

Composed and Performed by Riley Ozano
Notes from the performer: In the 19th century, bosses handled business, but only craftspeople knew how to make things, so workers said, “The bosses’ brains are under the workers’ caps.” They also said, as workers in both red and blue states still do, “A fair day’s pay for a fair day’s work.” Today's billionaires are still not superior to the rest of us in intelligence, knowledge, fairness or common sense.
Lyrics:
Oh, where are the brains of the billionaires? They seem to have gotten lost.
You’ll find them where they’ve always been, they’re under the workers’ hats.
You can assess all their assets and the sizes of their yachts,
but we’ve got the brains of the billionaires under our workers’ hats!
​
We workers in our red states, and in our blue states too,
acquired our billionaire brains in our jobs and public schools.
And unlike them we KNOW what's fair, and we won't be played for fools.
A fair day's pay for a fair day's work: that's our golden rule!
The rich think they won't need us soon, well that's a foolish lie!Will Siri herd their Wagyu cows, will chatbots raise their child?
Will robots change their diapers, and cuddle them when they cry?
And who will build the power plants to run all their AI?
Oh, where are the brains of the billionaires? They seem to have gotten lost.You’ll find them where they’ve always been, they’re under the workers’ hats.
You can assess all their assets and the sizes of their yachts,
but we’ve got the brains of the billionaires under our workers’ hats!
You rich who bought our Congress, and stole our American Dream,cry endlessly for tax breaks, like kids who whine for treats.
Our families earned and our families need the money that you seek.
BE QUIET! NOT ONE NICKEL MORE for your insatiable greed!
The Democrats don't heed us; Republicans spread lies.And tax-thievin' billionaires don't care about our lives.
But there's power in our unions, red and blue are on one side!
'Cause without our mighty brains, billionaires could not survive!
Oh, where are the brains of the billionaires? They seem to have gotten lost.You’ll find them where they’ve always been, they’re under the workers’ hats.
You can assess all their assets and the sizes of their yachts,
but we’ve got the brains of the billionaires under our workers’ hats!
Composed by Lucy Simon (music) and Marsha Norman (lyrics)
Performed by Haven Wilvich (voice), Yoshi Das (voice), Adaleigh Martin (piano)
Notes from the performers: Come To My Garden is a song from Secret Garden. In the musical, it’s sung by a mother and son named Lily and Colin. Tonight it’s sung by mother and son, Haven and Yoshi. The song is originally about a son experiencing his mom’s loving and protective embrace in her garden even after she has passed. Yoshi chose this duet because he wanted to convey the endless refuge and solace he finds in Haven’s warm embrace, their love for one another unbreakable.
Lyrics:
Come to my garden,
Nestled in the hills.
There I'll keep you safe beside me.
Come to my garden.
Rest there in my arms.
There I'll see you
Safely grown and on your way.
Stay there in my garden,
Where love grows free and wild.
Come to my garden.
Come, sweet child.
​
Lift me up and lead me to the garden,
Where life begins anew.
Where I'll find you,
And I'll find you love me too.
​
Lift me up and show me to the garden / Come to my garden,
Where love grows deep and true / Rest there in my arms.
Where I'll tell you / There I'll
where I'll show you / see you safely grown
My new life, I will live for you / And on your way.
I shall see you in your garden / I shall see you in my garden,
Where spring will come and stay / Where love grows free and wild.
Lift me up and lead me to the garden / Come to my garden,
Come, sweet day!
Story by Morgana Andersen
Notes from the Performer: A woman lives with her cat in an old house by the sea. One night, she is disturbed by a mysterious entity lurking close at hand.
Story text:
A boulder weighs upon my chest, lit only by the flash of lightning from behind, casting a dark silhouette in front of endless angry clouds. Somehow, I can breathe. A few seconds later, a rumble in the distance—a mile away, by the sound of it.​
The boulder twitches and lets out a small but urgent pleading sounds.
“Meow.”
I awaken and see my cat, sitting on me, a glint in her green eyes. Behind her, the door is open perhaps halfway. A light in the hallway wavers, back and forth.
“Meow?”
I rub my eyes. “What is it, Dinah?”
She slips off of me and drops off the bed, creeps her way back to the open door, glancing back at me now and then. She reaches the door and meows again, looking directly at me.
I push the blanket off of me and am hit with cold air. I step out of bed, grab my robe from its hook, put it on over my PJs, and find my fuzzy slippers.
“Meow!”
I walk to her, still shivering. Dinah goes into the hall and meows again.
Passing by my vanity, I catch a glint of fangs out the corner of my eye, just above my jewelry box.
I turn and face the mirror. Open my mouth. The teeth look normal now, but the eyes are too sharp, not at all sleepy.
Dinah meows impatiently.
“Coming!” I say.
She leads me to the kitchen. Behind me I hear footsteps. I turn. My long shadow stretches back through the hall. I shake it off and decide to make some hot chocolate.
Dinah meows softly.
A ghastly green light shines at the edge of the mug as I pour the cocoa. I try to ignore it. I sip, and wander to the sliding glass door of the house. Outside, amidst the cloudy night, a distant lighthouse lantern flashes. Over and over and over. I look out to the sea. But in the glass, where my face should be, deep eye sockets stare back, as a frail, ragged hand holds a stone mug. I take a breath. Dinah rubs against me. I see my eyes again, recessed behind dark, weary circles. I gaze at my reflection.
She grins mischievously back at me, her eyes flash. I shriek. She does not. I fling my mug at the door, hard as I can. The door shatters, the mug breaks against the ground, and I run out into the night.
Behind me, two sets of footsteps follow, rapidly, urgently. I force myself to look back and see Dinah running after me, a concerned look on her face. I feel around in my robe pockets, find the flashlight I keep there, and turn it on.
I try to slow my breathing as Dinah and I walk through the grass. We near the shore, and I sit down on the rocks. The water is calm, but in the distance I hear waves. The lighthouse light slowly spins over the water.
I begin to cry, dropping the flashlight. Dinah snuggles into my lap. I hear something, look out over the water, and see my reflection again. She gazes back at me, examines me, and rises up off of the surface of the water, translucent before the sea. She steps onto the shore. Dinah hisses at her. The apparition sits down on a nearby rock and holds out her hand to me.
Slowly, I reach out my hand in turn. She clasps it. I feel a slight burning pain. Then warmth through my body. She smiles and dissolves into the night.
I stand and look out over the water, seeing nothing but the clouds, the lighthouse, and my own reflection.Written by Joseph Kosma
Performed by Robin Christopher (voice), Yoshi Das (piano), and Bimsy Clustercamp (bass guitar)
Notes from the Robin: This song was recommended to me by my voice teacher. I was initially kind of “meh” about it, but part of my process is to research songs before I perform them. In listening to different versions of Autumn Leaves, I ended up becoming a little bit obsessed with it, and its historical significance in the jazz community. Originally titled “Le Feuilles Mortes,” the song was adapted as “Autumn Leaves,” with English lyrics written by Johnny Mercer. Since its US introduction in 1950, "Autumn Leaves" has become a jazz standard, and it is one of the most recorded songs by jazz musicians. It has been recorded by a wide variety of singers, ranging from Nat King Cole to Paula Cole. More than a thousand commercial recordings are known to have been released. The song became a number-one hit in the U.S. in 1955, and was the first piano instrumental to reach number one. The song is said to have sold two million copies around the world, and it remains the best-selling piano record of all time. The version I'm sharing tonight aims to blend the more traditional "crooner" style with a more liberal interpretation of the melody that is still recognizable to those familiar with the tune.
Lyrics:
The falling leaves / Drift by my window
The falling leaves / Of red and gold
I see your lips / The summer kisses
The sun-burned hands / I used to hold
Since you went away / The days grow long
And soon, I'll hear / Old winter's song
But I miss you / Most of all, my darling
When autumn leaves start to fall
Since you went away / The days grow long
And soon, I'll hear / Old winter's song
But I miss you / Most of all, my darling
When autumn leaves start to fall
I miss you / Most of all, my darling
When autumn leaves start to fall
Written by Howard Ashman and Alan Menken. From Little Shop of Horrors,
Performed by Alex Anderson
Notes from the performer: I'm interpreting the song as a silly and lighthearted trans-masc allegory. I'll be singing to a hand puppet with a wispy little moustache, pleading with it to grow into proper facial hair. Note: there will be no bloodshed!
Lyrics:
I've given you sunshine / I've given you dirt
You've given me nothin' / But heartache and hurt
I'm beggin' you sweetly / I'm down on my knees
Oh, please grow for me!
I've given you plant food / And water to sip
I've given you potash / You've given me zip
Oh God, how I mist you / Oh pod, how you tease
Now, please grow for me!
I've given you southern exposure / To get you to thrive
I've pinched you back hard / Like I'm s'posed ta
You're barely alive / I've tried you at levels of moisture
From desert to mud / I've given you grow-lights
And mineral supplements / What do you want from me, blood?
I've given you sunlight / I've given you rain
Looks like you're not happy / 'Less I open a vein
I'll give you a few drops / If that'll appease
Now please / Oh, oh, oh, please / Grow for me!
15 minute intermission. Please check out the vendors in the lobby!
Composed by Eris DeJarnett
Performed by Andy Chapel
Text:
Gather round. I want to tell you a story. The first person to ever truly love me once said, “somewhere, there is a garden: a place so calm and pure that you cannot help but be at peace. [pause] Its gate may be trellis or stone. It may be intimate or neverending. But somewhere, there is a garden meant for you. Even if it’s only in your mind.” And on that day, I began exploring, uncovering the garden in my mind. Years passed, and a handful of seedlings alongside a single bench grew into a lush landscape—a fountain the birds would drink from, magnolias stretching overhead, flowers bursting from every crevice, dense hedges on all sides to keep it secure. Even when the world around it grew dark, the garden remained bright and warm, because I made it so. After all, it was my garden, and I filled it with beautiful things. I don’t know when the leaves started falling, but I remember that day. An echoing crack filled the glade, and every single bird took flight. I found the largest branch of my strongest tree splintered on the ground, rotted from the inside until it could no longer bear the strain. I fortified the tree, tended its neighbors, and told myself things would be better again soon. But the birds did not return. Years passed, and no matter how long I spent in my garden, it withered, eating itself from the inside out. With each lush shade of green turned sickly, the joy I’d cultivated was replaced by fear. My smiles grew forced as life went by on screens and through windows, knowing the one place meant for me was nothing more than a ghostly grove of sticks and brambles and death. I stopped visiting. I did not mourn, because I didn’t dare mourn myself, but each and every night I saw the entrance in my dreams, waiting. One day, someone who truly loved me arrived home with a seedling in hand. “A gift,” they said—for once, long ago, I spoke of a garden. And I could not bear to tell the truth, so I led them down the path until it stood before us, an endless tower of thorns and brambles. They took my hand as they beheld the wreckage, but when I thought we would turn to leave, they led me forward—one step at a time, pruning carefully, seeking a new path.We arrived at the old, bone-dry foundation, and they knelt, planting the seedling at its base. We sat together on the lone bench, and a new quiet settled. “I will be here to help,” they whispered. “So no matter the strain, you can bear it.” Years will pass, and the work will continue—some alone, some among loved ones. The garden in my mind is one I began, but never again will I sustain it alone. It will be filled with a nurturing calm, with the joys of being alive. And over time, the seedlings I share with others will mean that anywhere there is love, there is a garden meant for me. How do I know? Just listen. Can’t you hear the birds?
Composed by Rebecca Sugar
Performed by My Lopez (voice) and Mikey Prince (piano)
Notes from the performer: Love Like You was released in the end credits of Rebecca Sugar’s cartoon, Steven Universe, between 2013 to 2016. Jazzy chords, melancholy, hope, and grief define it. The soloist, My, dedicates this performance to their partner, chosen family, and late uncle.
Lyrics:
If I could begin to be / Half of what you think of me
I could do about anything / I could even learn how to love
When I see the way you act / Wondering when I'm coming back
I could do about anything / I could even learn how to love / Like you
I always thought I might be bad / Now I'm sure that it's true
'Cause I think you're so good / And I'm nothing like you
​
Look at you go / I just adore you
I wish that I knew / What makes you think I'm so special
If I could begin to do / Something that does right by you
I would do about anything / I would even learn how to love
When I see the way you look / Shaken by how long it took
I could do about anything / I could even learn how to love like you
Love like you / Love me, like you
Written by Bayta Levine
Performed by J/Jules Hepp, Logan O'Laughlin, Maddie Smith, Robin Wilvich (vocalists), Haven Wilvich (bass guitar), and Spiderweb (percussion)
Lyrics:
all the leaves have fallen down, have fallen down
all the leaves have fallen down, have fallen down
I am the water, earth, fire & wind
dig deep my roots and return again
I am the water, earth, fire & wind
return again
Composed and performed by Tulani
​
Lyrics:
Been alone and lonely love seemed somewhere out of reach
looking in the eyes of strangers can’t feel anything
And we’re all but beautiful it makes me want to cry
Maybe we could make some peace to get some peace of mind
​
And this isn’t what I expected
And this can’t be the love I’ve collected
I’ve never been out for coffee with the one I love
Didn’t know my heart was something I couldn’t give up
Wanted them to give me something I had own
Let the heavy rain embrace me when I feel alone
​
And this rain whispers that it loves me
And this washes away all the lonely
And this rain touches me so softly
And this washes away all the lonely
And I see it in the sunset see it your smile
And your eyes they hold mine steady
Warm me from inside
And the sweetness makes me sleepy makes me want to dream
And I know that love is real and it’s all within me
​
And you are just what i expected
I’ll hand you all the love I’ve collected
And you aren’t what I expected
And you’ll tend to the heart I’ve neglected
​
could you take me out for coffee be the one I love?
Composed by James Taylor and Don Grolnick. Arranged by Simon Carrington.
Performed by Cerridwyn Clover, Fran Mana-Ay, Robin Wilvich, Adaleigh Martin, Spiderweb, siri ingersoll, Yoshi Das, Basil Freeling, Hannah Oshlag, Luka Slater, My Lopez (vocals)
Lyrics:
Walk down that lonesome road / All by yourself
Don't turn your head / Back over your shoulder
And only stop to rest yourself / When the silver moon
Is shining high / Above the trees
​
If I had stopped to listen once or twice
If I had closed my mouth and opened my eyes
If I had cooled my head and warmed my heart
I'd not be on this road tonight / Carry on, carry on
Never mind feeling sorry for yourself
It doesn't save you from your troubled mind
​
Walk down that lonesome road / All by yourself
Don't turn your head / Back over your shoulder
And only stop to rest yourself / When the silver moon
Is shining high / Above the trees
Composed by Richard O’Brien and performed by Tim Curry in The Rocky Horror Picture Show
Performed by Spiderweb
Notes from the performer: A tribute to our too soon departed Tim Curry. Spiderweb performs a drag piece to a song from their first trans awakening, The Rocky Horror Picture Show.
Lyrics:
On the day I went away (Goodbye) / Was all I had to say (Now I)
I want to come again and stay (Oh my, my) / Smile, and that will mean I may
​
'Cause I've seen, oh, blue skies / Through the tears in my eyes
And I realise / I'm going home (I'm going home)
​
Everywhere it's been the same (Feeling) / Like I'm outside in the rain (Wheeling)
Free, to try and find a game (Dealing) / Cards for sorrow, cards for pain
​
'Cause I've seen, oh, blue skies / Through the tears in my eyes
And I realise / I'm going home (I'm going home)
I'm going home / I'm going home / I'm going home
rob harper
bibimzines 비빔진 - @bibimzines
Galaxy Salo - linktr.ee/Galaxy.knits
Halcyon Underground - @halcyonunderground
DreamExtractArt - DreamExtractArt.carrd.co
mycomaking
Kelly Dean Verity - @KVerityart
Teagan Wood Notary
Seattle Transfeminists - @seattletransfeminists
Mad(e) Creative - @mad_e_creative
Crow's Nest Comics - @crowsnestcomics
Lewis's Trinkets
TRACTION - @tractionpnw
pawtrichorr - @pawtrichorr
Earrings By Be - @earringsbybe
Puget Soundworks - @pugetsoundworks
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
Thank you to our amazing AV team - Jeff and Jolene. Thank you to all of our wonderful volunteers. This event would have been impossible without your constant support. And thank YOU for supporting trans voices!
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 over 100 active singers this season. With your support, we hope to continue to grow and meet the needs of our ever expanding trans community.
STANCE Leadership
Artistic and Executive 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.
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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 / Collaborative Accompanist
Mikey Prince (he /they)
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.


