rPO-M
THE MICHIGAN DAILY
TUESDAY, MAY 27, 1930.
_--
Published every morning exe.pt Monday
Suring the University year by the Board 1in
Contol of Student Publications.
Member of Western Conference Editorial
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EDITORIAL STAFN"
Telephone 4925
MANAGING EDITOR
ELLIS B. MERRY
Tditorfal Chairman .........George C. Tilley
City Editor.............Pier"eRosenberg
News Editor...............Donald J. Kline
Sports Editor......Edward L. Warner, Jr.
Women's Editor... .......Marjorie FJolimer
Telegraph Editor.......Cassam A. Wilson
Music and Drama....... William J. AGorman
Literary Editor........Lawrence R. Klein
Assistant City .Editor.... Robert J' Feldman
Night Editors-Editorial Board Members
Frank X_ Cooper Hlenry J. Merry
William C. Gentry Robert L. dous
Charles R. Kauffman Walter W. Wilds
Gurney Williams
Reporters
Morris Alexander. Bruce J. Manley
Bertram Askwitk Lester itMay
Helen Barc Margaret Mix
Maxwell B~auer David M. Nickol
Mary L. Behymer William Page
Allan H. Berkman Howard H. Peckham
Arthur J. Bernstein VictorPrce
S. Beach Conger John D. Reindtl
Thomas M. Cooley Jeannie Roberts
Helen Domine Joseph A. Russell
Margaret Eckels Joseph Ruwitch
Catherine Ferrin Ralph, R. Sachs
Carl F. Forsythe Cecelia Shriver
Sheldon C. Fullerton Charles R. Sprowl
Ruth Gallmeyer Adsit Stewart
Ruth Geddes S..Cad well Swanso
Ginevra Ginn Jane Thayer
L ack Goldsmnith MlVargaret Thompson,
ily Grimes Richard L. Tobin
Morris Groverma Robert Townsend
Margaret Harris Elizabeth Valentine
.CuU'n Kennedy Harold O. Warren, Jr.
tcelan Levy G. Lionel Willens
s E. McCracken Barbara Wrigkt
Dorothy Magee Vivian Zirii
gress toward installing the honor
syestem has been dilatory, unnat-
ural and forced by those who need-
inTh if0 -
i
an exigency for seeming tobe
es anisn-Lusef-enrtig rana .LT ama I
leaders, the campus has yet to wit- 4
even combustable interest of the TONIGHT: In Mendelssohn Theatre a reading of King Lear by
students on behalf of the honor Henry Southwick.
system. Until such a time as
seems decidedly more feasible than
the present, the few amenities of Antigone
the honor system which its pro- A REVIEW BY WILLIAM J. GORMAN
ponents are able to comb from its
f
3
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Department Managers
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Women Assistants on the Business
Staff.1
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Ethel Constas Sylvia Miller
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ernice Glaser 1Io-othea Waterman
Anna Goldberger Joan Wiese
Hortense Gooding
TUESDAY, MAY 27, 1930.
Night Editor: CARL S. FORSYTHE.j
Editorial Comment
HAMLET BY THE WAY.
(From Christian Science Monitor)
When R. C. Sheriff, who wrote
the notable war play, "Journey's
End," found himself in the predic-
ament, a few months ago, of never
having seen a Shakespeare play,
he had a very natural course open
to him. He could have taken train,
plane or trolley to the nearest
Shakespeare troupe, and at the
rate of six or eight performances
a week proceeded to make good
the deficiency without letting the
true state of affairs get abroad. In-
stead of adopting this procedure,
the young playwright made a clean
breast of the situation to a jour-
nalistic friend (who did not neg-
lect his opportunities), and re-
cently on his first visit to Hamlet
gave a long interview on his im-
pressions.
The verdict was not entirely in
favor of his illustrious predecessor.
"I was not impressed by Shake-
speare's technique," he confessed.
"Hamlet, I felt, would be a better
play if the Ghost had not appear-
ed." Then as to the soliloquies:
"That sort of thing on the stage
seems too unnatural. What I feel
is that Shakespeare must be an
acquired taste-that one must get
used to blank verse as a medium.
... I am wondering what is wrong
with me for not being carried away,
not only by the beauty and ma-
jesty of the words, but by the lead-
ing character."
Naturally, Shakespeareans were
shocked. But it is little use being
shocked at the opinions of talented
young men and women of today.
The best that can be done is to
try to account for what is happen-
ing. Mr. Sheriff, like so many of
the younger theatre goers, clearly
took his seat in the auditorium
Swith his thoughts running deisive-
ly at a ceratin tempo and on a
certain plane, and he expected
what was going on behind the fot-
lights to approximate the samec
tempo and the same plane. In
keeping with modern habits of so-
cial intercourse, he may have ex-
pected plenty of action, economy
of words, allowing no thought to be
expressed that could not be re-
duced to a terse sentence or two
and certainly prohibiting the waste
of valuable time in brooding aloud
If the audience presents itself
with these ready-made rules for
' the game and finds the players ob-
serving an altogether different set
of regulations - different tempo
. different modes of expression, dif-
ferent plane, then the close sym-
pathy between the two sides of the
footlights on which every play de-
pends for its success is not there
In pre-war days such a difficulty
r seldom arose.tToday it has be:
come one of the serious problem
of the theatre. Audiences frequent-
ly refuse to yield themselves to the
mood of the play if it does not hap-
pen to be their own, and since th
rather doubtful expedient of re
viving outdated plays for the sake
of the ridicule they can arouse ha
become popular, the habit of a de-
tached interest in the auditoriun
seems to be generally on the in-
crease.
A long line, splendidly heid, modulated with superb emotion,
balanced with due causes and effects, intensified by the pressure of a
great conflict-there is the preciseness, the tightness, the classicism of
Sophocles' play. It is the greatest merit of Mr. Henderson's production
(forced to solve the difficulties of a small, indoor theatre by considerable
employment of temporary flexibility h3 stage interpretation) to have
kept the play rigorously unified. For all the unauthentic liberties taken
(some of them very bold) there seemed to be underlying a genuine
feeling for the tone and color of Sophocles' tragedy. The realization
in production pf that feeling was certainly sufficiently impressive to
make everyone grateful for the experience afforded.
The most definitely controversial point was Mr. Henderson's treat-
ment of the chorus. In the text they are labelled Theban elders--
essentially a group of old, wise councillors whose age and ranking lent
considerable austerity and weight to their utterances. Their age and
their masculinity made their complete lack of sympathy with Antigone
understandable and served to emphasize her spiritual isolation.o I
All this is completely lost in Mr. Henderson's chorus of simple
Grecian people. Yet it did solve a difficult problem. Throughout the
production there is of necessity no conceding to the statuesque con-
vention of the large open-air theatre. Statues were unrealizable in an
intimate theatre. So that the rhythmic, (rather than the usual cere-
monial, ritualistic) treatment of the chorus became a matter of expedi-
ency and proved to me often a thrilling solution. Rhythmic effects
were secured that accurately reflected and intensified the passions of
the main protagonist. The initial rhythmic translation of the terror
of all Thebes at the unburied body and the final static picture of
poise and balance were finely realized symbolic . externalizations
of the tragic cycle from initial terrible conflict to harmonious resol-
tion. The effects thus gained with a chorus were perhaps intelligent
enough to justify the newly-created convention-which is undoubtedly
all the director could hope for.
Miss Anglin's performance was a revelation. She has the courage of
the grand style: and she has the fusion of forcefullness and restraint
to make it amazingly acceptable. She'boldly sacrifices most of her
imitative function to the demands of declamation. She has a sustained
power and fluidity of speech. Her intense realization of the tragic
magnitude of Antigone is projected larely in the fine, meaningful
curves of tonal beauty in her recitation. There was a fine suppressed
immobility in her pantomime (a substitute for the Greek mask). Her I
pantomime is not one of detail but of synthesis, suggesting rather than
making explicit the emotional conflict within her. Her Antigone, then,
never becomes feverishly emotional. She is rather splendidly marble in
her white, unassailable purpose-broken and intensified by compelling
mioments of woman, of softness and terror. It is a marvellous style
that Miss Anglin has perfected and one thinks it the perfect style
for Antigone.
Mr. Ainsworth Arnold's style was similar. Possessing as Miss Anglin
does a fine voice, .he showed the same confidence in the expressiveness
of his speech. There was no striving in his interpretation for a physical
translation of the choleric violence of Creon. He tempered it rather
to dignity and majesty by his physical restraint and let his words have
the force.1
Mr. Henderson's scene in this light seems defintely to strike a false
note. He was, I think, obsessed with "acting" his lines. If one grants
the correctness of this aim, his performance as the messenger was
effective. But I am inclined to think that a restrained vocalization of
that fine description of the death of Antigone and Haemon would have I
beegn more effective than an "acting" of it. At any rate he was definitely
using an entirely different style than Mr. Arnold and Miss Anglin: and
the mixture was annoying. Edward Fitzgibbons as Tiresias carried his
magnificent scene with Creon very well. Amy Loomis and Lewis
McMichael too were quite adequate.j
Florence Boycheff
A REVIEW BY GLEN D. McGEOGII
That Miss Boycheff has a voice of ingratiating quality, rich in its
timbre and capable of infinite color, was quite apparent in her graduat-
ing recital last night; that she obviously possesses an easy command of
the technical resources of various styles of singing was even more
evident.
There was at all times a satisfying congruity of vocal quality and
_ technique, with intelligent interpretations. Her voice answered all the
requirements of a program that was exacting in its demands, and
carefully selected with a thought for effective contrasts of groups. The
proof of Miss Boycheff's versatility lay in her ability to project the
_ essential spirit of styles so diametrically opposed as those found in the
Italian opera aria, the German lieder, and the group of modern French
songs. Miss Boycheff's Brahms was sung with a reserve of forces,
.both interpretive and vocal, with a thoughtful restraint which is always
the mark of a serious artist. The reflected the various moods of Brahms
with subtle distinction. Her aria was sung with fine feeling for dramatic
intensity, and the French group was marked by clarity of style, delicacy
and exquisite taste. There was a happy selection of English songs which
upheld the dignity of the program. The Griffes song, "By a Lonely
Forest Pathway," was delivered with poignant feeling. Hageman's "At
The Well" did not prove a happy selection, particularly from Miss
Boycheff's type of voice. It is obviously not her song. It evidenced a
- breathy and uneven tone.
Her performance last night marked an improvement over her former
appearance. There was a clarity and fluency, an evenness of production,
and a freedom of execution which evinced a decided advancement in
1 her art. An attradtive poise and a naturalness of stage presence, a
serious attitude, and an adequate vocal equipment mark Miss Boycheff
as an artist of distinction and promise.
s
Student Plays,
II
a ~A REVIEW BY RUSSELL McCRACKEN j
s The first night of the final presentation of the student one-actI
plays for this year's competition was very favorably received last night.
Of the three plays, Three a Day by Robert Skidmore, Lassitude by Hubert
Skidmore, and Wives-in-Law by Mrs. Elizabeth W. Smith, Hubert Skid-
more's probably received the best presentation. Florence Tennent gave
an excellent interpretation of nostalgia. Freda McMillan was reminis-
r cent of Martha of Robinson's play, and just as effective as previously.
Leone Dockeray, a new appearance in campus productions, was very
fine with her talk of funerals and diseases. The little girl with fits,
- Charity Balke, played by Dorothy Miller was wonderfully handled, show-,
- ing how very effective a difficult pantomine part can be when played
well.
- Next best in presentation was Mrs. Smith's Wives-in-Law. Here
e Marion Gallaway was as a whole very effective, most effective in the
melodramatic displays which were suggestive of her farcical interpreta-
- tion of Lelia earlier in the season. The success of this play, however,
- was for the most part due to the clever arrangement of lines-come-
backs, double-checks-in the composition of the play.
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THE HONOR SYSTEM'S
'SUPPORT.'
Despite the headway which the
honor system project seems to have
made toward installation in the,
Literary college, surprisingly few
merits stand out to recommend
either the idea itself or the course
of its progress to date.
During the past four years, the,
project has been under actual con-
sideration of academic societies,
campus honor societies, faculty
and student leaders, and in each
case save the last the flare of in-
terest fizzled out because of the
meagreness of genuine plausibility
in the rplan. In the present in-
stance, however, the idea, after
having been mulled about and fin-
ally rejected by several honor
groups despite the pressure of a
few members in the clubs concern-
ed, was greeted impassively at first
and then rejected. In the mean-
time, nevertheless, those same per-
sons who tried to elicit this con-
certed support for the honor sys-
tem abritrarily made the matter
an issue in the All-Campus regis-
tration. In fact, it may reason-
ably be inferred that the chief
purpose that persons had in push-
ing the point to a vote was to pro-
vide largely, out of thing air, some-
thing for themselves to act upon
as campus "leaders." The progress
thus far, therefore, has been
achieved in spite of student indif-
ference, rejection or ignorance of
its purport simply in the absence
of any other apparent activities or
reforms which as outstanding men
on 'the campus they could intro-
duce.
9
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Clearly this state of affairs is
temporary, and every effort should
be made to supply the remedy
A generation that can listen only
to plays set in quick, jerky rhythm
is liable to deprive itself of much
indispensible thought that requires
a longer and slower unfolding.
WHAT IS EDUCATION?
The company which runs pas-
senger buses for tourists in Glacier
National park asserts that young
college men are by far the best
drivers. The statement directs crit-
ical attention to our own State uni-
versity. Students there not only do
not receive instruction in bus driv-
ing but are forbidden to operate
their own cars for recreation and
pleasure. No wonder we hear com-
plaints that college courses are im-
practical, and that graduates are
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The slight vote on the honor sys-
tem deserves small credence in
weighing the evidence in support
of the plan. While the vote show-
ed that the ratio of those willing
to support the honor system was
three to one as against those whoI
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