Directed and Choreographed by James Beaudry

Musical Direction by Matt Marco

Assistant to the Music Director: Isabella Gomez–Barrientos

Stage Manager: Katja Rabus

Assistant Stage Manager: Faith Marsala

Set and Props Design: Max Teicher

Lighting Design: Ethan Brod

Costume Designer: Sam Lyko

Assistant Costume Designer: Jonathan Zotamba

Projection Designer: Braxton Stone

Sound Designer and Mixer: Joyce Cheng

Assistant Sound Designer: Tobias Pfluke

Jack Catena                            Editor

Glen Chitty                              Father

Gwen Daretany                      Movement Double for Vincent

Conley Egor                            Kathleen / Publisher

Angel Frias Fuertes                 Katherine with a K / Little Sister / Ella Somerville

Caroline Jameson                   Caroline B. Dow

Wisteria Jones                          Catherine with a C / Little Sister

Allie NeGron                            Mother

Amanda Nirenberg                Orrick Johns / Dr. Somerville / Judge

Kyra Orgass                             Vincent

Valentina Rodriquez               Norma

Abby Tyler                               Henry Hall

Kira Whitehead                       Elaine Ralli

Isabella Gomez-Barrientos    Swing

Amanda Nirenberg                Caroline & Elaine

Kira Whitehead                       Vincent

Keyboard 1 and Music Director: Matt Marco
Keyboard 2: Ian Liedke
Reeds: Craig Incontro
Horn: Alison Dings
Violin: Gretchen Fisher
Cello: Adriana Pera
Bass: Jim Marone
Harp: Cristin Kalinowski

ACT I

Travel………………………………………………………………………………………..………….Editor, Father, Vincent, Norma, Kathleen

The Bean-Stalk………………………………………………………………………………………………………………………….…………….Vincent

Dear Papa………………………………………..…..…………………………………………………………………….Vincent, Norma, Kathleen

Lament…………………………………………………………………………………………………………………………………………..…….Mother

Alms………………………………………………………………………………………………..Vincent, Father, Norma, Kathleen, Mother

Afternoon on a Hill……………………………………….…………………………………………………………..Kathleen, Norma, Vincent

What Lips My Lips Have Kissed…………………………………….…………………………………………..Kathleen, Editor, Vincent

I Shall Forget You Presently, My Dear………..…………………………….……..Norma, Vincent, Editor, Caroline B. Dow

The Ballad of the Harp-Weaver………………………………..……………………..……………………………………..………………Father

Blight………………………………………………………………………………………………….Norma, Kathleen, Mother, Editor, Vincent

~15-Minute Intermission~

ACT II

Second Avenue…………………………………………………………………………………………….………………………………….Orrick Johns

Afternoon on a Hill (Reprise 1)………………………………………………………………………….………….Vincent, Caroline B. Dow

Carpe Diem……………………………………………………………………………………………………………………………….……Father, Editor

Recuerdo……………………………………………………………………………………………………………………………………..Father, Mother

Elegy…………………………………………………………………………………………………………………………………………………..……..Elaine

First Fig / The Penitent…………………………………………………………….………….Father, Mother, Vincent, Editor, Publisher

When the Year Grows Old……………………..……………………………………….…………………………..Caroline B. Dow, Mother

Afternoon on a Hill / Carpe Diem (Reprise 2)…………………………….………………………………………..……..Father, Editor

Exiled……………………………………………………………………………….……………………………Norma, Kathleen, Mother, Vincent

Time Does Not Bring Relief………………………………………………………………………………………………………………..……Vincent

The Procession……………………………………………………………………………………………………………………………………………………

Renascence Part 1………………………………………………………………………………………………………………………………..Company

But Who Ever Does Better?

Any attempt to pin down, define or explain simply the musical Renascence will fall short as surely as an attempt to simply define poetry shall fail to capture the enormity of the form. In form, Renascence is part the story of Edna St. Vincent Millay’s early life and career, part meditation on an artist navigating her work and life, and part theatricalization of the poem that first made Vincent (as Millay was known) famous.

As Mother says in act one, “It threatens to overwhelm.”

In a way, Renascence sits in the jukebox musical tradition, integrating an artist’s existing songs (or poems, here set to a gorgeous original score by Carmel Dean) within a narrative telling the artist’s own story, similar to Jersey Boys, Beautiful, etc. Renascence follows this popular, well-worn structure to a point. But it also breaks traditional narrative structures as boldly as the great, anarchic concept musicals like Hair, Company and Don’t Bother Me, I Can’t Cope.

Concept musicals typically explore a theme using overt theatrical forms more than they tell a traditional, linear story. By subverting linear narrative, Renascence encompasses so much more than the story of one poet. We encounter poetry, and then we enter the moments that shape the poet. Finally, we enter the poem itself.

In a letter dated 1920, Millay wrote of music:

“It answers all my questions, the noble, mighty thing, it is “green pastures and still waters” to my soul. Indeed, without music I should wish to die. Even poetry, Sweet Patron Muse forgive me the words, is not what music is. I find that lately more and more my fingers itch for a piano, and I shall not spend another winter without one.”

I hope that in experiencing the musicalization and theatricalization of Renascence, some of our questions are answered by the noble, mighty thing, and some moments of “green pastures and still waters” may be shared between our souls.

James Beaudry (he/him) is a Clinical Assistant Professor of Music Theatre. He has served as Producing Artistic Director for Timber Lake Playhouse and Clinton Area Showboat Theatre, as Company Manager for New York Stage And Film for three seasons of new plays and musicals in development, and as Project Manager for the Broadway Reopening Project in 2021. 

He has directed, choreographed or produced over 140 productions. Directing and choreography credits include the world premieres of Mark Twain’s Blues (Off-Broadway) and Jason & Ben (NYMF), as well as choreography for Pride & Prejudice at Long Wharf Theatre, the Chicago premiers of Heathers the Musical (Jeff Award nomination for outstanding direction), Murder Ballad (Jeff Award nomination for outstanding direction) & Meet John Doe. He is a proud member of Stage Directors And Choreographers Society (SDC).

Additional credits include The 39 Steps, Other Desert Cities, To Master The Art, Sweeney Todd, Aspects of Love, The Most Happy Fella and Pump Boys & Dinettes, Lucky Stiff, Triumph of Love, West Side Story (CUNY 50th Anniversary Production), Anything Goes, Into The Woods, Chicago, Cats, Sunset Boulevard, Children of Eden, Big Fish, Titanic, Evita, Carousel, The Wedding Singer, Hair, Constellations, All Shook Up and Sister Act. 

James served on the directing team for Leo Burnett’s Leo On Ice, an original, Broadway-scale rock opera at the historic Chicago Theatre. The project was shortlisted for the Cannes Lions International Festival of Creativity in the category of Branded Content & Entertainment. 

As an educator, James taught for the acclaimed TADA! Youth Theatre in New York City and served as a guest artist and director with Baldwin Wallace University, Indiana University of Pennsylvania, North Central College and The College of Wooster. He studied acting and directing at the Lee Strasberg Theatre & Film Institute and holds an MFA in Dance Performance & Choreography from Mills College.

Matthew Marco is a conductor, coach, and collaborative pianist based in Buffalo, NY. This season will be his first as Artistic Director of Buffalo Opera Unlimited, a company that highlights Buffalo-based talent in operatic works from both within and outside of the traditional canon. He also returns to the University at Buffalo as Clinical Assistant Professor in the Department of Theatre and Dance, teaching courses in musicianship, coaching, and music directing all curricular musicals. In addition to opera and musical theater, he enjoys regular performances with the Buffalo Philharmonic Orchestra, including the 2022 Carnegie Hall performance, Naxos recording sessions, and concerts on both the classics and pops series. 

Mr. Marco has also performed with Amarillo Opera (TX), the Center for Contemporary Opera (NY), Civic Morning Musicals (Syracuse, NY), the National Choral Festival (Carnegie Hall, NY), Opera Tampa (FL), and the Savannah VOICE Festival (GA). Locally, he has held conducting and coaching positions with Nickel City Opera, the Orchard Park Symphony Orchestra, the Western New York Chamber Orchestra, the Hillman Opera Company, and Opera-Lytes. For eleven years, he was the accompanist of the Buffalo Master Chorale, and has performed with the Buffalo Gay Men’s Chorus, the Buffalo Chamber Players, Friends of Vienna, and the Western New York Chamber Orchestra. Mr. Marco studied piano with Anne Kissel and François Germain, and conducting with Paul Ferington and Brian Doyle.

Rehearsal Assistant Stage Managers: Alissa Di Cristo, Nathan Eck, Quinn Petkus

Dressers: Alissa Di Cristo, Hayley Timberlake, Julia Witt

Deck Crew: Taylor Hannah, Morgan Mahoney, Maddie Sipowicz

Head Electrician / Programmer / Light Board Operator: Molly Crandall

Assistant Head Electrician: Lisa Gallagher

Head Carpenter: Sheila Fastoff

Assistant Technical Director: Luigi LoCascio

House Manager: Tim Nuñez

Sound Operator: Melina Sweeney

Props Supervisor: Adriana Vetcha

Projections Operator: Braxton Stone

Season Graphics: Elisabetta Antonacci

Costume Shop Assistants: Ein Ayala, Jen Marquez

Projections Designer: Ethan Borrok, Braxton Stone

Head Electrician: Ethan Brod

Props Manager: Sheila Fastoff

Carpenter: Luigi LoCascio

Scenic Artist: Katja Rabus

Assistant Scenic Artist: Cameron Thompson

Info-Tech: Braxton Stone

Gina Boccolucci: Set Design, Paint, & Props Mentor

Lindsay Brandon Hunter: Intimacy Direction

Tom Burke: Light / Sound / Video Supervisor

Judy Curtis: Costume Technician

Cindy Darling: Assistant Costume Shop Manager / Wardrobe Supervisor

Erich Frank: Assistant Technical Director

Melinda J. Lamoreux: SM Mentor / Production Stage Manager

Cathy Norgren: Costume Design Mentor

Nick Quinn: Lighting and Projection Design Mentor

Danielle Rosvally: Fight Director

Zechariah Saenz: Costume Shop Manager / Hair & Makeup Supervisor

Jon Shimon: Director of Undergraduate Theatre

Tom Tucker: Senior Staff Assistant / Scene Shop Supervisor

Hannah S. Wolland: Crew Instructor

Department Chair: Eero Laine

Associate Chair / Producing Director: Lynne Koscielniak

Production Manager: Rick Haug

Assistant Production Manager: Ally Hasselback

Department Administrator: Rachel Olszewski, Veronica Sedota

Senior Staff Assistant: Rob Falgiano

Administrative Assistant: Kristin Mann

The UB Department of Theatre and Dance is a proud member of the UB College of Arts and Sciences.

With a firm commitment to the advancement of creative research, experiential learning, and community engagement, the UBTHD 2023-2024 Production Season is administered by the Department of Theatre and Dance. We acknowledge our full faculty and staff for their part in preparing students for work on stage and behind the scenes.

We thank UB Center for the Arts for their support in making these productions possible.

UB Theatre and Dance wishes to acknowledge the generous continued philanthropic support of Fox Run at Orchard Park, an official contributing sponsor of the UB Theatre and Dance 2023-2024 season. 

Today’s performance is part of the Department of Theatre and Dance’s season of plays, dance concerts, and musicals. Our season of programming is also made possible by the generosity of patrons in the form of both ticket purchases and donations. If you would like to further Support Theatre and Dance, please visit our website.