New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1906-03-11
GREEK PLAY At HARVARD.

JUST twenty-five years ago. IN May. 1881. ths
"CEdipus URANUS OF sophocIes. with the ac-
compartment composed by Professor Paine, was
given in Sanders Theatre at Harvard Cnivsr-
sity. Since that time several classical PLAYA
have been given. not only at Harvard but az
the University Of California. the University OF
Pennsylvania and elsewhere. Tt can hardly be
said. yet, that the production OF the great
Greek and Latin dramas IS become an academic
tradition In America. II is IN England. where
the Westminster Play" for instance, Is re-
quired by the charter granted 70 Westminster
School by Queen Elizabeth: but at least there
Is hope such tradition may grow. And its
growth viii probably be fostered by the Greek
play at Harvard next June which win be given
in the Stadium under conditions more closely
approximating the conditions at ancient Athens
than have hitherto been possible IN the East
The play chosen this year Is the great
"Agamemnon'' OF HschyIus a choice rnada
after the death OF Joseph Trunnbun Stickney OF
the Greek department. considered by his col
leagues as one Of the most brilliantly promising
Greek scholars in the country In 1904, when
the revival was first planned the "Chogphorae-
or 'Libation Pourers'' was selected. and Dr.
Stickney was to play Orestes. However as thar
play demands not only dramatic but also rnu-
steal ability Of considerable order from tho
actor who takes the leading part. its revival
had TO be abandoned The 'Iibation Pourersr'
IN the second Of the "Oresteia'' trflogy OF
which the "Agamemnon" is the first and the
"Furies'' the last. The first OF the three was
finally chosen for production. and work has
been going on all winter. IN the Judgment OF
the majority OF the faculty the "Agamemnon''
is the greatest Of all the Greek dramas. and tts
ascending scale % moral solemnity its simple
and severe structure, made It suitable for tho
place OF production
This place OF production will be the horseshos
Of the Stadium, which has already been used
for class day exercises and its acoustics tested.
This portion of the Stadium seats only abour
1000 or 5000 persons. which is. perhaps. 1OOOO
less than the seating capacity of the great Greek
theatres, but otherwise IL has much in common
with them Its semicircuIar construction ia
masonry its rising tiers OF seats. its perfect
openness to the air. are the same. Only thu
view will hardly be the same-the Charles River
marshes are but a poor substitute. perhaps. for
the acropolts OF Athens The Stadium, OF course.
Will make IL possible to convey Agamenncn and
Cassandra upon the scene in chariots. which
have been provided by the generosity OF certain
undergraduates
The performances are to be given on June
10 and June I9-the Boston weather permitting
If those days are unprOpitious the dates will ba
shifted It is jOkingly asserted however thar
a special awning might ba provided for Presf-
dent Eliot, since the high priest OF Dionysos en-
joyed that honor. No elevated stage will Ia
used; and whether the Greeks used one is a dis
puted point among the scholars The Traditional
view is that the principal actors were raised
above the chorus and orchestra. Instead Of III.
permanent buildings backing the scene in tho
Greek theatres of the fourth century b G thera
Will be erected in the Stadium simple structure
representing the palace at Argos occupied by-
CIytleInneSJra during the absence of her lord AZ
Troy. This will serve also as a soundina b0ar3
ET1~y a
to-day are not accustomed To addressfDe-
seven thousand persons i'm the omen air a. 49,
the old Greek actors. The chorus and playar4
VIII perform on the natural earth in front he
tween the palace and the curve OF the Stadium,
seats The prOmpter q modern need will be-
hidden under the altar
The "Aganemnon'' is unique among all extant
greek tragedies IN the wealth OF thought and in
tne length or It's choral songs. The music for
the occasion will be composed by John F,uertou
Lodge. and will be desig1edIy simple in order
10 suggest the simplicity Of an original accom-
paniment quite subordinate to the words OF the
poet (WhO likewise composed the music and ar
ranged the dance figures OF the chorIIs) Cur
knowledge of ancient Greek music is defective
enough, but it seems tOlerabIy certain that each
syllable OF the sung words: and that the rnetre
or the verse regulated the time OF the music
Again. all choral Odes were sung in unison; and
this effect will be retained in the professional
choral StaSima will. however. be ARRANGED ~,
harmony by Mr.. Lodge in order to avoid the
mOnotOny ito modern audtenCe) OF UNMARRIED
unison singing further innovation will be in
tlle instrumental accompaniment: instead OF tho
single flute or harp usual In ancient times there
VIII be three clartnets and one bassoon A
dummy hute player will however, appear and
pretend to accompany the songs OF The CbOy,,.
Apart from the ChOrals there will be a lyrical
Duet between Cytemnestra and the leader OF
tne choruS. me training OF the chorus and OF
the solo singers viii be under the dfreetiNyS -
Il u willard. instructor In public speaking,
Inc development OF the voices OF the actors will
90 cared Tor Dy Mr. Willard and by George RID
ole. -; who brings the ability manifested 5y
ms , nope representation OF CEdipus in 1851 A.
train the actors IN Dramatic action Tha Sctora
VIII not wear masks.
"a, II IS announced that twenty men are already
IN training for the chorus beside two or
shTeS Tor each principal part. The TRAINING
Is I4oorlouS as men who both know Cfreek and
IAN sing We'll seem 10 be rare nowadays. AT tha
iast Harvard Greek play one OF the tenors con
timei - 49, A'OS@ VI 'AS