The Harvard first-year musical was a hit on campus. Audiences packed the house to see an original script, choreography, and beautiful music arrangement, all done by first-year undergraduate students at Harvard University.
Everything that Tucker Carlson fearmongers that liberal colleges are teaching us is in this amazing production. Whether it be satanism, the occasional Marxism, or a romance between a couple of dishonest businessmen, it is a theater production with Generation Z written all over it in the most refreshing way. The show is charming, funny, and even emotional at times. After seeing the show twice, this article is my review and analysis of 7 Sacrilege Street. Spoilers ahead.
The musical’s plot is a wild one. Harold (Max Allison ’25), Freddie (Andrew Spielmann ’25), and Little Freddie (Issac Newman ’25) are a couple of dishonest businessmen who are indebted to Mr. Johnson (Nikhil Kamat ’25). They hope to repay their debt by selling their extravagant hair cream to anyone gullible enough with split ends. Harold is introduced as arrogant but lovable, Freddie as his funny comrade (and more later on), and Little Freddie as a man of few words, but soon enough, with plenty to say.
Meanwhile, the story also follows a covenant of nuns led by Mother M (Emma Rogers ’25). Mother M stresses to the sisters they need more membership fees. Cynthia (Yirenny Cordero ’25), a young nun in the covenant, is more and more skeptical of the faith of her sisters. She fears they worship the wrong lord. Cynthia repeatedly quotes the 19th-century German philosopher Karl Marx, comparing herself to the proletariat and accusing the nuns of being the oppressors.
The dishonest salesmen come knocking at the nun’s door. When Little Freddie goes missing, they realize the nuns worship Satan, and more shockingly, Cynthia is the most devoted of them all. She uses Little Freddie’s blood to bring back “the literal gawddamn devil” (Matt Given ’25). Turns out, the devil is a misogynist, Mother M is a charlatan and former dishonest salesman named Marietta, and Harold and Freddie are in love.
Beautiful numbers are performed throughout the musical, especially in the second act. The song “Double Crossed” is carried out by disillusioned nuns who learn about Mother M’s deception. Emma Rogers’s performance in the song “Marietta” is heartfelt and memorable. Also, Matt Given’s devilish performance in “Shake My Hand” is captivating in a shadow man kind of way. We get to see our characters work together to outplay the devil to send him back to h-e-double hockey sticks. Ultimately, the show ends on a warm note.
One thing struck me as odd: Cynthia’s seemingly arbitrary and senseless Marx quoting. I came away thinking that if the quotes had been removed, the musical would not have changed. If Cynthia did not mention the philosopher of communism and dialectical materialism, she would still be the devoted satanist she is in the original.
However, having a second viewing, the musical produces a commentary on ideology wrapped in these Marx one-liners. The musical uses Cynthia’s character to bring back the devil because she is a fundamentalist overtaken by political and religious dogma. On the other hand, the musical uses the other sisters to sing “fuck everything” to show what happens when that dogma traumatically disillusions people.
According to research published in the Proceedings of the National Academy of Sciences, dogmatic individuals tend to form less accurate judgments due to a heightened reluctance or lack of curiosity to seek out new information. It reinforces a type of ignorance that limits the individual to only the doctrine they have adopted and nothing more.
The musical makes a pretty controversial claim: those who do objectively bad things in the name of a doctrine, like bringing back the devil, shouldn’t be seen as monsters. Little Freddie is used in the musical to express this point. Although Cynthia uses Little Freddie’s blood to bring back Satan, he is her biggest defender. Newman’s performance as Little Freddie in his number “Her Flame” echoes the sentiment that Cynthia isn’t evil but was doing what she thought was right. Those who are guided strongly by a doctrine that they perceive as moral and righteous, it can be argued, do not think they are doing anything wrong.
This is a pretty radical idea that many viewers may not have picked up. It raises questions about how we treat those so wrapped in political doctrines, like liberalism and Marxism, and Abrahamic and other organized religions. The musical boldly humanizes those enchanted by these political and religious orthodoxies.
Moreover, the musical tells us to focus on accountability and forgiveness over wrath and punitive retribution. After Harold lashes out at Cynthia for bringing back the devil, the other characters shame him for it. The show sees a problem condemning folks who have done wrong to hell. Harold is used as a vehicle to unlearn that societal inclination, that those who have done wrong should receive wrath rather than redemption. Harold and Cynthia take responsibility for their actions and embrace forgiveness.
This is a subtle, beautiful lesson the show makes towards its climax that viewers could easily overlook. 7 Sacrilege Street aligns with how public opinion has changed on punitive and restorative justice. Over the last three decades, the number of Americans who think the justice system is “not tough enough” has dipped. According to a poll by Gallup, most Democrats, Republicans, and Independents believe the main goal of the justice system is rehabilitating people to become productive, law-abiding citizens. The musical’s ending promotes a message of redemption that continues to grow more popularity in the general public.
The Harvard first-year musical might be a snapshot of the future of modern theater. It asserts itself as a production made by the next generation of creators, musicians, and actors that will inherit the art form. There will be backlash from some and loving praise from others, but it is safe to say we should all be tuning in for Satan’s revenge next year.
Image from Gwen King is licensed under the Unsplash License.
