Washington Revels Presents

December 5-13, 2015 GW Lisner Auditorium • Washington, DC Roberta Gasbarre, artistic & stage director Elizabeth Anne Fulford, music director Colin K. Bills, production manager The Potomac School congratulates the cast and crew of The Revels and wishes you a joyful holiday season!

www.potomacschool.org presents

WASHINGTON REVELS COMPANY Solstice Singers Yuletide Teens Holly & Ivy Children Royal Brass

WITH GUEST ARTISTS Piffaro, the Renaissance Band Shane Odom, The King Gwen Grastorf, The Woodland Queen Mark Jaster, The King’s Fool Sabrina Mandell, The Queen’s Fool

Roberta Gasbarre Artistic and Stage Director Elizabeth Anne Fulford Music Director Colin K. Bills Production Manager December 2015 About Washington Revels

What is Washington Revels? A nonprofit cultural institution in the Greater Washington area for over 30 years, Washington Revels creates community celebrations and other events based on traditional music, dance, and drama, and from different times and cultures. Revels programs involve adults and children, professionals and nonprofessionals, and opportunities for audience participation. By engaging audiences as participants in traditional material, Revels seeks to provide a sense of the comfort and the joy that people can obtain from community celebrations that reflect universal themes.

Our organization. We are one of ten independent Revels organizations in the U.S., each with its own board, office and artistic staff, and finances. An umbrella organization, Revels, Inc., in Watertown, Massachusetts, maintains artistic standards and provides or approves scripts and music for Christmas Revels productions.

Our activities. The Christmas Revels is by far our biggest production, but we now have many other activities throughout the year, including informal celebrations, concerts, and other events. We have five performing ensembles, as well as a growing education program. Over the past year, Washington Revels presented 55 separate programs. Those 55 programs consisted of 125 discrete performances and workshops.

What is Revels-really? At one level, Revels is a vehicle for events that are fun and that also provide a sense of community and shared tradition. At a deeper level, Revels is about the importance of community celebration for all people. This deeper level is most evident in our seasonal celebrations, and in particular our celebrations of the Winter Solstice, which address the circle of the seasons and the cycle of life. Winter is followed by spring; dark is followed by light; individuals die, but others are born. Throughout, in times of sorrow and times of joy, humankind finds support in coming together in music and song.

Exploring these themes through the prisms of different cultures, Revels performances not only illustrate specific customs that address universal human hopes and fears, but create “real-time” celebrations in which cast, crew, and audience members experience our common humanity. The essential message, and we hope the experience, is that all of us—adults, children, people from all walks of life—are part of a community that stretches across national and cultural boundaries and down through the ages.

531 Dale Drive, Silver Spring, MD 20910 ◆ 301.587.3835 ◆ revelsdc.org For more information on Revels events and activities or to sign up for our monthly e-newsletter, visit our website.

It is expressly forbidden to use photographic or sound equipment in the auditorium. Unauthorized persons found using such equipment in the theater will be asked to leave. Revels® and The Christmas Revels® are registered service marks of Revels, Inc. of Watertown, Massachusetts, and are used by permission.

Artistic Director’s Note

Our Christmas Revels in Washington are never the same. Some shows are wholly new, featuring a culture we have never celebrated. Others re-visit cultures we have previously explored, but the storyline and music are changed.

This show differs in yet another way: it doesn’t center around any particular culture at all. Its theme is medieval; so it was in our very first Christmas Revels in 1983 and in several productions since. But the setting was always indoors—in the great halls of an English castle or a treasure room in 10th-century Andalusia, in Spain. This year finds us outdoors in nature because the focus of the show is the natural world itself, and humanity’s relationship to it.

I’ve wanted for a long time to do a Revels which speaks to humanity’s relationship with nature. The elemental forces of earth and nature impact our lives every day, though our direct connections to them seem frailer and more distant in our modern world. For millennia, people lived in close contact with nature and experienced directly, on a daily basis, both its beneficence and its destructiveness. As civilization has become more complex, we have often forgot this primary connection to nature. And yet, echoes of the familial relationship between man and nature still rise in us during this season of shorter days and colder weather.

This year’s Revels returns us to this relationship. We begin with a medieval King, bound to his court and his kingdom. As his castle and his village anticipate the Winter Solstice, he gathers them to a sheltered place abutting castle, forest, and woods. He calls both his courtiers and villagers to a celebration, a Revels, in this space. This year, he also extends an invitation to an unfamiliar court, that of a woodland queen, enigmatic and lovely.

As she arrives, along with all manner of forest inhabitants, an uninvited guest follows close behind. Who is the rider, on a ghostly steed, bringing winds and snow in his wake? What can we learn from the turning of the year?

With the help of two fools—foolish and yet wise in the classic manner of Revels fools—who show the way through the death of the old year and the beginning of the new, a King and his people rediscover their relationship to nature and the seasons.

— Roberta Gasbarre

Washington Revels thanks world-renowned fantasy illustrator Charles Vess for the painting he created for our 2015 Christmas Revels, which graces all of our promotional material. Just a few highlights from Charles’ storied career: his award-winning work has appeared in Marvel and DC comic books; he has provided illustrations for fantasy writers from around the world, including major collaborations with Neil Gaiman, Charles de Lint, Terry Windling and Ellen Datlow; he is currently working on a project with Ursula Le Guin. Washington Revels gratefully acknowledges the beautiful image Charles made on our behalf!

5 The Middle Ages, Music, and Magic

“Th ere is music of Heaven in all things, and we have forgotten how to hear it until we sing.” — Hildegard von Bingen (1098–1179)

Despite an oft en brutal reality, the Middle Ages are oft en imagined in art and literature as a time of innocence, awe, and wonder. For this reason, perhaps, the medieval period is the setting for so many fantasies, with winged faeries, princesses in fl owing gowns, kings, and fools. Th e sublime beauty of the Renaissance is oft en confl ated with these medieval motifs in our popular imagination, creating a fantastical world of beauty, joy, hope, and wonder. As exemplifi ed in this show, much of the music from the Middle Ages and Renaissance reinforces these perceptions.

But developments in these periods also laid the foundation for Western music. Because the Church dominated medieval life, most of the surviving musical repertoire from the period is sacred. Around 800 CE, the earliest form of musical notation was born in monasteries, used to record chant melodies to be sung during worship. During the early 12th century, visionary composers like the abbess Hildegard von Bingen recorded their liturgical music using an early form of musical notation called Hufnagelscrift (a precursor to standard plainchant notation). “Stella splendens in monte” and “O virgo splendens” both come from a text dating from the late 14th century—the Llibre Vermell de Montserrat (the “Red Book of Montserrat”)—a manuscript that would not have existed without those monumental precursors. Most of this music is monodic, consisting of a single melody line.

While there are countless references to strong secular musical traditions throughout Europe since the beginning of recorded history, much of this repertoire has been lost because it was never written down. As the practice of musical notation developed and spread throughout Europe, however, secular musicians began to notate their music for posterity. Th e incredibly prolifi c troubadours of southern France were quite diligent in notating their art. “Fortz chausa es” is but one example of the many troubadour songs that have survived. Goliards, another class of itinerant secular musicians roaming Europe in the Middle Ages, seldom wrote down their music; however, collections such as the give us a good idea of what their oft en profane Latin songs sounded like. Drinking songs like “Bache, bene venies” come from this important medieval manuscript.

Th e instrumental music you will hear, while sometimes medieval in origin, actually comes from the Renaissance, when much of the earlier instrumental music was fi nally notated. Th e Renaissance period also saw huge developments in polyphonic vocal music, in which there are two or more simultaneous lines of independent melody. Th is style is illustrated beautifully in William Byrd’s jubilant motet “Haec Dies.” Byrd creates musical

6 conversations between the voices as a melodic theme is presented and then repeated throughout the six vocal parts, building excitement and pushing the idea of polyphony further forward.

But historical signifi cance is not our sole or even principal criterion for selecting music for Christmas Revels productions. More important than any historical narrative is how this music connects us to the past, the present, and each other. Music speaks to our shared love of community and connection, of joy and revelry with friends new and old. Perhaps more than anything, music connects us all through a universal mysticism to the magic of the season. Th is sense of wonder has warmed hearts through the centuries, across the blurred boundaries between the real world and fantasy, through the shortest days of the year. It is our gift to you.

7

Revels and the Natural World

In one of Washington Revels’ most-performed songs, “Country Life,” we sing: “I like to rise when the sun she rises, early in the morning/I like to hear them small birds singing, merrily upon their laylums.” A laylum is probably a bit of fallow land—it doesn’t matter; it’s a place where birds sing. Cheerful and bright, the song continues through the agricultural year. “In spring we sow, at the harvest mow; and that is how the seasons ‘round they go.”

Much of what we do at Washington Revels is rooted in the seasons. Spring is the star of our May Revels. During the hot days of summer, we march and sing in local parades. In our aft er-school workshops, children explore how people down the ages have interpreted the seasons in music, dance and drama.

Today, as in every Christmas Revels, we celebrate the time beyond the harvest, the darkest time of the year. Winter is a simple fact of our planet. Earth spins at an angle, its axis tilted at 23.4 degrees. When the top of the planet points toward the sun, the northern hemisphere basks in its warmth. But when our end of the planet points out into the universe, we shiver and draw close together. “Th ey lighted candles in the winter trees/Th ey hung their homes with evergreen,” Susan Cooper wrote in her poem “Th e Shortest Day,” recited near the end of every Christmas Revels performance. Here at Lisner we gather each December, “singing, dancing, to drive the dark away.”

Usually, in the Christmas Revels, we visit one or more specifi c cultures and eras, exploring how people in diff erent places and times have celebrated the end of the old year and the beginning of the new. Nature is present primarily as a backdrop to rural life. Th is year, nature comes to the forefront, as we explore our relationship with the natural world. Th e time period is less defi ned than usual, over a thousand years ago, in the Middle Ages. Back then, it was hard to escape our planet’s physics. When the world was cold and dark, we were cold and dark. Nearly everyone had to think about plants and pests, and whether the chickens would stop laying or the river would fl ood.

Today, some of us are still closely tied to the physical world. Th ere’s a farmer in our chorus, for example. But many of us might think we can wall ourselves off from nature. Convenience stores will sell us eggs at any hour of the day or night. We have concrete, insulation, and elevators.

We are still part of this planet, though. Life feels diff erent when the sun sets so early. Our city can shut down for days if the wrong set of air masses happens to collide over us. As we come together today—whether on one of Washington’s oddly warm December days or whether the snow has begun—let’s sing together of peace and warmth, and look forward to when the sun comes back, the forsythia bloom, and the cherry trees let their clouds of petals fl y.

— Helen Fields

9

Revels, the Green Man, and the Winter Solstice

No Revels production concerning humanity’s relationship to nature would be complete if it ignored the Green Man, a regular in our May Revels but a newcomer to The Christmas Revels.

The earliest known Green Man image—a man’s face with leaves or other vegetation surrounding or growing from it—traces back over two millennia to Rome, around 400 BCE. The image clearly symbolizes the close relationship between people and nature, and some regard that as its true meaning, but there are other interpretations. For example, some regard the Green Man as god-like, while others consider him a guardian of the forest with symbolic (or perhaps greater) powers. This disparity of interpretations may reflect the fact that, unlike other symbolic figures (Dionysus, for example), the Green Man was not based on or defined as any real or fictional figure; he has no “back story” that guides or circumscribes what people may make of him.

Whatever its pagan origins, the Green Man’s image began appearing in Christian churches during the 5th century CE. This development may have reflected Church efforts to attract converts by permitting the use of “safe” traditional symbols in a Christian context. In any event, the Church’s use of these images increased over the centuries, hit its heyday from 1100–1400, and helped keep alive the idea of the Green Man.

Around 1500 the Green Man’s image in England started to take on an additional dimension. Men called “savages” or “wild men” began attending festivals dressed in green and wearing leaves on their body and garlands in their shaggy hair and beards. This is not the current image of the Green Man, but all aspects of May Day before the Victorian era were very wild, with heavy drinking, riotous dancing, and other licentious behavior. By 1775 the shaggy figures of 1500 had evolved into “Jack-in-the-Green,” an obvious ancestor of the Green Man in our May Revels.

This production’s Green Man is not associated with any time period or location, but he has what may be the Green Man’s most widely accepted and significant attribute—an association with Spring and thus with the cycle of life and the circle of the seasons, two near-universal symbols of humanity’s essential condition. It is no coincidence that the message of this symbol of Spring also reflects that of all Revels celebrations of the winter solstice. Living things die; the seasons turn; and we come together in community to celebrate the life that continues. — Terry Winslow

11 Introduction Our medieval village in this year’s Revels has an uncertain time and place (perhaps even fantastical, given its “woodland” neighbors). The dress and much of the music suggest the late Middle Ages, ranging from the 12th to the 15th centuries. The place could be England; it could also be elsewhere in Europe since the music is in multiple languages, and dress styles were largely similar across northern Europe during late medieval times. Whatever the year and wherever the place, it is the day of the Winter Solstice.

The village has three spheres: the King’s court, well-traveled and accomplished in book learning; the common villagers who make everything work; and the woodland inhabitants of the nearby forest, ruled by their Queen.

Part I 1. SING AND REJOICE

FULL COMPANY Greg Lewis, song leader ALL SING:

12 2. (In Sweet Jubilation)

The melody of this popular carol dates from 14th-century . The original words, in German and Latin, are attributed to the German mystic Heinrich Suso (ca. 1295–1366), who is said to have had a vision in which angels sang these words as he joined them in a dance of worship. The brass arrangement is by Benno Fritz of our brass ensemble and the English paraphrase and bell parts are by Elizabeth Fulford.

FULL COMPANY Greg Lewis, song leader ROYAL BRASS SOLSTICE BELLS ALL SING:

3. DAWN ON THE SHORTEST DAY OF THE YEAR

As villagers gather to prepare the space for this evening’s celebration of the Winter Solstice, two sing a 12th-century Middle English song in two parts—“Foweles in the Frith” (Birds in the Woodland). There is excitement in the air because this year’s celebration is special. Warm weather has produced a rich harvest; hunting has been good; and peace reigns. Also, the King has invited the Queen of the Woodlands and her subjects to leave their homes in the forest and join in the celebration. The food and drink begin to arrive, and the King’s fool, a village favorite, plays one of his usual games with the constable.

Mark Jaster, King’s Fool Christina Zola Peck and Mike Platt, singers

13 4. GREINER, ZANNER (Whiner, grumbler)

This lively instrumental work comes from the German composer Heinrich Finck (1444–1527). The arrangement here is by Robert Posten, director emeritus of our brass ensemble.

ROYAL BRASS

5. ROYAL ENTRANCE OF THE KING

As the King arrives, guests welcome him singing “Stella splendens in monte” (Splendid star in the mountain), a medieval song taken from the Llibre Vermell de Montserrat (the Catalonian “Red Book of Montserrat”). This late-14th-century manuscript, one of the earliest examples of notated music, includes a series of devotional songs from the monastery located in Montserrat, just outside modern-day Barcelona.

Shane Odom, King SOLSTICE SINGERS ROYAL BRASS PIFFARO: THE RENAISSANCE BAND

6. THE KING’S DANCE

In honor of our king we dance “Nonesuch,” a 17th-century English country dance, to the tune À la mode de France.

SOLSTICE DANCERS PIFFARO, THE RENAISSANCE BAND

7. RESONEMUS LAUDIBUS (Let the Song of Praise Resound)

First appearing in the Moosburg Gradual of 1360, this popular German is associated with the medieval custom of cradle-rocking, in which a cradle was placed before the altar and rocked to the singing of Wiegenlieder (cradle songs) at Christmas services. Later it also became associated with dancing—large Krippen (nativity scenes) were erected in churches and young boys would leap around them, singing and clapping their hands.

HOLLY & IVY CHILDREN PIFFARO, THE RENAISSANCE BAND

14 8. ROYAL ENTRANCE OF THE WOODLAND QUEEN

To celebrate the arrival of our Queen, we sing “Gloria ’n cielo e pace ’n terra” (Glory in heaven and peace on earth). This lauda—a genre of non-liturgical sacred music dating back to the 12th century—is found in the 14th-century Laudario from the Umbrian city of Cortona in Northern Italy. Like many other laude of the period, this one is in the then-spoken “Tuscan dialect,” a linguistic ancestor of modern-day Italian.

Gwen Grastorf, Woodland Queen Sabrina Mandell, Queen’s Fool Liza Lester, Eva Jannotta, Alan Peel, Lea Mulder, and David Giusti, singers SOLSTICE SINGERS PIFFARO, THE RENAISSANCE BAND

9. THE QUEEN’S DANCE

“Petit Vriens” is a 15th-century Italian ballo (tune for dancing) that comes from the manuscript Paris, Bibliothèque Nationale, f. Ital. 476. The tune is by Giovanni Ambrosio, and the choreography appears in a treatise by Domenico da Piacenza, one of the three masters of Italian dance during the Renaissance.

SOLSTICE DANCERS PIFFARO, THE RENAISSANCE BAND

10. IVY, CHEFE OF TREIS (Ivy, Chief of Trees)

“Ivy, chefe of treis she is, veni coronaberis,” begins this carol in praise of the ivy tree. As a musical form, the carol originates in 15th-century England. Like all carols, it contains verses and a burden or “refrain.” The metaphor of holly and ivy is a common theme in English Christmas carols, with men represented by holly and women represented by ivy in a battle for rank. The description of ivy as a “tree” is also typical of the period. This arrangement is by Grant Herreid.

Gwen Grastorf, Lucia LaNave, Zoe Alexandratos, singers SOLSTICE SINGERS PIFFARO, THE RENAISSANCE BAND

15 11. BALLO AMOROSO

This anonymous 15th-century ballo comes from the Court in the Italian city of Ferrara.

PIFFARO, THE RENAISSANCE BAND

12. DECK THE HALL

A carol based on the Welsh song “Nos Galan” (New Year’s Night).

Greg Lewis, song leader ROYAL BRASS FULL COMPANY SOLSTICE BELLS ALL SING: Deck the hall with boughs of holly, Fa la la … Tis the season to be jolly, Fa la la … Don we now our gay apparel, Fa la la … Troll the ancient Yuletide carol, Fa la la …

See the blazing before us, Fa la la … Strike the harp and join the chorus. Fa la la … Follow me in merry measure, Fa la la … While I tell of Yuletide treasure, Fa la la …

Fast away the old year passes, Fa la la … Hail the new, ye lads and lasses, Fa la la … Sing we joyous, all together, Fa la la … Heedless of the wind and weather, Fa la la … 13. CHILDREN’S SONGS AND GAMES SUN TURNING (SOLSTICE CHANT) A traditional English street chant evoking the cycle of the seasons, “from Yule to Yule!” THERE WAS A PIG WENT OUT TO DIG Linking the Christmas season with the cycle of planting and harvesting, this song is an old agrarian mummers’ carol from Bedfordshire.

HOLLY & IVY CHILDREN PIFFARO, THE RENAISSANCE BAND

16 14. GOWER

Every good holiday calls for a good wassail, and our partygoers are prepared with both ale and song. Their wassail comes from the Gower Peninsula in Wales and was collected from the great Welsh folk singer Philip Tanner. Its words echo those of other , which are sung by waits who make their merry midwinter way from house to house to “bring in the luck,” singing and expecting refreshment. The final verse has unusual poetic imagery, added by some Welsh singer with more regard for his rhymes than his thirst. The arrangement, adapted by Elizabeth Fulford, was originally composed by Jerry Epstein (1941-2015), longtime music director of New York Revels. The brass arrangement is by Benno Fritz.

SOLSTICE SINGERS and BELLS ROYAL BRASS

15. BACHE, BENE VENIES (Welcome Bacchus)

This secular medieval song is sung to Bacchus, the Roman god of wine, about the joys of celebration and community. The text comes to us from the Carmina Burana, a German collection of secular poetry written in Latin, which is most famously set to music by the modern composer Carl Orff (1895–1982). Since the poems probably come from the tradition of wandering minstrels (goliards), it is likely that the songs were sung for centuries before they were notated in the 13th century. Like many goliard songs, those in the Carmina Burana are secular and often profane. The English verses here are by Elizabeth Fulford.

Will Wurzel, singer SOLSTICE SINGERS PIFFARO, THE RENAISSANCE BAND

16.

The title “Lord of Misrule” was given to the low-born person who was selected to preside over medieval England’s most raucous feast day, the “Feast of Fools.” Like its Roman antecedent, Saturnalia, this celebration took place in late December and created a topsy-turvy world in which normal social roles were reversed, with masters waiting on their servants. As we search for our Lord or Lady of Misrule, you will hear “Si j’ay perdu mon amy” by the Franco-Flemish composer Josquin des Prez (1450– 1521). The arrangement is by Robert Birch of our brass ensemble.

ROYAL BRASS

17 17. THE BOAR’S HEAD CAROL

This feasting carol has been sung since the 17th century at Queen’s College, Oxford while the celebrated dish is borne into the dining hall. The words of the refrain are Caput apri defero, reddens laudes Domino, meaning “The boar’s head I bring, giving praises to God.”

Joe Serene, Jane Bloodworth, and Jeff Ashford, singers SOLSTICE SINGERS ROYAL BRASS ALL SING REFRAIN:

18. LUX OPTATA CLARUIT

Hoc in hoc sollempnio, concinat hec concio (All sing the praises of your gifts, and you deserve them for eternity) says this medieval song, which was written to be performed in street processions as part of the celebration of the “Feast of Fools.”

SOLSTICE SINGERS PIFFARO, THE RENAISSANCE BAND

19. THE UNINVITED GUEST

In many epic stories, an unexpected visitor changes the course of the hero’s life, leading him on a quest into the unknown, where great teachings are imparted. So it is here as nature sends an extra guest who comes on the darkest night of the year. Underscoring this scene is “Fortz chausa es,” a planh (elegy) written in Provençal by the troubadour Gaucelm Faidit (fl. 1170–1205) lamenting the death of Richard Lion-Heart, who died in 1199 from an infected arrow wound he had received while examining the defenses of a castle his forces were besieging. The arrangement here is by Terrance Johns.

Mattias Lundberg and Michael Haycock, singers Patrick Hendren, Jason Noone, Darrow Sherman, puppeteers SOLSTICE SINGERS and BELLS

18 20. TRAVELLER’S PRAYER

During the latter half of the 1800s, amateur folklorist Alexander Carmichael (1832–1912) collected poems, prayers, invocations, hymns, and charms in the Gaelic-speaking regions of Scotland and published them under the title Carmina Gadelica. John Renbourn (1944– 2015), the contemporary English guitarist and composer, adapted and set to music this song to the moon from that book.

Zoe Alexandratos, Mattias Lundberg, and Flawn Williams, singers SOLSTICE SINGERS

21. LORD OF THE DANCE

We invite you to join us in this dance through the aisles and lobbies. Sydney Carter’s modern lyrics to the Shaker song “Simple Gifts” are here translated into dance using a compilation of traditional English Morris dance steps by Carol Langstaff, Martin Graetz, and Jonathan Morse.

Greg Lewis, singer FULL COMPANY ROYAL BRASS Crystal Bailey, Libby Chamberlin, Steven Roth, Guenevere Spilsbury, Gus Voorhees, Jim Voorhees, dancers (alternating) ALL SING 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.

Intermission

19 Part II 22. AVE MARIA (Hail Mary)

This glorious motet, arranged here for brass quintet by Robert Posten, comes from the first volume of William Byrd’s two-volume compilation of music for the major feasts on the Church’s calendar, the Gradualia, ac cantiones sacræ. Named a Gentleman of the Chapel Royal, William Byrd (1543–1622) enjoyed the patronage of Queen Elizabeth I, becoming such a favorite that in 1575 she granted him and his mentor, Thomas Tallis, exclusive license to print and publish music in England.

ROYAL BRASS

23. ABBOTS BROMLEY HORN DANCE

This dance, based on an ancient ritual for good luck in hunting the stag, is still danced every September in the English village of Abbots Bromley. The dancers are accompanied by traditional folk characters—the man/ woman, hobbyhorse, fool, and boy archer—who link it with the mumming traditions of Christmas.

Joan Kimball, recorder

24. THE WOODLAND QUEEN’S WINTER REIGN

Perhaps in order to hasten the arrival of spring, the Woodland Queen has called upon the women to take part in a ceremony honoring the spirit of Brigid of Ireland. Regarded by many as a pagan goddess, and honored by Christendom as Saint Brigid, she is considered by both to be a bringer of light, and therefore of Spring. The ceremony takes place around “holy wells,” which were associated with Brigid both before and after she became a saint. Pagans believed that the wells had special powers because they originated in the “Otherworld;” many Christians thought that they had healing power because saints had used them to baptize converts.

20 25. O RUBOR SANGUINIS (O Redness of Blood)

Under a brilliant winter moon, three women sing a piece written by Hildegard von Bingen (1098–1179), a hugely influential German abbess who also wrote major works on theology and natural history as well as poetry and plays. This song evokes an image of red blood flowing between Heaven and Earth: O redness of blood, who have flowed down from that height which divinity touched: you are the flower that the winter of the serpent’s breath never withered. During this song, the Queen’s fool leads the rest of the women towards the wells.

Maud Taber-Thomas, Katie Jarvis, and Eva Jannotta, singers SOLSTICE BELLS

26. O VIRGO SPLENDENS (O Splendid Virgin)

As the women circle the wells, the elemental forces of fire and water, the sound of the air, and the procession’s silent footsteps on frozen ground create a mystical effect. The chant the women sing, like “Stella Splendens” (Note 5), comes from the Llibre Vermell de Montserrat. It is notated as a single melody, with written instructions to sing it as a three-part canon. In canon, the voices all sing the same material, but start at different times. The text reflects Montserrat’s status as a popular pilgrimage destination.

SOLSTICE SINGERS

27. DANSE MACABRE (Dance of Death)

“Danse Macabre” began as a medieval allegory on the universality of death, symbolized by a figure representing death asking an often-faceless person to dance. In our version, created by Mark Jaster and Sabrina Mandell from an original conception by Geoff Hoyle of California Revels, the dance reflects two very different initial reactions to death: the fear of the King’s Fool, who lives among the nobles, as compared to the accepting—almost welcoming—reaction of the Queen’s fool, who has learned the truth of the allegory from living in the forest.

Mark Jaster, King’s Fool Sabrina Mandell, Queen’s Fool PIFFARO, THE RENAISSANCE BAND

21 28. MIRI IT IS (Merry it Is)

Our chorus of dancing snow drops, like the flowers they represent, are facing the cold to herald in the new year while also bemoaning the long, harsh winter they face until spring. Dating from the early 13th century, this is one of the earliest surviving English secular songs with notated music. Sung in early English, it can be loosely translated as Summer while it lasts is merry with the song of birds. But now the blast of the wind and foul weather is coming. Ei, Ei! How long is the night! And I, done so much wrong, sorrow and mourn and fast.

HOLLY & IVY CHILDREN PIFFARO, THE RENAISSANCE BAND

29. PLEASE TO SEE THE KING

Our King emerges in Green Man finery (see article on page 11), a harbinger of new life and a reminder that Spring always follows Winter. In joy, all respond by singing a traditional carol from Pembrokeshire, South Wales, commemorating the ritual hunting of the wren (the “king of all birds”) on St. Stephen’s Day, December 26. Its opening words, “Joy, health, love, and peace,” are a favorite Revels expression of good wishes.

HOLLY & IVY CHILDREN SOLSTICE SINGERS

30. ALLE PSALLITE

This 13th-century conductus is found in the Montpellier Codex. A conductus is a form of medieval polyphony (music with multiple melodies, producing harmony) where the tune is newly composed, as opposed to the medieval motet, which takes its melody from pre- existing chant. The rhythm heard here comes from a system of six patterns developed by musicians at the Notre Dame Cathedral in Paris—the earliest form of rhythmic notation found in western music. Before then, rhythms learned by rote were improvised or simply reflected natural speech patterns in the text.

SOLSTICE SINGERS and BELLS PIFFARO, THE RENAISSANCE BAND

22 31. DONA NOBIS PACEM

A traditional round in Latin: “Give us peace.”

Greg Lewis, song leader FULL COMPANY ALL SING:

32. GAUDETE! (Rejoice!)

This refrain of this jubilant song is from the Piae cantiones, published in 1582. The verses are derived from the Bohemian song “Ezechielis porta” and from a Czech folk carol in a new setting that matches the musical style of the refrain. California Revels music director Fred Goff wrote this new setting.

Eleanore Fox, Christopher Lewis, and Maud Taber-Thomas, singers SOLSTICE SINGERS PIFFARO, THE RENAISSANCE BAND ROYAL BRASS

33. DANCES FROM TERPSICHORE

Our musicians now play “Passemeze” and “La Volta” from Terpsichore, musarum aoniarum quinta (1612)—a collection of 312 instrumental dance tunes in four, five, and six parts that were written or arranged by the German Renaissance composer Michael Praetorius (1571– 1621). In Greek mythology Terpsichore, meaning “delight in dancing,” was one of the nine Muses and the goddess of dancing and choral song.

PIFFARO, THE RENAISSANCE BAND

23 34. THE

A traditional English “forfeit” carol (those who sang at the wrong time were expected to forfeit a candy, or a kiss, to their neighbor), arranged for brass and tympani by Kenneth Pulig for Revels in 1979.

Greg Lewis, song leader FULL COMPANY ROYAL BRASS ALL SING: On the [1st day] of Christmas my true love sent to me A partridge in a pear tree. [2nd day] Two turtledoves, [3rd day] Three French hens, [4th day] Four calling birds, [5th day] Five gold rings, [6th day] Six geese a-laying, [7th day] Seven swans a-swimming, [8th day] Eight maids a-milking, [9th day] Nine ladies dancing, [10th day] Ten lords a-leaping, [11th day] Eleven pipers piping, [12th day] Twelve drummers drumming, 35. VILLAGE DANCE

As the excitement builds, villagers dance “La Regina,” a very old dance whose movements have been “reconstructed” by experts using drawings or other available information. Our dance is choreographed to the Saltarello in C, a lively piece of music found in a late-14th- century manuscript from northern Italy.

SOLSTICE DANCERS PIFFARO, THE RENAISSANCE BAND

24 36. SUN GEORGE AND THE DRAGON

This hero-combat mummers’ play was created by Roberta Gasbarre after reviewing numerous plays from different parts of England. It has most of the usual characters, some with different names. Saint George is “Sun George”—presumably a reference to the “Sun King,” who was the hero in such plays before Saint George. And, of course, Sun George must die and come back to life, because otherwise spring—rebirth—would not come.

Alan Peel, Room Will Wurzel, Sabrina Mandell, Winter Knight Mattias Lundberg, Sun George Mark Jaster, Dragon Gwen Grastorf, Healer Isabel Riva-Clement, Child

37. HAEC DIES (This is the Day)

“This is the day which the Lord hath made: We will rejoice and be glad in it. Alleluia.” The six-part setting of this jubilant psalm text is by William Byrd from the third of his published collections of Cantiones sacrae (sacred songs).

SOLSTICE SINGERS ROYAL BRASS PIFFARO, THE RENAISSANCE BAND

38. THE SHORTEST DAY

This poem, written for Revels by Susan Cooper in 1977, has become a traditional part of Christmas Revels performances throughout the country.

25 39. SUSSEX MUMMERS’ CAROL

This carol was traditionally sung at the end of the mummers’ play in Horsham, Sussex, and has become the parting song in all performances of The Christmas Revels around the country. The brass transcription is by Brian Holmes; the descant and final verse harmonization is by Ralph Vaughan Williams.

Greg Lewis, song leader FULL COMPANY ROYAL BRASS ALL SING:

26 PERFORMERS Th e Players Abbie Desrosiers* Yuletide Teens Shane Odom, King Claudia Hastings Dulmage* Sylvie Ashford Gwen Grastorf, Jan Elicker+ Sarah Brodnax* Woodland Queen Helen Fields Ransom Cain* Mark Jaster, King’s Fool Eleanore Fox* Elspeth Dorr Sabrina Mandell, Diana Garibaldi* Aryn Geier* Queen’s Fool Nicole Gianuca Zephyr Handerson David Giusti* Anna Hosh Piff aro, Th e Richard Glassco* Katie Jarvis Renaissance Band Sarah Glassco * Patrick Kearney Joan Kimball, Artistic Alan Haeberle Lucia LaNave* Co-Director, shawm, dulcian, Michael Haycock* Mattias Lundberg recorder, douçaine, bagpipes Patrick Hendren Katey Noone* Robert Wiemken, Artistic Eva Jannotta* Rowyn Peel Co-Director, dulcian, Dick Kovar Darrow Sherman recorder, shawm, douçaine, Jim Lazar hurdy-gurdy Liza Lester* Holly & Ivy Adam Bregman, sackbut, slide Michael Lewallen* Children trumpet, recorder, percussion Christopher Lewis + Lilly Baker Christa Patton, harp, shawm, Greg Lewis Fiona Alexandra Bondarev bagpipe Susan Hall Lewis Eleanor Daken Charles Wines, shawm, Andrew M. Moore* Alexandra Davis dulcian, recorder, bagpipes Lea Mulder Lila Hutchins Celia A. Murphy Isabella Jackson Royal Brass Jason Noone Elizabeth Leca Robert Birch, trumpet Peter Noone Caleb Leonard Fred Marcellus, trumpet Alan Peel Raina Patterson Sharon Tiebert, French horn Lars Peterson Codruţ T. Pintea White Bryan Bourne, trombone Mike Platt* Nicolo Rasi-deMatties Benno Fritz, bass trombone Máiri Breen Rothman Walker Ritchey Don Spinelli, percussion Joe Serene Isabel Riva-Clement Maud Taber-Th omas Dunya Siddique Solstice Singers Grace VanderVeer Aidan Stanton-Brand Zoe Alexandratos* Flawn Williams Ava Marian Stebbins Amy Appleton* Diane Behrens Winslow Anya Vedantambe J e ff A s h f o r d * Terry Winslow Sasha Vesensky Douglas Baumgardt* Will Wurzel+ Caroline Birasa Christina Zola Peck* Jane Bloodworth*+ Sharon Clark-Napolitano* *Handbells + Section leader Gwendolyn Cummings

27 PRODUCTION STAFF WASHINGTON REVELS STAFF Artistic Staff Jeweler: Margaret Foley Artistic Director/Stage Director: Props Crew Captains: Jay Douglas, Don Names Roberta Gasbarre Props Coordinator: Jay Douglas Music Director: Elizabeth Anne Fulford Properties Consultant: Mary Gene Myer Children’s Stage Director: Jenni Voorhees Makeup Crew Captains: Linda Smith Nissen, Children’s Music Director: H. Katherine Toton Lisa Grosh, Kendra Hendren (assistant) Assistant Directors: Sam Game, Eva Martin Makeup Consultant: Kristin Jessup Moore Assistant Music Directors: Terrance Johns, Wednesday Night Work Party Coordinators: William Wurzel Kathleen Geier, Polly Edwards-Seal Set and Lighting Designer: Colin K. Bills Script Manager: Eva Martin Assistant Lighting Designer: Mary Keegan Outreach Coordinator and Merchandise Sales Costume Designer: Rosemary Pardee Captain: Jackie Young Associate Costume Designers: Mollie LaTorre, Outreach Assistant: Donyé Keesee Rachael Feola Children’s Costume Designer: Cecily Pilzer Technical Staff Mask Designers: Leah and Shane Odom, Technical Director: Steve Cosby Mythical Designs Scenery: Renegade Productions Sound Designer: Kenny Neil Audio Description: Phyllis Greer, Metropolitan Make-up Designer: Linda Smith Nissen Washington Ear Horse/Rider Designer: Alex Vernon Photo Documentation: Sheppard Ferguson, Properties Artisan: George T. Wang Nick Eckert Morris Dance Consultant: Jim Voorhees Video/Audio Production: John Paulson Productions Production Staff Program Cover Art: Charles Vess Producer: Greg Lewis Program Design: Karen Lee Production Manager: Colin K. Bills Program Border Art: Keith Patterson Stage/Floor Managers: Kelsey Jenkins, Graphics Production: Elizabeth Anne Fulford Ashley Th weatt Program Editor: Terry Winslow Children’s Stage Manager: Meredith Cabe Writers: Helen Fields, Elizabeth Anne Fulford, Children’s Consultant: Emilie Moore Rhianna Nissen Company Manager: Susan Hall Lewis Copy Editors: Catherine Hagman, Diane Winslow Assistant Company Manager: Diane Winslow Program Production Manager: Tad Czyzewski Chorus Managers: Diane Winslow, Printer: MasterPrint Grace VanderVeer Costumier/Wardrobe Mistress: Lois Dunlop House Management Costume Manager: Robbie McEwen Box Offi ce Manager: Debbie Grossman Costume Technician: Michele Macadaeg Box Offi ce Assistant: Naomi Peel Costume Intern: Willa Murphy Box Offi ce Volunteers: Bryan Draper, Toni Milliner: Linda McHugh Goldberg, Daniel Kaufman, Pax Linson, Assistant to the Costume Manager: Jen Murnane Agatha Munu, Anne O’Donnell, Hannah Hair Consultants/Crew Captains: Barbara Weinstein Beachler, Victoria Metz Front of House Manager: Marta Schley

28 PRODUCTION STAFF LISNER STAFF Executive Director: Maryann Lombardi Th eater Manager: Cassandra Lammers Assistant Th eater Manager: Jeff Kirkman III Manager, Ticketing & Box Offi ce Operations: Sean Kelly Assistant Manager, Ticket & Box Offi ce Operations: Nicole Langway Production Manager: Eric Annis Technical Director: Colin McGee

29 PRODUCTION VOLUNTEERS Props Crew Makeup Crew Janice McKenney Don Names, Captain Linda Smith Nissen, Sandy Northrop Jay Douglas, Captain Co-Captain Mari Parker Julia Hendren Lisa Grosh, Co-Captain Mike Platt Jon Leca Kendra Hendren, Crew Donna Simonton Aiden Mattke Assistant Erin Sutherland Jason Morris Lori Ashford Daphne Williams Carmine Napolitano Ella Caplin Cheyenne Cummings Backstage Runners Merchandise Crew Kate Curtis Elena Bachman Jackie Young, Captain Cindy Dunbar Kiah Beachler Nancy Alexander Kathleen Geier Gabrielle Cole Pete Behr Claire Haeberle Abby Ehrenstein James Clement Rina Kaye Haimson Eva Hutchins Margo M. Cunniff e Sarah Katz Victoria Davis Marissa Maley Backstage Food Rollie Frye Madeline Maloney & Cast Party Ann Gates Ellawyn Odom Margo M. Cunniff e Emma Hardin Kirsten Wheeler, makeup Kathleen Geier Dana Jackson runner MaMoe Htun Leslie E. S. Jarvis Susan Hall Lewis Ruth Lanich Hair Crew DeLaura Padovan Jane Legg Barbara Beachler Brodie, Maren Padovan-Hickman Dan Mick Captain Diane Winslow Jackie Morillas Victoria Metz, Captain Cindy Dunbar and Charlie Agatha Munu Lori Ashford Cerf, cast party hosts Madeline Nelson Kate Meroski Leah Odom Marissa Maley Wednesday Night DeLaura Padovan Madeline Maloney Work Parties, Props, Maren Padovan-Hickman Ella Caplin Knitters, Schlepping, Susan Pettey O ffi c e H e l p Loren Riva-Clement Stitchers & Scip Barnhart Joseph Riva-Clement Wardrobe Crew Paige Billin-Frye Charlotte Schoeneman Tom Bethards Jane Bloodworth Zoe Schoeneman-Frye Paige Billin-Frye Laurie Cullen, Quilling Marla R. Schrader Jane Bloodworth Designer Michaela Spehn Laurie Cullen J a n e C u n n i ff e Patrick Tyson Margo M. Cunniff e Kate Curtis Marni Von Wilpert Rosanne Gochman Jay Douglas Don Walsh Emma Hardin Claudia Dulmage Lisa Wheeler Agatha Munu Dennis Dulmage Deborah Zubow Prindle Jen Murnane Jan Elicker

30 PRODUCTION VOLUNTEERS Helen Fields, Knitting Dan Mick Parent Volunteers Designer Jen Murnane, Cross Stitch Tricia Baker, Co-Head Eleanore Fox Designer Iane Campos-Siddique Ann Gates Celia Murphy, Jewelry Designer Erica Bondarev Kathleen Geier, Mike Murtha John & Abi Daken WNWP Co-Head Don Names Victoria and Lonnie Davis Natalie Gianuca Madeline Nelson Dana Jackson Peg Gianuca Christina Zola Peck Christen Leonard Lars Hanslin Naomi Peel Mary Patterson Clare Hardin Lars Peterson Jo Rasi Emma Hardin Polly Edwards-Seal, Mary Ritchey Jonathan Harris WNWP Co-Head Karen Schofi eld-Leca Leslie E. S. Jarvis, Donna Simonton Jennifer Stanton-Brand Knitting Designer Michaela Spehn Ashwini Tambe Bev Jenkins Guenevere Spilsbury, Painter Peggy Walker Jon Leca Olga Vonikaki Anna White, Co-Head Susan Lewis Jenni Swanson Voorhees, Kerstin Zurbrigg Marissa Maley Knitting Designer Tom Martella Daphne Williams

31 WASHINGTON REVELS O ffi c e S t a ff Advisory Board Steering Executive Director: Greg Lewis Committee Marketing & Development Director: Jennifer Swanson Voorhees, Co-Chair Jo Rasi Terry Winslow, Co-Chair Business & Development Director: David H. Langstaff Tad Czyzewski Mary Eugenia Myer Offi ce & Education Manager: Emilie Moore Mary Swope, Founder Programs & Volunteer Manager: Christine Alexander Advisory Board Members Special Projects Director: Terry Winslow Cynthia McCune Allen Company Manager: Susan Hall Lewis Jill S. Bixler IT Director: Will Wurzel Roderic V.O. Boggs Webmaster: Elizabeth Anne Fulford James H. Breed Intern: Donyé Keesee John Daniel Bookkeeper: Christine McElroy Sheppard Ferguson Sarah Holmes Artistic Staff Tim Carrington Artistic Director: Roberta Gasbarre John Clewett Music Director: Elizabeth Anne Fulford Susan Hall Lewis Ensemble Directors Michael Matheson Gallery Voices Director: Elizabeth Anne David B.H. Martin Fulford Adelaide M. Miller Heritage Voices Co-Directors: Andrea Jones John Pomeranz Blackford and Elizabeth Anne Fulford Frances Sharon Jubilee Voices Director: Andrea Jones Juliette W. Smith Blackford Cindy Speas Maritime Voices Director: Michael Matheson Nancy Lindsten Taylor Voices of History Director: Roberta Gasbarre Sheila Weiss Charles Williams Board of Directors Diane Behrens Winslow William B. Conway, Chair George W. Ziener Jim Lazar, Treasurer Candace Davis, Secretary Artistic Associates Merribel Ayres Colin K. Bills Peter Behr Mary Combs Roland M. Frye, Jr. Judith L. Harrison Madeline Nelson Emilie Long Lars Peterson Rosemary Pardee William L. Ritchie, Jr. Charlie Pilzer Scott Williams Terry Winslow

32 33 SPECIAL THANKS Washington Revels gives particular thanks to William L. Ritchie, Jr. for his longstanding support and for helping make possible our 2009 relocation to a new home in Silver Spring.

Elizabeth Fulford for general web design and Donyé Keesee for her excellent work and support, including the principal design of assistance as our intern for the 2015-16 school our current web site; design contributions year, dealing with many diff erent aspects to marketing materials; and direction of our of Revels business, and for managing the Gallery Voices, Heritage Voices, and May invitation process for this year’s Outreach Revels chorus. Performance.

Roberta Gasbarre for directing and overseeing Leah and Shane Odom, and their studio, our education programs, helping stage-direct Mythical Designs (with a special nod to our ensembles, and writing material and Alexandra Brown, Shop Gnome), for creating coaching the professional actors who make up and loaning to Washington Revels the our Voices of History ensemble. extraordinary masks seen onstage in this show, and for creating and producing many similar Colin K. Bills for once again stepping into the masks for sale at our merchandise tables. void created by the absence of a full-time Production Manager on our staff , and giving Rhianna Victoria Nissen for her contributions of his time, expertise, wisdom, and experience to the music notes for this program, research in ways that greatly exceeded what he had hours in support of the music, and inspiration contracted himself to do for the production. for this year’s music article.

Terry Winslow beyond his senior editorial role Jan Elicker, Jane Bloodworth, Chris Lewis and on this program, for his substantive research Will Wurzel for their support as section leaders and draft ing on details large and small in for this year’s Christmas Revels chorus and their both the articles and notes; producing our contribution of many hours to make recordings 2015 May Revels; and serving as acting of their individual vocal parts to serve as Programs Manager until a replacement for that learning guides for singers in their sections. position could be found. Dan Mori for serving as Assistant Director until Will Wurzel for his extraordinary devotion and he could no longer do so, and contributing in untold volunteer hours in the offi ce, including many ways, essentially never saying no even his IT and sound reinforcement expertise, when he should have. assistance with transcribing and preparing music, artistic and editorial contributions to Kathleen Geier and Polly Edwards-Seal for video and audio recording, contributions to the the extraordinary job they did as our new ticketing process, and on and on (and on). Wednesday Night Work Party coordinators, not to mention the many additional hours they spent Andrea Blackford for her invaluable work and creating literally hundreds of ribbon sticks. inspiration serving as Director of Washington Revels Jubilee Voices and Co-Director of Helen Fields and Leslie Jarvis for designing the Washington Revels Heritage Voices. knitting pattern for the St. George and the Dragon puppets and directing a workshop to instruct the Mike Matheson for his yeoman (nautically knitting crew on how to knit them; and to the speaking) eff orts in organizing and directing knitting crew (too numerous to mention), but our Maritime Voices at many venues over the particularly to Helen, Leslie, Lila Guterman, past year. and Jenni Voorhees, for making them.

34 Bev Jenkins for designing, making and donating one, including props coordination for this 43 beautiful cross-stitch ornaments – including production and for our 2015 May Revels at the an entire set for the 12 days of Christmas – National Cathedral. and a total of more than 250 over the past 3 years; and Jennifer Murnane for researching Carrie Kovar Boris for handling all of our early cross-stitch designs and turning the completed priority seating for donors, performers and designs into ornaments. production staff , with painstaking care and detail, for over a decade, and husband Paul Laurie Cullen for initiating the idea of quilling Boris for developing the schematic that has objects for our merchandise tables, launching helped to keep the job manageable as it has our Revel Year Round program with a quilling grown over time. workshop, conducting additional workshops on quilling, and instructing craft ers at Wednesday Cate Hagman for her able assistance with offi ce Night Work Parties in the art of quilling. work this Fall.

Madeline Nelson for conceiving of the idea to sell Jackie Young for heading both our Outreach wax and wood ornaments as well as medieval Performance (with outstanding assistance by tile coasters, conducting a Revel Year Round Donyé Keesee) and Lisner merchandise sales. workshop on how to make those items, and making many such items herself. Peg Gianuca and Helen French for helping the offi ce with a variety of issues concerning our Ann Gates for conducting a Revel Year Round Salesforce database. workshop on making rag dolls and constructing dolls herself. Andrew Moore for serving as our faithful truck driver and carting props, set materials and Cecily Pilzer for serving as costume manager so much more throughout the year, and Jay and wardrobe mistress for our Heritage Voices, Douglas for handling all truck arrangements. Jubilee Voices, Maritime Voices, and Voices of History ensembles, and to both Cecily and Lars Hanslin for helping to track and confi rm all Charlie Pilzer for their $5,000 gift to the Wash- donations made over the past year. ington Revels Costume Shop. Scip Barnhart, Paige Billin-Frye, Kathleen Th eentire Costume Team, headed by Rosemary Geier, Jon Leca, Tom Martella, and Guen Pardee, Robbie McEwen, Lois Dunlop, Cecily Spilsbury for lending their time and skill to Pilzer, Rachael Feola, and Mollie LaTorre making a variety of set and prop items for this – plus all of the many costume volunteers, show. most particularly Rosanne Gochman, Janice McKenney, Jane Bloodworth, Mike Platt, and Interns Winnie Nguyen for general marketing Daphne Williams, for creating and executing a assistance and Emma dePaulo Reid for her new design concept and building new costumes work on design and special projects. to fi t it. Busy Graham, Molly Hickman, Bruce Hutton, Diane Winslow, Helen Fields, Robbie McEwen, Lilo Gonzales, Betsy Fulford, Barry Galef, Laurie Cullen, Emilie Moore, and Jackie Young Connie McKenna, Barbara Pequet, Lars for serving on the Merchandise Committee Peterson, Lane Smith, Anna White, the headed by Christine Alexander, Tad Czyzewski, members of Slaveya, El Golfo, Moorenkos and Jo Rasi. Ice Cream, Pacci’s Neapolitan Pizzeria, and the many others who worked with Jo Rasi and Jay Douglas for assuming responsibilities Emilie Moore over the past year to make the that would normally have been handled by Washington Revels - Carpe Diem Community our staff Production Manager if we still had Sings come together so beautifully.

35 Jon Leca and Tom Martella for helping to for providing rehearsal space for this year’s reorganize the set and prop items in our Christmas Revels. basement. Our multitude of volunteers and production Jim Voorhees for teaching and coaching new personnel who made our 2015 May Revels at the dancers for Lord of the Dance and Abbots Washington National Cathedral’s Flower Mart Bromley; serving as band leader for our July 4th a wonderful success. Special thanks to Terry and Labor Day parade performances, leading Winslow, Danny Pushkin, Betsy Fulford, the band in our May Revels, and conducting Colin Bills, Roberta Gasbarre, Jenni Voorhees, two Lord of the Dance workshops for our Revel Emilie Moore, Jay Douglas, Rowyn Peel, Susan Year Round program. Lewis, and Jim Voorhees, for the special roles they played, and also to the All Hallows Guild Leah Odom and Ellawyn Odom for their general of the Washington National Cathedral and assistance during Tech Week and the entire run Cynthia Schollard, chair of the Flower Mart’s of the show. Entertainment Committee.

Mary Gene Myer for her help with props design Sheppard Ferguson Photographs, and Shep and construction; her design contributions to Ferguson personally, for donating his time marketing materials; and her invaluable counsel to come from Watertown, Massachusetts to and generous spirit in helping with all that we do. photograph the 2015 Christmas Revels.

Claudia and Dennis Dulmage, Leah and Shane DrinkMore Water for once again – as they have Odom, Sabrina Mandell and Mark Jaster, and for well over a decade – providing discounted Montgomery College for loaning costume and water and a water dispenser for the entire run of jewelry items used in this production. our show.

Montgomery College and the Smithsonian’s Susan Hall Lewis for over 1,000 volunteer hours, Discovery Th eater for loaning props. but above all for serving as community nurturer throughout the year, as for so many years, with Cindy Dunbar and Charlie Cerf for once again – endless attention to detail exceeded only by her and sadly, for the last time, since they are selling warmth, sensitivity, and good humor. their house and downsizing – graciously hosting the cast party at their home. Th e late John Langstaff , creator and Master of the Revels, and Washington Revels Founder Mary Th e Washington Waldorf School, Th e Potomac Swope, for planting and nurturing the Revels School, and Washington Episcopal School tradition in Washington, D.C.

36 DONORS Washington Revels is deeply grateful to the following individual, foundation, government, and corporate supporters for their generous donations received from November 16, 2014 through November 13, 2015. If your name has been omitted or misspelled, please accept our apologies and call 301-587-3835 to let us know.

Benefactor ($25,000 and above) Philip L. Perkins Edward and Patricia Shaff er Arts and Humanities Council of Th orn and Sharis Pozen Donna Simonton Montgomery County Roland Frye and Susan Pettey Betty Ansin Smallwood Maryland State Arts Council Craig Pettibone I l s e S t a u ff e r Th e William L. Ritchie Th eater and Ian Roberts and Kathy Seikel Meg and Bob Stillman Education Fund Peter Schult Joanna Sturm Vivien and Norman Silber Bill Swedish and Linda Griggs Grantor ($10,000–$24,999) Sam Wyman Eugene Carlson & Mimi Th ompson Bill and Diana Conway Scott and Christy Wallace Mary Eugenia and Th eodore Myer Donors $500–$999 Marsha Lee Ward Carole Ann Barth and James Zepp Paul N. Wengert Guardians ($5,000–$9,999) Jill S. Bixler Th o m a s W i l k ns e Elizabeth Anne Fulford Jane Bloodworth Scott Williams Mark and Ann Kington Morgan Buckli and Dan Fiore Carolyn Leep and Jim Lazar Tim and Trish Carrico Supporters $250–$499 Hildegard B. Lewis Mary Chor Donald Adams and Ellen Maland Madeline Nelson Philip Angell and Jane Cooper Th e Baker Family Cecily and Charlie Pilzer Mary Frances Cotch and Lee Hall Douglas and Helen Baumgardt Terry and Diane Winslow and Michael and Ellen Cronin Bob and Betsy Bein Frida Burling Dahiya Family Jharry and Alice Breed Doug Dancis Terrence Brown and Linda Patrons ($2,500–$4,999) Th e DePrest Family Whitlock-Brown Greg and Susan Lewis Susan Dentzer and Chuck Alston Greg and Mary Bruch Mike and Patricia Matheson James Jay Douglas Joan and Stephen Burns Gregory McGruder Carolyn and William Doying Ann Bushmiller and Al Cacozza Richard David Taylor Claudia and Dennis Dulmage Gary and Ann Carpenter Jean Esswein Jann and Joe Cassady Sustainers ($1,000–$2,499) Raymond and Colleen Filbey Hugh and Barbara Cassidy Merribel Ayres Harriet Sweeney and Eric Joan Challinor Peter and Martha Behr Fraunfelter M a r y C l i ff Th e Boeing Company Vicki R. Herrmann Kenneth and Lynn Cline Christine Carrico Nancy T. Holmes Tom and Marjorie Cole Charles Cerf and Cindy Dunbar Anne B. Keiser Jim and Sandy Cooper Jim Clement and Jo Rasi Bobbie and Bill Kilberg Deidre Donahue and Jamie In memory of John Concannon Pru and David Lake Dahlberg Laura and Douglas Cox Angela Lancaster and Chuck Kevin and Sharon Dooley Eric and Brita Cronquist Muckenfuss Norma Dugger Linda and John Daniel Pardee Lowe Susan Fahrbach Candace and Jeff rey Davis Ann Luskey Marcia Flournoy Roxana Oppenheimer Day Kathy Maher John and Lillian Grady Barry Galef and Ellen Post Warren and Diane Marton Greenspan/Doyle Family Bill and Ann Geary Louise McIlhenny and Hugh Daniel Mick and Maureen Jais-Mick Gordon and Velva Groover Riddleberger Steve and Debby Jencks Kendra and Patrick Hendren Katherine S. Nevius Pete Johnson Neele Johnston Sandy Northrop Maryann, Sian and Rawles Jones Helen and David Kenney B. Th omas and Jo Anne Peele Stephen and Katharine Kovarcik Richard and Carolyn Kovar Daniel and Melissa Ryman Diane Kresh Robbie McEwen and Harry Jeff and Ellen Sandel Deborah Roudebush and David Bagdasian Th omas J. Scott, Jr. Larch Jeff rey Nuechterlein Joseph Serene Louise and Sandy McGinnes

37 Selby and Roemer McPhee Betsy Cromwell Andrew Kaelin Kristin & Russ Moore Peter and Charlotte Dean Jane C. Karpick Andrew and Patmarie Nedelka Cindy Denchfi eld and Frank Kathleen Keenan Linda Smith Nissen Klassen Lisa Kelly Mary K. Parker Phyllis Derrick Lee Ann and Bob Kinzer Judith G. Perry Mac and Harriett Destler Dr. Robert F. and Mary S. Knautz Christopher Platt Jan Dommerholt and Mona Mark and Cathy Knepper David & Sandy Robinson Mendelson Gary and Melinda Kramer Barney Rush and Marjorie Shaw Kenneth and Carol Doran Klein Mr. and Mrs. Dale Krumviede Marjorie and Matthew Schneider Susan Dunham and Daniel Linda and Oscar Larson John M. Smallwood Schember Th e Leighty Family Judith and James Smith Jacqueline H. Dunlavey Greg Lewis and Evelyn Ying John Stewart Joanne E. Dunne Maureen Lewis and Danny Bill and Susan Sweeney Father Francis J. Early Leipziger S. Jean van der Tak Allen M. Earman Tom Luminello, Jr. Jan Paul Richter and Ellen von Mr. and Mrs. Charles F. Eason, Jr. Barbara Lynch and Michael Seggern-Richter Th e Ehrenstein Family Pumple Jennifer and Jim Voorhees Diane and Ron Eichner Tom and Jana Martella Virginia and Chris White Svend Esborg Bertha M. Martin Evelyn and Charles Winkels Peter Ames Eveleth Sharon and Henry Mastroni Jim and Marca Woodhams Doris and Lee Evens William and Pamela Mattes William Wurzel Frederick and Catherine Fagerstrom Jane McAllister Michael Fallon Sally and Bringier McConnell Special Friends $100–$249 Katherine Farquhar and Phil Mirvis Th omas and Kathy McGarril Anonymous Karen Finn Mary-Margaret McGrail Amazon Smile Margaret and Peter Fisher Cynthia McGrath Dora and Bruce Anderson Mary Catherine and William G. Janice E. McKenney Susan Armbruster Fisher, Jr. Susan McLaughlin and John Gretchen Asmuth Nancy Ford-Kohne McMahon Christopher Zeilinger and Ann Gudrun P. Foster Nancy Melito Baker Mary E. Fraker Daniel and Claire Messing John Milns Baker and Liddy Sylvia Garcia and Mauricio Constance Miner Baker Villafuerte Patricia and Eric Most Barbara and Maynard Ball Ed Gertler Suzanne L. Munson Danielle M. Beauchamp Joseph Gitchell Anne and Jim Murphy Barbara Bell Mr. and Mrs. Gregg H.S. Golden Ray and Jennifer Murphy Teresa C. Bennett Katherine Gordon Pam and Tom Nelson Jacqueline R. Berry, MD Lynn Gowen Michael Niebling Mary Lou Berres Diane Growitz Ron and Mari Parker Andrea Blackburn and Gregg Th e Guinnessy Household Elizabeth and Bill Paulson Rubinstein Denny and Frances Gulick Rodney and Linda Pendleton David Bradley Michaela Spehn and Craig Haimson Sheila Peters Elizabeth and Howard Bradley Judith Halsey and Stephen Vanze Lars Peterson Annette Canby and Peter Bresnan Anne Harrison Roger Pollak and Whitney Pinger Leigh Culver and Eric Brodnax Mary and Ted Hartz Johanna H. Pleijsier John Parisi and Anne Broker Lars Hanslin and Becky Laird Robert Posner Doris O. Brunot Sara and John Hebeler Eleanor K. Pourron Amanda Cannell-Boone and Peter Caroline and George Harris Lee Pushkin Boone Norman and Ann Marie Hicks David and Shirley Putnam In Honor of Ella Caplin Jim and Cathy Higgins Steve and Marie Reed Ban Cheah Eric Holdsworth Mary Reyner and Brian Steinbach Hope Childs Sherrill Houghton Lois Reynolds Jack and Ann Clough Th omas Howell & Shelley Rockwell Col. and Mrs. Mark B. Roddy Katherine Coerver William Hunt Kathy Rosenbaum Heleny Cook Fran and Will Irwin Suzanne and Stephen Rudzinski Deborah K. Cooper Paulette and Tom Irwin Rosemary and Sylvester Ryan Sally Cooper Liz and Steve Jones Albert and Mary Salter Marcia Crandall Ronald Jones Sharon and William Schaefer

38 Steve and Deb Schmal Th omas Costello Tom and Joan McIntyre Diane M. Schmit Deborah Cotter Jennifer Messersmith Th e Schofi eld-Leca Family Jane and Lawrence Cox Suzanne Metz Mitzi Schroeder Tad Czyzewski Victoria E. Metz Chris Schumann and Cathy Wiss Judith Davis Sondra Mills Liz Sczudlo Tamara de la Camp Andrew Moore Robert and Linda Sears Margaret Dennis Blanche Moore Frances Sharon Th omas & Betty Dooley Evan and Rosemary Mortimer Cristina Silber Marcia and John Duncan Cherie Mulder Robert Snashall Karen Durovich Tom Nardone & Edith Lam Jeff rey Solar and Rosalyn Furukawa Jayne and Robert Eckert Carol and David Natella Nikolai and Kathleen Sorokin Elaine Emling and Michael Jenner Leila Nelsen Jeff and Marisa Sprowls Janet Fadden Susan Noon Dr. and Mrs. Laszlo Steingaszner Alexandra Fairfi eld Vera and Marcus Owens Janet and Fred Stollnitz Sarah Farmer Th eresa Pacheco Tim Stone Susan H. Farnsworth Helen Panitt Jo Ellen Stork Margaret Farthing Anne E. Patrick William Strang Andrew and Deborah Ferrin Robert Paul Marty and Rick Summerour Ashley Flory Oskars and Metra Petersons Susan Swope and Shirley Brenda Fowler Edward Post Tannenbaum Joanna and John Marsh Lynn Quarles Sheila Harrington and James Virginia Fries Colleen Reed Symons Caroline Furlow Susan V. Riley Andrew Teter Roberta Geier Frederick Anderson and Ann and William Tierney Carol Goter Robinson Barbara Rose Ruthanne Topping Bobby Gravitz Selig and Rochelle Kainer Edward C. Turner Jennifer Green Marlene Shaul Andras P. Varadi Gwynne & Robert Griswold Carol Ann Siciliano Kelly Vielmo Lila Guterman Camille Q. Hall & Fred Silsby Hiromi and Karl Vilbig Kathleen Guthrie and Tim Barner Louis and Jan Silvano Kathleen East Walker Kathrin Halpern Kerric St. Clair Harvey John D. Ward Sofi a Hammer William and Katharine Stewart Mr. and Mrs. Porter Wheeler Nancy and Keith Harrington Genevieve Stirling David Gogol and Gloria White In honor of Rowyn Peel’s 18th Mr. and Mrs. W.S. Symington Ann Williams Birthday Th ree Merry Men Brewing Jim and Marietta Witt Gillian Hay and Sunil Chatterjee Company Lawrence P. Hayes Julia Tossell Friends ($25–$99) George and Rosalind Helz Penny & Al Veerhoff Anonymous (3) Marjorie Herbert Virginia J. Vitucci Vivian Adle Donald Hinman Mr. and Mrs. Fred B. Warren John Allen Sarah Holmes & John Morris Tzvety and Bryndyn Weiner Keith & Kate Ausbrook Susan and Phil Johnson Lila West Ellen D. Badgley Dr. Rochelle Kainer Timothy and Virginia Wex Mr. and Mrs. Robert F. Baldwin, Jr. Maja Keech Carla Wheeler Th omas H. Bethards Barbara Keller Andrew White Charlotte J.K. Brewer Stuart Koehl Nadine M. White John H Broadbent III Carolyn F. Lauer Henry and Elinor Wixon Phillip Brown & Barbara Wolanin James Lawton Th omas H. Wolfe Th o m a s B r own Denise Leary Eleanora M. Worth Michael and Judith Bucci Catherine Lee Grace Yannakakis J e ff B u r t o n Michael Lewallen and Mike Platt Martha A. Young Freedberg Anne Butler Beth Lynch Matt and Michele Zenkowich Mary Cahalane Chris Manley S u s a n Z w e i g h a ft Diane Carsten-Pelak Janeane M. Marks Sonia Castillo Lisa Martin In memory of John Concannon (4) Luella Mast Th ank you to donors who gave Pia and James Connell Cliff McCreedy through United Way/CFC Connors Household Judson McIntire contributions.

39

VISIT THE REVELS MARKETPLACE during intermission and after the show to find unique holiday gifts—many created by Revels Volunteers!

FEATURED CD Combo Offer: The Christmas Revels and Sing and Rejoice contain 12 songs in the show. Purchase both for $20

Masks—As Seen in the Show!

Books

Cards

Prints

Ornaments

Jewelry

The Christmas Revels Poster—Signed by the Artist Charles Vess Fine Italian Womenswear

Georgetown | 2822 Pennsylvania Avenue, NW (Discounted Parking Available at Four Seasons Hotel) (202) 965 -2822 | [email protected] www.arboutique.com