CFA Fall Fringe Festival 2016 - Program

Boston University Theatre & Lane-Comley Studio 210

BOSTON UNIVERSITY THEATRE & LANE-COMLEY STUDIO 210 264 Huntington Ave, Boston bu.edu/cfa/fringe | 617-933-8600 264 Huntington Avenue, Boston

OCTOBER 14 - 30

2016

OCTOBER 14 - 30, 2016

20th Annual

HYDROGEN JUKEBOX Composed by Philip Glass Libretto by Allen Ginsberg

HYDROGEN JUKEBOX Composed by Philip Glass Libretto by Allen Ginsberg

MAD FOREST A Play from Romania

By Caryl Churchill

THE WERTHER PROJECT Composed by Jules Massenet Libretto by Édouard Blau, Paul Milliet, and Georges Hartmann

MAD FOREST A Play from Romania

By Caryl Churchill

THE WERTHER PROJECT Composed by Jules Massenet Libretto by Édouard Blau, Paul Milliet, and Georges Hartmann

BOSTON UNIVERSITY COLLEGE OF FINE ARTS SCHOOL OF MUSIC: OPERA INSTITUTE AND SCHOOL OF THEATRE FALL FRINGE FESTIVAL 2016 Hydrogen Jukebox Music by Philip Glass Poetry by Allen Ginsberg Matthew Larson, Allison Voth, music directors William Lumpkin, conductor Emily Ranii, stage director October 14-16 Mad Forest

By Caryl Churchill Judy Braha, stage director October 27-30 The Werther Project

By Jules Massenet Librettists: Édouard Blau, Paul Milliet, and Georges Hartmann William Lumpkin, conductor Nathan Troup, stage director Dramaturgy by Jerrold Pope and Allison Voth October 28 Venue Information Boston University Theatre & Stewart F. Lane and Bonnie Comley Studio 210 264 Huntington Avenue T Orange Line to Massachusetts Avenue T Green “E” Line to Symphony Tickets (617) 933-8600 or BostonTheatreScene.com

HYDROGEN JUKEBOX Poetry by Allen Ginsberg Music by Philip Glass Matthew Larson, Allison Voth, music directors William Lumpkin, conductor Emily Ranii, stage director CAST Soprano I........................................................................*Tara Deieso, +Regina Morgan Soprano II...............................................................*Gabriella Reyes,+Helen Hassinger Mezzo......................................................................*Zaray Rodriguez, +Bridget Cappel Tenor.........................................................................*Dennis Shuman, +Tim McGowan Tyler Driggs, cover Baritone................................................................*Mitch FitzDaniel, +Heeseung Chae Bass-Baritone................................................................*Joseph Hubbard, +Erik Larson

*Denotes Friday evening & Saturday afternoon performances +Denotes Saturday evening & Sunday afternoon performances

ENSEMBLE Keyboard

Flute

Bass Clarinet Matthew Larson Jiatong Ma Shanon Rubin Allison Voth

Saxophone

Percussion

Doug Chan

Brian Cannady Declan Jordan

Used by arrangement with Dungaven Music Publishers Inc. and Virtual Music Publishing Š.

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DESIGN & PRODUCTION TEAM Scenic Designer............................................................................................Paul Dufresne Costume Designer..................................................................................Brittany Meehan Lighting Designer..............................................................................................Brandi Pick Technical Director......................................................................................Mary Kurenkov Paint Charge..................................................................................................Lauren White Properties Master.............................................................................................Baron Pugh Audio Supervisor................................................................................Bram Xu, Kirk Ruby Master Electrician.........................................................................Evey Connerty-Marin Stage Manager..............................................................................................Kendra Green Assistant Stage Manager...................................................................................Grace Hill Production Assistant...............................................................................Kristen Pichette Assistant Scenic Designer...........................................................................Lindsay Fuori Assistant Costume Designer..............................................................Sophia Baramidze Assistant Lighting Designer......................................................................David Orlando Assistant Technical Director........................................................................Logan Lower Assistant Master Electrician...............................................................Hannah Solomon Assistant Paint Charge.....................................Katherine Keaton, Jacqueline Kempe Assistant Properties Master.................................................................Steven Doucette Light Board Operator.............................................................................Alexa Schoenfeld Sound Board Operator........................................................................Samantha Stafford Supertitle Design............................................................................................Allison Voth Supertitle Run....................................................................Marisa Brink, Sarah Lennerts Run Crew...............................................................Grace Ralbovsky, Claudia Watanabe Scenic/Paint Build Crew................................CFA School of Theatre Technical Crew Costume Build Crew........................................CFA School of Theatre Costume Shop Wardrobe Crew....................Samantha Luca, Matthew Robson, Rebecca Sundberg Lighting Crew...................................................CFA School of Theatre Technical Crew Sound Crew.................................................CFA School of Theatre Sound Department Front of House.............................Hannah Beebe, Michela Micalizio, Jeremy Oshins House Manager..............................................................................................Brian Dudley Movement Coach...................................................................................Melinda Sullivan Production Manager......................................................................................Marisa Brink Associate Production Manager.................................................................Emily Vaughn Producer....................................................................................................Oshin Gregorian

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STAGE DIRECTOR’S NOTE The partnership between Allen Ginsberg and Philip Glass began in 1988 when the two men ran into each other in the poetry section at St. Mark’s bookshop in New York and Glass invited Ginsberg to perform with him in a benefit for the Viet Nam Veteran Theater. Ginsberg pulled his 1966 poem “Wichita Vortex Sutra” down from the shelves, a poem in which he countered President Lyndon B. Johnson’s decision to send troops to Vietnam without a congressional declaration of war with the phrase: “I here declare the end of the War!” Here, Ginsberg pit poetry against politics; if a single politician has the ability to launch a war does not a lonely poet have the ability to stop it? Glass quickly accepted his new colleague’s challenge by setting Ginsberg’s reading of “Wichita Vortex Sutra” to piano music. The collaboration sparked a more expansive venture to musicalize selections of Ginsberg’s poetry spanning from 1951-1990.Trusting in the notion of “first thought, best thought,” Allen Ginsberg’s writing process was as spontaneous as his first chance meeting with Philip Glass. Thus the libretto of Hydrogen Jukebox is non-linear and the possibilities for its interpretation are kaleidoscopic. Glass and Ginsberg viewed their creation as a “portrait” of America from the 1950’s through the 1980’s. They did not distinguish the six storytellers by characters, but by vocal parts: Soprano I, Soprano II, Mezzo, Tenor, Baritone and Bass-Baritone.

What unites the six voices is that they are all Americans. With the recurrent imagery of traveling on a journey—by train, bus, plane, and a fantastical green automobile—these six Americans are “On The [Kerouacian] Road,” on a quest for self-actualization. To achieve such enlightenment, they cry out for a return to nature and an end to war.

Ginsberg and Glass pulled their title from a line in “Howl” (1955): “…listening to the crack of doom on the hydrogen jukebox…” As Ginsberg interpreted this line: “It signifies a state of hypertrophic high-tech, a psychological state in which people are at the limit of their sensory input with civilization’s military jukebox, a loud industrial war, or a music that begins to shake the bones and penetrate the nervous system as a hydrogen bomb may do someday, reminderof apocalypse.” Hydrogen Jukebox opens with the lines from “Iron Horse” (1966): “Lightning’s blue glare fills Oklahoma plains, the train rolls east…” and closes with “My heart is still as time will tell” from “Father Death Blues” (1976). This opera is explosive in the lightning flash of its first movement. The fallout of the bomb is a plea for the human heart; for us all to look into our own hearts for guidance. Indeed, twenty-eight years after Glass and Ginsberg ran into each other in the poetry section of St. Mark’s bookshop, the product of their love is as relevant as ever.

—Emily Ranii

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PROGRAM NOTE In 1988, I accepted an invitation from Tom Bird of the Vietnam Veteran Theater to perform at a benefit for the company. I happened to run into Allen Ginsberg at St. Mark’s Bookshop in New York and asked him if he would perform with me. We were in the poetry section, and he grabbed a book from the shelf and pointed out Wichita Vortex Sutra. The poem, written in 1966 and reflecting the anti-war mood of the times, seemed highly appropriate for the occasion. I composed a piano piece to accompany Allen’s reading, which took place at the Schubert Theater on Broadway.

Allen and I so thoroughly enjoyed the collaboration that we soon began talking about expanding our performance into an evening-length music-theater work.

It was right after the 1988 presidential election, and neither Bush nor Dukakis seemed to talk about anything that was going on. I remember saying to Allen, if these guys aren’t going to talk about the issues then we should.

By the spring of 1989 we had invited designer Jerome Sirlin to join us in a series of meetings, mainly in Allen’s East Village apartment, in which we picked through his collected works to find a coherent “libretto.” Jerome began a series of drawings that would eventually form the sets and drops. Later on we were joined by director-choreographer Ann Carlson, who began discussing with us the staging of the work.

By this time we had arrived at a scenario based on eighteen poems. Together they formed a “portrait” of America, at least in our eyes, that covered the ’50s, ’60s, ’70s and ’80s. It also ranged in content from highly personal poems of Allen’s to his reflection on social issues: the anti-war movement, the sexual revolution, drugs, Eastern philosophy, environmental awareness — all issues that seemed “counter-cultural” in their day. Now, in the late ’80s, they seemed to have become more “mainstream” and yet, because of the power of Allen’s poetry, still with their youthful energy intact. Ann chose to stage the work by using the six vocal parts to represent six archetypal American characters — a waitress, a policewoman, a businessman, a priest, a mechanic and a cheerleader. In the past when I addressed social issues in music theater works I often used unfamiliar — even obscure— languages: Sanskrit for Satyagraha, ancient Egyptian for Akhnaten, Latin for the CIVIL wars, or just numbers and syllables in Einstein on the Beach. With Jukebox I was working with a vernacular language that we all know. For this purpose nothing could be better than Allen’s poetry, because he is inventing a poetic language from the sounds and rhythms all around us — an American language that is logical, sensual, at times abstract and always expressive. Bringing music and language together can have a most powerful effect, literally joining the senses in a way that only opera can do.

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For me there are two considerations in setting text to music. There are the words themselves, which need to be set in the most natural way. With Allen’s poetry I was most intent on respecting the music that was already in the words. Then there is the musical environment into which the words are set. In the poem Aunt Rose, for example, I used a 5/8 rhythm — a kind of lopsided rhythm— 1-2, 1-2-3. I heard the rhythm from the description of her toot: it’s a picture of someone who walks with a limp. That’s the only specific relation of the music to the words. A portrait in music need not be a complete portrait. If you have some indication, we as listeners will fill in the rest.

The American Music Theater Festival in Philadelphia hosted a series of performances early in the Spring of 1990, and the premiere of the finished work took place at the Spoleto Festival in Charleston, South Carolina, in June of the same year. The small music ensemble of keyboards, winds and percussion with the six singers made for a music-theater ensemble which, along with Martin Goldray, the original music director, was able to tour the U.S. the following season.

Taking this piece on tour completed something important. Allen and I have traveled around this country a lot. The piece is about that, and taking this on the road was in a way taking it back to the places where it was born. We’ve taken it to many different cities, and people recognize it — perhaps they see themselves in the portrait.

— Philip Glass

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Philip Glass and I visited India at different times and were influenced by Indian music, philosophy and meditation forms -particularly Buddhist, since we’re both Buddhist practitioners. So we’re moved to make a work that penetrates many psychological worlds at once, quite a large audience.

Ultimately, the motif of Hydrogen Jukebox, the underpinning, the secret message, secret activity, is to relieve human suffering by communicating some kind of enlightened awareness of various themes, topics, obsessions, neuroses, difficulties, problems, perplexities that we encounter as we end the millennium.

So this “melodrama” is a millennial survey of what’s up-what’s on our minds, what’s the pertinent American and Planet News. Constructing the drama, we had the idea of the decline of empire, or Fall of America as “empire,” and even perhaps the loss of the planet over the next few hundred years. We made a list of things we wanted to cover — Philip and I and Jerome Serlin the scenerist— common questions. There was of course Buddhism, meditation, sex, sexual revolution — in my case awareness of homosexuality and Gay lib. There was the notion of corruption in politics, the corruption of empire at the top.

There are the themes of art, travel, East-meets-West and ecology, which is on everyone’s mind. And war, of course, Peace, Pacifism.

The title Hydrogen Jukebox comes from a verse in the poem Howl: “…listening to the crack of doom on the hydrogen jukebox…” It signifies a state of hypertrophic high-tech, a psychological state in which people are at the limit of their sensory input with civilization’s military jukebox, a loud industrial roar, or a music that begins to shake the bones and penetrate the nervous system as a hydrogen bomb may do someday, reminder of apocalypse.

Having decided the topics, we then found texts that covered them, and put a mosaic or tapestry together. So the drama is interlinked, hooked together thematically, though it’s not a “linear” story. Maybe more like a slow motion video. We began with heart prophesy of the Fall of America on a train, introducing the notion of Travel, and War, sung to “Who is the enemy, year after year,” what’s going on, how come all the bombs, “what’s the picture decade after decade” — whether from Vietnam or Granada or Panama, Iraq or what’ll be next, Peru? Nicaragua? take your choice. Then we focus on one big central war -Jahweh and Allah battle- the Middle East.

Following that, a switcheroo to interior reverie, going back to the subjective, we find ourselves in India, a theme of meditative subjectivity, here a fragment from Calcutta, a little personal scene, Peter Orlovsky’s birthday in 1962 age 29. Then traveling East to West, returning to America, surveying planetary ecological damage from a plane, or it might be post-nuclear wreckage. We move from San Francisco through Denver through Chicago, back to the East coming out of it, while all these celestial dummy politicians dance madly.

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Coast. Shifting to the center of America -Wichita Vortex Sutra- we make a unilateral declaration of the end of the war, a duet between myself and Philip that ends Part One. We used the poem’s central passage: I’m driving through the middle of Kansas talking to myself, saying, If the President can send troops over there and declare war on Indo-China, I can undeclare it. He doesn’t have any legal right — Congress never passed a formal declaration of war— and I don’t have any legal right. It’s simply up to us to assert our different direction of will, or different visions of the universe. My poetic visions are gonna outlast him, I thought, so “I here declare the end of the war.”

Part Two begins centering in on Moloch, Part II of Howl: the hyperindustrialized, hyper-technological Moloch consumes the planet, everyone’s thwarted desensitized or robotized by the inanimate conditioning hypnosis machine we’ve built around us. Then some statistics: the age of the universe, the age of the earth, and a few other hokey numbers.

Having presented the problem, we present the medicine — several haikus, written on meditation retreat in the Rocky Mountains it so happens. Haiku perception in calm and peace with a very sweet aria, with a singer sitting on a Zen zafu and zabutan, in meditative posture.

We return to family, to Aunt Rose, staged with photographs of my family, Aunt Rose, Aunt Honey, my mother and father and myself in Woodstock 1936. Then the Gay lib theme, The Green Automobile, back across America, looking for love, the lover behind the poem — in this case actually, Neal Cassady, now quite well-known as the inspiration for Kerouac’s On the Road Hero, as well as Ken Kesey’s psychedelic bus driver.

The climax of Part Two, National Security Agency Dope Calypso interleaved with the poem Violence, names the co-actors in U.S. government intelligence “off the shelf operations drawing on cocaine and marijuana smuggling to fund Contra arms. All the information’s “real,” taken straight from the papers of record and Senator Kerry’s Subcommittee investigating government involvement with dope pushing simultaneous with the fraudulent socalled war on Drugs. During that scene a flag is projected backstage with smoke After all the noise and wild wisdom and political statement comes the post-nuclear moment — a series of codas which ends the opera. First, Everybody’s Fantasy: skeletons holding hands trying to get across the stage after the nuke blast. Then a return to primordial civilization in the Central Australian Desert, using the single verse form of the Aboriginal songmen, singing during a nuclear winter, snow coming down. The last song, BuddhistAmerican threnody or Hymn, Father Death Blues, written on the death of my father, philosophic reconciliation and peace, emotionally very calm, in six-part harmony a capella, quite sublime actually, as the finale. So that’s the melodrama.

— Allen Ginsberg

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ARTISTIC BIOS Matthew Larson received his Doctorate in Collaborative Piano from Arizona State University in 2001 under the tutelage of Eckart Sellheim. An accomplished recitalist, Dr. Larson has played over 700 performances in the US and Europe. He has worked with such varied artists as Metropolitan Opera stars Carol Vaness, Maria Spacagna, Eric Owens, and Lawrence Brownlee; Academy of Ancient Music director Christopher Hogwood; vocal pedagogy pioneer Richard Miller; and the eminent collaborative artist Dalton Baldwin, with whom Matthew was invited to study in New York. Past positions include Assistant Conductor for Boston Lyric Opera; Music Director for the University of Connecticut Opera Program; Staff Pianist for Yale University Opera; Vocal Coach at Brown University; Staff Pianist for The American Institute of Musical Studies in Graz, Austria; Music Director of Opera Providence; Vocal Coach at Walnut Hill School for the Arts; Pianist for the Boston Symphony Orchestra Chorus; Music Director for Cape Cod Opera; and Vocal Coach for Tanglewood Institute’s Young Artist Vocal Program. Currently, Dr. Larson is on Faculty at Boston University; and Minister of Music at First Congregational Church of Milton, Massachusetts.

William Lumpkin, Associate Professor of Music, is the Artistic Director and Conductor of the Opera Institute at Boston University where he conducts Opera and Chamber Orchestra performances. He has conducted Boston Lyric Opera productions of Cosí fan tutte and Dove’s Flight and conducted the premiere of Flight and Hansel and Gretel with Opera Theatre of St. Louis. In 2002, Lumpkin led performances of Philip Glass’ Galileo Galilei as part of the Brooklyn Academy of Music’s New Wave Festival. Mr. Lumpkin was Assistant to the Music Director at Opera Theatre of Saint Louis where he made his company debut conducting performances of La bohème, followed by Magic Flute and Lucia di Lammermoor. He has appeared as guest conductor at Indiana University and University of Illinois at Urbana-Champaign. Other professional credits include Wolf Trap Opera Company, Boston Lyric Opera, Aspen Opera Theatre Center, Chicago Opera Theater, and the Los Angeles Opera. Mr. Lumpkin holds a BM from the Eastman School of Music and a D.M.A. in Collaborative Piano from the University of Southern California.

Emily Ranii is a Boston-based director and teaching artist of theatre and opera.

Her upcoming projects include The Cradle Will Rock for Boston University’s School of Theatre, Heisenberg for Burning Coal Theatre Company, Mrs. Packard in a co-production between Bridge Repertory Theater and Playhouse Creatures Theatre Company, and Charlotte’s Web (co-director) for Wheelock Family Theatre. She has directed Tongue of a Bird for New Repertory Theatre; 9 Parts of Desire for Playmakers Repertory Company; Romeo and Juliet, Brigadoon, Much Ado About Nothing, and The Love Song of J. Robert Oppenheimer for Burning Coal Theatre Company (Company Member 2002-Present); The Old Maid and the Thief for Boston University’s Opera Theatre; Trouble in Tahiti and The Stoned Guest for the Nahant Music Festival; Blood Wedding (co-director) and The Body Project for Cornell University; Proof for Temple Theatre; and, as a graduate student at Boston University’s School of Theatre, Anne Boleyn, Tongue of a Bird, Mary’s Wedding, The Imaginary Invalid, Arcadia, The Maids, and God’s Ear. She is an Assistant Professor of Performing Arts at Wheelock College, Academic Program Head of Boston University’s Summer Theatre Institute, and teaches the acting classes for BU’s Opera Theatre and Opera Institute. Emily 8

has previously taught for Cornell University (Visiting Lecturer 2014-15) and served as Artistic Director of ArtsCenter Stage in Carrboro, North Carolina (2008-2010). She holds a B.A. from Cornell University as well as an M.F.A. in Directing and Certificate in Arts Administration from Boston University.

Allison Voth is an Associate Professor of Music at Boston University and Principal Coach at BU’s Opera Institute. A well-known coach with a specialty in diction, she has worked with such companies and festivals as Boston Lyric Opera, Opera Boston, Chautauqua Opera, Opera North, Opera Unlimited, The Florence Voice Seminar, and the Athens Music Festival. Also a recognized supertitlist, her titles have been used nationwide, including at Washington Opera and the Chicago Symphony, and, internationally, at the Barbican Festival in London. As a specialist in the music of Paul Bowles, in 1992, she produced and performed in a multi-media performance piece entitled Paul Bowles: One Man, Two Voices at Merkin Hall in New York, and in 1995, she premiered a set of piano preludes in the EOS Ensemble’s Bowles Festival. Ms. Voth is also the Music Director of the Cantata Singers’ Chamber Series and can be heard on CRI recordings.

Oshin Gregorian (producer) is the Managing Director and Producer for the Boston University Opera Institute. Previous positions include Director of Operations with the ProArte Chamber Orchestra, and General Manager for Collage New Music. Mr. Gregorian holds a BM in vocal performance from Boston University, a MM in vocal performance from Manhattan School of Music, and is a graduate of the Opera Institute with honors. With the Opera Institute, he has been seen as Mercutio in Roméo et Juliette, Malatesta in Don Pasquale, Demetrius in A Midsummer Night’s Dream, Il Podesta in La Finta Giardiniera, and Junius in The Rape of Lucretia, among others. He has performed in numerous concerts and oratorio works with ensembles such as the Tanglewood Festival Chorus/Boston Symphony Orchestra, The Newburyport Choral Society, and Boston Youth Symphony, among others. Mr. Gregorian made his Carnegie Hall debut in 2005 under the auspices of Music Armenia.

Melinda Sullivan has taught Movement for Singers for more than 25 years.

She developed a unique program to increase expressivity through movement awareness, breath support, improvisation and dance styles. Besides teaching at BU, Sullivan also teaches singers at New England Conservatory and gives master classes for conductors, wind players and singers. She is resident choreographer and movement coach at Central City Opera, CO and ballet mistress at Boston Early Music Festival. After graduating with a BFA Dance from Boston Conservatory, Sullivan toured extensively with modern dance choreographer Beth Soll. She then discovered renaissance and baroque Kendra Green (Stage Manager) returns to the Opera Institute after working on Cosí fan tutte and Vinkensport, or The Finch Opera. Recent credits include Production Stage Manager for the Music@Menlo Chamber Music Festival and Institute, BU credits include Wit and In the Heart of America. Kendra is currently pursuing a B.F.A in Stage Management at Boston University.

Paul J. Dufresne (Scenic Designer) is a first year MFA Scene Design student From Ventura California. Selected credits include scenic designs for Pepperdine University’s recent opera Die Zauberflöte (Smothers Theatre); Almost, Maine (Lindhurst Theatre - 2015); These Shining Lives (Lindhurst 9

Theatre - 2015), a production at the Edinburgh International Fringe Festival entitled Forget Fire (C Venue +2 - Summer 2014), Goodnight Don’t Be Afraid (Theatre Three – 2014), Hamlet (Theatre Three - 2014); Associate scenic design for Class (Falcon Theatre - 2015) and Scott and Hem (Falcon Theatre - 2015). Paul was recently awarded the USITT (United States Institute for Theatre Technology) young designers’ national undergraduate award for outstanding achievement in scenic design.

Brittany Meehan (Costume Designer) is a junior studying Costume Design at Boston University. She has had a wonderful time working on this show with this talented and supportive team and is looking forward to audiences enjoying the final result.

Brandi Pick (Lighting Designer) is a first year MFA student in the Lighting Design program here at Boston University. She received her BFA this spring from East Carolina University. Recent credits include Have You Been There? at Williamstown Theatre Festival and Machinal at Messick Theatre Arts Center.

Her work will continue with the Boston Playwrights’ Theatre production of Faithless and Tiger at the Gates here at Boston University School of Theatre.

Mary Kurenkov (Technical Director) is a junior at Boston University, studying Technical Production. She is excited to work on Hydrogen Jukebox as her first time in the role of a technical director here at BU. Last year she served as Assistant Technical Director on Parade and Rosmersholm. This summer she was a carpentry apprentice at Maine State Music Theatre, working to produce musicals including Evita, Fiddler on the Roof, and Mamma Mia! Marisa Brink (Production Manager) is a senior Stage Management major.

Recent professional credits include work with Des Moines Metro Opera, Central City Opera, Boston Lyric Opera, Boston Ballet, and Commonwealth Shakespeare Company. BU OI credits include Vinkensport, or The Finch Opera (Stage Manager), A Midsummer Night’s Dream (Assistant Production Manager), and Angels in America (Assistant Stage Manager).

PERFORMER BIOS Bridget Cappel, mezzo-soprano, is a second year Master of Music student at Boston University where she studies voice under the direction of Penelope Bitzas. This past summer, Bridget premiered the roles of Hattie and Gladys in the new opera Roscoe by Even Mack at Seagle Music Colony in upstate New York. Other recent roles include Alma Hix in The Music Man and Dorabella in the BUOI production of Mozart’s Cosí fan tutte.

Heeseung Chae, Baritone from South Korea, is in his first year at the Boston University Opera Institute. He completed his MM and BM at Seoul National University, and he received a Performance Diploma from Indiana University Jacobs School of Music. He has performed the roles of Schaunard in La bohème, Ceprano in I, and Ford in Falstaff. At IU, he performed Haly in L’italiana in Algieri, Papageno in Die Zauberflöte, and Figaro in Il Barbiere di Siviglia. While at IU he studied with Andreas Poulimenos, and is currently a student of Jerrold Pope at BU. This April he will perform the role of Il Conte in Le nozze di Figaro with the Opera Institute.

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Tara Deieso, soprano, holds a BM from Boston University and a MM degree from the University of Cincinnati’s College Conservatory of Music, where she performed the role of First Lady in Mozart’s Die Zauberflöte. Tara was a member of the Janiec Opera Company at the Brevard Music Center where she sang the role of Lola in Robert Aldridge’s Sister Carrie. She is in her second year at the Opera Institute, where her roles include Elton John’s Trainer in David Little’s Vinkensport and Helena in A Midsummer Night’s Dream. Tara is a student of Dr. Lynn Eustis.

Mitch FitzDaniel, baritone, is a second-year graduate student currently pursuing a master’s degree in vocal performance at Boston University under the tutelage of James Demler, after a long hiatus from singing. FitzDaniel has previously appeared as Claude in the musical Hair and as a gentleman of Japan in The Mikado. At BU, he has appeared as Starveling in Britten’s A Midsummer Night’s Dream, and as a member of the ensemble in Così fan tutte.

Helen Hassinger, soprano, is a first-year student of Dr. Lynn Eustis at the Boston University Opera Institute. Roles at Boston University include Helena (A Midsummer Night's Dream), Fiordiligi (Così fan tutte), St. Francis' Trainer (Vinkensport...or the Finch Opera), and The Angel (Angels in America). Other projects include the title role (cover) in I (Beth Morrison Projects). Helen is a graduate of St. Olaf College (BA) and Boston University (MM).

Joseph Hubbard, bass, is in his second year in the Opera Institute, and studies with Penelope Bitzas. He holds degrees from University of North Texas and Northwestern University. At BU, he has performed as Bottom in Britten’s A Midsummer Night's Dream and Mother in Weill/Brecht’s Seven Deadly Sins, and as the bass soloist in Beethoven 9 at Boston Symphony Hall.

Recent outside operatic engagements have included Opera Southwest, the Aldeburgh Festival, and the Aspen Music Festival. This year at BU he will portray Henry Mosher in Emmeline and Bartolo in Le nozze di Figaro.

Erik E. Larson, American baritone, originally from Madison, WI, is a first-year member of the Boston University Opera Institute. During his undergraduate studies at the University of Wisconsin-Madison, Erik sang the roles of Masetto (Don Giovanni), Creonte (Medea), and Il Re (Ariodante). Other role highlights include Ted Steinert (Frau Margot), and Billy Bigelow (Carousel). Erik is a recipient of awards from both the Gerda Lissner and Giulio Gari Foundations.

Erik is a student of Penelope Bitzas, and can be heard this spring in Boston University productions of Emmeline as Mr. McGuire and the title role in Le nozze di Figaro.

Tim McGowan, is a first-year Master’s candidate at Boston University studying with Sharon Daniels and recently finished his first season as a young artist at Seagle Music Colony where he played Marcellus in The Music Man. 11

Other recent roles include Rinuccio in Gianni Schicchi, Bastien in Bastien und Bastienne, Candide in Candide and First Armored Man in Die Zauberflöte, along with covers and scenes as Nemorino, Fenton and Tamino.

Regina Morgan, soprano, has been heard as Marie La Fille du Regiment as part of Boston University’s Opera Theatre. Regina sang the role of Laeticia in Menotti’s The Old Maid and the Thief: A radio opera, as part of Boston University’s Opera Institute and College of Communication WTBU Radio Broadcast collaboration last spring. She also covered the roles of Despina in Così fan tutte and Tytania in A Midsummer Night’s Dream with the Opera Institute. A graduate from Sam Houston State University, she continues her development as a Master of Music candidate at Boston University’s College of Fine Arts where she studies with Sharon Daniels.

Gabriella Reyes de Ramírez, soprano, is a native of Meriden, Connecticut.

She recently performed the role of La Princesa in Opera Hub’s production of El Gato con Botas by Xavier Montsalvatge. Previously, she appeared as Countess Almaviva in Boston Conservatory Opera’s production of Le nozze di Figaro, Minskwoman in Jonathan Dove’s Flight, Greek Woman and Priestess in Gluck’s Iphigénie en Tauride. She was recently selected for Houston Grand Opera’s Young Artist Vocal Academy. Gabriella is in her first year with the Opera Institute at Boston University and studies with Penelope Bitzas.

Gabriella holds a Bachelors of Music degree in Vocal Performance with an Opera Emphasis from the Boston Conservatory of Music.

Zaray Rodriguez, Cuban American mezzo-soprano, is equally at home performing works from the classic and modern repertoire in operatic and concert work. Rodriguez has performed as a soloist with various music organizations including the Mid-Atlantic Symphony Orchestra, and the Henri Mancini Institute Orchestra. Recent performances include Zita, Principessa, and Federico Garcia Lorca (Ainadamar) with Frost Opera Theater. This past summer she made her debut with Seagle Music Colony performing the roles Marie in the Most Happy Fella and Mrs. Paroo in The Music Man; and premiered in the innovative work of Evan Mack’s Roscoe. Rodriguez is currently a first-year student at the Opera Institute and studies with Penelope Bitzas.

Dennis Shuman, tenor, is a first-year member of the Opera Institute studying with Dr. Jerrold Pope. Originally from Rockmart, GA, Dennis completed his Bachelor's at the University of Minnesota-Duluth and Masters of Music at Loyola University New Orleans. Favorite past roles include Roméo in Roméo et Juliette, Rinuccio in Gianni Schicchi, and Ferrando in Così fan tutte. Dennis is excited to make his Boston University debut in Hydrogen Jukebox and can be seen this winter as Matthew Gurney in Emmeline.

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MAD FOREST A Play from Romania

by Caryl Churchill Judy Braha, stage director Act I: Lucia’s Wedding II: December III: Florina’s Wedding

CAST Florina/Flower Seller..............................................................................Reilly Anspaugh Radu/Securitate Officer................................................................................John Austin Mihai/Wayne/Translator...................................................................................Leo Blais Bogdan/Boy Student 1/Grandfather.......................................................Joseph Boyce Irina/Flavia’s Grandmother/Girl Student......................................Danielle Giordano Lucia/Student Doctor....................................................................................Abby Knipp Ianos/Soldier Act II/Ghost...............................................................................Bo Krucik Flavia/Rodica/House Painter.....................................................Cerridwyn McCaffrey Patient/Old Aunt/Painter/.......................................................Alicia Piemme Nelson Dream Soldier/Toma Angel/Dog/Country Grandmother/Doctor/..........................Madeline Sosnowski Waiter/Dream Soldier/Student 2 Gabriel/Bulldozer Driver.....................................................................Gabriel Stephens Priest/Vampire/Securitate Man................................................................Peter Walsh Someone with Sore Throat/ Dream Soldier/Rat Soldier

Mad Forest is presented by special arrangement with SAMUEL FRENCH, INC. 13

DESIGN & PRODUCTION TEAM Composer.................................................................................................Damien Bracken Assistant Director...................................................................................Jillian Robertson Dramaturg......................................................................................Jesse Richardson-Bull Stage Combat Director................................................................................Angie Jepson Assistant Stage Combat Director...................................................Rachel Lager Smith Choreography.................................................................................................Yo-el Cassell Fight Captain....................................................................................................Abby Knipp Dance Captain...............................................................................................Alicia Nelson Romanian Language Coach....................................................................Julianne Brown Romanian History Consultant.......................................................................Cornel Ban Scenic Designer......................................................................................Andrew Kolifrath Costume Designer............................................................................Samantha Garwood Lighting Designer..................................................................................Marcella Barbeau Sound Design..........................................................................................Nicholas Y. Chen Technical Director..............................................................................................Ana Weiss Paint Charge..................................................................................................Lauren White Properties Master.............................................................................................Baron Pugh Master Electrician.........................................................................Evey Connerty-Marin Stage Manager..........................................................................................Sarah Schneider Assistant Stage Manager..........................................................................Emma Cooney Production Assistant............................................................................Samantha Galvao Assistant Scenic Designer......................................................................Michelle Sparks Assistant Costume Designer......................................................................Zarah Avalon Assistant Lighting Designer......................................................................David Orlando Lighting Board Operator....................................................................Sophia Gartenstein Assistant Sound Design.....................................................................................Kirk Ruby Sound Board Operator..............................................................................Maria Pinggera Assistant Technical Director........................................................................Logan Lower Assistant Paint Charge.....................................Katherine Keaton, Jacqueline Kempe Assistant Properties Master.................................................................Michelle Sparks Assistant Master Electrician.....................................................................Taire McCobb Wardrobe Head...............................................................................................Phoebe Ping Run Crew................................................................Maggie Markham, Curtis Schalchlin Props Run Crew............................................................................................Lida Rubanava Wardrobe Crew...................................Emilia Kaczmarkiewicz, Londeen Mceachron,

Sean Perreira Scenic/Paint Build Crew..............................CFA School of Theatre Technical Crew Lighting Crew..................................................CFA School of Theatre Technical Crew Costume Build Crew......................................CFA School of Theatre Costume Shop Sound Crew.................................................CFA School of Theatre Sound Department Production Manager.........................................................................................Dongyi Ma Assistant Production Manager.................................................................Emily Vaughn Front of House.......................Alexander Hatcher, Michelle Moriarty, Devon Stokes House Manager...................................................................Brian Dudley, Daniel Morris 14

STAGE DIRECTOR’S NOTE Imagine a world where the government controls your every move, where private spaces are bugged by the secret police, where you might expect a visit from a vampire or an angel, where true words are the most precious, rare commodities. Mad Forest, Caryl Churchill’s magically dark play about the 1989 Romanian Revolution, conjures a world of desperate people in search of freedom without the slightest idea how to use it.

In an era where the Arab Spring has yielded not democracy but chaos, where women have been forbidden to wear what they like on French beaches, where police kill citizens without consequence, where walls are being built between nations, where totalitarian speech is bandied about under the guise of freedom, this play speaks deeply and alarmingly to the great damage caused by repression, injustice and hate. “We are a dream in the mind of a madman” people said of the Ceauşescu years. Watching TV on a nightly basis, are we heading in that direction? Performing Mad Forest directly before the presidential election allows us to witness the events of this confusing and frustrating time against the stark relief of our own.

—Judy Braha

NOTES FROM THE DRAMATURGE On the plain where Bucharest now stands there used to be “a large forest crossed by small muddy streams…It could only be crossed on foot and was impenetrable for the foreigner who did not know the paths…The horsemen of the steppe were compelled to go round it, and this difficulty, which irked them so, is shown by the name… Teleorman – Mad Forest.”

—Keith Hitchins, A Concise History of Romania “The metro entrances of Bucharest were also entry points into Ceauşescu’s maze of tunnels, a secret subterranean network constructed to outlast even nuclear war.. The underground network was reputed to be thousands of miles long. When I told a poet friend that I could not think of anything similar in the modern world, he said: ‘I can… the Romanian mind after forty-five years of dictatorship.’”

“We are a dream in the mind of a madman.”

These were the working people of Bucharest, of Romania. They had stood in line for forty-five years patiently waiting for the barest necessities. A revolution was going on, but the lines were still long—the same as the week before, the year before, the previous decade…. Are there people on this earth, whole countries,

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whole continents perhaps, doomed forever to the lines of misery, anticipation, and scarcity?”

“It was a revolution in people’s souls when they suddenly felt no more fear. The revolution is going on still. Whoever let the tiger out of its cage is in no position to put it back again.”

—Andrei Codrescu, The Hole in the Flag Elena: “We have the right to die together. Together, together!”

Nicolae: “What kind of thing is this?” (Still apparently in disbelief that his last moments are approaching).

Elena: “Don’t tie us up, don’t offend us. Please don’t touch me” Nicolae: “I have the right to do what I want.”

Elena: “Shame, shame on you. I brought you up as a mother. Stop it. You’re breaking my arms. Let go of them. Let me go. Why are you doing this?”

A soldier: “No-one will help you now.”

Elena: “We’re powerless now.”

They are led outside. The film records the bursts of gunfire and then zooms in on the two twisted bodies lying like broken dolls, blood streaming from their wounds. And then those famous final portraits of death that flashed around the world.

—Alan Elsner, Trial and Execution: The Dramatic Deaths of Nicolae and Elena Ceauşescu, updated May 25, 2011 “The greatest victory of communism, a victory dramatically revealed only after 1989, was to create people without a memory – a brainwashed new man unable to remember what he was, what he had, or what he did before communism.”

— Emily Young Romania’s Revolution Through the Eyes of Three Generations “It wasn’t only Ceauşescu, his entourage, and his police who built the dictatorship. Nearly everyone built it very often adding their own brick at their own initiative. This eventually gave rise to mistrust and hostility among the people. No one was sure who was denouncing whom, who was digging a pit for whom.”

— Ryszard Kapuscinski from the forward to Kiss the Hand You Cannot Bite

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READ MORE ABOUT IT: A Concise History of Romania by Keith Hitchins Trial and Execution: The Dramatic Deaths of Nicolae and Elena Ceauşescu

by Alan Elsner The Hole in the Flag by Andrei Codrescu Eastern Europe in Revolution by Ivo Banac Romania’s Revolution Through the Eyes of Three Generations by Emily Young Between Past and Future: The Revolutions of 1989 and Their Aftermath

by Sorin Antohi, Vladimir Tismăneanu Kiss the Hand You Cannot Bite, forward by Ryszard Kapuscinski 12:08 East of Bucharest; film The Way I Spent the End of the World; film The Autobiography of Nicolae Ceausescu; film http://adst.org/2015/10/the-1989-romanian-revolution-and-the-fall-of-ceausescu/ http://news.bbc.co.uk/2/hi/europe/574200.stm

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Romanian Revolution of December 1989 ·

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December 15 o Securitate agents (Romanian Secret Police) attempt to evict Father Lazlo Tokes, preacher for the Hungarian Reformist Church, from his home in Timisoara. Members of his church form a peaceful protest, the crowd grows and takes on a different tone, becoming an anti-Ceauşescu demonstration.

December 16 o Protestors swell in Timisoara and take to the streets, begin to clash with security forces.

December 17 o Height of protests in Timisoara: protestors ransack government buildings and other private property. o Security forces take offensive action to crush the demonstrations: they fire on the crowds, marking the first casualties of the revolution.

December 18 o Nicolae Ceauşescu leaves Romania and flies to Iran on an official state visit. o Security forces patrolling streets in Timisoara, firing at will on protestors. Tensions continue to escalate.

December 19 o Majority of demonstrations in Timisoara are taking place off the streets inside industrial factories.

December 20 o Workers leave the factories and take to the streets in an organized protest. o Ceauşescu regime enters negotiations with protestors, but fails to quell the crowd. o Revolutionary activity spreads from Timisoara to other towns and cities. o Ceauşescu returns from Iran, denounces events in Timisoara.

December 21 o Ceauşescu gives televised address to a large crowd in Bucharest; the crowd begins to boo and catcall him, sparking protests all over the nation’s capital.

December 22 o Army goes over to the side of the people. Ceauşescu escapes Bucharest by helicopter. Protestors occupy television and radio stations. o Formation of the new government, the National Salvation Front. o In the evening, “Terrorist” shootings begin.

December 23-24 o Escalation of fighting in the streets, chaos in the streets of Bucharest. o Ion Iliescu emerges as leader of the National Salvation Front December 25 o Nicolae and Elena Ceauşescu tried and executed by military tribunal.

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Wake Up Romanian

Deșteaptă-te, române, din somnul cel de moarte, În care te-adânciră barbarii de tirani Acum ori niciodată croiește-ți altă soarte, La care să se-nchine și cruzii tăi dușmani.

Acum ori niciodată să dăm dovezi la lume Că-n aste mâni mai curge un sânge de roman, Și că-n a noastre piepturi păstrăm cu fală-un nume Triumfător în lupte, un nume de Traian.

Înalță-ți lata frunte și caută-n giur de tine, Cum stau ca brazi în munte voinici sute de mii; Un glas ei mai așteaptă și sar ca lupi în stâne, Bătrâni, bărbați, juni, tineri, din munți și din câmpii.

Wake up, Romanian, from the sleep of death Into which you have been sunk by the barbaric tyrants Now, or never, make a new fate for yourself, To which even your cruel enemies will bow.

Now or never let us give proof to the world That in these veins a Roman blood still flows, That in our chests we hold a name with pride, Victorious in battle, the name of Trajan!

Raise your broad forehead and see around you How, like fir trees on a mountain, hundreds of thousands of strong men stand; Just waiting for a voice to pounce like wolves on sheep, Elders, men, youths, boys, from the mountains and from the plains.

Sărbătoare

de Violeta Zamfirescu Aduceț íliliacul timpuriu Alb liliac –sărbătorim femeia care poartă În ochíí ei, în mersul ei, în gândul viu Destinul clar al misiuníí clasei muncitoare Ea a deschis luminíí poartă strălucitoare

Bring the early lilac White lilac –We are celebrating the woman that carries In her gaze, and in her walk, the ardent thought The clear destiny of the mission of the working class She has opened the door, the bright doors for light

Aduceți grâul nou aniversăríí Urațíí fericire, viață îndelungată Elena Ceaușescu –respectul țăríí Stíínța ta este vointa păcíí, O speranța Victoria Patriei, purtatăcu prestanță

Bring the new wheat to the anniversary Wish happiness, and long life To Elena Ceaușescu – the respect of her country Your science is the will of peace, Oh hope The victory of the nation, carried with glory.

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COMPANY BIOS Caryl Churchill (Playwright), born 1938, wrote her first play, Downstairs, while at Oxford University. It was staged in 1958 and won the award at the Sunday Times National Union of Students Drama Festival. Her plays have been performed on international stages, on the BBC radio, and adapted for BBC television. They include Light Shining in Buckinghamshire, Cloud Nine, Fen, Three More Sleepless Nights, Top Girls, Serious Money (which won the Laurence Olivier/BBC Award for Best New Play), Mad Forest, The Skriker, Far Away, A Number, and a new version of August Strindberg’s A Dream Play. Her latest play, Drunk Enough to say I Love You?, premiered at the Royal Court Theatre, where she served as Resident Dramatist in 1974 and 1975. She lives in London.

Judy Braha (Director) has been a director, actor, teacher, and arts advocate in New England for over three decades. Program Head of the MFA Directing program at Boston University School of Theatre, her teaching, directing, and guest artist credits include theaters and universities throughout New England and beyond. Over the past four years, Judy has collaborated with the BU Prison Education program in Andre De Quadros’ groundbreaking class, Empowering Song, and helped to create the BU College of Fine Arts Collaborative Arts Incubator. Recent directing projects: Water by the Spoonful (BU/SOT), Emilie: La Marquise Du Chatelet Defends Her Life Tonite (Central Square Theatre), Our Class (Boston Center for American Performance).

Upcoming: Golda’s Balcony (New Repertory Theatre), and I Am Lear, a devised piece (Actors’ Shakespeare Project).

Reilly Anspaugh is thrilled to be a part of Boston University’s Mad Forest. Reilly is a junior in the School of Theatre pursuing her BFA in Acting, and was most recently seen as Monteen in BU’s production of Parade. She sends endless love to her family and friends for their never-ending support.

John Austin is from Austin, Texas. Playwright, chess player, and lover of the sea, John recently played Mark Antony in London. Boston credits: A Taste of Honey (BCAP); Equal Writes (Boston Playwrights’ Theatre). Austin: Zeus in Therapy (world premiere, 2013 B. Iden Payne Award, Austin’s Outstanding Young Performer). Thank you, BU. Leo Blais is thrilled to be working with close friends and new friends in the cast and crew of Mad Forest. Outside of Boston University, Leo performs as a Zombie at Trapped In A Room With A Zombie in Somerville. He can also be seen in The Gathering Storm: A Marauder’s Fan Film, slated to come out in 2015.

Joseph Boyce is a senior BFA Acting major at BU and he is excited to perform this show with a cast full of close friends and fellow storytellers. When he isn’t on stage, Joe enjoys practicing improv comedy and playing D&D with his friends. May the Force be with you.

Danielle Giordano is a senior Theatre Arts major at Boston University School of Theatre. She is delighted to be working with the dynamic cast and crew of Mad Forest. She extends her love and thanks to her family and friends who have shown endless support and enthusiasm for her work.

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Abby Knipp is a current senior completing her BFA in Acting within Boston University School of Theatre. Credits include BU’s Femina Shakes’ Twelfth Night (Sebastian), The Adding Machine, Sickle (Nadiya) at the Boston Playwrights’ Theatre, and Julius Caesar (Mark Antony) at London Academy of Music & Dramatic Art (LAMDA).

Bo Krucik (diminutive of Bohdan, like the electrician) is a senior Acting major from San Francisco, California. He enjoys competitive swimming and playing flamenco guitar. After going abroad to New Zealand to study marketing and creative programming in Java, he is thrilled to be working alongside his good friends again.

Cerridwyn McCaffrey is a senior Acting major in the School of Theatre. Some of her most recent roles include Duke Orsino in Femina Shakes’ Twelfth Night as well as Beth in Equal Writes and Yasia in Sickle at the Boston Playwrights’ Theatre. She has recently returned from Dublin, Ireland, where she worked for Ali Coffey Casting for the 2016 spring semester.

Alicia Piemme Nelson is a senior Acting major at Boston University. She recently studied physical theatre at the Accademia dell’Arte in Tuscany, Italy, and apprenticed with One Year Lease Theater Company in Papingo, Greece.

Recent BU performances include The Duchess of Malfi (Bosola) and The Tall Girls (Inez).

Madeline Sosnowski is a senior Acting major at BU and she is delighted to be a part of sharing this incredible play. Madeline would like to thank her wonderful ensemble-mates for their generosity throughout this process. Past roles include Portia in Julius Caesar and Josie in By the Bog of Cats.

Gabriel Stephens is thrilled to be working on this magical play. Favorite roles at BU include Mr. Zero in The Adding Machine and the Ghost Fancier in By the Bog of Cats. In Boston he can be found recklessly riding his bicycle or seeking spiritual solace in strangers’ dogs.

Jesse Richardson-Bull is a senior Theatre Arts major at Boston University.

He’s ecstatic to be working on Mad Forest, being a devoted disciple to the work of Queen Churchill. He would like to thank his family and friends for supporting him in all his wacky endeavors, especially his loving father. Looking forward to more adventures, Dad! Peter Walsh is a sophomore Acting major at the BU School of Theatre. He was in the School’s Quarter 0 show, The Curious Case of the Watson Intelligence, and is so excited to be in his second show with such an amazing group of artists.

Working on this show has been inspiring, educational, and wonderful. Enjoy!

Marcella Barbeau (Lighting Designer) is a first year MFA graduate student who holds her Bachelor of Fine Arts from the Conservatory of Theatre Arts at Webster University. After graduating in 2014, she moved to Seattle, Washington to work as a freelance designer, and then was the Lighting Design Fellow at the Oregon Shakespeare Festival in Ashland, Oregon. Marcella recently designed a production of “Love Song” by John Kolvenbach in Seattle, and has assisted designers at ACT Theatre, Book-it Repertory, the Oregon Shakespeare Festival, and the Repertory Theatre of St. Louis.

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Damien Bracken (Composer), from Dublin, Ireland, has written extensively for theater, video, and film with much of his theater work being in collaboration with director, Judy Braha. Judy and Damien collaborated on Mad Forest initially in 1992. When offered the chance to do it again, Damien could not resist. A music graduate of Trinity College Dublin (TCD) where he was composer in residence for the Players Theater, Damien is currently the Dean of Admissions at Berklee College of Music. He is an active songwriter and musician and currently leads the band DÚBH who recently released “This is DÚBH.” Nicholas Y. Chen (Sound Designer) is a senior Sound Design major. His work at BU includes Parade, Rosmersholm, and Wit, the latter with Boston Center for American Performance, the School’s professional extension. Outside of Boston University, Nicholas has worked as an intern at the Williamstown Theatre Festival during their 2016 season, and on Edith can Shoot things and hit Them with Company One. Be on the lookout for his work in The Cradle Will Rock this December, and on his senior thesis project next spring.

Evey Connerty-Marin (Master Electrician) is a senior this year, excited to finish out her last year here at BU. She has enjoyed working on the Fringe Festival and would like to thank both her assistants for being wonderful, the department for hanging her show, and her cat for being purrfect.

Samantha Garwood (Costume Designer) is a second year MFA costume designer. Samantha is pleased to be making her Boston University design debut with Mad Forest. She would like to thank: Zarah, assistant designer extraordinaire, without whom she would be lost; her faculty advisor, Nancy; and Matt, her incredibly patient fiancé.

Andrew Kolifrath (Scenic Designer) is a junior at BU. Mad Forest is his first production at the BU Theatre, having done several shows in the spaces located at the College of Fine Arts. When not designing, he also enjoys working in props and as a scenic artist.

Dongyi Ma (Production Manager) is a graduate student major in Production Management. Her credits include Carmen (National Centre for the Performing Arts), Return On a Snowy Night (NCPA), Broken (BU New Play Initiative and Boston Playwright’s Theatre), Wit (Boston Center for American Performance), The Cripple of Inishmaan (BU School of Theatre), A Taste of Honey (BCAP), The Hothouse (BU SOT), and Parade (BU SOT).

Sarah Schneider (Stage Manager) is a senior in the School of Theatre earning her BFA in Stage Management. Locally, Sarah has worked with Commonwealth Lyric Theater, Bridge Repertory Theatre, and New Repertory Theatre/BCAP and spent her summer stage managing at Music Academy International in Italy. Many thanks to Emma, Sam, and the rest of the Mad Forest team!

Ana Weiss (Technical Director) is a second year Technical Production graduate student. Ana spent the summer as Technical Director of the Tina Packer Playhouse at Shakespeare & Company. She was the TD for last year’s play Baltimore, co-produced by Boston Center for American Performance and New Repertory Theatre. She has also worked consecutive summers at the Cape Playhouse as a carpenter and then as Assistant Technical Director.

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THE WERTHER PROJECT WERTHER

Opera in Four Acts

by Jules Massenet Libretto by Édouard Blau, Paul Milliet, and Georges Hartmann based on and including excerpts from

THE SORROWS OF YOUNG WERTHER

by Johann Wolfgang von Goethe translations by R.D. Boylan, Thomas Carlyle, and Stanley Corngold

Dramaturgy by Jerrold Pope and Allison Voth William Lumpkin, conductor Nathan Troup, stage director CAST Werther...............................................................................John David Nevergall Charlotte..........................................................................................Emily Spencer Albert.....................................................................................Erik Van Heyningen Young Kwang Yoo, cover Sophie....................................................................................Jennifer Jaroslavsky Regina Morgan, cover Children...........................................................Kelsey Debner, Regina Morgan,

Kathryn Tolley, Manni Zhang The Author.......................................................................................Aaron Dowdy TIME AND SETTING Act 1: Early July; outside Charlotte’s family home Act 2: Late September; Under the linden trees Act 3: Christmas Eve; Albert’s house Act 4: Later that same evening; Werther’s writing studio There will be one 15 minute intermission.

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BOSTON UNIVERSITY CHAMBER ORCHESTRA William Lumpkin, Conductor

Violin I Yena Lee Su Yin Chan Allie Wei Susan Beresko Molly Shanks Elena Levi Glenna Cureton Rebeca Baquerizo Violin II Jihye Choi Yoo Jin Ahn Sandy Kola Jia Li Zhongxue He Emma Chrisman Sam Durben Anna Harris Viola Rebecca Flank Andrew Goo Lei Zhang Teresa Bloemer Lixin Zhang Chloe Aquino Cello Yi Cheng Isa Al Najem Chris Healy Alexander Yang Tess Clippinger Rebeca Strong Garcia Zachary Larson Bass Francisco Javier Martin Diaz John De Martino Yizhen Wang Victor Wiseman

Flute Hayley Miller Yeji Oh (and Piccolo) Oboe Erin Shyr Ashley Perry (and English Horn) Clarinet Jinju Yeo Marisa Giangregorio Bassoon Jay Rauch Sydney Neugebauer Alto Sax Cara Kinney Horn Sarah Gagnon Feng Ye Justin Gaskey Joseph Scriva Trumpet Hyungbin Jung Janet Christensen Trombone Elisabeth Shafer Byul Yoo Patrick Cavanaugh Tuba Kyung Seok Yu Percussion Chang-Chun Tsai Harp Amelia Cook Timpani Mattijs Van Maaren Organ Matthew Larson Personnel Manager Lina Gonzalez-Granados 27

STAGE DIRECTOR’S NOTE We’ve branded this evening’s performance The Werther Project as it is our own unique retelling of the story of Werther, reimagined to include material from the original novel by Goethe with Massenet’s operatic treatment as the center piece of our story telling.

Massenet’s opera Werther may be the most overt realization of what’s known to be a rather autobiographical story of Goethe’s life. Coincidentally, Goethe’s expansive literary output plays a rather prominent role in the very earliest developmental years of almost every singer. Composers Mozart, Mahler, Schubert, Schumann, Brahms, Berlioz, Wolf, and Wagner are among the many to have set Goethe’s poetry to music generating an extensive collection of eighteenth and nineteenth century art song that constitute the very foundation of a young singer’s repertoire. In more ways than one, these singers have been preparing for these roles since they first learned to sing Mozart’s Das Veilchen or Schubert’s Ganymed. They’ve been interpreting Goethe’s poetry from day one.

The Werther Project allows us to share with you a more transparent correlation between the original novel and the opera it inspired Massenet to create, bringing the source material to the forefront. We’ve streamlined the musical material, choosing to focus of the four main characters in the opera’s plot (along with the support of a small vocal ensemble and the creation of the role of “the Author”). Weaving excerpts of the original text throughout this evening’s performance feels as though we’re taking a glimpse into the process of how we prepare for a production. Typically, research and source material are things dealt with in private; read alone, discussed in the rehearsal room, internalized then utilized as a springboard for character development, production design ideas and over all inspiration.

This evening, however, we bring those elements one-step closer to you, exploring the relationship between artist and muse. In regard to its autobiographical nature, we also may begin to see what it feels like when muse becomes master and when we can no longer distinguish between ‘life imitating art’ and ‘art imitating life.’

—Nathan Troup

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DESIGN & PRODUCTION TEAM Scenic Designer..........................................................................Jeffrey Petersen Costume Designer.........................................................................Lauren Reuter Lighting Designer.............................................................................Austin Boyle Assistant Director....................................................................Melanie Bacaling Technical Director.......................................................................Mary Kurenkov Paint Charge.............................................................................Emily Rosenkrantz Properties Master.........................................................................Kayla Williams Audio Supervisor....................................................Aubrey Dube, Kaitlyn Sapp Master Electrician.........................................................................Shane Cassidy Stage Manager..................................................................................Marisa Brink Production Assistant.................................................................Saskia Martinez Supertitles..................................................................Allison Voth, John Conklin Repetiteur........................................................................................Angela Gooch Assistant Scenic Designer..........................................................Kayla Williams Assistant Costume Designer...........................................Azucena Dominguez Assistant Lighting Designer....................................Carmen Catherine Alfaro Light Board Operator.....................................................Katherine Christianson Sound Board Operator............................................................Amanda Figueroa Assistant Technical Director..........................................................Logan Lower Wardrobe Head...........................................................................Amy Thomason Properties........................................................................................Lida Rubanava Run Crew.........................................................William Anderson, Jules Tanner,

Charles Tisch, Sarah Whelan Scenic/Paint Build Crew...................CFA School of Theatre Technical Crew Costume Build Crew...........................CFA School of Theatre Costume Shop Wardrobe Crew..................................................Emma Barron, Trenton Mulick Lighting Crew.............................CFA School of Theatre Lighting Department Sound Crew....................................CFA School of Theatre Sound Department Changeover Crew...............................Alexandra Buttitta, Thomas Mitsock,

Oreine Robinson, Sarah Shin,

Chloe Siegman, Zachary Zamsky Front of House................................................Ryan Huemmer, Henson Milam,

Connor Paradis, Kellan Rhude House Manager......................................................Brian Dudley, Daniel Morris Production Manager................................................................Katherine Bartels Producer.......................................................................................Oshin Gregorian

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ARTISTIC BIOS William Lumpkin, Associate Professor of Music, is the Artistic Director and Conductor of the Opera Institute at Boston University where he conducts Opera and Chamber Orchestra performances. He has conducted Boston Lyric Opera productions of Cosí fan tutte and Dove’s Flight and conducted the premiere of Flight and Hansel and Gretel with Opera Theatre of St. Louis. In 2002, Lumpkin led performances of Philip Glass’ Galileo Galilei as part of the Brooklyn Academy of Music’s New Wave Festival. Mr. Lumpkin was Assistant to the Music Director at Opera Theatre of Saint Louis where he made his company debut conducting performances of La bohème, followed by Magic Flute and Lucia di Lammermoor. He has appeared as guest conductor at Indiana University and University of Illinois at Urbana-Champaign. Other professional credits include Wolf Trap Opera Company, Boston Lyric Opera, Aspen Opera Theatre Center, Chicago Opera Theater, and the Los Angeles Opera. Mr. Lumpkin holds a BM from the Eastman School of Music and a D.M.A. in Collaborative Piano from the University of Southern California.

Nathan Troup (Stage Director) was recently named Boston Lyric Opera’s Emerging Artist-Stage Director for the 2015-16 and 2016-17 seasons. He joined the opera faculty at Boston University in 2008 where his past directing credits include The Traviata Project. Current season highlights include Alcina and Dark Sisters for Boston Conservatory; The Werther Project for Boston University; and Carmen and Le nozze di Figaro (assistant director) with Boston Lyric Opera. Recent highlights include Madama Butterfly for Hubbard Hall Opera Theater, La traviata, Le nozze di Figaro, The Rake’s Progress, The Rape of Lucretia and Transformations for Boston Conservatory; Die Entführung aus dem Serail for Emmanuel Music; new-works residency at Brandeis University with experimental opera company Guerilla Opera; touring production of Montsalvatge’s El Gato con Botas in a co-production with Boston Conservatory, OperaHub and Puppet Showplace Theater; a new production of Elena Langer’s Four Sisters for Boston Opera Collaborative; and continued collaboration with live performance at Museum of Fine Arts - Boston. He joined the Santa Fe Opera in summer 2016 as assistant director to Ron Daniels’ new production of Don Giovanni. He’s worked with the companies of Wolf Trap Opera, Fort Worth Opera, the Castleton Festival, served on the Apprentice Artist Program staff as stage director and assistant stage director for Des Moines Metro Opera’s 2014 and 2015 seasons, and was a Young Artist with the Glimmerglass Festival in 2013.

Kate Bartels (Production Manager) is a second-year MFA candidate in Production Management at Boston University. She has a BA in Theatre Design and Technology from Louisiana State University, and has worked professionally as an AEA and AGMA stage manager for the last four years.

Her recent BU production management credits include In the Heart of America, Exposed (APM), and the Opera Institute’s Seven Deadly Sins.

Austin Boyle (Lighting Designer) is currently in his third year of pursuing a BFA in Lighting Design at Boston University. He’s excited to be designing The Werther Project for this year’s Fringe Festival. Recently he’s designed CRC’s The Scarlet Letter and Romeo and Juliet, By the Bog of Cats at Boston University, and Aladdin with Maine State Music Theatre’s Intern Company. As an assistant he’s been involved in projects such as Boston University’s Parade,and the Huntington Theatre’s Company’s Disgraced, How I Learned What I Learned, and Sunday in the Park with George.

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Marisa Brink (Stage Manager) is a senior Stage Management major at Boston University. Recent professional credits include work with Des Moines Metro Opera, Central City Opera, Boston Lyric Opera, Boston Ballet, and Commonwealth Shakespeare Company. BU OI credits include Vinkensport, or The Finch Opera (Stage Manager), A Midsummer Night’s Dream (Assistant Production Manager), and Angels in America (Assistant Stage Manager).

Mary Kurenkov (Technical Director) is a junior at Boston University, studying Technical Production. She is excited to work on the Werther Project as her first time in the role of a technical director at BU. Last year she served as Assistant Technical Director on Parade and Rosmersholm. This summer she was a carpentry apprentice at Maine State Music Theatre, working to produce musicals including Evita, Fiddler on the Roof, and Mamma Mia! Jeffrey Petersen (Scenic Designer) is a third-year MFA candidate in Scenic Design at Boston University and is pleased to be back to work on another project with the Opera Institute after designing last season’s Cosí fan tutte. Recent BU design credits include Rosmersholm, Equal Writes, and The Whitmores. Select professional design credits include: Dancing at Lughnasa, Pavilion, Sylvia, Last Five Years, Glass Menagerie, String for Minneapolis’ Yellow Tree Theatre, Rocky Horror Live for Cardinal Theatricals.

Lauren Reuter (Costume Designer) is a junior Costume Design major at Boston University School of Theatre. She is also a work-study shop assistant for the Huntington Theatre Company. The Werther Project is her first design project at Boston University.

Kaitlyn Sapp (Audio Supervisor) is pursuing a BFA in Sound Design from Boston University. Current credits include: In the Heart of America, After the Fall, Rosmersholm, and Delirium. She has enjoyed the experience of working on the Werther Project.

Kayla Williams (Props Master) is a sophomore Scenic Design major and is very excited to be working with the Opera institute on The Werther Project. She has been a scenic painting intern at Williamstown Theatre Festival. Previous BU credits include Parade, Prometheus Bound, Baltimore (NewRep/BCAP), and Delirium.

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PERFORMER BIOS Aaron Dowdy is a senior acting major in the School of Theatre and has enjoyed three semesters of casting.The Werther Project is Aaron Dowdy’s first intersection with the Opera Institute as a performer. He is thrilled to be taking the stage with so many talented performers that he has had the pleasure of watching in the past.

Jennifer Jaroslavsky, soprano, is a second-year Master of Music student in the School of Music, studying under the tutelage of Penelope Bitzas. This summer, Jennifer returned to the Seagle Music Colony in Schroon Lake, NY to sing her first Bel Canto heroine, Adina in Donizetti’s L’elisir d’amore. She was last seen on the Boston University Theater stage as Despina in Mozart’s Così fan tutte and Farinelli’s Trainer in Little’s Vinkensport with the Opera Institute. Last spring, Jennifer received the First Place award in the Peter Elvins Vocal Competition and the Encouragement Award in the MetroWest Opera Competition. She can be seen this winter as the soprano soloist in Rutter’s Magnificat with the Neponset Choral Society.

John David Nevergall, tenor, is currently in his third year of study at the Opera Institute, where he is a student of Jerrold Pope. After beginning his formal music training as a percussionist and pursuing graduate studies in historical musicology, John David completed a Master’s Degree in Vocal Performance at The Ohio State University in 2011. His professional credits include Rodolfo in La bohème, Don José in Carmen, Rinuccio in Gianni Schicchi and the tenor soloist for Verdi’s Messa da Requiem. John David has previously worked as an apprentice artist with Central City Opera and Des Moines Metro Opera.

Emily Spencer, mezzo-soprano, is a second-year member of the Opera Institute, studying with Penelope Bitzas. Spencer received both her BM and MM in voice from Northwestern University, where she was a student of Karen Brunssen. She is also an alumna of the Chautauqua Opera and Opera Saratoga young artist programs. Credits with the Opera Institute include: Hermia (A Midsummer Night’s Dream); Anna I/II (The Seven Deadly Sins). Other notable credits: Young Wife, cover (Naga [World Premiere], ArtsEmerson); Donna Rosa (Il Postino, Opera Saratoga); Ma Joad (The Grapes of Wrath, Northwestern University); Charlotte Malcolm (A Little Night Music, Castleton Festival).

Erik Van Heyningen, bass-baritone, is a second-year member of the Opera Institute under the tutelage of Jerrold Pope. Erik spent the past summer as a Richard Gaddes Festival Artist performing Truffaldino in Ariadne of Naxos at the Opera Theater of St. Louis, where he had spent the previous two summers as a Gerdine Young Artist. In May, Erik covered the role of Ernesto in Donizetti’s Parisina d’Este with Opera Orchestra of New York at Lincoln Centre. Erik is the first prize winner in the 2016 Gerda Lissner Song and Lieder competition.

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BOSTON UNIVERSITY COLLEGE OF FINE ARTS The Boston University College of Fine Arts was created in 1954 to bring together the School of Music, the School of Theatre, and the School of Visual Arts. The University’s vision was to create a community of artists in a conservatory-style school offering professional training in the arts to both undergraduate and graduate students, complemented by a liberal arts curriculum for undergraduate students. Since those early days, education at the College of Fine Arts has begun on the BU campus and extended into the city of Boston, a rich center of cultural, artistic, and intellectual activity.

BOSTON UNIVERSITY SCHOOL OF MUSIC Founded in 1872, the School of Music combines the intimacy and intensity of conservatory training with a broad-based, traditional liberal arts education at the undergraduate level and intense coursework at the graduate level. The school offers degrees in performance, conducting, composition and theory, musicology, music education, collaborative piano and historical performance, as well as a certificate program in its Opera Institute, and artist and performance diplomas.

BOSTON UNIVERSITY SCHOOL OF MUSIC: OPERA INSTITUTE The Opera Institute at the School of Music at the College is an intensive, highly selective two-year performance-based training program for emerging operatic artists. A professional faculty and renowned guest artists provide personal support and training in all areas pertinent to a career in opera — voice, acting, languages, movement styles, and business strategies. In addition, the Opera Institute also selects singers from the School of Music who demonstrate true operatic potential and have mastered an intermediate integration of acting, vocal, and movement skills for the Opera Theater, Opera Workshop and Opera Project programs.

BOSTON UNIVERSITY SCHOOL OF THEATRE The School of Theatre in the College of Fine Arts at Boston University is a leading conservatory for the study of acting, stage management, design, production, and all aspects of the theatrical profession. These programs of study are enriched by the School’s access to the greater liberal arts programs at Boston University. The School of Theatre values the notion of “the new conservatory” and seeks to provide students with opportunities for artistic growth through a rigorous curriculum, professional connections, and an emphasis on collaboration and new work.

COLLEGE OF FINE ARTS ADMINISTRATION Lynne Allen, Dean ad Interim Shiela Kibbe, Director ad Interim, School of Music Jim Petosa, Director, School of Theatre Jeannette Guillemin, Director ad interim, School of Visual Arts For faculty and staff listings, please visit bu.edu/cfa 33

COLLEGE OF FINE ARTS DEAN’S ADVISORY BOARD Jason Alexander, ’81, Hon.’95 Actor, Director, Writer

Stewart F. Lane, ’73 President & CEO Stewart F. Lane Productions

Michael Chiklis, ’85 Actor, Director, Producer

Nancy Livingston, COM’69 Chairman of the Board American Conservatory Theater (A.C.T.)

Saul Cohen President Hammond Residential Real Estate

Jane Musky, ’76 Production Designer

David Delmar, ’06 Founder, Executive Director Resilient Coders Chester Douglass Professor & Department Chair Harvard School of Dental Medicine

Jane Pappalardo, ’65 Philanthropist Trustee, Isabella Stewart Gardner Museum Board Member, Rose Kennedy Greenway

Frank Ginsberg, ’65 Chairman, CEO Avrett Free Ginsberg

Penny Peters, ’71 Communications Strategist & Management Consultant

SungEun Han-Andersen, ’85 President Andersen Family Foundation

Nina Tassler, ’79 Advisor & former Chairman CBS Entertainment

John Harrington, ’85 Founder and Chief Mission Officer Advanced Practice Strategies

Gael Towey, ’75 Creative Director Gael Towey & Co. Short Films

Lindsey Humes, ’79 Corporate Vice President CCS Fund Raising

Gregg Ward, ’82 President Orlando-Ward Associates

David Kneuss, ’70 Executive Stage Director Metropolitan Opera

Luo Yan, ’90 President Silver Dream Productions

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FRIENDS OF THE COLLEGE OF FINE ARTS We are grateful to the generous donors who support our gifted students in music, theatre, and visual arts, and to our CFA alumni who donate to Boston University. These gifts drive important capital initiatives, scholarships, educational outreach, performances, and exhibitions all of which directly benefit students across campus.

For more information about how you can join our growing list of supporters, please contact us at 617-353-5544 or make a donation online at www.bu.edu/giving. We would love to welcome you into our donor community! * $250,000 - $499,999 Andrew R. Lack (‘68) ∂◊ Jane M. Pappalardo (‘65) and A. Neil Pappalardo ∂ $100,000 - $249,999 Luo Yan (‘90) and Hugo X. Shong (COM’87) ∂ $50,000 - $99,999 Anonymous The Estate of Louise P. Kush ☆ Stewart F. Lane (‘73) and Bonnie Comley ■∂◊ $25,000 - $49,999 The Estate of Carol G. Elledge ☆ SungEun Han-Andersen (‘85) and G. Chris Andersen ∂◊ Steven M. Karbank (CAS’79) and Jeannette O. Karbank ■∂◊ Mary Ann Milano-Picardi (‘66) and Angelo Picardi ■∂◊ The Estate of Arlene H. Simons ☆ $10,000 - $24,999 Earl R. Beane (CAS’63, STH’67, ‘68) and Mildred B. Beane (‘64, ‘84, SED’95) ■∂◊ Sarina R. Birsh W. Anthony Brown and Betsey M. Brown ∂ William Burke and NancyBell Coe ☆◊ Philip T. Chaplin ∂◊ Cynthia K. Curme (‘76, ‘80) and Oliver D. Curme ■∂◊ Christopher di Bonaventura and Ellen di Bonaventura ∂ Peter di Bonaventura (CGS’78) ∂ Peter Eliopoulos and Maria Allen ∂◊ Robert B. Goldfarb (LAW’67) and Francine L. Goldfarb (CAS’67) ∂◊ Andrea D. Greene ∂ Nancy Livingston (COM’69) and Fred M. Levin, The Shenson Foundation ∂◊ Clare H. Meeker (‘75) and Daniel S. Grausz Nina C. Tassler (‘79) and Gerald S. Levine (‘79) ∂ Richard P. Trevino (SPH’06) ¤ $5,000 - $9,999 Edward Avedisian (‘59, ‘61) and Pamela A. Avedisian ∂

Beverly S. Bernson Edward S. W. Boesel (ENG’70) ∂◊ John A. Carey ■∂◊ Carol L. Carriuolo ∂ The Estate of Joan Cavicchi ☆ Chet and Joy Douglass ∂◊ David L. Feigenbaum and Maureen I. Meister ∂◊ Gordon P. Getty and Ann G. Getty ∂◊ Frank C. Ginsberg (‘65) and Joan Ginsberg ∂◊ Tony Goldwyn and Jane Musky (‘76) ∂◊ Adam Hersch and Jenny S. Hersch ◊ Seth Johnson ∂◊ Igor C. Kanelopulos (CAS’86) ∂◊ David Carlton Kneuss (‘70) ∂◊ $2,500 - $4,999 Gerald L. Abegg ⌂ and Beverly W. Abegg (‘64, GRS’68) ■∂◊ Anonymous Richard I. Grausman and Susan Grausman ∂◊ John F. Harrington (‘85) and Kerry E. Harrington ∂◊ Lindsey V. Humes (‘79) ∂◊ Jimmie L. Jackson (‘73, ‘76) ∂◊ Mary C. Jain ∂◊ Shailendra K. Jain ∂◊ Sooyeon Kim (‘86) ☆ Sarah G. Knutzen (LAW’90) and Erik L. Knutzen ■ Glen E. Kraemer and Tessa C. Kraemer ■∂◊ June K. Lewin (‘61) ∂◊ Michael W. Merrill (LAW’76) ∂◊ Martin Messinger ☆◊ The Estate of Philip C. Pascucci ∂ ◊ Craigie A. Zildjian (SED’76) $1,000 - $2,499 Lynne D. Allen ¤∂◊ Anonymous Apostolos A Aliapoulios (‘61, ‘70) and Mary J. Aliapoulios ∂◊ Christopher H. Babcock (‘72) Anthony J. Barbuto (‘97, CAS’97) ¤∂ Ethan Berg and Jamie Berg ☆◊ Jennifer Bubriski ☆ David N. Burnham (‘78) and Beth Burnham ¤∂◊ Richard D. Carmel Charitable Remainder Trust ∂◊ Aram V. Chobanian ■∂◊ Saul B. Cohen and Naomi R. Cohen ∂ Frank A. D’Accone (‘52, ‘53) ∂◊

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Edna L Davis (‘64) ∂◊ Samuel N. Dorf (‘02, CAS’02) and Maria I. Kisel ∂ Pamela K. Dove (‘72) and David W. Dove (Questrom’74) ∂◊ Richard W. Ekdahl (‘51, GRS’54) ∂◊ Cynthia K. Fertman (‘65) and Arthur Fertman (SDM’64) ∂◊ Peter Fiedler (COM’77, ‘94) and Dieuwke M. Fiedler ¤■∂◊ Judith M. Flynn ¤∂ Edmund A. Grossman ☆◊ Donald B. Haller and Susan Z. Haller ■∂◊ Nancy M. Hartman (‘52) ∂◊ Blake W. Hinson ◊ Judith R. Hoff (‘65) and Marcian E. Hoff Phyllis Elhady Hoffman (’61,’67) and Robert J. Hoffman ¤∂◊ Fritz C. Howser (‘16, CAS’16) ∂◊ Renate S. Jeffries (‘64) and John W. Jeffries ∂◊ Sandra J. Kendall (‘55) ∂◊ Howard A. Levin and Judith E. Levin ☆◊ William R. Lyman (‘71) and Anastasia S. Lyman (‘72) ■∂◊ Joan B. Malick (‘65, SED’70) ∂◊ Joy L. McIntyre ¤∂◊ Andrea Okamura (‘82) and Jeffrey T. Chambers ∂◊ Daniel I. Palant and Barbara E. Palant ∂◊ F. Taylor Pape (‘70) and Haddon Hufford ∂

Daniel Patton ☆ C. Whitney Pencina (‘02) and Michael J. Pencina (GRS’03) ∂ John A. Politi and Ellen M. Politi ∂◊ Friends Of Daniel J. Rabone ☆ Hilary F. Respass ¤∂◊ Leila Joy Rosenthal (‘64, ‘65, SDM’79) ¤∂◊ Sandra Lee Rowsell (‘60) and Arthur P. Rowsell ∂ Margery S. Steinberg (SED’70) and Lewis J. Steinberg ☆◊ Roberta S. Steiner (‘65) and Don Steiner ∂◊ Nancy R. Stone (‘74) ∂◊ Douglas E. Stumberger (CAS’85) ◊ Kristine B. Tino (‘65) ∂ Todd W. Townsend and Victoria H. Townsend ☆◊ Nancy L. Trentini Richard E. Van Deusen (‘60) and Carol Van Deusen ∂◊ Cecille Wasserman ◊ Ellen and John Yates ∂◊ Linda N. Yee (‘68) and Robert D. Yee ■∂◊ ◊ – Annual Fund Leadership Giving Society Member Φ – Young Alumni Giving Society Member ¤ – Faculty/Staff Member ⌂ – Deceased ■ – Parent ∂ – Loyalty Society Member ☆ – First-time Donor

*This list reflects donations made between July 1, 2015 and June 30, 2016. If you believe your name has been omitted from this list, please contact us at 617-353-5544 so that we can correct our records. For a complete list of donors, visit bu.edu/cfa/alumni/givingback.

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