As the Come Out With Pride parade makes its way around Lake Eola on Oct. 11, one unit will feel a special significance. The Orlando Gay Chorus (OGC) is celebrating its 20th anniversary this year. As much as any local group, OGC honors the spirit of the day.
When they first emerged onto the arts scene in 1990, a respected church tried to ban OGC from a downtown fundraiser, and a local arts magazine refused to print an article about them. Some members used fake names in early programs. But now OGC is a darling of the cultural community, spreading the word about diversity and acceptance at numerous high-profile social and charity events.
“In our 20th year, our primary goal is to maintain OGC’s position in Orlando as an arts organization that is inclusive, dynamic and, most importantly in these lean financial times, fiscally responsible,” says Daniel M. Jones, a singing member and also board president.
Funded in part by United Arts of Central Florida and the National Endowment for the Arts (through the Florida Division of Cultural Affairs and VSA arts of Florida), OGC has grown over the past nineteen seasons by offering up eclectic and often surprising concert experiences. The chorus moves easily through musical genres, from classical to camp, and has performed before international audiences of up to 20,000.
The all-volunteer, not-for-profit arts and humanitarian organization began with just 39 members—and an initial case of the jitters. They rehearsed at the First Unitarian Church of Orlando, and presented most of their early concerts at Knowles Memorial Chapel on the campus of Rollins College.
“In the beginning we faced some homophobia, even within the arts community,” says OGC’s outreach coordinator Matt La Victoire, a baritone in the chorus. “Without any civil rights protections, some members were fearful of performing publicly and perhaps losing their jobs or housing. But those attitudes are changing.”
In 1990, the dean of Orlando’s Cathedral Church of St. Luke moved to bar the group from taking part in a concert raising funds for AIDS projects. But the flap attracted national attention, and he reversed his position.
In 1992, the local arts magazine Center Stage refused to print a story about the chorus, even though it was included in a monthly section paid for by the Arts Services Council. “We’re not a forum for something that politically controversial and morally sensitive, and something that is a potential health risk,” editor Mary Johnston said at the time.
But the chorus persevered, confident that music can affirm and change the lives of listeners, building bridges of understanding. OGC now has more than 100 members, including gay, straight, bisexual, and transgender singers and support staff. Once predominantly male, the chorus now has more than a twenty female members.
In 20 years there have been numerous musical directors, from the meticulous Charles Callahan to the current artistic director and conductor, Jim Brown. 
Some of the transitions have involved predictable drama, and there’s always the tension between showmanship and choral tradition. But OGC always rose above those earthbound matters, attracting more members each season with devotion to their inspiring original mission. A substantial number have been with the chorus since the beginning.
Brown, a professor of musical theater at the University of Central Florida, was guest director for OGC’s summer concert this past June. Inspired by his energy and commitment, he was offered and accepted the permanent position of artistic director and conductor shortly thereafter.
In addition to its main concert offerings, the chorus supports other local arts organizations and educational institutions including: ArtsFest, the annual ten-day event organized by United Arts of Central Florida; Red Chair Affair, the prestigious arts season kick-off presented by the Central Florida Performing Arts Alliance; Festival of Trees, the holiday fundraiser of the Orlando Museum of Art; and performances at the Orlando International Fringe Festival.
Concert productions now incorporate additional musicians, member dancers, sign-language interpreters and a strong visual component. There is a part-time paid artistic staff of three, but otherwise chorus members offer financial support and volunteer their time, energy and creativity.
As part of their mission to make the arts more accessible, especially to underserved communities, OGC collaborates with local government, businesses and non-profits to present music to as broad an audience as possible.
“Our smaller performances out in the community are among the most poignant, joyful and welcoming we experience,” La Victoire says.
This past year OGC was honored with a Best Practices in Access Award from the state of Florida for its collaboration with the Sign Language Department at Valencia Community College. Chorus members partner with the Children’s Home Society of Central Florida to provide Thanksgiving Day meal baskets for needy families. And for the past eighteen years OGC has hosted the longest continuous U.S. Marine Corps “Toys For Tots” Drive in Central Florida. The chorus has also performed at nursing homes and events for cancer, HIV/AIDS, multiple sclerosis and developmental disabilities.
Ticket sales account for just a portion of OGC’s funding, so the chorus actively pursues small grants, corporate sponsorships, donations, merchandise sales and other fundraising sources. For example, the chorus is one of a select few receiving funding from the Disney VoluntEARS program.
“The current fiscal climate has hurt fundraising efforts,” says treasurer Jim Durning, a tenor. “Audiences and supporters are tightening their belts. It’s understandable, but still frustrating.”
So the chorus is looking at innovative ways to raise funds and cut costs. Fundraising cabaret shows allow members a chance to showcase their talent. And raffles and silent auctions are a part of each concert.
“Our operating budget has been cut by 25%, and we have decided to reduce expenses by producing only two major concerts in our 2009-2010 Season,” notes Jones.
That season will include the holiday concert “Fruitcake & Other Holiday Treats”, December 5-6, and “And the Envelope, Please: Twenty Years of OGC”, May 22- 23, 2010. Both concerts will be presented at the Plaza Theatre in Orlando. Tickets are available at orlandogaychorus.org.
“In this 20th anniversary year, I hope to honor the audiences that have supported OGC over the past two decades, and each dedicated member who has served as a performer in the chorus, on the support team, or as part of the creative staff,” says Brown. “The Orlando Gay Chorus has an opportunity, now as much as ever, to convey a positive, joyous message.”
