Word: shepards
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Dates: during 2000-2009
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...corner of tree-lined Walker and Shepard Streets, a stone's throw from the grassy Radcliffe quad, sit the buildings Dean of the Faculty Jeremy R. Knowles refers to as the "least attractive" of all Harvard undergraduate housing...
...snagging that corner office and the big house on Elmwood, think about that L word: legacy. Remember Radcliffe's leader in the Forties and Fifties, Wilbur Jordan? Seventeen years in office, and all he got were some lousy tract houses on Shepard Street named after him. Nathan Pusey got a pile of books stored underground. If Rudy doesn't snag the Memorial Hall Tower, I say grab it. Or how about the Fineberg Forest? Start brainstorming, Harvey. A presidency is a terrible thing to waste...
...uninitiated, Hamlet, perhaps William Shakespeare's best-known tragedy, contains enough murder, lust, spying and intrigue to become the most frequently adapted play in all of cinema. Here, Old Hamlet (Sam Shepard) has died and his brother Claudius (Kyle MacLachlan) has assumed the reins of power in more ways than one. Along with taking over his company, Claudius has married Old Hamlet's wife, Gertrude (Diane Venora), which understandably angers her son, Hamlet (Ethan Hawke). Torn between concerns for his mother and spurred by a visit from his father's ghost, our protagonist seeks to uncover the truth...
From the gritty verbosity of Mamet's American Buffalo to the grief and anxiety of Sam Shepard's Simpatico, theater director Jesse Kellerman '01 is not known for his lighter side. "I wanted to leave audiences shaken and stirred," Kellerman says of the two productions, presented last spring and fall, "not unlike an excessively mixed martini." But with his next production, a collection of short satires and farces on contemporary themes showing this weekend at the Adams House Pool Theater, Kellerman is making a major departure from his dramatic past. For in the thick of reading period stress, the director...
...audience, describing the interviews they did and re-creating them at the same time. There are choice, often harrowing details: the bartender recalling that the two killers paid for their pitcher of beer entirely in dimes and quarters; a deputy sheriff noting that the only place on Shepard's face not caked with blood was where there had been tears; an antigay Baptist minister expressing regret for the crime along with hope that in his last moments Matthew "had time to reflect on his lifestyle." (Shepard is not a character.) All this is enhanced by the shrewdly minimal staging: snatches...