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Community drama:
COMMUMTY DRAMA
The Canterbury
Anti-Matrimony.
Satirical
Comedy.
Orient.
MASQUES
A Civic Ritual. OPERAS SiNBAD, THE Sailor. A Fantasy. The Immigrants. A Tragedy. The Canterbury Pilgrims. A Comedy.
The New
Citizenship.
Caliban. A Community Masque. Saint Louis. A Civic Masque. Sanctuary. A Bird Masque.
POEMS
The
Sistine Eve, and Other Poems. Uriel, and Other Poems. Lincoln. A Centenary Ode.
Peace.
The Present Hour. Poems of War and Poems and Plays. In Two Volumes. ESSA YS The Playhouse and the Play. The Civic Theatre.
Interpretation.
ALSO
The Canterbury
Prose.
J. S. P.
(As Editor)
Tales.
AT ALL BOOKSELLERS
COMMUNITY DRAMA
Its
NEIGHBORLINESS
An Interpretation
by
PERCY MACKAYE
h
COFYRIGHTp
bibooioj
BY PERCY MACKAYB
19I7,
To
P. S.
PREFACE
The
of
present essay
is
the substance
an address delivered by
me
before
its
At that
conference of workers
creation,
and progressiveness
of the
PREFACE
Those ideas -^
for
community
cooperative
building, for
means
of
education in
community aims,
neighborliness
apply
not
less,
but
immense
in its
appointed
Federal
viii
Commission
on
PREFACE
Training
Camp
Activities is underis
to
immorality.
Here
is
to create a
new kind
of
army
a new
war "
shall
be quickened and
itself:
a fighting
PREFACE
force, in
which
virile
and wholesome
an
and
hand
in
hand with
effective martial
discipline,
its efficiency.
development.
work
will
University, in the
New
Sunday,
May
20, 1917.
PREFACE
nious and beneficial relations between
To
number
of agencies
churches
he says, to be counted
when
off
duty,
and to
put
life
into
an
to return
better
him
finally to his
home a
man
than when he
left it."
To
Community Drama.'
as its
Community Drama,
meaning
is
here conceived, is of course directly bound up with the Community Music Movement, as that is being developed under the leadership
xi
PREFACE
Thus the Motive and Method suggested in this essay
the
'
Christian
motive of
efficient
neighborliness,'
and the
art
method
ganization
may well be
New York of Arthur Farwell and Harry H. Barnhart. With that is also directly related the Community Centre Movement, under the leadership of John Collier, of the People's Institute, New York, as well as many recreational activities of the Playgrounds Association, under the presidency of Joseph Lee.
in
xii
PREFACE
Community Masque " Caliban "
in
New
York,
is
being repeated, on an
even larger
scale, in
Boston. There,
Committee
of
busily organizing
thousand
Red
Cross and the Reserve Officers' Training Corps, Harvard University, and the social benefit of the whole Boston
community.
To
for
assist the
purposes of the
is
Com-
now
published,
whatever service
xiii
it
may
render to
PREFACE
those
community
objects in Boston
and elsewhere.
Percy MacKaye
Boston, 22
May
1917
COMMUNITY DRAMA
COMMUNITY DRAMA
AN INTERPRETATION
"Can we
realize
poor
human
beings never
tion?"
H. G.
And in a recent
the
series of articles
in
"New York
Italy, France,
and Britain
at
War,
p. 13.
the series, which has been published as a volume, The Basis of World Peace.
'
Tenth
article of
COMMUNITY DRAMA
More important than
of rights
the declaration
and duties erf nations, and more important than the machinery which
may
vitality
unite in taking these steps. the worid is waiting for, and what it must achieve before the foundations of a durable peace are securely laid, is what President Butler has well called the International Mind "that habit of regarding the several nations of the civilized worid as friendly and cooperating equals in spreading enlightenment and culture throughout the world."
peoples
who
What
in the pro-
an answer
may
human
beings
COMMUNITY DRAMA
but
it
imagination.
our peace
is
so devoid of organized,
by
spiritual heroism.
a
is
drastic,
method
organi-
ing of nations
against nations.
is
"What
the world
waiting for"
is
a method, more
for
cooperation:
the
COMMUNITY DRAMA
hannonizing of nations with nations
In approaching
my
less
subject I can
approach
it
in
no
I
a sense than a
weigh carefully
my
thought when
world
is
waiting for"
to be found, I
of social
method
That method
cooperation;
is
organization
for
it is
testable
by the most
ing.
And
it is
or not nothing.
vast
6
it is
nothI
have
COMMUNITY DRAMA
watched
its
soil
that
seemed sterile
por-
magical flowering,
own
seed in
Drama
nially
is
universal. It
is so,
because
its life is
very old
young as humanity.
its
Under
new
critical attention
In
immediate
shining banners,
its
spectacular color,
7
blare of music,
COMMUNITY DRAMA
its
on
these
aspects
indeed
its realities
a few
and
young people,
are
especially
when they
doing, are
happy
in
seldom given to
their actions.
valuation of
They
movement
mov-
vague to them.
8
COMMUNITY DRAMA
Then
ter
is
a searching imagination,
clarify the
meaning
of this living
momentum.
mentv^Mly_called_Pagean^2_^ofoundly lacks^
preters.
its
authentic inter-
great tides of
human
intercourse, there
by the
voices
The more
COMMUNITY DRAMA
pity for this lack of interpreters in
is
democracy.
So
it
when
cial
its relative
place on the
to-day
Com-
munity Drama
one who
10
shall con-
COMMUNITY DRAMA
structively chart its
immense
aesthetic
and
sociological meanings; a
George
racy.
its reality
in-
For
that, indeed, in
is
essence, is
the
plastic,
aspiring,
playful,
creative,
commandment
of
Christ: neighborliness.
For
this
it
community drama
11
neighborlienough to
COMMUNITY DRAMA
discover
see
God
in him.
God
believe in
who
lief,
believe in
Him
deep with
dramatic
communal dramatic
art.
And
so
we
beginnings of civilized
man
to the
the
God
in themselves.
modem
COMMUNITY DRAMA
cultures in art consist mainly in rem-
Competition.
not
it is
up
fresh
homes
wonder
if
can suggest
how
this
applies to
community drama
to-day.
Consider for a
moment
13
that consum-
mation
in art of the
Antique World
COMMUNITY DRAMA
the Parthenon; consider one of the con-
the
As a result of the
bombs
of the
Now
think
it
phasized
at
least, to
modeach
em
moral in
social art
(itself
that
of these temples
the perfect
flowering of
community drama.
friezes of the
In the marble
trayed
matic
what?
rites of his
COMMUNITY DRAMA
on the cathedral at Rheims are sculptured
it?
mediaeval community.
by modem
dramatic
professors of drama, or
by
critics
at least
they
community life and art does not lie behind us, but before us
and may be
organized again,
by
15
will
and imagina-
consummations.
COMMUNITY DRAMA
So on the
No Man's Land
of to-
to-morrow
the engineers,
archi-
shall organize
Man's Land.
ban slums!
heard by the
And
comes quickly.
In the autumn of 1913 such a far
cry was called in the community of
St.
Louis from a
little
group of some
16
COMMUNITY DRAMA
dozen
citizens.
On
following
tors,
May,
Ben
Greet)
else
than
Oberammergau, to compare
this to."
And more than two years afterward, the Mayor of St. Louis (Henry W. Kiel) telegraphed to the Caliban Committee of Greater Boston:
was
of incalcu-
The produc-
COMMUNITY DRAMA
a new city charter and the voting of bonds for the completion of our municipal bridge where similar bond issues had been refused before.
One night
third ^riosmtmcQ,
from
all
"A
funny
We 're
German
us forget this."
in the
com-
COMMUNITY DRAMA
munity chorus are still singing together
peraianently organized.
After
all,
the International
it:
Mind
here in
America,
it
nation,
is
good mixture.
Neighborliness in a
little
town may
The
International
Mind
is
the neigh-
mind
is
hundred
Let
me
not be misunder-
19
COMMUNITY DRAMA
stood. Nationality
is
a precious thing;
an
in-
it
must not be
spirit of
so,
humanity.
every true
Whenever
patriot
it
becomes
must
it
rebel from
help
it
The
ours.
my
this
attitude
incar-
nates the very spirit of egoistic unneighborliness; but our country, our
this spirit
own
COMMUNITY DRAMA
which recognizes the world as one com-
munity
of neighbors.
But
this is the
very watchword of
community drama.
"My pageant"
is
is
the typ-
There
slack
and
static,
whereas
its
opposite
provide
does
it
for in-
COMMUNITY DRAMA
It takes its first hints
from
child-
and cooperative.
When
child
munity process; or
they squabble,
so.
The
games
of childhood,
modem
survivals
community drama.
"we." It
dren:
chil-
we small
hand
in hand,
COMMUNITY DRAMA
definitely related, in
rhythm and
line
larger, self-includ-
symbol
is
of the
world
itself.
The production
Sophocles
of the
"CEdipus" of
such childhood
So from as
little
as a "mulberry
bush" we may
Mind.
I
And now
hope
I shall
not be con-
all
which
is
is
War
to
May
festival.
(Such
mine on
I will
"A Substitute
23
for
War.")
COMMUNITY DRAMA
that I
am
moment
in-
not to
May
nor to Central
of
instinct
culti-
if
vated
tions,
some genera-
disillu-
which
is
COMMUNITY DRAMA
ous and universal in scope as the labors
of engineering
and
architecture.
So
it
has charmed
for centuries.
expert;
on
in the
But now,
COMMUNITY DRAMA
whose scope includes both Harlequin
own
different
end
and object
the regeneration
then, apply
it
of the
Why not,
ject?
to this ob-
to do so, with
from
my own experience,
as author or
director or both, I
to those results in at least three largescale festival tests the first at Glouces:
ter,
ond at
the third at
New York,
"Caliban").
Concerning these
have written
COMMUNITY DRAMA
elsewhere.
To
is
sidedness here
scope.
beyond
my
present
But it
significant to
mention
"Caliban" in
New York
was the
for-
social
Mr.
Hill-
On
a smaller scale
have watched
nota-
COMMUNITY DRAMA
art to social service for a great national
the conser-
sanctuary
of
Ernest
Harold
Baynes
in the little
town
of Meriden,
New
little
Hampshire.
test
by
definitely establishing
more
and by
masque
itself.
is
"What, then,
new
COMMUNITY DRAMA
tre to social service?
What
spiritual
change does
this
new method
of social
community
life?
make
per-
manent
home
Mind.
of coopin
method involved
give
Community Drama
beings,
scope for
human
devel-
which undoubtedly
is
tests of war,
COMMUNITY DRAMA
and concerning which Sarah Bernhardt
writes of the soldiers of France,
who
did not suffer in the tragedy of the play; they rose to it. They did not cry with watery tears that streamed
They
down
own
Uves.
implies the
happy rendering
of
human
own conmiu-
COMMUNITY DRAA4A
the releasing growth of self-expression,^
and the
sacrifice
spiritualizing ardor of
self-'
meaning
of
ComThat
full
munity Drama as
in that of war.
as true of
Commuthe
Drama, at
least,
can be uttered of
its failures is
unutterable bru-
COMMUNITY DRAMA
acted the part of St. Louis was nearly
His
final examinations,
on
which
might
June. Yet he
late,
he rushed
in,
to be late," he said.
"What was
the matter?"
sir,"
"Beg pardon,
he answered, "I
got married,
I just
came from
the church."
common
for
young
men
in these days.
This young
man
COMMUNITY DRAMA
was perhaps the
first
to hasten from
in
may
not be the
last.
To
a
far greater
his
community had
called him.
was none
in
sponsibility
their place.
Louis
COMMUNITY DRAMA
but of course he would never have
dreamed
of deserting.
At the production
of
"Caliban" in
New York,
After
whom
came
to
feeling:
me and
it
said,
with deep
"Why has
tentatively.
got to end?"
mean that,"
COMMUNITY DRAMA
"Oh,
alto,
it.
I sing
enough
it.
altos
But
it
wanted
Indeed,
it
with some
lists
on the programme
it!"
I
but,
known
singing,
and "in
I
wanted to
'd
could n't
if I
COMMUNITY DRAMA
a kind of education in human "quality,"
states-
men have
There
is,
in brief, a hardihood
bom
be
more
disci-
That
discipline is
art, for
found in
art,
community
the theatre
is
supreme method.
That
art itself
is
nth power
nothing.
And that it is
or not nothing,
have
it is
many hundreds
varied
proof
of years of infinitely
resourcefulness
given
behind the
36
scenes.
COMMUNITY DRAMA
Now
the time has struck for that
expert art to
to be
undomed and
let in
the ancient
be pushed back
by a
million aspiring
arms
of the peo-
ple, till
forms
its
magic
rites
as splendidly as
among
Out
of
a mighty
operation
tion
a valid means
S7
of coopera-
COMMUNITY DRAMA
thousands of commercial playhouses,
which
call
them nightly by
millions,
that
them
an expert,
scientific
method
of social
of tradi-
There
social
to search for
seeking;
COMMUNITY DRAMA
leaders,
if
the pageantry
movement
in
America
rightful
is
power of
ously
eflOicient.
much: the
art of pageantry
is
is
the art
of the theatre, or it
is
nothing.
That
ing,
organizing.
That, indeed,
is
why
is
I think the
name
itself.
Pageantry,
misleading;
all
the most
COMMUNITY DRAMA
important phase, of this co6perativ(
^rt
of the theatre;
and that
is
why
name Communiti
are in
Once
are con
we
shal
depenc
as
communitj
toler-
We must
is
be no more
civics, foi
bad
art
cation.
If it is to
achieve
40
its
constructive
COMMUNITY DRAMA
ideals of peace,
Community Drama
efficiency of the
army
beginnings of an
army
of peace.
It
early stages,
it
must
by the
spirit of
every community
These
artists
themselves must be
must
be art-minded. The
41
COMMUNITY DRAMA
the officers of the
director general; the
is
staff,
under one
lead
army they
community on
The com-
nomic
housing, etc.
for
a national
civic theatre
itself
The multitudinous
nomic,
artistic,
aspects
ecoof such
sociologic
42
COMMUNITY DRAMA
organization are not within
my
by
pres-
ent compass.
gestion, with
have
dealt,
sug-
a few in
my
book on
my
Neighborliness: I
would
like to
come
borliness
And
it
yet,
what
else is
The
New
York. 43
COMMUNITY DRAMA
ing to be neighbor to some one, which
draws many
idle
and more
mothers
children,
and
But none
illusions of
commerce
is
no
ritual: there is
merely
dumb
become
neighbors.
44
COMMUNITY DRAMA
But with Community Drama,
it is
there
otherwise. There
is
is
participation;
is
there
neighborly
For
community
art^
drama
is
nique of neighborliness
the
jmr
ni^t and
into
conflict o f^^aal
elerne^
harmony.
^
to,"
symbol carmul-
meaning
in the large, to a
titude,
emotion in conmion.
Neighborliness
45
symbolism
COMMUNITY DRAMA
drama: these
three. In our
new
is
ritual
added
complement and
command-
ment.
Indeed,
culture
if
himself
est of dramatists, as
est of
the poet in
COMMUNITY DRAMA
titudes
created
by iEschylus and
Sophocles.
"The Casting
are Caesar's,"
if
the dra-
in mind, then,
my
sub-
my
ideal of
commularge
nity
drama
is
this :
By means of
COMMUNITY DRAMA
!
simplicity of Christ's
and
In
I
brief,
to be neighbors.
THE END
APPENDIX
APPENDIX
Some Accounts of the Production a Community Drama
of
In reference to the New York 1916 production of "Caliban," mentioned in the foregoing essay, the following excerpts from accounts pf the event in the New York press at the time may be of pertinence for the reader.
took a long step ahead of the world last night with the presentation of Percy MacKaye's Masque, " Caliban."
rest of the dramatic
New York
Nothing quite so magnificent has ever been shown in this city or in the country. For the
time in the history of the arts of the it is America that has evolved a new dramatic form, as potential in its way as any of the products of modern Europe. A New York poet, aided by fellow-artists and the
first
theater
of this big
and
APPENDIX
city, conceived and visualized for 15,000 spectators at a single performance a pageant drama that will accomplish but half its pur-
busy
pose if it fails to revolutionize the theater and dramatic art in many of its aspects. Purely as a community undertaking, the production of " Caliban " was unique. The Masque would have been a tremendous success if all the seats in the Stadium, which had been doubled for the purpose, had remained empty. We have seen the Russian ballet, the colorful dance drama, combining music, movement, and color; we have seen the Greek classics revived in a new manner by Granville Barker in the big outdoors; we have had an Isadora Duncan Dionysian festival indoors; we have seen the wonderful art of Joseph Urban; we have, in short, followed the new workers in the theater in all their brilliant achievements, but last night an audience saw for the first time a coordination of all these forces a production that combined within its scope all that is best in the work of the creators of beauty in the theater. It was a true history of the arts of the theater, in which all these arts in their most improved forms were em-
52
APPENDIX
ployed; yet the
Masque had
is
a form
and
method
is
all its
own. That
is
why
why
its creator,
Percy
the foremost worker in the American theater, a man who cannot be ignored henceforth in recording the Brookevolution of the art of the theater.
as
lyn Eagle.
The 15,000 persons who journeyed from every corner of the city at sundown to the vast open-air theater on the Heights, found prepared for them there an extraordinary pageant, a spectacle of memorable beauty. The staggering undertaking had been carried through with no visible mishaps worth mentioning. The Masque is a success, and remains a notable achievement. It was a fine thing to have done. It is an unforgettable thing to New York Times. see.
In scope, in beauty, and in large significance and surpassed all that had been promised for it. With almost magical effects its scenes and actions reac hed back int o the cy cles and ce nj^i es of antiguity, and voiced
it fulfilled
the audience.
Something
53
of the
majesty of
APPENDIX
a ceremonial entered into the enactment of Masque; the multitudes participating broadened it into a carnival fSte; a play it was, an epical drama, in which antiquity and modernity joined hands and danced upon the "yellow sands" of now, within the
this classic
eternity.
New
York
It was little less than a stroke of genius to blend a basic allegory of the human soul with the majestic movement of drama through the civilized ages. Such an achievement is surely a foretaste of the eventful realization of the democratic ideal, when art will be made not only for the people, but also by the people, and all the people will cooperate to make the common life more beautiful until the communal life itself shall become a living work of art. New York American.
The wonderful pageants of the interludes are sights never to be forgotten. No one who cares a whit for the art of the theater should fail to see this most remarkable community
masque.
APPENDIX
The story and plot are simplicity itself. The attendance at the " Caliban " performances at the City College Stadium raises the question of enlarging the Stadium for similar community uses in the future. That this vast shrine of athletic sports should have been rendered inadequate not by football but by the production of drama and pageantry is a curious outcome New York World.
The production proved remarkably successmanner in which it fulfilled its function of being a community masque, enlisting
ful for the
the services of people from every section of the city, geographically and socially, and in the matter of obtaining public support. It is estimated that 135,000 persons had
seen the Masque.
The demand
for seats
had
been so great that several extra performances were added. New York Times.
" The most wonderful spectacle I have ever my companion as, engulfed in the crowd, we moved slowly out of the Stadium. " Caliban: By the Yellow Sands," should be given again and again. To the stadiums and the parks of our democracy " Caliban " will, I hope, introduce a form of entertainment
seen," said
55
APPENDIX
equaling in popularity
and surpassing
in
Ernest
Hamlin
And out there in the starlight at the Stadium, under the open sky and in the amphitheater, black with people, and the great arc lights flashing on the three stages of the pageant as community group after community group passed in review the Pan-Hellenic League, the East Side Settlements, the Greenwich
Villagers, the Bronx district, the schools, the representatives of all races, classes, and conditions in the great city I saw the benig-
nant ghost of Steele MacKaye looking down on his dream come true through his son. Henry E. Dixey, in " The Chicago Sunday
Herald."
It ranks in the field of spirit
making inventions
things.
Percy MacKaye has linked the pageant ambition with an ambition no less than Hellenic in the mood of Plato and Sophocles.
John
Collier, in
56
APPENDIX
The production deserves to be recorded as a civic event of almost unexampled magnitude, achieved by the concerted effort of all classes of a great community. Mr. MacKaye has succeeded in achieving the apparently impossible. Clayton Hamilton, in " Vogue."
The Masque
on
leaves
immense impressions
my mind.
grand. One's reflections broadly encompass a picture of the evolution of man from his brutish nature to the appreciation of the power of love in its highest by the civilization conceived by art. Two hours or more of beautiful visions, of beautiful trysts. To many present its inspiration was akin to the good to the human soul of a great and glorious reUgious picture of
pageant upon pageant such as no one man alone has ever seen, yet such as this old world has borne harmonious color and movement, samplers of physique and soul, which we apprehend is man's true birthright, created by him, built upon the apprehension that something burned within him that would make him greater than the brutes! One might take one's eyes from the pag-
57
APPENDIX
eantry without losing its effect: crescents of colors, with 18,000 human beings in full view; the blue, star-dented sky, the rays of blue, amber and gold, and pink from the lighting towers, the hush and reverent expectancy of that spellbound, multitudinous audience, a gentle breeze to fan the garments of the players into graceful folds, the ring, thunder, and echo of the actors' voices, all spoke of the potency and beauty of humanity. St. Clair Bayfield, in " The Stage," London.
Aside from the sumptuousness of its actual physical representation upon the stage, there is a blinding glory in the very conception of the magnificent Masque, " Caliban," devised and written by Percy MacKaye. The Masque is a structure of music, light, dance, acting, song, scenic values, pantomime the whole builded into a monument of dramatic art that lifts as the apex of its upwardpushing pyramid the " spoken word." Re-
view of Reviews.
There is now no longer any question that Mr. MacKaye's conception of community art is established in America. The New Re-
public.
58
APPENDIX
In the bowl of the Stadium of the City ColNew York, lighted with the glare of powerful lights, an audience of 15,000 people gathered last night to see Percy MacKaye's Shakespeare Masque, the largest dramatic representation ever given in this city. For hours before " Caliban: By the Yellow Sands" began crowds poured from the subway, drove up in
lege of
automobiles, and arrived on busses, filling the streets and filing slowly into the great open-air theater. They came from all parts of the city, from the East Side and West Side,
and some even from Boston and Philadelphia. Clouds had lifted, revealing a clear, star-lit
night.
Slowly the white of the Stadium and the gleam of the scaffolding disappeared as black figures took their places, until the amphitheater was filled with a huge crowd, expectant, motionless. New York Evening Post.
APPENDIX
The Mayor's Honorary Committee
Production of "Calihan" in
for the
New York
Ono
Herbert Adams Dr. Felix Adler Jacob P. Adler
H. Kahn, Chairman
Frank L. Dowling Mrs. H. Edward Dreier Max Eastman Samuel H. Evins John H. Finley Ned Arden Flood Daniel C. French
Dana Gibson Bertram C. Goodhue Rt. Rev. David H. Greer Jules Guerin Mrs. Daniel Guggenheim Mrs. Benjamin Guiness
Charles
Butler
Norman Hapgood
Mrs. J. Borden Harriman Mrs. William Aster Chandler William Laurel Harris William M. Chase Col. George Harvey Joseph H. Choate Timothy Healy Thomas W. Churchill A. Barton Hepburn Paul D. Cravath Morris Hillquit John D. Crimmins James P. Holland George Cromwell Rev. John Haynes Holmes R. Fulton Cutting Frederic C. Howe Walter Damrosch Arthur Curtiss James R. S. Davis Mrs. Paul Kennaday Henry P. Davison Dr. J. J. Kindred Robt. W. deForest Darwin P. Kingsley Mrs. Camden C. Dike Lee Kohns A. J. Dittenhoefer Dr. George F. Eunz Cleveland H. Dodge Thomas W. Lamont
Caroline B.
Dow
Dr. Henry
M.
Leipsiger
60
APPENDIX
Adolph Lewisohn M. J. Lavelle, V.G.
Walter Lippmann Philip Lydig
Clarence H. Mackay Miss Elizabeth Marbury
Francis Lynde Stetson Frederic A. Stokes J. G. Phelps Stokes Josef Stranksy Oscar S. Straus
Edwin Markham Miss Helen Marot Dr. Brander Matthews Rev. Howard Melish Dr. Appleton Morgan J. P. Morgan Dr. Henry Moskowitz
Adolph S. Ochs Ralph Pulitzer Percy R. Pyne, 2d
Augustus Thomas Louis Untermeyer Mrs. William K. Vanderbilt Oswald Garrison Villard Miss Lillian D. Wald
J. Walsh Cabot Ward J. Alden Weir Charles D. Wetmore Edward J. Wheeler
Dr. James
F.
W.
Whitridge
W.
Thomas W. Whittle
George Wickersham William G. Willcox Dr. Stephen S. Wise H. J. Wright
Jacob
M.
Schiff
CALIBAN
BY THE YELLOW SANDS
A
Community Masque
By
PERCY MAGKAYE
ARTHUR FARWELL
For the Benefit of
Music by
Harvard University
CIVIC DIRECTORS
D. M. Claghorn, General Director
B. S.
62
PRODUCTION STAFF
Producing the Masque, in co-operation with the Author
at the
HARVARD STADIUM
June 28
to July 9, 1917
Producing Director
Frederick Stanhope
Designer of Scenes and Costumes
and Chorus
Arthur Shepherd
Director of Dances
Virginia Tanner
Director of Lighting
Theodore Brown
63
BOYLSTON STREET
415 Boylston
St.
Tickets:
Honorary Chairman
Honorable James M. Curley, Mayor of Boston Chairman Governor's Committee Ralph Adams Cram,
ChairTnan
Henry V. Cunningham,
Vice- Chairman
Executive Committee
Frederick P. Fish, Chairman
Judge Leveroni
I.
W.
Litchfield
Fred W. Moore James P. Munroe Miss Marion C. Nichols Miss Julia C. Prendergast
Daniel L. Prendergast B. S. Pouzzner
64
Finance Committee
N. Penrose Hallowell, Chairman
Allston Burr W. E. Chick
James Jackson
Sabin P. Sanger
Edwin
(of Loring,
S.
Webster
Coolidge
&
Noble)
Company, Depository
CAMBRIDGE
MASSACHUSETTS
.