BU Stages (May 2017 - 'The Labyrinth of Desire', 'Tiger at the Gates')

May y4-7

Wimberly Theatre Calderwood Pavilion at the Boston Center for the Arts

May y3-7

Boston University Theatre Lane-Comely Studio 210

TIGER

at the

by Jean Giraudoux

Gates

translated by

Christopher Fry

A WELCOME FROM THE SCHOOL OF THEATRE DIRECTOR Dear Friends, Thank you for joining us today for one of the School of Theatre’s final performances in the Boston University Theatre and our Stewart F. Lane and Bonnie Comley Studio 210. A er six decades producing and educa ng on Hun ngton Avenue, SOT will vacate the BU Theatre this summer. We look forward to the opportuni es our move to Commonwealth Avenue, in the heart of the Boston University Charles River campus, will bring us. For the first me, our Performance and Design & Produc on academic programs and produc on shops will be housed on the same city block. And our new state-of-the-art shops, smart classrooms, and 250-seat studio theatre will aord our students tremendous poten al for growth as theatre ar sts.

We invite you to a end our inaugural performances in the Joan and Edgar Booth Theatre Complex, currently being erected at 820 Commonwealth Avenue, when we open our doors to the general public next spring. Word of our upcoming events will be posted to the College of Fine Arts event calendar at bu.edu/cfa/events. You can also learn more about the Booth Theatre Complex, view architectural renderings, and keep tabs on the build of the facility via a live webcam, all at bu.edu/facili es/project/joan-edgar-booththeatre-complex.

Un l we meet again on Comm Ave, the School of Theatre community wishes you and yours a wonderful spring and summer!

Warmly,

Jim Petosa Director, School of Theatre Boston University College of Fine Arts

TIGER AT THE GATES

by JEAN GIRADOUX adapted by CHRISTOPHER FRY directed by Sidney Friedman Composer Scenic Designer Costume Designer Ligh ng Designer Sound Designer Technical Director Stage Manager Produc on Manager

Place: Act 1: Act 2: Time:

John H. Wallace Andrew Kolifrath Lauren Reuter Brandi Pick J. Collin Priddy-Barnum Daniel Hochster Madison Lusby Rachael Hasse

Troy A courtyard adjoining the royal palace A public square Then and Now

Tiger at the Gates is presented by special arrangement with Samuel French, Inc. The videotaping or making of electronic or other audio and/or visual recordings of this produc on or distribu ng recordings on any medium, including the Internet, is strictly prohibited, a viola on of the author’s rights and ac onable under United States copyright law.

For more informa on, please visit: samuelfrench.com/whitepaper

CAST in order of appearance Cassandra Andromache Laundryman/Topman Hector Paris First Old Man/Ajax Second Old Man/Ulysses Priam Hecuba Polyxene/Iris Demokos Abneos Mathema cian Helen Messenger Troilus Bursiris Olpides

Madison Findling Amy Ward Chris an Scales Robert Thackery Peterson Gabriel Stephens Zachary Zamsky Thomas Mitsock Sean McCoy Jessica Scout Malone Aida Neitenbach* Connor Paradis Alex Hatcher Aidan T. Newell Adelaide Burich Michael Ofori Jack Lavey Annalise Cain Kendra Jain*

* Appears courtesy of Actors’ Equity Associa on.

SPECIAL THANKS Mark Stanley Friends and Family who serve in the US Armed Forces The suppor ve women at Uncommon Yarn Aaron Henry Gifford Williams

DESIGN & PRODUCTION TEAM Assistant Director & Dramaturg Fight Choreographer Fight Captains Produc on Assistant Run Crew

Assistant Scenic Designer & Assistant Paint Charge Paint Charge Proper es Master Scene Shop Supervisor Assistant Technical Director Paints/Scenic Build Crew Assistant Costume Designer Wardrobe Head Costume Build Crew Wardrobe Crew

Assistant Ligh ng Designer & Assistant Master Electrician Master Electrician Light Board Operator Ligh ng Crew Associate Sound Designer Sound Board Operator Sound Crew House Managers Front of House

Michael Ofori Angie Jepson Marks Madison Lusby & Robert Thackery Peterson Katey Chris anson Brendan Gilhooly, Robert Kellogg & Graceson Abreu Nunez

Steven Douce e Ka e Keaton Jackie Kempe Rita Roy Maria Pinggera School of Theatre Technical Crew Azucena Dominguez Annalynn Luu School of Theatre Costume Shop Jacqueline Collet, Samantha Galvao, & Madeleine Werner

Hannah Solomon Taire McCobb Sophia Ray School of Theatre Ligh ng Dept.

Kaitlyn Sapp Lindsey Walko School of Theatre Sound Dept.

Meg Ciabo , Brian Dudley & Daniel Morris Derek Mar nez & Isabella Ricker

DIRECTOR’S NOTE Jean Giraudoux, diplomat and author, is widely regarded as France’s leading playwright of the first half of the twen eth century. A highly-educated man, he o en developed his plays from the legends and myths of various countries and eras including, for examples, medieval Germany (Ondine, Siegfried), ancient Israel (Sodom and Gomorrah, Judith) and classical Greece (Electra, Amphitryon 38). In 1934, alarmed at events unfolding in Germany, he began La Guerre de Troie n’aura pas lieu (The Trojan War Will Not Take Place) drawing on characters from Homer’s Iliad, to express his growing fear of a calamitous war. The play was first presented in 1935 in Paris under the direc on of the famous director Louis Jouvet, who also played Hector.

There was, so far as I can ascertain, no published or produced English transla on of the play un l the mid-1950s when poet-playwright Christopher Fry’s version, re- tled Tiger at the Gates, captured the linguis c elegance of Giraudoux’s fantasy, playing to cri cal applause in both London and New York.

That produc on, directed by Harold Clurman, won the Drama Cri cs Circle Award for Best Foreign Play and Tony Award nomina ons for Best Play, Best Performance by a Leading Actor in a Play (Michael Redgrave as Hector), and Best Performance by a Featured Actress in a Play (Diane Cilento as Helen).

In 2017, as in 1935 and 1955, the fear of war is rising. Aggressive leaders and movements on nearly every con nent murder innocent civilians, some mes surrep ously, o en openly. It seems like an appropriate me to revive this play about Hector’s efforts to prevent a seemingly inevitable and cataclysmic war.

—Sidney Friedman

ABOUT THE COMPANY Sidney Friedman (Director) has been teaching for over thirty-five years at Boston University and direc ng at least one project there annually, including a variety of devised pieces as well as scripted dramas, comedies, and musicals.

A number of these produc ons were premieres of student-wri en scripts.

His most recent projects include playing Krapp in Samuel Becke ’s “Krapp’s Last Tape” and direc ng Margaret Edson’s Wit (a Boston Center for American Performance produc on that featured colleagues Judy Braha, Mark Cohen, and Paula Langton), Arthur Miller’s A er the Fall, and alumna Tanya Saracho’s “Kita y Fernanda.”

Rachael Hasse (Produc on Manager) is a second-year graduate student in Produc on Management. Rachael hails from West Chicago, Illinois, and proudly holds a BFA from Ithaca College. Rachael also currently works as the Produc on Manager with Dorset Theatre Fes val. Credits include Produc on Manager with Hope Summer Repertory Theatre and Scene Shop Supervisor with Illinois State University. rachaelhasse.com Daniel Hochster (Technical Director) is a junior Technical Produc on major.

He was born and raised in Ann Arbor, Michigan. This summer will take him to Maine State Music Theatre as the Assistant Technical Director. Over the past two summers he has worked at The Glimmerglass Fes val (TD Intern) and at The Cape Playhouse (Staff Carpenter).

Andrew Kolifrath (Scenic Designer) is a junior Scene Design major at BU, and has designed several shows at School of Theatre, both in the spaces at the College of Fine Arts and in the BU Theatre, Lane-Comley Studio 210. He has also worked as a scenic ar st in and around Boston with companies such as Williamstown Theatre Fes val.

Madison Lusby (Stage Manager) is a sophomore Stage Management major.

Recent professional credits include work with Barrington Stage Company, Portland Opera, and Portland Center Stage. BU credits include Emmeline (ASM), The Directors’ Project (SM), and Bal more (PA). This summer, she’ll become a member of AGMA with Portland Opera.

Brandi Pick (Ligh ng Designer) is a first year MFA Ligh ng Design student, and received her BFA at East Carolina University. Previous: Of Blood and Dirt (BU), Hydrogen Jukebox (BU), Faithless (BPT), Have You Been There? (Williamstown Theatre Fes val), Machinal (Messick Theatre Arts Center). Upcoming: La Rondine: Remix at Central Square Theatre with Boston Opera Collabora ve.

J. Collin Priddy-Barnum (Sound Designer) is a second-year graduate student in Sound Design. Collin comes to BU by way of New York City but hails from North Carolina. Collin comes from a technical background and is very excited to contribute to the Boston art scene.

Lauren Reuter (Costume Designer) is a junior Costume Design major. Lauren currently works for Hun ngton Theater Company as a work/study student and spends her summers at Glimmerglass Opera fes vals as a costume cra s ar san. Her credits include “The Werther Project” (costume design), The Cradle Will Rock (cra s head), and The Cherry Orchard (cra s head).

John H. Wallace (Composer) The music of John H. Wallace has been called “mesmerizing” and hailed for its “me culous cra smanship” and “dis nc ve composi onal voice” (Fanfare). Recorded on Centaur Records, he has worked with members of the Chicago, Philadelphia, and Boston Symphonies, and groups such as the Arneis and Vilnius Quartets, Virtuoso Soloists, Music at Eden’s Edge, and ALEA III. A recipient of Meet the Composer and NEFA grants, Wallace has studied with Lukas Foss, Charles Fussell, and Alan Stout, holding degrees from Boston, Northwestern, and DePaul Universi es. He is currently Assistant Professor of Composi on and Music Theory at BU and Composer-inResidence at the Cabot Theatre in Beverly, Massachuse s.

CAST BIOGRAPHIES Adelaide Burich is a senior BFA Ac ng major and recent graduate of LAMDA's Classical Ac ng Programme. Select BU/LAMDA: The Cherry Orchard (Liubov Ranyevskaya), Hamlet (Gertrude), Henry V (Henry V), Timon of Athens (Timon), and Delirium (Grushenka). Big hugs to cast and crew, family, and sweet Diana. adelaideburich.com Annalise Cain is a theatre ar st and playwright. In March, her play If You Give A Kid A Sucker was part of the SOT’s inaugural New Works Fes val. Her play What Screams I Hear Are Mine is the recipient of the Na onal Partners of the American Theatre Playwri ng Award.

Madison Findling is currently a sophomore Theatre Arts major. Madison is thrilled to be a part of the final produc on in the Lane-Comley Studio 210 and is humbled to work with such an outrageously talented cast and crew. She would like to thank her professors and classmates for their support and generosity, and her family for their endless love and ruthless teasing.

Alex Hatcher is a sophomore Ac ng major and Dance minor at BU. Alex is originally from Wisconsin, where he was involved in theatre in the Milwaukee and Chicago area. BU credits include Marvin’s Room and Of Blood and Dirt.

Kendra Jain Off-Broadway: A Room of My Own (Abingdon), Facebook Me (DR2).

TV: Over/Under (USA), Law and Order: SVU (NBC), Lies in Plain Sight (LMN), and series regular in Downwardly Mobile (pilot, NBC) and Funny in Farsi (pilot, ABC).

Film: On the Wing, Our Boys, and New Year’s Eve (dir. Garry Marshall).

Jack Lavey is a sophomore Theatre Arts major from Saint Louis, Missouri. He has worked with Stages St. Louis and was a dramaturg on BU's fall produc on of The Cherry Orchard. Lots of love to the whole company.

Jessica Scout Malone is a senior Theatre Arts major at BU. Her credits include The Cherry Orchard (BU), Julius Caesar (LAMDA), and Image of an Unknown Young Woman which she directed for her senior thesis. She's thrilled to be closing her last BU show with this loving and rowdy cast.

Sean McCoy is a senior BFA Ac ng Major and excited to be in one of the final performances in the BU Theatre, Lane-Comley Studio 210. Catch Sean this summer as Jim in Gloucester Stage Company's produc on of The Rainmaker.

He would like to thank his mother, his sister, and Maia for being the best. seancmccoy.com Thomas Mitsock is currently a sophomore in the BU School of Theatre, earning his degree in Ac ng. Originally from Wes ord, Massachuse s, Thomas is thrilled to be performing with a group of dedicated and generous ar sts. He would like to thank his peers, teachers, and family for their support.

Aida Neitenbach is a current sophomore Ac ng major at BU. She is excited to work with such an incredible cast and crew and to send off the Lane-Comley Studio 210 performance space in its closing show with Boston University.

Deepest thanks to family, friends, and professors for the consistent support and inspira on.

Aidan T. Newell is a junior Theatre Arts major at BU School of Theatre. He comes from Bethlehem, Pennsylvania. His credits with BU SOT include God's Ear (Guy) and Act of Faith: Part 1 (ensemble member). He's also got a very nice voice.

Michael Ofori is a second-year Theatre Educa on graduate student. He hails from the Ashan Region in the West African country, Ghana. Michael was recently on this stage as Leonato in William Shakespeare's Much Ado About Nothing. He is very excited to be working on this play and sharing the experience with such a wonderful group of ar sts.

Connor Paradis is a sophomore Ac ng major at BU School of Theatre. Credits include Peter in Luna Gale at New Century Theatre; Henry in The Skin of Our Teeth at Silverthorne Theatre; Ted in God’s Ear by Jenny Schwartz at BU; and various projects with PaintBox Theatre in Northampton. He is excited to star in The Wizard of Oz with PaintBox this July.

Robert Thackery Peterson is a senior Theatre Arts major in the School of Theatre. Other BU produc ons include: Don Juan Comes Back from the War, Daddy Issues, Parade, and Rabbit Hole. He would like to thank his amazing cast and BU family for all their support over the past four years. Special thanks to Kate, Sarah, and Elizabeth Peterson Dana Dreyfuss.

Chris an Scales is a sophomore Ac ng student from Durham, North Carolina.

He was last seen in Much Ado About Nothing as Claudio. Outside of ac ng, he enjoys photography and filmmaking and is a film minor in the School of Communica on. Chris an would like to thank his family back home for their con nuous support and love.

Gabriel Stephens is thrilled to be working on this mely and important play.

Favorite roles at BU include Mr. Zero in The Adding Machine, and Junior Mister in The Cradle Will Rock. In Boston, he can be found recklessly riding his bicycle, or seeking spiritual solace in strangers' dogs.

Amy Ward is a senior Ac ng major from New York City. She is thrilled to be wrapping up her BU career with a produc on as special as this one. Previously she has appeared in The Cradle Will Rock (Professor Trixie), Memorial (Maya Lin), Julius Caesar (Cassius), and Twel h Night (Maria), among others.

Zachary Zamsky is a rising junior at BU School of Theatre. He is thrilled to be a part of BU’s last produc on in the BU Theatre, Lane-Comley Studio 210.

Recently, Zachary has performed in Fool for Love in the role of Eddie. He also had a short film he was ac ng in nominated to the Tribeca Film Fes val.

THE LABYRINTH OF DESIRE a play

by CARIDAD SVICH adapted and translated from Lope de Vega’s “La prueba de los ingenios” directed by ELAINE VAAN HOGUE

Scenic Designer Costume Designer Ligh ng Designer Sound Designer Technical Director Stage Manager Produc on Manager

James F. Rotondo III AJ Jones Bridget K. Doyle Aubrey Dube Ana Weiss Sarah Wallace Renee E. Yancey

CAST Florela Ricardo Alejandro Camacho Laura Finea Paris Estacio Duchess

Belén de Armero López Conrad Sundqvist-Olmos John Aus n Jules Tanner Cerridwyn McCaffrey Michela Micalizio Kyle Tristan Chua Dillon McGuire Oreine Robinson

The Labyrinth of Desire was originally commissioned and produced by the University of California-San Diego Department of Theatre, and later produced by Milagro Theatre in Portland, Oregon.

DESIGN & PRODUCTION TEAM Assistant Director Vocal Coach Movement Coach Associate Produc on Manager Produc on Assistant Run Crew

Alex Schneps Corianna Moa Yo-el Cassell Kate Bartels Jacob DeSousa Daniel Abbes, Dana Depirri, Caitlin Fischer, Madeleine Harvey, Mose Kane, Jack Moriarty & Sophie Smith

Assistant Scenic Designers Paint Charge Assistant Paint Charges Proper es Master Assistant Proper es Master Scene Shop Supervisor Assistant Technical Director Paints/Scenic Build Crew

Afsoon Pajoufar & Sean Perreira Emily Rosenkrantz Sam Galvao & Lauren Hannah White Paul J. Dufresne Sid Wolf Rita Roy Logan Lower School of Theatre Technical Crew

Assistant Costume Designer Draper First Hand Costumes Cra Head Wardrobe Head Costume Build Crew Wardrobe Crew

Bri any Meehan Kristyn Nolasco Alyssa Korol Zarah Avalon Chris ne Marr School of Theatre Costume Shop Danielle Elegy, Mariana Mondragon & Zachary Sager

Assistant Ligh ng Designer Moving Light Programmer Master Electrician Assistant Master Electrician Light Board Operator Follow Spot Operators Ligh ng Crew

Aus n Boyle David Orlando Evey Connerty-Marin Mark Fortunato Andrea Sala Olivia Tennison & Ta ana Webster School of Theatre Ligh ng Dept.

Assistant Sound Designer Audio Supervisor Sound Board Operator Sound Crew House Managers Front of House

Kirk Ruby Nicholas Y. Chen Ben Lenk School of Theatre Sound Dept.

Daniel Morris Emily Bacon, Alfred Bardwell-Evans, Meng Deng & Sebas en Garbe

A WRITER’S LABYRINTH “To enter that rhythm where the self is lost, Where breathing: heartbeat: and the subtle music Of their rela on make our dance, and hasten Us to the moment when all things become Magic, another possibility.”

—Muriel Rukeyser (1962) The Labyrinth of Desire is a play about transforma on and the motor of human desire. Originally wri en by Lope de Vega in the 1600s under the tle La prueba de los ingenious (literally “A Test of Wits”), it falls under the category of a capay espada/cloak and dagger play. It is a piece that, true to its genre, revels in the comedy of love and intrigue, and does so with Lope de Vega’s characteris c warmth, wit and poetry. What rises this play above its genre is its great understanding of the essen al mutability and fluidity of human desire.

Prequeer theory, pre-feminism and pre-Sex in the City, this play challenges the boundaries of prescribed sexual roles, and advocates for the deligh ul and essen al mystery of love. The performance of self, gender iden ty and sexual iden ty is at the core of this comedy, yet it also manages to address issues of class and the heteroglossic play of language. In freely adap ng this play for the American stage (and this is the first American English adapta on of this piece), I have taken many liber es with the original text: cu ng minor scenes and characters, re-assigning some roles and lines, borrowing a very short comedic sequence from Shakespeare’s Troilus and Cressida, re-shaping and expanding scenes, and adding text of my own to clarify and deepen emo onal moments as well as comedic ones. The ending in par cular has a new twist that speaks to what I feel were Lope’s holis c inten ons with this play. In the use of language I have emphasized the colloquial and direct over the baroque. This choice is actually a mirror of the original’s taut and sharp energy. However, the meter and rhythms have necessarily changed. Nevertheless, my inten on throughout my conversa on with Lope de Vega across the centuries has always been to illuminate his vision for a new audience, one that most likely only knows, if at all, his classic historical play Fuenteovejuna. It is an audience, though, that is perhaps familiar with Marivaux’s The Triumph of Love and surely with Shakespeare’s Twel h Night—plays that are clear cousins to this one in spirit, if not in form, and I’ve taken this into account when reconsidering this play.

Obviously, this is a free adapta on. It is faithful to Lope’s architecture, but it is very much suffused with my own ar s c sensibility as a playwright, which also centers on the crossing of norma ve social and sexual boundaries, women in society, the carnival-esque play with language and genre, and interculturalism.

In addi on, my history (in my parallel career) as a translator of Federico Garcia Lorca’s work, and other drama sts including Calderon de la Barca, has inevitably played a role in my approach to Lope de Vega. Any writer meets a text through their own experience with the page and with the drama c form. So, call this a hybrid text, a fusion, if you will, of Lope de Vega and Svich.

The process has been not unlike the lead character of Florela in this play: I have entered, as Muriel Rukeyser expresses in her poem so eloquently, “the rhythm where the self is lost,” and in so doing, have found an exultant vision of transforma on.

—Caridad Svich

DIRECTOR’S NOTE I’ve wanted to direct a play by Caridad Svich ever since my students and I explored her Twelve Ophelias: A Play in Broken Songs several years ago in one of my ac ng classes. Caridad’s work is exci ng, diverse, bold, intelligent, and poe c. And, as a director, I have a long-standing commitment to doing plays by women. This play is an ideal choice with which to culminate the BU School of Theatre’s many years producing plays in this lovely theatre on Hun ngton Avenue. It is a rollicking romp, a deligh ul adventure filled with joy, love, intrigue, warmth, wit, and poetry. What a wonderful way to bid farewell to our theatre home of many years! In these fraught mes it is vital that we remember and celebrate the joy and laughter that are integral parts of our lives. I invite you to grapple with the “deligh ul and essen al mystery of love” as we join these characters on their journey, and in turn, to embrace the possibility of transforma on. —Elaine Vaan Hogue

ABOUT THE AUTHOR Caridad Svich received a 2012 OBIE Award for Life me Achievement in the theatre, a 2012 Edgerton Founda on New Play Award and NNPN rolling world premiere for Guapa, and the 2011 American Theatre Cri cs Associa on Primus Prize for her play The House of the Spirits, based Isabel Allende’s novel. She has won the Na onal La no Playwri ng Award (sponsored by Arizona Theatre Company) twice, including in the year 2013 for her play Spark. She has been short-listed for the PEN Award in Drama four mes, including in the year 2012 for her play Magnificent Waste.

Key works in her repertoire include 12 Ophelias, Iphigenia Crash Land Falls on the Neon Shell That Was Once Her Heart, and JARMAN (all this maddening beauty). She has also adapted for the stage novels by Mario Vargas Llosa, Julia Alvarez and Jose Leon Sanchez, and reconfigured works from Wedekind, Euripides, Sophocles, and Shakespeare. In 2017, Corazon Eterno premieres at Mixed Blood Theatre in Minneapolis and Rep Theatre of St. Louis, and De Troya premieres at Cara Mia Theatre in Dallas, Texas.

Her works are published by TCG, Smith & Kraus, Playscripts, Intellect UK, Broadway Play Publishing and more. She has edited several books on theatre including Audience Revolu on: Dispatches from the Field (TCG, 2016) She is currently edi ng a book on playwri ng for Methuen, UK. She is associate editor of Contemporary Theatre Review for Routledge, UK. She is alumna playwright of New Drama sts. She holds an MFA in TheatrePlaywri ng from UCSD. She teaches crea ve wri ng and playwri ng at Rutgers University-New Brunswick and Primary Stages’ Einhorn School of Performing Arts. She has taught playwri ng at Bard, Barnard, Bennington, Denison, Ohio State, ScriptWorks, and Yale School of Drama. Website: caridadsvich.com

ABOUT THE COMPANY Elaine Vaan Hogue (Director) is a director, actor, and teacher. Most recently she performed the role of Mrs. Stockton in Mrs. Packard (Bridge Repertory Theatre/ Playhouse Creatures). Regional direc ng credits include A er Orlando (Central Square Theatre); Bal more (New Rep/BCAP world premiere), The Amish Project, Imagining Madoff (Elliot Norton nominee for Outstanding Produc on), and The Kite Runner (New Rep); A Disappearing Number (Underground Railway Theater); Metamorphosis (BCAP); Walking the Volcano (BCAP/BPT); Crave (Nora Theatre Company); Thin Air: Tales from a Revolu on (UMKC); Infinity’s House (Majes c Theatre); Fen (New Theatre). Elaine co-curated the inaugural Next Rep Black Box Fes val of new work in 2014. She is a member of the Magdalena Project, an interna onal network of women in contemporary theatre, and has been a par cipant in several interna onal cyberformances.Elaine serves as Program Head of Theatre Arts at BU where she has directed over 40 plays.

Upcoming projects: The Tempest (Arts A er Hours); Oleanna (New Rep); collabora on with Judy Braha and Joyce Van Dyke on the crea on of a new play about the charisma c visionary and human rights ac vist, Julia Ward Howe.

Bridget K. Doyle (Ligh ng Designer) is a second year graduate student, and is honored to be designing BU’s last show in this beau ful theater. Recent design credits include: Vinkensport, Rosmersholm, Rabbit Hole, Aurora Borealis 2016 (BU), Brecht on Brecht, Thurgood, Good, Bal more (BCAP/New Repertory Theatre), and The Birds and the Bees (Sleeping Weazel).

AJ Jones (Costume Designer) is excited to design this final show of the BU season. He is a first year Costume Design graduate student, originally from Indiana. Some of his recent design credits include Assistant Costume Designer for The Cradle Will Rock and Emmeline. Some of his other work includes The 25th Annual Putnam County Spelling Bee, Tartuffe, and Picnic.

Corianna Moffa (Vocal Coach) is a producer, dramaturg, and actor currently pursuing an MFA in Theatre Educa on at BU. She is the Connec vity Associate at Company One Theatre and the Conference Chair for Literary Managers & Dramaturgs of the Americas’ 2017 conference on “Access, Ac vism & Art.” Corianna recently completed “Impossible Ques ons Tour,” a traveling interview project. ImpossibleQues onsTour.com James F. Rotondo III (Scenic Designer) is a theatre ar st originally from Rhode Island. He is currently a senior at BU pursing his BFA in Scene Design.

Past designs include Emmeline, Daddy Issues, Bal more, and Vinkensport, or the Finch Opera. He has also worked with Gloucester Stage Company, Trinity Repertory Company, and the Hun ngton Theatre Company assis ng designer Cris na Todesco. jamesfrotondoiii.com

Sarah Wallace (Stage Manager) is a senior Stage Management major at BU. She is honored and proud to be a part of the last produc on in this space and her last produc on with this community. Recent credits include The Cherry Orchard, Much Ado About Nothing, and The Adding Machine. She would like to thank the whole company and especially her dedicated assistant, Jacob DeSousa. She hopes you enjoy the world of this play as much as she does.

Renee E. Yancey (Produc on Manager) is currently pursuing her MFA in Produc on Management. Originally from Texas, Renee spent 10 years in the Washington, D.C., area before coming to Boston. Previous produc ons at BU include The Whitmores and the 2015-2017 NYC Theatre Showcases. Renee has a BFA in Theatre Arts from Texas State University.

CAST BIOGRAPHIES John Aus n (Alejandro) hails from Aus n, Texas. He is the 2016-2017 Be e Davis Scholarship recipient. Credits include: A Taste of Honey (Boston Center for American Performance); Equal Writes (BU School of Theatre/Boston Playwrights’ Theatre); Zeus in Therapy (Tu o; B. Iden Payne Award, Aus n’s “Outstanding Young Performer”). In the coming year, John will join Na onal Players for their 69th annual tour, playing in Othello, Alice in Wonderland, and “Gatsby” in The Great Gatsby. johnaus nactor.com Kyle Tristan Chua (Paris) is a rising senior with a strong interest in performance and playwri ng. He has twice competed for KCACTF’s (Region 8) Irene Ryan Ac ng Scholarship, and has worked with the Asian American Writers’ Workshop in NYC. One of his plays, “Downtown,” recently received a staged reading at the first New Works Fes val at the BU School of Theatre.

Belén de Armero López (Florela) is thrilled to be a part of The Labyrinth of Desire. She is from Caracas, Venezuela, and is currently a senior Ac ng major at BU. She will receive her BFA in May, and is excited for the journey ahead of her. She would like to thank the “Labyrinth” team for all their support and hard work.

Cerridwyn McCaffrey (Laura) is a senior Ac ng major at BU. She is grateful to be part of BU’s last show on the BU Theatre stage. Credits: Mad Forest, The Cradle Will Rock, Equal Writes, and Twel h Night. She will be moving to NYC this summer. For more informa on visit cerridwynmccaffrey.com.

Dillon McGuire (Estacio) is thrilled to be working on this produc on of The Labyrinth of Desire. He hails from Brookline, Massachuse s, and is glad to have found a home at BU. Recent, local credits include ‘Tis Pity She’s a Whore (BU), Agamemnon (Newton Theatre Company), Macbeth (F.U.D.G.E. Theatre Company), and The Return (Boston Playwrights’ Theatre).

Michela Micalizio (Finea) is psyched to be in this space for the first/last me— and with these beau ful people. She is a sophomore at BU. Previous projects include Jeff Wirth's StoryBox (Celebra on Barn Theater), Fred Garbo's Inflatable Theater, the Medicine Show (Ziggurat Theater Company)...but that was then, this is now. Enjoy the show.

Oreine Robinson (Duchess) is a rising junior BFA Ac ng major. Oreine is from Winston Salem, North Carolina, where she graduated from the North Carolina School of the Arts high school program. Her hobbies include baking and contemporary dancing. Oreine is wickedly excited to be a part of BU's last produc on in the BU Theatre.

Conrad Sundqvist-Olmos (Ricardo) is a sophomore Ac ng major at BU pursuing a minor in Business Administra on. Credits include The Honey Trap (BU School of Theatre/Boston Playwrights’ Theatre), Marvin’s Room (BU), The Sound Of Music (Göta Lejon Theatre, Stockholm, Sweden), and Bieber Bathos Elegy (Whitney Museum of American Art). Follow a current crea ve endeavor on Instagram @fakenews_nosebleed.

Jules Tanner (Camacho) is thrilled to join the cast of The Labyrinth of Desire.

He is currently concluding his sophomore year at BU, where he has worked on The Shakespeare Project and 'Tis Pity She's a Whore. Other credits include As Thousands Cheer, Twel h Night, and Much Ado About Nothing.

SPECIAL THANKS 4Wall Entertainment Ela on Professional Ligh ng Graceson Abreu Nunez Ta ana Chavez Gina Fonesca Sebas en Garbe Ma hew Salas

THE GIFT HORSE BY

L DIA R. DIAMOND LY

DIRECTED BY Y

JIM PETOSA

CLOTEAL L. HORNE, OBEHI JANICE, MAURICE EMMANUEL PARENT, T ZACHARY Y RICE, ALEJANDRO SIMOES, AND LEWIS D. WHEELER

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“Great fun and genuinely moving.”

— TIME OUT NEW YORK

BOSTON UNIVERSITY COLLEGE OF FINE ARTS Founded in 1839, Boston University is an interna onally recognized ins tu on of higher educa on 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 mul -disciplinary centers and ins tutes integral to the University’s research and teaching mission. In 2012, BU joined the Associa on of American Universi es (AAU), a consor um of 62 leading research universi es in the United States and Canada. Established in 1954, Boston University College of Fine Arts (CFA) is a top- er fine arts ins tu on. Comprised of the School of Music, School of Theatre, and School of Visual Arts, CFA oers 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 Shiela Kibbe Jim Petosa Jeanne e Guillemin

Dean ad interim, College of Fine Arts Director ad interim, School of Music Director, School of Theatre Director ad interim, School of Visual 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 ac ng, stage management, design, produc on, 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 no on of “the new conservatory” and seeks to provide students with opportuni es for ar s c growth through a rigorous curriculum, professional connec ons, and an emphasis on collabora on and new work.

Jim Petosa McCaela Donovan Liz Mazar Phillips Johnny Kontogiannis Adam Kassim Jon Savage Mark Stanley Karen Martakos Emily Ranii Brian Dudley Renee E. Yancey

Director Assistant Director Business Manager BU Theatre Complex Produc on Manager 855 Produc on Manager BFA Design & Produc on Programs Head MFA Design & Produc on Programs Head Costume Shop Supervisor BU Summer Theatre Ins tute Co-Program Head Senior Staff Assistant; BUSTI Co-Program Head Senior Staff Assistant, Design & Produc on

DESIGN & PRODUCTION FACULTY: Joel Brandwine*, Ben Emerson*, Diane Fargo, Adam Godbout, Nancy Leary*, Michael Maso, James McCartney, Seághan McKay, Roger Meeker*, James Noone*, Penney Pine e, Jon Savage, Leslie Sears*, Mark Stanley*, Cris na Todesco, Mariann Verheyen*, Denise Wallace-Spriggs, and Jesse Washburn.

PERFORMANCE FACULTY: Judy Braha*, Ilana M. Brownstein*, Yo-el Cassell, Mark Cohen, McCaela Donovan, Sidney Friedman, Kirsten Greenidge, Chris ne Hamel, Michael Hammond, Clay Hopper, Angie Jepson, Michael Kaye*, Paula Langton*, Georgia Lyman, Maurice Parent, Jim Petosa, Betsy Pola n, Ma hew Stern, Micki Taylor-Pinney, and Elaine Vaan Hogue*. * Denotes Program Head