Word: loeb
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Dates: during 1960-1969
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...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...
This probably would have continued indefinitely, but for the HDC's impending financial ruin. To avoid complete bankruptcy, HDC leaders realized they needed at least a small share of Loeb proceeds. It was suggested that the HDC become co-sponsor of every Loeb production, and that HDC benefit performances be scheduled when necessary. This was unacceptable to the Loeb's administration, which looked with disfavor on the process of assigning mainstage slots by vote of the HDC's whole membership...
...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...
Every revolution needs a leader, and the Spring '65 upheaval at the Loeb proved no exception. Power was fine, but there had to be someone on the newly enfranchised HDC executive committee to consolidate and exert it. That someone quickly became Timothy S. Mayer '66, president of Harvard G&S and one of the five self-appointed leaders of the new HDC hierarchy...
...Fall of '64, for the gargantuan sum of $8000, Mayer had mounted a dazzling production of Gilbert and Sullivan's Utopia, Limited on the Loeb mainstage. He lost no time getting to the vital center of HDC politics...