CFA Fall Fringe Festival 2015

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Fringe f e s t i v a l Kurt Weill’s

THE SEVEN D E A D LY S IN S

David T. Little ’s

V IN K E N S P O R

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OCTOBER 2–25 Boston University Theatre Lane-Comley Studio 210 264 Huntington Ave, Boston

Theatre O and Enda Walsh’s

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BOSTON UNIVERSITY COLLEGE OF FINE ARTS SCHOOL OF MUSIC: OPERA INSTITUTE AND SCHOOL OF THEATRE FALL FRINGE FESTIVAL 2015 The Seven Deadly Sins

By Kurt Weill Libretto by Bertolt Brecht William Lumpkin, music director Jim Petosa, stage director October 2-4 Vinkensport, or The Finch Opera Libretto by Royce Vavrek Allison Voth, music director Tiffany Chang, conductor E. Loren Meeker, stage director October 9-11 Delirium

By Theatre O and Enda Walsh Directed by Jonathan Solari October 22-25 Venue Information Boston University Theatre Stewart F. Lane and Bonnie Comley Studio 210 264 Huntington Avenue T Orange Line to Massachusetts Avenue T Green “E” Line to Symphony Tickets (617) 933-8600 or BostonTheatreScene.com

The Seven Deadly Sins Music by Kurt Weill Text by Bertolt Brecht English Translation by W.H. Auden and Chester Kallman Orchestral arrangement for two pianos and percussion by John Greer William Lumpkin, music director Jim Petosa, stage director Matthew Larson, piano Dylan Barber, percussion Cast Anna 1...................................................................*Alexandra Rodrick/+Emily Spencer Anna 2 (spoken).....................................................Alexandra Rodrick/Emily Spencer Father................................................................................................John David Nevergall Mother.......................................................................................................Joseph Hubbard Brother..................................................................................................Matthew Corcoran Brother...................................................................................................Benjamin C. Taylor *Denotes Evening Anna 1 Performer +Denotes Afternoon Anna 1 Performer

Design & Production Team

Scenic Designer...........................................................................Jonathan Berg-Einhorn

Costume Designer.........................................................................................Megan Mills Lighting Designer....................................................................................Gifford Williams Technical Director.............................................................................................Ian Owens Paint Charge........................................................................................Emily Rosenkrantz Props Master...........................................................................................Jimmy Rontando Sound Coordinator......................................................................................Collin Barnum Master Electrician.........................................................................................Aaron Henry Stage Manager................................................................................................Lindy Lofton Movement Consultant..........................................................................Melinda Sullivan Assistant Stage Manager......................................................Carmen CatherineAlfaro Production Assistant.............................................................................Steven Doucette Assistant Stage Director/Supertitles...............................................Madeline Harvey Assistant Scenic Designer.............................................................................Mary Sader Assistant Costume Designer...............................................................Brittany Meehan Assistant Lighting Designer............................................................................Sean Baird Assistant Technical Director.......................................................................Gary Beisaw Assistant Master Electrician...................................................................David Orlando Wardrobe Supervisor....................................................................................Alyssa Korol Run Crew................................................................................Elena Morris, Isabella Pelz Props Crew..............................Lindsay Fuori, Andrew Kolifrath, Jessica Richardson Scenic/Paint Build Crew..............................CFA School of Theatre Technical Crew Costume Build Crew......................................CFA School of Theatre Costume Shop Wardrobe Crew....................................................Azucena Dominguez, Miles Jordan Lighting Crew..................................................CFA School of Theatre Technical Crew

Follow Spot Operator.........................................Alanna McNaughton, Holly Stewart Lighting Board Operator.........................................................................Mark Fortunato Front of House..............Oliva Cote, Tatiana Gil, Zachary Treichel, Caragh Tiernan House Manager.............................................................................................Brian Dudley Production Manager.................................................................................Danielle Taylor Associate Production Manager...................................................................Kate Bartels Producer....................................................................................................Oshin Gregorian Used by arrangement with European American Music Distributors Company, sole U.S. and Canadian agent for Schott Music, Mainz, Germany.

STAGE DIRECTOR’S NOTE The Seven Deadly Sins comes at us with all the caution, provocation, and base comedy inherent in a medieval morality play. The production you are about to see is imagined out of that itinerant tradition. Our psychologically and theatrically divided Anna is haunted by a surrealized family that propels her to give up more and more of herself in the pursuit of money to ensure the future of their dreams. Lesson to be learned? No one wins this game.

—Jim Petosa

Artistic Bios Kurt Weill (1900-1950) began his career in the early 1920’s, after a musical childhood and several years of study in Berlin. By the time his first opera, The Protagonist (Georg Kaiser), was performed in April 1926, he was an established young German composer. But he had already decided to devote himself to the musical theater, and his works with Bertolt Brecht soon made him famous all over Europe. He fled the new Nazi leadership in March 1933 and continued his indefatigable efforts, first in Paris (1933-35), then in the U.S. until his death. Certain common threads tie together his career: a concern for social justice, an aggressive pursuit of highly-regarded playwrights and lyricists as collaborators, and the ability to adapt to audience tastes no matter where he found himself. His most important works: the Violin Concerto (1925), The Threepenny Opera (Bertolt Brecht, 1928), Rise and Fall of the City of Mahagonny (Brecht, 1930), The Pledge (Caspar Neher, 1932), The Seven Deadly Sins (Brecht, 1933), Lady in the Dark (Moss Hart and Ira Gershwin, 1941), Street Scene (Elmer Rice and Langston Hughes, 1947), and Lost in the Stars (Maxwell Anderson, 1949). He died of heart failure in 1950, shortly after he and Anderson began work on a musical adaptation of Huckleberry Finn, leaving behind a large catalogue of works and a reputation that continues to grow as more of his music is performed. Weill was raised in a religious Jewish family in Dessau, Germany. Although he was not observant, he composed a number of “Jewish” works, from a vast score to The Eternal Road (1937, Franz Werfel) to a setting of the Kiddush. He married actress Lotte Lenya in 1926; they maintained a close relationship throughout his life despite their divorce in 1933 (they remarried in 1937). © 2012 The Kurt Weill Foundation for Music.

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

Jim Petosa has been the artistic and educational leader of the Boston University School of Theatre since 2002, and has served as Artistic Director of New Repertory Theatre in Watertown, Massachusetts, since March 2012.

Prior to that he served as long time Artistic Director of Maryland’s Olney Theatre Center for the Arts, a position he held since 1994. He also serves as one of three artistic leaders of the Potomac Theatre Project in New York City.

In 2008, Petosa established the Boston Center for American Performance (BCAP), the professional extension of CFA’s School of Theatre; he has served as BCAP’s Artistic Director since its inception. He has directed many plays and operas, most recently Arthur Miller’s Broken Glass, Bernard Pomerance’s The Elephant Man, Peter Shaffer’s Amadeus (New Rep), Paul Zindel’s The Effect of Gamma Rays on Man-in-the-Moon Marigolds (BCAP), Neal Bell’s Monster

(BCAP), and Jeffrey Hatcher’s Three Viewings (New Rep). For BU, Petosa has directed the School of Theatre plays Merrily We Roll Along, Assassins, Trumpery, Stuff Happens, Red Noses, Scenes from an Execution, and Amadeus, as well as the Opera Institute productions of Siren Song, Owen Wingrave, Postcard from Morocco, Bluebeard’s Castle, Antigone, Carmen, The Postman Always Rings Twice, The Rape of Lucretia, and A Midsummer Night’s Dream. Petosa has served on the faculty of The Catholic University of America, the University of Maryland — College Park, and the Heifetz International Music Institute at St. John’s College. A member of Actors’ Equity Association, Petosa has served on the board of the Society of Stage Directors and Choreographers, Catalyst Theatre, and Playwrights Forum. He was educated at Catholic University of America.

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

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

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

She developed a unique program to increase expressivity through movement awareness, breath support, improvisation, and dance styles. Besides teaching at BU, Sullivan also teaches singers at New England Conservatory and gives master classes for conductors, wind players and singers. She is resident choreographer and movement coach at Central City Opera, CO, and ballet mistress at Boston Early Music Festival. After graduating with a BFA Dance from Boston Conservatory, Sullivan toured extensively with modern dance choreographer Beth Soll. She then discovered renaissance and baroque dance with Ingrid Brainnard and Ken Pierce. After dancing and assisting directors at Boston Early Music Festival, Sullivan became ballet mistress and

choreographer, training dancers and singers in baroque technique and style.

Recent choreographies include Odyssey Opera (Sir John in Love), Central City Opera (Traviata), and Boston Early Music Festival (Orfeo). Upcoming choreographies include BU Opera Institute, Boston Early Music Festival, and Boston Lyric Opera.

Collin Barnum 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.

Kate Bartels is a first-year MFA candidate in Production Management from New Orleans. She has a BA in Theatre Design and Technology from Louisiana State University, and has worked professionally as an AEA and AGMA stage manager for the last three years.

Jonathan Berg-Einhorn is a senior scenic and costume design major. Previous design credits include The Cripple of Inishmaan, Endgame, and The Memory of Water, and prop master for Big Love, Misalliance, Passion Play, and The Bagman.

Lindy Lofton is a senior Stage Management major at Boston University. Her recent credits include Paradise Blue and A Great Wilderness (Williamstown Theatre Festival), The Human Comedy, Misalliance and The Traveling Lady (BU CFA), and Dark Sisters (BU Opera Institute). Her upcoming projects include 1984 and Julius Caesar with Classic Repertory Company and A Confederacy of Dunces with the Huntington Theatre Company.

Megan Mills is a second-year MFA Costume Design candidate. Before coming to Boston she worked professionally in Seattle.

Ian Owens is a third-year MFA student in Technical Production from Detroit.

He has TD’d several shows for the Boston University School of Theatre, as well as the Hasty Pudding Theatrical Club in Cambridge, has served as ATD for Mind the Gap in New York City, and is currently serving as Draftsman for Mystic Scenic Studio in Norwood, MA. Emily Rosenkrantz is a first-year certificate scenic painter with a BA from Middlebury College. Recent credits include: Charge Artist at Surflight Theater (Wizard of Oz), Scenic Painter at Surflight Theater (SPAMALOT, Jekyll & Hyde), Scenic Painter at Gateway’s Haunted Playhouse (2014), and Scenic Artist at College Light Opera Company (2012, 2013). She is a company member Spicy Witch Productions, and has served as their PM, SM, and Paint Charge for the last three seasons. In Brooklyn, she also worked for Atlantic Theater Company’s Staging Success arts empowerment initiative at Park Slope Collegiate High School.

Gifford Williams is a first-year MFA candidate in Lighting Design. Originally from Worcester, he attended Fordham University at Lincoln Center and spent the past four years working as a lighting designer in New York City.

Performer Bios Matthew R. Corcoran, tenor, received his BM from the University of Massachusetts at Lowell. He is currently in his second year of graduate studies at BU and is a student of Penelope Bitzas. While he has performed many scenes ranging from Tamino in Mozart’s The Magic Flute to The Duke of Mantua in Verdi’s Rigoletto, he did not perform a full role until this past year: first, as Sheldon Segal in John Musto’s Later the Same Evening, then covered the role of Louis Ironson in BU’s production of Angels in America adapted as an opera by Peter Eötvös. Finally, as Le Doyen de la Faculté in Massenet’s Cendrillon. Matthew has also been the tenor soloist in many masterworks, including Handel’s Messiah, Mozart’s Requiem, Grand Mass in C minor, and Ariel Ramirez’s Misa Criolla.

Joseph Hubbard, bass, is a first-year student at the Boston University Opera Institute and a student of Penelope Bitzas. He received an MM in Voice Performance and Literature from Northwestern University, and a BM in Vocal Performance from University of North Texas. Recent roles performed were at Opera Southwest, Aldeburgh Festival, and Aspen Music Festival. Recent concert work includes Schola Antiqua Chicago, Duke University, and the Boston Early Music Festival.

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

Alexandra Rodrick, mezzo-soprano, is in her second year with the Boston University Opera Institute where she studies with Penelope Bitzas. Ms. Rodrick appeared in OI’s productions of Cendrillon, as Le Prince Charmant, and in La tragedie de Carmen as the title character. Other recent engagements include Rosina in Il barbiere di Siviglia with Opera Tijuana, Zerlina in Don Giovanni with Point Loma Opera Theatre, Mercedes in Carmen with Aspen Opera Theatre Company, and Flora in La Traviata with Wolf Trap Opera Company.

Emily Spencer, mezzo-soprano, is a first-year member of the Boston University Opera Institute studying with Penelope Bitzas. She holds both a BM and an MM from Northwestern University where she was a student of Karen Brunssen. Emily was a 2013 studio artist with Chautauqua Opera. In addition to opera, she also enjoys choral and concert singing, having sung with groups such as the Grant Park Music Festival Chorus, Music of the Baroque, and the Champaign-Urbana Symphony Orchestra, all in Chicago and the surrounding area. While at Northwestern, Emily sang the roles of Ma Joad in The Grapes of Wrath, Mum in Albert Herring, and Woman with the Hat in The Ghosts of Versailles, as well as singing Countess Charlotte Malcolm in A Little Night Music with the Castleton Festival.

Benjamin C. Taylor, baritone, is in his second year at the Boston University Opera Institute where he studies with Penelope Bitzas. Benjamin received his Bachelor of Arts from Morgan State University and his Master of Music from Boston University. Some of Benjamin’s roles include Tom in Gershwin’s Blue Monday with the Baltimore Symphony Orchestra, the title role in Mozart’s Don Giovanni, Harlequin in Strauss’ Ariadne auf Naxos, and Escamillo in Bizet’s Carmen. In competitions, Benjamin was the recipient of the one-time Warren D. Bowerman award. Benjamin’s recent performances include Prior Walter in Angels in America by Eötvös, Pandolfe in Cendrillon by Massenet, and Fiorello with Opera Theatre of Saint Louis.

Vinkensport, or The Finch Opera

by David T. Little

libretto by Royce Vavrek Allison Voth, music director E. Loren Meeker, stage director Tiffany Chang, conductor Noriko Yasuda, piano Cast Farinelli’s Trainer............................................+Jennifer Jaroslavsky, *Sarah Lennertz Sir Elton John’s Trainer.........................................+Tara Deieso Merck, *Ruby White Holy St. Francis’s Trainer...................................+Helen Hassinger, *Chelsea Seener Hans Sach’s Trainer.......................................................+Joshuah Rotz, *Jesse Darden Prince Gabriel III of Belgium’s Trainer’s Son....+Darrick Speller, *Franklin Mosley Atticus Finch’s Trainer......................+Jorgeandres Camargo, *Erik Van Heyningen

+Denotes afternoon cast *Denotes evening cast

Production Scenic Designer.........................................................................................James Rotondo Costume Designer..........................................................................................Phoebe Ping Lighting Designer....................................................................................Bridget K. Doyle Technical Director.............................................................................................Ana Weiss Paint Charge.........................................................................................Emily Rosenkrantz Props Master......................................................Jonathan Berg Einhorn, Fiona Kearns Sound Supervisor.......................................................................................Nicholas Chen Sound Operator........................................................................................Mackenzie Cala Master Electrician.........................................................................................Aaron Henry Stage Manager...............................................................................................Marisa Brink Assistant Stage Manager...........................................................................Kendra Green Production Assistant.............................................................................Steven Doucette Assistant Costume Designer....................................................................Lauren Reuter Assistant Lighting Designer............................................................................Sean Baird Assistant Technical Director.......................................................................Gary Beisaw Assistant Master Electrician...................................................................David Orlando Wardrobe Supervisor....................................................................................Alyssa Korol Props Crew..............................Lindsay Fuori, Andrew Kolifrath, Jessica Richardson Wardrobe Crew...................................................................Abigail Hanssen, Kirk Ruby Scenic/Paint Build Crew..............................CFA School of Theatre Technical Crew Run Crew......................................................................Annalise Cain, Elizabeth Valenti Follow Spot Operator......................................................................................Kendra Jain Lighting Crew..................................................CFA School of Theatre Technical Crew Costume Build Crew......................................CFA School of Theatre Costume Shop Production Manager.................................................................................Danielle Taylor Front of House..............Jacob Cohen, Sophia Gore, Linda Perla, Jacqueline Collet House Manager.................................................................Daniel Morris, Brian Dudley Producer....................................................................................................Oshin Gregorian By arrangement with Hendon Music Inc., a Boosey & Hawkes company, publisher and copyright owner.

Synopsis Six competitors are discovered in the midst of an intense hour of tallying susk-e-wiets, or mating calls, during a Vinkensport contest. Each of the six finchers quickly reveal why they are competing with their finches, or “one ounce opera divas”, through a series of scenes where we learn about their past, present, and future ambitions. Farinelli’s trainer quickly proves to be an unstable woman. Her intense desire to win, and thus be more accepted by society, causes her to tear down her fellow competitors through gossip.

Her obsession becomes justification for cheating in a most unexpected way.

Hans Sach’s trainer, a teenage cokehead, also desires to win in order to prove his worth. On a coke high, he reveals his pre-competition routine for getting his bird “juiced up” for the match. Holy Saint Francis’s trainer is a devoted housewife and member of her church who is new to the sport. After suffering for years in an unhappy marriage, she fantasizes about meeting her next-door neighbor, Atticus Finch’s trainer, at the competition. Prince Gabriel the Third’s trainer is attending the contest in order to continue his father’s prize-winning footsteps, but the birds that have consumed the lives of both his father and himself haunt him. Sir Elton John’s trainer is the drunken wife of the President of the company that has sponsored the competition. For her, this match is nothing more than the chance to drink, flirt, and torture her husband into agreeing to send her to Hong Kong for a month. Lastly we meet Atticus Finch’s trainer. An older man, and the neighbor of Holy Saint Francis’s trainer, he has deep respect and passion for the tradition of finch-sitting.

At the end of the match, “time” is called and the susk-e-wiets of each bird are tallied. Hans Sachs is declared the winner. Sir Elton John’s trainer stumbles her way off after a brief final flirtation with Hans Sach’s trainer. Farinelli’s trainer is outraged over the results and declares the contest rigged before storming out. Prince Gabriel’s trainer leaves with Hans Sach’s trainer to get a celebratory beer at the local pub. Left alone with Atticus Finch’s trainer, Holy Saint Francis’s trainer tries to engage him in a simple conversation only to be snubbed by him. She departs with a sad heart leaving Atticus Finch’s trainer to his thoughts. His finch has lived an extraordinarily long time, ten years, and the trainer had agreed to free his finch, encouraging the bird to live a free and happy life, no longer trapped in the home of a lonely old man. Suddenly the competitors return as if they are gathering for the next contest. Sir Elton John’s trainer abruptly breaks Atticus Finch’s trainer’s reverie in a tawdry manner before the opera snaps to an end.

—E. Loren Meeker

Composer’s Note Vinkensport, or The Finch Opera (2010) is a bittersweet comedy in one act, which explores obsession, desire, and the need to win, through the frame of an obscure Flemish folk sport, “finch-sitting”.

Trained finches race to sing the most “susk-e-wiets” over the course of an hour. As they compete, the joys, sorrows, delusions and all-too-stark realities of their trainers are revealed. We never know the trainers’ real names. They are defined by their birds, and so are named accordingly: Atticus Finch’s Trainer, etc.

Some of the trainer/competitors are noble, some not. Some play fair, some don’t. Some just don’t even want to be there at all. But almost all are lost in the world, finding comfort in the companionship of their birds, and in the mere potential for community.

Lasting approximately forty minutes, Vinkensport, or The Finch Opera was commissioned by Dawn Upshaw for the Graduate Vocal Arts Program at Bard College Conservatory, where it was premiered in February of 2010. It is dedicated to Eileen Mack.

—David T. Little

October 7, 2015

Stage Director’s Note What is Vinkensport? I’m fairly certain that every member of the cast and creative team asked this very question when we first received the title of this opera. It turns out that Vinkensport is the Flemish sport of finch-sitting.

Competitors raise male chaffinches and train them to repeat their mating call, or a “susk-e-wiet,” as often as possible.The contests are held on roadsides where competitors gather with boxes containing their finch, a chair, and a tallying stick used to record each completed mating call over the course of an hour-long match. The bird with the most calls wins the event. This sport has roots back to medieval times and, despite its seemingly dull reputation, it has had its fair share of intense cheating over the years. Early cheating tactics were, at times, barbaric, but modern day enthusiasts have found new ways to enhance their chances of winning. One trainer has been accused of injecting his finch with testosterone. This “juiced up” bird tweeted an astounding 1,278 susk-e-wiets when the average amount is closer to between 500 and 700 susk-e-wiets per hour-long competition. Another recent contestant dispensed with the live bird altogether and simply used a CD player with a recording of her bird’s mating call on a loop. (You’ll find characters very similar to these two real -life competitors in the opera.)

What is it about the desire to win that drives people to extremes even when participating in something as mundane as finch-sitting? Are the stakes really that high? It’s not like this is an Olympic level event, so why cheat? Where does the obsession come from? Why does anyone even play?

This bizarre and relatively unknown sport provides a clear window into the unique souls of six characters. Competitors are determined to win in order to uphold the honor of the sport, for social acceptance, as part of a deal in a marital dispute, to continue a family tradition, to convince themselves that they are men (with almost Fight Club-esque ambition), and simply to meet neighbors who have been strangers for too long. We may laugh at one contestant, bond with another, or deem all of them crazy but, through their experience, we learn something about our own ambitions and desires. To what lengths are you willing to go to obtain your dreams?

—E. Loren Meeker

Artistic Bios David T. Little is “one of the most imaginative young composers” on the scene (The New Yorker) with “a knack for overturning musical conventions” (The New York Times). His operas Soldier Songs (PROTOTYPE Festival) and Dog Days (Peak Performances/Beth Morrison Projects) have been widely acclaimed, “prov(ing) beyond any doubt that opera has both a relevant present and a bright future” (NYTimes). Recent/upcoming works include AGENCY (Kronos Quartet), CHARM (Baltimore Symphony/Marin Alsop), Hellhound (Maya Beiser), Haunt of Last Nightfall (Third Coast Percussion), the opera JFK with Royce Vavrek (Fort Worth Opera/ALT), a new opera commissioned by the MET Opera/Lincoln Center Theater new works program, and the music-theatre work Artaud in the Black Lodge with Outrider legend Anne Waldman (Beth Morrison Projects). His music has been heard at Carnegie Hall, LA Opera, the Park Avenue Armory, the Bang On A Can Marathon, and elsewhere. Educated at University of Michigan and Princeton, Little is co-founder of the annual New Music Bake Sale, has served as Executive Director of MATA, serves on the Composition Faculty at Mannes-The New School and Shenandoah Conservatory, and is Composer-in-Residence with Opera Philadelphia, Gotham Chamber Opera and Music-Theatre Group. The founding artistic director of the ensemble Newspeak, his music can be heard on New Amsterdam and Innova labels. He is published by Boosey & Hawkes.

Dr. Tiffany Chang is an increasingly versatile, award-winning conductor based in Boston. She serves as Assistant Director of Orchestral Activities and Lecturer in Orchestral Conducting at BU’s School of Music and conducts the Chamber Orchestra there. She also holds the position of Assistant Professor at the Berklee College of Music, where she teaches conducting. She is the founder and conductor of the New England Repertory Orchestra rooted in Boston, and serves as Music Director/Conductor for the North End Music and Performing Arts Center's (NEMPAC) Opera Project. She has conducted the Pro Arte Chamber Orchestra of Boston, ALEA III, Xanthos Ensemble, Richmond (VA) Symphony and Symphony Chorus, Bohuslav Martinu Philharmonic (Zlin, Czech Republic), Astoria Symphony (NYC), Oberlin College Symphony, Boston Youth Symphony Orchestra, Greater Boston Asian American Youth Symphony Orchestra, and Dana Hall School of Music Summer Symphony. In addition to her work with the BU Opera Institute, Dr. Chang has served as Assistant Conductor for Boston University Tanglewood Institute's Young Artists Orchestra and the Northern Ohio Youth Orchestras.

E. Loren Meeker, stage director, has worked with some of the most prestigious opera companies in the world. Recent engagements include Washington National Opera (Carmen), Lyric Opera of Chicago (Die Fledermaus), Houston Grand Opera (Trial By Jury), Singapore Lyric Opera (Manon Lescaut), Teatro Colón in Buenos Aires (Manon), San Diego Opera (La bohème), and San Francisco Opera (Die Fledermaus). Other recent work includes four world premieres for Houston Grand Opera’s HGOco initiative (River of Light, Past the Checkpoints, From My Mother’s Mother, and A Way Home), in addition to new productions for New Orleans Opera (Lucia di Lammermoor), Finger Lakes Opera (Carmen, Elixir of Love), Amarillo Opera (Candide), and Prelude to Performance (Les contes d’Hoffmann). She has served on the directing staff at Lyric Opera of Chicago, Houston Grand Opera, Florida Grand Opera, Glimmerglass Opera, and Central City Opera where she received the John Moriarty Award in 2006. Upcoming work includes directorial engagements with North Carolina Opera, New Orleans Opera, Dallas Opera, and Glimmerglass Opera.

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

She developed a unique program to increase expressivity through movement awareness, breath support, improvisation, and dance styles. Besides teaching at BU, Sullivan also teaches singers at New England Conservatory and gives master classes for conductors, wind players, and singers. She is resident choreographer and movement coach at Central City (CO) Opera, and ballet mistress at Boston Early Music Festival. After graduating with a BFA in Dance from Boston Conservatory, Sullivan toured extensively with modern dance choreographer Beth Soll. She then discovered renaissance and baroque dance with Ingrid Brainnard and Ken Pierce. After dancing and assisting directors at Boston Early Music Festival, Sullivan became ballet mistress and choreographer, training dancers and singers in baroque technique and style.

Recent choreographies include Odyssey Opera (Sir John in Love), Central City Opera (Traviata), and Boston Early Music Festival (Orfeo). Upcoming choreographies include Boston Early Music Festival and Boston Lyric Opera.

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

Noriko Yasuda began her career in Osaka, Japan, as an accompanist with the Osaka Philharmonic Orchestra and Osaka College of Music Opera House. In that capacity she worked with Seiji Ozawa, Toru Takemitsu, Luciano Pavarotti, Kiri Te Kanawa, and Alfredo Kraus, among others. A respected vocal coach and accompanist in the Boston area, she has worked with Boston Lyric Opera, Boston Baroque, Emmanuel Music, Handel and Haydn Society, Chorus Pro Musica, New England String Ensemble and La Donna Musicale. Currently, she is the principal coach at Longy Opera Workshop and Opera North in Lebanon, NH, and staff accompanist/coach in BU’s Opera Program. In 2009, she received the George Seaman Excellence in Teaching Award from Longy School of Music of Bard College. She travels to Japan regularly to give master classes at Osaka University of Fine Arts where she is a Visiting Artist.

Marisa Brink is a junior in the School of Theatre, majoring in Stage Management. Recent professional credits include work with Des Moines Metro Opera, the Huntington Theatre Company, Anthem Theatre Company, and Commonwealth Shakespeare Company. Selected BU credits include Angels in America (Opera Institute), The Whitmores, and The Merchant of Venice.

Bridget K. Doyle earned her BFA in Theater Design at Salem State University, and is now pursuing an MFA here at BU. Previous lighting design credits include: Saturday Night Fever, Shrek, Dreamgirls, Les Miserables, Chicago, Grease, (Assistant LD, NSMT); Twelfth Night, Metamorphoses, and Screwtape Letters,

Waiting for Godot (Gordon College); Cabaret, Dog Sees God, Beast on the Moon, Emerald City (Salem State); A Behanding in Spokane, The Betrothed, The Bald Soprano, Storytelling Ability of a Boy, Laughing Wild, and Speech and Debate (Wellfleet Harbor Actors Theater); Ocelot Ugg, Rumpelstiltskin, and Robin Hood (WHAT 4 Kids); and Buddy! The Buddy Holly Story (Harwich Junior Theater).

Phoebe Ping is a second-year Costume Design student and is making her Costume Design debut with this production. Prior to studying costume design, she completed her Master’s in Music at BU’s School of Music, and her BA in Music at University of California, Los Angeles.

James Rotondo is currently a junior at Boston University studying Scenic Design. He recently 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 Arundel (ME) Barn Playhouse. Other past credits include Scenic Designer for And Baby Makes Seven as a part of Boston University's STAMP productions, Assistant Scenic Designer for Wit with the Boston Center for American Performance, and Properties Master for The Cripple of Inishmaan.

Danielle Taylor is a second-year MFA Production Management student.

Previous experience includes 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 earned her undergraduate degree in Stage Management from Purdue University.

Ana Weiss is a first-year student in the Technical Production MFA program.

This is her Boston University debut.

Singer Bios Jorgeandrés Camargo, bass, is a native of Houston, Texas. He received a BM from the Eastman School of Music and an MM from Boston University. He is currently working with Dr. Jerrold Pope while in his second year with the Boston University Opera Institute. Last season, Mr. Camargo was Roy Cohn in Angels in America and Pandolph in Massenet’s Cendrillon. Other roles include Prophet/King in Nico Muhly’s Dark Sisters, Capitán in Catán’s Florencia en el Amazonas, Leporello in Don Giovanni, Betto in Puccini’s Gianni Schicchi, Bartolo & Antonio in Le Nozze di Figaro, Geronimo in Cimarosa’s Il Matrimonio Segreto, and Kecal in Smetana’s The Bartered Bride.

Jesse Darden, tenor, is in his second year with the Boston University Opera Institute studying with Penelope Bitzas. Jesse spent his 2012 and 2013 summers as a Studio Artist with Chautauqua Opera. He received the Chautauqua Opera Studio Artist award and returned in 2014 as an Apprentice Artist. A 2015 Regional Finalist with the Metropolitan Opera National Council Auditions, he won the Third Prize in the 2015 Gerda Lissner International Vocal Competition. Most recently, he spent his 2015 summer as a Young Artist with Opera North, singing Martin in The Tender Land and covering Belmonte in The Abduction from the Seraglio.

Helen Hassinger, soprano, has performed with Minnesota Opera, Theater Latté Da, Bloomington Civic Theatre, and the Gilbert & Sullivan Very Light Opera Company. A second-year Master’s student of Dr. Lynn Eustis, Ms. Hassinger recently appeared as the Angel in Boston University’s Angels in

America, and also covered the role of Micaëla in the 2014 Fringe Festival production of La tragédie de Carmen. Ms. Hassinger frequently appears as a soloist with the Twin Cities Catholic Chorale, the Lirica Chamber Ensemble, and the Rochester Aria Group. She received her Bachelor’s degree in Music and Women’s Studies from St. Olaf College in Northfield, MN. Jennifer Jaroslavsky, soprano, is a Vocal Performance Master’s candidate at Boston University studying with Penelope Bitzas. Past featured roles include Berta in The Barber of Seville, Lola in Gallantry, Papagena in The Magic Flute, and Ms. Pinkerton in The Old Maid and the Thief. This past summer, Jennifer was part of the Seagle Music Colony’s centennial season. Jennifer has been featured in many concert works, including Wachner’s Psalm Cycle III and Haydn’s Lord Nelson Mass. She holds two Bachelor’s degrees: in Vocal Performance and in Political Science from Boston University.

Sarah Lennertz, soprano, is in her first year of her Doctorate of Music in Vocal Performance under the tutelage of Penelope Bitzas at Boston University.

Since arriving in Boston she has performed with the BU Opera Institute as Elaine O’Neill in Musto’s Later the Same Evening and as Noémie in Massenet’s Cendrillon. She has also covered the role of Zina in Muhly’s Dark Sisters and has performed in scenes as the title role in Picker’s Emmeline and Countess Almaviva in Le Nozze di Figaro. This past summer Sarah pursued her interest in Russian repertoire at the Russian Opera Workshop in Philadelphia.

Tara Deieso Merck, soprano, holds a Bachelor of Music degree from Boston University, where she was awarded the Ellalou Dimmock Honors Award for Vocal Excellence. She then went on to receive a Master of Music degree at the University of Cincinnati’s College Conservatory of Music. During her time there, she performed the role of First Lady in Mozart’s Die Zauberflöte. Tara was a member of the Janiec Opera Company at the Brevard Music Center where she sang the role of Lola in Robert Aldridge’s Sister Carrie. Ms. Merck is in her first year at the Opera Institute and is studying with Penelope Bitzas.

Franklin Mosley is a second-year graduate student in Vocal Performance and studies with Dr. Jerrold Pope. Recent roles performed at Boston University include Joe Pitt in Angels in America and Ronaldo Cabral in Later the Same Evening. Franklin received a Bachelor’s degree in Vocal Performance from Indiana University of Pennsylvania. While there, he performed the roles of Sam in Trouble in Tahiti and Major General Stanley in The Pirates of Penzance. When not on stage, Franklin spends his time as a church musician serving as a pianist or organist.

Joshuah Rotz, tenor, is a second-year Master’s student in the Vocal Performance program at Boston University, studying with Dr. Jerrold Pope.

He received his Bachelor’s degree in Music Education from University of New Hampshire. Joshuah was seen last year in the Fringe Festival’s Later the Same Evening as Jimmy O’Keefe, as well as in BU’s mainstage production of Cendrillon last spring.

Chelsea Seener, soprano, is a second-year graduate student at Boston University studying Vocal Performance with Penelope Bitzas. In addition to tonight’s role, last spring she sang as a Spirit in the sextet in the BU Mainstage production of Cendrillon. In 2014, she performed in BU’s scenes production as Despina in Cosi fan tutte, and covered Ruth in Musto’s Later the Same Evening.

Ms. Seener received her Bachelor's degree in Vocal Performance from San Diego State University and was named Most Outstanding Music Graduate for the Class of 2012. At SDSU, she performed as Monica in The Medium and, in 2012, as Pamina in The Magic Flute. In the future, Ms. Seener hopes to become a professional opera performer and educator.

Darrick Speller, baritone, is a second-year graduate student in the Master of Music program at Boston University where he studies voice under the tutelage of Dr. Jerrold Pope. A 2013 graduate of George Mason University, Darrick’s past roles include Le Premier Ministre in Cendrillon, Joe in Angels in America, Gus in Later the Same Evening, Doctor Gregg in Gallantry, King Melchior in Amahl and the Night Visitors, Captain Corcoran in H.M.S Pinafore, Peter in Hansel and Gretel, and Henry Davis and Harry East in Street Scene. Mr. Speller has also traveled to Europe singing various roles, from Bartolo and Antonio in Le nozze di Figaro, and Marco in Gianni Schicchi to Papageno in The Magic Flute.

Erik Van Heyningen, bass-baritone, is a first-year resident artist at the Boston University Opera Institute studying with Jerrold Pope. This past summer Erik joined the Opera Theatre of St. Louis for a second year as a Gerdine Young Artist, where he appeared as Crébillon in La rondine, Simon Fenton in Emmeline, and covered Berardo in the American premiere of Handel’s Riccardo Primo. Previously at Opera Theatre of St. Louis, Erik made his debut as the Jailer in Dialogues of the Carmelites, and covered both Spokesman in The Magic Flute and Ernest Hemingway in the world premiere of Twenty-Seven.

Ruby White, soprano, is a native of Salt Lake City, Utah, and received her BM from the University of Utah and earned the MM degree in Vocal Performance from Boston University in 2014. Currently in her second year as a member of the Boston University Opera Institute, she is a student of Dr. Lynn Eustis.

In 2010, Ms. White made her international debut as Zerlina in Mozart’s Don Giovanni at Novafeltria, Italy with La Musica Lirica, under the baton of Maestro Joseph Rescigno, and played the role a second time in Boston University’s mainstage production in 2014. This past summer, she premiered the role of Epiphany Proudfoot in Falling Angel at the Brevard Music Festival. Additionally, Ms. White has performed with Ohio Light Opera, Repertory Dance Company, Utopia Baroque Ensemble, and Utah Lyric Opera.

Theatre O and Enda Walsh’s Delirium Directed by Jonathan Solari

Scenic Designer.....................................................................Fiona Kearns Costume Designer...................................................Zarah Raizel Avalon Lighting Designer...................................................................Kelly Martin Sound Designer....................................................................Aubrey Dube Technical Director.........................................................................Sid Wolf Stage Manager...........................................................................Tess Naval Fringe Festival Production Manager.............................Danielle Taylor Associate Production Manager.....................................Rachael Hasse Alyosha..................................................................Phillip Hunter Lawson Fyodor...................................................................................Nicolas Chuba Grushenka.........................................................................Adelaide Burich Ivan.......................................................................................Brandon Waltz Katerina........................................................................Maggie McCaffery Mitya...................................................................Aristotelis Ambatzidis Smerdyakov.....................................................................Matthew Macca

Delirium is presented by special arrangement with Curtis Brown Group Limited, London.

The play will run 2 hours 30 minutes with a fifteen minute intermission.

DESIGN & PRODUCTION TEAM

Assistant Director.........................................................ZoĂŤ Huber Lewis Dramaturg.........................................................................Elisabeth Rudin Assistant Stage Manager.............................................Sarah Schneider Fight Captain............................................................. Maggie McCaffery Dance Captain................................................................Matthew Macca Run Crew.................Joshua Gluck, Alexandra Jenne, Shawna James Scenic Paint Charge...................................................Emily Rosenkrantz Properties Master...............................................Jonathan Berg Einhorn Properties Master............................................................Jimmy Rotondo Props Crew.....Lindsay Fuori, Andrew Kolifrath, Jessica Richardson Assistant Technical Director...............................................Gary Beisaw Paints/Scenic Build Crew.............School of Theatre Technical Crew Assistant Costume Designer................................................Rose Lewis Costume Build Crew.......................School of Theatre Costume Shop Wardrobe Supervisor....................................................Kristyn Nolasco Wardrobe Crew.......................................Logan Lower, Kayla Williams Assistant Lighting Designer.................................................Molly Block Master Electrician................................................................Aaron Henry Lighting Board Operator..................................................Shane Cassidy Lighting Crew.......................School of Theatre Lighting Department Assistant Sound Designer...................................................Kaitlyn Sapp Sound Board Operator...............................................Sophia Baramidze Sound Crew..............................School of Theatre Sound Department House Manager........................................Daniel Morris, Brian Dudley Front of House.................................................Diya Saigol, Helen Silfin, Kyra Tantao, Renelle Wilson

Dramaturgical note Cycles of self-harm, not knowing the difference between love and lust, forever losing yourself in the image of a barely recognizable father figure.

Rules defined by the loudest voice in the room at any moment. A world not recognized by the comfortable standards we cling to for our sanity. Insanity for the sake of re-orientation to reality. A reality we might not even be able to recognize or remember.

Based on Fyodor Dostoyevsky’s 19th century novel, The Brother’s Karamazov, Delirium was originally written in 2008 by Irish playwright Enda Walsh.

The play was written in collaboration with England’s Theatre O, a theatre group that is known for creating work that challenges artists and audiences through risky and revelatory pieces. Delirium reveals the insides of human character and relationships through breaking the rules of the world as we often perceive it. Opening the script to the bold statement “If there is no God everything is permitted” Delirium goes on to challenge the very notion of faith, relationships, abusive cycles, familial obedience, and selfishness of the human psyche.

In a time when the defining structures of our society can appear more harmful than helpful, Delirium plunges into an exploration of the cycles of adherence to these structures to the point where the world as we know it combusts into chaos -- and in doing so leaves us with more questions than answers.

Delirium’s own disoriented reality entices us all to explore the ripple effect that our own actions have on the larger society we exist in and the most personal relationships we grasp to.

SPECIAL THANKS TO: MIT Theatre Arts, Stefanie Rodemann, Collin Barnum, Dani Taylor, Lauren Rueter, Phoebe Ping, and Kristyn Nolasco. “Extra special thanks to Bill and Stef for the toilets.”

CREATIVE BIOS JONATHAN SOLARI (Director) has directed theatre and opera productions throughout the United States and Europe. His recent productions include An Enemy of the People on a floating dock in West Virginia’s Kanawha River, The Cherry Orchard in a historic garden in Istanbul, Green Sneakers at Lincoln Center, and Edward Albee’s The Death of Bessie Smith at Brooklyn’s Interfaith Medical Center. Jonathan is a third-year MFA Directing Candidate.

ZARAH RAIZEL AVALON (Costume Designer) is a junior costume design major. Zarah lives in Boston, MA, but grew up on a farm in Arizona. She loves costumes because she loves creating character and a story with clothing.

Zarah also works as a scene painter on the side, and intends to move to and work in Europe when she is done with college.

AUBREY DUBE (Sound Designer) has designed sound for PTP/NYC’s Vinegar Tom, Monster, Serious Money and Pentecost. In Middlebury College, his Sound Design credits include Vinegar Tom, Big Love, The Imaginary Invalid, Serious Money and Man of La Mancha.

RACHAEL HASSE (Production Manager) is a first-year graduate student in Production Management. Rachael hails from West Chicago, IL and proudly holds a BFA from Ithaca College. Previous credits include Production Manager at Hope Summer Repertory Theatre, Scene Shop Supervisor at Illinois State University, and Shop Foreman at Pennsylvania Shakespeare Festival.

FIONA KEARNS (Scenic Designer) is a junior Theatre Arts major at Boston University studying scenic design. Her roots are forever in Queens, New York, as is her heart. Recent collaborations include the Boston University Summer Theatre Institute, New Brooklyn Theatre, The York Theatre Company, and several elementary schools in New York City.

KELLY MARTIN (Lighting Designer) is a senior undergraduate lighting design student from San Diego, CA. His previous designs at BU include Three Days of Rain, Gross Indecency, Changes of Heart, Women of Henry VIII, and CRC’s Macbeth and Of Mice and Men. TESS NAVAL (Stage Manager) is a senior Stage Management major at Boston University. Some recent credits include Mary Poppins and Thoreau (Berkshire Theatre Group), The Learned Ladies (Shakespeare Theatre of New Jersey), La tragedie de Carmen (BU Opera Institute), Our Class(BCAP), and After Miss Julie, Machinal, columbinus, A Doll’s House, and Romeo & Juliet.

SID WOLF (Technical Director) is a junior technical production major. She is from Milwaukee, WI. Sid has spent the last two summers at the Williamstown Theatre Festival working as a carpenter and assistant production manager respectively. Thanks Joel and Gary for the support and great shop music!

CAST BIOS ARISTOTELIS AMBATZIDIS (Mitya) is thrilled. As a BU Senior Theatre Arts Major, Aristotelis has had the privilege of contributing to some beautiful processes. Credits include: The Effect (Tristan), Machinal (Judge & Second Man), and Comedy of Errors (Antipholus of Syracuse). He would like to thank his family and friends, who mean everything to him.

ADELAIDE BURICH (Grushenka) is a junior BFA Acting candidate also earning a concentration in Musical Theatre at Boston University. BU: The Tall Girls, Macbeth, Curse of the Starving Class, The Shakespeare Project (upcoming).

Chicago: Muse of Fire, Gorilla Tango, Broadway in Chicago (IHSMTA), Illinois Theatre Association. Hugs to Mom/Dad/Heather, the Delirium team, and Diana.

NICOLAS CHUBA (Fyodor) Nicolas Chuba is a Senior Acting Major. He is so grateful to be part of the Delerium team. BU: Visiting Englishman in Passion Play. BCAP: Gus in The Dumbwaiter, Ryseik in Our Class. Regional: Don Lockwood in Singing in the Rain. He thanks Mom and Dad for having a kid.

PHILLIP HUNTER LAWSON (Alyosha) was born and raised in Brooklyn, New York and attends Boston University as a current Junior Acting Major. Phillip has trained at Tisch’s Stonestreet Advanced Film Acting program and French Woods. He would like to thank his family, friends, and professors for their invigorating love and support.

MATTHEW MACCA (Smerdyakov) is a senior studying acting and playwriting.

Previous shows include Brighton Beach Memoirs (Playhouse on Park), and The Bagman, Misalliance, and Big Love (all at BU). His plays have been performed at the Edinburgh Fringe, Touch Me Philly, and BU. Thanks to the cast and crew for the ride.

MAGGIE MCCAFFERY (Katerina) is a senior acting major.

Favorite roles while at BU and abroad in London at LAMDA include: Our Class (Dora),Machinal (Young Woman), A Winter’s Tale (Paulina), Hamlet (Hamlet). Huge thank you to Jonathan, our cast and crew, my teachers, and to mom, dad, and Mac (and Ella too, I guess).

BRANDON WALTZ (Ivan), a Senior Acting major, is thrilled to be exploring the wild world of Delirium with his beloved cast and crew members. He thanks his family, both immediate and extended, for their undying love and support.

He also thanks the School of Theater staff and alumni for helping him get to where he is today.

Opera Institute W. A. Mozart’s Cosí fan tutte February 25–28, 2016

Benjamin Britten’s A Midsummer Night’s Dream April 14–17, 2016

For information and tickets, visit:

bu.edu/cfa

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TASTE OF

HONEY

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Shelagh Delaney directed by

November 11–22, 2015

Jim Petosa

Boston University Theatre Lane-Comley Studio 210 264 Huntington Ave., Boston bu.edu/cfa/bcap

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

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2015-16 SEASON BBCBOSTON.ORG | 617.648.3885

Saturday’s well-balanced and thoughtful performance by the Back Bay Chorale at Sanders Theater was a gift.”

Boston Musical Intelligencer, Missa Solemnis review, 2015

THE ROMANTIC GENERATION 7 November, 8pm | St. Paul's Church, Cambridge

A BOSTON CHRISTMAS 20 December, 3pm | Old South Church, Boston

VERDI, MOZART, POULENC 5 March, 8pm | Sanders Theatre, Cambridge

BERNSTEIN + BEETHOVEN 14 May, 7:30pm | Zeiterion Theatre, New Bedford 15 May, 3pm | Sanders Theatre, Cambridge

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SPECIAL BU PRICES:

Our FAB FOUR Saturday, November 7, 2015 8PM

Plymouth North HS, Performing Arts Center, Plymouth

Steven Karidoyanes, Conducting Catherine Hudgins, clarinet Laura Pardee Schaefer, oboe Wren Saunders, bassoon

Handel Entrance of the Queen of Sheba from Solomon Mozart Sinfonia Concertante, K.297b Brahms Variations on a Theme of Haydn Kodaly Dances from Galanta

Anne Howarth, horn

plymouthphil.org

508-746-8008

September 23 – October 25, 2015 The Modern Theatre at Suffolk University | Boston

Othello

by William Shakespeare directed by Bridget Kathleen O’Leary

8 6 6 - 81 1 - 41 1 1 o r a cto rs s h a ke s p e a re p ro j e ct. o rg

BOSTON UNIVERSITY COLLEGE OF FINE ARTS 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.

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

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

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

COLLEGE OF FINE ARTS ADMINISTRATION Lynne Allen, Dean ad interim Richard Cornell, Director ad interim, School of Music Jim Petosa, Director, School of Theatre Jeannette Guillemin, Director ad interim, School of Visual Arts Hilary Field Respass, Executive Director, Boston University Tanglewood Institute

COLLEGE OF FINE ARTS DEAN’S ADVISORY BOARD

Jason Alexander, ’81, Hon.’95 Actor, Director, Writer Fred A. Bronstein, ’78 Dean Peabody Institute of the Johns Hopkins University Michael Chiklis, ’85 Actor, Director, Producer Saul Cohen President Hammond Residential Real Estate Chester Douglass Professor & Department Chair Harvard School of Dental Medicine Frank Ginsberg, ’65 Chairman, CEO Avrett Free Ginsberg SungEun Han-Andersen, ’85 President Andersen Family Foundation John Harrington, ’85 Founder and Chief Mission Officer Advanced Practice Strategies 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.) Jane Pappalardo, ’65 Philanthropist Trustee, Isabella Stewart Gardner Museum Board Member, Rose Kennedy Greenway Penny Peters, ’71 Communications Strategist & Management Consultant Nina Tassler, ’79 Chairman CBS Entertainment Gael Towey, ’75 Creative Director Gael Towey & Co. Short Films Gregg Ward, ’82 President Orlando-Ward Associates Luo Yan, ’90 President Silver Dream Productions

Boston University College of Fine Arts School of Music STRINGS

Steven Ansell viola * Edwin Barker double bass * Heather Braun violin Lynn Chang violin Wesley Collins viola Daniel Doña pedagogy, chamber* Carolyn Davis Fryer double bass Franziska Huhn harp Mihail Jojatu cello Hyun-ji Kwon cello Bayla Keyes violin * Michelle LaCourse viola * Warren Levenson guitar Benjamin Levy double bass Lucia Lin violin * Malcolm Lowe violin Dana Mazurkevich violin Yuri Mazurkevich violin *SAB (SI) Ikuko Mizuno violin Richard Nangle guitar George Neikrug cello ++ James Orleans double bass Michael Reynolds cello * Rhonda Rider cello Karen Ritscher viola Todd Seeber double bass Klaudia Szlachta violin Lawrence Wolfe double bass Michael Zaretsky viola Peter Zazofsky violin * Jessica Zhou harp

WOODWINDS, BRASS, and PERCUSSION Ken Amis tuba Jennifer Bill saxophone Kyle Brightwell percussion Geralyn Coticone flute Adam Ebert clarinet (SI) Terry Everson trumpet * John Ferrillo oboe Timothy Genis percussion Nancy Goeres bassoon Ian Greitzer clarinet Bruce Hall trumpet Ronald Haroutunian bassoon John Heiss flute Ona Jonaityte flute Renee Krimsier flute Gabriel Langfur bass trombone Don Lucas trombone *

David Martins clarinet Mark McEwen oboe Toby Oft trombone Margaret Phillips bassoon Andrew Price oboe Ken Radnofsky saxophone Thomas Rolfs trumpet Mike Roylance tuba Eric Ruske horn * SAB (SII) Robert Sheena english horn Thomas Siders trumpet Ethan Sloane clarinet * SAB (SII) Jason Snider horn Samuel Solomon percussion James Sommerville horn Richard Stoltzman clarinet Linda Toote flute *

PIANO

Victor Cayres * Gila Goldstein * Linda Jiorle-Nagy Michael Lewin Pavel Nersesiyan * Konstantinos Papadakis Boaz Sharon *

COLLABORATIVE PIANO Shiela Kibbe * Damien Francoeur-Kryzek Melinda Lee Masur Robert Merfeld

ORGAN

Peter Sykes *

VOICE

Michelle Alexander * Michael Beattie (SI) Penelope Bitzas * Sharon Daniels * James Demler * Lynn Eustis * Phyllis Hoffman * Matthew Larson Betsy Polatin (Theatre) Jerrold Pope *

HISTORICAL PERFORMANCE

Aldo Abreu recorder Sarah Freiberg Ellison cello Greg Ingles sackbut Laura Jeppesen viola da gamba Christopher Krueger Baroque flute Catherine Liddell lute Douglas Lundeen natural horn

ADMINISTRATIVE

Martin Pearlman Baroque ensembles * Robinson Pyle natural trumpet Marc Schachman, Baroque oboe Aaron Sheehan HP voice Jane Starkman Baroque violin, viola Peter Sykes harpsichord *

Shaun Ramsay Assistant Director, Admissions & Student Affairs Barbara Raney Student Services Manager Andrew Chae Admissions Coordinator Margaret Rowley Senior Staff Assistant

Tiffany Chang David Hoose * Ann Howard Jones ++ Scott Allen Jarrett * David Martins Jameson Marvin

OPERA INSTITUTE

Phyllis Curtin ++ Gary Durham Daniela Fagnani Marié Abe * Melinda Sullivan-Friedman Michael Birenbaum Quintero * Matthew Larson Paula Bishop William Lumpkin * Victor Coelho * Jim Petosa (Theatre) Brita Heimarck * Betsy Polatin (Theatre) Miki Kaneda* Jeffrey Stevens * Lewis Lockwood Nathan Troup Joshua Rifkin * Allison Voth * David Schulenberg (SII) Andrew Shenton * STH/SOM STAFF PIANISTS Michelle Beaton Jacquelyn Sholes* Anna Carr Jeremy Yudkin * Siu Yan Luk COMPOSITION Brendon Shapiro AND THEORY Lorena Tecu Vartan Aghababian Noriko Yasuda Martin Amlin * Deborah Burton * SAB (SII) Justin Casinghino Department Chairs Richard Cornell * represented in bold Joshua Fineberg * SAB * Full-time faculty Samuel Headrick * ++ Emeritus Davide Ianni LOA - Leave of Abscence David Kopp * SAB - Sabbatical Mary Montgomery Koppel SI - Semester I Rodney Lister * SII - Semester II Alex Mincek Ketty Nez * Janet Schmalfeldt (SII) Andrew Smith John H. Wallace * Steven Weigt * Jason Yust *

MUSICOLOGY

MUSIC EDUCATION

Richard Bunbury * LOA (SI) Mary Cicconetti (SII) Susan Conkling * Diana Dansereau * André de Quadros * Jay Dorfman * Andrew Goodrich * Karin Hendricks * Lee Higgins * Ron Kos * Sandra Nicolucci ++ Kinh Vu *

Richard Cornell Director ad interim; Professor of Music, Composition Beth Barefoot Administrative Assistant to the Director Shiela Kibbe Associate Director Oshin Gregorian Managing Director, Opera Institute and Opera Programs Jill Pearson Business Manager Robert Flynn Administrative Coordinator, Music Performance, Applied, and Composition & Theory Melissa Riesgo Administrative Coordinator, Music Education, Musicology, and Ethnomusicology

ADMISSIONS AND STUDENT SERVICES

CONDUCTING

PRODUCTION AND PERFORMANCE

Alix Saba Manager of Ensembles Diane McLean Stage Manager Meredith Gangler Librarian, Music Curriculum Library Shane McMahon Manager, Media Production Studio Brandon Cardwell Multimedia Engineer, Media Production Studio Michael Barsano Manager of University-Wide Ensembles Aaron Goldberg Director of Athletic Bands Martin Snow Senior Piano Technician/Restorer Xiodan Liu Piano Technician Daniel Vozzolo Administrative Coordinator

Boston University College of Fine Arts School of Theatre STAFF Jim Petosa, Director McCaela Donovan, Assistant Director Liz Mazar Phillips, Business Manager Adam Kassim, 855 Production Manager Johnny Kontogiannis, BU Theatre Complex Production Manager Brian Dudley, Senior Staff Assistant - Performance Renee E. Yancey, Senior Staff Assistant- Design & Production Karen Martakos, Costume Shop Supervisor Paul Mayer, Scene Shop Supervisor SUMMER THEATRE INSTITUTE Emily Ranii, Academic Program Head Brian Dudley, Administrative Program Head DESIGN & PRODUCTION FACULTY Shawn Boyle, Joel Brandwine*, Ben Emerson*, Diane Fargo, Sidney Friedman, Adam Godbout, Nancy Leary*, Michael Maso, James McCartney, Seaghan McKay, Roger Meeker, James Noone*, Lisa Polito, Jon Savage*, Leslie Sears*, Mark Stanley*, Micki Taylor-Pinney, Cristina Todesco, Mariann Verheyen*, Denise Wallace-Spriggs, Jesse Washburn PERFORMANCE FACULTY Tamala Bakkensen, Adrienne Boris, Judy Braha*, Ilana M. Brownstein*, Mary V. Buck, Judith Chaffee, Mark Cohen, Paolo DiFabio, McCaela Donovan, Sidney Friedman, Kirsten Greenidge, Christine Hamel, Michael Hammond, Clay Hopper, Angie Jepson Marks, Michael Kaye*, Paula Langton*, Maurice Emmanuel Parent, Betsy Polatin, Micki Taylor-Pinney, Elaine Vaan Hogue*.

*Denotes Program Head

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) p 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 p 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 ◊n $25,000 - $49,999 SungEun Han-Andersen (’85) and G. Chris Andersen ◊∂ Steven M. Karbank (CAS’79) and Jeannette O. Karbank ◊n∂ Mary Ann Milano-Picardi (’66) and Angelo Picardi ◊n∂ The Estate of Philip C. Pascucci ◊p $10,000 - $24,999 Betsey Brown Philip T. Chaplin ◊∂ Christopher di Bonaventura and Ellen di Bonaventura p 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 ◊n Thomas M. Daniel and Maria H. Daniel ◊p 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) n Seth Johnson ◊p David Carlton Kneuss (’70) ◊∂

◊-Annual Fund Leadership Giving Society ]-Faculty/Staff Member

James A. Manganello (GRS’70, STH’70, SED’77) and Rosemarie B. Manganello (’11) ◊ Arthur D. Sanders (Questrom’74) and Pamela Sanders ◊n William H. Trayes (DGE’48) and Roswitha Trayes ◊∂ $2,500 - $4,999 Beverly W. Abegg (’64, GRS’68) and Gerald L. Abegg ◊n∂ Earl R. Beane (CAS’63, STH’67, ‘68) and Mildred B. Beane (’64, ’84, SED’95) ◊n∂ Janet M. Burzyk p John A. Carey ◊n∂ Jasmine Chobanian o and Aram V. Chobanian ◊n∂ 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 ◊p $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) ◊ p 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 o and Richard W. Ekdahl (’51, GRS’54) ◊∂ Mark M. Friedman ◊ p Richard S. Friedman and Linda N. Friedman ◊ Glenn Garlick ◊ p Richard I. Grausman and Susan Grausman ◊∂ Mercia M. Harrison ∂ Nancy M. Hartman (’52) ◊∂ Judith P. Hessel and Paul Hessel ◊n∂ Phyllis Elhady Hoffman (’61, ’67) and Robert J. Hoffman ◊]∂ Fritz C. Howser ◊ Jimmie L. Jackson (’73, ’76) ◊∂ Shail Jain and Mary C. Jain ◊np

Renate S. Jeffries (’64) and John W. Jeffries ◊∂ Sandra J. Kendall (’55) ◊∂ Glen E. Kraemer and Natalie C. Ziontz ◊np June K. Lewin (’61) ◊∂ William R. Lyman (’71) and Anastasia S. Lyman (’72) ◊n∂ 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 ◊n∂ Hilary F. Respass ◊]p 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 ◊n 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.

o-Deceased

∂ -Three-yearConsecutive Giving

n-Parent

p-First-time Donor

*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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