Word: loeb
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Dates: during 1960-1969
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Ever since Robert H. Chapman became director of the Loeb Drama Center in 1960, his main policy has been not to impose one. "The Loeb capitalizes on student interest," he says. "The idea is to trust in what the students can do, and we keep as light a hand on the production as possible. Our program has evolved; it hasn't been dictated or invented...
Chapman is the senior member of the three-man Loeb staff, the only person who has been with the Drama Center since its planning stages. In 1958, he attended the first meetings of the committee which determined the structure of the Loeb-to-be. When President Pusey appointed Hugh Stubbins to design the Loeb, Chapman helped the architect implement the committe's plans and advised him on the special needs of Harvard theatre...
...duties, which he shares with associate directors Daniel Seltzer and George Hamlin, are largely advisory. With the two associates, he sits in on meetings of the five-man Executive Board of the Harvard Dramatic Club, the student organization which produces nearly all of the plays at the Loeb. He helps Hamlin oversee divvying up the Loeb's $20,000-a-year budget...
...work on a current production, Champan and his two colleagues are there to help answer them. The three have no veto power. They belong to the Faculty Committee on Dramatics, which can, but rarely does, veto choices of plays; it is mainly Chapman who keeps the Committee informed on Loeb activities...
Chapman feels responsible for making sure that the Loeb runs, as he puts it, on a "two-party system" -- that is, for both participants and spectators. In advising the HDC, he tries to see that a balance is struck between educating the students and edifying audiences. When he directs Etherege's Man of Mode next month, it will be both "because it's not the sort of play students would ordinarily do," and because it will permit some of the six or seven hundred people in Harvard's English Department to see what a Restoration comedy looks like...