Word: hdc
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Dates: during 1960-1969
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...HDC's influence at the Loeb during its first four years was erratic and undefinable. Student directors generally chose their own plays, but often with advance consideration for what the Faculty Committee would tolerate. In a few instances when undergraduates put forth radical proposals, they were quickly overruled...
...Spring of '61, Mark Mirsky wanted to stage The Jew of Malta, but it was rejected by the Faculty Committee, ostensibly because of the difficulty of finding a lead actor. Unofficially, HDC members speculated that fear of incurring outside criticism had been the real reason for the committee's acton...
Frustrations like these were not uncommon. Yet they resulted as much from the fragmented structure of the HDC as from concerted faculty attempts to exert control. HDC membership meetings were loud, long and fruitless--particularly since no amount of discussion could overcome the organization's overriding problem: lack of money...
...HDC non-Loeb productions had been unprofitable, and Loeb profits, such as they were, went to the University, which also financed all mainstage productions. The HDC's main source of funds -- the green-room Coke machine -- was unable to keep the HDC above water, and by the Fall of '64 the Harvard Dramatic Club was all but bankrupt...
Until then the HDC had been an admirable participatory democracy. There was a five-man executive committee, but it had no real power, and its operations were under the complete control of the whole organization. The HDC met en masse whenever there was an important question to decide. Plays were selected in much the same way as a party nominates its presidential candidate, only with less decorum...