Word: comic
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Dates: during 1890-1899
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HARVARD men are looking forward with pleasantest anticipation to next Tuesday evening's performance of "The Chorus Girl" at the Boston Museum. The fact that this, the latest farcical comic opera, is from the pen of a Harvard man, Mr. Emerson Cook '93, gives a particular and special interest to the event. "The Chorus Girl" itself is unambitiously announced as "a two act combination of mirth, melody and nonsense" in which brisk, breezy dialogue, jingly "catchy" and reminiscent music are the chief elements. A star cast and a well balanced chorus are calculated to bring out all the good points...
...Williams '99 had an intelligent grasp of the character of Simon Eyre, a master shoemaker and kind ruler of his journeymen. Firk, the main comic character, was played by J. A. Macy '99, whose mobility of feature and agility of limb did much to enliven the scenes. The English Department might say of the part of C. L. Bouve '99 as Rowland Lacy that it was subjective. The actor, though intelligent in his reading, did not seem to make the most of what is perhaps the best part in the play...
...editorial shows a poor appreciation of the merits of the Faculty's policy with regard to student theatricals. It is curious to put student comic opera in the same class with the plays of Ben Johnson and Racine...
...poetry; naturally it was least so on the stage. Classic tragedy was dead. Shakespeare and Schiller were used as models. Mme. de Stael wrote "L'Allemagne," Stendhal wrote "Racine et Shakespeare." Victor Hugo in his "Preface de Cromwell" defined the drama as a mixture of the tragic and the comic with an historic stage setting and with out the three unities. But these are not the real signs of the romantic drama. In fact there was a style of play which was increasing in popular favor as tragedy declined; this was the melodrama. Romantic drama is merely well written melodrama...
...been granted, is nothing but a "Freshman trick." When a newspaper in all solemnity declares that "the cheek of every true Harvard man should blush for shame" for such an occurrence, and that such conduct threatens the very existence of the lecture system of instruction, the affair becomes more comic than its perpetrators could possibly have hoped. When we are grave they call us stiff-necked and blase; when we come down to a perfectly harmless piece of folly they magnify it to an outrage and still call us children. Considering the character of the trick, I cannot imagine that...