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DECEMBER JANUARY FEBRUARY
Flynn Center for the Performing Arts, a nonprofit organization.
FLYNN MARQUEE
A behind-the-scenes
look at the people
& programs you support.
Brushy One-String
2 | MARQUEE December, January, February
“Emiline Michel is a dancing ambassador with a voice serene and warm like a breeze.” —New York Times
Modern theater comes in many shapes and sizes
and modes of presentation. But much that is new has
simply returned to what is old, and in particular to
the dramaturgy of the Shakespearean stage. This is
certainly the style of Actors from the London Stage,
a touring company founded by Patrick Stewart in 1975.
The company’s actors are there to connect with the
audience, to talk to them and with them and play
with them. They work through the text, following its
own cues and hints, and they give special attention to the life of human speech
itself, greatly assisted by the shimmering brilliance of Shakespeare’s stage poetry.
It is, as Thornton Wilder might have said, a language fully invested in the now of
the stage, and thus also an invitation to share.
Actors from the London Stage has its own unique angle on performing
A Midsummer Night’s Dream, though one completely in keeping with the
vagaries of performance in Shakespeare’s own day: each play is performed
with just five actors. Part of what makes their productions special is what we
might call the choreography of the play, the way the actors constantly change
character—and accents and costumes, often right in front of us—sometimes
performing two or even three parts for a single scene. The theater of the now
becomes the theater of the wow as the audience delights in the creativity so
visibly on display. What we want from the stage, and what we realize we need
from it, is to witness the human imagination at work and in close proximity.
Actors from the London Stage’s production of A Midsummer Night’s Dream is
performed in FlynnSpace (and that means tickets are limited!) on Thursday and
Friday, February 25 and 26 at 8 pm. The company is also in residency at UVM
working with students and presenting a plenary session for the honors college.
Theater of the NowActors from the London Stage
by ANDREW BARNABY,University of Vermont
Other than direct travel to a foreign country, music is probably the best and easiest gateway into different cultures.
Records by international musical icons used to be difficult to find, but the 1980s saw a number of record labels, such as David Byrne’s Luaka Bop and Peter Gabriel’s Real World, work to make this music more accessible. Records from Brazil, Japan, Czechoslovakia, Norway, Mali, Congo, Madagascar, and South Africa found their way onto the Billboard charts. That work is continued today by people like Jacob Edgar, whose Charlotte-based label Cumbancha is one of the finest in the world.
GlobalFest began in 2003 as a New York City concert event designed to fill the public’s need for new sounds and celebrate different cultures. The single-evening concert featured multiple stages hosting various acts from around the world, a smorgasbord of new sounds.
The concept proved insanely popular: GlobalFest routinely sells out its annual four-stage extravaganza in Webster Hall in January. The producers decided to take the show on the road.
This marks GlobalFest’s first year as a touring entity, and I’m delighted that the Flynn is on the schedule (Wednesday, February 24). Unlike the wide-ranging New York version, the touring show is high-concept—for this tour it’s Creole Carnival, a celebration of the African music that made its way
to the Americas and provides the annual soundtrack to the pre-Lent festival known as Carnival.
• Jamaica’s Brushy One-String comes pretty much as advertised. Playing a guitar with one string (the low E, if you’re curious), Brushy draws on an array of musical worlds from this deceptively limited instrument, recalling raw blues and sweet soul over a Jamaican pulse.
• Emeline Michel is one of Haiti’s great voices, mixing Haitian rhythms with the poppier sounds she learned during stints in Detroit and Paris. Called “The Joni Mitchell of Haiti,” Michel is an excellent composer and fabulous live performer. Michel is among the most popular of Haiti artists that fill their music with socially-conscious lyrics, complex themes, and a broad palette of sounds.
• One of the first international fads to hit the U.S. was bossa nova, immortalized on the charts by The Girl from Ipanema. Casuarina embraces that sound, as well as samba, MPB (musica populaire Brasil), and chorinho, plus pop and urban music. The band is at the forefront of Brazil’s samba revival, and their live performances are cause for celebration.
GlobalFest Live!
by STEVE MACQUEEN,Artistic Director
Wednesday, February 24 at 7:30 pm, MainStage
“With a warm, rich baritone and the wisdom of the ages, Brushy One String’s deceptively simple but relentlessly energetic tunes summon up home truths about life, love, injustice, war, and hard times . . . Soul? This guy oozes it.” —PopMatters
“Casuarina has become famous for their original and sophisticated sound,
and original compositions and recreations of classic samba tunes, from legends such as João Nogueira, Dorival Caymmi, Martinho
da Vila, Paulinho da Viola, and more.” —Examiner
“An unforgettable night of rapturous dancing, musical meditation, and kinship.” —NPR
Fréd
éric
Silb
erm
an
A Midsummer Night’s Dream Thursday & Friday, February 25 & 26 at 8 pm, FlynnSpace
2 | MARQUEE December, January, February
2 | MARQUEE December, January, February
“Emiline Michel is a dancing ambassador with a voice serene and warm like a breeze.” —New York Times
Modern theater comes in many shapes and sizes
and modes of presentation. But much that is new has
simply returned to what is old, and in particular to
the dramaturgy of the Shakespearean stage. This is
certainly the style of Actors from the London Stage,
a touring company founded by Patrick Stewart in 1975.
The company’s actors are there to connect with the
audience, to talk to them and with them and play
with them. They work through the text, following its
own cues and hints, and they give special attention to the life of human speech
itself, greatly assisted by the shimmering brilliance of Shakespeare’s stage poetry.
It is, as Thornton Wilder might have said, a language fully invested in the now of
the stage, and thus also an invitation to share.
Actors from the London Stage has its own unique angle on performing
A Midsummer Night’s Dream, though one completely in keeping with the
vagaries of performance in Shakespeare’s own day: each play is performed
with just five actors. Part of what makes their productions special is what we
might call the choreography of the play, the way the actors constantly change
character—and accents and costumes, often right in front of us—sometimes
performing two or even three parts for a single scene. The theater of the now
becomes the theater of the wow as the audience delights in the creativity so
visibly on display. What we want from the stage, and what we realize we need
from it, is to witness the human imagination at work and in close proximity.
Actors from the London Stage’s production of A Midsummer Night’s Dream is
performed in FlynnSpace (and that means tickets are limited!) on Thursday and
Friday, February 25 and 26 at 8 pm. The company is also in residency at UVM
working with students and presenting a plenary session for the honors college.
Theater of the NowActors from the London Stage
by ANDREW BARNABY,University of Vermont
Other than direct travel to a foreign country, music is probably the best and easiest gateway into different cultures.
Records by international musical icons used to be difficult to find, but the 1980s saw a number of record labels, such as David Byrne’s Luaka Bop and Peter Gabriel’s Real World, work to make this music more accessible. Records from Brazil, Japan, Czechoslovakia, Norway, Mali, Congo, Madagascar, and South Africa found their way onto the Billboard charts. That work is continued today by people like Jacob Edgar, whose Charlotte-based label Cumbancha is one of the finest in the world.
GlobalFest began in 2003 as a New York City concert event designed to fill the public’s need for new sounds and celebrate different cultures. The single-evening concert featured multiple stages hosting various acts from around the world, a smorgasbord of new sounds.
The concept proved insanely popular: GlobalFest routinely sells out its annual four-stage extravaganza in Webster Hall in January. The producers decided to take the show on the road.
This marks GlobalFest’s first year as a touring entity, and I’m delighted that the Flynn is on the schedule (Wednesday, February 24). Unlike the wide-ranging New York version, the touring show is high-concept—for this tour it’s Creole Carnival, a celebration of the African music that made its way
to the Americas and provides the annual soundtrack to the pre-Lent festival known as Carnival.
• Jamaica’s Brushy One-String comes pretty much as advertised. Playing a guitar with one string (the low E, if you’re curious), Brushy draws on an array of musical worlds from this deceptively limited instrument, recalling raw blues and sweet soul over a Jamaican pulse.
• Emeline Michel is one of Haiti’s great voices, mixing Haitian rhythms with the poppier sounds she learned during stints in Detroit and Paris. Called “The Joni Mitchell of Haiti,” Michel is an excellent composer and fabulous live performer. Michel is among the most popular of Haiti artists that fill their music with socially-conscious lyrics, complex themes, and a broad palette of sounds.
• One of the first international fads to hit the U.S. was bossa nova, immortalized on the charts by The Girl from Ipanema. Casuarina embraces that sound, as well as samba, MPB (musica populaire Brasil), and chorinho, plus pop and urban music. The band is at the forefront of Brazil’s samba revival, and their live performances are cause for celebration.
GlobalFest Live!
by STEVE MACQUEEN,Artistic Director
Wednesday, February 24 at 7:30 pm, MainStage
“With a warm, rich baritone and the wisdom of the ages, Brushy One String’s deceptively simple but relentlessly energetic tunes summon up home truths about life, love, injustice, war, and hard times . . . Soul? This guy oozes it.” —PopMatters
“Casuarina has become famous for their original and sophisticated sound,
and original compositions and recreations of classic samba tunes, from legends such as João Nogueira, Dorival Caymmi, Martinho
da Vila, Paulinho da Viola, and more.” —Examiner
“An unforgettable night of rapturous dancing, musical meditation, and kinship.” —NPR
Fréd
éric
Silb
erm
an
A Midsummer Night’s Dream Thursday & Friday, February 25 & 26 at 8 pm, FlynnSpace
2 | MARQUEE December, January, February
4 | MARQUEE December, January, February December, January, February MARQUEE | 5
My musical education has always been hands-on. I played the
bassoon in the Vermont Youth Orchestra; I created a computer
program to play Bach for my high school senior recital; I produced
outdoor concerts for the Vermont Symphony and had the honor
of conducting the cannons during the 1812 Overture. I never took
a proper music theory course, but thanks to A Clockwork Orange,
I was always interested in how music could be used to alter moods
and behavior.
I was introduced to Brian Eno’s Music for Airports by a very
enthusiastic friend (and now business partner). His excitement
was contagious—here was piece of music that was supposed to
induce calm and create a space for one to think. Would it work?
Could it work? I had to know. I rushed down to the corner music
store, probably on my bike at that age, and was thrilled that they
actually had the album! I could not wait to get home and play it on
my stereo. The opening notes and phrasing immediately made an
indelible impression on my brain—and it certainly was trance-like.
I had to share the album with my music geek friends and find
out what they thought. Eno’s liner notes sparked quite a lot
of discussion, starting with whether or not he was successful
in calming people down. These discussions quickly spiraled
into more philosophical discussions about music; I remember
one where a friend came to the conclusion that music was just
organized noise. We played record repeatedly and only later did
I learn that this was Eno’s intent. Even to this day, I can listen to
the piece over and over again, but I still fidget.
I was thrilled when I heard reports that the piece would be played
in United’s Terminal 1 in Chicago. Sadly, those reports were a bit
premature. The architect was unable to secure the rights to use the
piece, so a new piece was commission specifically for the tunnel
connecting the B and C gates. It featured a lot of bleeps and beeps,
but it was nothing like Music for Airports. United pulled the piece after
a few months, which resulted in messy lawsuit. The piece was put to
work as intended at airports in New York City, Buffalo, and Minneapolis.
My business partner and I were thrilled to hear that Bang on a Can
All-Stars is bringing a live performance of Music for Airports
to the Flynn. When we were offered the chance to sponsor the event
we felt like proud parents.
by JOHN CANNINGPCC President & Founder
Music for Airports
Bang on a Can All-Stars Brian Eno’s “Music For Airports”
Friday, February 19 at 7 & 9:30 pm, FlynnSpace
I fell in love with both classical and electronic music when I received the soundtrack to A Clockwork Orange for
my 13th birthday. I was not allowed to open the record for several days because the movie itself was X-Rated and
my parents needed to figure out if it was safe for a young teen to listen to music by someone named “Beethoven.”
As I continued through high school and college, I spent all of my pocket money on records and CDs. I was on a
constant search for new and different types of music and could spend hours lost in a record store, painstakingly
sorting through the classical music section.
Her second album Eli and the Thirteenth Confession put her on the cover of Newsweek and captured the pop zeitgeist of the era. Other artists covering her material had great chart success, including the Fifth Dimension (Stoned Soul Picnic, Wedding Bell Blues), Blood Sweat & Tears (And When I Die), Barbara Streisand (Stoney End), and Three Dog Night (Eli’s Comin’).
Broad popular success, however, eluded Nyro and after four astounding, critically-acclaimed albums she walked away from the music industry. She toured occasionally and recorded sporadically on independent labels until her premature death at 49 from ovarian cancer in 1997. I had the privilege of seeing her live in concert on many occasions, from Carnegie Hall in New York to a small club in Philadelphia. Her quixotic mysticism always enthralled me.
Of late, her extraordinary legacy and influence are being remembered. In 2012, she was inducted into the Rock and Roll Hall of Fame, and last year jazz pianist Billy Childs arranged a tribute album, Map to the Treasure: Reimagining Laura Nyro, that featured Rickie Lee Jones, Chris Botti, Renee Fleming, Becca Stevens, Yo-Yo Ma, Diane Reeves, Esperanza Spalding, Wayne Shorter, and other musical luminaries. Jazz Times called it “a rousing, genre-defying homage to Nyro’s genius.”
Childs, himself a three-time Grammy Award-winner, brings this lauded project, Reimagining Laura Nyro, to the Flynn on January 23 with six musicians and two spectacular singers, Becca Stevens and Alicia Olatunji. I hope you will, to quote Ms. Nyro, “Surry down to a stoned soul picnic.” Please join me.
by JOHN KILLACKY,Executive Director
In the late 1960s, singer/songwriter Laura Nyro emerged from of the Bronx, drawing inspiration from Motown, doo-wop,
R & B, gospel, jazz, and Broadway show tunes. Nyro’s music sounded as if the beat of Martha and the Vandellas was
embellished by Miles Davis’ shape-shifting tempos and melodies. Her soulful soprano seduced listeners with feral fury
and passion, juxtaposed with almost unbearably tender and introspective lyrics of sensuality, emotion, and healing.
“Billy Childs manages to capture and even deepen the mystery of Laura Nyro’s songwriting.” —Village Voice
Laura Nyro: A Remembrance
Billy Childs: Reimagining Laura Nyro
Saturday, January 23 at 8 pm, MainStage
4 | MARQUEE December, January, February December, January, February MARQUEE | 5
My musical education has always been hands-on. I played the
bassoon in the Vermont Youth Orchestra; I created a computer
program to play Bach for my high school senior recital; I produced
outdoor concerts for the Vermont Symphony and had the honor
of conducting the cannons during the 1812 Overture. I never took
a proper music theory course, but thanks to A Clockwork Orange,
I was always interested in how music could be used to alter moods
and behavior.
I was introduced to Brian Eno’s Music for Airports by a very
enthusiastic friend (and now business partner). His excitement
was contagious—here was piece of music that was supposed to
induce calm and create a space for one to think. Would it work?
Could it work? I had to know. I rushed down to the corner music
store, probably on my bike at that age, and was thrilled that they
actually had the album! I could not wait to get home and play it on
my stereo. The opening notes and phrasing immediately made an
indelible impression on my brain—and it certainly was trance-like.
I had to share the album with my music geek friends and find
out what they thought. Eno’s liner notes sparked quite a lot
of discussion, starting with whether or not he was successful
in calming people down. These discussions quickly spiraled
into more philosophical discussions about music; I remember
one where a friend came to the conclusion that music was just
organized noise. We played record repeatedly and only later did
I learn that this was Eno’s intent. Even to this day, I can listen to
the piece over and over again, but I still fidget.
I was thrilled when I heard reports that the piece would be played
in United’s Terminal 1 in Chicago. Sadly, those reports were a bit
premature. The architect was unable to secure the rights to use the
piece, so a new piece was commission specifically for the tunnel
connecting the B and C gates. It featured a lot of bleeps and beeps,
but it was nothing like Music for Airports. United pulled the piece after
a few months, which resulted in messy lawsuit. The piece was put to
work as intended at airports in New York City, Buffalo, and Minneapolis.
My business partner and I were thrilled to hear that Bang on a Can
All-Stars is bringing a live performance of Music for Airports
to the Flynn. When we were offered the chance to sponsor the event
we felt like proud parents.
by JOHN CANNINGPCC President & Founder
Music for Airports
Bang on a Can All-Stars Brian Eno’s “Music For Airports”
Friday, February 19 at 7 & 9:30 pm, FlynnSpace
I fell in love with both classical and electronic music when I received the soundtrack to A Clockwork Orange for
my 13th birthday. I was not allowed to open the record for several days because the movie itself was X-Rated and
my parents needed to figure out if it was safe for a young teen to listen to music by someone named “Beethoven.”
As I continued through high school and college, I spent all of my pocket money on records and CDs. I was on a
constant search for new and different types of music and could spend hours lost in a record store, painstakingly
sorting through the classical music section.
Her second album Eli and the Thirteenth Confession put her on the cover of Newsweek and captured the pop zeitgeist of the era. Other artists covering her material had great chart success, including the Fifth Dimension (Stoned Soul Picnic, Wedding Bell Blues), Blood Sweat & Tears (And When I Die), Barbara Streisand (Stoney End), and Three Dog Night (Eli’s Comin’).
Broad popular success, however, eluded Nyro and after four astounding, critically-acclaimed albums she walked away from the music industry. She toured occasionally and recorded sporadically on independent labels until her premature death at 49 from ovarian cancer in 1997. I had the privilege of seeing her live in concert on many occasions, from Carnegie Hall in New York to a small club in Philadelphia. Her quixotic mysticism always enthralled me.
Of late, her extraordinary legacy and influence are being remembered. In 2012, she was inducted into the Rock and Roll Hall of Fame, and last year jazz pianist Billy Childs arranged a tribute album, Map to the Treasure: Reimagining Laura Nyro, that featured Rickie Lee Jones, Chris Botti, Renee Fleming, Becca Stevens, Yo-Yo Ma, Diane Reeves, Esperanza Spalding, Wayne Shorter, and other musical luminaries. Jazz Times called it “a rousing, genre-defying homage to Nyro’s genius.”
Childs, himself a three-time Grammy Award-winner, brings this lauded project, Reimagining Laura Nyro, to the Flynn on January 23 with six musicians and two spectacular singers, Becca Stevens and Alicia Olatunji. I hope you will, to quote Ms. Nyro, “Surry down to a stoned soul picnic.” Please join me.
by JOHN KILLACKY,Executive Director
In the late 1960s, singer/songwriter Laura Nyro emerged from of the Bronx, drawing inspiration from Motown, doo-wop,
R & B, gospel, jazz, and Broadway show tunes. Nyro’s music sounded as if the beat of Martha and the Vandellas was
embellished by Miles Davis’ shape-shifting tempos and melodies. Her soulful soprano seduced listeners with feral fury
and passion, juxtaposed with almost unbearably tender and introspective lyrics of sensuality, emotion, and healing.
“Billy Childs manages to capture and even deepen the mystery of Laura Nyro’s songwriting.” —Village Voice
Laura Nyro: A Remembrance
Billy Childs: Reimagining Laura Nyro
Saturday, January 23 at 8 pm, MainStage
6 | MARQUEE December, January, February December, January, February MARQUEE | 7
2015 Governor’s Arts Awards for the FlynnEach year, the Vermont Arts Council, in association with the Governor’s
office, recognizes outstanding individual and organizational contributions
to the arts. Awards and citations are given to educators, artists, performers,
advocates, administrators, volunteers, and scholars. We’re thrilled that
this year’s recipients include three Flynn associates: Executive Director
John Killacky, who received the Margaret L. (Peggy) Kannenstine
Award for Arts Advocacy; and Flynn Show Choir Co-Choreographer
Karen Amirault and FlynnArts teacher Jon Gailmor, both of whom
received the Ellen McCulloch-Lovell Award in Arts Education.
Vermont Arts Council Executive Director Alex Aldrich said, “It probably
comes as no surprise to people in the Vermont arts community that folks
affiliated with the Flynn should be among the first recipients of these
awards. But Vermont is, after all, a small state and all of these artists are
so well-known to so many across its length and breadth. We’re just so
proud of all these recipients; they are so emblematic of what the arts in
Vermont are all about.”
I bring this perspective with me every time I visit a school to teach a student matinee companion
workshop. For this reason, I’m passionate about the work that goes into preparing Vermont’s children to experience a live performance.
School teachers who make Flynn student matinee reservations have the opportunity to book a hands-on workshop in their classroom. These workshops are a unique experience—each one is tailored to the individual performance and is designed to invite students into a deeper experience of that show.
Consistently, the workshops include a chance for students to imagine what it might feel like to be a performer in the show they will see. Supported by the
Flynn’s Words Come Alive arts integration program, hands-on drama and dance exercises guide students through the process of making creative choices with their bodies, voices, and imaginations. They pretend that their classroom is the Flynn stage, and they are performers on it.
Days later, when they come to the Flynn, the students are excited. They watch the show with exceptional focus, comparing their own creative choices with those being made on stage, all while appreciating the skill and artistry of the professionals.
Teaching students across the state requires an
adventurous spirit, a high standard of excellence,
and a fair share of stamina. But I love the work and
When I was eight years old, I attended my first ever baseball game at Fenway Park in Boston. I remember the energy
of the crowd, the green of the field, and the warmth of the sun. I remember my mother sitting next to me, kindly
pointing out the players and explaining the rules of the game. It was a happy day. Still, looking back on that moment,
forty years later, I see that it could have been more. I had never tried to play the game myself, never tried to catch
a baseball with a glove or hit a ball with a bat, so I could not appreciate the players’ skill, teamwork, or athleticism.
I remained a passive spectator when I could have been an engaged fan.
Play BallGetting Kids off the Sidelines through the Performing Arts
By SUSANNA OLSON,Flynn Teaching Artist
Fréd
éric
Silb
erm
an
believe in it—now more than ever. I believe in it as
a formative learning experience, because I see so
many Vermont schoolchildren whose first exposure
to live performing arts is through a field trip to the
Flynn. It is a source of hope for humanity, because
I see engagement in the arts as an antidote to
pervasive technological trends away from community
and toward isolation. Finally, it’s an investment in
our shared future as a society, because I see today’s
attentive student matinee audiences as tomorrow’s
arts creators and patrons.
This satisfaction culminates on matinee days,
when I greet all my companion workshop students
in the lobby. Once in a while, as I give them sporting
high-fives on their way into the theater, I recall my
eight-year-old self at Fenway—I grin, look at the
young rookies striding past me, and think, “Play ball!”
Susanna Olson has been affiliated with the Flynn Center as a teaching artist since 1996.
JOHN KILLACKY
Mat
thew
Tho
rsen
KAREN AMIRAULT
Fréd
éric
Silb
erm
an
JON GAILMOR
Julia graduated from Champlain College
in May with a degree in communication.
During her time at Champlain she was named
Outstanding Communication Student two years
in a row and was an intern with the Flynn’s
programming department, where she aided
with artist residencies and services. She also
worked to connect students at Champlain with the Flynn, while developing
her interest in arts administration. After graduation, she was the volunteer
coordinator for the Burlington Discover Jazz Festival, before landing
squarely back in the Flynn offices. The performing arts have played an
integral role in her life from the time she got up on stage in elementary
school, and have shaped her into a more collaborative, purposeful, and
expressive individual throughout her life. Julia is eager to start her career
and is excited to assist in bringing a diverse selection of shows to the
community as the Flynn’s event and contract manager, both through
Flynn-presented shows and rentals.
Fréd
éric
Silb
erm
an
New Staff Member: Julia Kehr
6 | MARQUEE December, January, February December, January, February MARQUEE | 7
2015 Governor’s Arts Awards for the FlynnEach year, the Vermont Arts Council, in association with the Governor’s
office, recognizes outstanding individual and organizational contributions
to the arts. Awards and citations are given to educators, artists, performers,
advocates, administrators, volunteers, and scholars. We’re thrilled that
this year’s recipients include three Flynn associates: Executive Director
John Killacky, who received the Margaret L. (Peggy) Kannenstine
Award for Arts Advocacy; and Flynn Show Choir Co-Choreographer
Karen Amirault and FlynnArts teacher Jon Gailmor, both of whom
received the Ellen McCulloch-Lovell Award in Arts Education.
Vermont Arts Council Executive Director Alex Aldrich said, “It probably
comes as no surprise to people in the Vermont arts community that folks
affiliated with the Flynn should be among the first recipients of these
awards. But Vermont is, after all, a small state and all of these artists are
so well-known to so many across its length and breadth. We’re just so
proud of all these recipients; they are so emblematic of what the arts in
Vermont are all about.”
I bring this perspective with me every time I visit a school to teach a student matinee companion
workshop. For this reason, I’m passionate about the work that goes into preparing Vermont’s children to experience a live performance.
School teachers who make Flynn student matinee reservations have the opportunity to book a hands-on workshop in their classroom. These workshops are a unique experience—each one is tailored to the individual performance and is designed to invite students into a deeper experience of that show.
Consistently, the workshops include a chance for students to imagine what it might feel like to be a performer in the show they will see. Supported by the
Flynn’s Words Come Alive arts integration program, hands-on drama and dance exercises guide students through the process of making creative choices with their bodies, voices, and imaginations. They pretend that their classroom is the Flynn stage, and they are performers on it.
Days later, when they come to the Flynn, the students are excited. They watch the show with exceptional focus, comparing their own creative choices with those being made on stage, all while appreciating the skill and artistry of the professionals.
Teaching students across the state requires an
adventurous spirit, a high standard of excellence,
and a fair share of stamina. But I love the work and
When I was eight years old, I attended my first ever baseball game at Fenway Park in Boston. I remember the energy
of the crowd, the green of the field, and the warmth of the sun. I remember my mother sitting next to me, kindly
pointing out the players and explaining the rules of the game. It was a happy day. Still, looking back on that moment,
forty years later, I see that it could have been more. I had never tried to play the game myself, never tried to catch
a baseball with a glove or hit a ball with a bat, so I could not appreciate the players’ skill, teamwork, or athleticism.
I remained a passive spectator when I could have been an engaged fan.
Play BallGetting Kids off the Sidelines through the Performing Arts
By SUSANNA OLSON,Flynn Teaching Artist
Fréd
éric
Silb
erm
an
believe in it—now more than ever. I believe in it as
a formative learning experience, because I see so
many Vermont schoolchildren whose first exposure
to live performing arts is through a field trip to the
Flynn. It is a source of hope for humanity, because
I see engagement in the arts as an antidote to
pervasive technological trends away from community
and toward isolation. Finally, it’s an investment in
our shared future as a society, because I see today’s
attentive student matinee audiences as tomorrow’s
arts creators and patrons.
This satisfaction culminates on matinee days,
when I greet all my companion workshop students
in the lobby. Once in a while, as I give them sporting
high-fives on their way into the theater, I recall my
eight-year-old self at Fenway—I grin, look at the
young rookies striding past me, and think, “Play ball!”
Susanna Olson has been affiliated with the Flynn Center as a teaching artist since 1996.
JOHN KILLACKY
Mat
thew
Tho
rsen
KAREN AMIRAULT
Fréd
éric
Silb
erm
an
JON GAILMOR
Julia graduated from Champlain College
in May with a degree in communication.
During her time at Champlain she was named
Outstanding Communication Student two years
in a row and was an intern with the Flynn’s
programming department, where she aided
with artist residencies and services. She also
worked to connect students at Champlain with the Flynn, while developing
her interest in arts administration. After graduation, she was the volunteer
coordinator for the Burlington Discover Jazz Festival, before landing
squarely back in the Flynn offices. The performing arts have played an
integral role in her life from the time she got up on stage in elementary
school, and have shaped her into a more collaborative, purposeful, and
expressive individual throughout her life. Julia is eager to start her career
and is excited to assist in bringing a diverse selection of shows to the
community as the Flynn’s event and contract manager, both through
Flynn-presented shows and rentals.
Fréd
éric
Silb
erm
an
New Staff Member: Julia Kehr
8 | MARQUEE December, January, February
by TANYA LEE STONE
Our collective idea of American history is incomplete.
There are countless little-known or unknown histories
waiting to be told; countless gaps in our history books.
As you might imagine, most of these untold stories feature
women and people of color. The more gaps we can fill, the
more rounded and complete our American story becomes.
World War II is a time period for which an enormous number of
stories about black soldiers were left out of official records. Heroes
went unrecognized, accomplishments forgotten. Even photographic
archives of black soldiers were not properly kept and are horribly
limited—in comparison to the millions of catalogued photographs
of white soldiers, there are minimal images used over and over again
to depict the plight of the black soldier during World War II. This
unbalanced record-keeping was a way of deflating the contributions
of black soldiers to the war effort. I know this, in part, due to my own
research and writing of the previously untold story of the first black
paratroopers in World War II—the 555th Infantry, or the Triple Nickles.
While writing their story in my book Courage Has No Color, I gained
an extensive education on the achievements of black military efforts
in World War II.
Thankfully, the story of the Tuskegee Airmen has gotten well-
deserved attention from writers and filmmakers in the past decade,
and because of this, these pioneering pilots are no longer completely
unknown to us. This fact alone supplies enough evidence to support
just how influential it can be for storytellers to share these important
American stories.
Playwright Layon Gray tackles the topic of these brave African-American
men in a fresh new way with his historical docudrama Black Angels
over Tuskegee, coming to the Flynn on Friday, January 29 from
its off-Broadway run in New York. Gray took on the challenge of
working with the historical record and felt a great responsibility to
get the story right. Inspired by true events, the play follows six
of these brave airmen on their path to becoming the first African-
American aviators in the segregated US Army Air Force during World
War II. These men had to perform exceedingly well—enough to not
only succeed for themselves, but to convince the powers-that-be
that other black soldiers could follow in their footsteps.
Just like the Triple Nickles, the Tuskegee Airmen were expected to fail,
and faced obstacles again and again related to prejudice and racism.
And yet the achievements of both groups surpassed expectations,
paving the way for the integration of the Army. Exploring the journey
of the Tuskegee Airmen with actors that step into the characters’
shoes is a tremendous way to bring their story to life.
Filling in the Gaps of our American Story
Black Angels over Tusekegee Friday, January 29 at 8 pm, MainStage
Tanya Lee Stone is an award-winning author of fiction and narrative nonfiction. Her book Courage
Has No Color won the NAACP Award in 2014.
Exhibit runs December 4, 2015 through February 27, 2016
Reception on Friday, December 4 from 5:30-8 pm
Artist Talk/Slide Show on Saturday, January 16 at 1:30 pm
IN THE Gallery
Matthew Thorsen began his journey in photography at an early age, and has amassed a library of images that run the gamut from the majestic to the macabre.
This exhibition includes a broad selection of Thorsen’s interests including personal family photos, some of Vermont’s most newsworthy individuals, and selections from his acclaimed Sound Proof multimedia exhibit of rock performance and artist photos. To date, over 6,000 of his photographs have been published in various media. Thorsen’s work has also been featured in over 50 gallery exhibits including the National Geographic Hall of Discoveries in Washington, D.C., Epcot Center at Disney World, Times Square in New York, Vermont’s capitol building in Montpelier, and the Governor’s Gallery (Vermont), to name a few. Soundproof and the accompanying audio interpretation were curated by Big Heavy World, with support from Creative Habitat and Seven days.
Matthew Thorsen Photography
The Amy E. Tarrant Gallery is open to the public Saturday from 11 am to 4 pm. Performance attendees may also view exhibits prior to MainStage shows and during intermission.
Stev
e M
ease
This event is very special to us. It is our opportunity to thank all of you personally for your tremendous support of the Flynn. Through corporate sponsorships, the Flynn and business community have joined together to ensure the arts remain vibrant in our area. From nurturing emerging artists, to excellence in programming, to the contagious smiles of young people at student matinees, your support is making a difference.
As a business owner, I am proud to support the Flynn through Flynn’s Dining Circle. Not only am I supporting an organization that contributed to my education growing up in Burlington, I’m also supporting an organization that plays a pivotal role in the economic vitality of our community. The Flynn’s ability to transcend barriers and bring people together is truly extraordinary.
On behalf of the Flynn Staff and Board of Directors, thank you for recognizing the Flynn’s unique contributions and for your corporate support. It is the strength of our community, and people like you, that make the Flynn such a remarkable place. Thank You.
By SARA BYERS, Flynn Center Board Chair
Sara Byers, Chair of the Flynn Board, welcomes guests at the Flynn’s annual Corporate Appreciation Celebration on October 23rd.
Guests enjoyed a preshow reception followed by the performance
of Henry Butler with Steven Bernstein & Hot 9.
Henry Butler also performed at a special house concert to benefit the Burlington Discover Jazz Festival. Pictured left to right are Linda Little, Managing Director of Burlington Discover Jazz Festival, Yvette Pigeon, Chico Lager, Nancy McClellan, Elliot Douglas and John Killacky
Corporate Appreciation Night
John Killacky and Beth Fastiggi, of Fairpoint Communications, show sponsor for the evening’s performance.
Stev
e M
ease
Steve Mease
8 | MARQUEE December, January, February
by TANYA LEE STONE
Our collective idea of American history is incomplete.
There are countless little-known or unknown histories
waiting to be told; countless gaps in our history books.
As you might imagine, most of these untold stories feature
women and people of color. The more gaps we can fill, the
more rounded and complete our American story becomes.
World War II is a time period for which an enormous number of
stories about black soldiers were left out of official records. Heroes
went unrecognized, accomplishments forgotten. Even photographic
archives of black soldiers were not properly kept and are horribly
limited—in comparison to the millions of catalogued photographs
of white soldiers, there are minimal images used over and over again
to depict the plight of the black soldier during World War II. This
unbalanced record-keeping was a way of deflating the contributions
of black soldiers to the war effort. I know this, in part, due to my own
research and writing of the previously untold story of the first black
paratroopers in World War II—the 555th Infantry, or the Triple Nickles.
While writing their story in my book Courage Has No Color, I gained
an extensive education on the achievements of black military efforts
in World War II.
Thankfully, the story of the Tuskegee Airmen has gotten well-
deserved attention from writers and filmmakers in the past decade,
and because of this, these pioneering pilots are no longer completely
unknown to us. This fact alone supplies enough evidence to support
just how influential it can be for storytellers to share these important
American stories.
Playwright Layon Gray tackles the topic of these brave African-American
men in a fresh new way with his historical docudrama Black Angels
over Tuskegee, coming to the Flynn on Friday, January 29 from
its off-Broadway run in New York. Gray took on the challenge of
working with the historical record and felt a great responsibility to
get the story right. Inspired by true events, the play follows six
of these brave airmen on their path to becoming the first African-
American aviators in the segregated US Army Air Force during World
War II. These men had to perform exceedingly well—enough to not
only succeed for themselves, but to convince the powers-that-be
that other black soldiers could follow in their footsteps.
Just like the Triple Nickles, the Tuskegee Airmen were expected to fail,
and faced obstacles again and again related to prejudice and racism.
And yet the achievements of both groups surpassed expectations,
paving the way for the integration of the Army. Exploring the journey
of the Tuskegee Airmen with actors that step into the characters’
shoes is a tremendous way to bring their story to life.
Filling in the Gaps of our American Story
Black Angels over Tusekegee Friday, January 29 at 8 pm, MainStage
Tanya Lee Stone is an award-winning author of fiction and narrative nonfiction. Her book Courage
Has No Color won the NAACP Award in 2014.
Exhibit runs December 4, 2015 through February 27, 2016
Reception on Friday, December 4 from 5:30-8 pm
Artist Talk/Slide Show on Saturday, January 16 at 1:30 pm
IN THE Gallery
Matthew Thorsen began his journey in photography at an early age, and has amassed a library of images that run the gamut from the majestic to the macabre.
This exhibition includes a broad selection of Thorsen’s interests including personal family photos, some of Vermont’s most newsworthy individuals, and selections from his acclaimed Sound Proof multimedia exhibit of rock performance and artist photos. To date, over 6,000 of his photographs have been published in various media. Thorsen’s work has also been featured in over 50 gallery exhibits including the National Geographic Hall of Discoveries in Washington, D.C., Epcot Center at Disney World, Times Square in New York, Vermont’s capitol building in Montpelier, and the Governor’s Gallery (Vermont), to name a few. Soundproof and the accompanying audio interpretation were curated by Big Heavy World, with support from Creative Habitat and Seven days.
Matthew Thorsen Photography
The Amy E. Tarrant Gallery is open to the public Saturday from 11 am to 4 pm. Performance attendees may also view exhibits prior to MainStage shows and during intermission.
Stev
e M
ease
This event is very special to us. It is our opportunity to thank all of you personally for your tremendous support of the Flynn. Through corporate sponsorships, the Flynn and business community have joined together to ensure the arts remain vibrant in our area. From nurturing emerging artists, to excellence in programming, to the contagious smiles of young people at student matinees, your support is making a difference.
As a business owner, I am proud to support the Flynn through Flynn’s Dining Circle. Not only am I supporting an organization that contributed to my education growing up in Burlington, I’m also supporting an organization that plays a pivotal role in the economic vitality of our community. The Flynn’s ability to transcend barriers and bring people together is truly extraordinary.
On behalf of the Flynn Staff and Board of Directors, thank you for recognizing the Flynn’s unique contributions and for your corporate support. It is the strength of our community, and people like you, that make the Flynn such a remarkable place. Thank You.
By SARA BYERS, Flynn Center Board Chair
Sara Byers, Chair of the Flynn Board, welcomes guests at the Flynn’s annual Corporate Appreciation Celebration on October 23rd.
Guests enjoyed a preshow reception followed by the performance
of Henry Butler with Steven Bernstein & Hot 9.
Henry Butler also performed at a special house concert to benefit the Burlington Discover Jazz Festival. Pictured left to right are Linda Little, Managing Director of Burlington Discover Jazz Festival, Yvette Pigeon, Chico Lager, Nancy McClellan, Elliot Douglas and John Killacky
Corporate Appreciation Night
John Killacky and Beth Fastiggi, of Fairpoint Communications, show sponsor for the evening’s performance.
Stev
e M
ease
Steve Mease
Artists Develop New Works
The Flynn co-commissions new works by national artists, which often
include residencies during their time in Vermont. This year, we’re
proud to help commission a new composition from Maria Schneider,
who performs with her orchestra on April 20. Schneider is one of
America’s leading composers and a three-time Grammy winner.
While here, she will participate in a panel about intellectual property
rights with members of the artistic, legal, business, and college
community. Student musicians in the UVM big band have a unique
opportunity to work directly with Schneider. A gift of $500 helps toward our $5,000 commissioning support for new work.
Supporting Local Artists
We work closely with area artists to support their creativity.
This fall, Kelly Jane Thomas, Jena Necrason, and Kim Jordan
created and performed a new theater piece addressing the issue
of criminal justice reform; jazz saxophonist Brian McCarthy
created a new suite exploring songs of the American Civil War;
and director Seth Jarvis collaborated with female theater artists
to devise a piece about upheavals and change. A gift of $500 supports a local artist to develop new work.
Regional Artists Exhibition Support
The Flynn’s Amy E. Tarrant Gallery focuses on the exhibition of
regional artists. The work of photographer Matthew Thorsen is
on view now through February 26; then in June, a selection from
G.R.A.C.E. Gallery (Grass Roots Art and Community Effort) in
Hardwick, Vermont is featured. A gift of $750 helps underwrite an artist’s exhibition.
Young Artist Scholarships
Making the arts accessible is crucial to the Flynn’s mission.
Scholarships open doors for young students to explore their
creativity and inspire them toward excellence. Each season,
the Flynn provides over $16,000 in scholarship support.
$250 provides scholarships for artists to take dance, theater, or music classes.
Teaching Artists transform classroom learning
Artists provide many access points for experiencing the arts.
Teaching artists provide over 1,000 hours of in-school workshops
each season, often to deepen the experience of a Student Matinee
performance, or integrate the arts into daily curriculum. Students
and teachers experience firsthand the power of the arts in their
Fund an Artist and Make an ImpactArtists are the lifeblood of the Flynn, serving as
catalysts for creativity, self-expression, community-
building, and inspiration. Artists bring community
members together for meaningful discussion and
exploration of ideas; in schools, our teaching artists
tap into students’ creativity as they learn core subjects
through theater, dance, and music; and young artists
are nurtured to develop creative expression through
the Flynn’s performing arts classes.
P E R F O R M I N G A R T S
On September 4 and 5, one hundred and eight intrepid individuals rap-pelled down the side of the Courtyard Marriott in Burlington, Vermont raising funds for the Flynn Center’s cultural and educational programs including scholarships for FlynnArts students, subsidies for student matinees, and subsidized tickets for our social and human services partners. The Flynn is a not-for-profit, 501(c)(3) organization.
flynncenter.org/overtheedge.html
Venue sponsor
Presenting sponsors
We could not do it without our generous sponsors:
Underwriting sponsors
Independent Radio
pointfm
.com
93.3 • 100.3 • 104.7 • 98.1 • 95.7 • 103.1 • 107.1
“The Edge...there is no honest way to explain it because the only people who really know where it is are the ones who have gone over.” —Hunter S. Thompson
save the9.3.2016
STEP
HEN
MEA
SE P
HOTO
GRAP
HY
Thanks for going Over the Edge
Laura Abbott l Randy Aiken l Jeff Baumann l Bruce Bernier l Scott Bevins l Jorden Blanchard l Betsy Bluto l Ken Bolio l Tom Burrows l Sue Busby l Kelly Byers l Jeff Campagna l Jay Canning l Matt Canning l Mike Carleson l Sarah Carnevale l Erin Cofiell l Anna Couture l Monique Crete l Richard Deane l Brandon Del Pozo l Bill Desautels l Ellen Desjardin l Kelly Devine l Robert Downey l Jacquie Dragon l Chiuho Duval l Don Eggert l Erin Evarts l Michelle Farkas l Nancy Farley l Wendy Farrell l Eric Flegenheimer l Frost Gay l Al Getler l Lisa Getty l Linda Goldstein l Stephanie Hainley l Lindsey Halman l Alex Halpern l Jamie Harnish l Elena Henley l David Hildebrand l Lewis Holcroft l Lisa Howe l Olivia Hunt l Ben Kennedy l Brian Kennedy l Bridget Kerr l Shaun King l Jennifer Kurdle l Christian Kuzia l Mark Langan l Tom Leavitt l Bryan Lemoine l Jessica Little l Dylan Lorraine l Shona Lothrop l Aida Luce l Kevin Lumpkin l Nichole Magoon l Arnie Malina l Chip Mason l Nancy McClellan l Peter McCoy l David Means l Carrie Nolting l Kathy O’Brien l Stacy O’Connor l Robert O’ Neill l Eric Ode l Sarah O Donnell l Grant Orenstein l Will Patlove l Ilka Pelczarski l T.J. Phillips l Yvette Pigeon l Mary Poppins l Michaela Quinlan l Mary Pat Ragosta l Stephen Richards l Alison Rogers l Paul Savas l Henry Sinkula l Mike Schirling l Logan Smith l Matt Smith l Mike Smith l Sue Snyder l Mark Sousa l Spiderman l Gene Steinfeld l Brian Stevens l Dave Stever l Jay Strausser l JJ Strausser l Tom Stretton l June Taylor l Cindy Turcot l Freda Tutt l Magda Van Ornum l Miro Weinberger l Pam Wheeler l Ava Whitcomb l Ricky Wood l Steve Wry l Phil Young
And to all our volunteers, thanks,
and thanks again.
classrooms, their schools, and their lives. Our teaching artists are
passionate about unleashing joy and creativity into teaching and
learning in Vermont schools. $100 pays for a teaching artist to teach an in-school workshop.
The Flynn works with over 70 teaching artists every season.
(Meet one of them, Susanna Olson, profiled on page 6.)
To ensure increasing skills, high-quality teaching, and to invest
in teaching artists’ powerful potential, we are committed to
providing professional development opportunities that increase
the impact of the work that our teaching artists do and reflect
the evolving needs of the community we serve. $1,000 provides professional development opportunities for all of the Flynn’s teaching artists.
Artists are at the heart of what the Flynn does— the more opportunities we create for them, the better our community becomes.
Please consider a year-end gift to Fund an Artist.
If you have any questions, contact Gina Haddock at 802-652-4533 or [email protected].
One of America’s leading composers, Maria Schneider.
Local Artist, jazz saxophonist Brian McCarthy.
Work from photographer Mattew Thorsen. Young artists exploring their creativity. Flynn teaching artist Lida Winfield engaging students.
Please consider making a gift today to Fund an Artist.
Artists Develop New Works
The Flynn co-commissions new works by national artists, which often
include residencies during their time in Vermont. This year, we’re
proud to help commission a new composition from Maria Schneider,
who performs with her orchestra on April 20. Schneider is one of
America’s leading composers and a three-time Grammy winner.
While here, she will participate in a panel about intellectual property
rights with members of the artistic, legal, business, and college
community. Student musicians in the UVM big band have a unique
opportunity to work directly with Schneider. A gift of $500 helps toward our $5,000 commissioning support for new work.
Supporting Local Artists
We work closely with area artists to support their creativity.
This fall, Kelly Jane Thomas, Jena Necrason, and Kim Jordan
created and performed a new theater piece addressing the issue
of criminal justice reform; jazz saxophonist Brian McCarthy
created a new suite exploring songs of the American Civil War;
and director Seth Jarvis collaborated with female theater artists
to devise a piece about upheavals and change. A gift of $500 supports a local artist to develop new work.
Regional Artists Exhibition Support
The Flynn’s Amy E. Tarrant Gallery focuses on the exhibition of
regional artists. The work of photographer Matthew Thorsen is
on view now through February 26; then in June, a selection from
G.R.A.C.E. Gallery (Grass Roots Art and Community Effort) in
Hardwick, Vermont is featured. A gift of $750 helps underwrite an artist’s exhibition.
Young Artist Scholarships
Making the arts accessible is crucial to the Flynn’s mission.
Scholarships open doors for young students to explore their
creativity and inspire them toward excellence. Each season,
the Flynn provides over $16,000 in scholarship support.
$250 provides scholarships for artists to take dance, theater, or music classes.
Teaching Artists transform classroom learning
Artists provide many access points for experiencing the arts.
Teaching artists provide over 1,000 hours of in-school workshops
each season, often to deepen the experience of a Student Matinee
performance, or integrate the arts into daily curriculum. Students
and teachers experience firsthand the power of the arts in their
Fund an Artist and Make an ImpactArtists are the lifeblood of the Flynn, serving as
catalysts for creativity, self-expression, community-
building, and inspiration. Artists bring community
members together for meaningful discussion and
exploration of ideas; in schools, our teaching artists
tap into students’ creativity as they learn core subjects
through theater, dance, and music; and young artists
are nurtured to develop creative expression through
the Flynn’s performing arts classes.
P E R F O R M I N G A R T S
On September 4 and 5, one hundred and eight intrepid individuals rap-pelled down the side of the Courtyard Marriott in Burlington, Vermont raising funds for the Flynn Center’s cultural and educational programs including scholarships for FlynnArts students, subsidies for student matinees, and subsidized tickets for our social and human services partners. The Flynn is a not-for-profit, 501(c)(3) organization.
flynncenter.org/overtheedge.html
Venue sponsor
Presenting sponsors
We could not do it without our generous sponsors:
Underwriting sponsors
Independent Radio
pointfm
.com
93.3 • 100.3 • 104.7 • 98.1 • 95.7 • 103.1 • 107.1
“The Edge...there is no honest way to explain it because the only people who really know where it is are the ones who have gone over.” —Hunter S. Thompson
save the9.3.2016
STEP
HEN
MEA
SE P
HOTO
GRAP
HY
Thanks for going Over the Edge
Laura Abbott l Randy Aiken l Jeff Baumann l Bruce Bernier l Scott Bevins l Jorden Blanchard l Betsy Bluto l Ken Bolio l Tom Burrows l Sue Busby l Kelly Byers l Jeff Campagna l Jay Canning l Matt Canning l Mike Carleson l Sarah Carnevale l Erin Cofiell l Anna Couture l Monique Crete l Richard Deane l Brandon Del Pozo l Bill Desautels l Ellen Desjardin l Kelly Devine l Robert Downey l Jacquie Dragon l Chiuho Duval l Don Eggert l Erin Evarts l Michelle Farkas l Nancy Farley l Wendy Farrell l Eric Flegenheimer l Frost Gay l Al Getler l Lisa Getty l Linda Goldstein l Stephanie Hainley l Lindsey Halman l Alex Halpern l Jamie Harnish l Elena Henley l David Hildebrand l Lewis Holcroft l Lisa Howe l Olivia Hunt l Ben Kennedy l Brian Kennedy l Bridget Kerr l Shaun King l Jennifer Kurdle l Christian Kuzia l Mark Langan l Tom Leavitt l Bryan Lemoine l Jessica Little l Dylan Lorraine l Shona Lothrop l Aida Luce l Kevin Lumpkin l Nichole Magoon l Arnie Malina l Chip Mason l Nancy McClellan l Peter McCoy l David Means l Carrie Nolting l Kathy O’Brien l Stacy O’Connor l Robert O’ Neill l Eric Ode l Sarah O Donnell l Grant Orenstein l Will Patlove l Ilka Pelczarski l T.J. Phillips l Yvette Pigeon l Mary Poppins l Michaela Quinlan l Mary Pat Ragosta l Stephen Richards l Alison Rogers l Paul Savas l Henry Sinkula l Mike Schirling l Logan Smith l Matt Smith l Mike Smith l Sue Snyder l Mark Sousa l Spiderman l Gene Steinfeld l Brian Stevens l Dave Stever l Jay Strausser l JJ Strausser l Tom Stretton l June Taylor l Cindy Turcot l Freda Tutt l Magda Van Ornum l Miro Weinberger l Pam Wheeler l Ava Whitcomb l Ricky Wood l Steve Wry l Phil Young
And to all our volunteers, thanks,
and thanks again.
classrooms, their schools, and their lives. Our teaching artists are
passionate about unleashing joy and creativity into teaching and
learning in Vermont schools. $100 pays for a teaching artist to teach an in-school workshop.
The Flynn works with over 70 teaching artists every season.
(Meet one of them, Susanna Olson, profiled on page 6.)
To ensure increasing skills, high-quality teaching, and to invest
in teaching artists’ powerful potential, we are committed to
providing professional development opportunities that increase
the impact of the work that our teaching artists do and reflect
the evolving needs of the community we serve. $1,000 provides professional development opportunities for all of the Flynn’s teaching artists.
Artists are at the heart of what the Flynn does— the more opportunities we create for them, the better our community becomes.
Please consider a year-end gift to Fund an Artist.
If you have any questions, contact Gina Haddock at 802-652-4533 or [email protected].
One of America’s leading composers, Maria Schneider.
Local Artist, jazz saxophonist Brian McCarthy.
Work from photographer Mattew Thorsen. Young artists exploring their creativity. Flynn teaching artist Lida Winfield engaging students.
Please consider making a gift today to Fund an Artist.
153 Main St., Burlington, VT 05401-8402
Non-Profit Org.U.S. PostagePAIDBurlington, VTPermit No. 490
Flynn CalendarDecemberFS 3 Monica Bill Barnes & Co.: Happy Hour
4 Warren Miller’s Chasing Shadows
5 VSO Masterworks
P9 8 National Theatre Live: Jane Eyre
FS 9-13 Vermont Stage Company: Winter Tales
11 Nebraska Theatre Caravan: A Christmas Carol
12 VSO Holiday Pops
19-20 Vermont Ballet Theater: The Nutcracker
31 First Night Burlington
January 15 Joe Bonamassa 20 Broadway National Tour: Ragtime 23 Billy Childs: Reimagining Laura Nyro 26 WilcoFS 27-31 Vermont Stage Company: Mothers and Sons 29 Black Angels over Tuskegee 30 VSO Masterworks 31 VYO Winter Concert
February 1-2 Broadway National Tour: OnceFS 3-14 Vermont Stage Company: Mothers and Sons 5 TWIN INFINITY: An Intergalactic Nemesis Live-Action Graphic Novel 6 Paula PoundstoneFS 19 Bang on a Can All-Stars: Brian Eno’s Music for Airports 24 GlobalFest Live!FS 25-26 Actors from the London Stage: A Midsummer Night’s Dream 26 Del & DawgFS 27-28 The Ying Quartet with Host Soovin Kim 29 Broadway National Tour: Mamma Mia!
FS:SMS: Includes additional Student Matinee Series performance
P9:Palace 9 Cinema, St. Burlington
design: S&H design shdesignvt.com
SMS
