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March 22, 1915 - Image 1

Resource type:
Text
Publication:
The Michigan Daily, 1915-03-22

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

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.1

ich igan

Daily

EX

ANN ARBOR, MICHIGAN, MONDAY, MARCH 22, 1915.

MUSIC WRITER DOESN'T KNOW
EM HOW TO READ OR PLAY SONGS
MT EBSeymour B. Simons, Composer of "Is
That So," Worked Under
Handicap
um Box Office Opens at With the streak of genius, luck,
)'clock for Those fancy, inspiration or whatnot, that is
Iolding Slips attached to all operas, Seymour B.
1-100 - Simons, whose contribution to the
opera is the music for a feature song,
M INAUGURATED TO "Is That So," has composed the melody
LONG WAITS IN LINE without a knowledge of how to read
music, and may be described as a
lIc Iay Purchase Tickets self-made musician. More than that,
"O'clock Saturday, Simons can only "tickle the ivories"
March 27 in one key, F, and has never taken a
lesson on the piano in his life.
. Although Simons had written other
songs from lyrics by Sylvan S. Gros-
ox office of Hill auditor- ner, before the latter wrote the book,
all those who hold slips aild lyrics for "All That Glitters," and
s from 1-300. This is ac- had worked some on the lyrics last
he schedule on the back summer, he had given up all idea
wshich were distributed to of turning in any music for the opera,
and it was not until a few days be-
ers last week. Members fore the competition closed that he
who have not yet secured decided to write some songs. Only
them at the Union offices one of his pieces, however, was ac-
cepted. "Is That So" corresponds to
te for the general"public 41'm a Nut," from last year's show.
box office of the Whitney
2:00 o'clock Saturday,
:t will continue through STUDENTS D
erformances of the opera.
ystem of providing specd-h
r the exchanging of thep
ets has been inaugurated OA
do away with the former
ess of standing in line. Theron Weaver Acts as Stage Manager,f
nent of the opera hopes Part Formerly in Charge
ents will acquaint them- of Bert St.
he system, and thus save Johnz
renience.
le has been arranged to DIRECTOR SANGER WLL VIEW a
icket sale as quickly as PERFORMANCES FRO3 AUDIENCE
e man may hold five slips, t
within some specific 100.Earl Moore Directs Music; Lyndall
buy 30 tickets, but only Hughes Has Supervision 1
nay be for the same per- of Dancing
'his was done to obviateo
f former years, where the
ne could buy up all of the When the curtain goes up on "All
the house for one per- That Glitters," for the first time in the
he holds but one slip, he history of Union operas, every part of
te the seats over the five the stage management will be entrust-
, or buy them all for one
ed to students, and Eugene B. Sanger,
he system clearer, the fol- under whose direction and supervisionf
et example hasbeen tak- the opera has been whipped into shape,
sber 301-400 will be taken
ffice from 8:00 to 10:00
rrow morning. Any man
p numbered within these
exchange it for seats atl
f he holds five slips, the,
imber, they must all be
thin the above limit. Only
owever, can be bought forE
once.
ORCHESTRA NAMES
lection Due to Trouble,
Choice of Leader %
e delay, owing to the 1
selecting a leader, the
le orchestra who are to
. That Glitters" have been
The following musicians Kenneth S. Baxter7
ns:-H. B. Forsythe, '17, will view the performance from the
re; second violins:-R. H. audience.
M. R. Grinnell; Viola:- Theron D. Weaver, '16E, has been
n, '15; Bassos:-W. C. elected for the work of stage manager,
'17, L. C. Wheeler, W. O. and will perform the same task as
, Clarinets:-S. Lowen-|that done last year by Bert St. John,
R. Ferrell, '17; Flute:- director of "A Model Daughter." Wea-
'15; Obo:-W. M.John- ver is especially qualified for this work
Cornets:-R. H. Dimmock, because of his experience on the stage
all, '15M; Trombone:- of the Detroit Opera' house, where he
$, '16E; French Horn:- was employed for some time. He was
17E. the electrician for last year's opera.

INTRODUCE SOCIAL ALLUSIONS
Opera Management Seeks to Smooth
Out Rough Spots First
Local allusions to this year's opera
have not as yet been worked out, but
the opera management proposes to in-
troduce several take-offs of purely lo-
cal interest as soon as the rough
places in the production as it now
stands are smoothed over.
The practice of "rubbing" various
anamolies on and about the campus
has been employed in nearly all for-
mer operas excepting that of last
year, when the managers thought the
custom had been over-worked and that
pure operatic excellence should be
more sought after. Several ideas for
allusions have been formulated, but
due to the extensive trip in other
cities, care will be taken to introduce
only such lines as may be easily omit-
ted in playing outside of Ann Arbor.
"This year we desire to build thej
opera up in the rough," said General
Chairman K. S. Baxter, '16E, "and
have the production proper on a firm
basis, before any of the innovations
are put in."
GOS NER0TELLS O1F'
'HIS COQMPOSITION -
Got Idea 'of "All That Glitters" While
with "A Model Daughter" in t
Chicago Last
Spring

Cast of "All That Glitters"
GIVE PRSONNELOF CHORUS AN
CAST FOR "ALLTHAT G LITTERS"

Only six of the old guard who played
in the 1914 opera "A Model Daughter,"
have resumed the rouge for this year's
production. Four in the opera of this
year are members of the musical clubs.
The cast make-up now stands as
follows
Adelaide Devon, an aesthetic dancer,
Durward Grinstead, '16L.
Annette Vincent, head manicurist in
a beauty parlor, F. W. Grover, '18.
Mme, Brousseaux, proprietress of
the beauty parlor, G. L. Cook, law.
Franklin Jordan, an American mil-
lionaire, Earl Ross, '15. ,
Dick, his son, Glenn M. Sooy, '16.
Dorothy, his daughter, Lyndall
Hughes, '16E.
Albert Stoddard, a young lawyer,
H. E. Carlson, '17E.
Everett Lefevre, an eccentric bache-
lor, Morrison Wood, '17.
Tom Reilly, another bachelor, Le-
fevre's rival, H. H. Springstun, '17.
Colored chairpusher, W. L. Good-
win, '16L.
Chauffeur, Maurice Dunne, '17L.
The chorus members are as follows:
Ponies: H. H. Zimmerman, '17, S. B.
Simons, '17E, J. S. Burrows, '17, K. S.
Burge, '17, J. L. Biers, '17L, Gerald

Rosenbaum, '17, Tom C. Reid, '17, and
John B. Parker, '17.
Show girls: J. C. Marble, '16E, Har-
ry Kerr, '16, Richard McKeen, '16, Don
Smith, '16E, E. E. Pardee, '17, and
Hurlburt Begole, '16. Willis D. Nance,
'17, is the substitute.
Men: F. F. Nesbit, '17, A. S. Hart,
'17, E. S. Hildner, '17, Travis F. Beal,'
'17, D. E. McKisson, '17E, Gray Muz-
zey, '17, Rex St. Clair, '17,'J. C. Bulk-
ley, '17, H. E. Braun, '16, C. K. Pat-

terson, '17, Fred Tinsman, '16, H. B.
Bartholf, '16, T. P. Soddy, '16E, and
Isaac Kinsey, '16. Earl Ward '17, Don
James, '17, Stuart W. Dubee, '16E,
John Rough, '16L, L. E. Vilas, '17A,
and R. H. Leslie, '17, are substitutes.'
The men who appeared in last year's
opera were Grinstead as Brownie Du-
pont, and the following men in last
year's chorus: Hughes, Thompson,
Marble; Begole and Bartholf. The,
number of men with experience on
previous operas was cut this year by
the recent withdrawal of McMahon,
who had the part of Dick Jordan for
this year, and that of Paul Marcel in
"A Model Daughter."
Carlson, Wood and Marble are the
men who sing in the Glee club, and
St. Clair is a member of the Mandolin
club.r

FOUND ORIGINAL NAME USED
BY BROADWAY MUSICAL SHOW
Once Wrote Play for Comedy Club with
Title of "The Call of,
the Fathers"
Sylvan S.Grosner, '12-'14, writ r,f
"All that Glitters," goes on record as
being much pleased with the manner
in which his opera is beng produ!ed,
and although reticent about discussing.
the book, made the fVllowing coifes-
sion, when interviewed recently:

MICHIGENDA FIRST
OPERA IN HISTOR
Others: Culture, Koanaland, Crdms
Chest, Awakened Ramese Contrair4
Marie and Model
Daughter
ORIGINAL PRODUCTION STAGE]
AS UNION CIRCUS SUBSTITUT
Time of Performance Switches fre
Spring to Fall and Back
Again .
Michigan Union operas date from t
year 1908, when the first producti
of a student musical comedy appear
before the public at the Whitney th
ater. Since that time six others ha
appeared, and the eighth, "All Tb
Glitters," will be produced next we
in five performances, including '
matinee.
In order to fill the gap left by t
discontinuing of the Union Circt
"Michigenda" was put on at the Wh
ney in the spring of 1908. The auth
of the lines was Donald Hamilt
Haines, '08, who has since gained i
nown in the field of magazine writi
Roy Welch, '09, now a professier
song writer, composed the music.
Encouraged by the success of t
first production, the Union decided
perpetuate the affair as an ann
. event, and the second opera, "Cultur
was shown in the fall of 1909. Hair
tand Welch also wrote the book. a
lines for this opera. It was then tl
Earl Moore, '12, at present head of I
organ department of the school
music, entered the competition for I
music writing, and composed one
the songs for "Culture." The secc
production contained an abundance
"local color," with Ann Arbor as
setting and frequent .allusions
Ypsilanti.
"Koanzaland," which appeared in
fall of the following year, broke av
from the custom of the two previ
plays, and brought in a setting and
tion which were not local, one of
scenes being laid in the jungles
Africa. Donald Kahn, '11, wrote
book, and Fred Lawton, '11, the lyr:
The music for Ae play was compo
by Earl Moore and RobertT. Mc
land, '11.
-"The Crimson Chest," the fourth
era, was presented in the fall of 1
and the book was written jointly
Arthur Moehlman, '12, and Fra
Riordan, 12. Fred Lawton again c
tributed the lyrics. The writing
the music for the production was
vided betwen Earl Moore, Robert
Moreland and Arthur Fornier,
The 'setting was not in Ann Arbo,
Michigan customs and expressi
were alluded to.
In the following fall, the writers
"The Awakened Rameses," Jos
Hudnut, '12E, reverted to the use
local references, and supplied a nu
ber of Ann Arbor scenes, take-offs
professors and local names.- Ju
Wuerthner '12L, and Rowland F
'12"'14L, composed the music, w
Karl B, Matthews, '13L, and
Picard, '12, offered the lyrics.
"Contrarie Marie" was the name
r the sixth opera, which was prodv
in the spring of -1913. The time
I again switched to the latter part of
d college year to allow for better pol
ing of the work of the cast and' cho
Robert G. Beck, '13L, wrote the b
e and the music was the work of W
. Diekema, '14, and Rowland Fixel.
(Continued on page 3)

Kenneth S. Baxter, '15E, as general
chairman of the opera, has had charge"
of the organizaion to produce it. When
asked what his particular work is, he
humorously replied that "he had to do
everything that everybody else forgot."
Asso.ciated with him in this work are
the three assistants to the manager,
Louis Bruch,'16L, Russell Collins, '16,
and Francis Mack, '16E, from whom
the general manager for the opera in
the succeeding year is commonly se-
lected.
Earl Moore of the school of music,1
is director of music, and Lyndall
Hughes, '16E, of dancing. Among the
other members of the "general staff"
are Homer L. Heath, manager of the
Union, treasurer; Adna Johnson, '16L,
publicity manager; Cecil Brown, '17L,
master of costumes; John S. Leonard,
'16L, master of properties; and Wes-
cott T. Smith, '15E, chairman of the
music committee.
Harry H. Frank, '17L, Clarence
Swainson, '16L, and John Switzer, '16,
are assistants to the master of cos-
tumes. John Finkenstaedt, '16, is as-
(Continued on page 2.)

HOLD MEETING FOR THOSE WHO
INTEND WRITING 1916 OPERA
Management Suggests That Limited
Amount of Local Color
le Used
For those who intend to write books
for the competition for the 1916 opera,
a meeting was held at the Union some
time ago, when the men were given.
instructions as to the nature of the
book. It was suggested that the scenes
should not be entirely local, but that
only those references should be in-
cluded which could be understood by
an out-of-town audience.
Another meeting was held a few
days ago, and six men turned in syn-
opses of plays. These have been hand-
ed over to Director Sanger, who will.
read them over, and then make sug-
gestions to the writers. The com-
pVeted books are due about May. 1.
When the final copies are turned in,
they will be judged sy a committee,
and the announcement of the winner
will then be mnad-.

Sylvan S. Grosner
"The idea for the play came to me
while I was in Chicago last spring va-
cation with the Union opera, "A Model
Daughter." I came back to Ann Arbor
filled with enthusiasm at seeing the
big success the show made there, and
inside of two weeks I had. completed
"All That Glitters."
"By the way," continued Grosner in
an off-hand manner, "that wasn't the
name I originally picked 'for the show
Continued on page 2)

,;j

Six Thousand (6000) Good Seats for Five (5) Shows

0

- .-

Presented by Mimes of the University of Michigan Union

S

Book and Lyrics by Sylvan S. Grosner
Music by William R. Mills, Abraham Gornetzky, Seymour B. Simons
Under Direction of Eugene B. Sanger, of New York City
ers of the Union Monday, March 22, to 5 P. M., Friday, March 26, Hill Auditorium box office. Seat sale to general public
M., through the date of the performances, Whitney Theatre box office. Performance Dates: Wednesday, Thursday,
turday Evenings, March 31, April 1, 2 and 3; and Friday Matinee, April 2.

's $2.00, $1.50, $1.00, 75c

Box Seats $2.50

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