The strength of the show is in its ensemble cast. Each character is played with care and enthusiasm –– willing us to love them with their sheer passion and sincerity. Specifically, the sweet pairing of Mafioso-turned-diner-owner Al Dente (Mattea M. Conforti ’28) and undercover angel Anne Gelic (William Murray ’26) left me utterly charmed and rooting for these crazy kids to end up together. By the eleven o’clock number, even Claire’s somewhat dull, straight-man protagonist shtick, which up to that point had been overshadowed by the far more outlandish characters making up the ensemble, found its footing, serving as a solid lynch-pin for the unlikeliest of friends.

As the Trump administration takes aim at drag performers, “101 Damnations’” doubling down on HPT’s history of performing in drag seems notable. Although their brand of drag is closer to early “Saturday Night Live” or “Kids in the Hall” than “Paris is Burning,” the fact that all but three of the characters were played in drag demonstrates a commitment to gender fuckery that is admirable for an organization reliant on tax-deductible donations.

As befits our current moment, the jokes were biting. They were current and they were risky and, while they didn’t always work, the cast committed to making the leap regardless. They punched up at Mark Zuckerberg and down at Cornell, committed to an extended bit about a right wing extremist fish, and made a crude joke at the expense of Wellesley “girls” (touché.)

It is no secret that I have been critical of the Hasty Pudding Theatricals previously for their turn towards cowardice in past productions, preferring the safety of outdated references to the risk of actually saying something substantive. However, I walked away from Tuesday night’s production honestly delighted by the company’s earnest commitment and willingness to take a risk. By the end of the production I wasn’t worried about the convoluted plot or the admittedly weak songwriting –– I had been thoroughly won over by a production that I found genuinely heartfelt and funny.

“101 Damnations” will continue its run at Farkas Hall in Cambridge through March 9th. You can also catch them in New York City on March 14th and 15th or ––if you happen to be in Bermuda –– on March 21st.

Contact the editors responsible for this article: Ivy Buck, Norah Catlin 

On Friday, Nov. 1, the Harvard-Radcliffe Dramatic Club opened their production of “Anastasia,” the perennial theater-kid favorite based on the 1997 Don Bluth animated movie and the 1956 Ingrid Bergman film, both of the same name. Despite being widely panned by critics, the original production enjoyed a two-year run on Broadway and a special place in the hearts of its fans.

The staying power of the musical comes from its moving score by Stephen Flaherty and Lynn Ahrens, sung convincingly by this cast, specifically Caitlin Beirne’s Anya –– whose Disney Cruise ship experience as Cinderella was on full display in her ability to play sweet without becoming saccharine. A special mention must also be made of Justice Sirotek’s stirring rendition of “Stay I Pray You.” Typically a chore of a song that serves only to drag the run time out to its bloated 2 hours and 30 minutes, Sirotek’s performance proved to be one of the high points of the production. 

Despite the best efforts of a passionate cast to mask the weakness of the book’s over writing, the ultimate result fell flat. Since the plot shatters upon any scrutiny, it requires a high budget that can bring dazzling costumes and luscious sets to lull the audience into acceptance. With budgetary restraints in mind –– an article in the Harvard Crimson from 2023 reported a 89% budget cut to the Harvard-Radcliffe Dramatic Club –– perhaps “Anastasia” was the wrong choice. Even with these constraints, the lack of ingenuity from a production team which included a costume designer, assistant costume designer, hair and makeup designer and dramaturg is disappointing.

The greatest problem inherent in the production was the inevitability of the cast’s youth. The rare moments when the source material manages to touch on something deeper are those which reference aging, regret and the weight of the crimes committed by ancestors. The old guard of the Russian aristocracy battling with their own regrets and pain of loved ones lost rang false on the faces of actors in their late teens and early twenties without the gravitas to allow the audience a suspension of disbelief. Each actor played their role as a budding young ingénue –– which worked well for the ingénues but was confusing for the rest of the cast. 

The Harvard-Radcliffe Drama Club was faced with a surprisingly immense challenge with their choice of source material. Despite deft comedic moments and strong performances by many of the cast, there was simply not enough magic to make “Anastasia” the crowd-pleaser that it is intended to be.

Contact the editors responsible for this article: Norah Catlin, Ivy Buck