Little Women
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With lyrical beauty and emotional depth, Marc Adamo’s acclaimed opera brings Louisa May Alcott’s beloved novel to vibrant life. Following the spirited March sisters as they come of age during the American Civil War, Little Women explores love, loss, and the bonds of family. Adamo’s lush, contemporary score captures the depth of their journey with soaring melodies and intimate detail, making this opera a modern classic since its premiere in 1998. Featuring evocative period costumes and a cinematic set design, this production is directed by David Gately and conducted by Tiffany Chang.
This performance has been selected as part of Boston Conservatory at Berklee’s 2025–2026 Center Stage collection.
Program Information
Welcome Note
It is my great joy to welcome you to a new season of opera at Boston Conservatory at Berklee—one defined by daring artistry, powerful storytelling, and the boundless imagination of our community.
Since its founding in 1867, Boston Conservatory has stood at the forefront of artistic progress. It was among the first conservatories in America to admit women and people of color, the first to establish an opera training program, and the first to offer a degree in musical theater. That same spirit of inclusion and innovation continues to shape every note we sing, every story we tell, and every artist we nurture. In the Vocal Arts Department—home to the nation’s oldest and most forward-looking opera training program—students, faculty, and guest artists come together to explore opera not as a museum art form, but as a living, breathing language of our time. Across 12 graduate and undergraduate degree paths in performance, pedagogy, and choral artistry, our students honor centuries of tradition while fearlessly charting the future of formal conventions.
That dual commitment—to heritage and to innovation—animates our 2025–2026 mainstage season. We begin with Marc Adamo’s Little Women, whose lyrical intimacy and emotional depth bring new dimension to Alcott’s timeless tale. In February, we enter the shimmering, symbolist world of Debussy’s Impressions de Pelléas et Mélisande, a distilled vision of love and mystery rendered in exquisite color and restraint. And in April, we present the East Coast and collegiate premiere of Time to Act by Laura Kaminsky and Crystal Manich—a bold new work that confronts grief, resilience, and the urgency of social change. After its Boston performances, Time to Act will travel to National Sawdust in Brooklyn to record the work for commercial release—placing our students on a national stage and affirming Boston Conservatory’s leadership in contemporary opera. Our Opera Innovators Series—a partnership with Boston Lyric Opera—deepens this mission, welcoming visionaries such as Riccardo Frizza, Karen Slack, Brenda Rae, and Anne Bogart.
If you find yourself moved by what you hear tonight and wish to be part of our journey, I warmly invite you to reach out—either to our offices or to me personally. We would be delighted to connect with you, to share our vision, and to explore how your partnership can help us continue shaping the future of vocal artistry.
Thank you for your presence, your applause, and your belief in what we do.
—Dr. Isai Jess Muñoz, Chair of the Vocal Arts Department
Since its founding in 1867, Boston Conservatory has stood at the forefront of artistic progress. It was among the first conservatories in America to admit women and people of color, the first to establish an opera training program, and the first to offer a degree in musical theater. That same spirit of inclusion and innovation continues to shape every note we sing, every story we tell, and every artist we nurture. In the Vocal Arts Department—home to the nation’s oldest and most forward-looking opera training program—students, faculty, and guest artists come together to explore opera not as a museum art form, but as a living, breathing language of our time. Across 12 graduate and undergraduate degree paths in performance, pedagogy, and choral artistry, our students honor centuries of tradition while fearlessly charting the future of formal conventions.
That dual commitment—to heritage and to innovation—animates our 2025–2026 mainstage season. We begin with Marc Adamo’s Little Women, whose lyrical intimacy and emotional depth bring new dimension to Alcott’s timeless tale. In February, we enter the shimmering, symbolist world of Debussy’s Impressions de Pelléas et Mélisande, a distilled vision of love and mystery rendered in exquisite color and restraint. And in April, we present the East Coast and collegiate premiere of Time to Act by Laura Kaminsky and Crystal Manich—a bold new work that confronts grief, resilience, and the urgency of social change. After its Boston performances, Time to Act will travel to National Sawdust in Brooklyn to record the work for commercial release—placing our students on a national stage and affirming Boston Conservatory’s leadership in contemporary opera. Our Opera Innovators Series—a partnership with Boston Lyric Opera—deepens this mission, welcoming visionaries such as Riccardo Frizza, Karen Slack, Brenda Rae, and Anne Bogart.
If you find yourself moved by what you hear tonight and wish to be part of our journey, I warmly invite you to reach out—either to our offices or to me personally. We would be delighted to connect with you, to share our vision, and to explore how your partnership can help us continue shaping the future of vocal artistry.
Thank you for your presence, your applause, and your belief in what we do.
—Dr. Isai Jess Muñoz, Chair of the Vocal Arts Department
Composer's note
More than a century after its publication, Louisa May Alcott’s chronicle of growing up female in Civil War–era New England remains a main dish in the smorgasbord of American popular fiction. Readers have devoured the adventures of Meg, Jo, Beth, and Amy in more than 100 languages. In our own land and tongue, Hollywood has had to film the piece once every 20 years or so, to slake the recurring appetite. The applause that hailed Little Women in its own century echoes in its steadily rising prestige at the close of our own; writers as diverse as Simone de Beauvoir and Joyce Carol Oates have claimed Alcott as a literary ancestor.
I read the book as a child, and loved it. And I recognized that Little Women itself solves certain problems for the opera composer. The novel itself—part classic, part mass-culture perennial—as well as its young, lively characters in their antique locale reminded me of opera itself these days: an art buzzing with new writing and thinking while still working with resources (the bel canto–trained voice, the acoustic orchestra) that stabilized 100 years ago. I knew Jo’s wild imagination, her haunting memories, would free me musically to range between abstract and tonal, poetic and vernacular, song and symphonic forms.
The conflict of Little Women is Jo versus the passage of time. Realize this about Jo: alone among adolescent protagonists in classic American fiction (Tom Sawyer, Holden Caulfield, Portnoy), she’s happy where she is. Adored by her family, she adores them in turn. Not so poor as to starve, Jo is just poor enough to see, in each small windfall, gold to delight a Midas. Jo knows adulthood will only graduate her from her perfect home. She fights her own and her sisters’ growth because she knows deep down that growing up means growing apart.
—Mark Adamo
I read the book as a child, and loved it. And I recognized that Little Women itself solves certain problems for the opera composer. The novel itself—part classic, part mass-culture perennial—as well as its young, lively characters in their antique locale reminded me of opera itself these days: an art buzzing with new writing and thinking while still working with resources (the bel canto–trained voice, the acoustic orchestra) that stabilized 100 years ago. I knew Jo’s wild imagination, her haunting memories, would free me musically to range between abstract and tonal, poetic and vernacular, song and symphonic forms.
The conflict of Little Women is Jo versus the passage of time. Realize this about Jo: alone among adolescent protagonists in classic American fiction (Tom Sawyer, Holden Caulfield, Portnoy), she’s happy where she is. Adored by her family, she adores them in turn. Not so poor as to starve, Jo is just poor enough to see, in each small windfall, gold to delight a Midas. Jo knows adulthood will only graduate her from her perfect home. She fights her own and her sisters’ growth because she knows deep down that growing up means growing apart.
—Mark Adamo
Synopsis
Prologue
Concord, Massachusetts—1870
The dark attic of the March house—Jo, distraught, greets her friend Laurie. He’s just married Jo’s younger sister Amy; but has he only married Amy to stay near Jo? Worse: Laurie adores Amy—nothing is as it was—and the opera spirals back in time to show why Jo tried to keep it so.
Act I
Scene 1: The attic, three years before
Jo and her sisters Meg, Beth, and Amy make games of their chores. Laurie tauntingly tells Jo that his tutor, John Brooke, keeps Meg’s glove because he loves her. Jo, alone, sketching a story, fearfully denies that Meg might love him too.
Scene 2: In front of the March house, weeks later
Brooke courts Meg. Jo urges the family to reject him. Cecilia, the girls’ aunt, also scorns Brooke. But Meg, resolved, accepts him. Her family celebrates, but Jo accuses Meg of abandoning her.
Scene 3: The March garden, the following summer
Meg and Brooke adapt their parents’ wedding vows. A feverish Laurie pleads for Jo’s love. She spurns him; stung, he flees. Beth, secretly ill, collapses as Meg cries for help.
Act II
Scene 1: The offices of the Weekly Volcano, a New York City fiction tabloid, one year later
A triumphant Jo sells a story; back at her boarding house, she writes about her increasingly atomized family. A new acquaintance, Friedrich Bhaer, invites her to the opera.
Scene 2: Simultaneously, Jo’s boarding house; the March parlour; sunny Oxford lawn
Jo and Bhaer engage in flirtatious debate while, in Oxford, Amy tests Laurie’s feelings for Jo. Beth rages at the piano. Bhaer ardently recites Goethe to Jo, then Alma’s desperate telegram interrupts them. Jo flees to Concord.
Scene 3: Beth’s bedroom, three sleepless nights later
Beth dozes as her family keeps vigil. Jo bursts in; Beth bids her family leave. Beth urges Jo to accept her impending death.
Scene 4: The March house, the following spring
Cecilia baits Jo with Amy’s letter about loving Laurie. Jo wearily admits Bhaer may have abandoned her. Cecilia urges Jo to choose solitude; refusing, Jo retreats to the attic.
Scene 5: The attic
As in the beginning, Jo, distraught. Laurie, appearing, again reminisces; but now Jo rejects the past. Her sisters materialize as memories: Jo, in emotional exorcism, celebrates and releases them. Bhaer—her future—appears. Jo extends her hand to him.
Synopsis courtesy of G. Schirmer
Concord, Massachusetts—1870
The dark attic of the March house—Jo, distraught, greets her friend Laurie. He’s just married Jo’s younger sister Amy; but has he only married Amy to stay near Jo? Worse: Laurie adores Amy—nothing is as it was—and the opera spirals back in time to show why Jo tried to keep it so.
Act I
Scene 1: The attic, three years before
Jo and her sisters Meg, Beth, and Amy make games of their chores. Laurie tauntingly tells Jo that his tutor, John Brooke, keeps Meg’s glove because he loves her. Jo, alone, sketching a story, fearfully denies that Meg might love him too.
Scene 2: In front of the March house, weeks later
Brooke courts Meg. Jo urges the family to reject him. Cecilia, the girls’ aunt, also scorns Brooke. But Meg, resolved, accepts him. Her family celebrates, but Jo accuses Meg of abandoning her.
Scene 3: The March garden, the following summer
Meg and Brooke adapt their parents’ wedding vows. A feverish Laurie pleads for Jo’s love. She spurns him; stung, he flees. Beth, secretly ill, collapses as Meg cries for help.
Act II
Scene 1: The offices of the Weekly Volcano, a New York City fiction tabloid, one year later
A triumphant Jo sells a story; back at her boarding house, she writes about her increasingly atomized family. A new acquaintance, Friedrich Bhaer, invites her to the opera.
Scene 2: Simultaneously, Jo’s boarding house; the March parlour; sunny Oxford lawn
Jo and Bhaer engage in flirtatious debate while, in Oxford, Amy tests Laurie’s feelings for Jo. Beth rages at the piano. Bhaer ardently recites Goethe to Jo, then Alma’s desperate telegram interrupts them. Jo flees to Concord.
Scene 3: Beth’s bedroom, three sleepless nights later
Beth dozes as her family keeps vigil. Jo bursts in; Beth bids her family leave. Beth urges Jo to accept her impending death.
Scene 4: The March house, the following spring
Cecilia baits Jo with Amy’s letter about loving Laurie. Jo wearily admits Bhaer may have abandoned her. Cecilia urges Jo to choose solitude; refusing, Jo retreats to the attic.
Scene 5: The attic
As in the beginning, Jo, distraught. Laurie, appearing, again reminisces; but now Jo rejects the past. Her sisters materialize as memories: Jo, in emotional exorcism, celebrates and releases them. Bhaer—her future—appears. Jo extends her hand to him.
Synopsis courtesy of G. Schirmer
Cast
In order of vocal appearance:
JO MARCH – Aubrey Bosse, Anne Turner*
LAURIE (THEODORE LAWRENCE) – Noah Gunn, Robert Kleinertz*
AMY MARCH – Abby Kate Boeschen, Claire Burreson* (Cover: Ava Dunton)
BETH MARCH – Avery Mahan, Lizzie Marlow* (Cover: Megan Jacobs)
MEG MARCH – Cassondra Davies, Kayleigh Tolley*
ALMA MARCH – Madeline Darigan, Emma Rogers*
JOHN BROOKE – John Tuvera Lim*, Yanghao Liu
GIDEON MARCH / MR. DASHWOOD – Jared Kellman-Medina, Jon Motes*
CECILIA MARCH – Chihiro Asano, Sandra Piques Eddy*^
FRIEDRICH BHAER – Xander McRae*, Patrick O’Farrell
QUARTET OF VOICES – Ava Dunton*, Nicole Dipasquale, Megan Jacobs, Megan Weiss*, Liana Greger, Isabella Napoli*, Avery Richards, Kat Lutz*
WORKMEN – Noah Aiello, Omar Ahmed, JJ Klein
* Friday/Sunday Cast
^ Faculty artist
JO MARCH – Aubrey Bosse, Anne Turner*
LAURIE (THEODORE LAWRENCE) – Noah Gunn, Robert Kleinertz*
AMY MARCH – Abby Kate Boeschen, Claire Burreson* (Cover: Ava Dunton)
BETH MARCH – Avery Mahan, Lizzie Marlow* (Cover: Megan Jacobs)
MEG MARCH – Cassondra Davies, Kayleigh Tolley*
ALMA MARCH – Madeline Darigan, Emma Rogers*
JOHN BROOKE – John Tuvera Lim*, Yanghao Liu
GIDEON MARCH / MR. DASHWOOD – Jared Kellman-Medina, Jon Motes*
CECILIA MARCH – Chihiro Asano, Sandra Piques Eddy*^
FRIEDRICH BHAER – Xander McRae*, Patrick O’Farrell
QUARTET OF VOICES – Ava Dunton*, Nicole Dipasquale, Megan Jacobs, Megan Weiss*, Liana Greger, Isabella Napoli*, Avery Richards, Kat Lutz*
WORKMEN – Noah Aiello, Omar Ahmed, JJ Klein
* Friday/Sunday Cast
^ Faculty artist
Orchestra
FLUTE / PICCOLO / ALTO FLUTE
Dayna Dengler, BM '26
OBOE / ENGLISH HORN
Isabella Guevarra, BM '28
CLARINET
Mingxuan Song, BM '28
BASSOON / CONTRABASSOON
Kyle Sodman, GPD '26
HORN
Ricardo Verde, BM '26
PERCUSSION
Tianyu Guo, MM '26
Shixiao Shan, MM '25
HARP
Shaylen Joos#
PIANO / CELESTE / SYNTHESIZER
Laurann Gilley^
VIOLIN I
Rose Barranco, BM '26
Tony Li, MM '26
Serene Sung, BM '28
YenYu Kuo, BM '26
VIOLIN II
Youngmi Hwang, GPD '26
Brianna Ingber, MM '27
Davis Albayeros, BM '29
VIOLA
Changhyun Paek, GPD '25
Maya Hartglass, BM '27
CELLO
An-Chi Angel Tsuo, MM '27
Enrique Garcia, BM '28
Shuo-I Hsiao, BM '29
BASS
Joe Holt^
^Faculty artist
#Guest artist
Dayna Dengler, BM '26
OBOE / ENGLISH HORN
Isabella Guevarra, BM '28
CLARINET
Mingxuan Song, BM '28
BASSOON / CONTRABASSOON
Kyle Sodman, GPD '26
HORN
Ricardo Verde, BM '26
PERCUSSION
Tianyu Guo, MM '26
Shixiao Shan, MM '25
HARP
Shaylen Joos#
PIANO / CELESTE / SYNTHESIZER
Laurann Gilley^
VIOLIN I
Rose Barranco, BM '26
Tony Li, MM '26
Serene Sung, BM '28
YenYu Kuo, BM '26
VIOLIN II
Youngmi Hwang, GPD '26
Brianna Ingber, MM '27
Davis Albayeros, BM '29
VIOLA
Changhyun Paek, GPD '25
Maya Hartglass, BM '27
CELLO
An-Chi Angel Tsuo, MM '27
Enrique Garcia, BM '28
Shuo-I Hsiao, BM '29
BASS
Joe Holt^
^Faculty artist
#Guest artist
About the Artists
Tiffany Chang, conductor, has been recently engaged by the Lyric Opera of Chicago, Washington National Opera, Dallas Opera, Portland Opera, Minnesota Opera, Opera Columbus, and Symphony New Hampshire. Chang authors the blog Conductor as CEO and offers work culture consulting for arts organizations. Her work reimagines artistic leadership and how musicians work as strategic strengths for innovation and sustainability. Learn more about Chang.
Laurann Gilley, assistant conductor, is a pianist and conductor who has worked at Lyric Opera of Chicago for the past 20 years, and has also served at Glimmerglass Opera (for 15 years), San Francisco Opera, Seattle Opera, San Diego Opera, and numerous other companies. Recital and recording collaborations include projects with Will Liverman, J’nai Bridges, Amanda Majeski, Nicole Cabell, Alyson Cambridge, and William Burden. Learn more about Gilley.
David Gately, director, joined the faculty of Boston Conservatory at Berklee in 2022 as associate professor of opera. He previously served as guest faculty of Philadelphia's Academy of Vocal Arts and as director of the opera studio at Texas Christian University. He maintains an active professional career, which includes more than 300 productions at over 60 opera companies, symphony orchestras, theater companies, and opera training programs worldwide. Learn more about Gately.
Evan Adamson, set design, has created sets for several Boston Conservatory productions, including Cosí fan tutte, Midsummer Night’s Dream, As One, and Island of Tulipitan. His collaborations with David Gately include Il Viaggio a Reims (Wolftrap Opera); as well as La Traviata, The Barber of Seville, and La Bohème (Brevard Music Center). Adamson is an adjunct professor at Purchase College and a credited contributor to two books: How Broadway Works and Designer Drafting and Visualizing for the Entertainment World. Learn more about Adamson.
Paul Marr, lighting design, has had a long relationship with Boston Conservatory. He has designed for the dance department for over 10 years now, including the full seasons of dance for the past four years. For the opera program, he has designed the lighting for The Island of Tulipatan, As One, and Voir Dire, as well as last year’s production of Summer and Smoke. He is thrilled to be working with David Gately and the Conservatory opera program yet again.
Zoë Sundra, costume design, is thrilled to be designing at Boston Conservatory at Berklee. Previous Conservatory credits include Summer and Smoke, A Midsummer Night’s Dream, and Jesus Christ Superstar. Regional design credits include Don’t Eat the Mangos and John Proctor Is the Villain at Huntington Theatre Company, Lizard Boy at SpeakEasy Stage Company, and Chicken and Biscuits with Front Porch Collective. Learn more about Sundra.
Laurann Gilley, assistant conductor, is a pianist and conductor who has worked at Lyric Opera of Chicago for the past 20 years, and has also served at Glimmerglass Opera (for 15 years), San Francisco Opera, Seattle Opera, San Diego Opera, and numerous other companies. Recital and recording collaborations include projects with Will Liverman, J’nai Bridges, Amanda Majeski, Nicole Cabell, Alyson Cambridge, and William Burden. Learn more about Gilley.
David Gately, director, joined the faculty of Boston Conservatory at Berklee in 2022 as associate professor of opera. He previously served as guest faculty of Philadelphia's Academy of Vocal Arts and as director of the opera studio at Texas Christian University. He maintains an active professional career, which includes more than 300 productions at over 60 opera companies, symphony orchestras, theater companies, and opera training programs worldwide. Learn more about Gately.
Evan Adamson, set design, has created sets for several Boston Conservatory productions, including Cosí fan tutte, Midsummer Night’s Dream, As One, and Island of Tulipitan. His collaborations with David Gately include Il Viaggio a Reims (Wolftrap Opera); as well as La Traviata, The Barber of Seville, and La Bohème (Brevard Music Center). Adamson is an adjunct professor at Purchase College and a credited contributor to two books: How Broadway Works and Designer Drafting and Visualizing for the Entertainment World. Learn more about Adamson.
Paul Marr, lighting design, has had a long relationship with Boston Conservatory. He has designed for the dance department for over 10 years now, including the full seasons of dance for the past four years. For the opera program, he has designed the lighting for The Island of Tulipatan, As One, and Voir Dire, as well as last year’s production of Summer and Smoke. He is thrilled to be working with David Gately and the Conservatory opera program yet again.
Zoë Sundra, costume design, is thrilled to be designing at Boston Conservatory at Berklee. Previous Conservatory credits include Summer and Smoke, A Midsummer Night’s Dream, and Jesus Christ Superstar. Regional design credits include Don’t Eat the Mangos and John Proctor Is the Villain at Huntington Theatre Company, Lizard Boy at SpeakEasy Stage Company, and Chicken and Biscuits with Front Porch Collective. Learn more about Sundra.
Production Credits
CREATIVE TEAM:
Artistic Director – Isaì Jess Muñoz
Dean of Music – Kevin Haden
Chair of Vocal Arts – Isaì Jess Muñoz
Conductor – Tiffany Chang
Stage Director – David Gately
Assistant Conductor – Laurann Gilley
Scenic Designer – Evan Adamson
Lighting Designer – Paul Marr
Costume Designer – Zoë Sundra
Costume Design Assistant – Kat Lawrence
Wig Designer – Rachel Padula-Shufelt
Production Stage Manager – Cameron Sarchi
Production Assistant Stage Manager – Emily Pascucci, Ethan West
Surtitle Operator – Brenna McFarland, Abigail Nordan
Fly Console Operator – Avery Hunt
Coaching and Musical Preparation – Jean Anderson, Laurann Gilley
Rehearsal Pianists – Jean Anderson, Eoin Clark, Laurann Gilley
Vocal Arts Liaison – Patricia Au
PRODUCTION STAFF:
Director of Performance Services and Producer – Hanna Oravec
Assistant Director of Production – Becca Donald
Technical Director, Mainstage – Taylor Kaufman
Assistant Technical Director – Caleb D. Harris
Lighting Supervisor – Jacob Inman
Production Electrician – Nate Morrissey
Projection Technician – Grace Kroeger
Properties Manager – Hannah Spangler
Audio Supervisor – Andrei Radu
Audio Engineer – Maddy Poston
Costume Shop Manager – Alison Pugh
Wardrobe Manager – Blue Barber
Wardrobe Assistant – Taz Meyers
Wig Technician – Anna Corinne Lee
Costume Stock Manager/Draper/Stitcher – Kathy Scott
Drapers/Stitchers – Sam Martin, Evan Petrow
Stitchers – Rachel O’Brien, Natasha Newcomb
Costume Production Assistant – Jackie Olivia
Costume Shop Intern – Leon Grossman
Fly Console Operator – Avery Hunt
Scenery Construction – Wooden Kiwi Productions, Waltham, Massachusetts
Production Technicians – Addie Pates, Jude Riley, Hannah Jope, Hazen Polsonetti, Morgan Rotman, Thomas Fowler, Vir Gupta,
Paul Vekiarides, Derek Putnam, Buzz Korolenko, Hannah Ashe, Sami Parazin, Sandy Doll, Nick LaRosa, Mac Weaver
TPP Professor – Cassie Seinuk
CONCERT OPERATIONS STAFF:
Senior Ticket Operations and Patron Services Manager – Kelly Brennan
House Manager – Inesh Krishnamurthy, Zoe Larrimer
STUDENT PRODUCTION STAFF:
Student Assistant Stage Manager – Demitra Ypsilantis
TPP Student Crew – Luciana Marinari, Addi Deem, Jacob Morrell, Aime Yunuen Brito Lopez, Elizabeth Gore, Adrienne Porti, Haylie Christiano
Production Assistants – Judah Woomer, Milo Darlington, Naman Kasana, Valeria Caicedo, Matt Logos, Victoria McDougall, Danny Hernandez, David Balough, Gavin Sexton, Isabelle Costanzo
Student Costume Shop Assistants – Elizabeth Hillman, Clara Palmadottir, Ellie Sawyer
CONCERT SERVICES STAFF:
Assistant Director, Concert Services – Luis Herrera
Coordinator, Concert Services – Matthew Carey
Concert Production Manager – Kendall Floyd
Performance Technology Technicians – Sara Pagiaro, Goran Daskalov
Artistic Director – Isaì Jess Muñoz
Dean of Music – Kevin Haden
Chair of Vocal Arts – Isaì Jess Muñoz
Conductor – Tiffany Chang
Stage Director – David Gately
Assistant Conductor – Laurann Gilley
Scenic Designer – Evan Adamson
Lighting Designer – Paul Marr
Costume Designer – Zoë Sundra
Costume Design Assistant – Kat Lawrence
Wig Designer – Rachel Padula-Shufelt
Production Stage Manager – Cameron Sarchi
Production Assistant Stage Manager – Emily Pascucci, Ethan West
Surtitle Operator – Brenna McFarland, Abigail Nordan
Fly Console Operator – Avery Hunt
Coaching and Musical Preparation – Jean Anderson, Laurann Gilley
Rehearsal Pianists – Jean Anderson, Eoin Clark, Laurann Gilley
Vocal Arts Liaison – Patricia Au
PRODUCTION STAFF:
Director of Performance Services and Producer – Hanna Oravec
Assistant Director of Production – Becca Donald
Technical Director, Mainstage – Taylor Kaufman
Assistant Technical Director – Caleb D. Harris
Lighting Supervisor – Jacob Inman
Production Electrician – Nate Morrissey
Projection Technician – Grace Kroeger
Properties Manager – Hannah Spangler
Audio Supervisor – Andrei Radu
Audio Engineer – Maddy Poston
Costume Shop Manager – Alison Pugh
Wardrobe Manager – Blue Barber
Wardrobe Assistant – Taz Meyers
Wig Technician – Anna Corinne Lee
Costume Stock Manager/Draper/Stitcher – Kathy Scott
Drapers/Stitchers – Sam Martin, Evan Petrow
Stitchers – Rachel O’Brien, Natasha Newcomb
Costume Production Assistant – Jackie Olivia
Costume Shop Intern – Leon Grossman
Fly Console Operator – Avery Hunt
Scenery Construction – Wooden Kiwi Productions, Waltham, Massachusetts
Production Technicians – Addie Pates, Jude Riley, Hannah Jope, Hazen Polsonetti, Morgan Rotman, Thomas Fowler, Vir Gupta,
Paul Vekiarides, Derek Putnam, Buzz Korolenko, Hannah Ashe, Sami Parazin, Sandy Doll, Nick LaRosa, Mac Weaver
TPP Professor – Cassie Seinuk
CONCERT OPERATIONS STAFF:
Senior Ticket Operations and Patron Services Manager – Kelly Brennan
House Manager – Inesh Krishnamurthy, Zoe Larrimer
STUDENT PRODUCTION STAFF:
Student Assistant Stage Manager – Demitra Ypsilantis
TPP Student Crew – Luciana Marinari, Addi Deem, Jacob Morrell, Aime Yunuen Brito Lopez, Elizabeth Gore, Adrienne Porti, Haylie Christiano
Production Assistants – Judah Woomer, Milo Darlington, Naman Kasana, Valeria Caicedo, Matt Logos, Victoria McDougall, Danny Hernandez, David Balough, Gavin Sexton, Isabelle Costanzo
Student Costume Shop Assistants – Elizabeth Hillman, Clara Palmadottir, Ellie Sawyer
CONCERT SERVICES STAFF:
Assistant Director, Concert Services – Luis Herrera
Coordinator, Concert Services – Matthew Carey
Concert Production Manager – Kendall Floyd
Performance Technology Technicians – Sara Pagiaro, Goran Daskalov
Boston Conservatory thanks audience members for viewing this program information online. This paperless program saved 4,200 sheets of paper, 449 gallons of water, and 377 pounds of CO2-equivalent greenhouse gas emissions.
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