A PUBLICATION OF THE ALLIED ARTS COUNCIL OF LETHBRIDGE (AAC)

ARTS BRIDGE

artslethbridge.org Advancing the Arts in Lethbridge

ArtStage an evening’sengagement

with the arts

to its 2009 fundraising eventthe allie

d arts

council of lethbridge invites you

Funds raised will allow the AAC to continue its active services to advance the arts for the benefit of the community

Video Installation

Visual Artist

Choreographer

Actor

Singer/Songwriter

Contemporary Indigenous Dance

Contemporary Music Ensemble

Author

Classical/Contemporary

David Hoffos

Brent Laycock

Claire Lint

Sheila Matson

Trevor Panzak

Red Star Woman & a Whirlwind Warrior

David Renter

Fred Stenson

The 5 Singing Guys

saturday 31 january 2009yates memorial centre8pm curtain$50/person available at ticket centre (403.329.SEAT)

Fill your Christmas stockings with ArtStage!

directors message

318 . 7 Street South

Lethbridge, AB T1J 2G2

T: 403.320.0555 F: 403.320.2450

info@artslethbridge.org

www.artslethbridge.org

AdministrationSuzanne LintExecutive Director

Teresa TernesSpecial Events

Jana MacKenzieOffice Services & Finance

Programming

Claire McNabEducation Services & Facility Services

Darcy LoganGallery Services

Board of Directors

PRESIDENT Barb Cunningham

VICE PRESIDENT Ron Brown

TREASURER Mike Thiel

SECRETARY Elizabeth Songer

DIRECTORSChristopher Babits Carolla Christie

Shirley DeBow Rick Gillis

Tyler Gschaid Kathy Lewis

Martin Oordt Les Ostrowski

Ian Randell Kim Siever

Gloria Torrance

ARTSBRIDGE ISSUE 3 November 2008

PublisherThe Allied Arts Council of Lethbridge

Managing EditorLaura Kenwood

Design & ProductionMaya Ichikawa

Cover Photography courtesy of The Galt Museum & Archives

PrinterUniversity of Lethbridge Print Services

DistributorsThe Allied Arts Council of LethbridgeThe Lethbridge HeraldCity of Lethbridge, Community Services

For additional copies contact the AAC office

No part of this publication may be reproduced without the written consent of the publisher.

As I sit to write this piece, my family has been enjoying our annual Thanksgiving visit replete with traditional culinary fare and among my relations, that means turkey and cranberry sauce. This year – horror of horrors - someone suggested that we might consider preparing ham and scalloped potatoes. It is questionable whether that family member will be seated at next year’s table.

What’s interesting about this little ditty is that it is about our rhythms, our patterns of life which are part and parcel of all sorts of imprints received from family, friends and our cultural surroundings. When we cultivate challenges to look at our surroundings with a fresh focus, we measure our own circle of influence with those of equal worth and assertiveness.

In this its 50th anniversary year, the AAC has taken its remarkable legacy and moved assertively into its future by melding yesterday’s traditions with tomorrow’s poise. Those 50 years articulated the arts’ worthiness in Lethbridge. Our mandate was met and exceeded then, just as we are succeeding today. Today, the support cultivated by the AAC equates to a fresh energy for the arts within our immediate community, and as a clearly stated calling card to our new supporters in Lethbridge’s growing community.

In ArtsBridge Issue 3 we proudly unveil our 2009 fundraising event titled ArtsStage. Scheduled for Saturday 31 January 2009, this innovative production at the Yates Memorial Centre features artists from various artistic disciplines who, have each, called Lethbridge and southern Alberta home. The first 50 years of the AAC established the fine arts legacy in Lethbridge and on January 31st 2009, ArtStage will pay homage to that legacy.

On the cover of this ArtsBridge we feature images of but a few of Lethbridge’s true arts pioneers. It was through the invaluable assistance of Greg Ellis, Archivist with the Galt Museum & Archives, that we were able to do so. As well, Greg provided Issue 3 with an account of the fascinating history of the Chautauqua in his piece titled “Chautauqua: How the World Came to Southern Alberta.” A second

article was generously submitted by Bryan Tyson, he of such beautifully carved descriptions about theatre in Lethbridge. His piece titled “The Well-Trod Stage” is a tremendous reminder of the bounty of talent that has been borne on our stages. And our third piece by Ted Stilson, Executive Director of the Lethbridge BRZ, describes Lethbridge’s newest piece of public art created by artist Carl Granzow who dedicated it to the 16 AAC founding members.

I recently came across a quote by Jeffery Spalding, CEO and President of Calgary’s Glenbow Museum. Spalding, who was referring to a group of photographs, provided this insight: “Look openly at a scene, find something compelling and fixate on it. Then turn your back to it and focus on that which you missed. That is the only way to defy convention.” And that is exactly what the AAC wants you to do. We want you to tap into that fresh energy in our arts community and find your own circle of influence where your enjoyment of the arts enables us to count you as our newest supporter.

AAC’s 50th Anniversary allowed us to look back. It’s given you reason to look forward to everything that the arts in Lethbridge have in store for you.

Suzanne LintExecutive Director

Carl Granzow, Christopher Babits and Suzanne Lint look on as Granzow’s sculpture is installed downtown.

According to the entry at www.wikipedia.com, “The first Chautauqua, the New York Chautauqua Assembly, was organized in 1874 by Methodist minister John Heyl Vincent and businessman Lewis Miller at a campsite on the shores of Chautauqua Lake in New York State. Two years earlier, Vincent, editor of the Sunday School Journal, had begun to train Sunday school teachers in an outdoor summer school format. The gatherings grew in popularity. The organization founded by Vincent and Miller later became known as the Chautauqua Institution.”

Lethbridge has the distinction of being the first community in Canada to host a Chautauqua. The man behind the drive to bring Chautauqua was local lawyer Samuel S. Dunham. Originally from the United States, Dunham was well acquainted with Chautauqua. Dunham’s enthusiasm is evident in an article he wrote for The Lethbridge Daily Herald that appeared in the 27 July 1917 issue. Excerpts of his article follow.

“In our feeble way we have endeavored to give some general idea of the Chautauqua. Reports from other points of this year’s program that is to be at Lethbridge is very flattering … I take it that all have been convinced that the Chautauqua is a good thing even if you do not yet know from experience what it is.”

“If a town of 200 people can secure an average attendance of 1,000, Lethbridge should have an average attendance of at least 3,000, and arrangements should be made so that the seating capacity could be readily increased to that number. All of this comes under Mayor [William Duncan Livingstone] Hardie’s committee. It is time for the committees to begin to think and work.”

“And what of an entertainment committee? Some very noted talent will visit Lethbridge during the Chautauqua. Persons who are experts in their line, speakers, musicians, reciters, not of the ordinary vaudeville character, but of the world’s best and most talented men and women. Should not the different organizations show some consideration to this fact and in return get some benefit from these noted characters, every courtesy paid to these talented people will be returned to us multiplied by a hundredfold, even if we figure it on the low grounds of dollars and cents. Are we alive on this question?”

Sam Dunham’s appeal paid off, and the performance at Lethbridge was a resounding success. Among the performers featured were the Chautauqua Orchestra, Waikiki Hawaiian Quintet, community builder J.C. Herbsman, The Treble Clef Club, The Comus Players in ‘Carson of the North Woods’, orator W.J. Hindley, soprano soloist Olive McCormick, the Scotch Concert Party, orator J. Sherman Wallace, impersonator S. Platt Jones, scientist Dr. A.D. Carpenter, French Canadian story teller Francis Labadie, war lecturer Ada L. Ward, cartoonist and entertainer Marion Ballou Fisk, and junior supervior Mary F. Stout. The Chautauqua ran in the Eckstrom Auditorium on the Lethbridge Exhibition grounds from 7 – 13 August 1917. Adult tickets sold for $2.50 each, a hefty price given that at the same time, cherries from British Columbia were selling for $3.25 a crate and ladies’ trimmed [decorated] hats were from $1.00 to $3.00 each.

Over the next two decade, Chautauqua became an entertainment staple throughout southern Alberta. By 1922 the Exhibition Grounds had been replaced by a site at the corner of 5 Avenue and 7 Street South where the Chautauqua tent went up every summer when the show came to Lethbridge. In addition, The Lethbridge Herald regularly carried reports of Chautauquas in Grassy Lake, Cardston, Magrath, Taber, and many other towns in the region. The formula was always the same; a mixture of educational speakers, theatrical performances, political and religious commentary overlaid with lots of music of various styles. The message to Lethbridgians encouraging them to support Chautauqua was consistent as well. On 17 June 1922 the chairman of the local arrangements committee was quoted in The Lethbridge Herald. “Why support the Chautauqua? Every citizen should take a real live interest in the Chautauqua because of the limitless returns. It pays in incalculable values the greatest dividends. We are much concerned over the condition of the crops of the field and are doing all that seems reasonably possible to save them from pests and drouth [sic], but what of the most precious growth, that of the rising generation? The children, the girls and boys who will make the future citizens should receive the impressions that will be best calculated to reach great heights.”

“The Chautauqua brings the great statesmen, the great writers, the great reformers, great scientists, great orators of the pulpit, great musicians, great teachers – all of the great leaders of the age. Right to our doors they come with a message of

CHAUTAUQUA: How the World Came to Southern Alberta

Chautauqua was an educational and entertainment phenomenom that swept across North America from the 1870s to the 1930s. 0ARTS

8DIR0ECT9ORY

0ARTS 8DIR0ECT9ORY

Now available at the AAC office

THE WELL-TROD STAGE

Chautauqua continued encouragement, uplift and education. They leave the spirit thatinspires one to great attainment. The children should be there with the grown-ups to partake of its refining influence. Parents and educators should recognize this as a potent means for moral, ethical and intellectual education.”

The anonymous chairman of 1922 went straight to the heart of why Chautauqua was so popular. In an era when travel for tourism and self-improvement was still beyond the means of most people, Chautauqua brought the world to their doorsteps. Chautauqua was entertainment and information presented in an immediate, exciting manner that newspapers, magazines and letters from friends and family could not duplicate.

As the years passed, however, Chautauqua was in turn supplanted by new forms of entertainment and education. Movies and the radio came into their own beginning in the 1920s. They were available year-round, were generally cheaper and provided the same sense of immediacy and direct connection to the world as Chautauqua. Locally, radio station CJOC was started by John Ender (Jock) Palmer in 1927, and by 1930 movies with sound were playing in local theatres. By the mid 1930s, radio and the movies had proved too much competition for Chautauqua, which faded into southern Alberta history by the beginning of World War II.

Greg Ellis is the Archivist at The Galt Museum & Archives

Is it the dramatic landscape (flat prairie, rearing suddenly into Rocky Mountains), the swiftly-changing scene (if you don’t like the weather, wait a minute), or, more prosaically, our distance from large cultural centres, that causes the small city of Lethbridge to produce such a disproportionately large number of playwrights, plays and players? Over thirty years ago, asked to address the topic of local theatre, I spoke of pioneers holding up hopeful candles in the dark. But even then, some of those pioneers had been holding their candles for a long time. I myself have had the privilege of working with such inspirational figures as Joan Waterfield, the Baylys (Ed and Linda) the Manns (George and Nellie), whose creative genius put Lethbridge on the theatrical map when its population was half what it is now. Playgoers, founded in 1923, and thus, the longest running amateur group in Canada (yes, that’s right, in Canada); and Lethbridge Musical Theatre, established forty years later, assisted by Murray Robison’s Coaldale Little Theatre and Muriel Jolliffe’s annual pantomime, were already keeping Southern Alberta entertained when, in 1967, the prairie wind, unable to extinguish those early flames, blew open the doors of the University of Lethbridge for the first time.

But the University brought about exponential changes. My own first few steps in starting the University of Lethbridge Dramatic Society (whose misleading initials brought a crowd of Latter-Day-Saints to the first meeting) were swiftly succeeded by the establishment of a Department of Dramatic Arts in 1971. Its charismatic founder, David Spinks has left his name on the experimental theatre, part of the Performing Arts Centre opened by Peter Ustinov and guitarist Leona Boyd in 1981, just as an earlier pioneer, Ernest Sterndale Bennett, founder of the Lethbridge Playgoers, bequeathed his name to a new little theatre adjacent to the Yates in 1990.

work, a Christmas special and a children’s Christmas play. Lethbridge Musical Theatre annually presents a mainstream musical.

But a better answer is that the drama groups have a symbiotic relationship with one another. There is more a spirit of co-operation than of competition, among the groups. They share playhouses. They share musicians. They share backstage staff. And they share audiences. And certainly I, as reviewer for the Herald, rarely find conflicting first nights. After all, though the quality is high, there are still only about fifteen productions per year presented in Lethbridge. Assuming that a playgoer goes to each play only once, there still remain three hundred and fifty days out of the year when he or she will not be able to attend live theatre at all!

And still the local theatrical scene is expanding, helping to keep standards high. LMT, still presenting its yearly musicals, has been joined by the Lethbridge Symphony which regularly presents a concert version of a less well known musical; while operatic performances from the Department of Music’s opera workshop are beginning to join those of musical theatre. Next month, the University will present a children’s play (Roald Dahl’s The BFG ), while the memory of New West’s Munschapalooza is still fresh in the minds of its young audience. Thus, lucky children in Lethbridge have been able to see two live plays this season, instead of one.

For remember, live theatre, at its finest, is a criticism of life: it is communal, collaborative, and immediate. The more children are exposed to it, the more likely they are to understand the human condition. Moreover, the more likely they themselves are to pursue drama at high school, perhaps at university, and--who knows--bring their talents back to further civilise the already lively play-producing community of Lethbridge.

More importantly, over the years, a steady procession of graduates has left the Drama Department, to become professional directors and actors on stage, TV, and film. They frequently return to share their talents with local groups. To name a few, I think of Morgan Gadd, currently directing the Millsap Players in Jackson Mississippi, David Mann, who is currently managing a theatre in Coquitlam, Jordana Kohn, who went on to further acting training in New York, and has impressive credits in Calgary theatre; of Karen Bernstein, the voice of Sailor Mercury in Sailor Moon, and of Kari Matchett, who was in the film Men with Brooms in 2002, and the TV Series ER, and who received a Gemini Award for Best Actress in TV’s Blue Murder.

Lethbridge is quite famous for its playwrights, too. Bill Fruett (Wedding in White ) was born here, as was Gordon Pengilly (author of Seeds). Others have carried out much of their writing in the city, like Richard Epp, whose remarkable play Intimate Admiration was produced at the Stratford Shakespearean Festival in the 1980’s, starring John Neville. Some playwrights, like Warren Graves, finally settled (and died) here. But each year sees the arrival of new dramatists like Andrew Torry, Jeremy Mason (now author of a dozen plays) and Nicholas Hanson.

The University actually gave birth to a professional theatre troupe, New West Theatre which, like Minerva from the brow of Jupiter, sprang fully-armed into the city’s theatrical scene, to become the only professional theatre south of Calgary and east of the Rockies. Its founding artistic director, Brian Parkinson has now thrown the torch to Nick Hanson, who plans, among other things, to join the Professional Association of Canadian Theatres, so that New West can connect (and learn from) professional theatres in Canada, and consolidate its base by a patron loyalty programme with season tickets, and social functions.

Over time, consistently high standards and dedication from all areas of theatre have generated enthusiastic audiences, and a pride in the Lethbridge community. But here a question arises. How well do these groups coexist? Do they not tread upon one another’s toes? Are they not all competing for the same audience? One answer is that each theatrical group has--without apparently planning to-- established a niche, presenting its own strength. Playgoers, for example, is the only group in town offering dinner theatre, and usually a light comedy--sometimes a farce--annually. The University tends to choose plays from the classical and international repertoire, experimental work, or new Canadian plays. New West Theatre has traditionally presented two summer musical revues a year, when the other groups are “resting,” plus a new Canadian

Brian Tyson is a local arts educator, playwright, performer and director, who reviews live theatre for The Lethbridge Herald

The steel bands are engraved with the names of the original 16 member organizations of the AAC. The 17th band displays these words by cultural anthropologist Margaret Mead, “Never doubt that a small group of thoughtful, committed citizens can change the world. Indeed, it is the only thing that ever has.”

These poignant words reflect the impact of the AAC and the importance of the arts to the individual and the community.

The AAC believes that the sculpture will not only provide a permanent and significant monument to the AAC 50th Anniversary, but also supports the policy of downtown beautification through the installation of public art.

The piece was fabricated by Charlton and Hill and was donated to the City of Lethbridge by the artist. Over time and with ongoing exposure to the elements, the sculpture will darken in color. On your next visit to the downtown,take some time to check out this impressive sculpture and read the inscriptions. It has been designed to rotate on its axis, so make sure to give it a spin.

A new kinetic sculpture by local artist Carl Granzow, entitled ‘Sphere of Social Consensus and

Influence’, has been installed on 7th Street

between 3rd and 4th Avenue. The object, a

65”steel sphere banded by plates of stainless

steel, is the materialization of a 50-year history

of the Allied Arts Council’s role in Lethbridge.

Ted Stilson is the Executive Director of the Downtown Lethbridge Business Revitalization Zone

THE AAC RECOGNIZES THE FOLLOWING CONTRIBUTORS:

Lethbridge Community FoundationCarl GranzowCharlton & HillThe City of Lethbridge

Barrie Broughton Prof. CorpBarbara CunninghamRobert CroskeryAmy & Rajko DodicG. Wayne Dwornik

John FisherAli GolbabaiBarb GoodmanGeri HeckerRobert HironakaMorris KatzMariette JacobsonIke & Diana LanierLethbridge Handicraft GuildLethbridge Photography Club Lethbridge Registered Music TeachersLethbridge Symphony Womens’ League

Ken & Kathy LewisSuzanne LintGeorge B. Lomas Prof. CorpD.C. LundBirthe PerryPlaygoers of LethbridgeDeb RakosIan RandellElizabeth SongerMike ThielJim & Grace ThirdKathryn & Ron Yoshida

Imag

es p

rovi

ded

by C

arl G

ranz

ow;

Ted

Sti

lson

, E

xecu

tive

Dir

ecto

r, Le

thbr

idge

BR

Z; G

eorg

e K

uhl,

‘Hea

rt o

f O

ur C

ity’

P

roje

ct M

anag

er,

Cit

y of

Let

hbri

dge

“The sphere’s assertive

presence reiterates the

determination of the numerous

creative organizations that

banded together to promote

the value of the arts in society.

This banding formed a ‘sphere

of influence’ that motivated

creative human beings to

advance the quality to life in

our community.”

Carl Granzow

March 2008

October 2008

An Open Letter to AAC Members

A wonderful irony exists between what your working life entails and how those efforts are received. At Global Lethbridge Television we realize part of our mandate is to reflect what happens in the community. From Mark Campbell to Elisha Rasmussen, the coverage provided by Global presents our viewers with every reason to get involved with the arts. And as one of the three 2008 AACE Award recipients, our team at Global Lethbridge is very proud to be involved in Lethbridge’s vibrant arts scene.

At this year’s Mayor’s Luncheon for Business and the Arts, Global Lethbridge was recognized by virtue of a nomination from the Lethbridge Symphony Association (LSA). Our working relationship with the LSA began with a simple telephone call. And since 2004 we have experienced a great satisfaction in knowing that through our assistance the LSA has flourished with the support of the legion of symphonic patrons who people its performances at the Yates Memorial Centre and elsewhere. At this year’s Whoop-Up Days, Global was a proud sponsor of the Hoedown Showdown which was roundly received by an appreciative crowd at Exhibition Grounds.

Ours is a service-based business, and not unlike the AAC we provide opportunities to develop and strengthen audiences, in this case, on behalf of the arts community. Through taking time to participate in the Mayor’s Luncheon/AACE Awards nominations, the LSA redirected its public spotlight to Global Lethbridge. Without question, this is a win/win program.

I hope you receive this thanks from myself and my colleagues at Global Lethbridge for your individual and organizational member support of the AAC. You are so fortunate to have access to the AACE Awards nominating process whereby your invaluable arts patrons can be recognized for their assistance in your accomplishments. It’s your chance to turn the spotlight and make your arts supporters as proud as we are here at Global.

Sincerely, Peter DeysNews Director/Station ManagerGlobal Lethbridge

Deys with Mayor Tarleck and (right) with Kendall Gibson

2008 recipients: Global TV (business), Minda Rogerson (individual), Kiwanis Club of Lethbridge (service organization)

AACE Award designed by Susan Gottseligph

otos

: G

. W

ayne

Dw

orni

k

NEW & RENEWED MEMBERSHIPS 07.01.08 > 10.15.08

Individual Palmer & Lise Acheson Roy Adachi Robert Armstrong George Arsene Mike Byneshewsky Sarah Christensen Sarah Clark Donna Crawford Dorothy Durksen Lloyd Flaig Ethel Gammon Ali Golbabai Linda Horner Sylvia Klassen Marie Estelle Lanier Colleen Larson Maria Madacky Anna Madsen Irma Malkas Jeff McLarty Jill McNally Tad Mitsui & Muriel Mellow Bev Muendel-AtherstoneRose Primachuk Charlie Scott Sharon SimmersKylee Sorensen Leeroy Stagger Jim & Grace Third Bob WebbRon & Kathryn Yoshida Josh Zak

Allied Avanti Choral Association Chinook Woodturning GuildEmpress Theatre Society Galt Museum & ArchivesLethbridge Public Library Most Vocal Poets SocietySt. Patrick’s Fine Arts School Troyanda Ukrainian Dance ClubU of L Conservatory of Music U of L Faculty of Fine ArtsWinter Roots & Blues Festival

Associate Classique Dancewear Drama Nutz ProductionsThe Elf and Toadstool Everybody, ACT NATURAL Expressions Dance Grant Real Estate – Re/Max Henriette Plas Photography Lethbridge Herald Lethbridge Shelter & Resource Centre

Lifetime Doris Balcovske Van Christou Karen Kay Clare Malmberg

The Allied Arts Council of Lethbridge is a registered non-profit organization operating on behalf of its membership and the public-at-large. The Allied Arts Council of Lethbridge provides leadership in advancing the arts in Lethbridge and conducts its business and related activities with two primary goals: (1) to

provide its membership with broad access to new publics and (2) to provide new publics with on-going, uninterrupted access to its membership. The

organization is supported by its members, corporate and private donations and annual fundraising activities. Support is gratefully received from:

CONTACT THE AAC OFFICE FOR A LIST OF BENEFITS & FURTHER INFORMATION

O NEW MEMBER O RENEWAL

Name ___________________________________________

Business (if applicable) _______________________________

Address _____________________________________________

_______________________ City ______________________

Province _______________ Postal Code _________________

Telephone ___________________________________________

Facsimile ___________________________________________

Email ______________________________________________

Website ___________________________________________

o Associate $50.00

o Allied Organization $50.00

o Artist $15.00

o Friend to the AAC $15.00

o Family Friend to the AAC $25.00

o Other (Donation)

Donations are tax deductibleCheques are payable to the Allied Arts Council of Lethbridge

CREDIT CARD INFORMATION

o Visa o Mastercard

Total Donation and/or Membership amount ______________

Card # ______________________________________________

Expiry Date _________________________________________

Signature ___________________________________________

o I am interested in becoming an AAC volunteer Please send me an application

support the arts AAC membership

P.J. Collins outfitting Bennie Lee preparing him for his Civil Defense duties (1956)

Joan Waterfield and Mary Gazettas at the Bowman Art Centre (1970)

The Lethbridge Symphony Orchestra with conductor Albert Rodunsky, Civic Centre (1962)

David Horton Elton Mayor, 1935 -1943

below:George Mann (1986)

Jessie Ursenbach (1965)

C. Malmberg (1966)

Edward F. “Ted” Hagell(c. 1945 - 1963)

S. Evangeline Warren Author (1974)

Muriel Joliffe Dance Instructor (1982)

Lethbridge Junior Band member and Frank Hosek (director) accepting a cheque “Money Grown On Trees” from an unidentified man (1959)

E. Gushel (1980)

Mike Pisko (1953)

Ed Bayley, manager of the Yates Memorial Centre, preparing paintings for a display at the Yates (1966)

Howard Cable (2002)

Cliff Black buying the first symphony concert ticket (1966)

Front cover, 1 row: Van Christou (right) (1958) . George Robins (1962) . Ed Albert (left) and A. B. Chervinski, YMCA’s Theatre Group ( c. 1946) . Elaine Harrison (1976)2 row: Mrs. W. A. Nelson (1961) . Doris Balcovske (2008, Plas) . Anne Campbell (1966) . Bob Cook (c. 1990’s) . AAC Secretary Carol Watkinson & Manager Joan Waterfield (1971)3 row: Red Cross Society representative making a presentation to Chris Gibson and his daughter Mrs. Doris Balcovske (1963) . The Traveller’s Aid society on the occasion of the burning of the mortgage: Mrs. H. W. Meech (President), Miss E. F. Kirk, Mrs. Tom Firars, Mrs. R. Harper, Mrs. Ino Craig, Mrs. Mabel Roy, Mrs. J. S. MacEachern, Mrs. R. Lindsay, Ms M. Masson, Mrs. R. E. Allison, Mrs. D. P. Dawson, Mrs. J. Shippobotham, Mrs. C. C. Simpson, Mrs. Gordon Ross, Mrs. Clara King and Mrs. J. Bruce (Matron) (1939) . Don Frache (1962)4 row: Roloff Beny (1981) . A. B. Chervinski, Sportsman of the Year Club winner for cribbage (no date) . Frank Hosek, director of the Lethbridge Kiwanis Band and Alan Wilson, tuba (1962) . Genevieve Easton Yates (c. 1910 - 1920)5 row: P. McGeorge (1986) . Chris Gibson, E. Stringam & Mrs. R. M. Galvan, John Howard Society (1952) . Lethbridge Playgoers director Dick Mells (far right) (1963)