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Page 169 text:
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□ m m thy Libaire gave it harmony in their confident and mature interpreta- tion of the character parts of Mudhavya, Father Kanva, and Gau- tami. In the fall of our senior year we paused and took breath. The first set of plays belonged primarily to the juniors. But we showed a continued interest in our dramatic career, even though it was draw- ing to a close. Cheryl Crawford played the title role in Sudermann ' s Teja, and Florence Melling startled and delighted us by proving her- self as capable in the part of the Bagdad merchant Ali, in Hudson ' s Pearl of Dawn, as in the delicate and sophisticated feminine parts we had come to consider primarily hers. The class has justified its long and universal interest in the drama in its most recent production, The Faithful, by John Masefield. In this, the ideal for which ShakuntalaJi served as an apprenticeship, was realized as a successful actuality. The rhythm of the play pro- gressed with an ever-accelerating intensity, unbroken by uncrafts- manlike slips in acting or stage management. Eunice Blake, Cheryl Crawford, and Grania Knott reached the height of their dramatic interpretation in the parts of Lords Kira, Kurano, and Asano, in which the excellence of their acting was so genuine that it merged in the general harmony of the whole. It is hoped that, departing from this basis of achievement as a standard, we shall show the results of our long and intensive training in a brilliant production in June. It is particularly to Cheryl Crawford, as competent and far- visioning director of the Dramatic Association, that we owe our deter- mination to accomplish something of artistic integrity in the face of occasional failure and frequent distrust, born of the fact that experi- ment of this sort is still in an early stage of development. It is to her, too, that we owe the success of ambitious performances under limited conditions. Only with her dauntless confidence and deter- mination could plays of the scope of ShakuntalaJi and The Faithful have been made convincing in the domestic and over-familiar settings of campus and the Students ' Building stage. LT n o. 168
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Page 168 text:
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n 11® cr D cr Having created a reputation of a sort, we found it impossible to let pass an opportunity for presuming on it. So we duly appeared, a trifle perfunctorily it must be admitted, in The Scarecrow. But we were merely reserving our forces for the successes of the spring. Our parts in the Chinese Lantern showed a growing maturity and confi- dence which found a sustained level in the acting of Cheryl Crawford, as the hero of one of the most popularly received plays the Association has ever produced, The Marriage of Convenience. It was during this spring that Gloria Mundi, of psychopathic fame, proved Grania Knott ' s versatility, — among other things. Up to this moment of our dramatic career our role had been one of pleasant dependence. No one had expected too much of us. If we achieved distinction, we were greeted with the lollypops of a delight- ed applause and were patted on the heads for being good girls. If we attained something less than mediocrity, it was put down to the score of our inexperience. But from the start of our junior year, we were expected to stand or fall on our own merits. We had, until now, ap- peared for the sake of appearing. The first plays of the small pro- duction found Anna Dallinger, Grania Knott and Cheryl Crawford assuming this harsh responsibility as the respective coaches of Deir- dre, The Knave of Hearts, and Beauty and the Jacobin. Our novitiate over, and the task before us of fashioning a dramatic tradition for others, less experienced than ourselves, we found mere personal achievement losing its importance in the larger scope of artistic excel- lence. We were proud of our share in the brave experiment of Jeanne D ' Arc, as we showed by recklessly swelling the numbers of its un- wieldy cast. Foremost among its elements of success, was the acting of Grania Knott as D ' Alencon in which she showed her appreciation of the high level of the theme by a subtle commingling of reality and idealism as at once lover and champion of an idea. We were trained to an ideal and innured to probable disappoint- ment, when, in the spring of our junior year, we received from 1924 the sole responsibility for the dramatic excellence of the college. Not quite sure of our ground, we tested our footing in the first set of plays which included a successful attempt at sophistication with Grania Knott as the leading lady, in Molnar ' s A Matter of Husbands; and a venture upon the more difficult ground of Kemp ' s Boccaccio ' s Untold Tale, which was sincere if not quite convincing. In Shakuntalah we tried our first independent experiment. In an attempt to transcend the narrower type of drama which merely offers a vehicle for the good acting of individuals, we tried to make this an expression of a more comprehensive art, in which the action of the characters should be only in proportion to a pattern of theme, sound and color, so that the completed production should form an aesthetic unity. To this end we departed from the tradition of a pro- fessionally set stage, for the spring production, to the precincts of the President ' s garden, which afforded an appropriate setting for the rich and fantastic grouping of the play. Barbara Grant, as King Dushyanta, moved powerfully as a romantic and colorful center through its exotic scenes. Dorothy Pickard, Eunice Blake, and Doro- n EL 162
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