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...interesting theater happening on campus can be traced to either Rauch or Warner. Take, for instance, the spring of their sophomore year. On the Loeb Mainstage, Warner was sparking anticipation, controversy, and eventually furious critical disapproval with a vast and intricate and blindingly tinselled version of Aeschylus's Agamemnon--a sort of high-tech extravaganza in which Clytaemnestra rode an electric wheelchair, the murdered king appeared as a scrawny kid in giant shoulder pads, and the Chorus donned shades and bopped to a syncopated beat...

Author: By Amy E. Schwartz, | Title: The two masks of Harvard drama | 6/7/1984 | See Source »

...shows have sometimes drawn flak from offended critics for their heavy emphasis on sex, particularly bisexuality and androgyny--which he calls "crucial" for breaking down preconceptions, citing David Bowie as an artistic hero and model. The "Paul aesthetic" also includes mylar--greatly in evidence in Twelfth Night and Agamemnon--electronic music, sinuous or overtly sexual body movement, and provocatively incongruous props. His attacking bear in Winter's Tale at the Agassiz this fall wore a Brown Bruins baseball cap and set fire to his victim's back with a cigarette lighter. The classically pastoral feast several scenes later was catered...

Author: By Amy E. Schwartz, | Title: The two masks of Harvard drama | 6/7/1984 | See Source »

Even before they went out to dinner, it was fairly obvious to first-afternooners that Playwright O'Neill has moved Greece to New England. Those who knew their Euripides were quick to detect a parallel between Mourning Becomes Electra and the classic tragedy, recalled how Agamemnon, returning from the Trojan War, was killed by his wife (Clytemnestra), how the long-lost son Orestes finally killed his mother's lover and his mother at the instigation of Elektra...

Author: /time Magazine | Title: THE THEATER 1931: MOURING BECOMES ELECTRA by Eugene O'Neill | 10/5/1983 | See Source »

...first time in 77 years that such a play had been staged in the stadium, whose stone bleachers suggest a classical amphitheatre. The inspiration for the play came from a 1906 production of Aeschylus' "Agamemnon"--the last time a tragedy was staged on the gridiron. Therese Sellers '83, president of the Classics Club and leader of the play's Greek chorus, said yesterday...

Author: By Per H. Jebsen, | Title: Euripides Conquers Harvard Gridiron | 5/9/1983 | See Source »

...most famous scenes of Mother Courage--"The Song of Capitulation," "Solomon's Song"--but it does have its moments. Peter Becker's "Son of the Hours" is splendid, as are some of the comic interludes. And Mother Courage makes far better use of that enormous Mainstage space than did Agamemnon and some of the other undergraduate disasters of years past...

Author: By Kathleen I. Kouril, | Title: A Courageous Attempt | 4/9/1983 | See Source »

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