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Newspaper
Barnard Bulletin
Location
New York, New York, United States of America
Date
Dec 01, 1939
Page
1
Barnard Bulletin entry shows staff names and roles for the associate letters page. It lists the editorial board and staff positions such as advertising and circulation managers. The text notes Barnard College publication details and a 1928 post office entry.
Leta Hollingworth on behalf of the college extends sympathy to Professor Harry Hollingworth on the death of his wife. Her contributions to education will be long remembered and her loss deeply felt.
Bar nard honors Constance Smith with recollections of her work at Wigs and Cues. From designing stage sets to crafting Elizabethan costumes she energized productions and mentored peers while remaining behind the scenes in paint stained overalls. Her enthusiasm and talent left a lasting mark on Barnard’s theater culture.
A lecturer laments civil liberties and social change as fear grows over shifts in traditional life. He recalls a joke about reading the Bill of Rights and notes a broader loss of predictable rituals amid political and economic uncertainty. The piece ends with a satirical Boston sign about early Christmas shopping.
A narrator laments the pressure of newsroom deadlines and imperfect journalistic methods. They describe confusion over events reported before they occur and the struggle to maintain mental balance amid a deluge of speculative history.
Arthur Le Blanc, described as Acadian poet of the violin, proves a grounded, virile musician in his third New York concert. He delivers Tartini, Brahms, and Faure with restraint and strong technique, encores flood the stage, and critics call him a rising talent going places. The Museum of Modern Art presents Non-Fiction Films series with travel and nature documentaries. Fritz Kreisler to solo with the Philharmonic Orchestra performing a new Tchaikovsky violin concerto arrangement.
Readers debate theatre or cinema preferring stage over film. They cite titles like The Philadelphia Story Hamlet Life With Father The Man Who Came to Dinner and Key Largo while noting cost variety and actors. The exchange shows public passion for live performance and reservations about film limits.
In a Times building interview Brooks Atkinson discusses his theatre outlook praising Saroyan Time Of Your Life and contrasts with wartime changes. He notes the absence of Ibsen Shaw and O Neill on stage due to casting and costs, argues for a national theatre, and describes his critic’s personal, human approach.
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