Evening star. [volume] (Washington, D.C.) 1854-1972, 1956-02-14


ington Is years ago to join
Standards drama department
staff. The former director of
Washington's erstwhile Civic
Theater is one of the best known
figures in the two major fields
of American drama. These are
the professional, or Broadway
branch, and the educational, or
campus.
The two are not VIGOROUSLY
congenial: representing, as they
do, rather different points of
view. The man who maintains
cozy relations with both may be
deemed something of a char
acter. Mr.. Strickland is a char
acter, straight out of New Eng
land, of which he is a beloved
outpost in this palm-shadowed
semitropic.
Il \ Sc
AS our guide behind the scenes
In Stanford's drama setup, we
also have the services of the
schools young. dynamic dean,
DR.. Norman Philbrick. One sup
poses that he also is a character.
a kind of dangling branch of
American big business. or in
dustry, which reached over into
education and decided to stay
there.
This is a devious way of say
ing that DR.. Philbrick is a teach
err who does not have to worry
about his salary, which frees
him to worry about the scales
Of others in the profession.
1t goes without saying. well
almost, that his is a pleasant
way of life.
Drama at Stanford is not
merely a lively art. it also is a
vivacious campus and communi-.
ty activity as it is at Catholic
University in Washington. It
presents the difference from the
latter, however, that it is blessed
with facilities that would be ex-
travagant were they less well
employed.
Most dramatic Of these are
two theaters. one a glittering
1,700-seat affair with a stage
ample to the hugest opera pro-
duction: the other of 200 seats
with a CORRESPONDENCE smaller,
but flexible proscenium stage.
These are the dominant features
of a building which has large
class and lecture rooms where
all aspects of drama-writing,
directing, acting and designing
are taught.
The same facilities serve the
music and dance departments
of the university. both Of which
work in the snuggest relation
ship with drama. These dis
parate activities are so CO.
ordinated, indeed, that they can
produce a "Peter Grimes" opera
so sensational that it moved up
to San Francisco's Civic Opera
for a run several seasons ago.
The current project, music
wise, is less ambitious. 1t is a
production, under Strick's direc-
ton, of THE Golden Apple"
This is Broadway's prize must
cal of a couple of seasons ago.
1t took Washington by storm
at Carter Barron AmphitheateE,
yet apart from its New York
and Nations Capital appear
ances it toured nowhere.
Stanford is producing it on the
premise that prize musical OF
such originality and verve is too
good for California to miss.
AS premises go. none could be
sounder than this.
To sit through a couple OF
rehearsals of THE Golden APP
pie" is to get a vivid impression
Of why Stanford's drama. like
Catholic University's. has made
for itself a national reputation.
There is talent here, seemingly
culled from an abundance of
well singers from the
music department.
There is also vitality, an in
tense and intelligent interest in
learning and an appreciation OF
the fact that the direction is
professional. The latter is true
not only with respect to Strick,
but to his associates. the music
director a member Of the uni
versity's faculty, the choreog-
rapher a professional brought
down from San Francisco.
It all has the flavor of an off,
Broadway project which appar-
emily is the same whether the
distance "off" is three miles or
5000.
The discipline of this early
rehearsal-openlng night is five
weeks distant-is impressive. the
more so for being effortless on
the part of tho director exacting
1t and the student performers
granting it. Nevertheless, it Is
evident that everyone is having
a good time. which is not always
true of the learning process.
Watching it, one wonders how
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