Oklahoma 1957

NAPIER OPERATIC SOCIETY
(INC.)
PRESENTS

OKLAHOMA

MUNICIPAL THEATRE,
NAPIER,
4TH TO 21ST SEPTEMBER.

MUNICIPAL THEATRE,
HASTINGS,
5TH TO 28TH SEPTEMBER.

1/-

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PAGE ONE

NAPIER OPERATIC SOCIETY (Inc.)

1957 OFFICERS OF THE SOCIETY

Patron: J. HARRIS, Esq.
President: * J.S. HENNEY, Esq.
Vice-president: E. COLLIER, Esq.
Hon. Life Member: C.W. WHITE, Esq.

Hon. Secretary and Treasurer:
R.H. WIMSETT, Esq.

Hon. Auditors:
OLDERSHAW & SUTHERLAND.

Hon. Solicitor: W. WILLIS, Esq.

Executive Committee:

Messrs P. COX, H. DALTON, R. GARNER, R. INGLE, R. ROSS, W.B. SPENCE.
* During the year A.E. Herniman, Esq., resigned owing to ill-health.

THE PREVIOUS PRODUCTIONS OF THE SOCIETY

“The Gondoliers”   1908
“The Mikado”   1909
“The Geisha”   1910
“The Runaway Girl”   1911
“A Greek Slave”   1912
“Toreador”   1913
“Miss Hook of Holland”   1914
“The Blue Moon”   1915
“The Geisha”   1921
“A Country Girl”   1923
“Floradora”   1924
“The Arcadians”   1928
“The Sunshine Girl”   1929
“Our Miss Gibbs”   1930
“Rio Rita”   1938
“The Belle of New York”   1939
“Boots and All”   1940
“Chu Chin Chow”   1954
“The Desert Song”   1955
“The New Moon”   1956

The 1954 production (“Chu Chin Chow”) was a milestone in the history of the Society. This colossal musical extravaganza had not been attempted by any Society, other than Auckland, Wellington and Christchurch. This was followed up by a magnificent production of “The Desert Song.” This production was witnessed by 15,557 people. Again in 1956 the same success was achieved with Sigmund Romberg’s “The New Moon,” and it is with the greatestRussell Street, Hastings. confidence we present Rogers and Hammerstein’s musical success “Oklahoma.”

Early History of the Society –

The Society was formed in the 1880’s and there is in the Hawke’s Bay Art Gallery and Museum a programme of the Society’s production of “The Mikado” in March of 1887. The Society also possesses a programme of its production of “Madame Fauvarti” in October, 1882.

Unfortunately, many of the earliest record of the Society were lost in the 1931 earthquake, but the Society can claim to be one of the oldest musical societies in New Zealand.

PAGE TWO

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PAGE THREE

INTRODUCTION OF OKLAHOMA

Rodgers and Hammerstein’s sunny and lilting musical about the farmer and the cowman in the Oklahoma territory has the appeal that makes it heartwarming and the simplicity that makes it great, and the years – and other musicals – that have passed since its advent only make these qualities more apparent and appreciated.

“Oklahoma’s” instant and phenomenal success in 1943 was certainly not due to its plot, which is based on Lynn Rigg’s “Green Grow the Lilies,” and is not unlike the stock situation of most musical comedies – a young, handsome and superficial hero and heroine separated by circumstance through most of the action and united, at the end. But where this work broke the mould of musical comedy was its integration of choreography, music and lyrics with the plot and characters.
“Oklahoma” also departed from the stock formula in the depiction of its villain, Jud Fry, who is no cardboard character like his predecessors, but whose evil was given depth and motiRussell Street, Hastings.vation.

It is a truism today that Agnes Be Mille’s choreography for “Oklahoma” revolutionised the concept of the dance in the legitimate theatre and made it an art rather than a decoration. Her choreography for “The Farmer and the Cowman,” a translation of American folk dance in theatrical terms, gave expression to the vigorous, cocksure and hopeful pioneer spirit which characterised those who saw their territory become a state. It was American in its subject matter, flavour, treatment and art. The American musical comedy had come of age.

Continued on Page Five.

The leading roles of Curly and Laurey are played by Arch Barclay and Faith Macdonald.

PAGE FOUR

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PAGE FIVE

Introduction of Oklahoma (Continued)

It now remains to meet the people who form the characters of this famous modern musical. Laurey Williams, niece of Aunt Eller, torn between her unformed affections for Curly, the cowboy, and the hired hand, Jud Fry, whose attentions cause her uneasy forebodings. The delight of her friend, Ado Annie Carnes, who, to use her own words, “Once I was as thin as a bean-pole, but since I rounded out a little the boys all act different to me,” and the object of her affections – Will Parker, the cowboy – and Ali Hakim, the pedlar man whose persuasive ways land him in many a difficult situation; Aunt Eller, with her rough but homely kindness; Gerty Cumings, third member of the romantic triaRussell Street, Hastings.ngle and the person who causes Laurey much concern; Will Carnes, father of Ado Annie, who lays down the law – with a shotgun; the Ike Skidmores, Cord Elams; in fact, the farmers and the cowmen, their wives and daughters who bring to the stage all the colour and excitement that this great musical contains.

We hope that you all will have a happy evening with “OKLAHOMA!”

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PAGE SIX

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Jud Fry, played by Reg. Johnson

Aunt Eller, role taken by Dawn Wright.

PAGE SEVEN

EVA MOORE

The Napier Operatic Society (Inc.), since its revival in 1954, has presented three Musical Productions, “Chu Chin Chow,” “The Desert Song” and “The New Moon,” all with tremendous success. On each occasion the Society has had the services of Eva Moore, and the results of her efforts have been gratifying both from, an artistic and financial point of view. The Society would like to thank her for all the hard work that she has put into each production and feels confident that with “Oklahoma” she has once again guided the Society along a well-worn path to a successful musical show.

She is one of five sisters of theatrical fame. Carrie Moore, a star both in England and Australia, and Australia’s original “Merry Widow,” is one of the sisters. Edward German wrote the part of Honour in “Tom Jones” for her and her name appears in so many original scores in London that they constitute a record. Lillie Moore, another sister, toured New Zealand with the J.C. Williamson production of “The Student Prince,” “Desert Song,” “Arsenic and Old Lace,” “The Girl Friend,” and many others.

Eva Moore has played the leading soprano roles in all the Gilbert and Sullivan operas, also the “Quaker Girl,” “Merry Widow,” “Waltz Dream,” “The Geisha,” and dozens of others. She has travelled more than half round the world many times – a thorough coverage of all the playable – towns of Australia, then to China, Japan, Manilla, Honolulu, and extensive tours of Canada and the U.S.A. In New Zealand she has produced for Auckland, Wellington, Christchurch, Dunedin, Blenheim, Nelson, Palmerston North (where she created a record for both amateurs and professionals), Wanganui, New Plymouth and Hamilton.

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PAGE EIGHT

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ROBERT MULHOLLAND

Mr Robert Mulholland was appointed musical director of the Napier Operatic Society only a few months ago, and this is his first production with the society.

Since coming to Napier three years ago his activities have been limited mainly to band work. But while in England he conducted many choirs and also had experience with several leading British orchestras.

Mr Mulholland began his musical career as a boy in Scotland. While in his teens he went to England to study the trumpet for three years under Professor Charles Birtles (principal trumpet player of the Halle Orchestra) at the Royal College of Music, Manchester.

For a short while he toured with a theatrical company, then he returned to brass bands. He eventually became bandmaster of the Fairey Aviation Works Band, many times British champions. He conducted bands and choirs in concerts in many parts of Great Britain.

As a player he has played in the Halle Symphony Orchestra, the Liverpool Philharmonic and on the Continent, and under the batons of Sir Malcolm Sargent, Sir Adrian Boult and Sir John Barbirolli.

The Napier Operatic Society is most fortunate in having a musical director of such calibre and hopes the association will be of the happiest. We wish him a successful production.

PAGE NINE

The above photograph shows a scene from the “Dream Ballet,” which is danced by Geoff Bradbury (Curly) and Betty Crawford (Laurey), together with members of the ballet.

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PAGE TEN

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PAGE ELEVEN

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JEAN BALLANTYNE

The Napier Operatic Society has again been fortunate in that Miss Jean Ballantyne has agreed to act in the capacity of Ballet Mistress. She has been for many years connected with dancers and theatrical productions in Hawke’s Bay.

Miss Ballantyne has been associated with the Napier Operatic Society since its revival in 1954, when they presented “Chu Chin Chow,” and later she was again Ballet Mistress for “The Desert Song” and “The New Moon.”

We are sure all will agree that the ballets in “Oklahoma” are some of her finest work to date, and we would like her to know how much her efforts are appreciated.

PAGES TWELVE and THIRTEEN

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NAPIER OPERATIC SOCIETY (Inc.)
By Arrangement With Chappell & Co. Ltd.
PRESENTS
THE MUSICAL PLAY

OKLAHOMA!

Music by Richard Rodgers   Book and Lyrics by Oscar Hammerstein 2nd
Based on the play “Green Grow The Lilacs” by Lynn Riggs
Produced by Eva Moore

CAST OF CHARACTERS
(IN ORDER OF APPEARANCE)

AUNT ELLER   DAWN WRIGHT
CURLY   ARCH BARCLAY
LAUREY   FAITH MACDONALD
IKE SKIDMORE   CEDRIC CATTON
SLIM   TERRY WHYTE
WILL PARKER   GEORGE FOSTER
JUD FRY   REG JOHNSON
ADO ANNIE   CARNES MARGARET GORTON
ALI HAKIM   STAN ADEANE
GERTIE CUMMINGS   GAYNOR JAMES
AGGIE PIGTAILS   HEATHER BENTLEY
And Friend   VERONICA RAWLINGS
ANDREW CARNES   BOB ROSS
CORD ELAM   BOB WRIGHT

In Dream Ballet
LAUREY   BETTY CRAWFORD
CURLY   GEOFFREY BRADBURY
JUD   KENNETH RUSSELL

Scenery designed and constructed by Will Conroy   Costumes designed by Val Ashenden

Ballet Mistress Jean Ballantyne

Photographs by Hi-Light Studios, Hastings Street Napier.

SYNOPSIS OF SCENES

TIME: Just after the turn of the century
PLACE: Indian Territory (now State of Oklahoma, U.S.A.)

ACT I.

SCENE 1   The Front of Laurey’s Farm House
SCENE 2   The Smoke House
SCENE 3   A Grove on Laurey’s Farm
“LAUREY’S DREAM” (which concludes Act 1)

ACT II.

SCENE 1   The Skidmore Ranch
SCENE 2   Skidmore’s Kitchen Porch
SCENE 3   The Back of Laurey’s Farm House

ORCHESTRA

Musical Director: R. MULHOLLAND   Hon. Pianist: Mrs W. Quarrie
Violins: E. Dunn (Leader), G. Wade, D. Hansen, N. Etheridge, R. Lee, J. Hannon. ‘Cello: S. Girvan.
Basses: R. Lavin, D. Smith. Flutes: E. Hocking, A. Tibbenham. Clarinets: P. Blanchette, H. Bush.
Trumpets: D. Johnson, R. Mulholland. Horn: G. Marple. Tympani, Drums and Effects: J. Seton

PRODUCTION PERSONNEL

Assistant Stage Director   Les Woodfine
Lighting Director   G.E. Taylor
Assistant  Wilton Vinten
Hon. Prompts   Ursula Calson and Anne Wilkinson
Properties   Rod Ingle
Wardrobe Master   Ray Dalton
Hon. Pianist   Winifred Quarrie
Assistant Pianist   Cecile Bromley Hill
Make-up   Bonnie Houston and Elizabeth Johnson
Call Steward  Jocelyn Spriggs
Chief Electrician   Ira Owen
Floor Electricians   R. Cashman, A. Dodds
Dome Spot   Jack Isles, J. Savage
Publicity and Programme   Sid Henney, Peter Cox, Gwynn Ace
Secretary-Treasurer   Rodney Wimsett
And the Executive Committee

PAGE FOURTEEN

NAPIER OPERATIC SOCIETY (Inc.)

Ladies of the Chorus
Dianne Anderson
Nola Ansell
Dorothy Black
Anne Briasco
Margo Bull
Brenda Champion
Jennifer Clark
Ruth Calson
Marion Culver
Annette Downes
Kay Dowie
Patricia Griffen
Joyce Graham
Marie Goldfinch
Aileen Hall
Valerie Hunter
Anne Jackson
Beryl Johnson
Betty Munro
Elaine McKenzie
Jennifer McKenzie
Jacqueline McKenzie
Margaret McGiven
Janet McDonald
Betty O’Brien
Marie Price
Jill Palmer
Nancy Robertson
Olga Rean
Alison Skinner
Hilary White
Janice Watts
Betty Wetherall

Gentlemen of the Chorus
L.G. Brunton
Russell Bleuden
M.A. Comber
Edward Davis
R. Falvey
D. Falvey
Peter Gebbie
Vaughan Gabites
Ronald Giles
Donald Graham
Norman Harris
B. Hawkins
Allan Paine
Jim Paxie
Robin Rae
N. Rowe
Joe Smith
Brian Staniland
Ian Willis
Terry Whyte

Ladies of the Ballet
Heather Bentley
Betty Crawford
Norah Glew
Jennifer Grant
Betty Gray
Shirley Hanley
Lynn Hawley
Angela Horrocks
Staveley KeenanPage 18
Veronica Rawlings

MUSICAL NUMBERS

ACT I

1.   “Oh! What a Beautiful Mornin'”   Curly
2.   “The Surrey with the Fringe on the Top”   Curly, Laurey, Aunt Eller
3.   “Kansas City”   Will, Aunt Eller and the Boys
4.   “I Can’t Say No”   Ado Annie
5.   “Many a New Day”   Laurey and the Girls
6.   “It’s a Scandal! It’s an Outrage!”   Ali Hakim and the Boys and Girls
7.   “People Will Say”   Curly and Laurey
8.   “Poor Jud”   Curley and Jud
9.   “Lonely Room”   Jud
10.   “Out of My Dreams”   Laurey and the Girls
Laurey makes up her mind.

ACT II

1.   “The Farmer and the Cowman”   Carnes, Aunt Eller, Curly, Ike Skidmore, Will, Ado Annie and Ensemble
2.  “All er Nothin’”   Ado Annie and Will
3.   Reprice [Reprise]-“People Will Say”   Curly and Laurey
4. “Oklahoma”   Curley, Laurey, Aunt Eller, Ike, Slim and Ensemble
5.   “Oh, What a Beautiful Mornin”   Laurey, Curly and Ensemble
6.   Finale Ensemble

PAGE FIFTEEN

DREAM BALLET
Laurey   BETTY CRAWFORD
Curly   GEOFFREY BRADBURY
Jud   KENNETH RUSSELL
Laurey’s Friends   LYNN HAWLEY, STAVELEY KEENAN
Pigtails   HEATHER BENTLEY
Her Friend   VERONICA RAWLINGS
Dance Hall Girls   BETTY GRAY, JENNIFER GRANT, ANGELA HORROCKS, NORA GLEW, SHIRLEY HANLEY
Cowboys   ROBIN NEALE, JOHN COLLIER, NEAL PETTERSON

The Dream Ballet depicts Laurey’s dream of her problems. The dream figures of Laurey and Curly dance ecstatically. A young girl enters, soon followed by others. Two of Curly’s cowboy friends stroll by and wave their greeting. A little girl presents Laurey with a nosegay, and her girl friends dance on and embrace her. A bridal veil floats down from the skies and they place it on Laurey’s head.

Curly and the boys enter in the manner of cowboys astride their horses. Curly awaits his bride, who walks down an aisle formed by the girls. But Jud walks slowly forward and takes off Laurey’s veil. Expecting to see her lover Curly, she looks up and finds Jud. Horrified, she backs away. Her friends have stony faces. Curly, too, is stern and austere and backs away from her. She is alone with Jud. Three dance hall girls enter who look very much like the pictures Laurey has seen tacked on to the walls in the smoke house.

The girls dance the Can Can and then Jud and the boys dance with them. Laurey and Jud are again alone. Curly enters and fires at Jud with an imaginary pistol. Jud chokes Curly to death and carries Laurey away. Finally the real Jud awakens Laurey from her dream. She starts to go with him, mechanically, feeling that her dream must have come true. The real Curly enters, expectantly, but seeing her leave with Jud, he stands alone, puzzled, dejected and defeated.

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PAGE SIXTEEN

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PAGE SEVENTEEN

The itinerant pedlar, Ali Hakim, is played by Stan Adeane

The role of Gerty Cummings taken by Gaynor James.

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PAGE EIGHTEEN

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CREDITS

Assistants to Wardrobe Master:
Mrs K. Houston, Mrs H. Collier, Mrs Spence, Mrs J. Colwill, Mrs Lothian, Miss A. Wells, Miss S. Reasbeck, Miss J. White.

Assistants to Property Director:
A.E. Johnson, D. Sweetapple, N. Tolhurst, A. Jones, F.R. Dean, R, Houston, Mrs J. Reeve,Miss P. Spriggs, P. Stratford, N. Halton, T. Billington, L. Fleming, L. Speakman, Mrs J. White.

Assistants to Make-up Supervision:
Mrs L. Johnson, Miss P. Mullin, H. Robertson, Mr Robinson.

Make-up of Aunt Eller: Ursula Calson.

GRATEFUL ACKNOWLEDGMENTS

The Daily Telegraph Co. Ltd.
The Hawke’s Bay Herald-Tribune.
Napier Repertory Society for Spotlight.
Wellington Operatic Society for Scenery, Wardrobe and Properties.
N.Z. Paint and Varnish Co. Ltd.
Raphael Studios.
Hawke’s Bay and East Coast Art Gallery.
Derek Olphert, Scenery Painting.

PAGE NINETEEN

A Group showing Laurey (Faith Macdonald) and friends at Aunt Eller’s farm.

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Friendly persuasion – with a shotgun! Ali Hakim (Stan Adeane) recoils from Andrew Games (Bob Ross) while his daughter, Ado Annie Games (Margaret Gorton) watches in alarm.

PAGE TWENTY-ONE

Curly and the Boys of the Chorus.

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PAGE TWENTY-TWO

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Cord Elam (Bob Wright) intervenes in a dispute between Slim (Terry Whyte) and Ike Skidmore (Cecil Catton).

PAGE TWENTY-THREE

Group Scene showing members of the Chorus.

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PAGE TWENTY-FOUR

Can Can Ballet – From the Dream Scene

Laurey (Faith Macdonald) shown wearing the wedding dress worn at the finale.

The Oklahoma “Hello” as demonstrated by Ado Annie (Margaret Gorton) and Will Parker (George Foster).

Printed by The Daily Telegraph Co. Ltd

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Original digital file

CoozeL814_OklahomaProgramme_0.pdf

Business

Napier Operatic Society Inc.

Date published

1957

Format of the original

Booklet

Additional information

Page 1

NAPIER OPERATIC SOCIETY (INC.)

PRESENTS

OKLAHOMA

MUNICIPAL THEATRE, NAPIER, 14th TO 21st SEPTEMBER.

MUNICIPAL THEATRE, HASTINGS, 25th TO 28th SEPTEMBER.

1/-

Page 2

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Page 3

NAPIER OPERATIC SOCIETY (Inc.)

1957 OFFICERS OF THE SOCIETY

Patron: J. HARRIS, Esq.

President: J.S. HENNEY, Esq.

Vice-president: E. COLLIER, Esq.

Hon. Life Member: C.W. WHITE, Esq.

Hon. Secretary and Treasurer: R.H. WIMSETT, Esq.

Hon. Auditors: OLDERSHAW & SUTHERLAND.

Hon. Solicitor: W. WILLIS, Esq.

Executive Committee:

Messrs P. COX, H. DALTON, R. GARNER, R. INGLE, R. ROSS, W.B. SPENCE.

During the year A.E. Herniman, Esq., resigned owing to ill-health.

THE PREVIOUS PRODUCTIONS OF THE SOCIETY

“The Gondoliers” 1908

“The Mikado” 1909

“The Geisha” 1910

“The Runaway Girl” 1911

“A Greek Slave” 1912

“Toreador” 1913

“Miss Hook of Holland” 1914

“The Blue Moon” 1915

“The Geisha” 1921

“A Country Girl” 1923

“Floradora” 1924

“The Arcadians” 1928

“The Sunshine Girl” 1929

“Our Miss Gibbs” 1930

“Rio Rita” 1938

“The Belle of New York” 1939

“Boots and All” 1940

“Chu Chin Chow” 1954

“The Desert Song” 1955

“The New Moon” 1956

The 1954 production (“Chu Chin Chow”) was a milestone in the history of the Society. This colossal musical extravaganza had not been attempted by any Society, other than Auckland, Wellington and Christchurch. This was followed up by a magnificent production of “The Desert Song.” This production was witnessed by 15,557 people. Again in 1956 the same success was achieved with Sigmund Romberg’s “The New Moon,” and it is with the greatest confidence we present Rogers and Hammerstein’s musical success “Oklahoma.”

Early History of the Society

The Society was formed in the 1880’s and there is in the Hawke’s Bay Art Gallery and Museum a programme of the Society’s production of “The Mikado” in March of 1887. The Society also possesses a programme of its production of “Madame Fauvarti” in October, 1882.

Unfortunately, many of the earliest record of the Society were lost in the 1931 earthquake, but the Society can claim to be one of the oldest musical societies in New Zealand.

Page 4

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Page 5

INTRODUCTION OF OKLAHOMA

Rodgers and Hammerstein’s sunny and lilting musical about the farmer and the cowman in the Oklahoma territory has the appeal that makes it heartwarming and the simplicity that makes it great, and the years – and other musicals – that have passed since its advent only make these qualities more apparent and appreciated.

“Oklahoma’s” instant and phenomenal success in 1943 was certainly not due to its plot, which is based on Lynn Rigg’s “Green Grow the Lilies,” and is not unlike the stock situation of most musical comedies – a young, handsome and superficial hero and heroine separated by circumstance through most of the action and united, at the end. But where this work broke the mould of musical comedy was its integration of choreography, music and lyrics with the plot and characters. “Oklahoma” also departed from the stock formula in the depiction of its villain, Jud Fry, who is no cardboard character like his predecessors, but whose evil was given depth and motivation. It is a truism today that Agnes Be Mille’s choreography for “Oklahoma” revolutionised the concept of the dance in the legitimate theatre and made it an art rather than a decoratPage 11ion. Her choreography for “The Farmer and the Cowman,” a translation of American folk dance in theatrical terms, gave expression to the vigorous, cocksure and hopeful pioneer spirit which characterised those who saw their territory become a state. It was American in its subject matter, flavour, treatment and art. The American musical comedy had come of age.

Continued on Page Five.

[Photo]
The leading roles of Curly and Laurey are played by Arch Barclay and Faith Macdonald.

Page 6

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Page 7

Introduction of Oklahoma (Continued)

It now remains to meet the people who form the characters of this famous modern musical. Laurey Williams, niece of Aunt Eller, torn between her unformed affections for Curly, the cowboy, and the hired hand, Jud Fry, whose attentions cause her uneasy forebodings. The delight of her friend, Ado Annie Carnes, who, to use her own words, “Once I was as thin as a bean-pole, but since I rounded out a little the boys all act different to me,” and the object of her affections – Will Parker, the cowboy – and Ali Hakim, the pedlar man whose persuasive ways land him in many a difficult situation; Aunt Eller, with her rough but homely kindness; Gerty Cumings, third member of the romantic triangle and the person who causes Laurey much concern; Will Carnes, father of Ado Annie, who lays down the law – with a shotgun; the Ike Skidmores, Cord Elams; in fact, the farmers and the cowmen, their wives and daughters who bring to the stage all the colour and excitement that this great musical contains.

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Page 8

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[Photos]
Jud Fry, played by Reg. Johnson

Aunt Eller, role taken by Dawn Wright.

Page 9

[Photo]
EVA MOORE

The Napier Operatic Society (Inc.), since its revival in 1954, has presented three Musical Productions, “Chu Chin Chow,” “The Desert Song” and “The New Moon,” all with tremendous success. On each occasion the Society has had the services of Eva Moore, and the results of her efforts have been gratifying both from, an artistic and financial point of view. The Society would like to thank her for all the hard work that she has put into each production and feels confident that with “Oklahoma” she has once again guided the Society along a well-worn path to a successful musical show. She is one of five sisters of theatrical fame. Carrie Moore, a star both in England and Australia, and Australia’s original “Merry Widow,” is one of the sisters. Edward German wrote the part of Honour in “Tom Jones” for her and her name appears in so many original scores in London that they constitute a record. Lillie Moore, another sister, toured New Zealand with the J.C. Williamson production of “The Student Prince,” “Desert Song,” “Arsenic and Old Lace,” “The Girl Friend,” and many others.

Eva Moore has played the leading soprano roles in all the Gilbert and Sullivan operas, also the “Quaker Girl,” “Merry Widow,” “Waltz Dream,” “The Geisha,” and dozens of others. She has travelled more than half round the world many times – a thorough coverage of all the playable – towns of Australia, then to China, Japan, Manilla, Honolulu, and extensive tours of Canada and the U.S.A. In New Zealand she has produced for Auckland, Wellington, Christchurch, Dunedin, Blenheim, Nelson, Palmerston North (where she created a record for both amateurs and professionals), Wanganui, New Plymouth and Hamilton.

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Page 10

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[Photo]
ROBERT MULHOLLAND

Mr Robert Mulholland was appointed musical director of the Napier Operatic Society only a few months ago, and this is his first production with the society.

Since coming to Napier three years ago his activities have been limited mainly to band work. But while in England he conducted many choirs and also had experience with several leading British orchestras.

Mr Mulholland began his musical career as a boy in Scotland. While in his teens he went to England to study the trumpet for three years under Professor Charles Birtles (principal trumpet player of the Halle Orchestra) at the Royal College of Music, Manchester.

For a short while he toured with a theatrical company, then he returned to brass bands. He eventually became bandmaster of the Fairey Aviation Works Band, many times British champions. He conducted bands and choirs in concerts in many parts of Great Britain.

As a player he has played in the Halle Symphony Orchestra, the Liverpool Philharmonic and on the Continent, and under the batons of Sir Malcolm Sargent, Sir Adrian Boult and Sir John Barbirolli.

The Napier Operatic Society is most fortunate in having a musical director of such calibre and hopes the association will be of the happiest. We wish him a successful production.

Page 11

[Photo]
The above photograph shows a scene from the “Dream Ballet,” which is danced by Geoff Bradbury (Curly) and Betty Crawford (Laurey), together with members of the ballet.

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Page 12

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Page 13

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[Photo]
JEAN BALLANTYNE

The Napier Operatic Society has again been fortunate in that Miss Jean Ballantyne has agreed to act in the capacity of Ballet Mistress. She has been for many years connected with dancers and theatrical productions in Hawke’s Bay.
Miss Ballantyne has been associated with the Napier Operatic Society since its revival in 1954, when they presented “Chu Chin Chow,” and later she was again Ballet Mistress for “The Desert Song” and “The New Moon.”
We are sure all will agree that the ballets in “Oklahoma” are some of her finest work to date, and we would like her to know how much her efforts are appreciated.

Page 14

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NAPIER OPERATIC SOCIETY (Inc.)

By Arrangement With Chappell & Co. Ltd.

PRESENTS

THE MUSICAL PLAY

OKLAHOMA!

Music by Richard Rodgers

Book and Lyrics by Oscar Hammerstein 2nd

Based on the play “Green Grow The Lilacs” by Lynn Riggs

Produced by Eva Moore

CAST OF CHARACTERS

(IN ORDER OF APPEARANCE)

AUNT ELLER   DAWN WRIGHT

CURLY   ARCH BARCLAY

LAUREY   FAITH MACDONALD

IKE SKIDMORE    CEDRIC CATTON

SLIM    TERRY WHYTE

WILL PARKER    GEORGE FOSTER

JUD FRY    REG JOHNSON

ADO ANNIE CARNES    MARGARET GORTON

ALI HAKIM   STAN ADEANE

GERTIE CUMMINGS   GAYNOR JAMES

AGGIE PIGTAILS   HEATHER BENTLEY

And Friend   VERONICA RAWLINGS

ANDREW CARNES   BOB ROSS

CORD ELAM   BOB WRIGHT

In Dream Ballet

LAUREY   BETTY CRAWFORD

CURLY   GEOFFREY BRADBURY

JUD   KENNETH RUSSELL

Scenery designed and constructed by Will Conroy

Costumes designed by Val Ashenden

Ballet Mistress Jean Ballantyne

Photographs by Hi-Light Studios, Hastings Street Napier.

SYNOPSIS OF SCENES

TIME: Just after the turn of the century

PLACE: Indian Territory (now State of Oklahoma, U.S.A.)

ACT I

SCENE 1 The Front of Laurey’s Farm House

SCENE 2 The Smoke House

SCENE 3 A Grove on Laurey’s Farm

“LAUREY’S DREAM” (which concludes Act 1)

ACT II

SCENE 1 The Skidmore Ranch

SCENE 2 Skidmore’s Kitchen Porch

SCENE 3 The Back of Laurey’s Farm House

ORCHESTRA

Musical Director: R. MULHOLLAND   Hon. Pianist: Mrs W. Quarrie

Violins E. Dunn (Leader), G. Wade, D. Hansen, N. Etheridge, R. Lee, J. Hannon. ‘Cello: S. Girvan.

Basses: R. Lavin, D. Smith. Flutes: E. Hocking, A. Tibbenham. Clarinets: P. Blanchette, H. Bush.

Trumpets: D. Johnson, R. Mulholland. Horn: G. Marple.
Tympani, Drums and Effects: J. Seton

PRODUCTION PERSONNEL

Stage Director   Cedric Wright

Assistant Stage Director   Les Woodfine

Lighting Director   G.E. Taylor

Assistant   Wilton Vinten

Hon. Prompts   Ursula Calson and Anne Wilkinson

Properties   Rod Ingle

Wardrobe Master   Ray Dalton

Hon. Pianist   Winifred Quarrie

Assistant Pianist   Cecile Bromley Hill

Make-up   Bonnie Houston and Elizabeth Johnson

Call Steward   Jocelyn Spriggs

Chief Electrician   Ira Owen

Floor Electricians   R. Cashman, A. Dodds

Dome Spot   Jack Isles, J. Savage

Publicity and Programme   Sid Henney, Peter Cox, Gwynn Ace

Secretary-Treasurer   Rodney Wimsett

And the Executive Committee

Page 15

NAPIER OPERATIC SOCIETY (Inc.)

Ladies of the Chorus

Dianne Anderson

Nola Ansell

Dorothy Black

Anne Briasco

Margo Bull

Brenda Champion

Jennifer Clark

Ruth Calson

Marion Culver

Annette Downes

Kay Dowie

Patricia Griffen

Joyce Graham

Marie Goldfinch

Aileen Hall

Valerie Hunter

Anne Jackson

Beryl Johnson

Betty Munro

Elaine McKenzie

Jennifer McKenzie

Jacqueline McKenzie

Margaret McGiven

Janet McDonald

Betty O’Brien

Marie Price

Jill Palmer

Nancy Robertson

Olga Rean

Alison Skinner

Hilary White

Janice Watts

Betty Wetherall

Gentlemen of the Chorus

L.G. Brunton

Russell Bleuden

M.A. Comber

Edward Davis

R. Falvey

D. Falvey

Peter Gebbie

Vaughan Gabites

Ronald Giles

Donald Graham

Norman Harris

B. Hawkins

Allan Paine

Jim Paxie

Robin Rae

N. Rowe

Joe Smith

Brian Staniland

Ian Willis

Terry Whyte

Ladies of the Ballet

Heather Bentley

Betty Crawford

Norah Glew

Jennifer Grant

Betty Gray

Shirley Hanley

Lynn Hawley

Angela Horrocks

Staveley Keenan

Veronica Rawlings

MUSICAL NUMBERS

ACT I

1. “Oh! What a Beautiful Mornin'”   Curly

2. “The Surrey with the Fringe on the Top”   Curly, Laurey, Aunt Eller

3. “Kansas City”   Will, Aunt Eller and the Boys

4. “I Can’t Say No”   Ado Annie

5. “Many a New Day”   Laurey and the Girls

6. “It’s a Scandal! It’s an Outrage!”   Ali Hakim and the Boys and Girls

7. “People Will Say”   Curly and Laurey

8. “Poor Jud”   Curley and Jud

9. “Lonely Room”   Jud

10. “Out of My Dreams”   Laurey and the Girls

Laurey makes up her mind.

ACT II

1. “The Farmer and the Cowman”   Carnes, Aunt Eller, Curly, Ike Skidmore, Will, Ado Annie and Ensemble

2 “All er Nothin’”   Ado Annie and Will

3. Reprice [Reprise]-“People Will Say”   Curly and Laurey

4. “Oklahoma”   Curley, Laurey, Aunt Eller, Ike, Slim and Ensemble

5. “Oh, What a Beautiful Mornin”   Laurey, Curly and Ensemble

6. Finale Ensemble

Page 16

DREAM BALLET

Laurey   BETTY CRAWFORD

Curly   GEOFFREY BRADBURY

Jud   KENNETH RUSSELL

Laurey’s Friends   LYNN HAWLEY, STAVELEY KEENAN

Pigtails   HEATHER BENTLEY

Her Friend   VERONICA RAWLINGS

Dance Hall Girls   BETTY GRAY, JENNIFER GRANT, ANGELA HORROCKS, NORA GLEW, SHIRLEY HANLEY

Cowboys   ROBIN NEALE, JOHN COLLIER, NEAL PETTERSON

The Dream Ballet depicts Laurey’s dream of her problems. The dream figures of Laurey and Curly dance ecstatically. A young girl enters, soon followed by others. Two of Curly’s cowboy friends stroll by and wave their greeting. A little girl presents Laurey with a nosegay, and her girl friends dance on and embrace her. A bridal veil floats down from the skies and they place it on Laurey’s head.

Curly and the boys enter in the manner of cowboys astride their horses. Curly awaits his bride, who walks down an aisle formed by the girls. But Jud walks slowly forward and takes off Laurey’s veil. Expecting to see her lover Curly, she looks up and finds Jud. Horrified, she backs away. Her friends have stony faces. Curly, too, is stern and austere and backs away from her. She is alone with Jud. Three dance hall girls enter who look very much like the pictures Laurey has seen tacked on to the walls in the smoke house.

The girls dance the Can Can and then Jud and the boys dance with them. Laurey and Jud

are again alone. Curly enters and fires at Jud with an imaginary pistol. Jud chokes Curly to death and carries Laurey away. Finally the real Jud awakens Laurey from her dream. She starts to go with him, mechanically, feeling that her dream must have come true. The real Curly enters, expectantly, but seeing her leave with Jud, he stands alone, puzzled, dejected and defeated.

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Page 17

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Page 18

[Photos]
The itinerant pedlar, Ali Hakim, is played by Stan Adeane

The role of Gerty Cummings taken by Gaynor James.

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Page 19

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NAPIER OPERATIC SOCIETY (Inc.)

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READINGS

PASTRYCOOKS AND FOOD PURVEYORS.

CREDITS

Assistants to Wardrobe Master:

Mrs K. Houston, Mrs H. Collier, Mrs Spence, Mrs J. Colwill, Mrs Lothian, Miss A. Wells, Miss S. Reasbeck, Miss J. White.

Assistants to Property Director:

A.E. Johnson, D. Sweetapple, N. Tolhurst, A. Jones, F.R. Dean, R, Houston, Mrs J. Reeve,Miss P. Spriggs, P. Stratford, N. Halton, T. Billington, L. Fleming, L. Speakman, Mrs J. White.

Assistants to Make-up Supervision:

Mrs L. Johnson, Miss P. Mullin, H. Robertson, Mr Robinson.

Make-up of Aunt Eller: Ursula Calson.

GRATEFUL ACKNOWLEDGMENTS

The Daily Telegraph Co. Ltd.

The Hawke’s Bay Herald-Tribune.

Napier Repertory Society for Spotlight.

Wellington Operatic Society for Scenery, Wardrobe and Properties.

N.Z. Paint and Varnish Co. Ltd.

Raphael Studios.

Hawke’s Bay and East Coast Art Gallery.

Derek Olphert, Scenery Painting.

Page 20

[Photo]
A Group showing Laurey (Faith Macdonald) and friends at Aunt Eller’s farm.

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[Photo]
Friendly persuasion – with a shotgun! Ali Hakim (Stan Adeane) recoils from Andrew Games (Bob Ross) while his daughter, Ado Annie Games (Margaret Gorton) watches in alarm.

Page 22

[Photo]
Curly and the Boys of the Chorus.

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[Photo]
Cord Elam (Bob Wright) intervenes in a dispute between Slim (Terry Whyte) and Ike Skidmore

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Page 24

[Photo]
Group Scene showing members of the Chorus.

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Page 25

[Photos]
Can Can Ballet – From the Dream Scene

Laurey (Faith Macdonald) shown wearing the wedding dress worn at the finale.

The Oklahoma “Hello” as demonstrated by Ado Annie (Margaret Gorton) and Will Parker (George Foster).

Printed by The Daily Telegraph Co. Ltd

Page 26

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RUSSELL STREET, HASTINGS.

Phone 3765.

Page 27

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For prompt attention

Remember Our After Hours

Phone 50 Taradale

USE OUR WORLD WIDE TELEGRAPH SERVICE

ROBSON’S TRES BON

Day Phone 3242 Napier – Say It With Flowers

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don’t use YOUR money use BLYTHES

Store Currency

The easiest, most convenient way of

CREDIT SHOPPING

Buy what you want when you want it. Take it with you or have it delivered.

No forms to fill in every time you wish to buy on easy terms.

Call at our office and arrange privately the amount of credit you require.

Agree to pay 1/- per week for every pound of credit, plus a small service charge of 1/- in the pound. Immediately you are issued with “Store Currency” to the full amount of credit this you spend just like cash any time any department in our Store. As you repay your credit is renewed without the bother of filling in further forms. It’s easy quick and completely anonymous.

BLYTHES

P.O. Box 175 Napier

Accession number

814/1959/46251

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