University of Massachusetts Amherst - Index Yearbook (Amherst, MA)

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Fine Arts The Fine Arts program included again, this year, a series of concerts, beginning with Doric Alviani ' s annual recital, on November 8. On December 6, Mr. Samuel Snow, a member of the Department of Landscape Architecture, showed koda- chrome slides of flowers of the south- west, under the title of The Desert Blooms. On December 13, George Nichols, pianist, Maurice Freedman, violinist, and Mrs. Esther Strong Clapp, soprano, per- formed in the annual faculty recital. In January, Mr. Rand ' s Dramatic Pro- duction class staged two one-act plays. The first, January 4, Be Sure Your Sex Will Find You Out, was a satire on women ' s idolization of masculine public figures. This can be compared to the bob- by-sock adoration of Frank Sinatra today. The cast included Virginia LaPlante, Ruth Ewing, Daphne Cullinan, and Ellen Kane. On January 18, the class presented Number 10, a tragedy behind the scenes in a hospital. This was under the direction of Ruth Ewing and the stage managing of Ruth Steele. The cast con- sisted of Jean Spettigue, Daphne Culli- nan, Mrs. C. Clark, Peggy Cowing, Ruth Steele, Virginia LaPlante, Dot Richards, Ellen Kane, and Ruth Ewing. Following each of the plays, two judges gave con- structive criticism to the cast. On February 14, Professor Clark Thayer gave an illustrated lecture on flowers, including demonstrations of the arrangement of bouquets, under the title of Cupid ' s Floral Messenger. Barbara Bird ' 45, contralto, Elinor Galuska ' 48, and Elva Forrester, concert pianist, presented the student recital on February 21. During the month of March, the Fine Arts Council presented two concerts. At the first one, Pauline Baines ' 48 and John Delevoryas ' 46 performed. Pauline Baines, possessor of a fine contralto voice, selected light classical songs to sing. John Dele- voryas, well-known on campus as a pian- ist, played popular classical pieces. Doric Alviani accompanied Pauline Baines. A week later, the Council presented two guest artists from Smith College. These girls played duet and solo numbers on the violin and the piano. Throughout the year, seven art exhi- bits were arranged in Memorial Hall. These included some of the work of Mr. Mclver and Prof. Robertson; American Water Colors; prints from the Redfern Gallery in London; water color paintings by W. Buckingham Swan, sho wing Amer- ican scenes from New Orleans to Glouces- ter; a collection of monotypes; an out- standing water color collection from the Whitney Museum; and the Faculty Show, consisting of work of faculty members, their wives, or alumni. The Fine Arts Council is composed of Dr. S. C. Goding, chairman; Miss Briggs, Prof. 0. Clark, Dr. J. Fuller, Miss Mc- Namara, Prof. Robertson, Prof. Rand, Miss Schoenleber, and Prof. J. Vondell.

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OCIdl U nion Conrad Thibault On October 17th, Conrad Thibault, a well-known baritone of radio and the concert stage, presented M.S.C. ' s first Social Union Program of the year. Mr. Thibault spent his boyhood in this locality, and many of his personal friends attended the concert. The program featured a great variety of selections, both old and new, of American, Italian, French, and Spanish origins, and generous additions of numer- ous encores. The second Social Union Program featured Robert Frost. Mr. Frost, intro- duced by Prof. Rand as the greatest living American poet, began his discussion by condemning the delight of certain modern poets to pur sue obscurity for obscurity ' s sake, which often makes their work meaningless. Among the poems he read from his col- lection were Spring Pools, which he called his only pure nature poem; Mending Wall, in which he pointed out the evi- dence of nationalism as well as inter- nationalism; The Soldier; Departmental; The Runaway; Stopping by the Woods on a Snowy Evening; and West-Running Brook. The annual Roister Doister Social Union Program was a three-act play, Dearest Abigail, written by two of the senior members of the dramatic club. The plot for the play was inspired by the twenty-fifth anniversary of the laying of the cornerstone of the Abbey. Miriam Marmein, a mimic and dancer, gave a recital on January 12th. Miss Marmein delighted the audience with both humorous and serious pantomimes, which accompanied her dancing. Out- standing on the program was And so to Bed, the interpretation of a beauty ritual of a glamour girl. And then the mood was quickly and cleverly changed to a biblical interpretation, Death of the First Born. Echoes and Encores was the title of the Glee Club Concert this year, given on February 17th in Bowker Auditorium. A performance by Mr. Mullholland, a well-known magician, completed the series of Social Union programs for the year. 28

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Operetta Music has been an outstanding feature of college life this year: the Glee Club has more than done its part by presenting two operettas. The second annual production of Hum- perdinck ' s immortal Hansel and Gret- el, performed by an all-girl cast, ushered in the Christmas season, the second weekend in December. The part of Han- sel was once again charmingly played by Betty Bates ' 45, while Constance Rothery ' 47 starred as Gretel. These two were supported by Helen Timson ' 46, as the mother; Wilma Winberg ' 45, as the cookie witch with a wild passion for bak- ing children into cookies; Marguerite Krackhardt ' 46 and Dorothy Morton ' 47, as the sleepy sandmen; and Gloria Har- rington ' 47 and Beatrice Decatur ' 46, as the wicked witches. Miss Shirley Wins- berg again directed the graceful dancing chorus. It is hoped that the repeated success of the presentation of Hansel and Gretel has resulted in establishing it as a tradition on our campus. As the year progressed, rehearsals got under way for the production of Flotow ' s popular operetta Martha, which was the Glee Club ' s spring presentation, pro- duced late in March. The leading part of Lady Harriet Durham was played by Beatrice Decatur; her friend Nancy, by Dorothy Morton ' 47; Sir Tristan Mickle- ford. Lady Harriet ' s cousin, by Max Shaponik ' 48; Lionel, the true Earl of Derby, by Chester Falby; Plunket, the wealthy farmer, by Elliot Swartz; and the Sheriff of Richmond, by Melvin Blake. Martha is a delightful farce dealing with some English ladies who, as they go slumming, are sold at auction, quite by mistake; and with many amus- ing situations that result. This is the first time in the course of several years that the standing Gilbert and Sullivan tradition has been tempor- arily abandoned in the operetta schedule of the Glee Club, for another composition of popular appeal. Most of the credit for this fine enter- tainment goes, naturally, to the Glee Club, without whose earnest support and endeavors these performances could not have been possible. But, as always, there is a person behind the scenes ; and in this case it is Doric Alviani who untiringly directed, advised, and encouraged all these productions. And, while we are acknowledging the roles of the more conspicuous performers in these produc- tions, it is not to be forgotten that there were other important co-workers who never shared the direct spotlight. The students in charge of scenery, lighting, make-up, and costumes are to be credited with performing the drudgery necessary to the success of Martha, and Hansel and Gretel. As a result, then, of such grand organ- ized cooperation, we find, as we look back over the year, memories of several rich musical moments. 30