MARCH APRIL MAY 2014

Flynn Center for the Performing Arts, a nonprofit organization.

FLYNN MARQUEE

A behind-the-scenes

look at the people

& programs you support.

2 | MARQUEE March, April, May March, April, May MARQUEE | 3

So You Think You Can’t Understand Dance

As much fun as it is, it raises questions: Is it real? Does reality TV have any value other than the pleasure in talking with our friends about it? Why do we enjoy getting caught up in things that may be staged and artificial, and usually aren’t even good? We’ll examine this when dance theater company Lucky Plush performs Cinderbox 2.0.

Before I arrived at the Flynn, my knowledge of dance was mostly limited to Solid Gold. After a few years, I’d seen a variety of performances: some beautiful, some less so, and many downright confusing. I knew from talking with people about dance that oftentimes they shy away from attending because they’re afraid they won’t “get it.” I understood that sentiment.

Enter Lucky Plush. In January 2010 I was at the Association of Performing Arts Presenters conference in New York, and a relatively new dance company (whose name I liked) was showcasing a piece called Punk Yankees. When I walked into the room, I saw dancers hanging out on either side of the dance floor. A few were stretching; some talked among themselves; others were posting about the pending performance to Twitter as their tweets appeared on a big screen opposite the audience. It was easy to get drawn in by the preshow alone. Then, as the main event began, I realized it wasn’t a warm-up at all—we were experiencing what it’s like to be a dancer before a performance, demystifying their work. What I found after, though, was perhaps the most accessible dance performance I’d ever seen.

The concept behind Punk Yankees is that people “steal” choreography all the time without a thought; this would never happen in the music industry, or in literature, without a huge penalty. In a matter of minutes, I realized that I was aware of dance throughout history, as the dancers performed famous moves of various companies against a backdrop of text and video about what we were seeing. When they did moves from Beyonce’s All the Single Ladies, it was impossible not to laugh, and the dancers looked like they were having as much fun as I was— I understood dance!

Four years later, Lucky Plush is finally coming to Burlington. With Cinderbox 2.0, the group takes on reality television, and explores the line between observers and the observed. Are we more interested in what’s happening on stage, or in talking with our viewing partners about it? How do we relate what we see in an onstage performance to our own lives? Could we, or do we already, do what they’re doing? Will I understand my addiction to reality television a little better? In addition to great dance, you’ll laugh a lot, and you’ll have something to think about after.

But most importantly, you’ll leave feeling like you “got it.”

Survivor. Duck Dynasty. Real Housewives. Fear Factor. Top Chef. Storage Wars. The Bachelor. It’s impossible to watch television today without coming across reality TV. When Survivor first aired, I refused to watch, thinking it was made-for-television “reality”; years later, I’m now an avid reality television viewer. The programs are water cooler conversation with my colleagues, where we laugh at the situations and take sides during the characters’ arguments.

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by LEIGH CHANDLER,Marketing Director

Lucky Plush Artistic Director Julia Rhoads received the 2013 Herb Alpert Award, given to mid-career artists with tremendous creativity and ingenuity.

Lucky Plush: Cinderbox 2.0

MAINSTAGE Saturday, March 22 at 8 pm

Keb’ Mo’, solo acoustic Sunday, March 16 at 7 pm, tickets on sale now

Keb’ Mo’ has won three Grammys for Best Contemporary Blues Album and 10(!) W.C. Handy Blues Awards. And, as a central figure in Martin Scorsese’s acclaimed history The Blues, he can stand on

stage with an acoustic guitar and play the daylights out of some Robert Johnson, no doubt about it. But as he’s developed as an artist, Keb’ Mo’s music has expanded as well, venturing into that nebulous realm of “folk-soul”—home to such like-minded geniuses as Bill Withers, Terry Callier, and Bobby Womack.

This genre-blending artfulness along with his unique guitar style, distinctive voice, onstage charisma, and impassioned songwriting, has garnered him a deservedly loyal fan base ever since his first disc, Keb Mo, hit shelves in 1994. And while he’s won numerous awards and even dabbled in acting—The West Wing and John Sayles’ film Honeydripper, for instance—he’s at his best in performance, where his very real connection with an audience can work magic.

Bread & Puppet Theater, Birdcatcher in Hell Friday, May 16 at 8 pm, tickets on sale to members March 3

Vermont’s own Bread & Puppet Theater, certainly one of the most acclaimed and controversial puppet troupes in the world, is celebrating its 50th anniversary, which includes this performance of Birdcatcher in Hell, B&P’s first show at the Flynn since 1992. The show was originally created by founder Peter Schumann and poet Bob Nichols in the mid-‘60s in a “blue” version, then recreated (with references to Richard Nixon and the My Lai massacre) in its “red” version in 1971.

Based on a comic interlude from the Japanese Noh cycle, the current version of Birdcatcher is an update of “red,” focusing on such hot-button topics as enhanced interrogation, Guantanamo, drone bombings, and American politics. In case you haven’t figured it out yet, Bread & Puppet does not shy away from explicit political messages—quite the opposite, in fact.

This production features many of the original cast members, members of the resident company, local volunteers, and many of the old puppets and masks. The original costumes were so fragile that a group of Northeast Kingdom volunteers, guided by printer Lila Winstead, met last winter to dye, print and sew a whole new set of robes, banners, and flags.

The Chieftains with special guest Ry Cooder Friday, July 4 at 8 pm, tickets on sale to members March 3

At first glance, the idea of a Chieftains show on the Fourth of July may seem a bit out of place. An Irish band on the most patriotic of American holidays? Well, yeah. The Chieftains, celebrating their 50th anniversary as standard-bearers of Celtic music, chronicle the Irish experience in song, frequently featuring tales of the emigration to the United States and the Irish experience stateside. Leader/founder Paddy Moloney is a two-country man himself, spending half the year in Dublin and the other half in Florida.

Ry Cooder—a revered rock/blues guitarist, roots musician, record producer, songwriter, and composer who rarely, if ever, tours any more—is one of the great exponents of North American roots music, having played equal parts guitar wizard and musical archaeologist in his early days. He then used that grounding to go worldwide, performing with (and winning Grammys for) such world artists as Ali Farka Toure, V.M. Bhatt and, most famously, the Buena Vista Social Club.

Together, the Chieftains and Cooder made Los Patricios, a brilliant concept album based on a true story about a group of Irish immigrants who deserted the U.S. Army in 1846 to fight for the Mexicans in the Mexican-American War. Granted, that’s a bit less overtly patriotic than Stars and Stripes Forever, but it’s a true and compelling moment of American history turned into a rich musical tapestry by some of the best musicians around.

This marks the Chieftains first appearance at the Flynn in more than 20 years and offers an astonishing opportunity to see the ever-more-reclusive Cooder perform onstage. Not to be missed!

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by STEVE MACQUEEN,Artistic Director

Among the lessons that life repeatedly teaches is that you can’t plan everything in advance: sometimes you’ve got to roll with it. And so it is with programming at the Flynn. You can plan a season, but there are bound to be opportunities throughout the year that cannot be passed up. Here’s a brief rundown of three such shows you’ll see in the coming months—as a member, you can buy tickets early.

Bread and Puppet Theater

Keb’ Mo’

March, April, May MARQUEE | 5

The 2014 Burlington Discover Jazz Festival marks our 31st year of jazz here in Vermont. This year, we celebrate with three NEA Jazz Masters: Ron Carter, Benny Golson, and Eddie Palmieri.

In 1982, the National Endowment for the Arts established the Jazz Masters Fellowship, and each year the program selects a number of living legends to receive

the title. It’s the highest honor that our nation bestows on jazz artists who have made exceptional contributions to the advancement of jazz.

On June 1, we play host to a remarkable double bill featuring bassist Ron Carter and saxophonist Benny Golson. Carter rose to fame as a member of the Miles Davis Quintet in the 1960s and is one of the most recorded bassists of all time, clocking in over 2,500 recordings. Golson was co-leader of the legendary Jazztet group and composed many jazz standards including Killer Joe and Along Came Betty. On June 8, we feature Grammy winner and fellow Jazz Master Eddie Palmieri, who shows Burlington what Latin jazz is all about.

Join us as we celebrate these three musicians who shaped history and continue to contribute to this great American art form.

We’re also psyched to announce this year’s Burlington Discover Jazz Festival Artist-in-Residence, Donald Harrison. Harrison, a New Orleans alto sax player, will lead workshops at various organization and schools in Burlington and beyond.

Get Ready for the 2014 Burlington Discover Jazz Festival

If you’ve ever attended a student

matinee or seen the school buses

lined up outside the Flynn, you may

have wondered how schools connect with these magical live performance experiences.

The key is a network of committed liaisons that the Flynn calls “lead teachers.”

Over 150 teachers a year commit to the role, serving as the main point of contact between

the Flynn’s educational programs and their schools. As such, they pass information in both

directions: providing input to the education department on how we can best meet their

schools’ curricular and logistical needs, and spreading the word at their schools about

the various educational opportunities. They are true partners in maximizing the reach

and power of arts education to the greatest number of children.

Each May, all lead teachers attend a special season kickoff, wherein we announce upcoming

student matinee productions with video clips, curricular connections, and an overall insider’s scoop.

Lead teachers also learn about school programs like Words Come Alive! (professional development

for teachers), companion workshops (matinee prep for students), and the Vermont Young Playwrights

Program. Then, armed with the latest news and matinee brochures, lead teachers head back to school.

Within two weeks, hundreds of teachers from over 170 schools have sent in their orders for the next

school year’s shows to the ticket lottery, and the student matinee season is off and running!

School teachers are the gatekeepers to these potent arts experiences for young people. We’ve seen

schools absolutely surge in attendance when a passionate new lead teacher takes on the position,

which has long-lasting effects on the children of their school. The life of a teacher is busy and

demanding; we salute our lead teachers for recognizing live performance as a vital and inspiring

educational tool, and giving generously of their time and energy to forge connections and pathways

to powerful arts experiences.

Unsung Heroes

by CHRISTINA WEAKLAND,Director of Education

Lead teachers are the gatekeepers to these potent arts experiences for young people.

New Face at the FlynnThis December, the education department welcomed a new student matinee coordinator, Kianna Jensen. Kianna came to the Flynn from BFA St. Albans High School where she was a Spanish and drama teacher, co-chair of the Spanish department, and head of the drama program. This educator background gives her a familiarity with teachers’ needs and perspectives, as well as with the new Common Core standards, which serves her well in creating matinee study guides. Kianna’s passion for the performing arts is also borne out in her off-work activity; in fact, you can see her on the Flynn stage this April as Eponine in Lyric Theater Company’s production of Les Misérables. Kianna replaces Frances Binder, who is now pursuing a related career and a master’s in library science—if you visit Essex High School’s library, be sure to say hello.Fr

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by LINDA LITTLE,BDJF Managing Director

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Fortuna Song

It’s a rarity when a Vermonter

can watch a true Broadway

performer singing their heart

out. Recently, we’ve had

Bernadette Peters and Kelli

O’Hara; this year we have none

other than Ms. Patti LuPone.

With Coulda, Woulda, Shoulda,

LuPone tackles the parts and

songs she thinks she could’ve,

should’ve, or will play. Hair,

Bye, Bye Birdie, Funny Girl, West Side Story, and Peter Pan all get the

Patti treatment, and her Tony-winning performances in Evita and Gypsy are

reprised as well. She’s a dynamic performer that deeply touches her audience

through acting and song. A true powerhouse, who also happens to be quite

funny—not to mention a Broadway legend! You won’t be disappointed.

Patti LuPone Coulda, Woulda, ShouldaFriday, March 7 at 8 pm

by DEAN PRATT, Box Office Agent

Sara Bridgman is an artist living and working in Charlotte, Vermont. Bridgman is a visual storyteller, working in oils and etchings. She creates a whimsical original band of characters, most often starring Mary Frances Limoge (one of her childhood Scottish Terrier companions), in one escapade after another, stirring the imagination. Her large oil paintings are evocative and dramatic, reflecting her darker, serious side.

IN THE Gallery

Sara Bridgman Layers: Two Sides of Sara BridgmanAmy E. Tarrant Gallery, May 9 through August 2

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March, April, May MARQUEE | 7

By MADELINE BELL,Programming Manager

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Our partnership with Saint Michael’s College is called the Cultural Pass. Undergrads in good academic and social standing are signed up

automatically, and can purchase a $10 ticket to any Flynn-presented show throughout the year. They can buy tickets in advance but are also

able to purchase tickets closer to each performance. The college then subsidizes each ticket purchased by paying the remaining balance.

The Cultural Pass is such a success that it was replicated for Champlain College and Burlington College students. In addition to

$10 student tickets, each school offers faculty the opportunity to incorporate performances: If a professor requires their class to see

a show, the college provides free tickets to students and faculty. The University of Vermont contributes support for an array of world

music, contemporary dance, and first-rate jazz performances each year. Students, faculty,

and staff are all offered $10 tickets to the ten selected UVM Diversity shows.

Students also interact directly with visiting artists through Flynn workshops, masterclasses,

and pre-performance discussions. UVM dance students share performance reviews

on the Flynn blog, Champlain marketing students advertise upcoming shows to their

peers, and Flynn staff visit classes for pre or post-performance discussions.

The possibilities of these

partnerships are limitless.

“The revival production of Hair was an eye-opener for students in the 21st century; for me and my wife, it was not only a trip back to a turbulent era but a reminder of a moment we shared during our honeymoon in 1969. My students also attended The Graduate and Art, both times staying after the show to speak with members of the casts. I look forward to having other students discover what all the fuss is about at the Flynn.”

—Nick Clary, Saint Michael’s College professor

“Flynn dance programming has undoubtedly been one of the most important educational resources for our courses. The students learn so much from getting out of the classroom and into the ‘real world,’ where they can view, evaluate, and make connections on their own.”

—Clare Byrne, UVM dance professor

“Anoushka Shankar’s performance was such a privilege, and being able to share that with members of the ALANA (African, Latino(a), Asian, and Native American) community was an added bonus. Being South Asian American, I was pleased to see that the Flynn had invited Anoushka. Her performance was breathtakingly beautiful, and I felt like the night ended in a peaceful and enriching way.” —Rezwana Zafar, UVM graduate student

“While the cost for professors and students is free when they attend a performance together as part of a class, the payoff is huge. Students experience and explore political, humanistic, artistic, and global issues through these live performances. We’re thrilled to support these short walks down the hill which broaden our students’ mental and ethical horizons.”—Cinse Bonino, Center for Instructional Practice Provost and Academic Affairs at Champlain College

Open CampusCollege is a time of growth, and the Flynn is pleased to be a part of that for many students in our community.

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Rajan is also a founding member of Indian Ink Theatre Company,

which brings Guru of Chai to FlynnSpace for a three-show run

April 8-10. I had the pleasure of seeing the show in New York and

was amazed at how deftly and effortlessly Rajan and company

transformed the rather drab theater space into, well, whatever they

wanted it to be at a given moment.

The title character is a tea seller at the incredibly busy rail station

in Bangalore, India. Rajan based his character on a man he met in

Bali, “A squat little man with astonishing grace and fluidity; always

smiling, always laughing, a weakness for beer and cockfighting.”

Early on, he meets a group of sisters, who are watched over by a

friendly policeman and occasionally threatened by a local crime lord.

The show lives at the intersection of romantic thriller and character

study, with the Guru as its mesmerizing but highly unreliable narrator.

Though the staging is modest—just the suggestion of a tea-cart

and some fabric—the show’s sweep is epic, spanning decades and

numerous settings, including a cockfight. All the characters that pop

in and out of this teeming work are played by Rajan. This is bravura

acting on a number of levels: logistically, he manages to act out

scenes with multiple characters while always keeping clear which

one is talking; physically, he creates characters with small gestures

so that even before a character speaks, the audience frequently

knows who it is. He’s aided by a simple but clever lighting design

that creates different spaces and moods.

Rajan does all the talking,

but he’s not the only

person onstage: David

Ward, who composed

the score, accompanies

Rajan as a wordless chorus, often nodding in

assent or staring in puzzlement, but always

accompanying the show musically on a banjo

that sounds just like a sitar.

The Malaysian-born son of South Indian

parents who moved to New Zealand when he was four, Rajan formed

Indian Ink in 1996 with actor Justin Lewis, prompted by their shared

love of physical theater and, specifically, masks. (His only mask in

Guru is an attention-grabbing set of false teeth.) The troupe has met

great acclaim in New Zealand and Australia with its works The Pickle

King, Krishnan’s Diary, and The Dentist’s Chair. The American tour of

Guru of Chai marks a rare foray to the US.

As Theatre Review puts it, “Jacob Rajan fills the stage with a

bewildering number of characters, with the use of very few props and

even fewer costume adjustments. His posture changes with each of

his characters; each is different and identifiable. His storytelling is

like a series of doors opening into ever more fascinating spaces.”

On the Tea Road

by STEVE MACQUEEN, Artistic Director

Jacob Rajan brings you into his theatrical world from the moment he steps onstage, offering

up a faux-motivational speech that is both hilarious and barbed. You are no longer in your own

space; you are in his world. And the journey you take over the next 90 minutes as he weaves

his labyrinthine story—at turns exhilarating, hilarious, and wrenching—is a powerful one.

Guru of Chai FLYNNSPACE

Tuesday-Thursday, April 8-10 at 7:30 pm

March, April, May MARQUEE | 9

Eighty-three productions later, Lyric is poised to

present the first full-length production of Les Misérables in Vermont. The budget tops $200,000, a far cry from

our inaugural 1974 season. The sets are highlighted

with state-of-the-art projection technology that brings

19th century Paris to life in all its grungy glory.

Over 50 actors sing a stunning

score played by a 22-piece live

orchestra.

See how far Lyric has come!

Our spectacular 40th anniversary

production of Les Misérables takes place over two weekends,

April 4–13.

The Flynn Bear by the Vermont Teddy Bear Company!Donate $100 to benefit scholarships for young people in FlynnArts and receive a Flynn Vermont Teddy Bear!

This Vermont Teddy Bear will warm your heart when you know that your $100 donation helped a young person in our community participate in the performing arts. All proceeds from your donation benefit scholarship students in dance, drama, and music classes at the Flynn. Support the Flynn and help young people explore the performing arts and receive your very own Flynn Vermont Teddy Bear as a special gift.

www.flynncenter.org/teddybear.html

At that time, the Flynn was

still a movie house. Howard had

served as an usher when he was

a boy and though theater groups

were performing at Memorial

Auditorium, Taft School, and

South Burlington High School,

he dreamed of the Flynn and its rigging and stage

equipment still in place from its Vaudeville days,

unused for decades.

In May 1974—and with permission from

the generous Merrill Jarvis—charter

Lyric members including Howard and

his wife Ellie, Polly and Red Nulty,

Chet Cook, Bill and Terri Kneen, Jeffrey

Aronson, Bruce Hewitt, Steve Plumb,

Donna Riera, and Gib Smith, among

others, mounted Lyric’s first show How to Succeed in Business Without Really Trying. It was a creative success but a

financial failure: with a production cost

of $15,000, it lost half that amount.

Members of the group chipped in and raised enough

to mount one more show. Gypsy, in November 1974,

was a critical and financial success and began the

great love affair between Lyric and the Flynn. Lyric

volunteers cleaned the drapes, fixed the rigging,

restored the lights, and worked under what can only

be deemed “primitive” conditions. Backstage there

was no water or “facilities.” Musicians reached the

orchestra pit by climbing on their hands and knees

through a trap door from underneath the stage. The

boiler room was the dressing room. But Lyric gave the

Flynn life, and the Flynn gave Lyric class—together

we’ve given Vermonters countless opportunities to see

and participate in great musical theater.

From 1974 to 1981, the

only live use of the Flynn

stage was by Lyric Theatre

Company. In 1980, Lyric

led the drive to purchase

the Flynn, providing

the down payment and

creating the nonprofit

organization known as

the Flynn Theatre.

Lyric followed Gypsy with

Pajama Game; then in

November 1975, Lyric hit its stride with a production

of My Fair Lady that sold 7,000 tickets and set the

benchmark for Lyric costumes and sets. Lauded

performances of Guys and Dolls and Oklahoma

followed in 1976. A brilliant, still-remembered 1978

performance by Harry Lantz in Fiddler on the Roof cemented Lyric’s reputation as an all-volunteer theater

company that produces professional quality shows.

Lyric Theatre Company Celebrates 40 Years of Community

In December 1973, the late W. Howard Delano invited a few friends to his home on a snowy winter’s night. Together, they conceived a plan to bring large scale, quality musical theater to Northern Vermont using local talent, supported by local donors, and run completely by volunteers.

Do you have a favorite Lyric show, or memory of a Lyric production from decades ago? Lyric wants to hear from you! Send your memory to lyric40th@gmail.com

Corporate Appreciation NightEach year, the Flynn Center hosts a special corporate

appreciation night to thank our business supporters.

This fall, members gathered for a private preshow

reception in FlynnSpace, followed by a performance

with Alejandro Escovedo and Shelby Lynne.

Corporate members provide important support for

our entire season as well as for specific benefit events.

For more information about corporate membership,

visit our website at http://www.flynncenter.org/

support-us/corporate-membership.html.

by SYNDI ZOOK,Lyric Theatre Executive Director

Flynn Executive Director

John Killacky celebrates our

Ben & Jerry’s partnership

with Ben Cohen, Pamela Polston of Seven Days,

Elizabeth Skarie, and Jerry Greenfield.

Flynn Board Vice-Chair Sara Byers of Leonardo’s Pizza and her husband Kelly join new board member Rich Price of Select Design and his wife Kim.

Flynn Artistic Director Steve MacQueen with board member Lynn Vallee of Maplefields.

Al Myers and me in Lyric’s 1988 production of “Annie” as Daddy Warbucks and Miss Hannigan. We had so much fun and it remains a highlight of my life.

“The King and I,” 1977

“Man of La Mancha” 1986, with Denise Whittier, Bob LeCase and Phil Scharf

Lyric’s First Show in 1974, “How To Succeed In Business

Without Really Trying.”

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“Oklahoma,” 1976 with Stephen Rainville and Cathy Walsh

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Our Vibrant Community

Ken and Linda Fischell

As Sustaining Flynn members, Ken and Linda Fischell understand the importance of loyal membership support. Last year, the Fischells decided that they wanted to make a targeted gift to our education programs by becoming student matinee sponsors. We’re delighted that the Fischells joined our students this fall at their performance of Kelenia, a lively interactive jazz and world music performance.

“The Flynn plays such a significant role in the well-being of Burlington. The diverse programs they offer draw people from surrounding communities and outlying areas of the state to the city. The student matinee program is a jewel for educating large numbers of children to the theater. We feel our support of a program has reached a great number of children who might not have the exposure to theater.”

Flynn Friends at Wake Robin

Flynn Friends at Wake Robin has grown thanks to Ellen Reid. For years, Ellen has organized a group of Wake Robin theater enthusiasts to sponsor a student matinee performance; she now she has two sponsor groups that help keep our matinees affordable for children. This year, our Wake Robin friends joined students for performances of Freedom Train: Harriet Tubman’s Underground Railroad and Pilobolus.

Ellen Reid: “The Flynn student matinees create a wonderful opportunity to expose our youngsters to live theater! It’s a priceless gift to them and a privilege for us to be able to help make the programs possible.”

Gardener’s Supply Company

Seventeen years ago, Gardener’s Supply stepped forward to sponsor the Flynn’s first garden tour. In addition to their strong financial support, Gardener’s Supply also underwrites the Flynn Garden Tour tea. The company has increased its participation over the years by recruiting many of their employee-owners to volunteer for the tea at the end of the tour. In addition, this generous company participates in our annual Spring Home & Garden Online Auction by donating numerous garden items. We appreciate this unique partnership which celebrates the arts, gardening, and community.

Maree Gaetani, Director of Gardening Relations and Good Works: “Our support for the Flynn Garden Tour is more than good business; we share a lot of the same values. People garden because it enriches their mind, body, and spirit, the same reason that people flock to the arts and the programs and events the Flynn provides. The Flynn adds to what makes Vermont and this area such a special place to live and visit.”

Sterling Construction

Ask any Sterling Construction customer, business partner, or acquaintance about owner and president Bart Frisbie, and you’ll hear the same thing: “Attention to detail, creative vision, and a warm smile.” Bart and his wife Paulette have been individual members of the Flynn for several years, and last year gave an unexpected corporate membership gift as well.

Bart now shares the business with his son Collin, who moved back to Vermont with his family in 2004. “We live and work in our community,” says Bart. “If we want our community to be vibrant, we need to participate and contribute. A good performing arts program is a fun part of that vibrancy.”

The Windjammer Restaurant

The Windjammer and founding owner Walt Levering have supported the Flynn, in countless ways. Prior to our renovation in 2000, the Windjammer provided hospitality services for our monthly trustee meetings. Windjammer chefs also provided gourmet entrees for the Flynn’s Fine Wine and Food Festival Premier Tasting Dinners for many years and, more recently, catered our 2012 Flynn Green Mountain Classic Pro-Am Golf Tournament dinner. When we formed the Dining Circle of Corporate Membership, Windjammer was the first restaurant to support us.

Dan Phelan, General Manager: “Burlington is known as a cultural hub in Vermont and the Flynn Center is its arts venue. The Flynn’s presence is vital in keeping the arts alive in our community and we are proud to support such an outstanding organization.”

Von Bargen’s Jewelry

John Von Bargen created his first fine jewelry store in Springfield in 1978, and in the mid-‘80s opened stores at Stratton Mountain and in Burlington. Von Bargen’s is a true family business and is now owned by John’s daughter,

Julie Thom, and her husband Jason. Von Bargen’s warmly supported the Flynn’s Una Festa silent auction, was a major sponsor of the Fine Wine and Food Festival, and has been a consistent corporate member.

Phillip Bosen, store manager: “Whether it’s the beauty and quality of a performance or the beauty and quality of a piece of jewelry, the Flynn and Von Bargen’s have the same goal: to create happiness. Beauty and art go together.”

Thank you so much to all of our donors, your help is invaluable!

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Frédéric Silberman

Each year, Flynn members provide annual support that helps nurture a vibrant arts community. In addition, many donors choose to make targeted gifts in support of specific programs.We’re pleased

to share some examples of the many ways our donors help.

Julie Thom and Phillip Bosen

Chef Chris Lassy, Daniel Phelan (behind), and Tom O’Connell.

Ellen Reid, far right, with Wake Robin friends.

153 Main St., Burlington, VT 05401-8402

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

design: S&H design shdesignvt.com

Flynn CalendarMarch1 Vermont Vaudeville3 DeJohnette/Lovano/Spalding/ Genovese Quartet5 Golden Dragon Acrobats: Cirque Ziva 7 Patti LuPone8 VSO Masterworks9 Mermaid Theatre of Nova Scotia: Swimmy, Frederick, and Inch by Inch12-30 Vermont Stage Company: Venus in Fur15 A St. Patrick’s Day Celebration with Danú16 Keb’ Mo’20 Man of La Mancha22 Lucky Plush: Cinderbox 2.0

April2-3 Lagartijas Tiradas al Sol: El Rumor del Incendio4 Nellie McKay4-13 Lyric Theatre: Les Misérables8-10 Guru of Chai17 Brit Floyd19 Arturo O’Farrill & the Afro-Latin Jazz Orchestra23-30 Vermont Stage Company: The Quarry24 Rhonda Vincent and the Rage25 Bill Burr

May1-11 Vermont Stage Company: The Quarry2 Pilobolus3 VSO Masterworks4 VYO Spring Concert13 Stand up, Sit Down & Laugh16 Bread and Puppet Theater: Birdcatcher in Hell16-17 Adele Myers & Dancers: Theater in the Head 29 Celtic Woman

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Accounting Dept. Picks

Frédéric Silberman

Joe Lovano

Golden Dragon Acrobats“Jazz, jazz, jazz! DeJohnette/Lovano/Spaulding/Genovese Quartet in March, Nellie MacKay in FlynnSpace in April, and then Arturo O’Farrill & the Afro Latin Orchestra. You’ll see me at all of these!”—Cherie Marshall

“Golden Dragon Acrobats! My daughter and I love shows like this, where you’re nervous for the acrobats throughout the entire show, thinking ‘How do they do that?”—Amie Paquette

“Man of La Mancha will be very exciting!”

—Liz Weiss

“Patti Lupone. Cheeky, I know, but I love big singers—and I mean big-voiced singers who command the room!” —Carol Goodrum

“I’m really looking forward to seeing Pilobolus for the first time. My co-workers are raving about their unique style!” —Diana Petrovs