Q U E E R
U R B A N
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Abracadabra!
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D E S B O R D E S ,
S H A F E R ,
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D I R E C T O R
C O N D U C T O R
WITCHES AND WARLOCKS
S U N D AY N OV E M B E R 1 S T, 4 P M
PRESTO CHANGE-O
S AT U R D AY D E C E M B E R 1 9 T H , 8 P M
S U N D AY D E C E M B E R 2 0 T H , 4 P M
QUOTETS: CHAMBER CONCERT I
S AT U R D AY F E B R UA RY 6 T H , 8 P M
ALAKAZAM!
S AT U R D AY A P R I L 1 6 T H , 8 P M
QUOTETS: CHAMBER CONCERT II
S AT U R D AY M AY 1 4 T H , 8 P M
SPELLBOUND: PRIDE GAY-LA
S AT U R D AY J U N E 2 5 T H , 8 P M
C H U R C H O F T H E H O LY A P O S T L E S
296 NINTH AVE, NEW YORK, NY 10001
TICKETS AT
646.233.4113 or QUEERURBANORCHESTRA.ORG
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FAC E B O O K . C O M / Q U R B O
TWITTER.COM/QUEEERURBANORCH
YOUTUBE.COM/QUEERURBANORCHESTRA
presents
Abracadabra!
Experience Musical Magic
Witches and Warlocks
Julie Desbordes, conductor
Danse Macabre, Op. 40
Camille Saint-Saëns
Phong Ta, violin
Symphony No.93 in D major
I. Adagio - Allegro assai
II. Largo cantabile
III. Menuetto (Allegretto) - Trio
IV. Finale (Presto ma non troppo)
Franz Joseph Haydn
Intermission
Uirapurú
Heitor Villa-Lobos
Patrick Terry, featured magician
Phong Ta, violinophone
L’apprenti Sorcier (Sorcerer’s Apprentice)
Patrick Terry, host and magician
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Paul Dukas
From Our Board President
Hello pumpkins,
Welcome to our first-ever Halloween concert! I know we’re a day late
to the party, but I hope you have some holiday spirit left to enjoy the
afternoon of drama and mystique we’ve prepared for you, from SaintSaëns’ “dance of death” (Danse macabre) to Dukas’ familiar tale of magic
and terror (L’apprenti sorcier).
With so much magic happening today, we’re excited to be joined by
magician Patrick Terry who will host our show! He’ll take you from piece
to piece, adding his own magic along the way. He has plenty of tricks
in his bag to show you, particularly during Uirapurú immediately after
intermission!
Halloween is a great time to start our season of magic. The rest of the
year will feature such enchanting delights as Mozart’s The Magic Flute,
Ravel’s Mother Goose, Dvorák’s Water Goblin, and a pair of Holst’s Planets
just to name a few. We’re also thrilled to welcome back brilliant pianist
and composer James Adler to perform one of his own works with QUO.
If you like the afternoon timing of this concert, we’ll be doing it again next
month on Sunday, December 20th, so bring the family! If you preferred our
old time, we’ve got one for you too on Saturday, December 19th at 8pm, so
bring your fellow night owls! The complete list of dates and times for our
2015-2016 Abracadabra! concert season is on the inside front cover.
If this concert makes you tingle with pride, I hope you’ll consider making
a gift before you go, or at our website at home. We’re in our seventh year
and there’s plenty of growing still to do. A donation to our percussion
equipment fund could go a long way to purchasing a few timpani, for
example. Please help us realize our dreams! No gift is too small!
Thank you for closing out your Halloween weekend with us, as we open
our seventh season. Enjoy the show!
Andrew Berman
President, QUO
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Queer Urban Orchestra
Julie Desbordes, Artistic Director
Ian Shafer, Assistant Conductor
1ST VIOLIN
Phong Ta,
concertmaster
Andrew Holland,
asst. concertmaster
Lorenzo Espiritu
Brian Harrington
Nick Johnson
Navida Stein
Liann Wadewitz
BASS
Rodney Azagra
Carlos Barriento
Rika Buonincontri
Adrienne Lloyd
2ND VIOLIN
Christopher Minarich,
principal
Alva Bostick,
section leader
Dan Bauman
Evan Dice
Andre Gillard
Mark Peters
Christina Rose Rahn
Reyenne Schiowitz
Brian Verdi
PICCOLO
Scott Oaks
VIOLA
Marvin Li,
principal
Thomas Lai,
asst. principal
Andrew Acquaviva,
section leader
James Di Meglio
Frederick Hodges
Dan Makula
CELLO
Bjorn Berkhout,
principal, sec. leader
Jillian Bloom
Alex Humesky
Jasmine Rault
FLUTE
Craig Devereaux,
principal, sec. leader
Jenn Forese
Scott Oaks
OBOE
Ian Shafer,
principal
Matthew Hadley,
section leader
Alan Hyde
ENGLISH HORN
Matthew Hadley,
principal
CLARINET
Fran Novak,
principal
Travis Fraser,
section leader
CONTRABASSOON
Norma Kerlin
FRENCH HORN
Eric Hayslett,
principal
Steven Petrucelli,
section leader
Mary Helander
Nathan Quist
TRUMPET
Ron Nahass,
principal
Erin Kulick,
section leader
Sandy Coffin
Scott Kulick
TROMBONE
Alex Arellano
Matthew Kastellac
Jim Theobald
TUBA
Dan Perry
HARP
Marion Ravot
BASS CLARINET
Aaron Patterson
PIANO
Ligia Mie Sakurai
SOPRANO SAXOPHONE
Aaron Patterson
PERCUSSION
Andrew Berman,
section leader
Clint Arndt
Seth Bedford
Sean Foradori
Álvaro Rodas
BASSOON
David Lohman,
principal
Darcy Leon,
asst. principal
Charlie Scatamacchia,
section leader
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Artistic Director, Julie Desbordes
Originally from Limoges, France, Julie
Desbordes is a fast rising conductor known for
her engaging style, energetic interpretations
and emotional communication with her
musicians and audiences. Currently Artistic
Director of QUO (the Queer Urban Orchestra)
in New York City, her recent international
appearances as a guest conductor include
concerts in Venezuela, Canada, Hong Kong
and Macau. She is also Associate Conductor
of Education and Outreach for The Chelsea
Symphony (NYC).
Ms. Desbordes has a special passion for
educational outreach, and is known for
creating interesting programs that bring a wider and more diverse audience
into concert halls. She served for many years as Site Director and Orchestra
Director for New York’s The Harmony Program (El Sistema USA), and in this
capacity was named “New Yorker of The Week” by Columbia University.
She was one of two finalists for the Directorship of the Los Angeles
Philharmonic’s El Sistema Youth Orchestra program (YOLA), and has been
a featured guest at El Sistema programs nationwide, most recently in Los
Angeles, Baltimore, Hawaii and Connecticut.
Julie is featured in an upcoming documentary about El Sistema USA by
Jamie Bernstein (daughter of Leonard Bernstein) entitled “Crescendo! The
Power of Music,” to be released on Netflix in 2015. She also has been noted
in El Sistema pieces by PBS, ABC and CBS.
Julie’s love for music began from the moment she picked up the cornet at
age 8 in her native France. Soon after, she was identified as a talent with
the baton as well, leading to her winning conducting prizes including 1st
Prize, 2nd named at the French National Conducting Competition in Paris
(DADSM). She was named Co-Director of the Harmonie Municipale de Limoges
at the age of 21.
Ms. Desbordes holds multiple degrees in both conducting and trumpet from
each of the following: Conservatoire de Musique Limoges, Conservatoire de
Musique Bordeaux and Conservatoire de Musique Montreal. Her conducting
teachers include Raffi Armenian and Gustav Meier.
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Assistant Conductor, Ian Shafer
Ian Shafer is a passionate,
multifaceted musician. He has held
positions as a conductor, an oboist,
chamber music coach, and teacher.
He made his public conducting debut
at 13 years old, conducting the world
premiere of his composition, Beau
Terre for wind ensemble. In addition
to the Assistant Conductor of QUO,
he has been the Music Director of
the Trappe Chamber Players, (PA); the
Greater Philadelphia Honors Orchestra,
the orchestras of the Cresecndo
Chamber Music Festival; the Winterterm Opera and Orchestras of the
Oberlin Conservatory of Music; and
the Assistant Conductor of the Northern Ohio Youth Orchestra. Mr. Shafer
was the cover conductor of Oberlin’s Contemporary Music Ensemble and
conducted Ancient Voices of Children at the “George Crumb Festival”
while at Oberlin. Additionally, he prepared the cast and orchestra for the
performance and recording of Starbird, an opera, by Henry Mollicone.
As an oboist, he enjoys a very active performance career as a freelance
artist in New York and abroad. His playing has been described as,
“sinuous, refined... and refreshing, with facility,” ([Q]on Stage). This season,
Mr. Shafer made is Carnegie Hall debut to a very enthusiastic crowd
where he gave the world premiere of Mohammed Fairouz’s Locales a work
written for him on commission. He has also given the world premieres
of several other works: Elegy and Impromptu by James Adler; Layers of
Earth, by Lars Graugaard, to be released this spring on CD; LanganaichTaragto; a seven-minute improvised solo to Elizabeth Hoffman’s digital
score, which later expanded to Improvisational Spirals for oboe, dancer,
and DJ premiered at the NYSoundCircuit; Noor Al Salam (Light of Peace)
and ResoNations at two “Concerts for Peace” for the delegates of the
United Nations.
Mr. Shafer is on faculty at the Manhattan School of Music in the Precollege
divisions of Oboe performance, Music Theory and Ear-training. holds a M.M.
in Oboe performance from NYU, and B.M. from the Oberlin Conservatory of
Music in Composition and Musicology. He has worked with Robert Spano,
Louis Lane, Jorma Panula, Alfred Gershfeld and Jonathan Coopersmith
for conducting and Bert Lucarelli, Ray Still, and Jonathan Kelly for oboe.
He has studied composition with Richard Hoffmann, a former student
of Arnold Schoenberg and has several compositions to his credit, Fugue
for Four Trombones, which was premiered by members of the Chicago
Symphony, Dreams for Woodwind Quintet, by the Sarasota Orchestra’s
wind quintet, and Russian Games, by the Oberlin Wind Ensemble.
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Host and Magician, Patrick Terry
For nearly 20 years, Patrick Terry has travelled the world as a magician
and mind reader, performing at corporate parties, private events, and
charity functions. Recently he’s entertained President Jimmy Carter, the
Royal Family of Kuwait, the cast of Mad Men and Jimmy Fallon.
Terry hosts “Wondershow: Acts of Magic, Mischief, and Mystery,” recently
at the Cutting Room in Manhattan and the Brooklyn Muse. “The acts rank
among the most talented in the business, and comedy is strongly infused
with the evening’s spirit of mystery and mischief.” (axs.com)
Photo by Wolfgang Wesener
Patrick Terry
www.ptmagichour.com
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Program Notes
Paris-born Camille Saint-Saëns (b. 1835) was a tremendously versatile
composer. He wrote in virtually all genres, including operas, symphonies,
concertos, songs, sacred and secular choral music, solo piano music,
and chamber music. He wrote many audience favorites including Piano
Concerto No. 2, Symphony No. 3 (“Organ”), the symphonic poem Danse
macabre, the opera Samson et Dalila, and his most widely-performed
work, The Carnival of the Animals. Saint-Saëns was one of history’s
most gifted young musicians; blessed with perfect pitch, he began piano
lessons at age two-and-a-half and composed his first work at three.
When he was ten, he gave a concert that included Beethoven’s Third
Piano Concerto and Mozart’s B-flat Concerto, K. 460, and in 1848 at the
age of thirteen he entered the Paris Conservatoire to studied organ and
composition. By his early twenties his compositional genius had won
the admiration and support of 19th-century Europe’s most important
musical minds including Berlioz, Liszt, Gounod, and Rossini. In 1875, SaintSaëns married a young woman named Marie Truffot and began a family.
Tragically, their two children died within six weeks of each other and their
marriage subsequently collapsed. This difficult period of Saint-Saëns’ life
resulted in some of his most enduring works, including Danse macabre.
While Saint-Saëns only professionally taught for a few years, some of
his students went on to become very successful composers themselves,
including Gabriel Fauré. Saint-Saëns found little success in his homeland
yet was hailed as France’s greatest living composer by most of Europe
as well as the United States, where he toured in 1915. He died in Algeria in
1921 at the age of eighty-six, only a few months after playing his farewell
piano performance in Paris.
The tone poem Danse macabre, op. 40 was completed by Saint-Saëns
in 1874. His setting of the “dance of death,” a folkloric tradition with roots
in medieval history, is but one of many such works throughout Western
music including pieces by Britten, Berlioz, Shostakovich, Liszt, and Crumb:
no matter one’s social standing in life, all are united in death – the king
with the pauper, the pope with the laborer, the old man with the child.
Danse macabre began as an art song with text by French poet Henri
Cazalis but Saint-Saëns reworked the piece, replacing solo vocalist with
solo violinist, the A string tuned a half-step lower (scordatura) to create
a tritone to A-flat: the devil’s interval. The work depicts the story of Death
appearing at midnight on Halloween, playing his demonic fiddle to wake
the spirits of the dead. The ghostly apparitions join Death in his frenzied
festivities, only returning to their eternal graves with the rooster’s
first crow of approaching dawn. Danse macabre premiered the year it
was written, one of only four symphonic tone poems by Saint-Saëns.
Despite its less-than-favorable reviews at that time – critics lambasted it
“deformed...screeching” and “hypnotic” – it has become a Halloween staple
of contemporary times. The work was first performed by the New York
Philharmonic in 1901 under the direction of Walter Damrosch.
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Program notes continue
on page 10
Yamaha Artist Services presents
Introspections
A celebration of the Albany Records Release
James Adler will be QUO’s guest soloist next April,
but you can hear him perform works from his newest
CD on November 3 at the Yamaha Piano Salon.
“This is certainly a triumph.” — INFODAD
“Adler is a sensitive man who uses music to go
beyond the small human feelings that
sometimes unwittingly determine our own
lives.” — Sonograma
“James Adler excels as performer­pianist.” —
Gapplegate Classical­Modern Music Review
“A simple, accessible approach to music is held
up by continual invention and development of
ideas melodic and rhythmic.” — American
Record Guide
The concert of solo piano and chamber works features
works by James Adler, QUO’s own Seth Bedford,
Kevin Cummines, and Paul Turok. Guest performers
include David R. Babich, Will Berman, Virginia
Brewer, Emerson Head, and Eugene Moye, Jr.
Tuesday, November 3 at 7:30
Yamaha Piano Salon
689 5th Avenue, 3rd Floor (enter on east 54th)
Tickets $20/$10 at www.adleroaksmusic.com
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Program notes continued from page 8
*
Franz Joseph Haydn, born in Rohrau, Austria in 1732, stands as one of
Western music’s most seminal composers, particularly as “Father of the
Symphony.” His most renowned pupil was Ludwig van Beethoven, and
his formal developments influenced the works of nearly all 19th-century
symphonic composers including Schubert, Mendelssohn and Brahms.
As a child, Haydn sang at St. Stephen’s Cathedral in Vienna. He also
played violin and keyboard and studied counterpoint and harmony. His
talents did not go unnoticed by his mentor, composer Nicola Porpora,
who helped introduce the young man to important figures. Haydn was
named Kapellmeister (head court musician) for the royal Esterházy family
in 1761. Many of his 104 symphonies were written for the Esterházy court
orchestra; however, several were written abroad including the so-called
Paris symphonies of 1785-1786 and the twelve London symphonies (nos.
93-104). Other Haydn works include oratorios – most significantly, The
Creation and The Seven Last Words of Christ – dozens of string quartets,
piano trios, sonatas, and operas. He passed away in 1809 at the age of
seventy-seven, leaving behind the foundational musical architecture of a
century to come.
Haydn’s Symphony No. 93 in D major was completed in 1791, written for
his first of two very successful concert tours to London. The symphony
is in a standard, straightforward, four-movement form, although the
second movement – largo cantabile – showcases Haydn’s cheeky sense
of humor, much like the second movement of his famous “Surprise”
Symphony (Symphony No. 94). A close friend of Mozart, Haydn included a
melodic snippet from Don Giovanni in the fourth movement. Symphony No.
93 was first performed by the New York Philharmonic in 1932, under the
direction of Sir Thomas Beecham.
*
Born on March 5, 1887 in Rio de Janeiro, Brazilian composer-conductoreducator Heitor Villa-Lobos grew up in a richly diverse environment
of Portuguese, indigenous-Brazilian, Latin-American, western-European,
and African music and dance. As a child he helped support his family by
playing cello, guitar, and clarinet in street bands and at the local cinema.
Villa-Lobos preferred to find his musical inspirations in his surroundings;
he never once studied music professionally despite the prodigious lifetime
output of over two-thousand pieces of music. In the early 1920s VillaLobos traveled to France where he met many important artistic luminaries
of the age. Upon return to Brazil and over the next thirty-five years, he
composed an abundantly imaginative body of works including concertos,
symphonies, string quartets, chamber pieces, tone poems, songs, piano
solos, and a film score. When he passed away on November 17, 1959 at
the age of seventy-two, he received a full state funeral, eulogized as “the
single most creative figure in 20th century Brazilian art music.”
10
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Program notes continued from page 10
Villa-Lobos completed his Amazonian tone poem Uirapurú (‘The Enchanted
Bird’) in 1917. Evocative of Brazil’s dense and exotic rainforests, the work
tells the story of jungle natives’ search for a legendary magical bird that
brings good fortune to its captor. An enchanting flute solo recreates the
mystical sounds of the South American organ wren (Cyphorhirius arada)
– also known by its Indian name, “wirapu’ru.” Additional forest sounds are
provided by imaginative use of violin, English horn, soprano saxophone,
Latin percussion, harp, and piano. The piece was not publicly performed
until 1935, premiered during the Brazilian president’s visit to Buenos
Aires. It made its New York Philharmonic debut in 1949 and has only been
subsequently performed twice.
French composer, critic, and scholar Paul Dukas was born in Paris on
October 1, 1865. The second son of a Jewish banker and his pianist wife,
Dukas showed no particular aptitude in music until he began composing
as a teenager whilst recovering from a serious illness. He entered the
Paris Conservatoire at age sixteen and quickly became friends with
another budding composer, Claude Debussy. While much of Dukas’ music
showed promise, his overwhelming need for creative perfection led him
to destroy most of his compositional output including overtures and an
opera. He found simpler personal satisfaction in his work as a Wagner
music critic and as a conductor. One large-scale work that survived
is Dukas’ Symphony in C major, composed in 1895-6; historian Irwin
Schwerke considered it an “opulent expression of modernism in classical
form.” It was Dukas’ next major work, however, that cemented his fame,
much to his chagrin: The Sorcerer’s Apprentice. So popular was this tone
poem - even during Dukas’ lifetime - that his colleagues lamented that the
piece would become far better known than its creator. Only a handful of
notable works followed in the early 20th century, including a piano sonata
dedicated to Saint-Saëns, a second opera, and a ballet. By the 1920s Dukas
had switched his focus from writing music to teaching composition, at
both the Paris Conservatoire and Ecole Normale de Musique. Some of his
students were the next generation’s most important composers including
Messiaen, Chavez, and Duruflé. Although he began a symphonic poem
based upon Shakespeare’s The Tempest and teamed with his friend and
colleague Saint-Saëns to complete an unfinished Guirard opera, Dukas
never finished another work. He died at the age of sixty-nine in 1935, in
Paris.
The tone poem L’apprenti sorcier (The Sorcerer’s Apprentice) was
completed in 1897 and subtitled “Scherzo after a ballad by Goethe.” It
premiered later that year. Dukas took his inspiration from the famed
German poet’s work of the same name from a century earlier. Both
versions depict the woeful mistakes of a powerful magician’s young
assistant who, left to his own devices, nearly drowns himself and his
master with the mischievous handiwork of animated and alarminglymultiplying, bucket-wielding broomsticks. The Sorcerer’s Apprentice
was already well-known for nearly forty years before it was famously
catapulted into pop culture history by Walt Disney’s 1940 masterpiece,
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Program notes continued from page 12
Fantasia, conducted by Leopold Stokowski. Unfortunately, Dukas had
passed away five years before the film was made and never witnessed
his symphonic poem’s commercial success: it is his most-recorded and
most-known work. The New York Philharmonic has programmed The
Sorcerer’s Apprentice over one hundred times since its first auspicious
performance in 1909 under the direction of none other than Gustav Mahler.
Program notes by Dr. Aaron Patterson
Boo!
Support QUO by Shopping!
Next time you shop at Amazon.com,
start here:
http://smile.amazon.com/ch/27-1145113
or visit smile.amazon.com and
choose “Queer Urban Orchestra.”
Amazon will donate 0.5% of your
purchase to QUO. (So buy a lot.)
About QUO
Founded in July 2009, the Queer Urban Orchestra (QUO) is a
musical organization dedicated to the promotion of fine arts in
the New York City metropolitan area whose membership is open
to all adult musicians regardless of age, race, religion, sexual
orientation, or gender identity. QUO strives to entertain and educate
members and audiences alike through performances of classical
and contemporary music, promoting equality, understanding,
acceptance, and respect.
Come play with us
Play an instrument? Come and join QUO! Membership is open to all
adult musicians regardless of age, race, religion, sexual orientation,
or gender identity. Chat us up after the concert or email us at
[email protected].
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About Our Home
Church of the Holy Apostles
QUO has made its home at the Church of the Holy Apostles since 2010, but
Holy Apostles has been welcoming LGBT groups and parishioners since
the beginning of the gay rights movement in New York. “I know of few
New York City GLBTQ organizations which did not have a home at some
point in their history at the Church of the Holy Apostles,” says
Father Rand Frew, 12th Rector of Holy Apostles.
When QUO violinist Joey Plaster discovered that the Gay Activists
Alliance had its headquarters at Holy Apostles in the early seventies, we
reached out to Fr. Frew for more information. He shared: “The annual
Pride March was announced in the bulletin and verbally, and people were
encouraged to take part for the expansion of human rights. The Chelsea
Gay Association met at Holy Apostles. The late Vito Russo’s documentary,
groundbreaking film The Celluloid Closet was first previewed and shown
at Holy Apostles with commentary by Mr. Russo. The New York City Gay
Men’s Chorus rehearsed and performed at Holy Apostles.”
QUO is just one of several groups at Holy Apostles that spread a message
of equality and acceptance through music. We’re happy to share this
space with fellow LGBT music performing groups such as The Stonewall
Chorale and the Empire City Men’s Chorus.
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photo by Carlos Restrepo
Director’s Circle
Special thanks to our donors for their financial support.
TOPAZ ($500-$749)
Jeremy and Jonathan Chin-Shepard
AMBER ($250-$499)
Kevin Law
Charles Lee
Scott Oaks and James Adler
RUBY ($50-$249)
James Arnoff
Paul Marsolini
Ryan Barlow
Matthew Oberstein
Andrew Berman
Theresa Pascoe
Stephen Best
Brian Shaw
Joseph Carpa
Phong Ta and Joseph Passoni
Emile Chung
Fiona Taylor
Michele Kaufman & Jo Ellen Fusco
Brian Wey
Alex Humesky
George Yuan
Nick Johnson
Janet Zaleon
Chad Longmore
Leadership Team and Staff
President
Vice President
Treasurer
Fundraising Coordinator
Marketing Coordinator
Membership Coordinator
Board Member-at-Large
Artistic Director
Assistant Conductor
Concertmaster
Librarian
Andrew Berman
Seth Bedford
Scott Oaks
Travis Fraser
Bjorn Berkhout
Liann Wadewitz
Ian Shafer
Julie Desbordes
Ian Shafer
Phong Ta
Alan Hyde
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Special Thanks To...
Rodney Azagra for sound recording
Jim Babcock for video recording equipment
Dan Bauman, Jeff Haines, Kathryn Lieber, Louisa McMurray,
Courtney Pike, and Holly Seefeldt for their help on concert night.
Seth Bedford, Julie Desbordes, Travis Fraser, Nick Johnson,
Ernesto Lopez, Ron Nahass, Charlie Scatamacchia, Ian Shafer,
and Phong Ta for serving on our Gay-La Committee.
Seth Bedford, Andrew Berman, Julie Desbordes, Matthew
Hadley, Christopher Minarich, Fran Novak, Scott Oaks, Álvaro
Rodas, Ian Shafer, Jason Svatek, and Phong Ta for serving on our
Repertoire Committee.
Andrew Berman for program layout and printing
Alva Bostick for always going the extra mile
Julie Desbordes, for the instrument side show
Travis Fraser, Jason Mogen, and Jarred Small for fundraising
Alan Hyde for managing our music library
Nick Johnson for our delicious concessions
Nick Johnson, Brent Reno, and Phong Ta for concert night
ambiance
Mara Kristula-Green for photography
The Lesbian & Gay Big Apple Corps for the use of their xylophone
Teddy McElhone and Kathryn Lieber for graphic design
Luke Melas for website design and consultation
Scott Oaks for managing our website and program printing
Michael Ottley and the staff of the Church of the Holy Apostles
Dr. Aaron Patterson for writing our program notes
The members of the Queer Urban Orchestra for providing
refreshments
David Segal and David Segal Violins, Ltd. for the violinophone
Patrick Terry for his magic and hosting talents
World Class Learning Academy for rehearsal space
17
THE BLUE HILL TROUPE
presents...
A LITTLE NIGHT MUSIC
Music and Lyrics by Stephen Sondheim
Book by Hugh Wheeler
Stage Director & Choreographer – DONALD BRENNER, SDC
Music Director & Conductor – ERIC PETERSON
The Theatre at St. Jean’s
184 East 76th Street, NYC
Fri. Nov. 13 @ 7:30 pm
Sat. Nov. 14 @ 7:30 pm
Sun. Nov. 15 @ 3:00 pm
Wed. Nov. 18 @ 7:30 pm
Thu. Nov. 19 @ 7:30 pm
Fri. Nov. 20 @ 7:30 pm
Sat. Nov. 21 @ 2:00 pm/7:30 pm
Tickets $29.50/$39.50/$49.50 ($4 service fee per ticket)
A limited number of premium tickets are available at $75.00
* Running Time approx. 2 1/2 hours including intermission *
All net proceeds benefit the Children’s Cancer & Blood Foundation (CCBF)