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The Classical Club has made arrangements to give three performances of the last two scenes of the "Birds" of Aristophanes in the Fogg Lecture Room. A dress rehearsal will be given on May 6, a private performance on May 8, and, in all probability, a public performance on May 10. Tickets for the public performance will be issued only by invitation. The proceeds of the play will be devoted to the interests of the Classical Club.
Special music for the play, in full harmony, has been composed by Professor Paine. It forms an accompaniment to the choruses, and, though spirited in effect, is very simple in nature, and will be performed, not by an orchestra, but on the piano. There will be two choruses; one, numbering sixteen voices, composed of members of the Glee Club, and a supplementary chorus of fifteen or twenty graduate students. Mr. Warren A. Locke has supervision over the choruses, while the play proper is being rehearsed under the direction of Professors Wright, Moore, White, Gulick, and Mr. Winter.
The costumes, which will be as appropriate and as true to the originals as possible, will be made privately.
The cast is as follows: Both scenes are in the kingdom of the "Birds," who inhabit a region half way between heaven and earth and, in so doing, prevent the prayers and sacrifices of men from ascending to the Gods, at which the latter are greatly angered. In the first scene Prometheus steals down from heaven to the realm of the "Birds," and, after placing a large umbrella over himself, so that he may not be seen by Zeus, suggests that Peithetairos come to terms with the Gods, under condition that he receive Zeus's sceptre, and his favorite hand-maiden, Royalty, in marriage. Peithetairos naturally agrees to these terms. A choral passage takes place, and then, in the second scene, Poseidon, Herakles and Triballos, as ambassadors from Zeus, appear and find Peithetairos roasting some of the rebellious "Birds." Herakles, whose gluttonous instincts are at once aroused, makes all concessions to Peithetairos and, Triballos agreeing, Poseidon is forced to yield to the majority. Peithetairos departs with the Gods to receive his bride and sceptre. Here follows a choral passage, and then appears a messenger from Zeus, who announces the approach of the wedding company. Peithetairos enters, dressed like Zeus, carrying his sceptre and with his bride at his side, and receives a splendid choral greeting. Having gained his part of the agreement he declares his intention of aiding the Gods. The scene closes with a spirited wedding song, during which the characters and choruses leave the stage.
Both scenes are in the kingdom of the "Birds," who inhabit a region half way between heaven and earth and, in so doing, prevent the prayers and sacrifices of men from ascending to the Gods, at which the latter are greatly angered.
In the first scene Prometheus steals down from heaven to the realm of the "Birds," and, after placing a large umbrella over himself, so that he may not be seen by Zeus, suggests that Peithetairos come to terms with the Gods, under condition that he receive Zeus's sceptre, and his favorite hand-maiden, Royalty, in marriage. Peithetairos naturally agrees to these terms. A choral passage takes place, and then, in the second scene, Poseidon, Herakles and Triballos, as ambassadors from Zeus, appear and find Peithetairos roasting some of the rebellious "Birds." Herakles, whose gluttonous instincts are at once aroused, makes all concessions to Peithetairos and, Triballos agreeing, Poseidon is forced to yield to the majority. Peithetairos departs with the Gods to receive his bride and sceptre. Here follows a choral passage, and then appears a messenger from Zeus, who announces the approach of the wedding company. Peithetairos enters, dressed like Zeus, carrying his sceptre and with his bride at his side, and receives a splendid choral greeting. Having gained his part of the agreement he declares his intention of aiding the Gods. The scene closes with a spirited wedding song, during which the characters and choruses leave the stage.
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