6

Bes.
a3

" very well cast:
. Lady Sims, played the

2

THE COLLEGE NEWS

fe





One Act a Gain

“aan _._Praise_of Audience

Continued from Page Une

Amelia Wright, as
languishing
and clinging lady to perfection, and
Amelia Forbes, in the role of the But-
ler, said her few lines in the most
diverting and established tradition of
Sterling Holloway.

‘

Our praise for the direction of The
Twelve-Pound Look goés to Mary
Hinckley Hutchings. The stage han-

€ dling.was nice, the interpretations: of

the four characters were adroitly
managed so as:to gain a contrast in
effect.

The production of Riders to the
Sea was the highpoint of the evening.
Costumes, setting, acting and direc-
tion were much more than adequate:
in each case, the producers and play-
ers used to the full the opportunities
for heightening and sustaining the
tone of the play. The contrast of col-
ors in set and costumes were handled
effectively to set the tone of the piece
from the outset. All of the players
were exceedingly well cast: all of the
women had lyric voices suited to the
temper of the piece and Bartley’s
voice was lyric, but just enough deep-

er to provide realism without destroy-.

ing the unity of this musical effect.
Maurya, played by Alice’ Mary
Graves, was realistically done. Miss

‘Graves did the best piece of acting in

the play: her accent was convincingly
Irish, her manner was that of an old
and broken woman, and she conveyed
the tragic import of her lines with
admirable success. Both of the
daughters, Kathleen and Nora, done
by Sophie Hemphill and Edith Rose,
were played with the right degree of
pathos; even more commendable is the
fact that both actresses showed



ence of mind, and continued the ac- |

tion; when the peat-loft began falling
about them. A
Bartley, was excellent: as the living
Bartley, she showed an amazing com-
mand of Irish dialect; as the corpse,
she filled her entire audience with the

proper degree of terror.

The real test of the direction came
in the last scene, when the entire cast

4 was on the stage, and when the audi-

ence was so keyed up to the tragic

‘|pitch of the play that the slightest

mistake would have precipitated gales
of laughter. Yet the keening, which’
so easily might have been made ri-
diculous, was touching and eerie. The
men and women were grouped on the
stage so as not to impede the action
and so as to form a beautiful tableau.
And Maurya’s prayer was done with
the necessary simplicity, yet intensity
of. feeling. The curtain came down
before a tense and silent audience that
took several minutes to get out of the
mood that had been so well created
by the play. Certainly, a great meas-
ure of praise is deserved by Edith,
Rose, who directed Riders to the Sea.
, Credit for the. sets of both plays
must go to Olga Mueller, who used
the flats so that the same general
background could be used for both
plays, with a shift only in properties
and pieces of furniture. G.° Ee R:

Allinson, _as |

ptimes, alternating with

Marriner Discusses Music

Continued froin Page One

by Liszt. His chief interest was in
the symphony and the string quartet, |

‘but his 35 piano sonatas, although sur-

passed technically by his contempor-
ary, Clementi, reveal
sprightly wit and humor, exquisite fin-
ish, and refreshing melody.

The sonata is similar to the sym-
phony in structure.. The first and
most important of its three or four
movements is divided into three main
sections: the exposition, the develop-
ment, and the restatement or recapit-
ulation, added to which i is a-coda, The
second movement is usually a slow,
song-like piece with two themes; It
can be written in the same form as
the first movement.or in the episodical
form, consisting of a statement, con-
trast, and restatement. The third
movement is a minuet,’ with a con-
trasting trio added, while the fourth
movement is a rondo whosé principal
theme must be heard at least three
contrasting
episodes and a final entry of the main
theme. For its unity it depends on de-
velopment and harmonic inter-rela-



tions of a single theme.



“of Haydir and’ Mozart:

. three he began learning music, at five

a flowing:

Mozart, born in 1756 in Salzburg,
was the world’s greatest _prodigy.¥ At

he composed his first composition, a
minuet, and was playing in public,
while at seven he began the tours of
Europe that ruined his health and
| caused his early death at the age of
35. At 14 he composed like an adult.
In Vienna he led a terrible existence,
beset with every possible difficulty, and
ignored by a public who adored Haydn
and Gluck. Haydn, however, recogniz-
ed genius and his gréat knowledge of
the art of composition. But with his
masterly composition Mozart preserv-
ed a Raphael-like serenity, beauty, and
refinement, as well as pure harmony
and delight in his composition.

Mozart surpasses Haydn in his pi-
ano sonatas, and is the founder of the
classic concerts and a daring experi-
menter in chromatic effects. He rev-
elled in the sheer beauty of melody, in
whose spontaneity and charm an Ital-
ian influence can be seen. Mozart’s
music is difficult to play becausé of



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