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aged four, and DicIC, aged seveni. Helen Buelli lula gamninesque red-head, sllm and, quick and JoUly. Heir v oie.e is. interesting, husky in conversation and individuel on' the stage. Glen- coe and the North Shore has had opportunity to juidge her volce and her acting since her alight- ing in ournmidst. Even though a newcomer, she. inged it the a tivities of the* Tres odPlayers (Glencoe) ,at once and since last spring bas- acted in one play and directed another. "Tovarich" last fall gave her a grand.chance wlth a difficuit and 1elghfu rle'as the Rus sian. duchess. AuthefltlC Accent Trhat French accent of bers was s0 intriguiflg- to use a word that has been banned so long it mnust be coming back nôw - that I was prompted to inquire how she han- died it so weU. . Bie1says.,ac- cents are easy enough, just ear and practice, but bers is quite authentic. After graduation fromn the Univer- s Ity of Wsconsinl she spent a year at a Paris lycee, and it was such fun to mimic the French girls try- ing to talk English that she laid in quite a stock of accent. The interview skipped around quite a bit, on account of the smnall fr51 coming to pay their respects or "Change" Rer Vélce These details came out, littie by littie. Most ofthe time- we talked voice production, chiefiy because 1, am very interested in the subject:and- wished to garner more.infoirmation. Mrs. ,Buell ya rmed Up o the .topic Instantly for ohe con-ý fessed ta she used to speak in: a very high anyone can see how easy it wvuiui be, to chatter when it was discOv- ered that Mrs. Bueil was a con- temporary of Don Ameche and of Bernadine Flynn, who plays Sade in the famnous radio program, "Vic and Sade." And Mrs. Buell took time out to pay fute to Bill Troutman of the U.W oo o phfwoarie i P'rorn voice production we went to stage tech- nique., Mrs. Buell talked about "Tovarich," which the Threshold Players put on last fail. She said the first act was the hardest of ail, beinig the, best and requiring comedy technique of-the high- est 'order. She recalled the facet that there was rain that night, thatpeople came in late. So the. actors had, to perform to a house in commot ion and did not get the proper feel of their audience, until the acet was hall 'over. This "feel", is very important, and Mrs. Bueil says it is one of the han- dicaps of littie theater. productionç that a -play is given once or twice and that's ail. It* takes 'about three weeéks before.a .part is really jelled. that is, before the actor knows whe n the laughs are coming, how to timne the role, and so on.> And in a long- run the action is' crystallized, as she put. it,. and the player can give, the samne sort of skilled perform- ance' time after time whether he or she feels up to par or is suffer ing from cold', grief, or other hazard. That Middle West 'IR" i. Middle West r's came in for dis- cussion, too. Mrs. Bueil says thal1 her New York friends are worried, over ber r's. Tbey notice her adjust- ment to Middle West pronunciation. Mrs. Bueil says one must carry r's and the broad a naturally, with- Out affectation, or else be subject to self-consciousness. She laughed with ironic amusement over the "4young squirts" who comne int> N~ew Yor~k and turn on the eastern " r" and "a" without the proper '.$. ackground. Affectation she detests. What should draniatics accom- plish, via the littie theater? I in- quired of Mrs. Buell. She responded like a shot to this bait. «rIhey should do à great deal for the individual child. Acting teaches a child how to speak properly, what to do withhis hands and feet. and, body. It gives himi confidence. Most imortant, it teaches him to takc- what most of us cannot-good, Ob- jective criticism."l Adlsbenefit as much as the th Ma letterLU "iLAVAesa riiJLu I, aU* liLi4 o a series of roles, first "Faust," then and interlude." In the second play she the etexclusivé feature Watch for them. 'A~, IL I~ onalities appear as an of this iiews-magazine.