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December 2014GW Lisner Auditorium • Washington, DCRoberta Gasbarre artistic & stage director

Elizabeth Anne Fulford music directorColin K. Bills production manager

WASHINGTON REVELS COMPANYColcannon Chorus Kerry TeensWren ChildrenKilkieran Brass

WITH GUEST ARTISTSKelly Criscuolo-DeButts, uilleann pipes & fiddleJoe DeZarn, fiddleTina Eck, Irish flute & tin whistleSue Richards, Celtic harpJesse Winch, bodhrán Séamus Miller, as Darragh RyanSam Game, as Evin ConnellyTom Kearney, as The Purser

Roberta Gasbarre Artistic and Stage DirectorElizabeth Anne Fulford Music Director

Colin K. Bills Production Manager

December 2014

ANDCutting Edge Sword Shannon Dunne Shannon Dunne Dance children

FEATURINGKate BoleKate Spanos

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

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

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

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

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

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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.

What is celebration in the heart of an immigrant? It’s a rich feast, I think, of joy and sorrow, of hardship and strength, and of leaving behind one home, persevering on the journey, and coming through to create something special in a new, adopted home — while still cherishing the memories of old hearths. This is the story of all the people who have left another home

behind to come to America from other places in the world. Our story.

Our 2014 Christmas Revels tells that story through the warm and vibrant voices of Irish villagers who represent the millions of their countrymen, the “Wild Geese aflighting,” who left their homes looking for refuge and sustenance in the New World. We honor those stalwart travelers: our cast of adults and children has adopted the names of passengers from the manifests of an actual “famine” ship (which inspires our set design in Part II) that carried Irish emigrants to America in 1849.

But first we meet them in their homeland. It’s solstice time in the little village of Kilkieran, where we gather for a party of music, dancing, and song. Community members know each other so well that the only unknown, it would appear, is which young man will get the honor of playing Saint Patrick in the mummers’ play, a traditional folk play of the sort we will later see presented on the boat taking them across the ocean to New York.

There’s talk, in this agrarian community, of the crops failing. Although some crops are flourishing — the crops that they must give over to the land agents so they may occupy the land — the potatoes, their staple food, are blackening on the vine. Many fear starvation. Some say they need to leave. But in this time of celebration, all of that is put aside for the moment.

Our Revels stories often contain both the light of the holiday and the darkness. The darkness comes a few years later, shortly before a new Christmas. A confrontation between a villager and his landlord illustrates how bad things have gotten, and our villagers leave their homes to board a ship, sailing away from their dear Éireann, their Ireland, forever. Children worry: will Christmas find them if they aren’t at home? Their mothers reassure them that Christmas (like Ireland herself) goes with you wherever you roam. You sing the songs and dance the dances to keep it alive in your heart.

As the new year dawns, so does a new land and new possibilities. The intrepid travelers will keep their homeland dear even as they embrace their new home. And we all, each year, do the same. We let go of what’s behind us, embrace our friends and family, and turn our eyes to the horizon, stepping into the unknown of a new year with optimism and hope.

— Roberta Gasbarre

DEDICATIONThe wonderful sound of our Washington Revels Brass has been a constant in every Christmas Revels production since 1996. Four members of that ensemble have participated in all 18 shows since then, becoming integral members of our Revels community. In 2014, two of them retired

from the ensemble. We will miss them, both musically and personally, and we dedicate this production to Robert Posten (bass trombone, director) and David Cran (trumpet).

Americans typically think of Irish dancing in terms of the style popularized by the show Riverdance — arms at the sides, rigid upper body, legs making an occasional high kick, and quick feet executing complicated steps. But this style of Irish dancing is only one aspect of a deep and historic tradition — a tradition that, much like Ireland itself, has been shaped by religion, national

identity issues, and community and local traditions.

This easily recognizable style of Irish dancing is actually called competition style step dancing. Though the Irish had regional styles of step dancing, the style in the south of Ireland took on a more serious and codified tone after roving “Dance Masters” entered the scene in the 18th century. Steps were taught in 8 bar sequences, repeated exactly on the right and left foot, with a strict upper body, and no smile on the face.

In the 1930s, the Irish Dance Commission, an agency created by the Gaelic League, defined Irish step dancing in terms of these steps and also defined céilís as figure dances with the same upright style and specific footwork. Only dances meeting these criteria were considered “official” Irish dancing. The stated intent was to rid Irish dancing of European influence, but the rigid definitions excluded and thereby discouraged the different dance styles that existed across the country.

One area with a different type of traditional step dancing is Connemara, a mountainous region along Ireland’s Atlantic coast. Isolated by its geography and the considerable extent to which its population speaks Irish, this area continued to use an older style of step dancing — improvised, percussive steps with feet close to the ground, and emphasizing strong, clear rhythm, personal style, and playful performance quality. Steps were passed on through families and communities, but only through observation and participation; there were no teachers, no dance masters.  

For a long time this dancing had no name. It was simply dancing! However, in 1976, at an event that was celebrating Irish culture with only official step dancing, the people of Connemara organized a fringe event with local dancers. They believed that competition style did not represent the dancing of Irish speakers who were preserving true Irish traditions. It was at this event that the dancing was first referred to as sean-nós (meaning “old style”).

But regional dance styles outside of the Commission’s definitions are not unique to Connemara. Differing dance styles exist throughout Ireland. Many counties have strong traditions in figure dances that resemble American square dancing. Sets are group dances derived from the French quadrille, which became popular in Ireland in the late 18th century. Many towns, counties, or regions have their own “set,” with footwork and tunes that reflect the traditional dancing and music from that area.

And of course, Irish dancing in various forms has travelled beyond Ireland’s borders because the traditions naturally travelled with the emigrants. We know that these dances came to North America; we can see it in our clogging and other traditional dances — the legacy of our ancestors who danced across the ocean. — Shannon Dunne

Irish traditional music is distinctly melody-driven. “The wild grace of ancient Irish melody,” in the words of writer and singer Scott Alarik, is what defines Irish music — its elegant contours and surprising leaps, its rhythmic propulsion, its easy singability.

The music of our 2014 Christmas Revels offers a feast of Irish melody. In the band and dance sets, our traditional musicians play jigs, reels, hornpipes, slip jigs, polkas and marches with lilting grace and often fiery speed. The essentially melodic instruments — Joe DeZarn on fiddle, Tina Eck on flute, and Kelly Criscuolo-DeButts on uilleann pipes — are in charge here. Jesse Winch on bodhrán (in his second Revels in D.C. and fourth overall) and Sue Richards on Irish harp (third Revels in D.C.) largely support the melody with essential rhythmic accompaniments, not competing with the tune, but rather giving it the freedom it needs.

Similar melodies abound in the vocal music. In “O’Rourke’s Revel Rout” the chorus sings a unison melody that is very instrumental in nature; in “Star of the Country Down” and “Rocky Road to Dublin,” soloists or groups of singers take on the unison verses, answered in harmony by the full chorus. Many traditional Revels carols also focus on melody and unison singing, like the iconic “Lord of the Dance” and “Sussex Mummers’ Carol.” The singular community of over a thousand voices joined together in unison is lifted up by the

lush harmony of our brass ensemble. It is a feeling like none other.

So, in a show celebrating Irish music, the challenge for an arranger is how to marry melody and harmony appropriately. Two approaches are taken in our show: one places the harmony primarily in the accompaniment or refrain; the other discovers the harmonies implied in the melody and fleshes them out with restraint and taste, as Revels, Inc. Music Director George Emlen has done in his beautiful arrangements of “Down by the Salley Gardens,”

“Saint Patrick’s Breastplate,” “The Darkest Midnight in December,” and “Hymn for a New Land.” Brass members Benno

Fritz, Robert Posten, and Gregory Pascuzzi have also arranged traditional Irish tunes in the preludes to Parts I and II, before the audience carols, and in many choral numbers.

This melody-harmony relationship in Irish music can be further explored by looking at the role of the harp, because, unlike fiddlers and flutists, harpers are capable of playing chords as well as melodies. The harp presumably started as a melodic instrument in ancient times, but as harmony arose in Western music, it is likely that harpers took advantage of their multi-string capability.

By the end of the 17th century, harping had fallen on hard times as English repression intensified. The distinctive triangular wire-strung harp, a symbol of Irish nationalism, was outlawed and went underground. Preservation of the old tunes was left to melody instruments, including the voice. Yet Irish harping managed to survive into the 18th century in the hands of itinerant harpers, epitomized by the legendary Turlough O’Carolan.

Traditional Irish harping lay dormant during the 19th century, but experienced a dramatic 20th-century revival, first serving as a harmonic accompaniment for singers in the 1930s. Harpers then learned to play melodies at the same brisk tempos as fiddle and pipes, with all the ornaments, re-establishing the harp as a bona fide melody instrument. Our harper, Sue Richards, will do it all — playing melody, harmony, accompanying the singers, and performing solos that meld the harmony and melody together. So it is with Revels.

— Elizabeth Anne Fulford (adapted from a longer article by George Emlen, Music Director, Revels, Inc., in Watertown, MA)

The context for this year’s show is the wave of Irish emigration to the United States in the 1840s, the time of the Irish Potato Famine, or “Great Famine” as the Irish refer to it. In Part I of the show the residents of the village of Kilkieran (an actual village in County Galway) gather for a pre-Christmas celebration at their local pub, which we have recreated based on

paintings and etchings of Irish pubs from the era. Economic conditions have been difficult in recent years, and are compounded by the potato blight that began around 1845 and spread throughout Ireland. With most of Ireland’s produce being exported, millions of Irish families had become increasingly dependent on potatoes for food, and many now face major hardships dealing with the shortages and high prices caused by the blight.

Nonetheless, the villagers are determined to celebrate, and celebrate they do, with fiery playing by our Irish band, children’s singing games, Christmas carols, beautiful and rollicking songs, and a series of competitions in toasts and dances. At times there is talk of hunger and high rents, and some openly worry about how long they can stay in Ireland, but the fun continues late into the night, when love of Ireland becomes the theme.

Part II continues several years later. Ireland’s economy is now in terrible shape. Small farms, the backbone of rural Ireland, are often no longer viable. A law requiring owners and landlords to pay their tenant-farmers’ unpaid taxes increases their incentive to get such tenants off their land. Some owners and landlords encourage tenants to leave by offering to pay the cost of passage to America or elsewhere; some invoke the all-too-easy (and often cruelly harsh) formal eviction process; others simply use brute force.

Our villagers have booked passage to America on the Cushla Machree (the inspiration for our set in Part II), a 3-masted “famine ship” that in fact made two trips from Galway to New York in 1849. The voyage to America could be long (usually five or six weeks but often up to twice that), hideously uncomfortable, and very dangerous. The Cushla Machree was one of the safer ships, with few deaths and less overcrowding, and the passengers reportedly were “decently” treated.

The mood and action on the boat shifts from somber songs of longing to a shipboard Christmas with children’s and teens’ dances, more sing-alongs, and a mummers’ play featuring a battle between St. Patrick and the Wyld Worm dragon. After a massive storm, our villagers greet the dawn and a new land with powerful anthems of hope for the future, culminating this journey through the struggle, triumph, and fierce joy of a people who carry their homeland with them forever.

Washington Revels is pleased to have received the Honorary Patronage of the Her Excellency Anne Anderson, Ambassador of Ireland to the United States.

PART I

“Oh, the days of the Kerry dancing, Oh the ring of the piper’s tune…” begins this popular Irish song attributed to James Lynam Molloy, a 19th-century Irish composer, poet, and author. Th e arrangement for brass quintet is by Benno Fritz and Gregory Pascuzzi, members of this year’s Kilkieran Brass.

KILKIERAN BRASS

Sometimes known as “The Enniscorthy Christmas Carol,” after the Wexford town where the text was first found. The tune is traditional Irish, arranged here by George Emlen, music director at Revels, Inc., in Watertown, Massachusetts.

FULL COMPANY CÉILÍ BAND KILKIERAN BRASS

Th is familiar tune is thought to have Irish roots, fi rst appearing in a 1661 collection entitled An Antidote Against Melancholy. Th e arrangement is by George Emlen and Elizabeth Anne Fulford, with new lyrics for our Christmas Revels by local songwriter and leader of the Ocean Orchestra, Jennifer Cutting.

FULL COMPANY KILKIERAN BRASS

ALL SING:

Verse Response:

Refrain:

The Irish word céilí originally meant a “friendly visit” — a gathering at someone’s house or a communal gathering at a pub. That meaning continues, but the term “céilí dancing” was introduced early in the 20th century as a group dance with footwork meeting official and rigidly defined criteria. The term céilí is now also used to refer to a party or other event at which there will be céilí dancing. Although the two dance-related meanings of céilí did not exist in the 1840s, permitting our villagers to use them promotes clarity. Our céilí dance, “The Walls of Limerick,” meets the official requirements and is popular at both formal and informal gatherings. The tunes being played are all reels — “The Sunny Banks,” “The Rainy Day,” and “Miss Thornton’s Reel.”

CÉILÍ BAND COLCANNON DANCERS

“Deck the Hall” has its roots in the Welsh tune, “Nos Galan” (“New Year’s Eve”). It was originally a dance-carol from the Welsh canu penillion tradition, in which a ring of dancers surrounding a harper would take turns singing improvised phrases, to which the harper would respond (on the “fa la la” parts of the verse). The Welsh text first appeared in 1784 and the familiar English words in 1881.

Richard Kovar, singer CÉILÍ BAND FULL COMPANY KILKIERAN BRASS

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 …

 The Wren Song This is one of many songs about “hunting the wren,” a mysterious ritual that was thought to bring good luck and still takes place in Ireland on Saint Stephen’s Day, December 26. By tradition, a group of young men catches and slays a tiny wren, and parades it through the streets in a cage. The ritual’s origins are unclear but may relate to the Druids’ Samhain (festival of the dead) on October 31 and to the mid-winter sacrifice of the old “Year King” in preparation for the new.

Dowdelday Dow  A dandling song (for bouncing a baby on your knee) learned from Mrs. Joan Clancy, who was from Carrick-on-Suir, County Tipperary.

An Maidrín Rua (The Little Red Fox) A dialogue between a very confident, cheeky little fox and an irate farmer.

WREN CHILDREN CÉILÍ BAND Darrow Sherman, fiddle

W.B. Yeats wrote this poem, trying to recreate the lyrics of a song he had once heard. His memory was apparently good: some of the poem’s lines are identical to lines in the old song “The Rambling Boys of Pleasure.” First published in

Yeats’ 1895 collection, Poems, it was set in 1909 to a traditional tune. “Salley” means “willow,” and willow groves were common because shoots of willow were used in binding thatched roofs.

COLCANNON CHORUS Sue Richards, Celtic harpJoe DeZarn, fiddle Kelly Criscuolo-DeButts, uilleann pipes

During the early days of Ireland, poets were revered as highly as the kings of the land. With the arrival of Saint Patrick in the fifth century, the written word slowly began to complement the oral tradition. Over the years, the practice of storytelling, wordplay, and“blarney” has risen to an art form in Ireland, especially in the pub. The village pub is not just a place to raise a glass, but a community venue where friends and family gather to celebrate, discuss, and have fun. As glasses fill (and empty) the tales and rhymes commence — and sometimes toasts and blessings, as here — and friendly competition ensues.

Séamus Miller, Darragh Ryan Sam Game, Evin Connelly Zoe Alexandratos, Maire Ryan Will Wurzel, Seamus Fitzgerald

 A rollicking music-hall song detailing the rough-and-tumble adventures of a traveler on the road from his home town of Tuam (County Galway) across Ireland to Dublin and from there over to Liverpool. The words are by D.K. Gavan, often called “the Galway poet.”

COLCANNON CHORUS CÉILÍ BAND

Dance competition is a big part of Irish dancing of all kinds. Given limited spaces in houses or pubs, dancers would often dance on a half door, a barrel, or a table. In this scene, dancers demonstrate both modern competition-style and old-style step dancing (see the article on Irish Dancing). The tunes that inspire our step-dancers here are all reels: “The Coachman’s Whip” and “Flagstone of Memories” (both contemporary compositions by Irish flutist Vincent Broderick), and the “Star of Munster.”

Shannon Dunne, Kate Bole, Grace Dodd, Kate Spanos, dancers CÉILÍ BAND

Because of their long reign as Lords over the early Irish kingdoms of Connacht and Bréifne, the O’Rourke clan was often lauded in poetry and song. This early 18th-century tune was written by Turlough O’Carolan, a blind itinerant harper who became regarded by many as Ireland’s national composer. The original words, in Gaelic, were written by his good friend, Hugh MacGauran, to commemorate O’Rourke’s annual Christmas revels. This was the only time O’Carolan wrote music for lyrics that he did not write himself. The English text we sing here is by C.A. Fulton. The arrangement for brass is by Benno Fritz.

COLCANNON CHORUS KILKIERAN BRASS

In the Book of Invasions, a purported history of Ireland written in medieval times, Amergin is said to have been a leader of the Milesians — Gaels who came long ago from Iberia, settled in Ireland, and became the ancestors of the Irish people. He is also described as someone with magical powers. The poem Darragh Ryan recites is often attributed to Amergin and referred to as Ireland’s first poem. Although Amergin’s story is at least partly myth, the poem is thought to be ancient, and in claiming to speak for Ireland and its physical attributes, the poet hints at a view of man’s close relationship to nature that continues in Ireland today.

Séamus Miller, speaker

This tune was the first music composed by Turlough O’Carolan (see Note 11 above). Its whimsical title is said to come from a folk tale about fairies who live in neighboring hills and periodically fight against each other. “The Pride of Erin Waltz” performed by our dancers is a good representation of the kind of dances that were brought to Ireland from the continent in the 19th century. When ballroom dances reached areas where traditional dance was strong, they were absorbed into the local repertoire.

Sue Richards, Celtic harp CÉILÍ BAND COLCANNON DANCERS

A poignant lament for the beauty of Ireland, written by Irish poet Donncha Rua Mac Conmara and set to the traditional tune “Uileacan Dubh O.”

COLCANNON CHORUS Joe DeZarn, fiddle

We invite you to join us in this dance through the aisles and lobbies of Lisner. 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    KILKIERAN BRASS

Theodore Hodapp, David Roodman, 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

PART IIOur setting moves forward to 1849. Winter is fast approaching. Economic conditions have greatly deteriorated throughout Ireland. Many small farmers and others have emigrated because they have no work and little food. Since tenant-farmers increase landlords’ expenses and produce little if any income, evictions are common and sometimes result in physical confrontations.

This version of “The Wexford Carol” is featured on our CD titled Remembrance of Things Brassed: A Christmas Revels Retrospective, 1996–2012. The arrangement is by our longtime bass trombonist and Washington Revels Brass leader, Robert Posten, who retired from the ensemble in 2014. In most arrangements, the melody is given to the higher voices. This version places the melody with the lower voices, in this case the horn and trombones.

KILKIERAN BRASS

Our villagers will soon board the Cushla Machree (see Introduction), bound for New York. Before leaving, some of them dig sod to take with them as a symbol of their continuing connection to their beloved Emerald Isle. The musicians play the tunes “Skibbereen” and “The Emigrants Farewell.”

Kelly Criscuolo-DeButts, uilleann pipes Sue Richards, Celtic harp

Residents of Kilkieran board the ship carrying whatever they own and can carry. The quiet song they sing has an 18th-century text from Fr. Devereaux’s A New Garland. The tune is from The Wexford Carols, a songbook compiled from manuscripts and performances by the carol singers of Kilmore Parish Church (County Armagh). The last two villagers to board the ship are Darragh and Evin, who have something of a run-in with the ship’s English purser.

COLCANNON CHORUS CÉILÍ BAND

A song first published in 1904, combining a tune collected in County Donegal and poetry by Joseph Campbell. The lullaby contains references to places in Ireland and to Irish mythological characters. This arrangement is by Betsy Branch of Portland Revels.

Jan Elicker, Erin Sutherland, Jane Bloodworth, singers COLCANNON WOMEN Sue Richards, Celtic harp

A traditional song once commonly called “The Skillet Pot,” or sometimes “The Little Skillet Pot,” but more recently known by the title here. Colcannon is a traditional Irish dish mainly consisting of mashed potatoes with kale or cabbage. This version, learned from her aunt, comes from Mary Black, an Irish singer in the Boston area. The exact origins are not clear.

Zoe Alexandratos, singer WREN CHILDREN CÉILÍ BAND

There’s a Big Ship Sailing (Allee Allee O) Paddy Swanson, the Artistic Director of Revels, Inc., remembers singing this as a child in Manchester, England. As ships glided along the Manchester Ship Channel, they gave the illusion of sailing down an “alley.”

Óró Mo Bháidín (Oh My Little Boat)“Oh my little boat, as she glides in the bay…” begins this song about a traditional Irish curragh boat. It is said that St. Brendan sailed to America in a hide-skinned curragh in the 6th century.

WREN CHILDREN CÉILÍ BAND Darrow Sherman, fiddle

An old Irish ballad of a story that takes place near Banbridge in County Down. The late-18th-century words are by Cathal McGarvey from County Donegal. A young man chances to meet a charming lady, Rosie McCann. By the end of the ballad, he imagines marrying the girl.

Guenevere Spilsbury, Chris Lewis, Mattias Lundberg, Sam Game, Grace Vander Veer, Séamus Miller, and Lauretta Ruppert, singers

CÉILÍ BAND COLCANNON CHORUS

Another song about “hunting the wren” (see Note 6). In Ireland, boys would seek wrens hiding in a shrub known as “furze.” On board, the singing of the children reflects their new understanding that, with imagination, they can have the ritual even without a wren, and in the new world there may be “wren girls” as well as “wren boys.”

WREN CHILDREN CÉILÍ BAND

Orphan children were sometimes sent to America with a caretaker and the hope that they would find new families. Our orphans are young girls who clearly have been taking dance lessons. The style of dancing they do is sean-nós, (see article entitled “Irish Dancing”). The style is traditionally improvisational; the steps you see here are in one sense the dancers’ creation, and in another sense have been passed on to the dancers by pioneers such as Róisín Ní Mhainín and Michael Tubridy.  

Shannon Dunne, Aurora McLaughlin-Peconom, Leila Nelson, Ella Osdoba, Ada Silverman, Leah Silverman, dancers

CÉILÍ BAND

Storms posed great risks to “famine ships” crossing the Atlantic, particularly on winter crossings, when storms could sink even a seaworthy vessel.

“The Rune of St. Patrick” and “St. Patrick’s Breastplate” (below) both evolved from a poem written in the 8th century, but was attributed to St. Patrick (c. A.D. 372–466). These titles are sometimes used interchangeably, but “Rune” usually refers to the short piece recited here, which is one verse of a late-18th-century translation by James Clarence Mangan. The entire poem is also known as “The Deer’s Cry,” reflecting the legend that St. Patrick’s recital of it made him and his colleagues appear to be deer and thus evade an attack by a Druid king.

Séamus Miller, speaker

In 1889, the (Anglican) Church of Ireland asked Cecil Alexander to “fill a gap in our Irish Church Hymnal by giving us a metrical version” of St. Patrick’s Breastplate. She did so, and her words were set to a traditional tune by Irish composer Charles Villiers Stanford. (Ralph Vaughn Williams later included the hymn in his 1906 revision to the hymnal of the Church of England.) As translations of the ancient poem, Mrs. Alexander’s verses were all religious except for the one we sing as our third verse, which is a very Irish invocation of the powers of nature. Our first two verses, written in 1981 by American composer John Edmunds, also reflect that secular theme. The arrangement for chorus and brass is by George Emlen of Revels, Inc., with additions by Benno Fritz and Gregory Pascuzzi based on Stanford’s original harmonization.

COLCANNON CHORUS KILKIERAN BRASS

This is perhaps the most famous of all Irish hymns. The text dates from about 700 A.D., was translated into English in 1905, and was versed in 1912. The tune, “Slane,” is based on an Irish folk tune.

FULL COMPANY KILKIERAN BRASS Sue Richards, celtic harp

ALL SING:

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

Greg Lewis, song leader FULL COMPANY

ALL SING:

The Kerry set was originally a quadrille (four-sided dance) that was brought over from the continent and absorbed into the local traditions. Any formality of the dances became almost nonexistent in places like County Kerry, where the dancing was very loud and so wild that dancers sometimes ended up on the floor. As accompaniment to our dancing, the band plays two traditional Irish tunes: “The Ballydesmond Polka No. 2” and “Bill Sullivan’s Polka.”

KERRY TEENS COLCANNON DANCERS CÉILÍ BAND

A hero-combat mummers’ play assembled from traditional material by Artistic Director Roberta Gasbarre, with straw costumes based on those of the Armagh Rhymers, a professional theater company in Ireland. As in all Christmas Revels mummers’ plays, the essential elements of death and rebirth are incorporated into a lively village entertainment. The “deathly” dance is the “Papa Stour Sword Dance.”

Marissa Maley, Room Will Wurzel, Father Christmas Patrick Malone, Big Head Little Wit Séamus Miller, Saint Patrick Sam Game, Wyld Worm Craig Haimson, Doctor CUTTING EDGE SWORD CÉILÍ BAND

George Emlen wrote this anthem in 2001 for a Cambridge Revels production. Its central text, “The stone which the builders refused is become the headstone of the corner,” comes from Psalm 118 and acknowledges the contributions that immigrants bring to their adopted nation.

FULL COMPANY KILKIERAN BRASS

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

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

Greg Lewis, song leader FULL COMPANY KILKIERAN BRASS

ALL SING:

The PlayersSam Game, Evin Connelly Séamus Miller, Darragh RyanZoe Alexandratos, Maire RyanTom Kearney, The PurserWill Wurzel, Seamus Fitzgerald

Céilí BandKelly Criscuolo-DeButts,

uilleann pipes & fiddleJoe DeZarn, fiddleTina Eck, Irish flute & tin

whistleSue Richards, Celtic harpJesse Winch, bodhrán

Kilkieran BrassRobert Birch, trumpetGregory Pascuzzi, trumpetSharon Tiebert, French hornBenno Fritz, tromboneChris Matten, bass tromboneDon Spinelli, percussion

Shannon Dunne DancersShannon Dunne, DirectorCompetition Dancers

Kate BoleGrace DoddShannon DunneKate Spanos

Orphan DancersAurora McLaughlin-PeconomLeila NelsonElla OsdobaAda SilvermanLeah Silverman

Intermission DancersKatharine CosgroveChristina Murphy DoddElla FreihageLucy Upton

Colcannon ChorusZoe AlexandratosMatthew AmblerAmy AppletonJane BloodworthAndrew Patrick BurkGwendolyn CummingsJan ElickerRoland FryeCarlin Gayer *Joicey GranadosCraig HaimsonKendra HendrenPatrick HendrenRichard KovarSarah KronheimJim LazarElizabeth LesterChristopher LewisGreg LewisSusan Hall LewisSamantha Lint, Dance

CaptainCaiti LivelyMarissa MaleyPatrick MaloneMike MathesonDavid McKindley-WardAndrew M. MooreCelia A. MurphyCorinna ParisiSteven RothLauretta Ann RuppertJoe SereneDonna Kaye Simonton *Guenevere SpilsburyErin SutherlandH. Katherine Toton *Grace Vander VeerTerry WinslowWilliam Wurzel

Kerry TeensSylvie AshfordSarah BrodnaxAryn GeierZephyr HandersonClare HardinKatie JarvisPatrick KearneyMattias LundbergMadeline MaloneyAreti NicolaouRowyn PeelBen SarrailleDarrow Sherman **

Wren ChildrenLilly BakerKiah BeachlerRina HaimsonLila HutchinsIsabella JacksonDara KearneyJack KearneyElizabeth Lee LecaNicolo Rasi-deMattiesAidan Stanton-Brand **Ava Stebbins **Margaret TaylorAnya VedantambeSasha VesenskyUmi VilbigAndrea Villafuerte

Cutting Edge SwordLynn BaumeisterDave CasserlyJack HemlerTheodore HodappDavid RoodmanTom SpilsburyJerry SteinSteve Hickman or

Jim Morrison, musician

* Handbells ** Fiddle

WASHINGTON REVELS STAFF

DirectorsExecutive Director: Greg LewisArtistic Director: Roberta GasbarreMusic Director: Elizabeth Anne FulfordJubilee Voices Director: Andrea Jones

BlackfordMaritime Voices Director: Michael Matheson

Artistic StaffChildren’s Stage Director: Jenni VoorheesChildren’s Music Director: H. Katherine TotonAssistant Children’s Director: Emilie Louise

MooreAssistant Directors: Daniel Mori, Eva Martin Directing Intern: Nicole GianucaAssistant Music Directors: Terrance Johns,

William WurzelSet and Lighting Designer: Colin K. BillsCostume Designer: Rosemary PardeeChildren’s Costume Designer: Cecily PilzerMake-up Designer: Linda Smith NissenMake-up Consultant: Kristin Jessup-MooreProperties Procurement: Daniel MoriProperties Consultant: Mary Gene MyerSound Designer and Tech: Mike GobeliowskiStorm Sound Effects: Matthew Nielson, Sound

Lab StudiosBrass Arrangements: Elizabeth Anne Fulford,

Benno Fritz, Gregory Pascuzzi, and George Emlen

Morris Dance Consultant: Jim VoorheesIrish Dance Consultant: Shannon DunneIrish Band Consultants: Jesse Winch and

J. Mitchell Fanning

Production StaffProduction Manager: Colin K. BillsProduction Stage Manager: Jorge SilvaStage Manager: Mandy SchultzWeekend Rehearsal Coordinator: Anne

TheisenChildren’s Stage Manager: Tara PadovanCompany Manager: Susan Hall LewisAssistant Company Manager: Diane Winslow

Chorus Manager: Marissa MaleyAssistant Chorus Manager: Kendra HendrenCostumier/Wardrobe Supervisor: Lois DunlopCostume Coordinator: Robbie McEwenCostume Technician: Courtney Leigh WoodProps Crew Captains: Don Names, Jay DouglasProps Coordinator: Jay DouglasRehearsal Manager: Tiernan WilliamsonScript Manager: Alexa SilvermanOutreach Coordinator and Merchandise

Sales Captain: Jackie YoungOutreach Assistant: Kenny Mendez

Technical StaffTechnical Director: Steve CosbyScenery: Renegade ProductionsAudio Description: Steve Geimann,

Metropolitan Washington EarPhoto Documentation: Nick EckertVideo/Audio Production: John PaulsonProgram Cover: Sonya Cramer, Jo RasiProgram Design: Karen LeeProgram Art: Charlotte SchoenemanProgram Editors: Terry Winslow, Elizabeth

Anne Fulford, Tad Czyzewski Copy Editors: Jane Bloodworth, Helen Fields,

Elizabeth Lester, Diane WinslowPrinter: MasterPrint

House ManagementBox Office Manager: Debbie GrossmanBox Office Assistant: Naomi PeelBox Office Volunteers: Gary Cardillo, Ann

Chismar, Joyce DeVilbiss, Bryan Draper, Richard Glassco, Pam Gogol, Gretchen Kapuscik, Larry Lint, Elise Nikolich, Ann O’Donnell, Dave Rabinowitz

Front of House Manager: Marta Schley

LISNER STAFFExecutive Director: Maryann LombardiTheater Manager: Cassandra LammersAssistant Manager, Ticket & Box Office

Operations: Nicole LangwayProduction Manager: Eric AnnisTechnical Director: Colin McGee

Kerry TeensSylvie AshfordSarah BrodnaxAryn GeierZephyr HandersonClare HardinKatie JarvisPatrick KearneyMattias LundbergMadeline MaloneyAreti NicolaouRowyn PeelBen SarrailleDarrow Sherman **

Wren ChildrenLilly BakerKiah BeachlerRina HaimsonLila HutchinsIsabella JacksonDara KearneyJack KearneyElizabeth Lee LecaNicolo Rasi-deMattiesAidan Stanton-Brand **Ava Stebbins **Margaret TaylorAnya VedantambeSasha VesenskyUmi VilbigAndrea Villafuerte

Cutting Edge SwordLynn BaumeisterDave CasserlyJack HemlerTheodore HodappDavid RoodmanTom SpilsburyJerry SteinSteve Hickman or

Jim Morrison, musician

Props Running CrewDon Names, CaptainJay Douglas, CaptainJulia HendrenEmanuel Joseph-SchilzJon LecaJason MorrisMaren Padovan-Hickman

Production AssistantsElena BachmanAiden Mattke

Makeup CrewLisa Grosh, CaptainKristin Jessup Moore, CaptainLinda Smith Nissen, CaptainLori AshfordCheyenne CummingsKate CurtisEmma dePaulo ReidCindy DunbarAbby EhrensteinKathleen GeierSarah GlasscoAvery JohnstonSarah KatzTracy LivelyConner McIntosh

Hair CrewBarbara Beachler BrodieVictoria Metz

Backstage Food & Cast PartyMargo CunniffeKathleen GeierMaMoe HtunSusan Hall LewisJohn PomeranzDiane WinslowCindy Dunbar and Charlie

Cerf, Cast Party Hosts

Wardrobe Crew, Costume ConstructionPaige Billin-FryeElla CaplinMarjorie Cole

Laurie CullenMargo CunniffeJessica DewEmma and Lisa dePaulo ReidJan ElickerMargaret FoleySarah GlasscoRosanne GochmanAnsgar KoehlerTracy LivelyPat MathesonJanice McKenneyDeLaura Padovan Mari ParkerMike PlattJudith PerryJudy SmithHiromi VilbigDaphne Williams

Merchandise SalesJackie Young, CaptainPeter BehrTom BethardsMarjorie and Gabrielle ColeClaudia Hastings DulmageAnn GatesRichard GlasscoAlan HaeberleSusan Ware HarrisJonathan HarrisPat HilgardRyan HolmanDana JacksonLeslie E. JarvisJenna JonesJane LeggDan MickMadeline NelsonSusan PettyDeborah Zubow PrindleAnn and Deb Ramsey-MoorJoan D. RobertsonMaureen RoultCharlotte SchoenemanKaren Schofield-LecaOlga VonikakiDon WalshBetsy WareLisa and Kirsten Wheeler

Marni Von WilpertDiane Winslow

Wednesday Night Work Parties, Props, Knitters, Schlepping, Office HelpScip Barnhart Paige Billin-FryeAnne BrokerRachael BurkGlyn CollinsonLaurie CullenJane CunniffeKate CurtisTiemoko and Noura

CoulibalyJay DouglasClaudia Hastings DulmageJudy and Abby EhrensteinHelen Fields, Knitting

DesignerPeg GianucaKathleen GeierSarah GlasscoLila GutermanJulia HendrenMolly HickmanRyan HolmanMaMoe HtunEva JannottaLeslie E. JarvisBev JenkinsMegan KealyRuth LanichTracy LivelyNan MarksTom MartellaConner McIntoshEmilie Louise Moore,

WNWP Co-HeadChristine MorganJen Murnane, Cross-Stitch

DesignerCelia Murphy Mike MurthaMaren Padovan-HickmanDeLaura PadovanCarol PamerJohn Parisi

Board of DirectorsWilliam B. Conway, ChairPeter Behr, TreasurerCandace Davis, SecretaryBarry GalefRobbie McEwenMadeline NelsonWilliam L. Ritchie, Jr.Scott WilliamsTerry Winslow

Advisory Board Steering CommitteeJennifer Swanson Voorhees, Co-ChairTerry Winslow, Co-ChairDavid H. LangstaffMary 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 Pomeranz

Frances SharonJuliette W. SmithCindy SpeasNancy Lindsten TaylorSheila WeissCharles WilliamsDiane Behrens WinslowGeorge W. Ziener

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

Office StaffExecutive Director: Greg LewisMarketing & Development Director:

Jo RasiBusiness & Development Director:

Tad CzyzewskiVolunteer & Education Coordinator:

Christine AlexanderProduction Coordinator & Office

Assistant: Emilie MoorePrograms Manager: Terry WinslowCompany Manager: Susan Hall LewisIT Director: Will WurzelWebmaster: Elizabeth Anne FulfordIntern: Kenny MendezBookkeeper: Christine McElroy

Holly PorterTaylor PowellChristopher RiceCharlotte SchoenemanLisa ShochatJudy SmithGuenevere SpilsburyJoshua TeitelbaumOlga VonikakiJenni Swanson VoorheesTom Webb

Leanne WibergDaphne WilliamsDiane Winslow, WNWP

Co-HeadLaura Wood

Children’s Parent VolunteersTricia Baker, Head ParentPeggy Walker, Head ParentSuzanne Cole, Runner

Barbara BeachlerMeredith CabeSylvia Garcia, Cast PartyDana JacksonSamantha KearneyJo RasiKaren Schofield-LecaJennifer StantonJennifer and Mike TaylorKerstin Zurbrigg

Elizabeth Anne Fulford for general web design and support, including the principal design of our new web site launched shortly before this show; design contributions to marketing materials; and direction of our Gallery Voices, Heritage Voices, and May Revels chorus.

Roberta Gasbarre for overseeing our education programs, working with the teachers for our after-school workshops, helping stage-direct our ensembles, directing our May “Tweens,” and writing material and coaching the professional actors who make up our Voices of History ensemble.

Colin K. Bills for 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 for writing some of the notes and articles in this program, and editing the others; producing our May Revels at Strathmore; and assuming the position of Programs Manager after the departure of our prior Production and Programs Manager.

Will Wurzel for his extraordinary devotion and untold volunteer hours in the office, including his IT and sound reinforcement expertise, database management, assistance with transcribing and preparing music, artistic and editorial contributions to video and audio recordings, 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) efforts in organizing and directing our Maritime Voices at many venues over the past year, including his key role in organizing this past November’s second annual Capital Maritime Music Fest.

Shannon Dunne for her time and energy (and ever-present smile) in teaching simple audition dances at our adult, teen, and kids auditions; teaching the waltz, céilí dance, and Kerry set presented on stage; training the “orphan” and intermission dancers; and writing the article on Irish dance in this program (not to mention performing in the show).

Jesse Winch and John Mitchell (“Mitch”) Fanning for multiple meetings and numerous other communications with the Directors regarding the composition and makeup of the Irish (“Céilí”) Band.

Kenny Mendez for his excellent work and assis-tance as our intern for the 2014–15 school year, dealing with many different aspects of Revels business (not to mention introducing the idea, unanimously adopted, of an office Secret Santa).

Dan Mori for doing so much more, in ways too many to enumerate — essentially, never saying no even when he should — than is encompassed within his official titles of Assistant Director and Props Procurement.

Linda Smith Nissen, Kristin Jessup-Moore, and Lisa Grosh for stepping up from their tri-captain roles in managing make-up at Lisner to take on the additional functions and time commitments of makeup design, research, and acquisition.

Helen Fields for designing the knitting pattern for the miniature Irish sweaters and directing a workshop to instruct the knitting crew on how to knit them; and to the knitting crew (too numerous to mention), particularly Helen, Jane Cunniffe, Lila Guterman, Leslie Jarvis, Jenni Voorhees, and Daphne Williams, for making them.

Bev Jenkins for designing, making, and donating over 200 beautiful cross-stitch ornaments over the past 3 years; and Jennifer Murnane for researching cross-stitch designs, and teaching volunteers how to make them and then turn the completed designs into ornaments.

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.

Holly Porter for researching, designing, and making the prototype for our new Revels aprons, and to the many volunteers who helped with stitching them together.

Celia Murphy and Laurie Cullen for their wonderfully creative additions to our merchandise, and Laurie and Robbie McEwen for preparing them for sale.

Cecily Pilzer for taking on the demands of costuming our Heritage Voices, Jubilee Voices, and Maritime Voices ensembles.

The entire Costume Team, headed by Rosemary Pardee, Robbie McEwen, Lois Dunlop, and Cecily Pilzer, plus all of the many costume volunteers, for stepping forward to fill the void created by the loss of our beloved Kate McGhee and to continue her legacy of excellence in costume design and management.

Charlotte Schoeneman for her extraordinary artistry in creating the event map for our 2014 May Revels at Strathmore, as well as many of the graphics used in this program booklet.

Diane Winslow, Helen Fields, Robbie McEwen, Jennifer Murnane, and Jackie Young for serving on the Merchandise Committee headed by Tad Czyzewski along with Jo Rasi and Christine Alexander.

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 as well as production coordination for our 2014 May Revels at Strathmore.

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 made the job manageable as it has grown over time.

Peg Gianuca for taking music notes at early rehearsals for this production and helping the office 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.

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

Nick Eckert for coming to our first full run-through of the show at the Washington Episcopal School to take photos and video in order to create another of his masterful photo/video montages (in addition to serving as show photographer at Lisner).

Members of The Bog Band (directed by Mitch Fanning) for coming to Lisner to play for our “intermission” Irish dancers.

Christopher (Kip) Lewis for picking up costume items for our Straw Boys mummers’ play in Watertown, Massachusetts and transporting them to our offices in Silver Spring.

Jim Voorhees for serving as band leader for our July 4th and Labor Day parade performances, and for leading the band in our May Revels.

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

Jackie Young for heading both our Outreach Performance (with outstanding assistance by Kenny Mendez) and Lisner merchandise operation.

Caroline Fisher for lending her grandfather’s walking stick to Michael Ryan (played by son-in-law Dick Kovar).

Montgomery College and Our Lady of Good Counsel High School for loaning numerous costume items used in this production.

Adventure Theater, the Smithsonian’s Discovery Theater, and Imagination Stage for loaning props to us, and Montgomery College for both donating and loaning props, all of the above at no charge.

Cindy Dunbar and Charlie Cerf for once again graciously hosting the cast party at their home, and John Pomeranz for once again serving as chef de barbecue extraordinaire (or chef d’Irish stew awesome?).

The Washington Waldorf School, The Potomac School, and Washington Episcopal School for providing rehearsal space for this year’s Christmas Revels.

The 378 volunteers — performers and production personnel — who contributed to our first May Revels at Strathmore (featuring four stages of traditional music and dance, festive processions, a Community Sing, a Community Dance, children’s crafts and games, food, sing-alongs, and more), but especially to Jo Rasi, Terry Winslow, and Christine Alexander for managing the overall event, and with particular thanks to Iva Boishin, Shelley Brown (of Strathmore), Sonya Cohen Cramer, Tad Czyzewski, Jay Douglas, Elizabeth Fulford, Roberta Gasbarre, Rosanne Gochman, Busy

Graham, Susan Lewis, Aiden Mattke, Emilie Moore, Mary Gene Myer, Tara Padovan-Hickman, Holly Porter, Danny Pushkin, Nicolo Rasi-DeMatties, Abby Ehrenstein, John Paul Libanati, Olivia Verburg, Jenni Voorhees, Charlotte Schoeneman, Jim Voorhees, Lisa Willis (Fish Head Creative), and Diane Winslow.

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.

The 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.

Washington Revels is deeply grateful to the following individual, foundation, government, and corporate supporters for their generous donations received from November 19, 2013 through November 16, 2014. 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 CouncilThe William L. Ritchie Theater and

Education Fund

Grantor ($10,000-$24,999)Mary Gene and Ted MyerBill and Diana Conway

Guardians ($5,000-$9,999)David and Martha MartinJohn and Gail NieldsMadeline NelsonHildegard B. Lewis

Patrons ($2,500-$4,999)Frida BurlingGreg and Susan LewisMike and Patricia MathesonBarry Galef and Ellen PostJuliette SmithMary and Gerald SwopeTerry and Diane Winslow

Sustainers ($1,000-$2,499)2 AnonymousChristine CarricoCerf-Dunbar FamilySteve CosbyDePrest FamilyPhilip PerkinsPeter SchultJoe SereneArthur ShawVivien and Norman SilberMeg and Bob StillmanR. David TaylorSamuel Wyman

Donors ($500-$999)Philip Angell and Jane CooperTeresa BargerCarole Barth and Jim ZeppPeter and Martha BehrTerrence Brown and Linda

Whitlock-BrownMorgan Buckli and Dan Fiore

Joan and Stephen BurnsEugene Carlson and Mimi

ThompsonMary Lou Steptoe and Peter CarsonKen and Lynn ClineMaddie, CJ and Katy CorderMary Frances Cotch and Lee HallLaura and Douglas CoxMichael and Ellen CroninEric and Brita CronquistDouglas E. DancisCandace DavisJay DouglasJean EssweinRaymond and Colleen FilbeyGary FosterEric and Harriet Sweeney FraunfelterBill Swedish and Linda GriggsGordon and Velva GrooverLars Hanslin and Becky LairdVicki R. HerrmannNeele JohnstonAnne B. KeiserBobbie and Bill KilbergKnight and Ann KiplingerRichard and Carolyn KovarAndrew and Liza LabadiePru and David LakeAngela Lancaster and Chuck

MuckenfussPardee Lowe, Jr.Kathy MaherHugh Riddleberger and Louise

McIlhennyKristin Jessup MooreCraig PettiboneGeraldine PilzerDaniel SargentThomas ScottDavid and Eleni SilvermanEd and Pat ShafferJohn and Betty SmallwoodJoanna SturmWilliam SweeneyS. Jean Van Der TakThacher White and Doris

Blazek-WhiteAyse and Harold WiedigerJames Wurzel

Supporters ($250-$499)Donald Adams and Ellen MalandChuck and Susan Dentzer AlstonDouglas and Helen BaumgardtThe Bessalel FamilyJill S. BixlerAnn Bushmiller and Al CacozzaTim and Trish CarricoR. CassadyHugh and Barbara CassidyJim and Sandy CooperCaroline Klam and Marjorie DaspitAnne Evans and Bill WallacePeter Ames EvelethSusan E. FahrbachSamuel Foster, Fostersoft, Inc. Marcia and George de GarmoKim and Dave GibsonJohn and Lillian GradyDonald Names and Lisa GroshThe Jencks FamilyMaryann, Sian and Rawles JonesStephen and Katharine KovarcikWarren and Diane MartonMazlish FamilyChristine and David McElroyKathleen McGinnisDaniel Mick and Maureen Jais-MickSandy NorthropMr. and Mrs. B. Thomas PeeleIn Memory of Karen PettiboneRoger Pollak and Whitney PingerJoyce and Richard SchwartzJames and Judith T. SmithIlse StaufferJohn StewartScott and Christy WallaceVirginia and Chris WhiteThomas WilkensElizabeth and John WillisMr. and Mrs. Charles N. WinkelsMarca and Jim WoodhamsWilliam WurzelJan Paul and Ellen von Seggern

Richter

Special Friends ($100-$249)2 AnonymousDora and Bruce AndersonSusan ArmbrusterBarbara BaconDavid BradleyAnn Baker and Christopher

ZeilingerSuzy Bakshian and Vincent

ChiappinelliBarbara and Maynard BallCurtis von Kann and Mary BarberKathleen Guthrie and Tim BarnerLynn Baumeister and Theodore

HodappElizabeth and Robert BeinBarry and Jean BergeyJacqueline R. Berry MDStephen Bilanow and Joyce Duffy-

BilanowNancy BlackAmanda Cannell-Boone and Peter

BooneWilliam Pierce and Lisa BontempoElizabeth BradleyCharlotte BrewerAnne Broker and John ParisiJames BrooksJoan T. BrownDoris O. BrunotDavid and Hannah BurlingElizabeth CarneyAnn and Gary CarpenterMary E. Challinor and Henry

RichardsonBan CheahHope ChildsJack and Ann CloughDeborah K. CooperBill and Stacie CondrellTom Connelly and Carla McAdamsMarcia CrandallLeslie and Ed CroninDeirdre Donahue and James

DahlbergSusan Dunham and Daniel

SchemberLorraine and Bill D’AntonioJan Dommerholt and Mona

MendelsonWilliam and Carolyn DoyingJacqueline H. DunlaveyJoanne E. DunneLe Roy EakinAllen M. Earman

Marjorie and Tony ElsonSvend EsborgDoris EvensFred and Cathi FagerstromHelen FieldsGwyn and Jim FieldsDaphne Williams and Craig

FlahertyNancy Ford-KohneGudrun R. FosterMary E. FrakerPeter and Linda FrickeElizabeth Anne FulfordRosalyn Furukawa and Jeffrey SolarRichard and Sarah GlasscoRosanne GochmanDavid GoetzDavid Gogol and Gloria WhiteJoshua GotbaumBusy Graham and Stewart HickmanKathryn L. GreenspanDiane GrowitzCarol GuglielmCatherine HagmanDonald and Eliabeth HarrisonMr. and Mrs. Theodore M. HartzDr. Kerric HarveyElaine HawesGeorge and Rosalind HelzNorman and Ann Marie HicksJames and Catherine HigginsLaura HiseMartin and Margaret HoffmannSarah Holmes and John MorrisHenry HopplerThomas Howell and Shelley RockwellLinda HunterRussell Mikel and Alison HurstBeverly JenkinsLee Ann and Bob KinzerKenneth and Carol Doran KleinMark and Cathy KnepperMelinda and Gary KramerDiane KreshJamie LanglieOscar and Linda LarsonEric and Lindsey LeightyTom and Jana MartellaBertha M. MartinWilliam and Pamela MattesSharon and Henry MastroniJane McAllisterThomas and Kathy McGarrilIn honor of Kate McGheeMary Margaret McGrail

Janice E. McKenneySusan McLaughlin and John

McMahonKevin and Mary McLeanNancy MelitoConstance MinerRobin MooreMichael and Suzanne NieblingClark and Barbara NortonRon and Mari ParkerBenny and Mary ParkerJudith G. PerryJohanna H. PleijsierEleanor K. PourronLeni and Ned PrestonNancy ProctorLee PushkinJo RasiMichael J. ReillyKathy and Paul RosenbaumSuzanne and Stephen RudzinskiSylvester A. Ryan, Jr.Albert and Mary SalterDiane M. SchmitCathy Wiss and Chris SchumannMalcolm and Jane ScullyLinda and Robert SearsPatricia SimsNikolai and Kathleen SorokinRichard and Ann SparroughJeffrey SprowlsBrian Steinbach and Mary ReynerBarbara and Laszlo SteingasznerJoseph StewartShirley Tannenbaum and Susan

SwopeDavid TannousAndrew TeterRuthanne ToppingEdward TurnerMarian UrnikisHugh and Sue Van HornJudith Halsey and Stephen VanzePenny and Al VeerhoffJennifer and Jim VoorheesDerek WalkerEllen S. WalkerKathleen WalkerMarsha Lee WardMartha and Richard WestonMr. and Mrs. Porter K. WheelerMargaret WilsonJames and Marietta WittRuth YoungPaul Zimmerman

Friends ($25-$99)4 AnonymousVivian AdleGwen AlredRobert and Frances AllenFrederick Anderson and Barbara RoseJulie and Cat AndreArshia Arvandi and John FiskeThe Bachman FamilyTricia and James BakerMr. and Mrs. Robert F. Baldwin, Jr.David BallThomas BethardsFrederick Bowen and Margaret

JacksonSue BowersRobert BriggsJohn H. BroadbentPatricia C. BrownPhillip Brown and Barbara WolaninThomas BrownWilliam BryanMichael BucciChristine BurrisJeffrey BurtonWilliam Strein and Mary CampbellSusan CarhartJohn ClevelandSteven ClyburnHeleny CookElizabeth J. CooperCol and Mrs John F Concannon III

USA Ret.Pia ConnellPirie M. and Maria-Consuelo GallLinda CorbelliLinda CorneliusCharles CourtneyLaurel C. CullenMargo M. CunniffeJudith DavisMargaret and Robert DennisCaroline DenzlerAimee DoyleHugh Eckert and Stacia SchwartzElaine Emling and Michael JennerAngela EvansDoris EvensSusan H. FarnsworthWinfield FarthingJohn FeeleyMr. and Mrs. George C. FidasAshley FloryRuth GaumonGabriela Gold

Lynn GowenHilton GrahamBobby GravitzRobinne GrayMary Beth GreenleafJennifer GreeneSidney and Frances GulickLila GutermanAlan HaeberleNorman and Sofia HammerBarbara HarrisonLawrence P. HayesKatherine HempstoneXimena Hernandez-CataMarc Hersh and Holly MakJurgen and Elsabeth HilkeEric HoldsworthEllen Anne McCarthy and Charles

HowellLeslie D. HydePaulette IrwinWill IrwinNatasha A. JahrsdoerferCarle JohnsonSelig and Rochelle KainerMaja KeechAnn KeelerPrudence KellnMary Elizabeth Kenel PhD and

Joseph SkeffingtonStuart KoehlJennifer KoonsJune KronholzDale and Joann KrumviedeAdam LaGueTom Nardone and Edith LamLaynn LaningJames LawtonMichael Lewallen and Mike PlattPeter LowenthalVirginia Macomber and Roger

WilliamsAgnes MallardLisa MartinHayden MatthewsJames McCaskillHenry McDowellJudson McIntireMargaret J. McMahonKathie MeiznerVictoria E. MetzClaire and Daniel MessingMr. and Mrs. William D. MillerSuzanne L. MunsonCelia Murphy and Winston Luke

Carol and David NatellaSusan NoonAdam and Jeanette OsbornHelen PanittElizabeth and Bill PaulsonOskars and Metra PetersonsLaura PhillipsIlene PhotosRobert and Ellen PosnerC. Thomas Van Alen and S.M.

PrestegardJohn PrevarGraham PughPeter and Elizabeth ReddawayKenneth RehbehnMarissa ReppSusan V. RileyBryan RittenhouseCarol Goter RobinsonThe Saliunas FamilySteven and Deb SchmalMarnie S. ShaulMargaret SimmonsBeth and Larry SimmsParticia SmithGary and Kay Burgunder StevensAlice F. StewartWilliam and Katharine StewartJanet and Fred StollnitzNancy Stout and Mike FellenzVictor and Maureen StotlandMarlin and Kerry StrandAnne Marie StratosElizabeth SullivanMary Hall Surface and Kevin ReeseCarol TerrySharon Tiebert-MaddoxLinda TokarzJohn TremaineJonathan and Carrie UstunKali Erickson and Jaime VilchezVirginia J. VitucciJoy WaldieMichael WarshowAndrew WhiteNadine WhiteJohn and Alice WieseAdeline WilcoxMrs. Eleanora M. WorthGrace YannakakisMartha YoungAdrienne YangPhilip Zettle

Come see the Washington Revels on Saturday, April 25!

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