Word: vaughan
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...Sibelius was the only major composer to live longer (91). Schütz and Verdi died at 87, Telemann and Saint-Saëns at 86, and Vaughan Williams and Richard Strauss...
...Vaughan did not turn to academics out of desperation, for his career to date has been a milestone in the serious professional theatre life of this country. With Joseph Papp, he helped found the New York Shakespeare Festival in the fifties, thus creating the single good reason for staying in New York during the summer. The Festival's greatest triumph, the three-play repertory Wars of the Roses presented last summer (two parts Henry VI and one part Richard III ), was both adapted and directed by Vaughan. Between stints with the Festival, he helped organize the repertory company...
...question remains, then: why is he at the Loeb? I talked with Mr. Vaughan last week after the opening of Tis Pity and was surprised at his directness on the subject. "It's a pedagogical experience, not an artistic one," but he seems to have enjoyed his contact with students in the play and those taking his non-credit acting seminar. "I find it pleasant to work with actors attuned to historical and intellectuals" of a work like 'Tis Pity . The same sort of response is, of course, shared by the largely academic audience at the Loeb, and Vaughan finds...
...Vaughan is totally unimpressed with the Loeb as a physical plant. Like most people who have worked with the mainstage, he finds it quite inflexible-essentially good for nothing but proscenium staging. "A lot of money was spent to little effect," he claims, "for an arena capability that doesn't exist." He pointed out that no director could manage a genuinely three-sided staging even when the stage is thrust forward and the seats rearranged. "Who's going to direct for the hundred-odd people on either side when you have six-hundred out front?" The size of the Loeb...
...question of "unfairness" to non-professional actors came up again when Vaughan spoke of Harvard's lack of a resident professional company. "There's something about the Loeb that can never be theatre-under the present circumstances. No one would ever consider hanging only student art in the Fogg Museum." A professional company at the Loeb, he feels, not only would be able to use the mainstage to better advantage-but also could begin to provide some adequate training models for students. Harvard's cherished opinion of itself as something more than a trade school struck him as absurd...