MARCH APRIL MAY 2018

Flynn Center for the Performing Arts, a nonprofit organization.

FLYNN MARQUEE

A behind-the-scenes

look at the people

& programs you support.

by STEVE MACQUEEN,Artistic Director

Zakir Hussain: The Greatest Musician I Have Ever Seen

It’s my lifelong passion/job to see musical performances, so I’ve seen a few. And, though prone to hyperbole, I offer this clear-eyed assessment: Zakir Hussain is the greatest musician I have ever seen.

Looking at a set of tablas—an Indian percussion instrument consisting of two small-ish, tuned drums—it’s hard to imagine the range of tones and sounds that a good tabla player draws from them. What Zakir Hussain does with those tablas defies belief.

I had the immense pleasure of presenting Zakir at Florida State University in 2011, and the even more immense pleasure of being his driver for two days. When Zakir played, I watched and listened intently…and I still didn’t believe it. My concept of reality was too small to contain his ability.

He was born to it. His father, tabla master Ali Rahka, taught Zakir in the Punjab baaj tradition, starting at age seven. The first lesson was to put the tablas away and sing the rhythms he would eventually play with his hands. Two years later, having mastered that, his father handed him the tablas. To this day, watching Zakir sing rhythms as he

plays them, building to a blinding speed…well, it defies belief.

A Hindustani classical master at an early age, he played with many of the genre’s legends, such as Ali Akbar Khan and

legendary sitar master Ravi Shankar. But Hussain did more than accompany these masters. He revitalized

and even revolutionized the tradition. Through virtuosity, ingenuity, and charisma, he brought

the tabla from its traditional role as an accompaniment into the spotlight.

And he did this as a teenager.

Hussain made his U.S. performance debut with Ravi Shankar in 1970,

then relocated to the Bay Area, where he still lives, and started making musical connections. Willing participants were not hard to find.

Jazz musicians were drawn to his improvisational skills. He worked with saxophonists Joe Henderson and Pharoah Sanders, drummer Billy Cobham, and Latin percussion giant Tito Puente. He formed the seminal world/jazz group Shakti with guitarist John McLaughlin and violinist L. Shankar, a group still spoken of in hushed tones by the cognoscenti.

Rock stars such as Van Morrison, George Harrison, and Jack Bruce embraced his rhythmic drive, while his long-running partnership with the Grateful Dead’s Mickey Hart resulted in Planet Drum, winner of the first-ever Grammy for Best World Music Album, and its follow-up, Global Drum Project, which won the same award 19 years later.

Classical musicians are awed by his compositional abilities and sheer technique, which he has put to use in playing with Yo-Yo Ma, the Japanese drummers of Kodo, and various symphony orchestras.

He’s toured with his own ever-changing lineup, dubbed The Masters of Percussion, featuring Cuban, Brazilian, Indian, and African players. And he has an ongoing trio with bassist Edgar Meyer and banjo player Bela Fleck, not to mention another dozen projects I have failed to mention.

Despite his forays into other genres, Zakir Hussain is at heart a master of Hindustani classical traditions. His performance at the Flynn will be a duo with Rakesh Chaurasia, master of the bansuri (bamboo flute), and nephew of Hariprasad Chaurasia, a bansuri legend whom Zakir Hussain accompanied many times.

The Florida show floored me. I found it hard to listen to other music for weeks afterwards; it wasn’t offering me a fraction of what Hussain/Chaurasia gave with every measure. A few months after the performance, The Flecktones came to town, and I found myself driving Bela Fleck to his hotel. I knew of his trio with Meyer and Hussain, so I asked which of the three of these virtuosos was the fastest on their instrument.

“Oh, Zakir, no doubt,” Fleck said immediately. “But he’s generous enough to play at about 30 percent so I can bust my butt and play at about 110 percent to keep up with him.”

In closing, I’ll reiterate: Zakir Hussain is the greatest musician I’ve ever seen. Come see the show, then tell me I’m wrong.

Zakir Hussain and Rakesh Chaurasia perform on the MainStage Monday, March 19 at 7:30 pm. Tickets and information are available at www.flynntix.org.

Susa

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Mill

man

Flynn Member Events

Flynn Legacy Society members gathered on December 8 for a pre-show reception, followed by a performance of A Christmas Carol. Each year, the Flynn recognizes individuals who remembered the Flynn through their estate plans. We are pleased to thank and celebrate this special group.

Kris

ta M

alan

ey

On Friday, January 19, the Flynn hosted a pre-show reception with UVM Human Resources, Diversity and Multicultural Affairs, through the UVM President’s Initiative for Diversity. We were joined by DBR and Marc Bamuthi Joseph, who performed Blackbird, Fly on the MainStage that evening.

Mad

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Nancy McClellan, Marijke Niles, and guest.

Above: Composer/violinist Daniel Bernard Roumain (DBR) performs to reception attendees.

Reception attendees in the Amy E. Tarrant Gallery.

Right: UVM President Tom Sullivan and Vice President for Human

Resources, Diversity and Multicultural Affairs Wanda Heading-Grant.

by STEVE MACQUEEN,Artistic Director

Zakir Hussain: The Greatest Musician I Have Ever Seen

It’s my lifelong passion/job to see musical performances, so I’ve seen a few. And, though prone to hyperbole, I offer this clear-eyed assessment: Zakir Hussain is the greatest musician I have ever seen.

Looking at a set of tablas—an Indian percussion instrument consisting of two small-ish, tuned drums—it’s hard to imagine the range of tones and sounds that a good tabla player draws from them. What Zakir Hussain does with those tablas defies belief.

I had the immense pleasure of presenting Zakir at Florida State University in 2011, and the even more immense pleasure of being his driver for two days. When Zakir played, I watched and listened intently…and I still didn’t believe it. My concept of reality was too small to contain his ability.

He was born to it. His father, tabla master Ali Rahka, taught Zakir in the Punjab baaj tradition, starting at age seven. The first lesson was to put the tablas away and sing the rhythms he would eventually play with his hands. Two years later, having mastered that, his father handed him the tablas. To this day, watching Zakir sing rhythms as he

plays them, building to a blinding speed…well, it defies belief.

A Hindustani classical master at an early age, he played with many of the genre’s legends, such as Ali Akbar Khan and

legendary sitar master Ravi Shankar. But Hussain did more than accompany these masters. He revitalized

and even revolutionized the tradition. Through virtuosity, ingenuity, and charisma, he brought

the tabla from its traditional role as an accompaniment into the spotlight.

And he did this as a teenager.

Hussain made his U.S. performance debut with Ravi Shankar in 1970,

then relocated to the Bay Area, where he still lives, and started making musical connections. Willing participants were not hard to find.

Jazz musicians were drawn to his improvisational skills. He worked with saxophonists Joe Henderson and Pharoah Sanders, drummer Billy Cobham, and Latin percussion giant Tito Puente. He formed the seminal world/jazz group Shakti with guitarist John McLaughlin and violinist L. Shankar, a group still spoken of in hushed tones by the cognoscenti.

Rock stars such as Van Morrison, George Harrison, and Jack Bruce embraced his rhythmic drive, while his long-running partnership with the Grateful Dead’s Mickey Hart resulted in Planet Drum, winner of the first-ever Grammy for Best World Music Album, and its follow-up, Global Drum Project, which won the same award 19 years later.

Classical musicians are awed by his compositional abilities and sheer technique, which he has put to use in playing with Yo-Yo Ma, the Japanese drummers of Kodo, and various symphony orchestras.

He’s toured with his own ever-changing lineup, dubbed The Masters of Percussion, featuring Cuban, Brazilian, Indian, and African players. And he has an ongoing trio with bassist Edgar Meyer and banjo player Bela Fleck, not to mention another dozen projects I have failed to mention.

Despite his forays into other genres, Zakir Hussain is at heart a master of Hindustani classical traditions. His performance at the Flynn will be a duo with Rakesh Chaurasia, master of the bansuri (bamboo flute), and nephew of Hariprasad Chaurasia, a bansuri legend whom Zakir Hussain accompanied many times.

The Florida show floored me. I found it hard to listen to other music for weeks afterwards; it wasn’t offering me a fraction of what Hussain/Chaurasia gave with every measure. A few months after the performance, The Flecktones came to town, and I found myself driving Bela Fleck to his hotel. I knew of his trio with Meyer and Hussain, so I asked which of the three of these virtuosos was the fastest on their instrument.

“Oh, Zakir, no doubt,” Fleck said immediately. “But he’s generous enough to play at about 30 percent so I can bust my butt and play at about 110 percent to keep up with him.”

In closing, I’ll reiterate: Zakir Hussain is the greatest musician I’ve ever seen. Come see the show, then tell me I’m wrong.

Zakir Hussain and Rakesh Chaurasia perform on the MainStage Monday, March 19 at 7:30 pm. Tickets and information are available at www.flynntix.org.

Susa

nna

Mill

man

Flynn Member Events

Flynn Legacy Society members gathered on December 8 for a pre-show reception, followed by a performance of A Christmas Carol. Each year, the Flynn recognizes individuals who remembered the Flynn through their estate plans. We are pleased to thank and celebrate this special group.

Kris

ta M

alan

ey

On Friday, January 19, the Flynn hosted a pre-show reception with UVM Human Resources, Diversity and Multicultural Affairs, through the UVM President’s Initiative for Diversity. We were joined by DBR and Marc Bamuthi Joseph, who performed Blackbird, Fly on the MainStage that evening.

Mad

elin

e Be

ll

Kevi

n Ti

tterto

n

Nancy McClellan, Marijke Niles, and guest.

Above: Composer/violinist Daniel Bernard Roumain (DBR) performs to reception attendees.

Reception attendees in the Amy E. Tarrant Gallery.

Right: UVM President Tom Sullivan and Vice President for Human

Resources, Diversity and Multicultural Affairs Wanda Heading-Grant.

4 | MARQUEE March, April, May

John is a creative, inclusive, and inspiring artist/administrator who has had a strong impact during his tenure as executive director of the Flynn. The breadth and depth of access to outstanding performing arts that he has created is a huge gift to our community, for which we are all grateful. John is a model for me both professionally and personally. It is an honor to know him and to work with him. —Janie Cohen, Fleming Museum

The most compelling thing about John is that underneath that sly little smile and self-deprecation is a slightly wicked provocateur who does not suffer fools. His contribution to the state has been important and far-flung; be it his quiet leadership of the “next level” of the Flynn, his observant radio pieces, his various testimonies before state government, or his solid championing of great art. —Bruce Bouchard, Paramount Theatre

John has not only transformed the Flynn through his vision and leadership, but he has played so many important roles within the creative community of Vermont. He is, by turns, catalyst, coach, field marshal, and friend. —Thomas Denenberg, Shelburne Museum

John inspires us all to reach and achieve our best work. Many times, confronted with what seemed impossible, became doable with John’s insights. A model for caring leadership. —Phelan R. Fretz, ECHO, Leahy Center for Lake Champlain

Through his exceptional leadership at the Flynn, John has contributed enormously to Burlington’s—and all of Vermont’s—rich cultural life. He has also been a forceful and effective advocate not only for the arts, but also for the humanities and nonprofit organizations generally. —Peter A. Gilbert, Vermont Humanities Council

John’s leadership built common ground in our community and bridged old divides to pull people together. His expectation of unity and goodwill transcended any hierarchy or self-interest. We in Vermont arts and cultural organizations are all the better for him. —Holly Groschner, Vermont PBS

John has many talents: artist; dancer; writer; and filmmaker. He is also a fierce advocate for a wide range of issues concerning accessibility, particularly the re-examination of our views on disability. Our community is greatly enhanced by his tenacious embrace of what is right and good and his ability to live and breathe that into his daily work. —Doreen Kraft, Burlington City Arts

A vibrant arts scene is central to Burlington’s identity and part of what makes our community so attractive to students from across the country. John’s creative energy and commitment to access to the arts, particularly for young people, will leave a lasting impact on Burlington. Champlain College appreciates John’s commitment to our partnership and to our students. —Donald J. Laackman, Champlain College

John has embraced with his joyful and loving spirit every individual he has encountered during his eight years at the Flynn. My grandson, who has autism, has had the opportunity to enjoy programs that John championed. John, through his life and his work, exemplifies what is best in humanity. Our gratitude for his accomplishments at the Flynn will live on long after John has stepped up to his next adventure. —Melinda Moulton, Main Street Landing

John has been a dynamic and exceptional leader for the Flynn during his tenure in so many ways, but particularly in the quality, depth, and choice of artistic entertainment for our community and throughout the state of Vermont. John has taught all of us that one cannot have exceptional quality without diversity and inclusion being central hallmarks. He is a wonderful example of “relational leadership” at its very best. —Tom and Leslie Sullivan, UVM

John has contributed immensely to Vermont’s non-profit community, bringing leaders together to share and learn from one another. He has been an active voice on issues such as federal funding for the arts, humanities, and cultural organizations, and is a catalyst for creating strong partnerships. I’ve always appreciated John’s clear thinking, his vision for the Flynn as a community builder, and his “further together” approach to collaborations. —Robin Turnau, Vermont Public Radio

During his time on the Roundtable’s board of directors, John has been a steady advocate for the arts in particular and non-profits in general as meaningful contributors to Vermont’s economy and society. He has also provided me with wise, professional counsel, wrapped in humor and rooted in friendship, which I will always treasure. —Lisa M. Ventriss, Vermont Business Roundtable

John & his Shetland pony Pacific Raindrop.

Fréd

éric

Silb

erm

an

Everybody Belongs at the Flynn FundHonoring John Killacky

Following the news that the Flynn’s beloved executive director and CEO, John Killacky, will be stepping down, a group of current and former board members, along with some of the Flynn’s most ardent longtime supporters, have initiated a campaign to honor John with the best gift a retiring executive director could wish for: the knowledge that the institution and programs that he nurtured have the funding to thrive well into the future.

The Flynn has continued to flourish under John’s inspired leadership over the past eight years, growing to a $7.7 million operating budget while maintaining the organization’s commitment to presenting exceptional artistic, educational, and community engagement programs, and serving as a home for Vermont artists and arts groups. John was a prolific fundraiser, securing major national grants from the Kresge, Surdna, Hearst, and Ford Foundations, as well as the Doris Duke Charitable Trust. He also led a successful three-year $2.3 million capital campaign that improved the theater and renovated the box office, enhancing both patron and artist experiences.

Access and inclusion were priorities during John’s tenure, building on the work of his predecessor, Andrea Rogers, the Flynn’s founding executive director. The Flynn now works with 81 human and social service agencies to provide discounted tickets for their clients, hosts 38,000 students at student matinees, including over 7,100 who attend for free, and provides scholarships for educational classes and camps. Teaching and visiting artists from the Flynn perform and teach workshops at over 85 schools around the state. John has been passionate about expanding programs to serve both artists and audiences with disabilities, including sensory-friendly drumming for children with Autism Spectrum Disorder, and a thriving Movement for Parkinson’s class for elders. Off-site, John furthered Flynn collaborations with the Integrated Arts Academy, Boys and Girls Club, and King Street Center to better serve New Americans and other vulnerable communities.

The Everybody Belongs campaign helps ensure that the Flynn remains a world-class performing arts and arts education center. It is John’s vision to continue enriching the lives of our children, grandchildren, and the entire community beyond his soon to be completed tenure. We invite anybody wishing to help sustain John’s tremendous achievements to join us in making sure that Everybody Belongs at the Flynn, now and into the future.

MORE INFORMATION:

• Close to $2 million has already been raised, and we hope to secure a combination of cash donations and planned gifts to reach an ultimate goal of $3 million.

• Donations can be paid over five years.

• We welcome the conversation regarding making a special designation to a particular facet of the Flynn, such as Education or Programming, depending on the size of the gift.

• Donations may be designated in honor or in memory of someone. Contributions of $5,000 or more will be recognized in a tribute plaque permanently displayed in the main lobby.

• All donors will be invited to a June 26 celebration on the MainStage featuring food, drink, entertainment, and a spoken tribute or two. Attendees will also meet John’s successor as Executive Director of the Flynn.

Greg Merhar

4 | MARQUEE March, April, May

John is a creative, inclusive, and inspiring artist/administrator who has had a strong impact during his tenure as executive director of the Flynn. The breadth and depth of access to outstanding performing arts that he has created is a huge gift to our community, for which we are all grateful. John is a model for me both professionally and personally. It is an honor to know him and to work with him. —Janie Cohen, Fleming Museum

The most compelling thing about John is that underneath that sly little smile and self-deprecation is a slightly wicked provocateur who does not suffer fools. His contribution to the state has been important and far-flung; be it his quiet leadership of the “next level” of the Flynn, his observant radio pieces, his various testimonies before state government, or his solid championing of great art. —Bruce Bouchard, Paramount Theatre

John has not only transformed the Flynn through his vision and leadership, but he has played so many important roles within the creative community of Vermont. He is, by turns, catalyst, coach, field marshal, and friend. —Thomas Denenberg, Shelburne Museum

John inspires us all to reach and achieve our best work. Many times, confronted with what seemed impossible, became doable with John’s insights. A model for caring leadership. —Phelan R. Fretz, ECHO, Leahy Center for Lake Champlain

Through his exceptional leadership at the Flynn, John has contributed enormously to Burlington’s—and all of Vermont’s—rich cultural life. He has also been a forceful and effective advocate not only for the arts, but also for the humanities and nonprofit organizations generally. —Peter A. Gilbert, Vermont Humanities Council

John’s leadership built common ground in our community and bridged old divides to pull people together. His expectation of unity and goodwill transcended any hierarchy or self-interest. We in Vermont arts and cultural organizations are all the better for him. —Holly Groschner, Vermont PBS

John has many talents: artist; dancer; writer; and filmmaker. He is also a fierce advocate for a wide range of issues concerning accessibility, particularly the re-examination of our views on disability. Our community is greatly enhanced by his tenacious embrace of what is right and good and his ability to live and breathe that into his daily work. —Doreen Kraft, Burlington City Arts

A vibrant arts scene is central to Burlington’s identity and part of what makes our community so attractive to students from across the country. John’s creative energy and commitment to access to the arts, particularly for young people, will leave a lasting impact on Burlington. Champlain College appreciates John’s commitment to our partnership and to our students. —Donald J. Laackman, Champlain College

John has embraced with his joyful and loving spirit every individual he has encountered during his eight years at the Flynn. My grandson, who has autism, has had the opportunity to enjoy programs that John championed. John, through his life and his work, exemplifies what is best in humanity. Our gratitude for his accomplishments at the Flynn will live on long after John has stepped up to his next adventure. —Melinda Moulton, Main Street Landing

John has been a dynamic and exceptional leader for the Flynn during his tenure in so many ways, but particularly in the quality, depth, and choice of artistic entertainment for our community and throughout the state of Vermont. John has taught all of us that one cannot have exceptional quality without diversity and inclusion being central hallmarks. He is a wonderful example of “relational leadership” at its very best. —Tom and Leslie Sullivan, UVM

John has contributed immensely to Vermont’s non-profit community, bringing leaders together to share and learn from one another. He has been an active voice on issues such as federal funding for the arts, humanities, and cultural organizations, and is a catalyst for creating strong partnerships. I’ve always appreciated John’s clear thinking, his vision for the Flynn as a community builder, and his “further together” approach to collaborations. —Robin Turnau, Vermont Public Radio

During his time on the Roundtable’s board of directors, John has been a steady advocate for the arts in particular and non-profits in general as meaningful contributors to Vermont’s economy and society. He has also provided me with wise, professional counsel, wrapped in humor and rooted in friendship, which I will always treasure. —Lisa M. Ventriss, Vermont Business Roundtable

John & his Shetland pony Pacific Raindrop.

Fréd

éric

Silb

erm

an

Everybody Belongs at the Flynn FundHonoring John Killacky

Following the news that the Flynn’s beloved executive director and CEO, John Killacky, will be stepping down, a group of current and former board members, along with some of the Flynn’s most ardent longtime supporters, have initiated a campaign to honor John with the best gift a retiring executive director could wish for: the knowledge that the institution and programs that he nurtured have the funding to thrive well into the future.

The Flynn has continued to flourish under John’s inspired leadership over the past eight years, growing to a $7.7 million operating budget while maintaining the organization’s commitment to presenting exceptional artistic, educational, and community engagement programs, and serving as a home for Vermont artists and arts groups. John was a prolific fundraiser, securing major national grants from the Kresge, Surdna, Hearst, and Ford Foundations, as well as the Doris Duke Charitable Trust. He also led a successful three-year $2.3 million capital campaign that improved the theater and renovated the box office, enhancing both patron and artist experiences.

Access and inclusion were priorities during John’s tenure, building on the work of his predecessor, Andrea Rogers, the Flynn’s founding executive director. The Flynn now works with 81 human and social service agencies to provide discounted tickets for their clients, hosts 38,000 students at student matinees, including over 7,100 who attend for free, and provides scholarships for educational classes and camps. Teaching and visiting artists from the Flynn perform and teach workshops at over 85 schools around the state. John has been passionate about expanding programs to serve both artists and audiences with disabilities, including sensory-friendly drumming for children with Autism Spectrum Disorder, and a thriving Movement for Parkinson’s class for elders. Off-site, John furthered Flynn collaborations with the Integrated Arts Academy, Boys and Girls Club, and King Street Center to better serve New Americans and other vulnerable communities.

The Everybody Belongs campaign helps ensure that the Flynn remains a world-class performing arts and arts education center. It is John’s vision to continue enriching the lives of our children, grandchildren, and the entire community beyond his soon to be completed tenure. We invite anybody wishing to help sustain John’s tremendous achievements to join us in making sure that Everybody Belongs at the Flynn, now and into the future.

MORE INFORMATION:

• Close to $2 million has already been raised, and we hope to secure a combination of cash donations and planned gifts to reach an ultimate goal of $3 million.

• Donations can be paid over five years.

• We welcome the conversation regarding making a special designation to a particular facet of the Flynn, such as Education or Programming, depending on the size of the gift.

• Donations may be designated in honor or in memory of someone. Contributions of $5,000 or more will be recognized in a tribute plaque permanently displayed in the main lobby.

• All donors will be invited to a June 26 celebration on the MainStage featuring food, drink, entertainment, and a spoken tribute or two. Attendees will also meet John’s successor as Executive Director of the Flynn.

Greg Merhar

March, April, May MARQUEE | 7

John Killacky: Andrea, it has been such a pleasure to steward the Flynn Center over the last eight years, building upon the extraordinary legacy of your thirty-year tenure. Our art deco palace was quite derelict by 1981 when Lyric Theatre purchased the building. I understand you were a volunteer at that time and soon became a modestly paid project coordinator as Lyric members fundraised and dedicated ticket revenues to the project.

Andrea Rogers: Yes, and thanks to Lyric’s IBMers, the project secured IBM’s pivotal $150,000 commitment for the purchase and restoration. Together with the Lyric volunteers, we engaged community leaders and friends in tasks as varied as shampooing and stitching the stage curtain to developing the building and operational plans.

By summer 1981, we had developed a management plan and I stayed on in the position of Capital Fund Raising Director, becoming Executive Director in 1983.

JK: Talk about the 1982 flood.

AR: Even as we welcomed performances in the fall, there were contractors bringing the Flynn up to code and making critical repairs. They were using the boiler room as a staging area, and the accumulated dust exacerbated the fragile condition of the heating system. The temperature dropped to 20 below in January 1982. Pipes beneath the roof froze in the cold, and as the temperature rose, those pipes thawed and burst. I received a predawn call from the police saying “There is a river flowing from the Flynn down King Street and you better come down.” I was only ten minutes away and thankfully my husband knew how to turn the water off

far under the front entryway. The theater was like a rainforest, water-filled, decorative lighting fixtures were dangling precariously above, paint was peeling, and the orchestra pit was full of water.

Within hours, the crew had lowered the light fixtures and we had gas heaters throughout the building. Others machines sucked out the water. The UVM Historic Preservation grad students came that afternoon and took impressions of the historic stencil work as the paint faded. The ceiling’s lathe and plaster, while soaked, was deemed salvageable, and two months after the flood, the Vienna Boys Choir performed to a rapt house packed to its historic rafters.

JK: What was programming like in those early years?

AR: From the start, Lyric Theatre, Vermont Symphony Orchestra, the barbershop groups, and the UVM Lane series performed at the Flynn. I believe there were 40 bookings for the 1981-82 Season when we opened. Our foray into programming was gradual, but when Tony Micocci came to the Flynn, he brought experience in dance and a bravura that kept him charging ahead. He helped start the jazz festival with Burlington City Arts in 1983 and launched a dance festival showcasing local artists. Tony decided we would invest in those art forms and develop audiences for them. Similarly, he saw Broadway as ripe for development for the Flynn.

One great memory from those early years was at the first Burlington Discover Jazz Festival, when we welcomed the great Sarah Vaughan. Just before she went on, she asked for the words of Moonlight in Vermont that she sang exquisitely from a yellow pad as one of her many encores.

JK: At what point did your team begin to build out educational programs?

AR: Tom Dunn, our artistic director in 1987, had experience with managing a student matinee program in Ohio. We built a small series and over time teacher training and in-school workshops were added. Partnerships with the Old North End schools in Burlington were the beginning of what became the Integrated Arts Academy, in 2009. Early education director Joan Robinson was inspirational in her leadership.

JK: The programming really seemed to come into its own in the ‘90s.

AR: Phil Bither became the artistic director in 1989, coming from Brooklyn Academy of Music. Focusing on twin goals of artistic excellence and community involvement, we wanted to support artists and art forms, to introduce new artists to the area, and foster education and participation. Conceptually, this became the foundation for the Flynn’s programming, positioning us well both locally and nationally.

JK: Exemplary fiscal stewardship is another hallmark of your leadership, but that too has not been easy. The Flynn has never had an operating deficit. I am relieved my team could carry on this fiscally prudent tradition as well!

AR: In 1994, we started a $4.5 million campaign to pay off the mortgage and buy a needed adjoining property. Phase one involved backstage and warehouse improvements, but by the time we approached phase two—to install air conditioning and restore the lobby—we knew we had outgrown our plan. Our education programs had burgeoned and there was no turning back. We needed classroom and meeting space and more room for staff.

For two years, we deliberated before deciding to extend the campaign for another $3 million, in order to purchase the building to our west and become a multi-arts and education center. After two years of dust and construction, we reopened our magnificent new spaces. Now we had FlynnSpace for small performances, a gallery for visual art exhibitions and gatherings, two education studios, and relocated, expanded offices.

JK: What impact did the expansion have on programming?

AR: Arnie Malina was artistic director during this period, and he expanded multi-disciplinary programs on the MainStage. FlynnSpace became the home for Vermont Stage, and now is booked year-round as a club-like environment for jazz and other music. It also housed summer camps and FlynnArts summer musicals, while the Hoehl and Chase Studios have allowed us to develop year-round FlynnArts classes, a significant expansion led by former education director Christina Weakland. The Amy E. Tarrant Gallery continues to host quarterly exhibitions of Vermont artists and mission-related material.

JK: After thirty years at the helm, you decided to retire. Was this a difficult decision?

AR: It was time and I was feted beyond measure. We had had ups and downs, but I had the continuous support of an excellent board, a dedicated staff, and strong artistic directors. It felt good to leave the Flynn in sound financial condition, including the board’s creation of Andrea’s Legacy Fund, an operating reserve fund.

I was so lucky you then followed me with such a commitment to everything I held dear, plus unparalleled experience and connections. You have raised the “barre,” making your mark with expanded programs for access and inclusion and partnerships in the community, to say nothing of your improvements to the theater.

Now as you prepare for your retirement from the Flynn, what are some of your highlights?

JK: I carry with me so many memories, from Broadway blockbusters to inscrutable avant-garde performances, as well as wonderful gallery exhibitions featuring Vermont artists. Laughter and joyful noise from participants in our classes energized me, and when the yellow school buses arrived outside my window, bringing kids to student matinees, I was truly a happy man.

Steve MacQueen is now the artistic director and Jess Handrik is heading our education programs. Your values of access and inclusion were central to our efforts. We work with 81 human and social service agencies to provide discounted tickets for their clients, host 38,000 students who attend student matinees (7,100 attend free), and award $30,000 in scholarships so everyone can participate in ongoing classes and camps. Programs expanded to serve both artists and audiences with disabilities.

My most daunting capital project was a three-year $2.3 million renovation that enclosed the loading dock, installed 1,411 comfortable new seats in the theater, increased ADA adaptations in the hall, enhanced the lobby, installed new electronic signage, added beautiful architectural outdoor lighting, created a new box office, and expanded patron and artist bathroom facilities. We even replaced the uneven bricks with a dramatic sunburst design on the entrance walkway under the marquee.

You and I both had the pleasure of working with Gina Haddock as development director throughout these myriad campaigns, and Diana Petrovs as chief financial officer. Andrea Bergeron now carries on her fiscal oversight.

While the Flynn today is the largest arts organization in Vermont, we still function on a fragile and ever-shifting financial nonprofit model. As I get ready to turn over the reins to the next executive director, I am so grateful to the generosity of this community, including our 2,800 members as well as the hundreds of individuals, corporations, foundations, and government agencies that support this extraordinary cultural and community asset.

Executive Reflections: A Conversation Between Flynn Executive Directors Andrea Rogers and John Killacky

The Mainstage theater, following its 2012 renovations.

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March, April, May MARQUEE | 7

John Killacky: Andrea, it has been such a pleasure to steward the Flynn Center over the last eight years, building upon the extraordinary legacy of your thirty-year tenure. Our art deco palace was quite derelict by 1981 when Lyric Theatre purchased the building. I understand you were a volunteer at that time and soon became a modestly paid project coordinator as Lyric members fundraised and dedicated ticket revenues to the project.

Andrea Rogers: Yes, and thanks to Lyric’s IBMers, the project secured IBM’s pivotal $150,000 commitment for the purchase and restoration. Together with the Lyric volunteers, we engaged community leaders and friends in tasks as varied as shampooing and stitching the stage curtain to developing the building and operational plans.

By summer 1981, we had developed a management plan and I stayed on in the position of Capital Fund Raising Director, becoming Executive Director in 1983.

JK: Talk about the 1982 flood.

AR: Even as we welcomed performances in the fall, there were contractors bringing the Flynn up to code and making critical repairs. They were using the boiler room as a staging area, and the accumulated dust exacerbated the fragile condition of the heating system. The temperature dropped to 20 below in January 1982. Pipes beneath the roof froze in the cold, and as the temperature rose, those pipes thawed and burst. I received a predawn call from the police saying “There is a river flowing from the Flynn down King Street and you better come down.” I was only ten minutes away and thankfully my husband knew how to turn the water off

far under the front entryway. The theater was like a rainforest, water-filled, decorative lighting fixtures were dangling precariously above, paint was peeling, and the orchestra pit was full of water.

Within hours, the crew had lowered the light fixtures and we had gas heaters throughout the building. Others machines sucked out the water. The UVM Historic Preservation grad students came that afternoon and took impressions of the historic stencil work as the paint faded. The ceiling’s lathe and plaster, while soaked, was deemed salvageable, and two months after the flood, the Vienna Boys Choir performed to a rapt house packed to its historic rafters.

JK: What was programming like in those early years?

AR: From the start, Lyric Theatre, Vermont Symphony Orchestra, the barbershop groups, and the UVM Lane series performed at the Flynn. I believe there were 40 bookings for the 1981-82 Season when we opened. Our foray into programming was gradual, but when Tony Micocci came to the Flynn, he brought experience in dance and a bravura that kept him charging ahead. He helped start the jazz festival with Burlington City Arts in 1983 and launched a dance festival showcasing local artists. Tony decided we would invest in those art forms and develop audiences for them. Similarly, he saw Broadway as ripe for development for the Flynn.

One great memory from those early years was at the first Burlington Discover Jazz Festival, when we welcomed the great Sarah Vaughan. Just before she went on, she asked for the words of Moonlight in Vermont that she sang exquisitely from a yellow pad as one of her many encores.

JK: At what point did your team begin to build out educational programs?

AR: Tom Dunn, our artistic director in 1987, had experience with managing a student matinee program in Ohio. We built a small series and over time teacher training and in-school workshops were added. Partnerships with the Old North End schools in Burlington were the beginning of what became the Integrated Arts Academy, in 2009. Early education director Joan Robinson was inspirational in her leadership.

JK: The programming really seemed to come into its own in the ‘90s.

AR: Phil Bither became the artistic director in 1989, coming from Brooklyn Academy of Music. Focusing on twin goals of artistic excellence and community involvement, we wanted to support artists and art forms, to introduce new artists to the area, and foster education and participation. Conceptually, this became the foundation for the Flynn’s programming, positioning us well both locally and nationally.

JK: Exemplary fiscal stewardship is another hallmark of your leadership, but that too has not been easy. The Flynn has never had an operating deficit. I am relieved my team could carry on this fiscally prudent tradition as well!

AR: In 1994, we started a $4.5 million campaign to pay off the mortgage and buy a needed adjoining property. Phase one involved backstage and warehouse improvements, but by the time we approached phase two—to install air conditioning and restore the lobby—we knew we had outgrown our plan. Our education programs had burgeoned and there was no turning back. We needed classroom and meeting space and more room for staff.

For two years, we deliberated before deciding to extend the campaign for another $3 million, in order to purchase the building to our west and become a multi-arts and education center. After two years of dust and construction, we reopened our magnificent new spaces. Now we had FlynnSpace for small performances, a gallery for visual art exhibitions and gatherings, two education studios, and relocated, expanded offices.

JK: What impact did the expansion have on programming?

AR: Arnie Malina was artistic director during this period, and he expanded multi-disciplinary programs on the MainStage. FlynnSpace became the home for Vermont Stage, and now is booked year-round as a club-like environment for jazz and other music. It also housed summer camps and FlynnArts summer musicals, while the Hoehl and Chase Studios have allowed us to develop year-round FlynnArts classes, a significant expansion led by former education director Christina Weakland. The Amy E. Tarrant Gallery continues to host quarterly exhibitions of Vermont artists and mission-related material.

JK: After thirty years at the helm, you decided to retire. Was this a difficult decision?

AR: It was time and I was feted beyond measure. We had had ups and downs, but I had the continuous support of an excellent board, a dedicated staff, and strong artistic directors. It felt good to leave the Flynn in sound financial condition, including the board’s creation of Andrea’s Legacy Fund, an operating reserve fund.

I was so lucky you then followed me with such a commitment to everything I held dear, plus unparalleled experience and connections. You have raised the “barre,” making your mark with expanded programs for access and inclusion and partnerships in the community, to say nothing of your improvements to the theater.

Now as you prepare for your retirement from the Flynn, what are some of your highlights?

JK: I carry with me so many memories, from Broadway blockbusters to inscrutable avant-garde performances, as well as wonderful gallery exhibitions featuring Vermont artists. Laughter and joyful noise from participants in our classes energized me, and when the yellow school buses arrived outside my window, bringing kids to student matinees, I was truly a happy man.

Steve MacQueen is now the artistic director and Jess Handrik is heading our education programs. Your values of access and inclusion were central to our efforts. We work with 81 human and social service agencies to provide discounted tickets for their clients, host 38,000 students who attend student matinees (7,100 attend free), and award $30,000 in scholarships so everyone can participate in ongoing classes and camps. Programs expanded to serve both artists and audiences with disabilities.

My most daunting capital project was a three-year $2.3 million renovation that enclosed the loading dock, installed 1,411 comfortable new seats in the theater, increased ADA adaptations in the hall, enhanced the lobby, installed new electronic signage, added beautiful architectural outdoor lighting, created a new box office, and expanded patron and artist bathroom facilities. We even replaced the uneven bricks with a dramatic sunburst design on the entrance walkway under the marquee.

You and I both had the pleasure of working with Gina Haddock as development director throughout these myriad campaigns, and Diana Petrovs as chief financial officer. Andrea Bergeron now carries on her fiscal oversight.

While the Flynn today is the largest arts organization in Vermont, we still function on a fragile and ever-shifting financial nonprofit model. As I get ready to turn over the reins to the next executive director, I am so grateful to the generosity of this community, including our 2,800 members as well as the hundreds of individuals, corporations, foundations, and government agencies that support this extraordinary cultural and community asset.

Executive Reflections: A Conversation Between Flynn Executive Directors Andrea Rogers and John Killacky

The Mainstage theater, following its 2012 renovations.

Kevi

n Ti

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n

Fréd

éric

Silb

erm

an

8 | MARQUEE March, April, May

This year, the festival presents jazz in its many forms. Leslie Odom, Jr., winner of the 2016 Tony Award for Best Actor for

his role as Aaron Burr in the Broadway mega-smash Hamilton,

brings the energy of a new generation to beloved jazz standards

on the Flynn MainStage on Friday, June 8 at 8 pm.

The FlynnSpace series has become a who’s who of the current

music scene with a fascinating mix of emerging and established

artists. In the latter category, we are thrilled to present one of the

leading guitarists in jazz, Bill Frisell, with a special opportunity

to see him perform in the intimate space on Thursday, June 7

at 7 and 9:30 pm.

A jazz musician at heart, drummer Allison Miller has paid her

dues with years on the road with popular singer-songwriters

Ani DiFranco, Brandi Carlile, and Natalie Merchant. This is her

first time headlining the festival, and with the buzz circulating

around her Boom Tic Boom project, it promises not to be the last.

Catch her on Monday, June 4 at 8 pm.

Closing night of the 2018 festival brings the fierce vocals and

elegant instrumentalism of Rhiannon Giddens. No stranger to

the Flynn stage, Giddens has performed multiple sold out shows

with her group, the Carolina Chocolate Drops, in both FlynnSpace

and on the MainStage. She has been making waves in jazz, blues,

and Americana. This performance promises to be a special evening

on the Flynn MainStage, Sunday, June 10 at 8 pm.

Of course, June is the time when Vermonters are ready to get

outdoors, so the festival offers two nights at the Waterfront

Tent on the shores of Lake Champlain. Stay tuned for artist

announcements and ticket on-sale dates in the coming weeks!

In addition, our 80-plus free performances outside on the

Church Street Marketplace ensure that the festival is accessible

to the entire community. Special thanks to all our partners and

supporters who sustain this programming. To show your support

and get early ticketing opportunities, consider becoming a Friend

of the Festival. For more information, visit discoverjazz.com.

See you June 1-10, 2018!

This year, the Discover Jazz Festival celebrates 35 years of dispatching live music all over downtown Burlington. Beginning as a three

day festival featuring the legendary Sarah Vaughn, the event soon grew to five days, and then into a 10-day citywide celebration with

over 100 hours of free live music and some of the biggest names in jazz.

Burlington Discover Jazz Festival Turns 35

By CHELSEA LAFAYETTE,Burlington Discover Jazz Managing Director

Leslie Odom, Jr. brings the energy of a new generation to beloved jazz standards on the Flynn MainStage on Friday, June 8 at 8 pm.

Flynn’s Annual Online Auction Starts March 19

Looking for help sprucing up your home or garden? Or shopping for unique

handcrafted items? The Flynn Online Auction has hundreds of items as well as

unique experiences up for bid. Bid on stunning glassware, items for your garden,

unique culinary experiences, and much more. Help support the Flynn’s mission

of fostering the enjoyment, understanding, and development of the performing arts

in Vermont and the region and find a great deal at the same time.

We are always looking to add new items to our auction, so visit our website if

you’d like to make a donation, or contact Gina Haddock at rhaddock@flynncenter.org

for more information about participating in the auction. As an auction donor, your

business will receive exposure to a very special target audience and your item and

logo will appear on our site with a link back to your own web page. It’s a win-win!

The Flynn’s Annual Garden Tour Returns to Charlotte The 22nd annual Flynn Garden Tour returns to its roots in Charlotte, as it convenes

its one-day-only, self-guided stroll of gardens large and small in this village on

the shores of Lake Champlain.

This year’s tour features eight private gardens, two open houses, and tea in a classic

Vermont barn, catered by The Skinny Pancake’s Have Your Cake Catering. Some

highlights of the tour include a classic Vermont country homestead garden surrounded

by acres of land and paths designed to attract birds and wildlife, a tastefully furnished

collectors’ home that reflects their travels and love of antiques, a former inn turned

charming cluster of renovated homes, garden guesthouses, and much more.

Tickets are $40 and go on sale Monday, June 4.

Sarah Caliendo joins the Flynn as the new FlynnArts

Manager. She most recently served for nearly seven years as

Vermont Program Director for The DREAM Program. Though

new to this position in our Education Department, Sarah’s no

stranger to the Flynn. She became a FlynnArts student in 2011

after receiving a ballet scholarship. Having no previous dance

experience, she continued in ballet while expanding to salsa,

east and west coast swing, kizomba, and blues. Sarah is excited to help foster equally

powerful and transformative experiences for current and future FlynnArts students.

Fréd

éric

Silb

erm

an

Vermont Teddy Bear’s “Bernie Bear” is just one of the fun items you’ll find in the Flynn auction.

IN THE Gallery

Five years ago, the Flynn exhibited VSA Vermont’s Engage, a juried show that introduced the work of 35 visual artists with disabilities. FLOURISH continues this work in partnership once again with VSA Vermont as well as Vermont Association for the Blind and Visually Impaired. A statewide call garnered 46 submissons, of which 32 works were selected. Media from both new and established artists include acrylic, oil, and watercolor; drawings in ink, pastel, crayon, and charcoal; and photographs, ceramics, weaving, and mixed-media sculpture and assemblages.

This exhibition is funded in part through support from the Ford Foundation, Courtney and Victoria Buffum Family Foundation, Vermont Arts Council, and Vermont Community Foundation. Amy E. Tarrant is the season sponsor for all gallery shows.

The show runs April 7 through June 23, with an opening reception on Saturday, April 7 from 1 to 3 pm. AD + ASL available for opening reception. To request, call 802-652-4504 by April 1.

FLOURISH: Showcasing Vermont Artists

with Disabilities April 7–June 23

The Amy E. Tarrant Gallery, at 153 Main Street, is open to the public Saturdays from 11 am to 4 pm. Performance attendees may also view exhibits prior to MainStage shows and during intermission.

Spring Fundraisers

Featured art includes works by 1. Gwendolyn Evans, 2. Eva Seyller, and 3. Michael Leavitt.

1.

3.2.

Christopher Boudewyns

A Warm Welcome

8 | MARQUEE March, April, May

This year, the festival presents jazz in its many forms. Leslie Odom, Jr., winner of the 2016 Tony Award for Best Actor for

his role as Aaron Burr in the Broadway mega-smash Hamilton,

brings the energy of a new generation to beloved jazz standards

on the Flynn MainStage on Friday, June 8 at 8 pm.

The FlynnSpace series has become a who’s who of the current

music scene with a fascinating mix of emerging and established

artists. In the latter category, we are thrilled to present one of the

leading guitarists in jazz, Bill Frisell, with a special opportunity

to see him perform in the intimate space on Thursday, June 7

at 7 and 9:30 pm.

A jazz musician at heart, drummer Allison Miller has paid her

dues with years on the road with popular singer-songwriters

Ani DiFranco, Brandi Carlile, and Natalie Merchant. This is her

first time headlining the festival, and with the buzz circulating

around her Boom Tic Boom project, it promises not to be the last.

Catch her on Monday, June 4 at 8 pm.

Closing night of the 2018 festival brings the fierce vocals and

elegant instrumentalism of Rhiannon Giddens. No stranger to

the Flynn stage, Giddens has performed multiple sold out shows

with her group, the Carolina Chocolate Drops, in both FlynnSpace

and on the MainStage. She has been making waves in jazz, blues,

and Americana. This performance promises to be a special evening

on the Flynn MainStage, Sunday, June 10 at 8 pm.

Of course, June is the time when Vermonters are ready to get

outdoors, so the festival offers two nights at the Waterfront

Tent on the shores of Lake Champlain. Stay tuned for artist

announcements and ticket on-sale dates in the coming weeks!

In addition, our 80-plus free performances outside on the

Church Street Marketplace ensure that the festival is accessible

to the entire community. Special thanks to all our partners and

supporters who sustain this programming. To show your support

and get early ticketing opportunities, consider becoming a Friend

of the Festival. For more information, visit discoverjazz.com.

See you June 1-10, 2018!

This year, the Discover Jazz Festival celebrates 35 years of dispatching live music all over downtown Burlington. Beginning as a three

day festival featuring the legendary Sarah Vaughn, the event soon grew to five days, and then into a 10-day citywide celebration with

over 100 hours of free live music and some of the biggest names in jazz.

Burlington Discover Jazz Festival Turns 35

By CHELSEA LAFAYETTE,Burlington Discover Jazz Managing Director

Leslie Odom, Jr. brings the energy of a new generation to beloved jazz standards on the Flynn MainStage on Friday, June 8 at 8 pm.

Flynn’s Annual Online Auction Starts March 19

Looking for help sprucing up your home or garden? Or shopping for unique

handcrafted items? The Flynn Online Auction has hundreds of items as well as

unique experiences up for bid. Bid on stunning glassware, items for your garden,

unique culinary experiences, and much more. Help support the Flynn’s mission

of fostering the enjoyment, understanding, and development of the performing arts

in Vermont and the region and find a great deal at the same time.

We are always looking to add new items to our auction, so visit our website if

you’d like to make a donation, or contact Gina Haddock at rhaddock@flynncenter.org

for more information about participating in the auction. As an auction donor, your

business will receive exposure to a very special target audience and your item and

logo will appear on our site with a link back to your own web page. It’s a win-win!

The Flynn’s Annual Garden Tour Returns to Charlotte The 22nd annual Flynn Garden Tour returns to its roots in Charlotte, as it convenes

its one-day-only, self-guided stroll of gardens large and small in this village on

the shores of Lake Champlain.

This year’s tour features eight private gardens, two open houses, and tea in a classic

Vermont barn, catered by The Skinny Pancake’s Have Your Cake Catering. Some

highlights of the tour include a classic Vermont country homestead garden surrounded

by acres of land and paths designed to attract birds and wildlife, a tastefully furnished

collectors’ home that reflects their travels and love of antiques, a former inn turned

charming cluster of renovated homes, garden guesthouses, and much more.

Tickets are $40 and go on sale Monday, June 4.

Sarah Caliendo joins the Flynn as the new FlynnArts

Manager. She most recently served for nearly seven years as

Vermont Program Director for The DREAM Program. Though

new to this position in our Education Department, Sarah’s no

stranger to the Flynn. She became a FlynnArts student in 2011

after receiving a ballet scholarship. Having no previous dance

experience, she continued in ballet while expanding to salsa,

east and west coast swing, kizomba, and blues. Sarah is excited to help foster equally

powerful and transformative experiences for current and future FlynnArts students.

Fréd

éric

Silb

erm

an

Vermont Teddy Bear’s “Bernie Bear” is just one of the fun items you’ll find in the Flynn auction.

IN THE Gallery

Five years ago, the Flynn exhibited VSA Vermont’s Engage, a juried show that introduced the work of 35 visual artists with disabilities. FLOURISH continues this work in partnership once again with VSA Vermont as well as Vermont Association for the Blind and Visually Impaired. A statewide call garnered 46 submissons, of which 32 works were selected. Media from both new and established artists include acrylic, oil, and watercolor; drawings in ink, pastel, crayon, and charcoal; and photographs, ceramics, weaving, and mixed-media sculpture and assemblages.

This exhibition is funded in part through support from the Ford Foundation, Courtney and Victoria Buffum Family Foundation, Vermont Arts Council, and Vermont Community Foundation. Amy E. Tarrant is the season sponsor for all gallery shows.

The show runs April 7 through June 23, with an opening reception on Saturday, April 7 from 1 to 3 pm. AD + ASL available for opening reception. To request, call 802-652-4504 by April 1.

FLOURISH: Showcasing Vermont Artists

with Disabilities April 7–June 23

The Amy E. Tarrant Gallery, at 153 Main Street, is open to the public Saturdays from 11 am to 4 pm. Performance attendees may also view exhibits prior to MainStage shows and during intermission.

Spring Fundraisers

Featured art includes works by 1. Gwendolyn Evans, 2. Eva Seyller, and 3. Michael Leavitt.

1.

3.2.

Christopher Boudewyns

A Warm Welcome

10 | MARQUEE March, April, May

On December 13, the Flynn held its eighth annual Engaging Active Learners Conference, welcoming Flynn teaching artists and 27 educators from 17 public and independent schools across nine districts throughout the state. In keeping with Vermont’s Act 77 Flexible Pathways legislation, the conference focused on proficiency-based graduation requirements and personalized learning paths. We also discussed the resulting innovations and shifts for teachers and students while aiming to advance the practice of performing arts integration. Specifically, we focused on creativity, collaboration, and communication, skills that are authentically intrinsic to arts education. Through humanities- and science-based workshops in both elementary and secondary tracks, Flynn teaching artists partnered with classroom teachers to present best practices in arts-integration. And for the first time, Engaging Active Learners attendees watched a live performance on our MainStage, the student matinee of Paige Hernandez’s Havana Hop! Following the performance, the Flynn held a workshop in which Paige shared strategies for bringing hip-hop culture and its core values of peace, love, unity, and fun in to the classroom. As one educator shared, “Just the inspiring experience I needed at this time of year!”

Putting Words into Action by JESSICA HANDRIK,

Education Director

by LAUREN GENTA, School Programs Coordinator

Production Operations Director Eric Durrett shows the Flynn’s backstage to a group of Set and Scenic Design students from Bellows Free Academy, Fairfax.

In 2013, Vermont boldly became an innovative leader in the

movement to transform K-12 education across the nation to be

more relevant to college and career readiness in the 21st Century,

through the passing of Act 77 Flexible Pathways to Graduation.

The law is characterized by a proficiency-based learning system

that addresses gaps in equity through personalized student

progress tracking, meaningful assessment, flexible pathways

to graduation that include learning opportunities outside of the

classroom, and a focus on the mastery of transferable skills.

This reform is shifting the partnership between schools and

community-based organizations, including arts centers. It asks

the community to support students to communicate, collaborate,

create, innovate, inquire, problem solve, and use technology.

These seven transferable skills have always been essential to

school partnerships here at the Flynn, with teachers and teaching

artists partnering to create lessons and workshops that integrate

the performing arts into other academic and social-emotional

learning, and are relevant to each unique classroom. Fundamental

to our philosophy and mission is the knowledge that no learner

is the same. Education is all about who’s in the room and requires

active listening and response. As supported through Act 77,

this commitment extends beyond the classroom into the

communities we serve and invites students and teachers to

access the Flynn in new and innovative ways.

This fall, the Flynn piloted three new models for Expanded

Learning Opportunities, a key element of Act 77, that addresses

the need for schools to take the learning into real world settings.

We’ve been guided by this essential question: What new and

different learning can happen when students are at the Flynn

instead of in their classroom? How can we open up the unique

resources of the Flynn—its theaters, studios, and staff—

to young Vermonters as part of their K-12 education as

they create their own learning pathways?

We have worked with teachers at the elementary, middle,

and high school levels across three school districts to create

integrated learning experiences that use the Flynn as a classroom.

Sixth grade students from Edmunds Elementary practiced

annunciation and projection through theater and oratory based

activities. Inspired by the Bard, students formed their own

Shakespearian insults, like “goatish, clay-brained, pigeon egg,”

to serve as an excerpt of text to perform under the spotlight for

an audience of their peers, teachers, and Flynn staff. Through this

workshop, students discovered their voice and gained confidence

on the Flynn’s MainStage before the culminating event for their

public speaking unit. We hosted one of Bellows Free Academy,

Fairfax High School’s Set and Scenic Design class sessions,

taught by the school’s art and science teachers. This new course at

the school is arts-integration, born directly out of Act 77 innovations.

First graders at Edmunds Elementary became lighting designers in

FlynnSpace, dictating creative choices of colors, lights, and shadows

to the Flynn’s Director of Production, in support of a unit on light.

In working with these students and teachers, we have recognized

just how important these transferable skills are in achieving our

mission of making the performing arts a vital and integral part of

school and community life. We have been struck by the creativity

and collaboration in exploring the work that happens in our space

and with our education partners as we innovate and strengthen

learning in Vermont.

Charting New Paths in Integrated Education

Addison Zinner

Addison Zinner

10 | MARQUEE March, April, May

On December 13, the Flynn held its eighth annual Engaging Active Learners Conference, welcoming Flynn teaching artists and 27 educators from 17 public and independent schools across nine districts throughout the state. In keeping with Vermont’s Act 77 Flexible Pathways legislation, the conference focused on proficiency-based graduation requirements and personalized learning paths. We also discussed the resulting innovations and shifts for teachers and students while aiming to advance the practice of performing arts integration. Specifically, we focused on creativity, collaboration, and communication, skills that are authentically intrinsic to arts education. Through humanities- and science-based workshops in both elementary and secondary tracks, Flynn teaching artists partnered with classroom teachers to present best practices in arts-integration. And for the first time, Engaging Active Learners attendees watched a live performance on our MainStage, the student matinee of Paige Hernandez’s Havana Hop! Following the performance, the Flynn held a workshop in which Paige shared strategies for bringing hip-hop culture and its core values of peace, love, unity, and fun in to the classroom. As one educator shared, “Just the inspiring experience I needed at this time of year!”

Putting Words into Action by JESSICA HANDRIK,

Education Director

by LAUREN GENTA, School Programs Coordinator

Production Operations Director Eric Durrett shows the Flynn’s backstage to a group of Set and Scenic Design students from Bellows Free Academy, Fairfax.

In 2013, Vermont boldly became an innovative leader in the

movement to transform K-12 education across the nation to be

more relevant to college and career readiness in the 21st Century,

through the passing of Act 77 Flexible Pathways to Graduation.

The law is characterized by a proficiency-based learning system

that addresses gaps in equity through personalized student

progress tracking, meaningful assessment, flexible pathways

to graduation that include learning opportunities outside of the

classroom, and a focus on the mastery of transferable skills.

This reform is shifting the partnership between schools and

community-based organizations, including arts centers. It asks

the community to support students to communicate, collaborate,

create, innovate, inquire, problem solve, and use technology.

These seven transferable skills have always been essential to

school partnerships here at the Flynn, with teachers and teaching

artists partnering to create lessons and workshops that integrate

the performing arts into other academic and social-emotional

learning, and are relevant to each unique classroom. Fundamental

to our philosophy and mission is the knowledge that no learner

is the same. Education is all about who’s in the room and requires

active listening and response. As supported through Act 77,

this commitment extends beyond the classroom into the

communities we serve and invites students and teachers to

access the Flynn in new and innovative ways.

This fall, the Flynn piloted three new models for Expanded

Learning Opportunities, a key element of Act 77, that addresses

the need for schools to take the learning into real world settings.

We’ve been guided by this essential question: What new and

different learning can happen when students are at the Flynn

instead of in their classroom? How can we open up the unique

resources of the Flynn—its theaters, studios, and staff—

to young Vermonters as part of their K-12 education as

they create their own learning pathways?

We have worked with teachers at the elementary, middle,

and high school levels across three school districts to create

integrated learning experiences that use the Flynn as a classroom.

Sixth grade students from Edmunds Elementary practiced

annunciation and projection through theater and oratory based

activities. Inspired by the Bard, students formed their own

Shakespearian insults, like “goatish, clay-brained, pigeon egg,”

to serve as an excerpt of text to perform under the spotlight for

an audience of their peers, teachers, and Flynn staff. Through this

workshop, students discovered their voice and gained confidence

on the Flynn’s MainStage before the culminating event for their

public speaking unit. We hosted one of Bellows Free Academy,

Fairfax High School’s Set and Scenic Design class sessions,

taught by the school’s art and science teachers. This new course at

the school is arts-integration, born directly out of Act 77 innovations.

First graders at Edmunds Elementary became lighting designers in

FlynnSpace, dictating creative choices of colors, lights, and shadows

to the Flynn’s Director of Production, in support of a unit on light.

In working with these students and teachers, we have recognized

just how important these transferable skills are in achieving our

mission of making the performing arts a vital and integral part of

school and community life. We have been struck by the creativity

and collaboration in exploring the work that happens in our space

and with our education partners as we innovate and strengthen

learning in Vermont.

Charting New Paths in Integrated Education

Addison Zinner

Addison Zinner

12 | MARQUEE March, April, May March, April, May MARQUEE | 13

FlynnArts Celebrates 10 Years of Summer Musicals

Honk!, Jr., 2017

13, The Musical, 2010

The Mystery of Edwin Drood, 2014

Once Upon a Mattress, 2009

Carrie, 2014

Lucky Stiff, 2016

Once on this Island, 2015

Xanadu, 2017

From kingdoms—both on land and under the sea—to Caribbean islands and Mount Olympus, the Flynn’s summer musicals have led FlynnArts summer campers to new worlds. This year, we celebrate 10 years of nurturing talent, confidence, and lifelong bonds by revisiting the very first musical we staged, back in 2008: You’re A Good Man, Charlie Brown. We’re also taking on cult icon John Waters’ Cry-Baby and peering into the comic underbelly of ambition with How to Succeed in Business Without

Really Trying. Find out more about our summer musicals at flynnarts.com.

Urinetown, 2011

Performing Arts Camps

SUMMER2018

AGES 4-19plus adult & teen classes

REGISTER NOW FLYNNARTS.ORG 802.652-4537

Zombie Prom, 2012

Into the Woods, 2013

12 | MARQUEE March, April, May March, April, May MARQUEE | 13

FlynnArts Celebrates 10 Years of Summer Musicals

Honk!, Jr., 2017

13, The Musical, 2010

The Mystery of Edwin Drood, 2014

Once Upon a Mattress, 2009

Carrie, 2014

Lucky Stiff, 2016

Once on this Island, 2015

Xanadu, 2017

From kingdoms—both on land and under the sea—to Caribbean islands and Mount Olympus, the Flynn’s summer musicals have led FlynnArts summer campers to new worlds. This year, we celebrate 10 years of nurturing talent, confidence, and lifelong bonds by revisiting the very first musical we staged, back in 2008: You’re A Good Man, Charlie Brown. We’re also taking on cult icon John Waters’ Cry-Baby and peering into the comic underbelly of ambition with How to Succeed in Business Without

Really Trying. Find out more about our summer musicals at flynnarts.com.

Urinetown, 2011

Performing Arts Camps

SUMMER2018

AGES 4-19plus adult & teen classes

REGISTER NOW FLYNNARTS.ORG 802.652-4537

Zombie Prom, 2012

Into the Woods, 2013

153 Main St., Burlington, VT 05401-8402

Non-Profit Org.U.S. PostagePAIDBurlington, VTPermit No. 490

Flynn CalendarMarchP9 1 Cat on a Hot Tin Roof 7-25 Vermont Stage: Sex with StrangersP9 8 Hamlet 9 Urban Bush Women: Hair and Other Stories 10 Lyle Lovett & Shawn Colvin 16 Paula Poundstone 17 Altan 19 Zakir Hussain and Rakesh ChaurasiaP9 22 Julius Ceasar 23 Mike Birbiglia: The New One 24 VSO MasterworksFS 30-31 Souleymane Badolo

April 5-8 Lyric Theatre: Dirty Rotten ScoundrelsFS 8 Dayme Arocena 11-12 The Wizard of Oz 15 Straight No Chaser 10 Celtic Woman 17 Wild Kratts Live!FS 18-5/6 Vermont Stage: Tigers Be Still 21 Jessica Lang Dance: Thousand Yard Stare 23 Brit Floyd

May 3 Machine de Cirque 5 VSO Masterworks 6 VYO Spring Concert 9 Shh…We Have a PlanFS 9-10 Kaori SekiP9 10 MacbethFS 11 Gaelynn LeaFS 12 Sara Juli: Tense Vagina 14 Cabaret 19 STOMPFS 19-20 Soovin Kim and Gloria Chien

FS:SMS: Includes additional Student Matinee Series performance

P9:Palace 9 Cinema, St. Burlington

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Urban Bush Women

Gaelynn Lea

Win 10 Nights at the Flynn! Our annual raffle supports the arts and education programs at the Flynn.

Purchase a $20 raffle ticket for a chance to win 10 pairs of tickets to

the Flynn’s upcoming 2018–19 season!

Get tickets online, over the phone, or in person

at the Flynn box office starting Monday, March 12.

The drawing will be held at the end of intermission

during Cabaret on Monday, May 14.

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