Barnard Bulletin Aims to Aid Barnard Students
Barnard's semi weekly bulletin serves Barnard College students during the college year. It operates in the interests of the Undergraduate Association.
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Newspaper
Barnard Bulletin
Location
New York, New York, United States of America
Date
Mar 22, 1935
Page
1
Barnard's semi weekly bulletin serves Barnard College students during the college year. It operates in the interests of the Undergraduate Association.
Editorial condemns William Randolph Hearst as a pernicious influence on free thought and speech. It urges college students to counter his campaigns by relying on circulation as a vote of no confidence, even at the cost of prominent writers.
Student feelings turn against traditional Alma Mater sentiment but Barnard Camp draws support from a few open to outdoor and indoor community life. Posters entice crowds as Friday noon notices go up, highlighting the camp as a valuable semi paradise sponsored by teachers of physical education.
The author bids a final farewell to a weekly Bulleting column, reflecting on the pains and pleasures of writing, the reception by readers, and the growth from a year of sharp, candid commentary. It notes Miss Strait’s positive influence and ends with a sincere, if stubborn, farewell.
The Ritz Theatre presents Dascom Dinsmore with Dennis King in a pantomime driven farce set at a Labrador wireless station. Doris Dalton Ona Munson and Lee Carroll receive praise for their performances while the Moscow Art Players’ expressive acting draws Russian-sphere audiences and Bolshevik music at the curtain.
The Majestic hosts the Moscow Art Players on a brief tour before returning to the Soviet Union They perform The White Guard also known as The Last Days of The Turbins A four act production centered on a White Russian family in 1917 with martial fervor and dramatic sacrifice The public gets one final week to see the show and compare it with the Tsarist era nostalgia presented on stage
Dance Ballet Russe gave a single Academy of Music Brooklyn performance on March 19 under Olin Downe, part of five New York engagements before a European tour. Massine led Petrouchka and other works, highlighting a blend of old Russian school and modern dance drama.
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