A Rolling World Premiere commissioned by the Big Ten Theatre Consortium
BALTIMORE By Kirsten Greenidge Directed by Elaine Vaan Hogue
February 10-28 Boston University Theatre Lane-Comley Studio 210
A WELCOME FROM THE ARTISTIC DIRECTOR Dear Friends,
I am so pleased to welcome you to this rolling world premiere production of Kirsten Greenidge’s new play Baltimore. This important contribution to the Boston University New Play Initiative is being co-produced by Boston Center for American Performance—the professional extension of the Boston University School of Theatre—and New Repertory Theatre, one of BU’s professional theatre partners. This rolling world premiere is presented with the agreement of the Big Ten Theatre Consortium, which commissioned the play, among others, to provide young female students of theatre with contemporary plays that provide them with needed opportunities to grow and develop their artistry. Thank you for being here with us to experience their efforts. Warmly,
Jim Petosa Artistic Director, Boston Center for American Performance Artistic Director, New Repertory Theatre Director, School of Theatre, Boston University College of Fine Arts
Boston Center for American Performance and New Repertory Theatre present
by Kirsten Greenidge a Boston University New Play Initiative production and a Big Ten Theatre Consortium rolling world premiere directed by Elaine Vaan Hogue Scenic and Projections Designer Costume Designer Lighting Designer Sound Designer
James Rotondo Jenna Damberger Bridget K. Doyle J. Collin Priddy-Barnum
Technical Director Stage Manager Production Manager
Ana Weiss Lucía Ruppert Danielle Taylor
CAST Shelby Alyssa Fiona Rachel Leigh Bryant Carson Grace Kim Dean Hernandez
Desiré Hinkson Alice Kabia Lexi Jenne Linda Vanesa Perla Giron-Blanco Jade’ Davis Seth Hill Kalei Devilly Ami Park Cliff Odle*
*Appearing Courtesy of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States, appearing under a Special Appearance Contract. Baltimore is produced by special arrangement with Mark Orsini, BRET ADAMS, LTD., 448 West 44th Street, New York, NY 10036. www.bretadamsltd.net. Baltimore was commissioned by the Big Ten Theatre Consortium as part of an initiative to support new plays by women with major roles for female actors.
A CONVERSATION WITH THE PLAYWRIGHT Kirsten Greenidge (Playwright) is a recent PEN/America Award winner and Obie recipient and the author of Milk Like Sugar, The Luck of the Irish, Splendor, and 103 Within the Veil, among other plays. Her work has appeared at the Huntington Theatre Company, LCT3, La Jolla Playhouse, Playwrights Horizons, Company One Theatre Company, The Flea, P. 73, New Georges, and the Humana Festival of New Work. She is currently working on commissions from Oregon Shakespeare Festival/American Revolutions, The Kennedy Center, Playwrights Horizons, The Goodman, and La Jolla Playhouse. Kirsten is Assistant Professor of Theatre at the School of Theatre at Boston University, a member of Boston’s Rhombus Playwriting Group, and an alumna of New Dramatists. She attended Wesleyan University as a United States History major and the Playwright’s Workshop at the University of Iowa. _______________________________________________________________ A conversation between Baltimore playwright Kirsten Greenidge and Adrienne Boris, New Repertory Theatre’s National New Play Network (NNPN) Producer-in-Residence: Adrienne Boris: Boston audiences last saw your work at Company One, which produced the world premiere of Splendor in 2014, and at the Huntington Theatre Company, which produced the New England premiere of The Luck of the Irish in 2012. Like Baltimore, both plays dealt with issues of race and class on a national and on a more intimate, interpersonal scale. Can you tell us a little bit about what draws you to these kinds of stories as a playwright? Kirsten Greenidge: I’m drawn to stories that are historical, which comes from my mission as a playwright, which has always been, since I was 11 or 12 years old, to write stories for people who don’t see themselves on stage very often, and to write roles for actors who don’t always have roles built for themselves onstage. So, I’m constantly looking for stories and roles that female actors of color, in particular, would want to play. AB: The Big Ten Theatre Consortium is made up of the theatre department heads at ten major universities throughout the country. Their New Play Initiative is dedicated to commissioning, producing, and publicizing new plays by American female playwrights that feature strong, age-appropriate roles for women, particularly female artists of color. So it must have been exciting when The Big Ten Theatre Consortium New Play Initiative approached you? KG: Yes! I remember getting a phone call from Alan MacVey—I know Alan because he runs the program at University of Iowa where I went to grad school. I also learned that Naomi Iizuka had begun the first commission, and Naomi was a teacher and mentor of mine at Iowa. In addition to all that, I knew it was a project I was interested in because the whole mission of the project is so close to my own mission as an artist: to create opportunities for female artists and female artists of color.
AB: What can you tell us about the genesis of this piece and what inspired you to write it? KG: Alan MacVey told me a story that had happened to him when he was a Resident Advisor at Stanford, and I was captivated by it. It struck me as universal because it was a story about a young person who really wanted to do well and do good but, by his own admission, didn’t have the resources to do so. So that was really the jumping off point for the situation the young protagonist of Baltimore finds herself in. I also think I was very interested in how information spread, through the internet especially. And how to have people talk about a very difficult topic without having to have solutions. Because at least, to me, if this play could offer a solution to America’s racial woes then, “Yay!” Of course we’d spread it around all over the place, and we wouldn’t have a problem anymore. But, I think it would be a false hour and a half in the theatre if the play were to pretend to be able to do that. So how do we make the piece worthwhile without offering solutions? How do we get as many voices heard as possible without it feeling disingenuous and didactic? Right now in the revision process, my job is to cut, and be a little bit more brave and diligent with myself about leaving questions unanswered. There’s no intermission for a reason, so that we just plow right through this language, this verbiage about these students’ feelings about race, and feelings about the incident that happens. And now my job is to make sure that I’m not holding up that experience for people. AB: Boston University, Boston Center for American Performance, and New Repertory Theatre are participating in a Rolling World Premiere of Baltimore; we are joined by universities across the country and our production will be the third this season. Can you describe the process of writing a play like this with multiple development processes in multiple, different communities? Did the workshop process that took place at the Boston University School of Theatre and The University of Maryland Department of Theatre and Dance influence the way you wrote the play and the content of the play in its current form? KG: Definitely. At University of Maryland, we had a workshop in May, right after the riots in Baltimore. And that was extremely valuable and emotionally difficult. The students there were so generous, opening up to me, a complete stranger, telling me really personal things they had not told their advisors or their families, things that are really hard to talk about, that ultimately ended up in the play. I think we started [the first workshop] early in the afternoon and didn’t end until 10 o’clock at night. We read through the play and then we had a discussion where students shared their personal stories. I found that students were eager to understand each other’s stories through the play and were also eager to play roles that they didn’t usually get to play onstage—raciallycharged, contemporary roles that reflected their experience and were ageappropriate. So, for example, the experience of an 18 year old Asian-American student playing a contemporary Asian-American student in Baltimore, versus playing a maid in a classical play, felt drastically different to her. I think both are valuable experiences, but these students had never gotten to experience the contemporary side.
In the summer, I began working closely with [director] Elaine [Vaan Hogue] at Boston University. We scheduled two workshops, which were really for us to be able to hear the play and for all of our students to be able to experience the play, whether or not they were going to be able to be in it. We cast the reading from whoever was in the room and interested. It was really exciting because there were a lot of people at both of those readings, and I got a lot of great feedback from so many of our students. Elaine put it really well. At some point in the last few weeks, she said that part of what she notices and what intrigues her about the play is that it verges on the “un-PC.” It has moments in it that make us say, “Oh dear. Should we really talk about race like that?” Some of those moments owe themselves to the University of Maryland workshop. AB: You wrote Baltimore at a pivotal time in contemporary American politics, amidst multiple police shootings of innocent black men and women, the Black Lives Matter movement, the race riots in Baltimore and the rise of Black Spring, the Rachel Dolezal controversy, and much more. Did current events in America shape your rewrites and help shape the story you wanted to tell? KG: Yes. In fact, one of the things that was so difficult about the workshop process at University of Maryland was that it was so soon after the riots—we were on the outskirts of Baltimore, but only one student in the workshop was from Baltimore proper, and had been home in the last week. The students expressed what they felt was a reluctance to talk about race in class. One student mentioned trying to bring it up in a history class and being told it was not appropriate. Again and again these students were told, “Don’t bring it up in class, we don’t want to talk about it.” The experience was also eye-opening because I am of a different generation than most of the students I teach. This was the first time I was speaking about race in this play with a generation of students who did not grow up in the moment right after the Civil Rights movement. Generally, they felt that some of the tools that had been used for Civil Rights in the 1950s and 1960s weren’t applicable today. Or, the job hadn’t been done so, “What now?” And I thought those were some really valid points. So, I went back and I did some more rewrites. I think the Garner case verdict happened at that point, Sandra Bland happened over that summer, every few weeks things began to happen or were heightened.
AB: Baltimore will be produced at university theatres throughout the country. What kinds of discussions do you hope the play will spark in Boston, particularly at Boston University and on the city’s many college campuses? KG: I hope it will spark productive conversations about race. I’ve noticed two prevailing responses to racial issues in America: There’s of course the anger, the vitriol about race, and then there are sentimental stories about negative things that have happened because of race discrimination that are almost untouchable. They can inspire action, but in the moment, as they are being told, the listener can really only feel anger or sadness about them. I truly believe that in the midst of all the anger (and there should be anger) and sadness, there is also room for actual conversation. I also think there is room for other emotions, more stories, more cultures, more languages when contemplating America and its issues with race and color. I also hope Baltimore will spark a multi-generational conversation, a multi-racial conversation, a gender-based conversation, and really a conversation in the purest sense of the word; when it comes to race, we tend to talk at each other rather than to each other, and social media has made this much worse. AB: What do you think of Boston’s response to the issue of race and gender parity in the theatre? What are we doing right and what is still to be done? KG: Of course I would like to see more roles for women and people of color. However, in particular, I think we need to look at the choices that all theatres make of what they want to put on their stages, not just the large and mid-sized theatres. When those lists [gender parity watch-lists such as The Kilroys] come out—and I’m stealing this idea from [fellow Boston playwright] Pat Gabridge— we tend to go after the biggies, and hold them by the neck and say “Look what you did!” but smaller theatres and community theatres also have a lot of responsibility. They are doing a lot of quality work, but when they produce a season of only male playwrights or employ only male directors or program plays that only have majority roles for male actors, that sends a message. I think it’s getting better. I think people are paying more attention to it, but it can always get better than it is. I think it will also take a cultural shift in our appreciation for female directors and female playwrights and female theatre artists, and female leaders in general. I’ve noticed a trend too for a while, when gender parity first became a national issue, producers would claim to not know where the female artists and artists of color were. Then, these lists, like The Kilroys, came out, and they don’t have that excuse anymore. Of course, there has been some backlash with the lists; for example, I don’t know if they make artists feel badly about themselves if they aren’t on the lists, and then people only pay attention to people who are on the list as opposed to doing their own research. But, the good takeaway is that there is a lot of work out there, and not being able to find these artists should no longer be an excuse. At this point, it is not an accident when people don’t pay attention to the work or the people who are out there.
An excerpt from “Constructing a Conversation on Race” by Charles M. Blow —The New York Times, August 20, 2014 “A true racial dialogue is not intra-racial but interracial. It is not onedirectional—minorities to majorities—but multidirectional. Data must be presented. Experiences must be explored. Histories and systems must be laid bare. Biases, fears, stereotype and mistrust must be examined. Personal—as well as societal and cultural—responsibility must be taken. And privileges and oppressions must be acknowledged. We must acknowledge how each of us is, in myriad ways, materially and spiritually affected by a society in which bias has been widely documented to exist and in which individuals also acknowledge that it exists.” ________________________________________________________________ We invite you to join in the conversation by attending a post-show discussion of Baltimore led by the following company members and guests: Saturday, Feb. 13, 8pm | Moderator: Adrienne Boris, Assistant Director and National New Play Network Producer-in-Residence, New Repertory Theatre; Guest: Dr. Walter E. Fluker, Martin Luther King, Jr. Professor of Ethical Leadership, Boston University Sunday Feb. 14, 2pm | Moderator: Adrienne Boris Wednesday Feb. 17, 7:30pm | Moderator: Elaine Vaan Hogue, Director Guest: Kenneth Elmore, Dean of Students, Boston University Thursday, Feb. 18, 7:30pm | Moderators: Beverly Diaz, Dramaturg and Lucy Farmer, Assistant to the Director; Guest: Kirsten Greenidge, playwright Friday, Feb. 19, 8pm | Moderator, Adrienne Boris; Guest: Dr. Jesse Tauriac, Director of the Donahue Institute for Ethics, Diversity, and Inclusion, and Assistant Professor of Psychology, Lasell College Saturday, Feb. 20, 8pm | Moderator: Cliff Odle, cast member Sunday, Feb. 21 2pm | Moderator: Ami Park; Guest: Kenneth Elmore Wednesday, Feb. 24, 7:30pm | Moderator: Elaine Vaan Hogue; Guest: Melinda Lopez, Playwright-in-Residence at Huntington Theatre Company, Professor of Playwriting at Boston University, and Professor of Theatre and Performance at Wellesley College Thursday, Feb. 25, 7:30pm | Moderator: Ami Park; Guest: Kirsten Greenidge Friday, Feb. 26, 8pm | Moderator: Michael Ofori, MFA Theatre Education student, Boston University; Guest: Kenneth Elmore Saturday Feb. 27, 8pm | Moderator: Jade’ Davis, cast member Guest: Kenneth Elmore Sunday Feb. 28, 2pm | Moderator: Jade’ Davis; Guest: Kirsten Greenidge
ABOUT THE COMPANY Elaine Vaan Hogue is delighted to be directing the BCAP/New Rep premiere of Baltimore. Regional directing credits include The Amish Project, Imagining Madoff (Elliot Norton nominee for Outstanding Production), and The Kite Runner (New Rep); A Disappearing Number (URT @ Central Square Theater); Metamorphosis (BCAP); Walking the Volcano (BCAP/Boston Playwrights’ Theatre); Crave (Nora Theatre Company); Thin Air: Tales from a Revolution (Kansas City); Infinity’s House (Majestic Theatre); and Fen (New Theatre). Elaine co-curated the inaugural Next Rep Black Box Festival of new work in 2014. In addition she has directed over 40 plays at Boston University. As an actor she recently performed the role of Julia Ward Howe in Friends of Armenia. Favorite performances include The Road to Mecca (BCAP); Creation: Mythic Weavings (Women on Top & Magdalena USA); and When Jennie Goes Marching (Olney Theatre & Spontaneous Celebrations). She is a member of the Magdalena Project, an international network of women in contemporary theatre, and is a participant in an international cyberformance group collaborating in We Have A Situation (Rio de Janeiro), All the Better To See You With (Odin Teatret), MagFest KISS (Amsterdam), and trans-hack-feminist UpStage Jam (Eclectic Tech Carnival). Ms. Vaan Hogue serves as Program Head of Theatre Arts at Boston University. Originally from Los Angeles, she resides in Central Massachusetts. J. Collin Priddy-Barnum (Sound Designer) is a first year graduate student studying theatrical sound design. He completed his undergraduate degree at East Carolina University with a bachelor’s degree in audio engineering. After graduation he began developing his craft in New York, and was drawn to Boston to begin focusing on a career in design. Jenna Damberger (Costume Designer) is a third year MFA Costume Design candidate. She earned her undergraduate degree at Baldwin-Wallace College. During her time at BU she was the Costume Designer for Cendrillon (2015 ArtsImpulse Best Costume Design Nominee) and Later the Same Evening, and Assistant Costume Designer for Pacific Overtures and Passion Play. She has designed across the country at theaters such as The Shakespeare Theatre of New Jersey, The Clinton Area Showboat Theatre (Resident Costume Designer), and Cleveland Public Theater. Bridget K. Doyle (Lighting Designer) earned her BFA at Salem State University and is now pursuing an MFA at BU. Lighting design credits include: Vinkensport and Rosmersholm (BU); Twelfth Night and Metamorphoses (Gordon College); Cabaret and Beast on the Moon (SSU); A Behanding in Spokane, The Betrothed, Laughing Wild, and The Bald Soprano (Wellfleet Harbor Actors Theater). James Rotondo (Scenic Designer) is a junior at BU studying Scenic Design. His most recent design was for the BU Fringe Festival production of Vinkensport, or the Finch Opera. Rotondo spent his summer working as Scenic Designer and Scenic Artist for Nunsense A-Men, The Addams Family, The Little Mermaid, and La Cage Aux Folles at the Arundel Barn Playhouse in Maine. Credits include Scenic Designer for And Baby Makes Seven as a part of BU’s S.T.A.M.P. festival, Assistant Scenic Designer for Wit with BCAP, and Properties Master for A Taste of Honey (BCAP) and The Cripple of Inishmaan (BU).
Lucía Ruppert (Stage Manager) is a senior Stage Management major. Boston University credits include The Serpent (Stage Manager), The Vagina Monologues (Stage Manager), and Endgame (Stage Manager). She also served as Assistant Stage Manager for the BCAP/Boston Playwrights’ Theatre production of Exposed. Lucía thanks her family back in Peru and her friends for their endless support. Danielle Taylor (Production Manager) is a second year MFA Production Management student. Previous experiences include Assistant Production Manager for Des Moines Metro Opera, Resident Stage Manager at the Omaha Theatre Company, Assistant Company Manager for Sesame Street Live!, and Company Manager for the international tour of In the Mood. She originally hails from the Chicago suburbs and has an undergraduate degree in Stage Management from Purdue University. Ana Weiss (Technical Director) is a first year student in the Technical Production MFA program at Boston University. Ana has worked the Cape Playhouse the past two summers, first as a carpenter and then as Assistant Technical Director this past summer. Ana regularly works as an over-hire carpenter for the Huntington Theatre Company. Ana was Technical Director of Boston University Fringe Festival’s Vinkensport this past fall. Jade’ Davis (Leigh) is a senior Theatre Arts major at Boston University. She has had a love for acting, singing, and dancing since she was three years old and loves to perform whenever given the opportunity. Studying her passions has allowed her to bloom into a unique, bold artist. Her dedication and commitment to her craft has shown through her work at BU as Lady in Purple in For Colored Girls, Hotspur in Henry IV Part 1, third woman in The Serpent, and many other roles. She is thankful for the opportunity to be in Baltimore and grateful to work with such an amazing production team. Kalei Devilly (Carson) is a sophomore Theatre Arts major at Boston University. He is from Los Angeles and has been loving the opportunities the BU School of Theatre has to offer. This is his first performance and he is so grateful to tell this story with so many thoughtful well-educated colleagues. He would like to thank Elaine and Kirsten for their guidance, and the entire production team for their hard work. Linda Vanesa Perla Giron-Blanco (Rachel) is a sophomore Theatre Arts major at Boston University. As a first generation Latina, she is grateful to be part of Baltimore. “Here’s to the struggles and confusion of being a racial minority in America. Muchas gracias por todo, Kirsten and Elaine.” Seth Hill (Bryant) is a sophomore Acting major at Boston University who is very excited to be appearing in his first show. He wants to give thanks to his teachers and the rest of the faculty for allowing him to participate in this amazing opportunity. He feels that Baltimore will shed light on already existing problems facing our world today. “Enjoy the show. Black Lives Matter!”
Desiré Hinkson (Shelby) proudly hails from New York City. She is a sophomore pursuing a BFA in Theatre Arts and a BA in African American Studies at Boston University. She is incredibly grateful to be making her School of Theatre debut in Baltimore, which is a must see for people of all ages and all colors. “To my fellow members of the cast and crew, Kirsten Greenidge, Elaine Vaan Hogue, as well as my friends and family—thank you for your support.” Lexi Jenne (Fiona), a sophomore Theatre Arts major at Boston University, is thrilled to be making her acting debut with Baltimore. “Thank you, Elaine and Kirsten, for this special opportunity, and thank you to the cast for open hearts and open arms.” Alice Kabia (Alyssa) is a sophomore Biology major and Theatre Arts minor at Boston University. This is their first production at BU. Alice is extremely excited to be working with such an enthusiastic cast and crew. They would especially like to thank Elaine and Kirsten for the opportunity to be a part of such an engaging experience and the opportunity to address racial relationships in such a manner. They would also like to thank their fellow cast-mates for their love and support in this process. #BlackLivesMatter Cliff Odle* (Dean Hernandez) It’s been almost 20 years since Cliff worked with Elaine in Angels in America, Part 1 and ten since he performed in Kirsten Greenidge’s 103 Within the Veil. He is happy to be reunited with these two great artists whom he respects and admires very much. In addition to being a professional actor, Cliff is currently on the faculty of UMASS Boston and is also a BU alumnus with an MFA in Playwriting. Ami Park (Grace Kim) is a Jersey native, graduating with her BFA in the spring. She is elated to be a part of this production where she can delve into this progressive and important subject matter. She hopes to share this experience with those near and far. This is her first time performing at the BU Theatre. She thanks her family and friends for their endless support and love. *Appearing Courtesy of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States, appearing under a Special Appearance Contract. Actors’ Equity Association (AEA) was founded in 1913 as the first of the American actor unions. Equity’s mission is to advance, promote, and foster the art of live theatre as an essential component of our society. Today, Equity represents more than 49,000 actors, singers, dancers and stage managers working in hundreds of theatres across the United States. Equity members are dedicated to working in the theatre as a profession, upholding the highest artistic standards. Equity negotiates wages and working conditions and provides a wide range of benefits including health and pension plans for its members. Through its agreement with Equity, BCAP and New Rep have committed to the fair treatment of the AEA actor employed in this production.
SAT SAT SUN SUN
BY HAROLD PINTER
DIRECTED BY TIM SPEARS
Calderwood Pavilion at the BCA, Wimberly Theatre 527 Tremont Street, Boston
Boston University College of Fine Arts School of Theatre
WOLFGANG AMADEUS MOZART, Composer LORENZO DA PONTE, Librettist WILLIAM LUMPKIN, Conductor JAMES MARVEL, Stage Director
February 25â&#x20AC;&#x201C;28 Boston University Theatre bostontheatrescene.com 617.933.8600
DESIGN & PRODUCTION TEAM Assistant Director Dramaturg Assistant to the Director Fight Choreographer Assistant Stage Manager Assistant Production Manager Production Assistant Run Crew
Adrienne Boris Beverly Diaz Lucy Farmer Angie Jepson Brian M. Robillard Annie Zaruba-Walker Madison Lusby Peter Walsh and Sarah Whelan
Assistant Scenic Designer and Properties Master Paint Charge Assistant Technical Director Paints/Scenic Build Crew
Lindsay Fuori Emily Rosenkrantz Daniel Hochster School of Theatre Technical Crew
Assistant Costume Designer Wardrobe Head Costume Build Crew Wardrobe Crew
Annalynn Luu Lauren Reuter School of Theatre Costume Shop Sophia Baramidze and Taire McCobb
Assistant Lighting Designer Projections Animator Master Electrician Light Board Operator Projections Operator Lighting Crew
David Orlando Audrey Mercandante Shannon Clarke Abigail Hanssen Devon Stokes School of Theatre Lighting Dept.
Sound Board Operator Sound Crew
Kayla Williams School of Theatre Sound Dept.
Daniel Morris, Brian Dudley, and Meg Ciabotti Amanda Figueroa, Oreine Robinson, and Curtis Schalchlin
Front of House American Sign Language Consultant ASL Interpreters
Elbert Joseph Randi James and Christopher Robinson
American Sign Language Interpretation for Baltimore has been coordinated by Christopher Robinson from the Boston University Office of Disability Services. discoverinterpreting.com
BOSTON CENTER FOR AMERICAN PERFORMANCE Now in its eighth season, Boston Center for American Performance (BCAP) aims to foster significant interaction between members of the professional performing arts world and the Boston University College of Fine Arts. Expanding the definition of the College as an ‘artistic home,’ BCAP encourages interaction among students and professional faculty artists, alumni, and other affiliated artists, both locally and nationally. The goal is for these collaborations to have a profound impact on the College’s overall educational mission, become a significant source of inspiration for the creation of both new work and new approaches to existing work, and provide the College with a professional extension of its expanding and diverse aesthetic. BCAP’s inaugural season included the Tennessee Williams’ classic The Glass Menagerie and Doug Wright’s I Am My Own Wife. In the company’s second season, BCAP was honored with three Independent Reviewers of New England (IRNE) nominations for David Rabe’s A Question of Mercy, and concluded the season with Paula Vogel’s How I Learned to Drive. BCAP previously co-produced Jon Lipsky’s Walking the Volcano and Michael Hammond’s Uncle Jack with Boston Playwrights’ Theatre and co-presented Jeffrey Hatcher’s Three Viewings with New Repertory Theatre. BCAP has also produced critically-acclaimed productions of C.P. Taylor’s Good, Samuel Beckett’s Krapp’s Last Tape, Harold Pinter’s The Dumb Waiter, Margaret Edson’s Wit, James Fluhr’s new play Our Lady, Daniel MacIvor’s House, Neal Bell’s Monster, Paul Zindel’s The Effect of Gamma Rays on Man-in-the-Moon Marigolds, Tadeusz Słobodzianek’s Our Class, Steven Berkoff’s Metamorphosis, the world premiere of Walt McGough’s Pattern of Life (co-produced with New Repertory Theatre), and Athol Fugard’s Blood Knot and The Road to Mecca (IRNE award - James Fluhr, Best Set Design).
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BCAP FRIENDS AND DONORS The School of Theatre extends a special “thank you” to the following friends and donors who have supported major capital improvements and special educational initiatives, including the Boston Center for American Performance, in the School’s recent history. Mr. Stewart F. Lane and Ms. Bonnie Comley Mr. Michael Medico Ms. Mary Ann Milano Mr. and Mrs. Herman Miller Mr. and Mrs. Loren S. Miller Mr. Tim Nicholson Ms. Julia Noulin-Merat Ms. Penny Peters Mrs. Sandra Lee Rowsell Mr. Kaipo Schwab Mr. Ivan Schwartz Mr. Philippe Schwob Mr. Pierre R. Schwob Mr. and Mrs. Andrew Stanton Ms. Nina Tassler and Mr. Gerald Levine Mr. Richard Van Deusen and Ms. Carol Nadell Mr. Julian James Wachner Ms. Alfre Woodard
Contributors to the Friends of CFA CFA Dean’s Advisory Board SOT Academic Outreach Committee Mr. J. David Copeland and Friends The Bette Davis Foundation, Inc. The Estate of Mr. Peter Donnelly Mr. James Fluhr, family, and friends Ms. Judith M. Flynn Mr. Steven Friedlander Ms. Linda J. Green Mr. Carey Harrison Lady Mercia M. Harrison Ms. Joan Horton Ms. Candace James-Selander Ms. Deborah A. Kahn Mr. David Kneuss Ms. Jeanne Knox Mr. Andrew R. Lack
BOSTON UNIVERSITY COLLEGE OF FINE ARTS Founded in 1839, Boston University is an internationally recognized institution of higher education and research. With more than 33,000 students, it is the fourth largest independent university in the United States. BU consists of 16 schools and colleges, along with a number of multi-disciplinary centers and institutes integral to the University’s research and teaching mission. In 2012, BU joined the Association of American Universities (AAU), a consortium of 62 leading research universities in the United States and Canada. Established in 1954, Boston University College of Fine Arts (CFA) is a top-tier fine arts institution. Comprised of the School of Music, School of Theatre, and School of Visual Arts, CFA offers professional training in the arts in conservatory-style environments for undergraduate and graduate students, complemented by a liberal arts curriculum for undergraduate students. Lynne Allen Dean ad interim, College of Fine Arts Richard Cornell Director ad interim, School of Music Jim Petosa Director, School of Theatre Jeannette Guillemin Director ad interim, School of Visual Arts
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Richard II by William Shakespeare directed by Allyn Burrows
February 17 – March 13, 2016 Cambridge YMCA | Cambridge
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SCHOOL OF THEATRE The School of Theatre at 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. Jim Petosa McCaela Donovan Liz Mazar Phillips Johnny Kontogiannis Adam Kassim Jon Savage Mark Stanley Karen Martakos Paul Mayer Emily Ranii Brian Dudley Renee E. Yancey
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DESIGN & PRODUCTION FACULTY: Shawn Boyle, Joel Brandwine*, Ben Emerson*, Diane Fargo, Adam Godbout, Nancy Leary*, Michael Maso, James McCartney, Seághan McKay, Roger Meeker*, James Noone*, Penney Pinette, Elisabetta Polito, Jon Savage*, Leslie Sears*, Mark Stanley*, Cristina Todesco, Mariann Verheyen*, Denise Wallace-Spriggs, and Jesse Washburn. PERFORMANCE FACULTY: Tamala Bakkensen, Adrienne Boris, Judy Braha*, Ilana M. Brownstein*, Mary Buck, Mark Cohen, Paolo DiFabio, McCaela Donovan, Sidney Friedman, Kirsten Greenidge, Christine Hamel, Michael Hammond, Clay Hopper, Angie Jepson, Michael Kaye*, Paula Langton*, Charles Linshaw, Maurice Parent, Jim Petosa, Betsy Polatin, Micki Taylor-Pinney, and Elaine Vaan Hogue*. * Denotes Program Head
Boston University Theatre
264 Huntington Avenue, Boston
PARADE APRIL 29—MAY 6, 2016
Book by ALFRED UHRY Music anc Lyrics by JASON ROBERT BROWN Co-Conceived and Directed on Broadway by
Directed by CLAY HOPPER Music Direction by MATTHEW STERN Based on the true story of the trial and lynching of Leo Frank
PROMETHEUS BOUND Translated by JAMES KERR Directed by JONATHAN SOLARI APRIL 27—MAY 1, 2016 Boston University Theatre, Lane-Comley Studio 210
264 Huntington Avenue, Boston
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New Repertory Theatre is the award-winning, professional theatre company in residence at the Arsenal Center for the Arts in Watertown, MA. For over 30 years, New Rep has been a leader of self-produced theatre in greater Boston, producing contemporary and classic dramas, comedies, and musicals in both the 340-seat Charles Mosesian Theater and the 90-seat Black Box Theater. Annually, New Rep serves over 40,000 patrons, including 2,000 season subscribers. In addition to its mainstage productions, New Rep produces Next Voices, a program dedicated to developing new plays with four playwrights through three staged readings and one world premiere production. Under its Lifelong Enrichment Arts Programs (LEAP), New Rep also produces its Classic Repertory Company, Page To Stage, Insider Experiences, and Spotlight Symposium Series. New Repertory Theatre, Inc. is a not-for-profit theatre company operating under a New England Area Theatres (NEAT) contract with Actorsâ&#x20AC;&#x2122; Equity Association. New Repertory Theatre is a member of Theatre Communications Group, a national service organization for non-profit professional theaters; StageSource, the Alliance of Theatre Artists and Producers; ArtsBoston; the Producerâ&#x20AC;&#x2122;s Association of New England Area Theatres (NEAT); New England Theatre Conference; VSA Arts-Massachusetts, a service and support organization promoting accessibility; Theatre Arts Marketing Alliance (TAMA); Boston Arts Marketing Alliance (BAMA); National New Play Network (NNPN); and Massachusetts Advocates for the Arts, Sciences and Humanities.
mission s tate m ent New Repertory Theatre produces plays that speak powerfully to the essential ideas of our time. Through the passion and electricity of live theater performed to the highest standards of excellence, New Rep expands and challenges the human spirit of both artists and audience. New Rep presents world premieres, contemporary and classic works in several intimate settings. We are committed to education and outreach, including special dedication to the creation of innovative in-school programming and providing access to underserved audiences. New Rep is an active advocate for the arts and a major voice in the national dialogue defining the role of theater in our culture. TOP: THE CAST OF AMADEUS. Photo: Andrew Brilliant / Brilliant Pictures.
STILL TO COME AT NEW REP!
BLACKBERRY WINTER a national new play network rolling world premiere
Bridget Kathleen O’Leary Ken Cheeseman*
A humorous and touching new work about a daughter coping with her mother’s advancing Alzheimer’s Disease.
MAR 26-APR 17/2016 charles mosesian theater
Freud’s FREUD’S LAST SESSION by
MARK ST. GERMAIN
JIM PETOSa Shelley Bolman*
The imagined meeting of two of the 20th century’s greatest academics, Sigmund Freud and C.S. Lewis.
APR 30-MAY 22/2016 charles mosesian theater
* member of Actors’ Equity Association
BOARD OF DIRECTORS
a.W. (Chip) Phinney iii treaSUrer Jon harris ClerK Wendy liebow iMMediate PaSt Chair Paul levine
James Bourdon, gregory e. Bulger, diane diCarlo, richard dix, Jane Feigenson, Christopher Flynn, ralph Fuccillo, Blake Jordan, h. Peter Karoff, B.J. Krintzman, ted Kurland, Michael McCay, Fred Miller, Peter nessen, daniel S. newton, Mary rivet, dan Salera, richard Walker, Curtis Whitney
lillian Sober ain, ruth Budd, Marcy Crary, Carol S. Fischman, Joan gallos, Jonathan garlick, richard Jacobs, david Kluchman, Shari Malyn, anita Meiklejohn, Chris Meyer, laurie h. nash, Pamela taylor, Susan Murphy Warren, Miriam gillitt Winer ARTISTIC AND PRODUCTION artiStiC direCtOr
aSSOCiate artiStiC direCtOr
ADmINISTRATION Managing direCtOr harriet general Manager alexis
Bridget Kathleen O’leary eric Sauter edUCatiOn aSSOCiate hayley Sherwood nnPn PrOdUCer-in-reSidenCe adrienne Boris
BOx OFFiCe Manager Jessica
MarKeting & Pr direCtOr Michael duncan MarKeting & CreatiVe SerViCeS Manager
Weinstein BOx OFFiCe aSSOCiateS hillary arsenault, danielle Cournoyer, gavin damore hOUSe ManagerS deb antonelli, Ben Morrison, Julie Murray, eric green artistic interns
Beth gilchrist, eden Ohayon, erik nikander, lea Phillips
heather darrow Jillian Smith grant Writer Mark W. Soucy deVelOPMent direCtOr
tyler Prendergast grOUP SaleS aSSOCiate Jan
nargi Faith graPhiC deSign Caridossa design CrC SaleS aSSOCiate emily PhOtOgraPherS
andew Brilliant / Brilliant Pictures, rob lorino, Christopher McKenzie, Katharine Burkhart
Jill holland, John hill, Bridget McCarthy production interns
Whitney arnold, MaggieMarie Casto, Joe Clavell
Stanley B. Kay Cohen + associates support Mark W. Soucy, nCgit
legal counselor auditor it
M.J. Campbell, iris Feldman, Scotty hart, Virginia inglis
CLASSIC REPERTORY COmPANY ADvISORY COmmITTEE
NEXT vOICES ADvISORY COmmITTEE
Karen Coyle alyward, Kimo Carter, Jonathan garlick, Clay hopper, lisa Stott
Kirsten greenidge, Melinda lopez, Bridget Kathleen O’leary, Jim Petosa, Kate Snodgrass
CLASSIC REPERTORY COmPANY
NEXT vOICES PLAYWRITING FELLOWS
Clay hopper lila rose Kaplan, Walt Mcgough, James Mclindon, Cassie M. Seinuk aSSiStant direCtOr Kiera Muckenhirn PrOdUCtiOn deSigner ghazal hassani draMatUrg Zach dyer COMPany laura detwiler, Michael Kelly, lily linke, Cory Missildine, alex rankine, Kai tshikosi, grace Kennedy Woodford direCtOr
touring classic works and educational experiences throughout new england
1984 boston university theatre lane-comley studio 210
May 10-15 617-933-8600 bostontheatrescene.com
for more information on crc, visit newrep.org/crc
PAGE TO STAGE FROM THE WRITTEN WORD TO A STAGED PRODUCTION
S P RING S E S S I O N 2 0 1 6 B L A C K B E R RY W I N T E R
5 Wednesday Sessions: $150 1:30pm-3pm, March 2-30
Go even deeper into the world of the play with Page to Stage! Over five sessions, participants will learn about all aspects of theatrical producing, including story approach, the collaborative design process, character development between actor and director, incorporation of technical elements, and effectively connecting with audiences. With Associate Artistic Director Bridget Kathleen O’Leary, other New Rep teaching artists, and members of the production team, participants will expand their understanding of the artistry involved in each element of the creative process, leading up to a successful opening night.
To register, call Bridget Kathleen O’Leary at 617-923-7060 x8204 Save $25 when you register with a friend!
1/22 – 3/4
1/22 – 3/20
1/22 – 3/20
Stacey Piwinski: It’s not you, it’s me
Qualities of Stillness: Paintings by Joseph Ablow
Paul Emmanuel: Remnants
Stacy Piwinski (CFA’99,’00) uses textile and found materials to create intricate weavings that consider the passage of time, the tactility of materials, and interpersonal relationships.
The exhibition surveys three decades of still-life painting by BU professor Emeritus Joseph Ablow, whose compositions expand still-life painting conventions and illuminate the relationship between pictoral space and depicted objects.
Featuring artworks related to Emmanuel’s The Lost Men France. The centerpiece is five large slik banners depicting the artist’s body bearing the names of deceased WWI servicemen, underscoring concepts of loss and memory.
By Monica Bauer
Directed by Megan Schy Gleeson
By Melinda Lopez
Directed by Daniela Varon
Boston PLAYWRIGHTS’ Theatre Boston PLAYWRIGHTS’ Tickets: (866) 811-4111Theatre or BostonPlaywrights.org
Tickets: (866) 811-4111 or BostonPlaywrights.org
Oct. 30 - Nov. 22
CFA Membership Become a CFA Member, and experience the next generation of theatre, music, and visual artists. 617.933.8600 bu.edu/cfa/membership