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...Unlike a lot of others, I didn’t do theater as a kid,” says Reddout. “My freshman fall, I played viola in the Harvard-Radcliffe Orchestra and rode crew. Then one day my freshman roommate, and co-recipient of the award, Christine [K.L. Bendorf ’10] heard me singing and told me to audition for something...
...some very good races, but a lot of bad ones too,” Wareham said. “It was definitely tough conditions, but you can’t blame that. We had some major mess-ups at the start—we need to work on that this weekend at semifinals...
...It’s a hard thing to work with because a lot of times people know what they want the set to look like and do,” Shields says. “There’s a constant revision process and you have to find a balance between the set being interesting… and facilitating the action of the play. It can be a challenging process particularly as you work with new directors whose ideas change quite a bit… and as you try to nail down what you’re doing more...
...gets this play, and knows how to use humor to really bring out the absurdity of the script,” Federman says. Stone saw potential in the tension and energy of Shakespeare’s and Wilkins’ joint work. “The script poses a lot of problems right off the bat, and the cast and I necessarily rose to the challenge to come up with exciting solutions,” he says...
...tell a lot about an ending by seeing how long it takes people to start clapping,” he says. “If it happens too slowly, it means that they weren’t ready for it. If it happens too quickly, it means that it was too obvious...