Word: warners
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Dates: during 1980-1989
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...There is this feeling that Paul and Bill are on a different plane from the rest of us," says Moira Ariev '85, a Harvard-Radcliffe Drama Club (HRDC) member who has worked on the last four of Warner's shows. "At first when you hear their names bracketed together, the way they constantly are, you think it's unfair because they're so different. But in another way it's sort of true...
...average Harvard theater-goer who hears the names Warner and Rauch constantly lumped together, that difference--a very definite one in style and approach--may not be apparent. Superficial similarities do abound. Both Rauch and Warner wince at words like "experimental" and "avant-garde," but one thing is undeniable: Nobody who goes to a production by either of them expects familiar renditions of old favorites, even when the posters promise Romeo and Juliet or Twelfth Night or even Cinderella. There are sure to be challenges--women playing men, men playing women, audience members sitting on stage, actors operating curtains...
What really links the two in the eyes of the community, though, is their sheer visibility--a level of intensity and variety which separates them from most of their colleagues. Asked to count how many productions he's done, Warner counts, thinks again, and eventually comes up with 16--a figure which includes quite a few off-campus productions done in Boston theaters with his semi-professional repertory group, the Temperamental Ensemble. Rauch takes longer and gets to "somewhere in the early twenties" before throwing up his hands in despair at this spring's schedule. Instead of directing...
...been a safe rule of thumb that in any given semester, roughly one half of all the interesting theater happening on campus can be traced to either Rauch or Warner. Take, for instance, the spring of their sophomore year. On the Loeb Mainstage, Warner was sparking anticipation, controversy, and eventually furious critical disapproval with a vast and intricate and blindingly tinselled version of Aeschylus's Agamemnon--a sort of high-tech extravaganza in which Clytaemnestra rode an electric wheelchair, the murdered king appeared as a scrawny kid in giant shoulder pads, and the Chorus donned shades and bopped...
...Warner: I hate the word "experimental" Saying "avant-garde" is just a copout, either something works or it doesn...