
An interdisciplinary major at heart
[Shape the content and trajectory of your studies]
Boston University’s theatre arts programs offer a unique opportunity for an artist who is interested in pursuing the study of multiple disciplines within the theatre. Instead of taking a prescribed sequence of courses, theatre arts majors embark on rigorous exploration of acting, directing, dramaturgy, playwriting, and design and production.
Ranked nationally as a top theatre arts program:
#20 best colleges for performing arts in America (2022 niche rankings)
#35 best drama & theatre arts schools (2022 college factual)
Before officially declaring a BFA major, each first year student entering the School of Theatre is admitted into the First Year Core experience. Students can choose between the BFA Performance Core or the BFA Design & Production Core.
As a BFA theatre arts student, you’ll construct a sequence of experiential and academic coursework that satisfies your individual interests and passions, under the guidance of committed faculty mentors. You’ll learn how to authentically collaborate with others, and how to identify compelling social issues. The theatre arts course of study includes an internship, study abroad, and the development of a senior thesis. The thesis focuses on a single discipline allowing for deep practical exploration within that discipline.
Upon completion of this program, graduates possess the ability to express themselves effectively and with generosity, whether the task at hand is artistic or administrative, and to contribute significantly to the professional theatre. The nurturing of each student’s original voice is vital, not only to the creation of new work for the theatre but to the shaping of communities at home and internationally.
“I found a lot of things about myself and about myself as an artist.”
CFA alum Ken Yotsukura (CFA’22) looks back at how BU’s theatre arts performance program allowed him to discover things about himself that he never thought, like pursuing his own photography business. He credits his education in acting and movement to his success as a photographer in effectively directing his clients during a photoshoot.
Degrees Offered
Featured Faculty
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Joel Brandwine
Assistant Professor; Program Advisor for Technical Production and D&P Theatre Arts
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Yo-EL Cassell
Head of Movement; Assistant Professor, Movement; Co-Chair, Dance Minors; Advisor/Faculty Mentor, Theatre Minors
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Harry Castle
Assistant Professor of Musical Theatre
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Christopher Edwards
Assistant Professor of Acting
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Jim Fagan
Assistant Professor of Directing
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Kirsten Greenidge
Director, School of Theatre; Associate Professor; Playwriting Track
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Clay Hopper
Senior Lecturer, Directing
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Michael Kaye
Assistant Professor; Program Head, MFA Theatre Education
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Kristin Leahey
Assistant Professor, Dramatic Literature & Dramaturgy
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Nancy Lynn Leary
Associate Professor, Costume Design
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James Noone
Associate Professor, Scenic Design; Program Head-Scenic Design; Co-Chair Design, Production & Management
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David Remedios
Assistant Professor & Program Head, Sound Design
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Mark Stanley
Professor, Lighting Design
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Renee E. Yancey
Senior Lecturer, Management; Management Programs Head; Academic Coordinator for Curriculum and Assessment

CREATIVES IN PRACTICE:
YO-EL CASSELL
A key message for Yo-EL Cassell’s theatre and movement students at Boston University: curiosity becomes the entry point for creativity. Cassell, an award-winning choreographer, head of movement at BU, assistant professor of movement at BU School of Theatre, dance minor coordinator, and advisor to theatre minor students, is practicing what he preaches through his “Journey of Youth” (J.O.Y. for short) technique.
In CFA’s Creatives in Practice series, Cassell shares what he’s been up to during his most recent sabbatical leave. His journey has taken him abroad to Europe to teach, participate in a creative residency, and research the rise in popularity of physical theatre. Back in the States, Cassell curated a colloquium focusing on movement as medicine, finished his book proposal on the J.O.Y. technique, and, for the past year and a half, has been working with The American Physical Theatre (APT) in New York City.
“It’s been an honor to be involved with the development of The American Physical Theatre as one of the founding members and consultants, where we recently performed in March to sold-out capacity at Harlem Stage. The company realized that there is this real hunger for physical theatre where the body as a communicative channel becomes the expressive channel.”

