"SING INSIDE ME, became happy. ihai'r all I am . . . I Maggie exclaims her rensunl ioie de vivre io Quentin, ex- pressing at once inn urgency of her need to be loved and the iniensii‘y of her compulsion to give freely of her own PLEADlNG FOR A RETURN of which have long since impair Maggie beg : “Bur Quennn —— or something, like you used lo Io capacity tor demonstrative attache». QUENTIN ADDRESSES TO ml LISTENER on. oi the In '- inmr viiul and mm penetrating mulcgeli "Wiih .I t i. duinm, in. truth is that every morning when l awaits. I Am full of hopnl' shuto- by itryr Noumln um sum hum After the FaI: By John Wiles The first non-professional American produc« tion of Arthur Miller’s After the Fall -~ a play which “rellects the climate in all Our Souls" — will he presented on campus this coming week- end by the Theatre Department. The play, to be staged Febi 22-25 in Roberts Theatre, is under the direction of Richard D. Meyer (speech and theatre) and student director Melinda Ward. After Ihe Fall is, in Meyer's estimation, one 01 the decidedly “important” Works of contem- porary American drama — although at the same time one which ”very probably cannot be judged within our generation" due to its own complexi- ties and to the considerable aura of controversy which has surrounded and, in Meyer’s opinion, confused its reception by the American public. Aiter the Fall, Meyer said, "reflects the two states modern man finds himseli in now — the shedding of Puritanism and the subsequent lack of something to fill this internal gap.” The re sultant onnmic question “who am 1?" character- lzes, in Meyer’s opinion, the play’s pervasive appeals: that oi the universal human crisis oi identity, and that or the topical personal rele- vance with which Miller, through Quentin, hi: protagonist. can be seen to be “speaking to con- temporary man . i . in contemporary terms" The significance oi the play. Meyer said, il manifest first, in its portrayal oi the universal dilemma oi “a mature person who has stopped ‘becoming' " and, having reached a "rock bot- tom" oi coniused guilt and irustratlon, ilnds that he merely “Is" and that somehow must Iubseo quantly resolve his liie, in his own mind; Ind lecondly, in the perceptive representation nod critical nnalysir oi the conditions and conflicts or A recent historical period and all it: chamb- terirtio isrum psychoanalysis. piiir, alcohol. * A Crisis movie stars, HUAC investigations, sex symbols, etc. The play's obvious characterization of the per» sonality and psyche of Marilyn Monroe has be- come the most well-known and, no doubt, the most distracting element oi the play. Meyer esti- mates, however, that once this aspect of the play is accorded its proper dramatic and histori- cal perspective, this characterization will also come to be appreciated as one oi the most bril- liant and meaningful symbols through which Mil- ,ler communicates his themes oi personal crisis and contemporary human values and existence Meyer’s judgment of the longtenn value poi Atter the Fall is that the play’s extensive psycho- logical complexities and development will insure it a lasting appeal not unlike that oi Shake- speare’s Hamlet. Meyer's personal reflection is that “there is no question that there is more character interior in this play than in any other play i know oi." Meyer’s intense interest in the play has re- sulted primarily from the experience at his 1963- 84 sabbatical leave from Grinneil, during which time he was employed at the newly-organized Lincoln Center Repertory Theatre in New Yorii as assistant to Elia Kazan, director of the origi- nal New York production oi After the Fall. A: directorial assistant, Meyer was intimately in- volved in months oi evolution as the play pre- pared ior production, as well as being a close witness to Miller's own careful revising and adapting oi the play Mayor is anticipating markedly varied l'eHC‘ illons irom the audience oi the upcoming Grinnell roduotiom in his estimation. the student-aged rtlon oi the audience will be more likely to irkw tho play primarily in appreciation of tho Ilementl oi universality which, in Meyer's mind. promise to make the play one oi lasting intense. loci and dramatic appeal. On tho other hand.