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November 22, 1914 - Image 4

Resource type:
The Michigan Daily, 1914-11-22

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A -

Leonard, Anderson Co. at iVI ajestic, November 26, 27, 28.

Carter, the eminent magician, who
s recently completed a six years
ir of the world, having appeared in
ery civilized and uncivilized coun-
on the globe, and who will appear
the Majestic Theatre on November
for three days, demonstrates each
.ning in his marvelous entertain-
nt the possibility of calling back
life the spirit friend of any of the
ditors who attend his performances.
one part of his entertainment he
iroduces an entire spiritualistic
nce which he learned first hand
m the marvelous Yogi during hfs
it to Simla. In his demonstration
abinet is built before the eyes of
beholders, and while Carter re-
ins on the outside apparently mira-
ous manifestations are visible, chief
ong which Carter materializes the
ost of Katie King, which spirit
ature Sir William Crookes saw ap-
r and vanish in his own home un-
test conditions for three years,
irthere has beenno more solemn
ertion of any truth in the history
science than he has made of his
ement. Carter also causes to man-
t under the cloak of a silken hand-
chief the spirit form of Cagliostro,
famous French Charlatan. These
ionstrations occur in the open with
lights turned on brightly and in
presence of a committee investi-,
ing all parts of the stage.{
urrent developments in the field
psychic phenomena are astonishing
say the least. All of us have been
rested for years in the curiosities,I
ise no stronger word, presented by
mediums, the soothsayers, the as-
ogers, and others in oracularly
senting facts with which we have
tied them unfamiliar. Our fathers.1
our mothers, or their fathers or
r mothers, have dreamed dreams -

or seen visions. and there are those
among us who daily testify to strange
happenings, Ghosts walk and the
dead appear. And these ark not testi-
monies of scientists, but the common
ordinary exchange of people who fan-
cy or are convinced that they have
come into contact with something
which they deem to be supernatural.
And now comes the scientists, a
most imposing array, Crookes and
Lodge of England, Dessoir and Richet
of France, Ratossi and Lombrosso of
Italy and a host of other notables,
who give signed and sealed testimony
not to their belief in spirits entirely,
but to their having been witnesses to
wonders of the eye and the sense of
touch which have hitherto not been
catalogued in our list of scientific
wonders. They have seen mystic hands
and heads appear; they have seen
forms and faces outlined in some pe-
culiar substance which has the tex-
itire,'of flesh and the power of resolv-
ing and dissolving before the eye and
in the very grasp of the hand.
Flowers and implements of ordin-
ary household use have the power of
manifesting themselves and then of
disintegrating. And of tables and or-
dinary objects rising and floating in
thin air without the assistance of hu-
man force there are no end. These
things they have testified to as done in
the open daylight and under condi-
bons which could not permit of fraud.
At the Majestic
A well balanced bill is offered next
week at the Majestic Theatre, but one
act is deserving of special mention.
It is the well-known American play-
let called "Huckins' Run," in which
appears the singing comedian, Billy
Walsh, supported by an excellent cast.
This little twentyminute playlet has
been seen in every first class vaude-
Ville theatre in America. Special
scenery, original songs, rube dialect,
mixed with the very latest up-to-date
slang, compose, what is termed by
critical vaudeville patrons, as the one
satisfying morsel necessary to make
the evening entertainment enjoyable.


-- -- There is something in the simple
character of this refreshing comedy,
romantic and with strong appeal. Peg
Patrons of the Choral Union Con- is a real person, taken from a sad
cert Series will be interested in the humdrum world and placed in an en-.
following extracts from analytical vironment where her humanity stands.
notes prepared by Mr. Philip H. Goepp out with the sham, the hypocrisy, and
of Philadelphia on the numbers which shallowness of those who surround
the Philadelphia Orchestra will play her. Peg's struggle to get into har-
at their concert in Ann Arbor, De- mony with her ultra conservative re-
cember 2nd: lations is very appealing. To follow
Figaro" her, ifow laughing joyously, now sud-
Overture, "The Marriage of u Mozartdenly serious, as she tells of her
B.....Wolfgang Amadeus Mozart home life across the seas, of her fa-
Born at Salzburg in 1756;diednat ther in New York, makes one wish to
Onea in n791 srise up and help her. Miss Elsa Ryan,
Oemay wonder whether Mozart'scoeinetkshs
overture to "The Marriage of Figaro" a captivating comedienne takes this
will in the future belong to the group 'She makesPeg lovable, charming,
that comprises Weber's "Oberon" and he a er thabte, hor,
many other earlier and later ones, Jeydensh character that the author,
of hic th ovrtue oly s prfom-3. Hartley Manners, has so cleverly
ofwhich the overture only is perform- and lightly drawn. She is thoroughly
ed. It is here that the indirect value natural and her roguish ways are
of opera is strikingly seen-in the nimrleanduhetedguMsh Masco
contribution of a complete form of simple and unaffected. Mr. Morosco
s has selected the New York company
absolute music that greatly influenced to suppor Miss Ryan with Thomas
the growth 'of the symphony. Holding, Alice Butler, Vivian Gilbert,
In the sparkle, the bubbling humor, Ageeo ilrRbr oste
the brilliaAt buoyancy tf the over- Agnes Heron Miller, Robert Forsythe,
tore to "Fia h esneo He Hrbert Ashton, Marie M~erlau and
S Figaro" the essence of theSydney Mather in the cast. "Peg-O'-
drama is so expressed that the remain- My-e ,
ing opera seems mere iteration. OneMheartudyme .t19y
may see its vital quality as a type in theatr_,__aturday,_Dec._19._
the instance of Smetana's captivating c
overture to his "Bartered Bride." In cheerily out of your sadness, wrings
its form, if we disregard the repeti- a laugh from the tears, brushes away
flop of the stated theme, it is a per- !the frowns with lightest touch.
fet model of the sonata form, upon A type of jolly serenity is the first
which the symphony is mainly found- theme. Allegro Vivace E Con Brio.
ed. tradition of Haydn's light abandon has
So, far as dramatic effect is con- nothing ominous or profound. The
cerned, it is a question whether Ros- lingered in the theme through all the
sini's "Barber of Seville" on a similar stress of the Fifth, the sterness of
plot with the same central figure, is Third, and the brilliant completeness
not superior. The truth is, neither of of Seventh. The list of inistruments
the settings is serious opera in in- is of old economy; trombones are not
tention. Mozart's opera belongs on used at all. After the first theme is
the smaller stage as a true Opera started in gay canter, it is carried
Buff e. It is a close-ravelled series on by galloping strings and a pom-
of amours and conspiracies, In which pous figure dimly drawn from main
the sparkle of melody and humor quite subject, where again the motion is
overshadow the line of the story. The more than the tune, and you can go
"Barber" has of late been expanded indefinitely on the fillip on constant
to full dramatic dimensions with a sequence of the slight motion; for,
loss of proportion and of the flow of the smaller the phrase, the better for
Humor. The hero of comic opera may rearig structure.
be a clown; when he is lifted to the The woodwind do no more than
grand stage he must needs take on a shout a regular acclaim as often as
graver mien, and spoil much of the they are allowed. All this simmers
original fun. down pretty solemnly, when out of
Symphony No. 8, in F, Op. 93 the hushed and halted motion the sec-
... . . .Ludwing van Beethoven ond theme sings cheerily, though gen-
German, 1770-1827. tly, almost timidly, with a touch, too
The Eighth Symphony has not the of jauntyt humor in grateful change
stress of the Fifth nor of the Seventh; of tonal scene.
ts dimensions are less in every sense. ALLEGRETTO-The great charm in

this light dancing shuffle all in regu-
lar sprightly time like chorus of
dancers with the main figure behind
the scenes, which suddenly appears
with all usual grace. The most de-
lightful prank in the world, as if a
good 'confessor or confidant, instead
of meeting you at the usual time, with
long fact and ' respoisive consoling
grief, were gayly and roguishly to
laugh you out of it'all. For here is
the second movement, the appointed
time for sighs and tears, and we are
cheated out of our sad confort and,
what is more, made to dance a jolly
turn instead with the gay deceiver
There is no resisting the mincing,
rascally humor of the step. At the
very statr--not too fast, a kind of
deliberate, teasing, suppressed bit of
humor, where wood are lightly shuff-
ing and high strings are striking the
tune, really a sort of duet as of
mocked pedantry. It is marked all
the more with a little echo way down
in string basses.'
With all the fun, as the tune goes
swinging on, a new feeling is blended.
Something of intimate appeal creeps
into the dance as the air beautifully
extends and soon expands into the
second tune. Later the broad phrase
of friendly assurance returns, though
the end comes with a climax of rev-
elling mischief.
MENUETTO-"Tie-minuet has an
unwonted swing, though of course in
three-step time, 'it it seems less like
a dance' than a'- sweep of one big
motion for the three lesser ones. And
the tune is a regular song with a good
burst in the midst; >you could sing
words to it and forget to dance. -
In the Trio the fun has pretty much
vanished. It is merely a true German
folk-song in simplest lines and mood.
Mostly the horns lead with the air
just like an old song of love or hunt.
Oboes answer followed in kind of
canon by horns and 'cellos. In the
Trio's second part (each repeated)
the motive of melody is simply played
in dimmer minor, while the preceding
canon phrase still goes threading its
consecutive course.
-FINALE- In the Finale is a bigger
rhythmic swing, one of those great
reaches that Beethoven seemed to call
from a stranger, higher sphere, con-
ceived in, a freer -flight than we are
tuned to in our ."practical age."
The theme seems more rhythmic
idea; bhtt the answer is more articu-;
late song of gladness, on big soaring
wing, though, to be sure, all in softer
strings, which play a while with
strange hollow effect- on the first mo-
tive. Then, in loudest unison of all,
the whole song is rdhearsed; or rather
the rehearsing came first and this is
the regular full verse.

People of Ann Arbor will b, given a
treat in the feature production 'show-
ing at the Whitney Theatre this week.
The management has gone to consid-
erable expense in securing Ed wari
Peple's Civil War drama, "The Littl-
est Rebel." The showing of this ex-
cellent subject means more than just
ordinary attraction, as it is the first
tme this picture has ever been shown
here. Many of our readers probably
saw he dramatic play of this title,
in which Dustin and William Farnum
played the leads. Critics of the Mb-
tion Picture Journal state that this at-
traction has been most superbly pho-
tographed and that the battle scenes
are horribly realistic. It gives one
an idea of real warfare with the ira-
plements of battle used during the
terrible war of '61. Mimi Yvonne,
who portrays her role of Virgie is
warbound in Leipsic. Cablegrams re-
port her in need of gold, which was
forwarded to her last week. This
wonderful photo-drama will be shown
at the Whitney theatre Thursday and
Friday, November 26 and 27, with
daily matinee at 2:30.
Faculty Allows Production of Modern
Farce For First Time
in History
It required a great expense for the
Comedy club to secure the privilege
of using Lewis Parker's famous .com-
edy, "Pomander Walk." The rights
were finally obtained from Sander and
Jordan, however, after a great deal
of dickering.
The parts will be received Monday,
and the cast assigned next Tuesday.
The play is a clever comedy with
many moments of real human interest.
This is the first time the faculty
has allowed the club to use a modern
play. However, the much greater en-
thusiasm manifested by the student
body, finally persuaded them that the
work of the club could be much im-
proved by the using of more familiar
plots and characters.
The scene of the comedy is laid
along Pomander walk. The action oc-
curs in various residences bordering
this beautiful place. There are many
varied climaxes which keep the inter-
est of the audience aroused.
The play was first staged at New
York. 'After meeting with great suc-
cess there, it went to Boston and was
equally well received there.

Not that they measure the Symphony.
It is frankly playful, teaches no les-
son whatever. Almost, we might say,
it came as an apology for the sterness
of the Fifth, the experiment of the
Sixth, and even, as of future, of the
basic departure of the Ninth. It is
most akin, in general case, to the
Seventh, but much simpler of pre-
tence: one big Scherzo of its own.
It strikes a certain perspective of
relief. As symphony,, it is certainly
not typical. The absence of true an-
dante makes it exceptional. Its charm
is therefore no less, rather greater,
There are no great contrasts of mood,
few darker hues; the brightness has
no help from contrasting shadows.
Yet it has its broad reaches, bold
flights, big views. In a way it is a
reversion to the old type of Haydn,
the jolly symphony of the salon of
good old times, where the composer
had no business to do aught but
In complete abandon, careless of all
esponsibility and expectation bred of
,he master's earlier designs, this work.
-as born; and in this defiant spon-
'aity lies assurance of its special
:hari. We may philosophize, if we
eel we must. Just the right quantity
pathos cannot be determined by
rescription to make a symphony.
Jlere may be a world all of humor--
life-view all of merriment. There '
zas', been such a philosophy. For the


The Six Diving Models-a Prodig-
ions attraction unparalled in the an-
nals of local vaudeville-are the sizz-
ling red-fire feature of Monday's mon-
ster vaudeville bill at the Majestic.
A sextette of exquisite aquatic beau-
ties are these diving models--just six
different types of feminine loveliness
disporting .in an immense glass tank
upon the Majestic stage.
The huge swimming tank has a
solid plate glass front and contains
18,000 gallons of water. Surround-

ing this is a beautiful set of scenery and when filled weighs some thirty
(depicting, a cool and shady forest with tons. It is the largest act that has
giant rocks. The rising curtain dis- ever been played at the Majestic.
closes he six models in statuesque And besides the Six Diving Queens
poses. There is a prodigious splash, there will be four more acts of extra
and all are in the water, performing Company in the American comedy
marvelous feats of aquatic skill. High classic, "At Huckins' Run," will dis-
diving, fancy diving, underwater pense laughs by the wholesale. Weber,
stunts and various swimming strokes Dolan and Frazer are three niftty
are skillfully exhibited. boys from Harmony hall with a brand
A specially const'ructed baggage new collection of popular nielodies.
car was necessary to convey the Six The Two Zyls will perform acrobati-
Diving Models and their big produc- cally and cleverly, and Caroll and
tion here. The massive tank is a Katherine McFarland will entertain
marvel of mechanical construction, with song, jest and dance.

age who went about laughing at
*xcrything, this work is a special
ympiony, a mirror of his world. If
ye mirt have a tragic symphony or
thctic,. why niot a comi?. Eumor
S is a much right to over-crmphasis
Shas pathos, perhaps a little more.
C)i ing'ig to our 'idea of the sym-
9hony as a kin-d of view of life of the
)It, here the merry side'has its para-
:(ount place, a true comedy in the big
sense of "Much Ado About Nothing"
or "'As You Like- It." Secure, we
listen, of no deaths or funerals--a
jolly carnival quite serious and sober
in scope, not fearing to touch the
ground note. But for once, instead of
a sympathy big for all sorrows (life
the Fifth), it cozens you gently and

M ajestic, November 23, 24, 25,

Six Dieing }Models at Majestle

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