Club was eventually disbanded in the early '90's, only
to be succeeded by another student organization, the still existing
Comedy Club, which has had a varying career. Soon after its organization
it became an exceedingly close corporation among certain fraternities
and confined its offerings to light comedies and farces of the type that
offered no great difficulties, such as _The Private Secretary_, _All the
Comforts of Home_, and _My Friend from India_. A reorganization of the
Club in 1908 made membership dependent upon real ability, and since that
time Farquahar's _Recruiting Officer_, (1908); Barrie's _Admirable
Crichton_, (1909); Gogol's _Inspector_, (1910); Percy McKaye's
_Scarecrow_, (1914), and Barrie's _Alice Sit by the Fire_, (1919), are
fairly representative of the plays given.

The reorganization of the Comedy Club came largely because of the
successful efforts of the Deutscher Verein and the Cercle Francais, to
give a series of the best plays in German and French literature. The
list of these productions has been a long and creditable one, those in
German including, after their first performance, _Der Hochzeitsreise_
by Benedix, in 1904; _Die Journalisten_, (1906 and 1912); _Minna von
Barnhelm_, (1908); _Egmont_, (1909); and _Der Dummkopf_, (1911). Since
the French Circle made its debut in 1907, with _Les Deux Timides_ by
Labiche, and Moliere's _Le Bourgeois Gentilhomme_, several other
comedies by Moliere have been most successfully given; as well as
Beaumarchais' _Barbier de Seville_, (1909); Rostand's _Les Romanesques_,
(1911); and Pailleron's modern comedy _Le Monde ou l'On s'Ennuie_,
(1912).

Somewhat different from these revivals of the best in dramatic
literature, have been the far more popular Michigan Union Operas,
written and produced almost entirely by students. Originally designed as
a means for raising funds for the Union, always needed, particularly in
the earliest days, they speedily became an institution in undergraduate
life. All the librettos, with one or two exceptions, have been the work
of students, and the same is true of the music, which has often
developed an extraordinary vein of undergraduate talent. In fact, more
than once it has been the music which has given these operas their chief
merit. Save for one war-time emergency, when University women
participated, the entire cast has always been recruited from the men of
the University and the burlesque of the "chorus girls" has always