Department of Music

Wind Ensemble Spring Concert

 Sunday, May 4, 2025
4:00 p.m.
Mainstage Theatre
James Lumber Center for the Performing Arts

We respectfully acknowledge that the College of Lake County is on the ancestral homelands of the Kickapoo, Peoria, Potawatomi and other native peoples. We recognize the longstanding significance of these lands for indigenous peoples past, present and future. Historical awareness of indigenous exclusion and erasure is critically important to preventing further atrocities. The College of Lake County pledges to acknowledge the grave injustices of the past and pledges to create awareness and advance education that invites truth.

Excellence.

Purpose.

Integrity.

Compassion.

Unity.

Inclusion.

These aren’t just words—they’re the heartbeat and the values of the College of Lake County. We’re dedicated to providing equitable, high-quality education, cultural enrichment and meaningful partnership building with the diverse communities we’re honored to serve. In the Communication Arts Division, we truly believe that the arts have the power to reflect the world around us, inspire change through the sharing of stories and experiences, and, especially, bring people together to do great things.

I’m so excited to welcome you to a new season filled with creativity, learning and connection. This year’s lineup is bursting with opportunities to experience music, theater, dance and visual arts that will uplift and inspire you. Visit the Wright Community Gallery for stunning art exhibits, or immerse yourself in our film and literary series. We also offer free community workshops and events that are open to everyone— there’s something for every taste and interest! Each experience highlights the amazing talent at CLC and within our local community.

But it doesn’t stop there! Whether you’re drawn to literature, creative writing, communication studies, digital media, philosophy, the humanities, world languages or the visual and performing arts, we offer a wide variety of courses designed to enrich your life. Whether you’re here for personal growth, working toward a certificate, or pursuing a degree, we’re here to support you every step of the way.

We know that “Together, we are E.P.I.C., U. and I.”

To learn more about performing and visual arts opportunities, use the QR code at the bottom of the page or visit www.clcillinois.edu/arts-opportunities.

I’m so glad you’re here at the College of Lake County. We can’t wait to share this journey with you and see where your passion leads!

Enjoy the show!

Stephanie Santos Gray
Dean of Communication Arts, Humanities, and Fine Arts

Book by Thomas Meehan and Mark O'Donnell
Music by Marc Shaiman
Lyrics by Marc Shaiman and Scott Wittman
Based on the New Line Cinema film, written and directed by John Waters

Friday and Saturday, July 18 and 19 at 7:30 p.m.
Sunday, July 20 at 2 p.m.
Thursday-Saturday, July 24, 25 and 26 at 7:30 p.m.
Sunday, July 27 at 2 p.m.

You can't stop the beat in this big and bold musical about one girl's inspiring dream to dance. It's 1962 in Baltimore, and the lovable Tracy Turnblad has only one desire -- to dance on the popular "Corny Collins Show." When her dream comes true, Tracy is transformed from social outcast to sudden star. She must use her newfound power to dethrone the reigning Teen Queen, win the affections of heartthrob Link Larkin and integrate a TV network ... all without denting her 'do!

Hairspray, winner of eight Tony Awards, including Best Musical, is piled bouffant-high with laughter, romance and deliriously tuneful songs.

Hairspray is presented through special arrangements with Music Theatre International (MTI). All authorized performance materials are supplied by MTI, www.mtishows.com

AUDITIONS: Monday and Tuesday, May 19 and 20 at 6:30 p.m. Studio Theatre (open to the community) 

BUY TICKETS to Hairspray

1. Sinfonia Nobilissima (1965)

Robert E. Jager (b. 1939)

2. Cloudburst (1995)

Eric Whitacre (b. 1970)

3. A Slavic Farewell (1912)

Vasily Agapkin, arranged by John Bourgeois (1884-1964)

4. Fantasies on a Theme by Haydn (1968)

Norman Dello Joio (1913-2008)

5. Intrada, Recitative and Rondo (2006)

Ed Huckeby (b. 1948)

Tom Forkenbrock – Trumpet Soloist

6. La Mezquita de Cordoba (2005)

Julie Giroux (b. 1961)

7. Third Suite for Band (1967)

Robert E. Jager (b. 1939)

I. March

II. Waltz

III. Rando

8. The Rakes of Mallow (1947)

Leroy Anderson (1908-1975)

Robert Jager (b. 25 August 1939, Binghamton, New York) is an American composer, conductor, arranger and educator.

He studied at the University of Michigan with William Revelli and Elizabeth Green before joining the U.S. Navy, where for four years he served as the Staff Arranger at the Armed Forces School of Music. Jager taught at Old Dominion University and Tennessee Tech University, where he was Professor of Music and Director of Theory and Composition. He retired from Tennessee Tech in May 2001 as professor emeritus.

Jager has over 150 published compositions for band, orchestra and various chamber groupings, with more than 35 commissions including the United States Marine Band and the Tokyo Kosei Wind Orchestra. He has won a number of awards for his music, being the only three-time winner of the American Bandmasters Association's Ostwald Award. In addition, he has won the Roth Award twice (National School Orchestra Association); received Kappa Kappa Psi's Distinguished Service to Music Medal in the area of composition in 1973; and won the 1975 Friends of Harvey Gaul bicentennial competition. He is a member of Phi Mu Alpha, Kappa Kappa Psi, the American Bandmasters Association, and ASCAP. He is an active composer, conductor, and lecturer throughout the United States, as well as in Canada, Europe, and Japan.

Sinfonia Nobilissima is a work in the neo-romantic style and is in three sections. After a short introduction, a dramatic and syncopated fast section begins. After several false climaxes, as well as a brief fugue, the slow, more emotional middle section begins. In the final section of the work, a fast, syncopated style abruptly returns and the overture ends with several deceptive, then complete chords.

Eric Whitacre (b. 2 January 1970, Reno, Nev.) is an American composer, conductor and lecturer.

Mr. Whitacre's first musical experience was singing were in his college choir. Though he was unable to read music at the time, Whitacre began his full musical education at the University of Nevada, Las Vegas, eventually taking a bachelor's degree in music composition. He wrote his first concert work, Go, Lovely, Rose, at the age of 21. Eric went on to the Juilliard School, earning his Master of Music degree and studying with John Corigliano and David Diamond. At the age of 23 he completed his first piece for wind orchestra, Ghost Train, and his popular wind piece Godzilla Eats Las Vegas stems from this period. He graduated in 1997 and moved to Los Angeles to become a full-time professional composer.

Whitacre's first album as both composer and conductor, Light & Gold, won a Grammy Award in 2012, and became the No. 1 classical album in the U.S. and UK charts. His second album, Water Night, featured performances from his professional choir, the Eric Whitacre Singers, the London Symphony Orchestra, Julian Lloyd Webber, and Hila Plitmann.

Many of Whitacre's works have entered the standard choral and symphonic repertories. His works Water Night, Cloudburst, Sleep, Lux Aurumque and A Boy and a Girl are among the most popular choral works of the last decade, and his Ghost Train, Godzilla Eats Las Vegas, and October have achieved success in the symphonic wind community. As a conductor, Whitacre has appeared with hundreds of professional and educational ensembles throughout the world. He has conducted concerts of his choral and symphonic music in Japan, Australia, China, Singapore, South America and much of Europe, as well as dozens of American universities and colleges. Online, Whitacre's massed choral music has reached a worldwide audience. Whitacre's 2007 musical Paradise Lost: Shadows and Wings, combining trance, ambient and techno electronica with choral, cinematic, and operatic traditions, won the ASCAP Harold Arlen award and the Richard Rodgers Award for most promising musical theater composer.

Whitacre's virtual choir projects began in 2009 with Sleep and Lux Aurumque. In virtual choirs, singers record and upload their individual videos from all over the world. The videos are then synchronized and combined into one single performance to create the virtual choir. Though 2020, six virtual choirs have been formed, the last featuring more than 17,000 singers.

Deep Field: The Impossible Magnitude of the Universe is a 2018 audiovisual collaboration between Whitacre, NASA, the Space Telescope Science Institute, Music Productions and 59 Productions. The soundtrack for the film, inspired by the Hubble Space Telescope and its pioneering deep field image, features the Virtual Choir 5, representing 120 countries: more than 8,000 voices aged four to 87, alongside the Royal Philharmonic Orchestra and Eric Whitacre Singers.

Whitacre has won awards from the Barlow international composition competition, American Choral Directors Association, American Composers Forum and in 2001 became the recipient of The Raymond W. Brock Commission given by the American Choral Directors Association. The album Cloudburst and Other Choral Works received a Grammy nomination in 2007 for Best Choral Performance. Later, his album Light & Gold won a Grammy for Best Choral Performance in 2012.

Whitacre is a founding member of BCM International, a quartet of composers consisting of himself, Steven Bryant, Jonathan Newman and James Bonney, which aspires to "enrich the wind ensemble repertoire with music unbound by traditional thought or idiomatic cliché." He is married to the soprano Hila Plitmann.

After a performance of Go, Lovely Rose in 1991, Dr. Jocelyn K. Jensen approached me about writing a piece for her high school choir. She is an amazing conductor, legendary for doing crazy things on stage (choralography, lighting, costumes, you name it), and I wanted to write something for her that would really knock the audience out. I had recently been given an exquisite book of poems by Octavio Paz, and around the same time I witnessed an actual (breathtaking) desert cloudburst, and I guess it just all lined up.

The finger snapping thing (all of the singers snap their fingers to simulate rain) is an old campfire game that I modified for the work, and the thunder sheets were giant pieces of tin we took from the side of the school.

The piece was originally about ten minutes long, but Dr. Jo-Michael Scheibe sagely convinced me to “tighten it up”. I did, and the piece (now a lean eight and a half minutes) was finally published in 1995.

Wassily Agapkin (3 February 1884, Tambov, Russia - 29 October 1964, Moscow) was a Russian composer and conductor/band leader.

Orphaned at an early age, Agapkin was unofficially adopted by a military band leader who placed the 10-year old in his ensemble, beginning his love affair with music. He later studied at the Tambov School, after which he joined the army. The loss of his parents obviously still lingered, as in 1928 Agapkin organized a brass band consisting of homeless children, many of whom later became professional musicians.

Arguably, his greatest call to fame is the march Abschied der Slawin (The Farewell of a Slavyanka), a march dedicated to Slav women in the Balkan countries who saw their men go off to war against Turkish enslavers.

This classic Slavic March was originally entitled “Farewell to the Slavonic Woman”, and since its premier during World War I, it has become the best known, best loved march in Russia and in the surrounding independent states of the former Soviet Union.

According to the legend, the inspiration for this march came from Agapkin having seen newsreels of the Balken War. During this conflict, Russian and Slavic forces fought together, and reportedly the newsreels contained poignant footage of Slavic soldiers parting with their wives and families, many never to return.

Norman Dello Joio (born Nicodemo DeGioio 24 January 1913, New York City - 24 July 2008, East Hampton, N.Y.) was an American composer.

Dello Joio was born to Italian immigrants and began his musical career as organist and choir director at the Star of the Sea Church on City Island in New York at age 14. His father was an organist, pianist, and vocal coach and coached many opera stars from the Metropolitan Opera. He taught Norman piano starting at the age of four. In his teens, Norman began studying organ with his godfather, Pietro Yon, who was the organist at Saint Patrick's Cathedral. In 1939, he received a scholarship to the Juilliard School of Music, where he studied composition with Bernard Wagenaar.

As a graduate student at Juilliard he arrived at the conclusion that he did not want to spend his life in a church choir loft, and composition began to become his primary musical interest. In 1941, he began studies with Paul Hindemith, the man who profoundly influenced his compositional style. It was Hindemith who told Dello Joio, "Your music is lyrical by nature, don’t ever forget that." Dello Joio states that, although he did not completely understand at the time, he now knows what he meant: "Don’t sacrifice necessarily to a system; go to yourself, what you hear. If it’s valid, and it’s good, put it down in your mind. Don’t say I have to do this because the system tells me to. No, that’s a mistake."

A prolific composer, the partial list of Dello Joio’s compositions include over forty-five choral works, close to thirty works for orchestra and ten for band, approximately twenty-five pieces for solo voice, twenty chamber works, concertos for piano, flute, harp, a concertante for clarinet, and a concertino for harmonica. He has also written a number of pedagogical pieces for both two and four hands.

Dello Joio taught at Sarah Lawrence College, the Mannes College of Music, and was Professor of Music and Dean of the Fine and Applied Arts School of Boston University. From 1959 until 1973, he directed the Ford Foundation’s Contemporary Music Project, which placed young composers in high schools who were salaried to compose music for school ensembles and programs. The project placed about ninety composers, many who successfully continued their careers.

Fantasies on a Theme by Haydn is a set of variations on a theme by the great master of Classical style, Franz Joseph Haydn (1732-1809). The short theme, taken from the finale of Haydn’s String Quartet in F major (Op. 74, No. 2), is presented in its entirety by the flutes and low woodwinds shortly after the start of the work. The theme is then broken down into its component parts -- a descending cuckoo-like interval, an ascending scalar passage, a rapid musical turn -- and woven into a continuous, three-movement fantasy.

The first fantasy retains the Classical style and elegance of the theme while carrying the listener through several contrasting variations. Dello Joio cleverly uses short breaks of silence to indicate the end of one variation and the beginning of the next tableaux. The second fantasy, starting with solo flute, uses the theme in several Romantic-style variations. Tension builds as the melody spins upwards and rhythmic complexity increases until the fantasy recedes back to a soft and quite end. The final fantasy feels more twentieth century than its predecessors with aggressive articulations, large leaps, and short melodic fragments. Despite it’s complexity, the third fantasy maintains the elegance and wit of Haydn’s writing with humorous juxtapositions of style, dynamics, and changes in character.

Ed Huckeby (b. 1948) is currently a Professor of Music and Associate Vice President for Academic Affairs at Northeastern State University-Broken Arrow where he serves as the chief academic administrator for the campus. Prior to this appointment, he was an arts administrator for Tulsa Ballet Theatre, Inc, directing the general operations of Oklahoma's premier international ballet company. He also holds the title of emeritus professor of music at Northwestern Oklahoma State University where he served for over two decades as Music Department Chairman and Dean of the Graduate School.

Prior to his appointment at Northwestern in 1976, Huckeby spent eight years teaching instrumental music in the public schools of Oklahoma where his marching, concert and jazz bands won state and regional acclaim. His success in the public schools led him into the college teaching ranks where he became internationally recognized as an outstanding music educator and composer of over 160 published works for concert and marching band. Ed's ability to write interesting and accessible instrumental music can be attributed to his experience at a variety of musical levels.

Huckeby's performance background and experience is very eclectic, having been a member of a symphony orchestra (horn), a jazz band (trumpet), and a contemporary Christian quintet (bass guitar and vocals), as well as having served regularly as a church organist and pianist. His outstanding contributions to the concert and marching band literature have played an important role in the development of the contemporary band repertoire.

Ed holds a bachelor's degree in music education from East Central University in Ada, Oklahoma, a master's degree in music education from the University of Oklahoma, and a doctorate in administration from Oklahoma State University with additional study at the University of North Texas. He has written music education articles for The Instrumentalist, The American Music Teacher, and The Journal of the International Horn Society, and has held memberships in Music Educators National Conference, Oklahoma Music Educators Association, Oklahoma Bandmasters Association, ASCAP, Phi Mu Alpha Sinfonia, and Phi Beta Mu, where he served as a member of the national board of directors and state chapter president. Huckeby was selected as an "Outstanding Young Man in America," is listed in the "International Who's Who in Music," and was inducted into the Oklahoma Bandmasters Association "Hall of Fame" in 1996. He has created over 45 commissioned works and regularly serves as a clinician, adjudicator and conductor for instrumental ensembles around the world.

An outstanding work for solo trumpet and band, Intrada, Recitative and Rondo focuses on three unique performance styles. Based on quartal harmonies and melodic structures, Intrada is technically challenging, yet quite accessible to the more advanced high school or collegiate students. A rubato, quazi-improvised jazz style is required in the second movement (Recitative), with the Rondo written in a more traditional, classical style. The band accompaniment is very playable, allowing for the showcasing of your trumpet soloist.

Intrada, Recitative and Rondo was commissioned by the Oklahoma Music Teachers Association for the 2006 OMTA Conference. The work is dedicated to Dr. Robert Bailey, Associate Professor of Music at Northeastern State University, Tahlequah, Oklahoma.

Julie Ann Giroux (pronounced Ji-ROO (as in "Google," not Ji-ROW, as in "row your boat") (b. 12 December 1961, Fairhaven, Mass.) is an American composer of orchestral, choral, chamber, and numerous concert band works.

She received her formal education at Louisiana State University and Boston University. She also studied composition with John Williams, Bill Conti, and Jerry Goldsmith.

Julie is an extremely well-rounded composer, writing works for symphony orchestra (including chorus), chamber ensembles, wind ensembles, soloists, brass and woodwind quintets and many other serious and commercial formats. Much of her early work was composing and orchestrating for film and television. Her writing credits include soundtrack score for White Men Can't Jump and the 1985 miniseries North and South. She has also arranged music for Reba McIntyre, Madonna and Michael Jackson. Ms. Giroux is a three-time Emmy Award nominee and in 1992 won an Emmy Award in the category of Outstanding Individual Achievement in Music Direction.

Ms. Giroux has an extensive list of published works for concert band and wind ensemble. She began writing music for concert band in 1983, publishing her first band work Mystery on Mena Mountain with Southern Music Company. Giroux left Los Angeles in 1997 to compose for concert bands and orchestras full time, publishing exclusively with Musica Propria. In 2004 Gia Publications, Inc. published the book entitled Composers on Composing for Band, Volume Two which features a chapter written by Julie Giroux. Her insightful chapter gives a down-to-earth description which is often humorous of her personal methods and techniques for composing for bands. In 2009 Giroux, an accomplished pianist, performed her latest work, Cordoba for Solo Piano and Concert Band, in five U.S. cities and attended the premier of Arcus IX, a work for solo F tuba and concert band, at Blinn College in Brenham, Texas.

Her 2009 film and documentary orchestrations and compositions include the ongoing project "Call for Green China" which, primarily funded by the World Bank, was recorded, performed and broadcast live in china in 2007. In 2009 the project was extended with new musical material, recorded and set to tour seven cities in China where the show was performed live.

Giroux is a member of American Bandmasters Association (ABA), the American Society of Composers, Authors, and Publishers (ASCAP, and an honorary brother of the Omicron Chapter of Kappa Kappa Psi at West Virginia University. She was initiated into the fraternity on April 2, 2005.

In 169 B.C. the Romans founded Córdoba. After the fall of Rome, it existed under the rule of the Visigoths and became the capital of Al Andalus, Muslim Spain, in 716.

The Moors conquered Córdoba in the eighth century, and by the tenth century the city boasted a population of 500,000, compared to about 38,000 in Paris. According to the chronicles of the day, the city had 700 mosques, some 60,000 palaces, and 70 libraries -- one reportedly housing 500,000 manuscripts and employing a staff of researchers, illuminators and book binders. Córdoba also had some 900 public baths as well as Europe’s first street lights.

Reigning with wisdom and justice, the rulers of Córdoba treated Christians and Jews with tolerance. They also improved trade and agriculture, patronized the arts, made valuable contributions to science, and established Córdoba as the most sophisticated city in Europe.

When the Moors conquered Córdoba, they found a Visigoth cathedral, promptly pulled it down and built a mosque complex, the walls of which enclosed about four acres. It was over 40 years in the making. Over the centuries, the Moors roofed over and developed more and more within this complex. Muslim, Christian, and Jewish faiths alike were practiced within its walls, an unprecedented feat then and literally unheard of today.

When the Christians reconquered Córdoba in 1236, the new rulers were so awed by its beauty that they left it standing, building their cathedral in the midst of its rows of arches and columns. Thus it is preserved today, fondly referred to in Spain as "La Gran Mezquita."

La Mezquita contains over 500 marble, granite, and alabaster columns. Mixed into the califal styles, one can see the Byzantine and oriental influences, as well as Hispano-romanic and Visigoth elements throughout the mosque. The grandeur of La Mezquita and its colorful political and religious history has earned it its place as a true wonder of the civilized world.

La Mezquita de Córdoba opens with the destruction of the original Christian church in 716 A.D. and proceeds as a musical celebration of its multi-cultural, religious and artistic accomplishments.

Each movement of Third Suite depicts a quirky, slightly distorted, and cheerful melody that is developed throughout the movement. The first movement, March, makes use of the different colors within the band, while distorting the steady sense of time normally associated with a march. The second movement, Waltz, again distorts the sense of time within the dance, interspersing light and bright colors within the band's boisterous interjections. The final movement, Rondo, develops the entire movement based on the first five chords played in the introduction. The Rondo is upbeat, playful, and energetic.

Leroy Anderson (29 June 1908, Cambridge, Mass. - 18 May 1975, Woodbury, Conn.) was an American composer.

Anderson was born to Swedish immigrants. He attended Harvard University where he received a B.A. in Music in 1929, and a M.A. in Music in 1930. He studied toward a Ph.D. in German and Scandinavian languages through 1935 although he never completed his thesis. His composition teachers included George Enescu and Walter Piston. While in school he taught music to undergraduate students at Radcliffe College and was director of the Harvard University Band.

After hearing Anderson's arrangements for the Harvard Band, Arthur Fiedler asked him to make an arrangement of Harvard songs for the Boston Pops Orchestra. This eventually led to Fiedler hiring Anderson as an arranger for the Boston Pops and to the BPO performing original works by Anderson.

Leroy Anderson served in the United States Army during World War II as an interpreter and translator for the Counter Intelligence Corps and rose to the position of chief of the Scandinavian Department of Military Intelligence at the Pentagon.

After the war, Anderson moved to Connecticut with his family where he composed some of his most successful works, including Sleigh Ride (1948). His The Syncopated Clock (1945) was used as the theme show for The Late Show for 25 years and his composition Blue Tango sold over a million copies in 1952. As his compositions grew in popularity, Anderson was engaged as guest conductor of many orchestras across the United States.

Anderson wrote primarily for full orchestra. Soon after completing each orchestral composition, he would score many of his pieces for concert band and, in some cases, for piano and small ensembles. From 1938 to 1950, Anderson's compositions received their first performance with either Arthur Fiedler or Leroy Anderson conducting the Boston Pops. From 1950 to late 1962 Anderson's compositions received their first performances during recording sessions for Decca Records, conducted by Anderson.

He was awarded a star on the Hollywood Walk of Fame in 1960.

Taken from his larger Irish Suite, Anderson based The Rakes of Mallow on a traditional 18th century Irish polka. Adopted as a fight song by Notre Dame University, the polka has subsequently been featured in the films 1941, The Quiet Man, and Rudy.

- Program Note from Penn State University Concert Band concert program, 10 December 2015

WIND ENSEMBLE
Dr. Michael Flack – Conductor 

PICCOLO   
Elizabeth Rehm   

FLUTE  
Laura Houston 

Tracey Ramotar
Karla Boucek  

Natalie Gahgan 

OBOE 
Matt Matias 

CLARINET
Debbie Durham  
Angelo Anello   
Steve Schmidt  

Robert Garippo
Steve Loerch  
Rebecca Stalter   

BASS CLARINET
Jay Seifried 
Gabrielle Rutkowski 

BASSOON
Alexander Blessing   

ALTO SAXOPHONE
Tami Pilot-Matias  

Chris Markgraf   

TENOR SAXOPHONE
Alan Schramm 

BARITONE SAXOPHONE
Martin Sviatko

TRUMPET
Tom Forkenbrock  
Nathan Stalter  
Adam Keno  

Michael Purcell
  

HORN

Nancy Orbison
Peter Marshall
Steve Chamberlin

Elliot Bozik
  

TROMBONE
Brian Mabus 
Emma Erisman

Alexander Schmit
Jeff Gahgan   

EUPHONIUM
Joe Kuzmanoff    

TUBA
Barb Gangware   
Paul Schmidt  

PIANO

Kai Funahashi

PERCUSSION

Dan Joyce
Bob Miller  
Dan Prowse 
Mallory Rasky
Mike Wolff 

Upcoming Events at the JLC

CHORAL ENSEMBLES SPRING CONCERT
CLC Music
Saturday, May 10 at 4:00 p.m.

JAZZ COMBO SPRING CONCERT
CLC Music
Monday, May 12 at 7:00 p.m. | Room P101 | FREE

CONCERT BAND SPRING CONCERT
CLC Music
Wednesday, May 14 at 7:30 p.m.

HAIRSPRAY
CLC Theatre
Friday & Saturday, July 18 & 19 at 7:30 p.m.
Sunday, July 20 at 2:00 p.m.
Thursday, Friday & Saturday, July 24, 25, & 26 at 7:30 p.m.
Sunday, July 27 at 2:00 p.m.

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Phone:  (847) 543-2300

We hope to see you at a future event!

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College of Lake County
Board of Trustees

Amanda D. Howland, J.D.
Chair

Allena Barbato, J.D., L.M.F.T.
Secretary

William M. Griffin, Ed.D.
Vice Chair

Dawn Abernathy, M.A.T.

Celeste Flores, B.A.

Janet Gibson, M.S. 

Paul G. Virgilio, B.S., S.E., P.E. 

Lori Suddick, Ed.D.
President 

Andrea Gomez
Student Trustee

James Lumber Center Staff

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Executive Director

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Kim Dizzonne
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