'The Lathe of Heaven' at Booth Theatre - Program

April 26–May 5, 2019

n i u G eower L .

K a aP l d u o n s r U tsu Otzoff a y N y b d b Ka

te ra Adapted by Sa Direc B

O

S

T

O

N

U

N

I

V

E

R

S

I

T

Y

A Message from Dean Harvey Young

T

his production marks the close of the inaugural season of Boston University Joan & Edgar Booth Theatre. This venue, the best flexible black box theatre in Greater Boston, has become the anchor of an emerging arts district.

The splendor of Booth hints at what is on the horizon.

New bike lanes, trees, and brick walkways nearby; public programming at WBUR’s CitySpace; the relocation of Boston University’s Howard Thurman Center for Common Ground next door; and restored windows across the street at 855 Commonwealth (featuring art galleries, studio theatres, a concert hall, and more) will comprise a new and exciting corridor for culture.

As the season winds down, I would like to express my gratitude to Jim Petosa, who will return to full-time teaching after 17 years directing CFA Theatre. Professor Petosa is a visionary leader and a community builder whose tremendous efforts have helped enliven the arts at BU, realize the potential of Booth as well as our new Commonwealth corridor, and inspire the artistic imaginations of a generation of theatre makers.

I wish you the very best for the summer. We will be back with a new season in the fall.

Harvey Young Dean, College of Fine Arts

by Ursula K. LeGuin

Adapted by Natsu Onoda Power Directed by Sara Katzoff

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

Afsoon Pajoufar Chloe Moore Matthew Rogers Stephanie Elrod Ryan Blaney Jacob DeSousa Kristen Pichette Stephanie Elrod

“The Lathe of Heaven” by Ursula K. Le Guin Used by permission of Curtis Brown, Ltd. Copyright ©1971, renewed 1999 All rights reserved.

The Lathe of Heaven is performed without an intermission.

This production makes use of theatrical haze and strobe lights.

CAST George Orr Heather Lelache Haber/Ensemble Haber/Ensemble Haber/Ensemble Haber/Ensemble Ensemble

Eddie Harris Khadija Bangoura Nathan Malin Michela Micalizio Connor Paradis Jo Cosio-Mercado Selah Boughner Emma Kuhlman Samuel Orlov Maximillian White

DESIGN & PRODUCTION TEAMS Dramaturg Assistant Stage Manager Production Assistant Run Crew

Assistant Scenic Designers Paint Charge Properties Master Assistant Properties Masters Assistant Technical Director Master Carpenter Assistant Costume Designer Costume Shop Foreman Drapers

Grace Georgiadis Ăšna Rafferty Amanda Caswell Declan Schliesmann Michael Ticknor Ken Yotsukura Carlie Condemi Kayla Williams Michelle Sparks Marina Sartori Celia La Cava Elizabeth Pattyn Becca Sundberg Taylor Dobbs Ryan Goodwin Whitney Vaughan Sophia Baramidze Mel Lindsey Whitney Vaughan

DESIGN & PRODUCTION TEAMS CONTINUED First Hand Costume Crafts Heads Wardrobe Crew

Cami Wright Zane Kealey Vinnie Loucks Will Edelson Samantha Mastrati Claire Parrell

Assistant Lighting Designer Moving Light Programmer Master Electrician Assistant Master Electrician Projections Operator Light Board Operator Follow Spot Operator

Danielle Elegy Anna Brevetti Devin Sullivan Angus Goodearl Ben Gatere Angus Goodearl Will Edelson

Audio Supervisor Assistant Sound Designer Sound Board Operator On-Stage Camera Operator

Jon Beals Feitong Wang Jennie Gorn Ken Yotsukura

Box Office & Front-of-House Staff

Henry Braff Grace Ferrera Emma Foley Caila Katz Raymond Vasco Jack Williams Jiaqui Zhang

Special thanks to Jeffery Petersen, Boston Playwrights’ Theatre, and to MIT’s Jay Scheib and Joshua Higgason

A Message from the School of Theatre Director

T

hanks so much for joining us for Natsu Onoda Power’s intoxicating stage adaptation of Ursula K. LeGuin’s masterwork novel The Lathe of Heaven. With this production we complete our first full year of making theatre in our new primary home, the Joan & Edgar Booth Theatre. As always, we appreciate your presence in providing our student companies with the opportunity to complete their journey in investigating and enfleshing a play. Performance is the final step in the process and you make it possible.

Also, allow me the opportunity to thank you for your support of our Boston University College of Fine Arts School of Theatre. It has been my pleasure to serve as Director of this incredible community of theatre makers for the last 17 years. I am stepping down from this position at the end of this academic year and will join the faculty as a full-time teacher this fall. I look forward to this new chapter in my own journey and hope we will have cause for more encounters in the theatre together there.

Warmly, Jim Jim Petosa Director, School of Theatre

SYNOPSIS “You have to help another person. But it's not right to play God with masses of people. To be God you have to know what you're doing. And to do any good at all, just believing you're right and your motives are good isn't enough.� ~ Ursula K. Le Guin The Lathe of Heaven, 1971 In a world racked by plague, violence, and environmental catastrophe, George Orr awakens to discover that his dreams have the power to alter reality. When Orr is brought to Dr. William Haber for treatment, Haber begins manipulating this power for his own purposes.

Blurring the lines between dreams and nightmares, The Lathe of Heaven is set in an imagined future that reflects the present tense. Exploring themes of power, utilitarianism, war, love, and progress, this fast-paced, ensemble-based physical theater performance features moon-pie trivia, live-feed projection, 1970s-nostalgia, and shadow play.

Adapted from the speculative fiction novel written by Ursula K. Le Guin in 1971, playwright Natsu Onoda Power explores the cyclical nature of human history and asks us to question our understanding of reality and the repercussions of power within our present political moment.

CAST Eddie Harris (George Orr) is a senior Acting major. His last production he was honored to be a part of was the MTA Playwrights Lab festival at MIT. He thanks his family for all their love and support, as well as his BU family for four lifechanging years.

Khadija Bangoura (Heather Lelache) is a sophomore Theatre Arts major from Burlington, VT. When she’s not trapped in the CFA building, she enjoys hugging trees and making impulsive purchases. Khadija hopes you enjoy The Lathe of Heaven because that’s all she can do at this point: hope.

Nathan Malin (Haber/Ensemble) is a sophomore Theatre Arts major.

Previous credits include 1984 (BU CFA School of Theatre), Maura Dunne (The Poets’ Theatre), Titus Andronicus (Actors’ Shakespeare Project), Matchless & The Happy Prince (Underground Railway Theater), and production intern on Uncle Romeo Vanya Juliet (Bedlam).

Michela Micalizio (Haber/Ensemble) is a senior so you won’t be seeing her after this one! She’s had her fun here; now she’ll go have fun elsewhere. But first, this! This’ll be great. Hope you enjoy. She’s having a blast.

Connor Paradis (Haber/Ensemble) is a Boston-based theatre artist who will receive his BFA in Acting this spring. Credits include: Luna Gale (New Century Theatre), Othello (Dream Role Players), and The Little Mermaid (PaintBox Theatre). He feels grateful to share his final show at BU with such a talented ensemble. Thank you for dreaming with us.

Jo Cosio-Mercado (Haber/Ensemble) is a sophomore Theatre Arts major from Manila, Philippines, among other assorted countries. His curly hair contains his passion for queer advocacy, playwriting, music composition, and the new ramen place in Super 88. Jo thanks his mother for offering to fly to the US to watch The Lathe of Heaven, even though she had visited just last quarter to see him in Edith Can Shoot Things and Hit Them.

All love.

Selah Boughner (Ensemble) is beyond explanation, but is a sophomore Acting major from South Carolina. Her last production, 1984, featured new and innovative projection theatre concepts. She hopes you enjoy The Lathe of Heaven, which also features innovative projection theatre concepts. Peace and love.

Emma Kuhlman (Ensemble) is an LA-born, avocado-guzzling, avid bird watcher. In addition, she is a sophomore Acting major whose soul is owned by the ocean. Emma hopes you enjoy the mischief she’ll be creating all through The Lathe of Heaven. Don’t forget to tip your waitress!

Samuel Orlov (Ensemble) is 20 years old and currently a sophomore studying for a BFA in Acting. Shows he has been in include Hamlet, You Can’t Take It With You, and The Laramie Project.

Maximillian White (Ensemble) is a sophomore Theatre Arts major interested in fine dining (Super88) and fine arts (BU CFA). Please enjoy the show. P.S. Have you ever been abducted by aliens?

ARTISTIC & DESIGN TEAM Sara Katzoff (Director) is a secondyear MFA director, theatre-maker and the co-founding Artistic Director of Bazaar Productions / The Berkshire Fringe, an international festival dedicated to championing radical new work by emerging artists. Recent collaborations include: Laughs In Spanish (Boston Playwrights’ Theatre); PASSAGE (Kickwheel Ensemble Theater); The Waypoint (MASS MoCA); Facing Our Truth (Colonial Theatre); Everywoman (WAM Theatre) and This Generation/My Generation (Barrington Stage). At Boston University she has directed The Clean House, Beowulf: A Thousand Years of Baggage, and The TEAM’s Particularly in the Heartland.

More at sarakatzoff.com.

Afsoon Pajoufar (Scenic Designer) is an environment and set designer for theatre, opera, and performance. afsoonpajoufar.com

“Because things are the way they are, things will not stay the way they are.”

-- Bertolt Brecht Chloe Moore (Costume Designer) is a second-year MFA candidate in Costume Design. Past credits include The Scarlet Ibis (Boston Opera Collaborative), and BU’s productions of Angels in America Parts I & II, Particularly in the Heartland, and Intimate Apparel. chloemooredesigns.com Matthew Rogers (Lighting Designer) is a graduate student in the School of Theatre. Some of his more interesting recent designs are Particularly in the Heartland, The War Reporter, and What’s Your Emergency? Matthew has also had two one-act plays produced.

Stephanie Elrod (Production Manager & Projections Designer) is a second-year MFA student in Production Management at BU. Recent projects include Our Country’s Good, Runaways, Black Snow, and the BU Fringe Festival.

Ryan Blaney (Sound Designer and Composer) is a first-year MFA candidate in Sound Design. He received his BFA in Theatre Design at Salem State University. He is very excited to collaborate on this play and try to push the boundaries of what theatre can be sonically.

Jacob DeSousa (Technical Director) is a D&P major concentrating in Technical Production. He is excited to work on LOH because of the text’s intrinsic desire to explore realities other than our own. He would like to thank the company for their passion and collaboration, and the technicians from his department for their ambition and selflessness working on this project.

Kristen Pichette (Stage Manager) is a junior Stage Management major with a concentration in Lighting Design. BU credits include The Wonderful World of Dissocia (ASM), La Traviata (SM), and FemShakes’ As You Like It (ASM). She is immensely thankful for all the support she has received along the way.

DRAMATURG’S NOTE Ursula K. Le Guin (1929-2018) was an American author. During her Portland, Oregon-based lifetime, she was awarded seven Hugo Awards, six Nebula Awards, the National Book Award, and a Living Legend distinction by the United States Library of Congress.

She is most known for her books The Lathe of Heaven (1971), The Left Hand of Darkness (1969), and The EarthSea Cycle, which depicts an island world of adolescent wizards. She also authored poetry, essays, and an album. Le Guin was labeled as a sci-fi writer throughout her career; however, she rejected the label.

For Le Guin, labels had once been useful descriptors but have since become a tool of dismissal.

While Le Guin began her career writing works centering white cis male protagonists, she became a fervent advocate that the sci-fi world should not be a white cis patriarchal capitalistic one, on or off the page. Her works went on to feature female protagonists, protagonists of color, and androgynous protagonists.

Le Guin and her work are, of course, not faultless or free of blind spots, but her contributions to her field, and the legacy of artists she inspired (Zadie Smith, Junot Diaz, J.K. Rowling, and Steven King, among others), are significant. ~ Grace Georgiadis

PROGRAM NOTE “Love doesn’t just sit there like a stone. It has to be made, like bread.

Re-made all the time, made new.” ~The Lathe of Heaven Written by Ursula K. Le Guin in 1971 and imaginatively adapted for the stage by Natsu Onoda Power in 2018, The Lathe of Heaven is an invitation to investigate many layers and permutations of reality. As a company of artists embracing this process here at Boston University, there is the reality of the world we live in, the reality of this theater space you are sitting inside right now, the reality inside the play you are attending, and the reality of the 50+ designers, collaborators, production team members, and performers putting on that play. Inside the play itself and in each of us who are a part of it, there exist many realities, dreams, and memories. Inside The Lathe of Heaven, these realities quickly morph and fragment, sometimes reflecting the world as it is, as it was, or as it will be.

Inside the laboratory setting of this production and within the larger laboratory container of the School of Theatre, our process as a company has been one of continual making and remaking, a process centered around ferocious play, rigorous inquiry, and ongoing experimentation. From music composition to shadow puppetry to choreography and movement, our work together has embraced the practice of horizontal leadership and invited all participants to play an active role in this ongoing practice of theatre-making, a reality that you now join us in imagining even as you read this program note.

Thank you for choosing to spend this time with us! ~The Company and Collaborators of The Lathe of Heaven

Coming soon from the School of Theatre April 29 - May 2 THE CUNNING LITTLE VIXEN

Composer & Librettist: Leoš Janáček Conductor: William Lumpkin Stage Director: E. Loren Meeker Presented by School of Music: Opera Institute & School of Theatre Emerson Cutler Majestic Theatre • 219 Tremont St., Boston

April 30 - May 4 BLUETS: A LECTURE IN SIX FUGUES

Based on the book by Maggie Nelson Adapted & Directed by Erica Terpening-Romeo College of Fine Arts, Copeland Black Box Theatre 354

May 2 - 5 HORIZON LINE

Inspired by Homer’s Odyssey Adapted & Directed by Jeremy Ohringer College of Fine Arts, Studio ONE

May 4 - 8 EVERYTHING THAT NEVER HAPPENED

By Sarah B. Mantell Directed by Avital Shira

College of Fine Arts, “Jewels 2” Miller Studio Theatre 356

May 6 BOSTON THEATRE SHOWCASE

BFA Performance Showcase BFA and MFA Design & Production Showcase Exhibit and Reception Joan & Edgar Booth Theatre

Tickets & more details at bu.edu/cfa/season & bu.edu/cfa/events

THE CUNNING LITTLE VIXEN

by Leoš Janáček

Cutler Majestic Theatre 219 Tremont St, Boston Mon, April 29 Tue, April 30 Wed, May 1 Thu, May 2

• 7:30 • 7:30 • 7:30 • 7:30

pm pm pm pm

Conducted by William Lumpkin Directed by E. Loren Meeker A BU Opera Institute co-production with the Glimmerglass Festival

discount code

BUCFA19 bu.edu/cfa/opera

May 10–16

Sculpture, Painting, Printmaking

Opening Reception Saturday, May 11 • 4-7 pm Laconia Gallery 433 Harrison Avenue

Graphic Design

Opening Reception Friday, May, 10 • 6-8 pm Stone Gallery, Gallery 5, Commonwealth Gallery 855 Commonwealth Ave

Hosted in multiple installments both on- and off-campus, the BFA Thesis Exhibitions represent the culmination of four years of intensive studio work and artistic research by undergraduates in Graphic Design, Painting, Sculpture, and Printmaking.

V A S I

isual rts

June 30 - July 26, 2019 Intensive study in drawing, painting, sculpture, and printmaking Ages 15-18 Earn 3 college credits

bu.edu/cfa/vasi

ummer nstitute

more than 70 performances each season learn more at bu.edu/tanglewood

summer concert series a program of BU College of Fine Arts

5-WEEK SUMMER CONSERVATORY FOR HIGH SCHOOL 5-WEEK SUMMER CONSERVATORY FOR HIGH ARTISTS SCHOOL THEATRE

THEATRE ARTISTS

BU.EDU/CFA/BUSTI BU.EDU/CFA/BUSTI

SUMMER 2019 APPLICATIONS AVAILABLE SUMMER 2019 APPLICATIONS AVAILABLE DECEMBER 1st

DECEMBER 1st

Sun, April 28 Deus Ex Machina

6 pm School of Music composition students perform electronic new music works CFA Marshall Room

Mon, April 29 - Thu, May 2 The Cunning Little Vixen Opera by Leoš Janáček Cutler Majestic Theatre 219 Tremont St, Boston, MA

Tue, April 30 All Campus Orchestra and Concert Band

8 pm Tsai Performance Center

Wed, May 1 Baroque Chamber Concert 6:30 pm CFA Marshall Room

Thu, May 2 Piano Ensemble Concert 6 pm CFA Concert Hall

bu.edu/cfa/events

Spring 2019

Get ready for a new look in 2020!

CFA is renovating spaces on the first floor of 855 Commonwealth and opening the windows along the sidewalk. Construction begins summer 2019.

Renderings by Wilson Butler Architects

College of Fine Arts Harvey Young Dana Clancy Shiela Kibbe Jim Petosa

Dean, College of Fine Arts Director, School of Visual Arts Director ad interim, School of Music Director, School of Theatre

School of Theatre McCaela Donovan Beth Barefoot Johnny Kontogiannis Adam Kassim Brian Dudley Allyson Beheler Penney Pinette Todd Burgun Emily Ranii

Assistant Director Business Manager Production Manager 855 Production Manager Administrative Coordinator; Administrative Program Head, BUSTI Administrative Coordinator, Design & Production Costume Shop Manager Scene Shop Manager Academic Program Head, BUSTI

Performance Faculty Judy Braha# Yo-EL Cassell Mark Cohen Kirsten Greenidge Christine Hamel Kyna Hamill Michael Hammond Clay Hopper Melodie Jeffery-Cassell Michael Kaye# Paula Langton#

Kristin Leahey Georgia Lyman Maurice Emmanuel Parent Jim Petosa Betsy Polatin Rebecca Schneebaum Matthew Stern Micki Taylor-Pinney Elaine Vaan Hogue# Ryan Winkles

Design & Production Faculty Jorge Arroyo Joel Brandwine# Diane Fargo Julie Hennrikus Nancy Leary# Collette Livingston James McCartney Seรกghan McKay

James Noone# David Remedios# Jon Savage# Mark Stanley# Cristina Todesco Mariann Verheyen# Denise Wallace-Spriggs Renee E. Yancey# #

Program Head

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

Opened in December 2017, this bold, state-of-theart 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 the 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. The Joan & Edgar Booth Theatre is funded in part by a $10 million gift from BU Trustee Stephen M. Zide (LAW’86), who named the venue in honor of his wife’s parents for sharing their passion for the dramatic arts with him and his family. Learn more at bu.edu/booth.

bu.edu/cfa

@buarts

#myCFA