“The Gershwins on Broadway” with
The Cleveland Jazz Orchestra
THE GERSHWINS ON BROADWAY
Their songs are nearly 100 years old, but we’re still singing them in the shower and whistling them in the car. Composer George and his lyricist-brother, Ira, wrote hit after hit for Broadway in the 1920s and early 1930s. In this multimedia concert you’ll see and hear why their musical comedy songs are treasured all these years later. It’s the sixth partnership between TMTP and CLEVELAND JAZZ ORCHESTRA’s fabulous horns, led by artistic director PAUL FERGUSON.
On hand to make the songs glow are the JOE HUNTER TRIO and vocalists TREVA OFFUTT and EVELYN WRIGHT. As George and Ira wrote, “Who could ask for anything more?”
WHEN, WHERE AND HOW TO GET TICKETS SATURDAY, JANUARY 29, 2022 • 7:30 PM Maltz Performing Arts Center, University Circle Tickets: $45*, $20 (limited view seats)
Call: 216-368-6062
*$45 tickets are Buy One, Get One Free when you use code BROADWAY
Face masks required. Charge online or purchase livestream tickets ($10 each)
Presenting Harbinger's Newest Release!
TMTP/Harbinger Records is pleased to announce the release on of its second collaboration with the Smithsonian: the 1981 recording of the classic operetta Rose-Marie (1924), starring Debra Vanderlinde and Broadway’s Ron Raines. It is the only complete recording of the score, with music by Rudolf Friml and Herbert Stothart and lyrics by Otto Harbach and Oscar Hammerstein II (two decades before he began his famed partnership with Richard Rodgers). James R. Morris directed and conducted the operetta in a production that was performed in concert in Washington in October 1981.
The Harbinger CD set marks the first release in any format of this historic recording—following the label’s reissue last year of the Smithsonian’s Naughty Marietta.
Rose-Marie was the first American musical with a Canadian locale—the Canadian Rockies, to be precise—and includes such evergreen numbers at “Indian Love Call” (“When I’m calling you, ooo, ooo, ooo, ooo, ooo, ooo”), “Pretty Things,” “Only a Kiss” and the stirring title song. Broadway audiences flocked to Rose-Marie for 557 performances, making it the fourth longest-running musical of the 1920s.
A must for collectors and all fans of both the American musical and classical music, Rose-Marie has been packaged in a deluxe two-CD set with historic production photos and notes by two longtime Harbinger colleagues: co-producer Dwight Blocker Bowers, curator emeritus of the Smithsonian, and Ted Chapin, recently retired president of the Rodgers and Hammerstein Organization.
Says Bowers: “It’s not an overstatement to claim that Rose-Marie was the first American musical theater work to achieve wide international success. When the Smithsonian’s recordings program was suspended, the unreleased Rose-Marie was a casualty, and I was given the chance to rescue the master tapes. Hence the collaboration with Harbinger, whose slogan is apt: Albums for the Discerning Collector.”
Adds Ted Chapin: “Good operetta—and Rose-Marie is exactly that—is good theater, albeit of another era."
Now, 98 years after its Broadway premiere, Rose-Marie is ready to be rediscovered by future generations in this historic 1981 recording.
To order, go to https://naxosdirect.com/items/rose-marie-572617 or to Amazon link.
The Harbinger CD set marks the first release in any format of this historic recording—following the label’s reissue last year of the Smithsonian’s Naughty Marietta.
Rose-Marie was the first American musical with a Canadian locale—the Canadian Rockies, to be precise—and includes such evergreen numbers at “Indian Love Call” (“When I’m calling you, ooo, ooo, ooo, ooo, ooo, ooo”), “Pretty Things,” “Only a Kiss” and the stirring title song. Broadway audiences flocked to Rose-Marie for 557 performances, making it the fourth longest-running musical of the 1920s.
A must for collectors and all fans of both the American musical and classical music, Rose-Marie has been packaged in a deluxe two-CD set with historic production photos and notes by two longtime Harbinger colleagues: co-producer Dwight Blocker Bowers, curator emeritus of the Smithsonian, and Ted Chapin, recently retired president of the Rodgers and Hammerstein Organization.
Says Bowers: “It’s not an overstatement to claim that Rose-Marie was the first American musical theater work to achieve wide international success. When the Smithsonian’s recordings program was suspended, the unreleased Rose-Marie was a casualty, and I was given the chance to rescue the master tapes. Hence the collaboration with Harbinger, whose slogan is apt: Albums for the Discerning Collector.”
Adds Ted Chapin: “Good operetta—and Rose-Marie is exactly that—is good theater, albeit of another era."
Now, 98 years after its Broadway premiere, Rose-Marie is ready to be rediscovered by future generations in this historic 1981 recording.
To order, go to https://naxosdirect.com/items/rose-marie-572617 or to Amazon link.
The Song is You
Event Update: The Glory of Camelot
The new date at Cleveland Museum of Art is Sunday, March 6, at 2 PM.
Tickets purchased for the postponed November 21 performance remain valid, and may be used for the
March 6, 2022 event at Gartner Auditorium, Cleveland Museum of Art at 2:00 pm.
General Admission Tickets: $45
The new date at Stocker Arts Center, Hoke Theater
Lorain County Community College
Friday, March 4, at 7 PM
General Admission Tickets: $20/each; $10/LCCC Students, Youth 18 and under and Active Duty Military
Tickets for this event may be purchased by calling the theater box office directly at (440) 366-4040 or by clicking the link below.
Lorain County Community College
Friday, March 4, at 7 PM
General Admission Tickets: $20/each; $10/LCCC Students, Youth 18 and under and Active Duty Military
Tickets for this event may be purchased by calling the theater box office directly at (440) 366-4040 or by clicking the link below.
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No doubt there have been hundreds of us—men and women who found the confidence to make a career in musical theater thanks to Stephen Sondheim’s generosity of spirit and dedication to teaching.
I bet I’m typical. I wrote to him in 1969, when I was an 18-year-old living in a small town in Ohio. Topic: Anyone Can Whistle. I sent him a blank reel-to-reel tape, asking him (what chutzpah!) to respond to my questions. Lo and behold, he brought in Arthur Laurents so they could do it together, with Sondheim commenting that since I was writing “a master’s thesis” (!), he felt I deserved the “most pretentious possible reply.” (High praise indeed from Sondheim.)
I promise you I didn’t misrepresent myself—but for whatever reason, he took me seriously, and our correspondence officially began. Two years later, I was teaching a course in musical theater history while a student at a tiny Ohio college. Displaying more chutzpah, I invited him to speak to my class, but though he declined (graciously explaining that he hated to fly), he invited me to interview him at his Turtle Bay townhouse. In 1973 he even invited me to attend the recording session for A Little Night Music. I took notes! Nirvana! And after the epic 14-hour session, he took me and a friend of his out for a nightcap across the street from the Columbia Records studio.
Then in 1975, when I was working for Great Lakes Shakespeare Festival, he gave us the first non-aquatic rights to do The Frogs. He and Burt Shevelove made revisions, and we premiered the heart-piercing Sondheim-Shakespeare song, “Fear No More.”
By 1979, I was living and working in Manhattan—and I decided not to trouble him further (except sporadically!). Forty-one years later, I’m artistic director of The Musical Theater Project, an educational nonprofit in Cleveland. We have a national record label, Harbinger Records, and a few years ago I asked him to do a liner note for a CD retrospective on Hugh Martin, a songwriter I knew he admired.
Amazingly he remembered me and wrote a splendid note. In gratitude I sent him a CD we had produced of piano rolls that nobody knew existed, recorded in the 1920s by Richard Rodgers, and I finally had the chance to teach him something.
In 1994 New York Magazine famously asked, “Is Stephen Sondheim God”? It’s my favorite rhetorical question.
Happy Birthday to the godlike man who believed in me…
I bet I’m typical. I wrote to him in 1969, when I was an 18-year-old living in a small town in Ohio. Topic: Anyone Can Whistle. I sent him a blank reel-to-reel tape, asking him (what chutzpah!) to respond to my questions. Lo and behold, he brought in Arthur Laurents so they could do it together, with Sondheim commenting that since I was writing “a master’s thesis” (!), he felt I deserved the “most pretentious possible reply.” (High praise indeed from Sondheim.)
I promise you I didn’t misrepresent myself—but for whatever reason, he took me seriously, and our correspondence officially began. Two years later, I was teaching a course in musical theater history while a student at a tiny Ohio college. Displaying more chutzpah, I invited him to speak to my class, but though he declined (graciously explaining that he hated to fly), he invited me to interview him at his Turtle Bay townhouse. In 1973 he even invited me to attend the recording session for A Little Night Music. I took notes! Nirvana! And after the epic 14-hour session, he took me and a friend of his out for a nightcap across the street from the Columbia Records studio.
Then in 1975, when I was working for Great Lakes Shakespeare Festival, he gave us the first non-aquatic rights to do The Frogs. He and Burt Shevelove made revisions, and we premiered the heart-piercing Sondheim-Shakespeare song, “Fear No More.”
By 1979, I was living and working in Manhattan—and I decided not to trouble him further (except sporadically!). Forty-one years later, I’m artistic director of The Musical Theater Project, an educational nonprofit in Cleveland. We have a national record label, Harbinger Records, and a few years ago I asked him to do a liner note for a CD retrospective on Hugh Martin, a songwriter I knew he admired.
Amazingly he remembered me and wrote a splendid note. In gratitude I sent him a CD we had produced of piano rolls that nobody knew existed, recorded in the 1920s by Richard Rodgers, and I finally had the chance to teach him something.
In 1994 New York Magazine famously asked, “Is Stephen Sondheim God”? It’s my favorite rhetorical question.
Happy Birthday to the godlike man who believed in me…
Movies At Home
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In the Classroom
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On the Radio
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Recordings
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