
Classical Guitar
Works by Howard Shore and others
Performed by Sonya Vasquez (STANCE Board member)
Notes from the performer…
Join us in the foyer for a mixtape that will take you to Zanarkand, under the Dire Dire Docks, and even to Middle Earth (and back again!)
Piano
To be announced from the piano.
Performed by Mikey Prince (STANCE Assistant Artistic Director)
Welcome, everyone! This our 4th annual STANCE Showcase! We’ve come a long way! Before the show started, you heard Sonya and Mikey performing music in the foyer.
Before I tell you more about what is going to happen tonight, I’d like to read our Land and 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 who continue to work in the shadows for our collective benefit. We also support the Black Voices Matter movement and pledge to work towards anti-racism in all aspects of our music.
Tonight, there are four ways to support STANCE’s work as the world’s largest trans and nonbinary choral ensemble.
First, you can place a bid in our silent auction! We have over $12,000 of items to bid on. They range from escape room tickets, a trans-colored rosary, to a one month subscription to a trans-led muay thai gym next to Cal Anderson. By making a bid on an auction items, you are both supporting our organization and getting a tangible benefit for yourself. Bidding happens on your phone - make sure to make an account!
Second, you can also just directly support our choir! You can find the donate link on the back page of your program.
The third way is our rats vs sharks raffle! Tickets are $10 each and only available in cash. You can get up between performances or get tickets during the big rush at intermission.
We also have a bake sale and art sale! Supporting STANCE helps trans community music exist for the long term.
Here is what our next performers have to say about their piece: Homeland by Grace Coberly (they/them) is a piece about loving a place that you are in. This group is composed of new singers in STANCE, and people who have been with us for a long time. We are so glad to be working together to sing something that makes us happy. Please enjoy Homeland by Grace Coberly.
Composed by Grace Coberly
Performed by Sylvia Juniper Lloyd, Maia Oliver, Cerberus Forbes, Mitchie Vega, Rosemary de Luca, Jade Dikelsky, Nico Toé, Koda Taylor, Felix Sutherland (voice).
Notes from the performers:
Homeland by Grace Coberly (they/them) is a piece about loving a place that you are in. This group is composed of new singers in STANCE, and people who have been with us for a long time. The intersection between trans solidarity and community singing is so important, and we are all so glad to be working together to sing something that makes us happy.
Text:
Dear lover, dear friend, see how gentle the night
that warms us from the cold.
When we met, I could swear I had known you before
in a lifetime gentler still.
This is our homeland, our haven in the woods —
familiar shadows, a sky we call our own.
And surely someday, we all will meet again.
In music, we'll never be alone.
If the night falls too fast, I will seek out the sun
and paint it in the sky.
If the monsters return, I will drive them away
to keep you safe with me.
I will love you until the time I leave you.
But even though the distance grows
be will never be apart.
This is our homeland, our haven in the woods —
familiar shadows, a sky we call our own.
And surely someday, we all will meet again.
When we're centuries old and our voices are gone,
we will all come home.
Hi everyone! My name is Jade, and I am a board member of the Seattle Trans and Nonbinary Choral Ensemble. I am our Marketing and Events Chair, and a singer for about 3 years. I have also had the joy of organizing this year’s STANCE Showcase!
This event is organized almost entirely by volunteer labor - over thirty of us have made valuable contributions to this evening from the silent auction, performing, and so much more. Can we get a cheer for these amazing volunteers?
You might be wondering about this shark verses rat head to head raffle, and just… why that happened…
Our handmade five foot long corduroy shark was made with love by a group of about twenty trans people who wanted to sew a big shark together… so we did. Two weeks ago, we had a blahajfest, where we created a bunch of crazy patches and tatted them onto our shark that we made.
As for the rats… two weeks ago, a large group of rats broke into my house and chewed through my door. After apologizing to me, they gave me a bunch of special Hot Rat Summer merch.
Since our last Showcase, STANCE has grown significantly. We have also provided vital information to trans choirs across the world. We provided detailed rep suggestions to the Buffalo Trans Choir, worked with the Neon Trans Harmonic Choir in Las Vegas to develop their organization, and have bounced ideas off of choirs all over the world via social media. STANCE also developed a document to share information between trans choir leadership. Because of this research, we know there are now 15 active trans choirs across the world.
We are by far the largest of these choirs. Your support tonight doesn’t just build much-needed administrative support to share the work that must be done to keep this ensemble strong - it also allows us to share our knowledge with other trans choirs around the world.
One last thing before I introduce these next few acts….
As we go through this evening, think about how many other organizations that pull off events like this. We will be featuring many truly heartfelt works tonight, many written by the performers on stage. Meanwhile in the foyer, the corduroy shark with 6 eyes on it will be listening, just like you.
STANCE fills a pretty unique niche in terms of organizations. We both take ourselves quite seriously AND we have way too much fun. I hope that through these whimsical ideas, tear-jerking performances, and moments of joy that appear amidst all that’s going on right now, you will see the important work this choir is doing.
Next up are two solo pieces - one accompanied by our assistant director, Mikey Prince! Cerberus will be singing You Gotta Die Sometime from the Broadway musical Falsettos composed by William Finn. The song depicts a character dying of AIDS in the early 1980s and his lament over a life cut short. This song deals with AIDS, death, and has some suggestive themes.
Afterwards, Mitchie will be singing a depression-era jazz standard from a Broadway revue that has somehow become even more relevant. Mitchie dedicates this to the over 15,000 people sleeping outside in Seattle tonight and the countless more who are one paycheck away from joining them. Thank you for coming and listening tonight!
Composed by William Finn
Performed by Cerberus Forbes (voice), Mikey Prince (piano)
Notes from the performer(s): Cerberus Forbes will be singing You Gotta Die Sometime from the Broadway musical Falsettos composed by William Finn with Mikey Prince playing a piano accompaniment. The song depicts a character dying of AIDS in the early 1980s and his lament over a life cut short.
CW: AIDS, death, suggestive themes
Text:
Okay
When the doctor started using phrases like:
"You'll pass away"
What could I say?
I said "Doctor, in plain english tell me why was I chosen?
Why me of all men?
Doctor, here's the good part:
At least death means I'll never be scared about dying again"
Let's get on with living while we can
And not play dumb
Death's gonna come
When it does, screw the nurse
I'll be eating hors d'oeuvres
It's the roll of the dice
And no crying
You gotta die sometime
Death is not a friend
But I hope in the end
He takes me in his arms
And lets me hold his face
He holds me in his arms
And whispers something funny
He lifts me in his arms
And tells me to embrace his attack
Then the scene turns to black
Life sucks
People always hate a loser
And they hate lame ducks
Screw me and shucks
That's it
That's the ball game
I don't smoke
Don't do drugs
And then comes the bad news
I quit
That's the ball game
It's the chink in the armor
The shit in the karma
The blues
Can I keep my cool despite the urge to fall apart?
How should I start
I would cry if I could
But it does no damn good
To explain I'm a man in my prime
You gotta die sometime
Death's a funny pal with a weird sort of talent
He puts his arms around my neck
And walks me to the bed
He pins me up against the wall
And kisses me like crazy
The many stupid things I though about with dread
Now delight
Then the scene turns to white
Give me the balls to orchestrate a graceful leave
That's my reprieve
To go out without care
My head high in the air
It's the last little mountain I'll climb
I'll climb
You gotta die sometime
You gotta die sometime
You gotta die sometime
You gotta die sometime
Sometime, sometime, sometime
Sometime, sometime, sometime
Sometime
Composed by Jay Gorney & E. Y. 'Yip' Harburg
Performed by Mitchie Vega (voice), Mikey Prince (piano)
Notes from the performer(s): This depression-era jazz standard from a Broadway revue has somehow become even more relevant. Dedicated to the 15,000+ people sleeping outside in Seattle tonight and the countless more who are one paycheck away from joining them.
Text:
They used to tell me I was building a dream
And so I followed the mob
When there was earth to plow or guns to bear
I was always there, right on the job
They used to tell me I was building a dream
With peace and glory ahead
Why should I be standing in line
Just waiting for bread?
Once I built a railroad, I made it run
Made it race against time
Once I built a railroad, now it's done
Brother, can you spare a dime?
Once I built a tower up to the sun
Brick and mortar and lime
Once I built a tower, now it's done
Brother, can you spare a dime?
Once in khaki suits, gee, we looked swell
Full of that Yankee Doodly Dum
Half a million boots went slogging through Hell
And I was the kid with the drum
Say, don't you remember? They called me 'Al'
It was 'Al' all the time
Why don't you remember? I'm your pal
Say buddy, can you spare a dime?
Hi! My name is Kass and this is my second season with stance. I am going to be sharing what STANCE means to me
When I first joined stance last fall, I was at a really Hard time in my life. I had recently cut contact with the family that raised me and I felt so alone. And lost. I didn’t know what I was going to do, I had grown up in a large family and was used to having lots of siblings and people in my life. I felt like I was never going to have that again and was struggling to grasp that reality.
I felt like I was drowning
then stance found me.
And from the second I stepped into rehearsals, I realized that I was being welcomed into a space unique to anything I had ever experienced. A place where I was not just tolerated, but celebrated. Somewhere I could be me, TRULY and FULLY me, without conditions, rules or constraints. Somewhere I can show up and not have to put on a performance to be wanted. Where no one questioned who I was or if I belonged.
I’d never had that before.
And I realized,
this,
This is what I had been looking for my whole life.
So when asked “What does STANCE mean to me?”
The only answer that could even come close to everything that I felt, Everything I experienced and witnessed and know to be true,
Is that STANCE, to me
Is home
This next piece is a poem written by Atlas. Atlas said that this piece was inspired by how it feels to navigate life as a nonbinary person.
Written by Atlas Avalon
Performed by Atlas Avalon
Notes from the performer(s): This is a piece inspired by how it feels to navigate life as a nonbinary person.
Text:
Anger
As my stomach growls, I am hesitant to voice my hunger
Not because I don't want to eat, but because I don't want to interrupt
Wondering where the line between politeness and self-sabotage draws itself
Being raised as a girl has instilled so many habits into my psyche
Subtle nuances in speech
The way I carry myself, and
shoulders turned slightly inward
as to avoid
taking up
too much space
There are so many rules,
it's hard
to keep fighting them
And sometimes
I'm tired of creating myself
Some days
I wish I could have been born into a world
where my genitals didn't group me
into one - of only two - categories
Some days
it's exhausting
to lay under the public eye
I am watched, scrutinized
every aspect of my appearance
Picked apart and prodded
Always trying to figure out
which box I belong in
as if the answer
is as simply solved
As a math equation
Sometimes
I don't want to be seen as the "brave" trans person
breaking gender norms
just because
I feel like wearing makeup
on a Wednesday
Sometimes
I forget
that fighting
your own existence
everyday
isn't universal
And sometimes
it makes me furious
that there are people
going about their lives every single day
like it's nothing
I am dumbfounded they are not constantly weeping
out of gratitude
for the synchronicity between their bodies
and minds
And then I remember
That I
am unique in all the world
No one
can take away
the happiness that erupts from my chest
when someone
calls me "they"
And no one can force me
to be something that I am not
So I will continue
creating myself
Day
after wretched day
I reject your binary, your choices,
your color coded pipe dream
I am nothing
I am everything
I cannot
be contained
To be read from the stage.
Composed by Frankie Wolf
Performed by Frankie Wolf (voice, baritone ukulele)
Notes from the performer: Frankie Wolf walks the earth like the nonbinary cousin of a Disney royal, but usually dressed in black and surrounded by familiar corvids and raptors (but also usually singing to the forest kin). The birds are part of Frankie's everyday life and sometimes their presence or absence in a day feels prophetic--as it did the moment where this song originated. An original song composed for baritone ukulele, "2 Dead Ravens in the Backyard" is a work of magical realism in song form. It's about finally seeing all the signs that a relationship they were in was toxic.
Text:
2 dead ravens in the backyard
It’s a bad omen I’m trying not to take hard
2 dead ravens in the backyard
And you’ve been acting like a wild card
I should fly away
No desire to fight another day
I just want to say
You can’t clip my wings
2 dead ravens in the backyard
I heard your words, and then I cried
2 dead ravens in the backyard
I felt the fear I had denied
Suddenly, it’s all in tune
All your love has gone to ruin
I will scream out from the dune
You can’t bring me down
2 dead ravens in the backyard
Your chaos just amplified
2 dead ravens in the backyard
Thanks for the notice, Other Side
I will never be your prey
And I will live another day
I will not be plucked, hey
You can’t steal my song
2 dead ravens in the backyard
2 dead ravens, in our backyard
2 dead ravens in the backyard
Thanks for the notice, Other Side
You may have heard the term vocal dysphoria before. Most simply put, it’s the distress a person experiences when their voice is at odds with their gender identity. But there’s no clinical definition that can come close to expressing what it’s like to live in a world where everything is defined and categorized and judged by gender, when you are transgender. The most basic functions of being alive – using the bathroom, changing your clothes, speaking… and singing. At worst, it can be genuinely dangerous to do these things in public settings. At best, these things can bring on a mini panic attack every time you do them.
So then how can trans people expect to not just exist, but to thrive, and express joy?
I love music. When I’m singing, I feel the most connected to myself and the rest of the universe. Singing is the only sure way I’ve found to transcend despair and the mundane burdens of everyday life and tap into something divine. When I realized I was transgender, I thought I would never be able to sing again. It felt like my voice had become an enemy.
When I heard about STANCE, I almost thought it was too good to be true. To be seen and valued for exactly who you are right now, and being allowed grace around the fact that your voice might continue to change, feels like a miracle. STANCE works everyday miracles for all of us here. And also, have you heard us sing? We sound pretty great!
This next work is from the video game Guild Wars 2, and will be performed by Haven and Mikey on piano. Haven said that this song makes her feel safe and seen.
Composed by Jeremy Soule and Ree Soesbee
Performed by Haven Wilvich (voice) and Adaleigh Martin (piano)
Notes from the performer(s): A Piano and voice duet from the video game Guild Wars 2. This song makes me feel safe and seen in a dangerous world..
Text:
Fear not this night
You will not go astray
Though shadows fall
Still the stars find their way
Awaken from a quiet sleep
Hear the whispering of the wind
Awaken as the silence grows
In a solitude of the night
Darkness spreads through all the land
And your weary eyes open silently
Sunsets have forsaken all
The most far off horizons
Nightmares come when shadows grow
Eyes close and heartbeats slow
Fear not this night
You will not go astray
Though shadows fall
Still the stars find their way
And you can always be strong
Lift your voice with the first light of dawn
Dawn's just a heartbeat away
Hope's just a sunrise away
Distant sounds of melodies
Calling through the night to your heart
Auroras, mists, and echoes dance
In the solitude of our life
Pleadings heard in arias
Gently grieving in captive misery
Darkness sings a forlorn song
Yet our hope can still rise up
Nightmares come when shadows roam
Lift your voice, lift your hope
Fear not this night
You will not go astray
Though shadows fall
Still the stars find their way
And though the night sky's filled with blackness
Fear not, rise up, call out and take my hand
Fear not this night
You will not go astray
Though shadows fall (Still the stars find their way)
Fear not this night
You will not go astray
Though shadows fall (Still the stars find their way)
And you can always be strong
Lift your voice with the first light of dawn
Dawn's just a heartbeat away
Hope's just a sunrise away
STANCE couldn’t exist without the support of audience members and donors like you.
Grants for trans choirs are hard to come by these days and only made up 56% of our income last year.
Last year, 11% of our income came from ticket sales and 26% came directly from supporters who donated and bought auction items at our Showcase.
64% of your donations go directly to paying trans community members to do this work. Another 9% goes to renting spaces like these for rehearsing and performing in.
A large portion of our expenses go to accessibility measures like providing high quality singers masks, ASL interpretation, and livestreams for people who can’t attend in person. We are very lucky to have gotten a grant from the Puffin Foundation to fund accessibility at our upcoming Pride concerts.
If you want to see this work continue, I encourage you to continue attending our events, bring your friends, and become a monthly sustaining supporter. You can join us at stanceseattle.org/donate
Next up, we will have two drag performers! First, we will have Reno! This performance piece is a choreographed dance with a silk veil and lipsync to music. Afterwards, we will have Spiderweb to finish our first act! Here is what Spiderweb wrote about this: Sparkbird is a non-binary composer who inspired this clown to perform. Spiderweb is a non-performer who loves to dance. I hope you enjoy!
Written by Conchita Wurst
Performed by Reno St. Jean (drag)
Notes from the performer: This performance piece is a choreographed dance with a silk veil and lipsync to music.Written by Sparkbird
Performed by Spiderweb (drag)
Notes from the performer:
Sparkbird is a non-binary composer who inspired this non-binary clown to perform.
Lyrics:
After the ball
We all three of us
Two of a feather and
One superfluous
Retire to and from
Rooms and careers
Respectively
Two electively
To conspire against one
Effectively
Partners in crime
Part-time extortionist property owners and
Out-of-proportionist mimes lament
The call to present
In a top-heavy tent that they lent
But don't rent out for money yet
Sorry for trying to get in the act
I thought a performance was what y'all expected
Turns out I'm more sideshow than Cirque du Soleil
But I value grit over fancy tricks anyway
Wine, dine, wind down another evening
Entertaining and complaining
I stay dry and stall
But still plummet into the apron
Right after the ball
After the ball
After the ball
They gloat through the glare
With the straightest disease
The uncaring flakes on the lying trapeze
They master the rings
Contorting the facts
Pickling the punks
Thwarting the unwitting
Acorn woodpecker
Redheaded stepchild
Plucked from the granary
An indentured clown on the face of it
To counter cuts to the greasepaint budget
Presumably
Sorry for trying to get in the act
I thought a performance was what y'all expected
Turns out I'm more sideshow than Cirque du Soleil
But I value grit over fancy tricks anyway
"Unfortunate difficulty balancing chapeaugraphy”
I, on the contrary, bet I could
Trot the globe's topography without a fall
But still plummet into the apron
Right after the ball
After the ball
Sorry for trying to get in the act
I thought a performance was what y'all expected
Turns out I'm more sideshow than Cirque du Soleil
But I value grit over fancy tricks anyway
I value grit over fancy tricks anyway
Good evening, everyone, and again, thank you for being here with us tonight.
I’m Cee Adamson, Executive Director of STANCE, and I want to take a moment to share what your support really makes possible.
At STANCE, every contribution helps create something truly powerful.
You may already know that STANCE is Seattle’s first and only choir created by and for trans and nonbinary singers. We provide a space where people can come as they are, free from expectation, and discover their voice through music.But we’re more than a choir. We’re a community. We’re a place where changing voices are embraced, where people who may have never felt like they belonged in traditional spaces can finally feel at home. This season alone, we welcomed (~)60 new singers into STANCE. Many of them walked into their first rehearsal unsure, maybe even afraid, and began to realize they belonged here.
And that’s where your support comes in.
When you donate to STANCE, you make that space possible. You help fund rehearsals, performances, and music that center trans joy and storytelling. You support artists, educators, and staff who bring this work to life through our events and concerts. And you help build an inclusive, accessible environment where every singer is seen and heard, and where community extends beyond this room into the broader trans and nonbinary community.
Your gift isn’t just supporting tonight’s performance. It’s helping someone feel safe. It’s helping someone feel visible. It’s helping someone discover their voice, sometimes for the very first time. And when that happens, the impact reaches far beyond this stage.
I truly believe that when people are empowered to be fully themselves, they carry that confidence into the world, and that confidence has the power to change communities.
So if you’ve been moved tonight by the music, the energy, and the joy, I invite you to make a gift tonight. (And if you’re able, consider becoming a monthly supporter, helping sustain this community all year long.) Tonight, your support helps ensure that STANCE can continue to grow and welcome even more singers like those 60 this season and sustain our community programming.
Because together, we’re not just supporting music. We’re creating belonging.
And now, it is time to go out to the foyer and look at all of the amazing silent auction items!
We also have a surprise performer in the foyer. See if you can spot the lost and found clerk, and they might tell you a tale….Composed by Robert Schumann
Fran (voice), Mikey Prince (piano)
Notes from the performer(s): Widmung, or Dedication in English, was composed in 1840 was made as a gift for his bride Clara Wieck as part of the collection Mythren and given to her on the night before their wedding. This piece is a dedication to their union and their love for one another.
Original Text:
Du meine Seele, du mein Herz,
Du meine Wonn’, o du mein Schmerz,
Du meine Welt, in der ich lebe,
Mein Himmel du, darein ich schwebe,
O du mein Grab, in das hinab
Ich ewig meinen Kummer gab!
Du bist die Ruh, du bist der Frieden,
Du bist vom Himmel mir beschieden.
Dass du mich liebst, macht mich mir wert,
Dein Blick hat mich vor mir verklärt,
Du hebst mich liebend über mich,
Mein guter Geist, mein bess’res Ich!
English Translation by Richard Stokes:
You my soul, you my heart,
You my rapture, O you my pain,
You my world in which I live,
My heaven you, to which I aspire,
O you my grave, into which
My grief forever I’ve consigned!
You are repose, you are peace,
You are bestowed on me from heaven.
Your love for me gives me my worth,
Your eyes transfigure me in mine,
You raise me lovingly above myself,
My guardian angel, my better self!
Written by Lemon Baardsen
Performed by Lemon Baardsen
Notes from the performer(s): A retiring Lost and Found manager gets sentimental while passing the torch.
Text:
Yeah, the uniform does kinda make you look like a bell hop at first. Once it’s broken in it’s not so bad or maybe by then it just doesn’t bother you anymore.
So first things first, recording the article. This is the Article Intake Form. I don’t know why it’s called that - there’s no Article Hand Out Form, they just sign the bottom and take the article.
Do not fill it in in order! Article description may be the first section but it takes the longest and it’s the only section you don’t need the person who found it to help you fill out. They’re on their way to catch their train and are just being a good neighbor turning something in to Lost & Found; get the location it was found and the time and let them go! And if you’re the one who found it, it’ll save you from forgetting details. So once you’ve got the time and place it was found then you write your description; think like you’re selling it on Craigslist.
You need to remember to press hard so the carbon copies come out clear. And in answer to your next question, no, they will not give us a computer. The white sheet gets filed by date, the pink sheet gets filed by article type, and the yellow sheet goes to the station master who just throws it out but it’s a nice reminder to her that the department still exists. Oh, and the little tag at the bottom goes on the article itself.
Then we take the article and put it with other similar articles and it stays there for a year. This cabinet is all eyeglasses. Over here we have jackets and coats. This box over here is phones - people actually do come back for those mostly. That door there leads to the stroller vault. It doesn’t actually lock or anything, I just like calling it a vault. Thankfully most people remember the kid but the stroller, not so much.
Oh, a sad section: teddy bears. Hardly anyone ever comes back for those but at the end of the year they get dry cleaned and donated to family services so don’t let it get you too down. Those are the books. Finally got them to give me a bookcase for them a couple years back. Planners and journals go in there, too.
Oh, this is one of my favorites, this diary. See how even though it’s locked you can see how the edges of the paper are soft from handling? This is one of those diaries that got reread- a lot. Been here about fifteen years.
I know, I know, it’s supposed to be one but sometimes an article becomes an object and an object becomes a story and what if that story is all that person has left behind in this world? So there’s the diary that belonged to someone haunted by their own life, and this Zippo, “Johnny, I love you, Jerry,” and this silly pair of alien antennas and that kayak paddle and this book of matches that just has the word “Sorry” written on the inside.
So I know you’re going to end up doing things your own way and that’s good! Took me a while to come up with a system that worked for me. But maybe you could keep them? The really special ones? Just promise me you’ll think about it.
So that’s it! It’s all yours! I’m gonna head out. Wallet, keys, phone, train ticket…wouldn’t want to leave anything behind.
We're so excited to share with you more amazing performers!
This next piece is another a cappella choir! This piece is from a 2025 French video game about a painted world that explores life in contrasts of light and shadow. It argues that without shadow, there is nothing to give shape to light. A chorus of characters ushers in a paradigm shift where our understanding changes forever, and we are truly welcomed into the world.
Composed by Lorien Testard
Performed by siri ingersoll, Rosemary De Luca, Thorn King, Chris Ho, Serenity Yingling, Morgan, Danielle Weisz, Leo Ojala (voice)
Notes from the performers: This piece is from a 2025 French video game about a painted world that explores life in contrasts of light and shadow. Without shadow, there is nothing to give shape to light. In this moment, a chorus of characters ushers in a paradigm shift where our understanding changes forever, and we are truly welcomed into the world.
Text:
Maelle
Kasoi dalé u
Moi dané
Goséi dané
Kala soika tovla
Goséi moéto
Maella itade nai
Dosokémo naémai
Alicia itade nai
Verso édaéké
Lune ai
Good evening everyone! My name is Laura Belmont (they/them), and I have been a member of STANCE for a year and a half. As you might have gathered, STANCE regularly puts on performances like this showcase twice a year, as well as our Pride summer concert series, our fall Transgender Day of Remembrance concert series, plus more. However, even though we are a choir, we don’t just perform! We are also a community, both for our over 150 singers and for our trans and nonbinary siblings across the Sound. With that comes building connections and supporting one another. We do that through more formal mutual aid, like hosting food swaps when SNAP benefits were cut. We host T4T, or trans for trans, clothing swaps open to the broader trans and nonbinary community twice a year where people can drop off or pick up clothes to find a style that suits them, entirely for free. Events like our clothing swaps are where euphoria thrives: where our community can express ourselves, be confident, and exude trans joy.
We also host events that let our creativity thrive, such as our recent art parties. Members have been able to make stamps, block prints, and sew to upcycle old fabric, bags, and clothing into completely unique pieces. Our most recent art party led to the creation of the blahaj that was mentioned earlier, a testament to what we can build together. We’ve held social events, like barbeques, inner child socials, opera nights for our members, and hangouts. All of these events have led us to authentically connect with one another, leading to random boba or dinners after our shows or singing on ferries. We continue to evolve with each new member that joins, and community member that interacts with us, meaning that I cannot fully encapsulate all that STANCE is, does, or can be. Truly, STANCE is community. STANCE is love. STANCE is support. We provide a home for our trans and nonbinary community to take refuge, breathe, and be. When you support STANCE, you are supporting so much more than a choir. You are helping us thrive and supporting us as we come into our true selves. You are supporting resources for our community and providing a third space for us to find one another.
STANCE does more than perform. STANCE is trans joy. Thank you for your support.
By Sara Bareilles
Performed by Chris Ho (voice), Mikey Prince (piano)
Text:
It's not simple to say
Most days I don't recognize me
That these shoes and this apron
That place and its patrons
Have taken more than I gave them
It's not easy to know
I'm not anything like I used to be
Although it's true
I was never attention's sweet center
I still remember that girl
She's imperfect but she tries
She is good but she lies
She is hard on herself
She is broken and won't ask for help
She is messy but she's kind
She is lonely most of the time
She is all of this mixed up
And baked in a beautiful pie
She is gone but she used to be mine
It's not what I asked for
Sometimes life just slips in through a back door
And carves out a person
And makes you believe it's all true
And now I've got you
And you're not what I asked for
If I'm honest I know I would give it all back
For a chance to start over
And rewrite an ending or two
For the girl that I knew
Who'll be reckless just enough
Who'll get hurt
But who learns how to toughen up when she's bruised
And gets used by a man who can't love
And then she'll get stuck
And be scared of the life that's inside her
Growing stronger each day
'Til it finally reminds her
To fight just a little
To bring back the fire in her eyes
That's been gone
But used to be mine
Used to be mine
She is messy but she's kind
She is lonely most of the time
She is all of this mixed up and baked in a beautiful pie
She is gone but she used to be mine
STANCE is, at face value, trans and nonbinary representation in the Seattle community. This positive visibility impacts public perception, reduces stigma, and supports and validates other trans and nonbinary people. We proudly show up as ourselves and celebrate that. This is particularly meaningful to trans folks who struggle to be their authentic selves. Seeing a group of 150 trans and nonbinary people together is powerful and life-changing. Our visibility shows that we are not alone, and we refuse to be erased and dehumanized.
Since our founding, we have performed more than 15 concerts, sold over 4000 tickets, and reached thousands of people all over the world via our social media and livestream. This kind of visibility is a key factor for advancing transgender rights. Our positive representation increases public support to care about our basic human rights and to challenge harmful policies that deny those rights. When people feel connected, they develop empathy and are more willing to take action.
As a fully masked choir and audience, we show solidarity with people who are immunocompromised. This also shows that it’s possible to build a community that cares about the health of everyone and takes action to ensure their safety.
With every organization we work with in Seattle — T4T Clothing Swap, Hot Rat Summer, and many more — we provide positive experiences, which is crucial for building community and giving the vital gift of joy.
We show it’s possible to build an inclusive, accessible community free of gendered expectations and one where intersecting identities are centered at all levels. Through our music, we hope to unite Seattleites and mobilize for positive social change.
Next up, we'll hear an original short story by Morgana Andersen that asks: What if an ocean were so harsh that exploring it required the same level of ambition as space travel did on Earth?
Written by Morgana Anderson
Performed by Morgana Anderson
Text:
First Splash
Morgana Andersen
Dramatic reading of an original short story by Morgana Andersen. On a faraway planet, the oceans are so extreme that no one has ventured out beyond the waves to explore them. Until now. Kaltra and Millie embark on a first of its kind mission to explore the ocean in a submarine and learn what is out there.
“Brace!” Kaltra shouts.
I nod to her and dig all six claws on each foot into the sand and grip, hard, bracing my arms against the rear wing of our ship, shielding my face from the wind with my elbow. The wave crashes over us, up to my lower knees, pulling us backwards. I push. As the water calms again, I gaze up at the moons—well, the ones that are out this morning. The smaller moon, Ignis. Its largest volcano is erupting again. On the much larger moon, Aquarius, a vast hurricane looms over its watery surface.
“Eyes on the ocean, Millie,” Kaltra warns.
“Okay, technically I was—”
“The one in front of us!”
The water recedes. I retract my foot-claws and lift myself out of the sand. The current carries us further out. Part of the receding wave crashes into an advancing one, cutting through it, causing it to break from right to left, while another wave advances unhindered beside it. The waves beyond are 10 or 20 feet high. Some crash over nearby rocks. Behind them, the waves are taller, up to 100 feet. A bright green flash lights up the waters beyond, like submerged lightning. No one knows what it is. No one’s gotten close enough.
At least there are no cyclones. The calmest day on the calmest beach on the continent.
“Brace!”
I find the ground and dig in my feet again. The wave crashes over us, up to my waist now.
As the wave recedes we scramble into the ship and close the hatches. I press some buttons and the ship moves forward, surfing on the water. We climb the next wave, higher, higher. Not high enough. Kaltra presses a button and the wings retract. We plunge through the wave, tumbling, half controlled, and pop out the other side. The wings extend and we head to the next one, then plunge even earlier, spinning, and graze some submerged rocks.
“One more and we’ll be deep enough to stay under” she says confidently.
I stare out the thick glass window. One more.
The next wave is the roughest. I close my eyes when we plunge.
“Eyes open!” Kaltra says.
I disobey.
Minutes later, we stop.
“Commander Kaltranara Zif to Mission Control. We have breached the waves. Taking us down.”
I open my eyes.
We’re surrounded by small glowing dots, like stars. A creature with fins and a hard outer shell swims past us, its young following behind. A large fish darts past us, upward, splashes through the surface above, and heads down.
I see the green flashes again. We get closer. It’s a bunch of tiny glowing fish. I take notes furiously, and sketch the most interesting discoveries.
Kaltra nods approvingly.
The light of the sun fades as we go deeper. Creatures down here make their own light. Many are see through. Some look like skeletons. I sketch some more.
A voice on the intercom interrupts us.
“Mission control to Kaltranara and Milliplos. Do you copy?”
I sigh. “What is it?”
“We have a problem,” the voice says. “Cyclones forming over your location.”
Kaltra and I exchange looks.
“We were told there’d be no cyclones,” she says.
“We are studying the anomaly now,” the voice says. “I am sorry. Please run a secondary diagnostic. We need to know our options.”
“Copy that,” Kaltra says.
“How long will the storms last?” I ask.
“We don’t know. Last one was a couple days.”
“Oxygen collection operational,” Kaltra says. Fuel at 75%. Secondary engine damaged. Water desalinization at half capacity. Turning down climate control to conserve power.” She looks at me. “We can wait out the storm, but it won’t be fun.”
I look at the creatures around us, then at my sketches.
“I disagree,” I say. “I’m having the time of my life.”
SHOWCASE updates
“And now you will hear a piece by Morgana’s brother, Yoshi. Yoshi used to run away. A Lot. About 8 months ago, he realized it had been a while since he’d had the urge to run away, so he wrote this song called “Run.” “Run” is about how Yoshi’s true family, chosen a few years ago, soon became his safe place to land. Many of them are here tonight”
Composed by Yoshi Das
Performed by Yoshi Das (voice and piano)
Yoshi used to run away. *A Lot.* But about 8 months ago, he realized it had been a while since he’d had the urge to run away, so he wrote this song called “Run.” “Run” is about how Yoshi’s true family, chosen a few years ago, soon became his safe place to land. Many of them are at this showcase tonight.
Text:
I’ve always been a runner,
Long as I can remember,
Far as my mind will let me
Runnin’ away from hopes and dreams,
Runnin’ away from love,
Love was never safe before
Then you came into my life,
And family, I found you in strife
Safe in your arms, safe and warm, you’d hold me
And suddenly love that was scary, love that was guarded, is bright
And love that was haunted, tied up in strings, suddenly is light
And still I run when I’m afraid,
But never again away,
Family mine, I’m here to stay, cause you showed me
What it means to be loved, what it means to have someone to run to, I run to you
I run to you
STANCE will be busy this June! We will be performing at Benaroya Hall with Rainbow City Orchestra and Puget Soundworks on Sunday, June 14. We will be performing our next full concerts in June 12 and 13. Our title is What Trans Joy Sounds Like.
At our concerts celebrating trans joy, we will also be having Seattle Citywide Councilmembers Foster and Rinck will be speaking at our concerts on different dates. We will be speaking with them beforehand and telling them all about how to make Seattle a safer place for our growing number of trans and nonbinary community.
Next will be Robin and Mikey - Here is what Robin had to say: This is a sweet and lovely tune originally written for the movie “Yentl.” Robin has been working on lowering his range as he’s started taking T, and was excited when this song became one he could perform confidently.
Composed by Michel Legrand
Performed by Robin Wilvich (voice), Mikey Prince (piano)
Notes from the performer(s): This piece was originally written for the movie “Yentl,” but was cut. I think it’s a very sweet and lovely tune, so I wanted to give it some airtime since I doubt many people will have ever heard it before. I chose this piece specifically to highlight my lower range, since I usually have to modulate my solos up to suit my soprano voice. This song, since it never made it to the screen, only had the one key available. I’ve been working on extending my range lower as I’ve started taking T, and I was excited when this song became one I could perform confidently!
Text:
Although it seems
That I'm the one who's wise
I've learned so much from you
For in the heart
A deeper wisdom lies
A world that I never knew
The moon and I
We know each other well
I'm safe beneath its light
It passes by
And sees but doesn't tell
The secrets of the night
Like the sweet forbidden feelings deep inside me
The longing for the lover who's denied me
To feel him beside me
The moon and I
Pretend he's in my arms
Each night it hears me cry
And when I sleep, I dream that soon
I'll tell my love some sunlit afternoon
What no one knows but the moon and I
And just as the sea with its tides
I'm tied to the moon
When it's full, so am I
The moon and I
Pretend he's in my arms
Each night it hears us cry
And when I sleep, I dream that soon
I'll tell my love some sunlit afternoon
What no ones knows but the moon and I
To be announced from the stage!
Composer: George F. Handel
from Serse, HWV 40Performed by Dr. Cee Adamson (voice), Mikey Prince (piano)
RecitativeFrondi tenere e belle
del mio platano amato
per voi risplenda il fato.
Tuoni, lampi, e procelle
non v'oltraggino mai la cara pace,
né giunga a profanarvi austro rapace
Tender and beautiful boughs
of my beloved plane tree,
may fate smile upon you.
May thunder, lightning, and storms
never bother your precious peace,
Nor may you be ravaged by the fierce southern wind.
Aria
Ombra mai fu
di vegetabile
cara ed amabile
soave più
There never was a shade
of any verdure
dearer and lovelier,
nor more sweet.
Translation: Veronika MuggeridgeVery exciting raffle!
Dr. Cee Adamson (voice), Mikey Prince (piano)
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 Kellan. Thank you to all of our wonderful 30+ 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.
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.


