his ad v ice, approving a m o tio n at the m eetin g I ion J a n u a ry 21, 1948, to have open c a stin g th a t y e a r , with B o ard m e m b e rs of the c a stin g c o m m itte e and the g e n e ra l m a n a g e r being the c a s t ling ju d g es, and with d etails of c a stin g left up to the c o m m itte e . T hat 1 y e a r , and seem in g ly e v e ry y e a r follow ing, o u tsid e judges w e re added to the c o m m itte e . In 1948, D r. J a m e s B u tle r, P r o f e s s o r of D ra m a at ------------------------------------------------------------------------------------------------------------------------------- 330~ the U n iv ersity of S o u th ern C a lifo rn ia, was one of the o u t-of-tow n ' A 31 pudges. i I At the D e c e m b e r m eetin g of 1947, the P a g e an t got a kind of i | C h r is tm a s p re s e n t in the re tu rn of R o b e rt F in ch , one of the "old- ; i t i m e r s ," to the p ro d u ctio n staff as head of publicity. F in c h dated fro m J th e H am B eall e ra ; he was to re m a in as head of publicity u n til his t 'death in 1955. J a m e s R o b e rt M axw ell, who had becom e a s so c ia te d with. ! I i I the P a g e a n t in the 1946-47 se a so n , taking c a r e of public re la tio n s , w as j | I h ir e d to do the r u r a l publicity, w ith a change of title fro m "P ublic R e - j I ! la tio n s" to "A sso ciate P u b licity D ir e c to r." ■ | I I A t the B o ard m eetin g of July 9, 1948, a c o m m ittee was s e t up I ito g o v ern p ro g ra m s to be held at the Bowl during the s u m m e r m onths. | T h e re was to be no a d m issio n c h arg e; p ro g ra m s w e re to be paid fo r by I jpatronage and a co llectio n box. The B o ard was to fu rn is h the p ro g ram s land the lighting of the Bowl to the people of the V alley, and would s e t a m ain ten an ce re n ta l for the p ro g ra m s . At the S ep te m b e r 20, 1948, ^meeting of the B o ard , the s u m m e r p ro g ra m s w e re re p o rte d very s u c c e s s fu l. j The B o ard m in u tes did not alw ays in d icate who the o u t-o f- jtown judges w e re . M an ag er C ouncilm an said in a p riv a te in terv iew |with the au th o r on July 26, 1972, th a t a c o rre sp o n d e n c e file had been e sta b lish e d , but th a t it did not go back to the y e a r 1948. As the author r e m e m b e r s , th at f ir s t y e a r , in addition to D r. B u tle r, C h a rle s Lane w as also am ong the judges. I 341 i ! Bowl im p ro v e m e n ts fo r the y e a r ending in Ju ly of 1948 w ere: i w o rk on the c a r e t a k e r 's house and b a c k sta g e , an in te rc o m s y ste m , and 32 jthe c a s t h o u se m en tio n ed above, bought f ro m C am p Hahn. The la tte r | |proved a g re a t s u c c e ss w ith everyone involved, and a t the m eetin g of i |M ay 17, 1948, M rs . F l o r a C ra n e , head of c o s tu m e s , thanked the i iB oard w a rm ly fo r the fine new addition. j 1 , I I A le tte r fro m the San Jacin to C h a m b e r of C o m m e rc e was re a d j i j a t the B o ard m eetin g on A ugust 16, 1948 (usually the A ugust m eetin g j ; I jwas skipped; not that y e a r), su g g estin g P o o rm a n be given the title of j . " P re s id e n t E m e r itu s ," sin ce he was no lo n g er B o ard p re sid e n t, and in j ■view of his m any c o n trib u tio n s. The B o a rd decided th a t he m ight be j p re s id e n t again, and declined. At the S e p te m b e r 20th m e e tin g of the j 'B o a rd , P o o rm a n , who had been ab se n t a t th e p rev io u s m e etin g , w ished i I the fa c t to be known th a t he had had nothing to do with the San Jacin to i i C h a m b e r's re q u e s t, and he su g g ested so m eth in g be done about a G a r n e t H olm e m e m o ria l. P o o rm a n m ade in q u irie s about a b ro n z e plaque : of H olm e; v a rio u s su g g estio n s w ere m ad e as to tying in the id ea with i c o n te s ts , and so fo rth ; and v ario u s sc u lp to rs w ere co n tacted fo r c o st ! in fo rm atio n . Nothing w as actu ally ach iev ed ex cep t getting See A ppendix C. 3 l2 33 jinform ation. ! The a fte rm a th of the Awan m a n a g e rsh ip had not y et died; at the I jM arch m ee tin g in 1949, B ru d e rlin re p o rte d to the B oard that ru m o rs jwere c irc u la tin g in the V alley about the R am o n a O utdoor P la y th a t were' ! I !very d e trim e n ta l to the h a rm o n y and s u c c e ss of the play, and he asked ! i I |the d ire c to rs to m ake a s p e c ia l e ffo rt to stop a ll ru m o rs o v e rh e a rd of ! \ ! th a t n a tu re . A t the A ugust 15, 1949, B o ard m eetin g , B ru d e rlin r e - | : i . . 3 4 signed as m a n a g e r. ; j Bowl im p ro v e m e n ts fo r 1949 w e re so m ew h at m o re ex ten siv e ; ! j than they had been to d ate, the la r g e s t p rev io u s y e a r having b een th at ! ! i i of 1947, when 1,000 c o n c re te s e a ts had been added, and the y e a rly ! ! 1 1 'total had b een $ 9 ,3 2 2 .3 7 . In 1949, the to ta l ra n $ 1 2 ,3 5 6 .4 6 , fo r Bowl ; ’lighting, r e s t ro o m s , w a te r s y ste m , sound w all, n u r s e r y , show c a s e s , t 35 ifence, pow er lin e, tic k e t cab in et, c a s t house h e a te r , and c o n c re te . : 33 See B o ard m in u tes fo r O cto b er and N o v em b er, 1948; Ja n u a ry , 1949; Ju ly , 1953; and fo r the p a s t effo rts to achieve so m eth in g , se e 'm inutes of M a rc h and D e c e m b e r, 1938; and M a rc h , 1947. With a ll the talk , all th a t w as e v e r re a lly done was to d ed icate the 1929 P a g e a n t in im em o ry of H olm e (su p ra , p. 243). ! 34 | C o n sid e rin g h is s h o rt te n u re as m a n a g e r, B ru d e rlin effected ;a n u m b e r of c o n stru c tiv e changes in the policy and p ro c e d u re of the IP ageant. The addition of the c a s t house and the o th er p ro d u ctio n and jm aintenance im p ro v e m e n ts noted ju s t above w ere v e ry b en eficial. The iopen c a stin g , w hich he in stitu te d , pro v ed to be a p o sitiv e co n trib u tio n . iHe a ssu m e d m o re of the p a p e r-w o rk d e c isio n s, a policy th at M itchell had sought and to so m e d e g re e su cceed ed in winning (s u p r a , pp. 265- 266). In a s e n s e , he also began the u se of a V alley b u s in e s s m a n other th an P o o rm a n as m a n a g e r. 35 __________See Appendix C............ ........................................................................................... 333" With the e x tr a 1,000 s e a ts added in 1947, the annual revenue was beginning to in c re a s e to the point th at the B o ard could forego its a u s te rity p ro g ra m in stitu ted ju s t p r io r to the w a r, and begin to pay som e atten tio n to the c o m fo rt of its p atro n s and its c a st. C e rtain ly both w e re n e c e s s a r y fa c to rs fo r attention, and the m oney sp en t fo r the n u r s e ry and the r e s t room s was anything but "m ad m oney." In a r a th e r u n sp e c ta c u la r way B e r s s e n , in production, m ade so m e r a th e r s p e c ta c u la r changes - -th a t is , co n sid e rin g the tre n d the pro d u ctio n had been taking sin ce V ictor J o ry re tu rn e d to the P ag ean t in 1932. In the f ir s t p la c e , B e rs s e n se n t his a s s is ta n t s ta g e - m a n a g e r , M rs . K athleen G ilm an, to the lib ra r y at the U n iv e rsity of R edlands to do r e s e a r c h on the p o tte ry and w eaving of the Indians of the a r e a at the 36 tim e of the s to ry Ja ck so n told in h e r novel. As the r e s u lt of his d ed u ctio n s, B e r s s e n had concluded th at the tim e of the s to ry , which had not been defined in th e p ro g ra m p rev io u sly , w as "C a lifo rn ia in the e a rly 1 8 50's." This a p p e a re d in the p ro g ra m s fro m 1948 on. F r o m M rs . G ilm an 's findings, d ifferen t types of p o ttery w ere added to the " p ro p s " h e re and th e re . She had also found th at in the h a cien d a of that day life c e n te re d around the en clo sed patio. The h o u se, with its co v e re d p o rc h extending around the e n tire con fig u ratio n of the patio, 3 6 K athleen G ilm an, p e rso n a l in te rv ie w , San Ja c in to , C a lif o r n ia, July 25, 1972. The author re m e m b e rs the changes being m ade; h is f ir s t y e a r w ith the P a g e a n t was also B e r s s e n 's f i r s t y e a r. |had no in sid e h a lls. T h u s, to go fro m one ro o m to an o th er, one had to go ou tsid e the ro o m and re a c h the o th e r ro o m by w alking along the I jcovered v era n d a . H ence, B e r s s e n changed m any of the Act I exits and ! jehtrances of the a c to rs to co n fo rm to this b it of "au th en ticity ." But I ! [according to M rs . G ilm an, w hat was c o n s id e re d a g re a te r change w as j ja "m o d e rn iz in g " of the language, w hich B e r s s e n c a r r ie d out. He [rem oved so m e of the a rc h a ic "flav o r" fro m the lin e s. W hereas he had m ade the exit changes fo r the sake of, as he te r m e d it, the "5%" who j I : j [knew C a lifo rn ia h isto ry and would be offended by the ro o m -h o p p in g , he j ; ' i i I ichanged the w ords to acco m m o d ate the la rg e p e rc e n ta g e of the audience ; t ;unused to the so m ew h at s tra in e d fo rm a lity of th e V icto ria n diction. i i i j C o stu m es w ere "toned dow n." R alph F r e u d , co m m enting on j B e r s s e n 's ch an g es, re m a rk e d : i I B ill trie d to do som ething in the way of changing the thing j and d id n 't get anyw here. . . . W ell, he had a lo t of tro u b le with th e m [the B oard], . . . He trie d a lo t of th in g s, and he w anted | even to s tr ip the I n d ia n - - s tr ip the Indians down. He thought they should be naked. . . .37 i I 38 N eed less to say , they w ere not; they re m a in e d about the sa m e . But i jB e rss e n was able to m ak e one r a th e r u n u su al change. The " s u n ris e isong" so lo ist, who sings the song fro m the top of the high h ill th at . F re u d in terv ie w , S ep tem b er 16, 1971. ! 38 j A cco rd in g to the a u th o r's re m e m b ra n c e of d isc u ssio n s and j su b seq u en t c o m p a riso n s of the productions of o th e r d ire c to rs . 'form s the s ta g e -r ig h t se c tio n of the Bowl, b efo re B e rs s e n , w ore a ! ■traditional E a s te rn -In d ia n fe a th e re d h e a d d re s s . B e r s s e n 's (o r, r a th e r , M rs . G ilm an 's) r e s e a r c h in d icated th at such a sin g e r would w ear ! a n tle rs -- d e e r o r w h atev er. B e r s s e n su cceed ed in having a h e a d d re s s I j ■ of a n tle rs m ad e, and the so lo ist w ore this d uring his a p p e a ran c e atop | 1 i : I jthe m ountain. The B ru d e rlin s co m m en ted that B e r s s e n had also j jbrought au th en ticity to the Indian d an ces, and as a con seq u en ce the j ! 39 ! dances w e re in c re d ib ly dull. i j O th e r than th e se , and a few m in o r ch an g es, th e re w ere no p a r ti c u l a r a lte ra tio n s of the s c r ip t o r " b u sin e s s" th a t anyone re m e m b e re d , 40 I In clu d in g this au th o r. ; i i D uring this th ird p erio d of the P a g e a n t, the c h a r a c te r s in the J second a c t, p a rtic u la rly the A m e ric a n s (the h o rse m e n ), did the u su al I iam ount of sw itching around. The m a jo r c a s t changes w e re in the iA le ssa n d ro , R am o n a, S en o ra, a n d :Ju a n Canito p a r ts . In 1948, the au th o r took the ro le of A le s sa n d ro , R am ona was Ju a n ita E n c e ll, who l had played it the p reced in g th re e y e a r s . She, as m en tio n ed , w as the jfirs t and only V alley g irl to play the p a rt; th e re has n e v e r been a lo cal jA lessan d ro . The p a r t of the S en o ra was done by M ary H eadley i j 39 F r e d and A yleen B ru d e rlin , personal)inter.view , C la re m o n t, j C alifo rn ia , A ugust 22, 1972. I i 40 i B e r s s e n cut down on the " sp e c ta c le " in the fin a le , but no one ! re m e m b e re d ju s t how. 346 I |M cL aughlin both y e a r s . Ju an Canito was played by C. Jay N ichols, a lo cal c o n tra c to r. The o th e r p rin c ip a l p a rts re m a in e d v irtu a lly the i 41 i sa m e in th e "S panish" sectio n . ! I j C o n siste n t w ith the o th e r ch an g es, th e re was a new re v ie w e r , i ifor the T im e s , Tom B rid g e s. He was im p re s s e d , ap p aren tly , with j i j jthe siz e of the au d ien ce, fo r he titled his sto ry "R am ona P ag ean t D raw s 1 i 42 j i4000 to H e m e t's H ills ." He opened the rev iew itse lf with, "M ore j than 4000 s p e c ta to rs g a th e re d fo r the f i r s t p e rfo rm a n c e of the 21st j I i I se aso n . . . . " He w ent on to sta te th a t the P a g e a n t was a com m unity | j ■ p ro je c t w ith few p ro fe s sio n a ls in the c a s t. Then he noted th a t "Snow- j i capped M t. San Jacin to fo rm s the to w erin g b ack d ro p . The m o u n tain - j ! * ! ^ sid e of b o u ld ers is the s ta g e ." He found the leads "ap p ealin g ," and also gave approving m en tio n to the su p p o rtin g c a s t. And he c a r r ie d on the ! m yth th a t M rs . C osto had been in ev e ry p e rfo rm a n c e sin ce the o rig in al I I p roduction. The open c a stin g was continued the follow ing se a so n , as it was fo r a n u m b e r of y e a r s , the B o ard m aking it o fficial at th e ir m eetin g of | D e c e m b e r 20, 1948. j The m a jo r change in the c a s t in 1949 w as a new R am ona, Con- i suelo Young. Tom B rid g es re p o rte d th at "R am ona T ale L ives Again I 41 ; Cf. A ppendix G. I 4 2 I Los A ngeles T im e s , A p ril 18, 1948, s e c . II, p. 2. 42 > in P a g e a n t, Y early P e rfo rm a n c e A ttra c ts 3000 to Bowl in M o u n tain s." His lead sen te n ce th a t y e a r left out the n u m b e rs and c o n c e n tra te d on Ithe sto ry : "T he so rro w fu l ro m a n c e of R am o n a, the C a lifo rn ia s to ry , i jold, y et e v e r new , was re -e n a c te d . . . . " About M iss Young: "Though | I Iher c h a ra c te riz a tio n lacked th e d e lic a te nuances given R am ona by I i ■ I |Ju an ita E nfell [s ic ], M iss Young's p r e d e c e s s o r , the new R am ona gives I ! ja r ic h in te rp re ta tio n to the p a r t." The A le ssa n d ro "gave new depth to j his c h a ra c te riz a tio n . ! i ! i i I The only change in publicity d uring B e r s s e n 's two y e a rs was I ! I i ! Ithat Bob M axw ell changed title fro m "P ublic R e la tio n s" to " A ss ista n t ' ' 44 ;P u b licity D ir e c to r." j I j ! D uring B e r s s e n 's f ir s t y e a r, an a ll-tim e high of 28,463 people j 'atten d ed the P a g e a n t, w h e re a s only 25 ,6 4 0 attended d u rin g his second I ' 45 y e a r. | | In g e n e ra l, the stre n g th s w ere continued d uring B e r s s e n 's two !y e a r s . The r e tu r n of R o b e rt F in c h and his wife H elen to the P a g e a n t I (in publicity) w as a definite gain. A lthough it was a so m ew h at tro u b led 1 j ip erio d fro m the standpoint of c a s t and com m unity m o ra le , and th e re I j w as m uch faultfinding w ith the B oard and m an ag em en t in g en eral 43 Los A ngeles T im e s , A p ril 23, 1949, s e c . I, p. 10. 44 P r o g ra m s of the P a g e a n t, 1947 and 1948. 45 [ See A ppendix A. I 348 I (B ru d e rlin , h o w ev er, w as w e ll-lik e d ), the luck of the P a g e a n t held; | .. |a d v e rsity b en efitted it m o re than it h a rm e d it. i | 1950-1953: G eorge G erw ing, D ire c to r ! ; In 1950, G eorge G erw ing, the second of the "H olm e m en " ; i 'd ire c te d . i i I i I | Of his m any a c c o m p lish m e n ts , the d ire c to r is p a rtic u la rly J ' p roud of having been a s s o c ia te d with G a rn et H olm e in the f i r s t j p ro d u ctio n of the R am o n a O utdoor P la y . He also w orked w ith M r. i H olm e in p roducing the M issio n pag ean t a t San Ju a n C a p istra n o , j the D e s e rt play a t P a lm S p rin g s, the Y o sem ite p ageant, Rip Van i W inkle and m an y o th e rs . i I . . . . In 1947 he acted as a s s o c ia te d ire c to r of the R am o n a j 1 P a g e a n t with P h il W hiting and played the p a r t of Ju an C anito.^6 j I ! G erw ing had ex ten siv e background in th e a tr e , qualifying h im fo r his ; | j ! p o sitio n as d ire c to r. He had w orked p ro fe ssio n a lly w ith co m p an ies in ; 1 j Los A n g e le s, San F r a n c is c o , H onolulu, S e a ttle , Santa B a r b a r a , G len- ! • i dale, and in the E a s t. He had also been d ire c to r fo r the S anta Ana i ! C om m unity P la y e r s , the L aguna B each C om m unity P la y e r s , the San I i F ra n c is c o C om m unity P l a y e r s , and m any o th e r s im ila r o rg a n iz a tio n s. G erw in g 's d ire c tio n a l focus w as in stag in g p ro b le m s and in "the o p p o rtu n ities o ffered fo r developing the pow erful s to ry in the 47 beautiful outdoor settin g of the bow l." 46 j The H em et N ew s, R am o n a P lay E dition, A p ril 21, 1950, j p. 18. I 47 ! Ibid. j 3W | The B o ard m in u tes do not re c o rd an im p o rta n t change in the .a d m in istra tiv e staff d u rin g G erw in g 's fo u r y e a rs as d ir e c to r - - th e jhiring of P a r k G. P a r k e r as m a n a g e r. P a r k e r , a V alley c a ttle m a n , j\vas f o rm e r ly an ex ecutive of the N ational B ro a d c a stin g Com pany and ! 48 I had also been a s so c ia te d w ith RCA and the field of ad v e rtisin g . As ! ; I jfor the co m p o sitio n of the B o ard in 1950, five of the m e n - - P r e s id e n t j I ! |jo h n F a u ll, V ice P r e s id e n t E a r l G ilm an, S e c re ta ry J a m e s G ill, J r . , j and D ire c to rs E d w ard P o o rm a n and M a u re H u r t-- w e r e " o ld -tim e rs " ; j ' 49 | ;the o th e r five w e re m o re o r le s s new to the P a g e a n t. j I I ! i As re p o rte d in the M inutes of the m eetin g on July 18, 1949, one! ,of the f i r s t things the B o ard c o n sid e re d w as a su g g estio n fro m E a r l j | I ; G ilm an th a t sound am p lificatio n be c o n sid e re d . No actio n was taken. I A t the m e e tin g of F e b r u a ry 20, 1950, the B o ard was a p p rise d of ! | D ire c to r G ill's ap p licatio n to the H is to ric a l L a n d m a rk C o m m issio n to i i have the Bowl d e c la re d an h is to r ic a l la n d m a rk . A t the sa m e m eetin g , j try o u ts w ere s e t fo r M a rc h 4 and 5; th e C astin g C o m m ittee was to be W atson and P o o rm a n fro m the B o ard , and o u t-o f-to w n judges R alph i ; F re u d and P h il W hiting. At the m eetin g of June 27, 1950, $10,000 j was s e t a sid e as a r e s e r v e fund. ! In 1951, at the F e b r u a ry 19 m e etin g , M an ag er P a r k e r re p o rte d ! I I 48 , . , , j Ibid. , p. 6. I 49 See A ppendix H. I 350 ! i !se v en teen app licatio n s fo r try o u ts , with eight m o re pending. D ire c to r G erw ing had se le c te d R alph F re u d and C h a rle s L ane as o u t-of-tow n I !ju d g es. On M arch 19, G erw ing m e t w ith the B o ard to outline his plans ifor the 1951 P ag ean t. He explained th at he intended to cu t the E x p o si- I |to r that y e a r; he ask ed the B o ard to think about so m e lo n g -ra n g e p ro b - l jlem s: (1) how to cut down on the n u m b er in the c h o ru s and s e c u re only i qualified s in g e rs ; (2) get the Spanish d a n c e rs fro m both of the high sc h o o ls, o r if the d a n c e rs c a m e fro m one school, then to a lte rn a te | only e v e ry th ird y e a r; and (3) how to c r e a te m o re in te r e s t fo r the Indian B ra v e s ("ro c k In d ian s"). At that sa m e m e e tin g , a p e rp e tu a l s o u rc e of difficulty fo r the B o ard was again r e p o rte d - -th e fin an cial ; 50 sta tu s of The R am ona P la y e r s . The g u a ra n to rs ' lis t, an item not fre q u e n tly m entioned in the j B o ard M inutes, w as noted as co m p leted by San Ja c in to , but not as of ; th a t date by H em et; the r e p o r t was m ade a t the m eetin g of A p ril 21, ;1952. On D e c e m b e r 15, 1952, the B o ard again h e a rd re a d a le tte r of I i j re sig n a tio n fro m E d w ard P o o rm a n . M r. L y ell su c c e ssfu lly m oved i th a t it be accep ted with r e g r e t and that a le tte r of ap p rec ia tio n be sen t 50 | The h isto ry and o p e ra tio n of The R am o n a P la y e rs was re a lly ; o u tsid e the lim its of this study. The o rg a n iz a tio n was s e t up to aid ! the P a g e a n t, but d esp ite the g r e a t am ount of w ork th a t M ayfair and | R alph F re u d in v ested in the g roup, so fa r as th is author o b se rv e d , the j P la y e r s did not s e rio u s ly affect the P ag e an t one way o r an o th er. 351 to M r. P o o rm a n and a copy s p re a d upon the M inutes. In p a rt, the I re so lu tio n re a d , "it is with a feelin g of deep r e g r e t and g r e a t lo ss th at I i (we a c c e p t y o u r re sig n a tio n as d ire c to r of our a s so c ia tio n and a re s in - 1 51 jc e re ly s o r r y th at you felt it n e c e s s a r y to take this ste p ." I ! The c a s tin g policy was so m ew h at changed th at y e a r. At the j (m eeting of A ugust 18, 1952, the C o m m ittee on R eco m m en d atio n s had j 1 Iproposed th at the P a g e a n t not have open c a stin g the n ex t s e a so n (1953). j i A t the D e c e m b e r 15, 1952, m e e tin g , the B o ard p a sse d a m otion th a t the i j C astin g C o m m itte e and the. d ire c to r be em p o w ered to decide w hich | ;p a r ts should be open fo r c a stin g , and w hich w ithheld. If a c a s t m e m b e r | w anted to try fo r an o th er p a r t, his p a r t w as d e c la re d "open" fo r c a s t- j jing. F u r th e r , th e re should be no publicity u n til the c a s t who w e re to j ;be invited b ack had been notified. I | W ith c a stin g and the play com ing up, the F e b r u a ry 16, 1953, I j m e e tin g c e n te re d on d isc u ssio n of a c to r s ' s a la r ie s . A m otion to lim it i re m u n e ra tio n to the two leads w as c a r r ie d . How to a ttr a c t m o re ! a c to rs and in te r e s t ta le n t w as d isc u s s e d again. F in a lly , the m a n a g e r w as in s tru c te d to te ll the d ire c to r that the B o ard thought th e re should j be u n d e rstu d ie s fo r the speaking p a r ts . In the r e a lm of b u s in e s s , M r. j F a u ll m oved, and it was c a r r ie d , th at the g u a r a n to rs ' lis t be continued. I g j ! A gain, the donation to the C h a m b e rs of C o m m e rc e se e m s to j have been the c a u se of P o o rm a n 's re sig n atio n . 352~1 A t the M a rc h 16, 1953, m e etin g , the policy of not sellin g ^standing ro o m was re a ffirm e d . In Ju n e, a fte r a s e a so n w hich b ro k e | 52 ^attendance r e c o rd s , P r e s id e n t G ill ask ed the Bowl Im p ro v e m e n t (C om m ittee to in v e stig a te th e c o sts and designing of a b ro n z e m e m o ria l I Iplaque fo r the la te G a rn e t H olm e. j j j ! N um erous Bowl im p ro v e m e n ts w e re m ad e d uring G erw in g 's ; j I (four y e a r s as d ire c to r. M o re s e a ts w e re added, r e s t ro o m s w e re | ' i i I b u ilt, the b ack stag e a r e a was im p ro v ed , a new f ir s t- a id ro o m was ■ , ! (built, and n u m ero u s odds and ends w e re added to in c r e a s e c o m fo rt and j ! 53 i (efficiency. j ( i In p ro d u ctio n , G erw ing w as faced im m e d ia te ly w ith the need j i ! (for s c r ip t c h a n g e s --th e B o ard had not liked B e r s s e n 's language changes . j 'in 1949. M rs. G ilm an in d icated th at, as sta g e m a n a g e r, h e r w o rk was j (in c re a se d and co m p lic a te d by having to help G erw ing re -d o the lines I land c u e s, to r e tu r n the s c r ip t to the lines and ex its and e n tra n c e s 54 e x istin g b e fo re the B e r s s e n ch a n g e s. A cco rd in g to G erw ing, th e re w e re additional ta sk s: 1 1 One of the m o s t d e lic a te things th a t had to be handled, and | w hich had been lack in g , w as a pace th at had enough d iv e rs ity , 1 w ithout try in g to pace it too fa s t, too s lo w --to try to m ak e each , .. . See 'Vppendix A. 53 See A ppendix C. 54 G ilm an in te rv ie w , Ju ly 25, 1972. 353 one of those sc en e s have a pace suited p re c is e ly to w h atev er the scen e w as. That was the g r e a te s t challenge I had in d ire c tin g it. | The s h a rp eyes of Tom B rid g e s, the T im es re v ie w e r s till "on th e jo b ," picked out m o s t of G erw in g 's m o re o v e rt ch an g es. In 1950, j h e began with the e y e -c a tc h in g "New T h rills P re s e n te d in P a g e a n try of R am o n a." He led off with: j The la r g e s t opening-day crow d in the 23 se aso n s of the R am ona i P a g e a n t w itn essed a s p e c ta c u la r p e rfo rm a n c e . . . . i It was a n e w ly -c a p a riso n e d pro d u ctio n w hich included additional ! d ances and a d ra m a tic finale th a t m ad e the f a m ilia r sto ry shine j anew. ' The d ire c to r, G eorge G erw ing, has added an epilogue this s e a so n w hich p ro v id e s the audience with an e y e -fillin g sight long i to be r e m e m b e r e d - - a m o u n tain sid e lite ra lly c o v ered with h u n d red s j of p e r f o r m e r s including s h e e p - s h e a r e r s , In d ian s, Spanish dons, > and s e n o rita s and A m e ric a n o s on foot and on h o rse b a c k rid in g along J lofty m ountain t r a i l s . ^ ; : i As G erw ing d e s c rib e d it: I | A t the co n clu sio n of the show I b ro u g h t everybody u p - - a ll the i m en, the w om en, the g ir ls , and we had th em s c a tte re d all o v er the p lac e , fo r the H a sta L u eg o . She cam e p a r t way down to m e e t him [ re f e r rin g to R am o n a com ing p a r t way down the t r a il , fro m the E x p o s ito r's ro c k , to m e e t F e lip e and th e o th e rs com ing up the tr a il, the m eetin g to sy m b o lize R am o n a m eetin g F e lip e and the beginning of the jo u rn e y to M exico], but only a v e ry s h o rt d istan ce . She ju s t a p p e a re d , so th a t you could see that they w e re going to ap p e a r th e re on the ro c k [the E x p o s ito r's rock]. When they got on top of the ro c k , th a t's when everybody e lse ca m e u p the p o sse i along the skyline . . . and I brought th e m down the h ill. They had F a r r a r [the villain] tied.^7 G eorge G erw ing, p e rso n a l in terv iew , San Jacinto., C a lifo rn ia, July 19, 1972. ! 56 ! Los A ngeles T im e s , A p ril 23, 1950, sec . I, p. 12. I ------------- --------------------- ! 57 | ___ G e rwing in te rv ie w , July 19, 1972. | --------------------------------------------------------------------------------------------------------------------J5T~' lln re s p o n s e to a question as to how long the people stay ed "up ," he I a n sw e re d : "Only a s h o rt tim e; then I let th em d isa p p e a r in an o rd e rly fash io n -~ th e p o sse and all the p e o p le --a n d only F e lip e and R am ona left I [alone, and then th e ir exit. R alph [F reu d ] left that in the y e a r he took I 58 o v er a fte r m e but [la te r] he elim in a te d it." 59 j B rid g e s also noted the m a jo r c a s t ch an g es, p a rtic u la rly the ! [return of Ju a n ita E ncell (S h ield s- -now h e r m a r r ie d nam e): "H er i ; I . re tu rn today was im p re s s iv e and to the p a r t she gave s in c e rity and 1 j j jdevotion." He com m ented on A le ssa n d ro : "P u lle n , a p p earin g fo r the j i i th ird y e a r . His re so n a n t voice, u sed to advantage as the action ofj j the play shifted fro m h acien d a to s h e p h e rd 's sh ack to g rey b o u ld er, i 1 I ! I [made his p o rtra y a l e sp e c ia lly n o te w o rth y ." B rid g es liste d as one of jthe m o re outstanding f e a tu re s the "abundance of ex ce lle n t su p p o rtin g [actors . . . A delaide C la rk e F itz p a tric k , who re tu rn e d to the play in ithe ro le sh e c re a te d in the f i r s t p e rfo rm a n c e ." And he applauded H a rry I H ofm ann, as F elip e; L eigh D utton, as the " ira s c ib le o v e r s e e r . . . P h il B re e d lo v e , a n ew co m er to the c a s t who p o rtra y e d Luigo, a s h e p h e r d . A n o th er change . . . Idyll wild Boy Scouts into the c a s t to p e r fo rm the Indian d a n c e s." He also p ra is e d the new Indian so lo ist, F e lix U rib e. ! Ibid. ! 5g j Los A ngeles T im e s , A p ril 23, 1950, sec. I, p. 12. ! M ention of the s o lis t in tro d u ce d an o th er re v isio n of the B e r- senn show th at G erw ing m ad e; he changed the h e a d d re s s of the so lo ist fro m the a n tle rs (which, to the audience, ap p eared to be u p ra ise d jarm s) back to the m o re conventional (but unauthentic) fe a th e re d one I 60 such as u sed in the p a st. I In 1951, th e re w ere m o re ch an g es, notably the cutting of the i j £ J [E xpositor. G erw ing d e sc rib e d v ery sim p ly his re a s o n fo r this l change. "I w ro te the E x p o sito r co m p letely out of the show. It goes [clear back to G a rn e t H olm e; rid in g along so m e w h e re w ith h im , he i sa id , 'G eo rg e, I'd like to g et rid of th at E x p o s ito r, but I d o n 't know how to do it.' " G erw ing took that as a ch allen g e, and thought he had m ade the n e c e s s a r y changes to rem o v e the p a r t w ithout confusing the .au d ien ce.62 I | T h e re w as also a new R am ona. B rid g es w rote a d iffe re n t title , I which in a way announced the new a c tr e s s ; "S tory of R am o n a Unfolded I ! £3 A new ." He liked G erw in g 's d ire ctio n : "T his y e a r 's edition of the play, old but e v e r new , re fle c ts g re a t c r e d it on the d ire c to r G eorge .G erw ing, re tu rn in g fo r a second y e a r. Into the p ro d u ctio n he has ^ G e r w in g in te rv ie w , July 19, 1972. ^*Ibid. 62tk., Ibid. / 3 Los A ngeles T im e s , A p ril 22, 1951, P a r t II, p. 1. [ ' * J56~ ! jintroduced v a ria tio n s to heig h ten the s p e c ta c u la r effect of an alre a d y i effective s p e c ta c le ." (But he did not c le a rly defined w hat the v a r i a tio n s w e re . ) B rid g e s d e s c rib e d the new fem in in e lead: "The title j t jrole is played by D orothy B ailey , 22 - y e a r- o ld th e a tre a r ts m a jo r at luCLA. She h as also studied at P a s a d e n a J u n io r C ollege and the U ni- 64 jv ersity of W ashington. She is new to the c a s t." t I In 1952, the m a jo r change was in the c a s t - - a new A le ssa n d ro , and the in itiatio n of his singing, an addition in keeping w ith the novel, w hich d e s c rib e d A le ssa n d ro as p o s se s sin g a " ric h " v o i c e . ^ The new j ! I ; i m a le lead w as acco m p an ied by a new T im es re v ie w e r, J a m e s H u b b art, I who as a b e g in n er w isely w ro te a sim p le title : "R am ona P a g e a n t 66 iS tarts 25th Y e a r." He w rote: "T he p a rt of R am ona w as b rillia n tly •played again by D orothy B ailey . . . a UCLA d ra m a school g ra d u a te. | iM aurice J a r a of C la re m o n t gave a s a tis fa c to ry f i r s t p e rfo rm a n c e as ! jA lessan d ro . H is m o s t notable gift is a ly ric singing voice w hich r e sounded em p h a tic a lly in the phenom enal a c o u stic s of the g re e n hills." 64 T his r a th e r cry p tic c o m m en t was c h a r a c te r is tic of the low - key re c ep tio n m o s t new R am onas and A le ssa n d ro s re c e iv e d . G enerally the second y e a r, the re v ie w e r g re w m o re fond of th e ir p e rfo rm a n c e s; and of c o u rse tim e im p ro v ed each p e r fo r m e r. M iss B ailey was v ery good in h e r f i r s t y e a r. 65 | H elen Hunt J a c k so n , R am ona (New York: G ro s s e t & Dunlap, in. d . ), p. 59. ' 66 j L os A ngeles T im e s , A p ril 20, 1952, P a r t II, p. 1. 357 H u b b art p ra is e d o th e r c a s t m e m b e r s , which w ere b a sic a lly the sa m e as the p rev io u s y e a r. He also d e s c rib e d a ce re m o n y a t the s t a r t of the p e rfo rm a n c e at w hich s ilv e r 25th a n n iv e rs a ry m e d a ls w e re given to v e te ra n s of the f i r s t y e a r . ^ G erw ing sm ile d when ask ed about the in tro d u c tio n of the singing by A lessan d ro : I think y o u 'll a g re e w ith m e th a t the d e a d e st sp o t in the whole show was the scen e on the " L o v e r s ' R ock" and then R am o n a ru n s o ff--" I m u st find m y couch." T hat thing ju s t dro v e m e n u ts. One day I h e a rd a voice fro m up in b ack th e r e - - b e a u tif u l! I d id n 't know who it w as, so I p ro c ee d e d to pad up and have a look, and h e re it w as, M a u ric e J a r a . T h e re he is, studying his p a rt and ju s t singing. So I had h im com e down as soon as we w e re fin ish ed w ith w hat we w e re doing, and I s a id , "M au rice, would you be w ill ing to try so m eth in g with m e ? W e'll see if a singing e x it- - !" and so fo rth . I explained. W ell, he sa id "I'd love to!" I'd n e v e r h e a rd h im sing; I'd h e a rd he w as a s in g e r, so I said, "All rig h t, le t's run it th ro u g h once and see how it looks-," It w as beautiful! T hat was all th e re was to it. 68 A change in m a n a g e rs took p lace in 1953. P a r k G. P a r k e r was su cceed ed by M ilton R. N im s , a r e a l " o ld -tim e r " - - a re s id e n t of the V alley sin ce 1912. He had b een a s so c ia te d fo r so m e tim e with the F i r s t N ational Bank of San Ja c in to , and also the m o u n tain r e s o r t 67 G o v ern o r W a rre n m ade the p re se n ta tio n s to John F a u ll, G eorge G erw ing, H a rry H ofm ann, M rs . Isad o r C o sto , D onald V ance, M rs . M abel S e a rl, A. H. A rw ed so n , C. B. C ovell, T hom as F le tc h e r , M aure H u rt, E d w ard P o o rm a n , M r. and M rs. R o b e rt R e c o rd , C h a rle s Van F le e t, and M rs . G eorge O 'L oan. 68 G erw ing in terv iew , July 19, 1972. J a r a 's r e m e m b ra n c e of the addition w as th at the id ea had o c c u rre d to h im fo r the sa m e r e a s o n --to h elp the ex it (M aurice and H ild a J a r a , p e rs o n a l in te rv ie w , San Ja c in to , C a lifo rn ia , July 25, 1972). | 358 I i (corporation of Idyllw ild. t A v ery im p o rta n t " o ld -tim e r" le ft the B o a rd --M a u re H u rt, i ione of the o rig in a l c a s t and the F a r r a r of m any y e a r s , and another jrelative " o ld - tim e r ," J a m e s Gill, J r . , was elected p re sid e n t. With one y e a r 's ex p e rie n c e behind h im , the T im e s ' m an , J a m e s I jH ubbart, g rew m o re d arin g in 1953 and w ro te, "4000 Attend Opening of jRam ona M e lo d ra m a ." His lead se n te n c e , even, was slightly em o tio n - I ; j ally tinged: "A h alfb re e d m a id e n 's su fferin g echoed through the h ills j . ’ I ;again today in th e 26th reopening of the c e le b ra te d Indian m e lo d ra m a j i j 'R a m o n a.' A re c o rd f ir s t- d a y th ro n g of so m e 4000....... . ." He saw j D orothy B ailey th a t y e a r as " P e tite D orothy B ailey " and said she "gave| 'a re fre s h in g p e rfo rm a n c e in h e r th ird y e a r in the title ro le and M au rice J a r a , a film p la y e r and a p ro d u ct of the P a d u a H ills T h e a tre , re c e iv e d i la standing ovation fo r his p o rtra y a l of the Indian lo v e r, A le s sa n d ro ." j jH ubbart also w rote: " T h e re w e re , of c o u rs e , the u su al opening- | p e rfo rm a n c e m is h a p s . B ecau se his h o rs e w ouldn't stand s till, W ag g oner w as able to shoot F a r r a r only once in stead of the re q u ire d two Itim e s." W aggoner w as F a r r a r , and w hat H ubbart should have w ritte n jwas ". . . to shoot A le ssa n d ro only once. . . . " A "m ish ap " on H ub- b a r t 's p a r t . ^ 1 P u b licity re m a in e d m uch the sam e during the y e a rs the P ag ean t I i i j . . . . . . i - I ! 69 | Los A ngeles T im e s , A p ril 19, 1953, P a r t i , p. 27. Iresu m ed a fte r the w ar. The advent of te le v isio n o ccasio n ed a new m ean s of a d v e rtisin g , which the J. H ow ard Joh n so n A d v e rtisin g i ;Agency, being the office th at handled the radio publicity, logically ^assum ed. T h e re w ere sp o t ads fo r the P a g e a n t, and R am ona and A le ssan d ro m ade a p p e a ra n c e s on talk -sh o w s and w h e re v e r the Jo h n - i 70 I sons w ere able to place them . I 71 The change in the audience, noted e a r lie r , continued to take place throughout the '50s and '60s, as the V alley a ttra c te d m o re and j j jinore of the o ld e r, r e tir e d people. A lm o st e v e ry y e a r brought som e j fo rm of new re c o rd in attendance. j D uring G erw in g 's p erio d , the old stre n g th s again brought s u e - | : ! c e s s , the proof being in the box office fig u re s . The P a g e a n t c a s t and j staff (inc.biding the B oard) continued to have the loyalty of the co m - |m unity, with le s s and le ss d issen tio n . I As r e m a rk e d , B e r s s e n 's changes w e re not accep tab le to the ■Board. F o r the continuity of the P a g e a n t as a w hole, and fo r the very r e a l need to m a in ta in so m e kind of a r tis tic r e s p e c t for the in ten t and technique of the o rig in a l novel and H o lm e 's adaptation, the m a jo rity of The au th o r re m e m b e rs going with R am ona on tele v isio n p r o g ra m s , to be in tro d u ced and to "plug" the show; one of the p ro g ra m s jwas the M ary and H a rry H ichkock p ro g ra m , on N B C -TV . ! ^ S u p r a , p. 326. "360 ithe a rc h a ic fla v o r of the dialogue need ed to be re ta in e d . Updating j could com e in o th e r w ay s, and in tim e it did. i j 1954-1964: R alph F re u d , D ire c to r ; N ineteen y e a rs a fte r his f i r s t en g ag em en t with the P a g e a n t as d ire c to r, R alph F re u d and his w ife, M ay fair, re tu rn e d to the Valley |and the play. This tim e they w e re to re m a in eleven y e a r s - -1954 i through 1964. The H em et N ew s, R am ona P lay E d itio n of A p ril 23, 1954, d e s c rib e d F r e u d 's re tu rn and noted th at in the y e a r s betw een, I jF reu d b ec a m e d ire c to r of the Los A ngeles F e d e r a l T h e a te r in 1938. F r o m th e r e , he w ent to UCLA and re m a in e d on the faculty th e re fo r ‘15 y e a r s , s e rv in g as d e p a rtm e n t c h a irm a n d uring the la s t two y e a rs (p. 12). F r e u d 's focus c o m p ris e d th re e e lem e n ts: he had c o n c e rn for |(1) language, (2) c o stu m e s, and (3) production f a c i l it i e s , e sp e c ia lly !c o m m u n icatio n s. His philosophy re g a rd in g change in the pro d u ctio n w as, as he sta te d , "The R am o n a O utdoor P la y h a s re m a in e d e sse n tia lly the s a m e , . . . T h e re have been no b asic ch an g es, n o r could th e re 72 b e ." Although he had o b se rv ed m in o r changes in co stu m in g o ver jthe y e a r s , "the tra d itio n of the play is also its w inning q u ality ," the I I ! d ire c to r com m en ted in explaining th at a change of w ord, a change of 72 F re u d in te rv ie w , S e p te m b e r 16, 1971. in te rp re ta tio n in an o c c a sio n a l line m ay be ad v isa b le , but the c h a rm of the play is in its o ld -fash io n ed feelin g which p e rm its no b asic i ^alteration. | D uring F r e u d 's second te r m w ith the P a g e an t, the B o a rd 's | I p o licies and p ro c e d u re s re m a in e d b a sic a lly the sa m e . The M inutes of i 1 j ithe B oard m eetin g s re fle c t the r e s p e c t the B o ard held fo r h im , and h is j ‘ I d e p a rtu re fro m th e play was o ccasio n ed by changes in his statu s at j j UCLA r a th e r th an by any difficulties with the B o ard . M ilton N im s 1 | jre m a in e d as m a n a g e r th ro u g h the d u ratio n of his s e rv ic e in F r e u d 's j ; i |tim e, and W illard C ouncilm an began his m a n a g e rsh ip at the beginning j > | of F r e u d 's la s t y e a r with the P ag ean t. On the B o ard , only John F a u ll j ; 1 ■ was left of the o rig in a l H o lm e -p e rio d m en. J a m e s G ill, J r . , had j begun to a c q u ire tra d itio n a l sta tu s , as had W illiam W atson and W alter : 73 , L y ell, but about h alf of the B o ard w as re la tiv e ly new. i • At the B o ard m e etin g on May 17, 1954, follow ing the 1954 p r o duction, F re u d in d icated to the B oard that he thought action should be begun e a r lie r to stim u la te in te r e s t in try o u ts . He w ished to p re v en t a re p e titio n of having p a rts with no ap p lic a n ts. He also reco m m en d ed | (hiring two g e n e ra l u n d e rstu d ie s to c o v e r all p a r ts . F in a lly , he thought i jthat the fie s ta scen e could stand an o th er five m in u te s, it w as th a t iim p o rtan t to the whole show. At the Ja n u a ry 17, 1955, m eetin g , the i |-------------------------------- ■ 73 | See A ppendix H. j ' 362 i i ‘B o ard ap p ro v ed h irin g two p ro fe s sio n a l u n d e rstu d ie s. I As noted in the M inutes of the B o ard fo r M a rc h 21, 1955, two | w o m en 's clubs se n t le tte rs to the B o ard re q u e stin g that a m e m b e r from jtheir clubs be se a te d on the B o ard of D ire c to rs . The B oard se n t le t- iters thanking th em and including the p ro c e d u re fo r electio n of d ire c to rs 74 ! ;to the P a g e a n t. i T hat y e a r , an E v alu a tio n D in n er was held on June 2 a t the V os- I ' i b u rg H otel in San Jacin to ; this b ec a m e a tra d itio n a l fe a tu re , and a ; I I | ’valuable one. It was attended by c o m m itte e c h a irm e n , c a s t and staff j ! i ;r e p re s e n ta tiv e s , and the d ire c to r(s ). The 1955 E v alu atio n C o m m ittee j m ad e re c o m m e n d a tio n s at the June 28 B o ard m eetin g . G r e a te r need j ; I ex iste d fo r a c e n tra l au th o rity fo r the v ario u s groups of the c a s t. A j ! I m e e tin g of the c h o ru s and o th e r groups should be called p r io r to the | show to explain th e a tr ic a l d iscip lin e; applied to th is was the need to i linculcate g r e a te r r e s p e c t for the p ro d u ctio n and fo r the whole concept I of the P a g e a n t. Som e of the c o stu m e s w e re too m o d ern ; th e re should ,be a r e tu r n to the m o re tra d itio n a l "S panish" type. I C o n sid e ra tio n of a sound a m p lificatio n s y s te m , to be u sed on a t r i a l b a s is a t b a c c a la u re a te and co m m e n c e m e n t e x e r c is e , and at one Bowl m u sic p ro g ra m th at y e a r, w as the im p o rta n t item a t the B oard ! P e rio d ic a lly , su g g estio n s w e re m ade to the B oard to change ithe m ethod of re p re s e n ta tio n , o r the m ethod of electio n , o r the n a tu re jof re p re s e n ta tiv e s . N atu rally , nothing was done. m e e tin g of F e b r u a ry 20, 1956. The B o ard decided to allow the tr i a l , | and to allow the new B oard (the electio n s take p lace a t the end of June) f jto m ak e any d ecisio n on buying equipm ent. At the M ay 21, 1956, {meeting, the m o tio n was p a s se d to dedicate the m u se u m as the R am o n a SBowl M useu m , and to place a plaque in the m u se u m in a p p re c ia tio n of 'John F a u ll, as founder. | A t the F e b ru a ry 18, 1957, m eetin g , P r e s id e n t L y ell re p o rte d th a t he had appointed a c o m m itte e to study the s c rip t and "p ass on" ! 75 |the changes th at D ire c to r F re u d was m aking in the s c rip t. A t the S ep tem b er 21, 1957, m eetin g , the C h a m b e rs of C o m m e r c e re tu rn e d fo r m o re m o n ey , suggesting th a t a c e r ta in am ount iover the o p eratin g b asis be sp lit betw een the two C h a m b e rs . The B o ard explained th e ir d ifficu lties, and a g re e d to send a re p re s e n ta tiv e I to the C h a m b e rs to explain why they could not do th is. On N o v em b er i 118, 1957, w ith the P ag ean t s e a so n upcom ing, the m a n a g e r a sk ed fo r policy on p aym ent of local le a d s . A m otion was m ad e by D ire c to r iHofman, and p a s se d , that if the lead was lo cal, th e re would be no ;re m u n e ra tio n ; if "o u tsid e," then th e re would be pay. At the D e ce m b e r ! 16, 1957, m eetin g , the B o ard m oved to place a copy of the novel I 1 75 At the A ugust 20, 1956 m eetin g , F re u d had re c o m m e n d e d jthat the f i r s t a c t be speeded up, th a t the E x p o sito r be bro u g h t back, th a t d r e s s r e h e a r s a l be held a w eek e a r lie r , in addition to the r e g u la rly scheduled one, and th at it be a clo se d r e h e a r s a l. He then p ro - jceeded on his r e -w r ite . -------------------------------------------------------------------------------------------------------------------------------- iR am o n a in each of the two V alley lib r a r ie s and one in the C h ristia n I S cien ce C hurch, as a m e m o ria l to John F au ll; also to d ra ft a reso lu tio n I i of a p p re c ia tio n to John F a u ll. The la tte r w as a cco m p lish e d a t the n ex t m e etin g on J a n u a ry 20, 1958. I | At the B o ard m eetin g of June 24, 1958, a n u m b e r of suggestionsj j ;w ere m ade re g a rd in g the " ro c k In d ia n s." This la rg e group of high j ^school boys h a s , sin ce the incep tio n of the group into the play, been the so u rc e of y e a rly co n c e rn , o r p e rh a p s m o re aptly, m in o r irrita tio n . jThey ap p e ar only tw ice, b rie fly , in the show , and m u s t w e a r full body j I I m ak eu p . B etw een th e ir two a p p e a ra n c e s , th e re is a long w ait (alm o st i i | the co m p lete second half of the show), d u rin g w hich tim e they m u s t j i . j j Ire m a in hidden, cro u ch ed behind th e ir individual ro ck s on the h illsid e . A hot (or cold, depending on the w e a th e r), m e s s y , and u n co m fo rtab le jo b . They a r e young, e x u b eran t, and tend to get b o re d by the long |w aits betw een th e ir a p p e a ra n c e s . C onsequently, the p e rp e tu a l p ro b - i le m s: How to k eep th em quiet, how to k eep them c o m fo rta b le , and how to in s u re th e ir atten d an ce. I A t the s a m e B o ard m e e tin g , M r. F re u d put fo rth the su g g estio n jthat the play needed m o re r e -w r itin g , not to change the s to ry but to 'p ro v id e m o re b re a k s in the f i r s t a c t and p erh ap s to s h o rte n it som e. j iHe also su g g ested th at help be b ro u g h t in to plan co stu m in g fo r au th en t i c s ty le s , c o lo r co m b in atio n s, and o th e r d e ta ils. 365 At the ele c tio n of o ffic e rs and the se a tin g of new B oard m e m - Ibers on Ju n e 24, 1958, M rs. K athleen G ilm an joined the B oard, to i i jserve for eig h t y e a r s . She was the second w om an to s e rv e on the jB oard, the f i r s t having been M rs . Ja n e Clow (nee V osburg) who j 76 ^ e r v e d d u rin g the w ar. i ■ ! i ! A cco rd in g to the M inutes of the B oard m eetin g on S ep tem b er 15^ i i ! 1958, the plaque fo r John F a u ll was rea d y fo r fra m in g . At the sa m e j i ! ; I B o ard m e etin g , the policy fo r life p a s s e s was e sta b lish e d : The h o ld e r i ; ! jwas g ra n te d two p a s s e s to the P a g e a n t y e a rly , the p riv ile g e to te r m i - ; I > i I inate upon the d eath of the h o ld e r. M edallions fo r fifte e n - and tw enty- j lyear s e rv ic e , not n e c e s s a r ily co n se c u tiv e , w e re also approved. j 1 "Social eq u ality " w as finally b ro u g h t to the "In d ian s" at the j j ; J a n u a ry 19, 1959, m eetin g when the B o ard a g re e d to pay the d ire c to r i I of the Indian d ances the s a m e s a la ry it paid the d ire c to rs of the ch o ru s 77 and S panish d a n c e rs ! At the B o ard m e e tin g of D e c e m b e r 21, 1959, it was re p o rte d th a t M r. P o o rm a n was in the h o sp ita l fo r m a jo r s u rg e ry ; the B oard |in s tru c te d the g e n e ra l m a n a g e r to send a plant. ' See A ppendix H. ; 77 j T ra d itio n a lly , the f i r s t act was of h ig h e r " so c ia l s ta tu s " than I the second; the " S p a n is h " --e s p e c ia lly the w o m e n --w e re Mhigher" than I the Indians o r the W hites (A u th o r's o b se rv a tio n ; also in terv iew with | Ann P u lle n , July 5, 1972, and G eorge G erw ing, July 19, 1972). 3 6 6 The m eetin g of O cto b er 17, I960 co v e re d a n u m b er of im p o rta n t l iitem s. To begin, th e re w as a d isc u ssio n co n cern in g the se le c tio n of i I Ithe le a d s. M rs . G ilm an re p o rte d the c a stin g c o m m ittee re c o m - I jm ended signing J a r a , but holding open try o u ts fo r R am ona. T h ere was 'm uch d isc u ssio n o v er the f a irn e s s of such a p ro c e d u re . F in a lly , a fte r i s e v e ra l atte m p ts a t v ario u s so lu tio n s, the B o ard voted to sign J a r a andj j ! (M iss D aniels. Then the c h o ru s d ire c to r spoke of his p ro b le m s; he j thought that the ch o ru s w as of l e s s e r quality th an th a t of the d ra m a . I !He defined one m a in so u rc e of the difficulty as the la rg e n u m b e r in the j i I c h o ru s who w e re beyond the age of u s e fu ln e s s, in re g a rd to the de- j m an d s of the m u sic . He re q u e ste d th a t the S p an ish c h ild re n be selected^ Ion the b asis of ability; he w anted b e tte r co m m u n icatio n b etw een d i r e c t o r s , and he thought that the in stru m e n ta l m u sic could be m uch b e tte r. And he wanted to be co n su lted on s p e c ia l m u sic. At the m e e tin g of O cto b er 16, 1961, the B o ard re g re tfu lly h e a rd news of the death of J. H ow ard Jo h n so n , and o ffered condolences and a re so lu tio n in the m in u te s. M rs . John so n continued the w ork of jh er husband. The M inutes of the B o ard m eetin g of F e b r u a ry 19, 1962, I j again m a rk e d the death of a p e rso n long a s so c ia te d with the P ag ean t, iand of g re a t im p o rta n c e to it. Next to G arn et H olm e and V ictor J o ry , j iEd P o o rm a n was as m uch th e P a g e a n t as anyone, and m o re than any I o th e rs , fro m an a ll-a ro u n d fra m e of re fe re n c e . D ire c to r Jeff Divine su g g ested a fittin g a trib u te , and the C h a ir ask ed h im and the publicity 367 co m m itte e to a r r iv e at a su itab le trib u te . | In 1963, the r e s u lts of the E valu atio n D in n er m e e tin g w ere ■reported a t a s p e c ia l m e etin g of the B o ard on June 6. The c a s t r e c - 1 jom m ended (through th e ir re p re s e n ta tiv e s ) that all speaking p a r ts , no j J 'm a tte r how s m a ll, should be chosen by the judges and the d ire c to r. | 1 ! I New m e m b e rs should g et th e ir blocking fro m the d ir e c to r , not fro m I l 1 "aid" c a s t m e m b e r s . A bility, not so c ia l standing, should g o v ern ! I choice of c o m m itte e h e a d s. And th e re w as the u su al bem oaning of the | : I llack of com m unity in te r e s t and s p irit. P e rh a p s d is tr e s s e d by th o se ' j . . . . | ico m m en ts, the B o ard held a d isc u ssio n at its m e e tin g on July 15, 1963, and the p re s id e n t was co n cern ed to find a so lu tio n to the lack of j : i !com m unity in te r e s t in both the P a g e a n t and in the F i r s t N ighter j 1 ! 'D in n er. In N o v em b er, the B o ard again had the d is tr e s s of losin g a { j valuable frie n d and a d m in is tr a to r with the death of M ilton N im s. At i !the D e c e m b e r 9» 1963, m e e tin g , W illard C ouncilm an, a f o r m e r B oard p re sid e n t, w as m a d e g e n e ra l m a n a g e r. He has re m a in e d as such ; since. A t the m e e tin g of the B o ard on M ay 18, 1964, a le tte r of I 1 re sig n a tio n in fo rm ed the B o ard th at D ire c to r R alph F re u d would be unable to d ir e c t the P a g e a n t the follow ing y e a r b e c a u se of added duties ! at the U n iv ersity . W ith th at, M r. F r e u d 's second d ire c to rs h ip offi- j | cially ended, although he has been a continuing frie n d and c o n su ltan t j to the P ag ean t. n 368 D uring his elev en y e a rs as stag e d ir e c to r , F re u d w as re s p o n - jsible fo r m an y of the Bowl and p ro d u ctio n im p ro v e m e n ts , and m any I o th e rs w ere m ad e in the c o u rs e of th o se y e a rs as the au d ien ces and leasts in c re a s e d o v e r the se a so n s . Am ong the m o re im p o rta n t ad d i- ! I tions and ch an g es th at F re u d in itia te d w e re the ren o v atio n and addition 78 79 I iof fa lse ro c k s; the d ev elo p m en t of the c a s t s h e lte r; and fin ally the j i 80 ; p u rc h a se and d esig n of the little th e a tre building. The o th e r im - | l j p ro v e m e n ts w e re g e n e ra lly in co n n ectio n w ith audience c o m fo rt, such ! ; i las im p ro v in g the p ark in g fa c ilitie s and the se a tin g con d itio n s. A lso, ; i ! w o rk was done to w ard e sta b lish in g the m u se u m . F re u d was also the j 81 f i r s t to u se sound, both b ac k sta g e and fo r the b en efit of the au d ien ce. I F r e u d in te rv ie w , S ep tem b e r 16, 1971. W hen a sk ed w hat ; im p ro v e m e n ts he had m ad e in p ro d u ctio n , F re u d d e s c rib e d , am ong i o th e r th in g s, " . . . the building of the new fa ls e ro c k s. You s e e , I ! designed th o se big c o n c re te ro c k s, b e c a u se you know w hen you played : it, those w e re all canvas r o c k s ." 79 ! Ibid. C ontinuing his acco u n t of the changes he had m a d e , F re u d said , "I got the id e a of a place fo r the c a s t to s it, behind so m e kind of e n c lo s u re th a t would keep th em u n d er so m e c o n tro l." 80 Ibid. C o n cern in g the little th e a tr e , he re c a lle d : "The o th e r > thing I did w as the s ta r t of the little th e a tre g roup, w hich is re a lly a I p a r t of the P a g e a n t. . . . It feed s the P a g e a n t. . . . The R am ona ! P la y e rs had alw ays e x iste d . They had played in the . . . W om en's j C lubhouse, u n d er te r r ib le co n d itio n s. . . . O bviously, they had to find j so m e p lace, . . . . I p ro p o sed so m e kind of a building, and the B o ard 'w e n t along w ith it, and fin ally bought this little old c h u rc h --m o v e d it up th e re . T hen I designed the re c o n s tru c tio n of it." i g l j °*Ibid. F re u d s a id , "I u sed sound f i r s t . . . about '58 o r '59. I had a m icro p h o n e fo r the N a r r a to r , up on th e h ill, and a lo u d sp e a k e r down in fro n t. It was ju s t fo r n a r ra tio n . But I also u sed m ic ro p h o n e s to pick up th e s h ow, to c a r ry it b a c k s t a g e . " ____________________________ 369 In P ro d u c tio n , th e re w ere so m e changes in m o st of the e le - I m e n ts , as th e r e w ere bound to be o v er a span of elev en y e a r s , and iwith F r e u d 's philosophy th at "a change of w ord, a change of in te r p r e - I i 82 jtation in an o c c asio n a l line m ay be ad v isa b le . . . . " Yet in g e n e ra l | I he held to his thought th a t "the c h a rm of the play is in its old-fashioned| I 83 I ifeeling which p e rm its no b a sic a lte r a tio n s ." In the in te rv iew w ith thej (author, F re u d resp o n d ed to the question of what changes he had m ade I in this second en g ag em en t by answ ering: ' ! ; i ; W ell, I would say the m a jo r changes d uring m y second tim e j w ere so m e lo o sen in g up of the language. A little a tte m p t to m ake ; the c o stu m e s a little c lo s e r to so m e feeling of au th en ticity . You | know, the la ck of c o lo r in the co stu m e s was one of the h o r rib le ' things. We did try to change th at, although we only got so f a r. ■ !As stated e a r lie r in this c h a p te r, G eorge G erw ing, too, had trie d to j jbring m o re c o lo r to the co stu m in g a fte r B e r s s e n had rem o v ed m u ch of I g4 |it in his a tte m p t at "au th en ticity ." I i A gain, b ecau se of the lack of s y ste m a tic filing of s c rip ts each I y e a r , ju s t when F re u d began m o d e rn iz in g the lin es was im p o ssib le to know, a c c u ra te ly . H ow ever, soon a fte r he took o v e r d ire c tio n , he im ust have begun so m e changes in the dialogue of the c h ild re n in the ifirst sc en e , fo r the 1949 s c r ip t shows that opening scen e to have i !_____________________ i 8^S u p ra , p. 364. i 8 3 Ibid. 84 F re u d in te rv ie w , S ep te m b e r 16, 1971. 370 85 86 th irty -tw o lin es; in 1956, it was th irty -fiv e . The n a tu re of the jdifference in lin es in d icated by a ty p ic a l change in the diction; in 1929 j(there se e m e d to be no way of in d icatin g any change e a r l i e r than the jlast y e a r of H o lm e 's sc rip t) the " F i r s t G irl" sa id , in re sp o n se to being I 1 87 isilenced by M a rd a , "We did not think he [F e lip e ] could h e a r u s. In ' l l ! 11956, the sa m e line in re la tiv e ly the sa m e situ a tio n re a d , "Aw M arda--j I I ,,88 ! we w e re ju s t p lay in g ." j Som e tim e a fte r 1956, F re u d added what he te rm e d a "th ro w - i ‘ aw ay scen e. j Then I put in a thing . . . a " th ro w -a w a y " sc e n e , fo r seatin g j late a r r iv a ls . . . about five m in u te s into the show. When the 1 p r ie s t goes down to ta lk to the In d ia n s, I actu ally had h im com e j back with th e m , and th e r e 's a little m o m e n t when he talk s w ith the i Indians down below [on the tra il; the scen e o c c u rs about "down c e n te r," in con v en tio n al te r m s ] , and th a t's a th ro w -aw ay scen e b e cau se i f you d o n 't h e a r it, it d o e s n 't m ak e any d i f f e r e n c e . 89 And in 1961 he added an o th er little sc e n e . It o c c u r re d a t the beginning of S cene th re e , A ct one, and added fo u r c h ild re n , who c am e on c a rry in g 85 S c rip ts of the P ag ean t. 86 87 88 Ibid. Ibid. Ibid. i 89 i F re u d in te rv ie w , S ep te m b e r 16, 1971. This o c c u rs at page 8 |of Act' One, S cene One. M rs. -Gilman thought it dated about I960 (G il- |m an in te rv iew , Ju ly 25, 1972). The se atin g of la te c o m e rs o ffers quite ja p ro b le m a lw ay s, but the P ag ean t h as the ad d itio n al ag g rav atio n in- jc u rre d by the change of tim e fro m S tan d ard to D aylight o c c u rrin g , f r e q u e n tly , at one of the Sunday p e rfo rm a n c e s . A udiences then a r e as jm uch as an h o u r la te . The B oard m in u tes quoted have defined v ario u s iattem p ts m ad e by the P a g ea n t to o v e rc o m e the la te difficu lties. 90 d eco ra tio n s fo r the fie s ta . And in 1957, he re tu rn e d the E x p o s ito r, i 9 1 jwhom G eorge G erw ing had cut. I i In what was a blend of s c r ip t change and staging., F re u d s o m e - i 9 2 jwhat a lte re d G erw in g 1 s finale. i j I "P ro b a b ly I s ta r te d to u se m o re h o rs e m e n in e a r l i e r p o rtio n s 93 iof the th in g --n o t as m uch as Vic la te r , when he cam e back. . . . " i |He su g g ested at the in te rv ie w with h im , th at the au th o r c o n tact M rs. [Kathleen G ilm an, who had been his a s s is ta n t d ir e c to r , beginning in j 1956. She added th a t F r e u d had w orked diligently on c h a r a c te r iz a - 1 ! 94 jtions. In re g a rd to " b u s in e s s ," she r e m e m b e re d that he had cut 95 down on the b e ll-rin g in g w hich denoted the end of e p iso d e s. Also 90 91 S crip ts of the P ag ean t. Ibid. 92 j F re u d in te rv ie w , S e p te m b e r 16, 1971. "I o rig in a te d the c u r t a i n c a ll that I used. Now it's sin c e been m odified so m ew h at. By the [cu rtain call I m ean , at the end of the show, F e lip e and R am o n a a r e up Ion the ro ck , and th en d isa p p e a r, and th a t's the end of the show. . . . INow co m es the p ro b le m of how do you get everybody down out of it. ;. . . W ell, b efo re m y tim e they u sed to w ait a little w hile, and then everybody ra n h ig gledy-piggledy as soon as the show was o v e r. I thought, 'Why not do this in an o rg a n iz e d way, and have a c u rta in call?' iSo th en each group took a kind of w alk down and the p o s se c a m e down ;the side of the m ou n tain , and that w as th e ir c u rta in call. And the jlndians ca m e up again. . . . Now, I fo rg e t how m uch J a r a 's re ta in e d of jthis. H e 's re ta in e d so m e of it." 93 7 Ibid. 94 G ilm an in te rv ie w , July 25, 1972. 572~ j tehe re c a lle d that F re u d had w orked h a rd on the bugle c a lls , getting | authentic c a lls - -f a n f a r e s . When it was difficult to g et b u g lers p r o fic ie n t enough, the c a lls w e re taped. T hese calls w e re u sed at the 9 6 ^beginning of the show and at the beginning of a c ts. | T h e se changes c o v ered the m o re im p o rta n t staging ones m ade during F r e u d 's y e a r s . As fo r co stu m e change, his m ain a tte m p t was 'to get m o re color into the clo th e s. He su cceed ed to so m e ex ten t, and was helped by H ilda J a r a a fte r he su g g ested to the B o ard , on June 24, |l958, th at additional people be consulted on au th en ticity and co lo r of ic os turning. S e v e ra l changes took place in the a r e a of r e h r e a r s a ls ; b ecau se of his teaching schedule at UCLA, F re u d could not re h e a rs e : during the week. The new cu sto m of re h e a rs in g only on w eek en d s, w ith an ex cep - i jtional F rid a y aftern o o n r e h e a r s a l began with him . H e re to fo re the lead i [had r e h e a r s e d during the w eek, beginning about the f ir s t of A p ril, and I (the la rg e groups r e h e a r s e d on th e w eekends. The w eekend r e h e a rs a ls have continued since F re u d in itiated them ; the p e rio d is roughly tw elve I w eeks, the f ir s t activ ity com m encing with try o u ts , u su ally the f ir s t I w eekend in F e b ru a ry and continuing on w eekends through F rid a y , the i 97 jday b efo re opening. 1 96Ibid. 97 W atson and M elba G ilm o re, p e rso n a l in te rv ie w , H em et, Californiaj-'--July 29, 1972. 373 j One of the m o re im p o rta n t c a s t ch an g es was the in tro d u ctio n of p aid u n d e rstu d ie s , a m a tte r w hich had been on the B o a rd 's m ind since I 98 jF eb ru ary of 1953. F re u d , with the B o a rd 's approval, h ire d a m a r - jried couple, both p ro fe ssio n a l a c to r s , and g rad u ate stu d en ts at UCLA. ! i I 99 ■ jA ccording to M rs . G ilm o re , the cu sto m co n tin u es. j ; I ! C o n so lid atio n w as again evident in th o se y e a rs . C o m m en cin g j |in 1952, M a u ric e J a r a played A lessa n d ro fo r fifteen y e a r s - - t h e lo n g est ; j ru n of any A le ssa n d ro in the h isto ry of the P a g ean t. But d uring that! i 101 I jtime th e re w e re six R a m o n a s. D orothy B ailey, who c a m e to the i ! i i I 'P ag ean t fro m UCLA in 1951, played the p a r t fo r seven y e a r s , th rough J | I ;1957. In 1958, S an d ra DuBow, fro m the P a s a d e n a C om m unity P la y - \ ! . h o u se, w as R am ona. In 1959, R aquel T e ja d a , of L a J o lla , played the I 102 lead. F o r the next two y e a r s , Ann D a n ie ls, a coed fro m the USC I i 'D ram a D e p a rtm e n t, played the title ro le . P a m e la G rey, an a c tr e s s |from sta g e and m otion p ic tu re s , s ta r r e d in 1962; and for the nex t j Ithree y e a r s , M a rs h a M oode, an o th er USC g irl, played R am ona. 98 S u p ra, p. 361. 99 G ilm o re in te rv ie w , July 29, 1972. 100,, A _ See A ppendix G. Ibid. ^ ^ M i s s T ejad a w as to becom e R aquel W elch, of m o v ie fam e. S u p p o rtin g ro le s w ere p lay ed by a v a rie ty of lo c a l a c to rs d u rin g F r e u d 's d i r e c t o r s h i p . ^ ^ Som e continuing in th e ir ro le s fo r a n u m b er of y e a r s w e re , notab ly , Ruby H odous who played M a rd a fo r se v e n y e a r s , and Aunt R i fo r a n u m b e r of y e a r s a lso . F a th e r S a lv e d ie r ra w as p lay ed by S h e rm a n L e w is, who began in the p a r t in 1947 and held it th ro u g h 1957. In 1954, W atson G ilm o re b egan his c a r e e r as Ju an C anito, in te rru p te d only fo r one y e a r , in 1958, w hen F r e u d played Ju an and G ilm o re p lay ed F e lip e . G ilm o re h a s continued in the p a r t and grow n into one of the o u tstan d in g p la y e rs in P a g e a n t h is to r y . He has also p lay ed the g r e a te s t v a rie ty of r o l e s - - s i x d iffe re n t c h a r a c t e r s . F an ch o n Jen n in g s b e c a m e the S e n o ra in 1956 and continued th ro u g h the 1968 s e a s o n , sh o rtly b e fo re h e r u n tim ely death. And F e lip e , in 1954, w as H a r ry H ofm ann, a t r a il- c le a r in g Boy Scout of the f i r s t p ro d u ctio n , jWho had done a s tin t as Luigo b e fo re he m o v ed into the F e lip e ro le in i j 1 1940. H ofm ann played F e lip e ag ain in 1956; then the E x p o s ito r in 1957, i , „ 104 jhis la s t y e a r m the P a g e a n t. < j The p rin c ip a ls of the " A m e ric a n o s " had the sa m e re la tiv e inno- I vation and p r e s e r v a tio n . V irg il M addox played E d H a y to n fo r fo u r y e a r s . X 0 3 J See A ppendix G. ! 104 W hen H ofm ann b e ca m e a s s o c ia te d w ith the L os A ngeles ! County F a i r , of w hich F r e d B ru d e rlin (P a g e a n t m a n a g e r in ’48 and ’49); is a s s is ta n t m a n a g e r, he and his fam ily m oved to the C la re m o n t a r e a . ; He w as a fine F e lip e (to m any, the F e lip e ), and m u ch of the joy of the P a g e a n t of th a t e r a was the H ofm anns. © 3T 5 UDusty Bowen b egan his c a r e e r as F a r r a r in 1957 and ex cep t fo r one I y e a r had continued in the ro le to date (1972). John Law tooklthe ro le | jof M orong in 1957, and played the p a rt fo r 10 y e a r s . F e lix U rib e w as !the s o lo is t of the fie s ta and the "S u n rise Song" fo r elev en y e a r s , having i i I ' s ta r te d in 1950. j i ■ j | Since the second y e a r of the P a g e a n t J o se A ria s and his tro u p e j i !of p e r f o r m e r s have fu rn ish e d the m u sic , and m o s t of the so lo ists--b o th j I } dance and s o n g --o f the fie s ta . As J o ry w as the P a g e a n t, so in h is way,1 ; i jwas J o s e . As M elba G ilm o re (M rs. W atson G ilm ore) re m a rk e d , "B ut J i i | | iyou r e m e m b e r how we used to r e h e a r s e w ith the c h o ru s with no m u sic j ' i - - j u s t the c h o r u s - -a n d it w as ju s t 'b la h !' J o s e got th e re and it ju s t j 105 'bloom ed !" M uch of the joy of the P a g e a n t c a m e also fro m J o se and i ; i all the "fa m ily ." I In the c r itic a l a s p e c ts of the n e w sp a p e r co v e ra g e d u rin g th is I I jp e rio d , the fa c to r of the rev iew s w as p r e s e r v e d , but innovation was the j 'key w ord as f a r as the rev iew in g p e rso n n e l w as c o n c e rn ed . In the j elev en y e a r s , only one m an co v e re d the show tw ic e --o n c e as A rth u r I Ryon (1956)10^ and ag ain as A rt Ryon (1959).107 One rev iew was j ^ ^ G i l m o r e in te rv ie w , Ju ly 29, 1972. ^ ^ A r t h u r Ryon, "4500 Applaud 'R a m o n a j' " Los A ngeles T im e s , A p ril 22, 1956, s e c . A, p. 2. 107 A rt Ryon, "C row d T u rn ed Away as R am ona O pens Its 32nd •Season in-H em at,iL Los_A ngeles J im e & ,.^p.r_il..l9.t_19i>5i-P a r t I, p. 3. 376 "b y -lin e d " "E x clu siv e to The T im e s fro m a Staff W r ite r," and one i . . 109 c a r r ie d no "b y -lin e " a t all. i j T h e re w as a re fre s h in g s a m e n e ss about the re v ie w s. In ad d i- i jtion to m entioning th e p e r f o r m e r s and the atten d an ce, w hich the g r e a t | j 'm ajo rity did, m o s t of the a r tic le s m en tio n ed so m eth in g of the sto ry and; i j ja good d eal about the sc e n e ry . | i j 1 i A v a rie ty of w ritin g ta le n t re p o rte d the v a rie ty of p e rfo rm in g j | talen t. Gene B lake, 1954 c r itic , w as o b s e rv a n t enough to no tice m i s - | ! ! icues and w as able to d e s c rib e th em . One w as: ; ! I j And h o rs e m e n p e rc h e d high atop the peaks rin g in g the bowl, j who w e re to sig n a l the s ta r t of the fie s ta w ith th e ir re v o lv e rs , 1 w ere guilty of bad tim in g . They fire d th e ir volley in the m id s t of j the f i r s t te n d e r love scen e b etw een R am o n a and A l e s s a n d r o . I T h e re was no ap p re c ia b le change in pu b licity d u rin g F r e u d 's le ra ex cep t for the deaths of two o ld - tim e r s , J. H ow ard Jo h n so n and i ;Bob F in ch . H ow ever, in the c a s e of Jo h n so n , his wife continued, and j s till continues, the rad io and te le v isio n a d v e rtisin g and publicity. A fter F in c h died, h is w ork was c a r r ie d on by H al W iener. 108 "R a m o n a 's 37th S eason Given A usp icio u s S ta r t," Los A nge- jles T im e s, A p ril 19i 1964, sec. C, p. 9. i . . . . . . . . . . . . . . . . . . . . . ; J i nd L | "C ap acity Crow d S ees R am o n a P la y O pening," Los A ngeles j T im e s , A p ril 21, 1963, sec. C, p. 2. | ^ ^ G e n e B lake, "4251 A ttend Opening of R am o n a O utdoor P la y ,' [Los A ngeles T im e s, A p ril 25, 1954, P a r t IA, p. 4. 377 In addition to the tre n d noted to w ard o ld e r au d ie n ce s, and itoward in c re a s e d audiences fro m the V alley re sid e n ts new ly a r riv e d , i an d th e ir frie n d s and r e la tiv e s , an in c re a s in g n u m b e r of Indian groups I 1 111 |and o rg a n iz a tio n s w ro te o r ca lle d ask in g fo r p a s s e s . And of c o u rse , i j 'the fre e a d m issio n on the opening S atu rd a y to the boys of The Twin j ; j jPines School w as continued. j ■ F in a lly , as noted, the au d ien ces continued to in c r e a s e , and ; « I 112 ! m o re y e a rs b ro k e re c o rd s than did not. I i | I No b e tte r s u m m a ry could be found fo r F r e u d 's second stay with j | ! the P a g e a n t than th a t in the M inutes of the m e etin g of June 30, 1964, , iwhich noted th at the B o ard ask ed h im to re c o m m e n d an o th er d ire c to r I and those of M ay 18, 1964, show ing th at the B o ard voted h im a p p re c i- ' ation and a su itab le token of e s te e m . And V icto r J o ry had this to say of him : They w e re lucky to get a m an like R alph F re u d . . . with an im m e n se b ackground, . . . And fo r th irte e n o r fo u rte e n y e a rs R alph F re u d w as the m an who m o tiv ated and m ad e the d ec isio n s. . . . Now, th is d o e s n 't m e a n th a t in betw een tim e s th e re w e re n 't people like y o u rse lf and th e re w e r e n 't people like H en ry B randon, i and I even w ent back, and a ll of us who co n trib u ted . B ut we w ere no lo n g er th e head. He w as the head. R alph was the head. I ! re m e m b e r I w ent up tw ice and played bits fo r him . **3 | B o ard M inutes of the p erio d . j U 2 See A ppendix A. | H 3 ! J o ry in te rv ie w , A ugust 10, 1970. i 378 1965-1967: V icto r and J e a n J o ry , D ire c to rs At the m ee tin g of N o vem ber 16, 1964, B o ard d ire c to r Ja m e s .Gill, J r . , re p o rte d th a t the c o m m itte e had m e t with V icto r J o ry r e g a rd in g d ire c tio n of the play and th a t he w as e n th u siastic about r e tu r n - ; I ling to d ire c t. A m otion to o ffer him a c o n tra c t was p a sse d , and the j i l Ithird p erio d of co n so lid atio n , in this th ird phase of the P a g e a n t's h is - i !tory, began. : i As in the p a st, h irin g V icto r J o ry to d ire c t m e a n t h irin g both j : i jjo ry s , r e g a r d le s s of how the checks w e re m ade out. T hat was not to 1 say th a t V icto r w as n o t fully the d ire c to r. Je a n was liste d as " A s s is t- j lant D ir e c to r " the f i r s t y e a r of th e ir re tu rn ; as "A sso ciate D ire c to r" ini I i ■ i 11966; and h e r n am e a p p e a re d a fte r V ic to r's as " D ire c to r," on the 1967 ! 114 p ro g ra m . The point w as th a t as fa r as th e ir w ork w ith th e P ag ean t |was c o n c e rn e d , they had alw ays w orked as a te a m , r e g a rd le s s of the (billing. But it w as V icto r who talked w ith the B o ard , on Ja n u a ry 18, i 1965, in d icatin g w hat he intended to do w ith the show. He did not plan :to m ake m any ch a n g es, he told th em . He would like to u se m o re c o lo r, 1 ie sp e c ia lly in the fie s ta sc e n e , and in r e s p e c t to the Spanish d a n c e rs, in : p a r tic u la r. As a re a lis tic touch, he would like the ap p e a ra n ce of food d uring the f ie s ta - - h e would have m en b rin g in d e e r and g am e b ird s , and 1 : such. And he w anted m o re r e h e a r s a ls w ith the p rin c ip a ls . M em b ers P r o g r a m s of the P ag ean t. 379 of the B o ard a g re e d th a t M r. Jo ry w as to have a f re e hand w ith any j (changes he ch o se to m ak e. V ic to r's rep u ta tio n and his p a s t h isto ry i w ith the P a g e a n t (not to fo rg e t the B o a rd 's ex p e rie n c e w ith " o u ts id e rs " i ! 115 jas d ire c to rs ), a s s u re d that. ; i ! ) ! The J o r y s ' fo cu s, th u s, was as it had alw ays been, by the j s • ! (nature of the two p e r s o n s -- c h a r g in g the P a g e a n t with e x c ite m e n t and | i ^ I j icolor, and a sound know ledge of th e ir a rt. j 115 | "V ictor was b o rn at D aw son C ity, in the Yukon T e r r ito r y , jand spent s e v e ra l of his e a rly y e a rs in V ancouver, B r itis h C olum bia. iHis in te r e s t in acting d id n 't ap p e a r until he was attending school in I P a sa d e n a . . . . While s till in his teen s he began his actin g education J at the w ell-know n P a s a d e n a P lay h o u se w h e re , u n d er the d ire c tio n of (G ilm ore B row n, he p e rfo rm e d in o v e r 30 plays. F o r one s e m e s te r he I (attended the U n iv e rsity of C a lifo rn ia and te m p o ra rily gave up acting for a th le tic s, winning both boxing and w re stlin g ch am p io n sh ip s. . . . F o l low ing the reco g n itio n gained in his p o rtra y a l of A le s sa n d ro , J o ry w ent ion to u r in sto ck co m p an ies throughout the United S ta te s, . . . and (sta rre d in such B roadw ay h its as 'T he Two M rs . C a r r o l s ,' 'Henr.y the E ig h th ,' 'A n d ro cles and the L io n ,' 'Y ellow J a c k ,' and m any o th e rs. In im ore re c e n t y e a rs he has s ta r r e d in such n atio n al road show s as 'B ell, IBook, and C an d le,' 'A ngel S tre e t,' 'C at on a Hot Tin R oof,' and 'The B e st M an ,' to nam e a few. His m otion picture, c a r e e r began in 1933. . . . A fter a p p earin g in so m e 80 s h o o t-e m -u p s . . . he was given (m ajor ro le s in o v er 120 film s . Som e of the b e st re m e m b e re d a re I'State F a i r , ' 'S m oky,' 'M id su m m er N ight's D re a m ,' 'L oves of C a r- jm en,' 'Gone With the W ind,' . . . H is a p p e a ra n c e s in rad io and te le v is io n productions a r e so n u m ero u s th a t it would be im p o ssib le to . . . (list th em . . . . Je a n In n ess Jo ry h as a c a r e e r only le s s than V ic to r's |by the ra isin g of two c h ild re n , 'L ittle J e a n ' and Jon. She was g ra d u a te d fro m B ry n M aw r, and studied a t the A m e ric a n A cadem y of D ra - (matic A rt. She was playing in sto c k in D en v er, C o lo rad o , w hen she land V ictor m et; he had joined the com pany as leading m an. She, too, ihas played on B roadw ay, h as w orked ex ten siv e ly in film s and te le vision, and h as d ire c te d a nu m b er of productions at the P a s a d e n a P la y house, and s ta r r e d in plays th e re . " (Kay In g ra m , "The V icto r J o ry 'S to r y ," The H em et N ew s, R am ona P la y E d itio n , A p ril 23, 1965, p. 8. ) Jgu_ _ . The 1965 P a g e a n t was v e ry su c c e ss fu l, and the B o ard m e t in a | s p e c ia l s e s s io n on May 8, 1965, to d isc u ss asking V ictor back, which it voted to d o --th e p re s id e n t and g e n e ra l m a n a g e r to p r e s e n t the in v ita - ! i tion. At the follow ing m e e tin g on M ay 17, the r e p o rt was m ad e th a t V ic to r w as v e ry happy at being ask ed to re tu rn , and th at he had ask ed j , | fo r open try o u ts fo r the R am o n a ro le in th at com ing se a so n . B ut the j i I jBoard show ed its a w a re n e ss of its pow er and its w atch fu ln ess, fo r a t aj I i r m e e tin g on N ovem ber 15, 165, it c o r re c te d the m in u tes of the la s t : i m e e tin g to re a d , "The ro le of M a rg a r ita e sta b lish e d all p r e s e n t agreed) >that t h e p a r t c a l l s f o r a m o r e m a t u r e a c t r e s s t h a n t h e m a j o r i t y o f ' I ' g irls who have trie d fo r the ro le in the p a s t, and no re m u n e ra tio n | ! I jshould be paid fo r this p a r tic u la r p a r t." I | i | T he m a tte r of a sound am p lific a tio n s y ste m cam e up fo r e a r n e s t i ,'discussion on M a rc h 15, 1966, and it w as a g re e d to le a s e the eq u ip m e n t fro m the telephone com pany fo r five y e a r s at a m onthly re n ta l of I $158 and an in sta lla tio n fee of $1,850. On M ay 15, 1966, the B o ard [agreed th a t the a m p lificatio n equipm ent w as fo r u se in the P a g e a n t i jO nly. ! The E valu atio n D in n er of May 20, 1966 (re c o rd e d in the B oard j jm inutes of th at date), b ro u g h t m u ch p r a is e fo r the J o r y s , e sp e c ia lly j ! be cau se the c a s t thought th a t the changes m ade gave the play m o re i continuity. M abel H ight co m m en ted th a t she had not h e a rd any c r i t i c i s m s of the c o stu m e s (changes w ere m ad e), ex cep t th at people did | 3~8T“ Lot lik e the w hite co stu m e of A lessa n d r o . H er own com p lain t w as that I the c a s t should not be allow ed to d ictate w hat was to be w orn. V ictor w as happy, but planned m o re co stu m e changes fo r the nex t y e a r; he w anted a s tr e a m of running w a te r, A le ssa n d ro to com e up o v er the j : j m ountain when he re tu rn e d fro m T e m e cu la, changes in the " A ris e . . . " j ' j isong, a lte ra tio n s on the ra n c h h o u se, p o sse in c re a s e d in n u m b e r and j i ! I j 'p a rticip atio n in the play, m o re "ro c k In d ia n s" on the sk y lin e, and so i fo rth . | I T h e re w as a r e p o r t on the p r o g re s s of the sound situ atio n , at j the S e p te m b e r 19, 1966, m eetin g . L o g ically , the B oard began to d is - j I c u ss ra is in g p ric e s of s e a ts , sin ce with sound, a ll s e a ts would be i i " i !b e tte r--s o m e m a rk e d ly so. On F e b r u a ry 16, 1967, the B o ard r e - 1 ! I v e rs e d its policy of n o t paying lo cal people, even if they w e re leads; i ja le a d --R a m o n a o r A le s s a n d ro --w a s to be paid, r e g a r d le s s . W ith an o th er su c c e ss fu l s e a so n behind th em , the B o ard voted at I the June 27, 1967, m e e tin g to c o n tact J e a n In n ess (Jory) re g a rd in g d ire c tin g in 1968. I j And at th a t m e e tin g , G en e ra l M an ag er C ouncilm an su g g ested the i Inext y e a r 's P a g e a n t be the la s t w eekend in A p ril and the f i r s t two in | !May, to obtain w a r m e r w ea th er. The B o ard voted to m ak e the change. M able H ight, head of the c o stu m e c o m m itte e , c am e to the 'm eeting on July 17, 1967, w ith s e v e ra l p ro b le m s; (1) h e r au th o rity i |was not reco g n ized to the ex te n t th at she could function efficiently; i(2) suddenly the au th en ticity of c o stu m e s n e v e r b efore questioned was doubted; (3) at the la s t m in u te, dem ands w e re m ad e fo r additional c o s - l to m e s , w ith in su ffic ie n t tim e in w hich to m ake them ; and (4) the P a g - Jeant should adopt so m e one re fe re n c e s o u rc e by w hich to au th en ticate 1 j I ;c o s tu m e s --h e rs was E a rly C a lifo rn ia C o stu m e s, w hich c o v e re d the ] I i jperiod fro m 1776 to 1850. A fter d isc u ssio n , it was ag re e d th a t the [ i ! ! t jd irec to r should have c e rta in fre e d o m s , but th a t he should not change j 1 i things too d ra stic a lly . ! | j J e a n Inness re p lie d to the B o a rd 's p ro p o sal to d ire c t in 1968, jand h e r le tte r was re a d at the B oard m eetin g on S e p te m b er 21, 1967. j A fter a d isc u ssio n , the B oard voted to se ek an o th er d ire cto r, b ecau se itj i | ’thought th at In n e ss' stip u latio n th at the P a g e a n t be put on a m o re j 116 p ro fe ssio n a l b a sis w as un su ited to the P a g ea n t. I T hat ended the second J o ry p e rio d of activ e, o r im m e d ia te , influence in the o p e ra tio n of the P a g e a n t. W hether th e re w ill be a I th ird re m a in s to be seen. D uring the J o r y s ' th re e y e a r s , the Bowl and p ro d u ctio n im - I Iprovem ents w ere divided am ong, g e n e ra lly , th re e c a te g o rie s . F i r s t , I In in te rv ie w s with v ario u s c a s t m e m b e r s , the au th o r 'gained the u n d erstan d in g th at what M rs . J o ry intended was to in c re a s e ’ the a r tis tic d iscip lin e of the p roduction th ro u g h m o re ded icatio n to c a re fu l r e h e a r s a l and g r e a te r devotion to the P a g e a n t and its istan d ard s. 383 iie r e w e re ite m s re la tin g to th e au d ien ce, such as n u m b e r of additional j s e a ts and an additional w all. T h e se w e re d e s c rib e d in The H em et I ------------------- News: j t ! L a s t y e a r [1966] 545 ad d itio n al s e a ts w ere built in the old : p h o to g ra p h e r's se c tio n n ex t to the f i r s t aid building and d ire c tly j ! in f ro n t of the ra n c h h o u se. And 100 m o re s e a ts w e re c o n stru c te d | at the r e a r of the bow l, n e a r the m u se u m , along w ith a new photo g- j j r a p h e r 's s e c t i o n . i | 1 T h is r a is e d the to tal se a tin g cap acity of the Bowl to 6,012 fo r each j 118 ! p e rfo rm a n c e . A lso , a "40 to 50 bus p arking a r e a " was added, ; j I I j 1 'im m e d ia te ly w e st of G ira rd S tre e t, n e x t to the p e d e s tria n u n d e rp a ss j j j a t the -entrance of the bow l . . . as soon as one bus is full, it can leave: : ! w h e re a s in the p a s t the b u s se s had to w ait until the lead bus w as re a d y j to d e p a r t . T h e auto p ark in g lots w e re also im p ro v ed . I T h e re also w e re im p ro v e m e n ts th a t b en efitted both the audience land the c a s t, such as: 1 1 ‘ O th er im p ro v e m e n ts included the re -r o u tin g of the ra n c h tr a il 1 up the canyon and behind the ra n c h h ouse. F o r m e r ly , fo r those s p e c ta to rs sittin g in fro n t of the ran ch o , the tr a il wound out of sig h t a fte r a few fe e t, but now, v ie w e rs a re able to se e all of the a ctio n on the tr a il. The ra n c h house sh rin e also w as m oved to the e a s t side of the j building so th at it could be view ed by the people sittin g in the fa r I e a s t sectio n . The new s h rin e is m o re in keeping w ith the type of I s h rin e usu ally lo cated at S panish h a cie n d a s. 117 "R am ona O utdoor P la y C om m unity E n te r p r is e ," The H em et ■ N ew s, R am o n a P lay E d itio n , A p ril 21, 1967, p. 28. ! 118t V J I N . . . . Ibid. Ibid. 384 ! The c a s t w aiting a r e a back stag e has been c o m p le tely en clo sed I this y e a r so th at it is so u n d -p ro o f. A flo o r h as also b een laid. F o r m e r ly the w a itin g -a re a had a d ir t flo o r and w as open on th re e sid e s. I I In this c a te g o ry , a new w a te r s y ste m w as added, w hich the a r tic le did i not m ention. N or did it d isc u ss the sound s y s te m , w hich w as u sed in the 1967 production. In the th ird c a te g o ry , a new d ir e c to r 's booth w as i l jco n stru cted behind the se a tin g a re a ; th is allow ed b e tte r v isio n and f a r 121 g r e a te r e a s e of a c c e s s than the f o r m e r booth had p ro v id ed . j ! I T his a r tic le in The H em et News also in clu d ed a note th a t in 1966,] " | as the r e s u lt of the c o s t of th e se im p ro v e m e n ts and of th e ris in g c o s t of) i lall s e r v ic e s , the tic k e t p ric e s had been advanced fo r the f i r s t tim e ] 1 122 I since sh o rtly a fte r W orld W ar II. The J o ry s m ad e m any changes in the p r o d u c tio n - - p rim a r ily two j iin r e s p e c t to the s c rip t. As G erw ing had done in 1951, they cu t the I i jE x p o sito r. But they handled it quite d ifferen tly ; they gave the lines to Ju an C anito, re w ritin g th em , of c o u rs e , to ad ap t to the p e rso n a lity !change. In the play, Ju an thus b ec a m e a s to r y te lle r , as w ell as a 'c h a r a c te r . N ext, the J o ry s re tu rn e d a good d eal of the m o re fo rm a l i j diction. W atson G ilm o re defined the change: ! T h e re w e re no "I d o n 't w anta g o 's " - - i t w as, "I do not w ant to ] go. . . ." T h e re fo r a w hile we w e re m ak in g it fa irly m o d e rn 1 2 ° t u a 1 2 1 t u - a 1 Z Z t u - a Ibid. Ibid. Ibid. 385 . . . lik e, "I d o n 't se e why this has to b e ." Then it's "I do not se e . ! . .. " It gave it m o re of a fla v o r. . . . On the "A m e ric a n " sid e, j no; b u t on the S p an ish -sp e a k in g , we had to put it in. . . . V ictor | J o ry , w hen he cam e back this la s t tim e , s ta rte d it.^ 22 The actin g should be " n a tu ra l," V icto r em p h asiz ed , acco rd in g i jto W atson; "And in ste a d of being so m e lo d ra m a tic , we w e re d ire c te d :to be m o re n a tu ra l. . . . In m y p a rt, p a rtic u la rly [Juan C anito], I used i jto have a frig h t wig and was kind of a clow n, and now I'm m o re of a 'reaso n ab le m a n . " ^ ^ ! T h e re w e re a n u m b e r of staging changes th at the J o ry s m ade. j jln the f i r s t a ct, b efo re the fie s ta , they fufilled the change th at V ictor i 125 |had d is c u s s e d in his in itial ta lk with the B o ard in J a n u a ry . B efo re, ithe people com ing to the fie s ta had sim p ly c o m e --w e a rin g holiday iclothes, but w ithout any o th e r p a r tic u la r ad o rn m en t. V ictor added t (props. As W atson and his wife M elba (who w as stag e m a n a g e r) d e sc rib e d the change: W atson; T h e re w ere f a r m o re p ro p e rtie s . . . when V icto ry Jo ry to o k - - M elba: (in terru p tin g ) Yes ! T h e re w e re p ro p e rtie s fo r e v e r y thing ! W atson: We had sla b s of m e a t! We even had a goat th a t w e'd f r e e z e , and then b rin g it out d uring the w eekend and haul 123 G ilm o re in te rv ie w , July 29, 1972. Ibid. 125o „ Q S u p ra, p. 379. j s r ~ it down the tr a il. . . . Boy! By the end of the p roduction th a t thing was rotten! Talk about s m e lli i M elba: Katy New would h e r d h e r sheep up th e tr a il, a t the begin - | ning of the play, when V ictor was h e r e . *26 t jThe g u e sts b ro u g h t e v ery th in g fro m live fowl to wine kegs to a d e e r i i isuspended fro m a pole c a r r ie d by two m en. The audience re a c tio n has 1 127 jproven the change to have b een a v ery popular one. | L a te r in the show, at the beginning of the th ird a c t, a group of j 'h o rs e m e n com e o v er the top of the m ountain and descend. The d ire c - i i I i 1 jtions in the sc r ip t read: j i j | Scene s ta r ts by h o rs e m e n ap p e a rin g o v er the h ill. F r o m the tim e j the A m e ric a n h o rs e m e n a p p e a r, a steady b ackground d ru m b eat i ac c o m p a n ie s th e ir d e sc e n t, - -a s they re a c h p o sitio n c lo se to ! A le s s a n d r o 's hut a g roup of Indians ap p ear on top of the h ill . . . j J u a n Canito s ta r ts his n a r r a tio n . . . Indians hold p o sitio n until ! ! r id e r s gallop p a s t the ra n c h house. H ayton a p p e a rs f ro m stag e j rig h t . . . t r a il fro m c a s t house . . . rid in g in wagon w ith fam ily . . . wife and child. . . . As Ju an fin ish ed n a r r a tio n and r id e rs | go p a s t rancho h o u se, the d ru m s stop. H ayton d ism o u n ts fro m | the wagon, w alks to m e s a and calls to R am ona. i Jin th is d escrip tio n th ere has b een a change added by the J a r a s, either i in o r a fte r 1968, when M a u ric e began d ire ctin g ; th at is , he added the wife and child. This addition of the h o rse m e n com ing down the m oun- jta in sid e , w atched by the In d ia n s, sym bolizes the w estw ard invasion of the w hite m an , and also m a k e s a v ery effective b it of le g itim a te sp e c ta c le . 126 127 G ilm o re in te rv ie w , Ju ly 29, 1972. Ib id . 128 1971 s c r ip t of the P a g e a n t, I I I - 1 — 1. j 387 i i ! A nother change in the stag in g th at the J o ry s added w as th at at I jOne tim e during th e ir th re e y e a r s , the m a le s o lo is t in the fie s ta rode i jinto the scen e on h o rse b a c k , slid in g off quickly to m ak e a bounding ien tra n ce to his n u m b e r. The sa m e w as trie d one y e a r with the w om an s o lo is t at the fie s ta . | V icto r and J e a n also began to m ake c o stu m e ch an g es, as i 130 'R alph had. C om m enting on th a t a sp e c t of change, M elba G ilm o re said: "E ven th en [1965] it [the change in c o s tu m e s ] w a s n 't as big as when M au ricio and H ilda took o v e r. . . . E v e ry th in g was v e ry , v ery d u ll--th e c o lo rs w e re d u ll--b e fo re they c a m e . Now Vic s ta r te d it, | i 131 ; but he d id n 't have the c o lo rs th a t H ilda and M au ricio have now ." i i W atson added: "T hey w ere ju s t plain c o lo rs. The A m e ric a n c o stu m e s j as w ell as the S p an ish c o s tu m e s , w e re the sa m e . . . th e re w a s n 't thatj ! 132 I m u ch d iffe re n tia tio n fro m the M ex ican o r C a lifo rn ia n o -ty p e d r e s s ." In addition to the change of lo catio n given the s h rin e , w hich was j m en tio n ed in the a r tic le in The H e m et News d e s c rib in g the changes in 133 the Bowl and in the p roduction, the bow er, o r a r b o r known by the ic a s t as the " R a m a d a ," was m oved so m ew h at u p stag e fro m its p rev io u s i position. As W illard C ouncilm an explained the change, "They m oved 129 G ilm o re in terv ie w , July 29, 1972. Ibid. Ibid. Ibid. 133 S u p ra, pp. 383-384. 388 the R a m ad a u p stag e b e c au se th e r e se e m e d to be a dead spot w h ere it 134 w as, even w ith the m ic ro p h o n e s." As fo r the c a s t, r e h e a r s a ls , and so fo rth , Vic and Je a n c o n tinued the u n d e rstu d ie s . E ventually they also co n fo rm ed to the h ab it of r e h e a rs in g only on w eekends. H ow ever, they w e re not p leased with th a t a rra n g e m e n t. M elba G ilm o re re c a lle d that Vic s ta rte d out w anting to have the r e h e a r sa ls on E a ste r w eek , "but he couldn't get anybody to 135 do it." N u m erous indications su ch as th at defined what J e a n m ean t when she stip u lated to the Board that she wanted m o re " p r o fessio n a l- 136 ism ," w er e sh e to co m e back. D uring the J o r y p erio d , new fa c e s a p p e a red in som e of the r o le s , and in o th e rs , old standbys continued, notably, of c o u rs e , W atson G ilm o re as Ju an , F an ch o n Jen n in g s as the S en o ra, and D usty 137 Bowen as F a r r a r . F o r two y e a r s , M a u rice J a r a continued to play the ro le of A le s sa n d ro . In 1966, he decided to stop playing; th e n ex t . y e a r F r a n k S o rre llo took o v er the p a rt. He, like M a u ric e , sang as w ell as ac ted , and had an ex ten siv e b ackground in s tra ig h t show s and m u s ic a l com edy. 134 W illard and A rd is C ouncilm an, p e rs o n a l in terv iew , H em et, C a lifo rn ia , July 19, 1972. 135 G ilm o re in te rv ie w , July 29, 1972. 136T ^ Ibid. 137 ___________ See A ppendix G.__________________________________________ _ M a rsh a M oode played R am o n a d u rin g the J o r y s 1 f i r s t y e a r; then jDorothy B ailey re tu rn e d , u sin g h e r m a r r ie d n am e of D orothy B ailey Jvosburg, and played R am ona in 1966 and 1967. j And p re d ic tab ly , the c a s t ju m p ed in n u m b e rs . In 1964, th e re i j l ■had been 317 in the c a st; in 1965, th e re w e re 325. Then th e r e w ere ! j 1 3 8 I |374 in 1966 and 384 in 1967. | 1 The T im e s continued to re v ie w the show , but ju s t b a re ly . In I ! 1 : S ection E of the T im e s Sunday iss u e fo r A p ril 25, 1965, the rev iew I ! 1 I 'ap p eared u n d er the title , "R am o n a P la y Opens 38th S easo n a t H e m e t," ! ' 139 I |in s m a ll c a p ita ls. Am ong o th e r notations w as: ". . . M a rs h a ! ; I M oode, playing the ro le of R am o n a fo r h e r th ird y e a r , and M au ric e j J a r a as A le s s a n d ro ." It w ent on: "V icto r J o ry , who fo r te n y e a rs j play ed the ro le of A le ssa n d ro in the e a rly days of the play, is re sp o n - I jsible fo r [the] stag in g . . . a s s is te d by his w ife, J e a n Innes [s ic ], who ! jalso ap p eared in the play w ith h im in the 1 9 2 0 's." i 1 In 1966, the P a g e a n t fa re d so m ew h at b e tte r; th a t y e a r it was 140 "F am o u s R am o n a P la y S ta rts 39th S e aso n ." It was s ta ff-w ritte n , and told th a t m o re than 6, 000 atten d ed . It also noted th a t M a u ric e J a r a Iwas p o rtra y in g A le ssa n d ro ag ain , "a v e te ra n of m o re th an 13 y e a rs !in the p a r t." i I ! *^% ee A ppendix E. *~^Los A ngeles T im e s , A p ril 25, 1965, sec. E , p. 14. 140 Los A ngeles T im e s , A p ril 17, 1966, s e c. B, p. 11.__________ | T h e re was no change in the b a sic publicity policy o r p ro c e d u re du rin g th o se y e a r s . i j B ut th e re w as an innovation in the au d ien ce. A cco rd in g to the i M inutes of the B o ard m ee tin g on June 16, 1956, R alph F re u d had su g - I g e ste d th a t the lo cal schools be co n tacted about settin g up so m e kind of jcourse in P a g e a n t h is to ry , as a p a r t of C a lifo rn ia h isto ry . W hether j I •Alice C utting, a te a c h e r a t the San Jacin to E le m e n ta ry S chool, knew F re u d and had h e a rd fro m h im of his id e a , o r w hether she conceived i jthe id ea on h e r own, she did w rite to the B o ard of the P ag e an t suggest-1 i i i i ing th at sin ce the fo u rth - g ra d e r s w ere studying C a lifo rn ia h is to ry , it | ; i i would be a n ice thing if the P a g e a n t allow ed th em to see a d r e s s r e - : I h e a r s a l f r e e of c h a rg e . The B o ard a g re e d . A p p aren tly this began in 1965, fo r a t the B o ard m e e tin g on J a n u a ry 17, 1966, J o ry told the i |B oard th a t he would be "happy" to have the fo u rth g ra d e , the c rip p le d jchildren, and so fo rth , atten d his d r e s s r e h e a r s a l. A cco rd in g to G en- ] ,e ra l M an ag er C ouncilm an, th e re w as su ch dem and to attend am ong the fo u rth g ra d e s in the g e n e ra l a r e a th a t the c o u rte sy fin ally had to be [lim ited to the f o u rth - g ra d e r s in the V alley. i C on so lid atio n is the te r m th a t d e s c rib e s the J o r y s 1 d ire c to rs h ip | 'Both p r e s e rv a tio n and innovation c h a r a c te r iz e d th e ir w ork. B ec au se I I 'of the th e a tric a lity and in ten sity of the J o ry s , the p e rio d s of th e ir I 141 C ouncilm an in terv iew , July 19, 1972. 391 a s so c ia tio n w ith the P a g e a n t w e re m o d els fo r the study of the stre n g th s land w e a k n e sse s of the P a g e a n t--a n d indeed, of outdoor d r a m a as it t Iseem ed to be in this second h alf of the tw entieth cen tu ry . With the iJo ry s, the s tre n g th s and w e a k n e sse s w ere alw ays in ten sified . They did not c o n trib u te w eak n ess; th e ir s tre n g th b ro u g h t out the w e a k n e sse s |of o th e r s , but a lso the s tre n g th s. Although it so m e tim e s se e m e d that I the J o ry s did not win in th e ir d iffe re n c e s w ith the B o ard , and although th ey tw ice left th e P a g e a n t, y e t the P a g e a n t w as the s tr o n g e r both tim e s !for th e ir having w orked w ith it. And in an iro n ic way, sin c e th e ir ; ! I igoal h as alw ays been the good of the show, they alw ays "w on." j I T h e ir second y e a r s w e re su c c e ssfu l. The attendance in 1964 j was 36, 702, but th e re was an e x tr a w eekend th a t y e a r b e c a u se of ra in . The f i r s t y e a r of th e ir r e tu r n (1965), the attendance w as 32, 112. I (S ince 1963 was a " n o rm a l" y e a r -~ th a t is , w ithout ra in , the n o rm a l I th re e -w e e k e n d se a so n , and it b ro u g h t 30,668 p e r s o n s - - th e 1965 show i w ith its 32, 112 could be thought to be so m eth in g of a gain o v er 1964. ;In 1966, the show d rew an audience of 35,928. T h ere w e re , h o w ev er, i j 645 ad d itio n al s e a ts ; y e t th a t ad d itio n al audience had to com e fro m I s o m e w h e re , be b ro u g h t by so m eth in g . In 1967, the atten d an ce was 142 3 5 ,0 8 5 , w hich w as "holding." See A ppendix A. jq 2 ~ - | The r e tu rn of the J o ry s stim u la te d com m unity e n th u sia s m , and i jwhile the pow er of le a d e rsh ip re sid e d w ith the B o ard , s till, the J o ry s ied . They led b e c a u se of th e ir know ledge and e x p e rie n c e , th e ir a t t r a c tio n , and th e ir w ork. D uring th e ir y e a r s , the stre n g th s of the p ro d u c - j !tion w e re m a in tain ed , and the innovation was b ased on sound p rin c ip le s ! j of sp e c ta c le and d ra m a . The additions of the food in the f ie s ta sc e n e , j i ! I j ,the in c re a s e d e ffectiv en ess of the d an c es, the addition of the h o rs e m e n | ' i o v e r the skyline at the beginning of the th ird a c t, and the added c o lo r in jcostum es and b u sin e ss all evoked g r e a te r em o tio n al re sp o n s e in the j 'audience. j l | T h e ir devotion to the good of the show, obtained th ro u g h good i i ■ i g o als, good d iscip lin e, good stag in g , and good d ire c tio n and its r e s u l - j 1 ta n t--g o o d a c tin g - -a ll added to th e s tre n g th of the p ro d u ctio n . i i | And th e ir in sp ira tio n a l le a d e rs h ip was evidenced not only in the 'in c re a s e in the c a s t and the au d ien ce, but also in the t r u s t p laced in i jthem by the o ld e r m e m b e rs of the B oard who w ere in s tru m e n ta l in 143 b rin g in g the J o ry s b a c k --n o ta b ly J a m e s Gill. A lthough V icto r was junable to have the r e h e a r s a l schedule he w anted, th e difficulty lay I I ira th e r in th e n a tu re of the convention of w eekend r e h e a r s a ls th at had i i 144 'developed o v e r the y e a rs th an in his inability to m o tiv ate a c to rs . B o ard m in u te s, N ovem ber 16, 1964 and p e rs o n a l in te rv ie w w ith J a m e s G ill, J r . , H em et, C a lifo rn ia , A ugust, 1971. 144 G ilm o re in te rv ie w , July 29, 1972. 393 The "o ld e r" a c to rs would have a g reed ; it was the "new " people that c re a te d the d ifficu lties. In the in te rv ie w the a u th o r had w ith J e a n and V icto r, the la tte r spoke of an o th e r difficulty: S o m e tim e s head s of v a rio u s groups I found a b so lu tely im p o s sib le to d eal with. A bsolutely im p o ssib le ! T h ey 'd ju s t look at you, stony faced , in the eye, and say , "Oh? W ell, th a t's not the way w e'v e done it b e fo re ." You know ? And th e r e was no way in G od's w orld you could m ove th em . So you could e ith e r go hom e and s o r t of have a fit to y o u rs e lf o r you could fight till you dam ned n e a r had to b re a k th em , w hich is not a n ice thing to do, I'v e d e cided a fte r a lot of y e a r s - - y o u know?145 C e rta in ly one of the Jorys* g re a t stre n g th s is th e ir r e s p e c t fo r ta le n t, fo r o th e r s ' view points (when se n sib le ), and, above a ll, fo r the good of the show. And b ec a u se they do know w hat is b e s t fo r the show, th e ir s tre n g th should be re c o g n iz e d , th e ir f ra m e of re fe re n c e r e sp ected . The m isu n d e rsta n d in g , o r lack of u n d e rsta n d in g , on the p a r t of the B o ard c o n c ern in g J e a n 's re q u e s t fo r m o re " p ro fe s s io n a lis m " was a c a se in point. If c a s t d isc ip lin e and r e s p e c t fo r the show a re lo st, so w ill be the P ag ean t. U n less the people of the P a g e a n t r e s p e c t th e ir re sp o n sib ility to the au d ien ce enough th a t they put in su fficien t r e h e a r s a l to be p re p a re d fo r th a t au d ien ce, they a r e not fulfilling th e ir n a tu ra l o bligations. If one puts on a play fo r an a d m issio n p ric e , one has oblig atio n s. So, u ltim a te ly , the iss u e b e c o m e s one of u n d e rs ta n d ing. S trong p e rs o n a litie s , and th ey a re ab so lu tely n e c e s s a r y to 145 J o ry in terv iew , A ugust 10, 1970.______________________________ 394 s u c c e s s fu l th e a tr e , m u s t be u n d e rsto o d . V icto r w as c ritic iz e d fo r holding r e h e a r s a ls and w orking an uduly long tim e on a scen e involving 146 v e ry few people, keeping the o th e rs w aiting. A c to rs le a r n m uch by w atching o th e r a c to r s , but it ta k e s tim e to le a r n that. A gain, it was a m a tte r of u n d erstan d in g ; but the s tre n g th of le a d e rs h ip is lo st when too m u ch pow er is given fo llo w e rs. 1968-1972: M a u ric e J a r a , D ire c to r M a u ric e J a r a w as the lo g ical d ire c to r fo r the P a g e a n t a fte r the J o ry s left. H is w ife, H ilda, w as the lo g ic a l c o - d ir e c to r . They had b een in th e a tre to g e th e r a t the P a d u a H ills T h e a tre , co m m en cin g in 147 about 1942, a c c o rd in g to an a r tic le in The H e m e t N ew s. T h e ir a c tiv itie s included a n u m b e r of o th e r a s p e c ts of p ro d u ctio n , including s c rip t- w ritin g , p ro d u cin g , and d ire c tin g , as w ell as acting, singing, and dancing. B ut m o re im p o rta n t to the P a g e a n t w e re th e ir fifteen y e a r s ' a s so c ia tio n w ith the P a g e a n t d u rin g the tim e M a u ric e played A le ssa n d ro . In defining th e ir p e rs p e c tiv e on th e ir d ire c tin g , each gave a d iffe re n t a n s w e r, re fle c tin g the p a r tic u la r a r e a each has ch o sen to go v ern . "Do I le t it go a s , say , b ig -p ic tu re e v e n ts - - h is to r ic a l events - - th a t a r e happening, o r do I t r e a t it as a c lo s e -u p d ra m a w here 146 G ilm o re in te rv ie w , Ju ly 29• 1972. 147 The H e m e t N ew s, R am o n a P la y E d itio n , A p ril 26, 1968, p. 6. -------------------------------------------------------------------------------------------------------------------------------- J 9 ^ people get involved . . . e m o tio n ally ? T hat is m y p ro b le m as a d ir e c - 148 to r in the show. I tend to think it is m o re d ra m a than p a g e a n try ." Thus M a u ric e gave his focus. H ilda d ip lo m atically sta te d h e r position: 149 "O ur m a in co n trib u tio n is to try to m ak e it m o re au th en tic. . . ." The B o ard w ith whom the J a r a s w ere to w ork w as m o re new 150 than old. Six m e m b e rs had le ss than five y e a r s ' s e rv ic e ; th re e of th e se had only a y e a r o r le s s , and th re e had s e rv e d fo r fo u r y e a r s . The re m a in in g four c o m p ris e d two w ith elev en y e a rs of s e r v ic e - - H . E. Divine and W illiam Young. Of the re m a in in g two, J a m e s G ill, J r . , had s e rv e d tw enty-one y e a rs and E . B. W estfall fo r sev en . J im G ill w as, as u su a l, t r e a s u r e r . Although he had b een in the V alley sin ce about 1937, he had not com e to the B o ard until 1947. T h u s, none of the " o ld -tim e rs " - -the re a lly o ld -tim e r s - -w e re left. Gill was thus the link betw een the "old" and the "new ." The point of the B o a rd 's re la tiv e s e rv ic e age w as th at, in the opinion of at le a s t so m e of the lo n g -tim e 151 c a s t m e m b e r s , the B o ard had lo st touch with the production. The B o ard talked with the J a r a s a t the m eetin g of S ep tem b er 18, 1967. A fter d isc u ssio n , the B o ard a g re e d th at the fin al p re ro g a tiv e on co stu m in g belonged w ith the d ire c to r, in that it w as h is d e c isio n as to * ^ J a r a in terv iew , July 25, 1972. ^ ^ Ibid. * ^ S e e Appendix H. 151 G ilm o re in terv iew , July 29, 1972. 396 w hether the c o stu m e w as rig h t fo r the c h a r a c te r . The B o ard voted to m ake a c o n tra c t w ith M a u ric e and H ilda. In O cto b er, the B oard a g re e d to allow the J a r a s fin al say on castin g ; the B o ard would back them in w h atev er d e c isio n they m ad e. The J a r a s ask ed fo r the use of 152 "o u tsid e" ju d g e s, w hich the B oard approved. The nex t s e v e ra l m e e tin g s w e re taken up with d isc u ssio n s of p ro b le m s w ith the sound s y ste m . On the agenda fo r F e b r u a ry 19> 1968 was c o rre s p o n d e n c e f ro m A c to r s ' E quity A sso ciatio n ; F r a n k S o re ll was Equity, and the Union would not p e rm it h im to play w ithout a c o n tra c t on the P a g e a n t. A fter d isc u ssio n , the B o ard m oved to ig n o re the ^ 153 c o rre s p o n d e n c e . One of the s u c c e s s e s of the 1968 show, a p p a re n tly , was the v ery sk illfu l m a n n e r in w hich the m ounted s h e riff's p o sse handled two "in e b ria te d young s h e e p s h e a r e r s " d uring the la s t p e rfo rm a n c e . At the May 20, 1968, m e etin g , the B o ard voted a le tte r of co m m en d atio n to the p o s se . At the sa m e m ee tin g , th e re w as a su g g estio n that the stage m a n a g e r be paid; the B o ard " re g re tfu lly " denied the re q u e s t, on the b a sis that once the staff began to be paid, th e re would be no f a ir way to d e te rm in e w hom to pay and w hom not to pay. 152 F o r "new d ir e c to r s ," they se e m e d to g et a good d eal of what they w anted th a t the B o ard had tended to gu ard r a th e r c a re fu lly . But th e re w ere d isc o rd a n t n o tes in the M inutes, h ow ever softly sung. 153 A p p aren tly S o re ll played w ithout E q u ity 's approval; o r he h im se lf m ad e so m e a rra n g e m e n ts with E quity. 397 At the E v a lu a tio n D in n er, the J a r a s ask ed fo r m o re c h ild re n 154 for the nex t y e a r. The " ro c k In d ian s" w anted zip -u p sw eat s h ir ts to w e a r on the cold days. Sound was s till a p ro b le m . A t the B o ard m ee tin g on S e p te m b e r 16, 1968, J a r a su g g ested th at they have open try o u ts fo r R am o n a and the r e s t of the c a st; he w anted to sig n S o re ll, w ith no E quity involvem ent. H ilda ask e d the B oard to buy "authentic d r u m s " th a t could be u sed in sig h t of the a u d i ence, and to begin acq u irin g stuffed a n im a ls that could be u sed in the fie sta sc e n e . On A p ril 12, 1969i the two C h a m b e rs of C o m m e rc e c am e b e fo re the B o ard again, this tim e re q u e stin g an in c r e a s e of 25 p e rc e n t; the B o ard decided to w ait u n til a fte r the P a g e a n t and the P a g e a n t fin a n c ia l r e p o r t w as in. At th is m e e tin g , d ire c to rs of the B oard w ere a ssig n e d p o sitio n s about the Bowl and b a c k sta g e , to "h elp " during p e r fo rm a n c e s. At the M ay 19. 1969, m e e tin g , the C h a m b e rs got th e ir 25 p e rc e n t in c r e a s e . Since the s e a so n w as s u c c e s s fu l, the B o ard voted to pay A le s s a n d ro 's double fo r his b ro k e n foot, in c u rre d d u rin g the f ir s t p e rfo rm a n c e th at y e a r. 154 H eld on M ay 23, 1968. A lthough the P a g e a n t had been a week la te r th an u su a l in opening, as. G e n e ra l M an ag er W illard C o u n c il m an had re q u e ste d a t the B o ard m e e tin g of June 27, 1967, ap p are n tly the w e a th e r w as s till cold. B ut the h e a t soon s e t in, and in 1970, they re tu rn e d to the la s t two w eekends in A p ril and the f i r s t w eekend in | May, as had beco m e tra d itio n a l. 398 At the E v a lu a tio n D inner held on M ay 22, 1969. the ch o ru s d ire c to r, R o b e rt A n d erso n , asked th at the g la ss h o u se, which w as the s h e lte r fo r the c a s t, be fu rth e r soundproofed. He also re q u e ste d " m ic s " fo r back of the big fa lse rock. J a r a sta te d th at he opposed them , as he w anted to c re a te a feelin g of d ista n c e . W atson G ilm ore e x p re ss e d a p p re c ia tio n fo r the J a r a s and re m a rk e d on the c o m p a ti bility of th a t y e a r 's c a st. T h e re w e re objectio n s to doubling in ro le s , for th at doubled the r e h e a r s a ls . (Note the grow ing r e s is ta n c e to r e h e a rsa ls !) The sound was b e tte r, everyone thought. M ore ro o m b a c k stag e was re q u e ste d to allow the a c to rs to m ove about am id the crow d, so they could get n e a r enough to the e n tra n c e s to se e when to e n te r. C la ra W ilhelm flatly sta ted th at the Indian b r a v e s ' ro o m w as too s m a ll fo r 130 boys! They had no p lace to s it down, no ro o m to change; and the boys should take no m o re than two cans of "pop" up 155 the h ill. R o b e rt R e c o rd co m m en ted on the tra n s p o ra tio n ad v an ces. A p e re n n ia l c o m p lain t w as m e n tio n e d --th e audience leaving b efo re the show ended; no solution had e v e r been found. None w as then. A t the B o ard m eetin g of D e c e m b e r 12, 1969» the B oard s e t F e b ru a ry 7 and 8, 1970, as try o u t d a te s, and the tw e n ty -firs t as p ic tu re -ta k in g day. M au rice su g g ested a p ro fe s sio n a l Indian d a n c e r, to 155 One of the o rig in a l P a g e a n t p erso n n el; a tir e le s s and effi cien t w o rk e r--a lw a y s th e re , alw ays c o r r e c t - - th i s fine m an is a p rim e exam ple of w hat h as m ad e the P a g e a n t su c c essfu l: devoted w o rk e rs. 399 up g rad e the c e re m o n y . At the sa m e m e e tin g , it was stated th at the N u trilite C o rp o ra tio n had se t a sid e $12, 500 to aw ait m atch in g funds fo r c o n stru c tio n of the m useum . With P a g e a n t tim e approaching, it w as a p p re c ia tio n tim e ; on M arc h 16, 1970, the B oard ruled th a t the wife of a life -p a s s h o ld er would in h e rit h is p a s s . J im Gill su g g ested th a t plaques co m p a rab le to the P r e s i d e n t s ' plaques be p re p a re d fo r the m u se u m , with the n am es of c o m m ittee c h a irm e n with fifteen o r m o re y e a r s ' s e rv ic e . T h at su g g estio n w as m o v ed and c a r rie d . A lso, the B oard m oved to lig h t the audience a r e a of the Bowl, and it s e t M ay 14 as E valu atio n D inner date On M ay 18, 1970, the B o ard re c e iv e d its u su a l re q u e st fro m the C h am b ers of C o m m e rc e . B onuses w ere d isc u s s e d . G e n e ral M an a g e r C ouncilm an re p o rte d he had su c c e e d e d in reducing the p ro p e rty tax in c re a s e th a t had been levied on the Bowl p ro p e rty . At the E v a lu a tio n D inner of M ay 14, 1970, it w as stated th a t the "good c o o p e ra tio n and m o ra le of the c a s t [w as] due to w onderful d i r e c tion, and 'R am o n a' " (Dorothy B ailey V osburg re tu rn e d th at y e a r. ) Coffee fo r r e h e a r s a ls was req u ested ; and d e e p e r holes fo r the "ro c k In d ia n s." A lso, the new m akeup s tre a k e d . M a u ric e re p o rte d th a t he w as happy about th e show, but he q u estio n ed the ad v isab ility of holding up s ta rtin g tim e fo r la te c o m e rs . P r e s id e n t B igelow co m p lim en ted the J a r a s , in th at th e ir attitude re fle c te d down th ro u g h the c a s t and crew . M a u ric e asked h e lp in keeping the c a s t fro m m ixing with the audience 400 at in te rm is s io n s and d uring the play. A t the N o vem ber 16, 1970, m eetin g , auditions w e re s e t fo r F e b r u a ry 6 and 7, 1971, and the p ic tu re -ta k in g fo r the tw entieth. At the m ee tin g of J a n u a ry 15, 1971, J a r a announced the judges: M r. H oyos, M r. L u m m is, and M r. N ations. The United Fund re q u e ste d p e rm is s io n to s e ll tic k e ts to a d r e s s r e h e a r s a l. The B o ard appointed a co m m itte e to d isc u ss th a t idea. D ire c to r R eg u r su g g ested c a rp e tin g the m ain a is le s . The A p p reciatio n P a r ty was s e t fo r June 5, 1971; the E v a lu atio n D inner fo r May 13, 1971. On F e b r u a ry 15, 1971, the B o ard avoided the difficulties in h e r ent in the United F und p ro p o sa l to s e ll tic k e ts to a d r e s s r e h e a r s a l by voting to donate, on a o n e -tim e b a s is , th rough the C h a m b e rs of C o m m e rc e . And D ire c to r Bigelow w anted the B o ard to donate $5,000 to H em et fo r C h ris tm a s d e c o ra tio n s. The B o ard d ecided to aw ait the outcom e of the P a g e a n t th a t y e ar. A t the A p ril 18 m eetin g , the B oard m e m b e rs d isc u s s e d r e m o d eling the p re s e n t office building in r e s p e c t to adding the m u se u m . The A p ril 18 p e rfo rm a n c e was c an celled due to ra in , and it w as a g re ed to hold an o th er w eekend of p e rfo rm a n c e s on M ay 8 and 9» to m ak e up the can celled p e rfo rm a n c e . A sp e c ia l m eetin g was ca lle d fo r May 8, 1971, to conduct b u s i n e s s and re c e iv e the E valuation re p o rt. At this m e e tin g , the B oard m oved to begin c o n stru c tio n on the rem o d elin g as soon as the P ag e a n t 401 th at y e a r w as o v er. Am ong the suggestions and re q u e sts fro m the E v a lu atio n D inner w e re such item s as: S elf-appointed d ire c to rs should try to r e fr a in fro m telling Indian B rav es D ire c to rs th a t the boys " a r e m oving behind the r o c k s ." This is only one of the things th a t the boys a re w atched fo r continually fro m 10:45 a .m . until 6:00 o r la te r , by a t le a s t th re e p e rso n s , and any in fractio n s a re re c o rd e d and the c a u se s in v estig ated , such as sn a k e s, b e e s, an ts, etc. R ea l Indians should not be ask ed to w ear m akeup. M axine Divine re p o rte d som e of the c o n c e s sio n a ire s w ere u sin g o bjectionable la n guage. I r is B ric k e r w anted p la stic flo w ers in stead of p ap er ones; "would also like an o th er 'infant J e s u s ' as a s p a re , as the p re s e n t one b re a k s fre q u e n tly ." D ire c to r (Board) W agner said th at public in te re s t w as dw indling and the y o u n g ste rs needed to be in te re s te d in the P a g eant; p e rh a p s the s tr e e t fie s ta s should be r e -v ita liz e d . G en eral M an a g e r C ouncilm an su g g ested an evaluation m ee tin g of this type should be h eld at the beginning of the se a so n (re m in isc e n t of F r e u d 's b re a k fa s ts , no lo n g er held), to take advantage of su g g estio n s b efo re the P ag ean t. T he d ra m a aw ard s of $100 to the b e s t d ra m a stu d e n ts --b o y and g i r l - - w e r e renew ed fo r the two high schools and fo r the C om m unity C ollege. The San Ja c in to C h am b er of C o m m e rc e w anted m o re m oney, fo r such things as the F o u rth of July cele b ra tio n ; H em et C h am b er w anted m o re m oney fo r the C h ristm a s d e co ratio n s and o th e r ex p en ses. The B oard gran ted an in c r e a s e in donations to the C h a m b e rs, on a "no p re c e d e n t" b a s is . 402 A t the June m ee tin g , the new o ffic e rs w ere elected and new B o ard m e m b e rs w e re seated ; dates fo r the com ing y e a r w e re s e t - - A p ril 22, 23, 29, 30, and M ay 6 and 7. N ew ly -seated D ire c to r R ic h a rd s su g g ested that the p re sid e n ts of the C h am b ers of C o m m e rc e (he belonged to both) be invited to attend B o ard m eetin g s. The M inutes of the B oard m eetin g of N ovem ber 15, 1971, in d i ca te d th a t the U nited F und re tu rn e d and D ire c to r J im Gill was appointed to take c a r e of the m a tte r. B ec au se of a p ro p o sed job on a w o rld -to u r sh ip , F r a n k S o re ll re q u e ste d p e rm is s io n to delay his a r r iv a l fo r r e h e a r s a ls until aro u n d A p ril 1, 1972. G e n e ra l M an ag er C ouncilm an re fu se d , as the m a jo rity of the c a s t can only re h e a rs e on w eekends. The C o n tra c ts and C astin g C o m m ittee was a ssig n ed to w ork w ith J a r a and to u s e th e ir own ju d g m en t in the m a tte r of in terv iew s (d etails of w h ere they w ere to be h eld , and so fo rth ). The B oard m oved to have open try o u ts. The M inutes of the B oard m ee tin g of F e b ru a ry 27, 1972, show ed th a t the E quity tro u b le had re tu rn e d , this tim e in r e s p e c t to the two le a d s , both of w hom w e re E quity a c to r s . The c o m p ro m is e w orked out and su g g ested by E quity was to u se the s e rv ic e s of TNT (The New T h e a tre ), a c o rp o ra tio n s e t up by John C auble, of the A m e ric a n T h e - 1 a tr e A sso ciatio n , to allow the h irin g of p ro fe s sio n a l g u est s ta r s by n o n -p ro fe ssio n a l co m p a n ie s. The P a g e a n t c o m m issio n s TNT to m ake a rra n g e m e n ts fo r the g u est s ta r s , and TNT signs with E quity, and the 403 P a g e a n t signs w ith TN T. The B o ard p a sse d th is, with one d is s e n t- - John Bigelow , S r. L a te r in F e b r u a ry , W agner ask ed fo r the B o a rd 's feelin g on how the c a stin g w as handled. The B oard m oved to continue to have outside ju d g e s, to a d v e rtis e e x ten siv e ly in u n iv e rsitie s and co lleg es fo r ap p lican ts fo r the le a d s, to avoid any fu tu re Equity inv o lv em en t, and to put a q u estio n in the app licatio n s as to w hether the ap p lican t 156 had any union affiliatio n , and, fin ally , th a t all try o u ts should be held a t the R am o n a Bowl. A t the m e e tin g on M a rc h 30, 1972, D ire c to r L e o n a rd su g g ested planting eucalyptus tr e e s along the e n tra n c e ro ad . W illard C o u n cil m an , g e n e ra l m a n a g e r, su g g ested giving so m e thought to the fiftie th a n n iv e rs a ry of the P a g e a n t--d id the B oard w ant to c e le b ra te the fiftieth y e a r o r the fiftieth p e rfo rm a n c e ? And the s p e c tre of s e v e re ly in c r e a s e d ta x e s a ro s e again. At the la s t m eetin g of the fis c a l y e a r on May 27, 1972, the topic of the tax in c r e a s e cam e up again, b e c a u se the ap p eal of the P a g ea n t to have the a s s e s s m e n t red u c e d had faile d . At the w ritin g of this se c tio n of the h is to ry of the P a g e a n t, the m a tte r was still a t iss u e . This is an in d icatio n of how f a r rem o v ed fro m the o rig in a l H olm e concept, and fro m the know ledge of com m on th e a tre p r a c tic e s , the B oard has beco m e since the H olm e e ra . 404 The sa m e th re e c a te g o rie s of audience, production, and a d m in is tra tio n c o m p ris e d the a r e a s of Bowl and p roduction im p ro v e m e n ts in 157 the J a r a s ' e r a . One of the co n c e rn s of th e P a g e a n t has alw ays been its atten tio n to the co m fo rts of the audience; th e r e was no exception in th ese y e a r s . In the five y e a rs of the p erio d u n d er d isc u ssio n , the se a ts w e re im p ro v ed in fo u r of the y e a r s , the p ark in g lots in th re e , sound and lighting in two, and s e rv ic e s (only a m o re o r le s s fo rm a l listin g in 1972) in one. In p roduction, the c a s t house was w orked on 158 d u rin g th re e of the y e a r s . F in a lly , an e la b o ra te a d m in istra tio n and m u se u m com plex was com pleted in 1972. The changes in the p roduction re fle c te d the re sp e c tiv e in te re s ts of the two d ir e c to r s , although th e r e was no d istin ctio n as to which d ire c to r did what. The changes in the s c rip t w ere: (1) a tightening of the lin es to cu t u n n e c e s s a ry exposition and a change of w ording to give g r e a te r au th en ticity to the "C alifo rn ian o " diction, and (2) changing the f i r s t a c t in te rm is s io n f ro m a fte r the fie sta to b efo re it. The J a r a s explained the f i r s t a s p e c t of change: M au rice: T h e re h as been a lot of cutting in scen es . . . ev ery th in g u sed to be explained . . . now [a fte r cutting the e x p o s i tion] it explains itse lf. I d o n 't think people re a lly 157_ . .. _ See Appendix. C. 158 An in te re stin g , but not p ro p o rtio n a lly ex act, c o m p a riso n e x ists betw een the c o s t of the e n tire f ir s t p ro d u ctio n (1923), w hich was $3, 370. 74, and the c o s t of a lte ra tio n s on the c a s t house in the one y e a r , 1970, when $9, 876. 90 was sp en t on th a t one item . 405 c a re d th at m uch; they w anted to see the action. I knew th at th e s to ry was im p o rta n t. C onsequently, when I s ta r te d to d ire c t, I w anted to tighten the thing up so th a t the c h a r a c te r s b e c am e im p o rta n t, r a th e r th an saying, "T h e re go the h o r s e s " . . . if som ething is e n d ing, I want so m eth in g e lse to s ta r t. . . . Hilda: We d o n 't give th em a chance to g rab th e ir sandw ich and s t a r t chew ing. T h e y 're th e re to se e w hatjs going to happen next. *59 S tem m in g fro m the d e s ir e for au th en ticity , H ilda changed a p iece of staging th at had been tra d itio n a l of y e a rs ; in fa c t, it had been w ritte n by H olm e. She in tro d u ce d a new "g a m e " into the opening scen e w hich involved the c h ild re n of the rancho. In the o rig in a l s c r ip t and 160 th e r e a fte r , the c h ild re n played and sang a s h e e p sh e a rin g gam e. The J a r a s changed the gam e to an e a rly C a lifo rn ia gam e that, as H ilda explained, "I knew fro m m y background. . . . W e've changed the c h ild re n 's gam e into an authentic little --y o u know, w h ere b efo re it was this is the way we s h e a r o u r s h e e p ,' w hich w as not r e a lly - - r e a lly 161 C a lifo rn ia ." A lso , S a lv e d ie rra is now r e f e r r e d to and a d d re s s e d as " P a d re ," no lo n g er as " F a th e r." 159 J a r a in te rv ie w , July 25, 1972. * ^ S u p r a , p. 151. Note th at in th e ir p u rs u it of " h is to ric a l" au th en ticity , the J a r a s have elim in ate d the au th en ticity to the novel and the e x p o s ito ry -m o o d -s e ttin g in ten t of th is scen e in the H olm e s c rip t. 161 J a r a in te rv ie w , Ju ly 25, 1972. A t the beginning of A ct Two, a fte r the fie s ta has taken p lace, the g u ests have gone to the r e a r of the h a cien d a to eat (to get th em offstage), and a fte r Ju a n has p e rfo rm e d the s to ry -te llin g function of in fo rm in g the audience th at eighteen days have e la p se d sin ce A le s s a n d ro 's d e p a rtu re , Luigo has a little scen e in w hich he k ills a snake. J a r a r e - d ir e c te d the sc e n e , changing the b u sin e ss fro m killing the snake at the edge of the tr a il th a t led down to the c a s t house to killing it in b u sh es edging a new tr a il th at had been c o n stru c te d , to b rin g the 162 actio n m o re s ta g e - c e n te r , and slightly m o re u p stag e. Next, he changed E d H ayton's e n tra n c e in A ct T h re e , Scene 1, fro m rid in g in to com ing in d riv in g a wagon. J a r a c re d ite d W atson G ilm o re with giving h im the id e a of the s e tt l e r 's wagon. The addition provided m o re " c o lo r," and also got rid of a difficult situ atio n th a t developed in the audience: W hen this m an [Hayton, who f o rm e rly e n te re d alone and on h o rse b a c k ] u sed to rid e off with "Y ou've got fo u r h o u r s ," o r "four days . . . to get o u t," then the audience would laugh, and n a tu ra lly the people th at had been com ing fo r y e a r s would s o r t of go "Boo!" --y o u know, and then everybody would take it up, and then e v e r y body would laugh. Now it m a k es it a little m o re difficult to laugh a t this p e rs o n if h e 's got his fam ily w ith him .163 162 O b serv ed by the w r ite r at the opening p e rfo rm a n c e of the 1972 se aso n . 163 J a r a in te rv ie w , July 25, 1972. It is in te re s tin g to note th at H olm e had included a wagon in his o rig in a l s c rip t, although th at it was u se d is doubtful. 407 F o r the f ir s t tim e , in 1972, F a r r a r shoots A le ssa n d ro fro m (as the au th o r r e m e m b e rs it) the s ta g e -rig h t edge of the C e re m o n ia l C ir c le , in ste a d of f ro m the t r a i l w here it p a s s e s ju s t s ta g e -le ft of the b a se of the big fa lse ro ck , up c e n te r. And J a r a has changed the place of A le s s a n d ro 's e n tra n c e in th a t sc e n e , in o r d e r to change th e d e a th -fall. B e fo re, A lessa n d ro would a p p e a r on the ro ck s at the foot of the big fa lse ro c k , at its s ta g e -r ig h t side. He would w alk dow nstage until he had c le a re d the ro c k and thus c am e in view of F a r r a r . Then he w as on a la rg e ro c k at w hose dow nstage edge a d ro p of so m e tw elve feet o c c u rre d b efore the le v e l ground co m m en ced again. This lev el ground w as ringed with o th e r la rg e b o u ld e rs, so th a t A le ssa n d ro fell into a kind of pit, whose b o tto m w as co v ere d w ith s tra w , w hich w as in tu rn co v e re d with a " ta r p ." Thus the audience saw F a r r a r , probably sixty fe e t away fro m A le s sa n d ro , shoot A le s sa n d ro , who fell fo rw a rd and dow nw ard and was lo s t to sight a fte r having dropped about five feet. A gain, the difficulty w as th at F a r r a r w as talking to R am ona b e fo re A le s s a n d ro 's e n tra n c e , but she w as p ro b ab ly 120 fe e t away. And w ith all the v a rio u s com ings and goings to the d iffe ren t places about the h ills id e s -- T e m e c u la , M exico, and so f o r t h - - i t w as difficult to know w h ere each c h a r a c te r w as. The new v e rsio n united the th re e c h a r a c te r s m o re in one location. In addition, if afforded A le ssa n d ro a m o r e s p e c ta c u la r (and m o re dan g ero u s) fall. F o r now he is seen 408 throughout the e n tire fa ll, sliding and bouncing down the face of a huge slab of g ra n ite , probably twenty fe e t high, and so m ew h at u pstage of the hut. A lread y one double has b ro k en a bone in his foot doing this fall; 164 m o re the w onder it w as not his leg. In keeping with H ilda J a r a 's d e s ire fo r au th en ticity and w ith h er background in e a rly C alifo rn ia lo re , the J a r a s m ad e m any changes in costum ing; th e ir changes w e re m o re in the n a tu re of the types of m a te ria ls u sed and in the co lo r sc h e m e s than in the cut o r sty le of the clo th es. W atson G ilm o re defined the change as: "T hey [the J a r a s ] m ade the C aliforniano m o re C a lifo rn ia n o , and the M exican m o re of a 165 d ifferen t kind of a c o s tu m e ." As H ilda d e s c rib e d the change, th e re had been too m any "H aw aiian flo w ered p r i n t s . G e n e r a l M anager C ouncilm an co m m en ted on the new e m p h asis: This [the su b je c t of co stu m e authenticity] h a s b een som ething th at we w ent into the la s t th re e o r fo u r y e a r s , e s p e c ia lly since H ilda and M au ric e have been h e r e . H ilda was c o n cern ed th at the c o stu m e s w e re not authentic, and she did quite a little b it of r e s e a rc h , and she got so m e b o o k s --I c a n 't re m e m b e r the title s of th em , but they w ere sp e c ific a lly w ritte n on e a rly S p a n is h --e a rly C a lifo rn ia --c o s tu m e . We had this one b o o k --it w as out of p rin t but we had a com pany th a t X ero x es copies of th em , and we went to c o n sid e ra b le ex p en se to have a copy of the book m ad e fo r o u r own u se . We keep that on file in o u r c o stu m e d e p a rtm e n t. W e've had o th e r th in g s, such as the Indian M aid e n s' c o s tu m e s - - c o n s id e r - l6 4 c , Q7 S u p ra , p. 397. 165 G ilm o re in te rv ie w , July 29, 1972. 166 J a r a in terv iew , July 25, 1972. 409 able ta lk about th em not being au th en tic. W e've had a judge the la s t two y e a r s , by the n am e of K u rt N ations, who is an a r t d ire c to r fo r NBC. H e 's taken quite an in te r e s t in the P a g e a n t, and as a hobby he h as stu d ied Indian lo re quite e x ten siv e ly . H e 's quite frie n d ly w ith M a u ric e , and he se n t out so m e draw ings of w hat w ere au th e n tic -ty p e co stu m e s in this a r e a . But we have to take a c e r ta in am o u n t of th e a tric a l lic e n se in o u r c o stu m e s. F o r one thing, if they w e r e n 't co lo rfu l to a c e rta in ex ten t, they w ouldn't have any audience a ttra c tio n . 167 A w are of this need fo r c o lo r fo r the au d ien ce, H ilda obtained a b rig h t, but ric h , re d v elv et s p re a d w ith w hich to co v er the bed that A le s sa n d ro h as m ad e fo r F e lip e , and w hich is bro u g h t on sta g e . In the p a s t, the c o v erin g was alw ays a r a th e r d u ll-a p p e a rin g Indian blanket. H ilda re a so n e d th a t the S en o ra would not have such shoddy bedding for h e r son. She th e re fo re b ro u g h t the co lo rfu l c o v erin g fro m the M a s- 168 s a c r e C anyon Inn, as a lo an and convenience to the P a g e a n t. The J a r a s have added a n u m b er of such co lo rfu l to u c h e s --th e d ru m s , for • * 169 in stan c e . W ith few ex cep tio n s, the p ra c tic e of r e h e a rs in g only on w ee k ends h as been continued by the J a r a s . H ow ever, they have avoided the p ro b le m th a t plagued V icto r J o ry . W h ereas he scheduled the e n tire ten w eeks of r e h e a rs a ls - - w e e k e n d s , th at is - - M a u r ic e scheduled only 167 C ouncilm an in te rv ie w , July 19, 1972. I/O G ilm o re in te rv ie w , July 29, 1972. * ^ S u p r a , p. 397. 410 170 s e v e r a l w eekends a t a tim e . F u r th e r , p ro fitin g fro m V ic to r's d if fic u ltie s , he did not d e p a rt fro m his sch ed u le. And th e u n d e rstu d ie s . 171 have been continued.- 172 W ith the J a r a s , the u su a l c a s t p a tte rn s continued. The "aging" p a r ts , su ch as D o lo re s, L uigo, M a rg a r ita , the " c h ild re n ," the S e ttle r 's c h ild re n , the B u g ler, and s u c h -- th e s e continued to change a lm o s t y e a rly , se rv in g as a p p re n tic e sh ip s fo r the la r g e r p a r ts . The " a g e le s s " p a rts w e re developing th e ir p a tte rn s; so m e did not change, so m e w e re held fo r a n u m b e r of y e a r s , so m e w e re in a sta te of flux. W atson G ilm o re , as Ju an C anito, s e e m s to have becom e an o th er P a g e a n t p e re n n ia l, who th re a te n s to ex ceed any thus fa r. He has been in the P a g e a n t sin ce 1938, when he began as a " ro c k 173 Ind ian ," and at the 1972 p ro d u ctio n , am ong the speaking p a r ts , he was the a c to r w ith the lo n g e st p a rtic ip a tio n in the P ag e a n t. The " h o rs e m e n " have in the p a s t tended to develop " c a r e e r s " in p a r ts , and such h as b eco m e the c a s e w ith D usty Bow en, who h a s played F a r r a r fo r m any y e a r s . A m o s t d istin g u ish ed and ta le n te d a c t r e s s , F an ch o n Je n n in g s, played the S e n o ra fo r th irte e n y e a r s , and h e r death was a 170 G ilm o re in te rv ie w , July 29, 1972. Ibxd. 172 See A ppendix G. 173 G ilm o re in te rv ie w , Ju ly 29, 1972. 411 v ery r e a l lo ss to the P ag e an t. F ollow ing h e r w e re Doni M cM ullen, H ilda J a r a , and Ju a n ita Shields (Ju an ita E n c e ll S hields, c h arm in g and talen ted , a f o r m e r M a rg a rita , who played R am o n a fo r five y e a r s , w as the f i r s t and only V alley g irl to achieve the p a rt). Ju a n ita , no lo n g er a V alley re s id e n t, re tu rn e d fro m h e r p r e s e n t hom e in the Los A ngeles a r e a to try out fo r and win the p a rt of the S en o ra in 1972. F ra n k S o re ll (the "o" on S o rello was dropped a fte r the f i r s t year) re tu rn e d to play A le ssa n d ro fo r four y e a r s , then a c a r e e r co n flict cau sed his a b sen ce. The p a rt was played la s t s e a so n by a p ro fe ssio n a l a c to r, P a u l L u k a th e r, w e ll-e x p e rie n c e d by y e a r s on stag e and with a good background in live te le v isio n . The R am onas of the p erio d w ere: in 1968, C h risto p h e r C a s s , a UCLA T h e a tre A rts m a jo r; in 1969, Anne A r c h e r, a th e a tre m a jo r a t P itz e r C ollege, C larem o n t; in 1970 and 1971, D orothy B ailey V osburg re tu rn e d to the p art; and in 1972, S an d ra K a le s, a p e tite m otion p ic tu re and te le v isio n a c tr e s s fro m Hollywood. The Los A ngeles T im e s did not c a r r y its u su al P a g e a n t rev iew s d uring the J a r a y e a r s . The s e rv ic e s of Hal W iener had b een dropped in 1969, b e c a u se G e n e ra l M an ag er C ouncilm an found th at the P a g e a n t office was p re p a rin g the copy that publicity m a n W iener used; T h e re fo re , w hat was the need to pay W ie n e r? The M inutes of the m e e tin g of O ctober 21, 1968 noted th a t the B oard approved dropping the s e rv ic e . 412 All the P a g e a n t fo rc e s continued to w ork, fo r the audiences g rew and grew . In 1968, the atten d an ce was 35,500; in 1969, 35, 184; and in 1970, 36,498; in 1971, with the e x tra w eekend b e cau se of ra in , 40,5 7 7 ; and in 1972, 38, 5 3 9 .174 The J a r a s m ad e s e v e ra l in te re stin g co m m en ts about the a u d ien ces. They re m a rk e d upon the tre n d th at o th e rs had o b s e r v e d - - th a t the audiences w e re co m p o se d m o re and m o re of o ld e r people. But a co m m en t th at had not been m ad e b efo re was th a t the P a g e a n t u su ally ex p erien ced a slig h t d ro p on M o th e r's Day. M a u ric e also co m m en ted th at he thought the audience did not value the V ic to ria n fla v o r of the language as m uch as it fo rm e rly had. A sked if he b ased his opinion on the b e lief th a t the audience did not u n d e rsta n d the tru e n a tu re of the play and its m e s s a g e b e c a u se of its p e rio d sty le , he rep lied : I don't think the audience c a r e s an y m o re. I think the audience w ants to be m oved em o tio n ally , but with som ething th a t they can u n d e rsta n d . . . . I would p r e f e r th a t som e of the language be changed. I re a lly do. And I think th a t som e of the actio n should be changed.*?5 Both the J a r a s fu rth e r e la b o ra te d on th e ir feelings about the P ag ean t: M au rice: It's m o re a d ra m a tic show than it is p a g e a n t--to m e it is. H ilda: It's tim e ly , rig h t now. I t's the s to ry of today. . . . M au rice: I b ecam e so involved w ith it . . . th a t I u sed to s it in See A ppendix A. i J a r a in te rv ie w , Ju ly 25, 1972. 413 r e h e a r s a ls . . . and try to im m e r s e m y se lf in this b e c a u se I knew th at the s to ry w as im p o rta n t. The am azin g thing to m e is th a t it h as en d u red . You know, w e've had people th a t w rite us le tte r s . . . I h e a r alw ays the co m p lain t, you know, " It's a co rn y show ." I h e a rd that the f i r s t y e a r I w as th e re . . . . And it is c o rn y , but i t - - a s I s a y - - i t s tr ik e s a t you, and you get involved with it. . . . I d o n 't think th a t the c o lo r, the h o rs e m e n , have anything to do w ith it except the s to ry its e lf, or w h ere the w hite m an goes up th e re and view s the show and he s a y s , "D am n th e m w hite m en . . . I w ish th at I could do so m eth in g !" They w on't b u t, at le a s t it gives th em a g e n e ra l in sig h t. H ilda: A t le a s t d u rin g the tim e th at th e y 'r e th e r e , they do feel som ething. 17 6 The J a r a s , then, continued the co n so lid atio n . The stre n g th s w e re m a in ta in e d , but with som e q u estio n re g a rd in g the is s u e of au th en ticity , w hich w ill be d isc u s s e d la te r in this study. M au ric e and H ilda w e re also s u c c e ss fu l in winning the ap p ro b atio n of th e ir c a s t s - - a v ital n e c e s s ity in com m unity th e a tr ic a l e n d e a v o rs. M uch of the s u c c e s s of the P a g e a n t depends on this; and th ro u g h o u t the y e a r s , a ll the P a g e a n t d ire c to rs had, e ach in his own way, atte m p te d to p ro v id e the 177 need ed in sp ira tio n . H olm e had been m a s te rfu l in h is u se of g a m e s, in his h ab it of stopping to ch at with m e m b e rs of the c a s t and c o m - 178 179 m unity. The J o r y s ' m a g n e tism h as been d e s c rib e d . F re u d had I76 tk-^ Ibid. 177 S u p ra , p. 164. 178 G erw ing in te rv ie w , July 19» 1972. * ^ S u p r a , pp. 390-391.________________ 414 his fo rm of winning people. V ictor J o ry told how he saw R alp h 's a ttra c tio n : R alph F re u d was absolutely w onderful with people. A t his v e ry b e st. In the whole com m unity R alph could be m o re p laces a t one tim e. Taking p ic tu re s of th e ir c h ild re n o r sittin g down and having long talks with th em o r d isc u ssin g m akeup. He had a p e c u lia r o rg an izin g ability th at is seld o m e q u a lle d .*80 One of the J a r a s ' im p o rta n t a s s e ts w as th e ir r e s p e c t fo r the opinion of o th e rs . H ilda m entioned this: "We liste n to o th er people, and if th e r e 's a s p a rk of som ething th e re th a t's going to im p ro v e , we take up 181 on it, and this w as W atso n 's id ea of the wagon. . . . " (She was d e sc rib in g how they c am e to add the s e tt l e r 's wagon to the H ayton sce n e a t the beginning of the th ird a c t . ) T h e ir innovations - - p rim a r ily au th en ticatio n of c o stu m e s, p r o p e rtie s , and b e h a v io r is m s - - w e re accep ted by the c a s t and staff. The staging changes M au rice m ade have helped the show; the tig h te n ing up of the language and of the continuity of sc en es w as m o re difficult i * 182 to ev alu ate. 180 J o ry in te rv ie w , A ugust 10, 1970. 181 J a r a in te rv ie w , July 25, 1972. 182 The author attended the opening p e rfo rm a n c e of the 1972 se a so n , and not having se en the show fo r tw enty y e a r s , noticed m any ch an g es. While fo r the m o st p a rt he enjoyed the p e rfo rm a n c e , he thought th a t the handling of so m e of the added sp ec ta c le and a g re a t d eal of " b u s y -n e s s " in te rfe re d with the s to ry continuity. The am ount of playing back to audience, u p stag e, and p ro file; and the u se of the sec o n d -h a lf "A m eric a n o " se ts in the f ir s t- h a lf o r "S panish" sectio n of 415 F r o m the audience s ta tis tic s and fro m the fin a n c ia l r e p o rts co v erin g th e ir y e a r s , the J a r a s c e rta in ly continued the s u c c e s s of the P ag e an t. The show g rew in attendance and in fin a n c ia l s e c u rity during the y e a rs they have d ire c te d . The m a jo rity of the B o ard during the J a r a s ' five y e a rs have been re la tiv e ly new m e m b e r s . Ja m e s Gill, J r . , h as been a so u rc e of sta b ility and continuity th a t has lent m uch of the B o a rd 's stre n g th . As by fa r th e o ld e st in s e rv ic e on the B oard, he h as m ain ta in e d effective le a d e rs h ip w ithout dom inating the p resid en cy . And he h as been a stro n g influence fo r co n so lid atio n , fo r w hile re m a in in g open to a ll s u g g estio n s and c o n stru c tiv e innovations, he h as m ain ta in e d a w atchful eye on the tra d itio n s and conventions th at m ad e the P a g e a n t su c c e ssfu l. An exam ple was h is stro n g in sis te n c e th at the P a g e a n t should not be tu rn e d into a Hollywood p ro d u ctio n , as noted in the M inutes of the the play, and vice v e r s a , w e re noted, as was the c h ild re n 's gam e, w hich the au th o r found in p o o r ta ste and out of co n so n an ce with the novel. A nother changed noted and fe lt by the au th o r to be d e trim e n ta l to the s tr u c tu r e and continuity of the play w as the d eletio n of the Expos ■ ito r in fav o r of m aking Ju a n the " S to ry te lle r." This change fu rth e r dim s the c le a r d e m a rc a tio n betw een the Spanish h alf of the show and the A m e ric an o half as o rig in a lly conceived by H olm e. J u a n 's stepping out of c h a r a c te r is a s o u rc e of confusion, and cutting the b eautiful, poetic E x p o sito r lin es w ritte n by H olm e was a definite lo ss to the audience. H olm e h im se lf had reco g n ized th a t the E x p o sito r added a p ageantic to u ch th a t he w as n o t p leased with (as he told G eorge G e r- wing). The sig n ifican t fa c t, how ever, is that H olm e did not d elete the E x p o sito r. T h e re a re o th e r p rin c ip le s involved w hich th e a tr ic a l people w ill rec o g n iz e and w hich do not re q u ire f u rth e r co m m en t. 416 B o ard m e e tin g of July 17, 1971. H. E . (Jeff) D ivine, a San Jacin to r e a lto r and lo n g -tim e V alley re s id e n t, s h a re s th is a w a re n e s s of t r a dition, having bu ilt up a te n u re of fifteen y e a r s on the B oard. The c a s t was not as la rg e d u rin g J a r a y e a rs as it was in the la s t J o ry p ro d u ctio n , w hich to taled 384, as a g a in s t, in the la te r p erio d , 183 344, 325, 322, 331, and 335, re s p e c tiv e ly fo r the la s t five y e a rs . But th e re was re la tiv e ly not so g r e a t a d ro p , c o n sid e rin g that all f ig u re s w e re o v e r 300. M an ag em en t in this p e rio d co n trib u te d its s h a re to the s u c c e ss . If p a s t p e rfo rm a n c e could be u se d as c r i te r i a , s u c c e s s in m a n a g e rsh ip was m e a s u re d in la rg e p a r t by continued p e rfo rm a n c e , both of the P ag e an t and of the in cu m b en t. As noted in the M inutes of the B oard m e etin g on D e c e m b e r 9, 1963, C o u n cilm an w as appointed g e n e ra l m a n a g e r (a title th a t began w ith Lloyd M itchell) beginning in 1964, and has been in th a t p o sitio n sin ce then. The o th e r im p o rta n t in d ic a to r was the opinion of the c a s t, fo r the m a n a g e r has m u ch to do w ith providing the n e c e s s itie s of p roduction. W illard C ouncilm an was highly re g a rd e d by all to whom the au th o r spoke; the W atson G ilm o re s gave sp e c ific s. M elba stated : "H e's done a tre m e n d o u s j o b - - ." And W at son in te rru p te d to define th e ir a u th o rity fo r the r e m a rk s : "H e's kept the sc e n e ry in the Bowl b e tte r. The tic k e t c o n tro l is m o re o rg a n iz ed -- * ^ S e e A ppendix A. 417 sverybody buys tic k e ts a t the Bowl in stead of jobbing tic k e ts ,,184 DUt. . . . P ro d u c tio n h as obviously been s u c c e s s fu l- -c e rta in ly w ith the audience. R e m a rk s m ade at the E v a lu a tio n D in n ers te ll of the c a s t attitu d e, the o th e r re a lly im p o rta n t fa c to r. As re p o rte d in the M inutes of the B o ard m eetin g on May 19, 1969, W atson G ilm o re co m m en ted at the d in n er th a t all the c a s t m e m b e rs w e re v e ry happy with the J a r a s , and the c a s t w as m o re co m p atib le th a t y e a r than it had been. In 1970, Donna R ahn, the c a s t re p re s e n ta tiv e at the d in n e r, was re p o rte d in the B o ard M inutes of M ay 8 as saying th a t the good c o o p e ra tio n and m o ra le of the c a s t was due to w onderful d ire c tio n and 'R am o n a' (D orothy B ailey V osburg). Noting the lack of rev iew s in the Los A ngeles p a p e rs , and w hat they b eliev ed w as a le sse n in g of the g e n e ra l publicity the P a g e a n t had obtained in p a s t y e a r s , the J a r a s thought that an o th er publicity agent should be h ire d to r e p r e s e n t the P a g e a n t to the m e tro p o lita n p a p e rs. M a u ric e e x p re s s e d his co n cern : "I think this [lack of m e tro p o lita n c o v e ra g e ] can kill it, B ill. I'm a fra id it m ay tak e five y e a r s , but five y e a rs fro m now, if they d o n 't a d v e rtis e , who w ill be the people com ing 185 in?" B o ard m e m b e r J im G ill, h im se lf a n e w sp a p e r e d ito r (The 184 G ilm o re in te rv iew , July 29. 1970. 185 J a r a in terv iew , July 25, 1972. — — STS' H em et N ew s), re p o rte d at the B o ard m eetin g of F e b r u a r y 16, 1970, th a t he was looking fo r help w ith the n e w sp a p e r pu b licity , fo r an agent in the L.os A ngeles a re a . While J a r a 's co n c e rn was a n a tu ra l one fo r anyone as c o m m itte d to the P a g e a n t as h is p a s t and p re s e n t have m a d e h im , the s p e c tre of em pty s e a ts is p ro b ab ly m o re than five y e a rs away, fo r the P a g e a n t continues to a d v e rtise quite ex ten siv e ly , and the radio and te le v isio n n o tices that M ary Jo h n so n obtains through h e r agency will p ro v id e an ongoing audience. And w ith the in c re a sin g a u d ie n c e --a lm o s t y e a r ly - - th e need fo r w o rry is u n ju stified at the p re s e n t. The audience continues to be an in te re s te d one. R eview of C hanges fro m 1947 T hrough 1972 At the beginning of this e r a , E d w ard P o o rm a n 's influence was w eakened by his stands a g a in st M itch ell and fo r Awan; J o ry and Awan both left, and the P a g e a n t B o ard took o v er the le a d e rsh ip . Although P o o rm a n continued to be a fa c to r and o th e r m in d s began to e x e rt in flu en ce, the pow er re sid e d w ith the B o ard as a body, and B oard le a d e rsh ip by its v e ry n a tu re is im p e rs o n a l. The m akeup of the B o ard was changing also ; the o ld -tim e r s w e re d isa p p e a rin g . P o o rm a n See A ppendix A. 419 re sig n e d in 1952, leav in g John F a u ll as the only m e m b e r who had been a s s o c ia te d with the P a g e a n t fro m its b irth . 1957 p roved to be that fine old g e n tle m a n 's fin a l y e a r w ith the P a g e a n t. J im G ill has a m a s s e d y e a r s on the B o ard , as has Jeff D ivine, but fo r the m o st p a r t _ _ _ , . 187 the B o ard has grow n younger. T his change h as had two o th e r e ffects. F i r s t , the knowledge of the H olm e e r a has grow n d im m e r and d im m e r, and w hile D ire c to r Gill s till re m in d s the B o ard of its o rig in s and the philosophy of th at tim e , su b tle changes a r e taking place b e c a u se of the n ew er m e m b e r s ' lack of e x p e rie n c e w ith the P a g ea n t. A second change has b een th a t o v er the y e a r s , fe w e r of the B o ard have been activ ely a s so c ia te d with the a c tu a l p ro d u ctio n . In 1972, none of the B o ard had been in the c a s t as 188 one of the speaking p a r ts . T his la c k of e x p e rie n c e h as led the B o ard to so m e d ec isio n s th a t have been cue to c a s t m e m b e rs to r e c a ll 189 S h a k e s p e a re 's "He je s ts at s c a r s th at n e v e r fe lt a w ound." An old p ro b le m has in m o re re c e n t y e a rs grow n m o re acute: the C h a m b e rs of C o m m e rc e a re y e a rly looking to the P a g e a n t for * ^ S e e A ppendix H. 188tk-^ Ibid. 189 W atson G ilm o re spoke of the B o a rd 's seem in g ly g r e a te r c o n c e rn w ith the flo ra l beauty of the Bowl th an w ith the fa c ilitie s of p ro d u ctio n , i. e. , the B o a rd 's r e fu s a l to cu t tr e e s and sh ru b s that o b s c u re the a u d ie n c e 's view of the stag in g (G ilm ore in te rv ie w , July 29, 1972).______________________________________________________________________ 2 _ in c re a s in g am o u n ts of m oney. As noted, D ire c to r R ic h a rd s sug g ested th a t the B o ard invite the p re sid e n ts of the C h am b ers to attend B oard 190 m e e tin g s. The im p lic a tio n s a r e obvious. A nother m a tte r th at has been ra is e d by m e m b e rs of the B oard is " p ro fe s s io n a lis m ." This su b je c t has been touched upon o v e r the y e a r s in the d isc u s s io n s as to w h eth er o r not a Valley p e rso n should be paid if c a s t as one of the le a d s. In fact, a few V alley p e o p le - -a c to r s , th a t is - - h a v e b een paid throughout the y e a r s , but the m oney was con- 191 s id e re d " e x p e n se " m oney, not s a la ry . In this th ird phase of the P a g e a n t's h is to r y , e s p e c ia lly in the la tte r y e a r s , w hen few er B oard m e m b e rs have had any p r a c tic a l e x p e rie n c e with th e a tre , th e re has been an in c re a s in g dem and to re d u c e the need for p ro fe s sio n a l a c to rs . The re a s o n given has been th at the play is an a m a te u r production. T hat philosophy does not c o rre s p o n d with e ith e r the in ten t and p ra c tic e of G a rn e t H olm e o r w ith the b e s t in te re s ts of a production intended to d ra w so m e 36, 000 people p e r y e a r. H olm e in siste d upon the need fo r 190 H olm e w illed the play to the people of the V alley "b ecau se they a re m y f r ie n d s ." T ru e , the play was begun u n d er the a u sp ic e s of the C h am b er of C o m m e rc e , but u n le ss the B o ard m a k e s equal d o n a tions to o th e r o rg a n iz a tio n s o r bodies of c itiz e n s devoted to the "civ ic, ed u catio n al, o r so c ia l w e lfa re " of the com m unity, it is not fulfilling the in ten t of H o lm e 's w ill, n o r the A rtic le s of In co rp o ra tio n of the R am o n a P a g e a n t A sso cia tio n (see A ppendix I). 191 See A ppendix B. 421 192 p ro fe ssio n a l a c to rs to play the leading p a r ts , and the V alley has been fo rtu n ate th a t it could find n o n -p ro fe ssio n a l a c to rs sufficiently good to c a r r y such p a rts as the S en o ra, F e lip e , M a rg a rita , M a rd a, and, c e rta in ly , Juan. In the m a n a g e r c a te g o ry , p erh ap s the m o st im p o rta n t change was fro m " o u ts id e rs " to " in s id e r s ." A d ria n Awan, executive p ro d u c e r (he w as the only one to u se th at title) in 1946 and 1947, was an "o u t s id e r ." F r e d B ru d e rlin , who su cceed ed h im , was an " in s id e r." The e x p e rie n ce of the P ag e a n t w ith B ru d e rlin se e m e d to have convinced the B o ard th at they would f a re b e tte r with lo cal m en , and they ch o se only lo cal b u s in e s s m e n a fte r Awan. A fter B ru d e rlin cam e P a r k G. P a r k e r , then M ilton R. N im s, and sin ce N im s, W illard C ouncilm an h as m o st hbly held the position. A lso, probably b e c a u se they have been local m en , both N im s and C ouncilm an have been g ran ted m o re au th o rity than the B oard had g ra n te d p rev io u s m a n a g e rs . At th e ir m eetin g of M a rc h 9> 1962, the B o ard p a s se d , as a m otio n , the re so lu tio n that sin ce they had enjoyed the s e rv ic e of a m o s t co m p eten t and cap ab le g e n e ra l m a n a g e r for the p a st ten y e a r s , they place with h im the re sp o n sib ility of c a rry in g out c o m m itte e and B o ard actio n s, c o n tra c ts and c o m m itm en ts m ade fo r ex p en d itu re of funds and B o ard p o licies p e rta in in g to his d u ties. This was a pow er 192 See Appendix L, le tte r fro m H olm e, N o vem ber 29, 1922. 422 and function Lloyd M itch ell had su g g ested a t the B o ard m e e tin g of F e b r u a ry 6, 1941. D uring this p e rio d , the g e n e ra l m a n a g e rs w e re able to m ak e m any Bowl im p ro v e m e n ts (d e sc rib e d in the p e rio d of each stag e d ire c to r) b e c a u se of in c re a s e d funds. A m ong the m o s t im p o rta n t of th e se w ere the additional s e a ts in the au d ito riu m , the u n d e rp a ss fro m the p ark in g lot to the Bowl e n tra n c e , the c a s t h o u se, the in c r e a s e in siz e and n u m b er of the p ark in g lo ts, the new o ffic e -m u se u m com plex, and the sound, lighting, and w a te r s y s te m s . C a s t fa c ilitie s and a u d i ence c o m fo rt w e re the p r im a r y c o n c e rn s of a p e rc e p tiv e m a n ag em en t. I n c re a s e d tic k e t p ric e s to m e e t the ris in g o p e ra tio n a l c o s ts , e a r lie r s a le s , and r e s e r v a tio n of all s e a ts" m a rk e d the p ra c tic e of the p erio d . A lso, co m m en cin g with P a r k P a r k e r , an in c r e a s e in the m a n a g e r 's s a la ry re fle c te d m o re and m o re tim e sp e n t on w hat was in itially only a s e a so n a l p osition. By 1972, W illard C ou n cilm an , the p r e s e n t g e n e ra l m a n a g e r, e s tim a te d th a t he sp en t 60 p e rc e n t of the y e a r on the • u ! 9 3 job. One la s t change th a t should be m en tio n ed re g a rd in g m a n a g e m e n t w as the in c r e a s e in c o m m itte e s. F r o m 1946 th ro u g h 1971, m o re and m o re c o m m itte e s w ere n eeded to handle the v ario u s a s p e c ts of the p roduction, and through the y e a r s , new c o m m itte e s w e re fo rm e d , 193 C ouncilm an in te rv ie w , July 19» 1972. 423" including In fo rm a tio n , A udio, M ed ical, M u seu m , S h e riff's P o s s e , Los C o n c io n e ro s, and T ra n s p o rta tio n fro m P a rk in g L o ts. A n u m b er of the c o m m itte e c h a irm e n re m a in e d in th e ir jobs y e a r a fte r y e a r. R o b e rt R e c o rd is liste d as being in c h a rg e of tra n s p o rta tio n fro m 1925 th ro u g h 1972. R hoda A ld rid g e w as F i r s t Aid C h a irm a n fro m 1935 th ro u g h 1963, and s e rv e d as a m e m b e r of the c o m m itte e fo r a n u m b e r of y e a rs a fte r th at. A. H. A rw ed so n headed the tic k e t c o m m itte e fro m 1946 to 1971 and s e rv e d on the B o ard p r io r to th a t tim e . M axine Divine s e rv e d on the H o s te ss C o m m itte e fro m 1946 th ro u g h 1972. D r. J a m e s C. Long has s e rv e d as c h a irm a n of the m e d ic a l sta ff sin ce its in c e p tion in 1952. P . J. H a a s, an im p re s s iv e g en tlem an of la rg e s ta tu r e , 194 w ith snow -w hite h a ir and a h a n d le b a r m u sta c h e , d ire c te d tra ffic in his co lo rfu l S p an ish c o stu m e fro m 1931 th ro u g h 1949. He b e cam e E l S aludador, The G r e e te r , in 1950, and s e rv e d in th a t c ap acity th ro u g h 1955. And th e re a r e m an y m o re too n u m e ro u s to m en tio n who have 19'j w orked y e a r upon y e a r on v a rio u s c o m m itte e s and as staff m e m b e r s . With r e s p e c t to d ir e c to r s , this p erio d w as c h a r a c te r iz e d by the r e tu r n of the " o ld - tim e r s ." W hile a f r e s h a p p ro a c h m ay be obtained with a d ire c to r who h as n e v e r done the show , p rev io u s e x p e rie n c e with d ire c tin g the P a g e a n t, o r a t le a s t having w orked in it, has th re e 194 Ann P u lle n in te rv ie w , July 7, 1972. 195 See A ppendix E. 424 d istin c t ad v an tag es. F i r s t , the "old boys (and g irls )" knew the play and som ething of its b ackground, som ething of its background, s o m e thing of w hat the com m unity expected and w hat the play itse lf stood fo r. As sim p le as the P a g e a n t m ay se e m to the c a s u a l o b s e rv e r , it h as a n u m b er of co m p le x itie s th at a re not too re a d ily co m p reh en d ed . O u t door d ra m a is not in d o o r d ra m a , and the w a rm th of the V alley w e l com e is d ecep tiv e, in th at the people a re also v ery c r itic a l when it co m es to th e ir P a g e a n t. Second, the d ire c to r who has had p rev io u s ex p e rie n c e has so m e know ledge of w hat both the V alley audience and the g e n e ra l P a g e a n t audience want. The needs of the audience have changed o v er the y e a r s , and R alph F re u d , the J o r y s , and the J a r a s all sp eak of the influence of te le v isio n upon to d ay 's au d ien ce. P re v io u s e x p e rie n c e h elp s to m ak e the n e c e s s a r y a d ju stm e n ts. And th ird , they w ere sim p ly "good m e n and w om en." As M rs . J o ry r e m a rk e d , the P a g e a n t has been v ery lucky in the good people th a t have com e to it as 196 a r tis ts and o th e rw ise . The P a g e a n t h a s b een fo rtu n ate in th at all the d ire c to rs of this la s t ph ase of its h is to ry , w ith the exception of B ill B e r s s e n , have also been a c to r s - - a n d good a c to rs . This is a g re a t advantage, both to the d ire c to r who h as to w o rk with u n tra in e d a c to rs (in the ca se of people new to the P a g e a n t and to the stage) and to the ty ro , who g e n e ra lly gets J o ry in te rv ie w , A ugust 10, 1970. ? 2 3 ~ m o re c o m p re h e n sib le d ire c tio n fro m a d ire c to r who is an a c to r and u n d e rsta n d s the p ro b le m s of the a c to r. O th er than the expected d iffe ren c e s in p e rso n a lity and p r o f e s sional a p p ro a c h , the d ifferen ce in d ire c to rs th at effected the g r e a te s t change on the P a g e a n t was th e ir fra m e of re fe re n c e to w ard d ra m a in g e n e ra l, and to w ard the P ag e an t in p a r tic u la r. N a tu ra lly , ev ery d ire c to r, e v e ry a r t i s t - - e v e r y in d iv id u a l--w a n ts to su cceed . T hus, each d ire c to r had the need to m ake his (or h er) m a r k som ehow . The choice w as e ith e r to im p ro v e o r to s u sta in , s u c c e ss fu lly . The d iffe r en ces th a t a p p e a re d in the p erio d , as e ach d ire c to r m ad e his m a r k on 197 p rod u ctio n , s te m m e d fro m his (or h e r) f ra m e of re fe re n c e . The f i r s t d ire c to r of the p e rio d , P h il W hiting, re a lly m ade only one im p o rta n t change in the show , and th at, as n e a rly as the B o ard M inutes r e f le c t the h is to ry , w as m ade as m uch by a co m m itte e of the B oard as by W h itin g --th e change of the s c r ip t to c o m p ris e th re e acts in stead of the two e x istin g until then. In any ev en t, as d e s c rib e d p r e - 198 viously, the change w as m a d e . In this phase of the P a g e a n t, s c rip t 197 Individual d iffe re n c e s a r e so tak en f o r g ra n te d th a t it seem ed to the a u th o r, in studying outdoor d ra m a , th a t th is one fa c to r is a t the b ottom of m o s t of the d ifficu lties ex istin g in the th e a tre . Ego is ex p ected in th e a tre , as is stro n g d e s ire . B ut fo r the a r t i s t to d e s ire his c r e a tio n does not in s u re s im ila r d e s ir e in the audience. 198 S u p ra , pp. 334-335. 426 changes w e re to be the m o s t effectiv e of ch a n g e s. As fo r his f ra m e of re fe re n c e to w ard d ra m a , and the P a g e a n t in p a r tic u la r , v ery little in fo rm atio n w as av ailab le o th e r th an the g e n e ra l c o m m e n t th a t "P h il was not a d ire c to r; he w as an e x c e lle n t sta g e m a n a g e r." But W hiting did su c c e ssfu lly su sta in the show. In 1948, B ill B e r s s e n follow ed W hiting, em p h asiz in g a u th e n tic ity of co stu m e and cu sto m . H is in ten t w as good, but his f ra m e of re fe re n c e was not co n so n an t w ith th a t of the B oard. His ch an g es, b ased on his concept of the play and of d ra m a , did not coincide w ith the B o a rd 's concept of the ro m a n c e of R a m o n a . F r o m his point of view, B e r s s e n m ade needed ch an g es; fro m the B o a rd 's point of view , he w as d e stro y in g the v ery e s s e n c e of the s e n tim e n ta l ro m a n c e of S panish C a lifo rn ia , as G a rn e t H olm e had s u c c e ss fu lly w ritte n it. The B o ard and the V alley w e re happy w ith G eorge G erw ing, who re tu rn e d in 1950 fo r fo u r y e a r s . He re tu rn e d the old lin e s, the old b u s in e s s , the old c o s tu m e s . And he added s p e c ta c le - -le g itim a te s p e c ta c le . He innovated, to o --th e singing of A le s sa n d ro cam e in G erw in g 's tim e . He also c o n tro lle d it w ell, fo r th e re would be am p le tem p ta tio n to u tiliz e such an a s s e t to the point w h ere it m ig h t violate the p ro d u ctio n -fo cu s of d ra m a . i 199 F re u d in te rv ie w , S e p te m b e r 16, 1971, and G erw ing i n t e r view, Ju ly 19, 1972; g e n e ra l r e m a r k s . 427 G eorge w as, and is , a v ery kindly, thoughtful, in te llig e n t m an. [n the opinion of the a u th o r, he was also a v e ry good d ire c to r. He left the P a g e a n t b e cau se th e ir s a la ry offer did not m e e t his o ffer fro m o th e r e n g a g e m e n t s . H i s id eas w e re in a c c o rd w ith the tra d itio n a l t r e a t m en t of the P ag ean t; he had had a good deal of e x p e rie n c e with outdoor d ra m a , as w ell as ex ten siv e w ork in indoor th e a tre . He had known and w orked with G a rn e t H olm e. In addition to his philosophy o r attitude tow ard d ra m a and d ire c tin g , e v e ry d ire c to r also fac e s ev alu atio n on the fa c to r of p e rso n a lity . In the h is to ry of the P a g e a n t, stro n g p e r so n alities have had th e ir e ffe c t--s o m e have had a v ery p o sitiv e effect and o th e rs have not. In the opinion of the au th o r, G erw in g 's ta le n t and 201 co n trib u tio n was not fully ap p re c ia te d . As p a r t of e sta b lish in g the im p o rta n c e of the d iffe re n t fra m e s of re fe re n c e of each d ire c to r tow ard the P a g e a n t, the au th o r has included in this study th o se co m m en ts of the d ire c to rs he was able to in terv iew re g a rd in g w hat each deem ed the stro n g points of the P ag ean t. G erw in g 's co m m en t w as: The s tre n g th is th at the people own this; it belongs to th em . And it b eco m es an honor to w o rk w ith it. And you have th e re an e n th u sia sm th a t you n e v e r can p u rc h a se , at so m uch p e r ^ ^ G e r w in g in te rv ie w , July 19, 1972. 201 The author ad m its th a t when he was in the P a g e a n t he did nol have the knowledge o r p e rsp e c tiv e he h as now. It m ay w ell be he did not see things o r know things o th ers did, but the above is his opinion. 428 p e rfo rm a n c e . . . . Of c o u rs e , the w e a k n e sse s a re la rg e ly in the s ta n d a rd of p e rfo rm a n c e on the p a r t of y o u r m in o r c h a r a c te r s . But the im p o rta n c e of the m in o r c h a r a c te r s is so im m a te ria l that if you have s tro n g leads in th e r e , and a couple of s u p p o rte rs like F e lip e , and a couple of o th e r s , it d o e s n 't m a tte r. And in a way, I think the in e p tn e ss, as a c to r s , it can so m e tim e s add to it . . . as long as you can get th em to be n a tu r a l.202 R alph F r e u d , follow ing G erw ing, did m u ch m o re innovating thar is re a d ily a p p a re n t--a c tu a lly , the m o s t of any of the d ire c to rs except, of c o u rs e , G a rn e t H olm e. P o s s ib ly this w as b e c a u se he en d u red the lo n g e s t--e le v e n y e a r s in his seco n d d ire c to rs h ip . In the te c h n ic a l a r e a , an a r e a no o th e r d ire c to r re a lly v e n tu red into effectiv ely , F r e u d in tro d u ce d a nu m b er of ch a n g e s. He w as re sp o n sib le fo r the d evelopm ent of a good co m m u n icatio n s y s te m b a c k sta g e . He ren o v ated fa lse ro ck s and designed and b u ilt new o n es. He in tro d u ce d the f ir s t u se of sound a m p lificatio n by the u se of a lo u d sp e a k e r fo r the n a r r a to r . He also p ro m o te d the p re s e n t c a s t a s s e m b ly ro o m a d jacen t to the c a r e ta k e r 's h o u se , and he p ro m o te d and d esig n e d th e little th e a tre w hich the B o a rd p u rc h a se d fo r The R am o n a P la y e r s . In a so m ew h at d iffe re n t c a te g o ry , he rev iv ed the E v a lu a tio n D in n e r s - -th e id e a had been u sed by the R am o n a P a g e a n t C o m m itte e in the e a r lie s t y e a r s , but F re u d extended it to include a g r e a te r n u m b er of p a rtic ip a n ts . He also in itia te d the p r e - P a g e a n t b r e a k fa s ts , although th e re was no adequate G erw ing in terv iew , Ju ly 19» 1972. 429~ 20 In fo rm atio n on w hen they w e re held n o r how long the p ra c tic e la ste d . F re u d did not know, n o r w as th e r e any r e c o rd of w h eth er Holm e u sed a c a stin g c o m m itte e ; he did u se Ed P o o r m a n 's ju d g m en t and a d v ic e - -th a t is known. But v e ry p o ssib ly F r e u d 's advice to F r e d B ru d e rlin to have open try o u ts and o u tsid e judges m ay have begun an innovation. In p ro d u ctio n , he bro u g h t back the E x p o sito r, w hom G erw ing bad cut. F re u d also began the w o rk in au th en ticatin g c o stu m e s and in adding m o re c o lo r to th em . He changed the fin a le to include the " c u r tain c a ll" of a m o re conventional n a tu re by having the d iffe re n t groups go fro m the big fa lse ro c k a r e a , dow nstage, to a s s e m b le b a c k sta g e . He also added the m ounted p o sse th at a p p e a rs on the skyline and announces the f ie s ta w ith p isto l sh o ts. He c o n trib u te d a n u m b e r of changes in the w ritin g of the s c rip t. He re w ro te so m e of the E x p o s ito r's lin e s; he added the " th ro w -a w a y " scen e b etw een F a th e r S a lv e d ie r ra and the Indians in the f i r s t sc e n e of the f i r s t act. He changed so m e of the lin es of the c h ild re n in the o p e n ing "apple s c e n e ," and he w ro te in the scen e w ith the c h ild re n a t the beginning of the th ird sc e n e of th e f i r s t act. And he in itia te d a g e n e ra l "lo o sen in g up" of the language. To conclude, he added the c h a r a c te r 203 Cf. pp. 369-373. A ll the F re u d e r a changes rev iew ed h e re and on the follow ing page w e re d e s c rib e d in the e a r l i e r pages r e f e r r e d to in this footnote. 430 of Yank C a r te r , in the th ird act. A cco rd in g to F r e u d , the play is not a tra g ed y ; it is a V icto ria n novel adapted to a V ic to ria n se n tim e n ta l m e lo d ra m a . He gave the opinion th a t the b a s ic - - th e sk e le ta l u n it--c a n n o t be changed w ithout d e stro y in g the validity of the play. But he b eliev ed so m e of the w o rd ing could be changed. A n u m b e r of F r e u d 's thoughts on the play have b een quoted p re v io u sly . The b a sic s tre n g th s he s e e s as: the p o p u larity of the novel, the n o sta lg ia c u r r e n t in o u r so c ie ty , the u n iq u en ess of the p r o duction (including its la c k of co m p etitio n ), the lu re of se n tim e n t and m e lo d ra m a , and the pull of the o u t-o f-d o o rs . F u r th e r , he b eliev es th at th e r e is so m e value in the o v e rc o m in g of re lig io u s p re ju d ic e th at 205 the play a c c o m p lish e s. In s u m m a ry , to h im it is a m u se u m p iece, and h o n o red fo r its a s s u ra n c e of continuity: ". . . th e re is a fte r all • 4 .1, m2 0 6 som e p e rm a n e n c e in the w o rld .1 The J o ry p e rio d , as noted b e fo re , w as one of v ib ran cy and s p e c ta c le . V icto r and J e a n m ad e one v e ry fu n d am en tal change in the s c rip t. They added to the stro n g c h a r a c te r iz a tio n and com ic re lie f of Juan, the .function of s to r y - te lle r ; they cut the E x p o sito r and re w ro te the lines and gave th e m to Juan. In g e n e ra l, a c c o rd in g to W atson G ilm o re 204 F re u d in te rv ie w , S e p te m b er 16, 1971. 205 2 06T k-^ Ibid. Ibid. 431 the J o ry s sought to m a in ta in the in te g rity of the o rig in a l p ro d u ctio n , of which V icto r w as v ery m u ch a p a rt, y et also to m ake n eed ed ch an g es. The additions and innovations they m ad e in the p r o p e rtie s , h o r s e m e n 's 207 sc e n e s, and su ch have been d isc u s s e d e a r l i e r . T h e ir f r a m e of re fe re n c e w as b a sic a lly the o rig in a l H olm e p ro d u ctio n , w ith ack n o w l edgm ent of the n e c e s s ity fo r the changes dem anded by the p a ssin g of tim e. In ten se and e x c e lle n t th e a tric a lity was th e ir keynote and fo rte . A m ong the m any quotable thoughts th at the J o ry s had as to w hat m ade the P a g e a n t stro n g and s u c c e s s fu l, one m ade by V ic to r se e m e d to s u m m a riz e w ell th e ir attitu d e to w a rd the play: I think the f a c to rs that m ad e the R am o n a O utdoor P la y a s u c c e s s o v er the y e a rs - -in itia lly b e c a u se it was a b eau tifu l play. It had w onderful s u rro u n d in g s, it had m a rv e lo u s a c o u s tic s , and it was a lovely way to spend an a fte rn o o n --w a tc h in g h is to r y unfold itse lf, the d ra m a tiz a tio n of a v ery s u c c e s s fu l book, se e in g it in ste a d of ju s t read in g it. H e a rin g so m e m a rv e lo u s and g lo rio u s voices and w atching a show. And the fa c t th a t it w ent sm oothly and w ith p r o fe s s io n a lis m .^08 L a s t of the d ire c to rs in this p h ase of the P a g e a n t, th e J a r a s have f u rth e r c o n so lid ated the changes in itia te d b efo re th e m , c e n te rin g th e ir atten tio n on in c re a s e d a u th en ticatio n of co stu m e and cu sto m . They also in itiate d a m a jo r s c r ip t change in b reak in g the f i r s t a ct b efo re the fie s ta in ste a d of a fte r it. A lso th e ir addition of the s e t t l e r 's 207 S u p ra , pp. 384-388. 208 J o ry in te rv ie w , A ugust 10, 1970. 432 wife and c h ild re n in the H ayton sc e n e , and the new stag in g of the sh o o t ing and d eath of A le s sa n d ro have added in te re s t. B e c a u se of th e ir b a c k g ro u n d --a blend of Spain, M exico, and C a lifo rn ia --th e y have a g r e a te r a w a re n e s s of the ethnic f a c to rs in h e r e n t in the h is to ry of C a lifo rn ia . T hrough th e ir long a sso c ia tio n with the P a g e a n t and the V alley, they have grow n to have a deep in te r e s t in the production. D uring the in terv ie w the au th o r held w ith th e m , they spoke of th e ir affection fo r the V alley and the P a g e a n t, of w hat they thought w e re th e stre n g th s of the P a g e a n t, and of so m e of the changes they thought would be b en eficial. They b eliev e th at the P a g e a n t and the com m unity would b en efit f ro m a m o re activ e p a rtic ip a tio n by the b u s i n e ss factio n . They su g g ested the r e tu r n of the com m unity fie s ta s d uring P a g e a n t tim e . The ro u tin g of tra ffic away fro m the Bowl a fte r the P a g e a n t should be stu d ied to p re v e n t the "shooing" of people out of town in o r d e r to d is p e r s e the crow d, w hich now o c c u rs and w hich p r e vents the audience fro m se e in g the tow n and the m e rc h a n ts fro m s e r v - 209 ing that public. T h e ir su g g estio n s fo r the play w e re th a t the Indian dances could b en efit f ro m the addition of so m e p ro fe ssio n a l Indian d a n c e rs; such an addition would give the c h riste n in g scen e the sa m e added e x p e rtise that the p ro fe s sio n a l d a n c e rs and s in g e rs p ro v id e in the fie s ta 2 0 9 J a r a in te rv ie w , Ju ly 25, 1972. 433 sc e n e . M a u rice sta te d that he believes the show could b en efit fro m so m e additional re w ritin g and fro m som e cutting. A lthough they s h a re m any of F r e u d 's attitu d es to w ard the play, M a u ric e does not see the s c r ip t as a V icto ria n m e lo d ra m a . To h im , th e re a re v ery r e a l a sp e c ts of trag ed y in the play, and he b e liev es it is not m e lo d ra m a , but d r a m a - - a lb e it, p erio d . T h e ir s u m m a ry of the stre n g th s of the P a g e a n t m entioned the sa m e b a sic f a c to rs d isc u sse d by other d ir e c to r s and touched upon h e re and th e re in the d isc u ssio n of the y e a rs M a u ric e and H ilda have d ire c te d . D uring the p erio d , then, and in d ire c tio n , th e re has been a su b tle change in the fo cu s, fro m em p h asis upon a S panish c u ltu re to th a t of a C aliforniano one, w ith in c re a s e d reco g n itio n of the c o n trib u tions of the M exican in the c u ltu re and population of th a t day. M any of the changes in p roduction have been m en tio n ed in the c o u rs e of d isc u ssin g the d ire c to rs . C e rta in ly the g r e a te s t c h a n g e -- the addition of sound in 1966--h a s been m en tio n ed , but it d e s e rv e s r e c a ll h e re . The in c re a s e d c a s t fa c ilitie s should also be re m e m b e re d - -th e added sh o w ers fo r the " ro c k Indians "; the enclosed w aiting room fo r the c a s t, a d ja c e n t to the c a r e ta k e r 's house; the in c re a s e d sp ace and fa c ilitie s fo r the c a s t b ack stag e; the new fa ls e ro ck s; the i n t e r com sy ste m ; new tr a ils ; etc. 434 In r e s p e c t to the c a s t, the in c re a s e in s h e e r n u m b er fro m a beginning to tal c a s t of 296 un d er W hiting in 1947, to a high of 384 w ith the J o ry s in 1967, should be noted. The fifteen y e a rs th a t M a u ric e J a r a played A le s s a n d r o -- th e Longest ru n of any a c to r in the p a r t - - m u s t be m entioned. A m ong the R am o n as, D orothy B ailey V osburg has played the lo n g e s t--te n y e a r s . And W atson G ilm o re has a c c ru e d v e te ra n sta tu s am ong the speaking p a rts w ith his to ta l of tw en ty -n in e playing y e a r s . The n a tu ra l a ttritio n of tim e h as tak en its toll d uring th is phase. O ld -tim e rs am ong the sp eak in g c a s t who have le ft the show fo r v ario u s re a so n s and who a re m is s e d a r e M rs . Isa d o r C osto, S h e rm a n and F re id a L e w is, Bob W aggoner, L a r r y B andick, C h a rlie C h ild s, Ruby Hodous, F anchon Jen n in g s, and P o lly C h ase S e a r s , am ong m any. Jose A ria s, one of the outstanding fe a tu re s of the P a g e a n t sin ce the second y e ar, h as not led the m u sic ia n s up the t r a il in the opening c a s t p r o c e s sion- f o r s e v e ra l y e a r s , although he stay ed in the V alley and v isite d 210 his old frie n d , V erne R o b e rd s , to chat and play his g u ita r. H ow e v e r, his sons and re la tiv e s c a r r y on the A ria s tra d itio n , s till p ro v id ing the in s tru m e n ta l m u sic fo r the P a g e a n t. And H a rry H ofm ann, 2 ^ D u r i n g the p e rio d of the fin al editing of this study, th e re ap p e a re d in the D aily E n t e r p r i s e , R iv e rsid e , C alifo rn ia , on N o vem ber 8, 1972, p. C-l, an a r tic le by B ill Jen n in g s, staff w r ite r, en titled "C olorful M u sic ian Jo se A ria s D ie s." The f i r s t p a ra g ra p h sta te d "Jose A ria s, the M ex ic a n -b o rn m u s ic a l goodw ill a m b a s sa d o r fo r C a lifo rn ia and the R am o n a P la y fo r m any y e a r s , died in a h o sp ita l h e re (.Hemet] M o n d a y night [N ovem ber 6]._ at_th.e_age_Qf.jB3.»ll__________________________ _ 435 an o th e r of th o se who w orked in the fo rm a tio n of the P a g e a n t and who played F e lip e fo r m any y e a r s , no lo n g er plays in the show. He now lives in the C la re m o n t a re a . S p ecial note m u s t be given to M au re H u rt, one of the o rig in a l c a s t m e m b e rs who s e rv e d on the B o ard d u rin g this p h a se , and though no lo n g er activ e with the P a g e a n t, continues as one of its s ta u c h e s t s u p p o rte rs . H e and his lovely w ife, M ild re d , continue to re s id e in H em et, and the au th o r is indebted to th e m fo r th e ir in te rv ie w on the e a rly days. B ack of sp ace and tim e p re v e n ts m en tio n of all who have given such valuable s e rv ic e to the P a g e a n t th a t it h a s b een th ro u g h th e ir devotion th a t it liv es today. A n aly sis of M ajo r S tren g th s A n aly sis of the p erio d fro m 1947 th ro u g h 1972 re v e a ls th a t the five b a sic s tre n g th s H olm e in v ested in the P a g e a n t continued to account fo r its s u c c e s s . T hese m a jo r s tre n g th s , c o n sid e re d in the o r d e r u sed throughout this study, a re : 1. S trong, p ro fe ssio n a lly o rie n te d le a d e r s h ip . E a rly in this p erio d , the pow er of le a d e rsh ip b e c a m e v este d in the R am ona P a g e a n t A sso c ia tio n B o ard of D ire c to rs . Since the m a jo rity of its re c e n t m e m b e rs a re new to the P a g e a n t and none have p a rtic ip a te d in the show as c a s t o r p ro d u ctio n m e m b e r s , a tre n d to w ard in c re a s e d loyalty to the C h a m b e rs of C o m m e rc e and d e c re a s e d reco g n itio n of the 436 o rig in a l philosophy on w hich the P a g e a n t was founded h as been deleted. T his tre n d has re s u lte d in a w eakening of the le a d e r s h ip 's p ro fe ssio n a l o rie n ta tio n , and in th e ir c o n c e rn fo r the p ro d u ctio n and com m unity needs. To w hat ex ten t this w eakening w ill u ltim a te ly affect the P a g e a n t's s u c c e s s re m a in s fo r tim e to te ll, but it is a fa c t th a t stro n g le a d e rs h ip does not e x is t w ithout e n th u sia stic fo llo w e rs. 2. An a ffirm a tiv e s to ry of u n iv e rs a l values and lo cal sig n ifi can ce, couched in h is to r ic a l ro m a n tic is m , and c a lc u la te d to e n te rta in . This stre n g th continued, but again, lo ss of touch w ith the ea rly p h ilo s ophy is ev idenced by the re c e n t tre n d of m o v em en t away fro m a d h e r ence to the o rig in a l s c rip t, and hence the book, R a m o n a . This tre n d is ex em p lified by the su b tle changes in J u a n 's fin a l sp e ec h and by the change in the c h ild re n 's sc e n e w h erein the o rig in a l in ten t of the scen e has been lo st. T h ese changes o c c u rre d as p a r t of the p reo c c u p a tio n of 211 re c e n t y e a r s with m aking the P a g e a n t h is to ric a lly au th en tic. Since 212 the novel is not, n o r w as it intended to be, h is to ric a lly au th en tic, 211 The au th o r, in attending the 1972 p roduction, was v e ry much aw a re of d eletio n s of the "S panish D on" ro m a n tic is m in fav o r of the use of "M e x ic a n "-fla v o re d h is to r ic is m . The o bjection w as to ta m p e rin g with the b a sic in ten t of the Ja c k so n -H o lm e th e m e , and p ro d u ctio n . The m a jo r stre n g th of the s c rip t, it se e m ed to h im , lie s in the fact th a t the V alley is d ed icated to S panish ro m a n tic is m as depicted in H o lm e's o rig in a l s c rip t. 212 Both J a c k so n and H olm e w ere v e ry m u ch a w a re of th e d if fe re n c e b etw een h is to ry and h is to ric a l ro m a n tic is m . T his su b ject w ill be ex p lo red m o re fully in C h a p te r VI of this study. 437 this au th en ticatio n to h is to ry r a th e r than h is to r ic a l ro m a n tic is m can only r e s u lt in m a te r ia lly changing the sto ry . U se of the sound s y ste m has w eakened the show to the ex ten t th a t the m a rv e lo u s a c o u stic a l q u a l ities of the Bowl a re no longer a fe a tu re a ttra c tio n . A gain, tim e alone w ill te ll w h eth er th e se changes w ill affect the su c c e ss of the P a g ean t. 3. C om m unity e n th u sia sm continues stro n g . The su p p o rt of, and p a rtic ip a tio n in, the P a g ean t re m a in s co n sta n t, and the m akeup of the audience in d icates th a t the se n io r citizen s who have in re c e n t y e a rs m ig ra te d to the V alley in la rg e n u m b e rs also su p p o rt the show. 4. F in a n c ia l s e c u rity h as in c re a s e d y e a rly . The P a g e a n t has enjoyed e x c e lle n t lo cal m a n a g e rsh ip sin ce 1947 and its fin a n cial statu s is e x cellen t. Continuing stab ility se e m s a s s u re d . 5. P ublic in te r e s t has grow n throughout this p erio d . With each new in c re m e n t of s e a ts , an in c re a s e in audience has been achieved and m ain tain ed . C H A PT E R VI SUMMARY, CONCLUSIONS, AND SUGGESTIONS FO R F U R T H E R STUDY S u m m ary Tw enty y e a rs as a p ro fe s sio n a l a c to r, including fo u r se a so n s as the m a le lea d in The R am o n a P a g e a n t, and nine y e a rs as the head of a co m m u n ity co lleg e d ra m a d e p a rtm e n t c o n stitu te the a u th o r's b a c k ground and acco u n t fo r his in te r e s t in the s u b je c t of this study. The a u th o r's p ro fe s sio n a l tra in in g and e x p e rie n c e as an a c to r have o rie n te d h im to b eliev e th at the p u rp o se of th e a tre is to e n te rta in the public. In the field of education, h o w ev er, he h as often encountered the philosophy th at the p r im a r y p u rp o se of th e a tre is to ed u cate the p u b lic . The R am o n a P a g e a n t was founded and its s u c c e s s p erp e tu a te d in the tra d itio n th at its p u rp o se w as e n te rta in m e n t. R ec e n tly , the au th o r b e c a m e a w a re of a tre n d developing in the P a g e a n t th at m ight a lte r its o rie n ta tio n fro m e n te rta in m e n t to education. P r im a r ily due to se n tim e n ta l a tta c h m e n t and continuing in te r e s t in the w e lfa re of The R am o n a P a g e a n t, the au th o r d e te rm in e d to in v e stig a te the p o ssib le 438 ---------------------------------------------------------------------------------------------------------------------------------U 9 " effects o£ this tre n d on the s u c c e s s of the P a g e a n t. The im m e d ia te p ro b le m of esta b lish in g c r i t e r i a fo r d e te r m in ing s tre n g th s and w e a k n e sse s in the P a g e a n t led to the study of the o rig in and h is to ry of p a g e a n try in g e n e ra l, fro m w hich it was d e t e r m in ed th a t p ag ea n try w edded w ith c h ro n ic le -p la y s re s u lte d in the b irth of the "new p a g e a n try " c re a te d by L ouis P a r k e r in England in 1905. This id ea of "new p a g e a n try " c r o s s e d the o cean to A m e ric a and in tu rn led to the d ev elo p m en t of two fo rm s of outdoor d ra m a : (1) the a c a d e m ically o rie n te d "co m m u n ity d r a m a " o rig in atin g in the e a s te rn p a rt of the U nited S tates and esp o u sed by P e r c y M acK aye, and (2) "outdoor e p ic - d ra m a " as ex em p lified by The R am o n a P a g e a n t and e sta b lish e d by G arn et H olm e in C a lifo rn ia . That f i r s t "co m m u n ity d ra m a " failed , but fro m its concepts a r o s e to d ay 's E a s te r n o utdoor e p ic - d ra m a as o rig in a te d by P a u l G reen in h is p ro d u ctio n of The L o s t C olony. It w as d e te rm in e d th at E a s te r n and W e ste rn outdoor e p ic -d ra m a had developed as s e p a ra te e n titie s, unaffected by one an o th er. T his p re lim in a ry r e s e a r c h in d icated th a t in o r d e r to identify the stre n g th s and p o ssib le w e a k n e sse s of The R am o n a P a g e a n t, a c o m p a ra tiv e a n a ly sis w ith E a s te r n outdoor e p ic - d ra m a would be n e c e s s a ry . An in -d e p th h is to r ic a l study of The R am o n a P a g e a n t sp e c ifi- ca lly , and thorough s e a rc h of the lite r a tu r e av ailab le on E a s te r n 440 outdoor e p ic - d ra m a in g e n e ra l, w e re conducted, with sp e c ial e m p h a sis placed on the philosophical concepts and p ra c tic e s of those m o st in tim ately connected w ith the o rig in of E a s te r n outdoor e p ic -d ra m a , including P e r c y M acKay; and the philosophy of G arn et H olm e as o r ig i nator of R am o n a. C o m p arativ e an aly sis was conducted and the in h e re n t stre n g th s of outdoor e p ic -d ra m a w e re identified as th o se p rin c ip le s and p r a c tices th at w ere found com m on to s u c c e ss fu l E a s te r n outdoor e p ic - d ra m a s and to The R am ona P a g e a n t. The p e c u lia r stre n g th s of The R am ona P a g e a n t w ere id en tified as those found to be fa c to rs c o n trib u t ing to the o rig in o r su c c e ss of R am ona, but not ex iste n t in su c c e ssfu l E a s te rn outdoor e p ic - d ra m a s . The w e ak n e sse s w e re identified as those p rin c ip le s and p ra c tic e s found to be p e c u lia r to u n su c c e ssfu l outdoor e p ic -d ra m a s . The p r im a r y p u rp o se of this study w as to identify the stre n g th s that have accounted for the phenom enal s u c c e s s of The R am ona P ageant and to point out the developm ent of p o ssib le w e a k n e sse s. The im p o rta n t re s u lts of the study have been th re e-fo ld : 1. It has produced the f i r s t h isto ry and an aly tical study of the origin and developm ent of The R am ona P a g ea n t. 2. It has pointed out the stre n g th s and p o ssib le w e a k n e sse s of the outdoor e p ic -d ra m a th at has developed in the United S tates c o m m encing with The R am ona P ag ean t. 4 4 1 3. C e rta in s ig n ific a n t fin d in g s have b e e n m a d e in r e s p e c t to P e rc y M a cK ay e's a c a d e m ic a lly - o rie n te d co m m u n ity d ra m a , p ro m o te d by C h ap el H ill th ro u g h th e In s titu te of O utdoor D ra m a . T ra c in g th e o r ig in and d e v e lo p m e n t of o u td o o r e p ic - d r a m a in A m e ric a re v e a le d th e m a jo r s o u rc e s in th e E a s t to be the "new p a g e a n try " of L ouis N ap o leo n P a r k e r , au g m en ted by th e id e a s of P e r c y W allace M acK aye; in th e W est, th e s o u rc e w as p r im a r ily th e w o rk of G a rn e t H olm e. In b r ie f , the s u c c e s s fu l p rin c ip le s d ev elo p ed by P a r k e r w ere: 1. A s tro n g , p r o fe s s io n a lly - o rie n te d le a d e rs h ip . 2. A h is to r ic a lly - o r ie n te d , ro m a n tic s to r y c o m m e m o ra tin g the a u d ie n c e 's p a s t and a ffirm in g th e ir v a lu e s. 3. C o m m u n ity e n th u s ia s m . 4. F in a n c ia l s e c u rity . 5. An in te r e s te d p u b lic . By 1908, P e r c y M acK aye h ad c o m m en c ed th e w o rk th a t le d to his th e o ry of c o m m u n ity d ra m a . He u se d a n u m b e r of th e s a m e p r e c e p ts th a t P a r k e r h ad h e ld , b u t in one v e ry im p o rta n t a s p e c t h is p h il osophy d iffe re d fro m P a r k e r 's . W h e re a s P a r k e r h ad in ten d ed th a t h is a u d ie n c e le a r n fro m h is p r e s e n ta tio n s , h is p r im a r y c o n c e rn w as to e n te r ta in th e m w ith th e s p e c ta c le of th e ir ro m a n tic h is to r y and to e n ric h th e ir liv e s th ro u g h giving th e m p rid e in th e tra d itio n s of th e ir p a s t. H is in te n t w as c o m m e m o ra tio n by m e a n s of e n te rta in m e n t. He 4 4 2 r e s p e c te d the n a tiv e in te llig e n c e of h is c o u n try m e n and c r e a te d h is p a g e a n ts w ith th e e x p r e s s p u rp o se of fu lfillin g "th e jo y of a c o m m u n ity on a h o lid a y o c c a s io n ." M acK ay e, on the o th e r h an d , in te n d ed h is p re s e n ta tio n s to e d u c a te , in d o c trin a te , and u ltim a te ly e le v a te th e ta s te s of h is a u d ie n c e s . E n te rta in m e n t w as n o t h is p r im a r y a im . W ith r e s p e c t to o th e r p r in c ip le s , h o w e v e r, M acK ay u tiliz e d P a r k e r 's c o n c e p ts of s tro n g , p r o fe s s io n a lly - o rie n te d le a d e rs h ip ; the n e c e s s ity of c o m m u n ity e n th u s ia s m , fin a n c ia l s e c u r ity , and public in te r e s t. It w as p r im a r ily in th e n a tu r e of h is a c a d e m ic o rie n ta tio n th a t he d iffe re d f ro m P a r k e r , and it w as fro m th is p r e c e p t of "th e e d u c a tio n of the a u d ie n c e " th a t th e o ry and p r a c tic e s a r o s e w hich c a u s e d th e f a ilu r e of h is C o m m u n ity D ra m a . In 1937, th e f i r s t E a s te r n o u td o o r e p ic - d r a m a - - P a u l G re e n 's T he L o st C o lo n y --w a s p re s e n te d a t M an teo , R oanoke Is la n d , N o rth C a ro lin a . G r e e n 's avow ed p h ilo so p h y re g a rd in g the p u rp o s e of o u t d o o r d r a m a w as m u ch the sa m e as M a c K a y e 's: a g o v e rn m e n t s u b s i d iz e d , u n iv e r s ity - a d m in is te r e d th e a tr e th a t w ould e d u c a te and e le v a te th e ta s te of the p u b lic . W hile The L o s t C olony e n c o m p a s se d the fiv e s tre n g th s of P a r k e r 's new p a g e a n tr y -- th e s to r y b ein g b a s e d in h is to r ic a l r o m a n ti c is m - - a n d w as and c o n tin u e s to be a s u c c e s s , G r e e n 's p h ilo so p h y b o re th e se e d s of w e a k n e ss th a t w e re to p lag u e E a s te r n o u td o o r e p ic -d ra m a : 443 the a c a d e m ic o rie n ta tio n (and m o re r e c e n tly , c o m m e rc ia lis m ). By 1971, fifty -e ig h t p ro d u c tio n s of o u td o o r e p ic - d r a m a had ap ened in th e E a s t- - f o r ty - e ig h t w e re f a ilu r e s .* T h is high r a te of f a i l u re a c c o u n ts fo r th e r e c e n t tre n d in the E a s t to w a rd th e ab an d o n m en t o£ e p ic - d r a m a in fa v o r of d ra m a . F in d in g s In th e W est, G a rn e t H o lm e, th ro u g h h is w o rk a t B e rk e le y , and p r im a r ily th ro u g h h is w o rk w ith th e F o r e s t T h e a tre , the M ountain T h e a tre , and the D e s e r t T h e a tre , e s ta b lis h e d the te c h n iq u e s and r e p u ta tio n w hich led to h is a s s o c ia tio n w ith T he R a m o n a P a g e a n t. In th e y e a r of its in c e p tio n , 1923, H olm e endow ed T he R am o n a P a g e a n t w ith fiv e b a s ic s tr e n g th s - - th e s a m e s tre n g th s th a t P a r k e r had ev o lv ed as b a s ic p rin c ip le s a cc o u n tin g fo r th e s u c c e s s of h is new p a g e a n try . T h e se s a m e s tre n g th s fig u re d p ro m in e n tly in th e o rig in and s u c c e s s of s u c h E a s te r n p ro d u c tio n s as P a u l G re e n 's T he .Lost C olony and The C o m m o n G lo ry and K e rm it H u n te r 's Unto T h e se H ills . E a c h m a n , of c o u r s e , s ta m p e d th e s e s tre n g th s w ith h is own v a ria tio n s S ee A ppendix O. " F a ilu r e ," in r e s p e c t to o u td o o r e p ic - d ra m a , m e a n s th e la c k of e x ten d ed ru n . S in ce th e c o s t of su ch p ro d u c tio n s is r e la tiv e ly h ig h , u s u a lly a n u m b e r of y e a r s is n eed ed to d e fra y the in itia l c o s ts . F u r th e r , s in c e h is to r y is in v o lv ed , su ch p ro d u c tio n s fre q u e n tly b e co m e tra d itio n a l a c tiv itie s , and th u s th e id e a of c o n tin u a n c e is so m e w h a t in h e re n t. P a u l G re e n s e t h is h o p es a t fifty y e a r s . 4 4 4 a r is in g out of h is p a r tic u la r p h ilo so p h y and the d em an d s of c ir c u m s ta n c e s . T h e se fiv e s tre n g th s in h e re n t to the s u c c e s s of T he R am o n a P a g e a n t th a t f i r s t y e a r , and H o lm e 's m eth o d of e x e cu tin g th e m w ith in th e lim ita tio n s im p o se d by c ir c u m s ta n c e s , w e re : 1. S tro n g , p r o fe s s io n a lly - o rie n te d le a d e r s h ip , in th e p e rs o n of H o lm e, h im s e lf. H o lm e 's s tre n g th r e s id e d p r im a r ily in h is k n o w l ed g e of th e th e a t r e - - o f w hat " w o rk e d ." But m o re th an h is know ledge and e x p e r tis e in sta g in g and s to r y , H olm e knew a good d e a l ab o u t th e b u s in e s s and p ro m o tio n a l a s p e c ts . He gave m u ch good ad v ic e th a t h elp e d e s ta b lis h the s u c c e s s of the f i r s t y e a r -- w h ic h , in tu rn , a ffe c te d th e s u c c e s s of th e e n su in g y e a r s . C e rta in ly H o lm e 's d ev o tio n to the good of th e p ro d u c tio n above th a t of any in d iv id u a l w as the m a r k of p ro fe s s io n a lis m . 2. An a ffirm a tiv e s to r y of u n iv e rs a l v a lu e s and lo c a l s ig n if i c a n c e , co u ch ed in h is to r ic a l ro m a n tic is m and p ro d u c e d fo r th e p u rp o se of e n te rta in m e n t. In h is a d a p ta tio n of the s c r ip t, H o lm e m a in ta in e d fid e lity to th e n o v e l, R a m o n a , w hich a lre a d y en jo y e d g r e a t p o p u la rity , and by 1923 w as b e c o m in g a c la s s ic in C a lifo rn ia . F u r th e r , h is p r o d u c tio n as w ell as s c r ip t in clu d ed a p ro fe s s io n a lis m w hich in s u re d a q u a lity p ro d u c tio n , y e t n e ith e r v io la te d co m m u n ity p r o p r ie to r s h ip n o r b u rd e n e d th e p ro d u c tio n fin a n c ia lly . 4 4 5 3. C o m m u n ity e n th u s ia s m . H olm e s tim u la te d the a lre a d y e x is te n t e n th u s ia s m and c h a n n eled i t in to p ro d u c tiv ity . 4. F in a n c ia l s e c u r ity . T h ro u g h the in s tig a tio n of th e lo c a l g u a r a n to r s ' l i s t , s e ttin g of b e d g e ta ry lim its , and e n lis tm e n t of v olun ta r y h e lp , H o lm e e s ta b lis h e d th e P a g e a n t on a sound fin a n c ia l b ase w ith o u t o u tsid e su b sid y . 5. P u b lic in te r e s t. The p u b lic ity c a m p a ig n w aged b e fo re the p re s e n ta tio n , and lo c a l e n th u s ia s m fo r the show , s tim u la te d th e p u b lic i n t e r e s t in s e e in g the d ra m a tiz a tio n of the p o p u la r n o v e l, w hich p r o v id ed th e e s s e n tia l f a c to r of b o x -o ffic e s u c c e s s . By 1928, th e end of th e H olm e e r a in th e h is to r y of th e P a g e a n t, th e s e fiv e in h e re n t s tre n g th s h ad b een re in fo rc e d and re m a in e d the b a s ic s tre n g th s of th e P a g e a n t. H olm e c o n tin u ed in th e le a d e r s h ip r o le , a t the s a m e tim e re le g a tin g m o re a u th o rity into th e h an d s of th o se who w ould in e v ita b ly c a r r y on. The s c r ip t re m a in e d e s s e n tia lly th e s a m e , and the p ro d u c tio n h ad b een p o lish e d and s tre n g th e n e d . C o m m u n ity e n th u s ia s m w as fo rtifie d by th e e s ta b lis h m e n t of th e show as a tra d itio n of th e V alley . To the fin a n c ia l s e c u rity of the f i r s t y e a r, co n tin u ed s u c c e s s and good m a n a g e m e n t added th e e le m e n ts of s ta b ility and c o n fid en ce. P u b lic in te r e s t w as m a in ta in e d , and it too w as f o r t i fie d by the f a c to r of tra d itio n and in c r e a s e d th ro u g h th e p ro fe s s io n a lly - co n d u cted p u b lic ity c a m p a ig n s. 4 4 6 T he n e x t e r a p ro v e d the m o s t s e v e re ly try in g in P a g e a n t h i s to r y . By 1946, th e end of th a t e r a , th e fiv e b a s ic s tre n g th s w e re show n to h av e a cc o u n te d fo r the s u rv iv a l and co n tin u in g s u c c e s s of th e show , and w e re th e m s e lv e s r e in fo rc e d th ro u g h t r i a l . H o lm e 's d e a th b ro u g h t a ch an g e in le a d e r s h ip , b u t th e re in s p a s s e d in to c a p a b le h an d s th a t had b ee n tr a in e d in the P a g e a n t tra d itio n . V ic to r J o ry m a in ta in e d le a d e rs h ip in th e co m m u n ity and p ro d u c tio n , b u t by th e m id d le of the e r a , a p o w er s tru g g le ev o lv ed fo r the m a n a g e ria l le a d e r s h ip . H ow e v e r , good m a n a g e m e n t w as m a in ta in e d and the tr a n s itio n a l s tru g g le had no a d v e rs e e ffe c ts on th e P a g e a n t. T he s c r ip t and p ro d u c tio n re m a in e d s tro n g . P e r m a n e n t s e ts , ad d ed s p e c ta c le , and p o lish e d p e r fo rm a n c e s im p ro v e d th e show , w h ile th e e le m e n t of tra d itio n - -w h ic h had p e rm e a te d e v e ry a s p e c t of th e P a g e a n t- - in s u r e d fid e lity to th e o rig in a l s c r ip t. C o m m u n ity e n th u s ia s m fo rtifie d by th e d e s ir e to m a in ta in the tra d itio n of y e a rly p ro d u c tio n p ro v e d th e m o s t im p o rta n t f a c to r in th e P a g e a n t's s u rv iv a l th ro u g h o u t th is e r a in w hich eco n o m ic d e p r e s s io n and a w o rld w a r saw the d e m is e of a lm o s t a ll o th e r s im ila r o u td o o r p re s e n ta tio n s in C a lifo rn ia . It w as co m m u n ity e n th u s ia s m too th a t s u s ta in e d th e fin a n c ia l s e c u rity of th e P a g e a n t u n til the p h enom ena', s u c c e s s of th e 1946 p ro d u c tio n re tu rn e d th e P a g e a n t to fin a n c ia l s t a b ility . P u b lic i n te r e s t w as m a in ta in e d th ro u g h o u t the e r a , and 1946 b ro u g h t a w ave of re n e w e d e n th u s ia s m fro m a public c la m o rin g fo r e n te rta in m e n t a f te r th e a u s te r ity of th e w a r y e a r s . 4 4 7 By th e end of th e fin a l and lo n g e st p e rio d c o n s id e re d in th is stu d y , 1947 th ro u g h 1972, the o rig in a l fiv e b a s ic s tre n g th s s till a c co u n te d fo r th e s u c c e s s fu l co n tin u a tio n of T he R am o n a P a g e a n t. H o w e v e r, f a c to r s b eg an to e m e rg e th a t m a y p ro v e w eak en in g to th e P a g e a n t in th e fu tu re . L e a d e rs h ip w hich h ad u n d erg o n e tr a n s itio n a f te r H o lm e 's d e a th w as u ltim a te ly v e s te d in th e P a g e a n t A s s o c ia tio n B o a rd . By th e e a rly 1960s, th e B o a rd its e lf had u n d erg o n e tra n s itio n . T he n a tu r a l a ttritio n of tim e saw a ll th e o ld - tim e r s le a v e th e B o a rd . In 1967, K a th le e n G ilm an , the l a s t B o a rd D ir e c to r to h av e p a r tic ip a te d in th e a c tu a l p r o d u c tio n , le ft th e B o a rd . W hile a few of th e m e m b e rs h av e a c c ru e d y e a r s of s e r v ic e w ith th e P a g e a n t, th e m a jo rity of th e B o a rd a r e new to th e P a g e a n t, and in so m e c a s e s new to th e V a lley , and th e r e fo r e a r e n e ith e r s te e p e d in th e tra d itio n n o r c o n v e rs a n t w ith th e H olm e p h ilo so p h y th a t o rig in a te d the s tre n g th s of th e P a g e a n t. T h is new c o n s titu tio n of th e B o a rd h as r e s u lte d in in c r e a s e d lo y a lty to th e C ham bers; of C o m m e r c e - - f r o m w hence its m e m b e rs a r e e le c te d - - a n d d e c r e a s e d a w a re n e s s of th e n e c e s s itie s of th e p ro d u c tio n and th e rig h ts v e s te d in th e co m m u n ity . T he q u a lity of th e p ro d u c tio n h a s b e e n m a in ta in e d , b u t a tre n d to w a rd h is to r ic a l a u th e n tic ity th re a te n s th e in te g rity of th e o rig in a l 4 4 8 s c r i p t w hich in th e m a in h as a cco u n ted fo r the d ra w in g p o w er of the show .^ C o m m u n ity e n th u s ia s m h as b een m a in ta in e d th ro u g h o u t the p e rio d and i t is e v id e n t th a t th e la rg e n ew se g m e n t of th e c o m m u n ity -- th e s e n io r c itiz e n s - -h a v e e m b ra c e d th e tra d itio n and a lso e n th u s ia s ti c a lly s u p p o rt th e show . F in a n c ia l s e c u rity co n tin u es and th e a s s e ts of th e A s so c ia tio n in c r e a s e y e a r ly . F in a lly , p u b lic in te r e s t co n tin u es to g ro w . As Bow l c a p a c ity in c r e a s e d , a u d ie n c e s in c r e a s e d a c c o rd in g ly , and f o r m an y y e a r s now th e P a g e a n t h a s c o n s is te n tly p lay ed to n e a r - c a p a c ity a u d ie n c e s . C o n clu sio n s T h e se fiv e in te r r e la te d e le m e n ts a r e n e c e s s a r y to th e o rig in of an o u td o o r e p ic - d ra m a : 1. L e a d e rs h ip 2. S to ry (show ) 3. C o m m u n ity 4 . F in a n c e s 5. P u b lic (au d ien ce) T he book R am o n a and th e s c r ip t a d a p ta tio n a r e b a s e d in h is to r ic a lly - o r ie n te d r o m a n tic is m , n o t h is to r y . T h is s u b je c t is d i s c u s s e d m o re fu lly u n d e r th e s e c tio n s u b title d " F u r th e r C o n c lu sio n s" la te r in th is c h a p te r. 4 4 9 T he n a tu re and b a la n c e of th e s e e le m e n ts d e te rm in e th e s u c c e s s o r f a ilu r e of th e p ro d u c tio n . If th e e le m e n ts a r e p o s itiv e and s tro n g and fo rm an in te g ra te d w hole, th e p ro d u c tio n s u c c e e d s . If one o r m o re of th e e le m e n ts is w eak, th e b a la n c e is u su a lly d e s tro y e d and the c h a n c e s of a s u c c e s s fu l p ro d u c tio n a r e w eak en ed a c c o rd in g ly . T h u s, th e s tre n g th s (o r w e a k n e s se s ) of th e s e e le m e n ts b e c o m e the fiv e in h e re n t s tre n g th s (b r w e a k n e s se s ) of any o u td o o r e p ic - d ra m a . If th e p ro d u c tio n is to b eco m e an an n u al e v e n t, th e s tr e n g th and b a la n c e of th e e le m e n ts m u s t be m a in ta in e d f o r the p ro d u c tio n to su c c e e d . In th e c a s e of T he R am o n a P a g e a n t, G a rn e t H o lm e e s ta b lis h e d th e s e e le m e n ts w ith th e fo llo w in g s tre n g th s : 1. T he le a d e r s h ip w as s tro n g and p r o fe s s io n a lly - o rie n te d . 2. T he s to ry w as a ffirm a tiv e h is to r ic a lly - o r ie n te d r o m a n ti c is m , w ith u n iv e r s a l v a lu e s and lo c a l s ig n ific a n c e . I t w as p ro d u c e d w ith th e p u rp o se of e n te rta in in g . 3. T he co m m u n ity w as e n th u s ia s tic . 4. F in a n c e s w e re s e c u re . 5. T h e p u b lic w as in te re s te d . T h e se , th e n , fo rm th e in h e re n t s tre n g th s of T he R a m o n a P a g e a n t, and th ro u g h o u t th e h is to ry of th e p ro d u c tio n th e y h av e b e e n m a in ta in e d and fo rtifie d . W ithin th e n a tu re of the s tr e n g th s , th e ir in te g r a tio n and b a la n c e is o b s e rv e d . F o r in s ta n c e , s tro n g le a d e r s h ip is 450 in s e p a ra b le fro m c o m m u n ity e n th u s ia s m , e a c h is d ep en d en t on th e o th e r. L ik e w is e , p ro fe s s io n a lly - o rie n te d le a d e r s h ip is in s e p a ra b le fro m e n te rta in in g p ro d u c tio n . E n te rta in in g p ro d u c tio n is in s e p a ra b le fro m p u b lic i n te r e s t, and p u b lic in t e r e s t is in s e p a ra b le fro m fin a n c ia l s e c u rity . O th e r m o re su b tle in te g ra tio n s a ls o e x is t. T h e se i n te g r a tiv e f a c to rs fo rm th e e le m e n ts into an in s e p a ra b le , w e ll-b a la n c e d w hole. If one e le m e n t sh o u ld f a il, the b a la n c e w ould be d e s tro y e d and the w hole w ould u ltim a te ly d is in te g r a te . A ll of th e s u c c e s s fu l E a s te r n o u td o o r d ra m a s s h a re th e s e s a m e in h e re n t s tre n g th s and in te g ra tio n s , though th e m e a n s of a c h ie v in g th e m h av e v a rie d a c c o rd in g to in d iv id u a l p h ilo so p h ie s o r c ir c u m s ta n c e s . T he m a jo r s o u rc e of f a ilu r e in E a s te r n p ro d u c tio n a p p e a rs to be e s s e n tia lly th e h a s te w ith w hich p ro d u c tio n s w e re p lan n ed . B ut th is h a s te is , in tu rn , a sy m p to m of th e g e n e r a l in flu e n c e of the a c a d e m ic o rie n ta tio n w hich p r e v a ils . T he goal of r a is in g a u d ien ce ta s te and a p p re c ia tio n a t o n ce im p lie s an a ttitu d e of s u p e r io r ity w hich do es little to a t t r a c t a u d ie n c e s . F u r th e r , it in d ic a te s a d e s ir e fo r c o m p le x s u b je c ts and sta g in g te c h n iq u e s th a t h av e n o t p ro v e d to be p o p u la r w ith e p ic - d r a m a to u r is t a u d ie n c e s , as a r u le . A g ain , the g e n e ra l f r u s t r a tio n s u ffe re d by th e p la y w rig h ts h a s la te ly b ro u g h t f o rth d efin itio n of th e ir tru e g o a l- - d r a m a in a c o m m e rc ia l, p ro fe s s io n a l, u n iv e r s ity - c o n tro lle d th e a tr e . A ll th e s e f a c to r s te n d to d im th e e n th u s ia s m of the E a s te r n a s s o c ia te s ; th e l a s t m e n tio n e d is p ro b a b ly th e m o s t 451 in s id io u s , fo r d ism a y w ith o n e 's w o rk e a s ily le a d s to lo w e re d s ta n d - 3 a r d s and le s s e n e d s e n s e of r e s p o n s ib ility . A nd fin a lly th e s o a rin g c o s ts of p ro d u c tio n , n e c e s s ita tin g long p la y in g s e a s o n s , p aid c a s t s , and fre q u e n tly su b sid y , have c a u s e d n u m e ro u s f a ilu r e s , a c c o rd in g to th e lite r a tu r e . A n u m b e r of f a c to r s r e la te d to th e s tre n g th s of the fiv e b a sic e le m e n ts h av e c o n trib u te d to th e s u c c e s s of T he R a m o n a P a g e a n t, b u t w e re n o t found to be e x is te n t in the o rig in o r d e v e lo p m e n t of th e s u c c e s s f u l E a s te r n o u td o o r d r a m a s . T h e se f a c to r s a r e the p e c u lia r s tre n g th s of T he R a m o n a P a g e a n t. B rie fly e la b o ra te d , they a re : 1. T he R a m o n a P a g e a n t h a s n e v e r b e e n s u b sid iz e d . It w a s, fro m th e b eg in n in g , fin a n c e d by th e c o m m u n ity . T h is fa c to r h a s s tro n g ly c o n trib u te d to th e c o m m u n ity e n th u s ia s m and p rid e in its ow n show . 2. H o lm e n o t only w ro te th e s c r ip t, he s e le c te d the s ite , he s ta g e d , d ire c te d , p ro d u c e d , and a c te d in th e show as w ell as p a r t i c i p a te d in m a n a g e m e n t and p u b lic ity . T he c o o rd in a tin g in flu en c e of h is a c tiv ity c o n trib u te d a tre m e n d o u s s tre n g th to th e in te g ra tio n of a ll the 3 T he a u th o r fin d s no fa u lt w ith th e d e s ir e to p ro d u ce d ra m a , bu w hen one is en g ag ed in a c o m m e rc ia l v e n tu re , as m o s t of th e lo n g -ru n p ro d u c tio n s a r e , in e s s e n c e , one h a s a r e s p o n s ib ility to the a u d ie n c e . C o m m u n ity D ra m a is a co n v e n ien t and in e x p e n siv e w ay to g a th e r in flu e n c e and a c c la im fo r th e U n iv e rsity p e rso n n e l; but it is too o fte n c o s tly and f r u s tr a tin g fo r th e "p e o p le ." 452 e le m e n ts of the p ro d u c tio n . 3. T he co m m u n ity ow ns th e s c r ip t. T h is f a c to r a g a in adds to the s tr e n g th of co m m u n ity e n th u s ia s m th ro u g h o w n e rsh ip and,' in c i d e n ta lly , r e v e a ls a good d e a l ab o u t th e c h a r a c te r of H o lm e and the n a tu re of h is le a d e rs h ip . 4. T he s c r ip t is an a d a p ta tio n of a V ic to ria n ro m a n tic , h is to r ic a lly - o r ie n te d n o v e l, and is b a se d on th e v a lu e s of fa ith , h o p e, c h a rity , lo v e , and h o n o r. It is c a lc u la te d to lif t th e s p i r i t s , e n te r ta in , and offend n one. 5. F in a lly , w hile o th e r sh o w s, n o tab ly The L o s t C o lo n y , h av e en jo y ed long r u n s , R am o n a h a s s e t the R e c o rd . It h a s h ad fo rty -fiv e y e a r s of a c tu a l p ro d u c tio n , and e a c h y e a r s tre n g th e n s th e e le m e n t of tra d itio n so d ire c tly co n n ected w ith co m m u n ity e n th u s ia s m . F u r th e r C o n c lu sio n s T h is stu d y h a s show n th a t c o m m itm e n t to H o lm e 's o rig in a l c o n c e p ts -- th e p h ilo so p h y and p r o c e d u r e - - o f P a g e a n t p re s e n ta tio n w hich m ak e up its s tr e n g th s , h a s c r e a te d the s u c c e s s the P a g e a n t en jo y s to d ay . T he stu d y h a s a ls o d e te c te d a r e c e n t su b tle r e la x a tio n of th is c o m m itm e n t in th re e a r e a s , w hich m ig h t u ltim a te ly w eak en the s tr u c tu r e of s tr e n g th and e n d a n g e r its s u c c e s s . T h is re la x a tio n of c o m m itm e n t a p p e a rs to r e s u lt fro m a la c k of know ledge of th e h is to r y i of The R am ona P ag ean t. F ifty y e a rs have now ela p sed sin ce the r • > 453 P a g e a n t b eg in n in g s; m an y of the o ld - tim e r s a r e no lo n g e r a ro u n d . A new g e n e ra tio n (so m e new to the V alley) h a s ta k e n o v e r. The th re e a r e a s of p o te n tia l w e a k n e ss a r e : 1. F o rg e ttin g the co n c e p t th a t th e p lay is th e th in g , th a t it b elo n g s to th e co m m u n ity , and th a t p e rs o n a l c o n s id e ra tio n s sh o u ld be e lim in a te d fo r the good of th e P a g e a n t, h a s r e s u lte d in a te n d en cy on th e p a r t of th e C h a m b e rs of C o m m e rc e to e x p lo it th e P a g e a n t by th e ir y e a r ly d em an d s fo r l a r g e r and la r g e r d o n a tio n s. W hile the H e m e t- S an Ja c in to C h a m b e r of C o m m e rc e w as c e r ta in ly v ita l to th e e s ta b lis h m e n t and s u c c e s s of T he R a m o n a P a g e a n t, the c o m m u n ity a s a w hole w as ju s t as v ita l, and th e C h a m b e rs do n o t "ow n" it, though th ey do c o n tro l the e le c tio n of th e B o a rd . The B o a rd in tu rn , b ein g no lo n g e r as c lo s e ly a s s o c ia te d w ith th e a c tu a l p ro d u c tio n of the show a s p a s t B o a rd s h av e b e e n , p e rh a p s fe e ls m o re lo y a lty to th e C h a m b e rs th an to th e P a g e a n t. 2. F o rg e ttin g th e c o n c e p t th a t th e p lay m u s t c a r r y th e s tr e n g th of p r o fe s s io n a lis m is b ein g e v in c e d in a n u m b e r of w ay s. The B o a r d 's d e c is io n not to d e a l w ith E q u ity o r TN T in th e fu tu re w ill v e ry lik e ly r e s u lt in the p ro fe s s io n a l a c to r s b ein g e lim in a te d fro m th e c a s t. T he r e je c tio n (o r p e rh a p s m isu n d e rsta n d in g ) of M rs . J o r y 's s ta te m e n t th a t if sh e w e re to r e tu r n to d ir e c t th e P a g e a n t sh e w ould d em an d m o re p r o fe s s io n a lis m . The la c k of th is q u a lity is b eg in n in g to show in the c a s t a ttitu d e , in the re lu c ta n c e to r e h e a r s e , and in m an y o th e r su b tle 4 5 4 w ay s. H o lm e re c o g n iz e d th a t a m a te u r s n ee d both th e s u p p o rt and in s p ir a tio n of p ro fe s s io n a ls if th ey a r e to le a r n and fu lfill th e ir o b li g atio n to a p ay in g a u d ie n c e . 3. T he H o lm e c o n c e p t and th e s ta te d p u rp o se of th e R am o n a P a g e a n t A s s o c ia tio n - -to p r e s e r v e fo r p o s te r ity th e h is to r ic a l ro m a n c e and tra d itio n s of S o u th e rn C a lifo rn ia th ro u g h in te g rity to th e J a c k s o n - H olm e c r e a tio n - - i s b ein g s e r io u s ly v io la te d in th e r e c e n t p u r s u it of h is to r ic a l a u th e n tic ity . T h is is c le a r ly a m is u n d e rs ta n d in g o r la c k of k now ledge of th e o rig in a l c o n c e p t. F o r in th is c a s e h is to r ic a l a u th e n tic ity can only e ro d e and u ltim a te ly d e s tro y th e p lay . R am o n a is th e p ro d u c t of th e e r a in w hich i t w as w r itte n , a tim e w hen V ic to ria n r o m a n tic s w e re c r e a tin g th e m y th of th e d a sh in g S p an ish don and h is b e a u tifu l s e n o r ita , th e a r i s t o c r a t i c P e n in s u la r S p a n ia rd s (Ja c k s o n m a d e a p o in t of te llin g R a m o n a r e a d e r s th a t th e S e n o ra M o ren o w as b o rn in S e v ille ) liv in g a c o lo rfu l, id y llic life in C a lifo rn ia . W ritin g on th a t e r a of ro m a n tic c r e a tiv ity in h is A L i t e r a r y H is to ry of C a lifo rn ia , F r a n k lin W a lk e r s ta te d th a t it w as in C a lifo rn ia " th a t th e s to r y of a la rg e ly s y n th e tic S p a n ish p a s t a f te r th e h id alg o had gone and th e g r e a s e r h ad b e en s e g re g a te d is s e e n in its m o s t g ra p h ic 4 f o r m ." In the s a m e te x t, W a lk er q u o tes M a ry A u stin (who d is tr u s te d ro m a n tic s and th e ir c r e a tio n s , p a r tic u la r ly R a m o n a ) as w ritin g , "W hat 4 F r a n k lin W a lk e r, A L ite r a r y H is to ry of C a lifo rn ia (B e rk e le y and L o s A n g e le s: U n iv e rs ity of C a lifo rn ia P r e s s , 1950), p. 196. 4 5 5 is it in th e C a s tilia n s tr a in th a t m a k e s it p o s s ib le fo r a g ir l to s tic k a ro s e b eh in d h e r e a r and c a u s e you to fo rg e t th e s m e ll of g a rlic and th e 5 re e k of u n w ash ed w alls?" The obvious a n s w e r to th a t is : W h ere is M ary A u s tin 's n o v el and w h e re is th e p ro d u c tio n of h e r p la y , F i r e R a m o n a , the n o v e l, is s till en jo y in g p o p u la rity and R a m o n a , th e o u t d o o r p la y , is s till b ein g s u c c e s s fu lly p ro d u c e d a lm o s t fifty y e a r s a fte r its in c e p tio n . C a lifo rn ia n s e m b ra c e d th e ro m a n tic m y th and m ad e it a p a r t of th e ir h e rita g e . H e m e t-S a n Ja c in to V alley e m b ra c e d R a m o n a and m ad e it s p e c ific a lly th e ir ow n. To v io la te th a t m y th is to v io la te the V a lle y 's h e rita g e . The s u c c e s s of The R am o n a P a g e a n t d em an d s a u th e n tic ity to th a t ro m a n tic m y th . A u th e n tic ity to h is to r y w ill only r e s u lt in th e lo ss of th e f ra g r a n c e of th e r o s e , and th e g ain of th e " s m e ll of re e k in g w a lls ." And w h ile out of th a t tr a n s itio n m ig h t p o s sib ly e m e rg e a p r o t e s t p lay of th e M ary A u stin g e n re , i t w ill no lo n g e r be R a m o n a . S u g g estio n s In c o lle c tin g in fo rm a tio n fo r th is stu d y , the a u th o r h a s en g ag ed in c o n v e rs a tio n s and in te rv ie w s w ith c o u n tle ss P a g e a n t and co m m u n ity ^Ibid. j ^H olm e p ro d u ce d F i r e a t th e D e s e r t T h e a tre in P a lm S p rin g s . By th e e a rly th i r t i e s , th e D e s e r t T h e a tre h ad c lo se d . 4 5 6 peo p le o v e r th e l a s t two y e a r s . T h ro u g h o u t, he h a s d e te c te d th re a d s of a w a re n e s s and d is tu rb a n c e re g a rd in g th e s e th re e s u b je c ts . In m any c a s e s (m o st, a s a m a tte r of fa c t), th ey could n o t put th e ir fin g e r on 7 th e e x a c t tro u b le , b u t su ch r e m a r k s as " it's g e ttin g too M e x ic a n ," and " it's too b u s y ," and h a rk in g b ac k to o th e r p ro d u c tio n s th a t w e re b e tte r in d ic a te d th e d is s a tis f a c tio n to w a rd th e tre n d of h is to r ic a l a u th e n tic ity and the la c k of p ro fe s s io n a lis m . H o w e v e r, m o s t p eo p le w e re s u re of th e m s e lv e s in th e ir r e s e n tm e n t of th e e x p lo ita tio n of th e P a g e a n t by the C h a m b e rs of C o m m e rc e . S ince th e s e p o te n tia l w e a k n e s se s a r e e m e rg in g o u t of a la c k of know ledge re g a rd in g s tre n g th s th a t h av e c r e a te d and s u s ta in e d th e P ag-' e a n t, the a u th o r h a s th re e su g g e stio n s w hich m ig h t h e lp re c tify th is situ a tio n : 1. It w ould s e e m in c u m b e n t upon th e D ir e c to r s of th e B o ard (as g u a rd ia n s of th e P a g e a n t) to a p p ris e th e m s e lv e s of th e h is to r y of th e P a g e a n t. To e n te r in to th e b y -la w s of th e A s s o c ia tio n a r e q u i r e m e n t th a t e a ch new B o a rd m e m b e r a p p ris e h im s e lf of th e P a g e a n t h i s to ry and d e c la r e h is in te n t to s e rv e th e b e s t in te r e s ts of th e P a g e a n t, b e fo re he is a c c e p te d to m e m b e rs h ip . 7 It m u s t be s ta te d th a t no in s ta n c e - - c o v e r t o r o v e r t- - o f r a c ia l p re ju d ic e w as d e te c te d in th e s e s ta te m e n ts . H o w ev er, th e f e a r th a t th e s ta te m e n ts w ould be m is in te r p r e te d as p re ju d ic e p o in ted up the in s id io u s n e s s in h e r e n t in th e p ro b le m . 4 5 7 2. A n u m b e r of " o ld - tim e r s " s till r e s id e in the V alley , notably G eo rg e G erw in g , R u s s e ll S tim m e l, and M a u re H u rt, a ll of w hom w ere in v o lv ed in th e f i r s t p ro d u c tio n . A c o m m itte e of o ld - tim e r s m ig h t w ell be fo rm e d and p e rp e tu a te d to s e r v e as a u th o ritie s in a n a d v is o ry c a p a c ity to th e B o a rd . 3. A fittin g m e m o ria l sp e llin g o u t th e c o n c e p ts of G a rn e t H o lm e, who w as p r im a r ily re s p o n s ib le f o r th e s u c c e s s of th e P a g e a n t, sho-ul'd be e x e c u te d w ith o u t f u r th e r d elay and p la c e d in a p ro m in e n t lo c a tio n a s a r e m in d e r of th e p a s t and a g u a rd ia n of th e fu tu re of th e P a g e a n t. S u g g e stio n s fo r F u r th e r Study The m o re d eep ly one s tu d ie s T he R am o n a P a g e a n t, the g r e a te r the r e s p e c t he a c q u ire s fo r G a rn e t H o lm e. C o n s id e rin g th a t H olm e s p e n t a g r e a t d e a l of tim e on tr a in s d u rin g h is p a g e a n t-tim e , h is p r o d u c tiv ity w as r e a lly in c re d ib le . T he p eo p le a liv e to d ay who knew H olm e a r e s till n u m e ro u s , re la tiv e ly , and a ll s e e m d e lig h te d to ta lk , ab o u t h im . T h e o d o re J u n io r S hank did a v e ry n ic e stu d y on H o lm e. H e, h o w e v e r, c o n c e n tra te d p r im a r ily on th e w o rk s of H o lm e --n o t on th e m an . W hile it m ig h t be m o s t d iffic u lt, if not im p o s s ib le , to c a p tu r e w h at is m e a n t by H o lm e 's " q u ie t" a u th o rity , to u n d e rs ta n d h is " h a r m le s s e x p lo s io n s ," o r to g e t so m e id e a of w hat h is life -p h ilo so p h y w as (fo r he a ffe c te d m an y p e o p le), no one e n c o u n te re d e v e r s a id an 4 5 8 unkind w o rd ab o u t h im . G eo rg e G erw ing s a id th a t H olm e died alone; th a t th e re w as so m e d iffic u lty g ettin g p eo p le to p e rfo rm th e n e c e s s a r y a r ra n g e m e n ts . W hy? D id th ey n o t w ant to p a r t? C an a p e r s o n 's m a g ic be d e s c rib e d and, in tu rn , im ita te d ? A stu d y of H o lm e 's p h ilo s ophy and tec h n iq u e of th e a tr e co u ld p ro v id e v alu ab le in sig h t into th e m a s te r y of th e a tr e p r a c tic e . F u r th e r stu d y is a lso su g g e ste d on th e fo llo w in g s u b je c ts : 1. C o m p a riso n of th e le a d e r s h ip m eth o d s of P e r c y M acK ay e, P a u l G re e n , and G a rn e t H olm e. 2. H is to ry of o u td o o r d ra m a in A m e ric a . 3. C r itic a l a n a ly s is of T he R am o n a P a g e a n t. 4. C r itic a l a n a ly s is of P e r c y M a c K a y e 's C o m m u n ity D ra m a . 5. C r itic a l a n a ly s is of The L o s t C o lo n y . 6. H is to ry of the "new p a g e a n try ." 7. H is to ry of E a s te r n o u td o o r e p ic - d ra m a . 8. C re a tiv e stu d y of th e fo rm a tio n of a new E a s te r n o u td o o r e p ic - d ra m a . 9. C o n tro lle d a u d ie n c e s tu d ie s , w ith th e e m p h a s is on audience t a s t e s , in r e s p e c t to d efin in g th e s tre n g th s and w e a k n e s se s of c l a s s ic a lly - o r ie n te d a c a d e m ic th e a tr e . A P P E N D I X E S 4 5 9 A P P E N D IX A RAM ONA PA G E A N T A S S O C IA T IO N --A T T E N D A N C E , R E C E IP T S , AND D ISBU RSEM EN TS 4 6 0 APPENDIX A R A M O N A PAGEANT ASSOCIATION - ATTENDANCE* RECEIPTS A N D DISBURSEMENTS (Complete f in a n c ia l re c o rd s through 1927 no lo n g e r e x ta n t.) TICKET TOTAL Y EA R A TTEN D A N CE RECEIPTS RECEIPTS DISBURSEMENTS C O M M E N T S 1 925 3-C23 3,515*11 3 ,6 7 2 .3 6 3 ,3 7 0 .7 4 3 d ay s. 1 9 2 4 3,3 7 1 3 ,7 6 6 .8 0 3 d ay . R e c e ip ts in c lu d e p ark in g c h a rg e s. •»c ?=; **>/'»/ 9,3C3 3 ,52*t. 30 6 ,2 8 9 .8 5 2 w eekends. R e c e ip ts in c lu d e p ark in g charges* 1926 1 0 . 3 2 3 8,650.93 6,891.18 2 wookends. No lo n g e r charge fo r p a rk in g . 192? 12-954 16,837.7*} 10,750.57 3 weekend t r a d i t i o n e s ta b lis h e d . -926 15,205 18,053.85 19,925.97 18,311.49 1929 17,591 20,003.07 20,451.16 19,923.81 1930 13,425 15,452.85 17,805.65 19,268.33 F i r s t tin e e x tr a woe Ice nd added due to r a i n . 1931 1 7 , 1 0 3 18,*}17.20 20,150.37 19,054.39 E x tra weekend due to r a i n . 1932 1 1 , 5 5 1 10,438.22 10,786.12 14,093.02 D ep ressio n . Second weekend cloudy* 1934 12,923 11,930.61 12,677.70 7,595-83 1955 12,683 12,171.20 12,680.61 9 ,5 5 3 .4 6 Bad w e ath e r. 1936 15,657 14,806.65 15,676.27 12,406.07 1937 19,033 17,545.35 18,228.46 15,188.29 5 0 0 new b lo a c h e r s e a t s . 1933 19,592 16,920.30 17,620.30 20,422.23 E x tra weekend duo to r a i n . 1939 20,995 19,314.35 19,685.82 19,281.30 1910 20,091 19,956.05 21,101.17 20,720.53 * 1941 20,000 19,483.31 2 0 ,771.91 17,334.10 A ttendance e s tim a te d . 19*} 6 26,536 46,769.78 49,405.23 3 1 ,8 5 9 .0 7 8 shows*. Good w e ath e r. T ic k e t p ric e in c re a s e d . 1917 2 *}, 2 1 3 35,143.26 3 6 ,6 9 0 .3 7 4 3,774.05 A d d itio n a l new s e a ts* 1913 23,*} 65 39,894.67 4 1 ,847.14 3 3 ,1 7 1 .4 4 461 YEAR ATTENDANCE TICKET RECEIPTS TOTAL RECEIPTS DISBUPSEMEfl 1949 25,61*0 37 ,5 7 8 .3 5 3 9 ,5 0 7 .9 0 43,788.04 1 9 ? 0 26,7^2 37,842.23 46,331.33 36,381.53 1951 23,113 40,221.97 43,0 2 5 .7 5 3 1 ,9 3 6 .0 3 1952 27,613 40,990.96 42,859.66 40,330.54 1953 29,399 43,682.94 45,447.10 46,531.19 1954 29,732 49,674.14 5 1 , 8 2 4 . 6 8 50,226.45 1955 31,62? 52,763.82 55,572.99 53,063.36 1956 29,578 47,263.64 49,570.07 47,758.51 1957 2 8 , 6 3 0 47,257.11 49,876.20 5 0 , 6 0 6 . 6 8 195S 29,659 51,739.07 55,453.29 50,945.30 1959 31,091 67,751.45 71,339.55 52,579.03 i 9 6 0 30,363 66,244.30 70,125.35 71,510.66 1961 3 0 , 9 6 4 67,934.35 7 1,857.91 64,984.09 1962 31,325 68,622.37 7 2,875.45 70,259.65 1963 3 0 , 6 6 8 68,020.73 73,396.67 62,977.76 1 9 6 4 36,702 81,936.74 87,5 6 0 .9 0 69,203.13 1965 32,112 70,563.91 83,140.05 95,600.62 1966 35,923 102,611.17 115,833.75 117,609.61 1967 35,035 , 113,610.35 126,435.07 110,770.10 1963 35,550 115,955.75 134,259.52 103,647.61 1969 3 5 ,1 c4 114,525.11 133,468.92 120,845.21 1970 36,498 119,653.00 138,565.62 126,027.19 1971 40,577 132,237.20 182,410.79 149,341.71 1972 38,539 124,224.38 151,996.52 223,748.68 C O M M E N T S Additional n9W seats. Extra v/oekend due to rain. T ic k e t p ric e in c re a s e d . E x tra weekend duo to r a i n . Increased admission price* E x tra weekend duo to r a i n . A d d itio n a l now s e a t 6 . In c re a se d adm ission p r ic e . A d d itio n a l now s e a t s . A d d itio n a l nev/ s e a t s . A d d itio n a l now s e a t s . E x tra weekend due to r a i n . 462 A P P E N D IX B BREAK DOW N O F Y EA RLY E X P E N S E 463 464 APPENDIX B B R E A K D O W N OF Y EA RLY EXPENSE From Ramona Pagoant A sso c ia tio n F in a n c ia l S tatem en ts F is c a l Y ears Ending June 3 0 th (Only th o se c a te g o rie s o f expense th a t a re co n sid e red v a lu a b le f o r th e purpose o f y e a r-to -y e a r com parison a re l i s t e d . Each c ateg o ry i s l i s t e d from th e f i r s t y e ar i t became an expense u n t i l i t i s no lo n g er shown as an oxponse on tho f in a n c ia l s ta te m e n ts . A ll s a la r i e s l i s t o d in c lu d e ex pense allo w an ces. C ast re fre sh m e n ts wore fu rn ish e d y e a rly a f t e r 1928, b u t n o t l i s t e d as a s e p a ra te expense u n t i l 1 9 5 3 *) R o y a ltie s Manager E xecu tiv e S e c re ta ry E x tra O ffice Help T o ta l A d m in istra tio n r ' n + s ** 4 * * 4 f v X W V 'A > '« X U J d k X U x O j D ire c to r Ramona A lessandro F e lip e S e r.o ra F r. S a iv c d ie rra J o e Lui.go M ice, C ast Music S e ts and Prop3 H orses Costumes and «7igs Makeup C ast R efreshm ents T o ta l F ro d u ctio n 1923 1924 2 1 0 , 9 1 2 1 0 , 0 0 823.44 1,123,13 ( 1 , 0 0 0 ,0 0 1 , 0 0 0. 0 0 ) ( Included i n ) ( D ire c to rs ) ( s a la r y . ) 25.00 35 .0 0 56.95 300.91 i 2 25 513.44 3 6 .4 0 1 ,235.37 1,531.56 1 , 0 5 0 . 0 0 In m isc. it it it ti 523.50 445.90 686.45 164.66 168.45 19.82 3 ,0 5 8 .7 8 T o ta l M aintenance 128.21 D onation to K aryl M arker 150.00 1927 1923 1926 523.95 1 5 0 . 0 0 67.90 1 ,3 2 2 .7 4 2,2 7 0 .7 7 1 , 0 0 0 .0 0 1 5 0 . 0 0 1 0 0 .0 0 In m isc. it 1 1 n it 435.25 477.00 295.76 88.70 246.64 17.55 2 ,9 1 0 .9 0 67.78 709.21 250.00 142.88 2 ,0 7 5 .1 9 2 ,881.40 1 ,3 3 3 .7 5 In m isc. 11 11 11 11 120.00 1 5 0 . 0 0 846.85 8 2 1 . 0 0 596.86 155.49 3 50.12 113.94 4 ,3 9 8 .0 4 241.83 1,169.21 681.66 467.00 156.83 3 ,7 3 8 .8 6 2 ,3 1 0 .8 5 1,3 3 5 .0 0 223.90 382.00 313.40 60.00 150.00 7.50 825.42 841.44 161.10 305.03 71.20 79.80 4 ,212.88 569.25 5 0 . 0 0 1929 1 , 3 0 9 . 8 1 861.39 5 0 0 . 0 0 173.51 4 ,2 0 8 .7 5 3 ,8 5 7 .1 6 504.85 I n m is c ti it 1 1 1 1 1 1 it 1 1 1 1 1 1 1 1 1 1 1 1 1,378.21 836.65 . 497.12 180.55 406.93 94.12 3 ,8 9 8 .4 3 369.78 1930 955.44 631.07 525.00 239.77 4,112.20 4,7 8 4 .1 2 665.00 In m isc. 1 1 n 1 1 1 1 it ti 1 1 n 1 1 n 1 1 1 1 2 ,1 4 3 .9 0 1 , 1 7 1 . 0 0 451.20 232.00 507.03 98.00 5 ,2 68.13 783.96 465 1231 1952 222k R o y a ltie s 1,155.09 625.39 7 1 6 . 0 2 KanaGcr 8 2 9 .2 4 600.00 736.77 Exocutivo S e c re ta ry 5 2 5 . 0 0 5 0 0 . 0 0 5 0 0 . 0 0 E x tra O ffice Help 4 0 7 . 9 5 ■ 391.50 1 4 8 . 2 0 T o ta l A d m in istratio n 4 ,7 5 7 .3 4 2 ,6 2 2 .4 1 1 ,7 9 0 .6 4 T o ta l F u b lic ity 4 ,7 6 4 .5 5 4 ,9 1 5 .5 5 2 ,3 7 5 .2 9 D ire c to r 541.66 3 0 0 . 0 0 244.33 Ramona In m isc. 362.50 100.00 A lessandro 11 . 11 362.50 453.50 F e lip e 11 it 225.00 25.00 Sonera 1; 11 100.00 75.00 Fr* S a lv o d ie rra 11 ii 1 5 0 . 0 0 1 2 5 . 0 0 J C f O it it 36.00 Lai {jo it 11 1 0 5 . 0 0 70.00 M isc. C ast 1,687.27 137.85 75.8? Sherman In d ian s Music 1,148.50 936.50 428.31 S e ts and Props 351.65 H orses 277.10 57.80 32 .3 4 Costumes and Wigs 610.72 422.89 252.18 Makeup 1 2 5 . 0 0 82.55 . 51.81 T o ta l P ro d u ctio n 4,721.88 3 ,3 0 3 .5 9 2 ,7 1 6 .5 7 T o ta l M aintenance 572.00 235.56 114.79 Hornet Chamber o f Commerce 3 0 0 . 0 0 San J a c in to Chamber of Commerce 200.00 2222 2 2 2 2 19 3 7 1238 1939 7 2 1 . 0 3 9 2 3 . 8 5 No s t a t e 1 ,0 4 8 .4 1 1 ,2 7 2 .6 6 ( 600.00 7 8 1 . 4 0 m ent e x 7 3 1 .7 2 1 ,5 6 8 .0 0 ( 6 2 0 . 5 1 ta n t fo r 408.00 776.86 324.42 t h i s y o a r. 317.84 226.39 1,633.99 4 ,2 6 6 .9 9 5,084.23 4 ,7 0 1 .8 0 3 ,4 3 1 .2 5 4,5 3 2 .6 8 6 ,0 1 2 .9 2 5 ,964.67 249.37 392.44 1,113.34 (1 ,1 5 8 .8 2 200.00 ( 557.71 299.80 ( 3 5 8 . 5 0 ( D ire c to r ( 100.00 295.19 229.66 220.50 100.00 125.34 98.00 98.00 3 0 0 . 0 0 • . 2 3 . 7 5 100.00 1 8 6 . 2 3 150.00 196.00 2 5 . 0 0 335.97 196.00 352.65 6 0 1 . 5 0 659.11 227.92 1,051.23 147.31 938.50 101.20 3 3 . 1 5 137.50 195.00 194.93 337.36 327.81 403.10 478.44 6 9 . 9 4 75-86 2 6 .8 ? . 3 8 .8 4 4 ,4 8 8 .2 2 3 ,1 0 3 .3 3 4 ,4 5 1 .4 1 4 ,1 1 9 .1 3 2 5 5 . 5 9 4 4 8 . 3 1 531.06 3 0 0 . 0 0 200.00 1 , 2 0 7 . 0 1 466 1 9 4 0 1941 1946 R o y a ltie s 750.00 Manager 1 ,7 6 4 .0 0 1 , 7 9 0 . 0 0 7 ,669.93 E xocutivo S e c re ta ry 730.21 624.11 955.88 E x tra O ffice IIolp 183.16 4 1 6 . 0 1 653.41 T ic k e t C om ptroller 4 0 0 . 0 0 T o ta l A d m in istratio n 6 ,7 8 7 .4 0 5 ,189.36 12,641.94 T o ta l P u b lic ity 6,481.86 5 ,7 4 9 .6 6 7 ,6 0 2 .9 2 D ire c to r ( 735.00 6 5 0 . 0 0 750.00 Ramona ( 19.40 2 0 0 . 0 0 A lessandro 392.00 4 0 0 . 0 0 1,333.33 Sonora 1 0 0 . 0 0 F r. S a lv e d ie rra 2 0 0 . 0 0 2 0 0 . 0 0 3 2 5 . 0 0 C ast 143*00 173.00 She m an In d ia n s 2 9 0 . 0 0 33 2 .1 1 Music 886.70 930.50 1 ,4 6 0 .0 0 S e ts and Props 3 2 9 . 6 2 475.85 306.15 H orses 153.00 1 6 2 . 0 0 2 6 6 . 0 0 Costumes and Wigs 450.15 731.57 1 ,4 1 6 .8 1 Makeup 42.75 178.78 599.02 T o ta l P ro d u ctio n 4 ,2 9 5 .9 7 5,053.63 7 ,7 0 4 .7 2 T o ta l M aintenance 3 ,1 5 5 .3 1 1 ,2 5 8 .9 5 3 ,9 0 9 .4 9 C c X o t A p p re c iatio n D inner Henct C o f C San J a c in to C o f C 1947 1948 1949 1 « 1950 1951 5 ,3 8 7 .5 6 1,697.18 425.13 509.25 1 , 7 5 0 . 0 0 2 , 4 0 0 . 0 0 395.60 467.50 1 , 7 5 0 . 0 0 2 , 4 0 0 . 0 0 424.50 496.75 2 , 0 0 0 . 0 0 1 , 5 0 0 . 0 0 415.14 453.50 2 , 4 0 0 . 0 0 1 , 6 5 0 . 0 0 431.50 431.50 1 1 , 2 6 6 . 8 2 5 , 0 1 1 . 1 0 7 ,5 57.09 6 ,7 7 4 .1 8 6 ,7 7 2 .6 1 10,189.29 8 , 8 1 5 . 2 1 11,337.86 7 ,9 3 8 .5 5 8 ,4 1 3 .0 5 9 0 0 . 0 0 2 5 0 . 0 0 1 , 0 0 0 . 0 0 750.00 2 5 0 . 0 0 5 0 0 . 0 0 1 ,0 4 7 .5 8 4 0 0 . 0 0 5 0 0 . 0 0 1 , 1 5 0 . 0 0 3 5 0 . 0 0 5 O 0 .OO 1 , 2 0 0 . 0 0 3 0 0 . 0 0 5 5 0 . 0 0 1 , 2 2 0 . 0 0 ( 561.48 ( 2 ,0 5 4 .8 5 294.69 1 , 0 0 0 . 0 0 1 8 2 . 5 6 244.00 2 ,2 1 0 .5 5 17.96 1 , 0 0 0 . 0 0 2 8 2 . 4 6 2 8 0 . 0 0 2 ,1 2 7 .9 3 47.49 1 , 0 0 0 . 0 0 1 7 9 . 8 0 2 3 6 . 0 0 3 ,0 7 2 .9 8 395.00 1 , 0 0 0 . 0 0 2 1 8 . 0 6 2 3 6 . 0 0 1 ,1 3 3 .8 0 178.84 6 ,9 0 1 .5 1 6 ,6 6 7 .2 7 7 ,7 8 3 .1 4 7 ,9 9 2 .7 5 6 ,0 5 6 .9 1 3 ,4 3 9 .6 5 2 ,7 5 9 .9 9 3 ,7 1 4 .0 9 4 ,2 5 4 .1 9 3 ,3 6 2 .2 2 201.08 908.32 818.17 1 ,0 2 5 .1 9 1 , 2 0 0 . 0 0 8 0 0 * 0 0 O' 1 3 3 1 1 2 5 3 . 2254 Manager 2,8 0 0 .0 0 2 ,7 3 3 .3 2 3 , 2 0 0 . 0 0 E xecu tiv e S e c re ta ry 1,800.00 2 ,0 0 0 .0 0 2 , 1 0 0 . 0 0 E x tra O ffice Help 493.76 365.50 313.50 T ic k e t C om ptroller 498.76 545.00 5 2 8 . 1 2 T o ta l A d m in istratio n 7,7 2 5 .3 0 7,869.98 10,981.54 T o ta l P u b lic ity 9 ,6 3 3 .9 0 9 ,4 7 6 .7 1 8 ,8 2 1 .2 6 D iro c to r 1 ,400.00 1 , 5 0 0 . 0 0 1 , 5 0 0 . 0 0 Ramona 400.00 5 0 0 . 0 0 600.00 A lessandro 666.66 600.00 7 0 0 . 0 0 U nderstudies h ' C S X C 1,666.66 1 , 2 5 0 . 0 0 1 , 3 5 0 . 0 0 S e ts and Props 218.06 238.10 247.65 Horses 292.00 3 1 9 . 0 0 272.00 C ostunes and Wigs 1,015.99 1 , 2 5 6 . 1 5 971.22 Makeup 285.16 131.35 C ast R efreshm ents 398.62 1 ,0 5 7 .1 6 T o ta l P ro d u ctio n 7,932.00 9 ,7 5 0 .1 1 9 ,2 3 7 .0 0 T o ta l M aintenance 3 ,5 6 7 .2 5 4 ,3 1 7 .3 5 4,9 8 0 .4 9 C ast D inner 2 ,1 0 5 .8 4 1 ,408.41 1 ,4 6 1 .0 0 Hemet C of C 1,3 0 0 .0 0 1,8 0 0 .0 0 1 ,8 0 0 .0 0 San J a c in to C o f C 1,2 0 0 .0 0 1 ,2 0 0 .0 0 1 ,2 0 0 .0 0 1955 1956 2 3 3 1 1252 3 , 3 0 0 . 0 0 3 ,6 5 0 .0 0 3 , 8 0 0 . 0 0 4 , 0 0 0 . 0 0 4 , 5 0 0 . 0 0 2 ,2 5 0 .0 0 2 ,1 5 0 .0 0 2 , 4 0 0 . 0 0 2 , 4 0 0 . 0 0 2 ,6 0 0 .0 0 512.51 460.00 3 7 5 . 0 1 4 5 5 . 3 0 1,0 1 2 .6 6 614.38 558.75 6 4 0 . 5 8 577.81 11,682.65 10,330.68 10,895.76 11,651.12 1 2 , 8 1 9 . 2 0 9,1 0 7 .4 2 9 ,4 1 8 .2 0 9 ,6 7 6 .9 4 9 ,1 0 4 .1 0 8 , 8 7 0 . 0 2 1 , 5 0 0 . 0 0 1 , 5 0 0 . 0 0 1 , 5 0 0 . 0 0 1 , 5 0 0 . 0 0 1 , 5 0 0 . 0 0 800.00 7 0 0 . 0 0 887.50 800.00 1 , 0 0 0 . 0 0 9 0 0 . 0 0 800.00 1 ,143.39 1 ,103.99 1 , 2 0 0 . 0 0 506.92 2 9 1 . 0 0 271.54 229.29 4 5 0 . 0 0 1 , 9 5 0 . 0 0 1 , 5 0 0 . 0 0 1 ,9 7 5 .0 0 1 ,6 0 0 .0 0 2 , 0 0 0 . 0 0 205.76 194.61 440.73 231.37 ( 443.50 280.00 260.00 248.00 272.00 ( 1,1 9 2 .6 4 1,3 8 7 .7 4 1 ,5 5 4 .2 9 1,9 5 6 .1 0 1 , 7 2 3 . 7 9 283.53 140.26 274.27 174.72 2 4 5 . 5 0 1 ,398.49 1,073.93 1 ,5 2 3 .8 0 1,441.63 1 , 5 3 3 . 3 0 11,382.53 9,780.88 1 2 , 0 4 2 . 2 2 11,452.85 1 4 , 0 9 7 . 1 8 4 ,2 5 4 .2 5 3 ,7 0 4 .6 8 4 ,2 8 7 .2 4 5 ,4 1 4 .3 5 5 ,3 8 1 .0 2 1,2 3 8 .2 0 1 ,3 3 5 .2 7 1 ,431.19 1,3 6 7 .3 2 1 ,3 5 0 .9 4 1 ,8 0 0 .0 0 1 ,8 0 0 .0 0 1 ,8 0 0 .0 0 1 ,8 0 0 .0 0 3 , 0 0 0 . 0 0 1 ,2 0 0 .0 0 1 ,2 0 0 .0 0 1 ,2 0 0 .0 0 1 ,2 0 0 .0 0 2 ,0 0 0 .0 0 468 Manager Executive Secretary Extra O ffico Help Ticket Comptroller T otal Administration T o t a l P u b l i c i t y D i r e c t o r Ram ona A le s s a n d r o U n d e r s tu d ie s Music S o t s a n d P ro p 3 H o rs e s C o stu m e s a n d Y /igs M akeup C a s t R e f re s h m e n ts T o t a l P r o d u c ti o n T o t a l M a in te n a n c e C a s t D in n e r Hem et C o f C S an J a c i n t o C o f C Ram ona P l a y e r s 1 9 6 0 1 9 6 1 1 9 6 2 1963 4 ,8 0 0 .0 0 3 , 0 0 0 . 0 0 4 , 8 0 0 . 0 0 5 , 2 0 0 . 0 0 2 ,7 4 0 .0 0 2 , 9 0 0 . 0 0 2 ,8 0 0 .0 0 3 , 0 0 0 . 0 0 1,043.97 1 , 1 2 2 . 2 7 1 ,360.99 1 , 4 9 0 . 1 2 I n c l u d e d i n E x t r a O f f ic e I le lp h o r o a f t o r . 13,120.67 1 3 , 9 0 2 . 6 6 1 4 , 6 0 0 . 2 1 1 5 , 9 0 8 . 0 7 9 ,2 8 2 .2 5 8 ,5 5 4 .4 7 9 ,495.23 9 ,3 5 6 .9 5 1 , 5 0 0 . 0 0 1 , 5 0 0 . 0 0 1 , 7 5 0 . 0 0 1 ,7 5 0 .0 0 1 ,0 0 0 .0 0 1 ,0 0 0 .0 0 1 , 0 0 0 . 0 0 1 ,000.00 1 ,5 0 0 . 0 0 1 , 3 0 0 . 0 0 1 , 5 0 0 . 0 0 1 , 5 0 0 . 0 0 450.00 475.00 4 7 5 . 0 0 3 5 0 . 0 0 2 ,5 3 8 .3 4 2 , 0 7 0 . 6 2 2 ,3 0 6 .6 0 2 ,5 3 4 .4 4 225.17 3 1 1 . 7 2 397.41 666.20 220,00 264.00 264.00 H e r e a f t e r 1 ,870.95 1 ,5 5 5 .2 5 1,695.13 1,506.06 233.11 196.62 242.21 260.66 1 ,526.40 1,5 8 1 .1 5 1,6 5 6 .0 2 1 ,6 7 9 .6 2 15,177.36 14,457.87 15,875.51 16,633.87 5,633.08 5,467.18 5 ,913.39 6 ,3 6 5 .3 4 1 ,5 1 3 .4 1 1,299.59 1,499.23 1,457.33 3 ,0 0 0 .0 0 3 ,0 0 0 .0 0 3 , 1 0 0 . 0 0 4 ,5 0 0 .0 0 2 ,0 0 0 .0 0 2 ,0 0 0 .0 0 2 ,1 0 0 .0 0 3 , 0 0 0 . 0 0 1 9 6 4 1965 1966 1 9 6 7 5 ,2 4 3 .7 2 6 ,2 5 0 .0 0 7 ,4 9 5 .8 7 7 ,4 4 4 .1 4 3 , 3 0 0 . 0 0 3 , 5 0 0 . 0 0 3 , 0 0 0 . 0 0 2 ,8 2 5 .0 0 1,789.38 1 ,2 70.99 2 , 2 7 3 . 6 2 2 ,1 4 1 .1 1 18,020.60 1 8 , 8 1 0 . 5 0 19,492.81 2 1 ,1 2 1 .6 0 9 ,9 7 0 .2 9 10,161.55 10,851.95 11,489.87 2 , 5 0 0 . 0 0 2 , 3 0 0 . 0 0 2 , 0 0 0 . 0 0 2 , 5 0 0 . 0 0 1 , 3 0 0 . 0 0 1 , 2 0 0 . 0 0 1 , 0 0 0 . 0 0 1 ,0 0 0 .0 0 2 , 0 0 0 . 0 0 1 , 7 5 0 . 0 0 1 , 7 5 0 . 0 0 1,000.00 5 0 0 . 0 0 4 5 0 . 0 0 4 0 0 . 0 0 4 5 0 . 0 0 3 ,5 5 2 .8 0 2 , 9 0 0 . 0 0 3 , 0 7 4 . 0 0 3 ,8 3 7 .2 8 696.56 589.94 281.34 161.03 in clu d ed in S e ts and P ro p s. 1 ,2 43.22 1 ,5 4 3 .8 5 2 ,0 7 3 .4 2 3 , 1 2 9 . 3 3 313.52 274.62 443.24 1,994.99 1 ,743.27 1 ,8 5 8 .3 2 1,8 2 6 .7 5 2 0 ,0 2 4 .3 1 19,850.08 22,202.59 2 3 ,5 8 7 .4 5 9 ,6 2 0 .4 0 9 ,9 5 5 .0 0 7 ,3 4 8 .5 7 8 ,6 0 5 .9 3 1 ,681.22 1 ,7 9 5 .4 5 1,913.58 2 ,0 6 5 .6 5 4 , 5 0 0 . 0 0 6 , 1 0 0 . 0 0 6,1 0 0 .0 0 6 , 9 0 0 . 0 0 3 , 0 0 0 . 0 0 4 , 1 0 0 . 0 0 4 ,1 0 0 .0 0 4 ,6 0 0 .0 0 1 , 7 5 0 . 0 0 O' o 1 9 6 8 1 2 6 2 1970 Manager 8 ,4 7 7 .8 2 8 , 1 0 0 . 0 0 8 , 4 0 0 . 0 0 E xecutive S e c re ta ry 3 , 0 0 0 . 0 0 3 , 3 0 0 . 0 0 3 ,6 0 0 .0 0 E x tra O ffice Help 2 ,6 1 9 .5 5 2 , 9 2 3 . 2 7 3 ,5 2 2 .7 6 P ro p e rty Tax T o ta l A d m in istra tio n 22,955*57 22,784.57 2 5 ,7 7 1 .3 4 T o ta l P u b lic ity 11,697.81 9 ,5 4 4 .9 0 10,796.00 D ire c to r 2 ,0 0 0 .0 0 2 ,5 0 0 .0 0 3 , 2 5 0 . 0 0 Panonn 1 ,0 00.00 1 ,0 0 0 .0 0 1 ,0 0 0 .0 0 A lessandro 1 , 7 5 0 . 0 0 1,7 5 0 .0 0 2 ,0 0 0 .0 0 U nderstudies 6 0 0 . 0 0 600.00 5 5 0 . 0 0 Kucic 3 ,1 7 6 .3 8 2 ,9 1 4 .1 4 3 , 2 7 9 . 5 0 S e ts and Props 568.99 243.06 Cootuses and Wigs 3 ,4 6 8 .2 0 2,4 2 1 .0 3 2 ,8 8 6 .2 6 Makeup 345.38 C ast Pc-frsohmonto 1,709.41 1,733.08 1,724.21 Sound System 4 , 0 0 0 . 0 0 T o ta l P ro d u ctio n 26,812.71 3 2 , 0 5 2 . 1 8 2 9 ,9 9 4 .3 0 T o ta l M aintenance 10,703.71 10,423.42 9 ,3 3 9 .2 6 C ast D inner 2 ,1 1 7 .0 6 1,9 9 8 .0 9 2 ,1 3 1 .0 5 Henet Chamber of Com,, 6 , 9 0 0 . 0 0 8,6 2 5 .0 0 8 , 7 0 0 . 0 0 San J a c in to C o f C 4 ,6 0 0 .0 0 5,750.00 5 ,3 2 5 .0 0 S c h o la rsh ip s 3 ,4 3 2 .5 2 2 9 2 1 9 ,2 4 0 .0 0 3 .9 6 0 .0 0 3 ,4 2 5 .4 1 1,053.72 26,495.77 12,525.97 3 .2 5 0 .0 0 1 . 5 0 0 . 0 0 2 , 5 0 0 . 0 0 70 0 .0 0 4 ,1 03.33 317.72 2 ,4 4 4 .6 7 205.97 2 ,3 4 0 .2 2 4,700.00 34 ,8 1 2 .9 5 7,958.98 2 ,0 2 5 .3 8 1 3 , 5 0 0 . 0 0 9 ,000.00 4 ,100.00 2 3 1 1 9,240.00 3,200.00 4,338.88 1,110.28 3 2 ,1 4 9 .9 5 11 .604.04 3 , 2 5 0 . 0 0 1 .775.00 1.7 7 5 .0 0 3 0 0 . 0 0 3 ,3 9 9 .4 1 333.23 2 ,8 3 4 .2 0 208.20 2,248.11 4 .1 7 5 .0 0 31 ,9 5 7 .6 7 11.298.05 2 ,1 3 7 .3 2 12, 156.00 8 ,000.00 4 .1 0 0 .0 0 470 A PPEN D IX C RAMONA P A G E A N T --L A N D AND IM PRO VEM ENTS 471 APJENDIX C R A M O N A P A G E A N T - - L A N D A N D IM P R O V E M E N T S Y E A R Y E A R L Y C U M U L A T IV E EN D IN G L A N D A N D IH PR O V E 1E N T S C O ST T O T A L T O T A L 1924 Land ($2,500.) 1 ,300.00 1 ,300.00 6/30/26 Fcnco, Bridge and Rest Rooms 302.28 302.28 1 , 602.28 6/30/27 Seats 8 , 281.48 8 , 281.48 9,883.76 6/30/28 W ell and Fountain 2,264.32 P lanting and Trails 252.68 Road 476.00 Ealanco on Land 1 , 200.00 4,193.00 14,076.76 6/30/29 Mrs. Reeves Land 3 , 000.00 landscape 607.53 3,607.53 17,684.29 6/ 30/30 S eats (660 Reserved) 2,776.03 Fencing 310.78 3,086.81 20,771.10 6/30/31 (No Improvements) 6/ 30/32 Parking 464.75 464.75 21,235.85 7/ I /3 2 - 6/50/36 (No Improvements) 6/30/37 Rest Rooms 1,375.46 Permanent Stage 2,954.31 500 Bloacher Seats 374.01 4,703.78 25,939.63 6/ 30/38 Entrance Wall and Gate 1,543.87 1,543.87 27,483.50 6/30/39 Wator System 442.02 Backstage Rect R oom 295.20 Rockwork and Planting 514.73 1,251.95 28,735.45 6/30/40 Parking Area 1,039.25 1,039.25 29,774.70 6/30/41 N ov; Administration Building 3,703.30 3,703.30 33,478.00 7/1/41 - 6/ 3 0/46 (No Improvements) 6/30/47 Caretakorc House 723.47 Concrete Seats 8,233.93 F ir s t Aid 256.27 Shed 108.70 9,322.37 42,800.37 6/30/48 Carotakers House 127.13 Backstage 290.00 Cast House 5,911.59 Intor-Com Systom 224.49 6,553.21 49,335.58 6/30/49 Bowl Lighting 5,261.27 Rost Rooms 3,534.70 Water System 1,529.26 Sound Wall 933.00 Nursery 209.59 Showcases 50.77 Fcnco 132.46 Power Line 378.00 T icket Cabinet 150.62 Cast Houso Heater 27.01 • . , Concroto 149.78 12,356.46 .61*710.04 6/30/50 Nursory 239.18 Parking Area 957.41 472 YEAR ENDING 6/30/50 6/30/51 6/ 30/52 6/30/53 6/30/5** 6/30/55 L A N D A N D IM P R O V E M E N T C O S T (Cont.) Cast House 476.74 Bowl (General Improvements) 850.42 Fence 186.74 Paving 386.08 Dressing Room 45.00 Stage Floor 315.90 E le c tr ic a l 15.18 Parking 45.00 Wall and Walk 300.00 Seats 2,691.50 F alse Rock 44.51 Trees 36.42 O ffice Rug 50.23 Bricks 100.00 Nursery 26.30 Misc. 63.04 General Bowl 664.58 Steps to Cast House 86.43 Backstage 2,347.04 Museum 1,619.97 Rost Rooms 1,682.36 M isc. Bov/1 1,197.32 Museum find Equipment 4,683.16 Wall 194.78 Concession Stand 2 , 045.86 F ir st Aid Room 2,004.72 S eats 382.26 Sound Wall 193.01 Shed Roof and Rest Room Equip. 500.77 Museum E le c tr ic a l and Misc. 1 , 070.21 Parlting Area 7,593.66 S ep tic System 514.51 Photo Area 58.91 Black Top 817.35 Admission Gate 422.10 Caretakers House 295.72 M isc. Bowl 212.81 Drinking Fountain- 131.18 Fire Hose, Pum p and Motor 636.24 Sound Wall 383.89 Drossing Room 127.02 E le c tr ic a l and Plumbing 225.57 Parking Area 2,417.93 Falso Rock Renovation 126.89 Ticket Booth 178.36 Flag Polo 339.23 Roroof, Repaint, Remodel 1,477.66 P icn ic Grounds 286.04 Rost Room 1,506.82 Nursery 2,195.16 YEARLY TOTAL 2,523.75 **,305.90 6,400.38 10, 508.10 11,679.05 473 C U M U L A T IV E T O T A L 64,233.79 68,559.69 74,940.07 85,*»48.17 97, 127.22 YEAR Y E A R L Y ENDING L A N D A N D IM P R O V E M E N T S C O S T T O T A L 6/30/55 (C ont.) M isc. Bowl 1,065.18 10,897.17 6/30/56 P icnic Area 522.15 Prop, and Dressing Rooms 482.45 Seating Retainers 1,034.32 Surface Parking Area 3,096.46 Seat Backs 1,245.96 M isc. 2,611.92 8,993.26 6 /30/57 C ooler, Caretaker House 129.48 Rost Room 2 , 141.02 S h elter 1,921.02 Parking Area 1,435.10 Matting 503.69 Water System 2,175.09 8,305.40 6/ 30/58 Rest Rooms 3,497.75 Horse S ta lls 395.62 Fence 260.18 Water System 1,174.15 Cast Sh elter 1,632.17 M isc. Improvements 1,573.25 8,533.12 6/30/59 F ir st Aid Bldg. 1,984.25 F alse Rock 1,799.48 M isc. 1,247.77 5,028.50 6/30/60 Cast House 1,629.78 F alse Rock 1,846.73 Water System 1,365.82 Underpass 12,438.56 Cast Seating Area 826.35 Parking Lot 1,302.60 M isc. 1,616.74 21,026.58 6/30/61 L ittlo Theatre Building 3,250.00 Caretakers House 12,693.48 M isc. 1,032.00 16,975.48 6/30/62 Storage Room 1,023.93 Wardrobe Room 7,031.36 Parking Lot 7,532.30 Sprinklers 1,002.66 M isc. 2,474.25 19,064.55 6/ 30/63 Cast House 568.49 Paving 3,621.70 Water System 1,263.04 M isc. 148.30 5,601.53 6/30/64 Paving 1 , 911.20 M i sc . 1,903.81 3,815.01 6/30/65 Backstago 1 , 02S. 40 Water System 6,845.99 Romodol Offico 538.85 Accosc Road 777.00 Now Soato and Wall 3,264.11 M isc. 5,417.52 13,831.76 .474; C U M U L A T IV E TOTAL 108,024.39 117,017.65 125,355.05 133.856.17 138,884.67 159,911.25 176,886.73 195,951.28 201, 552.80 205,367.81 221. 146.18 Y E A R Y E A R L Y EN D IN G L A U D A N D IM P R O V E M E N T S C O ST T O T A L 6/30/66 Bus Parking Lot 18,451.84 S ea ts 15,508.80 Ramonas House 327.29 Roadways 627.36 M isc. 3 ,044.74 38,060.03 6/30/67 Cast S eating Area 3,876.12 Sound System 3,561.27 Parking Lot 13,695.05 M isc. 441.24 21,573.68 6/30/68 Parking Lot 3,504.35 Water System 2,692.82 S ea ts 677.02 Sound System 287.08 Concession Stands 718.60 M isc. 2,923.51 10,803.38 6/30/69 Cast House 2,152.56 Lighting System 4,865.00 Parking Lot 6,962.88 Sound System 467.06 S eatin g 6,147.03 M isc. • 1,516.54 22,211.07 6/30/70 Cast House 9,876.90 S eatin g 7,260.19 M isc. 3,576.46 17,137.09 6/30/71 Lighting System 2,000.00 Parking Lot 22,136.00 O ffice 2,463.02 S eatin g 644.62 Cast House 1,257.89 M isc. 4,938.14 33,439.67 475 C U M U L A T IV E T O T A L 259,206.21 280.779.89 291,582.27 313,793.34 334.506.89 364.369.76 TO TA L L A N D A N D IM P R O V E M E N T S AS O P JU N E JO, 1971 476 Land A d m i n i s t r a t i o n B u i l d in g B o w l L i g h t i n g C a s t H ouse C a s t S h e l t e r C o n c e s s io n S ta n d s C u s t o d i a n H ouse F a l s o R ock F i r s t A id B u i l d i n g s L a n d s c a p in g L L t t l o T h e a tr e B u i l d in g M is c . B ow l Im p ro v e m e n ts M useum N u r s e r y P a r k i n g A re a a n d P a v in g P i c n i c G ro u n d s a n d O th e r B e n c h e s R a n c h H ouse a n d S t a g e A re a R e s t Rooms R o a d s a n d F e n c in g S e a t s S o u n d S y s te m S t o r a g e Room a n d W ork S h o p T o o l s a n d E q u ip m e n t U n d e r p a s s V /a te r a n d S e w e r S y ste m A u to s P l a n s a n d E n g i n e e r in g TOTAL 5,500.00 9,514.62 13,127.30 31,910.11 6.982.81 4,332.45 15,033.46 3.705.77 5,777.93 4.416.33 5 , 105.00 6,340.22 7,747.96 3,292.11 98,631.91 3,095.55 9 ,428.02 15,152.04 7. 210.82 58,523.72 6.895.34 1,305.76 1.505.78 12,433.56 25,094.35 2,117.50 184.34 . 364,369.76 A PPE N D IX D S E L E C T E D RAMONA PA G EA N T ASSOCIATION FINANCIAL STA TEM EN TS 477 APPENDIX D SEIECTED R A M O N A P A G E A N T ASSO CIATIO N FINANCIAL S T A T E M E N T S N ovem ber 1 , 1928 Cash in Bank 1.611*.1*8 N E T W O R T H 1,6U*.1*8 Land and Improvements 13,599.76 Juno 21*. 191*1 Savings and Tern Account 1*,000.00 Checking Account 2.570.11 N E T W O R T H 6,570.11 Land and Improvements 1*1,551.89 J u n e 5 0 . 1969 Cash: Checking Account 5,009*56 Savings Account 52,859.5** C ertifica te Deposits 85,000.00 O n Hand 50.00 Inventory: Beverage Box 116.51 G ift Shop 1,708.1*9 Sun Hats 168.00 Water Cooler 1*90.00 11*2,919.10 2 .1*85.00 N E T W O R T H 11*5,1*02.10 Land and Improvements 315.793.3** 478 Ju n e 3 0 . 1 9 7 1 Cashs Chocking Account 884*54 Savings Accounts 99,511*26 Mt* San Jacinto College Bonds 15,000,00 C e rtifica te s of Doposit 35,000*00 Museun Building Fund 55*261*82 O n Hand 50*00 185,707.62 Inventory: Beverage Box 29*00 G ift Shop 1,901**22 Sim Hats 2*00*00 Water Cooler 490*00 2.825.22 N E T WORTH____________ 188,530.84 land and Improvements 364,369*76 1971 - Bowl Capacity 7 performances x 6,350 T o ta l Attendance T otal Unsold Tickets T o ta l Attendance Paid Attendance Total Comps Breakdown of Comps: Indians Twin Pinos (Boys School) House Passes F ir st Highters V*I.P. Group Radio and T V Press S ta ff Cast Total Comps 6,350 44,450 40.577 _________________ 40.577 J L 8sSQ SL 2.068 259 70 108 154 68 55 21 726 607 2,068 A PPEN D IX E COMMUNITY INVOLVEM ENT 480 APPENDIX E C O M M U N IT Y IN V O L V E M E N T (Counts taken from Ramona Pageant programs. The 1932 program was the f ir s t to l i s t business s ta ff and committees in th e ir e n tir e ty . The yearly t o t a l r e fle c ts community involvement p lu s•the few professionals d irectly connected with the play production* D irectors are lis te d in order to show th e ir influence on cast s iz e s .) Y E A R D IR E C T O R C A ST O T H E R T O T A L 1923 Holme 100 (estim ated) 1924 Holme 106 1925 Holme 109 1926 H olco 1^9 1927 Holme 173 1928 Holme 173 ( e s t i m a t e d ) 1929 Y /h itin g 172 1930 V /h itin g 186 1931 V /h itin g 183 1932 B a e r 193 103 298 1934 P ro u d 177 133 310 1935 F re u d 187 132 319 1936 Ankrum 178 171 349 1937 Ankrum. 272 253 525 1938 J o r y / I n n e s s 326 275 601 1939 J o ry /I n n e G S 319 302 621 1940 In n o s s 368 226 594 1941 In n e s s 307 290 597 1946 J o r y / I n n e s s 311 276 58 7 1947 V /hitinG 296 235 531 1948 B e rc sc n 354 222 576. 1949 B c rs s e n 251 245 496 Y E A R D IR E C T O R C A ST O T H E R T O T A L 1950 (Sensing 287 254 541 1951 Gerwing 276 250 526 1952 Gerwing 250 219 469 1953 Gerwing 279 248 527 1954 Freud 303 249 552 1955 Freud 347 244 595 1956 Freud 313 234 547 1957 Freud 323 .229 552 1958 Freud 308 236 544 1959 Freud 274 269 543 i 960 Freud 315 262 577 1961 Freud. 343 273 616 1962 Freud 328 267 595 1963 Freud 314 285 599 1964 Freud 317 .290 607 1956 Jory 325 291 616 1966 Jory 374 284 658 1967 Jory/Inness 384 289 673 1968 Jara 344 283 627 1969 Jara 325 297 622 1970 Jara 322 305 627 1971 Jara 331 284 615 1972 Jara 335 288 623 481 A PPEN D IX F S E L E C T E D PROGRAMS O F THE RAMONA PA G EA N T 482 T he Outdoor Pageant Play RAM ONA Adopted by G A R N E T HOI.ME F ro m Incidents in Helen H u n t Ja c k so n 's Novel o o PRESENTED IN THE BEAUTIFUL CANYON CALLED Ramona Bowl (A bout T w o M iles South of H em et, a t th e Foot of Mt. S an Ja c in to ) O O Frida}', Saturday, Sunday April 13, 14, 15, 1923 AT 2:30 O’CLOCK O O A Community Festival, Inaugurated by the People of Hemet and San Jacinto T ills p ro duction Is p rrse n trd with the sanction of V irginia Calhoun, o w n e r o f th e exclusive dram atic rights on liauiona, will) I.ittle. Iliow n St Co.. Publishers, of P oston, Muss. ADMISSION, $1.00—CHILDREN UNDER 14, 00c T ic k et" o b tainable at all place? of hushiccs In San Jacin to and llem ct, a t the .Vit-'iuii lun, Kiver;i.lv; t'lrim h cr of rtnniw orce. Itcillauds: Pham - h er of Cioum-Tco, San llcruarilino: I’hainber of Coaiini'rce. I.os Angeles 484 ■ H Z 3 ACT ONK: "The Camulos Ranch" Episode One—Alessandro conics to the ranch. Episode Two—Ramona and Alessandro learn to love each other. Episode Three—The Sonora discovers their secret. Episode Four—The lovers flee from the ranch. ACT TWO: "In Exile” Episode Five—A hidden canyon in the hills. Episode Six—The Christening of Ramona's child a t Pasquale. Episode Seven—Soboba Springs. Episode Eight—The death of Alessandro on Mt. San Jacinto. EPILOG.UE—THE LOVE OF FELIPE RAMONA PAGEANT G EN ER A L CO M M ITTEE: MRS. S. C. M ILLER, Chairm an R im lottc R a y n o r Jo h n E. K ing J. A. Faull P aul 0 . W ard E dw ard Poorm an Mrs. H. P. H untington .1. O. Pcrcival G arn et Holme Mrs. H. B. Jo n e s Rev. F re d e ric k M iller F ra n k F elt Miss Iren e M uller T h e g en eral com m ittee w ishes particularly to ex tend its sincere th a n k s and ap p rec ia tio n to B u rdette R ay n o r to whose u n rem ittin g efforts is d u e th e success of th is R am o n a P a g e an t play. T o C larence S m ith fo r'h is m any courtesies show n th ro u g h o u t the e n tire tim e of p rep aratio n and presentation. T o Prof. P a u l G. W ard of the H em et high school fo r splendid co o peration in th e m an y features. To Rev. F red erick M illtr for assistance In Innum erable ways. T o E dw ard Poorm an of S an Jacin to for his u n tirin g effo rts In every ph ase of th e Pageant. To Mrs. W in ifred Hunt for faithful and close application to every detail of th e costum ing. T o Mrs. L. H. W arren for h er zeal and devotion to th e general co m m ittee in se c u rin g and a rran g in g all stage properties. . T o Phillip W h itin g of l<os Angeles, whose genius is m an ifest In th e en tire se ttin g of the Ramona l’aceant. And to his tw o assistants, Richard Nelson and H ilton Eseh, who have faithfully atten d ed hint in every way. To P e te r W eb b e r of R iverside for th e designing o f the en tire C am ulos Ranch. T o Dr. J. W . Caldwell for designing and building th e S panish car- ret la which, d ra w n by a R a m of oxen, loured Southern California. To tin* Amer ican Legion for securing and erecting th e cross ahovc th e R am ona Howl. To Ihn Boy Scouts for assistan ce In m any ways. 11 485 • / r z x Characters of the Play Marda (la the order ot their appearance) -----------------------------------------Mrs. IT. 0 . Miller .Sue Louise McGnrity .Isabella (a child) _____________ Father Salvedierra (an aged Franciscan F riar)—Frank D. Felt Juan C nnito--------------------------------------------Edward Poorman Luigo (a s h e p h e rd )__________________________Albert Jones M argarita (a maid-servant) Scnora Moreno ___________ .Mrs. II. B. Stew art Adelaide Clarke Alessandro (captain of Indian slieepshearing band). Ramona (later called Majella) Jose (an Indian shecpshearcr) Senor Felipe M oreno________ Bruce Botteler -Dorise Schukow Mnure H urt -J. Knryl M arker Dolores (a Spanish singer) .._ Rosa (a Spanish d a n c e r)_____ Mrs. R. K. Sampson ACT TWO Pedro (an I n d ia n )_______ Sucnn (an Indian woman) Ysidro (an Indian farmer) Frank Ilnyton (a settler) Dr. Morong (his frie n d )__ Father Caspara _________ C. C. Kuykendall .Mrs. Ellsworth Aden C. B. McCollin _______ -Lee Durham Mara (aged Indian woman) Aunt Ri lT y c r----------------- Joe (her s o n ) _________ ___ Jim F a r r a r _______________ J a k e ____________________ M e rrill ______________ M. B. Rideout — Oliver P. Ensley .Mrs. Isador Costo ..Mrs. II. B. Jones Brucc Picrsall .Paul M. Scott ----------------Phillip W hiting Dr. John W. McCann FAGKANT D W KCTOU—G A R N ET IIOJ.MR THE RAMONA PAGEANT The- beautiful Utile* city of H e m et lies in tlies e o n ie r of ''H nm onnland," w hore bill auJ valley a re full of m em ories of th e two liner*. It hi fitting nud a p p ro p riate that, the story should ho celeb rated In th is *pot. For this purpose, it is proposed to produce cacti y e a r a play picturing th e story yf Harooua. A d ld*al location am idst the wild hill* h a s been selected, and Is In every w ay suitable for such a pertorm anvo. C alitornia has changed greatly ia the la st fifty years, but the hill* never chance. T h ey stan d today in ilndr n a t u ral beauty oven r s they stood in the days of th e Spaniard and th e Indian. T h e R am ona Howl is easy of access, th ere is a m ighty auditorium ; plenty of sp ace for th e parking of autom obiles, and acoustic p ro p erties which perm it a w hisper to be heard by ten thousand people. Music and so n s In such a place are nearly divine; th e echoes ap p ro ach ing and fading In th e ste e p p lac e, of th e rocky ravine. T h e top of th e ridge form s the back of the au d itorium .and beneath It stre tc h the glories of the H em et Valley, lu sp ringtim e th e trees a rc covered w ith blossoms, and th e wiid flowers form a m ulti-colored c arp et. S now capped m ountains raise th eir heads to the c le a r' bluo sk y , w hich a t sunset tu rn to flam es of fire. In such su rro u n d in g s the talc of love will be unfolded, a sto ry which at tim es Is encircled by scen es of laughter, m e rrim e n t and d a n ce ; at oth ers by d efeat and despair, which faith alone can tu rn to victory. T h e d ra m a will be especially w ritten by C a rn o t Holme, a u th o r of Tab* quit* th e D esert I’iay, th e N o rth ern C arm el Mission Tlay, and of Ursa, the official play of the Redwood K oirsts. T he players will be d raw n from th e fo rem o st a rtists of th e d ra m a tic world aud be supported by th e people of H e m e t and San Ja c in to in th eir production. A fbrec-Jav celebration w ith three afternoon perfo rm an ces Is planned; th e re Is little doubt th a t th e festival will In y e ars to com e, be a recognized featu re in the a ttra c tio n s of California and draw th o u san d s of p"oplc to the lovely valley in which H em et and £ au Ja c in to a re located. THE STORY OF RAMONA T h e story of R am ona Is one of the g re at love p o e m s.o f th e world and. u n like m o st.o f the g re at rom ances, doe* not end with m arriage, but con tin u es through m any y ears of m arried life until th e death of th e faithful lov ers. N ever has the fiamo of sclf-racrifire and devotion burned b rig h te r than In th e lives of Itum ona and h e r ill-fated husband A lessandro, l.ovc conquered d e ath and by its victory has brought im m ortal fam e to th e u n h a p p y lovers. Into w hat a sea of difficulties w ere they plunged, how nobly they struggled ag ain st th e tide of m isfortune, how inevitable th e ir shipw reck, is all told in the beautiful novel by H elen H u n t Jack so n . T h a t th e soul, s n d the pow er of It, Is m ig h tier than th e m ortal body is proved by th e fam e an d Influence th at the sp irits of the lovers have attain ed , out of all propor tion to their im portance a s social units. Jo h n B row n's body lies a-moulder- Iny In tlin dust, but his soul goes m arch in g on. T h e ushcs of S h ak esp eare lie In a little, little grave, hut today he lives m ore truly th an in th e days o f bis life. Kven so t**" weak and m ortal bodies of R am ona and A lessandro n re no more, but th eir love and clr.ry will live forever. T h e tim e in which they lived w as d e sp e ra te; suspicion and Jealousy w e re ram pant, th e Indian was pushed fa rth e r and fa rth e r back and Ju stice w as denied him. Aniid:-i m uch that was picturesque and ro m antic th e Money 1’o w cr th ru st its evil hand, and m any wore crushed by it. a m o n g st them R am ona and Alessandro. O ne civilization, dying, struggled w ith another, younger, and fell. T h ro u ch the pathetic h istury of th e decline of Indian life there run* this poignant sto ry of tv*o poor creature?, who loved throuch wrongs, Injuries nud false accusation, and in doing so found stren g th . The whole i.utn of the tragedy d raw s Its light from th e su n set sch em e of color ing. T he sun sinks on th e Indian. the S panish civilization, and on the true love of llnmoiia; and vfte-- the ru n sc t.—for them a t least, the night. —G A IlN K T HOI,MR. - 4 A ? 1 * * r ' SE C O N D A N N U A L P R E SE N T A T IO N * A * c . v ; ♦ > • ■ v ■ ■ . - • -r " • • IV V * s * A V -''* * > ,‘ ft-v.V -V * * { R a m o n a P a g e a n t ‘j . - * - '* * " * ' ' •. >.v ■ T J K ‘ * V* A dapted by G arnet H olm e Prom th e N ovel by H elen H unt Jackson at RAMONA BOWL ; "V A C anyon o f N atural S cen ic B eauty T w o m llee S o u th ea st o f H em et, a t th e fo o t o f Mt. San J acin to ‘ A . V ’. ’ i V;. f-V" V . • I . • * . * • v .. , . • - . . . . , t t ,* ♦ •• , \ ‘•V / '. V ' ^ • * i. ■ * . • ' • X L * * y.v & • > ■ " ■ ' m i l ^ VlllVi R h tT o H n HHUtttt j. h u ll v FRID AY 8A T U R D A Y 8U N D A Y May 30, 31, June 1,1924 }:... A n O utdoor C om m unity Festival, In au g u rated by th e People a t y : ' : , v .if. ■ ■ . « ' f 1 » . ? • l L ■ ; S vl . .} ■ V ^ * < *.'• e * * • • ... H e m et an d S an Jacinto. ■ G A R N E T HOLM E, D irector • V, P H IL IP W H ITIN G , Stage M anager 488 SP A N ISH W O M EN • M rs. L. Jo h n sto n , Mrs. J. W. Caldwell, W inona Dodd. Mrs. Perclval H r 11. Mrs. Y ahnetha E ckiund. El ear. or Sm ith. SPANISH CHILDREN AND INDIAN CHILDREN E velyn Boynton, Lucile Sierras, J o h n Diam ond, M innie Diamoud, D onald A nkrum , E dith Kanntry, Jo h n n ie Pico, L ew is Kan- agy, T heodore Jolly, B etty N equctte. C atherine i'ico, Noolla K erd rao n , A nna Kggon. DANCERS IN T H E FIESTA . L o is D avidson, V irginia Cray, n u th Tripp, Je a n e tte Neal, R uth M ontague, E sth e r Killion, F ran ces W arner, M ary Pow ers. George Banes, Floyd K enney, Lorar.to Jor.^s, H arold Sm ith, C harles Roberts, Bill Corwin, Jo b n Hollingsw orth, Wood- ' bridge Champion. SH EE P SHEARERS C larence Sm ith, Don Hall, Ira Saw yer. C i;d e Vm hey. M anuel Ne^ qucttc, Ju les Potter, C. E. Goodhue, iioht. W oods, A lexander B alanzuella, C. C. Nordal, H a rry I’mhey, H. B. Jones, Jan ies Stone, F. Johnston. INDIAN WOMEN Louiso W ard, M iss McEuon, P a tric ia Berg. E leanor H u n te r, P a u line P ark s, E sth er W ilcox, E th e l W ierson, F lo ra K enney, L uclla Killion. INDIAN DANCERS, RAY BRANT, Instructor , N aom i Davis, Lucilla Blodgett, E d ith T eters. H arriet Roberds, A g n es H am ilton, Louiso G uthrie, M argaret McNulty. Mable D u rrenberger, E d n a T eters, E m erson D ePcel, T heodore Stetson, Carl Schroder, O liver McNulty, G ordan Lovett, L yle B lanchard, Don Hall, W ilbert Boss. ACKNOWLEDGMENTS T h e gen eral com m ittee ex ten d s its sincere th an k s to A lberta R aynor, K a th ry n A nderson and A lva K lo tter tor th eir work in p ro m o ting th e P a g e an t publicity. To C larence Sm ith tor his m a n y courtesies during the entire period of preparation. T o Prof. P au l G. W ard an d o th e rs of the H em et I’nion high school fo r th eir splendid co-operation. T o E d w ard Poorm an for his loyal work during rehearsals. To Mrs. Atwood W hiddcn to r h e r work in connection with the p re p ara tio n of th e costumes. T o Mrs. L. II. W arre n and Mrs. Glen B ru baker to r their assist a n ce in g ath erin g the m any p roperties. T o the stu d e n ts of the San J a c in to High School for designing a n d building the Spanish carrcta, w hich,-draw n by oxen, toured Sou th e rn California. T o th e Boy Scouts tor assista n ce In preparing th e Bowl. T o th e Girl Scouts for th eir help-in sow ing wild flowers on the hillsides and the care of the first aid work. To M rs. R. K. Sam pson tor a s s is ta n c e /n the vocal music. T o R ay B ran t for his en th u siasm a n d skill in train in g the Indian d ancers. * ■ . T o th e M isses Thacker, M uller an d M cIIelvie of th e H em et Hluh School faculty for their work in tra in in g and costum ing the S panish d a n ce rs for titu tiecta. , T o San Ja c in to Campfiro girls for free distribution of d rin k ing w ater. T h is p ro duction 13 presen ted w ith th e san ctio n of V irginia Calhoun, o w n e r of tho exclusive d ram atic rig h ts to R am ona, w ith L ittlo, B row n & C om pany, publishers, of Boston, Mass. - P re se n ted in th e R am o n a Bowl, about, two m iles south of H em et, a t tb o foot of Mt. San Jacin to , May BO, 31 and Ju n o 1, 11)24. T h e au dience i9 requested to rem ain seated until th e close of th e final sorm an d the sound of th e bugle. Absolute silence during p erfo rm an ce is requested. ACT ONE: “ THE CAMULOS RANCH-: ' E pisode One— A lessandro com es to th e ranch. (O ne m onth elapses). E pisode T w o— T h e love story. (Six m o n th s elapse). E pisode T h ree — T he se n o ra discovers th e lovers. (E ig h te ei days elapse). Episode P o u r—T h e lovers flee from th e ranch. (A few houri elapse). E p iso d e Five— A hidden c an y o n in th e hills. INTERMISSION OF TEN MINUTES ACT TWO: “ IN EXILE ’’ E p iso d e Six— T h e ch risten in g of R am o n a’s child a t P asquale. E pisode Seven— Soboba Springs. E pisode E ig h t—Ilcath of A lessandro on Mt. San Jacinto. Pniinrnin— T h e lf"-o of ppjinr. (N o t"—-After E pisode six and seven th e in terlu d e will be sp oken by Carroll Nye). CHARACTERS OF TIIE PLAY (In th e o rd e r of th e ir ap p earan ce) M arda, an old s e r v a n t ....................................................................N a n cy M iller Isabella, a c h i l d Sue I.oulse M cC urity F a th e r S alv cd ierra, an aged F ra n c isca n f r i a r ..................F r a n k D. F e lt Ju a n Canito, o v erseer of C am ulos ra n ch E d w a rd P o o rm an Luigo, a young s h e p h e r d ......................................... H ow ard M cX ear M arigariia, a m a id - s e r v a n t L illian B. S te w a rt S enora M o r e n o ..............................................................................A delaide Clarke A lessandro, cap tain of sheep -sh earin g h a n d .........................V ictor Jo ry R am ona, la te r called M a je ila M ildred B re w ste r Jose, a n Indian s h e e p -s h e a r e r Ray Muilenix Senor F ellp o M o r e n o .................................................................J. K ary l M ark er Dolores, a S panish s i n g e r ..........................................Y a h n eth a Eckiund (N o te— Interval of 10 m in u tes before act tw o). • Pedro, a n I n d i a n .-............................................................... L. W. M cKelvey Suena, a n Indian w o m a n ............................................................G ertru d e B ean •Ysidrc, a n Indian f a r m e r - .................................Woodridge. C ham pion F ra n k lln y to n , n se ttle r ........................................................ Leo D u rh am Dr. M orong, his f r i e n d M. 1). Rideout F a th e r G nspara, a p r i e s t ............................ ............... G u rn et llc lm c M ara, aged Indian w o m a n ...................................................P e a r l K low der A u n t Ri I l y e r ___- ................... - ......................................Mrs. H. B. Jo n e s Joe, h e r son ............................................................................... B ruce Piersall Jim F a r r a r ............. Dr. J. W. Caldwell J a k o ....... - Oliver P. E nslev M e r r i ll .......................................................... ..............Dr. Jo h n W. M cC ann DISTANCE H e m e t Is 34 m iles from R iverside, an d is reached by excell en t p a v ed roads. . . . . . . • ACCOMMODATIONS T h e ro are ex cellen t re s ta u ra n ts in H e m et an d S an Jacin to , the P a lo m a r In n is a high class hotel, a n d th e V o3burg H otel a t S an J a c in to is a fam ous houso of hospitality; Soboba H ot Springs, S an J a c in to ; G ilm ans R elief H o t Springs, S an Ja c in to ; th e M ag nolias Hotel, V alle Vista. M ountain re so rts a d ja c e n t to H e m e t an d S an Ja c in to a re IdyllwIId and T ah q u ltz Lodge, w ith in a n h our’s driv e from R a m o n a Bowl. GARAGE F ir s t class g a rag e service c an bo bad. W HAT TO WEAR P la in sport clothes. B ring a n old cushion or a ru g to sit upon. PARKING T h e re Is am p le room to p a rk cars w ithin 2fl0 y a r d s of th e theatre. A good road leads d irectly to tho place. APPROACH TO THE AUDITORIUM'' T w o easy tra ils h av e been m ad e from tho p a rk in g ground • to th e th ea tre ; in length a b o u t 200 yards. C hildren u n d e r C y e ars of ag o will be cared for d u rin g th e play a t a m inim um chargo by the Girl Scouts, u n d e r the direc tion a n d supervision of Mrs. J. V. D urrenbergor. Good care will bo given tho kiddies while you enjoy tho play. T ick ets on sale, a t llom et-Snn Ja c in to C h am b er of Com m erce, Hotel Vosburg, S an Ja c iu to ; C h am b er of Com m crco a t R ed lands, R iverside, San B ern ard in o an d I.os A ngeles a n d a t T ho Mission Inn, Rivcrsido. Admission, $1.00; Children un d er 14, SO cen ts P ro g ram S tart3 a t 4 p. m. 491 ' 9 2 . ? THIRD ANNUAL OUTDOOR PAGEANT- PLAY “RAMONA” A Jap tetl from IaciJcn£s in. H e le n K a n t Jackson’s N o r e l h y G a rn et H o lm e o Presented in a Natural Amphitheatre Known as the R A M O N A B O W L , T w o Miles South of Hemet at the Foot of Mt. San Jacinto hy the Hemet-San Jacinto Chamber of Commerce o E D W A R D P O O R M A N , M A N A G E R " O T W O S A T U R D A Y S A N D S U N D A Y S A PR IL 25 A N D 26 A N D MAY 2 A N D 3 P L A Y S T A R T S A T 3 P . M . O ADM ISSION, Adults *51.00; Children 50c Q T h e Iltm otia r .io 'n n t Is lufscritcJ w ith tin1 sanction of Miss Vlrgint.i Cal houn. ow niT of exclusive dram atic lig h ts to lU tiioita w ith Little, tli'ewn & Company, puMlshcm, of Itoston, CHARACTERS OF THE PLAY (In o rd e r of th e ir a p p earan ce) M arda, a n old se rv a n t................................................................................. N an cy M ille r,/' Isabella, a child.......................................................................................Zella A nna M y e r s ,/ F a th e r Salvedierra, an agc-d F ra n c isca n friar.............................. F ra n k D. F e lL / J u a n C a n ito , o v e r s e e r of C am ulos ra n c h E d w ard Poorm an^/ Luigo, a young sh e p h e rd ............................................................................. A rchie Oloan,*- M arg arita, a m aid se rv a n t Lillian. IJ. S tew art.,/ S e n o ra M oreno.............................................................................................Adelaide C lark e,. A lessan d ro , cap tain of sheep-shearing h and......................................E arl Schenck"' R a m o n a (later called M a je lli) D o rP o S ehukew Joso. a n Indian sh eep -sh earer.................................. R ay M ullenix^- S e n o r Felipe M oreno................................. .....ICaryl M a rk er , Ju a n ita , a Spanish sin g er..................................................................W a h n e ta E c k lu n tL / S p a n ish Solo D ancer (N ote— In term issio n of 10 M innies B efore Act Tw o) ACT TWO Y sidro, a n Indian fa rm e r.......................................................................H. F. M cKelvey*/ F r a n k H ayton, a se ttle r........................................................................................E. R. G ra y ^ Dr. M orong, his friend...................... J. O. P e r c lv a C F a th e r G aspara, a p rie s t............................................................................C. E. G oodhue,- M ara, aged Indian woman.....................................................................Mrs. I. A. Costo */ A unt Ri Hyer........................................................................................... Mrs. II. B. Jo n e s i- Joe, h e r so n ................................................................................................."VVflliaTn K aufm an,- Jin i F a r r a r I. W. r a id well,- .Take O liver P. E a s le y ..'. M errill.............................................................................................................Jo h n W. M c C a n n s Indian Songs on T rail— Miss M arihoa B arrov.V Violin A ccom panist— Mias Gladys P h i l l i p s / In dian S ong—F re d e ric k J o h n s to n ./ y D A N C E R S O F T H E F IE S T A : S panish B oys—Jo h n H o l l in g s w o r t h / C h arles R o b e rts ^ G eorge ItanosK Floyd K cnno..v R obert W o o d s* -P au l R lan k e r^ Donald Hall, E lverton Hopson. Spanish G irls— E sth er K illlap, R uth M o n ta a u e .'J e a n e ttc Neal, K athleen H olbrook, Loyce D avid s o n ,'H e le n W hitney, Louise W hitney* M ildred NordoJ; C lara Nannesterh' W O M E N O F T H E R A N CH O— Louise W artb- Paulino I'nrke*.- F aye N eaL Gelda Stln ch fio ld / G ertru d e Huntoon... H a rrio tt Nelson,. E lean o r Hnntty*. G race Durronkorgvp,- G’ .enny D.iltortv- Mrs. Frederick.* Jo h n s to n ,/ H elen' W ilh e lm ' Ruby W ilco x -F rau c'cs Cordery, M yrtle P a r s o n s ,/ INDIAN D A N C E R S: In dian Men— R u p ert Cor.ro. chief; A rth u r W il son, W ay n o I-ake. H a rry Davidson,' Gordon Lovett. W allace Taylor, O liver M cNulty, W ilbert Ross, I.eo N orth, C h arles Bradford, M anning C hoate, Sim eon Corad, d rum m er. Indian G irls— Mab.-l Durronborgeis—' l.ouiso G u th r itv 'E d ith Teeter.-*,' M arg aret M cNulty; A gues Iiam ilioi)^- M ildred T aylor, Rilla Thode. .D orothy Pem b erto n .* — A M ER IC A N H O R SE M E N — J a m e s A. H a R / 'J o s e p h K i n * / M i k e W il s o p / l la b e Latn'jl S P A N IS H G IR L S— Z elli A nna M y c r / 'K v e ly n Salee; Je a n Hithtfs, lo n e Jo h a n se n , Gabriel Del.and. Y Y ______________ PA G E A N T D IR E C T O R —G A R N E T HO LM E. 493 S H E E P S H E A R E R S —C larence Sm itlfr C. E. Goodhue, H. n . J o n e s r ' F r e d e r ic k J o h n s to n R alph H u n te jv M oreau D en n stu l, H a rry Daulton.. ** S P A N IS H W O M E N — M iss M usaravo, Mr*. Caldwell, Mrs. ID O. E c k lu n d . v IN D IA N EOYS— G eorge Tripp, Sh ern ’ .an Hoyt. Billy Oraton, Lloyd B u sh . C h arles Pu rk er. D ean puller. Ja c k Mart, A lbert Jo e Pico, Julian A d a m s, Ja m a s . McKee. IN D IA N G IRLS— E velyn -Him es, Ju n e .W illis, P eg g y -H o y t, L orothy M a e H u n te r. E p is o d e T w o— T h e love story. (Six m onths elapse.) E p is o d e T h ree — T h e sen o ra discovers the lovers. (E ig h teen days t-lnspe.) E p iso d e F o u r—T h e lovers flee from the ranch. (A few h ours elapse.) E p is o d e F ive— A h idden canyon in the hills. E p is o d e Six—T h e ch risten in g of R am ona’s ct.ild a t Pasqualo. E p iso d e Sev en — Soboba Springs. E p is o d e E ig h t— D eath of A lessandro on Mt. San Jacinto. E pilogue—T h e love of Felipe. T h e a u d ien ce is respectfully requested to rem ain seated ar.d cuiet u n til t h e end of the song a t th e conclusion of the epilogue. T h e ten-m inute interm ission betw een aet3 one and tw o is provided to g iv e th e audience a n opportunity to stand and relax. ACT ONE: “ THE CAMULOS RANCH" E p is o d e One— A lessandro conies to the ranch. (One m onth elanses.A In term issio n of T en M inutes ACT TWO: “ IN EX ILE” C o stu m e D S p an ish Da D a n ce s— M i P ro p e rtie s— Mr3. L. H. W a rn m . C h o ru s D ire cto r— Mrs. E. 0 . Ecklund. _ C h ild ren 's D ance— Miss Ynez J o h n s o n . p ^ In d ian D a n ce —R av B r a n t . ____________ /" T S P u b licity — I. E. FarmrH-" ' \ ^ C o rresp o n d in g S ec retary — Mrs. Emily Freoiu; S u p e rv iso r of Bowl—J. 11. P e l L - '^ - - y ? '" r ’I / A u to P a rk in g — II. R. W i l s o n v * ^ ^ ' ^ A d m issio n s— Guy S te w a rt._____.— H e ad TJshc-r— S. C. Moon.'£V IN L iv esto ck — J. W. Ca ld w el l.N ST A G E MA NAGER—P H IL W HITING I i i. i RAMONA PAGEANT COMMITTEE f * , Edw ard Poornian, chairman, Mrs. L. H. "WarrCn, S. C. Moon, Paul G. YJ^rd, Miss Irene cruller, Miss Hcl£pa''MoKelvcy, I. E. P a rc X M rs. Atwood Y£lridden. C. E. Gjjadhue, Mrs.E. O.QScitlund, Ray IJptrat, J. \V. Mt.fc'ann, W /I I . Mtfnn, Roy Copeland, Guy StouVfrt, S. L. G atl^colc, Harley "Wfison, J. Kl— Bell, Miss Grace "S V es^ Miss Ynez J e n so n , Mrs. Ernest ^jndquist. Dr. G. H. McF.\yKnd, president of the Chamber of Com merce; HomervDf'fving. secretary of the Chamber of Commerce. The Pageant Committee extends to its friends and support ers too numerous to mention individually its most cordial thanks for their loyal cooperation. The Ramona Pageant was inaugurated in 1923 by the Hcmet- San Jacinto Chamber of Commerce under the able management of J. O. Percival, president, and Burdette Raynor, secretary. o IMPORTANT The audience is requested to remain seated until the con clusion of the song at the end of the epilogue, and then to pro ceed from the Bowl by the lower exit aud join their cars at the base of the hill. The upper road will be reserved so far as pos sible for those who arc unable to make the short trip on foot. Parents arc asked to keep their children quiet. Parents whose children cause annoyance to patrons will be asked to leave the theater. A magnificent view of the Hemet-San Jacinto Yalley may be obtained by patrons who leave the theater via the upper trail, which runs over the peak back of the audience. This is also n convenient way out. First Aid tent located on lower trail. Cushions may be obtained at the "Woman's Club booth. . - • • . * / ? £ 7 FIFTH A N N U A L O UT D O O R P A G E A N T - PLAY RAMONA Adapted by Garnet Holme From Incidents in Helen Hunt Jackson s Novel ■ EDW ARD PO O R M A N , M anager Presented in a Natural Amphitheater knotvn ns the KAMOXA HOWL, two miles south of Hemet, at the foot of .Mt. San Jneinto, by the Ilemet-Snn Jaeinto Chamber of Commeree. THREE SATURDAYS AND SUNDAYS April 23-24; April 30-May 1; May 7-8 PLA Y ST A R T S A T 3 P. M. ADMISSION—Adults, $1.00; Children, •»0r. R eserved Section, 51.50 — Unreserved Scats, 51.25. (Including Admission) The Itatnonn P ag ean t Is presented w ith the sanction of Miss V hpinlu Calhoun, ow ner of exclusive dram a tic rights to U.tm»mi. w ith f.ittle, Urnwn t c Company, publishers, o f ‘Ponton. G A R N E T HOLME, P a c e a n t Director E aster S unrise Service is held in th e R am o n a Bowl E ach Year. 496 / V A y C H A R A C T E R S OF TH E P L A Y (In O rd er of th eir Appearance) Act One M arda, a n old s e rv a n t............................ '. N ancy M iller Isabella, a c h ild J e a n H im es F a th e r Salvedlerra. a n aged F ran ciscan fr ia r..................................F ra n k D . Felt J u a n Canilo, overseer of C am ulos R a n c h o E dw ard P o o rm an Luigo, a young s h e p h e rd Archie Oloan .M arg a rita , a njaid s e rv a n t......................................................................R u th M ontague S c n o ra M o re n o ...............................................................................................Adelaide C larke Alessandro, cap tain of sheepshcaring b a n d ....................................Victor K olberg R a m o n a , later called M ajella Dorise Schukow S cn o r Felipe M o r e n o .. . David Im bodcn J u a n ita , a S p a n ish s in g e r....................................................................W a h n e ta Ecklund S p a n ish d a n c e rs...................................................................................... Dolores a n d Carlos M usicians ol th e R a n c h o ............................................................ Jose Arias' O rchestra (Note—Interm ission of 10 m inutes before Act Two) i . i • i D A N C E R S O F T H E F IE S T A : S p an ish Girls—Marie Brown. Doris Corwin, G lennie D aulton, M arie Gregerson. Almyra K ellner. Clara N an n cstad . R uby Parvin. G ertru d e Sm ith. N ancy Stew art. Helen W hitney. Louise W h itn ey : S panish Boys—P aul B rum m ond. C hester Bryson. Stew art Gibbs, S a m H artsh o rn , D w ight Hustcd, W alter Leidner, Cason McCorkle, R o b e rt R ay m o n d . G ien n Shockley. Sidney Wilson. W O M E N O F T H E R A N CH O: C harlotte M cIntyre. Helen W ilhelm. K dith Benson. M ary Virginia Baker. M argaret T hom as, Clarice McCollum. M yrtle Parsons. M arguerite Roberts. Lillian H arper, M axine Miller, Gertie G regerson, B e rth a Scaram clla. B eulah Fulks, M arie Lunde, R u th Corbin, A lta Beale. R u th Holstino. R u th Schott. D ena Geiser. H eath McCoy. G e rtru d e B aker. M ildred M anspenter, Evelyn Boynton. Dorothy H arm on, P au lin e Parks. E leanor S m ith. Mrs. H. V. H artshorn. Elizabeth Musgrave. Viola M c in b a n lt, Pearl Jacobson. Caroll Goll. Sue Louise M cGarity, M adge Reed. Carol T erry, E d n a Lewis. J e a n Lee. Helen Sallee. Eleanor H unter. C H IL D R E N O F T H E R A N C H O : Estclla Mae G reen. Jim m ie Roliland, H arold G lasser. Lloyd Brown. M aria DeLand. Helen Bendixsen, Peggy Hoyt. W ayne T aylor. Chr.se Dane, E leanor D ane, Peggy Pico. Jack H urt, A rth u r M athew . M elba S iansbury. Alice May Bendixsen. N orah Roliland, M ary Pico, D orothy H u tter, L uvern Christie. M organ Green. SH EE PSH E A K L ’R S: Clarence S m ith. R alph Corbin. W arren Benson, D avid M organ. D ouglas W illiams, Vere Raley, Elmer Gross, H enry Bergen, W. B. Moss. O laf Lunde. George Walk.v.' lak. Will Bottorell. Ja c k Geiser, L. E. M aranville. H om er Tate. E dw ard Parker. K eith Mitcliem. II. B. Jones. A. W. Rufsvold, Victor Jo h an n sen , W alter Sears, Robert G . Record, K indly do not disturb o th ers by unnecessary conversations or m ovem ent. Act Two Ysidro, a n I n d ia n f a rm e r H. F . McKelvey F r a n k H ayton. a settler............................ Ja m e s A. H all D r. M orong, his f rie n d ....................................................................................J. O. Percival F a th e r G a sp a ra, a p rie st C. E. G oodhue M ara, aged In d ia n w o m a n Helen W ilhelm A u n t R i H y e r Mrs. H. B. Jones Joe, h e r so n ............................................................................................. K e n n e th Slaybaugh J im F a r r a r .................................................................................................................M aure H urt J a k e Oliver P. Enslcy M errill................................................................................................ H . H arrison Spaulding Su n rise S o n g Ja m es H. Childs E x p o sito r George Gcrwtng Epilogue M au rice H arvey. Ja m es W ard, G eorge McDougal. G lenn Henderson. J. W. R ussell, Frederick Johnston, Q. D. Andrews. M acy Cobb. S h e n n a n Hoyt. F r a n k Young. Clyde Your.g. IN D IA N D A N CERS: In dian Boys—Louis Strlckien, J o h n Diamond. L loyd Venable. Roswell W hitney. Paul Slanker. M anning Choate. D onald K irkw ood, O scar Venable. Odell Ellis, Stanley Benson. Jack Eiiertson, W ilbur Ross, Law rence M anspcrger.,T hadd:e C hristopher: In dian Girls— B eatrice M cNair. Lillian Harper, M able D urrenberger, Rila Thode. E sther H am ilto n , Agnes H am ilton, Bona M organ. Joyce Durrenberger, Mrs. Robert R ecord, M ildred Taylor. Helen H am ilton, Lenora Ross. AM ERICA N PO SS E : Mike Wilson, G uy Veneable. O rren Scranton, D e n n is L ynn. T ed Griflin, K e n n eth K ennedy, Ja m es Harvey. Act One: The Camillas Rancho E pisode O n e —Alessandro comes to th e rancho. 'O n e m onth elapses.> Episode T w o—T h e love story. iSix m o n th s elapse.' Episode T h ree —T h e senora discovers th e lovers. 'Eighteen days elapse.) Episode F o u r—T h e lovers flee from the rancho. 'A few hours elapse.' Episode Five—A h id d en canyon in the hills. (Interm ission of T en M inutes) Act Tu'o: In Exile Episode Six—T h e christening of R a m o n a ’s child a t Pasquale. Episode Seven—Soboba Springs. Episode E ig h t—D eatli of Alessandro on M t. San Jacinto. Epilogue: The Love of Felipe T h e audience is respectfully requested to rem ain seated an d quiet until t h e en d of the song at tlie conclusion of 'h e epilogue. T h e te n -m in u te interm ission between acts one and two is provided to give th e audience an opportunity to stand and relax. T h e e n d of e ach episode is denoted by the ringing of the Chapel Bell. T h e intervals betw een the episodes last only 30 seconds. Please do not m o v e fro m y our seats until the interm ission, which a bugle will announce. Pageant Staj] C o stu m e director—Mrs. Edw in Meyers. S p a n ish D ancers’ costumes—Miss M. Irene Muller. D an ces—Miss Helena McKelvey. P ro p e rtie s—Mrs. L. II. W arren. C h o ru s director—Mrs. E. O. Ecklund. C h ild re n ’s dances—Miss M ildred E. Love. I n d ia n d ances—Louis Stricklen. P u b licity —Mrs. Jam es H. Welch. C orresponding secretary—Mrs. Emily Freeman. Su p erv iso r of tire Ilowl—G uy E. Mansperger. A dm issions—G uy M. Stew art. H e a d u sh e r—S. C. Moon. L ivestock—Jam es. A. Hall. F ire protection—J. 11. Spencer. Concessions—H enry G. W estoh. 'T ran sp o rta tio n —Robert G . Record. D eco ratio n s—Mrs. E rnest Lindquist. F i r s t A id —Miss Grace W eston. A u d ito r—W. H. M ann. S c a ts—C. C . Abbey. P a u l G . W ard. H o y Copeland. Silence, Tlease, During the Action of the Flay. t $ £ 7 ' ’ • > . Acknowledgments The Pageant management extends to its friends and sup porters. too numerous to mention individually, its most cordial appreciation of their loyal co-operation. • Kamona Pageant was inaugurated in 1023 hy the Hetriet- San Jacinto Chamhcr of Commerce under the able management o f J . 0. Pereival, president, and Burdette Kaynor, secretary. The first two units, consisting of 2400 of a program calling for fiO O O cement seats, have been installed in Kamona Howl. F or the first unit of 1200 scats, cement was donated by the Itiver- side Portland Cement Company. Horses used in the second act are donated hy Tnlniuitz Lodge, in the San Jacinto mountains. Stage furniture designed and made hy the manual training ilcpaitm cnt of the llem et Union Iligh School. Souvenir booklets containing illustrations of scenes from the Pageant, a synopsis of the play, the real story of Kamona and historical data, for sale a t 25 cents each. This imohicl is tin* official souvenir of the Pageant, and the management urges you ro get one. The booklet is sold at practically the actual cost of preparation and printing. Important T h e au dience is requested to rem ain seated u n til the conclusion of th e song a t th e end of the epilogue a n d then to proceed from th e Bowl b y th e lower exit a n d join th e ir cars a t th e base of the hill. T h e upper ro a d will be reserved so fa r a s possible fo r those w ho are unable to m ak e t h e sh o rt trip on loot. P a re n ts a r e asked to keep th e ir children quiet. P a re n ts whose children c au se an n o y an ce to p a tro n s will be asked to leave th e theater. . . 1 A m agnificent view of th e H e m c t-S a n Jacin to Valley m ay b e obtained b y w alking to th e p e ak a t th e back of th e audience. t ' F irst Aid T e n t located n t M ain E n tra n c e , n T h e local troop of G irl Scouts will take c a re of ch ild ren left a t nursery booth. C ushions m a y be obtained a t th e W om an's Club booth. Q U I E T , P L E A S E P H11. W H IT IN G , s t n s c M a n a g er P A G E A N T - P L A Y A d a p ted by the late Garnet H olm e From Incidents in H elen H unt Jackson's N ovel q 0 n P resented in a N atural A m phitheater know n as the R A M O N A H O W L , tw o miles south o f H em et, at the fool o f M t. San Jacinto, by the people of H em et and San Jacinto through the Ramona Pageant Association. Riverside County’s G ift to the Pageantry o f America a □ ta SATURDAY AND SUNDAY, MAY 2 and 3 OW ING TO POPULAR DF.MAND ADDITIONAL OATHS ARE SATURDAY AND SUND AY, MAY 9 and 10 O V E R T U R E 2=45 P. M .— P t.A Y S T A R T S 3 P. M . □ □ □ , P PR IC ES R eserved Seats (in cluding adm ission) $1.50; U nreserved Seats (inchidinz adm ission) $1.00; C h ildren (svhen seated in unreserved section only) SOc. □ □ □ The R am ona P a g e a n t Is presen ted w ith the sanction of M in Virginia Calhoun, ow ner of oacluolve d ram atic rights to Ramona, w ith L ittle, Drown le Company, publishers, of Uoaton. □ a n t O fficers and Directors o f the Ramona ra g ca n t A ssociation E D W A R D PO O R M A N ..............................................P resident-M anager H . U. S P A U L D IN G ............................................................. Vice President O . P, E N SL E Y ...........................................Secretary o f the Hoard C, C. A11HEY................................................................................ Treasurer EM IL Y F R E E M A N ..................................................E xecutive Secretary W . II. M A N N JA M E S II. W ELCH M. S. GLASSER L. A. R EY N O LD S C. B. (.O V ELI, G U Y M . S T E W A R T Staged by P H IL W H IT IN G ( / » 9tdtt • / ikei t i f f tat Bit*} • — • - .•»• » Act One M ard a , U old *erv«nt............................ ...........................- N «nry M illu Itzbedla, a ch ild........................................ B etty W arren F a th e r Salvedierra. an aged Franciican F riar............................... —— F rank D . F elt J o a a Car.ito, overieer of Cemuloa R ancho— — — E dw ard Poorm an Luigo, a young ahepherd .......— ............— .........— — ......— — — — A rchie O ’Loan M arg arita , a maid aervant...................— ....... — — .......... — — — H a ttie L aw ell Seoora M oreno....................................... — . .— —A delaide C larke A leiian d ro , captain of abeepihearing band— K a r lH u e b I R am ona, la te r called M ajella..— ..............................- ................. - ..................V iolet K night* Joee, an Indian iheepahearer — ____ — ................. — . --------- ---- W ard T h u rato o S co o t Felipe M oreno — ........................................................................... ..B ertram G ra n b y J u an ita, a Spaniah ainger................................................................— ...........— .......G race O m eron D olorea 1 . f C arlote Corte* > Spaniah daneera— ------------- C arloa J ......... ; Jeaua C orral M ualciaoa of th e R ancho..........................._ ...........................— ................ Jo re A riaa' O rcheatra A ct T w o Yaldro, ao Indian farm er Caaoo M cC orkle F ran k H ayton, a acttler ..........................................— ......_.....................................Lealie J . C lark D r. M orong, b it friend M . B. R ideont F a th e r G tip a ra , a p rieit ..... — ........................M aurice H arvey M ara, aged Indian w om an............................................. ....— ......... M ra, Itidore A . Coato A u n t R i H y er .........................................................................................— —.............. M ra. H , B. Jocea Joe, h er ton ......... — — ........................— — ___ — ____— K enneth Slaybaogh J im F a rrar.... _________________________________ M au re H u rt J a k e - ............................................. ................................ — — _ ..—O liver P . Enilejr M e rrill— ..— .......................................... ......... ............. — — ... J . W . M cC ann Invocation to the S un— ......------------------- -----— ......— ..F rtn k E. G eiger X ipoaitor.— ........................................................ — — .......— — .....— ..Lewia U nland 0 D a O ther M em bers o f the C ast D A N C E R S O F T H E F IE S T A — M arjorie H untoon. Em m a Corderjr, Joyce D avidaoe, S tella D avia, M innie Diam nnd, R nth D orothy, P arillee L ight, Leota Longm ore, W in i fred M acartney, G eneva M itchell, Ju an ita M itchell, Lona M ae M ofiit, P h y llit N in n , P au lin e Peteraon, M e ile S trother, Louiie T rip p , D onald Anfcruni, W alton ila iic tt, Jack C ollint, C arl U avidion, Robert H u n ter. O rville Nichola, B ill-'R o th aa, R ichard Sim pton, G ilbert S trother, John Diam ond, O la f Lunde, R obert Stctaon. S P A N IS H W O M E N — H azel B lair. M ary W ooda, M ary N ew berry. M ary V irginia B u rt, M ary V irginia H iker, V irginia M oore, Eleanor Sm ith, G ertrude B aker, A lt* B cali, Ardia C brw in, M yra Richey, M ary P h illip i, Iiab elle L aw ell, W ilm a Loltriangh, M ra . W . D . P atton, Loia M acartney, H azel Pabat, Bonnie M anaperger, Shirley Stenaon, E velyn A nderion, Jean Himea, A lm yra K elln er, D orii M eaervey, Louiie Lym an, L a la C oburn, M ary C oulter. W O M E N O F T H E R A N C H O — E lizabeth M cK elvey, Peggy Schroeder, L aura A n- deracn, M ary M arg aret C hriatian, A u ra R ae Coburn, R oiem ary R ickard, R o th Sanila, M arg ie M itchell, R uby Gordon, T h elm a Sm ith, M arg aret M ayo, Blanche R o n , Jcen T h u rito n , G ertrude M cC lelland, E thel Snyder, Irene Snyder, G ladya W alker, France* T u ck er. C H IL D R E N O F T H E R A N C H O — B etty W arre n , J ew e ll T rip p . D orothy Phillip*. L orraine Farm er, P au lin e K ceperi, H azel L iiald a, M ary Roiio, Roaem ary A ndericn, Frarwca A nderion, A lice H ailam , L ather T h o m ai, H elen Stoner, G ladya M oore, IIur b a n G illingham , E lvin N eal, Joe R oiio, Jim m y P erry , H arold C unningham , Bobby K eeperi, Bobby W aggoner, B illy B utler, A lla n Tfcomai, Oakley Sm ith, A rth u r Farm er, K e ith N eal, S hcrw ooj W aggooer, H o w ard C u rtin , D onald C atlio n , B etty B utler. S H H E P S H E A K E R S — C larence S m ith, W illia m R ottercll, C lare Slaback, M aurice H a rv e y , D avid Schott, O rcn Sm ith, L , E. M aran v illc, E lm er G ro h i, G ilbert P a tterto o , V ern o n W oodi, John K ra tz , M elvin K ra tz , N o ah T lner, R alph G eorge, Jack H u rt. IN D IA N D A N C E R S — Evelyn H arp er. R u th A nderion, Lucille Benton, M ary L'llcn B arclay, Roiem ary C aie, K athleen C ellin i, S tella M ay 1 1 A , M arg aret GriiTub, France* H u litro in , A lyce M aiou, N orrcn 'Nichola, H e lm R o n , R uth Saudi, M azine Slabeck, Shirley M ae Silverthorn, (ilad y i W alk er,, W ilb e rt R u n , Clarence R o n , A lb e rt Flore*, C letua G rohi, T heodore G roin, E arl Her.run, Elton K aiier, W oodrow Baker, Joo B al la rd , Eugene T ram m ell, O laf A rw rdiou, W . D . iluach, Jim D avidion. A M E R IC A N PO SSE— J . W . M cC ann, M ike W ilion, G erald S rerl, W ard T b u rito u , D onald R ow land, Fied T ap p er, E dgar Searl, L. J . C lerk, H arry Seorae. 501 Bpj*o4e T w o — T h e lo re ito tf . (S ix m onth* elapw ).- Bpjtode T hree— T h e Seoora diieovera the to v c n . (E ighteen day# elapie)* Bpiiode Four— T h e lovera flee from the rancho. (T w o y e an elopae). (Im term itiitm • / ten m in u ta ) . ■ A ct T w o— In Exile Epiiode One— T h e c h riitrn in g of R am oaa'a child i t Paaquale. Epiicdo T w o —-Sohoba Spring!. Epiiohv T hree— D eath of A le m n d ro on M t. Son Jacinto. Epilogue— The L o ve of Felipe T h e audience it reipcet fully requeued to rem ain icated and quiet until th e end of th e eong at the concluiioo of the epilogue. T h e ten-m inute interm iuion betw een acti one and tw o it provided to give th e audience au opportunity to itau d and relax. □ O Q Pageant Staff G enera! A ta n a itr ..................................................................................................E dw ard Poorm an . E x tc u iir t S itr tta r y .....................................................................................................M ri. Em ily Freem an J P n llicity ....................................................... .................................................................... ......H om er D . K ing j Spanith Dancee.................................................................................................... M in M arjorie Huntoon i C otlum e D irector. ........................................... M ra. A . J . Derg i Spanith D ancert’ C oelum te...................................................... ..................................M in C arrie Sm ith j P ro p trtiet.........................................................................................................................M ra. L. H . W arren j C horut Director...................................................... ..............................................................M in H azel Blair Accom paniet ...................... ............................... .....M ill M ay Dotterel! Children’e D ancer M r I. M aure H u rt Indian D antet ( m t n ) ............................................................. .........W . D. Buicli, W ilb ert Kota Indian D a n te t (auem en).......................................................... ............................ M in E velyn H arper C t n n t t l t n t ............................................................................... O icar B rudia Supervitor t f B ea u t- ..... ............. .............................. ................................ .................. C . C . D iincy P o r lia f ... P. J . H a a t A d m h iltn i. G uy M . S tew art H ead C ih er...... S. C. M oon Liveetoch............................................................................................................ ......._...D r. J . W . M cC ann li r e Protection...................................................................... J . H . Spcacer Transportation...... .................................................... R obert G . Record F irtt A id . ........ _ .......................... ................... .......... M in G race W citon A u d ito r. . .T h o m u J . F letcher S e a ti............................................................................... C . C . Abbey San lacinto H ig h S th e e l.................................................... .................. _ ......_ .. E. O. A m undiea H e m e t H igh School..................................................................... I...............— ..........Paul G* W ard Street D eeorationt .'.F. W . Kenney, Roy E. Copeland Budget...'. ................................................................................... M . S. G la u e r Finance................... C . B . C ovell R etearch.................................................................................................. .............. ..........M n . J . 0 . Percival L andteapinz................................................ - ...............E rn eit Lindqaiat □ □ □ PA T R O N ’S A N D P A T R O N E S S E S O F T H E 1931 R A M O N A P A G E A N T P a lr tn e tie t: M ra. W illiam W e lle r Slayden, preiident o f C alifornia Federation of W om cn’a Cluba. M ra. C arrie Jacoba Bond, H ollyw ood. C alifornia. M ra. J . J . C arter, H ollyw ood, C alifornia. M ri. G ertrude A therton, San Francitco, C alifornia. M ra. Y u b e l del V a lle C ram , of C am ulot Rancbo. M m e. E rneitine Schum ann H eink, Coronado. C alifornia. M ra. K athleen N orria, Palo A lto, C alifornia. M ra. Rex B. G oodcell, L ot A ngclei, C alifornia. M ra . D olorei A . de Pico, C u a Loma Rancho, San Jacinto, C alifornia. D r. A urelia H . R einhardt, preiident of M illa College. M ra, John S, M cG roarty, Son G abriel, C alifornia. P a tro m : • H on. Je.niei R otph, J r., G overnor of C alifornia. T h e l i t . R ev. John J . C antw ell, B iihop of L oi A ngelei and San Diego. H o n . Friend W . R ichardion, ex-governor of C alifornia, Berkeley, C alifornia. D r. R obert G. Sproul, preiident of the I'n iv e riity of C alifornia, Derkclcy, C alifornia. D r. llu fu i B. von KleinS.mid, preiident o f the liu iv e riity of Southern C alifornia, Dei A ngelei, C alifornia. M r. Paul Shoup, preiident of the Southern Pacific Railroad, San Franciico. M r. John S. M cG roarty, author of the M in io n P lay, San G abriel, C aliforuia. M r. Frank A. M iller, M ailer of M in io n lu n , K iveriidc, C aliforuia, M r. H arry C arr, I.o i A ngelei T iinci. M r. W a lt M u o n , La Jo lla, C aliforuia. M r. John T , N ew ell, G rand Preiident of th e N ativ e Sona of the Golden W cit, Loa A ngelei, C alifornia. H on. M iguel E itudillo, Rivert.Me, C alifornia. M r. Cave J . C outi, K i i i .I i j Guo.louie, V i.ti, C alifornia, M r. Cecil 11. D e U illr. M etro-G uldw yn-M ayer, H ollyw ood, C alifornia. Containing 44 pages o f descriptive m aterial and a rt w ork ia profusely illu strated w ith over 100 acetiea from the play, including original photograph* o f the Ram ooa era, sketches of th e Ram ona countrp bp C h arle i I’a v ia n t, noted Loa A ogelea artist, photograph* of the principal character* in t b : plap. acenea in and around R am ona B ow l, photograph* show ing ancient Indian civ ilirsticn ; Indian aigo language, m etate rocks, aite* of ancient Indian villa,pea, etc., in th e H em et-San Jacinto V altep. T h e te a t include* descriptions of famou* landm ark*, hiitorie background of th e Ram ona atarp w hich h the foundation of the plap, origin and organization of the Pageout, synopsis and program of the play, an ancient Indian legend, biography of th e late G arnet H olm e and ia fo rm tio a about member* of the cait w ho h ave been in the plap aince ita inception iu 1923. T h e cover design and a rt w ork of thia booklet it of Indian m otif and waa executed bp M in M arth a F au tl. T h e m anagem ent u rg ei you to purchase oue. T h e aoavcoir booklet ii told at actual coit of preparation and printing and ia offered you a i a plow ing rem inder of C alifornia'* greateat outdoor play, R am ona. Price SOc. □ □ □ Concessions I t Is th e d e s ir e o f th e m a n a g e m e n t to lim it th e c o n c e s s io n s to th e a c tu a l d e m a n d s o f th e p u b lic a n d o u r p a tro n * a r e r e a p e c tf u llp r e q u e s te d to m a k e p u rc h a s e s a t c o n ce s sio n b o o th s aa f a r a t p o s sib le in o r d e r to a v o id th e n c ce e sity o f h a v in g c o n c e s s io n a ire s d is tr ib u te r e f r e s h m e n ts th r o u g h th e a u d ie n c e . T h e s o ft d r in k a n d c o n c e s sio n b o o th s a r e c o n v e n ie n tly lo c a te d to th e le f t o f th e a m p h ith e a te r a t th e m id d le e n tr a n c e a n d in th e r e a r o f th e a u d ie n c e . I t is o u r d e s ir e to p r e s e r v e th e a tm o s p h e r e c r e a t e d by th e p la y a n d o u r p a tr o n s a r e a s k e d to h e lp u s in th is re s p e c t. □ □ □ A ckttowledgm ents T h e P a g e a n t m a n a g e m e n t e x te n d i to its f r ie n d s a n d s u p p o rte rs * to o n u m e ro u s to m e n tio n in d iv id u a lly , its m o st c o r d ia l a p p r e c ia tio n o f t h e i r lo y a l c o o p e r a tio n . T h e R a m o n a P a g e a n t w a s I n a u g u r a te d in 1923 b y th e H e m e t- S a n J a c in to C h a m b e r o f C o m m e rc e o f w h ic h J . O . P e r c iv a l v ra s p r e s id e n t a n d B u r d e tte R a y n o r s e c re ta ry . T h e s e a tin g c a p a c ity o f th e R a m o n a B o w ] is 3000 c o n c re te r e s e r v e d seat* a n d 3000 w o o d e n b le a c h e r s e a ts . T h e fir s t 1200 c o n c r e te s e a ts w e r e in s ta lle d a s a r e s u lt o f a d o n a tio n o f th e c e m e n t f o r th e s e s e a ts by th e R iv e r s id e P o r tla n d C e m e n t C o m p a n y . H o rs e s u s e d in th e sec o n d a c t a r e d o n a te d b y R o b e r t E llio tt, m a n a g e r o f T a u q u i t z L o d g e , in th e S a n J a c in to m o u n ta in s . S ta g e f u r n i t u r e d e s ig n e d a n d m a d e b y th e m a n u a l t r a i n i n g d e p a r tm e n t o f th e H e m e t U n io n H ig h S chool. □ □ a Im portant T h e e n d o f e a c h e p iso d e is d e n o te d b y th e r in g i n g o f th e C h a p e l B elL ' T h e in te r v a ls b e tw e e n th e e p iso d e s l a s t o n ly 30 sec o n d s . P le a ie d o n o t s a s o t fr o m y o u r te a ts u n til th e in te r m i u io n , w h ic h a b u g le w ill a n n o u n c e . T h e m a n a g e m e n t re s p e c tfu lly re q u e s ts th e a u d ie n c e to r e m a in s e a te d u n til th e c o n clu sio n o f th e s o n g a t th e e n d o f th e e p ilo g u e , a n d th e n p ro c e e d by th e n e a r e i t e x it to jo in th e ir c a rs . M o to r T r a n s i t b u s se s w ill be r e s e r v e d a a f a r a s p o s sib le f o r e ld e r ly p a tr o n s a n d th o s e w h o se c a r s a r e p a r k e d a t fo o t o f th e b ill. T h i s b u s s e r v ic e is g r a tis . A m a g n ific e n t v ie w o f H e m e t- S a n J a c in to V a lle y m a y b e o b ta in e d by w a lk in g to th e p e a k a t th e b a c k o f th e a u d ie n c e . P a r e n ts a r e a s k e d to k e e p th e ir c h ild r e n q u ie t. P a r e n t s w h o s e c h ild r e n c a u s e a n n o y a n c e to p a tr o n s w ill be a s k e d to le a v e th e th e a te r . F ir s t A id T e n t L o c a te d a t M a in E n tr a n c e , b e o b ta in e d a t th e A m e r ic a n L e g io n A u x ilia r y B o o th . 1939 S ix teen th Season ' ^ S a a s s o ^ ^ O utd o o r Play of Early California Play adaptation by Garnet Holme based on the novel by Helen Hunt Jackson Saturday and Sunday Afternoons April 22-23, April 29-30, May 6-7 Overture 2:45 — Play Starts 3:00 PRESENTED IN a m o o si © w A natural amphitheatre near Hemet and • . San Jacinto in Riverside County PRODUCED BY TH E PEOPLE O F HEMET AND SAN JACINTO UNDER THE SUPERVISION OF LLOYD D. MITCHELL, Manager JEAN INNESS and VICTOR JORY Co-Directors The Ramona Pageant Association, Inc. A Non-Profit Community Enterprise W. N. PARKIIURST, President ROBERT G. RECORD, Secretary W. E. GILMAN, Vice-President OLIVER P. ENSLEY, Treasurer A. IL ARWEDSON C. B. COVELL J. A. FAULL HARRY HOEMANN SHERMAN LEWIS EDWARD I’OORMAN 504 a > r * w • - O utdoor Play of Early California T h e e n d o f e a c h ep iso d e Is d e n o te d by th e rin g in g o f th e r a n c h bell. (T h is b e a u tifu l b e ll w as p re s e n te d by R ich m o n d P . B e n to n in m e m o ry o f th e la te O a r n e t H o lm e .) T h e In te rv a ls b e tw e e n th e episodes la s t o n ly 30 seco n d s. P le a se d o n o t m o v e fro m y o u r s e a ts u n til th e In term issio n w h ic h a b u g le w ill a n n o u n c e . A C T O N E — T h e C a m u l o s R a n c h o E P I S O D E O N E — A l e s s a n d r o c o m e s t o t h e r a n c h o . ( O n e m o n t h e l a p s e s . ) E P I S O D E T W O — T h e l o v e s t o r y . ( F o u r w e e k s e l a p s e . ) E P I S O D E T H R E E — T h e S e n o r a d i s c o v e r s t h e l o v e r s . ( E i g h t e e n d a y s e l a p s e . ) E P I S O D E F O U P . — T h e l o v e r s f l e e f r o m t h e r a n c h o . ( T w o y e a r s e l a p s e . ) (Intermission o f ten minutes) A C T T W O — I n E x i l e E P I S O D E O N E — T h e c h r i s t e n i n g o f R a m o n a 's c h i l d a t P a s q u a l e . E P I S O D E T W O — A n z a . R a i d o f I n d i a n L a n d s c o n t i n u e s . E P I S O D E T H R E E — S o b o b a S p r i n g s . E P I S O D E F O U R — D e a t h o f A l e s s a n d r o o n M t . S a n J a c i n t o . (Length o f time between Act Two and Epilogue, 30 seconds) E P I L O G U E — T h e L o v e o f F e l i p e T lie m a n a g e m e n t re sp e c tfu lly re q u ests th e a u d ie n c e to re m a in s e a te d . u n til th e c o n clu sio n o f th e so n g a t th e e n d o f th e epU ogue. ' ' CAST (In order o f their appearance) A C T O N E Isa b e lla , a c h ild ..................................................................................................................L O R A IN E R O S A M a rd a , a n old s e r v a n t ...................................................................................................... ..R U T H K R IB S F a t h e r S a lv e d le rra F R A N K D. F E L T J u a n C o n lto , o v e rse e r o f C a m u lo s R a n c h o ........................................................F R A N K C. S C H O T T L u lg o , a y o u n g s h e p h e rd ............................................................................................. H A R R Y H O FM A N N M a r g a r ita , a m a id s e r v a n t .......................................................................................JU A N IT A E N C E L L S e n o ra M o re n o ...................................................................................JA N E T S C O T T —F R E D A L E W IS A le ssa n d ro , c a p ta in o f s h e e p s h e a rln g b a n d ........................................................... V IC T O R JO R Y R a m o n a , l a t e r c a lle d M a jc lla ........................................................................................... JE A N IN N E S S Jo se, a n I n d i a n s h e e p s h e a re r ......................................................................... R O B E R T W A G G O N E R F e lip e M o re n o .......................................................................................................................C H A R L E S W O O D P a b lo ............................................................................................................................................. H E N R Y E V A N S P e d ro .............................................................................................................................H E N R Y M CCLELLAN D F ra n c is c o ................................................................................................................................. F R E D F R A N K L IN M u s ic ia n s o f th e R a n c h o ..........................................................................JO S E A R IA S O R C H E S T R A S p a n is h D a n c e rs ................................................................................ T A V O A N D A D E L IN A M O R A L E S R e f r a in o f L a G o lo n d rln a S o lo ist — A ve M a r la ................................... t .......................................................... A N N E T T E S T A H L Y C a r m e n a W a ltz J S o lo ist, E l C a p o tm M O L IO S H E R O N A C T T W O E x p o sito r ...................................................................................................................................... M . B . R ID E O U T M a r a .............................. ............................................................................................M R S . IS ID O R E A. C C S T O E d H a y to n ....................................................................................................................................L O R E L L P E R R Y J im F a r r a r .............................................................................................................................C H A R L E S C H IL D S J a k e M o ro n g ........................................................................................................................ L A R R Y B A N D IC K Y sld ro , a n I n d ia n F a r m e r ...................................................................................D O U G L A S W IL L IA M S F a t h e r G a s p a r a , a p rie s t ..............................................................................................SH E R M A N L E W IS J o e .......................................................................................................................................... R O B E R T G L E A SO N A u n t R1 I l y e r .........................................................................................................................M R S . II. B . JO N E S F r a n k M a th c r s o n T E D H O M A N M erriU , th e s h e r if f ....................................................................................................................J O E M . K IN O I n d ia n S o lo ist. " T h e S u n rise C n ll" ............................................................................M O L IO S H E R O N S o lo ist. ‘•F a lle n L cu f," "W o rsh ip S o n g " .......................................................... H E N R Y S IJO H N c n iL B R E N —L o ra in e R a sa , E rn e s t L lsald a , C lay to n R eco rd . J r .. Im o g e n e B o n n e r, L a rry M o ffe tt. C h a rle s Lockw ood. D o ro th y B o n n e r, A lb ert M a p ste a d , J a n e R o ss, M a rily n C a th e irria n . C h a rle n e H u lb e rt, J o A n n R eco rd . C arlo s J u b e r a , B illy O ates, D o n n a M ae R e co rd . J u a n i ta S a lin a s. D o n n a J o v A ken, O live F re d e ric k s, L eo n e F u h rm a n , B lllv W ible. / 93 f A M O , M i u w u <UA4*CO, AMiU f k U a i , iA tU H ikUUW) .O M U l, U « U i JSM gO PU U I, lilb U U l* V tf tU e , W elter H ull. IN D IA N D A N C E R S — P a u l Q u a m a h o n g n c w a (E ag le B oy, H o p l T rib e ), Jo e c a t a (W h lto E agle, P u e b lo T r ib e ) . S a m R o m ero (B lac k W o lf, P u eb lo T rib e ), W oodrow A llen (S o n of T a ll M a n , N a v a jo T r ib e ) , C h a rle s T is s id lm ltt (M ag p ie, S h o sh o n e T rib e ), J o h n T e to n (L it tle R e d N eck , S h o s h o n e T rib e ), H a rry s h o r t (M oose, S h d sh o n e T rib e ), H e n ry S iJo h n (R ed B ir d . C o e u r d 'A le n e T rib e ), F e lip e C o sto (L ittle D e er, C a h u llla T rib e ). (’Through the courtesy o f the United-State} Government's Sherman Institute at Riverside, Calif.) S P A N IS H W O M E N — L a Vey A dam s, M a r th a A n d erso n , M a ry A n d erso n , J a n e n n e B a d e r, B everly B a ile y , E d ith B a k e r, M ary B a rb e r, M rs. R u th B a rb e r, L u ra B a rn e tt, M rs. o. B. B a rro n , R o b e r ta B e st, Peggy B ru b a k e r. J c a n e C a rv e r, D o ris C h orm icle, M rs. Alice C u ttin g , I d a S u e D ix o n , H eien D ixoni M y rtle D o ro th y , J e a n E asley , A n n a Eggci), H elen E g g en , H e le n E iln r.d , M rs. G la d y s E m b c rtso n , B o n n ie R u th G le aso n , M rs. H . G lover, O n ita G o rd o n , H l l ta n K u g o p ia n . F lo re n c e M . H a r t, H elen H a sla m , W a n d a H e n ry , D o ro th y H irt, S h irley H ctdous. M in n ie H olm es, P a u lin e H o m an . M a fia Isra e l, M ab el Jo y , C olleen K elly, E la in e K e lly , M rs. B a r b a r a L ee. F ran ce.s Lee, Joyce L ow e, M iria m M cB u rn ey , M ild red M cK ee, E lly n M ock, H e len N eel, F ra n c is N ichols, M rs. G eo rg e O la n , J o h a n a O U vcrson, E d ith P o o re , M rs. R u th R ile y , E lm a R oss, D o ro th y R u ssell, J a n e R u ssell, M a rg a re t R u ssell, H e le n S a n z e b e rro , E ileen S im s, C h a rle n e S m ith , F lo re n ce S m ith , G e ra ld in e S ta b e n o w . P e g g y S to n e , M a ry J o T a te , D aisy T h o m a s, B e tty T h o m p so n , M a ry A lice TW pp, D o ro th y V ik , L illia n W aller, T h e lm a W a lte rs, C h ristin e W elde, F lo C o m ito W cn d lek e n , B e tty W h itm o re , M rs. V iola W h itm o re , A ilcen W iltsh ire , B e rn ic e W illiam s, J e a n n e W illiam s, M a r y Is r a e l, D e n n ie M o ffe tt, M rs. G eo. H ask ell, F re d a P a lle se n , N a d in e C h o a te . W O M E N O F T H E R A N C H O — T o m p y B o n n e r, A n n a S. B r a n t, P a t B u rto n , E stcle n e C a l low ay, M a rio n M o la n d D avies, H elen D ix so n , M rs. Iris E ggcn, A lice F e to n , M rs. C h a rlo tte H a rt, M rs . L u ra A . Jo lly , W a n d a L a n d e rs, M a rg a re t L ee. R u th M ock, E s th e r M odesto, W a n d a M o re la n d , E lla N eal, E m iltc B . R e ed , N ellie R ich , P a tr ic ia R oss, M rs. M ab el S e a rl, J u n ta B . S tu ll, M rs. E v a T h o m a s, R a c h e l T h o m a s, G w en T im m o n s, M rs. A. D . U llric h , M ab el W o lle se n . . S H E E P S IIE A IIE R S —B . F . A n d e rso n , P a u l B e n d e r, W ad e B e n d er, L ew is B est, W illis B o a rd - ro an , W . E . B o tte re ll, H a rry C o u lte r, B e rt D rav es, D o n D rav es, J a c k E asley , C le tu s G ro h s, E lm e r G ro h s , S a m m ie H a se g aw a, G eo rg e H lg cs, W . C. H ood, E . G rlg g , C yril G ro h s, W . P . J u lia n , Ja m e s L ew is, S . E . K e n n e d y , B illie L ong, J e a n L ong, C. A. M in ty , K . O .- N e ste , J o h n K . N ew love, D . J . N o rto n , J a m e s P a tto n , E a rle P ow ers. E li R h o d e s , W m . C . R ile y , D r. W . R o b in so n , P a u l R o b iso n , W ilb e rt K . R oss, A rc h ie S h e p - p h e rd , G o rd o n S h e p p h c rd , B ill S im p so n , G u y les D . S m ith , B en T h o m a s, R a lp h T in e r, J o h n A m b ro se , G o rd o n Im lc r, G a o ffra y . F rlc k e r, H u b e rt H lrt, M elv in S h a rp , J im A n d e r son, J i m S c h w a lm . vjjL«.cx IN D IA N S — C ecil A d u d d cll, V in c e n t B a r tm a n , F ra n c is B e n d e r, C liffo rd B e st, K e n n e th B o g a rt, J a c k B ro w n , D o u g la s B ro w n , H e n ry B u rk e , B ill Coc, B ev erly C orley, B ra n tle y C ow sar, C h a rle s D a v id so n , D o n a ld D e n n e rlc in , A lfred D y er, C h a rle s E ad s, O liv er E llio tt, Ja m e s E v a n s , V e rl F isk , F re d F ra n k lin , H o w ard G ra y , P a u l G ro h s, J a c k H a sla m , D a rre l H o o d , S a m u e l J u s tic e , K e n n e th L ong, L loyd M a rtln d a le , C h a rle s M iller, M a rc u s M o ja d o , C a rlo s M oody, J a m e s M c G reg o r, Ic h e rlo O kl, T e d P eebles, G a rla n d P e tty . R ic h a rd P rie s t, L e o n a rd R a a b , T h e o d o re R e ed , B e rn a rd R ic h a rd so n , H a rry R o b b in s. G a r la n d R o se , H o w a rd R o se, B e rn a rd R oss, B illie R oss, C a lv in R oss, O sc a r R oss, H ls a n a rl S a k a m o to , Jo e S h e p p a rd , C liffo rd S la to n , A lger L ee T h o m a s, L loyd T in e r, H e n ry T ra m e ll. C h e slie g h W ag g o n er, J u n io r W ag n e r, E lv ln T odd, J . B . H en ry , J a m e s D av is, H e rb e rt T h o m a s , T r u m a n A d u d d ell, D a le H lrt, F r a n k K h lg h t, T ro y H olm es, T e x M cC ain s, W ay n e H o o d . A M E R IC A N P O S S E — Jo e M . K in g , C h a rle s C h ild s, S. L . P e rry , A. L. H a m ilto n , H e n ry M c C lellan d . D av e B o g a rt, B ill G ilm a n , M a rtin A g u irre, F re d F ra n k lin , L a rry B a n d ic k , A lan B a k e r , F r e d " T a p p e r , J r ., W a lte r R ich m o n d . COMMITTEES P R O P E R T IE S —M rs. L o n n ie T a te , c h a ir m a n ; M rs. N ell F ile r, M rs. E lm o H e av in . S U P E R V IS O R S O F C H IL D R E N —H e le n S c h ield , c h a irm a n ; M rs. A ncel H u lb e rt, M rs. J a n e t L in g o , M rs. A n to n io Pool, M rs. L loyd Rec.ord. S U P E R V IS O R S O F IN D IA N G R O U P S —Z a fo n H a rtm a n , B u rto n A. R iley , c h a irm e n ; S a n fo rd B a le , H e u sto n H a rp e r, W ilb e r C orw in, P a u l A n d res, D w ig h t L o p er. C O S T U M E —V iola E . M o n tg o m ery , c h a lrm n n ; M rs. L loyd B a rb e r, M rs. M ilo C ra n e , M iss H e le n S c h ie ld , M r. W . E . B o tte re ll. M r. B u rto n A. R iley . M r. Z. A. H a r tm a n M rs. L o u ise H a m re , C . A. M in ty , D w ig h t L oper. M A K E -U P F lo re n c e H a rt, c h a irm a n ; R u th B a rn a rd , V irg in ia B a k e r, M rs. S a n fo rd B ale, J e w e l M . B e ll, M arg ie Lee C a sfo rd , C h a rlo tte D av is. M rs. B . G . D o ro th y . W . E. B o tte re ll. M a rie lla F e rg u so n , N ollis F ire sto n e , G ra c e H u n to o n . F ra n c e s H aseg aw a, M rs. G le n H e n d e rs o n , H e le n H a sla m , E lsie H ow e. O p al K erb y , E lla M ay L orenz. C h a rle n e L aw ell, M r s D w ig h t l o p e r , J a n e t E. L in g o , F.thene M o ffe tt. D o ro th y M a n sp e rg er. E liz a b e th M cK elv ey , P a tr ic ia P crclv al, V irg in ia P a tte rs o n , M rs. B u rto n H . R iley. M a ry R oslo. M rs. R . P . R a ls to n , n . P . R a lsto n . W illia m R a d liff, L illia n R igby, C a m illa R iley, M rs. E d n a S a v a g e , C la ra S aro .b erro , Flo. W en d e lk c n , M rs. B. F . H im es, H a r r ie tt C ru m rin c , M rs. E rn e s t G lc n g e r. . , _ . . . . nocT P <> >: M n b r M ille r M rs O. W . I.oekw nod, c h a irm e n ; M rs. J . G . A lth o u se O ilm a n , M rs. W in ifre d H u n t, M ra. M ax H a rfo rd , M rs. A. R . H ill, M rs. H a r r ; H o fm a n n , M rs . C liffo rd H ondcocfc, M ra. B . P . H im es, M ra. C . W . H o w ard , M rs. C ecil H u n to o n , M ra. J a m e s H a ll, M rs. W . R . Ju lia n , M rs. P a u l H o w ard , M rs. W ay n e K e lley , M rs. H a ro ld L o o m is, M rs. G eo rg e Lew is, M rs. W . H . M a n n , M rs. A lice M a th e rs, M rs. C la rk M cE u en , M ra . F r a n k M a h a n , M rs. Lloyd D . M itch ell, M rs. S. C. M oon, M rs. D. J . N o rto n , M iss E lsie O llso n , M rs, T o m P a tto n , M rs. W m . P e a rce , M rs. W . H . P aw so n , M iss E d ith P o o re, M ias M a r g a r e t P o c re , M rs. R o b e rt R a y m o n d , M rs. W . N. P a r k h u r s t, M rs. C lay to n R eco rd , M ra . D o ris M . R e ed , M rs. J . H . S p e n c er, M rs. Lloyd S ch ield , M rs. L . E. S to n e , M rs. O llb o rt S p e n c e , M rs. J o h n S te w a rt. M rs. H . H . S p a u ld in g , M ra. F . K . S tra sse r, M rs. H a rry S e a r l, M rs. V lollotte B . V e rP la n k , M rs. V iola W h itm o re, M rs. A tw ood W h ld d e n , M rs. J . H . W ea v er, M iss H elen W ilh elm , M iss L ucille N oack. F IE S T A —M ad elln o Love, c h a irm a n ; E a rl O ilm a n , J r., M a u re H u rt, D r. R . 0 . L le ie r, D r. J a m e s O. L ong, M rs. S a m W ilson. S U P E R V IS IO N O F BO W L—R u ssell H . M cC oy, c h a irm a n ; D r. R . C. L teser, D r. J a m e s C . L o n g , L aw ren ce N elson, A lb ert E g g en , R a y B ell, H a rd u s S o rk n ess, L a rry C a n n o n , P a u l H o w a rd , M a x H a rfo rd . T R A N S P O R T A T IO N —R o b e rt G . R e co rd , c h a irm a n ; M rs. F re d O a rb a n l. J . C. L oom is, C o m p a n y , M a u re H u rt, M rs. M a u re H u rt, W ilb u r C orw in, E . H . L arso n , S a m . O . Jo h n so n , L lo y d R e co rd , C lay to n A. R eco rd , C a rl M . T h o m p so n , H a rry S ta in b ro o k , H a rry S e a rl, J . A . N e ste , F r a n k M o h a n , E d g ar S e a rl, M rs. R o b e rt G . R eco rd , M r. Jo lly . M rs. L o re n a S earL P A R K IN G —P. J . H a a s , c h a irm a n ; G . W . A n d erso n , R o ss A n d erso n , V ic to r A n d erso n , G e o rg e E . B erg en , N. F. C h o rm icle, H a rv ey C o ttre ll, J o h n C c rar, J a k e D e n n is, E a rl L .. D re ls b a c h , G . L. F ire sto n e , J . C. H o m a n , A lb ert H olm es, J a c k H u st, R e u b e n M o rris, J a m e s W . M c S p a d d e n , C . W . M u llen lx , Jim m ie P o m ero y , H a ro ld P o in d e x te r, K irk M . R ile y , J a m e s S. R e g u r, G eorge S ch eetz, S ta c y M . S o m m ers, B y ro m S m ith , M . J . S m ith , W . L . T a y lo r, T o m W illiam s, L ee L a ssa te r. T IC K E T — H . H . S p a u ld in g , c h a irm a n ; A. L. A ldridge, C. B . C ovell, B . F . H im es, T . J . F le tc h e r, S. C. M iller, T . W . M u rra y , B e n C. M ou ld en , W . H . M a n n , E rn e s t W . R ic k a rd , F r a n k W a ite . U S n E R S — B ill M u rra y , M ild red B o g a rt, c h a irm e n ; C. C. A bbey, R . E . B a u m e r, E d y th B o g a r t, R o y C. C age, D o n ald C u rry , M a ry C a le n d ar, C a ro l C am p b ell, M rs. R o sellen D e n n e rle ln , R o b e rt D a u lto n , G e ra ld D e n n e rle in , C lau d e F ro e h lic h , E d E llio tt, L o is G a te * w ood, H e le n G rin a g e r, R u th H an d co ck , V irg in ia H o fm a n n , W m . M . H ill, R a lp h H e n so n , L . A . F ry , W ilm a K rlb s, M a rg a re t M u rra y , M rs. C. W . M u llen lx , H . S. M ln n lck , V e ra O lm s tc a d , E m ily P iro t, D uzel R a y m o n d . A lto n R id d ick , T h e lm a S e a rl, S. H . T a s c h n e r, R u b y W illia m s, H a rry B. W ells, J a m e s W h e a to n , V irgil C rees, V era C rees, D o ro th y B ru b a k e r. F I R S T A ID —M rs. R h o d a C. A ld rid g e, c h a irm a n ; M rs. A. H . B u ck ley , M rs. H a rry D a u lto n , M rs. G e rtru d e H ill, M rs, I d a H o llin g sw o rth . M rs. Je ssie H a sla m , M rs. F r a n k M lU er, M iss C a rrie P a lm e r, M rs. B la n c h e R eed , M iss D o ro th y W allac e, M rs. B essie W ilso n , K a th e rin e F o ste r, C a th e rin e C o llins. B O W L IM P R O V E M E N T —O liv er P . E n sley , c h a irm a n ; H . H . S p a u ld in g , J . A. F a u ll, E d w a rd P o o rm a n . ST A FF, G e n e r a l M a n a g e r L L O Y D D . M IT C H E L L P r o d u c tio n D ire c to rs ..............................................................V IC T O R JO R Y AN D JE A N IN N E S S P u b lic ity D ire c to r ............................................................................ JO H N O R L A N D O N O R T H C U T T R a d io P u b lic ity D ire c to r .................................................................................. J . H O W A R D JO H N S O N A d v e rtis in g D istrib u tio n JA M E S M cM A S T E R S E d u c a tio n a l P u b licity D ire cto rs ..................................D R . E. E. O E R T E L , C. W . L O C K W O O D E x e c u tiv e S e c re ta ry ..........................................................................................................R U T H E. N O R T O N O ffic e S e c re ta ry ................................................................................................... M A R JO R IE S A N D E R SO N S ta g e M a n a g e r ........................................................................................................................ H E L E N BAN DICIC A s s is ta n t S ta g e M a n a g e rs .................. T H E L M A A N N W A G G O N E R , R O B E R T G L E A SO N . D ir e c to r o f C o stu m es ............................................................. V IO L A E. M O N T G O M E R Y D ir e c to r o f C h o r u s ........................................................................................................J O S E P H W . LA N D O N A c c o m p a n ists fo r C h o ru s ................... M IS S M A Y B O T T E R E L L , M R S . L O U IS E H A M R E D ir e c to r o f S p a n ish D a n c e s ...........................................................................................K A R L W . P E T E R S S u p e rv is o r o f S p a n ish D an cers .......................................................................................L IL L IA N R IG B Y A c c o m p a n is t for S p a n ish D an ces M R S . R O B E R T G . R E C O R D D ir e c to r o f C h ild re n 's D an ces ........................................................................ H E L E N S C H IE L D D ir e c to r o f S h e rm a n In s titu te I n d ia n D a n c e s ................ C A P T A IN R A L P H E. JO H N S O N O ffic ia l C h a p e ro n e s .................................................................... M R . AN D. M R S . B . F . A N D E R SO N D ire c to r o f Posse .......................................................................................................................JO E M . K IN G S u p e rv is o r o f C oncessions ............................................................................................... O S C A R B R U D IN S e a t C o n stru c tio n a n d M a in te n a n c e C. C. A B B EY R o a d a n d P n rk ln g A rea M a in te n a n c e E D W A R D PO O R M A N S tr e e t D e c o r a tio n s ............................................................H A R O L D L O O M IS . R O Y E. C O PE L A N D P ire P ro te c tio n ....................................................................... J . H . S P E N C E R F in a n c e ............................................................................................................................................... C. B . C O V EL L B u d g e t W . N. P A R K H U R S T r _ , . . , t w v nr r * # » v California's beautiful outdoor play by the late G arnet Holme based on incidents from Helen Hunt Jackson's immortal story. 3 r e d rude rim G eneral M a n a g er W illiam SerM en D ire c to r c ^ tf d i a y [ o £ t E xecutive Secretary Performances a t 2:45 SATURDAY AND SUNDAY AFTERNOONS April 17-18 ° April 24-25 ® May 1-2 P resented in a N a tu ra l A m p h ith ea tre known as the R A M O N A B O f V L , in R iversid e County, a t the fo o t o f M t . San Jacinto, by the peo p le o f H e m e t and San Jacinto through a non-profit, com m unity enterprise. T /ie Ramona Paqeant (Jssociaticn, lin e. E D W A R D P O O R M A N .................................................................. - P resident H A R R Y W ELLS - • - - • - - V ice President S H E R M A N LEW IS r > ............................................................. Secretary TAMES G ILL, JR. - - - * - - - Treasuter M A U R E H U R T A L L E N M cM A H A N FR A N K REG UR A. C. M E SSE L H E ISE R J O H N F A U L L E A R L G IL M A N Tha o n d of each ep iso d e is d en o ted by tho ringing of the ranch bell.* The intervals betw een the ep iso d es last only 20 seconds. Pleata d a not move from your seat until the intermission which i t anno u n ced by a bugle. A C T ONE— The Camulos Rancho EPISODE I.— In th o early 1850's. Alessandro corner to the rancho. EPISODE II.— Some weoks later. The love story. EPISODE HI.— O n e m onth later. The Senora discovers the lovers. *( Intermission of ten m inutes) A C T TW O — in Exile EPISODE I.— Eighteen d ay s letor. T h e lovers.flee from the rancho. EPISODE 11.—Two yoar's letor. T he chrislenint; of Ramona's Child. '(Interm ission o f five minutes) A C T THREE— San Jacinto Mountains EPISODE I.— Anza. Reid o n Indian land continues. EPISODE II.— Soboba Springs. EPISODE III.— Death o f A lessandro on M t. San Jacinto. EPILOGUE— The Love of Feiipe The m an ag em en t respectfully requests tho audience to remain soatod until th e conclusion of the song a t the end of th6 epiloguo. CAST (In O rd e r o f Their A ppearance) B u g l e r ....................................................................................................................... ........ DALE PURDY P a b lo .'. . . MELVIN ROSE Isabellu, a child * PATRICIA HARTMAN Doloros ......................................................................................BETTY ANN CAIN Mard a, on old servant * - . * • • - POLLY CHASE Father Selvediorra SHERMAN LEWIS Juan C a n ito . overseer o f C am ulos Rancho . . . . . . . . C. JAY NICHOLS Luigo, a young shepherd . . . . . . . . . . CHARLES HARGROVE M orgarifa, a maid servant * - - - - - - - - • - KAY LOCKE Senora M o r e n o MARY HEADLEY M cLAUG HUN Alessandro, C ap tain o f the Shoepshenrors . . . . . . . WILLIAM PULLEN Ramona, la te r callod M aiella - • • - * " * • - * - • JU A N IfA ENCELL Altar B o y s .......................................................................................................SAMUEL BAIlEY, JO H N TOWLE J o s e ..................................................................................................................................................................HAL FERRELL Felipe M oristio HARRY HOFM ANN F r a n c i s c o WILLIAM FERRELL M e n u o l HENRY McCl.El.LAND P e d r o BOB W A G G O N ER M usicians o f tho Rancho - . . . . . . . . JO SE ARIAS ORCHESTRA Soloist, R icardo BEN THOM AS CRUZ Soloist. Ju a n ita - LILLIAN ROBERTS Spanish D ancers, Dolores a n d C arlos - - . - • - • • TAVO and ESPERANZA Expositor . . . . . . . . . . . . . . . JAMES KREIGER M a r a .................................................................. ' ..........................................................................MRS. ISADORE COSTO Ed H a y t e a ........................................................................................................................................... GUYLES SMITH Jim F a r r a r ...................................................................................... CHARLES CHILOS Joke M orong . . . • • • • • • • » ' • • BOB W AGG ONER Ysidro. an Indian Farm er - . . . » • • • - * W ATSON GILMORE, JR. Fathor G a sp a re RALPH JUNIS Aunt Ri H y e r .............................................. " • • ALICE BURNHAM J o e .............................................................................- - GRF.GG FIGGINS Merrill, tha Sheriff - • ... ...... . LARRY BANDfCK H oop O an cer . . . . . . . * . . . . RICHARD PA C H IIO Indian Soloist, " ih e Sunrise C all" . . . . . . . . . BEN THOMAS CRUZ •This beovtifvl boll was p revented by R ichm ord P. Bonton in momory o f the late G arn et Holme. CAST (Continued) CHILD HEM— -La Von, Belfzner, Eugene Burden. Berthe Brittian, Michael Clow, Virginia C ortot, Joan C re b b , Linda Duhamel, Connie Flowerbird, Dianne Flowerbird, Donald Flowurbird, C arlos Gonzales, Jo io p h in e Gonzales, C harles Grutzm acher, Virginia G rutzm acher, Alphonso Gu'torroz, Joyco Hoffman, Jo h n n y Hum m el, Beverly Lamb, Jerry Litehwald, Dorothy Long, G ilbert Lockwood, Jo an n e Marruffo, T eddy M illigan, Christine M iranda, Vickey Pray, Helen Revie, Shirley Revie, Larry Rodriguez, Phillip Rodriguez, Timothy Salazar, Donald Steale, Dugald Steclo, H arvey Stone, Deborah Woolfolk. SPA N ISH DANCERS— Juan Brown, Bill Carroll, Carolyn Cox, Bob Irmon, Betty Kerby, Richard Pachito, Je rry Powers, Dale Purdy, Pauline Reploglo, Mary Soars, Thereso Silvas, Jesse Smith, Dorothy T ate, N ita T ate, Jo an Vallior, Donny W rasko. SPANISH W O M EN — Irene P. C rabb, Supervisor; Maxine Jeffreys, Christy Kearns. Dorothy Kerby, Evelyn Koch, Patricio Knight, Johonna Krauss, A leda Krofting, Connio Lindsay, Petty Lingo, Sylvia M aras, A lice Mathews, Madolino Miller, Barbara Minyard, Jo y ce Moore, Ruth M cClatciiey. Marjorie M cG raw , Mrs. G eorge O 'Loan, Emma Pallas, Beverly Parkor, Edith Poore, Lena Pierson, Elinor Parks, Ina Rawson, C orcen Ripley, Joanne Rudolph, Pat Scott, Sue Shelton, Annablle Shull, Jo an Sampson, B etty Smith, Myrtle Smith, Shirley Stearns, Billy Stinson, M arlone Todd, Loraine Trefren, Alico K. W ells, Je a n Wells, Marilyn Wilcox, Virgina W illiams, Mary W ilson, M attie Yoakum, Mrs. Helen Mur doch, Supervisor; Ramona Jaru sel, Janis Kersey, Patricia Kennedy, Doris Kinkade, Imogeno Mason, Betty M inyard, Della Poarch, Dolores Palson, Joanino Record, Loretta Rose, Joan Ross, Patsy Tyler, Donna Vielo, Sylvia Villa, Virginia Vila, Eloiso W eseloh, Louiso W right, M odean Yoakum, Mary Lou Yoakum, Ida Williams, Evelyn St. John. Mrs. Robert Record, Supervisor; Betty Anderson, Elsio 'B nnnoft, Mary Carroll, Bobby C andelaria, Donna Chilron, Mickey Clark, Joan Cromor, Beverly G e o rg e, Jo a n Gudm undson, Barbara Handcock, M ildred Irmen. Mrs. Verner Johnson, Supervisor; Valorie Bailey, Mary Bemis, Pauline Bonnerr, Lula Blankenship, N ada Sounds, Bonnie Bowerman, Kath leen Brickcy, Beverly Bridges, M aureen Brown, Kay Carroll, Alma Combs, Mary Lou C ojsi. s, Shirley C ross, Pat Cox, Virginia Cox, Lauiio Darling, D.uam Dease, Betty Doak, Estelle Estrada, Bortha Fito, J o Ann G audino, Bennie G reen, Betty G riffeth, Sally Lou Hall, Nancy Hayward, M argaret Henry, Vanom a H om an. SPANISH MEN— W . B. Augustin, C arl Bischof. W illard Brucksehlager, Bill Carroll, Hom or C ourfright, Bob Irmen, Dick Jenkins, Roy Kittle, R, B. M cGrew, A. F. Pctscheck, Jesse Smith, Johnny Taschner, Ja c k Tuckor. r INDIAN W O M E N — Mrs. G ladys W ipport, Supervisor; Mrs. Lois Ast, Mrs. Re / Brent, M artha Fletcher, Tirzah H oarrall, Jocelyn Henry, Mrs. C harlotte H arl, Mrs. Lillie McGraw,. Mrs. Helen McCorkle, Emilio B. Rncd, Mrs. M abel Searl, Mobcl W ollesen, Mrs. Hazel Wolles. INDIAN MAIDENS— Mrs. Ray Brant, Supervisor; Betty Ast, Joy Bemis, Pat Bristol, Betsy Clark, Sallie C lark, Jo y ce C olcbrcok, Sue Colvin, Jackie Eggen, Jeannio Forroii, Emily G ales, Joanno G eney, Ja n e t G lover. Pet H ogan, Joan Johnson, Mary Ar.ne Larson, Anne Matzingor, Bevarly McCoy, Betty N oidigh, Patsy Roberts, M arguerite Robinson, Mary Beth Slaton, Janice Thomas, Alico W iley, Florence W ilson. SHEEPSHEARERS— J. L. Brickoy, Supervisor; Larry Anthony, Ralph Bennett, Frank Boyer, Jonathan C assidy, Bob Collins, Roy Cox, Bob Dougherty, Aloe C. Fricker, Chuck Gillin, Bobby Dee King. Tommy Loomis, G eorge M apstead, G . L. M cClutcney, Kenneth Noste, G eorgo E. O 'Loan, N ed Pearson, Ricimrd Pearson, Bernard Ross, Dick Russell. INDIANS— Eddie Aldean, C harles Alvarez, Quinton A rend, Kenneth Arnaz, Ronnie Boavets, Edgar B ennett, Edwin Bennett, Robert Bontiste, Clifford Brittain, Jim Brittain, Sy Burnham, Frank C erdenas, W ay n e C ham bers, W eyne Davis, Rod Depeel, Carl Fnrrell, Jerry Freeman, Ken Freeman, John Fricker, Ray Gonzales, Bert Hall, Alex H am ilton, Ron Hamilton. Jerry Hoffman, C arl Johnson, Ray Kennedy, Alex

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Creator Pullen, William Augustus (author)

Core Title "The Ramona Pageant": A Historical And Analytical Study

Degree Doctor of Philosophy

Degree Program Communication (Drama)

Publisher University of Southern California (original), University of Southern California. Libraries (digital)

Tag OAI-PMH Harvest,Theater

Format dissertations (aat)

Language English

Contributor Digitized by ProQuest (provenance)

Advisor Stahl, Herbert M. (committee chair), Butler, James H. (committee member), Wilbur, Leslie (committee member)

Permanent Link (DOI) https://doi.org/10.25549/usctheses-c18-898432

Unique identifier UC11363939

Identifier usctheses-c18-898432 (legacy record id)

Legacy Identifier 7331381

Dmrecord 898432

Document Type Dissertation

Format dissertations (aat)

Rights Pullen, William Augustus

Type texts

Source University of Southern California (contributing entity), University of Southern California Dissertations and Theses (collection)

Access Conditions The author retains rights to his/her dissertation, thesis or other graduate work according to U.S. copyright law. Electronic access is being provided by the USC Libraries in agreement with the au...

Repository Name University of Southern California Digital Library

Repository Location USC Digital Library, University of Southern California, University Park Campus, Los Angeles, California 90089, USA