Word: acted
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Dates: during 1940-1949
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...very beginning, the drama issue of Signature could hope to be about as successful as a clambake on Mount Washington. There is nothing wrong with the idea of a specialized number of a college magazine, but his one just doesn't have the material. Its core, two one-act plays, never rises above the mediocre, while good or even indifferent dramatic criticism, which one would expect to find here if nowhere else, has somehow escaped the minds of Signature's ambitious editors. There isn't any. Instead we have articles on the drama at Harvard, Radcliffe, and in England...
...first reaction to the above statements," retaliates Robert F. Fuller '50, Young Republican, "is that these loud exclamations typify the Harvard radical; however, if they should act, instead of confining their emotions to vocalizations, I am sure they will find that the great majority of students will support the HYRC banner...
...cablegram to his brother, William S. Campbell '50, chairman of the Relief Committee at Harvard, Campbell, administrative director of the Home, emphasized the key position of the Leopoldskron organization, which is able to act as the middle man in handling gifts sent overseas from this country. The Seminar European Advisory Committee is prepared to reship all packages which are sent to them according to their needs, the cable said...
Theatrical productions, if one accepts the opinion of Harvard's Corporation in 1762, are injurious and corrupting to the student. The mere act of attending a play, said a Corporation Report of November 19 of that year, not only "takes students' minds off from their studies," but also may lead to improper personal associations, which often "prove embarrassing to themselves, cause financial difficulties for their parents, and tend upon other disorders." The Corporation thereupon voted to make illegal participation in, or attendance at, any sort of theatrical entertainment by students in Harvard College. This rule represents the basic philosophy that...
Individual competence characterized almost all of the principal roles. As the raisonneur and heavy-duty comedian, Walter Aikman showed confidence and good taste, while his various musical numbers were well-sung. William Whitehead appeared only in the last act, but his duet "Down Among the Dead Men" with Aikman was the high point of the show. Indeed, the ensemble numbers throughout showed more skill and confidence than the solos. Francis MacNutt's general buffoonery as Hodge, the manservant, carried the play through its weakest moments with uproarious success. Dick Murphy and Peter Davison were properly romantic over Marty Hopkins...