Modern Monday: Loeb Drama Center, 64 Brattle Street

Exterior of Loeb Drama Center_Radcliffe College Archives

Completed in 1960, the Loeb Drama Center at 64 Brattle Street stands as one of Cambridge’s greatest examples of Modern Architecture. The structure is human-scaled, made of regional materials and is a sensitive addition to its residential and commercial neighbors along Brattle Street. The scale of the building was reduced to blend in with adjacent heights and the use of New England waterstruck brick is a nod to the Harvard and Radcliffe buildings nearby. Exposed concrete serves as a sort of frame to the delicate ornamental grille which provides a lace-like effect, enhanced further at night when the light from inside the building shines through.

Exterior View of Loeb Drama Center_night_Radcliffe College ArchivesExterior View: Harvard - Loeb Drama Center, 29 Brattle Street

Architect Hugh Stubbins wanted the theater to be architecturally exciting, while still serving as a backdrop to the purpose of the building, the arts. Stubbins was quoted as saying, “the auditorium should please the imagination in such a way as to release it, not captivate it” and later went on to reference examples of recent museums and art galleries erected by architects to overshadow the art within them.

Interior View of Loeb Drama Center_Radcliffe College ArchivesView of Loeb Drama Center setbuilding_Radcliffe College Archives

The building opens right off the sidewalk of Brattle Street by the way of deep setbacks off the first floor, forming a porch-like or arcade feeling. The sides of the building open to a garden court on one side and a spacious terrace on the other. The travertine flooring in the lobby extends gracefully to the brick-paved courtyard, contained by a red brick serpentine wall.

Exterior courtyard Loeb Drama Center_Radcliffe College ArchivesExterior View of Loeb Drama Center (2)_Radcliffe College Archives

The theater was unveiled as a mechanical marvel as the first fully-automatic and flexible theatre in the United States. The audience’s position in relation to the stage, along with the position and shape of the stage itself could be altered between three main configurations: theater-in-the-round, proscenium, and arena seating, all possibly during the same performance. Yale’s noted stage technician and theater design engineer, George C. Izenour worked with Stubbins to integrate lighting, rigging and staging into an automated and hydraulic lift system, which could be altered and staged by just two people in mere minutes.

The Loeb Drama Center is now home to The American Repertory Theater (A.R.T.) at Harvard University, which collaborates with artists around the world to develop and create work in new ways. To learn more about A.R.T. and their upcoming shows and events, check out their website at: https://americanrepertorytheater.org/

1960 color photo_CHC_LOEB
Color slide courtesy of CHC Staff.

Historic photos courtesy of Radcliffe College Archives and CHC slides.

Igor Fokin Memorial Sculpture, One Brattle Square

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Since the 1970s, summer evenings in Harvard Square have featured a vibrant street theater scene. In 1985, a major subway construction project that extended the Red Line subway to Alewife was completed, resulting in major changes above ground, including wider sidewalks and small plazas, that created even more opportunities for busking (Lotman, Harvard Square, An Illustrated History Since 1950, 2009). Performers ranged from jugglers, mimes, tightrope walkers, and fire eaters, to musicians and singers. This dynamic street performance culture continues today.

igorshowcourtesy of http://www.igorfokin.com

In the early 1990s, one performer stood out as a unique and remarkably gifted entertainer. From 1993 to 1996, Igor Fokin enchanted people with his life-like marionettes that mesmerized young and old alike as they danced, played, and interacted with the audience. Igor hand-carved his wooden puppets who ranged from dancing skeletons, a witch sweeping up the sidewalk, to a puppet named Doo-Doo with a fluted nose, and Satchmo playing his trumpet to the song Mack the Knife. Each puppet, measuring less than 12 inches, was elaborately detailed and truly came to life under Igor’s nimble handling, when climbing up someone’s leg, petting someone’s nose, or sitting on a child’s lap.

castcolorcourtesy of http://www.igorfokin.com

Born in Russia and a graduate of St. Petersburg Theatrical Institute, Igor moved to Cambridge in the summer of 1993 with his collection of puppets, and by the end of the summer he was one of the most popular performers. Igor put on several shows a day, including passers-by in the late afternoon and culminating in the evening with a large audience who purposely came out to see his show. He was always refining his craft and developing new characters for his street performances which he referred to as the “most democratic art form” (Schmidt, The Puppeteer, 2003).

igorandcastcourtesy of http://www.igorfokin.com

Igor performed in Harvard Square until his untimely death in 1996 at the age of 36. Today, at the corner of One Brattle Square, where Igor enjoyed performing the most, a bronze replica of Doo-Doo by sculptor Konstantin Simun is perched on a bollard, a permanent reminder of Igor’s joyful imagination and the delight he brought to everyone lucky enough to experience his magical world.

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Sources
Lotman, Mo. Harvard Square, An Illustrated History Since 1950. Abrahms, 2009.

Schmidt, Chris, and Gary Henoch, The Puppeteer, 2003, https://www.youtube.com/watch?v=cJ2gizaqVw8

http://www.igorfokin.com