THE STERNDALE BENNETTS: THE FORMATIVE YEARS (1910-1932)

GEORGE MANN

Ernest Gaskell Sterndale Bennett, together with his wives, Belle and Hilda, made notable contributions to Canadian theatre throughout the years 19101961. This paper analyzes the theatrical activities of Ernest and Belle Sterndale Bennett during their residence in western Canada (1910-1932) and shows how their varied acting and directing experiences with Little Theatre prepared them to become major participants in the Canadian festival movement and led them into full time teaching and directing careers.

Ernest Gaskell Sterndale Bennett et ses ouses, Belle et Hilda, firent d'importantes contributions au théâtre canadien des années 1910-1961. Le présent exposé analyse les activités théâtrales d'Ernest et Belle Sterndale Bennett dans l'Ouest canadien (1910-1932) et démontre combien leurs interprétations et mises en scène variées avec le «Little Theatre» les préparèrent à jouer un rôle majeur dans le mouvement du festival canadien et les amenèrent à occuper des postes à plein temps dans l'enseignement et les jeux de mise in scène.

For more than fifty years (1910-1961), Ernest Gaskell Stemdale Bennett strove to improve the standard of theatrical presentation throughout various parts of Canada. His efforts in this regard can be traced through three fairly distinct chronological periods, each characterized by somewhat different career patterns and theatrical activities. During the first period, 1910-1932, Sterndale Bennett, a professional engineer, devoted his leisure time to the development of community theatre and Little Theatre groups in western Canada. In this process, he garnered a reputation as an excellent director and actor. In addition, he spearheaded the formation of the Alberta Dramatic League and gained recognition throughout Canada as a leader in the drama festival movement. In all of these early endeavors, Stemdale Bennett was aided and supported by his wife, Belle.

In 1933 the Stemdale Bermetts moved to Toronto, and Ernest embarked on a new career when he accepted a full time position as director of the T. Eaton Dramatic Club, soon renamed the Toronto Masquers Club. Belle, who was also an ardent director and actor, was named co-director-a position which she held until her early death in May 1936. Sterndale Bennett continued to direct the club until his engineering training and experience were required for the war effort. During this second phase of Sterndale Bennett's career, his fame as a director spread throughout the country as the Masquers Club achieved remarkable success in the regional and final competitions of the Dominion Drama Festival. His selection as one of the initial recipients of the Canadian Drama Award (CDA) in 1935 acknowledged his 'splendid work and leadership in the cause of Canadian Drama.' In addition, the letter from L. Bullock Webster informing Sterndale Bennett of this honor also recognized Belle's contribution:

May I mention that the Committee in making this award has in mind also the fine support you have had from Mrs. Sterndale Bennett in the many pioneer movements you have launched along these lines.¹

After the war, Sterndale Bennett's professional career centered on teaching and directing. He spent three and one-half years as teacher of drama and director of plays for the Toronto Conservatory of Music. In this latter capacity, he organized and directed the Conservatory Players and a touring company, The People's Repertoire Company. His wife, Hilda, whom he had married in August 1941, took on the responsibility of managing the touring company and organizing its tours. She also taught some movement classes at the Conservatory. In 1949 the Sterndale Bennetts established the Canadian Theatre School, which was dedicated to the training of professional theatre practitioners. After seven years, the Sterndale Bennetts decided to close the school because Ernest found it too physically demanding; he was 72 years of age. During their association with the Toronto Conservatory and the Canadian Theatre School, the Sterndale Bennetts influenced many students who were destined to become major participants in the establishment and growth of the post World War II Canadian professional theatre movement. For a number of years after the closure of the school, Sterndale Bennett continued to offer his freelance services as an adjudicator, tutor, and dramatic adviser. Hilda joined the staff of the National Ballet as assistant to the General Director. Sterndale Bennett officially retired in 1961, and he was inducted into the Order of Canada in 1975. He died in Vancouver on 9 April 1982 at the age of 97. Hilda predeceased him by two years.

The aim of this paper is to analyze the theatrical activities and ideas of Ernest and Belle Sterndale Bennett during their years of residence in western Canada-the years which provided them with a broad range of theatrical experiences from which they were able to formulate rather strong opinions about the role of theatre in society.

Ernest Gaskell Sterndale Bennett was born to James Robert and Mabel Agnes (nee Gaskell) Sterndale Bennett in London, England, on 30 May 1884.² After preparatory school, he completed his grammar school education at Derby School where he apparently showed little talent for the theatre. According to a 1986 search of the school records by the then headmaster, B.D. Seager, Ernest played 'one of the animals' in the school's December 1897 production of Twelfth Night-the only play in which he participated while attending Derby School. Twelfth Night was produced by his father, who also portrayed Sir Andrew Aguecheek. One of Ernest's six brothers, Thomas,'was cupbearer.'³

Although E.G. Sterndale Bennett did not become very actively involved in dramatic presentations in his early years, he did develop a keen interest in, and a deep appreciation for, the arts-characteristics which were definitely stimulated within the family. Although Ernest's grandfather, Sir William Sterndale Bennett, the noted composer, pianist, conductor, and music teacher, died in 1875, his legacy to the family was an enduring love for music.⁴ Ernest particularly enjoyed singing; a brother, Robert, became an examiner for the Associated Board of the Royal Schools of Music of Great Britain (in pianoforte). In addition, the family members were frequent visitors to the theatre. In his reminiscences, Ernest often refers to the many productions which he witnessed in London; for example, 'Although he [Henry Irving] was past his zenith when I saw him. . . .'; 'I saw that performance [Lewis Waller's Henry V] several times. . .'; 'I remember going to the Court Theatre at Earle's Court and seeing the advanced plays produced under the BarkerVedrenne management.'⁵ Ernest also informs us that the Sterndale Bennett family was occasionally extended the privilege of taking the Royal Box at Drury Lane. In this regard, he comments:

I remember the time when our family and my uncles' families together took the Royal Box at Drury Lane. I admit that my parents, my uncles, and my aunts were majestic looking people, but it was a great thrill to me as a very young member of the family seeing the conductor of the orchestra rise and tap his desk. Then looking up at the Box, he conducted the orchestra through a spirited performance of the National Anthem. This might have caused me to be a good attender of theatre performance, but I imagine it is much more likely that the desire to create was handed down to me by my grandfather.

At the age of sixteen, Ernest Sterndale Bennett entered the Central Technical College of the City and Guilds of London Institute, where he qualified as a civil and mechanical engineer with first class standing. Shortly thereafter, he married Sarah O'Donnell, and in 1905 when the company with which he was employed went bankrupt, he and Sarah emigrated to Canada and settled in Montreal. Sterndale Bennett reflects upon his move to Canada as follows:

In the Spring of 1905, I left London to make my home and seek my fortune or, at least my future living in Canada. Looking back at that date, I find it was, in many ways, a turning point in the history of the theatre, for it was the year that Henry Irving died, after holding undisputed claim of being the most famous actor of his time.

Although Sterndale Bennett admired Irving as an actor-'That he was great, there is no denying'-he did object to the elaborate staging (pictorial realism)⁶ which was characteristic of Irving's later works. Sterndale Bennett also objected to the standard 19th century method of performance which he felt was so highly exemplified in Irving's acting:

The method of performance at that time might be compared to a concert in music in which the solo artist is accompanied by an orchestra whose duty it is to enhance the accomplishment of the soloist.

To Sterndale Bennett, Irving represented the final but most difficult hurdle faced by the new dramatists who fought to free the stage from the grasp of the actor. Sterndale Bennett suggests that, after Irving's death, the following concept of drama presentation, prescribed by dramatists such as Ibsen and Shaw, had a much greater probability of being accepted by theatrical practitioners and patrons, alike:

The concept to which I refer is that the writing of a play is more important than its production and that what is said in a play, and how it is said, is more important than what is done or how it is done.

Sterndale Bennett felt that the revolution in the quality and style of play-writing was complemented by a balancing revolution in the acting, mounting, and performance of a play. He notes that when John E. Vedrenne and H. Granville-Barker took over the Royal Court Theatre in 1904, 'they created a standard of play selection, acting, and directing which was surprisingly different from the flamboyant productions of that day'-productions which suffered from an overwhelming adherence to naturalism on the stage. Sterndale Bennett abhorred this latter tendency, which he felt was climaxed when Beerbohm Tree introduced live rabbits into his production of A Midsummer Night's Dream. He mourned the fact that audiences would waste their time watching the awkward hopping of a live young rabbit,' only later to realize that 'during this occupation,' they had been 'prevented from absorbing some of the richest gems of English literature.' According to Sterndale Bennett, an even more offensive occurrence on stage was when a live canon was 'hustled on stage in Lewis Waller's Henry V during the Chorus of Act III and fired into the wings. . . .' With regard to this attempt at naturalism, Sterndale Bennett comments:

I saw that performance several times and never did the extreme attempt at naturalism bring any feeling of reality which could possibly compare with the reality of Shakespeare's expressive word pictures....

Although many of these ideas were undoubtedly beginning to formulate in Sterndale Bennett's mind prior to his leaving England, he obviously ruminated upon them throughout his life. However, in the spring of 1905 his main concern was in securing employment. Then his attention turned more to family matters. A son, Michael, was born on 1 May 1906. Shortly thereafter, Sarah died. Although Sterndale Bennett decided to stay in Montreal, where he had obtained employment as a draughtsman with the Structural Steel Division of the Montreal Locomotive Company, he deemed it best to send Michael back to England to be cared for by the child's paternal grandparents.

Because of the recession in 1907-08, work at the Montreal Locomotive Company slowed down considerably, so Sterndale Bennett decided to move as far west as his savings would take him. He settled in the small prairie town of Moose Jaw, Saskatchewan, where he lived for the succeeding ten years-a period in which the community changed considerably. Much of this change came about as a result of rapid population growth-a consequence of the influx of large numbers of immigrants to the prairie provinces in the early years of the twentieth century. Trading or service centres such as Moose Jaw developed in order to meet the needs of the adjacent agricultural populations. Official Moose Jaw census data for selected years show the population figures: 1901 - 1,557; 1906 - 6,249; 1911 - 13,823; 1916 - 16,934. Although the rate of increase was rather remarkable, the community was 'a far cry' from the cosmopolitan urban centres in which Sterndale Bennett had previously lived. However, he did have a rather adventuresome spirit. In addition, the Moose Jaw Machine Company provided him with immediate employment. Also, he soon found a number of kindred spirits in the town's Anglican Church and in a local theatrical society, the Green Room Club.

After a few years with the Moose Jaw Machine Works, Sterndale Bennett assisted in the establishment of the Saskatchewan Bridge and Iron Co. Ltd. for which he fulfilled the position of Secretary Treasurer and Mechanical Superintendent. Shortly after World War I broke out, the Saskatchewan Bridge and Iron Co. Ltd. was converted to the manufacture of various munitions for the British and the American armed forces. Sterndale Bennett, who was appointed to take full charge of the work, received numerous commendations by inspectors for his organizational and supervisory achievements; for example, 'The execution of their work was greatly facilitated by the skill and ingenuity displayed by Mr. Bennett in various machines and mechanisms designed and built by him with a view to the more efficient production of these shell (sic).,⁷ Sterndale Bennett's conscientious work also earned him a promotion to assistant manager in 1916.

Once settled in Moose Jaw, Sterndale Bennett began more directly to manifest his interest in music and theatre-a manifestation which was to last throughout his life; therefore, he generally referred to himself as: 'engineer by training; actor and singer by avocation.' As a member of St. John's Anglican Church choir, he participated in a number of musical and dramatic activities, as did Elizabeth Wallace Belle Seater (usually referred to as Belle), who shared his deep love for music and theatre, and whom he was to marry. Belle, who was small, pretty, and very charming was born in 1891 in Detroit, Michigan, to James Malcolm Seater and Mary Seater (née Little). When James, who was employed on a ship which transported goods between Detroit and Owen Sound, Ontario, was drowned during a storm on Lake Superior, Mary moved her young family, Belle (aged 11 months) and two older sons, James and William, to Lyle, Saskatchewan. Since Mary was a skilled seamstress, she supported her family by taking in sewing.⁸ Some years later, the family moved to Moose Jaw, and by 1910 all of the children were employed in the city. Belle, who had just recovered from rheumatic fever, became a clerk at the Assiniboia Music Company.

The Moose Jaw Evening Times of 2 February 1910 reported that the last musicale of the season for St. John's Guild of the Anglican Church would feature Miss Seater and Mr. Bennett. Approximately one year later, Ernest and Belle also participated in the Guild's production of The Pirates of Penzance. The review of this production in the Evening Times states that Miss Belle Seater and some of the other minor women's parts 'were well cast.' In addition, the review claims that:

One of the best bits of character work in the entire production, however, was furnished by E.G. Sterndale Bennett, as a Sergeant of Police. It was excellent. Never once did he stray from traditions, and he was well and justly applauded for his efforts.⁹

In the meantime, Ernest had helped to organize the Green Room Club. According to his written recollections, he and five or six former professional actors who were living in Moose Jaw, organized themselves into a cooperative company called 'The Green Room Club.' Although the members shared the profits from their productions, the club was generally referred to as Moose Jaw's Amateur Theatre Society.¹⁰ The first activity of the Green Room Club was to host a banquet in honor of the famous English actor, Edward Terry, whose Canadian tour brought him to the City Hall Theatre in Moose Jaw on 25 February 1911 to portray Dick Phenyl in his favorite play, Sweet Lavender, by Sir Arthur Pinero.¹¹ At this time, Terry also agreed to be recognized as an Honorary Vice President of the Green Room Club. Shortly thereafter, the club presented its first play, The Private Secretary, in which both Sterndale Bennett and Seater portrayed youthful characters. Three weeks later (on Sterndale Bennett's 27th birthday), he and Belle were married. Immediately after the wedding, they travelled to England in order to fetch Michael and to return with him to Moose Jaw.

For the next several years, Ernest and Belle devoted themselves to the activities of the Green Room Club, which, after its initial play, presented one or two productions per year until 1915. The club's activities were then suspended until late 1917 (see Appendix A).

During 1911 and 1912 the Green Room Club's activities basically reflected the interests of its president and director, John Backus, who was obviously schooled in the actor-manager tradition. Accordingly, Backus portrayed the title or leading parts. Under his direction, the club staged three major productions at the 350 seat City Hall Theatre, where they paid a nightly rental of $25.¹² For the initial production, the local reviewer refrained from singling out any one performer; rather he or she stated:

The club as a whole and each member individually, can with truth, believe that their efforts were praiseworthy and certainly most appreciated ... a production which was unsurpassed by any amateur organization seen here. Indeed the Green Room's presentation would compare favorably with many of the professional road companies ....¹³

However, Ernest G. Sterndale Bennett was commended in an earlier edition of the paper for special advertising which could be 'seen in Clarke Bros. window' on Main Street.¹⁴

With regard to Ernest and Belle's performances in the club's second presentation, Charley's Aunt, the reviewer stated:

E.G.S. Bennett ... carried his part very well. He showed a sympathetic understanding of the character and the scenes of which he was the centre, and but for the inclination to be, at times, a trifle heavy, was excellent.... The best character in the cast, among the ladies was Mrs. Bennett.... Mrs. Bennett might easily have been mistaken for a professional. Her speaking was clear, distinct and in no way overdone. Her makeup showed considerable study while her manner and carriage added materially to her efficient acting.¹⁵

Sterndale Bennett's artistic talents showed themselves in many ways. Not only did he have a beautiful bass voice, and not only did he develop into an exceptionally fine actor and superb director, he also showed ability as a set designer and scenic artist. This visual artistic talent, which was evident in the window display referred to earlier, was also apparent in the settings for Charley's Aunt: 'The garden scene in the second act, which was so much commented on, was designed and built under the direction of Mr. E.G.S. Bennett.' ¹⁶

Sweet Lavender was presented in the fall of 1912 by the Green Room Club in memory of Edward Terry who had recently died. Dick Phenyl was played by Backus and Sweet Lavender was portrayed by Mrs. Backus. In this instance, the local reviewer was very complimentary about Mr. and Mrs. Backus's acting; the Sterndale Bennetts were only listed in the cast. ¹⁷

Coincidental with the run of Sweet Lavender, The Moose Jaw Evening Times reported that the Green Room Club was contemplating its coming season and was seriously considering presenting Richelieu by E.G. Bulwer-Lytton or A Pair of Spectacles by Sydney Grundy.¹⁸ However, neither show was produced because Backus decided to return to England at the end of the year. The Moose Jaw Evening Times reported that the Green Room Club would host a reception for the Backus family and that the members would present the screen scene from The School for Scandal as part of the program for the evening.¹⁹ In addition, the article stated that, 'It is gratifying to know that the club will continue under Ernest G. Sterndale Bennett.²⁰

In reference to this change of leadership, Sterndale Bennett reported that the company voted for him to succeed as director, and although he was rather uncertain about doing so because of his lack of experience, he was convinced to take on the responsibility by the company who promised to 'correct him' when necessary.²¹ Actually, the directorial experiences of the next few years undoubtedly helped to develop, in Sterndale Bennett, the great self-confidence which was characteristic of his later theatrical career. Also, he was given the opportunity to broaden his acting repertoire as he now progressed from juvenile leads to secondary leads.

The permanent closing of the City Hall Theatre on 30 November 1912 also contributed to a delay in the club's activities.²² The proposed productions were cancelled. Sterndale Bennett then agreed to direct Lady Huntworth's Experiment by R.C. Carton, which he hoped to present in October 1913 at Victoria Hall. However, the production was postponed further until 20, 21 February 1914 ²³ , at which time the offering was so well received that the club decided to present it again on 13 April.²⁴ The following excerpts from the local paper show that the reviewer was ecstatic in his or her praise for the Sterndale Bennetts and the club as a whole:

It would have been hard to have beaten Captain Dorvaston as played by E.G.S.Bennett, who was the careless sporty Indian officer to the life, with his free and easy manners and his real good heart at bottom. The part might have easily been overdone, but Mr. Bennett just hit the happy medium.... Mrs. Sterndale Bennett was a delicious Lady Huntworth.... She had just the right air of sad amusement at the little comedy going on around her, and her handling of the part was perfectly true to both art and nature.²⁵ Right in our midst we have without doubt some of the finest amateur theatrical talent in the West ... it [Lady Huntworth's Experiment] would have done credit even to a professional aggregation.²⁶
The Green Room Players have reached a point of excellence which is seldom seen in amateur productions and, judging from the plaudits heard on all sides last night, they have won for themselves a permanent place in the hearts of the theatre-going public in Moose Jaw.... As a whole the performance was a brilliant success, and we shall expect to see some great things from this clever organization in the future.²⁷

With the outbreak of World War I, the proceeds of the club's performances were distributed to groups such as the Daughters of the Empire and the Red Cross. For the first charitable show, Mrs. Temple's Telegram, praise for the club, generally, and for the performances of Ernest and Belle, specifically, was evident: 'E.G. Sterndale Bennett was, of course, good'; Belle's 'dainty deportment won for her much applause.' ²⁸

Are You a Mason? was to hit the boards in early 1915; however, the Green Room Club was thwarted in these plans by the fact that professional theatre companies such as the Allen Players, Oliver Eckhardt Players, and the Winnipeg Stock Co. had booked the Majestic Theatre throughout the first six months of the year. Consequently, Sterndale Bennett led a delegation of concerned citizens to city hall and convinced city council to renovate the old St. Andrews Church for theatrical purposes.²⁹ The city leased the church for three years, carried out some simple renovations, and then rented the venue, to be known as the City Auditorium, at the following rates: $5 per night for rehearsals, $20 per night for performances by local groups, and $30 per night for performances by outside groups.³⁰

The City Auditorium was officially opened on 26 March 1915 by Mayor Pasco, who stated that he was so pleased that the initial production to be staged there, Are You a Mason?, was being offered 'by such a talented amateur company.'³¹ Five hundred people attended the opening night's performance which was succeeded by a matinee and evening performance on 27 February. Mr. Donald C. Dow, who had recently become a prominent figure in the Green Room Club and other local dramatic groups, took the leading male role, Mr. Bloodgood.³² Mrs. William Bartholernew received accolades for her most realistic acting as Mrs. Bloodgood. Ernest Sterndale Bennett portrayed the youthful Frank Perry, Bloodgood's son-in-law, but Belle Sterndale.

Bennett, who by this time was pregnant did not participate in the production. Following this show, the Green Room Club experienced a hiatus of about two and one-half years. Factors which undoubtedly contributed to this lengthy pause in activities were: 1) the general disruption in the social structure created by the war; 2) the added responsibility taken on by Sterndale Bennett when the Saskatchewan Bridge and Iron Co. Ltd. was contracted to produce shrapnel shells for the British government;³³ 3) Belle's pregnancy, and the subsequent birth of Muriel Sterndale Bennett; and 4) the rise of a number of other dramatic and operatic societies plus the establishment of at least two resident professional companies.³⁴

The Green Room Club returned to the footlights in late 1917 when it presented three one-act plays. Such an evening of one act plays was advertised as the most recent innovation on the European stage. Proceeds from these performances were earmarked for the Boy Scouts Organization. The Moose Jaw Evening Times reviewed The Fourth of July only; the reviewer maintained that 'it was by far the best.' E.G. Sterndale Bennett, who directed the production, portrayed His Highness the Maharajah Gunga Sing, and probably because of Sterndale Bennett's lengthy absence from the local stage, the reviewer commented that the acting of Mr. Bennett was 'a pleasant surprise to all who saw him.' ³⁵

The presentation of these one act plays was, apparently, the last performance of the Green Room Club. Nevertheless, the Sterndale Bennetts did appear once more on the Moose Jaw stage. On 20-23 February and 7 March 1918 the local Beethoven Choir Society produced the operetta, San Toy, by Sidney Jones at the Orpheum Theatre. Ernest Sterndale Bennett took the role of Sir Bingo Preston; whereas, Belle performed as a member of the chorus. Of Ernest's performances, the local reviewer commented:

[He] probably appeared to better effect in the character of Sir Bingo Preston than in any other role which he has attempted on the amateur stage. ³⁶
... his interpretation of the role being among the outstanding features of the production.³⁷
... the other outstanding success of the evening was that of E.G. Sterndale Bennett .... His lines in the first act regarding the work planned by the government on the new railway where there is to be 'a tunnel from there to there, an awful bore,' seemed to make a great hit with the audience.³⁸

The end of World War I brought the Sterndale Bennetts' association with Moose Jaw to a close since the operations of the Saskatchewan Bridge and Iron Co. Ltd. were then transferred to Medicine Hat, Alberta. In 1919 Sterndale Bennett followed the company to the Alberta city where he assumed the position of manager. Medicine Hat, with a population of about 9,500, was the major railway centre in the southeast section of the province. In addition, it had much more of an industrial base than did Moose Jaw. With plenty of cheap natural gas at its disposal, the city attracted flour mills, potteries, brick works, and glass industries.

While in Medicine Hat, the Sterndale Bennetts were active members of St. Bamabas Anglican Church and its choir. At St. Barnabas Church, they also became acquainted with Norman and Lillian Davis-an acquaintanceship which became a lifelong friendship. ³⁹ Norman Davis was obviously as interested in music and drama as was Ernest. He was choirmaster and soloist at St. Barnabas Church '⁴⁰he was a very active member and frequent president of the Medicine Hat Operatic Society, ⁴¹ and he was a founding member of a local amateur dramatic society, The Strollers. ⁴² Both gentlemen joined the cast of the Rotary Minstrel show, The Jollies of 1920, which played the Empress Theatre on 21, 22 January 1921. The Medicine Hat Daily News carried these comments:

The stunts commenced with Norman Davis in 'The Moonshines on the Moonshine,' in which his encounter with a peripatetic blind pig run by G.S. Bennett [sic] gave much amusement to the audience and was an act revealing much ingenuity and clever acting.... Sterndale Bennett in 'Three Fragments From France' gives a very clever impersonation of a Tommy in the trenches, an officer of the staff and an irascible major. ⁴³
The fun is fast and furious in the second part of this unique entertainment. Norman Davis and E.G.S. Bennett start it with a song and a stunt that set a great pace ⁴⁴

Sterndale Bennett felt that the Rotary show and the various operettas produced by the Medicine Hat Operatic Society⁴⁵ did not really give actors sufficient scope to develop their full talents; therefore, he volunteered to direct Raffles by Eugene W. Presbery⁴⁶ in early February 1921 for the moribund Strollers Dramatic Society. Raffles was played by Norman Davis; Crawshay (a burglar) by C. Stewart Blanchard (another stalwart of the Medicine Hat theatrical scene); Captain Bedford (a famous detective) by Ernest G. Sterndale Bennett; and Gwendoline Conron by Belle Sterndale Bennett. Ernest's direction of, and acting in, Raffles elicited the following comments:

The production and stage management will be under the direction of Mr. E.G. Sterndale Bennett who brings to the task a large and varied experience in Canada and England. Success from an artistic standpoint is already assured. ⁴⁷
It is not necessary here to eulogize Mr. Bennett-the theatre going public of Medicine Hat is fully aware of the excellent work in this line that he has done in the past and can rest assured that in the production of 'Raffles' he will worthily maintain the high standard achieved by other organizations here. ⁴⁸
Presentation of 'Raffles' won new laurels for Medicine Hat amateurs-better than average road show. ⁴⁹

After seeing Sterndale Bennett in his masterly 'Fragments from France,' one expected him to give a good performance.... nor was one disappointed, Mr. Bennett endowing the character with just the right shade of realism, a master in his line.⁵⁰

Complimentary references relating to Belle's acting included:

Mrs. Sterndale Bennett has won distinction at Moose Jaw and other cities by her clever delineation of important and difficult roles.⁵¹
Mrs. Bennett has a decided stage personality, and made a big hit with the audience by her charm and sweetness as well as by her histrionic gifts in emotional scenes with Raffles.⁵²

After fire destroyed the Medicine Hat plant of the Saskatchewan Bridge and Iron Co. Ltd., the Sterndale Bennetts decided to return to England, especially since the province was experiencing an economic recession. On the eve of their leaving Medicine Hat (20 February 1921), they were tendered a farewell reception at St. Barnabas Church where their contributions to all branches of the church were acknowledged. Ernest was thanked, particularly, for his participation in the choir and for his fine solo presentations at numerous church services. The minister, Reverend E.A. Davis, expressed his sincere appreciation for Belle's assistance to the Women's Auxiliary, the Sunday School and other auxiliaries, and her direction of 'a most successful Cantata.' ⁵³

When the Sterndale Bennetts arrived in England, they discovered that employment opportunities were limited, especially in engineering and related professions. Post war layoffs in engineering, shipbuilding, and mining created high unemployment in these areas. Then, Ernest happened to meet George Davies, who had been associated with the foundry business in Medicine Hat, but who since 1920 had operated the Lethbridge Iron Works (in Lethbridge, Alberta). Davies convinced Sterndale Bennett to join him as Secretary-Treasurer of the Lethbridge Iron Works. Thus, the Sterndale Bennetts moved back to Canada in September 1921⁵⁴ and settled in Lethbridge. During their twelve year residence in Lethbridge, the Sterndale Bennetts saw the city grow in population from 11,000 to about 13,500. The city was basically a trading centre which served a large agricultural area in southwestern Alberta. Accordingly, the Lethbridge Iron Works specialized in the manufacture and repair of farm machinery.

It was not very long before the Sterndale Bennetts were deeply involved with community theatre in Lethbridge. Their talents were immediately recognized when they participated in the first local Rotary Minstrel Show in December 1921. On this occasion, their special talents were utilized in the one act farce, The Village Fire Brigade. The critic commented: 'Mr. and Mrs. Sterndale Bennett obviously have both had acting experience before.'⁵⁵ Then, on 8, 9 May 1922 Ernest and Belle appeared in His Excellency the Governor, an amateur production directed by Richard Hincks who had directed a number of plays in Lethbridge over the preceding fifteen years (including a prior presentation of His Excellency the Governor in April 1918).⁵⁶ In the 1922 production, Hincks recreated his role as the Governor, Sir Montague Martin. The local Lethbridge Herald critic, W.A.R. Cocq, noted that Mrs. Sterndale Bennett 'made the most of her part and was altogether pleasing.' But the major praise was reserved for the acting of E.G. Sterndale Bennett, who was described as:

... an amateur of undoubted merit ... who gave a very fine interpretation of Mr.John Baverstock, the private secretary. The part was very convincingly played, with all the 'stage tricks' which would have done credit to many a seasoned actor. The actor was decidedly in his groove and gave a finished performance. ⁵⁷

The second 'Annual Rotary Show,' which played 11-13 December 1922 included an original musical comedy, The Czar of Zanzibar. E.G. Sterndale Bennett headed the cast in the title role, and he was, as usual, praised for his characterization. In addition, a short second act sketch, Admiral Peters, gave 'Mr. Bennett an excellent opportunity of bringing into play that histrionic talent which he has in good store. He was well supported by Mrs. Bennett and Mr. H. Norman Davis from Medicine Hat.' ⁵⁸

The Sterndale Bennetts' participation in local theatricals produced by Richard Hincks and the Rotary Club was merely a prelude to the extraordinary effort expended during the following decade by both Ernest and Belle to further the development and appreciation of theatre in Lethbridge and throughout the province of Alberta. Most of this effort was funneled through the activities of the Playgoers Club of Lethbridge, an amateur theatre society which was conceived by Sterndale Bennett and then fostered by an article, 'The Amateur Stage,' which he submitted to the Lethbridge Herald for publication on 13 January 1923. In this article, Sterndale Bennett outlined his conception of the important community role which should be performed by what he referred to as a playgoers' society or club. In general, he stressed the benefits that accrue to a community where such a society exists. Although he wrote in rather general terms, it seems apparent that he was, in fact, laying the groundwork for the organization of a Lethbridge 'Playgoers' Club' which would, hopefully, live up to his strong beliefs. According to Sterndale Bennett, this club should have a large membership 'composed of all lovers of the theatre.' In addition, it should be divided into separate operatic and dramatic sections with members belonging to the particular section which interested them. Also, the club should be formally organized with officers and committees elected according to recognized democratic procedures. In conclusion, Sterndale Bennett wrote extensively about the goals of such a 'Playgoers' Club' and its members. The following aims have been extracted from that discussion:

1. To attract, to disseminate information about, to attend, and to endorse worthy professional shows.
2. To produce shows of quality; to expend every effort to pursue the perfection of the art-a task which should not be diluted by overriding aims such as raising money for charity.
3. To train and develop local dramatic and musical talent. Experienced members of the club should provide guidance to the inexperienced, and the club should encourage participation by these beginners in 'simple one act plays and operettas' presented to an audience of their own club members until they have become sufficiently trained to participate effectively in the larger productions of the society.

In his personal reminiscences, Sterndale Bennett reports that he received only one response to his letter, 'but it was an important one for it was from a prominent local lawyer, Henry Warrington Church,' who gave him the encouragement to pursue the matter further. After meeting and discussing the proposals more fully, the two gentlemen decided that they should test the idea. An informal meeting of interested associates was called for 20 January 1923 in St. Augustine's Anglican Church Hall. A few temporary executive officers were elected, including H.W. Church (President) and E.G. Sterndale Bennett (General Director). It was also decided to begin a membership drive and to call a formal organizational meeting for 15 February 1923.⁵⁹ Fifty-seven prospective members attended this latter meeting, at which time a constitution was approved (which explicitly reflected the principles outlined by Sterndale Bennett), the prior elections were ratified, and additional officers were elected.⁶⁰ Since then, the club has officially been referred to as The Playgoers Club of Lethbridge.⁶¹ Unofficially, it is usually called Playgoers of Lethbridge, Lethbridge Playgoers or simply Playgoers. The evening's business was capped off with a chorus rehearsal for Playgoers' initial production, the musical comedy, Going Up, to be staged at the Majestic Theatre on 9, 10 April under the direction of Ernest Sterridale Bennett. The decision to produce Going Up and subsequent major productions was primarily made by Sterndale Bennett who believed that any theatrical group must consider the following conditions when selecting a work which it wants to produce:

1. Aims of the group
2. Size and equipment of the stage
3. Experience and ability of the director and cast
4. Variety of the season's programme
5. Cultural level of the audience

Although Sterndale Bennett felt that many groups attempt plays which are far beyond their present capacity, he also argued that it is 'advisable to aim a little higher each year in order to foster a continued growth of ability.' In addition, Sterndale Bennett claimed that it is important at all times to select a 'good play' because:

It is usually conceded that good plays are easier to produce than poor ones.... My own experience has led me to believe that a good play competently handled will please almost any audience whereas every audience resents both poor material and inadequate presentation. We talk disparagingly about audience appeal as though it were something below our own intellectual tastes.

Sterndale Bennett defined good plays as ones that:
1. ring true
2. are well motivated
3. have true and interesting characters
4. contain real sentiment, tragedy, or comedy rather than depending on sentimentality, melodrama, or wisecracks
5. are well constructed with regard to the climax and subclimaxes
6. are in good taste
7. contain flowing, vital, and true dialogue

In a 31 January 1964 letter addressed to the president of Playgoers, Mary Heinitz, Sterndale Bennett recalls the specific reasons for choosing to produce Going Up:

Realizing that musical shows were, generally, more consistently popular than plays, I felt the opening performance of a new group named 'The Playgoers'Club' should be a musical show, to take advantage of this wide appeal and thus get the Club off to a good start.
Naturally, the first choice turned to Gilbert and Sullivan but any ardour on my part in that direction was immediately blunted by thought of the excellent work being done at that time by our close neighbour, The Medicine Hat Operatic Society, which organization had attained an almost professional standard of perfection. We could not attempt to compare with the high standard already set by Medicine Hat.
What we needed most of all was a show which would have the greatest appeal to the largest number of people. My experience told me that the only sensible decision would be towards a light, very up-to-date musical comedy and Going Up had recently enjoyed a highly popular run in New York.

Sterndale Bennett was right. The production was a tremendous financial success; over 1000 patrons attended the performance. After meeting expenses of $786, the club realized a profit of $370.⁶² But Sterndale Bennett was interested in more than satisfying popular tastes or turning a good profit. As the programme for Going Up stated: 'This community club has been organized with a view to improving the quality of theatrical performances in the city.' Sterndale Bennett was committed to excellence and to maintaining a standard of performance of which conscientious actors (amateur or professional) could be proud. The accomplishment of this aim was verified from the beginning as shown by the critic of the Lethbridge Herald, W.A.R. Cocq, who stated:

Splendid! The Playgoers Club in presenting its first venture ... to the public, captivated the audience with Going Up and set up a standard as to how a play should be turned out when it comes to amateur acting in the city. Congratulations are due to Mr. Sterndale Bennett, as general manager and to one and all who helped to make Going Up the decided success it was. It was a performance of which any amateur company could be justly proud.⁶³

This commitment was manifest throughout the ten years in which Ernest and his constant companion and helpmate, Belle, were associated with Playgoers. They left a legacy which has sustained community support for the Lethbridge Playgoers Club for seventy years with no foreseeable end in sight. The following analysis of the club's activities from 1923-1932 will illustrate quite clearly the significant role which the Sterndale Bennetts played in institutionalizing the organization.

With regard to formal leadership of the Playgoers Club of Lethbridge, the original constitution provided for an eleven person governing body to be elected yearly at the annual general meeting of the club. Although most of the executive offices were rotated among various members of the club, the general director's position fell to E.G. Sterndale Bennett throughout his tenure with the club. Although the club never did divide into separate operatic and dramatic sections, it did distinguish between what it referred to as Little Theatre and Big Theatre activities even though the organization, itself, was considered to be a Little Theatre company. The production of one act plays was generally reserved for developing latent dramatic talent; therefore, novice members were encouraged to become involved in these 'Little Theatre' activities. Big Theatre activities included the major plays and musicals produced by the club, and their direction came from the general director, E.G. Sterndale Bennett.

During his association with the Lethbridge Playgoers, Ernest Sterndale Bennett directed six major musicals, four major plays, and one festival production (Screen Scene from The School for Scandal). In addition, he performed roles in three major plays, in one musical, in thirteen one act plays (including three festival plays), and in other variety or novelty presentations. The major productions for which Sterndale Bennett was responsible are listed in Appendix B

Comments about Sterndale Bennett's acting and directing were always very complimentary. Some selected comments are quoted below:

The part of Raffles was an outstanding one, and was played with consummate skill by E.G. Sterndale Bennett.It was Raffles to the life, sincere and without a suspicion of over-acting. It would have done credit to an actor of the professional type.⁶⁴
The general director is Mr. Sterndale Bennett, who has put every ounce of energy in striving to make 'Going Up' serve as a hallmark of what the local players are capable.⁶⁵
'The Valiant' was presented in a way which earned full credit for what was undoubtedly a masterful performance on the part of E.G. Sterndale-Bennett [sic] ... ⁶⁶
As the Raja of Rukh E.G. Sterndale Bennett added fresh laurels to his reputation as an amateur actor. It was an impressive and imposing presentation, cool and calculating with what the role called for and highly polished.⁶⁷ [The Green Goddess]
Now then, 'Cock Robin' is really a play within a play and calls for careful coaching. This the company clearly has had from Mr. E.G. Sterndale Bennett, director of the more extended productions of the Playgoers' Club.⁶⁸

Reviewers from other Alberta cities had a number of opportunities to witness Sterndale Bennett's work in the Alberta Dramatic League festivals, and their comments give considerable credence to the opinions expressed locally:

It would be hard to find better acting than that of Stemdal [sic] Bennett as the priest .... ⁶⁹
... one of the most interested supporters and talented directors of drama in the province.⁷⁰
Mr. Sterndale Bennett is always excellent .... ⁷¹
Mr. E.G. Sterndale Bennett ... took the honors of the festival ... in his fine and subtle portrayal.⁷²

As the recognized spokesman for Playgoers, E.G. was called upon to speak on behalf of the club on numerous occasions. For example, during an interval in the Little Theatre program in February 1924 he 'gave an enlightening discourse on the past, present and future of the Playgoers' Club and the Little Theatre and Big Theatre undertakings of the amateurs.'⁷³ Another example of this activity is reported in the review of the Lethbridge Playgoers' production of 9 October 1928. On this occasion, Sterndale Bennett encouraged members to attend two major road shows booked for Lethbridge.

Mr. Sterndale Bennett spoke briefly after the first sketch explaining the aims and hopes of the Playgoers' Club and making a strong appeal for generous support of the shows coming through the winter particularly the elaborate musical shows, Rose Marie and Hit the Deck which are coming at great cost.⁷⁴

Sterndale Bennett was so concerned about the needs of the Lethbridge citizenry for live theatre that he took it upon himself in the fall of 1924 to try to rescue the Majestic Theatre from either being taken over by movie interests or being closed. The Majestic Theatre had been the main Lethbridge venue for major live theatrical performances since its opening in February 1910. However, the decline in touring had recently brought the theatre's future into question. This concern led Sterndale Bennett to write to the Lethbridge Herald stressing the need to keep the Majestic available for legitimate theatre. Shortly after this, through the cooperation of the Lethbridge Playgoers and two local theatre managers, A.W. Shackleford. and H.H.Granger, the Community Theatre Limited was formed to manage the Majestic Theatre. Sterndale Bennett, who joined these two theatre managers to form the executive committee, was generally the spokesman, and he tended to represent the theatre at meetings of associated groups such as the Western Canadian Theatre Managers Association.⁷⁵ But even Sterndale Bennett's avid commitment to live theatre could not counteract the forces of change which were affecting the theatres at that time. Efforts to attract some of the few larger touring companies to Lethbridge often came to naught as illustrated by the following comment in the Lethbridge Herald of 21 May 1926:

The theatre-going public will learn with regret that, in spite of the efforts made by E.G. Sterndale-Bennett [sic] to secure the engagement of the company, 'No, No, Nanette' will not come to Lethbridge.... The fact that Lethbridge cannot support a three days' show militates against companies such as 'No, No, Nanette' coming here.... Some of the better companies who have come here have not been supported as they should have been, and this, no doubt, has had its effect in Lethbridge being omitted when it comes to arranging the schedule of tours.

In order to 'keep afloat,' the management of the Majestic was forced into booking movies to fill in the long periods between touring and amateur shows. Nevertheless, the operation was not a financial success and Playgoers was forced to withdraw from the arrangement. The Lethbridge Community Theatre Ltd. reluctantly relinquished the lease in the spring of 1929 to G.W. Peacock who owned a number of movie theatres south of Calgary. ⁷⁶

In the early 1930s, the name of Sterndale Bennett became closely associated with the Alberta Dramatic League and its annual festivals. Although amateur dramatic festivals had operated in Canada in the early 1900s, Alberta was the first province to organize a provincial dramatic league festival (in 1930).⁷⁷ The idea of a provincial festival was actually the brainchild of Sterndale Bennett. In his personal notes, he reminisces:

In the spring 1929, 1 was in my garden in Lethbridge, Alberta when suddenly I became aware of a very obvious fact, 'If you want to grow a plant, you must start with a seed!' This had a surprising tum of events for it gave me an idea which I immediately put to use. For many years I had attended and taken part in very large and very well organized musical festivals in Alberta and had always wished that the same could be done for drama.

Sterndale Bennett then proceeded to manifest his dream. He wrote to Norman Davis (Medicine Hat), E.J. Thorlakson (Calgary) and Elizabeth Sterling Haynes (Edmonton) suggesting that they meet together in Calgary in order to discuss the possibility of organizing a provincial drama festival. Sterndale Bennett continues:

The meeting was arranged and I remember travelling to Calgary, full of excitement, full of trepidation and full of determination coupled by a queer mixture of anxiety and hope-but to my tremendous satisfaction, I found that the Calgary Little Theatre had arranged for the meeting to be held in the Oval Room of the Palliser Hotel. This was a stroke of genius for it immediately gave to the meeting a feeling of importance which I believe, in turn, gave us a new feeling of gravity and responsibility.

The four representatives and an associate of Thorlakson's, Gwillym Edwards, met at the Palliser Hotel on 4 August 1929 and agreed to organize themselves formally as the Alberta Dramatic League. Sterndale Bennett was named President; H. Norman Davis and G. Edwards were selected as Vice President and Secretary-Treasurer, respectively; Haynes and Thorlakson were referred to as advisory members.⁷⁸ Sterndale Bennett was re-elected President at the festival meetings in February 1930 and again in 1931; he then held the position of Vice President in 1932,⁷⁹ after which he moved to Toronto. The addition of Mr. Edwards proved to be fortuitous as he very effectively fulfilled the role as Secretary-Treasurer until the festival activity was suspended during the war. According to Sterndale Bennett, Edwards proved to be 'a wonderful asset indeed among people who have a habit of thinking that art is above business and do not realize that the two are, in many ways, inseparable.' At the inaugural meeting, it was also agreed that each of the four groups represented would prepare a one act play to be performed at the first Alberta Dramatic Festival to be held in Calgary on 15 February 1930. Each group was responsible for covering its own travel expenses; since the Calgary club incurred no such expenses, it took on the responsibility for 'on the spot' expenses such as advertising.⁸⁰ Publicity was handled by Nola B. Erickson (Chautauqua operator) with the assistance of Ellie Brown.⁸¹ The delegates pooled their resources in order to book the Grand Theatre; the festival was an outstanding success. Two additional festivals were held [in February 1931 (Calgary) and February 1932 (Edmonton)] before the Dominion Drama Festival (DDF) competitions superceded the Alberta Dramatic League Festivals.

Speaking of the DDF, E.G. Sterndale Bennett was chosen as the Alberta delegate to attend the organizational meeting of the Dominion Drama Festival which was hosted by Governor General Bessborough in Ottawa and held on 29 October 1932. ⁸² In the following quotation from his personal papers, Sterndale Bennett relates the circumstances which led to his being invited to this meeting:

I received a phone call from Senator Buchanan [publisher, Lethbridge Herald] asking me to come to tea at his house because Mr. Vincent Massey wished to talk to me. He had seen the programme of the Alberta Festival and wanted all the information. This is how it was that I was asked to Ottawa for the inauguration meeting. My room (at the Chateau Laurier Hotel) almost instantly became a discussion closet for several Ottawa people who were members of the Ottawa Drama League and others.

An Ottawa wire story in The Lethbridge Herald illustrates that Sterndale Bennett played an active role in initiating the festival committee:

On motion of Colonel D.M. Biggar, Ottawa, seconded by Sterndale Bennett, Lethbridge, a general committee was appointed .... ⁸³

Sterndale Bennett was among the members included in the general committee,⁸⁴ the executive members of which were given the mandate to draft the bylaws for annual regional and national competitions to be held throughout Canada beginning in 1933. With the introduction of the DDF in 1933, the Alberta Dramatic Festival became the Alberta Regional Drama Festival; however, the Alberta Dramatic League was maintained in order to organize and manage the festival.

Another dimension of Sterndale Bennett's artistic leadership was unveiled in 1931 when he suggested to the Playgoers Club that it sponsor a one act playwriting contest to be open to any amateur writer in Lethbridge.⁸⁵ The club agreed; seven short plays were entered-including Second Fiddle by E.G. Sterndale Bennett and The Perfect Crime by fellow Playgoer, Charlie Matthews. The Perfect Crime was chosen as the best entry by Judge L.W. Brockington, K.C. of Calgary who had agreed to evaluate the entries.⁸⁶ In the following year, a provincial playwriting contest was sponsored by the Carnegie Trust Fund for promoting the arts in Alberta. The adjudicator, Professor E.A. Corbett, University of Alberta, was faced with the task of choosing the best from among forty-nine entries. A three act play, The Devil of New France, penned by Playgoers' founders, E.G. Sterndale Bennett and H.W. Church, was awarded third prize.⁸⁷ This historical play focused on the deceitful behavior of Francois Bigot, Intendant of New France.

Although many of the theatrical activities of E.G. Sterndale Bennett are fairly generally recognized, those of E. Belle Sterndale Bennett are not as well documented. Nevertheless, her contribution was very extensive, although it was confined more completely to the local scene. She, too, performed in many of the major musical and dramatic productions of the Lethbridge Playgoers, but her greatest contribution was in the organization and direction of the Little Theatre activities. In 1925 the Playgoers' constitution was amended to provide for a Director of Little Theatre, and Belle Sterndale Bennett was named to that position which she held until leaving the city of Lethbridge. In fact, she had informally fulfilled this task from early 1923; the first Little Theatre presentation under Belle's supervision was on 5 June 1923 .⁸⁸ On a number of occasions throughout each year, three or four of these plays would be presented in an Evening of One Act Plays, admission to which was open to Playgoers' members only. However, membership could be purchased for fifty cents. Over 300 memberships were sold by the spring of 1923, and this number grew fairly steadily until reaching a peak of 800 in 1932 (about 6% of the city's 1932 population).

From 1923-1932 Belle Sterndale Bennett was primarily responsible for supervising approximately thirty-nine one act plays including two festival productions [Back of the Yards by Kenneth Sawyer (1931) and And So To Bed by J.B. Fagan (1932)]. In addition, she acted in three major plays, one musical, and three one act productions. She also performed in the chorus of Going Up.

A review of the contributions of the Sterndale Bennetts makes it obvious that they often worked together as a team, assisting each other wherever possible. This cooperation, although not always formally acknowledged in the assignment of a specific position such as assistant director, was nevertheless informally recognized by the club and the local press. For example, Belle Sterndale Bennett's name does not appear on the programme for the 1924 production of Oh! Lady! Lady!, but both she and E.G. were presented with a gift from the Playgoers' Club 'in appreciation of the trouble taken in preparing the production.' ⁸⁹ Belle was officially recognized as the assistant director for The Toreador staged in 1928, and as the local reviewer commented:

'The Toreador' undoubtedly marked a high water performance in local stage renderings. Mr. and Mrs. Sterndale Bennett are to be highly congratulated on the marked success which their efforts gained.⁹⁰

On reflection, it is apparent that the Sterndale Bennetts were prepared to make enormous personal sacrifices in order to further the cause of the arts in Lethbridge. As though their efforts on behalf of Playgoers were not more than anyone could expect, they also contributed to many other organizations and activities. Both were concerned citizens who readily volunteered for community service and participated in charitable and church activities. They continued to add a special dimension to the Rotary shows (held in 1923, 1924, and 1929). Further community service was provided by E.G. Sterndale Bennett through his active participation in the Gyro Club and through his efforts on behalf of the local music festival committee, not to mention his struggle to maintain the Majestic Theatre's role in facilitating live theatre. Belle, on the other hand, volunteered to direct plays for the Lethbridge high school and for the Lethbridge Anglican Mission. St. Augustine's Anglican Church benefitted from their strong religious commitment. In addition, Ernest directed both the St. Augustine's Senior Choir and the church's Boys' Choir for several years. What a tremendous loss the City of Lethbridge suffered when the Sterndale Bennetts moved to Toronto. Playgoers acknowledged its debt to the Sterndale Bennetts at its 1933 Annual General Meeting by honoring them with life memberships.⁹¹

What specifically was it that attracted the Sterndale Bennetts to Toronto? Actually, there were a number of good reasons for the move. Muriel was a promising young piano student, so direct contact with the Toronto Conservatory was considered to be beneficial. Belle suffered from rather acute diabetes, and Toronto, the home of Drs. Banting and Best, gave promise of superior medical treatment. But probably the most compelling reason was the employment offer extended to Ernest and Belle by the T. Eaton Company, especially since business at the Lethbridge Iron Works had slowed down considerably because of the Depression. The Eaton Recreation Department, under the supervision of Frank Rostance (R.Y. Eaton's personal secretary, and incidentally, a very fine actor) had recently organized the Eaton Dramatic Club for company employees. When the group began to search for a director, the name of Sterndale Bennett came to mind, especially since he came highly recommended by Vincent Massey, who had developed great respect for him in the deliberations relating to the establishment of the DDF. Consequently, Sterndale Bennett was hired as director; Belle Sterndale Bennett was named co-director.

The first formal presentation of the club (four one act plays) took place in the Margaret Eaton Hall (McGill Street) on 10 October 1933. Shortly thereafter, the club was renamed The Toronto Masquers Club.⁹² As full time directors of this club, the Sterndale Bennetts would have ample opportunity to express their ideas about play selection and presentation more completely than they did while participating in community theatre. Nevertheless, their lengthy theatrical apprenticeship in western Canada prepared them well to meet the expectations of more cosmopolitan audiences and sophisticated critics in Toronto. The following criticisms help to support the latter contention:

It would seem to be the purpose of the Toronto Masquers, under the able direction of Mr. and Mrs. Sterndale Bennett, to do unusual plays of worth. For their avoidance of the trite in the theatre they are to be commended ....⁹³
Mr. Sterndale Bennett is one of the best directors of amateur productions in Canada. His one-act plays at the annual Drama Festivals are invariably good, so good that it has become a habit with discerning critics to watch for them eagerly. This means that he has set a very high standard, both for himself to maintain and for the reviewer to keep in mind.⁹⁴
The Toronto Masquers under the direction of E.G. Sterndale Bennett maintained their reputation for high achievement in the realm of the Little Theatre in their presentation last night of Sydney Howard's 'The Silver Cord'. . . . Many professional plays that have appeared at the Royal Alexandra have not begun to measure up to the standard of the work of the Toronto Masquers last night.⁹⁵

NOTES

I express my sincere appreciation to the following members of the Sterndale Bennett family for their kindness to me in providing information and historical materials which have been essential to the development of this article: Michael Sterndale Bennett (in memoriam), Muriel Ritchie, Paddy Jury, and John Sterndale Bennett. Appreciation is also extended to Ted Giles, President, Detselig Enterprises Ltd., for granting permission to use some excerpts from my forthcoming book, Theatre Lethbridge

1 Letter to Sterndale Bennett from L. Bullock Webster, Honorary Organizing Secretary, British Columbia Drama Festival Association, Inc.
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2 In 1907, while a fellow at King's College, London, James R. Sterndale Bennett, M.A., authored a very thorough and carefully documented biography of his father (The Life of William Sterndale Bennett (1816-1875), Cambridge:Cambridge University Press, 1907)
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3 Letter to Muriel (Sterndale Bennett) Ritchie, 13 November 1986. Thomas's daughter, Joan Sterndale Bennett, took formal dramatic training at the Royal Academy of Dramatic Art and then joined the Players Theatre at Covent Garden. She was a core member of the Players Club for many years thereafter (seeSheridan, Paul, Late and Early Joys at the Players Theatre. London: T.V.Boardman and Co. Ltd., 1952)
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4 William Sterndale Bennett was recognized as one of the foremost English musicians of the 19th century. In addition to the esteem which he garnered in England, he achieved great respect in Germany where he was particularly praised by Felix Mendelssohn and Robert Schumann. In 1971 William was knighted.
Following his death in 1875, Sir William's body was entombed in Westminster Abbey. William and his wife, Mary, had three children: Charles, James R., and Elizabeth
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5 All of Sterndale Bennett's direct quotations throughout this article are taken from his personal papers which are in the possession of George Mann
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6 Brockett, Oscar G. History of the Theatre. Boston: Allyn and Bacon, Inc. 1987, 514
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7 Letter: 'To Whom It May Concern:' J. Chalmers, M.E.I.C., John Quinlan and Company, General Contractors, West Mount, P.Q.
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8 Personal letter to George Mann from Muriel Ritchie
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9 Moose Jaw Evening 7-imes, 28 February 1911
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10 The initial executive of the Green Room Club was composed of: W.B.Willoughby (Honorary President), E.M. Saunders (Honorary Vice President),John Backus (President and Director), E.G. Sterndale Bennett (Vice President),L.C.U. Burt (Secretary-Treasurer), James H. Drynan (Stage Manager) and H. Gabb (Assistant Stage Manager). See: Programme: Complimentary Banquet in Honor of Mr. Edward Terry, courtesy Moose Jaw Public Library
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11 Moose Jaw Evening Times, 24 August 1912
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12 Sterndale Bennett's personal papers report that the City Hall Theatre had been closed for some time before the Green Room Club was organized
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13 Moose Jaw Evening Times, 2 May 1911
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14 Ibid, 27 April 1911
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15 Ibid, 13 February 1912
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16 lbid, 13 February 1912
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17 Ibid, 3 September 1912
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18 Ibid, 21 August 1912; 7 September 1912
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19 Sterndale Bennett also directed this scene for the Playgoers of Lethbridge as their 1930 entry in the Alberta League Festival in which Ernest portrayed Charles Surface and Belle took the role of Lady Teazle
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20 Moose Jaw Evening Times, 1 September 1912
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21 The Kingston Whig-Standard, 25 February 1933
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22 The City Hall Theatre closed following the presentation of A Contented Woman by the Allen Players: Moose Jaw Evening Times, 2 December 1912
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23 Moose Jaw Evening Times, 21 February 1914; 10 October 1913. The Majestic Theatre, under the management of Charles E. Ellis, was now the major venue for live theatre
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24 Ibid, 14 April 1914
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25 Ibid, 23 February 1914
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26 Ibid, 21 February 1914
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27 Ibid, 14 April 1914
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28 Ibid, 3 November 1914
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29 Ibid, 2 February 1915
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30 Ibid, 2 March 1915
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31 Ibid, 27 March 1915; see also 20 April 1918: Following the presentation of Gems From Operettas performed by the local Beethoven Society, 29, 30 April 1918, the city's lease came due; the Merchants Bank of Canada decided to demolish the old church
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32 D.C. Dow had previously portrayed Jack Temple in Miss Temple's Telegram
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33 Moose Jaw Evening Times, 30 March 1915; Also, E.G. Sterndale Bennett's personal papers
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34 Local resident companies included: The Winnipeg Stock Company with Della Pringle and the Majestic Stock Company with Miss Vane Calvert, Edward Hearn, Fred Contaway, and William Yule [previously the Permanent Players of Edmonton (MJET, 7 January 1915)]. Local amateur companies included: 1) Neopolitan Opera Company of Moose Jaw, which presented: Yeoman of the Guards with H. Gabb and Sidney Bennett, 13-15 December 1915; The Gondoliers, 14-16 December 1916; 2) Beethoven Choir Society: Pirates of Penzance, 17-19 May 1917; San Toy, 20-23 February, 7 March 1918; 3) Garrick Players directed by Percy Douglas and J.T. Westby:Our Boys, 14, 15 October 1915; The American Bride, 14, 15 February 1917;Green Stockings, 21 January 1918; 4) Lyceum Drama Club with president ,Sidney Bennett, and stage director, James A. Dryman: Mice and Men, 17 October 1917
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35 Moose Jaw Evening Times, 6 November 1917
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36 Ibid, 21 February 1918
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37 Ibid, 22 February 1918
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38 Ibid, 8 March 1918
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39 Medicine Hat Daily News, 17 February 1920; also, letter to G. Mann from Muriel Ritchie
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40 Ibid, 24June 1918
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41 Ibid, 14 September 1917
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42 Ibid, 27 March 1918. The Strollers were founded in the winter 1918
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43 Ibid, 22 January 1921
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44 Ibid, 21 January 1921
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45 Productions of the Medicine Hat Operatic Society included: Tom Jones by Edward German, December 1916; Erminie by Jacobowski, December 1917; San Toy by Sidney Jones, December 1919; Chimes of Normandy by Planquette, December 1920
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46 Based on stories by E.W. Homing
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47 Medicine Hat Daily News, 24 January 1921
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48 Ibid, 27 January 1921
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49 Ibid, 2 February 1921
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50 Ibid
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51 Ibid, 24 January 1921
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52 Ibid, 2 February 1921
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53 Ibid, 21 February 1921
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54 Interview: George Mann with Muriel Ritchie
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55 Lethbridge Herald, 13 December 1921
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56 Ibid, 2 April 1918
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57 Ibid, 9 March 1922. Cocq was the first Lethbridge drama critic to be given a byline
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58 Ibid, 12 December 1922
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59 Ibid, 22 January 1923
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60 Ibid, 16 February 1923
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61 The apostrophe in Playgoers' Club was dropped in the original constitution
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62 Ibid, 10 April 1923
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63 Ibid.
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64 Ibid, 4 December 1923
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65 Ibid, 3 April 1923
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66 Ibid, 27 September 1927
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67 Ibid, 26 March 1927
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68 Ibid, 30 May 1930
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69 Edmonton Journal, 23 February 1931
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70 Calgary Herald, 14 February 1930
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71 Ibid, 23 February 1931
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72 Edmonton Journal, 22 February 1932
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73 Lethbridge Herald, 7 February 1924
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74 Ibid, 9 October 1928
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75 Ibid, 1 November 1924
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76 Ibid, 27 April 1929
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77 Gardner, David. 'Little Theatre and Amateur Theatre' in Benson, Eugene and L.W. Conolly, The Oxford Companion to Canadian Theatre. Toronto: Oxford University Press, 1989, p 308
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78 Lethbridge Herald, I February 1930
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79 Toronto Globe, 12 April 1930; Alberta Dramatic League Festival programs, 1930,1931,1932
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80 Sterndale Bennett's personal papers
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81 The Alberta Dramatic League, Souvenir Program, Ist Annual Dramatic Festival
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82 Lethbridge Herald, 1 November 1932; 4 November 1932
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83 Ibid, 31 October 1932
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84 Playgoers archives: letter to Sterndale Bennett from H.C. Osborne (Honorary Director, DDF) dated 2 November 1932
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85 Lethbridge Herald, 12 June 1931
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86 Calgary Albertan, 18 February 1932; Lethbridge Herald, 18 February 1932
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87 Sterndale Bennett's personal papers, Playgoers' archives. Ist prize was awarded to Tragedy for Priapus, a three act play by Archibald F. Key of Drumheller, whereas, 2nd prize went to Exovede (one act) by D'Arcy Marsh of Calgary
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88 Lethbridge Herald, 6 June 1923
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89 Ibid, 28 April 1924
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90 Ibid, 31 January 1928
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91 Letter to E.G. Sterndale Bennett from J. Rosewam, Secretary, Playgoers Club of Lethbridge dated 22 August 1933: Playgoers Scrapbooks
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92 Sterndale Bennett's personal papers: programmes, newspaper clippings and personal notes; The Mail and Empire, 13 October 1933; The Globe, 13 October 1933; 8 November 1933; The Evening Telegram, 8 December 1933; Daily Star,13 October 1933, 4 December 1933; Interviews by George Mann with: Robert Christie, Olive (Williams) Cranston, Georgie (Blair) Lewis
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93 The Telegram (Toronto), 10 February 1934
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94 Piper, Nancy. 'Among the Amateurs,' Saturday Night, 20 November 1937
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95 Craig, Thelma. 'Professional Theatre Standards Satisfied by Masquers'Offering,' The Globe and Mail, 17 March 1939
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Appendix A

Theatrical Productions: The Green Room Players

Moose Jaw, Saskatchewan

(1911-1917)

* CH: City Hall Theatre
MT: Majestic Theatre
CA: City Auditorium

Appendix B

Major Productions: Lethbridge Playgoers

Majestic Theatre (1923-1930)

Director: Ernest G. Sterndale Bennet

* M= Musical or Operetta
P = Play of 2 or more acts
F = Festival presentation: 1^st Alberta Dramatic League Provincial Festival
** = Belle also portrayed this role in the Medicine Hat Production (1921)