Word: kopit
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...Harvard theater was thriving when the Loeb took the stage. “There was theater all over the place and it was pretty damn good,” said Arthur L. Kopit ’59, a playwright and Tony Award winner. Fourty-five plays had been performed in 1957 alone, productions ranging from student-written work to Shakespeare. Professional critics frequently visited from Boston to comment on current productions...
...existing performing spaces—the Agassiz Theater and Sanders Theater—were auditoriums rather than theaters. They lacked any mechanical support, such as lighting, for theatrical productions. Most plays happened in dining halls. “There was no technology,” Kopit said. “It was very primitive...
...designed to have a black box theater,” said Henning. The lighting board would be computerized—something students had never seen before, said John D. Hancock ’61. “It was a very fine theater for its time,” Kopit said...
...Plays for the Loeb would have to be faculty approved, a bureaucratic barrier that students had not encountered before. “Once you had a major space that cost a lot of money, you had to have decision making on a faculty level,” Kopit said. Obtaining space in the Loeb depended on one’s relationship with faculty members, notably Robert Chapman, the director...
...University, and I still think it doesn’t.” For the most part, that same de-institutionalized, extracurricular spirit has persisted despite the campus presence of theater professionals. WHY BOTHER?But this situation has not always been seen as a negative one.Playwright Arthur L. Kopit ’59 , who wrote “Oh Dad, Poor Dad, Mamma’s Hung You in the Closet and I’m Feelin’ So Sad,” which premiered at the Agassiz Theatre in 1960 before moving to Broadway, and which was also...