MORE ABOUT SONGS OF THE POETS
WAS FIRST PERFORMED ON SEPTEMBER 23 AND 30, 2002, AT DANNY'S SKYLIGHT ROOM, 346 W. 46TH STREET, NYC.
PROGRAM: TEXTS BY SULLIVAN BALLOU, WILLIAM BLAKE, ROBERT BLY, EMILY DICKINSON, LAWRENCE FERLINGHETTI, THOMAS HARDY, EDNA ST. VINCENT MILLAY, WALT WHITMAN, AND WILLIAM CARLOS WILLIAMS, SET TO MUSIC BY DAVID FRIEDMAN, JOHN KANDER, GALT MACDERMOT, NORMAN MATHEWS, CHARLES STROUSE, RICHARD PEARSON THOMAS, AND ELLIOT WEISS.
SINGERS: KELLY ELLENWOOD AND PETER SAMUEL
BARBARA IRVINE, MUSICAL DIRECTOR/PIANIST
DIRECTED BY TOM O'HORGAN

SAID GEORGE PRESTON OF WNYC-FM:

    “What a thoroughly enjoyable evening.  Songs of the Poets reminds one that great musical theatre really happens in the absence of applaud able scenery.
    In an intimate space, on a small stage, with minimal lighting effects, two gifted singer/actors, Kelly Ellenwood and Peter Samuel, and their powerhouse music director, Barbara Irvine, took a rapt audience on a journey through wit, faith, loss, bitterness, love, laughter and life.
    Texts by Sullivan Ballou, Walt Whitman, Emily Dickinson, Thomas Hardy and William Carlos Williams, to name a few, have been masterfully set by such stalwarts of musical theatre as John Kander, Galt MacDermot, David Friedman and Charles Strouse, and the result is a vibrant program of art song, informed by the kind of commitment to communication not often achieved in the world of purely Classical music.
    The eclectic evening was subtly shaped and brought into a satisfying cohesion by Broadway veteran director, Tom O'Horgan.
    Some of the selections may be hard to classify, so why bother?  The well-taken point is to enjoy the rich fruit of the union of great words and music."
 
 

ABOUT THE OTHER SIDE OF BROADWAY . . .
 

        In the summer of 1994, I walked into the living room of Barry Tuckwell, world-renowned French-hornist and then conductor of the Maryland Symphony Orchestra, with the score to Charles Strouse's Concerto for Piano and Orchestra under my arm.  I was there to pitch my performance of it to him.  As I took a seat, I noticed the vocal selections from Strouse's musical Annie on the piano, and thought, “This bodes well.”  Tuckwell's step-daughter had performed in a local production of the show.  I also knew that the symphony board member who had helped me get the appointment with Maestro Tuckwell, had been the college roommate of Strouse's collaborator, lyricist Lee Adams.  All these connections were great, but the bottom line was that Tuckwell had to like the piece and he had to want to do it.  After I played highlights from sections of each movement, Tuckwell asked, “This would be a world premiere?”  When I answered in the affirmative, he replied, “Let's give it a go.”
        The idea for The Other Side of Broadway, a project dedicated to the performance and preservation of the classical  music of established and emerging theatre composers, was born in 1995 when I performed the world premiere of Charles Strouse's Concerto for Piano and Orchestra.  (photo: L. to R. - Charles Strouse, Barbara Irvine, Barry Tuckwell) [photo by Maryland Symphony Orchestra/James Hitchcock]  The Concerto had never been publicly performed, though Strouse wrote it when he was a 22-year-old student.  He had studied with Aaron Copland, David Diamond, and other eminent classical composers and pedagogues.  Strouse is not alone among theatre composers in his classical training.
        It seems that throughout recent history composers have been labeled as either ‘pop’ or ‘serious’ as a result of their first successful effort.  Many of these composers have outstanding abilities in both areas but are considered suspect by the purists when they dare to ‘cross over.’  It is everyone's loss when only one side of a composer's work is heard and appreciated.  As a crossover artist myself, I have a great respect for the  creators of both classical music and musical theatre.  Through my associations with many of the great Broadway composers I have learned of their ‘other sides’ and want to share them with the public.
        Though not without a struggle, the genius of composer/conductor Leonard Bernstein came to be appreciated by lovers of musical theatre and classical music alike.  His West Side Story maintains huge popularity to this day.  Harvey Schmidt, composer of The Fantasticks and I Do! I Do!, grew up hearing the classical piano lessons taught by his mother in Texas.  As a child, David Shire studied classical piano, and, while in high school, began studying theory and composition with his father. He majored in music and English at Yale and later gained theatrical recognition for his musicals Baby and Closer Than Ever.  Charles Strouse was told by Nadia Boulanger during his studies with her in Paris that he had a gift for lighter music.  He later chose dance arranging in the Adirondacks over going to the MacDowell Colony, and subsequently wrote Bye Bye Birdie and Applause.  Jay Alan Zimmerman,  the son of a Midwestern music theory professor, studied music, theatre and film in college and is completing a film of his musical, The Madness Channel.
        Each of these composers has written for theatre, for film and for dance, but each has his own distinctive musical voice. I feel that  their exciting and beautiful concert works deserve to be heard. In November of 1998, The Other Side of Broadway presented its inaugural concert in New York City.  On the program were works by Leonard Bernstein, David Shire, Charles Strouse, Harvey Schmidt, and newcomer, Jay Alan Zimmerman. (photo: L. to R. - Barbara Irvine, Jay Alan Zimmerman, Charles Strouse, David Shire, Harvey Schmidt) [photo by Keith Gemerek]
        Like the composers whose music I champion, I have had one foot in the classical world and one foot in the world of musical theatre during my entire career, working on productions as diverse as Die Fledermaus and  Jesus Christ Superstar.  I have won awards as a classical composer and as a music director for the theatre. I have given solo classical recitals in the United States and Europe, and  played for or music directed musical theatre productions on both continents.   Because of my writing and performing experience, I am conscientious about composers' intentions and remaining loyal to them, without compromising my own creativity as a performer.
        The Other Side of Broadway presents performances in an informance format, with the performer speaking briefly to the audience about  each piece  and its composer before playing it.  Our intention is to entertain and educate audiences about this little-known but worthy repertoire, thereby developing new audiences for both classical concerts and theatre productions.  A panel discussion with the composers and the performer(s), moderated  in New York by  Howard  Kissel of the New York Daily News,was a part of each of our New York concerts.  Our touring concerts close with the 'Broadway side' of one of the composers whose classical music was heard earlier in the evening.
        We also make recordings and videos to preserve this music so that current and future generations will have a better understanding of the culture of our time.  We are also pursuing the possibility of print publication of the previously unpublished works that are performed.  I have had a lifetime commitment to 20th-century composers and their music, and I truly believe our performances and recordings will provide a much needed bridge between two areas of music that need not be separated.
        The Other Side of Broadway is a unique project providing an outlet for established and emerging composers  alike to have their works heard by new audiences.  Our concert in November received very positive response from the press and the public in general.  In the post-concert discussion, moderator Howard Kissel said, "Let me start by saying this is the most refreshing concert that I have been to in a long, long time—to hear so much good music, all of which was so enjoyable, so stimulating—that is not something that we hear often.  So, my thanks to Barbara.  . . . I looked around and people were really listening; no one was fidgeting, no one appeared to be there out of a sense of duty.  This is the what a concert is supposed to be."  The composers were equally enthusiastic about the experience.  Charles Strouse said, “Anybody who gives composers of any stripe an ability to have their music heard is wonderful..”  “I could finally sit back and hear someone else play [my Sonata for Cocktail Piano],” remarked David Shire.   Harvey Schmidt said,  “It's made me think seriously about doing more.  . . . It was exciting.”
        Jay Alan Zimmerman said,  “Being a part of this concert not only raised awareness of my work in the public's eye, but gave me something I could never have anticipated: a new self-awareness about my career and the realization that perceptions of ‘Jay Alan Zimmerman, the composer’ were changing.  Thus I began the transformation from ‘emerging’ composer into ‘established’ composer.”  This is indeed what I intended when I decided not just to play works by composers of first-class productions.  One of the important purposes of The Other Side of Broadway is to showcase the talents of a lesser-known theatre composer who can, in this setting, ‘ride on the coattails’ of the established writers.
        The concert for 1999-2000, which was presented in February 2000, included pieces by David Amram, Rudolf Friml,Galt MacDermot, Charles Strouse, and emerging  composer, Timothy Brown. (photo: L. to R. - Timothy Brown, Galt MacDermot, Barbara Irvine, David Amram, Charles Strouse) [photo by Carol Rosegg]  Galt MacDermot, whose first loves were jazz and country-western music, was classically trained at the University of Cape Town, and went on to write the landmark musical, HAIR. David Amram was brought up listening to 18th- and 19th-century European classical music, was introduced to jazz and music of other cultures by his uncle, and grew up to become the first composer-in-residence with the New York Philharmonic, as well as composer of scores for films (The Manchurian Candidateand Splendor in the Grass) and scores for thirty-five of Joseph Papp's New York Shakespeare Festival productions.  Rudolf Friml, best known for his songs “Donkey Serenade” and “Indian Love Call,”  initially studied with Antonin Dvorak at the Prague Conservatory.  Residing permanently in the U.S. after 1906,  he wrote 33 operettas including Rose Marie and The Vagabond, composed music for the Ziegfeld Follies, and has written numerous piano pieces.   After studying music at North Texas State University and working as a teacher and choral conductor, emerging composer Timothy Brown moved to New York City and combined his love of music and theatre by writing Curious George for Theatreworks/USA.
        We gave our first college concert in October of 2000 at Wilson College in Chambersburg, Pennsylvania.  On the program were works from our previous two New York concerts.  Featuring the music of Charles Strouse, he appeared at the end of the concert singing songs from his musicals as he accompanied himself on the piano.
        In the Fall of 2001, we presented The Other Side of Broadway's Art Song Cabaret (see article).  Preparations are now being made for a second concert of art songs by theatre composers, which will be presented in New York City in the Spring of 2002.  The program will include settings of texts by well-known poets (such as William Blake, Thomas Hardy, Emily Dickinson, etc.) by composers John Kander (Cabaret,Chicago), Charles Strouse, Galt MacDermot, and new-generation composers David Friedman, Norman Mathews, Richard Pearson Thomas, and Elliot Weiss.
        Through my own research and conversations with colleagues and other experts, I am aware of enough repertoire to keep The Other Side of Broadway going for many years.  We have focused on solo piano works thus far, for obvious economic reasons, but have plans to expand into chamber music and, eventually, into  piano/orchestral  concerts.   The emphasis will  continue to be on living and recent composers.  I have presented music by composers whose work I know from working with them or working on their shows, but I would welcome suggestions from people I haven't contacted and from new and established theatre composers who would like to have their classical works heard.
        Currently, we are actively seeking bookings for our concerts throughout the United States, Canada, and Europe.  In this way we also hope to build audiences as ambassadors for Broadway and American classical music.  To quote David Amram,  “There are no walls between true music built to last—purity of intent, hard work, joyful participation, and clarity of execution are all that are important to create work of enduring value that is also entertaining.”

                                                                                                   — article by Barbara Irvine

Barbara Irvine is a New York-based music director/pianist who is Project Director/Pianist for The Other Side of Broadway.  You may reach The Other Side of Broadway  by phone at(646) 265-9004 or by e-mail at  theothersideofbroadway@rcn.com.

Other internet articles about us:
Playbill On-line
ASCAP Playback

*For information on booking The Other Side of Broadway for a solo piano concert, a solo and duo piano concert, or an art song cabaret, call (646) 265-9004 or e-mail us at theothersideofbroadway@rcn.com.  Include your phone number in the e-mail so that we may speak directly.  Sample program formats, fee schedules, concomitant workshop possibilities, etc., available upon request.  Be sure to ask about the possibility of one of the composers participating in the concert.  We look forward to hearing from you!

	THE OTHER SIDE OF BROADWAY OUR HISTORY IN REVIEWS
	"...where the classical music grows." — Paul Griffiths, New York Times                                                   Barbara Irvine                                         Pianist/Project Director                                                             (photo by Keith Gemerek)             For more information, call or e-mail us. (646) 265-9004 theothersideofbroadway@rcn.com     In the Fall of 1998, The Other Side of Broadway made its New York debut with a concert of solo piano music by Leonard Bernstein (WEST SIDE STORY), Harvey Schmidt (THE FASTASTICKS), David Shire (BABY), Charles Strouse and newcomer Jay Alan Zimmerman (LOVE BURNS).  A panel discussion with the composers and the pianist, moderated by Howard Kissel,  followed the performance.  "This is what a concert is supposed to be.     —Howard Kissel, New York Daily News "The whole experience was, in short, perfect. All I can say to...concert programmers and theatre managers is: Book The Other Side of Broadway for your theatre or concert hall today! Your audiences will thank you.    —Elliot J. Cohen, American Musical Theatre   In February of 2000, along with guest artist Bradford Gowen, Barbara Irvine presented a second piano concert, including works by David Amram (JB), newcomer Timothy Brown (CURIOUS GEORGE), Rudolf Friml (THE VAGABOND KING), Galt MacDermot (HAIR), and Charles Strouse. Another lively panel discussion followed the performance.           "Ms. Irvine, a deft and versatile performer who is classically trained but often works in      musical theater productions, gave every piece the appropriate tone.  . . . Musical surprises illuminate this side of Broadway."          —Michael J. Fressola, Staten Island Advance   In October of 2000 we presented our first college concert at Wilson College in Chambersburg, Pennsylvania. Barbara Irvine performed solo music by Charles Strouse, Harvey Schmidt, Leonard Bernstein, and Jay Alan Zimmerman. With Bradford Gowen she performed two-piano music by Galt MacDermot and Charles Strouse. To close the program, Charles Strouse delighted the audience by playing and singing songs from his musicals. ". . . a delightfully educational and entertaining concert for any Performing Arts Series.  . . . Barbara is a very warm and personable performer.  Not only was her program executed with excellence, but her . . . background information about the composers . . . made each piece come alive."                —Kathy Lehman, Director, Cultural Events & Conferences, Wilson College ". . . I would say it was one of the best concerts we have ever presented.   . . . All in all, it was a fascinating and totally enjoyable experience, which I would recommend without hesitation to any presenter."                          —Andrew Sussman, Wilson College Performing Arts Committee Member For reviews of our Fall 2001 Art Song Cabaret, please see article below.

     The Other Side of Broadway presented “The Other Side of Broadway’s Art Song Cabaret,” featuring thought provoking, funny, and moving art songs by composers best known for their theatre scores: Leonard Bernstein (West Side Story); John Kander (Cabaret, Chicago); Mary Rodgers (Once Upon a Mattress); Robert Waldman (The Robber Bridegroom); Jennifer Giering (Island of the Blue Dolphins); Howard Levitsky (Girls Are From Pluto, Boys Are From Uranus); David Wolfson (Story Salad); and Jay Alan Zimmerman (The Madness Channel).

     There were three performances of the same program, November 4, 11, and 18, at 7:00PM at the FireBird Cafe, 365 West 46th Street, New York City, as part of the ASCAP/FireBird Songwriters Series.  The program included selections from: Scenes From Parenthood (music by Howard Levitsky, text by Phyllis McGinley); Some of My Best Friends Are Children (music and lyrics by Mary Rodgers); I Hate Music! (music and lyrics by Leonard Bernstein); Cityscapes (music and lyrics by David Wolfson); Punctuated Thoughts (music and lyrics by Jay Alan Zimmerman); Love Among the I-Beams (music by Robert Waldman, lyrics by Alfred Uhry); These Long Last Days (music and lyrics by Jennifer Giering); and two Shakespeare texts set by John Kander and Robert Waldman.  Sarah Rice, the original Johanna in Sweeney Todd,and Edmound Fitzpatrick were the singers.  Barbara Irvine was the pianist and music director.  The performances were directed by Tom O’Horgan, the legendary director of the original Broadway production of HAIR.

In his November 10, 2001, Daily News column, Howard Kissel wrote,
    "Chanteuses may be in short supply but cabaret itself is very lively these days — including . . . shows that go down well in comfortable settings.
    . . . There is a great range of material in "The Other Side of Broadway," which will be presented the next two Sunday evenings at Firebird Cafe.
    Part of an ongoing project by pianist Barbara Irvine to perform the "serious" work of Broadway composers, this program includes songs by Leonard Bernstein, John Kander, Robert Waldman and Mary Rodgers.
    Some beguiling children's songs by Rodgers are being given their first public performance. Two haunting settings of Shakespeare by Kander and Waldman serve as encores, and there are some impressive song cycles by two newcomers, Jennifer Giering and Jay Alan Zimmerman.
    All are sung beautifully by Sarah Rice and Edmound Fitzpatrick, elegantly accompanied by Irvine."
 

    On November 9, 2001, we presented this same program to an audience of students, professors, and community people at Wittenberg University in Springfield, Ohio.  The Commons at the Benham-Pence Student Center was set up like a cabaret room for us, with tablecloth covered tables, votive candles, and a dessert buffet.  It was gratifying to get such a positive response to an evening of almost entirely new music.  Said Trudy Faber, Chair of the Department of Music, of the evening, ". . . a throughly satisfying program.  . . . Thank you for sharing these art songs of Broadway composers with us and for bringing this side of Broadway to Wittenberg for one delightful evening."