Running in the Loeb Drama Center from Oct. 14 to 22 by the Harvard-Radcliffe Dramatic Club, it was as relevant to modern times as it was centuries ago when it was first written, and Roitman’s version certainly did justice to this timeless classic.
The play will be a defining piece of theater for Latin American audiences typically underrepresented onstage, according to Danny L. Rodriguez ’18, the stage manager of the show and president of TEATRO!. “I feel like everyone should be able to have that option to see a show that they say, ‘This is me. This is my family,’” he said.
The scene is set for the Harvard-Radcliffe Dramatic Club’s annual Visiting Director’s Project: “Polaroid Stories.” Written by Naomi Iizuka and directed by Jacqui Parker, the play tells the story of 12 homeless teenagers who navigate their identities while coping with sexual abuse, drug addiction, and prostitution.
While schools like Princeton and Yale had already had larger theater and dance programs running for years, Harvard's Theater, Dance, and Media concentration did not make its debut until Oct. 1, 2015. Through the efforts of faculty like TDM chair Martin Puchner and dance director Jill Johnson, Harvard's newest foray into the study of theater is only just starting to take the stage.
Throughout the 90-minute run time, songs by turn intimate and energizing explored everything from romance to religion. Although no discernible plot threaded all of this together, the production still cohered as a charismatic and captivating product, just as the best musicals always do.
Professor of history and law Annette Gordon-Reed has criticized the musical’s depiction of America’s founding narrative as historical truth.
Flashes of refugee camps in Syria; children covered in the ashes of bombs. Over the last few months, images like these revolving around the refugee crisis have been inundating televisions and newsfeeds. At a time like this, the Harvard-Radcliffe Dramatic Club’s adaption of “The Trojan Women” might be more relevant than ever.
Traditionalists may say that Carmen needs no modernization, but if anything were to revive opera in the Boston Opera House, this would be it.
At Harvard, participating in the arts often requires previous experience, an involved comp process, or a significant time commitment, but within the residential community, there exists lower-stress creative outlets for students. As administrators look to shift Harvard’s social life away from off-campus social organizations, art spaces in the houses serve as new centers for student engagement.