SEPTEMBER OCTOBER NOVEMBER

Flynn Center for the Performing Arts, a nonprofit organization.

FLYNN MARQUEE

A behind-the-scenes

look at the people

& programs you support.

2 | MARQUEE September, October, November September, October, November MARQUEE | 3

Angel and I began traveling around New England and Canada whenever our man was even remotely close. We became familiar faces and got to know Alejandro and his band. In fact, the running comment that always greeted us was “are you married yet?” Well, no, we weren’t, but I was beginning to realize that it was time to move in that direction.

We soon headed north to Montreal to see Alejandro once again. They had booked not only a regular gig but also an in-store record promotion show at Virgin Records. As soon as we saw the band they asked if we were married; this time, I had a different answer. I asked Alejandro if it would be possible to propose to Angel at a show they were playing later that year at the Austin City Limits Music Festival. He gave his blessings and told me how to contact his manager. Entering the Continental Club is like stepping back in time, complete with a velvet curtain behind the stage. The place was packed but we managed to move to the front of the stage where Alejandro gave me a knowing glance of what was about to happen. As the band left the stage for an encore, Alejandro told the crowd about a couple from Vermont who seemed to show up everywhere they went. He also told them that I had something to say, and invited us up on stage. As the stage is literally three feet off the ground, I lifted a surprised Angel onto the stage and jumped up behind her. Grabbing the mic, I told the crowd that Alejandro’s music had been the soundtrack to our relationship, and that it was only appropriate to for what was about to follow. I then pulled out the ring, got on a knee, and asked her to marry me. At this point she was still a bit overwhelmed, but soon gathered her thoughts and agreed to become my wife. A big cheer went up from the crowd and Alejandro came back and, by request, played Angel’s favorite song, Velvet Guitar.

My introduction to the music of Alejandro Escovedo occurred about 13 years ago while working part-time at CD Depot, a now-defunct record store outside of Boulder, Colorado. The owner, Pete Roos, shared my passion for all things music and let me put in a few hours a week in exchange for first-look discounts at the used CDs and LPs. Pete kept telling me about this guy from Austin, Texas who not only wrote amazing songs but had a voice to match. At the time, Alejandro was in the hospital battling a serious case of Hepatitis C and a who’s who of singer-songwriter types had released a tribute album of his songs, called Por Vida, to raise money to help cover escalating hospital bills. Impressed by the line-up on the tribute album and Pete’s recommendation, I began to listen to Alejandro’s music and quickly understood what all the fuss was about. Discovering gem after gem of great songs, I knew this was an artist both unheralded and unknown except for those lucky enough to have been exposed to his music. I counted myself as one of the lucky ones.

During the summer of 2005, Alejandro was touring again and was scheduled to play a show at the Green River Festival in Greenfield, MA.

A quick call to Pete in Colorado and a flight to Vermont, where I now lived, was booked. Alejandro was touring with a string section in those days which added a fullness to the music that I’d never heard before. Pete and I kept exchanges glances knowing that we were experiencing not only a great show, but were also in the presence of greatness. Reality exceeded all expectations.

Thus began my quest to see Alejandro live in concert as frequently as time and budget would allow.

Montreal, Northampton, and Austin all became regular stops for me. Experiencing Alejandro in a live setting was worth the effort regardless of distance travelled, and he never disappointed. I began to use Alejandro’s music as a litmus test for dating. Early on, I would invite my date over to the house for an evening of music. At some point I would slip on a disc of Alejandro’s music—if she showed genuine interest I knew the relationship had promise, if not . . . oh well. One night, a woman I’d gotten to know came over for such an occurrence. Unlike my other dates, Angel immediately grasped the brilliance of his music and wanted to hear more. Good fortune continued to come my way when it was announced that Alejandro was playing at Higher Ground for his first-ever Vermont show.

By DAVID MEANS,Flynn Programming Committee Member

“Con Amor”

Alejandro Escovedo’s journey has taken him from Texas to California to New York and back again, traversing a world of musical styles. First a punk rock dude with The Nuns (they opened for the Sex Pistols’ last show), then

a country-punk progenitor and roots mixologist in Rank and File and the True Believers, Escovedo has spent over 30 years perfecting his evocative Americana. Now a singer-songwriter “in his own genre” (Rolling Stone), Escovedo’s rich voice and unpredictable live shows have no equal. On September 28, he performs on the MainStage along with Grammy winner Shelby Lynne. Whether she’s singing about a “loser dreamer,” desert rain storms, brown liquor, or a vintage Airstream trailer, Lynne brings humor, pathos, and true grit to every show. Both artists perform solo sets and together as a duo.

David Means, a member of the Flynn Programming Committee, has been an enthusiastic devotee to Escovedo’s music for many years. Means is more than just a fan; Alejandro Escovedo plays an important role in his life story.

An Evening of Stories and Songs with Alejandro Escovedo

and Shelby Lynne MAINSTAGE

Saturday, September 28 at 8 pm

David and Angel on stage at the Austin City Limits Music Festival after

David proposed. A big cheer went up from the crowd and Alejandro came back and,

by request, played Angel’s favorite song, “Velvet Guitar”.

Angel and David.

Over the years we have continued following Alejandro and see him at every opportunity. All it takes is to hear a song or two and we’re right back where we were when we started our journey. When asked to sign an autograph Alejandro almost always adds these words: “Con Amor.”

Angel with Alejandro.

David with Alejandro.

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It’s no wonder the show won the Obie (Off-Broadway)

Award for Best Production of 2012.

The show focuses on one man, whose name happens

to be Ethan Lipton, who’s held down the same office

job for a decade. But when the company says it’s

moving—to Mars, no

less—Lipton has to make

a decision. He works

through the process in

an evening’s worth of

brilliant songs that cover

an impressive number

of styles and feature

his fantastic “orchestra”

of three—Eben Levy

(guitar), Ian Riggs

(upright bass) and

Vito Dieterle (sax).

Songs veer from the

swinging title song to the

sad Aging, Middle-Class Parents, from the funky

and funny S**tstorm, to the bleary Three Year Plan.

In these songs, which shift from the poignant to the

hilarious (often in the same verse), Lipton struggles

with a number of issues that have become quite

commonplace during the recent recession: How

much of my life is defined by my job? Do I have

the courage to leave my job and re-invent myself?

How do I balance my work life with family life?

Lipton never resorts to flip caricatures about office

life as the dead-end of the soul; he sees the poetry

in workplace banality and expresses a real affection

for the place and its people. Of course, he’s not

stupid, either, as he describes how difficult it is

to consider moving to Mars for a company that is

“Making lots of money, offering no incentives, and

displaying a fluid relationship with the truth.”

Critics flipped for the show. The New York Times

named it one of

the year’s 10 most

galvanizing moments,

calling it “immensely

appealing . . . a groovy,

soulful, tuneful

midcareer meditation

on loss and confusion.”

The Village Voice put

Lipton on the cover

and dubbed the show,

“Entertainingly poignant

. . . No narrator could

be more appealing

than the mustachioed

Lipton.” And Stage found the show to be

“truly unique as a theatrical experience.”

Other reviews compared Lipton to Woody Guthrie,

Serge Gainsbourg, Tom Waits, Mose Allison, and

George Jones, so he must be doing something right.

The show was commissioned by New York’s Public

Theater and premiered in its venue, Joe’s Pub.

FlynnSpace has pretty much become the Joe’s Pub

of Burlington, so it’s a fitting venue for Lipton +

Orchestra to make their Burlington debut.

Ethan Lipton + His Orchestra perform No Place to Go,

Thursday & Friday, September 26 & 27 at 8 pm, FlynnSpace

Welcome to the Working Week

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by STEVE MACQUEEN,Artistic Director

The storyline for Ethan Lipton + His Orchestra’s remarkable, deeply relevant show, No Place To Go, is simple: a company man has to decide whether to relocate with the company, or stay where he is and go it alone. From that simple premise, Lipton & Co. wring humor, pathos, jazz grooves, and genuine insight into the working life.

Ethan Lipton + His Orchestra

FLYNNSPACEThursday & Friday, September 26 & 27

at 8 pm

In Not What Happened, multiple Obie-winning writer Ain Gordon and director Ken Rus Schmoll premiere a work rooted in Vermont history.

Inspired by the politics of reenactment—the recreation of the past for the present—Not What Happened is a duet between two women that could never actually meet: a tour guide in period costume working at a historic site, and the person that guide represents. The evening-length work is accompanied by documentary artist Forrest Holzapfel’s photos of 19th-century artifacts and rural landscapes. In the Amy E. Tarrant Gallery, Holzapfel presents 24 photographs of 19th-century artifacts collected in Marlboro, Vermont. Gordon and Holzapfel spoke about their creative processes and the new collaborative work.

Ain, you are frequently commissioned to create “site inspired” theater works that draw on lost or overlooked histories. How do you start?

Gordon: I start by walking. I do not surf the web or read books; at first I resist stories packaged for long-distance viewing. I go to the place and I walk. I look for current conditions and negligible

clues to their beginnings. I walk. I look for some form of question that sticks. Next I ask many people the most open-ended version of that question I can verbally manage. I am trying to both learn the question’s ramifications and be available to unexpected response. I do not want the answer I could give myself just as I do not seek the story I could find at a distance.

The first to arrive in me is never plot. I don’t often experience that required sense of beginning or end, but rather a constant modulating hum chaptered by emotion. When I’m lucky, the force of that emotion accumulates into theme. Then comes character. Then I scramble for a container—a situation to tilt character and theme into action.

What is the role of fact and fiction in your work?

Gordon: Isn’t the ordering of old facts into a legible historic narrative for modern audiences a fictive process? There is never room for everything that happened. Some details are chosen so others are not, and in that, streamlining absolute truth is shaped rather than delivered whole so “fiction” enters the equation. Yes, I source real lives and events in live theater. Yes, I devote myself to extensive research but I question the availability of immutable fact (don’t want to be wrong; doubt “right” is available). I’m not interested

in facts everybody already has; I want to get what isn’t known, I might imagine. I look for lives, events, and places that have left enough trace to tantalize and been enough lost to offer me wide permission…

Holzapfel: Inhabiting the mind of another person is a leap of imagination which demands empathy. “Silence” is pregnant with meaning. On one hand, it’s the name of a character from Not What Happened, a woman worn from the labor of existence and from the convolutions of her heart.

Silence is also our constructed, remembered sound of 1804. Feeling the character Silence’s place in the world however yields more: the scrape of iron on hot brick and the popping of split beech in the cavernous fireplace; the slide of a bead of sweat down the bridge of nose; crunching the lees of the woodpile underfoot, or a gasp of crisp winter dawn air in the dooryard.

Can you talk about your collaboration?

Gordon: Forrest and I share a fetish for the ellipses, the blanks, or holes in our historic fabric. Where I have trained myself to read the urban landscape for clues to past incarnations, Forrest studies the collision of manmade incursions on the natural landscape.

Forrest also likes to walk. We wore snowshoes. We donned body mics. We walked, climbed, slipped, fell (well, I fell) and talked and recorded our open-ended words. We re-blazed old trails of man-made settlements now reforested. These lost trails formed a literal path toward conjuring a sensorial portrait of our past. Then came Forrest’s images . . .

Holzapfel: My photographs in support of Not What Happened explore the contours of 19th century domestic surfaces, artifacts of the everyday collected in Marlboro. The images are experiential, tactile fragments: a series of questions about how we perceive something purely while in the flow of a mundane task.

These time-worn surfaces bear the marks of human use, work careless or exact, which like baking bread, was just one strand in a braid of never-ceasing tasks vital to basic survival. The curve of the door handle that has been grasped by hundreds of hands after being shaped by the blacksmith’s hammer, the generations of locks that have held the door closed. In the landscape of my hometown are links to the past lives that have inhabited these spaces. The past and present is in flux, this stacking of ages the essence of my photographic history of this single place of Marlboro, Vermont.

A Pick Up Performance Co(s) production co-commissioned by the Vermont Performance Lab, Flynn Center for the Performing Arts, Juniata Presents, with production support from the Baryshnikov Arts Center, Krannert Center for the Performing Arts, MASS MoCa and the Brooklyn Academy of Music’s NEXT WAVE Festival.

Holes in Our Historic Fabric The Collaborative Work

of Ain Gordon and Forrest Holzapfel

Ain Gordon’s Not What HappenedFLYNNSPACEFriday & Saturday, Sept. 6 & 7 at 8 pm,

Forrest Holzapfel’s Labors of SilenceAMY E. TARRANTGALLERYFriday, Sept. 6 through Saturday, Nov. 2Opening reception on Friday, September 6, 5:30 to 8 pm

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Step Afrika! began through a cross-cultural collaboration between executive director C. Brian Williams and members of the South African dance group, Soweto Dance Theatre. Today, the company is recognized the world over for its performances, festivals, and educational programs that highlight themes of teamwork, academic achievement, and cross-cultural understanding.

In approaching the study guide for this performance, I start by compiling information about the group itself and its unique place in the cultural landscape of the US. I discuss the origins and evolution of the art forms students see and offer teachers a one-stop way to explore the performance from as many angles as possible, in order to facilitate deeper connections between the show and classroom curricula. Recognizing the superhuman demands placed on teachers and classroom schedules, we want to offer a practical resource. We supply paths to useful online resources as well as bibliographies drawn from the collections of

local school libraries, ensuring that the books we recommend are readily accessible. The guide also includes ways to connect with steppers here in our local community, particularly Burlington High School, which has its very own step group!

Students learn best when they have a chance to explore subjects through concrete exercises, sensory experiences, as well as comparative research and analysis. That’s why, in collaboration with educators,

I have worked to develop a variety of “further exploration” boxes in each guide that include things like discussion topics, hands-on art

projects, writing exercises, and math and science exercises, all based on the content of each matinee. All guides also include the Flynn’s “On Your Feet! Matinee Activities,” created by our talented teaching artists to get students moving and creating their own work. This kind of kinesthetic learning has been shown to inspire deep understanding of the art form as well as the themes of each matinee. All of these activities are linked to the VT Standards and the Common Core Standards for education (state and national guidelines for academic achievement).

On a basic level, the guides prepare students and teachers for what they see at the matinee, but they offer much more. They’re an opportunity to discover links between the art forms and the world at large; a gateway into explorations of culture, history, literature, and self-expression. It’s a thrill to be able to offer this resource to teachers, families, and anyone interested in going deeper and learning more about a Flynn-presented performance.

To view the study guide for Step Afrika! and other student matinee performances, visit www.flynncenter.org/education/student-matinees/study-guides.html.

Connecting Art with the World at Large

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By FRANCES BINDER,Student Matinee Series Coordinator

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As student matinee coordinator for the Flynn, I have the exciting job of researching, writing, and compiling our study guides for each of the student matinees. This year one of my first guides is for Step Afrika! This unique group, based in Washington, DC, is the first professional dance company dedicated to the art of stepping. The matinee features a handful of professionals showcasing the American fraternity/sorority stepping as well as South African gumboot and Zulu dance. There’s even some slam poetry mixed in! Students and families have an opportunity to observe these various art forms side by side, learn about their origins and evolution, and witness the through lines between traditions.

The week started off with two afterschool workshops at the King Street Center. Ray spent time teaching the younger kids about rhythm and then worked with the older kids on polyrhythmic techniques. Wild drumming on colorful bucket drums developed into a steady beat once everyone learned that listening is an important part of making music. On Tuesday, Ray worked with an intimate group at the Spectrum Drop-In Center. One young man, who was originally skeptical about the workshop, slowly began to find his rhythm and his initial grimace turned into a wide smile. He said that the drumming reminded him of his home in Columbia. Bridget LaRoche, Spectrum’s Drop-In and Outreach Coordinator, said the experience was “awesome, energetic, and engaging.”

Wednesday began with a workshop for Ms. Maggie’s kindergarten class at the Integrated Arts Academy. The class loved “Ray the Trumpet Man” and Ms. Maggie said that the students “were all interested in becoming a musician!” Later that afternoon, we held a percussion workshop at the Howard Center’s Resource Center during their weekly drum circle session. A group of 20 musicians, instruments in hand, eagerly greeted him as he walked in the door. Resource Center Coordinator, Jayne Weber, said that “Ray is so personable, I feel like I’ve made a new friend!” On Friday night, Ray joined the Diversity Rocks teens of the Vermont Refugee Resettlement Program at their weekly meeting. Laughter quickly filled the room as the group wordlessly developed their rhythm. The workshop ended with lively improvised solos on the conga drum.

All five workshops were unique. Ray has an innate talent at reading groups of all ages and abilities and adapting the workshop to fit the needs of each audience. He quickly became the most popular guy in the room and after every workshop participants asked Ray to come back soon.

After their hands-on experience, workshop participants were invited to see a live jazz performance at the Flynn Center. Each partner organization received 25 free ticket vouchers to the festival’s closing night performance of Poncho Sanchez and his Latin Jazz Band. As Poncho’s longtime friend and collaborator, Ray was the featured player that evening. After the show our partners joined us in the Amy E. Tarrant Gallery for a post-performance reception that quickly turned into an enthusiastic jam session. When teenagers are given pizza, soda, and percussion instruments everyone is bound to have a good time! Ray joined the party soon after his performance and was greeted with cheers from his new friends. He autographed tickets, posed for photos, and grabbed a drum.

The Two-Beat Traveler program was funded in part by a grant from the Vermont Community Foundation. Plans are already underway to continue the Two-Beat Traveler program during next year’s festival.

“Ray the Trumpet Man”

By MADELINE BELL,Programming Manager

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This year, the Burlington Discover Jazz Festival introduced an exciting new initiative called the Two-Beat Traveler Program. The festival provides hundreds of opportunities to experience jazz at the Flynn Center, the Waterfront, and the Church Street Marketplace; the Two-Beat Traveler brings jazz to the community. Vermont’s Ray Vega was the festival’s first Two-Beat Traveler. Ray is an accomplished trumpet player, a professor at the University of Vermont, and a vital member of Burlington’s jazz community.

Around Town with Burlington Discover Jazz Festival Two-Beat Traveler Artist-in-Residence Ray Vega

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Spring and Summer at the Flynn:

Members in Action

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After what seemed like endless weeks of rain and floods, the weather cooperated beautifully for the Flynn’s 17th annual garden tour on Sunday, July 14 in Shelburne. The day was picture perfect and our amazing garden hosts presented some of the most spectacular gardens ever seen on the tour. Funds raised from ticket sales, lunch, and the raffle all support the Flynn’s cultural and educational programs for school children.

The Sun Shines Brightly on the Flynn Garden Tour

Welcome New Board MembersThe Flynn welcomed Sandra Enman, Erika Senft Miller, Chuck Maniscalco, and Rich Price to the board of directors this spring.

Sandy Enman is owner of Enman & Associates, P.C., an accounting firm that provides personalized accounting and financial services to individuals, sole proprietors, partnerships, limited liability companies, corporations, trusts, estates, and not-for-profit organizations. She is a member of the Vermont Society of CPAs, the American Institute of Certified Public Accountants, the National Association of Tax Practitioners, the Institute of Business Appraisers, and the National Association of Certified Valuation Analysts. Sandy has brought her extensive tax planning expertise as a volunteer to the Flynn Center’s Planned Giving Committee and has provided guidance and support to various other nonprofits.

Erika Senft Miller is a physical therapist at Champlain Physical Therapy in Essex Junction and has been a part-time faculty member in dance at Saint Michael’s College since 2000. Erika has also worked with the Flynn as a visiting artist in schools teaching dance and Alexander Technique workshops. Erika trained in dance theater and dance therapy with a Mary Wigman Master student in Germany. She performed and toured with the Berlin based performance theater company PanOptikum. Erika received her master’s and doctorate degree in dance education at Temple University in Philadelphia. Prior to training in dance, Erika worked in advertising and public relations.

Chuck Maniscalco currently works at Champlain College, as vice president of strategic initiatives, and also consults with a variety of companies in the Burlington area. Chuck’s career spans a total of over 30 years of marketing, strategy, and general management, culminating in two president and CEO roles, first of a major $10B division of PepsiCo, and then with Seventh Generation. During that time, he had a full array of experiences including new product development and implementation, rapid growth opportunities and challenges and turnaround situations. His core strengths are in the area of Business Strategy; Marketing Strategy and Execution; Consumer Insights; and Leadership/Team Development.

Rich Price is director of branded content at Select Design and oversees the development of consumer engagement campaigns for a range of innovative brands. During his time at Select, Rich helped launch Hug Your Farmer, a music series that raises money to support local farming initiatives, and Select Sessions, a series that brings together some of Vermont’s best musicians to interpret classic albums. Rich brings a unique blend of entertainment industry credentials and brand development expertise. He has enjoyed success as a singer-songwriter and composer, touring the world and writing music for film and television. Rich continues to perform around the world with his band, The Sweet Remains.

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Members of the Flynn Legacy Society have planned long-term for the well-being of the Flynn by including us in their estate plans. As a thank you to this special group, we invited Legacy Society members to the May 3 performance of MOMIX’s Botanica and a post-show reception. Legacy Society member Sansea Sparling and her son Daniel chat with Artistic Director Steve MacQueen (center). “It’s important to support the arts for future generations,” said Sansea. “Joining the Flynn Legacy Society helped me to do this.”

Flynn Legacy Society Post-Show Reception

On August 9, supporters came to a special gala benefit performance for the Flynn and Lyric Theatre with one of Broadway’s hottest stars, Kelli O’Hara. The luminous leading lady performed show-stopping songs from Carousel, Show Boat, Kiss Me Kate, West Side Story, and much more. The evening helped to support Flynn Center programs and the Lyric Theatre capital campaign and launch of their 40th Anniversary season.

Kelli O’Hara Benefit Performance for Lyric Theatre and the Flynn

New members gathered on April 3 for a group photo on the MainStage while getting an insider’s look behind the red curtains with our production team. Later, the group toured the Flynn with Facilities Director Jack Galt.

Flynn’s First New Member Event >

Members were thrilled when the full Joffrey Ballet Company joined them for refreshments and conversation after their wonderful performance. Pictured: Sharry Underwood, one of the Flynn’s most passionate dance supporters, chats with Executive Director John Killacky and Ashley Wheater, artistic director of the Joffrey Ballet Company.

Annual Member Reception on March 16<

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Over 40 local teens dazzled audience members in sold-out FlynnArts musical performances of Shrek and Into the Woods. The terrific singing and top-notch acting resulted from weeks of rehearsal with an artistic team comprised of Piero Bonamico, Gina Fearn, Danielle Sertz, and Flynn Education Director Christina Weakland. FlynnArts also offered over 30 summer camps for ages 3 to 19, taught by professional educators and performing artists, with new Friday workshops and classes in dance, theater, and music.

Summer Camps and Musicals

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Carolyn L. Bates Photography

For the past year, we’ve been evaluating the Flynn’s membership structure to best meet our members’ needs. Our members are the essence of the Flynn and since we truly appreciate each and every one of you, we wanted your input. We heard from members that you’re happy to support the Flynn and are thrilled to have a beautiful, thriving historic theater in our community. We listened to members’ comments very carefully and took many of your suggestions into consideration when deciding on new benefits and levels of support.

You told us that you support the Flynn to bring world-class performances to Vermont; present exemplary arts education programs; provide a home for Vermont artists; subsidize access to performances and class scholarships; care for historic theater; get advance notice and ticket buying for shows; enroll early in classes and camps; receive discounts on tickets and classes, and free ticket exchange; attend behind-the-scenes tours, receptions, and other special events.

Costs are rising in relation to production costs and artist fees, so we need to ensure that the Flynn remains on firm financial footing. However, most people, even our members, don’t realize that ticket prices cover only two-thirds of the actual cost of presenting a performance. We’re committed to keeping the arts accessible to all community members, and are able to do so with your membership help.

Because we don’t always get to meet our newest members, we’ve created a new member event to open the doors and share insider information.

At these events, new members meet Executive Director John Killacky, Artistic Director Steve MacQueen, and Education Director Christina Weakland, and take a peek behind the red curtains with Gary, Grant, Bert, Harry, and Bruce, our fabulous technical folks. Then, everybody’s favorite: a fabulous historic tour with Facilities Director Jack Galt. Please stay tuned if you’re a new member as there are more of these coming up in the fall and spring.

We have a new beautiful full-color membership brochure, along with additional perks to enhance your experience at the Flynn. The entry-level membership has increased to $50, but all Flynn memberships include every member of your household. The next membership group (where discounts apply) increased from $100 to $120, but now includes a free ticket exchange—the most-requested benefit—and coupons for non-alcoholic beverages at the concession counter. Our next two contribution categories have been combined and renamed “Donor,” with higher levels remaining the same with additional benefits. And for your convenience, we also offer the opportunity to spread a gift throughout the year by becoming a sustaining member. Members can request an automatic deduction on a debit or credit card each month and we will automatically renew your membership each year.

We think you’ll appreciate the new benefit structure. Please take a look at our modified levels and benefits, and be sure to let me know if you have questions or comments at proberts@flynncenter.org or 802-652-4507.

by PAULA ROBERTSMembership & Special Events Manager

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Meet the FlynnTix Box Office staff:Back row, from left to right: Megan Butterfield, Todd Scott, Dayton Shafer, Gail Clook, Caitlin Bayer, Dean Pratt, Johnnie Day Durand Front row: AJ Fucile, Leeeza Robbins

“As a former theater major, I can’t wait to see The Graduate ! I love the chance to see any production that uses innovative techniques to breathe new life into a classic story—this L.A. Theatre Works production will surely do just that.”

—Caitlin Bayer, Box Office Supervisor

“Is it too late to be Diana Krall when I grow up? Once you hear her voice, you’ll never forget it. Watching her perform during the 2009 Burlington Discover Jazz Festival was incredible, and I can’t wait to see her back on the MainStage!”

—Megan Butterfield, Box Office Agent

“Cirque Éloize’s Cirkopolis performance. Before starting at the Flynn, I was a bit oblivious to the incredible dance and circus art performances that are part

of the season. This year I’m making a point to see more shows that incorporate dance.”

—Gail Clook, Box Office Supervisor

“Definitely Dr. John. Not only is he a godfather of New Orleans R&B and Funk, but with albums like last year’s Locked Down, he showed us that his eclectic ingenuity hasn’t faltered for almost fifty years.”

—Dayton Shafer, Box Office Agent

“As a Broadway geek, I’m most excited to see the Broadway show lineup, especially Memphis (January 24) and Green Day’s American Idiot (February 11-12). Although two totally different shows, each is amazing in their own right. And how can one talk about Broadway without including Patti LuPone (March 7)? Whether she’s portraying Maria Callas in Master Class, Mrs. Lovett in Sweeney Todd, or Rose in Gypsy, LuPone embodies the very essence of Broadway.”

—Dean Pratt, Box Office Agent

FRIEND ($50-$119) Advance ticketing opportunities for Flynn presentations

and special events. Access to the members-only FlynnTix Regional Box Office Showline. An invitation to the annual Sneak Preview event and reception. Early enrollment opportunities for educational programming,

including FlynnArts summer camps and classes for children, teens, and adults.

One-year subscription to the Marquee, the Flynn’s member magazine. Invitation to Flynn tours. Name listing in Season Guide.

CONTRIBUTOR ($120-$249)Benefits listed above, PLUS:

A 10% discount on full-price tickets to most Flynn Center presentations. A 10% discount on FlynnArts classes, workshops, and camps. An invitation to a reception connected to a major Flynn presentation. An invitation to a Flynn educational event. Complimentary ticket exchange for Flynn presented performances.

(Tickets must be presented at the Box Office no later than two business days prior to the performance.)

Two coupons for any non-alcoholic drink at the Flynn concession counter.

DONOR ($250-$499)Benefits listed above, PLUS:

A free parking voucher for the Corporate Plaza Parking Garage (entrance on St. Paul Street between College and Bank Streets) for Flynn MainStage presentations.

A special insider’s look at the season with the artistic director and education director.

Choose a pair of tickets to one show from a selection of performances (after the season ticketing process).

An additional two coupons (for a total of four) for any non-alcoholic beverage at the Flynn concession counter.

A signed performance poster or photograph (upon request and if available).

PATRON ($500-$999)Benefits listed above, PLUS:

A special invitation to a Patron donor reception/lunch with an artist. An additional two coupons (for a total of six) for any

non-alcoholic beverage at the Flynn concession counter.

J.J. FLYNN CIRCLE ($1,000 & above)Benefits listed above, PLUS: Personalized ticketing service; advance notice of upcoming special performances; an invitation to the annual J.J. Flynn Reception and more.

Announcing New Flynn Membership Benefits and Rates

FLYNNMEMBERS

FlynnTix Box Office Staff Picks

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153 Main St., Burlington, VT 05401-8402

Non-Profit Org.U.S. PostagePAIDBurlington, VTPermit No. 490

design: S&H design shdesignvt.com

Flynn CalendarSeptember6-7 Ain Gordon’s Not What Happened7 The Moth MainStage9 Gad Elmaleh11 Graham Nash12 Michael Franti and Spearhead13 Sit, Stay, and Stand-up!14 Déja-Nous20 Bill Cosby21 Aparna Ramaswamy22 Johannes String Quartet with Fred Child24 Stand-up, Sit Down & Laugh26-27 Ethan Lipton + His Orchestra: No Place to Go28 Alejandro Escovedo and Shelby Lynne29 Vermont Youth Orchestra30 Celtic Thunder

October4 Reggie Watts5 Bela Fleck’s Banjo! Summit9 Diana Krall9-27 Vermont Stage Company: Art23 L.A. Theatre Works: The Graduate25 Dr. John26 Vermont Symphony Orchestra27 B.B. King28 The Addams Family November1 Step Afrika!4-5 Cirque Eloize: Cirkopolis8 Upright Citizens Brigade9 James “Blood” Ulmer14-17 Lyric Theatre: Joseph and the Technicolor Dreamcoat21 Anoushka Shankar21-23 Sandglass Theater: D-Generation23 Kyle Abraham / Abraham.in.Motion26 Rice Memorial High School Stunt Nite30 Albany Berkshire Ballet: The Nutcracker

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FS:SMS: Includes additional Student Matinee Series performance

James “Blood” Ulmer

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