190
| the history of wake forest
At the convocation Professor Allen, described by President Scales as
the “dictator” of the Center, was awarded the Medallion of Merit: the
first active faculty member ever to be so honored.2
A month before the dedication of the Center, Wake Forest had
been generously saluted by the North Carolina School of the Arts
at a concert at Reynolda House planned by the Chancellor of the
School, Robert Suderburg. Four performers—soprano Elizabeth
Suderburg, pianist Victor Steinhardt, Stuart Dempster (trombone
and euphonium), and Chancellor Suderburg himself at the piano—
presented a program of turn-of-the-century parlor music called an
“American Sampler.”
After four years of planning, three years of construction, and
a successful six-million-dollar campaign, the Fine Arts Center was
now officially completed and dedicated, and art and theatre had
rooms of their own. Music had to wait a while longer.
In the fall Harold “Pete” Moore, Director of the Physical Plant,
was asked by President Scales to go to London to look for a house
that might be bought and used for an overseas program comparable
to the one already functioning so successfully in Venice. Moore
became aware of a brick Victorian house on Steele’s Road in subur-
ban Hampstead near the Chalk Farm underground station. The
Charles Allen
2
Charles Allen’s
own account of the
Center, entitled
“A Place of Art:
Building by Creative
Compromise,” can
be read in The Wake
Forest Magazine,
XXIII (Autumn
1976), 8–15. In the
same issue are four
supplementary
articles about art,
theatre, music, and
radio/television/
film, written respec-
tively by Emily Wil-
son, Marty Lentz,
William Ray, and
Julian Burroughs.
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