1892II Stanford Dramatics 



ward the close of their rendition he (or she) dropped 

 into tenor and then into bass, after which she 

 (or he) withdrew with much frou-frou of skirts and 

 flirting of Hngerie, to the great admiration of the 

 pit. 



But our Swedish man (who had dropped in at the 

 back of the hall) was decidedly shocked by the free 

 and easy manners of the "ladies" on the program. 

 Yet once, when a Salvation Army captain asked 

 him if he **would like to work for Jesus," he re- 

 plied succinctly: *'No, I ban working for Doctor 

 Jordan." 



To offset the antics of "Calliope" and the robust a contest 

 elegance of the ballet, the boys staged a contest '" 

 which belied Professor Hiram Corson's assertion ^"^^^'^"^ 

 that "football is not a lady-like game." The two 

 rival teams, each member in conventional evening 

 dress, and with ball swathed in cardinal satin ribbon, 

 first met with elaborate courtesy. Every play was 

 then preceded by a deferential " May I not .? " " May 

 I presume.?" or words to that effect. Even the 

 most critical stickler for etiquette thus found nothing 

 of which to complain. 



Such fooling is, of course, common wherever young 

 fellows congregate. And it must not be thought 

 that dramatic talent at Stanford runs only in bur- 

 lesque. The entertainments of which I have spoken 

 were followed by many and varied efforts along 

 serious lines. Of these, the medieval "Knight of 

 the Burning Pestle" (1902) and "Antigone" in rhe 

 Greek (1903) stand out as especially elaborate and "^"fr 

 scholarly representations. For the high quality of ^""^ 

 the second, not excelled in any similar interpretation, 

 credit was due to the careful training of Professors 



C 419 3 



