Inversion Coda presents

America, Our America

Inversion is a chamber vocal ensemble that focuses primarily on new music. We create impactful art in the heart of Texas by harnessing the power of music to tell stories that matter, foster connection and healing, and amplify voices that need to be heard.

Coda is our unauditioned community choir for singers 50 and up. This special group highlights the beauty of the human voice undergoing many seasons of change, and the desire to keep on creating music and sending art out into the world with a community of like-minded humans.

Katrina Saporsantos, Interim Artistic Director
Benjamin Dia, piano
Sharon R. Coleman, guest pianist

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* indicates world premiere performance
Full program PDF here

Program

Our America is a Tale of Love and Loss.

  • Text: Frederic Weatherly; Music: Traditional Irish; arr. Joseph Flummerfelt

    Danny Boy is a legendary musical piece written by English lawyer Frederic Weatherly, who was also prolific as a songwriter before he started practicing law. The inspiration for the song came from the tune Londonderry Air, a folk tune that originated in County Londonderry in Ireland. It is deeply rooted in Irish culture, and is often associated with themes of love, loss, and remembrance - especially in the Irish diaspora. This setting by Joseph Flummerfelt, the pre-eminent American choral conductor of his generation, was written specifically to showcase the beauty of a good choral blend, letting the simplicity of the music and the text shine through. 

     

    Oh Danny Boy, the pipes, the pipes are calling

    From glen to glen, and down the mountainside.

    The summer's gone, and all the roses falling.

    It's you, It's you must go and I must bide.

    But come ye back when summer's in the meadow

    Or when the valley's hushed and white with snow,

    It's I'll be here in sunshine or in shadow.

    Oh Danny Boy, Oh Danny Boy, I love you so.

    But when ye come, and all the flowers are dying

    If I am dead, as dead I well may be.

    Ye'll come and find the place where I am lying

    And kneel and say an Ave there for me.

    And I shall hear, though soft you tread above me,

    And all my grave will warmer, sweeter be,

    And you will bend and tell me that you love me,

    And I shall sleep in peace until you come to me.

    Oh Danny Boy, Oh Danny Boy, I love you so!

  • Text and Music: Billy Joel; arr. Bob Chilcott

    Soli:

    And So It Goes is a song by Billy Joel that reflects the cyclical nature of relationships and the inevitability of change… and endings (in Joel’s case, to his former love Elle Mcpherson). The song has since then been a source of calm for the many who have experienced how it is to lose a serious relationship. This version by Bob Chilcott, a former member of the King’s Singers who arranged this while he was still a member of the group, is very well-known and much performed especially by choirs in North America. 

    In every heart there is a room
    A sanctuary safe and strong
    To heal the wounds from lovers past
    Until a new one comes along

    I spoke to you in cautious tones
    You answered me with no pretense
    And still I feel I said too much
    My silence is my self defense
    And every time I've held a rose
    It seems I only felt the thorns
    And so it goes, and so it goes
    And so will you soon I suppose

    But if my silence made you leave
    Then that would be my worst mistake
    So I will share this room with you
    And you can have this heart to break

    And this is why my eyes are closed
    It's just as well for all I've seen
    And so it goes, and so it goes
    And you're the only one who knows

    So I would choose to be with you
    That's if the choice were mine to make
    But you can make decisions too
    And you can have this heart to break

    And so it goes, and so it goes
    And you're the only one who knows

  • Text and Music: Traditional Scottish; arr. David Overton

    Solo:

    A popular Scottish song first published in the 19th century, Loch Lomond can easily be dismissed as “just a romantic song” but it is more than that. It is a song with a poignant expression of loss, longing, and the sorrow of separation because of death. Scotland fought with England for many, many wars. In 1746, many Scottish soldiers were taken prisoner after a crushing defeat at the Battle of Culloden Moor. In this tale of two soldiers, one is condemned to die, while the other is set free. The soldier facing execution talks about taking the “low road” (path of the dead where spirits return to the homeland quickly) and how his comrade will travel the “high road” (normal path of travel). He laments that he will not see his love again in the land of the living but that his spirit will reach Loch Lomond, a place of beautiful and cherished memories, before his comrade. This arrangement by David Overton is a favourite in concerts staged by The King’s Singers.

    By yon bonnie banks and by yon bonnie braes,
    Where the sun shines bright on Loch Lomond
    Where me and my true love were ever wont to gae,
    On the bonnie bonnie banks of Loch Lomond.


    Oh! Ye'll take the high road, and I'll take the low road,
    And I'll be in Scotland afore ye,
    But me and my true love will never meet again,
    On the bonnie, bonnie banks of Loch Lomond.

    I  mind where we parted on yon shady glen
    On the steep, steep side o' Ben Lomond
    Where in purple hue, the Heiland hills we view
    And the moon shinin' out from the gloamin'


    Oh! Ye'll take the high road, and I'll take the low road,
    And I'll be in Scotland afore ye,
    But me and my true love will never meet again,
    On the bonnie, bonnie banks of Loch Lomond.

  • Text and Music: Marta Keen; arr. Mack Wilberg

    This heartfelt song has touched thousands of audiences with its warmth and sincerity. The intentions behind this hauntingly beautiful work is beautifully described by the composer Marta Keen: “Finding your true calling in life; knowing that those who love you trust that you will return… I wrote this song for a loved one who was embarking upon a new phase of life’s journey, to express the soul’s yearning to grow and change.” Mack Wilberg's stunning arrangement, written for The Tabernacle Choir and orchestra, includes a penny whistle that adds to the wonderful Celtic flavor. The version you will be hearing today is a four-hand piano reduction.


    In the quiet misty morning when the moon has gone to bed 
    When the sparrows stop their singing and the sky is clear and red 
    When the summer’s ceased its gleaming when the corn is past its prime 
    When adventure’s lost its meaning I’ll be homeward bound in time 
    Bind me not to the pasture; chain me not to the plow—
    Set me free 
    To find my calling and I’ll return to you somehow 

    If you find it’s me you’re missing, if you’re hoping I’ll return 
    To your thoughts I’ll soon be list’ning, in the road I’ll stop and turn 
    Then the wind will set me racing as my journey nears its end 
    And the path I’ll be retracing when I’m homeward bound again 
    Bind me not to the pasture; chain me not to the plow—
    Set me free 
    To find my calling and I’ll return to you somehow 

    In the quiet misty morning when the moon has gone to bed 
    When the sparrows stop their singing 
    I’ll be homeward bound —
    Again

Our America Has a Colorful History Shaping Its Story.

  • Text: Mary Moore Easter | Music: Ysaye Barnwell

    The song “Nearly Insane” is part of Quilt Songs: Women Weaving the Fabric of Life, commissioned in 2015 for VocalEssence by Mike McCarthy to honor his wife Kay who was a quilter. Each composer wrote music inspired by a quilt they hand-selected. Dr. Ysäye Barnwell chose the quilt “Nearly Insane”, 32 different sampler blocks, some of them with very tiny pieces, are sewn together in a diagonal setting, and uses a series of highly rhythmic and melodically adventurous ostinati to create the texture that brings Mary Easter’s poetry to life.  

    From the composer: “At the end of her description of the quilt titled “NEARLY INSANE,” Kay McCarthy asks “Was I nearly insane to make this quilt?” This question really resonated with me musically, but
I couldn’t put the pieces together as a lyric. I asked poet Mary Moore Easter if she could work on a text, and what she created worked perfectly for me. Her phrases became pieces/patterns of the quilt that I could weave, overlap and stitch together musically. This ‘piece’ may drive you nearly insane unless you simply listen to the whole in the way that you might first see the quilt at a distance.” – Ysaÿe Barnwell

    Jumbled diamonds halved and quartered
    turned and sorted, smallest angles
    all the same.

    Does this cutting, folding, stitching,
    piecing, pairing, splice of planes
    drive me crazy or keep me sane?

    Count the sunbursts, crosses, stars.
    Count the prisms, ladders, bars. Lock
    their union in your eye.

    Does this cutting, folding, stitching,
    piecing, pairing, splice of planes
    drive you crazy or keep you sane?

    Thirty-two panels, thirty-two worlds
    thirty-two ways to measure our days
    our days, our days.

    Every diamond bright and cut
    every point aligned.
    Peace in pattern’s harmony
    the chaos of the world contained
    made shining in my hands
    where peace has kept me sane.

  • Text and Music: Katrina Saporsantos - world premiere

    My, Your, Our is a conceptual and aleatoric composition emphasizing the underlying idea that no one voice makes up America (or any country, for that matter). It starts off very sparse, with a single voice uttering the word My. Others soon join in. After a while, the word Your makes an appearance, and then finally Our. As the piece unfolds and more voices join in on the word Our, the sound becomes a dense cloud full of different colors and textures. The final resulting chord on the word Ours is a reclamation and remembrance of the fact that this country belongs to its people – ALL of its people, and not one single political party, ideology, creed or race. As I come from Southeast Asian culture where communal participation in musical gatherings is the norm, this work invites the audience to participate; with each performance, each iteration is vastly different from the others.  – Katrina Saporsantos

    Akin - My*

    Iyo - Your*

    Atin - Our*

    Ours.

    * If they so wish, the audience can substitute words in another language that mean the same thing

  • Gehrai Ka Rishta (Depth of Relationships) is an Urdu song written and composed by one of our very own Coda sopranos Gul Sadiq Afshan. Gul sings in four languages and writes in two of them.

    The song is a dialogue with God asking to help humanity see the countless simple and complex examples of common ground we all share. If we notice and respect that common ground, it will help us live in peace and harmony. The song was inspired by the idea that irrespective of our color, creed, race, religion, or country, we as humans hold very deep bonds among us.  The song starts and ends with a mixed Ragga, a genre of Urdu music which often can be used to open and close a piece of music.

    Dere Na Dere Na Dere Naa aa a
    Dere na dera na dere na 

    Deem deem tana na na na
    Deem deem Tannana na na

    Eik Zameen ------------ Eik Asman----------
    Eik hai sooraj - Aik Chandarman -----------
    Eik hai khoon ka rang

    Phir Kasaiy?

    Mein hoon tum say allag -- Main hoon tum say judda.

    Ay mere Khudda -------- Mujh Ko Ye Samjah!


    Deem deem tannana na na, deem deem Tannana na na

    Sab kee Uddassi ----------------Ansoo braber

    Maan ka dalassa ------ Dharkan braber

    Bap kee shafqat ------Behna kee chooree ---------------

    Yad ka baddal - Gehra Sindhoori ----------

    Phir Kasaiy?

    Mein hoon tum say allag - Main hoon tum say judda.

    Ay mere Khudda -------- Mujh ko ye Samjah

    Dere Na Dere Na Dere Naaaaaaaa
    Dere Na Dere Na Dere Naaaaaa
    Ay mere Khuda -------- mujh ko ye samjha!

    Deem Deem Tanna na na

    Dere Na Dere Na Dere Naa aa a
    Dere na dera na dere na 
    Deem deem tana na na na
    Deem deem Tannana na na


    A single shared Earth-A single shared sky
    And shared sun and moon
    One is the color of our bloods

    Then how come?
    Some are considered inferior and others superior.
    O God of mine come to earth, lets discuss!
    (How come you let discrimination prevail)


    Deem deem tannana na na, deem deem Tannana na na

    All of us – around the world - get sad the same way, with tears of the same taste & color
    & feel our mothers’ love the same way - and our hearts beat the same way
    we feel our fathers’ perseverance the same way & the happiness we feel seeing a little sister ecstatic with her new bangles (bracelets).
    Missing a loved one or broken hearts feel the same for all of us.

    Then how come??
    Some are considered inferior and others superior.
    O God of mine – Come to earth, lets discuss!
    How come you let discrimination prevail?

    Dere Na Dere Na Dere Naaaaaaaa
    Dere Na Dere Na Dere Naaaaaa


    O God of mine – help me understand

    Deem Deem Tanna na na

  • Text and Music: Popular Venezuelan children’s tunes and José Mena

    Soli: , soprano; tenor; bass;


    José Mena (b. 1966) is a young Venezuelan conductor and composer who obtained his degree in Choral Conducting under the guidance of Alberto Grau and María Guinand. He conducts the prestigious vocal ensemble Dialecto Urbano in Venezuela. He seems to have composed Canción de cuna con pollitos, taking under its wings (so to speak) the very popular children’s song Los pollitos dicen (The Chicks Say), but squeezed in a few other musical references. Mena’s song closes with a return to his own lullaby, having honored several other musical traditions along the way. – Adrienne Inglis and Jennifer Inglis Hudson

    Duerme que tu va soñá felí.
    Duerme que yo va cantá pa’tí.
    Si tu cierra tus ojitos yo te voy a contá
    la historia de un pollito que quería merendá.

    Cierra tus ojitos pa’podete contá
    como se moría de frío y venía su mamá
    a darle calorcito y amor pá soñá.
    Si tu cierra tus ojitos,
    Yo te voy a enseñá
    Donde poné la mesita si te quiere casá.

    Cierra tus ojitos que yo te voy a contá
    La historia del barquito perdido en alta mar.
    Cierra tus ojitos que yo va comenzá.

    Los pollitos dicen pío, pío, pío
    Cuando tienen hambre, cuando tienen frío.
    La mamá les busca el maiz y el trigo,
    Les da su comida y les presta abrigo.


    Cierra tus ojitos, vamos a soñar.
    Duerme tranquilito y sueña ya.
    Cierra los ojos que el coco te viene a buscá.
    Que si tu te duerme yo vá la  historia a terminá.


    Bajo sus dos alas acurrucaditos,
    Duermen los pollitos hasta el otro día.
    Cuando tienen hambre los pollitos dicen pío;
    Y si tienen mucho sueño los pollitos dicen pío.
    Duérmete apegado a mí que tu mamá dice apegado a mí.

    Sleep so you’ll have happy dreams.
    Sleep and I’m gonna sing for ya.
    If ya close your eyes, I’ll tell ya a story
    of a little chicken that wanted to eat.

    Close your eyes so I can tell ya
    how he was dyin’ from cold
    and his mama came t’ give him
    warmth and love t’ dream.
    If ya close your eyes, I’ll teach ya
    where t’ put the little table if ya want t’ marry.

    Close your eyes and I’ll tell ya the story
    of a little boat that was lost in deep seas.
    Close your little eyes and I’ll soon begin.


    The little chicks say pío, pío, pío
    when they are hungry, when they are cold.
    The mama brings them corn and wheat,
    feeds them, and gives them protection.

    Close your little eyes, let’s dream together.
    Sleep quietly and dream now.
    Close your eyes so the scarebabe
    will come looking for ya.
    If ya go t’ sleep, I’ll soon end this story.

    Under its two wings, the little chickens
    nestle down and sleep until the next day.
    When they’re hungry, the little chickens say pío.
    And if they’re very sleepy, they also say pío.
    “Sleep close to me,” your mamma says quietly.

  • Text: Robert Inglis | Music: Adrienne Inglis

    Spoken solo:

    Commissioned by Inversion Ensemble for Coda’s Tales of the Sea concert in August 2023, Boy at Sea by Adrienne Inglis for tenor and bass chorus with piano recounts the sea-faring adventures of the composer’s great-grandfather as a boy. The text comes from a letter that Robert Inglis wrote in 1915 to the Commissioner of Pensions asking for a raise in his civil war pension. In providing information apparently requested by the Pension office, Robert details many events in his early years, adding a fair bit of sarcasm and wit to the narrative. The composer edited the content to fit into more of a strophic sea-shanty style. The piano part offers a sense of ocean waves as well as a few popular tunes of the day as commentary on the story.

    When he and his sister were in boarding school in Cowes on the Isle of Wight, he witnessed a historic yacht race. The following year, they sailed across the Atlantic with the family of their father’s third wife. Life with his stepmother must have been unbearable, because he “went to sea” time after time to escape the unpleasantness she brought to bear. The final departure left him shipwrecked on Hatteras with drunken shipmates. He made his way to Maryland where, to his horror, he witnessed a slave auction. Sensing the tension and possibly inspired to action, he headed west to join the 20th Indiana Infantry. He later served in the 51st Pennsylvania, the Provost Guard, and the U. S. Navy. He fell off of a train in 1863, leaving him injured and in pain for the rest of his life.


    I stood at the Globe on the Isle of Wight when the Yacht America won the prize.
    I sailed on the ship Prince Albert to America to join my family in Philadelphia.
    From there I went to a school in Allentown. Things were decidedly unpleasant when I came home.
    My stepmother made things unpleasant for me so I slid down an eve pipe and went to sea.
    After a time I was brought back to, what might by stretching the term, home.
    I left at the first opportunity and went again to sea.
    I left again on a small coasting schooner which went ashore near Hatteras. Too much booze.
    I managed to get to Norfolk and from there to the Eastern Shore of Maryland.
    I saw a man and woman sold, the man to one place and the woman to another.
    I remarked when in Maryland I saw them sold. “Damned Abolitionist” so I was told.
    Mister Lincoln was elected and the feeling was strained so I thought it was a good plan to leave again.
    In June, I enlisted in what was to be the twentieth Indiana Company C.
    July 22nd, 1861, we were accepted and mustered into the U. S. Service to stand up and be shot at and to shoot others if we could for the great sum of eleven dollars.

  • Text: Anonymous | Music: Carl Bohm; arr. John Leavitt

    Born in Berlin, Germany in 1844, pianist and composer Carl Bohm (not to be confused with the conductor Karl Böhm), is recognized for his compositions that exude Romantic lyricism and sentimentality. He was a key personality in 19th-century salon music, and his works are frequently performed by both amateurs and professionals. Bohm’’s Still wie die Nacht,  Op. 326, No. 27 composed in 1889 sets to music text by an unknown author that speaks of a quiet kind of love and devotion comparable to the stillness of the night. It is a timeless favorite among performers and audiences, and is one of his most renowned works.

     

    Still wie die Nacht
    tief wie das Meer, 
    soll deine Liebe sein!
    Wenn du mich liebst,
    so will ich dich, 
    will ich dein eigen sein. 
    Heiss wie der Stahl
    und fest wie der Stein, 
    soll deine Liebe sein!

    Still as the night, 
    deep as the sea, 
    So should your love be for me!
    If you love me, 
    the same way I love you, 
    I want to be forever yours.
    Hot as steel, 
    And firm as stone,
    Should your love be!

  • Text and Music: Taiwanese folk; arr. Saunder Choi

    Saunder Choi is a Los Angeles-based Filipino composer and choral artist whose works have been performed internationally by various groups. Winner of the 2024 American Choral Directors Association (ACDA) Raymond Brock Prize for professional composers, he writes “June Jasmine is one of the most popular and recognizable folk songs in Taiwan. The captivating melody originated from the coastal regions of Fujian province in China, and found its way across the ocean to the shores of Taiwan sometime towards the end of the Ming Dynasty and the beginning of the Qing Dynasty, along with a large number of Chinese immigrants. A local Taiwanese lyricist Hsu Bing-Ding imposed text to the melody and made it the classic Taiwanese ballad that it is today.”  

    The literal translation of the song is saying that even if many jasmine blossoms can be found over the whole mountain, when picking a single flower, cherish all the other blooms. It also cautions against being like the butterfly landing everywhere picking one flower and then moving on to the next. Ah, life!

    June jasmine so beautiful,
    The young man is so adorable.
    Such lovely flowers are hard to pair,
    How pitiful it is without a sweetheart.


    June jasmine, with scent so fragrant,
    A single girl so lonesome in an empty suite.
    Even fine flowers need hands to meet—
    No one knows how she fumes in defeat.

    June jasmine, its fragrance fills the sky,
    But the single girl feels time pass by.
    Even fine blooms seek hearts that tie—
    When will her true love be nearby?


    June jasmine blooms over all the hills,
    Pick your flower with care, so still,
    Like butterflies flitting without will,
    They land on one bloom, then to the next they thrill.

Our America Once Held Dreams

OurAmerica Still Holds Out On Hope

  • Text and Music: American folk; arr. James Erb

    In 2016, Pulitzer prize and Grammy awardee Jennifer Higdon was commissioned by Chorus America to write an a cappella piece dedicated to its longtime president and CEO Ann Meier Baker. Higdon decided to set to music the poem "Invitation to Love” by Paul Laurence Dunbar, the first African-American writer to gain national recognition in the United States, which expresses a universal yearning to be loved—no matter the time, no matter one’s season in life.

    Oh, Shenandoah, I long to see you
    And hear your rolling river
    Oh, Shenandoah, I long to see you
    way, we're bound away
    Across the wide Missouri.

    I long to see your smiling valley
    And hear your rolling river
    I long to see your smiling valley
    way, we're bound away
    Across the wide Missouri.

    'Tis seven long years since last I see you
    And hear your rolling river
    'Tis seven long years since last I see you
    way, we're bound away
    Across the wide Missouri.

    Oh, Shenandoah, I long to see you
    And hear your rolling river
    Oh, Shenandoah, I long to see you
    way, we're bound away
    Across the wide Missouri.

  • Text: Henry Wadsworth Longfellow | Music: Edward Elgar; ed. James Gibb

    As Torrents in Summer is an a cappella excerpt from the epilogue of Sir Edward Elgar’s 1896 cantata, Scenes from the Saga of King Olaf, Op. 30.The text is an adaptation of a Henry Wadsworth Longfellow poem telling the story of Olaf Tryggvason, the medieval king of Norway, who brought Christianity to the country. In the song, the force of a far-off summer rainstorm replenishing dry riverbeds becomes a metaphor for the unseen hand of God.

    As torrents in summer, Half dried in their channels,
    Suddenly rise, tho' the sky is still cloudless.
    For rain has been falling.
    Far off at their fountains;

    So hearts that are fainting Grow full to o'erflowing,
    And they that behold it, Marvel, and know not
    That God at their fountains
    Far off has been raining!

  • Text: James Weldon Johnson | Music: Marques L. A. Garrett

    Marques L. A. Garrett is an established conductor, educator, and composer whose works have been performed to acclaim by high school all-state, collegiate, and professional choirs, including Seraphic Fire and the Oakwood University Aeolians, and is currently an Assistant Professor of Music in Choral Activities at the University of Nebraska-Lincoln. He also serves as artistic director and conductor of the Omaha Symphonic Chorus and as founding artistic director and conductor of the Nebraska Festival Singers. His composition The Gift to Sing, with text by the American writer and civil rights activist James Weldon Johnson, makes use of dynamic and textural contrasts, impassioned melodic lines, and lush harmonies. Johnson’s powerful text  is also a story many of us can relate to: how singing helps us find joy through difficult and sad times.

    Sometimes the mist overhangs my path,
    And blackening clouds about me cling;
    But, oh, I have a magic way
    To turn the gloom to cheerful day—
        I softly sing.


    And if the way grows darker still,
    Shadowed by Sorrow’s somber wing,
    With glad defiance in my throat,
    I pierce the darkness with a note,
        And sing, and sing.


    I brood not over the broken past,
    Nor dread whatever time may bring;
    No nights are dark, no days are long,
    While in my heart there swells a song,
        And I can sing.

America, Our America Artists

Katrina Saporsantos,
director

Benjamin Dia,
piano

Sharon R. Coleman, guest pianist

Sharon R. Coleman has been active in the Austin music community for decades. A native of Mobile, Alabama, Ms. Coleman was educated at Hampton University in Hampton, Virginia and the University of Texas at Austin, majoring in music education, choral conducting and music theory. She has been an educator on high school and collegiate levels in Maryland and Texas, and has been choir director and/or pianist for Wesley United Methodist Church in Austin, Riverside United Methodist Church in Houston, and most recently at St. James’ Episcopal Church in Austin from which she retired in June, 2025. She also enjoyed a career in Texas state government, culminating in her retirement as Quality Assurance Manager for the Texas Commission on Environmental Quality (TCEQ) in August, 2022.

SOPRANOS

Janice
Beavers

Jennifer
Inglis Hudson

Kim
Vitray

Mae
Dinan

Melody
Fullylove

Seaufy Peg
Frey

Camille
Pridgen

Andrea
Sieh

Cecily
Johnson

Carolanne
Fougerat

Dorothy
Browning

Diane
Skeel

Gul
Sadiq Afshan

Glenda
Pittman

Jeri
Piehl

Jennifer
Koppe

ALTOS

Kristen
Thomas

Lee
Frierson-Stroud

Nancy
Ebert

Rachel
McInturff

Holly
Salinas

Adrienne
Inglis

Jennifer
Hymel

Huma
Ahmad

Karen
Kazmierczak

Karen
Johnson

Kathy
Leighton

Kathy
Hymel

Mary Lou
Dye

Margaret
Hilliard

TENORS

Amado
Brown

Alex
Rendahl

Jonathan
Riemer

Casey
Papovich

Paul
Stubbs

Marc
Tarabbia

Sherrille
Reed

Rene
Simone

BASSES

Rob
Johnson

Steven
Young

Chris
Dinan

Andrew
Grainger

Ian
Rogers

Gary
Godfrey

John
Berry

Jim
Nasby

Richard
Yu

Kent
Burress

PRODUCTION

Calvin Cates, Audio Engineer
Andrew DiRemeggio Stoltz, Videography
Maureen Broy Papovich, Front of House
Zoe Riemer, Stage Assistant


volunteers: Jennifer Graber, Jenny Houghton, Jonah Papovich, Henry Leighton,
Knoel Babin, Rodney Pratt, Susan Dixon, Tucker Hymel-Pratt

INVERSION PERSONNEL

STAFF

Katrina Saporsantos, Interim Artistic Director

BOARD OF DIRECTORS

Jonathan Riemer, President
Jenny Houghton, Interim Treasurer
Guillermo Delgado
Kathy Leighton
Meredith Ware Morrow

Marketing Consultant

Lester Tanquilut

DONORS

Many thanks to our individual, business, and sustaining donors going into our seventh season! For a current list of donors, visit the donation page on our website.

Many Thanks to

Our Inversion Cares partner, Casa Marianella, that welcomes displaced immigrants and promotes self-sufficiency by providing shelter and support services.

Our Arts partner, ATX Artists for Social Impact, a grassroots, multidisciplinary performing arts nonprofit that mobilizes artists in solidarity with their local Austin communities to strengthen each other through performance, education, artistic outreach, and community service.

Our venue St. James Episcopal Church of Austin, an inclusive, multicultural church with African American roots in East Austin, for their help and support.

Rev. Eileen O’Brien, rector
Aimee Estep, parish administrator
Diana Espinosa, office assistant

THANKS FOR COMING!

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