BU Stages (December 2015 - 'Rosmersholm')

By Henrik Ibsen Translated by Rolf Fjelde

Directed by Bryn Boice

December 9—December 13, 2015

Rosmersholm

A MESSAGE FROM THE SCHOOL OF THEATRE DIRECTOR Welcome Friends, Thank you for joining us for Henrik Ibsen’s Rosmersholm, as translated by Rolf Fjelde. This rarely performed masterwork is the thesis offering from MFA Directing candidate Bryn Boice. Please join me in congratulating Bryn on her accomplishments and her contributions to the School of Theatre, both on the stage and in the classroom. We invite you to meet Bryn and discuss the play at our talk-back on Friday evening, December 11th.

On behalf of our entire School of Theatre community, I am happy to extend warm wishes to you and yours for the holiday season, and good cheer for the coming new year. We hope to see you this spring at one of our more than 20 offerings, including the Boston Center for American Performance and New Repertory Theatre co-production of Kirsten Greenidge’s Baltimore—a world premiere—and two additional MFA Directing theses: Harold Pinter’s The Hothouse, directed by Tim Spears, and Aeschylus’ Prometheus Bound, directed

by Jonathan Solari. Additionally, the School of Theatre—through a generous gift from alumnus Stewart F. Lane and his wife Bonnie Comley—will produce Parade, the musical by Alfred Uhry and Jason Robert Brown, at the BU Theatre in May. To learn more about our productions, special initiatives, and our academic programs, please visit us online at bu.edu/cfa/theatre.

Season’s Greetings,

Jim Petosa Director School of Theatre

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ROSMERSHOLM

by HENRIK IBSEN translated by ROLF FJELDE directed by BRYN BOICE

Scenic Designer Costume Designer Lighting Designer Sound Designer Technical Director Stage Manager Production Manager

Jeffrey Petersen Theona White Bridget K. Doyle Nicholas Chen Sid Wolf Brian M. Robillard Danielle Taylor

John Rosmer Rebecca West Dr. Kroll Mrs. Helseth Ulrich Brendel Peter Mortensgaard Beata

Nicolas Chuba Margaret McCaffery Jordan Brown Ivy Ryan Dom DeMayo Brandon Waltz Siobhan Carroll

Rosmersholm (Fjelde translation) is presented by special arrangement with SAMUEL FRENCH, INC. The videotaping or making of electronic or other audio and/or visual recordings of this production or distributing recordings on any medium, including the Internet, is strictly prohibited, a violation of the authors’ rights and actionable under United States copyright law. For more information, please visit: www.samuelfrench.com/whitepaper.

Running Time: 2 hours, including one, 10-minute intermission

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DIRECTOR’S NOTE Henrik Ibsen has enthralled me since I cracked open Hedda Gabler after a particularly bad break-up in the mid-nineties. This woman was boiling inside.

She was so dissatisfied with the life she was relegated to, that she took up a dangerous hobby: molding a human destiny. The combination of winning my own freedom and the lengths to which Hedda went in order to feel freedom stamped this dramatic work indelibly on my psyche. As I began the play selection process for my thesis production I knew I wanted to work on an Ibsen prose play; I read, or rather ravished, all twelve in a long weekend.

Rosmersholm’s Rebecca West captivated me for many of the reasons Hedda did, but with a wrenching twist: What happens when you get what you want?

Rosmersholm is very rarely performed and we are so grateful to be able to reveal it here, because it is a masterpiece of structure and a guidepost in Ibsen’s experimentation with form. It has elements of realism and symbolism, and is told, as our translator Rolf Fjelde puts it, “in an almost entirely retrospective action,” much like well-crafted mysteries of today. This convention, at the time, was unheard of, and Rosmersholm made some critics offer their “advice” for telling the story in a more customary fashion.

We have taken the symbolist leanings of the play and put them on vivid display.

This cast and design team has been working to illuminate the experiment Ibsen was toying with—and what August Strindberg ran away with soon afterward.

Even the title is symbolic. Rosmersholm means Home of the Rosmers; the title means little to us—perhaps a reason it is rarely produced in the U.S.—but Scandinavian audiences of the time would have recognized the name Rosmer from a folk tale about a Merman who lures women to their death. The title was once intended to be The White Horse of Rosmersholm, after the unnamed town’s foreboding spectre that signifies death is coming. The churning of the waters in the mill-race is also a constant reminder of the dead. The people here cling to their dead. Or do the dead cling to Rosmersholm?

We hope that by opening up this world to symbolic interpretation, we are breathing new life into a work that deserves a place in the mystery/ghost story genre. With its themes of liberation versus staunch conservatism, and speaking out for one’s beliefs while being careful what you wish for, Rosmersholm gradually unfolds as a fateful warning against secrets and lies, both political and intimately personal.

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HENRIK IBSEN (1828–1906) 1828: Henrik Ibsen is born into a patrician family in Skien, a major shipping and timber center on the southeastern fjords of Norway. There were many sawmills and waterfalls that made up the town's soundscape. His father aspired to become a merchant, but ultimately fails to succeed.

1843: Ibsen drops out of school and takes an apprenticeship with a pharmacist for financial reasons. He begins writing.

1846: He has an illegitimate child with a servant. Ibsen is not a part of the child’s life, but goes on to provide financial support to the mother until the boy is in his teens.

1848–49: Ibsen writes Catiline, his first play.

1850: He is released from his apprenticeship with the pharmacist and moves to Christiania (present-day Oslo).

July 7, 1851: Ibsen begins writing for the Andhrimner paper. The leaders support the overthrow of the king and establishing democracy in Norway. The paper was raided by the government, and its major leaders were arrested.

Ibsen barely escapes punishment and receives a lifelong warning.

1851: He enters contract with National Theatre of Bergen as a writer, director, and producer.

1856: Marries Suzannah Thoresen.

1857: Has a son, Sigurd, and accepts the position of Artistic Director of the Norwegian Theatre in Christiania.

1864: The Second Danish War begins with the attack on Holstein. Ibsen establishes friendship with former rival, Björnstjerne Björnson, a significant Norwegian writer. Ibsen moves to Sorrento, Italy, and exiles himself from Norway.

1865: Ibsen falls ill to a malarious fever that nearly ends his life. He is revived by Suzannah, despite impoverished conditions.

1866: Writes to King Carl of Norway for a government-funded poet’s pension, as his play Brand receives critical acclaim in his homeland.

1867: Peer Gynt—a poetic five-act play blending elements of realism, social satire, folktale, and surrealism—is published.

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1868: Moves to Dresden, Germany, where he spent the next few years completing Emperor and Galilean, the play Ibsen himself felt was his crowning work; its lack of success would be a lifelong disappointment to Ibsen.

1869: Ibsen visits Stockholm, Alexandria, and Paris in high esteem as a writer, returning then to Dresden.

“What is all-important is the revolution of the Spirit of Man.” —Ibsen, Letter to Georg Brandes 1871: A Norwegian plagiarist threatened to reprint Ibsen's early, unprotected writings for his own profit.

“From Sweden, from Denmark, from Germany, I hear nothing but what gives me pleasure; it is from Norway that everything bad comes upon me.” —Ibsen 1874: Ibsen visits Christiania briefly and feels an overwhelming malaise.

“My countrymen, who sped me o'er the wave, An exile, with my griefs for pilgrim-soles, My fears for burdens, doubts for staff, to roam,— From the wide world I send you greeting home.

I send you thanks for gifts that help and harden, Thanks for each hour of purifying pain: Each plant that springs in my poetic garden Is rooted where your harshness poured its rain; Each shoot in which it blooms and burgeons forth It owes to that gray weather from the North; The sun relaxes, but the fog secures!

My country, thanks! My life's best gifts were yours.”

—Ibsen 1875: Ibsen moves to Munich.

1877: He finishes writing The Pillars of Society, described by many as “too German.” Ibsen was accused of spending too much time outside of Norway to be in touch with their way of life.

“I think I have a pretty thorough acquaintance with the dramatic literature of the world, and I have not the slightest hesitation in saying that Henrik Ibsen possesses more dramatic power than any other playwriter of our day.” —Björnstjerne Björnson 1878–79: Returns to Italy. Moves to Rome and writes A Doll House in Amalfi.

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1881: He writes Ghosts, which was not performed until 1883. The play was highly controversial and received either high praise or the most scathing criticism, described as, “A loathsome sore, unbandaged.”

1882: Writes An Enemy of the People in the Austrian Alps at his favorite summer resort, which he nicknamed “Ibsenplatz.” The play was published as a pamphlet. At this point Ibsen had completely broken with the Norwegian Conservative party.

“When I think how slow and heavy and dull the general intelligence is at home, when I notice the low standard by which everything is judged, a deep despondency comes over me, and it often seems to me that I might as well end my literary activity at once. They really do not need poetry at home; they get along so well with the party newspapers and the Lutheran Weekly.” —Ibsen 1884: Ibsen publishes The Wild Duck.

“I do not believe in the emancipatory power of political measures, nor have I much confidence in the altruism and good will of those in power.” —Ibsen 1885: He visits Norway briefly, only to be invited by the Union of Norwegian Students to receive a torchlight procession, showing favor to the political radicals. He instead refuses to show any partisanship and leaves for Copenhagen, then on to Munich.

“I am thinking, of course, not of birth, nor of money, or even of intellect, but of nobility which grows out of character. It is character alone which can make us free.” —Ibsen 1886: Rosmersholm is written, reintroducing allegory, symbols, the spiritual, and beautiful landscapes into his work for the first time since Peer Gynt. With Rosmersholm, Ibsen blends the political with the personal, and shifts his writing away from overt political commentary, focusing instead on character study.

1888: The Lady from the Sea, a heavily symbolic play, is published.

1890: Hedda Gabler is completed and immediately requested from London, New York, St. Petersburg, Leipzig, Berlin, Moscow, Copenhagen, Stockholm, and Christiania.

1891: Ibsen is begged to reestablish his practical citizenship while visiting Christiania and is promised a comfortable life in Norway. He agrees and moves into an apartment in Viktoria Terrasse.

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1892: Ibsen completes The Master Builder, a play that verges on symbolism with its poetic language. The mix of realism, symbolism, and the questionable sanity of its flawed protagonists causes mixed reviews.

1904: Little Eyolf is published and its sordid subject matter produces nearly as much controversy in Norway as Ghosts.

1906: After roughly six years of declining health, Ibsen passed away during the afternoon of May 23 at the age of 79. His burial was a Norwegian national ceremony of the utmost reverence.

“If one does not have people about, one must have books or an extensive collection of memories. Standing alone with one’s own point of view is just as dangerous as having enemies everywhere, being subjugated, imprisoned.

“Being true, showing oneself as one is, uttering one’s thoughts as they are born spontaneously in the brain is extremely dangerous, and such attempts have always had painful consequences.”

—August Strindberg, on Rosmersholm, from “Psychic Murder” Works Consulted Gosse, Edmund. Henrik Ibsen. New York: C. Scribner’s Sons, 1908. Print.

Huneker, James. Iconoclasts: A Book of Dramatists. New York: C. Scribner’s Sons, 1907. Print.

BALTIMORE by

KIRSTEN GREENIDGE ELAINE VAAN HOGUE

DIREcTED by

A ROLLING wORLD pREmIERE cOmmISIONED by

THE bIG TEN THEATRE cONSORTIUm cO-pRESENTED wITH bOSTON cENTER FOR AmERIcAN pERFORmANcE

FEB 10-28/2016 boston university theatre lane-comley studio 210 264 huntington avenue, boston

newrep.org bu.edu/cfa/bcap

An exploration of the complexities of race from the perspective of eight culturally diverse college students.

DESIGN & PRODUCTION STAFF

Costume Build Crew Assistant Lighting Designer Master Electrician Light Board Operator Lighting Crew Assistant Sound Designer Sound Board Operator Sound Crew BU Theatre House Manager House Managers Front of House

BY HAROLD PINTER

DIRECTED BY TIM SPEARS

Boston University College of Fine Arts School of Theatre

BostonTheatreScene.com

Assistant Scenic Designer Paint Charge Properties Master Assistant Technical Director Paint/Scenic Build Crew Assistant Costume Designer Wardrobe Head Wardrobe Crew

Zohar Fuller Zachary Rice Sarah Wallace Christian Scales, Devon Stokes, and Zachary Zamsky Dong Wang Jessica Atanas Jonathan Berg-Einhorn Mary Kurenkov SOT Technical Production Department Samantha Garwood Phoebe Ping Bailey Garton, Madison Lusby, and Rachel Mural SOT Costume Shop Aaron Henry Austin Boyle Grace Hill SOT Lighting Department Kaitlyn Sapp Rosalind Bevan SOT Sound Department Daniel Morris Brian Dudley, Tim Green, and Eileen Moran Sarah Hirsch, Erica Huang, Benjamin Swimmer, and Peter Walsh

Calderwood Pavilion at the BCA, Wimberly Theatre 527 Tremont Street, Boston

Assistant Director Dramaturg Assistant Stage Manager Run Crew

ABOUT THE COMPANY Bryn Boice (Director) is thrilled to mount Ibsen's Rosmersholm as her Master's thesis production (MFA Directing, CFA '16). While studying at BU, she has directed Peter Sinn-Nachtrieb's boom, Beckett's Endgame, Shaw's Misalliance, Sophie Treadwell's Machinal, the new play, Sickle, by Abbey Fenbert (@Play Festival of New Work) and most recently, The Serpent by Jean-Claude Van Itallie. She is the Artistic Director of Anthem Theatre Company, now a Resident Performing Arts Company at Boston Center for the Arts. Ms. Boice holds an MFA in Acting from the Asolo Conservatory (FSU). “Thank you to the spectacular cast, design, and production team for such love and care on this journey to Rosmersholm. All love and gratitude to Mike for being a sounding board and a rock throughout my educational endeavors.”

Nicholas Chen (Sound Designer) is a junior studying Sound Design at BU. He has recently worked on Wit, Edith can Shoot Things and Hit Them, and The Human Comedy. Hailing from San Diego and Bangkok, he got his start working in theater in Singapore.

Bridget K. Doyle (Lighting Designer) earned her BFA at Salem State University, and is pursuing an MFA at BU. Design credits include Vinkensport (BU Fringe Festival); Twelfth Night, Metamorphoses (Gordon College); Cabaret, Beast on the Moon (SSU); A Behanding in Spokane, The Betrothed, Laughing Wild, and The Bald Soprano (Wellfleet Harbor Actors Theater).

Jeffrey Petersen (Scenic Designer) is a second year MFA candidate in Scenic Design at BU. He is honored to be working with such a remarkable team of artists. He would like to thank his partner Matthew and his dog Hildy for all of their love and support.

Brian M. Robillard (Stage Manager) is a senior at BU, pursuing his BFA in Stage Management. Credits: A Little Night Music (Huntington Theatre Company), King Lear (Commonwealth Shakespeare Company), Scenes from an Adultery and On the Verge (New Repertory Theatre), Pattern of Life (New Rep/BCAP), Don Giovanni, Siren Song, Water by the Spoonful, and In the Next Room (BU).

Danielle Taylor (Production Manager) is an MFA candidate. Credits: Assistant Production Manager, Des Moines Metro Opera; Resident Stage Manager, Omaha Theatre Company; Assistant Company Manager, Sesame Street Live!; and Company Manager, international tour of In the Mood. She hails from the Chicago suburbs and has a degree in Stage Management (Purdue University).

Theona White (Costume Designer) is a second year MFA candidate in Costume Design at BU, having formerly attended California State University Fullerton as an undergraduate. At BU, she has served as Assistant Costume Designer on The Adding Machine, Wit, and The Human Comedy. Outside of BU, she recently designed La Boheme for the North End Performing Arts Center (NEMPAC).

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Sid Wolf (Technical Director) is a junior Technical Production major. His credits include Delirium (Technical Director), The Cripple of Inishmaan (Assistant Technical Director), and The Human Comedy (Assistant Technical Director). Sid thanks Joel and Mary for their support, and the rest of team “Ros” for bringing this story to life.

Jordan Brown (Dr. Kroll) is a senior Acting major. BU credits include columbinus, The Duchess of Malfi, The Bagman, Big Love, and Curse of the Starving Class.

Jordan spent last semester studying Musical Theater at the Eugene O’Neill Theater Center. He is thankful to this phenomenal team, and his family for their never-ending love.

Siobhan Carroll (Beata) is a senior Acting major. She has previously been a part of Boston University’s productions of The Serpent, The Shakespeare Project, Machinal, La Zobeide, and The Comedy of Errors. She is delighted to be working with Bryn and this wonderful cast and crew.

Nicolas Chuba (John Rosmer) is a senior Acting major. He is grateful to be part of Ibsen’s Rosmersholm. BU: Visiting Englishman in Ruhl’s Passion Play, Fyodor in Delirium (Fringe Festival), Ryseik in Our Class (BCAP), and Gus in Pinter’s The Dumbwaiter (BCAP). Regional: Don Lockwood in Singing in the Rain. He thanks his Mom and Dad. Dom DeMayo (Ulrich Brendel) is a senior BFA Acting candidate. At BU, he has appeared in The Duchess of Malfi, The Shakespeare Project, The Bagman, Misalliance, and Osama the Hero. He would like to thank his friends, family, and the School of Theatre faculty for their endless support over the years.

Maggie McCaffery (Rebecca West) is a senior Acting major. BU and London Academy of Music and Dramatic Art (LAMDA) credits include: Our Class (BCAP), Passion Play, Machinal, Richard III, and Hamlet. Maggie extends a huge “thank you” to Bryn Boice, the cast and crew, her beautiful friends, and mom, dad, Mac, and Ella.

Ivy Ryan (Mrs. Helseth) is a senior Acting major. Favorite credits include By the Bog of Cats, Henry IV Part I, columbinus, boom, Loch Ness, Curse of the Starving Class at BU, and Julius Caesar and The Beaux Stratagem at LAMDA. Ivy extends her endless gratitude to Bryn Boice, the Rosmersholm team, her astonishing mom, the Voice & Speech Lab at Mass Eye & Ear, and her friends and faculty.

Brandon Waltz (Peter Mortensgaard), a CFA senior, is stoked and honored to be back in Studio 210 with this incredible ensemble. He thanks his cast members for their continued generosity, his director Bryn for her sage-like guidance, and his family for their undying support.

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DI RE CT E

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STUDENT TICKETS: $20 BU FACULTY/STAFF/ ALUMNI: $10 OFF

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BU

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B PR AS IZ ED E- O W N IN TH NI E NG PU NO LIT VE ZE L R BY

OF A CO D N U NO NC FED V AVE .11 ES ER NU - D ACY EO E FT C

SPECIAL BU PRICES:

Printer’s Proof: Thirty Years at Wingate Studio Through December 13, 2015 Faye G., Jo, and James Stone Gallery, 855 Commonwealth Avenue

Raul Gonzalez III: Regalo Through December 13, 2015 The Annex, 855 Commonwealth Avenue

Hannah Cole: Caring for Surfaces Through December 18, 2015 Sherman Gallery, 755 Commonwealth Avenue

Willie Cole: AQUAHALLIC Through December 4, 2015 808 Gallery, 808 Commonwealth Avenue

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Opera Institute Wolfgang Mozart’s Cosí fan tutte February 25–28, 2016

William Shakespeare’s A Midsummer Night’s Dream April 14–17, 2016

For information and tickets, visit:

bu.edu/cfa

THE SNOW QUEEN

kirsten brAndt and riCk LOMbArdO Haddon kimE lyrics by kirsTEn brandT, Haddon kimE, and rick lombardo addiTional music by rick lombardo book by

music by

riCk LOMbArdO eMiLY intersiMOne

dirEcTEd and cHorEograpHEd by musical dirEcTion by

NOV 28-DEC 20/2015 charles mosesian theater arsenal center for the arts 321 arsenal st, watertown ma

newrep.org 617-923-8487

An exciting new pop/rock musical adaptation of Hans Christian Andersen’s classic tale.

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

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

Fred A. Bronstein, ’78 President & Executive Director St. Louis Symphony Orchestra Michael Chiklis, ’85 Actor, Director, Producer

Penny Peters, ’71 Communications Strategist & Management Consultant

Saul Cohen President Hammond Residential Real Estate

Nina Tassler, ’79 President CBS Entertainment

Chester Douglass Professor & Department Chair Harvard School of Dental Medicine

Gael Towey, ’75 Formerly Chief Creative and Editorial Director Martha Stewart Living Omnimedia

SungEun Han-Andersen, ’85 President Andersen Family Foundation

Gregg Ward, ’82 President Orlando-Ward Associates

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

Luo Yan, ’90 President Silver Dream Productions

Lindsey Humes, ’79 Corporate Vice President CCS Fund Raising David Kneuss, ’70 Executive Stage Director Metropolitan Opera Stewart F. Lane, ’73 President & CEO Stewart F. Lane Productions Nancy Livingston, COM’69 Chairman of the Board American Conservatory Theater (A.C.T.) Martha Stewart Living Omnimedia

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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! * $1M - $4.9M Mark Mobius (’58, COM’59)  Hugo X. Shong (COM’87, GRS’92) and Luo Yan (’90)  $250,000 - $499,999 Andrew R. Lack (’68)  The Estate of Margaret M. Martin  Jane M. Pappalardo (’65) and A. Neil Pappalardo  The Estate of Bernard G. Schwartz $100,000 - $249,999 Stewart F. Lane (’73) and Bonnie Comley  $25,000 - $49,999 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 Philip C. Pascucci  $10,000 - $24,999 Betsey Brown Philip T. Chaplin  Christopher di Bonaventura and Ellen di Bonaventura  Peter di Bonaventura (CGS’78) Chet and Joy Douglass  Margo I. Friedman (SED’96) and Sidney J. Friedman  AZ di Bonaventura Greene Nancy Livingston (COM’69) and Fred M. Levin, The Shenson Foundation  Nina C. Tassler (’79) and Gerald S. Levine (’79) The Estate of Virginia E. Withey $5,000 - $9,999 Richard F. Balsam  Edward S. W. Boesel (ENG’70)  Carol L. Carriuolo  Saul B. Cohen and Naomi R. Cohen Cynthia K. Curme (’76, ’80) and Oliver D. Curme  Thomas M. Daniel and Maria H. Daniel  Peter Eliopoulos and Maria Allen  David L. Feigenbaum and Maureen I. Meister  Wilbur D. Fullbright (GRS’60) and Lorraine B. Fullbright (SED’60, ’61)  Gordon P. Getty and Ann G. Getty  Frank C. Ginsberg (’65) and Joan Ginsberg  Tony Goldwyn and Jane Musky (’76)  Sidney J. Hurwitz (’59) and Penelope Jencks (’58)  Seth Johnson  David Carlton Kneuss (’70) 

James A. Manganello (GRS’70, STH’70, SED’77) and Rosemarie B. Manganello (’11)  Arthur D. Sanders (Questrom’74) and Pamela Sanders  William H. Trayes (DGE’48) and Roswitha Trayes  $2,500 - $4,999 Beverly W. Abegg (’64, GRS’68) and Gerald L. Abegg  Earl R. Beane (CAS’63, STH’67, ‘68) and Mildred B. Beane (’64, ’84, SED’95)  Janet M. Burzyk  John A. Carey  Jasmine Chobanian  and Aram V. Chobanian  John F. Harrington (’85) and Kerry E. Harrington  Lindsey V. Humes (’79)  Scott Allen Jarrett (’99, ’08)  Dr. Ann Howard Jones  Robert E. Krivi (’70) and Gwen G. Krivi  Michael W. Merrill (LAW’76)  Leila Joy Rosenthal (’64, ’65, SDM’79)  The Estate of Helen M. Waluk  $1,000 - $2,499 Joan Adams (’65)  Apostolos A Aliapoulios (’61, ’70) and Mary J. Aliapoulios  David Bernard  Barbara E. Braun (’72) and Anthony Braun  Richard D. Carmel Charitable Remainder Trust  Mitchell E. Cohen  Frank A. D’Accone (’52, ’53)  Edna L Davis (’64)  David W. Dove (Questrom’74) and Pamela K. Dove (’72)  John S. Fawcett (’61) and Jacqueline M. Fawcett (SON’64)  Karla K. Ferrara Airas  Arthur Fertman (SDM’64) and Cynthia K. Fertman (’65)  Judith M. Flynn  Doris R. Franklin  and Richard W. Ekdahl (’51, GRS’54)  Mark M. Friedman  Richard S. Friedman and Linda N. Friedman  Glenn Garlick  Richard I. Grausman and Susan Grausman  Mercia M. Harrison  Nancy M. Hartman (’52)  Judith P. Hessel and Paul Hessel  Phyllis Elhady Hoffman (’61, ’67) and Robert J. Hoffman  Fritz C. Howser  Jimmie L. Jackson (’73, ’76)  Shail Jain and Mary C. Jain 

Renate S. Jeffries (’64) and John W. Jeffries  Sandra J. Kendall (’55)  Glen E. Kraemer and Natalie C. Ziontz  June K. Lewin (’61)  William R. Lyman (’71) and Anastasia S. Lyman (’72)  Joan B. Malick (’65, SED’70)  Joy L. McIntyre  Michaela Mohammadi (’02)  Andrea Okamura (’82) and Jeffrey T. Chambers  F. Taylor Pape (’70) and Haddon Hufford  Dennis S. Poe and Milja R. Poe  Hilary F. Respass  Sandra Lee Rowsell (’60) and Arthur P. Rowsell  Roberta S. Steiner (’65) and Don Steiner  Nancy R. Stone (’74)  Tetsuo Tamanaha (’04)  Richard E. Van Deusen (’60) and Carol Van Deusen  Edward P. Wimberly (STH’68, ’71, GRS’76) and Anne E. Wimberly (’65)  Ellen and John Yates  Linda N. Yee (’68) and Robert D. Yee  Corporations & Foundations $100,000 – $249,999 Stewart F. Lane & Bonnie Comley Foundation $50,000 – $99,999 Anonymous $25,000 – $49,999 The C. George Van Kampen Foundation Fidelity Charitable Gift Fund National Endowment for the Arts $10,000 – $24,999 Anonymous Clovelly Charitable Trust Community Foundation of Greater Des Moines Margaret S. Lindsay Foundation Montgomery Symphony Association National Philanthropic Trust The San Francisco Foundation $5,000 - $9,999 Ann and Gordon Getty Foundation Carriuolo Family Foundation, Inc. Ernst von Siemens Musikstiftung Lost & Foundation Inc. The Pamela And Arthur Sanders Family Foundation Inc. Renaissance Musical Arts, Ltd.

-Annual Fund Leadership Giving Society

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*This list reflects donations made between July 1, 2014 and June 30, 2015. 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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Handel Israel in Egypt Fri, Jan 29, 2016 / 8 pm Carey Hall, Lexington

Sun, Jan 31, 2016 / 2 pm NEC’s Jordan Hall Davi Hoose, Music Director

Cantata Singers will present the complete version of George Frederic Handel’s beloved 1783 oratorio, Israel in Egypt. With its uncommonly varied and thrilling choral and orchestral music, Israel in Egypt shows some of Handel’s most powerful and inventive writing for vocal ensemble.

Pre-Concert Talk with Dr. Ellen Harris For tickets and info:

617.868.5885

cantatasingers.org

The Winter’s Tale

December 9, 2015 – January 3, 2016 Willet Hall at United Parish | Brookline 866-811-4111 or actorsshakespeareproject.org 18