Word: lithgow
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...this issue in general, the best I have seen in any Advocate and several pieces of the art-work in particular. Freshman Terry Furchgott's cover Pegasus gives the winged-horse intriguing stylized pectoral muscles, and a mane that looks more like the tresses of Beardsley maidens. John Lithgow's angel woodcut is the most beautiful piece of art I have seen him create. Another smaller woodcut of three musicians appears later, and though not credited, looks like Lithgow's work...
...formula which solved everything was developed by John Anderson '66, who later went into cahoots with John Lithgow '67, then a sophomore and already recognized as one of the best actors to come through Harvard in years. Anderson and Lithgow suggested that the executive committee become self-perpetuating--that it choose its own new members--and that it alone be entrusted with selecting plays for mainstage production. In return for this concession to Faculty feelings (Chapman's in particular), the HDC was to pass on all Loeb productions, and its finances were to be regularly replenished through benefit performances...
...most amazing part of Anderson and Lithgow's proposal was their method for choosing the first new executive committee. They simply suggested that, together with Laura Esterman '66 and David Maynard '67, they would become the executive committee. This, understandably enough, aroused the fury of many HDC members...
Chapman, however, liked the idea, even though he did suggest that a fifth person be admitted into the new body: Timothy S. Mayer '66, president of Harvard G&S. Chapman thought this would make the committee more representative of all undergraduates interested in Harvard theatre. Anderson, Lithgow, Maynard, and Miss Esterman concurred...
...much for acting. The lighting is execrable throughout, being never much more than a subdued murkiness that kills most of the excitement of Lithgow's wonderfully staged crowd scenes. The music is strange, not, I suspect, completely because it was composed that way. The pace of many big scenes (all of those in the inn, for example) is nowhere near the feverish tempo that should drive Woyzeck to final destruction. And the timing of small bits is often fuzzy, so that Woyzeck's knifing of Marie, for instance, is only feebly chilling...