PAGE TWO
THE MICHIGAN DAILY
SUNDAY, JANUARY-6, 1924
S
ROBERT
BARTRON
HENDERSON
APOLOGIA. and- is doubled up with age
College dramatics, above all else, even as the thorn trees are
should stanJ for experimentation--a among the rocks where he is climb-
feature too often over-looked. It can, ing"-
in all fairness I believe, be laid to the falls asleep at the crucial moment,
credit of Comedy Club that during ;while the Young Man, Cuchulain, son
the last few years it has maintained of Sualtam-
such a policy fairly consistently in its "with gold on head and feet
monthly programs. Two years :ago it and glittering in his coat;
presented Bernard Shaw's "Arms and who is of those crazy for the shed-
the Man," last year Edna St. Vincent ding of men's blood,
Millay's "Two Slatterns and a King". and for the love of vomen"--
and Strindberg's "The Stranger" (a is distracted by the purely physical
prohibited play six years ago), and beauty of The Hawk, and the Old
this season, Eugene -O'Neil's "The Man wakes to find that the rocks are
Dreamy Kid," as well as Franz lItol- wet and that the water has once
nar's "The Key" and William Butler again "plashed and gone." In a fit
Yeats' "At the Hawk's Well," which of anger and disgust he begs the
are to be performed this Thursday Young Man to return to his land and
it had the usual high ceiling of Ital-
ian buildings-and seats for about
350. The auditorium gradually
filled up-for we were early after
all-the show late. Half the audi-
ence was adult, the people all ap-
pearing to be of the better class,
iany English, men and wonen as
well as children. The audience soon
became impatient and there was a
great pounding and stamping and
some hissing.
"There was an orchestra, which
we could hear tuning up, well con-
cealed from sight. The stage was
lare for the theatre, and the cur-
tain a conical one-representing a
(Continued on Page Sever)
ii'
2
evening in Sarah Caswell Angell Hall.
Neither of the plays on the present
program have been produced before!
in America, a circumstance which in#
itself jeopardizes the attempt at the
outset, and makes the undertaking
both challenging and ambitious and
terrifying.
"The Ivey" is difficult only in that
it requires subtle, distinctive acting.
It tells a slight, sophisticated story
of Vienese morality in the chtty oh-
tuse manner that has made its author
famous the world over. Two women,
in short, fall to words over their hus-
bands and their polite indiscretions,
their honor and their duplicity. "You
know, my dear," one of them says as
the curtain falls, "nothing matters
save what is seen by your friends.
"At the hawk's Well" is far more
complicated, and, frankly, without a
careful explanation seems quite mean-
ingless. Like a symphony its weird
imagery requires constant repetition
for complete appreciation. It is an
Irish dance drama patterned after the
technique of the Japanese No play,
and to further complicate the inter-
national relations, utilizes a form of
the Greek chorus and music composed
by the ultra-modern Frenchman. Ed-
mond Dulac.
The story, briefly, deals with man's
eternal desire for immortality as sym-
bolized by the waters of a hidden
spring that is gone before it scarce
has flown. The Old Man of the play-
"who has been watching by this well
thiese fifty years,
F. L. Tilden..............Editor
Donald E. L. Snyder......Books
Normand Lockwood......Music
Robert Bartron Henderson...
Gordon Wier. ..........Art
Lisle Rose, Italsey Davidson, ?
Newell Bebout, Samuel Moore,
Jr., Maxwell Nowles, Philip Wag-!
ner, Dorothy Sanders.
The Sunday Magazine solicits
manuscripts from all persons af-
filiated with the University. Man-
uscripts must be typewritten,
triple spaced and written on one
side only,.
The Sunday Magazine acknowl
edges The American Secular Un-
ion review service for "The Un-
official Observer" department.
It is the policy of this naga ine to
publish articles of opinion by both
stude os daculty members froii
the judgmenst of the ieditor,tieenti
les are of intrinsic value and interest
This does not mean thJat manuseripts
Rolicited or voluntarilY offeredlare
necessaritv in accred with editorial
opinion eitiisr in preiipie or form.
be content but-
"to sit by an old hearth
and on naught to set heart
but children and dogs on the floor."
Of course, the youth relieving the in-
evitable tragedy of the younger gen-
oration, will hear nothing of it, and
as the curtain falls it is plain he, too.
is doomed to the misery and bitter
disappointment of the senile old s
Obviously it is easy to look upon
such a philosophy as ridiculous and
improbable if approached in an un-
responsive mood. On the other hand.
the play contains infinite possibilities
tot abstract beauty if presented be-
fore a considerate and sympathetic
audience. As Sheldon Cheney has put
it. "'At the Hawk's Well' is a new
dramatic form that takes cognizance
of the psychology of the subconscious
and offers the same compelling qual-
ity for the imagination that sound
realism has for the judgment."
Of course, it is equally easy to pic-
ture the almost impossible task con-
fronting the director. Here is a play
that requires not only skillful acting
but specialized dancing as well, and
necessitates above all else a precise
fusion of music, rhythm, and the
spoken word. It would almost seem
that failure of a single factor would
mean the failure of the whole, yet
a.ainst this, there is the happy pros-
pect of significant success. "At the
Hawk e tell," you cal see, is an ad-
. nt ure'
A LWIE'.R FROM ROME p but
ir at the"s i tt' -'V'etIWii'.iit" about -
t tow it arili tt 'etn italy :nter-
- t i r rinett's I ithakin" the
'li-cti-u ertyilia C ' -
t t._1 ( 5'a". 5 ti. ( . _i r-3
a3': i s : a ndiln ht e S:arin Italy.
of rl;.. ol) ays,
:_ l -,it'rc-s"10
teeC'-''ateT-I--ea SS
.p to . As { r :o tu
right there, w t '-des t go that
eay. 'We tiss , th sec-
and was terrilly sICe ii coming,
but we had starce etearl and the
tickets were already in our pock-
ets. Soon, nwever, it began to
rain--to pour-and as there was re-
pairing to be done on the track,
out we all had to tumble. Imagine
us: hurrying along near the walls
where it was dry, fallowing our
leader. The streets were so narrow
and the buildings so high that the
dry place was fairly wide, but the
sud in the road was slippery and
etten dtiet so that we were sadly
irty' ee we finally got to the
little theatre.
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