Thanks for joining us this evening and being part of this special milestone season. From our origin story—when Beverly Lund and Ginny Matthei organized a concert by the Utah Symphony at Ogden High School—to today, when we present 32 performances annually, Onstage Ogden’s mission to elevate and connect the community through the performing arts is stronger than ever.
Tonight’s performance is part of our season-long celebration, and we are especially thrilled to share it with you, our patrons, donors, and supporters. Your participation fuels our success and we are honored you are here with us.
In addition to this, we are proud to announce the launch of The Beverly Lund & Ginny Matthei Legacy Circle This initiative allows you to continue their incredible legacy by including Onstage Ogden in your estate plans. Your support through this program will create an enduring legacy that ensures our community continues to experience the power of live performance for generations to come. If you are interested in learning more, please reach out to us—we would be honored to have you join this special group of supporters.
We also want to recognize the members of our 75th Anniversary Celebration Circle who have joined us in commemorating this remarkable journey. These individuals have made a special commitment to Onstage Ogden and will be celebrating with us throughout the season. Their support helps ensure the vibrancy of live performance in Ogden for years to come.
As we celebrate our 75th season, we are also deeply honored to have received the Ogden Mayor’s Award in the Arts for Lifetime Contribution. This recognition is a testament to the dedication of everyone who has been involved with Onstage Ogden over the decades. I speak for all of our current board members, staff, and volunteers when I say we are proud to be stewarding their legacy.
Thank you for being part of our journey. I look forward to creating many more special moments and continuing to write the story of live performance in Ogden and beyond.
James Fredrick Executive Director, Onstage Ogden
BOARD & STAFF
2024/2025 ONSTAGE OGDEN BOARD OF DIRECTORS
Jean Vaniman
President
Christina Myers President-Elect
Danielle Bendinelli Vice President
Joyce Stillwell
Secretary
Jennifer Webb Treasurer
* New Board Members starting in FY25*
FOUNDATION
Russel King Chair
Meg Naisbitt Vice Chair
Marti M. Clayson Secretary
STAFF
James Fredrick Executive Director
Andrew Barrett Watson Outreach & Events Manager
Sarah Lorna Bailey Development Coordinator
Rosemary Lesser
Cirilo Franco
Pam Higginson*
Flor Lopez*
Wendy Roberts
Deborah Uman
Kate Holbrook Clark
John Fromer
Roger Chrisensen
Russel King Ex-Officio Member
Onstage Ogden Foundation
Dotty Steimke Treasurer
Michael S. Malmborg
Dr. Judith Mitchell
Carolyn N. Rasmussen
Sherm Smith
Nikki Thon
Dr. Robert Fudge
Camille Washington Marketing & Box Office Manager
Avery Franklin Audience Engagement & Administrative Coordinator
Mills Publishing, Inc.
Dan Miller, President; Cynthia Bell Snow, Office Administrator; Jackie Medina, Art Director; Ken Magleby, Graphic Design; Patrick Witmer, Graphic Design/Web Developer; Paula Bell, Dan Miller Advertising Representatives
Onstage Ogden is published by Mills Publishing, Inc., 772 East 3300 South, Suite 200, Salt Lake City, Utah 84106 Phone: 801.467.8833 Email: advertising@millspub.com Website: millspub.com Mills Publishing produces playbills for many performing arts groups. Advertisers do not necessarily agree or disagree with content or views expressed on stage. Please contact us for playbill advertising opportunities. Copyright 2024.
2024–25 SEASON
MICHAEL CLEVELAND & FLAMEKEEPER
Sunday, July 28, 2024 at 8PM
BIG BAD VOODOO DADDY
Wednesday, July 31, 2024 at 8PM CIRQUE CINEMA: TROUPE VERTIGO
Thursday, September 19, 2024 at 7:30PM
BYU WORLD OF DANCE
Saturday, September 21, 2024 at 2PM and 7:30PM
SAMMY MILLER & THE CONGREGATION
Friday, October 4, 2024 at 7:30PM ROYAL WOOD
Thursday, October 10, 2024 at 7:30PM
ONSTAGE OGDEN’S 75TH ANNIVERSARY CONCERT AN AMERICAN IN PARIS
Thursday, October 24, 2024 at 7:30PM
NOSFERATU LIVE-TO-FILM WITH CAMERON CARPENTER
Wednesday, October 30, 2024 at 7:30PM
NATIONAL GEOGRAPHIC LIVE: WILD WOLVES OF YELLOWSTONE
Friday, November 1, 2024 at 7:30PM
COCO LIVE-TO-FILM
Wednesday, November 6, 2024 at 7:30PM
BALLET WEST’S THE NUTCRACKER
Friday, November 29, 2024 at 2PM & 7PM
Saturday, November 30, 2024 at 2PM & 7PM
Sunday, December 1, 2024 at 12PM
CHOIR!CHOIR!CHOIR!
Tuesday, December 3, 2024 at 7:30PM
CAMPANA SOBRE CAMPANA: CHRISTMAS IN MEXICO Friday, December 6, 2024 at 7:30PM
HOLIDAY POPS EXTRAVAGANZA
Thursday, December 19, 2024 at 7:30PM
TRINITY IRISH DANCE: JIG
Wednesday, January 22, 2025 at 7:30PM
ONE-MAN STAR WARS TRILOGY Friday, January 31, 2025 at 7:30PM
MAEVE GILCHRIST
Wednesday, February 12, 2025 at 7:30PM
BRAVO BROADWAY!
Thursday, February 13, 2025
7:30PM
BALLET FOLKLÓRICO DE MÉXICO
Monday, February 17, 2025 at 7:30PM
INTERNATIONAL GUITAR NIGHT
Wednesday, March 5, 2025 at 7:30PM
HOLST’S THE PLANETS: AN HD ODYSSEY
Thursday, March 27, 2025 at 7:30PM
LIVE FROM LAUREL CANYON
Wednesday, April 9, 2025 at 7:30PM
THE BROTHER BROTHERS
Thursday, April 17, 2025 at 7:30PM
MOZART’S REQUIEM
Thursday, April 17, 2025 at 7:30PM
TURTLE ISLAND STRING QUARTET
Thursday, May 8, 2025 at 7:30PM
The Onstage Ogden’s 2024–2025 season is funded in part by grants from the National Endowment for the Arts, the Utah Division of Arts and Museums, Weber County Recreation, Arts, Museums, Stewart Education Foundation, and Parks (RAMP) program, and Ogden City Arts.
ONSTAGE OGDEN
75 Years of Elevating and Connecting the Community Through Performing Arts
Special thanks to the Board of Directors’ 75th Anniversary Subcommittee for researching and compiling all the archival materials on view: Danielle Bendinelli, Christina Myers, Wendy Roberts, Joyce Stillwell, Jean Vaniman, and Jennifer Webb.
Unmatched Academic Results
Come tour a campus and see for yourself!
Challenger School offers uniquely fun and academic classes for preschool to eighth grade students. Our students learn to think for themselves and to value independence.
Farmington (801) 451-6565
1089 Shepard Creek Parkway
Holladay (801) 278-4797
4555 South 2300 East
Salt Lake (801) 487-4402
1325 South Main Street
Sandy (801) 572-6686
10670 South 700 East
Lehi (801) 407-8777
3920 N. Traverse Mountain Blvd.
West Jordan (801) 565-1058
2247 West 8660 South
ROYAL WOOD ONSTAGE OGDEN
Thursday, October 10, 2024 at 7:30PM
THE MONARCH
ALL SONGS WRITTEN BY ROYAL WOOD
TONIGHT I’LL BE YOUR GUIDE LONG WAY OUT
I’M SO GLAD FOREVER & EVER ALWAYS WAIT* ARMOUR
ME AND YOU
- Intermission -
MORNING LIGHT HARDEST THING*
ACTING CRAZY*
SOMETHING ABOUT YOU AND SO PHOTOGRAPH
JULIET
Royal Wood Orchestra conducted by Gabriel Gordon
Violin
Mander Sato
Cadence Christensen
Audrey Peterson
Viola
Sebastian Sato
Vivenne Hansen
SEASON SPONSOR
Cello
Brennon Hinckley
Eliza Correa
TJ Cox
Flutes
Lauren Graham
Kaycee Johns
CONCERT SPONSOR
ARTISTS’ PROFILES
ROYAL WOOD
Singer, songwriter, multi-instrumentalist and producer Royal Wood has established himself as a true musical talent, with his last full-length studio album What Tomorrow Brings garnering an “up for consideration” at 2024’s GRAMMY Awards for BEST FOLK ALBUM. Since being named “Songwriter of the Year” by iTunes (2010), Wood has continued to evolve and hone his musical craft – maintaining an unmistakable identity while uncovering and reinventing his sound. Wood has two albums that have debuted in the Top 30, multiple JUNO nominations, five-time Canadian Folk Music Award-nominee, and a #1 added song at Hot AC radio. His songs have been heard on high profile sync placements like Grey’s Anatomy, and Private Practice.
AN AMERICAN IN PARIS & West Side Story
OCTOBER 24, 2024 / 7:30 PM / MAURICE ABRAVANEL HALL
STEPHANIE CHILDRESS , conductor
RANDALL GOOSBY, violin
BARBER
FLORENCE PRICE
FLORENCE PRICE
Second Essay for Orchestra (10’)
Adoration (5’)
RANDALL GOOSBY, violin
Violin Concerto No. 2 (15’)
RANDALL GOOSBY, violin
- intermission -
GERSHWIN
BERNSTEIN
An American in Paris (16’)
Symphonic Dances from West Side Story (24’)
I. Prologue
II. “Somewhere”
III. Scherzo
IV. Mambo
V. Cha Cha
VI. Meeting Scene
VII. “Cool” Fugue
VIII. Rumble
IX. Finale
SEASON SPONSOR
ARTISTS’ PROFILES
Strong ideas, lucid communication and intensely focused energy are among the qualities that define Stephanie Childress among today’s most compelling young musicians. Recently appointed Principal Guest Conductor of the Barcelona Symphony Orchestra, her musicianship and command of a broad scope of repertoire have already led her to establish herself on both sides of the Atlantic.
On the orchestral podium, Childress continues to be reinvited internationally and returns to the Barcelona and North Carolina Symphonies. In North America she will have debuts with the Cleveland Orchestra, Detroit Symphony and National Arts Centre Ottawa. In Europe Childress will also make her first appearances with the Royal Philharmonic Orchestra, Ulster Orchestra, Royal Scottish National Orchestra, Polish National Radio Symphony Orchestra, Dresden Philharmonic and her Japanese debut with the Yomiuri Nippon Symphony Orchestra.
Signed exclusively to Decca Classics in 2020 at the age of 24, American violinist Randall Goosby is acclaimed for thesensitivity and intensity of his musicianship alongside his determination to make music more inclusive and accessible, as well as bringing the music of underrepresented composers to light.
Highlights of Randall Goosby’s 2024/25 season include debut performances with the Chicago Symphony/ Sir Mark Elder, the Minnesota Orchestra/Thomas Søndergård, National Arts Centre Orchestra/Alexander Shelley, Montreal Symphony Orchestra/Dalia Stasevska and Netherlands Radio Philharmonic/Michele Mariotti.
He joins the London Philharmonic Orchestra on their U.S. tour led by Edward Gardner.
Goosby returns to the Los Angeles Philharmonic, Philadelphia Orchestra, Cincinnati Symphony, Detroit Symphony and Utah Symphony. He appears in recital across North America and Europe as soloist as well as with the Renaissance Quartet.
Goosby plays the Antonio Stradivarius, Cremona, “ex-Strauss,” 1708 on generous loan from Samsung Foundation of Culture.
STEPHANIE CHILDRESS Conductor
RANDALL GOOSBY
Violin
SHOW LINE-UP
Second Essay for Orchestra
Duration: 10 minutes.
THE COMPOSER – SAMUEL BARBER (1910-1981) – For so many artists around the globe in the early 1940s, the War was either coincident with or fully responsible for a change of voice. Samuel Barber, in the year just prior to the outbreak, had been established as America’s most lyrical composer thanks to the massive success of his Adagio for Strings. Toscanini conducted the work on a 1938 broadcast with his newly minted NBC Symphony and Barber’s Romanticism resonated at home and abroad among music’s more conservative traditionalists. But the War, and the attack on Pearl Harbor in particular, shifted his perspective. The cooler, reserved style Barber began to explore after the Adagio was, in many ways, his reaction to a world ablaze. He still looked to Europe for inspiration, but he was less dependent upon it.
THE HISTORY – Also included in that fateful 1938 broadcast was the first of Barber’s three Essays for Orchestra. The great tradition of America’s literary nonfiction giants was on his mind, for sure, but so was the even older convention of rhetorical speech-making. Written essays and verbal orations share a structural rigor that requires their ideas to be presented clearly, argued deftly and, ultimately, defended passionately. The same holds true for Barber’s musical prose. When Bruno Walter commissioned a new work from him for the New York Philharmonic at Carnegie Hall in 1942, Barber felt established enough (thanks to the Adagio for Strings) to follow his own instincts about what to offer in response. In the
end, he decided to continue the literary experiment he began four years earlier and presented Walter with a Second Essay for Orchestra. This was just before enlisting in the Army Air Corps. The timing of the two events is important, it seems in hindsight. Though it would be nice to have a piece of actual writing to guide our way through the Second Essay, it exists in its own purely musical space. Only Barber’s imminent departure for war seems to provide an external anchor for the listener, as the sounds of conflict lurk beneath the surface of the work’s evolving succession of thematic thoughts. Walter’s performance of the Second Essay for Orchestra was followed quickly by a second reading in Philadelphia under Eugene Ormandy. Musicologist and author Walter Simmons wrote that Barber was often present at the transition points of musical fashion, if perhaps too often a little late to the party. It’s a keen observation. The Second Essay is not, and was not, proof of Barber’s embrace of modern techniques. It was part of his attempt to answer the questions of the heart with the head, and to do so in his own sweet time. The Second Essay remains one of his most performed orchestral scores.
THE WORLD – Elsewhere in 1942, Bing Crosby recorded “White Christmas”, French author Albert Camus published “The Stranger”, Ghandi launched the “Quit India” movement to unite his people against British Rule, all while the War raged on.
THE CONNECTION – Utah Symphony last performed Barber’s Second Essay during the 2015–16 season. Christian Macelaru was on the podium.
SHOW LINE-UP
Adoration
Violin Concerto No. 2
Duration: 5 minutes and 15 minutes.
THE
COMPOSER
– FLORENCE PRICE
(1887-1953) – The classical music industry is attempting today to make amends for its many sins of omission and exclusion, and a revival of interest in Florence Price has been an important part of that effort for many institutions. In her time, Price knew what she was up against and how unlikely history was to make room for her name in the future. In an oft-quoted program note reference (this annotator included), Price wrote to the eminent conductor Serge Koussevitzky in 1943. She understood that composers needed champions on the podium and hoped he would take up her cause, despite the cards stacked against her. “I have two handicaps,” she told him, “those of sex and race”. Later in the letter she added, “I would like to be judged on merit alone”.
THE HISTORY – To be considered objectively was not an outrageous wish. But it was un-grantable in Florence Price’s time and is only just beginning to come true in ours. Price was essentially rediscovered in 2009 when a trove of her manuscripts and letters were discovered at her abandoned summer home in Illinois. The story they tell is one of an obscure but prolific compositional life, with over 300 works to fill the catalogue. The list includes four symphonies, four concertos and a wealth of choral and chamber ensemble music. Two of her concertos were for violin, with No. 2 completed in 1952, just months before her
death. It is only a brief 14 minutes long, but it contains all the hallmarks of her late style. The music has some chromaticism and dissonance, yes. But more important than any modest modernist convention is the clear sense of confidence that comes from vast experience. Price may not have had renown, but she did have that – experience. Her previous Violin Concerto was written in 1939 and was quite conventional by comparison. Violin Concerto No. 2 is cast in a single movement, with four overlapping sections that contrast and converse with each other in fascinating ways. It was Price’s last orchestral score. Adoration was also written just before Price’s passing. Composed in 1951, it was originally scored for solo organ but has since been arranged to feature other solo instruments, including that one always closest to her heart, the violin. Any work for the organ suggests an aspect of devotion, and Adoration fits this expectation perfectly. Over its short but beguiling duration, the music follows a threepart design of hymn, response, hymn and concludes with a quiet Amen.
THE WORLD – Elsewhere in 1951, Libya gained its independence from Italy and the Rosenbergs were sentenced to death for treason in the U.S. In 1952, King George VI of England died, the first thermonuclear bomb was exploded in the Marshall Islands and King Farouk was ousted in Egypt.
THE CONNECTION – These concerts represent the Utah Symphony debut of Florence Price’s Adoration and Violin Concerto No. 2.
SHOW LINE-UP
An American in Paris
Duration: 16 minutes.
THE
COMPOSER – GEORGE
GERSHWIN
(1898-1937) – With the sensational popularity of Rhapsody in Blue firmly lodged in the international consciousness, Gershwin found himself quite the celebrity when he travelled abroad in in the mid1920’s. While in Europe with his family he met some fellow “serious” composers, including Prokofiev, Ravel, Walton and even Schoenberg and Berg. In fact, the diaries of George’s brother Ira said that George spent every spare minute in the company of the artistic elite, establishing relationships and looking for feedback on his ideas. Though he continued to compose for the theatre, Gershwin had spent the years immediately following the Rhapsody in greater contemplation of his concert music persona. Time among the leading lights was just what he needed.
THE HISTORY – Among the many rewards for a success as potent as Rhapsody in Blue was an increase in commission opportunities. Walter Damrosch and his New York Symphony Society had already struck piano gold again with Gershwin on the Concerto in F in 1925 and the conductor wasted little time providing funding and a Carnegie Hall date for another project. Gershwin’s rise to fame away from Broadway was so quick that it outpaced the opinions of many that still viewed his “serious” efforts with a patronizing skepticism. By 1928 however, this circumstance was beginning to correct itself, but even today Gershwin’s symphonic scores are viewed as “crossover” art. Two entertaining stories from the Europe trip
tells of Stravinsky’s and Ravel’s rejections of Gershwin’s requests for composition lessons (famed composer-whisperer Nadia Boulanger turned him down too). Stravinsky, upon hearing of Gershwin’s six-figure income, supposedly said “then I should take lessons from you.” Ravel is said to have answered Gershwin’s question with a question of his own, “Why should you be a second-rate Ravel when you can be a first-rate Gershwin?” Stravinsky, at least, later characterized the exchange as “regrettably untrue” but the historical affection shown these twin legends is due in part to our desire to see shifting attitudes of some among Gershwin’s new peer group. The composer fulfilled the second Damrosch commission with a light-hearted tone portrait of his time in Paris. He was determined to write something that stood on its own two orchestral feet and didn’t rely on a solo piano for its credibility. Paris, with her busy streets and cultural tumult, was the perfect muse and Gershwin used the authentic French taxi horns he brought back with him to depict the many charms that eventually win over the titular “homesick American” in the piece.
THE WORLD – Elsewhere in 1928, the Summer Olympics opened in Amsterdam, the Catholic institution Opus Dei was founded, the animated short film Steamboat Willie (featuring Mickey Mouse) was premiered and Leon Trotsky was sent into exile.
THE CONNECTION – An American in Paris is performed on nearly every Utah Symphony’s concert series. The most recent Masterworks concert occurred in September 2018 under Thierry Fischer.
SHOW LINE-UP
Symphonic Dances from West Side Story
Duration: 24 minutes in nine sections.
THE COMPOSER – LEONARD BERNSTEIN (1918-1990) – It was 1957 when Bernstein completed the work he could have retired on, had it been possible for such a thing to cross his mind. West Side Story permanently reconfigured the musical cosmos when it premiered on Broadway. Bernstein, for his part, was already famous on the podium at that time. He had made his name as a conductor in 1943 thanks to the sudden illness of Bruno Walter. Bernstein was asked to fill in for Walter with the New York Philharmonic on incredibly short notice and became a superstar overnight. But even that heroic legend would be eclipsed a decade and half later by his theatrical masterpiece. West Side Story. Say the name Bernstein even today, and those are the three words that usually follow.
THE HISTORY – Three years and many hundreds of repeat performances later, Bernstein extracted a suite of Symphonic Dances from West Side Story. It wasn’t a cash grab. Bernstein’s use of dance in the show was as critical to the Shakespearean plot as the songs. From its romantic escapes to its all-out gang fights, choreographed movement gave West Side Story the stylish visual language that works perfectly even when the cast is not present. The old chestnut about music so vibrant you can see it with your ears has proof in the Symphonic Dances. The distilled version of the synopsis we “watch” unfold is best described by Jack Gottlieb, Bernstein’s longtime collaborator and an undisputed expert on the composer’s work.
In 1993, Gottlieb laid out the nine section of the Symphonic Dances as follows: “Prologue – The growing rivalry between two teenage gangs the Jets and the Sharks; Somewhere – In a dream ballet, the two gangs are united in friendship; Scherzo – In the same dream, the gangs break away from the city walls, suddenly finding themselves in a playful world of space, air and sun; Mambo – In the real world again, the competitive dance at the gym between the gangs; Cha-Cha – The starcrossed lovers Tony and Maria see each other for the first time and dance together; Meeting Scene – Music accompanies their first words spoken to one another; Cool Fugue – An elaborate dance sequence in which Riff leads the Jets in harnessing their impulsive hostility, figuratively ‘cooling their jets’; Rumble – Climactic gang battle, the two leaders, Riff and Bernardo, are killed; Finale – Maria’s ‘I Have a Love’ develops into a procession, which recalls the vision of ‘Somewhere’”. Leonard Bernstein’s work is too often contextualized as an intersection of America’s low and high brows. But scores like the Symphonic Dances argue that, even in the divisive place where popular and “classical” music meet, true genius can be found.
THE WORLD – Elsewhere in 1960, tennis legend Rod Laver won his first Australian Open title, Fellini’s “La Dolce Vita” had its premiere in Italy and the iconic “Guerrillero Heroica” photo of Che Guevara was taken in Havana.
THE CONNECTION – Bernstein’s Symphonic Dances from West Side Story was last featured on the Masterworks Series in December 2019. Thierry Fischer conducted.
UTAH SYMPHONY
Thierry Fischer
Music Director Emeritus
David Robertson Creative Partner
Jessica Rivero Altarriba Assistant Conductor
Austin McWilliams
Chorus Director & Opera Assistant Conductor
VIOLIN*
Madeline Adkins
Concertmaster
The Jon M. & Karen Huntsman Chair, in honor of Wendell J. & Belva B. Ashton
Kathryn Eberle
Associate Concertmaster
The Richard K. & Shirley S. Hemingway Chair
Laura Ha 2nd Associate Concertmaster
Claude Halter Principal Second
Evgenia Zharzhavskaya Acting Associate Principal Second
The Utah Symphony Chorus is an audition-only group composed of volunteer and professional singers from the Salt Lake City area. The Chorus typically performs a concert each season with the Utah Symphony, along with offering vocal development opportunities such as Alexander Technique classes, vocal masterclasses exploring technique and repertoire, and live Q & A sessions with local and international vocal stars.
FRIENDS OF ONSTAGE OGDEN
Onstage Ogden is grateful for the individuals, corporations, foundations, and government agencies who have made a charitable contribution in support of the performing arts in our community. Donors listed made their contributions between September 18, 2023, and September 18, 2024.
SEASON SPONSOR ($100,000+)
Stewart Education Foundation Weber County RAMP
SERIES SPONSOR ($25,000+)
Val A. Browning Charitable Foundation
Alan and Jeanne Hall
SPONSOR ($10,000–$24,999)
Art Works for Kids Foundation
The Franzen Family
Robert & Marcia Harris
Dr. Val Johnson
Lawrence T. Dee and Janet T. Dee Foundation
PROTECTOR ($5,000–$9,999)
Beaver Creek Foundation
George S and Dolores Dore Eccles Foundation
Rosemary & Dave Lesser ●
PARTNER ($2,500–$4,999)
Better Being
Dr. Robert Fudge and Sylvia Newman ●
Marty and Carolyn Rasmussen ●
State of Utah, Utah Division of Arts and Museums
Norman C. & Barbara L. Tanner Charitable Support Trust
Richard & Shirley Hemingway Foundation
Weber State University
Marriner S. Eccles Foundation
Christina & Shaun Myers ● Ogden City Arts
Suzy Patterson
Harry and Becky Senekjian WESTAF Western States Arts Federation
FRIENDS OF ONSTAGE OGDEN
BENEFACTOR ($1,000–$2,499)
Bank of Utah
Danielle Bendinelli ●
Geraldine and Evan
Christensen
Dr. Rosemary Conover
Brent and Vicki Cox
Rick and Karen Fairbanks
Doug and Shelly Felt
Cirlio Franco ● ●
James & Nicole Fredrick ● ● ●
PATRON
($500–$999)
Joan Alf
Roger Christensen ●
Catherine Clark ●
Tim and Candace Dee
Allan & Kellie Diersman
Diana & Ralph Dunkley
Kay Hoogland & James O’Brien
ADVOCATE
($250–$499)
Brad and Lynn Carroll
Raymond and Betty Christian
Cliff and Elizabeth Goff in memory of Nanette Smith, Bill Tribe, & Susan W. Nilson
Sean Bishop & Taylor Knuth
James & Deborah Lindstrom
DONOR (100–$249)
Zana Anderson
Phil and Melanee Berger
Yaeko Bryner
Edwin Cannon
Sharon Charley
Dr. Allen and Janis Christensen
Aaron Clark
Ellie Cole
Phillip & Gail Coleman
Julie and Stephen Coley
Katrina Daniel
Lynn and Natalie Dearden
Darin and Deborah Deem
Dr. Douglas Deis
Donna and Ralph Friz
John Fromer and Willis McCree
William and Deborah Hackett
Bill & Barbara Hughes
Beth A. Mannino & Paul E. Schick
Dr. Judith Mitchell ●
Robert Montgomery, MD
MSL Family Foundation
Robert and Sally Neil
Scott and Pam Parkinson
Ralph Nye Charitable Foundation
Carolyn Rich-Denson ●
Jonathan and Beverly Souder
Jean Vaniman ● ●
Glenn and Connie Wimer
Marlin & Kathleen Jensen
Michelle Ley
Frank and Sharon Markos
Wayne Miller
Meg and Mark Naisbitt ●
Paul and Sandra Perkin
Ned and Sheila Stephens
Joyce and Robert Stillwell ●
Dr. Deborah Uman and Mr. Michael Sander ●
Janice and Sheldon Ward
Jennifer & Dr. Michael Webb ● Kent and Trudy Whiteman
Sandy and Phillip Maxwell
Andy and Susan McCrady
Madeline & Alex Mcdonald
Daniel Neumann
Gary and Marilyn Newman
Laurie & Greg Rives
Eileen & Steve Santella ●
Juergen Sass
Sherman and Cheryl Smith ●
Keith and Marlys Sorbo
Dorothy & Dan Steimke ● Carl and Helgard Wolfram
Gaye Delange
Gloria Dixon
David and Lisa Edwards
Dr. Ann Ellis
Steve Ericson
Byron Espinoza
Pat Fuller
Dixie Funk
Karen Gall
David and Ruth Ann Gladwell
Dana & David Gossner
Kim Hale
Holly and Stephen Handy
Terry Hartman-Smith
Linda Hearn
Heather Heileson
Tina and Robert Herman
Jon Higginbotham
Grover Hoopes
Amy Huntington ●
Matthew Janzen
Alisa Jenney
Melba and Denis Kirby
Paul Kriekard
MacDowell Ensemble - Ogden
Chapter
Rand and Cynthia Mattson
James and Jennifer McGregor
FRIENDS OF ONSTAGE OGDEN
Roy Mecham
Toni Montrone
George Muller
Garrett Murphy & Esther Ahn
Maurine Naisbitt
Brian & Marsha Namba
Claude & Barbara Nix
Kim Odell
Cheryl Orme
Dr. Michael & Cindy Palumbo
Donald Pantone
Jeff Paulson
Janet A. Petersen
MEMBER ($50–99)
Kathy & Craig Adams
Clyde Baker
Daniel Bedford
Bobby Buckles
Shane DeHart
Michael and Susan Deyoung
Rocky Stone & Judith Faulkner
Janice Grajek
Mira Green
Scott and Deborah Greenwell
David and Joan Hadley
Bobbie Ramer
MaryAnn Rientjes
Linda Roth
Mary and Howard Schuyler
Shane Schvaneveldt
Kathy Sedgwick
Denise Sly
Michael Smith
Carol and Paul Sonntag
Sandra Sowerby
Edna Stratford
David Suehsdorf
Robert Tillotson
Ruth Turner
Kelly VanNoy
Lucinda and Phillip Wagner
Andrew and Suzanne Wall
David Walling
Linda Watson
Paula Weick and Carl Stuart
Barbara & Gerald West
Aloha Whitney
Michael Wutz & Marilee Rohan
Douglas & Karin Yonemura
Douglas & Karin Yonemura
Larry Zaugg
Mary Hargis
Jennifer Hartman
Kimberly and Christian Hearn
Debra Hull
Earl Johnson
Marilyn Konieczny
Jason Lew
Gale Livingston
Lisa Mustafa
Tina Olsen
Joseph Orozco
Matt & Camille Pollard
Joan and Paul Powell
Sarah Quistberg
Bonnie & William Rembacz
Carol Rhees
Mindy Steele
Jullie Stoddar
Ron and Sandy Waite
Jackie Watson
ShaRon Williams
Please contact Onstage Ogden Development Coordinator, Sarah Bailey, at 801.612.0757 or sarah@ onstageogden.org, if you would like to make a donation or if your name has inadvertently been left off or is misspelled.
BEVERLY LUND & GINNY MATTHEI LEGACY CIRCLE
75 years ago, Beverly Lund and Ginny Matthei organized a concert by the Utah Symphony at Ogden High School. They did so believing in the power of live performance to elevate and connect a community. Over the decades their vision evolved into what it is today, Onstage Ogden. For our 2024/2025 season, Onstage Ogden is establishing the Beverly Lund & Ginny Matthei Legacy Circle. Consider contributing to their legacy by including Onstage Ogden as a beneficiary of your estate.
If you would like to join the inaugural class of the Beverly Lund & Ginny Matthei Legacy Circle or have already included Onstage Ogden in your will, estate plan, or beneficiary arrangement, please let us know by calling Sarah Bailey at 801-399-9214 or by emailing sarah@onstageogden.org. Visit onstageogden.org/give for more information.
