The Pride Show Featuring the Rocky Mountain regional premiere of:
And featuring works from the musicals Hello Dolly and Next to Normal, composers Holly Near, Mark Hayes and more!
Celebrating WORLD Pride 2019 50 Years
a special thank you to these organizations for their generous support
Michael Sattler - Executive Director Abram Palmer – Communications and Marketing Specialist Don McMaster – Office Manager Nancy Crist – Bookkeeper
Board of Directors EXECUTIVE COMMITTEE Sally Taylor Sally Taylor Insurance Group RMAA Board Chair Kelli Theis PioneerSolutions RMAA Board Vice-Chair Wade Frisbie Frisbie Financial RMAA Board Treasurer Jerry Cunningham OUTFRONT Magazine RMAA Board Secretary
DIRECTORS Cindy Koch Always Best Care Senior Services Michael Rodel Retired, formerly Kaiser Permanente
Chorus Leadership Board Representatives Michael Backman Centura Health President, Denver Gay Men’s Chorus
Scott M. Elliott Keller Williams Realty DTC LLC
Karis Meskimen The Chartis Group President, Denver Women’s Chorus
Rev. Christopher Gilmore Sixth Avenue United Church of Christ
Scotte Hoerle TIAA RMAA Marketing Committee Chair
James A. Henderson Attorney At Law Ann Afton Families First
James Knapp Artistic and Managing Director DGMC
EX-OFFICIO
James Knapp – Artistic and Managing Director Sam Eschliman – Assistant Artistic Director & Director of Off Kilter! Ricki Vorrath-Moyer – Principal Accompanist Ken Leist - Choreographer
Mark Zwilling Artistic Director DWC
Mark Zwilling – Artistic Director Alison Dozier – Assistant Artistic Director & Director of Take Note! Beth DeBoer - Principal Accompanist
FOUNDATION SUPPORT & CORPORATE SPONSORSHIP
A special thanks to the Louden Family Foundation, Ralph L. and Florence R. Burgess Trust, AmazonSmile Foundation, CenturyLink Foundation, ExxonMobil Foundation, Charles Schwab Foundation, Community First Foundation & The Collins Foundation
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Artistic Staff for DGMC and DWC
James Knapp, Artistic and Managing Director
With more than 35 years of choral conducting experience leading university, church and community choruses, James is in his sixth season as Artistic and Managing Director of the Denver Gay Men’s Chorus. He is the the Artistic Director Emeritus of the Bayou City Performing Arts. With a collective membership of over 200 voices, he guided the Gay Men’s Chorus of Houston, the Bayou City Women’s Chorus (founder) and the Bayou City Chorale for eight years with tremendous success. His choruses have appeared at regional conventions of the American Choral Director Association and have performed concert tours throughout Europe, Britain and Russia. They have performed with the Moscow Chamber Orchestra, the Houston Symphony, the Colorado Symphony and at the International Church Music Festival in Coventry, England with Sir David WIllcocks. He has taught choral workshops throughout the US, in Europe, Zimbabwe, South Africa, Singapore and Thailand. In 2006, James was the Artistic Director of the Gay Games VII in Chicago and June 9, 2009 was proclaimed “James Knapp Day” in the City of Houston by Mayor Bill White. He was awarded by US Representative Sheila Jackson Lee the Certificate of Congressional Recognition by the US Congress for his contributions of artistic excellence in furthering the cause of social justice. One of the greatest honors of his life was being elected the Grand Marshall for the Houston Pride Parade in 2009 by the LGBTQ Community. He is a graduate of Fredonia State University, the Mozarteum Conservatory in Salzburg and the University of Texas at Austin.
Mark Zwilling, Artistic Director
Mark’s educational and professional background is extensive, and he has served as artistic director for the women’s chorus for 17 years. Mark also served as artistic director for Out Loud: the Colorado Springs Men’s Chorus for 5 years. Currently, he is the Director of Music and The Arts at St. Andrew United Methodist Church in Highlands Ranch. St. Andrew has more than 450 active music participants in a graded music program. Mark is an active performer and maintains a private studio in organ, voice and piano.
Alison Dozier, Assistant Artistic Director
Alison Dozier is the Assistant Artistic Director of the Denver Women’s Chorus and the Director of Take Note! the small ensemble of the Denver Women’s Chorus. Alison has been with the chorus for the past 9 years in a variety of roles. As a member of Take Note! she has collaborated on original arrangements and choralography. Alison has loved to sing since childhood and comes from a musical family. Alison is a professional counselor in Denver working with children and families.
Sam Eschliman, Assistant Artistic Director
Sam is in his third season as Assistant Artistic Director of the DGMC and Director of Off Kilter!, DGMC’s small group a cappella ensemble. A Nebraska native, Sam received his degree in music education from Doane University in 2013. After completing undergraduate studies, he taught at Lincoln Lutheran Middle and High School directing choirs in grades 6-12. In 2015, Sam moved to Denver to serve as Coordinator of Children and Youth Music at St. Andrew United Methodist Church in Highlands Ranch and, two years later, started his affiliation with the DGMC. In August, 2017, Sam relocated to Greeley with his wife, Taylor, to enroll in his Master’s Degree in Choral Conducting at the University of Northern Colorado.
Ricki Vorrath-Moyer, Principal Accompanist
Ricki Vorrath-Moyer attended Andrews University in Berrien Springs, Michigan, then received her Bachelor of Music in Organ Performance at the University of Colorado, Boulder. She went on to receive her Masters of Music degree in Organ Performance, with minor emphases in Choral Conducting and Piano Pedagogy. She is currently Organist/ Accompanist at First Plymouth Congregational Church in Denver. She is a member of Denver’s premiere handbell ensemble, the Rocky Mountain Ringers. Ricki also serves as the Artistic Director for the Metropolitan Choral Festival.
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Denver Gay Men’s Chorus
DGMC Chorus Council Michael Backman, President TJ Kizuka, Vice President Tom Rubane, Treasurer Scotte Hoerle, Marketing Stephen Hutt Nick Martinez Herb Toplan Stephen Wertz Production Team Stephen Wertz DGMC Production Manager, Set Design Kayln Bohl DWC Production Manager, Video Production Eric Horan, Costume Designer Manager and Video Production Stephen Hutt, Lighting Design David Duffield Michael Backman James Knapp Timothy Kreuter Jake Raper Stage Manager Anne Drake Script David Duffield & Alex DeFazio Band
Piano - Ricki Vorrath-Moyer Drums/Percussion - Sam Eschliman Electric Bass - Michael Olson
Narrators DWC Tina Edwards Hillary Hellums Jennifer Molde Sheila Blumstein Michelle Busse Christine Monks Ariel Finegold DGMC Kevin Doherty Ian Greenleaf Walter James Mordechai Kadovitz TJ Kizuka Tim Kreuter Daimeon Pilcher Chris Nicholson Lady Strongman Herb Toplan RMAA Marketing Committee Scotte Hoerle RMAA Marketing Committee Chair Steven Capaldi Cheryl Hamilton TJ Kizuka Christine Renee Monks Abram Palmer Sally Taylor Graphic Design Scotte Hoerle Special thanks to David Duffield, LGBTQ Historian Integrity Print Group
Special thanks to
OUTFRONT Magazine
DWC Chorus Council Karis Meskimen, President Karen AvilĂŠs, Vice President Jennifer Archuleta, Treasurer Cheryl Hamilton, Secretary Kayln Bohl, Production Kelly Grutsch, Fundraising Gloria Moser, Membership Aleeza Flores-Rhyne Lynn Montano Kyanite RainbowPeace Karen Tran DWC Music Advisory Council
Connie North, Chair Carolyn Burtner Michelle Busse Yvonne Cherena-Pacheco Alison Dozier Arielle Finegold Stephanie Jauregui Kyanite RainbowPeace GwenEllyn Nordquist Julie Roebuck Cece Thomas Sarah TL Waugh Mark Zwilling
F J K A H K A T M M J C C A J
S M B J S S T B C S L R
DGMC and DWC Chorus Members * = musical section leaders ** = section coordinators
First Tenor Jayson Arteza Kyle Bradley Allen Browning Hayes Burton* Kevin Doherty Anne Frey Tony Gulotta Mark Heneghan** Mordechai Kadovitz Jason Lusk Christopher Pieper Craig Roberts Abel Rocha Jacob Wooden Second Tenor Matthew D.R. Bradford** Jeffrey Carabelos Spencer Case Scotte Hoerle TJ Kizuka Brian Ogden Chris Rasmussen Stephen Sbanotto Lady Strongman Reuben Yantis
Samuel Eschliman, Director Tenor 1 Allen Browning Hayes Burton Abel Rocha Tenor 2 Matt Bloom Scotte Hoerle Brian Ogden Christopher Pieper
Baritone Matt Bloom Anthony Fay Walter James Mike Jones Craig Konnoth Timothy Kreuter John Krotchko Sean Kuprevich Stephen Layman Roy Martinez Christopher Nicholson Aaron Pennington Jake Raper Mike Rodel Herb Toplan** Bass Michael Backman** Terry Bohannon Dale Britt Alex DeFazio Tony Golem Ian Greenleaf Stephen Hutt Dan Kifer J.T. McGowan Rick Mitchell-Wyatt Maurice Murphy Christopher Perez Daimeon Pilcher Patrick Price Bill Rush Everett Schneider Chris Settefrati Victor Silva John Trujillo Stephen Wertz*
Baritone Tony Gulotta Maurice Murphy Christopher Perez Bill Rush Bass Michael Backman Stephen Hutt Patrick Price John Trujillo
Soprano 1 Annie Anzalone Sheila Bluestein Angie Durlin Arielle Finegold Christina Gammon Lyndsey Lane TIsa Lawrence Katherine Ross Bri Waites* Sarah TL Waugh Soprano 2 Michelle Busse Sonja Chalfant Katie Gaertner Rhiannon Hogan Stephanie Jauregui Cassie Jensen Rebecca Louden* Lizzie McIntire Allison Mesereau Ivy Moe Gloria Price Moser Kyanite RainbowPeace Julie Robuck* Kyra Sweeney Allie Votaw Emily Wheeland
Alto 1 Kayln Bohl Ann Cuthbertson Lauren DeAlleaume Katelynn DeLavan Alison Dozier Tina Edwards Angela Gilbert Hilary Hellums Sena Johnson Kalima Knapp* Shari Lemon Dahlia Lopez V McDougall Lizzy Miller Joey Netzorg Beth Pearson Monica Pressley* Cyndi Robuck Karen Tran Rachel Walker Alto 2 Karen Avilés* Melody Bishop Yvonne CherenaPacheco Peg Coats Aleeza Flores-Rhyne Jude Gassaway Cheri Hall Angela Henderson Marcia Hoy Heather MacKay Jennifer Molde Christine Renée Monks Jada Petersen Sara Vallejos
Alison Dozier, Director Karen Avilés Arielle Finegold Cheri Hall Lyndsey Lane Shari Lemon V Rose McDougall
Gloria Price Moser Joey Netzorg Beth Pearson Monica Pressley Cyndi Robuck Sarah TL Waugh
DENVER PRIDE 2019
I Sing Out
Words and Music by Mark Hayes
Soloists
Lizzy McIntire and Jayson Arteza
Before the Parade Passes By from Hello Dolly!
INTERMISSION
Words and Music by Jerry Herman Arranged by Mark Hayes
Soloist
Ian Greenleaf
Light from Next to Normal Soloists
Words by Brian Yorky, Music by Tom Kitt Arranged by Neal Richardson Stephen Sbanotto and Zac Berger
Quiet No More: A Choral Commemoration of Stonewall 50 years of Stonewall
Stand Up
Words and Music by Michael Shaieb
Words by Anthony Silvestri Music by Gerald Gurss
Soloists
Spencer Case
Prologue: It Was The Day
The Only Place That You Can Dance Words and Music by Michael Shaieb
Glorious Beauties
Words and Music by Our Lady J
Until All Of Us Are Free
Words and Music by Mark Burrows Based on a quote by Emma Lazarus
At The Parade (2019 commission)
Music by Nathan Hall with lyrics by Alex DeFazio and Nathan Hall ‘At the Parade’ combines new lyrics with phrases originally used in Denver pride parades of the 1970’s and 80’s. This work is made possible in part from a grant from Denver Music Advancement Fund.
Gotta Get Down To Downtown
Words and Music by Michael Shaieb
And We Walked
Words and Music by Julian Hornik
Soloist
Dan Kifer
We Are A Celebration
Words by Jason Cannon and Michael McElroy Music by Michael McElroy
What If Truth Is All We Have?
Words and Music by Ann Hampton Callaway
Soloist
Kayln Bohl
Juntos
Words and Music by Jim Papoulis
I Ain’t Afraid
Words and Music by Holly Near Arranged by Steven Milloy
Speak Out
Words and Music by Jane Ramseyer Miller
Soloists
Kristy Bosse and Tony Gulotta
Quiet
Words and Music by MILCK Arranged by Alison Dozier
DGMC and DWC Together
Due to copyright laws, audio and video recording of DGMC/DWC performances is strictly prohibited. We thank you in advance for respecting copyright law!
Program Notes I.
Prologue: It Was The Day (Michael Shaieb)
This opening movement provides the historical context for Stonewall, a major turning point in LGBTQ rights. Most of the information is provided in the spoken narrative, but the sung response from the mixed ensemble is similar to a Greek Chorus commenting on the dramatic material being presented. Many points of view are presented to help the listener understand the Stonewall phenomenon and why it was so important. The opening narrative suggests that the listener’s idea of what happened in 1969 may not be universally known or shared by all; some will only know the basics, some will have heard the urban legends, some will feel as though Stonewall doesn’t tell their story. The hauntingly beautiful Prologue invites the listener to journey with the singers as they share the storybook of Stonewall. It calls us to reflect on the past, to be in the present and - most importantly - to look forward. “Where are you going?” “Who will you be?” The final musical phrase, “What will you do?” is a challenge and a call to action to keep the legacy of Stonewall alive whilst creating a vision for the future. II. The Only Place You Can Dance (Michael Shaieb) This movement provides the listener with a snapshot of life in and around Stonewall in the late 1960s and the events leading up an early morning raid by police at the Stonewall Inn on June 28, 1969. Many may be unfamiliar with New York City, the Village, or even where and what Stonewall was. There are multiple references to the geography, history and culture of the West Village and LGBTQ life in the 1960s, existing laws, the underground culture, and how people socialized. The audience is introduced to the Stonewall Inn on Christopher Street: how it worked, why people went there, and the patrons you might find at the establishment. The movement concludes with a depiction of a typical police raid at the time so that listeners can understand what routinely occurred in gay bars leading up to the riots. Perhaps you will get the impression this was the raid that started riots but, in fact, it wasn’t. You will be kept waiting! The final phrases of this movement, “Don’t put up a fight. It’s just another night. Ev’rybody GO HOME!” are pivotal because they emphasize the ongoing harassment and exhausting abuse inflicted upon the LGBTQ community by the police. Up to this point, it had all been tolerated. However, the chronic sense of defeat and humiliation soon reaches a boiling point in Movement IV. III. Glorious Beauties (Our Lady J) In this movement, the audience is introduced to the people of the Stonewall riots. They were the most angry; they were the ones you couldn’t bring home to Mom; they had the least to lose. As the lyrics describe, “Some say we’re freaks, we’re monsters”. Who started the riots? Researchers clearly disagree. Some say it was the drag queens; others say the instigators were mostly transvestites and street kids. Some witnesses claim it was a single butch lesbian who turned Stonewall from a gathering to a true riot. Still others referred to the scare queens, flame queens, sissies, nellies and effeminates. Whatever they were called in 1960s vernacular, these were the bravest, the HEROINES AND HEROES. They were also the most energetic, the most violent, the most destructive and the targets of the most police brutality. The musical test, “Who hasn’t gone to paradise without making some sort of sacrifice?” emphasizes their absolute courage to fight for what was right and equitable. They were outrageous, funny, bitchy, clever, mean, desperate - and the most hungry for change. This movement invites the listener to see the full spectrum of queerness at the time and offers a contrast to others who could pass, the clean-cut professionals who walked among the straights. Long live these Glorious Beauties! May we remember and memorialize them with great respect, admiration and action! IV. Gotta Get Down to Downtown (Michael Shaieb) This movement begins with the haunting musical motif introduced in The Prologue and the upbeat dance rhythm from Movement II. However, the mood at the Stonewall Inn in the early hours of June 28, 1969 quickly shifted from campiness to curiosity, concern, and then, anger. “I don’t know why, but somethin’ doesn’t feel right.” That night, a boiling point is reached in response to the repeated harassment and abuse by police that the listener heard about earlier. Here, the chorus tells the story of rioters linking arms in a standoff against armed policemen. A brick is thrown, the crowd goes wild and, for the first time, there is no running away. A storm of defiance rages. We’re not going anywhere! In a cacophony of sound, the chorus and musicians recount the excitement, chaos, tension, defiance, danger and bravery of the riots. “Get your goddamn hands off me! We’re not going anywhere!” This movement ends with deafening silence, leaving the listener to contemplate what just happened.
V. And We Walked (Julian Hornik) The very next day, a short article appeared on page 33 of the New York Times: “Four policemen hurt in a Village raid.” This represented a victory for the LGBTQ community. “I got to the bar and I thought there we are in the glass, in the plaster, my people are there. But still I have my victory parade.” This movement goes on to chart the ripple effects of the four days of rioting. It began immediately with incremental changes in attitude and behavior that eventually led to milestone legislative victories and world-wide changes in social structures. There was no going back. The dam had burst. The text of this movement does not represent a strict linear narrative; instead, it is a cameo of thoughts spanning several decades: the NYT article, a woman running for office, the actions of an ACT UP protester in church, AIDS walks, a lament for “the boys who were children and then the men they barely got to be”, the fight for a cure. Everyone agreed that something important had happened that night on Christopher Street. Everyone felt differently, and then started acting differently. “And the very next year we gathered on Christopher Street. We were hundreds strong and unabashed. And we walked.” The listener is left to return every year to their own “Christopher Street”, wherever that may be. VI. We Are A Celebration (Michael McElroy) This movement invites the listener to “take a look around and make note of what you see”. It celebrates how much has changed and how much has been accomplished in the past 50 years since “that hot summer night our lives took flight.” The ripple effect of Stonewall has been felt at home and all over the world. The singers joyfully celebrate who we are today: our visibility, living our truth, our love, the families we have chosen, the lives we have built! “So be who you are! Love who you love! Go where you want!” In joyful and determined fashion, this movement pays homage to people who paved our way: the writers who tell our stories, the visionaries, the elders, the enlightened parents. And, we lift up the outrageous, the protesters, the friends straight and gay - who stand by our sides! This movement invites everyone to be a part of this celebration. “Clap your hands! Stamp your feet! C’mon, c’mon, c’mon, let’s celebrate!” VII. What If Truth Is All We Have? (Ann Hampton Callaway) We live in challenging and exhausting times. We have made such progress, and yet, we are continually slapped down. At times, it is hard to keep faith in our divided government, our families with differing views, and communities that hurt rather than heal us. How do we maintain belief when daily headlines speak of blatant racism, homophobia, misogyny, classism and ageism? Our despair deepens and our hearts break a little more each day. We have marched so many miles and written so many letters. We have shouted until we are hoarse. Yet, increasing hate and intolerance have become the ‘new normal’ for much of our world. “What if truth is all we have? What if truth is all we can hold on to?” In an era of lies, deception, and persistent efforts to reverse human rights, truth remains. It illuminates the darkness. It is our beacon of hope. If truth is all we have, so be it. We say “NO!” to the new normal. We hold on, walking and linking arms just as those at Stonewall did 50 years ago. And we remember that we are not alone. For a half-century, people all over the globe have felt the ripple of Stonewall. In our seemingly small and insignificant daily actions, we continue the legacy of Stonewall. “Is equality a destination? Or is it small wins day by day? Have we been searching for somewheres over the rainbows, when it’s ev’ry step of the way?” On June 28, 1969 the Stonewall patrons gathered to socialize and party like any other night without being hassled. They did not set out to change the world, but they did. Stonewall could have happened to you. How would you have reacted? Stonewall moments are all around us. What are the small things you want to change every day? This movement invites the listener to open their eyes each day, illuminate the darkness with truth, and clearly seek to find Stonewall moments in our own lives. “We gotta hold on, hold, on, hold on, hold on!” VIII. Speak Out! (Jane Ramsmeyer Miller) This final movement is a battle cry and a call to action. It is a recognition that the work of Stonewall is not over. There is no going back! The listener is encouraged to stay awake, be resilient, persist, act with purpose, and always be mindful of one’s small, personal Stonewall moments. How are others living their Stonewall moments? How can we support them? Are we living up to the standards set by the Stonewall protesters in 1969? In a myriad of actions both large and small, the audience is admonished to act! “Hold hands. Speak your truth. Know our history. Trust our youth. Honor elders. Share food. Demand respect. Show kindness. Love your neighbor. Run for office. Write a letter. Pray. March. Sing. Vote. And, as the brave patrons at the Stonewall Inn showed us 50 years ago, “Speak out and be heard!”
Audition to be a part of the Denver Gay Men’s Chorus or Denver Women’s Chorus for the 2019-2020 Season! Join us in August for Auditions. Check out DGMC.org or DenverWomensChorus.org for dates and info!