BOSTON UNIVERSITY SCHOOL OF THEATRE PRESENTS
written by TANYA SARACHO
FEBRUARY 23-26, 2023
STUDIO ONE
855 COMMONWEALTH AVE.
BOSTON, MA
BOSTON UNIVERSITY COLLEGE OF FINE ARTS
Runtime: 1 hour and 50 minutes, including a 10 minute intermission
Caution: This production features theatrical haze/smoke, explicit language, and racial slurs. There will be a non-firing prop handgun used on stage; there will NOT be gun sound effects used.
“El Nogalar” is presented by arrangement with Concord Theatricals on behalf of Samuel French, Inc. www.concordtheatricals.com
directed by ENZO GONZALES
CORE COLLABORATORS
SCENIC DESIGNER
ANIKA REICHELT
COSTUME DESIGNER
DANIEL VIGIL
LIGHTING DESIGNER CONOR THIELE
SOUND DESIGNER
MACKENZIE ADAMICK
PRODUCTION MANAGER
ERIC SPROSTY
STAGE MANAGER
SIERRA HOSS
ASSOCIATE COLLABORATORS
ASSISTANT DIRECTOR
DRAMATURGY
DIALECT COACH
INTIMACY DIRECTOR
GUITARIST
ASSOCIATE PRODUCTION MANAGER
ASSISTANT STAGE MANAGER
PRODUCTION ASSISTANT
ASSISTANT SCENIC DESIGNER
ASSISTANT COSTUME DESIGNER
ASSISTANT LIGHTING DESIGNER
PROPS COORDINATOR
ASSISTANT SOUND DESIGNER
SOUND ENGINEERS
ASSISTANT SOUND ENGINEER
SOUND BOARD OPERATOR
TECHNICAL DIRECTOR
ASSISTANT TECHNICAL DIRECTOR
PAINT CHARGE
PRODUCTION ELECTRICIAN
ASSISTANT PRODUCTION
ELECTRICIAN
LIGHTING PROGRAMMER
LIGHT BOARD OPERATOR
Gabriela Tovar
Jason Roblero
Gabriela Tovar
Enzo Gonzales
Isabella Gamez
Yo-El Cassell
David Remedios
Evan Brown
Maddie Koury
Jules Trager
Cleo Brooks
Eric Tran
India Silverman
Lily Bitner
Irene Wang
Rory Shea
Irene Wang
Rebecca Smith
Jayce Ross
Reanna Valencia
Caleb Dean
Guthrie Morgan
Grant Powicki
India Silverman
Lena Broach
Ethan Vettese
PRODUCTION CREW
WARDROBE CREW RUN CREW
LIGHTING CREW PHOTOGRAPHER
FRONT OF HOUSE
Sebastian Sachs
Olivia Kelly
Janie Mcrae
Chloe McFarlane
Katie Nelson
Avery C. Russey
Eva Rivika Sheehy-Moss
Sahvon Kennedi Young
Maite LANA BREHENEY
Lana Breheney (MAITE) (she/her) is an acting major at Boston University. She has been doing theatre her whole life and has had the privilege of getting her r&p journey started during her freshman year and early sophomore year. She is so thankful for SOT and everything this program has done for her. Lana would like to thank her family and amazing best friends for their constant love and support!
Jayna Shoda Meyer (ANITA) (she/her/ hers) is an actor, director, writer, and Senior Theatre Arts Major. Her previous work at BU includes Assistant Director for Once, Voice 3 in The Corruption of Morgana Pendragon (Premiere), and one of the creators of Patterns of Wind (Premiere). Post-graduation, Jayna will be traveling to Guam in Micronesia to complete a year-long theatre project with Breaking Wave Theatre Company.
Guinevere Keith (VALERIA) (she/her) is pursuing a combined Bachelor’s and Master’s Degree in Political Science with minors in Theatre Arts and Genocide. She has acted in several extracurricular shows, most recently directing and choreographing Ride the Cyclone. Ella quisiera agradecer a su communidad por venir a esta obra de teatro.
Annika Bolton (DUNIA) is an Acting Major at Boston University. She looks forward to all the upcoming opportunities next year and is excited to work with her cohort.
Jason Roblero (LOPEZ, Dramaturg) is a Performance Acting major at Boston University who is eager to continue his studies under the passionate and progressive professors situated within the College of Fine Arts. He is the official tour guide of the Boston University School of Theatre and a strong advocate for uplifting artists of color in artistic spaces. Outside of the theatre practicum, Jason specializes in operatic singing and classical ballet. He would like to thank his sisters for the love & courage they provide him on the day-to-day.
CAST
Dunia ANNIKA BOLTON Anita JAYNA SHODA MEYER Valeria GUINEVERE KEITH Lopez JASON ROBLERO
What does it mean to come home? What even is home in a world that is increasingly more global and nebulous? These are central questions that BU Alum Tanya Saracho wrestles with in El Nogalar, her searing adaptation of Anton Chekhov’s masterwork, The Cherry Orchard. She first produced the play twelve years ago at Teatro Luna in Chicago, where it received rave reviews for the way it blended Spanish and English and gave the world a portrait of a matriarch, Maite Galvan, and her daughters Anita and Valeria, whose estate is vanishing beneath them, under siege by the ruthless narcotraficantes who have seized power in almost every corner of the country since the turn of the century. But the Galvan family is not let off easy, as they are forced to reckon with their colonial heritage and the new tide of the upwardly mobile mestizo class, who have been disenfranchised for so long in the country. Twelve years on, Mexico is still deeply entrenched in the drug trade, with almost every business somehow dependent on money from these questionable exports (which bring in more money than Mexico’s official main export, oil) and the US cannot look the other way as we are their neighbor and largest consumer. But Saracho does not focus on the narrative of drug lords and soldiers warring with each other for territory, a story we’ve seen so much of in modern media, often to the point of glamorizing violence and glossing over tens of thousands of innocent dead. This is a story about family, a story about la tierra, a story about what it means to be Mexican and what we take with us when we have no home left. ¡Que disfruten y aprendan!
Enzo Gonzales , Director
DIRECTOR’S NOTE
CORE COLLABORATORS
Enzo Gonzales (DIRECTOR) is a 2nd year MFA directing student from Lubbock, TX. Enzo has directed four plays during his time at BU, including Madeleine Sayet’s Antigone: or And Still She Must Rise Up, Steve Yockey’s Mercury, and Elise Wien’s new play OTP in association with Boston Playwright’s Theatre. He lived and worked in NYC before pursuing his masters, directing the premiere of Eva Meiling Pollitt’s Éléphant, Dylan Guerra’s Finale, and Meny Beriro’s Love Poems at American Theatre of Actors.
Tanya Saracho (PLAYWRIGHT) was born in Sinaloa, México. She is a playwright and television writer who’s worked on How To Get Away With Murder and HBO’s Looking, among other shows. Currently, she serves as the creator and showrunner of the upcoming series VIDA on Starz. She is also developing a television series called Brujas with Big Beach, which deals with the intersection between Brujería culture and feminism. Named “Best New Playwright” by Chicago magazine, Saracho has had plays produced at: Dallas Theatre Center, Victory Gardens Theatre, Theatreworks, Primary Stages and 2nd Stage in NYC, Denver Theatre Center, Oregon Shakespeare Festival, The Goodman Theater, Steppenwolf Theater, Teatro Vista, Teatro Luna, Fountain Theater, Clubbed Thumb, NEXT Theater and 16th Street Theater. Saracho was named one of nine national Latino “Luminarios” by Café magazine and given the first “Revolucionario” Award in Theater by the National Museum of Mexican
Art. She is the founder of Teatro Luna (all-Latina Theatre Company) as well as the founder of ALTA (Alliance of Latino Theatre Artists). She is currently under commission with South Coast Repertory and Two River Theatre.
Mackenzie Adamick (SOUND DESIGNER) is a second-year graduate student studying Sound Design at Boston University’s School of Theatre. Previous BU productions include Patterns of Wind, Mercury, Antigone, Let the Right One In, Mankind. Professional credits at New Repertory Theatre, Huntington Theatre Company, Actors’ Shakespeare Project. Upcoming projects include BU’s Dontrell Who Kissed the Sea, The Nina Variations, and ASP’s Coriolanus.
Sierra Hoss (STAGE MANAGER) (she/ her) is a senior Stage Management major at Boston University. At BU she has served on the stage management teams for several shows including Patterns of Wind, Aurora Borealis, and Proof. She was also recently the Production Stage Manager for And Your Little Dog Too at Apollinaire Theatre Company. She wants to thank her friends and family, especially her mom for all their continuous support.
Anika Reichelt (SCENIC DESIGNER) (she/her) is a Theatre Arts major at Boston University. With a focus in scenic design and direction, she has designed and been involved in BU productions including Proof, The Infinite Energy of Ada Lovelace, Exit the King, Mac Beth, El Nogalar, and BPT’s SÄVË THË WHÄLËS. She is currently preparing for her STAMP thesis, Switzerland. She believes wholeheartedly in theatre as a ritual that allows us to face our own
ASSOCIATE COLLABORATORS
humanity with love and hope. She is grateful to Jim, Jon, and Diane for their support, and to her parents, Muppet Purgatory, and perhaps most of all, her cat Inky.
Eric Sprosty (PRODUCTION MANAGER) is a third-year graduate student at BU. Credits include Once, Exit the King, The Infinite Energy of Ada Lovelace, Proving Up, Assistance, Grounded and Mansfield Park.
Conor Thiele (LIGHTING DESIGNER) Is a visual artist and collaborator who is driven by the unlimited potential of live performance. Conor is a first year student at the Boston University MFA program for Lighting Design, and an alumni of the Juilliard Apprenticeship Program (2020). Select credits include: OTP (Boston Playwrights Theater), Adelphi Dance Showcase (Adelphi University 2021-2022), The House of Legendary (American Opera Project), and Children of Eden (Bayway Arts Center).
Daniel Vigil (COSTUME DESIGNER) (he/ him/his) is a Theatre Arts - Costume Design major at Boston University. His love for fashion has enriched his experience at BU and opened the door for him to work on projects allowing him to express his personal style. Daniel thanks his family for being his foundation and support system.
Lily Bitner (PROPS COORDINATOR) (she/her) is a Scenic Design major at Boston University, who has worked on several BU shows such as Once, Let the Right One In, and Shakespeare in Love. Lily would like to thank her family and friends for their overwhelming support!
Lena Broach (LIGHTING PROGRAMMER) (she/her) is a sophomore Lighting Design Major from North Aurora, IL. She has worked on many BU shows before, such as Once, Let the Right One In, and The Legend of Georgia McBride. She also serves as the vice president of BU’s Trans Listening Circle. She is looking forward to her upcoming projects and junior year!
Cleo Brooks (ASSISTANT SCENIC DESIGNER) is a Scenic Design major at Boston University. She has worked on numerous BU productions such as Little Row Boat, Mankind, and STAMP’s Chariot Reversed and Maneater. She is also a player on the BU Quadball team, and plays in games most weekends.
Evan Brown (ASSOCIATE PRODUCTION MANAGER) (she/her) studies Theatre Arts and Public Relations at Boston University, and has worked on several shows in the School of Theatre, as well as with BU On Broadway and Stage Troupe. Sending much love to Louise!
Yo-El Cassell (INTIMACY COACH) (He series) is Head of/Assistant Professor of Movement for the School of Theatre at Boston University, Locally, He has provided Movement Direction, Choreography or Intimacy Direction for The Lilly’s Revenge (American Repertory Theatre), The Inheritance (SpeakEasy Stage), The Curious Incident of the Dog in The Nighttime
ASSOCIATE COLLABORATORS
(SpeakEasy Stage) and numerous other productions. He was resident choreographer for Commonwealth Shakespeare Company for nine years and is a member of SDC (Society of Stage Directors and Choreographers), a board member for Celebrity Series of Boston Community Engagement and Secretary for the Association of Movement Educators. His Movement Direction, Choreography and Intimacy Direction has been featured for concert dance, theatre, film, opera and TV locally, nationally and internationally. For Boston University’s Inmotion Theare he has directed THE JOURNEY, THE POETS, SUNLIGHT INTERIOR and COLOSSAL. For the Wheelock at Boston University, he directed Gooney Bird Greene. His Intimacy Direction will be seen in SpeakEasy Stage’s Upcoming production of Wild Goose Dreams written by Hansol Jung.
Caleb Dean (ASSISTANT TECHNICAL DIRECTOR) (he/him) is a Technical Production major at Boston University and has worked on productions such as If I Were You, Shakespeare In Love, Georgia McBride, and Let The Right One In. He would like to thank his family and friends for their continuing support, and BU for giving him this opportunity.
Isabella Gamez (DIALECT COACH) is an actress, singer, and dialect coach. Originally from Monterrey, Mexico, Isabella is now based in Los Angeles, CA. She is an empathetic and supportive trainer who is passionate about helping students reach their accent or Spanish fluency goals. For more info. on her services please visit 21accents.com
Maddie Koury (ASSISTANT STAGE MANAGER) is a stage management major at Boston University. She has worked on one other BU show, Mankind, as Assistant Stage Manager. She is very excited to continue her journey at BU.
Guthrie Morgan (PAINT CHARGE) is a second-year Scenic Art Certificate student.
Grant Powicki (PRODUCTION ELECTRICIAN) (he/him) is a Lighting Design major at Boston University. He has worked as an Assistant Production Electrician for Let the Right One In and the Assistant Lighting Designer for The Moors. He is excited for all his further work with BULX!
David Remedios (CLASSICAL GUITARIST) is program head of sound design in BU’s School of Theatre. Though guitar performance is no longer his primary creative focus, he still enjoys playing classical guitar repertoire, and bases his theatrical soundscapes on a musical foundation. David studied classical guitar with David Grimes, and sound design with John R. Fisher, at California State University, Fullerton.
Rory Shea (SOUND ENGINEER) (she/ her) is a Sound Design major from Morristown, New Jersey. She would like to thank Justin Timberlake’s falsetto for getting her through tough times.
India Silverman (ASSISTANT LIGHTING DESIGNER) (she/her) is a Lighting Design Major at Boston University. At BU, she has worked on shows such as Shakespeare in Love, Little Row Boat or Conjecture, Once, and El Nogalar. Originally from Seattle, she has worked
ASSOCIATE COLLABORATORS
with Village Theatre on You’re A Good Man Charlie Brown.
Gaby Tovar (ASSISTANT DIRECTOR)
(They/She/He) is a Theatre Arts D and P major at Boston University, currently studying playwriting/directing, and costume design. They’ve worked on a number of BU shows, their favorites including, Laure, Mac Beth, The Chariot Reversed, Little Rowboat, and Mankind. Their goal is to build a career in bringing stories to the stage that are not only new, but a voice for the identities they hold.
Jules Trager (PRODUCTION ASSISTANT)
(they/she) is a first-year Design and Production major with an intended Technical Production concentration at Boston University. They are in Kilachand Honors College and intending to minor in Mathematics. She is a graduate of George Washington Carver Center for Arts and Technology’s Design and Production program, where they were involved in over 15 productions. So far at BU, they have enjoyed spending time in the scene shop and programming lights. Jules thanks her family, friends, and professors.
Eric Tran (ASSISTANT COSTUME DESIGNER) (he/him/his) is a Costume Design major at Boston University. Combining his passions for sustainability and fashion, Eric serves as founder and president of Boston University’s sustainable fashion magazine, Fabrio Magazine.
Reanna Valencia (TECHNICAL DIRECTOR) (They/She) is a junior Technical Production major and Art History minor. Prior credits include Passage (ATD), Hamlet (TD), Mother
May I (TD), and at Glimmerglass Festival (Props and Stage Operations). They were also seen in BPT’s Save The Whales as Pierre! They are so honored to have worked with such a hardworking group of artists as well as be a part of the telling of such an important story. Upcoming credits include Art House (Project Manger) and a second season at Glimmerglass!
Irene Wang (ASSISTANT SOUND
DESIGNER) (she/her) is a Sound Design major at Boston University. Most recently she was the Sound Engineer for Let the Right One In here at Boston University and recently completed a summer at Berkshire Theatre Group working on a production of Songs for a New World. Irene would like to thank her family and friends for their support!
DRAMATURGICAL NOTE
What truth? You see where truth is, and where untruth is, but I seem to have lost my sight and see nothing. You boldly settle all important questions, but tell me, dear, isn’t it because you’re young, because you haven’t had time to suffer till you settled a single one of your questions? You boldly look forward, isn’t it because you cannot foresee or expect anything terrible, because so far life has been hidden from your young eyes? You are bolder, more honest, deeper than we are, but think only, be just a little magnanimous, and have mercy on me. I was born here, my father and mother lived here, my grandfather too, I love this house. I couldn’t understand my life without that cherry orchard, and if it really must be sold, sell me with it!
—Anton Chekhov, The Cherry Orchard
Tanya Saracho published El Nogalar in 2011. Originally produced at Teatro Vista—a Chicago-based theater company seeking to ‘cultivate Latine and artists of color into their excellence’— Saracho sought to create a “strikingly intimate and welcoming bilingual context” that lives in an adapted reality of a Chekhovian play. The quote above encapsulates one of the overarching themes Saracho captured through her adaptation of The Cherry Orchard—the duality of home life for women of ranging socioeconomic backgrounds in the midst of simmering turmoil in the cultural masses. Saracho’s adaptation shifts the narrative towards a female-centered lens and presents the question of what it means to assimilate to the shifting times or crumble under the pressure of the distant past.
Born in Sinaloa, Mexico, Saracho would often travel between the northern states of Mexico and McAllen, Texas as a result of her parents divorce in her early childhood. Saracho described this period as “living in duality—not an either/or, but both at the same time.” Her travels would lead her to study Theatre at Boston University and many of her earlier works related to the concept of borders and how we reinforce them culturally.
Regarding Saracho’s inspiration for the play, The Cherry Orchard written by Anton Chekhov was published and produced more than a century ago. Possessing a similar narrative to El Nogalar, Chekhov’s play touches on concepts of memory and the weight they inherently possess over us. Saracho gravitated towards the female protagonists, as she
adored these women and saw them as a reflection of her own lived experience: “These women are my tias, my cousins—I know these women.” Shifting the setting from a blooming cherry orchard in the cold winter of an economically-changing Russia, to a quaint pecan orchard being preyed upon by the Mexican drug cartels, Saracho adapted Chekhov’s narrative to create a merger between the two plays. Characters such as the naive servant Dunyasha from The Cherry Orchard are reconceptualized in El Nogalar as Dunia—the cynical housemaid that takes on a more prominent role in the play. Saracho’s experiment speaks towards a great many questions: if we place the same women, in the same positions of power, but in a different country and time, how does that change the narrative? How do the themes of a play published more than 100 years ago remain relevant today? What does that relevance reveal about the progress, as a society, we’ve made? How can we find more ways to empower universal themes through the eyes of LatinX culture?
The women of El Nogalar take the stage; risking their lives to fight for an orchard they see as a stepping stone to a secure future as well as a memory of a painful past.
Con Amor,
Jason Manuel Roblero
