THE MICHIGAN DAILY si MICHIGAN DAILY Y fc t'- (I. c-p v QUA ti} < E J}" 77- E- 1 I Established 180 Published every morning except Monday during the University year and Summer Session by the Board in Control of Student Publications. Member of the Western Conference Editorial Association and the Big Ten News Service. s$ociated l001 iate g"So =.1933 (iot .. caett 1934 - MEMBER OF THE ASSOCIATED PRESS The Associated Press is enclusively entitled to the use for republication of all news dispathces credited to it or not otherwise credited in this paper and the local news published herein. All rights of republication of special dispatches are reserved. Entered at the Post Office at Ann Arbor, Michigan, as second class matter. Special rate of postage granted by Third Assistant Postmaster-General. Subscription during summer by carrier, $1.00; by mail, $1.50. During regular school year by carrier, $375; by mal, $4.25. Offices: Student Publications Building, Maynard Street, Ann. Arbor, Michigan. Phone: 2-1214. Representatives: College Publications Representatives, Inc., 40 East Thirty-Fourth Street, New York City; 80 Boylson Street, Boston; 612 North Michigan Avenue, Chicago. EDITORIAL STAFF Telephone 4925 MANAGING EDITOR ..........THOMAS K. CONNELLAN CITY EDITOR.......................BRACKLEY SHAW EDITORIAL DIRECTOR..............C. HART SCHAAF SPORTS EDITOR.................ALBERT H. NEWMAN DRAMA EDITO1..................JOHN W. PRITCHARD WOMEN'S EDITOR....................CAROL J. HANAN NIGHT EDITORS: A. Ellis Ball, Ralph G. Coulter, William ,G.aFerris, John C. ealey, E. Jerome Pettit, George Van Veck, Guy M. Whipple, .Jr. SPORTS ASSISTANTS:Charles A. Baird, Donald R. Bird. Arthur W. Carstens, Sidney Frankel, Roland L . Martin, Marjorie Western. WOMEN'S ASSISTANTE: Marjorie Beck, Eleanor Blum, Lois Jotter, Marie Murphy, Margaret D. Phalan. REPORTERS: C. Bradford Carpenter, Ogden G. Dwight, Paul J. Elliott, Courtney A. Evans, Thomas E. Groehn, John Kerr, Thomas H. Klene Richard E. Lorch, Davd G. Macdonald, Joel P. Newman, Kenneth Parker, Wi- 1iam R. Reed, Robert S. Ruwitch, Robert J. St. Clair, Arthur S. Settle, Marshall D. Silverman, Arthur M. Taub, Dorothy Gies, Jean Hanmer, Florence Harper, Marie Heid, Eleanor Johnson, Ruth Loebs, Josephine McLean, Marjorie Morrison, Sally Place, Rosalie Resnick, Kathryn Rletdyk, Mary Robinson, Jane Schneider, Margaret Spencer. BUSINESS STAFF Telephone 2-1214 BUSINESS MANAGER............W. GRAFTON SHARP CREDIT MANAGER............BERNARD E. SCHNACKE WOMEN'S BUSINESS MANAGER.................. Y " ........................ CATHARINE MC HENRY DEPARTMENT MANAGERS: Local Advertising, Fred Her- trick Classified Advertising, Russell Read; Advertising Contracts, Jack Bellamy; Advertising Service, Robert Ward; Accounts, Allen Knuusi; Circulation, Jack Ef- roymson. ASSISTANTS: Meigs Bartmess. Van Dunakin, Milton Kra- mer, . John Ogden, Bernard Rosenthal, Joe Rothbard, James Scott, David Wnkworth. Jane Bassett, Virginia Bell, Mary Bursley, Peggy Cady, Virginia Cluff, Patricia Daly, Genevieve Field, Louise Florez, Doris Gimmy, Betty Greve, Billie Griffiths, Janet Jackson, LouiseKrause, Barbara Morgan, Margaret Mustard, Betty Simonds. NIGIIT EDITOR: WILLIAM G. FERRIS Professor Angell, Union Beer. .. I T seems to us that Professor An- gell's interview on State Street beer, published in yesterday morning's Daily, should have contained one more paragraph. It is our contention that there should be a restau- rant near the campus where men could congre- gate freely and, unhampered by the presence of co-eds or dance music, enjoy a wholesome mix- ture of friendship and beer after the fashion of European collegians. The paragraph which we think should have been added. would be to the effect that it is not necessary to build or borrow any such restaurant: one already exists, par ex- cellence for the purpose Professor Angell outlines in the Michigan Union. It will be a great tragedy, we think, if those who administer the Union permit the lesson of repeal to escape them. It will be a great tragedy if they attempt to continue the antiquated, not to say vicious, policy of prohibition in the pre- cincts of a club which it is presumably their duty to regulate in the best interests of the members. By driving from the Union those students who take honest pleasure from an occasional schupper of beer, two very real harms at least are worked. In the first place an aura of unholiness is given to an activity in which, no matter what happens, (including even Constitutional Amend- ment), students will always indulge. Thus their consciences are insulted, what standards of con- duct they have become confused, and they are inculcated with a spirit of disregard, not to say aversion, for all law. In the second place they are forced from the Union, where the environment is good, into places where the environment is dubious. The Honor- able Paul Leidy him~self cannot deny that an evening spent in the Union,with beer, would be less likely to be harmful than an evening spent, also with beer, in some of the dives a little further away from the campus. This being so obviously true, it seems to us that to close the Union doors to the beer drinking majority of students, which means sending them to places of unhappier in- fluence, is utterly to defeat the high purpose to which the Union is dedicated. The experience of the past decade has been that to prohibit is in practice to ignore. The alco- holic evil can only be mitigated by watchful reg- ulation, not by driving those who stand to be affected away from the scrutiny of persons who ought to be helpful. Co-operative Couneil P - ~ U~T.~ body which will decide what shall be done with the as yet unhatched chickens it is believed the drive and other ventures will produce. It was a valid criticism of last year's Good Will drive that many needy students were not helped by it owing to a natural reluctance to report their condition and to the ignorance of others con- cerning them. To improve upon this state of af- fairs the Vndergraduate Council encouraged the formation of the Co-operative Council, a body with representatives from practically all campus religious and social groups, and which, by virtue of its composition, should be able to make known many cases of student destitution which would otherwise have gone unnoticed. The Co-operative Council was not to be the only group that could call attention to places where the funds might be spent. It was not to have any power of distribution at all. Its sole function, as far as the Good Will drive is con- cerned, was to be and will be the employment of its representativesness as an instrument for the detection of need. A corollary function, to be sure, will be recommendation that the needy cases discovered be aided; but it is important to bear in mind that this will be a corollary function only What would have perplexed anyone present at last Thursday's meeting of the council, and in possession of this knowledge, was the apparent assumption that the Good Will funds were to be turned over to it for any form of need alleviation or social experiment it might choose. This is not true. If the Co-operative Council would fulfill the purpose for which it was created, it had best begin by learning what that purpose is. Screen Reflection.s Four stars means extraordinary; three stars definitely recommended; two stars, average; one star, ineror; no stars, stay away from it. AT THE MAJESTIC "FLYING DOWN TO RIO" Behlinha ...........Dolores Del Rio Roger .............. Gene Raymond Julien ................ Raul Roulien Fred ..................Fred Astaire Honey ..............Ginger Rogers If the Majestic burns to the ground this week- end, anyone who has seen "Flying Down to Rio". will need no explanation of how it started. This is without doubt the most torrid production that has hit Anni Arbor in many moons. As a musi- cal extravaganza it is good, but as a super-sexy, fast moving, cleverly concocted bit of entertain- ment it is even better. Dolores Del Rio supplies the feminine pulchitrude, Gene Raymond the an- swer to a lonely maiden's supressed desires, Gin- ger Rogers the wise cracks, and Fred Astaire the incomparable dancing. Before you read any further, you must be told about the "Carioca." This is a dance that someone has decided that the public must be al- lowed to see. Whether we should thank or spank that someone is a question, because it compares to the rumba, the tango, or anything that Harlem could produce as Mae West does to Baby LeRoy Putting this dance over would require only one couple on any floor, but it is presented in a very extravagant form, danced by seemingly hun- dreds of over-sexed couples and led by Fred As- taire and Ginger Rogers. Oh, me! The plot is naturally subordinated by the other features of "Flying Down to Rio." But without it, the picture would lose quite a bit of its interest. It is the story of what happens to an American dance orchestra playing in Florida when its leader meets a very alluring young lady from South America. Bounded by convention and a very old Brazilian family, the heroine is virtually (but virtuously?) abducted by the hero in his plane, and they fly to Rio de Janeiro during which flight they are forced down on a strange island. During the course of their sojourn thereon a great deal of romance (if you prefer to call it that) takes place. When the whole crowd gets to Rio, they are engaged to open a new hotel, which is owned by the heroine's father. Great difficulties accumulate; namely that politics enters into the hotel opening, forcing them to have their en- tertainment on the wings of airplanes instead of in the hotel; that the heroine has been en- gaged to a Brazilian. since childhood; and that mostly everybody is inebriated by the "Carioca." Most disappointing is the ending, but that is the fault of the misdirected state of mind of the audience, and means very little in comparison to the rest of the picture. The comedy at the Majestic has for its main attraction the fact that the characters are new. At least we don't have to see the same old people doing the same boring things. There is a news reel, but no Mickey Mouse. And, why not? That would be putting the mouse before the dynamite. -C.B.C. The Theatre DETROIT CIVIC THEATER "THE PIGEON" A Review By JOHN W. PRITCHARD George Bernard Shaw would have called John Galsworthy's "The Pigeon" a "pleasant play." It is that sort of thing. In consequence persons who enjoy pleasant plays and John Galsworthy will have to hurry, since the Art Institute Auditorium, Tabernacle of the Detroit Civic Theater, is to be- come unexpectedly dark after tonight. I will have more to say about this demise in the near future: there is a resurrection forecast. The production is in most respects a good one, by professional standards. In order to understand what constitutes a good production of "The Pigeon", let us see what Galsworthy wrote. The play does not carry the full force of its author's ordinary impersonality. Lovers of Gals- worthy find that one of his chief charms is his ability to write character with understanding and sympathy, and yet to maintain a Thackerayan aloofness - to smile benignantly down upon his characters, to appreciate all equally and impar- tially. This is true to a certain degree in "The Pigeon"-yet one who knows Galsworthy feels that the god has experienced a spell of wistful- ness, and has tried for a few hours to mingle .with his creatures and to experience their friendship. He never completely overcomes his critical atti- tude and thus his characters are as incisive as ever, and as equitably treated; yet one has a hunch that he feels more personal love for Chris- topher Wellyn and the rest of them than he ordi- narily displays. This results in a technical fault in Act III. In general, it is a cabinet of characters, with high narrative interest superimposed. There is also a moral; but it is one which can be fully ap- preciated only by a romanticist. A hard-shelled realist may grasp the meaning of the wild bird metaphor, but he will probably be unsympathetic. And it is in exposing this thesis that the play- wright inserts the most glaring flaw: the French- man Farrand, in reciting the philosophy of the homeless waif and the vagrant, is given a speech so long that it is rescued from tedium only by fine acting. This is the aforenoted error in Act III; it is b- ' "e Galsworthiophile is tempted to wonder whether the author was ex- pressing a secret longing of his own. One is re- mninded of the Cabehlian vignette of Alexander Pope and his brown maiden. The plot: Christopher Wellyn (Whitford Kane), aging artist has a weakness for presenting his name and address to panhandlers. The foible dis- poses of all his spare change and eats into his capital, to the intense disgust of his daughter Ann (Jackson Perkins). Three of the money-moochers - Mrs. Megan, a violet hawker (May Ediss), Fer- rand, a French vagabond (Lauren Gilbert), and Simson, a tipsy 'ostler (R. Iden Payne), make their appearance at Wellyn's studio on Christmas eve, and all are given lodging for the night. Thereafter the three waifs (or "rotters," from Ann's viewpoint), are played off against each other and against the tender-hearted Wellwyn (variously termed "the poor pigeon" and "l'ange"). There is also amusing by play between two belligerent reformers (Michael Paston and Carl Benton Reid) and a type clergyman (Hiram Sherman). Whitford Kane was, in 1912, the original Well- wyn. This makes his current performance a mat- ter of high interest, especially since he created the role on Galsworthy's invitation. Mr. Kane is a de- lightful, jovial, logical Wellwyn - but he is not Galsworthy's Wellwyn. This is easily accounted for: he has not played the part for about three years, and it is twenty-two years since the play first featured him. Galsworthy's Wellwyn is de- scribed as a man with "a crumply face"; quite timid, a bit afraid of his beloved daughter, a bit ashamed of his extravagant philosophy; alto- gether a lovable weakling. In Mr. Kane's charac- terization there is much difference: he has an air of rubicund confidence, as though he were amused by his idiosyncrasy rather than disturbed by it. Mr. Kane's Wellwyn is probably as good as Gals- worthy's, but it is not the same. One of the most difficult roles to play realis- tically is that of the tatterdemalion blue-blood. This character - Farrand - was masterfully writ- ten; in consideration of his performance, I am prone to give Mr. Gilbert the chrysanthemum. He, as noted, has also to carry the burden of the argument. He displays satisfactory Gallic grace even when altering a borrowed pair of trousers. YOUWILL NEVER FORGET and NEITHER WILL OTHERS AT THIS J-HOP The farous HAL KEMP style of playing dance music with 'Skinney' Ennis doing the vocals The music that comes from the trumpet of HENRY BUSSE when he plays "When Day Is Done" ... his way.. . and as he made it famous for Paul Whiteman 0 The outstanding men and women of the campus who know that taking care of certain details in dress makes for an exceptionally fine appearance Music by KEMP and BUSSE .. . dynamic! The smart cleaning by w. Wf i0 RPR IS J4R0&A AR CLEANERS 209 West Fourth Avenue - 7051/2 North University Avenue 4191 - a good clean number to remember --4191 -U- ! tq~ HOELDR 4 RIGHT NOW is the time to rent those vacant rooms. Within a month there Musical Events ACHMANINOFF, who needs no further intro- duction, is going to give a concert in Hill Auditorium this coming Thursday. Those who ex- pect him as a long-haired Russian magician to pull rabbits from the piano have another guess coming; and they will be disappointed in the con- cert, and in Rachmaniniff If they continue to consider him a "typical musician." Rachmaninoff believes in doing things intellectually and beauti- fully. Rachmaninoff remains an aloof, unpublicitized personnage, yet his name is a by-word throughout the land. What this man eats wears, has for a hobby, who his cronies are, remain his own affairs. Moreover, in public Rachmaninoff maintains this unprickable privacy. He never emotionalizes be- fore the multitudes. He has not capitalized on his expatriation by going into the movies, for instance! A concert of his moves with controlled personal simplicity. This asceticism is to his undying credit. He Other characters who are almost perfectly Gals- worthian are, in order of efficiency, Mr. Payne, Miss Ediss, Miss Perkins, Mr. Jones, as Megan the vindictive, Mr. Reid, and Mr. Moyer. Only one juniper berry need be awarded, and a bit of pre- liminary explanation is needed. When Galsworthy writes a type character, he always manages to work in a few crisply ironic lines which reflect particular ridicule on the speaker, and elevate him to an uncommon variety of his type. Therein Mr. Sherman failed. Although he was the sort of An- glican clergyman that one expects to see on the stage, he miserably slighted those of his lines which were particularly delightful, and much of the play's moralistic irony was thus lost. There are several instances of naivete of stage management in "The Pigeon ', mostly traceable to Galsworthy himself. Among them is a long hiotus in the action and dialogue of Act I, while Wellwyn is backstage changing his pants. But these weak- nesses are for the most part overlooked because, as previously diagnosed, it is a very pleasant play. Collegiate Observer By BUD BERNARD Senior theses at the University of Bolivia are converted into fertilizer and sold to truck will be many changes in student rooms and those who use the Classified Ads will not find themselves with vacant rooms. TODAY 'C All 2-1214 or stop at the offce on M.aynard Street kand avail your- self of this muedium CASH RATES1.... IlcaLine CHARGE RATES. . 1c a Line 2ir n t4 'ff1 II!