THE COMMUNITY REVELS CREATES through performance and song is so welcome. We need more of it!”

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RECORDED LIVE AT SANDERS THEATRE 5ODIRECTED BY GEORGE EMLEN THE CHRISTMAS REVELS— CELEBRATING 50 YEARS!

BY GEORGE EMLEN

Welcome to this live-from-the-stage retrospective, capturing five decades of Christmas Revels productions and the adven- turous spirit and flavor of these truly magical performances.

eginning with our first show in Revels an indispensable tradition for B 1971, we have created an enduring their holiday season. Listen for their community tradition not only in the voices on several of these tracks— greater Boston area but also in eight a powerful testament to the creation other cities across the country. Revels of community through group singing. productions are rich smorgasbords The selections on this recording are of choral and solo singing, traditional sequenced according to musical folk dances, and stories, children’s connections rather than by nationality songs and games, and a brilliant brass or time period. A Russian nonsense ensemble. Every year we “travel” to a song segues easily into an Appalachian different part of the world and weave hoedown, a 14th-century French art together the songs, stories, dances and song into a 20th-century Cajun rituals of that culture into a lively and toe-tapper. It is our way of illustrating vibrant tapestry of sound and color. how vocal and instrumental styles— At the heart of every production is and the range of human experience an auditioned chorus of community expressed through music—transcend members, adults and children, who geopolitical boundaries and find represent the “village” of the featured common ground in unexpected places. culture. Together with professional It has been such a pleasure for me, musicians and actors, they bring the as Revels’ music director for most of story of this culture to life through the shows represented here, to music, dance and drama. assemble this retrospective. I hope you Our multigenerational audiences will delight in this exploration of the are also essential ingredients in the deep Revels archive as much as I have, Revels recipe. People come prepared and that through the music you will to sing carols and rounds with us, and be captivated by the power and magic sing they do! Countless families return of the Revels experience. each year, making The Christmas REVELS AT 50: THE BIOGRAPHY OF AN IDEA

REVELS EXEMPLIFIES BY SCOTT ALARIK THE POWER OF GOOD IDEAS NOT CONTAINED! At fi rst, the Christmas Revels idea seems as simple as a song: an ancient community is theatrically recreated as it gathers to By creating its own annual custom, celebrate midwinter. They share songs, dances, stories, rituals, Revels has found a unique way and merrymaking—lots of merrymaking. They lament the to celebrate the seasonal rituals dying of the old year and celebrate the turning of the world of the world… To my family, back toward spring and life. the celebration has become tradition wrapped in tradition.” ut as we all know, the best songs everyone is celebrating together. Bare never as simple as they seem, “Revels is not essentially a musical YO-YO MA, CELLIST and neither is the Revels idea. Steeped event—rich in music as it is—but a in tradition, brimming with wonderfully congregational event,” said former staged recreations of how diff erent music director George Emlen in the cultures celebrated midwinter, 1990 Cambridge Revels program. cherished old songs, mischievous folk To be sure, Revels shows are also plays, dances, and children’s games, professional performances. But the the annual Christmas Revels produc- intent is always to invite the audience tions in Cambridge, Massachusetts, into the celebration. and eight other cities have created a The Christmas Revels has become new and revolutionary theatrical form. a tradition for thousands of families So unique, in fact, that the National all across the country. Over 50,000 Endowment for the Arts found it people attend annually in Cambridge; impossible to place Revels within the Boulder, Colorado; Lebanon, existing boundaries of performing arts. New Hampshire; Houston, Texas; It was, they concluded, an entirely new Oakland, California; Portland, Oregon; form of music theater. Santa Barbara, California; Tacoma, The Revels idea is also about much Washington; and Washington, D.C. more than Christmas. It has blossomed Nearly two million people have into many inventive ways to help attended nationwide, and an astonishing people celebrate our rich multicultural 75 percent return every year. world—as an active part of that Revels has also released over 35 celebration, not merely as observers. recordings, featuring over 900 The heart of the Revels idea is the traditional songs, along with song- creation of theatrical events in which books, children’s books, DVDs, and AN IDEA SLOWLY BORN School, a student wrote in the school he story begins on , paper, “Mr. Langstaff could make an T1920, in a large, comfortably onion sing.” cluttered home in Brooklyn Heights, Jack also wanted to fi nd ways to New York. A very pregnant woman introduce modern audiences to was climbing up and down stairs, traditional midwinter music, dance and pushing furniture, hopping around, rituals. He understood that these anything to induce labor. Because traditions were not created for this baby simply had to be a Christmas professionals to dazzle us, but for communities to do together. THE GREAT baby. The Langstaff s had planned In 1957, he produced a “Christmas it that way, because Christmas was SUCCESS OF Jack with his brothers Ken and David, Masque of Traditional Revels” at New a Very Big Deal in their home. on Christmas Eve, 1927; courtesty of the York’s Town Hall and Washington, THE REVELS Langstaff Family Their Christmas Eve parties were D.C.’s Lisner Auditorium. It was a famous, planned for months, the is that while it refers theatrical pageant set in medieval family preparing songs, skits, rituals to ancient tradition, kits to help churches, community England, structured to create a shared centers, and families produce their own and recitations. celebration with the audience—the the program itself has Revels-like shows. They’ve also created Perhaps being a dutiful son, posters even said, “With Audience become a living tradition.” vibrant educational projects aimed at perhaps curious about this Christmas Participation.” THE NEW YORK TIMES helping children celebrate their fuss, or perhaps simply tired of being In her colorful Langstaff biography, cultures in merrily Revels-ian ways. bounced around, John “Jack” Langstaff The Magic Maker: A Portrait of John Perhaps the best way to understand was born that very Christmas Eve. Langstaff , Susan Cooper described it this unique phenomenon is to see how Jack loved those Christmas parties as “a theatrical performance that was the Revels idea was built, brick by and loved to sing, a mix of classical also a community event…a great big brick, its founders keeping a keen eye and folk music. He became an public carol party with Jack as master on bringing cast and audience acclaimed baritone, bringing new of ceremonies.” together in what they call “a village respect for traditional music in a In 1966, NBC asked him to recreate within a village.” classical world that still largely the Masque as a television special. “Revels has developed in ways… dismissed it as “peasant fare.” In the Playing the dragon in the traditional I certainly couldn’t have planned,” 1950s and early 1960s, he recorded a “St. George and the Dragon” founder John Langstaff wrote in an series of infl uential folk recordings for Mummers’ Play was a struggling young essay for the book About Revels EMI, produced by legendary “5th actor named Dustin Hoff man, who by longtime California Revels director Beatle” George Martin at Abbey Road later thanked Jack for “jump-starting” Elizabeth Lloyd Mayer. “And that, Studios in England, and hosted his career. after all, is how it should be. That’s children’s programs for BBC and In 1970, Jack was teaching at Shady how folk tradition grows: organically, American television. Hill School in Cambridge. He and his unpredictably, drawing people Jack was increasingly drawn to daughter Carol Langstaff , who’d sung together in powerful celebration of teaching children—especially getting in the 1957 Masque, talked about their shared humanity.” them to sing. He would say he was not reviving it. And thereby, as the Bard would say, there to sing to them, but to make By then, Jack had a better idea of hangs a tale. How did this Revels idea music with them. And they adored him what he wanted. As he told Sing Out! come to be? for it. While teaching at the Potomac The Folk Music Magazine, “We could “CHILDREN, GO TO YOUR FAMILIES.” within a village. When Jack’s nephew be traumatic. show how this music and ritual ack and Carol created a chorus David Langstaff, a veteran of early “I had to learn to suck it up,” she connected to people’s lives in those Jof amateurs from the community. Cambridge productions, founded the said. “Friends came to see me, and I days, but we were also our own little It became a building block of the Houston Revels with his wife Cyndie, said, ‘You know, being a cow is cool’.” community on stage. The way Carol Revels idea. he wanted as few professionals as The children’s chorus always steals and I developed it, that community “The chorus was key to Jack’s possible, because if the singing was too the show, precisely because they have became a larger community through whole vision…it was the link between polished, the audience wouldn’t see not been coached in the theatrical art connecting with the audience in performers and audience,” Susan themselves being part of it. “You need of cuteness. Real children, untrained as different ways, using these new rituals Cooper wrote in The Magic Maker. the rough edges,” he said. “That’s professional children, cannot help of our own. One critic said we had “He wanted amateurs, local amateurs, where the audience connects.” behaving like children, self-consciously taken these old rituals and found a way because he felt that audiences were Another benefit was the effect the tugging at their costumes, scurrying to to let them live today. That’s what we more easily persuaded to sing if they enthusiastic energy of the amateurs catch up. They are knowable as were after.” could see a group of people just like had on the professionals, who feel children, peeking at us through the Another Masque carryover was the themselves up there.” compelled to join that energy, making fourth wall. lively meld of music and movement, It also made the production feel their performances more personal, Carol developed a stage construct theater and dance. Carol, who directed more like neighbors celebrating less polished. that became another key ingredient in the early Christmas Revels, believes together. “These were things that were “The amateurs bring courage, lots the Revels idea. She divided the that mix brings the audience closer to originally performed in real communi- of courage,” Carol Langstaff said, amateur chorus into families, asking what’s happening on stage—and to ties, by real people,” Jack said. “You “especially the children. Kids are not them to invent identities, and gather believing it. can’t let it get too theatrical.” scared of making mistakes. Everyone into those families whenever they were “I think the combination of music, Artistic director Patrick “Paddy” gets stretched in a different way, and not performing. words and movement really stirs Swanson notes that while Revels is a the audience thinks, ‘I could be there, people,” she said. “Words are not professional production, it is accessible I’m like this person.’” necessarily true, and you don’t always to all audiences. “When you walk into The kids learn valuable lessons, too. understand the songs. But seeing the theater and see people who look Aoife O’Donovan is now an interna- movement with ritual and dance gets just like you on stage, some part of you tional singing star. But at 12, she was a these things into your heart and you says, ‘That could be me singing.’ Revels cow, acting out a verse in which understand on a different level.” Revels creates a bond, an empathy, a “cow went out to plow.” Being told The first Cambridge Christmas that is very important to the commu- you have to be a cow at that age can Revels was held in 1971 at Harvard nity we try to create between the stage University’s Sanders Theatre. Like the and the audience.” Masque, it was set in medieval England Revels also hired professional and included many of the same actors and musicians for key roles, elements, including the “Abbots offering highlights for the audience to Bromley Horn Dance,” “Sussex sit back and savor. Swanson said, “The Mummers’ Carol,” Morris dancing by audience really should have moments the spry Pinewoods Morris Men, a when they say, ‘Amazing; I couldn’t do Mummers’ Play and lots of familiar that.’ But also moments when they can carols. But what was new ignited a see themselves singing.” Revels revolution. Navigating that balance became central to Revels achieving their village

RIGHT: 1971 Christmas Revels poster This began as a simple stage Gypsy camp, it is always accompanied Another cherished Revels tradition direction, to help the amateurs move by a Morris dance, after which the cast is Susan Cooper’s transporting poem naturally when they weren’t perform- takes the audience, hand in hand, “The Shortest Day,” which she wrote ing. She could simply say, “Children, singing into the lobby for intermission. in desperation after Jack had asked her go to your families.” But it achieved The song being a non-sequitur to fi nd a midwinter poem. much more. “They immediately began is not beside the point—it is the point, She fi rst joined Revels in 1975, to look like a real community,” she said. the moment the theatrical distance after innocently attending a show and WE ARE Jack told the Boston Globe, “We between cast and audience fully meeting Jack backstage. He said, began to think of the cast as a village… dissolves, as they join hands, singing “But I’ve read your books!” Then, with TEACHERS, [they] get bonded together so closely and moving together as one. No a puckish twinkle, he said, “You should as a village, and even more with their longer is the audience watching the be writing for Revels.” STUDENTS, stage families. And that community is cast celebrate; everyone is now And with that, Cooper became, as SECRETARIES, what we’re trying to project.” celebrating together. she put it in The Magic Maker, “Jack’s For the 1995 Cambridge Revels Another unique Revels tradition tame writer for the next twenty years.” DOCTORS, program, frequent chorus member is singing “Sussex Mummers’ Carol” So when he asked for a poem to recite engineers, carpenters, Kathie Fiveash wrote, “As the brass near the end of the show. Years ago, in the fi rst Victorian Christmas Revels in computer programmers; band begins to play, and our lives they cut it from a French Revels. 1977, she dutifully sent him one after fall away from us. We are teachers, As the show ended on the fi rst night, another, all turned down as “not Revels.” but for this moment students, secretaries, doctors, the theater was silent. The cast fi led Inevitably, she did what she suspects we become a new engineers, carpenters, computer off stage, wondering what could have he wanted all along. She wrote the community, a village in programmers; but for this moment we gone so wrong. magnifi cent Revels-ian poem, “The become a new community, a village One by one, folks began to sing Shortest Day.” And it’s been recited another place and time…” in another place and time…All the “Sussex Mummers’ Carol,” until the in every Christmas Revels since. KATHIE FIVEASH, CHORUS MEMBER months of rehearsing are ended in this entire audience joined and the cast moment when we join with you, our fi led back to join them in their audience, to form a link between the sing-along. The next night, and every past and present.” night thereafter, it was back in its proper place—not in a French village, TRADITIONS WITHIN TRADITION Victorian parlor or Mexican fi esta. But hat fi rst Revels introduced the in Revels, at the end of Act Two. Tidea of Revels’ own traditions, There is also a Mummers’ Play of woven amid the various traditions being some sort, ritually enacting the death recreated. Act One still ends with of the old year, which is then resur- “Lord of the Dance,” a 20th-century rected as the new year. There is a hero who fi ghts bravely with a dragon or song written by British composer some other-worldly warrior, is killed Sydney Carter, based on the and then brought back to life. There is 19th-century American Shaker hymn, much broad humor, including sly “Simple Gifts.” Adding to the topical references, very much in non-sequitur shock of that song keeping with how these plays were suddenly breaking out in a Medieval originally performed. English castle, Victorian parlor or The dark, lovely and very ancient Longtime Revels collaborator Jerry “Abbots Bromley Horn Dance” is Epstein, equally at home with folk and another Revels tradition. The antlers early music, helped to make that meld still used in the village of Abbots more fluid—and fun. I LEARNED Bromley were carbon-dated back to “Jerry had a marvelous kind of gut, at least the 1000’s. earthy way of approaching material,” FROM JACK TO The Horn Dance lured Jack’s Carol Langstaff recalled, “with lots of BLUR THE LINE successor as song-leader, David Coffin. gusto, more grounded and vigorous He wrote to Jack, asking if he could than a tidy chorus. He understood the BETWEEN STAGE play recorder for it during a produc- folk-ness of the music.” AND AUDIENCE, tion. Like Jack, he had a dual passion These unique Revels traditions for folk and early music. have created a powerful sense of to sing with you and not For years, Jack unknowingly ownership among the Revels faithful, to you; and that a Revels mentored him for his role as master of who expect some of the same things show is bigger than any ceremonies, which David still refers to every year. But they also expect new as “the part that Jack built.” And every wonders. one person. It’s all of us.” time he sings “Lord of the Dance,” “I think one of the secrets to Revels’ DAVID COFFIN he still hears Jack’s voice, not his own. longevity,” said former music director The melding of folk and early Megan Henderson, “is the balance music was a defining component of between tradition and surprise. There’s Revels from the beginning. Mixing always something that just shocks “The brief I set for myself,” traditional and art music is always people, along with all the things Swanson said, “was to codify what Jack tricky, as Jack knew from his years as they’ve come to expect. You hear a lot did by the seat of his pants. His a classical baritone singing folk songs. at the office about how much we can instincts were just right, his taste was stretch the canvas on the tent poles.” just right, but there was a cloud of chaos that followed him around. It was CODIFYING CHAOS a creative chaos and the show was ust as Revels built its own traditions, really built around that. Coming from a Jit began to build a permanent staff theatrical matrix, my job was to make a and organization. English-born language from that, which professional actor-director-writer Patrick Swanson actors, technicians and amateurs was initially hired to play Robin Hood. could understand.” But as Susan Cooper wrote in About While Swanson codified the Revels, Jack had “the unerring eye creative chaos, Revels first executive of a recruiting sergeant for Revels- director, Gayle Rich, did the same for oriented artists.” the business. Like Swanson, she mostly Jack kept that eye on the endlessly listened at first, seeking to divine how creative Swanson. He spent years Jack’s seat-of-the-pants energy could under Jack as Associate Artistic be codified into a permanent business Director before being named Artistic model. The best way, she realized, was Director when Jack retired in 1995. to nurture everybody’s creative chaos—as long as there was a steady The Magic Maker. “He treated each of REVELS TRAVELS THE WORLD the students, celebrating the commu- nity’s multicultural traditions. hand on the kite strings. us as a collaborator. And he was so “Scratch the surface of each Revels Revels is always mindful they are “When we find that a person who effective with audiences because he show,” said frequent Revels actress telling the stories of someone’s family. is hired for one area has talent for had this conviction that everyone not Paula Plum, “and you’re telling the Every visit to another culture begins another,” she told the Boston Globe only could sing, but wanted to sing, stories of someone’s family.” with a meticulous search for “tradition in 2009, “I let them fly. I really expect and even needed to sing…So of As Revels expanded to other cities, bearers,” members of a culture who people to create their own structure course, they did sing.” the Revels idea expanded in imagina- understand how their traditions were within the job.” tion. The original concept of AN IDEA BECOMES A MOVEMENT used by ordinary people. She sought talented people with an theatrically recreating different “As we zero in on a cultural theme,” aptitude for the right kind of chaos, s the staff grew, so did the scope traditional communities offered clear George Emlen wrote in his 2009 essay and an ability to simply solve problems of the organization, creating a routes to more multicultural shows. as they arose. Revels’ legendarily A “The Spirit of Authenticity,” “we also Revels record label, songbooks, That strong commitment to reflect our resourceful first artistic coordinator identify possible ‘tradition bearers’… children’s books, educational kits, wonderfully diverse world remains Raine Miller discovered they were who then bring us great music, outreach projects, school residencies, central to the Revels idea. missing a tailcoat for the Victorian beautiful dances, engaging stories and homeschool programs, an annual Over the years, Revels has located Revels. Rather than hunt down the mysterious rituals.” Summer Theater Workshop, pub sings, shows in Russia, Brittany, Cajun person in charge of tailcoats, she went musical harbor cruises, Spring Sing, Louisiana, Meso-America, a Roma into the Cambridge night, knocking on camp, Appalachia, Venice, Ireland, doors. This is Harvard—someone must and RiverSing. The Revels movement expanded Armenia, Canada, the Balkans, have a tailcoat. Germany, Wales, Scandinavia, Hearing the request, a tall, stately as Revels devotees moved to other cities and worked with the Cambridge Scotland, Spain’s Galicia and France. man said, “Why yes, I have one you That multicultural commitment can borrow.” Apparently, economist office to mount their own productions. One such person was David Langstaff also shapes educational projects like John Kenneth Galbraith was familiar the exciting new Revels Residency, with the peculiar ways of Revels. who founded the Houston Revels because he wanted his kids to aimed at 4th graders. The Revels team While teaching at Maine’s College works with the school to identify a few of the Atlantic, George Emlen reached experience the same magic he had in Cambridge. cultures represented by the students, out to Jack for advice on producing a and asks students to create a fictional Revels-like event. When George “We knew musical people and connected with a few who were character from one of those cultures moved to Boston, he innocently and over the course of one week informed Jack, who replied, “Good. interested in trying to pull it off,” he said. “It was like putting together teaches the student groups traditional Now you can direct the chorus.” music, dances, games and stories from Jack recognized a kindred spirit in a puzzle, finding one piece after another and putting them together. their assigned cultures, ending in a George, a gifted musician able to Revels-type showcase performed by handle the most complex arrange- Of course, they never come in the ments, then cheerfully translate order you want.” them into easily grasped instructions Asked why the Houston Revels for amateurs. has lasted so long, David said, “What “If there’s one word for what you find is what Revels shows all Jack always did, it was empowerment,” of us—that at some level we all want Emlen told Susan Cooper for to be connected.” glimpsed amid the Dickensian cheer of does—appear smaller. the Victorian Revels. Revels has developed such unique “If you just have a theater full of tools over the past 50 years: the jolly peasants singing wassails, drinking remarkable human resources they’ve ...if there were and have a jolly good time,” Swanson built nationwide; their regular ever a time when said, “it’s possible to get the idea that collaborations with gifted multicultural this was all pretty mindless…an area of artists and tradition bearers with it’s important darkness about a story brings out valuable talents and knowledge; the something in the light parts that make deep research into different cultural to understand them more powerful.” traditions; the ways in which they bring HOW MUCH MORE That willingness to break the them to life, making any culture feel illusion to remind audiences how like home, and the people from those ALIKE WE ARE relevant these issues remain works cultures seem like neighbors. THAN DIFFERENT, because the original Revels idea was Revels is constantly asking how these designed to be creatively elastic, with tools can be put to work in other ways, IT’S NOW.” Armenian peasants suddenly breaking to create events, programs, and projects EXECUTIVE DIRECTOR KATE STOOKEY into “Lord of the Dance.” that would invite more people into the That elasticity also helps Revels’ Revels experience, and make that strong commitment to representing a experience their own. How can Revels between allegorical British songs diverse community on stage. Because help share and celebrate more of the warning young men to hide from press the amateur chorus is drawn from the world’s cultural and seasonal traditions? gangs seeking to force them into the community, seeing different ethnicities These are not vague, prospective navy, and similarly coded language used in otherwise incongruous contexts goals, but vivid descriptions of exciting by enslaved people. In a key scene, one serves the larger purpose of binding changes already underway. of those British songs morphed cast and audience. There’s the swashbuckling Revels wrenchingly into the African-American Executive director Kate Stookey FRINGE performance series, anthem, “Oh, Freedom.” said, “I love how Revels presents developed by Swanson, who happily “As it does year after year,” the culture in a way that is accessible and calls it “not your mother’s Revels.” Boston Globe reported, “Revels moved human. The way we do our work “Backstage, I’d see very different the audience past the easy myths emphasizes the similarities between us musicians recognizing the commonality of olden times and by making them as people. And if there were ever a in their music across miles and centuries,” TOP TO BOTTOM Sharq Trio, Stan Strickland so vivid, human and real, only time when it’s important to understand he said. “What if we made that a and Carlos Núñez, The Sliver Leaf enhanced the heroic aura of those Gospel Singers how much more alike we are than principle for shows, especially with who lived them.” different, it’s now.” younger musicians who have a toe in one This theatrical juice also allows tradition but take it into other areas?” As Revels explores those cultures, Revels to evoke topical issues. For the A GROWING TRADITION Revels FRINGE debuted in 2013 Patrick Swanson looks for what he calls Meso-American Revels, Joseph and with a Galician piper, Celtic harpist, “the theatrical juice,” some song, ritual Mary were undocumented immigrants, here’s always talk about tent poles in the Revels office, particularly Scottish fiddler and African-American or fact that connects the culture to the drawing a stark modern-day parallel. T saxophonist. Wait, did you say harp, how that one big pole called The larger Revels theme. The oppressive economic inequalities bagpipe, fiddle and saxophone? Why, Christmas Revels, can make the other In preparing a Sea Revels, for of Renaissance Italy were displayed in yes we did. And it was a smash. example, he was struck by the similarity that Revels, and bleak urban poverty poles—all the other things Revels How Jack Langstaff would have loved the sound of that. Many years ago, he said this: “There’s a need for art that connects us to each other. You go far enough back in any culture, and At the heart of Revels you fi nd these rituals, these ways of bringing people together. I think that is the belief that connectedness is so important to us. It SINGING always has been, you know—the rituals tell us that.” TOGETHER HAS As does the timeless popularity of THE POWER TO the Revels idea. New programs for For years, Revels has lamented students and communities begin the TRANSFORM AND losing touch with children who become same way the original idea did; not too old for the children’s chorus with what Revels needs to do to sell UNITE US ALL.” but not old enough for the adults. tickets, but by recognizing a need and GEORGE EMLEN So they created RAP, the Revels seeking modern ways to fi ll it. Apprenticeship Program, inviting them Revels is, at its core, all about to share the magic that happens human needs, especially the ones our backstage and learn from skilled elders. noisome society keeps us from Revels also created a Youth recognizing. The need to join hands in Alumni Chorus, inviting them to an often unkind world; to see that Spring Sing, a cherished spring event world fi lled with neighbors, not at the Perkins School for the Blind, and strangers; to create a common sound the very popular Revels RiverSing, a against the sullen dark. free community event in which “People need celebration,” thousands join in song to welcome Elizabeth Lloyd Mayer wrote in About autumn on the banks of the Charles Revels. “We need those wild and holy River. And Revels continues to expressions of who we are which lift us develop exciting new educational out of isolation and into connection projects in the Revels mold, fi nding with each other.” new ways to collaborate with tradition Asked why Revels earns such bearers and communities. loyalty from its fans, Kate Stookey said, “Most arts organizations are “Because they’re part of it; they’re largely presentational,” said Stookey. invited in. They don’t just attend—they “Our educational program strives join us.” for the same underlying principles And so, this year and every year, of collaboration and participation, join us. not just instruction. We create shared experiences.” RIGHT: Meso-American Christmas Revels (1994) George Emlen in forefront with a young Mindy Kaling in the chorus (r) chorus sings a Hungarian carol with THE CHRISTMAS REVELS words by Howard Box, arranged by Marleen Montgomery. The soloist CELEBRATING 50 YEARS! is Jill Gleim.

RECORDED LIVE AT SANDERS THEATRE 6. ESA NOCHE YO BAILA (1994) Revels Chorus, Huehuetl A spirited call-and-response dance in NOTE: All texts and translations, as well as a complete list of guest artists, may be African-dialect Spanish, from our found on the Revels website at Revels.org/linernotes MesoAmerican (Mexican) show, another radical departure from our DISC 1 usual Northern-Hemisphere cultural explorations. The soloist is Marshall accompanies himself on medieval harp 1. THE FIRST NOWELL (1977 AND 1991) 3. MASTERS IN THIS HALL (1985) Hughes; the percussion is supplied by in an ancient English ballad with the Revels Choruses, Salvation Army Band Revels Chorus, Youth Pro Musica, Early Music the Borsegui family that constitutes the refrain “the falcon hath borne my (1977), Cambridge Symphonic Brass Ensemble mate away.” As he sings, three heron Ensemble (1991), Sanders Theatre Audiences Mayan ensemble Huehuetl. This classic carol, with 19th-century puppets circle around a slain St. One of Revels’ earliest recordings words by William Morris attached 7. MELCHIOR ET BALTHAZAR (2016) George character (played in this captures the excitement of our fi rst to an 18th-century dance tune by Marin Revels Children, David Coffi n, Lisa Ornstein production by Jack Langstaff , in his English Victorian show. Revels founder Marais, was used as a processional Children are one of the indispensable last onstage appearance in John (“Jack”) Langstaff can be heard as the Revels company fi lled the stage elements in a Revels show. This French Cambridge), who will eventually be exhorting the audience to sing along in this Medieval French production. version of the Three Wise Men story brought back to life by the magic with the onstage Salvation Army Band. The tune is “Marche pour les Matelots,” off ers a perfect example of the of the Fool, whose rattle and bells can As we transition into the brisker 1991 or “March of the Sailors,” from the important role that children play in a be heard at the beginning and end performance, we hear Jack still leading 1706 Marais opera Alcyon. Christmas Revels. of the song. the audience with his trademark “Sing!” 4. COUNTRY DANCE (2014) 8. ŠETNJA (2007) 10. LES CLOCHES DU HAMEAU (2016) 2. NIŠKA BANJA (1997) Revels Parlour Orchestra Revels Children, Revels Chorus, Revels Josée Vachon, Revels Chorus, Revels Revels Women’s Chorus, New England The relationship of this popular dance Balkan Band, Cambridge Symphonic Acadian Band Romanian Ensemble, Cambridge Symphonic tune, which goes by “The Female Brass Ensemble Brass Ensemble In this show we traced the diaspora of Sayler,” to the preceding track is In our exploration of fi ve Balkan the Acadian people in their expulsion In a show that delved into the history apparent. Our Victorian band consisted nationalities, we found this charming from maritime Canada and eventual of the Romany people in their of fl ute, clarinet, violin, cello and piano. Serbian song that starts with children settling in Louisiana. This song, thousand-year migration from India, The arrangement is by Marshall Barron. and ends with the full chorus, band and featuring the sparkling accordion of we opened with this rollicking brass in an exuberant dance. Tom Pixton as well as Josée Vachon’s traditional Serbian tune, popular 5. BELLS IN THE HIGH TOWER (1983) delightful singing, was composed across all Balkan nations. Revels Chorus, Libana (handbells) 9. THE HERN (1995) early in the 20th century by Albert Revels departed from its British Isles John Fleagle Larrieu and arranged for Revels and European roots to present an One of the more extraordinary by Megan Henderson. ambitious “Slavic” program. Here the moments in Revels history is this solo by the late John Fleagle. Here he 11. ARIA DI FIRENZE (2017) 14. ARISE AND HAIL THE JOYFUL DAY 16. YAQUI DEER DANCE (1994) 21. TRAVELLER’S PRAYER (1991) Nathaniel Cox, Simon Martyn-Ellis (2008) Huehuetl Revels Chorus Our Venetian-themed Revels Revels Chorus, Mellstock Band 17. HANEROT HALELU (1991) The late English singer, guitarist and envisioned Venice as the crossroads of We based this show on Thomas Voice of the Turtle songwriter John Renbourn wrote this many cultural influences. This homage Hardy’s novel Under the Greenwood 18. WALI WALI ALLA DALLAWAOUNA paean to the moon in the 1990s, to Florence is by the Roman-Florentine Tr e e , which mentions this carol. The (2011) inspired by Celtic poetry he found in composer Emilio de’ Cavalieri. It is English ensemble The Mellstock Band Sharq Trio the collection Carmina Gadelica. A arranged here by Nathaniel Cox, who is a leading exponent of “west gallery” Here are three guest artists whose small chorus sang it from the choir loft embellishes the melody on the music-making, or “country psalmody,” music bears striking similarities in spite high above the Sanders Theatre stage cornetto, a wooden instrument with a featuring eclectic mixes of instruments of their very different roots. The Yaqui in this production. The last verse words small trumpet-like mouthpiece. and voices, which Hardy describes in Deer Dance is a hunting ritual from the are by Patrick Swanson. great detail in this and other works. Mayan culture. In our Meso-American 12. NOW CHRISTMAS IS COMEN (1991) 22. WHAT YOU GONNA CALL THAT show it segued smoothly into the Revels Chorus, Cambridge Symphonic 15. THE CHERRY TREE CAROL (2000) PRETTY LITTLE BABY? (2009) Brass Ensemble Sheila Kay Adams “Abbots Bromley Horn Dance,” Janice Allen another deer hunting ritual dance. Many Revels productions include a The enchanting and apocryphal legend Revels has staged an American- “Hanerot Halalu,” from our first wassail such as this, bringing good luck of Joseph reacting badly to news of his themed show several times, and Janice “Celestial Fools” show, is a Moroccan to the household. This one is from wife’s pregnancy, and the unborn appears in most of them. Here she Sephardic version of the traditional Cornwall, England, and is arranged for babe’s command to the cherry tree to offers an African-American spiritual in Hebrew liturgy for the Chanuka brass by George Emlen. bring its fruit to within her reach, all its unadorned beauty and power. candle-lighting ceremony. “Wali Wali reaches back into medieval England Alla Dallawaouna,” from another 13. MOJA DIRIDIKA (2007) and possibly to the Middle East before 23. GOLDEN YARN/BOIL THEM incarnation of the “Celestial Fools” Revels Chorus, Revels Balkan Band that. Sheila Kay learned this version, CABBAGE DOWN (1990) theme, is a famous Lebanese and This fast-paced dialogue between the which uses an tune, from a Dmitri Pokrovsky Ensemble, Revels String Palestinian song that evokes the dabke Band men and women singers is a fun singer in her native North Carolina. In stomping line dance. tongue-twister from Croatia, giving us our American production, the story is Arguably the most thrilling collabora- tion in all of Revels’ history, this Russian plenty of opportunity for dancing and reenacted by two children as the holy 19. BRASS PRELUDE (1992) and American show featured the late general merriment in this Balkan show. couple and a “living” cherry tree. Cambridge Symphonic Brass Ensemble musicologist and performer Dmitri Yaqui Deer Dance George Emlen wrote this overture for Pokrovsky and his troupe of Russian a Celtic-themed production using singers and dancers. The show melodies from the show. dramatized a model for cooperation 20. IRISH STEP DANCE (2012) between two formerly hostile countries Revels Irish Band by learning each other’s music, as evidenced here in a medley of two O’Shea-Chaplin Academy of Irish Dance high-energy songs. This Irish immigration show showcased an impressive dance troupe as well as a superb band on the reels “Sean Reid’s” and “Tilly Finn’s.” 29. HODIE CHRISTUS NATUS EST (1993) Revels Chorus, Revels Handbells, Cambridge Symphonic Brass Ensemble This splendid anthem closed our original Northlands show. It was composed by the Dutch organist and composer Jan Pieterszoon Sweelinck in the early 1600s and is a staple of the choral repertoire.

30. AULD LANG SYNE (2003) Revels Chorus, Revels Children, Cambridge The Mellstock Band Symphonic Brass Ensemble, Sanders Theatre Audience 32. LORD OF THE DANCE (1993) 24. SACRED THRONE (2000) 26. REY A QUIEN REYES ADORAN We ended our Scottish show with this The Revels Chorus (2013) John Langstaff, Pinewoods Morris Men, classic song, first in an older version Revels Chorus, Revels Children, Cambridge No hymn exemplifies the power of Salomé Sandoval, David Coffin, Revels supposedly preferred by Robert Burns, Chorus, Revels Band, Cambridge Symphonic Symphonic Brass Ensemble, Sanders “shape-note” singing better than this the composer of record, then Brass Ensemble Theatre Audience one. This purely American genre is transitioning into the version that is Of all Revels traditions, this one characterized by rugged a capella The dramatic scene that accompanied familiar to all. During the final refrain, this 16th-century Spanish villancico remains the best known. Jack harmonies and counterpoint and an the cast and audience crossed arms Langstaff and his daughter Carol uncultivated vocal style. The term involved an outsize incense burner and joined hands in a traditional swinging back and forth across the adopted the song for their very first “shape-note” refers to the technique of gesture of friendship that accompanies Christmas Revels in 1971. The English assigning different shapes to printed stage. By doing so we were reenacting the song. a ritual from the cathedral at Santiago poet and songwriter Sydney Carter notes to assist in learning to read had recently grafted new words onto de Compostela, the destination 31. THE SHORTEST DAY (1991) music. Here a traditional Scottish the American Shaker tune “Simple melody is married to words by John for pilgrims following the Camino John Langstaff de Compostela across northern Spain. Gifts.” To accompany the song, Carol Kent, from the early 19th century. This poem was written in 1977 by created a dance from English morris author and longtime Revels script 27. TONATSAR DJAN (2002) traditions with the help of Martin 25. ANY OLD IRON (1998) writer Susan Cooper specifically for 28. KING HEROD AND THE COCK Graetz and Jonathan Morse. The David Jones, Revels Chorus, Revels Parlour Revels and even more specifically in (2005) audience not only sang on the refrains Orchestra, Cambridge Symphonic Brass the “voice” of Jack Langstaff. It quickly Ensemble Revels Children, Revels Early Instrument but also filed out of the theater, hand Ensemble became a staple of every Christmas in hand, in serpentine lines through the The British music hall was a hugely Revels in Cambridge and in all Revels We pair a traditional Armenian lobby. And they have done so ever popular form of entertainment during companies across the country. the Victorian era, and no Victorian- song from our since. This track offers a sample of themed Revels would be complete Armenian/Georgian show with an Jack’s arresting and inspiring voice, and without two or three examples. This English ballad concerning a miracle at demonstrates the artistry that informed one was composed early in the 20th the table of Herod, from a medieval everything Jack sang. century and made famous by the Revels production. singer Harry Champion. DISC 2 8. (2004) 12. TARONI MEGHEDINER (2002) Danse Cadence Arev Ensemble 1. BRASS PRELUDE (1988) 4. ALILO FROM IMERTI (2002) In a show that celebrated our 13. ŽENSKO ČAMČE (2007) Cambridge Symphonic Brass Ensemble Revels Chorus Québecois neighbors, we were blessed Libana, Revels Balkan Band This overture by George Emlen blends From our Armenian-Georgian show. with the presence of a superb music 14. IMPROVISATION (1990) two carols that appear later in the Alilos are Christmas songs found and dance ensemble. Here they play Stan Strickland “Storybook” Revels, in which a throughout Georgia, traditionally sung one of the most popular traditional Here are three pieces on reed magician’s assistant goes on a quest, by bands of singers who bring dances in Québec, known for its lively instruments from three very diff erent ostensibly to recover a lost puppet, greetings and blessings to village step dancing and 3/2 meter. Revels shows. The fi rst melody, from and discovers himself along the way. families in return for sweets and drinks. 9. SEMPRE ME RIDE STA (2017) the Taron region of Armenia, is played 2. GOD REST YE MERRY, GENTLEMEN 5. LES VEUVES DE LA COULÉE (2016) Revels Chorus on the duduk, a shepherd’s dou- ble-reed pipe made of apricot wood (2008) Jamie Jaff e, Revels Cajun Band The Belgian-born Adrian Willaert and associated with traditional Charles Spicer, The Mellstock Band, Revels This Cajun two-step, arranged by became the quintessential Venetian Chorus, Revels Handbells, Revels Children, Armenian music. The second features David Greely (who played fi ddle for us composer in the early 16th century, Cambridge Symphonic Brass Ensemble two clarinets in a sensuous dance from in this Acadian-Cajun show), was making him a natural for our Venetian- Macedonia. Finally we hear the Our visiting musicians from England, learned from Dewey Balfa, one of the themed show. This playful madrigal soprano saxophone in a free-form The Mellstock Band, give this Balfa brothers who inspired a revival of shows the lighter side of a prodigious improvisation that evokes the ubiquitous carol an unusual twist in this Cajun music and culture in Louisiana and infl uential composer. American jazz idiom. version, with Charles Spicer singing the and around the world. solo, in our “Thomas Hardy” show. 10. SHADRACH (2000) 15. ÜZKÜDAR’A GIDER IKEN (2017) We then segue into the familiar version, 6. BABA MI POJDE MORE NA PAZARO Silver Leaf Gospel Singers Sophie Michaux, Lysander Jaff e, Gideon in an arrangement by Jerome Epstein. (2007) Our guest artists for this American- Crevoshay, Revels Venetian Ensemble, 7. SHOO FLY (2000) themed show included this venerable Revels Chorus 3. HYMN OF THE ANCIENT GALICIAN Revels Children KINGDOM (2013) ensemble from Boston. Here they sing Portraying Venice as a cultural Revels Galician Band Children’s songs and games are often the story from the Book of Daniel of crossroads, we included this traditional presented without instrumental the famous trio (along with Meshach This stirring march, played on the Turkish tune. Its three verses are not support, evoking a realistic sense of and Abednego) who were saved from Galician bagpipes known as gaitas, only in three diff erent languages children actually playing and singing the fi ery furnace to which they had is like a second national anthem (Turkish, Ladino and Arabic), but also together. Here are two examples, one been condemned by King for many Galicians. on widely divergent topics. from Bulgaria about bringing various Nebuchadnezzar, king of Babylon. animals home from the market, the 16. PRETTY HOME (2019) other a familiar Appalachian “play- 11. VILLEMANN OG MAGNHILD (2018) Haley Fisher, Revels Women’s Chorus Revels Chorus and Drums party” game. Dancing was considered 17. I WILL BOW AND BE SIMPLE (1990) a “wicked sport” by most religious sects The tune of this 14th-century heroic Revels Chorus, Revels String Band in early American settlements in the Norse ballad, which we used in a In every American-themed production, South and Midwest, but these Nordic production, is based on the Revels has presented Shaker music and unaccompanied “games” enjoyed the 12th-century troubadour song dance in various formats. The fi rst of church’s blessing. “Kalenda Maya.” The arrangement is these two songs represents the more by Megan Henderson. historically accurate a capella mode of Shaker singing. The second, in an 23. DONA NOBIS PACEM (1991) Revels in which animal dancers 30. IN DULCI JUBILO (2005) arrangement for chorus and band by Perhaps the most indispensible and cavorted wildly (their whoops may be Revels Chorus, Revels Children, Cambridge Marlene Montgomery, saw our Russian beloved tradition in The Christmas heard toward the end). It resurfaced Symphonic Brass Ensemble, Revels Audience guests joining us in a “bowing” dance Revels is the singing of this round for in a much later Acadian-Cajun The most thrilling Revels moments are choreographed by Carol Langstaff. peace by cast and audience, divided production, in a version popularized by arguably when our audiences join us into three parts. It is led here by Revels Cajun fiddler-singer Dewey Balfa, where on stirring carols, such as this famous 18. LE CHEVALIER DU GUET (1996) founder Jack Langstaff, who brings the children acted out the animal parts. “macaronic” (combining Latin with a 19. LASST UNS FROH AND MUNTER audience to a hushed pianissimo. He vernacular language) carol from SEIN (2006) always made a point of saying that, 27. MORRIS STICK DANCE (2005) 14th-century Germany. The brass 20. DOBRI GOSTI, KOLEDARI (2007) paradoxically, the more people singing, 28. MORRIS SWORD DANCE (1985) arrangement here is by George Emlen. Revels Children the softer the sound possible. 29. NORTHWEST CLOG MORRIS Here are children’s songs from France, DANCE (1992) 31. AMAZING GRACE (2000) Germany and Bulgaria whose subject 24. CHILDREN, GO WHERE I SEND Pinewoods Morris Men, Cambridge Sheila Kay Adams, Janice Allen, Silver Leaf Gospel Singers, Revels Chorus, Revels matter varies (choosing a husband, THEE (1990, 2009, 2019) Symphonic Brass Ensemble Children, Revels Audience anticipating the arrival of St. Nicholas, Janice Allen, Carolyn Saxon, Revels Jack Langstaff was introduced to Choruses, Revels Children, Revels String traditional English morris and sword Possibly the best known and best loved bestowing blessings) but which all Bands, Revels Audiences share the simple, sparsely-accompa- dancing as a young and impressionable of all hymns around the English- We have included this iconic “count- nied style of children’s singing that has youth, and he never lost his passion for speaking world, we found it the perfect ing” song in every one of our long been a Revels trademark. it. The Pinewoods Morris Men, based way to conclude an American-themed American-themed shows (and even in in Boston, have been part of virtually show, where we could highlight our 21. AIN’T GOT TIME TO STOP AND our first, in 1971, which was medie- every Christmas Revels since its very guest artists one by one. And again it TARRY (2019) val-themed!), always with barefoot first days. Here are three of the various is our Sanders Theatre audience, Squirrel Butter, Tui teenage dancers in exuberant, fluid forms of the dance that suggest the singing a capella with us, that lifts this Revels brought these two groups motion. First we hear Janice, with help scope of the genre. The first, from the moment from a mere sing-along together for the first time with this from saxophonist Stan Strickland. village of Upton-on-Severn, is opportunity into a powerful, transcen- old-time gospel song, in an American- Then we transition to a later Janice characterized by clashing sticks and dent community experience. themed production. version, this time with fiddler Eden jangling bells on the dancers’ calves. MacAdam-Somer providing the licks. 32. THE SUSSEX MUMMERS’ CAROL The second, from Northumberland, is (1988) 22. TWO POLONÄS FROM SEXDREGA Finally we hear Carolyn in a recent a “rapper” dance featuring two-han- (2018) incarnation of the song, with pianist Revels Chorus, Revels Children, Cambridge dled “swords” and fast footwork in tight Symphonic Brass Ensemble, Revels Audience Revels Nordic String Band Issa A. Bibbins giving the song a formations. Tom Kruskal’s nimble We end as we began, with Jack These two tunes, from a Nordic-themed contemporary gospel feel. concertina playing is especially Langstaff’s legendary “Sing!,” this time show, are from the village of Sexdrega impressive. Finally, our brass ensemble 25. J’AI VU LE LOUP (1985) for the annual blessing that closes in Sweden. The band consists of the accompanies a street processional Revels Men’s Chorus, Revels Early every Christmas Revels. Jack’s deep Swedish nyckelharpa (keyed fiddle) from Lancashire, where dancers are Instruments conviction was that everyone not only and Norwegian Hardanger fiddle sporting clogs and stylish derby hats. (employing four or five “sympathetic” 26. J’AI VU LE LOUP (2016) could sing but should, and his passion strings) along with the more familiar David Greely, Revels Children, Revels for getting people to sing together Cajun Band four-string fiddle and double bass. encouraged generations of Revels This 14th-century chanson was used in audiences to find their own voices. an early French medieval Christmas CREDITS & THANKS

GEORGE EMLEN, REVELS MUSIC DIRECTOR 1984-2016 MEGAN HENDERSON, REVELS MUSIC DIRECTOR 2016-2020 BILL WINN, AUDIO ENGINEER JACK LANGSTAFF: HONORING OUR FOUNDER

hanks to Michael Kolowich, whose Director Kate Stookey and PR evels founder John Meredith together as nothing else can. That Tdigital video archive of all Revels and Marketing Director Alan Casso; RLangstaff , known to everyone as conviction was the foundational shows greatly facilitated our work; to and to the countless performers, Jack, was fi rst and always a musician. wellspring of The Christmas Revels. Barry Megquier and Berred Ouelette, professional and amateur, whose He loved theater, he loved dance, and What distinguished this holiday audio engineers for Revels shows in voices and instruments are heard he loved poetry, but music ran through performance from all others was its earlier years; to our friends at Harvard on this recording. Guest artists and his veins. Our CD, with its abundance unpredictable mélange of classical and University’s Sanders Theatre, where their ensembles are listed on our of musical riches, is a tribute to Jack’s folk music, of high art and low art, the original recordings were made; to website at Revels.org/linernotes. extraordinary vision, one that dared to in a joyous celebration. It featured the Revels staff , particularly Executive mix many diff erent musical styles and adult and children’s choruses drawn genres into a one-of-a-kind perfor- from the community, vocal soloists, mance celebration. instrumentalists, a splendid brass When Revels offi cially launched in ensemble, dancers, actors, storytellers, 1971 at Harvard University’s Sanders and that most vital of ingredients: ADDITIONAL CREDITS Theatre, it was no less than a audience participation. Photographers: Paul Buckley, Eric Levenson, Roger Ide, Sam Sweezy confl uence of the many tributaries in With this recording, we celebrate CD Packaging Design: Springtide Studio his musical life. His family’s Christmas 50 years of Revels in the year that caroling parties, his time as a choirboy, would have also marked Jack’s 100th Recorded live at Sanders Theatre, Harvard University, Cambridge, MA his exposure to the beauty and birthday. There could be no better Revels® is a registered trademark of Revels, Inc. Revels Records is a division of Revels, Inc, simplicity of unaccompanied folk time to stop and pay tribute to the a non-profi t, tax-exempt organization. songs, his formal training in the man whose formidable musical talent, ℗ and © 2020 Revels, Inc. classical vocal repertoire, his career as visionary ideas, boundless energy, a touring vocal artist, his recordings, and love of people—especially people songbooks, and teaching—all these singing together—brought us to this experiences eventually converged on historic moment. It would surely the Big Idea that he called Revels. delight Jack to hear his life’s journey Jack’s remarkable vision was fueled represented here in all its variety by his passionate conviction that music and richness. has the power to bring people Happy Birthday, Jack.