While still in its infancy, the work of The Little Country Theater has already more than justified its existence. It has produced many festivals, pageants, and plays and has been the source of inspiration to scores of country communities. One group of young people from various sections of the state, representing five different nationalities, Scotch, Irish, English, Norwegian, and Swede, successfully staged “The Fatal Message,” a one-act comedy by John Kendrick Bangs. Another cast of characters from the country presented “Cherry Tree Farm,” an English comedy, in a most acceptable manner. An illustration to demonstrate that a home talent play is a dynamic force in helping people find themselves was afforded in the production of “The Country Life Minstrels” by an organization of young men coming entirely from the country districts. The story reads like a fairy tale. The club decided to give a minstrel show. At the first rehearsal nobody possessed any talent, except one young man. He could clog. At the second rehearsal, a tenor and a mandolin player were discovered. At the third, several other good voices were found, a quartet and a twelve piece band were organized. When the show was presented, twenty-eight different young men furnished a variety of acts equal to a first class professional company. They all did something and entered into the entertainment with a splendid spirit. “Leonarda,” a play by Björnstjerne Björnson with Norwegian music between acts, made an excellent impression.
A Farm Home Scene in Iceland Thirty Years Ago
Perhaps the most interesting incident that has occurred in connection with the work in this country life laboratory was the staging of a tableau, “A Farm Home Scene in Iceland Thirty Years Ago,” by twenty young men and women of Icelandic descent whose homes are in the country districts of North Dakota. The tableau was very effective. The scene represented an interior sitting room of an Icelandic home. The walls were whitewashed. In the rear of the room was a fireplace. The old grandfather was seated in an armchair near the fireplace reading a story in the Icelandic language. About the room were several young ladies dressed in Icelandic costumes busily engaged in spinning yarn and knitting, a favorite pastime in their home. On a chair at the right was a young man with a violin, playing selections by an Icelandic composer. Through the small windows rays of light representing the midnight sun and the northern lights were thrown. Every detail of their home life was carried out, even to the serving of coffee with lumps of sugar. Just before the curtain fell, twenty young people, all of Icelandic descent, joined in singing the national Icelandic song, which has the same tune as “America.” The effect of the tableau was tremendous. It served as a force in portraying the life of one of the many nationalities represented in the state.
When “The Servant in the House” by Charles Rann Kennedy was presented, it was doubtful in my mind whether a better Manson and Mary ever played the parts. Both the persons who took the characters were country born. Their interpretation was superb, their acting exceptional. In fact, all the characters were well done. Three crowded houses greeted the play.
An alert and aggressive young man from one part of the state who witnessed several productions in the theater one winter was instrumental in staging a home talent play in the empty hayloft of a large barn during the summer months. The stage was made of barn floor planks. The draw curtain was an old, rain-washed binder cover. Ten barn lanterns hung on a piece of fence wire furnished the border lights. Branches of trees were used for a background on the stage. Planks resting on old boxes and saw-horses were made into seats. A Victrola served as an orchestra. About a hundred and fifty people were in attendance at the play. The folks evidently liked the play, for they gave the proceeds to a baseball team.
Scene—“Leonarda” By Björnstjerne Björnson
Every fall harvest festivals are given in different sections of the state, with the sole purpose of showing the splendid dramatic possibilities in the field of agriculture. A feature in one given a few years ago is deserving of special mention. Country people in North Dakota raise wheat. The state is often called the bread basket of the world. A disease called black rust often infests the crop and causes the loss of many bushels. In order to depict the danger of this disease, a pantomime called “The Quarrel Scene between Black Rust and Wheat” was worked out. The character representing Wheat was taken by a beautiful fair-haired girl dressed in yellow, with a miniature sheaf of grain tucked in her belt. The costume worn by Black Rust was coal-colored cambric. The face was made up to symbolize death. Wheat entered and, free from care, moved gracefully around. Black Rust stealthily crept in, pursued and threatened to destroy Wheat. Just about the time Wheat was ready to succumb, Science came to the rescue and drove Black Rust away. Wheat triumphed. Several thousand people saw this wonderful story unfolded in the various places where it was presented. Everybody caught the significance of it at once.