Despite its unique decor, OBERON remains as flexible a venue as when it was Zero Arrow. Much of the disco feel is created by sound and lights, which can be changed depending on the needs of the current production. While many non-profit theaters across America have adaptable black box second stages, OBERON and its club set are, according to Weiner, “the second stage of the future.”

In addition to “The Donkey Show,” OBERON has plans to host myriad non-traditional theatrical events including Boiling Point Burlesque, horror cabaret show “47 Ways to Die,” The Steamy Bohemians’ “Jerkus Circus,” and circus band act Emperor Norton’s Stationary Marching Band. It also recently presented a naked comedy showcase and “Waterboard: a play about torture,” followed by Muslim punk band The Kominas.

“The idea of OBERON is to, as long as it feels vital, have it in a club configuration and club set and find shows that make sense in that set-up,” Weiner says. “We want to have artists come and get inspired by the power of it. The audience can be free and drink and dance and have a communal experience different than what they’re used to. It has a long future.”

INCUBATOR OF NEW WORK

Though the recent makeover of Zero Arrow brings it back to its initial purpose of hosting innovative work, OBERON is also determined to revitalize the theater scene, becoming a central part of the recently impassioned dialogue about the arts at Harvard.

There is no fixed plan for what will take place and Weiner hopes that he has created a venue where people can simply try things. “What’s nice about OBERON is that it’s achieving a lot of what Zero Arrow was initially trying to do,” Pecci says. “The fact that this space exists in the first place is a testament to seeing change in the arts at Harvard.”

“It’s gotten people talking about the arts,” Isabel Q. Carey ’12 says. “I can’t remember the last time I heard so many people talk about a show at one time. I have friends who want to see ‘The Donkey Show’ that I had to drag to shows before.”

OBERON’s experimental and audience-engaging philosophy stems from Weiner’s personal belief in cultivating fresh ideas—especially of the non-traditional sort. “By creating this venue, we’re creating an opportunity for people to make shows for this type of venue,” Weiner says. “Opportunities create artists. There are people doing strange performances all over Boston but they don’t have a venue to express it. When they have a venue, they’re going to do it better and inspire audiences.”

Weiner’s desire to encourage original art and connect with students led to the creation of Dramatic Arts 113: “The History and Practice of Non-Traditional Theater in America.” He teaches the course in OBERON, with Pecci as his teaching fellow. Weiner hopes to engage the Harvard student body in an active dialogue about innovation in theater and art. “I’m interested in creating an environment where creative things can percolate up and be discovered,” Weiner says. “This class is my dream, to be inspiring these kids to try different things, because in a selfish way, I like to see new, exciting things. One of the joys of going to theater is to see something new.”

The A.R.T.’s “experience theater” approach extends to this class, which asks students to immerse themselves in non-traditional theater of all forms: professional wrestling, haunted houses, circuses, torture porn, and vaudeville. “It’s very heavily involved with the type of theater they’re doing now at the A.R.T.,” says Megan L. Amram ’10, a student in the class.

“We’re getting at the root of what unconventional theater is and exploring and exposing that discourse and its practical applications in the artistic context, like OBERON itself does,” Danner, another class member, says.

The performers and creators of “The Donkey Show” are also teaching the class how to run the production. By the end of the semester, students will “ride the donkey,” or act in “The Donkey Show” themselves, in order to experience performing in a club atmosphere.

Dramatic Arts 113 provides an out-of-the-classroom experience unmatched by other dramatic arts classes. “Being taught in OBERON is fun because it immediately takes you out of the context of school,” Danner says. “It feels like you’re learning, but not in the way you would in a classroom. Your mind is fundamentally changed when you walk into a club. And that’s a point OBERON makes, taking something out of its context and putting it into a different space.”

Though currently focused on promoting its first production and finding its footing as a site of non-traditional theater, the team behind OBERON hopes to eventually nurture fresh talent and actively get students involved in theater outside of Dramatic Arts 113.

“Harvard has the smartest people in the world,” Weiner says. “By rationally discussing this type of performance and getting as analytical as possible about what makes non-traditional theater, Harvard students have an incredible chance to do new things in theater. I want to help inspire them. It can have a great ripple effect.”