THE MICHIGAN DAILY
THE MICHIGAN DAILY
TWO
SUNDAY,
UARY 17, 1924
.Y, FEBRUARY 17,
ll w^wM
Instead of the usual curtain the by the New York courts for playing in.
skeleton of the cathedral remains Sholom Asche's remarkable, if dirty,
throughout the entire action. repre- tragedy, "The God- of Vengeance."
scuting successfully by means of add- Schuyler Ladd takes the part of the
ed properties a church, a forest, a Prince, while Lionel Braham--the
castle, a palace chamber, a throne; Amcican Chu Chin Chow-is the
room and an execution block. Gener- Count. The Madonia is alternately
IPLY
av~d tile
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least the added unity that the per-'
manent setting gives the performance
ROBERT strain on the imagination.
BARTRON The cast of the production, as you+
HENDERSON now, contains a large number of
E Dl(N-ratcd actors. The Emperor is
MR. REINIIARDT'S MIRACLE. This coronation scene is one of the played by Rudolph Schildkraut, the
"Te n" most striking in the entire produc- father of son Joseph and the gentle-
the mos, by F irenc eolark, tion. Everyone wears glitterig gol ian who was fined a hundred dollars
"Cyrano de erterac," he most color- gowns, queer stiff grotesqueries which
ful, Shaw's "Saint Joan," the most somehow bring infinite pathos to the
maddening, and Max Reinhardt's pro- I plight of the Nun. Just as the final
duction of "The Miracle." the most words of the wedding ceremony are
stupendous and gorgeous-it is the, being pronounced the angry populac
perfect theatre, bursts in, throwing the Emper 01' i;r into A IX
The playhouse, as you know has a torture-chamber and placing the girl' .
been completely remade into a cath- at the mercy of the Inquisition. The
(dral, not only the stage itself but Piper, however, always as close to her
the entire auditorium as well. In as a shadow, saves her from theirS
place of the conventional boxes are fury, only to torment her later with
plac &fthe onvntioal oxesarethe ghosts of her many victims. Hol- S
two immenseustained-grassyrose-win-t o t I
dow soim esestai-tass tost-wn- low-eyed and rigid he blows on his
des operfectly imitated that onef
critic wondered why churches wanted shrill flute, and one by one the apari-
the real thing. Further back are two tions pass before her-the Knight, the
more windows picturing hazy saints Count, the Prince, the Emperor, and
and cherubs, and from the recesses of the many others who have come in hery
the balcony the chords of an organ path. Stricken by remorse and de- 338 Max'
m, forth.spair she falls prostrate on the
ground, as the chimes of the cathedral
The stage proper represents a re- ring. out Gardually she realizes the
plica of the tomb of Henry VI in West- hope in their music and struggle:
minster Abbey-or so I should judge. back to the church. The Madonna
Some dozen pillars over sixty feel with the sad wistful smile of the Vir- ,.'!##!#nh!!un!!##! I!#!#u!#! !####!
high encircle its edge with, more gin of the world appreciates that at
stained-glass windows in the rear, and last her work is done. Carefully she
downstage there is a beautiful altar lays aside the robes of, sisterhood and eveo ing
afire with the blaze of many tapers. ,resumes her position as an image of
Through the amazingly clever prss a pedestal. Soon the other sisters re
work of Morris Gest the story of t turn to find their Madonna retsoe for
play is generally known. Bief'y, the it is their miracle!-the nlayi, ,
plot deals with the Nun Megildis, wh done. AI
done. m C
ays
p'ayed by Lady Dianna Manners and
Maria Carmi, or Princess Matchabelli
;if you can pronounce it, and Rosa-
miund Pinchot and Lady Dianna Man-
ners share the cart of the Nun.
it happened to be my fortune to see
l.ady lanners as the Madonna and
Miss Pinchot as the Nun. Miss Pin.
chot plays her heavy role remarkably
no concern for bodies meeting in his that love. Through them he com- score. He is recognizedly a master of
customary aureate atmospheric halkos. municates his love for places, for the metrical form, a scholar in poetry,
So far as he isgconcerned in "Kan- past, for his "uncared-for songs," the . A comparison with the sonnets of
garoo" these might not be a singleY
body in Australia-and so faz as more seasons, and for love itself. He is Dante's "Vita Nuova" is tcpmpting, both
body in.causerofiformdandobfcausasofothe
than one of his readers will be con-ibeikt MichaelsAngeloin regard .Because of formand because of the
cerned, there might as well not be' beauty in its more impersonal ands.pevuliar Renaissance flavor of cur-
an idea in the book. . For Lawrence consideration ofthe loveliness of ian rent congruous with that form. -To
is as changing,and as uncertain, as or woman as a symbol of eternal find one of these sonnets among those
the society which he. investigates. He' rwmna yblo tra
he s itrying to nstots. wht beauty. These lines are from' the of a volume on "Loves of the Floren-
probably is trying to find out what tine Poets" would leave untouched
human motives underly "the hedge-thryfhson: one's sense of the inappropriate. Such
podgenofn"democracy"in a new coun "All earthly love hath one cause h' said a long a o as 191, "At the
try . . and he isn't very sure and proof, present time men seem to affect to
of them. The uncertainty is reflect- To lead the pilgrim soul to beauty have outgrown the rules of art." The
cd in the book, and onefeels that above; sonnets of this sequence are mainly
for once Lawrence is an agnostic. Yet lieth the greater bliss so far Italian in form, although a few are
The story, like the ideas. is hazy,' aloof, - Shakespearia.
and covered with subconscious prod- That few there be are wean'd from Shae sity-n.ist sonnet, closing the
dings and twistings in the typical earthly love."
Lawrence manner. In fact it is too and these from the eighth: Lord's Prayer, justified in its place
typical-one wonders if Mr. Lawrence "For beauty being the best of all b is liraye, jstifed ilace
is not himself the' bewildered English- we know "To all men be Thy name known,
man, unable to answer a single ma- Sums up the unsearchable anT which is Love,"
jor riddle. If he is, again let us secret aims T r "h Growt,
again praise his honest doubt Of nature, and on joys whose earth- T f read The Growth o Love after
a few pages o .E umnsvre
honest, even though vague. And un- ly names 'is like realing Santayana after Ben
doubtedly he's up against the same W ere never told can form and sense Hecht, or like fresh air and snow af-
trouble as his hero; the impossibility bestow; .."ter the closed-in, perfumed air of the
of putting into words the imensities Personal love, in his scheme, is the theatre.
of passion that he feels. He is re- crown of all love. And yet it is to
pressed, puzzled, even inarticulate.. be remembered that it is related, not:
Yet he says things, just the same. adsolute. It is in these sonnets of THE UNOFFICIAL
-Carroll Lane Fenton. personal love that Robert Bridges is OBSERVERI
least aloof. Their tone of sweet ser-? (Continued from Page Five)
ROBERT BRIDGES iousness is in many places like that ly convincing case specially pleaded
(Continued from Page Four) of Mrs, Browning's "Sonnets from the before the bar of human stupidity.
of love might be evoked from him. Portuguese": 'With that as its structure and pur-
Robert Bridges loves all beauteous A. . .And when we sit alone, and as pose, what right has the book to be
things. I please 'criticized as to literary value? What
"I love all beauteous things, I taste thy love's full smile, and can difference does it make whether Don
I seek and adore them; enstate Juan is literature or -not; so long as
Goth hath no better praise, The pleasure of my kingly heart it gets across?
And man in his hasty days - at ease, Nor does the Observer wholly agree
Is honoured for them. ! My thought swims like a ship, that that Mr. Lewisohn is an idealist-
with the weight if he is, he belongs to a very much
I too will something make infinite seas tempered variety, far removed from
And joy in the making; Becalm'd, and cannot stir her gold- Upton Sinclair and Albert Rhys Wil-
Altho' tomorrow it seem freight." liams. Indeed, he is so thoroughly'
Like the empty word of a dream Of her rich burden sleeps on the balanced, so eternally critical, that
Remembered on waking." a statement implies much excellence the Observer doubts his right to the
(Shorter Poems, Book IV) in form, but no one has ever quarl- title at all. A man can advocate re-
These sonnets are the epitome of led with Robert Bridges on such a form without being truly idealistic.
As to Mr. Lewisob
suppression; doubtles
right. In this landt
free and home of th<
almost anything is
pression . . .perk
terances of the Obse
this time disgruntled'
urge. We must not f
er's best book was ta
ket, and Cabell's forci
lately comes the it
De l's JANET MARCH
urge proclaimed mc
Sunday School, has
by the publishers.
has to agree with Mr.
thing, at least, even t:
to which.one is right
-it is now Mr. Panu
They will next exp
believe what ever a
seen, on the slippery
you simply try belie
then feel it's true. Si
vicarious; .their prop
see God, and the rest
to be introduced t
prophets., These beli
no white. insite at all
-From "Our
By
What active princi
world, they will ask.
force? It is possible
recoil from admitting
bility. A self-aware
then? That is better!
"A blind force can't
creator of all. It's un
theory their brains fit
cannot be true.
-Out
The grand pagea
groping from Piltdow
winning in a million
carious inches of fo
TISFIED
of
es Lunch Room
nard St. South of Majestic
and Printing
the-
atp]Iir -
A y....5 i A
shoptly after her entrance into the
sisterhood is lured back into the world
by a wandering Piper and fleshly
Knight. The Madonna of the cath-
edral pitying the girl's sin, comes
down from her niche and assumes the
robes and duties of the Nun.
The remainder of the tale deals
with the horrible experiences that be
fall the helpless woman during bert
next seven years in the world. Her
first love, the Knight, is killed by a
wild robber Count, who in turn gam-
bles her away with his dogs and lan('
to the Prince of the country. Soo-
afterwards she is torn from the Prince
by his Father, the old Emperor who
in the struggle for her possession un-
wittingly kills his son. When he real-
izes his crime he loses his mind and
becomes a doddering idiot determined
to raise his new mistress to the po-
sition of Empress even .against the
will of his people and the court.
F. L. Tilden.............Editor
Donald E. L. Snyder......Books
Normand Lockwood......Music
Robert Bartron Henderson... +
Drama
Gordon Wier ............Art
Lisle Rose, Halsey Davidson,
Newell Bebout, Samuel Moore, !
Jr., Maxwell Nowles, Philip Wag-
ner, Dorothy Sanders.
The Sunday Magazine solicitsE
manuscripts from all persons af-
filiated with the University. Man-
uscripts must be typewritten,
triple spaced and written on one
ide only. * * * #
t The Sunday Magazine acknowl
edges The American Secular Un-
ion review service for "The Un-
official Observer" department. * I
Itit the polity of this magaine to
publish articles of opinion by both
tudents ansd faculty memb'ers if, in
the judgment of the editor, these arti-
cles are of intrinsic value and interest.
This does not mean that manuscripts
rolicited or voluntarily offered are
necessarilyin accord with editorial
opiniopn either in principle or form.
The production, naturally, utilizes
all the famous Reinhardt tricks, thE
huge mobs with their mass action, the
multitudes of swaying hands, the
smoke screen, the use of steps anc
:different levels, the entrance of the
characters through the aisles-you
will find them all in "The Miracle.'
Added to these there are the remark,
able costumes of Norman Bel-Geddes
Reinhardt himself has said that he has
never come in contact with such an
inspired artist. His work is all of
that-both inspired and artistic in the
highest degree.
It is difficult to picture the results
without photographs. Perhaps one
can say that the costumes are expres-
sionistic; surely they are very sym-
bolical. In the mock wedding of the
Prince, for example, the guests arE
;.owned like comics from a funny
paper-some have jack-o'-lanterns for
heads, some have silly painted faces
others are dressed as hobgoblins anc
witches, while still others wear bar-
rel-like skirts, flapping hats, and
masses of clanking jewelry.
In the Count's palace the costumes
, are fadded fusions of reds and blues
and purples. Everything becomes
musty and thickly passionate. There
are wild gypsy dancers, luxurious piles
of fruits, licentious courtiers, wierd
erotic musicians. It is another tale
'of Boccaccio, Cassanova grown fat.
Again, in the Inquisition scene, the
leaders of the mob are odd black
creatures with poppy-red eyes and
noses and mouths. The entire picture
bristles with swaying lances, peasants
are everywhere, clinging to the pil-
lars in the doorways, in the auditorium
itself. Gradually the tumult increas-
es, a' voice screams from the back of3
the balcony, another answers from the
side of the stage the noise grows loud-
er and louder until the entire theatre*
is swaying 'with the hoarse cries of
the rabble, to die away in the climac-
tic fury as the lights dim and the I
sceno is over.
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