revels north program 2010
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Program booklet for Christmas Revels 2010 - A French Canadian Celebration of the Winter Solstice.TRANSCRIPT
theChristmas
revels®
Hopkins CenterDartmouth CollegeHanover, NH
a FrenCh Canadian Celebration
oF the Winter solstiCe
a Production of revels north
Presented by the hopkins Center
december 16-19, 2010
Music • Dance • Drama
Peace
On
Earth
JEFFREY M. HARRIS, CFA®
45 Lyme Road ▲ Suite 307 ▲ Hanover, NH 03755
877.643.8899 ▲ 603.643.8899
For more information on our personal services visit www.jmhwealth.com
A production of Revels NorthWritten by Patrick Swanson
Maureen Burford, Artistic DirectorSherry Merrick, Producer
Effie Cummings, Assistant Director for StageWill Thomas Rowan, Guest Assistant for Music
with
Debra WiseDanse Cadence
Le Chœur de NoëlLes Québécois Kids
Les Danseurs DiablesLloyd Gabourel
Heritage Brass Quintet
December 16 - 19, 2010Spaulding Auditorium
Hopkins Center
Please note:Food, beverages, backpacks, and the use of cameras, cell phones, laptops and other
electronic recording devices are not permitted inside
the theaters.Thank you for your cooperation
®
the Christmas
revelsA French Canadian Celebration of the
Winter Solstice
® Hopkins CenterDartmouth CollegeHanover, NH
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introductionWelcome to the 36th annual Christmas Revels. We’re delighted to be travel-ling to Québec with you tonight, as we visit a time when the timber industry was thriving and the waterways were lined with canoes of the voyageurs. Our story begins several centuries ago, one evening in late December—le temps des Fêtes, the time of celebration—and ends exactly one year later.
The voyageurs in our story were fur traders. Beaver pelts were in high demand in Europe, where beaver “top hats” were the style of the day. The Hudson Bay Company was hiring, and the promise of reward was a catalyst to adventure. The men, sometimes twenty to a canoe, travelled as many as 70 miles a day on the water. This was a relatively easy day’s work compared to the arduous task of portaging heavy canoes along the shore when waters became impass-able. For this work, each man would have to carry at least 180 pounds of cargo on his back, moving at a run to lessen the time under this load. The return to paddling was a welcome relief! Families back home awaited their return for as many as three years at a time, and could never be sure of seeing their loved ones again. Many men would never make the return voyage, hav-ing succumbed to the icy waters, to illness, or to injury.
What sustained them then, along the way, with their very basic food and long hours of work? Perhaps of all things it was the beauty of nature and the music that kept their spirits strong. They sang as they travelled, the rhythm of their music guiding the motion of their paddles in the water. They sang at their camps—stories of love, of dance, of food, of misadventure, of longing. Their repertoire of songs was vast. We look forward to sharing some of these songs with you tonight.
We at Revels North share this experience of the importance of song in sus-taining community and uplifting us through challenges. We have evidence of this in every direction: Revels singer and rescue worker Russ Keat tells of his experience of thousands singing through the night after the earthquake in Haiti. A Russian guest artist in 2004 shares that our singing of his music has opened his heart. “I did not know Americans could be like this!” The children in our programs tell us that music “is a way people understand each other.”
We are thrilled to be singing with you tonight, and sharing in some of the beautiful traditions of our Northern neighbors. As we raise our voices with our friends from Québec, let us hold in our hearts the singers and storytellers from round the world who await the return of the light. I know our music helps to bring it forth.
—Maureen Burford, Artistic Director
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cautionary talesfrom canada
by Patrick Swanson
“Tellee, tello, tellum, I have a tale to tell you,” begins the storyteller, and several young eyes widen with expectation. Folk tales have a predictable, familiar structure, with beginnings and endings that are ritualized in order to give a clear signal that we are entering and leaving another world—“Once upon a time . . . and they lived happily ever after”—and middles that often contain important lessons or cautions that are part of a perceived “common sense.”
The lessons embedded in French-Canadian culture come from a fascinating mixture of English, Scots, Irish, and French traditions shaped by the dominant religion, Catholicism. Many folk tales feature the village priest, and his enemy, the devil. The weapons in this holy war are often holy water and rosary beads versus liquor and gambling. A favorite cautionary tale about the loup garou or werewolf, half man, half beast, includes the important information about the reason for the beast’s uncomfortable condition: neglecting to go to confession for seven years.
Stories were told straight, or sometimes in song form. French-Canadian music is a unique blend of British and Celtic melodies and rhythms with call-and-response structures evocative of old French songs. In Québec, this was mostly done around the stove in someone’s house, and became known as “kitchen music.” Work-related songs tell stories to help ease the task and pass the time, while giving a strong rhythm to accompany the action. The countless voyageurs songs tell long, involved stories, and give us some idea of the enormous distances that the canoeists traveled to frontier logging camps and hunting grounds.
The story of La Chasse-Galerie has an odd origin. Imported from France, the reputation of a historical French family for a particularly wild hunting style became the basis for a story that had none of the trappings of devil or magic until it crossed the Atlantic and resurfaced in Québec. Fueled by the imagination of the trappers and lumbermen, the spirit of the wild chase coupling with their longing to be home at le temps des Fêtes produced the magic flying canoe, a perfect example of wish fulfillment. The devil offers a free ride home to pioneers separated from their loved ones and the joys of civilization—for a price. Of course, the devil defines the rules: no swearing, no liquor, and be back home by curfew. In an interesting twist, the voyageurs must not touch any church spires or take in vain the name of anything holy. (This latter probably since in inimitable Québécois fashion, a church ban on swearing had produced a series of expletives based on innocuous religious words like “cathédrale!”). In most versions of the story, the terms are not quite met, and the voyageurs are dumped out of the canoe, sometimes waking up with sore heads and bruised bodies back at the logging camp.
French-Canadian culture spread into the United States with the immigrant workers to the mill towns that grew up in the late nineteenth century. From Lewiston to Lowell, the sound of Québec stepdancing and fiddle entertained the workers and continued the tradition. The tension between the law and the canny pioneer spirit that was always pushing the envelope is embodied in a number of tales about Ti-Jean, the folk-hero whose native risk-taking puts him in very tricky situations, but in the end he emerges unscathed, a little wiser, and in relatively good humor.
The municipal graveyard in Lowell, Massachusetts, tells a tale of how well these traditions persist. Go looking for the last resting place of Lowell’s prodigal son and author of On the Road, the beat poet Jack Kerouac (whose French-Canadian grandfather was from Saint-Hubert), and you will find him under a stone that says simply, “Ti-Jean.”
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1. Overture
Heritage Brass Quintet
2. Haut, Haut, PeyrOt
A Béarnais Christmas Carol; the music is a traditional tune found in Gustave Probst’s Melodies Béarnaises. Christmas for French Canadians encompasses the solemn midnight mass on Christmas Eve, and the other extreme, the secular and boisterous jour de l’An, or New Year. Lyrics are adapted for this production from several Christmas tunes traditional to Québec.
Greg Marshall, soloist D Le Chœur de Noël Heritage Brass Quintet
3. angels We Have Heard On HigH
A French carol sung throughout the world.
Les Québécois Kids D Le Chœur de Noël D Heritage Brass Quintet D Lester Gibbs, organ D Les Cloches du Nord
PLEASE SING WITH US!
Angels we have heard on high Sweetly singing o’er the plains. And the mountains in reply Echoing their joyous strains:
Refrain Gloria in excelsis Deo! Gloria in excelsis Deo! Shepherds, why this jubilee? Why your joyful strains prolong? What the gladsome tidings be Which inspire your heavenly song?
Refrain
Come to Bethlehem and see Him whose birth the angels sing; Come adore on bended knee Christ the Lord, the newborn King.
Refrain
Part One
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4. Quadrille
The quadrille, very popular in the Québec City area, arrived in Québec in 1829. It has five or six parts, with a different tune associated with each part. This version comes from Lorretteville, close to Québec City, and is very condensed here—a complete quadrille can last for half an hour! The tunes here are “Gigue de Rouyn,” “Quadrille Verret,” and “Galope de Québec.”
Les Sabots Volants D Danse Cadence
5. aH! si MOn MOine vOulait danser! (if Only My tOP WOuld dance!)
“Moine” means both “top” and “monk,” thus providing a neat play on words.
Les Femmes du Chœur de Noël D Danse Cadence
6. la viOlette
A traditional voyageur song, arranged by Serre L’Écoute.
Will Thomas Rowan, Lloyd Gabourel, and Bernard Simard Le Chœur de Noël D Danse Cadence
PLEASE SING WITH US!
7. cHildren’s sOngs and gaMes
Promenons-nous dans les bois (Let’s Walk in the Woods) This children’s song reminds us of the conte de fée (fairy tale) “Le Petit
Chaperon Rouge” (Little Red Riding Hood), published by Charles Perrault in 1697. The song accompanies a game in which a child playing the wolf hides while the other children dance. Watch what happens at the end of the game!
Canot d’écorce (Birch-Bark Canoe) The faraway logging camps could be reached by one’s flying canoe, at
least in the imagination.
Les Québécois Kids with Bernard Simard
8. tHe HandsOMe dancer One of many moral tales warning against dangers of worldly
pleasures, like dancing, which could be used by the “forces of darkness” to lead the faithful into temptation.
Debra Wise, storyteller
La vi o- lett- e- don dain- e- la vi o- lett- e- don de
La Violette
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9. raPPer sWOrd dance
A traditional English dance incorporating figures from several villages in Northumberland, where coal miners used as their two-handled “swords” the flexible steel tools with which they curried the coats of their pit ponies. Blacking or smudging the face, while identifying the participants as miners, is also an effective disguise in ritual theater and dance.
Les Danseurs Diables
10. Quand Je suis sur MOn tOnneau (WHen i aM On My Wine cask) From the extensive repertoire of French-Canadian drinking songs.
Le Chœur de Noël
11. tHe Wreck Of tHe “Julie Plante” A poem written in dialect by William Henry Drummond (1854–
1907), an immigrant Irish doctor. It was his mission to convey in poetry the character of the French Canadians he came to love so much.
Les Québécois Kids D Rebecca Bailey, soloist
12. OutaOuais Medley The suite of clog, jig, and reel, first developed in the Ottawa Valley
area for stepdancing competitions, has since spread to other parts of Québec. The tunes are “Clog à Raynald” (composed by Raynald Ouellet), “Six-huit de la Compétition” (composed by Philippe Bruneau), and “Reel des queues de lapin.”
Danse Cadence D Pierre Chartrand, Laura Barrett, and Julia Frew, dancers
13. là-Bas
Included by Fathers Anselm Chiasson and Daniel Boudreau in their encyclopedic 1940s collection of Acadian songs, “Là-bas” is more encouraging than most French-Canadian marital complaint songs: Telling her father that marriage falls short of her expectations, the young narrator is advised to go back to her husband and love and cherish him, because God blesses young married couples.
Bernard Simard and Rebecca Bailey D Danse Cadence
14. HyMne à la nuit
“O, Night—bring to the Earth the enchanting calm of your mystery.” Joseph Noyon (1888–1962), a French church musician and composer, created this arrangement for chorus, with words by Edward Sciortino. The tune is from the opera Hippolyte et Aricie, composed in 1733 by one of the great Baroque-era composers, Jean-Phillipe Rameau.
Le Chœur de Noël
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15. à la claire fOntaine (By tHe clear fOuntain) In this timeless song, a favorite of the voyageurs, the forlorn lover
sings of loss: “Long have I loved you, never will I forget you.”
Bernard Simard, soloist D Le Chœur de Noël D Danse Cadence
16. les vOyageurs A poem by Patrick Swanson.
Debra Wise
17. tHe lOrd Of tHe dance
Sydney Carter’s modern lyrics to the Shaker song “Simple Gifts” are here translated into dance using a compilation of traditional Morris steps by Carol Langstaff, Martin Graetz, and Jonathan Morse. Lloyd Gabourel, singer D Les Danseurs Diables
Heritage Brass Quintet D Le Chœur de Noël Les Québécois Kids
ALL SING AND DANCE!
“Dance, then, wherever you may be. I am the Lord of the Dance,” said he, “And I’ll lead you all, wherever you may be, And I’ll lead you all in the dance,” said he.
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18. JesOus aHatOnHia (Jesus is BOrn) This carol, probably the first Canadian Christmas carol, originally
was written in Wendat by the Jesuit missionary Jean de Brébeuf (1593–1649), to the tune of “Une Jeune Pucelle” (The Young Maid), a fifteenth-century French song. This English translation for Revels North is by Maureen Burford, reflecting the Wendat people’s unique perspective and imagery in telling the story.
Julianne Barney, soloist D Les Femmes du Chœur de Noël Valerie Martin, drum D Maureen Burford, Native American flute
19. la Belle françOise (tHe lOvely françOise) A soldier comes to visit his disconsolate true love before marching off to war.
Les Voyageurs
20. la cHasse-galerie
“The Hunt of Lord Galerie” is a legend that took on a completely new meaning when it came from France to Canada. In the French version, Lord Galerie is condemned to hunt for eternity in the night sky, and people say they hear his hounds baying on stormy nights. In Québec, the hunting party is replaced by a flying canoe bearing voyageurs on their way home to their families for Christmas, and this too is sometimes visible at night. The songs used for our enchanted voyage are “Au bord de la fontaine” (At the Edge of the Fountain), “Envoyons d’l’avant, nos gens!” (Forward, Men!), and “V’là le bon vent” (That’s a Good Wind).
Bernard Simard and William Rowan, soloists D Le Chœur de Noël D Danse Cadence
21. rinçOns-nOus la dalle (let’s rinse Our tHrOats) An all-purpose toast.
Le Chœur de Noël
22. la Belle PrOvince Medley
A set of dance tunes from Québec, “la belle province.”
Danse Cadence
23. Brandy
One of the most popular traditional dances in Québec, known for its lively stepdancing and its 3/2 meter. This version comes from the Saguenay area, where the stepdancing tradition is well preserved.
Les Sabots Volants D Danse Cadence
Part two
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24. cHildren’s sOngs and gaMes
Il était une bergère (There Once Was a Shepherdess) A favorite everywhere, involving a mischievous cat and some fresh
sheep cheese.
D’où viens-tu, bergère? (Where Have You Been, Shepherdess?) A Nativity song commonly sung at the Christmas Eve midnight mass.
Les Québécois Kids
25. allOns, Bergers, PartOns tOus! (sHePHerds, let’s all gO!) A carol based on the clock chime known as “Grandfather Christmas.”
This version was collected in Saint-Remi.
Les Québécois Kids D Le Chœur de Noël D Heritage Brass Quintet D Les Cloches du Nord
ALL SING!
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26. dOna nOBis PaceM
A prayer for peace
Le Chœur de Noël D Les Cloches du Nord
ALL SING!
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27. la guignOlée
La Guignolée is a very old “visiting” tradition relating to the mistletoe or gui. It is thought to have originated with the Druids, who wrapped sacred oak trees with mistletoe at the winter solstice. (It may also be an echo in Norse myth to the death of Balder, representing light, by his brother Hodur, representing dark, who shot him with a mistletoe-tipped arrow.) The word derives from the phrase au gui-l’an-neuf (New Year’s mistletoe). In the French-Canadian tradition, the guignoleux went from door to door asking for a chignée, a bit of pork fat. In the north woods of Ottawa, the loggers’ version of this ritual was to leap over a barrel of salted lard at midnight from the old year into the new. In Québec, La Guignolée was used to collect gifts for the needy of the village.
Les Québécois Kids D Le Chœur de Noël D Danse Cadence
28. ’ti-Jean and tHe lOuP garOu (little Jack and tHe WereWOlf) A French-Canadian-English-American entertainment in the
Mumming tradition by Patrick Swanson, directed by Effie Cummings.
Les Mummers
29. vive la cOMPagnie
French song of conviviality, with verses by Patrick Swanson and Roberta Gasbarre.
Le Choeur de Noël D Danse Cadence
30. tHe cOntest
A dance duel between the forces of dark and light. The tune is “Le violon accorde comme une vielle.”
Sharon G. Comeau, the Devil D Pierre Chartrand, the dancer
31. ave Maria
Josquin des Prez (c. 1440–1521), a revered composer during his lifetime and ever after, was born in the Burgundy region, now Belgium. This motet, composed while he lived in Milan, begins with a snippet of Gregorian chant, which we hear as each part enters in canon. For this performance, we sing the opening parts of the motet, “Hail, Mary, full of Grace,” a section in triple meter, “Hail true virginity,” and Josquin’s personal ending, “O, Mother of God, remember me!”
Le Chœur de Noël
32. tHe sHOrtest day
This poem, written for Revels by Susan Cooper in 1977, has become a traditional part of Christmas Revels performances throughout the country.
Robert Metz
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33. tHe sussex MuMMers’ carOl
This traditional carol is sung as an ending to the folk play in Horsham, Sussex. Similarly, in each of the eleven American cities where Revels is produced annually, this carol is sung with the audience at the conclusion of each performance. The brass arrangement is by Brian Holmes, with descant and final verse harmonization by Ralph Vaughan Williams.
Le Chœur de Noël D Les Québécois Kids D Heritage Brass Quintet D Lester Gibbs, organ
ALL SING!
Welcome Yule!
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199 Heater Road, Lebanon, NH 03766 Phone (603) 448-4424 Fax (603) 448-6735
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16 17
Twilight Arts Players Presents Louisa May Alcott’s Heartwarming Classic
Little Women November 16 & 18, 7 pm; November 18, 2 pm
Blow-Me-Down Grange, Plainfield, NHNovember 17, 7 pm Tracy Hall, Norwich, VT
November 19, 2 pm, Little Theatre, Woodstock, VTSuggested Donation: $5
Joyeux Noel to the French Canadian Revels North
from
The Complete HootThe Upper Valley Arts & Events Guide
Published the First Friday of Each MonthOver 15,000 Readers
Twilight Arts Players PresentLouisa May Alcott’s
Heartwarming Classic
Little WomenDecember 16 & 18, 7 pm December 18, 2 pm
Blow-Me-Down Grange, Plainfield, NHDecember 17, 7 pm
Eclipse Grange, Thetford, VTDecember 19, 2 pm
Little Theatre, Woodstock, VTSuggested Donation: $5
For more info: [email protected]
Joyeux Noel to theFrench Canadian Revels North
from
The Complete HootThe Upper Valley Arts & Events Guide
Published the First Friday of Each MonthOver 15,000 Readers
16 17
Artistic Director ······················································Maureen Burford
Producer ····································································· Sherry Merrick
Assistant Director for Production & Stage, Mummer’s Director ·················································· Effie Cummings
Guest Assistant for Music ···································Will Thomas Rowan
Children’s Chorus Director ·········································Rebecca Bailey
Choreographer ························································Pierre Chartrand
Consultant to the Artistic Director ······························· James Horton
Handbell Choir Director ················································ Lester Gibbs
Chorus Manager ·························································Kevin Peterson
Stage Manager ················································Alden DiIanni-Morton
Assistant Stage Manager ·········································· Jay Ben Markson
Set Designer ··························································Margaret E. Jacobs
Set Construction Manager··································· Justin D. O’Rourke
Graphic Artists ···············································Mat Doyle, Sara Morin
Program and Flyer Design ···················································· Sue Ladr
Costumier & Wardrobe Manager ·····································Ann Fiedler
Lighting Designer··························································David Gelhar
Make-up Designer & Manager ····································· Bonna Wieler
Prop Design &Construction Managers ·······················Angelica Stuart, Sharon Wight
Special Effects····························································· Angelica Stuart
Dance Captain ··································································Jane Finlay
Rapper Team Leaders ··························Christopher Levey, Jane Finlay
Load-in Manager ······················································ Effie Cummings
Children’s Co-Managers ··················Barbara DeFelice, Marcia Bender
Volunteer Coordinator ······················································Deb Wallis
Program Editor ·························································· Rachael Cohen
Proofreader ······································································ Rich Brown
Webmaster ········································································ Mat Doyle
Videographer ·····························································David Millstone
Assistant Videographer ············································Kim Rheinlander
Performance Photographers ·········· Thomas Ames, Jr., Raymond Perez
Production Team
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Guest artists
NarratorDebra Wise
r
DancerSharon G. Comeau
r
Danse CadencePierre Chartrand, dancer and percussion
Éric Favreau, fiddleStéphane Landry, accordion
Bernard Simard, guitar and vocals
r
Heritage Brass QuintetJim Boccia, trumpet
Robert Booth, tromboneLydia Busler-Blais, French horn
Robert E. Eliason, tubaDaniel Farina, trumpet
with Andrew Buchan, timpani
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les JoueursMaster Of cereMOnies
Lloyd Gabourel
narratOr
Debra Wise
dancers
Pierre Chartrand, Julia Frew, Laura Barrett
Priest
Greg Marshall
devil
Sharon G. Comeau
devil’s understudy
Laura Barrett
les vOyageurs
Skip Cady, Kevin Peterson, Robert Metz, Lloyd Gabourel,
John Severinghaus
françOise
Amy Trage
le Chœur de noël
les mummersdOctOr
Debra Wise
rOOM
Hollis Westling
Père nOël
Sharon Groblicki
grand tête
Kathy Christie
lOuP garOu
John Severinghaus
’ti-Jean
Skip Cady
cHild
Katherine Barney
Revels North Cast
Rebecca BaileyJuliann BarneyAlice Bennett
Lilian Buchangroff
Alison EllsworthKalei Fontaine
Julie FrewJulianne HardenAshley Milliken
Kelli MinelliNicki PerezAmy Trage
Heather Wieler
Soprano
alto
tenor
bass
Kathy ChristieLeslie DustinFranny EanetJane Finlay
Jaika FontaineZoe Granizo-Mackenzie
Sharon GroblickiGwen Groff
Bergren KeatsBetsy MaislenValerie MartinKaren Wilson
Robert Buchan
Alden Hall
Steve Glazer
Robert Metz
Peter Milliken
Samantha Moffatt
Kevin Peterson
Will Thomas Rowan
Chris Washington
Robert AndereggJohn Bartholomew
Harold FrostKen Hershey
Marvin Rogers
Dave RostenBill Schults
John Severinghaus
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Alison EllsworthNicki Perez
Bonna Wieler
Lester Gibbs, Handbell Choir Director
Katherine BarneyMarta Bartholomew
Andrew Buchan-GroffGrace Derksen
Zea EanetEthan EarleLydia Frew
Emma GlazerGwynn
Granizo-MackenzieKhuan-Yu HallAnna Helper
Vincent “Nacio” LeveyEmily MastellerPerrin Milliken
Heather StaffordHailey Swett
Natalie Junio Thompson Rosey Thompson
Emily TrageLyric Wilson
Marguerite Amesk
Rob AndereggLaura Barrettk
John Bartholomewk
Franny Eanet
Jane Finlayk
Julie Frewk
Lloyd GabourelSharon G. Comeauk Samantha MoffattSharon Groblickik
Julianne HardenBetsy MaislenKelli Minellik
Bill SchultsChris Washington
Chris Levey
Jane Finlay
Laura Barrett
Emma Behrens
Nicki Perez
Barbara DeFelice, alternate
Alexandra Burkot, violin
les Cloches du nord
Les Québécois Kids
Les Sabots Volants
Les Danseurs Diables(raPPer sWOrd)
k Brandy dancers
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about the production team
Rebecca Bailey (Children’s Chorus Director), a former school music teacher, has performed with the Thetford Chamber Singers, the Parish Players, Signal and Noise Productions, The Left Bank Trio, Off The Grid, and Les Montreurs d’Images of Geneva, Switzerland. She has directed children’s choruses in the Revels Christmas shows, Solfest, and World of Song program since 2006.
Maureen Burford (Artistic Director) has spent the past twenty-six years supporting children and adults to develop their creativity and confidence through the lively arts. In addition to directing the Summer and Christmas Revels, Maureen is the founder of the “Revels Kids” program that creates opportunities for children each year in several towns in Vermont and New Hampshire to learn about diverse cultures, traditional music, and positive group dynamics through the performance arts. As a musical artist, Maureen has performed and recorded with the Arcadia Players Baroque ensemble on the violin, and with the Cornell University, Massachusetts Institute of Technology, and Brandeis College symphonies on the piano. She has also premiered compositions and arrangements at the Smith College Festival of Women in Music, Revels North productions at Dartmouth College, and recently, with the Thetford Chamber Singers in Thetford, Vermont. She has created children’s musical programming for the Shallcross Creativity Institute, public schools in Vermont and Massachusetts, and is currently at work on a grant to create children’s books and music for Revels, Inc., in Cambridge, Massachusetts. Maureen has taught creative expression in corporate settings nationally and internationally for the Creative Problem Solving Institute, the Center for Creative Leadership, the University of Massachusetts, and as a independent consultant. She has served on the faculties of the Springfield Community Music School, Springfield Technical Community College in Springfield, Massachusetts, the University of Massachusetts at Amherst, and Asnuntuck Community College in Connecticut. She founded her own consulting business, “Creative Lives,” offering courses for teachers and parents on children and creativity. Maureen holds a Master of Education degree from the University of Massachusetts at Amherst, and a Bachelor of Arts degree in music from Cornell University. She lives in Thetford with her husband Alex and son Daniel; her daughter Emma attends college in Massachusetts.
Effie Cummings (Assistant Director for Production and Stage, Mummers Director) is a native Cape Codder. She first appeared on stage at the Chatham Drama Guild, Chatham, Massachusetts, in 1985, and has been acting ever since. Recent roles include Mrs. Chumley in Harvey, Hold Me, Touch Me in The Producers, both at the New London [New Hampshire] Barn Playhouse, Lily in The Lumpkin Sisters’ Christmas Caper, in Hanover, and Margaret Meade in Hair at Dartmouth College. Effie has been singing with Revels North since 2000. She was the Dragon in the Mummer’s Play in the Celtic Revels of 2002 and reprised her role as the Dragon in the 2008 Christmas Revels. This year marks her second year directing the Mummer’s Play. David Gelhar (Lighting Designer) has been designing the lighting for Upper Valley theater, dance, and opera companies for over twenty-five years. He has worked with Opera North, the Dartmouth Dance Ensemble, Northeast Shakespeare Ensemble, and the Albany Berkshire Ballet. Participating in Christmas Revels has been part of his holiday routine for at least twenty years (he has lost count.) When not in the theater, David lives with his family in Wilder, and works as a computer programmer for Dartmouth College.
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Margaret E. Jacobs (Set Designer) is a sculptor and mixed-media installation artist who currently resides in Lebanon, New Hampshire. She has painted and designed sets for a number of performances, including 42nd Street at the Lebanon Opera House, Dartmouth College’s inaugural Voices Program’s presentation of Top Dog/Under Dog, and The Last 5 Years at Dartmouth College. She is currently working as AVA Gallery and Art Center’s Exhibition Coordinator. Sherry Merrick (Producer) moved to the Upper Valley to pursue her nursing career in 1980. She joined Revels as a chorus member in the 1989 Summer Revels and within months joined the board of directors. In this capacity, she spearheaded a series of events for the dual purpose of building community and fundraising, such as the pancake breakfast at Post Mills’ Balloon Meet and quilting and sewing gatherings. Beginning in the mid-1990s as the production manager for Summer Revels and moving on to being producer of the Christmas Revels, Sherry extended her role to include hiring musicians, actors, and dancers. This would later extend past Revels to her working with Project Harmony in Waitsfield, Vermont, as the Director of Cultural Exchange. In this capacity, she organized school performances and a traditional dance exchange in 2005 and 2006 between the Norwegian Småjondølane and the Maple Leaf Morris Team from Vermont. In her spare time she enjoys playing snare drum for the Lyme Town Band. She has worked at Alice Peck Day Hospital for the past nineteen years.
Justin D. O’Rourke (Set Construction Manager) is a Dartmouth College graduate and sculptor who currently resides in Lebanon, New Hampshire. He has experience building sets such as Rocky Horror Picture Show, Two Men of Verona, and 42nd Street. He is currently creating a portable blacksmith cart, which was made possible by a Peter D. Smith Student Initiative Award from Dartmouth College.
Will Thomas Rowan, Guest Assistant for Music, has been involved in traditional music, dance, and mumming since he could speak. While working on his BA in music composition and ethnomusicology at Marlboro College, he took many semesters off to travel and gain experience in choral directing and teaching traditional music with Village and Northern Harmony. He has led two Village Harmony camps in Canada, where he has had the great pleasure of working with Robert Bouthillier, a Québécois ethnomusicologist and traditional singer. Will’s other musical pursuits include singing with his wife in Windborne Trio, teaching Corsican polyphonic singing, playing jazz and rock piano, and composing. He also makes wooden toys and builds houses.
Bonna Wieler (Make-up Designer and Manager) has been working with Revels North for twenty-three years, from Morris dancer to make-up manager for the last fifteen years and make-up designer for the past three. She is a kayak instructor and trip leader for summer camps and Bold Paths Adventure Travel. Bonna is also a river curriculum consultant, networker, and organizer/coordinator of environmental activities, and director of the Hanover After School Program. She plays traditional music with the band The Stove.
Sharon Wight (Prop Design and Construction Co-Manager) has been either singing or working backstage for Revels for the past seven years, but has been a fan for thirty years. She has been designing and building props for four years, putting her engineering and carpentry skills to good use. When she isn’t singing with Revels or the Dartmouth Gospel Choir, she loves to hike, kayak, garden, and travel.
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Debra Wise, a founding member and current artistic director of Underground Railway Theatre in Cambridge, Massachusetts, has been involved in the collaborative creation of over twenty new works for the company. For six years, Wise was artistic co-director of and a principal performer in Boston’s Women on Top Theater Festival, and she won a Top Ten citation for solo performance from the Boston Globe for her performance of Deborah Fortson’s Spackling. Wise has also appeared as an actor with New York’s Public Theatre and the Ark, where she created original works with Julie Taymor and Elizabeth Swados, and Boston’s Sugan Theatre, New Rep, and Christmas Revels. She has led residencies in more than thirty public schools and is the Theater Specialist for the Art Works for Schools Program. She has been on the faculty of Harvard Graduate School of Education’s Summer Institute for four years, and was selected as keynote speaker and workshop leader for the 2001 Arts Connections Fine Arts Summer Institute at the University of Arizona.
danse cadence
Born in Montréal, Pierre Chartrand is a dance historian–ethnologist, a choreographer, a master stepdancer, and an artful dance caller. Dancing for more than thirty-five years, he has taught and performed regularly in Québec, the United States, and Europe. After obtaining his Dance Master from the Sorbonne in Paris in 1991, he founded the Centre Mnémo, dedicated to preserving and promoting traditional French-Canadian dance and music. He has published folk music and dance books for Mnémo, written many magazine articles, and spoken frequently at folk music programs and conferences. Awards he has won include the 1997 International Dance Medal in Madagascar and the 2005 Best Choreography Prize from the Independent Reviewers of New England. He has taught dance at the Université du Québec à Montréal and for the folk music program of Joliette College. In 2000, he started his company Danse Cadence and has produced shows titled Rapetipetam, Chasse-Galerie, and Le Bal des Ménestriers, among others.
Fiddler Éric Favreau comes from a family of traditional musicians. He has learned musical styles and accumulated a rich and fascinating repertoire from fellow fiddlers, archives, and personally made field recordings. Éric has vast experience in the Canadian, American, and European music scenes performing as an individual and in various groups including Entourloupe. He has recorded two solo albums and three with Entourloupe, and has appeared on at least twenty other recordings. He is a sought-after entertainer/educator in public schools in a traditional-music program under the auspices of the Canadian Ministry of Education and also teaches traditional fiddle and the history of traditional music at the college level.
Stéphane Landry, considered one of the most gifted accordionists in Québec, has played since age ten and apprenticed with Gérard Lajoie, a dominant figure in traditional circles in the 1950s. Known well beyond Québec through extensive touring with the group Entourloupe, he has performed at such prestigious venues as the Smithsonian Festival in Washington, D.C., and the Ris Orangis Festival in France. In 1996, he was the Québec representative at the Montmagny International Accordion Festival.
Singer and guitarist Bernard Simard has appeared in concert stages and on television in North America and Europe with such premier Québécois ensembles as La Bottine Souriante, Manigance, Gwazigan, and Le Vent du Nord (winner of a 2003 Juno and a 2004 Opus prize). He has performed with a host of other ensembles from Québec and France and with such renowned musicians as Sean Keane, the Chieftains, and
about the Performers
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Charlie Pigott of De Dannan. He is also a regular solo performer in concert halls and festivals in North America and Europe and currently tours with his own ensemble. In 2000, he was asked by the Agence Culturelle Bretonne to choose musicians for Chemins de l’Atlantique, a concert to reunite Britanny, Ireland, and Quebec. He produced his first solo album in 2006 and performed as part of the opening of the four-hundredth anniversary of Québec City, televised by Radio-Canada. He has contributed to forty-four albums as a lyricist, composer, performer, or arranger.
Heritage Brass Quintet
Jim Boccia, trumpet, is a graduate of the New England Conservatory of Music, in Boston, where he received his double major degree in Trumpet Performance and Music Education. He went on to earn his MALS at Stony Brook University in New York. Jim taught middle school and high school instrumental music for ten years in both Vermont and New York. He also has performed with many groups in the Boston, New York, Vermont, and New Hampshire areas, including the Vermont Symphony, the Concert Pops of Long Island, the Long Island Philharmonic, and the New Hampshire Philharmonic, as well as many local college and freelance groups. Jim is currently the National Sales Manager for the fund-raising division of the Yankee Candle Company, in South Deerfield, Massachusetts. Jim has been professor of trumpet and director of the Brass Ensemble at Keene State College since the fall of 2003.
Robert Booth, trombone, was born and raised in Barre, Vermont. He majored in Music Education at the University of New Hampshire in Durham. While at UNH, Robert was exposed to a variety of musical styles, studying trombone with Nic Orovich and jazz with Dave Seiler. He performed in a number of groups, including marching band, symphonic band, brass choir, trombone quartet, and brass quintet. He was principal chair in the wind symphony as well as playing lead trombone in the jazz ensemble. Robert now teaches music at his alma mater, Spaulding High School in Barre.
Lydia Busler-Blais, horn, began her career at the age of sixteen performing with the Boston Symphony Orchestra. Lydia has performed with the New York City Ballet, Brooklyn Philharmonic, José Limón Dance Company, and Manhattan Chamber Orchestra, and held the position of Solo Horn with the Rome Festival Opera. She is a soloist, recitalist, improvisationalist, and composer. She collaborates with pianist Elizabeth Metcalfe, the Heritage Brass Quintet, and the New Leaf Quartet. Currently, she is working on a commission for the trio Zinkali and with poet Lars Nielsen on a large-scale choral and theater work. This year, her works were performed in New York City for the Women’s Work series at the Renee Weiler Concert Hall, throughout Vermont by the ARIOSO ensemble, and in Milan, Italy, at the Alba Festival.
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Robert E. Eliason, tuba, is a graduate of the University of Michigan (music education), Manhattan School of Music (performance), and the University of Missouri at Kansas City (musicology). His playing experience has included touring Europe with the Seventh Army Symphony Orchestra; summer tours with the Henry Mancini Orchestra; and ten years as principal tubaist with the Kansas City Philharmonic. He has played with the Dartmouth Symphony Orchestra since 1988 and the Hanover Chamber Orchestra since 2001.
Daniel Farina, trumpet, is a graduate of Shenandoah College and Conservatory in Winchester, Virginia. He has freelanced for a multitude of orchestras, brass groups, jazz ensembles, recording studios, and as a soloist in the Northeast. He can be heard on composer Larry Siegel’s compilation CD All Go Forward and Back!, as well as on Disney’s DVD Little Einsteins—Our Big Huge Adventure and seven episodes on Playhouse Disney. Currently, he is principal trumpet with the New Hampshire Philharmonic Orchestra and with a variety of performing groups in New Hampshire, Massachusetts, and Vermont.
Andrew Buchan, percussion, lives in Charlestown, New Hampshire, and enjoys drumming with a wide variety of bands and organizations, including the Newmont Military Band, Green Mountain Highlanders, Firehouse 6 Dixieland Band, and Heritage Brass Quintet. He especially enjoys playing traditional fife and drum music with his wife Lois on fife.
OtHer PerfOrMers
Laura Barrett, dancer, a New Jersey native, moved to the Upper Valley in 2008. She is a long-time tap dancer who studied most recently with Cheryl Johnson and Anthony Peters in Seattle and appeared in their show “A Tap Dance Christmas Carol” from 2004 to 2007. Other tap teachers include Dianne Walker, Mark Mendonca, Jessie Sawyers, and the late Jimmy “Sir Slyde” Mitchell. At Boston University, Laura learned Morris and rapper sword dancing from Tony Barrand; she has since danced with teams in Ann Arbor and Seattle and performed at the Northwest Folklife Festival. Laura is the Director of Education and Outreach at Dartmouth College Library.
Sharon G. Comeau, dancer, has lived in the Upper Valley since 2003. She has danced in Flock community dance troupe and performed in the Revels in 2006, the Appalachian show. When she’s not dancing, Sharon teaches yoga in White River Junction.
Julie Frew, dancer, is a native of the Washington, D.C. area, where she studied ballet, tap, jazz, and voice, and appeared in local theatrical productions. At Kenyon College, she discovered modern dance, which she continued to pursue in New York City. She moved to the Upper Valley in 2000 and danced with City Center Ballet while attending Dartmouth Medical School. She currently works as a psychiatrist at DHMC. Julie is delighted to be dusting off her tap shoes to learn Québécois step-dancing with Pierre Chartrand and to be sharing the Revels stage with her daughter.
Lester Gibbs, organist, is a native of Hartford, Vermont, and graduated from Hartford High School in 1958. As a Chaplain Administrator in the U.S. Army for twenty-three years, retiring in 1981 with the rank of Sergeant Major, he served as organist in military chapels throughout the United States and in Korea, Italy, Vietnam, and Germany. While in San Antonio, Texas, he served as music director for the Harlequin Dinner Theater. He has served as organist of the Woodstock First Congregational Church for the past fifteen years, since returning to Vermont in 1995. This is his twelth year with Revels North as organist and handbell director.
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The40th anniversary
ChristmasRevels®
tickets
www.revels.org617–496–2222
Dec. 17–29Sanders Theatre
Harvard University
Directed by Patrick SwansonGeorge Emlen, music director
In Celebration of theWinter Solstice
Two New Recordings from RevelsJust in Time for the HolidaysThese and more available at Revels online storewww.revels.org or call 617-972-8300 x31
Down Through the Winters (Portland)A Collection of Songs, Poetry and Carolsfrom Christmas Revels productions inPortland, Oregon.
Welcome Yule (Cambridge)An English Christmas Revelswith music from this year’s40th Anniversary production
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Donald and Marlene AdamsNola and Kenneth Aldrich
Bridget Bowen Daniel Brand
Kevin and Rebecca BuchananKaren Budde
Dorothy J. CaldwellPeter and Deborah Carter
Bonnie Colby Victoria Dobrushina
Judith DottTammy Ellis
Contributors
AngelsAnonymous
The Jack and Dorothy Byrne FoundationMascoma Savings Bank
William Schults and Betsy MaislenMatthew and Tanya SwettUpper Valley Credit Union
Vermont Arts Council
BenefactorsRich and Lin Brown
Jed and Martha Dickinson David Millstone and Sheila Moran
PatronsRick Barrows and Marcia Groszek
Alice BennettFrank and Mardi BowlesJack and Marty Candon Ron and Priscilla Carr
Peter and Katharine ChristieDavid Clark and Helen Clark
David ClemHildur Colot and Karen HansenCarole Dempsey and Jon Olsen
Brigid FarrellGeorge Grabe, DMDSharon L. Groblicki
David and Susanne HasemanRichard Hoffman and
Claudia Cozens-HoffmanRobert and Virginia Holbrook
Anna and Bruce KoloseikeRuth Mayer
Tim and Phebe McCoskerSusan McDonald
Robert C. McQuillenMrs. Harvey Merrick
Christine PinelloRidge Satterthwaite and Sally Gage
Melynda WallaceBernie and Mary Waugh Holly and Craig Westling
Jeanne E. Young
AssociatesBarbara DeFelice and Chris Levey
Milton and Carolyn Frye Charles Lindner and Jane FinlayKristi Medill and Alex Medlicott
Sherry MerrickNew Hampshire Charitable Foundation
Kim PerezMichael and Angel Stafford
Michael Tsapakos
With Appreciation to ourGenerous supporters
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Maureen Burford, Artistic DirectorRon & Priscilla Carr, General Administrators
David Gay, Artistic Director Emeritus
Revels North, Inc., P.O. Box 415, Hanover, NH 03755866-556-3083 • www.revelsnorth.org
The Revels Board
John BartholomewGeorge Grabe
Faye KeatSheila Moran
Kim Perez
Mindy WallaceBernie Waugh
William Schults, President • Rick Barrows, Treasurer
Richard Hoffman, Secretary
s
John and Patti EmersonAnn Fiedler
Jan and Mike FisherDagmar Franke
Wayne and Janice HallJohn W. Hall and Priscilla D. HallRobert Hynes and Sherie Moore
Joanna JacksonArthur and Carole Johnson
Dian KahnJane B. Keller
Gerrit and Ellie KouwenhovenElaine Lacy
Helene and Richard LangBlanche Lavoie
Barbara H. MatsingerTimothy and Phyllis McKenna
Valerie Miller Peter and Ashley Milliken
Bennett Mortell River Mryddin
Sarah M. NewellKevin Peterson
Robin PintoPeter L. PowersJanine J. Reeves
Steve and Martha Richardson Ellen and George Robertson
Connie A. RoyMike and Pamela SchwotzerEdward and Lois Sherwood
Lomond TougasRoger and Catherine Wilken
Are you excited about Revels? Would you like to help? We need volunteers to serve on the board and on com-
mittees. Please contact us at 866-556-3083 if interested.
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A Very Special Thanksto Our Christmas Revels
business sponsors
solstice sunThe Byrne Foundation
Old Father ChristmasEcho CommunicationsMascoma Savings Bank
Upper Valley Credit Union
Lords & Ladies ofthe Dance
Trylon Data Management, Inc.Woodstock Recycling & Refuse Co.
revelersA.W. Bennett, Inc.Lake Sunapee Bank
Ledyard National BankMerchants Bank of East Thetford
FedEx Office, West LebanonJon Olsen Photography
Upper Valley Food Co-op Jeanne E. Young, LLC
Thanks to VPR for being our Media Sponsor!
WANT TO JOIN THE CAST? Add your name to our mailing list to be sure to receive
the audition dates for the 2011 Christmas Revels!
Call 1-866-556-3083 or email [email protected]
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Special thanks to the following individuals, businesses, and organizations for their invaluable assistance:
Justin O’Rourke and Carl Choquette for loan of tools and expertise during the set-building process.
Milt and Carolyn Frye for their good advice and mentorship.
James Horton from the theater department at Dartmouth College for his wise and creative counsel to the director.
Matt Swett and all the other Revelers for their help building our set.
Kate McNally, host of the Folk Show at New Hampshire Public Radio, for hosting some of our performers on her show. The Folk Show, a New Hampshire treasure, airs every Sunday night from 7 to 10, and presents a full spectrum of folk and acoustic music. For more information, visit www.nhpr.org/folkshow.
Lester Gibbs, Misty Hillicker, and Anna DuPuis, of the Norwich Grange for the use of their Grange Hall.
Tracy Smith and Carolyn Frye for leading the Family Night art & craft activity.
Bagel Basement in Hanover for their bagel donations in support of our all-day rehearsals.
Mascoma Saving Bank for including the Christmas Revels promotional flyer in the October statement.
Howard Hoke of Echo Communications for donating the flyer inserts for the Mascoma Saving Bank statements.
Carl Choquette and Missy DeSouza for sharing their artistic talents painting our set.
Jed Dickinson of Woodstock Recycling and Refuse for disposing of our set materials.
COVER Home Repair for loaning their truck to haul sets.
Alf Elvestad and Linda Jones’ company Pakboats for a discounted Puffin Sport kayak for our raffle prize.
Kevin Peterson and Rob Shults for donating a guided canoe trip on the Connecticut River for a raffle prize.
Armand and Marie Boutin for a discounted pair of handmade snowshoes for our raffle.
Julianne Harden for helping with costumes, and Noah Miller and Rob Anderegg for helping with costume fittings.
Betsy Maislen, Laura Barrett, Grace Dickerson, and Sharon Groblicki for knitting hats (toques).
Special Thanks
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Marcia Bendur, Julie Derkson, Kim Perez, Terri Minelli, and Helen Rooker for make-up assistance.
Lindsey Warren for her musical assistance at the top of the season! We hope she will be returning to Revels when her new baby is a bit bigger. Welcome Byron Doyle!
Many people contributed to the creation of the original Revels, Inc. production. Cindy Larock and Sherry Merrick led them to Pierre Chartrand. Pierre himself has been a rich source of French-Canadian lore and information, and an enthusiastic contributor to this production.
Will Thomas Rowan for instructing us in Québec-style singing and pronunciation and bringing several new arrangements to the production.
Harold Frost for his trip to and from Boston for props transportation.
John Bartholomew for providing the sound system at the November all-day rehearsal.
Michael Tsapakos, Charlie Lindner and Jane Finlay, and Bob and Debbie Aliber for hosting our out of town performers.
The chorus and production team for selling raffle tickets.
Betsy Miller, music director of the Washington, D.C. Revels, for her support, generosity in sharing of music and ideas, and for sharing early tracks of their stunning new cd of music from their version of this show!!
Betsy Miller and Greg Lewis from Washington, D.C. Revels for sending us promotional material and CDs.
Fogg’s Hardware & Building Supply for discounts on materials.
802.738.4077HeronGraphicArts.com
58 North Main Street, White River Junction, Vermont
WEBSITE DESIGNSOLUTIONS FOR ALL BUDGETS
EDIT YOUR OWN SITEJoomla • Wordpress • HTML • FlashBlogs • Photo Galleries • eCommerce
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be sUreto visit the
ConCessionstandin the lobby
A Wonderful Opportunity to Support Revels North
NOW ON SALEDuring intermission and after the show:
GREAT LAST-MINUTE CHRISTMAS GIFTS!
Books v Posters v T-Shirts v Revels North Canvas Tote Bags
CDsLe Temps des Fêtes
A new album from Washington Revels featuring Pierre Chartrand, Éric Favreau & Stéphane Landry
Down Through the WintersMusic and Poetry in Celebration of the Winter Solstice
A new album from Portland Revels
Welcome YuleAn English Christmas Revels
A new album from Revels, Inc.
and old favorites by our own Revels North: A Celtic Feast of Song
I Know the Road: Music of Southern Appalachia
Cash/Checks/Credit Cards All Accepted
Join our Facebook Community!Search for “Revels North”
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RevelS NoRtH
SUmmer SolStice celebration
Revels North is not solely about the flagship Christmas Revels. We punctuate our year-round Revels activities with a popular production at the summer solstice in June. Instead of twinkling lights on a cold winter night, one witnesses the quiet blessedness of a long summer evening. Instead of comfy seats in a formal Spaulding Auditorium, audience members sprawl comfortably on blankets and lawn chairs, enjoying delicious food purchased on site or from their own picnic baskets. Everything about a Revels North Summer Solstice Celebration is informal and oriented toward the pleasures of family summer fun. Like the Christmas show, the Summer Solstice Festival celebrates the turning of a season. But instead of embracing diverse, often ancient customs to drive away the dark, a Revels Summer Celebration is a joyful, usually rustic welcome of the sweetest season, a reward for the labor and hardship of winter past.
Revels North has been testing new formats for our summer solstice event. In 2010, we scaled back from the rather elaborate “festivals” of past years, which were, in effect, medieval fairs plus children’s and adult choruses. Continuing support from the Byrne Foundation made it possible to offer our festivals free of charge to all who walked onto the Norwich Green. As much fun as these festivals were to stage and to witness, however, they proved to be untenable for our largely volunteer organization. Last year’s
“Celebration” (as distinct from previous “Festivals”) had much of the same feeling, with perfor-mances, audience participation, and some of the traditions to which our audience has become accustomed. For 2011, we are considering a similar event, but one that will be even more man-ageable for our organization.
As always, new ideas about programming and about cost
containment for our summer event would be most welcome. Please write to us at [email protected]. And of course, watch for notices of our 2011 celebration in local media and in the lengthening daylight of spring. Watch, too, for information about how you and your children may participate in an unauditioned Summer Solstice chorus.
Pho
tos
by R
ay P
erez
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SPECIAL THANKS TO OURGENEROUS SUPPORTERS
The Byrne FoundationHeron Graphics and Mat DoyleWoodstock Recycling & Refuse
. . . and our contributors and donors of goods and services:
Bold Paths Adventure • Dioica Healing • Fitch Farm Four Springs Farm • Song Garden Flower Farm
We wish to acknowledge Kim Perez, our volunteer coordinator; David Webb, our site manager; Eva Behrens and the food table crew; Tim McCosker, Linda Danilek, and Dan Wing for the use of their bread oven; John Bartholomew
for working the sound system; David Millstone and the Four Corners Morris Dancers for dance leadership and exhibitions; Bernie Waugh, Karen
Sutherland, Dorothy Wallace, and Marianna Filippi for providing music; Dan Hertzler for leading shape note singing; the Norwich Grange for providing rehearsal space; Harold Frost for storing and transporting props and much more; and Ron and Priscilla Carr and everyone else who helped make the
production a success.
Photos: Mindy Wallace
Sherry Merrick
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African Traditions
The Revels Kids program introduces children to diverse world cultures through the exploration of music, dance, and storytelling. The program encourages children to celebrate their unique voices and their joyful sense of creativity in a noncompetitive atmosphere.
Under the guidance of experienced teachers, children meet weekly through the winter months to join their voices in beautiful harmony and move their
bodies to non-Western rhythms. At any given “rehearsal,” you might see them teasing out their serious and their silly selves while becoming characters in a traditional folktale, learning words or phrases in foreign languages, or just plain having fun dancing and singing together.
The program offers a Community Sing for members of the local community to attend to enjoy the children’s creativity in a nonperformance atmosphere. In addition, the program offers an optional final on-stage performance at Hartford
High School. This performance gives children who wish to have it the opportunity to don a costume, stand under the stage lights, and perform in front of a larger audience.
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PROGRAM LOCATIONSFairlee: Monday • Pomfret: Monday
Wilder: Wednesday • Windsor: Friday
QUESTIONS?
[email protected] REGISTER ONLINE
www.revelsnorth.org
This year’s program focuses on the traditions of South and West Africa. We will be exploring the spiritual nature of drumming; the powerful connectivity of call-and-response songs; the silly wisdom of a trickster folktale; and the wonder of layering all of these ideas together. As anyone who has attended past Revels Kids performances could tell you, listening to the children’s voices joined together in song while celebrating the diversity of cultures in this world, truly brings hope and joy. It reminds us that we can bring peace to the world—even if only for a beautiful moment.
This program is supported in part by a grant from the Vermont Arts Council.
2011
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Tr u m b u l l - N e l s o n C o n s t r u c t i o n C o m p a n y, I n cH a n o v e r , N H 6 0 3 . 6 4 3 . 3 6 5 8 w w w. t - n . c o m
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Below Rare Essentials603-643-2884
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Chippers Advertising SpecificationsNot To Be Printed As Part Of Ad! Ad is above as defined by border.
Publication Revels PlaybillIssue 2010-2011Frequency YearlyPub Date Dec 15
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Art Due Oct 15Insertion(s) 1File Name ch-ad-10-revels.pdfShelf Life Of Ad Dec 15 - Dec14
T r e e • T u r f • S o i l • L a n d • F o r e s t
“Art will never be able to exist without nature.”
– Pierre Bonnard –
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Revels North 2010WINTER RAFFLE!Last Chance to Buy Your Raffle Ticket!
$3 Each or 4 for $10
Pakboats Puffin Sport Kayak! Valued at $635Looking for a lightweight alternative to lugging a heavy boat around? This 10.5-foot model weighs only 17 pounds, and
includes a four-piece paddle that fits in the boat’s carrying bag. The folding aluminum frame unfolds quickly to provide a clearly defined keel. The 28-inch beam provides great stability and makes
the Sport perfect for activities like fishing and wildlife viewing.
2011 Summertime Canoe Adventure! Valued at $250A five-hour canoe trip for four on the Connecticut River.
Guides Rob Schultz and Kevin Peterson have over twenty years of experience leading trips throughout New England, Ontario, Manitoba, Minnesotata, Texas, and Utah. Your trip includes
canoes, gear, and a delicious lunch!
Bearpaw Snowshoes! Valued at $165Why wait for summer? This item will let you explore your winter
surroundings with ease. Handmade by Marie and Armand Boutin in Williamstown, Vermont; traditional design, 10 by 36 inches, made with white ash wood frame and rawhide lacing.
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all titles subject to availability
SUBSCRIPTIONS NOW AVAILABLE
To request a brochure, please email us at:
[email protected] or call: 603-526-6710 New London Barn Playhouse is a 501(c)(3) Corp.
2011SHAKESPEARE IN HOLLYWOOD
A FUNNY THING HAPPENED ON THE WAY TO THE FORUM
GUYS AND DOLLS
ALMOST, MAINE
THE DROWSY CHAPERONE
CHICAGO
THE MAN WHO CAME TO DINNER
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* Ninety natural acres located on the shores of Lake Fairlee.
* Counselor-led activities include swimming, canoeing, kayaking, sailing, tennis, gymnastics, archery, arts, crafts and theater.
* Healthy snacks and lunch provided.
* Three two-week sessions: July 5 – July 15 July 18 – July 29 August 1 – August 12
Horizons Day Camp
Horizons Day Camp(802) 333-3400
for Girls and Boys Grades K–7
www.alohafoundation.org/horizons-day-camp/
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Green Mountain Morris (boys) and Maple Leaf Morris (girls) dance troupes are accepting new members starting in January, for performances starting next
spring and typically including Summer and Christmas Revels. Interested boys 11 and older should contact [email protected]. Interested girls in 6th grade or above, contact Jane Finlay ([email protected]) or
Barbara DeFelice ([email protected]). Practices are Tuesdays, early evening, in Norwich.
More information, photos, and video clips at: engineering.dartmouth.edu/~Christopher_Levey/youthmorris
Youth morris & Sword Dancers
Ray Perez
Thomas Ames, Jr.
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Thom
as A
mes
, Jr.
North Country Community
Thea
tre
AUDITIONSJan. 8thLebanon Opera House
2011 Teen Show
SHOWSFeb. 25-27thLebanon Opera House
OLIVER2011 Summer Show
Show DatesJuly 15, 16, 17July 21, 22, 23Lebanon Opera House
www.ncct.org for more information
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Dan Zanes & FrienDs
Sat, January 22 ~ 11am & 3pm
Christopher o’riley
Fri, February 25 ~ 7:30pm
Jay Johnson: The Two and only!
Thu, March 10 ~ 7:30pm
Dervish
Sat, March 19 ~ 7:30pm
Woodstock toWn Hall tHeatre 802/457-3981 or
www.pentanglearts.org
FreD Garbo inFlatable theater Company
Sun, March 27 ~ 2pm
14th annual Community showCase
Sat, April 2 ~ 7:30pm
An Acoustic EvEning with Jon Anderson –
the voice of YesSat, May 21 ~ 7:30pm
GIVE THE GIFT OF LIVE ART THISHOLIDAY SEASON!
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BANKING
INSURANCE
INVESTMENTS
888.627.2662
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HOPKINS CENTER FOR THE ARTS
hop.dartmouth.edu • 603.646.2422Dartmouth College • Hanover, NH
THIS HOLIDAY SEASON, GIVE THE GIFT OF EXTRAORDINARY
LIVE PERFORMANCE!
BALÉ FOLCLÓRICO DA BAHIA TUE JAN 25 • 7 PM
DARWIN THE DINOSAURSUN MAY 1 • 3 PM
Both performances feature18 & under pricing.
Strike the right note with a Hop gift certificate!Available online 24/7 or at the Hop Box Office.
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v
HOME REPAIRPROGRAM
Building Community with Homeowners & Volunteers
[email protected](802) 296-7241
If You Need It, We Have It!If You Have It, We Need [email protected]
(802) 359-5900
RECOVERSTORE
COVER’s mission: Fosteringhope & building community
in the Upper Valley.
158 South Main StreetWhite River Jct., VT 05001
coverhomerepair.org
COVER Supports Revels!
Repairing Homes,Building Community
A veRy SpeCiAl tHANkSto All of tHe StAff At tHe
HopkiNS CeNteR
Dartmouth CollegeHanover, New Hampshire
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v
MusicFrench
GermanEnglish
Four Languages
spoken at the
Upper Valley Waldorf School
20 Years
80 Bluff Road, Quechee, VT uvws.org 802.296.2496
Nursery-Grade 8
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revels north
Full moon & Fall equinox
extravaganzaOn September 23, the first day of autumn, Revelers and friends assembled at the Quechee Inn at Marshland Farm to celebrate and show our support for our wonderful organization. It was a magical evening.
We enjoyed tasty hors d’œuvres while perusing the display of fantastic and varied silent auction items. The Roving Revelers performed, and were mesmerizing enough to make us all pause in our bidding to listen. Pete Sutherland and Jeremiah McLane also provided a delightful musical backdrop to our conversations as well as lively music for dancing.
Once silent bidding was closed, Maureen Burford led us all in singing a few of Revels’ most cherished songs, including “Traveler’s Prayer” with its “praise to the moon”—a timely song since lots of us stepped outside periodically to admire the full harvest moon rising along with Jupiter over the fields next to the Inn. Then it was time for the centerpiece of the evening: the live auction.
David Clem worked his auctioneer’s magic on the crowd, keeping everyone laughing while also urging us to pry open our wallets a little farther for the good cause of Revels North’s continued success. When it was all over, many attendees left with the good feeling that comes with having snagged a treasure and helped a favorite organization at the same time. Everyone left feeling filled with good food, drink, music, and friendship.
Many friends of Revels helped to make this event a success.Thanks go to:
• Cabot Creamery Cooperative for donating a yummy variety of cheeses
• Green Mountain Coffee Roasters for providing coffee
• Revels Bakers for making a delicious array of treats
• Peggy Ogilvy and Dan Hertzler of Song Garden Flower Farm, and Sharon Groblicki and Gale Oosterhart for gorgeous flower arrangements
• Rick Barrows for providing a sound system
• Bidding For Good for being such helpful hosts to our online auction prior to the live event
• The Revels Board and others whose sponsorships underwrote the Extravaganza
• Everyone who donated exciting items to the auction, especially to Olivia and Scott Chapman and Lucy Young for donating a week at their apartments in Nice, France, and Tuscany, Italy
• Everyone who bid so generously and brought good cheer to the evening
• David Clem for all his great energy and advice
• The Extravaganza planning committee: Sharon Groblicki, Carole Dempsey, and most especially Sherry Merrick, who worked tirelessly to make this event fun for all and an enormous success. The entire Revels North community owes Sherry a huge debt of gratitude!
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many thanks to the donors of silent auction items
Susan ArnoldAVA GalleryBidding for GoodBillings Farm and MuseumWilly BlackBlue Sky RestaurantsErica BrintonBunten Farmhouse KitchenCabot Creamery CooperativeThe Canoe ClubCapital Center for the ArtsCarter Community Building AssociationChandler Center for the ArtsOlivia and Scott ChapmanDavid and Kathy ClemNed CoffinCrossroad FarmCarol DempseyDowd’s InnEarthstar PotteryAlison EllsworthHarold FrostGerrish HondaLester GibbsGnomon CopyGreen Mountain Coffee RoastersJulianne Harden and John BartholomewDanette HarrisErling Heistad and Kim RheinlanderHoward HokeHome Hill InnThe Hopkins CenterHowvale FarmLois JacksonKing Arthur FlourLeague of New Hampshire CraftsmenLebanon Opera HouseLoch Lyme LodgeBetsy Maislen and Bill Schults
Margaritas Mexican RestaurantTim McCoskerWilliam L. McKoneKeith MerrickGeorge MorrisMurphy’s on the GreenNew London Barn PlayhouseNew York RevelsNorthern StageNorwich InnOhana Family CampJon OlsenStan and Betty OlsenParish PlayersPentangle Arts CouncilKevin PetersonPhoenix Café and CateringMike PomeroyPost Mills Soaring ClubThomas PowersQuechee Inn at Marshland FarmRevels, Inc.River Valley ClubRoberts Flowers of HanoverSalt Hill PubEmily ScottSignal Aviation, Inc.Chuck and Jean SolgerSophie and Matt StarrStrong House SpaThree Tomatoes TrattoriaTrumbull House Bed & BreakfastCorey UngerUpper Valley Food Co-opUpper Valley YogaNomi WagnerBill WasteMary WaughBonna WielerWoodstock Recycling and RefuseLucy Young
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Two Aspects of French Canadian Dance
by Pierre Chartrand
i. Origin Of tHe gigue
“. . . les gigues irlandaises, la danse nationale. C’est un trépignement des pieds et des mains, comme de nos Savoyards; les deux danseurs sont en face sur une petite planche. Danse rapide, tournante, tourbillonnante. Le premier épuisé se retire, un autre succède.” —Journal of Jules Michelet, 1834.
(“. . . the Irish jigs, the national dance. It is a stamping of feet and hands, like that of our Savoyards; the two dancers are opposite on a small board. Fast dance, tournante, tourbillonnante. The first one exhausted withdraws, the other one succeeds.”)
The Québécois stepdancing seen in this show is a style found in the eastern part of the province, and is but one of a number of varieties of stepdancing found throughout Canada. The path of the gigue from Ireland to Saguenay, in the northeast of Québec, began with the large Irish immigration between 1832 and 1847. As a port of entry, Québec City would be the first place to feel the Irish influence; one can imagine that Francophones traveling between the capital—for seasonal jobs in the shipyards, for instance—and the neighboring Charlevoix region frequently came in contact with Irish culture. As French-speaking Canadians in Charlevoix adopted the dance, colonists spread from there in the direction of La Baie and the Saguenay region, carrying the gigue with them. Multiple paths of diffusion and continuing stylistic evolution have resulted in a number of variants; the gigue as practiced in a region in western Québec, Outaouais (called “Little Ireland” in the nineteenth century, at one time this region had a 50 percent Irish population) is far from identical to that in Saguenay.
As well, we need to remember the impact that Scottish immigrants have had on Québécois culture. It is often difficult to distinguish this influence from that of the Irish because these populations were already in close contact before their arrival in America. The Industrial Revolution (1750–1850) first drew people from the poorest regions of the United Kingdom—from Ireland, from the Scottish Highlands, from Wales—to the industrial areas of England and to the Scottish Lowlands (Glasgow, Edinburgh). So one finds in northern England and southern Scotland a form of stepdancing in a rather free style, having some resemblance to Irish stepdancing. That there was partial fusion of the Scottish and Irish repertoires before emigration to the New World seems likely, which complicates the task of untangling their respective influence. It is, however, possible to identify certain dances, such as “Le Brandy,” as being specifically of Scottish origin.
Interestingly, our waltz-clog, which is danced to a waltz tune, is more similar to the English dance of the same name than to the Irish. It was more likely to be found in Montréal, with its English-speaking majority in the nineteenth century, and its rhythmic structure is identical to the English version. This dance in 3/4 (waltz) time did not spread westward into the Ottawa Valley region, nor is it traceable in Ireland.
(Translation by Daniel Karnes)
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ii. in Praise Of tHe sWing
“C’était le temps où la danse était le plus expressif des langages, c’est-à-dire spectacle pour les danseurs et connaissance d’eux-mêmes par apaisement d’eux-mêmes. Le roi était dans la danse, et chacun était roi. Maintenant le roi est dans son fauteuil et paie pour qu’on l’amuse; la danse est vendue.” — Journal of Alain, 1933
(“It was a time when dancing was the most expressive of all art forms, including language itself. In those days, dancing provided a show for the dancers themselves combined with a sort of self-knowledge, because of the peace of mind it brought. The king was in the dance and everyone was a king. Nowadays, the king is ensconced in his armchair and pays to have fun; dancing has become a commodity.”)
Swinging, as a concentrated form of the waltz, constitutes the essence of Québécois country dancing. In fact, it can almost be considered as the inspiration for all our figure dances. In the words of a long-time dancer from the Lower St. Lawrence region, “the only thing I’m interested in is swinging.”
Our quadrilles, cotillions, and “sets” (the distinctively Québécois form of square dancing) represent the artistic epitome of how people can meet each other. This is particularly true of the quadrille, which has an increasing number of exchanges, first between partners and then with all the other couples (in the gallop or bistringue). Each dance figure has its own personality: the ladies’ chain is friendly and courteous, the grand chain is more for those who like crowds and a party atmosphere, and the swing is sensual and somewhat “far out.” The quadrille also acts as a school of good manners, of politeness, and even of seduction. However, the swing reigns supreme, with its ultimate goal of pleasure and with its characteristic manner of continually reinventing itself. Being a good swing dancer means being very aware of one’s partner. We have to adjust our posture to that of our partner, bring our shoulders together and place ourselves correctly in order to find the best overall position to allow both our partners and ourselves to “take off.” The swing is the figure that reveals the most about its practitioners, whether male or female. “Show me how you do the swing and I’ll tell you what you are like.” It is only a small step from that realization to the declaration that traditional dancing is a key element of human culture.
By taking part in a social dance like the quadrille or the set, a person expresses his affinity with the group and acceptance of common rules, while still maintaining some measure of personal freedom and escapism (the swing again). The goal is to continually ensure that the individualizing trends in our society are not inexorable and that social conscience did not vanish with the coming of those who forecast the “end of history.”
Dancers are often like chefs who find that words and expressions are frequently inadequate to describe their dishes and how to make them. It is only by swinging that we rediscover what dancing feels like and what an important factor it is in our lives. That is also how we get an idea of the role dancing played in the lives of our ancestors. Dancing is one of the best antidotes to the excessive “mediatization” of our lives, which is continually trying to push us towards some stage, screen, or other means of presenting shows. As an art form that uses the body as its sole instrument, dancing requires its practitioners to get totally involved, with no opportunity to “cop out” into virtual reality; it is an experience that recreates itself with every new partner.
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Revels North wishes to extend its deepest thanks and appreciation to the following organizations whose financial
support makes its work possible:
THE JACK AND DOROTHY BYRNE FOUNDATIONfor their continued support
THE NEW HAMPSHIRE STATE COUNCIL ON THE ARTSfor their support for New Hampshire artists in last year’s
Christmas Revels.
THE VERMONT ARTS COUNCILfor a matching Arts Learning Grant of $2,000 for our
Revels Kids 2011 season on African Traditions.
THE NEW HAMPSHIRE CHARITABLE FOUNDATION
THE NATIONAL ENDOWMENT FOR THE ARTSwhose support of state arts councils around the country is critical.
And our federal and state legislators and public officialswhose support of budget appropriations to these important
agencies makes such grants possible.
Revels North wishes to acknowledge Revels, Inc., and the late John Langstaff, Director Emeritus of Revels, Inc., and Carol Langstaff, former Artistic Director
of Revels North, who are co-creators of The Christmas Revels.
Revels® and Christmas Revels® are registered service marks of Revels, Inc.Revels, Inc., 80 Mt. Auburn St., Watertown, MA 02472 • 617-972-8300
www.revels.org
REVELS® Building tradition through music, dance and drama
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Rivers of Song by George Emlen
The deep river of French Canadian music, though fed by several important tributaries, flows primarily from Mother France. In the 17th century, Catholic missionaries used French hymns and songs to convert Indian tribes to Christianity, and in their accounts they wrote that the Indians enthusiastically adopted the European repertoire. In this Revels, “Jesous Ahatonhia” is the classic example of a French folk tune that became a vehicle for bringing Christianity to the Hurons.
Fur traders also penetrated the Canadian inland with French songs, as the lucrative and fiercely competitive beaver pelt business developed throughout the 17th and 18th centuries. The voyageur repertoire was vast. The paddlers, who kept up a phenomenal tempo of 40 to 60 strokes per minute, needed a rich supply of songs to sustain them throughout their canoeing day, often 18 hours long. The entire crew sang in unison, or else the steersman would sing solo verses with the rest of the crew joining on the refrains. It is said that paddlers were paid extra if they were good singers!
In the voyageur repertoire one hears familiar old French folk tunes, adapted to the rigorous work of hauling heavy cargoes through the far-reaching network of lakes and rivers, and extended with an endless supply of verses ad libitum. Our “canoe medley” in Act II uses songs that are identified closely with French Canada, but have echoes of older songs. The refrain of “Envoyons de l”avant, nos gens” uses pretty much the same melody as the ubiquitous French song “La mal mariée” (heard on this stage in the 1996 “Breton” Christmas Revels). “À la claire fontaine,” with its theme of unrequited love (also performed in the 2000 “Acadian” Spring Revels), is known to have been a favorite among the voyageurs but is found throughout the French-speaking world. “La belle Françoise,” on the other hand, sung by our five voyageurs in Act II, is referred to by one collector as “the song par excellence of our boatmen” and may be uniquely Canadian.
In the towns and villages, music was for worship or dancing. The Catholic Church tightly controlled social as well as religious life, so hymns and psalms were abundant; the first organ in North America appeared in Québec in 1661. But it is the fiddle, being a more versatile instrument than the French bagpipes or hurdy-gurdy, that emerged as the instrument of choice for dancing, which was the life-blood of the community. Colonial fiddlers transplanted beloved songs and tunes from France, and later generations picked up new ones that came across with Irish, Scottish and English immigrants in the 19th century.
Even the priests, with their stern admonitions and threats, could not prevent villagers from celebrating Christmas, New Year’s, pre-Lenten feasting, festive family gatherings and community events with dancing. The kitchen, being the largest room in the house, was the center of music and dance in the community, and furniture could be quickly cleared away for a viellée, (“evening”), a house party that often lasted till dawn.
For many years fiddle and percussion were the entire band. Foot-tapping, along with spoons and bones, became the trademark driving rhythmic accompaniment to the fiddle. When no fiddle was available, the tunes were sung as turlutte, or “mouth music,” also a characteristic of Irish and Scottish dance music. The diatonic button accordion, piano and pump organ came into use in the mid-19th century, the accordion claiming a place alongside the fiddle as a medium for traditional music.
Today more than ever Québec is a confluence of cultures and musical influences, yet her music retains an identity and spirit that are uniquely hers.
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Welcome Yule!