Florence Henderson's rave from John Simon

Florence Henderson’s recent appearance at Feinstein’s at Loew’s Regency was all to the good and all too brief. The actress-singer called her show “All the Lives of Me . . . A Musical Journey,” and it was outstanding in more than one way.
There was, first, the heartening fact that age could not stale talent and appeal such as hers. Her accomplished renderings were as youthfully vibrant yet subtly shaded as they were in the various musicals she starred in on Broadway and elsewhere.
She sang only one of the hit songs from her stage roles, the idea being rather to convey in song her role in life. This took her from the poverty-stricken farm where it began, through sundry nail-biting or elating phases, to becoming an idol of stage and TV.
Her rise began at 19, when Rodgers and Hammerstein saw her in a bit part in Wish You Were Here and asked her whether she would take on the part of Laurie in the last touring company of Oklahoma! “Sure,” she said, “but what is it?” It progressed to her being the first female guest host on “The Tonight Show” and induction in the Smithsonian Institute as part of the first permanent Entertainment History Exhibit. A steady, sedulous rise; if just a little short of meteoric, no less than stellar.
The autobiographical show includes such faded favorites of her parents’ as “You Are My Sunshine” and “My Old Kentucky Home,” but delivered with unprecedented, revivifying delicacy. What show tunes she performs, such as “Oh, What a Beautiful Morning” and Kander and Ebb’s “Me and My Baby,” are there to illustrate the feelings at becoming famous or a mother, or, as in the case of “The Brady Bunch,” participating in unparalleled backstage camaraderie.
She has possibly the best between-the-songs patter I have heard from any artist. This ranges from one of her dad’s typical bawdy jokes to her mom’s exaggerated warnings against playing with herself—she would go blind and deaf—to how today’s TV-proclaimed side effects of sex-enhancing drugs include impaired sight or hearing. And if you have a dread, more-than-four-hour erection, would you, on your way to the doctor, please stop off at her place.
But it goes beyond the scripted; Ms. Henderson is a wiz at repartee. Not only does she mingle physically with her audience, she also conducts a freewheeling Q & A session, providing answers that are both pert and pertinent.
She talks frankly about her two marriages and more recent widowed state, about her four childbirths that always came at a time most in conflict with her work, but resulted in wonderful offspring. You can almost see waves of joyous energy radiating from her.
Two of her wittiest songs—“Have I Been Lifted?” and “Eight Shows a Week”—are by her musical director, Glen Roven, who, besides steadfast piano accompaniments, also gives her a spirited introduction. No less fine is the work of Julie Ferrara on reeds, Laura Bontrager on cello, and Cynthia Leigh Heim in vocal support.
If you had the misfortune of missing Florence Henderson this time round, be confident that such an indestructible and indispensable artist will show up again somewhere on your horizon. Avoid at that time committing the same mistake twice.

Greg Jbara is a saint. That's all.

Dear Glen,



The Philadelphia Orchestra is considering programming the Runaway Bunny next season. We would like to receive a perusal score and recording to show our concertmaster. Can you provide a rental quote for a single family concert performance? Please send the material to me at:



The Philadelphia Orchestra Library

Attn: Robert Grossman

260 South Broad St, 16th Floor

Philadelphia, PA 19102



Sincerely,



Bob

Still kinda down. Er...very down this morning. Had to sleep til after 11. Called MJ and got through. Interesting. He said I should tell Maria her investor person will be folded in. That's good news. And that I should call him next Mon or Tues in NYC and he'll have more T news. We're still fighting there. I can only hope. And then without bringing it up, he said he wanted to talk about Norman.

Stephen W will talk to the head of Boston Ballet, so....And Nina is on to JR's people.

Seems like a lot is going on, but I don't feel that.

Rehearsal was fine with FH today. Then R and I went to the Grove to see a movie. But R got the time all wrong. So we shopped (he shopped) and then went to the Farmer's Market for dinner. Wish I felt better with this cold. Tomorrow I'm doing a session with Michael Arnold. Hopefully I'll have enugh umph for the gym.

Blogging from LA. First time.

FH flew me out here to rehearse and although I wasn't looking forward to it, it's fine once that I'm here. I rented a car which was hard. I miss Aretha. The nice lady at Thrifty gave me a convertible but after one shopping/parking trip I smashed in the passenger door. Shit. I was rushing to buy a mobile blue tooth for my phone because it's now illegal to not have a hands free system. Good law, but it took me a long time to figure it all out. And I had to return one to phone store. Pain in the neck, but.

While I was on the plane (on Tuesday) Robert at Bway world sent me the Logo/masthead for my column. It's amazingly impressive. I look like a younger Earl Wilson! Lots of graphic stuff, me in silhouette. Oh, I can post it!

http://mail.google.com/mail/?ui=2&ik=8dabdf6ab0&view=att&th=11cd78989d75f26b&attid=0.1&disp=emb&realattid=0.1.1

Well, I guess I can't. Never mind. It's really nice. But the column still hasn't run yet. I have about 8 done and can do 4 more quickly.



I've been going to the gym at venice and I must say I've been enjoying that. Enormously. If i didn't rip my toe off, more later, I'd be there right now. Shit.

Thursday was another rehearsal and then I picked up Robin who was about a half hour early! Not a problem. I'm glad he's here. He's glad he's here and we went shopping right away, me for a new ear piece and him for some candle juice.

Then off to Leslie's break fast. Oy. But I had a nice chat with Lee Holdridge. I feel so comfortable with her family, but hate that's it's her family that i'm with. Not that I want to be with MY family, just that it feels too weird. But only intellectually. It's actually fine.

Then we went to Richard's house. Where we'll be staying. It's in an adorable area called Brentwood Glen. Almost like a little Connecticut town. The GPS took us there easily. It's not as nice as the last house, much smaller, but I like the area better. Richard's stuff is all over, and it's kind of a mess, but it will be fine. Robin thought he'd be there until Tuesday but he's leaving today. So we'll be completely alone. There a large TV and it's SOOO much close to FH's than Leslies and that's a huge help.

On Wednesday morning, 9 AM I had a meeting with Nina Lederman. I'm reluctant to say it was a great meeting because we all know how great meetings evaporate into thin air. But she's done amazing well, has a new kid on the way with her new girlfriend, Rowina, a biggie at CAA and a bunny fan. So she thinks she can sell it as an hour special very easily. Rowina represents Julia Roberts and she (Rowina) likes the idea. Nina called Kimber and was positive as well. It would be a nice thing to have this on TV. Obviously. And now I'm going to add Nina to my hit list for jobs. She was very open about that and even asked me if I wanted her to help me with an agent. I said sure. I'm not at all confident that will come to pass but concentrating on the Bunny would be a great thing.

Friday PM we had a nice dinner with Gary Zuckerbrod. We raced around Friday am finding a place for breakfast and doing chores before i had to go to Florences. We went to TASTE, a restaurant right across from Comme Ca. All nice. But honestly, I just want Gary to call Freidkin to get me a meeting regarding Cosi.

Saturday, yesterday, was an off day with FH. Robin was having a fag in the garden. I went out to see him and smashed myself in the closed screen door. As I walked outside, I looked at my big toe and there was a huge gash on the bottom. REALLY Bleeding. Strangely enough it wasn't hurting at all. Rich and Robin said I should go to the ER and in a role reversal, R took me to UCLA Emergency which is basically around the corner. And Richard got through to someone there and the lady said it was empty, come on over. I used Steve's name as my doctor, so that got lots of attention and 2 hours later I was sown up.

The numbing needles were INCREDIBLY painful! Yikes. But after that it was easy enough. But I can't belive I did it.

Speaking of hospitals, Ruth is hating being in the nursing home and driving everyone crazy. But that's biz as usual. I've been speaking to her a few times a day.

I had a really awful Dr. T nightmare. The show was going, but everyone was changing the music and lyrics and I had to throw a fit and cut the songs because i didn't right them. And I was back in High School missing classes and worrying about graduating. And having huge fights with R and M. Weird.





DIARY: Seagull

Long day. Still not feeling 100 percent. Not even close. But... Timothy Roven and Keel came over to Janice's house today to meet Myles and Janice. Keel could not believe the toys. Who can?! I said you either get a daddy or you get a lot of toys.

Then off toe The Seagull from the Royal Court. It get a rave from the Times so Robin wanted to go. I had gotten a half price voucher when he was out of town. And I couldn't think of anything I wanted to see less. Despite the stellar cast. But it's part of our (my) resolution to do things and get out of bed, so we got full price great seats on line. And it was good. okay. But nothing more wonderful than the usual run of the mill wonderful we've seen in London. So I kinda enjoyed it but...Oh well. A way to spend the afternoon, I suppose.

Going into the theater I saw Roger Berlind who was pleasant enough. At intermission, however, I saw Bob Bartner. I said hello and he couldn't have run away faster. Yikes! I sent him an email the other day. I didn't expect him to say anything. But i also didn't expect the run away bits. I texted Michael Jenkins right away. Another yikes.

Then off to Ruth. Who is up and at it. We walked with the walker all the way to the communal room. However, she's her old mean self again. She was bitching about the food. "I don't know what this is. They say it's chicken. it ain't chicken! And what's with this soup. They said it was mushroom barley. It's cream of chicken soup!" And she'll be out soon.

I think I'll do the Auden poem next for the song cycle.

W. H. Auden


Stop all the clocks, cut off the telephone,
Prevent the dog from barking with a juicy bone,
Silence the pianos and with muffled drum
Bring out the coffin, let the mourners come.

Let aeroplanes circle moaning overhead
Scribbling on the sky the message He Is Dead,
Put crepe bows round the white necks of the public doves,
Let the traffic policemen wear black cotton gloves.

He was my North, my South, my East and West,
My working week and my Sunday rest,
My noon, my midnight, my talk, my song;
I thought that love would last for ever: I was wrong.

The stars are not wanted now: put out every one;
Pack up the moon and dismantle the sun;
Pour away the ocean and sweep up the wood.
For nothing now can ever come to any good.

Ruth is out of intensive care and in the next step to leaving. We went up to see her today and she can talk and she even had a little walk around the room with the therapists. Janice was worried yesterday but I knew it would be fine. It just takes a bit of time and for goodness sake, she just had open heart surgery. She was sort of babbling for a bit and told us she was "aggrivated." Which of course is a good thing. She said they put her into a room with a dead body unter the bed and she insisted on being moved. As long as she is aggravated she's on the road to recovery!

Sadly, tonight we were suppsoed to go to a great chamber music concert but I just don't feel well enough. My fuckin cold is STILL not better. No coughing but I think I have temperature. The concert was going to be great: Creation fo the world and Quartet for the end of time. Damn.

Jury duty was a breeze! Because of the Jewish Holidays there were very few cases. I simply sat in the room for 2 days, 9-12 and then we were dismissed. And won't be called for 6 years.

I finished Awakened by the Moon and Leonard's description of Goodnight Moon made me want to write that as the companion piece. I went to Barnes and Nobel and re-read the book from his point of view. So the obvious choice for the companion piece will be the one I'll do. Of course, not for a while. And certainly not until I get the rights.



I finished yet another song in the cycle. A Whitman setting. See below!

Timothy and Keel are going to meet Myles and Janice tomorrow. Let's see how that works. I'm hoping it's good!

No news from MJ. Crap. The David Poutney score came back. Wrong address. Never mind. I wonder if I should send the bindings to MJ? Maybe.

What Am I After All

What am I after all but a child, pleas`d with the sound of my own name? repeating it over and over;
I stand apart to hear - it never tires me.

To you your name also;
Did you think there was nothing but two or three
pronunciations in the sound of your name?
WALT WHITMAN (1819 - 92)

DIARY

I've been very lethargic for the past few days. Haven't been able to muster the energy to do more on Ozimandias. Very tired. I wonder if I'm feeling the pressure of the next few weeks: Jury duty, LA, Ruth's surgery. It's been great having Robin here. But it's been a couple of days of nothing. Although, of course, I've still been hustling.

We had some time at Janice's and played with the buddah. Fun enough. And making "horrible" plans with Myles.

I went to the bookstore to see Leonard's suggestions for a sequal to the Bunny. Nothing yet. I saw a couple but nothing triggered the emotion that RB did. I'll keep looking.

DIARY:

Had a great night Wednesday PM at the party for the Chelsea Arts Club NYC branch. It was at the great restaurant, in Chelsea of course, Bottino. It turns out that I was there before; i went with Chris Parker after the Cheap Trick rehearsal. Robin had been there tons with Harvey. We both figured it might be tough, but we had fun. We actually talked to people, Dudley was very warm and welcoming. At dinner, which was DELICIOUS, we sat next to nice people. One person, Kiki, turns out to know Chris Parker and Steve Gadd; she had an affair with SG and she booked the bands in the 70s. And Carol, a water-colorist, sat on my other side. Of course, people were interested in me and the person who sat across from Robin came to Carnegie. She was much too perky and "english" for me. A surprisingly good time.

Myles had come over both days and that was fun. Myles was very friendly to Robin and we all noticed how much more interactive he was. I'm sure that's because we kept R very much in his mind during the times he was away. We played Hide and Hide, his favorite game.

Glenn 7 came over to sing and Robin was very impressed. We didn't work on Michael's letter, he has the only copy and didn't bring it, but we did alot on Shakespeare and he's getting amazing. I was nervous R wouldn't think his voice was legit enough, but he passed with flying colors! Yeah. And he sang through Small and Prince and I think really liked them.

Haven't written much since R is back, but I started Ozymandias today. Hopefully that will be done before I leave for LA. Which I'm not looking forward to. But oh well. I need the $.

Now R is sick. I'm just about over it. I hope. But still so tired, tired, tired.

I had a nice lunch today with Leonard Marcus. He's great and hopefully can help me get the Oliver rights. He knows all the people in the Children's book world. In fact I got an e-mail from the head of the museum toeday who wanted to do an excerpt from Oliver next year. I told her I didn't have the rights.

I finished 4 blasters for 100 Stories/100 Words. They are fun to write. They also published the John Miller piece.

DIARY: Robin is back

FINALLY!!! I went to the airport this morning with Rafael and Robin came through. A bit late. But HERE! Yeah! Looking great. I'm so happy that he's back. We went back to the apt. and he unpacked and puttered. Thank goodness for Fresh Direct. All delivered and waiting at the door.
Myles came over and we playd his peculiar game of hide and seek where we ALL hide! Then he calls out who goes to find whom. (He's also told us where exactly to hide so it's a bit existential.)
But R is here and we're in bed watching TV. Poifect.

On Monday I finished proofing the Wordsworth. Then I had a lovely dinner with Greg Jbara. Lots of fun. I want Greg to be the first article in my 100Stories/100 Words for B'wayworld.com. I recorded a couple of songs but of course, I opted for the dirty one. Greg invited Robin and me to the run through of BE. Fine.

So I went home after the dinner and wrote up the piece. It was fun. I also wrote up one on Michael Jenkins. So I'll be one ahead. It was a challenge getting them down to 100 words. But the shorter they get, the better they get. So I did lots of work, sent 'em to LW and today sent them in to Robert. He said they were going to do a nice layout. I have a feeling this will be something I can enjoy.

And Robin!

DIARY: Still sick

Still sick. Thought is all better but it seemed a bit worse today. Then better, then worse. Ugh. I really want it better for R and of course for Jury Duty and LA. Had weird, weird dreams. About doing Norman at Bard, about driving some sort of bus to Barrytown and Phyllis Newman was there, and Jack DiPalma was at Bard. And I was meeting all the professors there. Weird, as I said.

So today was spent mostly in bed. Although I did some of the Song Cycle. Boy is this one a good tune.

Myles came over and we had a few hide and seeks. Then I walked up to Janice to get Robin's xx and played bouncy bouncy with Zack. Who is BIG!!!

Also spoke to Maria who is going through it with her poor doggy. I finally played her Michael's message and she was happy with that. I also told her that I wrote a letter to Boorman with her email in it. One more day until R returns. Yeah.

diary: Dumbo

I woke up late, thankfully, 10:55 and sprang out of bed thinking Benjy was coming over today. That's next week. So I was a bit discombobulated. Very.

Steve called and told me he was going to DUMBO today to an art gallery, after he visited his mom in the hospital, so I said, what the fuck, I'll go.

It was kind of a revelation. It was truly wonderful walking around down there. The art show was terrific as well: lots of sexy, hunky beary type guys. Really well shot. But the area was the star. It was interesting because it wasn't an area that had a resident population that was eased out as the richies came in. Nothing was there before the artists. Lots of new, hip buildings. Lots of cool restaurants, shops. Tons of babies in strollers. We had a nice lunch next to the gallery.

Honestly, I think I could live there. In a way I couldn't leave in Harlem or the East End. It could be loud, though. The bridge is right there, of course. That's why it's called the District UNDER THE MANHATTAN BRIDGE!! But I stopped a woman on the street and she said the glass keps out the noise. It would be interesting to move the whole family there. Especially if Myles goes to Paker or St. Ann's. But that's all unlikely of course. Because one, the prices are outrageous. And I can't get out of bed, how am I going to move.

Mentally, not sure. I go up and down. Not too down until very late at night. I have to stay up till 2 so I can fall asleep naturally. The Michael high has worn off, as to be expected. Wouldn't it be amazing if we can sign the deal and go.

It's seems a bit much of a struggle when I went through this whole rights thing years ago. And now I have to go through it again. IT'S UNFAIR! HA HA HA HA!!!!!

Diary: NY PHIL

Went to the NY PHIL today with Ruth. I changed our subscription tickets very easily on line. It was wonderful, actually. A new Stucky piece, which was nice. (and short!) Then Rach 3 played by Brofman. Avery Fisher should be knocked down. Could hardly hear the piano. Imagine not being able to hear the Piano in that piece. Played by E B! Second part was Ravel Mother Goose and Mandarian. After the Ravel, I heard a girl behind me Bravo for Glenn D. I turned around and asked if she knew him. She said it was her daughter. So...obviously the conversation turned to RunBun.

And speaking of RunBun: Right before I left for the concert, I got an e-mail from the St. Louis Symphony wanted a perusal score. Wow. Let's hope. Wouldn't that be great. Obviously, it's because of the air play on the radio station. Maybe even the article!

I don't think I wrote that Robin is coming home on Tuesday. The Belgium Consulate felt he couldn't approve the application but R didn't seem upset because the lawyer said they would fix the application and it would get approved in Canada. So, he's coming home. Yeah! I really hope he can cope in NYC! Wouldn't it be great to be together.

I had my pity dinner with Mark. Which was very pleasant. He has a major new apartment. In the same building as Chris Keller/Stabler. Wow! Lots of views. Lots of spaces. Lots of show biz stuff. I told him that I had a sketch of Alvin's. He said that was unusual because much to his friends sadness (Alvin's friends) gave all of his stuff to the library. So I wrote him today telling him I wanted to give him my sketch. He really deserves it! (And I considered selling it on Ebay.) So it's his.

We had a discussion about my alienation of friends. We both thought it was because I don't stop it when people want too much and ask for too much. And I internalize it until I can't take it any more. Good point. So he suggested I nip it in the bud a little earlier. I'll try next time it happens. If it does. Which it will.

I saw the Hudson Valley Shakespeare on TV last night. (I'm LOOOVING my DVR!) I recorded it. It seems like a magical place. And the Shakespeare isn't too bad. Actually about on the same level as The Tempest the other night. So i wrote the artistic director about Mozart. Again. Crazy idea. But I'm trying.

Glenn sang through some of Michael's Letter on Thursday. It's a good piece. And he's a great singer. It was great to hear it. I wrote it in Kentish Town!!!!!!!! Life!!!!!

DIARY: Musicians/Michael Jenkins/Sendroff/John Miller

What the heck is galway wearing!!!! (Jesus!)

Anyway, just back from a sensational time at John Miller's CD release party. It was at Carroll's studio. I have never been to the new place. Probably isn't new at all, but new for me. It's on 56th Street. Same loft building as Pace/Wilderstein. Wow.

I don't think there are a bunch of people I'd rather hang out with than musicians. Dave Spinozza was there, of course. He co-produced the album. We talked about Wynn! And Chris Parker. And Charlie Alterman, a young pianist/conductor. Plus some of the guys from the Cheap Trick gig.

John talked about the Cd. And was really wonderful. I met his wife for the first time and she was very complimentary about the article I wrote. Met the press people too. Nice enough.

But it was all about side-men. My favorite.

Today was also a red letter day, I hope. Yesterday I called Michael Jenkins. I was at the gym when he returned the call. Amazing. He said he closed the deal with the Brolly kids. That's fantastic. One down, one to go. He said the Seuss people were being the Seuss people but he said we couldn't panic or push them because then they just back away. I'm hoping this is good news and we just persevere. In a weekend letter I also suggested he think about NORMAN because of all the floods. He said it was a great idea. He told me he was producing or presenting 23 shows (michael!!!) but he would try and fit it in. I guess I heard enthusiasm in his voice. So...

And today was also the end of an era. Anna, our housekeeper of 25 years, maybe more!, is going back to Poland to see her grand kids (adults!) whom she's never met. She's been so great to us. But as is the way with life, a hug and then move on.



Glenn is coming over tomorrow to work on the Armistead piece and the Shakespeare. I've finished 4 pieces now.

I did some more work (tweaking) on the Opera Aria. I spoke to Irwin Fisch and I'm going to record some tracks over at his place. I sent him the Finale file as a Midi file and it went through just fine. Arianne said she couldn't work on it until November. I'll see if I can wait. I'll be out most of of October so it will probably time out just fine.

I emailed Chris Craker today and told him about the idea. I hope he's interested in helping. He's someone who actually came through.

Ittai sent Mark Sendroff papers yesterday, threatening to sue. I mean. Honestly!!! Then when I saw Max at John's party, Max said he was hustling him. Max sensed something was wrong. Max didn't really want to deal with him and asked me what to do. I said, do whatever you want, but you can always say I only talk to the guy who's paying me. He really has to understand he can't just get everything for nothing.

And more Bunny, I wrote to HarperCollins today introducing them to the Animation people. Susan Katz wrote back within 20 minutes. I couldn't believe that. So I called the Animation people and said, it's all connected. Go get 'em.

I think I'm having dinner with Mark Sendroff tomorrow. He feels sorry for me. He asked what happened with me and Ittai? I said, it went south just like all my relationships do. Except for him and Robin. So he wants me to have dinner with him. Well, it's true I guess. I try not to, but I guess when I'm doing the stuff i REALLY care about, I get to emotionally involved. But the list of people I don't like much is rather long. Sad really. Or not.

DIARY: Like a beacon

Finished another one. Despite being sick.

Like a Beacon

In London
every now and then
I get this craving
for my mother's food
I leave art galleries
in search of plaintains
saltfish/sweet potatoes

I need this link

I need this touch
of home
swinging in my bag
like a beacon
against the cold
Grace Nichols (b. 1950)

DIARY: CHRIS ROCK

Chris Rock was simply magnificent. He did about 90 minutes straight out. No prompter. Really amazing. And funny. For black and white.

I had never been to the Apollo before. And it had the same magic of Capitol Studios. So much history. It almost takes your breath away.

Sadly, I had to admit I was a bit scared getting there. Getting off at 125th Street was okay but the walk down to the theater was just uncomfortable. So I got on a bus for a bit.

Keith arranged for me to meet the head of production of HBO who has a house in Rhinebeck. I hope we get together to talk about the old country.

I just spoke to Scott about calling up HBO and pitching Bunny there for a live concert for TV. We'll see.

I slept A LOT! Too much, but I needed it, I guess. I'm fighting off a cold so maybe that's why I needed the sleep.

I got up and bought some new lovely Lucky Jeans and then came home to play with Myles. Lots of hide and seek.

I also worked on the Plum Poem today. It will be finished tomorrow.

This Is Just To Say
I have eaten
the plums
that were in
the icebox

and which
you were probably
saving
for breakfast.

Forgive me
they were delicious
so sweet
and so cold.

-- William Carlos

DIARY: Finshed the MILTON

I finished the Milton Poem today. That's three down. And as I've said before, it's going well. I'm anxious for Glenn to sing them. It's very atonal and the next one I attempt should be more simple. And shorter. I haven't decided which one to do, but it will be a short one. Maybe the Wallace one.

This morning Keith Winnikoff came over to tweak the TV. It was pretty good with standard factory setting but he did a bit. And he offered 2 tickets to Chris Rock tomorrow, the HBO taping. So I will.

Then I got a call from Glen 7 who had a minor operation. He didn't' realize that he couldn't leave the doctors without some help. So he called me to help him home. Glad he thought of me as a friend and someone to help him. God knows I'm good at taking drugged friends back home for the Hospital.

DIARY

Seven years ago today, as I saw the Towers tumble, I knew Dr. T was not going to happen. But it's been seven years, maybe seven biblical lean years, and perhaps it's time for seven fat years.

The show is better now with Maria's script and Ian would have been a disaster. So, I'm hoping it's all for the best.

However, I'll never forget the meeting at Tony Waltons with Frank Scardino saying, This show is happening, the rehearsals at Paul Epstein's with Jim Dale. etc. etc.

But I'll never forget that feeling: the show is off.

I know, I know, I know it's unfathomably selfish of me to equate this National Disaster with my personal show biz ridiculousness, but there it is.

DIARY: Broken Heart

Went to the cardiologist today to see if my shortness of breath wsa because of a broken heart. Segal (who is dreamy) did all the tests and I was able to see my heart pump. They showed me each and every ventricle. Amazing!

I'll be back in two weeks for a stress test. 

In the morning I did some more grooming on a Figaro PV. Yesterday I also did some work on the Milton.

Dats it.

DIARY: Dickie Frank and Writing

Just back from the Tempest at CSC. Really great. Although Mandy can destroy a song with his weird vocal stuff and over the top acting, he can't destroy Shakespeare with his "commitment." In fact, it actually works. It was a wonderful production. Great set. Some great actors. And a fantastic space. Loved it. So I wrote to the artistic director about doing Figaro. It would be fantastic there.

Glenn came over again on Monday. Another exciting session. We worked on a couple more of the songs. Did the Richard II, maybe my favorite. It really is wonderful. And he's a great singer!!

Very inspiring.

In light of the rights situation, I looked at the Oliver Button sketch. I forgot that I had actually written the entire opening number. I had no idea that I had done that. And that's ALSO wonderful. I'm sorry to be so enthusiastic about my own work, but I'm discovering a whole forgotten world of my stuff.

I've been playing through the ARIA for the new opera. I sent it to Ariana Zuckerman. I hope to record it with her. I'm not quite done with it but getting really good as well.

Ruth went into the hospital and had her test. All is as expected. They don't have to do anything else. She was her usual self until they drugged her and she came out. Then she said I turned into a good son and I shouldn't have been a doctor. We were all shocked, Janice and I, and I asked the nurse for more drugs for her.

She was a piece of work this morning, but had almost calmed down by the time I picked her up.

Tomorrow I go to my heart doctor. And let's see if I have a broken heart.

Left a message for Jenkins. Nothing. No Maria. Still being punished. Oh well.

I pitched Gary Z three movie ideas. He's going to try and set up all three. So we'll see about that.

But I'm feeling creative again. Wow.

Diary: Finished the Aria

Title says it all.

Diary

Gary Zuckerbrod came in town this morning for a Bar Mitzvah. I'm so glad he comes to town and stays with me. I'm so insecure about being that perfect host. That's really his specialty, of course. But I'm glad that I did well enough for a repeat guest.

And then I had breakfast with Irwin Fisch. Part of my reunion plan. It was a lovely meal. And the two experiences that we had together, work related, were fantastic and highlights. And he still remains the only colleague musician who's EVER hired ME! He'd be the perfect person to orchestrate Dr. T. If that happens, of course. (I called Michael the other day. No response of course. But I didn't expect it. Just checking in. Ugh.)

Then Gary and I went to MOMA to see the PreFab design show. Not so interesting. Much more a historical show than an exhibit of the cool, hip new things. I've seen some new wonderful pre-fabs on TV. Seems like an interesting way to go.

As for the opera. Aria just about finished. I e-mailed Arianna Zuckerman and she'll come over. It good.

DIARY

Another day of writing. That's all I have to say.

Stage Door Johnny and the Quaalude Samba Folky Jazz Groove

STAGE DOOR JOHNNY
and the
QUAALUDE-SAMBA-FOLKY-JAZZ GROOVE
by Glen Roven

Stage Door Johnny is John Miller’s phenomenal new CD featuring Broadway Classics done in John’s inimitable style. Think James Taylor crossed with Lerner and Lowe. Think Doctor John riffing on Rodgers and Hammerstein. When he first sent me an advanced copy, I played it in my car and almost crashed it was so wonderful. The legendary composer, Marc Shaiman summed it up brilliantly, “I had a smile on my face ten seconds into the CD.”

John Miller is hardly a household name. Unless, of course, a member of that household happens to be a musician, and that household happens to be anywhere near New York City. Then, trust me, John Miller is very much a household name.

For John Miller is one of the premier Music Coordinators on Broadway, the man (there are no women that I know of) in charge of hiring musicians who play in the pit orchestras of Broadway musicals. Right now, John looks after Hairspray, Jersey Boys, Xanadu and Young Frankenstein. His list of past shows hovers around one hundered.

But this article is not about Johnny Miller, the Music Coordinator. It’s not about his kindness to fellow artists, his generosity of spirit, his dry sense of humor, or his integrity and honesty. This is about Stage Door Johnny, which will be released September 30th, on PS Classics. With this CD, John steps out of the pit and into the spotlight, Center Stage. This is about John Miller: producer, arranger, musician and most importantly, artist.

Johnny’ performing skills come as no surprise to us old folk who witnessed his amazing performance in the musical, I Love My Wife. In addition to the four star actors, the smaller parts and, of course, the music, were performed by the band. (Take that John Doyle; Joe Layton was doing it in the sixties.)

Johnny’s performance of the Act Two opening is indelibly imprinted in my mind. The curtain went up and there he was with his bass, about to launch into the jaunty Cy Coleman bass line for Hey There, Good Times. But as it was snowing (on stage), before he started, he looked up, gently flicked a snowflake off the bass, dried off his instrument, and then hurled headlong into the song. Jack Benny could have learned a few things from John’s impeccable timing. The audience roared and Act Two started with a bang. I remember watching a performance with Mark Bramble, Mike Stewart’s pal who wrote the book and lyrics. Mark exclaimed, “Now that’s how you open a second act.

GR: Would I be off the mark to say this is the Broadway album James Taylor could have made?

JM: Anytime anyone compares me to James, I’m unbelievably flattered! It’s like saying, I saw you on the basketball court and you have moves like Michael Jordon.”

GR: Which is highly unlikely. Neither of us crack 5’7.

JM: I’m talking metaphorically, of course. But I never try to sound like James. Or anyone, actually. That just seems to happen whenever I start to sing.

GR: Which is?

JM: I call it my Quaalude-samba-folky-jazz groove.

GR: I wonder if there’s a category for that at Barnes and Nobles?

JM: Do we have a shot?

GR: Tell me about the genesis of Stage Door Johnny, the album.

JM: I skillfully avoided doing this for a good 25 years. I used to sit around on the couch playing all these songs on the guitar, late at night. Not really knowing what I was doing on the guitar…

GR: Cause you’re a bass player.

JM: Correct. I didn’t even know the names of some of the chords I was making up. It reminded me of the time I played with Joni Mitchell. I looked over to Joni and asked her, “What’s that chord you’re playing?” And she said, “No idea.” I’d play my arrangements for guitar players and they’d say, “What the hell is that? What an interesting chord.” I guess ignorance is bliss.

I’d say fifteen years ago, I thought, hey, let me get a little home studio, work out the kinks, play around with the background vocals, the bass lines. I went with Bob Rose (another major NY musician) to Manny’s Music store and bought this Yamaha Eight track home studio. Bob came to my home, he set it up, put the speakers there, the wires, etc., and left. I looked at the manual and I realize I’m very, very good with the first sentence, which said, “Congratulations you just bought a Yamaha such and such home studio.” I realized very soon I wasn’t so good with the next 50 pages. I didn’t understand a thing. My spine started sweating. I became totally technophobic. So much so, that I couldn’t even go in the room! So I retreated to my couch and started strumming the guitar. I went back to playing the guitar on the couch for another ten of years.

Then, two or three years ago, I had a light bulb Zen moment of enlightenment. After so many years of playing these songs, I pretty much knew what I wanted to do. I said, let me by-pass the whole manual part. I realized I don’t have to learn all that stuff. At the same time, Connie, my wife said, “Enough already. It’s too depressing hearing you sing these songs for 12 years. Either do it or don’t. I don’t want to hear about it anymore.”

So, it was just time. And after such a long gestation period, I knew exactly who I wanted to co-produce it with me, I knew who I wanted to play on it with me, who would engineer it. And the next day, I put the team together, booked the studio and forged on.

GR: Tell me how the music came together?

JM: It was as organic as anything can be. The first song I did fifteen years ago was “Wouldn’t It Be Loverly?” I didn’t plan on doing it. I was just fooling around late at night, D9 Bm7 . Be gong, be, ba da, bi gong ging.

GR: (thinking) How the heck am I going to convey how cool it sounds having John Miller sing you a bass line?

JM: So I didn’t have a specific song in mind. I was just watching some Rambo movie late at night. Just grooving. And somewhere deep in my mind’s ear, without thinking of it, I came up with, ‘All I want is a room somewhere.’

GR: And that’s one of my favorite tracks. How did you pick the rest of the songs?

JM: In every single song the groove came first. I never looked at a list of songs. I never asked, “What song would I love to do?” There were all based on some guitar riff that I came up with. And the rest just flowed extremely naturally.

GR: Interesting. Because after hearing the album, I would swear it was just the opposite: that the song came first and then the accompanying groove. But it makes sense: you, being a bass player, would work out the song arrangement from the bottom up.

JM: Correct. Not only the songs, but the complete arrangements came from that late night musical sound.

GR: That Quaalude-samba-folky-jazz groove.

JM: Yup.

GR: I think this is the only Broadway compilation that I’d want to have sex to. You don’t want to have sex to Dear World.

JM: No comment. But, I think I’m somewhat limited by my guitar playing. Cause there’s only one thing I sort of do.

GR: In addition to being your biggest fan, I’m also a huge fan of your co-producer David Spinozza, the guitar player.

JM: My choosing Spinozza to be a partner in crime was not casual. I thought for a long, long time. I’ve worked with him as a guitarist for years, knowing his sensibilities, and his sense of what I call right-eousness, what is pure, when there is a need for nothing, a need for air.

One of the most flattering moments for me was when Warren Odze (the drummer) turned to Spinozza and said, “David, that sounds great.” Spinozza pointed to me and said, “It was Miller.”

GR: Another one of my favorite tracks is “Oh, What a Beautiful Morning.”

JM: I heard this tune as a “Brother Where Art Thou,” white gospel sound. I also heard an Aaron Copeland, Randy Newman Americana feel. I knew I wanted pedal steel. And again, I came up with my organic way of doing it.

GR: You’ve been around Broadway for 45 years! An amazing career. And you’ve heard a lot of music. Tell me. What makes a great Broadway song?

JM: I don’t know if I’m smart enough to answer that like a smart person would answer; but clearly, any time you go to a show and walk out humming a song you’ve never heard before, that has a profoundly deep effect.

GR: You and I are primarily behind the scenes guys. Occasionally we step out, but only when necessary. What’s it like for you being in the spotlight?

JM: My friends and I have made long careers out of being sidemen. One of my best sidemen stories is, I was working with this singer and she had written a waltz. She said, during a recording session, “I’d like this to be a reggae.” Now, she was smart enough not to ask any of us, “Do you think this is a good idea?”

GR: That might fly in LA because the musicians are so sweet out there. That would NOT fly in NYC!

JM: We are trained to say, “You got it.” We give them the best we can do and then leave. It’s their baby. They wrote it, their project. It should be exactly how they want it.

I’ve received many CDs from friends of mine who are sidemen and I’ve always been moved by what a courageous thing it is for them to do. They are, in effect saying, here is the music I feel in my soul, here is how I feel music.

So, this album is how I feel about music. And I’m very comfortable saying that. But it was an extraordinary experience to finally be the person who could tell these great musicians, I want my waltz to be a reggae.

GR: Has it been a pleasant experience?

JM: You bet. It’s a great luxury for a musician to be able to do their own project without any upfront deal. There are no restrictions other than your own imagination.

GR: And the goal?

JM: I had one goal only: for me to love every note of it. If other people dig it, that’s great. If some people don’t, none of that would take away from the joy we I had doing it. I have loved every minute. There isn’t any part of doing the music that hasn’t been a peak experience.

Glen Roven is an Emmy award winning composer who recently made his Carnegie Hall debut conducting his Violin Concert. The CD was released on SONY/BMG with the Royal Philharmonic Orchestra. He is hoping Stage Door Johnny will one day hire him.

Diary: Dickie Frank and Writing

Had Breakfast with a very old friend, Dickie Frank. I first discovered Dickie when he was the guitar player on all my favorite albums. We became friends around the B'way community and then lost contact for 30 years! God Bless Facebook. He seemed great! Married, two kids, although adopted, and still as dry and funny as ever. The NYC version of Ray Colcord. He's 62 now and has done music all his life. He's a one man band type performer and plays 250 gigs a year. Amazing. He was also pleased about Robin and the 26 years.

Speaking of Ray, Alex is in town who I used to buy with toys so he'd love me forever. Maddy Rottman didn't want Janice's job because of the money but maybe Alex will take it. That would be great.

But more about me. Fifty bars of the opening are done. Amazing!

Diary: Weird Dreams

I dreamed I was in a meeting and a hamburger like growth was growing on my chest. I was worried but I was easily able to pick it off. Fist the bun, the meat, then the bun.

I dreamed Liza was performing a new Latin act at some nightclub around the corner, but didn't go on by the time the club closed in the morning. And Christina was singing background.

I dreamed that David Geffen told me to come to LA for a meeting. I did. We had lunch. Then I went to Shirley MacClaine's house who actually was Michelle Lee. And then went back to NYC.

Weired and screwed up. Sad.

Diary: Sketchy

Just finished the Shield. I love that series way too much!

Had I weird weekend with the Holy Family at Woodloch Pines. I was so incredibly tired I slept 12 hours a day. That can't be good. I don't think it was depression. But it might be my heart so I finally made an appointment with the Cardiologist today. To fix my broken heart.

When I came back from Pennsylvania, I finished the John Miller article which I posted. I had fun writing that and re-arranging the interview. Good thing that didn't go out live because the best stuff was the middle and the end. He seemed happy with it today. Let's see what his PR people do with it.

I loved taping it on my treo. So easy!

And as for today:

I wrote. Wow.

I don't want to go into details, but I started the Opera and the first aria. I know how the Opera will start (with an aria for H) and how it will close (with an aria for H.) Both are texts that are written so now I'm setting them. And I have tons of music to pull from for the ENTIRE OPERA!

I played it for Robin and he loved it. Whew. But I knew it was good. And dramatic.
I wonder whom I can get to sing a little piano demo. If I can play it???!

I'll probably make that demo and send it to Poutney.

I also did 25 minutes on the bike today. Interesting that I can do cardio but I can't walk 9 blocks.

Janice, Myles, Zach, Avion and Mommy came over for dinner. Myles and I had a good time. And I made him eat at the table.

This entry is a little sketchy.

DIARY

Had a great reunion dinner with Greg Jbara last night. He told me that his webmaster called him and said she knew he was having dinner with me. He said my Blog goes to google and it came up as google news on his google alert. Wow! Better be careful what I say.

We met on the train and went downtown but couldn't get into the place he wanted to try. So we continued walking through little Italy but nothing struck our fancy. But we kept chatting the whole time. He told me all about Billy Eliiott which sounds exciting for him! Clearly an amazing part and I'm thrilled he's in it! And of course, Stephen Daldry is amazing! Machinal! Wow. We ended up eating at the Chelsea Cookbook. So good.

He was incredibly supportive about DR. T. Feels it's on the right track artistically, which of course, I know it is. Always loved the piece. Not surprised it finally may get on. I told him all about Brian's death. Which is a whole separate article unto itself. But again, he was so supportive.

Today I sent off the libretto to London. And started on the Milton song. I get the first bit which will represent God's expulsion. I couldn't quite figure out the time signatures. Even with finale playing it back to me. But i'm close enough for now. (There's a missing 16 note somewhere!)

Then I had a very nice meeting with the animation company that Peter Schneider set me up with for the Bunny. They were very positive about the piece and seems like they want to move forward. So off to the rights issue. We decided that they'll send me a package describing who they are and I'll forward it all to Harper's. Let's hope.

Tonight is Hamlet which I'm excited about.

Ray Colcord called and told me Alex is coming to NYC to look for a job and work and live. I'll try and help. He said he would help with some Grammy voters. So everyone wins. I plan to be VERY aggressive with my campaign.

A little ps to the convention: no one mentioned the Clinton/Biden face work. I guess I've spent too much time in Bev Hills cause I'll could see were their face lift scars. Good work, but work nonetheless. I wonder who did it? Harry Glassman?

Diary: Milton

Billy came over today and started re-plastering and painting the second bathroom. Now THAT'S an entry.

I did some block time with Myles and helped Janice with some decorating and feeding.

Meeting with the animation company (http://auryn.com/index.php) was pushed back to tomorrow. Fine.

I finished TEETH today, which I think is very good. And I'll start another very soon. Probably something weighty for a change of pace. Probably:
The Expulsion from Eden

In either hand the hast`ning angel caught
Our ling`ring parents, and to th` eastern gate
Led them direct, and down the cliff as fast
To the subjected plain: then dissapeared.
They looking back, all th` eastern side beheld
Of Paradise, so late their happy seat,
Waved over by that flaming brand, the gate
With dreadful faces thronged and firey arms:
Some natural tears they dropped, but wiped them soon;
The world was all before them, where to choose
Their place of rest, and Providence their guide:
They hand in hand with wand`ring steps and slow,
Through Eden took their solitary way.
John Milton (1608 - 74)

I also finished printing out ALL FOUR COPIES of the MOZART LIBRETTOS! The printing and proofing was almost as hard as the writing but not nearly as fun. Although I must say even though I moan about it, I kinda like the arts and craft projects. I guess I should learn a bit of photoshop so I can do it without the cut and pasting. I'll ask Brett for some more barter time! (Unless he's reading this, then he can tell me directly if he's up for it.)

Tomorrow I'll do a double proof of the page numbering and then send it off to London for the binding.

Hamlet got a rave in the Times today so I'll go see it tomorrow. Can't argue with raves in the Times, huh?

Saw the Convention last night. Great speech by Clinton, great catch phrases. And I couldn't really tell what the music was. It sounded sort of like records, but then there were instrumental breaks that weren't on the tracks. Turns out it was about a 10 piece local band. Terrific. Great sound. And even Wolf B mentioned them. I wouldn't have done it as well. So I guess they made the right choice. Let's hope there's still a chance for me getting the inauguration. And if not, I did the last 4. A pretty good run.

Off to dinner with Greg Jbara tonight.

DIARY: John Miller

Had a nice lunch with John Miller today. I'm going to write an interview with him about his new album of B'way tunes. I loved this album and enjoyed hearing the stories. (All taped on my Treo.) I'll write up the interview by the weekend and send it out. I can definitely get it posted on Broadwayworld. com. Let's see if John's pr people will send it out somewhere else.

Went to the gym today. First time in months and months. I believe this is probably the longest I've gone without going to the gym in 25 years of going! I wonder if that's because because I was so busy during the Carneige/Norman time? And I'm sure the post Norman depression contributed. But I went today and did a half hour on the bike proofing the LIBRETTO lyrics.

I finished the proofing and am almost done printing. I will ship the manuscripts to London by the weekend I'm sure. I'm so proud of this work.

Tomorrow is the phone call from Peter Schneider's friends. Looking forward to that.

I didn't finish TEETH but I will tomorrow.

Just finished watching the convention. Boy was Clinton great. So was Biden and Beau Biden, his son.

Diary: Interesting things?

A couple of interesting things happened. Nothing major, but maybe a couple of little things could coalesce and turn into something good.

First good news: I finished HE WISHES FOR HIS CLOTHES OF HEAVEN. I've been wanting to write that for a while. Maybe years. And finally did. It will be a song in the Cycle called SONGS FROM THE UNDERGROUND. It's based on the Book, and of course the poems, that were displayed in the London Underground while I was there. Glenn inspired me to sit back down and work. Or maybe it was just time. I even started a new one today. It will be a light, airy thing. And it's almost done!


Teeth

English Teeth, English Teeth!
Shining in the sun
A part of British heritage
Aye, each and every one.

English Teeth, Happy Teeth!
Always having fun
Clamping down on bits of fish
And sausages half done.

English Teeth! HEROES' Teeth!
Hear them click! and clack!
Let's sing a song of praise to them -
Three Cheers for the Brown Grey and Black.

Other stuff: I was able to get to Tomy dePaolo about a book of his that I think can be an opera for kids. I've tried, again for years, without any luck. But Leonard Marcus, who wrote the bio of Margaret WB knew the women who wrote the bio of TP and she contacted him for me and within minutes I got a call from his assistant. He asked to see the DVD of the Bunny, so I explained what it was, and sent it along. At least if I get turned down, I will have gotten turned down by the author. There may be a rights issue (I think the GMC did a piece on it) but it shouldn't hurt the Grand Rights. We'll see. Just the contact it good for me.

And being able to focus on writing something even in the future is a step out of bed.

Diary

Interesting day. The interview went well with St. Louis. Hopefully someone from the symphony heard it. The DJ went on and on about the piece so that was nice.

I don't know if Glenn inspired me, or if hearing and playing through my serious music did the trick, or maybe it was just time, but I started writing, I started setting one of my favorite poems and got a lot done. Here's the poem. Pretty obvious why I like it so much:

Had I the heavens' embroidered cloths,
Enwrought with golden and silver light,
The blue and the dim and the dark cloths
Of night and light and the half-light,
I would spread the cloths under your feet:
But I, being poor, have only my dreams;
I have spread my dreams under your feet;
Tread softly because you tread upon my dreams.

And then an idea I had for a opera sort of focused in. I actually feel I'd have the strength to write it. I called Maria and she was interested. So who knows. It would be a public domain rights property although there is some research I can do through books. So I ordered something on Amazon to have a look.

Diary: Glenn Seven Allen

Met an AMAZING singer a few weeks ago, Glenn Seven Allen. Two "n's"! He was in a show at the fringe and really knocked me out. I met him at the party and told him about my Mozart translations. He was obviously a classically trained guy so he responded. He came over yesterday, and man, what a singer. He asked if I had some concert pieces for Tenor. I almost forgot about my Shakespeare song cycle I wrote in London. The plan was a song from all 38 of the plays to be divided up between Tenor, Baritone, Soprano, Duets. I finished the first 10 for tenor. I played through a couple of them before Glenn came over, and I had forgotten how good they were. I wrote them during my Britten phase but they still sound like me. And then I played through Michael's Letter to Mama. Also pleased with that. So, despite the depression, at least there's a body of work. And wouldn't it be nice to hear it performed. Ah well, (See the piece on the Bunny down below.)

Anyway Glenn came over and we sang and sang. He's truly amazing. A great actor, great tenor, although he can also sing the Baritone stuff just fine. We read through some Mozart and it was the first time I had heard the Ottavio stuff. Great to hear it sung. We didn't really work on it, just sang through it. I'll probably make some adjustments if it gets performed, but it sure works great in English.

And then we did two Shakespeare songs. He seemed to really like them. Lee Hoiby did a setting of The Tempest bit and he liked mine better. Yeah for me.

We talked about maybe doing a concert version of the cycle. Maybe adding a woman for a duet or two. Maybe a star...Or Broadway star...whatever that means. Stars are good, of course.

Maybe we'll do a three parter: Mozart, Roven, and Maupin. That would be great. Maybe if Dr. T happens I can record my Classical Album!

Now, I'm about to call the radio station in St. Louis to do an interview.

Diary: Mostly Mozart

Went to MM last night to see the Emerson Quartet. I was amazed that it looked virtually sold out! Wow! Maybe it was the program (Trout, Hunt). Or just the fame of the Quartet? I tend to think the former because the audience applauded after the first movement of the Hunt. A definite no-no in NYC although I actually like it when they do. Looked like Drucker did as well. (And standard concert going procedure in cities around the world.) However, the audience DIDN'T applaud in the second act after the first movement of the Trout. Don't know why! Maybe those vicious ushers got to them.

Really old audience though. :(

Great exhibit out in the lobby. Mahler's conducting score of his first symphony. Fun to flip through it. Mahler made notes on it just like the rest of us poor slobs.

Loved the concert. Great playing, of course. Duh?! I sat on stage left. Heard the Viola part and Bass part louder than I ever had and that was lovely. Although the hall stinks wherever you sit.

ALVIN COLT and PETER HOWARD

Peter Howard and Alvin Colt, two friends of mine, have now walked through that great stage door in the sky. I spent a lot of time with these artists—both titans in their fields: Peter, the consummate Broadway Musical Director/Dance Arranger whose credits include Chicago, Annie and 1776, and Alvin, the six foot five (or as he used to say, five foot 17) Costume Designer who designed the original Guys and Dolls, On the Town, and a hundreds others.

A Julliard graduate, Peter kept two nine- foot grands in his tiny Hell's Kitchen apartment so a guest had to nail himself against the wall in order to scrunch his way across the living room. He had prepared for a concert career (his last name was really Horowitz) but was seduced by the bright lights of Broadway. It was a good marriage, for although Peter could toss off a Chopin Etude (more about that later) at a Carnegie Hall level, he really came alive playing the rags, marches and syncopated rhythms of Broadway.

His career spanned decades. He was the rehearsal pianist for the original Broadway production of My Fair Lady and he alone was responsible for Rex Harrison's definitive vocal interpretations. According to him, anyway.

In Peter's accounting, the "Fair Lady" musical rehearsals were a disaster. Connoisseurs have learned from their study of the complete vocal score that Higgins' music has lovely, completely notated vocal lines. But Rex couldn't sing it at all. Peter loved to tell anyone who'd listen that after the entire creative team was at their respective wits end trying to get a tone-deaf Rex to develop pitch, it was Peter who said, "I have an idea." He took Rex into a small rehearsal room and said, "Don't sing it. Speak it. Like this…" And the rest is history. True or false? Does it matter?

Peter was also the assistant conductor of The Sound of Music and it was his job to put new cast members into the show. He would love to tell of a young, unknown wannabe named Barbra coming to his apartment for coaching sessions, begging to get an audition for Lisle. "But Barbrrraaa," Peter would say, "You look too Jewish for a Trapp girl." "Whaddya talking 'bout, " Barbra would plead. "I got thirty-six expressions. " Or something like that. Peter also swears that it was he who gave her "Who's Afraid of the Big Bad Wolf. " And why not? (Another friend of mine who was Rolf in the bus and truck of Sound of Music reminded me that Peter had a little poodle that he had trained to jump up on command and attack a person's genitals. But that's for a different website.)

One of my favorite stories about Peter is how he used to terrify his assistants. Eddie Strauss, another premiere Musical Director told me Peter hired him to be the rehearsal pianist for a new but ill-fated Broadway musical, Her First Roman. Eddie, an excellent pianist himself, said that one day, Peter, in a fit of inspiration, ran to the piano and, while playing Chopin's diabolically difficult Revolutionary Etude in his left hand, added the main love song of Her First Roman in his right. Eddie almost had a coronary. This was a Horowitz, clearly not a Howard.

When I first came on the scene, Peter asked me to assist him on Annie. (I was subsequently fired.) I also remember the day, early in rehearsals during a break, when Peter was taken with "inspiration" and again played the Etude in his left hand while playing "Tomorrow" in his right. [Although Peter added a bit of drama—and he loved the drama-- with his "inspiration", it was still no small feat.] I had a feeling this feat had been rehearsed. But the fact that he could pull that off even with practice was enough to make any rehearsal pianist weep.

Years later, I was proud to hire him to do the dance arrangements for my still-to-be-produced-but-it's-happening-next-season musical, The 5,000 Fingers of Doctor T, the story of a diabolical piano teacher who wants to dominate the world. Peter and I were in London, huddled around a beaten down upright, brainstorming about the music for Doctor T's first entrance. This time, it was I who had the inspiration. "Peter, " I said with a grin the Cheshire Cat would have envied, " Why don't you play Chopin's Revolutionary Etude and then…gee…I don't know if it's possible…, but maybe you can play Doctor T's theme in your right hand." Before I could get the words out of my mouth, Peter was off and running. It was brilliant of course. As brilliant as it always had been. Then he suddenly stopped, looked at me and I'm sure he thought, "Did I… did he?" I answered telepathically, "You did, you did." We never said another word about it.

It was much harder to get juicy stories out of Alvin. Maybe he was so tall, that stooping over to tell me stories, (I'm only 5'6 on a good day) was too hard on his back.

Happily, I did get my share: It seemed Frank Loesser wrote "Take Back Your Mink" after Guys and Dolls closed in Philadelphia to replace the original second act opening which wasn't working. Alvin told me how he had the lyrics in his hand on the train back to New York City and he designed the new Strip Tease costumes on the two-hour train ride so they could go right to the shop, ready for the first NY preview. (I think he might have also told me that it was he who suggested to Loesser that they do a strip in that spot, but I honestly can't remember that exactly. But it was possible.)

In addition to Guys and Dolls, Alvin and Michael Kidd did Lil' Abner together. Alvin told me that in the middle of rehearsal when all the clothes were already in production, he realized that even the Broadway version of the cartoon was a cartoon. So he told Kidd he had an idea. He ran to the costume shop and announced, "We're trimming everything, and I mean everything, in black piping!" "But that would be miles and miles of black piping. Where are we gonna find that?" asked the panicking wardrobe supervisor. "I don't know, " said Alvin, "But we will!" And they did. Because they were so late, Alvin was there at the shop helping with the sewing and, "sewing piping around each and every button." Consequently, each character looked like it was outlined in black ink---just like a cartoon.

I started working with Alvin in the early '80s. This was after his Broadway career had slowed way down. But no matter. Alvin had much more life in him and we did four or five major TV spectaculars a year, mostly for Alexander H. Cohn and Hildy Parks. (See my article on Hildy!)

One of my favorite experiences with him was on a huge three hour ABC special, Happy Birthday, Hollywood. There were probably a thousand costumes, with 80 alone just for Liza's opening, but I was particularly fond of a 15 minute tribute to the 50's MGM musicals we did starring Bernadette Peters and Treat Williams. I had concocted a Comden and Green-esque plot following Bernadette as a rags-to-riches movie star. This was one of the first times that I had conceived, written and arranged an entire "musical" for TV so I was anxious to be involved in every aspect.

The Day Before we were to leave for Los Angeles, I insisted Alvin come to my apartment and show me the costumes. Not that I needed to approve them or anything like that; I just wanted to see the designs. (I thought I'd outgrow that phase. But even today I get a great buzz when I see designers visualize what I have written.)

It was pouring that day, but Alvin, ever the trouper, and recognizing a fellow show-biz animal, slogged over to my house in the rain, his portfolio case jammed full of sketches for 200 hundred costumes. I remember him saying, "Jule Styne, Leonard Bernstein, Frank Loesser NEVER made me come over to their homes to see the costumes. And in the pouring rain!" I smiled. I knew he was enjoying it as much as I was.

Of course, the costumes were dazzling and I was in heaven. But then he said, "Glen, we have a problem here. Bernadette has no time to change from hers pre-movie star costume into this glamorous one." Ever the pro, I said, "But I gave you 30 seconds of music!" He laughed, "Kid, you gotta lot to learn." And he started to teach me exactly how quick changes were made and what they entailed and what I as the composer had to be aware of. What a lesson. And I've never made that mistake again. In anything I'm involved with, actors may not always have the best material, but they always have enough time to change. Because of Alvin.

The BUNNY Meets Me in Saint Louis (or GOING OUT OF MY HEAD)

KFUO-FM, Classic 99 and Jim Althoff will be playing (or “spinning” in DJ parlance) my new Violin Concerto this Saturday at 10:00 AM and I couldn’t be happier. These days, with all the trials and tribulations facing classical music, --dwindling and aging audiences, the record companies’ uncertain future,--many composers (meaning me) have learned to accept the sad reality that actual live performances of their compositions will be rarer than a C chord in a Schoenberg symphony. A major label release will be even more atypical. These days composers (meaning me, again) have come to expect most performances will take place in the concert all of their (my) mind.

Luckily, my new piece, THE RUNAWAY BUNNY, a Violin Concerto for Reader, Violin and Orchestra, has been an exception. It was recorded by SONY/BMG (a big deal), performed by the Royal Philharmonic Orchestra, (a bigger deal) and narrated by the divine Brooke Shields, (a mega-watt deal.) I even conducted it at Carnegie Hall in April, with Glenn Close as the narrator and the American Symphony Orchestra. Plus, it’s been played by over thirty classical stations all over the country, KFUO being the latest.

Why is this piece different than all the rest? I’m very proud of my score but I’m also very sober about what has opened the doors: three words, The Runaway Bunny.

As every four year old in American knows, Margaret Wise Brown’s book is one of the most popular children’s books of all time. It annually sells almost a million copies and has been known to bring grown men to tears. In fact, when Brooke recorded the piece, she said to me she couldn’t get through it without crying. DJ’s and the usually heartless, stone-cold concert promoters turn to mush when they remember the book and their curiosity is peaked. Open-sesame, I get a consideration.

Plus, it doesn’t hurt to have Brooke’s name attached. (And Glenn certainly helped the sales at Carnegie Hall.)

This is not to say that getting from my mind to KFUO was an easy road. It took me two years of negotiations with HarperCollins, the publisher of the book, to secure the rights. Not to mention the legal fees. Then, it took SONY/UK two years to actually record it and SONY/US another two years to release it. Contracts, funding, schedules, record executives coming and going, all contributed to this time delay, which actually in music-industry time, is light-speed. I wrote the piece when my nephew, Myles, was born. He’s almost five. Composing is the easiest part of the process. Certainly, the most fun. The rest is where it gets dicey!

Chris Craker, an English record producer and friend of mine didn’t know the book, but he responded to the music and, as a businessman, was attracted to the book sales. He owned a small record company, which was bought by a bigger company, which was bought by a bigger company, which was subsequently bought by an even bigger one. Finally, after all those big fish/little fish mergers and acquisitions, Chris ended up head of SONY/BMG Classical for the UK. And that’s when he was able to give the go ahead for the Royal Philharmonic. (A little side bar: When my composer friends heard that SONY was involved, the first thing they asked was, “How much are you paying them?” When I answered, “nothing,” they were as incredulous as I. Ah, the fiduciary fate of composers.)

Despite Chris’s exalted position, there was still no budget for an orchestra rehearsal. I had to hear the entire concerto in my head in NYC, e-mail the music to the Royal Phil in London, and then have the producer push the red button to record the piece for posterity. Even the greatest composers like/need to change certain things after hearing a piece played for the first time, but budgetary constraints denied me that luxury. I was, however, able to hear the score spit out by my computer program, so I had had a high-tech preview of the piece. Not perfect, but beggars and composers can’t be chooser and I was, at least, able to correct some wrong notes.

However, nothing really prepared me for the glorious sound of an orchestra, especially the Royal Phil playing my music. Live! Not in my head. In between takes, I frantically make some slight alterations, even though clock was ticking. And I did make further revisions for the Carnegie performance. By that time, I had heard the piece performed, counting the Royal Phil performance, once!

(A second side bar: Chris resigned one week after the CD was released in America. I dread to think what would have happened to the poor Bunny if he had resigned two weeks earlier.)

When the album came out, I did a phone interview with Canadian talk show host, Peter Anthony Holder. He talked about what the piece would be compared to (Peter and the Wolf, of course), the inspiration, (the book, of course), and how SONY came to record it, (see above.) Then, he played the main theme of the Concerto on the air. After that, he came back and asked me another question. I didn’t respond. Wondering if perhaps there were technical difficulties, he asked if I was there? I was unequivocally there, but as that was the first time I had heard the Concerto played on the radio, I was shell-shocked and honestly, tearing up. I couldn’t respond. It was a dream come true. Having the Bunny hop out of my head and reach all those people was more than I could bear.

So, people of St. Louis (and environs) enjoy the play on KFUO and Mr. Althoff’s interview. And if you want to buy a copy, I wouldn’t be upset!

Fanfare Review: Runaway Bunny

What follows may disqualify me as a reviewer of the above. First, I never grew up, and at age 62, I have no intention of doing so. Second, I still occasionally watch an episode Mr. Roger’s Neighborhood solely on the grounds that he likes me just the way I am—one of the most empowering benedictions ever bestowed upon a child of any age. As the father of two grown and quite accomplished daughters who were daily regaled during their formative years by the choicest examples of children’s lit that my late wife, a children’s librarian, could obtain, I am well acquainted with the texts that so eloquently inform this release. The Runaway Bunny is from Margaret Brown’s classic 1942 children’s book of the same title; Paddington Bear’s First Concert is based on Michael Bond’s series of children’s books about a marmalade eating bear “from Darkest Peru”; and Tubby the Tuba is the word-half of the 1941–1945 collaboration between author/actor Michael Tripp and composer George Kleinsinger, which over the years has been successfully disseminated via multiple recordings and film animations, and which has been cited by the Library of Congress in 2006 as a landmark in audio history.

The Runaway Bunny was originally conceived by composer Glen Roven as a piece for solo violin, singer, and orchestra—designed as a vehicle for Israeli violinist Ittai Shapira. In the course of the project’s development, Shapira suggested substituting a narrator for the singer. Given the results, it was an excellent choice that spotlights the powerful eloquence of the seemingly modestly unpoetic words. I found the music coupled with Brooke Shields’s narration deeply moving.

Most of the “audio product” aimed at children which has come across my desk over the years has been plagued by mawkishness, condescension, terminal cuteness—afflictions that most children I know find inherently repulsive. On that topic I recently had a conversation with my eldest daughter, who is currently continuing her anthropological studies of Central Asia on a Fulbright grant in Helsinki. I asked her if she, like me, ever felt embarrassed when adults spoke to us, when we were children, in baby talk. Her answer, “I felt more sorry and embarrassed for the adults than for myself.”

The texts on this release are self-recommending and are delivered by Brooke Shields and Stephen Fry as one ageless human being speaking to another, and in ways that uncannily convey the metaphorically richness of the words. The music is witty, urbane, often ironic, and as sophisticated as all children inherently are until our adult-controlled world succeeds in dumbing them down. The music to The Runaway Bunny proves to be a fine ad hoc violin concerto that highlights Ittai Shapira’s estimable skills.

One of this offering’s agendas is to introduce children to the joys and richness of the symphony orchestra. To put this into a larger perspective, this offering is, in its own way, on the exalted level of Prokofiev’s Peter and the Wolf , or Britten’s The Young Person’s Guide to the Orchestra.

The sound is up to the highest of current standards, and the performances by the Royal Philharmonic conducted by Barry Wordsworth show them in fine fettle, as have so many others by him that currently grace my library.

In searching for a way to close this piece, I was tempted to say something to the effect of “recommended to the child in all of us.” Instead I will take my leave by saying that it helps us to respect the child in all of us, especially that which resides in our children. William Zagorski

FANFARE REVIEW for RUNAWAY BUNNY

Barry Wordsworth: ROVEN, CHAPPELL, KLEINSINGER on SONY
Classical Reviews - Composers & Works
Written by William Zagorski
Saturday, 24 May 2008

ROVEN The Runaway Bunny. 1,3 CHAPPELL Paddington Bear's First Concert. 2 KLEINSINGER Tubby the Tuba 2 •Barry Wordsworth, cond; Brooke Shields (nar); 1 Stephen Fry (nar); 2 Ittai Shapira (vn); 3 Royal PO • SONY 22855 (66:42)

The Runaway Bunny/Paddington Bear's First Concert/Tubby the Tuba
Audio CD
Sony Classics
Buy now from Amazon
What follows may disqualify me as a reviewer of the above. First, I never grew up, and at age 62, I have no intention of doing so. Second, I still occasionally watch an episodeMr. Roger's Neighborhood solely on the grounds that he likes me just the way I am—one of the most empowering benedictions ever bestowed upon a child of any age. As the father of two grown and quite accomplished daughters who were daily regaled during their formative years by the choicest examples of children's lit that my late wife, a children's librarian, could obtain, I am well acquainted with the texts that so eloquently inform this release. The Runaway Bunny is from Margaret Brown's classic 1942 children's book of the same title; Paddington Bear's First Concert is based on Michael Bond's series of children's books about a marmalade eating bear "from Darkest Peru"; and Tubby the Tuba is the word-half of the 1941–1945 collaboration between author/actor Michael Tripp and composer George Kleinsinger, which over the years has been successfully disseminated via multiple recordings and film animations, and which has been cited by the Library of Congress in 2006 as a landmark in audio history.

The Runaway Bunny was originally conceived by composer Glen Roven as a piece for solo violin, singer, and orchestra—designed as a vehicle for Israeli violinist Ittai Shapira. In the course of the project's development, Shapira suggested substituting a narrator for the singer. Given the results, it was an excellent choice that spotlights the powerful eloquence of the seemingly modestly unpoetic words. I found the music coupled with Brooke Shields's narration deeply moving.

Most of the "audio product" aimed at children which has come across my desk over the years has been plagued by mawkishness, condescension, terminal cuteness—afflictions that most children I know find inherently repulsive. On that topic I recently had a conversation with my eldest daughter, who is currently continuing her anthropological studies of Central Asia on a Fulbright grant in Helsinki. I asked her if she, like me, ever felt embarrassed when adults spoke to us, when we were children, in baby talk. Her answer, "I felt more sorry and embarrassed for the adults than for myself."

The texts on this release are self-recommending and are delivered by Brooke Shields and Stephen Fry as one ageless human being speaking to another, and in ways that uncannily convey the metaphorically richness of the words. The music is witty, urbane, often ironic, and as sophisticated as all children inherently are until our adult-controlled world succeeds in dumbing them down. The music to The Runaway Bunny proves to be a fine ad hoc violin concerto that highlights Ittai Shapira's estimable skills.

One of this offering's agendas is to introduce children to the joys and richness of the symphony orchestra. To put this into a larger perspective, this offering is, in its own way, on the exalted level of Prokofiev's Peter and the Wolf , or Britten's The Young Person's Guide to the Orchestra.

The sound is up to the highest of current standards, and the performances by the Royal Philharmonic conducted by Barry Wordsworth show them in fine fettle, as have so many others by him that currently grace my library.

In searching for a way to close this piece, I was tempted to say something to the effect of "recommended to the child in all of us." Instead I will take my leave by saying that it helps us to respect the child in all of us, especially that which resides in our children.William Zagorski

Creating The Bunny

Brooke Shields will star in the New York premiere concert of The Runaway Bunny, a concerto by Glen Roven, for reader, violin and orchestra at Carnegie Hall on Tuesday, April 29 at 7:30PM in the Stern Auditorium/Perelman Stage; conducted by Glen Roven. Tickets are on sale now at www.carnegiehall.org

Presented by Medical Development for Israel with the Ilona Feher Foundation, The Runaway Bunny will be featured as part of the Schneider Children's Medical Center of Israel Benefit Concert.

Taking the audience through the journeys of the wayward bunny, this special one-night only, star-studded concert introduces both children and adults alike to the beauty and power of classical music. Filling a much-needed gap in the symphonic repertoire for family audiences, The Runaway Bunny touches the hearts of anyone who has had a mother or is a mother. As an organization dedicated to improving the well-being of children, SCMCI is thrilled to be joining hands with fellow child advocates Brooke Shields and the ASO.

In 2006, Emmy award-winning composer Glen Roven collaborated with violin supernova Ittai Shapira to produce The Runaway Bunny recording with Brooke Shields and the Royal Philharmonic Orchestra in London. Since its UK release on the SONY/BMG label, millions of listeners have embraced it. Following its recent success across the pond, SONY/BMG is slated to release The Runaway Bunny/Paddington Bear's First Concert/Tubby The Tuba children's classics album in the United States April 8.

The program will include American Symphony Orchestra with conductor Glen Roven and Brooke Shields. Plus violinists Ittai Shapira, Shmuel Ashkenasi, Netanel Draiblate, Arnold Steinhardt, Hagai Shaham and Itamar Zorman.

As this is the World premiere of The Runaway Bunny, as it's Roven's Carnegie Hall conducting debut and as Brooke Shields is graciously appearing as the soloist, Roven discussed how he and Shields got to Carnegie Hall...

How did you get to Brooke Shields?

Actually, that was just about the easiest piece of the "collaborative" puzzle. We had the SONY/BMG deal in place, I had already recorded the orchestra with the Royal Philharmonic and we were looking to add the narrator. We had a list and Brooke's name was at the top. The whole thing with Tom Cruise had broken and Brooke seemed like the perfect mother figure. I had a friend who knew her and one Friday night he went to her dressing room; she was performing in Chicago. She was a huge fan of the book (as is almost everyone!) and twenty minutes later, he called and said she would love to do it. I was thrilled, of course. And just to make me even happier, her agent called that very night to make the deal. I've been in the business long enough to know no Hollywood agent EVER calls at 10PM on a Friday night to say his client was NOT going to do a project.

You mentioned 'almost' everyone loves the book. Who couldn't possibly love this book? Barbarians?

Shrinks! They think it's about a predatory Mother. Ridiculous!

Back to Brooke: What was it like recording with her?

A total pleasure, beginning to end. When she came to the studio she brought her beautiful daughter Ronan, and Ronan's grandmother. I actually didn't put two and two together until after the session when I realized that was Brooke's infamous mother, Terry! That was exciting in retrospect. It was a wonderful performance because Brooke knew the book so well. And obviously loved it. As did her daughter. When she started to record, her daughter screamed out to her mom, "That's my Bunny book!"

So her second baby wasn't born yet?

No. But she was pregnant. And on the EPK (Electronic Press Kit which I believe is on YouTube) you can see her holding the headphones to her belly and letting her unborn daughter hear the music. We were all in tears.

How did you come to write the piece? Did you grow-up with the book?

No. I actually was probably one of the only people in America who didn't know the book. Which explains a lot about me, unfortunately. I was watching the movie Wit one night in bed. When Emma Thompson is about to die, her first grade teacher comes to visit her and she reads her "The Runaway Bunny." I was immediately touched by the few verses read and ordered the book on Amazon. It came a few days later and I simply loved it.

How did the book become a violin concerto?

I was looking for a piece to write for a very well-known Violinist friend of mine, Ittai Shapira. We had recently started doing things together and I figured if I wrote him a piece, he might play it. I'm just another composer trying to get his music played. I figured I had an in.

What about the story suggested a concerto?

The book is extremely episodic. The Bunny wants to run away and become a trout, or a bird, or join a circus. I knew instantly that it could be musicalized. I would "make" the bunny swim, fly, walk the tightrope. And I knew the sound of a Violin would be the perfect soloist in a concerto. The perfect Bunny.

Did Ittai respond to the idea right away?

Oh, yes. But originally I thought about writing it for Violin, Orchestra and Singer. But Ittai suggested I do it for Narrator as it would be easier to find and rehearse a narrator as opposed to a singer. Our talent pool for the narrator would be larger.

What's your favorite part of the piece?

Hard question. I'll tell you the part I'm most proud of. It's the very opening motif. What we call the Hopping Motif. Ba dum, de dum. Ba dum, de dum. After Brooke says, "Once there was a little bunny," the violin plays those eight notes and everyone gets it immediately: that's the bunny. I think that's an amazing thing. That lateral connection. A little piece of wood with strings on it makes a sound of eight notes and it's immediately recognized as the bunny. I love that little kids as well as adults get that.

Is the piece for children?

Well certainly children will enjoy it, I hope. But I know the adults will find it enjoyable. Or at least I hope they will.

How did you get Sony to record the piece?

Actually that's the question all my composer friends ask. Happily, I didn't pay a thing! They wanted to do it. A friend of mine, who started out as a clarinet player in the London pit of Chess, Chris Craker, had his own small label at one time, and that label was bought out by a bigger label, and that label by a bigger one, and after a few years he ended up head of SONY Classical UK. So I went to him and he made it happen. Now he's head of SONY worldwide, so maybe I can get some other stuff recorded.

What was it like hearing it played for the first time?

What do you think? Thrilling, of course. Actually we recorded it on July 13, 2005, my birthday. In London. Sadly, we didn't have the money to rehearse it or even play it down before we went to the recording studio. So I had to hear everything in my head. And I was lucky. When I finally heard the orchestra, I had very few changes to make.

Did the Royal Philharmonic enjoy playing the piece?

Well, when they first saw the title, The Runaway Bunny, I think they figured, "Another boring CD for kids." But once they started playing it, I could see them all lean into their stands more and more. They realized they had to work a bit. It's a very challenging piece for an orchestra. As I guess the American Symphony – the orchestra performing at Carnegie – will find out as well.

You've never conducted the Carnegie orchestra… Are you looking forward to it?

Of course! I didn't conduct the album. Barry Wordsworth did and he really did a great job. So this is my first time conducting the piece, my Carnegie debut, and the first performance of the Concerto.

What are your hopes for the piece?

I'd like every orchestra in the country to play it, what do you think?! And I'd love it to become a ballet. Do you know anyone at NYC Ballet?

Ticket proceeds for The Runaway Bunny benefit the Schneider Children's Medical Center of Israel. The Benefit Concert featuring the World Premiere of The Runaway Bunny is Tuesday, April 29 at 7:30PM at Stern Auditorium at Carnegie Hall (57th St./7th Ave

General Tickets $50-$100. To buy tickets, call 212.247.7800, or visit www.carnegiehall.org. To purchase Gala Tickets, call Schneider Children's at 212.759.3370 or visit www.mdinyc.org

For more information visit www.runawaybunnymusic.com