• A Conversation with Valérie Thérèse Bart, Costume Designer of "Poor Yella Rednecks"

    Beth Fhaner
     | Mar 11, 2019
    Valerie Bart

    ​Costume Designer Valérie Thérèse Bart.

    Huong Costume Rendering

    ​Bart's costume rendering for the character of Huong.

    Playwright Costume Design

    ​Bart's costume rendering for the Playwright.

    Quang Costume Rendering

    ​Bart's costume rendering for the character of Quang.

    Tong Costume Rendering

    ​Bart's costume rendering for the character of Tong.

    Born in France to Vietnamese refugee parents, Valérie Thérèse Bart’s family eventually made their way to the U.S. in the 1990s. For Bart, costume designer for the world premiere of Qui Nguyen's Poor Yella Rednecks, the play’s immigrant story has allowed her to feel a deeply personal connection to the material. Because Bart comes from a multi-ethic/multicultural background and sees the world as such, she aims to create work that is collaborative and truly diverse.

    Bart’s initial experiences with live theatre involved working at the costume shop of a community college. Later, armed with a BA in ​theatre ​arts from UCLA and a MFA in design from Yale University, School of Drama, Bart’s work on costume/scenic design has been showcased at various theatres around the country. In our Q&A, learn more about Bart and her all-inclusive way of telling stories.

    What was your design inspiration for the Poor Yella Rednecks costumes?

    My family went through what playwright Qui Nguyen’s family went through with some slight variations. So I was able to turn to family photographs, interview my mother and a couple aunts for their perspective to get very realistic, first-hand research. It was such a fascinating exercise, in deep diving into my own culture—to learn new things and discover details about these pictures that I have been looking at my whole life.

    Additionally, because Poor Yella Rednecks explores Vietnamese identity in a very American landscape, I also used a lot of American pop culture and fashion images to round out my research.

    What are the best parts and the biggest challenges​ about working on this show?

    The best part has been to feel a very deep and personal connection to this project and have my family actually relate to work I’m doing. I come from a very non-artistic family and the fact that they are just as ecstatic as I am and that the show is happening so close to them, makes for a very sweet homecoming to Orange County.

    There are a few challenges—all the actors are wearing body mics, which makes costume quick changes and wearing hats​ and wigs an extra element to watch for​—there are over 50 looks in the show, all worn between five actors, so backstage will be a constant marathon.

    What inspired you to delve into a career of costume design?

    There are many things I was interested in growing up that have paved the way to costume design—I grew up reading comic books and watching cartoons and anime and would draw and doodle everything I saw. At one point, I wanted to be a comic book artist. I’ve also always loved music and movement and I believe had things been different for our family, I might’ve been a professional dancer.

    I set out to study fashion design because I wanted the ability to create and express outwardly. That eventually led me to working as a technician at the costume shop at my community college as a survival job and discovering theatre for the first time. I instantly loved it because it combined all the things I love about the arts—movement, sound and the ability to tell a story visually.

    What are some of your favorite productions that you’ve designed costumes for?

    I was fortunate enough to have designed Denver Center’s Vietgone production last fall. It was my first experience with delving into my own culture and heritage and it was an incredible journey to make with the creative team, cast and crew. A Doll’s House, Part 2 at Actors Theater of Louisville was another recent favorite production. It’s a really great analysis on the complex layers of feminism and what it means to be a woman of that period in conjunction with our modern times.

    What advice would you give to someone just starting out in their career?

    Be ambitious and resilient. Go for the things you want and set goals, but know that the journey there will often trip you up and knock you down, so learn to get up and keep trying. It’s not enough to have talent; one must have marketing knowledge and people skills. In order for people to hire you, they need to know about your experience, so you have to tell them that you exist and get your name out there. Socialize, shake hands and meet people as much as you can, even if you are a shy introvert, which many people in theatre will admit they are. Theatre is a very small world and it’s often about connections. But these connections can turn into very meaningful collaborations and friendships, which result in some great productions that look and feel like a cohesive world.

    Tell us about your long association with SCR.

    My very first professional regional job out of community college was as a stitcher ​in SCR's Costume Shop for Much Ado About Nothing many years ago. I must’ve done a good job because I kept getting hired back and eventually worked my way up to first-hand, crafts assistance and head of crafts on a project-by-project basis.

    I went off to earn my BA in theatre from UCLA, came back and worked up the courage to notify ​Costume ​Shop ​Manager Amy Hutto that what I really wanted to do was design and that she should hire me as an assistant to gain experience. Eventually, she gave me opportunities to assist designers such as Angela Balogh Calin, Alex Jaeger and Ilona Somogyi. Ilona planted the seed of graduate school and, when I received the ​call that I had gotten into the Yale School of Drama, I was here ​in the ​Costume Shop.

    So, SCR had been with me from the very beginning and saw me through many milestones up to the point when I relocated back East. Walking through the old corridors and rooms brings back many warm memories and I’m grateful to the few people in the Costume Shop who had been there and believed in me—Amy Hutto, Laurie Donati, Catherine Esera and Erik Laurence.

    Learn more about Poor Yella Rednecks and buy tickets.

  • Engaging a Community in Conversation: "Sheepdog"

    Kimberly Colburn
     | Mar 06, 2019
    Kevin Artigue

    Playwright Kevin Artigue.

    What’s in a Name?

    Playwright Kevin Artigue drew the title for Sheepdog from a concept discussed in a book titled On Combat: The Psychology and Physiology of Deadly Combat in War and Peace, by Lt. Col. Dave Grossman, a U.S. Army Ranger, paratrooper and former psychology professor at the U.S. Military Academy at West Point. In it, Grossman suggests that police officers are like sheepdogs, “who live to protect the flock and confront the wolf.” They must have qualities of both sheep and wolf—including a capacity for violence—in order to do their job effectively.

    About Playwright Kevin Artigue

    Kevin Artigue writes plays, TV, and film. He was raised in Redlands, Calif., and calls Brooklyn home. His plays have been developed with The Public Theater, the National New Play Network, New York Theater Workshop, Portland Center Stage, Golden Thread, Theatre of NOTE, the Playwrights Foundation, Long Wharf Theater and the Playwrights’ Center (Minneapolis). He’s a member of the Dorothy Strelsin New American Writers Group at Primary Stages and was a member of the Interstate 73 Writers Group (2016) and the Public Theater’s Emerging Writers Group (2015-16). His films include Resistance (2014) and Holy Ghost People (2013). He is currently developing screenplays including Imperative, Star Thrower and Scott Free. Artigue earned his MFA from the Iowa Playwrights Workshop.

    Kevin Artigue’s Sheepdog (April 14-May 5, 2019, Julianne Argyros Stage) is a mystery within a love story about an African American cop, her white male partner and a relationship that gets shaken to its core. The story told has inspiration in the real world—a police officer who began speaking out against police violence and Artigue’s own interracial relationship.

    As Artigue explains in this Q&A, the story of Sheepdog, he is guided by a personal mandate to create opportunities in his writing for artists of color and women through his work.

    South Coast Repertory: What was your inspiration for writing this play?
    Kevin Artigue: Like most of us, I’m horrified and outraged by the cascade of footage of police violence against people of color. I’m also furious over the fact that these officers—even in the most egregious cases—are not being indicted, despite footage and despite body cams. How can this be happening, again and again?

    It’s easy to jump to reductive conclusions and frame the debate entirely about race—make it black vs. white. Of course it is about race, it always is... but as I began to research and conduct interviews, I saw that the question of why was more layered, nuanced and complicated than what I assumed...especially for officers of color.

    A source of inspiration for the play and the character of Amina is Officer Nakia Jones, one of the first police officers to speak out publicly against police violence and to lay bare her divided heart. I talked with her and interviewed police officers working in departments around the country, particularly officers of color. Giving voice to their unique experience and perspective is why I’ve written this play. But I’m also writing about my own love and experience in a long-term interracial relationship. The play gets very personal on that level. It’s an exploration of how the politics of the outside world can infiltrate a relationship, and inevitably change it.

    SCR: This play first appeared as a reading during the Pacific Playwrights Festival (2018). Has it changed much?
    Artigue: The process was intense and extremely valuable. I took full advantage of the fact I had four readings and I rewrote a ton. Now, I was working my butt off and didn’t get to see anything else and drank more coffee than beer, but I walked away from the festival with a deeper and more focused version of the play. I credit our director Leah [C. Gardiner] for creating a safe, positive, honest space for my actor's who were fearless and curious, and for dramaturg Jerry Patch, who had some mind-blowing new ideas.

    SCR: Sheepdog has a unique structure in that it is a non-linear play that is narrated by the main character—is this typical of your work?
    Artigue: In some ways, Sheepdog is familiar and in some ways it’s new. I’ve never written a play that uses direct address—a character speaking to the audience. But it felt appropriate and a useful tool to create an implicit bridge of understanding. Amina speaks in second person throughout the play—“You do this, you do that”—she doesn’t let us off the hook. And her experiences become shared and communal, which might break down any guard or defense someone may have towards her—because she’s black or because she’s a woman or because she’s a cop.

    SCR: Why non-linear?
    Artigue: Sheepdog is both a love story and a mystery. Amina is trying to solve the case and get to the truth, but to do this she has to actively explore her past. Her memories serve as clues to the present. So like a piece of footage, Amina stops and starts the play. She “rewinds” and goes backwards, interrupting the flow of time. In general with my plays, I try to take a realistic structure and break it up somehow, so the play is active on all levels—language, character and form.

    SCR: This play speaks to our current cultural moment around the discussion of race—do you consider yourself an activist through your work or choice of topics?
    Artigue: I use the word activist lightly. I don’t believe in putting a moral mandate on art. I am a raging Lefty but when I sit down to write a play I take that hat off. I believe the most interesting, truly dramatic work should be willfully agnostic and willing to go deep into the contradictions which make us human.

    When I sit down to write a play, I try to prove myself wrong. That being said, my ideas, my seeds, come from my politics and usually from an ethical question I can’t shake. I care deeply about the ethics of my plays and the moral questions they pose. I wouldn’t call it activism, but I have a personal mandate to create opportunities for artists of color and women through my work and I’ve had this mandate since day one. I do believe strongly in activism around a play—with Sheepdog there is an exciting opportunity to continue the conversation about police violence outside the theatre and contextualize it for an audience.

    I hope the audience comes away with an ache in their gut and a feeling that something has to change—and perhaps that change starts with a more honest reckoning at home in a conversation with a spouse, a family member or even someone in law enforcement.

    Learn more and buy tickets for Sheepdog.

  • Women’s History Month – A Spotlight on Influential Women Scientists

    SCR Staff
     | Feb 28, 2019
    Rosalind Franklin

    Rosalind Franklin at work in a laboratory in 1954.

    March is Women’s History Month, and in honor of this occasion, we thought we’d take a look at some women who have made extraordinary discoveries in the field of science throughout the last several decades.

    The spotlight starts with our production of Photograph 51 (through March 24, Argyros Stage) and British chemist Rosalind Franklin, who is best known for her role in the discovery of the structure of DNA, and for her pioneering use of X-ray diffraction. Sadly, Franklin’s involvement in cutting-edge DNA research was halted by her untimely death from cancer in 1958, at the age of 37, and she never received the recognition given to her male peers.

    Franklin’s name has been in the news again recently, as it was announced that the U.K.-built rover that will be sent to Mars in 2020 will bear her name. The six-wheeled vehicle will search for evidence of past or present life on the Red Planet. Her sister, Jenifer Glyn, recalled to the BBC News that Rosalind had been excited by the news of the Soviet Sputnik satellite—the beginning of space exploration.

    “She could never have imagined that over 60 years later there would be a rover sent to Mars bearing her name, but somehow that makes this project even more special,” said Glyn.

    Learn more about influential women scientists in the following articles:

    Learn more about Photograph 51 and buy tickets.

  • A Nobel Experiment: Rosalind Franklin and the Prize

    Kat Zukaitis
     | Feb 25, 2019

    Photograph 51 Logo

    Rosalind Franklin at Microscope

    ​​Rosalind Franklin in 1955.

    Photo 51 showing DNA structure

    Photo 51, an X-ray diffraction image of crystallized DNA taken by Rosalind Franklin and Raymond Gosling in 1952, has been called the "most important photo ever taken" for the insights it offered into DNA's structure.

    In 1962, Francis Crick, James Watson and Maurice Wilkins shared the Nobel Prize in Physiology or Medicine for their discovery of the double-helix structure of DNA. This was one of the major scientific achievements of the twentieth century, a revolution in our understanding of the building blocks of biology that indisputably merited recognition at the highest levels. But recognition for whom?

    When Watson, Crick and Wilkins thanked their many collaborators from the podium, one of the names mentioned only in passing was Rosalind Franklin, a British chemist who had been Wilkins’ colleague at King’s College, London. Her X-ray photographs had given Watson and Crick the final clues they needed to solve the puzzle of DNA’s shape, and the calculations from her crystallography work provided the measurements that allowed them to accurately model the atomic structures involved. When Watson and Crick announced their discovery in 1953, the King’s lab had been well on the way to solving the problem of DNA on its own. But the deep personal antipathy between Franklin and Wilkins had held back their lab’s progress, and Franklin was never made fully aware of how her data had informed Watson and Crick’s model. The absence of any significant recognition for her contributions in the following years was both troubling and predictable.

    For playwright Anna Ziegler, the tangled history of Rosalind Franklin’s role in the DNA race represented an opportunity. In Photograph 51, she pays tribute to the brilliant mind behind the photographs that unlocked the mystery of DNA—and examines the complicated personal relationships that ultimately shaped the path to scientific discovery. “I was taken by the metaphor of the double helix,” Ziegler says. “We have a story of these two pairs: one that worked together and one that did not.” Franklin and Wilkins’ personal tensions, Watson and Crick’s determination to win at all costs, and the lingering “boys club” mentality of post-war British labs are all ingredients in this thrilling true story of achievement and regret.

    To director Kimberly Senior, the structure of Photograph 51—in which Wilkins, Watson, Crick and others serve as a chorus of argumentative narrators—suggested a Greek tragedy, in which the survivors are haunted by the question of what they could have done differently. What made one partnership sink and another shine? How do you weight the chance of greatness against the price of failure? Would different decisions have led to a different outcome? Would anything have unfolded differently if Franklin had been a man? Now doomed to retell their story in perpetuity, the chorus sifts through the past, looking for the fine line between choice, chance and inevitability.

    Rosalind Franklin will never win a Nobel Prize, but she is, at long last, getting the recognition that is her due. Under the expert direction of Kimberly Senior, the team of Photograph 51 brings to light the friendships and rivalries behind the work of Watson, Crick, Wilkins and Franklin, telling the tale of a historical omission that continues to resonate strongly today.

    Read more about the cast of Photograph 51 here.

    Nobel Prize Medal

    ​​Nobel Prize Medal

    Lise Meitner and Otto Hah

    ​​ Lise Meitner and Otto Hahn in their laboratory, 1913.

    There’s a very good reason that Rosalind Franklin did not share the 1962 Nobel Prize: she had died of ovarian cancer four years earlier and the Nobel committee does not consider posthumous candidacies. Moreover, the Nobel rules stipulate that each prize may be shared by no more than three people; and, as the committee often favors those who initiated the award-winning research, Maurice Wilkins would probably still have been the preferred candidate, since his lab’s investigation into the structure of DNA had begun well before Franklin arrived from Paris. Watson later suggested that, had Franklin lived, she and Wilkins should have shared that year’s prize in chemistry, with the prize in physiology or medicine going to himself and Crick. But that, of course, never happened—and records show that Franklin was never even nominated.

    No one has ever claimed that the Nobel Prizes are fair. The awards come off as particularly arbitrary in the sciences, when a breakthrough is rarely, if ever, the result of a single brilliant individual. “If I have seen further it is by standing on the shoulders of giants,” said Sir Isaac Newton—but a more accurate contemporary version of the quote would be, “If I have seen further, it is by standing on the shoulders of a giant group of researchers, postdocs, students and technicians at my institution and at partner institutions around the world.” Every discovery is supported by a vast team, and the rising expense of research has resulted in more and more cross-institutional collaborations. A recent paper that precisely estimated the mass of the Higgs boson particle was published with no less than 5,154 authors.

    Moreover, the Nobels—like any award—are doled out by people with their own priorities and prejudices. Because previous laureates play a major role in nominating new candidates, the system amplifies entrenched fraternal networks and structural biases. At the time of Franklin’s death in 1958, only four Nobel Prizes in the sciences had gone to women—and three of those had gone to the Curie family (two to Marie and one to her daughter Irène).

    Rosalind Franklin is hardly the only snub in the Nobel’s history, nor is she the worst. The Austrian physicist Lise Meitner worked alongside Otto Hahn to discover nuclear fission but she did not share his 1944 Nobel in physics, despite 48 nominations over the course of her lifetime—in part because, like many Jewish scientists, she was forced to flee from Germany in the late 1930s, ​and left behind her work. At the time of the 1939 discovery, she was living in Sweden and collaborating with Hahn from afar. (She did get an element named after her as a consolation prize.) Anton Chekhov, James Joyce, Arthur Miller, Chinua Achebe and Jorge Luis Borges are among the major writers overlooked for the literature prize. In perhaps the most egregious omission, Mahatma Gandhi never received the peace prize, despite several nominations; the Nobel committee declined to award a prize in 1948, the year of his assassination, on the grounds that “there was no suitable living candidate.”

    If Rosalind Franklin had lived longer, she likely would have regarded a Nobel (or a lack of one) with a certain amount of stoicism—her priority was making sure she had funding to do interesting, important research with a convivial group of collaborators, not getting recognition. But it’s impossible to say what might have happened. Chemistry laureate Aaron Klug, Franklin’s protégé at Birkbeck College and the primary beneficiary in her will, credited her with introducing him to the study of viruses and to the value of tackling long and difficult scientific problems. “Had her life not been cut tragically short,” he said in his own 1982 Nobel acceptance speech, “she may well have stood in this place on an earlier occasion.”

    Learn more about Photograph 51 and buy tickets.

  • Panel Discussions on Women in Science, Technology, Engineering and Math

    SCR Staff
     | Feb 25, 2019
    Photograph 51 logo with Rosalind and Helen Sadler

    Rosalind Franklin and Helen Sadler (portraying Rosalind Franklin).

    March is Women’s History Month and as part of it, South Coast Repertory will be hosting two pre-show events for Photograph 51 (March 3-24, Julianne Argyros Stage).

    Two panel discussions will focus on women and careers in the STEM fields (science, technology, engineering and math). In Photograph 51, British science pioneer Rosalind Franklin is the only woman on an all-male research team; subsequently, her role in discovering the double-helix structure of DNA went unacknowledged.

    Literary Associate Kat Zukaitis, who is the show’s dramaturg, will moderate both of the panels.

    The guests for the Tuesday, March 5, 6:30 p.m., panel discussion include Mu-Chun Chen, theoretical particle physicist at UCI; Deanna Cheung, internal medicine physician; Celia Goulding, crystallographer in UCI’s department of molecular biology and biochemistry; and Kristine McCaffrey, manager of engineering at Calleguas Municipal Water District.

    The guests for Thursday, March 7, 6:30 p.m., include Allyson Fry-Petit, crystallographer and solid-state chemist at CSU-Fullerton; Mona Nassimi, chemistry professor at Saddleback College and a former laboratory manager at Truesdail Labs; Afrah Salahuddin, biomedical engineer at Johnson & Johnson; and Virginia Trimble, astrophysicist and professor at UC-Irvine.

    The panel discussions are free and open to everyone. To stay after the talks for performances of Photograph 51, purchase your tickets now.

    Tuesday, March 5:

    Mu-Chun Chen
    Theoretical particle physicist
    Professor of Physics and Astronomy, UCI
    Mu-Chun Chen is a theoretical particle physicist, studying the properties of elementary particles and their interactions, which form the fundamental building blocks of the Universe. Her current research explores the origin of elementary particle masses, the genesis of matter-antimatter asymmetry, and the unification of all fundamental forces. She graduated from National Taiwan University and obtained her PhD in theoretical physics from University of Colorado at Boulder. She was a postdoctoral fellow at Brookhaven National Lab and Fermilab, and has been a Professor of Physics at UC Irvine since 2006. She has co-authored more than 100 articles and presented more than 200 invited lectures worldwide. She has received several awards for her research and teaching, include the Humboldt Research Fellowship in Germany and UCI's Excellence in Undergraduate Education Award. She co-created UCI Women in Physics and Astronomy and has assumed several leadership positions at UCI to work towards equity and inclusion both within physics and beyond.

    Deanna Cheung, MD
    Internal medicine physician
    Long Beach Center for Clinical Research & UCI
    Deanna Cheung is an internal medicine physician with a special interest in preventive medicine. She is the owner and director of Long Beach Center for Clinical Research, where she practices medicine and participates in clinical research. In partnerships with pharmaceutical developers, she has participated in the development of key medications used for treating hypertension, diabetes, obesity and high cholesterol, while also pursuing non-pharmacological (lifestyle) approaches to these conditions. As a clinical professor of medicine at the University of California, Irvine, she has been teaching medical students about hypertension and cardiovascular disease prevention for decades. Teaching patients how to live healthier lives is integral to her practice. Her love of teaching has also been fulfilled homeschooling her two children, and she also likes to spend time reading, hiking and practicing aerial fitness.

    Celia Goulding
    Crystallographer and biochemist
    Professor & Vice Chair, Molecular Biology and Biochemistry, UCI
    Celia W. Goulding is a professor of molecular biology and biochemistry & pharmaceutical sciences at the University of California, Irvine. She received a B.Sc (Hons) in chemistry and mathematic and a Ph.D. in physical organic chemistry from King’s College, London. After leaving the UK for the US, she was a postdoctoral fellow with Professor Rowena Mathews at the University of Michigan studying metalloproteinenzymology. Moving further west, as research faculty at UCLA under the supervision of Professor David Eisenberg, she also spearheaded the Tuberculosis Structural Genomics Consortium and studied crystallography. Celia eventually accepted an independent position at UCI in 2007 and became a full professor by 2014, and is now Vice Chair of the Department of Molecular Biology and Biochemistry.  She is an X-ray-crystallographer and biochemist.

    Kristine McCaffrey
    Civil engineer
    Manager of Engineering, Calleguas Municipal Water District
    Kristine McCaffrey has more than 20 years of experience in the water and environmental fields and is currently the Manager of Engineering at Calleguas Municipal Water District in Thousand Oaks, where she oversees a $30 million per year capital project budget for water infrastructure, including large diameter pipelines, pump stations, reservoirs, renewable energy projects, and the Salinity Management Pipeline. McCaffrey has B.S. degrees in Environmental Engineering and in Planning from the Massachusetts Institute of Technology, and a Masters in Construction Management from the University of Washington. McCaffrey is a licensed Civil Engineer in California and also holds a Grade 3 Water Treatment Plant Operator certification. 

    Thursday, March 7:

    Allyson Fry-Petit
    Crystallographer and solid-state chemist
    Assistant Professor, Analytical and Materials Chemistry, CSUF
    Allyson Fry-Petit is a professor in the Department of Chemistry and Biochemistry at CSUF, where she runs a solid state chemistry research lab. Her research focuses on the rational design of new materials through the use of data mining, synthesis, structural characterization and optical and vibrational probes. Dr. Fry-Petit obtained her Bachelor of Arts in Chemistry and Critical Thought and Inquiry from William Jewell College in Liberty, Missouri. She obtained her PhD in Inorganic Chemistry from The Ohio State University in Columbus, Ohio advised by Dr. Patrick Woodward. She then went to Johns Hopkins University in Baltimore, Maryland to be a Postdoctoral Research Associate in the lab of Dr. Tyrel McQueen. Her experimental and analysis development of inelastic neutron measurements of dynamic pair distribution function analysis at national lab facilities is another major research interest. This tool has the potential to show the motion of atoms in new ways.

    Mona Nassimi
    Environmental chemist
    Former lab manager at Truesdail Labs and chemistry professor at Saddleback College
    Mona Nassimi was born in Karaj, Iran, where her father was a music teacher and her mother was a homemaker. She received her B.S. in chemistry from the University of Tehran and taught chemistry at a local high school for several years. After the Iranian Revolution came to a close and women’s rights were being chipped away, Nassimi made the decision to migrate to the United States to obtain a graduate degree in chemistry. After she received her Master of Science from Texas Southern University, she moved to California and worked as an environmental chemist for about 29 years, and since 2015, has been teaching chemistry at Saddleback College.

    Afrah Salahuddin
    Biomedical engineer
    Global marketing, strategy, and new product development for cardiac medical devices at Johnson & Johnson
    Afrah Salahuddin holds undergraduate and graduate degrees in biomedical engineering from the Johns Hopkins University. After graduation, she moved into the cardiac medical devices industry, working on implantable pacemakers and defibrillators. For the past 9 years, she has been in the electrophysiology space with Johnson & Johnson, where she treats different cardiac rhythm disorders—arrhythmias like atrial fibrillation—with various advanced technologies (in other words, she “fixes broken hearts”). As an engineer and scientist, her responsibilities at Johnson & Johnson include product development, clinical support, sales, commercial and global marketing, and global strategy. Outside of work, Salahuddin is an avid martial artist and spends a lot of time outdoors. She is also studying to be a minister in a non-denominational philosophy. Salahuddin describes her approach to life as “catering to my mind (through all of the fascinating elements of my work, and through overall intellectual curiosity of the world around us), body (through physical fitness) and spirit (through my non-denominational study of metaphysics).”

    Virginia Trimble
    Professor of Physics and Astronomy, UCI
    Virginia Trimble is a native Californian and graduate of Hollywood High School, UCLA (BA Astronomy & Physics), and Caltech (MS Astronomy & Physics, PhD Astronomy, 1968) with honorary degrees from the University of Cambridge (MA 1969) and University of Valencia (dott h.c. 2010). Her research interests have gradually evolved from astrophysics (white dwarfs, supernovae, binary stars, and such) to history of science and scientometrics ("the science of science" for instance, the productivity and impact of various telescopes, and the moderate successes of decadal planning processes). She has held offices (typically topping out at about the level of vice president) in the American Astronomical Society, the International Astronomical Union, the American Physical Society, the International Union of Pure and Applied Physics and others). Her publication list just topped 890 items; asteroid 1978 VT08 was recently renamed 9271Trimble; and the American Astronomical Society and the American Association of Variable Star Astronomers gave her nice awards last year. Teaching for the spring will include a first year graduate course in astrophysics and an honors seminar on the impact of World War I on the sciences.