BU CFA Spark Volume One, Issue One

VOLUME ONE, ISSUE ONE

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Photo by Emily Wade

Shifting Gears

When the College of Fine Arts moved into the former Noyes Buick dealership in 1954, the phrase “adaptive reuse” had not yet entered widespread usage. But this spirit of simultaneous preservation and adaptation, the sentiment of making better,

Welcome to Spark, the new bi-annual

rather than just making do, is a feeling that all artists share. Inspired by the industrial

publication from the College of Fine

we have re-conceptualized and reengineered what was once just an events calendar

Arts at Boston University.

“bones” of our building, and eager to tell the stories of our artistic community, into a publication that fully celebrates the College of Fine Arts.

We hope you’ll be excited by our events, and stirred by interviews with our energetic, extraordinary students and faculty. Without further ado, let the sparks fly!

IN THIS ISSUE volume one, issue one 02

Up, Up, and Away 03 Lynneterview 04 Sharing the Stage 06 Fall Events 08 Studio Practice 09 On the Road 10 The Big Pcture 11 Around the World 12 Overdrive

855 Commonwealth Avenue Boston, MA 02215

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Up, Up, and Away An interview with Photography Lecturer Toni Pepe

proved unsuccessful. A physical oceanographer at Woods Hole

The role of experimentation is important. Students see, firsthand, that creativity is a process involving trial, error, failure, and the unexpected.

Observatory plotted and estimated GPS coordinates of the floating payload over the next few days, and hypothesized that the balloon would most likely wash ashore in Nova Scotia.

The students worked together as a team to reconfigure the design of the payload, where the camera should be placed, and how the different components (balloon, parachute, and payload) should be tethered. “The role of experimentation is important,” adds Pepe. “Students see, firsthand,

“The project has both theoretical and practical goals,” says Pepe,

We send this balloon up taking care, prior to the launch that it would be

to technology they have either never used, or have very little practice with.

successful, but there are elements that were out of our control. Students learn

Few students in the class had ever used a satellite GPS unit, and none had

to be flexible, and to work with instead of against spontaneity.”

ever handled a weather balloon.”

More importantly, students come away with an understanding of the

In an interdisciplinary project incorporating STEM disciplines, students in Toni Pepe’s Experimental Photography course set a weather balloon aloft, visually chronicling its ascent to the upper atmosphere. With the

that creativity is a process involving trial, error, failure, and the unexpected.

Photography Lecturer at the College of Fine Arts. “The students are exposed

Pepe plans to further develop the weather balloon launch for the Spring 2016 semester, but hopes to schedule the project earlier in the syllabus to

limitations of human sight and appreciation for how the camera has opened

allow students to create an art piece that explores what the project means

up new worlds previously unseen or rarely seen. “I can’t go into space. I

and how they can respond to it.

can’t personally get an aerial view,” continues Pepe. “The camera gives us a perspective of the Earth that we otherwise wouldn’t have access to.”

Akin to the scientific process of trial and error, the Wachusett launch

Additionally, Pepe’s spring Digital Photography course plans to continue collaborating with the School of Music in a project called The Sensory

Photograph, in which students work with graduate students from School of

help of collaborator Don McCasland, Director of Blue Hill Observatory,

was the students’ second attempt at the project. The first launch, from

Music to create a visual response to musical pieces (from improv music to

the students used a weather balloon kit configured with a satellite GPS

Littleton, MA, resulted in an overestimated trajectory. That balloon landed

prepared pieces) in different environments.

for retrieval, and attached to a GoPro camera, to launch the balloon over

twenty miles off of Provincetown, MA, in the Atlantic Ocean. The GPS unit

Wachusett, MA, where it traveled for nearly two and a half hours before

became water logged, and attempts to retrieve the balloon by the U. S. Coast

can be beyond the 2-dimensions on paper,” continues Pepe. “The result is

landing in a swamp near Bridgewater, MA.

Guard, the Provincetown Harbormaster, and a local whale watching crew

an extraordinary intersection between the oral and visual world.”

“The project drives students to think creatively about what a photograph

Photos courtesy Toni Pepe

VOLUME ONE, ISSUE ONE

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Just Call Me LYNNE Lynne Allen, Dean ad interim and former Director of the School of Visual Arts, talks about bringing a fresh perspective to the mission of the College in a candid discussion with School of Theatre senior, Sam Farnsworth

SAM Thanks

for meeting with me today.

LYNNE I prefer Lynne. Even with the incoming students

Do you know you’re going to be good at something like that? Of course not. You have no idea. But when you work with other creative people, it helps you hone those skills. I’ve learned from a lot of other people. I’ve learned what not to do, and I’ve learned what sorts of things I should be doing.

during Orientation, I told them to call me Lynne. I think they appreciate the fact that it’s a little bit more informal.

SAM

SAM You

LYNNE Well, the people who nurtured me, that have seen

First question… do you want to go by Dean Allen, or to continue being Lynne?

have a lot of things set up in this incoming year for incoming students to get the chance to talk to you, right? What are a couple of those that we can look forward to?

LYNNE Dean Juárez had a wonderful tradition with

Donuts with the Dean. I want to continue his legacy, but am expanding it to include Lunch with Lynne, a way to sit down and converse over some pizza.

I also want to set up town hall meetings, where students can come and talk with me. I want student input because I’m putting together a task force of faculty to develop the future vision for the College. Where do we want to go with the College; what are our best assets? I need student input for that too.

this year where freshmen are signed up for a course, similar to what students do in Theatre, where students are required to go to other events at the College, whether it’s an opera performance or a concert, and then, at the end of the semester, they write a paper about what they’ve experienced. It’s not even graded, but it’s part of what’s expected.

Is there an example of that you can share?

that I have a certain propensity to think imaginatively, have allowed me to take that initiative.

I think it’s really valuable to go see other students at the College doing what they do. I would like to see that course be a College-wide thing. There should be a lot of synergy.

We want our students to connect when they’re in their

As a faculty, we are all passionate about what we do. We all struggled very hard to get where we are. We all had the same ambitions and fears when we got out of school. And I’m wondering, ‘How can the College help that? How can the College actually make that road easier?’ actual learning environment, because who knows how important that will be further in their careers.

I also try to do that with the people I work with, not to micromanage them, but to give them the chance to grow themselves. That’s key, I think.

SAM So, we’ve

sort of passions led you to where you are today? I know that’s a long journey, but in kindergarten art class, you weren’t thinking, “Ah, now this is going to lead me to be a Dean of a College?

SAM Well,

LYNNE Well, let’s start with Boston University, then

LYNNE No, I wasn’t even thinking that in high school.

LYNNE What’s really marvelous about Theatre is the

we’ll get to Boston. Most people at the University don’t know what happens at the College of Fine Arts. They think painters are having fun dabbling and musicians are playing their instruments, and actors are hopping around and screaming, and doing all kinds of things…

[Laughs]. That’s very interesting you say that. My background is pretty varied. Even though my Masters of Fine Arts (MFA) is in Painting and I have Master Printmaker certification, I was trained as an art teacher and have two degrees in Art Education too.

collaborative nature of it. It’s like one big theatre company; all of the students are in it together. You feel like you’re a family; you feel safe with the people around you.

SAM What

But, there were things in my life that sort of made me a risk taker. I lived in Europe for seven years. I moved there when I was 23, and came back when I was 31. It had an impact on how I looked at the world, how I viewed different cultures and different people; and also, how I problem-solve, especially if you don’t speak the language, because you have to learn how to get from A to B. When I came back to the states, I went back to school, and I got a job, and I moved up the promotion track partly because of my art career, but also because of my ability to problem-solve, take risks, and to think independently. To think, “Well, why are we doing it that way? Why can’t we do it this way?” I was given some leadership roles which honed those skills.

And, I think we need more outreach within the community of Boston. This past spring, the School of Visual Arts painted a mural at Roxbury Prep. They are working with communities in areas where they can offer some talent, and I think we can do more of that as well.

I’m in meetings with Ty Furman, the Managing Director of the BU Arts Initiative, and Julie Burros, the new Chief of Arts and Culture under Mayor Marty Walsh. We want to be more involved in Boston. We need to be part of that conversation. Students come here and are blown away by how hard it is, how much they learn, and how much they love it. We need to voice these sentiments so that the world hears it!

It’s going to take a lot of coffee to get through that, isn’t it? But, I hear you drink decaf, is this true? I have no idea how you survive on that.

SAM

LYNNE I’ve been drinking decaf for years. I have enough

energy without the coffee. With caffeine, I was too energetic… I had to give it up for the sake of my staff.

SAM Well,

And, when you start doing that, you start to understand, “Well, wait a minute, I can actually do this.”

As a faculty, we are all passionate about what we do. We all struggled very hard to get where we are. We all had the same ambitions and fears when we got out of school.

And I’m wondering, “How can the College help that?

How can the College actually make that road easier?”

the rest of the University the talent that we have here.

thank you. I know that, in School of Theatre, collaboration is something that we work to teach students from Day 1. It’s tough to learn, but once you start, everything starts to…

talked a bit about the kinds of things we’re doing in CFA. What are some of your hopes looking outside the College of Fine Arts to Boston?

SAM [Laughs] That’s

not incorrect…

LYNNE I know it’s not incorrect, but I think nobody

And, I would say that in Music and Visual Arts, that’s the case as well, because they’re also very cohesive.

But, then musicians and visual artists go off to their studios and practice rooms, and they’re alone, which doesn’t really happen with theatre. I guess you could go off and practice your lines and things, but I think musicians and painters go off in their own spaces, and work inside their heads, practicing and painting.

They don’t really have time together until they get out of their studios, and come together in the orchestra or in the painting classroom. are some other places you’re hoping to get some crossover happening, where we can work as a student body to actually do that besides just going up, and saying “Hey!” to each other?

really understands the work and doubt involved in studying the arts. It also takes too much effort for busy students to come to our space, there has to be a reason.

They have to want to go to a theatre performance; they have to want to go to a music concert.

LYNNE Looking back, those four years of undergrad go by

very fast. I urge students to take risks; take subjects you never have before. You never know what you’ll enjoy or be good at. It’s such a valuable time, where you can really absorb everything around you.

Get to know your professors really well, and bond with your community. Make friends across the board. Those friends are going to be with you through the rest of your life.

And finally, explore as many things as possible. Reach out and embrace the city, and all of the life that is around you, because those are experiences that are going to nurture you for the rest of your life.

Sam Farnsworth (CFA’16) is a senior Theatre Arts major focusing in playwriting and dramaturgy. Sam is currently working with his fellow senior Theatre Arts majors on S.T.A.M.P. (Senior Theatre Arts Majors

I think we need to be out in their faces. Why can’t we have pop-up theater, Romeo and Juliet talking to each other across Marsh Plaza, or an art exhibition inside Marsh Chapel? Why can’t we have musicians playing during finals, where students can sit down, and listen to beautiful violin music to relax?

SAM What

LYNNE The School of Visual Arts is trying an experiment

it’s good to know we have a cool, calm, and collected Dean. Thank you for taking this time with me.

Are there any parting words that you would like to give the student body as they’re either coming in, or finishing their time here?

It takes effort to organize things like that. Faculty and students need to want to go out and meet the public.

There’s been talk about creating a mural program on campus, where we actually put murals on blank walls, like we have in the CFA parking lot. I think we need to show

Present), a theatre company aiming to put on a season of plays this spring. Sam is also a member of a Playwright Collective in Boston that works together to keep college students generating new work.

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Angels in America, 2015

Square photos by Oshin Gregorian

Sharing the Stage An interview with School of Theatre Director Jim Petosa and Opera institute Artistic Director William Lumpkin

VOLUME ONE, ISSUE ONE

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Photo by Emily Wade

Within the rigor of a conservatory setting, how

and Petosa have come to greater appreciate this

with the Opera Institute, teaching acting from the

much room is there for collaboration? For Jim Petosa,

opportunity for their students to collaborate.

core repertoire. It is the first time Petosa is using song

School of Theatre Director, and William Lumpkin,

“Watching the activity; the interactions between

Director of the Opera Institute, the stage offers

the orchestra who are fans of the singers; and the

ample space to experiment.

theatre students, whether designers or directors

“Often with cross-disciplinary pursuits, there’s

as material in the course, and speaks to the state of operatic repertoire today.

“Audiences now demand a theatrical opera,” adds

or actors, who in any other instance, would never

Lumpkin. “Working with Jim is a perfect storm.

inherent fear of compromise,” says Petosa. “But,

interact, is something that is really special and

He is passionate about both opera and theatre.

that’s not the case at all. What started as an

unique to us,” says Lumpkin.

Our students are excited to collaborate.”

investigation has grown to be a unique way to

Petosa and Lumpkin approach each opera as

“This collaboration is quite effortless,” adds Petosa.

intertwine the dramatic content of an opera and

a unified whole, directing each play from the whole

the musical aspect of a score.”

score. While one may have a primary role at a

difference in perspective. Anything we have

Since 2002, the pair have produced over 20 rich

“We function with mutual respect, and value our

particular rehearsal, the other is never absent. They’ve

that is worthwhile comes from the totality of this

and diverse productions, from the new or rarely

yielded incredible results, aggressively adopting

perspective, not individual pursuits. This collaboration

performed works of the annual Fall Fringe Festival

the principles into their curriculum to better

is a warm and sustaining part of our lives.”

to staging Thérèse Raquin, The Rape of Lucretia,

prepare their students for life beyond the classroom.

and Owen Wingrave to reinventing the narrative of Postcards from Morocco.

Last winter, Petosa and Lumpkin wowed

“We teach students to be responsible for their

Petosa and Lumpkin are looking forward to the continued investment and investigation into

processes, to take an aggressive role in their creativity,

collaboration within the program. “Each year, there’s

and to have high standards, regardless of the

a new crop of students,” continues Lumpkin. “We

audiences in a beautiful presentation of Angels in

professional bar,” says Petosa. “Students graduate

select titles that despite being staged time and again

America, an opera based on the award-winning play

with the tools to be creative in any construct.”

are fertile enough to serve the curriculum and

by Tony Kushner, set during the early stages of the

This fall, Petosa and Lumpkin are working to

AIDS pandemic in 1980’s New York City. “With each

produce Kurt Weill’s The Seven Deadly Sins, the

year, we take on greater challenges,” continues Petosa.

opening production of the 2015 Fall Fringe Festival.

“Angels is theatrically complex, humanly complex,

Widely considered among Weill’s masterpieces,

and musically complex. Nothing is easy about that

this is the story of two immigrant sisters who

piece. Both of us were stretched to the max.”

embark on a seven-year odyssey through seven

Pushing the limits is a hallmark of this partnership, creating a “lab” for students to fully explore productions from the ground level work to the more complex nuances that stretch and challenge tradition.” Lumpkin

performance needs for music and theatre.”

In addition to the Fringe Festival programming, which includes both The Seven Deadly Sins (October 2–4) and Vinkensport, or The Finch Opera (October 9–11), the Opera Institute will stage two

vice-laden cities, as they try to earn money to

well-known masterpieces this spring, Cosí fan

build a family home in Louisiana.

tutte (February 25–28) and A Midsummer Night’s

Petosa plans to use this opportunity to connect his curriculum to the annual festival in his Acting course

Dream (April 14–17).

9/24 — 12/4

Willie Cole: AQUAHALLIC Internationally acclaimed artist creates sculptures and installations that transform everyday materials into works with multiple autobiographical, art-historical, and socio-political meanings.

Responding to the history and architecture of 808 Gallery, a former Cadillac showroom, as well as larger cultural and environmental issues, Cole exhibits a series of chandeliers and a 1959 Eldorado, created specifically for the exhibition from repurposed water bottles.

Opening Reception: September 24, 6–8pm • 808 Gallery

9/24

Akihiro Sakiya Jaen International Piano Competition gold medalist performs works

by Alexander Scriabin, Johannes Brahms, Olivier Messiaen, Ludwig van Beethoven, and Franz Liszt. Tsai Performance Center • 8pm

9/29 + 10/29

Boston University Symphony Orchestra

September 9/11 — 10/25

Ariel Freiberg: Unquenchable Thirst Ariel Freiberg’s (CFA’04) work explores notions of fragmentation and wholeness. Her large and sensuous canvases depict partially obscured faces of women that appear to blend into or emerge out of densely painted substrates or veils. Parted lips, flushed cheeks, and seductive glances become a vivid means of gaining or deflecting attention.

Opening Reception: September 11, 6–7:30pm • Sherman Gallery

9/11 — 10/18

A Call for Peace: Iri and Toshi Maruki’s Hiroshima Panels and Artifacts from the Bombings of Hiroshima and Nagasaki Commemorating the 70 anniversary of the bombings of Hiroshima and Nagasaki, A Call for Peace presents six of the 15 Hiroshima Panels produced over 30 years by Nobel Peace Prize-nominated painters Iri and Toshi Maruki. Gallery presentation includes an installation of 26 artifacts from the bombing sites provided by the Hiroshima Peace Memorial Museum. Opening Reception with presentation by Maruki Gallery Curator Yukinori Okamura • September 10, 6–8pm Stone Gallery th

9/19 + 10/6 + 10/22 + 11/5

Music Faculty Recital Series September 19, 6:30pm Soprano Lynn Eustis performs an intimate AllAmerican program with selections from art song and musical theatre, featuring James Demler, baritone, and Matthew Larson, piano.

BU Opera Institute October 6, 8pm “American Perspectives”—Collaborative pianist Shiela Kibbe performs works by André Previn, Jennifer Higdon, and Eddie Bass, featuring Klaudia Szlachta, violin, Linda Toote, flute, and Don Lucas, trombone. CFA Concert Hall October 22, 8pm Pianist Pavel Nersessian and violinist Peter Zazofsky performing works by Wolfgang Amadeus Mozart, Ludwig van Beethoven, and Sergei Prokofiev. Tsai Performance Center November 5, 8pm Pianist Pavel Nersessian performing works by Ludwig van Beethoven. Tsai Performance Center

9/24

Tim Hamill Lecture: Maya Lin Best known for her Vietnam Veterans Memorial on the National Mall in Washington, D.C., Maya Lin is an American artist and designer whose projects resonate with quiet dignity and a profound sense of historical narrative. A staunch environmentalist, Lin’s works often spark dialogue about the human impact on the natural world. Metcalf Ballroom • 4pm

September 29, 8pm Performing Stephen Hartke’s Pacific Rim (Boston premiere), Franz Joseph Haydn’s Symphony No. 98 in B-flat, and Robert Schumann’s Symphony No. 3 in E-flat, “Rhenish”.

David Hoose, conductor • Tsai Performance Center October 29, 8pm Performing John Harbison’s Remembering Gatsby: Foxtrot for Orchestra, John Wallace’s Symphony (world premiere), and Carl Nielsen’s Symphony No. 2, The Four Temperaments.

David Hoose, conductor • Tsai Performance Center

October 10/1 + 10/27 + 11/17

Boston University Chamber Orchestra

October 1, 8pm Performing Samuel Barber’s Essay No. 2 and Knoxville Summer of 1915, and Jean Sibelius’ Symphony No. 1. Tsai Performance Center • Tiffany Chang, conductor

November 19, 8pm Performing Jo Whitacre’s Lux Arumque, Bruce B and Band featuring Terry Everson and Percussion, and Alfred Reed’s David Martins, director • Tsai Pe

10/9 — 10/11

Water by the Spo

Quiara Alegría Hudes, playwright 2012 Pulitzer Prize. Family bound across continents and cyberspace the brink of redemption. Theatre

10/17 + 10/18

George Orwell’s Shakespeare’s J

Clay Hopper, director Performed New Repertory Theatre’s flagship Boston University Theatre • Tick

10/19

Cimarrón: Virtu Colombia Jorop

Grammy-nominated seven-piece composer Carlos Rojas astonishe melodic and rhythmic virtuosity, pe of the Global Lunchtime Music Con

10/19

Contemporary Pe Lecture Series: M

A Texas-born, New York-based p brightly colored works border be imagery. Referencing Post-Impre a contemporary sensibility, Berry historical references and evidence puzzles that require careful, slow psychologically charged content.

October 27, 8pm Performing works by Franz Joseph Hadyn and George Frideric Handel with Boston University Singers, conducted by Scott Allen Jarrett. Tsai Performance Center • Tiffany Chang and Scott Allen Jarrett, conductors

10/19

November 17, 8pm Performing Aaron Copland’s Appalachian Spring (Suite for 13 Instruments), Ludwig van Beethoven’s Creatures of Prometheus: Overture, and Richard Wagner’s Sigfried Idyll.

Tsai Performance Center • Tiffany Chang, conductor

Performing Felix Mendelssohn’s S Bartók’s String Quartet No. 3, and featuring pianist Michele Levin. T

10/2 — 10/25

19th Annual Fringe Festival The Seven Deadly Sins Two immigrant sisters embark on a seven-year odyssey through seven vice-laden cities as they try to earn money to build a family home in Louisiana. Kurt Weill, composer • Bertolt Brecht, librettist • William Lumpkin, music director • Jim Petosa, stage director Vinkensport, or The Finch Opera A Belgian folk competition over the town’s most melodious bird sets forth a journey into the minds of the competitors and their struggles with deception, loneliness, and love.

David T. Little, composer • Royce Vavrek, librettist • Allison Voth, music director • E. Loren Meeker, stage director Delirium A hilarious, brutal, and tragic reinterpretation of The Brothers Karamazov, Dostoevsky’s classic and compelling tale of family rivalries. Created by Theatre O • Enda Walsh, playwright Jonathan Solari, director Fringe Festival performances held at BU Theatre, Lane-Comley Studio 210 • Ticketing Code: Fringe

10/8 + 11/19

Boston University Wind Ensemble October 8, 8pm Performing Paul Dukas’ Fanfare from La Peri, Kathryn Salfelder’s Shadows Ablaze (Boston premiere), David Maslanka’s Give Us This Day, Ludwig van Beethoven’s Octet in E-flat major, Op. 103, and John Mackey’s Redline Tango. David Martins, director

Muir String Quar In Residence at B

10/30 — 12/13

Printer’s Proof: T at Wingate Studi

An exhibition to celebrate 30 ye Wingate Studio in New Hampsh and books by artists such as Sol Ford, Ambreen Butt, and Gideo of the studio under founder and Opening Reception: October 29

Novemb 11/6 — 12/18

Hannah Cole: Ca

Cole creates acutely detailed obs elements of her everyday surrou her attention to her Brooklyn ne of paintings and cut paper works and urban fixtures such as manh architectural grates. In these wor visual geometry and lyricism of Opening Reception: November

ohn Williams’ Sound the Bells!, Eric Broughton’s Excursions for Trumpet n, Gunther Schuller’s Symphony for Brass ’s Russian Christmas Music. erformance Center

oonful

t • Judy Braha, director Winner of the daries and community are stretched in this heartfelt meditation on lives on eLab@855

s 1984 & William Julius Caesar

d by Classic Repertory Company, p educational touring company. keting Code: New Rep/CRC

uosos of the po Llanero Tradition

Colombian ensemble led by harpist and es audiences with its unbridled sound, ercussive drive, and Colombian flavor. Part oncert Series. CFA Concert Hall • 12pm

erspectives Michael Berryhill

painter, Berryhill’s modestly sized, etween abstraction and recognizable essionism and Surrealism through yhill’s paintings are abound with art e of process. His paintings are picturelooking to decipher their playful yet Jacob Sleeper Auditorium • 6:30pm

rtet Boston University

String Quartet in Eb, Op, 12, Béla d Antonín Dvořák’s Piano Quintet Tsai Performance Center • 8pm

Thirty Years io

ears of artistic production at hire. Approximately fifty prints l LeWitt, Louise Bourgeois, Walton on Bok, document the history d master printer Peter Pettengill.

9, 6–8pm • Stone Gallery

ber

aring for Surfaces

servational paintings that focus on undings. Most recently, she has turned eighborhood and Manhattan in a series s that depict industrial fragments hole covers, water main rings, and rks, Cole reflects a keen sense of the the urban quotidian.

6, 6–7:30pm • Sherman Gallery

11/9

Contemporary Perspectives Lecture Series: Huma Bhabha Sculptor Huma Bhabha pushes the limits of human figuration with sculptures of grotesque dignity made from everyday materials like wood and Styrofoam. Her figures are powerful metaphors for the global citizen: precarious, unstable, prone to misinterpretation; yet highly frenetic, adaptable, and charged with a sense of fierce autonomy.

Jacob Sleeper Auditorium • 6:30pm

11/10

Dimmock Vocal Award Recital Sopranos Erika Anderson and Rose Lewis with pianist Shiela Kibbe perform works by François Couperin, John Woods Duke, Steven Harlos, Robert Schumann, and Richard Strauss. CFA Concert Hall • 8pm

11/11 — 11/22

A Taste of Honey Shelagh Delaney, playwright • Jim Petosa, director Boston Center for American Performance (BCAP) presents one of the great taboo-breaking plays of the 1950s, the story of a working-class, adolescent girl and her relationships with the black sailor who makes her pregnant, her homosexual roommate, her saloon-frequenting mother, and her mother’s new husband. BU Theatre, LaneComley Studio 210 • Ticketing Code: BCAP

11/12 + 11/16 + 11/18 + 12/9

Center for New Music November 12, 8pm “Focus on America”—Sound Icon perform works

by American Master Roger Reynolds, Rome Prize winner Ken Ueno, the winner of a call for scores, and the BU student competition.

CFA Concert Hall November 16, 8pm JACK Quartet perform works written for them by BU composers. Tsai Performance Center November 18, 8pm Internationally acclaimed JACK Quartet performs new work written for them and recently premiered in New York by John Zorn. Other works featured explore Just Intonation and alternate approaches to time, framed with movements from Pierre Boulez’s seminal livre pour quatuor. CFA Concert Hall December 9, 8pm Chicago-based Dal Niente Ensemble perform stunning recent works from Austria and Germany by Enno Poppe, Mathias Spahlinger, Mark Andre, Johannes Kreidler, Carola Bauckholt, and Helmut Lachenmann. Tsai Performance Center

11/23

BU Symphony Orchestra & Chorus at Symphony Hall Performing Gabriel Fauré’s Requiem and Igor Stravinsky’s Perséphone.

David Hoose and Scott Allen Jarrett, conductors • Symphony Hall 8pm • Ticketing Code: Symphony

December 12/9 — 12/13

Rosmersholm Henrik Ibsen, playwright • Translation by Rolf Fjelde • Bryn Boice, director In Ibsen’s rarely produced masterpiece, a former clergyman lives peacefully now that his wife has died, thanks to Rebecca West—his wife’s companion who has conspicuously stayed on at the Rosmersholm after her death—until an overdue visit from Dr. Kroll results in a torrent of rumors, scandalous admissions, and the premonitory return of the town specter.

BU Theatre, Lane-Comley Studio 210 • Ticketing Code: Theatre

12/10 — 12/18

Exposed Robert Brustein, playwright • Steven Bogart, director A BU New Play Initiative production co-produced by BCAP and Boston Playwrights’ Theatre, Exposed takes a ferociously sardonic wink through the lens of Molière’s Tartuffe to lambast contemporary America and greed in all its guises. Calderwood Pavilion at the BCA, Wimberly Theatre Ticketing Code: BCAP/BPT

Ticket Information All events are free and open to the public unless otherwise noted. For a full listing of CFA events, visit bu.edu/cfa/events.

Fringe $7 general admission; $3.50 CFA Membership; free with BU ID, at the door, day of performance, subject to availability.

New Rep/CRC $20 general public; $18 WGBH and WBUR members, Huntington Theatre subscribers; $15 seniors, students, and groups (10+); $10 CFA Membership; free with BU ID at the door, day of performance, subject to availability.

Theatre $12 general admission; $10 BU Alumni, WGBH and WBUR members, Huntington Theatre subscribers; $6 CFA Membership; free with BU ID, at the door, day of performance, subject to availability.

BCAP $20 general admission; $18 WGBH and WBUR members and Huntington Theatre subscribers; $15 seniors, students, and groups (10+); $10 CFA Membership; free with BU ID, at the door, day of performance, subject to availability.

BCAP/BPT $30 general admission; $25 seniors and groups (10+), WGBH and WBUR members, and Huntington Theatre subscribers; $15 CFA Membership; free with BU ID, at the door, day of performance, subject to availability.

Symphony Hall $25 general public; $12.50 CFA Membership; free with BU ID and student ID. • bso.org • 617–266–1200

Box Office: 617.933.8600 bostontheatrescene.com

Venues Boston University Art Galleries 808 Gallery 808 Commonwealth Avenue Sherman Gallery 775 Commonwealth Avenue Stone Gallery 855 Commonwealth Avenue

Boston University Performance Venues Boston University Opera Institute 808 Commonwealth Avenue, 2nd Floor Boston University Theatre & Lane-Comley Studio 210 264 Huntington Avenue Calderwood Pavilion at the BCA, Wimberly Theatre 527 Tremont Street CFA Concert Hall 855 Commonwealth Avenue George Sherman Union + Metcalf Ballroom 775 Commonwealth Avenue Jacob Sleeper Auditorium 871 Commonwealth Avenue Symphony Hall 301 Massachusetts Avenue TheatreLab@855 855 Commonwealth Avenue Tsai Performance Center 685 Commonwealth Avenue

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SPARK

Studio Practice: New Class Takes on the Real World An interview with Graphic Design Professor Nicholas Rock As Founder and Principal Designer for Station, a small design firm based in Providence, RI, Graphic Design Professor Nick Rock is in a unique position to

proposal, presenting their ideas in a work session

students’ control, training them to shift their ideas and

The branding group presented two concepts to the

with a real-world client.

offer fresh perspectives on the problem or the objective

clients alongside Rock’s two concepts. The client narrowed

of the client, whatever that might be.”

their final two concepts down to one from the students

“They sat in on working client sessions and candid

bring his professional projects into the classroom.

conversations that a junior level designer wouldn’t

Not only did the classroom physically morph into

“I often think about how I can take advantage

typically have access to,” explains Rock. Students in

a design studio with walls covered with every sketch

of that and give students real-world experience, ”

the course formed two teams, and while Rock couldn’t

proposed, the class modeled itself after a design firm.

explains Rock who often references his design

disclose the name of the clients, one student group

practice in his teaching.

worked on an identity/branding assignment for

“I wasn’t the professor, I was the art director, and the students were junior designers. I was engaged in

and one from Rock. They ultimately chose Rock’s design, but that fact is really beside the point.

“It’s not just about the output of product. The students were learning about the strategy at play. Sometimes it’s about imagining the future of the business. Redesigning

This past summer Rock found the perfect match to bring the “real world” directly into the classroom. Rock’s studio partnered with The Epic Decade, a design think tank that agreed to work with both Rock and his students. The class, Studio

a logo might be visually

I wasn’t the professor, I was the art director, and the students were junior designers. I was engaged in the process and inspired by the process as much as they were. They got to see directly how I work, and learn from my working process.

Practice, takes on real

transforming a company, but deeper than that the company might be transforming its work,” explains Rock.

This fall, Studio Practice will be offered to secondyear graduate Graphic Design students. A longer

clients, real projects, and real deliverables in a way

a multi-million dollar company while the second tackled

the process and inspired by the process as much as

semester, the course will be more intense than the

that a typical graphic design course can’t.

a research project involving a possible new line of business

they were. They got to see directly how I work and learn

summer session and feature a new set of clients and

related to book publishing for a growing company.

from my working process,” says Rock.

projects to prepare the students for a career in graphic

“It is truly a merger of an academic environment and a work environment,” says Rock. Charged with re-

“The course blends traditional design work that is

The group working on the book publishing research

imagining their business, students focused on the client’s

done within the classroom with the experience and know-

presented their findings and recommendations based

identity and their brand, gaining hands-on experience

how of being fluid and introducing different solutions,”

on case studies and an extensive research and discovery

in design thinking and design strategy, exploring models,

adds Rock. “As we work through the project I can point

process. “That group really learned how deep you have

and searching for inspiration.

out lessons. So often studio work involves client direction.

to go to conduct rigorous research, and came to a greater

‘Stop this. Change that.’ The course connects specific

understanding of how the landscape and big picture

lessons with real world practice on things out of the

informs your work,” Rock says.

They learned important lessons such as how to run a lient meeting, and how to prepare a design

design. “It’s really a peek behind the curtain,” says Rock.

Photo courtesy of Nicholas Rock

VOLUME ONE, ISSUE ONE

9

On the Road with Classic Repertory Company An interview with Director of Classic Repertory Company Clay Hopper Located in nearby Watertown, New Repertory Theatre

place in unconventional venues such as high schools,

premiere theatre companies. As Director of Classic

civic centers, or senior centers, these adaptations are

Repertory Company (CRC), New Repertory Theatre’s

aesthetically designed to be produced anywhere.

flagship educational outreach program, Clay Hopper

“It doesn’t even need to be in a theatre,” adds Hopper.

(CFA’05) has assisted young actors, including CFA alumni,

“That’s what’s so cool about it.”

to navigate the sometimes challenging transition from the

For those involved, it means a great deal to reach

classroom to a professional theatre company. Throughout

out to underserved, younger populations who may be

the year, CRC brings live theatre and educational units to

experiencing their first theater production; often the

schools, senior centers, universities, and summer camps

impact of their work goes well beyond the 90-minute

throughout New England, creating theatrical experiences

performance. Company members come away with

that are both educational and artistically compelling.

a higher-level of understanding about what the theater

“The mission of Classic Repertory Company is basically

Macbeth, 2015

Because the majority of CRC’s performances take

has distinguished itself as one of the Boston area’s

can do. “It’s almost a social consciousness,” says Hopper.

two-fold,” says Hopper. “Our goal is to develop new

“BU tends to cultivate students in this way. We make actors

audiences by presenting classic plays, while acting as

who have their eye on the bigger picture.”

a bridge between academia and the professional theatre.

This year’s company includes second-year Scene

We help new artists grow; it is often a springboard into

Design graduate student Ghazal Hassani (CFA’16),

the professional theatre community here in Boston.”

who is the Production Designer for the season, four

Hopper has directed CRC since October 2012, when

School of Theatre alums, Laura Detwiler (CFA’15), Grace

he rebranded the company and reshaped its mission.

Woodford (CFA’15, CAS’15), Lily Linke (CFA’15), and

He kicked off the first season with a new adaptation

Hayley Sherwood (CFA’14), as well as four young theatre

of Charles Dickens’ Great Expectations, which he

artists from area Colleges.

workshopped at BU. The adaptation starred five

Hayley Sherwood returns to New Rep after making

alums, three of whom were later cast in New Rep’s

her CRC-debut playing Lady Macbeth in the company’s

staging of Hopper’s adaptation.

adaptation of Macbeth. Passionate about the program,

“New Rep is a supportive and nurturing company,”

Sherwood who also played a leading role in Of Mice and

says Hopper. “For these young artists, having this

Men during the 2014–2015 season, grew more interested

introduction to the community in this way has helped

in CRC’s development and was given the opportunity to

propel them in the theatre community. They are very busy.”

become New Rep’s Education Associate, managing the

The new model has become the blueprint for the company, which always produces a Shakespearean

day-to-day logistics for the tour, ensuring its success.

“Our goal simply boils down to encouraging empathy

classic as well as a 19th or 20th century novel adapted

for these classic characters so that their stories live on,”

for the stage, presented in rotation for eight months

says Sherwood. “My hope is that our company engages

throughout New England.

audiences in fresh ways, giving them a new perspective on

Hopper looks for works that are curriculum-based and public domain so that he can freely create his own

classics that invigorate their personal thirst for storytelling.”

Sherwood looks forward to making new partnerships

90-minute adaptations, complemented by workshops and

throughout New England: “We hope to continue to make

talk-backs to engage the audience. Altering the story is

unique educational experiences that further reinforce

sometimes unavoidable, but while Hopper does take some

the role of the performing arts as a core learning tool.”

liberties in making changes, he never strays too far away from the original text. “These are important works of the

This fall, Classic Repertory Company will tour

20th century,” says Hopper. “Everyone should have exposure

William Shakespeare’s political tragedy Julius Caesar

to these works. Any changes we do make must serve the

and George Orwell’s classic novel 1984, including

story dramaturgically.” Hopper’s number one priority is

two public performances at Boston University

growth for the company, providing more opportunities for

Theatre (October 17–18).

Of Mice & Men, 2015

young actors in the community.

BU tends to cultivate students in this way. We make actors who have their eye on the bigger picture.

A Midsummer Night’s Dream, 2015

Photos courtesy New Repertory Theatre

10

SPARK

The Big Picture New Structure, More Synergy for the Boston University Art Galleries Cooney and Buckno consider the next few years to be

follows the Marukis

Director, Josh Buckno, are now at the helm of Boston

Artistic Director, Lynne Cooney, and Managing

transitional for the galleries as they explore the galleries’

as they create their

University Art Galleries, the newly formed consortium

vision and mission for its inaugural season in Fall 2017.

monumental artworks.

comprised of the Stone Gallery, 808 Gallery, and

“This is a great opportunity for the University,

According to Cooney,

and we’re really excited to be leading this charge,” adds

the Galleries will continue

Cooney, who plans to establish an Advisory Committee

to present temporary

Fellowship in Johannesburg, South Africa, where she

for the galleries this coming year. “Our identity will be one

exhibitions that focus on

developed an urban-based museum project with the

of collaboration. We’re fostering synergistic relationships

contemporary international,

University of the Witwatersrand’s Wits Art Museum,

across the University. The Advisory Committee will likely

national, and regional art

Cooney served previously as the Exhibitions Director

include faculty from the School of Visual Arts, Department

developments.

for the 808 and Sherman Galleries.

of History of Art and Architecture, and the College of

Sherman Gallery.

Having just returned from a yearlong Fulbright

“Merging the galleries was an idea that was put

Communication, to name a few.”

In the coming season, the Stone Gallery will host

forward nearly ten years ago,” says Cooney, “but it

This fall, in commemoration of the 70th anniversary

Printer’s Proof: Thirty Years

took the right people, the right time, and the right

of World War II, the Stone Gallery will host A Call for

at Wingate Studio (October

opportunity for everything to align.”

Peace: Iri and Toshi Maruki’s Hiroshima Panels and

30–December 13), an

Artifacts from the Bombings of Hiroshima and Nagasaki

exhibition commemorating

Buckno, who oversaw the Stone Gallery exclusively

(September 11–October 18). Presented in collaboration

thirty years of artistic

this past season. “Art is ever changing, and the merger

with the Maruki Gallery for the Hiroshima Panels

production at Wingate Studios in New Hampshire.

“It is a fantastic moment for the University,” says

and environmental issues.

“What I like about the Cole show,” says Cooney,

helps the galleries change with the time, allowing us to

and the Hiroshima Peace Memorial, A Call for Peace

Featuring fifty prints and books by artists such as Sol

“is that it announces itself as an exhibition, but also

be more effective with our communication, and more

presents six of the fifteen panels produced over thirty

LeWit, Louise Bourgeois, Walton Ford, Ambreen Butt,

merges with the architectural details of the 808 Gallery.”

efficient in collaborating within the College, with the

years by Nobel Peace Prize nominees Iri and Toshi

and School of Visual Arts Associate Professor

BU Arts Initiative, and with other departments, colleges,

Maruki, and also includes an installation of twenty-

of Painting Richard Ryan, the exhibition documents

celebrating School of Visual Arts’ alumae, will present

and programs on campus.”

six artifacts from the bombing sites.

the history of the studio under founder and master

four alumni shows in its final season as a gallery space.

printer Peter Pettengill.

This year’s schedule includes new and recent work

Boston University Art Galleries aims to build upon

“The Hiroshima Panels, completed over many

its extremely competitive program and expand the

decades, act as a document, response, and an activist

galleries’ visibility within the city. Up for the challenge,

movement for peace displaying the power of art

“As a Master Printmaker focused on intaglio, Peter

The Sherman Gallery, traditionally dedicated to

from Ariel Freiberg (CFA’04), Hannah Cole (CFA’05),

Peter Pettengill has worked with several venerable

Stacey Piwinski (CFA’99,’00), Erika Hess (CFA’09),

from transforming trauma to

artists as well as a number of talented young artists

Nina Stoltz Bellucci (CFA’09), and Stacy Mohammed

empowerments,” adds

since establishing Wingate Studio thirty years ago,”

(CFA’10). The gallery plans to close at the end of the

Buckno. “The Marukis painted

adds Buckno. “These prints merit attention, and with

season as Boston University Art Galleries shifts its focus

from a personal place, but the themes

the recently established Printmaking major in the

to enhancing the 808 and Stone Gallery spaces.

are universal.”

School of Visual Arts, the exhibition offers students a

In the spirit of interdisciplinary collaboration, the gallery welcomes

chance to see exquisite prints made only 90 miles away.”

This September, 808 Gallery will host AQUAHALLIC,

“We are continuing to sort out how to dedicate space to alumni exhibitions,” says Cooney, who mentioned the possibility of a larger alumni exhibition every few

Maruki Gallery Curator and author

a special exhibition by internationally acclaimed artist

years. “Our alumni will always be included in

of The Guide to Non-Nuclear Art

Willie Cole (September 24–December 4). Cole creates

exhibitions as appropriate.”

Yukinori Okamura for a special

sculptures and installations that transform everyday

presentation on the evening of the

materials, such as irons, shoes, and bicycles, into

In addition to the fall exhibitions, this spring, the Stone

show’s opening on September 10 ,

works with multiple autobiographical, art-historical,

Gallery will present a memorial exhibition for Joseph

as well as a number of public programs

and socio-political meanings. For the 808 Gallery, Cole

Ablow, Professor Emeritus of Art and former Director

including a Butoh-inspired dance

will exhibit a series of 7-foot tall chandeliers, as well

of the School of Visual Arts who passed away in 2012;

performance by Boston artist Sara

as a 1959 Cadillac Eldorado, created specifically for the

and the 808 Gallery will present works by South

June, and a screening of Hellfire, the

exhibition, constructed entirely from repurposed

African artist Paul Emmanuel, in addition to the annual

1985 Academy Award nominated

water bottles. These works both respond to the specific

undergraduate and graduate student shows.

documentary produced by John H.

history and architecture of the 808 Gallery, a former

Junkerman and John W. Dower which

Cadillac showroom, as well as to larger cultural

th

TOP LEFT: Photo by Chris Yager. Ariel Freiberg, Unquenchable Thirst, Oil and iridescent pigment on linen, 24" x 24" • TOP RIGHT: Photo by Ellen Denuto. Willie Cole BOTTOM: Photo Courtesey of the Maruki Gallery for the Hiroshima Panels. Iri Maruki & Toshi Maruki, Hiroshima Panels X ‘Petition’ (Detail), Paper, Indian Ink, Coloring, 71" x 283"

VOLUME ONE, ISSUE ONE

11

Photos by Marié Abe

Around the World in a Lunch Hour An interview with Musicology and Ethnomusicology Professor Marié Abe a new audience; it’s easily accessible for not only those

Initiative, the African Studies Center, and World Music/

Karbank provided Abe with a grant for the coming

and piano, Musicology and Ethnomusicology Professor

An active performer and improviser of the accordion

who are already curious, but also those who just happen

CRASHarts, a nonprofit organization celebrating world

season from the Karbank Fund for World Music.

Marié Abe is a member of the World Music circuit,

to be passing through the building or campus.” The result

music throughout the Greater Boston area, to bring

performing with the Boston-based Ethiopian groove

has been the extraordinary opportunity to offer audiences

The Nile Project to campus. Conceived by Egyptian

first Latin American music ensemble, Cimmarrón,

collective Debo Band, which has been featured in the

intellectual insights and hands-on experiences in diverse

ethnomusicologist Mina Girgis and Ethiopian singer

performing October 19th in the CFA Concert Hall.

New York Times and Rolling Stone Magazine, and on NPR.

performing arts from various parts of the globe.

Meklit Hadero, the Nile Project is a collaborative enterprise

“With a wild, powerful, and unbridled sound, the group

whose mission is to “educate, inspire, and empower the

lives up to the meaning of their name, untamed” says Abe.

Abe launched the Global Music Lunchtime Concert

The series has been wildly successful, with students

This fall, Abe is looking forward to hosting the series’

Series in the Fall of 2011. The series showcases

from not only the College of Fine Arts, but also from

citizens of the Nile basin to foster the sustainability of the

The Grammy-nominated Columbian ensemble is

musicians, dancers, and performing artists steeped

the College of Arts & Sciences and the College of

Nile River’s ecosystem through music.” During their 5-day

known for creating a fiery kind of music called música

in folkloric, vernacular, popular, and traditional

General Studies. “I started knocking on doors across

residency, the artists offered workshops, panel discussions,

llanera and the fast-paced, triple-meter dance music

music from the world over, and is accompanied by five-

campus for potentially relevant partners, which wasn’t

class visits, a matinee concert for school-aged children

joropo, played on harp, bandolaand cuatro, and

minute pre-concert lectures, workshops, and post-

always easy,” says Abe, “But in the end, it helped me

from the Boston area, and a final public performance

accompanied by bass, cajón, and maracas. The seven-

concert Q&A’s (with a translator) whenever possible.

get to know more people.” With documented success,

through the World Music/CRASHarts partnership.

piece all-star team of instrumentalists and singers, led by

In the past four years, the series has presented music

Abe has fostered interdisciplinary connections with

from Japan, the Middle East, China, Ethiopia, Ukraine,

faculty from the Department of Modern Languages

talent attracted the attention of BU alum Steven Karbank

with its melodic and rhythmic virtuosity, percussive

Mali, India, Serbia, and the Nile basin.

and Literature, Art History, Anthropology, and more,

(CAS’79), a Member of the Board of Overseers and alum

drive, and sabor Columbiano, or Columbian flavor.

who bring their students to relevant concerts.

of the Department of Philosophy. An avid music lover who

“I saw the need for a little more diversity in programming,” says Abe. “I chose lunchtime to build

This past spring, Abe worked with the BU Arts

Most recently, Abe’s reputation for hosting high-caliber

had always desired more music programming on campus,

I saw the need for a little more diversity in programming.

I chose lunchtime to build a new audience; it’s easily accessible for not only those who are already curious, but also those who just happen to be passing through the building or campus.

harpist and composer Carlos Rojas, astonishes audiences

For more details, visit bu.edu/cfa/globalmusic.

Overdrive Tim Hamill Lecture: Maya Lin

Inspiring Young Alumni Awards

Maya Lin is an American sculptor and designer whose projects range in scale from the intimate

Join us as we honor:

to the monumental. She is perhaps best-known for her Vietnam Veterans Memorial on the

Uzo Aduba (CFA’05) Emmy Award-winning Actress, Orange is the New Black

National Mall in Washington D.C., a project she submitted to a public design competition at the

David Delmar (CFA’06) Designer and Founder, Resilient Coders

age of twenty-one, and her body of work continues to resonate with quiet dignity and a profound

Greg Hildreth (CFA’05) Acclaimed Broadway Actor, Cinderella

sense of historical narrative. Lin is a staunch environmentalist, focusing on sustainable design

Visit bu.edu/cfa for details • 808 Gallery

and creating artworks meant to spark dialogue about the human impact on the natural world.

In 2009, she launched What Is Missing?, a vast multimedia project focused on the global biodiversity crisis. She considers this project to be “her last memorial.” Among her many other public and architectural projects are the Civil Rights Memorial in Montgomery, Alabama, the Peace Chapel at Juniata College, and the Museum of the Chinese in America in New York City.

September 24, 4pm • Metcalf Ballroom IMAGE CAPTION: Maya Lin, installation view of

Uzo Aduba photo provided by Adam Krause/Redux

the exhibition Platform: Maya Lin. Parrish Art Museum, Water Mill, New York, July 4 to October 13, 2014. In the foreground, three works in marble: Equator (2014), Latitude New York City (2013), and Arctic Circle (2013. On wall, Pin River—Sandy (2013), steel straight pins.

Courtesy Pace Gallery, New York.

Photo: Gary Mamay.

Muir String Quartet In Residence at Boston University

Exposed

The Grammy Award-winning Muir String Quartet has called CFA its physical and artistic home

co-produced by the Boston Center for American

for more than thirty years. Named for the renowned naturalist and Sierra Club Founder John Muir,

Performance and Boston Playwrights’ Theatre.

the ensemble was inspired by influential groups such as the Budapest String Quartet (1917–1967)

By Robert Brustein • Directed by Steven Bogart

A BU New Play Initiative Production,

and is committed to advancing contemporary American music. Comprised of Viola Professor and Principal Violist for the Boston Symphony Orchestra Steven Ansell, Cello Professor Michael

When Texas billionaire Seymour Sackeroff is

Reynolds, Violin Professor Peter Zazofsky, and violinist Lucia Lin, Muir has performed at the

in need of some forgiveness, he goes straight

White House and has premiered new works

to God’s right hand—Dick Cockburn, the

commissioned for them by leading composers

Christian televangelist who talks to the Lord

such as Joan Tower, Sheila Silver, Richard

on a regular basis—or so he says. But when

Danielpour, Richard Wilson, and Charles

Cockburn comes to roost in Seymour’s

Fussell. On October 19 , Muir opens their

mansion, all Hell breaks loose. A play with

36 season, performing Felix Mendelssohn’s

music and rhythm from the author of King

String Quartet in Eb, Op. 12, Béla Bartók’s

of Second Avenue and the Shakespeare Trilogy

String Quartet No. 3, and Antonín Dvořák’s

(The English Channel, Mortal Terror, The Last

Piano Quintet featuring pianist Michele Levin.

Will), Exposed takes a ferociously sardonic

October 19, 8pm • Tsai Performance Center

wink through the lens of Molière’s Tartuffe to

th

th

lambast contemporary America, the Right, the Left, the NRA, AIPAC, and greed in all its guides.

IMAGE CAPTION: Based at BU’s College of Fine Arts since 1983, the Muir String Quartet comprises Lucia Lin (clockwise from center), Michael Reynolds, Steven Ansell, and Peter Zazofsky.

October 10–18 • Calderwood Pavilion at the Boston Center for the Arts, Wimberly Theatre

Experience the innovative talent of the next generation of theatre, music, and visual artists when you purchase a CFA Membership! $25 per household entitles membership holders to unlimited half-price tickets to all CFA events held at the Boston University Theatre, Calderwood Pavilion at the BCA, and Symphony Hall. Become a CFA Membership holder today by calling the Boston Theatre Scene Box Office at 617.933.8600. Memberships are available now through December 2015.

Spark Editorial Team volume one, issue one

Marshall Lambert INTERVIEWS Laurel Homer and Brooke Yarborough Brooke Yarborough CONTRIBUTING WRITING + EDITING Laurel Homer and Emily Wade

DESIGN ARTICLES