CFA: Tell us more about Erin, the lead role of COURT 4.

Thalia: Erin is a 15-year-old tennis player. She’s grappling with the fact that
she’s good, not great, so likely doesn’t have a future playing professionally, despite devoting her whole life to the sport. I had to help bring this character to life and work alongside Wendy to make sure her vision was being met.

CFA: What are some highlights of this experience for you?

Thalia: This was my first paid theatrical work. I had only done film before (watch Summer of 69 on Hulu for Thalia Gerloff Jumpscare). So I’m really proud of how far I’ve come in the world of theater! Since COURT 4 is about tennis, we had Mary Carillo in the room, a tennis sportscaster and former player. She helped provide insight into the world of tennis, and she also took part in the reading. It was such an honor to get to work alongside both her and Wendy Goldberg, who are both so experienced in their respective fields.

CFA: Did any resources at CFA or BU help you prepare for success?

Thalia: I’ve now done four new work readings at BU, which definitely helped me prepare for this reading. Most recently, I was in Birds of Prey, written by Eva Sheehy-Moss (CFA’26), directed by Gregg Wiggans (CFA’25). I’ve gotten better at the tight turnaround between getting a script for the first time and presenting it to an audience.

Additionally, it’s such a privilege to get to work with the playwright in the room. My experience doing new works has helped me to take advantage of that privilege and what types of questions to ask the writer.

CFA: How does the coursework at CFA connect with this type of work?

Thalia: During the rehearsal process for this reading, I used techniques from Christine Hamel’s Voice & Speech 5 class, as well as her Chekhov class.

I was able to tap into disappointment and longing, something Erin struggles with in COURT 4, using a more psychophysical approach. Being in Christine’s Chekhov class last semester prepared me for this, as I had to experience these same emotions as Nina in The Seagull.

I’ve found Christine’s classes to be extremely helpful for me, as she’s taught me how to
experience harder emotions in a rehearsal room without carrying these feelings with me the rest of the day. It’s much more sustainable than the way I assumed acting should be.

CFA: In what ways do you think this career opportunity has helped you prepare for your work beyond BU?

Thalia: I feel more confident working with experienced actors! It’s always daunting working with people who aren’t in college, because I know their resumés are far more robust than mine. This is the first time that I feel my training at BU has gotten me to a place where I feel I can hold my own (even though I still have a lot to learn).

CFA: What did you learn about yourself?

Thalia: Apply yourself fully to every opportunity you get! You never know who will be in the audience and remember you for a future opportunity.

Also, always remember to check a car before leaving it. Right after the reading, I left my phone in an Uber. I cried. Shout out to the kindness of strangers for mailing it back to me.

CFA: Any advice for current CFA students beginning this type of process?

Thalia: Your training at BU has 100% prepared you for this kind of work. Don’t underestimate yourself; all our training here is to enhance your toolkit, so use it!

CFA: What’s next for you, Thalia?

Thalia: I’m spending this spring semester in London at LAMDA’s classical acting program. When I’m not perfecting my scansion of Richard III, I’ve been working on a few writing projects with my roommates that I hope to produce in the summer and fall!