Word: lorenzaccio
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Dates: during 2000-2009
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...Scheib, the Harvard-Radcliffe Dramatic Club’s (HRDC) current visiting director, knew that Lorenzaccio had to be a period piece, using dingy Chinese restaurants, pineapple bras and stiletto heels as emblems of the current time period...
Scheib stages Lorenzaccio from a 1993 translation by Paul Schmidt, who didn’t always take de Musset literally, but nevertheless ended up being faithful to him. Lorenzaccio was meant to be kept contemporary, whether that meant seeing the chaos of Renaissance Florence in 1830s Paris or 21st-century America. What Scheib didn’t know, right up until the show was cast, was that the scoundrel Lorenzaccio would wear braids...
...wanted somebody who was prepared to come into a student environment and shake things up and go nuts,” said Margo, who is also a Crimson editor. The HRDC Board was most excited by Scheib, who presented, among other ideas, Schmidt’s gritty translation of Lorenzaccio and a vague hint of the theatrical use of “multimedia...
...Granted, Lorenzaccio isn’t perfect. It features perhaps too much running around for no apparent reason, and its random, excessive bits of physicality (I don’t think there’s any character in the play who doesn’t push all of the others at some point) can occasionally seem poorly executed. Readings of the play looking for a rigid message or in-depth treatment of themes on a level beyond the atmospheric might have further qualms. Indeed, Scott R. Wilson ’04, Lorenzaccio’s dramaturge, should never, ever...
Taken overall, however, Lorenzaccio is subtle even in its moments of seeming heavy-handedness—or, rather, it’s heavy-handed in a professional, evocative and functionally dramatic way. Animated by Scheib’s supreme sense of action, Lorenzaccio is a persuasive winner, an earnest effort at presenting its audience with complicated, challenging theater...