Boston University College of Fine Arts School of Theatre presents
DESDEMONA DESDEMONA DESDEMONA
a play about a handkerchief
a play about a handkerchief
a play about a handkerchief
A NOTE FROM THE DEAN OF BU COLLEGE OF FINE ARTS
There’s a popular t-shirt design that circulates widely. Against a solid color background, four words, stacked in pairs, appear: “More Vogel, Less Mamet.” There have been spinoffs: “More Ruhl, Less Mamet” and even, as list, “More Nottage/ More Hudes/More Majok…”.
The t-shirt aims to spotlight the brilliant work and evocative artistry of playwrights currently transforming the American theatre. It really isn’t about David Mamet, whose American Buffalo was thrillingly interpreted by our students earlier this semester and whose Glengarry Glenn Ross revival is now on Broadway. It’s a call to explore all the possibilities of theatre. It’s a way of urging folks to see Mamet and Vogel and Malcolm and Greenidge.
It is exciting to have the works of Oliver Awardwinner Morgan Lloyd Malcolm and Tony Award-winner Paula Vogel sharing the stage here at Booth. They are accomplished storytellers with a gift for amplifying rarely heard voices within history.
I am glad you are here. We built this theatre for you.
Harvey Young Dean, BU College of Fine Arts
APRIL 16-19, 2025
JOAN & EDGAR BOOTH THEATRE
820 Commonwealth Ave. Brookline, MA
By PAULA VOGEL
Directed
by
GRANT SORENSON
Scenic Designer JACKLYN CINNAMON
Lighting Designer HOPE DEBELIUS
Costume Designer ANGELA ZHANG
Sound Designer RORY SHEA
Stage Manager REBECCA KLEEMAN
Production Manager SANAZ BAGHERI
Assistant Director/ Choreographer/ Intimacy Director/ Fight Choreographer JAYCE ROSS
Content warnings include: atmospheric haze, flashing/strobing lights, frank discussions and depictions of identity (including gender, class, and race); violence (including domestic abuse); and sex (including sexual intercourse, sexual violence, masturbation, sex work, and adultery/sexual humiliation).
DESDEMONA, A PLAY ABOUT A HANDKERCHIEF is presented by special arrangement with Broadway Licensing, LLC, servicing the Dramatists Play Service collection. (www.dramatists.com)
A NOTE FROM THE SCHOOL OF THEATRE DIRECTOR
It is my pleasure to welcome you to Desdemona: a play about a handkerchief.
One of the most powerful aspects of storytelling is the “re-telling”—those moments when a story we feel we may know takes on new life as it is relayed to us using a shifted lens, a reframing that adjusts how we may have experienced that story previously.
Pulitzer-prize winning playwright Paula Vogel (How I Learned to Drive; Indecent) offers up such a shift in this re-imagining of the now iconic Desdemona and the women in Shakespeare’s Othello. Bawdy, comical, and cruel, Vogel invites us to take a new look at this classic play which promises to be about much more than fine linen.
Kirsten Greenidge Director, School of Theatre
DIRECTOR’S NOTE
William Shakespeare wrote Othello around 1604, in the political and social turmoil in the first year of King James I’s reign following Elizabeth I’s death.
Paula Vogel premiered Desdemona in 1993 in the political and social turmoil of the first year of Democratic leadership after twelve years of Reagan-era conservatism.
We are producing this play at Boston University in 2025, in the political and social turmoil of the first year of [insert whatever bullshit is being implemented today by the current administration.]
Shakespeare was exploring gender in the early modern period, trying to give Desdemona, Emilia, and Bianca voices in an oppressive, male world; Vogel was exploring gender in the late last millennium, trying to give Desdemona, Emilia, and Bianca voices in an oppressive, male-dominated world. This production is exploring gender in the here and now, trying to give Desdemona, Emilia, and Bianca voices in an oppressive, maledominated world. Some things never change…
This production is for every woman in this audience. It’s for the cast, the assistant director, the stage managers, the dramaturg, the designers, the production assistants – all of the incredible femaleidentifying collaborators I have been privileged to work with on this play. It’s for Taylor Stark and Shalee Cole Mauleón. It’s for Wendy Goldberg and Tasia Jones. It’s for Kirsten Greenidge, Ashleigh Reade, Patrese McClain, Christine Hamel, and all the other amazing women on this faculty and staff. It’s for my mother Laurie, my sister-in-law Asha, my sister-in-law Maggie, and it’s for my nieces Willa and Etta, who are six and four and intelligent and beautiful and the future.
Thank you for letting me hold your stories.
Grant Sorenson Director
DRAMATURGY NOTE
PRODUCTION & CREATIVE TEAM
DIRECTOR
ASSISTANT DIRECTOR/ CHOREOGRAPHER/INTIMACY
DIRECTOR/FIGHT CHOREOGRAPHER
PRODUCTION MANAGER
ASSOCIATE PRODUCTION MANAGER
PRODUCTION STAGE MANAGER
ASSISTANT STAGE MANAGER
DIALECT CONSULTANT DRAMATURG
Grant Sorenson
Jayce Ross
COSTUME DESIGNER
ASSISTANT COSTUME DESIGNER
LIGHTING DESIGNER
ASSISTANT LIGHTING DESIGNER
PRODUCTION ELECTRICIAN
ASSISTANT PRODUCTION ELECTRICIAN
SOUND DESIGNER
SOUND ENGINEER
ASSISTANT SOUND DESIGNER
ASSISTANT SOUND ENGINEER/ MIX ENGINEER
TECHNICAL DESIGNER
PROJECT MANAGER
JUNIOR TECHNICAL DESIGNER
Sanaz Bagheri
Nichole Man
Rebecca Kleeman
Hannah Johnson
Zack Mallgrave
Scarlett McConnell Elder
Angela Zhang
Zara Warburton
Hope Debelius
Valerie Zhao
Riley Higgins
Frankie Kraus
Rory Shea
Rachael DeBraal
Xiaorong Yin
Gus Kim
Catherine Hampp
Andrew Green
Sydney Elliot
PRODUCTION CREW
A2/SOUND CREW
ASSISTANT PRODUCTION ELECTRICIAN
FOLLOW SPOT OP. (SWING) / LIGHTING CREW
FOLLOW SPOT OP./LIGHTING CREW
LEAD USHER
LIGHT BOARD OPERATOR
LIGHTING CREW
PRODUCTION ASST.
A2/SOUND CREW
SOUND BOARD OP./SOUND CREW
SOUND CREW
WARDROBE CREW
FACULTY PROJECT ADVISOR
Louisa Hulbert
Ella Harris
Johnny Burrell
Calvin Lindo
Renata Pavell
Sofi Rosales
Avery Fallon
Ella Harris
Bianca Akoa
Ella Harris
Renata Pavell
Calvin Lindo
Johnny Burrell
Joshua Pearlstein
Lillian Colvin
Margo Segal
Reagan Kacmar
Santiago Sanchez-Lara Alonso
Sydney Lawrence
Yael Eliani
Abbie Hardy
Elliot Aydin
Paolo Bonarriva
Louisa Hulbert
Jacob Hise
Rachel Rose
Sam Lehrich
Linnani Simpson
Tasia Jones
MEET THE DESIGNERS
Angela Zhang (COSTUME DESIGNER) is a first-year costume design MFA student at BU. She studied costume construction and making in London for her BA. She is excited to bring her innovative ideas and skills to this production.
Hope Debelius (LIGHTING DESIGNER) is a second year graduate Lighting Design MFA candidate. While at BU, Hope has designed The Rink, Fucking A, and La Clemenza Di Tito. Professional credits include The Huntington (Leopoldstadt- Asst.), the Pittsburgh Playhouse (Winter Dance Concert), Baltimore Center Stage (Tiny Beautiful Things- Asst.), Pittsburgh Public Theatre (Murder on the Orient Express- Asst.), City Theatre Company (The Wanderers- Asst.), and the Juilliard School (May Dance- Asst.). She is extremely grateful for all of the help her cohort, faculty, and staff have provided throughout the process.
Jacklyn Cinnamon (SCENE DESIGNER)
is a second-year Graduate Scenic Designer at BU. She previously went to undergrad at the University of Northern Colorado. Jacklyn is so excited and thankful to be able to be a part of this production and be able to share it with everyone! Working with this cast and crew has been such a wonderful experience. Here’s to making art happen!
Rory Shea (SOUND DESIGNER) (she/ her) is a senior sound design undergrad from Morristown, New Jersey. Previous designs with BU include Julius Caesar, Corpus Christi, The School for Lies, Grow Until, The Drunken City, Andromeda in the Stars and others. She would like to uplift Adjunct Audio Professor James McCartney's stunning wit and sharp dress.
MEET THE TECHNICAL TEAM
Catherine Hampp (TECHNICAL DESIGNER) is a first-year technical production graduate student from Binghamton, NY. She has a Bachelor of Science in Mechanical Engineering with a minor in Theatre Arts from Rochester Institute of Technology. Having worked in a variety of technical, production, and design roles the past fourteen years, she is excited for her first time as a technical designer. She would like to thank her lovely team, Andrew and Sydney, for their amazing work!
Sydney Elliot (JUNIOR TECHNICAL DESIGNER) is from Raton, New Mexico and is a graduate of New Mexico School for the Arts in Santa Fe. She is a current student at BU School of Theatre in Design and Production. She has been doing theatre for 7 years as an actor, stage manager, and lighting designer.
Andrew Green (PROJECT MANAGER) is a junior Technical Production major at Boston University and is pumped to see Desdemona come to life on stage! This summer, Andrew is shipping up to Maine to serve as the Assistant Technical Director at Maine State Music Theatre. He’d like to thank his friends and family for their unwavering support, as well as his amazing TD and ATD, Catherine and Sydney, who have made this process an absolute blast.
Valerie Zhao (ASSISTANT LIGHTING DESIGNER) is a cat enthusiast and a senior pursuing a BFA in Lighting Design. Previous credits include Dark Sisters, Grow Until, Dontrell Who Kissed the Sea, and a medley of dance
shows. She spent this past summer in New Hampshire as the Head Electrician for The Barnstormers Theatre. Her goto bubble tea order is passionfruit green tea, light ice, add sago.
Riley Higgins (PRODUCTION ELECTRICIAN) is thrilled to be a member of this production. Her previous credits include Sound and Co-Lighting Designer for She’s Got Sol, Assistant Production Electrician for Julius Caesar, and Assistant Production Electrician for Florencia en el Amazonas. She would like to thank the incredible Desdemilia team she has had the absolute pleasure of working with. She would also like to thank her friends through supporting her through this production, she seriously couldn’t have done it without you.
Delaney Jankanish (ASSISTANT SCENE DESIGNER) is so excited to be a part of such a vibrant production and creative team on Desdemona. After her work on Dark Sisters and Julius Caesar last semester, she has been thrilled to keep moving forward in her craft and expand her experience with this amazing team.
Frankie Kraus (ASSISTANT PRODUCTION ELECTRICIAN) is a Theatre Arts student concentrating in Lighting Design and Technical Production. He is excited to contribute to this production at Boston University and proud of all the work this team has done for the show.
Liv King (PRODUCTION PROPS SUPERVISOR) is a Theatre Arts junior studying Scenic Design and Directing.
MEET THE TECHNICAL TEAM
costume design and production.
faculty, and fancy scarves that have inspired him along the way. •
TICKETS AVAILABLE
MAY 17 – JUNE 8, 2025
BOOK & LYRICS BY CHAD BEGUELIN
BOOK BY BOB MARTIN
MUSIC BY MATTHEW SKLAR
BASED ON THE ORIGINAL CONCEPT BY JACK VIERTEL
DIRECTED & CHOREOGRAPHED BY LARRY SOUSA
MUSIC DIRECTED BY JORDAN OCZKOWSKI
MEET THE PRODUCTION TEAM
Grant Sorenson (DIRECTOR) is thrilled to be completing his MFA in Directing at Boston University this spring alongside his cohort partner Taylor Stark with this ambitious double-bill of Desdemona and Emilia! Grant’s work at Boston University includes Florencia en el Amazonas, Julius Caesar, The Hot L Baltimore, and anon(ymous). Originally from Minneapolis, MN, Grant’s directing credits include work at the Guthrie’s Dowling Studio, Open Eye Theater, Boston Center for the Arts Plaza Theatre, Crane Theater, Maison Bodega, Everwood Farmstead, Wayzata Theatre, MN Fringe Festival, and more. He was a founding member of 7th House Theater from 2013-2017, producing original and reimagined musical theater productions. He has served as an assistant director at Theater Latte Da, The Moving Company, Hennepin Theatre Trust, and others. He is a 2016 Ivey Award recipient. Big thanks to Wendy Goldberg and Tasia Jones for their guidance over the last two years, and shout out to Gregg Wiggans <3 | grant-sorenson.com
Jayce Ross (ASSISTANT DIRECTOR/CHOREOGRAPHER/ INTIMACY DIRECTOR/FIGHT CHOREOGRAPHER) (she/her) is a Boston-based movement artist, director, actor, and creator from Albuquerque, New Mexico. Jayce is committed to creating work that fosters community, delves into the somatics of body and space, and uplifts the uninhibited expression of joy, rage, grief, and resistance of women, non-binary, queer, and BIPOC individuals. Recent BU credits include Universal Mother, Sacred Soil
(Creator/Director/Choreographer and Dancer), SALON: or i’ve been in here too long (Choreographer and Performer), The Skriker (Josie), Yerma (Female Mask/Sister-in-Law and Movement Captain), and Sense and Sensibility (Lady Middleton/Mrs. Ferrars/Gossip and Movement Director). Jayce is deeply grateful to close out her time here at BU working on a Booth production that reclaims the trope of the tragic heroine.
Rebecca Kleeman (STAGE MANAGER) (she/her) is originally from Baltimore, Maryland and is pursuing her BFA in Stage Management (Class of 2025). Her previous credits at BU include as an SM: The Rink, Priscilla, Dontrell Who Kissed the Sea, and Lizzie, and as an ASM: Orlando, Little Women, Aurora Borealis 2022, and Little Row Boat. She also spent the previous summer working as an ASM at Totem Pole Playhouse in Fayetteville, Pennsylvania on Jersey Boys, Tuesdays with Morrie, and Pump Boys and the Dinettes. When she’s not making theater she enjoys writing and poorly attempting to roller skate.
Sanaz Bagheri (PRODUCTION MANAGER) is a second-year Production Management student. She has a background in acting, directing, and theatre management, with experience both on stage and behind the scenes. Sanaz is passionate about bringing dynamic, collaborative productions to life, drawing from her diverse theatre experiences in Iran and the U.S.
Hannah Johnson (ASSISTANT STAGE MANAGER) (she/her) is a sophomore stage management major. She serves as an SOT representative
MEET THE PRODUCTION TEAM
Bruising
Sisters, and Alice Tierney. Recently, she was an Assistant Event Manager for the West Coast premiere of Dare to Dream JR. (Junior Theatre Festival). Hannah thanks her friends for showing her what love and rage and girlhood are. It’s so confusing, sometimes.
Nichole Man (ASSOCIATE PRODUCTION MANAGER) is a first-year MFA graduate student in Production Management. Born in Hong Kong and raised in Macau, she earned
technician, sound designer, and sound engineer in both Canada and Hong Kong. Having grown up in a different country, she is eager to share her cultural background and unique perspectives on theatre with everyone. Throughout her childhood, Nichole performed on stage as a ballerina and actress, and she has spent much of her life working behind the scenes. She is excited to continue her journey in theatre as a PM. Nichole wants to thank her family and friends for their love and support along the way! •
Boston University School of Theatre presents Sophomore Festival
April 27-May 1, 2025
Studio ONE
THE HOMECOMING
By Harold Pinter
Directed by Michael Kaye
Sun. April 27 • 12pm
Tue. April 29 • 7:30pm
THE SEAGULL
By Anton Chekhov
Adapted by Anya Reiss
Directed by Christine Hamel
Sun. April 27 • 3pm Wed. April 30 • 7:30pm
MUCH ADO ABOUT NOTHING
By William Shakespeare
Directed by Clay Hopper & Christopher Edwards
Sun. April 27 • 7pm Thu. May 1 • 7:30pm
Gianni Schicchi/Suor Angelica
Co-production of School of Theatre & Opera Institute
By Giacomo Puccini
Conductor • William Lumpkin Stage Director • Nathan Troup
April 24-27, 2025
Tsai Performance Center
Emilia
By Morgan Lloyd Malcolm • Directed by Taylor Stark
April 25-27, 2025
Joan & Edgar Booth Theatre
Find more info about these productions and other upcoming projects at bu.edu/cfa/theatre/season
BOSTON UNIVERSITY COLLEGE OF FINE ARTS
Established in 1954, Boston University College of Fine Arts (CFA) is a community of artist-scholars and scholarartists who are passionate about the fine and performing arts, committed to diversity and inclusion, and determined to improve the lives of others through art. With programs in music, theatre, and visual arts, CFA prepares students for a meaningful creative life by developing their intellectual capacity to create art, shift perspective, and think broadly. CFA offers a wide array of precollege, undergraduate, graduate, and doctoral programs, as well as a range of online degrees and certificates. Learn more at bu.edu/cfa .
BOSTON UNIVERSITY COLLEGE OF FINE ARTS SCHOOL OF THEATRE
The School of Theatre at the College of Fine Arts at Boston University is a leading conservatory for the study of performance, design, production, and management, and all aspects of the theatre 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.
BOSTON UNIVERSITY JOAN & EDGAR BOOTH THEATRE
Since its inaugural season in 2018, this bold, state-ofthe-art structure encourages innovation, conversation, and collaboration. The flexible design of Booth Theatre allows for the inventive evolution of performances and a deep engagement with audiences. Research is at the core of Boston University, and BU College of Fine Arts practices it every day in the form of creative experimentation. Booth Theatre and the adjacent CFA Production Center are laboratories for such research, and in every detail, they are purpose-built for discovery. Recent productions include The Rink, Sunday in the Park with George, Orlando, Cendrillon, Once, Little Women, Angels in America, Shakespeare in Love, Let the Right One In, Patterns of Wind, The Rake’s Progress, Mansfield Park, Dolores Claiborne, and The Exonerated. bu.edu/booth bu.edu/cfa
