6

Page Six

THE "COLLEGE NEWS

Wednesday; December 7, 1955



Last Weekend's Production Of “Much Ado About Nothing”
Praised By Miss Gamble For Excellence Of Group Acting |

Continued from Page 1

strengthened into genuine, good-
humored. gaiety. William Moss in
a taxing part managed to make
Claudio always believable and -nev-
er dull; the directness and simplic-
ity of his performance created a
true, appealing personality beneath
the changes of couré and church.
John Hawkins (Leonato) moved
impressively from delighted fool-
ery and fussiness to outrage, grief,
and the dignified challenge to Clau- |
dio. Mr. Hawkins was able to get |
variety into voice as well as action;
the very accent of sorrow came al-
most shockingly into such lines as
“Being that I flow in grief. . .”.
The slowness in some of Leonato’s
later scenes. can be laid to Shakes-
peare’s charge, not the actor’s.
Jean Young’s Beatrice was best
in the “tragic” central scene, and
therefore contributed essentially
to the play. Elsewhere, however,
she matched Benedick in spirit but
not in subtlety. Too often she
seemed angry and shrewish, miss-
ing the joy that sweetens Beatrice’s
light; one could not quite believe
that the star danced. Nancy Moore
was appropriately demure as Hero
if never, even incipiently, atragic



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to differentiate them successfully; attempt it was the director’s only.
Miss Lann’s harmless bawdry add-
ed still another thread to the
taking’ himself seriously, Peter |

play’s complex ‘weaving. *

heroine. Erica Lann (Margaret) , villians. Of ‘all the ways to play
and Barbara Goldberg. (Ursula) |
understood their parts well enough is perhaps least appropriate, and to.

the character, Richard III redivivus

real’ error ‘of judgment. Conrade

(Finn Hornum) ‘was better for no

! pstein Reviews

“Moral Decision”

Continued from Page 2
injured. In his suit for damages,
the. Supreme Court. sustained the
verdict of the lower court in favor

t of the. plaintiff.

Why?- The court recognized a



Much Ado means, of course, not anken’s Antonio did not convince; | pany, and all the unseen hands de-
only Beatrice and Bénedick, but Dut it is a puzzling small part— | serve our gratitude. Even the less
Dogberry; Verges, -Oatcake and idiocy, farce, and pathos imperfect .,tisfactory parts .blended into

Seacoal and their company.
weré eminently senseless fit men,

‘and energeticas well; the capture.

of the villains was an enthusiastic,
well-managed piece of horseplay.
Verges’ brainless good will emerg-
ed effectively in Gerald Goodman’s:

‘performance. John Pfaltz captur- 1°
ltrusiveness and usefulness—were

ed Dogberry’s splendid innocence,
and had surely one of the«most be-
guiling Dogberry-smiles on record
—self-satisfaction and henevolence
compounded. Qn Friday he did not
quite rise to the occasion of the
“ass” speech, but on Saturday pace
and variety were improved, and
everything handsome about him,

The Villains:
Of the villains, Borachio (Paul
Hodge) came off best—fortunately,
since he shares in the play’s tonal
shifts. It cannot be said that
Michael Smtih succeeded with Don



John, one of Shakespeare’s silliest

hampered by a weird costume in a
generally well-dfessed play. An-
dréw Miller. was a. worthy enough
due sometimes” over-cheerful
Friar Francis. i

he two primary requirements
for a Shakespearean set—unob-
intelligently met by the simple re-
ceding arcades that transformed
themselves gracefully. from gar-
den to church. 'The,play looked
well on the whole, though makeup
was erratic, sometimes too lavish
and elsewhere. almost invisible. And
it |sounded well, with Anthony
Bing’s unaffected “Sigh no more,
ladies” a high point, The rapid-
fire dialogue did not always come
across clearly, and even when it
did| may not have been loud enough
to carry to:the back of Goodhart.
But chiefly the director, the com-



All ly ‘bleridéd—arid™ Mr. Panken was ;1. total impression—or pattern

of impressions —and indeed, the
actors’ ability to play together as
a group was one of the produc-
tion’s best points. All in all, an
evening of almost unbroken pleas-
ure; by the time Benedick bade the
pipers strike up, the audience was
quite ready to convert any sounds
of woe into hey nonny nonny.



1“right to be young,” a realization

that a child is a being which is not
just an adult in the process of be-
coming. A child sees things in
their immediacy and does not link
them responsibly in terms of pre-
vious experience or possible conse-
quences. We ought to realize that
children should universally have
this right.

One of our duties is “the moral
obligation to be intelligent”; we

are expected to anticipate the prob-
able, and sometimes. the merely
possible consequences of our ac-
tions,





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