Cover Page Here Separate Artwork File
Cover Page HereSeparate artwork file
FROM THE DIRECTORhis year’s Christmas Revels theme is Early American, set in the eastern half ofthe country in the 1800s. We sing and dance and tell stories that honor thosewho came before us: stories of our land’s original peoples, the Indian tribes; MotherAnn’s ‘Shaking Quakers’ and their ecstatic dances and simple songs; the Moravians’lovely rituals; Pennsylvania Dutch warmth; Appalachia’s raucous dances; ‘shape-note’singing, a uniquely American tradition; African-American rituals that blend the beatingof the homeland’s drums with the hard realities of slavery; and Jewish roots of familyand prayer.Together, all these melodies create a vast harmony. In many ways, the buildingof America is a building of community. As more and more people join the circle, thecoming together in a new home blends old traditions with new ones. Old ways ofcelebrating – shared with new friends – add new flavor to an old recipe of joy.This year, we welcome ‘tradition-bearers’ both familiar and new to Revels:American Indian storyteller Dovie Thomason (Lakota Kiowa); Peter and Mary AliceAmidon from Brattleboro, Vermont, performers and dance leaders in many Americantraditional styles, including shape-note singing; fiddler (and farmer) Steve Hickman;singer-guitarist John Devine; and Charlie Pilzer, bass. All gather on our stage to evokethe richness of experience in our nation’s celebration of the season.Revels research often uncovers a treasure. This year, curator and culturaleducator Sharon Bryant visited from Tryon Palace Historic Sites and Gardens in NewBern, North Carolina, bringing electrifying cultural interpreters who taught us themid-Winter’s Jonkonnu processional you will see in the show.A quick note the incredible tapestry of Latino material was so compelling thatwe have saved it for later – look for a glorious Latino Revels in the future!Whatever theme we explore, each Revels celebrates this creation of newcommunity from the rich ingredients of many old ones. You are today’s new Revelscommunity. We welcome you and encourage you to meet and sing, dance and laughwith your new neighbors and friends, and celebrate the enduring spirit of Revels andthe season.Welcome Yule!— December 2006It is expressly forbidden to use photographic or sound reproducing equipment in theauditorium. Unauthorized persons found using such equipment in the theatre will beasked to leave. Revels is a registered service mark of Revels, Inc. of Watertown,Massachusetts, and is used by permission.
PART ONE1. Appalachian SuiteA lively set of traditional American tunes – “Turkey in the Straw,” “Shenandoah” and“Old Joe Clark” – arranged for our brass by Jared Denhard.BELSNICKEL BRASSAppalachian Barn Dance2. Puncheon FloorA traditional fiddle tune named for the special flooringfound in most log cabins. A puncheon floor is made ofsplit logs laid with the round side down, edged with abroadaxe, joined together, and smoothed off with acarpenter’s adz.BREAKIN’ UP CHRISTMAS BAND3. The Kentucky Wassail CarolWassails are sung as a seasonal blessing (the Anglo-Saxon wes hal means ‘be whole’) bycarolers traveling from house to house with a ‘wassail cup’ for their hosts to fill. Thisversion traveled with early British colonists to southern Appalachia, where it was collectedand adapted by John Jacob Niles.PLEASANT HILL SINGERSMORNING STAR CHILDRENBREAKIN’ UP CHRISTMAS BAND4. Appalachian Big SetA communal dance form found in Kentucky by Cecil Sharp, the Big Set was a large circlewhere any number of couples could join in. Its series of figures for two couples was opento variation, and led to an American contribution to dance: a ‘caller’ to cue the dancers.Our Big Set is danced to the tune of “Cumberland Gap.”PETER AMIDON, CALLERPLEASANT HILL DANCERSBREAKIN’ UP CHRISTMAS BAND5. Joy to the World (Antioch)The words to this familiar carol were written in 1719 by the “father of English hymnody,”Isaac Watts (1674-1748). The tune is named after the city of Antioch, Syria. This versioncomes from The New Harp of Columbia, a shape-note hymnal first published in 1867.GREG LEWIS,LEADERBELSNICKEL BRASS
ALL SING:6. BethlehemOriginally a tanner by trade and lacking formal training in music, William Billings(1746-1800) is regarded as the father of American choral music and hymnody, withover 340 choral works to his name. “Bethlehem” is an example of a ‘fuging tune’ –developed by composers of the New England singing school tradition – in which allparts start together in rhythmic and harmonic unity but then enter into a fugingsection, where each of the four voices in turn presents the tune or a slight variant.PLEASANT HILL SINGERS7. Children’s Folk Songs and GamesRuth Crawford Seeger, a contemporary American composer, first became interestedin folk songs while teaching piano to the children of Carl Sandburg. She later workedwith folklorist Alan Lomax collecting and transcribing folk songs for the Library ofCongress. That work, and singing folk songs with her children, led to her championingthe use of folk songs in public education and the home. From her American Folksongsfor Christmas, we have selected “Angel Band,” “Turkey Run Away” and “Singing in theLand” for our children’s play party.MORNING STAR CHILDRENBREAKIN’ UP CHRISTMAS BAND8. Country Waltz“Amelia’s Waltz” is one of hundreds of dance tunes composed by Bob McQuillen, belovedNew England tunesmith and dance musician.BREAKIN’ UP CHRISTMAS BAND
Falling Star Woman9. The Story of WohpeMany Lakota (Sioux) origin stories involve a spirit named Wohpe, whose nameliterally means ‘meteor’ or ‘falling star.’ Wohpe mediated between the spirits and allthings and so created harmony in the universe. The daughter of the Sun and theMoon, Wohpe came to Earth as a falling star but then took on the appearance of abeautiful woman. Later, she lived with the South Wind, the paragon of Lakotamaleness. She brought the sacred pipe to the Lakota, and the earth’s fertility andregenerative power are attributed to her.DOVIE THOMASON,STORYTELLERMORNING STAR CHILDRENNew England Beginnings10. CobhamPublished in William Billings’ final tune-book, The Continental Harmony (1794),“Cobham” is a psalm-tune set to words by Isaac Watts, the great English writer whosePsalms of David Imitated provided many texts for Billings and others.HELEN FIELDS, ANDREA BLACKFORD, DOUG BAUMGARDT,SOLOISTSPLEASANT HILL SINGERS11. Early American Prohibitions Against RevelingAmid the religious strife of the 17th century, Puritans and many other Protestants did notcelebrate Christmas or any holy day established by the Catholic Church. England and theMassachusetts Bay Colony even adopted short-lived ‘anti-Christmas’ laws. Boston’sReverend Increase Mather railed against several ‘profane and superstitious’ customs,including ‘reveling.’DICK KOVAR,INCREASE MATHERSTEVEN ROTH,Shaker Tree of LifeTracing their beginnings to Manchester, England in 1747, theUnited Society of Believers soon became known as ‘Shakers’due to their trembling, whirling, and shaking during spirituallyecstatic worship services. The Shaker population in Americareached a peak of about 5,000 in the mid-1800s. Today, theShaker community remains active only at Sabbathday Lake inMaine. The Shaker spirit found its greatest expression inmusic and dance. Its legacy of about 10,000 songs representsthe largest body of folk songs in American history.JUSTICE
12. ‘Tis the Gift to Be SimplePerhaps the most familiar of all Shaker tunes, this melody was borrowed by Americancomposer Aaron Copland, for his ballet Appalachian Spring.MORNING STAR CHILDREN13. I Will Bow and Be SimpleThis Shaker ‘gift song,’ dating from 1847, is also called a ‘bowingsong.’ The arrangement here is by Marleen Montgomery, specially for Revels.PLEASANT HILL SINGERS & DANCERSBREAKIN’ UP CHRISTMAS BAND14. Mother Ann’s Song (Bow Low)Mother Ann Lee was born in 1736 in Manchester, England. She joined a small group ofradical English Quakers, known as the ‘Shaking Quakers,’ or Shakers. Persecuted inEngland, and prompted by a vision in 1774, Mother Ann led a small group of followers toAmerica, where they established a community based on simplicity, economy, charity andequality in Watervliet, New York. Much of Mother Ann’s music was wordless, withabstract tones of the voice used as instrumental accompaniment for dancing.MARY ALICE AMIDON,SINGER15. Father James’ Song (In Yonder’s Valley)Father James Whittaker (1751-1787) traveled with Mother Ann Lee to America fromEngland. A visionary and powerful preacher, he converted many to the Shaker faith.“In Yonder’s Valley” is thought to be the oldest surviving Shaker song with text.MICHAEL LEWALLEN,SINGER16. Circular March/Followers of the LambShaker dance, often involving complex walking and weaving patterns, was a vital part ofthe worship experience. Men and women never danced together, nor did they speak.The form of “Followers of the Lamb” resembles an early American revival hymn.WILL WURZEL & ZOE HANDERSON,SOLOISTS17. Devotion/Welcome SongIn Shaker culture, singing also accompanied work. “Devotion” exemplifies Mother Ann’sadmonition: “Put your hands to work, and your hearts to God.” The Shakers expandedtheir membership both through adult conversions and the rearing of orphans, who weregiven a choice of joining the Shakers or going out into the world when they came of age.Here, “Welcome Song” greets newly arrived orphans to the community.MORNING STAR CHILDRENPLEASANT HILL SINGERS
Moravian Star18. Jean Ritchie’s Appalachian Christmas Story (Beginning)The legendary Kentucky folksinger, folklorist and player of the mountain dulcimer toldthis story from her own family history.PETER AMIDON,STORYTELLERMAIRI ROTHMAN,SINGER19. The Morning StarThe Moravians first came to America in the early 1700s, wherethey cultivated both vocal and instrumental music. “The MorningStar,” composed by Francis F. Hagen in 1842, is the traditionalending to the Christmas Eve service known as the Lovefeast.Always led by a solo child, this call-and-response hymn is sung incandlelight. The arrangement is by Elizabeth Fulford Miller.CLARE HARDIN, KATEY NOONE, SOFIA HANSEN,SOLOISTSPennsylvania Dutch Christmas20. An Maxl Seiner-BoarischerA rousing polka tune by Herbert Ferstl found in the collection Alpenländische Volksmusik.BELSNICKEL BRASS21. O Tannenbaum (O Christmas Tree)German immigrants to eastern Pennsylvania (‘Pennsylvania Dutch’) lovingly decoratedChristmas trees in their homes, usually mounted on tables, at least as early as the 1820s.The popular melody of “O Christmas Tree” is reflected in the state songs of Maryland,Iowa, Michigan and New Jersey.PLEASANT HILL SINGERS & HANDBELLSBELSNICKEL BRASSALL SING:O Christmas tree, O Christmas tree,Your branches green delight us! (repeat)They’re green when summer days are bright,They’re green when winter snow is white.O Christmas tree, O Christmas tree,Your branches green delight us!
22. O Little Town of BethlehemThe depiction of the nativity scene in America – the Christmasputz (pronounced like the word ‘puts’) – also comes fromMoravian and German immigrants to Pennsylvania. Originally,the putz consisted of wooden, clay or tin figures arranged todepict favorite scenes of the Nativity as well as local village andrural scenes. We create a Pennsylvania Dutch putz, whilesinging one of the most beloved of American carols, “O LittleTown of Bethlehem.”GREG LEWIS, LEADERBELSNICKEL BRASSALL SING:23. A Visit from St. Nicholas“A Visit from St. Nicholas” was written by Clement Clarke Moore in1822. Also known as “The Night Before Christmas” from its firstline, the poem established St. Nicholas, or Santa Claus, as a jolly,plump old man dressed in fur and sporting a white beard. ToPennsylvanian Dutch children of the 19th century, the giver ofChristmas gifts was not the vision of a benevolent Santa Claus, but acantankerous figure called Belsnickel. Usually a neighbor disguisedin outlandish costume, Belsnickel brought goodies for well-behavedgirls and boys, and carried a whip or sticks to punish the naughty.STEVEN MILLER, BELSNICKELCHERYL LANE & JIM LAZAR,MORNING STAR CHILDRENSTORYTELLERS
24. WohpeThis description of the meeting between the Moravian Brethren and members of theNanticoke, Shawnee and Iroquois Nations comes from journals dating between 1741-1844,as recorded by the Bethlehem (PA) Digital History Project.DOVIE THOMASON,STORYTELLER25. Lord of the DanceSydney Carter’s contemporary lyrics to the Shaker song “Simple Gifts” are here translatedinto dance, using a compilation of traditional morris steps.GREG LEWIS,SINGERCHRISTOPHER LEWIS, MARC LEWIS, ERNIE MITCHELL,DANCERS(alternating)ALL SING REFRAIN AND DANCE:Dance, then, wherever you may be;“I am the Lord of the Dance,” said he,“And I’ll lead you all, wherever you may be,And I’ll lead you all in the dance,” said he.IntermissionPART TWO26. Moravian ChoralesBrass music plays a special role in Moravian communities across America – calling peopleto special services, welcoming visitors, announcing deaths, accompanying hymn singing,and generally marking events of note throughout the community. Brass ensembles wouldoften mark someone’s birthday by ‘blowing them up’ early in the morning. The vastrepertoire of the posaunenchor, or brass choirs, carefully preserved by the Moravian MusicFoundation, consists mainly of ‘chorales’ appropriate for all occasions.BELSNICKEL BRASSThe Road Home27. Parting FriendsIn his 1855 Social Harp, John G. McCurry tells of “learning the air” as a young boy. Thistune is one of many variants of the folk melody “Wayfaring Stranger.” Sung here as a
duet, Mary Alice’s sweet and plaintive Irish melody contrasts with Peter’s original harmonyline based on the stark, open harmonies of McCurry’s original setting.PETER & MARY ALICE AMIDON,SINGERS28. Angels Hovering ‘RoundThis old hymn was collected and shared by Lucy Simpson, a singer of ballads and collectorof old hymnals, who had a particular gift for finding and recirculating many wonderfulhymns long forgotten.PETER & MARY ALICE AMIDON,SINGERSALL SING, RESPONDING TO LEADERWinter CountFor millennia, the languages of American Indians wereunwritten oral traditions. Creative tools were often used torecord complex histories and track the passage of time. A‘Winter Count’ was such a tool among Native PlainsNations. Each Winter Count measured a year, named fora particularly significant event in that year. Pictographspainted onto buffalo hides served as historical reminders ofthat event and other important occurrences in the year.29. Myma (Deer Song)This chant song was written by Jennifer Kreisberg in the Tuscarora language and speaks ofbeing “as good as I can be.” It was written to honor her family and everyone who is DeerClan – the rest is a secret.MELISSA CARTER, JOY FREDETTE, DIANA LEWIS-CHUN, MARISSA MALEY, SINGERSDON SPINELLI, DRUM30. The Year the Stars FellIn November 1833, the Leonid Meteor Shower was theevent that universally named the year on Plains IndianWinter Count hides from the Lakota on the Northern Plainsto the Kiowa Apache on the Southern Plains. The entiresky was streaked with fire as up to 240,000 meteorites perhour flashed across the heavens, and the frightened Indiansthought that the world was coming to an end. The meaningof the event is intricately connected to what is wakan, orsacred, and is often interpreted as a foretelling of the removal of the Kiowa and KiowaApache from their homelands to reservations in Oklahoma.DOVIE THOMASON,STORYTELLERMORNING STAR CHILDREN
Around the Solstice Fire31. What You Gonna Call That Pretty Little Baby?The simple words and haunting melody of this traditional African-American spiritual, usedhere as a lullaby, evoke the intimate scene of Mary, Joseph and their baby in the lowly stall.KEITH MOORE,SINGER32. Ma’oz Tzur (Rock of Ages)The words to this popular Hanukkah song probably originated in14th-century Germany. This melody, sung by Italian Jews, was firstnotated by Benedetto Marcello in Venice in 1724.HARLIE SPONAUGLE,SINGER33. RiverThe American landscape has been a major theme for singer-songwriter Bill Staines.“River,” one of his most popular and beloved songs, sung here by our travelers, capturesthe beauty of rivers, mountains and the open space of rural America.JOHN DEVINE,SINGERJonkonnu a’ComeIn the 19th century, African-Americans in the UnitedStates celebrated Jonkonnu, a holiday festival with rootsin Caribbean, West African, and English traditions.The Jonkonnu procession, led by a dapper Fancy Man,colorful ‘rag men’ and a drummer playing the ‘gumbabox,’ went dancing and singing from house to housecollecting coins, usually from slave owners. At the endof the performance, the Fancy Man shook hands withthe master. This tradition continued for about 40 yearsafter the Emancipation Proclamation freed the slaves in 1863. Today, Jonkonnu is beingrevived as part of the living history program at Tryon Palace in New Bern, NorthCarolina, and in other communities.34. The WinterCollected in North Carolina, this song is documented in Slave Songs of the United States,published in 1867. Like many African-American songs and spirituals, “The Winter” had adouble meaning – not just the changing seasons, but also the hope that the ‘winter’ of
slavery would soon pass away. We learned this traditional song from our friends from NewBern, North Carolina, where Jonkonnu was first celebrated in the early 1800s.HAROLD BLACKFORD,ERNIE MITCHELL,FANCY MANRAG MANCELIA MURPHY,TOWN CRIERTOBIAS JOHNSON,DRUMMERJONKONNU SINGERS & DANCERS35. Yonder Come DayA call-and-response ‘shouting song’ from the Georgia Sea Islands, traditionally sungat Watch Night services just before the dawn of New Year’s Day. The song oftenaccompanied a ‘ring shout’ – a spiritual fusion of dance, song and percussion with rhythmsand movement rooted in West African dance patterns.KEITH MOORE,JONKONNU SINGERS & DANCERSLEADER36. Children, Go Where I Send TheeAn African-American cumulative song that uses imagery similar to other traditionalcounting songs such as “The Carol of the Twelve Numbers” and “The Dilly Song.” Thissong was also used as a way to alert those on the Underground Railroad that a certainnumber of slaves were to make an escape.SHANNON FINNEY,SINGERBREAKIN’ UP CHRISTMAS BANDMOUNTAIN VALLEY TEENS37. Go, Tell it on the MountainJohn Wesley Work, Jr. (1871-1925), a pioneer in the collection, performance andpreservation of African-American folk music, adapted this popular spiritual. It was firstpopularized in 1879 by the Fisk University Jubilee Singers, who performed throughout theU.S. and Europe to earn scholarship money for the University, a school founded in 1866 toeducate freed slaves. This arrangement is by Brian Holmes for Revels.CHRISTINA ROBINSON,DOUG BAUMGARDT,SINGERHAMMERED DULCIMERALL SING REFRAIN:Go, tell it on the mountain,Over the hills and ev’rywhere!Go, tell it on the mountain,That Jesus Christ is Born!
Breakin’ Up ChristmasIn the mountain communities of northwest North Carolina and southwest Virginia, thetradition of ‘Breakin’ Up Christmas’ spans from Christmas until the 6th of January(known as ‘Old Christmas’). Parties would move from house to house with fiddle, banjoand oldtime dancing, night after night. The parties still go on today, but now are typicallyheld in dance halls and civic clubs more often than in the home.38. Appalachian ChristmasSquare dances at community get-togethers in homes during Christmas and other holidayshave long been a part of the Appalachian cultural heritage. “Box the Gnat” is a traditionalAmerican square dance. The second dance, “Shooting Star Square,” is by local caller TomHinds. Appalachian clogging originated when early European settlers combined theirtraditional dance steps with the rhythms of African slaves and the expressive bodymovements of American Indians. Hambone is a system of improvised rhythmic bodymusic that was created because slaves were forbidden to have or use drums.BREAKIN’ UP CHRISTMAS BANDMAIRI ROTHMAN,DANCING JACKGUENEVERE SPILSBURY,STEVE HICKMAN,HAMBONELARS HANSLIN,CLOGGERCLOGGER39. Jean Ritchie’s Appalachian Christmas Story (Conclusion)PETER AMIDON,STORYTELLERMAIRI ROTHMAN,SINGER40. Apple Tree WassailOriginally from Somerset, this carol reflects the early origin of the genre, which involvedtaking hands and singing while dancing in a ring – in this case around the apple tree, tobring good luck.MORNING STAR CHILDRENPLEASANT HILL SINGERSBREAKIN’ UP CHRISTMAS BAND41. The Peace RoundThe words to this round were written by Jean Ritchie, set to an old English canon melody.ALL SING:
42. John BarleycornThis mummers’ play is a compilation drawn from several traditions, includingAppalachian variants collected by Richard Chase. Like most mummers’ plays, itcelebrates rites of fertility, death and rebirth.ALYSIA SMITH,TERRY WINSLOW,CONJURE WOMANCOLIN SANDEL,SOOKIE SUEGILLIAN PENN,JACK FINNEYTREY ERVINE & PORTER RYAN,FATHER TIMESCOTT MATHESON,DAVID ROTHMAN,BARLEYCORNDR. BALLHORSEShape-Note SquareSacred Harp singing is a uniquely American tradition that uses a system of notationbegun in the early singing schools of New England, where each note of the scale isrepresented by one of four shapes, and sungusing one of four syllables: Fa, Sol, La and Mi.The singers stand or sit in a ‘hollow square,’ withthe leader standing in the middle. Songs areusually first sung through with the ‘shapes’(Fa-Sol-La-Mi) instead of the lyrics so as to setthe vocal parts in the singers’ minds. The originalSacred Harp hymnal, published in 1844, is now inits fourth revision (1991).42a. Benton’s DreamMary Alice Amidon added the words of “Amazing Grace” to this classic tune by thelegendary fiddler, Benton FlippenPETER & MARY ALICE AMIDON,SINGERSBREAKIN’ UP CHRISTMAS BAND43. Ninety-Third PsalmWords and music by Philip Doddridge, a good friend of Isaac Watts, in 1755. LuciusChapin, a Massachusetts-born singing-master, arranged it for The Sacred Harp.PETER AMIDON,LEADERPLEASANT HILL SINGERS44. Soar AwayThe fast pace and driving rhythms of the songs of Alfred Marcus Cagle (1884-1968), anative of Cullman, Alabama and singing-school instructor of considerable renown, aresome of the most popular in the Sacred Harp repertoire.PETER AMIDON,LEADERPLEASANT HILL SINGERS
Northern HarmonyThe last two decades have seen a great resurgence of shape-note singing all over the country, inspiring a flood of new songs. Northern Harmony, now in its fourth edition, represents a melding of the old and the new – works from the New England singing school ofthe 18th century along with new compositions by both seasoned and budding composers.45. Emerald StreamSeth Houston, a participant in Village Harmony, a central Vermont youth chorus, becameso inspired by shape-note music that he tried his own hand at composition. He wrote“Emerald Stream” in 1991, at age 17, while canoeing in northern Quebec. His inspirationcame from the steady current of the river, the wind, his voice and a penny whistle.PLEASANT HILL SINGERS46. The Shortest DayThis poem about the winter solstice, written for Revels by Susan Cooper in 1977, hasbecome a traditional part of every Christmas Revels across the country.DOVIE THOMASON AND PETER & MARY ALICE AMIDON,SPEAKERS47. The Sussex Mummers’ CarolThis carol was traditionally sung at the end of the mummers’ play in Horsham, Sussex. Ithas become the parting song for all Christmas Revels. The brass transcription is by BrianHolmes. The descant and final verse harmonization are by Ralph Vaughan Williams.REVELS COMPANYALL SING:
PERFORMERSGUEST ARTISTSSharon Tiebert, FRENCH HORNPeter & Mary Alice Amidon,TRADITIONAL SONG AND DANCEDovie Thomason,AMERICAN INDIAN STORYTELLERJohn Devine, VOCALS, GUITARSteve Hickman, FIDDLETobias Johnson, DRUMMERCharlie Pilzer, BASSPLEASANT HILL SINGERS& DANCERSBREAKIN’ UP CHRISTMASBANDMary Alice Amidon,BANJO & ACCORDIONDoug Baumgardt,HAMMERED DULCIMERJohn Devine, VOCALS, GUITARLars Hanslin, BANJO UKELELESteve Hickman, FIDDLEDiana Lewis-Chun,FLUTE & RECORDERCharlie Pilzer, BASSBELSNICKEL BRASSRobert Posten, DIRECTOR,BASS TROMBONERobert Birch, TRUMPETDavid Cran, TRUMPETBen Fritz, TROMBONEDon Spinelli, TIMPANIDouglas BaumgardtPete BehrJackie BerryAndrea BlackfordHarold BlackfordMelissa A. CarterKat Cole*Helen Fields*Shannon FinneyJoicey GranadosZoe HandersonLars HanslinJim HarklessKate KirbyDick KovarCheryl Lane*Jim LazarMichael LewallenChristopher B. LewisGreg LewisMarc LewisDiana Lewis-ChunMarissa Maley*Michael MathesonScott MathesonSteven Ciotti MillerErnest J Mitchell, IIKeith MooreCelia MurphyGillian Penn*Michael PlattConstance Ridgway*Christina M. RobinsonJoy RodriguezSteven Roth*David RothmanMairi RothmanUmoja RufaroColin SandelErin Schwartz*Harlie SponaugleDonald TaylorLaura VanDruffFlawn WilliamsDiane Behrens WinslowTerry WinslowWilliam Wurzel*HANDBELLSMOUNTAIN VALLEYTEENSAndrea BoydTrey ErvineJasmine MahboobBen NamesRhianna NissenElizabeth ParisiGenevieve ParkerPorter RyanJessica SkeltonAlysia SmithGuenevere Alexandra SpilsburyCharlie SullivanMORNING STARCHILDRENJohn L. C. Carter-HirtRosemary Ryden CohenBryton Merrick FettZephyr HandersonSofia HansenClare HardinJacob HendrenAndrea Manchester-DenizAriel Rose Burgess MurrayAllie NamesKatey NooneTara Padovan-HickmanRowyn Alexis PeelMegan PhilippiRobin PollakEmma Pauline RothmanMatt Spencer
STAFFWASHINGTON REVELSSTAFFDIRECTORSEXECUTIVE DIRECTOR: Greg LewisARTISTIC DIRECTOR: Roberta GasbarreMUSIC DIRECTOR: Elizabeth Fulford MillerARTISTIC STAFFASSISTANT DIRECTORS: Margo Brenner,Megan SmithCHILDREN’S DIRECTORS: Jenni Voorhees,Zoe HandersonSET DESIGNER: Michael PhilippiLIGHTING DESIGNER: Colin BillsCOSTUME DESIGNERS: Rosemary Pardee,Emilie LongCHILDREN’S COSTUME DESIGNER: Cecily PilzerMILLINERS: Mary Combs, Emily DereMAKEUP DESIGNER: Peter ZakutanskyPROPS CONSULTANT: Mary Gene MyerSOUND DESIGNER: Charlie PilzerBRASS/HANDBELL ARRANGEMENTS:Elizabeth Fulford MillerBELL MASTER: Gillian PennDANCE CAPTAIN: Diane Behrens WinslowJONKONNNU DIRECTOR: Andrea BlackfordPRODUCTION STAFFPRODUCER: Deborah GrossmanPRODUCTION MANAGER: Jason MorrisPRODUCTION STAGE MANAGER: Gil ThompsonASSISTANT STAGE MANAGER: Kate BagdasianREHEARSAL STAGE MANAGER: Debbie GrossmanCHILDREN’S STAGE MANAGER: Joanna RobinCOMPANY MANAGER: Susan LewisCHORUS MANAGER: Diane Behrens WinslowSCRIPT MANAGER: Daphne WilliamsPROPERTIES MANAGER: Carrie Kovar BorisCOSTUMIER: Lois DunlopCOSTUME INTERN: Mio HasegawaBACKSTAGE ASS’T: Jamie SandelTECHNICAL STAFFPROPERTIES ARTISANS: Bill Clague,Barry Galef, Beverly Jenkins, DonaldNames, Gil Thompson, Katie TuarteSCENIC ARTIST: Luciana StecconiAUDIO DESCRIPTION:Audio Description AssociatesAUDIO DOCUMENTATION: Pete Reiniger,Charlie Pilzer, Airshow MasteringPHOTO DOCUMENTATION: Sheppard FergusonVIDEO DOCUMENTATION: John PaulsonBRAILLE PROGRAMS: Services for theVisually ImpairedINTERPRETERS FOR THE HEARING-IMPAIRED:Ava Barnett Morrow and Robin SilvermanPRINTER: Epiphany Printing Co.WEBMASTER: Elizabeth Fulford MillerHOUSE MANAGEMENTHOUSE MANAGER: Marta SchleyBOX OFFICE ASST’S: Becky Squire,Erin WilliamsOUTREACH PERFORMANCE MANAGER:Rosanne O. GochmanOFFICE STAFFMARKETING DIRECTOR: Debbie GrossmanMARKETING CREW: Pete Behr, Lisa Minichiello,Tommy Wang, Leanne WibergDEVELOPMENT DIRECTOR: David RothOFFICE MANAGER: Kathleen McGheeBOOKKEEPER: Christine McElroy,Rubino & McGeehinLISNER STAFFDIRECTOR: Rosanna RuscettiTECHNICAL DIRECTOR/PRODUCTION MANAGER:Eric AnnisMASTER CARPENTER/ASSISTANT TECHNICALDIRECTOR: Colin McGeeSOUND ENGINEER/ASSISTANT TECHNICALDIRECTOR: Michael LeachMASTER ELECTRICIAN: Kali McIverSTAGE TECHNICIANS: Terry Espenschied,John Daniels, Calvin MoodyHOUSE MANAGERS: Claudia Morales (Mgr.),Lauren Boegen, Kathryn Parente,Celeste PettusMARKETING MANAGER: Carl GraciMAINTENANCE ENGINEER: Robert ScottOFFICE MANAGER: Katie Murphy
PRODUCTION VOLUNTEERSP ROPS R UN N I N G C REWCarrie Kovar Boris, HEADRon GiustiEmilie MooreGabby NamesWalter PenneyVanessa RobinBetsy WareM AKEUP C REWLisa Grosh, CO-CAPTAINKristin Jessup Moore, CO-CAPTAINLinda Smith Nissen, CO-CAPTAINAnne BrokerAlexa CerfLeah de la BeaujardièreCindy DunbarRose HowellMariah MooreHeather PanklW A R D R O B E C REWLois Dunlop, WARDROBE MISTRESSJoyce Duffy BilanowAmanda CannellClare ColtonLaurie CullenRosanne GochmanAllison GriffinMio HasegawaKristen KnappDali LivnePatricia MathesonKate McGrathLinda McHughJanice McKenneyChristine MorganAnne O’DonnellCarol PaquetteMike PlattSara RoweTerry WinslowWEDNESDAY NIGHTW ORK P A R T I E S , P ROPS ,S C H L E P P I N G , S ET ,O FFICE H ELP , F OODAllison Griffin, WED. NIGHTVOLUNTEERS HEADAudi CorriganLaurie CullenMargo CunniffeKathy Cutri, T-SHIRT TSARINATatiana de FidlerWilliam-Alexander de FidlerLaura Travis-DePrestLois DunlopBarry GalefRosanne GochmanVirginia HagenJeni Jacobs-MooreKristen KnappSophie KosofskySusan LewisJoanne MohindraMadan MohindraEmilie MooreChristine MorganMary Gene MyerCarol PaquetteCarla PattersonMichael PrattBarbara SwansonBebe SullivanKatie TuarteC AST P ARTYMargo CunniffeCindy DunbarSusan LewisJohn PomeranzLaura Travis-DePrestCHILDREN ’S CHORUSPRODUCTIONVOLUNTEERSJeremiah CohenJan ElickerFelicia FettMiriam HackPat HendrenKendra HendrenLisa MinichielloDon NamesMartha NooneRebecca OwenDeLaura PadovanMichael PhilippiWhitney PollakLinda RydenALL THE CHILDREN’S PARENTSRECORDINGS & B OOKSChristine Morgan, CO-CAPTAINPatrick Sidwell, CO-CAPTAINTom BrysonKathy CutriJessica DePrestRebecca DiehlDenis FarrellyMallary Forbes
Ann GatesBarbara GoldhammerAllan GriffElaine HawesCathy HigginsPatricia HilgardGina HillHarry HillCindy MorganMadeline NelsonOmotayo NensalaIlene PhotosRaluca PopoviciMary RaittMary ReardonBruce SidwellGenie SidwellNancy ShneidermanBebe SullivanBarbara SwansonLaura Travis-DePrestDon WalshJeff WolfeTHE WASHINGTON REVELSBOARD OF DIRECTORSADVISORY BOARDJohn Nields, CHAIRKashka AshfordPeter BehrRoderic V.O. BoggsJames Harrington BreedJohn DanielSheppard FergusonTom HowellJohn PomeranzDoris RhodesWilliam L.
MARY ALICE AMIDON,SINGER 15. Father James’ Song(In Yonder’s Valley) Father James Whittaker (1751-1787) traveled with Mother Ann Lee to America from England. A visionary and powerful preacher, he converted many to the Shaker faith. “In Yonder’s Valley” is thought to be the oldest surviving Shaker song with text. MICHAEL LEWALLEN,SINGER 16.
How to Photograph 2-D Artwork: Using Artificial Light INTRODUCTION Photographing 2-D artwork accurately can sometimes be tricky, but having good reproductions of your art is critically important when presenting it to others. Many applications require digital representations of artwork. Because art varies so much in color and tone, simple .
The Cover Page Manual . This manual provides instructions on how to properly format the cover page and provides examples as well. Manual Sections: Section 1: The Cover Page (p.2-5) Section 2: Cover Page Help – Correct Degree Titles and Academic Units (p.6-14) Section 3: Cover Page Examples (p.15-18) A. Sample Cover Page for Master’s Thesis
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debossed (please see separate specifi cation sheet for further details in supplying artwork for embossing/debossing). . particularly on small items like business cards. Even half a millimetre shift once the artwork
The Lenape / English Dictionary Table of Contents A page 2 B page 10 C page 10 D page 11 E page 11 F no Lenape words that begin with F G page 14 H page 19 I page 20 J page 20 K page 21 L page 24 M page 28 N page 36 O page 43 P page 43 Q page 51 R no Lenape words that begin with R S page 51 T
Papers CHI 99 15-20 MAY 1999 In this paper we present a study of the characteristics of how artwork is manipulated while drawing and discuss how these characteristics place new requirements on the user interface. While we propose a variety of solutions to facili-tate artwork orientation, we mainly focus on introducing
66,812.76 2016 industries for the blind inc. ARTWORK 66,246.25 2014: r a o contract sales of new yo ARTWORK FOR INTERIOR COMMONS WALL VA CLINIC ANCHORAGE 65,500.00 2009 red door studio: COMPREHENSIVE ARTWORK 64,251.55 2010: creative posters inc
Photocopies, business cards, drawings, decals, ,faxes, etc. are not considered camera ready artwork. If your artwork does not meet our printing requirements and must be re-created, there will be a one-time 50.00 artwork fee. HEAT TRANSFER Heat transfers allow for an extremely
