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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.
Though the plot is wanting in "Lakmé," the production succeeds due to the beautiful score, brought to life by its talented musicians and singers.
Director kat baus ’15 takes a different perspective on Charlie Brown, his gang of friends, and, of course, his beloved dog Snoopy. Instead, the production brings to the stage a sequel that follows the comic strip’s characters into their darker teen years in Bert V. Royal’s “Dog Sees God: Confessions of a Teenage Blockhead.” It will run from March 27 to 29 in the Adams Pool Theater.
With an impressive cast of 19, the operetta centers on the beautiful Patience (Claudia D. Oh ’17) and her search to determine the true meaning of love from the attempts of both the self-centered Reginald Bunthorne (Joseph S.H. Goodknight), and the flawless, widely-loved Archibald Grosvenor (Zachary Mallory) to court her.
Saturday Night Live comes to Harvard in a brand new way with “SKETCH.” Running from March 27 to 29 in the Loeb Ex, director Karen Chee ’17 offers a fresh take on Harvard theater, diverging from the plays and musicals often produced through the Harvard-Radcliffe Dramatic Club with a night of sketch comedy.
"Lakmé" explores the doomed relationship between an Indian woman and a British soldier during England’s occupation of India.
“The story could be summarized as a star-crossed love story,” Sam R. Moore ’15, producer for Lowell House Opera’s production of “Lakmé,” says. For an opera that explores the conflict that ensues when an Indian woman falls for a British soldier during England’s occupation of India, the description seems apt. For Moore, however, the label fails to entirely capture the opera, and during the show’s run from March 26 to April 5, the cast and production team hopes to create a more comprehensive image.