THE STERNDALE BENNETTS:
THE MASQUERS YEARS (1933-1940)

GEORGE MANN

This paper analyses the theatrical activities of Ernest and Belle Sterndale Bennett in and around Toronto prior to Belle's death in 1936 as well as Ernest's continuing accomplishments through 1940. It illustrates the Sterndale Bennetts' major concerns – to achieve quality theatrical performance and to help raise theatrical standards in Canada. To a certain extent, they achieved this end while working with a group of amateurs made up of employees from the T. Eaton Company – a group known as the Masquers Club of Toronto. Through his work with the Masquers and other Ontario theatre societies, Ernest Sterndale Bennett developed into one of Canada's most highly respected directors.

Cet article analyse les activités théâtrales d'Ernest et de Belle Sterndale Bennett qui se sont passées à Toronto et ses alentours avant la mort de Belle à 1936, et qu'Ernest a continué jusqu'à 1940. L'article illustre les grandes lignes de l'entreprise des Sterndale Bennett – d'acquérir l'excellence dans les représentations théâtrales et d'augmenter les standards au théâtre canadien. Jusqu'à un certain point ils ont achevé leur but en travaillant avec un groupe d'amateurs formé d'employés de la compagnie T. Eaton - un groupe connu sous le nom de "Masquers Club of Toronto." Grâce à son travail avec les "Masquers," et avec d'autres sociétés théâtrales d'Ontario, Ernest Sterndale Bennett devint un des metteurs en scène le plus respecté au Canada.

In a previous article, I illustrated how considerable experience in western Canadian amateur theatre prepared the way for Ernest and Belle Sterndale Bennett's acceptance into the Toronto theatrical community (Mann, "The Sterndale Bennetts: The Formative Years (1910-1932)"). The present article will argue that the Sterndale Bennetts quickly proved their directing competence in Toronto and vicinity and that, by the end of the 1930s, Ernest Sterndale Bennett emerged as one of English Canada's foremost directors.

The Sterndale Bennetts took up their positions as director and associate director of the Eaton Dramatic Club on 1 September 1933. At that time, the T. Eaton Co. Limited stores organized numerous recreational activities for their employees. In addition, the company provided excellent facilities for these leisure time activities.¹ In fact, the Toronto stores had organized dramatic activities for their staffs as early as 1920 when the Eaton Players were established.² But interest varied from time to time depending upon available leadership. In the early 1930s, the recreational activities were given a real boost when Frank Rostance (personal secretary to R. Y. Eaton) was named to head up Eatons' recreational services. Rostance had a great interest in the theatre and also displayed excellent acting talent. He was determined to find a truly competent director for the dramatic society. Fortunately, the company was prepared to hire from without and the Sterndale Bennetts came highly recommended —especially by Vincent Massey, who was familiar with Sterndale Bennett's leadership in the Alberta Dramatic League and his contribution to the organization of the Dominion Drama Festival (DDF). The security of an annual stipend of $2600 was appealing to the Sterndale Bennetts in the midst of the depression years and so they gladly accepted. For the first time in their lives, they could now devote their entire energies to the theatre. Sadly, however, their engagements on stage became very rare; they devoted their energies almost exclusively to directing, teaching, and advising. Ernest was also a highly sought-after adjudicator. In fact, the Sterndale Bennetts moved to Toronto the preceding January so that Ernest could take up a contract to adjudicate two of the three Regional Dominion Drama Festivals in Ontario: the Eastern and the Central Ontario Festivals. The former festival, which took place in Convocation Hall, Queen's University (23-25 February) was, in fact, the first Regional Festival of the newly formed Dominion Drama Festival (Globe 25 Feb. 1933: 10). Thirteen competing plays were performed by groups from Kingston, Brockville, Ottawa, and Belleville. Sterndale Bennett recommended that two plays produced by the Ottawa Drama League represent the Eastern Ontario Zone at the forthcoming DDF to be held in Ottawa in late April (Globe 27 Feb. 1933: 1+). From the Central Ontario Festival (held at Hart House Theatre, University of Toronto, 22-25 March), Sterndale Bennett and two co-adjudicators, B.K. Sandwell and Lieutenant-Colonel H. R. Alley, selected three productions for the final competition: one by the Beaches Library Drama League and two offerings by the Hart House Theatre.

Although Ernest Sterndale Bennett was widely recognized as a superb dramatic critic, he had very little previous experience as an official adjudicator. Regardless of this limited adjudicating experience, the DDF festival organizers obviously recognized Sterndale Bennett's theatrical expertise and trusted his critical judgement. Following the 1933 DDF, however, Sterndale Bennett argued that the festival committee should "arrange for an able adjudicator to travel from one region to another, marking all productions upon the same standard" (Saturday Night 29 Apr. 1933: 10). Subsequently, the DDF did, in fact, begin to hire professional theatre practitioners, primarily from Great Britain, to adjudicate regional and final competitions. Thus, Sterndale Bennett virtually talked himself out of a job.

In the interim between the 1933 DDF and the Sterndale Bennetts' taking up employment with the T. Eaton Company, Ernest, in collaboration with Edgar Stone, Director of the Hart House Theatre, organized a summer drama program. The fifty-four students who enrolled in the course were given instruction in theatre history as well as in practical subjects such as costuming, make-up, and stage movement (Dalcroze Eurhythmics) by visiting lecturers J. D. Robins, N.F. Endicott, J.F. MacDonald, Melville Keay, and Madeleine Boss Lasserre.³ In addition, Stone and Sterndale Bennett were responsible for teaching speech, pantomime, acting, set construction, lighting, and production. Assistance was provided in these latter course areas by Edna Thompson, Elaine Wadsen, and Belle Sterndale Bennett. Included among the 1933 crop of students was Robert Christie, who was destined to become one of Canada's foremost actors.⁴ The course came to a conclusion in mid-August with the presentation of a number of short plays, acts from longer plays, scenes, and demonstrations which were spread out over two evenings at the Hart House Theatre (11-12 August 1933).

Although no summer course was offered in 1934, similar programs were organized by Sterndale Bennett in 1935, 1936, and 1937. The 1935 course was conducted in the Old Toronto Conservatory Building on Spadina, whereas the latter two courses were held on Centre Island, Toronto. Final presentations in these later three courses were of original plays written and developed by the students.

After the 1933 Summer School, the Sterndale Bennetts wasted no time in their new positions with the Eaton Dramatic Club. By 10 October they were ready to present their first club offering to the public at the Margaret Eaton Hall. The evening of four one act plays was well received by patrons and critics alike as evidenced by the following comments in the local papers:

Four one-act plays were presented last night by members of the Dramatic Club, under the auspices of the Eaton recreation department [...]. The program marked the opening of the season for the club, which is composed of people in the employ of the T. Eaton Company. As an amateur performance, it was creditable from the viewpoint of the fine type of material chosen and the merit of the young people's performance. A capacity audience gave evidence of its pleasure. ([MacDonald] 13 Oct. 1933: 3)⁵

The Eaton Dramatic Club [...] offered a varied and very delightful evening's entertainment [...]. The settings were very attractive, though done almost entirely by simple curtain arrangements. (Mason 13 Oct. 1933: 10)

Sincere Effort, Talent Displayed by Eaton Group Actors. The pieces were all presented in the good tone one would expect of Sterndale Bennett direction. (McCarthy 13 Oct. 1933: 4)

Within the next seven months, the Sterndale Bennetts produced six additional major presentations [see Appendix A]. In all, over two hundred employees were involved in these productions. Of course, the majority of these performers appeared in the historical pageant play and the sparkling end-of-season springtime revue only.

The program for the initial offering of the club invited all interested people to submit possible names for the Eaton Dramatic Club: "[...]there will be a $5.00 merchandise voucher given to the person suggesting the most acceptable name." Apparently, someone suggested the Toronto Masquers as a sister club to the Winnipeg Masquers, which had distinguished itself at the 1933 DDF by winning the Bessborough Trophy. So the Toronto group asked for, and received permission from, Winnipeg to adopt the name Masquers. Soon, the Toronto club would also bring recognition and considerable respect to the name. Before long, similar clubs in Eaton's stores in Hamilton, Montreal, and Calgary adopted the name as well.

As you can see from the following review excerpts, most of the reviews during the Masquers' first season were positive and quite encouraging. Some weaknesses in the productions were noted; however, these were generally excused because of the relative inexperience of the group and because of its amateur status. Although there were some seasoned performers such as Frank Rostance and Connie Vernon in the Club, it is true that the vast majority of the participants were novice performers.

Four One Acts (10-12 Oct. 1933):

If sometimes, as in the Russian episode, the action produced a laugh when it should have brought seriousness, that was partly because inexperience prevented some of the players from believing that acting must be more than natural, must be pointed up to convince. (McCarthy 13 Oct. 1933: 4)

Goose Hangs High (7-9 Nov. 1933):

There is in their works a cohesion which speaks well for the calibre of the individual players and the soundness of their direction. ([MacDonald] 8 Nov. 1933: 14)

Aladdin (4-5, 8 Dec. 1933):

They're a clever lot, those Toronto Masquers, and for talent and originality their production of "Aladdin[...]Lamp" surpasses any amateur show seen here for a very long time. ([MacDonald] 9 Dec. 1933: 11)

Children of the Moon (7, 9 Feb. 1934):

Seldom has one seen a production (with the exception of good professional work) in which every member of the cast had got so "inside" his part and seemed so sensitive to the finest feelings hidden within the role. There was unity of tone in the production. (Mail & Empire 10 Feb. 1934: 4)

The stage setting was attractive as were most of the costumes; the action was briskly carried through, with no mechanical slips or hitches, though forgotten lines marred complete effectiveness; and the cast was of average amateur ability with a touch of professional skill in Freda Lloyd's authoritative projection of the unpleasant mother. (Mason 10 Feb. 1934: 5)

Three One Acts (7,9 Mar. 1934):

The settings, as is usual with this group, were outstanding in their fidelity to the scenes. Both in settings and in production, the work of the Masquers improves with every performance. (M.I. Lawrence 17 Mar. 1934: 7)

The Devil Among the Skins (CODF entry 26 March 1934):

[...]the Toronto Masquers gave a really brilliant performance of "The Devil Among the Skins" directed by Mr. and Mrs. Sterndale Bennett. It was a delightful bit of farce-comedy which well earned the applause it received. (Mason 27 Mar. 1934: 5)

Drake (20-21 Apr. 1934):

A wonderfully impressive performance of a tremendously ambitious and difficult play. (Daily Star 28 Apr. 1934: 11)

A Spring Time Revue (17-18 May 1934)

[...]a performance that had no dull moments. (Mason 19 May 1934: 12)

By 1935-36, the Masquers' regular season became routinized into four major productions only, including an original, high spirited year-end review.

Besides this regular season of productions, the Masquers also scheduled occasional in-house presentations where club members were encouraged to perform for each other. For example, on Monday 20 November 1933 a club night was held in which three one-act plays were staged in the Margaret Eaton Hall; one participant in the evening's offerings was Olive Williams, who soon developed into one of the club's most notable performers.

For a number of years, the club also took on the responsibility of preparing and presenting the occasional devotional program for the Fireside Club sponsored by the Eaton Young Men's Club, but open to all employees of the T. Eaton Company and their friends. The meetings were held at the Eaton Club Rooms (415 Yonge Street) on Sunday evenings at 9:00 p.m. The program usually consisted of hymns, scripture readings, prayers, and vocal and instrumental solos and ensembles. It was not uncommon for E. G. Sterndale Bennett to address the assemblage with a presentation such as "Religion and Drama." With the passing years, the club also ventured out into the community in order to perform for various churches, arts groups, and patients in hospitals, sanitariums, and the like. On such occasions, two hour variety shows were not uncommon. About one of these programs, an observer remarked:

In between acts, Mr. E. G. Sterndale Bennett (m.c.) proved himself quite a weaver of yarns. The telling of his funny stories left nothing to be desired and we'll bet that he's a highly valued "after dinner speaker"[...]The same gentleman gave an interpretation of a political speaker addressing his constituents on "The Empire"[...]Take it from us, he was a wow!⁶

During the six year period of the Masquers' regular theatrical activities, performance standards improved with experience as did the quality of the play selection. Accordingly, the professional reviewers began to expect more from the group, and generally the club responded well to this challenge. On the few occasions when this increased performance standard was not achieved, critics like Nancy Pyper voiced their disappointment as follows: "Judged by his [Sterndale Bennett's] own standard, the performance of ‘The Frightened Lady'[...]was slightly disappointing"(Saturday Night 20 Nov. 1937: 6). Play selection was rarely brought into question; however, adjudicator Allan Wade was critical of both plays presented by the Masquers at the 1936 Ontario Regional Drama Festival. "The adjudicator questioned the importance of the piece [Calling the Tune][...]but acknowledged its entertainment value and the finished work of the actors" (McCarthy 24 Mar. 1936: 3). With regard to The 300^th Performance, Wade commented in his adjudication, "I think the director is to be highly congratulated on attempting such a very difficult piece of work, and in having a company to do it well. But still, I can't help saying that I feel it was a bit of a waste of time, and there is not enough in it to make it worthwhile. I thought this a preposterous play[...]."⁷ The Globe's critic, Lawrence Mason, questioned the choice of They Refuse to be Resurrected: "Mr. and Mrs. Sterndale Bennett gave it as good a production as it is ever likely to receive, but it misfired, as usual nevertheless" (27 Mar. 1935: 12).

Beyond these few negative comments, reviewers and critics were generally enthusiastic about the Masquers' work. For example: "In pace, timing, precision, and the sure handling of comic effects, this presentation is entitled to high rank among local amateur efforts[...]careful directing was everywhere apparent" [The Middle Watch] (Mason 8 Nov. 1934: 2); "Cleverly directed and acted" [And So To Bed] (Mason 1 Apr. 1935: 12); "As is customary with this well-coached group, everything went off with promptness, hitchless smoothness and precision" [Three One Acts] (Mason 11 March 1936: 12 ); "Toronto Masquers Triumph in Clever Original Comedy" [Down the Drain Pipe Darling] (Voaden, qtd. in Mason 14 Oct. 1938: 7). The club was consistently praised for settings, costumes, environment established, understanding of the play, characterization, and ensemble work. Selected comments relating to the technical elements of the Masquers' productions include: "The stage settings [The Silver Cord] were harmoniously chosen and the chiaroscuro effects achieved by those responsible for the lighting very clever indeed" (MacDonald 24 Feb. 1939: 16); " I find the scenery, the lighting, the costumes, of that play [House in the Quiet Glen] extremely good, one of the best we have seen";⁸ "The sets and costumes, [The Guardsmen] designed by Edgar Noffke, were, beyond all question, the most beautiful of the week. Here, in every act, was perfect harmony of colour and detail" (Pyper 9 Apr. 1938: 19). "Settings by Edgar Noffke and R. Knox were handsome[...]." [Down the Drain Pipe Darling] (Voaden, qtd. in Mason 14 Oct. 1938: 7).

It must be pointed out that the Toronto Masquers were primarily identified with Ernest and Belle Sterndale Bennett and the success of the group was decidedly a consequence of their theatrical expertise and their complete commitment to improving the quality of Canadian theatre. The Sterndale Bennetts worked together like a well-oiled machine to achieve these goals. In addition, they understood each other and respected each other. As Nancy Pyper remarked in a 1936 tribute to Belle, "Mr. B. K. Sandwell, commenting on a play produced by her and her husband some time ago, said, in effect: ‘I hope they will not mind my speaking of them as one person'—that statement has stuck in the back of my mind ever since; it seemed, to me, so exactly what they were."⁹

This is not to say that they did not have their individual personalities. Ernest was much more outgoing and assertive. At the same time, he was genial, friendly, soft spoken, and a man of exceptionally good humour—he was good fun—he enjoyed people and people enjoyed him. He was certainly a very well-loved director. Although Belle was more reserved, and in fact, quite proper, she too was dearly loved by all who knew her because she was so very warm and charming.

In directing a play, the Sterndale Bennetts maintained a distinct division of labour. As a former member of the Masquers, Olive [Williams] Cranston pointed out, "Ernest was definitely the boss—you wouldn't dispute that." But he depended upon Belle to work with the actors on lines, scenes, and difficult passages. In this regard, her advice was highly respected.

Participants soon learned that the Sterndale Bennetts lived for their art, and actors as well as backstage personnel were expected to do the same. Rehearsal schedules were planned very carefully as were individual rehearsals. Actors were expected to come to all rehearsals where they were needed and to arrive on time. Cranston commented: "If he [Ernest] called one every night of the week, you went." Excerpts from a letter addressed to cast and crew in the spring of 1938 show that these expectations did not diminish with time:

Arrangements have been made to make use of the Margaret Eaton stage each night next week[...]I am calling, therefore, a full dress rehearsal every night next week, on stage, at 6:30 prompt[...]If we are to give a creditable performance at Hart House, it is necessary that each and every member of the cast and stage crew be on hand for every one of these rehearsals. For the good of the show, I trust you will see your way to co-operate fully. Yours sincerely, E. G. Sterndale Bennett.¹⁰

Regardless of these strict rehearsal requirements, the rehearsal process itself was apparently quite relaxing. According to former Masquers, "E. G. never raised his voice although he might raise his eyebrows." He was basically a gentle man who, while directing, would sit quietly, make notes and "shake his head a lot." "If he did get angry, it would show in his red face or in the vein which stood out on the side of his forehead." But he always treated his colleagues with respect. If he wanted to make a point, he would whisper a thought into his actor's ear. Because of this rather gentle nature, his cultured ways, and his ballet like movements, he was facetiously referred to as "Butch" by friends and colleagues alike. Apparently, he enjoyed that!¹¹

When rehearsals were over, Belle graciously served tea. Her warmth and grace were always apparent even though she suffered from diabetes for most of her adult life.

Because of the Sterndale Bennetts' interest in the festival movement, it was inevitable that the Masquers Club would become involved in The Dominion Drama Festival (DDF). Throughout the six years in which the Masquers operated as an amateur dramatic society, one or two of the plays which were prepared annually were entered into the Central Ontario Region of the Dominion Drama Festival (henceforth referred to as the Central Ontario Drama Festival or CODF) where they were accorded considerable success. During their first season, the club entered The Devil Among the Skins by Ernest Goodwin and The Artist by Anton Chekhov. The former play placed second and was recommended to the final competitions of the DDF. At the DDF finals, adjudicator J. T. Grein commented, "The Devil Among the Skins was a feast of joy and wit and the diction was perfect" (qtd. in Marriott May 1934: 3). In 1935 And So To Bed (Act II) was ranked third at the CODF but was also recommended to the DDF finals. Of this production, the Saturday Night reviewer stated, "The scenic arrangements could not have been bettered: The ‘period furniture' was exquisite (although homemade out of boxes we hear). The acting was as finished as the setting. This whole production had in it an assurance that was of the professional rather than the amateur theatre" (Fyrth 4 May 1935: 4).

The year 1936 was the only year during the Masquers' six-year tenure in which none of the club's entries in the CODF were recommended to the DDF finals. Incidently, the Sterndale Bennetts directed a third play for the 1936 CODF—An Arc of the Circle of Chalk—for the Toronto Public Library Dramatic Club (Mason 28 Mar. 1936: 14). Less than two months later (22 May 1936), Belle died from thrombosis at the age of 45. The Masquers Club members were terribly shaken by her death even though it was not unexpected. Her pupils at the Margaret Eaton School and at Central Technical School, where she had been contracted to teach dramatics, were equally stricken.¹² Belle was truly loved by all who knew her and her absence was felt deeply as is testified in the following by Nancy Pyper:

The people who knew her in and about the theatre will miss her, the people who loved seeing good plays well done will miss the work of a good craftsman, her friends will remember her for a good time to come. There was that in her that will bring her to our minds and our hearts even after time has made us callous and dulled our sensibilities[...]she was one of those whom it was lovely to have known, and whose name will live in the hearts of those fortunate enough to have been her friends. (Saturday Night 30 May 1936: 7)

Although Ernest mourned Belle's passing terribly, he was allowed only a short respite from his professional duties before his summer school responsibilities called for his attention. He also had to plan the Masquers' 1936-37 season as sole director. But neither it nor the subsequent seasons suffered from a drop in commitment on his part. In fact, he took on added responsibilities such as adjudicating. Actually, Ernest had returned to adjudicating with a vengeance in early 1936 when he accepted three assignments to adjudicate at various youth festivals. On 20-21 February he judged six plays presented at the Second Annual Bay of Quinte Drama Festival held at the Bay of Quinte Industrial and Vocational School. Following that (24 April-2 May), he adjudicated the elocution and drama sections at the Peel Musical Festival in Brampton, and almost immediately thereafter, the drama and verse speaking elements of the Northwestern Musical Competition Festival (Fort William and Port Arthur [4-8 May]).

Whenever too many competitors desired to enter a DDF Regional Festival, subregional competitions were organized. Nella Jefferis evaluated these preliminary performances in the Western Ontario Region in 1936; whereas Sterndale Bennett was contracted to adjudicate the nine subregional festivals in that region in 1937. His assignment was to select nine plays from the twenty-five entries. The subsequent regional festival was held in Galt (18- 20 February) and was judged by the regional adjudicator, George de Warfaz.

In 1938 Sterndale Bennett (together with Nella Jefferis) accepted a similar western Ontario subregional assignment. In 1940 he agreed to critique the 3rd Annual Scarborough Drama Festival for high school, church, and youth groups. After that, war service interrupted his various theatrical activities.

In returning to the discussion of Ernest Sterndale Bennett's work with the Masquers, it is noted that only two weeks after completing the subregional adjudications in 1937, he presented three one act plays at the Margaret Eaton Hall. One of these plays, The House in the Quiet Glen by John Coulter, was entered into regional competition and was performed before adjudicator George de Warfaz 26 February 1937. Speaking about Coulter's play and the Masquers' interpretation, de Warfaz said:

It has great charm, it is simple, refreshing. It is a perfect picture of the peasant life at its funniest. I ask you (to the audience) to give with me hearty applause to the author. His dialogue is simply splendid. And E. G. Sterndale Bennett has directed this piece to perfection. There has not been one detail overlooked, not one false direction. The people were absolutely real. The play went like wildfire. (qtd. in Craig 27 Feb. 1937: 7)

And the accolades were just beginning. At the conclusion of the CODF, de Warfaz awarded first place to the Masquers' production. In addition, the playwright, John Coulter, was recognized for writing the best Canadian play in the competition.¹³ The House in the Quiet Glen was Coulter's first play to be produced in Canada; nevertheless, it had been presented previously as a BBC radio production (Anthony 117).

The Masquers duplicated these honours at the DDF finals when they were awarded the Bessborough Trophy (best presentation in the festival) as well as the Sir Barry Jackson Challenge Trophy (best presentation at the Final Festival of a play written by a Canadian) by adjudicator Michel Saint-Denis. Coulter was also awarded one hundred dollars as the author of the best Canadian play presented at any of the Regional Festivals. Hector Charlesworth capped off the praise by stating, "Sterndale Bennett has made such contributions to the gayer side of the Drama Festival in the past, that everyone was delighted when he reached the goal this year" (Saturday Night 15 May 1937: 12+). Unquestionably, Sterndale Bennett was a master of comedy and through his leadership and direction, the Masquers established an extraordinary reputation for their treatment of comedy. It was not uncommon for adjudicators to comment that competitors should look more seriously at producing comedies, much as the Masquers had done.

In 1938, three act plays were allowed into DDF competition, and the Masquers were among the few societies across the country which prepared such an entry—The Guardsman by Ferenc Molnar.¹⁴ As early as April 1933 Sterndale Bennett stated publicly that the DDF should focus on full length plays (Saturday Night 29 Apr. 1933: 10). At the CODF, adjudicator Malcolm Morley ranked The Guardsman second to Steel (Act II) by John Wexley presented by the Theatre of Action. Nevertheless, the Masquers' production was sent on to the DDF finals together with Steel. Sixteen plays (four major productions and twelve one acts or segments of longer plays) were judged by Barrett H. Clark, and he selected The Guardsman as the Best Play in English, exclusive of the Bessborough Trophy winner, which was Hands Across the Sea presented by the Beaux Arts Society of Victoria, BC. In commenting about The Guardsman, the adjudicator said: "‘The Guardsman' was the most difficult play presented at the festival. The production showed a great amount of care and intelligent direction as well as much acting that was brilliant" (qtd. in Ottawa Journal 23 May 1938: 3). Clark also stated that "the one-act play [Hands Across the Sea] was only one percent better than[...]‘The Guardsman'" (qtd. in Evening Telegram 23 May 1938: 25; see also Globe and Mail 23 May 1938: 1+).

The 1939 DDF capped off the pre-World War II dominion festival activities in Canada (the festival was cancelled during the war years and was not re-organized until 1947). The Masquers entered the 1939 CODF with a full length production, The Silver Cord by Sydney Howard, and were again recommended for the DDF finals. Adjudicator George Skillan ranked The Silver Cord second after Dark Orchard by H. Campbell-Duncan presented by the Arts and Letters Club of Toronto. Comments about the Masquers' performance of The Silver Cord at the CODF include: "There was a great deal of satisfactory work in the whole production[...]. The play tonight had great effectiveness in places. In fact, the performances on the whole were very satisfactory" (Skillan, qtd. in Craig 17 Mar. 1939: 4); "In my recollection no amateur quintet has ever done so difficult an acting play with such distinction, except the Toronto Masquers last year in ‘The Guardsman'" (Bridle 17 Mar. 1939: 4). The Silver Cord did not fare as well at the DDF, although it was quite highly praised by the newspaper critics:

The Toronto Masquers [...] repeated their excellent performance of "The Silver Cord," and might have secured a much higher ranking than they did but for the fact that Mr. Littlewood did not like the very heavy shadows employed in the lighting; he praised the acting highly. (Charlesworth 22 Apr. 1939: 8)
The Toronto Masquers did well for themselves with their presentation of "The Silver Cord." Indeed until the winning excellent play [French Without Tears] by the Ottawa Drama League[...]on the last night of the festival, there were some who felt the Toronto presentation stood an excellent chance of taking home some award. (Naish 20 Apr. 1939: 7)

But adjudicator Samuel R. Littlewood had the last say, and even though he felt that The Silver Cord "was, in many ways, the most ambitious effort of the festival," he did not feel that it merited the award (qtd. in Evening Telegram 17 Apr. 1939: 15).

In review, it is obvious that Sterndale Bennett and the Masquers achieved great success in DDF competitions. They represented the CODF at the DDF much more often than any other society. Their nearest rival in this regard was the Arts and Letters Club of Toronto which was selected on three occasions to advance to the DDF.¹⁵ It is also interesting to note that, with the exception of the Ottawa Drama League, the Masquers appeared at far more DDF competitions than any other dramatic society in Canada during the years 1933-39.

Another regular aspect of the Masquers' theatrical season was the end of the year spring revue. These revues were all original compilations of songs, dances, monologues, and humorous variety sketches. The overall direction was in the hands of Sterndale Bennett; however, some routines and specialty numbers were created, directed, and choreographed by other members of the club. These revues were highlights of the amateur theatrical season in Toronto. The following critical comments speak for themselves: "One of the wildest frolics of Toronto's dramatic history"; "A rollicking, clever revue"; "When it comes to snappy variety in song and dance, The Toronto Masquers know how to put on a show."

Although numerous performers contributed to the six revues, and many of them such as Alex Maurice, William Bissell, George Low, Annie Black, Frank Rostance, Harry Cole, and Doug Hawthorne were frequently singled out for praise, the greatest accolades were consistently reserved for Connie Vernon as the comedic star of the shows. Her impersonations of Fanny Brice were particularly appreciated.¹⁶

Going Hollywood, the spring 1939 revue, was the final regular program presented by the Toronto Masquers. Before the 1939-40 season was to open, Canada had declared war on Germany. Sterndale Bennett quickly responded to this development by forming the Masquers into a concert party to entertain the troops. (Similar concert parties were organized by the Winnipeg and Montreal Masquers.)

The Masquers Concert Party was the first Canadian concert party to entertain the troops in training during World War II. Sterndale Bennett produced, emceed, and participated in the performances during the first year. The first concert was held that September in the Salvation Army quarters at the Toronto Exhibition Grounds. Subsequent Toronto concerts in 1939 were planned for the Margaret Eaton Hall (10 November 1939) and at the Exhibition Camp (16, 18 November 1939)(Evening Telegram 8 Nov. 1939: 17). Before the year was over, the concert party was sent on tour to Camp Borden (27 December 1939). Later tours took the group to military bases throughout the country.¹⁷ In the fall of 1940, war service forced Sterndale Bennett to relinquish his association with the group; Frank Rostance assumed the position of director.

During the war years, members of the Toronto Masquers Concert Party travelled over 60,000 miles in Canada (on their own time) and gave freely of their talents at over 280 concerts enjoyed by more than 300,000 patrons. Their programs were described as being quite diversified and rather spontaneous. Many of them were made up on the bus going to the concert. Later, in the summer of 1945, a number of civilian concert parties, including the Toronto Masquers and the Montreal Masquers, were sent on overseas tours. Eighteen members of the Toronto Masquers with two and one-half tons of equipment sailed on 24 June. They returned to Canada 8 December 1945 after touring over 20,000 miles and performing at 115 concerts witnessed by 90,000 very appreciative audience members.¹⁸

Not only was Sterndale Bennett's expertise as an exceptional director shown in his success with the Toronto Masquers, it was clearly demonstrated in the various freelance directing tasks which he took on during this period of time.

As early as 1934, he had assumed the responsibility of directing Hart House Theatre's 117th production, The Piper by Josephine Preston Peabody. This Christmas play was mounted on 26 December 1934 and ran until 5 January 1935. Settings were designed and painted by Pegi Nicol, who also, with the assistance of Stephanie Jarvie, designed and executed the costumes. This show had a cast of 24 speaking parts plus a large chorus of counsellors, villagers, and children.

Although B. K. Sandwell of Saturday Night was not particularly enamoured of the play, he commented: "The weaknesses of the play were largely atoned for at the Hart House Theatre by a very dexterous production under the direction of Mr. Sterndale Bennett." This critic was also very complimentary about Nicol's "charmingly elusive scenery"(5 Jan. 1935: 6).¹⁹ The Star reviewer commented, "The director handles his scenes with great skill, especially the crowds, and more so the children[...]The play is splendidly directed" (Bridle 27 Dec. 1934: 10), while the Globe's critic wrote:

[Members of the audience] were rewarded by witnessing much the best piece of work that our premier Little Theatre has put on this season, the third "guest director," E. G. Sterndale Bennett, giving a thoroughly competent display of craftsmanship[...]. Mr. Bennett dressed and mounted it very handsomely, handled his large and well drilled cast without confusion or distracting incident, and kept things moving briskly forward[...]. (Mason 12 Jan. 1935: 16)

Mason also commented that The Piper was "a production of charm and artistry[... ]. The settings were outstanding works of art[...]. The costumes were vivid and beautiful[...]"(Globe 31 Dec. 1934: 5).

In addition, The Honourable Mr. Justice G. F. McFarland wrote to Sterndale Bennett: "The set is a work of genius and the acting is brilliant. I consider it one of the best productions I have ever seen during the fourteen years I have been a Syndic of the Hart House Theatre."²⁰

During the 1935-36 and 1936-37 seasons, Sterndale Bennett directed two plays for the Toronto Public Library Dramatic Club, both of which were entered in the CODF. The first of these plays, An Arc of The Circle of Chalk, was co-directed by Belle Sterndale Bennett. It was based on a Thirteenth Century Chinese play. Although it did not place in the festival competition, Mason described it as being "Of a most entertaining and rather novel character." Adjudicator Wade described the production as approaching faint burlesque, whereas he thought it should be played very precisely (Globe 28 Mar. 1936: 14). The 1937 entry was White Queen, Red Queen by T.B. Morris. Adjudicator de Warfaz did not feel that this play was suitable for festival competition (McCarthy 25 Feb. 1937: 5).

On 5-8 January 1938, Sterndale Bennett presented Pride and Prejudice by Helen Jerome for The Ottawa Drama League. The Ottawa Journal praised Sterndale Bennett's "realization of the desired atmosphere, and his excellent casting, above all the comedy parts." The company was said to have "skill and conviction worthy of a first-class professional company" (6 Jan. 1938: 20).

During the time in which Sterndale Bennett was associated with the Masquers Concert Party, he also took on some freelance directing. Immediately prior to the Camp Borden Tour, Sterndale Bennett's direction was witnessed in Thornton Wilder's Our Town presented by the Victoria College Drama Society (University of Toronto) on 8 December 1939 at Victoria College. A local review stated: "The sustained intensity of atmosphere in the last act particularly bespeaks E. G. Sterndale Bennett's careful direction and very thorough rehearsal" (Cowan 8 Dec. 1939).

Sterndale Bennett directed a very different production early in the new year—a comic revue, Well of All Things—sponsored by the Central Ontario Drama Festival Committee. Edgar Noffke (the former Masquers' designer) designed the "smart sets." Masquers whose performances drew praise included Frank Rostance, E. G. Sterndale Bennett, Connie Vernon, John Findlater, Alex Maurice, George Low, and Scott Coulthart. Other outstanding performers in the cast of twenty-five were Ivor Lewis, Alfred J. Rostance, Frances Rostance, and Jane Mallett. Augustus Bridle referred to this show as "the smartest, jolliest most varied revue ever born in Toronto" (Star 30 Jan. 1940: 4). Other reviewers commented: "Packed with pep and punch, comedy and character, timely hits and patriotic fervour[...]Well of All Things[...]was a thorough-going success" (Craig 30 Jan. 1940: 4). "At least five stars should accompany the name of Mr. E. G. Sterndale-Bennett [sic][...]for turning out such a fast moving show" (MacDonald 30 Jan. 1940: 31).

Sterndale Bennett closed off this era of his theatrical career by directing the Arts and Letters Club Players in the premier performance of the three-act play, Holy Manhattan, by John Coulter at Hart House in May 1940 (Charlesworth 11 May 1940: 23).²¹

In addition to all of the activities already mentioned, in which Sterndale Bennett was engaged, he was also called upon by various little theatre groups in Ontario to give advice regarding productions which they had in rehearsal. He was more than happy to observe rehearsals and then provide critical comments and suggestions. Through such activity, he soon gained the title, "Play Doctor."

In the fall of 1940 Sterndale Bennett was again called upon to use his engineering and mechanical expertise; therefore, he had to give up his theatrical career temporarily. For the next five years, he was contracted to inspect munitions being manufactured in the USA for use by the British Navy. During this time, he was stationed at various munitions factories in the American Northeast.

Sterndale Bennett interrupted his tour of service for a short period in 1941 in order to return to Toronto to marry a long-time friend, Hilda Church. The wedding was celebrated 5 August 1941. Prior to the wedding, he wrote to Hilda to ask her to make the various legal arrangements. He reminded her that her surname would become "Sterndale Bennett (a double name without a hyphen)." Following the wedding and a short reunion with the Masquers Concert Party, Sterndale Bennett and Hilda returned to the US where they remained until fall 1945. At this time, he was highly commended by the British Admiralty.²²

Throughout the years in which Sterndale Bennett was involved with Canadian theatre, his overriding concern was how best to raise the quality of acting and theatrical practice in Canada. During the Masquers' era, his ideal solution was to encourage the development of a "National Theatre for Canada." This concept was certainly not new; it had been proposed as early as 1929-30 by the noted English actor-manager, Sir Barry Jackson, while engaged in a cross-Canada lecture tour (Gardner 308). Naturally, Sterndale Bennett had his own ideas as to how such a national theatre would operate.²³ He did not envision a magnificent edifice located in Ottawa or elsewhere in Canada; rather, he suggested:

To me, the National Theatre is a thing of the spirit, rather than of material things—an expression of the life of a nation[...]. It is true that it must have a home. This home should be more in the nature of a workshop, than of a show place—a home where plays would go through a process of experiment and revision, where earnest workers of the theatre would devote their energies to the betterment of dramatic expression, and especially in the development of drama expressed in terms of Canadian life.

So the primary aim of the National Theatre for Canada would be to "foster plays of Canadian life and thought, written either by Canadians or by any writer who has knowledge sufficient to give a true portrait of the Canadian in his true surroundings." Other important aims (as paraphrased) should include:

1  to encourage and develop Canadian playwrights who may or may not write about Canadian subjects or themes.
2  to acquaint Canadians from coast to coast with quality drama and theatre.
3  to foster a national appreciation for drama, whether contemporary or classic and irrespective of nationality.

How would these aims be accomplished? First, there would be a central theatre school and workshop where all of the fundamentals of drama presentation could be taught and tested. New plays would be "workshopped" and eventually performed for audience reaction; necessary revisions would be made—"in the writing, in the playing, in the mounting." After a short period of final rehearsals and local performances, a play would be "launched on its tour of the Dominion, playing towns and cities from coast to coast." Other plays would follow every four weeks throughout the winter season and each company would return from the respective coast in another play, rehearsed en route, to which "the finishing touches" would be given at "the Coast branch of the National Theatre."²⁴

Of course, Sterndale Bennett realized that most communities in Canada did not have adequate facilities to stage live theatre. He felt that this problem could best be overcome by the building of suitable municipally owned Civic Theatres throughout the country—"buildings[...]which could not be bought out by a rich opposition [movie theatre chains]." Sterndale Bennett also accepted the fact that this proposal could not be achieved "over-night"; nevertheless, he felt it could be achieved in time. Using his favourite horticultural metaphor he explained, "I am a great believer in those things which have a normal healthy growth, rather than those which are created in all their detail over-night, so I think the only way to begin is to select the right seed which will eventually produce the tree we desire to grow, plant it in the most advantageous spot and nurture it to maturity."²⁵

Sterndale Bennett distinctly believed that the seed had already been planted and planted in the right place; also, that it was "growing healthily and comparatively rapidly." That seed would be the vigorous amateur movement which made possible the "great Dominion Drama Festival." He pointed out that the aims of the DDF were basically the same as those which he proposed for the National Theatre. Nevertheless, he recognized that the two institutions would be quite different in practice. In this regard, he commented:

The Festival spreads its influence by gathering people from all over the Dominion to meet in one centre; The National Theatre would start in one centre and spread its influence from Coast to Coast[...]. Because the aims are the same, the movement which has made one possible can make the other possible[...]they will not conflict but will aid one another and together they will bring drama into the life of the Canadian people and the life of the Canadian people into drama.²⁶

Sterndale Bennett realized that, even before the National Theatre for Canada was to become a reality, there were various ways in which many of the aims which he had envisioned could be accomplished. His own theatrical practices, together with many of the innovations which he encouraged, support this contention. Throughout his theatrical career, Sterndale Bennett acknowledged a desperate need to acquaint Canadians with quality drama and theatre. Previously, I illustrated how Sterndale Bennett, through the auspices of the Playgoers Club of Lethbridge, tried to encourage more touring professional theatre companies to include smaller centres like Lethbridge in their itinerary (Mann, "The Sterndale Bennetts" 79). He and his colleagues even took over the management of the Majestic Theatre for a number of years in order to keep it available for live theatre. He also saw to it that pre-performance notices were sent to all 800 members of the Playgoers Club—notices which advertised forthcoming touring productions.²⁷

When it became obvious that he could no longer fight the inevitable—the demise of the touring companies—Sterndale Bennett took it upon himself to stimulate the organization of the Alberta Dramatic Festival in an effort to challenge amateur groups in the province to fill the void and at the same time to stretch their capabilities. He saw the establishment of the DDF as an even greater impetus for the improvement of both play selection and presentation. His commitment to the DDF is clearly shown through the extraordinary effort which the Toronto Masquers displayed in their various festival competitions. But his role of "Play Doctor" also shows that he was not just interested in personal victory—obviously, he was concerned with raising overall standards. His own efforts certainly kept pace with this aim. As B. K. Sandwell, editor for Saturday Night, wrote in 1937, "[...]the four most highly competent and professional directors in the district [are]—Mr. Sterndale Bennett, Mr. David Pressman, Mr. Edgar Stone and Mrs. Nancy Pyper."²⁸

The major area in which the DDF did not live up to the aims formulated by Sterndale Bennett was the encouragement of Canadian plays, that is, plays of "Canadian life and thought" and/or plays written by Canadian playwrights. In his various theatrical activities, Sterndale Bennett made some, albeit limited, effort in this regard. He occasionally tried his hand at play writing, but more so, he encouraged others to write for the stage. In 1931 he was instrumental in convincing the Playgoers Club of Lethbridge to sponsor a one-act playwriting contest. Later, his Toronto summer school students were encouraged to write scenes, sketches, and plays for public performance. Of course, the Masquers' revues contained many original works. He certainly took pride in encouraging new Canadian playwrights like John Coulter. Even though Coulter had achieved some success in his native Ireland, it was Sterndale Bennett who introduced his work to Canadian audiences in 1937 when he produced The House in the Quiet Glen. Although Sterndale Bennett was critical of the DDF with regard to its failure to achieve these Canadian cultural goals, his overall assessment of the DDF movement was very positive and in agreement with the statement made by the distinguished designer, director, and critic, Herbert Whittaker, many years later: "While the DDF can be faulted for emphasizing too strongly the values of foreign theatrical repertoires, it nonetheless made a great and significant contribution to Canadian drama and theatre" (Whittaker 145).²⁹

When World War II erupted in the fall of 1939, the growth of the DDF was halted temporarily. Although this festival movement was re-organized in 1947, unforeseen forces soon brought many new dimensions to the Canadian theatrical scene. Again, Sterndale Bennett would be in the forefront of the emerging theatrical movement.

Appendix A

Regular Productions: Toronto Masquers Club*
1933-1939

* All productions directed by Ernest Sterndale Bennett. Assistance by Belle Sterndale Bennett until Spring 1936. Additional directorial assistance for reviews provided by Frank and Frances Rostance, Jack Brockie.

** Margaret Eaton Hall unless otherwise indicated.

Appendix B

Freelance Directing: E.G. Sterndale Bennett
1934-1940

* Co-directed by Belle Sterndale Bennett.

NOTES

Sources of much of the data for this article are archival materials donated to me by Michael Sterndale Bennett and his daughter, Patricia Jury, for which I am most grateful. Copies of some of this material are also available from the Arts Department of the Metropolitan Toronto Reference Library.

1. According to Olive (Williams) Cranston (a 1930s employee of the T. Eaton Company), "Eaton's really took very good care of their employees[...]they made you feel that you were important to them."
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2. See: Contacts 7.17 (23 May 1938): 1. Contacts was a newsletter published weekly by the T. Eaton Company of Winnipeg (from the Sterndale Bennett archives, possession of George Mann).
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3. Lasserre, who introduced Dalcroze Eurhythmics to Canada, trained in Geneva with Emile Jacques-Dalcroze who originated this teaching method which "explores the connections of music and movement." (See Odom 5).
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4. Robert Christie appeared in one Toronto Masquers' production, The Late Christopher Bean, although he was not an employee of the T. Eaton Company.
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5. Rose MacDonald was drama critic for the Toronto Evening Telegram for 50 years. She retired in the spring of 1964. (See Telegram 30 Apr. 1964: 65). Reviews appearing in the Telegram did not carry her by-line until 1937; nevertheless, I assume that reviews in the early 1930s were written by her. I will indicate this assumption by placing square brackets around her name [MacDonald]. Wherever those brackets do not appear, the by-line was given. The other Toronto newspapers were much more consistent in the use of by-lines. Most arts columns and critiques in the Toronto Globe bore the name of Lawrence Mason until the Globe amalgamated with the Toronto Mail and Empire in late 1936. On occasion thereafter, Mason would pen a review; however, this task was generally now assigned to either Thelma Craig (staff writer) or Pearl McCarthy who had previously been the prime reviewer for the Mail and Empire. Throughout the 1930s, Augustus Bridle performed yeoman service for the Toronto Daily Star. The weekly newspaper, Saturday Night, rarely presented an arts column without recognizing the writer. This paper frequently used guest columnists, but without exception staff and guest writers were involved with or highly interested in the theatre.
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6. From an unidentified clipping in the Sterndale Bennett archives.
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7. This information comes from a transcription of Wade's public adjudication and from the official adjudicator's assessment form, both of which are in the Sterndale Bennett archives (see also Mason 24 Mar. 1936: 12; 27 Mar. 1936: 9; 28 Mar. 1936: 14).
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8. From a transcript of adjudicator Michel Saint-Denis's remarks, May 1937.
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9. Shortly after Belle's death, Nancy Pyper wrote this tribute to Belle Sterndale Bennett in Saturday Night (30 May 1936: 7), but inadvertently titled it "Muriel Sterndale Bennett," who was, in fact, Ernest and Belle's daughter.
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10. See: Letter from Ernest G. Sterndale Bennett to Olive Williams, 18 Mar. 1938 (Sterndale Bennett archives).
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11. Personal interviews and discussions with Olive (Williams) Cranston, Robert Christie, Georgie Baird Lewis, and Bill Haehnel (June 1985).
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12. The drama program at the Margaret Eaton School had an excellent, long-standing reputation. One of its distinguished alumni was Dora Mavor (Moore).
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13. Although Coulter was born in Ireland, he was domiciled in Canada; his Canadian residency qualified him for the prize. He was also married to a Canadian woman, Olive Clare Primrose, after whom their daughter, well-known actress Clare Coulter, was named (See Anthony 117 and Noonan 116).
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14. Ten full-length plays and eighty one-act plays were presented at the various regional festivals in 1938. In the Central Ontario Drama Festival, three of the twelve entries were full length productions.
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15. The Arts and Letters Club was recommended to the DDF in 1935, 1936, and 1939. In the latter year, they did not present their 1939 production, Dark Orchard, at the DDF.
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16. Connie Vernon, the well-known "chanteuse and comedienne," gained further renown later for her performances in Spring Thaw (See Bryden and Neil 45).
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17. For a picture of the original concert party cast see Evening Telegram 8 Nov. 1939: 17.
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18. Canadian Review 40 (in Sterndale Bennett archives; publication data unknown).
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19. B. K. Sandwell, editor of Saturday Night, had a keen interest in the theatre. He frequently wrote articles under his own name, but as a reviewer he tended to use pseudonyms. This review was penned by him under the name Lucy Van Gogh.
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20. From the Sterndale Bennett archives.
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21. This play about an Irish immigrant in New York was later aired on CBC radio (1941) and CBC TV (1945) (see Anthony 117).
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22. Letters from Charles Osborne, Director of Engineering Department Admiralty, Bath, Somerset, England, and W. M. Onyon, Commander, R.N. Inspecting Torpedo Officer, Ministry of Supply Mission, British Admiralty Delegation, New York (possession of George Mann).
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23. Sterndale Bennett's ideas about a "National Theatre for Canada" are expressed in a mimeographed article in the Sterndale Bennett archives. Some of these thoughts are also stated in E. G. Sterndale Bennett, "National Drama Festival," Saturday Night 29 Apr. 1933: 10.
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24. Ibid.
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25. Ibid.
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26. Ibid.
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27. For examples, see Mann, Theatre Lethbridge 80; also Playgoers 1923-32 scrapbook (possession of George Mann).
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28. B. K. Sandwell as Lucy Van Gogh. "At the Theatre: Regional Festival." Saturday Night [Toronto] 6 Mar. 1937: 9. A recent analysis by Lane agrees with this assessment of Sterndale Bennett's directing; see Lane 140.
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29. Whittaker was the premiere theatre critic for the Montreal Gazette from 1945- 1949, after which he took over a similar position with the Toronto Globe and Mail. He retained this latter position until his retirement in 1975. Throughout this time and beyond Whittaker also distinguished himself as a director and designer for amateur and professional productions.
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Works Cited

Anthony, Geraldine. "Coulter, John." The Oxford Companion to Canadian Theatre. Ed. Eugene Benson and L. W. Conolly. Toronto: Oxford UP, 1989. 116-118.

Bridle, Augustus. Daily Star [Toronto] 27 Dec. 1934: 10; 17 Mar. 1939: 4; 30 Jan. 1940: 4.

Bryden, Ronald, and Boyd Neil, ed. Whittaker's Theatre: A Critical Look at Stages in Canada and Thereabouts 1944-1975. Toronto: U of T press, 1985.

Calgary Herald 22 Feb. 1932: 13.

Charlesworth, Hector. Saturday Night [Toronto] 15 May 1937: 12+; 22 Apr. 1939: 8; 11 May 1940: 23.

Christie, Robert. Interview with the author. June 1985.

Cowan, Herbert. Varsity [Toronto] 8 Dec. 1939.

Coxwell, Mona. Saturday Night [Toronto] 4 June 1938: 6.

Craig, Thelma. Globe and Mail [Toronto] 27 Feb. 1937: 7; 17 Mar. 1939: 4; 20 Mar. 1939: 17; 30 Jan. 1940: 4.

Cranston, Olive (Williams). Interview with the author. June 1985.

Daily Star [Toronto] 28 Apr. 1934: 11.

Edmonton Bulletin 22 Feb. 1932: 6.

Evening Telegram [Toronto] 23 May 1938: 25; 17 Apr. 1939: 15; 8 Nov. 1939: 17.

Fyrth, D. M. Saturday Night [Toronto] 4 May 1935: 4.

Gardner, David. "Little Theatre and Amateur Theatre." The Oxford Companion to Canadian Theatre. Ed. Eugene Benson and L.W. Conolly. Toronto: Oxford UP, 1989. 301-309.

Globe [Toronto] 25 Feb. 1933: 10; 27 Feb. 1933: 1+.

Globe and Mail [Toronto] 23 May 1938: 1+.

Haehnel, William. Interview with the author. June 1985.

Lane, Harry. "Directing (English Canada)." The Oxford Companion to Canadian Theatre. Ed. Eugene Benson and L.W. Conolly. Toronto: Oxford UP, 1989. 139- 141.

Lawrence, Margaret Isabel. Saturday Night [Toronto] 17 Mar. 1934: 7.

Lee, Betty. Love and Whisky: The Story of the Dominion Drama Festival. Toronto: McClelland and Stewart Ltd., 1973.

Lethbridge Herald 10 Apr. 1923: 10; 25 Apr. 1924: 7; 28 Nov. 1924: 11; 31 Jan. 1928: 7; 12 Feb. 1929: 14; 17 Feb. 1934: 7; 19 Feb. 1934: 6; 8 Nov. 1935: 6; 9 Jan. 1937: 6; 22 Mar. 1937: 9.

Lewis, Georgie Baird. Interview with the author. June 1985.

MacDonald, Rose. Evening Telegram [Toronto] 24 Feb. 1939: 16; 30 Jan. 1940: 31.

[MacDonald, Rose]. Evening Telegram [Toronto] 13 Oct. 1933: 3; 8 Nov. 1933: 14; 9 Dec. 1933: 11; 5 Dec. 1934: 34.

Mail and Empire [Toronto] 10 Feb. 1934: 4.

Mann, George. Theatre Lethbridge: A History of Theatrical Production in Lethbridge, Alberta (1888-1988). Calgary: Detselig Enterprises Ltd., 1993.

—. "The Sterndale Bennetts: The Formative Years (1910-1932)." Theatre Research in Canada 14 (Spring 1993): 60-89.

Marriott, R. B. Era [London] May 1934: 3.

Mason, Lawrence. Globe [Toronto] 13 Oct. 1933: 10; 10 Feb. 1934: 5; 27 Mar. 1934: 5; 19 May 1934: 12; 8 Nov 1934: 2; 5 Dec. 1934: 7; 31 Dec. 1934: 5; 12 Jan. 1935: 16; 11 Mar. 1936: 12; 24 Mar. 1936: 12; 27 Mar. 1936: 9; 28 Mar. 1936: 14; 14 Oct. 1938: 7; 27 Mar. 1935: 12; 1 Apr. 1935: 12.

McCarthy, Pearl. Mail and Empire [Toronto] 13 Oct. 1933: 4; 24 Mar. 1936: 3.

—. Globe and Mail [Toronto] 25 Feb. 1937: 5.

Naish, Iris. "Microphone Gossip." Mirror [Toronto] 20 Apr. 1939: 7.

Noonan, James. "Coulter, Clare." The Oxford Companion to Canadian Theatre. Ed. Eugene Benson and L.W Conolly, Toronto: Oxford UP, 1989. 116.

Odom, Selma. "Madeleine Boss Lasserre, 1901-1998." Dance Collection Danse 46 (1998).

Ottawa Journal 23 May 1938:3; 6 Jan. 1938: 20.

Pyper, Nancy. Saturday Night [Toronto] 30 May 1936: 7; 20 Nov. 1937: 6; 9 Apr. 1938: 19.

Sandwell, B. K. (Lucy Van Gogh). Saturday Night [Toronto] 24 Feb 1934: 10; 5 Jan. 1935: 6; 6 Mar. 1937: 9.

Sterndale Bennett, Ernest G. "National Drama Festival." Saturday Night [Toronto] 29 Apr. 1933: 10.

—. "The National Theatre for Canada." Mimeograph.

Telegram [Toronto] 30 Apr. 1964: 65.

Whittaker, Herbert. "Dominion Drama Festival." The Oxford Companion to Canadian Theatre. Ed. Eugene Benson and L. W. Conolly. Toronto: Oxford UP, 1989. 144- 145.