Scanned image of the page. Keyboard directions: use + to zoom in, - to zoom out, arrow keys to pan inside the viewer.

Page Options

Download this Issue


Something wrong?

Something wrong with this page? Report problem.

Rights / Permissions

This collection, digitized in collaboration with the Michigan Daily and the Board for Student Publications, contains materials that are protected by copyright law. Access to these materials is provided for non-profit educational and research purposes. If you use an item from this collection, it is your responsibility to consider the work's copyright status and obtain any required permission.

March 15, 1934 - Image 4

Resource type:
The Michigan Daily, 1934-03-15

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





is today a growing apathy toward churches, and
are puzzled about the cause. Perhaps some future
historian will have to point out that when church-
es turned-away from charity, they perished.
The Theatre

Published every morning except Monday during the
iversity year and Summer i'Sessior by the Board in
Control of Student Publications.
Member of the Western Conference Editorial Asnolation
and tne Big Ten News Service.
$55ociatcd GoUltiate $rezs
I'm aJ . .OYA , I' -
The Associated Press is enclusively entitled to the use
for republication of all news dispathces credited to it or
not otherwise credited in thi. paper and the local -news
published herein. All rights of republication of special
dispatches are reserved.b
Entered at the Post Office at Ann Arbor, Mchgan, as
second class matter. Special rate o postage granted by
Third Aistant Postmaster-General.
I1 t scrlAon during summer by carrier, $1.00; by mail,
$1°.50. During regular school year by carrier, $3.75; by
mail, $4.25.
Qifees: Student Pub icatI{s Building, Maynard Street,
Ann Arbor, Michigan. Phone: 2-1214.
Reporsentativs: College Publications Representatives,
Inc., 4 ast Thirty-Fouirth Street, New York City: $l0
Joyson Street, Boston; 62 North Mihgan Avenue,
C hicag.
Telephone 4925
It& EDITOR .......................B 4ACKLEY SHAW
WOMEN'S EDITOR ..... ..............CAROL J. IIANAN
RIGHT EDITORS: A. Eills Bal, Ralph G. Coulter, William
. Ferris, John C. lealey, Ceorge van Vlecki, Guy M.
Wlipple, Jr.
EPORT8 ASSISTANTS: Charles A. Baird, Arthur W. Car-
stens, Roland L. Martin, Marjorie Western.
WOMEN'S ASSISTANTS: 14arjorie Beck, Eleanor Blum,
Lois Jotter, Marie Murphy, Margaret D. Phalan.
REPORTERS: C Bradford Carpenter, Paul J. Elliott,
Courtney A. Evans, John J. Flaerty, Thomas A. Groehn,
John Kerr, Thomas H. Kleene, Bernard B. Levick, David
G. MacDonald, Joel P. Newman, John M. O'Connell,t
'ennt Parker, William R. Reed, Robrt S. uwith,
Arthur S. Settle, Marshall D. Silverman, Arthur M.
Dorgthy Gies, Jean Hanmer, Florence Harper, Eleanor7
Johnson, Ruth Loebs, Josephine McLean, Marjorie Mor-
rison, Sally Place, Rosalie Resnick, Jane Schneider,
Telephone 2-1214<
WOMEN'S BUSINESS MANAGER..................
....... ..................... CATHARINE MC HENRY
DEPARTMENT MANAGERS: Local Advertising, Noel Tur-t
ner; Classified Advertising, Russell Read; Advertisingl
Service, Robert Ward; Accounts, Allen Knuusi; Circula-
tion and Contracts, Jack Efroymson.t
ASSISTANTS: Milton Kramer, John Ogden, Bernard Ros-..
enthal, Joe Rothbard, George Atherton,.
Jane Bassett, Virginia Bell, Mary Bursey, Peggy Cady,
Virginia Cluff, .Patricia Daly, Genevieve Filed, Louise
Florez, Doris Gimmy, Betty Greve, Billie GriffitLhs, Janet
Jackson, Louise Krause, Barbara Morgan, Margaret C
Mustard, Betty Simonds.C
FRESHMAN TRYOUTS: William Jackson, Louis Gold-r
smith, David Schiffer, William Barndt, Jack Richardson,
Charles Parker, Robert Owen, Ted Wohlgemuth, JeromeC
Grossman, Avner, Kronenberger, Jim Horiskey, Toni
Clarke, Scott, Samuel Beckman, Homer Lathrop, Hall,S
Ross Levin~ Willy Tomlinson, Dean Asselin, Lymanl
Bittman, John Park, Don Hutton, Allen Ulpson, Richard
Hardenbrook, Gordon Cohn.-
Of 'Rugged Individualism'
IN his article decrying the "fashion-l
able trend in public expressions
and thought" in regard to rugged individualism,e
published in The Daily of March 8, Prof. John
E. Tracy, of our Law School, asks, "What isc
'rugged individualism,' and why this suddenlyC
grown fashion to decry it?" In answering hisk
rhetorical question Professor Tracy deals at length
with the phase of the subject which has to dos
with the personal traits of character of an in-t
dividual American, completely ignoring the broadr
national view.t
During the recent Republican administration,d
which started so successfully under the guidancea
of President Hoover, the press ballyhoo written d
to support it was loud in the praise of "rugged o
individualism." What this praise was based on
has not been shown, for we know that the real t
character of the administrtion was the bastard s
result of loudly preaching a hands off policy in
regard to American industry and at the same e
tune practicing paternal support.t
With the realization of the true character oft
the Hoover era by the American populace, with I
the tendency manifesting itself to blame unthink-d
ingly the whole depression on the last president, itf
is natural that a scoffing attitude should prevail
in regard to the supposed characteristic vaunteds
by him and his party. By adopting the term as r
their own, the Republicans spoiled its true con- I
notation for the body of the American people. o

CGooi Works
A nd he Ciic . . .

Beautifully presented, in a style which keeps th
watcher constantly on a high emotional pitch
backed up by breathless enjoyment of the colo
involved in the setting and costumes, "Elizabeth
the Queen" must be granted top position among
the dramatic offerings on campus for this sea-
son, among professional as well as amateur pro-
ductions. It is done with a feeling for the Eliza-
bethan atmosphere; it is directed in such a fashion
that Elizabeth, who after all is the most important
portion of the play, is continually centered and
made of prime significance. Play Production,
blessed with a vehicle of real value for the first
time during the season, here has in most respects
surged to the fore, in a production so conceived
and executed that the faults tend to be com-
pletely swallowed up in the overall merit.
The ,Maxwell Anderson play is a restatement of
the historical incidents leading up to the death
of Essex. The author has taken artist's license
to some extent: this is permissible, because what
he has done is to present, before an authentic
atmospheric background, the general plan of the
intrigues of the Elizabethan court which gave
reason and coherence to the character develop-
ment of Elizabeth and Essex, who are at all times
featured. Character, and narrative centering with
concentration about these two mighty figures, are
the emphasized points; behind them are the court-
ly wit, the courtly intrigue, the tempestuous cour-
tiers that made the last decade and a half of the
sixteenth century the most permeatingly English
in the history of that great nation.
The scenery is prevailingly gloomy, the lighting
dim with spots focused upon isolated portions of
the stage. Nothing could be better calculated to
impress the audience with the sort of atmospheric
effect that was desired. In their design by Wil-
liam Halstead and Harlan Bloomer, and their
splendid execution by James Doll, the sets (which
actually are a single set, whose units are readjust-
ed for different scenes) bring the audience with a
scarcely perceptible transition into the Elizabeth-
an frame of mind. Costuming, brilliant with the
ruffles and colors of the sixteenth century, shines
brilliantly before this dimly massive background.
Into this environment is brought a directive
conception which, although shoddy in spots, em-
phasizes as it should be the conflict of charac-
ter which results in the tragedy. The outstand-
ingly weak points in the direction were three in
number.: the unfortunate placing of the men in
the council scene, whereby several very broad
backs obscured the comprehension of the audi-
once; the second scene of Act II, also in the coun-
cil chamber, wherein the dialogue became te-
dious; and the first dialogue between Elizabeth
and Essex, which was handled tragically when
only quarrelsome emotion was called for. The
second fault was partly the result of cutting. The
high spot of the production was the last scene,
and its direction shone in two respects: the ex-
treme simplicity and restraint of the intense,
tragic parting between Elizabeth and Essex, and
the long silence while Elizabeth, alone in her
Tower apartment, stares at the rough-hewn door
through which Essex is to enter.
In a play which is largely character conflict,
an infinite amount depends upon the acting.
Elizabeth (Sarah Pierce) was superbly done, and
yet in Miss Pierce's work there is much to dis-
cuss. Her gestures were dynamic, her hands al-
ways at work; she tossed her head, perhaps, too
dramatically, but in general she expressed ex-
ceedingly well the old, horse-like queen who la-
bored under the greatest passion of her life. But
she had voice trouble. This did not occur when
she retained a deep cracked voice, well suited
to the heavy satiric bitterness which imbued the
mind of the queen during most of her moments,
but rather when her voice soared, supposedly un-
der the stress of high emotion. There was an
artificial cadence about this soaring which was
isagreeable; it was reminiscent of the keening wail
of an emotional negress who has "got religion."
This wailing would have been more effective had
the actress not made two errors: first, she spoke
so that when it started to rise the listener knew
ust what to expect; second, she spaced this high
emotion too evenly throughout the play, rather
than allowing it gradually to become more in-
tense until the stirring tragedy of the last scene.
I do not want to convey the impression that I am
derogating Miss Pierce's work: save for this one
fault, she was exceptionally fine.
Jay Pozz, as Essex, should be ashamed of him-
self. He had a good scene-and-a-half, but his
reign of glory ended with the first entrance of

Elizabeth. Thereafter he was wholly a man, but
only half an Essex. Instead of assuring his watch-
ers that he was always ready to go off half-
cocked into a rage, and that in his calm moments
le was seething underneath, he gave the impres-
sion that he was a good soldier who occasionally
forced anger out when it seemed strategically
wise. His performance was lethargic.

Screen Reflections
- "
Double Feature
Marjorie ...............Ginger Rogers
Glory............... . Marion Nixon
Blackie ............ ..Joel McCrea
Joan Blondell Guy Kibbee
Glenda Farrell Frank McHugh
The Majestic's program is sufficiently enter-
taining to be given a two-star rating, but the
first picture, "Chance at Heaven," is old stuff,
so to speak. "Havana Widows," however, is a
farce comedy which at times becomes almost hi-
"Chance at Heaven" is hampered by a thread-
bare plot. It is the one about the upright young
boy who is in love with his boyhood sweetheart,
-but who does not realize it until he has eloped
with a wealthy, capricious girl, only to be cast
aside after the first thrills of marriage are over.
The presentation of this picture lacks authen-
ticity, because the mistake was made of giving it
a Massachusetts setting without any trace of
New England atmosphere, not even an accent here
and there. But in spite of its shortcomings,
"Chance at Heaven" has a few good features.
One of these is Ginger Rogers, who is given a
chance to show that she can put her personality
in some other spot other than her hips and lips,
and' she does it capably. There are some good
sets, and the picture, above all, tries to make
"love in a cottage" appealing.
"Havana Widows" is superior to the other pic-
ture in that it is highly farcical comedy which
moves rapidly and has a rather involved plot that
produces some entertaining situations. The story
concerns two ambitious New York show girls who
start out to hook millionaires. They inveigle a
dumb gangster friend, under false pretenses, to
give them enough money to establish themselves
in an expensive hotel in Havana.
The comedy verges on the slapstick at all times,
being constituted in such situations as Guy Kib-
bee's being chased around on balconies and roof-
tops in his undies, and Frank McHugh's passing
out on the floor at the most crucial moments.
Allan Jenkins, as the gangster, produces some
effectively humorous facial expressions.
--C. B. C.
Double Feature
Featuring Jay C. Bruce with Edwin C. Hill

Downtown - 20u North Main St.
Dial 2-1013 Next to Downtown Postofficte
Typewriting Paper at Reduced Prices

A rountain Pen For
Every Pocketbook
$1.00 $1.95 $2.95 $5.00 $7.50 $10.
3.02 Soutb state street


Ypsilanti Normal Choir and the
Michigan High School Guest
Choir of 300 Voices.
Frederick Alexander, Conductor
Excerpts from B Minor Mass
Chorales Brass Choir
Friday, March 16, 8 P.M.
Tickets 25c to cover Guet Choir
Expense - No Rsrved Seats






"Flash" Norris ............. Ray Walker
Lila Beaumont ...... Kathryn Crawford

Entertainment at the Whitney theatre for the
next two days is none too strong. A one star
rating for each film is the most that can be given,
but for those who enjoy nature films and are
willing to overlook some technical flaws, the first
film is recommended by this reviewer.
"Cougar" was produced and filmed by Sidney
Snow, famous for his "Hunting Big Game in Af-
rica" and "Lost In The Arctic." While "Cougar"
does not approach these two in excellence of pho-
tography and suspense, it still manages to hold
one's interest. Jay C. Bruce is the official lion
hunter for the state of California and is reputed
to be one of the most skilled trappers in the
world. This picture is a dramatization of the
work he is doing in ridding his state of its danger-
ous animal killers. The high spot of the film is
Mr. Bruce's tracking down of a female cougar
literally singlehanded. The chase is well taken
by Cameraman Snow, who obviously ran some risk
to get these pictorial records. Narration is sup-
plied adequately enough by Edwin C. Hill.
"Skyways" is a picture that youngsters and
adolescents might enjoy, but its story and acting
is lacking in originality and reason. Briefly the
story tells of a smart-alec aviator who is always
carrying a chip on his shoulder, thus having more
than his share of scraps. He falls in' love with
the daughter of a banker and is forced to learn
the banking business if he wants to marry her.
Money is stolen from the bank and the hero con-
veniently brings back the thief via seaplane for
the happy ending. It is flimsy stuff.
-J. C. S.
Collegiate Observer




University who has been studying
Detroit churches reports that in the boom years
from 1922 until 1929 the amount of money spent
by the four leading protestant denominations for
benevolences decreased in proportion to their
other expenditures.
During the golden twenties the income of these
churches, like all income, swelled to an incredi-
ble size. You would expect them, founded on the
Christian ideal of helpfulness, to have jumped
at the opportunity to double or treble their gifts
to the poor, the sick, the illiterate. You would
expect that at the very least they would have
maintained the ratio between Good Works and
other activities. But they didn't. With money
streaming into their coffers faster than ever be-

Second acting honors go to Frank Funk, as the
insidious hunchback Sir Robert Cecil. The shrewd-
ness of Cecil was always on the surface: one could
see intrigue pouring out of hirA like ectoplasm
from a spirit medium. Mary Pray, as Penelope
Gray, was a shade below Mr. Funk; 'her sensitive
interpretation of a role full of emotional changes
was excellent. Frederic Crandall took a colorless
role, that of Sir Francis Bacon -whose presence
in the play is well nigh useless, and a major flaw
in the writing - and made it a living character.
David Zimmerman as Sir Walter Raleigh was
spotty -he varied from good to inadequate, but
was mostly good.
RSavin thatih ehv ave nothing in common fra-

The remedy for professorial tardiness at the
University of Bologna (in 1158) was to withhold
the professor's pay for the class at which he ar-
rived late. The students paid the professor di-
rectly in those days and if he was late he had
to teach the class regardless, but without any
remuneration for his efforts. In addition to fixing
their salaries, students hired and fired professors,
went to classes as they pleased and changed
professors if and when they tired of them.
My boy, beware of that co-ed stare
Because if it's a bluff,
She knows too much - and if it's not
She doesn't know enough.
She must be disgusted with everything
everyone does.
She must hate Bing Crosby.
She must have a sour disposition.
She must have a face to go with the dis-
She must have a biting tongue.
She must ,nick one favorite boy from the
She must know everything about everyone.



Back to Top

© 2021 Regents of the University of Michigan