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The stage's tight risers just barely accommodated the GM Chorus, with roughly 75 of its 125 members in attendance, under the mighty direction of conductor Stan Hill. With their bright handsome faces and joyous glow, these glorious sounding men never let on that perhaps stepping on each other's feet and jabbing their elbows in each other's backs could be obtrusive. While the chorus performed center stage, positioned stage left were Duncan in a sparkling champagne colored dress and a Jazz combo including Chouinard on piano, Dick Hedlund on bass and Peter Johnson on drums and percussion. Jule Styne/Sammy Cahn's "The Christmas Waltz" proved a winning opener with the GM Chorus weaving the song's chorus between Duncan's doo wop style verses. Pieto Yon's "Gesu Bambino" featured the strength of the Chorus's remarkable control of dynamics. Lyrics like "oh come let us adore him" built from the lightest hush to a boisterous cheer.

The Chorus took over with their accompanist Timothy DePrey for "Still, Still, Still (Austrian Carol)," an homage to falling snow that featured a rich Baritone solo from James Schardin and lovely harmonizing from a tight Tenor section. In the middle part of the traditional Hebrew "Nerli Variations," a small group of the choir, stationed in the back of the house, sung a stirring verse of "Lo How a Rose E'er Blooming" a capella and proceeded to join the choir for the duration of "Variations." This aural distance provided engaging contrast both in the meaning and in the tone of the piece.

Fred Small's "Not In Our Town" examines racist incidents and hate crimes in Billings, Montana, circa 1992. The song's narrative describes the bleak situation: a brick was thrown through a bedroom window of a five year old Jewish boy, destroying the menorah he placed on display. The city reacts in outrage and step by step regains the trust of the family with "one act of compassion, one moment of conviction, it all begins here." The power behind a community taking a stand against injustice and intolerance can make all the difference. The Chorus' impeccable diction effortlessly mastered this song's wordy lyrics but the powerful force of conviction in their delivery likely stems from this choir's own personal experience of dealing with homophobia. Charlie Clayton aptly delivered the baritone vocal narration while Steve Humerickhouse performed effective oboe work. After finishing, the Chorus received a well deserved standing ovation.

Duncan returned to the stage for a captivating a cappella delivery of Wihla Hutson/Alfred Shaddick Burt's "Some Children See Him." This personal ditty nicely dovetails the previous themes of intolerance with broadening one's perspectives. Telling lyrics offer: "Some children see him bronzed and brown" and "see him dark as they, and oh they love him too."  Interestingly the melody of this song sounds much like "The Twelfth of Never" which Duncan recently performed at this year's SJA Cabaret in October. Chouinard, Hedlund and Peterson returned to back Duncan for the Carpenters' "Merry Christmas Darling," with breezy smooth results.

Chouinard made a truly surprising turn by singing, along with accompanying, an offbeat  duet with Duncan; Frank Loesser's popular "Baby, It's Cold Outside." With the likes of even Rod Stewart and Dolly Parton covering this classic together, it should seem like unlikely pairings are more the norm than not; especially if the lyrics get twisted. This duet gave Duncan the opportunity to sing the straight lines to Chouinard's campy lyrics. Duncan and her combo closed the first Act with a bluesy funky take to Harry Connick, Jr.'s "I Pray On Christmas."  With Deb Harley, Anna Vagle and Nancy Stockhaus,  AKA the Dan-ettes, supplying spirited back-up vocals, and Chouinard tickling the ivories with honky tonk abandon, Duncan was in fine company as she vocally moved the lyrics with gritty passion.

Act II began with Duncan having some fun with the Javitts/Springer nugget "Santa Baby," putting her own Jazz style of scatting to effective use. Chouinard got a good workout showing off some great accompaniment. From campy to romantic, Duncan slowed things down with "Grown Up Christmas List," a Linda Thompson-Jenner/David Foster tune. She charismatically purred the phrase "You just look at me and oh, Christmas is here."

As the GM Chorus returned to the stage, Chouinard lead the audience for some Christmas sing-alongs. "Let It Snow" and "Deck the Halls" were sung with the same passion that is exhibited during Sunday Mass. There is something virtually infectious, despite varying degrees of vocal skill, about audience sing-alongs when the audience is a living part of the concert organism.

Irving Berlin's "White Christmas" received both a Jazzy/Bossa Nova and standard treatment that meshed gorgeously by Duncan, her combo, and the Chorus and accompanist DePrey. Back and forth heavenly sounds of this grand Chorus exchanged their traditional approach with Duncan's playful scatting, stunningly synchronizing the best strengths these two have to offer. The Chorus took over for Bernard/Smith's "Winter Wonderland" featuring terrific four part harmony from Chris Mellin, Bobby Schlidt, Brett Pearson and Jason Bernhagen. A thunderous melodramatic choral start for a medley of familiar classics, compositions from Strauss, Wagner, Grieg, Verdi, Bizet, Khachaturian and Tchaikowsky, jerked people right up in their seats for "Heavy Christmas." Replete with fluttering rhythms, bombastic dynamics and meticulous diction, no doubt this is ambitious stuff, handled with aplomb by this amazing male choir.

Duncan returned for her finale with Chouinard, Cahn/Van Heusen's "Secret Christmas," a real treat, poignant and oh, so smooth. This song's best line warmly describes "the Christmas things you do, all year through." A final sing along with the audience offered "Silent Night." Then a special surprise awaited us. Stan Hill requested that all of the Choir join the audience holding each other's hands for a profound performance of the Chorus' signature tune "Hand In Hand." Hill responded, "[St. Joan's people are] love and congregation that you don't see everywhere. Maybe by walking hand in hand, we can be all we can be." To be a participant in such a convivial atmosphere where a gay choir cradled us hand in hand with their gift of music and open compassion makes one understand the meaning of Christmas; we must love one another.

Peg LaSota comes from a photography background. She now works in the digital world, computer instruction, and with "videography" and the restoration of family films. She is enthusiastic about capturing family memories and preserving them digitally. Along with that, her time is spent with her family and her love for learning Spanish, piano, recorder.....and of course singing with the choir!

Bill Cameron was a pilot at Northwest Airlines for 32 years until his retirement in June of 2001. Also an attorney, Bill now practices law about half-time. The rest of his time is spent taking pictures (... a serious photography habit), playing tennis, and working on volunteer projects. Bill's wife Connie is an educational consultant and they have three adult sons.

Thank you's are in order to Dan Chouinard and Anna Vagle, SJA Concert Series Coordinators, for inviting this magnificent choir to sing with the great Debbie Duncan; Steve Harley for fine sound work; and Pat and Burt Keller & Paul and Lynn Hempe for the lovely decorations.

Michael Reinbold, a continuing web reporter, freelances as a writer and banquet caterer. A passionate believer in SJA's mission of social justice and collaborative ministry, Michael is an SJA Choir member, mass reader, Team Oz AIDS rider and Grace House volunteer cook. With an extensive background in theater, photography and fundraising, he relishes all aspects of the arts, staying fit and inspiring and working with people.