Word: musts
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Dates: during 1930-1939
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...discussion and little action, Harvard has taken definite steps to ameliorate its Housing problem. Yesterday University Hall gave out the gladsome tidings that the Associate Member Plan has been adopted and that preference in the admission of upperclassmen to the Houses has been assured. Such a move as this must be gratifying not only to the Freshman class but to the whole college as well; for the cleavages between House men and out-of-Housers which have become increasingly sharp recently will now tend to disappear...
...body" of the play is "Too beautiful" but the "book" is poor. By means of such contradictions, after one has read the entire review and learned that in nearly all respects the show is a good one, one is led to believe that whatever faults it does have must be laid at the door of the director...
Difference of opinion there must be. But social affairs must be so arranged as to suit all tastes, and if there is a large body of students chafing at the bit, impatient with House dances of the simpler sort, then the demand must at least be considered. How wide the appeal would be, how serious or how ephemeral the challenge to Harvard traditions, how practicable the affair from a mechanical point of view -- these are questions which the dance committees must decide. "De gustibus non disputandum est," and it may well be that an institution long discussed with a sneer...
...shows as "college." Audiences are going to enjoy "Fair Enough," because it is fast, gay and tuneful but they are not particularly going to want to see it repeated in the future. Art for art's sake is all right, but Edward C. Lilley, the Pudding's professional producer, must learn that in college shows art can go too far for its own good...
...from the lines but from the trucking of Marvin Scaife '39, the impersonations of Bayard Clarke '40, and the exaggerated rhumba of Charles D. Dyer III '39 and Peter Pratt '40 that the play derives its humor. And it must be said that these specialties, and particularly a conversation which John Johansen '39 carries on with a cow, come as a welcome relief from the almost too-perfect, too-beautiful body of the play, which in places occasions the audience a little embarrassment...