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Dates: during 1990-1999
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After a two-year hiatus, the Harvard College Freshman Theater Program is back with a new production of Emlyn Williams' The Corn is Green, a tale of a Welsh coal-mining town in the late 1800s. Although the story takes place in the nineteenth century, some of its main themes, such as class struggle, the plight of rural education and the role of women in a male-dominated world, are still quite relevant. At the center of the play is a young Welsh coal miner, Morgan Evans (Mwashuma Kamata Nyatta), who is taken under the wing of the local teacher...
...sounds confusing, it is. Not many novels open with two people with the same name, as Wide Open does with two Ronnies: the Ronny without the big toes and Nathan's brother. Even fewer rename a main character some way into the text, as happens when Nathan's brother is rechristened Jim by the other Ronny. Clarification is not high on the novel's priorities, either...
...encore was almost better than the main act, giving the audience both "La Grippe," a bizarre fusion between blues, jazz and funk about the influenza pandemic of 1918 and an extremely extended rendition of "I've Found a New Baby," a 1919 song in which every band member was given a chance to perform a solo. Drummer Chris Phillips juggled his sticks and then oranges handed to him by the band, all the while continuing to play; bassist Stu Cole played between his legs as Mathus and Whalen handed out the beads they'd been wearing to the audience...
...voice like Heaney's is so obsessed with the beauty of words and their sound. A large portion of Heaney's lectures focused on his translation of Beowulf and the problems of translation and language in general. Language in all its personal, social and political uses is the main focus of almost all Heaney's poetry. Thus, his political posturing was and still is expressed through the subtleties of language (although the works from his most recent work, The Spirit Level, are infused with a political fire heretofore only hinted at in earlier works...
...Anglo-Saxon. In approaching the Beowulf translation, Heaney faced a different problem--cramming what he called the "giant ingots" of the Anglo-Saxon tongue into the "itty bitty tiny" parameters of moden English, parameters Heaney has broken through with consummate skill in much of his own poetry. His main means of combating this problem was to reject the use of the heraldic language so often used for Beowulf in translation, choosing instead to cast the poem in the pre-chivalric voice of relatives he remembers from childhood as "big-voiced scullions." Thus, in the end, Heaney comes back...