Spring Dance Concert: Limitless
Event Dates
Livestream will only be available for the Saturday performances.
Limitless, Boston Conservatory at Berklee’s spring dance concert, is an incredible showcase of masterworks by some of the world’s leading choreographers. This year’s event, led by artistic director Tommy Neblett, features Aszure Barton’s Les Chambres des Jacques, Martha Graham’s Diversion of Angels, Bob Fosse’s Sing, Sing, Sing, and more.Program Information
Welcome Note
Welcome to Limitless 2026! Our spring concert is designed to celebrate both the limitless potential of our students and the limitless possibilities of contemporary dance. This year’s program brings together works by four renowned guest artists, each known for their unique voice and aesthetic.
The program opens with a masterpiece of twentieth-century modern dance: Martha Graham’s Diversion of Angels. As we celebrate the 100th anniversary of the Graham Dance Company, it is widely considered to be one of her greatest works.
Next is Ronald K. Brown and Arcell Cabuag’s Where the Light Shines Through, a joyous fusion of ballet, modern and African dance.
After intermission is Les Chambres des Jacques by internationally acclaimed choreographer Aszure Barton, one of the most sought-after contemporary choreographers working today. This marks year three of our four-year creative partnership with Aszure, for which she will either create a world premiere or re-stage one of her masterworks each year through 2027.
And closing the program is Sing, Sing, Sing, a tour-de-force dance from the Broadway musical Dancin’ choreographed by Bob Fosse. It culminates the first year of our five-year partnership with the Verdon/Fosse® Legacy where both the commercial and contemporary dance majors perform iconic Fosse works.
It is an honor to share the work of these artists with you and to showcase the virtuosity, versatility, and artistry of our students. It’s a one-of-a-kind program that truly has something for everyone. Enjoy!
—Tommy Neblett, Dean of Dance
The program opens with a masterpiece of twentieth-century modern dance: Martha Graham’s Diversion of Angels. As we celebrate the 100th anniversary of the Graham Dance Company, it is widely considered to be one of her greatest works.
Next is Ronald K. Brown and Arcell Cabuag’s Where the Light Shines Through, a joyous fusion of ballet, modern and African dance.
After intermission is Les Chambres des Jacques by internationally acclaimed choreographer Aszure Barton, one of the most sought-after contemporary choreographers working today. This marks year three of our four-year creative partnership with Aszure, for which she will either create a world premiere or re-stage one of her masterworks each year through 2027.
And closing the program is Sing, Sing, Sing, a tour-de-force dance from the Broadway musical Dancin’ choreographed by Bob Fosse. It culminates the first year of our five-year partnership with the Verdon/Fosse® Legacy where both the commercial and contemporary dance majors perform iconic Fosse works.
It is an honor to share the work of these artists with you and to showcase the virtuosity, versatility, and artistry of our students. It’s a one-of-a-kind program that truly has something for everyone. Enjoy!
—Tommy Neblett, Dean of Dance
Diversion of Angels (1948)
Choreography and Costume Design: Martha Graham
Restaged By: Kim Stroud
Rehearsal Director: Ruka Hatua-Saar White
Music: Norman Dello Joio*
Costumes Provided By: Martha Graham Dance Company
Lighting Design: Jean Rosenthal
Premiere: August 13, 1948, Palmer Auditorium, New London, Connecticut
Performers:
THE COUPLE IN WHITE – McKinley Tolliver, Kevin Higgins
THE COUPLE IN RED – Kiley Nomura (evening performances), Demi Mutz (matinee performances), Ali-David Abdullah
THE COUPLE IN YELLOW – Emma Daniels, Logan Monaco
ENSEMBLE – Cammie Coleman, Aaron Gensler, Kay Williams, Emma Jane Zaher, Rebecca Zigmond, Kamryn DeAngelis (Saturday evening), Aliyah German (Saturday matinee)
UNDERSTUDIES – Noa Loewinger, Gabrielle Honoré
Program Note: Diversion of Angels is simply about love—flirtatious, passionate, spiritual. It is a world without gravity. The women in this dance could be three different women—or one woman at three different times in her life. The dance follows no story. Its action takes place in the imaginary garden love creates for itself. The ballet was originally called Wilderness Stair. Martha Graham once described Diversion of Angels as three aspects of love: the white couple represents mature love in perfect balance; red, erotic love; and yellow, adolescent love.
Presented by arrangement with Martha Graham Resources, a division of the Martha Graham Center of Contemporary Dance.
*Used by arrangement with Carl Fischer, publisher and copyright owner.
Restaged By: Kim Stroud
Rehearsal Director: Ruka Hatua-Saar White
Music: Norman Dello Joio*
Costumes Provided By: Martha Graham Dance Company
Lighting Design: Jean Rosenthal
Premiere: August 13, 1948, Palmer Auditorium, New London, Connecticut
Performers:
THE COUPLE IN WHITE – McKinley Tolliver, Kevin Higgins
THE COUPLE IN RED – Kiley Nomura (evening performances), Demi Mutz (matinee performances), Ali-David Abdullah
THE COUPLE IN YELLOW – Emma Daniels, Logan Monaco
ENSEMBLE – Cammie Coleman, Aaron Gensler, Kay Williams, Emma Jane Zaher, Rebecca Zigmond, Kamryn DeAngelis (Saturday evening), Aliyah German (Saturday matinee)
UNDERSTUDIES – Noa Loewinger, Gabrielle Honoré
Program Note: Diversion of Angels is simply about love—flirtatious, passionate, spiritual. It is a world without gravity. The women in this dance could be three different women—or one woman at three different times in her life. The dance follows no story. Its action takes place in the imaginary garden love creates for itself. The ballet was originally called Wilderness Stair. Martha Graham once described Diversion of Angels as three aspects of love: the white couple represents mature love in perfect balance; red, erotic love; and yellow, adolescent love.
Presented by arrangement with Martha Graham Resources, a division of the Martha Graham Center of Contemporary Dance.
*Used by arrangement with Carl Fischer, publisher and copyright owner.
Where the Light Shines Through (2017)
Choreography: Ronald K. Brown, Arcell Cabuag
Rehearsal Assistant: Demetrius Burns
Rehearsal Director: Heather Myers
Music: Meshelle Ndegeocello (“And Yet It Moves,” “Shirk”); Susana Baca (“La Noche y el Dia”); Ballet Folklorico Cutumba (“Cierre del Tambor”); Black Motion (“Imali” feat. Nokwazi, “Heartless Intentions” feat. Dr. Moruti)
Original Costume Design: Keiko Voltaire
Costume Reconstruction: Alison Pugh
Original Lighting Design: Tsubasa Kamei
Performers: Kayenne Charles-Pierre, Muna Blake, Lilly David, Rachel Dobbs, Ashlee Hollaway, Karina Jimenez, Derek Lee, Madi McAlister, Jed McManus, Skylah Miller, Electra Neary, Ana Perez Yudin, Brianna Smith, Rachel Tse, Fiona Zhang
Program Note: Where the Light Shines Through was originally commissioned by the TU Dance Company. This work is dedicated to the life and legacy of the late Toni Pierce-Sands.
Rehearsal Assistant: Demetrius Burns
Rehearsal Director: Heather Myers
Music: Meshelle Ndegeocello (“And Yet It Moves,” “Shirk”); Susana Baca (“La Noche y el Dia”); Ballet Folklorico Cutumba (“Cierre del Tambor”); Black Motion (“Imali” feat. Nokwazi, “Heartless Intentions” feat. Dr. Moruti)
Original Costume Design: Keiko Voltaire
Costume Reconstruction: Alison Pugh
Original Lighting Design: Tsubasa Kamei
Performers: Kayenne Charles-Pierre, Muna Blake, Lilly David, Rachel Dobbs, Ashlee Hollaway, Karina Jimenez, Derek Lee, Madi McAlister, Jed McManus, Skylah Miller, Electra Neary, Ana Perez Yudin, Brianna Smith, Rachel Tse, Fiona Zhang
Program Note: Where the Light Shines Through was originally commissioned by the TU Dance Company. This work is dedicated to the life and legacy of the late Toni Pierce-Sands.
—INTERMISSION—
Les Chambres des Jacques (excerpts) (2006)
Choreography: Aszure Barton
Staging: James Gregg
Rehearsal Director: Kurt Douglas (BFA '01, contemporary dance)
Music: Works by Gilles Vigneault, Antonio Vivaldi, Les Yeux Noirs, The Cracow Klezmer Band, and Alberto Iglesias
Sound Score: Aszure Barton
Costume Design: Chelsea Kerl, after Anne-Marie Veevaete
Original Lighting Design: Daniel Ranger
Lighting Reconstruction: Paul Marr
Performers:
Cast 1 (Thursday, Friday matinee, Saturday): Shiori Hamanaka, Kimani Hopkins, Elvis Pietrzak, Demetris Michaelides, Maddox Stott, Natalie Marlow, Kylah Walker, Sophia Cobo, Emily Fusco, Daphne Tekmen, Sophia Hall, Olivia Yi, Ayden Wilson
Cast 2 (Friday evening, Sunday): Kimani Hopkins, Elvis Pietrzak, Demetris Michaelides, Maddox Stott, Natalie Marlow, Kylah Walker, Sophia Cobo, Emily Fusco, Daphne Tekmen, Sophia Hall, Olivia Yi, Taylor Moxey, Emmerson Cauthren
Program Note: Premiered with Les Ballets Jazz de Montréal, 2005.
Staging: James Gregg
Rehearsal Director: Kurt Douglas (BFA '01, contemporary dance)
Music: Works by Gilles Vigneault, Antonio Vivaldi, Les Yeux Noirs, The Cracow Klezmer Band, and Alberto Iglesias
Sound Score: Aszure Barton
Costume Design: Chelsea Kerl, after Anne-Marie Veevaete
Original Lighting Design: Daniel Ranger
Lighting Reconstruction: Paul Marr
Performers:
Cast 1 (Thursday, Friday matinee, Saturday): Shiori Hamanaka, Kimani Hopkins, Elvis Pietrzak, Demetris Michaelides, Maddox Stott, Natalie Marlow, Kylah Walker, Sophia Cobo, Emily Fusco, Daphne Tekmen, Sophia Hall, Olivia Yi, Ayden Wilson
Cast 2 (Friday evening, Sunday): Kimani Hopkins, Elvis Pietrzak, Demetris Michaelides, Maddox Stott, Natalie Marlow, Kylah Walker, Sophia Cobo, Emily Fusco, Daphne Tekmen, Sophia Hall, Olivia Yi, Taylor Moxey, Emmerson Cauthren
Program Note: Premiered with Les Ballets Jazz de Montréal, 2005.
Sing, Sing, Sing! (1978)
Choreography: Bob Fosse
Assistant Choreography/Assistant to Mr. Fosse: Kathryn Doby, Christopher Chadman
Staging: Alyssa Epstein
Rehearsal Director: Rachel Bertone
Music: Louis Prima (“Sing, Sing, Sing”)
Original Costume Design: Willa Kim
Costume Design: Chelsea Kerl
Original Lighting Design: Jules Fisher
Lighting Design: Paul Marr
Performers:
TROMBONE – Nigel Clifford and Arthur Welsh (all shows), Rachel Pizzurro (Thursday, Friday evening, Saturday matinee), Ivie Lewis (Friday matinee, Saturday evening, Sunday)
TRUMPET – Caitlin Eswein (Thursday, Friday evening, Saturday matinee), Chloe Wasser (Friday matinee, Saturday evening, Sunday)
PIANO – Sophia Davis and Julia Zingler (Thursday, Friday evening, Saturday matinee), Nigel Clifford and Ella Schrodeder (Friday matinee, Saturday evening, Sunday)
ENSEMBLE – Yuniel Betancourt, Michael Braun, Alex Grant, Lilia Holladay, Marissa Lazovick, Abby Osterink, Joelis Martinez-Santiago, Sam Sharpe, Lauren Smith, Kaden Stone, Brooke Zide
Program Note: Original choreography reconstructed by Alyssa Epstein, as licensed by the Verdon Fosse Legacy®
Assistant Choreography/Assistant to Mr. Fosse: Kathryn Doby, Christopher Chadman
Staging: Alyssa Epstein
Rehearsal Director: Rachel Bertone
Music: Louis Prima (“Sing, Sing, Sing”)
Original Costume Design: Willa Kim
Costume Design: Chelsea Kerl
Original Lighting Design: Jules Fisher
Lighting Design: Paul Marr
Performers:
TROMBONE – Nigel Clifford and Arthur Welsh (all shows), Rachel Pizzurro (Thursday, Friday evening, Saturday matinee), Ivie Lewis (Friday matinee, Saturday evening, Sunday)
TRUMPET – Caitlin Eswein (Thursday, Friday evening, Saturday matinee), Chloe Wasser (Friday matinee, Saturday evening, Sunday)
PIANO – Sophia Davis and Julia Zingler (Thursday, Friday evening, Saturday matinee), Nigel Clifford and Ella Schrodeder (Friday matinee, Saturday evening, Sunday)
ENSEMBLE – Yuniel Betancourt, Michael Braun, Alex Grant, Lilia Holladay, Marissa Lazovick, Abby Osterink, Joelis Martinez-Santiago, Sam Sharpe, Lauren Smith, Kaden Stone, Brooke Zide
Program Note: Original choreography reconstructed by Alyssa Epstein, as licensed by the Verdon Fosse Legacy®
Artist Bios
Martha Graham (1894–1991) was a groundbreaking dancer and choreographer who transformed modern dance by creating a new movement language and redefining stage design, music, and performance aesthetics. Born in Pittsburgh, she moved to California as a teenager, where seeing a performance by Ruth St. Denis inspired her to pursue dance. She later trained at the Denishawn School under St. Denis and Ted Shawn before leaving in 1923 to develop her own artistic voice. In 1926, Graham began teaching and debuted her first concert in New York. She founded the Martha Graham School in 1927, creating works that often addressed social and political themes. During the 1930s, she produced minimalist yet powerful pieces and took a notable political stand by refusing to perform at the 1936 Berlin Olympics. Her later works explored mythology and psychology, including collaborations with artists like Isamu Noguchi. Major works such as Appalachian Spring solidified her legacy. She also collaborated with influential dancers like Merce Cunningham. Though she stopped performing at 76, Graham continued choreographing nearly until her death, completing over 190 works. Widely regarded as a pioneer of modern dance, her influence continues to shape contemporary performance worldwide.
Ronald K. Brown, raised in Brooklyn, New York, is the founder and artistic director of the Ronald K. Brown and EVIDENCE Dance Company. He is the recent recipient of the Martha Hill Mid-Career Achievement Award (2024), American Dance Guild Lifetime Achievement Award (2024), and a Dance Teacher Award of Distinction (2024). Other awards include the Jacob’s Pillow Dance Award (2020), as well as a Dance Magazine Award (2018) and Samuel H. Scripps/ADF Award (2018). Brown has also received an AUDELCO Award for his choreography in Regina Taylor’s award-winning play Crowns, as well as two Black Theater Alliance Awards, and a Fred and Adele Astaire Award for Outstanding Choreography in the Tony Award–winning Broadway and national touring production of Gershwin’s Porgy and Bess, adapted by Suzan Lori Parks. Brown has set works on Alvin Ailey American Dance Theater, Ailey II, Cleo Parker Robinson Dance Ensemble, Dayton Contemporary Dance Company, Jennifer Muller/The Works, Jeune Ballet d’Afrique Noire, Ko-Thi Dance Company, Philadanco, Muntu Dance Theater of Chicago, Ballet Hispánico, TU Dance, and Malpaso Dance Company. He has collaborated with such artists as composer/designer Omotayo Wunmi Olaiya, the late writer Craig G. Harris, director Ernie McClintock’s Jazz Actors Theater, choreographers Patricia Hoffbauer and Rokiya Kone, and composers Jason Moran, Arturo O’Farrill, Meshell Ndegeocello, Robert Een, Oliver Lake, Bernadette Speech, David Simons, and Don Meissner. He has performed with Mary Anthony Dance Theater sndJennifer Muller/The Works, as well as other choreographers and artists. Brown was named Def Dance Jam Workshop 2000 Mentor of the Year and has received the Doris Duke Artist Award, NYC City Center Fellowship, John Simon Guggenheim Memorial Fellowship, National Endowment for the Arts Choreographers Fellowship, New York Foundation for the Arts Fellowship, United States Artists Fellowship, a New York Dance and Performance “Bessie” Award, and the Ailey Apex Award. Brown is co–artistic director of the Billie Holiday Theatre’s Youth Arts Academy Pre-Professional Program, and is a member of Stage Directors and Choreographers Society.
Aszure Barton has created choreography that’s been performed on stages worldwide as well as in museums and exhibits. She has also choreographed for film, opera, and theater, and has collaborated with a multitude of dance companies and artists around the world. Early in her career, she founded Aszure Barton & Artists in order to create a collaborative platform for process-centered creation. Barton is a Bessie Award recipient, current resident artist at Hubbard Street Dance Chicago, and a creative partner with Boston Conservatory at Berklee’s Dance Division.
Bob Fosse became, in 1973, the first director in history to win the Oscar, Tony, and Emmy awards in a single year for his spectacular triumphs in the film version of Cabaret, the Broadway musical Pippin and the television special Liza with a Z. Fosse won the first of his eight Tony Awards as choreographer for Pajama Game, followed by such Broadway credits as the direction and choreography of Redhead, Little Me, Sweet Charity (on stage and film), Chicago, and Dancin’. He also created the choreography for Damn Yankees, New Girl in Town, and How to Succeed in Business Without Really Trying. During rehearsals for Little Me, Fosse withheld his services in support of the SSD&C (now known as the SDC, Stage Directors and Choreographers Society). For the screen, he choreographed My Sister Eileen, Pajama Game, and Damn Yankees, and was nominated for an Academy Award as Best Director for Lenny and All That Jazz (which won the Cannes Film Festival), and directed Star 80 for the screen as well. Fosse’s writing credits include the book for Chicago with Fred Ebb (Tony nomination), the screenplay for All That Jazz with Robert Alan Arthur (Academy Award nomination), and the screenplay for Star 80. Fosse directed and choreographed the revival of Sweet Charity starring Debbie Allen, which joined Big Deal on Broadway in April 1986.
Ronald K. Brown, raised in Brooklyn, New York, is the founder and artistic director of the Ronald K. Brown and EVIDENCE Dance Company. He is the recent recipient of the Martha Hill Mid-Career Achievement Award (2024), American Dance Guild Lifetime Achievement Award (2024), and a Dance Teacher Award of Distinction (2024). Other awards include the Jacob’s Pillow Dance Award (2020), as well as a Dance Magazine Award (2018) and Samuel H. Scripps/ADF Award (2018). Brown has also received an AUDELCO Award for his choreography in Regina Taylor’s award-winning play Crowns, as well as two Black Theater Alliance Awards, and a Fred and Adele Astaire Award for Outstanding Choreography in the Tony Award–winning Broadway and national touring production of Gershwin’s Porgy and Bess, adapted by Suzan Lori Parks. Brown has set works on Alvin Ailey American Dance Theater, Ailey II, Cleo Parker Robinson Dance Ensemble, Dayton Contemporary Dance Company, Jennifer Muller/The Works, Jeune Ballet d’Afrique Noire, Ko-Thi Dance Company, Philadanco, Muntu Dance Theater of Chicago, Ballet Hispánico, TU Dance, and Malpaso Dance Company. He has collaborated with such artists as composer/designer Omotayo Wunmi Olaiya, the late writer Craig G. Harris, director Ernie McClintock’s Jazz Actors Theater, choreographers Patricia Hoffbauer and Rokiya Kone, and composers Jason Moran, Arturo O’Farrill, Meshell Ndegeocello, Robert Een, Oliver Lake, Bernadette Speech, David Simons, and Don Meissner. He has performed with Mary Anthony Dance Theater sndJennifer Muller/The Works, as well as other choreographers and artists. Brown was named Def Dance Jam Workshop 2000 Mentor of the Year and has received the Doris Duke Artist Award, NYC City Center Fellowship, John Simon Guggenheim Memorial Fellowship, National Endowment for the Arts Choreographers Fellowship, New York Foundation for the Arts Fellowship, United States Artists Fellowship, a New York Dance and Performance “Bessie” Award, and the Ailey Apex Award. Brown is co–artistic director of the Billie Holiday Theatre’s Youth Arts Academy Pre-Professional Program, and is a member of Stage Directors and Choreographers Society.
Aszure Barton has created choreography that’s been performed on stages worldwide as well as in museums and exhibits. She has also choreographed for film, opera, and theater, and has collaborated with a multitude of dance companies and artists around the world. Early in her career, she founded Aszure Barton & Artists in order to create a collaborative platform for process-centered creation. Barton is a Bessie Award recipient, current resident artist at Hubbard Street Dance Chicago, and a creative partner with Boston Conservatory at Berklee’s Dance Division.
Bob Fosse became, in 1973, the first director in history to win the Oscar, Tony, and Emmy awards in a single year for his spectacular triumphs in the film version of Cabaret, the Broadway musical Pippin and the television special Liza with a Z. Fosse won the first of his eight Tony Awards as choreographer for Pajama Game, followed by such Broadway credits as the direction and choreography of Redhead, Little Me, Sweet Charity (on stage and film), Chicago, and Dancin’. He also created the choreography for Damn Yankees, New Girl in Town, and How to Succeed in Business Without Really Trying. During rehearsals for Little Me, Fosse withheld his services in support of the SSD&C (now known as the SDC, Stage Directors and Choreographers Society). For the screen, he choreographed My Sister Eileen, Pajama Game, and Damn Yankees, and was nominated for an Academy Award as Best Director for Lenny and All That Jazz (which won the Cannes Film Festival), and directed Star 80 for the screen as well. Fosse’s writing credits include the book for Chicago with Fred Ebb (Tony nomination), the screenplay for All That Jazz with Robert Alan Arthur (Academy Award nomination), and the screenplay for Star 80. Fosse directed and choreographed the revival of Sweet Charity starring Debbie Allen, which joined Big Deal on Broadway in April 1986.
Production Credits
CREATIVE TEAM:
DANCE DIVISION STAFF:
Dean of Dance – Tommy Neblett
Chair of Dance – Mila Thigpen
Assistant to the Dean – Isabella Qiubo S. Wang
CREATIVE TEAM:
Artistic Director – Tommy Neblett
Rehearsal Directors – Rachel Bertone, Kurt Douglas, Heather Myers, Ruka Hatua-Saar White
Costume Designer – Chelsea Kerl
Lighting Designer – Paul Marr
PRODUCTION STAFF:
Director of Performance Services – Hanna Oravec
Assistant Director of Production – Rebecca Donald
Production Stage Manager – Hazel J. Peters
Assistant Stage Managers – Emily Pascucci, Morgan Rotman
Mainstage Technical Director – Taylor Kaufman
Assistant Technical Director – Caleb D. Harris
Costume Shop Manager – Alison Pugh
Assistant Costume Shop Manager – Aryn Murphy
Wardrobe Manager – Blue Barber
Wardrobe Assistants – Ana Delgado, Taz Meyers
Stock Manager/Draper/Stitcher – Kathy Scott
Draper/Stitchers – Sam Martin, Evan Petrow
Costume Production Assistant – Jackie Olivia
Costume Shop Intern – Gavin Wills
Lighting Supervisor – Jacob Inman
Production Electrician – Nate Morrissey
Sound Supervisor/A1 – Andrei Radu
Audio Engineers – Maddy Poston, Jessica Hawkins
Props Managers – Hannah Spangler, Sara LaFever
Projections Technician – Grace Kroeger
Fly Console Operator – Nick LaRosa
Performance Technology Technicians – Goran Daskalov, Sara Pagiaro
Assistant Director of Concert Services – Luis Herrera
Senior Ticket Operations and Patron Services Manager – Kelley Torres
STUDENT PRODUCTION STAFF:
Costume Shop Assistants – Elizabeth Hillman, Clara Palmadottir, Ellie Sawyer
Wardrobe Crew – Kourtlyn Eaddy, Braden Gryzlo
DANCE DIVISION STAFF:
Dean of Dance – Tommy Neblett
Chair of Dance – Mila Thigpen
Assistant to the Dean – Isabella Qiubo S. Wang
CREATIVE TEAM:
Artistic Director – Tommy Neblett
Rehearsal Directors – Rachel Bertone, Kurt Douglas, Heather Myers, Ruka Hatua-Saar White
Costume Designer – Chelsea Kerl
Lighting Designer – Paul Marr
PRODUCTION STAFF:
Director of Performance Services – Hanna Oravec
Assistant Director of Production – Rebecca Donald
Production Stage Manager – Hazel J. Peters
Assistant Stage Managers – Emily Pascucci, Morgan Rotman
Mainstage Technical Director – Taylor Kaufman
Assistant Technical Director – Caleb D. Harris
Costume Shop Manager – Alison Pugh
Assistant Costume Shop Manager – Aryn Murphy
Wardrobe Manager – Blue Barber
Wardrobe Assistants – Ana Delgado, Taz Meyers
Stock Manager/Draper/Stitcher – Kathy Scott
Draper/Stitchers – Sam Martin, Evan Petrow
Costume Production Assistant – Jackie Olivia
Costume Shop Intern – Gavin Wills
Lighting Supervisor – Jacob Inman
Production Electrician – Nate Morrissey
Sound Supervisor/A1 – Andrei Radu
Audio Engineers – Maddy Poston, Jessica Hawkins
Props Managers – Hannah Spangler, Sara LaFever
Projections Technician – Grace Kroeger
Fly Console Operator – Nick LaRosa
Performance Technology Technicians – Goran Daskalov, Sara Pagiaro
Assistant Director of Concert Services – Luis Herrera
Senior Ticket Operations and Patron Services Manager – Kelley Torres
STUDENT PRODUCTION STAFF:
Costume Shop Assistants – Elizabeth Hillman, Clara Palmadottir, Ellie Sawyer
Wardrobe Crew – Kourtlyn Eaddy, Braden Gryzlo
Boston Conservatory thanks audience members for viewing this program information online. This paperless program saved 6,300 sheets of paper, 685 gallons of water, and 575 pounds of CO2-equivalent greenhouse gas emissions.
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