5

April 9,,1965.

“Swiss Author Symbolizes

COLLEGE NEWS Page Five

Student Art Show In The Roost



Persecution In “Andorra”

by Nanette Holben

Society Hill Playhouse is cur-
rently presenting Swiss playwright
Max Frisch’s ANDORRA, a drama
so steeped in the world’s greatest
displays of persecution that it
might be called paranoiac.

Prejudice, specifically anti-
Semitism, ds the focus of, the
primary plot, wherein the inhabit-
ants of the mythical Andorra main-
tain an overly aggressive, strik-
ingly hypocritical aversion for the
young Jew Andri. Uniquely, how-
ever, the antagonism is not one-
sided, for Andri is an outcast
as much for his own negative
peculiarities as for the attitude
of society.

But here is one of the play’s
weaknesses. Since every other
‘ character is a caricature (the
priest, the Jew-detector, the inn-
keeper, the medical doctor, the
soldier), Andri is the only person
with whom one would seek to iden-
tify. Yet by the time Andri mani-
fests his .appealing depth of char-
acter, he has _. simultaneously
chosen to isolate himself via one
negative peculiarity, the pride of
being different. Thus Andri alien-
ates himself not only from his
community, but also from his
audience, and the play begins to
tend toward objectivity.

Bill Eustace, who plays Andri,
is perhaps the finest point of the
production, Although his early
monologues are reminiscent of the
‘*Why-does-this-always-happen -
to-me”? tangents of our own
Prometheus Bond, he progresses
to a genuinity of emotion with a
finesse beyond the expectations of
amateur theater.

The play had additional implica-
tions in the realm of symbolism,
but its lack of subtlety might be
insulting. Namely, the. portrayal
of Andri as a Christ image is
effective, but often offensive with
too frequent repetitions of the sym=
bols. Andri wants to be acarpenter,
and he accuses everyone and his
father (literally) of betraying him.

Further, Andri recites such lines
as **I know who my forebears
are’’ and ‘‘What is coming has all
happened before.’’ When he is
destroyed, as much by himself as
by the society, his lover Barblin

Princeton’s Choir
Here to Present
Mass With BMC

The Princeton choir and the
Bryn Mawr chorus will perform
Joseph Haydn’s ‘‘Mass in B Flat
Major’’ Saturday, April 10, at 8:30
psm. in Goodhart,

The program will be the first
half, of an exchange concert, with
the second ‘half scheduled in the
Princeton Chapel Sunday April 25,
at 3:30 p.m. Admission to both
concerts is free. Except for a
-performance—-at.. Baccalaureate,
these will be the last offerings
of the chorus.

- This Saturday the solo parts will

be sung by groups of student solo-
ists, but at Princeton, professional
singers will perform.

After the concert here, there’

will be a party in the Common
Room and Music Room with re-
freshments and dancing.

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insists that he’ll be back to pick

up his shoes. Quite suggestive.

A third intention of the play is
to satirize the reactions to group
guilt, especially in regards to post-
war Nazi trials. That is, between
each scene Frisch has one of his
caricature characters speak from
a witness stand with remarks as
‘‘1’m ‘not in favor of atrocities ...
I never took part in brutality...
It wasn’t my fault ... We can only
regret the turn events took at that
time.’’

_A word about additional charac-
ters. Walter Vail as Andri’sfather,
the eccentric school teacher, isill
at ease with his gestures at first
but warms up to a piece of fine
acting, Other noteworthy perform-
ers are Helena White as the Sendra,
Sheila Schreibstein as Barblin,
Ben Dukes as the priest, and Peter
Levinson as the soldier.

ANDORRA’S weaknesses, final-
ly, are more a product of the
play’s potential than a reflection
on its cast. It Will run until May 1
Wednesday — .through Saturday
nights. The city Andorra is an
‘tincarnation of an ideal;’’ the play
ANDORRA will make an ideal eve-
ning.

‘How to Succeed’
Returns to Philly
With NYC Cast

Many have undoubtedly seen the
New York production of HOW TO
SUCCEED IN BUSINESS WITHOUT
REALLY TRYING. However, for
those who haven’t, it is here again
with the Broadway cast.

This production is full of good
Broadway flare, which seemed to
take the opening night audience
by surprise. Perhaps they were
still too used to seeing shows that
are having their trial runin Phila-
delphia.

Ronnie Welsh, who plays the
young J. Pierpont Finch, is
thoroughly engaging in his
struggles to rise in the business
world, One seldom sees an actor

who can get away with winking at,
the audience when he ‘is pulling a°

fast one without looking ridiculous.

The villain of the production did
leave something to be desired.
Antics on stage are fine, but clown-
ing to the point of idiocy leaves
a bad impression.

The sets for the production were
bright and amazingly complex --
ever try lowering ascaffold slowly
while there is someone on it who
is trying to speak with seeming
ease?

- The choreography was perhaps
the best part of the production.
At one point the actors mimicked
the stop and start movements of
young executives milling around
the hallways. P.R,

Shows Variety Of Media, Styles

by Peggy Wilber

‘Only a mother could love that”
is a common enough phrase,
and one which might conceivably
apply to a student art show such
as that scheduled for Parents’ Day.
But, it is pleasant to report, some
if not all of the works included
can be appreciated by other than
the doting parent who discerns
genius in every lump of clay or
jagged line ‘‘created’’ by his or
her child at any age.

The current- show in the Roost
consists of twenty-three works
in varied media - from woodcut
to lithographs to oil sketches -
and varies in style from a fine
attempt at Rennaissance-type po-
traiture (of anaquiline-nosed man)
by Celia Rumsey to the occasional-
ly skillful blending of Pop and Op
art techniques in. four oil and
tempera studies by P. Hawkins,
all suitably hung together. These
works, somewhat _ repetitively
titled ‘‘America 1, 2, 3, and 4,”
attempt, through the motif of
grasping hands dnd advertising
signs, to convey a sense of om-
inous isolation which is per-
haps most successfully expressed
in 2-3 of the series. _

Of Jeanie Howarth’s three
works, her black-and-white pencil
sketch, ‘‘English Village,” is the
most finished, and reflects an im-
provement in representational
technique over her larger, pleasant
pastel of the same type of scene.

Jane Walton’s oil sketch of the
head of a young girl is a rapidly
executed but nevertheless quite
sophisticated work, and my per-
sonal favorite in the show. It has
the quick dash that too many of
the other works seem to lack;
several, particularly the land-
scapes and still lifes, seemed
worked over, contrived, and over-
finished,

Nancy McAdams’ charcoal
sketch of a half-nude woman
‘is, besides Jane Waltoh’s sketch,
the other drawing which does pos-
sess a casual yet finished look.
And we must admire her for bal-



Campus Events ig



Saturday, April 10
Parents’ Day begins at 9:30a.m.,
The Bryn Mawr College Chorus

and the Princeton University
Choir, under the direction of
Robert L. Goodale and Carl Wein-
rich, will give a concert in Good-
hart at 8:30 p.m. The program

will include Haydn’s ‘Missa
Solemnis in B Flat.”’
Sunday, April 11

A group: of students under the
direction of Gill Bunshaft will
give a program of selections from
the ‘‘Lamentations’’ of Matelart,
de Morales, and de Sermisey,
under the auspices of Interfaith,
in the Main Reading Room of the
Library at 3 p.m.



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A tender love stery told entirely in song and musical color

ACADEMY AWARD Nomination

BEST FOREIGN FILM

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Written and Directed by JACQUES DEMY /Set to music by MICHEL LEGRAND
Starring: CATHERINE DENEUVE+NINO CASTELNUOVO-ANNE VERNON- MARC MICHEL.









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Nancy McAdams’ ‘‘Esmerelda’’, teacup in hand, welcomes Bryn
Mawr parents to the student art show.

ancing her whimsical mobile of
yellow circles ‘cheese’? - of the
Swiss variety, we suppose.

In general, the show is a.cole
lection of unpolished though in-
teresting attempts at a wide vari-
ety of subjects,

Parents and other viewers who
miss this finished quality would
do well to investigate the present
state of art education at Bryn
Mawr. Art exists embryonically
and expertly in the. Art 101 Lab
only, but many, many students
feel it should cover wider areas
and. qualify them for academic
credit. This is the source of a
long-standing controversy at
Bryn Mawr, to everyone’s know-
ledge and despair. There are the
inevitable arguments - applied
subjects versus the supposedly
more rigorous ‘‘classical’’ type
of curriculum, ad infinitum.









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Student participation in such a
show reveals a significant num-
ber of students interested in per-
fecting —- techniques, but une
fortunately unsuccessful on their
own, Students could profit
immeasurably by such an experi-
ence, which provides its own type
of highly specialized discipline.
Perhaps it is overestimating
parents to expect that they will
express interest in such additions
to the academic program, but at
least the present show seems to
give them at an opportunity to
consider the state of largely un-
aided creativity at Bryn Mawr.



In this special 64-page supplement
in the April issue of Harper's Maga-
zine, 14 distinguished writers discuss
the delicate relationships between
South and North, between Southern
white and Negro; the. moods and
fears of the Southern people; the
changing faces of the land and its
cities.
i)

Together, they have placed the last
century in historical perspective,
and created a portrait in depth of
the Sou:h today that will surprise
and inform every American.

Contributors,.include Southern his-
torian C. Vann Woodward, who
shows how the North helped but-
tress and condone racial segrega-
tion; James J. Kilpatrick, conserva-
tive editor of the Richmond News
Leader. who beiieves that the South
v ill solve its racial problems quicker
and with greater maturity than the
North; Negro author Louis E. Lo-
max observing the changes in both
races in his hore town of Valdosta,
Georgia; Jonathan Daniels, editor of
the Raleigh News & Observer, dem-
onstrating how Southern industrial
growth continues to make victims of
its people; child psychiatrist Robert,
Coles investigating the human im-
pact of school desegregation.

Among the other contributors /are
novelist William Styron, British his-
torian D. W. Brogan, noyelist
Walker Percy, Whitney M. Young,
Jr. of the National Urban League,
Negro playwright LeRoi/Jones,
Louis D. Rubin, Jr. and Arna
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