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Directed by Jacob A. Brandt ’14, "Penelope", which runs from April 25 to May 3 on the Loeb Mainstage, gleefully collides the sublime with the ridiculous, transporting a mainstay of world literature to a banal, seedy modern-day setting. In the able hands of its four main actors, the Harvard-Radcliffe Dramatic Club’s production pulls off the play’s comic elements without passing over the sense of unease at the play’s heart.
The atomic bomb has long been a source of American fascination and horror. But what happens when the bomb shelter is more terrifying than the bomb itself? “Daisy,” a new play written by Simon A. de Carvalho ’14 and directed by Max R. McGillivray ’16, explores this question in the claustrophobic confines of the Loeb Ex from April 30 to May 3.
The Crimson previews choice events from Arts First 2014, May 1-4.
Perhaps fitting for a play that deals so much in dreams, director Mikhaila R. Fogel ’16’s production of “A Midsummer Night’s Dream,” which ran through April 20, offered college-age viewers a fantastical glimpse back to their childhood in the ’90s (and its attendant fashion nightmares). Though not perfect, the Hyperion Shakespeare Company’s utterly committed performances and campy take on classic theater made for an enchanting show that more than overcame its flaws.
The Harvard-Radcliffe Dramatic Club’s production of “The Drowsy Chaperone,” set to run April 25 to May 4, is a vaudeville extravaganza with a modernist flair. A show-within-a-show, the musical focuses on the ensuing escapades before the wedding of diva Janet van de Graaf (Tess V. Davison ’16)—all accompanied by commentary from the mysterious narrator Man in Chair (Andy J. Boyd ’14).
From April 17 to 19, Sayantan Deb ’14 will direct the first part of Tony Kushner’s play “Millennium Approaches: Angels in America Part 1” at the Adams Pool Theater. Although the play is set during the American AIDS epidemic of the 1980s and has three gay protagonists, Deb and the cast emphasize that “Angels” is not a play about being gay, but is rather a play about universal human relationships.
Song cycles occupy a peculiar position in the arts world. Lacking plot or cohesive characters, they offer an opportunity for experimentation but may also be prone to poorer productions: stellar acting cannot substitute for lackluster vocal talents, poor directing cannot be overshadowed by plot or characters, and the ability to synthesize a common theme among many pieces becomes crucial. Fortunately for Harvard-Radcliffe Dramatic Club’s “Songs for a New World,” which ran April 10 to April 12, most of these obstacles were overcome.
“The Shape She Makes” will play at the OBERON in Cambridge until April 27. Its complicated narrative and performance structure succeeds because creative directors Jonathan Bernstein and Susan Misner ambitiously create moments of intrigue and emotion within each scene.
With precise performances and minimalist flair, Lily R. Glimcher ’14’s production of "The Pillowman" captures with equal success both the comic and the creepy aspects of the play. The result is a show that is simultaneously hard to watch and hard to tear oneself away from.
Simultaneously ludicrous and contemplative, "In Other Words" creates a story that speaks to a generation not used to communicating face-to-face through a combination of excellent acting and directing by Olivia M. Munk ’16.
In the Harvard-Radcliffe Drama Club’s upcoming production of Jason Robert Brown’s “Songs for a New World,” a small and talented team has come together in order to create a heartfelt version of a distinctly unusual show. This genreless piece does not set out to tell a single story, but instead delivers a chain of vignettes that are conveyed through song and tied together through overarching themes.
Mallory J. Weiss '15 is writing an original play for her creative thesis.
While the graduate students in “Patience; or, Bunthorne’s Bride” find the balance between 1970s referentiality and adherence to the source material far more consistently than their undergraduate counterparts, the inherent effectiveness of the setting and the dynamic energy of most of the cast partially salvage the production’s technical failings.
"Confessions of a Teenage Blockhead,” which went up this weekend in the Adams Pool Theater from March 27 to 29, was not merely great student theater, nor even great theater; it was great Art.
Director Lily R. Glimcher ’14 blurs the lines between fiction and reality in the Harvard-Radcliffe Dramatic Club's production of "The Pillowman" as she tells the story of Katurian (Benjamin J. Lorenz ’14), a fiction writer living in a totalitarian police state. Katurian undergoes questioning by two ruthlessly cruel yet playful detectives when the gruesome contents of his short stories become reality in the form of bizarre child murders occurring within the town.