Word: stageful
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Dates: during 1960-1969
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...Psychedelic Supermarket, a damp basement garage just off Kenmore Square. No more than a dozen people sit at tables near the stage -- mostly teeny bopper couples with happy-colored beads and sad faces. Two workmen in cover-alls are folding up unused tables and chairs and dragging them past the three...
More people filter in now--perhaps 50, perhaps a hundred. Chuck Berry passes through the rcowd of hippies, still in his raincoat, and no one notices. At a table near stage, a flatchested teeny-bopper with flowing blonde hair drags awkwardly on a cigarette and scowls dumbly into space...
Well, damn if they aren't right, in a way. There's something to be said for assembling one hundred fifty young men in white tie on a single stage and letting loose their combined vocal chords. The sound of so titanic a Mannerchor would have sent Wagner writhing in ecstasy...
Once the Harvard Glee Club stepped out on stage, however, the Princetonians were definitely out-classed. Under Elliott Forbes the Glee Club sang works of composers ranging from the late Renaissance Claudin de Sermisy and the mid-Baroque Dietrich Buxtehude to the sardonic child of the Twenties, Francis Poulenc. Theirs was a full-bodied sound, with the kind of focus and control that was totally absent in the Princeton group. The latter has the same basic sensitivity, but they lack the sheen and polish that make the Harvard Glee Club so irresistible in spite of everything. Both groups suffered from...
Finally, the program ended with the Princeton, Harvard and Harvard Freshmen Glee Clubs all massed on the stage. First, Princeton's Old Nassau, with its curious arm-cross-chest motion that looks like so many meaculpas; then, with a theoretical tear in each eye, Believe . . .oops . . . Fair Harvard. And as the last strains of that fine old Victorian melody faded into our collective memory, one could almost hear a little voice accompanying us into the cold night: Goodbye, Columbus . . . goodbye, Columbus . . . goodbye...