We’re pleased to announce the winners of the third biannual Harvard Theater Awards!

The Harvard Theater Awards, founded in 2010, recognize excellence in Harvard Theater. Awards are chosen at the end of each semester by a panel of volunteer judges from a variety of theatrical backgrounds. To learn more, see the Harvard Theater Awards’ website. Check ‘em out below!

Acting Awards

Best Lead Actor in a Play

Best Lead Actress in a Play

Best Lead Actor in a Musical

Best Supporting Actor in a Play

Best Supporting Actress in a Play

Best Supporting Actor in a Musical

Best Supporting Actress in a Musical

Best Stage Direction

Best Music Direction

Best Costume, Hair, or Makeup Design

Best Set Design

Best Lighting Design

Best Sound Design

The Harvard Theater Awards, founded last summer by Meryl Federman, recognize excellence in Harvard Theater. Awards are chosen at the end of each semester by a panel of volunteer judges from a variety of theatrical backgrounds. To learn more, see the Harvard Theater Awards’ website. Check ‘em out below!

Best Lead Actor in a Drama

Winner: Phil Gillen as Romeo in Romeo and Juliet
Runner Up: Josh Wilson as Hieronimo in The Spanish Tragedy
Other Nominees:
Andy Boyd as Rene Gallimard in M. Butterfly
Dan Giles as Mr. Marmalade in Mr. Marmalade
Tony Oblen as Willie Nelson in Paradise NV

Best Lead Actress in a Drama

Winner: Ilinca Radulian as Irma in The Balcony
Runner Up: Sara Lytle as Cleopatra in Antony and Cleopatra
Other Nominees:
Renée Donlon as Stepdaughter in Six Characters in Search of an Author
Becca Feinberg as Juliet in Romeo and Juliet
Vanessa Koo as Lucy in Mr. Marmalade
Kelly Perron as Becca in Trust

Best Lead Actor in a Musical or Opera

Winner: Jonathan Stevens as Ruthven Murgatroyd / Robin Oakapple in Ruddigore
Runner Up: Jackson Kernion as the Leading Man in Disney Revue
Other Nominee: Alex Nemiroski as Billy Flynn in Chicago

Best Lead Actress in a Musical or Opera

Winner: Liv Redpath as Rose Maybud in Ruddigore
Runner Up: Morgan Henry as the Leading Lady in Disney Revue
Other Nominees:
Julia Cavallaro as Sagesse/Discorde in Les Plaisirs de la Paix
Madison Greer as Roxie Hart in Chicago
Megan O’Keefe as Velma Kelly in Chicago

Best Supporting Actor in a Drama

Winner: Ryan Halprin as Roy in Trust
Runner Up: Adam Conner as Caesar in Antony and Cleopatra
Other Nominees:
Peter Bestoso as Horatio in The Spanish Tragedy
Felix Cook as Leicester in Mary Stuart
Nasir Husain as Benvolio in Romeo and Juliet
Robert Knoll as Bradley in Mr. Marmalade
Alex Raymond as Mercutio in Romeo and Juliet

Best Supporting Actress in a Drama

Winner: Isabel Carey as Leah in Trust
Runner Up: Emily Hecht as Pompey in Antony and Cleopatra
Other Nominees:
Emily Hyman as The Nurse in Romeo and Juliet
Emily Hyman as Holly in Trust
Mariel Petee as Young Girl in Six Characters in Search of an Author

Best Supporting Actor in a Musical or Opera

Winner: Eric Padilla as Despard Murgatroyd in Ruddigore
Runner Up: Ryan Halprin as Amos in Chicago
Other Nominee: Christian Ronald as Richard Dauntless in Ruddigore

Best Supporting Actress in a Musical or Opera

Winner: Emily Hecht as the Choreographer in Disney Revue
Runner Up: Ashley Kaupert as Mad Margaret in Ruddigore
Other Nominees:
Brianne Holland-Stergar ’14 as Mama in Chicago
Amelia Ross ’14 as Dame Hannah in Ruddigore

Shazam!

• Homi Bhabha (a rock star, if the Humanities Center at Harvard had one… the man has written so many books)
• Charles Maier (Harvard, Professor of History)
• Carol Oja (Harvard, Professor of Music)
• Martin Puchner (Harvard, Professor of English and Comparative Literature)
• Amanda [Fucking] Palmer (Emcee in the ART’s Cabaret, and actual rockstar: The Dresden Dolls, Evelyn Evelyn)

The topics were the usual fare (wooly and intellectual, name-droptastic). But while the guest speakers may have spent too much time deciding whether Cabaret was more “pastiche”, “montage”, or “projection”, AMANDA freakin PALMER was going head-to-head with Harvard professors. Which was equal parts weird, uncomfortable, and thrilling. For sure, she stole the …uh, panel. Even if not as articulate or verbose, she was the only true performer on the stage and it made all the difference, we swear. For those of you who didn’t go or left early, you missed an extra special and super-throaty rendition of Radiohead’s “Fake Plastic Trees” with Amanda on vocals and ukelele. Was it worth sitting through an hour and a half of discussion of neo-realist/German impressionist/genre/period yammering? Was it worth sitting between two creepy, grizzled old men with giant backpacks (one of whom had a beard so long he raked it with both hands)? Was it worth listening to Homi Bhabha remind us over and over how “edgy” everything was? YES.

by Lexi Ross ’13

Want to see an innovative, non-convential theater piece created by a recent grad? Then check out The Untitled Project, conceived by Calla Videt ’09 and playing at various locations around Harvard square.

Calla Videt was born in New York City but spent most of her formative years in Singapore and Europe, where she gained a fascination for non-conventional ways of creating theater.

Calla, who graduated last spring with a special concentration in theater and physics, was heavily involved in both performing and directing during her time at Harvard. Her senior thesis consisted of a show which she wrote and directed on the Loeb Mainstage, entitled The Space Between. Unlike that work, which made heavy use of various forms of multimedia, Calla told us that Untitled Project is more of a simple, text-based piece, which she feels is the most meaningful to her as an audience member. Without giving away too much about this unique theater experience, Calla emphasized fluidity and spontaneity as some of the most prominent aspects of the show. In fact, while Calla conceived the original idea for Untitled Project, her cast of actors wrote much of the actual script during the rehearsal process. Calla also mentioned that audience feedback would be crucial in the creation process, and that the story might change entirely by the time the show continues its run in New York.

After she finishes The Untitled Project, Calla has plans to create more theater pieces in New York. She eventually wants to use her international upbringing to push theater into a more international, collaborative realm—a move which corresponds to the increasing globalization taking place in society.

We’re not sure exactly what’s in store for us with The Untitled Project, but based on Calla’s previous work and her description of the show, it’s bound to be a completely unique and unforgettable experience. Untitled will only be in Cambridge this weekend, so don’t miss the opportunity to witness what this up-and-coming director has to offer.

THE UNTITLED PROJECT

Conceived by Calla Videt, Devised by the Company

Pay What You Can

(Suggested donation $5)

Tickets can be reserved by emailing untitled.tickets@gmail.com

Relax. Let us tell you a story. About you. About us. About being here.

The Untitled Project is a site specific piece of theater which confronts an audience with the reality of the world they are living in, theater’s role within that world, and the ambiguity of truth.

Settle in. You’re quite safe here.

FRIDAY, April 30

**8pm, The Signet Society, 46 Dunster Street

**performance to be followed by a fundraiser, location TBA

SATURDAY, May 1

2pm, Harvard-Allston Room, Holyoke Center Gallery across from Oggi

6pm, New College Theater Studio, 10-12 Holyoke Street

9pm, New College Theater Studio, 10-12 Holyoke Street

SUNDAY, May 2

1pm, Harvard-Allston Room, Holyoke Center Gallery across from Oggi

5pm, New College Theater Studio, 10-12 Holyoke Street

We're not...in Kansas...anymore?

House Masters are resigning, the weather is going bat-shit, and the singer Peaches became an Honorary Member of the Harvard Lampoon tonight. Is the world ending? Probably. Peaches, decked out as a glammed up Dorothy from the Wizard of Oz, rocked out with karaoke in front of the Harvard Lampoon at 7PM tonight, and was inducted later at a “private induction ceremony” inside the Lampoon Castle.

Peaches albums include gems like Impeach My Bush and I Feel Cream. She sang her hit single “Fuck The Pain Away” twice.

From Peaches’ blog:

In honor of her prodigious achievements as an entertainer and musician, the Harvard Lampoon has selected the electro shock-rocker PEACHES to be inducted as a special Honorary Member of The Harvard Lampoon. The members of the Lampoon staff are huge admirers of her career and will celebrate with her on December 7th at their Annual Canadian Synthpunk/Glam Rock Awards Dinner. The event will kick off with a public karaoke party on the steps of the Castle followed with a private induction ceremony inside the Castle to follow.

Photos by Emily Xie ’12

Club Passim is located underground at 47 Palmer St.

If you’re taking “Sound, Noise, and Music” as your Expos class you have learned a little bit about Club Passim and the important role it has played in the history of American music.  If not, you may not be aware that one of folk’s most legendary venues is less than 200 yards from the Yard.  The club, opened in 1958, was first known as Club 47 and was located at 47 Mt. Auburn St. (currently Daedalus Restaurant).  It moved to its current location at 47 Palmer St. in 1963 and eventually changed its name to Club Passim.

In the 1960s, the venue was a starting point for many folk stars including Joan Baez who began playing the club as an unknown seventeen year-old singer.  She also convinced relatively unknown Bob Dylan to play shows at the club.  Dylan played songs between others’ sets, but never had his own headlining show.  Others who played at Club Passim, many of whom had their starts at club, include Muddy Waters, Tom Rush, Jackie Washington, Peter Wolf, Taj Mahal, Patty Larkin, Geoff & Maria Muldaur, Shawn Colvin, Suzanne Vega, Nanci Griffith, and Judy Collins (though not Bruce Springsteen who was refused the opportunity to play at Club Passim).

Though the club rarely attracts artists of that level today, it still offers an opportunity to see some of folk’s greatest acts in an intimate environment.  When we say intimate, we mean intimate.  The club is a mere 30 feet by 40 feet and seats only 125 concertgoers.  Good luck finagling yourself into your chair.  You’ll be getting to know your neighbors very well, especially if you choose dining seating.

The seating is a mixture of dining tables of four spread throughout the room, and non-dining seating along the edges and in the back of the room.  Dining seating means that you are required to buy at least $5 of Veggie Planet food, the restaurant that shares the space with Club Passim.  You’ll want to spend at least $5 here.  The vegetarian and vegan pizzas are superb.  I ordered one with roasted butternut squash, caramelized onions, rosemary & sage, goat cheese, asiago cheese, spinach, and fried garlic. Yum.

Glen Phillips of WPA sings mere feet from my seat at Club Passim

The band we saw, Works Progress Administration (WPA), played a show worthy of the venue.  The recently formed folk/bluegrass supergroup is focused around the trio Glen Phillips, the lead singer of Toad the Wet Sprocket, Sean Watkins of Nickel Creek, and Luke Bella who had previously played with the Jerry Douglas Band and Lyle Lovett’s band.  Others play on the recently released album, WPA, including Tom Petty’s pianist, Benmont Tench, and members of Elvis Costello and the Imposters.  A drummer and bassist joined the aforementioned trio at the Club Passim show.  The five put on a great show, mostly playing numbers from the recent album, very grateful for the crowd’s support.  Upcoming acts at Club Passim include:

Mark Erelli – 12/17
Lori McKenna – 12/18 & 12/19
Antje Duvekot – 12/20
Stephen Keller And The Sixers – 12/29
Ellis Paul – 12/30 & 12/31

Genres: Folk, Indie-Folk, Folk-Rock, Bluegrass-Folk, Country-Folk, Old Folk, Young Folk, Red Folk, Blue Folk, etc (oh, and some blues)
Typical Ticket Prices: $15-$25
Rating: ****/5

Brett Dennen with Forro in the Dark

A friend at a music festival, hearing Brett Dennen for the first time, remarked that he was “the hipsters’ answer to the bros’ Jack Johnson”.  Indeed, the analogy between the two singer-songwriters makes sense.  Dennen, like Johnson, is easy to listen to and hard to not like.  Both sing light, guitar-focused songs in major keys, but achieve depth through their biting, soulful lyrics addressing issues of people, poverty, and society.

Dennen’s 2004 album, So Much More, was his first breakthrough on the music scene, reaching Number One on eMusic, but Dennen truly burst on the scene in 2008.  He played at festivals such as Bonnaroo, Rothbury, Austin City Limits, and the Newport Folk Festival and toured with O.A.R. and then with Jason Mraz.  His album, Hope for the Hopeless, achieved mainstream success, especially the single “Make You Crazy,” which was recorded with Nigerian star Femi Kuti and featured Mandy Moore in the music video.  Recently, he re-released one of the songs from Hope for the Hopeless, “Heaven,” as a duet with Natalie Merchant.

Now, Dennen has continued exploring the possibilities of “world music” begun with his collaboration with Femi Kuti by recording an iTunes live session with the Brazilian band, Forro in the Dark.  Forro in the Dark has previously worked with David Byrne, the Brazilian Girls, and Thom Yorke.

The live EP, mostly live versions of songs from Hope for the Hopeless, pops with energy.  The love and fun of Dennen’s music only increases when fused with Forro in the Dark’s rural Brazilian dance music.  Comparisons to Bob Marley and Paul Simon ring truer in this live session than on any previously recorded studio work.  In particular, “Closer to You,” bounces with the addition saxophone and South American drums.  Its Latin feel dares you not to dance in your seat.

In addition to five songs previously released on Dennen’s solo albums, the EP features two newer songs: “Joan of Arc,” a reggae piece complete with song with horns, flutes, drums and guitars and “Long Road to Forgiveness,” the one song not recorded with Forro in the Dark.  Instead, Dennen croons with October tour-mate Jason Mraz.  This song is a winner.  Mraz and Dennen sound great together, their harmonies working perfectly, in this song about atoning for the First World’s sins of exploiting the Third World.

Overall, the album is worth a listen for anyone who considers themselves a Brett Dennen fan.  Stream a few songs here before deciding if you want to buy it.  If you are new to Dennen, you may want to introduce yourself first to Hope for the Hopeless or So Much More.  While the iTunes Live Session is good, it fails to surpass Dennen’s studio efforts.

The other way to explore Dennen, the best way to explore any artist, is to check him out live.  As we mentioned in our November Concert Preview, Dennen is currently touring the country with Vermont rock band, Grace Potter and the Nocturnals and will be in Boston tonight at the House of Blues.  Grace Potter and the Nocturnals are another great musical act that has played many of the same festivals as Dennen and never fails to disappoint live.  See the House of Blues website for more information.

Concert Review Update

Live at the House of Blues

Brett Dennen and his band played a great show at the House of Blues on Thursday.  Following a solid opener, Sean Bones, Dennen took the stage in true hipster fashion wearing a vest and scarf, tip-toeing around the stage in bare feet.  Opening his set with, “Ain’t Gonna Lose You,” Dennen showed off his soulful vocal chops on his song of unrequited love, though he soon turned to happier, upbeat songs such as “San Francisco” and “Wrong About Me.”  On “She’s Mine,” another love song, the crowd enthusiastically sang along, much to the singer’s appreciation.

Live, Dennen was able to show his versatility as a musician.  His performance of “When I Go,” with its African-influenced guitar licks and percussion, would not have been out of place on a Vampire Weekend album, while a new reggae song “about believing yourself and not letting anyone tell you otherwise” sounded as if it could have been written by the Wailers.  Dennen crooned in a reggae groove that was impressive for a non-Jamaican, “I am strong, stronger than the day is long.  You may say that I am weak, but you are wrong,” and then proceeded to show off the talent of his bandmates, allowing each to solo.

Dennen closed out his set with some of his biggest hits, “When You Feel It,” “Follow Your Heart,” “Ain’t No Reason,” “Heaven,” “Make You Crazy,” and “Blessed.”  The crowd danced and sang along to every single one.  At the end, the performer demanded the crowd maintain the same level of energy for co-headliner Grace Potter and the Nocturnals’ set.  The tour between the two appears to be going well.  Potter later told a story about her tour bus breaking down and Dennen graciously inviting Potter and her posse onto his bus.  She described it as a “wild and crazy night,” where it felt as if the 18 musicians and crew members were 78 raging partiers.  With bus repaired, the duo continues onwards to the Midwest and then the West Coast.

Okay, maybe not.  Noice hadn’t realized either until recently, but it turns out that the entire month of November marks the celebration of “Forever Young: Folk Music History Month in Harvard Square,” an effort co-organized by the New England Folk Music Archives and the Harvard Square Business Association.  More information on the concerts and other events happening in the Square all month long can be found here.  To name a few, the legendary Club Passim has folk concerts every night, Tommy Doyle’s has a few special events planned, and the Brattle Theatre is showing “Festival!,” a documentary on the Newport Folk Festival.

The most exciting part of the History Month is that businesses all over the Square from J.P. Licks to The Tannery have exhibits on folk history set up.  At each business, photographs are set up in the window and a page of history about an influential photographer, club owner, concert promoter, band manager, musician, or artist is displayed.  The full list can be viewed here.  This blogger recommends not walking the distance to the Irving House because he couldn’t find any set-up there, but the rest of the businesses have some great photographs displayed in the window.  Examples follow after the jump.

Rowland Scherman's famous photograph of Bob Dylan currently hangs in the windows of the Z-Square

Hand-printed calendars from Club 47 (Now Club Passim) sit in LF Stores.

Robert Corwin's photograph of Bob Dylan at Newport Folk Festival, 1965 can be seen in the windows of Dado Tea.

Mint Julep displays "sexy" portraits of Joan Baez and others.

Legally Blonde (2001) – Everyone’s favorite Harvard-centered movie (or just mine). We are all well versed in the story of Elle Woods and her unlikely acceptance to Harvard Law School through which she plans to win back her ex, Waner Huntington III.

Fun Fact 1: Reese Witherspoon spent two weeks spending time with and studying actual sorority girls for the project. She also attended law school for a day. Now that’s what I call dedication to a role.

Fun Fact 2: The final graduation scene was shot in the Great Hall of Dulwich College in London because it was not included in the original script. When it was added to the movie, Witherspoon was already filming “The Importance of Being Earnest” in England.

Fun Fact 3: Witherspoon got to keep every piece of clothing from the movie, as per her contract. That’s a whole lot of pink.

How High (2001) – Two bros get the help from the ghost of their smart friend whose ashes have been added to their pot. Great premise, huh? After he gives them the answers to the SATs they make it to Harvard and start to shake things up.

Fun Fact: The film’s scenes of Harvard are actually all shot at UCLA.

Good Will Hunting (1997) – Though not actually set at Harvard, we can probably all sympathize with the story of Will Hunting, and undiscovered genius who works as a janitor at MIT.

Fun Fact 1: If you didn’t already know, the windows of the Dunkin Donuts on Mass Ave are the setting for the “How do you like them apples?” scene of the movie.

Fun Fact 2: Robin Williams ad-libbed the last line of the movie, “That son of a bitch, he stole my line.”

Love Story (1970) – The last movie to ever be shot within Harvard’s campus. If you went to see this during Freshman Week, you already know everything you need to know about the movie.

Fun Fact 1: The hockey game was played by Dartmouth’s actual team at the time. Ned Harkness, the Cornell hockey coach at the time allowed Cornell jerseys to be worn in the film only if Cornell won the game against Harvard.

Fun Fact 2: It was the film debut of Harvard alum, Tommy Lee Jones ‘69.

Other movies that have been filmed at or near Harvard: The Town, The Social Network, The Great Debaters. Mmhmm.

Information gathered from IMDB.com

On Saturday night, I ventured out of Harvard Square with three friends to a place Harvard students would not journey to if it weren’t for the prospect of free theater required by one of our classes. Two subway lines and one hour later we arrived in what felt like the middle of nowhere, Massachusetts, otherwise known as Brookline. I’m sure in the light of day Brookline is just another respectable and well-to-do suburb of Boston. However, on a cold night when you are holding a small slip of directions that more or less ends with, “Follow the small hard-to-find path up to the looming school building on your right. ” you are more than willing to huddle closer to those with whom you came. Once you finally find the Old Lincoln School Building (which is the name of the venue on your ticket), Cambridge already feels very far away. But incase you are not entirely out of your comfort zone yet, you are ushered through a black corridor and are forced to navigate your way to the Manderlay Bar, a night club signaling the other influence of the production, Alfred Hitchcocks 1940 film Rebecca. There are servants to greet you, music, and other patrons waiting with drinks in hand for their turn to enter the “show” portion of the night. About twenty minutes later my group was called and we finally entered into the world we had come to see.

I cannot narrate the rest of my night from here on out because it would defeat the purpose of the show in many different ways. Once inside the school building, you are quickly separated from your group and the journey you chose for yourself afterwards is completely your own. That is both the genius and the most overwhelming aspect of Sleep No More. As an audience member we are forced to make choices at every turn. Do you follow that woman who you think is Lady Macbeth? What is going on in that room with all of that music and dancing? Are you missing something important in the hallway? Should you explore every room or should you follow that group of people running downstairs to the basement? You are constantly battling with what parts are worth seeing and how you will manage to see everything.

Sleep No More throws you into a complete sensory experience, including smell and taste (one room smelled so foul I could not stay inside for more than a few minutes and I witnessed an actor give an audience member a shot of whiskey for no apparent reason). Every room is filled with meaning and symbolism and every actor has a story that can be followed for the entire night. The performance is… strange and you will wander into more than one room in which you ask yourself something like, “Did I miss the part of Macbeth that had pounds of hair on the floor?” My first impression was that the entire production was a literary haunted house with symbolism that was always above my level of comprehension. At times I found this frustrating, but I soon realized that I wasn’t meant to understand everything around me.

As I made my way through the maze of rooms and storylines, I realized what intrigued me the most about the production was the relationship created between audience and actor. In a production that encourages you to do as you please, go where you want, touch everything, or even just sit down do nothing at all and observe, I felt a surprising amount of tension when it came to interaction with the actual actors. In most cases, the actors ignored the audience. The masked audience figures become simply part of their set that the performers must act around. I recall in one particular room watching with a large crowd a particularly graphic scene between Macbeth and Lady Macbeth in her bedroom. I remember looking at all of the spectators and thinking to myself how it felt almost voyeuristic for us all to simply gape at the actors in the way we were. We were watching something secret between a husband and wife, something taboo. We were invisible to them and yet our presence was almost oppressive in the room. At one point Lady Macbeth went to her closet and looked out at us through a glass window. Suddenly she made eye contact with us and began to press her hands against the glass in an attempt to reach out to us in agony.  I saw in the reflection of the glass the many masked faces that she was looking out upon. It dawned upon me that we were no longer invisible to her, we were acting as the demons haunting her consciousness and watching her every move.

In a strikingly different situation, I wandered down to the basement at one point and entered into an empty room. I thought I was alone while I was inspecting the contents of the room until I turned a corner and found an actor sitting at a desk cleaning instruments. I stood there for a few minutes watching him, hoping he would do something. At one point he turned around as though he had heard a sound, but then went back to his cleaning. After a few minutes I realized how absurd I felt watching this man completely by myself when he clearly was not going to recognize my presence. I finally left wondering if he ever left that desk the whole night. I went back a little while later and he was gone.

The fact is, there are rules in Sleep No More, but one is never completely certain what they are. Just when you think you are not supposed to make eye contact with the actors, one of them will pull you into a closet and speak to you for five minutes (this did not happen to me… but I shamelessly wish it had). After a few hours of wandering around, I was walking up the stairs when one of the actors tapped me on the shoulder and gestured me to follow her. I was excited by the prospect and followed along with a large group of audience members. What I hadn’t realized was that she was leading us all to the exit since the show was over. “Already?” I thought, “ I was only just beginning to understand this thing!”. While one would need more than several viewings of the show to in effect “see everything” you can benefit from having come with friends. Once we navigated our ways out of the world of Sleep No More and back to Harvard Square, we found it necessary to get a meal together and discuss our nights. Each experience brought a new understanding to the production and further proved how this many-layered production is one that can yield many different interpretations… that is if you are daring enough to interpret it at all.

Sleep No More runs until January at the Old Lincoln School in Brookline Massachusetts. Don’t let the trip keep you from missing the most interesting theater experience you may ever see… and that is not an overstatement.

GREASE the Harvard student musical gave a teaser performance this afternoon featuring the entire GREASE cast. They serenaded and scintillated the massive crowd with favorites “Summer Nights” and “Grease Lightning.”

Senior Tali Friedman (“Sandy”) and freshman Ben Moss (“Danny”) embodied the sweet and innocent good girl and suave softie-inside tough guy that made this a classic story of boy re-meets girl for the ages.

And if this preview was any indication, this musical’s gearing to be one hell of a good time.

Enjoy!

http://www.youtube.com/watch?v=gj6hK_h1MNc

PS – You know the saying “lightning never strikes twice?” False. You’ll be able to catch the performance again today on the Science Center lawn @ 12 pm.