Evening star. [volume] (Washington, D.C.) 1854-1972, 1931-04-12
OPERAS GET FIRST
u. S. PRESENTATION
StokoWSki Leads Orchestra
in "0edipus Rex" and
ole Pas d'Acier."
Hy the Associated Press.

BY the Associated Press.
PHILADELPHIA, April 1i.-Eyes and
ears OF PhiladelphianS we're treated to
unprecedented sights and sounds yes
terday as Leopold Stokowski led the
Philadelphia Orchestra through Igor
Stravinsky's "Oedipus Rex" and Serge
Prokofief's lie Pas dAcier," dance
of the age Of steen in their first pre-
sensations on an American stage.
For this extraordinary occasion the
Philadelphia Orchestra and the New
York League of Composers combined
forces. augmented by a numerous array
of singers-soloistS and chorus-and
pantomimiStS.
At times I5-foot figures appeared nlys-
teriously from deep shadows and
moved and gestured high above the
stage as protagonistS In "Oedipus Rex,
while soloiSts sang the roles IN plum
colored costumes, the chorus mperSon-
ated the populace Of ancient Greece, on
the stage level, and the orchestra, ex-
tending far out into the auditorium,
PLAYED the instrumental music OF Stra-
vinsky's provocative and powerful score.
CoIored Actor in Speakers Role.
At intervals q greatly magniaed
voice doomed observations and explana-
tions from loud speakers as Wayland
Rudd, colored actor, took on the role
Of the reader or speaker.
The huge, inscrrltable figures spot
lighted above the stage were opponents
of the grim. classic tale, adapted from
the Sophocles drama upon rate ana
irony as Oedipus fulfills the prophecy
of the oracle that he would murder his
father and marry his mother.
At the end the mother and vile,
Jocasta, hangs herself in desperation
and Oedipus gouges out his eyes in an
agony of Self-reproach, as the cries OF
condemnation Of the chorus turn to
pity. These chorus tnterludes were
sang by the Princeton University Glee
Club.
Figures Appear to Float.
A spectral effect was produced by the
enshrouding shadows in which the
great figures-six in all-appeared to
float. Three hidden operators con-
trolled the movements OF each ngure.
In sharp contrast to "Oedipus Rex
was Prokofieff's ballet, Pas d'Acier,"
which followed and for which an en-
tirely new scenario was provided by Lee
Simonson, who also planned and super
vised the staging on three dinerent
stage levels Both in musical material
and pictorial and dramatic treatment
the two works virtually represented UP-
posite poles.
Where the music of "Oedipus" is
stark. the music for The Age of Steel
IS smartly satirical; where the pace Of
'Oedipus' is leisurely, that Of The
age Of steel is lively. Briefly. this
ingenious ballet presents a cynical sur
vey of the grinding wheels of the ma
chine age, ironing out individuality OF
effort crowding and pounding human
beings down with steam-roller imper-
sonality and pointing the hopeless and
irreconcilable contrast between warning
elements in modern life. All types
the Bourgeoisie, f1appers, Boy Scouts,
soldiers-even such impersonal elements
as coal, steel and electricity, playing
their parts in the ceaseless treadmill Of
modern existence.
Work Shows Labor Revolving.
The work shows labor finally revolt
ing and waving red flags of revolution
as the scythe and hammer in gigantic
silhouette revolve relentlessly upon the
backdrop.
In "Oudipus Rex" the various roles
were sung and detained h2 Paul Alt
house as Oedipus, Margaret Matzenauer
as JocaSta, NJ RudinoV doubling" as
both Oreon and the messenger, Sigurd
Nilsson as Tiresias and Daniel Healy as
the shepherd.
Sixty dancers were in the presenta-
ton Of lie Pas dAcier," led by Edwin
Strawbridge and the Japanese Yeichi
Nimura as efficiency experts" Other
prominent roles were taken by Pauline
Koner, Grace Cornell, Ruth wilson, |
Martha Eaton, John Glenn and Mary
RivoiTe.