ae Semen a kta escapee sere sca aE. ¢ co SOUVENIR PROGRAM Fifth Summer Season 354th Anniversary Celebration 1941 Of THe <5 bagged) of Anslo- American Civilization THE Founding of he Pe as eks Salas gn oe AND THE : Pivth of Virginia SOare FIRST CHILD BORN OF ENGLISH PARENTS IN AMERICA For er— 1H HH SH HI HU HUH HHS HSH HH ce ee eat | | = £ a : CONTENT | | | S | | | | | l I. THE PRODUCTION os } | DREAM OF THE LOST COLONY Raph peas aes Hy” Sg Listes) Laem Te aaa 3 | i [> ) HOST. GomaNay Bmapmns TTS ete Re tae ae A ee | i : Ble NETH IO Sale COLON? = LS AIO LLIN asain ene GOK hae os aa een ae | | [oo NATTONS WILDE PRAISE BOR “THM SLOSTSGOMONY) Sy) 6 too etme 220 | | ] BACK STAGE COMMUNITY OF “THE LOST COLONY” . . - - + + Wl | i i “THE LOST COLONY”: A CHALLENGE . j ; : 3 . ; : : : 138 1 t | PAUL GREEN: DRAMATIST. OF THE NATIVE SCENE . . . . + «+ 15> @ | | ENGLISH FOLK MUSIC IN THE PLAY . . ‘ betcsed, ; See Cees | i i j FORT RALEIGH MUSEUM NOTES. . ae ee i9 | : | ROANOKE ISLAND—THE FIRST ENGLISH COLONIES IN AMERICA REACT ERR. 1 | | WHAT TO SEE AND DO WHILE VISITING HISTORIC ROANOKE fea on. 8s | | | WHO'S WHO IN THE CAST Seat stra here CO hte cl sn 3 EE ee aR REM 2 OBE ne ; Ao CET) RO DU CEM ONROIEA TN soe, AP amet Balint eee ce aot e eof y 7 ole ne ame tw ecg i | On the Covers | PICTORIAL STORY OF “THE LOST COLONY” : ; ‘ ; : ; : SE GSE ae ' | | 2 PROGHAMON AGM OST “COMON Yty Skene teat ee cls yr ae ee re eee | q j FRONT—The celebrated j DRAMATIS PERSONAE OREN CTA SOR ORG piss UREN ames ae 2 Ee Be i baptismal scene of Jir- i “THE LOST COLONY” STAFF. . : J ; : : 2 : ; : : if 38 i i er ace Pees i H. HISTORICAL BACKGROUND ] ! Photo by RorgetPin. Re- ¥ THD FIRST VOYAGE . GRE OSE eae tne aa cue © ae a j | printed by courtesy of Life | THE FIRST ENGLISH GHTLEMEND IN AA |. at | i Magazine. | THE THIRD VOYAGE . ebaetror rs i” Shee US : INSIDE FRONT—The = EXTRACT FROM A LETTER OF GONZALO MENENDEZ DE CANCO : : : 48 | l Waterside Theatre dur- l THE LOST COLONY : 3 ‘ : oe f | ing construction. | THE FIRST ENGLISH SETTLEMENT IN AMERICA (SECOND PART) . «+ 51 | | pace sneak Oa secre ween i eee z ie whi tte = A HC. 3 { LOS’ ; IN ° . . 55 s | “Flying Fortress” over | GENERAL INFORMATION d : 58 | ' i Fort Raleigh. | ADVERTISEMENTS . 2°. +s D0 gear OO; 361, 62,430 59 A Photo by Ben Dizon Mac- : MAP OF DARE COUNTY . : 3 i : 3 y : Q ; ; ‘ i 64 : \ | Neill. | | eet ah a ptt tt PUBLISHED BY The Roanoke Island Historical Association, Inc. MANTEO, ROANOKE ISLAND, NORTH CAROLINA ies See — = gg - — ee BN Ra i PAUL GREEN | . Author of “The Lost Colony” Page Twa 354TH ANNIVERSARY CELEBRATION | fi ee Te Lost CoLonr SD ream of Che foost FINALE—MARCH INTO THE WILDERNESS For here once walked the men of dreams, The sons of hope and pain and wonder, Upon their foreheads truth’s bright diadem, The light of the sun in their countenance, And their lips singing a new song— A song for ages yet unborn, For us the children that came after them— “O new and mighty world to be!” They sang, “O land majestic, free, unbounded !” This was the vision, this the fadeless dream— Tread ‘softly, softly now these yellow stricken sands. This was the grail, the living light that leapt— Speak gently, gently on these muted tongueless shores. Now down the trackless hollow years That swallowed them but not their song We send response— “O lusty singer, dreamer, pioneer, Lord of the wilderness, the unafraid, Tamer of darkness, fire and flood, Of the soaring spirit winged aloft On the plumes of agony and death— Hear us, O hear! The dream still lives, Tt lives, it lives, And shall not die!” By eA, Green Colony Page Three i 4 Page Four North Carolina is proud of Paul Green’s masterful pageant, “The Lost Colony,” and the fifth annual production of this moving spectacle will be greeted with increasing interest by our own citizens and by thousands from other sections. Because this is an institution of state-wide significance, the Legis- lature of 1941, with my hearty approval, officially recognized “The Lost Colony” as a valuable con- tribution to our North Carolina life and history. At this time when courage, heroism and sacrifice are so essential, it is good to know that this pag- eant which vividly portrays all of these qualities will again be presented. Undoubtedly and de- servedly this will be the most successful season for a production which is unique in the American field of drama. —-J. M. BrouGHtTon. J. M. BRoUGHTON Governor of North Carolina We do not know the fate of Virginia Dare or the First Colony. We do know, however, that the story of America is largely a record of that a spirit of adventure. . .. These people who landed on your island had courage to do what their countrymen had not done before. Our heritage is the fruition of their brave endeavor. —FRANKLIN DELANO ROOSEVELT. FRANKLIN D. ROOSEVELT President of the United States All Americans, I think, even in this difficult time in the world, must find new courage in the Lost Colony’s great, brave, adventurous story. The spectacle, which Roanoke Islanders and Paul Green together have produced, makes me proud again of North Carolina. Any American, I think, must be stirred and stronger in love of his land for seeing it. —JosepHusS DANIELS. JOSEPHUS DANIELS United States Ambassador to Mexico 354TH ANNIVERSARY CELEBRATION FRANK P. GRAHAM Honorary Chairman, Roanoke Island Historical Association resident, University of North Carolina SAMUEL SELDEN Director of “The Lost Colony” Associate Director, The Carolina Playnakers R. Bruce ETHERIDGE Director N. OC. Department of Conservation and Development THE Lost CoLony ost Colony Leaders D. BRADFORD FEARING President of the Roanoke Island Historical Association and Hax- ecutive Director 354th Anni- versary Celebration LinDsay C., WARREN 2 Comptroller General of the ; United States Pror, FREDERICK H. Koon Advisory Director Founder, The Carolina Playmakers, University of North Carolina Roy L. Davis ALBERT Q. BELL Builder of the Theatre Vice-President, Roanoke Island Historical Association Page Five Being Enacted a Dare is ia irgi iptismal Scene of Vi 26 >a ” The E ye = ° rc) S) ~ RD e PI C7) a Sa te ° cy ) =| 3 S = 3 o ® a C-] en = os} o a Co) = 3 o | a a=} =} < =| =) Page Siz 354TH ANNIVERSARY CELEBRATION di ae il f ¢ ost Colony” as ete ODAY Paul Green’s drama of American democracy The Lost Colony is considered the Na- tion’s foremost attraction and vacation pilgrimage. Yet only four years ago it started out as a local celebration by the natives of Roanoke Island to commemorate the 350th anniversary of the founding of the first English col- onies in the New World and the birth of Virginia Dare—first English child born on American soil. When the sum- mer was over, the Roanoke Island His- torical Association, which sponsored the production, had no idea that The Lost Colony would be repeated except on certain commemorative years. The public, however, decided other- wise. Requests for its repetition were received the following year from both sides of the Atlantic. In response to this general appeal, Zhe Lost Colony was produced again that summer with even greater success than that of the first season. With the close of the new season, thousands of letters poured into the office of the Association, requesting that the drama be presented as a regu- lar summer attraction at Fort Raleigh for those making a pilgrimage to this famous historic spot. THE Lost CoLoNY The exciting chronicle of how this commemorative drama developed from a series of obscure anniversary celebrations during the past sixty years to the Nation’s foremost attraction. Herein is the story of a deter- mined island people who wish to honor the first Eng- lish pioneers on their shores, and to call attention to the historical fact that Roanoke Island is the “Birth- place of the Nation.” The appeal marked a turning point in the production plans of The Lost Colony. Assured that millions of per- sons were interested in the drama and its historic site, the Association decided to produce it summer after summer on a permanent basis. In order to do this, however, the Waterside Theatre which had been hastily built for the duration of a single season had to be improved to resist the peculiar atmospheric con- dition of this area. With funds matched this year by the Works Progress Ad- ministration, the Association’s perma- nent reconstruction of the theatre site is now complete. Celebrations of Roanoke Island— the Birthplace of the Nation—started as far back as 1880, when a group of islanders and colonials of Edenton met for the first time to consider the com- memoration of Roanoke Island as a community festival. Four years later a group formed the Roanoke Colony Memorial Association, and its founders included Rev. R. B. Drane, who was until his death last year historian of the present sponsoring Association; the late Bishop Joseph B. Cheshire; Prof. Edward Graham Daves, a North Caro- linian at Princeton University; and the late S. A. Griffin, of Manteo. John S. Bassett, the noted historian, was the first secretary of the group, The first act of the organization was to acquire the site of the original “Citie of Ralegh” in order to set it aside as the Birthplace of American Civiliza- tion. It was then a farm in a wooded 16-acre tract facing Roanoke Sound. Page Seven PRT OEE Br OL PET EPI Mn A a oe The group later sold the adjacent. prop- erty, and in 1935 deeded the celebrated spot to the North Carolina Historical Commission for adequate restoration and development. In 1896 the Associa- tion erected the Virginia Dare monu- ment which now stands in front of the restored blockhouse. A few of the original group, how- ever, are still active in the annual cele- brations. Each year since 1894, memo- rial services have been held on Virginia Dare’s birthday—August 18—by the islanders and their Edenton neighbors in memory of the heroic struggle of the first colonists to win the American wilderness for Sir Walter Raleigh. The officers of this original group are A. B. Andrews, president; W. D. Pruden, secretary; and Julian Wood and Mrs. W. A. Graham, members of the board. Back in those days inhabitants of the Carolina mainland had to come by” boat to participate in the celebration. It was not until 1930 that bridges started to be constructed and Roanoke Island’s long history of isolation was over. Private interests built the three- ‘mile Wright Memorial Bridge across Currituck Sound, and Dare County erected the bridge from Nags Head to Roanoke Island. Without tolls of any kind, the historic site is now reached by a smooth, paved highway—the Vir- ginia Dare Trail—through the forests and sand dunes beside the surf of the Atlantic. The accessibility of Roanoke Island resulted in plans for a larger celebra- tion, presenting for the first time epi- sodes in the lives of the first colonists. In order to promote the venture, the Roanoke Island Historical Association was organized in 1932 with the late W. O. Saunders, Elizabeth City editor and author, as president. Ambassador Josephus Daniels, Bishop Thomas C. Darst, and Dr, Frank Porter Graham, President of the Greater University of North Carolina, were vice-presidents of the new group. D. B. Fearing, who is now president of the Association and executive director of The Lost Colony, was on the board of directors. Fifty noted Carolinians convened at Raleigh in November, 1931, under the sponsorship of the Association, for the purpose of making plans for a large- scale celebration. At the suggestion of Senator Josiah W. Bailey, the Associa- tion appointed a commission of eleven to form plans for the event in 1934, which marked the 850th anniversary of the discovery of Roanoke Island by Philip Amadas and Arthur Barlowe in the name of the English crown. In the following January, the commission in- corporated itself as the Roanoke Island Historical Association. In 1932 the organization, through the efforts of Senator Bailey and Rep- resentative Lindsay O. Warren, peti- tioned Congress for help in planning the 1934 anniversary celebration. As a result of this action a Congressional U. S. Roanoke Island Colony Commis- sion of senators and representatives was appointed to visit Roanoke Island dur- ing the summer and make plans for the major event. In’ mid-August, the Congressional group, headed by the late Senator Joseph T. Robinson, investi- gated the historic site and fished in the waters surrounding Roanoke Island. The commission, in addition to Sena- tor Robinson, included Senators Harry B. Hawes and George H. Moses, Rep- resentatives Isaac Bachrach, Sol Bloom and Lindsay Warren, along with Con- gressional experts on celebrations. In their report which followed soon after their visit, the Congressmen were so impressed by the wealth of authentic historic material that they approved the co-operation of the Federal govern- ment. They wrote, in part: “|... The first English settlement in America was upon Roanoke Island... from these beginnings English-speak- ing civilization in America had its in- ception. “|... But for the pioneer work of Sir Walter Raleigh and his associates, encouraged by their Queen, Eliza- beth, the final permanent settlement at Jamestown would never have been attempted or effected, and the subse- quent history of America would have been entirely different. Instead of an English-speaking civilization in Amer- ica, we would have had a French or a Spanish civilization. . . .” In order to appropriately celebrate the anniversary, a symbolic restoration of Fort Raleigh was considered nec- essary. Since the cost of the restora- tion was much more than the Associa- tion could guarantee, Congress was asked to help finance it. But as the year of the event approached, the coun- try was at the mercy of the depression. Because of this, the Congressional com- mission was forced to recommend that the national celebration be postponed until 1937, which would mark the 350th anniversary of the birth of Vir- ginia Dare and the establishment of the Lost Colony on Roanoke Island. In spite of this setback, the deter- mined spirit of the community indi- cated that a celebration of some form would take place as planned. They wrote the rough draft of a pageant, based on episodes in the lives of the colonists, and contributed their labor for restoring the Fort. However, the Jivil Works Administration came to their assistance with additional labor President Franklin D. Roosevelt, on his visit to Roanoke Island to see “The Lost Colony,” August 18, 1937 Page Right 854TH ANNIVERSARY CELEBRATION DR. R. B. DRANE Dr. Drane was until his death last year the oldest member of the three organizations whose joint purpose is to preserve the site of the Roanoke Island colonies and to develop it as the Birthplace of the Nation. and supplies. The first buildings com- pleted were the little chapel and the blockhouse, facing the Virginia Dare monument. A pageant was presented for two performances, August 17 and 18, and more than 2,000 visitors from the mainland participated in the com- memorative exercises. Among those coming from the main- land was Paul Green, North Carolina dramatist, who was awarded the Pulit- zer Prize in 1927 for his first full- length work, Jn Abraham’s Bosom. The tragic and heroic tale of the first colo- nists appealed to Green’s poetic imagi- nation so much that when officials of the Association asked him to write a play about the Lost Colonists, the famous dramatist immediately went to work, Prior to this, however, he had been approached by the late W. O. Saunders for the same purpose but cir- cumstances prevented its actual writ- ing. A native of Eastern Carolina, Green as a child was intrigued by the mystery of what happened to the pi- oneer band of settlers. Moved by the sincerity and co-opera- tive spirit of the 1934 celebration, treen conceived his script of The Lost Colony in terms of a community cele- bration—one in which the natives and fisherfolk of Roanoke Island could take an active part. Frederick H. Koch, founder of the Carolina Playmakers at the University of North Carolina, was also called in by the Association to act as advisory director of the pro- duction. Samuel Selden was selected to stage and direct the entire produc- tion, with the assistance of technicians from the Playmakers and the Federal Theatre Project of New York City and North Carolina. In writing the epic of the Lost Colo- nists, Green made music, dance and pantomime an integral part of the drama. The score is based on the carols, hymns and dances by Morley, Tallis, THE Lost CoLONY Byrd, Tye and other Elizabethan com- posers, collected by Green, with new arrangements by Lamar Stringfield, Pulitzer Prize composer, and Adeline McCall. Green wrote new lyrics to the old tunes in keeping with the require- ments of the script. One of the songs is attributed to Anne Boleyn, Henry VIII’s beheaded wife. Samuel Selden, in addition to direct- ing The Lost Colony, designed the stage, with its arrangement of perma- nent juniper-log buildings, tiers and ramparts. The restoration was designed by Frank Stick. Albert Bell assisted with the planning of the stage and the building of the settings. Under Bell’s supervision the theatre was made into a permanent structure in 1939. Charles F. Gillette, of Richmond, advised in landscaping the theatre and the sur- rounding grounds. The seating ca- pacity is now 4,500, or double that of the first year, and every spectator is assured of a seat from which to see and hear the complete show. Since the ini- tial production, a stockade has been built around the entire theatre. While Green was at work on the script the islanders set themselves the task of restoring the remainder of the original “Oitie of Ralegh” behind stout palisades on the site of the first colony. They followed as nearly as possible the rough-hewn juniper-log and thatched reof architecture of pre-colonial Amer- ica. With labor supplied by the Works Progress Administration under the direction of Bell, the complete site was built and there exists at Fort Raleigh today an entire 16th century village, ineluding a blockhouse, chapel, fort, Governor White’s cottage and a num- ber of colonists’ huts. From the inception of the historical celebrations, including The Lost Colony production, the ventures have not been motivated by profit or commercialism. Whatever is taken in at the gate is used to pay salaries and to make neces- sary improvements for a better produc- tion each season. In 1939 the Associa- tion leased 600 acres adjacent to the Fort to be turned over to the public for free parking and trailer space. Camping parties and picnics are wel- comed on the grounds. The Association is primarily interested in developing a memorial park to the rugged pioneers for free use by everyone visiting this famous historic site, In addition to President Fearing of the Roanoke Island Historical Associa- tion, the following officers are now ac- tively engaged in the affairs of the group: Ambassador Daniels, Bishop Darst, A. B. Andrews, Dudley Bagley, and W. D. Pruden, vice-presidents. Dr. Graham, President of the University of North Carolina, is honorary chair- man. Dr. ©. C. Crittenden, who is sec- retary of the North Carolina His- torical Commission, is secretary. M. R. Daniels is recording secretary and CO, 8. Meekins is treasurer. Charter mem- bers of the Association include Dr. A. W. Newsome, Paul Green, Henry L. Stevens, Henry R. Dwire, Dr. F. H. Koch, Roy L. Davis, R. Bruce Ether- idge and I. P. Davis. This year The Lost Colony received the recognition of both the state and federal governments and is being pro- duced with their co-operation. The fed- eral government has designated restored Fort Raleigh as a National Historical Site “in order that it might reach an ever-increasing number of the Ameri- can people.” The North Carolina Legis- lature, recognizing it as a state institu- tion in the 1941 session, underwrote (Continued on page 53) SELECTING THE SITE FOR THE WATERSIDE THEATRE, OCTOBER 6, 1931 (From left to right) Paul Green, Melvin R. Daniels, W. O. Saunders, Professor Koch, Chauncey S. Meekins, Martin Kellogg, Jr., D. Bradford Fearing and Ike P. Davis Page Niue See Seae tena at ate eee q a : UTSTANDING critics, writers and commentators Oe the opening of the fourth season of The Lost Colony with unanimous eritical acclaim. Ann Batchelder, noted staff writer of The Ladies’ Home Journal, wrote that Paul Green had dramatized “one of the most moving and tragic events in all our eventful history. It was incomparably beautiful . . . I write this, wishing that you who haven’t seen this play will go when you can. You won’t 9 forget it for the rest of your life. You will go again . . Burns Mantle, dramatic critic of the New York Daily News and editor of the standard Best Plays of the Year series, wrote: “The Lost Colony is an impressive exhibit in a gorgeous setting ... It is a profitable vacation pil- grimage.” Writing in Variety, hard-hitting Broadway the- atrical magazine, Hobe Morrison said: “The Lost Colony is one of the most impressive shows to be seen anywhere. But more than that, in its unique historical setting it stirs feeling of awe and pride in one’s country.” Robert Coleman, dramatic critic of the New York Daily Mirror, declared that “the most impressive theatre in Amer- ica is the Waterside Theatre” where The Lost Colony is presented. “It is an eloquent tribute to the pioneers who gave their lives that a nation dedicated to liberty might be born . . . Should be seen by every American.” The News- paper P. M., of New York City, called The Lost Colony “senuine Americana.’ Tom LeBrum, writing in the Phila- delphia News, called The Lost Colony “North Carolina’s tribute to American democracy.” FIRST LADY SPEAKS The opening performance of the third summer season of The Lost Colony was greeted by a large audience, including Mrs. Eleanor Roosevelt, who came in a CCC truck with a party of friends; Louis Kronenberger, dramatic critic of the magazine, Time; and John Selby, Associated Press Arts Editor. To quote from the report of the First Lady’s popular column “My Day” which appeared throughout the country: “Hyde Park, Tuesday.—I want to tell you about the drama on Roanoke Island, N. C., and its Lost Colony. We saw the opening performance of the year, and I must say that it made the greatest impression on all of us. Mr. Paul Green, the author, has achieved a remarkable artistic success. . . . I was interested to find that there were cars from almost every state in the Union, which shows that people are be- ginning to know that it is worth seeing, not only because of its historical interest, but because of its intrinsic beauty... . History is interesting to me primarily because of the bear- ing it has upon the present. As we watched the hardships of The Lost Colony, I kept thinking what it had cost to establish this nation. How lonely this little handful of men, women and children were. How infinitely small our difficulties look in comparison with what- they faced in such utter solitude.” Reprinted by permission United Syndicate Service from Mrs. Roose- velt’s column “My Day.” TIME MAGAZINE Writing in the July 10, 1939, issue of Time, Louis Kro- nenberger praised both The Lost Colony and Roanoke Island. To quote part of the review: “Picturesque -is Roanoke Tsland, with its masses of rose-red japonicas and milky- white gardenias, its nut trees, fig trees, seuppernong grapes. Yet with the traditions and island resort possibilities of a Nantucket or Mackinac, for generations Roanoke Island remained obscure, poverty-stricken, almost unpopulated. To- day it has a boom-town look—new stores, cottages, hotels. Page Ten a A avis Si Nation-wide Praise for "The Lost Colony” “Real cause of the boom was the 350th anniversary of Virginia Dare’s birthday on August 18, 1937. For this North Carolina’s No. 1 Playwright Paul Green (In Abra- ham’s Bosom, The House of Connelly) wrote a historical play about Roanoke called The Lost Colony. President Roosevelt and 70,000 others visited Roanoke Island that year. “By this summer Roanoke Island was a hustling resort. The sweeping open-air amphitheatre has been enlarged to seat 4,000 people. The Lost Colony opened last week with a cast made up of Broadway actors, Federal Theatre people, CCC Camp youngsters and natives who perform for the fun of it, and Eleanor Roosevelt arrived to see it in a CCC truck. “An elaborate spectacle .. . Paul Green wrote no glib an- niversary pageant. His scenes range from the humorous to the heroic. With great sincerity he infused into the dreams of his lost colonists his own living dream of democracy. And by using lovely and moving old Elizabethan ballads and hymns he gave The Lost Colony a lyrie quality that words could not have achieved.” THE ASSOCIATED PRESS The same season Associated Press Arts Editor John Selby wrote in part: “To Paul Green and his associates, the whole Roanoke Island venture has become a broad can- vas for theatrical experiment. This has been done along the most independent lines, and with no regard for what Broadway and the Shuberts would have done under similar circumstances, . . . “They shy from producing a ‘pageant,’ just as many audiences refuse to watch them. But in The Lost Colony, there are scenes in which masses of people on the wide stage make the effects... . An opera could be written on the Virginia Dare story, but the superb music of the West- minster Choir and an organ woven subtly into the story serves far better... . “All the so-called modern staging systems are used. A per- manent set behind movable flats and props and two side plat- forms are used alternately. By clever lighting, the eleven scenes move along without a second’s wait. ... The produc- tion pleased the First Lady, Mrs. Eleanor Roosevelt, who arrived last night sitting in the back of a CCC truck with a large party. It probably will please equally the 100,000 ex- pected to see it before the season closes. ... Paul -Green’s major dramatic experiment. .. .” FIRST YEAR REVIEW Brooks Atkinson, dramatic critic of the New York Times, was the only Broadway writer to review the original pro- duction. Writing in the Times for August 15, 1937, he said in part: “A community celebration . .. in a reverent mood ... T’he Lost Colony has made an extraordinarily versatile use of spectacle, sound, pantomime and cadenced speech. ... The dances translate the freshness and wild- ness of the New World more eloquently than words or scenery could. “The glory of the ancient English hymns, carols and ballads, sung to an organ accompaniment, pulls the lost colonists into the great stream of human nobility... . The Lost Colony is a simply stated idealization of the adven- turous impulse that founded this nation in the restless image of Shakespeare’s England. Paul Green has written history with a compassion that turns his characters into unconscious symbols of a brave new world. . . .” 354TH ANNIVERSARY CELEBRATION SS THE MILKMAIDS DANCE AROUND SIR WALTER RALEIGH aT His GARDEN Party The Back Stage Community of Dye Joost Colony By SAMUEL SELDEN, Director At precisely 8:15, Robert Carroll, stage manager of The Lost Colony, steps over to his prompt desk behind the log stockade at the right entrance to the stage and whirls the crank of his inter-station telephone. Up in the control cabin, at the rear of the amphitheatre, Tommy McIntosh re- moves the receiver from the hook. “Ready? Mr. Carroll inquires. Tommy consults Miss Westcott of the usher’s staff. “Audience all in,” he replies. “Go ahead!” Shielding his flashlight behind the logs, Car- roll waves a signal across the dark- ness to Jimmy Hart, the organist. The overture begins. SAMUEL SELDEN The first note of music is the sign for intense activity in the back-stage community. Helen Bailey, Mr. Carroll’s as- sistant, and Bernard Parker and Pat Dunnagan, the call boys, speed down the long corridors between the dressing rooms ¢alling “Places!” Mr. Buckler walks up his sandy little path behind the bushes to the Historian’s desk; Bed- ford Thurman comes into the wings in preparation for the Prologue; and the actors playing the Indian chiefs, dancers THe Losr CoLOoNY and village folk, and the English explorers with their soldier escorts, move swiftly and quietly into the shadows, ready for the pantomime. Mr. Dorsett’s scenery crew and Mr, Preston’s property men take their stations. The house lights fade, the spots come up on the chorus stalls, and the singers file in. Then the overture comes to a Close and the play begins. Back in the dressing rooms, Old Tom, and the Queen and her court are speeding their dressing and make-up be- cause the scenes move swiftly, and soon it will be their turn to appear. Similar activity is going on in all quarters of the back-stage village. Players and technicians are moving everywhere—in and out of doorways, down the corridors and along the wide walkway behind the stage. All of this bustling about seems quite confusing to the visitor from outside (he is admitted only by special pass!), but it is really very carefully organized. Behind this period of more-intense activity there is a long preparation. Life in Mr. Carroll’s community begins before sundown. The first body of actors arrives at 7:00 o’clock, and from then on to show time the others come at half-hour intervals. They must be checked, and arrangements must be made for the Page Eleven LT a understudy replacement of:absent members, the refitting of costumes, and many other details. While Mr. Carroll and his assistants are looking after the players, Wilbur Dor- sett?s crew is setting up the scenery on the hundred-foot stage. The chapel and rear stockade are covered, and the sixteen-foot screens which serve as background for the Queen’s Garden and the Indian Village are put in place and securely braced—because the evening breeze may blow with considerable vigor on an outdoor stage. At the same time, Walter Preston and his men are going carefully over the many “properties” which will be used in the play—throne chairs and Indian idols, blunderbusses and prayer books, and hundreds of other objects. Now Johnny Walker, Tommy McIntosh and FenleySpear are testing the angle and in- tensity of the many lighting units employed to illuminate the thirteen scenes of The Lost Colony. Down in the cos- tume shop at the right of the stage Mrs. Davis and Mrs. Smart are making emergency repairs on clothes ripped and torn in last night’s fight scenes. Lubin Leggett and his staff are preparing and applying the special Indian body washes and helping the less experienced members of the cast with their make-up. Through all this varied activity passes the patient but keen-eyed Mr. Carroll, checking, co-ordinating, seeing that all is progressing to readiness for the per- formance. Tt is an extensive community over which Mr. Carroll pre- sides. The buildings cover an area equal to a large city block. There are four hundred feet of dressing rooms alone; and besides, there are shops, a storage shed, and a canteen where players and staff members congregate when they are not on duty. The population of the village numbers over two hun- dred and it is composed of every kind of people. There are actors from New York (a few of them), a number of stu- dents and teachers from the state university, and a large group of boys from the neighboring CCC camp. There is Marion Frrz-Srmons Plays Dame Colman Page Twelve Rierra BAILEY Howarp Leader of the Milkmaid Dancers a company of singers (several ef whom are native Caro- linians) from the Westminster Choir College of Princeton, New Jersey. But by far the greatest section of the popu- lation comes from Roanoke Island. Mr. Carroll’s constituents include actors, dancers, singers, and technicians, drawn from every walk of life—a few of them professional, but most of them amateur. Besides the fishermen and housewives of Manteo and Wanchese, the in- habitants of the back-stage village include —or have in- cluded—lawyers, school superintendents, county nurses, gov- ernment farm agents, chiefs of police, newspaper men, play- wrights and puppeteers. In years past the company has had a British music-hall actress, a vaudeville comedian, a big- time acrobat and even a ventriloquist. The ventriloquist was one of the finest actors The Lost Colony has had. All these people rehearse, dress and work together; and after the performance they will gather together at Kieth Fear- ing’s drug store, or at the Beach Club, and play together. And tomorrow afternoon they will be on the beach together. The Lost Colony village in which Mr. Bob Carroll serves as dramatic mayor is one of the liveliest, highly organized, but withal democratic communities in the country. But now the show is going on. The Prologue and the Pantomime are over. The Historian finishes his brief com- ment on the Indians and explorers, and the lights move quickly to the side platform. There, to the accompaniment of drums and chanting and the swaying bodies of brown- skinned youths and maidens, Manteo and Wanchese are bidding farewell to their countrymen before embarking on ‘the long voyage to England. In the darkness on the main stage Wilbur Dorsett, Walter Preston and their assistants are quietly stripping the Indian village and setting up the Queen’s Garden. Over on the right bank, Old Tom and the Landlord are waiting for their cue. Mr. Carroll stands alert at his prompt desk. . . JAMES MALCOLM Hart At the Console of the Hammond Organ 354TH ANNIVERSARY CELEBRATION - THE BuRIAL SCENE ¢ Leost Colony: A Challenge By Freverick H. Kocu, Advisory Director Founder and Director of The Carolina Playmakers For the fifth season now we gather on the yellow sands of Roanoke to commemorate the gallant struggle of our first English colonists in America. This amphitheatre by the sea is the site of their first settle- ment three hundred and fifty- four years ago. Of his “Lost Colony” Sir Walter Raleigh wrote, on the eve of his execution in the,. Tower, “I shall yet live to see it an English nation.” This year, more than ever before, we need to cherish his dream, FREDERICK H, KocH His sure trust is of even greater significance to us today. For he was the embodiment of the struggle of the English people for freedom from tyrant rule. His colonists led the way to a “new English nation”—a sunbright world of youth and a new life. Now the Congress and the President of the United States have authorized the establishment of Fort Raleigh as a national shrine. This historic site of more than two thou- sand acres will be administered by the Department of In- terior through the National Park Service “for the inspira- tion and benefit of the people of the United States,” and Paul Green’s drama of Te Lost Colony will eontinue to be presented each summer, It is altogether fitting that this drama be sponsored co- operatively by both the state and the federal governments. THE Lost CoLONY * Fort Raleigh is now set aside as a national monument for all time. The Legislature of the State has underwritten it to the amount of $10,000 a year, if necessary, “to serve as a year-to-year guarantee of the continued presentation of this historic and patriotic drama.” The Lost Colony has already become a tradition in Ameri- can life and culture. More than three hundred and twenty- five thousand persons from all parts of the country, and be- yond, have witnessed it. Brooks Atkinson in his article in The New York Times a year ago is eternally right in saying that it has become a permanent part of the culture of the people on Roanoke Island. “As long as they live,” he avers, “these people will have a grander notion of our heritage than they had before this reverent drama was written.” But not only the Island folk (whose play it is) will have a better understanding of America, but the tens of thou- sands of people who will comie each summer to witness the play will have a clearer vision of the meaning of their country. i In:thgse stirring days we do well to cherish the creative arts*#the -vision of Sir Walter Raleigh and of our own Thomas Jefferson. We need today to recall Thomas Jeffer- son’s idea of “an aristocracy, not of wealth, but of virtue and of talent... to avail the state of those talents which nature has sown as liberally among the poor asthe rich, but which perish without use, if not sought for and cul- tivated.” When the fury of the present ‘world conflict has abated, creative man will emerge in a new kingdom of humanity. The Lost Colony is a challenge to all of us toward the reali- zation of the dream of Sir Walter Raleigh of the beginnings of a new nation on the yellow sands of Roanoke. _ Page Thirteen 4 4 Ropert CARROLL Stage Manager LAMAR STRINGFIELD Noted Pulitzer Prize Composer, Who Wrote Additional Music for Score Sie neti e ADELINE DENHAM McCALi Who Harmonized the Music for The Lost Colony Songbook HOWARD BAILEY Production Manager THEOS CRONK Musical Director OrA MAk Davis Designed and Executed the Costumes Wirsur DORSETT Technical Supervisor Page Fourteen LusBin LreGe@etre Make-up Director JoHn A. WALKER Director of Lighting 354TH ANNIVERSARY CELEBRATION Mrs. Eleanor Roosevelt photographed with Playwright Paul Green and Producer D. B. Fearing on the stage of the Waterside Theatre. The First Lady is holding a bouquet of native-grown gardenias, presented to her by one of the islanders, Paul Green: Dramatist of the Native Scene AUL GREEN, author of the national success The Lost Col- ony, and the four-star hit, Na- tive Son, currently playing on Broad- way, was born on a farm near Lilling- ton in eastern North Carolina, March 17, 1894. His people were English and Highland Scotch who had settled along the banks of the Cape Fear River in the early eighteenth century. There they cleared their fields, built churches and dams and watermills, cut roads and civilized the wilderness the while they worshipped their God in English and Gaelic. The life that Paul Green grew up to know was much the same as that of his ancestors. On his father’s farm he and his brothers worked the cotton and corn and cut timber shoulder to shoulder with the Negroes. Here his imagination fed on the beauty and loneliness of the wide fields and sky, the ever-changing life of the wooded swamps and hills, and the pathos and humor of the Negroes and the whites like himself. In many a poetic notebook of his early days he tried to set down something of what he felt about it all, but contrived noth- ing better than a cartload or two of doggerel. Finally he saved enough money to attend the State University at Chapel Hill, where he won a prize THE Lost CoLoNy for a one-act play which was produced in the Forest Theatre there. He was a witness at his own play, the first he had ever seen. At the end of his first year he en- listed in the army and served two years, the majority of the time being spent with the American Expedition- ary Forees in Belgium and northern France. In 1919 he returned to college and began writing plays for Prof. Frederick H. Koch and his newly established Carolina Playmakers. After graduation he continued his study of philosophy at Chapel Hill and then at Jornell University. In 1922 he married Elizabeth Atkinson Lay, a member of the Playmaker group, and author of several plays in her own right. They have one son and three daughters. His first volume of one-act plays completed at Cornell was published by Henry Holt and received such favor- able comment that he was encouraged to go on writing plays. However, with few interruptions he has continued his teaching at his alma mater. In 1927 he had his first New York produc- tions, two in one season—I/n Abraham's Bosom and The Field God. For the former he was awarded the Pulitzer Prize for the best American play of that year. In 1928 he received a Gug- genheim Fellowship for study abroad. With his wife and two children he spent a year in Germany and England studying the theatre. While abroad he wrote Potter's Field, later produced in New York under the title Roll Sweet Chariot. On his return he completed The House of Connelly for the newly established Group Theatre. This was the first production of that organiza- tion. New Theatre Forms Green has always been interested in experimenting with new forms. All of his plays, even his one-acters, make use of music and ballad and song, and he feels that in the present liberated American theatre there is great chance for the dramatist to let his imagination loose. Because of the continued indus- trial pattern of the movies, his experi- ence in Hollywood was not the happi- est. He wrote several successful scripts, however, singly and in collaboration— among them being Cabin in the Ootton, State Fair (for Will Rogers), Voltaire (for George Arliss), and Doctor Bull (for Rogers) — but soon returned to teaching at the University of North Carolina and to writing plays. Tread the Green Grass, Shroud My Body Down, and a number of one-acters were completed, along with two novels and Page Fifteen | eae: a re eo a score of short stories. In 1936 he wrote Johnny Johnson for the Group Theatre, with music. by Kurt Weill, and in 1937 found a chance to try without hindrance his theories of music, song, dance and pantomime in the drama. In a huge open-air theatre on Roan- oke Island, North Carolina, Green’s The Lost Colony which he chose to call a symphonic drama (the use of all thea- tre elements “sounding together”) was produced by a company of some hun- dred and fifty people made up of local actors, Federal Theatre actors, mem- bers of the Carolina Playmakers, and a vhorus of Westminster Choir College singers. The play was a success from the first and is being repeated each summer for the thousands who come from all parts of the nation to see it. It tells the romantic story of Sir Walter Raleigh’s ill-fated efforts to colonize the New World, and ends on a strong note of optimism and belief in the ultimate triumph of man over the forces of evil and waste. In such large outdoor productions of communal effort Green sees a challenge and op- portunity for American drama, and is working on a second project for a vast musical drama to be produced high in the mountains of North Carolina with the store of folklore, music, ballad, song and dance as material for the piece. Green’s literary preferences are Aeschylus, Shakespeare, Tolstoi, and Thomas Hardy. In religion he feels that the sacred books of the Hindus and Chinese incorporate more wisdom than any others. His favorite composer The Rt. Rev. Thomas C. Darst has been an officer of the Roanoke Island Historical Association for more than a quarter century. Page Sixteen is Beethoven. He thinks that some day there will be a great’ awakening of music in America as well as of drama and that what is being done now is only pioneer work for the great artists to come. He believes that the inspira- tion for true art ultimately comes from the people and not from the pull and push of any art medium or attendant fads from above. “Only when we have a widespread people’s theatre, for in- stance,” he says, “will we produce the great dramatic geniuses, rising like mountain peaks on the solid base be- neath.” Green’s published volumes are: The Lord’s Will, and Other Plays. (Five one-act plays. Henry Holt & Company, New York, 1925.) Lonesome Road. (Six one-act plays for the Negro theatre. Robert M. McBride, New York, 1926.) The Field God and In Abraham’s Bosom. (fwo full-length plays. Robert M. Mc- Bride. New York, 1927.) Wide Fields. (A volume of stories, Robert M. McBride, New York, 1928.) In the Valley and Other Carolina Plays. (Eleven one-act plays. Samuel French, New York, 1928.) The House of Connelly and Other Plays. (Three full-length plays. Samuel French, New York, 1981.) The Laughing Pioneer. (A novel of the old South. Robert M. McBride, New York, 1932.) Roll Sweet Chariot. (A symphonic drama of the Negro people, with music by Dolphe Martin. Samuel French, New York, 1935.) Shroud My Body Down. (A symphonic folk fantasy, with music by Lamar Stringfield. The Clio Press, University of Iowa, 1935.) This Body the Harth. (A novel of the tenant farmer. Harper and Brothers, New York, 1935.) ITymn to the Rising Sun. (A play of the Southern chaingang. Samuel French, New York. 1936.) ~ Johnny Johnson. (A symphonic drama of modern times, with music by Kurt Weill. Samuel French, New York. 1937.) The Lost Colony. (A symphonic drama from a page of history, with Elizabethan music and special music by Lamar Stringfield. The University of North Carolina Press, Chapel Hill, N. C., 1987.) The Lost Colony Songbook, (Blizabethan ballads, hymns, songs, dances, and spe- cial music from The Lost Colony. Carl Fischer, New York, 1988.) The Enchanted Maze. (The biography of a modern college student in five scenes. Samuel French, New York, 1939.) Out of the South. (The life of a people in dramatic torm. Fifteen selected and re- vised plays—The House of Connelly, The No ’Count Boy, Saturday Night, The Field God, Quare Medicine, The Hot Iron, In Abraham’s Bosom, Unto Such Glory, Supper for the Dead, Pot- ter’s Field, The Man Who Died at Twelve o’Olock, White Dresses, Johnny Johnson, Hymn to the Rising Sun, The Lost Colony. Harper and Brothers, New York, 1939.) Native Son. (A play by Paul Green and Richard Wrignt. Harpers, 1941.) President Fearing and two tiny prospects for the role of Virginia Dare. Jean Basnight, at left, is this summer’s choice. 354TH ANNIVERSARY CELEBRATION The Lost Colony Chorus from the Westminster Choir, Princeton, ——s - a cman New Jersey english Folk Mase in the ge THE musical score for The Lost Colony was compiled and col- lected with additional lyrics by Paul Green from songs, hymns, dances and carols of 16th century England, which comprised the musical background of the heroic pioneers immortalized in this drama. Though most of the com- posers are listed as unknown, some of the music was written by William Byrd, Thomas Tal- lis, Christopher Tye, T. Morley and other writers of the period. The words and music of one of the songs is attributed to Anne Boleyn, who was beheaded by Henry VIIT in 1536. ; Arrangements for the present score were made by Lamar Stringfield, North Carolina Pulitzer Prize composer, and Adeline McCall, of the music department of the University of North Carolina. Special music, including overture and finale, was written by Stringfield from native Indian and old English themes. The complete score with the lyrics is available in a sixty-cent edition, The Lost Colony Songbook, published by Carl Fischer, Inc., of New York City. Many of the English tunes in this score are popular today, providing the music for new and relatively modern lyrics. Modern hymnals offer an abundant store of these old tunes. Since music of this period was closely connected with the church, a large part of the present score was taken directly from the early Anglican liturgy. A great deal of THEOS CRONK Musical Director THE Lost CoLony the score, however, is based on Anglican carols, an English contribution to sacred music dating back to 1400. Music not only played an important part in the church of Elizabethan England, but it was a vital factor in family life. It was the custom to spend the evenings in singing madrigals and carols, around, the fireside, all of which was done without musical accompaniment. Many times a neigh- bor or even a servant was called into the family group to supply a missing voice. In addition to the chants, hymns and carols, there was a wide range of secular tunes. These gave Paul Green an abundance of period music from which to select the airs he incorporated into ‘the background of 7’he Lost Colony. Such tunes as “Green “Sleeves,” “Good Ale,” “The Mermaid,” and “Adam Lay Ybouden” aié characteristic of music in The Lost Colony. ‘6G This marks the third time that Paul Green has written a drama with an integral musical background. The other plays are Tread the Green Grass, for which the score was arranged from native American music by Composer String- field; and Johnny Johnson, the war-time score of which. was written by Kurt Weill in close collaboration with the author. Paul Green as a dramatist is interested in employing the various arts of the theatre—music, dance, pantomime and song. In The Lost Colony he was able to do this more so than ever before, since the story of the pioneers is best told in terms of these various arts. However, music plays a much more important part than the others and for that reason The Lost Colony is often described as a “music-drama.” This form is an ancient one and for various reasons Paul Green is considered one of its foremost exponents in the modern American theatre, Page Seventeen 1 i 5 a ~ ya otncnaioaeaadSS(ORa eens er Eee The@olony Chase Dedicated to the worship of any denomination which requests it, the chapel already has been the scene of scores of marriages. Near this site on August 13, 1587, occurred the first administration of a Protestant sacrament in the New World, the baptism of the friendly Indian, Man- teo. A week later the infant Virginia Dare was christened. The chapel, which epitomizes the religious note in the celebration, is on a knoll slightly apart from the central structures of the restored vil- lage of the Lost Colony. Constructed with primitive tools, it faithfully reproduces in logs the chapels of the period. The walls are peeled juni- per, the roof thatched. Pines, myrtle and dogwood surround. it. Page Eighteen 354TH ANNIVERSARY CELEBRATION Replica of Miniature Sixteenth Century Ships on Display in the Fort Raleigh Museum. Presented to the Museum by Mr. Miles Clark of Elizabeth City, North Carolina. Fort Raleigh Museum Notes By Mrs. Miran P. Meexins, Curator of the Museum The Fort Raleigh Museum is open to visitors free of charge during the 354th anniversary celebration. The exhibits have been arranged by the North Carolina Historical Commission HE aim of the Fort Raleigh Museum is to give a supple- mentary picture of England and America at the time of the series of expeditions which resulted in the famous “Lost Colony” of Roanoke Island. In order to show the various phases of life during this period, we are fortunate in having collected many rare and valuable pictures, documents, books, maps, costumes, coins, songs and Indian artifacts. These are either in original, facsimile or replica. And to tell this fascinating story in its simplest terms, we have arranged the exhibits in logi- cal sequence, beginning with the early English” background down through governor White’s unsuccessful search of 1590. On entering the Museum one will see articles which illustrate various as- pects of life in Elizabethan England, considered by historians the Golden Age of English history. Costumed figurines of a lady and a gentleman, farmer and his wife, soldier, artisan and servant will give some conception of the type of clothes worn by these classes of people at that time. Inspira- tion for early colonization was aroused by such books as Peter d’Anghiera’s Historie of Travayle in the West and the East Indies, Sebastian Munster’s Cosmographiae Universalis, and Rich- ard Hakluyt’s Divers Voyages Touch- ing the Discoveries of America, of THE Lost CoLony which certain reproductions from cer- tain pages are shown. Nearby is an engraving of a portrait of Queen Elizabeth which hangs in the London National Gallery. It is signifi- cant because of the long reign of the “Virgin Queen” which covered a period from 1558-1603. This period marks the passing of the Middle Ages and the birth of the British Empire. Below it is a plaster cast of her Majesty’s great seal. There is also a drawing of Lon- don giving us an idea of how this city looked at the time of Shakespeare. A picture of Philip II of Spain calls to mind the rivalry between England and Spain in their struggle for supremacy of the sea and a foothold in the New Mrs. MILAH P. MEEKINS World. Once a suitor for Elizabeth’s hand, Philip later became her bitter enemy. A small picture of the Spanish Armada which Sir Frances Drake de- feated in 1588 completes the sequence. Others involved in the Roanoke Island settlements are also represented Drake, Sir Walter Raleigh, Sir Hum- phrey Gilbert and Sir Richard Gren- ville. Shown in this connection is a genea- logical chart which gives a clearer view of the relationship between the Roanoke Island colonists and the men who later founded the Jamestown settle- ment in Virginia. Next are the models of ships representative of the three which brought the Lost Colony to the New World. A chart shows a striking contrast of the size of these tiny yes- sels to that of the ocean liners of our day. The Admiral, the largest of the three, weighed only 120 tons, while the Queen Mary, the world’s largest today, weighs 672 times more—or 80,733 tons! One section of the exhibit is devoted entirely to material concerning Sir Walter Raleigh, poet, historian and ad- venturer, who was responsible for the Roanoke Island expeditions. His story is told with various pictures of him, a replica of his birthplace in Devonshire, his coat of arms, a picture of his wife, Elizabeth Throgmorton, a copy of his History of the World (London, 1614), which he wrote while a prisoner in Page Nineteen i J DE Manr eo 1 nae ae = ae “Uncle Jeff’? Hayman, above, venerable care- taker, displays. one of the rocks brought prob- ably as ballast in the colonists’ tiny ships. Geologists declare that § this one is similar to § stones found on the English coast. The rocks, recovered from the sound, have been used as foundations for the restored buildings. At right, the Fort Ra- leigh monument. the Tower of London, pictures of the prison, a copy of his autograph, an original letter which bears the signa- ture of Queen Elizabeth, and a reprint of his Instructions to His Son and Pos- terity. (Copies of the latter are on sale in the Museum. ) A large collection of maps of the Roanoke Island country includes copies of the first known map of the Island, by John White, DeBry’s map, pub- lished in Thomas Hariot’s A Briefe and True Report of the New Found Land of Virginia, 1590; a pictorial relief map based upon one by DeBry; the in- teresting Comberford map, 1657, giv- ing tangible evidence of the first per- manent white settlement in the Albe- This log building in the restored city houses sixteenth centur marle Sound region; a chart, 1907, by John Lawson, historian of Carolina; a part of the well-known Wimble map, 1738; two repre- sentatives of the significant Civil War battle of Roanoke Island, 1862; a map showing the inhabitation of the various Indian tribes in this region; and by way of contrast a high- way map as we know this section today. John White, a member of the Ralph Lane Colony of 1585, was commissioned by Sir Walter Raleigh to de- pict the flora and fauna of the New World. In watercolors he painted a remarkably fine and ac- curate set of pictures, the first known to have been done by an Englishman in America. The exhibit features watercolor re- productions of several of his paintings, represent- ing the Indians, the fish, the flowers, and the trees of Roanoke Island. A val- uable set of photostatic reproductions of the De- Bry engravings from Ha- riot’s Report are also on exhibit in the Museum. John White later became Governor of the tragic Lost Colony, which included his granddaughter, Vir- ginia Dare, first English child born on American soil. A rare and valuable collection of coins, both English and Spanish, is in- cluded in the exhibit. The most unusual is a Mexican silver coin of 1536, which is the first coin struck in the Americas. Others in the collection are several with Queen Elizabeth’s profile, a Saxony dollar of 1583, a copper medal of Sir Francis Drake, a two-pence of Eliza- beth, all in the collection numbering 24 pieces. A reprint of King Edward VI’s Prayer Book, dated 1552, and THE FORT RALEIGH MUSEUM bound in parchment, is one of the new additions to the exhibit this year. The National Park Service, which has designated Fort Raleigh as a na- tional historical site, has contributed an Indian exhibit to the Museum*which will be shown for the first time this summer, An unusual collection of In- dian pipes from Roanoke Island and Jamestown show the evolution of this instrument from the 17th to the 18th centuries, Many arrow heads and sherds from an Indian village site on the northend of Roanoke Island are being loaned by the Service. One of the sherds is of a white texture reminis- cent of the statement regarding Indian pottery in Arthur Barlowe’s narrative, “Their vessals are earthen pots, very large, white and sweet.” The Indian exhibit includes various artifacts as- sembled from the eastern part of North Carolina—stone tools, weapons, an ani- mal tooth ornament, several bone awls or needles, mortars, wampum or shell beads and many other articles. Cooperation for assembling and ar- ranging the exhibits has come from various sources: Dr, OC. C. Crittenden, Secretary of the North Carolina His- torical Commission, Raleigh; Miss Mat- tie Erma Edwards, collector for the North Carolina Hall of History, Ra- leigh; the University of North Caro- lina Library, Chapel Hill; the State Museum, Raleigh; Mrs. Ora Mae Davis, of the Carolina Playmakers, Chapel Hill; Mr. A. B. Andrews, Ra- leigh; Mr. Southgate Jones and Mr. S. M. Credle, both of Durham; Mr. A. D, Capehart, Oxford; Mr. Miles Clark, Elizabeth City; St. Mary’s School and Junior College Library, Raleigh; and the National Park Serv- ice, Washington, D. C. To these and all others who have aided, acknowledg- ment is gratefully made by the Roanoke Island Historical Association. y relics connected with the lives of the colonists, with Sir Walter Raleigh, and with Queen Elizabeth. Rare volumes, paintings, clothes—many exhibited for the first time—help complete the pic- ture of Roanoke Island in the 1580's. Trained guides explain the significance of each item. Page Twenty 854TH ANNIVERSARY CELEBRATION FIRST: ENGLISH COLONIES SITE OF FIRST ENGLISH SETTLEMENTS IN NEW TT] WORLD, 1585-7 BIRTHPLACE 4 PAWN OF VIRGINIA DARE, FIRS SPB CHILD BORN OF ENCLISH PARENTS IN AMERICA, AU- 9 CUST 18. 1587. HIsTORICAL MARKER AT ENTRANCE TO ForT RALEIGH—ENTRANCE TO ForT RALEIGH Roanoke Island THE FIRST ENGLISH COLONIES IN AMERICA Three and a half centuries ago, British power, piety and patriotism planted on Roanoke Island the first English colony in the New World. From this imperial seed-planting of long ago there germinated and grew the greatest empire in the his- tory of the world. The sun never ceases to shine upon its earth-girdling territory, and the waves of every ocean wash its shores. Thrice historic is Roanoke Island, birthplace of British colonization which produced North Carolina, the United States and the British Empire. Catholic Spain and Portugal reaped rich rewards of gold and greatness from their pioneering in world exploration and colonization during the fifteenth and six- teenth centuries. Drake, Hawkins and other bold sea captains of Protestant Eng- land preyed upon the treasure ships of mighty Spain and drew their country’s ‘attention to the richness of America. Brit- ish envy and hatred of Catholic Spain and the desire for an American base of at- tack; the hope of discovering a western water route to the rich Orient; scarcity of much-needed raw materials; the lure of precious metals, commerce, and eco- nomic opportunity; the call of adventure; the love of country; and the vision of a greater Britain—all these combined to in- terest England and Englishmen in estab- lishing permanent settlements in America. No man better understood the value of colonies or did more to win North Amer- ica for England than Walter Raleigh— poet, soldier, statesman, historian, col- onizer, and favorite of Queen Blizabeth. He lavished thought, time and money upon the realization of his dream of a great English nation across the sea. THE Lost CoLtony By A. R. NEwsoME Dr. Newsome, a charter member of the Roanoke Island Historical As- sociation, is head of the History De- partment of the University of North Carolina at Chapel Hill. For the early history of Roanoke Island he has turned to the works of Thomas Hariot, of Captains Amadas and Barlowe, and to the excellent draw- ings by John White, governor of the Lost Colony. In 1584, Raleigh obtained authority from the queen to explore and colonize “remote heathen and barbarous lands, countries and territories not actually pos- sessed of any Christian Prince, nor in- habited by Christian people.’ He hur- riedly fitted out two small vessels under Captains Philip Amadas and Arthur Bar- lowe who sailed from the “west of Eng- land” in April to explore the North American coast and select a site for a colony. A sixty-nine-day voyage by way of the Canaries and the West Indies brought them to the present coast of North Carolina on July 4. Skirting the coast northward a hundred and twenty miles, they entered an inlet, gave thanks to God, landed, and took possession of the land for their sovereign. They traded with the astonished but friendly Indians, soon learned that the region was a long, narrow island, and later crossed the sound to Roanoke Island. Charmed by the sum- mer beauty of the region, they thought the new land a veritable paradise. After two months, they returned to England, taking with them two Indians, Manteo and Wanchese, and reported to Raleigh that the soil was “the most plentiful, sweet, fruitful, and wholesome of all the world” and the Indians were “most gentle, loving, and faithful, void of all guile and treason.” Delighted at the success of his expedition, Raleigh induced Elizabeth to name the new land Virginia in honor of herself, the Virgin Queen; and, further elated by the honor of knighthood con- ferred by the queen, he prepared to plant a permanent settlement in this new-world paradise. On April 9, 1585, a fleet of seven small vessels bore from Plymouth the guest In- dians Manteo and Wanchese and a band of one hundred eight men, among whom’ were Sir Richard Grenville, general of Virginia and governor of the colony, and his deputy, Captain Ralph Lane; Philip Amadas, one of the captains of the expedi- tion of 1584; Thomas Hariot, the scien- tist and historian of the colony; and John White, an artist whose water-color paint- ings of the Indians became famous whem engraved and published in 1590 by Theo- dore DeBry as illustrations in his edi- tion of Hariot’s history. Following the route of the Canaries and West Indies, the fleet anchored at Ocracoke Inlet late in July. After exploring the mainland, the colonists arrived at Hatteras on July 27 and at Roanoke Island soon thereafter. On August 25 Grenville sailed for Eng- land to obtain fresh supplies, leaving Gov- ernor Lane and his heroic colony as the only English bulwark in the New World Page Twenty-one f 5 FEES NOL RAR TN AEN ATR PO 0 2) Me Re: against powerful Spain, relentless Nature and the savage Indians. At the northern end of Roanoke Island, Governor Lane built a stout fort and the “City of Raleigh,’ a village of ‘decent dwelling houses.” He made extensive ex- plorations on the main land in fruitless search for precious metals and stones. With great courage he suppressed two In- dian conspiracies that menaced the exist- ence of the colony, capturing one Indian king and killing another. Despite hard- ships and scarcity of food, only four col- onists died during the winter, Spring brought increased danger of famine and Indian attack. Despairing of the return of Grenville now long overdue, homesick, fearful of massacre and starvation, with no other means of escape from this place of toil, danger, and starvation, the colon- ists embarked for England in June, 1586, aboard the fleet of Sir Francis Drake who had stopped to learn how the colony was faring. Thus, after a precarious existence of less than a year, the first English settle- ment in America was abandoned. Almost immediately after the departure of Lane’s colony, a supply vessel sent by Raleigh reached Roanoke but, finding no settlers, returned to England. Two weeks later, Grenville arrived with three ships; but, after a vain search, he departed for home leaving fifteen men with two years’ provisions on Roanoke Island to hold the land for England. The savages soon re- asserted their control over the island by attacking the band of fifteen men, killing some of them and driving the others away to an unknown fate. Though deeply disappointed, Raleigh set to work to send a second colony. He organized a corporation whose members should share the expenses and profits of the venture. The government of the colony was to be conducted by artist John White, governor, and twelve assistants, among whom was Ananias Dare, whose young wife Eleanor was the daughter of Governor White. On April 26, 1587, three vessels sailed from Portsmouth with ninety-one men, seventeen women and nine children to plant a permanent settle- ment in Virginia—not at inhospitable Roanoke Island but near Chesapeake Bay where navigation was better and the In- dians less hostile. They proceeded by way of the West Indies to Roanoke Island for the purpose of picking up the fifteen men left by Grenville the year before. But, with the excuse that the summer was far spent, Master Simon Ferdinando refused to proceed to the Chesapeake Bay, and compelled the entire colony, against Ra- leigh’s instructions and Governor White’s wishes, to disembark at Roanoke Island late in July. Governor White found the City of Ra- leigh desolate, the fort razed, and no sign of the fifteen men save one skeleton. The houses were repaired and others built. Hostile Indians soon threatened the settle- ment, and Governor White led a party in a surprise night attack upon a band of Indians on the mainland, in the midst of which it was discovered that they were friendly Indians. Late in August, Gov- ernor White was persuaded by the colon- ists to return to England for supplies. Having already about decided to remove inland fifty miles, they promised to write or carve on trees for the returning gov- ernor the name of their new location. If they were in distress, a cross would be carved over the name. Two famous, romantic events occurred at Roanoke Island before White’s de- parture. On August 18, the Indian Man- teo, who had twice visited England and Page Twenty-two vou sienna who had befriended the settlers, was christened Lord of Roanoke and Dasa- monquepeuc—the first recorded Christian service by English Protestants in Amer- ica. On the 18th of August, Eleanor Dare, daughter of Governor White and wife of Ananias Dare, gave birth to a daughter, who on the following Sunday was chris- tened Virginia Dare—the first child born of English parents in the New World. On August 27, when this baby was nine days old, her grandfather departed for Hngland to obtain necessary supplies. rovernor White found England astir over a grave Spanish threat to its exist- ence as an independent nation. Every ship was needed for defense against the Spanish Armada, and none was allowed to leave England. Two small relief ves- sels, for whose departure Raleigh secured special permission, were driven back by Spanish war vessels. The Spanish Armada was defeated in 1588, but England con- tinued at war with Spain. Meanwhile Raleigh sold his interest in the Virginia venture and turned his chief attention to South America. Not until the spring of 1590, and then only with difficulty, was Governor White able to leave for Virginia aboard a trading expedition bound for the West Indies. After an absence of nearly three years, Governor White approached Roanoke Island with deep anxiety over his colony and his daughter and granddaughter. He and the sailors fired cannon and sounded a trumpet to announce their arrival. They landed. They saw the letters C R O carved om a tree near the shore. They hurried on to the City of Raleigh. Before them lay a scene of desolation. The houses had been torn down. Carved on a tree or post of the palisaded fort, five feet from the ground, was the word CROATOAN, with- out any cross or sign of distress. Perhaps the colonists had moved to Croatan, a nearby sandbank inhabited by friendly In- dians. A severe storm endangered the vessels and prevented a visit to Croatan. The captain departed for the West In- dies for supplies, promising to return the ee following year. But Governor White was compelled to return to England without making another effort to locate the colo- nists. Later expeditions from England and Jamestown searched in vain. For many years there were various Indian rumors and reports of white settlers on the sandbanks and on the mainland. Were the colonists massacred by the Indians? Were they destroyed by a Spanish expedi- tion? Did they intermarry with the In- dians and transmit their blood to succeed- ing generations? Perhaps they had left the fort to depart for Croatan and were attacked at the water’s edge while someone was carving a parting “CRO- [ATOAN]” on the tree; and perhaps the survivors scattered, some to the sandbanks and some to the mainland. But no one knows the fate of Virginia Dare and John White’s “Lost Colony.” It has remained an intriguing mystery, a romantic theme of song and story. The loss of £40,000 im the Virginia ven- tures and his imprisonment in 1603 pre- vented Raleigh from making a third at- tempt to establish a permanent English colony in Virginia. Nor did he ever set foot in Virginia. But some of his asso- ciates in the John White colony of 1587 were subscribers to the London Company which planted the first permanent Eng- lish settlement in America at Jamestown in 1607; and a half century later the first permanent settlers of what is now North Carolina came from the James River set- tlements in Virginia. Sir Walter Raleigh is thus vitally con- nected with Roanoke Island, Jamestown, and the beginnings of English America. His vision and exertion stimulated the interest of Englishmen in America and aroused the spirit which thrust English civilization beyond the narrow confines of the British Isles into North America and a vast world empire. Roanoke Island, site of the first English colony in America, is associated with events and movements of deep significance for English civilization and world history. It is North Carolina’s most historic place, CHRONOLOGY OF PRE-COLONIAL AMERICA 1001—Lief Erickson discovered America, 1492—Columbus discovered America. 1497—John Cabot explored coast of North America for England but at- tempted no settlement. 1518—Balboa discovered the Pacific Ocean. 1521—Ponce DeLeon, in search of the Fountain of Youth, explored Florida for Spain. 1534—Jacques Cartier explored the St. Lawrence for France. 1565—St. Augustine, Florida, settled by the Spaniards. 1583—Sir Humphrey Gilbert explored coast of Newfoundland for Eng- land but attempted no settlement. 1584—Sir Walter Raleigh sent first colony, under command of Philip Amadas and Arthur Barlowe, to select site for a settlement in the New World. Roanoke Island was explored and selected as the site for the settlement. 1585—Expedition under command of Sir Richard Grenville to attempt first permanent settlement at “Fort Raleigh,” Roanoke Island. Left Fort early next year aboard fleet of Sir Francis Drake. —Sir Francis Drake sacked and burned St. Augustine. 1586—Grenville arrived on Roanoke Island with supplies and men for colony but found Fort deserted. Left 15 men on Roanoke Island to hold site. 1587—Third expedition sent by Sir Walter, headed by Governor John White, which became ill-fated Lost Colony. —Aug. 18, birth of Virginia Dare—first English child born in America—on Roanoke Island. 1588—The Spanish Armada destroyed by Sir Francis Drake. 1590—Governor White returned to search for the Lost Colony but dis- covered only the cryptic word “Croatoan” carved on a tree. 1603—Death of Queen Elizabeth. 1607—Captain John Smith’s permanent English settlement at James- town, Virginia. 1620—The Pilgrims landed at Plymouth, Massachusetts. | 854TH ANNIVERSARY CELEBRATION What To See and Do While Visiting Historic ae oe Sslan> HE Lost Colony Land is rich in romanee, legend and adventure. Nature has been. lavish in making it, as the colonists reported to Sir Walter Raleigh more than 350 years ago, “the goodliest land under the cope of heaven.” History, too, has been lavish in making it one of the most concentrated spots of world events in the history of our country. At the northend of Roanoke Island is Fort Raleigh, the Birthplace of the Nation, where the colonists made a de- termined effort to win the wilderness. This is now the site of a restored 16th century village in the rough-hewn, juniper-log and thatched roof tradition of pre-colonial America. Within the stockade the visitor will find a block- house, Governor White’s House, the Virginia Dare Monu- ment, several colonists’ huts and cottages ... also a Museum which houses rare English, Indian and Spanish relics, coins and maps of the period, treasures of art and history, in- cluding reproductions of the famous John White Indian drawings. Here is the mammoth outdoor Waterside Thea- tre, facing Roanoke Sound where Sir Walter Raleigh’s ships were probably moored centuries ago. Across from Roanoke Sound, the visitor witnessing a per- formance of Paul Green’s The Lost Colony “can see the beacon of the Wright Memorial—the Birthplace of Avia- tion. ‘Towering 161 feet above the highest dune at Kill Scene on Roanoke Island THRE Lost CoLony Wright Memorial Devil Hills, it marks the spot where the Wright Brothers made the first sustained flight in Aviation History in 1903. Stones and ships, bearing mysteries of a buried past, wash up frequently on the Outer Banks—the narrow strip of sand that runs unbroken from Virginia, except for Oregon Inlet, all the way to Cape Hatteras, celebrated Graveyard of the Atlantic, which has claimed more than its share of ships and seamen. Here is the site of Diamond Shoals and the tallest lighthouse on the Atlantic, constantly warning seamen of impending danger. ... Also the Cape Hatteras National Seashore Park and the Pea Island Game Reserve. The northend of Roanoke Island has another important site—the station where Fessenden conducted wireless experi- ments which contributed greatly in developing radio and wireless telephone. Toward the center of the island, one will find the marker of the Battle of Roanoke Island, famous A member of the cast sun bathing on the beach Page Twenty-three LETS RENO EET IO LE ELE I MET TE BE, Unexcelled sports fishing. Channel Bass, Blues, Tuna, Amberjack, Tarpon, Dolphins, Striped Bass, Sea Trout, etc. Miles and miles of clean, white sandy beaches... a happy- land playground I NTN Ba AOR a A a i ~ . a = E u for both young and old. in Civil War days... and the remains of General Burn- side’s headquarters for this area was strategic from a naval standpoint. At the southend of the island is Wanchese, quaint fishing village which has inspired many artists to put its fish houses, boats and natives on canvas. Here also the visitor will find several Indian Mounds and Graveyards, relics of a civilization which flourished long before Sir Walter Raleigh dreamed of an empire in the New World. Along the beach at Nag’s Head, in the area of Wright’s Memorial, are remains of wrecks from the fury of the At- lantic. It was here that Blackbeard, the celebrated pirate, made his headquarters. Nag’s Head derives its name from the manner in which Blackbeard and his pirates tricked distressed sailors into shore to plunder their beached car- goes. Visitors who plan to make a trip to Hatteras will see Rodanthe, the little village where Christmas comes Jan- uary 5th! Roanoke Island is a natural panorama of picturesque beauty. ... Topping the list are the golden, mountainous sand dunes of Dare, mysterious, silent, ever-changing with the wind... Ancient gnarled oaks with hanging moss, wind- molded yaupon trees, sweet-scented pines, fragrant wild gar- denias, honeysuckle and magnolias . . . Mother Vineyard, about a half mile south of Fort Raleigh, is believed to be the oldest cultivated scuppernong grapevine in America. The celebrated vineyard, covering nearly an acre, is men- tioned in early reports of the colonists who selected the site A popular player dons a Gardenia Bathing Suit for a settlement. Back in 1584, Captain Barlow wrote, “Roanoke Island is full of grapes ... the very beating of the sea overflows with them.” The waters in and around Roanoke Island are a paradise for sport fishermen, sailors and bathers. ‘The deep-sea is plentiful in flounder, amberjack, tuna and dolphin, with blues, channel bass or drum, kingfish, sheepshead, and a host of perch in myriad lakes, inlets and sounds. . . . Restful sailing in the quiet waters of Roanoke Sound and exciting motorboat excursions to sites along inland routes . . . Dane- ing casinos by the sea . . . Moonlight swimming in a temperate, invigorating climate . . . Miles of virgin surf along the glorious Atlantic with mountainous sand dunes for an enchanting backdrop ... For the youngsters there are the quiet, warm waters of Roanoke Sound in which to swim and sail... Roanoke Island is a magic island empire of recreation, beauty and historic shrines, Several Experienced Guides Furnished Gratis by "the Roanoke Island Historical Association to Direct Visitors to Sites Along Historic Roanoke Island. For further information and literature, write Dare County Chamber of Commerce Manteo, Roanoke Island, North Carolina HisToric HATTERAS LIGHTHOUSE Page Twenty-four Two CHORUS MEMBERS IN THE SURF 3547H ANNIVERSARY CELEBRATION Old: Tom (Donald. Somers) and his lady love, ‘‘Agona’’ (Helen Dortch) Who's Whe ROBERT BOWERS (John Borden) returns to The Lost Colony following a successful season with the Cleveland Play- house and as assistant to Earl Wynn in the production and direct- ing of a series of Carolina Playmakers radio plays broadcast over the Mutual coast-to-coast Network this spring. He did the latter while on a Rockefeller Fellowship in the Radio Division of the Playmakers at Chapel Hill. This marks Bowers’ third summer in the role of John Bordem though he has also played Governor White and Sir Walter Raleigh. Two seasons ago, Bowers was in the Broadway company of the Pulitzer. Prize comedy, You Can't Take It With You. At the University of North Carolina, he was actively engaged in the Carolina Playmakers. During the summer of 1934, he played a number of Shakespearean roles for the Thomas Wood Stevens Repertory Theatre at the San Diego Exposition in a replica of the old Globe Theatre. HENRY BUCKLER (J/istorian) was a young police reporter on the Washington, D. C., Times in 1896 when he got the call of the stage. He left his typewriter one night without telling his city editor or even collecting his last week’s pay, fearing that he might be ridiculed by the old scribes for becoming an actor. He made his debut with a stock company in Lexington, Virginia, the fall of that year in The Wages of Sin. During his 45 years in the theatre, he has played more than 500 parts and has been associated with Douglas Fairbanks, Sr., Frederick Warde, Robert Mantel, Alice Brady, the Charles Coburns and many others. He was,featured during the first three summers of the Mohawk Drama Festival at Schenectady, N. Y. With Robert Mantell and Ben Greet, he has played many years of Shakespeare. In the early days of radio, Buckler was among the first actors to perform in broadcast versions of Shakes- peare over Columbia and National Broadcasting Company. This is his third season as the Historian in The Lost Colony. Until returning to Manteo, Buckler was playing in the Chicago com- pany of the hit comedy Arsenic and,Old Lace. Through the courtesy of Howard Lindsay and Rus i Grgnse, hs was released in order to join The Lost Colony forces this 8, KATHARINE CALE, (leanor Dare), woke sympathetic por- trayal of the First English Mother in America is well known throughout the country, is playing this powerful and spirited role for the fifth season. Born in British South Africa, Miss Calé was brought to the United States as a child. While a youngster in the middle west, she appeared in her first play— Robert. Mantell’s production of King Lear. During the next two seasons of the celebrated Shakespearean actor’s offerings, she played in Julius Caesar, The Merchant of Venice and Hamlet. Five years ago, she was in Max Reinmhardt’s Hollywood pro- ,THE Losr CoLony « Uppowoe, the medicine man (Fred Howard) tells Wanchese (Donald Mason) of the death of his brother, Wingina. in the Cast duction of Midsummer Night’s Dream. More recently she ap- peared with Philip Merivale in Othello and Leslie Howard in Hamlet, both on Broadway. Her experience in Shakespearean drama contributes a great deal to her interpretation of a 16th century English lady. During the past three years, Miss Calé has beem interviewed as Pleanor Dare over the coast-to-coast net- works of the Columbia Broadcasting Company, Mutual, and the Red and Blue Networks of the National Broadcasting Company. J. PAUL CHOPLIN (George Howe and Arthur Barlowe) re- placed Charles Overman, who has played the role of Chief Manteo for the past four years, as Dare County Farm Agent early this year when Overman was called to carry on his work in Chowan County. Farm Agent Choplin, who is a native of Winston-Salem, comes to Manteo with some theatrical experience with the St. Petersburg, Florida, Little Theatre. While doing poultry and dairy service work there after his graduation from the North Carolina State College of Agriculture, of Raleigh, he spent many of his evenings with this semi-professional group, playing a butler in a sophisticated comedy and a drunken bartender in a murder scene. During his senior year at the Winston-Salem High School, Choplin was captain of the wrestling team, and he also held this post while at State College. While at State he was president of the Junior Class of 1930 and of the Student Body the same year. Choplin has done Extension Service work in Kinston and Rockingham, where he was Assistant Farm Agent for five years until coming to Manteo, HELEN DORTCH (Agona) graduated from the University of North Carolina as the youngest co-ed in its history. During her four years at Chapel Hill, she appeared in a number of Caro- lina Playmaker productions opposite Shep Strudwick, one of Carolina’s most successful Broadway performers. Miss Dortch spent the 1929-30 seasom in Jessie Bonstelle’s repertory com- pany. Her first production was The Novice and the Duke, the same play in which Sam Byrd, the Carolina producer-actor, made his professional debut. Returning to Carolina, she became director of dramatics at the Eastern Carolina Teachers College in Greenville. In the following year she taught dramatic arts and directed the Junior Theatre Guild in Southern Pines. Re- cently she was director of the Children’s Theatre in her native JFoldsboro.. This marks Miss Dortch’s third summer as the In- dian squaw, Agona. ALLAN. FRANK (Simon Fernando) was first seen in The Lost Colony last summer in two contrasting roles, that of the First Soldier and Mark Bennett. He returns after appearing in the Theatre Guild’s production of Liberty Jones and in Paul Page Twenty-tive (] poor LE ? ANANIAS DARE FATHER Martin Page Twenty-six Governor JOHN WHITE 854TH ANNIVERSARY CELEBRATION Green’s Cape Fear Valley drama The Highland Call at Kayette- ville. Following some youthful years in a minstrel show, at nineteen he joined the apprentice group of the Group Theatre, playing in Waiting for Lefty and Till the Day I Die. Major achievement om Broadway in the past few years was his Gepetto in the Federal Theatre production of Pinocchio, As a leading performer in the Federal Theatre’s Children’s Theatre, he played in its productions of Revolt of the Beavers, Pierre Patelein and The Emperor's New Clothes. Movie work includes assignments with Frontier Films and the March of Time. TOM FEARING (Ralph Lane) plays two other roles, the Priest and the First Sentinel. A native of Roanoke Island, he has played these roles since the first summer. Graduating from the Manteo High School eight years ago, he went to State Col- lege in Raleigh to become an engineer. He spent the next two years as a lineman and in the Manteo powerhouse. After a year of operating a drug store here, he went to the University of North Carolina where he enrolled for courses in playwriting and dramatics. He appeared in a series of full-length and ex- perimental productions, including Paul Green’s Johnny Johnson and Fred Howard’s Sharecropper. He also wrote a short play, Hbb Tide, of the Manteo fisherfolk. During the fall of 1988, he was assistant director and actor with the Original Floating Theatre which plays the Carolina coastal towns. His interest in acting, however, goes back to the time he was seven. He played in more than fifteen school shows before going to college. In the winter Fearing is on the staff of the Metropolitan Opera House in New York City. JAMES MALCOLM HART (Organist) sits at the console for his third season of The Lost Colony. He returns this summer after receiving a Bachelor of Music degree from the Westmin- ster Choir College and a successful year as organist-director of the South Park Presbyterian Church of Newark, N. J. As a member of the Westminster Choir College, he has made appear- ances with Arturo Toscanini and the NBC Symphony, Leopold Stokowski and the Philadelphia Symphony, John Barbirolli and the New York Philharmonic. A native of Knoxville, Tenn., he has played the organ in several churches and appeared as soloist in several recitals as far west as Oklahoma. In addition to the organ, Hart plays the piano, the Hammond, the Novacord, and the new electric piano sensation, the Solovox. His repertoire includes works of Bach, Mozart, Debussy, Sibelius, Chopin, Beethoven, Franck, Rachmaninoff, and others. FRED HOWARD (Uppowoc) has been featured in the role of the dancing medicine man since the first summer of The Lost Colony. A native of this part of the state he attended the Uni- versity of North Carolina. During his junior year he joined Phoebe Barr’s dance group which included Ora Mae Davis, Foster Fitz-Simons, who made his recital debut with Miriam Winslow last spring, and Walter Terry, dance critic of the New York Herald-Tribune. Following his graduation Howard was awarded a scholarship to join the Ted Shawn Group of Male Dancers at their study camp in Lee, Mass. In the fall of 1936, he became an apprentice member of the Shawn troupe, return ing to Chapel Hill the next year to assist Harry Davis on a Rockefeller Scholarship for graduate work in the theatre, drama and the dance. During the past year, Howard taught dramatics and speech at Sullins College, Bristol, Virginia. He directs all the Indian pantomime scenes of The Lost Colony. MARTIN KELLOGG (Ananias Dare) is, in addition to the Dare County Attorney, Public Relations Counsel for the Roanoke Island Historical Association, which sponsors The Lost .Colony. A native of Sunbury, Gates County, Kellogg went to the Uni- versity of North Carolina in 1925. After receiving an A.B. and an LL.B. from the University in 1931, he came to Manteo to become its county attorney. His theatrical career began five years ago under the direction of Mrs. Mathis and he has played leads and character roles for her Elizabethan Players since its organization. Plays to his credit include Moonshine and Honey- suckles, The Trial of Tim Daley, Agatha, and The Changing Island, a fantasy about Roanoke Island. He played Sherlock Holmes im the Players’ revival of the famous classic in Manteo two years ago. He has also appeared on a tour of these plays in various Dare County towns, Raleigh and Elizabeth City. KATHERINE MORAN (Queen Elizabeth) plays this role for the second season. Three summers ago, Miss Moran played the role of Dame Colman, who brings Virginia Dare into the world. A native of Milledgeville, Georgia, Miss Moran attended Brenau THE Lost CoLony College in Gainesville. Graduating with a degree in Dramatic Art, she went to William and Mary College in Williamsburg, Va., receiving a degree in Fine Arts. Has directed dramatics at Fairfax Hall, Waynesboro, Va., Southerm College, Petersburg, Va., and Arkansas College, Clarksville, Arkansas. Two years ago, Miss Moran was on the staff of Judson College, Marion, Georgia. She has appeared in Shakespeare, Shaw, Wilde, Ibsen, and a number of Carolina folk-plays. Last fall she played the leading role of Flora MacDonald in Paul Green’s Highland Call at Fayetteville. GREGORY MORTON (Sir Walter Raleigh) was a child prodigy on the violin but an arm injury forced him to turn to the stage for a career. A student of Eddy Brown, the famous violinist. Morton appeared in recitals at Town Hall and Car- negie Hall. Five years ago, he started his theatrical career with the Washington Square Players. This was followed with featured roles in the Theatre Union’s productions of Bitterstream and Mother. For his splendid work with this group he received a good part in Max Reinhardt’s religious spectacle The Hternal Road at the Manhattan Opera House. Following his appear- ance in a series of Warner Brothers’ shorts, he joined the One- Act Repertory Theatre and was unanimously praised by the Broadway critics. This is Morton’s second summer as Sir Wal- ter, and he returns from Broadway after a successful appear- ance opposite Sam Jaffe in Erwin Piscator’s provocative produc- tion of King Lear. He also appeared im a radio series, locally and network, and in the road companies of two Broadway hits. CHINF HARRY LEE SMITH (Chief Manteo) was considered the logical successor to Charles Overman, former Dare County Farm Agent, when the latter was sent to Chowan County early this year. A native of Goldsboro, Smith attended the Rosewood High School, graduating in 1929. While there he did a great deal of boxing which he coached for a few years during his stay in Colerain, where he was a Special Officer. While in Colerain, Smith was Assistant Scout Master and he participated in several boxing matches. He was Athletic Director of the CCC Camp in Windsor where he directed many plays and musicals. His theatrical experience includes appearances in several student and faculty plays in Windsor and Colerain. Joining the Manteo police force last fall, Chief Smith coached the Manteo High Boxing Team and took it to the Hasterm Carolina Tournament in Raleigh. In playing the role of Ohief Manteo, Chief Smith nightly sets aside his Sam Brown Belt, holster and hand cuffs for war-paint, feathers, and a bow and arrow, DONALD SOMERS (Old Tom) plays this role of the philo- sophic fool for the third summer. He was unable to play it last summer because of an engagement with the World’s Fair. The most successful of Old Toms to date, Somers is a welcome addi- tion to the cast this season. Born in Berkeley Springs, West Virginia, of a theatrical family, he was playing character roles at eight. While attending the Shenandoah Conservatory of Day- ton, Virginia, eleven years later, Somers was assistant instructor of dramatics. Before going to Broadway in 1929, Somers had appeared in many plays from Shakespeare to Sun Up. Except for some occasional excursions before the footlights, Somers has for the past ten years been one of Sue Hastings’ ace puppeteers. His job was not only to pull the strings of the inanimate creature but to sing and talk a variety of roles. With this renowned group, Somers toured the United States and Canada, doing some pioneer jumps from Quebec to Alberta. Before the Broadway footlights, he has appeared in Galsworthy’s T'he Pigeon, Ibsen’s Ghosts, Midsummer Night's Dream, As You Like It, and other Shakespearean works, MARION FITZ-SIMONS (Dame Colman) returns to The Lost Colony for her third season, though this marks her second sum- mer in this role. For the past four years she has been Assistant Director of the Play Likers of the Woman’s College at Greensboro, teaching play production and speech. Before joining the staff, Mrs. Fitz-Simons was in charge of dramatics at Hood College. During the summers she appeared at Nantucket, playing the leads in several productions, including Sun Up; the Asheville Sum- mer Theatre, where she played the mother in The Silver Chora; and the Raleigh Little Theatre, for which she directed an all- Negro production Heaven Bound. As a member of the Carolina Playmakers she played the leads in several productions, imclud- ing Hay Fever, Iphigenia, and Personal Appearance. Following her graduation she joined an Ibsen Company which toured a group of Southern States. Last summer she was known as Ma- Page Twenty-seven pours i TI Fe rion Tatum but has since married Foster Fitz-Simons, one of America’s foremost younger dancers. BEDFORD THURMAN (Father Martin) returns to The Lost Colony to play this role for the fifth season. Two years he was an assistant in dramatic art at Black Mountain College, Black Mountain, N. ©. Following his second season with The Lost Colony, Thurman went to New York where he appeared with Eva LeGallienne and later joined the staff of Newsweek. A native of Statesville, N. C., he moved to Connecticut as a child, and later moved to Norfolk, Va., where he graduated from the Maury High School. While there he was featured in a number of productions, including Hell Bent Fer Heaven and Sun Up, for the Norfolk Little Theatre. At the University of North Carolina he appeared in a score of Carolina Playmaker productions, the most outstanding being Paul Green’s Johnny Johnson and The Enchanted Maze, Three Cornered Moon and Paths of Glory. During the past year, Thurman had a Fellowship in directing and speech at the Iowa State University in connection with the University Theatre. EARL WYNN (Governor John White) directed a series of Carolina Playmakers’ shows for radio during the past two years, twenty’ ot which were broadcast over the Mutual Net- work coast-to-coast. Born on a farm in Coal Valley, Illinois, Wynn is now working toward his Ph.D. at Northwestern Uni- versity. His theatrical experience has beem mainly concerned with college dramatics, playing such roles as Dr, Stockman in Ibsen’s Hnemy of the People, Sir Peter in School for Scandal, Chris in Anna Christie, Falstaff in Twelfth Night, Mr. Mae in Paul Green’s Cape Fear Valley drama The Highland Call. He is an instructor in voice and diction with the Playmakers at the University of North Carolina. This is his second season with The Lost Colony. During the past year, Wynn has directed the Radio Division of the Carolina Playmakers. He played the Friar in the lavish Forest Theatre production of Romeo and Juliet this spring. Notr.—The majority of the cast of The Lost Colony is com- posed of native islanders and fisherfolk who participate annu- ally in the production as a sort of patriotic Oberammergau at this Birthplace of American Civilization. The colonists and In- dian youths are played by CCC boys from the Virginia Dare Camp. The Milkmaids and the Indian maidens are also natives of Roanoke Island, as well as the colonists’ children and the flower girls taking part in the garden party. Behind the Scenes With a Candid Camera Walter Preston painting a mask for the Indian scenes, A farm boy dons the costume of a colonist. He is one of forty CCC youths in the play. Page Twenty-eight Martin Kellogg, who plays Ananias Dare, ( in the role of Dare County Attorney. of the powerful spotlights. Ora Mae Davis takes time out to give a young actor a bath in the Sound—backstage. Electrician John Walker adjusts one Actors take a ride backstage on the Colonists’ ship. 354TH ANNIVERSARY CELEBRATION vy Aaa atti! P 4 Asahi g "ys! ay hy QUBEN ELIZABETH RECEIVES ELEANOR DARE AT SIR WALTER RALEIGH’S GARDEN PARTY The (Protons Staff THE EXECUTIVE DIRECTOR—State Senator D. B. Fear- ing, President of the Roanoke Island Historical Association, which sponsors T'he Lost Colony as a non-commercial enterprise is also Hxecutive Director of the production, His principal tasks are to finance the production from year to year and to co- ordinate the various activities of the sponsoring group and those of the production staff. Though born in Florence, Alabama, Senator Fearing’s parents were natives of Mlizabeth City, N. C. The family returned to its North Carolina home when he was four years old. At seventeen he moved to Norfolk and was in the feed business there until 1922, when he moved his offices to Manteo. His business career includes a period as realtor and banker. Senator Fearing became actively engaged in the Roan- oke Island celebrations in 19381, as a member of a local group organized to honor the early pioneers. When the Roanoke Island Historical Association was reorganized three years later, he was elected its president. THE DIRECTOR—Samuel Selden has staged and directed The Lost Colony from its beginning in 1937.