THE BOSTON CONSERVATORY MERRILY WE … We Roll Along is presented through a special arrangement with ... a state agency. ... New York City, 1968 Old Friends—Mary, ...

Merrily We Roll Along is presented through a special arrangement withMusic Theatre International www.mtishows.com.

This organization is funded in part by the Massachusetts Cultural Council, a state agency.

T H E B O S T O N C O N S E R V A T O R Y presents

MERRILY WE ROLL ALONG

Set Design by ERIC LEVENSONLighting Design by DANIEL H. JENTZEN

Costume Design by CHARLES SCHOONMAKERSound Design by BEN SCHEFF

Projection Design by SEAGHÁN MCKAYChoreography by SARAH CRANE ‘14

March 5–8, 20148 p.m., Wednesday–Saturday

2 p.m., SaturdayThe Boston Conservatory Theater

Music and Lyrics by STEPHEN SONDHEIMBook by GEORGE FURTH

Directed by PAUL DAIGNEAULTMusical Direction by STEVEN LADD JONES

Conducted by PETER MANSFIELD

PRODUCTION STAFFProducer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Neil DonohoeAssistant Producer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Peyton Pugmire Production Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Don CuriosoProduction Stage Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . .Patsy Collins BandesStage Manager. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Amanda M. OttenTechnical Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Anna B. LabykinaAssistant Technical Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . James GarnerMaster Electrician . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Winston G. LimaugeAssistant Master Electrician . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Jeff MaynardSound Engineer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Ben ScheffProps Master . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Elizabeth RochaCostume Shop Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Rebecca ButlerAssistant Costume Shop Manager . . . . . . . . . . . . . . . . . . . . . . . . . Amanda FeeleyVideographer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Phil RobersonVoice and Speech Coach . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Karen KopryanskiMarketing and Communications Director . . . . . . . . . . . . . . . . . . . . . Jake MessierPromotions Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Andrea Di CoccoScenic Crew . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Jeff Maynard, Jesse Hoyer,

Jessi Recin, Alix Strasnik, Sean McClellan,Caitlin Kolson, Marc Ewart

Electric Crew . . . . . . . . . . . . . . . . . . . . .Matt Cost, Taylor Hansen, Gabrielle Scheff,Kate Korolenko, Aliza Burr

Stitchers/Drapers . . . . . . . . . . . . . . . . . . . . . . Ashley Marie Collett, Paola Ferreira,Natalie LaChall, Carly Wilcox

Costume Intern . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Carly HampelWardrobe Supervisor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Sara HartmannWigs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Wig Boys

STUDENT STAFF

Assistant Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Michael MahadyAssistant Stage Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Daniel HutchinsChoreographer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Sarah CraneRehearsal Accompanist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Samuel BagalaRun Crew . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Devon Braithwaite, Katie Brunson,

Christopher Infantino, Zach Eisenberg, Eleri Ward,Rachel Cunningham, Amanda Bowman, Dylan Whelan,

(continued)

2 • Merrily We Roll Along

CASTFranklin Shepard . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Andrew TigheMary Flynn . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Paige Berkovitz Charley Kringas . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Connor BatyGussie Carnegie . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Caroline LelloucheBeth Spencer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Beka BurnhamJoe Josephson . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Zaven OvianJerome . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Drew AriscoFrank Jr. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Sebastian Wood*Terry/Ensemble . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Trevor HenniganMrs. Spencer/Ensemble . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Jessica McKayK.T./Ensemble . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Rachel GiannattasioPianist/Ensemble . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Adam BokunewiczTyler/Ensemble . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Tyler LenhartMeg/Ensemble . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Jenna Nicole SchoenRu/Ensemble . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Ed RubenackerScotty/Ensemble . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Martha SimmonsMr. Spencer/Ensemble . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Daniel Scott WaltonDory/Ensemble . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Hannah ZieserNewswoman/Ensemble . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Alexa LebersfeldEvelyn/Ensemble . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Alexa BouchardMinister/Ensemble . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Darren BunchFirst Girl/Ensemble . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Catiana BelloUnderstudies . . . . . . . . . . . . . . . . . Drew Arisco (Frank), Alexa Bouchard (Gussie),

Daniel Scott Walton (Charley), Catiana Bello (Mary),Alexa Lebersfeld (Beth)

*guest artist

Christopher Scott, Justin Glass, Anthony Gervais,Ida Ismaeili, Daniel Moore, Kelly Vernon

Production Staff . . . . . . . . . . . . . . . . . . . . . . . . Brad Anderson, Edelmiro Calvazos,Theresa Degan, Sarah Goldstein,Kevin Connor, Carly Ann Worden

Costume Staff . . . . . . . . . . . . . . . . . . . . . . . . . . Emily Attridge, Nelson Bettencourt,Theresa Degan, Mitzi Eppley, Cody Garcia,

Kristyna Gocova, Sarah Goldstein, Cacia LaCount,Dorothy Silver, Rachel Zervakos

The Boston Conservatory • 3

SETTINGACT I

Prologue

Overture—Orchestra

Merrily We Roll Along—Company

SCENE I

Setting: Bel Air, CA, 1976

That Frank—Company

Incidental “Good Thing Going”—Onstage Piano

Transition I—Company

SCENE II

Setting: NBC Studios, 1973

Old Friends – Like It Was—Mary, Charley

Franklin Shepard, Inc.—Charley

Transition 2—Company

SCENE III

Setting: New York City, 1968

Old Friends—Mary, Frank, Charley

Growing Up, Part 1—Franklin

Growing Up, Part 2—Gussie



SCENE IV

Setting: Manhattan Courthouse, 1967

Not A Day Goes By—Beth

Now You Know—Scotty, Mary, Tyler, Charley, Frank, Joe,

Jerome, K.T., Company

ACT II

Entr’acte—Orchestra

SCENE I

Setting: Alvin Theater, 1964

Act 2 Opening—Gussie

It’s a Hint—Joe, Frank, Mary, Beth, Charley


SCENE II

Setting: Sutton Place, 1962

The Blob, Part 1—Company

The Blob, Part 2—Company, Gussie

The Blob, Part 2 (underscore)—Onstage Piano

Growing Up—Gussie

The Blob, Part 3—Company

Good Thing Going—Charley, Frank

The Blob, Part 4—Charley, Frank, Dory, Gussie, Joe, Guests




SCENE III

Setting: The Downtown Club, 1960

Bobby and Jackie and Jack—Charley, Frank, Beth, Pianist

Not A Day Goes By, Act.2—Beth, Mary, Frank

Transition 6—Tyler, Dory

SCENE IV

Setting: New York City, 1957–1959

Opening Doors—Charley, Frank, Mary, Joe, 1st Girl, Beth

Transition 7—Beth, Frank Jr., Mrs. Spencer

SCENE V

Setting: A Rooftop on 110th St., 1957

Our Time, Part 1—Frank, Charley

Our Time, Part 2—Frank, Charley

Our Time, Part 3—Company

Bows—Orchestra, Company


MERRILY WE ROLL ALONG ORCHESTRAREED 1:Alto Saxophone, Clarinet, Flute, PiccoloAnne Kelton, G.P.D. ‘15

REED 2:Alto Saxophone, ClarinetCharles Larson, M.M. ‘15

REED 3: Tenor Saxophone, ClarinetStephanie Clark, B.M. ‘14

REED 3:Oboe, English HornAndrew van der Paardt, B.M. ‘17

REED 4:Baritone Saxophone, Bass Clari-net, ClarinetEmily Pecoraro, M.M. ‘14

TRUMPETLoo Kit Chong, M.M. ‘14Renée Hegelberg, G.P.D. ‘15Yi-Ling Lin, B.M. ‘14 TROMBONENathaniel Rensink, G.P.D. ‘15 PIANOSamuel Bagala, B.M. ‘14 SYNTHESIZERDavid McGrory* DRUMSETLong Ye, M.M. ‘14 ELECTRIC BASSDerrick Elliot*

*Guest Artist

Special thanks to Paul Marr,Blue Man Group Boston

and Eric Levenson

CASTAndrew Arisco ‘15Connor Baty ‘14Catiana Bello ‘14Paige Berkovitz ‘14Adam Bokunewicz ‘16Alexa Bouchard ‘15Darren Bunch ‘15Rebecca Burnham ‘14Rachel Giannattasio ‘14Trevor Hennigan ‘15Alexa Lebersfeld ‘15Caroline Lellouche ’16Tyler Lenhart ‘14Jessica McKay, M.F.A. ‘14Jenna Nicole Schoen ‘14Zaven Ovian ‘16Ed Rubenacker ‘17Daniel Scott Walton ‘15Martha Simmons, M.F.A. ‘14Andrew Tighe ‘15Hannah Zieser ‘17

ORCHESTRASamuel Bagala, B.M. ‘14Stephanie Clark, B.M. ‘14Renée Hegelberg, G.P.D. ‘15Anne Kelton, G.P.D. ‘15Loo Kit Chong, M.M. ‘14Charles Larson, M.M. ‘15Yi-Ling Lin, B.M. ‘14Emily Pecoraro, M.M. ‘14Nathaniel Rensink, G.P.D. ‘15Andrew van der Paardt, B.M. ‘17Long Ye, M.M. ‘14

PRODUCTION STAFFBrad Anderson ‘17Carly Ann Worden ‘17Emily Attridge ‘16Nelson Bettencourt, M.F.A. ‘15Amanda Bowman ’17 Devon Braithwaite ’17 Katie Brunson ‘17Edelmiro Calvazos, M.F.A. ‘15Kevin Connor ‘15Spencer Dean ‘17Theresa Degan, M.F.A. ‘15Zach Eisenberg ’17 Mitzi Eppley ‘17Cody Garcia ‘16Justin Glass ‘17Kristyna Gocova ‘15Sarah Goldstein, M.F.A. ‘15Ida Ismaeili ‘17Cacia LaCount ‘16Samantha Ma ‘16Daniel Moore ‘17Christopher Scott ’17 Dorothy Silver ‘16Kelly Vernon ‘17Eleri Ward ‘17Dylan Whelan ‘17Rachel Zervakos ‘14

STUDENT ENSEMBLE All students are B.F.A. candidates unless otherwise noted.


BIOSPAUL DAIGNEAULT, director—teaches musical theater and direct-ing at The Boston Conservatory. He is also the founder and producing artis-tic director of SpeakEasy Stage Com-pany and has produced more than 100 Boston premieres since 1992. SpeakEasy directing highlights in-clude The Color Purple; In the Heights; Xanadu; Next to Normal; Nine; Body Awareness; The Great American Trailer Park Musical; [title of show]; The Sa-vannah Disputation; Jerry Springer The Opera; The New Century; Some Men; Zanna, Don’t!; Parade (2008 El-liot Norton Award—Outstanding Director, Midsize Company); Almost, Maine; Caroline, or Change; Take Me Out; Company; A Man of No Impor-tance (co-production Súgán); Bat Boy: The Musical (2003 Elliot Norton Award—Outstanding Director, Small Company); Passion; A New Brain; Vio-let; Songs for a New World; Floyd Col-lins; Jeffrey; and Love! Valour! Compas-sion!. Regional credits include Grand Hotel and Nine (The Boston Conser-vatory and Cincinnati Conservatory of Music); Rent, City of Angels and Sunday in the Park with George (The Boston Conservatory); and Into the Woods, Urinetown and Blue Window (Boston College). In 2007, Daigneault was honored with the Boston Col-lege Arts Council’s Alumni Award for Distinguished Achievement. In 2012, he was again back at Boston College where he served as the 2011–2012

Rev. J. Donald Monan S.J. Professor in Theatre Arts. Beyond the theater, Daigneault serves on the boards of the Barbara C. Harris Camp and Con-ference Center and the ICU Patient & Family Advisory Council at Beth Israel Deaconess Medical Center.

STEVEN LADD JONES, musical director—is a vocal coach and mu-sic director. His regional produc-tion credits include Kiss of the Spider Woman (Havok Theatre Company); Little Shop of Horrors (Plan B Enter-tainment); 42nd Street as Oscar, the on-stage pianist (Cabrillo Music The-atre); They’re Playing Our Song (Valley Musical Theatre); and Between Time and Timbuktu (NYC workshop). New works include American Tales (The Antaeus Company); Enter the Guards-man (American Academy of Dramat-ic Arts); Bark! the Musical (The Coast Playhouse); and Broads! the Musical (L.A. workshop). Jones is a musical theater instructor at The Boston Con-servatory and has music directed the Conservatory productions of Thoroughly Modern Millie, Elegies for Angels, Punks, and Raging Queens, The Full Monty and One Touch of Ve-nus (mainstage); Shelter, The Breakup Notebook and Factory Girls (M.F.A. Summer Stock); and Angels and Be-tween Time and Timbuktu (Zack Box). He is also the music director for The Boston Conservatory’s youth sum-mer musical theater program, Born


to Perform. Jones has worked ex-tensively in children’s theater, show choir and classical choral programs, both in educational and professional settings, and studied music compo-sition at California State University, Northridge.

PETER MANSFIELD, conductor— is a conductor, composer, arranger and pianist. A Boston native, Mans-field earned his degree in music from Harvard College. In 1981, he began an ongoing affiliation with John Wil-liams, Keith Lockhart and The Bos-ton Pops Orchestra, where he has worked as pianist, arranger, orches-trator and music coordinator of sev-eral Evening at Pops’ P.B.S. television specials. In May 2012, he served as music director, arranger and pianist for the Pops’ “Gershwin Spectacular” at Symphony Hall. As a conductor, he has led many major U.S. and Ca-nadian orchestras, including Atlanta, Dallas, Houston, Seattle and Van-couver, The Philadelphia Pops and the National Symphony Orchestra in Washington, D.C. In the theater world, Mansfield has served as music director/conductor and arranger for regional and New York equity pro-ductions, as well as the legendary MUNY summer theater in St. Louis. A faculty member of The Boston Conservatory Theater Division since 2005, he served as music director/ar-ranger and orchestrator for the 2007

world premiere of the new musical, Heaven and Hell, and conducted The Boston Conservatory’s production of The Full Monty in March 2012.

SARAH CRANE (B.F.A. THEATER), choreographer—has performed in The Boston Conservatory produc-tions of Thoroughly Modern Millie, Curtains and Oklahoma! This produc-tion of Merrily We Roll Along is Crane's choreographic debut at the Conser-vatory. For more information, please visit: www.sarahcrane.net.

ERIC LEVENSON, set designer—has most recently designed The Boston Conservatory productions of Thoroughly Modern Millie, Machinal and Rent. He has collaborated with Paul Daigneault and Seághan McKay on the SpeakEasy Stage Company productions of Nine, Jerry Springer—The Opera and [title of show]—and with McKay on the world premiere of Kurt Vonnegut’s Make Up Your Mind at the SpeakEasy Stage Company. Levenson is also the set designer for the Celtic Christmas Sojourn shows, for which Dan Jentzen is the lighting designer. He is a technical instructor in the MIT theater department and is an all-categories member of IATSE Local USA 829. Levenson is proud of his long association with The Boston Conservatory. His first professional design, in 1963, was the set for the Conservatory production of Robert


Gilman’s jazz ballet, Roots of Sand. He was the Conservatory's designer/technical director from 1965–1967.

DANIEL H. JENTZEN, lighting de-signer—is thrilled to be joining The Boston Conservatory for Merrily We Roll Along. Other theatrical work includes Henry VIII (Actors’ Shake-speare Project); Escape from Hap-piness (Brandeis); Hairspray (New Bedford Festival Theatre); Steel Mag-nolias (Stoneham Theatre); The Di-vine Sister, Striking 12 and The Savan-nah Disputation (Speakeasy Stage Co); SubUrbia (UMass Lowell); Annie (Wheelock Family Theatre); and A Christmas Celtic Sojourn, presented annually by WGBH. He has also cre-ated lighting for Hillary Clinton, Ali-son Krauss, Christine Ebersole, Brian Stokes Mitchell, First Night Boston, the Provincetown International Film Festival, Boston’s Outside the Box festival, the Walt Disney Corporation, General Electric, Harvard Business School and the Romance Writers of America. Jentzen is also a cognitive science researcher and teacher, ex-ploring the power of theater in the human mind. He teaches at Boston Arts Academy and is director of edu-cation at High Output, Inc. He is also the founder of Brighter Boston, a nonprofit educational initiative that creates professional internships for students in lighting design. He holds a B.F.A. from Carnegie Mellon Univer-

sity and an Ed.M. from the Harvard Graduate School of Education.

SEÁGHAN MCKAY, projection designer—returns to The Boston Conservatory, having previously de-signed projections for Rent. Other local designs include The Boston Lyric Opera’s production of The Flying Dutchman; The Boston Pops “Gersh-win Spectacular: Promenade;” The Huntington Theatre Company’s pro-duction of Educating Rita; the Speak-Easy Stage Company’s productions of Kurt Vonnegut’s Make Up Your Mind, Next To Normal, Nine, Striking 12, [title of show], Jerry Springer—The Opera; The Lyric Stage Company of Boston’s production of On The Town and Big River; Merrimack Repertory Theater’s production of Memory House; Emer-son Stage’s production of Twilight: Los Angeles, 1992 and Light Up The Sky; Brandeis Theater Company’s produc-tions of 365 Days/365 Plays, Beyond The Boundaries, Hecuba and As You Like It; Boston College’s production of The Threepenny Opera; and Gordon College’s production of Godspell. He assisted projection designer Peter Nigrini on the P.B.S. documentary, Be-coming Helen Keller. McKay is a mem-ber of United Scenic Artists, IATSE Local USA 829. For more information, please visit: seaghanmckay.com.


CHARLES SCHOONMAKER, costume designer—is happy to be at The Boston Conservatory, where he previously designed sets and costumes for Colin Connor’s dance, What the Waitress Saw. He is the recipient of four Daytime Emmy Awards for his work in television. Bos-ton-area theater credits include Ve-nus in Fur, God of Carnage and A Long and Winding Road (The Huntington Theater Company); Tarzan (North Shore Music Theatre); The Light in the Piazza, Nine and Other Desert Cities (SpeakEasy Stage Company); Race and The Clean House (New Repertory Theater); Grey Gardens, The Legacy of Light and 33 Variations (The Lyric Stage Company of Boston). Credits in the Berkshires include the Berkshire Theatre Festival, The Chester Theatre Company and seven seasons as the resident costume designer at Jacob’s Pillow Dance Festival. Television credits include Another World, All My Children and As the World Turns. He teaches costume design at Benning-ton College.

BEN SCHEFF, sound designer—is a sound designer, engineer and composer for theater, music, dance and circus, and he is thrilled to be a part of the rich history and amaz-ing work going on at The Boston Conservatory. Past associations in-clude Trinity Repertory Company (sound technician), The O’Neil The-

atre Center (sound engineer), Perish-able Theatre and Long Wharf’s Next Stage Program. He spends his sum-mers as technical director for Circus Smirkus’s Big Top Tour. Most recently, he designed and wrote music for No Room for Wishing, an original co-pro-duction between Company One and Central Square Theatre.

ELIZABETH ROCHA, props mas-ter—studied at Rhode Island School of Design, the Museum of Fine Arts School and Harvard Extension School and worked as an illustrator before ac-cidentally getting involved in theater. She has tried everything from scene painting to costume design and has worked with the Theater at Monmouth, the A.R.T. Institute Program, Behind the Mask Theater, Prometheus Dance Company, Jose Mateo Ballet Theater, Boston Ballet and Costume Works.

DON CURIOSO, production man-ager—has served The Boston Con-servatory for 12 years. Curioso served as production manager for Civic Light Opera in Seattle, WA and was produc-tion manager/technical director for Suffolk University. Professional cred-its include American Musical Theater, Long Wharf Theater, The Garde Arts Center and Yale Repertory Theater. Early career highlights include Babes In Arms, directed by Ginger Rogers; the pre-Broadway production of Late Nite Comic, starring Robert Lupone;


the inaugural season of Connecticut Repertory Theater; and The Gifts of The Magi and Children Of Eden, featur-ing then unknown Cheyenne Jack-son. Recent Conservatory highlights include Opening Note!; productions with the late Dana Brayton; numer-ous collaborations with theater, dance, music and opera; serving as the liaison at Midway Studios during the Conservatory 2009 off-campus season; and hosting the Production Managers Forum in Boston. Curioso received his M.F.A. in technical direc-tion and production management from the University of Connecticut. His teaching credits include Wagner College, Suffolk University and The Boston Conservatory.

PATSY COLLINS BANDES, produc-tion stage manager—is currently in her 10th year as the production stage manager at The Boston Conserva-tory. Select productions include L’Enfant et les sortilèges and L’Heure espagnole, Curtains, 42nd Street, The Mikado, Quick-Change Room, Dark Elegies, Sweet Charity, Rent, Strike up the Band and many more. She also directed productions of Good, Wait-ing for Godot and Rosencrantz and Guildenstern Are Dead for The Bos-ton Conservatory. Other companies she has stage managed for include North Shore Music Theatre, Pro-metheus Dance, Boston Children’s Chorus, Intermezzo Chamber Opera

and the Denver Center Theatre Com-pany (1998 Tony Award), where she worked on the world premieres of The Laramie Project and Give ’em a Bit of Mystery: Shakespeare and the Old Tradition. Collins Bandes is a member of The Boston Conservatory Theater Division and Dance Division faculties, teaching freshmen production and stagecraft. She holds a B.A. in theater with an emphasis in directing from the University of Northern Colorado.

ANNA B. LABYKINA, technical di-rector—is a native of Russia who has made New England her home for the last two decades. Prior to arriving at The Boston Conservatory in 2006, she worked as a technical director at Tufts University and Salem State Col-lege. When not solving technical is-sues at the Conservatory, she serves as a technical advisor for a multitude of projects in Boston. Previous sce-nic design and coordination credits include: Four One Acts by David Ives, Lucky Duck, Showboat, Chess, The Who’s Tommy, WANDERLUST, Throws Like a Girl and Neurasthenia. She holds a M.F.A. in theater technology from the University of Texas at Aus-tin.

WINSTON G. LIMAUGE, mas-ter electrician—is celebrating his fourth year at The Boston Conserva-tory. His past design credits include Waiting for Godot (Boston Conserva-


tory), Rosencrantz and Guildenstern Are Dead, Abduction from the Seraglio (Harrisburg Opera) and True West (Open Stage), as well as the world premiere of Rockets Red Blare and Diva Monologues (Intermezzo Op-era Company). He has worked as an assistant lighting designer for the world premiers of The English Chan-nel (C. Walsh Theatre and Vineyard Playhouse) and Beckett at 100 (New College Theatre), as well as the IRNE-nominated production of A Streetcar Named Desire (New Repertory The-atre).

REBECCA BUTLER, costume shop manager—holds a B.F.A. in fashion design from the Massachusetts Col-lege of Art and Design. She has been with The Boston Conservatory since 2004, where favorite productions in-clude Romeo and Juliet, The Mikado, Machinal and The Wild Party. Free-lance costume design credits include Commonwealth Shakespeare’s galas, (Une Soirée à Paris, Cinema Italiano, Gala 2013), the Actors’ Shakespeare Project (Cymbeline, The Merry Wives of Windsor) and Intermezzo Cham-ber Opera Series (Rocket’s Red Blare, The Diva Monologues, The Prodigal Son). Butler is a founding member of the collaborative studio, The In-dustrial Stitchers Guild, and has done freelance work with Opera Boston, SpeakEasy Stage Co., Com-monwealth Shakespeare, New Eng-

land Conservatory, Opera Louisiane and the Flying Karamazov Brothers, amongst others. Butler also works as an independent artist and has recently created custom pieces for runway shows, weddings, balls and a presentation piece to commemorate the service and retirement of Mas-sArt’s President, Kay Sloan.

AMANDA OTTEN, stage man-ager—is excited to join The Boston Conservatory this year. Before mov-ing to Boston, she was working at Northwestern University as the pro-duction stage manager for the opera department. Select credits include L’incoronazione di Poppea, Albert Her-ring, Die Fledermaus and Street Scene. Other companies she has worked with include Ash Lawn Opera, Triad Stage and Lookingglass Theater Company, where she worked on the world premiere of Trust by David Schwimmer. Otten holds a B.F.A. in technical production from the Uni-versity of North Carolina, Greens-boro.

AMANDA FEELEY, assistant cos-tume shop manager—holds a B.F.A. in fashion design from Massa-chusetts College of Art and Design. She has worked as a costume tech-nician across the country including The Santa Fe Opera, Walt Disney World, and locally at Costume Works and Atlantic Coast Theatrical Supply.



She has also worked as a costume de-signer for recent productions includ-ing Legally Blonde: The Musical, The Drowsy Chaperone and The Wedding Singer, and she received an EMACT DASH nomination for her work on Beehive: The 60s Musical. Feeley’s fash-ion design work has been shown in Boston Fashion Week and other New England fashion shows.

KAREN KOPRYANSKI, voice and speech coach—has taught and coached at the Actors' Shakespeare Project, the Williamstown Theatre Fes-tival, Commonwealth Shakespeare

Company, Harvard Extension School, Boston College, Brandeis University, Tufts University, the Museum School for the Fine Arts, Indiana University, the American Repertory Theatre and the Moscow Art Theatre. Kopryanski has trained with The Shakespeare Theatre, Patsy Rodenburg, Anne Bogart and SITI Company, the Old Trout Puppet Work-shop, and she received her M.F.A. from the American Repertory Theatre’s Insti-tute for advanced theatre training. She is an associate teacher of Fitzmaurice voicework and a member of AEA and VASTA.

THEATER Neil Donohoe, DirectorPeyton Pugmire, Associate Director Kriste O’Brien, Assistant to the Directors Mark Ammons Bryn Austin Ken BaltinMaureen Brennan Candice Brown Christopher Caggiano Bill Casey Fran Charnas Patsy Collins Bandes Deborah Cooney Paul DaigneaultCarey DawsonGina Fiore Jennifer Galea Liz HayesSteven JonesKaren KopryanskiJohn Kuntz Helen LewisDoug Lockwood Peter Mansfield Steve McConnell Cathy Rand Alli Ross Ron Roy F. Wade RussoAlyssa Schmidt Kevin Siegfried Bret SilvermanAndrea SouthwickChristopher Webb

VOICEPatty Thom, ChairGina BeckMarilyn BulliWilliam CottenKerry DealSara GoldsteinThomas GreggRobert HoneysuckerVictor JannettJames Javore Monique PhinneyMary SaundersMerrill SheaLisa Sheldon Kevin Wilson

DANCE Michelle Chassé, ChairRachel Bertone Lillian Carter Tommy Coye Gianni Di MarcoCarol Efron-Flier Stephen Erwin Maggy Gorrill Kevin Hill Clyde NantaisTatiana ObesoDrika OvertonLarry Sousa Dean Vollick ADJUNCT FACULTY/STAFFDon CuriosoRebecca ButlerAnna B. LabykinaWinston LimaugeRichard Malcolm

THEATER FACULTY & STAFF




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RoMeo & Juliet Oct. 2 – Nov. 3, 2013

Henry VIII Dec. 11, 2013 – Jan. 5, 2014

thE Cherry OrChard Feb. 12 – March 9, 2014

As You lIke it April 17 – May 18, 2014

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Lawrence Isaacson, Music Director

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THE BOSTON CONSERVATORY

VOCAL/CHORAL INTENSIVE

The Boston Conservatory’s Vocal/Choral Intensive (VCI) is a two-week summer program for high school-aged singers who are focused on music theater or classical music. Students will strenghten their musicianship and improve their technical and performance skills.

Dr. William Cutter and Patty Thom, directors

Application fee: $65 by April 15, 2014$100 between April 16 and June 20, 2014.

W W W. B O S T O N C O N S E R VAT O R Y. E D U / S U M M E R 2 0 1 4

JULY 6–19, 2014

“IT’S PEOPLE LIKE YOU WHO TURN MAKING MUSIC

INTO MAKING MAGIC.” –ZACK C.


JULY 13–AUGUST 2, 2014

The Musical Theater Dance Intensive offers talented young dancers the opportunity to deepen their skills and challenge their abilities as they work with Broadway veterans and acclaimed faculty in rigorous training in ballet, jazz and theater dance. The dance program is complemented with classes in voice and acting to build triple threat performers.

www.bostonconservatory.edu/summer2014

the boston conservatory musical theater dance intensive

IS IT YOUR DREAM TO BE A TRIPLE THREAT ON BROADWAY?


JUNE 22–JULY 12, 2014

Gianni Di Marco & Adriana Suarez, directorsFor serious dancers (ages 15–25) who want to explore contemporary ballet, modern dance and improvisation.

www.bostonconservatory.edu/summer2014

the boston conservatory summer dance intensive


BOARD OF TRUSTEES

Alfred D. Houston, ChairmanDavid Scott Sloan, Esq., Vice

ChairmanGregory E. Bulger, TreasurerMimi Hewlett, Immediate Past

ChairRichard Ortner, PresidentRon AncrumRhoda Bernard, Faculty TrusteeElizabeth S. BoverouxDavi-Ellen ChabnerCynthia K. CurmeDiana Dohrmann ‘71, D.M.A.Gail S. FlattoJanet Sharp KershawB. J. Krintzman, Esq.Laura D. KunkemuellerKelly C. McKernanJoseph C. McNayLyle J. Micheli, M.D.Gary R. MikulaCharlotte Prescott NewtonAnthony PangaroSuzanne H. RollertPeter J. WenderGeorge C. WhiteMarillyn ZacharisTyler Whitaker ’15, Musical

Theater, President, Student Government Association

TRUSTEES EMERITI/AE

Caroline McMillan Collings Franklin Warren Hobbs, III Robert P. Moncreiff, Esq. Glendora Putnam, Esq.William Seymour, President

EmeritusDonald R. Sohn, Ph.D.

BOARD OF OVERSEERS

John F. Natoli, Esq., ChairTom Kush, Immediate Past ChairHoward H. Bengele, Ph.D.Peter Campisano, Ph.D.Doreen Donovan Corkin

Prescott B. CrockerAnne N. CuervoSasiree CutterMiles A. Fish, III ‘63Kate Sides FlatherEdward C. FleckJill A. Fopiano, C.F.A.John S. FosterAndrew FriedlandJo-Del GaethChristina GlenPreston B. GrandinJean HackettAlice JacobsDonald F. Jemella ’70 ‘73Sidney A. KenyonKate KushMarilyn LevittRicardo Lewitus, M.D.Richard V. Lombardi ’50Remmi Franklin Michele ManganaroFrederick T. MillerMichael G. MoyerBarbara G. PapeschH. Calvin PlaceGeraldine R. RicciPeter A. RombultIvy C. ScriccoWarren A. SeamansRick SergelGilbert SlovinBrian Wallenmeyer ‘00Amy WertheimEdward G. WertheimMarilyn Zuckerman, Esq.

ADMINISTRATION

Richard Ortner President

Patricia Hoy, D.M.A. Dean of the Conservatory; Vice President for Academic Affairs

James O’Dell Associate Dean for Academic Operations

Joseph M. Edwards Associate Dean for Academic Services

Abra K. Bush, D.M.A. Director of the Music Division

Neil Donohoe Director of the Theater Division

Judson Evans Director of the Liberal Arts Division

Cathy Young, M.F.A. Director of the Dance Division

Carmen S. Griggs, Ph.D. Dean of Students and Vice President for Student Affairs

Leslie Jacobson Kaye Vice President of Institutional Advancement

Eric M. Norman Vice President for Finance and Planning

Meghan Cadwallader, M.F.A. Director of Admissions

Kimberly Haack Director of External Relations

Jake Messier Director of Marketing and Communications

Bob Xavier, M.F.A Director of Information Technology

Eileen Meny Senior Development Officer

P = Boston Conservatory parent

THE BOSTON CONSERVATORYBOARD & ADMINISTRATION


THE BOSTON CONSERVATORY MERRILY WE … We Roll Along is presented through a special arrangement with ... a state agency. ... New York City, 1968 Old Friends—Mary, ...

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