3

Wednesday, February 14, 1951

THE COLLEGE NEWS



Page Three



Tired and Cross?
Try Crosswords!



















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_ by Helen Katz, ’53
ACROSS
1. Hall with longest name.
9. First word of Columbia’s
football song.
Negative expression.
On arrival (abbr.).
Used in bear hunting.
Part of horse’s gear.
How one feels the morning
after.
‘Local eating place.
Syrup from trees.
Rent.
Epistle (abbr.).
Tear (Verb).
Preposition.
‘Weekends.
A favor.
Elevated train (abbr.).
Having more years.
Claus.
Two spades.
Dateless amusement.

10.
11.
12.
14.
16.

18.
20.
22

23.

2

Language exams.

Army rating for Quakers.
First name of college’s. Pres-
ident.

Make a mistake.

To reject.

Campus aid to opthamologists
Leaves (Verb).

Wind instrument.
Exclamation.

Article.

Like.

(Diphthong.

Used in sewing.

Considered a local conveyance
(Part of a telephone.

Allow.

Unusual occurrence in bridge
Robert.

1961 and 1953.

Revised Version (Abbr.).
‘Sergeant at Law (Abbr.):
Northeast (Abbr.).

MARRIAGES
Sarah Helen Dempwolf, ’50, to
Michael Pulitzer, se
_ Joan Kocevar, ’53, to William
Spooner. mth! ae

Helen-Louise Simpson,
Kemneth M. Seggerman.

b Abe e
Bard's Eye View.
by Julie Ann Johnson, °52
Dear Valentine, the evening mail-~’
Has lately come and gone; —
‘My ‘hopes have now begun to fail,
And still I linger on.

pon ZSSRESESSS

G0 3 MH

Ls
18.
15.
17.
19.
21.
24,
28.
29.
30.
31.
32.
35.
36.
37.



52, to



It has been quite a while, I fear,

Since last time that you wrote;

You thanked me for the. Prom last

It was a charming note.

The strike slowed mail, as I pre-

. sumed,

And this aroused my ire;

Last week the service was resum-
ee

Perhaps you’d rather wire?

Some girl just called her fiance,
Phone’s busy, and I moan;
I know you’ve had a busy day,
‘And now you'll telephone.

I asked you up for Freshman Show
. Two years ago last June;

O Valentine, how could I know
That you’d forget so soon?







Brass Ensemble Excels in Performing
Program of Early and Modern Music

by Frances Shirley, ’53

The Gotham Brass Ensemble, di-
rected by David Simon, furnished
an unusual concert on January 21
in the Deanery, under the auspices
of the Bryn Mawr Music Club.

The concert was a complete suc:
cess from the point of view of the
audience. The move from Wynd-
ham to the Dorothy Vernon Room
eliminated the acoustical problem
created by more than a dozen brass
instruments. Even more to be com-
mended are the musicians them-
selves, who played without the
benefit of a rehearsal in this loca-

‘\tion, for this lack of a chance to

become acquainted with the acous-
tical properties of the room was
not evident.

The first half of the concert was
devoted to sixteenth and seven-
teenth century music when the
brass groups were at the height of

‘their popularity. First were three

pieces by Adriano Banchieri, an
Italian of the late sixteenth cen-
tury. They were in canzona style,
and the Fantasy in Echo, with its
marked contrasts in volume, was
particularly effective, but the en-
tire group started the performance

Observer

Snow falls silently on the spired
rooftops. Everything soon loses
identity in this stirring white
world. Night comes; the air clears,
and the stars shine brightly, sol-
emnly admonishing the sky for be-
coming prey to the raging but
transitory storm. The snow once
king becomes a prostrate slave to
the busy, hurried figures which
tramp over it. Are these figures



aware of the beauty of the night
around them, or of the fury of the

storm that has passed? These gifts

of nature might never have been,

for the passers-by are concerned
with one thought only, which is not
of the great white world, but, alas,
of the small white card—a course
card.

The power of the card is greater,
during the first week of the sec-
ond semester, than any other pull
on those who walk the paths be-
tween the buildings. The dread
and the hope it commands is
stronger than love or hate, hunger
or thirst. The reign of the demon
begins in a modest way at first.
We come back to college joyously
to start the new semester. We buy
our new books, we go to our new
classes from the opening assembly
with fresh heart and mind. But our
confidence in our new life soon dis-
solves. At the first mail delivery
we see dozens of regular white en.
velopes on the table, and we know
that they contain the Dread Mes-
sage. Our heart jumps sickening-
ly, and we rush over to see if ours

has come. It is not there, and our

burst of courage leaves us shatter-
ed and shaking. We look at the
'. Continued on Page 4, Col. 5

Young Musicians
Give 2nd Concert

Jacqueline Eppinoff, violoncellist,
and Marion Zarzeczna, pianist, will
be the soloists in the second of the
Bryn Mawr Music Club’s Young
Musicians concerts this year. The
concert will take place next Sun
day, February 18, at five o’clock
in the Ely Music Room of Wynd-
ham. The following program, has
been released:

Prelude and fugue in F minor—
Bach; Rondo capriccioso, Mendel-
ssohn, Marion Zarzeczna.

Sonata, Opus 40, Shostakovich
Jacqueline Eppinoff.

Three intermezzi, Opus 119
Brahms; Rhapsody, Brahms, Mar-
ion Zarzeszna.



at a high artistic level.

Henry Purcell’s Funeral Music
for Queen Mary, with its dignified
and chorale-like opening and can-
zona-form close was next, and fol-
lowing it, a sonata written about
1684 by an unknown composer
The performance was superb, with
purity of tone and lively grace
throughout. For the scheduled
Garbrielli Sonata the musicians
substituted two pieces by Antony
Holborne, Honeysuckle and Night
Walk. Two Airs by John Adson
and Benedictus Grep’s Paduana
were the last of the early pieces.

The Ensemble turned to contem-
porary British music with Richard
Arnel’s Ceremonial and Flourish,
which was notable for change of
effect and sharpness of attack, es-
pecially in the martial passages,
The modern music continued after
the intermission with Willson Os-
borne’s Prelude. It was the second
time that Mr. Osborne’s music has
been included in the Music Club’s
programs and the composer him-
self was present. Needless to say,
it was excellently played, as was
Tall Tale, a piece based on folk
idioms, by Henry Cowell, in which
the effect of the muted trumpets,
varied rhythms, and lyric quality
of the instruments was striking.
Music for a Brass Ensemble, by
Myer Kupferman, who has written
especially for the Gotham Ensem-
ble, and Maurice Whitney’s Music
for Brasses were next, and the
Overture to Gilbert and Sullivan’s

Continued on Page 4, Col. 2

—_—_—_—__—

On Wednesday, February 7 five
Bryn Mawr badminton doubles
pairs took up their paddles
against the Merion Cricket Club
ladies at the club. Bryn Mawr won
all five games with the following
impressive scores: 1st—McCormick
and Dawes, 15-8, 15-12; 2nd—
Leeds and McCulloch, 15-3, 15-9;
$rd—Iglehart and Townsend, 15-7,
15-7; 4th—Blackwood and Wallace,
10-15, 15-6, 15-12; 5th—Davis and
Muir, 15-8, 15-8.

The Varsity, 2nd, and 3rd bas,
ketball teams played the three
Penn State teams here on Satur-
day morning, February 10. The
Varsity was unhappily defeated;
the final score was 21-61. The 2nd
and 8rd teams, howéver, came out
on top with scores of 49-35 and 38-
81 respectively. An unusual note
was added when the first team
game was televised for later
broadcasting. The machine was
operated from the balcony just
above the door and did not seem to
bother the players at all. Although
the first game was excellent to
watch, Bryn Mawr just couldn’t
seem to get started. (Most of their
passes did not connect, their dodg-









les did not work out, and their
'shots were on the whole too low.

During the second quarter, how-
ever, they picked up considerably,
and Tuck Howell made thrée bas-
kets. Penn had a very fine team,
but one forward, Cynthia Johnson,
was responsible for 33 of the 61
points. The following is the Bryn
Mawr ist team line-up:

Forwards Guards
Merrick, B, Perkins, A. L.
Kimball, L. Eristoff, A.
Howell, A. T. Warren, M. G.
Sub: Wadsworth Subs: Leopold
Gurewich

The 2nd team played a beautiful
game, winning 49-35. During the
first half their shots clicked con-
sistently and the teamwork was
good. They tired a litle during the
second half, as was natural, but

Continued on Page 4, Col. 4



Versatility of Acting,
Depth and Skill
Mark ‘Lear’

by Helen Katz, 53

Perhaps one of the most delight-
ful things about the last perform-
ance of the past run of King Lear,
at the National Theatre, was that
it was the last performance. Every
actor, without exception, was ab-
sorbed in a kinetic performance.
Louis Calhern, as Lear, delivered
his portrayal carefully, slowly, and
with tremendous vigor. Nowhere
did he outshine or seek to outshine
the thoroughly excellent players
acting with him. From the moment
the curtain went up, there was an
intense interest on the part of the
nudience, and a feeling of “this-is-
the-production-of-the-year”. As the
disillusioned father, the kingdom-
less king, and the beloved master,
Mr. Calhern’s delineations were
even, and in each capacity, he rose
superbly to the full height of the
lines.

The single set, with its raised
center platform served convincing-
ly as a throne room, a stormy
heath, a lean-to, and the entrance
to Cornwell’s castle. The over-
hanging blocks of painted stone
were lowered during the storm
scene, and steam projected around
them transformed them from the
‘ceiling of a castle to ominous
‘clouds. Lighting was also well ex-
ploited, used to full advantage to
'show bursts of lightning, and char-
|acters’ expressions; and during the
blinding of Gloucester (onstage),
they fluttered and dimmed.
| The amazing casting of the play
paid dividends in the beautifully
\integrated performance. Joseph
Wiseman, as Edmund, was excel,
lent. The only criticism one has
of the entire performance was his
entrance at the beginning of the
play, and that one, purely subject-
jive. There seems to be too much
sympathy for Gloucester’s bastard
son, after his “Wherefore
base?” soliloquy than was due the
play’s villain. Coupled with his
desires and absolute self-interest,
was a too-playful villainy which
he dropped as the play progressed.
If Shakespeare sought to get Ed-
mund sympathy from the audience

Continued on Page 4, Col. 3







LAST NIGHTERS

King Richard II Loses
Force By Poor
Casting
by Helen Katz, 53

A blizzard in New York, a cur-
tain that was not held for those
detained by the weather, and the
enormous seating capacity of the
City Center Theatre, all contribut-
ed toward a choppy, hard-to-hear
opening act of King Richard IL.
The latecomers made an unusual
amount of noise as hey got seated
to hear and see Maurice Evans as
the pathetic, poetic Richard. Un-
like the production of King Lear,
more than one actual setting was
utilized, a practice which, while
varying the scenery, renders some
of Shakespeare’s descriptive pass-
ages almost redundant. The open-
ing scene at Richard’s court is one
of pageantry and splendor, espec-
ially enhanced by imaginative cos-
tumes, done by David Ffolkes, who
also designed the sets.

This is the first time in many
years that King Richard II has
been produced in New York. The
last time it appeared, with Mr,
Evans in the same role, was in
1937. He gives a flawless portray-
al of a weak, ill counselled, friv-
olous ruler, full of nobility, but not
kingship. With the exception of
Kent Smith as Bolingbroke, Mr.
Evans has unfortunately surround-
ed himself with players of a mag:
nitude so far inferior to himself,
that he stands out, to the loss of
the play’s reality. Neither Betsy
Blair, as his Queen, nor Bruce Gor-
don as Norfolk give performances
of any vitality; and Frederic Wor-
lock as John of Gaunt fails to ex-
tract emotion and movement from
his lines, especially from his dying
speech at the beginning of Act II,
“this blessed plot, this earth, this
realm, this England...” The story
of the plot to place Bolingbroke on
the throne in place of Richard who
is in Ireland, is developed compe-
tently, albeit not subtly, because
of great amounts of peculiar cut-
ting. The scenes with the Duchess
of Gloucester are so cut that the
part she actually plays is befud-
dled; the sentencing of Carlisle in
the last act is also cut. Instead of
simplifying a plot that the acting

Continued on Page?, Clo ?



Involves The Country’s
Continued from Page 1

that impact are rebounding; west-
ernized Japan forced us into one
great war, and now the war in Kor-
ea demonstrates another result of
western cultures intrusion upon
Asia. “Asia is basically a long-
range problem,” with the exception
of Japan where we must, said Mr.
Reischauer, “reverse the field.” Jap-
an is a short-range problem be-
cause she rapidly adjusted to the
west. She is “what the rest of the
Far East might possibly be.” Jap-
an has led Asia in the process of
westernization because she had
many aspects of Occidental culture
before its impact. She had a nation-
al consciousness, she was militar-
istic, and she had early capitalists;
other Asiatic countries did not.
She “became a power like the pow-
ers of Europe and America decades
ago.” Consequently, Japan is “a
crucial area in the way no other
part of Asia is,” militarily, econ-
omically, and, most important, id-
eologically.

Japan has experimented with
democracy more than any other
Asiatic country because she is the
only country with a high enough
literacy rate to permit universal
sufferage. There has been a specif-
ic democratic experiment backed
by us since World War II. Asiatics
do not have much faith in dem-



ocracy; they consider it a luxurious



Real Problem Of The Japanese Situation

Economic Aspect

and peculair political form, and ac-
cept a benevolent dictatorship as
a necessity. Democracy has little
chance in Asia for several decades
to come.

The occupation of Japan has been
greatly succesful because we are
riding “a swing of the pendulum in
Japan.” The former totalitarianism
now produces the natural reaction
of a swing to democracy; we take
the credit. The Japanese like our
occupation because of 1) the nai-
vete of the average man, 2) the
absence of a war guilt complex,
8) the basic wisdom of our poli-
tics in handling the occupation. Our
aim has been “to prevent anything
like we have had in the past,” for
example, the Japanese War. To do
this we must make Japan more
democratic than she was before
World War II. That “a democratic
country does not want to go to
war” is a basically sound principle.
To help achieve democracy in Jap-
an, we have perfected the mechan-
isms of democracy on paper, we
have helped her to attack social
problems through these mechan-
isms, and we have tried to place
men on a more equal footing
through the breaking-up of big in-
dustrial combines and the strength-
ening of labor unions.

The economic aspect of the Jap-
anese situation presents the real

Continued on Page 5, Col. 2