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Join us in June for our Pride concert series!

Forever Here, Forever Queer

STANCE presents our Pride Month concerts on June 13, 20, and 21 featuring LGBTQ+ and BIPOC composers from across the ages and highlighting the history of queer resistance. These performances are on Vashon Island and Seattle.

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    • Leni welcomes our audience and performers

    • Words & Music: Benj Pasek & Justin Paul

      Arrangement: Mark Brymer

      Lyrics | Whoa Ladies and gents, this is the moment you've waited for (whoa) Been searching in the dark, your sweat soaking through the floor (whoa) And buried in your bones there's an ache that you can't ignore Taking your breath, stealing your mind And all that was real is left behind Don't fight it, it's coming for you, running at ya It's only this moment, don't care what comes after Your fever dream, can't you see it getting closer Just surrender 'cause you feel the feeling taking over It's fire, it's freedom, it's flooding open It's a preacher in the pulpit and your blind devotion There's something breaking at the brick of every wall it's holding All that you know, so tell me do you wanna go? Where it's covered in all the colored lights Where the runaways are running the night Impossible comes true, it's taking over you Oh, this is the greatest show We light it up, we won't come down And the sun can't stop us now Watching it come true, it's taking over you Oh, this is the greatest show (Whoa) colossal we come these renegades in the ring (Whoa) where the lost get found and we crown them the circus kings Don't fight it, it's coming for you, running at ya It's only this moment, don't care what comes after It's blinding, outshining anything that you know Just surrender 'cause you're calling and you wanna go Where it's covered in all the colored lights Where the runaways are running the night Impossible comes true, intoxicating you Oh, this is the greatest show We light it up, we won't come down And the sun can't stop us now Watching it come true, it's taking over you Oh, this is the greatest show It's everything you ever want It's everything you ever need And it's here right in front of you This is where you wanna be (this is where you wanna be) It's everything you ever want It's everything you ever need And it's here right in front of you This is where you wanna be This is where you wanna be Where it's covered in all the colored lights Where the runaways are running the night Impossible comes true, it's taking over you Oh, this is the greatest show We light it up, we won't come down And the sun can't stop us now Watching it come true, it's taking over you This is the greatest show Where it's covered in all the colored lights Where the runaways are running the night Impossible comes true, it's taking over you Oh, this is the greatest show We light it up, we won't come down And the walls can't stop us now I'm watching it come true, it's taking over you Oh, this is the greatest show 'Cause everything you want is right in front of you And you see the impossible is coming true And the walls can't stop us (now) now, yeah This is the greatest show (oh!) This is the greatest show (oh!) This is the greatest show (oh!) This is the greatest show (oh!) This is the greatest show (oh!) This is the greatest show (oh!) This is the greatest show (oh!) This is the greatest show (oh!) This is the greatest show!

      Program Notes | Since I first watched this musical, I've wanted an excuse to do this opening number with STANCE. Well today is that day! Please enjoy our song and dance number. - Haven

      Vocalists

      • Liv

      • Leni

      • Chris

      • Spiderweb

      • Robin

      • Maya

      • Mitchie

      • K

      • Haven

      • Kyra

      • Yoshi

      • James

      Piano

      • Mikey Prince

    • Composer: Karol Antoniewicz (1807-1852)

      Polish lyrics | Chwalcie łąki umajone, Góry, doliny zielone. Chwalcie, cieniste gaiki, Źródła i kręte strumyki. Co igra z morza falami, W powietrzu buja skrzydłami. Chwalcie z nami Panią Świata, Jej dłoń nasza wieniec splata. Ona dzieł Boskich korona, Nad Anioły wywyższona. Choć jest Panią nieba, ziemi, Nie gardzi dary naszymi. Wdzięcznym strumyki mruczeniem, Ptaszęta słodkim kwileniem, I co czuje, i co żyje, Niech z nami sławi Maryję.

      English lyrics | Praise the meadows covered with water, The mountains, the green valleys. Praise the shadowy groves, The springs and winding streams. The wind plays with the waves of the sea, And caresses the rocks with its wings. Praise with us the Lady of the World, Her hand weaves a wreath. She of God's works crowned, Risen above Angels. Although she is the lady of heaven and earth, She does not judge us. Graceful brooks purr, Sweet chirping birds, May all that feels and lives glorify Mary with us.

      Program Notes | Chwalcie Łąki Umajone is a Polish hymn for the month of May. It encourages everybody to celebrate life and all things in nature. Morgan would like to thank her mother for helping her translate the lyrics.

    • Content Warning: offscreen surgical trauma

      Words | “Good morning, Ethan,” said my jailer, with a cheer matched only by my hatred. I looked up from my bed. I didn't bother to correct her. My name is Zenith. Ethan had been gone for years, an old skin that never fit me. But contradicting Sister Sarah leads only to punishment – the last time I’d snapped at her and asserted my real name, she assigned me to “meditation retreat” for a week. Seven days of solitary confinement in the dark. I’d rather claw out my one remaining eye. “I have good news for you,” she said. “Your hand is ready!” I shuddered. I have been dreading this day. She led me out of my cell, and locked the door behind her with a click. There were two Wardens with her – Brother Elijah, who I recognized from previous excursions out of my cell, and another one, a hulking man that I don’t recognize. He glared at me as he steadied an arm under my armpit, and Elijah took the other. “Brothers Silas, Elijah, please, with me to the operating theater.” It’s an ordeal, moving around. The Edenists took my bionic leg, so I can’t walk without crutches. But they also stole my robotic hand, so I can’t use crutches on my own. Most humiliating of all, my eye – so not only can I no longer see the ultraviolet patterns on flowers, I don’t even have stereoscopic vision. I wasn’t sure why they didn’t just put me in a wheelchair; maybe, despite what they said, the deprivation was part of the point. Unnatural, they call us. Perverse. As if there’s something natural about intentionally maiming a person, removing parts of them and dragging their shambling half-corpse down a hallway to – Actually, I wasn’t ready to think about what happened at the end of the hallway yet. Sarah walked ahead of us imperiously, owning the space, projecting a confidence that belied her short stature. Even though I could only see the back of her neatly coiffed auburn hair and blue dress, it felt like she was staring at me. I averted my eyes, instead looking at the Scripture passages and kitschy art that adorned the otherwise hospital-like walls of the compound. Sarah led us through a pair of double doors to a room that I knew all too well. An eerie blue glow suffused it, almost ultraviolet enough to hurt the eyes. Rows and rows of tanks were mounted to opposite walls, filled with actinic blue suspension gel. Each one held an organ. Some of them were recognizable horrors, eyeballs and fingers and lungs, even a little bit of brain. Most of them were internal organs, undifferentiated little blobs of flesh, the bloody red of them shaved down to indistinct blacks and browns by the cyan of the gel. I had to remind myself that most of these were going to people who needed them, who actually wanted them. Most of these weren’t atrocities, but acts of deep mercy. But three tanks in this room – one hand, one eye, and a big one for my leg – were for me. “Here it is,” Sarah said, gesturing at a tank near the bottom of the stack. A pristine left hand floated in it. A mirror of my right floating in the middle of the tank, tethered by gummy strands of tissue to the growth matrix surrounding the tank. A twin – or perhaps younger sister – of the one that I had lost in an accident three years ago. A spasm wracked through the hand suddenly, curling it nearly into a fist. Sarah laughed, a fake, brittle sort of sound. “Ah, they do tend to do that sometimes. To keep the muscle toned.” I retched a little, barely keeping my breakfast down, and pulled away. “Come now, there’s no time to wait. We’ll get you off to surgery.” She peeled off, presumably to consult with the surgeons, leaving me with Silas and Elijah. Elijah considered me as he always did – basically a sack of potatoes that he sometimes had to haul from place to place. But Silas was still glaring at me. “Hey, new guy,” I said. I never wanted to mouth off to Sarah, but the orderlies were another matter. “First time seeing a real-life cyborg, huh? Booga booga.” Something unreadable crossed his face and he looked away. “Let’s get you to surgery.” — They didn’t even have to strap my body down for the procedure. What was I going to do, hop away? It was never more than lying down on my back that I missed my leg. It was obvious when I was standing how much the lack of balance threw me off, but the constant tension from the asymmetry when I was laying down was horrible. The operating table was uncomfortable, and the room was drafty. The surgeon was a man I’d never seen before, wearing surgical scrubs and a hairnet, with a neatly trimmed moustache. He came in without greeting me and grabbed hold of the stump of my left arm. He turned it this way and that, tut-tutting at something objectionable, then swung a board with straps up from under the table and strapped my forearm to it. “If only you’d come to us right away,” he said. His voice was reedy, higher than I expected. “That hack job you did with the machines made this procedure much more difficult, there will be a longer wait time than usual.” “I didn’t come to you,” I said. “You kidnapped me.” “Don’t be dramatic,” he said. “You’ll see how much better your life will be here, with real humans, with real body parts. And once they see how successful we’ve been with you, we’ll have a much easier time bringing in all those pitiable drifters in the desert.” “Please,” I said. “Don’t do this. I don’t want this. I just want to go home.” He smiled gently. “Poor thing. You are home.” And he strapped the anaesthetic mask to my face. — There was nobody around when I awoke. I was in a different room, one that had windows, although there was no light from outside. My arm was still strapped to the table, swaddled in gauze. And at the end of it was a pink, fleshy hand. The fingers were wrinkled as though I had just gotten out of a shower. It had none of the callus of the hand I still had on the other side, and the skin of the palms was strangely smooth and shiny. The hand twitched, sending pain coursing down my arm. I turned my head to the side and retched, hard. Nothing came up but a bit of stomach acid. I could feel the cold air through the fingers, but it felt wrong. Tingly, staticky, much worse than when I was adapting to the neural feedback of my metal hand years ago. It felt like I was feeling everything through tinfoil gloves. I looked away. I couldn’t stand the sight of it, couldn’t tolerate the feeling. My tendons and joints were on fire from where they had spliced them together. I thought of undoing the straps on the board and at least freeing my arm, but I didn’t want to do any more damage than they had already done. If I had to live with this thing, I wasn’t going to make it any worse on myself. The door creaked open. I turned to see who it was, but backlit by the bright hallway all I could see was a hulking silhouette. He carefully locked the door behind him, and approached me. It was Brother Silas, the new guy, the one who was so disgusted by me he couldn’t keep it off his face. His hood was down, now, revealing a mop of curly black hair. He put a hand on my shoulder, pushing me into the bed. Before I could shout out, he clapped a hand across my mouth. I struggled, but his hold was firm. He leaned down and whispered into my ear. “Silicon City sent me.” I stopped moving. He retracted the hand across my mouth, and the hand on my shoulder became more of a reassuring brace than a shove. “W – what?” I said quietly. “Vixen knew me from jobs she had done before,” he said, in a low rasp. “She hired me to infiltrate the Edenists and get you out. Everyone misses you, Zenith. We’re getting you out of here.” Tears came to my eyes, unbidden. “Now?” He shook his head. “Still need to lay some preparations. A week, probably. I’ll try to get you out before they graft anything more to you.” “Thank you,” I said. “Thank you. We can’t let them take anyone else.” “I know. We won’t.” He grabbed my right hand with his. “Stay strong, ok?” His hand was rough, calloused, but warm. “Okay,” I said. The thing at the end of my other arm spasmed in response.

    • Composer: Eric Ewazan

      Program Notes | Eric Ewazen's Sonata for Trumpet and Piano was commissioned by and dedicated to the International Trumpet Guild. It was premiered by Chris Gkker with the composer at the piano at the ITG Convention in 1995. Mr. Ewazen has been a member of the faculty at the Juilliard School since 1980. Mikey Prince put in a ton of work to make this happen and realistically had a harder job at the piano than I did on trumpet. To quote the composer himself: "...this is probably the most difficult piano accompaniments of any of my sonatas......So kudos to the pianist that tackle this one." This performance is dedicated to Andy's college trumpet professor, Dr. Keith Benjamin. The entire sonata was originally going to be performed as part of Andy's senior recital, but was canceled due to the COVID-19 pandemic. Thank you for your mentorship in both trumpet and life. Moo! (Keith will understand.)

      Trumpet

      • Andy Chapel

       

      Piano

      • Mikey Prince

    • Words | oh lyre you fight siren song, sing dulcet song, holdteach siren body(s) Orpheus pulls at thy limb melody melody discord melody discord refrain pause birdsong fishsong bridge increase decrease whole quiet scent of turning script, turning thoughts into turning pink at thoughts opened my sandsmooth pages memory of softwarm shark infested water palms Gaia and pavement softwarm sheets inkwrit notes set my’thy canvas sails to wind uncharted landwaters. rain and sleet thermae retreat and ov vine moss cover to cover once and again mantleshelf Atlus struggles Athena once and again grant watching owls to siren let them perch behind sandglass behind softwarm let guide crone hold your fates oh lyre with love, -Reina

      Program Notes | Starshine sent this to a lover and excellent member of their community after moving cities, wanting them to see how special their time had been. "To say goodbye, take a moment to bask in memory's warm sunlight. Then, let the rain of the moment hit you."

    • Words & Music: Vienna Teng

      Arrangement: Harrison Acosta

      Lyrics | Somebody hears you. You know that. You know that Somebody hears you. You know that inside Someone is learning the colors of all your moods, to (say just the right thing and) show that you’re understood Here you’re known Leave your life open. You don’t have. You don’t have Leave your life open. You don’t have to hide Someone is gathering every crumb you drop, these (mindless decisions and) moments you long forgot Keep them all Let our formulas find your soul We’ll divine your artesian source (in your mind) Marshal feed and force (our machines will) To design you a perfect love— Or (better still) a perfect lust O how glorious, glorious: a brand new need is born Now we possess you. You’ll own that. You’ll own that Now we possess you. You’ll own that in time Now we will build you an endlessly upward world (reach in your pocket) embrace you for all you’re worth Is that wrong? Isn’t this what you want? Amen

      Program Notes | The Hymn of Acxiom is a living being of people turned algorithms turned song. We are one, and you will become us—in time.

      Performers

      • Emma Thorn

      • Star

      • Maya

      • Mal

      • Adaleigh

      • Toria

      • Theo

      • Jin

      • Jade

      • fluffy

      • Lee

      • Yoshi

      • Tessa

      • Victor

      • Gabi

      • Haven

      • Devynn

    • Words & Music: She/Her/Hers

      Lyrics | We speak, we talk Yeah, we hang out a lot And you don't use my name Yeah, you don't use my name You think I don't notice How you guard your tongue And we're always alone Yeah, we're always alone I thought it'd be different I thought if anyone would understand I thought that you would understand But you don't This isn't being supportive You're acting like nothing's changed Well, don't you know that everything's changed? I'll never be the same again And it's a secret you don't tell your friends But if you ever wanna be close again You have to accept this is who I am I'm not your boy and I never was I'm still your kid, yeah, you're still my dad, but I'm not your son I'm not ashamed but I'm afraid you are Everyone's got in line, but you've fallen behind so far And it's a secret you don't tell your friends But if you ever wanna be close again You have to accept this is who I am Don't need apologies, don't need words Need you to show me what family is worth 'Cause from what I can see It's not worth anything at all

      Program Notes | Family is a song originally written and performed by the band She/Her/Hers, and is a statement to a parent about how tiring their general unsupportive nature is, whether that be from not using the correct name, or misgendering their child. The original artist originally mentions her father as the parent that is discussed, but I have chosen to replace those lines with my mother, since my father was never really around. This song(Family) is a masterclass in the emotions that can come from having a family member who just won't listen, who continually disrespects and discounts their child's requests and identity. My mother was never the kind who was willing to help out much once I became an adult and what you see before you now is a creature that is shaped by my own hand, with the promise to myself that I would never repeat the mistakes nor abuse that my mother inflicted on me. For me, Family is a beautiful sendoff to a very ugly past, with the hope that tomorrow will bring a better day for me, as I continue to grow and learn to exist. "And it's a secret, yeah don't tell your friends, but if you ever want to be close again.. you have to respect.. this is who I am! Don't need apologies don't need words, need you to show me what family is for 'cuz from what I can see, it ain't worth anything at all!!"

    • Created by: DJ Cummerbund

      Lyrics | (DJ Cummerbund) All the single ladies (uh-huh) All the single ladies (yeah pete) All the single ladies (okay) All the single ladies (we’ll all right fellas) Now put your hands up (let’s go!) Up in the club, we just broke up (just woke up) I'm doin' my own lil' thing You decided to dip and now you wanna trip (now we gonna trip) 'Cause another brother noticed me I'm up on him, he up on me Don't pay him any attention 'Cause I cried my tears, gave ya three good years You can't be mad at me OH YEAH 'Cause if you like it, then you shoulda put a ring on it If you like it, then you shoulda put a ring on it Don't be mad once you see that he want it 'Cause if you like it, then you shoulda put a ring on it Ring on it (Whoa-oh-oh) Ring on it (Don’t!) Ring on it (Whoa-oh-oh) Ring on it The cream of the crop. Nobody does it better. I got gloss on my lips, a man on my hips (girl you got hip man) Tighter than my Deréon jeans Actin' up, drink in my cup (say what you drinkin on) I can care less what ya think I need no permission, did I mention? Don't pay him any attention 'Cause you had your turn and now you gon' learn What it really feels like to miss me OH YEAH 'Cause if you like it, then you shoulda put a ring on it If you like it, then you shoulda put a ring on it Don't be mad once you see that he want it If you like it, then you shoulda– Put your hands up! All the single ladies (all the single ladies) All the single ladies (all the single ladies) All the single ladies (all the single ladies) OH YEAAAAHHH (Ring on it) All the single ladies (all the single ladies) All the single ladies (all the single ladies) (Ring on it) All the single ladies (all the single ladies) All the single ladies (now put your hands up) 'Cause if you like it, then you shoulda put a ring on it If you like it, then you shoulda put a ring on it Don't be mad once you see that he want it If you like it, then you shoulda put a ring on it Ring on it (Whoa-oh-oh) Ring on it (Yeah!) Ring on it (Whoa-oh-oh) Ring on it Wow man! I’m freaked out! It’s the Single Lady Blitz! It’s the Single Lady Blitz! It’s the Single Lady Blitz! Yeah! Single Lady Blitz! All the single ladies (all the single ladies) All the single ladies (all the single ladies) All the single ladies (all the single ladies) All the single ladies (all the single ladies) Now put your hands up!

      Program Notes | This viral hit is a mashup of hyperfemine, hypeqtrmasculine, and androgyny. Pangender expression is an interactive process and we are ecstatic to share it with you through the meduim of dance and performance.

    • Words & Music: Woody Guthrie, adapted by Billy Bragg

      Alt lyrics: Victor Westbrook riffing off of The Missin' Cousins version.

      Lyrics | There are fascists in the White House, it ain’t no surprise People all around the world, are gettin’ organized! You're bound to lose, you fascists, bound to lose. Chorus: All you fascists bound to lose (3x) You're bound to lose, you fascists, bound to lose. Folks of every race and gender, working side by side All across this nation, are gettin’ energized! You're bound to lose, you fascists, bound to lose. Chorus: All you fascists bound to lose (3x) You're bound to lose, you fascists, bound to lose. Repeat chorus many times, getting faster and faster.

      Program Notes | Leading call and response changing across the US and India over the last 18 years, Victor knows first-hand how empowering raising our voices in unison is. He also has a personal philosophy of “Let my life be activism”. Tonight’s offering is a combination of the two. This version of All You Fascists Bound to Lose is based on Woody Guthrie’s 1944 fight song written toward the end of WWII, with verse lyrics updated by Victor to reflect our current social predicament. Your participation is vital! Singing a protest song together is an act of resistance. Plus, it feels really, REALLY good. Let us come together as a community and sing, clap, stomp, and/or dance along to the chorus. There is great power in your voice, even if you never sing. No, ESPECIALLY if you never sing. Your voice matters!!

      Performers

      • Victor Westbrook: Vocals and harmonium

      • Mikey Prince: Response Vocals and Rhythm

      • Vedin & Audience: Response Vocals

    • Program Notes | In the Hall of the Mountain King" was originally composed in 1875 by Edvard Grieg for Henrik Ibsen's play, Peer Gynt. In the part of the post this song occurs, the title character Peer Gynt is going into the mountain home of a troll king, to find him surrounded by his troll kin and courtiers, as well as various goblins and gnomes. The scene starts slow and low volume, but ends with the entire court in an uproar.

    • We're going to take a quick break! Please be back in 15 minutes for the second act and enjoy more of our bake sale items available for purchase.

       

      Restrooms

      The accessible restroom is upstairs, to the left. If you are able to use stairs, please use the restrooms downstairs. All of the restrooms are all-gender.

    • Words & Music: Ratwyfe

      Arrangement: Arranged for four-part a capella harmony by the lovely Jade Dikelsky

      Lyrics | Let's throw our phones into a swamp We don't need social media when we're up to no good Let's learn the language of the frogs We're going to need it when we're in their neighborhood I think it's time we get away Dance under the moon, this fairy circle's where we'll stay Let's cause some trouble Lately I have felt as dead as leaves stuck in my hair Lately I have felt the need to retreat into my lair So we can steal some food and go hang out in my garden I really need a break today so baby let's be goblins Let's disappear into the fog We'll be mist but nobody is looking for us We can make bridges out of logs And try not to piss off the spirits in the forest I think it's time we get away Feel the autumn breeze, this pile of leaves is where we'll stay Let's cause some trouble Lately I have felt as dead as leaves stuck in my hair Lately I have felt the need to retreat into my lair So we can steal some food and go hang out in my garden I really need a break today so baby let's be goblins You are like the smoothest skipping rock beside a stream You're worth more than all my shinies, you're everything to me Wanna hoard all of your love as we escape into the woods Where we'll eat roots and mushrooms like real goblins should I think it's time we get away Hide among the moss where we can watch the fairies play Lately I have felt as dead as leaves stuck in my hair Lately I have felt the need to retreat into my lair So we can steal some food and go hang out in my garden I really need a break today so baby let's be goblins

      Performers

      • Star

      • Clover

      • Toria

      • Jade

      • Sonya

      • Kyra

    • Lyrics: Name(s)

      Arrangement: Name

      Words | I peak out of my shell. Outside the Metal Cove, through a gaping hole in the wall, the sun sinks into the water, tinting it yellow. A sea of warm colors, interrupted only by jagged, wind worn, sunken skyscrapers, encrusted here and there with volcanic rock. Waves roll over the sand, brushing against the remains of tables and desks. The waves recede and then crash again. They just reach our desk. But our cuddle pile is high enough up. The waves won’t get us. The desk is tilted, but stable. I love the sunset, but I’m still sleepy. I withdraw into my shell and sleep. Nightfall. Time to explore. I scuttle past the broken, corroded computer monitor, past a fossilized copy of Webster’s Dictionary in a glass display case, and down the sand slope. I journey to the mouth of the Metal Cove. The Milky Way shimmers over the ocean—stars of blue, yellow, and every color in between. The skyscrapers are dark as always. I admire the full moon. My friend, Miss Sparkle III, sidles up beside me. “How’s your shell?” she asks. “A bit tight,” I say. “Mine’s too loose. Wanna trade?” “Sure,” I say. We climb out of our shells. Hers is a bit chipped, but very pretty. I clamber into her shell, turn around, and peek out the opening. “Comfy,” I say. “Mine too.” The waves bring in kelp, driftwire, and a few shards of glass and metal. We nibble on the kelp. Nearby, Professor Claw starts his community class. He’s very smart. One time, he told us sand is really a mix of tiny rocks and specks of glass, metal, plastic, computer chips, and concrete, all broken down by the ocean over thousands of years. I have not looked at sand the same since then. “Long ago,” he says “Giants used these skyscrapers as shells. They all lit up at night. But the night sky had few lights at all. Sometimes they sent up rockets to the heavens. Other times they flew in metal shells called airplanes. These also lit up.” “Are the stars airplanes?” I ask. “No. You can tell because they don’t move. Airplanes move across the sky really fast and are only a few thousand feet up. Anyhow, one day, the giants abandoned their shells on the ground and all these lights appeared in the sky.” “Is that how the Milky Way was formed?” someone asks. “It is indeed,” nods Professor Claw. “Each star is a distant skyscraper, miles away.” After class, a few of us decide to explore the mainland. We can find tastier food there. We turn back and head to the other end of the building, reaching a balcony. What’s left of the railing is encrusted in barnacles and volcanic rock, marking the start of the land bridge. My friend Fredrick McFreckles points one claw at the sky. “Look, a shooting star!” I stop and look where they are pointing, near the constellation of Perseus. Then another shooting star appears, and another. Soon there are many shooting stars streaking across the sky. “A meteor shower,” I say. We watch for a little bit, then catch up with the others. Thinking back to the lesson, I realize what shooting stars must be. They are not fixed like stars. They move across the sky, quickly. Airplanes. Airborne shells of the giants of old. I wonder what they’re up to now.

      Program Notes | Honestly, I just wanted to write a story about hermit crabs.

    • Words & Music: Marcy Heisler / Zina Goldrich

      Accompanist: Mikey Prince

      Lyrics | There's a boy at Café Vita, who is very inspirational. He is #hashtag inspirational because of many things! I come in at 8:11, and he smiles and says, "How are you?" And when he smiles and says, "How are you?" I could swear my heart grows wings! So today at 8:11, I decided I should meet him—I decided I should meet him in a proper, formal way. So today at 8:11, when he smiled and said, "How are you?"I said, "Fine, and my name's Robin" And he softly answered, "Hey." And I said, "My name is Robin, and thank you for the extra foam..." And he said his name was Taylor Which provides the inspiration for this poem: Taylor, the latte boy, bring me java, bring me joy! Oh, Taylor, the latte boy: I love him, I love him, I love him! So I'd like to get my nerve up to recite my poem musical. (He would like the fact it's musical because he plays guitar!) But today at 8:11, Taylor told me he was playing in a band over in Fremont, in the basement of a bar. Then he smoothly flipped the lever to prepare my double latte, but for me, he made it triple, and he didn't think I knew. But I saw him flip the lever,—and for me, he made it triple!—and I knew that triple latte meant that Taylor loved me too. I asked, "What time are you playing? And thank you for the extra skim..." He said, "Keep the $6.55, " because this triple latte was on him (oh!!!) Taylor, the latte boy, bring me java, bring me joy! Oh, Taylor, the latte boy: I love him, I love him, I love him! I used to be the kind of boy who'd run when love rushed over. But finally a voice whispered, "Love can be yours if you step up to the counter and order." Taylor, the latte boy, bring me java, bring me joy! Oh, Taylor, the latte boy: I love him, I love him, I love him! So many years my heart has waited! Who'd have thought that love could be so caffeinated? Taylor, the latte boy: I love him, I love him, I love him. I love him, I love him, I love him.

      Program Notes | Robin—who, incidentally, HATES coffee— is very excited to introduce you to his crush this evening. He was first introduced to this song at another cabaret performance, and knew then that he was waiting for an opportunity to sing it himself so he could revisit the comedic performances that he gave in his teenage years at district and state competitions. He has localized some details from the original version, which was performed by Kristin Chenoweth, and also took some lyrical inspiration from Alan Cumming's version. Robin sends a special thank you to his voice teacher--Tessa Ravagni this evening--for tolerating the earworminess of this song. He also wants to thank his accompanist--for stepping in at the last minute to play piano for this performance!

    • Program Notes | “Repair My Heart” was given as a title in Song Fight!, a regular songwriting contest, and I composed an instrumental techno piece with a heartbeat-esque beat as its basis. Several years later, I revisited this composition as a jazz tune, and have done a few variations on it along those lines, including a version with a classical quartet, as released on my album Transitions. However, like most of my songs, I have many different ways of performing it based on who I have available to perform with me and the specifics of the venue. Sometimes I have a full jazz arrangement, sometimes it’s me with a guitar and a kazoo, and sometimes it’s this laid-back lounge jazz version. No matter what, it is still the same song, regardless of how it tries to fit in during the moment. Listen to Sockpuppet's album, "Transitions" at https://sockpuppet.band/album/transitions

    • Composer: Marie-Juliette Olga "Lili" Boulanger

      Program Notes | Lili Boulanger was a French composer in the early 1900's. She dealt with chronic illness beginning when she was only two years old, and spent many years being unable to study music due to her illness. But music was in her blood, and through her determination was the first female winner of the Prix de Rome composition prize at the tender age of 19. The song Nocturne is one of her first published pieces.

      Flute

      • Taylor Hays

       

      Piano

      • Mikey Prince

    • Lyrics | There’s a battle cry in my mind, louder than it’s ever been before, and come what may, I will never back down There’s a revolution stirring in the world around me, and hell if I’ll be still, I will scream and shout above the thunder they rain down And I’ll be heard Rally the forces, I won’t surrender, Never imagined I’d be like this, But push comes to shove, they threatened the ones I love Ignite the battle cry in my mind, louder than it’s ever been before, and come what may, I will never back down There’s a revolution stirring in my soul, and hell if I’ll be still, I will scream and shout above the thunder they rain down And I’ll be heard (x2)

      Program Notes | Yoshi wrote “Revolution - The Battle Cry” earlier this year when the terrifying current day happenings lit a fire in his belly, a readiness to stand up and fight for his loved ones. Due to his recent voice drop, it was also his first time writing a song in tenor range. So this song is very important to him on multiple levels.

    • Words & Music: The Teacups

      Arrangement: Rosemary De Luca

      Lyrics | The fire is out The sun is down The parting glass Is dry and done And I must go And leave this town Before the rising of the sun For far's the road And many's the mile Before I rest My soul again With girls that weep And girls that smile And all the thoughts And joys of men For some are they That cannot stay But wander 'til Their journey's end Can't take a lass To be their bride Nor take a man To be their friend And when I'm done My wandering I'll sit beside The road and weep For all the songs I didn't sing And the promises I didn't keep And when I'm done My wandering I'll sit beside The road and weep For all the songs I didn't sing And the promises I didn't keep

      Program Notes | Journey's End is a modern American folk tune by the a capella group The Teacups, which Rosemary transcribed for the four of us to sing. It's about considering the choices you've made and the path you've taken through world as you reach the end of a journey, and wondering about what—or where—your next wandering will bring you.

      Performers

      • Rosemary De Luca

      • Siri Ingersoll

      • Serenity Yingling

      • Dani Weisz

    • Words & Music: Ingrid Michaelson

      Lyrics | Where am I? Where am I going? Is it somewhere that I want to go? And when I get there, is that where happy is? Or is it somewhere I already know? Sometimes I feel like I cry without a noise Sometimes I feel like somebody chose my choice I have to run away, I have to sit and stay I wanna live a life where I'm allowed to say That I'm proud of the way that I spent my days I can feel something growing It is small but it's shifting the ground When I was younger, I could hear it But it's back, it's my sound Sometimes I feel like I lost my only voice But then I realized, only I can choose my choice I have to run away, I have to sit and stay I wanna live a life where I'm allowed to say That I'm proud of the way that I spent my days These days, all we ever really get are Days to dream, and days to lose I just need to choose my time I have to run away, I have to stay I'm gonna live a life where I am proud to say That I followed my joy, I followed my heart I lived this one wild life, I ripped it apart I pushed through the corners, with no apologies And finally, I can say I know the way I'll say that I love the way that I spent my days!

      Program Notes | Five years ago, I had my life all planned out: go to a good college, get me degree, work a fulfilling and secure job. Just a year and a half ago, I abandoned all my life plans, dropped out of college, and moved into a little apartment in Cap Hill with my friends. I can confidently say that my life is better than it’s ever been since I made the pivot. “My Days”speaks to me because it embodies the spirit of my decision. I don’t need to drown in these expectations of me, of what I or others thought I should do. I can choose my choice. I can find my own way. I perform this today as an ode to the hardships I’ve faced getting to this point of self-realization, and hopefully as a call to inspire others to take steps towards becoming the person they want to be, not the person society wants them to be.

  • Land & Labor Acknowledgement

    We would like to acknowledge that we rehearse and perform on the land of the first peoples of Seattle, the Duwamish, Muckleshoot, Stillaguamish, Cayuse, Umatilla, and Walla Walla tribes, past and present and commit to honor with gratitude the land itself and the stewardship of these indigenous tribes. We encourage you to join us in this commitment by contributing to the local Heron's Nest Outdoor Education and Restorative Justice program and Real Rent Duwamish.

     

    We respectfully acknowledge the enslaved people, primarily of African descent, on whose exploited labor this country is built, with little to no recognition. Today, we are indebted to their labor and the labor of the many Black and brown people that continue to work in the shadows for our collective benefit. We also support the #BlackVoicesMatter movement and pledge to work towards anti-racism in all aspects of our music.

    Thank You

    A huge thank you to everyone who made this event possible. In particular, Jade for undertaking the massive task of assembling the auction, Rosemary for leading the Talent Show, Leni for Emceeing, Grayson for being our stage manager, Gabi and Kellan for doing AV and lights, and all the volunteers who staffed our event today. 

    We hope you can join us for our next concert, Forever Here, Forever Queer. June 13 at the Vashon Center for the Arts and June 20 and 21 at University Congregational. Tickets at www.stanceseattle.org/performances

    Emcee
    Leni Markins (e/they)

    STANCE welcomes Leni Markins back to the stage for another talent show! Thank you so much for sharing your humor and excitement with us once again.

  • The Seattle Trans and Nonbinary Choral Ensemble, better known as STANCE, was founded in 2022 as the first chorus that is led by and for gender diverse singers in Washington. Our mission is to provide a vocal community free of gendered expectations to explore and express ourselves through music. We have rapidly grown from a grassroots movement to our current 77 member capacity. And with your support, we hope to eventually expand to include a trans youth chorus.

    STANCE Leadership

    Executive Director
    Haven Wilvich (she/her)

    Haven first dreamed of a trans and nonbinary led community choir in 2016 when she got fustrated with how difficult it is being a feminine Bass singer in traditional choirs. When she's not focuse on community building, she does vaccine research, watches birds, and kayaks Washington's many beautiful bodies of water.

    Artistic Director
    Dr. Cee E. Adamson (she/they)

    In the distinguished sphere of classical music, Dr. Cee E. Adamson (she/they) stands as a beacon of versatility and excellence, seamlessly weaving together her roles as a choral conductor, opera singer, voice teacher, arts administrator, and student affairs practitioner with grace and passion. As a mezzo-soprano, Cee occupies a fluid place as an operatic talent, capable of treading the beguiling and liminal space between the countertenor and mezzo-soprano, and her vocal versatility has been well showcased in roles as Oberon in Benjamin Britten's A Midsummer Night's Dream, Giulio Cesare in Handel's Giulio Cesare, The Sorceress in Purcell's Dido and Aeneas, and tragic and comic roles from Mercedes in Carmen to Florence Pike in Albert Herring. Cee was also requested to appear as a featured supernumerary in Glimmerglass Opera’s production of Philip Glass’s Orphée. As a choral educator, Dr. Adamson assumes the role of a visionary choral director whose leadership has transformed vocal ensembles into beacons of musical excellence. Cee is known for her meticulous attention to vocal technique and ensemble precision and her ability to cultivate a deep emotional connection within her choirs, resulting in authentic performances that resonate deeply with audiences and performers alike. Through her academic and professional practice, Cee aims to reshape the narrative around who is seen and heard in classical vocal and choral music. Visibility is not just important; it is critical—it means ensuring that underrepresented populations and identities are represented across all facets of the arts, from historical pioneers to contemporary innovators. In December 2024, Cee completed the Doctor of Musical Arts degree from the University of Washington, specializing in vocal performance under the guidance of Dr. Carrie Shaw, as well as choral conducting with Dr. Geoffrey Boers and Dr. Giselle Wyers.

    Assistant Artistic Director / Accompanist
    Mikey Prince (they/he)

    Mikey found STANCE in 2022 after looking into trans choirs across the US to research trans-centered choral pedagogy. When he is not joyously music-making with community in STANCE, Mikey is joyously music-making with K-5 students as a music educator in Seattle Public Schools.

Program

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