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College news, October 26, 1960
Bryn Mawr College student newspaper. Merged with Haverford News, News (Bryn Mawr College); Published weekly (except holidays) during academic year.
Bryn Mawr College (creator)
1960-10-26
serial
Weekly
6 pages
digitized microfilm
North and Central America--United States--Pennsylvania--Montgomery--Bryn Mawr
Vol. 47, No. 04
College news (Bryn Mawr College : 1914)--
https://tripod.brynmawr.edu/permalink/01TRI_INST/26mktb/alma991001620579...
Digitized by the Internet Archive in 2012 with funding from LYRASIS Members and Sloan Foundation.
BMC-News-vol47-no4
@
THE COLLEGE NEWS
Wednesday, October 26, 1960
Vanity & Virtue
Continued from Page 1, Col. 5
the missILE has faded. The whole
“string quartet”, complete with
leather jackets and frighteningly
authentic expressions, sent not only
their plants in the audience but
some of the paying public as well
into the aisles. In an institution
professing dedication to the high-
est quality in all things, the audi-
ence was not slow to sense the
quality of the “art form.”
In fact, Marita Viglione’s music
(if we may heartlessly cram the
rest of the show’s songs into the
same B-R-O-A4D category with
“Teenage Chicken”) in general was
of a quality mot always seen in class
shows. ‘Only here and there a se-
quence slipped in which any Bryn
Mawrter in the wilds of Australia
or Lapland would recognize as
coming from a class show. And
for the most part the words and
-musi¢ were delightfully coordinat-
ed and did not give the impression
that the music had been forcibly
applied to words which did not
quite fit, or vice-versa. The pos-
sible exception to this was the first
song, “C’est la Vie”, but the poli-
tical lyries .were so acute and
Lady Trilby’s rendition so clear
that it scarcely mattered. Starting |].
the show with a song, in fact, was
an extremely effective maneuver.
Because the songs in general were
so good, “Unity” seemed noticeably
stiff and out of place, just as the
few weak lines of dialogue were
revealed only by the over-all
strength, Ironically enough, what
saved “Unity” was the fact that
each of the singers stayed in char-
acter throughout it, and one could
concentrate on them as individuals.
Actually, the whole show (evidently
intentionally) was a_ series of
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complementary individual perform-
ances very loosely mortared to-
gether. But who ever looks at the
mortar of a well-constructed edi-
fice anyway?
The can-can kick-chorus had no
less and no more to do with any
of the other elements than these
elements had to do with each other,
but by the time the dancers ar-
rived, the audience was well . ac-
customed to this phenomenon and
enjoyed the dancing, which seemed
to have more precision this year;
and perhaps because it made so
little attempt to “be different”, it
was different.
The structural parte of the show
were a classical contrast to the
missILES and _ teddy-boys. The
set was a joy of. simplicity, func-
tionally designed to accommodate
the enormous range of — ah —
activities which took place on it,
full enough to be eredible, but not
cluttered. By using an innovation
on the first setting to procure an
ostensibly different one for the
final scene, set designer Yablonsky
eliminated the Crash-Bang Element
which has seemed inherent in shows
and has had directors tearing hair
and audiences smirking for years.
The lighting, too, was simple and
effective, even stunning in the
anterior of the last setting. Cos-
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tumes and make-up combined were
good, and although, Lady Trilby
had a rather dead-fish hue on
Thursday night, this had healed
to a healthy old-mother shade by
Saturday.
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Bryn Mawr, Pa.
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