The only women who have ever appeared in a Hasty Pudding Theatricals production are men who have donned fake breasts, wigs and pantyhose.

Unless one counts the time in 1955 when costumer Lucy B. Barry '55 was permitted to provide a "blood curdling scream" for the show, women have been barred from performing in the Pudding since its inception 151 years ago. Women have tried to be cast in the nationally recognized show--Winsome Brown '95 dressed herself up as "Nicholas Pettibone" in 1993 to audition for a part--to no avail.

The all-male show is a Harvard tradition, and thousands flock to see the drag burlesque each year. Some pay $27 a ticket for the chance to see an original, full-scale musical featuring undergraduate men in tights.

The format of the show, which has poked fun at ethnic groups, the disabled and the elderly, also offends some; one cast member quit this year in protest of the show's content. The discrimination of women drew editorial page submissions to The Crimson this December, raising the annual murmurs about the show's gender imbalance a few decibels.

The company met to discuss the controversy in early January, but the "vast majority of [people] affirmed the status quo," according to Carolyn A. Cassidy '99, co-producer of this year's show, "I Get No Kick From Campaign."

So, change is not imminent--especially since the College administration officially endorses the organization and the Pudding's governing board refuses to budge. While other Ivy League theatricals have chosen the co-ed route, at Harvard tradition continues to trump equity.

Chance to Shine

The oldest dramatic organization in the nation traditionally garners much media attention. "Entertainment Tonight" hascovered the group; Showtime produced a half-hoursegment on the show in 1995. This year, the castlanded a quick spot on "Good Morning America" anda spread in People magazine. In Style sent areporter, as did the Associated Press and theBoston Globe. The St. Louis Post-Dispatch, theSacramento Bee and the Vancouver Sun all coveredthe Pudding's Woman and Man of the Yearceremonies.

Besides being one of the most nationallyvisible Harvard student organizations, the Puddingprovides an unparalleled campus opportunity forstudents to work with a professional director,choreographer, costume, set and lightingdesigners. With a yearly budget of about $300,000,costumes that cost tens of thousands of dollars,and a 40-show run that takes the company to NewYork and Bermuda, the Pudding show can be anactor's dream come true. Media attention, thechance to perform before national celebrities, afullscale show--nowhere else at Harvard does thishappen year after year.

In a Crimson op-ed titled "Time to Put Women inDrag, Too," Matthew Johnson '99-'00 questioned thebasis on which the Pudding draws its fame:"Harvard's hairy-chested heroines," as a 1986 bookdescribes.

Johnson wrote that "denying women theopportunity to audition for the Pudding deniesthem access to a valuable opportunity." Johnsonsaid his conversations with female actors oncampus compelled him not to audition, writing"most who object remain tight-lipped and lookelsewhere--to less-funded, more amateurproductions--for creative fulfillment."

Jessica K. Jackson '99, former president of theHarvard-Radcliffe Dramatic Club (HRDC), says "it'sabout time" the Pudding allow women in its cast.

"They would be losing the title ofall male-drag-show, and gaining another dimensionthat would be just as effective," Jackson says.

There are other opportunities for women to workwith professional directors on campus, includingHRDC's Visiting Director Project (VDP). However,as Sara Yellen '00 noted in a December letter toThe Crimson, the VDP "is not privy to the enormousbudget that the Hasty Pudding is so privileged toenjoy," and it only takes to the stage once everyfour semesters.

Even though there are shows in which women caninteract with professionals, Jackson still saysthe Pudding is an opportunity that women are beingdenied. However, she does not blame theorganization, but puts the responsibility onfemale actors instead.

"It is wrong, but the fact remains that thePudding can cast whomever they choose," Jacksonwrote in an email message. "What is disappointingis that the women in the theatre community...havenot put up a fight. Personally, I'm sorry that Inever raised hell about it."

James C. Augustine '01 performed in last year'sshow and was cast in this year's production asDonatello My wife. But after concluding that he wasnot learning enough dramatic skills in the show,Augustine says he decided not to accept his rolein "Campaign."

He also says that what he felt were misogynicand homophobic references in the scriptcontributed to his decision. He says it bothershim that there are no women in the cast.

"When I questioned people about it, theirreasoning seemed to be circular," Augustine says."There were things being said like, "Women are notas funny as men."

Behind the Scene

Women who work for the organization have statedtheir satisfaction with the opportunities at thePudding. Women participate in the band, productionand technical aspects of the show; it's just thestage that's taboo.

"Women make significant contributions to everyPudding production," wrote 15 female Puddingmembers and alumnae in a December 11 letter to theeditor. "We are involved in running theorganization, building the sets and playing theinstruments not because these are the onlypositions available to women, but because they areareas of interest and expertise."

And Theatricals President Daniel M. Ring '99says all members of the company--men andwomen--enjoy the Pudding for the chance to workwith talented people on a show for whichundergraduates serve as the major creative force.

Johnson's editorial, Ring says, helped prompt acompany-wide meeting held in early January todiscuss the issues of women in the cast and thecontent of the script.

"It was great to be open and express differentideas," says Colleen A. McGuinness '99, pressmanager for the Pudding. "There were a variety ofopinions."

Young K. Lee '99, who plays Katya Redhanded inthe show, does not approve of a co-ed cast. Leenotes that other single-sex organizations oncampus, like the Radcliffe Choral Society, are notasked to alter their make-up because "they producea specific art form that would be fundamentallyaltered by changing the people involved."

"I can tell you right now that it woulddefinitely change the nature of the show, and Idon't think it would be for the better," Leewrites in an email message. "We produce a uniqueart form, and I don't think that anyone has anyright to mandate how we produce it. I sure may notlike Robert Mapplethorpe's 'Piss Christ,' but Isure as hell will defend his right to make it;such should be the case with the Pudding."

While Ring says the company discussed thepossibility of admitting women to the cast at theJanuary meeting, no changes were made. But isthere a chance for gender parity in the Pudding inthe future?

"Several years from now, but it should be madefrom an artistic standpoint, not because I thinkit is sexist," says co-producer Cassidy. "Ipersonally like the show the way it is. I find itfunny to see men in drag."

Ring says it would require strong opposition toenforce change to century-and-a-half-oldtradition, but if many members insisted on it, atransformation would be likely to happen.

"If our company wants to have women in thecast, there is nothing we can do about it," Ringsays.

In the meantime, what has changed slightly isthe script. The company decided to reworkoffensive material in the show.

"I realize there are parts of the show that arelewd," says Bryan W. Leach '00, a cast member whoplays the detective bulldog "Newt Erd" in"Campaign." "The script has been changed a ton oftimes to make people feel comfortable."

The Art of the Pudding

This year's show features a song aboutmenage-a-trois, a character with a speechimpediment and jokes about castration.

Still, Pudding supporters see aesthetic valuein their genre of theater.

Lee, who is also Theatricals historian, callsthe performance a "piece of art that is truly oneof a kind."

And Michael D. McLung '83, executive directorof the Hasty Pudding Institute of 1770, sees theall-male cast and cross dressing as a traditionwith social merit.

"There are aesthetic and political values tocross-dressing," says McLung, who was a Puddingmember in 1981 and 1982, and in 1983 was the 135thshow's author. "And that goes for both men andwomen...it questions some of our assumptions aboutgender."

He adds that he sees a lack in theatricalopportunities at Harvard, which stems from theCollege not having a theater department.

Seeing no reason why the Pudding should beforced to be the one to compensate for gaps withinthe University, McLung says he feels that theorganization is being unfairly challenged bynay-sayers.

"I don't see why it is our responsibilityto...fill the void at Harvard," he says.

Although the University refuses to recognizefinal clubs because they do not admit women, theCollege maintains loose ties to the Hasty PuddingClub. The organization as a whole is co-ed.

"Since women have other than acting roles withthe theatricals, and the performances are of aspecial and unique theatrical genre, we don'tregard the exclusion of women from the stage asdiscriminatory," wrote Dean of the College HarryR. Lewis '68 in an e-mail message.

Not Happening

Even if students wanted to change the face ofthe Pudding, McClung says the Board of Trustees ofthe Institute of 1770--the governing board of theTheatricals--would not approve a decision to allowwomen in the cast.A-6SHOWCrimsonKelly P. MauceriMEN IN TIGHTS:The "women" of thePudding crowd the streets during this year's Womanof the Year parade.