Word: rauch
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Neither Warner nor Rauch would suggest that they always agree on theater issues, or even that they agree most of the time. Even when they do agree, or seem to, their work turns out vastly different. Within the close-knit HRDC community, observers and friends agree emphatically on the main difference between the "Paul aesthetic" and the "Bill aesthetic," though they have different ways of putting it into words. Inevitably, there are partisans, as well as a fair number of people who are quite sure they could distinguish a Rauch or a Warner production if they were put down...
...their two approaches symbolize two sides of Harvard theater--the sensationally experimental versus the humanly experimental," suggests. Ted Osius '84, a fellow director and Rauch's freshman roommate. "Bill really wants to be able to take his shows to Des Moines, Iowa, and have people understand them. Paul is more likely to have very complex intellectual ideas, in which accessibility isn't really the main point...
...common wisdom among theater watchers is that Rauch leans toward the first, appealing side of Howard's paradox, while Warner is more likely to shock and horrify Warner embraces and encourages this interpretation. "Theater is change, it's revolution," he says. "It should frighten people, change them so they don't know what to expect." His shows have sometimes drawn flak from offended critics for their heavy emphasis on sex, particularly bisexuality and androgyny--which he calls "crucial" for breaking down preconceptions, citing David Bowie as an artistic hero and model. The "Paul aesthetic" also includes mylar--greatly in evidence...
...Rauch's "aesthetic" is harder to define. Rather, when people talk about him, the theme which comes up again and again is the clarity and honesty of his vision into people--those in the script and those he is dealing with in rehearsal. "Bill has an amazing ability to get at what's most important in a script, most true in it for us now," says another friend. During rehearsals, Rauch lays great emphasis on working through ideas with actors, seeing what develops spontaneously. "For me there's always been that tension," he says, "between having everything planned...
...there's a tension between having everything planned out and letting things happen naturally. I'm not that good at working things out on paper; I'm better with people.' Bill Rauch...