Spotlight: Kristen Lozada ’07 and Karen Adelman ’07

How have you been involved with the arts while at Harvard?

KA: I played Dana in Shortshot, a playwright’s festival in the fall. I’ll be performing as Yvonne in Sunday in the Park With George, opening April 30 on the Loeb Mainstage. I’m also a Veritone— I love the Veritones!

KL: I performed in Little Shop of Horrors in the fall, as well as The Vagina Monologues.

The Freshman Musical is a unique production that particularly distinguishes itself by openly soliciting participants from the entire student body, regardless of theatre background. What experiences did you have in working with first-years from such a wide spectrum of performance backgrounds?

KL: The Freshman Musical has been a comprehensive introduction to the way shows are produced at Harvard.

KA: Absolutely. The first-years working on this musical chose to do so not because they necessarily consider theater their primary focus at Harvard but they wanted to have fun.

KL: The cast effulges when onstage together.

KA: It’s really magical to watch.

What has been the most rewarding and challenging part of producing an original freshman musical? What motivated you both, as busy college students, to take on and nurture a project that requires such intense time commitment?

KL: The most challenging part has been getting it written.

KA: That’s the truth.

KL: I really like money, so having to deal with the budget [as a producer] wasn’t really a problem.

KA: And I read tons of poem so writing lyrics is a breeze.

KL: I think we both agree that the relationships we have developed with the cast have made putting on this project, though stressful, extremely rewarding,

KA: Also, it’s worth it just to see them develop relationships with each other.

What do you regard as the most inspiring locale on campus? Is there an untapped resource you find especially appealing at Harvard?

KA: I find the Loeb Ex incredibly inspiring, since the space offers so many possibilities.

KL: If nothing else, producing the Freshman Musical has made me realize that there are a lot of resources that people don’t know about—and won’t know about—until they really try to make a production happen.

KA: There are actually a lot of organizations—like the Office for the Arts, Freshman Dean’s Office and the Undergraduate Council—who will try their best to make sure you have the available funds and support.

KL: Plus, there’s Alan Symonds. Theater Guru. You should e-mail him.

What has been your most fulfilling artistic/academic experience?

KA & KL: My most fulfilling experience—

KL: Oh, you go first.

KA: No, you!

KL: Well, my most fulfilling experience has been working with Karen.

KA: After spending countless hours together, we have decided that our minds think in eerily similar ways. We’re often even able to—

KL: Finish each others sentences. (Both laugh.)

There will be dozens of pre-frosh on campus this weekend. How do you hope they react to the production? What impression of Harvard are you hoping the musical will leave on them?

KL: Hopefully they’ll be intrigued enough by the way [the musical portrays how] things were at Harvard in the 70s to find out a little more about how things are now.

KA: Plus, there’s enough nipple in the show to make them want to come back for more.

KL: But, there really isn’t any free beer across the hall.

KA: Come see the show to find out what that means.

Based on your working experiences together, characterize each other in five words.

KL: Karen is vivacious, overextended, kind of bizarre.

KA: Kristen is adept, realist, smarter than me.

Where do you imagine yourself next year and in ten years?

KA: Next year, I’ll be in Lowell House. Hopefully Claverly.

KL: I’ll be somewhere in Currier House.

KA: Which is totally fine!

KL: In ten years, hopefully I’ll be doing something in movies.

KA: Me too! But I’m not sure.

After this experience, which do you think you prefer: directing a student’s work or directing a work by a famous, off-campus playwright?

KA: Next year we hope to work on a production where we can focus more on the interpretation of a project that’s been written and performed before.

KL: But hey, if you know of any aspiring playwrights out there, we’re open to propositions.