New York City Gay Men's Chorus 25th Anniversary Journal by Jim Vivyan

New York City Gay Menâ&#x20AC;&#x2122;s Chorus

25th Anniversary Journal

Compiled and Edited by Jim Vivyan

Editor — Jim Vivyan Writers — Bob Collins, Edgar Colón-Hernández, Richard Donahue, Amy Shapiro, Jim Vivyan Copy Editors — Edgar Colón-Hernández, Mark D’Ambrosi, Page Jackson, Glenn Paula Sponsorship Managers — Lane Brooks, Jamie DeMore, Gregory Miller, Jim Vivyan Design and Layout — Jeffrey Kenyon, Jeff Kenyon Design Printing — Vicks Lithograph & Printing Corporation

Welcome! n this, the beginning of our Silver Anniversary, we thought it appropriate to take a look back at what we have accomplished over the previous 24 seasons that the New York City Gay Men’s Chorus has been performing. From its humble beginnings, actually the merging together of two organizations, to its debut concert at Cooper Union and on to the prestigious performance venues of Carnegie Hall and Lincoln Center, the Chorus has maintained an active performance schedule. Beyond their three concert subscription series they have performed across the country and around the world. They have done small events and large events. They have performed in as many varied venues as you can think of, from Joan Rivers’ living room to the stage of the Metropolitan Opera House to the main arena of Madison Square Garden, and even Yankee Stadium.

We have tried to present as accurate a portrayal of the events that the Chorus has undertaken as possible. You will find information on each season as well as recollections of the three European tours. There are profiles of our three music directors, Gary Miller, Barry Oliver, and Jeffrey Maynard, and profiles of other important persons in the history of the Chorus. We have a section devoted to our beloved Royals, and a listing of our members In Memoriam. We have also included a complete listing of everyone who has been a member of the Chorus (as taken from the concert programs each season), There is also lots of photographic memorabilia throughout the book. We have tried to add as much as possible with the posters for various concerts, flyers, buttons, tickets, and as many pictures as we could fit into a limited amount of space. The avid Chorus fan will find some surprises in here, whether you have been around for a short time or since the beginning. If you are just learning about the Chorus we are sure you will find this little bit of history to be informative and hopefully fun. We have enjoyed our first 24 years, and as we celebrate our 25th Anniversary we are looking ahead to many more exciting and thrilling events to take us through another 25 years. We hope you enjoy this trip down memory lane. —The Editors

Table of Contents Early History . . . . . . . . . . . . . . . . . . . .6 1980-81 . . . . . . . . . . . . . . . . . . . . . . . 8 1981-82 . . . . . . . . . . . . . . . . . . . . . . 12 Michael Goldstein Memory . . . . . . . 15 1982-83 . . . . . . . . . . . . . . . . . . . . . . 16 1983-84 . . . . . . . . . . . . . . . . . . . . . . 20 1984-85 . . . . . . . . . . . . . . . . . . . . . . 24 1985-86 . . . . . . . . . . . . . . . . . . . . . . 28 ACDA History . . . . . . . . . . . . . . . . . 32 Mark McManus Memory . . . . . . . . . 33 1986-87 . . . . . . . . . . . . . . . . . . . . . . 34 1987-88 . . . . . . . . . . . . . . . . . . . . . . 38 1988 European Tour. . . . . . . . . . . . . 42 1988-89 . . . . . . . . . . . . . . . . . . . . . . 46 1989-90 . . . . . . . . . . . . . . . . . . . . . . 50 Page Jackson Memory. . . . . . . . . . . . 53 1990-91 . . . . . . . . . . . . . . . . . . . . . . 54 1991 Love Lives On Tour . . . . . . . . . 58 1991-92 . . . . . . . . . . . . . . . . . . . . . . 64 1992-93 . . . . . . . . . . . . . . . . . . . . . . 68 1993-94 . . . . . . . . . . . . . . . . . . . . . . 72

1994-95 . . . . . . . . . . . . . . . . . . . . . . 76 1995-96 . . . . . . . . . . . . . . . . . . . . . . 80 Fred Goldhaber Memory . . . . . . . . . 83 1996-97 . . . . . . . . . . . . . . . . . . . . . . 84 1997-98 . . . . . . . . . . . . . . . . . . . . . . 88 1998 European Tour. . . . . . . . . . . . . 92 Gary Miller Profile . . . . . . . . . . . . . . 96 Manuel Ovando Memory . . . . . . . . 100 Gary Armstrong Memory . . . . . . . . 101 1998-99 . . . . . . . . . . . . . . . . . . . . . 102 1999-2000 . . . . . . . . . . . . . . . . . . . 106 2000-01 . . . . . . . . . . . . . . . . . . . . . 110 Barry Oliver Profile . . . . . . . . . . . . . 114 2001-02 . . . . . . . . . . . . . . . . . . . . . 116 2002-03 . . . . . . . . . . . . . . . . . . . . . 120 2003-04 . . . . . . . . . . . . . . . . . . . . . 124 Jordan Barbakoff Memory . . . . . . . . 129 2004-05 . . . . . . . . . . . . . . . . . . . . . 130 Edgar Colón-Hernández Memory . . 131 Jeffrey Maynard Profile . . . . . . . . . . 132 Commissions . . . . . . . . . . . . . . . . . 134

Scrapbook . . . . . . . . . . . . . . . . . . . 136 Dean X Johnson Profile. . . . . . . . . . 146 Chamber Choir . . . . . . . . . . . . . . . 150 Casey J. Hayes Profile . . . . . . . . . . . 152 Leslie Downs Profile . . . . . . . . . . . . 154 James Followell & Uptown. . . . . . . 156 Larry Moore Profile . . . . . . . . . . . . 158 Mark Riese Profile. . . . . . . . . . . . . . 160 Tom McGillis Profile . . . . . . . . . . . . 162 Youth Pride Chorus . . . . . . . . . . . . 163 In Memoriam . . . . . . . . . . . . . . . . . 164 David Lloyd Sears Award . . . . . . . . 167 Chorus Royals . . . . . . . . . . . . . . . . 168 Celebrities . . . . . . . . . . . . . . . . . . . 171 Staff and Volunteers . . . . . . . . . . . . 172 Chorus Membership. . . . . . . . . . . . 174 Chorus Angels . . . . . . . . . . . . . . . . 180 Sponsors . . . . . . . . . . . . . . . . . . . . 183 Acknowledgments . . . . . . . . . . . . . 206

Early Hist Square the weekends of August 25-26, and September 1-2. On September 17, 1979, the New York City Gay Men’s Chorus held its first rehearsal at the Washington Square United Methodist Church. Eighty of the men who had signed up at Edward and Jonathan’s table appeared, thus creating the fourth gay men’s chorus in the country having been preceded by San Francisco, Los Angeles and Seattle. Dues were set by the membership at $2 per man per rehearsal. However, conflicts arose, membership declined to approximately 20 men and in November, Edward withdrew from the fledgling organization, retaining the right to use the name, “New York City Gay Men’s Chorus.” The remaining members of the original group gave their first public performance at the Club Baths annual Christmas Party. Soon thereafter, the members voted to change their name to the “Big Apple Gay Men’s Chorus.”

n July 1979, Edward Dryer Weaver, a former member of the San Francisco Gay Men’s Chorus, took it upon himself to foster the creation of a New York City gay men’s chorus. After consultation with the National Gay Task Force, he

connected with Jonathan Fey, who would serve as the music director, and with Bob MacWilliams, who would become the principal source of music donated to the chorus. Edward and Jonathan set up a table in Sheridan

The Big Apple Gay Men’s Chorus approved its first constitution in January 1980 and incorporated under the New York State rules for non-profit organizations. The following month, the chorus elected its first board of directors, and the board selected Tom Bradley as its Chairman. Also in February, the chorus performed at the Ann Miller Look Alike Contest, a benefit for the Cherry Grove Arts Project held at the disco New York, New York. The Big Apple Gay Men’s Chorus gave its official concert debut at the Church of the Beloved Disciple in April 1980. In May, they performed for the West Side Discussion Group. On the eve of Gay Pride Day in June, they gave a performance for Dignity, and the following day led the Christopher Street Liberation Day March up Fifth Avenue. During this period, the Board of

ory Directors forced the resignation of Jonathan Fey as music director and established a search committee to interview candidates to fill the position, while Don Rock served as interim director. In July, the Big Apple Gay Men’s Chorus gave a performance for the Greater Gotham Business Council at the Ice Palace. During the same period, the second New York City Gay Men’s Chorus emerged. Its first rehearsal was held January 10, 1980, at Congregation Beth Simchat Torah (the Gay Synagogue) with 13 men attending. Mario Gonzalez served as interim director. This chorus gave its first public performance in February at the 220 Club for the MCAANY Softball Awards Banquet. Seventeen men sang that evening, and among the selections was New York, New York. In March, they sang for the Greater Gotham Business Council at the Ice Palace. In April, during a rehearsal session, first tenor Gary Miller volunteered to lead the tenor sectional. Soon thereafter, at the invitation of the chorus, Gary agreed to become its permanent director and conducted the chorus for the first time in public after Friday night services at The Gay Synagogue on May 16, 1980. In June, this chorus performed for the East Village Lesbian and Gay Neighbors as well as for the MCAANY All Star/Police softball game. On Gay Pride Day, they also participated in the Christopher Street Liberation Day March up Fifth Avenue. In July, the chorus sang for both the Cooper Union Street Fair and with the Gay Community Marching Band, for the Cherry Grove Arts Project on Fire Island. In June 1980, Gary Miller heard about the Big Apple Gay Men’s Chorus’ search for a new music director. He announced

to the New York City Gay Men’s Chorus that he had applied for the position, with the recommendation that both choruses merge. In July, Gary Miller and Tom Bradley made preliminary contacts concerning a merger. A merger committee was created that consisted of eleven members (five from each chorus, with the eleventh a member of both choruses). At separate rehearsals in August, each chorus voted approval of the merger under the constitution and incorporation papers of the Big Apple Gay Men’s Chorus. On August 13, 1980, a newly created Board of Directors made the merger official by unanimous resolution, and on September 15, the combined chorus of sixty men voted to change the incorporation papers to read “New York City Gay Men’s Chorus.” Finally, on October 6, the membership voted to adopt the “Big Apple Gay Men’s Chorus” logo as its own. The first Board of Directors (combined from both groups) was: Chairman of the Board, Tom Bradley (BA); Vice Chairman, Michael Deitch (BA); Secretary, Michael Beacum (NY); Treasurer, Paul Kowal (BA & NY); Music Director, Gary Miller (NY); Business Manager, Don Moschberger (BA); Fund Raising Chairman, Ores Cheever (BA); Representatives Jordan Barbakoff (NY), Peter Clem (BA), Peter Monette (BA), J.R. Robbins (NY), David Sears (NY), Bill Scarola (NY), Clark Taylor (NY), and Gary Wells (NY).

The Chorus also sang for the Greater Gotham Business Council’s Gay Market on November 22-23. At these two events both the official grey and maroon t-shirts and banner had their debut. On November 24, 1980, the Chorus sang at the memorial services for the victims of the Ramrod Massacre, at the Washington Square United Methodist Church. With leading clergy and city officials in attendance, the Chorus received its first local TV news coverage. The hottest ticket during the holiday season 1980 was the New York City Gay Men’s Chorus SRO debut concert in the Great Hall at the Cooper Union on December 19. This landmark event was recorded for posterity, and the Chorus held its first after-concert party at Les Mouches. The Chorus rounded out the holiday season by singing at a fundraiser at Billy the Kid in Queens, caroling in the West Village, and visiting St. Vincent’s Hospital to sing for the survivors of the Ramrod Massacre. During its term, the first Board of Directors set the principles of having a salaried music director, obtaining the services of a publicist, and establishing the position of general manager. This Board contracted for the Chorus’ Lincoln Center debut at Alice Tully Hall for Gay Pride Week 1981 and began planning the This Time Broadway fundraising concert at Bond’s disco for March 22, 1981.

In September 1980, the new New York City Gay Men’s Chorus sang in its first radio broadcast over WBAI and gave its first public performance on September 29 at the Columbus Avenue Festival. On November 22, the Chorus held its first benefit at The Spike, raising $2,000.

1980

The First Season Begins fter the official merger of the two choruses into one on August 13, 1980, it was decided to move ahead with a concert season, beginning with a holiday concert at Town Hall in December. The young organization had many things to cover in creating its constitution and by-laws as well as working on its performance repertoire.

The first official event for the new Chorus was a taping for radio station WBAI on September 13, with an airing on Saturday, September 27. This was followed by an appearance on Sunday the 28th at the Columbus Avenue Festival. The Chorus was off and running making its place in the community.

This first concert saw 85 men stand openly on stage and present themselves in music to the community with fantastic results.

First Radio Broadcast AUG. 13

SEPT. 27

First Board Meeting —of new NYCGMC

SEPT. 29

Events were starting to happen as the Chorus began its first season. Besides the two concerts approved by the Board, a third Spring concert was also approved pending financial concerns. In October, rehearsals continued, with the Chorus rehearsing at various venues, including Park Royal Hotel on West 73rd Street, Church of the Holy Apostle on Ninth Avenue in Chelsea, and Playwrights Horizons on West 42nd Street. It was announced that the Chorus would be performing in November at the Gay Market at PS #3 in the West Village sponsored by the Greater Gotham Business Council. In the second edition of Chorus Lines (the Chorus newsletter), music director Gary Miller stated “To present one such concert a year is a huge project; to present both is nearly masochistic…..But we have elected to do both because we know we have the ability, drive, and (soon) the audience following that is necessary to pull it all off.” And thus, the two concerts were programmed. The holiday concert at Town Hall on December 21 would include Benjamin Britten’s A Ceremony of Carols. It was also reported in this newsletter that two performances by the Chorus ultimately proved successful. The radio taping was uncomfortable and discouraging, but the airing was respectable and competent. The Columbus Avenue appearance was a huge success with people asking how to join the new group. Ramrod Massacre Memorial Washington Square United Methodist Church

First Chorus Benefit Spike NOV. 22

Columbus Avenue Festival

NOV. 22-23

NOV. 24

Greater Gotham Business Council Gay Market PS #3

Fundraiser Billy the Kid, Jackson Heights DEC. 19

DEC. 23

Christmas Concert Great Hall, Cooper Union

As the performance at the Gay Market approached, a fund-raiser was announced at the Spike on 11th Avenue on Saturday night, November 22. This was the chorus’ primary effort to raise funds for the holiday concert with door prizes, a raffle, and a percentage of the take at the door. These two events were very successful, raising more than $2,800. On November 19, 1980, an anti-gay incident occurred that would galvanize the community. Ronald Crumpley emptied his Uzi machine gun into the patrons of the Ramrod bar. He was gunning for a past partner who had broken off their relationship. In the process he killed two patrons and injured four others while causing damage at both the Ramrod and neighboring Sneakers bar. The community held vigils and marches, and on November 24, a memorial service was held at Washington Square Methodist Church where more than 600 members of the community came to mourn. The Chorus provided the evening’s songs, with moving renditions of He Ain’t Heavy, He’s My Brother and We Kiss in a Shadow. As remarked by Andy Humm in the New York City News “Many were moved to tears—tears for the time we’ve wasted hiding in our closets, tears for the embraces we’ve failed to share, tears for the times we’ve denied we are a part of the community that we were celebrating with that night.” This was the first appearance of the Chorus that was featured on local media and was the beginning of the Chorus’ mission to touch lives. In mid November, it was learned that Town Hall was not available for the date that had been contracted, so the Board frantically set about finding a replacement hall with only about six weeks to go. With the holiday season fast approaching, many halls were booked; the Chorus, however, managed to obtain a contract with Cooper Union for the Great Hall, and the date of their first concert was set for Friday, December 19, 1980. Rehearsals continued until the great anticipated night, when a sold-out house was expected. At this first concert, 85 men stood on stage and presented themselves in music

to the community with fantastic results. A capacity audience was on hand at the Great Hall of Cooper Union to hear this historic concert. The program ranged from the glorious Palestrina Adoramus Te to the notorious P.D.Q.Bach (Peter Shickele) Consort of Carols, from Benjamin Britten’s A Ceremony of Carols to I Saw Daddy Kissing Santa Claus. Also presented were sixteenthcentury songs with the dazzling qualities of the small ensemble, the Chamber Choir. Accompanying the Chorus on harp for Britten’s A Ceremony of Carols, was Judith Kogan who negotiated the tortuous solo harp interlude effortlessly.

Gay & Lesbian Independent Democrats Magique

1981

MAR. 22

MAR. 29

This Time Broadway Bond’s International Casino

APR. 29

Gala Dinner— Bucks for Tux Benefit Blue Skies

The second half of the program was launched by a humorous staging of ’Twas the Night Before Christmas, complete with Santa Claus and eight body-stockinged reindeer. The audience was requested to join the Chorus for Silent Night. For an encore, the Chorus braved Handel’s Hallelujah Chorus and ended the evening with what has become their theme song, Kander and Ebb’s New York, New York. Events post concert did not stop. A fund-raiser was scheduled for Billy the Kid bar in Queens on December 23. After a successful evening, sights were set on the next concert, This Time Broadway, which was scheduled for

Pines Conservation Society Benefit Fire Island

Casino Night Benefit— Bucks for Tux Mineshaft

Benefit—Bucks for Tux Badlands MAY 13

“Many were moved to tears—tears for the time we’ve wasted hiding in our closets…

MAY 28

JUNE 2

Cabaret Night Benefit— Bucks for Tux Kelly’s Village West

JUNE 24-27

AUG. 29

Pride Concert Alice Tully Hall

Bond’s International Casino. After the successful concert at Cooper Union, this next concert provided the Chorus with an opportunity to reach out to the general public and expand their audience. Also, the great success brought about the addition of more than 60 new members to the Chorus for the next concert of Broadway favorites. In early 1981, Gary Miller remarked on the growth of the Chorus: “The growth and success of this organization has been phenomenal. We are looked upon by the community as one of the most positive gay images to ever hit this city. We have a great reputation to live up to. The joy of this organization for me is to know that we are doing just that!”

Gary Miller conducting the Chorus on the promenade.

The second concert for the New York City Gay Men’s Chorus was held on Sunday, March 22, 1981, at Bond’s International Casino in Times Square. The evening was long and filled with many memorable moments, from the entrance of the Chorus to the appearance of Just Good Friends—a trio of chorus members, to the Stepping Tones—a smaller ensemble of singers/dancers. Also appearing was Chorus member Michael Callen and The Headsets. Perhaps it can best be summed up by some of the comments that were received from Chorus members:

“There comes a time in every life, a turning point, at which a difficult decision has to be made. It has been one of the greatest pleasures to have made the decision to join the Chorus and one of the most wonderful experiences.” “As I sit here this evening thinking of our concert last night, an aura of joy pulls at my senses. What a great thing we are doing for the Gay community.” 10

“I feel that the spiritual connection we made with the audience Sunday was a celebration of the liberation of gay sentiment. It was extremely poignant to be singing songs with lyrics of great caring and tenderness and to feel the audience identify.” The successful concert was followed on March 29, 1981, by a performance for a fund-raiser for the Gay & Lesbian Independent Democrats at Magique. The evening was a benefit for the organization in support of the drive to pass a gay rights bill.

After the Bond’s concert it was decided that the Chorus needed to have an official look and a project was started,

Bucks for Tux, to raise funds so that every member would have a tuxedo for their debut performance at Alice Tully Hall in June. Several fund-raisers were coordinated with local businesses to raise funds. The first was scheduled for April 29, 1981, at Blue Skies restaurant. It was a gala benefit with more than 50 in attendance paying $50 a plate for an evening of dining and entertainment and gifts from the audience. By the end of the evening more than $4,000 had been raised toward the goal of clothing the 100 plus chorus members. Chorus Chairman Russ Radley was so moved by the evening he wrote, “…letting us know that what we are up to is a lot more than just making good

music and making committees work and performing at Lincoln Center or Carnegie Hall. And more than taking a positive gay social and political image. It is all about love. And giving and sharing and reaching out and touching.” Additional events were scheduled for May 13 at Badlands bar, a cabaret night at Kelly’s Village West on May 28 and a casino night at the Mineshaft on June 2. These events—along with the opening benefit dinner—raised more than $7,000. Continued events ultimately raised the funds so the Chorus members had tuxedos for their debut at Lincoln Center. This project was spearheaded by David Lloyd Sears, who enlisted Chuck Dima from the community for a successful completion. In June, the San Francisco Gay Men’s Chorus made a stop at the Beacon Theatre for a concert on their U.S. tour. Since they were an inspiration to NYCGMC, the Chorus was happy to welcome them to the city and thank them for continuing to inspire all to show their pride. The June concert at Alice Tully Hall was scheduled for two performances on the 24th and 27th, providing two chances to perform the same program and feel the excitement from a warm and welcoming audience. This concert saw the inclusion of several important men’s choral pieces including John Mueter’s Three Songs on Texts by Walt Whitman, and the premiere performance of Spinnin’ Round by Glen Vecchione, Calvin Hampton’s Spring was Late, Jack Gottlieb’s May We Lie Down, as well as the New York premiere of Leonard Bernstein’s if you can’t eat you got to, and finally, a medley from unpublished songs by Stephen Sondheim, brilliantly arranged by Larry Moore. It was a great pleasure for the Chorus to have Mr. Sondheim present at several rehearsals, working to give the Chorus personal insight into his music.

The first full season came to a close with a performance for the Pines Conservation Society at a benefit at the Ice Palace on Fire Island on August 29. This concert and the weekend housing arrangements on the Island for Chorus members were arranged by Michael Beacom, Edgar Colón-Hernández, Paul Kowal, Bill

McClaren, and Stephen Surber. All of whom were sharing “what had to be the cheapest house in the Pines.” The house became Chorus Central for most of that summer.

1981-82

Carnegie Debut in Second Season The challenge was set for the season and the Chorus worked hard as they prepared for their debut at Carnegie Hall.

fter a successful first season, the Chorus embarked on yet another milestone in its second season. When the members returned to rehearsals in September it was announced that the holiday concert would be at the prestigious Carnegie Hall. In the September issue of Chorus Lines, music director Gary Miller wrote about the upcoming holiday concert:

After the many benefits of the previous season to raise necessary funds, once again a benefit was scheduled early on for Sunday, September 18, at The Last Resort on the East Side.

“In short, we are embarking on the most intense rehearsal period we have ever experienced. I hope that you are as nervous (and excited) as I. We will need a more serious concentration level at rehearsals; we will need better attendance at sectionals; we need to start memorizing immediately; we will need committee people doing more than just singing. And when it’s all over we need a well-deserved rest. And by doing so, we will have made a very profound statement: we will be the first openly Gay musical organization to perform in the most prestigious hall in America.

Following their first appearance on WBAI the previous year, the Chorus was again featured on September 26 as radio station WBAI presented Gay Day. In commemoration of Walt Whitman’s coming out, the station presented more than 15 hours of gay programming. Opening with music from the Gay Men’s Chorus of Los Angeles, there followed segments on gay cinema, a call-in program, 19th century gay literature, music from the San Francisco Gay Men’s Chorus, panel discussions on legal issues and medical concerns, an interview with Sylvester, and Gay Vietnam Vets. The closing segment featured the New York City Gay Men’s Chorus performing music from their June concert at Alice Tully Hall, climaxing with Randall Thomson’s The Testament of Freedom. As the second season got underway, the Social Committee was busy working on events for the members and their first planned event was a Halloween Party on Friday, October 30. Under the able leadership of John Annunziata and Joe Alleva, the first Halloween Party was held from 10 pm till 4 am at Children’s Dance Theatre on West 21 Street. The 3,000 square feet of mirrored walls was

“We are not only making music—we are making history. So let’s do it well!”

Christmas at Carnegie Hall Carnegie Hall

Gay Day WBAI Radio

1981

SEPT. 18 Benefit Last Resort Bar

SEPT. 26

OCT. 30

DEC. 8

Halloween Party Children’s Dance Theatre

DEC. 24 Christmas Eve at the Saint Saint

1982

complemented by pulsating lights and hot, festive music. Prizes were awarded for Best Costume, Best Hat, Best Pumps, etc. To prepare for the holiday concert it was decided to have a weekend rehearsal retreat away from the city where members could work intensively on the music while also enjoying the fellowship of their singing brothers. Retreat was scheduled for November 6-8 and was held at Appel Farm Art and Music Center in New Jersey. The retreat included the No-Talent Show, which showcased many chorus members in their best and worst renditions. A tradition was started as a fun time was had by all.

Conrad Susa’s Chanticleer’s Carol, an ambitious piece that was accompanied by a large brass ensemble. The third segment of the concert was lighter in nature. It included such favorites as Sleigh Ride and the revival of the PDQ Bach Consort of Carols from the first holiday concert at Cooper Union. Arranger Larry Moore wrote a medley based on

Chorus. The program began with the brass music and closed with the Chorus. Under the dome of the famous club the sounds of the evening were memorable. The Spring concert was scheduled very early in 1982. It was a Valentine’s Day concert with the Windy City Gay Chorus from Chicago. Windy City arrived on Friday evening, rehearsals were on Saturday and the performance took place on Sunday at Avery Fisher Hall at Lincoln Center. This marked the first appearance of the Chorus at this hall. There was much discussion about having a Valentine’s Day concert with such a short rehearsal period. However, there were many reasons for doing so. One such reason came from an audience member. He stated:

The debut at Carnegie Hall was December 8, 1981. The concert featured guest conductor Robin Kay, the conductor of the San Francisco Lesbian and Gay Men’s Community Chorus, for part of the concert. The concert was pre-

sented in three major sections. The first section was more serious with traditional holiday songs mixed with works by Handel and Praetorius. The second featured the Chamber Choir after which the Chorus presented several antiphonal settings, with part of the Chorus performing from the Dress Circle of Carnegie Hall providing surround-sound for the audience. The antiphonal segment featured the world premiere of

holiday songs from Broadway shows as well as an arragement of Have Yourself A Merry Little Christmas for the encore. It was truly a concert with something for everyone. Post Carnegie, and prior to the holidays, another venue concert was held at midnight on Christmas Eve at The Saint. The concert included a brass quintet from the New York Gay Community Marching Band as well as an ensemble from the New York City Gay Men’s

Showers (GMHC 1st Benefit) Paradise Garage FEB. 14 Valentine’s Day Concert (Windy City Gay Chorus) Avery Fisher Hall

APR. 8

“I’m so delighted that you all decided to do a Valentine’s Concert—because I am finally in a relationship and am so looking forward to this concert. In the past I’ve come with friends, but obviously it’s not the same, and as your concerts are among my favorite NYC events—I’d always hoped to share them with a lover. And, appropriately enough, I will, on Valentine’s Day.” As music director Gary Miller said in the February issue of Chorus Lines, “I rejoice in knowing that because of the work we are all doing, lovers throughout the chorus and in the audience are one step closer to letting the world know the joy of our healthy relationships. So sing well—and sing for the love of it!” Following the February concert, Richard Garrin Pekala, music director of the

Pride Concert Alice Tully Hall JUNE 5-6

JUNE 22, 24, 26

Rebuilding St. Luke in the Field Greenwich Village JULY 24

Second Rehearsal Retreat Appel Farm Art & Music Center

Windy City Gay Chorus wrote a note of thanks to the Chorus: “By hosting us, you, in essence, helped create a miracle of last minute fundraising and daily musical homework. But while we were the ones working for ourselves, we failed to realize that you, too, were working for us. It must have been difficult to rehearse for what was to be an unknown, unpredictable event after such a marvelous Carnegie Hall debut. But you forged ahead and I also found out how hard you worked to fill that hall. “Well, what was to happen was one of the most beautiful occasions, musical and otherwise, of our lives. Thank you for the work, the music and the sharing. I only hope we did for you what you did for us. Some people have asked, ‘How can we invite them to Chicago and top that?’ My reply was, ‘There is no way to top it’, but now, even tho we don’t have Avery Fisher or The Saint, we have a beautiful bond of mutual respect, admiration and love. For this we sing, and isn’t that enough?”

On June 20, the Chamber Choir represented the Chorus at The Lesbian and Gay InterReligious Coalition of New York for the third annual Celebration of Life to begin Lesbian and Gay Pride Week. The service was held at Washington Square Methodist Church and also included the participation of The Stonewall Chorale.

On April 8, 1982, the Chorus provided entertainment for a major fund-raiser by the newly formed organization, The Gay Men’s Health Crisis. Showers was a benefit to aid gay men with Kaposi’s Sarcoma and other gay-related immunodeficiencies. It was held at Paradise Garage from 9 pm to 3 am. This event was later featured in Larry Kramer’s AIDS play The Normal Heart, in 1985. The Chorus performed at 11 PM and stayed on till the wee hours to enjoy the festive spirit as thousands of dollars were raised.

The annual Pride concerts were again scheduled for Alice Tully Hall at Lincoln Center, with three performances on June 22, 24, and 26. The special guest artist for this concert was the celebrated New York City Opera mezzo-soprano Jane Shaulis. Ms. Shaulis was featured with the Chorus in Brahms’ Alto Rhapsody. Included in the program were several world premieres including Calvin Hampton’s Fanfare for the Uncommon Man, James Adler’s Songs of Innocence and of Experience, based on the poetry of William Blake, and Two Shakespeare Sonnets from Philip Hagemann. The evening concluded with the “Tonight Ensemble” from West Side Story and Larry Moore’s arrangement of Stephen Sondheim’s “Our Time” from Merrily We Roll Along

The annual Christopher Street Liberation Day March and Rally for 1982 was on Sunday, June 27. Stepping off at noon from Sheridan Square, the route traveled east across Waverly Place to Fifth Avenue where it proceeded north to 85th Street and entered Central Park’s Great Lawn for the Rally. The Chorus headed Section 4 and was part of the entertainment at the Rally later in the afternoon. The Rally included performances by Laura Brannigan and the incomparable Eartha Kitt. A few weeks rest after a festive Pride week, the Chorus was back rehearsing for a benefit performance at the Church of St. Luke in the Fields. This historic church in the West Village had endured a fire and many community organizations had banded together to help raise the funds to rebuild it. Performing outdoors in a rather festive fair atmosphere were Stonewall Chorale, New York Gay Community Marching Band, some solo acts, and of course, The New York City Gay Men’s Chorus. Central to the day’s entertainment, the Chorus performed three sets of music and helped raise thousands of dollars for the church. Rehearsals continued through the summer as a performance had been scheduled early in season three in Washington, DC.

Charter Member Reminiscence by Michael Goldstein

n 1980, I attended a Friday night performance by the newly-formed New York City Gay Men’s Chorus at Congregation Beth Simchat Torah, the gay synagogue in Greenwich Village. Hearing the rich choral sound of 40 guys wearing white shirts, black leather vests and 501 Levi’s delivering on Stouthearted Men and We Kiss in a Shadow, watching Gary Miller (in his debut as conductor!) lead with a sure hand, and listening to the invitation of the organization’s Chair, Tom Bradley, to join its ranks, I thought, as in the lyric of Broadway’s then-current smash-hit A Chorus Line, “I can do THAT!” Soon I found my way to a Monday night rehearsal at the Church of the Holy Apostles on Ninth Avenue at 28th Street, where (without audition!) I was immediately welcomed into the baritone section, given my music and directed to sing in full voice with the other assembled choristers. Shortly thereafter rehearsals moved to CAMI Hall, in the offices of Columbia Artists Management, Inc., the employer of our esteemed Maestro, located directly across West 57th Street from Carnegie Hall. Knowing a bit about the performing arts in America, I had every reason to believe that I had joined something that was going to be very important. After the hedonism of the 1970’s “Me Decade”, gay men, first in San Francisco, and now in New York, Los Angeles and Chicago, were coming together in fellowship to revive the long-dormant male choral art form, and use it as a vehicle to express their gay liberation. It seemed so right, so attainable and potentially so enjoyable for both performers and audiences. As I became familiar with the leadership and joined in its volunteer activities, it was obvious that within this group of singers were men of accomplishment and vision who not only had a sense of being in the forefront of the gay rights movement, but also had a powerful belief that our efforts would be successful. With a heady combination of diva-defying assertiveness and democratic compromise, we forged ahead to our Cooper Union concert debut, singing at local events while handing out posters and leaflets to alert the community to our upcoming holiday presentation. I have always maintained that Gary Miller’s secret weapon in leading our group was his eleven years as a high school choral conductor. Could there have been a better training ground for having to control our collection of testosterone-driven chatty Cathys, now numbering 93, who gathered each week wearing plaid flannel shirts, black leather motorcycle or green bomber jackets and 501 Levi’s? Gary’s quick wit, imaginative programming, show business savvy, high culture credentials and political skills gave him the tools necessary to guide us. Night after night in rehearsal, and in our first public performances that fall,

which included the memorial service for victims of the Ramrod massacre, as he conducted on the podium, Gary showed us how to communicate our gay pride through sincere and joyful artistry. We could hear ourselves in rehearsal, so for us, the audience response in performance was the validation of what we already knew: that our musical voice would reach into the hearts of others and cause gay pride and joy to spread far and wide. With Lincoln Center and Carnegie Hall debuts still ahead of us, for Cooper Union, instead of tuxedos we opted for gray shirts and cranberry neckties, the official NYCGMC colors, and black pants (no 501 Levi’s!) Poinsettias festooned the stage, and a large evergreen wreath was suspended above us. I vividly recall my spirit moving continuously back and forth through that wreath while we sang, so emotionally elevated was I by the experience. My transformation into a fully realized contemporary gay man was happening, that night on that stage. Singing without sheet music, from the opening Schubert Gloria, the nod to Chanukah, our portrayal of a boys choir in Britten’s A Ceremony of Carols, the laughter of I Saw Daddy(!) Kissing Santa Claus and ’Twas The Night Before Christmas, (with dancing reindeer and bare-chested hunk baritone Bill McClaren as Santa), to the audience sing-along of Jingle Bells and our heartfelt renderings of Silent Night and Irving Berlin’s White Christmas, followed by the jaw-dropping encore, Handel’s Hallelujah Chorus, and then the final topper, Kander and Ebb’s New York, New York, (with a stupendous repeated ending), we thrilled ourselves and our audience beyond all expectations. The sustained cheers and standing ovations (three or four?) were proof positive that we were successfully launched. Weeks before the debut, when Gary Miller’s apartment was robbed of its stereo system, Chorus members collected money and presented it to him as a way of replacing the loss. Before we went onstage, Friday, December 19, 1980, in the Great Hall at Cooper Union, Gary spoke to us about the historic occasion on which we were about to embark, and with tremendous pride and a rare show of his secret sentimentality, he displayed to us on his wrist the suitably inscribed Cartier watch he had purchased with our collected funds to mark this date with our destiny. Since that evening, I have kept coming back year after year as a singing member of the NYCGMC precisely because the Cooper Union Debut concert demonstrated so clearly that our collective voice is both empowering for us as gay men, and powerful as a musical message to any audience hearing us express our community’s feelings in song.

1982-83

Kennedy Center Debut leads off Third Season “We of the Cathedral of St. John the Divine and the Diocese of New York welcome you warmly to the first appearance of the New York City Gay Men’s Chorus at the Cathedral of St. John the Divine.

n the planning stages since early 1982, the Chorus was gearing up for its debut performance at the Concert Hall at the John F. Kennedy Center in Washington, D.C. The date of the concert was Sunday afternoon on September 12. The program included three segments, “Music of American Composers”, “Great Opera Choruses”, and “Randall Thompson’s The Testament of Freedom”. The Chorus traveled on Friday, September 10 via busses arriving in the late evening. The Chorus brought with them a fifty-piece orchestra for the concert. On Saturday a potluck dinner hosted by the Gay Men’s Chorus of Washington, D.C followed an afternoon of rehearsal. After the concert the Chorus returned to New York with another triumphant performance under its belt.

“We are aware of the persecution the gay community has suffered. We are aware of the urgent need for gay rights legislation in the City. And we are aware that progress will only be made as the general community is educated. No finer education can be set forward on behalf of the gay community than having one of their finest cultural groups perform to audiences of all backgrounds.

Back in New York, the Chorus prepared for its concert at The Cathedral Church of St. John the Divine on the upper West Side of Manhattan. The program was similar to that presented in Washington. Also included were performances by the small ensemble group, the Chamber Choir. The Rt. Rev, Paul Moore, Jr., Bishop of New York, wrote in his words of welcome:

National AIDS Memorial Cathedral of St. John the Divine

1982

SEPT. 12

SEPT. 23

Music of American Composers Kennedy Center, Washington, DC

SEPT. 29

MCAANY International Volleyball Tournament Perform before Finals March 27th

Winter Settings Carnegie Hall DEC. 14

Human Rights Campaign Fund Dinner Waldorf Astoria

1983

FEB. 27 Fascinatin’ Rhythms Carnegie Hall

MAR. 26-27

“It is for these reasons as well as for the high artistic quality of the Gay Men’s Chorus that we are delighted to have them here at the Cathedral of the first of what I hope will be many occasions.” On September 29, 1982, the Chorus was featured at the annual dinner of the Human Rights Campaign Fund at the Waldorf Astoria. This exposure to another segment of the gay community was greatly welcomed. For their third choral retreat, the Chorus traveled to Connecticut for the weekend in December where they immersed themselves in the music at hand as well as where they had the chance to bond in brotherhood. The holiday concert this season was again set for Carnegie Hall, on December 14. Titled Winter Settings, the evening marked the world premiere of the new work that provided the title of the concert, commissioned by the Chorus from composer Dennis Riley. The Chorus also performed Daniel Pinkham’s Fanfares arranged for the Chorus by the composer, an encore of the commissioned piece by Conrad Susa, Chanticleer’s Carol; and a new singalong medley from arranger Larry Moore.

Miller, that repertory has not only been resurrected, but also enlarged by several works from noted American composers.

Rosalie (Chamber Choir) Town Hall APR. 9 The Follies Town Hall

APR. 18

“The robust tone and prevailingly sharp discipline of this group is quite amazing, especially considering its theoretically amateur status and its catch-ascatch-can rehearsal schedule. “ And Byron Belt stated in The Star-Ledger, “The quality deserves a wider support from the community at large, for this great male chorus is something richly to be treasured.” When the Chorus returned from its welldeserved winter break, music director Gary Miller revealed the program for the February concert. Fascinatin’ Rhythms would be an all-Broadway and pop music concert at Carnegie Hall. Six performers appearing on Broadway would join the Chorus and the program would be balanced among the Chorus, the guest artists, and The Stepping Tones, the Chorus pops group. A little over a week before the concert, the New York Post reported on Page Six:

Bill Zakariasen in the Daily News reviewed the concert with these words: “A choral treat…A welcome tradition appeared to have been set Tuesday night when the New York City Gay Men’s Chorus gave its second annual Christmas concert in Carnegie Hall. This group fills a decided musical need in this city. Until the Gay Men’s Chorus was organized three years ago, the extensive repertory for all-male choral ensembles had gone into general eclipse. Thanks to these 150 gentlemen and their go-getting music director, Gary

“Three of these new compositions were rousing pieces, beautifully voiced and inventively scored for an elaborate instrumental ensemble.

MAY 1

“The New York City Gay Men’s Chorus has something new to sing about—they’ve taken in their first female member. The 150-man choral organization just decided to make international songstress Margaret Whiting an ‘honorary’ GMCer. Margaret will join the Chorus and Broadway stars at Carnegie Hall on Feb. 27 for Fascinatin’ Rhythms, a concert of show tunes and popular music to benefit the group.”

Recording—Festival of Song Flatbush Dutch Reformed Church MAY 22-23

10th Anniversary Concert Congregation Beth Simchat Torah

JUNE 22

Stonewall Achievement Awards Beacon Theatre JUNE 24

In Concert Avery Fisher

In late January it was decided to hold a Follies Night in April. The event was scheduled for Town Hall and was planned as an evening of fun and music that would be presented as a benefit for the Chorus. Auditions of Chorus members were held in March and plans went forth for the April 9th evening. The funfilled evening was a huge success and added to the bottom line of fundraising for the Chorus. Half of the proceeds were donated to the Gay Men’s Health Crisis, and a second Follies was planned for the following season. On April 18, the members of the Chamber Choir earned money for the Chorus by appearing in the New Amsterdam Theatre production of Rosalie at Town Hall. On April 30, the Chorus made their first street fair appearance of 1983 at the Chelsea Gay Association Street Fair and Festival on West 21 Street. The Chorus had a booth and performed at 4 pm. Later that evening they attended the Circus benefit for the Gay Men’s Health Crisis at Madison Square Garden. In mid May, the Chorus spent a weekend working on their first commercial recording for Pro Arte Records. Under the guidance of recording producer Judy Sherman, the Chorus created Festival of Song, a recording of holiday music, which would be available in the fall on cassette and LP.

A concert of show tunes and popular music to benefit the group was held at Carnegie Hall on February 27. The February 27 concert would bring a star-studded guest list to the stage: Margaret Whiting, Stephen Hanan (Cats), Maureen McGovern and Liliane Montevecchi (Nine), Ellen Greene (Little Shop of Horrors), Loretta Devine (Dreamgirls), Terri Klausner (recently of Evita and Sophisticated Ladies), as well as Joe Sears and Jaston Williams (Greater Tuna) who served as masters of ceremony. This concert would also mark the debut of rhinestone jewelry donated by designer and Chorus member Larry Vrba. Larry was inspired to “put a little bit of glamour in your humdrum lives. I made every single one of them myself, taking eighteen minutes with each.” The after-concert party was scheduled for Roseland beginning shortly after the close of the concert and all—chorus, guests, audience—were invited to partake of the cash bar, disco dancing, and lounges.

The Third Annual Gay Composers Concert on June 10 saw the appearance of the Chamber Choir performing James Adler’s Songs of Innocence and of Experience. An additional performance of the Chorus was scheduled for June 24 at the Stonewall Award Ceremonies at the Beacon Theatre. The Pride concert this year was slated for June 22 at Avery Fisher Hall at Lincoln Center. Guest artist mezzosoprano Meredith Rawlins was featured on this concert. The Chorus began the program with a selection of German repertoire from Mendelssohn and

Schubert. Ms. Rawlins was featured in Franz Schubert’s Ständchen, performed by the Chamber Choir. This was followed by the New York premiere of Stuart Raleigh’s When I Heard at the Close of the Day. The first half of the program ended with the world premiere of Only In the Dream by John David Earnest, who had been commissioned by the Chorus.

The second half began with Marshall Bartholomew’s arrangement of Shenandoah and followed with several light-hearted songs including a Noel Coward medley and a tribute to Judy Garland. The program was rounded out with Mark Riese’s arrangement of Sometimes When We Touch and completed with Stephen Sondheim’s Our Time, as arranged by Larry Moore.

Quickly approaching was the first-ever gay chorus music festival. Come Out And Sing Together (COAST) was scheduled for Lincoln Center during the first week of September and the Chorus was acting as hosts for the event. Several weeks after the Gay Pride concert, the Chorus returned to rehearsals to work on the repertoire for the COAST music festival. An update stated that 653 singers had registered to participate in this first music festival, with the inclusion of one women’s chorus, one mixed chorus and nine men’s choruses.

1983-84

C.O.A.S.T. Kicks off Fourth Season

In the fall of 1983, music director Gary Miller had contacted music publisher C. F. Peters with regard to their publication of Dennis Riley’s Winter Settings. The piece commissioned by the Chorus for the 1982 holiday concert was published without a printed inscription and Gary was distressed by this fact. The response from C.F. Peters was “I believe that it is perfectly within our rights to view the inscription: ‘Commissioned by the New York City Gay Men’s Chorus, Inc.’ as inappropriate for purely artistic, professional and practical reasons. If the commission stated: ‘Commissioned by the New York City Men’s Chorus, Inc.’ I would be perfectly happy to include it. But the use of the designation ‘gay’ has nothing to do with the artistic merit of the work or indeed the excellence of your performance.” A successful organized boycott by gay and lesbian choruses of all music published by C.F. Peters was instituted. While that may not have been a lot of music, a fair amount of publicity for it was created, and it was a public relations nightmare for C.F. Peters. After much correspondence between the Chorus and the music publisher, as well as with the composer, the publisher ultimately decided to release the publishing rights so the composer could find a suitable publisher who would print the inscription as written.

rom September 8 through 11 Lincoln Center was the site of the First National Gay Choral Festival known as Come Out and Sing Together, (COAST). Eleven choruses with more than 650 singers would appear at Alice Tully and Avery Fisher Halls over the weekend. This first major music festival of gay choruses saw the premiere of works by Libby Larson and Ned Rorem. The finale was thrilling, with all singers on stage to sing. The women’s chorus and the mixed chorus joined the Chamber Choir of the New York City Gay Men’s Chorus to premiere Libby Larson’s Everyone Sang. The nine men’s choruses: Chicago Gay Men’s Chorus, Denver Gay Men’s Chorus, Gay Men’s Chorus of Los Angeles, Gay Men’s Chorus of Washington, D.C., Madison Gay Men’s Chorale, Men’s Chorus of Orange County, New Orleans Gay Men’s Chorus, New York City Gay Men’s Chorus, and Seattle Men’s Chorus—joined under the direction of Gregg Smith for the world premiere of Ned Rorem’s Whitman Cantata. The Festival was truly a superb start to the Chorus’ fourth season. The Chorus also reprised John David Earnest’s Only in the Dream in their solo chorus segment of the Festival. Earnest would become a favorite composer, receiving several commissions from the Chorus over the years.

This was just the first battle of discrimination that the Chorus would face. Gay Rodeo— National Anthem Madison Square Garden

1983

SEPT. 8-11 Come Out and Sing Together (GALA I) Lincoln Center

OCT. 1

Home for the Holidays Carnegie Hall NOV. 19

DEC. 12

Festival of Song released

1984

FEB. 1 American Choral Directors Association Baltimore, MD

Truly a success at Lincoln Center, the Chorus was embarking on a great fourth season. Rehearsals started right after the Festival, and on October 1 the Chorus was the opening act for the Gay Men’s Health Crisis’s benefit, Rodeo, held at Madison Square Garden. The festivities began as the Chorus sang the National Anthem.

The first Chorus raffle was instituted this season. A way to help raise funds for the Chorus, the raffle consisted of $1 tickets/book of 6 for $5 and prizes included a grand prize of a week in Puerto Rico (air and hotel). The various Chorus sections were seen on the streets of the Village each weekend working their way to what would become $9,000 in just a few short months. It was also announced that the Chorus had been asked to sing for the American Choral Directors Association convention in February in Baltimore. The request came after a blind audition tape of previous concert music had been sent and reviewed by the judges. This is where gay history was made, as NYCGMC would become the first chorus with the word “gay” in its title to perform for the most prestigious choral organization in America! On November 19, members of the Chorus appeared at the classical record center of Barnes & Noble Fifth Avenue to promote their debut recording Festival of Song released by Pro-Arte Records. The album contains Christmas music from the baroque and contemporary literature, as well as a selection of traditional carols arranged for male chorus. The album became the first recording by an openly gay musical organization on a major international label. Advance sales for the album exceeded that of any other recording distributed by Pro-Arte. The album was recorded at Brooklyn’s Flatbush Dutch Reformed Church. One review stated that “while their album can be a source of special pride and pleasure to their gay audiences, it will be enjoyed most of all for its musical excellence. A really lovely listening experience.”

One Night Only Avery Fisher Hall MAR. 25

Chamber Choir Concert St. Peter’s Episcopal APR. 14-15

MAY 20

Recording—New York New York Masonic Lodge, NYC

Together at Last (GMCW) Lisner Auditorium, Wash. DC JUNE 2

JUNE 16

Helping Out on the East End (HRCF) Southhampton College (EEGO)

JUNE 21, 23 Together at Last (GMCW) Alice Tully Hall

The end of November was a sad moment for the Chorus. The dreaded new disease that had surfaced within the community a couple of years earlier had now claimed the first member of the Chorus. Alan Fraser had been diagnosed in September 1982. He had several stays in the hospital and many therapies, but he ultimately succumbed in mid November. A memorial service—the first of many such memorials to come—was held on November 29 at The Society for Ethical Culture on Central Park West. The Chorus sang Bruckner’s Ave Maria, Randall Thompson’s Alleluia, He Ain’t Heavy, and Somewhere. The December concert. Home for the Holidays was scheduled for December 12 at Carnegie Hall and was dedicated to Alan Fraser’s memory.

“This concert is dedicated to the loving memory of our dear friend and fellow chorister, James Alan Fraser (Feb. 8, 1948 – Nov. 14, 1983) who lost his fight against AIDS.” The concert saw a repeat of Britten’s A Ceremony of Carols which was performed in the first concert at Cooper Union. Also on the program was a world premiere commissioned piece by Daniel Pinkham, a sing-along by Larry Moore, and an arrangement of God Rest Ye Merry, Gentlemen by Mark Riese. As an added attraction, New York City Opera soprano Karen Huffstodt added excitement to the evening with several selections including a joyous Twelve Days of Christmas arranged by Larry Moore.

The concert was a great success and marked the first performance with harpist Karen Lindquist, who would become a staple for many holiday concerts to come. The post-concert party was held at River Club on Christopher Street. Community caroling was scheduled for December 22 at Sheridan Square, a tradition that has Chorus members traveling the Village spreading musical cheer during the holiday season. The Chorus was invited to perform at the regional convention of the American Choral Directors Association to be held in Baltimore in mid February 1984. The invitation was extended based on a tape submitted using portions of the December 1982 Carnegie concert, first to the New York committee and then passed on by them to the regional committee. Hundreds of tapes are reviewed without the committee knowing the name of the organization; therefore, the Chorus was selected strictly on musical merit. Asked to perform their 30-minute recital on Saturday afternoon, February 11, the Chorus would be the first openly gay chorus to be invited, and would appear with the finest secondary school, college and professional choruses from the Northeast. There had been some discussion about performing elsewhere during the trip to Baltimore, but ultimately it was decided that it would be a day trip. Still there were some costs involved and a program was started to raise funds called Adopt a Chorus Member. This program was presented to subscribers and friends who donated $36 to sponsor a chorus member

on the trip to Baltimore. Busses left from Playwrights Horizons at 8 AM, arriving in Baltimore for lunch and then with time for the 3 PM performance. All were excited to perform for a group of professional musicians and truly show what a great chorus NYCGMC had become. The spring concert was set for March 25 at Avery Fisher Hall and was called One Night Only. It was a concert that would headline many Broadway stars for an

evening of show music. Several stars had been approached early, but because it was a benefit, most wouldn’t commit until the last minute. The final list of stars included Kaye Ballard, who canceled an evening performance of her hit show Hey Ma….Kaye Ballard, to host the evening at Avery Fisher. Also appearing that evening were several stars that were currently appearing in Broadway shows including Betty Buckley (Tony-award winner for Cats), Kay Cole (from the original cast of A Chorus Line), Peggy Hewitt (from A Day in Hollywood/A Night in the Ukraine), George S. Irving (On Your Toes), Larry Kert (the original Tony from West Side Story and Bobby from Company), Alexandra Korey (America Kicks Up Its Heels), Julia McGirt (who appeared as Effie in Dreamgirls), Ron Raines (Show Boat), Justin Ross (A

Chorus Line), Debbie Shapiro (Zorba), William Thomas, Jr. (La Cage aux Folles), and Karen Ziemba (42nd Street). The evening was quite a treat for the audience, and when several scheduled stars had to cancel at the last minute, Jo Sullivan made a special guest appearance and sang from her husband Frank Loesser’s repertoire. The weekend of April 14-15 had the Chorus in the studio again. The great success of the first album from Pro-Arte had the record label eager to get another album out. After much discussion it was decided that this album would be more focused on New York and an “easy listening” repertoire. With only a small budget, a combo was arranged for this recording and programming included many works the Chorus had previously performed. There was a Rodgers and Hart New York medley and a Stephen Sondheim medley, both from arranger Larry Moore, All the Things You Are arranged by Gary Miller, Mark Riese’s Sometimes When We Touch and an arrangement of Vincent Youman’s Great Day. Sunday, May 20, 1984, marked the Chamber Choir’s first solo performance. The concert was held at St. Peter’s Episcopal Church and included works from Britten and Schubert and a guest appearance by the Stonewall Chorale Chamber Choir.

“If this film could say any one thing to gay people, it’s just to be yourself and be proud of who you are.” In May, HBO presented the documentary Being Homosexual. This ten-minute film looked at the lives of different gays and lesbians. The background for the film

was the 1983 holiday concert. The Chorus was filmed at Carnegie Hall performing Mark Riese’s arrangement of God Rest Ye Merry, Gentlemen and this music was set against various images during the film. At the close of the film a statement is made which sums it all up: “If this film could say any one thing to gay people, it’s just to be yourself and be proud of who you are.” The Chorus was on the road again in early June. On June 2nd, they traveled to Southampton on Long Island to perform for the East End Gay Organization for Human Rights. The event was a fundraiser for the Linda Leibman Human Rights Fund. Besides the Chorus, there was also a performance by the pops group of the Chorus, The Stepping Tones. For the June pride concerts the Chorus would also go on the road. On Friday, June 15, they boarded busses to travel to Washington, D.C. where they would participate in Gay Pride festivities. On Saturday, the Chorus was a guest on the concert of the Gay Men’s Chorus of Washington, D.C. at the Lisner Auditorium at George Washington University. On Sunday, the Chorus participated in their pride parade before returning to New York. The following week the boys from D.C. traveled to the Big Apple to make two

appearances at Alice Tully Hall with the Chorus. Together at Last saw the same concert that occurred in the nation’s capital. The choruses sang on Thursday the 21st followed by a party at Park Ten. Opening the concert were our guests from Washington. They presented a varied program including some German repertoire, some American music and ended with two Broadway songs, “In A Very Unusual Way” from Nine, and the opening number from On the Twentieth Century. New York opened the second half of the program with mostly American music including Vincent Youmans’s Great Day, a George M. Cohan medley, two American folksongs adapted by Aaron Copland, Charles Ives’s Circus Band, and ended their segment with the world premiere of another commissioned work by John David Earnest, The Incomparable Light. The two choruses then joined forces to sing three great opera choruses, Stuart Raleigh’s When I Heard at the Close of the Day, Larry Moore’s arrangement of Our Time, and A Serious Proposition, a medley from Larry, which closed this first joint concert of the two choruses. Friday saw the New York Chorus host a fun time with parties at Greenwich House and the Monster. The second concert was held on Saturday the 23rd, and the weekend ended with the traditional Pride March on Fifth Avenue on Sunday, June 24.

1984-85 Fifth Season Opens with G.M.H.C. Benefit

n addition to a full three-concert season, the Chorus performed two benefit concerts for the Gay Men’s Health Crisis on September 28-29. The concerts were held at the Performing Arts Center of Manhattan Community College in lower Manhattan. This event was organized in part by Chorus members Edgar Colón-Hernández and Kent Peterson

The first part of the program included Luigi Cherubini’s Requiem in D Minor. This great work of the early 1800s had not been performed in New York City for many years. The Requiem was performed in memory of all who have died of AIDS—2,531 in the US alone at this time. The Chorus particularly remembered Calvin Hampton who passed away of AIDS over the summer. Hampton had worked closely with the Chorus and composed two pieces especially for them. The second part of the program was Randall Thompson’s The Testament of Freedom. Thompson, who had also passed away recently, is regarded as a major figure in modern choral music. Testament…was performed in recognition of the massive efforts of the gay community in the fight against AIDS. Early in the season, several additional performance dates were approved for the sub-groups. The pops group, The Stepping Tones, would perform at the Gay Synagogue and at The Silver Lining. The Chamber Choir and the Stepping In the Winter of Cities Chamber Choir Riverside Church

Holiday Sampler Carnegie Hall

1984

SEPT. 28-29 Cherubini Requiem (AIDS Concert) Manhattan Community College

DEC. 18

1985

JAN. 20

FEB. 7, 9, 10

Time to Party with the Boys (Benefit) Limelight

Controversy continued to follow the Chorus. In late January, the Chamber Choir was to appear in Westchester as the music December was the time for the Chorus to travel out of town and get down to the business of learning music and also enjoying each other’s company for a few nights away from the city.

Tones both were scheduled to perform for SAGE in December at their Christmas party. This year’s Halloween Party was again scheduled for PS #3 and was themed Prohibition. The theme was reflected in the décor, including spiked punch, hip flasks and more. Prizes were given for best costumes and a fun time was had by all who attended. Once again social chairman Joe Alleva had created a wonderful evening. The second annual raffle was also underway with this year’s prizes including a cruise for two, gym memberships, dinner/theater packages and concert tickets. All these wonderful prizes were just a chance away for $1. The Chorus raised about $12,000 this year, up from the first raffle, and with much-needed funds for the organization. The Chorus held Retreat V once again in Connecticut. The first weekend in

This holiday concert was held on December 18 at Carnegie Hall. Holiday Sampler contained some works from previous holiday performances like Mark Riese’s God Rest Ye Merry, Gentlemen, Dennis Riley’s Winter Settings from the 1982 season and antiphonal choruses. Also on the program was the New York premiere of Samuel Adler’s Chanukah songs Praise Thy Saving Power and two new commissioned works for the Chorus. Libby Larsen’s setting of Welcome Yule concluded this first half of the evening and James Adler’s Carols of Splendour appeared in the second half. The evening ended with a Larry Moore medley of carols for Chorus and audience. The Chorus also presented a gift to the community with a free concert at Washington Square Methodist Church on Sunday, December 23 at 4 pm. The new year began with the Chorus taking an excursion to Atlantic City for a “fun”-draiser on January 13. January 20 there was a Tea Dance at Limelight. The Chorus’ first corporate supporter— Stolichnaya—sponsored a Time to Party with the Boys.

Matthew Nash. The singers were essential in the composition of the piece, due to some limited movements and dispersed positioning in the tableaux. In the Winter of Cities was a musical setting of four Tennessee Williams poems while two dancers keep meeting and parting. When one of the sponsors of the evening, Elizabeth Seton College of Yonkers, found out the group was part of the Gay Men’s Chorus, they refused to host the event. The composer and the local council on the arts supported the performance and simply moved it to a public school. The piece was later performed in Manhattan at the Riverside Dance Festival at Riverside Church on February 7, 9, and 10, without controversy.

Pride Parade New York City

Back to Broadway Carnegie Hall MAR. 31

for a dance piece by composer

JUNE 27-29

JUNE 30

Singing Out Proud! Alice Tully Hall

“The most interesting choral set piece on Sunday was a quiet a cappella version of Stephen Sondheim’s Not A Day Goes By that emphasized precise pitch and carefully blended inner voices.” —Stephen Holden, The New York Times

The March concert, Back to Broadway, was hosted by The High Heeled Women. Also on the program were Betty Buckley, Liz Callaway (Baby, Merrily We Roll Along), Terri Klausner (Evita), Maureen McGovern, Ann Reinking (Pippin, A Chorus Line), Jamie Rocco (Cats), George Rose (Pirates of Penzance), Roz Ryan (Dreamgirls), Camille Saviola (Nine), and Debbie Shapiro (Zorba).

Stephen Holden reviewed the concert in The New York Times on Saturday April 6, 1985. Among his comments were “The most interesting choral set piece on Sunday was a quiet a cappella version of Stephen Sondheim’s Not A Day Goes By that emphasized precise pitch and carefully blended inner voices.” He also enjoyed the celebrities, stating “Maureen McGovern’s Music and the Mirror was

Among the composers on the evening’s program were Samuel Barber, Aaron Copland, Leonard Bernstein, George Gershwin, Charles Ives, Cole Porter and Ned Rorem. The Chorus also presented an expanded work by Stuart Raleigh titled Words for the Future, four a cappella settings of the poignant words of Walt Whitman. Also on the program was the world premiere of Songs of War by John Burge, winner of the first NYCGMC Composers Contest.

impeccably precise and Liz Callaway’s “The Story Goes On” from Baby was passionate and touching. Reprising I am the very model of a modern major-general, George Rose was the very model of virtuosic suavity. Camille Saviola, performing her bravura comic parody of Anna Magnani from the cabaret musical Hollywood Opera, provided the comic high point.” The Chamber Choir held their second solo concert at West Park Presbyterian Church on the Upper West Side. Sunday Near the Park was under the direction of Dean Johnson. The program honored J.S. Bach; though he did not write for such groups, he has influenced all subsequent music. The program included selections by Bernstein, Poulenc, Schubert, Sondheim as well as

a premiere piece by Dean Johnson. The concert was on Sunday, May 19, 1985. An interesting notice appeared in early June regarding the elevation of Archbishop John J. O’Connor to the College of Cardinals. According to an article in the New York Post, “WNBC News used, without credit, the Gay Men’s Chorus version of Randall Thompson’s Alleluia as background music.” Also at this time the Chorus had been invited by Mayor Edward Koch to sing at City Hall on June 18, when he proclaimed Gay Pride Week. The June program was an evening of American music. Singing Out Proud was scheduled for three evenings at Alice Tully Hall on June 27, 28, and 29, prior to the pride parade on Sunday, June 30.

Following the successful Follies concert at Town Hall, Arthur Metzgar organized another fundraising event on July 26 at Greenwich House. Forbidden Chorus was co-produced by Marty Christian, Chuck Akerland, George Range and Norman Sweet. The evening of madness and music was intended to raise necessary funds for the Chorus. A variety show of sorts was presented and more than $1,600 raised for the Chorus. Saturday, August 17, was a celebration of Five Years of Song and Brotherhood. The evening of celebration was held at the Church of St. Luke in the Fields. Attendees at the party included Margaret Whiting and Jack Wrangler, both great supporters of the Chorus. It was at this occasion when the first five David Lloyd Sears NYCGMC Apple Awards were given out. These were presented to recognize five men who had worked very hard on behalf of the Chorus during the first five years. It was a fantastic ending to a wonderful season.

1985-86 The Best of the Best Highlights Sixth Season

The Best of the Best: Donald Pippin conducting the finale with (l to r): Ellen Burstyn, Dr. Ruth Westheimer, Melissa Manchester, Sally Struthers, Roberta Peters, Burt Bacharach, Carol Bayer Sager, Larry Kert, Lily Tomlin, Marilyn Horne, Carol Burnett, Bette Midler, Peter Allen, Dorothy Loudon, Walter Charles, Chita Rivera, Wayne Cilento, Christopher Reeve, Colleen Dewhurst, Victor Borge, Liz Smith and the McGuire Sisters; just in back is the Boys Choir of Harlem; behind them the NYCGMC and cast singers.

he Chorus presented a free community concert at Hunter College on Saturday, September 21, 1985. A celebration of the Chorus’ five years, Now We Are Five featured the Chorus’ favorite selections from five years of great music. A well-rounded program showed off the Chorus with pieces by Aaron Copland, Charles Ives, Stuart Raleigh, Stephen Sondheim, Cole Porter and Cy Coleman.

On November 2, members of the new pops ensemble, Uptown Express, augmented by Chorus members, performed at Paradise Garage for the annual Mr. Leather Contest. The evening was a benefit for the Gay Men’s Health Crisis and AIDS Resource Center and was sponsored by Interchain Fraternity and G.M.S.M.A. The first major performance was on November 3, 1985, at the Metropolitan Opera House sharing the stage with a

host of celebrities including Marilyn Horne, Bette Midler, Carol Burnett, and Peter Allen. The evening was the first celebrity AIDS fund-raiser in New York City and was titled The Best of the Best. The Chorus sang two songs; My Buddy and Sometimes When We Touch. They then performed in the finale, where the entire cast of the event joined in song with Jerry Herman at the white baby grand piano singing “I’ll Be Here Tomorrow” from his musical The Grand Tour. The event raised more than $1.3

Mr. Leather New York (GMHC) Uptown Express

1985

SEPT. 21 Now We Are Five Hunter College

NOV. 2

Home for the Holidays Carnegie Hall NOV. 3 Best of the Best (AIDS Benefit) Metropolitan Opera House

DEC. 18

million for AIDS organizations. Gary Miller wrote of this exceptional evening in the monthly Chorus Lines:

“Lily Tomlin as a warm-up act; an audience who cheered so loudly for our introduction that Liz Smith never even got to say our name; a 45-piece orchestra with yet another spectacular Mark Riese arrangement; Chita Rivera in tears after My Buddy; 4,000 in the audience on their feet and applauding madly the 200 people on stage who were madly applauding the audience; a show that went well into overtime and we didn’t have to worry about the bill; James Levine literally at our feet; Sally Struthers leading the Chorus in an impromptu sing-along; a stage manager whose last words were, ‘Thanks for being so professional.’ Just a few of the wonderful memories from a spectacular evening. Will there ever be another night like it? Probably not.” And though the evening was a great honor, it was also equally important when

the Chorus helped to celebrate the 125th Anniversary of the Washington Square Methodist Church at the morning service on November 3. “Washington Square Methodist Church has a long history of fighting for the rights of all people, and they deserve our whole-hearted support,” Gary Miller wrote in the monthly Chorus Lines issue.

JAN. 25-26

MAR. 23

You’re A Good Man Charlie Brown Greenwich House

Approved by the Board was a production by Chorus members of the musical You’re A Good Man Charlie Brown, which was presented on January 25 and 26, 1986, at Greenwich House as a fund-raiser for the Chorus. The production featured Chorus members Ron Baumanis as

Prior to the annual holiday concert there were performances by the sub-groups. The Chamber Choir performed at Cathedral of St. John the Divine on Saturday, December 14. Uptown Express performed a holiday concert at Talk of the Town in White Plains on Sunday, December 15. That same evening, members of the Chorus were caroling in the Village. The holiday concert this year was on December 18 at Carnegie Hall and titled Home for the Holidays. The program included many traditional carols, as well as some premieres. The Chorus commissioned a second piece from Conrad Susa who had composed the very first commission for the Chorus in 1981. His new piece was titled Arise and Wake!; and it provided a thrilling end to the first half. The Chorus presented a set of antiphonal choruses with Jacob Handl’s O magnum mysterium and Conrad Susa’s Chanticleer’s Carol to open the second half. The Chamber Choir, under the direction of Dean Johnson, gave a memorable performance of Larry Moore’s arrangement of Appalachian Carols. The Chorus then rounded out the evening with some traditional carols, a Jingle Bells sing-along with the audience, a medley from Larry Moore of Christmas Rock ‘n’ Roll and

Charlie Brown, Ores Chever as Snoopy, Irma Csermak as Patty, Ronald Shore as Lucy, Martin Teitel as Linus, and Bruce Ward as Schroeder. Chorus member Lee Stern directed and George Range was the musical director. There were 3 performances over the weekend. The sub-groups were at it again at the end of February. Uptown Express sang at St. Peter’s PWA dinner on February 25.

Bi-Coastal Affair (SMC) Alice Tully Hall

In Living Color Carnegie Hall

1986

ended with Home for the Holidays, the title song for the evening of merriment.

JUNE 22

JUNE 30—JULY 1

Shout for Joy! We Are God’s People Cathedral of St. John the Divine

JULY 3-6 GALA II Minneapolis, MN

On March 1, the Chamber Choir sang at City Hall for the “America Run to End AIDS” kickoff.

with La Gran Scena Opera Company; Ron Raines; David Summers; and the incomparable Elisabeth Welch.

The March concert, In Living Color, was scheduled for Sunday, March 23 at Carnegie Hall, and it was a wonderful evening as earlier in the week the New

A highlight of the evening was when Terry Sweeney brought his television impersonation of Nancy Reagan as a repressed swinger to the Carnegie Hall stage. The New York Times noted “Its most satisfying performance on Sunday was a simple, understated reading of Goodbye for Now, Stephen Sondheim’s theme from the film Reds.” Bill Zakariasen also mentioned in the Daily News,

“As it stands now, this city knows no more robust-sounding and thoroughly professional all-male group than this.” The Chamber Choir set their annual spring concert for Sunday, May 18 at St. Peter’s Church in Chelsea. This year’s program featured both classical and lighter repertoire, including selections by Schoenberg and Schumann as well as premieres by Chorus members Kent Peterson and Edgar Colón-Hernández, and Chamber Choir director Dean Johnson. This concert saw the world premiere of Johnson’s Mosaic, featured dancers choreographed by Matthew Nash and an appearance by Philene Wannelle of La Gran Scena Opera Company. York City Council had finally passed the Gay Rights Bill. The evening was truly a reason to celebrate. Another star-studded evening was presented for a sold-out audience. Hosting the event were Danitra Vance and Terry Sweeney from Saturday Night Live. The theme of the evening was color, and it was present in every song. Especially amusing was the lengthy medley Larry Moore created using every color under the sun, including White Christmas! What zaniness! Stars for this event included Helen Gallagher (Pal Joey, No, No, Nanette); Dorothy Loudon (Annie, Noises Off); Philip Koch as Philene Wannelle, the leading mezzo-soprano

On June 2, the Chorus was on hand at St. Peter’s Church on Lexington Avenue as part of a benefit for “Momentum”, an AIDS program. Also on the evening’s entertainment were Julie Wilson, Margaret Whiting, Elisabeth Welch, and Camille Saviola. In June, the Chorus began Gay Pride week festivities by singing at an interfaith service on Sunday, June 22, at the Cathedral of St. John the Divine. On Saturday the Chorus welcomed the men from the Seattle Men’s Chorus for rehearsals before Sunday’s Pride March down Fifth Avenue. On Monday and Tuesday evenings, June 30 and July 1, the two choruses joined forces to present A Bi-Coastal Affair at Alice Tully Hall.

Gary Miller (center with glasses) leads the Chorus down Central Park West for the Gay Pride March The concert had Seattle open the evening followed by New York and then the two choruses combined. New York opened with Larry Moore’s exquisite arrangement of America the Beautiful. Following that were Schubert’s Geist der Liebe and Sonorities for Men’s Voices by Gregg Smith. The Chamber Choir performed several numbers, and then the Chorus presented Words for the Future by Stuart Raleigh based on poems by Walt Whitman. Leonard Bernstein’s if you can’t eat you got to, which was presented to the Chorus by the composer in 1981 for its New York premiere, was heard

again at this concert, Mark Riese provided a sensitive arrangement of “Unusual Way” from the musical Nine, and Larry Moore gave a tongue in cheek celebration of the town we love so dearly with his medley My Town’s Better Than…. The two choruses combined to present the American premiere of a work by composer Charles Gounod. The Liberty Cantata was composed in 1876 for the dedication of the Statue of Liberty. Reconstructed from Gounod’s original handwritten conductor’s score, this was the first performance of the piece as the composer intended. John David Earnest’s Only in the Dream was also presented by the full 250 chorus of men and the evening ended with a humorous medley from Larry Moore, A Serious Proposition, to celebrate the first combined concert of the two choruses.

The two choruses then flew to Minneapolis on the next day to participate in the Second GALA Music Festival. New York performed the same program on Saturday, and on Sunday July 6 the festival closed with all the participating choruses performing a rousing rendition of Randall Thompson’s The Testament of Freedom. So thrilled was the audience response that the combined choruses had to repeat the entire number for their pleasure. Truly an exciting finale to a very exciting season.

1986

Chorus Wins Right to be Gay performing ensemble, our performance was never acknowledged in the official magazine of the organization, The Choral Journal and an official policy was adopted afterwards specifically prohibiting the appearance of any chorus using in their name the words ‘gay’ or ‘lesbian’. A personal trip to Salt Lake City, host city of the 1985 national convention, to talk with the leadership proved unproductive. The lawsuit followed when the Gay Men’s Chorus of Los Angeles was also prohibited from using their name in last year’s Western Division convention.

n 1984, the New York City Gay Men’s Chorus made history as the first openly gay chorus to perform for the American Choral Directors Association. Their superb performance at that convention in Baltimore was to create much disagreement over the next two years.

NYCGMC Music Director, Gary Miller, recapped the events in the November 1986 issue of Chorus Lines. “After more than two years of fighting with the American Choral Directors Association, culminating with a lawsuit filed for our side by the American Civil Liberties Union, we can now claim a clear-cut victory! “In February 1984, we were selected by ‘blind tape’ audition based on musical merit to appear at the Eastern Division ACDA convention in Baltimore. When they found out the name of our Chorus, they tried to prevent our performance. As our acceptance letter had already been signed, we forced them to allow us to perform. However, unlike every other

On September 13, 1986, two years and seven months after our historic performance the following resolution was passed unanimously by the National Board of the American Choral Directors Association at their annual Board meeting:

RESOLUTION Any gay or lesbian group performing at any ACDA function or referred to in any ACDA publication shall be referred to by the full name of such group and without requirement that such group delete reference to the word ‘gay’ or ‘lesbian’ in its name. In addition to the resolution, the ACDA Board has mandated that the following

disclaimer must be included in all printed convention programs:

DISCLAIMER The American Choral Directors Association supports choral activities by all musical groups. The association does not discriminate on the basis of racial, religious or social affiliation. The appearance of a performing group on a Convention program does not imply ACDA’s endorsement of non-musical aspects or positions of the performing groups. Under the terms of the Settlement Agreement reached by the American Civil Liberties Union, ACDA is to be dismissed ‘with prejudice’ from the action pending at the time of the settlement upon a showing that the Association deleted requirements pertaining to use of the word ‘gay’ or ‘lesbian’ in program activities. The above resolution serves that purpose and the case has now been dismissed. Next March (1987) several of us who direct gay choruses will travel to San Antonio to the national convention. It is our intent to provide a positive image of our presence and begin the long process of healing the wounds. The next Eastern Division convention is in Philadelphia in February 1988. Shall I submit a ‘blind’ tape?!”

Charter Member Reminiscence by Mark McManus

s it possible that there has really been this much time between my audition at Gary Miller’s 85th Street apartment and now? What has transpired over the past 24 years fills me with joy and breaks my heart all in the flash of one memory.

When I auditioned for NYCGMC, I was looking for an outlet to continue the habit I had acquired as a boy soprano in my hometown church choir and the 15 or so singing groups I had been part of from then through my high school and college years. Little did I know what I was getting myself in for. Two choral experiences emerged from that first audition experience. First is the 24 years of marvelous, and at times, mundane singing that has sustained that choir habit. And then there has been the bittersweet, and much more profound, experience of the friends I’ve made and lost through this wacky and beloved organization. I should have known better. How is it possible to join an organization with a social and political message without becoming emotionally attached? The first half of these 24 years was full of good singing and 3 men who became my family—Rob Berray, Richard Jasper and Bob Levine. These three men were as diverse as any you could ever know and they completely reflected who I am. When they passed away first Bob, then Rob and finally Richard—only 18 months after Bob—I thought my world was over. I continued with the chorus after a brief leave. It was difficult without them. For lack of imagination, I continued to do the only thing with my Monday nights that I knew to do. So here I am today—still here on Mondays nights, still singing marvelous, and at times, mundane music—appreciating the new friends I’ve made—and still singing with Richard, Rob and Bob in my heart every time I walk into rehearsal and every time I sing the body electric.

1986-87 Seventh Season to Host Colleen Dewhurst

fter a much-deserved rest over the summer, the Chorus returned to rehearsals in September at Greenwich House in the Village. A performance at the Columbus Avenue Festival on Sunday, September 14, was another opportunity for the Chorus to get out among the public.

The annual Halloween Party was held on November 1. Garden of the Gods…Faeries

Welcome! was a huge success. The annual event had always been budgeted as a party for the membership with guests having to pay to enter and partake of the festivities. This year, the event was such a success that the expected loss was cut almost in half. Lots of members volunteered to make this a success. Edgar Colón-Hernández and Norman Sweet were co-chairmen, with William Costello in charge of the bar and many Deck the Hall! (Colleen Dewhurst) Carnegie Hall

Garden of the Gods Halloween Party

1986

SEPT. 14 Columbus Avenue Festival

NOV. 1

DEC. 14 Christmas Party (Uptown Express) Playroom II, Yonkers

DEC. 23

others helped out during the evening. Prizes were given for Best Theme, Best Non-Theme, and Best Couple/Group Costume. The party was held at the skating rink at 15 Waverly Place. Prior to the concert, the pops group Uptown Express performed at Playroom II for their Christmas Party in Yonkers. Their concert was on December 14 at 10 pm. Rehearsals were underway for the holiday concert Deck the Hall at the renovated Carnegie Hall scheduled for Tuesday, December 23. Joining the Chorus was actress Colleen Dewhurst who narrated A Sumptuous Feast of Olde English Carols. Carols in this section included Wassail Song, The Holly and the Ivy, The Boar’s Head Carol, and A Merry Christmas. The Chamber Choir presented some early works and included a new arrangement by Dean Johnson of Lo! How a Rose E’er Blooming. The Chorus then presented David Kraehenbuehl’s Three Christmas Madrigals. This was followed by the premiere of a new work by Mark Riese. Then and Now was his first original piece for the chorus, though he had previously provided many wonderful arrangements. The second half opened with A Festival of Carols which included Mark Riese’s God Rest Ye Merry, Gentlemen, I Wonder as I Wander arranged by Larry Moore, and Calvin Hampton’s The Wiseman Cometh. Two sections of Leonard Bernstein’s Chichester Psalms followed with guest countertenor Larry Lipnik. To round out the evening, the Chorus presented an arrangement of Merry Christmas, Darling and two medleys from Larry Moore, He Only Comes Once a Year and Deck the Hall!, a sing-along with the audience. This was the sixth holiday concert at Carnegie Hall for the Chorus and was sold out a full week before performance!

During this last month several members of the Chorus were also busy rehearsing the second musical the Chorus produced. In January, 1987, the Chorus presented A Funny Thing Happened on the Way to the Forum at the Tribeca Arts Complex at Manhattan Community College in lower Manhattan. The production was directed by Martin Teitel with choreography from Jeff Brooks. Bruce Ward, who had appeared in Charlie Brown the previous year, played Pseudolus, and Jim Vivyan played his sidekick, Hysterium. Many Chorus members appeared in the production and worked backstage to make this a very successful theatrical event. Performing three times over the weekend January 10-11, the production raised funds for the Chorus’ AIDS Outreach Fund.

Above left to right: Jay Lesiger, Ted Bloecher, Jim Vivyan, Bruce Ward—“Everybody Ought to Have a Maid” from Forum

Cast and Crew for Forum

NYCGMC: The Movie! (Vito Russo) Avery Fisher Hall

1987

JAN. 10-11 …..Forum Manhattan Community College

MAR. 22

We the People… Alice Tully Hall MAY 19

JUNE 29

May Concert (Chamber Choir) St. Luke in the Fields

The March concert would be another star event. However, this year the theme of the evening was NYCGMC: The Movie, hosted by Vito Russo, author of The Celluloid Closet. The concert was scheduled for Sunday evening, March 22, at Avery Fisher Hall. The evening was filled with music from films of the past and present. There were medleys representing Disney, Judy Garland, and Marilyn Monroe—the latter for which the “diamonds” came out. Sondheim, Berlin, Gershwin and Bernstein were also represented. Adding to the evening between the commentaries of Vito Russo was Sharon McNight performing a searing “Sister” from The Color Purple. Marilyn Sokol contributed an Ethel Merman specialty number, It’s the Animal in Me; Madame Vera GalupeBorszkh (Ira Siff) from La Gran Scena Opera delivered a rendition of The Rose. The legendary Sylvia Syms provided a Gershwin tune and a no-holds-barred How Long Has This Been Going On?, Jo Sullivan offered a beautiful Spring Will Be Late This Year, and Baby Jane Dexter volunteered musical hope and good will. The May Concert of the Chamber Choir was scheduled for Sunday, May 10, at Church of St. Luke in the Fields. This concert had works by Britten, Dufay,

Poulenc, and a new cantata by director Dean X Johnson titled 78:87—Living Now. Also on the bill were pieces by Chamber Choir members Kent Peterson, Tony Shenton and Edgar Colón-Hernández. The June pride concert, We The People, was a celebration of the bicentennial of

On Stage at Alice Tully Hall

the Constitution on three nights, June 23, 25, and 27, at Alice Tully Hall. The concert opened with American music including An Ode for the Fourth of July, Johnny’s Gone Marching, Shoulder to Shoulder (the Suffragette Anthem by Dame Ethel Smyth, arranged by Dean X Johnson), Hope for Tomorrow and Sheldon Harnick’s The Man With the Sign. The Chorus presented the New York premiere of David Conte’s Invocation and Dance. The winning composition of the second NYCGMC Composers Contest was also featured. Humoresques was based on two poems of Thomas Merton and featured two pianos and four harps! Then followed the new Uptown Express with the first appearance by their new director, James Followell. They presented a tribute to Patsy Cline, with a medley of four of her hit songs. A medley of songs from the hit Broadway musical Les Miserables

followed, as did the new AIDS-inspired song Love Don’t Need A Reason co-written by former Chorus member Michael Callen.

1987-88 March on Washington Part of Season 8

National March on Washington—October 11, 1987 he eighth season of the Chorus started early with a free concert sponsored by the city at Damrosch Park at Lincoln Center on September 10, 1987. Called Love Songs for a September Night, it was a nice evening of music. It

included All the Things You Are, Old Friend, Unusual Way, Love Don’t Need a Reason, Sometimes When We Touch, and, of course, the Chorus’s theme song, Kander and Ebb’s New York, New York. Damrosch Park

National March on Washington Main Stage, Washington, DC

1987

SEPT. 10

OCT. 11

Love Songs for a September Night Damrosch Park, Lincoln Center

DEC. 22 Welcome Yule! (Faith Esham) Carnegie Hall

Strict Songs (Mark Morris Dance Group) Brooklyn Academy of Music

Boy Meets Boy Manhattan Community College

1988

JAN. 22-24

MAR. 26-27

MAR. 17-22

Ten Cents A Dance Penta Hotel Ballroom

This year’s Halloween Party was held at New Dance Group on West 47 Street. Prizes were again given for Best Costumes. The theme for this year came to cochairman of the event William Costello in a vision. He states:

“One night after a Halloween Party Committee meeting I lay in bed tossing and turning and just generally having a hellish night’s sleep. On Sunday, October 11, the Chorus participated in the National March on Washington for Lesbian and Gay Rights. The Chorus traveled by bus and was welcomed by members of Gay Men’s Chorus of Washington who hosted NYCGMC. There were lots of events over the weekend including a mass wedding with Reverend Troy Perry of the Metropolitan Community Church officiating. There was a joint Gay and Lesbian Band Concert on Saturday evening, October 10, in which the choruses from Washington DC and the Denver Women’s Chorus also performed. Sunday was the March, which lasted almost as long as the Pride March down Fifth Avenue. As the chorus approached the Mall and the stage for their appearance, the excitement mounted. They sang two songs, Shoulder to Shoulder, a popular song of the feminist movement during the suffragette era arranged by Dean X Johnson, and Stephen Sondheim’s Our Time as arranged by Larry Moore. The view from the stage of the thousands of people on the Mall between the Capitol and the Washington Monument was phenomenal.

We were trying to come up with a theme, with not much luck. Then I dozed off and had a SWEET DREAM. There, at the foot of my bed, right before my eyes and dressed all in white, was the famous country-western singer, Patsy Cline!” And from her advice the evening was called Cowboy Boots and Petticoats. Early in November, the Chamber Choir and Uptown Express joined forces for a concert at Tracks NYC. The club was packed on this Thursday evening as the two groups provided the musical entertainment. In addition, Uptown Express performed again this year at Playroom II in Yonkers on December 20 for their annual Christmas Party.

European Tour London, Amsterdam, Koln, Paris

Share the Pride (Boston GMC) Avery Fisher JUNE 4 Share the Pride (Boston GMC) Orpheum Theater, Boston

JUNE 19

AUG. 25

AUG. 26-SEPT. 7

Pre-Tour Concert St. Peters, Citicorp

The holiday concert was scheduled for Tuesday evening, December 22, 1987 at Carnegie Hall. Welcome Yule! would also showcase the talented soprano Faith Esham. The program included the New York premiere of a collection of wonderful Christmas dances by Libby Larsen called Ringeltänze. Also featured on the program was a commission from David Conte, Hymn to the Nativity, which featured soprano Faith Esham. A section of traditional carols including Larry Moore’s, The Holly and the Ivy, and Mark Riese’s Christmas Comes Anew followed. The evening ended with Ms. Esham joining the Chorus for some French carols, O, Holy Night and the incomparable Twelve Days of Christmas. The evening ended with a rousing sing-along from Mark Riese called Festival of Carols. Also as part of this concert, the Chorus donated $5,000 from its AIDS Outreach Fund to the People With AIDS Coalition. The gift was given in memory of David Summers who founded the Coalition and who had sung with the Chorus in March 1986. This was the second donation the Chorus had made, previously giving $5000 to God’s Love We Deliver in June 1987. All during the holiday season many Chorus members were busy rehearsing for the musical production in January. The 1975 gay musical Boy Meets Boy by Bill Solly would receive its first revival. Five performances were given at Manhattan Community College in lower Manhattan on January 22 – 24, 1988. These per-

formances provided lots of enjoyment, and the sold-out run raised much-needed funds for the AIDS Outreach Fund. This production was also directed by Chorus member Martin Teitel who had done such a great job the previous year with A Funny Thing Happened on the Way to the Forum. Chorus member Arthur Metzgar designed the sets and costumes and David Bartee created the choreography. The cast was headed by Chorus members Guy Jacobs and Darrell Johnson as the main couple, and Jim Vivyan portrayed the jilted lover. Besides Chorus members, in the cast again this year was the appearance of Ann Harada, who would later go on to Broadway productions of M. Butterfly and Avenue Q.

In the Daily News, Bill Zakariasen said that Hymn to the Nativity “is truly celestial in its thematic material and in its voicing for singers and instrumentalists. For these ears, nothing more beautiful has been written for the Christmas season in recent years.”

The spring concert was scheduled for March 26-27 at the New York Penta Hotel Grand Ballroom. The former Hotel Pennsylvania was the home of the Glenn Miller Band. The evening was a salute to great big band music and entitled Ten Cents A Dance! The evening included an appearance by comedienne Julie Kurnitz. The evening was divided into sections with a Stage Door Canteen section and Ms. Kurnitz appearing in a Carmen Miranda parody entitled, South America, Take It Away. Ms. Kurnitz donated her time to this performance and worked closely with Chorus member Lee Stern who wrote the script for the evening. Larry Moore tailored his arrangements especially for her voice. The evening also saw Chorus member Eddie Peters create new lyrics for In the Mood, and they continue to add pleasure when they are sung today. The evening was set up in ballroom style with dancing between sets. There were even Chorus members as Taxi Dancers offering “Ten Cents A Dance”. Loads of fun was had for this unconventional concert, and the audience response proved it was highly successful. The Chamber Choir May Concert was scheduled for Sunday, May 1, at St. Peter’s Church in Chelsea. As with previous concerts, Dean X Johnson would again provide a world premiere piece, Music for the Age of Healing. Philip Koch as Philene Wannelle of La Gran Scena Opera Company would again guest perform with the group. Also included on the program were pieces from Schumann, Mendelssohn, Vaughan Williams, and Poulenc.

In mid-May, the Chorus was guest artist for an unusual performance. Appearing at the Brooklyn Academy of Music with the Mark Morris Dance Group, the Chorus sang Lou Harrison’s Strict Songs. This venture was a wonderful opportunity to expand their audience base. It also provided a chance for the Chorus to work with the St. Luke’s Chamber Orchestra. The Chorus sang for seven performances from May 17-22. Since it only required a small ensemble, not all members had to do all performances but were able to sing several and rotate through the various dates. PBS showed a documentary on Walt Whitman featuring Allan Ginsburg reading Whitman’s poetry, along with discussions of the great gay poet. During the running of the credits at the end of the movie, you could hear the Chorus singing Stuart Raleigh’s When I Heard At the Close of the Day. This was just another subtle mention on television, with a line credit as well! Shortly after these performances it was time for the Chorus to travel up to

Boston to join the Boston Gay Men’s Chorus for their pride concert, Share the Pride, held at the Orpheum on Saturday, June 4. Each Chorus performed a section of music before joining together on stage for a massed chorus of varying styles from opera choruses by Richard Wagner, to an offbeat medley by Larry Moore, and culminating in the double chorus Jubilation by composer John David Earnest. The Chorus traveled to Boston on busses and was housed by the Boston Chorus. An entertaining weekend was had by all.

semaphore. New York also presented the world premiere of a new John David Earnest piece, Open Wide Your Eyes, the Chamber Choir and Uptown Express also performed on the program.

Two weeks later, the men from Boston came to the Big Apple to reprise the concert at Avery Fisher Hall on June 19. This concert had an early start time of 7 pm so the two choruses could enjoy their celebration after the entertainment. Once again, New York played host to Boston with home-stays for the chorus members. The program was the same as the Boston concert with Boston performing first. New York ended their set with a medley of songs from the musical Boy Meets Boy complete with rainbow flag

88 tour

Chorus Takes Europe by Storm

ver the previous 15 months, members of the Chorus had been busy making payments for the first tour to Europe from August 25 through September 9, 1988. Promoted with Concertworld, the Chorus traveled to London, Amsterdam, Cologne, and Paris. This was the first European tour by an American Gay Chorus and the men were extremely excited with this opportunity.

Before leaving on their two-week tour, the Chorus presented a preview of the music they would sing at a concert at St. Peter’s Church at Citicorp. Pastor John Damm wrote “As a member of the audience, I can attest to the fact that the concert was effective both musically and as an American Sampler to be shared with friends abroad.” The concert also

“As a member of the audience, I can attest to the fact that the concert was effective both musically and as an American Sampler to be shared with friends abroad.”

provided a free will offering for the church’s programs for persons with AIDS. This was the first of the many concerts the Chorus would present over the next two weeks to help AIDS organizations. Thursday evening, August 25, 1988, was the scheduled departure of more than 80 members of the Chorus from JFK Airport for Heathrow Airport in London. The tour was arranged through Concertworld and the Chorus manager was Garon Douglass. The Air India flight was boarded, and then some malfunction caused a delay that lasted close to 3 hours. Once in the air, the Chorus was eager to get through the flight and begin their journey once in England. Upon arrival the Chorus made its way through customs before boarding their busses for an early-morning sightseeing tour of the city. There were stopovers at Prince Albert Hall, Buckingham Palace, and Westminster Bridge for pictures of Big Ben and Parliament. The busses also

drove by Piccadilly Circus, Trafalgar Square, Charing Cross Road, and Tottenham Court Road before arriving at the hotel in the early afternoon.

Saturday was a mixed day. Early in the morning, the Chorus found itself at the Tour Couriers BBC studios for a ten o’clock radio show called Loose Ends. The host, Ned This first evening, Sherrin, interviewed many Chorus members several guests, among made their way to the them director Gary Shaftsbury Theatre Miller. The Chorus for the revival of Follies was jammed into the featuring Millicent studio on eighty Martin and Julia chairs and near the McKenzie as well as end of the interview the incomparable managed to sing Eartha Kitt, who about the last twelve would appear with bars of New York, New the Chorus in their York. This created concert at the some fuss, as there Piccadilly Theatre are some obscure on Sunday evening. legal restrictions Robin Gorna and Russell Wharton, After the show, a Tour Couriers about singing on the group of gay busiradio without the proper licenses. In any nessmen had arranged for the Chorus to event it was a great promotion for their be guests at the spectacular London disco, concert the next evening. Heaven. Many members traveled to this rooftop club for a pleasant evening mixImmediately after the radio broadcast, ing with the London clubbers. the Chorus boarded busses to travel to Oxford for a concert at Blackfriar’s Chapel at 3 pm. At the Priory Chapel of St. Giles, the Chorus had to warm-up in the street. The Chorus then went inside to change into tuxedos and performed a condensed version of their program for an audience of about fifty or so. The turnout was rather disappointing, but still a good out-of-town warm-up for their concert the following night. After returning to the city that evening, tour courier, Robin Gorna, had arranged for several members to attend an evening at Madame Jo Jo’s, a drag extravaganza; this was a hit with some and a chance to experience a bit more of the London nightlife. The Chorus had Sunday morning free before the afternoon rehearsal and the evening concert at the Piccadilly Theatre. Ian McKellen hosted the event and Eartha Kitt was the guest artist. Before the curtain went up, Ian McKellen spoke to the Chorus about the audience they were about to see. “They tend to be a sedate lot,” he explained. As it turned out, they were extraordinarily

the Terrence Higgins Trust, the leading AIDS charity in the UK. The next morning, the Chorus traveled by ferry and coach on a lengthy trip to Amsterdam. Upon arrival, there was a quick sightseeing tour and then an evening of leisure. The next day began with a canal tour and additional sightseeing opportunities, including Anne Frank’s house, Rembrandt’s studio, a number of churches and the Royal Castle. The rest of the day was one of leisure, and chorus members explored the city and its many museums and other places of interest. The first concert in Amsterdam was at the Keizergractkerk, a stately old church adjacent to a canal of the same name. Seating about 600, it was mostly full with a warm and enthusiastic audience. The concert went well, but it was not as exciting as London’s performance. Perhaps the news given at the afternoon rehearsal of the loss of yet another Chorus member to AIDS, this time Lou Rizzo, was a blow to everyone’s concentration. Lou had been unable to make this tour because of his health and his unexpected death hit many of the members hard, especially those who were his close friends. However, the feeling of family prevailed, and the Chorus sang on, remembering all those members who had passed on in the previous five years since the first passing of a member; now there were 15.

vocal in their approval and very enthusiastic. There was such a charged atmosphere leaping back and forth across the footlights that by the second half of the program the audience was all revved up like electric batteries. Eartha Kitt, already proclaimed as a knockout in Follies, was wonderful, even when she forgot her lyrics to Blues in the Night. She told a story about appearing on Major Bowes as a child and flubbing the words, but when she forgot the words on Blues, Gary Miller fed her the right lyrics and she commenced to tear the hell out of it. Although she had

twisted some of the words up, no one in the audience knew it, and for them, and the Chorus, she could do no wrong. The reception from the audience was thunderous. They wouldn’t let the Chorus off the stage. They had to do several encores just to settle them down. All were extremely pleased with the evening, from the director John Field, to Ian McKellen and Miss Kitt. After the concert, there was a party for the Chorus in the lobby of the theatre, where Ian McKellen made an effort to meet as many Chorus members as possible. It was a wildly successful event that benefited

The next evening, at the gay community center, COC Center, the Chorus did their second concert in Amsterdam. A medium-sized auditorium seating about 300 was jammed with an enthusiastic and responsive audience. The stage was small, and the chorus was crammed on it, but managed to pull off another exciting evening of music. On Friday, the Chorus was on the move again—this time by bus to Cologne— where they would have home stays. For lunch, there was a stop at the Hoge Veluwe National Park, one of the few places with any woods in the Netherlands. After a nice lunch and

Outside the Dom, Cologne.

quick stroll through the sculpture park and museum, they were back on the road. They arrived at the Schultz, Cologne’s gay center, for a potluck dinner and to meet their hosts for the stay here. Chorus members were matched up with members of the Cologne chorus, their friends, and associates who had offered their hospitality during their stay in this lovely city. Since many members were spread throughout the city, the day was spent doing everyone’s own thing. Some went shopping, some sightseeing, and several managed to get together for a tour of the Dom cathedral and other spots in the city. The concert was at the historic Gürzenich Hall. Not only was it sold out, but there were standees along the sides and in the back, and there were people seated in back of the stage by the organ where a choir would normally be. This extraordinary audience gave a standing, stamping, screaming ovation at the concert’s end, and for the first time the chorus was summoned back to the stage after their exit for another encore. The audience would not leave until they heard one more song. Gary Miller mentioned they didn’t have any more, and the chorus just sang New York, New York one more time. The audience went wild waving their arms, screaming, and holding lighted matches and sparklers in their hands. Many even joined in as the chorus sang one more time. After the concert, there was a reception in the lobby with food, music, and dancing; practically the whole audience stayed to mix with the men from New York.

The next day, the Chorus met at the Dom in full tuxedo for a photo opportunity on the steps behind the cathedral leading down to the Rhine River. While standing on the steps, they were the focus of scores of tourists, all wanting their picture and to hear them sing. The Chorus indulged them with an a capella version of New York, New York. The concert that evening was at Trinity Church; it was attended by another enthusiastic crowd that, once again, called the Chorus back for, not one but, two encores. On Monday, it was time for the long twelve-hour ride to Paris. A little behind schedule the busses left the city minus one member who would have to find his own way to Paris (they couldn’t wait any longer). A cool, cloudy day with a heavy fog surrounded the Chorus as they left the spires of the Dom behind. Passing into Luxembourg, many wanted to get their passports stamped with the royal crest, though it wasn’t necessary when traversing this tiny country. They traveled on to Luxembourg City, where they spent a few hours enjoy the provincial city with its street fairs and classic architecture. Then, it was on through Belgium to Paris. It was a dreary day, and they encountered a torrential downpour on their way to the city of lights. The Chorus finally arrived at their hotel on the outskirts of Paris. A good night’s

rest was a blessing after a full day of travel. The next day, there was an early threehour sightseeing tour of the city that concluded at the Paris Opera. From there, everyone was on their own to do what they wanted for the day. Everyone was to be back at the hotel by 5 as they were to leave for their evening concert at Hospital Saint Louis for AIDS patients. The Chorus sang in the chapel, one of the oldest chapels in France. This reduced program, with no intermission, lasted just an hour. Even though a small audience was in attendance, they too were very responsive to the music. The last concert of the tour was held at the Theatre T.L.P. Dejazet. It was the eighth concert in thirteen days. The theatre, one of the oldest in Paris, held an audience of about 800-900. Without much of an organized gay community in Paris, there still was a reasonably enthusiastic audience. After the concert, the theatre staff gave the Chorus a champagne party in the lobby, and practically everyone in the audience attended. The next day, the Chorus was again on the road to travel by coach to Dunkirk for the ferry back to England. Everyone had a leisurely evening and another night’s stay in London before their return to New York, again aboard Air India. And so at twenty minutes past six on September 9, 1988, the Chorus returned to New York after a truly successful first tour of Europe, helping to raise spirits and money for AIDS organizations throughout Europe. Though an exhausting two-week tour for many, it was filled with many memories to last a lifetime. Gürzenich Hall, Cologne

1988-89 Season Nine Begins After A Successful European Tour

fter a successful two weeks in Europe, the Chorus took a short break before returning to rehearsals for another eventful year. Many former members were returning to once again join the Chorus for a super season.

But before the holiday concert, the Chorus would again present a musical production. This fourth production was the musical Once Upon A Mattress. Many

The creative team that did such a splendid job with Boy Meets Boy—director Martin Teitel, choreographer David Bartee, musical director Frank Spitznagel, stage manager Phil Bond, and lighting designer Frank Mikesits—once again delivered a superb show. Norman Sweet designed the costumes and Carmelo Roman did the sets. The pit orchestra was composed of members of the Big Apple Corps Band. The production ran for five performances from Friday, November 18 through Sunday, November 20 at Manhattan Community College. The holiday concert Noel, Noel was performed on December 21 and 22 at Carnegie Hall. In previous years, the single holiday concert had consistently sold out; now it was time to present the program so more people could enjoy the festivities.

of the members who had previously performed in Forum and Boy Meets Boy again lent their talents to this production.

European Tour London, Amsterdam, Koln, Paris

1988

AUG. 26-SEPT. 7

The concert presented music from the sixteenth and seventeenth centuries as well as the world premiere of a commissioned piece from composer Gregg Smith, Good Cheer. Also represented was the complete Three Carols from Mark Riese: I Saw Three Ships, What Child Is This, God Rest Ye Merry, Gentlemen. The Chorus also did a beautiful arrangement of Lo! How A Rose E’er Blooming from Dean X Johnson; humorous selections, including A Consort of Christmas Carols from P.D.Q.Bach; a Larry Moore medley;

Bill Zakariasen once again reviewed the Chorus in the Daily News on December 24 saying…

“As in previous NYCGMC Yuletide programs, the repertory was ecumenical and interesting, while the singing, as usual, was a model of precision, balance, and inspiration.”

Noel! Noel! Carnegie Hall NOV. 18-20

DEC. 21-22

Once Upon A Mattress Manhattan Community College

and the sing-along Glad Tidings We Bring.

Sondheim Tonight! Avery Fisher Hall

1989

JAN. 7 Uptown Express in Concert (Sharon McNight) Greenwich House

APR. 2

JUNE 17 Our Brothers‘ Keepers Benefit Albany, NY

The concerts presented the program before more than 4,000 patrons. The post-concert party this year was held at Tracks, which gave ample space to the many who attended and was a fitting holiday treat before a few weeks rest. Starting the new year in January, Uptown Express was off and running with two performances of their own concert on January 7, 1989. An evening of Harold Arlen and Patsy Cline music saw the appearance of guest artist, Sharon McNight. Director James Followell provided all the arrangements and the evening was a perfect blend of music for a fun evening at Greenwich House.

Together in Pride– Michael Callan Alice Tully Hall JUNE 21

Together in Pride-Chamber Choir, Uptown Express Alice Tully Hall JUNE 23

JUNE 24

Together in Pride– Stonewall Chorale Alice Tully Hall

GALA III Seattle, WA JULY 1 Concert (Portland Gay Men’s Chorus) Schnitzler Hall, Portland, OR

JULY 3-8

…not only did the Chorus receive positive publicity and gays shown as real people, but the public’s mind was opened a little farther about AIDS. During the previous months of this season, Newsday reporter Adam Horvath had been following the Chorus for an in-depth article for Newsday Magazine. That piece, called Singing For Their Lives, The AIDS Scourge and New York’s Gay Men’s Chorus, appeared on February 26, 1989. The piece was an extensive history of the Chorus as well as personal accounts of various Chorus members and how the organization was dealing with the ever-increasing loss of members to the AIDS pandemic. Although many in the Chorus had hoped for a more positive article about the Chorus, Marty Christian, Board Chairman, wrote, “If the reactions of the people in my office are any indication, it appears that the article accomplished quite a bit. So, not only did the Chorus receive positive publicity and gays shown as real people, but the public’s mind was opened a little farther about AIDS. Not bad results for a single piece!” When the Chorus returned to rehearsals in January, they were ready for the challenge ahead. On April 2, they would present Sondheim Tonight! at Avery Fisher Hall at Lincoln Center. The composer would attend the all-Sondheim evening, and the Chorus would be appearing with a variety of musical celebrities.

The Chorus performed songs from A Funny Thing Happened on the Way to the Forum, Sunday in the Park with George, Sweeney Todd, Merrily We Roll Along, Into the Woods, and Company. There were also rarities including “Take Me to the World” from Evening Primrose and two songs cut from Follies: “All Things Bright and Beautiful” and “That Old Piano Roll.” The Chorus also presented the local premiere of “Make the Most of Your Music”

written for the then-current London production of Follies. Joining the Chorus on stage were guests Elaine Stritch performing her signature song, “The Ladies Who Lunch” and “The Little Things You Do Together” from Company. The original Tony from West Side Story, Larry Kert, sang “Being Alive” (also from Company in which he played the second Bobby) and “No More” from Into the Woods. Julie Wilson gave a sultry performance of “Can That Boy Foxtrot” from Follies as well as the incomparable song of grit and determination “I’m Still Here.” Versatile B.D. Wong, who was appearing in M. Butterfly, took all the parts in the Follies quartet “You’re Gonna Love Tomorrow”, and joined his Broadway costar—and Chorus favorite—Ann Harada for “Country House” which had recently been added to Follies. Stopping the show was Sharon McNight, underscoring all the double entendres in “I Never Do Anything Twice” from The Seven Percent Solution. Also appearing were Ron Raines, Joy Franz, Dean Butler, James Judy, Nancy Dussault and Debbie Shapiro sharing their numbers with the audience and Chorus. All joined for the finale of Side By Side when the composer himself ran up the concert hall aisle for the final bow. The Chorus also presented $5,000 to Body Positive in their continuing program of donations from their AIDS Outreach Program. The sold-out concert was a rousing success. Prior to the three nights at Alice Tully Hall for Together in Pride, the Chorus traveled to Albany, New York, to perform for Our Brothers’ Keepers Foundation. The foundation’s sole purpose is to raise money to support programs that provide services to persons with AIDS. This concert would be their largest fund-raising event to date. The concert was scheduled for June 17, at Page Hall on the downtown campus of the State University of New York, Albany.

The following week saw the performance of three concerts at Alice Tully Hall. Together in Pride presented a different guest artist each night joining the Chorus on stage. On June 21, Michael Callen—former Chorus member, singer/songwriter, and AIDS activist— was the guest. On Friday evening, June 23, the Stonewall Chorale, New York’s mixed ensemble of gay and lesbian voices, was the guest. Saturday evening saw the Chorus sub-groups, The Chamber Choir and Uptown Express, join the Chorus on stage. Each evening, the Chorus presented the same program including the world premiere of composer Ned Rorem’s Love Alone, based on two poems by gay poet Paul Monette. The following weekend, after Gay Pride Day, the Chorus flew to Portland, Oregon, for a concert with the Portland Gay Men’s Chorus at Schnitzler Hall on July 1, before heading up to Seattle, Washington, for the Third GALA Music Festival.

Members of the Chorus at Alice Tully Hall

This year marked the twentieth anniversary of the Stonewall Rebellion. It was also the eighth birthday of the GALA Choruses. The New York City Gay Men’s Chorus was a charter member of

the organization and one of about 15 choruses in the major cities at the inception. This third musical festival saw presentations by 43 choruses representing the U.S. and Canada in cities both large (San Francisco, Los Angeles, New York, Boston) and small (Kansas City, Omaha, Buffalo, Rochester). This movement had grown from 11 choruses in 1983 at the first festival in New York to 17 choruses in Minneapolis in 1986. In 1989, more than 2,200 choristers converged to present music for their fellow singers in other choruses. The festival was held from July 3–8. The event’s culmination took place when a massed chorus of festival delegates performed a Holly Near song at the main quad of The University of Washington. The piece was conducted from an elevated cherry picker crane— so that everyone could see—by Dennis Coleman, the Artistic Director of the Seattle Men’s Chorus. This was truly a stunning end to an amazing week of music.

1989-90 Chorus Celebrates Tenth Anniversary Season

he Chorus returned in the fall to begin their Tenth Anniversary season. Re-energized after the successful GALA Festival III in Seattle, many members were looking forward to this new season.

Prior to the holiday concert, the Chorus would be guest artists with the Collegiate Chorale, who would give the first New York performance of Richard Strauss’ opera, Friedenstag. Sunday evening, November 19, at Carnegie Hall the Chorus appeared on stage with the Collegiate Chorale while some of opera’s great singers presented this work. Among the leads was soprano Alessandra Marc. On December 1, 1989, the Chorus participated in AIDS Awareness Day. In recognition of the day, many visual arts organizations sponsored “Visual AIDS: a Day Without Art” to bring attention to the losses suffered in the arts community as a result of AIDS. The MTA Arts for Transit office asked the Chorus to participate during the evening rush hour at Grand Central Station. Right after the performances,

Mayor David Dinkins Inauguration City Hall, NYC

AIDS Awareness Day Grand Central Station

1989

NOV. 19 Friedenstag (Collegiate Chorale) Carnegie Hall

DEC. 1

DEC. 20-21 Masters in This Hall (Faith Esham) Carnegie Hall

1990

JAN. 1

MAR. 1 Rhapsody (Marilyn Horne) Carnegie Hall

the Chorus headed off for their weekend retreat rehearsals in Connecticut. Two evenings at Carnegie Hall were again scheduled for the holiday concert.

commissioned in 1987, and sang with the Chorus on several holiday favorites. As always, the evening ended with a sing-along, this year Mark Riese’s Festival of Carols. The New Year started with the Chorus performing on January 1, 1990, at the Inauguration of the new mayor, David N. Dinkins. The Chorus sang Stephen Sondheim’s Our Time and their theme song, Kander and Ebb’s New York, New York, from the balcony of City Hall. Rehearsals started for the March 1 concert, Rhapsody, with mezzo-soprano Marilyn Horne. Ms. Horne performed Brahms’ Alto Rhapsody and excerpts from L’Italiana in Algeri and Tancredi by Rossini. The Chorus also performed several opera choruses from Beethoven’s Fidelio, Berlioz’s The Damnation of Faust, and

December 20 and 21 were the dates for Masters In This Hall, and once again Faith Esham joined the Chorus. This concert saw repeats from previous holiday concerts, including Mark Riese’s trilogy of carols presented as a tribute to the arranger who had succumbed to AIDS during the summer. Also presented were a new commission from John David Earnest, A Moment in Time, and the antiphonal Chanticleer’s Carol by Conrad Susa, the first Chorus commission in 1981. Ms. Esham once again presented David Conte’s Hymn to the Nativity,

Heartstrings (DIFFA Benefit) Beacon Theatre MAR. 8

Mussorgsky’s Boris Godunov. In addition to the opera choruses, the Chorus presented John David Earnest’s Only in the Dream and Stuart Raleigh’s Words for the Future. Also on the program were Three Old American Songs by Aaron Copland and Leonard Bernstein’s “New York, New York” from On the Town. The evening ended with Ms. Horne performing a memorable Danny Boy. Ms. Horne donated her fee for the evening to the Chorus AIDS Outreach Fund, which in turn presented checks to AmFAR, the Community Research Initiative, Manhattan Plaza AIDS Project, and Touch, a Brooklynbased provider of meals for people with AIDS. On March 8, the Chorus joined other star celebrities at the Beacon Theatre for the touring company of Heartstrings. This was a benefit for DIFFA, the Design Industries Foundation Fighting AIDS, in their continuing effort at raising money for AIDS. The Chorus sang Mark Riese’s Sometimes When We Touch and joined the cast for Barry Manilow’s One Voice. The Master of Ceremonies for the evening was Joel Grey; Marlo Thomas and Christopher Reeve served as narrators. Among the featured entertainment were Barbara Cook, Tommy Tune, Stephen Collins, Linda Lavin and Andrea McArdle.

Chamber Choir St. Luke in the Fields MAR. 21-31 Anything Cole (Revue) Sanford Meisner Theater

MAY 13

JUNE 15 Toasting the Tenth Sheraton Centre Ballroom

This year’s musical production saw a new team at the helm. Chorus members Jay Lesiger and Tom Klebba conceived a revue of Cole Porter music, and Anything Cole was presented for ten performances from March 22-31 at the Sanford Meisner Theatre on Eleventh Avenue, featuring several Chorus members in the cast. On May 13, the Chamber Choir presented their annual concert. This year’s program was at the Church of St. Luke in the Fields on Hudson Street.

The June concert was the Chorus’ Tenth Anniversary celebration and was again a big band dance concert. Toasting the Tenth was held at the Sheraton Centre Imperial Ballroom. Julie Kurnitz, The Manhattan Rhythm Kings, and Sylvia Sims joined the Chorus. Special dance music was provided by the gay ensemble Hot Lavender. The concert was held on June 15, a Friday evening. After an initial presentation of songs of the period, Ms. Syms appeared for her set followed by two more Chorus numbers. There was then a dance break and the audience was encouraged to take a turn on the floor. Then the music returned, first with Uptown Express, then the USO segment with the Chorus and Julie Kurnitz. After the music of the war years, there was another dance break. The Manhattan Rhythm Kings then provided their blend to the evening. For the finale, the elegant, tuxedoed Chorus returned with many love ballads; the evening ended with a Duke Ellington medley from arranger Mark Riese. Dancing followed the concert and another wonderful evening was had by all. On Gay Pride Sunday, the Chorus was featured in an eight-minute segment on the Today show. The segment focused on the Toasting the Tenth concert and the effect that the AIDS epidemic had on the Chorus. There were interview segments with music director Gary Miller as well as several Chorus members.

Charter Member Reminiscence by Page Jackson

s one of the men who gathered at Washington Square Methodist Church on an early September evening in 1979 to create the New York City Gay Men’s Chorus, I’ve been asked to share a few reminiscences of our first decade. What follows is only a few quick jottings of personal remembrances, not an official history.

Our first rehearsals took place at various churches which literally offered us sanctuary. If anything brought us together at our first plateau, it was the first holiday concert at Cooper Union in the Great Hall. Playing a room that’s been worked by the likes of Abraham Lincoln will do that for you. Never ones to sit on out laurels, we continued singing and eventually sang at Carnegie Hall. Many think you can get there just by practicing. Those of us who experienced the wild joy of being the first openly gay performers in that illustrious space will never again experience that feeling of pride in our work, and the relief when we’d actually done it. That this event was later chronicled by Jerry Falwell in raising funds for the moral majority to stop this sort of activity let us know we’d really made our mark. My favorite concert was This Time Broadway, at Bond’s. I’d be lying if I didn’t admit that this was because that night presented Just Good Friends to a roaring public. For those of you too young to remember, Just Good Friends was a trio consisting of four people: Peter Clem, Aurelio Font (later of the Flirtations), Larry Moore, and me. We enjoyed making music and I miss those times more than any other in my whole life. After Bond’s, we went on to perform at countless benefits to help the “Bucks for Tux” campaign raise money to obtain tuxedos for every man in the Chorus. I treasure a photo I have of us being blessed by Rollarena on Fifth Avenue across the street from my then office at NYU during a Gay Pride Parade. I’m fascinated with talent of any kind. I consider it a privilege to have been lucky enough to work with genius Stephen Sondheim through our repeated performance of his work. But nobody is as star struck as I am, so my favorite moment of all as a Chorus member occurred at the Best of the Best AIDS Benefit at the Metropolitan Opera House. First off, the location is one space any American singer has to have wanted to sing in; second, the crowd onstage—a veritable who’s who of the entertainment arts in this country and in the audience all the swells who paid big bucks both to see the show and to help raise money for the cause as well. (Remember, this was

before Rock Hudson died.) In addition to being delighted at being included among all the celebrities, I felt our performance had gone well. Just before Jerry Herman’s big finale, in which everybody joined on stage in song, I was standing backstage watching Bette Midler. When Ms. Midler joked about how she dressed up like Poland and her new (German-American) husband invaded her, there was a bark of loud laughter from the woman next to me. It was Carol Burnett. Yet, minutes later, we were both crying our eyes out when Bette sang I’ll Be Seeing You. As an inveterate Upper West Sider, I’ve always loved appearing at Lincoln Center, both in Avery Fisher and Alice Tully Halls. My friends feel I like the prestige, I think it’s more the proximity to my shower and bed as well. However, not every performance has gone like a dream. And the one I remember most distinctly occurred a block away from where I live. I led the back row of basses onto a raised platform at the Columbus Avenue Festival where we were singing. I was very proudly showing off my brand new shiny black cowboy boots when I tripped rather severely—clear across the stage. Horrified, I tried to make light of my humiliation. But, then some young boys threw rocks at us as we sang, and I regained my perspective. There is a need for who we are and for us to do what we do. Many people think AIDS memorial services were the first really sad occasions in which the Chorus participated. I remember the first memorial I sang in my life. It was held at Washington Square Church and it was for the victims of the Ramrod Massacre. The memory of the eerie silence that held in the air afterwards remains still. And I remember an afternoon a few weeks after performing Friedenstag at Carnegie Hall with the Collegiate Chorale under Robert Bass. It was an afternoon I spent with some chorus buddies going from room to room singing in the AIDS ward at St. Vincent’s Hospital. And I remember the magic created by the warm humor of Dick Cable as Santa. Regrets? I’ve had a few. Like being on leave for the HBO Special and not singing on our first two recordings, as well as not participating in either the West Coast or European tours. Just because you can’t do everything, doesn’t mean you don’t want to. But, then again, when you’ve sung in Latin at the Club Baths, haven’t you just about done it all?

1990-91 New Recording Contract in Season 11

Recording with Virgin Records at the BMG/RCA Studios on West 44th Street

he first event of the new season was an evening featuring the Chamber Choir. Momentum AIDS Outreach Day, September 17, 1990, held a service at St. Peter’s Church at Citicorp. The Chamber Choir presented Not A Day Goes By and Love Lives On, both arranged by Mark Riese.

of music that the Chorus had sung in the previous season. Judy Sherman, who had produced the earlier albums, was the producing engineer once again. The album was scheduled for release in early 1991.

On November 4, at the Roosevelt Hotel Grand Ballroom, Uptown Express, was on hand to provide entertainment for the Big Apple Awards presented by the Parents and Friends of Lesbians and Gays, PFLAG. We Are Family Standing Tall and Growing was the evening’s theme, and the awards were presented to Bronx Borough President, The Honorable Fernando Ferrer; and activist, teacher, and fellow Chorus member Fred Goldhaber.

On three consecutive evenings, October 1-3, the Chorus gathered at the BMG/RCA Studios on West 44th Street to record their first album with Virgin Records. This album was to be called Love Lives On. Each recording session was to run for four hours and the 18 selections were split among the sessions. The repertoire for this album was made up

Recording – Love Lives On BMG/RCA Studios

1990

SEPT. 17

OCT. 3

Momentum AIDS Outreach Day Chamber Choir St. Peter’s Church, Citicorp

Recording— Christmas Comes Anew Manhattan Studios

Deck the Hall Carnegie Hall

NOV. 4

DEC. 18-19

We Are Family Standing Tall & Growing PFLAG Awards Dinner (Uptown Express) Roosevelt Hotel

1991

JAN. 4-5

MAR. 2-3

Hot Ginger and Dynamite (Uptown Express, Terri White) Greenwich House

This year’s holiday concert was entitled Deck the Hall and was given over two nights at Carnegie Hall on December 18 and 19. The evening included antiphonal music, presentations from the Chamber Choir and Uptown Express, the New York premiere of Ron Nelson’s Ring Out, Wild Bells, and the world premiere of a commissioned piece from William Bolcom, The More Loving One/Maha Sonnet. Traditional holiday favorites were also included on the program. The evening ended with an encore of Silent Night, which closed entirely in silence as the full chorus signed the last verse. The audience was immediately on its feet for a rousing ovation. Sheer magic. In early March, the Chorus returned to the studios, this time at the Manhattan Studios on West 34 Street, to record Christmas Comes Anew. This album featured soprano Faith Esham and much of the repertoire from the concert with her in 1989. This album would be ready for release in the fall, in time for the holiday season. Faith Esham receives honorary membership

The team of Jay Lesiger and Tom Klebba again presented this season’s musical production. This year they chose an evening of Stephen Sondheim music called You’re Gonna Love Tomorrow. The production, which featured five Chorus members in the cast, was presented at the Harold Clurman Theatre from March 6-23 and all profits were to benefit the Chorus.

March 19 saw the release of the Chorus’ first album on the Virgin Variations label. Love Lives On was available at retail stores throughout the country. Virgin Label executives were present at the Deck the Hall concert in December. They were so impressed with the concert and the final product of this recording that they contracted for a second recording of holiday music.

Anything Cole Carnegie Hall MAR. 6-23

APR. 7

You’re Gonna Love Tomorrow (Revue) Harold Clurman Theatre

After the holidays, Uptown Express presented its solo concert on January 4 and 5, 1991. This year they featured Broadway performer Terri White. Ms. White had performed in the revival of Ain’t Misbehavin’, Barnum, and others. She received the 1990 Bistro Award for her nightclub act. Hot Ginger and Dynamite, was a nice blend of ensemble and solo singing with Terri joining the group for the finale.

European Tour – London, Amsterdam, Koln, Berlin, Munich, Paris

Our Brothers‘ Keepers Benefit Troy Savings Bank, Troy, NY MAY 4

JUNE 8

May Concert (Chamber Choir) St. Peter’s Church, Chelsea

JUNE 28-29

AUG. 25-SEPT. 7

Diversity (Denver Women’s Chorus) Alice Tully Hall

Daugherty & Field offered complex and ravishing arrangements of From This Moment On performed simultaneously with You’d Be So Nice to Come Home To. Their second set included focused and polished renditions of Take Me Back to Manhattan with I Happen to Like New York.

On April 7, the Chorus returned to Carnegie Hall for an evening salute to Cole Porter. Anything Cole was presented as part of the celebration of his centenary that year; his music had become a staple of the Chorus programming. Manhattan Borough President Ruth Messinger introduced the concert, and the sold-out audience was in for a thrilling evening. The opening medley by the Chorus was followed by the first guest, Elly Stone. She sang two pieces, the second, Let’s

Do It, included an apparently authentic Porter verse that many hadn’t heard before. She was followed by Uptown Express and then Grand Hotel star David Carroll applied his enormous voice to straightforward versions of the standards I’ve Got You Under My Skin and You Do Something To Me.

The final guest of the evening was Stockard Channing, who welcomed the audience to “my personal nightmare: my debut at Carnegie Hall and I’ve lost my voice.” Despite her bout of laryngitis, she demonstrated that she was quite capable of commanding a stage and effectively putting across not one, but three songs. The comedy highlight was her presentation of The Physician, which garnered many comic moments as she utilized sign language interpreter, Tom McGillis, with both her complaints and the doctor’s replies.

Marlene Dietrich’s The Laziest Gal in Town was appropriated by a purring Eartha Kitt who made the song her own. Terri White gave renditions of Miss Otis Regrets and Love for Sale. The duo

The evening ended with a rendition of My Heart Belongs to Daddy and a rousing Anything Goes, which began with a recorded Cole Porter singing the opening bars of the song.

In early May the Chamber Choir presented their annual concert, this year at St. Peter’s Episcopal Church in Chelsea. The music ranged from Byrd to Schubert to the Gay Nineties and also included several premieres. The guest star for this concert was diva Philene Wanelle from La Gran Scena Opera Company. On May 5, the Chorus participated in a Choral Celebration concert at Carnegie Hall. Under the direction of renowned music director Robert Shaw, they gave a rousing opening with several other choruses in the official centennial celebration of the hall.

Photos © Glenn S. Lunden

May 11, 1991, was an evening of fun as the Chorus presented a Silent and Live Auction to benefit the Chorus. The evening took place at the social hall of the Church of St. Luke in the Fields in the Village. The evening provided lots of entertainment for the attendees who helped to raise more than $10,000 for the Chorus.

Troy, New York Pictured top left to right: Kevin Flanagan, Bill Finnegan, Michael Coleman and Jim Vivyan. Left: Luke Davis adjusts AIDS ribbon on Jay Lesiger. Pictured right: Denver Women’s Chorus with NYCGMC at Alice Tully Hall.

On June 8, the Chorus once again traveled up the Hudson River to perform for Our Brothers’ Keepers Foundation at a benefit performance at the Troy Savings Bank Music Hall in Troy, New York, outside Albany. This concert was an early opportunity for the Chorus to perform their songs from the upcoming Pride concert. June 28 and 29 were the dates for the Pride Concert, Diversity, which saw the appearance of the Denver Women’s Chorus as guests. The Chorus opened the program with Scott Henderson’s Diversity and presented works by Libby Larsen, Leonard Bernstein, Gregg Smith, and the Chorus’ own Dean X Johnson. There were also lighter songs from Broadway and film with William Finn’s “What More Can I Say?” from Falsettoland, arranged by Larry Moore, and Dean Pitchford’s “One More Time”

from Sing, arranged by Dean X Johnson. The women presented a nice balance to the men with songs from women composers Connie Kaldor, Shirley McRae, Janis Kindred, and Margie Adams. Resembling folksongs, Names and The Ones Who Aren’t Here were movingly offered to recall the community’s losses. A stirring, insistently rhythmic plea for justice in South Africa, Azanian Freedom Song, from Bernice Johnson Reagon, brought the audience to its feet for one of many ovations.

The Chorus was profiled in the June 1991 issue of blueboy magazine. Once again giving national coverage to the work of the Chorus (pictured below).

The two choruses combined forces to present Stephen Sondheim’s Our Time and John David Earnest’s Jubilation. The encore was directed by Denver’s Deborah Kenyon, and in the words of Holly Near, the two ensembles declared themselves “brothers and sisters working together to make things right.”

91 tour

Chorus Takes Love Lives On to Six Cities t the end of the summer of 1991, the Chorus was set for another European tour. This time, the Chorus traveled to six cities in two weeks. They started off in London; moved on to Amsterdam, Cologne, Berlin, and Munich; and finished up in Paris. Concerts were planned in each city, and the Chorus— using home stays in each of the cities they were visiting—planned this tour. Prior to taking off, the Chorus presented a free concert on August 20 at St. Peter’s Church in the Citicorp building to preview the material they would take on to Europe.

This tour took off on Friday, August 23, as the Chorus boarded their plane for Heathrow Airport in London. As is typical when the Chorus travels, the plane left a bit late, but otherwise it was an uneventful overnight flight that arrived in London about 9 AM. The busses and John Field, who had directed the Chorus concert in London in 1988, met the group. The festive Robin Gorna was courier for the tour once again. The Chorus then proceeded to The Lighthouse, the London AIDS Health Crisis Center, to meet their hosts for their stay in the city. The Lighthouse provided a light breakfast of juices, pastries, tea and coffee. After a small bite to eat, the choruses were introduced to their hosts, and went off to discover where they would be living for the next few days. The balance of the day was at everyone’s leisure. Many toured the city or went shopping. Others went off to the theater for the afternoon or evening shows.

Alright With Me. A set of Stephen Sondheim songs included That Old Piano Roll, Not A Day Goes By, and Our Time. Next was the moving I’ll Be Seeing You, with Bill Poock providing a tender solo. To finish the evening, the Chorus presented the ever-popular Mark Reise’s arrangement of Duke Ellington medley Hit Me With A Hot Note. The audience loved the concert and was rewarded with an encore of Anything Goes, complete with tap dancers that made the crowd go wild.

Sunday, August 25, was the London concert at the Royalty Theatre, with actor Simon Callow as host and American singer Madeline Bell as guest artist. The proceeds from the concert would benefit CRUSAID, one of the local AIDS organizations. There was a rehearsal that afternoon, from 2:30 to 6:30, after which the Chorus had a dinner break prior to the performance. The Chorus was back at the theatre by 7:30, but a delay caused the curtain to go up a bit late at 8:30 instead of the scheduled 8 PM start time. The program began with Dean X Johnson’s Welcome, Sing, Be Merry! and works by Bruckner, Libby Larsen and Gregg Smith followed. The Chamber Choir then presented two numbers, and the Chorus sang three of Aaron Copland’s Old American Songs. Three songs from Leonard Bernstein’s The Lark were performed, and the first half ended with Ron Nelson’s Ring Out, Wild Bells. After an intermission, the second half provided lighter fare for the audience, commencing with a Gershwin Medley. This was followed by two numbers from Love Lives On, the Chorus’ new album— Wind Beneath My Wings with Phil Mason as soloist, and Imagining You. Madeline Bell offered a couple of songs before joining Uptown Express for Jeepers Creepers. Uptown then continued on their own with Glow Worm and It’s

On Monday, the Chorus left Heathrow Airport to arrive in Amsterdam that afternoon. Again the Chorus boarded busses for the trip into the city. They arrived at Beurs van Berlage where they would perform. Once everyone had arrived and had had slight refreshments, the Chorus began an afternoon rehearsal. After the rehearsal, at about 6:30, the Chorus members met their hosts for this part of the tour. Again each chorine went off to various parts of the city to rest up and relax until the next day’s early afternoon call at the theatre. On Tuesday, August 27, the Chorus arrived at the concert hall about 1 PM. The so-called “dress rehearsal” was with a paying audience, so full tuxedo dress was called for. In addition there were cameras in attendance. The concert would be recorded for future airing on Dutch television; because of this, the dress rehearsal was taped as well for post-production editing purposes. The actual concert took place later that evening, and was called Friends for Life. Along with the Chorus, this AIDS benefit featured soprano Roberta Alexander, American singer Bruce Sellers, a quartet called Four Steps, the Amsterdam gay men’s chorus Noot aan de Man, and the Amsterdam Police Orchestra, Rijkspolitiekapel.

The program was quite varied and full. The police orchestra began the evening and then the Chorus performed the first half of its program. This was followed by Roberta Alexander singing Schubert’s Ständchen with the Chorus and then a solo and another piece with the Chorus. Four Steps and Noot aan de Man then presented selections, and the first half ended with the police orchestra providing selections from West Side Story, followed by Four Steps doing Somewhere and Roberta Alexander teaming with Bruce Sellers for One Hand, One Heart before a break. The Chorus opened the last section of the concert with their Gershwin Medley and additional numbers before Roberta Alexander returned for Sondheim’s Can That Boy Foxtrot; she then joined the Chorus for Sondheim’s I Remember. The Chorus then performed the Ellington Medley before being joined by Roberta Alexander and Rijkspolitiekapel for The Way Old Friends Do. For an encore the Chorus presented their tap dancing Anything Goes, which was again a big hit with the audience. Wednesday, August 28, was a free day, so everyone could do as they pleased. However, a canal tour had been arranged, and many members met at the Homo Monument for a boat tour. Others toured the city and visited the museums and other sites that make Amsterdam the quaint city it is. It was a needed restful day, as the next day

found the Chorus on the road to Cologne, Germany, for their next stop. When the busses finally arrived in Cologne at the gay center, they were met for an evening potluck dinner by their hosts for their stay here. Once again, the group was divided up among locals who

Waiting for the bus to Cologne

had volunteered to open their homes to members of the Chorus for the two days they would spend in this lovely city. On Friday morning, August 30, there was a walking tour of the city arranged by the local gay center. Many Chorus members met at about 11 AM and took a tour that included Saint Gereon Cathedral, a huge Romanesque structure heavily damaged during the war and which was almost completely rebuilt. The group moved on to the Dom, the cathedral that dominated the city skyline. After the cathedral, many went off to grab some lunch. The Chorus was due to meet at about 4 PM for rehearsal at the Gürzenich Hall. At about 6 PM, the Chorus finished their rehearsal and retired to the restaurant in the wine cellar of the Gürzenich for a

Outside the Dom

On August 31, the Chorus was on their way to Berlin via bus. That year had

proven to be one of historic proportions, as the citizens on both sides had dismantled the Berlin Wall. The Chorus was thrilled to travel into the free, undivided city of Berlin. Along the drive through the countryside, the busses stopped at a roadside bistro for lunch. The coaches finally arrived in Berlin and pulled up to the Passion Church, where the members met their hosts for that stop on the tour. The Chorus was then herded off to various parts of the city for the evening before they met again the next morning. Sunday, September 1, was a full day. There was an early rehearsal at 9:30 for a Berlin TV broadcast later in the day. The Chorus met at a centrally located place near the studios at 9 and then was marched en masse to the studios by a TV Center courier. The holding area was set up outdoors in a park near the studio, where an © Glenn S. Lunden electronics exhibit was being held. There was lots of waiting, but they finally finished their rehearsal by 11. The Chorus members then had time off until about 3, and were expected to be back to be ready for the 4 PM performance. Many in the group took off for as much viewing of the city as they could fit into the few hours they had. They all returned on time and then had their four minutes of air time on an open stage with about five hundred in the audience. The Chorus performed a condensed version of their Duke Ellington medley and it went off well.

At the Homo Monument

wonderful dinner. After dinner, there was time to rest a bit before the evening performance at 8 PM. Many on the trip had previously appeared in this hall in 1988, and given the huge ovation they received on that occassion, they were wondering what would happen this time around. The hall was packed, and the audience did not disappoint. Uptown Express presented their two numbers to such great success, they had to do an encore in the middle of the program. At the end of the concert, the audience once again demanded more and more. Following the concert was a huge party held in the lobby of the hall. There was music, food, drink, and dancing as the locals joined the Chorus members to dance the night away and enjoy one of the greatest AIDS fundraisers the city had seen.

After the appearance, they were bussed to the church for a rehearsal of the evening’s concert. Joining the group for an encore was the Berlin gay men’s chorus, Männer

Gary Miller, left, with Dean X Johnson at the piano during rehearsal for television performance

Minne. Upon arriving at the church, the old-timers in the Chorus had a very pleasant surprise; among the welcoming throng was Bil White, an NYCGMC Charter Member who had left New York some years earlier, and who now was a member of Männer Minne. An interesting version of the classic New York, New York, had been arranged with new German lyrics that gave the song a

“Berlin, Berlin” point-of-view. After the rehearsal, everyone was rushed to a nearby restaurant for a quick bite to eat before the evening’s concert. Back at the church, the program began on time with a jam-packed house with lots of enthusi-

asm. The encore—with Männer Minne singing from the upper loft—was quite a treat for the audience. The Chorus received an impressive reception on their first Berlin concert. On Monday, the Chamber Choir and Uptown Express traveled outside Berlin to Potsdam to perform at the Neues Palais in Sanssouci Schlosspark. The theatre was a small plush auditorium where gay King Friedrich II held courtly extravaganzas. The morning was free for many to wander Berlin and see what they could. The bus didn’t leave for Potsdam until late afternoon and finally arrived at Sanssouci at 4:30 PM. There was a quick tour of the oppulant summer palace. The grounds of the park were also exquisitely landscaped with lovely gardens everywhere. Dinner had been arranged at a nearby restaurant for 6 PM, and then it was back to the

theatre for a quick rehearsal before the evening performance. The Chamber Choir rehearsed at 7 followed by Uptown Express. They each performed their own selection and then combined to sing a few of the numbers that the full Chorus was performing on the tour. The curtain went up at 8:15. There was an audience of 200-300 at this performance. Many of these had been present the evening before at the Passion Church performance and were wanting and ready for more. A great performance by both groups brought the audience to their feet. After the performance, the group returned to the city for their final night in Berlin. On Tuesday, September 3, the Chorus traveled by bus to Munich. The scheduled departure time was 10 AM. Some members of the Chorus had opted to travel by train to Munich and would probably arrive ahead of the Chorus. On the way south the bus made a stop at Bayreuth, a quaint Bavarian town with lovely old streets, and where Richard Wagner built his extravagant Opera

ing back to the church for the afternoon rehearsal. The rehearsal went for about two hours and then there was a dinner break before the evening concert at eight. The audience truly loved the concert, and there was a reception at the church after the concert where the audience got to mingle with the Chorus. The next day was a free day. Many opted to take the bus to tour the Bavarian countryside and Neuschwanstein, the castle that provided the inspiration for Disney’s Cinderella’s castle. The bus left at 10 AM and traveled the countryside, resting at the foot of the hilltop where the castle was perched. The Chorus waited its turn for their tour of the fantastic home of gay eccentric King Ludwig of Bavaria. As members toured the ornate rooms, they enjoyed the opulence, and when they arrived at the small concert hall, they broke out in spontaneous song to the delight of the rest of the tourists. So now the Chorus has even sung at two royal castles. There was an afternoon dinner and then, on the way back to Munich, another stop to visit the sites of Bavaria. The bus arrived back in Munich so everyone could gather their stuff and meet at the train station for the overnight train ride to Paris.

House to produce his works. Members of the Chorus had a chance to stretch their legs, see a bit of the town, and get a bite to eat before boarding the busses again for the final leg of the trip to Munich. Finally, upon arriving at the Munich gay center at eight o’clock, the Chorus was received by a great many in attendance. They had prepared a buffet with drinks. All were quite accommodating and outgoing and very happy to see the Chorus in the city. The members were matched up with their hosts in this city and sent off on their way for the evening.

The Chorus met on Wednesday, September 4, at Lukaskirche at 11 AM for a walking tour of the city. For about three hours, the group made their way on foot through the absolutely splendid city, past churches of all descriptions, a number of museums, ornate opera houses and theatres, and of course, lots and lots of people. They worked their way into the vast expanse of the Englisher Garten. The grassy fields were filled with the locals who had come out to enjoy the warmth of the sun. The Chorus then caught a tram back downtown to the Peppermint, a gay club, for some afternoon coffee and snacks before head-

Members of the Chorus started arriving at the train station, and by 8:30, many were ready to get started. The train wasn’t scheduled to leave until almost 9:30, so there was time for many to say goodbye to their hosts and others they had befriended in this Bavarian city. The members of the Chorus would split up into groups of six to share the overnight couchettes. The train departed on time, and a fond farewell was said to Germany as the group headed for their final stop, Paris. On Friday, September 6, the train arrived in Paris at 6:45 AM. Many weathered the travel fairly well, but some were not as fortunate and felt more exhausted than rested. The day was gray and overcast, but soon all was back on schedule. The baggage was lugged from the train, and all were ready to move on to the

offices of the local gay magazine, Gai Pied, which was sponsoring this leg of the tour. Once again, a surprise awaited the old-timers; this time it was Gai Pied employee Clark Taylor, another NYCGMC Charter Member, now a member—a founding membe at that—of the Paris Chorus, Mélo’Men Choeur International Gai de Paris. Not expecting so much luggage, there were last-minute arrangements to transport it all to the offices to match up with the members later. Many Chorus members had made their own living arrangements, but most traveled on to the magazine offices to meet up with their hosts for the stay in the city of lights. The balance of Friday was at each person’s leisure. Many traveled the sites of the city visiting the museums (Louvre, Rodin), the parks, the churches (Notre Dame, Sacre Coeur), and, of course, the Eiffel Tower. There were plenty of things to do on this lovely late summer day in this famous city. Saturday was also a

free morning; as the Chorus wasn’t due to reconvene until their rehearsal at five o’clock. This tour’s concert was at Le Cirque d’Hiver, a former home of the circus, and the stage was set in the ring. After the rehearsal, there was a dinner break at about 7:30, and the concert wasn’t scheduled to start until 9 PM. Because of the lateness of the concert, the program had several numbers cut so it could run without intermission. As the evening program continued, the audience became more and more responsive. When the pops material started, the audience was most approving. By the end of the concert, the audience was on their feet. The Chorus performed four encores, ending with the tapping Anything Goes, which drove the audience delirious. It was quite a rousing response from a usually sedate Parisian audience and a wonderful capper to a very successful tour. After the concert, the stage was removed. A disco atmosphere appeared in Le Cirque, and the

audience mingled with the Chorus to celebrate the evening’s success. The next day, most of the Chorus returned to New York and the start of a new season. However, there was a contingent that opted to stay behind to absorb more of the beautiful sights and wonders of this historic European city. So concluded the second European tour of the New York City Gay Men’s Chorus. A total of 92 people, eighty of them singers, toured six cities, performed eight concerts to mostly sold-out halls and raised thousands of dollars for local AIDS organizations. The entire trip was self-funded and organized by the Chorus and local organizations in each city. It was a truly massive undertaking that— even with its mishaps—was still very rewarding for those who decided to partake of the experience. The tour coincided with the European release of the Chorus’ new album, Love Lives On, and the Chorus managed to spread their message through their music once again.

1991-92

Benefits Aplenty in Season 12 ed about their new holiday album. Most of the arrangements were by the Chorus’ Larry Moore, Mark Riese, and Dean X Johnson. The Chorus performed a festive The Holly and the Ivy, an understated and direct White Christmas, a heartfelt Have Yourself A Merry Little Christmas, a hearty a cappella Masters in This Hall and Wassail Song.

Picture left to right front row: Willie Smith, Errol Edwards, Charles “Skip” Dietrich, Michael Portantiere at Walk of Champions

he new season saw a revitalized Chorus return after two weeks performing throughout Europe. Their first performance was in Newark, New Jersey, at the Walk of Champions on October 6. Then on November 22 was the Gathering of Remembrance and Renewal at Cathedral of St. John the Divine. This service commemorated ten years of the Gay Men’s Health Crisis and Peter Jennings, Larry Kramer, and GMHC Executive Director, Timothy Sweeney, gave remarks. The Chorus provided the musical performances.

The Chorus’ second album from Virgin Variations, Christmas Comes Anew, was released that fall. The Chorus was excit-

Gathering of Remembrance and Renewal Cathedral of St. John the Divine

1991

OCT. 6

NOV. 22

Walk of Champions Newark, NJ

That holiday season, the Chorus presented an outreach performance on December 15 at the Staller Center for the Arts at University of Stony Brook. The concert was a benefit performance for the AIDS Education and Resource Center. The concert included performances by the Chamber Choir and Uptown Express and the reprise of Mark Riese’s Three Carols, which have become a seasonal favorite of the Chorus. The holiday concert Wassail! was presented at Carnegie Hall on December 18 and 19. The Chorus opened the concert with a world premiere of a commissioned work from Robert Seeley, Fanfare and Noel. An antiphonal section ended the first half of the program. Conrad Susa’s The Cricket Sings, based on the poems of Federico Garcia Lorca opened the second half of the program. This was followed by Mark Riese’s Three Carols and some fun holiday songs finishing with a Dean X Johnson arrangement of obscure Christmas songs for the audience

Wassail! Carnegie Hall DEC. 15

DEC. 18-19

Bernstein! Carnegie Hall

1992

Stony Brook AIDS Treatment Center Staller Center, SUNY Stony Brook

JAN. 25

MAR. 22

Aida (Collegiate Chorale 50th Anniv.) Carnegie Hall

MAR. 27 Circus for Life (GMHC) Madison Square Garden

sing-along, Wo Ho Ho Ho. Encores followed, including an amazing arrangement detailing the fate of all the presents given on the 12 days of Christmas. This was followed by Silent Night, sung in German and English and then hummed and presented in sign language—a deeply moving and beautiful climax for a grand holiday gift. At the end of January, the Chorus once again joined the Collegiate Chorale on their 50th Anniversary Gala. The evening was filled with many classic pieces for chorus and the NYCGMC was on hand to lend its voice to Verdi’s “Triumphal Scene” from Aida, with Leona Mitchell. On March 22 the Chorus returned to Carnegie Hall for a star-studded salute to the great composer, Leonard Bernstein. Bernstein! was hosted by Betty Comden and Aldoph Green, who threaded the musical pieces together with anecdotes about the composer. Guests for the evening included Judy Kaye, Phyllis Newman, Sharon McNight, Walter Charles, Constance Hauman, Kurt Ollmann, Joyce Castle, Kevin Gray, Rebecca Luker, Debbie Shapiro Gravitte and Amanda Green. How do you mention highlights when everything was spectacular? The Chorus sang their numbers from memory and covered selections from Mass, On the Town,

When I Heard At the Close of the Day Symphony Space MAR. 28

In the Life (Premiere taping) PBS

APR. 22

MAY 30

Gay & Lesbian Switchboard Benefit Uptown Express

Proud! Carnegie Hall JUNE 3 Heartstrings! (DIFFA Benefit) City Center

JUNE 21

GALA IV Denver, Colorado JUNE 27

JUNE 28-JUL. 4

Denver Gay Pride Parade Boetcher Hall, Denver, Colorado

Songfest, and West Side Story, as well as the rarely heard The Lark and Peter Pan. Constance Hauman provided a precise coloratura in Glitter and Be Gay, Ron Raines and Kurt Ollmann provided robust baritones and Sharon McNight a bit of extravagant camp. The quartet “Tonight” from West Side Story, featured

Rebecca Luker, Debbie Gravitte, Kevin Gray and Kurt Ollmann along with the Chorus. The evening ended with the Chorus and soloists presenting a spinetingling version of “Make Our Garden Grow” from Candide. Though a longerthan-usual concert, no one really seemed to care, as the music was so rewarding.

A week later on March 27, the Chorus was at Madison Square Garden to sing for a benefit performance for Gay Men’s Health Crisis. Circus for Life was an evening with the Ringling Brothers Circus and also featured guest appearances by Daisy Eagan, Joel Grey, Linda Lavin and Patti LuPone.

To open the Gay Pride Festivities, the Chorus presented their concert on Sunday, June 21, a week before the Pride March. Proud! was presented at Carnegie Hall and the program’s centerpiece was John Corigliano’s Of Rage and

On March 28 the Chorus was at Symphony Space for a salute to Walt Whitman, with a performance of When I Heard at the Close of the Day. On April 22, Uptown Express performed at an intimate benefit for the Gay and Lesbian Switchboard of New York, which was celebrating 20 years of service. May 30 saw the entire Chorus at the television studios in Times Square where they were on hand to tape the premiere episode of the first gay television show, In the Life. Hosted by comedienne Kate Clinton, the taping opened with the Chorus singing. One more benefit was attended by the Chorus when they again joined the touring company of Heartstrings at City Center for the DIFFA benefit to raise funds for AIDS research on June 3. At An Event in 3 Acts the Chorus sang Mark Riese’s arrangement of Sometimes When We Touch.

Members of the Chorus in Denver

Remembrance, the choral version of the third movement from his First Symphony. This piece was inspired by the AIDS Memorial Quilt and was written as a response to the loss of friends to the health crisis. Metropolitan Opera mezzosoprano Jane Shaulis once again appeared with the Chorus for this concert piece. She had previously performed with the Chorus in 1982. David Conte offered two works with texts by poet Walt Whitman. Good-bye My Fancy! was commissioned for the Chorus in memory of former Chorus Chairman Sheldon Post by his chorister lover Jay Lesiger. The piece included a soprano saxophone, which was provided by Anders Paulsson. The other piece,

Dance, was familiar from past concerts and proved upbeat and celebratory. Dean X Johnson also provided a new song, Waking the World With Song, a joyous and propulsive piece about spreading the chorus’ message of love and pride. Larry Moore also provided arrangements to three folk songs by Benjamin Britten as well as his arrangement of “What More Can I Say?” from William Finn’s Falsettos. Also on hand were four cast members from that show—Heather MacRae, Carolee Carmello, Michael Rupert and Stephen Bogardus—with the quartet “Unlikely Lovers.” The program ended with Dean X Johnson’s arrangement of Dean Pitchford’s One More Time, a fitting anthem for the evening. On Sunday, June 27, some members of the Chorus were in Denver for the GALA Music Festival Four and participated in Denver’s Gay Pride March. In New York, members of the Chorus also marched down Fifth Avenue representing the Chorus here before flying out to Denver to participate in the Fourth GALA Festival.

1992-93

Travel Highlights 13th Season pon return to rehearsals after GALA IV in Denver, there again was revitalization in the Chorus. Inspiration from the other choruses helped to invigorate a new season. The first appearance of the Chorus was on October 13 at Town Hall. The Lesbian and Gay Community Services Center was having a benefit evening called Joan Rivers and Her Funny Friends. Besides the Chorus, many celebrities were on the bill including Charles Busch, Kate Clinton, Daugherty & Field, Lea DeLaria, Harvey Fierstein, The Flirtations, Funny Gay Males, Hot Lavender Swing Band, Imperial Court of New York, Lynn Lavner, Les Ballets Trockadero de Monte Carlo, Everett Quinton and the Ridiculous Theatrical Company, Doug Stevens and The Outband, and Suzanne Westenhoefer.

Uptown Express went on the road to Morristown, New Jersey, to perform at the Fall Gala on November 21, for The Oasis. The Oasis is an official mission of the Episcopal Diocese of Newark with gay and lesbian people, their family and friends. On December 11, 1992, the Chorus was invited by the Brooklyn Academy of Music to perform at their Gala Benefit. The benefit was held at the Beaux Arts Waiting Room at Grand Central Station. For this performance, the Chorus Roberta Peters in rehearsal, New Brunswick, New Jersey

Grand Central Coalition Performance Grand Central Station

1992

OCT. 13

NOV. 6

Joan Rivers and Her Funny Friends (The Center) Town Hall

NOV. 21

BAM Gala Performance Beaux Arts Waiting Room, Grand Central Station DEC. 11

Oasis Fall Gala (Uptown Express) Morristown, NJ

DEC. 15

Joyful and Triumphant (Roberta Peters) Carnegie Hall DEC. 17-18

Share the Spirit of the Season (benefit) State Theatre, New Brunswick, Hyacinth Foundation of New Jersey

1993

MAR. 21 Reel Music Carnegie Hall

received a financial contribution. The holiday concert this year was Joyful and Triumphant and presented soprano Roberta Peters as guest artist. Prior to the Carnegie Hall performance, the Chorus—along with Ms. Peters—traveled to the State Theatre in New Brunswick, New Jersey, to perform the same basic program. This evening called Share the Spirit of the Season, was presented as a benefit performance for the Hyacinth AIDS Foundation. The Hyacinth AIDS Foundation was created in 1985 and plays a leading role in New Jersey’s fight against AIDS, providing support services to persons living with AIDS as well as educating the public. December 17-18 were the nights for the performances at Carnegie Hall. The Chorus opened the concert with a series of carols from contemporary masters. The first was Libby Larsen’s Deck the Halls, which included the audience joining in on the final verse and the Chorus proceeding down the aisles of the hall ringing bells. The other carols set in new arrangements were Stephen Paulus’ O Little Town of Bethlehem and Conrad Susa’s setting of It Came Upon A Midnight Clear. The Chorus also offered Larry Moore’s arrangement of Appalachian Carols, a premiere from Dean X Johnson, Joyful © Glenn Peterson

March on Washington Washington, D.C. MAR. 25

and Triumphant, two gay carols concocted by Johnson and Chorus member Craig Sturgis, and a rhythmically beautiful Nigerian carol, Betelehemu arranged by Wendell Whalum. Roberta Peters appeared twice on stage with the Chorus. To finish the first half of the concert, she presented the “Alleluia” section of Mozart’s Exultate jubilate and the Bach-Gounod Ave Maria. The Chorus joined Ms. Peters for the Mark Riese Festival of Carols to finish the first half. In the second part of the concert, Ms. Peters presented some lighthearted moments from operetta with songs from Victor Herbert and Franz Lehar, and ended the evening with a new Larry Moore arrangement for the audience sing-along with the Chorus, It’s That Time of Year.

The Chorus performing the Joyful and Triumphant Holiday Concert at Carnegie Hall.

May Concert Chamber Choir St. Luke in the Fields APR. 18

MAY 2

An Evening with Uptown Express (Sharon McNight) Greenwich House

Dutch Treat (Noot aan de Man) Carnegie Hall JUNE 19 Hidden Legacies (Windy City Chorus) Midinah Temple, Chicago

JUNE 22

JULY 16-17 Der Burger als Edelmann– Mostly Mozart Avery Fisher Hall

In appreciation of Ms. Peters’ participation in AIDS benefits, she received a plaque proclaiming her “an honorary singing member” of the New York City Gay Men’s Chorus during the concert. After the holidays, the Chorus returned to begin rehearsals for their concert on Sunday, March 21, Reel Music, a salute to movie music. The evening began with an overture of Hooray for Hollywood while the Chorus entered wearing movie star shades. After singing Jerry Herman’s Just Go to the Movies, the Chorus quoted en masse to the audience the famous line from All About Eve, “Fasten your seatbelts. It’s going to be a bumpy night!” Then followed a medley of Oscar-winning numbers, a salute to Marilyn Monroe (complete with diamonds), and a tribute to the wild, witty excess of director Busby Berkeley. In addition, the Chorus remembered the late lyricist Howard Ashman with a medley of his songs from Aladdin, Beauty and the Beast and The Little Mermaid. The guests for the concert interspersed the evening with selections from movies. The pop trio BETTY harmonized a sizzling “The Way of Love” from Casino Royale, and Sharon McNight insinuated and oozed as Mae West singing My Old Flame. Ms. McNight also recreated the entire scene of Dorothy landing in Munchkin Land, complete with Glinda, the Wicked Witch of the West, and several munchkins. Jim Bailey did a wonderful Judy Garland and Daisy Eagan from Secret Garden paid homage to Shirley Temple. Stockard Channing was back, and this time with a voice, as she reprised her song from Grease. The highlight of the evening was the voice of Hollywood, Marni Nixon, finally getting her own spot. Ms. Nixon was the singing voice for many memorable movie stars including Deborah Kerr in The King and I, Natalie Wood in West Side Story, and Audrey Hepburn in My Fair Lady. After performing several numbers including Shall We Dance?, Getting to Know You, Hello Young Lovers,

Somewhere and Tonight, she proffered wry commentary on her career in a parody of I Could Have Danced All Night called I Could Have Dubbed Myself. Reviewer Rex Reed, columnist Liz Smith and television journalist Bobby Rivers all volunteered commentary on stars and movies throughout the evening, as they served as hosts for various portions of the program. The evening ended with the Chorus enacting scenes we’d like to see, like the Marine getting his man and sweeping him off his feet while the Chorus sings, Up Where You Belong. For the finale, the Chorus and guests presented an ebullient That’s Entertainment. Just a few weeks later, Uptown Express presented their solo performance at Greenwich House. Sharon McNight was special guest for two performances of An Evening with Uptown Express on April 18. The ensemble presented group numbers from Billy Joel, James Taylor, Cyndi Lauper and others. Mixed among these songs were solo spots by members of the group, and Ms. McNight presented a solo set as well as a couple of numbers with the group to end the evening.

Windy City had been the first chorus to perform with New York in 1982, and now New York had traveled to Chicago to spend a weekend with Windy City. The program was presented on Saturday at Medinah Temple in downtown Chicago. Each chorus presented a sample of their own music and together performed the opening peice, John David Earnest’s Jubilation. The second half of the program saw the two choruses combine to present the moving Roger Bourland/John Hall piece, Hidden Legacies. Back in New York after a fantastic weekend in the Windy City, the Chorus presented their Pride Concert at Carnegie Hall on Tuesday, June 22. Their special guests were the gay men’s chorus from Amsterdam, The Netherlands, Noot aan de Man. To honor their guests, the con-

May 2, 1993, was the date for the annual Chamber Choir May Concert. This year it was held at Church of St. Luke in the Fields and featured works by Schubert, Berlioz, Liszt as well as world premieres from Dean X Johnson, and ensemble members Tony Shenton and Edgar ColónHernández. Featured in the afternoon’s performance were 18th century patriotic drinking songs and amusing barbershop quartets. The Aspen Brass Quintet was featured as special guests. On June 19, the Chorus performed in Chicago with the Windy City Gay Chorus. It took over eleven years, but the two choruses were finally together on stage in Chicago.

cert was called Dutch Treat. The first foreign gay chorus to perform at Carnegie Hall, Noot aan de Man paid tribute to

disco and the gay 1970s with a campy ABBA medley. Also programmed were renditions of Gershwin, Rodgers and Hammerstein, and “Some Other Time” from Leonard Bernstein’s On the Town. New York presented its ensemble groups, Chamber Choir and Uptown Express, as well as a reprise of David Conte’s Good-bye My Fancy! and several other numbers. The two choruses joined for a cheerful, bilingual Dinge Dong with the Dutch chorus wearing wooden shoes. The second half of the concert was the New York premiere of Hidden Legacies. The Gay Men’s Chorus of Los Angeles, who presented it at GALA IV in Denver, commissioned

Chours Memorial Quilt

Special guests the gay men’s chorus from Amsterdam, The Netherlands, Noot aan de Man

to classical; the work was even more moving as above the Chorus hung their own memorial quilt panel commemorating the members who had lost their fight with the disease. The ultimate message from this piece was “If our songs can change us, can they change you?”

Roger Bourland and John Hall for this piece. The cantata was in response to the AIDS crisis, and the Chorus eschewed their tuxes for this segment and opted to dress in gay-identified styles, from drag to leather and everything in between. The styles of music within the piece ranged from jazz to pop

During the summer, the Chorus sang under Music Director Gerard Schwarz for The Mostly Mozart Festival at Lincoln Center. On Friday and Saturday, July 16 and 17, the Chorus participated with the Festival Orchestra to perform with guest narrator Werner Klemperer for Richard Strauss’ Der Burger als Edelmann, Op. 60, also

Mostly Mozart at Lincoln Center

known as Le Bourgeois Gentilhomme. The Chorus was decked out in red fezzes for the performance.

1993-94

14th Season Culminates with Stonewall 25 recording by Liza Minnelli. October 2, 1993, members of the Chorus joined with other choruses as guests to record with Ms. Minnelli “The Day After That” © Glenn S. Lunden from Kander and Ebb’s Kiss of the Spider Woman. The recording was released in November and then presented live at the United Nations to commemorate World AIDS Day. The recording was done in English, Spanish and French. The holiday concert was a special one. It was the first to be conducted by someone other than the Chorus’ longtime Director Gary Miller. Dean X Johnson, the able Assistant Director and accompanist for many years, was given the honor of conducting Making Spirits Bright on December 21 and 22 at Carnegie Hall.

s the Chorus returned to rehearsals in the fall, there was much excitement for the season to come. This season would coincide with the twenty-fifth anniversary of the Stonewall Riots, and the quadrennial Gay Games would be hosted in New York in June at the same time. The Chorus was looking forward to a rewarding season.

The concert was a solo one for the Chorus, with no guests that year. They opened with the commissioned work from Conrad Susa, Arise and Wake! Traditional carols followed, and a new arrangement by former Chorus member Michael Gaylord, Fantasia on Bring A Torch, Jeanette Isabella, was presented. There were segments from the Chamber Choir and Uptown Express. In addition,

To get things started, members of the Chorus were asked to participate on a

Service of Remembrance Cathedral of St. John the Divine

1993

OCT. 2

NOV. 3

Recording with Liza Minnelli Day After That

Live in Concert (Holly Near, Flirtations) Carnegie Hall

Joan Rivers Christmas Party Joan Rivers Townhouse

DEC. 21-22

DEC. 25

Making Spirits Bright (Dean X Johnson) Carnegie Hall

1994

FEB. 2

MAR. 20

Joan Rivers and Her Funny Friends (The Center) Town Hall

MAY 1 Chamber Choir St. Peter’s Church, Chelsea

A couple of days later, several Chorus members were invited to participate in a holiday entertainment on Christmas Day at Joan Rivers’s Fifth Avenue home. The members presented a few holiday songs and then were invited by the hostess to stay and mingle and enjoy the evening. This would become a seasonal favorite for both Ms. Rivers and the Chorus.

On February 2, the Chorus joined with Miss Rivers as she presented Joan Rivers and Her Funny Friends….Again! The fun filled evening of entertainment was again held at Town Hall. This was the second gala evening of comedy, song and celebration to benefit the Lesbian and Gay Community Services Center. Among the entertainers were Kate Clinton, Pomo Afro Homos, Reno, and the cast of Howard Crabtree’s Whoop Dee Doo! The March 20 concert featured out-andproud performing artists. To highlight the evening was the respected singer Holly Near, whose messages of peace and human dignity had been sung from coast to coast since the late 1970s. Also appearing on the program was the a cappella group The Flirtations. the concert featured the New York premieres of Chorus member Howard Rosner’s Freedom, Merriment and Joy and Chorus member Edgar Colón-Hernández’s Procesión jíbara. Lighter and sentimental favorites of Santa Baby and The

Jerry Herman Tonight NYC High School of the Performing Arts APR. 18

Celebrating Stonewall – GMCLA Carnegie Hall JUNE 17

The Chorus presented tunes of hope, Help Is On The Way, and reminiscence, My Buddy. They also lent some upbeat humor to the evening with A Tribute to the Nylons, complete with “choralography,” and a Larry Moore arrangement,

Christmas Song were also presented. Larry Moore’s new arrangement for Chorus and audience That Man Over There Is Santa Claus, closed the holiday evening.

JUNE 22

Stuff Like That There (Uptown Express) (Rachel York) Greenwich House

JUNE 23 Celebrating Stonewall— SMC Carnegie Hall

Gay Games Festival Chorus (Unity Chorus) Damrosch Park, Lincoln Center JUNE 24

Songs We Never Sang (Cabaret) Eighty-Eights

AUG. 1, 8, 15, 22, 29

Fighting for Our Lives (AIDS Memorial) St. Veronica’s, West Village

June 1994 was jam-packed with events as the Stonewall 25 festivities coincided with the largest Gay Games presentation ever. Before the Gay Games week festivities were to begin, Uptown Express presented its annual solo concert. It was presented on June 17 at Greenwich House and featured Broadway star, Rachel York. Called Stuff Like That There, the first half had the ensemble singing as a group as well as spotlight solo sections. The second half featured Rachel York performing solo numbers and then joining with the ensemble. The performance was presented twice that evening.

Sexy Boys and Rock n’ Roll. There was also a beautiful rendition of Garth Brooks’ We Shall Be Free and Holly Near’s classic The Great Peace March. With Ms. Near, the Chorus presented several songs written by her and arranged by Larry Moore including It’s About Time and Change of Heart. They also joined for a beautiful Ella’s Song from Bernice Johnson Reagon and adapted by Dean X Johnson. In addition, Ms. Near offered a few songs of her own. The Flirtations did a set of songs by themselves and then performed Boy from New York City with the Chamber Choir. The Chorus and The Flirtations did Cyndi Lauper’s Time After Time and Bill Russell’s Angels, Punks and Raging Queens. The two groups also presented a very moving Something Inside So Strong, which had been arranged by Flirtation member Jon Arterton and adapted for chorus by Larry Moore. The Chorus participated with other celebrities on April 18 at the New York City High School for the Performing Arts in an evening saluting Jerry Herman. The Chamber Choir presented their ninth annual May Concert on May 1 at St. Peter’s Church in Chelsea. This year, they presented the world premiere of The Seasons by Dean X Johnson and Paul Wiley.

The Chorus presented two evenings of music on June 22 and 23 at Carnegie Hall in celebration of the 25th Anniversary of Stonewall. Joining the Chorus were two great choruses from the West Coast. The Gay Men’s Chorus of Los Angeles and the Seattle Men’s Chorus each sang a portion of the program on successive nights. All three choruses joined on stage for a new work by Roger Bourland and John Hall; entitled Flashpoint/Stonewall. The piece was commissioned by the three choruses for this special occasion.

The Gay Men’s Chorus of Los Angeles opened with one of their commission pieces from 1989, Scott Henderson’s Diversity. Another commission from Ron Nelson, Prime, followed. Also presented were a selection from Sondheim’s Sunday in the Park with George, Shenandoah, and a piece by Roger Bourland with words by gay poet Paul Monette, All There Is Is Love. The chorus then offered a trio of opera choruses. On Thursday evening, June 23, the Seattle Men’s Chorus was the guest. New York once again presented the same program from the previous evening. Seattle opened with a couple of Stephen Sondheim pieces and then offered selections from their Cole Porter show arranged by David Maddux, Swellegant Elegance. Appearing in part of this program was gay actor and playwright Harvey Fierstein. Three more uplifting pieces of the gay rights movement ended their segment of the program.

The second half of each evening’s program was the New York premiere of Roger Bourland and John Hall’s Flashpoint/Stonewall. The piece was a look at the Stonewall Riots and what

games. Guest artist for the evening was the quintessential Barbara Cook, who joined with the chorus for a compelling piece by William Hoffman and John Corigliano, Jack and Jill.

On Wednesday, June 22, the Gay Men’s Chorus of Los Angeles was the guest of the Chorus. New York opened the program with a new work from Dean X Johnson, All of Us. The world premiere of a commissioned work from noted composer Ricky Ian Gordon, Angel Voices of Men, featured countertenor Lawrence Lipnik. This piece had been commissioned for the Chorus by The Friends of Dick Cable. Dick was a member of the Chorus who had passed away fighting AIDS. His legacy would live on in the many works of music his fund would commission for the Chorus. The Chamber Choir and Uptown Express both made an offering to the evening. Then followed two lighter pieces, a tribute to the Nylons and a humorous arrangement by Larry Moore with new words by Craig Sturgis in honor of the Gay Games called Jock Itch: For Male Chorus and Four Athletic Supporters. Their set ended with a special appearance by talented singer, and composer, Ann Hampton Callaway, who presented an original song with the Chorus, arranged by James Followell, called At the Same Time.

All three Choruses at rehearsal for Flashpoint/Stonewall

Stonewall means to us. Besides the three choruses, members of the Imperial Court of New York appeared. The piece was a sequence of flashbacks and dreams. According to the composer Roger Bourland and lyricist John Hall “The most important thing for any group of people is to share a past, a present, and a future. Sharing these things can define a family, a community, a nation. But more importantly, these things also can define life.” Each evening, the audience in the sold-out hall was treated to a unique performance that only enhanced their experience of this special week in New York, the combination of Gay Games IV and the 25th Anniversary of the Stonewall Rebellion.

The Chorus, along with thousands of others, joined in the Pride Parade marching a different route this year as they passed the United Nations on First Avenue and crossed 57th Street and up to Central Park South to the Great Lawn for a stupendous Gay Pride Rally with many celebrity entertainers.

During the summer, members of the Chorus presented Songs We Never Sang, in a cabaret setting for five Monday evenings in August. The shows were held at Eighty Eight’s in the Village and helped to raise funds for the Chorus. Five members of the Chorus— Christopher Caswell, Rich Dikeman, Rick Farwick, Norman Lasiter, and Brad Whitaker—sang everything from Camelot to Children of Eden. It was a wonderful end to a season and a look to an exciting one ahead.

Members of the Chorus also participated in the Unity Chorus that performed throughout the week, and whose members came from all over the world. This Chorus appeared at the opening ceremonies for the games and on Friday, June 24, it was joined by Holly Near for a concert at Damrosch Park in Lincoln Center. On Saturday, June 25, the Unity Chorus appeared at Yankee Stadium for the closing ceremonies of the successful

This season sponsored in part by RSVP

1994-95 Diverse 15th Season

fter a busy summer, the Chorus returned to rehearsals for another season that had several different events.

The first official event was not until December, when the Chorus once again traveled out of town for a performance. This year, the Chorus performed at Suffolk Community College in Brentwood, New York. The performance was on Sunday, December 11, at The Sagtikos Theatre at the Western Campus. The concert was sponsored by Kaledioscope, a program at the college to encourage the appreciation of diversity. The afternoon concert was presented as a preview of the holiday concert that would be at Carnegie Hall on December 20 and 21. A Family Holiday was this year’s concert title, with special guests Liz and Ann Hampton Callaway. The evening was a celebration of the diversity of the Chorus family and their backgrounds, nationalities, religions and ethnicities. The evening opened with a Larry Moore arrangement of the traditional carol Angels We Have Heard On High followed by the New York premiere of Conrad Susa’s Carols and Lullabies, a celebration of Christmas in the Southwest with many of the carols originating from different regions of Spain as well as from Puerto Rico and Mexico.

A Family Holiday (Callaway Sisters) Carnegie Hall

1994

DEC. 11 Family Holiday Concert Suffolk Community College

DEC. 20-21

Boy Meets Boy Theatre Four

1995

JAN. 16 Oscar Hammerstein Salute PBS – City Center

FEB. 2-19

There was a piece for Kwanzaa with Bernice Johnson Reagon’s Seven Principles, and for Chanukah with Chanukeh, oi Chanukeh. There was also a piece from the Chamber Chorus, and a traditional Silent Night. A humorous Bach parody from Larry Moore and librettist Craig Sturgis, The Long Christmas Dinner, ended the first half of the program.

The second half became cozier as the stage was set with armchairs and a table for their guests. The Chorus opened with Jerry Herman’s “We Need A Little Christmas” from Mame, the sisters were soon welcomed on stage, where upon the Chorus and the guests sang a Sisters Medley that had been specially arranged by Alex Rybeck. Both Liz and Ann each had their solo turn, and then the Chorus had a song. Uptown Express offered a lighter number followed by another fun choral setting. Then the Chorus sang a wonderful God Bless My Family, which had been written by Ann Hampton Callaway as a gift to the Chorus. The family evening ended with another exquisite Larry Moore sing-along medley for the Callaway Sisters, the Chorus and the audience.

After the holidays were over the Chorus convened at City Center for a full day of rehearsal and an evening taping of a special salute to Oscar Hammerstein on Monday, January 16. The program would air on PBS, and the Chorus ended the program by walking on stage from all directions, including the pit, to sing a powerful You’ll Never Walk Alone with special guest star Patti LaBelle. Also included on the program were performers Audra McDonald, Dawn Upshaw, Vanessa Williams, Peabo Bryson, Keith Carradine, Bernadette Peters, and James Barbour. The first three weeks of February saw another musical production from the Chorus. This time it was actually a revival of Boy Meets Boy, which had been produced in 1988. This production, however, was produced at Theatre Four, an Off-Broadway house, and had firstever orchestrations for the music done by former Chorus member Michael Gaylord. The production ran for three

Out With Our Friends Harolyn Blackwell, Lavender Light, Stonewall Chorale Carnegie Hall

Between War and Peace American Symphony Orchestra (Airborne Symphony) Avery Fisher Hall MAR. 26 Operantics Carnegie Hall

APRIL 30

weeks and was offered in celebration of the 20th Anniversary of the creation of the show, which opened on Valentine’s Day, 1975. For this production, a special gala evening was produced on Valentine’s Day, with many gay politicians and celebrities—including Quentin Crisp—in the audience.

JUNE 17

JUNE 22

Songs by the Sea Paramount Theatre, Asbury Park

The spring concert this year was another look at opera entitled, Operantics: Divas, Dueling Tenors, and other Grand Musical Diversions! Special guests for this evening included Constance Hauman, Emily Golden, Benita Valente, Roberta Peters in a return performance, a special appearance by Frederica von Stade, and La Gran Scenaâ&#x20AC;&#x2122;s Mme. Vera Galupe-

Borszkh. Balancing the women were Jerry Hadley, Kurt Ollmann, and Arthur Woodley. The evening was hosted by Terrence McNally, and comedienne Lea DeLaria appeared as part of a new miniopera written by Dean X Johnson and Chorus member Jeff Baron, Song of Martina: The Life of Martina Navratilova.

Cast of the new mini-opera Song of Martina: The Life of Martina Navratilova

The evening opened with Wagner’s Norwegian Sailors’ Chorus and was followed by an aria from Frederica von Stade. Gounod’s “Soldiers’ Chorus” from Faust was next and then an appearance by Benita Valente. The Chorus then performed the “Pilgrims’ Chorus” from Wagner’s Tannhäuser; this was followed by a performance by Kurt Ollmann, and then a star turn from La Gran Scena’s Madame Vera Galupe-Borszkh. Jerry Hadley, Emily Golden and Benita Valente helped round out the first half, which ended with the “Coronation Scene” from Boris Godunov. The second half was lighter in nature, with Roberta Peters singing repertoire from The Merry Widow and Jerry Hadley performing “Serenade” from The Student Prince. Song of Martina: The Life of Martina Navratilova was next, with Lea DeLaria playing the tennis great and several guests portraying her many lovers. Included in the cast was Ann Harada, who had performed many years before in musical productions with the Chorus. Selections from Porgy and Bess and Carmen followed. Then Constance Hauman gave a beautiful rendition of Bernstein’s “Glitter and Be Gay” from Candide before the grand finale of “Make Our Garden Grow,” also from Candide.

On April 30, the Chorus was a guest of the American Symphony Orchestra as they presented Marc Blitzstein’s Airborne Symphony with special guest narrator James Earl Jones. The evening was a program entitled Between War and Peace and was held at Avery Fisher Hall at Lincoln Center. For June, the Chorus traveled once again to New Jersey. This time they traveled south to Asbury Park, where they performed an evening of music, Songs By the Sea, at the Paramount Theatre on Saturday, June 17. On Thursday, June 22, Out with Our Friends was presented at Carnegie Hall. Guests for the evening included The Stonewall Chorale, Lavender Light: The Black and People of All Colors Lesbian and Gay Gospel Choir, and a special appearance by soprano Harolyn Blackwell. The evening was a celebration of the diversity and solidarity of the gay and lesbian musical community in New York. The Chorus opened the program with Dolly Parton’s Light of a Clear Blue Morning and followed that with a new arrangement of Irving Berlin’s Always dedicated to the memory of Chorus member Peter Monette. Harolyn Blackwell then appeared for Ricky Ian Gordon’s Love, My Sweet Rain. This piece was commissioned in memory of Chorus member

James Festa. Lavender Light ended the first half with some uplifting gospel numbers. Sixty Years with Bruhs and Gean by Tom Wilson Weinberg was a mini musical commissioned by the Chorus that told the story of one of New York’s oldest gay couples, Bruhs Mero and Gean Harwood, who were two of the unsung heroes of the gay and lesbian liberation movement. The Stonewall Chorale then sang before the Chorus returned for several more prideful tunes. The Chorus was then joined on stage by the two guest groups and all three choruses presented Stephen Sondheim’s Behold the Hills of Tomorrow and Dean X Johnson’s arrangement of Walk in Love. A grand finale to close the season. This season sponsored in part by RSVP

1995-96 Sweet Sixteen

he first event of the new season was an unusual presentation: the Chamber Choir presenting their May Concert…in October. This year the concert was presented on October 14 at Merkin Concert Hall. Once again, Dean X Johnson conducted a program with music by Franz Liszt, Franz Schubert, and Edvard Grieg. The concert, which had many guests, opened with the world premiere of Johnson’s Credo. Included on the program were world premieres from Chorus members Tony Shenton and Edgar Colón-Hernández. Also on the program was a reprise of Johnson’s Song of Martina, which the full Chorus presented the previous June.

To officially start the new season off, the Chorus presented an evening fundraiser at Symphony Space on the Upper West Side. That’s What Friends Are For was an evening of cabaret to benefit the Chorus. In addition to an evening of music, there was a silent auction with more than 50 items, including dinners, theatre tickets, and round-trip air tickets. Coco LaChine and Tommy Femia as Judy Garland hosted the evening. Performers included Kaye Ballard, Dorothy Loudon, Rita Moreno, Kim Morgan, Billy Stritch, KT Sullivan, Julie Wilson, and, of course, the Chorus. On December 10, the Chorus returned to the Sagtikos Theatre at Suffolk Community College for another benefit concert. The concert presented several numbers from the upcoming holiday

That’s What Friends Are For Symphony Space

1995

OCT. 14 May Concert in October (Chamber Choir) Merkin Hall

OCT. 23

NOV. 4

With A Song In Our Heart (Ann Hampton Callaway) Carnegie Hall

Holiday Benefit Suffolk Community College DEC. 10

National AIDS Memorial (We Remember) Cathedral of St. John the Divine

DEC. 19-20 Deck the Hall Carnegie Hall

1996

MAR. 21

concert and had appearances by both the Chamber Choir and Uptown Express. The evening opened with a welcome from Alan Bowser, President of Western Campus Student Senate and Member of the Committee to Encourage the Appreciation of Diversity. Deck the Hall was presented for two evenings at Carnegie Hall on December 19 and 20. The Chorus was fortunate to have as guest this year the talented Cyndi Lauper. The evening opened with the world premiere of Dean X Johnson’s Waken!, which was followed by several traditional carols. The Chorus once again presented Libby Larsen’s Ringeltänze before the world premiere of Robert Seeley’s Song of Democracy. This piece was commissioned by Chorus member Fred Goldhaber to commemorate the Tenth Anniversary of the Harvey Milk School, where Mr. Goldhaber was a teacher for many years. Mark Riese’s Three Carols rounded out the first half of the program. After the intermission, Cyndi Lauper graced the stage with four interpretations of traditional carols and holiday songs. She opened her segment with a counterpoint of Ave Maria with Silent Night, which included a choral culmination in sign language. Ding Dong Merrily on High was followed by a Little Drummer Boy using Eastern themes against the tune.

Accentuate the Positive (Uptown Express) Don’t Tell Mama MAY 5, 12, 15

The Chorus then presented a selection of familiar carols in ingenious arrangements, as if they had been written by some of today’s modern composers. This selection of “What If…” Carol Parodies began with a rather severe Santa Claus is Coming to Town as if Stephen Sondheim had written the song, reminiscent of his Sweeney Todd music. Silent Night was presented as if Philip Glass had written it. This was followed by a Lawrence Welk polka rendition of Away in the Manger. Then there was a Kander and Ebb suggestion to I Saw Mommy Kissing Santa Claus with a tune reminiscent of Maybe This Time. The series of songs ended with a snappy We Three Kings, Jerry Herman-ized to a melody from Mame. The evening ended with the traditional sing-along with the audience, and this time it was Larry Moore’s If We in Our Time. The spring concert was scheduled for Thursday, March 21, at Carnegie Hall. With A Song in Our Heart was a salute to the music of Richard Rodgers and Lorenz Hart, and Ann Hampton Callaway made another appearance with the Chorus. This concert had arrangements by David Maddux. Songs were presented from several shows, including Babes in Arms, Pal Joey, A Connecticut Yankee, Too Many Girls, By Jupiter, Higher and Higher, The Boys from Syracuse, and Garrick Gaieties. Larry Moore also provided arrangements for three songs that related to New York. The show was split up into different thematic segments: Opening, Murder, Around the G&L Community Center Benefit Paramount Theatre, Asbury Park

MAY 10

JUNE 15

Moonlit Serenade (Tommy Femia/Tovah Feldshuh) Spirit of New York

GALA V Tampa, Florida

JUNE 26-27

JULY 6-11

Out With Our Friends—Lavender Light/ Schola Cantorosa/Crusis Women’s Choir Alice Tully Hall

JULY 20 Evening of Music Cherry Grove Arts Project

World, Conversations, Blue Moon, My Love, New York, and Our Love. Miss Callaway conveyed a sense of being undone by love in a dreamy It Never Entered My Mind. Accompanying herself on the piano, she delivered caressing accounts of Isn’t It Romantic and My Romance. Miss Callaway and the Chorus puzzled over their feelings in an upbeat This Can’t Be Love, and the last song was a grand Falling in Love with Love, in which Miss Callaway traversed the octaves and provided an expansive obbligato to the choral effort. Introducing the tender finale, My Funny Valentine, Miss Callaway noted that Lorenz Hart—homely, closeted, and alcoholi—is said to have written the song’s poignant words while looking into a mirror and hoping that someday someone would say such words to him. With a Song in My Heart, with Miss Callaway indulging in extravagant coloratura above the choral melody, was the ardent encore.

On Friday, May 10, the Chorus held a benefit. Moonlit Serenade was a glamorous evening cruise along the Hudson River aboard the Spirit of New York. The evening featured a welcoming serenade by the Chorus before setting sail at 9 PM. There was a buffet dinner and entertainment including Tovah Feldshuh and Tommy Femia as Judy Garland. Music and dancing also were a part of the evening, and a fun evening was had by all before their return just prior to midnight. For three Sundays in May, Uptown Express presented a cabaret show at Don’t Tell Mama, a cabaret club on West 46 Street. Each of the three performances had a different special guest star. On May 5, the guest was Kristine Zbornik, May 12 saw Annie Hughes, and on May 19 it was Ginni McMath. Each of the guests had won awards from the MAC Award to the CaB Award. Accentuate the Positive was a fun evening with the members of Uptown Express and it helped raise funds for the Chorus. This year’s concert, Out with Our Friends, was presented on two evenings at Alice Tully Hall at Lincoln Center on June 26 and 27. On Wednesday evening, the Chorus was once again joined by Lavender Light, the lesbian and gay gospel choir. On Thursday, the Chorus played host to Schola Cantorosa (Hamburg Gay Men’s Chorus) and Anna Crusis Women’s Choir. The Chorus presented several premieres at this concert. There was Dean X Johnson’s Can’t Wait

which opened the evening, followed by the New York premiere of Joseph Jennings’ Loving Again, which was commissioned by GALA Choruses for this year’s Festival V, to be held in July in Tampa. Next was another piece commissioned by the Dick Cable Fund. This year, it was Waltzes for Men by composer Craig Carnahan, with words by poet Perry Brass. There was a reprise of Tom Wilson Weinberg’s Sixty Years with Bruhs and Gean and the concert ended with several songs of hope and love. From July 6 through the 11, members of the Chorus traveled to Tampa, Florida, to participate in GALA V, the quadrennial music festival. They presented their original pieces Waltzes for Men and Sixty Years with Bruhs and Gean to the supportive choristers from around the world and enjoyed the programs that the other choruses presented. Shortly after returning from Florida, the Chorus presented a benefit evening on Fire Island. An Evening with the New York City Gay Men’s Chorus was presented by The Arts Project of Cherry Grove. Sixteen years ago the Chorus had presented a similar concert on the island. A lovely moonlit evening was the perfect way to end the season.

Charter Member Reminiscence by Fred Goldhaber

joined the New York City Gay Men’s Chorus in 1980 and stayed on for twenty-five years. What keeps me coming back to “be a part of it”? Certainly, the sheer joy of singing with my brothers is a factor, as is performing in some of the world’s greatest recital halls. Other factors include the relationships we develop with our wonderful audiences, the opportunity to work with our talented and very different musical directors, and the thrills that come with performing new commissioned works. But, for me, most of all is the feeling I get being a part of one of New York City’s greatest service organizations.

That’s not a misprint or typographical error. Since our very first (unofficial) public appearance at a memorial service for the victims of the Ramrod massacre in November 1980 at Washington Square United Methodist Church, NYCGMC has undertaken the task to bring, through our music, comfort, empathy and hope to a community struggling to survive in a hostile environment. The words to our songs provided insight into the thoughts of many that night: right now, we kiss is a shadow…but one day, we’ll kiss in the sunlight and say to the stars, “Behold and believe what you see.” To every person weighed down by oppression we promised support ‘cause “he ain’t heavy; he’s my brother”. Our early concerts featured a score of love songs, music that, in the new context of a gay chorus, became a message audiences had never heard before. I will always remember the cheers of the audience at our “pillow concert” at Bond’s in March 1981 when we sang Love is Sweeping the Country and Stouthearted Men. We were introducing a brave new world to those men and women. Later we dealt with other losses from a new dreaded foe. We performed at many more memorial services, this time for the victims of AIDS. Our songs now were Love Lives On and No One Is Alone. We were there for our community providing love and support in our own unique way. On the days following 9/11, we were there, too, out on Union Square, singing songs like America the Beautiful and Amazing Grace—not as a gay chorus to our gay audience, but as New Yorkers to a grieving and traumatized New York community. I was never prouder to be a member of this chorus. Most recently, members of the chorus assembled on the steps of City Hall to sing Marry Us, a heart-wrenching plea to the world for our right to a legal and sacred union between same-sex couples. As always we brought our own special voice to the debate. As always, we did our part to make this city a better place for everybody. For me, our music is our message and our singing is our service. This is why I sing with this chorus. This is why I want always to “be a part of it”.

1996-97

Season Seventeen Includes Song-filled Trip to West Coast

fter the summer, the Chorus returned to start raising funds as early as possible. Once again, Chorus member Don Grasso had assembled a cast of celebrities for an evening of music at Symphony Space to benefit the Chorus. There is Nothing Like a Diva was produced by Roger Lemons and directed by Dick Donahue. It was held on Monday, October 28 and once again featured Tommy Femia as Judy Garland. Among the guests were Karen Ziemba, Beth Fowler, Philip Officer, John Bucchino, Marilyn Michaels, Melba Moore, Tovah Feldshuh, Lainie Kazan, and Kaye Ballard. The Chorus presented the final two numbers, Tribute to the Nylons and of course, Kander and Ebbâ&#x20AC;&#x2122;s New York, New York. The evening, which also featured a silent auction, was a great kickoff to a new season.

A Christmas Garland (Faith Prince) Carnegie Hall

AIDS Memorial Service Cathedral of St. John the Divine

1996

OCT. 28 There Is Nothing Like A Diva Symphony Space

NOV. 3

DEC. 15 East of the Danubeâ&#x20AC;&#x201D; Stonewall Chorale Haft Auditorium - FIT

DEC. 22-23 Chorus Royalty on Society Page of The New York Times

1997

FEB. 22 American Group Psychotherapy Association Waldorf Astoria

As had become customary, the Chorus performed their holiday program prior to Carnegie Hall. This year, they were guests of the Stonewall Chorale for their concert at Haft Auditorium. East of the Danube was presented on Sunday afternoon, December 15, at the Fashion Institute of Technology. The Stonewall Chorale opened the program with pieces from East European composers such as Rachmaninoff, Kodaly, and Tschesnokov. They also presented a collection of Romanian Carols. The Chorus presented several pieces that would be heard in Carnegie Hall, and the two groups combined for Franz Biebl’s Ave Maria and Robert Shaw’s arrangement of The Holly and the Ivy. A week later, the Chorus performed the same songs and others in their annual holiday concert at Carnegie Hall. A Christmas Garland was held on Sunday and Monday evenings, December 22 and 23, and featured Faith Prince as guest artist. The Chorus opened with a pair of antiphonal carols before the Chamber Choir took the stage for three songs under Music Director, James Gedge. Conrad Susa’s A Christmas Garland for Chorus and Audience followed before Faith Prince took to the stage for a pair of songs with the Chorus. The second half provided more carols from the Chorus, Uptown Express, the world premiere of Trente Morant’s Eya Ache: A Song for Kwanzaa, and several more selections with Ms. Prince. Again singing with the Chorus, she presented The Twelve Days of Christmas and David Friedman’s The Truth About Christmas. The evening ended with another singalong, this one by Larry Moore, titled Have A Little Faith.

After the New Year, the Chorus was preparing for their March concert when they accepted a performance opportunity at the Waldorf Astoria, singing for the American Group Psychotherapy Association. On February 22, the Chorus presented a program before this group that again had a positive effect on their audience.

March 16, 1997, was the date for the Carnegie Hall concert, Jerry’s Boys. The concert was a salute to Broadway composer Jerry Herman and included songs by the Chorus from many of his shows, movies and television. There were pieces from his earliest show, Milk and Honey, through his classics of Hello, Dolly and Mame and on to his lesser known shows Dear World, Mack and Mabel, and The Grand Tour. The program finished with selections from his hit show La Cage aux Folles. The then-recent television movie, Mrs. Santa Claus was also represented on the program. Joining the Chorus on this auspicious evening were Laurie Beechman, George Dvorsky, Beth Fowler, Debbie Gravitte, Eartha Kitt, Bebe Neuwirth, Lee Roy Reams, and the Imperial Court of New York, which helped add some elegance to Put on Your Sunday Clothes. The evening was filled with surprises for the audience, as at one point the one-and-only, Carol Channing greeted them. Delighting in the audience response, the composer himself took to the piano for the finale, “I’ll Be Here Tomorrow” from The Grand Tour. This same song had been presented more than 10 years earlier with the Chorus singing and Jerry Herman playing piano at The Best of the Best benefit concert at the Metropolitan Opera House in 1985. Gary Miller with Honorary Member Faith Prince

MAR. 16

Chamber Choir (Gay Pride Observations) Museum of the City of New York

Hello Dolly movie (Golden Voices/Silver Screen) Symphony Space

Jerry’s Boys (Jerry Herman) Carnegie Hall MAR. 20

APR. 1

BAM Salutes Sondheim Brooklyn Academy of Music

JUNE 23 Naked Man Carnegie Hall

JUNE 24

JULY 16-20 West Coast Tour – San Francisco, Seattle, Los Angeles

Just four nights later, the Chorus performed for another composer salute. This time, the Brooklyn Academy of Music was hosting a salute to Stephen Sondheim. March 20 saw the Chorus on stage at BAM along with a cast of singers and dancers and celebrities, all singing the praises of this great composer. There were remarks from Kitty Carlisle Hart and songs from Len Cariou, Liz Callaway, Davis Gaines, Judy Kaye, Julia Migenes, and, of course Elaine Stritch. The Chorus performed with the singers for “Another Hundred People” from Company and “Sunday” from Sunday in the Park with George. They also backed up Ms. Stritch as she provided “The Little Things You Do Together” from Company.

Shortly after, on April 1, 1997, at Symphony Space, the Chorus was again on hand to sing for the Golden Voices/ Silver Screen showing of Hello Dolly. The Chorus provided a rendering of the title track before the film started.

The Pride Concert this year was on Monday evening, June 23. The program included the New York premiere of Robert Seeley’s Naked Man, a moving portrait of being gay. The first half of the program was devoted to songs that also spoke of pride and love. There was a reprise of Larry Moore’s arrangement of Leonard Bernstein’s “Dream with Me” from Peter Pan, an arrangement of John Denver’s All This Joy, by new principal accompanist Barry Oliver, selections from the Chamber Choir and Uptown Express, and a piece written for the Chorus by noted composer Jonathan Sheffer. The first half ended with the tuneful, humorous “The Color Out of Colorado” from When Pigs Fly.

The second half of the program presented the East Coast premiere of Naked Man. This cycle of sixteen songs was commissioned by the San Francisco Gay Men’s Chorus from their composer-inresidence, Robert Seeley. The libretto was written by Philip Littell, who turned to members of the chorus for his inspiration. This piece, as stated by SFGMC artistic director Dr. Stan Hill, “is a composition that offers recognition, validation, and empowerment to gay men everywhere. And through that specific window on the world, it touches the universal.” Robert Seeley stated, “Naked Man not only addresses experiences in gay culture, it celebrates the human condition in general. We all go through life shedding layers of ourselves, our masks and insecurities, in order to express our true selves.” The piece was one of great significance for the Chorus and the audience proved enthusiastic as well. Songs from this cycle have continued to be performed throughout the GALA Chorus network and have relevance beyond the song cycle itself. In mid-July, the Chorus traveled to the West Coast to make several appearances with choruses in San Francisco, Seattle, and Los Angeles. The Chorus began their tour in San Francisco performing for two evenings with the San Francisco Gay Men’s Chorus. Each chorus presented a segment of the program before both came together to unite in song. July 12 and 13 were the dates of performance at the Masonic Auditorium overlooking San Francisco. Rhapsody for Two was presented with San Francisco

performing an all Gershwin program. Unfortunately, San Francisco’s pianist had injured his wrist and was unable to play. However, NYCGMC’s Barry Oliver immediately stepped in and played the San Francisco portion of the program with only a few days rehearsal time. New York presented a selection from their recent pride concert and then the two choruses combined for the finale, “Never Ever” from Robert Seeley’s Naked Man. After the successful concerts in San Francisco, the Chorus flew to Seattle where they performed again with their “sister” chorus, Seattle Men’s Chorus. New York presented a program of songs for the first half, many from their recent pride concert. They were then joined by the Seattle chorus for the second half of the program, when they presented Naked Man.

The Chorus then flew on to Los Angeles where they performed for two nights at the historic Art Deco Alex Theatre in Glendale. Besides New York, the choruses from Los Angeles and San Francisco were also on the program. The program for the evening featured San Francisco performing their Gershwin program, New York doing songs from their pride concert, and Los Angeles giving a tribute to Disney music, complete with puppets for their Under the Sea number. For the finale, all three choruses joined on stage for a moving “Circle of Life” from Elton John’s Lion King.

1997-98

18th Season Marks End of Era

t had been announced that the eighteenth season of the Chorus would be the final season for Artistic Director Gary Miller. Gary had decided that it was time to move on and turn over the Chorus to someone new. A search had been instituted, and a new music director would be announced later in the season.

But first the Chorus set about making music. Their first performance of the season was again at a street fair, this year it was the Greenwich Village Street Fair on September 14. The Chorus sang a few of its standard songs for the public and passed out information about the upcoming season. On October 7, 1997, the Chorus would take part in the National AIDS Memorial service, Song Dazzled by Light: Songs of Remembrance Healing and Hope held at the Cathedral of St. John the Divine. The Chorus performed Mark Riese’s arrangement of Love Lives On. Also presented were two numbers from Naked Man: “If and When” and “Never Ever.” Acclaimed a cappella group Chanticleer was also on the program for this remembrance service. On November 5, Senior Action in a Gay Environment (SAGE) presented its Lifetime Achievement Awards in a program held at Merkin Concert Hall. Among the four honorees was the Chorus’ Music Director, Gary Miller.

The entertainment for the program was provided by comedienne Marga Gomez, nightclub star Mimi Hines, and, of course, the New York City Gay Men’s Chorus.

National AIDS Memorial (Dazzled by Light) Cathedral of St. John the Divine

1997

SEPT. 14 Greenwich Village Street Fair

OCT. 7

NOV. 5

Holiday Concert— New Jersey Buddies Benefit NJPAC–Newark DEC. 13

SAGE Lifetime Achievement Awards Merkin Hall

DEC. 18-19

That December, the Chorus traveled across the Hudson to Newark to perform at the New Jersey Performing Arts Center for a holiday benefit concert for New Jersey Buddies. This program gave

Sibelius Kullervo— Brooklyn Philharmonic BAM

1998

Near to Us Once More (Holly Near) Carnegie Hall

MAR. 20-21

MAR. 29 The Man I Love (George Gershwin) Avery Fisher Hall

the Chorus a chance to try out their program for the upcoming concert at Carnegie Hall. Traditional carols and contemporary holiday favorites were among the songs presented. The concert was held on December 13. Just five days later, the Chorus was at Carnegie Hall for two nights on December 18 and 19. The special guest for this concert was Holly Near in a return performance. Near to Us Once More opened with a setting of three antiphonal carols followed by selections from the Chamber Choir under Barry Oliver’s direction. The Chorus then presented Song of the Solstice, which was co-written by the evening’s guest, Holly Near. There was a number from Uptown Express and then Miss Near appeared on stage for a few songs. The program included something for everyone with selections for Chanukah and Kwanzaa, spirituals, lighter secular holiday songs, and a humorous rendering of Handel’s Hallelujah Chorus presented by silent monks holding their lyrics on cue cards. The evening saw the New York premiere of David Conte’s Christmas Intrada and the world premiere of Joseph Jennings’ Harambee (A Celebration of Kwanzaa). Holly Near returned to the stage for the finale, What A Night. In the new year, the Chorus was preparing for two concerts: their usual spring concert at Lincoln Center and a special performance at Brooklyn Academy of Music. The BAM performance would happen on March 20 and 21. The Chorus joined the Brooklyn Philharmonic under conductor Robert Spano in an entire Sibelius program. In addition to the Chorus, violinist Joshua Bell was

With a Song in Our Heart (Benefit) Supper Club MAY 7

MAY Chamber Choir St. Luke in the Fields

also on the program to perform Violin Concerto in D minor, Op. 47. After intermission, the Chorus and two renowned vocal soloists joined the orchestra in a performance of the composer’s Kullervo, an evocative work inspired by—and incorporating verses from—the Finnish national epic, the Kalevala. The Chorus spent additional rehearsals practicing Finnish diction to sing in the original language. Then at Avery Fisher Hall, the Chorus performed on Sunday, March 29. The Man I Love was a tribute to composer George Gershwin on his hundredth birthday. Once again the Chorus would be joined by celebrities for the evening concert. Gershwin songs were presented in whole or part from 1920 (George White’s Scandals of 1920) through 1938 (The Goldwyn Follies). Many standards were presented, including Fascinating Rhythm, The Man I Love, ‘S Wonderful, I Got Rhythm, and Love Walked In. There were songs from known shows of Lady Be Good, Strike Up the Band, Funny Face, Girl Crazy, and Porgy and Bess. Guests for the evening included Debbie Gravitte, Mimi Hines, Emily Loesser, Jo Sullivan Loesser, Karen Mason, Alice Ripley, Emily Skinner, and KT Sullivan. Also on hand was Thos Shipley, and replacing an ill Audra McDonald, Indira

Seasons of Love (Uptown Express) Don’t Tell Mama MAY 13-14

Look to the Rainbow Carnegie Hall JUNE 20

JUNE 22

Evening with NYCGMC East Hampton High School

JUNE 27

Mahajan made an appearance, to great acclaim for her rendition of Summertime. Pianist virtuoso John Bayliss gave renditions of Rhapsody in Blue and Strike Up the Band, his own rhapsodic Gershwin arrangement with choral accompaniment. He also provided a crowd pleaser with his improvisations, in which he would accept a Gershwin tune from the audience and play it in the style of the composer of their choice, such was the fun of I’ve Got Rhythm as Chopin might have handled it. It was a fun night and a well-deserved tribute to one of America’s greatest composers. On May 7, 1998, a special evening benefit was held at the Supper Club on West 47 Street. The evening, With a Song in Our Heart, was a tribute to Music Director Gary Miller, who would retire at

the end of the season. The evening included a sit down dinner, a silent auction, entertainment, and plenty of

Chorus in Cabaret Cherry Grove Arts Project JULY 18

Recording—Look to the Rainbow Clinton Recording Studios (also April 4)

JULY-AUG. Europe III with SMC— Barcelona, Paris, Amsterdam, London

salutes and roasts of the esteemed director. Columnist Liz Smith hosted the evening, and entertainment was provided by Lee Roy Reams, Uptown Express, and the legendary Barbara Cook. A proclamation was presented by City Councilman Thomas Duane on behalf of the New York City Council declaring May 7, 1998, to be Maestro Miller Day throughout the city of New York. It was a truly fitting evening celebrating Gary’s retirement after eighteen years at the helm of the Chorus.

A week later, on May 13 and 14, Uptown Express presented three cabaret performances at Don’t Tell Mama. The evening concert on the 13th saw Debbie Gravitte as their guest. On the two performances on the 14th, the guests were Karen Mason for the matinee and Sally Mayes at the evening show. Again in June, the Chorus traveled out of town to perform their pride performance prior to Carnegie Hall. This year, they traveled to East Hampton High School on Saturday, June 20. The East End Arts Council presented the evening of music. Two days later on June 22, the Chorus presented Look to the Rainbow, a collection of favorite songs of Maestro Gary Miller during his eighteen years as Music Director. For this occasion, he invited some special guests to celebrate with him. Joining the Chorus on stage was Chorus favorite, Debbie Gravitte, who has performed more times with the Chorus than any other guest artist. Roberta Peters made a return appearance as did Ann Hampton Callaway and the

gay gospel choir Lavender Light. The Chorus opened the program with the 1983 commissioned work by John David Earnest, Only in the Dream, followed by Ned Rorem’s Love Alone, commissioned in 1989. Chamber Choir and Uptown Express presented selections before Debbie Gravitte took the stage for her Blues in the Night with the Chorus. There were then choral selections, including Dean X Johnson’s Free to Love, commissioned in 1993, a selection from Flashpoint/Stonewall commissioned in 1994, and Barry Oliver’s arrangement of John Denver’s All This Joy. Roberta Peters then offered three

songs from her repertoire. Following this was the title song of the evening, Look to the Rainbow, and the first half of the concert ended with the world premiere of Robert Seeley’s In This Heart of Mine, commissioned with the assistance of the Dick Cable Fund. The second half began with Stephen Sondheim’s Behold the Hills of Tomorrow, arranged by David Maddux, followed by a salute to Patsy Cline, with a unique novelty number. Roberta Peters returned for a salute to Fred Astaire, and the Chorus presented a classic Mark Riese medley of Duke Ellington songs. Ann Hampton Callaway then graced the stage

ÂŠNan Melville

The Chorus performing Look to the Rainbow, a collection of favorite songs of Maestro Gary Miller.

The evening ended with a joyous and tearful Maestro Miller center stage for his final bow

with an improvisation set where she made up a song on the spot with thoughts from the audience. This was followed by her own composition for the Chorus of Sing Out! Lavender Light Gospel Choir then joined the Chorus on stage for a powerful We Shall Overcome. The evening ended with a world premiere from David Friedman, We Are Proud, commissioned in memory of Chorus member Peter Monette. Gary then prepared the Chorus for one more recording, Look to the Rainbow, and a final European tour in late July with the Seattle Menâ&#x20AC;&#x2122;s Chorus as the two choruses traveled to the Gay Games in Amsterdam.

98 tour

NYCGMC Tours Europe with SMC

fter more than a year of planning, the Third European Tour saw the New York City Gay Men’s Chorus travel with the Seattle Men’s Chorus for Gary Miller’s farewell as Artistic Director. Originally, this tour was planned to go to Russia and Scandinavia then to Greece, and finally Amsterdam. Instead it ended up being a four-city tour with performances in three of them.

The Chorus departed from JFK airport on Tuesday evening, July 28, on British Airways for Barcelona, via London. This take-off too was slightly delayed, but unlike previous tours, the Chorus was en route only 45 minutes after scheduled departure. The Chorus landed at Heathrow and had a few hours layover before departing on their connecting flight to Barcelona. Just a few hours later, the Chorus arrived in this lovely Spanish city on the Mediterranean. The New York group arrived in Barcelona first, and the Seattle men arrived on two different flights later in the day. This gave the Chorus a chance to check into the hotel, do some early sightseeing, and get their bearings for the local surroundings. There was a group dinner at

the hotel for both choruses on this first night, Wednesday, July 29. After the dinner, several members went off to the local television station to do a promo for the upcoming concert. With a full day of travel behind them, most everyone was ready for a good night’s sleep.

Games), and around the lovely tree-lined streets of this vast park. The ride continued through the city and eventually arrived at Gaudi’s architectural masterpiece, his famous church Sagrada Familia. After the stop to see this wonderful structure, they all headed back to

In Barcelona On Thursday morning, the two choruses set out to see the city. The morning sightseeing bus took the group around the city and drove around the Circle at the Placa Espanya, past the Poble Espanyol, up Montjuic, past the Olympic Stadium (site of the 1992

the hotel to prepare for an afternoon rehearsal at the Palau de la Música Catalona, one of the city’s most impressive Art Nouveau performance venues. During the rehearsal, details of where to put each of the groups while the other sang and all the additional logistics that

Palau de la Música Catalona, one of Barcelona’s most impressive Art Nouveau performance venues

go into a concert plan were discussed. There was then a dinner break before the 10 PM concert. (Late evening events are not unusual in Spain.) The concert went off extremely well, and afterwards there was a small party arranged by one of the local couriers. Many attended but soon left to retire after an extremely full day.

shopping or a bite to eat. Because the day was at everyone’s leisure, most took the easy train ride back into the city when they were finished for the day. The concert originally scheduled for Saturday had been canceled, so the day was entirely free for the groups. Many ventured off into Barcelona to visit its many sites and museums. The evening too was one of leisure, as most took in the local club scene and experienced a bit of gay Barcelona. Sunday was another travel day. The morning was free to finish up any odds and ends, and then it was off on the busses as they traveled north to Figueras. Unlike the wonderful weather of Friday and Saturday, Sunday was a bit overcast, and as the busses approached the town of Figueras, a light rain had started to fall. This small town was home to the Salvador Dalí Museum, and there were loads of tourists here to see the sights. After a stop of a couple of hours for sightseeing and a bite to eat, the busses were once again on their route to Cerbère where the group would settle into their overnight train for the ride to Paris. The coaches made their way from Figueras, navigating the mountainous turns of the Costa Brava and finally arriving in Cerbère. Parking the coaches and traveling with all the luggage to the train platform was another journey in itself. The group had to navigate a flight of stairs and other obstacles before finally arriving on the train platform.

On Friday, July 31, the choruses were taken by coach to the seaside resort town of Sitges for a day in the sun and sea. The busses left Barcelona in the late morning and dropped off their passengers at the beach. The group The choruses easily found its took several way to the gay cars of the train beach and immediand thus were ately set up camp. It together for the Bu was a glorious day and r sd overnight ride to ri e nv ou the beach was crowded er G C Paris. As the train set off ra h a m a D a m ie n, nd with all sorts of people from for its destination, many became around Europe. Many stayed on at the festive, and the two choruses got to mingle beach for a swim in the Mediterranean, for a few hours more before sleep started while others ventured into Sitges for to take over. The train arrived at the Gare

Austerlitz in Paris around 7:30 AM on Monday, August 3. There were three busses waiting for the chorus’ arrival at the station. These busses would be with the groups for the balance of the tour. Once again, the luggage was loaded and they were off. Because it was early, the chorus members were treated to a tour of the City of Lights for the next few hours while the hotel was—hopefully—being prepared for their arrival. There was a stop at the Eiffel Tower, and many had a chance to sample some French pastries. Boarding the busses once again, they drove on to the north of the city where they arrived at the hotel. There was a breakfast waiting. Many weren’t able to get their rooms until the previous guests had checked out, so there was a delay. Not wanting to wait around, many took this opportunity to go explore the city while they had the chance. Some took the short walk to Montmartre and Sacre Coeur, and when they returned to the hotel, their rooms were ready. The evening was free, as was the entire stay in Paris. Because it was the middle of summer and most of the gay community was off in Amsterdam partaking of the Gay Games, it didn’t make much sense to plan a concert in this city. However, because many of the Seattle chorus members had never been here, it was a wonderful opportunity to just have a few days rest and to see the many sights that this city has to offer. These who had been here before visited their favorite sites and explored new ones. Dinner this first evening was at leisure, and most would group up to various venues around the city before returning for sleep. On August 4, there was another full day at leisure. Shopping and sightseeing were among the many adventures to be had this day. An early supper was had by many as they planned to take the evening boat ride on the Seine. Highlights of this trip were the appearance of the New York Chorus royalty—HRH Loopee

Gouda, while Seattle was split between Amersfoort and Gorinchem.

Chenille and Sir Don (Paul Maulucci and Don King). The two were a hit with the tourist crowd, who wanted to get a picture with the royals, and then the boat was off for a sunset cruise along the mighty Seine. Upon return, the Eiffel Tower was lit up, counting the days until the new millennium. After the ride, the groups got back on the busses for the return to the hotel and a final evening in Paris. The departure for Amsterdam was scheduled for 8 AM on Wednesday, August 5. Traffic was a mess, and things got delayed slightly before finally getting onto the roadway. The two Choruses took up three busses as they caravaned their way across the countryside towards the Belgian border. It was a long journey, but the coaches finally arrived in Amsterdam in the late afternoon. There was a stop by the Friendship Village of the Gay Games so that everyone could get their registrations for the Games, and then there were a couple of hours to see things before the busses took the groups out of the city to their various hotels. Because of the expectations of the Games having a large spectator audience and with so little space in Amsterdam, there was a restriction on hotel rooms when booking the tour. As a result, each group had to stay about 30-45 minutes outside the city. New York stayed in

NYCGMC finally arrived at their hotel in Gouda about 9 PM and had a dinner waiting for them. Rooms were dispensed, and many were exhausted from the long day of travel. However, there were many who were also disappointed that they were so far from the center of the action and that this was a major inconvenience. As a result, many opted to take available hotel rooms in the city and be closer to both the Games and all the gay nightlife that wonderful Amsterdam has to offer. On Thursday, August 6, there was a morning rehearsal at Oude Kerke for the closing ceremonies. As the choruses were part of the Games chorus, they arrived to take part in the rehearsal of the song for the ceremonies. The music had been passed out before the tour started, and the catchy anthem featured a local celebrity as soloist. The rehearsal lasted a couple of hours and then there was a lunch break. The Seattle chorus was then scheduled to perform in the Nieuwmarkt as part of the open-air concert series that was part of the Games. Then, both groups boarded the busses as they headed off to Martin Luther King Park where they participated in De Parade. This carnival atmosphere was another outdoor venue for the groups to show their performance skills before a different audience. Then it was back to the city, where New York was scheduled to perform their open-air concert at Dam Square. The balance of the evening was free until midnight when the coaches took the choruses to their respective hotels. Friday was concert day, and the groups reported to the Concertgebouw for a stage check in the late morning. The rehearsal was basically a check as to where everyone would enter, stand, etc. After the rehearsal, there was a break of Rodgee Cao with Gay Games sign

several hours before the concert that evening. Many went off to the Friendship Village to pick up their medals (everyone gets a medal at the Gay Games, for participation). Others went off to visit the nearby museums and shops. The groups reconvened back at the Concertgebouw for the concert at 5:30 PM. After the concert, there was a champagne reception during which the choruses were informed of an invitation by the Consul General for an official welcome at the American Embassy just across the way. The balance of the evening, the Chorus was free until the coaches departed at midnight once again for the hotels. The last full day in Amsterdam was filled with events. The first appearance was at the ArenA for a rehearsal of the closing ceremony hymn. This was scheduled for an hour or so. Then the busses picked up the group to take into the city, where they rehearsed for the afternoon concert at the Beurs van Berlage, the same hall New York performed at in 1991. The

Official photo in front of St. Paul’s Cathedral, London concert was well attended, and the audience was extremely enthusiastic. Each chorus had its own set of songs, and then there were several that the two performed together. New York performed several of its commissioned works, including Ned Rorem’s Love Alone (1988), Robert Seeley’s In This Heart of Mine (1998), and specifically for this year, David Friedman’s We Are Proud. These were complemented by Victor Young’s standard When I Fall In Love and a medley of tunes from the group The Nylons. The concert opened with both choruses singing Robert Seeley’s O Jubilant Day, which had been commissioned by both choruses especially for this tour. Seattle offered a very American program with Aaron Copland folk songs, a medley of Rodgers and Hammerstein classics, and an African-American spiritual. After the concert, the two choruses boarded the busses for the ArenA and the closing ceremonies. These lasted into the night and then were followed by the great party to bring the Gay Games to their conclusion. The bus left for Gouda a bit early, as this was the last night.

All the busses arrived in central Amsterdam from their various hotel destinations for the trek to Calais, finally leaving at 11 AM. A little over five hours later, the busses were waiting in line for their spot aboard Le Shuttle, the shuttle train that departs under the English Channel. Late in the afternoon, the groups arrived in Folkestone, from where they traveled to London, arriving at the hotel about 7:30 PM. The group checked in, and then many went out for dinner at various spots or took in the “horror” tour arranged by Chorus member Mark Schall. Monday, August 10, was the last day in London and the last day of the tour before departure on Tuesday. That morning at 9 AM, there was a guided sightseeing tour that took the group around the city to visit the various highlights. Stopping at St. Paul’s Cathedral, the two groups posed for their official photograph at the end of an exhausting, but memory-filled tour. There was an independent lunch before an afternoon rehearsal at Westminster Central Hall, opposite Westminster Abbey. After the rehearsal, there was a break before the

evening concert scheduled at 7:30 PM. The concert went over well and there were even some New Yorkers in the audience who had been visiting London. After the concert, the choruses returned to the hotel for a celebratory farewell dinner. This was the last time they would all be together, and it was the farewell appearance of Gary Miller as Artistic Director of the New York City Gay Men’s Chorus; so it was quite an emotional evening. On Tuesday, the two choruses set about their departures, as they were leaving at different times from different terminals. Several members of both groups had opted to stay on in London for a few more days and enjoy the city. When New York arrived home after a wonderful British Airways flight, members of the Chorus who had not been able to go on the tour greeted them at the gate. It was a wonderful welcome home, and a fresh start of a new season.

Gary Miller—Artistic Director

hen Gary Miller joined a fledgling group of seventeen singers in 1980 as one of three first tenors, he was looking for a way to meet other gay men. But as luck and circumstance would have it, he was the only singer who had any conducting experience, so after three weeks he was called upon to take up the baton and lead the New York City Gay Men’s Chorus.

Looking back, it’s clear that Gary possessed the perfect qualifications necessary to shape the NYCGMC into the outstanding musical organization it is today: eleven years as a high school choral conductor; earning a master of music degree at the University of Michigan, one of the top music schools in the country for choral conducting, where he studied with both Thomas Hilbish and Maynard Klein; and his newlyacquired position as program representative at Columbia Artists Management, Inc., where he was arranging repertoire for some of the world’s leading concert artists.

Back then, Gary and the other founding members of the NYCGMC, following the lead of the San Francisco Gay Men’s Chorus, formed in 1979, wanted nothing more than to make music for their own enjoyment and to create a positive image of gays in the wake of the hedonistic “Me Decade” of the 1970’s. The NYCGMC, with Gary as Music Director, was an immediate success at its December 1980 Cooper Union debut holiday concert, followed by a spring “pops” concert, and a June 1981 Gay Pride Week debut concert at Lincoln Center’s Alice Tully Hall, built around a stirring performance with orchestra, of Randall Thompson’s The Testament of Freedom. After Gary programmed and conducted the NYCGMC in its Carnegie Hall debut in December 1981, The New York Times proclaimed the concert was performed “with dignity and style,” and thus the pattern was set. Assessing NYCGMC’s great potential early on, for 18 years Gary imaginatively programmed a wide variety of critically acclaimed holiday, pops, classical and gay pride concerts, including 26 concerts at Lincoln Center’s Alice Tully and Avery Fisher Halls, and an astounding 42 concerts at the musical Mecca, Carnegie Hall. These varied presentations have included all-star salutes to Leonard Bernstein, Stephen Sondheim, Cole Porter, Rodgers and Hart, Jerry Herman, and George Gershwin; performances by such opera superstars as Marilyn Horne, Frederica von Stade, Roberta Peters, Jerry Hadley, Harolyn Blackwell, Arthur Woodley and Faith Esham; and evenings of Hollywood, Broadway and pop music with Carol Channing, Lee Roy Reams, Betty Buckley, Laurie Beechman, Stockard Channing, Elaine Stritch, Faith

Prince, Larry Kert, Dorothy Loudon, B. D. Wong, Eartha Kitt, Julie Wilson, Maureen McGovern, Margaret Whiting, Ann Hampton Callaway, Debbie Gravitte, and pop icon Cyndi Lauper, among many others. Hosts for these events have included Terrence McNally, Liz Smith, Betty Comden and Adolph Green, Colleen Dewhurst, Kaye Ballard, Ian McKellan, and Vito Russo. With the onset of the AIDS crisis, Gary also programmed extended works that spoke specifically of the gay community to wider audiences, including Of Rage and Remembrance, Hidden Legacies, Flashpoint/Stonewall, Naked Man, and Sixty Years with Bruhs and Gean. Gary was also instrumental in bringing to the stages of Lincoln Center and Carnegie Hall joint concerts with the Windy City Gay Chorus (Chicago), Gay Men’s Chorus of Washington, D. C., Seattle Men’s Chorus, Boston Gay Men’s Chorus, Denver Women’s Chorus, Gay Men’s Chorus of Los Angeles; Noot aan de Man, the gay men’s chorus of Amsterdam; and Schola Cantorosa, the gay men’s chorus of Hamburg, plus New York City’s own Lavender Light Gospel Choir and Stonewall Chorale.

Beginning with Conrad Susa’s Chanticleer’s Carol, in 1981, Gary also spearheaded an ambitious commissioning program to establish the NYCGMC in the musical community as a group committed to advancing the choral art form. In eighteen years, the NYCGMC has sung more than 30 specially-commissioned works by, among others, Ned Rorem, John Corigliano, William Bolcom, Libby Larsen, Samuel Adler, Gregg Smith, Ricky Ian Gordon, Robert Seeley, Tom Wilson Weinberg, David Conte, Mark Riese, Dean X Johnson and John David Earnest. In addition, Gary has programmed the winners of two NYCGMC-sponsored choral composition competitions. With the development of a gay choral network, Gary quickly rose to a leadership position as founding board member, and then two-term President of GALA, the Gay and Lesbian Association of Choruses. In September, 1983, he served as Music Director of “Come Out and Sing Together,” the organization’s inaugural festival, which brought eleven member choruses from around the country to Lincoln Center for four nights of concerts at Alice Tully and Avery Fisher Halls. Deeply involved with the planning for subsequent GALA festivals, he has led the NYCGMC in their appearances at choral conclaves held in Minneapolis, Seattle, Denver, and lastly in Tampa, where thousands of singers in 92 choruses from around the world performed in eight days and nights of concerts. In 1984 Gary successfully led the fight for gay and lesbian choruses to be recognized by the American Choral Directors Association using their official names, which include the words “lesbian” and/or “gay” in their titles, when appearing at ACDA presentations. The following year Gary led a successful boycott of C. F. Peters Music Corp., after they published

Barbara Cook serenades Gary during his retirement Gala evening

Strauss’ opera, Friedenstag.

a new work commissioned by the NYCGMC, deliberately eliminating the name of the chorus from the composer’s dedication. In September of 1998, Gary, having already been honored as the first recipient of the prestigious GALA Choruses Legacy Award in recognition of his lifetime service, delivered the keynote address at the GALA Leadership Conference and Singers Weekend in Dallas, where he challenged the GALA leadership to assert its political and cultural influence as it moved toward the new millennium. In addition to planning NYCGMC’s annual concert series and preparing its 185 voices for their performances during thousands of hours of rehearsals for those events, Gary successfully negotiated, programmed, prepared and conducted the NYCGMC in four recordings on the Pro Arte and Angel labels, the firstever recording contracts secured by a gay chorus. A fifth recording, entitled

Look to the Rainbow, was released in the summer of 1998. In 1988 and 1991 Gary led the NYCGMC in jubilant tours of Europe, featuring 15 performances before emotional and wildly enthusiastic audiences in Oxford, London, Amsterdam, Cologne, Berlin, Potsdam, Munich and Paris. In the summer of 1998, Gary again led the NYCGMC in it’s tour to Barcelona, Amsterdam, Paris and London, where he conducted his last complete performance with the NYCGMC. As the reputation of the NYCGMC under Gary’s artistic leadership spread, he prepared the NYCGMC for its guest appearances with the Mostly Mozart Festival, American Symphony, and Brooklyn Philharmonic Orchestras, the Collegiate Chorale, and the Mark Morris Dance Group, in rarely performed works for men’s chorus, including Richard Strauss’ Le bourgeois gentilhomme; Marc Blitzstein’s Airborne Symphony; Sibelius’ Kullervo; and the New York premiere of

Recognized regionally and nationally as a choral leader, Gary has received numerous accolades and honors. He was honored by SAGE (Senior Action in a Gay Environment), with their 1997 Lifetime Achievement Award. Gary served as music director for the Gay Games Unity ‘94 Chorus, conducting an ensemble of singers from around the world in both the opening and closing ceremonies with Barbara Cook, and at Lincoln Center’s Damrosch Park, with Holly Near. Gary has also been guest conductor for both the New York Choral Society and West Village Summer Sings, for the Lesbian/Gay Chorus of San Francisco and for the Men’s Festival Chorus at the 1992 GALA Choruses Festival in Denver. Keenly aware of NYCGMC’s role as an all-volunteer dues-paying community chorus, Gary has made sure that the Chorus voices were heard repeatedly and without fee in benefit presentations for AIDS organizations both locally and abroad, as well as at free concerts, street fairs, national marches, rallies and community events held at such varied venues as The Mall in Washington, D. C., The Metropolitan Opera House, Madison Square Garden, The World Financial Center, New Jersey Performing

Gary receiving Proclamation from City Council member Thomas Duane

by both speaking of each person’s unique contribution, and having the chorus sing in remembrance during rehearsal and at a memorial service or celebration.

Daniel Starr and Gary Miller

Arts Center, Hunter College, Cathedral Church of St. John the Divine, Congragation Beth Simchat Torah, and even Grand Central Station. Then too, as the AIDS crisis has claimed so many of NYCGMC’s own members, Gary, in a mark of true leadership, has time and again courageously bolstered spirits of members, families and friends

In 1984, at a Central Park Metropolitan Opera Concert lawn party hosted by Chorus member Neil Bickford, Gary met the man that soon became the love of his life, Daniel Starr. Today, Gary, who has resumed his teaching career at the Ethical Culture School, and Daniel share a love of music, theatre, gardening and historical sites at their homes on the Upper West Side and in Columbia County. Daniel became a welcome addition to the NYCGMC family, keeping company with Gary at concert parties, retreat weekends, and on tour.

accomplishments already recounted, for 18 years Gary led the NYCGMC marching and parading in song down Fifth Avenue each June on Gay Pride Sunday, in their single grandest annual appearance, performing for the multitudes who in turn cheer what the New York City Gay Men’s Chorus represents, as realized by the visionary leadership of their beloved Maestro. ALL THE THINGS YOU ARE By Michael Goldstein (Reprinted, in part, from Gary’s retirement program, May 1998) Revised and Edited by Jim Vivyan.

In addition to all the extraordinary

Charter Member Reminiscence by Manual Ovando

horus Memories! How does one write about twenty-five memorable, even historic, years as an active member of such a transformative, pioneering, and enabling organization as the Chorus. Yes, it became an integral part of my affirming dream; to sing (with heart and mind) for a better, more just world.

Beginnings: In our 1979-1980 charter member beginnings as two choruses, most of us joined as energized dreamers, part of the larger sexual, women’s, black liberation and Stonewall revolutions of the late 60s. My good friend Ed Chorley and I heard of a new gay men’s chorus singing on December 19, 1980, at the Great Hall of historic Cooper Union. We were most intrigued and excited. It turned out to be the newly formed New York City Gay Men’s Chorus and their Christmas Concert was their official “concert debut” under a very young looking music director, Gary Miller. In the program, Tom Bradley, Chairman of the newly formed Board of Directors, proclaimed; “The existence of the Gay Men’s Chorus is more than just an artistic and social statement. Our appearance at the [Ramrod bar massacre] memorial service for the November 19th tragedy and our upcoming performance for the elderly members of SAGE are just two examples of what we hope to do more of in the future.” Oh the Music: By intermission, Ed and I, both singing Episcopalians, turned simultaneously to one another, and said, “How can we join? How can we audition for this?” That night’s repertoire ranged from Britten’s A Ceremony of Carols to P.D.Q. Bach’s Throw the Yule Log On, Uncle John. The Chorus had captured our hearts and dreams. In our January 8, 1981, audition, we sang O Come All Ye Faithful, and both of us had become members. By March 22, 1981, in our first concert— This Time Broadway at Bond’s International Casino on West 45th Street—we were singing such stirring songs as We Kiss in a Shadow, Over the Rainbow, Stouthearted Men, Blow, Gabriel, Blow, Love is Sweeping the Country, and All the Things You Are. And in June, 1981, at Alice Tully Hall, we were singing Grieg’s Brothers, Sing On!, Persichetti’s Song of Peace, and possibly my favorite chorus song, Randall Thompson’s incredible The Testament of Freedom. I was already in heaven, fulfilling my “we sing for a better world” dreams. We had not yet even sung our first Carnegie Hall concert …which we did on December 8, 1981. Meanwhile, Gary Miller, our pioneering Music Director, was leading us in numerous community outreach concerts. These included the Fire Island Pines Conservation Society in August 1981, the rebuilding of the Church of St. Luke in the Fields in 1982, a Gay Rodeo AIDS benefit at Madison Square

Garden in 1983, the American Choral Director’s Association convention in Baltimore in 1984, the Best of the Best AIDS benefit with Mayor Edward I. Koch, Lily Tomlin, Carol Burnett, Mikhail Baryshnikov and others in 1985. On October 11, 1987, we sang at the Main Stage Rally of the National March on Washington for Lesbian and Gay Rights. We even sang for Mayor David Dinkins’ 1990 Inaugural at City Hall. Some Memorable Moments: May 30, 1992 – A most memorable evening for me, when about forty of us performed for the taping of the first episode of the new gay PBS program, In the Life. Many of us performed with the Unity 94 Chorus during the parade of athletes at the Lawrence Wien Stadium of Columbia University for the June 24, 1994 Gay Games. Another most significant performance was when the American Group Psychotherapy Association invited the Chorus to perform at their annual luncheon at the Waldorf Astoria! This group (along with the American Psychological Association in 1973 and 1975) changed our homosexual listing as a mental illness to one of “sexual orientation,” an historic cultural sea change. We sang such satiric songs as You Could Drive a Person Crazy and Losing My Mind which they audibly loved. From that 1973/1975 date, we could no longer be dismissed as merely mentally sick, only “different.” We became recognized as a voting block; Will and Grace celebrated our “differentness.” And, oh yes, let us not forget our December 1999 Rockefeller Center concert at 4:15 AM in 15°-20° weather for an NBC Today show of Christmas music. Lastly, our June 9, 2001 concert in memory of Bayard Rustin for the Festival of Arts at Saint Paul’s United Methodist Church in South Nyack, New York, where I graduated from college in 1968. It was 33 years later in a very different, but recognizable, South Nyack. It was an emotionally poignant and memorable concert for me. I thanked our Lord. Through most of Gary Miller’s 19 years, and the subsequent three years of Barry Oliver, my dear and generous partner, Albert Steven Dula, was an active and thoughtful administrative assistant who brought terry cloth towels to concert nights. Steven loved the Chorus “family”, pride parades, GALA festivals, and tours. Sadly, Steven passed away December 18, 2002. Although the above is incomplete, I hope it is suggestive of the transformative energies our Chorus (and its incredible diversity of music) can unleash. So Brothers, give voice to your dreams, and be transformed!

Charter Member Reminiscence by Gary Armstrong

OW!! I can’t believe it’s been 25 years…all passed too fast. During these 25 years, I have participated in all these concerts, missing only one concert. My first concert was at Bond’s on Times Square. What an exciting evening with friends and audience sitting on the floor below the stage and loving every minute—as much as the members of the Chorus were having. I so much enjoy the singing and friendship everyone has given to me.

These 25 years have been outstanding and have been a major influence on my life in several ways. One of my first NYC lovers joined me in the Chorus and worked in a administrative function, he was Phil Butler. He was instrumental in the design of several of the concert posters during those first few years. The big highlight with this Chorus has been the love of my life, another Chorus Bass section singer…. Glenn Peterson. We have known each other for 16, 17 years. He made my heart race, every time I saw him. I would wait until he found his seat at rehearsal and then move in next to him. We did become very good friends and have been together for sometime, since 1990. Besides Glenn coming into my life, we have since adopted our two children. Dakota, born 6/14/95, who has been with us since she was 8 days old. I’ll never forget that time in the Chorus. They organized a surprise Baby Shower, yes I said a Baby Shower, at a rehearsal…big cake and baby presents from all. Most of the members had never bought baby gifts before or since, but we needed and appreciated them all. Do you remember? Then there is our wonderful son, Matt, with an assigned birth date of 6/14/97 (same date as Dakota) by the orphanage in Cambodia, joined our family when he was 6 months old. The times have changed, singing caliber much improved from out first rehearsal days. I’ve gone through three extra special directors and friends: Gary Miller, with 18 year of service, continues to be a close friend. All three directors have shared their expertise with so many of us, I feel very lucky to have had the opportunity to learn and improve my singing ability. Our rehearsal locations have changed: CAMI Hall, Greenwich House, 13th Street Gay and Lesbian Center, and many, many other single rehearsal spaces, each an improvement over the last. I must say that Dakota and Matt are very close to the Chorus and its members, spending many hours at rehearsals with us. One of their most favorite times has been the holiday weekend retreats. This is only touching the surface of what NYCGMC means to me.

1998-99

New Conductor Takes Charge for 19th Season

arlier in the year, the Board of the Chorus had announced their selection for new Music Director to replace Gary Miller due to his retirement. That person was the Chorus accompanist, Barry Oliver. Barry had spent the summer in accompanist mode. He had played for a benefit performance of Chorus members at the Arts Project of Cherry Grove on July 18 and then, at the end of July, toured with the Chorus on their European tour.

As Barry started rehearsals for the new

season, a momentous event occurred. In October 1998, student Matthew Shepard was beaten and left tied to a fence in the open fields of Wyoming. He later died, and the New York gay community held a massive candlelight vigil to honor his memory and create awareness for hate crimes. Members of the Chorus took part in this event, which started at the Plaza Hotel and proceeded down Fifth Avenue to Madison Square Park at 23rd Street. As part of the continuing outreach, Uptown Express was a performance

Beauty and Beyond (AIDS Benefit) (Uptown Express) Webster Hall (Beauty Cares)

1988

OCT. 12

OCT. 26

Matthew Shepard Candlelight Vigil Fifth Avenue

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guest on October 26 at Beauty and Beyond, an AIDS benefit held at Webster Hall, presented by Beauty Cares, the salon industry organization to support efforts to raise AIDS awareness. The holiday season was filled with outreach performances. The first concert was held on Thursday, December 17, at Hostos Center for the Arts and Culture in the Bronx. The Bronx HIV Community Consortium presented the concert, which was in turn sponsored by APP Specialty Pharmacy.

Holiday Concert (AIDS Benefit) Hostos Center, Bronx DEC. 12 Melissa Rivers Wedding (Uptown Express) Plaza Hotel

DEC. 17

DEC. 19 New Jersey Buddies Benefit (Joy Behar) John Harms Center, Englewood, NJ

The opening was Sing We Merry by Samuel B. Lancaster, which had been commissioned by the Denver Gay Men’s Chorus, where Barry was previously accompanist and conductor. A new commissioned work was then presented with John Kuzma’s Unto Us a Child Is Born. This was followed by Kirby Shaw’s spiritual Run to the Manger. The “Light” segment included a Bach piece and Samuel Adler’s Chanukah cycle, Praise Thy Saving Power, commissioned by the Chorus in 1985. There was another world premiere, commissioned by the Chorus: David Hurd’s There Is a Budding Morrow in Midnight. Also included were Gordon Lightfoot’s Song for a Winter’s Night and a new arrangement of O Holy Night by Joseph Joubert and Buryl Red. Buryl Red also collaborated with Rick Baitz on a Zulu folksong, Glory, Glory Hallelujah.

Two days later, on Saturday, December 19, the Chorus took the same program to Englewood, New Jersey, in performance for the New Jersey Buddies and Voices for Life. Voices for Life is a volunteer alliance of New Jersey theatrical practitioners that produces events to benefit organizations with the mission of battling AIDS. New Jersey Buddies provides support and educational services

to persons living with and touched by HIV/AIDS. Comedienne Joy Behar was the special guest for this evening of holiday music. Seasons of the Heart was the holiday concert presented at Carnegie Hall on December 21. The evening was broken into different segments: Spirit, Light, Darkness, Love, Community and Joy.

Seasons of the Heart Carnegie Hall DEC. 21

“Love” opened the second half of the program, with Uptown Express presenting “Seasons of Love” from Rent. Light moments followed with Christmas on the Beach of Waikiki and All Alone Beneath the Mistletoe. Uptown Express presented two additional numbers, and the segment ended with an Appalachian carol. “Community” was represented by Scott Henderson’s You’re Home for the Holidays, Trente Morant’s Eya Ache, and the audience sing-along Home for the Holidays. And to end the evening with “Joy,” the Chorus sang the Spanish carol Esta Noche and Dean X Johnson’s Joyful and Triumphant. In the first week of January 1999, members of the Chorus were invited to participate in a film appearance at Carnegie Hall. The film was Fifty Violins starring Meryl Streep, Angela Bassett and Gloria

Common Ground (Sound Circle) Carnegie Hall

Swellegant Elegance Carnegie Hall

1999

FEB. 15 Valentine Vixens (Cabaret Benefit) Symphony Space

MAR. 15

MAY 14

JUNE 17

With A Song in Our Heart (Benefit) Hudson Theatre, NYC

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Estefan. This film turned out to be retitled Music of the Heart and was directed by Wes Craven. The scene filmed on this day was a recreation of the Fiddlefest concert held at Carnegie Hall on October 25, 1993.

On February 15, the Chorus presented another evening of music by celebrities as a benefit fund-raiser. Valentine Vixens was held at Symphony Space and hosted by comedienne Kate Clinton. Among the diverse roster of Broadway, cabaret, jazz and pop musicians on the evening’s entertainment were Marin Mazzie (Ragtime, Passion), Christiane Noll (Jekyll & Hyde, Miss Saigon), Kristin Chenoweth (You’re A Good Man, Charlie Brown), MAC award winner Naomi Kukoff, jazz singer Steve Kowalczyk, Jason Danieley (Candide), and some talented Chorus members.

Chenoweth delivered a rendition of My Heart Belongs to Daddy that was at once brassy and sweet, belted and legit. She then presented her solo I Get A Kick Out of You and joined the Chorus for a presentation of “Wunderbar” from Kiss Me, Kate, proving that bel canto and Broadway can co-exist. “Cole in Society” and “Cole in Love” sections followed and the first half ended with a reprise of Anything Goes. The second half began with “Cole’s Private Life” with Love for Sale, a collaboration between Kristin Chenoweth and host Harvey Fierstein. The tongue-incheek rendition ended with some competitive trading of cadenzas between the two stars. (She won!) “Cole by Night” and “Cole in Hollywood” included “I Hate Men” from Kiss Me, Kate, “True Love” from High Society, and “Be a Clown” which featured the clown group New York Goofs. The finale included another reprise of Anything Goes, You’re the Top and Blow, Gabriel, Blow. Harvey Fierstein, who delivered bits of Porter’s biography throughout the performance, hosted the entire evening. It was a fitting tribute to the great composer.

On May 14, the Chorus presented a gala benefit at the Hudson Theatre. Taking its cue from the previous year’s retirement benefit for Gary Miller, the Chorus presented an evening of dining and entertainment to honor two people and one institution who have helped provide a positive image of the gay community. The honorees at this year’s benefit were Joe Scialo of The Monster bar, playwright Terrence McNally, and the Lesbian and Gay Community Services Center with Richard Burns, Executive Director, on hand. There was a silent auction to help raise funds for the Chorus, and actress Marin Mazzie, who had performed on Broadway in Ragtime, provided entertainment. Accompanying her on the piano was Ragtime composer Stephen Flaherty. It was a truly fun and successful evening for the Chorus. For the June concert on June 17, Common Ground, the Chorus welcomed Sound Circle to the Carnegie Hall stage. Sound Circle is an a cappella women’s chorus from Boulder, Colorado, consisting of 22 members directed by Sue Coffee. The group sings music of all styles, emphasizing music by women and music that

For the Spring concert, Barry had selected the music of Cole Porter in a program that had originated with the Seattle Men’s Chorus. Swellegant Elegance was arranged by David Maddux and presented on March 15. Many of Cole Porter’s famous songs were included in this evening of music broken down into various aspects of his life—from the opening Anything Goes through his years at Yale and on to Broadway. Special guest artist Kristin (L to R) Terrence McNally, Richard Burns, Joe Scialo

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Elegy for Matthew, in memory of Matthew Shepard. This was followed by Conte’s “Dance” from Invocation and Dance to end the first half.

speaks to the sounds, rhythms and experiences of our own lives. The Chorus opened the concert with Robert Seeley’s O Jubilant Day and followed with his “We’re Not Lost, We’re Here” from Naked Man. Sound Circle then appeared to sing Something Inside So Strong and joined the Chorus for Will the Circle Be Unbroken. Uptown Express performed two numbers. Guest conductor Lynne McLaughlin led the Chorus in a new Larry Moore arrangement of Over the Rainbow. Ms. McLaughlin has a long history with GALA choruses. The Chorus then presented “The Parade” from Flashpoint/Stonewall and two pieces from David Conte. First was the world premiere of a new commission titled

Sound Circle opened the second half with a program that included many styles of music and rhythms. The Chamber Choir of the New York City Gay Men’s Chorus then presented the world premiere of a commissioned work, Jubilations, by noted composer Carol Matthews. They then joined Sound Circle for O Earth, O Earth, Return. The full Chorus then presented a new arrangement by former Chorus member Michael Gaylord of Chrissy Hinde’s I’ll Stand By You. Chorus member Jacques Pavlenyi commissioned this arrangement in memory of his partner, Chorus member Mark Fuschetti. The two groups combined for the finale, Paul Winter’s Common Ground as arranged by Larry Moore.

This concert was presented on the occasion of the 30th anniversary of the Stonewall Riots, and the Chorus dedicated the evening to the men and women of the Stonewall Veterans Association and Heritage of Pride. During Pride Week, the Chorus performed at the Pride Rally at Bryant Park on Sunday, June 19. The next day they performed at the annual Garden Party presented by the LGBT Community Center. The Chorus was also part of the Stonewall 30: A Sacred Celebration service on Saturday, June 26, at Cathedral of St. John the Divine. The service included readings and music from many prominent local groups and celebrities. Lavender Light Gospel Choir opened the service. Also participating were actors Jay Goede and Everett Quinton, composer Ricky Ian Gordon, poet Alfred Corn, Massachusetts Congressman, the Honorable Barney Frank, and the Lesbian and Gay Big Apple Corps Marching Band. The Chorus presented Elegy for Matthew. On July 5, the Chorus was the honoree of the evening Sea Tea. The floating gay tea dance included an evening with a light buffet, dancing, and a special show aboard the Queen of Hearts which left the pier at 7:30 and returned at 10 pm. It was a fun evening of fund-raising, and a lovely way to end the season.

This season sponsored in part by United Airlines

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1999-00 Major Commission Highlights 20th Season

s the new season began once again in September, there was much excitement about the creation of a new commission that would be the major focus of the June concert. Artistic Director Barry Oliver was busy working on the details with the composer and lyricist while preparing the Chorus for the holiday concert.

serenaded with Happy Birthday and received a huge cake to conclude the evening. The curtain came down, the audience left, and then President Bill Clinton appeared on stage with his wife to toast her and then serenade her on the saxophone with his version of My Funny Valentine. It was a highlight evening for members of the Chorus.

The Chorus received a great honor this fall when they were asked to be part of an event by the Broadway community honoring First Lady Hillary Rodham Clinton with a birthday celebration at the Ford Center. The event on October 25 was hosted by Rosie O’Donnell and featured many of Broadway’s top celebrities—including Lauren Bacall, Carolee Carmello, Barbara Cook, Kristin Chenoweth, Robert Cuccioli, Mia Farrow, Savion Glover, Joel Grey, Marcia Lewis, Judith Light, James Naughton, Bebe Neuwirth, Christine Pedi, Chita Rivera, Elaine Stritch, and Tom Wopat—as well as Senator Charles Schumer. The Chorus was featured at the end of the first act as they presented “Make Them Hear You” from Ragtime

Prior to the holiday concert this year, the Chorus returned to the Hostos Center for the Arts in the Bronx to again present a concert for the Bronx HIV Community Consortium. Presented on December 18, this concert featured highlights of the Carnegie concert and presented Uptown Express and the Chamber Choir, each with two songs. On Wednesday, December 22, the Chorus presented Comfort and Joy: Songs for a Midwinter’s Eve at Carnegie Hall. The evening began with the Chorus presenting a pair of antiphonal numbers, Larry Moore’s arrangement of Masters in This Hall and Franz Biebl’s Ave Maria. The Chamber Choir then presented two selections, one from the Appalachian Carols and an African-American spiritual, Ain’t That aRockin’. Next came one of the Chorus’ favorite

with then-current leading man Alton Fitzgerald White. With the entire cast of the evening on stage, Ms. Clinton was

Today Show Rockefeller Center

1999

OCT. 25 Broadway for Hillary Ford Center

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DEC. 11

Comfort and Joy Carnegie Hall DEC. 18

DEC. 22

Bronx Holiday Concert Hostos Center, Bronx

2000

FEB. 7 America: Music for Life & Liberty (ASO)(Vice President Al Gore) Avery Fisher Hall

was featured in Spike Jones Christmas Medley. A Kwanzaa piece from noted composer Bernice Johnson Reagan, Seven Principles, gave the audience an insight into this African-American celebration.

pieces, Mark Riese’s God Rest Ye Merry, Gentleman. The Chorus also presented Leonard Bernstein’s Chichester Psalms, with countertenor Eric Brenner. The guest for the evening, Indira Mahajan, was then presented to the audience. She first performed Trois Noels Français, three French carols arranged for soprano and men’s chorus by Larry Moore. To end the first half, she performed the everpopular Twelve Days of Christmas. To open the second half of the concert, the Chorus presented a comic piece from Eric Lane Barnes, Saint Nick at Night. This humorous collection of songs took familiar carols and placed them in television theme songs to great audience appeal. Uptown Express then presented their piece and

At the benefit gala the previous May, the Chorus auctioned off the right to conduct the Chorus at this concert. The winner of that auction, Robert O. Hawkins, Jr., had become a Chorus member that fall. He then took the stage to lead the Chorus in Gordon Lightfoot’s Song for a Winter’s Night. Ms. Mahajan then returned for a moving presentation of the classic O Holy Night and ended the evening with the traditional audience sing-along. This year, it was Larry Moore’s If We in Our Time. In the new year, the Chorus started to prepare for their spring concert as well as for another performance with the American Symphony Orchestra. The concert, America: Music of Life and Liberty was an evening benefit for seven local organizations including the New York City Gay and Lesbian Anti-Violence Project. The February 7th concert opened with Charles Ives’s Variations on “America” followed by George Gershwin’s Second Rhapsody for Piano and Orchestra, with Eric Lewis at the piano. The Chorus

Old Friends (Faith Esham, BD Wong) Carnegie Hall MAR. 27

ended the first half of the program presenting Randall Thompson’s The Testament of Freedom in its entirety. Opening the second half of the program was the Wayne Escofferey Big Band presentation of Duke Ellington’s Night Creature. Aaron Copland’s Lincoln Portrait was next presented, with Vice President Al Gore as guest narrator. The orchestra then presented a rousing Stars and Stripes Forever by John Philip Sousa, and the evening ended with the Chorus and Mr. Gore again on stage for The Battle Hymn of the Republic, a favorite of the Vice President.

For the spring concert during this 20th anniversary season, the Chorus presented Old Friends, an evening with some of their favorite guests from the past and some of their favorite songs from the previous years. The Chorus opened the March 27th concert with Stephen Sondheim’s Our Time, moved into the classical mode with a choral version of “Nessun Dorma” from Turandot, and then was joined by soprano and Honorary Chorus Member Faith Esham for her third appearance with the Chorus. She presented a song from The Merry Widow

Gay Century Songbook Gala Carnegie Hall JUNE 10 United in Voice, Inspired by Purpose Our Brothers Keeper, Troy, NY

JUNE 12

GALA VI San Jose, California JUNE 15-17

JULY 22-30

Recording—Gay Century Songbook St. Peters Church, Citicorp

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and then, with the Chorus, a new arrangement by James Bassi of I Could Have Danced All Night. Another Honorary Chorus Member, Gean Harwood, was then honored when the Chorus sang his song, Come and Take My Hand. He had written it with his partner, Bruhs Mero many years ago. Next, as a preview, the Chorus offered a movement from the new commissioned work that would be presented in June. This piece was The Cradle of Camp. The Chamber Choir then presented a new piece by Chorus member Tony Shenton, The Object of My Affection: For Dad. Alton Fitzgerald White from the cast of Ragtime then appeared on stage. He had performed with the Chorus at the Hillary Rodham Clinton celebration the previous fall. He performed his own composition Best of Times and then reprised his performance with the full Chorus of Make Them Hear You by Stephen Flaherty and Lynn Ahrens. The Chorus ended the first half

with the Mark Riese medley Blue Skies, complete with “choralography” by Brett Oberman. After intermission, the Chorus sang Jerry Herman’s Sunday Clothes with members of the Imperial Court of New York. Assistant Music Director, James Gedge, conducted this piece. Uptown Express then presented I Feel So Much Spring by William Finn. They then joined the Chorus for It’s All Right with Me. Next, KT Sullivan appeared with the Chorus

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for George Gershwin’s presented some numbers “Blah, Blah, Blah” from their spring concert from Delicious, and including Our Time, Nessum then did her best Dorma, Blue Skies, and Marlene Dietrich Come and Take My Hand. impression with They also did some songs Illusions/The Boys from their upcoming June in the Backroom. concert and excerpts from A special announcetheir new commissioned ment was made for work Gay Century Songbook. surprise guests The 20th Anniversary Gala Kristin Chenoweth, Benefit Concert was held Audra McDonald, on Monday evening, June Alan Cumming and 12, at Carnegie Hall. The B.D. Wong. B.D. focus of the evening was Wong was the only the newly commissioned one who appeared work, Gay Century Songbook on stage. This was a with lyrics by Michael Korie comic setup so B.D. and music by Larry Faith Esham with B.D. Wong could present the Grossman. Before the audiquartet from Follies, “You’re Gonna Love ence heard that piece, the Chorus preTomorrow,” singing all four parts. He sented some highlights from past seathen joined the Chorus to sing “Sailing” sons. The program opened with Dean X from William Finn’s A New Brain. B.D. Johnson’s Welcome! Sing, Be Merry!, which was originally commissioned by Windy City Gay Chorus in 1989. Then they presented Larry Moore’s exquisite arrangement of America the Beautiful. There was then a presentation of “The Color Out of Colorado” from When Pigs Fly. This was followed by Robert Seeley’s In This Heart of Mine, commissioned by the Chorus in 1998. Conductor Emeritus, Gary Miller, conducted these last three numbers.

Wong then brought back Faith Esham to join the Chorus for Leonard Bernstein’s “Make Our Garden Grow” from Candide. For an encore, all guest artists appeared on stage with the Chorus to sing Stephen Sondheim’s Old Friend. In June, the Chorus again returned upstate to present a concert for Our Brothers’ Keepers Foundation. This concert, on June 10, was presented at the Troy Savings Bank Music Hall in Troy, New York, outside Albany. The Chorus

Following the Chorus segment of the first act was the special appearance of guest celebrity Betty Buckley. Ms. Buckley had sung twice before with the Chorus and once again presented selections of music that mesmerized the audience. After Ms. Buckley performed, Daniel Doucette, Chair of the Board, presented the Charter Members of the Chorus, who had been singing since the first season. He then invited all former Chorus members who were in the audience to join the Chorus on stage for Kander and Ebb’s New York, New York. The audience was thrilled to see so many former members come to the stage, and mid-way

through the song, Barry turned over the baton to Gary Miller to complete the piece and the first act. After the break the Chorus presented the world premiere of Gay Century Songbook, a work commissioned by the Dick Cable Fund. This cantata was conceived as a look back over the previous century and follows the lives of gay men from 1901 to the present. Each historical section was complemented with modern

a young man, an immigrant, as he approached Lady Liberty. A look at lesbian relationships was presented in “We Have a Boston Marriage” with guest artists Joyce Castle and Theodora Middleton portraying the women. There was a disturbing segment recalling the New York State Sodomy Law and the process of “Naming Names.” Insights into “Turkish Baths.” and life on the road as a hobo followed. A grand display of the great drag balls of Harlem was presented with “Sister Hallie Lujah.” There was a look at male relationships with a moving “Lavender,” after which Joel Grey paired with actor John McMartin to present “Antiques,” a song about a couple that had been together for a long time. The Chorus then returned to contemporary times as they remembered its members who had passed on in a moving “The Old Hall.” A wrap-up of the century concluded the piece.

reflections called Windows by the composing team of Michael Korie and Larry Grossman. The Chorus opened with a contemporary view of “I Joined the Chorus,” expressing the different reasons that members became a part of the Chorus. Then the historical aspects took over, with guest celebrity Joel Grey acting as narrator for the evening. They followed

After the concert, there was a gala buffet dinner with silent auction at the prestigious Russian Tea Room next to Carnegie Hall. Many in the audience joined the Chorus as they celebrated twenty years of providing music to the community.

recorded two other works that, like Gay Century Songbook, were also commissioned by the Dick Cable Fund: Ricky Ian Gordon’s Angel Voices of Men with countertenor Eric Brenner and Robert Seeley’s In This Heart of Mine. The recording is on the DRG label and was available later in the year. After the long month of June, there was a few weeks rest before the Chorus took off for the West Coast to participate in GALA VI. This time the music festival was held in San Jose, and the Chorus presented excerpts from Gay Century

Songbook. At the ceremonies, there were presentations from celebrity guests Nell Carter, and Kristin Chenoweth, who wowed the audience with her rendition of Bernstein’s “Glitter and Be Gay” from Candide. Later that summer Barry Oliver announced that he would be leaving the Chorus as Music Director at the end of the 21st season. A search committee was formed and plans commenced to find a new artistic director by early 2001.

Later in the week, the Chorus assembled at St. Peter’s Church at Citicorp to record this piece. The Chorus also

This season sponsored in part by United Airlines, American Airlines, Stolichnaya Vodka, and Beaulieu Vineyards

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2000-01 Gay Choruses Come to New York for 21st Season

evening opened with the Bell Choir on stage to join the Chorus in a new commissioned piece from James Bassi called Ringing in the Season, which was written specifically for this concert. The Bell Choir also joined the Chorus for the traditional Carol of the Bells. The Chorus then presented Tschesnokoff’s Salvation is Created. The Bell Choir then presented two excerpts from Tchaikovsky’s The Nutcracker Suite. The Chorus presented a new piece from Robert Seeley in honor of Chanukah, Over the Skies of Yisrael. The Chamber Choir provided a new commissioned piece from Julie Dolphin, with lyrics by Chorus member Christopher Hatton, in celebration of the winter solstice, A Song for Yule. Before the intermission, there were then pieces celebrating diversity, Joseph Jennings’ Harambee, and the Spanish carol Esta Noche.

Envision Equality Dinner

he first official event for the final season of Artistic Director Barry Oliver was an appearance at the Ninth Annual Fall Dinner of the Empire State Pride Agenda. Envision Equality was held on October 5 at the Sheraton Center Hotel on Seventh Avenue. The emcees for the evening were Elvira Kurt and Mitchell Anderson. The Chorus and Broadway songstress Lillias White provided the entertainment. Hillary Rodham Clinton gave the keynote address.

The familiar carol I Saw Three Ships, arranged by Mark Riese, opened the second half. The Chorus then presented the world premiere of a new commission by

Ring in the Season was presented on December 5 at Carnegie Hall. The Westminster Concert Bell Choir was the special guest for this concert. The Ring in the Season (Westminster Bell Choir) Carnegie Hall

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OCT. 5 Envision Equality (ESPA) Sheraton Center Hotel

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DEC. 5

With Voices Raised (Boston GMC, GMCW) Boston Symphony Hall

2001

MAR. 24

MAR. 31

Three Hundred Tenors (Boston GMC, GMCW) Lisner Auditorium, Washington, DC

APRIL 2 2001 Choral Odyssey (Boston GMC, GMCW) Carnegie Hall

Eric Lane Barnes. Behind the Carols is a comic look behind the creation of some of the favorite holiday songs with Suzy Snowflake, Jack Frost, and Rudolph as characters. Uptown Express followed with Postcards from Whoville and Christmas With The Carpenters. The Chorus presented Dean X Johnson’s Two Gay Carols: Christmas Brunch and Coming Out for Christmas. The Westminster Bell Choir returned to the stage for Still, Still, Still and then joined the Chorus for an audience sing-along, Ring Them Bells. The evening ended with This Christmastide (Jessye’s Carol), which was arranged by Barry Oliver. A Spring reception and dinner was held on Tuesday, March 13, at The Townhouse Restaurant on East 58th Street. The evening included drinks, hors d’oeuvres, and a four-course dinner. The entertainment for the evening was provided by Uptown Express. The Spring concert saw the Chorus travel to two cities to perform with other gay choruses. First up on the agenda was a trip to Washington, D.C., to perform at Lisner Auditorium on the campus of George Washington University. Also appearing on the program was the Boston Gay Men’s Chorus and the host for this concert, the Gay Men’s Chorus of Washington, D.C. The Chorus mostly left for D.C. by bus on Friday, March 23. They arrived in the evening, and rehearsed on Saturday, then had a short dinner break before the evening concert, entitled Three Hundred Tenors. The post-concert party was held at Union Station. The Chorus then returned to New York before traveling to Boston the following weekend. The concert in Boston was at Symphony Hall on Saturday, March 31, and was entitled, With Voices Raised, taking its title from the finale number by

Stephen Flaherty and Lynn Ahrens. All three choruses traveled on Sunday to New York to prepare for their Monday concert at Carnegie Hall. 2001: A Choral Odyssey was presented at Carnegie Hall on Monday, April 2. The concert opened with the combined choruses presenting the world premiere of the jointly-commissioned piece, Everyone Sang, by composer Eric Helmuth. The New York Chorus was on stage while the

Diversity (SFGMC, Kristin Chenoweth) Carnegie Hall

Pride Concert St. Paul’s UMC, South Nyack, NY JUNE 9

choruses from Boston and Washington were located in the parquet and the dress circle for a surround-sound experience. The Chorus then continued their set on stage. They presented the world premiere of the commissioned work Freedom, by Dan Locklair and taking its text from the poem Equality by Maya Angelou. Then followed a humorous commissioned number from Andrew Lippa, Doo, Doo, Doo. The Chorus ended their set with Barry Oliver’s

JUNE 16-17 Heart & Music (Uptown Express) (Richard Skipper; Christine Pedi) Don’t Tell Mama

JUNE 18

JUNE 19 Gay & Lesbian Pride Day City Hall

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arrangement of the traditional The Water Is Wide and Mark Riese’s Blue Skies. The Boston Gay Men’s Chorus, with Reuben M. Reynolds III as music director, then took the stage, opening with an arrangement of two songs from William Finn’s A New Brain: “I Feel So Much Spring” and “Heart and Music.” This was followed by two Richard Strauss songs, and the first half concluded with “Celebrate” from Elegies for Angels, Punks and Raging Queens.

Boston Gay Men’s Chorus, Gay Men’s Chorus of Washington, DC and NYCGMC onstage at Carnegie Hall.

The Gay Men’s Chorus of Washington, D.C., under music director Jeff Buhrman, opened the second half with “It’s Today” from Mame. This was followed by Love in Any Language and When I Have Sung My Songs. Three musicals were then represented with “You Are the Light” from Metropolis, “What More Can I Say” from Falsettos, and “One Person” from Dear World. They ended their set with a combination of Happy Days Are Here Again and Get Happy. All three choruses then joined together onstage for the massed finale. With Voices Raised was envisioned as a work that celebrated diversity through the words of many famous Americans; it was commissioned by Keith Lockhart and the Boston Pops. Composer Stephen Flaherty was asked to revoice it for men’s voices, and Lynn Ahrens provided the words. Performing as soloist in New York was David Sabella (Chicago), and several narrators read the words of Abigail Adams, Sojourner Truth, Mother Jones, Shirley Chisholm, Frederick Douglass, Malcolm X, Dr. Martin Luther King, and President John F. Kennedy.

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NYCGMC

New York was proud to once again bring these two gay choruses to the city for joint concerts. Both choruses had previously appeared in New York: the Washington chorus in 1984; and the Boston chorus in 1988. It was an honor to once again host these two great East Coast choruses. On Saturday, June 9, the Chorus traveled to Rockland County to perform a pride concert at Saint Paul’s United Methodist Church. The evening program was dedicated to the memory of Bayard Rustin, a pioneer for civil rights.

Over the weekend of June 16 and 17, Uptown Express performed three cabaret performances at Don’t Tell Mama. Their guests for the evening of cabaret were Richard Skipper as Carol Channing and Christine Pedi for the Sunday matinee performance.

The June concert was held on Monday, June 18, at Carnegie Hall. Diversity presented special guest Kristin Chenoweth appearing with the Chorus, and as guest chorus, the San Francisco Gay Men’s Chorus under the artistic direction of Dr. Kathleen McGuire. The combined choruses opened the concert with Gabrielli’s Buccinate Deo. The New York Chorus then continued the evening with a world premiere commissioned work from Alex Rybeck, Sing Out. Then followed Eric Lane Barnes’ Parade and James Bassi’s Before We’re Through, another world premiere commission from the Chorus. Chorus favorite guest, Kristin Chenoweth, now a Tony Award-winner, graced the stage with a performance of “Glitter and Be Gay” from Candide. Uptown Express then joined her for a James Followell arrangement of William Finn’s Heart and Music. Another world premiere commissioned work from composer Paul Halley, Birds of Fire followed. This piece was based on Native American rhythms and text. Barry Oliver’s setting of I Sat Down Under His Shadow, from the Song of Solomon, followed before Kristin Chenoweth returned to the stage. She joined the Chorus for a reprise of Wunderbar that she performed in the Swellegant Elegant concert in 2000. She concluded the first act with the James Bassi arrangement of I Could Have Dance All Night.

Dr. Kathleen McGuire conducts San Francisco Gay Men’s Chorus.

The San Francisco Gay Men’s Chorus took the stage to open the second half of the evening’s program. They first presented excerpts from David Conte’s Eos —Goddess of the Dawn. The balance of their set included an arresting arrangement of the British folksong Drink to Me Only with Thine Eyes, the sensuous Dirait-on, Robert Seeley’s “Marry Us” from Naked Man, two sections from Carl Orff’s Carmina Burana, and concluded with their signature tune, San Francisco. Both choruses joined on stage for the finale, David Maddux’s Land of the Free, a realistic and hopeful look at where the diversity path may lead. The after-concert party was held at xl bar in Chelsea.

The Chorus honored Kristin Chenoweth with a plaque awarding her Honorary Membership in the Chorus. Also, as this was the last concert for Artistic Director Barry Oliver, he was conferred with Honorary Membership status as well. The next day, Council Speaker Peter Vallone and members of the New York City Council honored the Chorus at City Hall. Members of the Chorus were on hand to participate in the ceremonies by presenting a couple of musical selections. On Sunday July 1, the Chorus once again was on board the Queen of Hearts for their annual Sea Tea. The cruise around New York Harbor included a dinner buffet, dancing and a special show. Kristen Chenoweth thrilled at receiving her Honorary Member plaque

This season sponsored in part by American Airlines, Beaulieu Vineyards, Hunter Douglas and Fleet Bank

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Barry Oliver—Artistic Director wandered one day into a Christopher Street block party and spotted a booth staffed by a cute, shirtless young man doing some improvised moves to recorded choral music. Naturally intrigued, Barry moved closer to the dancer —to find himself at an official New York City Gay Men’s Chorus information booth. There he became aware for the first time of the concept of a gay male choral movement (and a dance movement or two). Nearly 16 years later, after pursuing his career in Indiana and in Colorado, he accepted a call issued by that same Chorus whose booth had been so attractively staffed. The shirtless young man, however, never resurfaced. The call was to serve as Principal Accompanist and Director of the Chamber Choir. It reached Barry in Denver, where he was in his fifth year as Artistic Director of the Denver Gay Men’s Chorus. He was also principal accompanist for the Colorado Symphony Chorus and served on the faculty of the Iliff School of Theology.

arry Oliver expresses admiration for the work of his predecessor of eighteen years. “Gary understood the significance of making Carnegie Hall the Chorus’ performance home and he chose a demanding path for the organization. He commissioned some of America’s most important composers to write for the Chorus. He invested tremendous energy in bringing New

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York’s greatest solo performers from opera and Broadway stages to perform as guests. Elements such as these elevated the Chorus in the eyes of the gay community as well as the general public here in the world’s music capital.” In the summer of 1981 Barry was living in New York City, working as an opera accompanist and a church musician. He

Two months after his arrival in New York, Barry was initiated into NYCGMC glamour. The celebrity-studded guest list of the March 1997 concert, Jerry’s Boys, included Beth Fowler, Eartha Kitt, Bebe Neuwirth and Lee Roy Reams. “I woke up one day to find myself on the stage of Carnegie Hall playing for Carol Channing while she sang Hello, Dolly.” One could hardly ask for a more glittering debut. “Mind you,” recalls the serious musician, “I love the glamour!” The 1997-98 season was Gary Miller’s last on the podium and Barry proved a reliable anchor during that emotional year. In response to another sadness, following the death of Dean X Johnson in January, Barry assembled and conducted a Chamber Choir concert featuring

Dean’s music, dedicated in his memory. Barry believes that the Chorus must work to maintain its prestige and never take it for granted. Shortly after his appointment as Artistic Director, in an interview for Chorus Lines Barry spoke about his vision. “The music we sing must be well crafted. I believe we must draw on all music available to us as we struggle to define what it means to be a gay men’s chorus in one of the world’s most important cities … to commission new and interesting works from a variety of composers. I’m also interested in engaging in collaborative efforts with other performing arts organizations.” Reflecting today, Barry says: “Good collaboration enriches everyone involved: chorus singers, composer, lyricist, other performers, the audience and the Artistic Director. There is, of course, the possibility of failure and of disappointment. But it is a risk that needs to be taken because the Chorus must be constantly seeking new artistic expressions to interpret and challenge our lives. I had hoped to pursue collaborations with performing groups such as dance, theater and instrumental ensembles. Such experiences would broaden the Chorus’ scope and bring greater prestige to the Chorus. Similar benefits, of course, are gained from collaborations involving composers and lyricists.” One example of his commitment to collaborative creation consumed two years of Barry’s time as Artistic Director of the Chorus. During his first season on the podium, Barry saw an opportunity to nourish the potential for a new collaboration, tuned to the situation, strengths, and individual experiences of Chorus members. This opportunity, like many others, appeared initially in the guise of a problem. The Chorus had experienced the loss of long-time artistic leadership and a large membership turnover with Dean’s death and Gary’s departure. Organizational memory had been diluted. The community was confronted by

changing realities with respect to HIV, the growth of gay political power, and the rising visibility of openly gay performers and media attention. How would the Chorus continue to adjust artistically to its changing context as a new century loomed? In short—“Who are we now?” A new commission might explore this question and create a work reflective of what Chorus members needed, speaking to their concerns and from their hearts to the gay community and beyond. Taking all this into account, Barry set in motion the beginnings of an effort which would materialize two years later as Gay Century Songbook, a major work in celebration of the Chorus’ twentieth anniversary. Boisterous brainstorming sessions with Chorus members gave rise to what actually became the first movement of the finished work, “I Joined the

choral arrangers, an orchestrator, a stage director, a choreographer, five Broadway celebrities, a recording engineer and one generous patron. “It was a collaboration that at times got out of my control and was to me emotionally draining. It exhausted me so thoroughly that the recording sat on my shelf for three years with me having hardly listened to it. Then, last summer, a musical theater friend of mine from Los Angeles was visiting. I played for him a few recordings from other GALA choruses. But when I played Gay Century Songbook he responded with such enthusiasm that I sat down and listened carefully. The Chorus sounds terrific, Michael’s words are brilliantly imaginative and Larry’s music carries the drama wonderfully. I am enormously proud of it.” Under Barry’s leadership the Chorus commissioned fourteen original compositions from numerous composers and poets. Several new song arrangements also were created during his tenure. Four GALA choruses joined in concert with NYCGMC during his years and an array of Broadway celebrities shared and complemented the Chorus’ stage. When asked about his most memorable moments with the Chorus, Barry said: “Every time I walked onto the stage to conduct the Chorus it was thrilling. I loved interacting with composers, lyricists, arrangers and others. It was a joy to meet and work with celebrity performers. Hillary Clinton’s birthday party was a blast. My most gratifying memories are what happened at weekly rehearsal. When musical breakthroughs happened after much work, when a musical phrase came to life and we all experienced it and were lifted by it, those were my happiest times.”

Chorus.” Before a composer or lyricist had been selected the Chorus itself had laid the foundation and the direction for the composer and lyricist to follow. By the time Gay Century Songbook was performed and recorded it had involved the collaboration of lyricist Michael Korie, composer Larry Grossman, three

“On this twenty-fifth anniversary I want to congratulate the members, the staff, the board of directors, the audience, the patrons and all those who together collaborate to build the community of the New York City Gay Men’s Chorus. Well done, friends! Sing on!” —by Bob Collins

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2001-02

New Conductor Takes Baton for 22nd Season favorite standards, the Chorus performed several sets during the day. Also performing was Uptown Express. This was a great first event for the new conductor. The first rehearsal of the new season was on Monday, September 10, 2001. Jeffrey had had several meetings with the MAD (Music and Artistic Development) Committee and had prepared his program for the holiday concert. The members, both new and old, gathered at the Lesbian and Gay Community Center for rehearsals. The Chorus was back in the Village again after several years in midtown, and they were rehearsing within the community, bringing their music closer to their audience.

Seventh Avenue Street Fair

uring the summer of 2001, the Board of Directors announced their choice for Artistic Director to replace the departing Barry Oliver. Jeffrey Maynard, former Music Director of the Gateway Menâ&#x20AC;&#x2122;s Chorus in St. Louis, became the next Artistic Director.

Before the season began, the Chorus was scheduled to perform at the Seventh Avenue Street Fair. This was a city sponsored event, and the Chorus received an honorarium for their performance. The Chorus performed on a small stage outside the Park Central Hotel between 55 and 56 Streets. Singing some of its Holiday Flourish (Community Concert) Haft Auditorium, FIT

2001

DEC. 16

DEC. 19

Winter Evening with Deborah Voigt (Ambassador Chorus) Christ & St. Stephenâ&#x20AC;&#x2122;s Church

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Auction Fundraiser (Joan Rivers) Dakota Studios DEC. 20 Holiday Flourish Carnegie Hall

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FEB. 16

MAR. 9 Fundraiser (David Daniels) Private Residence

We are all aware of what occurred the following day, and this tragic event brought a cause for the Chorus and their new director. During those days after 9/11, the Chorus joined, not as gay men but as singers, to provide healing aid to those distressed by the events in New York City. The Chorus sang at Union Square, Saint Vincent’s Hospital, and made their way as far south to the site of the towers as they could get to show their support for the rescuers and share their sound. One of the new visions Jeffrey had was to create an alternate chorus group that would be able to go out into the community and do performances that the full Chorus was unable to do because of their size. This new Chorus, the Ambassador Chorus, grew out of the previous Chamber Choir—but with a new view and repertoire that would be used as outreach to the community. This new group of 24 singers was busy working on music for the holiday concert as well as an exciting opportunity; Jeffrey had arranged for the Ambassador Chorus to perform with opera soprano Deborah Voigt for her holiday concert in December. Her music director and arranger was the composer James Bassi, who had written several pieces for the Chorus, so it was a natural fit. The Chorus would sing three numbers with Ms. Voigt. They opened the evening with a Carol Medley and ended the first half with the spiritual Go Tell It On the Mountain in a new arrangement by Mr. Bassi. For the second half of the program, they sang with Ms. Voigt the classic Adolphe Adam O, Holy Night. This well attended concert was held at Christ and St. Stephen’s Episcopal Church on the Upper West Side on December 16. (Opera great Eileen Farrell was an audience member.)

Prior to this concert, the Ambassador Chorus had been busy with holiday appearances. They went on the traditional caroling outing in Chelsea and the Village on Thursday and Friday, December 13 and 14. On Saturday, December 15, they appeared at the Steuben Crystal store on Madison Avenue to provide some holiday music—both within the store as well as on the street. Uptown Express had also been active in early December with performances on December 7 and 8 at Don’t Tell Mama.

Before the performance at Carnegie Hall, the Chorus gave a community performance of the concert. This year it was on December 19 at Haft Auditorium at FIT in Chelsea. The Chorus presented most of the program that they would perform the following evening at Carnegie Hall with guests. On Thursday, December 20, the Chorus graced the stage at Carnegie Hall to present Holiday Flourish. The evening opened with Robert Seeley’s A Jubilant

Uptown Express was back to open the second half with Anne Albritton’s arrangement of Have Yourself a Merry Little Christmas, while the Chorus joined in as they made their entrance onto the

Music for Michael Mouse (Armistead Maupin) Carnegie Hall

We Are Family Carnegie Hall MAR. 18

Gloria, which had been commissioned by the San Francisco Gay Men’s Chorus. This was followed by Anton Bruckner’s Ave Maria and Michael Isaacson’s Light the Legend. Guest soprano Sondra Radvanovsky then appeared to perform two selections with the Ambassador Chorus, they were numbers the Ambassadors had performed earlier in the month with Deborah Voigt. These pieces were followed by Mark Riese’s Christmas Comes Anew, O Magnum Mysterium by Morton Lauridsen, and Carole Bayer Sager’s The Prayer. Uptown Express, then took the stage and performed A Christmas Carol, a medley arranged by James Followell and featuring Carol Channing, as personified by Richard Skipper. Danny Ray’s Holiday Sing Along ended the first half, with the audience joining in on the familiar carols.

MAY 18 Spring Social (Ambassador Chorus) Bronxville, NY

JUNE 15

Convergence Day Lincoln Center JULY 13

AUG. 18

No Matter What (Uptown Express) Fire Island Pines Art Project

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held at Dakota Studios on Fifth Avenue on February 16. The highlight of the evening was the live auction with guest auctioneer Joan Rivers. Ms. Rivers was her usual funny self and helped encourage bidding from the prospective bidders. The most sought-after item was the right to conduct the Chorus at a future concert, which was again won by Chorus member Robert O. Hawkins, Jr. who had previously conducted the Chorus in 2000. Sam Harris

risers. Then came the comic highlight of the evening with Danny Ray’s Mrs. Claus (High Atop the North Pole Lounge) with a slightly inebriated Mrs. Claus doing her best to entertain. Following this was the extraordinary voice of Sam Harris, who first performed his arrangement of Little Drummer Boy with Uptown Express, did his solo turn with an enthralling Santa’s Blues, and was then joined by Uptown Express and the Chorus for his own composition, A World of Difference. Next followed a Puertorican carol from Chorus member Edgar Colón-Hernández, Procesión jíbara. In memory of our fallen members, the Chorus performed “If and When” from Robert Seeley’s Naked Man, and as a tribute to the heroes of 9/11, the Chorus performed Joseph Martin’s Who Are the Brave. Ending the evening was the title song of the evening, Danny Ray’s Holiday Flourish. As an encore the Chorus performed the memorable Larry Moore arrangement of Christmas in Manhattan. The concert was a great success for the new director in his Carnegie debut. As the Chorus moved into the new year and began rehearsing their spring concert program, they held several fundraisers. First there was an auction fundraiser

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On Monday, March 18, the Chorus performed We Are Family to an enthusiastic audience. This concert was a fully programmed evening of music from the Seventies arranged by David Maddux. From the opening medley, which began with Play That Funky Music White Boy, through the end of the first act, ABBA’s Dancing Queen, the Chorus kept the audience highly entertained. There was a segment saluting the great Drag Anthems, complete with several deckedout Chorus members. Uptown Express provided a rerun of Seventies television themes and the Ambassador Chorus provided a moving medley of Elton John songs. The second act opened with a disco medley followed by a salute to the Carpenters and a recreation of Barry Manilow’s Copacabana. Uptown Express

delivered an energetic Bohemian Rhapsody. And how could the Seventies be complete without a Village People medley? The evening was filled with high energy, as there were several production numbers to entertain the audience as well as “choralography” for the Chorus, all provided by the talented Brett Oberman.

Oh, those Seventies!

On May 18, 2002, there was another Chorus event to raise funds. This Spring Social was held at the home of Chorus member Mark Short in Bronxville, New York. Mark opened his home to Chorus members and friends as they gathered for a spring afternoon of socializing. The entertainment for this first annual event was provided by the Ambassador Chorus. Saturday, June 15, was the date for the Pride concert at Carnegie Hall. This year the concert was Music for Michael Mouse. Author Armistead Maupin and Seattle Men’s Chorus Music Director Dennis Coleman had conceived this fully programmed piece, and the arrangements were provided by David Maddux. The evening was a look at the life of Michael Tolliver, one of the main characters in Mr. Maupin’s series of books that make up Tales of the City. With guest narrator Mr. Maupin in attendance, the evening

Scene from Music for Michael Mouse consisted of readings of passages from the books interspersed with songs that were relevant to the time and mood of the narrative.

Maupin’s often-reprinted gay manifesto, was brilliantly set to music by David Maddux, and provided the evening’s emotional denouement.

Explaining his basis for The Chorus concluded the evening, Armistead their summer with an Maupin stated, “I pulled appearance at a unique out just one thread of event at Lincoln Center. the tapestry because On August 18, as part of Michael’s story arc is Lincoln Center Out of especially revealing of the Doors, was the unusual times, and the material is program Convergence: Armistead Maupin, Mark Flores well suited to a chorus of Some Parades for Charlie’s gay men.” Through witty arrangements Dad. Originally commissioned by the of popular standards—as dictated by American composers forum, this piece specific scenes from Tales of the City— involved several dozen musical groups we experience Chorus member Mark who initially presented their programs Flores’ portrayal of Michael “Mouse” throughout the Lincoln Center complex Tolliver’s arrival at the City by the Bay, and then ultimately joined together for his escapades at country-western bars the grand finale on the Plaza. It was and discos, the joys and triumphs of truly a unique experience to conclude newfound love, his “boy-loses-boy” the season. sorrows, and even his coming-out to his parents: Michael’s Letter to Mama,

This season sponsored in part by Fleet Bank, American Airlines and Guinness UDV

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2002-03

Youth Pride Chorus Debuts in Season 23 s the 23rd season opened in the fall of 2002 and the Chorus started rehearsals for their holiday concert, Jeffrey Maynard was working to create a youth chorus. Jeffrey had been working with a specially-formed committee to create an organization for youth since his arrival in 2001. The establishment of a youth chorus had long been a dream and vision of Conductor Emeritus, Gary Miller. The final touches were put into place during the fall.

On Sunday, December 15, the Ambassador Chorus made an appearance on Sunday Today at Rockefeller Center. The Chorus had performed on the Today show since 1999. The group arrived at the studios in the early morning hours for a rehearsal and then taped a segment to be aired nationwide. It was a great way to start the holiday season. Later in the day, the Ambassador Chorus joined members of the main Chorus for a community performance at the LGBT Community Center on West 13 Street. This concert featured the full Chorus performing some of their numbers from their holiday concert as well as a selections from the Ambassadors. Mystery Date, a four-man a cappella group made a special appearance on this program. This was another outreach to the community by the Chorus.

Holiday Sampler LGBT Community Center

2002

DEC. 15 Sunday Today (Ambassador Chorus) Rockefeller Plaza

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DEC. 15

Gala Concert (American Symphony Orch) Avery Fisher Hall DEC. 17 Holiday Homecoming (Live Recording) Carnegie Hall

2003

FEB. 24

came to the stage with an Andrews Sisters song, Johnny Mandel’s A Christmas Love Song. They were joined by Steven Brinberg performing as Barbra Streisand for her rendition of Jingle Bells. The first half ended with the Larry Moore sing-along, If We In Our Time.

Holiday Homecoming was the concert title at Carnegie Hall on Tuesday, December 17. The Chorus had decided to record this concert live for their next CD project. To accomplish this they had a strenuous schedule on performance day. The dress rehearsal was recorded to create backup material for the recording. The concert began with part of the Chorus in the main aisles of the hall for the opening number, Shake the Rafters. When the full Chorus arrived on stage, the Ambassadors moved downstage as the two groups performed the Ave Maria for double chorus by Franz Biebl. This was followed by the great Russian sound of Pavel Tschesnokoff’s Salvation is Created. Robert Seeley’s Over the Skies of Yisrael was presented to honor Chanukah and was followed by the Nigerian carol Betelehemu. The soul-searching Am I Welcome Here? by Eric Lane Barnes reflected the need to be accepted in spiritual places of worship. Next, the Chorus presented Bach’s Jesu, Joy of Man’s Desiring. Uptown Express then

The second half of the program opened with Randol Alan Bass’ Gloria. For Jackson Berkey’s counterpoint Still, Still Night/Silent Night, the Chorus was directed by Chorus member Robert O. Hawkins, Jr., who had won that privilege at last season’s auction. This was followed by “Abundance and Charity” from the musical A Christmas Carol. It featured the introduction of the Chorus Dance Team with Tiny Tim and his tiny toe-tappers. Mystery Date was next performing two numbers. The Chorus then presented Chorus member Edgar ColónHernández’ Puertorican carol, Procesión jíbara and Daniel Gawthrop’s Sing Me To Heaven. The Ambassador Chorus returned to present a quick Deck the Halls in 7/8 rhythm and then accompanied countertenor David Walker on the Spanish carol La Virgen lava pañales. Mr. Walker continued with the second movement of Leonard Bernstein’s Chichester Psalms with the Chorus. To end the program, the Chorus presented a new medley from Larry Moore, A Place Called Home. For the encore, the Chorus brought back the dancers for a disco

Festival of Voices (Ambassadors) State Theatre, Ithaca, NY MAR. 10 Viva La Diva Avery Fisher Hall

MAR. 29

beat Dear Santa to send the audience dancing out into the night with holiday spirit. As the new year began, the Chorus was once again preparing for a fundraising auction. This year’s event was presented on February 10 at the new club, Estate, which took over the space of the former Limelight. The event was called Out on Stage and featured comedienne Caroline

Executive Director Mark McDonald with Caroline Rhea

Rhea as guest auctioneer. There was food and drinks galore, and entertainment was provided by Uptown Express and Billy Porter, who was appearing in Radiant Baby, the Public Theater’s musical about Keith Haring. Once again the highlight of the evening was the opportunity to conduct the Chorus at a concert. This year’s bid came from Chorus member Raymond Sheen. Two weeks later, the Chorus performed at Avery Fisher Hall as part of the Gala Concert for the American Symphony Orchestra. The program included music by Aaron Copland, Mozart, and Richard Strauss. The Chorus joined the orchestra to end the first half of the program with Brahms’ Alto Rhapsody with mezzosoprano Susan Platts.

Rosebud Party (Fundraiser) Bronxville, NY MAR. 31

MAY 31

Mack and Mabel (Ambassadors, Uptown) Avery Fisher (GMHC Benefit)

Pride for All Ages (Youth Pride Chorus) Carnegie Hall JUNE 6

JUNE 18

Pride for All Ages South Nyack

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Thomas returned to the stage with a new Larry Moore arrangement of Rodgers and Hammerstein’s “You’ll Never Walk Alone” from the musical, Carousel.

On March 10, the Chorus performed an original program celebrating the many divas that are beloved by the gay community. To present this celebration, the Chorus provided various genres—opera, pop, and Broadway—and featured several guest artists. Viva La Diva opened with a grand presentation of Barry Keating’s “Diva” from the musical Starmites, featuring Terri White. The Chorus then gave a tribute to Judy Garland with a medley from Larry Moore before the appearance of impressionist extraordinaire Jimmy James performing a Judy impression backed up by members of the Ambassador Chorus. He then pre-

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sented Duke Ellington’s I Got It Bad and That Ain’t Good as interpreted by eight different divas from Judy and Barbra, to Marlene Dietrich and Eartha Kitt. Moving into the opera genre the Chorus presented a moving “Nessun Dorma” from Puccini’s Turandot. The Ambassador Chorus then presented a mock serious number from Eric Lane Barnes, Drama Queen. Soprano Indra Thomas then performed Puccini’s “Vissi d’arte” from Tosca and “La Vergine degli Angeli” from Verdi’s La forza del destino. The Chorus presented a Broadway medley featuring the dance team tapping away. To end the first half of the program, Ms.

After intermission, lighthearted music of operetta was presented with Sigmund Romberg’s “Come, Boys, Let’s All Be Gay” from The Student Prince featuring soprano Debby Lennon. A trio of Chorus members then presented a comic “Then One of Us Will Be a Queen” from Gilbert and Sullivan’s The Gondoliers. J. Christopher Beck then honored country western diva Patsy Cline with an appearance in full Patsy regalia performing a hilarious She’s Got You with all sorts of props appearing from her gown. Uptown Express then took the stage and presented pop numbers featuring the music of Madonna. Debby Lennon returned to the stage garbed as Evita to present Don’t Cry for Me Argentina. To finish off the evening, the Chorus presented the debut of Kevin Robson’s medley You Can’t Stop the Beat, the first arrangement ever of songs from the then-new hit Marc Shaiman and Scott Wittman musical, Hairspray. Chorus members were decked out in costumes from the 60s recreating the characters from the show, to enthusiastic audience response. Featured in this number was diva Jenifer Lewis, who managed to bring the house down with her number. To end the evening, the Chorus reprised Diva and left the audience wanting more. Later in March, the Ambassador Chorus traveled to Ithaca, New York, to partici-

pate in the Festival of Voices. This musical evening was organized by the Ithaca chorus, Out Loud, and featured several

groups from the New York region. The Buffalo Gay Men’s Chorus, Cayuga Chimes Women’s Barbershop Chorus and the Out Loud Chorus were all on the program with the NYCGMC Ambassador Chorus. The event was held in the historic State Theatre in downtown Ithaca. The concert was a debut opportunity to bring the positive message of the GALA Choruses movement to central New York and was supported by many in the local community.

On Friday, June 6, the Ambassador Chorus traveled to South Nyack to once again perform for the Festival of the Arts as part of Gay Pride Rockland. This year, the group performed several numbers from the pride concert to be presented later that month at Carnegie Hall as well as an assortment of pop standards. A full house at Saint Paul’s United Methodist Church enjoyed the program. On Wednesday evening, June 18, Carnegie Hall was the site for the Chorus’ last concert of the season, Pride for All Ages. The program featured the Lesbian and Gay Big Apple Corps, as well as the debut of the Youth Pride Chorus. The evening’s program opened with Alan Shorter’s Oliver Button Is a Sissy based on the children’s book by Tomi dePaola. This musical recreation featured Greg Louganis as the narrator of the story of a young boy who happens to be different

from his peers. The Dance Team of the Chorus created a pantomime of the story while the Chorus sang the story. Chorus member Michael Osso was featured as Oliver Button. The Ambassador Chorus then presented “Home” from The Wiz as a segue between the Chorus and the Youth Pride Chorus. When the young men and women appeared on stage, they were greeted with a standing ovation before they even sang a note! This brave step of young people standing out and proud was recognized by the audience as a bold move forward. The young singers performed Morten Lauridsen’s beautiful Dirait-on followed by Robert Seeley’s I Come From Good People. The group ended the first half with the spiri-

The Lesbian and Gay Big Apple Corps opened the second half with Charles Carter’s Symphonic Overture and then Artistic Director Eric Peterson conducted the band for K.L. King’s Freedom City as the Chorus entered the stage. The band then accompanied the Chorus on Joseph Martin’s The Awakening and Howard Hanson’s setting of Walt Whitman poems, Song of Democracy. For the finale, NYCGMC was joined by the Youth Pride Chorus to perform the premiere of David Friedman’s Pride for All Ages. A reprise of The Awakening with the Youth Pride Chorus acted as encore. The audience was very supportive of the young singers and showed their enthusiasm with a rousing ovation to end the evening. On Friday, June 27, the Ambassador Chorus appeared on the Welcoming the Sabbath program of Congregation Beth Simchat Torah. During the evening’s service, the Chorus performed Anne Albritton’s Psalm 92: A Good Thing to Give Thanks as well as David Friedman’s Pride for All Ages. Two days later, the Chorus walked down Fifth Avenue in the annual Pride March. The Chorus marched alongside their float for the second year. Another successful season ended as the Chorus went into the summer.

Two days later, on March 31, members of Uptown Express and the Ambassador Chorus participated in a benefit concert for GMHC at Avery Fisher Hall. This program was a concert version of Jerry Herman’s musical Mack and Mabel. The evening featured a star-studded cast. Along with the Radio City Rockettes were Broadway stars Harvey Fierstein, Hunter Foster, Sutton Foster, Jason Graae, Debbie Gravitte, Sam Harris, Donna McKechnie, Jerry Orbach, Hugh Panaro, Douglas Sills, Leslie Uggams, Marissa Jaret Winokur and Karen Ziemba. For the finale, Jerry Herman himself joined them all on stage. A sold-out house was thrilled to see this rare musical once more on stage.

tual Children, Go Where I Send Thee and left the audience exhilarated for the intermission.

This season sponsored in part by Fleet Bank, American Airlines, Showtime, Coors and Absolut Vodka

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2003-04

New Commissions Are Focus of Season 24

ith the great success of the Youth Pride Chorus the previous June, Jeffrey Maynard searched for ways to feature them in outreach performances. In October and November, the Youth Pride Chorus, joined by the Ambassador Chorus, presented three community performances of Oliver Button Is A Sissy. The first of these concerts was presented at Pace University in Pleasantville, New York, on October 7. In the first act, the Ambassador Chorus with the Dance Team performed Oliver Button Is a Sissy. The second act included three songs from the June concert ending with David Friedman’s Pride for All Ages and featuring the Youth Pride Chorus. On October 11, the same program was presented for the New York Public Library at their Tompkins Square Branch in the East Village.

The third concert was presented on November 5 at Bergen Community College. It was sponsored by the Alpha Epsilon Phi Chapter of Phi Theta Kappa. The program opened with the Ambassador Chorus performing Joseph Martin’s The Awakening and continued with five additional songs before intermission. The second half had the presentation of Oliver Button Is a Sissy and concluded with the Youth Pride Chorus joining the Ambassadors for Pride for All Ages.

In November, the Chorus received an award from Heritage of Pride for the “Best Use of Theme” for their float during the pride parade in 2003. In late November, members of the Ambassador Chorus added their voices with others in the gay choral community at a wedding ceremony for two women held at Seaman’s Chapel at South Street Seaport.

These three concerts provided good opportunities to showcase the newlyformed Youth Pride Chorus as well as the Ambassador Chorus within the greater New York community; they also presented a sample of what the Chorus was all about.

Pride for All Ages (YPC/Oliver Button) NYPL/Tompkins Square Branch

2003

OCT. 7

OCT. 11

Pride for All Ages (YPC/Oliver Button) Pace University, Pleasantville, NY

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NOV. 5

The holiday concert was early this year, on December 12 at Carnegie Hall. Twisted Holiday featured many familiar carols, but performed in ways out of the ordinary. The evening’s program opened with Larry Moore’s antiphonal setting of the traditional carol Masters in This Hall. This was followed by Michael Clawson’s arrangement of The First Noel set against Pachelbel’s

A Great Generation Avery Fisher Hall

Twisted Holiday Carnegie Hall DEC. 12

Sing Out Loud (YPC/Oliver Button) Bergen Community College

DEC. 21

2004

Shining Season LGBT Community Center

MAR. 8

Vincent Persichetti’s Song of Peace. Cynthia Watters returned to the stage escorted by three hunky reindeer in full harnesses and antlers to present James Bassi’s humorous My Christmas Wish. She was then joined by the Chorus for an arrangement by Larry Moore, Trois Noel Français. Chorus member Raymond Sheen, Jr., had won the right to conduct the Chorus at last season’s auction. He then took the podium to conduct the Chorus in the familiar Carol of the Bells. This was followed by the Ambassador Chorus performing an unusual, jazzy arrangement by Kirby Shaw of the same carol. The Ambassadors then provided a moment from the movie White Christmas, with Irving Berlin’s “Love, You Didn’t Do Right By Me.” The full Chorus then presented Randi Driscoll’s What Matters, written to honor Matthew Shepard. From the 60s, the Chorus presented Christmas (Baby Please Come Home) and then the peaceful In This Very Room. The concert concluded with Soulful Hallelujah, For an encore, the Chorus presented Alex Rybeck’s arrangement of What Are You Doing New Year’s Eve paired with Auld Lang Syne.

Canon. Next came a rhythmic Island Santa and a reverent Bashana Haba’ah. The Dance Team was featured in Kevin

Robison’s Rude Christmas, which is a take-off on Rudolph the Red-Nosed Reindeer and Hey, Big Spender. Guest soprano Cynthia Watters was featured on Mark Hayes’ Variations on Jingle Bells. Uptown Express then took the stage for two numbers.

A week later, the Chorus was part of a community concert held at the LGBT Community Center in the Village. Shining Season, A Holiday Concert had several groups perform on Sunday, December 21, at two performances. Opening the program was the Ambassador Chorus under music director Casey J. Hayes. James Followell and Uptown Express followed with their numbers from the Carnegie concert. Then members of the Chorus took the stage to perform three numbers from Twisted Holiday. The second half of the program included Mystery Date performing a few numbers before the highlight ensemble of the program took its place on stage. The Youth Pride Chorus made its second performance appearance with a wellrounded set of holiday songs: the Austrian carol Still, Still, Still, Kirby Shaw’s arrangement Swingin’ at Santa’s Place and Jackson Berkey’s Still, Still Night/Silent Night in beautiful counterpoint. David Angerman’s Season of Dreams came next and the set ended with the gospel spiritual Children, Go Where I Send Thee. This section highlighted several members in featured roles.

The “What If…” Carol Parodies came next. These songs are parodies of traditional carols, conceived as if they had been written by some of our well-known contemporary composers. Composed by Rob Berman and Winston Clark, they are settings written in the style of Stephen Sondheim, Philip Glass, Kander & Ebb, and Jerry Herman. Concluding the first act was a rendition of Silent Night in counterpoint with the song Night of Silence. The second half opened with Veni, veni Emmanuel in the new age scoring by Mannheim Steamroller, followed by

Out on Stage (Auction) Avalon MAR. 23 Don’t Hide Love Whoopi TV Show

APRIL 19

An Ambassador Evening St. Luke in the Fields

JUNE 5 Rosebud Party Bronxville, NY

JUNE 17

Out on Broadway Carnegie Hall JUNE 20

JUNE 22

Stand Out and Sing (YPC, Anthony Rapp) LGBT Community Center

JULY 17-24 GALA VII Montreal

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In late February, the Chorus took time out from their rehearsal retreat to appear at City Hall in a show of solidarity for marriage equality. The Chorus performed Robert Seeley’s “Marry Us” from Naked Man. There were many high-profile speakers, including City Council Speaker Gifford Miller.

A week later, on March 8 at Avery Fisher Hall, the Chorus presented their spring concert, A Great Generation. This concert featured the world premiere of The Sage Cycle, commissioned from composer Eric Lane Barnes and lyricist Joan Lipkin. This is a series of eight songs looking at various aspects of the older gay male. Taken from interviews with Chorus members and others, the songs look at: historical perspectives; being married and gay; retirement; the consequences of the AIDS pandemic; a loving couple;

being black and gay; and more. The commission of this new work was funded with generous donations from three Chorus members: John Hawkins, Robert O. Hawkins, Jr. and John Knoebel.

They followed this with a medley of Duke Ellington tunes, also arranged by Mark Riese. A reprise of In the Mood closed an evening of looking back at the music of the past and at ourselves.

The second half of the program brought back several songs from previous concerts that focused on the music from the big band era. Opening the second act was the upbeat In the Mood, featuring lyrics that had been written in 1988 by late Chorus member Eddie Peters. I’ll Be Seeing You followed and then the Ambassador Chorus presented A Gershwin Trilogy arranged by Anne Albritten. Cole Porter’s Begin the Beguine and Chattanooga Choo Choo followed before the moving Irving Berlin What’ll I Do, arranged so beautifully by Mark Riese. With a corps of service men dancing away, the Chorus presented a very peppy Boogie Woogie Bugle Boy.

Shortly after the concert, several Chorus members traveled to the Kaufman Astoria studios in Queens to tape a segment of the Whoopi show. The show centered on a lesbian wedding and aired on March 23, the Chorus was featured singing Don’t Hide Love, the theme song of Whoopi Goldberg’s character.

A Great Generation, Avery Fisher Hall

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In early April, the Ambassador Chorus made another community appearance. This time they were on the program for the Front Runners NY. The variety show was held on April 2 at Union Theological Seminary on the Upper West Side. The evening’s program was a benefit for the NYC Gay and Lesbian Anti-Violence Project and the Front Runners NY Charitable Foundation. Performing alongside the Ambassadors was New York City Opera tenor Keith Jameson, MAC Award winner Ron Poole, Deian McBryde and the Pretty Girl Orchestra, Kevin Calhoon and the Ghetto Cowboy, and the lesbian comedienne and jazz singer Lea DeLaria. Monday, April 19, was the date for the Chorus’ annual fundraising auction. This year it was held at Avalon on Sixth Avenue. Rosie Perez and Mitchell Anderson were the guest auctioneers for the event. Entertainment was provided by comedian Jim David and Jai Rodriguez, a member of the Queer Eye Fab 5, sang. The evening was a rousing success, with the highest-selling item once again being the right to conduct the Chorus at a

party featuring food, drink and entertainment. This year’s event also featured a challenge grant from three Chorus members who would match the amount raised, up to $8,000.

concert. Chorus member Robert D. Hawkins, Jr. was again the high bidder and was looking forward to being on the podium before the Chorus in the future. The annual Rosebud Party was held this year on Saturday, June 5, in Bronxville. The home of Chorus member Mark Short and Artistic Director Jeffrey Maynard was opened to supporters of the Chorus and Chorus members, with a lovely garden

The second half featured a jazzy Stuff Like That There, Henry Mancini’s Crazy World, the Quaker tune How Can I Keep From Singing?, and the a cappella Sing Me To Heaven. A beautiful Grace came next, followed by the over-the-top Drama Queen, which had the audience roaring with laughter. To end the evening, the group performed the profound The Awakening.

Robert O. Hawkins, Jr. placing his winning bid.

The following Thursday, June 10, the Ambassador Chorus gave a solo concert at the Church of St. Luke in the Fields in the West Village. Music Director Casey J. Hayes crafted a well-rounded program. The evening opened with a spirited Proud, followed by Anne Albritton’s arrangement A Gershwin Trilogy, Love, You Didn’t Do Right By Me and the humorous Proud Marydrigal. Then came a quiet Skye Boat Song and an arrangement of Stephen Sondheim’s No One Is Alone, by Dean X Johnson. The first half ended with an upbeat Let the River Run, as arranged by David Maddux.

Chorus Royals at Rosebud Party On Sunday June 20, the Youth Pride Chorus appeared in their own solo concert, Stand Out and Sing!, at the LGBT Community Center. The group opened with Oliver Button Is a Sissy. YPC sang as one of their own members performed as Oliver Button, with the NYCGMC Dance Team acting out the story. Broadway star Anthony Rapp was on hand to take the part of narrator of the story. The second half featured the young singers performing two songs from their debut concert and several selections from Jonathan Larsen’s Rent. NYCGMC member Benjamin Smith made a guest appearance performing “Summertime” from Porgy and Bess, showing his four-octave range. The Youth Pride Chorus gave two performances that were again well attended and showed their continued growth as a group.

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“Keep It Gay” from Me and Juliet, “If You Were Gay” from Avenue Q, and the outrageous “Keep It Gay” from Mel Brooks’ The Producers.

Out on Broadway was presented by the Chorus on Tuesday, June 22, at Lincoln Center’s Avery Fisher Hall. The evening’s program took a look at how and why gay men were attracted to showtunes and the men that created those memorable melodies. Award-winning playwright Terrence McNally wrote the book for the evening, utilizing impersonator Steven Brinberg’s character, Barbra Streisand, as his speaking voice. Alex Rybeck arranged the songs for the evening; the orchestrations were provided by long-time Chorus arranger Larry Moore.

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The evening opened with an inventive Overture that Alex Rybeck crafted from the songs used during the evening. The Chorus entered during the Overture and presented their first song, Jerry Herman’s Showtune. A short scene from the musical When Pigs Fly set up the premise of why gay men love musicals. Irving Berlin’s There’s No Business Like Show Business and a look at early subtext from Cole Porter and Noel Coward followed. Then came a medley of songs with strong women on Broadway, featuring Steven Brinberg singing as Barbra. The first half ended with a medley featuring Rodgers and Hammerstein’s

This season sponsored in part by Fleet Bank, American Airlines, Showtime, Coors and Absolut Vodka

The second act opened with a timely Marriage Medley. Jerry Herman’s La Cage aux Folles was featured with the next numbers. First a rousing solo turn for Chorus member Morgan Rice as he performed “A Little More Mascara.” The Dance Team then was featured as Les Cagelles in “We Are What We Are.” Chorus member Angelo Cilio wowed the audience with a clear, unamplified “I Am What I Am.” Chorus member Michael Osso performed Paul’s monologue from A Chorus Line ending with “Who Am I Anyway?” Charles Strouse’s Applause was represented with “She’s No Longer a Gypsy,” immediately followed by a recreation of “It’s Not Where You Start” from Cy Coleman’s Seesaw. Jonathan Larson’s Rent was represented as the Chorus sang an emotional “Will I?” Uptown Express took the stage to perform two numbers, “I’ll Cover You” from Rent and William Finn’s “What More Can I Say?” from Falsettos. Steven Brinberg then gave a Barbra interpretation of People before the Chorus returned with Kander and Ebb’s “You Could Never Shame Me” from Kiss of the Spider Woman and ended the evening with Cabaret. For the encore, the Chorus reprised their rendition of “You Can’t Stop the Beat” from the Tony Award-winning musical Hairspray to end the program on a high note. From July 17 to 24, members of the Chorus traveled to Montreal to appear in GALA VII. This music festival featured more than 164 choruses from around the world. NYCGMC presented segments from The Sage Cycle, as well as the Hairspray medley, “You Can’t Stop the Beat” in their concert block. The Chorus also had featured performers in “the World’s Greatest No Talent Show.” The Chorus enjoyed their time in Canada and became rejuvenated as they head into their 25th anniversary season.

Charter Member Reminiscence by Jordan M. Barbakoff

alf a lifetime of chorus memories. So, it’s slightly more than half a lifetime, and my addition is off; I’m old, I’m allowed to be colorful. But it makes a catchy title. My Chorus life began in February 1980, a newly returned, 23-year-old native New Yorker, with a seasoned history of community activism. After two years’ college-based leadership in the Albany gay community, I hit the NYC gay community in full bore. Paraphrasing Dolly Levy, I knew spreading myself around New York’s many groups would better my odds of meeting men. One of these was the Gay Switchboard, where most of my calls were of two types: people talking their way through the slippery process of coming out or people wanting to know what there was to do in NYC (remember, this was before the PC, much less the Web).

Late in the winter of 1979, someone asked whether there were any gay men’s choruses here. As it happened, there were two: The New York City Gay Men’s Chorus (NYCGMC) and the breakaway Big Apple Gay Men’s Chorus (BAGMC). I always loved to sing, so I thought it natural for me to be part of this new type of group. But which one should I join? A quick “eeny-meeney” and the die was cast: I picked the NYCGMC. I joined 17 other men in Director Gary Miller’s apartment. My audition: O Come All Ye Faithful. More of a showoff in those days (no comments from the present-day audience please), I asked Gary if he wanted it in English or Latin. He snidely said English would do! A few bars later, I was a baritone. Luckily, I couldn’t read music; this required one hunky, well-built baritone named Bill McClaren to sing the notes into my ear! The first song we did that night: Over the Rainbow, followed by My Buddy, and Brothers Sing On. In those first days, given the widespread gap among the singers’ musical abilities, we often spent weeks learning a song. Today, we sight-read a piece as soon as we get it. As it happened, BAGMC’s director had just quit. The group approached Gary about leading that Chorus as well. Gary— correctly discerning that even NYC couldn’t support two choruses—said he would consider taking the position only if the two groups reassembled. Our concession to BAGMC’s proud, albeit short-lived sense-of-self was in taking their logo and extant charity incorporation. I was proud to help write our new constitution (remaining involved in every subsequent revision), and to serve on that first Chorus Board in the summer of 1980.

So many memories, so little space. We sang anywhere that would have us: street fairs, gay business expos, the Gay Synagogue, and other venues (where we sometimes outnumbered our audience). Change came rapidly, some of it outside of our control: We became a distraught community’s response to the Ramrod Massacre memorial service in the winter of 1980. That December we held our first major concert at Cooper Union’s Great Hall. 1981 would bring our debut at Alice Tully, while fundraising to get 150 men in tuxes for a December Carnegie Hall debut as the first, openly-gay chorus on that world-renowned stage. Many other firsts would follow: an openly-gay chorus with a recording contract, performing at a major (straight) Choral festival, the Kennedy Center, several European tours, and singing with many hundreds of stars from stage and screen. But 1981 also brought the specter of AIDS. Our first casualty was a sweet, handsome tenor named Alan Fraser. A chorus’ worth would follow. As the memorial services grew too numerous to bear, music became both our strength and our balm. Thankfully, the last few years of triple-drug combinations have cut that toll to nearly zero. So, do you wonder whether I am growing tired of it all? Not in the least. I still love the singing, the sense of family. I can even make (or is it fake?) my way through a score of new music (in 25 years, I picked up a few pointers). Then there is the power the Chorus still has, both on me and others: I still get a thrill walking out on stage as I did that first time in Cooper Union. Its impact is something I now share with my partner, Phil (a recent addition to the Bass section, after many years in the audience). It also continues to dramatically affect the lives of the thousands of people we touch through our music. Secondly, and perhaps more importantly, is this: Every September we add a new group of (usually) younger singers to our ranks. I get to regale these new members—many of whom weren’t even born when we started (oy!)—with an important anchor to their present, and our future: the proud history of a founding chorus in the worldwide gay choral movement’s Precambrian past, a now-common history of which they are so proudly a part.

25 season th

Chorus Comes Full Circle in 25th Season

he Chorus will open their 25th Anniversary Season in much the same way as in the past. They will perform first at the Seventh Avenue Street Fair. On Saturday, September 11, the Chorus gathers, along with Uptown Express and Ambassador Chorus, on Seventh Avenue across from Carnegie Hall for performances every half hour during the afternoon. This will be the beginning of the promotional season for the 25th year, and a great kickoff.

Uptown Express will also be busy early as they present their cabaret show, Love Grows Here, at Mama Roseâ&#x20AC;&#x2122;s on September 10 and 11. This fall the Chorus welcomes Jonah Speidel as their new accompanist. They will also welcome some 30 plus new members into its ranks, as they preare for their Silver Anniversary. The year will be filled with songs both new and old, and bring back memories as well as create new ones for the entire membership.

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The Chorus has a busy schedule this fall. They have been invited to participate with Opera Orchestra New York at a concert version performance of Pucciniâ&#x20AC;&#x2122;s La Fanciulla del West at Carnegie Hall on November 22. This is a wonderful opportunity to perform a great opera and sing with Aprile Millo. It is also a great outreach to a different audience and ties in perfectly with the holiday concert, as opera soprano Deborah Voigt is scheduled to appear with the Chorus for Silver Bells on December 16. Prior to the Carnegie performance, the Chorus will present two outreach performances for very worthy causes. On December 7 they will appear at an AIDS benefit concert at the Hostos Center for Arts and Culture in the Bronx. They will then travel to Stony Brook to appear on a benefit program with the New Century Singers on December 10. Both concerts will feature the subgroups and are a great opportunity to spread the mission of the Chorus beyond Manhattan. Looking to the future, the Ambassador Chorus has plans to travel to Atlanta, Georgia, in February to participate in a concert presented by Panache, a subgroup of the Atlanta Gay Menâ&#x20AC;&#x2122;s Chorus. Panache will then come to New York in May to participate in the exchange pro-

gram with the Ambassador Chorus. The Spring and Pride concerts should prove to be memorable as well. Absolutely 80s will be presented in March and takes a look at the music from the decade when the Chorus began. Seasons of Pride will be a recap of memorable music from the past seasons, along with some new works, in celebration of the milestone that the Chorus is reaching. Both of these concerts will be held on two nights, and will be in a new venue as the Chorus moves to the new Skirball Center for the Performing Arts at NYU. The Chorus is moving forward while at the same time returning to its roots. It was just a few blocks west of Skirball that the Chorus made its first public performance in November 1980, at the memorial service at West Fourth United Methodist Church, for victims of the Ramrod massacre. And just several blocks east, at Cooper Union, the Chorus made their official concert debut in December 1980. Thus, the Chorus will truly come full circle. They continue to offer new insights with their music and mission and at the same time keep the history alive with the wonderful music they have performed these past twenty-five years. May the Chorus continue to sing their songs and bring their message of equality for years to come.

Charter Member Reminiscence by Michael Goldstein

by Edgar Colón-Hernández

ne of the most memorable moments for me as a member of the New York City Gay Men’s Chorus occurred very early on in our history. In 1982, as the result of a blind tape audition, the Chorus was invited to perform at the American Choral Directors Association Conference for the Northeastern Division, which was to take place in Baltimore. As could be expected, the event was attended by some of the most famous choral conductors in this part of the country.

It was not until after the invitation had been extended that the ACDA leadership learned of our identity. Apparently the powers that be in the organization succumbed to panic and immediately demanded that we drop the “G” word from our name as a condition to perform at the conference. Needless to say, we were outraged at this hypocritical stance (hypocritical, since it’s a well known fact in the business that, like organists, a lot of choral conductors happen to be gay). Despite ACDA’s threats to rescind the invitation, we fought to perform under our full name. Probably in order to avoid bad press as well as the lawsuit we implied might be filed, the ACDA relented; thus, the New York City GAY Men’s Chorus became the first gay-identified musical organization to perform under the aegis of ACDA. As I took my place on the stage, I scanned the audience, and on their faces I could read total disinterest and boredom, skepticism, and even contempt (yes, some choral directors are straight and homophobic). After the first song, their expressions slowly began to change and soon the audience was right there with us, rapt in our music. The last piece in the short program was John David Earnest’s Only in the Dream, one of our very first commissioned works, and to this date, one of the best pieces of music we have performed in our twenty-five years. As the last powerful, vibrant chord still reverberated through the hall, the audience stood as one in thunderous applause. We were being recognized as a men’s chorus of significance by some of the greatest American choral conductors. For me, that particular ovation, among the many others we have had since, was overwhelming and is etched in mind to this day. The only other time I felt this moved by audience reaction was during our first European tour, at the end of our concert in Cologne; we were already two flights up in our dressing room, but the ovation still continued unabated and we had to go back on stage and ended up performing six encores. That night we felt like rock stars, but I digress. Ultimately, with the ACDA performance, we proved a point: music need not have boundaries. But more importantly, we proved that our pride would not be denied. Our collective voice persists in our demand to be heard, today the same as yesterday, and as it will tomorrow.

Jeffrey Maynard—Artistic Director

tered the gay choral movement when he was hired as Artistic Director of the Gateway Men’s Chorus, just a few weeks before their 1996 GALA performance in Tampa. “It was a real eye opener,” he remembers. Armed with a Master’s degree in Vocal Performance with a concentration in conducting, Maynard’s experience lay in the worlds of classical, symphonic and operatic performance and literature. “To perform programs with profound social meaning,” he stresses, allowed him to understand the importance of the Gay and Lesbian Association of Choruses [GALA Choruses]. “It’s both the expression of our humanity, and of our marginalized position within society.”

Though he’d grown up on the East Coast, and spent a year in New York City before, Maynard made great strides in his career in St. Louis, Missouri; aside from his time with the Gateway Men’s Chorus, Jeffrey worked with the St. Louis Symphony Chorus, and served as Music Director of Nerinx Hall High School for nine years. His women’s choruses toured Europe on several occasions and won international acclaim.

Now beginning his fourth season as Artistic Director of the New York City Gay Men’s Chorus, Jeffrey first encoun-

When he read about the open position in New York, however, he jumped at the chance, and was put at ease in his new settings. “At my audition,” he smiles, “I felt an immediate affinity for [then Principal Accompanist] Les Downs.” Inspired by the leadership of Director

fter twenty-five years,” Artistic Director Jeffrey Maynard muses, “it’s not enough to be gay men on stage.” Our relevance is not that we’ve reached the silver milestone; “we’re going beyond it.”

“

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Emeritus Gary Miller and aided by the refined voice that then-Artistic Director Barry Oliver had given to the men’s chorus, Jeffrey arrived with high expectations in the summer of 2001. And on September 11th, the world changed; Jeffrey’s first season shifted focus as well. “[September 11th] really brought home the importance of what we have to say as gay, lesbian, bisexual and transgendered people.” His plans for a joyous holiday concert, and a “triumphant debut at Carnegie Hall” gave way to a more solemn remembrance, an outreach concert to the community at the Fashion Institute of Technology, and reverent programming that included If and When and Who Are The Brave? Additionally, the Holiday Concert featured guest artist Sam Harris, who arranged his A World of Difference especially for NYCGMC. For Jeffrey, it was a most powerful moment, and brought home the true spirit of the unique circumstances.

“Being gay has taught me tolerance, compassion and humility. It has shown me the limitless possibilities of living. It has given me people whose passion and kindness and sensitivity have provided a constant source of strength.” Jeffrey looks up, quietly. “That piece expresses the honesty of us, stripped down to the bare bones, that we have got to be accepted as people.” It’s a mission that he doesn’t take lightly. In June 2003, Jeffrey conducted the world premiere performance of the Youth Pride Chorus at Carnegie Hall, a group that was his vision even before arriving in New York. In that evening’s playbill, he included the following statement: “The purpose of our Youth Pride Chorus, as well as that of other such choruses in the making around the globe, is to give our youth a place where they can feel welcome and be themselves—whether they have accepted their identity, or whether they have questions about who they are; a place where they can enjoy the merriment of music-making without the pressure and hostility of their misguided peers.”

Steven Brinberg as Barbra with Jeffrey

Asked about the highlights of his first season, Jeffrey quickly brings up Michael’s Letter to Mama, the centerpiece of the June Pride Concert, which featured Tales of the City author Armistead Maupin. The lyrics of the song stress the need for acceptance:

A year and a half later, YPC became the first new performance group to be adopted under the BAPA umbrella. The relationship between the two choruses is key. Jeffrey quips, “We, as queer people, have to continue to question our existence, and how we are making a difference... we [can do that by] maturing, and mentoring the [youth who are] our future. It’s the most obvious and most meaningful way to change [what will be] our history.” The Youth Pride Chorus is only part of Maynard’s commitment to creating a chorus whose social importance is equal to its artistic one; only days before last

season’s spring concert, A Great Generation, NYCGMC interrupted its Sunday rehearsal retreat with an impromptu performance on the steps of City Hall, as part of a protest supporting same-sex marriage. “It was [difficult] to keep my emotions in check. I was hoping the guys would create a powerful sound, and also send out a message. This is an important issue. [Whether or not we want to be married], we have the right to be married.” Jeffrey’s progressive nature doesn’t stop there. He’s worked hard, in programming the past three seasons and the current one, to include works that challenge the conventional wisdom of what you can and cannot put on stage. “[Whether it be drag queens or men in leather], I’m re-examining censorship.” All that censorship accomplishes, he believes, is to reinforce the homophobic doctrines that say that gay men can’t be who they are, can’t love who they love. The 25th season, Jeffrey hopes, will be a mixture of remembering our history, and recognizing the here and now, and also, where we’re headed. “It’s a celebration of the moment, and of the future. Coming here, I knew that there was a sense of history that came before me, and I take the time to listen to those charter and longtime members” who have seen it all. The New York City Gay Men’s Chorus circa 2004, is “an extended family with intergenerational concerns;” but there’s no going back. “Songs [that] we’ve done in the past, like [The King and I’s] ‘We Kiss in the Shadows’ are no longer appropriate. We need to make an active statement that [we will no longer do that].” He hopes that Big Apple Performing Arts [BAPA] can be a part of a new call to action, “an organization that expresses music in all forms of collaborative arts that expresses who we are, what we’re doing, politically, spiritually, physically, on a level that’s available to everyone.” —by Amy Shapiro

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Commissions & Premieres T

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he New York City Gay Men’s Chorus has commissioned new works for male chorus consistently during its existence. Here is a listing of major works which have appeared on the Chorus programs through the years.

COMPOSER

SONG

TYPE

James Adler

Carols of Splendour . . . . . . . . . . . . . . . . . . World Premiere, Commissioned by NYCGMC Songs of Innocence and of Experience . . . . . . World Premiere

Samuel Adler

Praise Thy Saving Power . . . . . . . . . . . . . . . New York Premiere, Commissioned by GALA Choruses Rededication . . . . . . . . . . . . . . . . . . . . . . . World Premiere, Commissioned by NYCGMC

Eric Lane Barnes

Behind the Carols . . . . . . . . . . . . . . . . . . . . World Premiere, Commissioned by NYCGMC, SMC A Great Generation . . . . . . . . . . . . . . . . . . World Premiere, Commissioned by NYCGMC

James Bassi

Before We’re Through . . . . . . . . . . . . . . . . . World Premiere, Commissioned by NYCGMC Ringing in the Season . . . . . . . . . . . . . . . . . World Premiere, Commissioned by NYCGMC

Leonard Bernstein

If You Can’t Eat You’ve Got To. . . . . . . . . . . New York Premiere

William Bolcom

Maha Sonnet . . . . . . . . . . . . . . . . . . . . . . . World Premiere, Commissioned by NYCGMC The More Loving One . . . . . . . . . . . . . . . . . World Premiere, Commissioned by NYCGMC

Roger Bourland

Flashpoint/Stonewall. . . . . . . . . . . . . . . . . . World Premiere, Commissioned by NYCGMC, SMC, GMCLA, GMCW Hidden Legacies . . . . . . . . . . . . . . . . . . . . . New York Premiere

John Burge

Songs of War . . . . . . . . . . . . . . . . . . . . . . . World Premiere, winner NYCGMC First Composer Contest

Ann Hampton Callaway

God Bless My Family . . . . . . . . . . . . . . . . . World Premiere, a gift from the composer

Craig Carnahan

Waltzes for Men . . . . . . . . . . . . . . . . . . . . . World Premiere, Commissioned for NYCGMC

Edgar Colón-Hernández

Procesión jíbara . . . . . . . . . . . . . . . . . . . . . New York Premiere

David Conte

Christmas Intrada . . . . . . . . . . . . . . . . . . . New York Premiere Elegy for Matthew. . . . . . . . . . . . . . . . . . . . World Premiere, Commissioned by NYCGMC Good-bye My Fancy . . . . . . . . . . . . . . . . . . World Premiere, Commissioned by NYCGMC Hymn to the Nativity . . . . . . . . . . . . . . . . . World Premiere, Commissioned by NYCGMC Invocation and Dance . . . . . . . . . . . . . . . . . New York Premiere

John Corigliano

Of Rage and Remembrance . . . . . . . . . . . . . World Premiere, Commissioned by NYCGMC, SMC, SFGMC

Julie Dolphin

A Song for Yule . . . . . . . . . . . . . . . . . . . . . World Premiere, Commissioned by NYCGMC

John David Earnest

Beginnings . . . . . . . . . . . . . . . . . . . . . . . . . World Premiere, Commissioned by NYCGMC Jubilation. . . . . . . . . . . . . . . . . . . . . . . . . . World Premiere, Commissioned by NYCGMC, BGMC Only in the Dream . . . . . . . . . . . . . . . . . . . World Premiere, Commissioned by NYCGMC Open Wide Your Eyes . . . . . . . . . . . . . . . . . World Premiere, a gift from the composer The Incomparable Light . . . . . . . . . . . . . . . World Premiere, Commissioned by NYCGMC

Frank Ferko

Humoresques . . . . . . . . . . . . . . . . . . . . . . . World Premiere, winner NYCGMC Second Composers Contest

David Friedman

Pride for All Ages . . . . . . . . . . . . . . . . . . . . World Premiere, Commissioned by NYCGMC We Are Proud. . . . . . . . . . . . . . . . . . . . . . . World Premiere, Commissioned by NYCGMC

Ricky Ian Gordon

Angel Voices of Men . . . . . . . . . . . . . . . . . . World Premiere, Commissioned for NYCGMC Love, My Sweet Rain . . . . . . . . . . . . . . . . . World Premiere, Commissioned for NYCGMC

Charles Gounod

La Liberté éclairant le monde . . . . . . . . . . . New York Premiere

Philip Hagemann

Two Shakespeare Sonnets . . . . . . . . . . . . . . World Premiere, a gift from the composer

Paul Halley

Birds of Fire . . . . . . . . . . . . . . . . . . . . . . . . World Premiere, Commissioned by NYCGMC

Calvin Hampton

Fanfare for the Uncommon Man . . . . . . . . . World Premiere, Commissioned by NYCGMC Spring Was Late. . . . . . . . . . . . . . . . . . . . . World Premiere, Commissioned by NYCGMC

David Hurd

There Is A Budding Morrow in Midnight . . . . World Premiere, Commissioned by NYCGMC

Joseph Jennings

Harambee (Celebration of Kwanzaa) . . . . . . World Premiere, Commissioned by NYCGMC Loving Again . . . . . . . . . . . . . . . . . . . . . . . New York Premiere, Commissioned by GALA Choruses

Dean X Johnson

All of Us . . . . . . . . . . . . . . . . . . . . . . . . . . World Premiere, Commissioned by NYCGMC Can’t Wait . . . . . . . . . . . . . . . . . . . . . . . . . World Premiere, Commissioned by NYCGMC Free to Love . . . . . . . . . . . . . . . . . . . . . . . . World Premiere, Commissioned by NYCGMC Joyful and Triumphant . . . . . . . . . . . . . . . . World Premiere, Commissioned by NYCGMC Making Spirits Bright . . . . . . . . . . . . . . . . . World Premiere, Commissioned by NYCGMC Waken! . . . . . . . . . . . . . . . . . . . . . . . . . . . World Premiere, Commissioned by NYCGMC Waking the World with Song . . . . . . . . . . . . World Premiere, Commissioned by NYCGMC We Live . . . . . . . . . . . . . . . . . . . . . . . . . . . World Premiere, Commissioned by NYCGMC Welcome! Sing, Be Merry! . . . . . . . . . . . . . . New York Premiere

John Kuzma

Unto Us A Child Is Born. . . . . . . . . . . . . . . World Premiere, Commissioned by NYCGMC

Libby Larsen

Deck the Halls . . . . . . . . . . . . . . . . . . . . . . World Premiere, Commissioned by NYCGMC Everyone Sang . . . . . . . . . . . . . . . . . . . . . . World Premiere, Commissioned by the COAST Festival Night of the Full Moon . . . . . . . . . . . . . . . . World Premiere, a gift from the composer Ringeltänze . . . . . . . . . . . . . . . . . . . . . . . . New York Premiere Welcome Yule . . . . . . . . . . . . . . . . . . . . . . . World Premiere, Commissioned by NYCGMC

Carol Matthews

Jubilations . . . . . . . . . . . . . . . . . . . . . . . . . World Premiere, Commissioned by NYCGMC Chamber Choir

Trente Morant

Eya Ache: A Song for Kwanzaa . . . . . . . . . . World Premiere, Commissioned by NYCGMC, SMC

Ron Nelson

Ring Out, Wild Bells. . . . . . . . . . . . . . . . . . New York Premiere

Stephen Paulus

Too Many Waltzes . . . . . . . . . . . . . . . . . . . World Premiere, Commissioned by GALA Choruses

Daniel Pinkham

Christmas Cantata (new TTBB ver.) . . . . . . World Premiere, Commissioned by NYCGMC Fanfares. . . . . . . . . . . . . . . . . . . . . . . . . . . New York Premiere Lauds . . . . . . . . . . . . . . . . . . . . . . . . . . . . World Premiere, Commissioned by NYCGMC

Stuart Raleigh

When I Heard at the Close of the Day . . . . . New York Premiere Words of the Future . . . . . . . . . . . . . . . . . . World Premiere, Commissioned by NYCGMC

Mark Riese

God Rest Ye Merry, Gentlemen. . . . . . . . . . . World Premiere, Commissioned by NYCGMC Then and Now . . . . . . . . . . . . . . . . . . . . . . World Premiere, Commissioned by NYCGMC

Dennis Riley

Winter Settings . . . . . . . . . . . . . . . . . . . . . World Premiere, Commissioned by NYCGMC

Ned Rorem

Love Alone . . . . . . . . . . . . . . . . . . . . . . . . . World Premiere, Commissioned by NYCGMC Whitman Cantata . . . . . . . . . . . . . . . . . . . World Premiere, Commissioned by the COAST Festival

Howard Rosner

Freedom, Merriment and Joy . . . . . . . . . . . . New York Premiere

Alex Rybeck

Sing Out . . . . . . . . . . . . . . . . . . . . . . . . . . World Premiere

Robert Seeley

A Jubilant Gloria . . . . . . . . . . . . . . . . . . . . New York Premiere Fanfare and Noel . . . . . . . . . . . . . . . . . . . . World Premiere, Commissioned by NYCGMC In This Heart of Mine . . . . . . . . . . . . . . . . . World Premiere, Commissioned by NYCGMC Naked Man . . . . . . . . . . . . . . . . . . . . . . . . New York Premiere Song of Democracy . . . . . . . . . . . . . . . . . . . World Premiere, Commissioned for NYCGMC

Jonathan Sheffer

The Lover’s Plea . . . . . . . . . . . . . . . . . . . . . World Premiere, a gift from the composer

Gregg Smith

Good Cheer . . . . . . . . . . . . . . . . . . . . . . . . World Premiere, Commissioned by NYCGMC Sonorities for Men’s Voices . . . . . . . . . . . . . New York Premiere

Stephen Sondheim

Make the Most of Your Music . . . . . . . . . . . New York Premiere

Richard Strauss

Friedenstag . . . . . . . . . . . . . . . . . . . . . . . . New York Premiere, as guests of Collegiate Chorale

Conrad Susa

Arise and Wake! . . . . . . . . . . . . . . . . . . . . . World Premiere, Commissioned by NYCGMC Carols and Lullabies . . . . . . . . . . . . . . . . . . New York Premiere Christmas Garland . . . . . . . . . . . . . . . . . . . New York Premiere Christmas Reverie. . . . . . . . . . . . . . . . . . . . World Premiere, Commissioned by NYCGMC, SMC Six Madrigals. . . . . . . . . . . . . . . . . . . . . . . World Premiere, Commissioned by NYCGMC The Chanticleer’s Carol. . . . . . . . . . . . . . . . World Premiere, Commissioned by NYCGMC Winter Serenade. . . . . . . . . . . . . . . . . . . . . New York Premiere

Glen Vecchione

Spinnin’ Round . . . . . . . . . . . . . . . . . . . . . World Premiere, a gift from the composer

Tom Wilson Weinberg

Sixty Years with Bruhs and Gean . . . . . . . . . World Premiere, Commissioned by NYCGMC

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Scrapbook e offer here some pictures taken over the past 25 years. Though not complete, we hope they are representative of the different events and moments that Chorus members have had during their first quarter century. We are thankful to all the members who offered snapshots for this collection. We hope these offer some insight into the past and present, and bring a smile or thoughtful remembrance to you.

1. Just Good Friends 1981 - Page Jackson, Peter Clem, Aurelio Font, Larry Moore 2. Pride 1985 with Rollarena 3. Pride 2004 4. Carnegie 1992

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1. 2. 3. 4. 5. 6. 7. 8.

Sept. 2001 - James Followell at piano with Bill Brown Fall 1982 - Chorus in Washington DC April 1983 - 20th Street Fair June 1988 - Celebrating at the Boston Fountain Fall 1991 - Walk of Champions, w/ Dean X conducting June 1994 - Unity Chorus at Gay Games Opening Ceremony March 1988 - Backstage at Ten Cents a Dance Pride 2004

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1. 2. 3. 4. 5. 6. 7. 8.

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May 1993 AIDS Walk Dec. 2002 Ambassadors on Today Show Sept. 1983 - COAST massed choruses Dec. 1987 - Aunt Ruthie wins Chorus Queen March 1997 - Backstage at BAM Salute to Sondheim June 1981 - Christopher Street Liberation March Dec. 1995 - Chorus in Concert August 1998 - Gary atop pyramid before boarding the Chunnel

3 6

1. 2. 3. 4. 5. 6. 7. 8.

June 2001 - San Francisco GMC with NYCGMC at Carnegie Sept. 1988 - Chorus in Paris June 1995 - HRH Tori Adore and Sir Stan lead parade Aug. 1993 - Mostly Mozart Dec. 2003 - New Members backstage at Carnegie Oct. 1985 - Halloween Party June 1998 - Waiting for rehearsal to resume 1982 New Yorker article

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1. Feb. 2003 - Singer Billy Porter flanked by Mark Haddad and Eddie Ruiz at Out on Stage 2. Nov. 1981 - Appel Farm Retreat 3. 2003 - HRH Witti RepartĂŠe and Sir Gary at bowling party 4. June 1993 - Roger Bourland, Gary Miller, John Hall for Hidden Legacies 5. Sept. 1988 - Europe Tour by Cologne cathedral 6. May 1996 - Moonlit Serenade 7. June 1998 - Pride Parade 8. Dec. kisses with Rodgee Cao and Rich Rockwell

7 3

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1. Aug. 1998 - With Seattle Menâ&#x20AC;&#x2122;s Chorus in Amsterdam 2. June 1988 - Boston GMC and NYCGMC on stage 3. 1986 - Gary conducting a rehearsal 4. June 2001 - Kristin Chenoweth with Barry Oliver 5. Pride 1989 6. Dec. 2002 - LGBT Center Concert 7. July 1982 - Church of St. Luke in the Fields Benefit concert 8. Dec. 1992 - Retreat with the Oreos - Willie Smith, Carl Ray, Jose Fernandez

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1. June 1983 - Christopher Street Liberation March 2. Dec. 1992 - Official Carnegie Hall picture 3. June 1998 - Robert Espindola, Gary Miller and Robert Seeley 4. First Chorus participated AIDS Walk 5. June 2002 - Backstage for Michael Mouse concert 6. Pride 1988 - Before leaving for Europe 3 7. Pride 1989 8. Dec. 1992 - HRH Magnolia atop Sir Brad making her entrance at retreat

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1. Pride 1984 - NYCGMC in Washington, DC 2. Mar. 2002 - We Are Family 3. June 1998 - Piano Four Hand - Barry Oliver with Jay Egelberg 4. June 1983 - Christopher Street Liberation March 5. June 2004 - Charter Members and Royals on Float 6. Feb. 2003 - Out on Stage Mitchell Anderson with Executive Director Mark McDonald 7. June 2002 - Music at the Shore in Asbury Park, NJ 8. June 1998 - Ann Hampton Callaway during rehearsal

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1. Memorial Quilt Panel from AIDS Memorial Quilt 2. June 1983 - Pride Rally at Central Park, with Larry Vrba, center 3. June 1989 - Our Brothersâ&#x20AC;&#x2122; Keeper concert, Albany, NY 4. Pride 1990 - Gary looking thoughtful 5. June 1988 - Jeff Bowles catches a nap on the way to Boston 6. 1986 Rehearsal 7. June 2004 - Leslie Downs at piano with Amy Shapiro for Ambassador concert 8. 1983 - Members of the Inaugeral Volleyball Game

8 4

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1. Oct. 1987 - Main Stage Rally - National March on Washington 2. Dec. 1992 - Stage Manager Ellen Osborne on stage 3. Pride 1988 - In Front of St. Patrickâ&#x20AC;&#x2122;s Cathedral 4. June 1998 - Never Ever 5. Dec. 1981 - Carnegie Hall debut concert 6. June 2004 - Marriage Medley at Avery Fisher with Chris Beck and James Matte 7. Pride 1985 8. April 1983 - Follies at Town Hall

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Dean X Johnson—A Remembrance

n January of 1998, obituaries in The New York Times, New York Blade, and Washington Blade called Dean X Johnson “a gifted composer, conductor, arranger and pianist.” What the obituaries failed to capture was the degree of professionalism, artistry and virtuosity that Dean poured into every performance, both at

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the piano and on the podium, and all the ingenuity and consummate craftsmanship evident in the original works and arrangements that flowed so prolifically from his brilliant mind. Dean Johnson (no X at the time) was born on July 22, 1955 in Atlanta, Georgia. He received his B.A. (cum laude), and MA.

Dean also wrote in Music from music for a number the University of of other organizaNorth Carolina, tions that have in Chapel Hill; nothing to do with he also majored the Gay choral in Political movement. With Science. Dean’s Mark Medhoff, he association with wrote The Majestic NYCGMC began JUD, a musical in 1984 when western. His seven he became children’s shows the assistant are in repertory in conductor and Dean with his buddies—(back row L to R)—Dean, Jay Farrar, Edgar Colón-Hernámdez, Ed Jones, J.R. Robbins, Tom McQueen. Kent Peterson and Jeff Bowles in front. the South, includprincipal pianist ing Winnie the of the New York works includes seventeen very diverse, Pooh (perhaps the only children’s show City Gay Men’s Chorus. His tenure lastoriginal compositions, and ten arrangewhere a bear performs a burlesque numed until the spring of 1996. During this ments; unfortunately, a great number of ber with a jar of honey). He was also time, he was also the conductor of its Dean’s music has yet to be published. awarded a new composer’s grant to Chamber Choir. compose music for Damsels and Witches Aside from the numerous pieces for the In 1986 he discovered that there was and Kings and Things, which toured New Chamber Choir and for the main chorus another performer, a female impersonYork City parks and played at Lincoln itself, Dean composed or arranged works ator, who was already using the name Center in the summer of 1987. for many other choruses within the Gay Dean Johnson professionally, at which and Lesbian Association of Choruses Based on the life of tennis star Martina time he decided that, being unique, he (GALA) network. In addition to Navratilova, his short opera Song of would from thereon be called Dean X NYCGMC, his works have been recordMartina premiered in Carnegie Hall in Johnson (most emphatically X without a ed by such diverse ensembles as the 1995 with Lea DeLaria in the title role; it period). From that point on, within the Twin Cities Gay Men’s Chorus, Boston has since found a niche in the repertoire chorus he was most usually referred to Gay Men’s Chorus, South Coast Chorale of gay choruses around the country. Dean as Dean X. In 1987, I learned that his (Long Beach, CA), Windy City Gay received a grant from the National Endowfull name was really Samuel Dean Chorus, Seattle Men’s Chorus, Gay Men’s ment for the Arts to write the opera East Johnson, so, playing to the Southern Chorus of Los Angeles, Cincinnati Men’s River Bridge, which was commissioned to boy in him, I affectionately started callChorus, and Atlanta Feminist Women’s celebrate the centennial of the Brooklyn ing him Sammy Dean—with affection, Chorus. Among his most popular pieces Bridge. His Commemoration Anthem was not in jest; at first he was a bit mortified are, Joyful and Triumphant, Making Spirits performed at the Kennedy Center for the by this, but eventually grew to like it Bright, Welcome! Sing, Be Merry!, Christmas Arts in Washington, D.C., and his disco and this new appellative soon caught Brunch, and his arrangements of Silent song, Clappin’ My Way to Disco Heaven, on as well. Night and Lo! How a Rose E’er Blooming, was made into a music video. As a composer and arranger, Dean X was the last of which has been recorded by As principal accompanist of NYCGMC, indeed as prolific and active as they several choruses including NYCGMC. Dean’s work was beyond compare, come. His catalogue of published choral

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Dean X at the piano during the 1991 European Tour

bringing a caliber of musicality seldom found in mere accompanists. “Dean had extraordinary gifts for improvisation and good humor,” says Gary Miller, former music director of the New York City Gay Men’s Chorus. “He knew every trick in the book to make us sound like a million dollars.” He also worked with numerous cabaret and pop singers, including Eartha Kitt, Chita Rivera, Elaine Stritch, and Debbie Shapiro Gravitte, among many others, and opera stars such as Frederica von Stade, Kurt Ollmann and Joyce Castle.

what idiosyncratic nature, these Sunday afternoon musical extravaganzas always covered a vast, often quirky and atypical, range of repertoire, usually ranging from the Middle Ages or the Renaissance to the present.

In addition to NYCGMC and its Chamber Choir, Dean conducted the Oto Yurikago Kai Children’s Choir in Tokyo, the chorus of the American Express Goodwill Tour in Singapore and Hong Kong and the European and African tour of West Side Story with American Dance Machine.

As a composer, Dean’s works for the Chamber Choir reflected his belief that “programming must be affected by the times.” His experimental “theatre” pieces performed in concert by the Chamber Choir included MOSAIC: Gay Lyrics through the Ages, a piece which traces the feelings of gay men and women in poetry from the third century BC to the present day. Cantata 78.87, Living Now uses poetry and original lyrics to trace gay life in New York from 1978 to the present, and deals with the community coping with and surviving through the AIDS crisis.

While Dean X was indispensable during his tenure as principal accompanist and assistant conductor, it is as the Director of the Chamber Choir where his influence was felt the most. During this time he planned and conducted twelve remarkable Spring Concerts with the Chamber Choir. Reflecting his some-

Music for the Age of Healing co-composed with Paul Wiley, had the most personal roots for the composer. In November of 1986, Dean was hit and run over by a truck in Manhattan, the front wheel of the truck going over both legs. “My life could have ended at 40th Street and 8th Avenue,” Dean stated. “The doctors at

first said I might not walk again. Then they said I would have a serious limp and would need a cane. Then it was just a serious limp, then I would never jog again.” Despite this dire forecast, Dean soon began walking again, without a limp or cane, and soon after resumed jogging on a regular basis. Dean credited the return of his legs to their whole state to the principles of Louise Hay and the power in thought belief. It is this belief in the power of spiritual influences and the power of the mind that led to Music for the Age of Healing which embodied subliminal healing texts and positive suggestions for the cleansing of the mind and spirit woven into the music. Even though he had the “power” to make Chamber Choir concerts just a venue for him to shine above all others, Dean X always believed in sharing the spotlight. In every Chamber Choir Concert Dean made sure that every single member had a moment to come to the fore. Each member always had a solo, be it a five-word solo or a fiveminute one. In the case of those members who had compositional skills, every concert had a new piece by each of

“Either this wallpaper

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those members. As one of those to be so fortunate along with Kent Peterson and Tony Shenton, I will be eternally grateful to Sammy Dean for his constant encouragement, his belief in my talents, limited as they may have been, allowing me to hone my skills as an arranger and composer, and providing a venue in which my music could be heard. In January of 1998, Dean X lost his battle with AIDS and was taken too early from our lives. When he died, New York City lost one of the brightest musical stars ever to shine over our skies. The obituary in Variety described him as “a leading figure in the worldwide gay and lesbian choral movement, and a popular accompanist and musical director in the cabaret world.” One of the most important things that all the obituaries failed to capture was the essence of the man and the extraordinary measure of his humanity. Sammy Dean was a true and loyal friend, loved by all who knew him. His deep-rooted commitment to gay causes pervaded throughout his life. He had an unflagging optimistic outlook in life and a dry sense of wit and humor. Those of us who knew him, sorely miss him to this day. For myself, I miss his buoyant spirit, his guidance, and our conversations about Early Music, a love of which we shared. I still look back fondly upon our 1991 European tour when we were roommates and shared many adventures, escapades, and misbehaviors.

Dean X leading a Chorus warmup

Dean’s favorite quotation: Oscar Wilde on his deathbed: “Either this wallpaper goes or I will.” Finally, every biography of Dean X Johnson ever written always ended with the sentence: Dean X Johnson was an Eagle Scout.

goes or I will.” —by Edgar Colón-Hernández

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Chamber Choir

Chamber Choir 1995

had no idea when I joined the NYCGMC in September of 1994 how profoundly spiritual an experience I would have making music, or how hungry I was for the practice of it. Fortunately, I was, in those days, partially employed and had time on my hands. So, within a month of starting rehearsals with the big Chorus, I joined the NYCGMC Chamber Choir. I filled Monday and Thursday nights, tested my memorizing ability to the nth degree, and discovered that listening to great music, which I had done for years, could not begin to compare with the sometimes frightening, but always fortifying, electric thrill of making music.

In a small chamber choir (ours was about one-tenth the size of the NYCGMC), individual talents as well as mistakes are more exposed, and the potential for disaster is multiplied—but so is the pleasure when obstacles are

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overcome. For me, singing with a small group is pure adventure. Part of the joy comes from overcoming fear. No matter how well prepared one is, there is always the potential for a split-second of memory failure or diverted attention that can result in the musical misadventure we refer to as a “train wreck.” One singer derails, and the others, pulled suddenly off balance, follow one by one, voices screeching against each other like wheels straining against the rails at unintended angles. Happily, we never completely derailed. Making music with the Chamber Choir was by far the longest, most persistently challenging, and consistently rewarding of my experiences with the NYCGMC. I stayed in it from October of 1994, through its transformation into the current Ambassador Chorus, until the start of the 2002-2003 season.

My 1994 audition for Dean X Johnson was an unforgettable experience all by itself. One does not normally expect to enjoy an audition. I assumed I’d croak my solo in breathless panic while a bored maestro twiddled half-heartedly at the piano. But this audition seemed to transform spontaneously into a collaboration, as Dean worked at the piano with such focus and energy that I was pulled out of myself and my dread into fearless flight into the unknown—a place this acrophobe had never gone before. My recollection is of a somewhat unsteady procession from terror to giddy assurance. An entry from my journal for that audition day records that I’d felt less “auditioned” than “taken care of, in the best sense of the word.” I really, really wanted to sing well for this man. At my first chorus concert and simultaneous Chamber Choir debut, in Carnegie Hall at Christmas of 1994, we sang what is still a great favorite of mine—one I wish we’d do again— Dean’s arrangement of Fred Small’s Everything Possible—part lullaby, comforting and calming, and part exhortation, reassuring and challenging (“You can be anybody you want to be, you can love whoever you will”). What winged dreams might this lullaby engender in a sleepy child? My sometimes faulty memory recalls that Dean, focused as always on the music, absent-mindedly conducted this piece in Carnegie Hall with a broken pencil. Or maybe I dreamt it. Over the years, we did the customary Chamber Choir pieces, concert sets, and the regulation gigs, representing the big Chorus in venues too small for 200

guys. These were interesting and fun. We performed for the Center’s Garden Parties, HRC dinners, SAGE functions, and on one notably hilarious occasion, sang Hey, Big Spender to accompany Joan Rivers’s entrance into her daughter’s wedding ceremony. But occasionally, there was a different and tantalizingly dangerous opportunity as well. These were, and still are, my favorite musicmaking memories.

self, opening with his Credo (I believe in us!), and closing with The Song of Martina, a musical bio of Martina Navratilova using snippets of well-known arias and loony lyrics (“the Czech is in the mall”). We were preparing all of that music, as well as other pieces for a NYCGMC season concert AND the Stravinsky night all at the same time. I simply don’t know how we did it—it was daunting, but at no time did it ever seem futile.

In the spring of 1995, with serene confidence, Dean took on the task of preparing the Chamber Choir to provide live accompaniment for a dance performance at Hunter College. That was odd enough—but the music was a 7-minute cantata, Zvezdoliki, a 1911 piece by Igor Stravinsky, crammed with the composer’s trademark dense tone clusters and ear-flaying dissonances, alternating with chanting and shimmering resolutions. Tough enough stuff, but to this spicy menu was added the necessity to sing the thing in Russian. The piano accompaniment was nearly all tremolo with no regular pulse to count along with. A single rhythmic misstep on our part, and both the dancer and his choreography could become a slab of acridly smoking toast. That breathtaking, minimally costumed young Nijinsky would have to be taken very good care of. But we pulled it off (only the cantata, alas, not the costume) and our Nijinsky was adorably grateful. I won’t lie to you and say that taking care of that guy wasn’t as powerful a motivation as cracking Igor’s thorny score.

I might have appreciated Dean X Johnson much more than I did had I been around in choral circles long enough to realize how singularly rare a blend of personality and talents he combined. But that appreciation would take more time. As it was, the next time I sang a Chamber Choir concert, it was one dedicated to Dean’s memory.

Another huge adventure was the annual “May Concert” of the Chamber Choir. We were so busy that year that the May concert was postponed for months and publicized, somewhat perversely, as “The May Concert in October.” We rehearsed this monster Merkin Hall concert through the summer. It was a marathon 3 hours plus in length and featured works by Palestrina, Vaughan Williams, Haydn, Grieg, Schumann, Schubert, Poulenc, and Bartok. Also on the program were works by Dean X him-

In Dean’s place on the podium at that memorial concert in May of 1998 was Barry Oliver, who, the year before, had assumed Dean’s roles as the NYCGMC Principal Accompanist and Chamber Choir Director, and who would become the Chorus’ second Artistic Director. I cannot imagine that Dean himself could have crafted a more moving and impassioned performance of his own Deep River than we did that night, with his friends and his sister just feet away in the front row. Barry worked that piece very hard in rehearsal, as it was arguably the concert’s center of gravity. Barry, more reserved than Dean and possessing an entirely different style, nevertheless unearthed a profound depth of feeling through the sheer musicianship he brought to his preparation of our performance. Perhaps the biggest thrill I’ve ever had as a member of the Chamber Choir was a gig we were hired to do at Carnegie Hall with Keith Lockhart and the Boston Pops Orchestra in April of 2000. Barry Oliver took on the task of preparing 20 gay men to join two first-rate choruses— namely the Tanglewood Festival Chorus and the Lawrence Hamilton Ensemble— for performances of With Voices Raised

(a New York premiere), Lift Every Voice and Sing, and The Star-Spangled Banner. And prepared us he did! At the first (and only!) rehearsal, we were the equal of our colleague choirs, though they had been singing this stuff forever, and had even recorded all 3 pieces the year before for BMG. We were on the same page from the first downbeat. Tanglewood’s conductor was impressed at how well prepared we were, and we were very grateful to Barry for ensuring that, in such renowned choral company, we knew exactly what we were doing. It was an enormous thrill to be a part of that huge ensemble, and With Voices Raised would have been thrill enough all by itself. Composed by Stephen Flaherty (Ragtime) with writer Lynn Ahrens, it is a moving celebration of diversity, with chorus and orchestral section interspersed with readings from the works of Walt Whitman, Mother Jones, John F. Kennedy, Malcolm X, and Abigail Adams, among others. A year later, we premiered the male chorus arrangement of this work with the NYCGMC and the Gay Men’s Choruses of Boston and Washington. Although I miss the intimacy and the adventure of singing in a small group, there is still the joy of rehearsing and performing with the large chorus. To me, there is no greater experience of belonging, of working together, of, well, legal public intimacy with 200 other gay men than that to be had when we bend our individual wills and attention in one direction to breathe life into the notes on the page to produce music. This joy is intensified when the music we perform is new, well-crafted, and sets the words of the visionaries, the poets, the prophets and the writers—those with their fingers on the pulse of our culture—in ways never heard before. That is an adventure regardless of the size of the ensemble. —by Bob Collins

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Casey Hayes—Music Director, Ambassador Chorus

asey Hayes was born and raised in Indianapolis, Indiana, where he studied piano with Armilla Zix Wilson, well known for producing outstanding players. He was also fortunate to study with Edgar Roberts of the Julliard School.

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then I enrolled at Butler University in Indianapolis, to study Music Education.”

“Although I love playing the piano,” he writes, “it was never quite the passion that teaching was, even from my youth.” Instead, Casey preferred running a mock “school” for neighborhood kids—those struggling with their homework—or writing mathematical articles for various school newspapers. Eventually he shed the math thing, but the love of teaching continued to stay. “Once in high school, I decided to combine my two greatest loves, music and teaching,” he writes, “and

Initially, Casey’s focus was on instrumental music, with the exception of a brief brush with what the future would one day hold. “While in Chicago, one particularly blustery day, a friend and I were walking past Rose’s Record Store when the most beautiful choral singing was being piped out onto the sidewalk,” Casey remembers. “I immediately walked in and told the clerk that I simply had to have the recording of that music. It was the NYCGMC’s New York, New York album.” Casey then proceeded to wear out two LP’s and one CD of that recording, totally unaware that 19 years later he would be a part of that Chorus.

me the position of Music Director of The Ambassadors and Assistant Director of the NYCGMC.” Casey feels he just lucked into his position. Over the next fifteen years, Casey’s life revolved around creating some of the finest high school concert and marching bands in the country; having won state and national titles with both. After a brief stay in Seattle, Washington, Casey was back in Indiana where he joined the Indianapolis Men’s Chorus. His main reason for doing so was to meet other gay men whose interests were similar to his. “My life was changed forever,” he says. “The sound, the friendship, the support as I came to grips with my own sexuality out in the open. I began to realize that this is where my future lay…in affecting people the way I had been affected.” Casey went back to school, enrolling in Butler University to study Choral Conduction with Henry Leck, one of the nation’s foremost experts in the field. He also studied Choral Arranging and Composition with James Mulholland, also one of the best in his field. In 2003, Casey moved to New York City after being accepted into New York University, where he is studying for his PhD in Music Education, specializing in the educational outreach of the New York City Gay Men’s Chorus. “When I signed up for chorus auditions, I had made reference to my being the former Assistant Director and Accompanist of the Indianapolis Men’s Chorus.” Casey recalls. “Jeffrey called and asked if he could meet with me and, after checking out references and meeting to discuss philosophy and education, he offered

When asked what his goals were for the small ensemble, The Ambassadors, Casey replied with, “My goals center on creating a unified ensemble with a distinctively musical sound. I want the ensemble to be extremely versatile and able to perform many different styles with a high degree of excellence.” He continues with his philosophy, “I believe that the Ambassadors should act as musical ambassadors to the GLBT community, as well as the heterosexual community and to themselves…to aid all who hear in being educated in the power that music has to transform lives.” Having worn so many different hats in the musical world, one wonders which Casey prefers best. “I do enjoy the performance aspect of accompanying,” he replies. “However, it lacks the creativity I desire to ‘mold’ a finished product.” Casey feels his creative process is limited as Assistant Director, since his job is to assist. “I truly love the job of directing a small ensemble,” he beams. Being able to choose the music, create the sound, and mold the finished product is what Casey enjoys most. “However, and most importantly, I get to share in the camaraderie that is unique to a small ensemble.”

Ambassadors. While singing Love, You Didn’t Do Right By Me, the sound began to gel. “The sound coming forth actually brought tears to my eyes.” Another moment was his Carnegie Hall debut. “Not the actual conducting, mind you, but the events backstage leading up to the performance,” he states. The Ambassadors had welcomed Casey to the fold with a gift of cufflinks and a sweat suit (Casey loves sportswear). He was overcome with emotion. “My third would be the concert at St. Luke’s. Just being able to say that I brought the ensemble back to its roots, where Dean X [Johnson] meant for them to be, well, it was moving to say the least,” Casey remembers. Casey finds it hard to balance everything that he is doing—studying, teaching, conducting—but being as organized as he is, things get done when they should. “I don’t get to see my family that much, but it makes our time together on the weekends much more special,” he states. “I hope to stay with the NYCGMC as long as they want me, and look forward to many, many years of creative joy with the Chorus.”

“I have had a few extraordinary moments” in New York, Casey states. His first was during a rehearsal by the

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Leslie Downs—Accompanist

hat he’ll miss most, he says, is “sitting at the piano, on the stage of Carnegie Hall... watching the Chorus enter to thunderous applause.” The statement is all too telling; as Principal Accompanist for NYCGMC for the past six seasons, Leslie Downs has always made the chorus’ success his primary focus.

Playing the piano since the age of 9, the then-42 year old Shreveport, Louisiana native holds performance degrees from Centenary College of Louisiana and

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from Yale University. He had been living in New York for ten years before auditioning for Barry Oliver in 1998, working as the Accompanist Coordinator for the Actors Studio Drama School, and teaching piano at Berkeley Carroll in Brooklyn, and P.S. 41 in Manhattan. “I found out about the job from [NYCGMC member] Bob Collins,” he says. “I sent a resume and recording to Barry Oliver, and then I had a live audition. There were four guys... and I was Barry’s first choice.”

His first concert, Seasons of the Heart (December, 1998) remains his favorite, though his favorite piece to play, as an accompanist is Robert Seeley and Robert Espindola’s In this Heart of Mine, which the Chorus has sung on numerous occasions. “My role,” he explains, ever humble, “has been to support the chorus and the Artistic Director.” Les, however, has expanded the role of the accompanist; “I also tried to be a part of things, and not just a set of hands doing their job, and collecting a check.” Whether it be in spending hours making rehearsal CDs, rehearsing with and acting as a mentor to the members of the Youth Pride Chorus, traveling with the Ambassador Chorus, or coaching a chorus member for a solo audition, Les’ pride and indefatigable dedication to his work is obvious. “The main thing,” Les says, when asked about his versatility in working with two Artistic Directors in his tenure, “is that the accompanist has to try to get into the mind of the conductor, and should be supportive of the work the conductor is trying to accomplish. The two ADs [that] I’ve worked under are completely different, musically, and have different visions, and of course, very different personalities!” Although, he says working with several different choral conductors in his career has allowed him to adjust easily. Appropriately, his favorite moment on stage with NYCGMC was the conductor change during New York, New York in the Chorus’ 20th

Anniversary Pride Concert, during which Gary Miller, Conductor Emeritus, took the baton from then-Artistic Director Barry Oliver. Out as a gay man since the age of eighteen, Les has gained more from his work with the Big Apple Performing Arts choruses than simply musical experience, though he does credit the past six seasons for giving him “more security in playing different styles of music.” Personally, he’s been given “an understanding of the importance of having a gay family,” and notes that his chorus friendships have made him realize that he is a “more likeable person” than he thought. To the members that he has

touched and inspired for the last six years, “likeable” is an understatement. From reading Jeffrey’s mind during a harried retreat, to socializing over drinks at the Monster, Les has become a beloved and irreplaceable member of the BAPA family. In the fall of 2004, Les headed back to his hometown to take an incredible position at his alma mater, Centenary College, teaching piano majors, working as the staff accompanist, and overseeing the student accompanists. It’s an opportunity he’s been looking forward to for a long time; “I’ve been teaching children... and have wanted to teach music on a higher level. This chorus has been a big part of my life, so the decision to leave was not an easy one.” He will be greatly missed professionally and personally, as he leaves the chorus richer in sound and heart. —by Amy Shapiro

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James Followell & Uptown Express group morphed into Uptown Express. Both of these groups had several directors in the early years. However, in 1986, Gary Miller was looking for a new musical director for the group. James Followell happened to answer an ad in Backstage magazine, as he was searching for musical director jobs, and he went for an interview with Gary Miller. Gary took a look at his resume and saw that James had plenty of experience and was currently working with Debbie Gravitte and Sharon McNight. He told James, “If you can work with those divas you can handle ours.” And that is how James Followell came to become the music director of Uptown Express in 1987. James is a native of Oklahoma and came to New York via San Francisco. While in the City by the Bay, he was the Musical Director/Vocal Arranger for a show called Tune the Grand Up. This later evolved itself into the Jerry Herman revue, Showtune, which was presented in New York in the spring of 2003. He also worked with the small ensemble from the San Francisco Gay Men’s Chorus, Men About Town. He had toured with Sharon McNight, was musical director for The AIDS Show and musical director for the Off Broadway show Murder at Rutherford House.

he pops sub-group of the Chorus has had several variations. It began with the Chorus’ second concert at Bond’s International Casino in 1981. The group at that time was called The Stepping Tones, and consisted of over 30 members who not only sang but also danced. The Stepping Tones were featured for several seasons, and then the

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The first performance of this Uptown Express was at the June 1987 concert, We The People, at Alice Tully Hall. The group performed a tribute to Patsy Cline and James arranged the medley of songs which he titled Sweet Dreams: A Patsy Cline Tribute. There were 12 members of this original Uptown Express. The group was so well received by the audience that Gary Miller programmed Uptown Express into each of the concerts for the 1987-1988 season.

Uptown Express, 1992 In January, 1989, Uptown Express offered its own concert with two performances at Greenwich House. The evening included music of Harold Arlen in the first half of the program and a Patsy Cline tribute in the second half. Guest artist Sharon McNight joined the group for the Patsy Cline segment, and there was also a professional clogger and country western band with scenic elements of bails of hay to give atmosphere. The shows were both sold out and really put the group on the map.

worked with three different Artistic Directors while with the Chorus, and each has always given him the freedom to do so.

Through his professional work, James has been able to tap into a large list of celebrity guests to appear both with Uptown Express and the Chorus. “I have always enjoyed bringing cabaret and Broadway guest stars to many of the chorus concerts as well as Uptown cabaret shows,” says James. “They were all colleagues and when I Uptown in 2001 approached them James has worked they were eager to with Uptown Express utilizing his talrespond, especially with the AIDS crisis ents as music director, arranger and which was upon us. And they also know pianist. He is motivated by putting these ‘who’ buys their cd’s and tickets to their talents to good use within the gay comshows, ‘who their real fans are’!” munity. When asked about his choice Uptown Express has appeared in many of music, James responded “I choose all varied venues from cabaret rooms to kinds of music, trying to keep it fun, clubs to concert halls. For the 1991 inspiring and entertaining.” He has European Tour, Uptown Express was not

only part of the concert program but also shared the stage in Potsdam at Sanssouci with the Chamber Choir. They also performed at Melissa Rivers’ wedding at the Plaza Hotel and were featured in the GMHC benefit of Jerry Herman’s Mack and Mabel at Avery Fisher Hall in 2003. When asked about any special memories in his seventeen years, James replied: “I have many stand-out moments in my mind, but they all are linked to one common theme. The feeling of family with my gay brothers, knowing we have worked as a team to reach out and touch an audience. I’ve had many incarnations with Uptown and have shared many of these unity moments which have made it all worthwhile.” So what is next for Uptown Express? They recently finished a 12-track cd of the best group numbers, timed for the 25th Anniversary. The group is building their repertoire for more gigs with a goal of becoming a semi-professional group. Expect to hear more from them in the future.

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Larry Moore—Arranger

of the McGuire Sisters. “In grade school they were forced down our throats as what well-bred Middletown youth could aspire to.” The creator of more than 150 arrangements for the Chorus, the talented “medley master” recalls that his maternal grandfather was an inventor who repaired violins as a hobby, and that his six aunts and uncles were all musical. “I started piano lessons in the seventh grade when we finally could afford to buy a piano. I can’t play by ear. I must have the music in front of me—I don’t hear it, I see it.”

or more than 18 years, Larry Moore has acted as resident arranger for the Chorus. “I was always out; if not openly gay, then at least very different from everyone around me. I was lousy at sports, and I read books, for God’s sake!” he says, describing his formative years in Middletown, Ohio, also home

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By high school, Larry knew “I wanted the theatre” but his rapid-fire speech caused him to fail auditions, so he settled for the school chorus. “I had a great high school music teacher and I was a good choral student with a good ear and a real interest in music. Through her, I got a vocal score to Bernstein’s Candide, which is still the most amazingly clever score to me, and my first purchase from her was a miniature score to the Nutcracker Suite. This was my first knowledge of transposing instruments and I was fascinated by the fact that clarinets, horns, and trumpets played in different keys! This was all new and very puzzling and I had to learn about it.” It

wasn’t until the summer after his sophomore year at Miami University in Oxford, Ohio, that Larry discovered the Theatre Department and won a small part in his favorite, Kurt Weill’s Threepenny Opera. ‘I never left the theatre after that.” He finished a degree in Latin, and stayed on for a Master’s in Theatre. “I wanted to be a Renaissance man, like Franco Zeffirelli, and do it all.” After graduate school, Larry taught drama at a small Pennsylvania college, and then returned to Middletown to found its community theatre and to perform with the local dinner theatres. On a lark, Larry began writing orchestrations, and a friend, then the conductor of the local symphony, liked one well enough to program it. ‘If I scored a number and copied parts, I’d get a reading, which is often more than I’d get in a real orchestration class in a smaller college. I learned a lot. The orchestra was my playground. I simply learned by doing it. I studied music theory in college and I had written and arranged music for small groups, but I never had a chance to work with a seventy-piece symphony before.” Larry soon found Middletown to be “claustrophobic” and with only $200 in savings and an unemployment check he came to New York in 1979. “I came the last week of June to direct a showcase that never happened. The third day I was in New York, I was hired by The Drama Book Shop, with whom I worked on and off for around 15 years as a buyer, and after six months of relying on various friends’ charity, I found an apartment on West 94 Street. New York is the most positive thing that ever happened to me,” he proudly asserts. However, by Christmas 1980, Larry was broke, and a friend of his in the newly formed New York City Gay Men’s Chorus gave him a ticket to their concert at Cooper Union. “It was wonderful,” he says. “I asked Peter to ask Gary (Miller) if the Chorus needed an arranger, and the answer came back: ‘We’ll talk.’”

But before that happened, in January, Just Good Friends, a trio of singers from the Chorus for which Larry was vocal arranger and Musical Director, auditioned at Gary Miller’s apartment for the Bond’s This Time Broadway concert that would happen in March 1981. “He liked the group and the material and asked me then for the Broadway Medley, my first job for the Chorus.” That medley is best remembered for its kazoo accompaniment to Stephen Sondheim’s Broadway Baby. Gary then assigned Larry the task of arranging unpublished Sondheim works into a medley for the June 1981 concert. Larry recalls his meeting with ‘Steve’: “I was scared, like going to heaven to meet God. On a Friday in March, Gary and I went to his house and I was really petrified. I thought he’d throw my musical sketch away and us out the door. But he was really nice and the only conflict was the final chord of Trumpets. The piece is based on bi-tonality, and once we analyzed that, he was very pleased by it. We talked about the Chorus, and then left his house in a daze, and I took the wrong subway and ended up in Queens.” Shortly after that June concert, Larry told Gary he wanted to be a full-time member of the Chorus. When Gary asked him what his title should be, Larry replied, “Arranger-in-Residence”. Larry describes the creative process, half-laughing, halfserious: “Gary would call me up with an idea and I’d usually say, ‘No, that’s garbage.’ Then I’d call back in a few hours and say, ‘That’s not such a bad idea, how about doing it this way?’ Or, I’d call Gary with an idea and he’d say, “That’s a terrible song,’ so I’d drop it!” During his tenure as Arranger-inResidence, Larry wrote over 150 different arrangements and medleys. He orchestrated probably just as many. With each celebrity concert he would also write special arrangements just for the Chorus and the guest. He would even rework his orchestrations when it came time to go into the recording studio. Larry has arranged some of the

greatest composers—Cole Porter, George Gershwin, Rodgers and Hart, Jerome Kern, Leonard Bernstein—for the Chorus’ purposes. He approaches them all with genuine admiration. “I love these men and their work. Some arrangers reharmonize composers, but the great songwriters of Broadway knew what they wanted. You have to respect the material.” It was this attitude that landed Larry the job of orchestrating and arranging material for concert versions of The New Moon, Eileen, The Firefly, Rosalie, Sweethearts, and Roberta for the New Amsterdam Theatre Company. He reconstructed and orchestrated the lost 1935 musical Jubilee, for the Cole Porter estate, presented in 1986. He also worked on George Gershwin’s Strike Up the Band in 1988, Oh! Kay! for the Goodspeed Opera House in 1989, and Babes in Toyland for the Houston Grand Opera in 1991, among many others. In 2002 he restored the Richard Rodgers/ Lorenz Hart musical, Dearest Enemy, for the Richard Rodgers Centennial Celebration. During the summer of 2004, Larry was again at Goodspeed Opera House working on Where’s Charley? Larry continues to add to the choral repertoire with his medley for the holiday concert in 2002, A Place Called Home, and the orchestrations for the commissioned concert, Out on Broadway in June 2004. His arrangement of Stephen Sondheim’s Our Time has been published by Valando Music, and Boosey and Hawkes published his arrangement of Leonard Bernstein’s Dream With Me. His work has appeared on over 25 recordings of shows and singers from Kiri Te Kanawa to Liz Callaway and Brent Barrett. The Chorus has truly been blessed by the work of Larry and wishes him continued success. We all hope to hear more Larry Moore arrangements and wacky medleys for years to come. —Compiled and edited by Jim Vivyan from previous articles by Michael Goldstein and Bruce Kimmel.

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Mark Riese—Arranger (1953 - 1989) A tall, soft-spoken blonde with an impish, toothpaste grin, Mark Riese was born in San Rafael, California. However, he grew up in a number of different towns along the West Coast. Having started piano lessons at age 6, Mark grew up wanting to be a concert pianist. “By junior high, though, Dad decided that playing trumpet would be more butch. So I marched with the band and played for all the football games,” related Mark in an interview to Chorus member Robert Bell. Mark wasn’t wild about the trumpet. “You have to have the lips for it,” he said. Mark attended high school in Seattle, where he took up the cello. It was an enduring passion that became his major study at Whitworth College, a small liberal arts school in eastern Washington. Spending his junior year abroad, Mark studied at the Berlin Opera and sang with the 200 year-old Berliner Singakademie, an organization that annually performs six major works in conjunction with the Berlin Philharmonic.

hether it is his soaring arrangement of Sometimes When We Touch, the achingly tender Not A Day Goes By, the whimsical Blues Skies Medley, the emotional Love Lives On, or the robust God Rest Ye Merry, Gentlemen, Mark’s arrangements are included by many Chorus members among their favorites in the Chorus repertoire.

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After completing his undergraduate work at Whitworth, Mark earned a Master’s degree in Choral Conducting at the Cincinnati Conservatory of Music. There followed a stint as an arranger of musical revues for a Florida dinner theatre chain during which Mark was responsible for a new ninety-minute show of Gershwin, Porter, and Berlin favorites every month for three years. In an interview Mark revealed that some of his most rewarding musical experiences were with the New York City Gay Men’s Chorus. He had heard of the group from a grad school friend who knew the director, Gary Miller. Mark first sang with the Chorus at the Pride concert in June 1982. It was shortly

thereafter that his arrangements started to appear in concert programs. Two medley arrangements were performed in the Fascinatin’ Rhythms concert in February 1983. For this concert Mark had crafted A Taste of Disco and a medley of show tunes titled Broadway, Broadway. It was for the June 1983 concert that Mark made one of warmest arrangements. Sometimes When We Touch was such a wonderful arrangement that Gary Miller chose to have it on the first pop album the Chorus would record in 1984. It was also the song the Chorus would sing at the first New York celebrity AIDS benefit at the Metropolitan Opera House in 1985. “Probably my most exciting moment was when the Chorus performed at the Met—just because of the energy and the chance to work with such a large orchestra,” Mark told Robert Bell. Mark had provided more than 20 arrangements for the Chorus in his short time. His most often performed arrangement was the traditional Christmas carol, God Rest Ye Merry, Gentlemen: A Choral Fantasy. Mark later added two more carols, I Saw Three Ships and What Child Is This? to create a splendid holiday trilogy which remains a Chorus favorite. God Rest Ye Merry, Gentlemen was first performed by the Chorus in December 1983. This performance was filmed for the HBO special Being Homosexual, and has since been performed by dozens of choruses and orchestras across the country, including the Chicago and Boston Symphony Orchestras.

It was for the December 1986 concert that Mark Riese received his first Chorus commission for a new work. Then and Now was performed at the refurbished Carnegie Hall for the Deck the Hall concert. The following holiday season in 1987, Mark created a new arrangement based on the French Carol Noel nouvelet, and so Christmas Comes Anew was created and subsequently recorded by the Chorus as the title track for their second holiday album in 1991. Besides having been published by E. C. Shirmer, Mark’s work has been lovingly adopted by a number of other choruses in the Gay and Lesbian Association (GALA) of Choruses. His work has been performed at regional conferences of the American Choral Directors Association, been recorded by GALA choruses, as well as other choruses around the country. In 1986 Mark admitted, modestly, “I’m just grateful that people enjoy performing my pieces. It’s nice to feel that I’m contributing to the gay choral movement, which is something I really want to do.”

ing in six cities. It was also the closing track on the Chorus’ album Love Lives On. The title track of this recording was also arranged by Mark. Sadly it would prove to be his final arrangement for the Chorus as he passed away in the summer of 1989, two months after the song was performed. Mark may no longer be with us, but he left a treasure trove of music that will continue to live on. His songs touch the heart and warm the soul. In 2004 at the GALA Music Festival in Montreal his music was included on chorus programs. So rich is the sound that we are sure to continue to hear Mark’s music for years to come. The Chorus is proud and pleased to have been the recipient of such fine music from a great composer, arranger and pianist as Mark Riese. He is sorely missed, and always remembered. —Compiled and edited by Jim Vivyan from previous articles by Robert Bell and Gary Miller

For the big band show that the Chorus produced in March of 1988, Mark created a medley of Duke Ellington songs. Originally titled It Don’t Mean a Thing, it was most often performed under the title Hit Me With A Hot Note. This piece was performed by the Chorus several times and the group took it with them on their second European tour, perform-

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Tom McGillis— Sign Language Interpreter preters for short periods of time. Among them were Richard Chenault, Carl Chapinsky, and Seattle Men’s Chorus interpreter, Kevin Gallagher.

and forth was completely spontaneous, both I and the audience had great fun. The review in The New York Times the next day even gave this byplay special mention! I enjoyed a wonderful professional relationship with Gary Miller, who was always supportive and appreciative of my work. That professional relationship has turned into a great friendship I enjoy today.

In the fall of 1987, I went to a chorus rehearsal and approached Gary with my desire to join the Chorus as interpreter. Gary was receptive, but said that he was already committed to Kevin for the Holiday concert. So I began my journey with the Chorus in 1988, at the Penta Hotel for the Ten Cents a Dance concert. The promise I made to myself was coming to fruition! I remember the pride and excitement I felt when I stepped onto that stage with the Chorus that night!

On-stage memories are only part of my experience with the Chorus. Since joining in 1988, I have made many close friends who have become my extended family in New York City. And most important, during the rehearsal retreat

Over the years, I have enjoyed interpreting for our Chorus, visiting choruses and of course, the usual parade of guest stars. One of my favorite performance memories was while interpreting for Stockard Channing in a concert of all Cole Porter music. While interpreting for her rendition of The Physician, a song full of double entendres, Ms. Channing would stop and ask me to repeat some of the suggestive signs again for her. While this back

at Ivoryton, CT for the 1990 Holiday concert, I met a very sweet, very handsome man named Don Gardenier. We chatted over dinner that Saturday evening and then talked well into the night at the Chorus party. We began dating, fell in love, and this December we will celebrate our 14th anniversary together! Yes, being a member of the Chorus has been a very rich experience for me in many ways.

he New York City Gay Men’s Chorus was not only one of the first gay choruses in the country, but undoubtedly the first to have a sign language interpreter at all of their concerts. Bruce Hlibok was on the stage with the chorus at Cooper Union as its first sign language interpreter. Bruce was profoundly deaf himself and would rely on lip reading Gary Miller to insure his interpretations were in sync with the music. He was a most remarkable man.

Bruce was with the chorus for more than 5 years. It was during this time that I had first gone to a NYCGMC concert at Lincoln Center’s Alice Tully Hall. I can still remember watching Bruce as he signed When I Heard At The Close of the Day. His gestures were inspirational to a fledgling sign language student as me. His performance gave me the motivation to make the promise to myself that I would some day be good enough to be on that stage with this chorus as interpreter. Well, several seasons went by. Bruce resigned from the Chorus to pursue his career as a playwright and director. In the interim, the Chorus had several inter-

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Youth Pride Chorus “And then we got to Carnegie Hall. The enormity of what we were doing had never really struck me—YPC was just something that I really enjoyed taking part in. But then we went on stage, and seeing complete strangers give us a standing ovation blew me away. To top it off, the reactions from audience members after the concert were really profound, and I wasn’t equipped to think about how much our presence meant. It was intense to say the least, but in a good way... an empowering experience, one to be proud of.” —Julia, Soprano, Youth Pride Chorus

n the fall of 2001, several NYCGMC members, headed by Artistic Director Jeffrey Maynard and chorus Tenor 2 Richard Eng joined to form the Youth Task Force, a committee that would be responsible for the creation of the Youth Pride Chorus. One of the first GLBTQ choruses in the world designated specifically for young people, YPC was originally envisioned to be an outlet for queer youth to express themselves through song. Though it is easier to be a gay youth today than ever before, the unique and profound experience of coming out when you are young is no less harrowing. By giving these extraordinary young people a chance to sing together, the committee reasoned, the youth would not only be changing their own lives, but also the lives of those in the audience.

When YPC began rehearsing in the Spring

of 2002, boasting more than thirty voices, it became apparent that the chorus was more than simply a performance group. NYCGMC’s partnership with the Center’s Y.E.S. (Youth Enrichment Services) program gave YPC a platform on which to create a solid community, engaging the members in team-building retreats, rehearsal ice-breakers, and gave them a support system of fellow youth who understand the pressures and joys that come with being out and proud. Y.E.S.’ director, Bridget Hughes, was instrumental in the partnership, and worked tirelessly with Jeffrey, Les, Richard, and NYCGMC baritone Greg Pierson to keep rehearsals running smoothly. YPC made their debut at Carnegie Hall during NYCGMC’s Pride for All Ages concert on June 18, 2003. The concert’s signature piece, commissioned for the two choruses by NYCGMC member Robert O.

Hawkins, Jr., celebrated the long journey from the closet to the stage; “Pride to be who we are, pride to be here.” Having completed their first full season, YPC has made important and substantial progress from that June night. They have performed at various college venues in the area, as headliners of Boston’s Youth Pride Parade, and in their own full-length concert with Rent and You’re A Good Man, Charlie Brown star Anthony Rapp. They have been featured in the pages of The Advocate, OUT magazine, The Gay City News, The New York Blade and the Washington Post. Most recently, the members of the Youth Pride Chorus were featured in a New York 1 segment celebrating Jeffrey and his staff as the “New Yorkers of the Week.” © Harlen Pruden For many of the chorus members, the chance to sing with YPC is invaluable; whether they are singing for the first time or have years of experience, the opportunity to sing about and celebrate the importance of being gay youth is unique, and often profound. Though all of the young singers share a love of music, and the personal journey of living as queer youth in New York City, it is the vast differences between them that make the group strong, and their determination to create unity from diversity, that makes the group a success. More impressive than any of the press clippings, at least to the singers and staff, are the bonds that have been created in YPC’s fledgling existence, and the possibilities that remain to be uncovered. —by Amy Shapiro

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In Memoriam

lthough the AIDS epidemic has claimed victims from an increasingly diverse demographic spectrum, its early casualties, of course, were chiefly members of the gay community. The New York City Gay Men’s Chorus has lost 120 members to this disease—a number that in itself represents men of diverse backgrounds, ages and professions. Throughout the 1980s and into the early ‘90s, weekly rehearsals would all too often begin with announcements of members who had passed away since our previous gathering. Thankfully, such announcements have become far less frequent. We nonetheless hold these departed members dear; a special remembrance service, in fact, is an important part of every December pre-concert retreat weekend. These men are not singing on our stages, but they are in our thoughts and in our hearts.

Michael Alhonte

David Clarkson

Thomas Bradley*

James W. Clayton* David Coobs William Costello

Stephen A. Anderson, Jr. Joel Breslof

Don Curry Lee Danser* John Annunziata* Tony Anthony*

Benn Brown

Luke A. Davis

David Bartee

Gary Brubach

Randy Bastian

Philip Butler

Joel Baum Hector Denis

Earl Becker Rob Berray Dick Cable Michael Callen Michael Capece* Neil John Bickford*

Paul Casey

George Bihlmayer*

Joe Chorba

Robert L. DeStefano*

Hagop Bijimian James Black Garon Douglass

Tim Blaylock David Boulanger Richard Bousquet

* Charter Member

Steven Curtis Bradley

Marty Christian Dale Christopher

Albert S. Dula

Kevin Hain

Dean X Johnson

Michael McDonald

Richard Halpern

John McDowell

Jack T. Hamilton*

Brian McGlothlin

Erroll Edwards*

Quinton Johnson*

Rick Emery Skip Hartstirn

Scott McIntosh, Jr. John Messina Wayne M. Kell

John Evans Michael Haubrich-Visconti JohnPaul Hernandez

Arthur Metzgar* James Meyer Greg Khoury

Jay Farrar

Michael Kinnamon Jon Kirbie Steven Hicks

Rick B. Farwick

Dominic Lanza

Larry Hill*

Jerry Milano

Bruce Hlibok

Steven Minier

Bill Honey Mark Lazore Robert N. Levine

Jim Festa

Lewis Love

Peter J. Monette*

Michael MacDonald*

Maximo Morales

Robin McCarty

Fred Mutti

Christopher Humble*

Andrew FitzPatrick Alan Fraser

Richard W. Jasper, Jr.

Carl Off Mark Fuschetti

Gary Olde*

Richard I. Garf*

John Parton

Lloyd Goren Stephen Gray

Joey Jenner

Ray McCurdy

William J. Scarola* David Lloyd Sears*

David J. Pasacrita

Gary Serriane

Eddie Peters Raymond L. Shelton

Sheldon Post* Bob Snyder Stephen W. Surber*

William Pressley Ronathan Price* Norman Sweet

Russ Radley* Peter Reed

Martin Teitel Daniel Deford Thompson Edward M. Tilchen*

Mark Riese

David Torres Valentin Danny Weaver Louis A. Rizzo J. R. Robbins II* Christopher D. Rogers

Jon Rollins

Ed Dryer Weaver* Gary D. Wells* Larry Woods

Roland Wybenga

David Lloyd Sears Memorial Service Award n 1985, the New York City Gay Men’s Chorus Service Award, known as the “Apple” Award, was created to honor NYCGMC members who have extraordinarily contributed to the enhancement of the Chorus. The award is presented to non-elected Chorus members who have gone above and beyond the call of duty. It has been awarded to individuals who have been outstandingly active in either special committee work or in special projects on behalf of the Chorus. In 1986 the award was renamed in memory of David Lloyd Sears, the first recipient of the award, and a founding member who was instrumental in acquiring tuxedos for the Chorus during the first season in 1981.

The Apple Award

Recipients: 1985: David Lloyd Sears, J. R.

1991: Tom Epps, Bill Finnegan,

Robbins II, Gary Miller, Don Moschberger, Michael Goldstein

Jim Vivyan

1992: Craig Sturgis, Tom McGillis, James McLaughlin

1986: Frank Shroyer, Clark Taylor, Jay Lesiger, Jerry Allred

1993: Morgan Rice, Willie J. Smith, Don Gardenier, Rich Dikeman

1987: Sheldon Post, Gary Olde, Arthur Metzgar

1994: David Torres, Fred Goldhaber, Richard Coburn

1988: Edgar Colón-Hernández,

1995: Michael W. Coleman,

Dean X Johnson

Sue Hammond

1989: Larry Moore,

1996: Don Grasso, Ted Bloecher

Rich McFeaters

1998: Edward J. Dixon, Thomas Cunningham

1999: Ransom Bruce, Guy Jacobs, Timothy Higdon, Dudley Hogue

2000: Paul Maulucci, Arthur Brost, Paul Weimer

2001: Dave Bolton, Jerry Christman 2002: Guy Dauerty 2003: Roger Lemons 2004: Mark Schall

1997: William R. Brown, Jr.,

1990: Rich Dodenhoff,

Sean Ray

Norman H. Sweet

reated in 2001, the NYCGMC Ruby Slipper Award is given to an individual who has shown continued commitment and extraordinary service over the course of years.. Consistent excellence and dedication are the prime qualities of this recipient. This award is not given every year, but when a deserving individual appears.

The Ruby Slipper Award

Recipients: 2001: Ellen Osborne

2002: Dan Baillie

2004: Jordan Barbakoff

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A Brief History of Chorus Royalty

Chorus Royalty Reunion 2003

am a late-bloomer, unlike my husband of 26 years, Page Jackson, who is a Founding Member of the NYCGMC. I didn’t officially join the Chorus until 1992, after Music Director Gary Miller asked if I would like to audition. Thank you, Gary for that vote of confidence; it was just what I needed! Being a Chorus spouse, I had known many members of the Chorus from its inception and vividly remember Page going off to the first Chorus meeting in 1979. Having attended virtually every NYC concert, and many of the parties and events from the beginning, I was slightly awestruck by many of the talented guys in the group. I was thrilled to become a Chorine and sing for the first time at the legendary Bernstein concert in March 1992 on the stage of Carnegie Hall (right where Judy Garland sang!)

Many of my friends from the Chorus were members of the Royal Family and had served on the Board of Directors as

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well. Back in the day, it took a lot more courage to do drag than it does today, and it seemed to hark back directly to the Spirit of Stonewall, which was very much present in the late ‘70s and early ‘80s. A few Chorines, including Ron Shore and José Fernández came up with the idea of having a Chorus Queen to add an extra measure of gaiety to the Chorus. Of course, she would need a consort, and so the Chorus Butch was the logical choice. The No-Talent Show, a major feature of the Winter Retreat, where Chorines got to show off their “hidden talents,” evolved into a drag extravaganza and a roast of the Chorus Queen. Ron Shore was the first (self-appointed) Chorus Queen, and the late Neil Bickford was the first Chorus Butch. Ron was a great booster of the Chorus, along with his mother, Beverly Shore, for whom the Bevy Awards, long a staple of the NoTalent Show, were named. The Bevys

were those slightly bitchy but always loving tributes from one Chorus Member to another, often presented by “The Oreos,” Queen Josie, Queen Wilhelmina and the lovely Carl Ray. I remember all the Chorus Queens (some yet uncrowned) arriving in limos at the first preview of the landmark Broadway musical La Cage Aux Folles in 1983. My dear friends Josie (José Fernández) and Mame Scarlett (Joe Alleva) succeeded “Dinah” Shore as the second and third Chorus Queens, with Bill Wright and (the late) Quinton Johnson as their consorts. Back when the December Retreat and No-Talent Show were held in town, I recall accompanying Page to Greenwich House and seeing Joe Alleva (the Chorus’ Social Director) pull a gun from his dress and chasing the elegant Queen Josie around Greenwich House in order to secure his own succession to the throne. Joe had lost the previous year by a very narrow vote, and was taking no chances

this time, but “Florence Henderson” (the late Arthur Metzger) was not happy about it! Such drama! Arthur had to wait another year for the crown, but he got the delightful John Wolf as Chorus Butch. Willie Smith (Wilhelmina) was crowned Queen in 1986, and established many of the election procedures for Queen, Butch, and of course, the Peggy Sue Makeover, where a Chorine is elected and transformed into a drag queen for a night, often with a memorable drag name—Formica Dinette and Sheila Noya are some that stick in my mind. The 1987 Chorus Butch was our great long-time Stage Manager and the only female Butch to date, Ellen Osborne. Auntie Ruth (Pascual Vaquer, now living in Spain) captured the crown in 1987 with the late Mark Fuschetti as Chorus Butch. The next year saw two queens on the throne: Peggy Sue (the late Jay Farrar, in whose honor the Makeover was established) was crowned in 1988 with Michael Coleman as Butch, but abdicated in favor of Tammy Faye Baker (Tommy Baker). I remember being at a party and a bunch of Chorines entered with Queen Peggy Sue on their shoulders, singing the Buddy Holly classic. Some of these Queens really knew how to make an entrance! In 1989, entrepreneur Morgan Rice (the fabulous Barbie Stiletto), joined the Chorus and almost immediately won the crown. Morgan is our very own Flo Ziegfeld, able to spot future Queens and nurture them as they make their way to the throne (this old Queen included). Barbie had two butches: the late Ray McCurdy, and Robert Taylor, who succeeded Ray. The formidable Fortissima Gorgalupe (Bill Finnegan) and Butch Steve Milne were crowned in 1990 and made quite a splash on the Chorus’ second European Tour that summer. When I joined the Chorus in ’92 and journeyed upstate to Holiday Hills for my first retreat as a Chorine, Danny Colvin was the reigning Queen. HM Magnolia Thunderpussy made her entrance to the No-Talent Show perched atop the shoulder of her great big mus-

cular Chorus Butch, Brad Whittaker, preceded by New Members clad in toga sheets waving garlands of toilet paper. Cleopatra’s entrance to Rome paled by comparison. Maggie was succeeded by the golden voiced glamazon Coco Crispe, (David Hurst), whose Chorus Butch, Ron Hendon, decamped midreign and was succeeded by the late Ray Shelton, the only Chorus Butch man enough to serve as consort to three Chorus Queens. He finished the year as Coco’s consort then was elected in his own right as Chorus Butch with Queen Dalila the Most Glamorous One (the late David Torres). David was crowned in a dress worn by Miss Venezuela (they were the same size!), who abdicated midreign and was succeeded by long-time member, Norma Desperate (Randy Kaplan—singing “With One Dress” –hilarious!). I was lucky enough to be crowned Queen at the age of 40, and the road was paved by these giants who came

The Royal Page with HRH Tori Adore

before me. I made glamour and graciousness the hallmarks of my year, for two reasons (aside from my lack of youth and talent). The Nanny and RuPaul were my favorite TV shows and I tried to copy Fran’s and Ru’s giant hair-dos, mini skirts and glorious maquillage; and the Chorus had grown in size so much since the early days, I felt it was important for new members or shy fellas to know that their Queen cared about them. I had a marvelous consort in Stan Jaskot as my Chorus Butch. Stan donated the Butch’s

sash to the Chorus and established the Leather Makeover, a counterpoint to the Peggy Sue Makeover. We tried to attend as many Chorus and LGBT community events as possible in full regalia, representing the NYCGMC. I always felt that Royalty could serve as great public relations representatives for the Chorus and my successors have carried and expanded this tradition, even, I am happy to say, appearing in drag on stage at Carnegie Hall at Chorus concerts. They have added their own luster to the Chorus Crown and, include: the beautiful Amber Crombie (Ted Montgomery) and Sheldon Good; talented Lorelei Layne (Alex Viaggio) and Michael Krake; the svelte Evening Starr (Ed Dixon) and Mark Dobrowolski; the adorable Cissy Galore (Jeff Lettiere—was there ever a funnier BVM on stage at a Christmas Concert?) and Jacques Pavlenyi; the multi-talented and ever youthful Jacqueline Jonée (John Nieman, my Chorus Buddy) and Chris Colette; the gorgeous Miss Anne Thrope (Rob Cordell) and Marc Horvath; and flame-haired Witti Repartee (Michael Barret Jones) and Gary Diamante, in whose reign the positions of Queen and Butch were finally codified. The two royals I most particularly want to salute are the divine Loopee Chenille (Paul Maulucci) and the amazing Don King, whose reign saw another European Tour and who both went on to serve as Presidents of the Membership Council. Few people have contributed as much to the greater good of the Chorus or to the roles of Queen and Butch than this magnificent pair. The reigning Queens, Their Royal Majesties Titania and Lucitania (Chris Beck and James Matte) and His Lordship, Chorus Butch Sir Mark Short embody so many of the ideals of monarchs past, and incorporate their own special energy and enthusiasm in the roles; I bow to them. Salutations and accolades to all the title holders—past, present and future—for their diligence and determination, their sense of fun and their sense of style,

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their bitchiness and butchness, and their pizzazz and talent. Each Queen and Butch is a brilliant jewel in the Chorus Crown. I would be remiss if I did not mention two great Chorines who have inspired us all: Larry Vrba (Dina Dynell) who designed and donated many of the Queen’s tiaras and lent so much razzle dazzle over the years to the Chorus; and Peggy Sue’s appointed Vice Queen, Carmina Putana (long time Chorus Vice Chair) Edgar Colón-Hernández for,

CROWNED

among so many other things, hosting the first Royal Conclave last year, where the duties of Queen and Butch were set down for the first time. We also had a wonderful Royal Reunion party last October, hosted by Danny Colvin, David Hurst and Morgan Rice, and I enclose a photo of the 15 Queens and 7 Butches in attendance. It was a great honor and pleasure to be a member of the NYCGMC, and serving as Chorus Queen for a year is something

that I will always remember proudly. On one of the happiest nights of my life, as I prepared to crown my successor, the 1996 Chorus Queen, Amber Crombie, I could feel the love and joy from the Chorus and I said with gratitude, “You have changed my life forever, and together, we are changing the world!” Thank you, NYCGMC, for a quarter century of beautiful music and glorious memories. by Tori Adore, 1995 NYCGMC Queen

CHORUS QUEEN

CHORUS BUTCH

REIGN YR

1982

Ron Shore—HRH Dinah Shore

Neil Bickford *

1983

Jose Fernandez—HRH Josie

Bill Wright

1984

Joe Alleva—HRH Mame Scarlett

Quinton Johnson*

1985

Arthur Metzger*—HRH Florence Henderson

John Wolf

1986

Wille Smith—HRH Wilhelmina

Ellen Osborne

1987

Pascual Vaquer—HRH Aunt Ruthie

Mark Fuschetti *

1988

Jay Farrar*—HRH Peggy Sue Tommy Baker—succeeded as HRH Tammy Faye Baker

Michael Coleman

1989

Ray McCurdy * Robert Taylor—succeeded

1990

1989

Morgan Rice—HRH Barbie Stiletto

1990

Bill Finnegan—HRH Fortissima Gorgalupe

Steven Milne

1991

Danny Colvin—HRH Magnolia Thunderpussy

Brad Whitaker

1992

David Hurst—HRH Coco Crispé

Ron Hendon—abdicated Ray Shelton—succeeded

1993

David Torres*—abdicated—HRH Dalila, The Most Glamorous One succeeded by Randy Kaplan—HRH Norma Desperate

Ray Shelton *

1994

Victor Grossetti—HRH Tori Adore

Stan Jaskot

1995

Ted Montgomery—HRH Amber Crombie

Sheldon Goode

1996

Alex Viaggio—HRH Lorelei Layne

Michael Krake

1997

Paul Maulucci—HRH Loopee Chenille

Don King

1998

Ed Dixon—HRH Evening Starr

Mark Dobrowolski

1999

John Nieman—HRH Jacqueline Jonée

Christopher Collette

2000

Jeff Lettiere—HRH Cissy Galore

Jacques Pavlenyi

2001

Rob Cordell, Esq.—HRH Miss Anne Thrope

Marc Horvath

2002

Michael Barret Jones—HRH Witti Repartée

Gary Diamante

2003

Christopher Beck—HRH Titania Buttocks James Matte—HRH Lucitania Buttocks The Twins

Mark Short

2004

1993

* Heavenly Royals

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Thatâ&#x20AC;&#x2122;s What Friends Are For ver the past two decades the Chorus has been privileged to be joined by a multitude of celebrities. Talented individuals from all areas have appeared with the New York City Gay Menâ&#x20AC;&#x2122;s Chorus including opera divas, Broadway luminaries, cabaret stars, television and film performers, gay spokespeople and politicians have brightened benefits and lent their talent to support the Chorus. Here are many who have helped the Chorus over the years:

Roberta Alexander Mitchell Anderson Jim Bailey Kaye Ballard Michele Bautier John Bayliss Laurie Beechman Vicki Belmonte BETTY Harolyn Blackwell Stephen Bogardus Stephen Brinberg Betty Buckley Julie Budd Dean Butler Ann Hampton Callaway Liz Callaway Michael Callen Simon Callow Carolee Carmello David Carroll Joyce Castle Carol Channing Stockard Channing Walter Charles Kristin Chenoweth Kay Cole Betty Comden and Adolph Green Daugherty & Field Jim David Shane Davis Lea DeLaria Loretta Devine Colleen Dewhurst Baby Jane Dexter Debra Ann Draper Nancy Dussault George Dvorsky Daisy Eagan Faith Esham Tovah Feldshuh Tommy Femia Harvey Fierstein

The Flirtations Beth Fowler Joy Franz Helen Gallagher Emily Golden Debbie Shapiro Gravitte Kevin Gray Amanda Green Ellen Greene Joel Grey Jerry Hadley Stephen Hanan Ann Harada Sam Harris Gean Harwood Constance Hauman Jerry Herman Peggy Hewitt The High-Heeled Women Mimi Hines Marilyn Horne Hot Lavender Harry Huff Karen Huffstodt Imperial Court of New York George S. Irving Jimmy James James Judy Just Good Friends Judy Kaye Lanie Kazan Larry Kert Eartha Kitt Terri Klausner Philip Koch Alexandra Korey Julie Kurnitz Coco LaChine Cyndi Lauper Debby Lennon Jenifer Lewis Larry Lipnik Emily Loesser Dorothy Loudon

Greg Louganis Rebecca Luker Heather MacRae Indira Mahajan Manhattan Rhythm Kings Karen Mason Armistead Maupin Julia McGirt Maureen McGovern Sir Ian McKellen John McMartin Terrence McNally Sharon McNight Marilyn Michaels Theodora Middleton Liza Minnelli Liliane Montevecchi Melba Moore Rita Moreno Kim Morgan Mystery Date Holly Near Bebe Neuwirth Phyllis Newman Marni Nixon Philip Officer Kurt Ollmann Anders Paulsson Rosie Perez Roberta Peters Billy Porter Faith Prince Sondra Radvanovsky Ron Raines Meredith Rawlins Lee Roy Reams Rex Reed Ann Reinking Caroline Rhea Alice Ripley Bobby Rivers Joan Rivers Jamie Rocco Jai Rodriguez

Ned Rorem George Rose Justin Ross Michael Rupert Vito Russo Roz Ryan Camille Saviola Joe Sears Jane Shaulis Thos Shipley Ira Siff Emily Skinner Randy Skinner Richard Skipper Liz Smith Marilyn Sokol David Staller Elly Stone Billy Stritch Elaine Stritch Jo Sullivan KT Sullivan David Summers Terry Sweeney Sylvia Syms Indra Thomas Benita Valente Danitra Vance Deborah Voigt Frederica von Stade David Walker Cynthia Watters Elisabeth Welch Westminster Concert Bell Choir Alton Fitzgerald White Terri White Margaret Whiting Jaston Williams Julie Wilson B.D. Wong Arthur Woodley Rachel York Karen Ziemba

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It Takes a Village… ver the first 24 years of the Chorus organization’s existence, there have been many people who were instrumental in the running of the Chorus and the many duties that come with such a group. Chief among these were the over 100 persons who took part as members of the Board of Directors. The organization evolved its structure several times during the first 24 years, but basically the Board was still responsible for much of the success of the Chorus.

The Board Chairs over the years were instrumental in creating policy and overseeing the implementation of procedures. The Chorus has seen 14 individuals hold this position over 24 years. Those individuals were Dan Baillie, Dave Bolton, Thomas Bradley, Marty Christian, Daniel Doucette, Daniel Hann, Christopher Humble, Lindy Linder, Rich McFeaters, Gary Olde, Sheldon Post, Russ Radley, Bill Scarola, and Phil Walker. In addition, the following people have served on the Board over the years: Charles F. Akerland Jerry Allred Eve Alvarez Stephen Anderson John Annunziata Dan Baillie W. John Bainbridge Jordan Michael Barbakoff Ed Baskiewicz Michael Beacom J. Christopher Beck Douglas Bell Ken Benson Philip Bialer Neil Jon Bickford Dave Bolton Gary Boston Thomas Bradley Jeff Bravo Benn Brown Wm. R. Brown, Jr. Salvatore Brucia Scott Brunelle Richard W. Canter Ken Carpenter J-R Celsi Marty Christian Wm. N. Ciffairy David Clarkson Peter Clem John Cochran Michael Coleman Christopher Collette Edgar Colón-Hernández Danny Colvin

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William F. Costello Irma Csermak Mark A. D’Ambrosi Michael Deitch Michael Delaney Daniel Doucette Thomas L. Epps Fred Farnum, Jr. Jose Luis Fernandez Bill Finnegan Kevin M. Flanagan Mark Fuschetti Larry Gabbard Andrew Garfinkel Fred Goldhaber Sheldon Good Fred Greenblatt Steven C. Haber Mark Haddad Luke Hallenbeck Daniel Hann Jon Heron Dudley Hogue Christopher Humble David Hurst Guy S. Jacobs Richard W. Jasper Scott Jeffe Joseph C. Jenner Michael Barret Jones G. Paul Kowal Yetta R. Kurland Gary Leavitt Vincent P. Lee Roger Lemons

Greg Lettau Robert N. Levine Fred Liese Lindy Linder Bob Lorenz Scott D. Marshall Kelly McCormick Raymond A. McCurdy Rich McFeaters Tony McLaughlin Mark McManus Patrick Meehan Arthur Metzgar Jerome Miller Sabry Mohideen Peter Monette Donald Moschberger Kevin Mulhare Peter C. Muller Tony Oakley Gary Olde Tom Orians Ellen Osborne Robert F. Osborne Gilbert Parker Jacques Pavlenyi Clayton Phillips Sheldon Post Michael Radice Russ Radley George W. Range David Ratcliffe Carl Ray Morgan Rice Louis Rizzo

J.R. Robbins II Glenn Rodman Mickey Rolfe Jon P. Rollins Dan Rosenbaum Ernie Santora Tony Sargent Bill Scarola Mark Alan Schall Bill Schneider David Lloyd Sears Joseph Shapiro Frank Shroyer Herb Simon Alison Smith William F. Smith Willie Smith Martha Pritchard Spear Norman H. Sweet Jim Tavolaro Clark Taylor Robert Taylor Martin Teitel Steven Troy Pascual Vaquer Jim Vivyan Jerry Wade Phil Walker Steve Waugh Gary Wells Keith Wells Jonathan Zimman

n addition to the Board, there were many additional supportive people over the years. These have included those who have accompanied the Chorus, either during rehearsal or in performance, as well as those who have worked to create the programs that were presented. Besides the Artistic Directors and Principal Accompanists, other influential persons have included the following:

ACCOMPANISTS Patrick Brady Paul Bodkin Jay Egelberg Vincent Gaudioso Bennett Lerner Greg Mason James Meyer Duke Miles Alex Rybeck Thomas Webb Richard Whitfield Mark Williams

BUSINESS MANAGERS, CONCERT PRODUCERS, EXECUTIVE DIRECTORS Russ Bralley Philip Butler Michael Delaney Tomi Douglas Joe Hastick Dudley Hogue Jay Lesiger Fred Liese Mark McDonald Donald Moschberger Clayton Phillips Sean Ray Herb Simon Bradley Stauffer

ASSISTANT MUSIC DIRECTOR , ASSISTANT CONDUCTOR , SUBGROUP MUSIC DIRECTOR Edgar Colón-Hernández James Followell James Gedge Dean X Johnson Casey J. Hayes Tom Lawlor Kent Peterson Mark Riese Jerome Shannon Steven A. Sharp Tony Shenton Donald M. Skirvin

PRODUCTION PERSONNEL: MANAGER , STAGE MANAGER , PUBLICIST, CHOREOGRAPHER Leonard Dawson Mark Goldstaub Michael Goldstein Rick Guimond Peter Kostrobala Brett Oberman Ellen Osborne Michael Passaro John Racyn, Jr. David Roggensack Erica Tuchman Dee Wickert

SIGN LANGUAGE INTERPRETERS Carl Chapinsky Richard Chenault Wm. N. Ciffairy Kevin Gallagher

Bruce Hlibok Glenace Humphrey Deborah Matthews Tom McGillis

Janice Rinler Rick Rubin

n recent years, the Chorus has had its own governing body called the Membership Council. These Chorus members serve their terms with numerous hours of work for the good of the Chorus. There have been three Presidents who have overseen this group: Paul Maulucci, Don King, and Rick Clodfelter. They have been aided by Chorus members representing each of the sections of the Chorus. These include:

John Brown Jerry Christman Wm. N. Ciffairy Gary Diamante

Ed Dixon Gennaro Fredella Nelson Gonzalez George Hedges

John J. Janas David Leventhal Kyle Osmera Harlan Pruden

Raymond Sheen, Jr. Eric Spector Dee Wickert

inally, the Chorus could not flourish without the hundreds of volunteers who have provided help when necessary over the previous 24 years. From organizing fund-raising events to selling concert tickets; from merchandise sales to program preparation; from keeping track of members’ health to organizing social events. Each year Chorus members continue to step forward to help out whenever necessary and the organization would not survive without this continued support.

To all of these people, the Chorus is most grateful for their service to the organization.

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Chorus Membership uring the Chorusâ&#x20AC;&#x2122; 25 years there have been over 1,300 members who have participated in the Chorus. They are listed here with their start concert (H=Holiday, S=Spring, P=Pride) and year followed by their final or current concert performance date. These names where taken from program listings and may be incomplete. *Indicates a Charter Member, one who sang during the 1980-81 season!

David S. Abel . . . . . . . . . S86-P86 Kelly Abraham . . . . . . . . . S98-P98 Peter Adamson . . . . . . . . H00-H04 James Adolf . . . . . . . . . . H01-H04 Kevyn Aiken . . . . . . . . . . H97-P99 Chuck Akerland . . . . . . . H80-P99* Dan Alexander . . . . . . . . . . . . S86 Philip Alexander . . . . . . . H93-P94 Michael Alhonte . . . . . . . H89-S93 Joe Alleva . . . . . . . . . . . . S81-S95* George Allison . . . . . . . . . . . . P85 Jerry Allred. . . . . . . . . . . . S81-S88* Kenny Alston . . . . . . . . . H99-H04 Ken Anders . . . . . . . . . . . H97-P00 Alan Anderson . . . . . . . . . . . . H04 David Anderson . . . . . . . H82-P84 Greg Anderson. . . . . . . . . P81-P86* Roger Anderson . . . . . . . H01-P03 Stephen Anderson . . . . . H86-H94 Thomas Anderson . . . . . . H97-P00 Stephen Andryszewski . . H95-P97 John Annunziata . . . . . . . S81-H83* Robert J. Anthony . . . . . H01-H04 Tony Anthony . . . . . . . . . H80-P84* Gary L. Armstrong . . . . . S81-H04* Romulo Aromin . . . . . . . H95-S96 Rick Aronstein. . . . . . . . . S96-H04 Donald Artig . . . . . . . . . . . . . H87 Kerry Ashforth. . . . . . . . . H02-S03 Andrew Astudillo . . . . . . P02-H04 Thomas Augustin . . . . . . . . . . H04 Fred Azzaro . . . . . . . . . . H89-H91 M.F. B. . . . . . . . . . . . . H90-P91 Joseph Babecki . . . . . . . . H86-P87 Marc Bailey . . . . . . . . . . . S95-H01 Dan Baillie . . . . . . . . . . . S96-H04 John Bainbridge . . . . . . . H96-S03 Hank Baker . . . . . . . . . . . P87-P98 Thomas Baker . . . . . . . . . P87-H90 Jeffrey Baldwin . . . . . . . . H99-P01 Tucker Baldwin . . . . . . . . H91-P93 Lanny Ballard-Uveges . . . P94-H94 David Banfield . . . . . . . . H96-P97 Glen Banta . . . . . . . . . . . H01-H04

174

Daniel Barash. . . . . . . . . . S98-P98 Jordan Michael Barbakoff . . H80-H04* Russell Barnes . . . . . . . . H01-H04 Skip Barnes . . . . . . . . . . . H80-P84* Jeff Baron . . . . . . . . . . . . P91-P97 Grant Barrett . . . . . . . . . . S95-H96 John Barrett . . . . . . . . . . P97-H04 Robert Barrette . . . . . . . . H97-S99 David Bartee . . . . . . . . . H86-H89 Nicholas Barthold . . . . . . H95-P97 Ed Baskiewicz . . . . . . . . . S88-H89 Randy Bastian . . . . . . . . . P82-P84 Greg Bauer . . . . . . . . . . . H91-H93 Joel Baum . . . . . . . . . . . . H88-P89 Brian Bauman . . . . . . . . . . . . . P83 Michael Beacom . . . . . . . P81-H81* William Beard . . . . . . . . . P84-P85 Michael Beau. . . . . . . . . . S94-H04 Ron Beaumanis . . . . . . . . P85-H89 J. Christopher Beck . . . . H97-H04 Richard Beck . . . . . . . . . . H96-S97 Don Becker . . . . . . . . . . H90-H04 Earl Becker. . . . . . . . . . . . P87-S91 Jeffrey Becker . . . . . . . . . . . . . S02 Doug Bell . . . . . . . . . . . . H87-P93 Robert Bell . . . . . . . . . . . . S84-P87 E. Gerald Bellion. . . . . . . H83-P86 James Belzer . . . . . . . . . . H97-H04 Chris Benecke . . . . . . . . . . . . H02 John Benham . . . . . . . . . S81-H81* Raymond Bennardo. . . . . H96-S97 John Benson . . . . . . . . . . . . . H00 Mark Bentley. . . . . . . . . . H82-S90 Paul Benz . . . . . . . . . . . . S81-H98* Tod Bergman . . . . . . . . . . S88-P91 Robert Berray . . . . . . . . . H82-S84 William Berrios . . . . . . . . P91-P02 Phil Bialer . . . . . . . . . . . . H84-P98 Lester Bianco . . . . . . . . . . . . . S04 Neil Bickford. . . . . . . . . . H80-P86* Mitchell Bierman. . . . . . . H92-P00 Jerry Biga . . . . . . . . . . . . H95-P98 George Bihlmayer. . . . . . . S81-P86* Hagop Bijimian . . . . . . . H89-H90

Robert Binder . . . . . . . . . H84-P86 Bill Blaber . . . . . . . . . . . . S98-P98 James Black. . . . . . . . . . . H81-P84 Mark-Evan Blackman. . . . S88-H93 Trent Blanchard . . . . . . . . P97-S98 Lynn Blankenship . . . . . H03-H04 Tim Blaylock . . . . . . . . . . H93-S94 Dell Blessinger. . . . . . . . . H84-S85 Tim Blevins . . . . . . . . . . . H96-S98 Ted Bloecher . . . . . . . . . . H85-S02 Dale Blue . . . . . . . . . . . . H80-S81* Dominick Bluni. . . . . . . . H82-S84 Rex Bobbish . . . . . . . . . . H00-P01 Michael Bodanski . . . . . . H90-H93 Paul Bodkin . . . . . . . . . . H84-H89 Dave Bolton . . . . . . . . . . H99-H04 Steven Bombard . . . . . . . . . . . H93 Aaron Bond. . . . . . . . . . . H96-S97 Jeff Bond . . . . . . . . . . . . P94-H94 Phil Bond . . . . . . . . . . . . P86-P90 Bruce Bonin . . . . . . . . . . H03-P04 Rex Bonomelli . . . . . . . . H02-H04 Kip Bonsignore. . . . . . . . . . . . H04 Lynn-Philip Book . . . . . . . P82-S83 Andrew Boorstyn. . . . . . . H91-S93 Frank Borghese. . . . . . . . H90-H93 Burton A. Borovetz . . . . . H01-H04 Alfred Borrello. . . . . . . . . . . . . S01 Larry Borten . . . . . . . . . . H97-P99 Robert Boucheron . . . . . . H80-S82* David Boulanger . . . . . . . H82-P83 David Bourke . . . . . . . . . . S88-P88 Richard Bousquet . . . . . . H86-S93 Edward Bowen . . . . . . . . H94-P01 Jeff Bowles . . . . . . . . . . . . S87-P90 Alvin Boyd . . . . . . . . . . . . . . . S04 Mark Bradley. . . . . . . . . . H80-S81* Steven Bradley . . . . . . . . H81-H85 Thomas Bradley . . . . . . . . S81-P87 Gerry Brague . . . . . . . . . . P92-S95 Robbie Braun . . . . . . . . . H99-S02 Jeff Bravo . . . . . . . . . . . H94-H02 Maev Brennan . . . . . . . . H01-H04 Joe Breslaw . . . . . . . . . . . S81-P82*

Joel Breslof . . . . . . . . . . . H88-H98 Richard Brode . . . . . . . . . S81-H84* John Broderick . . . . . . . . H92-H95 Robert Bronzo. . . . . . . . . P99-H02 Jeff Brooks . . . . . . . . . . . H85-P88 Lane Brooks . . . . . . . . . . H02-S04 Michael Brooks . . . . . . . . . . . H84 J. Arthur Brost. . . . . . . . . P95-H04 Benn Brown . . . . . . . . . . . P87-S93 Butch Brown . . . . . . . . . . . . . H96 David Brown . . . . . . . . . . . . . . S86 Frank Brown . . . . . . . . . . H84-S85 Jeffrey Brown . . . . . . . . . . P02-S03 John Brown . . . . . . . . . . H98-H02 William Brown . . . . . . . . H87-H02 Gary Brubach. . . . . . . . . . P84-S92 Ransom Bruce . . . . . . . . H94-H04 Sal Brucia . . . . . . . . . . . . S96-P98 Romel Brumley . . . . . . . . . . . . P03 Patrick Brune . . . . . . . . . H96-H02 Blenn Brunow . . . . . . . . . P95-P97 Rod Buchanan. . . . . . . . . H86-S87 John Buckingham . . . . . . S97-P99 Chris Buckley . . . . . . . . . S04-H04 Terrence Buckley . . . . . . . . . . H04 Jeffrey Buhrman . . . . . . . . S98-P98 Brian Bumby . . . . . . . . . . H92-P93 Rick Burgo . . . . . . . . . . . H80-H98* Michael Burke . . . . . . . . . S98-P98 Steven Burn. . . . . . . . . . . S92-H92 John Burns. . . . . . . . . . . . S92-P92 Richard Burns . . . . . . . . . . . . . P87 Gerald Burr . . . . . . . . . . H88-H91 Richard Burton. . . . . . . . H03-H04 Mark Busch. . . . . . . . . . . H91-S93 Bob Butler . . . . . . . . . . . H80-H81* Patrick Butler. . . . . . . . . . S94-H98 Philip Butler . . . . . . . . . . H81-S84 Gary Byma . . . . . . . . . . . . S96-P99 Dick Cable . . . . . . . . . . . H84-H90 John B. Cadue. . . . . . . . . S95-H04 Greg Caldarone . . . . . . . H94-H95 Michael Callen . . . . . . . . H80-S82* Kevin Calleri . . . . . . . . . . H84-S86

Campbell—Foley Kevin Campbell . . . . . . . H94-P97 Wilbert Candelaria . . . . . H85-P86 Jason Cannon. . . . . . . . . H01-H04 Richard Canter. . . . . . . . . P83-P90 Rodgee Cao. . . . . . . . . . . S81-H02* Michael Capece . . . . . . . . S81-S95* Greg Caravia . . . . . . . . . . H80-P87 Gary Carlisle . . . . . . . . . . H90-P97 Ken Carpenter . . . . . . . . . S87-S96 Danny Carragher . . . . . . H00-H04 Michael Carrigan . . . . . . . S90-H91 Charles Carson. . . . . . . . . P81-S90* Dale Carter . . . . . . . . . . . H81-S82 William Carty . . . . . . . . . H94-P99 Jeff Caruso . . . . . . . . . . . H86-S94 Paul Casey . . . . . . . . . . . . S81-S84* Tommy Casmento . . . . . . S91-H04 Thomas Castano . . . . . . . H93-P95 Ted Castiglia. . . . . . . . . . . . . . H04 Chuck Castro. . . . . . . . . . S81-P82* Jose U. Castro . . . . . . . . . S02-H04 Chris Caswell. . . . . . . . . . S94-P99 William Caulfield . . . . . . S95-H96 J-R Celsi . . . . . . . . . . . H87-H98 Sylvester Centrone . . . . . . . . . H85 Raymond Cerabone. . . . . S85-H04 Cary Chalmers . . . . . . . . . . . . P82 Joseph Chamberlain . . . . H81-H83 Steve Channon. . . . . . . . . . . . H04 Ores Cheever . . . . . . . . . H80-P89* Patrick Cheng. . . . . . . . . H02-H04 Vincent Cheng . . . . . . . . . S98-S03 Tom Cherico . . . . . . . . . . H80-P84* Dan Chirillo . . . . . . . . . . S86-H86 Michael Chiusano . . . . . . P83-P84 David Cholcher. . . . . . . . H94-P95 Joe Chorba. . . . . . . . . . . . S85-P85 Edward Chorley . . . . . . . . S81-S84* Scott Christensen . . . . . . H00-P03 Marty Christian . . . . . . . . H82-P90 Jerry Irwin Christman . . . P99-H04 Dale Christopher . . . . . . . S91-S93 Wm. N. Ciffairy . . . . . . . H88-H04 Angelo Cilia . . . . . . . . . . H01-H04 Rusty Clark . . . . . . . . . . H99-H04 Tony Clarke. . . . . . . . . . . H98-P99 David Clarkson . . . . . . . . H91-P94 James Clayton . . . . . . . . . H80-S89* Patrick Clayton. . . . . . . . H03-H04 Peter Clem . . . . . . . . . . . H80-P82* Rick Clodfelter . . . . . . . . H01-H04 Richard H. Coburn. . . . . H87-H04 John Cochran. . . . . . . . . H89-H93 Jack Coco . . . . . . . . . . . . H03-P04 Lee Coghlan . . . . . . . . . . . . . . S92 Alan Cohen . . . . . . . . . . H87-H88 Stuart Aaron Cohen . . . . H95-H04 Fred Cohn. . . . . . . . . . . . H89-S92

Ken Cole . . . . . . . . . . . . . . . H04 Orlando Cole . . . . . . . . . H95-S96 Michael Coleman . . . . . . . S87-S96 Chris Collette. . . . . . . . . H95-H04 Bob Collins . . . . . . . . . . H94-H04 Geoffrey Collins . . . . . . . S04-H04 Paul Collins . . . . . . . . . . . S84-P84 Edgar Colón-Hernández . . H80-H04* Michael Colosi . . . . . . . . H95-H96 Danny Colvin. . . . . . . . . . S85-P94 Shelby Condray. . . . . . . . . . . . S99 Michael J. Connolly . . . . . S94-H04 John Connors, M.D.. . . . H03-H04 David Coobs . . . . . . . . . . H81-P83 Dwight Coots . . . . . . . . . H95-S96 Rob Cordell . . . . . . . . . . P99-H04 Michael Corey . . . . . . . . . H86-S96 Victor Coriann . . . . . . . . . . . . P02 Kelly Corken . . . . . . . . . H92-H93 Bill Corsello . . . . . . . . . . H02-H03 Greg Cortelyou . . . . . . . . S95-P01 Bill Cosgriff . . . . . . . . . . . . . . H94 William Costello . . . . . . . H85-P91 Rex Coston . . . . . . . . . . H97-H01 Michael Cowing . . . . . . . P86, S87 Kent Cozad . . . . . . . . . . . H91-S96 Richard Cramer . . . . . . . . S81-H84* Adrian Crawford . . . . . . . H02-S04 Anthony Crawford. . . . . . S92-H92 Rock Crawford . . . . . . . . H90-S91 Peter Criswell . . . . . . . . . P02-H04 Robbie Crosby . . . . . . . . H80-P84* Bill Crouch . . . . . . . . . . . H94-S96 Bradley Crownover. . . . . . S98-P99 Toti Cruz . . . . . . . . . . . . P95-H02 Irma Csermak . . . . . . . . . H85-P87 Merle Cunningham . . . . . H81-S90 Thomas H. Cunningham . P97-H04 Gaspard Curioni. . . . . . . . . . . H04 Don Curry . . . . . . . . . . . H86-P91 Kenton James Curtis. . . . H01-H04 Larry Cutler . . . . . . . . . . H95-S97 James Cyphers . . . . . . . . . P83-S85 Michael Dain . . . . . . . . . . . . . P02 Michael Dain . . . . . . . . . . . . . P81* Ron D’Albero . . . . . . . . . P86-H89 Joseph D’Alessandro, Jr.. . H03-H04 Mark A. D’Ambrosi . . . . . S92-H04 Mark J. Danis. . . . . . . . . . S98-P04 Lee Danser . . . . . . . . . . . H80-H81* William Darcangelo . . . . . S93-H93 Bobby Darnell . . . . . . . . H97-H04 Jim Dator . . . . . . . . . . . . S81-S90* D.L. Daub . . . . . . . . . . . . . . . H80* Guy P. Dauerty . . . . . . . . P86-H04 Noel Daugherty. . . . . . . . H87-S89 Bill Davis . . . . . . . . . . . . H88-S90 John Davis . . . . . . . . . . . . . . . H01

Luke Davis . . . . . . . . . . . H88-S02 Michael Deitch . . . . . . . . H80-S82 Anderson De-Gazon. . . . . . . . H04 Jefferson DeJesus . . . . . . H01-H04 Michael Delaney . . . . . . . H89-P99 Randy Delaney . . . . . . . . . . . . S95 Anthony G. Delisio . . . . H00-H04 Jamie DeMore . . . . . . . . . S03-P04 J. Dempsey . . . . . . . . . . . S91-H91 Hector Denis . . . . . . . . . . S88-S89 David DeOto. . . . . . . . . . H89-S92 John DePalma . . . . . . . . . H95-P99 Joseph DeRupo . . . . . . . . H97-P99 Robert DeStefano . . . . . . H80-P95* Tom Detwiler. . . . . . . . . . H89-S94 Jack Devine. . . . . . . . . . . H80-P82* Steve Devine . . . . . . . . . . . . . . P89 C. Brian Devinney . . . . H98-H04 Michael DeVito . . . . . . H92-H93 David Dewey. . . . . . . . . . H85-S86 Gary Diamante. . . . . . . . H99-H04 Alfonso Diaz. . . . . . . . . . H03-H04 Charles Dietrich . . . . . . . H88-P94 Daniel Dietrich . . . . . . . . . . . . P83 Dan Diggles . . . . . . . . . . H99-H04 Robert DiGioia . . . . . . . . S04-H04 Rich Dikeman . . . . . . . . . H91-P95 Stephen Dillard-Carroll . . H97-P98 Skip Dillon. . . . . . . . . . . . S81-P83* Andrea Dini . . . . . . . . . . H00-H04 Michael Dionne. . . . . . . . S93-H93 Don DiSalvo . . . . . . . . . . H83-S85 Joe DiVenti . . . . . . . . . . . S04-H04 Steve Divine . . . . . . . . . . . . . . S89 Ed Dixon . . . . . . . . . . . . H96-P02 Mark Dobrowolski. . . . . . H92-S01 Bryan Dobson . . . . . . . . . P99-P00 Rich Dodenhoff . . . . . . . . S85-P93 Shelton Dominici . . . . . . . S98-S99 Richard R. Donahue . . . . H95-H04 Frank Donno . . . . . . . . . . . . . H01 Joe Donovan . . . . . . . . . . H90-S94 Daniel Doucette . . . . . . . H96-S02 Garon Douglass . . . . . . . . S86-P88 Michael Douris . . . . . . . . S98-P99 Matthew Downey . . . . . . . S99-S02 Peter Downing . . . . . . . . H01-P03 Curtis Drake. . . . . . . . . . H02-H03 Andrew Dreeland . . . . . . . . . . P83 Drew Dreeland . . . . . . . . . . . . S84 Edward Dryer-Weaver . . . H80-P84* Paul DuCett . . . . . . . . . . H92-P99 Jason Duchan . . . . . . . . . S94-P95 Thomas Duffy . . . . . . . . . H89-S90 Steve Dula . . . . . . . . . . . . P90-P92 Brian Dumont . . . . . . . . . S03-P03 John Dunlop. . . . . . . . . . . . . . P81* Stephen Dunn. . . . . . . . . H87-S88

Derek Durst . . . . . . . . . . . S83-P83 Errol Edwards . . . . . . . . . S81-P92* Glenn C. Edwards . . . . . H97-H04 Wayne Edwards. . . . . . . . H80-S82* Jay Egelberg . . . . . . . . . . H91-H96 Lewis Ehlers . . . . . . . . . . H89-S90 Gregory Eichelser . . . . . . . . . . P01 Brendan Eisan . . . . . . . . . S91-H94 Conrad Ekkens. . . . . . . . . S96-S03 Peter Ekstrom . . . . . . . . . H85-S87 Scott Ellis . . . . . . . . . . . . . . . H93 Diana Elrod . . . . . . . . . . . S88-P88 Rick Emery . . . . . . . . . . . H89-S91 Richard Eng . . . . . . . . . . S92-H04 Thomas Eng . . . . . . . . . . H96-P99 Larry Eppley . . . . . . . . . . S81-H82* Thomas L. Epps . . . . . . . H84-P92 Timothy Erbe . . . . . . . . . H94-S96 John Escribano . . . . . . . . H02-P03 Marc Espinoza. . . . . . . . . S04-H04 Alex L. Esteban . . . . . . . . H95-P04 John J. Evans . . . . . . . . . . S02-P04 Greg Everett . . . . . . . . . . H91-H94 Hylke Faber . . . . . . . . . . . S02-S03 Peter Fahrni . . . . . . . . . . . S03-P03 Michael Fairbairn . . . . . . H99-P03 Anthony Falco. . . . . . . . . . . . . S84 Thomas Falconi. . . . . . . . H94-P00 David C. Falzone . . . . . . . P02-P04 Fred K. Farnum, Jr.. . . . . H93-H04 Eric Farr . . . . . . . . . . . . P95-P97 Jay Farrar . . . . . . . . . . . . H85-S90 Gary Wayne Farris . . . . . . . . . H04 Rick Farwick . . . . . . . . . . S94-S97 Kern Faubion . . . . . . . . . H99-S02 Vincent Fedor . . . . . . . . . P87-S95 Stewart Feldman . . . . . . . H83-S85 Jose Fernandez. . . . . . . . . P82-P98 Michael Ferrantino . . . . . H98-P01 Chet Ferris . . . . . . . . . . . H93-S94 Robert Fessler . . . . . . . . . H91-P93 James Festa . . . . . . . . . . . S82-P92 John Fichtel . . . . . . . . . . . . . . H04 Chris Fields . . . . . . . . . . H02-H03 Bill Finnegan. . . . . . . . . . H88-P93 Daniel Fiore . . . . . . . . . . H01-H04 Dennis Fischbach. . . . . . H82-H85 Robert Fischer . . . . . . . . H90-H97 Gary Fishbein. . . . . . . . . H85-H86 Guil Fisher . . . . . . . . . . . S03-H04 Andrew FitzPatrick . . . . . . P91-S94 Jim Flacche . . . . . . . . . . H01-H04 Kevin Flanagan. . . . . . . . H91-H93 Thomas Fletcher . . . . . . . . . . . S94 Tim Flint . . . . . . . . . . . . S86-P86 Julio Flores . . . . . . . . . . . . . . . P82 Mark Flores. . . . . . . . . . . S02-H04 Ray Foley . . . . . . . . . . . . . . . H80*

175

Fong—Kay-McGrail Peter Fong. . . . . . . . . . . . H89-P94 Aurelio Font . . . . . . . . . . H80-P82* Brian Forte . . . . . . . . . . . . S81-S84* William Fowle. . . . . . . . . H85-P86 Stephen Fox . . . . . . . . . . H92-P94 Matthew Francis. . . . . . . . S03-P03 Paul Francis . . . . . . . . . . H84-P85 Samuel Francis . . . . . . . . H01-H04 Trent Franco . . . . . . . . . . P95-H96 Walter Franklin . . . . . . . . P93-S95 Alan Fraser . . . . . . . . . . . H81-H84 Gennaro Fredella . . . . . . H00-H04 Kenneth Freedman . . . . . . S84-S87 Don Freeman. . . . . . . . . . P83-P84 Jeff Friedman . . . . . . . . . H84-P86 Thomas Friedman . . . . . . H83-S84 Jay Friend . . . . . . . . . . . . S84-P84 Richard Frings . . . . . . . . . H00-S02 Dylan Ftera . . . . . . . . . . . S03-H04 William Fultz . . . . . . . . . H02-H04 Scott Furrow . . . . . . . . . . H98-P00 Mark Fuschetti . . . . . . . . S84-H97 David Fusco . . . . . . . . . . . . . . P02 Larry Gabbard. . . . . . . . . H98-P00 David Gable . . . . . . . . . . H97-H02 John Gage . . . . . . . . . . . . S81-P82* Kevin Gallagher. . . . . . . . H86-P88 Steve Gallagher . . . . . . . . S94-P94 William Gammon . . . . . . H87-S97 Robert Gancitano . . . . . . . P91-S99 David Ganon . . . . . . . . . . P90-P91 Juan Garcia . . . . . . . . . . . . . . H03 Don Gardenier . . . . . . . . H90-P99 Ryon Garee . . . . . . . . . . . . . . H03 Richard Garf. . . . . . . . . . H80-H81* Andy Garfinkel . . . . . . . . H85-H91 David Garfinkle . . . . . . . . . . . H04 Fred Garza . . . . . . . . . . . . . . . H01 Karen Gavin . . . . . . . . . . H84-P85 Kent Gay . . . . . . . . . . . . . . . H01 Michael Gaylord . . . . . . . H90-S95 James Gedge . . . . . . . . . . S96-S03 Michael Gehl . . . . . . . . . H82-P98 James Geiger . . . . . . . . . . S97-P00 Lee Geisel . . . . . . . . . . . . H95-S98 Marty Gerber. . . . . . . . . . H85-P86 Stewart Gerber . . . . . . . . . . . . P81* Glen Geron . . . . . . . . . . . S97-H02 George Gewirtz . . . . . . . . H88-P90 Peter Giannone . . . . . . . . S81-H81* Richard Giles . . . . . . . . . . . . . H81 Richard Ginzel . . . . . . . . . . . . H91 Jay Gitter . . . . . . . . . . . H94-H04 Guy Glass . . . . . . . . . . . . S93-S96 James Glavan. . . . . . . . . . H80-S81* Bill Goffi . . . . . . . . . . . . H95-S03 Ben S. Goldberg . . . . . . . H99-H04 Fred Goldhaber . . . . . . . H80-H04*

176

Joshua Goldstein . . . . . . . . . . H04 Michael Goldstein . . . . . H80-H04* Jose Gomez . . . . . . . . . . . H81-S83 Ben Gonzalez . . . . . . . . . H95-P00 Mario Gonzalez . . . . . . . . H81-S82 Nelson Gonzalez . . . . . . . S03-H04 Sheldon Good . . . . . . . . . S93-P97 Ned Goodhue . . . . . . . . . H00-S01 Eric Gordon . . . . . . . . . . H80-S90* Glenn Gordon. . . . . . . . . H95-P97 Michael Gordon . . . . . . . . . . . S81* Lloyd Goren . . . . . . . . . . P87-H92 Alex Goro . . . . . . . . . . . . H00-P01 Burton Gottschalk . . . . . . H80-S85* Kenneth Gould . . . . . . . . S96-P97 Ross Borsody Graham . . . H82-S85 Walt Graham. . . . . . . . . . H88-S89 Donald Grasso . . . . . . . . H86-H01 Gary Austin Graves . . . . H01-H04 Robert Graves . . . . . . . . . H95-S99 Patrick Gray . . . . . . . . . . H86-P93 Stephen Gray . . . . . . . . . . S92-S93 David Green. . . . . . . . . . . S86-P86 John Green . . . . . . . . . . . H93-P97 Fred Greenblatt. . . . . . . . H93-P02 Jordan Greene. . . . . . . . . H86-P03 Sam Greene . . . . . . . . . . . . . . S95 Alan Greenfield . . . . . . . . H82-P83 Chuck Greer . . . . . . . . . . H94-P02 Ken Greves . . . . . . . . . . . S95-P99 Hugh Groman . . . . . . . . . S94-S95 Victor Grossetti . . . . . . . . S92-P98 Stuart Grow . . . . . . . . . . H95-P97 Brian Grundstrom . . . . . . S90-P99 Jin-Wen Guan . . . . . . . . . . . . H01 John Gudeli . . . . . . . . . . P83-H83 Frank Guerrasio. . . . . . . . H99-S03 Leo Guimond . . . . . . . . . P92-P95 Rick Guimond . . . . . . . . H80-P01* Nicholas Gulde . . . . . . . . H01-S02 David Gurland . . . . . . . . . . . . H92 Jack Gwin . . . . . . . . . . . . H82-P83 Bruce Haas. . . . . . . . . . . H01-H03 Steven Haber. . . . . . . . . . S88-H93 Mark Haddad . . . . . . . . . H96-H04 Robert Hagerty . . . . . . . . S84-H94 Steven Haimowitz. . . . . . H03-H04 Kevin Hain . . . . . . . . . . . H85-P86 Bob Hall . . . . . . . . . . . . P02-H04 Jeff Hall . . . . . . . . . . . . S98-P98 Joner Hall . . . . . . . . . . . . H00-S01 Lee Hall . . . . . . . . . . . . S04-H04 Phil Hall . . . . . . . . . . . . H92-P93 Robert Hall. . . . . . . . . . . H80-H85* Richard Halpern . . . . . . . H82-H85 Greg Halverson . . . . . . . . H89-P98 Timothy Hamblin . . . . . . . . . . S95 Jack Hamilton . . . . . . . . . S81-S82*

John Hamm . . . . . . . . . . H86-P87 Su Hammond . . . . . . . . . H94-S96 Jeffrey Hancock . . . . . . . . S89-P97 Daniel Hann . . . . . . . . . . P93-P97 Fredy Harris . . . . . . . . . . S03-H04 Douglas Harrison . . . . . . H99-H04 Jeffrey Hartman . . . . . . . . . . . H02 Skip Hartstirn. . . . . . . . . H89-H90 Todd Harvey . . . . . . . . . . H88-P89 Joe Hastick. . . . . . . . . . . H87-H90 Christopher Hatton . . . . . P99-P01 Michael Haubrich-Visconti . H92-H93 Matthew Haufle . . . . . . . . . . . H01 John R. Hawkins . . . . . . H00-H04 Robert O. Hawkins, Jr. . . H99-H04 Curtis Hay . . . . . . . . . . . H91-P98 C.B. Hayden . . . . . . . . . . H87-P90 Casey J. Hayes . . . . . . . . H03-H04 Michael Hayward-Jones. . . . . . S85 Kevin Heckman. . . . . . . . P91-H92 George Hedges. . . . . . . . . S97-P03 James Helms . . . . . . . . . . S85-H85 Matthew Helton . . . . . . . P02-H02 Davis Henderson . . . . . . H87-H88 Doug Henderson. . . . . . . . . . . S95 Steven Henderson . . . . . . . . . H86 Ron Hendon . . . . . . . . . H90-H93 Thomas Henson . . . . . . . S04-H04 Jean-Paul Hernandez . . . . S89-H91 Robert Hernandez . . . . . . . . . H04 Jon Heron . . . . . . . . . . . . H85-P87 Raphael Hertz . . . . . . . . . . . . H84 Randy Hertzog . . . . . . . . S03-H04 Joel Hess . . . . . . . . . . . . . . . . P91 Steven Hicks . . . . . . . . . H93-H95 Timothy Higdon. . . . . . . . S98-P00 Larry Hill . . . . . . . . . . . . S81-H84* Adrian Hills . . . . . . . . . . . . . . H01 Michael Hirschaut . . . . . . H95-S96 Benjamin Hladilek . . . . . H98-H04 Bruce Hlibok. . . . . . . . . . H80-P84* Rick Hodapp. . . . . . . . . . H83-P84 Bruce Hodges . . . . . . . . . P82-S84 David G. Hoenig . . . . . . H02-H04 Bill Hoffman . . . . . . . . . . H90-P93 Dudley Hogue. . . . . . . . . H96-P97 Eric Holck. . . . . . . . . . . . . . . . S89 Jesse Holiva . . . . . . . . . . H80-H81* John Holt . . . . . . . . . . . . S02-P02 Matthew Holzer . . . . . . . . . . . P99 William Honey . . . . . . . . H85-S91 Richard Hooke . . . . . . . . P91-H92 Mark Hooker . . . . . . . . . . . . . P93 Jim Hopke . . . . . . . . . . . . . . . P85 Jack Hoppen . . . . . . . . . . H80-P81* Allen Horne . . . . . . . . . . . . . . H83 W. Scott Horne . . . . . . . . P02-H04 J.D. Horner . . . . . . . . . . . H97-P98

Marc J. Horvath . . . . . . . S96-H04 Mark Howansky . . . . . . . . S81-P86* Michael Howard. . . . . . . . . . . H89 Terrance Howell. . . . . . . . H80-S90* Scott Hughes. . . . . . . . . . H80-S81* Drew Hull . . . . . . . . . . . . S90-H96 Christopher Humble . . . H80-H83* Matthew Hume . . . . . . . . S02-H04 Steve Hunter . . . . . . . . . . H91-S93 David Hurst . . . . . . . . . . H89-P97 Germán Hurtado . . . . . . H03-H04 C.A. Hutton . . . . . . . . . . . S81-S90* David Hyman. . . . . . . . . . . . . H89 Hugh Hysell . . . . . . . . . . S02-H04 Seton Ijams . . . . . . . . . . . S85-P85 Joe Ingoldsby . . . . . . . . . H95-H96 Johnathan Isley . . . . . . . . . . . H02 Scott Isom. . . . . . . . . . . . H02-S03 Fumiyuki Iwai . . . . . . . . . S02-H04 Page Jackson . . . . . . . . . H80-H04* Guy S. Jacobs. . . . . . . . . H84-H04 John J. Janas . . . . . . . . . . S98-H04 Lane S. Jantzen . . . . . . . H99-H04 Roland Jarquio . . . . . . . . H95-S96 Joseph Jarvis . . . . . . . . . . P83-P85 Stan Jaskot . . . . . . . . . . . H92-P98 Joel Jason . . . . . . . . . . . . H80-S81* Richard Jasper . . . . . . . . . H81-P94* Scott Jeffe . . . . . . . . . . . . H96-P99 Philip Jeffery. . . . . . . . . . H02-H04 Donald Jeffries . . . . . . . . . . . . H92 David Jenkins. . . . . . . . . H95-H96 Joey Jenner . . . . . . . . . . . H85-P87 Barry Johns . . . . . . . . . . . . . . H04 Russell Johns. . . . . . . . . . S94-H04 Bill Johnson . . . . . . . . . . . S86-S89 Clifton Johnson. . . . . . . . H95-S96 Darrell Johnson . . . . . . . . P83-S95 Dean Johnson . . . . . . . . H84-H88 Quinton Johnson . . . . . . S81-H90* Ted Johnson . . . . . . . . . . H95-H96 Vo Johnson . . . . . . . . . . . . . . . P94 Christopher Jon . . . . . . . P83-H83 Bruce Lee Jones . . . . . . . . P94-S95 Edward Jones . . . . . . . . . P85-H87 Gregory Jones . . . . . . . . H03-H04 Michael Barret Jones. . . . H98-H03 Paul Jones . . . . . . . . . . . . S99-S01 Jon Jordan . . . . . . . . . . . H95-H96 Dennis Josue . . . . . . . . . . . . . H86 Robert Junker . . . . . . . . . H80-S85* Kala’au Kaleleiki . . . . . . . H01-P02 Sean Kaminsky. . . . . . . . . S02-P02 Randy Kaplan . . . . . . . . . S82-H98 Barry Katz . . . . . . . . . . . . H93-S95 Howard Katz . . . . . . . . . . S81-S90* Geremy Kawaller . . . . . . . S97-P97 Michael Kay-McGrail . . . . S95-P99

Kellâ&#x20AC;&#x201D;Muller Wayne Kell . . . . . . . . . . . . S89-S94 Daniel Kelly . . . . . . . . . . H99-H02 Philip Kelly . . . . . . . . . . . . . . H02 John E. Kelso . . . . . . . . . H01-P04 Sonelius Kendrick-Smith . S03-H04 Alexander Keomurjian . . . H02-S03 Stephen Keough. . . . . . . . S94-P97 James Kerrigan . . . . . . . . H83-S84 Greg Khoury . . . . . . . . . . P82-H86 Gene Kim . . . . . . . . . . . . S99-P04 Keith Kimberlin. . . . . . . . H85-P87 William Kimmel . . . . . . . H99-P01 Paul Kimmerling. . . . . . . . S97-P00 Stephen Kimmerling. . . . . P91-S95 Patrick Kincaid . . . . . . . . S81-H83* Aaron Kinchen . . . . . . . . . . . . H04 Thomas Kindrechs . . . . . . . . . S88 Donald G. King, Jr. . . . . . S95-H04 Grant King . . . . . . . . . . . H86-P87 Kirk King . . . . . . . . . . . . H86-S87 Robert King. . . . . . . . . . . P02-H02 Michael Kinnamon . . . . . H82-S85 Brian Kinsey . . . . . . . . . . H92-P00 Geoffrey Kiorpes. . . . . . . . S90-P92 Jon Kirbie . . . . . . . . . . . . P85-H86 Frank Kirk . . . . . . . . . . . . . . . H84 Bob Kirkpatrick . . . . . . . H02-H04 Thomas Klebba . . . . . . . . S88-P98 Roman Klinec. . . . . . . . . . . . . H93 Curtis Knecht . . . . . . . . . S03-H04 John Knoebel . . . . . . . . . H95-H04 David Kobylar . . . . . . . . . S03-H04 Douglas Koch . . . . . . . . . H85-S90 Casey Kyung Hun Koh . . H91-H04 Brian Kontes . . . . . . . . . . . . . . P97 Kevin Korney . . . . . . . . . . S92-P92 Chris Kosar . . . . . . . . . . . H96-P03 Peter Kostrobola . . . . . . . . S86-P86 Paul Kowal . . . . . . . . . . . H80-S83* Michael Krake . . . . . . . . . H94-S04 Joonmo Ku . . . . . . . . . . . P93-H96 John Kubiniec . . . . . . . . . H96-P01 Stephen Kurowski . . . . . . P02-H04 Jin Won Kwan. . . . . . . . . H03-P04 Vincent Lacey . . . . . . . . . P02-H04 Ethan Lacosh. . . . . . . . . . S02-P02 Larry Lakey . . . . . . . . . . . H99-S02 Garret Lambert . . . . . . . . S93-P01 Daniel Lamberti . . . . . . . . S81-S82* Justin Lamont . . . . . . . . . H01-S02 Eric Lamson . . . . . . . . . . . . . . S04 Joey Landwehr . . . . . . . . H99-P01 Matt Lanford. . . . . . . . . . S02-H04 Cary Langston . . . . . . . . H87-H89 Vincent Lankewish . . . . . H94-P98 Dominic Lanza. . . . . . . . H82-H86 Frank LaPenta . . . . . . . . . S81-H81* John Larson . . . . . . . . . . . S87-P87

Samuel Lartigaut . . . . . . . P83-P90 Bill Lash . . . . . . . . . . . . H83-S86 Norman Lasiter . . . . . . . . P94-H97 Alexander Last . . . . . . . . . . . . H88 Seth Laudor . . . . . . . . . . . . . . H02 Daniel Laukatis . . . . . . . . H95-S96 Keith Laverty . . . . . . . . . . . . . P85 Tom Lawlor. . . . . . . . . . . H81-P82* Dan Lawrence . . . . . . . . . H95-S96 Sean Lawrence . . . . . . . . S02-H04 Mark Lazore . . . . . . . . . . P90-H90 Matt Leahy . . . . . . . . . . H01-H04 Richard Lear. . . . . . . . . . H01-H04 Gary Leavitt . . . . . . . . . . H96-P00 Mark LeDoux . . . . . . . . . H01-P03 Albert Lee . . . . . . . . . . . . H82-S85 John Lee . . . . . . . . . . . . H97-P98 Louis Lee . . . . . . . . . . . . P93-S94 Robert Lee . . . . . . . . . . . H95-P99 Vincent Lee. . . . . . . . . . . H94-P03 Ken Leediker . . . . . . . . . . H85-S86 Craig Leiby. . . . . . . . . . . H96-H04 Fred Leise . . . . . . . . . . . . S81-P82* Richard A. Lemberg . . . . H88-H04 Roger Lemons . . . . . . . . . P95-H04 Randy Lerner . . . . . . . . . P81-H87* Jay Lesiger . . . . . . . . . . . . S81-P98 Greg Lettau . . . . . . . . . . H80-H84* Jeff Lettiere. . . . . . . . . . . H94-H04 David Leventhal . . . . . . . H01-H04 Jason Levine. . . . . . . . . . . S97-P98 Jerry Levine. . . . . . . . . . . H80-S81* Josh Levine . . . . . . . . . . . . . . H04 Robert Levine. . . . . . . . . . P82-S94 Anthony Levintow . . . . . H85-H04 Steven Levy . . . . . . . . . . . P86-P94 Jake Lewis. . . . . . . . . . . . . . . . P02 Michael Lewis . . . . . . . . . S81-S82* John Libonati. . . . . . . . . . P94-P95 Ernie Lijoi. . . . . . . . . . . . . . . . P02 Fidelino Lim . . . . . . . . . . P95-P98 Kenneth Linn . . . . . . . . . S85-H86 Andrew Lippa . . . . . . . . . H90-S91 Jeffrey Lipton . . . . . . . . . H90-P99 Allen Liu . . . . . . . . . . . . S98-P00 Bob Lizzio. . . . . . . . . . . . H84-P85 Robert Lizzio. . . . . . . . . . H98-P99 Jim Longo . . . . . . . . . . . . S97-P01 James LeeLopez . . . . . . . . S04-P04 Robert Lopez. . . . . . . . . . H88-S90 Michael Lopez-Mata. . . . . P02-P03 Bob Lorenz . . . . . . . . . . . S92-S98 Chuck Lorey . . . . . . . . . H95-H02 Rick Louis . . . . . . . . . . . . . . . H04 Lewis Love . . . . . . . . . . . P88-H88 Ike Lovett . . . . . . . . . . . . H80-P81* Ron Loyd . . . . . . . . . . . . . . . . P97 Doug Lucas. . . . . . . . . . . H80-P84*

Dwayne Lunde. . . . . . . . H97-H04 Glenn Lunden . . . . . . . . H88-P98 Carl Luss . . . . . . . . . . . . H80-S81* George Lutsch . . . . . . . . . P95-P99 Mike Lynch . . . . . . . . . . H92-H04 Robert Lynch . . . . . . . . . P91-H91 Joanne Macbeth . . . . . . . . . . . H94 Michael MacDonald . . . . H81-H90* Rick Maecker . . . . . . . . . . S81-S82* J. Anthony Magner . . . . . P82-H04 Wayne Mahon . . . . . . . . . S92-P92 Tracy Maine . . . . . . . . . . . . . . S99 Jono Mainelli. . . . . . . . . . . . . . S95 James Malarsky . . . . . . . . P87-S88 Chris Maltby . . . . . . . . . . S84-H84 Kyle Mange . . . . . . . . . . H02-H03 Karl Manger . . . . . . . . . . H86-P92 Christopher J. Manna . . . H02-H04 Alfred Maragni . . . . . . . . . . . . H01 Jon Martans . . . . . . . . . . . . . . H04 Charles Marcus . . . . . . . . H86-S87 Robert Marion . . . . . . . . . H01-S02 Robert Marion . . . . . . . . . . . . H03 Michael Markwis . . . . . . . H97-P98 Chris Marotta. . . . . . . . . . S98-P99 Vincent Marrazzo . . . . . . . . . . P81* Bert Marro . . . . . . . . . . . H89-P04 Thomas Marrons . . . . . . . . . . H83 Scott Marshall . . . . . . . . . P82-P84 Jeff Martens . . . . . . . . . . H03-H04 Philiip Mason . . . . . . . . . . S87-S99 Takayuki Matsumoto . . . . H94-S98 James D. Matte. . . . . . . . H97-H04 Paul Maulucci . . . . . . . . H95-H04 Howard May . . . . . . . . . . H93-P98 Tracy Mayne . . . . . . . . . . H90-P99 Deian McBride . . . . . . . . S93-H94 Robin McCarty. . . . . . . . . P88-S89 Bill McClaren . . . . . . . . . H80-P81* T.A. McClary . . . . . . . . . . . . . H88 Brian McComak . . . . . . . . . . . H04 Michael McCormack . . . . H99-P02 Ora McCready. . . . . . . . . H81-S90* Ray McCurdy . . . . . . . . . . S88-S91 Michael McDonald. . . . . . S85-P03 Martin McDonough . . . . H96-P99 John McDowell . . . . . . . . P90-P91 Jonathan McEwan . . . . . . P87-H89 Benjamin McFall . . . . . . H81-H04 Rich McFeaters . . . . . . . . S85-H04 Andrew McGarrel . . . . . . H88-H89 Dan McGeachy. . . . . . . . H90-H93 Tom McGillis. . . . . . . . . . S88-H04 Brian McGlothlin . . . . . . . . . . P83 Scott McIntosh. . . . . . . . H01-H03 Gary McKay . . . . . . . . . . H80-S81* Scott McKinley . . . . . . . . H87-S93 James McLaughlin. . . . . . H89-P97

Tony McLaughlin . . . . . . S88-H90 Scott McLean . . . . . . . . . . S97-P97 Mark G. McManus . . . . . P81-H04* David McMullen . . . . . . . S87-P87 Martin McNamara . . . . . . . . . . S88 Steve McNees . . . . . . . . . H96-P99 Thomas McQueen . . . . . H81-P90 Patrick Meehan . . . . . . . . P82-H92 Barry Mehler . . . . . . . . . . S86-P89 Allan Mejia. . . . . . . . . . . . . . . H00 Marcos Menezes . . . . . . . . . . . S86 Donald Messer . . . . . . . . S92-H93 John Messina . . . . . . . . . H90-S92 Arthur Metzgar. . . . . . . . . S81-P92* James Meyer. . . . . . . . . . . . . . H80* Ray Meyer . . . . . . . . . . . H84-H88 Tom Meyer . . . . . . . . . . . S92-H93 Elliot Jay Meyers . . . . . . . S81-P81* Matthew Michaels . . . . . . . . . H94 Eric Michaud . . . . . . . . . H01-P02 Ron Miko . . . . . . . . . . . . . . . . S91 Jerry Milano . . . . . . . . . . . P82-S90 Stephen Bennett Milbauer. H99-H04 Gregory M. Miller . . . . . . H01-P04 Jeffrey Miller. . . . . . . . . . . S93-P00 Jerry Miller . . . . . . . . . . . S81-H93* Michael Miller . . . . . . . . H85-H86 Michael Miller . . . . . . . . H97-H04 Paul Miller . . . . . . . . . . . H97-P98 Roger Miller . . . . . . . . . . H83-P84 Steve Milne . . . . . . . . . . . P87-P93 Steven Minier . . . . . . . . . . S84-S86 Ira Mitchell . . . . . . . . . . . H88-S89 Michael Mittorottondo . . . . . . P87 Jeffrey Mo . . . . . . . . . . . . P98-P00 Carl Moellenberg . . . . . . H97-H04 Peter Monette. . . . . . . . . H80-H94* Mike Monks . . . . . . . . . . H94-S95 Todd Monroe . . . . . . . . . . S99-P02 Ted Montgomery. . . . . . . H92-P99 Thomas Moon. . . . . . . . . S88-H93 Gary Moore . . . . . . . . . . H84-P97 Willis Moore . . . . . . . . . . H95-P97 Maximo Morales . . . . . . . P82-P95 Steve Moran . . . . . . . . . . H90-P92 Fernando Moreno . . . . . . H96-S01 Machiel Morgan . . . . . . . H87-S88 Michael Morisi . . . . . . . . P02-H04 Stephen Morneault . . . . . H85-S89 Timothy Morrell . . . . . . . S03-H04 Joe Morris . . . . . . . . . . . H03-H04 Patrick Morrison . . . . . . . H83-S86 Don Moschberger . . . . . . H80-P87* Hiroshi Motoye . . . . . . . . S94-P94 Kristopher Mount. . . . . . . . . . H04 Mike Muffoletto . . . . . . . P02-H02 Kevin Mulhare. . . . . . . . . H95-S96 Peter Muller . . . . . . . . . . . P83-S93

177

Murphy—Sheehan Christopher Murphy . . . . H93-S96 Robert Murphy . . . . . . . . P87-H87 Tom Murphy . . . . . . . . . . . . . H86 Brent Murray . . . . . . . . . . S03-P03 Craig Murray. . . . . . . . . . H96-P97 Josh Musgrave . . . . . . . . H02-H03 Richard Mushorn . . . . . . . S81-S83* Fred Mutti . . . . . . . . . . . . P84-P87 Felipe Narvaez . . . . . . . . . . . . H81* Frederick Nass . . . . . . . . . . . . H03 Anthony Neff . . . . . . . . . H98-P99 Michael Nelson . . . . . . . . S91-H93 Vincent Nelson . . . . . . . H01-H03 Norman Newkirk . . . . . . . S84-P84 Ronald Newlon . . . . . . . . S88-P88 Anthony Newman . . . . . . H99-S01 Greg Newman . . . . . . . . . . . . H87 Cory Newton . . . . . . . . . . . . . H02 John D. Nieman. . . . . . . H97-H04 Glenn A. Nobel . . . . . . . H00-H04 Nathan Noland . . . . . . . . . . . H02 Todd Noonan. . . . . . . . . . S94-P94 Philip Norkeliunas. . . . . . H94-S97 Craig Notte . . . . . . . . . . H97-H04 Derek Nowicki . . . . . . . . P02-H03 Jason Nunan . . . . . . . . . . S02-H04 Todd Nunez . . . . . . . . . . H99-H02 Chris Oakleaf . . . . . . . . . H89-P01 Fabian Obispo . . . . . . . . H80-P82* Stan Obresky . . . . . . . . . . . . . H80* Jack O’Connor . . . . . . . . H86-S89 Peter O’Connor . . . . . . . . S93-H02 Carl Off . . . . . . . . . . . . . . . H94 Patrick J. O’Hare . . . . . . . S02-H04 Gary Olde. . . . . . . . . . . . H80-P92* Christopher Oldi . . . . . . . S03-H04 Russel Oliver . . . . . . . . . . H91-S95 Roman Olivos . . . . . . . . . H96-S01 Paul Olson . . . . . . . . . . . H80-P82* Steven O’Neal . . . . . . . . . H03-P04 Gerard O’Neill . . . . . . . . . S84-P84 Jerry O’Neill . . . . . . . . . . S85-H85 Thomas W. Orians . . . . . H95-H04 Steve Orr . . . . . . . . . . . . . . . . S87 Bob Osborne. . . . . . . . . . P84-H88 Ellen Osborne. . . . . . . . . H85-P02 Robert Osborne . . . . . . . . P82-P84 Kyle Osmera. . . . . . . . . . H01-H04 Michael Osso . . . . . . . . . H02-H04 Manuel Ovando . . . . . . . S81-H04* Jon Overload . . . . . . . . . . S94-P94 P.J. Owen . . . . . . . . . . . . S98-P98 Ronald A. Oxendale . . . . . P86-P04 Jeff Ozvold . . . . . . . . . . . H99-P00 Lance Paavola . . . . . . . . . H83-S85 Robert Paberzs . . . . . . . . . P95-S98 Jim Palmer . . . . . . . . . . . H03-H04 David Panella . . . . . . . . . . S81-P81*

178

Matthew Parent . . . . . . . . H86-S87 Niral Parikh . . . . . . . . . . . . . . H03 John Parton . . . . . . . . . . . P99-P01 David Pasacrita . . . . . . . . H88-P95 John Pascoe . . . . . . . . . . . S96-P97 Dan Pasky . . . . . . . . . . . . H97-P99 Ron Passalacqua . . . . . . . . . . . H01 Gregory Paula. . . . . . . . . H01-H04 Mike Paulsen. . . . . . . . . . . . . . S98 Jacques Pavlenyi . . . . . . . P92-H04 Jerry Pavlon . . . . . . . . . . H94-H95 Greg Payne. . . . . . . . . . . . S91-P91 Joseph Pazillo. . . . . . . . . . . . . H80* Thomas Pedas . . . . . . . . . . . . H83 Brian Peiper . . . . . . . . . . . . . . H04 Wayne Peiser . . . . . . . . . . H80-S83* Varick Pelton . . . . . . . . . . . . . H93 Camilo Perdomo . . . . . . H02-H04 Russell Perreault . . . . . . . . . . . S92 Frank Perry . . . . . . . . . . . S93-H93 Claude Peters . . . . . . . . . P94-H04 Eddie Peters . . . . . . . . . . H85-H93 Jeffery Peters . . . . . . . . . . S98-H04 David Peterson . . . . . . . . . S96-P96 Glenn Peterson . . . . . . . . H89-S95 Kent Peterson . . . . . . . . . H83-P89 Jerry Petitte . . . . . . . . . . . H85-S86 James Pfister . . . . . . . . . . S98-P00 David Phan . . . . . . . . . . H03-H04 Paul Phimney . . . . . . . . . H80-H81* Christopher Piehler . . . . . S04-H04 Anthony Pierce. . . . . . . . . . . . H85 Gregory Pierson . . . . . . . H01-H04 Thom Pierson . . . . . . . . . . . . . P86 Charles Pilling. . . . . . . . . H87-P88 Dean Pillion . . . . . . . . . . S94-H94 Ole Pinholt . . . . . . . . . . . H99-P00 Scott Piro . . . . . . . . . . . . S03-H04 Paul Pisanick. . . . . . . . . . H89-P91 Ernesto Ponce-Alvarado . . . . . H02 Bill Poock . . . . . . . . . . . . P89-P95 Craig Poole . . . . . . . . . . . P91-P93 Bernard Poppe. . . . . . . . . H86-S90 Michael Portantiere. . . . . H85-H93 Scott Possley . . . . . . . . . . P02-H04 Ian Post . . . . . . . . . . . . H93-P94 Sheldon Post . . . . . . . . . . S81-H87* Rory Pottruck. . . . . . . . . . P87-P99 Steve Pozniak . . . . . . . . . H91-P99 William Pressley. . . . . . . . S88-P92 Ronathan Price . . . . . . . . H80-P84* Harlan Pruden. . . . . . . . . S02-H04 Rene Puliatti . . . . . . . . . . H96-S97 Michael Quadland. . . . . . H94-S97 Francis Quilang . . . . . . . . . . . H87 Michael Quottini. . . . . . . H88-P97 Michael Radice. . . . . . . . H94-H95 R.A. Radley . . . . . . . . . . . H80-P82*

Mondy Raibon . . . . . . . . . P02-S03 George Range . . . . . . . . . P83-P90 David Rankin . . . . . . . . . H92-S95 Chris Rapach . . . . . . . . . H97-P98 Steven Ratzel . . . . . . . . . S97- P03 Carl Ray . . . . . . . . . . . H83-H93 Kevin Ray . . . . . . . . . . . . S04-H04 Sean Ray . . . . . . . . . . . . H92-P99 Tony Ray . . . . . . . . . . . . S88-P04 Trevor Raymond . . . . . . . . . . . S96 John Reagan . . . . . . . . . . S04-H04 Greg Redford. . . . . . . . . . H96-S97 Peter Reed . . . . . . . . . . . . S92-S93 Bradley Reeder . . . . . . . . . . . . H04 Woody Regan . . . . . . . . . H87-S95 Stuart Reiss . . . . . . . . . . . S81-P81* Dean Remel . . . . . . . . . . S89-H93 Timothy Renner . . . . . . . . S97-P99 Bruce F. Rentz . . . . . . . . H02-H04 Rychye Resnik . . . . . . . . . S03-P03 William Restemeyer . . . . . . . . P82 Ricardo Rezk . . . . . . . . . . P02-S04 Ronald Riccobono. . . . . . . . . . P81* Morgan Rice. . . . . . . . . . H88-H04 Scott Richard . . . . . . . . . . . . . H91 Jeff Richards . . . . . . . . . . H94-H95 Greg S. Rider. . . . . . . . . . S98-H04 Mark Riese. . . . . . . . . . . . P82-P84 Robert Risko . . . . . . . . . . S04-H04 Louis Rizzo . . . . . . . . . . . H85-P88 J.R. Robbins . . . . . . . . . . H80-P87* Jay Roberts . . . . . . . . . . . . S97-S02 Ric Roberts. . . . . . . . . . . H93-H94 Steve Roberts . . . . . . . . . . S81-P81* David Robinson. . . . . . . . H89-S91 Franko Robinson. . . . . . . . . . . S03 Homer Robinson . . . . . . . P87-S88 William Robinson . . . . . . S96-S97 Rich Rockwell . . . . . . . . H98-P01 David Roddell . . . . . . . . . H85-S87 Glenn Rodman. . . . . . . . H80-H82* Charles Roebuck . . . . . . . H83-P84 Chris Rogers . . . . . . . . . . H94-S96 David Roggensack . . . . . H80-S90* Jon Rollins . . . . . . . . . . . . P82-S90 Matthew Roney . . . . . . . . . . . H86 Troy W. Root . . . . . . . . . . H96-P04 Derek Rosen . . . . . . . . . H02-H04 Dan Rosenbaum. . . . . . . . . . . H04 Jay Rosenstein . . . . . . . . . . . . . S95 Howard Rosner . . . . . . . H83-H93 Reginald Ross. . . . . . . . . . S85-P87 Michael Roth . . . . . . . . . H00-P02 Alan Rothenberg . . . . . . H83-H85 Carlton Rounds . . . . . . . . . . . H00 William Rowley . . . . . . . . . . . H87 Brad Rubenstein . . . . . . . H97-P02 Herb Rubenstein . . . . . . . P92-H04

Gary Rubinstein . . . . . . . . . . . H84 Gerald Rue . . . . . . . . . . . H88-S91 Edwin Ruiz . . . . . . . . . . . P02-H04 Mike Russell. . . . . . . . . . . S94-S95 Vincenzo Russo. . . . . . . . . . . . S02 Jim Rustin. . . . . . . . . . . . . . . . S88 Flynn Ruvenbark . . . . . . . . . . H85 Robert Ryan-Wenger . . . . H98-P01 John Sage . . . . . . . . . . . . . . . . P87 Minoru Sakakura. . . . . . . H93-P94 Steve Salad . . . . . . . . . . . H92-H93 Gustavo Salazar. . . . . . . . . . . . P94 Alex Sanabria. . . . . . . . . . S92-H93 Juan Sanchez . . . . . . . . . . . . . H04 Ken Sanden . . . . . . . . . . H98-H04 David Sanders. . . . . . . . . . . . . P81* Theo Sandfort . . . . . . . . . S02-P03 Jonathan Santa Ana . . . . H95-S96 Ernest Santora. . . . . . . . . H80-P85* George Santos . . . . . . . . . H85-S92 Levin Santos . . . . . . . . . . P95-S97 Ricardo Santos . . . . . . . . H02-H04 Robert Santucci. . . . . . . . H80-P84* Michael Savoy . . . . . . . . . . . . . S81* Bill Scarola . . . . . . . . . . . H80-H95* William Schaal . . . . . . . . . S85-P85 Richard Schack . . . . . . . . S81-P83* Gregory Schaefer . . . . . . . S95-S96 Larry Schafer. . . . . . . . . . H91-P98 Mark Alan Schall . . . . . . H95-H04 Justin Schantz . . . . . . . . . S03-H04 Gregory Schanuel . . . . . . . . . . P02 Jeff Schiff . . . . . . . . . . . H02-H04 Steven Schimmel . . . . . . . S87-H89 Alan Schlesinger . . . . . . . H80-P93* David Schnee . . . . . . . . . . P82-S83 R.H. Schneider . . . . . . . . H80-S84* Marv Schoenberg . . . . . . H90-H04 Erich Schrader. . . . . . . . . S81-H81* Mark Schrader. . . . . . . . . S03-H04 Bob Schultz . . . . . . . . . . . S81-S92* Gregory Schultz . . . . . . . H97-P01 Michael Schultz . . . . . . . H90-H91 Ronald Schwizer . . . . . . . H85-S86 Ronald Scipio. . . . . . . . . . . . . H85 Alan Scott . . . . . . . . . . . . H96-S97 Matthew Scrivens . . . . . . H03-H04 Jeffrey Sdafani . . . . . . . . . . . . H86 David Lloyd Sears . . . . . H80-H85* Wes Sebren . . . . . . . . . . . S91-P93 Bill Sensenbrenner. . . . . . H87-S89 Tony Serio . . . . . . . . . . . . H93-S96 Gary Serrianne . . . . . . . . H82-S86 Anthony Shanks . . . . . . . . . . . P99 Amy Lynn Shapiro . . . . . H00-H04 Joseph Shapiro . . . . . . . . . S97-S04 Steven Sharp . . . . . . . . . . H80-P82* John Sheehan . . . . . . . . . H97-P98

Sheenâ&#x20AC;&#x201D;Zwiers Raymond Sheen, Jr. . . . . H01-H04 James Shelly. . . . . . . . . . . P87-P90 Ray Shelton . . . . . . . . . . . S92-S96 Tony Shenton . . . . . . . . . H85-P01 Michael Shepard . . . . . . . P87-H04 Ron Sherman . . . . . . . . . H95-S02 Mark Sherwood . . . . . . . . . . . H86 Gautam Sheth . . . . . . . . . H85-S86 Ron Shore . . . . . . . . . . . . H80-P86* Mark Short . . . . . . . . . . . H00-H04 Frank Shroyer. . . . . . . . . . S81-P85* Carl Siberts . . . . . . . . . . . H94-S95 Vincent Sicari . . . . . . . . . H80-S81* Mark Sickles . . . . . . . . . . . . . . P81* Michael Siedschlag . . . . . P02-H04 Michael Blue Sikanas. . . . H81-S86 Martin Silverberg . . . . . . . . . . . S81* Marty Silverberg . . . . . . . H94-S96 Mark Silverstone. . . . . . . . . . . H04 Russell Simmons . . . . . . . S97-P99 Herb Simon . . . . . . . . . . H89-P91 Douglas Simpson . . . . . . H88-P01 Jimmy Simpson . . . . . . . . S81-P83* Terry Sims . . . . . . . . . . . . S91-H96 Steve Sinclair . . . . . . . . . . S91-P97 Joshua Sippen . . . . . . . . . S81-H82* Chuck Sislin . . . . . . . . . . H85-S87 John Sisto . . . . . . . . . . . . S02-H03 Donald Skirvin. . . . . . . . . P81-S85* Keith Slaughter. . . . . . . . . . . . H87 Stanley Slotkin . . . . . . . . . S85-P86 Stephen Slovenski . . . . . . H94-P97 Matthew Small . . . . . . . . . . . . H03 Benjamin F. Smith . . . . . H02-H04 David Smith . . . . . . . . . . H87-P91 Jim Jordan Smith. . . . . . . H80-S81* Larry Smith. . . . . . . . . . . H89-S90 Ray Smith . . . . . . . . . . . . S89-S92 Richard Smith . . . . . . . . . P94-S96 Ted Smith . . . . . . . . . . . . H89-P90 Thomas Smith . . . . . . . . H97-H98 William Smith. . . . . . . . . H94-P03 Willie Smith . . . . . . . . . . P86-P01 Craig Snoke . . . . . . . . . . . S92-P93 Wayne Snow . . . . . . . . . H03-H04 Bob Snyder . . . . . . . . . . . H92-P94 Paul Solomons . . . . . . . . H92-S96 Keith Soroko . . . . . . . . . . H02-P03 James Sorrell . . . . . . . . . H87-H89 Karl Sowa . . . . . . . . . . . . . . . H88 David Spada . . . . . . . . . . . . . . S89 Eric Spector . . . . . . . . . . H01-H04 Thomas Spickard . . . . . . . S81-P84* Frank Springer . . . . . . . . H92-P93 Mark Stack. . . . . . . . . . . . P94-S96 Rich Stanton . . . . . . . . . . H96-S98 Bruce Stapleton . . . . . . . H92-H97

Eric Steckelman . . . . . . . H02-P03 Douglas Steinheimer . . . . H92-S96 Russell Steinke . . . . . . . . H97-P98 Peter Steinman . . . . . . . . . S87-P87 Ryan Stem . . . . . . . . . . . . . . . H04 Lee Stern . . . . . . . . . . . . H84-S92 Kevin Sterns . . . . . . . . . . . . . . H04 Paul Stevens . . . . . . . . . . . S98-S99 Eric Stewart. . . . . . . . . . . . . . . S90 David Stowell. . . . . . . . . . . . . H87 Steven Strandberg . . . . . . P81-H85* Marc Strauss . . . . . . . . . . H95-S96 Steve Strecansky . . . . . . . H90-S91 Brian Street . . . . . . . . . . . H87-P90 David Streit . . . . . . . . . . . P87-H87 Ned Stressen-Reuter . . . . . . . . S04 Mark Stromberg . . . . . . . H92-S93 Patrick Stucky. . . . . . . . . . S97-S99 Craig Sturgis . . . . . . . . . . S84-P94 Stephen Surber . . . . . . . . S81-P84* Carlos Susa . . . . . . . . . . . . . . H01 Rand Sutton. . . . . . . . . . . . . . H86 Eric Swanson. . . . . . . . . . S94-H95 Beckett Swede . . . . . . . . . H02-S03 Norman H. Sweet . . . . . . H83-S93 David Swinarski. . . . . . . . S04-H04 Stephan Szymanski . . . . . P99-P00 Jim Tavolaro . . . . . . . . . . H93-S04 Christopher Taylor . . . . . . S94-S96 Clark Taylor . . . . . . . . . . H80-P92* Dean Taylor. . . . . . . . . . . H82-S90 JT Taylor . . . . . . . . . . . . S04-H04 Robert Taylor. . . . . . . . . . H88-S99 Russell Taylor . . . . . . . . . H03-H04 Martin Teitel . . . . . . . . . . H80-S90* Greg Templeton . . . . . . . . S02-P02 Thomas Terry. . . . . . . . . . P02-P04 Paul Theobald . . . . . . . . . . . . . S81* David Thiergartner . . . . . . . . . S84 Daniel Thompson . . . . . . P85-H85 Jerry Thompson . . . . . . . H80-P81* Marcus Thompson . . . . . H97-P00 Scott Thompson . . . . . . . . . . . P02 Steven Thompson . . . . . . . . . H01 Edward Tilchen. . . . . . . . H80-P82* Drew Tillotson . . . . . . . . H88-P89 Donald J. Tino . . . . . . . . S93-H04 Roger Tolle . . . . . . . . . . . . . . . H83 Victor Tom . . . . . . . . . . . . . . . H81 David Torres Valentin . . . . P93-P95 Greg Torso. . . . . . . . . . . . H94-S96 Ernie Tovar . . . . . . . . . . . H99-P00 Teryle Traver. . . . . . . . . . . S81-P82* Elliott Treby . . . . . . . . . . H84-S87 Jason Trigg . . . . . . . . . . . . . . . P95 Lee Trovato . . . . . . . . . . H82-H93 Steve Troy . . . . . . . . . . . . H99-P02

Clement Tunney. . . . . . . . P93-S95 Timothy Twigg . . . . . . . . . . . . P90 Dana W. Twining . . . . . . . P94-H04 John Uehlein . . . . . . . . . H83-P84 Arthur Ujazdowski . . . . . . P99-P01 Rob Ulliman. . . . . . . . . . . S92-S96 Charles Underhill. . . . . . . S95-P95 Howard Vaiselberg . . . . . H02-H04 David Valentino. . . . . . . . H91-S93 Nick Vanatter . . . . . . . . . H97-P99 David VanBuskirk. . . . . . . P82-S90 Henri Van Ryn . . . . . . . . H96-H04 Pascual Vaquer . . . . . . . . . S85-S89 Michael Varrone . . . . . . . H83-H86 Walt Veasy. . . . . . . . . . . . H80-S81* Glen Vecchione . . . . . . . . . . . . S81* Alex Viaggio . . . . . . . . . . H95-P99 David Vincent . . . . . . . . . P85-H86 Paul Vitale. . . . . . . . . . . . H01-P02 Jim Vivyan . . . . . . . . . . . H85-H04 David Vodnecar. . . . . . . . . . . . P85 Larry Vrba. . . . . . . . . . . . H80-S90* Charles Wade . . . . . . . . . S95-H95 Jerry Wade . . . . . . . . . . . H90-S96 Mark Wadley . . . . . . . . . . . . . H04 Christopher Wagley . . . . H00-H04 Steve W. Wagner. . . . . . . H01-H04 William Waite . . . . . . . . . H02-S04 Eric Waldo . . . . . . . . . . . H96-S97 Phil Walker . . . . . . . . . . . H00-S03 Richard Walker . . . . . . . . H94-S96 Rodney Walker . . . . . . . . . S94-P97 Dennis Walsh . . . . . . . . . H85-S86 Larry Walters. . . . . . . . . . H82-P84 Tim Walther . . . . . . . . . . H91-P00 Paul Waner . . . . . . . . . . . H86-P87 Bruce Ward . . . . . . . . . . H85-H88 Sankil Ward . . . . . . . . . . . . . . H03 Jonathan Warnock . . . . . . . . . H04 David Warren . . . . . . . . . H95-P01 John Watson . . . . . . . . . . . . . . S91 Steve Waugh . . . . . . . . . . H97-P01 Danny Weaver . . . . . . . . . S91-P93 Thomas Webb. . . . . . . . . H82-S85 Brian Weber . . . . . . . . . . H91-S92 Norman Weber . . . . . . . . H97-S99 ChristophWedekin. . . . . . . . . H04 Allan Weidenbaum . . . . . P99-H04 John Weigand . . . . . . . . H85-H94 Paul Weimer. . . . . . . . . . H96-H04 Bruce Weinstein. . . . . . . . P83-S88 Lawrence Weisen . . . . . . . S84-S86 Gary Wells . . . . . . . . . . . H80-P82* Keith Wells . . . . . . . . . . . H95-P98 Clover Welsh . . . . . . . . . H02-H04 Grant Wenaus . . . . . . . . . . . . H03 Greg Wetzel . . . . . . . . . . . . . . S95

Jimmy Whalen . . . . . . . . H80-H81* John Whalen . . . . . . . . . . P87-S92 Wesley Whatley . . . . . . . H03-P04 Scott Whipple. . . . . . . . . H90-P91 Brad Whitaker . . . . . . . . . P91-S01 Bil White . . . . . . . . . . . . H80-P89* Arthur Whitehead . . . . . . S85-P85 Richard Whitfield . . . . . . H81-P82 John Whitley . . . . . . . . . H93-H04 Dee Wickert . . . . . . . . . . P01-H04 Jerry Widholm . . . . . . . . H83-P84 Jay Wilkinson . . . . . . . . . S87-P88 Francis X. Williams. . . . . H03-H04 Jim Williams . . . . . . . . . H01-H04 Jim-Bob Williams . . . . . . . S81-S90* Mark Williams . . . . . . . . H92-H95 Scott Williams. . . . . . . . . S02-H03 Vincent Williamson . . . . H93-H94 Doug Williford . . . . . . . . H93-P94 Jim Willow . . . . . . . . . . . H00-S01 Clive Wilson . . . . . . . . . . H02-P03 Paul Wilson . . . . . . . . . . H90-P98 Ronnie Wilson . . . . . . . . . . . . H80* Thomas Wilson. . . . . . . . P89-H90 Jonathan Wind . . . . . . . . H85-P99 Steven Winemiller . . . . . . H82-S83 Mark Winkler. . . . . . . . . . S83-P83 Randy Winner . . . . . . . . . S96-P96 Daniel Witkoski . . . . . . . H93-P00 Chuck Wojnowski. . . . . . H86-P90 John Wolf . . . . . . . . . . . . P84-P99 Jim Wolfe . . . . . . . . . . . . H93-P94 Jim Wolfe . . . . . . . . . . . . . . . . S02 Mark Wolmetz . . . . . . . . . S84-P89 J.W. Womack . . . . . . . . . H80-S83* Dick Wood . . . . . . . . . . . S86-P86 John Wood . . . . . . . . . . . H85-P93 Brandon Woodie . . . . . . . H01-P02 David Woodman . . . . . . . H88-P99 Forbes Woods . . . . . . . . . H00-P01 Sean Wright . . . . . . . . . . H96-P98 Williams Wright . . . . . . . P82-H83 Wendall Wyatt. . . . . . . . . H82-S85 Roland Wybenga . . . . . . . H91-S92 Edwin V. Yangga . . . . . . H95-H04 Bill Yetzer, Jr. . . . . . . . . . . P02-H04 Edward Yim . . . . . . . . . . H89-P90 Mark Young . . . . . . . . . . . . . . P82 James Zannelli. . . . . . . . . H03-P04 Ricardo Zaragoza . . . . . . . H95-P97 Frank Zayas . . . . . . . . . . . S81-P82* Steve Ziegler . . . . . . . . . . H89-S01 Jonathan Zimman . . . . . . S81-H84* Mark Zimmerman . . . . . . . . . . P87 David Zwiers . . . . . . . . . . H99-P00

179

2003-04 Chorus Angels

he New York City Gay Men’s Chorus would not be able to perform without the generous assistance of its many patrons and especially the Chorus Angels. These individuals help the Chorus to sustain itself and to continue its mission of “creating music that transforms lives through artistic excellence and raises its voice to promote social acceptance and equality.” We list here those Angels who helped us during the past season, and thank them for their continued support.

DIRECTOR’S CIRCLE $10,000 and above

GOLD $600 - $1,199

John Blair

Richard H. Coburn, D.V.M.

Michael Aschoff

Jerry Arrow

Estate of Irwin J. Stahl

Rob Cordell and Robert Johnson

Dan Baillie

Marion Becker

Rick Clodfelter Russell Johns

Ted Bloecher, in memory of Wayne Kell

Michael Barret Jones

Fred Bohen

Robert Keyes

DJ Brumfield and Edward M. Handlin, III

Robert O. Hawkins, Jr.

Estate of Joseph E. Mattes

John Martinen, in memory of Dick Cable

Michael Friedheim

Harvey S. Shipley Miller

John Gibson-Whitley

Joe Scialo and the staff of The Monster

Michael Goldstein John Hawkins

Mark Short Jim Tavolaro

Grace Lye Volckhausen Poa

David Himmelreich

Paul Maulucci and John Racyn, Jr.

Thomas Casmento, in memory of Rose and Thomas Zacco

James Humphrey

Gary Miller and Daniel Starr

Thomas Cunningham

John Knoebel

Bruce F. Rentz

David DeOto

Stephen Scanniello and Dana Twining

Itienne G. do Carmo

Gary Boston

Doris Lurenz and Lisabeth Lee, in memory of Michael P. Burnett

Daniel Doucette and Scottye Lindsay

James D. Matte and J. Christopher Beck

Amy Lynn Shapiro, in memory of Dr. Burton L. Steckler

Lillian Farber

Guy S. Jacobs, in memory of Scott A. McIntosh

Kelly McCormick

ARCHANGEL $3,000 - $9.999

Phyllis Smith and Linda Alimi

Lindy Linder

Metropolitan Volkswagen of Jersey City

Raymond Sheen, Jr.

Sabry Mohideen

Steve Troy and Robert Legere

The Ted Snowdon Foundation

John Nieman and Maurice Reder, honoring the work of Brett Oberman

Jim Vivyan

Turner Broadcasting Sales, Inc. (A Time Warner Company)

PLATINUM $1,200 - $2.999

Wayne Sunday

Neil Williamson and John McClay

Paul Elsener Gary Goldberg Financial Services Eric Goldsborough and Wil Jobse N. Patrick Hennessey, M.D., in memory of Rob Mooradian W. Scott Horne Howard Katz

Tom Orians

Tom and Celeste Kelly

David Ratcliffe and Michael Greenberg

Philip Laffey

Ravine Nursery

Loren Dobbs Psychological Services

John B. Albright and Vernon Kidd

Dan Rosenbaum and Jim David

Tony Magner

Eve Alvarez

Brad Rubenstein

Glen Banta

Rob Sinacore, in memory of Dr. Malcolm Berg, “Our Love Lives On”

J. Arthur Brost Neil J. Burmeister, in honor of Pearl and Sally Francis X. Burnes and Kevin Truex

Eric Spector and Roger Lemons Supede, Inc. Scott Whipple, in memory of Michael F. McDonald

180

SILVER $300 - $599

Timothy Martin Mark McManus Jason Nunan Pitney Bowes Company, in honor of Don King Edward Ribaudo Edward Robbins, in memory of Patrick Porter J David Schramm

Ronald Seifer

William R. Brown

Robert Sixsmith

Ransom Bruce and Michael Connolly

Thomas Sluberski

Gary Diamante and Russ Nugent

Henry Grant

Paula K. Divan

David Greenfield

Deborah Greenberg

James and Lillian Veneruso

Scott Brunelle

Harvey Donegan

Allan Weidenbaum

Ann Burack-Weiss, in memory of Michael McDonald

Carol Dubin

Greenwich House Senior Center

Jeanene E. Ebert

Yvonne Groseil

Milton Buras

Robert Ebert, in memory of Neil McGovern

Mark Haddad

Jamie Burba

Melody Haid

Glenn Edwards

Ralph Burch

Steven Haimowitz

Richard Eng

Richard Burton

Douglas Esposit

Robert W. Hall. Jr. and Steve Feldman

John Wolf

BRONZE ANGEL $50 - $299 Peter Adamson Jeffrey Albanesi

Patrick Butler

Alex Esteban

D. Harding

Philip Butler

Evanmedia

Lisa Cader

John Evans

Clark and Catherine Hanrattie

Fred and Kristen Allan

Scott Cagenello

Fred Farnum

Riva J. Alpert

Jason Cannon

Derek Felska

Stuart Anthony

Steve Capson

Joanne Ferenczi

Gary Armstrong and Glenn Peterson

Mary Ann Carini-Giordano

Donald Ferguson

Katherine Carsky

Mark Arnold

John Caruso

Steven Filenbaum and Matthew Woolf

Ed and Mary Atnally

Peter B. Carzasty

Maryellen Fisher

Terrence Howell

Andrew Austin and Michael R. Sonberg

Mark Cellura

Michael Fisher

Verne Hoyt

Loren Chaidez

Gary Flesher

Hudson Guild, Inc.

Alex Auvers

Patrick Cheng

Rick Francis

Matthew Hume

Alton Bader

Richard and Deanna Cheng

Eleanor Friedman

Rich Hybner

Jordan Barbakoff and Philip Jeffery

Fred Christian, in memory of Nino Barresi

Dylan Ftera

Barbara and Robert Hyde

Jeffrey Barnette and Gary Beach

Franklin Fulton

Charles Ihlenfeld

Kevin Christensen

William Fultz

Page Jackson

Jerry Irwin Christman

John Janas

Angelo Cilia

Nancy Fuschetti, in memory of Mark Fuschetti

Jon W. Clark

GPP, LLC

Randy Johnson

Bill Albinger Francine Alfandary, in honor of Robert Johnson

John Barrett Edward Batchelor James Belzer

Donald V.S. Harley and Nick Zullo Richard Harris Kathy and Joe Hassett Richard Henderson George Hoeltzel

Michael Joblin

Paul Benz, in memory of Andrew FitzPatrick

Russell Clark

Paul Gagliardo

Elinor Kapelnis

Charles Cole

Richard Gampert

Barry Karpel

David Bernstein

Michael and Georgiann Colorossi

David Garfinkle

Michael Katovitz

Kathleen Garrone

Daniel Kelly

Andrew Cooper

Mr. and Mrs. Frank Gianettino

Gene Kim

James C. Craig, Jr. Sheila Creasy

Jim Gillespie

Don King

Dave Bolton

Creative Visions GLBT Bookstore

Gary Giordano

Dave Kobylar

Rex Bonomelli

Barbara Glassman

Albert Cremin

Betty Comden Kyle

Dr. Alfred Borello

Mark Dâ&#x20AC;&#x2122;Ambrosi

Vincent Lacey

Gerard Bornkamp

Hank and Irma Damhuis, in memory of Ben Kimbrough

Fred Goldhaber, in memory of Larry Woods and Steven Hicks, to honor Wilfredo Hinds

Veronica Dâ&#x20AC;&#x2122;Arcy

Richard Goldsmith

Dan LaRosa

Tom Briggs

James DeCarlo

Henry Goldstein

Matthew Leahy

Dr. Steven Brinen

Jeffrey DeMarco

Nelson Gonzalez

Mark LeDoux

William Demma

Scott Gorenstein

Eric Lep

Donald Bickford Ellen Bieber Jerome Biga Mark Black

Burton Borovetz Rebecca Boston

Roger Brooks

Mark Kinarney

Lorraine Lange Richard LaPlante

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Jeff Lettiere

Ann and William O’Dea, in memory of Scott McIntosh

William Schermerhorn

Craig Wallace

Marc Levine

Marv Schoenberg

Charles Wallrich

Robert Levy

Brian J. O’Donnell

Joseph Scott

Tim Walther

Spencer Lew, DDS

Robert O’Donnell

Matthew Scrivens

Stacy Lisheron

Robert W. Ohlerking

Chris Shyer

Sal Logerfo

Bob O’Leary

Michael Siedschlag

Thomas Watson and Jay Laudato, in memory of Michael McDonald

Jean Long

Manuel Ovando

Charles Siegel

Glenn Lunden

Richard Palermo

Ronald S. Lupski

Rosemary Palladino

Mark A. Siemens and Matthew J. Crawford

Michael Lynch

Cindy Palmirotto, in memory of Scott McIntosh

Richard Skipper

Dee Wickert

John Smallwood

Ray Williams

Greg Paula

Charles D. Smires

John Wolfe

Christopher Mahdik Steven Maimowitz

Sherrie Westin Ernest Wheeler

Jose Perez

Russell Ted Smith

Alice Wong

Wayne Pevey

Tim and Priscilla Smith

Esther Yang

Photomax

Robert J. Smolin, in memory of Sidney A. Zweibel

Joyce Yeager

Leslie Pomerantz

Arturo Marquez

Joseph Povelaitis

Catherine Snyderman

Bert Marro

Marylou Putignano

Robert Lynn Soles

Gary Marshall

Susan Quinby

Robert Sorbanelli

Anthony Martignetti

Mondy Raibon

Sherrie Sorenson

Eric Martin

Ralph Randazzo

Stephen Sporer

Valerie Martinez

Morris Ratner

David Squires

Benjamin McFall

Steven Ratzel

Sam Stidham

Richard McFeaters

Thomas B. Reddy and Mary Ellen Scarborough

David Strawbridge

Eric Reinitz

James F. Stenerson

Ricardo Rezk

Kevin Sterns

Greg Rider

Strand Book Store

David Rile

Paul Stumpf

Elena Rivera

Judy and Jerry Suchman

Paul Rodman Matthew Rogers

Judith Tax and Rabbi Nanci Wiener

Carl Mann Christopher Manna Joseph Marino, in memory of Hans Ikenberg

William McKinley Joseph J. McMillan William and Alyce Micolino Nancy and Alan J. Milbauer Elise Bretton Miller Eric Miller Greg Miller Norma Miller

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Paul Weimer

Roger Steinitz

Robert Mongiardini, in memory of George Marentis

Rev. Frank Rose

Jon and Kelly Theuerkauf

Eric Rouda

Joseph Thomesen

Terrence Rowland

David Teeter

Ted Montgomery

James Rozakis

Peter and Linda Thornton

Jeffrey A. Moran

Florindo Rozante

John Tofanelli

John Moses

Phillip H. Rubin

John R.J. Toland

Donald E. Mulligan

Richard Runge

Richard Torrence

Kenneth Mutlow Robin Nathanson

Michael Sabatino and Robert Voorheis

Joel Ulster and Michael Hereman

Nestfinders, Ltd.

Ricardo Salmona

United Way of New York City

Christopher Nolan

Betsy and Norman Samet

Victoria Valero

Joe Novak

Ken Sanden

Henri vanRyn

Tony Oakley

Steve Sander

Gerard L. Vermilyme

Peter O’Connor

Larry Schafer

Larry Vrba

Mark Schall

Phil Walker

William Yetzer *Donations reflected prior to May 20, 2004

Sponsors T

he following individuals, professionals, businesses, and organizations have generously donated to make this Anniversary Journal possible. We deeply appreciate their support, and ask you to support them.

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congratulates The New York City Gay Menâ&#x20AC;&#x2122;s Chorus on its 25th Anniversary! The National Gay and Lesbian Newsmagazine www.advocate.com Subscribe! 800-827-0561

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The National Gay Fashion and Lifestyles Magazine www.out.com Subscribe! 800-792-2760

Best wishes to the New York City Gay Men’s Chorus on its 25th Anniversary. Representing Brooklyn’s finest properties. Offering unparalleled service to buyers and sellers alike.

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Commencing the New York City Gay Men’s Chorus’s Silver Anniversary Year 2003-2004 Chorus Royalty Sir Mark Short, HRH Titania Buttocks & HRH Lucitania Buttocks

“Congratulations to NYCGMC for 25 years of music & service to the New York City GLBT Community and thank you for a wonderful year under our reign!”

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Gay Men’s Health Crisis congratulates

The New York City Gay Men’s Chorus on 25 years of outstanding artistry and dedicated community outreach

“The only thing better than singing is more singing.” – Ella Fitzgerald

Ana Oliveira Executive Director

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Acknowledgements here are many people to thank in regards to the production of this anniversary project. First, a grateful thank you to Gary Boston, Harlan Pruden and members of the Big Apple Performing Arts Board of Directors for their support in this project. A most indebted thanks to Charter Member Manuel Ovando for his financial assistance in getting this project started. To the eight Charter Members who have been with the Chorus these past twenty-five years, a sincere appreciation for their service. To Ted Bloecher for his foresight in writing travel journals which were so helpful in recreating the three European Tours. To all the members who donated photos. To the advertising team of Lane Brooks, Jamie DeMore, and Gregory Miller for their assistance in securing sponsorships for this project. To the writers and editors who helped craft the text—Bob Collins, Dick Donahue, and Amy Shapiro. My deepest gratitude to Greg Paula and especially Edgar Colón-Hernández for their eagle eyes during the copy editing process. Edgar was invaluable in historic accuracy and nuance as well. To Jeff Kenyon, a new friend, my most profound thanks for his patience and appreciation for his artistic eye and design in the completion of this project. I also need to thank the wonderful people at Vicks Lithograph and Printing Corporation for their assistance and patience during this project. I am indeed indebted to Mark D’Ambrosi, Victor Grossetti, and Page Jackson for all their assistance with this project; three dear friends who have always been there when I asked for their help. And of course, this project would not have been possible without the hundreds of members who have been a part of this Chorus over these past 25 years to perform and give us all these wonderful moments to remember. My deepest thanks to each and every one of you. —Jim Vivyan, Editor

Photography Credits: We greatly appreciate all the Chorus members who offered pictures for this book. We also had a large number of pictures in our archives. Best efforts have been made to credit photographers where we have information regarding specific photographs. We apologize for any oversights we may have incurred. Drea Leanza—page 144 #3 ©1989; Glenn S. Lunden—page 137 #5; page 138 #1, #7; page 139 #4; page 140 #4, #6; page 141 #8; page 142 #8; page 145 #2; Adam Newman—page 141 #3 ©1986; page 144 #3 ©1986, Glenn Peterson— page 136 #4; page 142 #2; Harlan Pruden—page 139 #5; page 141 #6; page 142 #5; page 143 #5, #6; page 144 #7; Tom Tyburski—page 138 #3 ©1983, Jon Zimman—page 137 #2

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