Shakespeare in Love • in Boston University's Booth Theatre

April 30 - May 8, 2022

April 30 - May 8, 2022

E R A E P S E K A H S IN

E V O L

Based on the screenplay by

Marc Norman & Tom Stoppard Adapted for the stage by Lee Hall Music by Paddy Cunneen Directed by Judy Braha B

O

S

T

O

N

U

N

I

V

E

R

S

I

T

Y

A NOTE FROM THE DEAN William Shakespeare and his contemporaries lived with plagues. It has been estimated that theatres were open for a total of only nine months between 1606 and 1610 as a consequence of epidemics.

Shakespeare in Love is set earlier.

1593 also was a year of plague.

Theatres were temporarily shuttered. Artists such as the Bard, awaiting the reopening of stages, sought other avenues to express their creativity, including poetry.

The resilience of theatrical dreamers both past and present is inspiring. Amidst the stress, anxiety and uncertainties of their times, they labored. They cocreated stories to connect people and enable moments of togetherness.

I am deeply appreciative of the cast and crew of this production. They too have faced a pandemic. Tested by the times and unwavering in their commitment to the arts, they make us and our society better.

- Harvey Young Dean, College of Fine Arts

BU COLLEGE OF FINE ARTS Harvey Young • Dean, College of Fine Arts Dana Clancy • Director, School of Visual Arts Gregory Melchor-Barz • Director, School of Music Susan Mickey • Director, School of Theatre

E R A E P SHAKES IN

E V O L

April 30 - May 8, 2022 Joan & Edgar Booth Theatre

Based on the screenplay by Marc Norman & Tom Stoppard Adapted for the stage by Lee Hall Music by Paddy Cunneen Originally produced on the West End by Disney Theatrical Productions & Sonia Friedman Productions, directed by Declan Donnellan, and designed by Nick Ormerod THE VIDEOTAPING OR MAKING OF ELECTRONIC OR OTHER AUDIO AND/OR VISUAL RECORDINGS OF THIS PRODUCTION AND DISTRIBUTING RECORDINGS OR STREAMS IN ANY MEDIUM, INCLUDING THE INTERNET, IS STRICTLY PROHIBITED, A VIOLATION OF THE AUTHOR(S)’S RIGHTS AND ACTIONABLE UNDER UNITED STATES COPYRIGHT LAW. FOR MORE INFORMATION, PLEASE VISIT CONCORDTHEATRICALS.COM/RESOURCES/PROTECTING-ARTISTS

-1-

MONDAY, MAY 9, 2022 DESIGN & PRODUCTION SHOWCASE EXHIBITION

3PM – 9PM LUO YAN LOBBY OF THE BOSTON UNIVERSITY JOAN & EDGAR BOOTH THEATRE

LIVE SHOWCASE PERFORMANCE 5PM JOAN & EDGAR BOOTH THEATRE

SHOWCASE RECEPTION

FOLLOWING THE LIVE PERFORMANCE LUO YAN LOBBY

A

A NOTE FROM THE SCHOOL OF THEATRE DIRECTOR

s I write this, I can only hope that you are sitting in the theatre safely reading your program and preparing to see the School of Theatre production of Shakespeare in Love. The one thing we have learned over the past two years is that we never know when the landscape for performing our craft will change and toss us new challenges. We now have a heightened facility for easy and quick adaptability.

With all of the luck in the world, you are about to see the final play of a full slate of productions, one academic year’s worth of new plays, thesis showings, and devised work. It is the perfect play for reminding us of the transformation of theatre. It affects the way we look at the world, view ourselves, and experience our community. It is also an uplifting story of love and passion. It feels like spring with a hopeful attitude towards our fellow man and the discoveries that are before us. This production has one of the largest casts of the year, so you will enjoy a representative example of the fine work of our students and faculty.

Shakespeare in Love will mark the final production as a full-time faculty member for the director and professor Judy Braha. We are so grateful to Judy for all of her time, commitment, and care in teaching, service, and creative offering she has tendered over a long and illustrious career here at Boston University. It is the perfect send-off for a life-long thespian on their next journey of exploration. Thank you, Judy, for this play and for your work with our students.

Susan E. Mickey Director, School of Theatre -3-

PRODUCTION TEAM DIRECTOR

Judy Braha

ASSISTANT DIRECTORS

Zach Kelley Jenna Burns

MUSIC DIRECTOR

Daniel Ryan

ASSISTANT MUSIC DIRECTOR

Rachel Hoy

DRAMATURG

Sara Gorelkin

MOVEMENT AND INTIMACY DIRECTOR

Yo-EL Cassell

STAGE COMBAT DIRECTOR

Jeb Burris

DIALECT COACH

Charles Linshaw

ASSISTANT DIALECT COACH

Jenna Giordano

PRODUCTION MANAGER

Grecia Hernandez-Ramirez

STAGE MANAGER

Nicole Hartshorn

ASSISTANT STAGE MANAGERS

Katelyn Thompson Adrian Speth

PRODUCTION ASSISTANTS

Zoe Charbonneau Esther O’Shea

-4-

DESIGN & TECHNICAL TEAM SCENIC DESIGNER ASSISTANT SCENIC DESIGNER PAINT CHARGE COSTUME DESIGNER ASSISTANT COSTUME DESIGNER LIGHTING DESIGNER

Jace Jayoung Hong Ami Okazaki Brenda Dziadzio Emma George Michael O’Herron Kevin Dunn

ASSISTANT LIGHTING DESIGNER

John Holmes

PROPS MASTERS

Sarah Lloyd Sirena Lopez

CURTAIN CRAFTSMAN SOUND DESIGNER ASSISTANT SOUND DESIGNER

Steven Velasquez Sara Vargas Sam Bliss

TECHNICAL DIRECTOR

Johnathon Utter

ASSISTANT TO THE TECHNICAL DIRECTOR

Marco Liguori

MASTER CARPENTER

Marco Liguori

MASTER ELECTRICIAN ASSISTANT MASTER ELECTRICIANS DRAPERS

FIRST HAND CRAFTS PAINTERS

Celeste Delgadillo Zack Connell India Silverman Jesse Azevedo Amanda Caswell Quinn Nayenezgani-Barnes Stacy Brannan Sasha Nemi Lato Grace Saathoff Evan Petrow Lydia Anderson Evan Johnson Guthrie Morgan Noah Dunlap

-5-

CAST WILL KIT

Henry Morehouse Edward Sturm

FENNYMAN

Buff Thiesmeyer

HENSLOWE

Peter DiMaggio

ACTING COMPANY

Lydia Grosswendt

ACTING COMPANY

Tommy Vines

BURBAGE/WABASH

Liam McCarron

ACTING COMPANY/SAM

Jack Dillon

ACTING COMPANY

Alan Kuang

QUEEN ELIZABETH I

Jenna Giordano

ACTING COMPANY/BOATMAN

Rachel Hoy

ACTING COMPANY

Maia Sanaa

TINLEY/SIR ROBERT DE LESSEPS VIOLA DE LESSEPS NURSE

Timothy Blaufuss Mya Ison Clarice Reiner

LORD WESSEX

Santiago Arenas

ACTING COMPANY

Matthew Began

JOHN WEBSTER NED ALLEYN

Michael Cameron Sam Regueros

in order of appearance -6-

PRODUCTION CREW WARDROBE SUPERVISOR

Andrew Wehling

WARDROBE HEAD

Sydney Hovasse

WARDROBE ASSISTANTS RUN CREW

Grant Powicki Lily A. Bitner Gabriela Tovar Josephine Goldfarb Haley Lynch Brian Wu Jack Greenberg

LIGHT BOARD OPERATOR

Jennifer Platt

PLAYBACK OPERATOR

Ariel Narayan

AUDIO 1

Sam Bliss

AUDIO 2

Olivia Tambascio

FRONT OF HOUSE

-7-

Maya Scott-Luib Lucas Connor Ambria Benjamin Zachary Mallgrave Imayah Hawkins Alexa Connors Mateen Bizar Emma Neary

DIRECTOR’S NOTE “For now, the performing arts industry is hanging by a thread…” - Aimee Pinchee, CBS News, March 2021

D

irecting Shakespeare in Love at this moment has been a perspective-giving gift, illuminating what we as theater artists throughout time have had to overcome to bring our human stories to the stage. The timeless necessity to summon our special brand of resilience, alchemy and collaborative will to bring challenging, enlightening stories to our communities is not new. Shakespeare was writing poetry in 1593 because the theaters were closed due to the plague in the City of London. In our parallel universe in 2022, with theaters across the country slowly re-opening after several years of the pandemic shutdown, we are witnessing the miracle of theatrical rebirth in a dark time, just as Shakespeare, Burbage, Henslowe and Marlowe did in 1593.

In his Time Traveler’s Guide, Ian Mortimer says: “Welcome to Elizabethan England, in all its doubts, certainties, changes, traditions and contradictions. It is a jewel encrusted, muddy kingdom, glittering and starving, hopeful and fearful in equal measure….” Diving into this evocative portrait, during our current experience, we seek to play in parallel universes, watching our own “scrappy” team resurrect their production and Shakespeare’s creative partners fight the good fight to bring theater alive again…a theater that strives to show us the “very truth and nature of love.”

During our process the daily question was: who has tested positive today and will we ever have a complete cast to rehearse with? Rumbling underneath, the scarier question, would this supposedly waning pandemic become virulent enough to derail our process and shut us down? If you are sitting in the Booth, reading this today, it will mean we have once more overcome!

We now have the honor, which we will not ever again take for granted, to share with you our labor of love.

How? “It’s a mystery.”

- Judy Braha -8-

DRAMATURGICAL NOTE

F

or as much as we know about Shakespeare’s plays, most of his life is widely unaccounted. It cannot be said with certainty who the Bard had friendships and relationships with; we don’t even know his exact birthdate. This ambiguity allowed writers Marc Norman and Tom Stoppard to take liberties with the life and love of the Bard. By including historical figures such as Richard Burbage, Ned Alleyn, Philip Henslowe, and Christopher Marlowe, the long-murmured theory of who is behind Shakespeare’s words is comedically explored, revealing that Will may have gotten more inspiration from those around him than we give credit for. Shakespeare in Love animates the inkstained pages of textbooks we have all read, creating a world that stitches together facts with blanks which could only have been filled in with imagination.

Queen Elizabeth I’s 44-year reign is noted as one of the most vibrant in English history, regarded for the flourishing of literature and the arts. With the Queen’s permission, professional theatres were built in England for the first time, attracting 15,000 theatregoers per week in London, a city with a population of 200,000. But cultural prosperity was not achieved without everyone playing their part. Life in Elizabethan England was dictated by hierarchy: distinct social classes, gender as rank, and a pecking order in the playhouse.

In early times of the Elizabethan era, the actors were viewed as degenerates and rogues. Licenses granted by the monarch were required to act, and those found performing for the public without a license were accused of crimes. Shakespeare was greatly indebted to the royal patronage of Queen Elizabeth. As time went on, actors and acting became more popular with rich nobles. This popularization of theatre led to the legitimation of select acting troupes, mainly Lord Chamberlain’s Men and Lord Admiral’s Men, increasing their popularity and status.

The playhouse was one of society’s only venues that allowed for an all-embracing environment. The entertainment and experience of viewing theatre was for all to enjoy. [continued on next page] -9-

DRAMATURGICAL NOTE [continued] The stage, however, was reserved for men and men only. With intent to protect their chastity, women could not act or write for the public stage. Since many of the Elizabethan theatres sat near brothels, female performers were associated with indecency. The character of Viola De Lesseps challenges the typical Elizabethan women, exploring the adventure that she so craves rather than falling obedient to the asks of society. When Viola meets Will (as in William Shakespeare), we see just how much the words of Shakespeare hold true; they are enough to express even the greatest of emotions. She falls in love with the poet’s words before she even meets the player himself. More than 400 years after Shakespeare’s death, his plays are famous worldwide, reaching far more audiences than even Shakespeare himself thought was possible, and the themes at the very heart of them are still as relatable as when they first were written.

Shakespeare in Love reminds us that the verses we so often recite are not just lines in a script, they are connections to those who came before us; the product of collaboration from a collective ensemble. The play breathes new life into the man we know as one of history’s most prolific writers, shedding light—however real or fictionalized—on how the tragic tale of his star-crossed lovers came to be. This love letter to the theatre reminds us that the source of our art, both now and in the past, has been and always will be humanity.

By Sara Gorelkin Production Dramaturg

- 10 -

ABOUT THE TEAM Santiago Arenas (Lord Wessex) is a senior BFA Acting student with a minor in Arts Leadership. Favorite BU credits include Jerry (Colossal), Felix (The Normal Heart), and Bohemian (InMotion: The Poets). He is thrilled to be a part of this joyous and ceremonial ode to theatremaking for his last show at BU. He would like to thank Judy Braha for her dedication to bringing this show alive, and his friends and family who have lifted him up and encouraged him these past four years.

Enjoy the show!

Matthew Beagan (Acting Company) is a sophomore BFA Acting student with a Math minor. He is so excited to be a part of this amazing cast as his second show at BU. Outside theatre, he participates in an a capella group, the BU Treblemakers, and in the summer he runs a food truck in his hometown of Annapolis, MD called Smash Up, serving his perfected smash burger recipe. Matthew wants to thank his family for being the reason he can explore all parts of himself. Thank you to Judy, Zach, and Jenna for all the love you have put into this show to make it such an amazing experience.

Timothy Blaufuss (Tinley/Sir Robert De Lesseps) (Tim/Skim) is a sophomore Theatre Artist who is always on the move.

In the winter, he enjoys cinnamon rolls and coffee and, in the summer, he enjoys broccoli salad and water. He’s deeply passionate about the environment and continues to pursue theatre in search of ways to promote societal change for the planet’s future. He sends love and gratitude to his family, friends, and all those who have supported him on his journey.

Judy Braha (Director) is on the faculty of the MFA Directing and BFA Acting programs at Boston University School of Theatre.

With a commitment to the power of the arts as activism, Judy collaborates with André de Quadros in the BU College of Fine Arts Prison Arts Project, The Collaborative Arts Incubator, and the groundbreaking series Race, Prison, Justice, Arts.

Jenna Burns (Assistant Director) is a third-year BFA Acting major originally from Pinehurst, North Carolina. This is her first assistant directing experience at BU and she would like to thank Judy for this opportunity!

Michael Cameron (John Webster) encourages you to keep your hearts, minds, and wallets open to the arts. He insists that you challenge habits and norms, think critically, and explore your own creativity.

If today’s show entertains you, he also asks (with peace and love) that you evaluate its social and historical implications.

Yo-EL Cassell (Movement and Intimacy Director) is Assistant Professor and Head of Movement for the School of Theatre. Currently his movement and intimacy direction can also be seen in SpeakEasy Stage’s production of The Inheritance written by Matthew Lopez.

Mr. Cassell was resident choreographer for Commonwealth Shakespeare Company, choreographing, coaching, and directing movement for nine years. He is a member of The Stage Directors and Choreographers Society (SDC), and gives special thanks to Judy Braha for inviting him on this creative journey.

Jack Dillon (Acting Company/Sam) is a sophomore pursuing a BFA in Acting with a concentration in Musical Theatre. He loves performing all types of roles from his bloody rendition of “Sam” in Steve Yockey’s Mercury to all the silly people he gets to play in Shakespeare in Love. He would like to thank his cast, crew, and Judy for making this process such a joy! He hopes you enjoy the show!

Peter DiMaggio (Henslowe) is a sophomore BFA Acting student with a concentration in Musical Theatre and a minor in Film and Television. Favorite BU credits include Brian in Steve Yockey’s Mercury, Man in The Untitled Ain Gordon Project, and original musical composition for Mya Ison’s Laure. He would like to thank his professors for their invaluable guidance, his new classmates for their welcoming arms, and his family for their invaluable guidance,

- 11 -

ABOUT THE TEAM his new classmates for their welcoming arms, and his family for their endless support.

Welcome back to the theatre!!

Kevin Dunn (Lighting Designer) is a Lighting Designer based in Boston, Massachusetts. Past design credits include Queens Girl in the World (Central Square Theatre), The Producers (The Barnstormers), Mansfield Park (BU Opera Institute), I Am Antigone (Theatre for the New City), and A Small Handful (PTP/ NYC). They have been the recipient of the Don Childs Award for Excellence from the Stagecraft Institute of Las Vegas and an Honorable mention for the KCACTF Barbizon Award for Excellence in Lighting Design at the Kennedy Center in Washington DC. They received a Bachelor of Fine Arts in Theatrical Design from Salem State University and are currently a candidate for their Master of Fine Arts in Lighting Design at Boston University.

Emma George (Costume Designer) is a third-year MFA candidate at Boston University and has been designing costumes since the age of 4, coordinating looks for plays starring her and her younger sisters. Since then, her roles have included designer, stitcher, and wig and makeup artist. Past productions at BU include Lorena: A Tabloid Epic (BPT), Mansfield Park (Opera Institute) and Photograph 51.

Jenna Giordano (Queen Elizabeth I & Assistant Dialect Captain) is a senior BFA Acting student with a concentration in Musical Theatre. Favorite BU credits include Mother (Machinal), Sylvia (The Pride), and 4 (Bella Luna). She is so excited to be sharing this beautiful love letter to theatre as her final performance at BU. She would like to thank Judy Braha for her fearless direction, SOT’22 for the best four years, and her family for their unwavering support.

Welcome back to the theatre, and enjoy.

Sara Gorelkin (Dramaturg) is a secondyear undergraduate student at Boston University School of Theatre. She is pursuing her BFA in Theatre Arts Design &

Production, with concentrations in Stage Management and Dramaturgy, as well as a minor in Psychology. This is Sara’s fifth show at Boston University, past notable works include Colossal and Shakespeare’s R&J. Sara would like to thank everyone involved in this process for their inspiring creativity and constant support.

Lydia Grosswendt (Acting Company) is a sophomore BFA Acting student who just so happens to carry a perpetual torch for Shakespeare. A National Shakespeare Monologue Competition finalist, she is beyond thrilled to hold the space for yet another ode to the Bard. Some favorite past credits include Tilly (She Kills Monsters), Seymour Krelborn (Little Shop of Horrors), and Leontes (The Winter’s Tale). Lydia would like to send some love to her mother, father, and twin sister Sophie, as well as to the class of 2024! Having the opportunity to do theatre again means so much to Lydia and she cannot wait to share it with you all.

Nicole Hartshorn (Stage Manager) is a junior at Boston University School of Theatre who is working towards a BFA in Stage Management. They have loved getting to tackle all of the complex elements required for this play and working with this incredibly talented team to help Shakespeare in Love come to life.

Grecia Hernandez-Ramirez (Production Manager) is a second-year production management graduate student at the School of Theatre. Shakespeare in Love is her second in-person production at Boston University. Prior to coming to BU, her passion for the arts led her to the University of California Riverside, where she earned a BFA in Creative Writing and a BFA in Theatre, Film, and Digital Production. Grecia also enjoys doing photography in her free time and thanks her mother and sister for traveling from California to see the show.

John Holmes (Assistant Lighting Designer) is a third-year Lighting Designer at the School of Theatre with a passion for theatre education. He currently works as

- 12 -

ABOUT THE TEAM a freelance designer/ME; recent designs include Shakespeare’s R&J, Pivot Arts Festival, and Proof. He spends his free time running along the Charles, painting, or blending a smoothie. @johnholmesdesign, johnholmesdesign.com.

Rachel Hoy (Acting Company/ Boatman) is a senior BFA Acting student with a concentration in Musical Theatre.

Her favorite BU credits include #25 (The Wolves), Odysseus (Penelopiad), and Ice Queen (Where Do Peaches Grow?).

She is ecstatic to be performing with her classmates one last time before graduation. Shout out to her friends, family, and the lovely class of ’22!

Mya Ison (Viola De Lesseps) is a senior Theatre Arts major and is over the moon to be able to be a part of this beautiful celebration of theatre as her final show at BU! She would like to thank her family, her amazing class, and the Black community at SOT for lifting her through the past 4 years. Recent credits: Lady M in Mac Beth, #11 in The Wolves, and Laure in Laure (an original play written by Mya).

Jace Jayoung Hong (Scenic Designer) (she/her) is a second-year MFA in Scenic Design at Boston University. Originally from South Korea, her exploration in storytelling through painting led to being a theatremaker. Past productions at BU include Proving Up, Othello, and Clearing.

Zach Kelley (Assistant Director) is a senior Acting major and thrilled to be assisting Judy Braha on Shakespeare in Love. In addition to directing, he’s also an actor, writer, and comedian. Special thanks to his friends, family, and the class of ’22!

Website: zachwkelley.com.

Alan Kuang (Acting Company) He goes by many names, AK Famous, Mr. Kuang, M.C. Doolan, but you can just call him Alan.

Alan. Kuang. A sophomore Acting student with the pursuit of a Dance minor, Alan is going to show the world what he’s got with this lovely performance of storytelling. He is excited, grateful and, most importantly, ready to act, sing, dance, and play. Shout

out to his gorgeous mother and absolutely immaculate grandmother. Love you, Mama.

Liam McCarron (Burbage/Wabash) is a second-year student at Boston University on track for a BFA in Acting. He is excited to be performing again with his classmates, after having last been seen as Somebody 4 in Branden Jacobs-Jenkins’ Everybody.

He is beyond thrilled to share this beautiful story with friends, family, and the School of Theatre community.

Henry Morehouse (Will) is a senior Acting major. He is incredibly grateful to be working alongside so many talented and wonderfully committed people for his final show at BU. You can catch him next in Actors’ Shakespeare Project’s production of The Bomb-itty of Errors at the Charlestown Working Theatre from May 25th to June 26th.

Sam Regueros (Ned Alleyn) is a junior Acting major at Boston University School of Theatre. Being a second-semester junior, Sam should have been abroad right now, but decided not to so he could continue his acting training. This was one of Samuel’s best decisions during his time at BU as it gave him the opportunity to be in Shakespeare in Love and also to work with the senior class. His mother was also overjoyed by this as it meant she would be closer to him and could also see him sword fight and be in drag (she was dying to see that). He would like to say to her “Má perdón por perder mi billetera otra vez. Te lo prometo que es la última…. Pues hasta que la pierda otra vez. :)” Clarice Reiner (Nurse), also known as ‘Big Dog’, is a senior BFA Acting student.

Her favorite BU credits include Masha (Seagull), Helen of Troy (Penelopiad), and Horatio (Hamlet). She is deeply thankful to be ending her college career in this beautiful production. She would like to thank her professors, family, and, of course, the SOT class of 2022. <3 Maia Sanaa (Acting Company) (Myee-ah Sah-nah) is a sophomore at Boston University School of Theatre, pursuing her

- 13 -

ABOUT THE TEAM BFA in Theatre Arts with a concentration in Acting, and a minor in Film/TV. In the past, she’s worked on and starred in numerous theatrical plays, including Naomi Izuka’s A(non)ymous, Branden Jacobs-Jenkins’ Everybody, & Black SOT’s devised See Right Through You. Maia is honored to be a part of bringing the world of Shakespeare in Love to life!

Edward Sturm (Kit) is thrilled to perform alongside the cast of Shakespeare in Love! He is a sophomore pursuing a BFA in Theatre Arts, along with studies in the Kilachand Honors College. Edward has collaborated on many BU School of Theatre productions as a dramaturg. “For my Dad, with gratitude.”

Buff Thiesmyer (Fennyman) is a secondyear BFA Acting student. His semester has been filled with excitement being a part of both the University’s production of Everybody (Usher/Understanding) and, now, Shakespeare in Love (Fennyman)! He would like to thank his family, friends, the cast, crew, and Judy for making this project so exciting to be a part of.

Katelyn Thompson (Assistant Stage Manager) (she/her) is a sophomore in the Design and Production program, majoring in Theatre Arts with a concentration in Performative Directing and Stage Management. This is Katelyn’s fourth show at Boston University, notable works including: The Opera Institute’s The Infinite Energy of Ada Lovelace, A Midsummer Night’s Dream, and InMotion’s The Poets. Katelyn would like to thank her community of love for supporting her throughout this incredible process.

Johnathon Utter (Technical Director) is a second-year graduate student in the Technical Production program. This show has been a revelatory educational process and would not have been possible without the support of the whole Technical Production department and his friends and family.

Tommy Vines (Acting Company) is a sophomore BFA student at Boston University School of Theatre majoring in Theatre Arts (Performance). Past credits include Ida Bauer in Kate Novack’s Hysterical Girl and Heather in Steve Yockey’s Mercury. She is excited to share the world of Shakespeare in Love with all of you.

Boston University Summer Theatre Institute

JUNE 26 – JULY 30, 2022 Applications for BUSTI 2022 are still open The Boston University Summer Theatre Institute is a fiveweek pre-conservatory experience for highly motivated high school theatre artists. Designed to mirror the first year BFA experience within the Boston University College of Fine Arts School of Theatre, the Institute allows all participants the opportunity to test their interests and abilities in a professional training environment.

Students earn 4.0 college credits for their coursework in acting, design, theatre for social change, improvisation, and other theatre techniques, as well as immersive theatre workshops and the creation of an original piece of theatre with members of their ensemble.

Y APPL !

NOW

bu.edu/cfa/busti

COMING UP NEXT YEAR AT BOSTON UNIVERSITY SCHOOL OF THEATRE FALL 2022 - SPRING 2023 CONFIRMED PRODUCTIONS

QUARTER 1

Let The Right One In • co-produced with Actors’ Shakespeare Project

by Jack Thorne • directed by Christopher Edwards Joan & Edgar Booth Theatre Little Row Boat or, Conjecture* (Fringe Festival) • by Kirsten Greenidge directed by Adam Kassim (CFA’21) Next Stage Workshops and Plays (Fringe Festival) The School of Theatre New Play Initiative presents a series of Next Stage workshops, scenes, and plays. These Next Stage pieces will be directed by undergraduate directors and will flower as the next step in the fruition of these new plays by BU students. Curated

by Kirsten Greenidge, this “on-its-feet” workshop or play experience focuses on different areas of the writing or specific parts of a project in the process of development.

QUARTER 2 Once • Book by Enda Walsh • Music & Lyrics by Glen Hansard and Marketa Irglova • directed by Shamus McCarty Joan & Edgar Booth Theatre Mankind • by Robert O’Hara Directed by Rani O’Brien Uncle Vanya • by Anton Chekhov translation by Annie Baker • directed

by Christine Hamel The Moors • by Jen Silverman Directed by Roz Bevan (CFA’19)

Directors’ Project • directed by Clay Hopper and undergraduates Springboard Series • directed by first-year graduate directors

The School of Theatre New Play Initiative presents public readings of new offerings to the world of theatre. Directed music stand/table readings of the play with a short rehearsal period. Each reading will include a short talk-back at the end with the playwright and the cast.

QUARTER 3

El Nogolar • by Tanya Saracho (CFA’98) • directed by Enzo Gonzales

QUARTER 4

The Sitcom Project • co-produced with BU College of Communication

Joan & Edgar Booth Theatre

This original live half-hour sitcom will be performed and filmed each night for a studio audience. This will be a three camera shoot with a script for the evening (written

by BU playwriting students) that surrounds and envelops the script for the sitcom (written by BU’s screenwriting class). A true collaboration for a retro entertaining evening of how we make and receive narrative that makes us laugh.

Springboard Series • directed by first-year graduate directors

The School of Theatre presents public readings of new offerings to the world of theatre.

Dates, locations, and additional productions and works to be announced. For updates to the coming season of projects at the School of Theatre, visit bu.edu/cfa/season, and follow @butheatre (Instagram) and @buarts (Instagram, Twitter).

- 16 -

BOSTON UNIVERSITY COLLEGE OF FINE ARTS

Established in 1954, Boston University College of Fine Arts (CFA) is a community of artist-scholars and scholar-artists who are passionate about the fine and performing arts, committed to diversity and inclusion, and determined to improve the lives of others through art. With programs in music, theatre, and visual arts, CFA prepares students for a meaningful creative life by developing their intellectual capacity to create art, shift perspective, think broadly, and master essential 21st-century skills. CFA offers a wide array of precollege, undergraduate, graduate, and doctoral programs, as well as a range of online degrees and certificates. Learn more at bu.edu/cfa.

BOSTON UNIVERSITY COLLEGE OF FINE ARTS SCHOOL OF THEATRE

The School of Theatre at the College of Fine Arts at Boston University is a leading conservatory for the study of acting, stage management, design, production, and all aspects of the theatre profession. These programs of study are enriched by the School’s access to the greater liberal arts programs at Boston University.

The School of Theatre values the notion of “the new conservatory” and seeks to provide students with opportunities for artistic growth through a rigorous curriculum, professional connections, and an emphasis on collaboration and new work.

BOSTON UNIVERSITY JOAN & EDGAR BOOTH THEATRE

Since its inaugural season in 2018, this bold, state-of-the-art structure encourages innovation, conversation, and collaboration.

The flexible design of Booth Theatre allows for the inventive evolution of performances and a deep engagement with audiences. Research is at the core of Boston University, and BU College of Fine Arts practices it every day in the form of creative experimentation. Booth Theatre and the adjacent CFA Production Center are laboratories for such research, and in every detail, they are purpose-built for discovery. Recent productions include Angels in America (Parts I and II), If I Were You, Patterns of Wind, The Rake’s Progress, Mansfield Park, Dolores Claiborne, The Lathe of Heaven, The Exonerated, ...and Jesus Moonwalks the Mississippi, and Antigone. Learn more at bu.edu/booth.

< Find this program and other archived productions on our digital publication reader by scanning this code with your phone camera. bu.edu/cfa

@buarts

#myCFA