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Newspaper
Barnard Bulletin
Location
New York, New York, United States of America
Date
Mar 13, 1936
Page
1
A university column notes that the Forum is a space for free undergraduate expression and states that opinions therein do not necessarily reflect Bulletin Staff views. The piece frames the column as independent commentary within campus discourse.
Two titans of the stage clash in Saint Joan at the Martin Beck Theatre. Katharine Cornell as Joan and George Bernard Shaw’s framing of the character spark a clash of visions with Brian Aherne supporting as the Earl of Warwick and Edward Ciannelli as the bishop. Gothic sets by Jo Mielzine heighten the production.
Editorial argues college students should engage in public affairs when they touch the campus. Barnard students study the strike at Teachers College, learn wages and hours, and urge reconsideration by TC authorities. The piece condemns hostile actions against volunteers and praises student awareness.
In a McMillan Theatre lecture Elmer Rice argues the American theatre mirrors society and is driven by capitalism. He warns the art risks decline unless public funding and communal support sustain a protest driven, literature focused stage amid fascism and cinema.
Juniors announce a scheduled presentation of The Green Owl with cast members Maciver Haller Braun Greet Latham Weeks Herr Swan Johns Clark Phelps Gayer Lyman. The Dean could not attend and invitations went out under Ethel Eleshe as Social Chairman. Programs mimic real theatre formats listing cast patrons and patronesses. Ushers will be drawn from the Freshman Class.
Ruth Dietz urges Barnard readers to back the American Youth Act. A March joint hearing of Senate and House Education Committees is noted and supporters are asked to mail Senators and Representatives to show broad backing for employment programs benefitting youths ages 16 to 25 and addressing rising youth crime.
In a Tuesday Forum letter Miss Raebeck's plan to reform the college election system is questioned. The writer argues 50 signatures prove little and politics would intrude, urging service to the college as the sole issue and questioning nominees' ambitions. Continued on Page 4.
The Chalk Dust production is praised as intelligent and provocative, with strong acting and poetry yet flawed by stage craft issues. It raises sharp notes on schooling, politics, and censorship while risking a drift into safe controversy, leaving viewers debating its message and impact.
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