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The Harvard-Radcliffe Dramatic Club’s production of “Bat Boy,” which runs until Nov. 23, wins points for consistency, wittiness, and overall polish. With a sophisticated, clever set and costume design, and self-aware actors who toe the line between the campy and the commonplace, “Bat Boy” takes a vivacious relish in the overall absurdity that permeates the production.
The Harvard-Radcliffe Dramatic Club's production of "Three Sisters" infused the play with a 21st-century flavor, and its subtle wit engaged the modern audience while fully preserving the poignancy of the characters’ conditions. The play effectively made up for the lackluster performances of some of its lead actors through an ingenious use of props and stage design, which helped to deliver the emotional power that the blocking and acting largely failed to convey.
As a Shakespeare “problem play,” so named because it delicately toes the line between cookie-cutter comedy and tragedy, “Pericles” can be difficult to stage. However, the Harvard-Radcliffe Dramatic Club’s production that ran in the Adams Pool Theater from Nov. 7 to 9 managed to do it—and well, due to a strong core of actors.
If the love of your life and father of your children abandoned you for a younger woman, what would you do? And what if you had magical forces at your disposal? You might or might not go as far as Medea, the passionate antihero of the Harvard-Radcliffe Dramatic Club’s production of “Seneca’s Medea.”
Art imitates life, as life imitates art. This is especially apparent in “Three Sisters,” which runs on the Loeb Mainstage from Nov. 7 to 15. In this particular production, directed by Anna A. Hagen ’15 and co-produced by active Arts Executive Emma R. Adler ’16 and Andrew P. Gelfand ’15, renowned contemporary playwright Sarah Ruhl takes the classic Chekhov play and gives it a modern twist.
“Totally Fucked” and “Mama Who Bore Me.” These are the songs of teenage angst, from a musical that made Broadway seem more modern to a millennium generation that had previously written it off: “Spring Awakening.” But Harvard-Radcliffe Dramatic Club’s current production of “Spring Awakening” is the play, not the musical many are familiar with.
“Our mission, as we state in our website, is the enhancement of human existence through the advancement of the field of social engineering,” Cengiz Cemaloğlu ’18 says. He’s talking about Reality Theatre Co., a Hong Kong-based company of which he was the director last year. During his senior year of high school, he says that Reality Theatre Co. netted $110,000, completed 34 out of its 35 projects successfully, and received 120 proposals.
The Gilbert and Sullivan Players’ production of “The Gondoliers; or, The King of Bartaria,” which ran from Oct. 30 to Nov. 9 at the Agassiz Theater, was an innovative rendition of the classic Gilbert and Sullivan comedy. The musical was bound to entertain anyone looking for a two-hour treat of impeccable acting and singing accompanied by a sensational set design and a live orchestra.
Cengiz Cemaloğlu '18 is a prospective psychology concentrator and was the director of Reality Theatre Co., a company that socially engineers experiences.
We’re not talking baseball here. “Bat Boy: The Musical” is the wild story of a hero—half-bat, half-boy—who wishes to be accepted by his family and community. But it’s not easy being a mutant. The fast-paced musical poses questions about acceptance and love while walking the fine line between camp and drama.
“It’s telling stories…that brings us together in a community,” director Lelaina E. Vogel ’15 says about “Players,” a student-written drama that will premiere in the Adams Pool Theater on Nov. 14. The show follows Alex (Alex B. Zaloum ’16), a director, in his attempt to put on a show in a war torn city
In the Harvard-Radcliffe Dramatic Club’s production of “Mother Courage,” which ran at Farkas Hall from Oct. 30 to Nov. 1, playwright Bertholt Brecht’s fire was reduced to little more than a meager flicker.
The Harvard-Radcliffe Dramatic Club’s production of "Dogfight" perfectly captures the whirlwind of passion its young characters experience. The production fluidly shifts from lighthearted song-and-dance numbers to moving moments of quiet and sadness. Moreover, the actors infuse an occasionally clichéd storyline with life and emotion through effective singing and acting.
While it may come as a surprise, Shakespeare only wrote of part of “Pericles, Prince of Tyre.” The other half is most likely penned by another writer, George Wilkins. In the Harvard-Radcliffe Dramatic Club’s latest incarnation of this romance, “Pericles” will add even more collaborators as a cast and crew of Harvard students bring their own ideas to the table.
The Pool has a small, relaxed feel to it, and "Carrie and Otis" is a small, relaxed kind of play. It doesn’t try to be thematically grand or artistically ground-breaking; instead, it tries to be sweet, pithy, funny, interesting, and generally fun. And it succeeds.