Massachusetts College of Art and Design - Palette and Pen Yearbook (Boston, MA)

Page 23 text:

Qlee QluJt- [REGINALD BANKART] During the past year the Glee Club has had the good fortune to be under the directorship of Miss Pierce of the Lowell State Teachers College. Filled with a love of music, she has brought a greater ap- preciation of its possibilities to our entire school, while on Wednesday afternoons the Glee Club has come under her personal supervision for instruction and pleasure in vocal expression. The Glee Club, in conjunction with other musical talent in the school, presented an interesting assembly. A lack of concentrated rehearsal undoubtedly had its effect, but as we progressed we improved and did justice to Miss Pierce’s wand-waving and face-making. (The face-making is merely a device on the part of our leader to lift us from our funereal manner.) Rehearsals in themselves are mostly fun, and we have opportunity to sing everything from grand opera to “Three Blind Mice. Although our curriculum does not allow much time for outside affairs, the efforts of Miss Pierce to reach us all with music are greatly appreciated and we hope she may continue to enlarge our musical scope.

Page 22 text:

OnoUeii IDORCAS O ' NEIL) The orchestra is the one orsanization in the school which seems to Function regularly from September to June. This may be because we realize that our motley assortment of instruments wouldn’t produce music without a bit of concentration. So every Wednesday morning at 10.30 finds us a-fiddlin ' and a-tootin’ about the piano under the dynamic supervision of Miss Pierce, frantically rehearsing a march which is intended to lure all stragglers to assembly. Then, after a fifteen-minute period in which students feebly accompany us with community singing, one from our number usually attempts to mahe you forget it all with a solo. After assembly we continue our rehearsal through the lunchless lunch period. For most of us, orchestral activities are continued through the rest of the week. If you listen closely, as early as 8.30 in the morning, you may hear a stray violin (i.e., Clarry Doore brushing up on his double stops) or a solitary flute thrashing out some of the harder passages in private. For all this remarkable application we are amply rewarded if you have shared in some of our fire and enthusiasm.

Page 24 text:

The Swan Ferenc Molnar MgAcx Ueaine. (DONALD MOSS] The average artist is no less an average man. What better way for him, initiate, to enlarge his scope than through the medium of a sister art? The theatre is the sought-for change of work that strengthens as well as rests. And is it wrong to taste the wine of make-believe, to leave this world of cold reality, to live our dreams, to cull the epitomes of human emotion? That is to feed the imagination with food digested by the ages — to uncover within himself expression of his own experience masked in the livery of other men ' s fortunes — that is the actor ' s secret. It is also his reward. The program of the Mascart Theatre for the 1936-37 season is as follows: A series of three monthly lectures on the mechanics of dramatic presentation . ROBERT DE LANEY The Swan Directed by ROBERT DE LANEY Why the Chimes Rang . . Directed by LUCIE YOUNG The Bathroom Door .... Directed by DONALD W. MOSS , , [LOUIS GLASSMAN IrEGINALD BANKART Maizie Directed by REGINALD BANKART