To find the lost, To heal the broken, To feed the hungry, To release the prisoner, To rebuild the nations, make music in the heart To bring peace upon the earth.

The St. Paul’s Players proudly present THE

A FESTIVAL OF LIGHT Friday, January 10 at 8:00 p.m. Saturday, January 11 at 1:00 and 5:00 p.m.

Salon Enzo ad THE BOAR’S HEAD A Festival of Light

St. Paul’s Episcopal Church, Fairfield, Connecticut January 2020 : Welcome, townspeople! You are herewith invited to participate in the joyous festivities at the great Manor House of Fayre Field! : PROLOGUE In a Winter Wood As the Priest introduces our ancient festival and the opening chords conjure a wintry night we see the feast’s origins reenacted as the victory of , represented by the Student, over the forces of darkness, the deadly Boar.

ENTRANCE OF THE LIGHT BEARER The Yuletide season is one of extremes – hospitable warmth against harsh winter cold, the uncertainties and longings of earthly life conquered by the joy of faith and renewal. The Light Bearer signifies the end of midwinter darkness in the brilliant light our Lord brings each year at his birth.

MARCH OF THE BEEFEATERS The Beefeaters, or Yeoman Warders, were established in 1485 as a bodyguard for King Henry VII, and it is believed that their wages were paid partly in beef, hence the nickname. The scarlet and gold dress uniforms are worn on state occasions only; visiting the Tower of London today the Yeoman Warders – men and women – wear a dark blue and red “undress” uniform created by Queen Victoria in 1858. “Masters In This Hall” Words by William Morris Old French Dance Tune

THE GREAT PROCESSION Introduced by the Lord and Lady of Fayre Field Manor House, we welcome the Master of the Revels and his disparate band of local players: The Boar’s Head Bearers • Choir • Banners • The Woodfolk, Jesters, and Sprites • The Ladies and Dancer • The Lords and Ladies • The Sword Dancers and the Spellbinder • Wenceslas and Page • The Morris Dancers • St. Nicholas • The Baker • The Mustard Pot Bearers • The Peacock Pie Bearer • The Plum Pudding Bearer • The Sword Bearer • Mary and Joseph • The Innkeeper’s Wife • The Shepherds • The Angels • King Caspar with Torch Bearer and Page • King Melchior with Torch Bearer and Page • King Balthazar with Torch Bearer and Page.

“The Boar’s Head Carol” Traditional English Carol If you like, please join us in singing the Latin refrain: Caput apri defero, reddens laudes Domino. (The Boar’s head I bear, giving praises to the Lord.)

DANCE OF THE RIBANDS – Lords and Ladies In which is displayed, by grace of movement and golden ribbons, the holy and harmonious weavings of our earthly lives, accompanied by the most familiar of ancient Yuletide carols.

“The Holly and the Ivy” Traditional English Carol

THE SWORD DANCERS Mimicking an age-old pastoral ceremony, where agricultural tools may have preceded the use of swords, our performers create a sacred space where death gives way to new life.

“God Rest You Merry, Gentlemen” Traditional English Carol WENCESLAS THE HOLY – King and Pages A vibrant example of human goodness in an unforgiving world, Wenceslas – and the carol that bears his name – prove how small deeds spread Christ’s love from age to age even unto ours.

“Good King Wenceslas” Tune from Piae Caniones Words by J. M. Neale

ENTRANCE OF THE LOG – Jesters, Woodfolk, Sprites With midwinter nights long, and precious daylight all too scant, Yuletide signifies a shining time. Here we see the handy woodfolk felling the old Yule Tree and bearing the into the Manor, creating a place of light and inner warmth with a festoon of Christmas charm and song. Please join in singing the rousing refrain: FA-LA-LA-LA-LA, LA-LA-LA-LA!

“Deck the Halls” Traditional Welsh Carol

DISPENSING THE WASSAIL – Wassail Ladies Boisterous wassailers were one reason Oliver Cromwell and the Long Parliament passed a Scrooge-like ordinance in 1647 essentially banning Christmas. When Charles II returned to power in 1660, one of his first acts was to repeal anti-Christmas legislation, helping foster his image as the “Merry Monarch.” Our own wassail beverage is an appropriate drink for all ages!

“Gloucester Wassail” Traditional English Carol

THE MORRIS DANCERS Stick and scarf, clatter and whirl, this centuries-old English folk dance originates from nearly the same era as the Boar’s Head itself. Its intricate movement and proper handling of sticks remain popular to this day. “The Merry Companion” Traditional Dance Tune THE – Angel and Mary Merry music is now at rest, for all our revels have led to this, the holy moment of the coming of the Lord.

“In the sixth month, the angel GABRIEL was sent by GOD to a town in GALILEE called NAZARETH...”

“Ave Maria” The Gospel of Luke Music by John Abdenour

THE NATIVITY– Innkeeper’s Wife, Mary, Joseph, Infant The journey to ends at a lowly stable, for there was not a room at the inn. The Lord of Light was born in down of hay, in a manger of rough wood, a soul divine in child’s form.

“Star Child” Words and Music by John Abdenour

THE APPEARANCE OF THE ANGELS TO THE SHEPHERDS From that stable lowly, His light sweeps over the fields on angel wings in a second startling message, this time to shepherds guarding their flocks through the darkest hours of the year.

“In the Bleak Midwinter” Words by Christina Rossetti Arranged by John Abdenour

THE KINGS FROM THE EAST – Kings, Torch Bearers, Pages Third in the trinity of heavenly signs was the brilliance of a star, observed not by all, but by the wise and good, three souls forsaking all to seek the wonder of a holy infant’s birth.

“Three Kings of Orient” John Henry Hopkins, Jr. Refrain O star of wonder, star of night, star with royal beauty bright, westward leading, still proceeding, guide us to thy perfect light!

THE STABLE MANIFESTS THE LIGHT Our procession to the manger is the movement of all mankind to reverence and wisdom. “What has come into being with Him is life, and the life is the light of all people. The light shines in the darkness and the darkness does not overcome it.”

“What Child is This” Old English Air

“Once in Royal David’s City” Cecil Francis Alexander

EPILOGUE Sharing the Light with the World May Almighty God, who led the wise men by the shining of a star, lead us also in our early pilgrimages, so that we too may be a light to the world.

:

Light medieval fare will be served in the Parish Hall following the two evening performances.

All are invited. CAST

Scholar: Matthew Boveroux The Light Bearer: Ashton Deutsch Priest: Curtis Farr Trumpeters: Emmeline Swenson, Mikey Clear, Anderson Deutsch, Caitlin Gable Beefeaters: Jim Turner, Eric Andren, Phil Sidebottom, Tom Mindrum, Matt Wiant, Chip Campbell Boar’s Head Bearers: Greg Sullivan, Aaron Deutsch, Jen Gable Lord and Lady of the Manor: Amy and Adam Deutsch Master of the Revels: Jay Jost Sword Dancers: Miranda Sullivan, Soloist (Spellbinder) Fiona Andren, Anderson Deutsch, Aidan Deutsch, Malinda Johnson, Natalie Fredericks-Saintelus, De’ana Derosier Peacock Pie Bearer: Neal Minto Bearer: Hope Ogletree Plum Pudding Bearer: Lucy Buggy Baker (Cook): Connie Gomes Mustard Pot Bearers: Margaret Bassett, Donatella Nichols Sword Bearer: Gretchen Goethner Jesters: Maya Knutsen, Kaylee Martin Banner Bearers: Annette Grau, Pam Morey, Kinsey Lamb, Melissa Clear, Ruth Anne Taylor, Matt Boveroux Lords and Ladies: Rick and Christine Brown, Patricia and Michael Boyd, Frannie Baldwin, Bruce Kueffner Morris Dancers: John Grau, David Elsy, Rick Hutchinson, Jett McAlister, Joe Ferral, Kathy O’Shea, Annette Grau Woodfolk: Patti Falk, Patti Strasburger, Judi Sinn, Linda Shackleton, Jim Stirling, Matt Wiant, Phil Sidebottom, Jim Turner Sprites: Coco Myers, Lucas Shackleton, Matthew Clear, Henry Swenson, Katherine Taylor, Arthur Sidebottom, Emmeline Gable Wassail Ladies: Julia Turner, Jennifer Cowenhoven, Katie Magee, Edrice Viechweg, Lorie Boveroux, Marilyn McQuade (Wassail Dancer) : Jon Hylan King Wenceslas: Dylan Cranston Wenceslas’ Pages: Will Boveroux, Evan Marshall Mary: Rachel Myers Joseph: Marcus Halley Innkeeper’s Wife: Linda Shaffer Shepherds: Will Boveroux, Owen Swenson, Riley Martin, Evan Marshall, John Ogletree Archangel Gabriel: Bailey Curran Angels: Madison Chueka, Josie Minto, Livy Burdo, Madison Clear Caspar: Eric Andren Caspar’s Page: Caitlin Gable Melchior: Gavin Sidebottom Melchior’s Page: Lillian Swenson Melchior’s Torch Bearer: Barbara Capasso Balthazar: Greg Sullivan Balthazar’s Page: Grace Taylor Balthazar’s Torch Bearer: Aidan Deutsch

PRODUCTION TEAM

Artistic Director: Alice Mindrum Music Director: John Abdenour Principal Assistant Director: Wendy Cudmore Assistant Director: Mary Sullivan Tech Director: John Ogletree Script Adaptation: Tony Abbott Stage Managers: Debbie Garavel, Chris Hubbard, Nancy Killian Production Assistant: Linda Shackleton Set Construction and Decoration: John Ogletree, Donna Elsy, David Elsy, Sarah Buggy Choreography: David Elsy (Morris Dancers), Wendy Cudmore, Alice Mindrum Communications: Jennifer Cowenhoven, Caitlin Hagedus, Cathy Comstock, Nancy Killian Costume Director: Pam Pellegrini Costume Crew: Lucy Buggy, Chris Cook, Lorraine Westervelt, Julia Turner, Julianne Stirling, Warren Fleming, Dolores Abbott, Peggy Mayo Reception: Barbara Sidebottom, Linda Shaffer, Donna Elsy Lighting: Steve Bassett Assistant Lighting: Sally Small Makeup: Annie Smith, Vani Mascia Makeup Crew: Charlotte Cowenhoven, Jennifer Cowenhoven Program and Posters: Caitlin Hagedus, Tony Abbott Props: Rich Hagedus, Mary Ellen Hagedus Prop Crew: Julie Garavel, Kevin Lennon Stage: John Ogletree, Steve Bassett, Phil Sidebottom, Kevin Lennon, David Elsy Ticket Sales: Julianne Stirling ANGELS Donations in memory of Richard Purchase Ellen Bonavita Josephine D. Amiot Janet G. Amiot Other donations Wheeler Foundation Jay Jost Alice and Tom Mindrum Malinda and Krister Johnson Chris and Jim Cook Joyce and Kim Styslinger Stephanie and Mick Campbell Alloe Stokes Lisa and Don Callahan Caroline Crisa and Richard Schneider Dolores and Tony Abbott Julianne and Jim Stirling Frances Baldwin : Connie Gomes thanks Rev’d Edrice Viechweg for gently encouraging her to take part in the Boar’s Head! Connie Gomes thanks her Dad, Matthew McDonald, for leading the way to St. Paul’s. Merry Christmas, Dad! x Congratulations Owen, Lillian, Emmeline & Henry Swenson! x In sweet memorial of the creativity of Hans-Jurgen Sinn as we enjoy the Boar’s Head and Yule Log yet again. x Forgiveness Please open your heart to the Prince of Peace ♥ x Brava/Bravo to the Cast & Crew of the Boar’s Head Festival: you’ve brought the Light into my holiday season! –Wendy Cudmore NOTES

The Heraldic Banners you see in our production indicate religious as well as secular influences on the Boar’s Head feast.

The Lion is a symbol of English royalty dating back to William the Conqueror. In Biblical reference, the lion represents the manifestation of Christ’s earthly power, as well as the Resurrection.

The Dragon was a symbol brought to by the Romans and was later associated with King Arthur and all defenders of freedom.

The Unicorn is an ancient mythic creature of purity, which legend held could only be tamed by a virgin, and thus represents in part the Annunciation. It was also traditionally considered a symbol of Christ with its single horn signifying the unity of the Father and the Son as well as invincible strength.

The Scallop Shell was carried by pilgrims to local shrines and to the Holy Land as an emblem of St. James, the fisherman. The scallop’s scoop-shaped shell also recalls the administering of water at the sacrament of Baptism.

The Tree of Life was often pictured as an evergreen, for it was thought to have been the tree that sheltered the Holy Family on its . The tree’s fruit of apples may also call to mind the legend of Mary and the apple tree.

The Falcon, a bird known for its pride and power, symbolizes nobility and was often depicted as being held by a page accompanying the Magi to Bethlehem.

The words announcing the entrance of the Kings are taken from T. S. Eliot, “Journey of the Magi” (1927).

‘A cold coming we had of it, Just the worst time of the year For a journey, and such a long journey: The ways deep and the weather sharp, The very dead of winter.’ THE BOAR’S HEAD – A MUSICAL ODYSSEY

Discussion of a new Boar’s Head production (the ninth by the St. Paul’s Players, and the first in fourteen years) began over a year ago, and with that much time to ponder the musical challenges and opportunities presented, I gradually decided to let my imagination – and pen – go where the music and words seemed to be taking me. The eponymous Boar’s Head Carol heads a list of musical numbers carried over from previous festivals, while other numbers are entirely new. Whether old or new, all the music in the show was considered or re-considered from scratch, with an eye to making each number add something meaningful. To this end, rules could be broken, expectations overturned, and the occasional surprise –or even shock – deployed. So our Boar’s Head is different. First, to grant each number the orchestration it seemed to call for, and in light of the stringent limitations of budget, space, and rehearsal time, we decided to produce the accompaniments digitally and mix them with pre- recorded vocal tracks sung by members of the St. Paul’s Choir and parishioner Rachel Myers, who sings Star Child. Creating a digital soundtrack unleashed an almost infinite palate of instruments and sounds. Thus the Overture is performed by an ensemble of Celtic instruments, Masters In This Hall by an orchestra Verdi would have recognized, Good King Wenceslas and the Boar’s Head Carol by an orchestra of early instruments suitable for a Brandenburg Concerto, and Once in Royal David’s City by a jazz combo. Each number is orchestrated and arranged as the nature of the music seemed to suggest.

About the individual numbers:

Overture: An earthy and energetic opening, quoting “God Rest You Merry, Gentlemen” and “Gaudete Christus est natus.”

(Entrance of Beefeaters) Masters In This Hall is opulent and rather operatic, in the grand manner of Verdi.

(Boar’s Head Procession) The Boar’s Head Carol, an early 16th century English carol, receives an early 16th century Italian makeover, in the manner of Monteverdi. (Dance of the Ribands) The Holly and the Ivy is paced for dancing, not singing, and to keep the rapid repetitions of the melody from becoming monotonous we take refuge in a brief detour into the tune “Bring a Torch, Jeannette, Isabella.”

(Sword Dance) The tune commonly heard with God rest you merry, gentlemen is an 18th century English melody called Chestnut. Our setting tonight carries the tune across the Atlantic, to 18th century Boston and the style of William Billings. As with Holly and the Ivy, an alternate tune provides relief partway through, in this case another metrically similar traditional English melody from the period.

The scene depicting Wenceslas the Holy begins with a narrative introduction by the Priest, accompanied quietly by a Bourrée for unaccompanied cello after the manner of J. S. Bach. The Bourrée utilizes thematic material that next appears in the setting of Wenceslas. The familiar melody for this carol can be found in 1582, and thus was a tune current in J. S. Bach’s day. For the Boar’s Head Festival this melody forms the basis of a chorale fantasy dressed in the guise of a Bach concerto grosso, with strings and continuo, hunting horn, recorders, and oboes.

(Yule Log) Baroque violin technique and Appalachian fiddle technique are quite similar, sharing common ancestral roots in 17th and 18th century England. We invoke this common ancestry as the urbane figurations of Good King Wenceslas give way to fiery fiddle licks of a back woods rendition of Deck the Halls, set for fiddle, harmonica, banjo, blown bottle, cow bell, and mouth harp.

(Wassail!) The setting of Gloucestershire Wassail accompanies the merry-making of the Wassail ladies on stage, and the music gradually becomes progressively less prim as the number proceeds, eventually shedding its orderly 6/8 meter for a 5/8 version more at home in the 1960’s than the 1760’s. The piece ends with a saucy quote from a different song entirely.

(Annunciation) This setting of Ave Maria was composed for the Boar’s Head Festival, and contains a twist: instead of following the quotation of Gabriel’s message with a prayer for our eternal souls, it seemed more fitting in this instance to follow it with a recitation of the Benedictus qui venit (Blessed is the One who comes in the Name of the Lord. Hosanna.) In the Mary sings a lullaby to the newborn Jesus. A slow Broadway-style ballad, Star Child is new, specifically composed for Rachel Myers, an accomplished Broadway singer. In Star Child Mary sings lovingly to the infant Jesus, meditating on the miracle of his birth, his dual identity as “God’s child, my child,” and remembering the words of another song also attributed to Mary, the Magnificat.

(Shepherds) In the Bleak Midwinter is also a new composition. Two beautiful tunes (by Harold Darke and Gustav Holst) commonly accompany these words, but neither is particularly bleak or wintry. The new setting attempts to speak to both, in an austere modern pop idiom inspired by the -making of Sting.

(Magi) Three Kings of Orient, more familiarly known as We Three Kings, is a plummy, Victorian Romantic melody and there’s no getting around that fact. It demands a plummy Victorian setting, which is what it gets here. Full orchestra, choir, and three kings.

(Adoration) If any musical number of this Boar’s Head Festival attempts to speak on a deeper theological plane it’s the setting of What Child Is This. It exploits the somber key of the song (E minor) and its meter (12/8) to create an intentional allusion to the opening movement of Bach’s great St. Matthew Passion. The restless bass line and upwardly marching bass scales, as well as the orchestration, are inspired by Bach’s Kommt, ihr Töchter, hilf mir klagen, centering the Christmas hymn within the larger context of Christ’s entire life and ministry.

Once in Royal David’s City is an utterly essential Christmas hymn whose identity is tied inescapably to scarlet cassocks, white surplices, Eton collars, candle-lit choir stalls and the soaring vault of King’s College Chapel and the Festival of . Not exactly the Boar’s Head Festival. To overcome the gravitational pull of Cambridge we go rather far afield: to straight-ahead jazz, with perhaps a hint of Billy Joel. The Head Chorister of the St. Paul’s Choir, Julia Haas, provides verse one; our tenor section leader Benjamin McCormack sings verse four.

–John Abdenour When the song of the angels is stilled, When the star in the sky is gone, When the kings and princes go home, When the shepherds are back with their fl ock, The work of Christmas begins:

To fi nd the lost, To heal the broken, To feed the hungry, To release the prisoner, To rebuild the nations, make music in the heart To bring peace upon the earth.

–adapted from Howard Thurman’s “The Work of Christmas”

PREMIUM DELI MEATS & CHEESES

Boar’s Head has been the delicatessen brand you can trust for over 110 years. We are committed to providing the highest quality delicatessen products using only the finest ingredients. Nothing less!

Galbo Provisions Inc.

Boar’s Head Brand Purveyor Proudly Serving Retail Food Establishments for over 40 years

Anthony Galbo / 203-259-3122