Word: main
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Dates: during 1960-1969
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...laboratories with the Cambridge Electric Company's steam generating plant on Western Avenue, several blocks below Dunster House. Unlike the Central Kitchens food tunnels (which are closer to the surface and a separate system altogether), the steam tunnels are not used for transportation. Instead, they carry the University's main utility lines; steam pipes for heating nearly all of Harvard, power and telephone cables, even WHRB's transmission lines...
...Kingsbury explained that the four shaded blocs are all served by the Tunnel but that one of them--the Business School and Soldiers Field area--is not yet fully integrated with the other three. These others are the "North Yard" (everything north of Kirkland Street), the "Main Yard" (everything between Kirkland Street and Massachusetts Avenue and the river). In each, distribution of steam is fully automatic. We found out that the two small shaded areas on the map are independent of the Tunnel but nonetheless under Buildings and Grounds administration. (One includes the Loeb Drama Center and part...
...explained, allow for horizontal expansion when steam is turned on; without them, the rigid metal pipes would buckle disastrously due to sudden increases in temperature. Because the joints are the most likely sites for leaks to develop, they must be inspected and maintained continuously, and are one of the main concerns of the Tunnel engineering force...
...this action (set to music by Elliot Carter) was described with great enthusiasm by a four-part men's chorus while the 'Cliffies sat on the sidelines. In obedience to the score, the men chanted much of the time in tricky dotted rhythms, with no notes. Rhythms provide the main musical interest of the piece, and the chorus, under Elliot Forbes's careful direction, handled them precisely. Thomas Gutheil, the narrator, pranced gaily about the stage as he recited his part; were it the good old days, he would have a long vaudeville career ahead...
...purists will point out that the Victorian never-never-land of the operetta and the memorable songs deserve most of the credit, but last night's show was a better than main-run performance. Carol Schechtman's direction departs from the traditional background, and with good effect. The small stage never seems cluttered, even with the full cast dancing. The blocking is put to best use in the first act finale, and if the dancing is two-step rich, it is spirited and colorful...