- Subscribe via RSS
Harvard-Radcliffe Dramatic Club's “Players” pokes fun at the life of the actor, a life that seems dramatically more foolish—perhaps even more self-servingly ridiculous—in the context of war. Playwright Alice Abracen’s ’15 script captured those comedic moments successfully with heart, while the play’s darker notes seemed confused, if not unnatural.
The time is 1666, and you are sitting in a Paris salon among corseted women and foppish dandies. However, as indicated by the lines above, you are not listening to dialogues in standard 17th-century verse. The humor is undoubtedly right here, right now in Harvard-Radcliffe Dramatic Club’s “School of Lies,” a new play that will open at the Loeb Experimental Theater and run from Dec. 5 to Dec. 13.
John Wilkes Booth, Guiseppe Zangara and Charles Guiteau. These are the names from history textbooks—men who tried to assassinate American presidents. They are also the subjects of a new Harvard-Radcliffe Dramatic Club production that will open at the Oberon on Friday, Dec. 5th.
Check out the crunched data of the results of the 2014 Arts Year in Review poll, with links to relevant reviews and articles.
The Harvard-Radcliffe Dramatic Club’s production of Frank Wedekind’s “Spring Awakening,” which ran in the Loeb Ex from Nov. 14 to Nov. 22 and was translated and directed by kat baus ’15, was a piece that inspired mixed emotions. On the one hand, it was well staged and delicately acted. On the other hand, set against those not insignificant virtues was the impression that the actual text of “Spring Awakening” is not a very good play qua play.
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.