description:
Page eighty-four Scene from The House of Life DRAMATICS THE Dramatic Department has been active from the start, having placed its first representatives before the public at the first program of the season, which was presented in honor of Mother Mary Isabella, on the afternoon of November third. There followed a few weeks of well, not quite silence, but shall we say professional silence? In the interim, lists of names were issuing from the microphone, with the announcement that the following girls would please report in the Little Theatre immediately. Remarkably buoyant notes were issuing from the pianos in the auditorium, queer-looking contrivances, one of which subsequent events proved to be a dragon's head, waited in the office, and kings, queens, and a royal guard vanished precipitantly into the elevator as we approached. And then, one Thursday in December, there was a great stir in this land of earnest make-believe; for the dramatic students were to face a motion-picture camera for the first time, and all the apparent nonchalance in the world could not hide the excitement that prevailed. Fox Movietones were taken of various scenes from the play, the most beautiful of all being the final tableau, with the accompaniment of the Hallelujah Chorus. The pictures were shown in eighteen Chicago theatres and were also sent to New York. After weeks of practice and anticipation, the week of the play arrived, and The House of Life was presented with great success on three successive evenings, besides a matinee performance. The dramatic students celebrated National Drama Week by presenting a group of delightful one-act plays and readings in the auditorium, on February 13. The event marked the formal opening of the Little Theatre, which was open to visitors after the program. The gray cyclorama and black-and-red velvet curtains of the stage, the silver-bordered black drapes at the windows, the black-and-silver metal chairs all conspired to make the Little Theatre a perfect setting for experiments in modern theatre technique. It was furnished from the proceeds of the afternoon's performance, so that the Laetare Players had double reason to be proud of it, symbolizing as it did a good measure of success in their art, as well as displaying fine taste and a fine feeling for the spirit of the modern theatre. A convincing bit of atmosphere has been provided by a thus far limited, but choice and ever increasing collection of photographs of leading Catholic authors. Many of these portraits are autographed. A portion of them are the work oi Mr. H. C. Phibbs, and others have been secured through the courtesy of Mr. Donald Brian, president of the Catholic Actors' Guild of America. These are but a few of the activities of the Speech Department. How can one hope to recount them all? The Tower Page eighty-live A Recital Numijer RECITALS T O the students in the School of Music, it seemed a singular privilege that their first formal recital should be given in honor of the co-foundress of the college, Mother Mary Isabella, on the occasion of her first visit to Mundelein after its completion. As happened often in succeeding recitals, the School of Dramatic Art joined the musicians in the program. An ensemble chorus, Mundelein, 0 Mundelein, opened the recital, after which Helen O'Gara, in the name of the students, greeted Mother Isabella. The musical numbers included a piano solo, Rhapsody No. 12, by Liszt, a violin solo, Gavotte, by Haesche, and two charming vocal solos with piano accompaniment. The formal debut of the music and dramatic art students took place on Friday evening, January 30, in the college auditorium. The works of modern composers made up the majority of the musical numbers. The technique and feeling of the performers, coupled with the variety of the selections, combined to present a very versatile program. The religious note was sounded in a vocal solo, Schubert's Ave Maria, while The Minstrel, a vocal selection by Hildach, with violin obligato, and two sprightly French chansons, gave a touch of brightness to the program. A haunting violin solo by the Spanish composer, Yaldez, was an attractive feature of the recital. On this evening, too, the Mundelein College orchestra, under the direction of Mr. H. J. Ber inger, made its initial appearance. The orchestra had a thoroughly professional and quite artistic aspect in their graceful shoulder capes of cardinal red satin, lined with gold, and the fine ensemble work was an achievement scarcely credible after only four months of practice. The Glee Club concert given in May was one ot the loveliest recitals of the year. The blend of their voices, their tone and quality, and the finished part singing and ensemble work, combined to make a chorus rich and capable of expressing many moods, and gave testimony to Professor Singenberger's masterly training. Each phase of song found its place in the program, which varied from the powerful Trepak, by Tschaikowsky- Bornschein, to crooning negro spirituals and piquant juvenile numbers, tender lullabies, and, in the religious group, the beautiful Gounod-Saar Ave Maria. The orchestra concert lent another rhythmic note to our springtime festivities, and marked the first appearance of the string quartet. The program was made up chiefly of modern selections, and included some strikingly beautiful violin selections. The final program of the year, the Formal Spring Recital, was given during Music Week. Selections were given by all the groups of the Music Department, and a beautiful fugue, the fourth original student composition to be played in public this year, was one of the outstanding numbers. f 19 3 1
title:
tower1931042
publisher:
Women and Leadership Archives http://www.luc.edu/wla
creator:
Mundelein College Sisters of Charity of the Blessed Virgin Mary
description:
There are eight total Mundelein College yearbooks: 1931, 1932, 1967, 1968, 1969, 1971, 1972, and 1985.
relation:
Mundelein College Collection
description:
Reading Room
type:
Print
rights:
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