2nd Encore - Call for memories of theatre on Mt. Tom, Holyoke, Mass.

 

This is to put out a call for memories.  In preparation for a book I’d like to write on theatre on Mt. Tom in Holyoke, Massachusetts, I’d like anyone to contact me who is willing to share memories of experiences either as a member of the staff, an actor, or one of the audience.

 

Live theatre had seen different incarnations on Mt. Tom, some of which were discussed in thisprevious post.  The old playhouse, called The Casino at one time, hosted the Casino Stock Company in 1911.  In the 1930s there were the WPA-sponsored shows, and in 1941 came the heyday of Mt. Tom theatre with The Valley Players, some of whose members, including Hal Holbrook, went on to greater fame. 

 

In the early 1960s, with the discontinuing of The Valley Players, the Mt. Tom Playhouse played host to a variety of touring shows featuring well-known actors and actresses. 

 

The Casino is gone now, and Mountain Park was closed in 1987. 

I’d appreciate hearing from anyone with memories of theatre at Mt. Tom.  Either leave a comment or send me an email at: JacquelineTLynch@gmail.com.  I’d also be happy to conduct phone interviews or in person.  Just drop me a line and let me know.  Thank you.

Upcoming Plays for June 2010

This month we note the beginning of the summer theatre season in New England. Go, and enjoy.

At the Arundel Barn Playhouse in Kennebunkport, Maine: The New England premiere of “Nunset Boulevard: Nunsense at the Hollywood Bowl” June 8th-26th.

More unholy hijinks from the Little Sisters of Hoboken as they bring us their 7th heavenly gig – this time in Tinseltown. The Little Hobos raise comic mayhem and tons of ‘Nun fun’ in this perfect 300 game! Nunsense is habit-forming, and it would be a sin to miss the latest Nunsense nonsense!

At the Barrington Stage Company, Pittsfield, Mass. from June 17, 2010 - July 17, 2010: “Sweeney Todd: The Demon Barber of Fleet Street”, music and lyrics by Stephen Sondheim, book by Hugh Wheeler from an adaptation by Christopher Bond. Musical Direction by Darren Cohen, directed by Julianne Boyd.


At the Cape Playhouse, Dennis, Massachusetts:

“Tea at Five” starring Stephanie Zimbalist as Katharine Hepburn, running June 7th through June 19th.

At the Gloucester Stage Company, Gloucester, Massachusetts: “Table Manners” by Alan Ayckbourn runs from June 17th through July 3rd. Directed by Eric C. Engel, the cast includes Steven Barkhimer, Lindsay Crouse, Paula Plum, and Richard Snee.


Hackmatack Playhouse in Berwick, Maine presents Rogers & Hammerstein’s musical “Cinderella” runs from June 24th through July 10th.

At the Ivoryton Playhouse, Ivoryton, Connecticut, the perennial favorite, “Arsenic and Old Lace” by Joseph Kesselring, from June 9th through June 27th.

A delightful evening of murder and mayhem with eccentric aunts, crazy nephews and bodies in the basement!

At the Mt. Washington Valley Theatre Company in North Conway, New Hampshire: Meredith Wilson’s delightful “The Music Man” from June 30th through July 10th.

New Century Theatre in Northampton, Massachusetts: “Noises Off” by Michael Frayn, directed by Sam Rush, runs June 17th through 26th.

NOISES OFF peeks backstage at the ridiculous antics of the cast and crew of NOTHING ON. We follow the English company from dress rehearsal to the end of the ten week run, each act revealing more hilarious cast drama, missed cues, and slamming doors, while the show is constantly upstaged by the noises off in the wings. The 1982 Laurence Olivier Award for Best New Comedy winner, this is the ultimate backstage farce. Join some of the original cast as we kick off our 20th year with a sidesplitting comedy that must be seen to be believed.

At The Newport Playhouse in Newport, Rhode Island: “Suitehearts” runs June 24th through August 1st.

A young couple checks into a New York hotel for a romantic weekend. An older couple has inadvertently booked the same honeymoon suite! After they scuffle over the accommodations, no one is where or with whom they should be. With plenty of sight gags and one liners, this play will have you laughing all the way through!


The Peterborough Players in Peterborough, New Hampshire presents:
“Once in a Lifetime” by Moss Hart and George S. Kaufman runs June 9th through 13th.

Ascending Stars Project - Some of the area’s best high school actors will work alongside professional actors and be directed by Artistic Director Gus Kaikkonen. Once in a Lifetime is a rollicking tale of three down and out troupers who decide to head for Hollywood and try their luck with the newly invented talkies.


The Summer Theatre of New Canaan in New Canaan, Connecticut presents Shakespeare’s “The Taming of the Shrew” in a “modern day highly charged adaptation in our new intimate outdoor protected theater.” Preview June 18, 7:30 pm, show runs from June 19th through July 11th.

At The Bushnell in Hartford, Connecticut, George Gershwin’s classic “Porgy and Bess.”

The drama of love, murder, and hope on Catfish Row springs to teeming life in a dazzling 75th anniversary tour of George Gershwin’s Porgy and Bess coming to The Bushnell June 8-13 in a brand new production with riveting choreography and glamorous costumes. Approved by the Gershwin Estate, produced by veteran opera impresario Michael Capasso, General Manager of New York’s Dicapo Opera Theatre, and in association with noted producer Willette Murphy Klausner, (Three Mo’ Tenors). Porgy is directed by the brilliant African American Charles Randolph-Wright (Mama I Want To Sing). Don’t miss this celebration of America’s most beloved opera, with a stellar all African American cast of sensational performers.


At The Huntington Theatre, Boston University, “Prelude to a Kiss” by Craig Lucas, directed by Peter DuBois running currently through June 13th.

A whirlwind romance. A storybook wedding. A kiss for the bride that suddenly changes everything. Craig Lucas (The Light in the Piazza, Longtime Companion) explores the enduring power of love and the nature of commitment in this breathtaking and life-affirming comedy directed by Artistic Director Peter DuBois.


At The Ogunquit Playhouse in Ogunquit, Maine “The Drowsy Chaperone” runs from June 9th through June 26th.

Be transported to a magical, wonderful world in this new musical comedy that was the darling of the Tony Awards, winning the most statues in 2006, including Best Sets and Costumes, which will be featured in the Ogunquit Production!

It stars Bravo’s top-rated celebrity, Carson Kressley along with Georgia Engel reprising her Broadway role! Georgia is best known as Georgette from the smash TV hit “The Mary Tyler Moore Show.”

The hilarious show-within-a-show begins when a die-hard musical fan plays his favorite cast album, a 1928 smash hit called “The Drowsy Chaperone” and the show magically bursts to life. Audiences are instantly immersed in the glamorous, hilarious tale of a celebrity bride and her uproarious wedding day, complete with thrills and surprises that take both the cast and the audience soaring into the rafters. Don’t miss the show critics announced as “delightful and sparkling entertainment!” You’ll be over the moon!

Emmy-winning television star, celebrity stylist, author and fashion designer, Carson Kressley is about to make his theatrical debut at the Ogunquit Playhouse, alongside twice-Emmy nominated actress Georgia Engel, in the multi-Tony Award winning musical, “The Drowsy Chaperone”. Kressley is cast as the “Man in Chair,” an obsessive fan of old musicals who imagines performers coming to life in his shabby apartment whenever he plays one of his favorite cast recordings. Throughout the show the musical bursts to life as the Man in Chair continuously brings the audience in and out of the fantasy.


At The Ridgefield Theater Barn in Ridgefield, Connecticut, “The Memory of Water”, written by Shelagh Stephenson, directed by Sherry Asch runs June 4th through June 26th.

After years of separation, three sisters come together for the funeral of their mother, finding that each of their memories of events in their lives are very different. These different recollections force them to confront their perceptions with introspection and humor. The play asks searching questions, such as who are we without our memories. While it remains firmly in the genre of family comedy, what makes this play so captivating, is the way it reveals emotional pain and complexity beneath the outward facade.


At The Westport Country Playhouse in Westport, Connecticut - “Dinner With Friends”
runs June 1st to June 19th.

Karen & Gabe and Beth & Tom, couples who have been friends for years, participate in all the familiar and comfortable rituals of shared vacations, good conversation and great food—so when Tom abruptly walks out on Beth, it threatens more than just their marriage alone. A Pulitzer Prize-winning play that explores the difficulties of divorce, even when it isn’t your own.

At the Williamstown Theatre Festival, Williamstown, Massachusetts: “It’s Judy’s Show:
My Life as a Sitcom” runs from June 23rd through July 4th. Written by Judy Gold and Kate Moira Ryan, with original music by Judy Gold, lyric by Kate Moira Ryan and Judy Gold, additional material by Eric Kornfeld and Bob Smith. Directed by Amanda Charlton.

Building on the success of her show 25 Questions for a Jewish Mother, funny-woman Judy Gold returns to the stage in this hilarious look at her amazing life through the lens of the classic sitcoms of her youth. With multimedia, original music, laughter, and love, Judy shows us how she balances family and ambition in a world where she sometimes does not fit.

At The Winnepesaukee Playhouse at Weirs Beach, New Hampshire - “Educating Rita” by Willy Russell runs June 23rd through July 3rd.

Tutor becomes student in this endearing comedy. Professor Frank Bryant withdraws from his students and passes his days in his stuffy office clutching a bottle of whiskey. That is, until the arrival of spunky hairdresser Rita whose thirst for knowledge turns his world upside down.


Theatre by the Sea in Matanuck, Rhode Island presents “A Chorus Line” June 4th through June 20th. Music by Marvin Hamlisch, lyrics by Edward Kleban, book by James Kirkwood & Nicholas Dante, conceived by Michael Bennett.

On a bare stage, casting for a new Broadway musical is almost complete.
It’s what they’ve worked for — with every drop of sweat, every hour of training, every day of their lives, it’s the one opportunity to do what they’ve always dreamed of - Not to be the star, but to get a job on the line. From funny to heartbreaking, these 17 dancers share the stories of their lives and when they’re done, so is the audition, and the final chorus line is chosen. Winner of the Pulitzer Prize for Drama and Tony Award for Best Musical.


If you happen to see any of these shows, come back and give us your review.

Kitty Carlisle On Tour at the High School Auditorium

This program for “The Man Who Came to Dinner” is undated, but could have been about 1949, the year Kitty Carlisle toured in summer stock with this now theatre classic written by her husband, Moss Hart, and his partner George S. Kaufman.

Intriguing in this production is the cast of theatre veterans, and the theater: the auditorium of the Springfield (Massachusetts) Trade High School.

This small brick inner city trade school has long been defunct, but evidently had appropriate facilities for what was billed as the Springfield Drama Festival. The Albert Steiger Company, whose flagship department store was in Springfield, also now defunct, (see this article on Steiger’s in my New England Travels blog), took out a full-page ad. The fox furs worn by Miss Carlisle and Miss Libaire came from another local business, Scott Furriers, and the radio equipment for the broadcast scene was provided by the local downtown radio station, WMAS. In between acts we are encouraged to drink Coca Cola, “On sale ice cold in the lobby.”

The program might have the look of a senior class play, but the cast carried a few veterans who’d probably played in more humble venues, and certainly in theaters more grand.


Kitty Carlisle’s career on stage spanned decades, though beyond her few films is probably most remembered for her stint as a game show panelist. She played Maggie Cutler, who is the secretary of the impossible Sheridan Whiteside, played by Forrest Orr. No longer a household name, Mr. Orr made his Broadway debut back in 1907 in the old chestnut, “Captain Jinks of the Horse Marines.” His Broadway career continued through the middle 1940s, and he appeared in the original “Philadelphia Story.”

Kevin McCarthy, Joseph Pevney also had long stage careers, and Dorothy Libaire, who played the gold-digger Lorraine Sheldon had a number of films under her belt by the time this gig at the Springfield Trade School came along.

Harold J. Kennedy, who played the prankster Beverly Carleton, also directed the show and co-produced with Harald M. Bromley.

Summer stock requires one to wear a lot of hats sometimes, and demands a lot of versatility, in cast, and in venue, including a high school stage. Now that it’s September and school is back in session, we conclude our posts on summer stock.

Summer Theatre Summary - 1940

The first summer theater is believed to have begun in the 1890s in Denver, Colorado. But like most new inventions, the public was not exposed to this new entertainment, at least not in very large numbers, for a long while, not until the late 1920s and early 1930s. This is when more people could afford to leave the sweltering cities in the summer. This is when they began to vacation in the country, and this is when the automobile first made that journey a bit easier. This is when those lush and lovely locales in the mountains or by the sea provided theater entrepreneurs the opportunity to push their own unique product to the vacationers.

In June 1940, Theatre Arts magazine celebrated the first decade of summer theatre with an article by author and theater manager, Warren P. Munsell, Jr., who noted, “It is no longer a quaint idea to pop out to the country in July and take in a straw hat show.” He rejoiced that now it was a commonplace thing to do. He noted that “actors, like everybody else, like to get out of the city in the hot weather. Unlike everybody else, in their spare time actors like to act.”

Interestingly, Munsell observed that even at this time, slowly over the preceding decade of the Great Depression, the old-style repertory theater was being altered by the presence of big-name stars from Hollywood. If the audience was asked to pay the enormous sum of $2.75 a ticket to see Henry Fonda live on stage, then by golly, they would expect to see an entire season of big stars rounding out the casts. Munsell notes that such demands by the audience, no longer content with the backwoods repertory, put a huge strain on the theater’s coffers, so much that summer theaters are “generally close to bankruptcy.”

He notes that audiences prefer familiar titles of recent Broadway hits (at the time of this article, it was “You Can’t Take it With You” and “Susan and God”). Giving the public what it wants also extends to what he calls his hesitancy “to offer Oscar Wilde to an audience comprised mainly of farmers.”

He notes comedy is a bigger draw than drama, and notes the risks of trying out new plays as opposed to presenting familiar chestnuts. Except for the price of the tickets, he could be talking about today. Munsell closes his article with a warm summation at which we might smile, “But if, in its maturity, the straw hat circuit seems to have less spontaneity, and to be of less value as an incubator for Broadway plays and Hollywood protégés than before, it has evolved its own special, significant function. It is another outlet for theatre. For summer theatres are supported on the whole by communities a varying percentage of which have no contact with the stage.”

That, too, may still be true, although the big cities are not so far away anymore, just a few exits down the superhighway for most people. But with so many competing sources of entertainment, is live theater likely to be any more popular today for an evening or afternoon’s entertainment than it was in the Great Depression when money was scarce, but many more small communities had a tradition of theatre?

"Singin' in the Rain" - Ogunquit Playhouse

Ogunquit Playhouse brings to life “Singin’ in the Rain” with elaborate sets, complex technical effects, and a cast whose energy and talent impress and delight. Ogunquit has a huge show in “Singin’ in The Rain,” and a huge hit.


Joey Sorge, Amanda Lea Lavergne, and Jon Peters seem to almost channel Gene Kelly, Debbie Reynolds, and Donald O’Connor of the original film on which this stage musical is based. The 1952 landmark movie has become so iconic that a stage musical must of necessity evoke memories of the film, and for this production we therefore have the iconic Gene Kelly pose on the street lamp, umbrella in hand, by Joey Sorge, the Donald O’Connor inspired frenetic sight gags during the “Make ‘Em Laugh” number performed by Jon Peters, and Amanda Lea Lavergne’s “All I Do is Dream of You” bursting from a cake a’la Debbie Reynolds.

Particularly impressive for the audience to remember is that Gene Kelly, Debbie Reynolds, and Donald O’Connor were not singing at the top of their lungs while doing those impressive dance routines; they were lip-syncing to playback. On the stage, everything is live (though the tinny sound of the mics is somewhat distracting), and Sorge, Lavergne, and Peters don’t have the luxury of mouthing to playback or re-takes. They give it everything they’ve got, and what they’ve got is great. Their soaring voices and snappy tap dancing may have evoked the actors of the original film, but no mimicry was used or needed. They let us know from the start that, though this show might have been inspired by an old movie, this was live theater in all its immediacy and energy, its ability to excite and involve.

Other moments inspired by the film is the scene of the gossamer scarf of dancer Cyd Charisse enveloping Gene Kelly during the “Broadway Rhythm” number, and it is replicated with an interesting and creative variation. In the “Good Morning” number, at the moment Sorge, Lavergne, and Peters leap in unison onto the back of the couch and tip it over, the audience responded with impromptu applause, because that is one of the most memorable moments of that dance number in the film, and they were delightfully surprised to see it replicated on stage.

Amy Bodnar, who plays the ditzy diva Lina Lamont, rates a special mention for her fabulous performance. One would have to go a long way to top the comic antics of Jean Hagen in the original film, but Ms. Bodnar does it. I think whenever I see the 1952 from now on, I will be reminded with a warm memory of Ms. Bodnar’s performance. She is utterly hysterical in each line, each pose, managing to be both exasperatingly haughty and charmingly endearing. She was singled out for a standing ovation at the conclusion of the performance I saw, and well deserved.

Celia Tackaberry, who doubled as Phoebe Dinsmore the much-put-upon vocal coach, and Dora Bailey, the gossip columnist guiding us through the Hollywood premieres, gave us a touch of zany spoofing.

A fascinating, and highly entertaining aspect to this production is the use of silent film style film sequences of the actors shown on a screen in several scenes that meld with the live action and illustrate the sometimes wacky film world of the late 1920s. This was through the efforts of one of the new sponsors of the Playhouse, Video Creations. We see the difficulty transferring the accustomed silent film story to the new and groundbreaking sound film technology, not always with expected results. The “movie” clips were inventive and really funny.

And of course, it rained on stage.


Boy, did it rain. A spectacular special effect, this must have been a terrific challenge, and audience was taken away by it, and Joey Sorge leaped and splashily tap danced through puddles before our eyes. Bradford T. Kenney, Executive Artistic Director and Jayme McDaniel, director/choreographer are to be congratulated for the triumph “Singin’ in the Rain” represents for Ogunquit Playhouse. Musical director for this show is Matthew Smedal, who led the orchestra through the familiar, and some unfamiliar original numbers by Nacio Herb Brown and Arthur Freed.

“Singin’ in the Rain” runs at the Ogunquit Playhouse in Ogunquit, Maine through September 12th. Make every effort to see this show if you can; it’s terrific. If you’re lucky enough to catch it, let us know what you think.

Summer Stock - 1939

As the lazy summer of 1939 lingered, we would have no way of knowing that the peace, and the familiar world of the present, would be shattered on September 1st when Hitler’s march into Poland started World War II. The beginning of that promising summer in June marked the last summer stock season free of any impending threat of being interrupted due to the war. The only threat to summer theater in New England in those days, as now, were financial.

But Newsweek magazine reported on June 26th that “summer show producers are looking forward to a prosperous season” and in those innocent days, along with the Broadway hits and the Broadway stars, “the usual hatch of untried plays that come to life under a rural moon before braving the harsher lights of Times Square.”

Most summer theaters, then and now, are in rural locations, and that perhaps in itself presents them as old fashioned, from another time, from another more innocent world. In 1939 summer stock had gone from crawling to walking, and was in fine form before the war disrupted many seasons for many summer theaters.

That season Libby Holman and Clifton Webb took “Burlesque” on one-week stands to the Ogunquit Playhouse in Ogunquit, Maine, then to the Cohasset Theater in Cohasset, Massachusetts, and then down to the Cape Playhouse in Dennis.

Glenda Farrell returned to the stage after five years in Hollywood to appear in “Anna Christie” at the Westport Playhouse in Connecticut. After Westport, Glenda Farrell was hopping down to the Theater-By-The-Sea in Mantunuck, Rhode Island to appear in “Dateline, Geneva,” a new play by Alan Rivkin and Leonard Spiegelglass.

Mitzi Green was to appear in several plays over at the Ivoryton, Connecticut Playhouse. Walter Hampden and Kitty Carlisle appeared at the Cape Playhouse in July with “A Successful Calamity”, a play in this previous post on Walter Hampden’s appearance in Ridgefield, Connecticut in August of 1938.

Over on the other end of the state, Thornton Wilder appeared as the Stage Manager in his play “Our Town” at the Berkshire Playhouse.

Skowhegan, Maine’s Lakewood Theater would present “Indian Summer” with Jessie Royce Landis. Diana Barrymore, the 18-year-old daughter of John Barrymore, would make her stage debut in Ogunquit. Rudy Vallee would appear over at Deertrees Theater in Harrison, Maine.

Newsweek noted that Vermont and New Hampshire summer stock was thriving on “the stages of almost a dozen active cowbarn playhouses.” It might sound dismissive, but it’s really kind of a triumph.

Mount Holyoke College Summer Theatre

The Mount Holyoke College Summer Theatre retired their trademark orange and white tent at the end of their 18th season in 1988, and so symbolic was the tent to the identity of the theater that the future seemed uncertain for the organization. But, there would be a 19th season, and many seasons more until at last the curtain rang down for good.


But this was theater-in-the-round, where there are no curtains, and that is surely one of the factors that made the Mount Holyoke Summer Theatre so fondly remembered as a unique theatre experience. Their productions were, by necessity, intimate and cleverly presented.

Founded in 1970 by Mount Holyoke College Department of Theatre faculty member Jim Cavanaugh, this South Hadley, Massachusetts summer stock event was borne of a desire to create, as Mr. Cavanaugh wrote in the 10th Anniversary special program, “a theatre in which students would take positions of responsibility, on and off stage, and learn by doing.” Students had shared with Cavanaugh their less than satisfying experiences paying money to apprentice with major professional companies and “learning little except how to withstand lack of sleep.”

The first season produced eight plays in eight weeks, as Cavanaugh notes, “We didn’t know it couldn’t be done, so we did it.” Some memories over the years includes stopping a performance of the musical “Carnival” for 35 minutes to wait for a rain shower to stop so that the audience hear the performance. In the meantime, the actors taught the audience the words to songs from the show and they had a sing-a-long until the rain stopped.

Occasional rumbles from C5 aircraft taking off from nearby Westover Air Force Base always required a pause in the action, but were thankfully less frequent, and not as long-lasting than very loud rain on the tent roof. In fair weather, there was something tantalizing about the warm summer night, with the moon and stars lingering just beyond the tent wall and the screened door.

The series was reduced to seven plays in later seasons, and always ran the spectrum of comedy and drama, from Moliére to Thornton Wilder, from Neil Simon to Tennessee Williams. No big names from Hollywood or Broadway were among the casts, but none were needed. The mixture of professional guest actors and technicians, and company apprentice and journeymen students created a vibrant, intimate, and emotionally charged world in the orange and white tent. They are still missed.

Walter Hampden at Ridgefield Summer Theatre

Continuing our season of summer theatre, we take a look back at Walter Hampden’s appearance with Connecticut’s Ridgefield Summer Theatre in August of 1938.


Hampden was himself a resident of Ridgefield, having bought a farm here in 1911. He seems to have been part of a vanguard of wealthy New Yorkers to establish grand homes here. One America’s foremost Shakespearean actors of the turn of the 20th century, Walter Hampden toured the US and Europe, and formed his own stock company in 1919. In the 1920s he launched his own theater in New York, playing Hamlet to Ethel Barrymore’s Ophelia.

Hampden also enjoyed a varied Hollywood career noted in this post from my Another Old Movie Blog (see here).


This small town in Connecticut where he rested on his farm between engagements may have been a less illustrious venue for his considerable stature as an actor, but Walter Hampden’s appearance here in “A Successful Calamity” by Clare Kummer demonstrates what once was common among the great actors. Actors, real actors, toured in summer stock, no matter their stature or fame, no matter if the theater was a high school auditorium, a barn, or a boathouse, or a tent.

Hampden’s own personal ties to Ridgefield must have made this minor engagement all the more appealing. Ridgefield, Connecticut has two theaters today, the Ridgefield Theater Barn, and the Ridgefield Playhouse. The Wilton Bulletin of August 11, 1938, in anticipation of the coming event reported that Mr. Hampen, “has played “A Successful Calamity’ many times and has always delighted his audiences.”

The Valley Players - Holyoke, Mass.

A fondly remembered summer theater company produced plays and musicals on the top of Mt. Tom in Holyoke, Massachusetts. An idyllic spot of picnic groves, restaurant, ballroom, dance pavilion, amusement park, and zoo, Mountain Park also featured a theater called the Casino. At one time, it was the home of what was reputed to be the largest summer theater in New England.

From 1941 through 1962, the Casino was home to The Valley Players, a theatre company which helped nurture, or even launch the careers of many young actors, Hal Holbrook among them, who first performed his famous one-man show “Mark Twain Tonight” here. Future Tony nominee and native of nearby Westfield Anne Pitoniak appeared here as well.

Mountain Park was created in the late 19th century when the first train and trolley and mountain tram cars made their way up Mt. Tom. An early vaudeville theater was built here, later replaced by the Casino. In 1911 the Casino Stock Company produced stage plays here, but folded after one season. Vaudeville acts and silent movies shown at the Casino drew in the crowds. Stage plays were attemped again in 1924, and a 1935 renovation of the Casino led to more plays here showcased by the Works Progress Administration (more on the WPA theatre project another time). One Depression-era member of the company was future film star Wendell Corey.

Carlton and Jean Guild created the Valley Players here in 1941. They had been involved in other New England summer theaters, and along with collegues Dorothy Crane, Lauren Gilbert and his wife Jackson Perkins, Walter Coy, Louise Mudgett and Joseph Foley, were looking for a site for a new company. All would function on the administrative staff or perform in many of the plays produced by the Valley Players, or both. Joseph Foley went on to do some live television, was Gabriel Gurney the principal for the first season of “Mr. Peepers”, until his untimely death in the summer of 1955 in Holyoke.

The Valley Players was an Equity stock company. During 1943 Mountain Park was closed due to the wartime gas rationing. The heyday for the Valley Players was throughout the 1950s (coinciding with what is generally perceived as the golden age of summer theatre in New England), but the dawn of the 1960s brought rising production costs, lower attendance, and the curtain was brought down in 1962 with Tennessee Williams’ “The Glass Menagerie.”

Mountain Park closed in 1987.


Here are a few programs from The Valley Players. “Bell, Book & Candle” with Hal Holbrook was the final production of 1953. “Holiday” from July 1954 featured Si, (later billed as Simon) Oakland, later seen in many future film and TV productions. Hal Holbrook also appeared in “The Velvet Glove” July 1953, one of his earliest appearances with The Valley Players. The following month he had a part in “The Happiest Days of Your Life”.


Ralph Edwards, who at the time was the host of the “Truth or Consequences” gameshow on radio, and would also be the host when this show eventually moved to television, appeared in “Nothing But the Truth” in August 1942.


I’d love to hear from anyone who attended a show by The Valley Players, or was involved in any way in their productions.

Note: the postcards of the Casino Theater are from the Imagine Museum website. These programs for The Valley Players came to me by way of an old family friend (and collectibles & antiques dealer) Gail Watson. My dearest thanks to her.

The University Players of Cape Cod

A couple of months ago back in February of this year, Cape Cod, and New England summer theater, lost a bit of history when a house in Woods Hole, Mass. was destroyed in a fire. It was once a rehearsal space for the University Players.

The house, once part of the Whitecrest estate owned by Frances Crane, was used as rehearsal space in the mid 1920s, when Henry Fonda was part of that group.

Other members included future Hollywood actor Kent Smith, stage and screen star Margaret Sullavan, future Life photographer John Swope, and the future Broadway director Joshua Logan. The fledgling professional troupe was named “University Players” because these founding members were all then students at Harvard, Radcliffe, and Princeton.

Other members who in future years ended up on Broadway or in Hollywood were Myron McCormick, Barbara O’Neill, Bartlett Quigley (whose daughter, Jane Alexander accomplished much in films and on stage), character actress Mildred Natwick, Arlene Francis, and Martin Gabel. In the group’s final year, James Stewart joined them, and the gangly Midwesterner who had recently taken an interest in dramatics in college, learned how to be a leading man.

The young actresses were quartered, and chaperoned, in rented house in Quissett. The young actors slept on Charles Leatherbee's grandfather's yacht or on the Charles Crane estate in Woods Hole.

They later moved to an old movie theater near Old Silver Beach and most of the actors were later housed in West Falmouth.

The University Players lasted less then five years, disbanding in the depths of the Depression, though most of its members were more fortunate, going on to varying degrees of fame and fortune. According to Henry Fonda’s autobiography, “Fonda - My Life” (New American Library, NY, 1981), Fonda once remarked of his early exposure to theater in University Players, “The only people who’ve seen me are visitors to Cape Cod.”

In his autobiography, “My Up and Down, In and Out Life” (Delacorte, 1976), future Broadway director Joshua Logan wrote of these summers in West Falmouth, “…inside each member burned hot love not only for the theatre but for their company - yes, and for each other. We actually believed we were better than anyone. We would have challenged any company in the country. It was only this blind, idiot confidence that could make us accept minor parts, odd jobs with the crew, our meager salary of five dollars a week less laundry, our frayed clothing and our repetitious skimpy diet.”

If it was a cloistered existence, it was also ultimately a career-building experience.

Teresa Wright - Summer Stock in Provincetown

Teresa Wright, remembered best perhaps for her performances in the films “The Best Years of Our Lives” (1946), “Shadow of a Doubt” (1943) and “Mrs. Miniver” (1942), began her acting career in New England summer stock at the Wharf Theater in Provincetown, Mass.

A short time later she hit Hollywood by storm giving star Bette Davis a run for her money in “The Little Foxes” (1941). Teresa Wright remains the only person to have been nominated for Oscars for her first three films in a row. Such was her notoriety, that when appearing in the Lux Radio Theater version of “Shadow of Doubt” with William Powell, the show’s host, Cecil B. DeMille asked her to explain her acting experience, what was it that brought her to fame in Hollywood?

She responded, “I played in summer stock. Naturally, that included building scenery, wrestling props, painting backdrops, taking tickets, and sweeping up the theater.”

This radio appearance of January 3, 1944 could have been light years away from this description of her humble beginning as a summer stock ingénue, but it was only about five years.

While in high school in New Jersey, Miss Wright was encouraged in her desire to become an actress by a teacher, who himself worked summers at the Wharf Theater in Provincetown. She was allowed to become a member of the company (through paid tuition) as a student apprentice the summer between her junior and senior years.

According to an article by James Reid in Silver Screen Magazine, published June 1942, Miss Wright recounts, “I had the chance to study acting for eight solid weeks, along with about twenty other young hopefuls. The study consisted mostly of watching the professionals and playing a few bits…I was the youngest, smallest, and shyest of the group, and I would have been completely lost in the shuffle, if it hadn’t been for one lucky circumstance. Several child parts came up, and no one else was small enough to play them, so they gave them to me. That led to my being invited back the next summer to play bigger roles.”

In the fall of 1938, Teresa Wright understudied for Martha Scott and Dorothy McGuire in “Our Town” on Broadway, and took over the role of Emily Webb on tour, largely through the efforts fellow Provincetown actress Doro Merande who was cast as Mrs. Soames in the show and recommended her. Among the cities she played were Boston, Providence, and New Haven. Theater giants Walter Hampden and Eddie Dowling were also in the cast. She was nineteen years old.

The following summer she was back in stock with the Barnstormers Theater at Tamworth, New Hampshire. After that, when she was cast in Broadway’s “Life with Father”, Teresa’s life would change forever and Hollywood claimed her for many years.

It was film mogul Samuel Goldwyn who brought her to Hollywood after seeing her performance on Broadway in “Life with Father.” According to A. Scott Berg’s Goldwyn-A Biography (Alfred A. Knopf, NY 1989), Goldwyn went backstage after the show to meet the then 20-year old Wright.

“‘Miss Wright was seated at her dressing table when I was introduced, and looked for all the world like a little girl experimenting with her mother’s cosmetics,’ Goldwyn would remember. ‘I had discovered in her from the first sight, you might say, an unaffected genuineness and appeal.’ He offered her a contract that night.”

Teresa Wright would later have regrets both about Samuel Goldwyn’s contract and the limitations of a Hollywood career, and in later years she happily returned to the theatre.

The Wharf Theater, where her theatrical career began, had its beginnings when members of a group called the Barnstormers, which had formed in Provincetown the year before, split from that group and established a separate theater company in 1924. They performed as the Wharf Theater on a pier in the west end of town. This West End Wharf Theater was destroyed in 1940 in a winter storm. The West End Racing Club, a non-profit sailing club for children, is now located here.