Scanned image of the page. Keyboard directions: use + to zoom in, - to zoom out, arrow keys to pan inside the viewer.

Page Options

Download this Issue


Something wrong?

Something wrong with this page? Report problem.

Rights / Permissions

This collection, digitized in collaboration with the Michigan Daily and the Board for Student Publications, contains materials that are protected by copyright law. Access to these materials is provided for non-profit educational and research purposes. If you use an item from this collection, it is your responsibility to consider the work's copyright status and obtain any required permission.

July 30, 1960 - Image 6

Resource type:
Michigan Daily, 1960-07-30

Disclaimer: Computer generated plain text may have errors. Read more about this.

Seventieth Year

Stratford Offrs bram~~~ui


ditorials printed in The Michigan Daily express the individual opinions of staff writers
or the editors. This must be noted in all reprints.

, JULY 30, 1960


Goldwater's Conservatism
Idealistic,l Ieffectual

ALTHOUGH the terms "conservative," "liber-
al," "moderate," etc., have lost much of
their meaning through overuse and misuse,
there are few who could deny that Sen. Barry
Goldwater of Arizona is a conservative.
When Goldwater's name was placed in nomi-
nation for President at the Republican conven-
tion, he was not expected to draw many votes.
The delegates had expected him to withdraw in
favor of Vice-President Richard M. Nixon,
whom he was supporting. Rather, it was a trib-
ute to a man long regarded as the leader of
conservative forces in the GOP and of inde-
Goldwater is intelligent and has a large fol-
lowing. But the policies he advocates and the
impression he creates need to be examined
carefully to see whether he is truly qualified as
the conservative leader he is said to be.
CONSERVATISM, regardless of its brand,
must be realistic. The forward-looking con-
servatism of Goldwater lacks this vital quality.
In his recently-published book, "The Con-
science of a Conservative," the Arizona Repub-
lican states his beliefs and the programs he
would like to see enacted.
In the field of national defense, he proposes
that we be prepared to fight a war with the
Russians and make them accept either a local
defeat or the entire elimination of world Com-
munism. The United States must not yield to
fighting the localized war.
From a relatively secure position, he is at-
tempting to eliminate all political activity of
labor unions. He is campaigning against or-
ganized labor from a state in which there are
comparatively few such organizations and he
thus has nothing to fear from their weak po-
litical power.
Goldwater also proposes that the income tax
schedule be revised so that incomes above
$10,000 would not be taxed at any greater rate
than at that level, because such a tax plan de-
stroys American initiative.
Abolishment of farm price supports and the
federal medical care plans are his aims, in his
attempt to rid the country of "welfare statism."
This, along with his labor stand, is probably the
most characteristic example of Goldwater's out-
BASICALLY, this is Barry Goldwater's con-
servatism, but it is certainly not the type of
conservatism that can operate effectively.
The concept of limited war is accepted by
most experts in the field of national defense
and war. The strategy of compromise in this
tension-filled world is necessary. The world
cannot risk World War III and probable an-
nihilation of the human species by pushing
any outbreak beyond reasonable proportion.

Goldwater's view toward labor is shared deep-
ly by many people, but this is not the early
1900's, when organized labor was looked upon
as a despicable, impudent upstart. Labor has
achieved a prominent and powerful position
in the country, along with other such guilds
as the National Association of Manufacturers
and the American Medical Association. Its
members have taken as active an interest in
politics as any group representing a segment of
the population. Regardless of whether labor
should participate in politics or not, the fact
is that it is too strong and too widely accepted
a group now to be made virtually impotent by
a single-minded senator.
EVERYONE would like to see his taxes re-
duced, even the upper classes, but the high
cost of modern government demands and needs
money to support its activities. Goldwater's tax
proposals, although attractive to those in the
higher income echelons, do not reflect the re-
ality of an ever-increasing national budget and
the inflation which helps promote this increase.
Farm supports, medical care programs and
other facets of social welfare legislation appeal
to certain segments of the nation. Each piece
of legislation is, perhaps, favoritism for the
group it aids. But the country has come to ex-
pect more from its government and, despite
the wastes involved in some cases, the plans
have assisted many groups of persons who
would have suffered both economically and
physically had the government not stepped in
to help them. These programs are a part of
our government today; eliminating them now
would create more problems than it would solve.
And so, viewed in the light of realism, Barry
Goldwater's mold of conservatism seems notice-
abl yunpractical and highly idealistic. Although
the senator may be sincere and earnest in his
proposals, they are simply not realistic in this
modern world. Goldwater's sincerity might in-
cidentally be questioned after his television'
appearance Sunday-he seemed flustered and
uncomfortable when confronted with his state-
ment that liberal Governor Nelson Rockefeller
of New York would be better off in the Demo-
cratic camp. He said he didn't mean that-that
there were only "minor" differences between
his views and those of the noticeably liberal
agreement decided upon by Rockefeller and
Vice-President Nixon.
One can only hope that the conservatives
will reexamine their blind faith in Goldwater
as a leader and turn to other national figures
who could express a less idealistic and a more
realistic conservatism, for there seems little
hope that the old dog will learn new tricks
or will even try to revise them.

THERE are moments of great
dramatic height in the very
small play chosen to represent
Shakespeare's histories at Strat-
ford, Ontario, this summer. In a
production skillfully played to
bring out all its power and rich-
ness, "King John" is a thoroughly
absorbing play and perhaps the
dramatic success of the season.
As a history, "King John" does
not pretend to any unity of action
other than that bounded by the
dates of John's reign; rather, the
loosely connected series of events,
more real than the most tightly
constructed tragedy, allow for a
range of emotion and excitement
unrelated to the play as a whole
yet meaningful and moving
through the writing of Shake-
speare and the acting of the
Stratford players.
*t * *
THUS WHEN King John of
England and Philip of France, at
the heads of their armies, meet
on the battlefield outside the barri-
caded gates of Angiers, we see the
smug arrogance of the townspeople
(who expect to see the two forces
destroy one another) turn to terror
as the invading kings are coun-
selled to join forces and capture
the city before beginning their
own battle. And Angiers capitu-
lates at once.
Here the attention to detail is
significant and indicative of the
quality of the whole production.
The very peasants are given indi-
vidual aspects that help to build
the aura of actuality and, through
reaction, make still more mean-
ingful the words spoken. And
perhaps the greatest triumph of
the Canadian players is that every
wvord spoken is done so with
knowledge of and intent to convey
its meaning.
As King John, beset by rebel-
lious lords, an angry church, a
sometime war with France, and
claims to the throne more legal
than his own, Douglas Rain por-
trays the troubled and hated king
with a succession of poses effective
as they help to interpret character
and speech.
* * *.
CHRISTOPHER Plummer, one
of the most talented of today's
actors in spite of a slight tendency
to ham, gives Philip the Bastard
an easy humor and suavity of
manner faithful to Shakespeare
but perhaps too smooth to be
readily credible.,
The rest of the large cast ac-
quits itself equally well-which is
to say that little more could be
desired. Even the child actors,
often tedious in any play produc-
tion, are magnificent at Stratford.
As the young Arthur, Hayward
Morse almost wrings tears from
the audience in his pleas to keep
his eyes and his life in a particu-
larly emotional scene.
Julie Harris appears briefly as
Blanch of Spain with Alexis Kan-
ner as Lewis the Dauphin of
France. Their moments together
are brief but touching; both pre-
sent images of handsome but de-
termined youth.
* * *
THERE IS EVEN, unfortunately,
a mad scene in "King John,"
rather skillfully underplayed to
match its worth by Ann Casson as
Constance, Arthur's mother. The
only other dull moments come
when Cardinal Pandulph (Eric
Christmas) gets carried away in
As usual, the costumes at Strat-
ford are fine; the credit for de-
signs goes to Tanya Moiseiwitsch.

Finally, the greatest applause must
go to Douglas Seale for his direc-
tion of "King John." The strong
hand of the director is evident
throughout in the intense applica-
tion of the players to their roles
and the understanding which they
convey to the audience, making a
minor play nevertheless a very
exciting one.
-Vernon Nahrgang


ROMEO AND JULIET--Mercutio (Christopher Plummer) gestures in the Queen Mab scene while an
officer (Alexis Kanner, right) and Romeo (Bruno Gerussi, left) sit watchirg and listening.
'A Midsummer Night's Dream'

IN THE tripartite world of fairies,
mechanics and higher mortals
that is "A Midsummer Night's
Dream", it is usually the mechan-
ics, with their attempts at play
acting, who win the most audience
affection; in the current produc-
tion at the Stratford Festival,
however, the mechanics run a
close second to the cleverly acted
comic lovers.
Pouting, pleading, coaxing, lov-
ing, cajoling, lamenting-Helen
Burns and Kate Reid, as Hermia
and Helena,. are alive every mo-
ment they appear on stage, alter-
natelychasing and being chased
in their quest for husbands of
their own choice. With Leo Ciceri
as Lysander, the lovers together
bring out every nuance, every
meaning in the Shakespearean
* * *
THIS IS NOT to say, however,
that there are reservations about
the excellence of the mechanics.
They are just as enjoyable as al-
ways-often more so. Each of the
six is an individual in his own
right, each is laughed at in his
attempts to do something not in
his usual line of work.
Bottom (Tony van Bridge) is
his swaggering, I-want-to-play-
all-the-parts self, loved by the
others in spite of himself. Peter
Quince (Mervyn Blake) works
hard to keep order, exasperating
as the job may be; Flute (Robin

Gammel) is a smart young man
who even shows signs of intelli-
gence at times; 'and the others,
too, are individually characterized
right down to the stutter of Snug.
Difficulties arise, however, in
the third part of the "Dream"
world-that inhabited by the
fairies. After a very short time,
one tires of the running about, the
grouping and regrouping of the
children who play the fairy roles.
Their speeches are delivered with
the assurance of veterans, but,
like that of the older fairies is
not so well pointed as that of the
mortals and is thus soon beyond
reach of even the imaginative
ears of the audience.
* * *
tion is somehow less spirited, less
agile than one might expect.
Similarly, Oberon and Titania
here lack the quality of lightness
that Shakepeare associates with
the merry crew. But these are
minor reservations; that the
Stratford players have done so
well with a play that is occasion-
ally tedious is greatly to be ad-
Costumes for "A Midsummer
Night's Dream" were designed by
Brian Jackson; the most attrac-
tive ones are those of the mortals,
which are quite brilliant, while
the fairies' garments tend to be
rather drab.
Douglas Campbell directed

"Dream", and it is no fault of his
that this is the lesser of the three
Stratford productions this sum-
mer. Campbell has put together
a vigorous, spirited production in
which the talents of a group of
uniformly fine Canadian actors
are concentrated at serving Shake-
speare-and serving- him well.
-Vernon Nahrgang
Season Ends
On Sept. 17
The eighth annual season of the
Stratford Festival, at Strat-
ford, Ontario, continues through
September 17 with performances
of Shakespeare daily except Mon-
days. Final performances of "HMS
Pinafore" will be given next week.
Begun in 1953 with "Richard
III" and "All's Well That Ends
Well" being presented in a tent
for a five-week season, the Festi-
val has grown to 12 weeks of
Shakespeare plus a musical, con-
certs, original plays, and, this
year, a film festival, to be held
August 22 to September 3.
Since 1958, Shakespeare pro-
ductions have taken place in the
new Stratford Festival Theatre,
an air-conditioned theatre of
striking modern design.

and Juliet
PERHAPS the most striking
thing about the current group
of Shakesepearean productions at
Stratford, Ontario, is the real
coherence of each presentation.
Unlike most amateur and too
many professional companies, the
Stratford players seem to have ap-
proached their plays with some
definite ideas about Shakespeare
in mind, and the resultant per-
formances exhibit a consistency
and clarity which are powerful
enough to give movement and
excitement to even the weaker
moments of the dramas them-
This is certainly true of King
John, and it is true as well of
Romeo and Juliet. The acting done
by Julie Harris and Bruno Gerussi
in the title roles is perceptive and
powerful, and there is certainly
not an incompetent performer in
the .cast. Nevertheless, one is
struck less by the perfection of
the parts than by the unity of the
whole. Sensitive individual inter-
pretations are drawn into har-
mony with one another by Michael
Langham's skillful direction, while
the dramtic conception is comple-
mented throughout by the full,
Rembrandt-like colors of Tanya
Moiseiwitsch's designs and the
music of Louis Applebaum.
* * *.
THE KEY adjective for the
critic of all this is rich, and dra-
matically, this richness takes the
form of variety and depth. What-
ever great and tragic qualities
Romeo and Juliet may lack as a
play, it is undeniably the vehicle
of much of Shakespeaare's most
tender and most lyrical verse,
verse which from its very sweet-
ness has a tendency to become
cloying in large doses.
Handled solemnly as a tragedy
of adolescence, the play-like
much Elizabethan verse-often
seems beautiful, but a little
shallow and a little overdone. The
Canadian company, however, has
avoided the pitfalls of over-
seriousness, and by doing so has
created a really impressive pro-
duction. The actors, especially
Christopher Plummer in the role
of Mercutio, draw every possible
bit of humor from the comic parts.
It has become a commonplace
to remind audiences in program
footnotes that Juliet is only thir-
teen. Julie Harris performs some
sort of illusive miracle and re-
ment a petulant child and at the
minds us of it in her acting,
next a teen-ager with a crush-
stamping her foot when frustrated
by her nurse, being at one mo-
and the very stars almost at her
command. Gerussi's Romeo -
sometimes embarrassed, some-
times passionate - may not be
everyone's ideal of the romantic
lover, but his performance
matches that of Miss Harris, and
the two make believable their un-
real world.
* * *
ALL OF the major characters
contribute to this tone of nostal-
gic absurdity. More worldly wise
than Romeo and Juliet, and know-
ing them to be fighting against
destinies they cannot control,
Friar Lawrence, the Nurse, and
even Mercutio, all their own way,
manage to mingle with their
sympathy and their joking a sort
of envy for a world which they
mock and yet to which they can-
not belong. The disgust with which
Plummer spoits out Mercuto's "a
plague o' both your houses" epito-
mizes the contrast between im-
possible innocence and a harder
vision of reality that runs
throughtout the play.
The production is by no means
a perfect one. There are some dull
moments in the third and fourth
acts, and several of the comic
roles are a little overplayed. Kate

Reid's interpretation of the Nurse
is especially irritating at times.
The costuming of the Stratford
Romeo and Juliet is rich to the
eye; the verse-never badly read-
is rich to the ear; the clarity and
unity of the whole manage to
satisfy the mind.
-Jean Ashton



Music:* Theatre, Concert


The Seven Good Years

THE MOST IMPORTANT question at Chi
cago is also a very hard one to answer. It
has to do with whether and how and when
Nixon will take over the leadership of the
party. It will not be easy for him to do this.
But the signs indicate that he knows he must
do it-almost certainly to have a chance to
win the election, very certainly to make any
kind of success if he is elected.
For the 'general position taken by the key-
note speakers, Judd, Halleck, Dirksen, and
finally by the President himself, rests on a
failure to understand and a refusal to look
squarely at the challenge of the Soviet Union
throughout the world and the challenge of
our own internal development with its grow-
ing population and the great cities and the
advancing technology.
The theme of the keynoters boils down to
the assertion that all the mistakes were made
before 1953, that all has been better and better
ever since 1953, and that all will be well in the
future if the country takes as its model and
its ideal what has been done since 1953. The
keynoters including the President claim that
the challenges abroad have been met and that
in its foreign and domestic actions the Eisen-
hower administration has been a triumphant
It follows that not only the Democrats but
Gov. Rockefeller and his many Republican
followers are selling America short, they are
belittling our unmatched power and greatness,
and thus they are giving aid and comfort to
Khrus:-chev. The keynoters seem to think that
Editorial Stag

if only the Democrats and Rockefeller would
shut up, Khrushchev would think we are all
ALL THE KEYNOTERS were angry at the
American critics who are saying that we
are not meeting the Soviet challenge and that
the balance of power is turning against this
Some of the keynoters talked as if it were
not the hard facts but what Kennedy and
Rockefeller say about them which explains
our trouble. All the keynoters, and foremost
among them the President himself, talked as
if the whole criticism rested on nothing more
than the misinformation of disaffected mili-
tary men who have been overruled by the
The criticism rests on a lot more besides
that. It rests not only on the evidence that
comes from inside the Pentagon. It rests also
on the manifest facts that in recent years the
power and influence of the Soviet Union and
of Red China have expanded dramatically.
The President assures us, and we may take
his word for it, that our security system is
second to none. But that is not the point.
While in a direct and isolated and theoretical
conflict with the Soviet Union, we are now
the stronger, and may be able to continue to
be stronger in the missile age, our relative
power overall is declining. How? Is there any
question, considering what is happening in
Japan, in Korea, in Okinawa, in Vietnam, that
our position in the Far East has deteriorated?
Is there any doubt that our position is weak-
ened in Turkey, is fragile in Iran, is ambiguous
in Pakistan? Is it not true that during these
seven and a half marvelous years, the Soviet
influence has penetrated deeply and widely
into Africa, or that it is penetrating Cuba and
elsewhere in this hemisphere?

I USIC IS pervasive this summer
at Stratford, and a few back-
ground comments are scarcely
out of place here.
The nonverbal sonics at the
dramatic presentations are out-
steiding. Very simple sounds are
suggestive rather than imitative
of those natural phenomena
which must be represgnted, form-
ing a pleasingly consistent pat-
tern with the visual aspects of
the quasi-Elizabethan stage.
The background music is taste-
fully reticent, performed by a dif-
ferent, but always small, group of
instruments each night. The en-
semble for the evening is used be-
fore the start of the performance
for the traditional playing of the
local national anthem.
The varieties of sound produced
from day to day together with
what seem like ad lib perform-
ances lend interest to what could
easily become mere interstices in
the evenings' entertainments.
IN ADDITION to the usual ser-
ies of concerts, the Festival is of-
fering this year some reduced
price Saturday morning presenta-
tions. Actual matinees, as it were.
These were at one time announc-
ed as "Classical Jam Sessions,"
but the name has been changed to

"Informal Chamber Music Con-
The word "informal" seems to
refer to the facts that no pro-
grams are distributed ane that
seats are not assigned. On July
23 the place of printed programs
was taken by a thoroughly inept
individual who introduced the
players one by one -- for each an
embarrassed whisper of applause-
and announced the works to be
SOME OF THE music at the
performance rose above the aura
of pseudo-informality. The first
work was the Mozart Quartet K.
575. This is a marvelous work: a
long development section in the
first movement, a lovely lyric
slow movement, one of the more
interesting minuets, and a lively
The featured players were Os-
kar Shumsky, violin, and Leonard
Rose 'cello. They appear to have
the status of musical directors of
the Festival.
The performance of the quartet
was very fine. Mr. Shumsky has a
pleasant tone and good technique.
Mr. Rose supplies supple resonant
bass lines, and the other two
seem more than adequate for the
requirements of the work.
An interlude was provided with
the playing of a Woodwind Pas-
torale by Vincent Persichetti. This
was superbly played by an assort-
ed group, but was musically in-
For the concluding work the
second string was let on the field.
If one can think of the Beethov-
en Septet Opus 20 on which they
operated as their opponent, they
emerged victorious.
July 24 was of a different order,
Seats were assigned, programs
distributed, and the auditorium
filled. The opening work was the
Bach E major violin concerto. Os-
kar Shumsky, as soloist and con-
ductor, was at his best here.
In the slow movement his tonep

used was not identified, but I took
it to be a clavichord.
This was an apt choice. It com-
bines the color of the harpishord,
which blends so well with a string
ensemble, with dynamic range
and sustaining power more in the
class of the pianoforte. The dy-
namic range is particularly signif-
icant for Glenn Gould, one of
whose major facilities is the use
of simultaneous dynamic con-
trasts. The performance of this
concerto was entirely up to his us-
ual standard.
* * *
ard Rose played the suite in C
major for 'cello. Those who could
ignore the halo of flies around the
unfortunate performer's head
were treated to a fine perform-
ance of rarely heard music.
The concluding work on the
program was the Brandenburg
Concerto No. 5, featuring Shum-
sky and Gould together with a
flutist named Keetbaas, who in
this performance was musically
on a par with the other two,
which is all that could be desired.
In fact, one could say that this
concert was on a par with this
year's dramatic productions, and
that is all which could be desired.
-J. Philip Benkard

HMS Pinafore'

AT STRATFORD this season,
Tyrone Guthrie has turned
his hand from Shakespeare to
Gilbert and Sullivan, and he seems
to direct the one quite as well as
the other. In "HMS Pinafore," he.
has mixed just the right propor-
tions of tradition and originality
and has come out with a produc-
tion that is sheer professional fun.
The Gilbertean stereotypes are
all present, and the rapid delivery
of the patter songs, the precision
movements of the male chorus, the
leers of the ancient lovers are jolly
echoes of a glorious past. Sisters

little to be desired. Andrew Dow-
nie, as Ralph Rackstraw, occasion-
ally sounds a bit strained on the
high notes, but his occasional
lapses are compensated for by the
pleasingly lyrical quality of his
vocie. Irene Byatt brings an un-
usually rich and boisterous con-
tralto to the role of Buttercup, and
Miss Marion Studholme, as Jo-
sephine, combines warmth and
vocal power without sacrificing
any of the lightness and ease
necessary for the ingenue role.
The acting, usually, the weakest
aspect of any musical show, is
equally outstanding - perhaps be-

- 7'~~ .w~RAM

Back to Top

© 2018 Regents of the University of Michigan