OF A
The 2013–2014 Creative Dialogues Series
Join the conversation.
In honor of the 50th anniversary year of the March on Washington and the 150th anniversary of the
Emancipation Proclamation, the Clarice Smith Center’s 2013–2014 Creative Dialogues explore the
issues of civil rights in a modern-day context. The right to pursue freedom of all kinds is a founding
principle of our nation, but in today’s complex and changing society, freedom can be elusive.
The Creative Dialogues series will address a range of ideas on liberty and justice in the United States —
the imbalance of hunger and nutrition, gay rights and marriage, war and pacifism — all with an
emphasis on the artists’ experience and interpretation. Sparking discussion and new thinking around all
civil liberties, the series will explore such questions as “Are we really free and equal?” and “How far have
we come?”
BEYOND SLAVERY: FREDERICK DOUGLASS AND THE QUEST FOR UNIVERSAL RIGHTS
Tuesday, February 4, 2014 . 7:30PM . Dance Theatre . FREE
Dr. Ira Berlin, Department of History, University of Maryland
Colum McCann, Distinguished Professor of Creative Writing, Hunter College
Dr. Patrick O’Shea, Vice President for Research, University of Maryland
This conversation will feature writer and educator Colum McCann who will be joined by UMD Professors Ira Berlin
and Patrick O’Shea as we explore the influence Douglass had on religious freedom, gender issues and slavery.
FAST FOOD, SLOW FOOD AND FOOD JUSTICE: GLOBAL POLICIES
CREATING GLOBAL HUNGER
Monday, April 21, 2014 . 7:30PM . Gildenhorn Recital Hall . FREE
Dr. Luka Arsenjuk, School of Languages, Literatures and Cultures, University of Maryland
Dr. Perla M. Guerrero, Department of American Studies, University of Maryland
Dr. Orlando R. Serrano Jr., Department of American Studies & Ethnicity, University of Southern California
Dr. Psyche Williams-Forson, Department of American Studies, University of Maryland
Join UMD Professors Perla M. Guerrero, Luka Arsenjuk and Psyche Williams-Forson, along with USC’s Orlando R.
Serrano Jr., as they discuss how food is at the heart of major policy flaws and societal disparities in the United States
and around the world.
HOMER’S ILIAD: AN ANTI-WAR MANIFESTO?
Thursday, May 1, 2014 . 7:30PM . Dance Theatre . FREE
Dr. Sudip Bose, Emergency Medicine Physician and Founder, The Battle Continues
Drew Cameron, Director, Combat Paper Project
Dr. Lillian Doherty, Department of Classics, University of Maryland
Denis O’Hare, actor
This discussion of Homer’s epic will feature perspectives from actor Denis O’Hare, Iraq veteran and artist Drew
Cameron, UMD Classicist and Homerist Lillian Doherty, and emergency medicine physician and combat veteran
Sudip Bose, who founded the organization The Battle Continues after his 15-month deployment to the front lines
during the Iraq War.
Creative Dialogues is a free conversation series
designed to spark cross-disciplinary conversations
From top to bottom: Frederick Douglass photo, Wikimedia Commons; istockphoto; istockphoto
around issues that inspire and motivate artists to
create their work. Moderated by Kojo Nnamdi,
these events are intended to raise awareness,
while encouraging debate and exploration of the
subject matter. Creative Dialogues are presented
both at the Center and at locations throughout
the community. Panelists include artists and UMD
faculty as well as voices from other academic
institutions and organizations.
Clarice Smith Performing Arts Center presents
ABOUT KOJO NNAMDI
Kojo Nnamdi is host of The Kojo Nnamdi Show, a live talk show produced by WAMU 88.5 that airs
weekdays at noon. Nnamdi welcomes a lineup of interesting and provocative guests who offer new
perspectives about current events, political issues, social policy, art, science and other topics. The
show encourages listener calls, creating a dynamic dialogue about issues that are important or
interesting to the Washington DC region. Nnamdi is a native of Guyana who immigrated to the
United States in 1968 to attend college and explore the Civil Rights Movement.
Support for Beyond Slavery: Frederick Douglass
and the Quest for Universal Rights
NOLAN WILLIAMS, JR.’S
CHRISTMAS GIFT!
Friday, December 13, 2013 . 8PM
Saturday, December 14, 2013 . 3PM
Saturday, December 14, 2013 . 8PM
Ina & Jack Kay Theatre
This season is supported in part by an award from the
NATIONAL ENDOWMENT FOR THE ARTS.
claricesmithcenter.umd.edu | 301.405.ARTS (2787)
claricesmithcenter.umd.edu | 301.405.ARTS (2787) | 5
PROGRAM
PROGRAM
NOLAN WILLIAMS, JR.’S
CHRISTMAS GIFT!
Book, Music and Lyrics by Nolan Williams, Jr.
Directed by Eric Ruffin
STARRING
Jesse N. Holmes,* Caroline Stefanie Clay*
Anthony Michael Hobbs, Sideeq Heard, Brittany C. Johnson, Wendell Jordan,
Victoria M. Purcell, Duawne Starling
AND INTRODUCING
Saran Evelyn Bakari as Zawadi Wise
FEATURING
Gloria Marie Bland, Francese Brooks, London Edgerton, David G. Powell, Darrick Speller
and Joy Swafford
WITH
Shawna Berry, Gloria Renée Bland, Mona Calhoun, Angela Marie Jones, Kadeem Maliek,
Michelle Maxwell, Charles E. Miller, Jr., Renee Mitchell Paxton, Phillip J. Proctor, Darnell
Rhoulack, Malachi Robinson II, Teresa A. Scott, DeJuana Small, Nicole Soquinase
Co-Directed and Music Direction by Nolan Williams, Jr.
Choreography by Torens L. Johnson
Lighting Design, Brian Allard
Costume Design, Collin Ranney
Video Direction, Michael DuBose and Kadesh DuBose
Video Design, Sam Edwards
ACT ONE
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
14.
15.
“Opener: Choose! Choose!” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Community
“There’s Nothing Like Christmas” . . . . . . . . . . . . . . . . . . . . . . .Imani and Zawadi Wise
“Spoiled Rotten” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Zawadi Wise and friends
“Family Gathering” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Imani and Ethan Wise
“Confrontation: A Single Gift?!” . . . . . . . . . . . . . . . . . . .Zawadi, Ethan and Imani Wise
“The Christmas Irony” . . . . . . . . . . . . . . . . . . . . .Ethan Wise and Community Carolers
“Brave to Love #1” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Community
“Meet the Community” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Community
Recitation: Paul Laurence Dunbar’s “Speakin’ o’ Christmas” . . . . . . . . . . . . . .Kaskazani
“Christmas Gif ’” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Kusini and Community
“Something to Give” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Community
“Have You Heard About the Baby?” . . . . . . . . . . . . . . . . . . . . . . .Rev. Lisle, Community
“Silent Night”/Langston Hughes’ “On a Christmas Night” . .Kaskazani and Community
“What Child Is This?” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Community, Soloist
“Yule Log” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Kusini and Community
INTERMISSION
ACT TWO
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
“I Need the Star” . . . . . . . . . . . . . . . . . . . . . . . . . .Imani Wise and Community Chorus
“Brave to Love #2” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Griots and Community
“Far More with Much Less” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Griots
“Yule Log Reprise/Kwanzaa: A Brief History” . . . . . . . . . . . . . . . .Community Witnesses
“Spoiled Rotten Reprise”/“The Christmas Irony” Reprise. .Zawadi and Uncle Noble Wise
“Kwanzaa Chant” [“Nguzo Saba”] . . . . . . . . .Uncle Noble, Magharibi and Community
“Christmas Gifts With a Twist” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Griots and Zawadi
“Rite of Passage Suite” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Orchestra
“Brave to Love #1” Reprise . . . . . . . . . . . . . . . . . . . .Mashariki, Kusini and Community
“Selflessness” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Kusini and Community
“Family Gathering” Reprise . . . . . . . . . . . . . . . . . . . . . . . . . . . .Zawadi and Ethan Wise
“One Day to Love” . . . . . . . . . . . . . . . . . . . . . . . .Zawadi, Wise Family and Community
Finale — “Go, Tell It!” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Community
Orchestrations by Richard Bronskill and Nolan Williams, Jr.
Production Stage Manager, Damion A. Parran
The program is approximately two hours and 15 minutes, which includes a 15-minute intermission.
Assistant Stage Manager, Aianna Bakari
Additional choreography by Kadeem Maliek
Dance Captain, Nicole Soquinase
This performance is sponsored in part by the generous support
of The Gazette & The Star.
Commissioned original artwork by Reggie Duffie
*denotes members of Actors Equity Association
NOLAN WILLIAMS, JR.’S CHRISTMAS GIFT! | 6
claricesmithcenter.umd.edu | 301.405.ARTS (2787) | 7
ABOUT THE PROGRAM
THE CAST OF CHRISTMAS GIFT!
Zawadi Wise . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Saran Evelyn Bakari
Ethan Wise . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Duawne Starling
Imani Wise . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Victoria M. Purcell
Samuel Wise . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Anthony Michael Hobbs
Uncle Noble Wise . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Wendell Jordan
Kaskazani (Northern Griot) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Jesse N. Holmes
Mashariki . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Caroline Stefanie Clay
Kusini . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Brittany C. Johnson
Magharibi (Western Griot) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Sideeq Heard
Community Dancer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Nicole Soquinase
Community Dancer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Kadeem Maliek
Community Dancer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Malachi Robinson, II
Community Witness (Ensemble)
Community Witness (Ensemble)
Community Witness (Ensemble)
Community Witness (Ensemble)
Community Witness (Ensemble)
Community Witness (Ensemble)
. . . . . . . . . . . . . . . . . . . . . . . . . . . .Gloria Marie Bland
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Francese Brooks
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .London Edgerton
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .David G. Powell
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Darrick Speller
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Joy Swafford
COMMUNITY CHORUS
Shawna R. Berry, Gloria Renee Bland, Mona Calhoun, Angela Marie Jones,
Michelle Maxwell, Charles E. Miller, Jr., Renee Mitchell Paxton, Phillip J. Proctor,
Darnell Roulhac,Teresa A. Scott, DeJuana Small
ZAWANDI’S FRIENDS
Tatiana Chavez, Annise Murillo, Kayce Wilson
NOLAN WILLIAMS, JR.’S CHRISTMAS GIFT! | 8
LETTER FROM NOLAN WILLIAMS, JR.,
Author, Conceiver, Co-Producer, Music Director
For ten years, my company NEWorks Productions has been committed to
leveraging the power of music and the arts to produce projects that educate,
inspire, commemorate and uplift. We have met this commitment by
successfully partnering with some of the country’s leading humanitarian,
educational, arts and religious institutions on an amazing portfolio of projects.
For the same stretch of time, ten years, I have held fast to a dream of one
day producing a major holiday show that celebrates African-American
history, culture and spirituality. Last year, thanks to our tremendous
partnership with the Clarice Smith Performing Arts Center, we started down this Christmas
Gift! path with a concert production. The success of that production inspired me to further
develop this project. Accordingly, Christmas Gift! is now a full-scale theatrical play — or, as
I like to call it, a “musical-in-the-making.”
And the story of the musical is that of a teenage girl, Zawadi Wise, and her personal
journey of self-realization, her rite of passage. It is a story, based out of the African cosmology,
of how the elders in our community take charge to ensure that our youth are taught the
lessons and values we hope they will model. And, it’s a story that reminds us of the importance
of family and community in shaping us as selfless citizens, brave and giving.
In the telling of this story, we employ broad and diverse elements of African-American
culture, from our musical forms (African drumming, spirituals, blues, jazz, gospel) to
our creative movement (West African dance, Lindy Hop, modern, stepping and hip-hop),
to our literature (with poems by Paul Laurence Dunbar and Langston Hughes). And,
these elements are intentionally set in harmony and counterpoint with traditional
European-American forms of music, dance and literature — a reflection of how our culture
has both shaped and borrowed from what is “American.”
At the same time, this story also addresses a range of social realities, especially racism and
the challenges of each successive generation to overcome hatred and prejudices — a mandate
that is all the more meaningful given the racial dynamics embedded in the Christmas Gift!
practice during the Antebellum period and still prevalent in our society today.
That’s the story of Christmas Gift! — a story I hope resonates with this community
across gender, racial, ethnic and religious lines. And I thank you sincerely for your presence
and patronage this evening!
And speaking of “thanks”... I also wish to express profound gratitude to the Clarice
Smith Center staff; our Christmas Gift! creative team; our NEWorks Productions logistical
team; the Christmas Gift! cast and crew; our community partners, sponsors and friends; our
musicians and visual artists; and, especially the committed core of singers daring enough to
walk with me through the many iterations of this project, Voices of Inspiration (VOI)!
Special thanks also to my family (especially my Mom) and friends for their
unconditional love and support, and to the cloud of witnesses who have poured into my life
and paved the way for this project to be realized, especially my friend and mentor, Steven
Newsome (1952-2012).
Onward and upward,
Nolan Jr.
claricesmithcenter.umd.edu | 301.405.ARTS (2787) | 9
ABOUT THE PROGRAM
CAST
All songs written by Nolan Williams, Jr. with the exception of the following:
“Have You Heard About the Baby?”
Shelton Becton
Used by permission of RaeBec Publishing
“Silent Night”
Text by Joseph Mohr and Nolan Williams, Jr.
Music by Nolan Williams, Jr.
“What Child Is This?”
Text by William Dix and Nolan Williams, Jr.
Tune: GREENSLEEVES, 16th-century English Melody
arr. Nolan Williams, Jr.
“Kwanzaa Chant”
Adapted by Nolan Williams, Jr.
from Nguzo Saba Chant,
Oberlin College African Heritage House
“Go, Tell It!”
Derived from Traditional Spiritual,
“Go, Tell It On the Mountain”
Adapted by John W. Work
arr. Nolan Williams, Jr.
Excerpt Credits:
Hughes, Langston (1958), “On a Christmas Night,” The Crisis Magazine
Dunbar, P.L. (1913). “Speakin’ O’ Christmas,” The Complete Poems of Paul Laurence Dunbar
Applegarth, Margaret (Unknown). “Legend of the Black Madonna,” Manuscript.
The Story of Christmas Gift!
Christmas Gift! is a new musical that tells the story of a forgotten holiday gift exchange
tradition in the African American community. With music, lyrics and book by American
songwriter Nolan Williams, Jr., Christmas Gift! offers a powerful and entertaining look at
this lost story with present-day interpretations of what history can teach us. Told through
narrative, poetry, song and dance, this family-friendly celebration explores the themes of
love and selfless giving, universal messages that will resonate with audiences of all kinds.
The Journey of Christmas Gift!
Christmas Gift! began as a concert production developed in 2012 especially for the
University of Maryland’s Clarice Smith Performing Arts Center stage. This production was
premiered in December 2012 with two sold-out performances — it was a huge success that
inspired creator Nolan Williams, Jr. in two key ways: First, it affirmed a dream Williams
had been cultivating for well over a decade to develop a holiday production that reflects
African American culture and spirituality. Second, it inspired Williams to develop
Christmas Gift! into a full-scale musical with music, poetry, dialogue and dance that
together form a storyboard that is compelling, entertaining, informative and inspiring.
As Williams acknowledges, “this production is still a work in progress. I like to refer to
it as a ‘musical in the making!’”
The Origins of Christmas Gift!
Christmas Gift! is a Christmas-day greeting game tradition that dates back to the mid-19th
century. When people encountered each other on Christmas Day, they would greet each
other by shouting “Christmas gif ’!” The person who could shout the greeting first received
a gift — usually a handmade or home-baked treat — from the other person. “Our aim
with the show is not to recreate a tradition that is lost, but to reclaim some of the lessons
from that tradition,” says creator Nolan Williams, Jr. In the spirit of this tradition, the
musical conveys many themes of love: the gift of divine love that came to earth, the gift of
familial love shared between relatives and friends, the gift of unconditional love expressed
to strangers through random acts of kindness, and the gift of humanitarian love that fosters
inter-communal understanding and racial reconciliation.
Williams was first inspired by Charlemae Rollins’ anthology, Christmas Gif ’: An Anthology
of Christmas Poems, Songs, and Stories — a book gifted to Williams by his late mentor
Steven Newsome — to create this production especially for the Clarice Smith Center
Performing Arts Center stage. As a librarian, Rollins was frequently asked by parents for
stories that celebrated African American Christmas traditions and, since these stories were
hard to find in print, Rollins gathered and anthologized poetry and prose that expressed
the importance of Christmas in African American life.
NOLAN WILLIAMS, JR.’S CHRISTMAS GIFT! | 10
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ABOUT THE PROGRAM
ABOUT THE PROGRAM
The Tradition of “Christmas Gift!” during Slavery and Beyond:
A Brief History
Dennis Doster
PhD Candidate, United States History, University of Maryland
For enslaved African Americans, the Christmas holiday offered a respite from the
monotonous and arduous labor of their daily lives. Some slaveowners failed to recognize
this holiday and were unwilling to deviate from the regular labor schedule prescribed for
their slaves; however the majority of African Americans seem to have counted Christmas
as the one time of year they were guaranteed leisure time.
During the Christmas holiday, enslaved African Americans generally received time off
or at least a reduction in their work that could last anywhere from one day to an entire
week extending up to New Year’s Day. Christmas featured celebrations involving music,
dance and great feasts with a wide variety of food and alcohol, items generally not available
to enslaved African Americans. Also, slaveowners generally presented the enslaved with
gifts, which could include some rare edible treat (candy, biscuits, etc.), clothing or even
money in some instances. More importantly, Christmastime allowed African Americans to
spend additional time with their families, even allowing enslaved husbands and wives who
lived on separate farms and plantations to spend time with each other. Thus, the Christmas
holiday held special importance in the lives of enslaved African Americans as a time for
building and strengthening family ties, as well as creating and maintaining a vibrant and
strong black community.
One holiday ritual that developed among enslaved African Americans during the Antebellum period and1 was practiced throughout the South centered on the use of the phrase,
“Christmas Gift!” On Christmas Day, African Americans would compete with one another
to be the first to call out this phrase and the “loser” would be required to give some small
gift to the “winner,” such as fruit, candy or nuts. But, as asserted by Charlemae Hill
Rollins whose grandmother had been a slave and had passed on this tradition to her
children and grandchildren, the “losers” actually enjoyed being able to give gifts to others,
particularly considering the meager resources of the black community as a whole: “The
loser happily paid a forfeit of a simple present — maybe a Christmas tea cake or a handful
of nuts. Truly, there was more pleasure in being ‘caught,’ and having to give a present —
the giving, though comically protested, was heartwarming to a people who had so little
they could with dignity share with others.”
Though this ritual may have been practiced to a certain extent within the African
American community, written documentation and oral tradition reflect that this ritual
was more often practiced between enslaved African Americans and their white masters
and mistresses, where whites were always the “losers” and required to present the enslaved
with a variety of Christmas gifts as described by Amanda McCray, who participated in
this ritual as an enslaved child in Florida: “At Christmas time the slave children all trouped
to ‘de big house’ and stood outside crying ‘Christmas gift’ to their master and mistress.
They were never disappointed. Gifts consisted mostly of candies, nuts and fruits but there
was always some useful article of clothing included, something they were not accustomed
to having.”
By engaging in the “Christmas Gift!” ritual, white slaveowners maintained the illusion
of themselves as benevolent masters and mistresses who cared for their enslaved “family,”
while the enslaved African Americans affirmed the slaveowners’ role as provider and their
NOLAN WILLIAMS, JR.’S CHRISTMAS GIFT! | 12
power as those at the top of the southern hierarchy. However, this ritual also provided
African Americans with an opportunity to invert power. As the “winners” in this game,
African Americans were able to obtain gifts that could improve their material and physical
circumstances in a variety of ways, including foodstuffs, clothing and even money. And
in at least two known instances, African Americans were able to secure their freedom by
participating in this ritual.2
In the decades following emancipation, large numbers of African Americans
undoubtedly abandoned the “Christmas Gift!” ritual as they attempted to distance
themselves from all vestiges of slavery and secure for themselves and their families the
full rights of citizenship. But according to white Southerner Harnett T. Kane, a mid-20thcentury writer whose works focused on the South, this tradition persisted between blacks
and whites through the remainder of the 19th century and as late as the 1940s, though it
had greatly decreased by the latter period and nearly vanished. For whites, this paternalistic
ritual would have allowed them to continue to celebrate their position of power in society
and to express a romantic longing for the “Old South.” For some African Americans,
this may have been an unconscious adherence to an old tradition; however, it can also
be viewed as a way in which African Americans, as their enslaved ancestors had done,
were able to secure gifts that would improve their material and physical circumstances.
Additionally, considering the harsh environment of the Jim Crow South in the late
19th century up to the mid-20th-century, African Americans engaging in this ritual may
have been able to guarantee for themselves some level of protection in maintaining
connections with white families who controlled their community and positioning
themselves as non-threatening entities.
In addition to practicing this ritual across racial lines, African Americans still engaged
in the “Christmas Gift!” game within the black community, likely accounting for its
continuance into the 20th century. These African American families likely recognized this
game as a source of enjoyment, a way to promote family bonding, and a means of sharing
within the black community during the holiday season in spite of limited resources.
But with each passing decade following emancipation, the numbers of African Americans
engaging in this ritual decreased. Traveling through North Carolina in the 1880s, Rev. I.F.
Aldridge of the African Methodist Episcopal (A.M.E.) Church noted the presence of
“Christmas Gift!,” but as a standard holiday greeting rather than a Christmas game.
Writing in the 1890s, Rev. J.M. Palmer, a Philadelphia minister also connected to the
A.M.E. Church, fondly recalled the ritual from his childhood as a game of a past era.
Similarly, writing in the first decade of the 20th century, famed African American poet
1
According to Whistlin’ Dixie: A Dictionary of Southern Expressions, the phrase “Christmas Gift!” can be
traced to as early as 1844. My analysis of slave narratives and other written sources from the Antebellum
period reveals that this tradition was practiced in North Carolina, South Carolina, Virginia, Florida and
Kentucky. However, when coupled with sources from the period following slavery, it is safe to assume that
this tradition was practiced in every state of the South and extending as far west as Texas and Oklahoma.
2
In one instance recounted in Martha Griffith Browne’s Autobiography of a Female Slave (1857), a fictional
work based upon real-life occurrences compiled by the author, a white abolitionist, a slave named Henry
is able to purchase his freedom through saving “Christmas gifts in money.” The second instance comes
from an incident recounted to celebrated author William Faulkner in which one enslaved man, following
the use of this ritual, persuaded his master to agree that he would grant him his freedom if he could stump
his master with a riddle the following Christmas, a feat which proves successful. This real-life story is the
basis for a children’s book, The Freedom Riddle by Angela Shelf Medearis and John Ward published in 2002.
claricesmithcenter.umd.edu | 301.405.ARTS (2787) | 13
ABOUT THE PROGRAM
ABOUT THE PROGRAM
Paul Laurence Dunbar3 lamented the loss of this tradition in his poem “Speakin’ o’
Christmas.” But in the late 1920s, traveling through the South collecting information
on African American folktales and folk traditions, author Zora Neale Hurston found
the “Christmas Gift!” game still being practiced among rural blacks. And in 1930, the
New York Amsterdam News also noted the continued practice of this ritual among African
Americans in the South and Midwest. But likely as a result of the movement of large
numbers of African Americans to urban areas and to the North in the 20th century, this
ritual was further weakened resulting in the utterance of “Christmas Gift!” as a simple
holiday greeting among a small minority scattered throughout the black community rather
than the widespread practice of the complete ritual.
Though “Christmas Gift!” can be traced to the African American community during
the period of slavery, it is also found within rural white communities throughout the
South. Whites most likely adopted this ritual through encounters with African Americans,
engaging in this game on either Christmas Day or Christmas Eve, with the winner receiving
gifts or simply bragging rights.4 Though it is not clear when rural white Southerners began
practicing “Christmas Gift!,” written documentation from the 20th and 21st centuries
supports the claim that this ritual has persisted more strongly among whites into the
present day. Similar to African Americans, “Christmas Gift!” has functioned as a source
of friendly competition and holiday fun in the white community, and undoubtedly for
those in the lower rungs of white society, particularly in the early and mid-20th century,
a means of sharing during Christmastime in spite of economic standing. And for Southern
whites, who had no strong desire to separate themselves from traditions with their roots
in the period of slavery, there would have been less of a desire and need to abandon this
Christmas tradition.
3
The “Christmas Gift!” ritual could also be found in the fictional works of white authors in the decades
following the death of Dunbar, including: William Faulkner’s The Sound and the Fury (1929) and
Absalom, Absalom (1936) and Julia Peterkin’s A Plantation Christmas (1934). These works, as well as
arguably Dunbar’s, provide a distorted and romanticized view of the “Old South,” expressing a longing
for the bygone era of slavery.
4
According to the Dictionary of American Regional English, the first instance of “Christmas Eve Gift!” can
be traced to at least 1954.
NOLAN WILLIAMS, JR.’S CHRISTMAS GIFT! | 14
ABOUT THE PROGRAM
ABOUT THE PROGRAM
Articles
Buce, Susan. “Does YOUR Family Play the Christmas Eve Gift Game Too?”
http://freepages.genealogy.rootsweb.ancestry.com/~buce/drawer-christmaseve-emails.htm
(accessed October 13, 2012).
Buce, Susan. “Playing the Christmas Eve Gift Game.”
http://freepages.genealogy.rootsweb.ancestry.com/~buce/drawer-christmasevegift.htm
(accessed October 12, 2012).
Cornett, Nina. “Old Christmas as Observed in Kentucky.” December 6, 2011,
http://www.cornettmedia.com/2/category/england/1.html (accessed October 12, 2012).
DocSouth Staff. “The Slave Experience of the Holidays.” Documenting the
American South,
http://docsouth.unc.edu/highlights/holidays.html (accessed October 9, 2012).
Hairston, Jester. “Christmas Gift!” Musical score. 1950s.
Books
Rollins, Charlemae, compiler. Christmas Gif ’: An Anthology of Christmas Poems, Songs, and
Stories, Written By and About Black People. Chicago, Follett Publishing Company, 1963.
claricesmithcenter.umd.edu | 301.405.ARTS (2787) | 15
NOLAN WILLIAMS, JR. (Conceiver, Book, Music, Lyrics, Co-Producer, Music
Director), is an American songwriter whose impressive repertoire includes
several commissioned choral works by Georgetown University; premiered
works with the National Symphony, Charleston Symphony and
Kennedy Center Opera House Orchestras; song contributions to
Grammy-nominated gospel and R&B recording projects; and music for
television and film. As a musicologist he has been featured on PBS, BET
and the WORD network; lectured before the American Academy of
Religion, Festival Musicá y Filosofia (Naples, Italy) and at numerous American universities
— including Yale, Dartmouth, Oberlin and Howard; and edited two hymnals including
the bestselling African American Heritage Hymnal — more than 500,000 copies sold
worldwide — and Total Praise. As a producer (through NEWorks Productions), he has
conceived and contributed to numerous inspirational arts productions, including:
Reflections on Peace: From Gandhi to King, a global concert of peace staged on the National
Mall in commemoration of the 50th Anniversary of the March on Washington (2013);
A Mighty Stream, a celebration of the American freedom movement through music, video
and spoken word premiered with the National Symphony Orchestra (2012); Partnering for
Life, a benefit concert tour produced in partnership with the American Cancer Society
(2011–12); and Joyful Sounds: Gospel Across America, a nine-day festival presented by the
John F. Kennedy Center for the Performing Arts celebrating gospel and other sacred
music traditions (2010). Williams is a member of the Kennedy Center’s Community
Advisory Board, a voting member of the Academy of Recording Arts and Sciences
(The GRAMMYs) and CEO of NEWorks (New Works) Productions.
www.NEWorksProductions.com
ERIC RUFFIN (Director) Most recent directing credits include Venus and
Passing Strange at Ira Aldridge Theatre, A Raisin in the Sun at Crossroads
Theatre, Old Settler for The African Continuum Theatre Company, Gutta
Beautiful at New Federal Theatre, New Kid for Imagination Stage, In The
Blood, Antigone, In Arabia We’d All Be Kings, Jesus Hopped the “A” Train and
Our Lady of 121st Street for the Rutgers Theatre Company. He has also
directed the critically acclaimed New Jersey premiere of Topdog/Underdog
for Luna Stage, Cut Flowers at the Ira Aldridge Theater and Public Ghosts/
Private Stories at the George Street Playhouse. Ruffin holds a BFA in Theatre Arts from
Howard University and an MFA in Directing from Rutgers University. He is a Society for
Stage Directors and Choreographers Associate.
TORENS L. JOHNSON (Choreographer), a native of Smithfield, Virginia, began dancing
while attending the Governor’s Magnet School of the Performing Arts in Norfolk, VA.
After high school, Johnson studied dance at the Alvin Ailey American Dance Center where
he later joined Ailey II. Johnson has a BFA from Towson University and is currently
serving as the dance educator at the Performing & Visual Art High School for Anne
Arundel County Public Schools. Johnson’s performing credits include ClancyWorks Dance
Company, Stephanie Powell DansEnsemble, Edgeworks Dance Theater, Tony Powell
Music & Movement and Wylliams/Henry Dance Theater. Johnson has taught at Anne
Arundel Community College, George Mason University, Dance Baltimore, Baltimore
Dance Tech and many middle and high schools within the Washington Metro area.
NOLAN WILLIAMS, JR.’S CHRISTMAS GIFT! | 16
BRIAN S. ALLARD (Lighting Designer) is a lighting designer for theatre, dance, and opera.
He is a native of the Washington DC area, and his work has been seen throughout DC,
Virginia, and Maryland; he has twice been a finalist for the DC Metro Dance Awards.
Recently, he has worked with Theater J, Adventure Theatre, Bowen McCauley Dance,
CityDance, Source, Spooky Action Theater, and Christopher K. Morgan and Artists.
Allard is also a photographer, and a technical director for dance.
MICHAEL DUBOSE JR. and KADESH DUBOSE (Video Directors), young entrepreneurs
and brothers, started working as young teens in the world of multimedia production and
are now making a global impact with their work and growing network of clientele.
Running everyday-operations at KmBd Studios™, their family-owned production
company, Michael and Kadesh (along with younger sisters Berachah and Zhavia) provide
quality multimedia production services that are renown for being top-rated work — which
is not usually expected from a team of young people. Originally based out of Chicago, the
DuBose Brothers have had many opportunities to work all over the country and abroad.
More recent notable projects have included two PBS documentaries (airing in 2014), and
work with former U.S Secretary of State Hillary Clinton, the NBA Retired Players
Association, the National Park Service and recurring work for both NEWorks Productions
and the Clarice Smith Performing Arts Center.
SAM EDWARDS (Video Designer) is a visual effects artist with over ten years of
experience in the industry. He has worked on a broad range of feature films, music videos
and commercials. Recent stage visuals have included Madame Butterfly, Breakin
Convention, Messenger, DJ Shadow and Stevie Wonder: Live in Concert. Edwards lives and
works in London.
DAMION A. PARRAN (Production Stage Manager) is the Arts Administrator for Boys &
Girls Clubs of Greater Washington (BGCGW), where he manages arts programs for 12 of
BGCGW’s clubs across the DC, MD and VA regions. He is a recipient of The Kennedy
Center Arts Management Institute Fellowship (2010). Prior to returning to Washington
DC in 2009, Parran spent five seasons as the managing director of Watts Village Theater
Company (WVTC), a nonprofit multicultural theater organization based in Watts, Los
Angeles, California. While at WVTC, he co-developed and produced over ten of the
organization’s theater projects. Parran received his BFA in theater management
from CalArts.
RICHARD BRONSKILL (Orchestrator) is a graduate of the University of Toronto
(MusBac and MMus in Composition). He first began writing incidental music for the
Stratford Shakespeare Festival, the National Arts Center, Calgary’s Center for the
Performing Arts and Toronto’s Young Peoples Theater among others. Since moving to
Los Angeles, he has composed scores for several Indie films, HBO, Warner Brothers and
Disney Television. Currently, Bronskill focuses on orchestration and has worked with
many notable Hollywood composers including Christopher Young, Christophe Beck,
Michael Giacchino, Rolfe Kent, Mark Mothersbaugh, Lucas Vidal and (when he was very,
very young) Alex North.
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ABOUT THE ARTISTS
ABOUT THE ARTISTS
COLLIN RANNEY (Costume Designer), who is based out of Washington DC, recently
received a 2012 Helen Hayes Award Nomination in Outstanding Scenic Design for
Adventure Theatre’s A Year with Frog and Toad. In addition, he served on the United States
Institute for Theatre Technology (USITT) 2011 Prague Quadrennial USA Student Exhibit
committee, where he collaborated to design and curate the exhibition for the 2011 Prague
Quadrennial. Ranney has worked and assisted throughout Washington DC at such theatres
as Signature Theatre, Woolly Mammoth Theatre Co., Adventure Theatre, Ford’s Theatre,
Folger Theatre, Studio Theatre, The Kennedy Center and The Shakespeare Theatre. He is
currently the resident costume designer at SAX Lounge. Ranney’s past design work earned
him a USITT W. Oren Parker Scene Design Award. He has also been honored with
a Design Fellowship at the Kennedy Center (Intensive in Scenic & Costume Design: The
Collaborative Process with Ming Cho Lee and Linda Cho), and various Kennedy Center
American College Theatre Festival (KCACTF) Regional awards. Ranney holds his MFA in
Scenic & Costume Design from The University of Maryland and his Bachelors of Fine
Arts in Theatre Design & Technology from The University at Buffalo.
REGGIE DUFFIE (Visual Artist) was compelled to draw since the day he could walk.
A self-taught artist who was offered a scholarship to attend the Maryland Institute College
of Art (MICA), Duffie embraced the technical rules of art before boldly deciding to break
them all. His unconventional approach to art is most evident in his latest works, which
combine years of traditional art techniques with the ever-expanding capabilities of
digital painting. A Baltimore native, Duffie also serves as a minister in To God Be
The Glory Church of Worship. He and his wife live in Randallstown, Maryland and
have three daughters.
CAST
SARAN EVELYN BAKARI (Zawadi Wise) is a sophomore theatre major at the Duke
Ellington School of the Arts in Washington DC. In addition to her training as an acting
student, Bakari has studied dance (ballet, jazz, modern and tap) at The Jones Haywood
School of Dance since the age of five. After high school, Bakari intends to further her
performing arts studies by attending college and majoring in theatre or musical theatre,
with the objective of one day becoming a professional actress.
SHAWNA R. BERRY (Community Chorus) is delighted to return to the Kay Theater for
her second appearance in Christmas Gift. Berry is a member of Voices of Inspiration and
has been afforded the awesome opportunity to sing with national recording artists such as
James Taylor, Aretha Franklin, Stevie Wonder and many others through her affiliation with
that aggregation. She loves her career as a Reading/English Language Arts teacher at John
Hanson French Immersion School in Prince George’s County, is passionate about music
and the arts and tries to connect the two whenever possible.
GLORIA RENÉE BLAND (Community Chorus) grew up in a musical family. A native
Washingtonian, her musical experiences have been many and varied — from church choirs
to amateur theater. She has sung with Voices of Inspiration for six years, performing
throughout the U.S. and overseas. Bland also sings with a gospel group she co-founded,
Psalm 46.
FRANCESE BROOKS (Ensemble/ Community Witness) is a veteran Trinidadian actress.
Francese has a rich history of theater both in her home and in the DC metropolitan area.
From her stint as Joseph the Dreamer, a munchkin in The Wiz, Penelope Pittstop in
Dracular Spectacular (as a youngster), Jane Pilkings in Death and the King’s Horseman,
Felicity in The Blacks with Trinidad’s Creative Arts Center, Bertha Holly in The Morgan
Players’ productions of Joe Turner’s Come and Gone, to her roles as Stella Star and Sister
Pearlie Mae in Serpent of the Street in Community Theatre, Brooks has an extensive
background playing a variety of characters and working in multiple ensembles and
entertaining a wide variety of audiences. She is grateful for every such opportunity as
she has found the catharsis of the theatrical experience to be very therapeutic.
MONA CALHOUN (Community Chorus) began singing in a small family church in
Round Rock, Texas. Most of her singing experience has been in the choirs of the churches
she has joined, including Mt. Zion Baptist Church in Austin, TX; First Baptist Church of
Richardson, TX; and her current church, Metropolitan Baptist Church, Washington DC.
Calhoun has been with the Voices of Inspiration since its inception. As a member of the
group she has had opportunities to sing at the Kennedy Center, perform for the Amalfi
Coast Music & Arts Festival in Italy and sing with great artists like Walter Hawkins,
Yolanda Adams, Shirley Murdock and John Stoddart.
CAROLINE STEFANIE CLAY* (Mashariki) is a graduate of the Duke Ellington School of
the Arts and holds an MFA in Performance from UMD (2013). Clay has served as vocal
coach on over a UMD dozen productions, and has served as Assistant Coach at African
Continuum, Ford’s, and Studio. Under the leadership of Dr. Walter Dallas, she conducted
vocal workshops in Accra, Ghana at the National Theatre of Ghana and Hillside School.
In Spring 2014, she will direct Anna Deveare Smith’s Twilight Los Angeles: 1992 in
the Kogod. In 2007, Clay won the Helen Hayes for Best Supporting Actress In a
Non-Resident Production (Doubt). Clay wishes to thank director Eric Ruffin, who also
directed her one-woman show, Let It Flo! (UMD), and Nolan Williams, for helping her
to face her fear of musicals! Her performances on B’way: Doubt, Doubt (The National
Tour), The Royal Family. Upcoming Projects: House of Cards (Season 2), The Knick (HBO).
GLORIA MARIE BLAND (Ensemble/ Community Witness) is pleased to make her regional
theater debut in Christmas Gift! A native of Washington DC, she is a budding singer
and songwriter.
NOLAN WILLIAMS, JR.’S CHRISTMAS GIFT! | 18
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ABOUT THE ARTISTS
ABOUT THE ARTISTS
LONDON EDGERTON (Ensemble/Community Witness) got her start singing in the
Choir at First Rising Mt Zion Baptist church in Washington DC Being well versed in life
coaching, acting and teaching, at the age of 20, she took on the directorial position of her
churches’ youth programs. After being educated at Montgomery College in musical theatre
and history, she began to cultivate her craft through writing for many local and national
artists (gospel and neo -soul). At the age of 22, she was given the task of implementing a
one-woman- show at the world renowned Smithsonian Institute where she now educates
thousands of patrons from around the world about the Civil Rights movement through
theatre and song.
SIDEEQ HEARD (Magharibi) is an undergraduate student at Howard University majoring
in theatre arts with a concentration in acting. Heard has been performing since the age of
12, and has trained with several agencies in Arizona and California. His most recent
appearances include Howard University’s Theatre Arts Production of Hurt Village, written
by Katori Hall and directed by Eric Ruffin, in which he played Ebony; and Keenan Scott
III’s Thoughts of a Colored Man, in which Heard portrayed Anger. Time only knows where
this rising star will land, but Heard would like to thank God for his continuous blessings.
Enjoy the show!
ANTHONY MICHAEL HOBBS (Samuel Wise) is an award winning actor who’s recent
supporting role as young Frederick Douglass in the 2013 Emmy-nominated PBS
Docuseries The American Experience: The Abolitionist garnered him raves reviews in
publications such as The Baltimore Times, The Afro, The Catholic Review, The LA Watts
Times, The Carib Press, Hype Magazine, and The Philadelphia Inquirer. His performances
have been called “strong,” “moving,” “emotional” and “touching.” The Director of The
Abolitionist is quoted as saying that Hobbs captured “an emotional range that few children
of his age can match.” He has also appeared in projects for PBS Sprout, Claritin Kids
Allergy Medicine, the American Association of Poison Control Centers (AAPCC), U.S.
National Parks Services, the Greater Philadelphia Coalition Against Hunger, the USDA’s
Healthy Kids campaign, FinishLine stores and in the Dreamworks documentary How to
Train Your Dragon that premiered at shows throughout Australia and the United States.
JESSE N. HOLMES* (Kaskazani) recently appeared in the DC area in Chocolate Covered
Ants by Steven Butler, Jr. and Engagements by Alan Sharpe. In Los Angeles, he appeared in
Layon Gray’s award-winning drama, Meet Me at the Oak. His New York City credits
include X Train and Dance Card, both at La MaMa Experimental Theatre Club; Dysart in
Equus and John in Alice Childress’ Trouble in Mind. Other regional productions include
Crumbs from the Table of Joy and The Misanthrope, both at ART; Wait Until Dark at
Syracuse Stage and Clovis Pope in the world premiere of John Henry Redwood’s Acted
Within Proper Departmental Procedure. Directing credits include John Henry Redwood’s
Sunbeam and Don Wilson Glenn’s An American Jesus Christ. A native of Washington DC
and a graduate of Syracuse University, he has appeared on various daytime dramas and
national commercials. He is grateful to be a part of Christmas Gift!.
NOLAN WILLIAMS, JR.’S CHRISTMAS GIFT! | 20
BRITTANY JOHNSON (Kusini) began singing in church as a child. Her love for music
continued into higher education. She earned a music education (BM) degree from Furman
University and a degree in vocal performance (MM) at Florida State University. Johnson
has worked as an educator. Currently, she is a Washington DC metro area private voice
instructor. While at Florida State she performed many roles with the Florida State
University opera in main stage productions. Some roles include: Ms. Todd (The Old Maid
and the Thief ), Filippyevna (Eugene Onegin) and Cecelia March (Little Women). In past
seasons, Johnson was featured as a soloist in the Tallahassee Community Chorus’
production of Rossini’s Stabat Mater and Florida State University Men’s Glee Club’s
presentation of Brahms’s Alto Rhapsody. She loves to share the joy of music with everyone
she meets, especially young people. Her desire is for parishioners to see light and, in turn,
be inspired.
ANGELA MARIE JONES (Community Chorus), a native Washingtonian, is a sought after
singer and songwriter whose passion for singing started in adolescence as a member of the
Washington Performing Art Society’s Children of the Gospel. She studied classical voice
under Edward Jackson and became a sophisticated lady of the world-renowned Duke
Ellington School of the Arts Show Choir. Jones has been featured in productions such as
Amahl and the Night Visitors, Black Not So Blue and Don Giovanni. In the Gospel genre,
she has sung with Marvin Sapp, Richard Smallwood, Nolan Williams, Kari Jobe, Darrell
Evans, Yolanda Adams, Anthony Walker, Freddy Washington and Brandon Camphor and
OneWay, to name a few.
WENDELL JORDAN (Uncle Noble Wise) grew up in northwest Washington DC and
attended Howard University where he attained a BFA in musical theatre. He has
performed at many area theatres, such as The SOURCE, the Studio Theatre, Signature
Theatre and The Kennedy Center, in many productions including Kerouac, Oliver, Hair,
Gospel According to Fishman and Open the Door Virginia. Area television work included
reenactments on America’s Most Wanted, Homicide and The Wire. He then moved to
New York where he was the lead in an Indie Film called Tangle Eye Blues, and worked in
television on shows like Golden Boy, Person of Interest and Blue Bloods. Jordan is thrilled to
be working on Christmas Gift! as his first production upon returning to the DMV,
and would like to dedicate his performance to his son Fate Jordan and wife Dr. Melissa
Phillips Jordan.
KADEEM MALIEK (Principal Dancer/Step Choreographer) grew up in Brooklyn, NY
where he first started dancing at the age of three. He has trained and taken classes at
studios such as the Broadway Dance Center and Steps on Broadway. He’s danced through
grade school, taking the basic primary dance classes, and continued into high school where
he began to hone in on his love for Hip Hop/Street Jazz style choreography. In college, he
rediscovered his love for the Modern/Contemporary movement while dancing with the
Hampton University Terpsichorean Dance Company, a modern-based company that
performs on campuses, in the community and in other states. Maliek has taught Hip Hop
and Street Jazz classes at multiple levels, from beginner to advanced, and has worked with
a wide range of age groups. Maliek now works at the Dance Institute of Washington where
he heads the marketing and promotions department as well as teaches and performs with
the Washington Reflections.
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ABOUT THE ARTISTS
ABOUT THE ARTISTS
MICHELLE MAXWELL (Community Chorus, Soloist) is originally from the “Lone Star
State”. This Dallas, Texas native answered the call to relocate to the Baltimore area in
1991. She loves jazz, gospel and classical music and has a Bachelor of Music degree in voice
from the University of North Texas. Maxwell has many notable musical experiences.
As a member of Voices of Inspiration since 2010, she has performed with the choir
throughout the U.S. She is also a member of the gospel group “Sisters 4 Praise.” She was
the 2008 second place winner of the Billie Holiday Vocal Competition in Baltimore, MD
and was a member of the Morgan State University Community Choir from 1992-2008.
CHARLES E. MILLER, JR. (Community Chorus) holds a Bachelor of Arts in music and
Master of Music degrees from Hampton University and the University of Maryland,
College Park respectively. Miller has been a Music Educator for the last nineteen years,
most recently at the Duke Ellington School of the Arts. Apart from being a member of
Voices of Inspiration, his performance credits include the roles of Zoser (Aida), Prince
Charming (Into the Woods), Remus (Treemonisha), Sportin’ Life (Porgy and Bess) and
Don Ottavio (Don Giovanni).
RENEE MITCHELL PAXTON (Community Chorus) studied Voice at Virginia Union
University, and is a former member of the Richmond Symphony Chorus, Richmond
Civic Opera Association, the Angelic Voices (a Contemporary Gospel Trio), and the
Sounds of Symmetry (an ensemble dedicated to a variety of musical works). She is
currently a member of Nolan Williams and the Voices of Inspiration. She has appeared in
musical productions of Bye Bye Birdie, South Pacific, La Traviata, Gospel at Colonus,
Ain’t Misbehavin’, and the “King” Musical Tribute Special Presentation for the 53rd
Presidential Inauguration.
DAVID G. POWELL (Ensemble/Community Witness) was educated in the DC public
school system. He graduated with honors from Duke Ellington School of the Arts.
He continued his academic and musical pursuits at The Ohio State University where he
received his Bachelor’s degree. Currently, Powell serves as the Admissions Coordinator for
The School of Music at The University of Maryland College Park where he is also pursuing
graduate studies. Through the years, he has had the esteemed honor of working with
masterful musicians, including The Prague Symphony Orchestra, The Washington
Performing Arts Society and Rev. Dr. Raymond Wise. Currently, Powell is a member of
Nolan Williams’s Voices of Inspiration.
PHILLIP J. PROCTOR (Community Chorus), a native Washingtonian and a physician by
profession, started singing at age 29 in his church choir. From there he was privileged to
sing with Phillip Carter and the Sounds of Victory, participate in two CD recording
projects and earn a 2010 Stellar Award for fan favorite choir! He sang for three years with
the Washington Performing Arts Society’s Men and Women of the Gospel, performing
throughout the Washington metropolitan area, including annually at the Kennedy Center.
In 2010, he was invited to sing with Nolan Williams, Jr. for his production of Sacred
Sounds with the National Symphony Orchestra — as part of the Center’s Gospel Across
America festival. Proctor has been a tenor vocalist with Nolan Williams, Jr. and Voices of
Inspiration ever since.
NOLAN WILLIAMS, JR.’S CHRISTMAS GIFT! | 22
VICTORIA PURCELL (Imani Wise) is a seven-time GRAMMY Award winner. Al Jarreau
calls her voice “ethereal.” With unmistakable clarity, Purcell’s mellifluous voice has
skillfully drawn the listening ear to the power of Almighty God. For more than 20 years,
Purcell’s stunning vocal skills have been heard throughout the United States, Europe and
Africa. The native North Carolinian has garnered praise and inspired millions within the
music community and has shared performances with an impressive roster of Gospel
and Jazz luminaries, which include Yolanda Adams, Kirk Franklin, Al Jarreau, Najee,
Ray Charles and Quincy Jones, to name a few. Purcell distinguishes herself as a singer who
is committed to impacting and empowering the lives of those she reaches and is intent on
reminding her audiences of a singular truth — your life is valuable and can impact the
world. In 2014, Purcell is slated to release her first solo project and thanks God for
opening countless doors.
MALACHI ROBINSON, II (Principal Dancer) was born in Washington DC and raised in
Prince George’s County, MD. Robinson started his dance training with his high school’s
African Dance Ensemble. From there, he continued his dance training with Hampton
University’s Terpsichorean Dance Company and most recently, The Dance Institute of
Washington’s professional company, the Washington Reflections. Robinson graduated with
a BS in Entertainment Management from Coppin State University and currently works as
the Development Manager at the Dance Institute of Washington.
DARNELL ROULHAC (Community Chorus) is a native of Washington DC where he
attended the Duke Ellington School of the Arts. He obtained his Bachelor of Music degree
from Boston Conservatory where he studied Vocal Performance under Tomas A. Gregg.
His performance credits include Gobin in La Rondine, Monostatos in Die Zauberflote and
Ernest Diggle in Jerry Springer the Opera. Most recently, Roulhac appeared as Benvolio in
Roméo et Juliette with Bel Cantanti Opera Company and Peppe in Ruggero Leoncavallo’s
Il Pagliacci. Currently, he resides in Washington DC where he is a private voice teacher,
professional freelance vocalist and chorus member with Washington National Opera.
TERESA A. SCOTT (Community Chorus) developed a love for singing at an early age
based on her exposure to numerous genres of music as a resident of Nashville, Tennessee
(a.k.a. Music City USA). In addition to her current and former membership in church and
university choruses, Scott is an original member of the Voices of Inspiration (VOI).
Through her association with VOI, Scott has participated in the Amalfi Coast Music and
Arts Festival (Italy), numerous musical events at the John F. Kennedy Center for the
Performing Arts and The White House, as well as with major recording artists, including
Denyce Graves, Patti Labelle and Yolanda Adams.
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ABOUT THE ARTISTS
ABOUT THE ARTISTS
DEJUANA SMALL (Community Chorus) began to sing publicly in her local church choir
in Chicago, Illinois at the age of 12. Over the years, she has come to understand more fully
how powerful music is and the life-changing impact it can have on the listener. She has
had the opportunity to perform at many venues throughout the U.S. and abroad,
including Kenya, London, Paris, the Philippines and various Caribbean islands. She has
been fortunate to share the stage with many gifted and talented musicians and singers,
including Vicky Winans, Darryl Coley, Sandi Patti, Bill & Gloria Gaither, Maurette
Brown-Clark and many others. Small and her husband Tony have been married for
27 years and are they proud parents of their daughter, Shayna, who is a graduate of The
Juilliard School.
JOY SWAFFORD (Ensemble/Community Witness) is excited to make her regional
theater debut with Christmas Gift: The Musical! Born and raised in the Washington DC
Metro area, Joy has been a featured vocalist in several choral aggregations, including Voices
of Inspiration. She has had the opportunity to perform in notable venues such as the
White House, the John F. Kennedy Center for the Performing Arts and the Saladin Citadel
of Cairo, Egypt. Her notable performance venues include, John F. Kennedy Center for the
Performing Arts (Washington DC), Apollo Theater (Harlem, NY), Byrd Stadium,
University of Maryland at College Park (College Park, MD), Smithsonian (Washington
DC), Saladin Citadel of Cairo (Cairo, Egypt). Joy thanks her parents, family and friends
for their constant love and support.
NICOLE SOQUINASE (Dance Captain, Ensemble/Community Witness) is delighted to
be making her debut with NEWorks Productions as a dancer/community member in this
staging of Christmas Gif. She appeared in the Summer Workshop Production of Christmas
Gif at Joe’s Movement Emporium earlier this season as Mashariki and as a vocalist with the
Voices of Inspiration (VOI) in last season’s concert production. She has previously taught
dance and given Master Classes in the DC area. Soquinase also dances as a freelance artist
and sings with VOI, the DC Choral Ensemble, and All About Christ.
DARRICK SPELLER (Ensemble/ Community Witness), a baritone, is a native
Washingtonian and a graduate of the Duke Ellington School of the Performing Arts.
This young International artist has met high demand in both concert halls and operatic
stages throughout the Washington Metropolitan Area and abroad. Speller has also traveled
to Europe and attended the Amalfi Coast Music and Arts festival three years in a row
where he sang various roles from Le Nozze di Figaro, Gianni schicchi, and The Magic Flute.
Speller has recently graduated from George Mason University where he majored in vocal
performance under the tutelage of artist-in-residence professor Patricia Miller, and he was
very involved on campus in opera, photography and organizations such as Alpha Phi Alpha
Fraternity, Inc. and G.E.N.T. Men.
DUAWNE STARLING’s (Ethan Wise) resume is virtually a who’s who in music. He has
worked with artists such as Kirk Franklin, Donnie McClurkin, BeBe and CeCe Winans,
Fred Hammond, Nicole Mullen, Michael W. Smith, Sandy Patti, Michael Jackson, Patti
Austin, Dolly Parton, Michael McDonald, Kelly Price and others. After distinguishing
himself as one of the top supporting vocalists in the music industry, it was evident that it
was time to launch his solo career. Starling’s captivating tenor voice earned him the
opportunity to sing “We Shall Overcome,” the theme song of the Civil Rights Movement,
at the Dr. Martin Luther King Jr. Memorial Dedication. Starling also sang the finale at
Senator Edward “Ted” Kennedy’s 77th Birthday Celebration, and he was the first and only
man to sing for the Vital Voices Global Leadership Awards. He performed a Negro
Spiritual for Let Freedom Ring, a musical tribute to Dr. Martin Luther King Jr., and was
a featured soloist for the concert series Joyful Sounds: Gospel Across America, all hosted by
The John F. Kennedy Center for the Performing Arts in Washington DC.
NOLAN WILLIAMS, JR.’S CHRISTMAS GIFT! | 24
claricesmithcenter.umd.edu | 301.405.ARTS (2787) | 25
ABOUT THE ARTISTS
ABOUT THE ARTISTS
Adinkra symbols were originally produced by the Gyaaman clans of the Ivory Coast.
Over time, the Asante tribe of Ghana, West Africa further developed adinkra symbology,
incorporating their own philosophies, folk tales and culture, and adding proverbs and
maxims to accompany them. (SOURCE: http://jendayi.co/symbols.htm)
Adinkra symbols have been incorporated into many aspects of Christmas Gift! including
the production logo, the trellises that frame the stage, and cast wardrobe. Here are the
seven Adinkra symbols featured in this production in Swahili with English translation:
1. “Help me and let me help you”
BOA ME NA ME MMOA WO
2. “Love never loses its way home” (The power of Love)
ODO NNYEW FIE KWAN
3. “Chain Link” (people are linked in life and death;
symbol of unity and brotherhood/sisterhood; “everyone is important”)
NKONSONKONSON
4. “By God’s Grace all will be well”
ONYANKOPON ADOM NTI BIRIBIARA BEYE YIE
ACKNOWLEDGMENTS
NEWorks Productions
Since 2003, NEWorks (‘NEW works’) Productions, LLC, has been a significant force in
conceptualizing, producing and contributing to inspirational arts programming in the
Washington metropolitan community, various regions of the country, and overseas in Italy,
England and Egypt. NEWorks believes in the power of music and the arts to reach diverse
audiences with messages of hope, edification, action and remembrance. To this end,
NEWorks has collaborated with the Clarice Smith Performing Arts Center, U.S. State
Department, John F. Kennedy Center for the Performing Arts, Mann Center for the
Performing Arts, National Symphony Orchestra, American Cancer Society, Goodwill,
Georgetown University, Oberlin College and Italy’s Amalfi Coast Music & Arts Festival.
www.neworksproductions.com
NEWorks PRODUCTIONS SPECIAL ACKNOWLEDGMENTS
TEAM NEWorks
Teresa A. Scott, Darryl Mayes, William Lynn Wallace, Damion Parran, Michael Dubose,
Kadesh Dubose, Kwamme Anderson, Shawna R. Berry, Sylveta Brown, Brittany Johnson,
Angela K. Lee and Renee Mitchell Paxton
FRIENDS OF NEWorks
Claude Bailey and Denise Gibson-Bailey
5. “Change or transform your character”
SESA WO SUBAN
Michael Bobbitt
6. “Strength through humility”
DWENNIMMEN
GREATER MT. CALVARY HOLY CHURCH
Archbishop Alfred Owens, Jr.
7. “Except for God” (The supremacy of God)
GYE NYAME
JOE’S MOVEMENT EMPORIUM
METROPOLITAN BAPTIST CHURCH
Dr. H. Beecher Hicks, Jr., senior minister
MICHIGAN PARK CHRISTIAN CHURCH
Rev. Marvin Owens, Jr., pastor
MT. JEZREEL BAPTIST CHURCH
Rev. Eldridge Spearman, pastor
MT. ZION BAPTIST CHURCH
Dr. Leonard Smith, pastor
NINETEENTH STREET BAPTIST CHURCH
Rev. Derrick Harkins, pastor
NOLAN WILLIAMS, JR.’S CHRISTMAS GIFT! | 26
claricesmithcenter.umd.edu | 301.405.ARTS (2787) | 27
ACKNOWLEDGMENTS
ADINKRA SYMBOLOGY IN CHRISTMAS GIFT!
ACKNOWLEDGMENTS
RESTORE TOGETHER
Rev. Louis and Demetria Hutchison
Lydia Sermons
Shawn Short
Daron P. Stewart
W H E R E T H E S TA R S A L I G N A N D P E R F O R M F O R YO U
2013–2014 SEASON
WEDNESDAY CLERGY FELLOWSHIP
Rev. Frank D. Tucker, president
NEWorks CG! SPONSORS
Michigan Park Christian Church
Rev. Marvin Owens, Jr., pastor
Curtis and Dorothy Swafford
Mattie Taylor and Van McCoy Music, Inc.
Archbishop Alfred Owens, Jr.
SUNDAYS AT 5:30PM
SHRIVERCONCERTS.ORG
MIRÓ QUARTET
SHAI WOSNER, PIANO
December 15, 2013
GERALD FINLEY
NEWorks CG! PATRONS
Rick Pogue
James Mitchell & Rev. Brenda Girton-Mitchell
Rev. Louis and Demetria Hutchison
BASS-BARITONE
JULIUS DRAKE, PIANO
February 9, 2014
NEWorks CG! DONORS
Dr. James Jackson
Dr. Pamela Carter-Nolan
Alicia Cook
Russ Easter
Jauvon Gilliam
Felecia B. McFail, From One Hand To Another-FOHTA
Angela K. Lee
Christopher Montgomery
Sharon Orr-Williams
GIL SHAHAM, VIOLIN
February 23, 2014
410.516.7164
SCHAROUN
ENSEMBLE BERLIN
March 16, 2014
TINE THING HELSETH
TRUMPET
BRETTON BROWN, PIANO
April 6, 2014
EMANUEL AX, PIANO
May 11, 2014
SUBSCRIPTIONS
AVA I L A B L E
INDIVIDUAL-CONCERT TICKETS
REGULAR $39 // STUDENTS $19
Discovery Series
FREE » SATURDAYS @ 3PM
SHC S @ HODSON HALL
MINETTI
QUARTETT
YEVGENY
SUDBIN, PIANO
March 8, 2014
May 3, 2014
ON THE JOHNS HOPKINS UNIVERSITY HOMEWOOD CAMPUS
NOLAN WILLIAMS, JR.’S CHRISTMAS GIFT! | 28