VOLUME ONE, ISSUE ONE
1
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
3
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
5
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