THE' MICHIGAN DAILY

MICHIGAN DAILY

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1-uouished every morning except Monday during the
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NIGHT EDITORS: A. Eflis Ball. Ralph 0. Coulter. William.
G. Ferris, John C, Healey, George Van Vleck, E. Jerome
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NIGHT EDITOR: RALPH G. COULTER
Music And
Drama ._.
FEW UNIVERSITIES in this coun-
try or in the world, surely none lo-
cated in a town so small as Ann Arbor, are for-
tunate enough to have artistic attractions that
compare to our May Festival, and.;6'r Spring
Dramatic Season.
The May Festival, which ended last night, brings
to us every year an artay of the biggest names in
the world of music. It israre that o -many artists
appear during a similar four-day period in even
the largest cities of the globe.
Tomorrow Robert Henderson opens the 1934
Dramatic Season. During the next five weeks we
will be presented witi a lumber of plays including
both current hits and old iasterplieces, and with
three dance recitals, Actors and W'tresses 'With in
ternational reputations will take pait in them.
The Dramatic Season is only'a- few yenrW old -
it is young beside the Music 'Festival. But we know
that the same audiences; the saiie pdi t of view,
which have made the Festival' a tradition, will
operate to make a regular event-of the play season.
And our prophecy i bolsteed$by the sell-out
crowds which packed the Lydia Mendelssohn for
Mr. Henderson last year.-£ ,
Ann Arbor and the University are proud of both
the Festival and the Season; and are grateful to
those who labor each year to make them possible.

The Theatre
DRAMATIC SEASON OPEN
WITH "THE BRONTES"
WITH SOMETHING of a spiritual fanfare of
trumpets another Dramatic Season will open,
Monday night at the Lydia Mendelssohn Theatre;
when Robert Henderson, rising young theatrical
light who is intimately connected with Ann Arbor,
will present the local premiere of "The Brontes."
The play is another episode in the recently promi-
nent fashion of bringing literary history to the
modern stage: the three inimitable sisters are
favorite topics for dramatic discussion, and the
worth of the present play has been attested
by Broadway.
Violet Kemble-Cooper, descendant of a long line
of theatrical genii and a fine' actress in her own
right, is cast as Emily. Miss Kemble-Cooper has ap-
peared in previous festivals and requires little
introduction. Her most recent appearance in this
section was in Mr. Henderson's Detroit production
of "Much Ado About Nothing" last fall: she played,
of course, Beatrice, the lady of scorching wit.
Others of note in "The Brontes" include Francis
Compton (seen here this year in "Dinner at Eight"
and "Criminal at Large), and Elizabeth Risdon.
Screen Reflections

AT THE WHITNEY
"flELOVED"

B

Carl Hausmann .............. John Boles
Lucy Hausmann .......... Gloria Stuart
Musical score and direction by .........--
.Victor Schertzinger
The downtown theatre is offering a film that
is worthwhile in that it supplies attractions to
almost all types of movie patrons. It has romance;'
it has music; it has some comedy; it has actionl
and excitement. For those who appreciate the cin-
ema as an art, it has those qualities of sincerity of
theme, beauty of phtography, well-knit con-
struction, and carefully written dialogue, all of
which have brought praise to such films as "Cav-
alcade" and "Bittersweet." In many ways "Be-
loved" resembles the former in its epochal form.
The film is an epoch of a musical family in whom
a traditional love for creative musical compositions
has been passed on from generation to generation,
from Vienna of 1838, through the revolutions of
1848, to America of the Civil War, to presentday,
jazz-mad America.
In Vienna, Carl, the infant son of Baron Haus-
mann, is brought up in an atmosphere steeped int
music, as his father hopes he will become a great
composer. His father falls a victim of European
rebellions in 1848, and the Baroness takes the boy
to Charleston, S. C. where, dropping her title,
she teaches music. Carl grows up and falls in love
with Lucy, a Southern belle, only to have his mar-
riage interrupted by the Civil War. She waits for
him; they marry, and move to New York, where he
teaches music in poverty while he is 'working' on a°
great American symphony. Generations pass. A
grandchild is born. This child also develops musical
precocity. Carl, whose symphony has never been
anything but mediocre, divides his time between
developing his grandson's musical proclivities and
working on his symphony. The boy grows up and
attains great success as a composer of popular
music. There develops a conflict between the two,
as the old man faces failure. The story ends in an
unusual manner.
The mood of the piece is one of ease and quiet.
Unhurried in its aim to unfold the story of musical
aspirations, it encompasses nearly a full century of
time. With an ever-changing background of set-
ting, one feels an element of constancy and univer-
sality in the lives of the different generations. The
musical scores are orally pleasing. The acting is
well done. Director Victor Schertzinger may well be
proud of his accomplishment in bringing this
epoch film drama into the limits of an evening's'
entertainment, and in knitting the various inci-
dents so closely together in a smoothly flowing
musical cavalcade. J.C.S.
AT THE MAJESTIC
4 "STAND UP AND CHEER"
Larry Cromwell ........ Warner Baxter
Miss Adams ..:........... Madge Evans
Sylvia Froos, James Dunn, John Boles,
Shirley Temple, Nigel Bruce, Stephen
Fetchit, and "Aunt Jemima"
Fox Film has come out with another musical in
an effort to make some money while the type is still
the fad. But this one is very disappointing, to say
the least. With Warner Baxter's portrayal of the
producer in Warner Brothers "42nd Street" in
mind, one expects a duplicate in excellence here.
"Stand Up and Cheer" does not offer him the op-
portunity and his resulting performance is medi-
ocre.
The idea of the film is to make the American
people laugh away the depression. Baxter' is ap-
pointed to the cabinet as Secretary of Amusement.
The idea is characterized by the opening song in
which workers of all kinds, of all races sing "I'm
Laughing." "I've got nothing to laugh about, but
if I can sing and dance and shout, Brother, so can
you!" Talent is recruited from all fields of enter-
tainment, is put to work all over the country, and
the country becomes prosperous once again. Just
like that. A villain enters the picture in the form
of evil business who doesn't want to see prosperity
come back because it is' making its greatest profits
out of the depression. A "Blue Nose" campaign
is started, but, as is necessary to the happiness
of Mr. Secretary, the show people of the land, the
movie producers of America, the President, the
movie exhibitors, the public, and even the starving
children of the Stanard Oil Co., fails in the end to
prevent success.
That the idea is preposterous no one can deny. If
the intan+inn o e nrdi m~rc ,.. to+maes h

Musical Events
SATURDAY AFTERNOON FESTIVAL
.In Review
THE SATURDAY AFTERNOON PROGRAM of
the current May Festival was another among
the long list of artistic triumphs for the "young"
grand old man of Chicago, Frederick Stock. He led
his orchestra through a program that called forth
all the technique necessary for successful direction.
The soloists for the afternoon, Jeanette Vreeland,
Coe Glade, Arthur Hackett and Theodore Webb,
all sang the solo parts for the Choral with a finesse
and ease that is not present in a great many inter-
pretations of that great symphony. That Beetho-
ven had an exaggerated idea of the voice's ability,
is shown in this difficult vocal work; and any good
presentation of this section of the symphony is
a personal triumph for each performer. In pass-
ing, the Choral Union did one of their best per-
formances, in that there was good intonation, bal-
ance, and, I heard the basses.
Among many local concert-goers, the treat of the
afternoon was the "Ein Heldenleben" of Richard
Strauss. There were those "in the know" who
claimed it couldn't be done successfully with a
smaller orchestra, and those who were hearing the
greatest of modern symphonic poems for the first
time. The Chicago Symphony and Mr. Stock suc-
cessfully threw aside all the doubts of the pessi-
mistic and left with the initiates a pleasant recol-
lection of a great piece of music. Acknowledgement
and praise is also due Concertmeister Mischakoff
who played the solo violin part, and did a corking
good performance. -William C. Boyd
SATURDAY NIGHT FESTIVAL
In Review
CHORAL UNION'S 'WORK last night had little
in common with the Haydn performance
Thursday night. The difference in its approach
was more than the difference between Haydn and
Heger, it was enthusiastic response to the previous
successes of the Festival. It was in the air, so to
speak. Set off to a good start by the orchestra's
introduction, the chorus made its entrance on time'
and built up to the climax of the first song. They
continued to respond to the direction of Dr. Moore,
so that the total effect was of balance, clean at-
tack, and a feeling for the mood of the text.
The soloists incorporated in their solos and in
their ensembles the spirit of the Scriptures and of
the music. Baromeo had a part more suited to
his voice than the one in Haydn. For instance, his
first solo "Blow Ye the Trumpet in Zion," set off
the vigorous quality that is his more than Simon's
"Lo! Where the Plenteous Harvest." Althouse's
top notes came out above the orchestra with clarity
and assurance. His interpretation, however, was
more than a display of voice, for he entered into the
mood most sympathetically. Coe Glade's outstand-
ing contribution was a solo in the second song. "A
Voice Was Heard in Mournful Lamentation," with
its sorrowful expression well in keeping with the
quality of her voice. She didn't assert herself as did
Jeanette Vreeland, whose performance brought to
a climax her excellent work during the Festival.
The latter has a decidedly pleasing voice and great
artistry.
Dr. Moore had the orchestra with him continu-
ously. The artists and the chorus could be heard
above the accompaniment clearly with the possible
exception of Miss Glade. The finale was almost
overpowering in its volume with the combined
strength of the Choral Union, quartet, orchestra,
and organ.
Heger's "Song of Peace" is interesting in the
light of present day militarism in Germany and its
source in post-four turmoil. The work was under-
standable in its musical form and interesting as a
modern version of the Oratorio.
Despite the depression which has affected the
last few May Festivals unfortunately, this season
was an undoubted success musically, socially, and
financially. It has regained its position in the cul-
tural life of the campus and as one of the country's
outstanding musical events.
-Sally Place.

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Plan Now
For Union Opera..
T HE MORE TIME that is spent on
a thing the better it is bound to
be. This is an old saying that officials of the Union
Opera would do well to bear in mind in connection
with next year's production. Permission to proceed
with plans for the show was given by the Union
Board of Directors at its meeting the first of last
Week?
However, with but three weeks of the semester
left, nothing has been done by those authorized to
lay plans for the coming show. This in spite of the
fact that the 1934-35 opera will be given before
the Christmas holidays.
In the days when the opera was given every
year, books were called for early in March, the
one to be produced selected in April, and the pro-
duction staff immediately began work on costumes,
scenery and lyrics. As a result of this preparation
they were in readiness to begin rehearsals as soon
as the University onened in the fall.

By BUD BERNARD
At Syracuse University during a recent thunder
shower a political science professor awoke to find
that a certain field mouse had invaded the privacy
of his bed. After a desperate sally under the sheets
the professor grabbed the promiscuous rodent, and
as he later told his class, throttled it because it had
endangered his "national security."
They are talking about the Louisiana co-ed
who wanted to know what kind of powder was
used in the Mayflower compact . . . and the
other sweet young thing who thought a but-
tress is a female goat.
* *, * 1
Here are some of the definitions given in the
new Oxford dictionary: College: A charitable foun-
dation, a hospital, asylum, or almshouse founded
to provide for poor or decayed persons. Fraternity:
A body or order of men organized for religious or
devout persons.
*1 ', .4 *
The Evanston police department has invited
Northwestern University students to visit the de-
partment to have their fingerprints registered foi
identification - just in case of accident of course.
There is a sign outside of the dean's office
at Creighton University reading, "Get your
grades here and pass out quietly."
blue, don't even think about the inadequacies of
the existing political, economic, social structure,
just twiddle your thumbs and everything will turn
out for the best. Swell food for thought: a swell

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