Word: hdc
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Dates: during 1960-1969
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John H. Finley '24, Eliot Professor of Greek Literature, while on the way to his Harvard doctorate managed to find time to write the masque Thalia; or, A Country Day (1929). A charming if overwritten work, Thalia was most recently performed by the HDC Actors' Laboratory...
Thornton Wilder, during his year here (1950-51) as Charles Eliot Norton Professor of Poetry, gave assistance to the HDC in its production of his Skin of Our Teeth. While living in Dunster House, Wilder did quite a bit of work on a play called The Emporium, which contained much intriguing material. Wilder is an exceedingly slow and self-critical worker; and he still has not completed this play to his satisfaction...
...HDC also had a series of 11 low-budget Workshop productions. Besides providing one student a chance to test his playwrting on audiences (as indicated earlier), the Theatre Workshop gave Beckett's Krapp's Last Tape, Ionesco's The Bald Soprano, Adamov's Professor Taranne, Fry's A Phoenix Too Frequent, Synge's Shadow of the Glen, Genet's The Maids, David English's Waiting for Goodman, Robert Shure's Twink, Ionesco's Jack and O'Neill's The Rope. The production of the last-named was totally inept, but the rest were well worth a visit, with outstanding performances...
...HDC, with an unusually ambitious schedule of five major productions, clearly had a successful season--a welcome change from the poor one of the previous year. The opening choice, Williams' The Glass Menagerie, received an affecting rendition in Agassiz under the direction of John D. Hancock '61--with laudable work in each of its four roles by Mary Graydon, Kathryn Humphreys '60, Joel Crothers '62, and Peter G. Gesell '61. There followed, under John C. Beck '60, an adequate if unexciting traversal of Giraudoux's Tiger at the Gates at Pi Eta. In the spring, Agassiz housed the group...
...same theatre saw the HDC reach its climax with an unforgettably moving production of Wilder's Our Town, under the inspired direction of Stephen H. Randall '60, who obviously raised his performers higher than they themselves thought capable. I ought to tick off every one of the two dozen or so in the cast, but must content myself with mentioning the Stage Manager of Mark J. Mirsky '61 (who therein displayed enormous progress in acting, an impression confirmed by his expertly elocuted Thersites in the recent Troilus and Cressida), the Mrs. Gibbs of De French, the Mrs. Webb of Dixie...