Word: crutchfield
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...rest of the cast, a few notable performances stand out. The prostitutes Rosalie (Candice C. Smith ‘11) and Adelaide (Victoria J. Crutchfield ’10) are especially skilled in physical acting—their swaying, sipping, and shimmying visually convey a breezy sexuality. In a completely different vein, Adriana I. Colón ‘12 is smart, snappy, and sharply-dressed in her portrayal of Louis de Saint-Just, creating a commanding on-stage presence which complements Robespierre’s own severity...
...Martin Luther King Jr., with rotating chapters containing each of three narrator’s points of view. Ellroy continued this three-narrator formula in this latest novel, following the ex-cop and mob affiliate Wayne Tedrow Jr., FBI Special Agent Dwight Holly, and burgeoning private investigator Don Crutchfield through their increasingly intersecting journeys in the political and social climate of the final phase...
Based on an ancient Greek myth, John Eccles’ early 18th century opera “Semele” is undergoing an update for its latest incarnation in the New College Theatre, albeit one that still keeps it vintage. Director Victoria J. Crutchfield ’10 has transplanted the rarely-performed English opera, which will run through Sunday, to the 1970s with the hope that the inaccessibility of the classical original will melt away with the modernizing adjustments such as the transformation of the original priests into hippies. With this new setting mixing the lighthearted and the dark...
...terms of set design and staging, Crutchfield achieves the feeling of the 1970s through what she terms “fantastically ugly furniture” and “fabulous patterns.” This, however, is only true of the mortal realm; the gods reside in the baroque period. This contrast sets up what Crutchfield calls a “war of patterns”—a battle between the wallpapers and fabrics of the two eras that becomes a major aesthetic element of the performance...
...into a rhythmic groove, by the end of the first act, conductor and orchestra were on the same page. Particularly impressive was the sensitivity with which the players navigated the harmonically difficult passages.Perhaps the greatest asset of the production was its artistic direction under the leadership of Victoria J. Crutchfield ’10. The modern stage design and lighting provided settings with which Harvard students could easily identify: Onstad lamented the loss of his idyllic love while seated at a table covered with empty Solo cups and ping pong balls, several prostitutes passed out next...