By building an independent theater in Harvard Square to ease space constraints for theater groups, the prominent Harvard donor Gregory C. Carr has proven the adage, "If you want something done right, do it yourself." Particularly if you have a few million to spare.

When the new Radcliffe Institute for Advanced Study decided to convert the Agassiz Theater into offices instead of using it as undergraduate performance space, the already existing theater crunch at Harvard became intolerable. Harvard finally purchased the Hasty Pudding Theater with the intention of opening up the theater to more undergraduate groups.

But Harvard theater groups will still benefit from Carr's new theater, which has no formal connection to Harvard but will welcome the occasional student performance.

One might predict that this newly renovated theater, in the prime location of Harvard Square, would quickly rise to the top of the Harvard theater space hierarchy. But one factor, so key in calculating the perceived value of Harvard's various performance spaces, remains unknown. Carr has yet to come up with a name for his theater.

One absolutely cannot underestimate the vital role the name of a theatrical space plays in its ranking. To those savvy in Harvard theater (and even to those not), the knowledge that a show will be performed on the Loeb Mainstage earns untold respect. Truly, the compound noun "mainstage" says it all.

The Loeb Experimental Theater merely basks in the glory of its larger sibling through the shared Loeb name. But the Leverett Old Library clearly reflects its stalwart, solid position in the rankings. Most of us know where Leverett is, after all (always a plus when choosing a theater space). And the image of an "Old Library" conjures up its exact reputation as a fine but slightly aged location. But will a library always be more valuable to Harvard students than a place of recreational sport? For some, Leverett Old Library outranks the Adams House Pool Theater. After all, the latter lacks the lovely alliteration.

Lagging slightly behind the others remains, of course, the Kronauer Space. Despite the Kronauer's myriad positive qualities, the very name draws the occasional disdainful look from those involved in Harvard theater, and a look of blank incomprehension from the general student population. Given the clear correlation between a theater's name and its prestige, can we blame Carr for offering up the choice reward of $1,000 to the person who suggests the best name for the new theater? After all, that paltry $1,000 could decide more about the theater's fate than the millions already invested.

--BREEZY H. TOLLINGER