Sixty-Eighth Year
. - EDITED AND MANAGED BY STUDENTS OF THE UNIVERSITY OF MICHGAN
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'DAY, MAY 25, 1958 NIGHT EDITOR: ROBERT JUNKER
Regents Belt Tihteni efects
Starvation Appropriation
Year's Pr oductions
i Revie
By VERNON NAHRGANG
Daily City Editor
THE ANNUAL presence of Dra-
ma Season again signalling the
end of the Ann Arbor theatre year,
playgoers are looking back with
numbness at the dullest, shortest
run of plays in several years-and
looking ahead with little hope for
improvement.
Gone from this year's calendar
was the block of seven produc-
tions previously presented by the
Dramatic Arts Center and its
predecessor before it. With these
plays went the only near-profes-
sional drama in Ann Arbor.
What was left was often more
than competent and once or twice
very good indeed-but that once
or twice came very fair apart in the
long months,
The speech department upheld
its high reputation with five pro-
ductions and three laboratory
playbills while Civic Theatre and
Drama Season added five more
plays each. The Lecture Course
presented one drama, the single
professional production but for
Drama Season.
THERE WAS a tinge of irony at the Univer-
sity Regents meeting Friday.
In secluded peace and quiet, "away from it
[," in the north woods of Michigan, a group
University governors were hearing reports
d making decisions on a methodically pruned
idget-a budget which was not being trimmed
ven and one-half per cent to gain eficiency,
.t a budget which was being cut to save
>ney.
And yet, out in the world, in the big cities
d the thriving suburbs, people were continu-
g the cry which began last fall. They were
mplaining about the woeful inadequacy
American education, the lack of research,
e need for teachers, the need for more edu-
ted. people, and the upgrading of American
ucation in general.
National magazines and newspapers through-
t the country have shouted in bold headlines
.d big stories the problems of the academic
>rld.
And the heart of the problem in American
ucation is a lack of enough money; enough
>hey to provide adequate plant facilities and,
>re important; enough money to pay teachers
gher salaries so that more people will want
teach.
And the Regents were being forced to prune
the budget. First they announced that' the
University will have 175 less faculty and staff
members next year than this year. "More
teachers" has been the cry.
Then they announced they would be unable
to staff Dearborn Center. Enrollment will be held
to zero at Dearborn for an additional year, and
-enrollment at Flint"will be held steady. Further,
the University enrollment in Ann Arbor will be
limited to this year's level. "More trained
people" has been the cry.
There was a peculiar sense of irony at the
Regents meeting Friday. But it was irony tinged
with frustration; frustration because there was
nothing else the Regents could do.
They had to work with the appropriations
provided by a state legislature, whose member-
ship seems to be typified by one member who
recently said, "Education ain't as good as it
used to be"; A Legislature which apparently
does not understand the goals and purposes of
higher education-a Legislature which seems
far less concerned about selling the country
short'in a time of crisis than about performing
the politically expedient.
-RICHARD TAUB
The total, counting the lab play-
bills, was 19 legitimate produc-
tions. Add to this the Gilbert &
Sullivan shows and a Musket
musical and the number seems im-
pressive until compared with the
totals of past years, which run
one-third higher.
Most important, however, is that
the productions, no matter how
many, are varied in subject and
well done technically. This sea-
son's fare represented the usually
wide variety of plays but also
equally widespread degrees of
technical competence.
* * *
THE MOST consistently able
productions were those of the
speech department. The final
show, "Love's Labor's Lost" was,
all considered, the highpolnt of
the season.
Fine costuming, good lighting
and setting, an excellent play, and
actors who played Shakespeare
rather than recite him combined
to make a memorable production.
The large number of strong actors
in secondary and character roles
insured the overall success.
The season opener, "Arsenic and
Old Lace," was a spirited produc-
tion of the famed American stand-
by, followed in December by a
slightly uneven but highly emo-
tional'production of O'Neill's "De-
sire Under the Elms."
ANOTHER operatic production
with the school of music this year,
Verdi's "Masked Ball," brightened
Lydia Mendelssohn considerably
during February.
In March, "Playboy of the
Western World" proved a strong
production in the hands of the
same actors and actresses who had
worked in the rest of the plays.
The high,, quality of direction
throughout the speech department
LOVE'S LABOR'S LOST-Costuming was important to this
success last month. Richard DeBeck and Nancy Engass arc
fitted in their Shakespearean clothing by costumiere Margery S
Roommate Report Evasive
-Daily-Robert Kanner
PLAYBOY OF THE WESTERN WORLD--Actor Al Phillips makes
an important point in one of the speech department successes.
THE UNIVERSITY administration and the
Residence Hall Board of Governors almost
deserve a compliment.
While the Board's report on roommate as-
signment policy was not as clear-cut as might
be hoped for, it certainly placed the emphasis
in the right area-the individual.
Furthermore they have maintained a dignity
fully worthy of the institution which they
represent in not being carried away by the
bver-sensational charges of the National Asso-
ciation for the Advancement of Colored People
but at the same time, exhibiting response to
student inquiry.
The report in itself, however, does exhibit
some weaknesses. While it assures the right of
the individual to express his preferences as to
roommates and to have these preferences hon-
ored, it leaves the possibility open that prefer-
ences. and prejudices will be assumed where
zone exist.
The report states "if no preferences are indi-
cated, assignments will be made according to
interests and living habits expressed in the
application."
THE QUESTION that must arise is whether
or not racial or religious differences will be'
interpreted into the "interests. and living hab-
its" clause in the actual administration of the
policy.
Indications on one hand, however, lead to the
opinion that the purpose of this clause will not
be mis-construed. Such people as Vice-Presi-
dent for Student Affairs James A. Lewis and
Dean of Men Walter B. Rea have declared that
the University would not "foster segregation'"
and. would "demonstrate the influence of this
philosophy in practical application."
It should not be difficult to place trust and
confidence in these men. They, along with other
administrators, have assumed 'an almost per-
sonal obligation to see that this policy is
carried out in the manners in which it was
intended. ,
It is up to them to see that a non-discrimi-
natory tradition unalterably and permanently
established at the University.
But why, it may be asked, was this burden
and responsibility placed so directly on these
individuals? Why wasn't the policy recommen-
dation more explicit?
Again a basically' sound and commendable
dignity on the part of the University must be
pointed out. It is not the duty of broad policy
to answer individual charges, but to define the
area in which all action, for better or for worse,
is effected.
Consequently, it is not the University's policy
that must answer to any subsequent criticism,
but the application of the policy.
UNFORTUNATELY, one shadow still remains
over the matter which limits one's complete
confidence in the application of the policy. The
survey of actual assignments in the men's resi-
dence halls this fall, which was released with
the policy report, demonstrated a thorough
search for the significant facts. And the facts in
some instances were somewhat embarrassing.
But, what is important, they were clearly stated
and admittedly served as a stimulus for some
change.
A similar report released for the women's
residence halls, however, was presented in an
insignificant, if not confusing, manner and
admittedly did not promote any change.
'These statistics revealed the percentage of
incoming women who indicated a racial or
religious preference and, in a separate figure,
the percentage who actually ended up living
in either a "mixed" or "unmixed" situation.
There was no indication of whether or not the
individual was placed in the situation which
she had requested, there was no person-for-
person correlation of these, statistics.
One must question, then, if the Dean of
Women's office was actually aware of the true
situation regarding the fulfillment or un-fulfill-
ment of individual preferences. The most vital
issue has been avoided.
It must be said then that the University ad-
ministration and the Board of Governors almost
deserve a compliment.
-WILLIAM RANSOM
STRATFORD, ONTARIO:
Festival Time Draws Near-
By JEAN WLOUGHBY
Daily Staff Writer
AS THE legitimate theatre season wearily slides into the summer dol-
drums in New York and large metropolitan areas throughout the
country, tent theatres, summer stock companies, and dramatic festival
groups fortunately spring up to shoulder a large part of the nation's
cultural burden. No longer faced with three months of closed curtains
and darkened marquees, the playgoer with time for weekend travel
and access to a car, can find high quality, professional entertainment
available to him almost wherever he goes.
Tent theatres and stock companies enjoy a well-established aura
of tradition; success in summer stock has long been a part of the
great American myth of the stage.
The concept of the dramatic fes-
tival, however, is a relatively new
idea which has gained great pop-
ularity only in the past several
years. Newport and Tanglewood
have long drawn huge audiences
for their vast orgies of music, but
in the field of drama, the various
towns named Stratford in the
United States and Canada seem
to have lately taken over the fes-
tival concept with equal if not
greater success.
The largest, and by all reports
best, of these endeavors is that
at Stratford, Ontario. Only six
years old, the Stratford Shakes-
pearean Festival is well on the
way to becoming the most excit-
ing andbcomprehensive artsepro-
gram' on the continent.
Originally simply a summer
Shakespearean company, the
Stratford foundation first brought
name stars to Canada andgdrew
audiences with such fine actors
as Alec Guinness and James Ma-
son. As it became increasingly in-
stitutionalized, however, the Fes-
tival developed its own stars. Such
people as Douglas Campbell and
Christopher Plummer have creat-
ed wide and solid reputations for
themselves at Stratford, the latter
now being recognized as the fin-
est young Shakespearean actor of
the decade.
* * *
THE PLAYS alone, unfortu-
nately, did not draw big enough
audiences to make the Festival fi-
nancially solvent; other attrac-
tions were added to the show. So
many attractions (or distractions)
in fact, that at least two visits--
probably more-are now necessary
for the energetic culture-hunter
to take in all the sights and
events. Folk music, serious music,
jazz, a Moliere play and an in-
ternational film pr ogr am all
supplement the Shakespearean
productions at va r io0us times
throughout the summer.
To give an example of the qua-
lity of these "supplementary"
events, the stars and companies
announced so far have included
Marcel Marceau, the New York
Pro Musica, Wilbur de Paris, folk
singers Marais and Miranda, and
Richard Dyer-Bennet. Produc-
tions will include "The Beggar's
Opera," Honegger's "King David"
and a film premiere of "Old Man
of the Sea."
The plays, of course, are still
the core of the Stratford season.
Presented in the striking theatre
that was completed at the begin-
ning of last year, the productions
are sumptuous and elegant in ev-
ery detail. The acting is perceptive
and almost universally good; the
staging is imaginative and effec-
tive.
* , *
OPENING with "Henry IV, part
I" on June 23, the Festival de-
parts from its ordinary custom
of presenting only two plays, and
offers "Much' Ado About Noth-
ing" on June 24, and "The Win-
ter's Tale" on July 21. Plummer'
has leading roles in all three
plays, and is supported by Eileen
Herlie, Frances Hyland, Max
Helpmann, Jason Robards, Jr.,
and others of equal caliber if less
fame.
Less concentration on "fringe
benefits" and ' greater eniphasis
upon the drama which is, after
all, the main province of the
Stratford Festival, might also al-
low production of one of the
tragedies this year and so com-
plete the Shakespearean cycle.
season was evident in each produc-
tion. So was the competence of
several actors whose regular par-
ticipation, and activity contributed
to the plays' success. Particularly
noticeable1were Norman Hartweg
and Al Phillips in a great variety
of roles.
* * *
TURNING to the Civic Theatre
productions, one finds a" much
less ambitious group of popular
plays, although here, too, one of
them stands out far above the rest:
the production of Harriet Bennett
Hamme's "Mia Mine," which was
deservedly well received.
Here alone was the Civic Theatre
group able to work with a play
that was in its way meaningful and
to accomplish a production that
was meaningful.
More typical of this amateur
group, however, were the efforts
during the rest of the season. The
bill included "Teahouse of the
August Moon," "Hatful of Rain,"
"Guys and Dolls," and "Janus,
all fairly recent plays carefully
calculated to appeal to the towns-
people who seldom go to the play.
In each instance, the lack of any
real polish in the production, the
presence of both strong and weak
actors and actresses in close jux-
taposition, and the inability of the
cast to do more than read the
comic lines made for a dishearten-
ing performance.
MAJOR ITEM 'on the miscella-
neous side of the season was "The
Rivalry," the pre-Broadway pro-
duction which stopped by at Hill
Auditorium in November on the
Lecture Course, starring Raymond
Massey, Agnes Moorehead, and
Martin Gabel.
The drama was a little too his-
torical and much more rhetorical
to please much of the audience,
but it was typical of the sort of
thing which comes around on the
dramatic side of the Lecture
Course ("The Best of Steinbeck,"
etc.).
Of the speech department play-
bills, the one-actd"The Shewing-
Up of Blanco Posnet" was good
fun for, obviously, the cast as well
as the audience.
Beverly Canning's "and we have
fall the fun" made a brave premiere
at another of the minor produc-
tions, but was found to have too
many problems in the script as
well as the acting and in need of
much revision.
Gilbert & Sullivan's two annual
productions were as superb as
usual this year and the Musket
production of "Kiss Me Kate," if
we overlook some bad casting in
the second leads, was not intoler-
able.
* * *
NOW THE Drama Season is
upon Ann Arbor, near-filling Lydia
Mendelssohn nightly with obliging
patrons. The opening production,
Arthur Miller's revised version of
"A View from the Bridge," gave
the five-week program a strong
sendoff with help from Luther
Adler in the lead.
Last week's "The Second Man"
was much less successful. It seems
the Drama Season committee
would have learned from the las$
Behrman play, "Biography," of a
few years ago, that while this sort
of social comedy might have been
endurable in the 'recent past, it is
no longer.
But this week's "Candida," in
spite of Nancy Kelly's dropping
from the cast, holds promise for
Ann Arbor theatre. And Rattigan's
two one-act plays, collectively call-
ed "Separate Tables," are enjoy-
able if done well. "Holiday for
Lovers" closes the season.
* * *
THE FUTURE? Unless the
speech department expands its
number of productions (Wayne
State University does six) or Civic
Theatre becomes more'> serious,
theatre may be in fornanother slow
year.
Then agaiif there is always hope
for the beginnings of another dra-
matic arts group of professionals
or semi-professionals. Ann Arbor
has proven that it can support
such a group as long as it keeps
its illusions' of grandeur to a mini-
mum.
FROM EVOLUTION TO TELEVISION:
Speech Department Size and Activity Grows
The Wheeled Challenge to Education
EDUCATION today has become a real 'chal-
lenge to the student in quest of his college
degree. Of the many obstacles which stand in
the way of graduation, none is so great as
the insurmountable barrier of bicycles which
stand in front of, on the side of, and in back
of the Undergraduate Library.
The importance of the library to the student
body can be estimated by the huge numbers of
students who have frequented it for purposes
of studying, snacking, socializing and .. . so-
cializing, and by the huge numbers of bicycles
parked outside, since its opening in January.
However, as the number of students with bi-
cycles who visit the library increases, the
number of students without bicycles who visit
the library decreases.
This can be traced to the fact that the bi-
cycles, which students insist on parking in
front of the library entrances, serve as a
"screen," allowing only the nimble-footed track
star access to the Hall of Books, while denying
entrance to those less athletically inclined._
It is a real problem when the whole cement
area in front of the library is a sea of bicycles,
with only six parked in the rows of racks pro-
vided forthis purpose. The only way to enter
the library. in this situation is either to get
there before all the other cyclists and park
your bike closest to the doors, or else break
trail through the mass by knocking down bikes
right and left.
This unconscious exclusion policy may well
affect the over-all grade point average of the
University this year, because of 'those stu-
dents who are unable to enter the library and
who will be forced to go to less quiet places to
study and who will therefore 'not study as well
and who will then get poorer grades on their
examinations 'as a result.
This line of sophistic reasoning gains more
importance as final examinations approach
more closely.
ONE OF THE REASONS - and about the
only valid one - which students can ad-
vance for parking their bikes in front of the
library is the lack of illumination provided by
the bicycle racks next to the General Library.
This lack of any kind of lighting makes it dif-
ficult for a student to see to unlock his bike
at 10 or 11 p.m. if it is one of the racks.
However, an even more important reason
is just plain apathy. Much has been said about
student apathy in other fields, and it is just
as great a factor in the problem of unparked
bicycles as it is in student government or any-
thing else. The only students who are incensed
about the problem are those who must fight
their way through them each afternoon and
evening, or possibly those who get there too
late and find all the cement space occupied and
are forced to park in the racks.
By JEAN HART WIG
Daily Staff Writer
IN 80 YEARS the University's
Department of Speech has ex-
panded fron one room in the old
University Hall to two complete
floors in the Frieze Building.
Back in 1843, the sophomore
class inaugurated the first public
speaking demonstrations. These
'class exhibitions" featured ora-
tions, dissertations, essays and a
poem, all written by the speakers.
Debates and oratorical contests
were the specialties of the follow-
ing Literary Societies. Small
groups of students delighted in
long debates on such topics as:
Resolved: That the benefits of
novel reading will compensate for
its injuries and Resolved: That
students. should not form matri-
monial engagements while in col-
lege.
* *
FOLLOWING the formation of
several short-lived debating clubs
in 1860, the Barrett Club presented
the first recorded amateur dra-
matic performance at the Univer-
sity. The play, "Dollars and Cents"
was given in 1880.
The speech department officially
began in 1884, when Thomas C.
Trueblood was invited to the Uni-
versity by Pres. James M. Angell.
For the next three years, Prof.
versity, Prof. Trueblood founded
the Michigan Oratorical Associa-
tion, Northern Oratorical League,
Mid-west Debating League and
several speech honoraries.
As a direct result of his efforts,
the curricula expanded from
courses in public speaking, de-
bating and interpretation of
Shakespeare to include play pro-
duction, speech science and radio
production.
According to Prof. Emeritus
Richard D. T. Hollister, who
taught the first University play
production course in 1915, the
early departmental plays were
presented with simple settings and
"used suggestion instead of a pic-
torial stage."
"In those days the plays made
an appeal to the understanding
rather than to-the eye," he said
explaining why the earliest shows
didn't have music or dancing. "I
think that the University to some
extent has felt more and more the
feeling for show business. They
want more 'chrome' than dramatic
theater."
Prof. Hollister estimated that
the percentage of students in the.
speech department in 1925 was as
high or higher in comparison to
those enrolled in the literary col-
lege than it is today.
"In 1925 the department was
about as vigorous as one could
wish," he said in comparing the
function of the old Oratorical
Association with the present or-
ganization. "I can remember in
the earlier days when we had 40
or 50 people entering the Northern
Oratorical Contest."
Prof. William P. Halstead, a
member of the speech department
faculty since 1935, has noticed
"quite an expansion of speech-
courses since 1940, particularly
on the graduate level."
THE FIELDS of speech correc-
tion and speech science have
grown tremendously because the
state now pays for special speech
correctionists in the public high
schools, he added. The economic
factor also has greatly influenced
students to consider radio and
television work instead, of the
theater, according to Prof. Hal-
stead.
"I still sense a very strong con-
viction among students that thea-
ter training will serve them very
well in other occupations," Prof.
Hayden K. Carruth of the speech
department since 1946 said.
This new trend is distinctively
true of students in the theater
who recognize its value for a lib-
eral and cultural education, he
:..