A Cult Classic Gets Gender-Bent

Sitting down with the five writers of “Maude and Harold: A Musical Love Story” is what I’ve always imagined sitting in on a meeting of writers from The Simpsons to be: a group of witty but decidedly strange guys—with plenty tousled hair and thick-rimmed glasses between them—wryly mocking nearly every subject that comes up.

Indeed, they sound like a well-rehearsed comedy act when describing the genesis of their play, which is loosely based on the 1971 black comedy “Harold and Maude,” Hal Ashby’s film that tells of the love affair between an elderly woman and a teenage boy.

“This wouldn’t work if it was an older man and a younger girl. Social norms would be defied if that were the case,” co-writer and producer Farley T. Katz ’06 says of their thought process. “What if those norms were defied?” asks co-writer Michael C. Mitnick ’06. “What would it look like and sound like to music?” adds co-writer and producer Patrick D. Swieskowski ’06.

“Perhaps on skates?” suggests Andrei Nechita ’06.

“The original plan was to have it on ice skates, but apparently ice melts in the spring…So it’s going to be on roller skates,” Katz explains.

Perhaps unsurprisingly, their play might just be the most bizarre show at Arts First—and the funniest. “Maude and Harold” tells of an 80-year-old nursing home resident who falls in love with a 14-year-old girl he meets in a “Harold and Maude” chat room (he pretends to like the movie in order to “bond” with the girl).

“It’s disgusting,” says director Vanessa A. Pope ’07.

Yet that is part of the fun of the play. “We spent the entire rehearsal cracking up,” Pope says. “I think you laugh partially because you’re uncomfortable and partially because it’s just hilarious.”

Such strange yet effective mixtures are employed all over the play. The score—which, according to Mitnick, “defies musical norms”—includes toe-tappers, sweeping melodies, and raps, with accompaniment from DJ Cop Killer. “I wanted to see if I could write a score without the notes A or E,” Mitnick says.

“Unfortunately,” Katz adds, “DJ Cop Killer only used those notes.” “He and I don’t get along well,” Mitnick says.

“Some of the scenes are purely sort of slap-stick, and some of them are very slow-moving, and then some of them just have some meth addict running around on stage,” Pope says of the play’s variety.

Although one can receive what the producers call “a seating experience” for $20, this frenetic mix, which will take place in the Adams House Pool Theatre at 7:30 p.m. from Thursday through Saturday, can be seen by students for only $3 ($5 general public).

“But,” Mitnick adds, “it’s at least $10 worth of entertainment.”