The Feminine Mystique

The Levi- and tee shirt-clad group of young men on the stage is evidently rehearsing for a play: they say their lines and listen as the director shouts advice. But there is something odd about this wholesome-looking bunch: they speak in high falsettos, some swing their hips a la Marilyn Monroe, one wears a luxuriant wig of long, flowing curls.

While the garb may seem unusual, the actors are taking part in one of Harvard's oldest theatrical traditions, the all-male Hasty Pudding show, where effeminacy is a virtue and padded bras are the norm.

Rehearsals for this year's production began last week, but the show has been in the making since last summer, when groups of undergraduates submitted scripts in competition to be selected by the officers of Hasty Pudding Theatricals Entires this year included a Depression stock market drama and a James Bond-type adventure, but Jungle Belles, written by Anthony D. Calnek '84 and Alison R. Taylor '84, won out.

"The Hasty Pudding's never done a jungle show before," says Adam M. Isaacs '84, president of Hasty Pudding Theatricals, adding "and this script has that sparkle that makes a real Pudding show."

Jungle Belles follows the long Theatricals tradition of farce, humorous melodrama, and painful puns. It is set in the 1480s in a jungle where Amazon "women" live under the benevolent rule of Queen Foraday. Their manless solitude is interrupted by the arrival of the Conquistadores, led by Captain Walter Wallcarpeting and the priest Missionary Position. A battle of the sexes ensues, further complicated by the romance of the Queen's daughter, Kitty Litter, and the Captain's son. Jim Panzee, not to mention the songs, dances, and infamous chorus line. The requisite happy ending is accomplished with the help of Kitty's Auntie Emanem and the witch doctor Witch Waysup.

Co-writer Calnek, who has acted in previous Pudding shows, says he used the jungle theme because "I like the setting and I really liked the idea of men being Amazons. "Calnek is also writing a history of the Hasty Pudding Theatricals which be hopes to publish for independent study credit.

Casting, which takes place in December, is the next ingredient in the makeup of a Pudding show. This year's tryouts, according to the actors, were widely attended and "very intense." The Pudding hopefuls must be able to act, dance, sing, and some, in addition, must have a certain feminine charm. Most have had acting and singing experience in high school and at Harvard. The selected cast, which numbers 16, is nearly all first-timers to the show, a situation unprecedented in the Theatricals, which usually relies on returning veterans of previous shows to fill the ranks of its requisite chorus lines.

"Having so much new talent is really good," says Ronald M. Duvernay '87, who plays Conquistadore Miguel Lefmebleu, adding "We're more enthusiastic because the production isn't old hat to us."

Most of the actors says they were attracted to the show because of its long tradition (Hasty Pudding Theatricals is the oldest theatrical organization in the country and is reputed to be the third oldest in the world) and its professionalism.

"It's a thrill to have devoted time to something that's such a well-known tradition," says W. Tucker McCrady '87, who plays Conquistadore' Juan Tadance.

"I tried out because my father was in one of these, playing a character called 'Humility,' and he said it was fun," says Brad Daley '86, who plays Amazon Dolly Llama, adding "so now I'm just one of the girls."

back to 1844, when Club, founded in 1795, cast a main in the role Bombastes Furioso, course, no female members. The play was given in Hollis 11 and the ovations for the man in the lowcut dress were so wild that the idea immediately became an institution.

The first Pudding plays were farces adapted from the professional stage, with costumes and scenery made by students and were performed in the club's room in Holworthy By the 1860s the shows played in Cambridge and Boston, and the scripts began to be exclusively student written. Some became nationally famous, such as 1882's Dido and /Eneas. reputed to be the first musical comedy in America. At this point the scripts also began to assume the pun-filled risque quality of today's shows. The trend culminated in 1915's Bumming in France which had tasteful characters like Ivan E. Rexionne and Willy Cracker.

In 1888 the club moved to its present quarters on Holyoke St., and in 1891 it began the tradition of presenting its show to the public each spring. Since then the show has become increasingly more elaborate, and the themes more centered on the here and now. Past productions, many with famous writers such as John Reed' 10, have satirized the Russian Revolution (1919's A Bit of Bolshevism), the McCarthy era (1952's Seeing Red), and college activism (1965's No Hard Feelings.)

Today, the Pudding show has grown to such proportions that Distaffina and the Hollis 11 crew would hardly recognize it. According to publicity manager Gloria R. Beck '85, this year's production has an overall budget of around $180,000, with $22,000 going to costume production and $9000 going to construction of the set. The Theatricals is nonprofit, with the revenue from each show paying the costs of production. This year, however, some of the money made from the show will be set aside to help renovate the Hasty Pudding Theater, which needs a new roof and seats.

"It's an historic building, but we can't afford to fix it," says Gail M. Aidinoff '84, co-producer adding, "This is the first time an effort's being made."

According to Aidinoff, the play's income is derived mainly from ticket sales and advertisements in the show program. Reciprocal deals are also made with local stores like Top Copy and Cafe Aventura, which contribute services in exchange for an ad. A most notable contributor is Filene's department store, which this year is donating $250 worth of brassieres to support the show's efforts.

Another testimonial to the show's increasing professionalism is the professionals themselves. The play's director music director and supervisor, chorcographer, costume designer, and set designers are all professionals from outside Harvard who are paid salaries by the Hasty Pudding Theatricals for their work on the show. They were hired by the play's producers who ran job advertisements, accepted resumes, and interviewed over the summer. The professionals seem to be drawn to the Pudding production for much the same reasons as the students.

Michael Pereival, director of both this and last year's show, came from Noble and Greenough School, where he was chairman of the Performing Arts department. "I wanted to be a part of this long standing tradition, and I'd heard about the spirit and enthusiasm of the show," he says.

Percival adds that the biggest challenge in putting on the show is the pressure of time, a concern that is voiced by almost everyone in the production. Because of Christmas vacation and exam period rehearsals cannot begin until February, which leaves only three weeks for the actors, tech crew, and band to whip the production into shape in time for the first show on February 22. The actors have the toughest schedule, with rehearsals running from 2 to 11 p.m. on weekdays, 10 a.m. to 6 p.m. on Saturdays, and 1 to 10 p.m. on Sundays.

"It's fun, but a lot of work," says Leonard W. Dick '86, who plays Jim Panzee, adding "The professionalism is almost overwhelming."

It's very difficult: you must sacrifice your friendships for a while," comments Jonathan S. Shapiro '84-5, who is playing Missionary Position while trying to write a thesis.

The time commitment does not stop there. There will be 42 shows, counting previews, after February 22, which constitutes the longest run of any collegiate show. After performing in Cambridge, the group will tour to New York, where they will play the Hunter College Playhouse, and to Bermuda, where they will play Hamilton City Hall.

Traveling to Bermuda is a tradition that started around 25 years ago, according to Isaacs, and for many it will be the high point of the long tour. Events there will include a party at the U.S. Consul-General's residence and a private boat cruise around the island.

"It's a great audience" said Isaacs, "we get a great mix of college kids and Bermudian British it's a really big deal for them."

The extensive touring puts in additional burden on the tech crew. 15 of whom work on the set under the direction of the set designer. The set has to be constructed, taken apart, moved, and reconstructed many times during the tour, and scenery elements like tigers, flamingoes, ships, and a volcano must be built to stand the wear and tear.

An outstanding event in the Hasty Pudding show is the annual selection of the Man and Woman of the Year, a traditional that began in 1951 with the selection of Gertrude Lawrence Honored stars in the past have included Mamie Eisenhower. Lauren Bacall, and Meryl Streep for the women, and Bob Hope Jack Lemmon and John Travolta for the men The honorees are chosen by the show's producers and the president and officers of the Hasty Pudding Theatricals 1984's woman of the Year, John Rivers will be presented with her award at the Hasty Pudding on February 15 following a parade through Cambridge. The Man of the Year, Sean Connery of James Bond fame, will be given his award at the first performance on February 22.

According to Beck, the show's publicity of fice has been deluged with calls from people wanting to meet the celebrities.

"We've gotten calls from a guy who says he's a great impressionist and can do a great Sean Connery," Beck says. "He want to audition for the part."

The other major pre-show event will be the dress rehearsal on February 21, called "Strawberry Night" for unknown reasons. The dress rehearsal performance is given annually for Hasty Pudding Club alumni. This year marks the 50th anniversary of the 1934 Pudding production of Hades the Ladies, which was directed by Alistair Cooke of Masterpiece Theater fame, so during intermission on Strawberry Night, Cooke and members of the cast of 1934 will perform some numbers and dances from their show

All those involved in the show emphasize that the concentrated effort of putting together such a long-running production creates a closeness and esprit de corps not found in other college activities.

"It's amazing the way all the different groups are working together," says Aidinoff. "We have the cast, tech crew, band, business and publicity offices, but no rivalry.

Duvernay says, "The best part was meeting the people in the show. I didn't know what to expect, but I'm making a lot of friends."

Even with the pervasive professionalism, the long hours, the extensive run, and the heavy tradition behind it, all acknowledge that the show is essentially just fun to do. This is due to the basic irreverence of the plays themselves, it's hard to be pretentious with a name like Missionary Position. Yet even the humor can provide challenges for the cast, most notably the challenge of acting like a woman when you're just an ordinary guy.

"My character has been hurt by men; she's power-crazed, ruthless, and sublimates her need for men," comments Uzal S.H. Taylor '86, who plays Queen Foraday, "It's hard to be convincing playing this woman."

"It's fun to work with all guys," said McCrady, "but trying to switch sexes is a real challenge."

Even those not in the cast have identify problems. Says director Percival, "It gets confusing; my pronouns are constantly getting screwed up. I call a he a she."

But in spite of the confusion, no one feels the need for women in the cast Said Percival, "The show would not have the same appeal, to both sexes, that it does."

Besides, it's a great education. As one of the Amazons says, "Dressing up like a woman really strikes you; it gives you a whole new perspective on the world."

The show's tradition goes back to 1844, when the venerable Hasty pudding club-founded in 1795, realized that it had to cast a man in the role of Distaffina in its first play, Bombastes Furioso because there were, of course, no female members.

The first Pudding plays were farces adapted from the professional stage, with costumes and scenery made by students and were performed in the club's room in Holworthy By the 1860s the shows played in Cambridge and Boston, and the scripts began to be exclusively student written. Some became nationally famous, such as 1882's Dido and /Eneas. reputed to be the first musical comedy in America. At this point the scripts also began to assume the pun-filled risque quality of today's shows. The trend culminated in 1915's Bumming in France which had tasteful characters like Ivan E. Rexionne and Willy Cracker.

In 1888 the club moved to its present quarters on Holyoke St., and in 1891 it began the tradition of presenting its show to the public each spring. Since then the show has become increasingly more elaborate, and the themes more centered on the here and now. Past productions, many with famous writers such as John Reed' 10, have satirized the Russian Revolution (1919's A Bit of Bolshevism), the McCarthy era (1952's Seeing Red), and college activism (1965's No Hard Feelings.)

Today, the Pudding show has grown to such proportions that Distaffina and the Hollis 11 crew would hardly recognize it. According to publicity manager Gloria R. Beck '85, this year's production has an overall budget of around $180,000, with $22,000 going to costume production and $9000 going to construction of the set. The Theatricals is nonprofit, with the revenue from each show paying the costs of production. This year, however, some of the money made from the show will be set aside to help renovate the Hasty Pudding Theater, which needs a new roof and seats.

"It's an historic building, but we can't afford to fix it," says Gail M. Aidinoff '84, co-producer adding, "This is the first time an effort's being made."

According to Aidinoff, the play's income is derived mainly from ticket sales and advertisements in the show program. Reciprocal deals are also made with local stores like Top Copy and Cafe Aventura, which contribute services in exchange for an ad. A most notable contributor is Filene's department store, which this year is donating $250 worth of brassieres to support the show's efforts.

Another testimonial to the show's increasing professionalism is the professionals themselves. The play's director music director and supervisor, chorcographer, costume designer, and set designers are all professionals from outside Harvard who are paid salaries by the Hasty Pudding Theatricals for their work on the show. They were hired by the play's producers who ran job advertisements, accepted resumes, and interviewed over the summer. The professionals seem to be drawn to the Pudding production for much the same reasons as the students.

Michael Pereival, director of both this and last year's show, came from Noble and Greenough School, where he was chairman of the Performing Arts department. "I wanted to be a part of this long standing tradition, and I'd heard about the spirit and enthusiasm of the show," he says.

Percival adds that the biggest challenge in putting on the show is the pressure of time, a concern that is voiced by almost everyone in the production. Because of Christmas vacation and exam period rehearsals cannot begin until February, which leaves only three weeks for the actors, tech crew, and band to whip the production into shape in time for the first show on February 22. The actors have the toughest schedule, with rehearsals running from 2 to 11 p.m. on weekdays, 10 a.m. to 6 p.m. on Saturdays, and 1 to 10 p.m. on Sundays.

"It's fun, but a lot of work," says Leonard W. Dick '86, who plays Jim Panzee, adding "The professionalism is almost overwhelming."

It's very difficult: you must sacrifice your friendships for a while," comments Jonathan S. Shapiro '84-5, who is playing Missionary Position while trying to write a thesis.

The time commitment does not stop there. There will be 42 shows, counting previews, after February 22, which constitutes the longest run of any collegiate show. After performing in Cambridge, the group will tour to New York, where they will play the Hunter College Playhouse, and to Bermuda, where they will play Hamilton City Hall.

Traveling to Bermuda is a tradition that started around 25 years ago, according to Isaacs, and for many it will be the high point of the long tour. Events there will include a party at the U.S. Consul-General's residence and a private boat cruise around the island.

"It's a great audience" said Isaacs, "we get a great mix of college kids and Bermudian British it's a really big deal for them."

The extensive touring puts in additional burden on the tech crew. 15 of whom work on the set under the direction of the set designer. The set has to be constructed, taken apart, moved, and reconstructed many times during the tour, and scenery elements like tigers, flamingoes, ships, and a volcano must be built to stand the wear and tear.

An outstanding event in the Hasty Pudding show is the annual selection of the Man and Woman of the Year, a traditional that began in 1951 with the selection of Gertrude Lawrence Honored stars in the past have included Mamie Eisenhower. Lauren Bacall, and Meryl Streep for the women, and Bob Hope Jack Lemmon and John Travolta for the men The honorees are chosen by the show's producers and the president and officers of the Hasty Pudding Theatricals 1984's woman of the Year, John Rivers will be presented with her award at the Hasty Pudding on February 15 following a parade through Cambridge. The Man of the Year, Sean Connery of James Bond fame, will be given his award at the first performance on February 22.

According to Beck, the show's publicity of fice has been deluged with calls from people wanting to meet the celebrities.

"We've gotten calls from a guy who says he's a great impressionist and can do a great Sean Connery," Beck says. "He want to audition for the part."

The other major pre-show event will be the dress rehearsal on February 21, called "Strawberry Night" for unknown reasons. The dress rehearsal performance is given annually for Hasty Pudding Club alumni. This year marks the 50th anniversary of the 1934 Pudding production of Hades the Ladies, which was directed by Alistair Cooke of Masterpiece Theater fame, so during intermission on Strawberry Night, Cooke and members of the cast of 1934 will perform some numbers and dances from their show

All those involved in the show emphasize that the concentrated effort of putting together such a long-running production creates a closeness and esprit de corps not found in other college activities.

"It's amazing the way all the different groups are working together," says Aidinoff. "We have the cast, tech crew, band, business and publicity offices, but no rivalry.

Duvernay says, "The best part was meeting the people in the show. I didn't know what to expect, but I'm making a lot of friends."

Even with the pervasive professionalism, the long hours, the extensive run, and the heavy tradition behind it, all acknowledge that the show is essentially just fun to do. This is due to the basic irreverence of the plays themselves, it's hard to be pretentious with a name like Missionary Position. Yet even the humor can provide challenges for the cast, most notably the challenge of acting like a woman when you're just an ordinary guy.

"My character has been hurt by men; she's power-crazed, ruthless, and sublimates her need for men," comments Uzal S.H. Taylor '86, who plays Queen Foraday, "It's hard to be convincing playing this woman."

"It's fun to work with all guys," said McCrady, "but trying to switch sexes is a real challenge."

Even those not in the cast have identify problems. Says director Percival, "It gets confusing; my pronouns are constantly getting screwed up. I call a he a she."

But in spite of the confusion, no one feels the need for women in the cast Said Percival, "The show would not have the same appeal, to both sexes, that it does."

Besides, it's a great education. As one of the Amazons says, "Dressing up like a woman really strikes you; it gives you a whole new perspective on the world."

The show's tradition goes back to 1844, when the venerable Hasty pudding club-founded in 1795, realized that it had to cast a man in the role of Distaffina in its first play, Bombastes Furioso because there were, of course, no female members.