College news, May 3, 1936

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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.



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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.

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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

- Breakfast, with Carole Lombard; Fri-
day and Saturday, Dick Powell in
Colleen; Monday and Tuesday, Mae
West in Klondike Annie; Wednesday
and Thursday, Robert Montgomery
and Myrna Loy in Petticoat Fever;
Seville: Thursday, Wife vs. Secre-
tary; Friday and Saturday, Eddie
Cantor in Strike. Me Pink; Wayne:
Thursday, Friday and Saturday, Lit-

TUMBLING FOR GIRLS.
LIVELY, INSTRUCTIVE

The keynote of Marna V. Brady’s
book, Tumbling for Girls, is that
tumbling is fun. Miss Petts says ‘so
‘in her delightful preface to the book..
Miss Brady says so in her introduc-
tion, and it is implied throughout. A
book that is little more than a series
of instructions might reasonably be
expected to be dry and catalogued,
but Miss Brady: has -performed ‘the
difficult feat of transferring her én-
thusiasm to the printed page so that
the whole book fairly lives. —

The body of the book is concerned
with instructions as to how to do the
various stunts. The author. begins
with a description of basic feats for





individuals. Then she goes on to more _—

advanced ones for individuals, to pair
stunts, to feats requiring three or
more people and finally, to. pyramids.
Besides her actual instructions, she
gives suggestions of the sort that ean
be learned only by long experience with
tumbling and tumblers. The book
very fittingly ends with a description
of the Bryn Mawr tumblers’ per-
formance in the 1932 May Day. *

Many of the stunts have been
worked out by Miss Brady and the
Bryn Mawr tumbling class, and the
book is profusely illustrated.with ex-
cellent photographs of the Bryn Mawr
tumblers.
physical education teachers in girls’
schools and colleges, will find this
book instructive and inspiring.

S. H. E.



Tradition of Big May Day at Bryn Mawr
Progressed to New Magnificence in 1932





Peasant Atmosphere is
Dominant Feature
of Greene

FIRST HELD IN 1900



In the year 1900 a group of Bryn
Mawr seniors met in the home of
Elizabeth Walker Andrews, ’93, to
discuss ways and means of raisiny
funds for a students’ building. It was
Mrs. Andrews who first recognized
the possibility of transforming the
campus into an Elizabethan village
and suggested that the college give an
Old: English May Day.

This suggestion was enthusiastically

accepted by the student body and in
order not to interrupt the regular
academic routine, all agreed not to
take any cuts. The alumnae took
charge of costumes, properties, re-
hearsals and financial arrangements
so that the undergraduates could de-
vote their time to rehearsals.
Six weeks of intensive work fol-
lowed, under the guidance of Mrs. Ah-
drews. She revived the peasant sports
and dances of sixteenth-century Eng-
land, after painstaking research into
the period. (Years later Cecil Sharpe
gave the college books of accurate
music and figures of the traditional
country dances, more authentic and
more lively than those of the first
May Day.) aN

The graduates and the alumnae
presented Ye Tragical Interlude of
Pyramus and Thisby, Ye St. George
Plays and Florizel and Perdita (from
A Winter’s Tale). The undergradu-
ates were divided into groups accord-
ing to classes, and the seniors began
rehearsal on Ye Lady of Ye Maie, the
juniors on Some Mery Gestes of Rob-
in Hood, the sophomores on The Ar-
raignments of Paris, and the freshmen
on The Revesby Sword Play or Morris
Dances. The pageant was brought to
a close by an old English supper—
“sallett of chickenys” and jamme
tartes.”

It was difficult to suit the tradi-
tional May Day costumes to the rigid
Victorian standard of dress. Doubt
whether girls should wear men’s cos-
tumes in public was partly appeased
by covering them with smocks and
cloaks. The costumes were passed by
a costuming committee, and yet the |
farmer who brought his oxen from!
Lancaster exclaimed, “Never again
will I allow my oxen to see such a
sight as this.”

Newspapers were not permitted to
take photographs, but had to use the
official plates of the college. These
had to be returned and no participants
were to be identified in the pictures |
or in the printed accounts, because
the committees wished to avoid per-
sonal publicity. (It is worthy of note
that the papers gave their promise
and kept it.)



strike against the long hours of the
Elizabethan revels. The music clubs
of Haverford College averted the near
catastrophe by donning cloaks and
caps and furnishing the pageant with
music. :

The procession formed on_ the
grounds of Wyndham with permission
of the owner, Theodore N. Ely. The
pageant, marshalled by two heralds
from each class, started from Pem-
broke Arch, and thus the first May
Day at Bryn Mawr began.

In 1906 six months of preparation
were devoted to the pageant, and
Masques were first presented in the
newly-completed Cloisters. The Eliz-
abethan banners flying from _ the
towers also date from this‘year.

The pageants of 1910 and 1914 were
directed by Elizabeth Daly, 1901, who
was during her college career Editor-
in-Chief of the Philistine. She dra-
matized the life of Robin Hood in
Sherwood forest, making the adapta-
tion from plays written by Anthony
Munday in 1597 and Robert Greene in
1587.

Cornelia Otis Skinner made:her de-
but in the 1910 May Day as Moth in
A Midsummer Night’s Dream and ap-
peared again in 1920 as Sacrapant in
The Old Wives’ Tale. With her began
the tradition of using an alumna, suc-
cessful in dramatics, in the role of
Queen Elizabeth. This was begun in
19382.

In 1918 the War interfered with the
usual performance which .was there-
fore given in 1920. This fete was the
first occasion in which the faculty
took part; it was directed, as was also
the next, by Mrs. Otis Skinner, mother
of the actress, to whom in great part
the present magnitude and beauty of
the pageant is due.

Mrs. Chadwick-Collins, Miss Ap-
plebee and Mr. King, who has been di-
recting plays at Bryn Mawr since
1906, managed the presentation of
1928. This festival coincided with the
completion of Goodhart and also in-
troduced Katharine Hepburn as an
actress in the role of Pandora in The
Woman in the Moon. .

Unfortunately it was necessary in
that year to use brown oxen which
were shipped from Baltimore by
truck. They arrived in the middle of
the night, and the driver awakened
the warden of Pembroke East in his
attempt to deliver them. The animals
caused further consternation by de-
veloping a case of homesickness and
refusing to eat.

In 1932 white oxen were procured
from Virginia, and after all arrange-
ments had béen made, a second pair
were offered. Their ninety-year-old

| attendant wished to accompany them

as an added attraction.

Elizabethan tents were erected to
serve as headquarters for refresh-
ments, and genuine thatched roofs
were provided by an old Irishman who
lived near the campus. Five big



Violet Oakley, of Philadelphia, de-
signed the cover for the program, and
this was so popular that it was used
again in 1906, 1910 and 1914. Since
the best color printing was then done
in Boston, the design for the cover
was sent theré and through some error

as never returned. Since then the

gram has become far more elabor-
ate and complete.

One of the difficult tasks of the
first pageant was to organize the
Elizabethan’ music. The late Dr. Hug
Clark froni the University of Penn-,
sylvanhia kindly aided in orchestrat-
ing the music for the songs and
dances. He trained and directed the
musicians and directed the orchestra.

At this point some of the musicians








Lord Fauntleroy.

who belonged to the union went on

movie companies were upon the scene
| to make sound recordings of the
events. For the first time selected
parts of the festival were seen all
over the country and helped to verify
the statement that a Bryn Mawr Big
May Day is “one of the few really
beautiful spectacles in America.”



_ Jugglers Pleased Elizabethans
”’Dressed in suits with bells on them,
sometimes ringing hand-bells, the
xteenth century jugglers or jocula-
tors did sleight-of-hand tricks which

or to the agency of the devil. The
entertainers were often so popular
that they were given apartments in
the royal household and had many
Rot pet aime :







The amateur, as well as.

were sometimes attributed to magic’
















|
z,





THE COLLEGE NEWS

Page Five





Court. Not Important

In May Day Until 1928



Theresa Helburn, ’05, is Second
Alumna Noted Theatrically
To be Queen

, >
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!)











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~



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.







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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.



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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





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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.





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May 8 & 9
Make Your Reservations Early
COMMUNITY KITCHEN





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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

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A reminder that we would like to

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THE COLLEGE NEWS





—





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&

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-
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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



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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.

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Sa i i i i a a a ee ll el









HAPPY MAY DAYS

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MAY DAY SPECIALS

whan ceed ede ses s0l—Elo-~ICE
Served from 7:30—11 A. M.

12 to 2:30 P. M.

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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.



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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/ —

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Tae RO ae Ss GEE NEY ee

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Werickshire Faivtes

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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

”



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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

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Bryn Mawr 570



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Bryn Mawr Flower Shop, Inc.

823 Lancaster Avenue

Bryn Mawr, Pa.





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White buckskin spectator
with tan Classical sim licity of line
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welt sole, leather ee

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in the pageant, plan to return home
to become mutton.

The three dogs in the pageant are
of very different ancestry, experience
and appearance. The Cairn, Bocker,
which is led by Starveling in A Mid-

summer Night’s came. to

America from the Highlands of Scot-
land, where he was born six years
ago, and is owned by Miss Ellenor
Morris. The Dalmatian attached to
the court of Elizabeth bears the name
“Poppaea” »-(Nero’s wife in ancient
Romg).- She is a year old. and was
bought by her present owners, Dr.
and Mrs. Cameron, from a horse farm
in Vermont, where she was the only
survivor of a stable fire in which all

Dream,



the horses were killed. The Great:
Dane, Sigurdson of Erindane, at-:
tached to the court of A M idsummer |
Night’s Dream, was given to Isabelle
Seltzer by the owner of the Erindane
kennels; he is:a seven-year-old show |
dog and doubtless enjoys the excite-
ment of the crowd.



Students Represented |
By Eleanor Fabyan, ’36





Ranking Daughter of Boston Alumna |
Was Junior President |



Eleanor Fabyan, of the Cldss of |
1936, is this year’s President of the!
Undergraduate Association and ex.
officio Undergraduate Representative '
on the May Day Executive Committee. |
A graduate of the Winsor School and '
a resident~of Boston, she has a strong’,
Bryn Mawr tradition behind her, for |
her mother was Eleanor McCormick,
of the Class of 1904, and her aunt
Mrs. F. Louis Slade, of the Class of
1897, is chairman of the Fiftieth An-
niversary Fund Drive.

' Since Miss Fabyan entered college.
her interests and. her honors have
been .widespread and numerous. In
her freshman year she was elected
to the Self-Government Board, and
she was instrumental in founding the,
‘International Relations Club, of which
she was president during bhe next
two years. j

In her sophomore year she was a
member of the League Board as head
of the Industrial Group. At the ses-
sion of the Bryn Mawr Summer
School in 1934 she was one of the two
undergraduate assistants.

She was president of the Junior



ee
Compliments of

Peter Pan Dining Room
835 Lancaster Avenue
Bryn. Mawr, Pa.

¢









‘of color

NEN NS. ae AI



Class and as First Junior Member of
the Undergraduate Association she
was Chairman of the Cut Committee.
Last spring she was*elected president
of the Undergraduate Association, an

| office especially important in the May *

Day year. She has been associated

awith Mrs. Collins in casting the plays
and arranging the complicated sched-
ules and has done a vast number of
odd jobs connected with the pageant.

- Academitally she ranks high, hav-
ing,maintained her cum laude average
since the middle of her sophomore
year. She is majoring in economics
and politics, taking honors this year
in economics. She is greatly interested
in Mexico and China. In the summer
of 1931 she accompanied her aunt,
Mrs. Slade, to the Far East, and in.
1933 went with her to Banff to the
conference of the Institute of Pacific
Relations.

Miss Fabyan has been particularly
impressed by the cooperation andes

| willingness of the undergraduates in

preparation for May Days She is
most interested in the generous use
this year and in the new
plays which are being given for the
first time—Gammer Gurton’s Needle

and the two wagon plays.





|

Compliments of

NAISON MARCEL
853 Lancaster Avenue

Bryn Mawr 2060









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ba)

THE COLLEGE NEWS



Page Thirteen





Many Alumnae Assist

May Day Director



() Duties Range From Supervising

\>

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. ; |

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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
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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..

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Life sometimes pushes us so hard that
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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.”

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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.” - °

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WEDNESDAY, 9 P. M. (E. D.T.)
LILY PONS

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FRIDAY, 10 P AX (c.0.7)

KOSTELANETZ 45 PIECE DANCE ORCHESTRA
vith Kay Thompson and Ray Heuthertca

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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.

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‘
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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.”

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“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.”

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THE COLLEGE NEWS



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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,

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