Roberta Gasbarre, artistic & stage directorElizabeth Anne Fulford, music directorColin K. Bills, production manager

Washington Revels Presents

December 5-13, 2015GW Lisner Auditorium • Washington, DC

The Potomac School congratulates the cast and crew of

The Christmas Revels and wishes you a joyful holiday season!

www.potomacschool.org

WASHINGTON REVELS COMPANYSolstice SingersYuletide Teens

Holly & Ivy ChildrenRoyal Brass

WITH GUEST ARTISTSPiffaro, the Renaissance Band

Shane Odom, The KingGwen Grastorf, The Woodland Queen

Mark Jaster, The King’s FoolSabrina Mandell, The Queen’s Fool

Roberta Gasbarre Artistic and Stage Director

Elizabeth Anne Fulford Music DirectorColin K. Bills Production Manager

December 2015

presents

About Washington RevelsWhat 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.

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Artistic Director’s NoteOur 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!

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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 Carmina Burana 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

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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.

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Revels and the Natural WorldIn 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

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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

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IntroductionOur 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 I1. SING AND REJOICE FULL COMPANY Greg Lewis, song leader

ALL SING:

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2. IN DULCI JUBILO (In Sweet Jubilation)The melody of this popular carol dates from 14th-century Germany. 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 YEARAs 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

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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 KINGAs 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 Christmas carol 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

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8. ROYAL ENTRANCE OF THE WOODLAND QUEENTo 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

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

PIFFARO, THE RENAISSANCE BAND

12. DECK THE HALLA 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 Yule 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 DIGLinking 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

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14. GOWER WASSAILEvery 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 wassails, 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. LORD OF MISRULE 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

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17. THE BOAR’S HEAD CAROLThis 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 CLARUITHoc 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 GUESTIn 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, singersPatrick Hendren, Jason Noone, Darrow Sherman, puppeteers

SOLSTICE SINGERS and BELLS

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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 DANCEWe 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

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Part II22. 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 DANCEThis 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.

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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 FoolPIFFARO, THE RENAISSANCE BAND

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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 KINGOur 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 PSALLITEThis 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

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31. DONA NOBIS PACEMA 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 TERPSICHOREOur 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

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34. THE TWELVE DAYS OF CHRISTMASA 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 DANCEAs 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

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36. SUN GEORGE AND THE DRAGONThis 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, Father Christmas 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.

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39. SUSSEX MUMMERS’ CAROLThis 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:

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PERFORMERSTh e PlayersShane Odom, KingGwen Grastorf,

Woodland QueenMark Jaster, King’s FoolSabrina Mandell,

Queen’s Fool

Piff aro, Th e Renaissance Band Joan Kimball, Artistic

Co-Director, shawm, dulcian, recorder, douçaine, bagpipes

Robert Wiemken, Artistic Co-Director, dulcian, recorder, shawm, douçaine, hurdy-gurdy

Adam Bregman, sackbut, slide trumpet, recorder, percussion

Christa Patton, harp, shawm, bagpipe

Charles Wines, shawm, dulcian, recorder, bagpipes

Royal Brass Robert Birch, trumpetFred Marcellus, trumpetSharon Tiebert, French hornBryan Bourne, tromboneBenno Fritz, bass tromboneDon Spinelli, percussion

Solstice SingersZoe Alexandratos* Amy Appleton*Jeff Ashford*Douglas Baumgardt*Caroline Birasa Jane Bloodworth*+Sharon Clark-Napolitano*Gwendolyn Cummings

Abbie Desrosiers* Claudia Hastings Dulmage*Jan Elicker+Helen FieldsEleanore Fox*Diana Garibaldi* Nicole GianucaDavid Giusti* Richard Glassco*Sarah Glassco *Alan HaeberleMichael Haycock*Patrick HendrenEva Jannotta*Dick Kovar Jim Lazar Liza Lester*Michael Lewallen*Christopher Lewis +Greg LewisSusan Hall LewisAndrew M. Moore*Lea MulderCelia A. Murphy Jason NoonePeter Noone Alan PeelLars PetersonMike Platt* Máiri Breen RothmanJoe SereneMaud Taber-Th omasGrace VanderVeer Flawn WilliamsDiane Behrens Winslow Terry Winslow Will Wurzel+Christina Zola Peck*

Yuletide TeensSylvie Ashford Sarah Brodnax* Ransom Cain*Elspeth DorrAryn Geier*Zephyr Handerson Anna HoshKatie Jarvis Patrick Kearney Lucia LaNave*Mattias Lundberg Katey Noone*Rowyn Peel Darrow Sherman

Holly & Ivy ChildrenLilly BakerFiona Alexandra BondarevEleanor DakenAlexandra DavisLila HutchinsIsabella JacksonElizabeth LecaCaleb LeonardRaina PattersonCodruţ T. Pintea White Nicolo Rasi-deMattiesWalker RitcheyIsabel Riva-ClementDunya SiddiqueAidan Stanton-BrandAva Marian StebbinsAnya VedantambeSasha Vesensky

*Handbells + Section leader

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WASHINGTON REVELS STAFFArtistic Staff Artistic Director/Stage Director:

Roberta GasbarreMusic Director: Elizabeth Anne Fulford Children’s Stage Director: Jenni Voorhees Children’s Music Director: H. Katherine Toton Assistant Directors: Sam Game, Eva Martin Assistant Music Directors: Terrance Johns,

William Wurzel Set and Lighting Designer: Colin K. Bills Assistant Lighting Designer: Mary KeeganCostume Designer: Rosemary Pardee Associate Costume Designers: Mollie LaTorre,

Rachael Feola Children’s Costume Designer: Cecily Pilzer Mask Designers: Leah and Shane Odom,

Mythical DesignsSound Designer: Kenny Neil Make-up Designer: Linda Smith Nissen Horse/Rider Designer: Alex VernonProperties Artisan: George T. Wang Morris Dance Consultant: Jim Voorhees

Production Staff Producer: Greg LewisProduction Manager: Colin K. Bills Stage/Floor Managers: Kelsey Jenkins,

Ashley Th weattChildren’s Stage Manager: Meredith CabeChildren’s Consultant: Emilie Moore Company Manager: Susan Hall Lewis Assistant Company Manager: Diane WinslowChorus Managers: Diane Winslow,

Grace VanderVeerCostumier/Wardrobe Mistress: Lois Dunlop Costume Manager: Robbie McEwen Costume Technician: Michele MacadaegCostume Intern: Willa MurphyMilliner: Linda McHughAssistant to the Costume Manager: Jen MurnaneHair Consultants/Crew Captains: Barbara

Beachler, Victoria Metz

Jeweler: Margaret FoleyProps Crew Captains: Jay Douglas, Don Names Props Coordinator: Jay DouglasProperties Consultant: Mary Gene Myer Makeup Crew Captains: Linda Smith Nissen,

Lisa Grosh, Kendra Hendren (assistant)Makeup Consultant: Kristin Jessup MooreWednesday Night Work Party Coordinators:

Kathleen Geier, Polly Edwards-SealScript Manager: Eva MartinOutreach Coordinator and Merchandise Sales

Captain: Jackie Young Outreach Assistant: Donyé Keesee

Technical Staff Technical Director: Steve Cosby Scenery: Renegade Productions Audio Description: Phyllis Greer, Metropolitan

Washington Ear Photo Documentation: Sheppard Ferguson,

Nick Eckert Video/Audio Production: John Paulson

ProductionsProgram Cover Art: Charles VessProgram Design: Karen Lee Program Border Art: Keith PattersonGraphics Production: Elizabeth Anne FulfordProgram Editor: Terry WinslowWriters: Helen Fields, Elizabeth Anne Fulford,

Rhianna NissenCopy Editors: Catherine Hagman, Diane WinslowProgram Production Manager: Tad CzyzewskiPrinter: MasterPrint

House ManagementBox Offi ce Manager: Debbie Grossman Box Offi ce Assistant: Naomi Peel Box Offi ce Volunteers: Bryan Draper, Toni

Goldberg, Daniel Kaufman, Pax Linson, Agatha Munu, Anne O’Donnell, Hannah Weinstein

Front of House Manager: Marta Schley

PRODUCTION STAFF

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PRODUCTION STAFFLISNER STAFFExecutive Director: Maryann Lombardi Th eater Manager: Cassandra Lammers Assistant Th eater Manager: Jeff Kirkman IIIManager, Ticketing & Box Offi ce Operations: Sean KellyAssistant Manager, Ticket & Box Offi ce Operations: Nicole Langway Production Manager: Eric Annis Technical Director: Colin McGee

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Props CrewDon Names, CaptainJay Douglas, CaptainJulia HendrenJon LecaAiden MattkeJason MorrisCarmine Napolitano

Merchandise CrewJackie Young, CaptainNancy AlexanderPete BehrJames ClementMargo M. Cunniff eVictoria DavisRollie FryeAnn GatesEmma HardinDana JacksonLeslie E. S. JarvisRuth LanichJane LeggDan MickJackie MorillasAgatha MunuMadeline NelsonLeah OdomDeLaura PadovanMaren Padovan-HickmanSusan PetteyLoren Riva-ClementJoseph Riva-ClementCharlotte SchoenemanZoe Schoeneman-FryeMarla R. SchraderMichaela SpehnPatrick TysonMarni Von WilpertDon WalshLisa Wheeler Deborah Zubow Prindle

Makeup CrewLinda Smith Nissen,

Co-CaptainLisa Grosh, Co-CaptainKendra Hendren, Crew

AssistantLori AshfordElla CaplinCheyenne CummingsKate CurtisCindy DunbarKathleen GeierClaire HaeberleRina Kaye HaimsonSarah KatzMarissa MaleyMadeline MaloneyEllawyn OdomKirsten Wheeler, makeup

runner

Hair CrewBarbara Beachler Brodie,

CaptainVictoria Metz, CaptainLori AshfordKate MeroskiMarissa MaleyMadeline MaloneyElla Caplin

Stitchers & Wardrobe CrewTom BethardsPaige Billin-FryeJane BloodworthLaurie CullenMargo M. Cunniff eRosanne GochmanEmma HardinAgatha MunuJen Murnane

Janice McKenneySandy NorthropMari ParkerMike PlattDonna SimontonErin SutherlandDaphne Williams

Backstage RunnersElena BachmanKiah BeachlerGabrielle ColeAbby EhrensteinEva Hutchins

Backstage Food & Cast PartyMargo M. Cunniff eKathleen GeierMaMoe HtunSusan Hall LewisDeLaura PadovanMaren Padovan-HickmanDiane WinslowCindy Dunbar and Charlie

Cerf, cast party hosts

Wednesday Night Work Parties, Props, Knitters, Schlepping, Offi ce HelpScip BarnhartPaige Billin-FryeJane BloodworthLaurie Cullen, Quilling

DesignerJane Cunniff eKate CurtisJay DouglasClaudia DulmageDennis DulmageJan Elicker

PRODUCTION VOLUNTEERS

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Helen Fields, Knitting Designer

Eleanore FoxAnn GatesKathleen Geier,

WNWP Co-HeadNatalie GianucaPeg GianucaLars HanslinClare HardinEmma HardinJonathan HarrisLeslie E. S. Jarvis,

Knitting DesignerBev JenkinsJon LecaSusan LewisMarissa MaleyTom Martella

Dan MickJen Murnane, Cross Stitch

DesignerCelia Murphy, Jewelry DesignerMike MurthaDon NamesMadeline NelsonChristina Zola PeckNaomi PeelLars PetersonPolly Edwards-Seal,

WNWP Co-Head Donna SimontonMichaela SpehnGuenevere Spilsbury, PainterOlga VonikakiJenni Swanson Voorhees,

Knitting DesignerDaphne Williams

Parent VolunteersTricia Baker, Co-HeadIane Campos-SiddiqueErica BondarevJohn & Abi DakenVictoria and Lonnie DavisDana JacksonChristen LeonardMary PattersonJo RasiMary RitcheyKaren Schofi eld-LecaJennifer Stanton-Brand Ashwini TambePeggy WalkerAnna White, Co-HeadKerstin Zurbrigg

PRODUCTION VOLUNTEERS

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Offi ce Staff Executive Director: Greg LewisMarketing & Development Director:

Jo RasiBusiness & Development Director:

Tad CzyzewskiOffi ce & Education Manager: Emilie MoorePrograms & Volunteer Manager: Christine

AlexanderSpecial Projects Director: Terry WinslowCompany Manager: Susan Hall LewisIT Director: Will WurzelWebmaster: Elizabeth Anne FulfordIntern: Donyé KeeseeBookkeeper: Christine McElroy

Artistic Staff Artistic Director: Roberta GasbarreMusic Director: Elizabeth Anne FulfordEnsemble DirectorsGallery Voices Director: Elizabeth Anne

FulfordHeritage Voices Co-Directors: Andrea Jones

Blackford and Elizabeth Anne FulfordJubilee Voices Director: Andrea Jones

BlackfordMaritime Voices Director: Michael MathesonVoices of History Director: Roberta Gasbarre

Board of DirectorsWilliam B. Conway, ChairJim Lazar, TreasurerCandace Davis, SecretaryMerribel AyresPeter BehrRoland M. Frye, Jr.Madeline NelsonLars PetersonWilliam L. Ritchie, Jr.Scott WilliamsTerry Winslow

Advisory Board Steering CommitteeJennifer Swanson Voorhees, Co-ChairTerry Winslow, Co-ChairDavid H. Langstaff Mary Eugenia MyerMary Swope, Founder

Advisory Board MembersCynthia McCune AllenJill S. BixlerRoderic V.O. BoggsJames H. BreedJohn DanielSheppard FergusonSarah HolmesTim CarringtonJohn ClewettSusan Hall LewisMichael MathesonDavid B.H. MartinAdelaide M. MillerJohn PomeranzFrances SharonJuliette W. SmithCindy SpeasNancy Lindsten TaylorSheila WeissCharles WilliamsDiane Behrens WinslowGeorge W. Ziener

Artistic AssociatesColin K. BillsMary CombsJudith L. HarrisonEmilie LongRosemary PardeeCharlie Pilzer

WASHINGTON REVELS

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SPECIAL THANKS

Elizabeth Fulford for general web design and support, including the principal design of our current web site; design contributions to marketing materials; and direction of our Gallery Voices, Heritage Voices, and May Revels chorus.

Roberta Gasbarre for directing and overseeing our education programs, helping stage-direct our ensembles, and writing material and coaching the professional actors who make up our Voices of History ensemble.

Colin K. Bills for once again stepping into the void created by the absence of a full-time Production Manager on our staff , and giving of his time, expertise, wisdom, and experience in ways that greatly exceeded what he had contracted himself to do for the production.

Terry Winslow beyond his senior editorial role on this program, for his substantive research and draft ing on details large and small in both the articles and notes; producing our 2015 May Revels; and serving as acting Programs Manager until a replacement for that position could be found.

Will Wurzel for his extraordinary devotion and untold volunteer hours in the offi ce, including his IT and sound reinforcement expertise, assistance with transcribing and preparing music, artistic and editorial contributions to video and audio recording, contributions to the ticketing process, and on and on (and on).

Andrea Blackford for her invaluable work and inspiration serving as Director of Washington Revels Jubilee Voices and Co-Director of Washington Revels Heritage Voices.

Mike Matheson for his yeoman (nautically speaking) eff orts in organizing and directing our Maritime Voices at many venues over the past year.

Donyé Keesee for her excellent work and assistance as our intern for the 2015-16 school year, dealing with many diff erent aspects of Revels business, and for managing the invitation process for this year’s Outreach Performance.

Leah and Shane Odom, and their studio, Mythical Designs (with a special nod to Alexandra Brown, Shop Gnome), for creating and loaning to Washington Revels the extraordinary masks seen onstage in this show, and for creating and producing many similar masks for sale at our merchandise tables.

Rhianna Victoria Nissen for her contributions to the music notes for this program, research hours in support of the music, and inspiration for this year’s music article.

Jan Elicker, Jane Bloodworth, Chris Lewis and Will Wurzel for their support as section leaders for this year’s Christmas Revels chorus and their contribution of many hours to make recordings of their individual vocal parts to serve as learning guides for singers in their sections.

Dan Mori for serving as Assistant Director until he could no longer do so, and contributing in many ways, essentially never saying no even when he should have.

Kathleen Geier and Polly Edwards-Seal for the extraordinary job they did as our new Wednesday Night Work Party coordinators, not to mention the many additional hours they spent creating literally hundreds of ribbon sticks.

Helen Fields and Leslie Jarvis for designing the knitting pattern for the St. George and the Dragon puppets and directing a workshop to instruct the knitting crew on how to knit them; and to the knitting crew (too numerous to mention), but particularly to Helen, Leslie, Lila Guterman, and Jenni Voorhees, for making them.

Washington Revels gives particular thanks to William L. Ritchie, Jr. for his longstandingsupport and for helping make possible our 2009 relocation to a new home in Silver Spring.

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Bev Jenkins for designing, making and donating 43 beautiful cross-stitch ornaments – including an entire set for the 12 days of Christmas – and a total of more than 250 over the past 3 years; and Jennifer Murnane for researching cross-stitch designs and turning the completed designs into ornaments.

Laurie Cullen for initiating the idea of quilling objects for our merchandise tables, launching our Revel Year Round program with a quilling workshop, conducting additional workshops on quilling, and instructing craft ers at Wednesday Night Work Parties in the art of quilling.

Madeline Nelson for conceiving of the idea to sell wax and wood ornaments as well as medieval tile coasters, conducting a Revel Year Round workshop on how to make those items, and making many such items herself.

Ann Gates for conducting a Revel Year Round workshop on making rag dolls and constructing dolls herself.

Cecily Pilzer for serving as costume manager and wardrobe mistress for our Heritage Voices, Jubilee Voices, Maritime Voices, and Voices of History ensembles, and to both Cecily and Charlie Pilzer for their $5,000 gift to the Wash-ington Revels Costume Shop.

Th e entire Costume Team, headed by Rosemary Pardee, Robbie McEwen, Lois Dunlop, Cecily Pilzer, Rachael Feola, and Mollie LaTorre – plus all of the many costume volunteers, most particularly Rosanne Gochman, Janice McKenney, Jane Bloodworth, Mike Platt, and Daphne Williams, for creating and executing a new design concept and building new costumes to fi t it.

Diane Winslow, Helen Fields, Robbie McEwen, Laurie Cullen, Emilie Moore, and Jackie Young for serving on the Merchandise Committee headed by Christine Alexander, Tad Czyzewski, and Jo Rasi.

Jay Douglas for assuming responsibilities that would normally have been handled by our staff Production Manager if we still had

one, including props coordination for this production and for our 2015 May Revels at the National Cathedral.

Carrie Kovar Boris for handling all of our early priority seating for donors, performers and production staff , with painstaking care and detail, for over a decade, and husband Paul Boris for developing the schematic that has helped to keep the job manageable as it has grown over time.

Cate Hagman for her able assistance with offi ce work this Fall.

Jackie Young for heading both our Outreach Performance (with outstanding assistance by Donyé Keesee) and Lisner merchandise sales.

Peg Gianuca and Helen French for helping the offi ce with a variety of issues concerning our Salesforce database.

Andrew Moore for serving as our faithful truck driver and carting props, set materials and so much more throughout the year, and Jay Douglas for handling all truck arrangements.

Lars Hanslin for helping to track and confi rm all donations made over the past year.

Scip Barnhart, Paige Billin-Frye, Kathleen Geier, Jon Leca, Tom Martella, and Guen Spilsbury for lending their time and skill to making a variety of set and prop items for this show.

Interns Winnie Nguyen for general marketing assistance and Emma dePaulo Reid for her work on design and special projects.

Busy Graham, Molly Hickman, Bruce Hutton, Lilo Gonzales, Betsy Fulford, Barry Galef, Connie McKenna, Barbara Pequet, Lars Peterson, Lane Smith, Anna White, the members of Slaveya, El Golfo, Moorenkos Ice Cream, Pacci’s Neapolitan Pizzeria, and the many others who worked with Jo Rasi and Emilie Moore over the past year to make the Washington Revels - Carpe Diem Community Sings come together so beautifully.

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Jon Leca and Tom Martella for helping to reorganize the set and prop items in our basement.

Jim Voorhees for teaching and coaching new dancers for Lord of the Dance and Abbots Bromley; serving as band leader for our July 4th and Labor Day parade performances, leading the band in our May Revels, and conducting two Lord of the Dance workshops for our Revel Year Round program.

Leah Odom and Ellawyn Odom for their general assistance during Tech Week and the entire run of the show.

Mary Gene Myer for her help with props design and construction; her design contributions to marketing materials; and her invaluable counsel and generous spirit in helping with all that we do.

Claudia and Dennis Dulmage, Leah and Shane Odom, Sabrina Mandell and Mark Jaster, and Montgomery College for loaning costume and jewelry items used in this production.

Montgomery College and the Smithsonian’s Discovery Th eater for loaning props.

Cindy Dunbar and Charlie Cerf for once again – and sadly, for the last time, since they are selling their house and downsizing – graciously hosting the cast party at their home.

Th e Washington Waldorf School, Th e Potomac School, and Washington Episcopal School

for providing rehearsal space for this year’s Christmas Revels.

Our multitude of volunteers and production personnel who made our 2015 May Revels at the Washington National Cathedral’s Flower Mart a wonderful success. Special thanks to Terry Winslow, Danny Pushkin, Betsy Fulford, Colin Bills, Roberta Gasbarre, Jenni Voorhees, Emilie Moore, Jay Douglas, Rowyn Peel, Susan Lewis, and Jim Voorhees, for the special roles they played, and also to the All Hallows Guild of the Washington National Cathedral and Cynthia Schollard, chair of the Flower Mart’s Entertainment Committee.

Sheppard Ferguson Photographs, and Shep Ferguson personally, for donating his time to come from Watertown, Massachusetts to photograph the 2015 Christmas Revels.

DrinkMore Water for once again – as they have for well over a decade – providing discounted water and a water dispenser for the entire run of our show.

Susan Hall Lewis for over 1,000 volunteer hours, but above all for serving as community nurturer throughout the year, as for so many years, with endless attention to detail exceeded only by her warmth, sensitivity, and good humor.

Th e late John Langstaff , creator and Master of the Revels, and Washington Revels Founder Mary Swope, for planting and nurturing the Revels tradition in Washington, D.C.

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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)Arts and Humanities Council of

Montgomery CountyMaryland State Arts CouncilTh e William L. Ritchie Th eater and

Education Fund

Grantor ($10,000–$24,999)Bill and Diana Conway Mary Eugenia and Th eodore Myer

Guardians ($5,000–$9,999)Elizabeth Anne FulfordMark and Ann KingtonCarolyn Leep and Jim LazarHildegard B. LewisMadeline NelsonCecily and Charlie PilzerTerry and Diane Winslow and

Frida Burling

Patrons ($2,500–$4,999)Greg and Susan LewisMike and Patricia MathesonGregory McGruderRichard David Taylor

Sustainers ($1,000–$2,499)Merribel AyresPeter and Martha BehrTh e Boeing CompanyChristine CarricoCharles Cerf and Cindy DunbarJim Clement and Jo RasiIn memory of John ConcannonLaura and Douglas CoxEric and Brita CronquistLinda and John DanielCandace and Jeff rey DavisRoxana Oppenheimer DayBarry Galef and Ellen PostBill and Ann GearyGordon and Velva GrooverKendra and Patrick HendrenNeele JohnstonHelen and David KenneyRichard and Carolyn KovarRobbie McEwen and Harry

BagdasianJeff rey Nuechterlein

Philip L. PerkinsTh orn and Sharis PozenRoland Frye and Susan PetteyCraig PettiboneIan Roberts and Kathy SeikelPeter SchultVivien and Norman SilberSam Wyman

Donors $500–$999Carole Ann Barth and James ZeppJill S. BixlerJane BloodworthMorgan Buckli and Dan FioreTim and Trish CarricoMary ChorPhilip Angell and Jane CooperMary Frances Cotch and Lee HallMichael and Ellen CroninDahiya FamilyDoug DancisTh e DePrest FamilySusan Dentzer and Chuck AlstonJames Jay DouglasCarolyn and William DoyingClaudia and Dennis DulmageJean EssweinRaymond and Colleen FilbeyHarriet Sweeney and Eric

FraunfelterVicki R. HerrmannNancy T. HolmesAnne B. KeiserBobbie and Bill KilbergPru and David LakeAngela Lancaster and Chuck

MuckenfussPardee LoweAnn LuskeyKathy MaherWarren and Diane MartonLouise McIlhenny and Hugh

RiddlebergerKatherine S. NeviusSandy NorthropB. Th omas and Jo Anne PeeleDaniel and Melissa RymanJeff and Ellen SandelTh omas J. Scott, Jr.Joseph Serene

Edward and Patricia Shaff erDonna SimontonBetty Ansin SmallwoodIlse Stauff erMeg and Bob StillmanJoanna SturmBill Swedish and Linda GriggsEugene Carlson & Mimi Th ompsonScott and Christy WallaceMarsha Lee WardPaul N. WengertTh omas WilkensScott Williams

Supporters $250–$499Donald Adams and Ellen MalandTh e Baker FamilyDouglas and Helen BaumgardtBob and Betsy BeinJharry and Alice BreedTerrence Brown and Linda

Whitlock-BrownGreg and Mary BruchJoan and Stephen BurnsAnn Bushmiller and Al CacozzaGary and Ann CarpenterJann and Joe CassadyHugh and Barbara CassidyJoan ChallinorMary Cliff Kenneth and Lynn ClineTom and Marjorie ColeJim and Sandy CooperDeidre Donahue and Jamie

DahlbergKevin and Sharon DooleyNorma DuggerSusan FahrbachMarcia FlournoyJohn and Lillian GradyGreenspan/Doyle FamilyDaniel Mick and Maureen Jais-MickSteve and Debby JencksPete JohnsonMaryann, Sian and Rawles JonesStephen and Katharine KovarcikDiane KreshDeborah Roudebush and David

LarchLouise and Sandy McGinnes

DONORS

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Selby and Roemer McPheeKristin & Russ MooreAndrew and Patmarie NedelkaLinda Smith NissenMary K. ParkerJudith G. PerryChristopher PlattDavid & Sandy RobinsonBarney Rush and Marjorie ShawMarjorie and Matthew SchneiderJohn M. SmallwoodJudith and James SmithJohn StewartBill and Susan SweeneyS. Jean van der TakJan Paul Richter and Ellen von

Seggern-RichterJennifer and Jim VoorheesVirginia and Chris WhiteEvelyn and Charles WinkelsJim and Marca WoodhamsWilliam Wurzel

Special Friends $100–$249AnonymousAmazon SmileDora and Bruce AndersonSusan ArmbrusterGretchen AsmuthChristopher Zeilinger and Ann

BakerJohn Milns Baker and Liddy

BakerBarbara and Maynard BallDanielle M. BeauchampBarbara BellTeresa C. BennettJacqueline R. Berry, MDMary Lou BerresAndrea Blackburn and Gregg

RubinsteinDavid BradleyElizabeth and Howard BradleyAnnette Canby and Peter BresnanLeigh Culver and Eric BrodnaxJohn Parisi and Anne BrokerDoris O. BrunotAmanda Cannell-Boone and Peter

BooneIn Honor of Ella CaplinBan CheahHope ChildsJack and Ann CloughKatherine CoerverHeleny CookDeborah K. CooperSally CooperMarcia Crandall

Betsy CromwellPeter and Charlotte DeanCindy Denchfi eld and Frank

KlassenPhyllis DerrickMac and Harriett DestlerJan Dommerholt and Mona

MendelsonKenneth and Carol Doran KleinSusan Dunham and Daniel

SchemberJacqueline H. DunlaveyJoanne E. DunneFather Francis J. EarlyAllen M. EarmanMr. and Mrs. Charles F. Eason, Jr.Th e Ehrenstein FamilyDiane and Ron EichnerSvend EsborgPeter Ames EvelethDoris and Lee EvensFrederick and Catherine FagerstromMichael FallonKatherine Farquhar and Phil MirvisKaren FinnMargaret and Peter FisherMary Catherine and William G.

Fisher, Jr.Nancy Ford-KohneGudrun P. FosterMary E. FrakerSylvia Garcia and Mauricio

Villafuerte Ed GertlerJoseph GitchellMr. and Mrs. Gregg H.S. GoldenKatherine GordonLynn GowenDiane GrowitzTh e Guinnessy HouseholdDenny and Frances GulickMichaela Spehn and Craig HaimsonJudith Halsey and Stephen VanzeAnne HarrisonMary and Ted HartzLars Hanslin and Becky LairdSara and John HebelerCaroline and George HarrisNorman and Ann Marie HicksJim and Cathy HigginsEric HoldsworthSherrill HoughtonTh omas Howell & Shelley RockwellWilliam HuntFran and Will IrwinPaulette and Tom IrwinLiz and Steve JonesRonald Jones

Andrew KaelinJane C. KarpickKathleen KeenanLisa KellyLee Ann and Bob KinzerDr. Robert F. and Mary S. KnautzMark and Cathy KnepperGary and Melinda KramerMr. and Mrs. Dale KrumviedeLinda and Oscar LarsonTh e Leighty FamilyGreg Lewis and Evelyn YingMaureen Lewis and Danny

LeipzigerTom Luminello, Jr.Barbara Lynch and Michael

PumpleTom and Jana MartellaBertha M. MartinSharon and Henry MastroniWilliam and Pamela MattesJane McAllisterSally and Bringier McConnellTh omas and Kathy McGarrilMary-Margaret McGrailCynthia McGrathJanice E. McKenneySusan McLaughlin and John

McMahonNancy MelitoDaniel and Claire MessingConstance MinerPatricia and Eric MostSuzanne L. MunsonAnne and Jim MurphyRay and Jennifer MurphyPam and Tom NelsonMichael NieblingRon and Mari ParkerElizabeth and Bill PaulsonRodney and Linda PendletonSheila PetersLars PetersonRoger Pollak and Whitney PingerJohanna H. PleijsierRobert PosnerEleanor K. PourronLee PushkinDavid and Shirley PutnamSteve and Marie ReedMary Reyner and Brian SteinbachLois ReynoldsCol. and Mrs. Mark B. RoddyKathy RosenbaumSuzanne and Stephen RudzinskiRosemary and Sylvester RyanAlbert and Mary SalterSharon and William Schaefer

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Steve and Deb SchmalDiane M. SchmitTh e Schofi eld-Leca FamilyMitzi SchroederChris Schumann and Cathy WissLiz SczudloRobert and Linda SearsFrances SharonCristina SilberRobert SnashallJeff rey Solar and Rosalyn FurukawaNikolai and Kathleen SorokinJeff and Marisa SprowlsDr. and Mrs. Laszlo SteingasznerJanet and Fred StollnitzTim StoneJo Ellen StorkWilliam StrangMarty and Rick SummerourSusan Swope and Shirley

TannenbaumSheila Harrington and James

SymonsAndrew TeterAnn and William TierneyRuthanne ToppingEdward C. TurnerAndras P. VaradiKelly VielmoHiromi and Karl VilbigKathleen East WalkerJohn D. WardMr. and Mrs. Porter WheelerDavid Gogol and Gloria WhiteAnn WilliamsJim and Marietta Witt

Friends ($25–$99)Anonymous (3)Vivian AdleJohn AllenKeith & Kate AusbrookEllen D. BadgleyMr. and Mrs. Robert F. Baldwin, Jr.Th omas H. BethardsCharlotte J.K. BrewerJohn H Broadbent IIIPhillip Brown & Barbara WolaninTh omas BrownMichael and Judith BucciJeff BurtonAnne ButlerMary CahalaneDiane Carsten-PelakSonia CastilloIn memory of John Concannon (4)Pia and James ConnellConnors Household

Th omas CostelloDeborah CotterJane and Lawrence CoxTad CzyzewskiJudith DavisTamara de la CampMargaret DennisTh omas & Betty DooleyMarcia and John DuncanKaren DurovichJayne and Robert EckertElaine Emling and Michael JennerJanet FaddenAlexandra Fairfi eldSarah FarmerSusan H. FarnsworthMargaret FarthingAndrew and Deborah FerrinAshley FloryBrenda FowlerJoanna and John MarshVirginia FriesCaroline FurlowRoberta GeierCarol Goter RobinsonBobby GravitzJennifer GreenGwynne & Robert GriswoldLila GutermanKathleen Guthrie and Tim BarnerKathrin HalpernSofi a HammerNancy and Keith HarringtonIn honor of Rowyn Peel’s 18th

BirthdayGillian Hay and Sunil ChatterjeeLawrence P. HayesGeorge and Rosalind HelzMarjorie HerbertDonald HinmanSarah Holmes & John MorrisSusan and Phil JohnsonDr. Rochelle KainerMaja KeechBarbara KellerStuart KoehlCarolyn F. LauerJames LawtonDenise LearyCatherine LeeMichael Lewallen and Mike PlattBeth LynchChris ManleyJaneane M. MarksLisa MartinLuella MastCliff McCreedyJudson McIntire

Tom and Joan McIntyreJennifer MessersmithSuzanne MetzVictoria E. MetzSondra MillsAndrew MooreBlanche MooreEvan and Rosemary MortimerCherie MulderTom Nardone & Edith LamCarol and David NatellaLeila NelsenSusan NoonVera and Marcus OwensTh eresa PachecoHelen PanittAnne E. PatrickRobert PaulOskars and Metra PetersonsEdward PostLynn QuarlesColleen ReedSusan V. RileyFrederick Anderson and

Barbara RoseSelig and Rochelle KainerMarlene ShaulCarol Ann SicilianoCamille Q. Hall & Fred SilsbyLouis and Jan SilvanoKerric St. Clair HarveyWilliam and Katharine StewartGenevieve StirlingMr. and Mrs. W.S. SymingtonTh ree Merry Men Brewing

CompanyJulia TossellPenny & Al Veerhoff Virginia J. VitucciMr. and Mrs. Fred B. WarrenTzvety and Bryndyn WeinerLila WestTimothy and Virginia WexCarla WheelerAndrew WhiteNadine M. WhiteHenry and Elinor WixonTh omas H. WolfeEleanora M. WorthGrace YannakakisMartha A. Young FreedbergMatt and Michele ZenkowichSusan Zweighaft

Th ank you to donors who gave through United Way/CFC contributions.

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

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

Fine Italian WomenswearGeorgetown | 2822 Pennsylvania Avenue, NW

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