There have been four minor fires around the College in the last ten days, which has suggested to some keen minds that an arsonist may be at large. If this is so, I would like to beg him, on behalf of the entire Harvard community, to stop setting these petty little blazes and to start thinking big.

Memorial Hall is the first project that comes to mind. And when he is finished with that, he should waste no time fingering the ashes. Let him go immediately to the junction of Mt. Auburn and Bow Streets and look about him. That is one place where no sensitive arsonist could fail to see his duty.

If you read the opposite page carefully, you will discover that I am a cad. Although the specific accusations over there are unjustified, the general effect is probably accurate. So many people have frowned on my character that they can't all be Free Enterprisers. Some of them must be right. This is, however, the first time that anybody has paid money to call me names. It shows that even vilification is getting expensive, which is something for the Free Enterprise Society to think about. Personally, I'm not sure if it's good or bad; but the paper's business manager likes it fine.

This fall the Harvard Dramatic Club will produce S. N. Behrman's translation of "Amphitryon 38." The HDC's president has described the play as "gaggy and sexy," and it is all that. It is also first-class high comedy. And it is a play that has two terrific star parts--and by terrific I mean long and difficult, but striking when played well.

The New York production had Lynn Fontanne and Alfred Lunt in it, and it was one of their big virtuoso comedy performances. I saw the play in summer stock two summers ago with a very fine actress, but it did not have the gaiety that must have made the Lunts' production go. This gaiety--or call it nerve, or sparkle, or briliance--must be there. Without it, the play is not very interesting. And it is largely up to the two stars to create it and hold it all the way through.

Last spring the HDC gambled that it could make a hit of Irwin Shaw's "The Survivors" when the show had just flopped miserably in New York, and it lost. Now it is gambling on its ability to solve a tremendous casting problem. If it wins--and a very experienced member of the rival Theater Workshop gives it much more of a chance to win than I would offhand--it will have put some unalloyed entertainment successfully on the Sanders stage. This doesn't happen often enough at Harvard. I'm not betting, but I'm hoping.