the boston conservatory presents hair boston conservatory presents hair scenic coordination by anna...

Hair is presented through a special arrangement withTams-Witmark Music Library, Inc. www.tamswitmark.com.

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

HAIR

Scenic Coordination by ANNA B. LABYKINALighting Design by LINDA O'BRIEN

Costume Design by REBECCA BUTLERSound Design by BEN SCHEFF

April 25–27, 20148 p.m., Thursday–Saturday2 p.m., Saturday–Sunday

The Boston Conservatory Theater

Music by GALT MACDERMOTBook and Lyrics by JAMES RADO AND GEROME RAGNI

Co-Directed by NEIL DONOHOE AND CHRISTOPHER JAMES WEBBMusic Directed by F. WADE RUSSO

Choreographed by MICHELLE CHASSÉ

2 • Hair

Hair was an astonishing milestone in the fracturing of typical expectations of Broadway theatergoers in 1968. Beginning with theater 'happenings' like Oh, What a Lovely War!—an epic musical about the futility of World War I developed by Joan Littlewood and her ensemble at the Theatre Workshop in 1963— theater of protest was created in the fringes of the theater world, before making way into the mainstream of theatrical consciousness.

Hair was created in the midst of outrage over the Vietnam War. Atrocities like the Mi Lai Massacre had begun to disgust even the most conventional, conservative minds of the populace and diminished the exhausted fervor of those who proclaimed that the encroachment of Communism in Southeast Asia was a threat to democracy and the American way of life.

I was a child of the '60s—a suburban child. I accent "suburban" because suburbia still functioned as clusters of neighborhoods, where children grew up knowing their neighbors, classmates and the safety of the cul-de-sac streets. There was a sense of sweet, idyllic isolation from the troubles of the inner city and its demarcation of racial, religious and socio-economic divides. I realize that this was not the case in all suburban neighborhoods.

There was an 'us' and 'them' mentality that infiltrated our belief system. It was hard to shake even when our political heroes were caught with their hands very dirty in the lake of pristine American idealism. I remember my mother saying to me when Richard Nixon announced the resignation of the Presidency, “He disappointed me.”

The challenge for our students and for the artistic team was to reach into this ground-breaking piece and push aside the use of race, religion, sex, drugs and politics as weapons and shock mechanisms to find the essential truths of the anti-establishment movement. When we look back, it is easy to see the '60s and early '70s as a unified, homogenous movement; it was not. There were leaders and followers. There were means of escape and mental, spiritual enhancement that clouded clarity and the ability to become self-directed. There were those who were lost and remained lost.

The most important gifts that productions of Hair give us are the essential truths. You need to belong to something that matters. You form the most unlikely tribes of humanity when you gather together to protest injustice in

DIRECTOR'S NOTE

The Boston Conservatory • 3

the world. We move the world an inch or two towards a better planet when we embrace a more global awareness of life (to live to your fullest capacity), liberty (to have the right to dissent against prevailing wisdom) and the pursuit of happiness (to fulfill your dreams of accomplishment against all odds).

It is important for young artists to realize that there is an anointed responsibility to understand the past, reflect the present and to imagine the future.

This has been an extraordinary transformative experience for the artistic team and for the actors who are referred to as the 'Tribe.' We discovered a lot about ourselves. We found the beauty of hope in a bruised society, then and most assuredly, now.

Margaret Mead, the famed cultural anthropologist, who is gently and lovingly lampooned in Hair, said, “Never doubt that a small group of committed people can change the world. Indeed, it is the only thing that ever has."

Chris, Wade, Michelle and I hope that this experience will inspire our students to follow the tributaries of their dreams, negotiate the rapids and change the world in small and magnificent ways!

Neil Donohoe, co-director

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

Aliza Burr, Elizabeth SohStitchers/Drapers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Ashley Marie Collette,

Paola Ferreira, Natalie LaChallCostume Intern . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Maryanne MeserveyWardrobe Supervisor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Sara Hartmann

STUDENT STAFFAssistant Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Alexis Scheer Assistant Stage Managers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Daniel Gold, Kevin MorrisAssistant Conductor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Sam BagalaDance Assistants . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Martha Simmons, Briana FallonDance Captain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Zach JonesLighting Assistant . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Danielle WrennProduction Staff . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Brad Anderson, Eddie Cavazos,

Theresa Degan, Sarah Goldstein, Tyler Hohlstein,Samantha Ma, Kevin Connor

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

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

Production Run Crew . . . . . . . . . . . . . . . . . . . . . Connor Berkompas, Samantha Fabrikant,Angela Gauthier, Hannah Matusow,

Natalie Press, Hannah Zieser

4 • Hair

CASTBerger . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Drew AriscoClaude . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Jordan J. FordSheila. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Sara ShahnazarianCrissy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Sara GalloWoof . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Nelson BettencourtHud . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Kelton WashingtonJeannie . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Molly Keane-DreyerAquarius Soloist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Alia HodgeTribe. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Darren Bunch, John Cardoza,

Serge Clivio, Kevin Connor, Steven Del Col,Niani Feelings, Cody Garcia, Ricky Holguin,

Peyton James, Zachary Jones, Maya Keleher,Samantha Ma, Zaven Ovian, Amanda Paige,

Lauren Paley, Alejandra Parrilla, Matt Petromilli,Brandi Porter, Caitlin Rose, Jesse Schwartz,

Savannah Stein, Audrey Tesserot Claudia Yanez,

ORCHESTRABARI SAX/FLUTE/PICCOLOAnne Kelton, G.P.D. '15

TRUMPETLoo Kit Chong, M.M. '14Robert A. Salerno, M.M. '14Matthew Nishida, B.M. '16

TROMBONEJohn Niro, B.M. '15

PERCUSSIONTaylor Ambrosio Wood, B.M. '15

DRUM SETDaniel Raderman, B.M. '17

ACOUSTIC/ELECTRIC GUITARJessica Anne Fennelly, B.M. '15Jim Dalton* ELECTRIC BASSMichael Simon, M.M. '15

KEYBOARD/CONDUCTORF. Wade Russo*

*Faculty Member


SETTINGACT I

Setting: Woodstock

"We are stardust. We are golden. And we've got to get ourselves back to the garden."

Woodstock, by Joni Mitchell

Aquarius—Tribe and soloist

Donna—Berger and Tribe

Hashish—Tribe

Sodomy—Woof and Tribe

I'm Black/Colored Spade—Hud, Woof, Berger, Claude and Tribe

Manchester England—Claude and Tribe

Ain't Got No—Claude and Tribe

I Believe in Love—Sheila and Tribe trio

Air—Jeanie, Crissy and Dionne

Initials (L.B.J.)—Tribe

I Got Life—Claude and Tribe

Going Down—Berger and Tribe

Hair—Claude, Berger and Tribe

My Conviction—Margaret Mead (tourist lady)

Easy to Be Hard —Sheila

Don't Put It Down—Woof, and two male Tribe members

Frank Mills—Crissy

Be-In (Hare Krishna)—Tribe

Where Do I Go?—Claude and Tribe

6 • Hair

ACT II

Setting: Central Park

"Where have all the soldiers gone? Gone to graveyards, everyone Oh, when will they ever learn? Oh, when will they ever learn?"

Where Have All the Flowers Gone?, by Pete Seeger

Electric Blues—Tribe quartet

Black Boys—Tribe sextet (three male, three female)

White Boys—Tribe Supremes trio

Walking in Space—Tribe

Three-Five-Zero-Zero—Tribe

What a Piece of Work is Man—Tribe duo

Good Morning Starshine—Sheila and Tribe

Aquarius (reprise)—Tribe

Manchester England (reprise)—Claude and Tribe

Eyes Look Your Last—Claude and Tribe

The Flesh Failures (Let the Sunshine In)—Claude, Sheila, Dionne and Tribe


CASTDrew Arisco '15Nelson Bettencourt, M.F.A. '15Darren Bunch '15John Cardoza '16Serge Clivio '17Kevin Connor '15Steven Del Col '17Niani Feelings '17Jordan J. Ford '15Sara Gallo '15Cody Garcia '16Alia Hodge '15Ricky Holguin, M.F.A. '15 Peyton James '16Zach Jones '16Molly Keane-Dreyer '15Maya Keleher '16Samantha Ma '16Caitlin Rose Morrison-Dyke '17Zaven Ovian '16Amanda Paige '16Lauren Paley '15Alejandra Parrilla '16Matt Petromilli '15Brandi Porter, M.F.A. '15Jesse Schwartz '16Sara Shanazarian '16Savannah Stein '15Audrey Tesserot '15Kelton Washington, M.F.A. '15Claudia Yanez '16

ORCHESTRAAnne Kelton, G.P.D. '15Loo Kit Chong, M.M. '14Robert A. Salerno, M.M. '14Matthew Nishida, B.M. '16John Niro, B.M. '15Taylor Ambrosio Wood, B.M. '15Daniel Raderman, B.M. '17Jessica Anne Fennelly, B.M. '15Michael Simon, M.M. '15

PRODUCTION STAFFBrad Anderson '17Nelson Bettencourt, M.F.A. '15Theresa Degan, M.F.A. '15Sarah Goldstein, M.F.A. '15Tyler Hohlstein '15Samantha Ma '16Edemiro Cavazos, M.F.A. '15Kevin Connor '15Dan Gold '16Kevin Morris '16

PRODUCTION RUN CREWConnor Berkompas '17Samantha Fabrikant '17Angela Gauthier '17Hannah Matusow '17Natalie Press '17Hannah Zieser '17

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

8 • Hair

BIOSNEIL DONOHOE, director—has been director of the The Boston Con-servatory Theater Division since 1985. He has directed throughout New England, including productions at the Charles Playhouse in Boston, Speak-easy Stage Company of Boston, The Boston Gay Men’s Chorus, Waterville Summer Music Theater in Maine, Tim-berlake Playhouse in Illinois, College Light Opera Company in Falmouth, MA, Keene Summer Theater, Bill Fegan Attractions in Dallas and Chiswick Park Theater in Sudbury, MA. In addition to his performance career, he served as a director for The Green Mountain Guild of Vermont for several seasons and as a guest instructor at Boston University. For the Boston Pops, he staged ensem-ble numbers for season openings and the 1993 tribute to John Williams, and he coached 1997 Opening Night guest Elaine Paige. He also coordinated and staged performers for the nationally televised Fourth of July concerts on the Esplanade (1998–2001) and directed annual concerts that featured Boston Conservatory theater students (1998–2009). Notable Boston Conservatory credits include directing the critically-acclaimed American premiere of The National Theater adaptation of Can-dide. Donohoe formerly served on the Board of Directors of StageSource and is on the Board of Visitors of SpeakEasy Stage Company. For more information on this artis, please visit: bostonconser-vatory.edu/bio/neil-donohoe

CHRISTOPHER JAMES WEBB, director—is proud to have worked on Hair with such a talented ensem-ble. Previous directing credits include: Noises Off, The Way of The World, Pola-roid Stories, Kurt Vonnegut’s Between Time and Timbuktu and Iphigenia 2.0. Selected directing credits include Surly Girl: Ascending and Descending (Cam-bridge Science Festival); The Santaland Diaries (Peterborough Players and New Repertory Theatre); Of Mice and Men (New Rep on Tour); The Rainmaker (Foothills Theatre Company); Outed, The Trophy and Slugger (Boston The-atre Marathon); Boy Gets Girl (Worcester State University); Bernarda Alba (Stone-ham Theatre’s Young Company) and Waiting Room (Persephone Theatre Project). Webb has taught for the Den-ver Center Theatre Academy, Stone-ham Theatre, New Repertory Theatre, Munroe Center for the Arts, The Illinois institute of Art and the United South End Settlements. He earned a B.A. in theater performance from Western Michigan University, a Certificate of Completion from the Marymount London Drama Conservatory and an M.F.A. in acting from the National The-atre Conservatory. He is a proud mem-ber of Actors Equity Association. Webb is a member of the acting faculty in the musical theater division at The Boston Conservatory.


F. WADE RUSSO, musical director/conductor—is a member of The Boston Conservatory faculty, having served as musical director/conduc-tor of The Apple Tree, The Who’s Tom-my, Sweet Charity, 42nd Street, The Life and Chess. At The Boston Conserva-tory, he also directed and conducted Strike Up the Band and Show Boat. Most recently, he conducted Compa-ny at the Pittsburgh Public Theatre. Other conducting credits include By Jeeves, on Broadway and a national tour of The Boyfriend, directed by Ju-lie Andrews. Regionally, he conduct-ed at the Goodspeed Opera House (20 productions), Pittsburgh Public Theatre, Huntington Theatre, Asolo Repertory Theater, Barrington Stage, Lyric Theatre of Boston, Shakespeare Theatre of New Jersey, Gateway Play-house, Swine Palace Repertory, Wil-liamstown Theatre Festival and the Juilliard Repertory Theatre. He com-posed incidental music for The Glass Menagerie with Joanne Woodward at the Long Wharf Theatre and was vo-cal coach for the American premiere of Valley Song at Manhattan Theatre Club, directed by Athol Fugard. Rus-so conducted and played keyboards on the original cast recordings of Il-lyria and By Jeeves. This summer, he will return to the Goodspeed Opera House to conduct Fiddler on the Roof. A graduate of Louisiana State Univer-sity, Russo has served on the faculties of the National Theatre Institute (Eu-

gene O’Neill Theatre Center), Emer-son College, Circle in the Square The-atre School and The Juilliard School.

MICHELLE CHASSÉ, choreogra-pher—trained with the Boston Bal-let School and Maestro Vincenzo Celli and was on scholarship at the School of American Ballet. She graduated cum laude with a B.F.A. in dance from The Boston Conservato-ry, where she was the first recipient of the prestigious Ruth Sandholm Ambrose Award and later received the Distinguished Alumni Achieve-ment Award. She has both studied and performed with ballet, concert dance and Broadway legends from around the world. Chassé has cho-reographed numerous productions for the esteemed musical theater program at The Boston Conserva-tory, including Candide, Kismet, Okla-homa! and The Wild Party, for which she received critical acclaim within Boston and New York ranks. She re-ceived nominations for Best Chore-ography for her work on the 2008 Barnstormers Theatre production of Babes In Arms in Tamworth, NH, and the 2012 Central Square The-ater original production of Car Talk: The Musical!!! in Cambridge, MA. Her work on Le Cabaret Grimm, featured in the 2012 New York Musical Theatre Festival, earned her an Honorable Mention at that festival’s awards cer-emony, and that same year her piece,

10 • Hair

Red Smoke Rises, was performed by Boston’s Urbanity Dance Company at Jacob’s Pillow. Chassé’s continued choreography and stage direction for such internationally acclaimed ensembles as Keith Lockhart and the Boston Pops Orchestra and the Bos-ton Gay Men’s Chorus have received numerous accolades from audiences and critics alike. For more information on this artist, please visit: bostonconser-vatory.edu/bio/michelle-chasse

BEN SCHEFF, sound designer—is a sound designer, engineer and composer for theater, music, dance and circus, and he is thrilled to be a part of the rich history and amaz-ing work going on at The Boston Conservatory. Past associations in-clude Trinity Repertory Company (sound technician), The O’Neil The-atre Center (sound engineer), Perish-able Theatre and Long Wharf’s Next Stage Program. He spends his sum-mers as technical director for Circus Smirkus’s Big Top Tour. Most recently, he designed and wrote music for No Room for Wishing, an original co-pro-duction between Company One and Central Square Theatre.

DON CURIOSO, production man-ager—has served The Boston Con-servatory for 12 years. Curioso served as production manager for Civic Light Opera in Seattle, WA and was produc-tion manager/technical director for

Suffolk University. Professional cred-its include American Musical Theater, Long Wharf Theater, The Garde Arts Center and Yale Repertory Theater. Early career highlights include Babes In Arms, directed by Ginger Rogers; the pre-Broadway production of Late Nite Comic, starring Robert Lupone; the inaugural season of Connecticut Repertory Theater; and The Gifts of The Magi and Children Of Eden, featur-ing then unknown Cheyenne Jack-son. Recent Conservatory highlights include Opening Note!; productions with the late Dana Brayton; numer-ous collaborations with theater, dance, music and opera; serving as the liaison at Midway Studios during the Conservatory 2009 off-campus season; and hosting the Production Managers Forum in Boston. Curioso received his M.F.A. in technical direc-tion and production management from the University of Connecticut. His teaching credits include Wagner College, Suffolk University and The Boston Conservatory.

PATSY COLLINS BANDES, produc-tion stage manager—is currently in her 10th year as the production stage manager at The Boston Conserva-tory. Select productions include L’Enfant et les sortilèges and L’Heure espagnole, Curtains, 42nd Street, The Mikado, Quick-Change Room, Dark Elegies, Sweet Charity, Rent, Strike up the Band and many more. She also


directed productions of The Skin of Our Teeth, Good, Waiting for Godot and Rosencrantz and Guildenstern Are Dead for The Boston Conserva-tory. Other companies she has stage managed for include North Shore Music Theatre, Prometheus Dance, Boston Children’s Chorus, Intermez-zo Chamber Opera and the Den-ver Center Theatre Company (1998 Tony Award), where she worked on the world premieres of The Laramie Project and Give ’em a Bit of Mystery: Shakespeare and the Old Tradition. Collins Bandes is a member of The Boston Conservatory Theater Divi-sion and Dance Division faculties, teaching freshmen production and stagecraft. She holds a B.A. in theater with an emphasis in directing from the University of Northern Colorado.

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

versity of North Carolina, Greens-boro.

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

LINDA O'BRIEN, lighting design-er—is resident lighting designer for The Boston Conservatory Dance Theater and served as lighting direc-tor at the Boston Ballet until 2003. O’Brien’s credits at the Boston Bal-let include Christopher Wheeldon’s Firebird and Crybantic Ecstasies, Mark Godden’s Another Year, Daniel Pelzig’s Passage and Bachianas and Laszlo Berdo’s Four Hands and Below Down Under, as well as George Bal-anchine’s Who Cares? and Agnes de Mille’s Rodeo, which were featured

12 • Hair

on the PBS program Evening at Pops. She has designed for many local and regional choreographers includ-ing Seán Curran, Diane Arvanites, Tommy Neblett, Julie Ince Thomp-son and Emiko Tokunaga. She also designed the lighting for Sanford Sylvan’s opera production of A Mid-summer Night’s Dream at The Boston Conservatory.

WINSTON G. LIMAUGE, mas-ter electrician—is celebrating his fourth year at The Boston Conserva-tory. His past design credits include Waiting for Godot (Boston Conserva-tory), Rosencrantz and Guildenstern Are Dead, Abduction from the Seraglio (Harrisburg Opera) and True West (Open Stage), as well as the world premiere of Rockets Red Blare and Diva Monologues (Intermezzo Op-era Company). He has worked as an assistant lighting designer for the world premiers of The English Chan-nel (C. Walsh Theatre and Vineyard Playhouse) and Beckett at 100 (New College Theatre), as well as the IRNE-nominated production of A Streetcar Named Desire (New Repertory The-atre).

ELIZABETH ROCHA, props master—studied at Rhode Island School of De-sign, the Museum of Fine Arts School and Harvard Extension School and worked an illustrator before acciden-tally getting involved in theater. She

has fulfilled various production roles with the Theater at Monmouth, the A.R.T. Institute Program, Behind the Mask Theater, Prometheus Dance Company, Jose Mateo Ballet Theater, Boston Ballet and Costume Works.

REBECCA BUTLER, costume shop manager/costume designer—holds a B.F.A. in fashion design from the Massachusetts College of Art and Design. She has been with The Bos-ton Conservatory since 2004, where favorite productions include Ro-meo and Juliet, The Mikado, Machi-nal and The Wild Party. Freelance costume design credits include the Actors’ Shakespeare Project (Cym-beline, The Merry Wives of Windsor) and Intermezzo Chamber Opera Series (Rocket’s Red Blare, The Diva Monologues, The Prodigal Son, Anne Hutchinson). Butler is a founding member of the collaborative studio, The Industrial Stitchers Guild, and has done freelance work with Opera Boston, SpeakEasy Stage Co., Com-monwealth Shakespeare, New Eng-land Conservatory, Opera Louisiane and the Flying Karamazov Brothers, amongst others. Butler also works as an independent artist and has recently created custom pieces for runway shows, weddings, balls and a presentation piece to commemorate the service and retirement of Mas-sArt’s President, Kay Sloan.


AMANDA FEELEY, assistant cos-tume shop manager—holds a B.F.A. in fashion design from Massachu-setts College of Art and Design. She has worked as a costume technician across the country including The Santa Fe Opera, Walt Disney World, and locally at Costume Works and Atlantic Coast Theatrical Supply. She has also worked as a costume de-signer for recent productions includ-ing Legally Blonde: The Musical, The Drowsy Chaperone and The Wedding Singer, and she received an EMACT DASH nomination for her work on Beehive: The 60s Musical. Feeley’s fashion design work has been shown in Boston Fashion Week and other New England fashion shows.

KAREN KOPRYANSKI, voice and speech coach—has taught and coached at The Boston Conserva-

tory Actors' Shakespeare Project, the Williamstown Theatre Festival, Com-monwealth Shakespeare Company, Harvard Extension School, Boston College, Brandeis University, Tufts University, the Museum School for the Fine Arts, Indiana University, the American Repertory Theatre and the Moscow Art Theatre. Kopryanski has trained with The Shakespeare Theatre, Patsy Rodenburg, Anne Bogart and SITI Company, the Old Trout Puppet Workshop, and she received her M.F.A. from the American Repertory Theatre’s Institute for advanced theatre training. She is an associate teacher of Fitzmau-rice voicework and a member of AEA and VASTA.

14 • Hair

Special thanks to SecretShips.comfor providing select jewelry pieces for our Tribe!

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

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

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

THEATER FACULTY & STAFF


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DIRECTED BY PAUL DAIGNEAULT

JAN 10 - FEB 8

OUR 13/14 MUSICALS

TICKETS & INFO SPEAKEASYSTAGE.COM

DIRECTED BY PAUL MELONE

MAY 9 - JUN 7

stealthy

ac t orsshakespearepro j ec t . org

Shakespeare is… © Liz Linder Photography

RoMeo & Juliet Oct. 2 – Nov. 3, 2013

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

thE Cherry OrChard Feb. 12 – March 9, 2014

As You lIke it April 17 – May 18, 2014

1 0 t h a n n i v e r s a r y s e a s o n

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JULY 13–AUGUST 2, 2014

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

www.bostonconservatory.edu/summer2014

the boston conservatory musical theater dance intensive

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

20 • Hair

BOARD OF TRUSTEES

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

ChairmanGregory E. Bulger, TreasurerMimi Hewlett, Immediate Past

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

Theater, President, Student Government Association

TRUSTEES EMERITI/AE

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

EmeritusDonald R. Sohn, Ph.D.

BOARD OF OVERSEERS

John F. Natoli, Esq., ChairTom Kush, Immediate Past

ChairmanHoward H. Bengele, Ph.D.Peter Campisano, Ph.D.

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

ADMINISTRATION

Richard Ortner President

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

James O’Dell Associate Dean for Academic Operations

Joseph M. Edwards Associate Dean for Academic Services

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

Neil Donohoe Director of the Theater Division

Judson Evans Director of the Liberal Arts Division

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

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

Leslie Jacobson Kaye Vice President of Institutional Advancement

Eric M. Norman Vice President for Finance and Planning

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

Kimberly Haack Director of External Relations

Jake Messier Director of Marketing and Communications

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

Eileen Meny Senior Development Officer

P = Boston Conservatory parent

THE BOSTON CONSERVATORYBOARD & ADMINISTRATION

the boston conservatory presents hair boston conservatory presents hair scenic coordination by anna...

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