She Loves Me

She Loves Me is a romantic musical comedy set in a 1930s Budapest perfumery. Georg Nowack, the shop’s manager, and Amalia Balash, the newest employee, clash constantly in person while unknowingly falling in love through anonymous letters. As their correspondence becomes more intimate, their workplace hostility leads to comic misunderstandings, mishaps, and eventual revelations.

Featuring music by Jerry Bock and lyrics by Sheldon Harnick, the production includes songs such as “Vanilla Ice Cream,” “Tonight at Eight,” and “She Loves Me.” The musical is adapted from Miklós László’s 1937 Hungarian play Parfumerie, which also inspired the films The Shop Around the Corner, In the Good Old Summertime, and You’ve Got Mail. The production is part of Boston Conservatory at Berklee’s 2026–2027 Center Stage collection.

When: Thursday, November 5, 2026; Friday, November 6, 2026; Saturday, November 7, 2026; and Sunday, November 8, 2026.

Showtimes: November 5 at 7:30 p.m.; November 6 at 7:30 p.m.; November 7 at 1:00 p.m. and 7:30 p.m.; and November 8 at 1:00 p.m. All times are Eastern.

Tickets: Price not available.

Venue: Boston Conservatory Theater, 31 Hemenway Street, Floor 2, Boston, Massachusetts 02115.

Series: Boston Conservatory at Berklee’s 2026–2027 Center Stage collection.

Cast: Aidan O’Brien as Georg Nowack; Maggie McClure as Amalia Balash; Tyler DeCouto as Ilona Ritter; Evan Owen as Steven Kodaly; Matthew Draper as Ladislav Sipos; Danté Johnson as Maraczek; Nicholas Page as Arpad Laszlo; Andreas Buntinas as the Waiter and understudy for Kodaly; Nolan Zellermayer as Busboy and Ensemble; Ayden Weinstein as Ensemble and understudy for Georg; Chloe Pugh as Ensemble and understudy for Amalia; Ky Davis as Ensemble and understudy for Ilona; Jordan Millet as Ensemble and understudy for Maraczek; Jack Terbush as Ensemble, Keller, and understudy for the Waiter; Danny Hernandez as Ensemble and understudy for Sipos; Rachel Thompson, Ashley Ha, Kelsey Dodd, and Meg Laskey as Ensemble; Amelia Pinney as Swing; Jackson Gentry as Swing and understudy for Keller; and Justin Lowenhar as Swing and understudy for Arpad and Busboy.

Orchestra: Oliver Fiorello performs the on-stage solo violin and Violin III. Reed 1 is played by Cynthia Kaiser and Sophia Yi; Reed 2 by Marissa Smith and Chun-Chu Chuang; Reed 3 by Matthew Gaudio; horn by Molly Milici; trumpet by Elliot Wlasiuk; percussion by Penghe Liu; keyboard by Lizi Basiladze; Violin I by Acadia Kunkel and Emilia Yoon; Violin II by Logan Boyd and Kim Ho; Violin III by Oliver Fiorello and Mia Widner; viola by Julian Bernal and Maya Hartglass; and cello by Abby Clifford and Davis Mann.

Creative team: Danny Pelzig directs and choreographs. Katie Grgecic is assistant director, Justice Warner is assistant choreographer, Dan Rodriguez is music director, and Cooper Sheehy is associate music director. Megan Stahl is dramaturg; Justin Lahue is scenic and projections designer; Hayden Bingham is assistant scenic designer; Seif Salotto-Cristobal is lighting designer; Anna Drummond is sound designer; Angie Jepson Marks is intimacy coordinator; Joy Arcolano is voice and text coach; Sara LaFever is props artisan; Chloe Moore is costume designer; Nina Turovsky is costume design assistant; Rachel Padula-Shufel is wig designer; and Amelia Pinney is dance captain.

Theater leadership: Krisha Marcano is dean of theater, Ricardo Coke-Thomas is chair of theater, and Bridgette Hayes is assistant chair of theater.

Production staff: Hanna Oravec is director of performance services; Becca Donald is assistant director of production; Sam Tirrell is production operations manager; Leanna Niesen is stage manager; Alex Taylor is assistant stage manager; Taylor Kaufman is technical director; Caleb D. Harris is assistant technical director; Alison Pugh is costume shop manager; Blue Barber is wardrobe manager; Taz Meyers is wardrobe assistant; Sheryl Cheung is wig technician; Kathy Scott is costume stock manager, draper, and stitcher; Sam Martin is draper and stitcher; Lauren Beaudoin, Sheryl Cheung, and Natasha Newcomb are stitchers; Jackie Olivia and Rex Tans are costume production assistants; Jacqueline Dillon is costume shop intern; Andrei Radu is sound supervisor; Maddy Poston is audio engineer and A1; Kait Kelly is audio assistant and A2; Henry Vumbaca is lighting supervisor; Nate Morrissey is production electrician; Gwen Trueblood is light board programmer; Hannah Spangler is props manager; Grace Kroeger is projections engineer; Emily Hason is fly console operator; Brenda Dziadzio is scenic charge; and Han Tub and Mac Weaver are painters.

Additional production technicians: Addie Pates, Jude Riley, Hannah Jope, Hazen Polsonetti, Morgan Rotman, Thomas Fowler, Vir Gupta, Paul Vekiarides, Derek Putnam, Buzz Korolenko, Hannah Ashe, Sami Parazin, Sandy Doll, Nick LaRosa, and Mac Weaver. Scenery was constructed by Wooden Kiwi Productions of Waltham, Massachusetts.

Student production staff: Miriam Stone and Trisha Biju are student assistant stage managers; Abraham Granado Cuarez and Avery Medwid are student projection operators; Abraham Granado Cuarez, Felipe Toapanta Vega, Julian Krej, Ollie Gullick, Sera Chen, and Xintong Liu are student audio/visual technicians; and Judah Woomer, Milo Darlington, Naman Kasana, Valeria Caicedo, Matt Logos, Victoria McDougall, Danny Hernandez, David Balough, Gavin Sexton, Isabelle Costanzo, and the production assistants. TPP crew members are Raine Thomas, Sophia Vernon, Zuhri Betts, Mason Merrick, Charlotte Ratel, Isaiah Phipps, Lily Rogers, Evelyn Tatta, Madison McClellen, Ariella Mossey, Ada Marcin, and Sarah Khoury. Costume assistants are Talin Ay, Elizabeth Hillman, Patrick O’Farrell, and Ellie Sawyer.

Concert services: Luis Herrera is assistant director of concert services; Matthew Carey is coordinator of concert services; Kendall Floyd is concert production manager; and Sara Pagiaro and Goran Daskalov are performance technology technicians.

Presentation note: The production is presented by special arrangement with Music Theatre International, which also supplies the authorized performance materials. Audio and video recording of the performance are prohibited.

Program context: The production explores the tension between public identity and private feeling, particularly how Georg and Amalia become more open and emotionally honest when communicating anonymously. Its 1930s setting reflects a world of commerce, advertising, social appearances, and handwritten correspondence while examining the enduring appeal of an enemies-to-lovers story.

Special thanks: Boston Conservatory acknowledges Berklee Physical Plant, Josh Mills, Huntington Theater, Harbor Stage Company, and Wellfleet Harbor Actors Theater.