Word: violas
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...play itself, a magnificent joke, was an admirable first choice for the freshman because its dialogue is fast and free. The two sub-plots, involving preposterous schemes to make fools of Malvolio, Sir Andrew Aguecheek, and Viola, are very quick and it is here that the players show a comic enthusiasm which should have been sustained throughout the production. Director S. Heilpern Randall, with his good sense of the Shakespearean line, exploits the complete ludicrousness of the situation by treating it colloquially. In the rapid cross-fire of jokes in the garden and duel scenes...
...Since Viola both deceives people and is deceived herself, she must reflect emotional change with the shift in her situation. Her countenance wavers between a grin and a pout, but it never really communicates honest feeling. She seems, however, warm-hearted and lithe, and is quite consistent. Feste, the Jester, played by Eugene Gervasi, moves and gesticulates very well, though his throaty, stilted speech is perhaps affected. Marcellus Winston, as Orsino, the Duke of Illyria, mouths his lines in a monotone and seems insensible of what he is saying...
Solid Argument. In Los Angeles, Viola Fredieu sued Harold Hester to recover her 49 gallstones, which he was using in sales promotion to show prospective customers what might happen if they refused to buy his water-softening equipment...
...remaining music on the program consisted of items on a smaller scale. John Austin '56 continued his laudable concentration on contrapuntal techniques in his Three Madrigals for flute, violin, 'cello and piano, and Five Fugal Pieces for two violins and viola. These pieces preserved his customary refined, conservative, low-voltage, post-Delius style--except the third of the latter group, which fell back into the style of Austin's teacher, Roy Harris. Even in the Madrigals, the linear emphasis extended to the piano parts, which maintained melodic interest at all times rather than just serving as harmonic background...
...principal roles of The Magic Flute, from the Queen of the Night's famously difficult coloratura (F above the staff) to Sarastro's well-deep basso (F below the bass staff). A group of four women students recorded the minuet from a Haydn string quartet, singing cello, viola and violin parts. One boy has recorded his rumbles and squeaks over a range of seven octaves, a young man has produced close to nine under Wolfson's tutelage...