Boston University College of Fine Arts

Nonprofit Boston University College of Fine Arts Spring 2011 U.S. Postage PAID Boston University College of Fine Arts Boston MA 855 Commonwealth Avenue Permit No. 54162 Boston, Massachusetts 02215 www.bu.edu/cfa

College of Fine Arts

Prague Beijing Venice

If This Old

House Sydney Could Talk. : Inspiration. London

DestinationFor CFA students, creating art means taking risks, embracing new perspectives, and making some tight connections

Mexico City

 Sharing memories of Julia Child and This Old House PLUS  Art prints from South Africa’s Caversham Press  Totenberg still teaching at age 100  From the Dean Benjamín E. Juárez  Inside Spring 2011

Massachusetts. Aaron was named a 2005 MacArthur Fellow, is a ­member of the Obama National Arts Policy Committee, and was President Obama’s first nominee to the National Council on the Arts; he is also founder and president of the Sphinx Organization, a lead- ing national arts organization dedicated to building diversity in clas- sical music. An author, social entrepreneur, artist-citizen, and avid arts education advocate, Aaron is a great example of how a virtuoso musician can also be a social leader and the best possible advocate for his art. To succeed, Aaron has had to develop virtuosity in what we might call social entrepreneurial skills—skills that can be learned and taught, and which are at the core of the vision that is emerging in our strategic planning discussions. I have also found the roots of such social entrepreneurial teaching in some of the writings of Eben Tourjée, founder of the original College of Music at BU in 1872. In order­ to clarify a relevant vision for the future, we must carefully trace back 8 11 14 18 our history and remember all the lessons learned along the way. ince joining the BU College of Fine Arts in August, These two examples of collaboration and social responsibility Features 11 Impressions from South Africa get more online! I have focused my energy on discovering the remarkable go hand in hand with excellence in the artistic training of our stu- BU galleries feature artwork from South Africa’s www.bu.edu/cfa/esprit level of talent and creativity of our students, and considering dents, who will face a very difficult and uncertain future. It is our S Caversham Press. how I can help shape this learning environment to provide them with mission to provide the best possible tools for them to be relevant, Meet the Dean the global perspective and real-world tools they will need to realize resilient, and—yes—successful, although in my choice of this word 14 Destination: Inspiration For today’s CFA Get acquainted with CFA’s dynamic new leader, Benjamín Juárez. their artistic dreams. I urge everyone to create their own definitions of what “successful” students, the world is their classroom. Fall 2010 contained many memorable events, among them really means. Geena Davis’s (’79, Hon.’99) brilliant talk at BU about her work on The arts are the perfect space in which to face complex issues 18 All Over the Map From Texas to Thailand, Oil Painting in Watery Venice Explore the canals of Venice with the largest research project ever undertaken on gender in children's and to collaborate. My final thoughts go to my meetings with my CFA alumni are (almost) everywhere. Erika Rosendale (’09) and Katie entertainment (see page 24). The new year has since started at full friend Alan Brown, a leading expert on audience participation in the Peterson (’10). speed with classes, rehearsals, exhibitions, and performances. In arts. We talked of many things, but of capital importance is the Cre- January, I attended the annual conferences of two performing arts ative Campus initiative, which was created to develop cross-campus Conducting Electricity associations, ISPA (the International Society for the Performing interdisciplinary collaborations that integrate the arts into both the Portraits 6 BU’s New Arts Ambassador CFA’s dean Hear conductor Steven Mercurio Arts) and APAP (the Association of Performing Arts Presenters), academy and the surrounding community, to further develop the role is a conductor and advocate. (’80) discuss his collaboration with pop star Sting. in New York. The buzz phrases there—“collaboration” and “vision and influence of the arts within the education, service, and scholarly 8 If This Old House Could Talk Marian (’59) 2021”—are the two themes at the core of our current strategic plan- missions of the university. Along the way we must identify, docu- and Russell (’57) Morash gave us The French ning process at CFA, and it is very pertinent to discuss them both ment, and share lessons learned that will contribute to an evolving BU annual report Boston University_ Chef with Julia Child (Hon.’76), The Victory 2010 Annual Report within our BU community and with world leaders in the arts. knowledge base and learning community for campuses, as well as Garden, and This Old House. What Were How does brain trauma affect athletes? We One such leader I encountered in New York was acclaimed for the wider performing arts and presenting field. We have begun thinking Could iPhones count calories? 3 British choreographer Akram Khan, whose dance company is the necessary conversations toward establishing BU as a most cre- 20 A Century of Patience At 100, Professor Does swearing relieve stress? a platform for innovation and a diverse range of work, created ative campus, one that shares the arts with its community, its city, Roman Totenberg is ever the inspiring teacher. Watch videos about these and other www.bu.edu/ar through collaboration with artists from other disciplines. His lat- and the world. We fully embrace our role at the forefront of global Office of the President One Silber Way Boston, Massachusetts 02215 ? topics we’ve been thinking about est project, Vertical Road, features ballerina Sylvie Guillem, actor knowledge creation and collaboration. by visiting BU’s online Annual Report Departments 2 Coming Soon at www.bu.edu/ar. Juliette Binoche, composer Steve Reich, and artist Antony Gormley. I invite all of you to engage with me in this conversation, on my It was fantastic to hear about Akram’s experiences with the risks, blog at www.bu.edu/cfa/blog or, even better, in person. Through- 3 CFA Collage write to us opportunities, and rewards of artistic collaboration, as such col- out 2011, I will be travelling extensively and look forward to meeting 22 Alumni News laboration is the very reason for the existence of a College of Fine alumni across the country and the globe. My goal is to learn more 26 Supporting CFA We welcome your feedback on Arts at BU. about your work and your place in your communities, so I can share this issue of Esprit—or anything else related to CFA. Send us your Among the many inspiring meetings and interactions at and your messages and experiences here on campus. Please know that 29 Artists at Work comments at [email protected]. around these conferences was a get-together with the superb vio- you are always welcome at CFA, and I encourage you to reconnect linist Aaron Dworkin, a friend of BU who has sent many students to with us and join all that’s going on throughout the College, the the BU Tanglewood Institute, our summer music program in Lenox, University, and the City. www.bu.edu/cfa/esprit 1   Coming Soon Highlights from the CFA event calendar

Opera Visual Arts Esprit February 24­–27, 2011 April 15–May 1, 2011 CFA Collage Capturing the Spirit and The Postman Always Rings Twice MFA Exhibitions News from around the College Energy of the CFA Artistic An illicit affair between a drifter and a The School of Visual Arts welcomes art Community It’s exciting to meet a good sultry waitress begins at a lonely roadside experts and novices alike to experi- Published by diner outside Los Angeles. Her unsus- ence the work of the next generation of example—someone who is Boston University pecting husband becomes the target of contemporary artists. Four BU galleries, College of Fine Arts handling this career “with a Spring 2011 the perfect crime of passion, until betrayal all within easy walking distance, will and then fate intervene. Adapted from host exhibitions of painting, sculpture, lot of grace and integrity. Dean Benjamín E. Juárez James Cain’s controversial 1934 novel, graphic design, and art education. —Rachel Hauge once banned in Boston. Assistant Dean, Development Opening Reception: April 15, 6–8 p.m. & Alumni Relations Tickets: $20 general public; $15 BU alumni, Free and open to the public Stephanie Trodello (COM’94, students, senior citizens, Huntington CAS’94, GSM’01) subscribers, and WGBH members All galleries at Boston University Executive Director for Box Office: www.BostonTheatreScene.com External Relations or 617-933-8600 Theatre Ellen Carr Boston University Theatre, May 7–13, 2011 ” Editor 264 Huntington Avenue, Boston Hedda Gabler Corinne Steinbrenner A surrealistic rendering of Henrik Ibsen’s (COM’06) great work, Hedda explores a complex, Designers driven woman born into the gilded John Morawiec, Rachel York cage of Victorian society, desperate for Contributing Writers freedom and adventure. This intense Rich Barlow, Kimberly psychological drama that features one of Cornuelle, Patrick L. Kennedy (COM’04), John O’Rourke, the most memorable female characters Photo by Vernon Doucette Vernon by Photo Annie Laurie Sánchez, ever created for the stage will be brought Photo by Vernon Doucette Vernon by Photo Andrew Thurston to vivid life on the BU Theatre mainstage. Tickets: $12 general public; $10 BU alumni, students, senior citizens, Huntington subscrib- ers, and WGBH members Talent, Generosity—and­­ a Splash of Color Box Office: www.BostonTheatreScene.com 0211 041158 By Corinne Steinbrenner or 617-933-8600

In keeping with BU's commitment to  more events Boston University Theatre, The orchestra, choir, and cast all wore stately singing with Flanigan—a bona fide opera diva vital perspective and some challenging notions sustainability, this magazine is printed A full calendar of CFA 264 Huntington Avenue, Boston on FSC-certified paper containing black—all except star soprano Lauren Flanigan whose credits include roles with New York’s about character and dramatic intention. They 10% post-consumer waste. events is available online at (’81), who strode onto the Tsai Performance Metropolitan Opera. were an integral part of all of the choices that www.bu.edu/cfa/events. Center stage in a royal blue gown and a dazzling Flanigan, who sang the lead role in New went into the performance of Vanessa.” pink wrap. York City Opera’s staging of Vanessa in 2007, The collegial nature of Flanigan’s resi- Esprit is the winner of a The concert performance of the Samuel came to Boston to help the School of Music dency left an impression on the students CASE 2010 Communication Barber opera Vanessa was the culmination of commemorate the hundredth anniversary involved. “The collaboration and the gen- Bronze Award. Flanigan’s eight-day residency at the School of Samuel Barber’s birth by performing his erosity are the things I of Music, and it wasn’t the first time during Pulitzer Prize-winning opera. Opera Institute keep coming back to,” Flanigan’s her September campus visit that the inter- Conductor William Lumpkin says that tackling says second-year Opera Homecoming nationally acclaimed performer had shown such a demanding and rhythmically challeng- Institute student Rachel

Photo by Kalman Zabarsky Kalman by Photo Listen to the her colorful side. During the master classes ing opera would have been impossible for the Hauge (’07, ’11). Opera’s School of Music’s and rehearsals that preceded the Vanessa institute without “someone of Lauren’s expe- leading ladies often have performance of performance, Flanigan addressed students rience and magnitude as an artist” to take on reputations as prima Vanessa, featuring as “Baby” or “Dude” and made use of the the lead role. The concert, he says, was full of donnas, Hauge says, soprano Lauren occasional salty expression. energy: “Everybody really rose to the challenge “so it’s exciting to meet Flanigan, at “She was really down to earth. She was and did a terrific job.” a good example—some- www.bu.edu/cfa/ esprit. just like one of us,” says first-year Opera Insti- The performance was a true collabo- one who is handling this tute student Adrian Smith (’10, ’12), who admits ration, Flanigan says. “The students in the career with a lot of grace to being intimidated initially by the thought of School of Music and Opera Institute provided a and integrity.”

2 Esprit Spring 2011 www.bu.edu/cfa/esprit 3 CFA Collage CFA Collage Photo by Vernon Doucette Vernon by Photo Photo by Vernon Doucette Vernon by Photo

Encore! By Rich Barlow

Walt Meissner (’81) has returned to his BU roots. After stepping down as dean of the College of Fine Arts in August 2010, Meissner rejoined BU’s leadership group as associate Into the Crucible vice president for operations. “Walt spent his first 12 years at Boston By Patrick L. Kennedy University in administrative positions, dem- Doucette Vernon by Photos onstrating a keen ability to fill varied roles In March, the College of Fine Arts will take to the road for its fourth annual effectively and with distinction,” says Joseph InCite Arts Festival in New York City. For one week, students from all three Mercurio, BU’s executive vice president. CFA schools will present performances and exhibits at New World Stages In his new job, Meissner works on major and other Manhattan venues for an audience of alumni, artists, and theatre- capital projects such as the new East Campus goers. “A growing number of general audience people are becoming regu- Student Center that’s going up on Bay State lars, which is terrific,” says Jim Petosa, director of the School of Theatre. Road. The festival—which began as an experiment in 2008 and has since “The 100 Bay State Road project is a major established itself as a touchstone of the CFA student experience—jump- Face-to-Face At Last initiative, and it will change what east campus starts many a senior’s transition into the life of a professional artist. “By By Kimberly Cornuelle is like, so that’s a very exciting project,” Meiss- going into the cultural crucible that New York City is—not as audience Fisher (pictured above, top right) flew in It’s not unusual for those enrolled in the ner says. “And perhaps what I’m most excited members, but as working practitioners in an art form—students get a sense Mark Fisher spent the last week of June search- from the West Coast a few days early to partici- online program to be the only art teachers in about is being able to work with the deans of the of purpose and dignity, a sense of what hard work is required to make this ing for inspiration, and found it in a can opener. pate in a joint exhibition with students in CFA’s their schools, says Associate Professor Judith colleges to help realize their strategic plans.” kind of event come off, and a sense of pride in themselves,” says Petosa. An art teacher from California, Fisher Gallery 5. His can opener accompanied him all Simpson. For her, the program affords not only In a nod to Meissner’s service at CFA, BU’s “When they leave, they can feel they’ve accomplished something tangible, (’11) was rooting around the Goodwill store week—from wire sculpture class with Associ- the opportunity to provide an education, but Trustees retroactively granted him the title which lives with them for a long time.” on Commonwealth Avenue, trying to find an ate Professor Batu Siharulidze to printmaking also a support system for teachers when they Dean of the College of Fine Arts for his eight Evan Sanderson (’10) participated last year as an actor, and returns as object to re-create in sculpture class, when the with Lecturer Aithan Shapira. return to their classrooms. years leading the College. President Robert a playwright. Fallujah, about a journalist embedded with Marines in Iraq, mundane implement stirred his creative imagi- Midway through his residency, Fisher “Our teachers are an island in their schools, Brown had recommended the honor to recog- evolved from Sanderson’s promising senior thesis project. nation and brought him one step closer to earn- was already thinking of ways to use object re- alone,” she says. “Artists and teachers both need nize Meissner’s outstanding service as dean ad “InCite is a tangible bridge to becoming a young professional,” says ing an online Master of Arts in Art Education creation for his lesson plans in the fall. the right vocabulary to advocate for themselves. interim of the College and honor his dedication Sanderson. “It’s an unbelievable opportunity to do a full show in front of a from CFA. Kate Chawula (’11) was also gathering My goal is to equip them with to the faculty, students, and staff of CFA. packed house in downtown New York. Who gets to do that?” Fisher—who will graduate in September—­ practical ideas to take back to her classroom, that knowledge.” Virtual As dean, Meissner was responsible for is among the nearly 200 students to enroll since what she teaches ranges from finger- Megan Radocha (’11), Visionaries developing curriculum, attracting faculty in the online program since its inception in painting to two-point perspective. As the only who teaches high school art Watch a slide- members and students, and managing external 2009. After studying at their home computers art teacher in her K-8 school in Denver, Colo- in Portland, Oregon, says she show of Mark relations and fundraising for CFA’s three for nine months, Fisher and 41 of his virtual rado, she instructs more than 600 students. benefited from that support Fisher and his professional schools. Under his direction, CFA classmates arrived on campus from around the She decided on book arts and printmaking for system over months of online classmates in For a full schedule of InCite events, visit www.bu.edu/cfa/incite. completed the $15 million first phase of a facil- country in late June for the studio program, a her studio classes. communication around the action at www.bu.edu/ ity renovation plan, providing state-of-the-art week of intensive study in two of four focus Chawula found that the online commu- virtual watercooler, but the cfa/esprit. music practice studios and teaching spaces. areas: printmaking, wire sculpture, digital pho- nity helped her through the solitary study of a studio program allowed her “I’m very proud of the College of Fine tography, and book art. distance education program. “There were ups to finally put faces to names. Arts,” Meissner says. “I will continue to be an “This week has been reinvigorating,” and downs, with a few breakdown moments, “It becomes more personal once you’re active alumnus of the College, and I’ll continue Fisher said during the residency. “I feel like head on the kitchen table, wondering if I could here,” Radocha said during her week on cam- to support its endeavors and help Dean Juárez I have so much energy to put toward art, do it,” she says. “But you just have to manage pus. “I can walk up to someone and say, ‘I’ve in any way I can.” and teaching.” your time well.” talked to you a hundred million times online!’”

This article was excerpted with permission from BU Today. This article was excerpted with permission from BU Today.

4 Esprit Spring 2011 www.bu.edu/cfa/esprit 5 Photo by Stan Barouh Stan by Photo  Portraits Dean Benjamín Juárez

While studying for an MFA at the new ways of collaborating with people in entrepreneurs if they are to be success- California Institute of the Arts in the early different disciplines,” he says. “A successful ful, and to do that, they must learn to 1970s, Juárez discovered a passion for con- person, no matter where he or she is, will collaborate. ducting. He found that his love of music, always have a space and a place for the arts.” “We have to make students aware that coupled with an analytical mind, were the it’s not only practicing eight hours a day in perfect skills for mastering the baton. New Role as Dean the rehearsal room or spending eight hours Juárez quickly became one of Mexico’s Juárez first became aware of BU and its Col- a day in the studio that will guarantee suc- preeminent conductors. By his late 20s, lege of Fine Arts while attending a seminar cess,” he says. Success “is also about being he was assistant conductor and principal at Harvard Business School. His interest in in the world and the way you present your guest conductor of the State of Mexico the institution was piqued after discover- work, you present yourself, you interact Symphony Orchestra and then associate ing that Martin Luther King Jr. (GRS’55, with the market, and for that, you have to conductor of the Mexico City Philharmonic Hon.’59) was a graduate and that many acquire a different set of tools, know who Orchestra. He has conducted symphonies noted artists were on the faculty. When he you are, be socially committed, and be an and chamber orchestras around the world learned that BU was searching for a dean agent of change.” and has made a dozen recordings over the for CFA, he was immediately intrigued. Juárez also hopes to forge collabora- course of a four-decade career, earning “I thought it would be a fantastic tions of a different kind on campus and a Latin Grammy nomination in 2001 for opportunity to work again in arts educa- beyond. “It’s our mission, as the College of Best Classical Album for his recording of tion within a large research university,” Fine Arts, to make the arts a part of every Manuel Arenzana’s Maitines para la Virgen BU student’s life,” he says. In addition, he de Guadalupe. plans to develop collaborative projects with Asked about his favorite composer, cultural institutions in Boston and abroad Juárez quickly replies, “Whatever I’m con- “A successful in Russia, China, Brazil, and India. ducting at the time is my favorite music.” There is also the work of administering person, no matter an annual budget of $20 million, overseeing Champion for the Arts the curriculum for more than 2,000 stu- What distinguishes Juárez is not just his where he or she is, dents, and raising funds to modernize CFA’s musicianship, but his long career as an physical facilities. Photo by Kalman Zabarsky Kalman by Photo will always have advocate for the performing and visual arts. To do all that, Juárez says, will require He recalls that, as a child, he traveled fre- a space and a place flexibility. As dean, he says, he is charged quently with his family throughout Mexico not only with carrying on traditions and and abroad. Each trip was an opportunity to for the arts.” values, but with providing the tools for the BU’s New Arts Ambassador explore an area’s history and culture. Thus College to evolve, in an age when the arts CFA Dean Benjamín Juárez is a conductor and advocate. was born a lifelong passion for art and archi- Juárez says. He was excited by the job’s are presented by seemingly ubiquitous tecture, as well as for dance and theatre. possibilities for forging a two-way relation- technologies. That background served Juárez well ship: exploring how CFA could enrich the “Now, more peo- By John O’Rourke as general director of Mexico’s national broader University and how the University ple than at any other Meet arts center, where he oversaw professional could prepare arts majors for their inevi- time in history listen the Dean See Benjamín Juárez On a rainy afternoon, two dozen students intently as they sing passages and discuss homemaker. Music, he says, was everywhere. schools in music, dance, arts, theatre, and table economic challenges. to music,” he says. at work and hear and faculty gather in a classroom at BU’s their characters. He recalls a great aunt who lived margin- film, as well as more than 20 theatres and “In this time when young people will “Fewer people go to his vision for Opera Institute, where singers are rehears- Listening is something that comes nat- ally, raising chickens inside her home, but performing arts spaces. Prior to accepting not only have to change jobs, but change concert halls and to CFA at www. his position at BU, Juárez was director of professions several times in their lives,” live symphony orches- bu.edu/cfa/ ing the Paul Bowles composition The Wind urally to the 59-year-old. “As a musician, my who also sang La Traviata with a band. His esprit. Remains. An elegantly dressed man enters first tool is my hearing, my ears,” he says. It father would lull him to sleep as a young culture, technology, and development at he says, “the advantages of a university tras, but more people the room to applause, and a hush descends. is a quality that comes in handy in his new child with his violin. the Dr. José María Luis Mora Research education that is centered and focused listen to music on their smartphones or He smiles, putting the two singers at ease, role as dean. “I have to be very aware of the As an altar boy, Juárez fell in love with Institute in Mexico City, which focuses on on creative thinking and critical thinking on their computers, on their MP3 players, assuring them, “I’m all ears,” as he takes a different voices within the College of Fine church music. “The sound of the organ social sciences, history, and culture. will be the best tools to help them thrive satellite radio. Arts are ubiquitous now and seat nearby. Arts and the University at large, and all the in the cathedral in the solemn services in Those experiences reinforced Juárez’s and to be successful.” that’s thanks to technology. And there’s The man is Mexican music conductor stakeholders and shareholders.” the churches had a very special meaning,” belief that the arts should play a role in Ask Juárez what he hopes to accom- more to come. So we need to have that and scholar Benjamín Juárez, the new dean he says. (Juárez is now one of the world’s everyone’s life—regardless of a person’s plish in his new role and his first word is flexibility, that dialogue with what is hap- of the College of Fine Arts. Over the next An Early Love of Music authorities on early Mexican cathedral ability to pick up a paintbrush or carry a “collaboration.” Gone, he says, is the notion pening in our times, to be able to move 45 minutes, during an animated master Juárez grew up in Colonia del Valle, music.) Soon, he was playing harpsichord tune in the shower. of the artist as someone who toils alone ahead in a creative way, but, of course, class, Juárez helps the students pronounce a borough of Mexico City, the son of a and piano, and later the recorder and sev- “The arts can enhance and open new in an attic studio. Artists in the twenty- always with respect for what we have the piece’s Spanish lyrics and listens pharmacist-turned-real-estate-agent and a eral early music instruments. ways of thinking and new ways of doing and first century must think of themselves as received from the past.” E

6 Esprit Spring 2011 www.bu.edu/cfa/esprit 7  Portraits Marian and Russell Morash

Photo courtesy of WGBH If HouseThis Old Could Talk. Photos by Vernon Doucette Vernon by Photos

They gave us Julia Child's French cooking, the nation’s longest-running gardening show, and This Old House. Now Marian and Russell Morash share their star-studded memories—and a home worthy of its own spot on the Walk of Fame.

He also helped bring his wife, Marian (’59), to stardom—pressing her Her fast-growing skills would soon impress more than growing By Andrew Thurston (“I was cheap,” but willing, she quips) onto the set as the resident kids: friends looking to open a restaurant on Nantucket asked her to Victory Garden cooking ace, Chef Marian. She later penned accom- join them and re-create the dinners she dished up at home. With no Forget the 13 Emmys dotted around the living room, the relaxed panying cookbooks, was an executive chef on a number of Julia Child formal training, Marian helped them turn an old dockside launderette photograph with Muhammad Ali nestled in an alcove—even, if you programs, ran a restaurant on the island of Nantucket, and turned into the still-popular Straight Wharf Restaurant. She says her 11-year can, the Julia Child books resting, with some significance, along- down the chance to appear on the first 24-hour food network. term as head chef was “the most fun” she had in her career and brought side the family snapshots in the kitchen. back fond memories of her time as a theatre set design student at CFA: If you get too caught up in the mementos of two stellar careers, First, the Kitchen “There’s a camaraderie in the theatre that’s hard to beat; I think I had a you might neglect the house—it’s a star, too. Its renovation inspired Marian admits her early forays into cooking didn’t extend far past tuna taste of that in the restaurant.” This Old House; the kitchen and yard were sometime sets for the casserole. It’s hard to believe. From this light-filled kitchen—recently long-running The Victory Garden; and the studio used by carpenter renovated as a nine-episode construction project on The New Yankee Into the Yard and Yankee Heaven Norm Abram on the recently retired The New Yankee Workshop is Workshop—she showed America how to pickle eggplant and spruce up While the Morash kitchen holds the story of a life shaped in part by tucked away at the far end of an extensive lawn. Swiss chard. She credits Julia Child (Hon.’76) with the transformation. television, the rest of the renovated nineteenth-century farmhouse If you have a favorite public TV show, Marian and Russell Russell recalls that in 1963 he teamed up with “this strange tells a very different tale. Russell shaped television—those Emmys Morash were probably involved in it at some point. Touring the woman with a strange accent” for a “little cooking show.” It was, he prove it. Greater Boston home of the couple, who met at CFA, is like making says, “just one of three or four shows” he worked on at the time, but It was at CFA that Russell first caught a glimpse of his potential. a small-screen pilgrimage. with every episode of The French Chef shot live, there’d be plenty After floundering in the wrong program at a rival college, he arrived The Boston Globe has called Russell (’57) the “granddaddy of of unfinished meals languishing on set. Child sent them back with at BU on academic probation. He’d come to study theatre and, find- do-it-yourself TV.” He contends he doesn’t “quite see myself as Russell: “She would send home things they had partially cooked ing a field he cared for, prospered. For those who love television, that,” but the title isn’t far from the mark. A longtime producer and with all kinds of instructions—finish it off this way, Marian, and that’s something to celebrate—the skills he refined at CFA proved director at WGBH, Boston’s public television station, he created do this and do that—and I started cooking,” says Marian. As she to be instrumental in helping Russell land a small-screen job at The Victory Garden, This Old House, and The New Yankee Work- became closer to Child, cooking became a bigger part of her life, a WGBH in the late 1950s. The station needed someone with a theatre shop, and first brought Julia Child’sThe French Chef to our screens. fun “diversion from taking care of the children,” she says. background to corral its on-screen stars, “to mount productions and

8 Esprit Spring 2011 www.bu.edu/cfa/esprit 9 Impressions from

South Africa Photo by LKalman Zabarsky LKalman by Photo

Two exhibitions explore a graphic tradition “Well, there is this idea I’ve had about buying a house, 25 years in the making. fixing the house, and selling the house.” —Russell Morash Photos by Vernon Doucette Vernon by Photos

deal with the talent—that’s what I’d been trained to do, so it was a yard—The New Yankee Workshop. After 21 seasons, the woodwork- perfect fit,” he says. ing program finished in 2009 and, with its once humming saws By Annie Laurie Sánchez Russell spent the next two decades directing public televi- dormant, the shop is peaceful now (Russell has pondered giving sion staples for WGBH, from kids’ shows to Shakespearean revues, it to the Smithsonian, but after watching the protracted donation but it was his after-work interests—gardening and home improve- of Child’s old kitchen, he can’t face the paperwork). Still, projects ment—that were to bring the world a new genre of entertainment: from the show—beautifully crafted cabinets, a sturdy dovecote— how-to television. adorn the Morash homestead. A small vegetable patch provides the only hint that the Morashes’ yard was once The Victory Garden’s home. (The show’s The Good Life first stop was the WGBH parking lot with the studio-bound cameras The Workshop’s end left the Morashes officially retired—he put- “rolled as far as their cables would permit,” says Russell.) Russell ters in the yard, she cooks the produce he unearths. Russell tends had suggested a gardening program to the bosses at WGBH because to avoid the current versions of his old shows—“Been there, done he was a “passionate, if inexpert gardener” and wanted to show audi- that”—but is flattered the concepts have taken off, even if some of ences how they could fill their kitchen tables with vegetables from today’s how-to efforts are “just dreadful.” Marian says the same at their own backyards. It helped that the 1975 launch of Crockett’s first, but quietly admits to watching Iron Chef America: “It’s fun Victory Garden resonated with a nation feeling the squeeze from an and I’ve seen some chefs I know on it. I watch it more for amuse- Masabelaneni. For those who didn’t fill their BU oil embargo and talking more about self-sufficiency. Soon secure in ment than to get any really heavy-duty cooking ideas.” language requirement with courses in isiZulu, this a prime-time spot, it would generate a bestselling book and cook- Occasionally, they also share their memories of Julia Child expression is an invitation: “Let us share.” It expresses a spirit of book—cue Chef Marian—and, despite the passing of its eponymous and opinions on the recent book and movie, Julie & Julia, about— openness and community central to the collaborative experience first host, is still rolling 35 seasons later. “allegedly about,” clarifies Russell—their old colleague and friend. offered artists-in-residence at a unique artists’ haven in South The success ignited Russell’s career. “Instead of tolerating me,” The reviews aren’t good: “It wasn’t the Julia we knew,” they agree. Africa—Caversham Press. he says, “enduring me,” station managers asked if he had any other She was serious about food and “funny, but not silly,” Russell adds. Founded by printmaker and professor Malcolm Christian in shows in mind. After renovating his own home, he did. “I said, ‘Well, But there is an upside: people are buying Child’s books again, 1985 in the scenic Kwazulu-Natal midlands, the press came into there is this idea I’ve had about buying a house, fixing the house, keeping her recipes alive. being at a time of political, cultural, and racial strife in a South and selling the house.’” This Old House would prompt a world of They’re still cooking the ones conjured up in Chef Marian’s Africa with almost a decade of struggle against apartheid still ahead. do-it-yourself shows: “People just loved it because there was no kitchen, too, and those tasty homegrown treats, along with the oft- A cultural boycott along with poverty and violence in the country such thing; there was absolutely no reality television.” copied Norm Abram-crafted pieces, the Emmys, and the legacy of stymied growth and recognition of South African art. The press It also led to another long-running Russell Morash master- a television genre enjoyed by millions worldwide, are mementos would help change that, inviting international and local artists to piece—and a barn-like building and TV studio at the end of the that can leave you a little starstruck. E experiment and collaborate in this studio-sanctuary, then exhibit- ing those works domestically and, later, abroad. Over its 25 years, the

10 Esprit Spring 2011 www.bu.edu/cfa/esprit 11 press has expanded to include the Caversham Centre for Artists helped bring the show’s wide selection of impressions by diverse Local and international art- Campus Events and Writers, as well as programs and centers focusing on education Caversham affiliates to this hemisphere. ists, writers, and educators now come to experiment and community development. Three other printmakers of note who have shared in the with printmaking tech- Now the BU community will get a look at some of the powerful, Caversham experience are Deborah Bell, Robert Hodgins, and niques, collaborate, and South Africa: Artists, Prints, and Community at times haunting, visuals produced at Caversham. From February William Kentridge, whose work will be the focus of a complementary share the community spirit within the white-washed February 8–March 27, 2011 8 to March 27, 2011, the 808 Gallery will present South Africa: Art- exhibition at the Boston University Art Gallery at the Stone Gallery, walls of the former Wes- 808 Gallery, 808 Commonwealth Avenue, Boston ists, Prints, Community—25 Years at The Caversham Press. Lynne Three Artists at The Caversham Press. With Christian’s guidance, the leyan chapel that houses the press. Allen, director of the School of Visual Arts, knows firsthand the trio has collaborated on several portfolios at Caversham, works from Three Artists at The Caversham Press creative influence of Caversham. She was an artist-in-residence which will be among the smorgasbord of graphic art on view at the February 8–March 27, 2011 there a decade ago, and her presence on Caversham’s board has BUAG and 808 Gallery. Masabelaneni indeed. E BUAG at the Stone Gallery, 855 Commonwealth Avenue, Boston

Free and open to the public Caversham artists explore For gallery hours and more information:  intaglio (engraving and www.bu.edu/cfa/events etching), stone lithography, screenprinting (serigraphy), and linocut. They also push the envelope with subjects Skill with linocut is apparent South Africa on Stage in the late Gabisele Nkosi’s such as identity, nationalism, As the School of Visual Arts hosts the work of South Afri- politics, or violence, as in Impendulo (2005). Employ- Garth Erasmus’s serigraph ing a simple relief process can artists in its galleries, the School of Theatre will bring Arc of Testimony (2003). that uses inexpensive mate- the work of South Africa’s preeminent playwright, Athol rials and tools, lino prints can be made almost anywhere, Fugard, to the BU stage. making them very popular Fugard’s The Road to Mecca—scheduled February 16 with Caversham’s outreach through March 5—is the story of an eccentric elderly projects. “Impendulo” is the isiZulu word for answer. sculptor faced with deciding whether to leave behind her art  and her home in a small South African town for the safety of a nursing home or to retain her

The vigorous lines and vivid independence. hues add to the spatial tension “It’s a wonderful play,” says in Helen Sebidi’s screenprint, director Judy Braha, an assistant Don’t Let It Go (1995). professor in the School of Theatre. “It’s suspenseful—you don’t know what this woman will do. You don’t know if she has the courage to move for- ward.” The play is about far more than old age, Braha says. “It’s about art and spirituality. It’s about art and freedom. It’s about having the guts to be free in your search for self-expression.” As a production of the Boston Center for American Performance (established in 2008 to allow collaboration between students and professional artists), The Road to Mecca features the work of CFA students and CFA fac- ulty. Assistant Professor Elaine Vaan Hogue (’97) plays the lead role of Miss Helen. Fellow faculty member Mark Cohen plays Marius, the town pastor who urges Miss Helen to accept the shelter of the Sunshine Home for the Aged. Undergraduate student Ali Kerestly (’13) takes the role of Elsa, Miss Helen’s young friend and advocate for her creativity and freedom.—CS

Artists at Caversham Press experiment The Road to Mecca with combinations of techniques, as seen in Lynne Allen’s My Winter Count February 16–March 5, 2011 (1999), which uses silkscreen, lithograph, Boston University Theatre (Lane-Comley Studio 210) and chine-collé to explore questions of Robert Hodgins, often considered a painter’s painter, 264 Huntington Avenue, Boston heritage and identity.  displays his characteristic economy of expression in Suspected!, Tickets: $20 general public; $15 BU alumni, students, senior a hand-colored print from the series Little Morals (1991), to citizens, Huntington subscribers, and WGBH members which Deborah Bell and William Kentridge also contributed. Box Office: www.BostonTheatreScene.com or 617-933-8600

12 Esprit Spring 2011 www.bu.edu/cfa/esprit 13 Students Go Global a

think we need opportunities to disorient ourselves—to see things from a different perspective.” So says painter Emily Manning-Mingle (’09, ’10), who chose to leave the familiarity of Boston during her junior year to study in Italy. It’s why she often set out to wander the labyrinthine streets of Venice during her spring semester there. It’s also why she decided to extend her stay in Italy for an extra month, volunteering at an organic farm in rural Tuscany. “I wanted to live with a family and experience that part of the culture,” she says, “and I was up for manual labor.” Wide exposure. Broad perspective. It’s what a liberal arts education is all about. And in today’s increasingly global world, you can’t consider yourself truly educated until your perspective expands beyond the boundaries of your own country and customs. That’s why BU works so hard to make it easy for students to gain international experience—why the University’s impressive Inter- national Programs office sends students to more than 75 programs in 25 countries around the world, and why BU actively recruits international students and professors to bring outside viewpoints to the classrooms along Comm. Ave. Nowhere is this global perspective more important than at the College of Fine Arts, where students are preparing to create works of art that they hope will reach and inspire audiences the world over.

14 Esprit Spring 2011 www.bu.edu/cfa/esprit 15 Students Go Global a

Semesters Abroad Grad Students Go Too “Within my studio, there are only seven of us, and three of the students are international,” she says. Just visiting the student lounge During Manning-Mingle’s semester in Venice, she studied six- CFA’s study abroad programs were designed specifically for under- on the ground floor of CFA—adjacent to the College’s new music teenth-century master Tintoretto not by reading about him in a graduate students, but the College’s graduate population isn’t left textbook, but by gazing up at his massive paintings on the ceilings of out. Many graphic design grad students take advantage of the Lon- practice studios—is a multicultural experience, she says. “English is the Scuola Grande di San Rocco. don internship program; the School of Theatre is planning to take not necessarily the primary language being spoken there.” Midway through his semester at the London Academy of Music grad students to the Prague Quadrennial of Performance Design and BU is among the most international universities in the United and Dramatic Art (LAMDA), Michael Moran (’09) traveled with Space this summer; and Professor John Walker invites MFA candi- States, with more than 5,000 foreign students enrolled each year. his acting classmates to Stratford-upon-Avon to see the Royal “They gain new confidence dates in the School of Visual Arts to join him on an international International students make up more than 10 percent of the College of Shakespeare Company perform the entire canon of Shakespeare’s in their ability to adapt to excursion during spring break each year. Fine Arts student body, which includes many Chinese, Korean, and history plays. another culture, to travel, Last spring, Walker took his graduate students to China, where Taiwanese students, as well as students from South Africa, Kuwait, For several months of her junior year, trumpet player Laura to problem solve.” they attended the opening of an exhibition of his work at Tsinghua Spain, Russia, and Brazil—to name a few. Carpenter (’10) spent her days playing classical music at London’s University in Beijing. They also explored the Forbidden City (a for- These students experience a rich cultural immersion in Boston, — Jeannette Guillemin Royal College of Music and her evenings practicing and performing  mer imperial palace that now houses the Palace Museum), took in “but American students also benefit from the great diversity that with a local pub band called Stanley. the terra-cotta warriors in Xian, walked atop the Great Wall, and exists in this school,” says Shaun Ramsay, an assistant director of the As wonderful as the city of Boston is, it doesn’t offer these visited the studios of several of Walker’s friends who are prominent School of Music who recently traveled to Seoul, Taipei, Hong Kong, opportunities, which is why CFA has created full study abroad Chinese painters. Bangkok, and Singapore to audition prospective students. Playing In 2009, Walker and his students visited Mexico City. This year semesters to coordinate with each of its undergraduate programs. and taking classes with musicians from other countries “is part of the he’s planning a trip to Madrid, where his students will be welcomed In addition to the studio arts program in Venice, the School of Visual learning experience,” for SOM students, he says. “It’s a cultural and by another of his friends, the director of the Museo del Prado, one of Arts offers a landscape painting program in Tuscany and a graphic communication learning experience, as well as musical.” Europe’s most impressive art museums. design internship program in London. The School of Theatre has For Maloney, who plans to teach after graduation, interact- Walker says the purpose of these spring-break trips is to edu- established conservatory-style studio programs at LAMDA and at MFA ing with her international peers has been invaluable. Showing candidates cate his students in great cultures. “I do believe educated artists are the Accademia dell’Arte in Arezzo, Italy. Musicians can choose a traveled to the best artists,” he says. Korean classmates how to make American-style oboe reeds has helped semester at the Royal College of Music or join their theatre class- China with Professor John her hone her teaching skills, and talking with students from various mates for a semester in Arezzo. Students also have a range of over- Photo by John Walker by Photo Walker during Experiencing the World—in Boston countries has made her aware of the Americanisms in her speech— spring break seas internship possibilities to choose from—working for theatre something she knows she’ll have to watch out for when she takes on 2010. Because the British style of playing the oboe is so different from companies in Australia, design firms in New Zealand, and art gal- international students of her own someday. And thanks to the cultural the American style, oboist Alicia Maloney (’11, ’12) decided against leries in London and Paris. mixing that happens all across BU’s campus, she says, “We just have Undergraduate students usually study abroad during their junior spending part of her junior year at the Royal College of Music—but she’s still getting a fair dose of international exposure. The Massa- a general open-mindedness at this school, which is essential to life.” year, which is perfect timing, says Paolo DiFabio, assistant director chusetts native has taken classes at CFA from several foreign-born Such a perspective is bound to serve Maloney and her class- of the School of Theatre. By the time they’re juniors, he says, most professors and from American professors who spent parts of their mates well as they build careers in our increasingly global society. students have settled into a comfort zone at BU, and studying abroad careers abroad. She’s also surrounded by fellow students who come It’s one of the many benefits of attending a university that extends its gives them a chance to break out of it. Having this “out-of-Boston” to BU from all corners of the world. reach not just throughout Boston, but throughout the world. E experience also gives students time to reflect on all they’ve learned

up to that point, he says, and then they return to Boston energized "It snowed on and full of “very rich and fertile ideas” for their senior projects. us, and Beijing was beautiful Another benefit of study abroad, says Jeannette Guillemin, in the snow,"  Watch This! Photo by Ryan Boutin ('11) Ryan by Photo assistant director of the School of Visual Arts, is how quickly stu- says Walker. BU sent out camera crews to capture the enthusiasm of students studying abroad. dents mature while they’re away. “They gain new confidence in Check out their lively interviews with CFA students (now young alums) in London and Venice at www.bu.edu/cfa/esprit. their ability to adapt to another culture, to travel, to problem solve, to manage money, to live on their own—and it all happens in a very power-packed way.” Moran’s semester in London—and the volunteer work he did in Visual Arts Zambia between his sophomore and junior years—certainly taught students him to live on his own, and gave him valuable practice dealing with studying in Venice in fall uncertainty. “What happens when you go to those places,” he says, 2009 visited “is you literally get on the plane, and you don’t know what’s going the workshop of master to happen when you land.” So when you step off the airplane, “you glass artist Vittorio have to be present and deal with what happens to you moment to Jim Parziale by Photo Costantini. moment.” Moran is now building a career as an actor, which is not unlike boarding a flight to Zambia, he says. It’s scary and unpredict- Oil Painting in Watery Venice Where Classical Music Thrives Treading the Boards in London Explore the canals of Venice with Erika Visit London with classical trumpet able, but he can press ahead partly because his time abroad taught Follow Deanna Cirino (’10) backstage in Rosendale (’09) and Katie Peterson (’10). player (and occasional pub musician) London’s West End. him to trust in his abilities to face the unknown. Laura Carpenter (’10).

16 Esprit Spring 2011 www.bu.edu/cfa/esprit 17 Alumni Go Global a CFA alumni found in far- Outside the U.S., more CFA alumni live in flung places in the U.S. South Korea than in in Alaska: 13 any other ­country— in California: 925 even more than in Playwright Martin Canada. in North Dakota: 2 Sherman’s (’60) Onassis ran from More than 40 CFA September 2010 to alumni live in Japan, January 2011 at the including businessman Novello Theatre in Takayoshi Shimada London’s West End. (’67), chairman of the Ida Lorentzen BU Alumni Associa- (’74) has painted tion’s Japanese chapter. a commissioned portrait of Queen Sonja of Norway. Ricky Korn (’78) plays bass in the Iceland Symphony Two CFA alumni— Orchestra—and in the Icelandic rock a visual artist and band Cynic Guru. a musician—have mailing addresses in Ghana. 15 CFA alumni have addresses in Brazil. At least 5 are university CFA-trained graphic professors. designers are living  and working in Ecuadorian por- Pakistan, Saudi traitist Dominique Arabia, and Lebanon. Salvador (’06, CAS’06) has exhibited her work in Beijing, Hong Kong, and at home in Quito. Principal harpist for the New Zealand All Over the Map Symphony Carolyn Mills (’85) College of Fine Arts alumni live in has performed on more than 60 countries and in all six continents— including 50 U.S. states. From Thailand to Texas, Antarctica you’re (almost) everywhere. (aboard the cruise ship Marco Polo).

18 Esprit Spring 2011 www.bu.edu/cfa/esprit 19  Portraits Roman Totenberg

Coming to America u

A Centur of Violinist Roman Totenberg has a store A entury of of recollections from the past 100 x years, including a concert he gave for Patience the king of Italy in the 1930s. “Every- thing was very formal. In fact, I had to wear a cape and a top hat, which I bor- rowed from the Polish ambassador,” Roman Totenberg is still a beloved teacher. he says, laughing. “And then, when the By Patrick L. Kennedy affair was finished, I didn’t know which one was mine, because it didn’t fit me. I had to wait til everybody left; then the last one was my ambassador’s.” “Then two weeks later I was invited to play for President Roosevelt at the White House, and it was just the opposite.” He remembers the vice president taking off his shoes, and the First Lady sitting on the floor. For the performance, Totenberg borrowed a violin that once belonged to Roos- He started teaching violin when he was In reality, Totenberg is a calm instruc- won competitions for her violin playing. “He evelt’s cousin (and a Republican) Nick 11. “I had a student who was 10,” Roman tor. “I am comparatively even-tempered,” really instilled me with courage. Those are Longworth. “I hope this fellow plays it Totenberg recalls. “I always had the inter- he acknowledges. “I don’t get upset too his trademarks: patience and courage.” better than Nick,” Roosevelt cracked. est in teaching.” easily. In teaching, a great deal of patience He is an exacting teacher, as well. Totenberg says he loved the infor- On New Year’s Day, Totenberg turned is required. There are many musicians who Park (pictured above) says she used to get mal American atmosphere. “That was 100. The Polish child prodigy whose play- don’t have patience. They lose it when they away with keeping her right wrist stiff, but the time I said, ‘Well, I have to stay in ing helped feed his family in war-torn hear a wrong note.” Totenberg insisted she correct her bow Russia grew up to perform with most of “There’s a reason all the students say technique. Once she did, “it freed my level this land and become a citizen!’” the world’s top orchestras, record now- we love Mr. Totenberg,” says acclaimed of expression immeasurably,” she says. standard renditions of Bach and Brahms soloist Mira Wang (’89, ’92), who joined “He didn’t give me just one chance—he concertos, and collaborate with compos- fellow alumna Na Sun (’05) in an unforget- nurtured and supported me in every way Centennial Celebration CFA celebrated ers such as Leonard Bernstein and Samuel table rendition of “Happy Birthday” at a a teacher can so that I would develop and Totenberg’s 100th birthday on November 21, Barber. Totenberg started teaching violin recent Totenberg tribute concert. “It’s the grow. Maybe it’s because he’s from an older 2010, at Boston’s Symphony Hall. Watch the at Boston University in 1961, later chairing generosity, the extra time, the extra atten- generation, and his teachers provided him full concert—the first orchestral performance the string department. tion, never putting himself first. with support so he was able to have a career, ever webcast from the historic hall—at www. And he’s still teaching. “Without Mr. Totenberg, I wouldn’t be and he’s passing that on,” Park reflects. bu.edu/cfa/esprit. Retirement is not in his vocabulary, what I am today.” “I was certainly inspired by Carl The birthday celebration included a special says Totenberg, who is officially a professor Current student Lisa Park (’11) seconds Flesch,” Totenberg says. “The most famous tribute hosted by political commentator and emeritus and now gives CFA students les- that. “He may be the most important men- violin teacher of his generation,” Flesch Totenberg family friend Cokie Roberts. Watch sons from his home in Newton, Massachu- tor and teacher and supporter I’ve ever tutored Totenberg in Paris in the 1930s. the tribute at www.bu.edu/cfa/esprit. setts. “I never stopped, that’s all. I probably had.” When she had moments of doubt as to “There’s a great satisfaction in teach- will drop dead one of these days. Somebody whether music was the right profession for ing,” the centenarian says, adding with will play so many wrong notes that I won’t be her, Totenberg “never gave up on me,” says a chuckle: “You learn a lot more than the able to stand it anymore,” he jokes. Park, who since has traveled to Europe and students do.” E

20 Esprit Spring 2011 Zabarsky Kalman by Photos www.bu.edu/cfa/esprit 21 Share your personal or professional accomplishments with fellow alums. Alumni News  Submit your news to www.bu.edu/alumni/informed/class-notes.

Alumni News Jewelry by Kirsten Goede (’90) What’s happening in the lives of alums

Boston Symphony Orchestra Symphony Boston Steven Romm (’66), Wainscott, Approaching Storm, Art book by Aaron Sinift (’02) metallic powders and gloss medium on canvas, 2010 Photo by Michael J. Lutch, courtesy of the courtesy Lutch, Michael J. by Photo

School of Music

Grace Bumbry (’55), great  Brad Slaugh (’95) owns American operatic and Mira Wang (’89, ’92) and  and operates Poor Yorick recital artist, visited Boston her husband, cellist Jan Morris Robinson (’01) per- Studios in Salt Lake City, University for a week during Vogler, premiered John formed the part of Fasolt for Utah. Initially housing two Joel Gill’s (’04) comics are spring semester 2010 that Harbison’s Double Concerto the Los Angeles Opera’s pro- dozen artists, the number featured in Inbound 4: A included public and private Lauren Flanigan (’81) re- for Violin and Cello with the duction of Das Rheingold, and has burgeoned to more than Comic Book History of Boston, master classes and a talk turned to Boston University Boston Symphony Orchestra then the part of the Night 40. Twice a year, Slaugh hosts an anthology published by about her remarkable life in September for a concert at Symphony Hall in April Watchman in Die Meisters­ an open house for visitors to The Boston Comics Round- and career. performance of Samuel 2010. The piece was com- inger at the Cincinnati Opera come into the space, meet table that includes work ­Barber’s Pulitzer Prize- missioned to honor Mira’s last spring. His new album, the artists, and see how by two other BU alumni, Erica Miner (’67) is busy winning 1958 opera Vanessa former teacher, BU Professor Going Home, is now available School of  they work. He also recently Jaime Garmendia (COM’03, promoting her suspense at the Tsai Performance Cen- Emeritus Roman Totenberg. for iTunes download. Kirsten Goede (’90) has curated the show Untitled at CAS’03) and Aya Rothwell novel, Murder In the Pit, and ter. Her visit also included a Visual Arts her own jewelry line, Objets the Rio Gallery in Salt Lake (COM’07). The comic book her “Crossover Compos- weeklong master class with Under the direction of Lan Meredith Hansen (’02)  d’Envy. She designs four City. The exhibit featured 30 was recently the subject of a ers” lecture series at the BU’s Opera Institute. (See Shui (‘90), the Singapore recently had her Boston Steven Romm (’66) exhibited collections a year that are Utah artists and challenged story on WBUR’s Radio Boston. Athenaeum in La Jolla, page 3.) Symphony Orchestra Symphony Orchestra and his solo show, Inner Visions, handcrafted in her studio. the viewers to pick their own California, is building suc- embarked on a European Emery Stephens (’93) is a Carnegie Hall Debuts. She at Saint Peter’s Church in The line is sold at www.ob titles for the pieces. Two of Caris Reid’s (’05) cessful momentum. She is Todd Seeber (’85) helped concert tour in October voice instructor at Eastern was the soprano soloist for New York City last spring. jetsdenvy.com and in stores paintings were included in the also seeking a publisher for conceive the Boston Sym- 2010 that included stops in Michigan University. As BSO’s performance of Men- Steven says his canvases across the country, including Phyllis Roybal (’00) received National Arts Club’s group her novel that takes place at phony Orchestra Tangle- London, Frankfurt, Munich, part of his ongoing research, delssohn’s Elijah, which was are done not with paints but The Modern Shop at the Art the Art Educator of the Year show 7:10. The show received BU in the 1960s. Next up: a wood Relay Run, which Leipzig, Berlin, and Dresden. Emery coauthored the article performed in both Boston with a combination of pow- Institute of Chicago. Award for the State of New a rave review in Vogue. ghostwriting novel project, challenges BSO musicians, “Singing Down the Barriers: and New York in April 2010. ders, metallic pigments, and Sarah Warren Cassar (’76) Mexico. She is currently the with a “secret” high concept. staff, and supporters to relay Violinist Mark Robertson Encouraging Singers of other media that combine passed away in July 2010. Sculptor Erik Blome (’92) kindergarten teacher in an David Wells Roth (’05) across Massachusetts: a (’92) is a member of the All Racial Backgrounds to Violinist Christina Day to create “great depth and She was 62 and a longtime worked with the City of arts-integrated classroom at recently completed a com- Music Education Associate 150-mile, 25-hour, nonstop Board of Directors of the Perform Music by African Martinson (’05) provides an inner glow that changes resident of the Mediterra- Chicago and the city’s Haitian Pinion Elementary School in mission to paint 31 judicial Professor Sandra Nicolucci run. The second annual Relay Young Musicians Founda- American Composers,” commentary for Boston with the light.” nean nation of Malta. Recent community to have his bronze Santa Fe. portraits for the United (’68, ’69, SED’77) won a Run was held in June 2010. tion Orchestra, in Beverly published by Jossey-Bass Baroque’s first two YouTube exhibits of her paintings bust of Jean-Baptiste Pointe States Federal Court in Boston University Metcalf The event raises awareness Hills, California. He was also as part of a special issue for videos. The first video Ivan Schwartz (’73) opened include her 2003 Kings and DuSable—the French-Haitian M.J. Levy Dickson (’02) Puerto Rico—one of each Award for Teaching Excel- for the Boston Symphony concertmaster of the its academic journal Scholar­ discusses Boston Baroque’s an exhibition titled Abraham Rulers exhibit at the St. James fur trader who founded was recently profiled in The judge who has served in the lence, among the University’s Orchestra and raises money orchestras for the 2009 film ship of Multicultural Teaching newly released Vivaldi Lincoln, One Man Two Views Cavalier Center for Creativity Chicago—installed on North Nantucket Independent. The court since 1899. highest teaching honors. The to support BSO’s education Timer (score by Andrew and Learning. album, and the second video at Montgomery College in Valletta, Malta, and her Michigan Avenue in Chicago. article praises her ability award was presented at the program in the Berkshires. Kaiser) and the 2010 films discusses ornamentation in in Silver Spring, Maryland, 2002 Women and Family ex- to transform “what many Jackie Gleisner (’06) re- 2010 BU Commencement Cats and Dogs 2 (Christopher Joseph Pereira (’96), Vivaldi’s Four Seasons. last spring. The show then hibit at Salem State College Christine Hamilton’s (’95) consider shoreline trash into ceived a Fulbright scholarship Ceremony. Sheri Torgrimson (’89) Lennertz) and Dear John principal timpanist with the traveled to Brooklyn, New in Salem, Massachusetts. hand-made jewelry was exquisitely delicate portraits to study textile design in Fin- of Warsaw, Poland, married (Deborah Lurie). Addition- Los Angeles Philharmonic, Steve Eulberg (’07) of Fort York, and to the Gettys- featured in the March 2010 of nature’s beauty.” land. She graduated from the Warwick Lister (’70) of Slawek Pawlikowski on ally, he contracted the music performed Vinko Globokar’s Collins, Colo., has been burg National Military Park Linda Samuels (’81) recently issue of Maine Home and  Cranbrook Academy of Art Florence, Italy, published April 18, 2009. She has to the short film Live Music, Corporel for Solo Percussion— teaching guitar lessons Museum and Visitor Center published her first book, Design. Her work is shown at Aaron Sinift (’02) created with an MFA in May 2010. Amico: The Life of Giovanni been living and working which accompanied the a work performed shirtless online with JamPlay.com for in Pennsylvania. Ivan has The Other Side of Organized, the Center for Maine Craft an art book titled 5 Year Plan, Battista Viotti (Oxford in Poland as a missionary theatrical release Planet 51. and barefoot—for the Phil- several years and conducts also been named president sharing her philosophies on (West Gardiner), Gleason which includes entries from Alicia Benz’s (’08) short film, University Press, 2009). It’s and English teacher since Onscreen, he performed with harmonic’s Green Umbrella live question-and-answer of Innovators in America, a organizing and life balance. Fine Art (Portland and artists such as Yoko Ono and The Unraveling: Eggs, String, the first full-scale biography 1999. She is studying for Kelly Clarkson at the 2009 series last year. The piece sessions with subscribers. multi-tiered educational and She also chronicles her Boothbay Harbor), Coco Francesco Clemente. Pro- & Climate Change, won first in English about Viotti, “the a PhD in theology at the American Music Awards and uses no instruments; all the The site is “an amazing way exhibition program on the adventures in organization Vivo (Boothbay Harbor), and ceeds from the book support place in the 2010 YouTube greatest violinist of his time,” Christian Theological with Justin Timberlake at the sounds are generated from to connect with music stu- history and future of innova- on her blog, http://theother on her website, http://chris the nonprofit organization Earth Day Video Volunteers Warwick writes. Academy in Warsaw. 2009 Grammy Awards. the percussionist’s body. dents worldwide,” he writes. tion in America. sideoforganized.com. tinepetershamilton.com. Doctors Without Borders. International Contest.

22 Esprit Spring 2011 www.bu.edu/cfa/esprit 23 Alumni News Alumni News Photo by Matt Kalinowski by Photo Photo by Vernon Doucette Vernon by Photo Photo courtesy of Generate Talent Management Talent of Generate courtesy Photo

In October, CFA honored the achievements of (from left) Bob Avian ('59),

Alston Purvis, Saul Cohen, Gael Towey ('75), and Salvatore Rabbio ('56).  Comedian Baron Vaughn.

Thomas Tutino (’86) of Bowling Green, Ky., has diventare, produced as part of InCite 2010. School of taught at Western Kentucky Matthew Guminski (’03) CFA Honors Its Own University for 20 years. Re- won his fifth consecutive Theatre cent freelance credits include Best Professional Lighting scenic designs for Antigone Design award at the eighth  Jeffry Stanton (‘09) is the Jenny Rachel Weiner (’09) and Busytown at Stage One annual New Hampshire The- Bob Avian (’59) co-choreographed the Broadway hit A Chorus Line. Gael Towey (’75) Raymond Singer (’69) is artistic director of Inter- recently received the Kenne- in Louisville, Kentucky, atre Awards for his produc- editing a documentary Moritz von Stuelpnagel robang Theatre Project in dy Center’s National Student created Martha Stewart Living’s distinct visual style. Salvatore Rabbio (’56) served for Crime and Punishment and tion of Around the World in 80 partially shot in Cameroon, (’00) is artistic director of Chicago. The company, Playwriting Award for her Greater Tuna at the Actors Days at the Winnipesaukee 40 years as principal timpanist of the Detroit Symphony Orchestra. Africa. The second film of the Studio 42, an off-Broadway whose mission is to “change play diventare, a production Theatre of Louisville, Mame Playhouse. He has also two-part project captures theatre company in New our world one play at a time,” of the School of Theatre’s These are just a few of the accomplishments of the alumni honored with the for Music Theatre Louisville, signed up for a second sea- the American experiences of York City. Studio 42 exclu- officially launched in Novem- New Play Initiative. The play and George M! for the Prather son as the resident lighting ­College of Fine Arts 2010 Distinguished Alumni Awards, conferred at a ceremony held three Cameroonian students. sively produces “unproduc- ber 2010. was produced at the Ken- Two of them are headed for Entertainment Group. ible” plays: plays that are too designer at Seacoast Reper- nedy Center in Washington,

at the College during Alumni Weekend in October. college—and one might then big, too wild, or too compli- tory Theatre in Portsmouth, D.C., as part of the national

Avian drew laughs from audience members at the ceremony when he told them, “I find himself in the NBA. Michelle Hurd’s (’88) cated for anyone else. New Hampshire. Kennedy Center American TV series The Glades was College Theatre Festival. love getting an award that I didn’t know I was up for.” And the theatre veteran has been Geena Davis (’79, Hon.’99) picked up for a second Fay Wolf (’00) has recently Noah Starr (’03) is post-pro-  up for—and won—many prestigious awards, including Tony Awards for Best Choreog- returned to BU in November season on A&E. worked as an actor on NCIS: ducing season two of What to speak about gender bias Los Angeles, Miami Medical, Would Brian Boitano Make? raphy for A Chorus Line (1976) and Ballroom (1979) and a Laurence Olivier Award for in the media. Earlier that Matt Sweeney (’90) of Los and the film Happythank­ for Concentric Entertainment and the Food Network. Noah Best Choreography for Martin Guerre (1997). month, she testified before Angeles, Calif., traveled to youmoreplease. Fay is also a Senate subcommittee Shanghai, China, to help build a singer-songwriter, and also appeared in the 2010 Congratulations to the following 2010 StageSource While making her acceptance remarks, Towey told the crowd she discovered her to urge ratification of the installations for the Shanghai her songs have been feature film Colin Hearts Kay. Elliot Norton Award Winners: World Expo 2010—“a once heard on One Tree Hill and love of design at BU—when she signed up for a graphic design class by mistake. Since United Nations Conven- tion on the Elimination of in a lifetime experience,” Grey's Anatomy. Comedian Baron Vaughn  • Outstanding Production by a Fringe then, she has designed book covers for Clarkson N. Potter Publishers, directed the All Forms of Discrimination he writes. As an associate (’03) has appeared on Late Company: The Complete Works of against Women. Geena is project director for ESI, an AV Jane Bergeron (’03) Night with Jimmy Fallon William Shakespeare (Abridged) by design of House and Garden magazine, and been promoted to chief creative and editorial the founder of the Geena systems integration company, was promoted to senior and Comedy Central’s The The Orfeo Group Theatre Company. director for Martha Stewart Living Omnimedia. Davis Institute on Gender in he oversaw the installation lecturer at the University Awkward Comedy Show. He Company members include Daniel Media, which she created to of 125 projectors, a dozen of Notre Dame Australia is currently starring in the Berger-Jones (’05), Georgia Lyman In accepting his award, Rabbio credited his supportive wife, his Italian immigrant educate content creators and screens, plasmas, and audio in Sydney, where she is the USA series Fairly Legal, which (’99), and Risher Reddick (’04). parents who understood the value of education, and a BU professor who offered him inform the public about the and show control systems for Theatre Studies Program premiered in January. need to increase the number three different pavilions. Matt co-coordinator. Jane teaches • Outstanding New Script: The Salt Girl, this sage advice: when a conductor asks you to play in a particular way, smile, then of girls and women in media lives with his husband, Scott. undergraduate units in the Daniel Berger-Jones (’05) by John Kuntz (GRS’05). nod, then play the passage again exactly as you played it the first time. That advice saw aimed at kids and to reduce theory and practice of acting was included in The Boston • Outstanding Design by a Large stereotyping of both males Peter Paige (’91) directed his and directing, as well as Globe article “Notable Company: The Comedy of Errors by the Rabbio through a career that included extensive touring and recording, and he may well and females. second film, Leaving Barstow, production workshops in Cultural Figures to Watch in Commonwealth Shakespeare Com- which picked up several awards both text-based and devised 2010.” The article describes have shared it with his own students during his years on the faculty of Wayne State pany. Costume design by David Israel Michael Chiklis’s (’86) new on the film festival circuit and performance. Daniel as a “compulsively University and the University of Michigan. television show, No Ordinary was featured on Showtime watchable actor.” Reynoso (’03). Lighting design by Scott and The Movie Channel. Pinkney (’76). Also honored at the October ceremony were Associate Professor of Art Alston Family, is part of ABC’s Michael Cohen (’03) launched 2010–2011 lineup. Michael a project titled Red Carpet Ben Pilat (’08) received the And a special congratulations to Karen MacDonald Purvis—a beloved teacher and accomplished graphic designer and author who received and his wife, Michelle, Gregg Mozgala (’00) and Run, a weekly entertainment- 2010 Rising Star Award from (’72), who received the 2010 Norton Prize for recently hosted a party at choreographer Tamar Rogoff trivia game show that puts the United States Institute the CFA Distinguished Faculty Award—and Massachusetts businessman Saul Cohen, Sustained Excellence as “an actress of phenomenal their home for more than received nationwide acclaim celebrity-obsessed contes- for Theatre Technology. The versatility, who for three decades has enriched our who received the Dean’s Award for Service to the College in recognition of his gener- 200 members of the BU for their Diagnosis of a Faun. tants through the ultimate award recognizes excellence stages with indelible characterizations.” community involved in the The dance/theatre piece trivial pursuit—challenging and artistic achievement in ous support of the performing arts and, in particular, his patronage of talented young Los Angeles entertainment draws inspiration from Nijin- their Hollywood knowledge as the areas of scenic, lighting, musicians.—CS industry, providing a great sky’s Afternoon of a Faun and they run on a moving tread- sound, and projection design, opportunity for networking Gregg’s firsthand experience mill. The series features Noah or the convergence of these and building community. with cerebral palsy. Starr (’03) as host. design disciplines.

24 EspritEsprit Spring Spring 2011 2011 www.bu.edu/cfa/esprit 25  Supporting CFA “The College of Music, Thomas Munn (’67) $100–$249 Marjorie Detkin (’72) and as it was known when Mia Oberlink Gerald and Beverly (’64, GRS’68) Fred Feldman Bernard Schwartz (’47, GRS’58) Abegg Dorothy DiDomenico (’59) I attended, has played Roberta Steiner (’65) Joseph and Wendell Alaimo Marilyn DiMicco (’73) a central role in my Mr. and Mrs. Mose W. Stuart III Karen Alcorn (’76) Xiao-Li Ding (’91) life—from the great Patrick Szymanski and Richard and Kimberlee (’91) Irene Diodati honor and privilege Margery Lieber Alemian Mary Ann Donahue (’57, ’58) of working with and Supporting CFA Richard Van Deusen (’60) and Marilyn Allen Rachel Donner Carol Nadell Mr. and Mrs. Geoffrey Alprin Gordon and Rose Douglas knowing Karl Geiringer An honor roll of CFA donors Ellen Yates Thomas and Suzanne (’61) Ambler John (’55) and Mary Dovaras to the opportunity to Linda Neil Yee (’68) Stephen and Mary Ansell Leonard and Sara (’68, SED’78) meet [and reunite with] Kalman Zabarsky (’69) and Mary Armstrong (’72) Dowse my first great love. Kerry Loughman (COM’74) Esther-Ann Asch Alex and Rachael (’97) After some 60 years Cole Bader Drummond We are grateful to our community of alumni, faculty, families, and friends who believe in the $250–$499 Daniel Balsam Carol Gurian Elledge (’73) and the loss of my wife importance of supporting gifted students in music, theatre, and the visual arts through their Joan Adams (’65) Martin (’58, GRS’58) and Mary (’55, Joan Ellersick (’80) and the loss of her generous contributions. Gifts to the College of Fine Arts fund important capital initiatives, Samuel Adler (’48) and Emily Brown ’56) Barooshian Judith Epstein-Fisher (’08) and husband, we are about The Estate of Constantin Alajalov Frank Bartlett Jr. (’50, ’55) Richard Fisher to get married! How is scholarships, educational outreach, performances, and exhibitions, all of which directly benefit Yvette Attaya (’52) Philip (’53, ’62) and Joan Berry Mr. and Mrs. Stephen Esko the talented young artists of Boston University. Timothy and Susan Hulsman (’68) Adam and Dianne (’86) Betkowski Donald and Nancy Evans that for the College of Bingham James and Joan (’64) Bettman Edward and Wanda Ewing Music having meaning Paula Bishop (’05, GRS’10) Nellie May Blake (’56) Brian Scott (’77) and in my life?”

Joan Cavicchi (’56) Dr. and Mrs. George Bodem Linda Fearn Dick Ekdahl (SOM’51, GRS’54) “I give to organizations Kimberly Cheiken Jean Bogiages Roderick (’64, ’69) and that I care about, and Debbie Crowell Robert Boland (’55) Margaret (CAS’64) Ferland my relationship with Walter and Doris (GRS’85) Downey George Borababy Steven Finley Boston University has Mary Ellen Doyle (’62) Boston Opera Collaborative Julian (’65) and Tatiana Fischer always been important Friends of the College of Fine Arts $1,000–$4,999 Sandra Lee Rowsell (’60) Terrell Finney Jr. (’78) and Susan David (’54) and Dorothy Renee Plessner Fishman to me. I have served on We thank the following donors for Jason Alexander (’81, Hon.’95) Kenneth D. Rudnick (SMG’50) Newsom Finney Bournazian (LAW’86) Edward J. FitzPatrick Jr. (’63) many nonprofit boards, their generous support during the Cathy Altholz (’69) Madeline Schulman Kathleen Ann Boyd Mr. and Mrs. Steven Flagg 2009–2010 fiscal year.* The ASCAP Foundation Amy Abrich Shemin (’65) David and Mary Franasiak George (’57, GRS’61) and Paula Prial Folkman including the Monterey Richard Balsam Nina Tassler (’79) Cynthia Garrett (’63, ’65) Dorothy Brambilla Mr. and Mrs. James Freeman Dorothy Hegarty (’58) County Film Commis- $100,000 and above Cathy Barbash Robert Thoburn Laura Giannitrapani (’87) Robert (’77) and Susan Breen Robert (’68, ’72) and Knud and Miriam (’40) Helsing sion, the Carmel Art SungEun Han-Andersen (’85) Bette Davis Foundation, Inc. Gael Towey (’75) Paul and Margaret Gilhooley David and M. Kathryn (’72, ’74) Diane Galloway Norman Hervieux (’67) and Film Festival, and Linda Cabot Black The Ushers & Programmers Fund Milton and Marguerite (’45) Hackett Brentlinger David Garrison (’74) Thomas (’49, ’55) and Ruth Hill the Monterey County $25,000–$99,999 Bose Foundation, Inc. in honor of Robert and David and Lynne (CAS’65) Harding Robert and Marcia Diehl (’58) Walter (’57) and Susan Getchell Richard Hinson Theatre Alliance, all of The Estate of Peter Donnelly (’60) Fred Bronstein (’78) Dorothy Dandridge Julia Hennig (’68) Brown Bob and Deborah Gewecke Brad Holbrook and Kate White which have required Bobbi Hamill Richard D. Carmel Charitable Luo Yan (’90) Scott and Carol Lieb Himes Reuben William and Emmy Giarrusso Rosebud Holland (’63) The Estate of James Nelson passion, time, and Remainder Trust Mr. and Mrs. Walter O’Leary Hobbs Mariah Buchanan Roy and Kristen Giarrusso Richard (’65) and Linda Honymar Humphrey Saul and Naomi Cohen $500–$999 Alan and Judy (’67, ’69) Hochberg Deborah Burton Reginald Gibson money. My yearly Richard and Anne (’67) Hunnewell Andrew Lack (’68) Stewart and Judith (CAS’63) Colton Apostolos Aliapoulios (’61, ’70) John and Renate (’64) Jeffries Floyd (’64) and Robert Goepfert (’81) Christopher David (’95) and contribution to Boston Stewart F. Lane (’73) and Frank D’Accone (’52, ’53) Amy Lynn Barber (’71) Edwin and Toby (’60) Klein Marie Callahan Edward and Susan Goldstein Deirdre Hutton University is part of my Bonnie Comley Margaret May Damen (’65, ’66) Salvatore Cania Jr. and Lisa Cania Robert Knauss Dr. and Mrs. Hubert Caplan Alfred and Arlace Chaisson Michio and Doreen (’65) Ihara commitment to support Mary Ann Milano 2009 Moshen Darius and Shu Bing Yaraghi Beth Chen (’62, ’64) Lillie Kumar (’65) Jane Fisher Carlson (’56) Gough Virginia Johnston (’91) and the performing arts.” Revocable Trust Teresa Del Piero (’79) Terrence and Patricia Connell Luis and Stephanie Leguia Barry Ian Carman (LAW’85) Elizabeth Gray Daniel Crisci Teresa Del Piero (SOT’79) Mary Ann Milano Picardi (’66) Robert K. and Alberta Dodson Roger Davidson (’81) Mr. and Mrs. James Loeb Carman Family Charitable Glen (CAS’90) and Christine Sally Jones (SON’62) Neil and Jane (’65) Pappalardo William Earle Edna Davis (’64) Don and Becky (’67) McKibben Foundation Correllus (’90) Greenough Martin and Marcia (’68) Kanter Dr. John Silber (Hon.’95) Richard Ekdahl (’51, GRS’54) Emily Deschanel (’98) Brent Neuenfeldt Nonie Lederman Carroll (’49) Nathaniel and Liz (’56, PAL’56) David and Colleen Smith (’70, ’74) James H. Stone (CAS’80) Marie Falabella Ann B. Dickson (’51) Lawrence and Susan Noto Renee Krimsier Carter Gribin Katsuki The Estate of A. Theodore Tellstrom Thomas C. Farrell (LAW’91) Keith Druhl (’77) John and Maureen O’Neill Mr. and Mrs. George Cates Michael Griggs (’72) James and Donna (’79) Kelley (’41, ’42, ’57) Judith Flynn Debra Dion Faust (’78) Elzbieta Otlowski Serena Hsiou-Ling Chao Thomas and Paula Grover Margaret Kelley (’82) Virginia E. Withey (’40, ’47) Steven Friedlander (’80) David Feigenbaum and James Righter (SPH’04) Ling Ling Guan (’90) Clark and Sandra (’55) Kendall Michael Goldenberg Maureen Meister Marie Lisette Rimer Mr. and Mrs. Philip Chaplin Matthew Guerrieri (’97) and James and Betsy (’64) Kent $10,000–$24,999 Richard and Susan Grausman Wilbur (GRS’60) and Lorraine Leila Joy Rosenthal Thomas Chase (’58) Chung-Un Seo (’97) Peter King (’92) John and Harriet Carey Lady Mercia M. Harrison Fullbright (’64, ’65, SDM’79) For more information about how you Dennis Clements Anthony Guilbeau Jr. and Stoddon and Patricia (’69) King Ann and Gordon Getty Foundation Robert and Phyllis (’61, ’67) Hoffman Frank Ginsberg (’65) Angelo and Madeline Saggiomo can join our growing list of support- Richard Coffey Lorraine Guilbeau Mr. and Mrs. Theodore Kirchner Greek Composers’ Union Lindsey V. Humes (’79) Gudjonson Hermannsson Burke Schloss ers, please contact us at 617-353- Mitchell Cohen Tim Hamill (’65, ’68) Jared Klein and Yumi Kendall The Avedis Zildjian Company, Inc. Dmitri and Elena Ilyin Richard and Marilyn Hobbs Craig Franklin Schreiber (’95) 5544 or make a donation online at Arthur Congdon III (’64) and Janet Diana Lee Hampe (’02) Phyllis and Harvey Klein Larry G. and Ann Howard Jones Capers A. Holmes Eugene and Janet (’55) Schweiger www.bu.edu/cfa/alumni/giving-back. Congdon Henry and Dorothea (’44) Mr. and Mrs. James Klinger Tom F. (CAS’54) and Irene Gesiak Joan Horton (’69) Herbert and Gloria Jean (’49) We would love to welcome you into $5,000–$9,999 John Connor Hansen Ann Kneisel (CAS’54, GRS’55, SED’92) Kelley Jimmie Jackson (’73, ’76) Spivack our donor community! Michael Chiklis (’86) Richard Cornell William and Marsha Harbison David and Patty Kovacs Clovelly Charitable Trust David Kneuss (’70) Chiyomi Kanazawa The Staff of the Office of the Provost Evans (STH’46) and Elizabeth Claude and Juanita Louise (’56) Jane Krensky (’65) and Peggy *This list reflects donations made between July 1, Chester and Joy Douglass Robert Krivi (’70) Ellen Kazis-Walker Tetsuo Tamahana (’04) Pinder (’48) Crawford Hardick Tourje 2009, and June 30, 2010. Because of space con­ The Florence J. Gould Foundation Joan B. Malick (’65, SED’70) Saran Kraichoke Guido and Kristine Blum (’65) Tino Mr. and Mrs. William Davidson Jonathan and Carolyn (SED’68) Harrison and Dorothy Krom straints, we were only able to include gifts of $100 Montgomery Symphony Association Rita Mehos Richard Lenz Anthony Uglialoro Jr. (’93, ’01) and Evelyn De La Paz (’65) Harris Nelliana Kuh and above. For a complete list of all CFA donors, visit Ernst and Gail (GRS’84) von Andrea Okamura (’82) Beth Marcus (SED’69) Lisa Uglialoro (SMG’93, GSM’02) Judith Deppe William Harvey (’86) www.bu.edu/cfa/alumni/giving-back. If your name Jay Lanin (’55) has been omitted from this list, please contact us so Metzsch F. Taylor Pape (’70) Marian Morash (’59) Peter Williamson (’71) and Louis and Lilian Detkin Christopher Hastings Stewart and Rhonda (’75) Lassner that we can correct our records. Francis Williams The Presser Foundation Larance and Charla Morgan Charlene Zabawski Foundation Robert and Ruth (’48) Healey Stuart Laven Sr. and Lorra Laven

26 Esprit Spring 2011 www.bu.edu/cfa/esprit 27 “My very small con- tribution is a token Mr. and Mrs. John Leak III Alan and Janet (’73) Olson John Wickey (’92)  Shirley Leiphon (’92) Matthew Pacillo (’61) of appreciation for Judith Williams Christopher and Gina Lemmon Carolyn Pagnotta all I experienced at The Willow Pond Foundation Mr. and Mrs. John Lenard Mr. and Mrs. Jamie Pappas BU—what I learned Mr. and Mrs. Kiyoshi Yada David Levenson (’65) Dr. and Mrs. John Partridge and the friends I Nicole Yakatan College of Fine Arts Alan and Renee Brody (’73) Levow Virginia Paul made.” Danny Yeung Dean’s Advisory Board Herbert and Mary Levy Carlton Peacock (’73) Cliffton Peacock Ira (’78) and Beth Yoffe Jason Alexander (’81, Hon.’95) Philip and Wendy Lotz Cliffton Peacock (’75, ’77) (SVA’75, ’77) Mr. and Mrs. Patrick Zickler Andrew Lyasoff Pascale Perusse Actor, Director, Writer Lorraine Lyman (SED’65) Penny Peters (’71) Fred A. Bronstein (’78) Colleen Mahan (’86) and Mr. and Mrs. John Piekara Class Gift Campaign Member, BU Board of Overseers Artists at Work John Wallace Carlton (’64) and Joan Plummer Boston University’s annual Class President and Executive Director Theatre, music, and visual arts in action Robert and Robin (’66) Margeson PMA Literary & Film MGMT Inc. Gift campaign encourages mem- Saint Louis Symphony Orchestra David Martins Christopher and Elizabeth (’70) Pope bers of each graduating class to Saul Cohen Ann Mazotas William and Edith (’60) Prest make a gift in the amount of their President Yuri and Dana Mazurkevich Lelia Preston (’58) graduation year, e.g., $20.10, to the Hammond Residential Real Estate Peter McCallion Robert Pritchard II (’89) George and Lee-Alison (’72) BU school or college of their choice George (’53) and Viola McLoughlin Jack (’68) and Carol Provost Sibley to honor a teacher or mentor who Dr. Chester Douglass William (’60) and Judith McMillan Wei David and Jennifer Qin Kevin and Elizabeth Sierra- helped shape their education. Professor and Department Chair Kevin and Kathryn McMonigle Arthur and Evelyn (’49) Ransom Murphy These generous members of the Harvard School of Dental Medicine Michelle Mendez (’83, ’90) Joe Riedel Jr. (’75) and Vicki Riedel Class of 2010 thoughtfully made Robert Silverman Steven G. Friedlander (’80) Frank Milburn III and Theresa Adele Robinette such a gift. We are grateful for their Philip Simon (’69) and Principal Rebecca Schweiger (’99) Milburn Leila Joy Rosenthal (’64, ’65, ’79) contributions and extend a warm Lucinda Simpson Auerbach Pollock Friedlander Founder and Director, The Art Studio NY Alfred Miller III Martha Ruddy-Jurgensen (’74) and Fenwick Smith welcome to them upon joining the Emily Miller (GRS’59, GRS’62) Herbert Jurgensen James and Gay (’76) Smith CFA alumni community. SungEun Han-Andersen (’85) Schweiger covers her canvases—and the Thomas Miller (’64) Herbert Sanderson (’53, SED’70) David and Suzanne Solomkin Jamie Angichiodo, MM, Music Member, BU Board of Trustees rest of her Manhattan studio—with layers Shaun Miskell (’78) Margo Saulnier (’96) and Scott Joseph Solomon Education President Marnie Mitze (’78) Bishop of oil and acrylic paint, often adding sand, Charles (’51, ’55) and David Barg, MM, Music Education G.C. Andersen Family Foundation David Mold (’80) Mr. and Mrs. Robert Schenck stones, pen, magic marker, and anything Barbara Spire Eric Berninghausen, MFT, Design Paul Morris Kevin Schmidt (CAS’86, MED’86) Joan Horton (’69) Kenneth (’78) and Peter Bianco, MFA, Graphic Design else she can get her hands on. “I look at Mr. and Mrs. Allen Morrison and Mary King Marketing Consultant Catherine Stalberg Laura Carpenter, BM, Brass art as an opportunity to express myself William Moyer William and Lisa Schonberg Horton Group Stanley Stys Performance Raymond Mui (GSM’93) Mr. and Mrs. Samuel Schulman spiritually and emotionally,” she says, “so it Kathleen Sullivan Moyna Daley, MM, Music David Kneuss (’70)

James Mullin Harvey and Justin Schussler all rights reserved LLC, Shaq Photography by Photo becomes a very free-flowing process.” Elizabeth Taillacq (’76, ’79) Education Executive Stage Director Kendric (’66) and Nan Munsey Rita Shapiro (’76, ’78) and Shinzawa Takao Leah Davis, MFA, Graphic Design Metropolitan Opera Association Mr. and Mrs. Roger Murray Edward MacLary Joyce Koury Tamer (’59, ’65) Ryan Duckworth, MM, Music Antonia Nedder Sam and Ellen (’70) Shapiro Stewart F. Lane (’73) Franklin (’50) and Nancy Taplin Education Eli Newberger Steven and Nina Sheldon President and CEO Gregg Philip Thaller (’85) Vanessa Duckworth, MM, Music Joel and Claudia Nimar Marvin and Valerie (’69) Shepherd Stewart F. Lane Productions Loran and Meera Eleanora (’78) Education Malkah Tolpin Notman (MED’52) Kent Sheranian (’86) and Thompson Brent Edmondson, MM, String Penny Peters (’71) Albert Obidah John Dominguez Carolyn Tibbetts (’66) Performance Communications Strategist Edith Stearns Trask (’38) Eric Feola, MM, Music Education and Management Consultant William Henry (DGE’48) and G. Benjamin Fred, BFT, Theatre Nina Tassler (’79) ­Roswitha Trayes Studies

Member, BU Board of Trustees Images Ethan Miller/Getty by Photo Stephanie Trodello (COM’94, Rebecca George, MM, Music President CAS’94, GSM’01) Education CBS Entertainment Daniel Sam (’59, ’60) and Joan Cheryl Jordan, MM, Music (SED’62) Troderman Education Gael Towey (’75) Rebecca Truitt (’61, ’69) Kerry Keal, DMA, Voice Chief Creative and Editorial Director John and Beverly (’58) Tucker Performance Martha Stewart Living Omnimedia William Tupay Jr. and Ingrid Kovacs, DMA, Music Gregg Ward (’82) Maria Tupay Education President Evan Van Wyck (’91) and Jin-Hye Lee, DMA, Collaborative Orlando Ward & Associates Sarah Keely Piano Philip Walsh Sudie Marcuse, DMA, Historical Luo Yan (’90) Diana Ward Performance President Gregg Ward (’82) and Lisa Racioppo, MM, Music Silver Dream Productions Donna Orlando Education Ira Yoffe (’78) Louis and Barbara (SAR’53) Carol Reed-Jones, DMA, Music wwwwww.bu..bu.edu/edu/winterfwinterfestest Principal, Creative Director Steven Mercurio (’80) www.bu.edu/winterfest Washburn Education Yoffe Media Group Steven Wasser Gary Rothe, MM, Music Education Conductor and Composer BeatBeatBeat the the the winter winter winter BLAHs BLAHs BLAHs Frank and Janet (’69, ’72) Richard Schwartz, DMA, After having conducted more than 65 different Wassilak Woodwind Performance withwithwith a a touch atouch touch of of of magic magic magic and and and my my mystery!stery!stery! Gerald Weale (’86) Ana Tobin, BFA, Graphic Design; operas in seven different languages, Mercurio John Weaver (’61) BS, Communications (left) took on a new challenge in 2010—joining Toba Weintraub (’70) and Natalie Turturro, BFT, Theatre pop star Sting and the 45-member Royal Phil- BostonBostonBoston Univ Univ Universityersityersity Alumni Alumni Alumni Associatio Associatio Associationn n Albee Budnitz Studies harmonic Concert Orchestra on their worldwide Ben Westberry Jr. and Donna Matthew Williams, MM, Music Symphonicity Tour. Westberry Education

Conducting Electricity Hear Mercurio discuss his 28 Esprit Spring 2011 collaboration with Sting at www.bu.edu/cfa/esprit. www.bu.edu/cfa/esprit 29