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Page 243 text:
Dmama -RATION- " (fr T w n t I-WIDE ac- has been drawn to the Uni- versity of Washington Chap- books through the leading H newspapers and periodicals. Twelve of these booklets have been published in approx- imately nine months, and each has received considera- tion from the critics. Glenn Hughes, associate professor of dramatic art. who edits the Chapbooks. explains that their purpose is to offer an outlet for the literary productions of the University of Wash- ington faculty members. In order to give the books national appeal, other prominent figures in the arts are invited to contribute. As a revival of an old Oxford custom to issue pamphlets written by students and professors, this literary venture has met with surprising success. First printings are limited to 500 copies and the booklets are bound in bright-colored poster papers. The following are the Chapbooks which have been published so far: " A Short View of Menckenism — In Mencken- esc " by Joseph B. Harrison, associate prolcssor of English, of which the Bookman says: " — he shows a curious mastery of style, and the result of his own critique is quite as glorious as thought Men- cken had written an essay on Harrison. " " The Painter Looks at Nature " by Walter F. Isaacs, head of the department of painting, sculp- ture and design, is an essay on the painter and his attitude toward the outside world. " Four and Twenty Blockprinis for Four and Twenty Rhymes, " was illustrated by art students untier the direction of Helen RhocTes, of the Fine Glenn Hugh Arts department. With illus- trations made from the orig- inal blocks, this booklet. like those of A. A. Milne, is equally attractive to children ,inii adults. " Oedipus or Pollyanna, With a Note on Dramatic Censorship, " by Barrett H. Clark, discusses the relation- ship between morality, the theatre, and drama. One of the most well-received Chapbooks is " Sinclair Lewis: Our Own Diogenes. " by Vernon Louis Parrington. professor of English in the Uni- versity, and author of " Main Currents in American Thought. " Another criticism of a contemporary writer is " D. H. Lawrence. An Indiscretion. " by Richard Aldington, the English poet, critic and translator. Mr. Aldington writes in a charmingly informal manner about Lawrence, whom he has known inti- mately for several years. " Lillian Gish, An Interpretation, " is written by Edward Wagcnknecht, instructor in English, and active in literary and dramatic work locally. Outstanding artistry is displayed in " England and Ireland. Twelve Woodcuts. " by Richard Ben- nett. University of Washington graduate. " Three Women Poets of Modern Japan. " by Glenn Hughes and Yozan T. Iwasaki, is the only collection of modern Japanese poems available in English. Mr. Iwasaki is the founder and director of the Japanese theatre in Seattle. " The Haunted Biographer, A Book of Di- alogues, " by Gamaliel Bradford, concerns, for the most part, conversations among Abraham Lincoln. Charles Darwin and Dwight L. Moody. [2?7]
Page 244 text:
19 8 Big Time - Collegiate Vamietty Kilgore. MacHarrie ELIMINATING the score of small produc- tions which generally fill the spring quarter, and substituting one huge variety show which was representative of all of the presentations that were formerly given as individual enterprises. Washington saw its first " Collegiate Variety — 1928 Big Time. " staged in the new Athletic Pavil- ion. May 18 and 19. The idea of one immense variety show, using the combined talent of all the departments of the Uni- versity, originated with Oval Club, and rapidly gained popularity. The Junior class abandoned its famous Junior Girls Vodvil which has long held a coveted place in University entertainment; the Associated University Players gave up their spring quarter play: Oval Club cut one mixer from its cal- endar of events: and the orchestra, band, and men ' s and women ' s athletic departments cooperated in making this new event a success. Learning, in all of its progressive stages, formed the theme for the production. A mammoth stage of three levels was erected especially to facilitate the staging of the show. Nine acts and an overture completed the program. A Stone Age pep rally was the first number. The center of the stage was taken up with a huge rock, and at the sides of the stage, caves were humorously labeled with Greek letters, denoting cave-students ' fraternity houses. Dressed in skins, the " students " gathered around the rock for their first pep rally. The whole was a splendid burlesque scene. BUtaMlliMMlMLiiikiirid A Persian Temple scene of unusual stage beauty followed the burlesque. Temple maidens danced gracefully. Students of Mary Aid De Vries. dancing instructor in the ' Women ' s Physical Education de- partment, were the dancers. Greek students trying their skill at Olympic games, before the tall colonnades of a Spartan tem- ple, made up the third scene. Members of the Glee Club presented the fourth number. Solemn monks, in their long robes and cowls, standing about an organ in a Seventeenth Century monastery, under a stained-glass window, sang carols. Dancing numbers, including the crowning of an Aztec King, and a charming minuet in an old Southern colonial home, followed. Old Heidelberg, with the Glee Club singing excerpts from the " Stu- dent Prince. " also had its place. The gay nineties were dramatized by the Associated University Players, under the direction of Professor Albert Lovejoy. The finale, presented by the entire cast, pictured college in its most modern aspect, and re- flected a bit of ' Washington college days. Such an enterprise as the " combined show " en- listed a huge committee of workers among students and faculty. Tryouts for dancing choruses and major acts, were held early in the winter, followed by months of practice. The show drafted one of the largest committees ever listed by the A. S. U. ' W., and promises to become a popular entertain- ment tradition. 
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