THE MICHIGAN DAILY

THURSDAY, JULY 29, 1994

TIlE MICHIGAN DAILY THURSDAY. JULY 29. 1954

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DRAMA

11

'i

Three Views on Stratford

S TRATFORD LIVED up to my expectations and
then some. It was the professional thorough-
ness of it all that was so gratifying-everything,
from the lowliest blast on a hautboy to the direc-
tion of leading roles, seemed planned and executed
for its greatest effectiveness. The shortcomings,
when there were any, seemed to be the inevitable
result of choosing a certain interpretation of a
play and sticking to it, rather than the result of
ineptness on the company's part.
This was especially true in Measure For Measure;
one left the theater feeling dissatisfied, but also
feeling that the Stratford production had done the
play all the justice it is ever likely to receive. It
really doesn't have a hero, or even a villian. No
character pursues one course of action, because o0
all the hairpin turns in the plot, and no one is
ultimately responsible for anything, certainly not
for his own actions. Shakespeare has left us with
a group of characters who act noble or base for a
scene or two, but can never attain either nobility
or baseness. The Duke's urbanity and graciousness
might be considered the next best thing to nobility,
but the little cruelties he wantonly practices make
him somehing less than gracious.
In several ways, this production compensates for
the lack of a really central character and for the
general lack of stature of all the characters. To
convince us that the Duke is the man to watch, the
one who really counts, they make him dress like it.
What magnificent costumes! The one he dons for
the revelation scene is pure white, with a train
fifteen feet long embossed all over with golden
ivy. Pragmatically an excellent solution-I couldn't'
take my eyes off the Duke. To provide an out-and-
out villian, James Mason consistently plays An-
gelo grim as death. This was maybe not quite such
a good idea as the Duke's clothes.
Disregarding the total effect, certain featurems
of the production were absolutely peerless. Fran-
ces Hyland got more than simple purity out of
Isabella: there were shades of the modern pro-
fessional virgin in her acid, calculating and tre-
mendously vehement portrayal. The comic char-
acters, the fantastic Lucio, Elbow, Froth and es-
pecially Pompey were played so well that no
one could regret with any anguish their stealing
the show.
The Taming of the Shrew was played in Western
dress and a good deal more broadly, even farcically,
than one might expect. Christopher Sly set the
pace-he was strictly a burlesque Scurvy. Other
familiar vaudeville faces were the Harold Lloydish
Petruchio and a complete set of Marx Brothers.
And there were pratfalls and mugging galore. One
could question whether or not all this low comedy
detracted from the impressiveness of Kate's tam-
ing, which must finally be considered as a pretty
serious business. But I think that in this age of
liberated women the question of actually taming
one is best approached in a spirit of levity. That io'
to say, get in your licks about the place of women,
but make sure you smile, brother.
To my knowledge of the field, most companies
who attempt Greek tragedy fall prey either to the
Scylla of playing it as primitive emotional blood-
and-thunder, or to the Charybdis of statuesque
poses and lots of white sheet draperies. Stratford's
Oedipus Rex makes the passage very beautifully.
The production is above all restrained: there is a
great deal of movement on the stage but it flows
in patterns that swirl and double on themselves;
Yeats' speeches convey enough emotion so that no
one has to scream or rant. The combined power
and restraint bring Oedipus to his downfall with
what one thinks of and feels as tragic inevitability.
Combined with certain dream-like aspects of the
production, like the expressionistic immobility of
the masks, and the incense of the opening scene,
the production can be viewed as a dream allegory
of the Oedipus complex. But with or without Freud
it is a very fine production.
Considering everything, the sincerity, good taste'
and magnificent verve of all three productions, I
can't think when I've ever felt so much like a privi-
leged and invited guest and so little like a paying
customer out for a hard dollar's worth of enter-
tainment.
-Bob Holloway
rTHE STRATFORD FESTIVAL people have given
the critics a hard row to hoe this summer. The
physical vigor, beauty and expertness of all the
productions and a talented acting company incline
me to think that there is probably not a theater like
this anywhere else in North America, and it's dif-
ficult to sabotage one's own enthusiams. But even
as good a presentation as this current one of Meas-

ure for Measure can't camouflage the play's defi-
ciencies; it remains a dark and troublesome com-
edy in which the situation is arbitrarily resolved by
a 'happy ending' at the expense of ignoring the
larger moral issues which the situation has raised.
None of the leading characters are credibly moti-
vated and James Mason's hand-wringing and fre-
quently inaudible interpretation of Angelo doesn't
help any. Yet the play has its moments; Frances
Hyland's Isabella can believably be both selfish and
loving, a nun and a prospective bride, a dupe and
a duper; the minor characters are wonderful (par-
ticularly Donald Harron as Lucio and Douglas
Campbell as Pompey), the costuming gorgeous. And
if the burlesque-to-tragic tones are not all com-
prehended by the range of the play, still, the play-
wright's fault is more apparent afterward, away
from the verve and interest of the production, than
during the enjoyable performance.
Tyrone Guthrie's direction of "The Taming of
the Shrew" seems to assume that nothing in the
play is valuable or funny in itself; his remedy
is a thick paste of farce, applied indiscriminate-
ly throughout. Petrucchio first appears as a
country bumpkin in full Western dude regalia,
complete with a Mortimer Snerd laugh and shy
duckings of the head, only to show up in the
final scene as a suave and indomitable Spanish

with spare but fluid physical movement and with
the use of masks and costumes which gave the
players the aspect of personages carved in stone,
endowed Oedipus with the solemnity and grandeur
of ritual. The intensity of the tragic action from
the first entrance of the Chorus and the Theban
people bearing pungent incense which wafts out
over the area shaped theater, builds on these
ritual qualities-on significant gesture, on the char-
acteristic and contrasting rhythms of the Chorus'
and principals' speech, on patterned, telling move-
ment. Eleanor Stuart as Jocasta, Robert Goodier as
Creon and Douglas Rain as the messenger who
describes Jocasta's suicide and the gouging of Oe-
dipus' eyes, are all magnificent; James Mason as
Oedipus keeps pace with them until the end, when
he is no longer able to match the intense emotion
engendered in the development of the play.
The audience's share in Oedipus Rex is the much-
discussed but seldom-experienced catharsis-ac-
complished (and perhaps only possible) through a
ritual presentation in which the spectator, as well
as the actor, is a participant.
The Festival was started as an experiment last
summer; it's proved itself a repeatable one with-
out resorting to formula productions. To be a mem-
ber of an audience whose needs are respected by
such eminent and talented people as those in the
Stratford company is a very rare experience; only
five days home and I've already begun to look for-
ward to next year's trip.
--Ruth Misheloff
* * * *
MOST MODERN directorsand scholars of classi-
cal drama adhere to t'he idea that plays are
not museum pieces. This summer's "Shakespear-
ean" Festival at Stratford affirmed, as far as I
was concerned, the validity of the truism which
only means that audiences of different eras have
different threshholds of response. This understand-
ing has accounted for modern-dress staging, super-
political interpretations, and other devices which
sometimes offend the purists.
At Stratford, an approximately purist production
of "Oedipus" was offered complete with masks,
large chorus, and classic cadence. Also presented
was a rather straightforward production of "Meas-
ure for Measure" and a wild Hellzapoppin version
of the often-modernized "Taming of the Shrew."
Interestingly enough, "Oedipus" turned out to be
a drab, pseudo-ritualistic piece of mummery that
looked and felt like it was taking place in an un-
derwater kingdom. "Shrew," on the other hand,
produced with a nothing-sacred attitude toward
Shakespeare's Elizabethan japes, glowed with
warmth, personality, and sharp character sense,
ranking it as a show right up with last summer's
almost perfect "All's Well."
Actually, only superficially was "Shrew" a
Hellzapoppin production. Certainly the costumes
ranged from straw skimmers and Spanish hidalgo
outfits to putty noses and false beards, perform-
ances were right off the vaudeville stage; still
the personalities of Bianca, Tranio, Baptista,
and particularly Petruchio and Kate were never
lost in the havoc. They used the props: the props
never used them.
In dominating the trappings, Petruchio and Kate
in fact, lived with such fierce pleasure that the
quiet moments were honestly tender.dBoth the scat-
tered-confetti scene where the wedding guests are
left without the bridal couple and the final scene in
which Kate serenely explains "woman's duty" seem-
ed to me the memorable ones of the Festival.
Good comedy depends on personality, and in
making Kate thoroughly likeable, in giving Pe-
truchio a Harold Lloyd humanity beneath the
noble-blowhard exterior, Barbara Chilcott and
William Needles show themselves actors who really
need no props.
The "Oedipus" was a Yeats translation, the pro-
duction opening with the entrance of priests bear-
ing heavily smoking incense. From this moment
on, the odor of doom hangs so thick over the show
that it loses much semblance of 'drama. It is in a
way impressive as a religious service, albeit an ob-
solete one, is impressive. But as far as a sense of
human consequence goes, as far as any suspense or
"mystery" is concerned, there is none. It is a dream.
James Mason, a yellow Neptune with scepter,
invests the king with no force and no color, only
somber dignity and a tempo of speech and action
so slow and so regular that we can only be im-
pressed that Yeats lent himself so well to the
beat. All movement was part of the self-same dirge.
The theater was a temple, and for thirty minutes
or so the drugged intoxication it develops seems
like a good trick. Yeats himself however seldom,

I believe, attempted to draw out his own verse
myths much longer; Sophocles or no, two hours
without dramatic relief is stupefying.
The third offering of the Festival, "Measure
for Measure," despite Its very adequate produc-
tion, still showed the familiar flaws in the play.
It is very much ado about nothing unless it
may be possible to look at the play as some-
thing like a Morality about God's order. By this
system (which I do not claim makes it a great
work), the Duke becomes a God-figure who
knows that his laws must be administered on
earth by human beings, so he leaves them awhile
to their own devices as a test. Since all the char-
acters show themselves evil or selfish in some way,
God returns to find much amiss, yet he forgives
all except Lucio, the slanderer, the man who
took God's name in vain.
This philosophy does not clash with Shake-
speare's known royalist sympathies; at least schol-
ars have long quoted Odysseus' order-of-the-
spheres speech in "Troilus and Cressida" as evi-
dence of the same. His God in "Measure for
Measure" is, however, something more than has
been noted elsewhere (except perhaps in "Lear.")
While He is all-powerful and all-merciful, He is
also something of a manipulator, a conniver, more
like a Thomas Hardy deity toting with the poor.

"It's All His Fault-If He Hadn't Lost the Election
We Wouldn't Be in This Mess"
- Y
tTA _ IE....f - CA
--
ON THEI
MERRY-GO-HOUND


4 RAMA

DRUGSTORE CONVERSATION:
A merica for Americans
Or, Why I Like Joe

WITH DREW PEA

ARSON

WASHINGTON - It has been
carefully covered up, buthasshock-
ing scandal lies behind the out-
break of "parrot fever" in Texas.
The inside story is that diseased
turkeys, which caused the epidem-
ic, have been dumped on the mar-
ket, endangering those who han-
dle them.
One 60,000-pound shipment, re-
jected by the Army, was later sold
for civilian consumption. Public
health authorities have traced oth-
er shipments all thedway to Bos-
ton, Philadelphia and New Orle-
ans. Though packed in ice, some
of these turkeys were still found to
be carrying live "parrot fever" vi-
rus the same virus that has alrea-
dy caused one known death in
Texas.
While they constitute no danger
once cooked, they are a danger
to those who pluck or dress them.
Meanwhile, when Dr. B. C. Pier,
chief of poultry inspection in the
Agriculture Department, complain-
ed of lax inspection methods he
was promptly removed from duty.
On June 1, Pier wrote a confi-
dential memo to his chief, W. D.
Termohlen, director of the poultry
division: "We feel that during the
past year the efficiency of the
poultry-inspection service has de-
teriorated markedly," he said.
"This is evidenced by reports
from canners and others who pur-
chase inspected eviscerated poul-
try that it has not been properly
prepared as ready-to-cook poultry.
There is a widespread feeling in
the inspection service that efforts
to carry out a sound program will
not receive backing if the indus-
try objects. Many supervisors and
inspectors have become extremely
discouraged in their efforts .."
For his memo, Pier was sum-
marily removed as inspection chief
and replaced by Dr. Roy E. Willie,
whose first act was to inform em-
ployees that "wanted to be fair to
the industry."
Pier was given a fancy but
meaningless assignment in charge
of state inspection programs. Since
few states have inspection por-
grams, this puts Pier in a spot
where he cannot bother the indus-
try.
Actually, the inspection of poul-
try is under both the Agriculture
Department and the Food and
Drug Administration of the De-
partment of Health, Education and
Welfare. Strictly speaking, the Ag-
riculture Department is supposed
to "grade" poultry. However, since
the funds of the Food and Drug
Administration have been cut so
low by GOP Congressman Taber
of New York and Busbey of Illinois
that they can inspect factories only
once every 12 years, Agriculture
inspects as well as grades.
Only 20 per cent of the nation's
poultry plants are government-in-
spected, and the companies, not
the government, pay inspectors'
salaries. In return they get the
benefit of the "U.S. government
inspected" stamp; but since they
pay the salaries, inspectors natur-
ally lean toward those who foot
the bill.
Shocking Conditions
As a result of these lax methods
and lack of funds, official reports
received at the Agriculture De-
partment reveal the following un-
pleasant, unpalatable, but unescap-
able facts:
1. Diseased poultry, often cov-
ered with sores and swellings, are
thrown indiscriminately on the
market. The blemishes are simply
cut off, and the diseased parts are
often sold in fancy packages, offer-
i n g ready-to-cook drumsticks,
broestsa nther featurdna nrs,

-l

epidemic struck Texas poultry
plants in May, sweeping through
the employees. More than 300
cases were reported, including one
death. First hit were Corsicana
Poultry of Corsicana, Producers
Produce of Lampasas, Swift & Co.
of Tyler, and Market Produce of
Brady.
Veterinarians quicklystraced the
disease to sick turkeys. Most of
the plants did not close down, but
continued to ship turkeys to mar-
ket from the sick flocks. This has
been proved by publicuhealth au-
thorities who have found Texas
turkeys, packed in ice but still in-
fected with psittacosis, 2,000 miles
away in Boston and Philadelphia.
Another shipment has been traced
to New Orleans.
Here is one confidential report
made by Field Inspector S.B. Don-
elson after checking on the Pro-
ducers Produce plant at Lampa-
sas, Tex.
"On or about May 4, 1954, a
sick flock of turkeys was pro-
cessed at the plant," Donelson in-
formed Washington. "I started
work there May 12, 1954, at which
time some of the employees were
ill. Others became ill within the
next week or two, until 26 of the
65 employees were affected. There
have been two relapses among the
26. The plant did not close due to
this outbreak."
The Army, worried about the
health of its G.I.s, rejected two
carlots of turkeys from Market
Produce of Brady, Tex. The plant
then turned round, sold the same
60,000 pounds to civilian buyers.
When queried by this column, a
company spokesman admitted re-
selling the rejected turkeys but
claimed the Army was being over-
cautious in turning them down.
This column will publish more
about the way in which the Agri-
culture Department has bowed to
the industry.
Copyright, 1954,
By The Bell Syndicate, Inc.
.. - - - ---~
Sixty-Fourth Year
Edited and managed by students of
the University of Michigan under the
authority sof the Board in Control of
Student Publications.
Editorial Staff
Dianne AuWerter....Managing Editor
Becky Conrad............Night Editor
Rona Friedman...........Night Editor
Wally Eberhard............Night Editor
Russ AuWerter............Night Editor
Sue Garfield.........Women's Editor
Hanley Gurwin......... Sports Editor
Jack Horwitz......Assoc. Sports Editor
E. J. Smith.......Assoc. Sports Editor
Business Staff
Dick A 'strom........Business manager
Lois Pollak........ Circulation Manager
Bob Kovaks.......Advertising Manager
Telephone NO 23-24-1
Member

At the Lydia Mendelssohn . .
THE CRITIC, or A Tragedy Re-
hearsed, by Richard Brinsley
Sheridan
IT'S UNFORTUNATE that The
Critic must go through the
"fiery ordeal of true (sic) criti-
cism,"sfor the performance on
view last night at the Lydia Men-
delssohn does not emerge un-
scathed. Sheridan's satire of the
critic and the conventional drama
he cherishes and sustains is clever
and witty, albeit fragile; the di-
rector, however, didn't seem to
trust the playwright's script to
make the point.
The first act, in which the crit-
ic, Mr. Dangle, and Mr. Puff, the
columnist-critic turned playwright,
exchange the intimate secrets of
their respective trades, fares best
in this production. It's fairly
straight comedy and the director
has not obscured the fascinating
ramifications of Puff - manship
with unnecessary hijinks. But the
play-within-the-play, called "The
Spanish Armada," which is writ-
ten so broadly that any extra pad-
ding dulls Sheridan's satiric barbs
to blunt burlesque, is on the whole
not handled with the same re-
spect. There are wonderful bits,
like the exposition and Discovery
scenes, where stage business is as
sharp as the text. For the most
part, though, as Mr. Puff him-
self remarks at one juncture, the
actors have been given a good
thing and can't resist playing it
to death.
The final spectacle, for instance,
in which Mr. Puff has included the
personifications of several rivers
and a bevy of billowing waves, plus
a flag-draped Britannia, would
probably have been marvelous had
the choreography been imagina-
tive and funny instead of pointless
and confusing. As it is, the stage
at that point looked like a Union
Opera version of the Ziegfield Fol-
lies, which I'm sure neither Sheri-
day nordthe director intended s
B. Iden Payne reveals himself
as a veteran and accomplished per-
former in the part of Mr. Puff;
his first act scene is really deft
and amusing. But the honors of
the evening must go to Paul Re-
billot, as Sir Fretful Flagiary of
the play and Sir Christopher Hat-
ton of the "tragedy rehearsed,"
who make a complete delight of
two engaging roles. Both Mr. Payne
and Mr. Rebillot have the advan-
tage of being consistently audible,
which is more than may be said
for the others.
The visual possibilities of the
production were only partially
realized by the costumes and the
set; in fact, aside from the two
above mentioned actors, no one
over in the speech depdrtment
seems to have caught on to Mr.
Sherican's play.
That makes a second, though
less glorious defeat, of the Span-
ish Armada, which is one more
than I ever thought was necessary.
--Ruth Misheloff
Interpreting
The News
By J. M. ROBERTS JR.
Associated Press News Analyst
The Anglo- Egyptian agreement
on Suez represents an important
victory for American diplomacy.
The details of American Ambas-
sador Jefferson Caffrey's work in
Cairo may not be known for a
long time. To reveal them might
be embarrassing to both the Bri-
tish and Egyptian governments.
The very fact that the United
States already has set the stage
for an important military and

economic aid program to Egypt,
so that she will be in position to
take up the British role of defend-
ing the famous canal, testifies to
work that has been going on be-
hind the scenes.
Defense of the canal, which
proved of small use during the
latest war and presumably would
be completely closed by atomic
war, is, however, of far less im-
portance than is the adoption by
Egypt of a role in a broad Middle
East defense system.
Britain, France and the United
States are now expected to issue
a new notice of intent to preserve
peace in the Middle East as an
assurance to Israel that military
development of Egypt will not
represent a threat.
There was no question that the
agreement represented a retreat
for Britain, but whether, as the
British feared, it represented a
heavy loss of prestige in the
Middle East, is debatable.
There remained a strong consid-
eration that it might actually pro-
duce a reaction of greater confi-
dence in British intent to reduce
her colonial relationships in favor
of freer cooperation with under-
developed areas. It's worked that
way for her in India. It's some-
thing the United States has told
all of her colonil-nnwer allies she

Heaven may even know more
than that, I thought. But, being
essentially polite when it's not too
inconvenient, I said, "Well, Ne-
groes have to make a living too,
I guess."
She gave me a look that demon-
strated her sympathy for my im-
becility. "American citizens should
be taken care of first," she ex-
plained, "before those lazy pests.
They should all be sent back to
Africa."
I hadn't known that Negroes
were not American citizens. But
I managed to conceal my ignor-1
ance. I was just going to make
some apropos comment-
"It's just terrible," she said with'
true dismay in her voice, "the
way things are going. Even the
Supreme Court is a dirty, political
-you know, that decision was a
political deal. I'm going to write
Joe McCarthy about it. They're
all Communists anyway. Just bid-
ing their time until they can gyp us
out of everything. It's a dirty
shame what an American citizen
has to put up with."
Her mention of McCarthy over-
came me like a greyhound bus.
"You say you're going to write
to McCarthy, Senator Joseph
McCarthy, from Wisconsin?" I
asked with embarassing timid-
ity.
"If anyone can do anything about
it, he can," she said proudly.
Isn't he awful busy catching
"Communists?" It was not a sar-
castic question. I really wanted to
know.
"Communists, Negroes, they're

HAD A TALK the other day with
a 100 per cent American citizen.
She is a she, and votes every
time she gets a chance. I thought
of asking her what party she be-
lieved in, but I could tell by the
dollar signs in her eyes.
Don't know, really, how the con-
versation got started. The only
mistake I made was sitting next
to her on a drugstore stool. A
Negro girl was washing dishes.
"It seems to me they could give
that job to a white person. Es-
pecially when jobs are so hard to
get," she said to me.
I caught up with my surprise
in time to agree that jobs were
hard to get.,

"Heaven
ed, "there
Americans

knows," she persist-
are lots of white
that need a job."

a all the same," she replied, waving
a fork in the air. "They're not
true Americans. That's what counts
don't you think?" She stared at
me inquisitively, but returned to
her cottage cheese salad before I
could answer.
I was sorely tempted to ask for
her definition of a true American,
But I remembered in time that
it is impolite to ask people ques-
tions they can't answer. Besides,
it makes them nervous. And I
can't stand nervous women. So I
meekly answered, "Yes." For the
simple way she phrased her ques-
tion, that was the correct answer.
I suppose she considered herself
a true American.
"Isn't Joe McCarthy doing a
wonderful job?" She hadn't for-
gotten me.
I suspected I had better watch
that fork. I decided to fight bpck
for a change. Seems I was getting
tired of listening to 104 per cent
American citizens tell me hor
otherwise were people who didn't
think, act, or look like them. "Do
you think so?"
She was properly shocked at my
impertinence. But she went on
courageously, "Why, sure, he's
bringing out in the open those rot-
ten Communists trying to over-
throw the government. He's smart,
he is. Those Communists a r e
smart, but Joe is smarter. They
can't get away from him. He can
smell a Communist ten miles away.
I know some people I'm suspi-
cious of and I'm going to write
him about them"
Joe must have never made
it within ten miles of them, I
thought. Not everyone is that
lucky. "Do you believe that
everyone McCarthy calls a Com-
munist is a Communist? I asked
simply.
"Why, he wouldn't call someone
a Communist who wasn't, would
he?" she countered incredulously.
"I'll take his word for it anytime.
Can't take any chances with Com
munists. They'd take over the
country just like that if we let
them."
"Nice food for a drugstore, isn't
it?" I said and left her with her
old-fashioned, and American; apple
pie. Never did ask her name,
which was more or less irrelevant
anyway.
--Jim Dygert

4

-


.

'1

DAILY OFFICIAL BULLETIN

ll

The Daly Official Bulletin is an
official publication of the University
of Michigan for which the Michigan
Daily assumes no editorial responsi-
bility. Publication in it is construc-
tive notice to all members of the
University. Notices should be sent in
TYPEWRITTEN form to Room 3510
Administration Building before 3 p.m.
the day preceding publication.
THURSDAY, JULY 29, 1954
VOL. LXIV, No. 26S
Notices
Veterans enrolled for six-week ses-
sion only, who are eligible for educa-
tion and training allowance under Pub-
lic Law 550 (Korea G.Z. Bill), whether
they have received Certificate for Edu-
cation and Training, (VA Form 7-1993)
or not, may sign MONTHLY CERTIFI-
CATION OF TRAINING, VA Form 7-
1996a, in the Office of Veterans' Affairs,
555 Administration Building, on July
30, between8:00 a.m. and 5:00 p.m. and
on July. 31, between 9:30 a.m. and
12:00 m.
D134, Spoken Language Training for
Teachers of Foreign Languages. Regis-
tration will be on Monday, 8:30 to 10:00
in Room 1415 Mason Hall (Language
Laboratory), at which time schedules
will be distributed.
PERSONNEL INTERVIEWS
The Canada Life Assurance Co. will
have a representative at the Bureau of
Appointments on Tuesday, August 3,
to interview August men graduates in
Bus.Ad. or LS&A for positions in life
insurance sales. Students interested in
scheduling appointments may contact
the Bureau at 3528 Administration Bldg.,
Ext. 371.
The following student sponsored so-
cial activities are approved for the corn-
ing weekend:
July 30
Alice Lloyd
Phi Delta Phi
July 31
Michigan Christian Fellowship
Phi Delta Phi
Phi Delta Phi
Lectures
National Band Conductors Confer-
ence, auspices of the School of Music.
Program sessions. 10:15 a.m. and 1:15
p.m., Auditorium A, Angell Hall.
Russian Studies Seminar, auspices of
the Russian Studies Program. "Soviet
Economic Trends." Abram Bergson, Pro-
fessor of Economics, Columbia Univer-
sity Russian Institute. 3:00 p.m., 407
Mason Hall.
University Lecture, auspices of the
Department of History. "Cross Currents
in Today's Latin America." Philip W.
Powell, Associate Professor of History,
University of California at SantagBar-
bara. 4:15 p.m., Auditorium A, Angell
Hall.
Linguistic Institute Lecture. "Is There
a Linguistic Aptitude?" John B. Carroll,
Harvard University. 7:30 p.m., Rackham

aid Euler, Chemistry; thesis: "Low Tem.
perature Phase Behavior and Thermal
Properties of the Systems NaF-HF
and NH4F - HF. Low Temperature Ther-
iodynamic Functions of Titanium Tet-
rafluoride," Thursday, July 29, 3003
Chemistry Bldg., at 9:00 a.m. Chariman,
E. F. Westrum, Jr.
Seminar in Applied Mathematics will
meet Thursday, July 29, at 4:00 in Rm.
247 West Engineering. Speaxer: Profes-
sor John R. Sellars. Topic: Stability of
Laminar Fluid Flows.
Mathematics Colloquium. Professor
George W. Whitehead from the Massa-
chusetts Institute of Technology will
speak Friday, July 30, 4:10 p.m., 3010
A.H. His title: On the homology sus-
pension.
Department of Chemistry Colloquium.
Thursday. July 29, 1954, 7:30 p.m., Room
1300 Chemistry. Mr. J. Wade Van Val-
kenburg, Jr., will speak on "Factors
Influencing the Measurement of Con-
tact Angles." Mr. Philip D, Bouffard will'
speak on. "Adsorpiton at Mercury In-
terfaces."
Seminar in Lie Algebras: Will meet
every Friday afternoon at 3 p.m. In
Room 3001 Angell Hall.
Seminar in Mathematical StatisticS
Friday. July 30. at 2 p.m., in 3201 Angel
Hall. Mr. Jack Meagher will conclude
his discussion of Welche's approximate
test of the difference of two means. Mrs.
Chou will begin her discussion of Beh-
ren's-Fisher test.
Concerts
Carillon Recital, 6:45 Thursday even-
ing, July 29. The program will consist
of compositions for carillon by Perci-
val Price, with Professor Price opening
the recital with his Sonata for 47 Bells.
This will be followed by his Rhapsodle
for Two Carillonneurs, No. 4, perform-
ed by Beverly Brehm and Betsy Gidley,
School of Music students. Fred Fahrner,
graduate student, will bring the pro-
gram to a close with Price's Canadian
Suite.
Outdoor Band Concert by University
of Michigan Summer Session Band, Wil-
liam D. Revelli, Conductor, 7:30 Thurs-
day evening, July 29, on the diagonal.
Program: Nobles of the Mystic Shrine
by Sousa, Orlando Palandrino by Haydn,
Largo Al Factotum by Rossini, Second
Swedish Rhapsody by Erik Leidzen, con-
ducted by the composer, lecturer in the
School of Music for the Summer Ses-
sin; Pieces of Eight by Jenkins, Scotch
Folk Song Suite by Davis, conducted by
James Neilson; The Girl I Left Behind
Me by Anderson, Introduction and
Samba by Whitney; San Francisco El
Grande by Lecuona, conducted by
George Cavender; Beguine for Bandby
Osser, Kiddie Ballet by Hermann, and
Michigan by Edwin Franko Goldman.
In case of rain, the concert will be
cancelled.
Student Recital: Elva Vogt Rosenz-
weig, soprano, will be heard at 8:30

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