} Re DA X BDITION HE COLLEGE @ === VOL. XXII, No. 23 BRYN MAWR AND WAYNE, PA., MAY DAY, 1936 Copyright BRYN MAWR COLLEGE NEWS, 1936 ~ PRICED CENTS * Costume Committee Stresses Brilliance, Variation for 1936 English Clothes 330 Years Ago Were Colorful Assortment From. Everywhere OLD STYLES SUGGEST PRESENT DAY TASTE In the Merchant of Venice, Portia says of the Englishman: “I think he bought his doublet in Italy, his round ‘ hose in France, his bonnet in Ger- many and his behavior everywhere.” In other words, Elizabethan England was a period of travel and discovery in which fashions were interborrowed from other countries and re-created even to eccentricity. So much money left England for brilliant finery that Elizabeth decreed a limitation of ex- penses. Ruffs grew to such tremendous sizes that ladies and gentlemen neces- sarily held téte-a-tétes four feet apart. For the May Day féte the Eliza- bethans decked themselves out in the brightest finery which they possessed. Miss Grayson has introduced into the 1936 May Day this festive brilliancy, which accords with the modern taste for color. In 1900 the costumes were made of simple cheesecloth; gradually ‘they became richer, although dark in tone, until 1920, when the May Day was more extravagant than it has ever been. When Miss Skinner was super- vising in the twenties, the costumes were mainly pastel shades. Queen Elizabeth’s: court circle are newly dressed in costumes designed by Miss Grayson in her New York workshop. The Queen’s dress with its flame-coloreq overdress and sunburst of pearls, is a composite picture of the Queen’s innumerable gowns—one which her dressmaker, given another opportunity, might have designed. The ladies-in-waiting are dressed from pic- tures or ‘descriptions of noble . Eng- lishwomen of the period, all of whom vied with one another in width of farthingale and embroidered bodices so stiff “that they resembled trussed Continued on Page Hight One of New Plays is Old University Farce Gammer Gurton’s Needle Cut For Campus Ears; Comedy Spirit Remains PLOT INCONSEQUENTIAL “A Ryght Pithy, Pleasaunt and Merie Comedie: Intytuled Gammer Gurton’s Needle:”; so reads the title page of the first printed edition of one of the plays new to Bryn Mawr with the current May Day. Produced for the first time at Christ’s College, Cambridge, in the latter half of the sixteenth century, Gammer Gurton’s Needle is the earliest university play in English which has come down to us. Unfortunately, Elizabethan humor’ at its best is a little vigorous for the tender sensibilities of a contemporary May Day audience, and frequent ex- purgations of the original script were necessary before Gammer Gurton’s Needle could go into. production. It will be evident, however, to anyone who stops before Radnor or the Li- brary to see the play performed, that such judicious cutting has not de- stroyed its native spirit. From begin- ning to end it is a consistently humor- ous and vulgar picture of the lowest rustic manners in rural Elizabethan England. Unlike Ralph Roister Doister, its immediate predecessor in the comedy of the period, Gammer Gurton’s Needle has no plot in the strict sense of the word. The play is made up of a succession of comic incidents which arise from a simple initial situation, and end in a burlesque denouement. Gammer Gurton loses her needle, and Dame Chat, the ale wife, is ac- cused by Diccon the Bedlam of steal- ing it. The loss and the accusation Continued on Page Two AS WE WERE Frances Reane as Maid Marian and Madge Miller as Alan-a-Dale in the first May Day, 1900. Spontaneous Worship of Spring Season Rooted in Celebration Old As Earth Joy in Returning Year Expressed in Ancient Fertility Ritual When Man Symbolized in Dance and Sacrifice His Delight in Sun ELIZABETHAN FETE EMBODIES PAGAN VITALITY The May Day celebration’is as old as the earth, for it is a symbol of the coming in of spring. From different customs and superstitions, from dif- ferent times and peoples, the festival we know has gradually sprung, but the beginnings everywhere were rooted in. the joy of the returning year. Men paid homage to the gods who gave fertility to the earth and to their bodies; they honored the sun for bringing them light and heat once more; they represented in dance and sacrifice the casting off of winter and of all barren things. As spontane- ously as the season itself, the May Day rites to observe it arose. In pagan times, the Romans held festivities on the last four days of April and the first of May in honor of Maia, mother of Mercury, for whom the month was named, and in honor of Flora, the goddess of the fruitful soil. They -danced, they wore gar- lands, and they scattered flowers along the streets to signify the blessing which the goddess was giving them. When they took possession of Britain, they introduced: these customs among the people there, so that the Britons likewise celebrated the return of their summer by praising the Roman Flora. Before the Romans came, however, the natives of the island had origi- nated a practice of their own which they still continued in spite of the new observances they learned. Every May Day they were accustomed to light fires on the Druid’s mounds and to draw each other through the flames as if in sacrifice. Although the cere- mony was a mere game as they per- formed it, nevertheless it was prob- ably the result of a tradition of hu- man offerings, a giving up of old and out-worn life for the receiving of new vitality from the spirit thus propitiated. Both Roman and Celtic ways of honoring the spring were almost for- gotten when the Germanic tribes in- vaded Britain. These tribes had their own observances for May: feasting and dancing to welcome the sun as it came nearer to them from the South, Art Club Exhibit The college Art Club will hold an exhibition of drawings and. sculpture made during the past © winter,.over May Day weekend, Friday and Saturday, May 8 and 9. Common Room. No ad- mission. Everyone welcome. and a mock battle between summer and winter in which the leaf-crowned summer was always the conqueror. Yet the earlier customs were not wiped out entirely, nor were the Ger- manic customs when Christianity was wat last brought into Britain. Instead, the strains of all three traditions were preserved within the precincts of the new religion. Despite the protests of the clergy, the dancing and singing of the pagan festivals remained a practice of the Christian people. Chaucer Mentions Old Customs Until the period of Chaucer, no definite information about the May Day which developed out of these various strains can be found in Eng- lish literature, but when he spoke of it, he did not imply that it was any- thing either recently revived or re- cently begun. Rather he made it a matter of course, a procedure exist- Eight Choir Members Broadcast Over WOR Otis Skinner Relates His Experience With Pageant of 1920 Friday, May 1.—Eight members of the Bryn Mawr Choir with their lead- er, Mr. Willoughby, paid a flying visit to New York to sing seven songs from Big May Day on a special Bryn Mawr broadcast from WOR. The following students went on the expedi- tion: First sopranos: Agnes Halsey, ’36; Maryallis Morgan, 736; Doris Russell, ’38. Second sopranos: Esther Hearne, ’38; Lois Marean, ’37; Elea- inor Shaw, ’38. First alto: Cornelia Kellogg, ’39. Second alto: Helen Kel- logg, ’36. Upon arrival in New York they were whisked to the WOR studios at 1440 Broadway, where they were ushered into a sound-proof room and told to practice their songs. So that the proper relation of voices would be heard over the air, each singer had her own special. square of the patterned linoleum floor on which to stand around the microphone. At 3.15 sharp, the man in the con- trol room signalled to Mr. Willoughby, who struck a chord on the piano, and the singers sang one verse of Now is the month of Maying. Mr. Skinner then told the history of Bryn Mawr’s May Day, dwelling especially on the 1920 performance, whéh Mrs. Skinner was the Director, Cornelia Otis Skin- Continued on Page Eleven ing from time immemorial, as indeed it had. He referred to one of the London Maypoles as a thing that everyone must know. Going out into the woods to gather flowers,. especially the hawthorn or the “may,” continued to be an essen- tial part of the May Day. rites even when, as time went on, these rites were elaborated with countless other activities. By the reigns of Henry VIII and Elizabeth, the morning of the first of May had become an occa- sion for a grand pageant, yet still “both most and lest” rose before dawn and sallied forth into the country. They made wreaths of blossoms and broke off sprays from the blooming trees to decorate their houses. While the peasants walked, however, blowing on whistles, shouting and _ tustling with each other on their way, the no- bility rode horseback and made a dignified excursion. It was not decor- ous for kings and counsellors to de- scend from their horses and wash their venerable countenances in the hawthorn dew. Yet by this means, the peasant girls firmly believed they could keep their cheeks rosy and comely all the year, and every May morning they pressed their faces among the wet flowers of the haw- thorn trees. Maypole Important Feature Still another purpose than making garlands and touching the dew prompted all sorts of people to go wandering in the forests. They had to cut down some straight, tall tree and make their Maypole from it. This, “their chiefest jewel,’ as an old writer called it, they dragged home with twenty or forty yoke of oxen, every ox having a nosegay tied to the tip of his horns. When they had bound the pole with flowers and pen- nants and sometimes painted it in diagonal stripes, they reared it on the village green and fell to dancing wildly about it. Although the poles were sometimes permanently set up in the villages in- stead of being freshly cut and carried Continued on Page Eleven Munich Scholarships There is a possibility that sev- eral additional scholarships to be ‘held in Munich next summer will be available. Anyone wish- ing to apply or to get further information should report to Dean Schenck immediately. Morley Impressed . ~ By Intricacy, Art Of May Day Revel “|O0ld English Custom at Quaker College Termed “Pleasant Paradox” MAN FROM STRATFORD WOULD FEEL AT HOME By: Christopher Morley (Reprinted with permission from the Saturday Review of Literature, May 2nd “Bowling Green.”’) When fields were dight with blossoms white and leaves of lively green, The May-pole reared its flowery head, ‘and dancing round were seen A youthful band, joined hand in hand, with shoon and kirtle trim, And softly rose the melody of Flora’s morning hymn. Which reminds me of the pleasant paradox that Bryn Mawr College, founded by Quakers, has in its May Day revel the prettiest paganism to be seen anywhere. It comes every four years and turns the. whole col- lege into a Merry England seminar. Was it the influence of Miss Thomas, herself so Queen Elizabeth in tem- perament, that started this unique pageant? It began in 1900; I myself haven’t seen it since 1906, but I know by photograph and hearsay that it has grown steadily both in scholarship and sprightliness. Perhaps it’s as well it comes only every fourth year, for,Bryn Mawr always does what she does with the brio of Pallas Athene, and a May Day annually would leave faculty, students and alumnae little time for anything else. Merrily danced the Quaker’s wife And merrily danced the Quaker says the old song. It pleases me to think of the great-granddaughters of those old Philadelphia squaretoes doing their tumbling on Merion Greene. “Among the pastimes.on the Greene,” says the program, “the tum- blers perform certain pretty feats of agility . . . turnings and castings, springs, gambauds, somersaults, ca- Continued on Page Fourteen Every Undergraduate Performs on Greene Dances Began in Olden Times From Religious Ceremonies’ And Ritual Games MORRIS DANCE COMPLEX A great cheer goes up, rising again and again; hands are clapped and more cheers echo over the campus. And then a milling, swarming group of May Day revellers, having paid homage to Maid Marian, their queen, stroll off in groups and pairs, all singing The Twenty-ninth of May. By the end of the song the aspect of the mob is miraculously transformed: along. the Greene stretch perfectly straight lines of gaily-clad couples, framed by the four Maypoles with their circles of revellers who hold brightly-colored streamers. For a moment the lines and circles are com- pletely still; then with apparent aban- don (which never is allowed to dis- rupt the perfect symmetry of the * eroups), the dancers swing into ac- tion — whirling, skipping, whirling again. The traditional preface to May Day, in which the whole college takes part, has begun once more, set- ting the tone of the celebration by an elaborate and colorful spectacle. The dancing on the Greene, has, since the very first May Day, been an integral part of the festival and _ its character has changed little, although) new dances are added from time to time. Thus this year, after the gen- eral dances, Twenty-ninth of May, Peascods,’ Sellinger’s Round and All In, are concluded and the “Little Greene”’ entertainment has begun, a new Sword Dance and a Horn Dance will be introduced into the program of Morris, Sword and special Country Dances and tumbling. Continued on Page Seven ere, SY ‘my ¢ » Page Two THE COLLEGE NEWS e | Musical Effects Coordinate Different _ Spectacular Activities in Varied Programs Heralds’ Trumpets Sound Again ’ As Precedent Decrees for Queen’s Coming 4 BAND INSPIRES DANCING ‘ Unrivalled in the history of Bryn ‘Mawr May Day in its vividness and in its responsible position, this year’s music has made significant advances . over former pageants. In 1932, for the first time, the band for the pag- eant and the Greene dances was di- rected by -a member of the faculty rather than by a professional musi- cian. The change was so enthusias- tically received that it resulted in a re-engagement this year of its direc- tor, Mr. Ernest Willoughby. He has been ably aided by Mr. Hans Sthu- mann, who is responsible for the mu- sic in the cloister dances, and by Miss Laura Richardson who with a helpful eye for detail, has directed the music in the plays. Mr. Willoughby has chosen and ar- ranged the music, conscious not: only | that the comparative success of each May Day may be accurately gauged by its musical effect, but also that music is of paramount importance in blending the varied activities. Dr. Miller Prepared 1900 Music As far back as 1900, when May Day was first instituted at Bryn Mawr, those in charge were anxious _ for its musical success. At that time, Old English folk music was practically impossible toe obtain in a_ version which had not obscured its natural charm. Accordingly, the late Dr. Hugh Miller of the University of Pennsylvania prepared some of the music besides directing various musi- cians. There were a few danges, such as the Morris, Sword and that of the Chimney Sweeps, all managed by the freshmen. From then on music has_ kept logical pace with the extension of the general preparations. With the pub- lication in 1920 of Mr. Cecil Sharp’s Old English Music the scope of pieces widened, and in 1924 the number was again increased. More Musicians This Year In connection with the amplified plans for this year the Greene band has been enlarged from 14 to 21 in- struments and the orchestra for the Cloisters have added four, making a total of ten. The flutes, oboes, clari- nets, horns, trumpets, trombones, tu- bas, and percussions, which comprise the band, are as far as possible par- allel to instruments used by the Eliza- bethans. In consideration of the increased in- strumentation it has been necessary for Mr. Willoughby to rearrange all of the 20 Greene dances, except the four which are published. Marches Play for Procession According to precedent, the audi- ence of 1986 May Day will be thrilled to_attention by a fanfare of trumpets which will be simultaneous with the appearance of the Queen’s champion. During the procession to the Greene the band plays the four marches: Come Lasses and Lads, Chelsea Reach, Bobbing Joe, and Haste to the Wed- ding. A second sounding of trumpets her- alds the approach of Queen Elizabeth and her court. They are ushered in to the Trumpet Tune in D Major by Purgell. Events are climaxed by the raising of the ‘Maypole which is ac- companied by the spritely Now is the Month of Maying. Haste to the Wedding introduces Maid Marian and Robin Hood. After the crowning of the May Queen the cheering folk sing To the May Pole Let Us On, and then dance to this same air. A %econd dance, Gathering _ Peascods immediately follows. The most significant and certainly the most representative music in May Day is: the last dance, - Sellinger’s Round, or The Beginning of the World. It was used as a hymn as late as 1613 and a modern variation of it is still used on Palm Sunday. Special Dancers on Greene The company breaks up after this and only special dances remain on the Greene. These groups perform: New- castle, Old Mole and Parson’s Fare- traditional Morris dances of a Bunchum and Leapfrog and dance, the tune of played by two students RENOWNED MUSICIANS. WATCHED PLAYS HERE Two distinguished visitors were in- terested onlookers at the May Day re- hearsals on Sunday afternoon. They were Sir Granville Bantock, famous English composer and conductor, and Dr. Allt, of the Music Department of Edinburgh University and Master of the Music at the Edinburgh Cathedral. They expressed great admiration of the beauty of the campus, considering it the most beautiful of all the many they have seen, and also a feeling of envy of the resources of the Music Department in Music, Orchestra LS Records, and the concerts Ywhich it has been able to present in the past. They are making an exten- sive tour of the country in connection with Trinity College; London,. and were the guests of honor of the Eng- lish Speaking’ Union at a dinner on Monday evening in Philadelphia. Miss Grant and Miss Collier are ar- ranged to the tunes of Bacca Pipes and Old Mother Oxford. All the spe- cial groups then join in Dargasson and Circassian Circle, which was so popular that all stops in the music were eliminated in order that the dancers might continue until they were exhausted. Schumann’s Original Compositions A more aesthetic aspect of the dance will be presented in the cloisters. Mr. Hans Schumann has composed nine original dances for this group, subtly combining the character of the indi- vidual dancer and the formal concep- tion of the figure. The Masque of the Flowers, despite its capricious moods, is harmonically combined by related keys. . The Gypsies, which is the next dance, has a peculiarly apt beginning when all the instruments tune loudly. The music of the last group, The Shepherd and the Shepherdess, ac- curately portrays the narrative spirit of the dance. In A Midsummer Night’s Dream a professional sextet will play a por- tion of the Mendelssohn score. Miss Agnes Halsey, ’36, is to sing a solo, Ye Spotted Snakes With Double Tongue: Traditional Tunes on Greene Three recorders, a form of flute, will provide a background in St. George and the Dragon for the tra- ditional song of Hold Men, Hold. The sword dance, Flamborough, played by the band, also adds to the gaiety. Even the Library of Congress could not ferret out the original tune to the song in Gammer Gurton’s Needle, Back and side, go Bare, go Bare. Accordingly, it has been fitted to the tune of John Dory. Of all the plays, Robin Hood has the greatest amount of singing. The chorus sings Willie Waddikin; Cou- tiers, Courtiers; Follow, Follow, and What Shall We Have That Killed the Deer? The solos are The Bailiff’s Daughter and In Sherwood Forest, sung by Alan-a-Dale, Dorothea Wild- er, ’37, and by Will Scarlett, Doreen Canaday, ’36, who pleads, Now Robin Hood Lend Me Thy Bow. Plain-Songs for Wagon Plays A fittingly liturgical note is intro- duced into both the Creation and the Deluge by the use of plain-song melodies. This solemn mood is intro- duced into the Deluge when- Mary Mesier, ’38, plays such a theme on the ’cello during God’s speech. The gossips’ rowdy chorus is more in the spirit of levity in which the play pro- ceeds. Both these have been specially written by Mr. Willoughby. A.Gre- gorian tune, traceable to biblical days, again provides gravity at the end of the play. Its sister play, ‘The Creation, like- wise has a theme for ’cello played this time by Naomi Coplin, 38. The Holy Ghost is also ushered in by music and the finale of the play is the singing of the Psalm, With Heart and Voice, arranged by Mr. Willoughby to a plain-song setting. Itinerant Singers and Bell-Ringers By an extremely lucky circumstance the family of Alice Shurcliff, ’38, has made the difficult art of bell-chiming their hobby. Miss Shurcliff has trained five fellow Denbighites and them will wander about the cam- | sounding their agreeable “chang- es,” tunes and even harmonizations. Mr. Wyckoff Launched By Edwardian Costumer Taught at Carnegie and Michigan, Will Give Coutse Here When Mr. Wyckoff graduated from grade school he was undecided whether to study for the bar or to go into theatrical work. At first it seemed as though he would choose the second alternative. Brought up in an “arty” atmosphere, he had always . fooled arourid with the theatre and had stumbled into Maurice Herrmann dur- ing his last years at sehool. Mr. Herrmann was a leading costumer of the Edwardian era, working for Booth and the actors who succeeded him. He owned studios in New York: and his squat little figure, his toupé and dyed moustache were familiar sights to the theatrically minded. Through him Mr. Wyckoff met other people who were connected with the stage. But the year of America’s entry into the war found him studying law at Co- lumbia. The war decided his career for him. A top sergeant in the last draft, Mr. Wyckoff met just enough lawyers in the army to convince himself that he wanted to study the theatre. Ac- cordingly, when he got back to Amer- ica he took courses at the Carnegie Institute of Technology, making set- tings with Mr. Woodman and Mr. Thompson. He then applied — his knowledge to The Scandals and The | Folties. When Mr. Thompson:retired, Carnegie Institute persuaded him to return and teach there for three years. Mr. Wyckoff never went in seriously for either acting or playwriting. He sometimes “walked on” when a com- pany was stuck, and once collaborated in the writing of a play which he says was “mercifully never heard of.” He has done tryouts in Leonia, New Jer- sey, and has mounted two or three hundred plays. He mounted the pro- duction of Good Hope, the first since Ellen Terry’s appearance, _ that aroused Eva Le Gallienne’s interest. He later produced this and many of the other plays that he had mounted. He has done all of the well known Shakespeare plays at least once, with the exception of Romeo and Juliet and King Lear. He directed Nance O’Neill in. Racine’s* Phedra. He’ is inter- ested in interior decoration as well as the theatre and designs rooms com- plete from the panelling to the fur- niture. Mr. Wyckoff spends his summers teaching at the University of Michi- gan. The course in the production of plays that he is giving at Bryn Mawr next year will be connected with Miss Latham’s course in playwriting. Stu- dents will produce their plays in order to see how their\work stands the test of practical production. There will also be exercise work in other plays. The course will be his third point of contact with Bryn Mawr, for he arranged the present lighting sys- tem on Goodhart stage. He directed Gammer Gurton’s Needle, A Midsum- mer Night’s Dream and the two wagon plays. SINGERS, BELLRINGERS ARE NEW THIS YEAR Two of the innovations this May Day, introduced according to the policy which demands that the audi- ence be entertained every moment while on campus, are the strolling singers and the bell-ringers. Starting directly after the dancing on the Greene has concluded and armed with six songs, the three strol- lers are given free choice in the places where they will sing, with the sole provision that they be in the Deanery at tea-time to serenade visitors-there. The songs which they sing are: Robin Hood und Little John, Down in a Leafy Dell, There Was an Old Couple, Old King Cole, Seventeen Come Sun- day and There Were Three Ravens. The art of scientific change-ringing (ringing hand-bells in a definite vari- ation) is peculiar to England, where there were many guilds é¢f bell-ringers of all sorts dating from the thirteenth century. The bells* used here were made in England and are carefully tuned; they are rung each time with a light touch for three minutes, after which they ring again in scale and stop. Another group, consisting of three singers, will stroll about the campus, fill in any gaps in the entertainment | nd ing ot en temeny dere fn. Bainter yer One of New Plays is Old University Farce Continued from Page One throw the village into chaos, and much berating, cudgeling and headsplitting ensue before the needle is found stick- ing in the breeches. of ‘Hodge, Gam- mer’s farm-servant. Diccon the Bedlam, the mischief- making rogue whose agile tongue creates and maintains the confusion, was a familiar figure in. rural England when Gammer Gurton was. written. The dissolution of the monasteries had turned loose upon the land a crowd of idle and dissolute beggars who had formerly lived upon their doles and were now forced tq live up- on their wits. Some of them affected madness, and wandering from place to place, were called Bedlam Beggars, Abraham Men and Poor Toms by the country folk. From such a type char- acter, the author of Gammer Gurton’s Needle is believed to have created his Diccon. - A good deal of discussion has gone on, in the four centuries since Gam- mer Gurton was written, in an effort to discover just who this author was. In Baker’s Biographia Dramatica, a compendium which was published in its completed form in London, 1812, a certain John Still, Bishop of Bath and Wells,~is recorded as author of the play. Since that time the authorship of .Gammer Gurton, although gener- ally attributed to Still, has been ban- died about among him, John Bridges, Bishop of Salisbury, and one William Sanderson, of Christ College. A large part of the evidence attri- buting the play to Still, and incident- ally to Sanderson, rests upon the no- tice on the title page of the first printed edition of the play which says “Made by Mr. S. Master of Art.” In an article appearing in Modern Lan- guage Notes for June, 1892, Charles H. Ross dismisses this piece of evi- dence as invalid in view of the seem- ingly irrefutable testimony to. the contrary which he has gathered from various sources. He is unable to de- clare positively, but shows that there is _a strong probability that John Bridges, not John Still, was the author of Gammer Gurton’s Needle. The play is being produced this’ year in the traditional manner of the strolling playef’s who roamed the countryside during the reign of Eliza- | beth. The actors cagry,what proper- ties they need in a wheel barrow, but” the scenery is simple—two “slapstick” ‘house fronts and a rickety wooden gate—and gives free play to the vig- orous Elizabethan imagination, which we hope is extant today. Human Bear Performs The introduction into Elizabethan pageants of a human bear, who per- formed under tha guidance of his trainer, resulted from the popularity of real bears in the sixteenth century. In addition to the popular sport’ of bear-baiting, trainers taught the ani- mals to dance and do tricks which were enjoyed so much by the popu- lace that human entertainers began to © imitate them with great success. Underworld Characters Present The Elizabethan underworld is rep- resented in the pageant by a rogue, a poacher and a beggar, as well as by the Black Dog of Newgate. Meet your friends at the Bryn Mawr Confectionery (Next to Seville Theater Bldg.) The Rendezvous of the College Girls Tasty Sandwiches, Delicious Sundaes Superior Soda Service Music—Dancing for girls only BESTS MONTGOMERY & ANDERSON AVES., ARDMORE, PA. Easy Parking ARDMORE Ardmore 4840 OOO Versatile and smart THE ANGORA” SWAGGER IN LOVELY CoroRS— A FLORIDA SUCCESS 22.00 Sizes 12 to 20 ‘ PLUM GOLD AQUA PINK | POWDER BLUE TAN SUN RED NAVY BROWN BLACK HIS coat was one of the leading successes of the Southern season, and has’ already proved a favorite with our smart customers. Its swagger lines are “‘dressy’”? enough to wear with ._Sheers and prints, casual enough to slip on over sport frocks. Made of a soft mixture of. rabbit = hair and angora, it has just the desired degree of warmth for Spring days. Nicely tailored and fully lined with crepe, it will be. a chic and useful addition to any wardrobe. THE COLLEGE NEWS : Page Three : Robin Hood Version Unique Arrangement Hero of Ballads and Legends Ideal of English Yeomen ‘ie Middle Ages 3, PLAYED IN. NEW SETTING Robin Hood is the only .play that has been given at every May Day since the first in 1900. Miss Elizabeth T. Daly of the Class of 1901, arranged the play from old sourges, while she was here as English reader, and her version, which has never been pub- lished and is therefore exclusively used at Bryn Maw’, has been followed since the May Day of 1906. Miss Daly chose the scenes in Sherwood Forest which would give the best op- portunity for the gathering of the/| Merry Men. Robin Hood is actually more of a pageant than a play, since it is a series of distinct scenes. ‘The first act shows how Robin acquired two of the most beloved members of -his band, Little John;and the. minstrel Alan-a-dale, and how Alan: won his fair bride. The second act sets the Shistorical stage by introducing the rebel, Prince John, and the rightful king, the Crusader, Richard I. The origin of Robin Hood is ob- scure, but as a character he stands out as a popular hero all through the middle ages in England and Scotland; he is the ideal yeoman and forester as King Arthur is the perfect knight. The name was first applied to a kind of forest elf, who was supposed to wear a hood. The first mention of Robin Hood as the subject of a popu- lar legend is in Piers Plowman, dated about 1877. Evidently he had already become a famous figure by that time and-‘many ballads have been preserved which center about the.hero. The earliest known is» The Lytell Gest of Robin Hood, compiled about 1495, which includes several of the episodes represented in this play. There was a great vogue for Robin Hood as a subject for the seventeenth, century broadside ballards* that Grub Street hack writers turned out by the score. Robin Hood appeared so extensively as a part of English May Days that these were even called “Robin Hood’s Festivals.’ In France tte was in- cluded in rural celebrations at Pente- eost and. was usually associated there with Maid Marian. Friar Tuck and Little John, Robin’s traditional ‘com- panions, originate probably in — lish folklore. At Bryn Mawr Robin Hood has al- ways been played at the foot of Sen- ior Row. This. year Miss: Dyer has moved “it to its present situation in order to have a larger stage and to get the benefit of the great ‘pine trees as a setting for the action. This has necessitated a good deal of change in the arrangement of the acting itself. Furthermore, an entirely different Scheme has had to be evolved for the production on the stage in case of rain. Robin Hood is a particularly diffi- cult play to coach because of the num- ber of merrymen who have to be dis- posed both naturally and .effectively about the clearing in the forest. Dur- ing rehearsal each forester bore a large numeral in the manner of foot- ball players to make such disposition easier. All Heaven and Earth Rest on Farm Wagon Caroline Sherman’s Skilled Hand Rolls Up Two Houses, Gate In Wheelbarrow OLD PROPS RENOVATED The addition of three new plays to the May Day repertoire for 1936 de- manded a great deal more of those concerned with properties than the ability to unwind old swords and trumpets from their wrappings, and to add an occasional touch of paint to repair the ravages of time. Heaven and the Ark had to be created on farm wagons, and be the illusion ever so perfect, it was no easy task. Two houses and a gate had to amend them- selves somehow to the confines of a wheelbarrow, for Gammer Gurton’s Needle is performed by strolling players, and scenery was thus trans- ported in the days of Elizabeth. Only the skillful hand of an expert can bring such things to pass with a mini- mum of chaos, and. that calm look. of inevitability about the finished préduct which is so necessary to'success. Bryn Mawr is well aware of its good for- tune in securing Caroline Sherman as Direetor of Properties. Despite the great number of | inci- dental and personal properties neces- sary in such an extensive undertak- ing as May Day, the wagon settings for The Creation and Th? Deluge hold undisputed their place as chief pro- ducts of the property director’s art. The wagons themselves, selected for sturdiness and size, were borrowed for the occasion from nearby farmers. The Deluge wagon is-covered with beaver board, painted to simulate the plank sides of the Ark... Its. prow is the fiery- -tongued head of a dragon, whose .scaley tail lashes out behind the. stern. To complete the illusion, | greenish, whorls of waves and foam are fitted over each wheel. The animals are painted on: different sized boards, and when Noah and his family are cast loost on the flood crest, they have merely to hang said animals on hooks around the edge of the Ark. The wa- gon bears a banner with the crest and coat-of-arms of the guild that origin- ally gave the play on Corpus Ch- visti day. Since The Creation concerns itself with God, Heaven and the fallen state of man, the play is enacted on three levels, two in the wagon and one on* the ground immediately before it. The Creator sits in state during most of the play on a throne in the Tree of Knowledge, to whose branches all sorts of fruits and vegetables are tied with bright colored ribbons. The rib from which Eve is created is a. real bone, painted to harmonize with the general color scheme, which is one of dark rich tones. The two houses in Gammer: Gur- ton’s Needle (those of Gammer Gur- “slapstick,” so that they can be rolled up like Ventian blinds and stowed away in a wheelbarrow when the players move from place to. place. The Needle is a tremendous one, of the variety used to sew carpets. Although a fairly complete set of props for Midsummer Night's Dream remained from 1932, several additions have been made this year. Snout has a real charcoal stove with which to tinker; Quince has a scroll nine feet long, and Starveling has a carpenter’s cap. Titania’s cart, a dainty vehicle drawn by four to eight year old fair- ies, has one of the most picturesque histories connected with May Day. It started life as a push cart on South street in Philadelphia. The properties for The Old Wive’s Tale are simple and wholly medieval in character. A tall wooden cross near the center of the stage,*a bench before it and a beaver-board well, to be phane.”’ tireless research of chemists. BETTER THINGS FOR BETTER LIVING CHEMISTRY -- the key to better living Chemists discovered cellulose film—and millions buy articles that have not been exposed to dirt and moisture because they are wrapped in ‘“‘Cello- Chemists discovered how to make dyes which will not fade and millions of women are saved from loss and disappointment. Chemists dis- covered how to make better paint—and millions of homes are durably beautiful. Chemists discovered how to make gasoline more powerful—and | millions know the joy.of better car performance. | how to make rayon—and millions are gratified by beautiful new fabrics. So many things that make living easier and pleasanter are the result of the * new possibilities for human betterment and enjoyment. Du Pont chemists are endlessly exploring THROUGH CHEMISTRY Chemists discovered ton and Dame Chat) are painted on| used in-case of rain, are,the only man- made manifestations of scenery. Ever- greens, wired to take the place-of a screen, were planted*in the hollow. In addition to the stuffed deer (for Robin Hood’s Merry Men to bring in from the hunt), the ass’s head for Bottom, the gigantic balloon grapes for Silenus, the Zurkish Champion’s scimitar, the innumerable drinking horns, mossy .logs, bows and arrows, bells and trumpets, wands and quarter staffs, flats of woodland scenes and small’ accessories that were stowed away in prop boxes from the last May Day, both the pageant and the indi- vidual plays have a score of new inci- dental properties this year. The sword carried by St. George. in St. George and the Dragon is an au- thentic copy of a twelfth century cru- sader’s sword. Queen Elizabeth has a new crown and new crown jewels, both handsomely studded with gum- drops. The swords carried by her courtiers are also new this year. Sev- eral. pairs of stilts have’been added for the stilt walkers, and all have been newly painted in giddy horizontal stripes of various colors. The activity of the property com- mittee did not cease, however, when the more spectacular side of their ee work was done. In addition to accum- ulating and constructing new proper- ties, and renovating old ones, they applied some 2000 seat numbers to the grandstand, attached pennants to the buildings, decorated the orchestra- stand in the Cloisters and the band stand with br anches, distrikuted prop- erties in their places and arranged the stage and the Gymnasium for emerg- ency performances in case of rain. LS A GLEE ELIE HARPER METHOD SHOP Scalp Treatments Complete Beauty Service 341° West Lancaster Avenue Ard. 2966 Haverford, Pa. | The Spread Eagle Inn = Lincoln Highway | Strafford English Pheasant Inn Philadelphia Serving the Best of Food for many years Mr. and Mrs. A. B. Thompson Everything for the Garden, Farm, Lawn and Greenhouse Catalog Free. "TURRET'TOP, NO DRAFT VENTILATION, KNEE-ACTION, HYDRAULIC BRAKES AND THAT GAL! WHAT MORE COULD YOU WANT IN ACAR?” “ * t AA AR AAA CL CL OA CL CP ODDS CDP A ODPe NBG OBS ODP a BPG OBS OI BPG BPD SIH GPG SBP SRLS OSI OBIS SBI OAPs Oe Bite SIG OLE Sy SIS Ss AS OM BAe Baa Pa As Ay My By Pa Ia Ds My Bas Bs Ba Da a aad etn dr Wade Pars eaters CHEVROLET - PONTIAC GENERAL MOTORS | ou may be satisfied, but General Motors is going to keep right on trying to beat its share of this combination. That’s the fortunate ad- vantage of having the vast resources to keep “on pioneering—and a demand for its cars vast / enough to enable the production of new things at a price: that fits the wie pocketbook. - GENERAL Motors — A Public-Minded Institution + LASALLE - CADILLAC Page Four THE COLLEGE NEWS ~ THE COLLEGE NEWS Christmas and Easter Holidays, and during examination. weeks) in the interest of Bryn Mawr College at the Maguire Building, Wayne. Pa., and Bryn Mawr College. The College News ia fully protected by copyright. Nothing that appears in it may be reprinted either wholly or in part witheut written permission of the Editor-in-Chief. Ke ve ats Sor par vention 2 Editor-in-Chief - HELEN FISHER, 37 . o Copy Editor ANNE MARBURY, By Editors % ELIZABETH LM, "37 JEAN MORRILL, 39 MARGARET OcIS, ’39 ELEANOR BAILENSON, ’39 MARGERY HARTMAN, '38 MARGARET Howson, '38 Mary H. HUTCHINGS, ’37 JANE SIMPSON, ’37 ABBIE INGALLS, ’38 JANET THOM, ’38 SUZANNE WILLIAMS, ’38 : ‘Sports Editor s Sytvia H. Evans, ’37 Business Manager CORDELIA STONE, ’37 Assistant for Pictorial Section EURETTA SIMONS, ’36 Advertising Manager “9 Subscription Manager AGNES ALLINSON, ’37 DEWILDA NARAMORE, ’38 Assistants ETHEL HENKELMAN, ’38 ALICE GORE KING, ’37 ee LOUISE STENGEL, ’37 ~ ' SUBSCRIPTION, $2.50 MAILING PRICE, $3.00 SUBSCRIPTIONS MAY BEGIN AT ANY TIME Entered as second-class matter at the Wayne, Pa.. Post Office **Gentles, Perchance You Wonder at This Show—” Friends new and old, parents and cousins, returning alumnae and prospective fellow-students—to all of you the undergraduates of Bryn Mawr offer their heartiest welcome. We trust that by now you have forgotten the train or motor car which brought you here and that you firmly believe the ox and horse to be noble beasts of transport. We hope that even if the day is hot you do not long for air conditioning or that even if it is raining you find this Elizabethan world a pleasant one. It has been glorious fun preparing it; it is even more fun to perform for you; we only hope that you enjoy it one-half as much as we ourselves. What you see today is a curious blend of sport and scholarship, of tradition and spontaneity. May Day has become so completely a part of Bryn Mawr that its growth has followed closely that of the college itself. This year it is undoubtedly more authentically Elizabethan than ever before, but the costuming has advanced with the modern theatre and the spirit of the entire pageant is. definitely that of Bryn Mawr, 1936. The principal inspiration and the form are, of course, traditional to the college, but three new plays and a host of new ideas make with the production itself an entirely original performance. : Despite the predominance of their presence on the Greene, the students are not the primary reason for May Day’s success, if such it prove to be. These laurels belong not to us, but to the able directors who have handled every difficult problem and have labored night and day to create these revels at the appointed date. Particularly we wish you to realize our grati- tude to those regularly at Bryn Mawr who have given freely and will- ingly of their time. Mrs. Chadwick-Collins, after a strenuous year raising money for the Fiftieth Anniversary Fund and managing the Celebration, shouldered this new task and with unflagging enthusiasm has marshalled all forces to a united production. Miss Petts, Miss Brady and Miss Grant haye spent long hours preparing the Greene, and their tolerance with our antics and stupidities at endless rehearsals is duly appreciated. Mr. Wil- loughby has this year been taxed more than before with music for plays and the Greene, and the result will make this May Day outstanding in the quality of the music. Mr. Wyckoff and Miss Dyer have’ not only coached the plays with skill, but have volunteered their services and advice wherever they could be of use. Without Miss Sherman’s. ingenious and willing handiness and Miss Grayson’s artistic brilliance, there would be no pageant and no plays. The debt of gratitude which everyone owes to the many assistants who at every turn hawe given kind attention and help, can never be estimated. Miss Térrien is one who without official May Day title has been a constant and accurate source of information, and has saved by her knowledge and enthusiasm hours of time for every student and assistant. "i of all, to a faculty tolerant of spring revels, who have so arranged their courses that May Day has not decreased the amount or quality of work and at the same time has not inconvenienced us unduly, we make a grateful bow. All of these and many others have been so integral a part of May Day that their importance cannot be overlooked even by parents anxious only to see the efforts of their offspring: The pageant is partly tradition, partly the cooperative effort of the students, but predominantly the result of these skilled directors, coaches and managers. version of an old bandit story with Warner Baxter as the desperado. Chestnut: The Great Ziegfeld car- ries on. Earle: Florida Special with Jack Oakie,, A dish of odds and ends. Eufopa: Maria Chapdelaine star- ring Madelaine Renauld, begins Thursday. Fox: Under Two Flags, Ronald Col- man stages a tour de force-by giving In Philadelphia Theatres Broad: Fresh Fields, Ivor Novello’s feeble comedy played by Miss Mar- garet Anglin-in a return appearance after several years absence from the stage, during which time she seems to have forgotten none of the old, old tricks of the acting trade. Garrick. The hilarious Three Men on a Horse continues its successful run. ¢- Ouida role. Karlton: Beginning Friday, Panic in the Air, with Lew Ayres, which ex- plains it. : Keith’s: Mr. Deeds sia to Town, Gary Cooper, who has the perfect lips fot the part of a rustic tuba-player, has the lead. Quite worthwhile. — I Married a “Doctor, Sin- Movies Aldine: Things to Come, H. G. Wells pessimistic but spectacular prediction of the future, acted by a fine cast Ae Boyd. Beginning Friday, Till We 2 < eae Ran POURS % F WIT?S END a perfect performance in a sloppy THE UNCOOPERATIVE SENIOR Sumer is icumen in, Lhude sing cuccu! ¢ Gosh yes! and while I vainly seek re- pose I ask myself, “‘Couldn’t it even have waited until Phoebus gan arose?” Scram cuccu! I might be Elizabethan about this and encourage it to cheep, But I won’t. And I want to go back to sleep. I postively refuse to open the window and show my head to you girls As I still have some pride and don’t like to publicize the mechanics ‘ that are responsible for the suc- cess of my curls. Furthermore I should like to state that I feel that anyone who.makes noises lhudely Before 8 A. M. is beyond the pale so- cially and behaving extremely rhudely. I like to lie thus musing, Life’s sweet delight refusing. I find it very agreeable and ‘it’s none of your business if I linger so long in bed, And what do I care anyway if over the meadows the sun comes red And nature calls to work and play. Shut up then, my comrades and for heaven’s sake GO AWAY! Erp Wuzzy = Our Janie’s in a Pagan Festival Oh, May Day’s so authentic dear. You know Janie says we couldn’t miss it. It’s only given every four years and everything even the stilt walkers has tradition behind it. That’s what she says. Doesn’t it interest you to think that all those lovely, dances and pretty Maypoles were once parts of wild pagan festivals? Aren’t you glad that our Janie has a chance to be in a wild pagan festival—Oh, Bill, you never did have’ imagination. It’s not a waste of time. After all, you weren’t going to do anything but play golf this afternoon.—What’s this play, Old Wives’ Tale? . Well, dear, I don’t understand it either. A wizard is entangled with some forlorn lovers, he’s practicing necromancy or some- thing on that lovely girl. . OF course, it’s hot. - I’m hot, too, and naturally the ground is uncomfort- able. You shouldn’t mind a few rocks while you’re watching your own daughter act. If I can stand it you certainly can. Now this is Gammer Gurton. Bill—really this is all the scenery they ever had. Yes darling. Those screens they’re rolling out are houses. ‘There that man goes stepping all over us—you’d think people could watch where they are going. I know, my shoes are filthy too. But you shouldn’t mind, this is May Day. En- ter into the spirit of things more, Bill. Here’s The Deluge.—lIt isn’t a bit foolish, it’s traditional. God al- ways sat up there. You have no appreciation for anything. Touches like that make the art of a play. I don’t see why everyone has to push so. Even the Elizabethans -couldn’t have liked their audiences on the verge of a stampede as this one is. Where do you-suppose all the chairs are? The sun here isn’t any worse than at one of your football games, and this is a much more worth while thing to see. Oh, be careful. There goes your hat. Over there, by those two ladies with parasols. Goodness, don’t knock them over while you’re getting it. Do be eareful. Bill, Bill, where are you going? Oh, well, wait a minute and T’ll come with you. But, it was au- thentic, wasn’t it, dear? Cheerio, THE MAD HATTER. ephine Hutchinson and Pat O’Brien. Stanton: Preview Murder,.a very minor program piece with Reginald Denny. Local Movies - COURTIERS CERTIFIED Although the early planners of a Bryn Mawr May Day wanted particu- larly to make the pageant typical of ’ the rural festivals of sixteenth ¢en- tury England, ‘they decided, to have Queen Elizabeth and her ladies pres- ent, if not actively participating. The plays and dances were not to be of the formal court tradition, but they ‘were to be presented for the entertain- ment of the queen. There was -evi- dence that Elizabeth really had wit- nessed at least one “county” May Day during her reign, in the year 1559; and itis recorded that her favorite country dance was the popu- lar Sellinger’s Round. Nevertheless, interest in that first pageant, when all the Greene was taken care of by freshmen, was not centered in the court. It did not become the im- portant feature that it is today until 1928, when Mrs. Chadwick-Collins conceived the idea of a procession built about the dais of the queen. The Fortnightly Philistine, which printed a short general write-up of the 1900 celebration, described Queen Elizabeth as sitting “aloft” with her maidens who were scattering rosebuds on the crowd. In 1906, ’10 and ’14, the queen and her court wandered around campus-watching the different plays and dances, but they were not regarded as important enough to have their names in the program. In 1920, after an interval of six years, the queen’s court was revived along with May Day, and included five ladies of the faculty as ladies-in- waiting, six men as courtiers and five children as pages. Acting Dean Hilda W. Smith played the part of Eliza- beth. In the 1924 May Day, a senior, Miss Martha Cook, was given the role. Her court consisted of four ladies, two courtiers, three guards (all played by students), and two children as guards. Her dais was borne by four stalwart men of the faculty, and the 1924 class book reported that although “Good Queen Bess was most impres- sive. - more admiration fell: on hcr princely bearers.” A member of the audience was heard to congratu- late one of the latter for looking so much like a man. The bigger and better court of the queen planned by Mrs. Chadwick-Col- lins in 1928, was presided over by an alumna of the college, Mrs. Alfred B. Maclay (Louise Fleischman, ’06). Her splendid retinue included ten ladies, nine courtiers (played by faculty members), six heralds and two pages (which were portrayed for the first time by students), a Queen’s Cham- pion and a Rider of the Cock Horse. ' The ’32 May Day is regarded as having started another tradition which will add to the prestige of the court group in May Days yet to come; for it was then that the part of Elizabeth was played by an alumna _ distin- guished as an actress, Cornelia Otis Skinner (ex-’22). Moreover, the court was even larger than before; eleven courtiers followed the throne, and be- sides two foot pages, the queen was also attended by two mounted pages. Mr. Frank Markoe, who reviewed the 1932 May Day for the College News admired the progress of the queen, but remarked that the court costumes were “obviously from the costumers” and looked drab in the afternoon sun. He noticed also that they were more in the style of the reign of Henry VIII than that of Elizabeth. The committee for the 1936 May Day is ready to yield no such points to erudite revieWers. Not only are the costumes as authentic as possible, but the names of the members of the court were chosen after much careful research in the Library. It was thought essential ‘that the lords and ladies represented by the faculty members be those who, in reality, were all alive and in good favor at the same time, so that it would be at least probable that they should have attended Elizabeth at some fete in the country. The Great Britain Calender of State Pa- pers and the Progresses of Queen Elizabeth by Nichols were consulted, and Miss Terrien did some research > oon Ene ae by fone on Nae Mrs. Huger Elliot Creates N ew Drawings Of Figures, Motifs to Decorate Program That this year’s May Day program is more authentic and more attractive than ever before, is due in large part to the excellent work of Mrs. Huger Elliott, a well-known illustrator. Her husband, who is the director of-.edu- cational work at the Metropolitan Mu- seum of Art in New York, is also an architect and ‘helps her with, that part of her work which involves land- scaping, such as the sketch in the program showing the whole campus and the location of each play. From 1902 until 1925, when” it ceased to be an illustrated magazine, Mrs. Elliott did the romantic and ‘cos- tume drawings for Harper’s. In 1922 she illustrated an edition of Lamb’s Tales from Shakespeare, edited by David McKay. She uses the black and white line particularly in her work. She has been connected with Bryn Mawr since 1901, when she and Jessie Wilcox Smith illustrated.a calendar, published to raise money for building purposes. In the next year ‘this was repeated; and in 1903 Mrs. Elliott, alone, illustrated a songbook, the cover of which—two heralds blowing trumpets and holding a scroll between them—has since become traditional and has been used on all May Day posters and leaflets. From the 1924 May Day to the present she has illus- trated the programs. Every decoration and drawing in the program is new, with the exception of certain heraldic devices and insignia of Queen Elizabeth, which of necessity are used again. There are many more drawings this year, because the program has been changed to include a small drawing accompanying each character in the order of the pageant. These figures are so arranged on the page that they appear to be moving from left to right in a long procession. This arrange- ment is much more attractive than that of the last May Day program, in which a single picture of the main character only headed the cast of each play; but it involves much more work. Each figure is as authentic in detail as possible. Mrs. Elliott is an author- ity on the costumes of the period, and in making these drawings she has consulted many originial sources. For the figure of the faleoner she used a seventeenth century book on falconry for the detail of the apparatus on which the birds were carried. The standard on the cover is upheld by the lion and the dragon, since the uni- corn used on former programs did not exist in Elizabeth’s day, but was added to the royal coat of arms on the ac- cession of James I. In the printing this program comes closer than any of the preceding ones to the Elizabethan type, of which an exact reproduction is neither attain- able nor desirable. The type used at that time was very large and black, with irregular and fairly illegible let- ters. A very good copy of this can be obtained if a hand-blocked type is used; but as this is extremely expen- sive, the best reproduction from the printer’s font was used: Baskerville, which, when translated for the lay- in the subject of the holders of the office of Lord Steward from 1559 to 1580. Not only is the Queen followed by some twenty-one certified lords and ladies, but she also is attended by six heralds, three mounted pages, five foot pages and numerous archers and beef- eaters. Two new additions to the retinue are the Chief Herald and the Queen’s Fool. Theresa Helburn, of the Class of 1908, will play Queen Elizabeth. She is the second of the May Day Queens who is an alumna distinguished in the theatre; she is Executive Director of the Theatre Guild in New York, and Casting Director and a member of the Board of Managers, as well as an executive of Columbia Pictures Cor- poration. In college she was Editor- in-Chief and Managing Editor of Tipyn O’Bob, an editor and contribu- tor to the Lantern. She was a gradu- ate studefit at Radcliffe and the Sor- bonne in Paris (1908-09, 1913-14). She received her present position with the Theatre Guild in 1920,-and in ad- dition to her responsibilities there, she has found time to write plays, verse and magazine articles, and to lecture on drama and poetry. man, means large ‘black letters. . A. certain amount of red. is combined with the black ‘in the program, and the color is remarkably close to the an- tique red used at the time. The fact that Gammer Gurton’s Needle and both of the wagon plays are performed in three different places during the course of the afternoon, presented a problem in making a sketch of the campus to show where each play is given. This difficulty was solved by lettering the three different places and then putting a key at the t| bottom of the sketch, giving the time opposite the letters. ‘WITCHES ARE REPUTED . TO SAIL IN EGGSHELLS The one Bryn Mawr witch in the pageant has a long history of magic powers and superstition behind her, and her craft is one about which many books have been written and _ into! which many investigations have been made. During the Elizabethan period witches were classified into three types: ,black witches, white witches and grey witches. White witches cured the sick and helped find lost ‘property, but the black witches were given wholly to evil, and it was they who, high in their profession, made wax images of those they planned to harm, which they burned or stuck with | Pins. The grey witches were rather a indeterminate, doing good or evil as it chanced. — The two most common means of witch transportation were sieves and eggshells., There is an ancient story of a French farmer who picked up a | sieve in his cornfield, was immediately confrontéd by a young girl who sud- denly appeared from nowhere, cry- ing, “My poor mother in England!” In his surprise, the farmer dropped : |the sieve, whereupon both it and the girl disappeared with astonishing rapidity. From the belief that witches sailed in eggshells arose the habit of breaking | empty eggshells so_ that neither fairies nor witches could make use of them. (The egg-woman in the pageant had best be on the lookout lest her wares suddenly disappear!) » Peter Pan ~— Peanut Butter No Oil Separation *There’s a point of perfection that’s guarded by an exclusive process ... It means that to the last Peter Pan Peanut Butter retains its original goodness .. . the bottom Peter Pan keeps its spreads like Creamery Butter. From the top of the jar to delicious flavor . . . and it Ask your Grocer iis. Peter Pan Peanut Butter DERBY FOODS INC. Chicago ——————— PRACTICAL ARTISTIC ORNAMENTAL ne — BIRD HOUSES” $ Patents Applied For : 162 Blue Bind $2.25 yg 25 Robin pag No. 152 @ i Window Bouter, $2.25 4 Wren. °$ 3 : ott “3 $2.00 Blue Bird. E $2 wean urs st ig ae . Wren” 12 so a THATCHING ORNAMENTAL SHRUB PROTECTION 53 OTHER STRAW PRODUCTS RESIDES? "Sener JOHN T. AULL N. 56TH STREET PHILADELPHIA ~ Page Six THE COLLEGE NEWS . Old Wives’ Tale ‘Ts Favorite bal College Siaiiisielin of Rusilc Humor, Romance, Sorcery by Peele Printed in 1592) PLAY GENTLY SATIRIC May Day would ant be May ‘Day without the presentation of The Old Wives’ Tale, by George Peele. This quaint hodge-podge of rustic good humor, romance and sorcery has been a regular part of Bryn Mawr’s tra- ditional pageant since-the third May Day 1910. : The Old Wives’ Tale, written about 1592 and printed in 1595, is the story of the rescue of a princess and her two brothers, whom a sorcerer has enchanted, by a valiant knight and his friend, the ghost of a dead man. ’ The plot unfolds by means of a play- within-a-play in which a tale begun by a good-wife to two little boys is acted before the eyes of the audience. The action progresses in short, iso- lated scenes, producing an intricate and somewhat confusing whole. The suffering and ill-fortune of the ro- mantic characters are relieved by the introduction of comics of a rough and ready kind and in the end all are re- stored to happiness except the sor- cerer, who meets his just deserts in death. The play was written as a gentle satire on the much abused vogue of heroical romance then at its height in the Elizabethan theatre. It contains much direct sarcasm about celebrities of the time, the most notable being the ridicule of Gabriel Harvey in the character of Huanebango, a blustering fool. Peele not only jeers at Harvey’s hexameters, but actually quotes them, as in the line: “Oh that-I might? but I may not: woe to my destinie therefore.” This line is lifted bodily prone 1 Har- vey’s Encomium Lauri. The Old Wives’ Tale was a Settee runner of Beaumont’s Knight of the Burning Pestle, which is a similar attempt to satirize heroical romance. The most profound influence of Peele’s play, however, was exercised much later when Milton borrowed the plot and the characters for his Comus. In Comus Sacrapant, the sorcerer, Delia, the princess, her two brothers and Jack, the ghost who kills Sacrapant, are transformed into. Comus, the Lady, her Brothers, and the Attendant Spirit, with little change except in name. Breakfast Lunch Tea SX Fairy Virginia Brown F (Hormarly of Brass Platter) The play is given at Bryn Mawr in a perfect setting formed by -a~ hollow and a natural amphitheatre, a_back- ground of trees and, most important of all, an old well of grey stone. ‘The well was built in 1924 as a permanent part of the scene and is large enough to allow the Head in the Well, a sig- | nificant character in the play, to sit quite comfortably inside. Of the numerous difficulties encoun- tered in the production of the play the greatest have been those concern- ing the death of Sacrapant and the final disappearance of the Ghost of Jack. It is imperative that Sacrapant die offstage, since at the end of. the play he enters again (to the conster- nation the audience) in the person of =f a handsome youth whose form the aged, sorcerer had assumed by magic. The original idea was that the dying Sacrapant should jump over a hill at, the back of the outdoor stage; but, since the hill is only a scant two feet high, the scheme was abandoned in favor of his staggering into his cell. Jack.makes his first entrance as a corpse on a stretcher, but after killing the sorcerer returns once more to the grave. The problem of how to make him disappear convincingly was nicely My grave be dug in which he could hide until his entrance as a ghost and into which he could leap at the end of the play. Another difficult and much-re- hearsed scene is that in. which three Furies with long, dishevelled hair, wildly waving arms and ghostly moans carry off the bodies of the two brothers who have been enchanted by Sacrapant. After long practice the Furies have developed a speed, an ease and a precision in removing the corpses that is truly remarkable. No rehearsal has been without at least one minor: tragedy or amusing incident. The Head in the Well was horrified to find that the well in which she must git throughout the play was inhabited by small black worms, The bench at the Cross-road completely gave way under the energetic bounces of “the great and mighty” Huane- bango. Both cast and audience broke down at dress rehearsal when Jack, due on the stage with the aged head of Sacrapant, entered carrying the large brown head of a bear, recalling memories: of Cymbeline. FRANCES O’CONNELL solved by the suggestion that a real BRYN MAWR Eugenia Jessup, B.A. Bryn Mawr Pee ACL ELI ALLEL LARA LEI” LAER LL ELL LD Brill Version is Used In St. George Play Mumming and Sword Dancing Combine to Form Jumbled, Stylized Drama ANACHRONISMS OCCUR The ana of Saint Ins given in May Day is not the typical Saint George play, but follows the unusual and more interesting Brill- version, which links the play to its parent, the sword dance. All these plays have a common origin or combination of origins: folk .mumming, religious “riding” and the sword dance. The character of Saint George originated in folk mumming, and was ‘ttaken°over and incorporated into the religious “riding,” a custom derived , from the pagan perambulations into the fields in spring to pray to Termi- nus, the guardian god of the fields. This custom was adapted by the Christians, and the bishop or some member of the church rode out into the fields in spring to bless the peo- ple and pray for good weather and crops. The “riding” became more elaborate, the image of Saint George and later that of “the King of Egypt’s only daughter” and the snap dragon were added to the procession. The procession finally took on the nature of a play and drew on the sword dance for its plot. Sword dancing is an ancient custom common all over Europe. Tacitus mentions it as a German practice, and it occurs in Beowolf as “sweoda- gelac.” The central theme of the dance was the annual] death of the a ceeiammeniiiail Rosemary Hall Greenwich, Connecticut Forty-Sixth Year College Preparatory, Liberally Interpreted “Music, Art, Drama Heads Caroline Ruutz-Rees, Ph.D. Mary E. Lowndes,. Litt.D. : Academic. Director i i] year or the fertilization spirit and its annual resurrection in spring. The dancers usually were dressed as clowns, and in the dance there was-a fight in which all the characters were killed. A doctor then appeared on the scene and f{rought the dancers back to life. One of the common incidents was the fight of a fool with a ‘wild worm.” . The similarity of this and Saint George’s fight soon drew the character of Saint Geprge into the dancé and also the other characteérs associated with him. The dance be- came: less important and the clown- ing of the characters remained. only in one fool, who was sometimes a devil, often appearing with a blackened face. In the Brill version he is Lit- tle Jack, ‘One or two characters are found in all the versions. Either a foppish knight, who in Chiswick is given the name of “Swish, Swash and Swagger” and who in our play is Captain Slasher, or the Turkish knight, is the chief opponent of Saint George. In most of the versions Saint George fights the characters one after the other; the Brill Version is unusual in that there is a general mélée.. The characters, aside from these three and the fool, vary widely. Some versions have common townsfolk, tailors, vint- ers and sailors; others take char- acters from folklore, such as King Cole and Giant Blunderbore; and still others have historic and literary char- acters. (In one version Nelson and Wellington have roles!) There are extraordinary anachronisms in the mixture of characters, such as the presence of King Alfred, King Wil- liam and King Cole in the play, and also in the speethes,_as in King Cole’s: “Hurrah for King Charles and down with .old-Noll’s rump!” This latter type of anachronism is usually due to the additions of schoolmasters. "The Saint George play is a May Day stand-by, due largely to the ap- peal of the dragon, and it has been given every May Day. An entirely new set of costumes has been designed for this year’s production, and they are more elaborate and colorful than ever. (Dofnestic note: the warlike Saint George knitted his “‘metal” hood himself.) .. , As it is a short drama, Saint George requires relatively few rehearsals. The difficulty in the play is to keep it moving continuously. The first part is a number of disconnected speeches, in which each character states whg he is, and only by the other characters’ responses to what is said can the whole be united. The timing and ar- rangement of the fights presented an- other difficulty. % Vices Fools’ Ancestors The history of the Elizabethan fools, who possessed an astonishing degree of popularity, is somewhat obscure, ‘but.-it is believed that they were descended from the character of Vice or Iniquity in the Moralities. The other characters in the Moralities rep- resented the virtues and were serious; Vice, a descendant of the Devil in the Mysteries, was the character who made the audience merry. In Elizabethan England the delight of the people in the fools led to the election of a bishop or archbishop . of fools in each of the cathedral churches. Later there was a pope of fools, and the mock pontiffs sang indecent songs and danced about the church, fright- ening or amusing the crowd. Bell, Walnut 5600 FELIX SPATOLA & SONS 7351 Keystone, Race 7352 7353 Fruits and ° The year ’round Vegetables Railway Express can handle laundry packages for you very easily and economically. Simply notify the folks Y X that you are shipping your laundry by Railway Express and ask them to Compliments return it the same way. If you wish, you can ship “collect.” It saves time and detail, and loose change. Railway Express is fast and depend- Hotels, Clubs and s os ate: seicac tens - et a I Nn G tt tu t1o NS © A) upp l ted good condition as when it left home. So think the idea over and telephone Railway Express. Our motor truck will pick up the package at your door at no extra — For service or information telephone BRYN MAWR AVE. - BRANCH OFFICE: *PHONE BRYN MAWR 440 HAVERFORD, PA. BRYN MAWR, PA. (R. R. AVE.) ARDMORE 561 . | -| RATLWAY EXPRESS z _ AGENCY INC. + NATION-WIDE RAIL-AIR SERVICE | ee The Philadelphia est . Record Reading Terminal Market \ i | | | oem a THE COLLEGE NEWS Page Seven “Mrs. Collins Produced May Fetes in England Able Organizer and Director Stands Behind Bryn Mawr’s Great Festival HAD CONCERT TRAINING Behind the success of Big May Day there stands an able organizer, and behind the official title, Director of May Day,’ lies a versatile mind and a ' charming personality that have given many generations of undergraduates their most delightful. contaet in col- lege. Mrs. James. Chadwick-Collins, known to the college at large as “Mrs. C.-C.,” is now in her sixteenth con- secutive year at Bryn Mawr and her eleventh as Director of Publication. This is her fourth Big May Day, her second as Director in Chief of Bryn Mawr’s biggest effort in production. Her outstanding’ personal character- istics is_her devotion to Bryn Mawr. The Greene is her particular delight in May Day, Robin Hood her favorite play. ‘The dancing on the Greene is Big May Day” is a familiar maxim to all who have attended rehearsals or chapel in a May Day year. As an undergraduate at Bryn Mawr Mrs. Collins was outstanding, espe- cially in her chief interests, dramatics and singing. She acted in every ma- jor play given in the four years. of her college career; a compliment has been paid her -that her performance as the Wife of Bath has not been ex- ceeded by any piece of acting done by a Bryn Mawr student. She was also leader of the Choir and soloist with the Glee Club. It is not surprising, therefore, that she went on with her singing with Fred Walker, of London, Jean de Reszke, of Paris, and Lilli Lehmann, of Dresden, and with her acting-at the London School of Dra- matic Art and with Mlle. Rostand, of Paris. After her return to Bryn Mawr she studied design at the Phila- delphia School of Industrial Art. In 1909 she was married to Captain James Chadwick-Collins, of Dorset, England, and lived for eleven years in Dorset. Here she found herself in the midst of political campaigning and speaking, which she considers the most exciting experience she has ever had.. At this time, after seeing some of the pageants put on in the country districts of England, she also became interested in pageantry. She took an active part in the English Folk Danc- ing Society, which Mr. Cecil Sharpe was then organizing, and presented one of the first pageants of folk-danc- ing given in the south of England. In May, 1914,, she put on another pag- eant, larger and more elaborate, which Captain Chadwick-Collins declares is “the best thing she ever did.” From this pageant she borrowed the “prog- ress of Queen Elizabeth” and intro- duced it into the 1932 May Day. After the outbreak of the War, she did war work, acting as Commandant of Dorset 90 Detachment of the Brit- ish Red Cross and as president of the Dorset Guild of Workers which pro- vided woollens for the troops, the money for which came almost entirely from her Bryn Mawr friends. - In 1920 Mrs. Collins returned to Bryn Mawr and a few months later was asked by Miss Thomas to take charge of publicity in connection with the Summer School. In the following autumn she managed the publicity for the college. In 1924, when Mrs. Otis Skinner was directing May Day for the second time, Mrs. Collins acted as her general manager. In 1928 she again managed May Day with Miss Constance Applebee as Director and Mr. Samuel Arthur King as Di- rector of Plays. In 1932 she herself acted as Director. Mrs. Collins’ work has been greatly extended during her fifteen years at Bryn Mawr. After the resignation of Dean Maddison in 1925, she was asked by President Park to take charge of the publications of the col- lege and of the invitation list and, after the opening of Goodhart Hall, to be responsible for speakers. When the Deanery was opened two years ’ ago, she was made Chairman of the Entertainment Committee. Miss Thomas, in her last speech summar- izes Mrs. Collins’ work better than anyone elsé can When she says, “I should like to. mention some of the administrators and: executives whose devoted service has filled many of these fifty years . her extraor- dinarily able Director of Publications, oa Campus Yeomen Thirty-Six Years Ago Robin Hood Cheers On His Merry Men in 1900. Chouteau Dyer Has Had Long Dramatic Cageer Alunana of ’31 Returns Second Time To Coach Three Plays Chouteau Dyer, under whose direc- tion Robin Hood, The Old Wive’s Tale and St. George and the Dragon have been produced, belongs to that class of actresses, becoming rare these days, who have no screen aspirations. After a dramatic career of five years, her interest lies in the acting and direct- ing technique of the New York stage. She was graduated from Bryn Mawr in 1931, leaving behind a long dramatic record. She took the part of Starveling in A Midsummer Night’s Dream in the 1928 May Day and played with the Varsity Players in 1929-30 and 1930-31, acting as presi- dent of the organization in her Senior year. During her summer vacations throughout her college career she played with a stock company, the University Players, of West Fal- mouth. In the summer after her graduation she both acted and coached in Little Theatres of the Middle West. In 1932 Miss Dyer went to London and studied for two years with the Royal Academy of Dramatic Art. Af- ter her return to America in 1934 she took her first job with the Shake- spearean company which played in the English Village at the World’s Fair in Chicago. In 1934-35 she had her first experi- ence on Broadway when she played in Merrily We Roll Along. Later she worked with To See Ourselves and this year had a part in Pride and Preju- dice. In the spring of 1935 she com- bined acting with drama work at the Brearley School in New York City and in the following summer played at the Red Barn in Locust Valley, Long Island. Besides her part as an undergradu- ate in the 1928 May Day, Miss Dyer has had further experience with Bryn Mawvr’s traditional pageant. In 1932 she worked with Samuel Arthur King cn A Midsummer Night’s Dream,.As You Like It and the Masque of the Flowers and was in addition a valu- able asset to the Property Committee. This year her work has been entirely new and extremely varied. Robin Hoodg_ a purely narrative play, The Old Wive’s Tale, a romantic type, and St. George and the Dragon, a primi- tive form of farce, have demanded a versatility and broadness of scope and interpretation which she has ad- mirably supplied. 1932 REHEARSAL VERSION OF TO THE MAYPOLE To the Maypole let us on; I have three corns and one bun-yon. Walk, please, to the lower Greene, Where your costumes won’t be seen. These rehearsals, who can amend them? Five dollars fine if you don’t attend them. Round the Maypole let us on; Sure, it’s my foot, but just step on. Coming at you! Come, sweet lass, Come and stumble on the grass, Come and trip me on the Greene, Where no lad will e’er be seen. There alway from the break of day All those dance who cannot pay ($5). “Keep together!” Hey, sweét ‘lass, Must you kick me as we pass? a graduate. of Bryn Mawr, Caroline Morrow Chadwick-Collins, whose in- adequate title fails completely to indi- cate the scope of her work performed for nearly fifteen years*with the ut- most devotion to her Alma Mater and with the highest distinction.”. Mr. Willoughby Trained From Youth in England Has Royal College Degree in Organ, Choir and Harmony When Mr. Willoughby’s mother, who has come from England chiefly to be present at May Day, hears the tune Haste to the Wedding she may realize that one of the sources for the authentic version of this song is to be found in an old manuscript. book belonging to her father-in-law, a band- master. Even when he was a boy, a love of band music asserted itself in Mr. Willoughby, who remembers slip- ping off from school and trudging miles to hear a band. Today he is still interested mainly in this type of orchestration. During those same early years he was progressing rapidly in formal musical training. He was learning notation from his sister“at the age of seven, when he became a chorister in the Ross Parish ‘Church in Hereford- shire, where he lived. He was so apt that the following year the rector of the church gave him a small organ on which he was occasionally permitted to substitute for: the larger instru- ment. His advance was rapid and after a few years’ experience in other churches he was appointed, while still quite young, organist and choirmaster atthe Ross Parish Church. Mean- while he studied under the late Dr. G- Sinclair at Hereford Cathedral, where he was appointed assistant organist following three years’ ap- prenticeship after the war. Mr. Willoughby joined the Royal Flying Corps in 1915 and was in- valided out of it three years later. During this period he spent most of his leisure time in organizing musical events. Returning to Hereford in 1918, he assumed many musical duties. Four years later he obtained his degree in London as an Associate of the Royal College of Music in organ playing, choir training and harmony, with the special distinction of being the only successful candidate in the first field for that year. In 1923 Mr. Willoughby visited Philadelphia at the invitation of Mrs. Willoughby, then his fiancée. He remained as organist and choirmaster of the Church of the Good Shepherd in Rosemont. That September he be- came an instructor at Bryn Mawr. He was made an Associate in 1929 and Assistant Professor in 1935. Properties Manager Is Nearby Resident Miss Sherman Won Scholarship for Industrial Art School Miss Caroline Sherman, who is in charge of properties for the 1936 May Day, has lived all her life only four miles from the college, in Wayne, Pennsylvania. She attended the Rad- nor High School in Wayne, and upon her graduation in 1932 received a scholarship from the school to the School of Industrial Art in Philadel- phia. Always interested in art, especially drawing and painting, Miss Sher- man’s interests turned sharply, in her. last year of high school, toward the field of dramatic production. Conse- quently she decided to center her work, while at the School of Industrial Art, around theatrical design. She studied costume and stage designing, and made model sets for numerous plays. Every Undergraduate ‘Performs on Greene Continued.from Page One * Woman-Man-Woman >, The Abbots Bromley Horn Dance is done by six men, a fool, a hobby- horse, a boy carrying a bow and’ ar- row, and Maid Marian. A boy with a triangle and a boy with violin pro- vide the music. In Elizabethan days Maid Marian. was'a man-woman, that is, a man dressed to look like a man dressed like a woman; Bryn Mawr of necessity complicates that characteri- zation, for the Bryn Mawr man-wom- an is a woman dressed to look like a man looking like a man dressed like a woman. The man-woman is a survival from ancient May Days when the Queen of the May became Maid Marian, and eventually, because of the absurdity of the portrayal of her character by a man, became a fool. When a woman fool was later added, the fool with the split personality remained. The fool carried a stick with a bladder attached to it, but Maid Mar- ian (Beware the woman!), carried a ladle in which she collected money. The boy with the bow and arrow used it not as a deadly weapon, but as a musical instrument, for he twanged his stout bowstring in time to the music. Even the hobby-horse had his own private method of keeping time: ke gnashed his jaws to the rhythm of the dance! Huge Horns Carried Each of the six dancers bear a pair of imitation reindeer horns. Those used by the Elizabethan dancers weighed from. eighty to ninety pounds apiece (Bryn Mawr is doing the dance on a slightly smaller scale), andthe dance was naturally not a vigorous gne. To add to the gaiety of the occa- sion, the horns were painted, three white and three blue; they were then set in counterfeit wooden skulls from which depended a handle about eigh- teen inches long. When the dance started, each performer seized this handle with his right hand, balancing his top-heavy burden with his left. The Horn Dance probably origi- nated at tribal feasts in connection with sacrifices made to the gods, but by Elizabethan times it had become a celebration performed only on certain set days, such as the Monday of Wales week, the first Monday after the fourth of September. Sometimes the dance was given as a benefit perform- ance on Sunday morning in front of the church porch. All the coins scooped up by Maid Marian’s ladle were given to the poor. Morris Dances Difficult The Morris Dances have been an important ‘and spectacular part of May Day since their introduction by Miss Applebee in 1924. The Morris Dance was not, like the Country Dance, done for the pure fun of the thing; it was more of a spectacular, ceremonial and professional dance done by men alone. The spectator will note that the costume of the Morris dancers is far more elaborate than the simple peas- ant costumes of the Country dancers. This is no mere whim of the cos- tumers, but is quite authentic; for the old-time Morris dancers had very spe- cial and elaborate dancing dresses, every detail of which was prescribed by tradition. The Morris is probably the most difficult of the dances to master, for its movements are large, strong and vigorous, yet they must be executed gracefully and without apparent effort. The Country Dances, on the other hand, are quieter and more versity of Michigan, studying stage- craft under Mr. Alexander Wyckoff, play coach for the current May Day. The eight weeks’ session, which_ is usually divided among several dif- ferent aspects of the dramatic art, was spent by Miss Sherman entirely on stage construction. She worked on the construction, lighting, proper- ties—in fact on the whole staging of all the plays given at the university during the summer period. Among them were Othello, Merrily We Roll Along and Moliere’s Le Medecin Malgré Lui. : Miss Sherman plans to return to Michigan this summer, where she will continue the work begun under Mr. Wyckoff last year. Eight months of next year she will spend at the Cleve- land Play House, doing stage construc- She spent last summer at the Uni- }tion and theatrical design. - vi . evs Me ” natural, for they are the expression of the peasants who merely wanted to enjoy themselves on some gay holiday. Twenty-ninth of May is the first of the dances done. by the whole college. It has no-special significance and is presented for its delightful general effect, which requires the straightest of straight lines. Gathering Peas- cods was danced to celebrate the har- vest festival, and Sellinger’s Round was an exuberant religious dance sym- bolizing the beginning of the world, while many others, such as Old Mole, Newcastle and Parson’s Farewell were ~ done for enjoyment alone. Parson’s Farewell in particular is bubbling over with good spirits; its saucy little bobs and nods would warm the heart of any parson, New Sword Dance Adde This year a new Sword Dance is being instituted which is. known as the Flamborough Sword Dance, from the little village of Flamborough, where it originated. It is peculiar in having eight dancers instead of the usual six and in that the wooden swords are carried in the left hand. All of the swords were originally wooden except the leader’s, which was genuine. The dance was performed a few days before and after Christmas and also occasionally in the summer holi- days. Visitors are warned to beware as it was the old custom to grab an outsider and hold him in the locked swords until he payed a ransom. Tumbling was an extremely popu-. lar form of entertainment among the Elizabethans; the jongleurs appeared on every possible occasion, particu- larly at fairs and May Days. The contortionists were often unscrupulous rascals who made use of every possi- ble occasion to pick the pockets of innocent bystanders. All ye revellers, look to your purses! Miss Grayson Blends Traditional, Modern Organized Bryn Mawr Player’s Club When Student Here Although her art has benefited by her study of past tradition, Miss Hel- en Grayson’s outlook is a modern ohe, creative and definite. Executive as well as artistic, Miss Grayson directed the work on 800 May Day costumes, a third of which were new and the rest in need of remodeling. When she was not in the May Day room supervising assistant costumers, she was on one of her mysterious trips to New York, where she delved into the archives of the Public Library for ideas for cos- tumes, or into one of the tiny dark shops of the Ghetto in search of inex- pensive but rich-looking materials. Miss Grayson was«brought up in Paris, where her father was a painter, and still retains a slight French accent. She has always been in- tensely interested in the theatre, not only in the costuming, but also in pro- ducing and acting. When she came to Bryn Mawr in 1921, there were no theatrical organi- zations such as Varsity Dramatics or the Player’s Club. Since her pen- chant for the theatre had materialized after seeing a production of the Theatre Intime at Princeton, she soon afterwards organized a Player’s Club at Bryn Mawr. In 1925 she gave a play of her own, Pierrot and Colum- bine, on Wyndham lawn. Katharine Hepburn was asked to take part, but being a freshman, she was going home to give the seniors room for gradua- tion. After graduation from Bryn Mawr in 1926, Miss Grayson continued to be 9 interested in dramatic production and went into the American Laboratory Theatre for*training in acting, direct- ing and designing. During her last season there she designed and executed the costumes for their final produc- tions: Chekov’s Three Sisters, Coc- teau’s Antigone and Boeuf sur le Toit (both of which she translated from 7? the French). Later she produced and costumed Poliziano’s Orfeo at the Casa Italiana of Columbia University and Ben Johnson’s masque, Oberon. Three years ago Miss Grayson — opened her own workshop on 6lst street, where she designs and executes modern clothes and period costumes. Besides costumes for song and dance recitals she has done from ene to all of ‘the costumes in certain Broadway produtions, among them Little Ol’ Boy, Dodsworth, Wife Insurance, Gather Ye Rosebuds, Jayhawker and Co-respondent Unknown. Page Eighre ° THE COLLEGE NEWS ~ - : Ld - Brilliance ae, | Photograp hic Masque is Enriched a mimic-show with fiction was but aldance. it grew out of the group of , In Costumes o I 936 gine short step. With Inigo Jones and Ben | pegple which is doing it and is the ex- f Acknowledgments By Contrasting Mood Johnson-the masque became the most Continued from Page ea: chickens set upon a bell.” The cour- tiers, each of whom had a particular color, are costumed from pictures of noblemen in the court at the same period. : Maid Marian Has New Dress ge Maid Marian appears this year in a ' *» bouffant dress, more Elizabethan in interpretation. than formerly, so that. . it fits her part as the village May Queen as well as the mediaeval maid of Sherwood forest. The rest af the costumes are drawn from Howard Pyle’s authentically illustrated Robin Hood of Richard I’s time, ca. 1200. ‘Prince John’s velvet costume is more elaborate than the .Merrymen’s be- because it is a princely conception of a yeoman’s attire. King Richard, in- stead of wearing black and gold and the English coat-of-arms, appears this year in a scarlet tunic with his per- sonal coat-of-arms—three lions look- ing backward. Heraldic records prove this to be correct. His mail is made of milliner’s stuff which an assistant of Jo Mielziner’s remembered having seen several years ago in a milliner’s shop on Thirty-seventh Street. Costumes for One Dollar Costumes for Gammer Gurton’s Needle, costing only one dollar apiece, are modelled from pictures of country folk of the Elizabethan period. Monk’s cloth, resembling homespun, has been used, although Hodge needed hardly a yard of anything. Numerous rumors were current be- fore it was learned that Adam and Eve in The Creation were tobe jointed lay figures from Durer and that the tone of the play would be that of an old fresco on wood. Therefore the Creator’s beard and gown are dusky gold. To distinguish the first man and woman from each other, Eve has a wig of jute (because jute looks more like flax than flax) and Adam has a black beard. According to early English tradition the serpent is cos- tumed with a woman’s head and arms, the better to tempt the young couple. Thefgossips and Noah’s family in ee e ADeluge are mediaeval peasant costumes which would not be. much changed even in Elizabethan times. Deus, more realistic than the Creator, is a magnified version of Noah. } Careful Mixture of Styles Because a band of strolling players would have performed A Midsummer Night’s Dream at an Elizabethan May Day, the costumes are not entirely Greek as they were formerly. Instead, they are a subtle intermixture of Greek and Elizabethan, as the players would have conceived them. Oberon’s costume is based on a sketch by Inigo Jones, the famous Elizabethan de- signer. Titania and her fairies wear fragile flower dresses, because their position in the pageant before Maid Marian demands that their costumes accord with her type of dress. Renaissance Italian designs, famil- iar to the Elizabethans, have been used for the romantic characters in The Old«‘Wives’ Tale. Huanebango’s gaudy attire is patterned after a swashbuckling’ captain of the Comedia del Arte. Eumenides’ silver armor is that of the typical romantic knight of the fifteenth and sixteenth centuries. Delia, the lovely lady, is dressed as a young Italian maiden. The lower class characters wear homespuns. St. George Styles Medieval The new costumes for St. George and the Dragon are in the mediaeval period of its long evolution. Blunder- bore, the Dragon, the Turkish cham- pion and Captain Slasher, presented an opportunity for the creative imagi- _ nations of nineteenth century May _Day costumers as well as to sixteenth “century designers. Miss Dickey, the Dragon in her sewn-on-singly scales, 4 , is larger than period pictures of puny f iting iy oem slain by heroic knights. Of necessity Miss Petts has designed * the costumes for the Masque of Flowers to give ease and vitality to the dancing. They endeavor to blend - Inigo Jones and Italian’ Renaissance designs. Patterns for the 1932 masque are the basis of the dancing costumes, but all of them are authen- tically brighter and strike the modern « eye for color, which has changed since 1932. Cock suggests Inigo Jones’ sketches, while Primavera suggests ‘Italian Renaissance. Elizabethan gypsies . accumulated "cf et one tn — their travels elaborate clothes | The photographs used in the Pictorial Section were secured from the following sources: Thirty-two pictures were taken by. Philip Atlee Livingst printer of the College News; * by Euretta Simons, ’36; the pic=> ture of Mrs. Chadwick-Collins by Miss Grace R. Kitselman; the scene from Gammer Gurton from the Philadelphia Inquirer and the photo of the May Queen . from Edward Sueley:: Philadel- phia. appearance. The Indian costumes have:been remade to give a less Ameri- canized and more Elizabethan aspect than before. On May Days, chimney sweeps decked themselves out in tinsel and finery given them by their bet- ters. Having discarded their sooty rags they appear at Bryn Mawr in aspecially made Argentine cloth with slashed sleeves through which ribbons can be seen. Country Dancers Country dancers on May Day changed. their brown homespuns for festive clothes if they could afford them. Otherwise they adorned them- selves with trinkets and ribbons. The Morris Men, who were the best village jiggers, wore the same costumes from year to year. These include the tra- ditional bells, billowed upper hose and slashed sleeves of the period. Their eccentric style of cross-gartering was lizabethan fad which was eventu- ally relegated to Morris dancers only. The Sword dancers’ costumes represent the fishermen’s of Scarborough, Eng- land. Miscellaneous characters roaming : on the Greene are dressed from au- thentic pictures and descriptions of specific types. The exciting new Black Dog of Newgate emerged from a book on the Elizabethan underworld. Research allows the Nine Worthies to have colored gowns instead of black and brown ones. The apothecary is a combination Italo-Elizabethan type. Miss Grayson and her assistants have accomplished a mammoth and de- tailed task with brilliant results. They have costumed realistically and according to characters who would be participating in the May Day Fete of Elizabeth’s reign. Mrs. von Erffa, ’26, is Miss Grayson’s chief as- sistant at Bryn Mawr. Betty Bryan, 38, head of the undergraduate Cos- tume Committee, has done research and designing for many of the Greene costumes. Polly Schwable, ’88, is the chief archivist and recorder of ac- counts for future May Days. If it were not for Miss Terrien’s knowledge of books and her research ability, the costumes could never have been so authentic as they are this year. Nine Worthies Popular Feature After their first appearance in Paris in 1430, the Nine-Worthies emi- grated to England, where they took part in pageants with increasing fre- quency. Sometimes they were painted figures, sometimes living, and the usual nine were biblical, historical and romantic: Hector, Alexander, Caesar, Joshua, David, Judas Macca- baeus, Charlemagne, Arthur and God- frey of “Billon.” In some of the Eng- lish pageants, British figures of Lords’ men or Aldermen, as well as kings and queens, were substituted for the original nine. a csamennnanmenesiniaimnaniaainiil AL AT ATT LLL EASTERN Representing five leading manufac- turers of tennis racquets. Retail from $2.50 to $18.50 College Price $1.50 to $11.75 Expert racquet restringing $1.25 to $6.00 College Price SLAVIN’S SPORTING GOODS 39 East Lancaster Avenue - Ardmore, Pa. Phone Ardmore 607 OC SSS siaiiaiat THE SHIPLEY SCHOOL BRYN MAWR, PENNSYLVANIA Preparatory to Bryn Mawr College ALICE G. HOWLAND ELEANOR O. BROWNELL Elizabethan Tradition Blends With Modern Expression For Effect EACH DANCE ORIGINAL The Masque of Flowers as produced ay in the Cloisters is a careful ‘blend of Elizabethan tradition and modern expression, and the subtle ef- | fect of the whole is achieved by ‘strik- ing contrast in mood, costume and movement. Masques have been pre- sented at Bryn Mawr May Days since the completion of the Library in 1906, but not until 1932 and the coming of Miss Petts and Miss Cooper did dane- ing assume the finished predominance which it now holds in the Masque. After Miss Cooper left two years ago, iss Petts continued to develop her wn truly original mode of the dance, molded on the general outlines of the Duncan school. Many masques were perused before the decision was cast a second consecu- tive time in favor of the Masque of Flowers. Although the Masque of Queens and The Woman in the Moon have both been successfully produced here, neither text offers an opportunity | exit and group | for the entrance, dances which the present text pro- vides. Few other masques can be adapted with equal ease to the de- mands of the Cloister setting and the modern dance. The masque form ‘began crudely with the mummings in procession of mediaeval guests in masquerade of ‘adhered to this principle. exotic state and pomp. From this to brilliant of court spectacles The Masque of Flowers was first given by the Gentlemen of Gray’s Inn (one of the corps of lawyers who patronized the Stuart theatre). Bacon is reputed to have spent 2,000,000 pounds in one production of it. The first decor in 1614 is described by contemporaries as “a garden of a glorious and strange beauty.” The characters are through- out popular figures of mediaeval legend and romance. This year the canvas of the dance has been made richer and fuller than ever before and each dance, as well as each musical composition with its characteristic leit motif, is entirely original. It is Miss Petts’ principle in teaching the dance that the move-} ment and the music: should grow out of one another into a single harmony. In training the Cloister dancers for May Day, Miss Petts -has rigorously She... did not make up the Chimney Sweeps’ 150 acres THE MADEIRA SCHOOL Greenway, Fairfax County, Virginia A resident and country day school for girls on the Potomac River near Washington, D. C. LUCY MADEIRA WING, Headmistress pression of a beginning group of. dancers. Likewise, Primavera’s dance couldn’t possibly have been done by anyone but Primavera herself, since it is composed of her inspirations and her energies. ‘This principle has produced highly effective results in the contrast and varying mood of movement and music., While seeking always to suggest the Elizabethan, Miss Petts, Mr. Schu- marn and the dancers have succeeded admirably in satisfying a modern audience’s demand for .color, har- mony and technique. Conjurors Invoked God or Devil Elizabethan conjurors were usually either exorcists or magicians. ° The exorcist might have to invoke the di- vine authority either Over persons possessed by the devil, or over persons plagued by external evil spirits. The magician usually was one who called demons to serve him, in return for which “he yielded them his soul. 10 fireproof buildings THE cRAZE FoR Culoties ... proves that it’s smart to be divided on the skirt wi iatacan In FRANCE it's la culotte, in Bermuda it's the culotte,, and now in Penn- sylvania we cheer for those wonderful divided skirts. There’s absolutely nothing better for bicycling! But that’s only the half of it. For strenuous sports like tennis you'll find that a culotte gives you plenty of freedom, and yet it's easy on the hipline. For lounging around and general summer loafing, get into a trim divided skirt ensemble — something really knockout in linen, shantung, pique, or cotton jersey. $2.95 to $10.95. : SECOND ‘FLOOR | Strawbridge & Clothier’s ‘| MAIN LENE STORE . a THE COLLEGE NEWS Page Nine te —_ ous Wagon Plays Familiar’ In Elizabethan Days Craftsmen. Presented _ Biblical » Scenes at Religious Fetes — Of Old England SETS COPY DRAWINGS The two wagon_piays, The Creation and The Deluge, are a new feature in the .Bryn_ Mawr May Day, but they were a familiar source of- entertain- ment for-the Elizabethans. Numerous pageants or carts representing scenes from the Bible were invariably part of the religious processions on either Corpus Christi Day or Whitsuntide. Each of the organized crafts: of the time owned a pageant and were ac- customed to present their scenes to- gether in an established order. Suc- ceeding one another from station to station, they acted their scenes, which were usually appropriate to the trade of the particular craft at. each stop. Among the crafts taking part in such a procession at Dublin six years after Columbus _ discovered America, were “Glovers: Adam and Eve, with an angill following berryng a swerede” and “Maryners, Vynters, Shipearpynderis, and Samountakers: Noe with his Shipp, apparalid ac- cordyng.” The Adam and Eve pag- eant, however, was once presented by the tailors independent of the others before the Earl of Kildare, although in the cycle of religious plays it was generally monopolized by the grocers of Norwich. The play of Noah, too, was given out of the dramatic cycle at Hull by Trinity House, a guild of master mariners and pilots. The Baldwin School BRYN MAWR, PENNSYLVANIA A Resident and Country Day School for Girls Ten Miles from Philadelphia Stone buildings, indoor swimming pool, sports. Thorough and modern preparation for all leading colleges. Graduates now in over 40 colleges and vocational schools. ELIZABETH FORREST JOHNSON HEAD OF THE SCHOOL } ] i % The expenses that such, perform- ances incurred, such as the “horsing” ‘of the pageant, the payment of ac- tors, properties, refreshments and fees for stations, were sometithes met by the grafts themselves. “Pageant gence” was collected from all mem- bers of the cast, and any craftsmen who did not attend the play and “do it honour,” - were: fined. At other times the municipal corporations, who directed the*plays and maintained or- der, financed the performances. Not the least important of these expenses was the hiring of the script itself. The script for the cosmic cycle, composed of all these’ pageants, was written and rewritten throughout the English countryside. The Bryn Mawr per- formance of The Creation is follow- ing the book used by the Norwich grocers during the first half of the sixteenth century and that of The Deluge, the Chester manuscripts used at the end of the sixteenth and begin- ning of the seventeenth centuries. The directors are trying to give these plays the quality of drawings interpreting the medieval conception of the Bible by referring to plates of the illuminations in Caedmon’s Metri- cal Paraphrase of Scripture History. The fantastic fig trees on each end of the pageant of The Creation served as margins in a picture drawn by a tenth-century monk. Noah’s ark, with its monster-like bow, is an exact copy of an illumination. Ideas for cos- tumes, Noah’s beard, the tunics be- longing tohis sons, the stylized leath- er “cotes and hosen” of Adam and Eve, sprang from the same ‘source. The production is as authentic as possible and information has been gleaned from stage-directions, account books and property lists of the time. The Property Committee, learning from an antique document that the animals which Noah took into his ark were painted on wood two by two and hung along the edge of the ark like pictures, accordingly followed out the directions by undertaking to repro- duce the innumerable speciments of obscure fauna, mentioned in the play, including . polecats, marmosets and digs. pany, the 1936 costumes’ and proper- ties for The Creation boast “one swerde,” a tail for the serpent, “heary’s for Adam and Eve,” and “a Rybbe colleryd red" from which Eve is created. = The costumes of Adam ‘and Eve occasioned some anxiety, especially on. the’ part of the’ two students who took the roles. An authority by the name of Wharton wrote, “In ‘these Mysteries I have sometimes seen gross and open obscenities. In a play of The Old and New Testament, Adam and Eve are both exhibited on the stage naked, and conversing about their nakedness; this very pertinently introduces the next scene, in which they have coverings of fig-leaves.” Fortunately. we have another source of information, a Mr. William Jordan who lived in the early seventeenth century and declared that Adam and Eve were “aparlet in whytt lether.” As the construction of the pageant for The Creation and the “dighting, gilding, . and beautifying” of Noah’s ark were done in the power house, the plays were once rehearsed PRINTING Shop : JOHN J. McDEVITT 1145 Lancaster Avenue, Rosemont P. O. Address Bryn Mawr, Pa. ENVELOPES BILL HEADS LETTER HEADS CARDS PROGRAMS TICKETS CIRCULARS BOOKLETS Like those of the Norwich com-|’ in close vicinity to the source of Bryn Mawr’s supply of-electricity and the actors had to compete with noise made by sudden avalanches of slag. This was all good practice, however, as one of the major problems of presenting these plays is that of making oneself heard out of doors. Another problem is that of the limitations in regard to space. The cell down in the depths of the pageant cart which-éncases Eve during her pre-natal state, is so small that it keeps her cramped as. well as cosy. Nor is Uxor Noah able to give ° free play to the Supposedly “lively b'ow” that she administers to her hus- band. She has been known to miss her aim completely and give him. a resounding smack, instead of skilfully . clapping her hands beside his cheek. Supper & Luncheon Served May 8 & 9 Make Your Reservations Early COMMUNITY KITCHEN 864 Lancaster Avenue ————e keep close to reality. trustee. Those who keep close to the earth The practical wisdom of many old Pennsylvania families has been shown in the care- ful protection they have given to property and family with Sadiig. Trust Company of Philadelphia named executor or MEMBER FEDERAL DEPOSIT INSURANGE CORPORATION [PROVIDENT] ™ eR ee a ee GREEN HILL FARMS CITY LINE AND LANCASTER AVE. OVERBROOK-PHILADELPHIA whenever they come to visit you.. A reminder that we would like to take care of your parents and friends, THE COLLEGE NEWS — ¢ = ; & How iobehappy o q Being a Junior Miss isn't a matter of size—it's really a state of mind! It's being young, and gay, and vivid in all kinds of new ways that the staid old world around you hasn't thought.of yet! It's the way you wear your clothes, and where you wear them, and-with whom—it's stepping lightly instead of treading solemnly, no matter what the occasion! : ‘We've watched you on the campus, in town, chattering away at lunch, a bit more formal at teas and parties, dancing on light feet— we've watched you, and listened to you pretty shamelessly—for the express purpose of gathering for you in one snug little shop the clothes you told each other you needed. ~~We're not going to be a bit more solemn about this ‘than you are about things—but we want you to know that we know what you want...and we've got it here for you! In other words, the first stop on the road to popularity is on the First Floor, at Wanamaker's, in the gayly complete Junior Miss Salon. Here's what you'll find: simply dozens of individual and different prints—jacket types and little suits for town or travel (remember, week-—ends are pretty important) and divine short-sleeved button—down-—the—front types blooming all over with eccentric flowers. Dark, stark, smart sheers, spiced with dazzling white (remember any man from seventeen to seventy prefers something dark with ''white around your neck'')—or prettied up with alluring baby pink, or baby blue—probably of crisp pique. Romantic Chiffons—and you'll have them for days as well as evenings, if you've kept an eye on what's what in fashion. Big, splashy, sprawling prints or neat, prim designs— they're both here, in absolutely the very newest versions. See yourself in one or two, you'll get an idea of why a floating wisp of chiffon may be more effective in winning your way in the world than a brain that really works! Don't fail to see the Powder Puff Muslins (for that demure Nell Gwyn effect) in soft, simply rhapsodi- cal colorings and patterns; the dimities that manage to do two things for you—keep you cool and make a slightly quaint look the most desirable thing in the world; and the batiste frocks that will see you in practical comfort through a very smart summer! 3 Well, time's almost up! And we haven't said a word about the new ' ‘'air—spun'' ‘linens, or the nubby, rough-looking peasant linens, the new culottes that everybody's going. to ''take tp'' within the next five minutes probably, or the angelic-looking organdies, or the jackets and skirts that you can buy to match or contrast. There's only one thing to do —come and see for yourself! e _ though a Junior Miss in the Merry Month of May! * containing flowers and a clever verse, ’ wreath on her head and shouts of ap- ‘” with their hoops, before the scholar- THE COLLEGE NEWS % . ¢ » Page Eleven Little May Day Brings Relaxation From Daily Grind Senior Class President Crowns’ Miss Park as Queen With Floral \Wreath ee SCHOLARSHIP HONORS ARE READ IN CHAPEL May-1.—In the midst of the turbu- lent, nerye-wracking preparations for Big May Day, the undergraduates of Bryn Mawr took a five-hour recre- ation to carry on one of the nicest traditions that Bryn Mawr now pos- sesses—Little May Day. Five a. m. found the sophomores rising reluctantly from their beds to peer out the window at a darkened sky which,yfor all its unwelcome obscurity, gave promise of an early dawn passing on to a warm and sunny day. ~ Soon the hails were echoing with loud, and sometimes sour, notes .of the sophomores’ Waking Song which woke not only the intended seniors, but also every other i a sessing normal auditory ability. ak- ing the seniors with 4 lusty challenge to “wake up all” and a May basket e was not sufficient to arouse some of them from their beds to which they had so recently retired. The added stimulus of coffee and rolls proved more effective at: the specified hour of 6 o’clock. It was the seniors’ turn next to wake Miss Park and conduct her with a double column procession to Rocke- feller Tower, where, a little after 7 a. m., the seniors greeted the sun with a Latin hymn while the lesser under- graduates and a few of the faculty watched from below. Headed by Eleanor Fabyan and the Bryn Mawr band, famous for such gatherings as Parade Night and other traditional ceremonies, after a special breakfast the seniors ‘‘one, two, three- hopped” from Rockefeller Arch around in front of Taylor, down Senior Row and onto the upper hockey field, where five Maypoles stood in formation wait- ing to be wound—each by a different class. Making a large circle outside the Maypoles the rest of the college hopped, skipped and jumped to the strains of To the. Maypole. After sufficient winding of the various Maypoles, everyone closed in on the largest one in the center, where Jane Matteson, president of the Senior Class, was presented with a necklace, a floral crown and an invitation to breakfast a year from that date by Miss Park.- Miss Matteson thanked Miss Park and accepted her invitation on behalf of the class. She ended her speech by placing her floral crown on Miss Park’s head, saying: “I don’t want to make next week seem like an anti- climax, or take Robin Hood’s job away from him, but I should like to crown the real Maid Marion May Queen.” The speech over, Miss Park emerged from the mob with a May plause on every side. The crowd soon dispersed and went by various paths to Goodhart, where the seniors, in time to accompanying clapping, danced and skipped around the auditorium ships, graduate and undergraduate, were announced. The list of awards was long and distinguished—too long to be reprinted in full in this issue of the News— but there were two outstanding this time. The Charles S.'Hinchman Memorial Scholarship, awarded to the student whose record shows the great- est“ability in her major subject, was given this year to Leigh Davis Stein- hardt, ’87,.a philosophy major. The Maria L. Eastman Brooke Hall Memorial Scholarship, given each year on the ground of scholarship to the member of the junior class with the highest average, was awarded this year to Elizabeth Duncan Lyle,’ of Lennox, Mass. After Chapel was over, the student body repaired to Senior Row, where of hoops, sticks and everything else imaginable were accomplished. We note that Dr. Nahm was the recipient of a relic well known all over the .|campus—Pauline Manship’s blue cape. Making a square with sister classes opposite each other, each class was called upon to sing her May Day songs and finally “Thou Gracious Inspira- tion”’—whereupon Little May Day with all its colored trappings was over for another year, and 10 o’clock classes were next in the order of the day. Worship of Spring is Ancient Celebration Continued from Page One in every year, they were always deco- rated in this same way, and around them the people always danced with a-great abandon. The wantonness of their merrymaking, in fact, so shocked the Puritans that it caused them to brand the pole as a very “stinckyng idoll.” Justified or not, however, they put no damper on the enthusiasm of the villagers for their customary revelling. They even failed to subdue the ardor of the reverend clergy, for one honest priest, delivering his ser- mon on May morning and finding his pews suddenly emptied at the sound of music on the Green, with no re- criminations simply up and followed the throng, as eager as any of them to see the Maypole reared. ; Origin of Morris Dancing Celtic Besides the circular dancing around the pole, another sort of dance was commonly associated with the festival. This was the Morris dance, named from “Morisco,” the Spanish word for Moor. Although it is,said by some to have been introduced into England from Spain in the reign of Edward IV, there is another explanation of its presence which makes it a far older tradition and a completely na- tive one. It goes back to, the pre- Roman age when the Celts ‘built their sacrificial fires on the Druid’s mounds. Just as they imitated the burning of human victims by drawing each other through the, blaze, so the revellers imitated the slaughter of: human off- erings by sword-dances where the ges- ture of killing was made. By some miracle, the dancer thus symbolically put to death was usually revived again as the summer revives from winter, for it was this changing of the sea- sons that the dance was meant to represent and it was the deity of sum- mer that the dance was meant to honor. As further insurance of the blessing of the god, the performers also blackened their faces with ashes from the mounds where likewise he had been honored. These rites they continued for generation after gen- eration, after the Romans had con- quered their country and after Chris- tianity had become their. religion, until the significance of the move- ments they went through were for- gotten and the movements themselves changed. For the clangor of the swords they substituted the jingle of bells which they bound about their awards which bear some mention at Montgomery Avenue Bryn Mawr Are you curious about Culottes? Come in and try them on. See how they flatter the “figger.” Yet give the freedom of shorts. Linen Suede Cloth—Flannel $2.95. up KITTY McLEAN BRYN MAWR, PA. Seat 3 When you come to Bryn Mawr - .00 : MONTGOMERY INN _. PHILADELPHIA’S FINEST SUBURBAN HOTEL legs and wrists, and although they ELUTE Stop at 3 Minutes From the College J. K. Winters, Prop. PT TT the hoop-rolling and ‘the .bequeathing Kingly s plendor Lucia Holiday as King Richard in the first May Day. still smeared their faces, they did. not know why. St. George Once Symbolic Dance From the same source of symbolical dancing was derived another May Day ceremony, the play of St. George and the Dragon. Here, however, the swords were retained, the revivifica- tion .was..embodied into. the story rather than discarded as an unneces- sary gesture, and although made comic and Christian, the whole play gave evidence of its origin. When individual characters were separated from the drama to appear alone as figures in a procession or even as Morris dancers, their significance was of course obscured, yet because the play remained to supplement them, they never became quite disconnected from their traditional beginning. And almost always a St. George or a hob- by-horse, a man wearing a pasteboard effigy of a horse about his waist so that he seemed to be riding, did take part in the Morris dance, while ‘some- times a dragon followed along, too, with whom the Horse kept up a desul- tory battle. Nor were these two the only extraneous actors in the Morris performance. Robin Hood and Maid Marian came to be the leading people in it, although originally they were even less, connected with it than St. George. Féte Demands “Lord and Lady” Since no country folk could hold a festival without a festival leader, the May Day dances, both Morris and Maypole, were early ruled by a lord and lady. Eventually they became known to everyone as Robin and Marian in addition to their loftier titles. That these two names and no others should have been attached to them, was a result of the popu- larity during the twelfth century of certain French pastourelles deal- ing with the loves of a Robin and a Marian, type shepherds like the English May leaders. As soon as the name of Robin became widespread, it was at once associated with the purely -English Robin Hood, whom the Vision of Piers Plowman mentioned and whose praises the ballads were begin- ning to sing. The shepherd was transformed into the outlaw, and the shepherdess, although Robin . Hood had: at first ho swéetheart to match her, was transformed into an outlawed lady whose character was gradually created to meet the occasion. Decline of May Day Traditions When at last the Puritans gained control of the government, they put their léng-continued resentment into action and banned the Maypole with its accompanying wantonness. After the Restoration of Charles II, the king who loved his pleasure so well, the Maypole was restored to its former freedom, but the best of its spirit was gone. The old gay songs had been dulled with Puritanical strains- of sin and Hell; the Maid Marian had degenerated into a boy clown; and the Morris dances had been taken over by chimney sweeps because their sooty skins well suited the black faces of the dancers. The Maypoles disappeared from the cities and villages one by one; in 1717 the last in London was taken down. Enough of the ancient tradition re- mained for Pepys to be able to record in his diary that his wife had gone to wash her face in the May dew like the Elizabethan country girls, and in certain districts the customs were still unadulterated. But in these dis- tricts, too, the strength of the prac- tice waned when factories began to invade the fields and the Maypoles stood in sight of smoky factories. Only recently, since a greater consciousness of the value of popular traditions has arisen, have the ceremonies been to some extent revived. Directed by peo- ple well learned in the histories of the old rites, those customs which were slowly dying have been preserved and those already scarcely more than re- membered have been given a new life. Not with quite the same spontaneity, yet with the same symbolism of dance ‘and flowers and sacred sacrifice and tree, England still does observance to May and the vitality of a new year. William Kempe Famous Fool William Kempe, the fool who ac- companies one band of Morris dancers, was a famous fool in Shakespeare’s company of actors, as well as a noted composer of jigs. His association with the Morris men comes from the fact that he won much notoriety by dancing a Morris dance from London to Norwich. SS a ee MARINELLO GUILD APPROVED SALON National Bank Building Bryn Mawr, Pa. Bryn Mawr 809 ge a ae ee Beauty Craft in all its branches Sa i i i i a a a ee ll el HAPPY MAY DAYS topped off by wearing a cool chiffon printed with flowers from garden and field, or a gay gingham evening dress at $22.75 from new arrivals of daytime’ and dinner gowns at JEANNE BETTS 30 Bryn Mawr Avenue | “" &® Club Breakfast .......... Table d’Hote Luncheons. . Telephone: Bryn Mawr 386 BRYN MAWR COLLEGE INN _ TEA ROOM MAY DAY SPECIALS whan ceed ede ses s0l—Elo-~ICE Served from 7:30—11 A. M. 12 to 2:30 P. M. Table d’Hote Dinmers.........eeceeee0s 6:30 to 8:30 P. M. Meals served on the Terrace when weather permits The. Public is Invited wee ee DOC—75C a Eight Choir Members Broadcast Over WOR Continued from Page One ner played Sacrapant in Old Wive’s Tale, and he himself was the cdstume director. After Mr. Skinner’s short talk, the Bryn Mawr singers, accompied per. | Willoughby on the piano, sang the Harvestors Song from Old Wive’s Tale, Here is a Pottell of Malmsey, the drinking song of the Gossips in The Deluge, and one verse of Down in. a Leafy Dell, a sentimental ballad to the familiar strains of Gathering Peascods. A most amusing dialogue, which Mr. Skinner said reminded him of Eddie Cantor, followed between Mrs. Wrench and Mrs. Jacobs, who played the parts of two mothers at again, two songs from Robin Hood, one verse of Alan-a-Dale’s song, The Bailiff's Daughter of Islington, ac- companied by Mr. Willoughby, and the round Follow, Follow, unaccom- panied. The program closed with To the Maypole, the last part of which was hummed to make a real fade-out. ———— BUSINESS 3 SCIENCE COURSES ® Specialized Training for College Men and Women. @ Summer Session of six weeks, begins June 29th. @ Placement Service. PEIRCE SCHOOL OF BUSINESS ADMINISTRATION Gees PHILADELPHIA ee sana — HAVE YOU CONSIDERED LIBRARY WORK AS A PROFESSION? Carnegie Library School of Car- negie Institute of Technology, Pittsburgh, Pennsylvania, _ offers fully dccredited one year courses which will interest- you. Send for Bulletin Old Covered Wagon Inn on the Lincoln Highway at Strafford, Pa. 10 minutes from Bryn Mawr i College Quality Food Daily Luncheons and Dinners Res. Phone: Wayne 1169 — 1969 We make obeisance We, too, celebrate May Day! For 30 years it has been our ptivilege to serve Bryn Mawr College — for 30 more years, and longer, we hope to warrant a continu: © ance of that privilege. * "The John C. Winston Co. Printers and Publishers Philadelphia : cee elas icles ein Zi RE NOM MG Pee rita sea =, Se Big May Day. The singers then sang/ — aa ae Tae RO ae Ss GEE NEY ee Any Werickshire Faivtes _ GIVEN Page Twelve | : : ae ———— > THE COLLEGE NEWS £-» } Frolic in the Dream Play Written in Celebration Of Noble Marriage Which _ Elizabeth Attended HERE SINCE 1910 For the play: of A Midsummer Night’s Dream to be performed on May Day seems at first, a little inap- propriate, and yet actually no play could be found more appropriate to the season. The flowers and dew, the courtly show and rustic antics of the first of May are all included here; the duke Theseus himself goes with his Bride Hippolyta “in the vaward of the day” to observe the May rites in the woods; and the marriage of these two repeats the fairy custom of wedding one another in the first nine days of May. It is true that Oberon and Puck perform their tricks during the night, the hours of June magic, while the May festival needs the sun; but there is no need on this account to suppose a gap in time. By far the simpler way, the. way which anyone who believes in the play follows with- out a thought, is to count the night of midsummer as the eve of May Day and the events -brought on by the spells of. June as solving themselves naturally when the light of May Day dawns. Then nothing could be more suitable to this morning than the act- ing of a play. called A Midswmmer Night’s Dream. Because of the royal wedding in it and the two pairs of lovers who wan- der in the forest, because of its brev- ity, too, and its end with the fairies’ blessing, the play is as suitable to a marriage celebration as to May Day. It must have.been produced to honor some noble marriage entertainment, probably that of the Earl of Derby in 1595 or that of Sir Thomas Berkeley in 1596. At Derby’s wedding, Queen Elizabeth was present, and it is very likely that she was at Berkeley’s also if it was this ceremony that the Dream was meant to celebrate, for the comedy contains several flattering allusions to her power and her chas- tity. Yet in spite of references to marriages and queen, it is not really for these that Shakespeare wrote the play. He wrote it for the fairy crea- tures in it, the awkward rural artis- sans, and the feeling of an English May. Exotic Origin of Names Although there’ are no known sources for the story of the Dream, the origin of its fairy names and characters can be traced quite clearly. The name “Oberon” which Shake- from an old French tale, Huon of Bordeaux, and from this tale likewise comes Oberon’s association with some eastern region, some place of “Indian steppes.” For the name of his queen, “Titania,” Shakespeare had no pre- cedent in fairy literature, but chose it from the Metamorphoses of Ovid, who uses it for Diana. “Puck,” as the jester and mischievous ambassador of these two sovereigns is called, was a word commonly used by the country folk to denote the whole race of fairies whether of high or low degree. Among the country folk, indeed, was a great store of knowledge as to the doings both of Puck and of his master and mistress; so that Shakespeare had no need of books to tell him what pranks the tiny spirits played. He took the tradition familiar to his own War- wickshire and to all of England, and by refining and concentrating he made his Puck, Titania and Oberon the very embodiment of the tradition. Now ” COME TO — HAVERFORD COURT “Montgomery Avenue at Gray’s Lang for Comfortable Accommodations and Delicious Meals * ~ speare gives to his elfin king comes’ }yeted along any slant fancied by the that we have them, we need no other fairies. ‘When May Day was first celebrated at Bryn Mawr, these really indispens- able figures were neglected but by 1910 the error of such an omission wa3 lized. Ever since then, A Midsummer Night’s Dream has. been one of the plays prescribed for Big May Day. Because the time for pre- senting it is so short, it has neces- sarily been cut in a drastic way; the troubles of the four lovers in the for- est have been discarded entirely until only the scenes withthe fairies and artisans and the last scene at Theseus’ court remain,to be the Dream. Even when so shortened, however, it re- tains with its merry Puck, its comical interlude of Pyramus and Thisbe, and its final display of wealth and splen- dor, all its original May Day spirit. In spite of the modern difficulties its actors here encounter when rehears- ing, such as the necessity to shout above the roar of airplanes or through an ice cream cone, when they present it on May Day itself, they have all the far-famed gaiety and vigor of the Elizabethans. Airplanes then no longer_exist; only the galleys of Sir Francis Drake and the river boats of the Thames. Miss Josephine Petts Prefers Modern Dance 1936 Marks Second Time as Chief Director of the Greene For the second time Miss Josephine Petts, head of the Bryn Mawr de- partment of Physical Education, is the chief director of the Greene for Big May Day. Miss Petts has had experi- ence in teaching all fields of physical education, but her specialty is modern dancing. Miss Petts has been excéedingly for- tunate in having the rare opportunity of «studying with Elizabeth Duncan personally for six summers, for Miss Duncan herself will work with only the favored few. Miss Petts has often danced in recitals abroad and she, with a group of other experts, once danced in a Max Reinhart production of Midsummer Night’s Dream. She now has the honor of being one of the ten authorized teachers of Elizabeth Dunean’s dancing and is,Miss Dun- can’s Philadelphia representative. Dancing, like all other art, Miss ‘Petts feels, must grow out of the period in which we live. We must find the fundamental technique which is eternally correct and which grows out of life, and use that technique to bring out all modern feeling. This “funda- mental technique” comprises certain principles which must be adhered to; but these principles may be inter- individual. The human body and the human spirit are the mediums through ‘which the art of dancing is expressed. Cer- tain physical and: social laws govern that medium and we must conform to those laws. Since we are modern peo- ple, the dancing which grows out of us must of necessity be modern art. All art, and dancing especially; must inspire both oneself and one’s audi- ence. Miss Petts in teaching dancing never gives any set rules as to what to do or how to do it. She tries to make the students look within them- selves and bring out what is in them. “That,” she says, “is art and that is education.” @ Part as Actors Animals Play Speechless But Important | or Beasts of Burden Horses, Mules, Cocks and Dogs Are Invaluable Additions To Procession CALLING - WHITE - OXEN!! Among the many non-speaking or walk-on parts in May Day, few ‘are more important than those played by the numerous animals. There are, of course, the oxen, who supply both decoration and usefulness, in that they carry the Maypole in the procession and to its place on the Greene. Be- sides these there are: a mule named Therese (who is the proud parent of an offspring named Papillon); a white horse who carries the May Queen; two Scotch fighting cocks; a falcon; horses for riding and cart- pulling purposes 4nd various dogs. On February 12 a triumphant an- nouncement was made that four white oxen had been found. When these unfortunately developed broken ankles and perishing hips and shoulders, it was found necessary to send out a call for more. As the situation grew des- perate, a plea was made over the National Farm and Home Hour, as well as through advertisements in farm journals. Responses proved that white oxen reside in regions from Nova Scotia to Louisiana and from New England to South Dakota. They come in varying degrees of whiteness, and “with and without barn itch.” On April 8 a pair was at last discovered in Massachusetts and reserved for May Day; and on April 29 the wel- come news was received from Mr. Fuller, who got the first pair, that another yoke had been found at Tun- bridge, Vermont. Originally there were two falcons to be carried by the Queens’ courtiers and provided by Mr. Daniel Mannix. One of the birds escaped recently, how- ever, and as efforts to find another have been unsuccessful, the remaining one rides in solitary splendor, wear- ing an elegant hood adorned with gold leaf and pheasant feathers. ° The -two “fighting » cocks, “borne aloft” in their cages, are provided by Mr. Colin Campbell and come from his native Scotland. They represent a sport as popular in sixteenth cen- tury England as falconry. Besides the white horse, Eleanor B., a show horse, fourteen years old and owned by Frances Schaeffer, which carries Maid Marian, there are ten other riding horses in the pageant, provided by the Fox Livery Stables in Wayne, four of which carry charac- ters in Robin Hood and six of which carry pages. Eleanor has been ac- commodated at the Baldwin School stable through the courtesy of Miss Johnson, while the others are brought back and forth from their home each day. Therese, the donkey who carries Frier Tuck in Robin Hood, belongs to Sarah and Mary Meigs and comes from Radnor, Pennsylvania. The goat which follows Silenus in the Masque, is owned by Jane Morris and led by her in the procession. Dur- ing its stay at college, it has been quartered in the college garage be- hind the Gymnasium. The three little lambs which accompany the shepherds are owned by: Ellen Scattergood; and after their triumphant eperformance i Everything in Flowers Bryn Mawr 570 JEFANNETT’S Bryn Mawr Flower Shop, Inc. 823 Lancaster Avenue Bryn Mawr, Pa. RUSSIAN INN * 1233 LOCUST STREET Delicious Food — Surroundings Gypsy "Zascwlite make this Philadelphia's Outstanding ~~“ Restaurant _ Lancheons at 35c Dinners at’ 65c Countess Ilona | a ee oe White buckskin spectator with tan Sale of Tickets to Making 750 Costumes EXPERIENCE INVALUABLE Hidden beneath of those greater names ‘connected with the glamor May Day, is a.group of people who assist greatly in making May Day the finished and authentic product that it is. Weeks and weeks of constant pushing toward the goal have not deadened ‘their interest and enthu- siasm. In its midst may be found the names of many alumnae who have come back to give théir time to the production of a more ambitious May Day than Bryn Mawr has yet dared to attempt. Mrs. Robert D. Jenks, who ‘is. in complete charge of the tickets, is one of the most experienced of all May Day workers. A member of the class of 1900, she: participated in the first May Day, which was given that year. Miss Dorothy Bauer, who has been connected with newspapers for some years, is the Bryn Mawr publicity agent in Philadelphia, where she has — % at other times been agent for *such organizations as the Art Alfiance, the Red Cross and -the Fatadelphiia Or- chestra. Another active svublivity agent is Mrs. Reginald Jacobs, a student at Bryn Mawr in 1919 and part of 1920, and a prominent Main Line resident. She formerly worked on the Philadel- phia Committee for the American Ballet, along with Mrs. Kimbrough Wrench, of Philadelphia, who also is working for May Day. Mrs. Wrench is Art Director of the Philadelphia Art Alliance and was formerly Asso- ciate Editor: of The Ladies’ Home Journal. Miss Geraldine Rhoads, another as- sistant, received most of her training here at Bryn Mawr, where she was on the Lantern Board for three suc- cessive years and Editor-in-Chief of the College News in 1984-35. Miss Grace Kitselman’s official posi- tion is Secretary to the Director of Publications. Working on the same projects as Mrs. Chadwick-Collins, a versatile woman, Miss Kitselman must be versatile herself to keep up with her pace-setter. Every minute now finds her surveying grandstands, tele- phoning people, handing out posters, checking all bills before giving them to the May Day Director and watch- ing-the accounts. Work on the programs has been COTTAGE TEA HOUSE 712 Montgomery Avenue LUNCHEON — TEA — DINNER Parties — Phone Bryn Mawr 362 done by Miss Eyelyn Page, Bryn | Mawr, ‘23. The following year: she worked in May Day, and the year after on the College Register. She’ was once Executive Secretary of the! Alumnae Association, the position that Miss Hawkins now holds. Efficient handyman in the May Day office is Miss Mary Ann Barnitz, Class of ’34, who, since her graduation, has been assistant to Mrs. Chadwick-Col- lins. She has helped whenever it was necessary,to make out lists of parts, to work on the program, and ‘to keep the May Day Bulletin Board up to date. No less important in the intricate scheme of things are the assistants to Miss Grant, who is in charge of the dancing on the Greene. Both are graduates of Bryn Mawr: Mrs. F. Alvin Bassett, ’24, and Miss Margaret F. Collier, 33. .This is Mrs. Bassett’s: fourth May Day. Participating as an undergraduate in the 1924 pageant, she returned in 1928 as Miss Apple- bee’s. assistant, and again. in 1932 as assistant to Miss Grant. DREXEL LIBRARY SCHOOL A one year course for college | ties while in college. graduates; confers the degree of B.S. in L.S. ; | THE DREXEL INSTITUTE PHILADELPHIA S In the direction of the = whic | are being ccached by Mr. Wyckoff, | Miss“Betty Lord is an able aide. ‘Her job is to attend all rehearsals and see that the entire cast is present on time and ready for action. A more thankless job could not be found than designing, making and fitting costumes for 750 people, be- sides seeing that they are authentic. To this work three assistants have dedicated their time, their energy and their patience. Mrs. Helmut von Erffa, Bryn Mawr, ’26, is head _ of | the committee. She became _inter- ested in the Art Club and drama- Two more re- cent Bryn Mawrters assist her: Miss Frederica Oldach, ’33,'and Miss Anna Crawford Crenshaw, ex-’36, With the able assistance’ 6f Miss Phone, Bryn Mawr 829 MOSSEAU OPTICIANS 610 LANCASTER AVE. BRYN MAWR, PA. For Commencement Gifts See Richard Stockton . BRYN MAWR ——— i ia. Laura Richardson, ’80, Mr. Willough- b~ has supervised the musical side of May Day. Miss Richardson has helped with the musical backgrounds and the the songs in plays. At the head of the Animal Commit- tee, one of the most interesting of all the various fields of action; stands Misss Ellenor Morris, ’27, who has the experience of two other May Days be- hind her. In the actual performance | itself she will be the Queen’s Cham- pion, or Mounted Herald. ‘Another Record Dunarné the past year our Place- ment. Depart- ment received 1921 calls for KatharineGibbs secretaries . . . the best-paid positions nat- urally requiring college women, and outnumbering the trained can- didates available. This marks an- other annual placement record. ee 1934- 1935/ A933; 1934 @ Address College Course Secretary for “Results,” a booklet of interesting place- ment information, and illustrated Catalog. @ Special Course for College Women opens in New York and Boston September 22, 1936. @ AT NEW YORK SCHOOL ONLY— same course may be started July 13, * 1936, preparing for early placement. ® Also One and Two Year Courses for preparatory and high school graduates. BOSTON......00. 90 Marlborough Street NEW YORK.........+.230 Park Avenue KATHARINE GIBBS eee ————> PROMS AND EXAMS. Constant rushing about and mental strain put you on your mettle. Camels set you right with their aid to digestion—their cheer- ing “lift’—their costlier tobaccos. CROWDED MINUTES as the reporter works to beat the deadline. “It’s a life of hurry, hurry, hurry,” says Peter Dahlen, newspaper man, “anda life of irregular hoursand meals.It’s swell the way Camels make food taste better and set better.” E.D.S.T., 8 p.m. E.S.T., TUNE IN! CAMEL CARAVAN WITH WALTER O’KEEFE, DEANE JANIS, TED HUSING GLEN GRAY AND THE CASA LOMA ORCHESTRA Tuesday and Thursday —9 p. m. C.D.S.T.,7p.m. C.S.T., 8:30 p.m. M.S.T., 7:30 p.m. P.S.T.— over WA BC- Columbia Network. 8p.m.. Yor Digeriins Sak... SMOKE CAMELS Smoking Camels stimulates the natural flow of digestive fluids . . . increases alkalinity Life sometimes pushes us so hard that we feel too worn-down really to enjoy eating. Science explains that hurry, mental strain, and constant tension reduce the flow of the digestive fluids. Scientific studies definitely show that smoking Camels increases the flow of digestive fluids... so vital to the enjoy- digestive fluids... THE BROWN DERBY. The chef is putting the final touches to a Lobster Thermidor, while within the restaurant the stars of Hollywood gather to dine... glamorous life of Hollywood, Camels play a major rdle. As Mr. Robert H. Cobb, the man behind The Brown Derby’s success, remarks: “Camels are the choice of the majority of our patrons.” e Camels: are: made from finer, © 1986, R. J. Reynolds Tobacco Co., Winston-Salem, N. C. and to enjoy Camels. In the COSTLIER TOBACCOS! as often as you _ for their aid to alkaline poise. She says: MORE EXPENSIVE TORACCOS —Turkish and Doniestic — than any other popular brand ment of food and to good digestion. Camel’s rich and costly tobaccos are mild beyond words. Enjoy Camels like— with meals— any time—for their cheering “lift”... digestion —for the pleasure they bring. Camels set you right! And never jangle your nerves or tire your taste. Make it Camels today. UNDER THE BIG TOP. Watching Miss Dorothy Herbert of Ringling Bros.- Barnum & Bailey, you marvel at her “I smoke all I want— eat anything I care for. Camels make food taste better and digest easier.” Page Fourteen’ ‘THE COLLEGE NEWS =, Morley is Impressed : By May Day Reve Continued from Page One prettings and flights. These gyrings and circumflexions. they do with so much ease and lightness that you may guess their backs to be metalled like a lamprey that has no bone.” IfI should happen to see, on some Long Island beach this summer, any damsel as flexible as a lamprey, I'll know (and envy) her for one of Bryn Mawr’s May Day tumblers. ' Bryn Mawr’s May Day is. indeed what the Oxford ¢olleges call a gaudy (a rejoicing) and true to her Minerva instinct learning has kept pace with fun. In these 36 years she has gath- . ered a unique library of source-ma- terial on Elizabethan pageantry, music, folk dance, and the mystery plays. Costumes have been sedulously reproduced from old prints, and when unblemished milk-white oxen proved scarce (to draw the great Maypole to the Greene), they found some by ’ broadcasting. If the Man from Strat- ford stopped in at Bryn Mawr on the afternoons of May 8 and 9, 1936, he would feel very, much at home (ex- cept for small beer; though I see by the program that he can get tea in the garden of the Deanery). He would see the May Queen crowned; Eliza- beth herself present in the person of some distinguished alumna; and then the players separating for their vari- ous doings. The Old Wives’ Tale (by George Peele, 1595; not Arnold Ben- nett), The Maske of Flowers by the Gentlemen of Gray’s Inn, The History of Robin Hood and Maid Marian, and among the proved favorites. A’ Mid- summer Night's Dream, of course; and this year there are to be two Wagon Plays, The Creation (as done by the Grocers of Norwich) and The Deluge (appropriately, as acted by the Watercarriers of Chester) which haven’t been publicly performed be- fore. And beside those lamprey tum- blers there are sword and Morris dances on the Greene; bowling, jug- gling, bell. ringers, madrigals, and strolling motleys and mountebanks. I don’t know of any other “project” (this being the master-word of educa- tion nowadays) that brings together a whole college body, past and present, ‘n such unity of zeal. It is as: intri- cate, as artfully put together, as an Elizabethan ‘sonnet or the acrostics they loved. There’s a little-known poem on this Gammer Gurton’s Needle, these ‘are|° theme that has escaped research; post-Elizabethan, but still in the right spirit :— a THE OLD MORRIS DANCER SALUTETH CERTAIN: VIRGINS AT THEIR MAY DAY REVEL Blithe and bonny be your play, Regimented past mischance! Youths in ribands and array Nymph it in the Maypole dance. Mazed anon in gambols moe And unpracticed circumstance, Wot'you then of weal and woe: Reckon, it a Maypole dance! And that too seems to be an acrostic. Milkmaids Frivolous Wenches If any of the audience thinks he can buy milk from the ten lassies with their gayly decorated pails, he will be sadly disappointed. For the Eliza-| bethan Milk Maids the first of May | was a holiday to be celebrated in a 'way later described as below by the Spectator: Breakfast McIntyre’s Dining Room and Grill 23-27 East Lancaster Avenue, Ardmore Afternoon Tea Dinner | Luncheon “It is likew?ke on, the first day of the month that we see the ruddy milk- maid exerting herself in a most sprightly manner under a pyramid of silver tankards, and, like the virgin Tarpeia, oppressed by the costly or- naments which her benefactors lay upon her. These decorations of silver cups, tankards, and salvers, were bor- rowed for the purpose, and hung round the milk-pails, with the addi- tion of flowers and ribands, which the maidens carried upon their. heads when they went to the houses of their customers, and danced in order to obtain a small gratuity—I have seen them act with much more propriety upon this occasion, when in place: of sea — Compliments of Maison | Adolphe Whats Ong On here ...whats happening in these 4O houses —the curing and ageing of leaf tobacco, ___that’s what’s going on. Thousands of hogsheads of mild ripe tobacco are under these roofs. «. just lying here ageing and sweetening and mellow- ing for Chesterfield cigarettes. Like Rip Van Winkle, they sleep—the tobaccos getting mellower and milder for the cigarette that Satisfies. 4 Peteagatenenen these superfluous ornaments they sub- stituted a cow.” - ° FE "i NEW YORK BOUND... You are invited to stay at'’New York's most exqlusive residence for young women” and to qreet the swimming pool before breakfast . .. to live happily in an atmosphere of re- finement and inspiration .at The Barbizon—the beautiful residence- hotel for students and for business and professional young women. Swimming Pool...Gymnasium. « « « « Every room has a Radio. te 7he NEW YORK’S MOST EXCLUSIVE RESIDENCE FOR YOUNG WOMER LEXINGTON AVENUE at 63rd St., N.Y. AS LITTLE AS $11 PER WEEK, $2.50 PER DAY Write for Barbizon Booklet ‘’C” +e @ 1000 pound hogshead of leaf tobacco Two Radio Entertainments a Week iB II WEDNESDAY, 9 P. M. (E. D.T.) LILY PONS with Kostelanetz Gone Orchestra and Chorus FRIDAY, 10 P AX (c.0.7) KOSTELANETZ 45 PIECE DANCE ORCHESTRA vith Kay Thompson and Ray Heuthertca and the Rhythm Singers COLUMBIA ...1\/ORK PE Ge sceeancenengar Taran 4 ‘THE COLLEGE: NEWS | , Mi dhe 2. DB. Be De de BE ON VOL. XXII, No. 23 BRYN MAWR AND WAYNE, PA., MAY DAY, 1936 Copyright BRYN. MAWR PRICE 5CENTS pence ae cae “ ¥ 4 May Day Pictorial Section QUEEN OFTHE .1936 MAY DAY pdt 4 Beis iPOD Se Elizabeth Washburn, 737, as Bottom in J all se = Gertrude Leighton, ’38, as Sacrapant in “A Midsummer Night’s Dream.” % “The Old Wives’ Tale.” Huldah Cheek,:’38, as Senex in “The Old . F Anne Reese, ’36, as Friar Tuck in “Robi Wives’ Tale.” Jane Alleyne Lewis, ’38 ' Hood.” 5 Dacian Eleanor Fabyan, ’36, President of — 7 ant a —EE Undergraduate Association, 1935-36, a al — Frederiéa Béllamy, ’36, as Little John and Sard Park, ’$6, as Robin Hood Undergraduate Representative for Louise Dickey, ’37, as the Dragon and Helen Hartman, ’38, as Saint in “Robin Hood.” ao . May Day. George in “The Play of Saint George.” | THE COLLEGE NEWS é 4 Pix - oe | 2 AF ie ls aids ai ni toe gE ee a eae bE anaes eeeatcaeame atcearuaee Gordon Grosvenor, ’39, Elizabeth Terry, ’36, deLancey Cowl, ’39, Nancy Angell, ’38,}' Elizabeth Lyle, ’37, Dorothea Seelye, ’38, Margaret Stark, ’37, Jeanne Berthe, ’39, Marie Keith, ’39, and Beirne Jones, ’37, in “A Midsummer Night’s Dream.” FLT TIS eRe Virginia Woodward, ’36, Marion Bridgman, ’36, Marna Brady, Esther se é See Tee ee a ea ey Morley, ’36, Amn Dill, 38, in the Lucy Kimberly, ’37, Sylvia Wright, ’38, Edith Anderson, ’36, Mary Letitia Brown, ’37, Pauline Manship, ’36, and Edith "37, in Chariot. Hinckley Hutchings, ’37, Jane Braucher, "39, Anne Toll, ’39, Jean mer. Gurton’s Needle.” Cluett, ’37, in “Robin Hood. null ‘ ¥ ie ‘ t , CS astet Pi aie, = Ae Marcia Anderson, ’36, Betty Bock, ’36, Lorna Pottberg, ’39, Mary Flanders, 87, Helen Hamilton, ’39, in “The Deluge.” Betty Converse, Graduate, Ethel Mann, ’38, Bonnie Allen, 98, Frances Fox, ’38, Mary Howe DeWolf, ’38, and Mar- and Lydia Biddle (kneeling) in “The Maske of Flowers.” garet Otis, ’39, in “The Creation.” Leigh Steinhardt, ’37, Anne Goodman, ’38, Alicia Stewart, ’36, Sarah Fultz, 37, Ellen Newton, ’38, in “The Creation.” ee lis tee dS es: Esther Bassoe, ’36, Anne Ferguson, ’39, Margaret Halstead, ’36, Virginia Lautz, ’37, Delia Marshall, ’39, in “The Old Wives’ Tale.” ¥ Uidtiegiian,, ms oF 7 > a oy . “Dorothy Dickson, ’39, Lydia Lyman, '89, Jean Flach, ’37, and Eleanor Sayre, ’38, i Laura Musser, ’37, in “Old~ thy ‘ —_ “The Maske of Flowers.” : Wives’ Tale,” ’38, Dorothea Wilder, ’37, in “Robin Hood.” Che THE COLLEGE NEWS Ld rs 4 ’ i f E i é id bad SE A ee t i | y i | Fy }, Olga Muller, ’37, Jean Rauh, ’39, Ellen Stone, ’36, Helen Kellogg, ’36, Josephine Ham, a ” abeth Wyckoff, 36, Margaret C. Bell, ’39, and "37, Eloise Chadwick-Collins, ’39, Caroline Brown, ’36, Sophie Hunt, ’36, and Barbara Mary Walker, ’38, and Lois Marean, ’37, in “The yallis. Morgan,.’36,. in. “Te Old Wives’.Tale.” Cary, ’36, in “The Deluge.” Old Wives’ Tale.” Ww. 4 vee? . : : i caad sah ARTS see : , a ire Dolowitz, ’39, Pauline Manship, ’36, Cornelia Kellogg, ’39, Agnes Allin- & | ARS, had Barbara Bigelow, ’39, Winifred Safford, ’37, Elizabeth Washburn, ’37, OMe 87, Letitia Brown, ’37, Jill Stern, ’36, and Edith Rose, ’37, in “Gammer 7 Ty MENGE ae oe Doris Turner, ’39, Margaret Veeder, ’36, and Rose Baldwin, ’37, in “A : Gurton’s Needle.” ake ee: ae Midsummer Night’s Dream.” : Barbara Colbron, ’37, as the Creator in “The Creation.” th Stoddard, ’39, Alice Orr, ’39, Doreen Canaday,’36, Mildred Bakewell, Margaret Wrench, Alexandra Crawford, Isabelle Seltzer, ’37, Charlton Jacobs , Charlotte Peirce, ’39, and Francege Porcher, 36, in “Robin Hood.” and Alis Wrench. uline Schwable, ’36, Gene Irish, ’39, Helen Hartman, ’38, Doris Hastings, ’39, | Abbie Ingalls, ’38, in the “Play of Saint George.” ass sa utah Edith Fairchild, ’36, and Matilda Tyler, ’38, in “The Play of Saint George.” “The Fan Pyramid” by a group of Tumblers. eit e THE COLLEGE NEWS DIRECTOR OF MAY DAY Mr. Alexander Wyckoff, in charge of “The Crea- Miss Chouteau Dyer, in charge of “Robin Hood,” tion,” “The Deluge,” “Gammer Gurton’s Needle,” ’ F : “St. George and the Dragon,” “The Old Wives’ “A Midsummer Night’s Dream.” ‘ : Py ei: Tale.” Miss Josephine Petts, Chairman of The Greene, in charge of “The Maske of Flowers.” in charge of Music. “ " i a ; 3 Ee Miss Marna _V. Brady, ‘Assistant Chairman Miss Ethel M. Grant, Assistant Chairman of erties. Miss Helen Grayson, in charge of Costumes. of the Greene, in charge of Tumblers and the Greene, in charge of Maypole, Morris, Jugglers. Sword Dances. Miss Caroline Sherman, in charge of Prop- See RAN Rie ae ih EES. Fall Greene Reheareal ot siz o'look, \