Boston’s Engagement Center: “We believe in you”


Orch at Engagement Center Feb 2019


“If you go outside to smoke a cigarette, you don’t get to save your seat.”

That was the opening announcement prior to Me2/Orchestra’s performance at Boston’s Engagement Center this morning.

Me2/ loves playing for our nontraditional audiences! We returned to the Engagement Center this morning to connect with members of our community who are experiencing homelessness and substance use disorders. Many of the 80+ people in the tent this morning were noticeably high (which is not against the rules at this center), but most were in a good mood and ready to grab their seats up front to see and hear the music being made. If anything, the crowd was a bit rowdier than we’ve encountered during past events, but no less respectful once they settled in.

Today we performed music by Faure, Verdi, Vaughan Williams, and Beethoven. Two members of the orchestra spoke briefly about their own experiences living with mental illness, and at one point we opened by the floor to questions from the audience. These were some of their inquiries:

1. Should the violins all be synchronized like swimmers? (answer: uh, yes…. kinda like swimmers)
2. How do people playing violin know where to put their fingers without having frets? (answer: tons of practice)
3. What is THAT?!! (answer: a bassoon)
4. How does the director know what to do if he doesn’t have any music in front of him? (answer: he memorizes all of the parts)
5. Do you ever take requests? Like, would you play the 1812 Overture? (answer: that’s a great piece of music, but we left our cannons at home today)
Some final thoughts about today’s performance:

Beethoven is the man, and any time you play Beethoven’s Symphony No 5 you own the room. This crowd was held in rapt attention just like any other audience would be, and their reaction at the end was thrilling.

To the man who kept yelling “mo’ music!” every time we stopped playing: never lose your enthusiasm. Musicians love this.

Finally, in the words of Mario, who was managing the Engagement Center this morning:

“The Me2/Orchestra shows up to play music here because they believe in you, just like I do, and we love you.”


Special thanks to the Boston Cultural Council and Sunovion for co-sponsoring Me2/’s performances at the Engagement Center this season.

Performing at Bridgewater


Approaching BridgewaterMe2/Boston recently performed at Bridgewater State Hospital in Massachusetts. This facility is named a “hospital” but is run by the Department of Corrections. Bridgewater houses 300+ inmates who have been deemed a danger to themselves or others due to mental illness. Some have been charged with a crime and are awaiting trial, while others have been sentenced and are receiving treatment. According to Wikipedia, Bridgewater is “a state facility housing the criminally insane and those whose sanity is being evaluated for the criminal justice system.”

Playing in a correctional facility is always a complicated process. It involves a lot of communication with the orchestra members in the weeks leading up to the concert about what they can’t bring into the facility (for example: reed knives, cell phones or medication) and what they can’t wear (for example: ties, piercings and jewelry). Entering Bridgewater was even more daunting due to safety regulations beyond what we’ve experienced in Vermont facilities; for instance, every musician had to undergo a background check before being allowed to perform in the facility.

On the day of the performance the orchestra set-up on a stage a few feet above Bridgewater’s gymnasium floor. A work crew of inmates put folding chairs in place for the audience. Just before the concert was scheduled to begin, 50–60 men shuffled slowly into the room and took their seats.

Before entering the facility, I had asked our host if I could hold a Q&A session with the inmates. He seemed a bit surprised by the question. He responded by saying that many of the men would be “pretty heavily sedated” so they may not have much to say. I pressed him a bit, saying that I’d really like to give it a try, and he agreed that it would be fine to attempt to engage the men in discussion.

After watching the men slowly enter the room for the performance, I began to doubt that this was going to be a highly interactive experience. I stood at the front of the stage, introduced the orchestra and explained our mission of erasing stigma. Ronald took the podium and led us in Mozart’s Impresario Overture. Despite the noise of a large fan in the ceiling overhead, the gymnasium acoustics were surprisingly decent. The orchestra received a warm round of applause at the end of the Mozart, after which we performed the first movement of Schubert’s Unfinished Symphony.

At the end of the Schubert, I walked to the front of the stage again for our Q&A session. Immediately a couple of the inmates raised their hands and asked questions. Before I knew it, several more raised their hands and we had a real dialogue underway.

There were several memorable moments during the Q&A:

  • One gentleman raised his hand and said that he noticed the conductor was not using “one of those sticks.” I thanked him for making this observation, and he then engaged Ronald in a discussion about when a conductor does or does not need to use a baton to lead an orchestra.
  • Another audience member raised his hand and introduced himself to us as “one of the best singers in the world.” He would prove to be one of the chattier inmates, inserting himself into the conversation as often as he possibly could. We couldn’t help but appreciate the fact that this man was full of life and had a great love of music.
  • A man sitting in the front row raised his hand and said something in a quiet voice. I asked him to repeat himself and, while I still couldn’t hear every word, I understood his general message: he wanted us to know how much he appreciated both the music and the opportunity to interact with people from “the outside community.”
  • Perhaps the most surprising question came from a gentleman in the back of the room. He raised his hand and asked, “Do you ever play any music by Shostakovich?” Wow. That question took us by surprise, and the fact that it surprised us reveals our own preconceptions about the type of men we would encounter in a prison. We didn’t expect to encounter anyone who would request music written by Shostakovich because his music isn’t exactly mainstream. I caught myself thinking, “how does this guy know about Shostakovich?” In that moment we had forgotten that these men had lives before they were sent to Bridgewater. We weren’t considering the fact that some of them may have studied music – or some other subject – in a serious manner. That one question brought us face-to-face with our own stigmas about what it means to be incarcerated.

After 15 minutes of lively questions and answers, we ended our performance with the first movement of Beethoven’s Symphony No. 8. The standing ovation and enthusiastic applause we received from this audience was especially meaningful. We then loaded our instruments onto a truck to be driven around to the front of the facility (we were not allowed to carry them through the middle of the facility to reach the front door). As we walked in a line across the gymnasium floor to retrieve our IDs and return to our daily lives, the man who had earlier pronounced himself as one of the “best singers in the world” stood by the door serenading us all with his rendition of a gospel tune. Several other men waved and smiled from across the room.

.           .           .           .           .

Some time has passed since our afternoon spent at Bridgewater. Still, I find myself frequently thinking about one of the first men to raise his hand to ask a question during the Q&A session. His only question was, “When will you be coming back?

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Me2/ Executive Director


Thoughts from a few of the Me2/Boston musicians:

tlumack-bridgewaterdeaths_metro491copyFrom Ariel, violinist: In the beginning I felt a great disconnect between the audience and myself. We may have intentionally gotten ourselves locked inside the facility for the day but they could not leave when the music was done. It wasn’t until the Q&A session that I felt linked to them. They asked many of the same standard questions that we usually get, ranging from “Why isn’t he using the stick other conductors use” to a surprising request for music by Shostakovich at our next Bridgewater concert. I hope that some of my personal biases have been broken down by this concert.

From Lisa, violinist: With all of the restrictions and rules and the high-security process to enter the compound, I think all of us went into the concert with a vague sense of anxiety and trepidation. That was diffused as soon as the music began. What the audience brought with them was a feeling of gratitude and openness, and an appreciation for the music that one does not always experience. This gratitude and kinship was even more evident after Caroline so skillfully invited them to participate with their responses. One could hear — and feel — their attentive silence during the Beethoven.

From Bob & Prill, clarinetist & violist: Speaking for two new Me2-ers, the concert at Bridgewater State yesterday inspired an extraordinary mix of feelings:  joy in the performance; humility at the privilege of bringing a few moments of beauty into the lives of the 50 + inmates who attended; awe at the opportunity to carry the music of three who suffered their own major struggles with mental illness – Beethoven, Schubert and Mozart – across centuries to such a place; sadness at the cold, dead-end feel of the institution and the poverty of our culture’s (and, for the most part, every human culture’s) handling of crime and punishment; resonance in the exchanges in conversation with the audience – each one speaking to and of the human connections between us (how wonderful to hear an inmate ask for Shostakovich next time; how lovely to hear the “best singer in the world” perform for us). 

From Dana, flutist:  I want to confess that I learned something significant about myself in the process of playing with me2 at Bridgewater penitentiary.  We as an orchestra carry pre-conceptions about mental illness to our audiences, with a mission, in part at least, to speak to stigma by demonstrating that we are, in fact, human, integrated, safe, caring, intelligent beings who join in meaningful community to share our love of music. We walk with many illnesses/addictions, or none, but nevertheless we can discover togetherness, beauty, joy and even loving feelings.

But I, who personally carry the stigma that we aim to dispel, found myself having presumptions about the imprisoned men for whom we performed.  Would they be an interested audience? How would their demeanor be? How much control would they require? Would they think that classical music is un-cool, boring, imposed on them?
I felt myself developing a “relationship” with these men as the concert progressed and it gave me pleasure to play for them.  They were a lovely audience; they applauded appropriately, even with a standing ovation at times; they were engaged and appreciative of our visit; and they asked many sincere questions at all levels of sophistication, including, to the my surprise, questions about Ronald’s choice not to use a baton and about Shostakovich and Mozart.  
I feel shame for even imagining that, in this prison with a reputation for toughness, we would not be engaging with men of high intelligence and intellect, who think deep and creative thoughts and, by chance, might be classical music geeks.  I wish we could have gotten to know them better.  
It is inspiring to envision what a Me2/Orchestra could provide for those whose suffering has led them to the dark world of prison.

Feeling Like a Million Dollars at Shattuck Hospital

Posted by Caroline Whiddon

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Caroline Whiddon, Me2/ Executive Director

Last Monday Me2/Boston performed at the Lemuel Shattuck Hospital in Jamaica Plain, MA. The hospital is operated by the State of Massachusetts and largely treats a low income, under-served population.

This was our first appearance at Shattuck and it got off to a somewhat bumpy start. Most of the musicians were using GPS to guide them to the address. This led everyone to a back entrance that was blocked. My cell phone began to ping with text alerts from musicians who were lost and frustrated. I learned my lesson: always use GPS to find a concert location before giving the address to the musicians!

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Rehearsal at Shattuck Hospital

Everyone finally arrived and even our musicians who live with anxiety appeared to be calm and collected by the time the performance began.

Just before 7:30 pm the room began to fill. Audience members shuffled down the hallway and entered the small auditorium for the performance, walking past my hastily-made sign:

stigma free sign

Before we played, I introduced the audience to Me2/ and our unique mission of presenting exhilarating performances that encourage conversation about mental health issues and erase the stigma surrounding mental illnesses. Little did I know that the next hour would be so powerfully mission-based!

The audience consisted of approximately 50 people, and I would guess that 30–40 of them were individuals receiving inpatient mental health treatment at the hospital. We performed Haydn Symphony No. 104, and the audience clapped enthusiastically at the end of every movement. (I let them know beforehand that there were no rules to worry about and we would appreciate their applause at any time).

The orchestra’s performance was equally enthusiastic, if not perfect. Ronald Braunstein conducted with precision and relentless energy, as if he were in a grand concert hall rather than a small hospital auditorium. It felt good to play for a room full of people who appreciated our efforts. One of the Me2/ musicians described the experience beautifully:

“I was surprised by the great effect the music had on the audience. With no preconceived notions about what we should sound like, they opened themselves to the experience and emotion we wanted to share with them. They took all of our bumps and missteps without judgment and cheered on our accomplishments. That kind of pure communication between an ensemble and its audience rarely happens. It is something that I hope I never take for granted.” (Ariel, viola)

After we finished the Haydn and took our bows, I stepped forward to ask the audience if they had any questions for the members of the orchestra. At that point we truly began to know each other. One by one audience members raised their hands to fearlessly say, “I am living with a mental illness,” and then ask us a question about the music, the composers, and how music helps us manage our struggles.

“I love how engaged the audience was. They had awesome questions! I also loved the sense of community I felt in the room even though we were all strangers.” (April, violin)

This was the first time we had performed for a group of people who spoke so openly about living with mental illness. In response, two of our Me2/ members shared parts of their own mental health stories with the audience.

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Corey, oboist, shares with the audience during the Q&A session

At the end of the hour we only had time for one more question. A man sitting halfway back in the room raised his hand and said he didn’t have a question, but wanted to make a comment. He told us that he had never attended an orchestra concert and didn’t think he would ever hear music like this because he thought it was only for wealthy people. A big smile lit up his face as he then stated, “After hearing you tonight, I feel like a million dollars!”

As a musician, I don’t think I’ve ever received a better comment. This man’s words have echoed in the hearts and minds of the Me2/Boston musicians all week long.

Thank you to all of the members of Me2/Boston for this fabulous evening of sharing music, stories, and smiles.

“This was my first performance with Me2/Orchestra. One of the last comments from an audience member really stuck with me. He said he never thought he’d go to an orchestra concert because he wasn’t wealthy. The fact that we collectively helped reverse that almost made me cry. That was absolutely amazing to hear. I’ll add that I was coming from a difficult day myself and just playing music helped me. The fact that we were playing for something that seemed to matter more than your standard concert made it that much more special.” (Sydney, flute)




Blog Post by Peter Damon, intern

Peter Damon photo 2Hello, my name is Peter Damon, and I’m Me2/’s new intern! Normally, I attend Bennington College in VT, but every year, Bennington students go out and find an internship for 7 weeks in the winter. Let me tell you a little bit about how I came upon Me2/Orchestra…

It was November, and instead of looking forward to Thanksgiving break, I was desperately trying to find a job. I’m a freshman, so this process was very new to me and I was feeling the pressure. My passion is music, I’m a singer and a burgeoning composer, and so I wanted to find an organization where I would be surrounded by it, but still be close to my home in Boston, MA. I started scouring the Internet for any organization that might be willing to take me on, but then something grabbed my attention. It was Me2/Orchestra. I’ve struggled with severe anxiety and major depression all my life, and have long wanted tocombine my love of music with my desire to help others suffering from mental illness. Here was an organization doing just that. I of course reached out to see if I could be of any help to them, and soon received a lovely reply from Caroline Whiddon, the executive director, saying that they would be happy to have me. I couldn’t believe it! I’m now coming up on the end of my internship, and I’m incredibly satisfied with the work I’ve done. I’ve mostly been helping Caroline with outreach to other Boston organizations in order to raise awareness. I’ve also been regularly attending both rehearsals, and have enjoyed them immensely.

In the Boston and Burlington rehearsals, it’s immediately apparent the sense of community everyone feels. I happened to have spent a year in the Boston Gay Men’s Chorus, and their environments are very similar – everyone is accepted no matter what, and you don’t have to be anything you’re not. There aren’t very many places that can say that about themselves. I’ve also noticed that there isn’t one person who isn’t warm and inviting in the entire room. I’ve watched newcomers who are unsure of their ability to play the music come in and immediately be taken under the wing of a more experienced member until they’re ready to fly on their own. It’s really a wonderful place of acceptance and collaboration.