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The Boston Conservatory Theater


Mary Wolff and Tommy Neblett, producers

Featuring original choreography by dance division students and the freshman class in works by Sydney Skybetter, Diane Arvanites and Alumni Commissioning Project artist Robin Aren. 

The Boston Conservatory Wind Ensemble

Eric Hewitt, conductor

Featuring a world premiere by 2015 Boston Conservatory Composition Competition Daniel Choi.

WUORINEN: Big Epithalamium
TINA TALLON: studies on the intensification of light and shadow, featuring Philipp A. Stäudlin, alto saxophone *WORLD PREMIERE*
RANDS: Ceremonial

Alice In War

Alice in War is a contemporary fable about a girl and her family confronting the absurdity, senselessness and intimacy of war. This fantastical play weaves a curious tale as Alice, Bianca and Rabbit journey through a surreal desert war in search of an Angel shot down by the military. With loose threads of Alice in Wonderland, The Wizard of Oz and other coming of age journeys, Alice encounters bizarre characters and mysterious surprises. Alice in War explores loss, home, injustice and dysfunction that play on the edges of magic realism. Written by local playwright Steven Bogart. Directed by Andrea Southwick.


I fell in love with Alice in War a few years ago when playwright Steven Bogart, a longtime friend and colleague, asked me to read it. A fantastical fable, it is beautiful, heartbreaking and, in my eyes, hopeful. It ponders the patterns of war and how inherently human it is to blur the line between justice and revenge. This tale depicts how love and grief drive both our best and worst impulses, helping to perpetuate the endless cycle of war throughout history. All is seen through the eyes of a 10-year-old girl, so believe it or not, there is a great deal of levity in its delivery. It feels like a dream: sometimes delightful, sometimes nightmarish.  

Each day in rehearsals, we were struck by the direct correlation of events in the play to current happenings in our world and our lives: the lengths human beings go to try to win wars, robbing children of their innocence, forcing little girls to be suicide bombers.  Each day in the news we hear people label and vilify “the enemy” and justify the causes of war. This play presses us to wonder whether these causes are truth or lies, real or unreal.    

The feminine perspective on war is powerful in this piece. It not only addresses the traditional role of mourning women, but it imagines them as warriors in their own right—for right, for love, for survival, for change. This profoundly moves me.

Directing this original, multi-layered, surreal play here at The Boston Conservatory gave me the opportunity to work in a way that is most exciting to me. With the luxury of a long rehearsal process, we explored many approaches, character choices and layers of meaning. The playwright has been involved, and he has helped us dig deeper into the workings of the play. My assistant director, Daniel Hutchins (B.F.A. '16) has been my right arm for three productions here, and his insight and skill as a budding director is extraordinary. The professional design and production team have spent months with us imagining and creating this curious world. Most of the cast and crew have been my acting students, so we entered into the rehearsal process with a deep level of trust and a shared way of working. They are immensely talented and hungry for this depth of exploration. Alice in War is the perfect piece to stretch and challenge creativity and expand hearts and minds.

—Andrea Southwick, director



This delightful contemporary comic opera takes place entirely in an airport. The characters are an interesting cross-section of “complicated” people all meeting while in transit, emotionally as well as geographically. Although air travel has changed somewhat since Flight premiered at the Glyndebourne Festival in 1998, Dove’s witty, colorful score and de Angelis’ humorous, yet poignant libretto provide a memorable journey from start to finish. Performed in English with projected supertitles. Music by Jonathan Dove. Libretto by April de Angelis. Conducted by Andrew Altenbach. Directed by Johnathon Pape.

From the Ground Up

New works created specially for Boston Conservatory dance students by three renowned female choreographers: alumna Zoe Scofield (Boston Conservatory alumna, 2015 Guggenheim Fellow and co-founder of zoe|juniper), Andrea Miller (founder and director of Gallim Dance) and Francesca Harper (Broadway performer and former soloist at Dance Theater of Harlem). Also featuring Diane et Acteon from La Esmeralda—this piece, reconstructed by veteran dancer and Conservatory faculty member Gianni Di Marco, will be accompanied by The Boston Conservatory Orchestra under the direction of Lawrence Isaacson. Cathy Young, artistic director.

Choreography by Zoe Scofield
Using sounds of the dancers' breath and rhythmic footwork, Scofield has created a densely architechtural and visually stunning piece. The intricate patterns and timing of the work reflect a deeply connected community of dancers.

Choreography by Francesca Harper
Exploring themes of discord and resolution, this piece of stark contrasts is sure to challenege and intrigue audiences.

Choreography by Marius Petipa
This classical pas de deux, reconstructed by veteran dancer and Conservatory faculty member Gianni Di Marco, will be accompanied by The Boston Conservatory Orchestra under the direction of Lawrence Isaacson. 

Choreography by Andrea Miller 
This daring performance is raw, honest, surprising and, ultimately, deeply moving. The work is theatrical and physical, showcasing the perfomers as the seasoned artists they have become.  

The Threepenny Opera

Brecht and Weill turned to John Gay's 18th-century The Beggar's Opera to fashion this savage, biting commentary on bourgeois capitalism and modern morality. Set in Victorian London, the bitter tale is told of the predatory outlaw known as Mack the Knife. He secretly marries the daughter of Soho's underworld boss, but is soon betrayed by his sinister in-laws and sent to prison. After being freed by the police chief's daughter, he is again betrayed- this time by a prostitute-and sentenced to death. At the final hour he manages a reprieve from Queen Victoria herself, thus providing a menacing finale of ferocious irony.

Music by Kurt Weill
Lyrics and book by Bertolt Brecht
Directed by Neil Donohoe
Choeographed by Michelle Chassé
Musical direction by Bill Casey
Conducted by Reuben M. Reynolds, III

The Boston Conservatory Percussion Ensemble

Samuel Z. Solomon and Kyle Brightwell, co-directors

Featuring works by Andy Vores, Ramon Castillo and PoChun Wang, among others.

The Boston Conservatory Wind Ensemble: Concert in Memory of Gunther Schuller

Eric Hewitt, conductor

RAUTAVAARA: Sotilasmessu
WEILL: Violin Concerto, featuring Markus Placci, violin
LEE: Requiem Octet... In Memoriam Gunther Schuller *WORLD PREMIERE*
SCHOENBERG: Theme and Variations, op. 43a

The Wild Party

Neil Donohoe, director
Steven Ladd Jones, musical director and conductor

Manhattan decadence in the 1920s provides the backdrop for this tough musical fable. Queenie, a vaudeville chorine, hosts a blow-out party with her vicious lover. The guests are a vivid collection of the unruly and the undone. The jazz and gin soaked party rages to a mounting sense of threat as artifice and illusion are stripped away. When midnight debauchery leads to tragedy at dawn, high-flying characters land with a sobering thud, reminding us that no party lasts forever.

Mature subject matter.  

Music and lyrics by Michael John LaChiusa
Book by Michael John LaChiusa and George C. Wolfe
Based on the poem by Joseph Moncure March 

The Boston Conservatory Percussion Ensemble

Sam Z. Solomon and Keith Aleo, co-directors

Featuring works by Zappa, Silverman, MacDonald, Bergamo, Cardew and Sekhon. 


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