Sellars

To the Editors of The Crimson:

In a front page article of a few weeks back, you announced of an "event" to occur in the IAB on March 18, in celebration of the 10th anniversary of the Office of the Arts. A mixed-media spectacle featuring a cast of 800 from all of the Harvard performing arts groups, this is to be directed by Harvard graduate Peter Sellars '80.

Shortly following the publication of the article, I and other managers of performing arts groups received notice of a meeting to discuss the event. Having previously discussed this with the Harvard-Radcliffe Orchestra, I was prepared to offer the services of the 20 or so volunteers towards the musical element of the performance.

Upon attending the meeting, however, and listening Peter Sellars rave, my cautious optimism was replaced by skepticism and then disgust. Those in attendance were first treated to a cursory summation of the plans, and then an extended glorification of Sellars' past performances. The director's discourse was nothing short of ridiculous--while some thespians might find such self-centered badinage amusing. I and others merely grew impatient. My desire to walk was only tempered by my wish not to be lambasted by Sellars as a non-visionary "scumhead", as potential walkouts on the 18th were labeled. Besides, some members of the orchestra had expressed an interest, and I was there as their representative.

But Sellars didn't want members of the orchestra, he wanted the orchestera Finally asking each group how it wished to participate, he told them how they would participate: I was told the 95 member orchestra was to perform La Mer. Approaching him later with my concerns about such expectations. I was informed that, well of course there are ways to light mathees under their feet, maybe threaten to kill them, ha ha. Well, the joke's on Mr. Sellars--under my leadership the orchestra will never participate in any event associated with him in any way: I know of others that feel the same way.

What highlighted Peter Sellars' egoism and insecurity that evening did not have to do with the orchestra, though. Having previously decried artistic intolerance in others, Sellars demonstrated himself as a hypocrite of the worst sort, insulting the validity of the Harvard-Radcliffe Gilbert & Sullivan Society, cast and material both. It's true that Mr. Sellars was refused the directorship of a G&S production as an undergraduate: his subsequent poorly-reviewed production of an adulterated Mikado demonstrated why. But to hold a grudge against an uninvolved party because of thwarted aspirations of years before is not only unmerited, but unbelievable. How Sellars has succeeded (as some might claim) in the professional world with a personality such as his remains a mystery to me.

It's a shame that the Office of the Arts, a valuable contributor to undergraduate artistic life at the University, has chosen Peter Sellars to direct the celebration of its 10th anniversary. I must praise student producer Anne Higgins for her initiative and her efforts; I can only express my extreme concern for her having to deal with a professional egomaniac of the worst sort I wish her and all the others the best of success. As for Mr. Perter Sellars, I suggest he stand in the middle of Harvard Square some Saturday afternoon; this might provide him with the chaos he intends for the audience on the 18th. With any luck, the car horns might cover his grating voice, making life happier for many a "non-visionary." Jonathan A. Epstein '85   President   Harvard-Radcliffe Orchestra