Word: bendorf
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...still getting over bronchitis and my show opens tomorrow!” A statement like this doesn’t sound so incredulous coming from Christine K. L. Bendorf ’10, a Quincy House senior whose passion for theater would never allow her to be stopped by something so trivial...
...words, spoken by the observer, motivate the transitions from song to song. Fortunately, every actor in the cast is or has been a member of a Harvard a capella group, so they’re up to the vocal challenge. Lathram is joined by fellow HRDC veterans Christine K.L. Bendorf ’10, Matthew I. Bohrer ’10, Walter B. Klyce III ’10, and Jordan A. Reddout ’10. This cast is especially seasoned when it comes to Sondheim. 2008’s “Sweeney Todd” featured...
...retains a large share of his psychotic appeal. And Sweeney, after all, has his reasons. He’s after the lecherous Judge Turpin (Jonathan M. Roberts ’09), who, Sweeney learns, raped his wife Lucy and then adopted his young daughter Johanna (Christine K. L. Bendorf ’10). This, of course, is only the beginning of the show’s crazed perverseness. When Sweeney returns to London after spending 15 years in exile on a trumped-up charge, the former barber re-opens his “tonsorial parlour” on Fleet Street...
...Luckily, the actors’ superb body language surmounted the script to skillfully convey each patient’s individual insanity. For instance, the painfully long smiles of depressed nurse Norma (Christine K.L. Bendorf ’10) and her fluid movements in the opening monologue presaged the abrupt jumps from one emotion to another that would occur throughout the play. Unfortunately, Bendorf sometimes delivered her lines with a nagging rhythm that reduced their effectiveness...
...play was written by Arthur L. Kopit ’59 shortly after he graduated, and its unconventional path to Broadway included a premiere at the Agassiz Theatre. The director is David R. Gammons ’92, the student producer is Christine K.L. Bendorf ’10, and almost all the actors are current undergraduates at Harvard College. Fortunately, the play is not weighed down by its symbolic connections, instead maintaining a cutting wit and sense of the absurd throughout...