Masquers History 1965-1974

MASQUERS HISTORY — 1965 to 1974

Comedy, Drama, Music — on and off the stage!

The second decade finds the Masquers happily producing four shows per season: one musical or a melodrama with olios, one drama or suspense/thriller, and two comedies. Reasonably secure that they would be able to renew their lease every 3 years, they scheduled each show to run for 5 weekends with tickets priced at $1.50. Ten years later, each show ran 6 weekends, or 7 by popular demand, and ticket price was now $2.50.


MUSICAL Andrea Moye, Bruce Danska, Estelle Novello Take Me Along (1971)	MELODRAMA Jim Bradeson, Vern Silva Passion or Positively without Passion (1974)

SUSPENSE/THRILLER Thomas Johnson, Jane Mosburg Wait Until Dark (1974)	COMEDY Jerry Larue, Chas. Tisher Visit to a Small Planet (1965)

The shows attracted patrons who wanted to be entertained but not shocked or confronted by gratuitous vulgarity. Masquers comedies were often risque but never obscene. According to the critics, dramas were riveting, musicals sparkled, and "mellerdramas" — well, they were just plain corny.

Resident Director Jo Camp continued as Resident Director, keeping the company’s energy flowing, running a tight ship fiscally and organizationally, and always welcoming newcomers.

Jo Camp, Basil Cherniak
Pleasure of His Company (1966)

She acted in very few plays but when she did she was "a complete delight" as one reviewer said of her performance as the former wife in Pleasure of His Company. As director of 27 of the 40 shows this decade. Jo received solid accolades: "directed with sensitivity and charm," "skillful," "intelligently low-key."

Musical direction was most often in the talented hands of Virginia Cherniak, who also directed four shows this decade and served as Business Manager. She chose pianists Victoria Kellogg, Janice Jones, and Joanne Gabel to provide the accompaniment. One pleased reporter said the piano was so effective that full orchestration was hardly missed.

The first musical Masquers presented at the theater was Tenderloin in 1965, a large cast musical set in the 1890’s. Ticket price increased to $2.00 for their second musical Tovarich, set at the other end of the social spectrum. With lavish costumes, multiple set changes, a large cast and chorus, the Masquers demonstrated that the small size of their stage and narrow backstage area would not prevent them from mounting big productions. Oakland Tribune reviewer Herb Michelson wrote, "I simply can’t get over the effectiveness of this singing ensemble during production numbers. You can shut your eyes and pretend you’re at the Curran, the work is that stylish."

Virginia Cherniak
Tenderloin (1965)

Tovarich (1966)
Tuxedos courtesy of Selix Formal Wear

Resident Stage Manager

While Jo Camp was in charge of what happened onstage, backstage was the domain of Dorth Hadley, who took this position with the Masquers’ very first production. Greatly respected by all cast members, her word was LAW, Jo declared to each fresh cast.

Don’t Drink the Water rehearsal (1970)
Dorth is top left (behind rabble rouser Marie Wedell).

When not on stage, actors were to be quiet and in their designated areas. "Off my stage!" trained wanderers quickly. Her well thought out backstage techniques ensured that the many complicated set and costume changes occurred swiftly and smoothly in a theatre with minimal wing space. Shirley Hickman remembers Dorth as a commanding stage manager who did not allow anyone back stage until just before their entrance, and would even cue entrances with a countdown: "10 . . . 9 . . . 8 . . . 7 . . . 6 . . . 5 . . . 4 . . . 3 . . . 2 . . . 1 . . . Go!" Despite her strict control of all things back stage, Dorth was not adverse to hi-jinx and amazed everyone by playing the Great Pumpkin when members of the group dressed as the Peanuts gang one Halloween.

According to Masquers lore, Dorth’s presence continued to be felt even after her death. Was it time to replace the lights in the auditorium? The vote was decidedly Yes for right in the middle of discussing the topic, the light fixture over where Dorth customarily sat . . . suddenly crashed to the floor! (The replacement for that light was dedicated to Dorth.) When she died suddenly in 1971, the night before the fall show was to open, cast and crew agreed she would want the show to go on and so it did — on schedule. Everybody Loves Opal was both a hit and a highlight of the decade.

Vern Silva, Connie Wheeler, Dick Shore
Everybody Loves Opal (1971)

Guest Directors

Although Jo Camp and Virginia Cherniak enjoyed much success in their directorial capacities, guest directors produced successful shows too. Other actors in the company who were lucky enough to get to try their hand at directing included Ivan Paulsen, Kaye Parisho, Chris Christian, Rhoda Plymack, Scott Campbell, Sue Daily, Jim Bradeson, Daphne Haacker, and Charles Schlaudt. Ivan Paulsen starred in Peter Shaffer’s drama Five Finger Exercise, directed by his loving partner, Kaye Parisho, and was hailed as "splendid" in the role of the affection-starved German tutor.

Theater critics were surprised to learn that Plaza Suite was Rhoda (Plymack) Ellenbogen’s first stint as a director. "Her blocking is excellent, her characters well-etched, and the pacing is ideal." Rhoda credited her New York Jewish background for her special understanding of Neil Simon’s humor. Scott Campbell directed a "fun production" of Ira Wallach’s Absence of a Cello, despite only modest success on Broadway. Critics noted that Masquers more than once achieved success with plays that had a similar history. Ticket price was raised to $2.50 with the show Ten Little Indians, directed by Daphne Haacker. Keith Reagan wrote, "Believe it or not, Agatha Christie’s mystery is so well done here that a [nearby patron] was screaming in alarm on Opening Night."

Betty Magovern, Marty Gerber
Plaza Suite (1973)

Scott Campbell, Stephanie Cherniak, Charles Schlaudt
Redhead (1968)

Kaye Parisho, Ivan Paulsen
The Inspector General (1974)
Director Sue Daily

Press Coverage

Although press coverage for amateur theater seemed to diminish during this decade, the Masquers still enjoyed articles in the major newspapers, thanks to the Publicity Manager and to the relatively few organizations vying for space.

Dorth Hadley, Betty Richardson, Inez Scrivner, Jo Camp visiting the Amador County Museum, 1960’s

Headlined two-inch articles described upcoming try-outs, the opening of shows, and humorous asides, such as the story of Ginger the calico cat who won an audition by not delivering a monologue. Even Masquers social events were covered. When 20 Masquers traveled to the Stanislaus River in Amador County for the annual summer outing, a four-inch article declared. "Masquers Go Picnicking!"

Upon seeing Jo’s "hilarious" production of George Kaufman’s beloved chestnut You Can’t Take It With You, one critic added this endorsement of amateur theater: "Unlike going to the Geary or Curran in San Francisco, one doesn’t have to pay for parking, the ticket takers and ushers are polite and eager to please, there’s good coffee and cookies in the lobby, and one pays much less for a far better seat a lot closer to the action on stage." To augment the major press, small circulation publications such as Keith Reagan Theater News arose devoted to promoting high quality amateur theater.


Virginia Cherniak, Marilyn Willey in You Can’t Take It With You (1972)	Marty Gerber Once More With Feeling (1965)

The Masquers were popular because they loved to do what their audiences loved to see: goofy comedies, glamorous musicals, suspense thrillers, and touching plays. They produced frothy fare, cherished thoughtful drama, riveting plays that explored family relationships, ethical choices, and the challenges of life and death. Press deemed The Highest Tree a "must see" and reported that Ralph Miller did "an outstanding job" in his portrayal of a dying nuclear physicist.

The press may have yearned for edgier plays, but Masquers stayed well within the boundaries of good taste. Jo would never advocate the alteration of a play’s themes or characters in order to be acceptable to the audience and would rather not select a show than to do that. But she did feel that Masquers should protect its patrons from profanity and therefore did remove or make substitutions for strong language. Further, she did not want to hear swearing from her actors whether in or out of character (so of course they teased her..."What did you say?!?" She would ask the actors rehearsing their lines, "Nothing, Jo.")

Cast and Crew

The Masquers enjoyed theatrical, creative, and social camaraderie during production and throughout the year. After a performance, Masquers and friends usually headed over to a nearby restaurant bar, particularly The Point, The Hotel Mac, or the Baltic. With little or no encouragement needed to break into song, Masquers caroused long into the evening. More than once, Bernie Johnson played piano for them way past the 2:00 am closing time. Our own Brown Derby, the Point displayed framed and autographed Masquer head shots above the bar.

Every year Masquers in small or large numbers went on outings together — a bonfire on the beach, a tour of a new winery, a trip to the Sierras, a visit to Carmel. In addition, there were many parties. The Cherniaks and the Wedells were frequent hosts who invited Masquers and friends to their homes for food, drink, singing, and story telling.


John and Marie Wedell Everybody Loves Opal (1971)	Jim Bradeson, Ralph Miller, Chuck Haacker in The Highest Tree (1969)

The Playhouse

In this decade an opportunity arose to purchase the playhouse for well under $30,000. Though several Masquers dreamed of buying the building, the Board was not yet ready to take this step. They continued to channel their energies into putting on shows and did not attempt to raise extra funds, considering themselves a "non-profit" in the truest sense of the word. They maintained and improved the theater on a shoestring, updating the seats, improving the wiring, and decorating the lobby. Lighting the stage was effective and highly praised in spite of the rudimentary equipment. Dimmers were shielded with 2 lb. coffee cans, changing a special light cue might require two hands and a foot, and box office personnel had to be trained in how to replace a blown fuse.

The increasing number of costumes needed more and better storage facilities. Mary Jo Campbell and the other costumers had been using a dank underground basement near the theater until John Wedell arranged to use a vacant room above the Point bar across the street and installed three-tiered shelves for the costumes. Now they needed a ladder in order to hang up a blouse, but this was much better than stooping through a "bend or bump" doorway and not being able to stand up to full height once inside.

Charles Schlaudt, Estelle Novello, Ivan Paulsen, Chuck Haacker
Sunday in New York (1969)
Director Jim Bradeson

Vern Silva, Arlene (Getz) Cozano
The Man Who Came to Dinner (1974)

Masquers were clearly thriving, welcoming newcomers whether experienced or novices, tackling each season’s ambitious slate of shows with energy and enthusiasm, and benefiting from the stability of a long-term lease. Sure, plastic sheeting blew off the leaky Playhouse roof and landed all over town. OK, someone was always opening the stage door just when you took off your pants, and yes, the passing railroad train drowned out your best lines, but hey! everyone was having an absolute whee of a time! Masquers were sustaining their vibrant organization with hard work, devotion, and good cheer. With such spirit, they attracted many talented people to the group. What would the next decade hold?

Photos this decade were by Chet Pike, Greg Peterson, and Chuck Haacker.