Winter 2004 - Linda Eder

Transcription

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Linda's fans consider themselves blessed for so many reasons. Her
incredible voice has given the fans countless hours of enjoyment in
concerts and on her CDs. Her accomplishments as an actress, first in
JEKYLL & HYDE and most recently in CAMILLE CLAUDEL, have
amazed and thrilled everyone. One of the greatest gifts Linda
continuously gives to her fans is her kindness. She truly cares about
her fans and has a connection with them that is rare in the
entertainment business. Linda has generously taken the time to give
us a glimpse into her life and career, and most especially, to tell the
fans about her experience playing the role of Camille Claudel, in an
interview with THE VOICE.
VOICE: We know you spent so much time immersing yourself in
Camille's life and art long before the world premiere in Chester,
Connecticut last summer. As you were preparing for the role of
Camille Claudel, did you have the opportunity to see any of her works
of art in person?
LINDA: I did not know of Camille when I was last in France, so I have never seen her works in
person. I plan to remedy that one day.
VOICE: Do you have a favorite work by Camille Claudel?
LINDA: My favorite Camille works are CLOTHO and THE LITTLE CHATELAINE… reminds me of
Jake.
VOICE: What was your favorite thing you learned about Camille Claudel and how did you use what
you learned to play her character on stage?
LINDA: That she had a sense of humor… a sarcastic sense of humor… love that!
VOICE: That sarcastic sense of humor was evident in your voice and facial expressions every time
you mentioned the name “Rose” during the show.
LINDA: (laughs)
VOICE: Opening Night was an experience every person who was there will never forget. What
were you thinking when you walked into The Norma Terris Theatre that night and saw all the
flowers you had received?
LINDA: I thought they surely dressed up the lobby of the theatre. Thank you everyone!!!
VOICE: What is your favorite song from CAMILLE CLAUDEL? With such a wonderful score, is it
even possible to pick one?
LINDA: I'll actually pick two… “Gold” and “What's Wrong With Wanting More”… love that one.
VOICE: Was there any song that was more vocally challenging than
the others?
LINDA: For me the vocal challenge is just belting out the score eight
times a week.
VOICE: Your female fans want to know what it was like kissing
Michael Nouri.
LINDA: Great! He's an old pro!
VOICE: Your relationship with your on-stage father, Milo O'Shea, was
so touching and sincere. Did he in any way remind you of your own
father?
LINDA: He has dignity and that reminded me of my father. I loved Milo.
VOICE: How challenging did you find it having to adapt to numerous changes in the script, musical
numbers and staging?
LINDA: I'm a fairly quick study so I didn't mind it. I was all for anything that made the show better.
VOICE: Your performance was so stirring that it moved many audience members to tears on a
nightly basis. How hard was it for you to keep your own emotions in character, given the strong
reaction from the crowd?
LINDA: I don't think I kept them in order. I was just out there and raw.
It was emotionally draining but also therapeutic.
VOICE: Do you think it's good to start off a show in a small theatre
like The Norma Terris before going to Broadway?
LINDA: Yes, the more times you can work on something in front of an
audience the better. It's the only honest feedback you get.
VOICE: Were you surprised by the fans' reaction to “the sketch?”
LINDA: Yes, and I was glad the money was going to a good cause. I
wish I could have sat there longer. Milo has a wonderful face to draw.
VOICE: Now that the developmental run of CAMILLE CLAUDEL is
finished, what can the fans expect in the future?
LINDA: I have no idea. It is not in my hands. We have done our work and now it is in the hands of
the producers who own the option on the show. We
know what creative changes we want to make, but
basically the show is in great shape.
VOICE: Is there anything you can share about your
next album?
LINDA: Atlantic Records is now under new ownership
and we are all waiting to see what the fallout will be.
The album is on the books for 2004, but there are no
sure things in the record business anymore.
VOICE: We know that Jake is growing up and is into a new phase in his life… school. How is he
enjoying it?
LINDA: He LOVES it! Every day he brings home something new in his hands or in his head. It's a
wonderful school, small with lovely ladies who are really great with the kids.
VOICE: What are you most looking forward to in the new year?
LINDA: I want CAMILLE to happen. That's the most important thing to me creatively. Privately I
want to spend as much time as possible at home and with my family.
VOICE: That sounds wonderful! Is there anything else you'd like to share with your fans?
LINDA: I want to again thank everyone on THE VOICE staff who works so hard to create this site.
You do a great job and I am very grateful. Also I want to thank the fans for their endless support.
As I mentioned on the message board about a month ago, flu season and all the scary reports
have gotten me a bit wigged out, so to take extra precautions for Jake's sake and to avoid missing
any concerts, I will not be at stage doors for the next few months. Everyone I know is getting ill. So
be careful everyone and please understand why I am not there to meet you. I will miss you for
awhile.
VOICE: That is very understandable. Thank you for taking the time to do this interview. Best
wishes for a great 2004!
The Summer of CAMILLE CLAUDEL has come
and gone and Linda's fans are looking forward to
its next step, hoping that will be Broadway.
Whether you were fortunate enough to attend a
performance of CAMILLE at The Norma Terris
Theatre or enjoyed the musical vicariously by
reading about it on the Internet, everyone looks
back fondly on the very successful world premiere
of CAMILLE CLAUDEL.
From left to right THE VOICE EDERTORS:
Amanda Christensen, Charlene Hyman, Nan Knighton,
Ellen Jacobs, and Lori Phelan. Missing: Webmaster, Jack Hyman
The Editorial Staff of THE VOICE has dedicated
much of the Winter 2004 issue to this production.
We know that all of Linda's fans are anxious to
hear about CAMILLE CLAUDEL at The Norma
Terris Theatre through Linda's eyes. She
graciously agreed to do an exclusive interview for
THE VOICE, which you will enjoy reading on the
homepage.
Opening Night , August 14, 2003, was made more
memorable because of the Blackout of 2003.
However, rather than putting a damper on the evening, the blackout caused Opening Night to be even more
exciting. Those who were in attendance that night will surely agree.
The world premiere of CAMILLE CLAUDEL turned out to be a huge success, receiving rave reviews throughout
its run in Chester , CT. In this edition of THE VOICE, we hope you will enjoy reading about some of the many
people who were responsible for this production, including the creative team (with a special interview with
Director Gabriel Barre), the cast and Goodspeed staff. Some of those who attended a performance of CAMILLE
CLAUDEL have shared their fan experiences.
In each edition of THE VOICE we like to feature some of the incredible people who lend their talents to Linda's
concerts, recordings and projects. In this edition, you will enjoy reading about three amazing men: the very
talented woodwind player David Mann, the amazing arranger Kim Scharnberg and the dedicated person who
sees that all of Linda's concerts come off without a hitch, Jeffery Osborne. Bring on the men!
It's quite remarkable to hear Linda introduce Jeremy as being her musical director for over 16 years. That seems
like such a long time! We were equally impressed to meet a fan who has known Linda even longer than that!
Joan Bruno has written a story of happening upon this lounge singer by the name of Linda Eder in Atlantic City
more than 19 years ago. Her story, Anything Can Happen , will give you a glimpse into Linda's career all those
years ago before she met Jeremy or Frank.
The fans have submitted some great photos of their Linda Eder themed license plates for the Winter 2004
Contest. We know you will enjoy seeing the pictures of the fans showing off their Eder devotion.
Once again, we'd like to thank all of those people who have contributed to this edition of THE VOICE.
To Linda- You never cease to amaze us! Just when we thought you couldn't possibly give any more to your fans,
you blew us all away with your portrayal of Camille this past summer. Thank you for being the unique, kind and
generous person that you are. We love you and we hope and pray that your biggest wish for 2004 comes true.
Our special thanks to those who contributed to the pages of this issue: Gabriel Barre, David Mann, Kim
Scharnberg, Jeffery Osborne, Frank Wildhorn, Nan Knighton, Jeremy Roberts, Michael Nouri, Matt Bogart,
Timothy Bish, Natalie Hill, Antonia Kitsopoulos, Tricia Paoluccio, Michael Price, Mary Miko, Hattie Guin-Kittner,
Lynn Gamerdinger and Joan Bruno.
For all of your behind the scenes help, big thanks to: Jill Siegel, Dave Hart of The Agency Group, Brian Feinstein
and Nick Cheng of Wildhorn Productions.
Finally, thanks again to you, the fans. We love bringing you THE VOICE with news of Linda and her team. You
can also keep updated on Linda’s activities by visiting www.ederfan.com . We hope to hear from you soon.
Happy Reading !
THE VOICE EDITORIAL STAFF
Amanda Christensen , Charlene Hyman, Ellen Jacobs, Lori Phelan, and Webmaster, Jack Hyman
Thursday, August 14, 2003… weeks of intense rehearsals,
rewrites and house preparations were complete. The cast of
CAMILLE CLAUDEL and the staff at The Norma Terris Theatre
were ready and all were filled with nervous anticipation and
excitement. Linda's fans had arrived from far and wide for the
eagerly anticipated premiere of CAMILLE CLAUDEL. The
stage was set… and then the lights went out!
Soon the reports began filtering in with news no one was
prepared for—power was out along much of the East Coast
and Mid-Atlantic region. What was the cast, crew and house staff to do?
The cast was faced with a unique and unexpected situation when they
arrived at the theatre. Thinking back on the events as they unfolded,
Linda Eder shared her thoughts on this evening. “Opening Night was
surreal because of the blackout and because of the limited amount of
rehearsal we had. In three and a half weeks we had not even gone
through the whole show without stopping until Opening Night. Because
we had no power for the first half, we had no sound, no lights, no air
conditioning and therefore not many costumes. We were all sliding off
one another. It was weird, but I will never forget it.”
“Even a major power outage couldn't stop the talents of Frank Wildhorn,
Nan Knighton, Linda Eder and Michael Nouri, as well as many other
actors and Goodspeed Musicals staffers,” said Mary Miko , House
Manager of The Norma Terris Theatre. “ Generally on Opening Night
everyone gets all decked out for the party after the show. I did notice that
some staff never changed. Due to the number of invitees, the party was
scheduled to be at an off-premise location. Since it was not equipped
with a generator, staff spent the entire First and Second Acts lugging all
the food back to The Norma Terris lobby. In the theatre, you have to
remain flexible!”
Lynn Gamerdinger, usherette
at the Norma Terris Theatre ,
shared her memories of the
evening. “I listen to the news
reports of the remarkable 2003
Blackout on television and I
thank goodness it didn't affect
my home as I prepare for
Opening Night with CAMILLE
CLAUDEL at The Norma Terris
Theatre,” she reminisced. “It is
late afternoon on Thursday,
August 14, 2003, and although
I don't need to be at the
theatre until 7:30 p.m., I leave early—somehow sensing that this
Opening Night will be busier than others.
I arrive at The Norma Terris quite early and am surprised to find
a great number of people there already. I quickly learn that the
power is out in the Chester area and that the theatre is running
on generators. Doors are open to produce some kind of airflow,
but I am surprised that the lobby and house aren't warmer than
they actually are—it is August in New England after all…
Our House Manager, Mary Miko, gives us direction on where to
begin our preparations for the evening and we get going. There
is a buzz in the air as staff are all over the theatre setting up
large fans in the house, dealing with lighting issues and just
preparing the overall logistics of another Opening Night. Even
with all the buzz, I am relaxed and excited—it will be a busy, fun
evening!
Matt Bogart and Frank Wildhorn
The house fills up fairly quickly and all are seated when our
Producer, Michael Price, makes an announcement. ‘There may not be lights on Broadway,' (I paraphrase) ‘but
Broadway has come to Chester tonight.' With that CAMILLE CLAUDEL began…”
The fans who traveled great distances breathed a collective sigh of relief upon hearing the wonderful news…
CAMILLE CLAUDEL would indeed open as expected… almost!
The cast and crew unanimously decided that there would be a performance even though there was no power.
There was minimal lighting provided by a generator, but no microphones or air conditioning, and was it hot!
Costumes were optional to ease the burden on the cast. Even though the
lack of power
inconvenienced the production, it was in some ways a blessing in disguise.
The blackout actually helped to relax the atmosphere and allowed Opening
Night jitters to melt away. Everyone from the cast and the crew, to the
Goodspeed staff was focused on giving the audience a night they would
never forget. The show went on and the energy of the cast lit up the stage.
And then, just before the end of Act I, to the delight of all, the air
conditioning kicked in… THE POWER WAS BACK! Act II was performed
with sound, lighting and air conditioning and at its conclusion, the audience
leapt to its feet. The opening of CAMILLE CLAUDEL was a rousing success!
Michael Nouri, Nan Knighton, and
Linda Eder
Following the performance, many fans (with tears still in their eyes) mingled
with the cast and crew in the lobby of The Norma Terris Theatre. It was a
night for musical theatre history books, and everyone who was there will
never forget the night the lights went out in Chester!
MUSIC… WORDS… MOVEMENT… the creative team combined their phenomenal talents to sculpt the musical,
CAMILLE CLAUDEL. Together, their unique artistry brought the story of this amazingly talented woman to the
stage and into the hearts of all who experienced the production. We caught up with some of the creative team to
learn about their reactions to being an integral part of this journey.
NAN KNIGHTON (Book and Lyrics)
“It's very difficult to single out one thing I loved most about working on CAMILLE in Chester/East Haddam. There
was almost nothing I didn't love, but to list a few things:
Falling in love with the show itself, especially as I saw the staging and choreographic work Gabe and Mark did
with the statues.
The coziness and beauty of everything about Goodspeed. The town is surrounded by water of every kind, you
can lie on the pier and watch the boats going by, and then you walk down the street and always see someone
you know. The people who work at Goodspeed are all warm and funny and smart and supportive – especially
Michael Price, Sue Frost and Hattie Guin-Kittner.
It's such a great thing to have a family form within a show. This happens, of course, with
every show, but because we were a small group, I think we became especially close.
We had wonderful times together and I still remember the fun of all of us going bowling
on my last night up there. I even got three strikes – amazing for somebody completely
uncoordinated.
There are just a few specific moments that I remember:
The night that ‘What's Never Been Done Before' was born. Linda suggested rightly that
‘Snow Falls' was in the wrong spot and that we needed a rousing song midway through
Act II instead. I knew she was right, Frank immediately wrote the music on the spot, put it on some old tape lying
around the rehearsal hall. Then, about eight of us had a lovely semi-drunken dinner, discussing what the song
should be about. The dinner took place on the terrace of La Vita Gustosa with candles on the table, and
afterwards I just walked across the street to my apartment, played the tape and wrote the song. It felt like it was
springing from sheer passion about CAMILLE.
Frank and Linda gave a party on our night off in late August. It was to celebrate Gabe's birthday, as well as two
other birthdays. We were outside the whole time, people bouncing back and forth between touch football, tennis,
swimming, and looking for Mars through the telescope. But Michael Nouri and Milo O'Shea and I just stuck
together on the deck, drank and talked and then started telling jokes. Actually, I didn't tell jokes because I don't
know any jokes. But Michael knew some great ones. And then, my God, Milo started telling a series of jokes in
his Irish brogue that were so hysterical, I thought that Michael and I would have to be carted away from the sheer
strain of laughing. I would never repeat Milo's jokes because it is the watching of and listening to Milo himself that
make these jokes so extraordinarily funny. Let it suffice to say that in one of the jokes, Milo had to become a
buffalo, and I am laughing right now just remembering it. After all the laughter, Michael got his guitar and we all
sang. There is a photograph of this moment on my website.
Obviously, opening night with its power outage was a remarkable moment, but I've written extensively about this
on my website, and the pictures I've posted there illustrate well that we all kept our sense of humor through the
whole thing.
In closing, I could list 200 great moments, but I'll spare you all.”
Nan Knighton received a Tony nomination for writing THE SCARLET PIMPERNEL (with music by Frank
Wildhorn). PIMPERNEL ran on Broadway for three seasons and can now be seen in productions all around the
world. She wrote the stage adaptation for SATURDAY NIGHT FEVER, which received a 1999 Olivier nomination
for Best Musical in London's West End, and ran on Broadway for two seasons. SNF is currently on tour both
internationally and in the U.S. As a lyricist, Ms. Knighton has also worked with composers Jonathan Larson
(RENT) and Howard Marren, with whom she has written two original musicals—SNAPSHOTS (first heard at the
Manhattan Theatre Club) and OPEN HOUSE. Ms. Knighton's songs have been performed in numerous venues,
including the 2002 Winter Olympics, NAN KNIGHTON AT EIGHTY-EIGHTS and STORYBOOK: THE SONGS
OF NAN KNIGHTON, a sold-out run at Sam's Dream Street Cabaret. She is currently working on a play, MAN
WITH TWO HEARTS FOUND ON MOON, which received its first reading at the Roundabout Theatre earlier this
year. Ms. Knighton is an alumna of Harvard University , Sarah Lawrence College and Boston University , and
holds B.A. and M.A. degrees. She is married to John Breglio and has two daughters, Eliza Mason and Nola
Breglio. www.nanknighton.com
FRANK WILDHORN (Music)
“What did I enjoy most about the run of CAMILLE CLAUDEL at The Norma Terris
Theatre? Watching my beautiful wife become the actress I always knew she had in
her to be, everyday. There were so many memorable moments throughout our days
there. We had Jake's birthday party backstage - he was running around with an
emphasis on heavy flirting with all the girls! And, of course, Linda's performance of
‘Gold' every night - that was a definite highlight.”
Frank Wildhorn's works span the worlds of popular, theatrical and classical music. In
1999, Mr. Wildhorn became the first American composer in 22 years to have three
shows running simultaneously on Broadway—JEKYLL & HYDE, THE SCARLET
PIMPERNEL and THE CIVIL WAR (for which he received two Tony nominations). He
also wrote additional songs for Julie Andrews in Broadway's VICTOR/VICTORIA. Mr.
Wildhorn composed and served as Musical Director for the Opening Ceremonies of
the 1998 Goodwill Games in NYC, and his songs have been featured in the Olympics, the Super Bowl, the World
Series and Presidential inaugurals. Artists who have recorded and performed Mr. Wildhorn's music include:
Whitney Houston (the international number one hit “Where Do Broken Hearts Go”), Natalie Cole, Kenny Rogers,
Sammy Davis, Jr., Liza Minnelli, Julie Andrews, Hootie & The Blowfish, Trisha Yearwood, Travis Tritt, Deana
Carter, Patti La Belle, Bebe Winans, Ben Vereen, Dr. John, The Moody Blues, Johnny Mathis, Anthony Warlow,
Colm Wilkinson, and Linda Eder—whose September release, “Storybook,” is written and co-produced by
Wildhorn. Mr. Wildhorn's new projects include: DRACULA, VIENNA , CYRANO, BONNIE & CLYDE, SCOTT &
ZELDA and ALICE . Mr. Wildhorn is an Associate at the Alley Theatre in Houston, Creative Director of Atlantic
Theatre, a division of Atlantic Records, husband of Linda Eder and father of Justin and Jake. www.frankwildhorn.
com .
JEREMY ROBERTS (Musical Director)
“I enjoyed working with our cast and production staff. We were taking on an enormous
challenge—a three-week rehearsal period and only two days of technical rehearsals for
a brand new musical. Our director, Gabe Barre, set the tone—we were one big happy
family. Everyone did their homework. Everyone gave 200%. Everyone brought
something more to the table. We were exhausted, but the professionalism,
commitment, and level of excellence from the entire company (including the Goodspeed
staff and crew) made it a pleasure to go to work. The blackout on opening night was
quite the event... But the show must go on, so we figured out how to rig some
emergency lights—the orchestra had no sound reinforcement—it was painfully warm in
the theatre without ventilation or AC—no costumes, lights, or sound. But we did it... And
it actually helped us as a company, as we had never run through the entire show
without stopping... So, without the technical issues such as costumes, lighting or sound,
we ‘simply' performed our show... In a way, it was a blessing.”
Jeremy's association with composer Frank Wildhorn began in 1988 when Frank recorded the original JEKYLL &
HYDE demo recordings in Jeremy's studio. Projects with "Team Wildhorn" include the Broadway and preBroadway stage productions of JEKYLL & HYDE, as well as SVENGALI, THE CIVIL WAR, DRACULA, and
CYRANO. He has been Linda Eder's Musical Director since 1987; he's arranged, conducted, produced and
played piano and/or keyboards on all her recordings and concerts, including her recent BRAVO Christmas
Special, PBS special and recent appearances with the Boston Pops, National Symphony Orchestra, and her sold
out shows at Carnegie Hall and the Gershwin Theatre on Broadway. Recordings: All 3 JEKYLL & HYDE
recordings (keyboards, electronic music realization, associate producer); THE SCARLET PIMPERNEL Concept
Recording—(orchestrations/conductor); THE SCARLET PIMPERNEL Original Broadway Cast Recording—(vocal
production/digital audio engineering); THE CIVIL WAR (keyboards and production/digital audio engineering); and
last but not least, all 8 Linda Eder solo albums: "Linda Eder," "And So Much More," "It's Time," "It's No Secret
Anymore" (musical director, keyboards and arrangements), “Christmas Stays The Same,” "Gold,” “Broadway, My
Way” (arrangement, orchestration, conductor, keyboards, associate producer), and the upcoming
“Storybook” (producer, arranger, keyboards). Jeremy's sound development company, SAMPLEHEADS ( www.
sampleheads.com ), creates award-winning sound libraries used by musicians worldwide.
***
Congratulations on a successful pre-Broadway run! We're all looking forward to the next step in the journey.
(NOTE: Bios as presented in the CAMILLE CLAUDEL Playbill from The Norma Terris Theatre, Summer 2003.)
The story of Camille Claudel's life is both a tragedy and a triumph. The talented actors in the cast of CAMILLE
CLAUDEL truly brought the story to life. The Editorial Staff of THE VOICE caught up with some of the cast
members to discover what being a part of the production meant to them.
LINDA EDER ( Camille Claudel)
“My favorite memory of the run of CAMILLE CLAUDEL is all of it. I loved
everything about that show and that cast. It was a special time that will most likely
never be recreated. I think the cast party we had at our house was the most fun
we all had together. No one wanted to go home.”
Broadway: JEKYLL & HYDE, Theatre World Award: Best Broadway Debut;
Drama Desk, Outer Critics Circle Award nomination. In concert: Linda Eder on
Broadway, The Gershwin Theatre. Solo Recordings: Atlantic Records“Broadway, My Way,” “It's Time,” “It's No Secret Anymore,” “Christmas Stays The
Same.” Angel Records- “And So Much More.” BMG Records- “Linda Eder,” “
Vienna .” Broadway Cast and Concept Albums: Atlantic Records- “Jekyll & Hyde:
The Cast Album,” “Jekyll & Hyde, The Complete Work,” “The Civil War,” “The
Civil War Nashville Sessions.” Angel Records- “The Scarlet Pimpernel” concept
album. BMG Records- “Jekyll & Hyde Highlights.” Next Album Release:
“Storybook” due in September. In 1980 Linda was the undefeated winner on “Star Search.” Today she performs
throughout the country as one of the nation's most successful touring artists, including three sold-out shows at
Carnegie Hall. Linda dedicates this performance to Camille Claudel.
MICHAEL NOURI (Auguste Rodin)
Michael Nouri has starred in a broad range of productions in movies, television and legitimate theatre including
such critically acclaimed roles as Julie Andrew's leading man in the hit Broadway musical VICTOR/VICTORIA;
Broadway's FORTY CARATS, opposite Julie Harris; the lead role of Lucky Luciano in the highly rated NBC
series “The Gangster Chronicles;” the leading man in the classic film “Flashdance;” and, recently, he completed a
seven-month national tour as the star of SOUTH PACIFIC. Late last year,
Nouri starred in “Stuey,” starring with Michael Imperioli (“The Sopranos”) who
limns the title role. Michael's film career includes his recent starring roles in
Lions Gate's “Lovely and Amazing;” starring as Joe DiMaiggio in Billy Crystal's
“61*;” and a starring role opposite Sean Connery in “Finding Forrester.” His
role in “Goodbye Columbus” was the first of more that fifty films to date, which
includes the cult favorite, “The Hidden,” for which Nouri won the Best Actor
award at the Avoriaz Film Festival in France. Nouri also received an Emmy
nomination for his performance on the daytime drama “Search For Tomorrow.”
Recently, Michael guest-starred in NBC's “Law & Order: Criminal Intent;” and
in two CBS series, “Touched By An Angel,” about the environment; and “The
District” about biological terrorism. He has also starred in movies and
miniseries. Nouri serves as an ambassador to the National Multiple Sclerosis
Society; is involved with the Seeds of Peace Organization; and supports the
ALS Society which is a charitable activity he became interested in while
starring in the television movie, “Quiet Victory: The Charlie Wedermeyer
Story,” in which he portrayed his friend Charlie Wedermeyer.
MATT BOGART (Paul Claudel)
“I enjoyed the great sense of camaraderie amongst the cast and creative
team. We all believed in the show and in each other. I also enjoyed our
Blackout Opening Night. It was a testament to our show, cast and creative
team that we were able to fill every seat and give an amazing performance
the night of the great Eastern Blackout sans electric, sans turntable, sans
costumes, sans microphones, sans everything. ‘Go with Passion' was
Frank's mantra he drilled into our dear little ears as we implemented
changes into the show while also hosting New York producers and visitors.
Frank, Linda, Nan and Gabriel are very passionate artists. Their good and
giving spirits infused us with the ‘Passion' needed to make this workshop
production a success.”
Matt Bogart is honored to return to The Norma Terris Theatre. He has appeared on Broadway as Sam Taylor in
Frank Wildhorn's THE CIVIL WAR, as Radames in Elton John and Time Rice's AIDA, as Chris in MISS SAIGON,
and as the White Guy in SMOKEY JOE'S CAFÉ, also filmed for television and available on home video and
DVD. Matt appeared in the Kennedy Center 's Sondheim celebration as Paul in COMPANY, reprising his role for
the 2002 Kennedy Center Honors. Regional Credits include Starbuck in 110 IN THE SHADE, and Terry in
SIDESHOW at Signature Theatre, Billy in CAROUSEL and Lancelot in CAMELOT at the Paper Mill Playhouse,
Curly in OKLAHOMA! and Tony in WEST SIDE STORY at Music Theatre of Wichita . Also in NYC, Matt was a
soloist in the Sondheim Celebration at Avery Fischer Hall and workshopped shows with Lincoln Center Theater,
Roundabout Theater Company, Manhattan Theatre Club, New York Theatre Workshop and The York Theatre.
He earned his BFA in Musical Theatre from the University of Cincinnati 's College-Conservatory of Music (CCM).
Matt's first solo musical theatre album, “Simple Songs,” is released on the Jay Records label and is available on
his website, www.MattBogart.com . Much love and thanks to his friends, family, and Jessica.
TIMOTHY W. BISH (Ensemble/Dance Captain- Gaspar/Waltzing Couple)
“I cannot say that I enjoyed one thing more than the other. CAMILLE CLAUDEL was one of the most fun
experiences I have had and I was happy to be there. I think if I had to pick one thing
that I enjoyed the most, I would have to say that it was the entire cast. I felt that we
really created a great energy on stage and I had a connection with each person
while on stage. A touching moment that I will not forget was when we did our first
run through and had the opportunity to watch each other perform. There was such
a feeling of excitement and support for our fellow performers.”
Originally from Pittsburgh, Timothy began at the Larry Cervi School and the Civic
Light Opera. Upon graduating from NYU Tisch Dance with BFA, Timothy
transitioned into Mark Dendy Dance and Theater as a soloist. Timothy was also a
member of the Parsons Dance Company. Musical Theatre credits include: JESUS
CHRIST SUPERSTAR ( Swine Palace ), CAROUSEL (Paper Mill Playhouse),
SWING (National and Japanese Tours), SWING (Downtown Cabaret Theatre), and
most recently participated in the workshop of SWEET CHARITY.
NATALIE HILL (Ensemble- Louise/Celine/Madeline/Gossips)
“It was such a great time getting to know everybody! I felt like we were
at summer camp. All day, we'd work so hard rehearsing—and what a
thrill that was to get paid to play with Linda—then at night, we'd gather
at our house (the Narducci) and BBQ, play Mafia (Nan's favorite),
listen to the wonderfully talented Michael Nouri play guitar or make up
songs, and just share silly stories. Or, Frank and Linda would so
generously treat us to dinner at the Italian restaurant across the street
—they also had the entire cast come over to their house for a fantastic
BBQ to celebrate Jake, Gabe Barre and Antonia's birthdays. We
partied so hard and killed our bodies playing football, volleyball, tennis
and swimming—it was heaven. There were so many wonderful
moments that we all shared, but one of my favorite on stage memories
was when Michael and Linda put in ‘Isn't It Good?'—I think that's the name of the song?!—it was toward the end
of the run and Michael and Linda learned it that day… well, they put the lyrics in GIANT letters behind Jeremy's
head in the pit and they also put them in a newspaper they were ‘pretending' to read so they could remember the
lyrics. I can't remember who got the giggles first, but neither Michael nor Linda could hold it together. They both
stopped singing and stood there laughing their heads off… it was hysterical! The entire ensemble was standing
around them in a circle and we couldn't stop laughing either.”
Natalie happily returns to Goodspeed after appearing in BRIGADOON (2001). She recently created the role of
“Bernadette” in ROMEO AND BERNADETTE at the Paper Mill and Coconut Grove Playhouses. Other credits
include FOOTLOOSE (Rusty, National Tour), JOSEPH….DREAMCOAT with Liz Larsen (u/s and performed
Narrator, North Shore Music Theatre), WEST SIDE STORY (Anita, NYU's Frederick Loewe Theatre), LES
MISERABLES IN CONCERT (Eponine) and the reading of GO GO BEACH (Mindy). Originally from Utah , she
was delighted to sing the National Anthem at the 2002 Winter Olympic Torch Lighting Ceremony.
TRICIA PAOLUCCIO (Ensemble- Jessie/Sophie/Gossips)
“All I can say is that Linda is one of the most down to earth, honest, and humble women I have ever met. She
worked so hard during the rehearsals, in an incredibly challenging role, and I deeply admired her performance
and all she brought to Camille. She was always so aware of the rest of us in the cast and expressed her desire
for all of us to have more opportunities to shine in the show... a very generous gesture that is the opposite of how
most stars react! I just love Linda, and am glad to consider her my friend! My two
favorite memories of being in the show were when she came over to see my
sculpture (of Gabe!!!) during her song ‘Coming Home'... every performance I
continued to sculpt his face and it went thru many stages... she would sometimes
laugh at my ‘art' and sometimes I purposefully did something to my sculpture to get
a reaction from Linda... it was all in character of course! My other memory is of
sitting on the stage during ‘Gold.' There was not one performance when I didn't cry
or become deeply moved by her rendition. Sometimes I cried because of how I
relate to that song, and what Camille went through, or how it reminds me of my
father or my husband... what it is like to strive to make a difference, or make art...
but sometimes I cried because of my absolute awe of Linda's instrument... her
voice. When the spotlight shone down on her as she faced downstage, I felt it was
like God shining His light thru her and her voice was not even hers. It's like a gift that
she's been given and all she has to do is stand there, open up her mouth and let it
out. It is that seemingly effortless power that she expresses, while maintaining such
a sweet modesty, that is what moves me so much about Linda... and it is the
combination of that, along with so many other qualities she possesses, that I think makes her Camille so
extraordinary.”
Broadway: THE GREEN BIRD; A VIEW FROM THE BRIDGE. Off-Broadway: Donna in DEBBIE DOES DALLAS;
Cressida in TROILUS AND CRESSIDA; NIGHT BLOOMING JASMINE. Regionally she has worked at the Long
Wharf Theater, the Shakespeare Theatres of Washington D.C. and New Jersey and the Ryman Auditorium in
Nashville, TN. Film/TV: “Just Another Story” (Showtime); “Squeeze Play;” “Non-Disclosure;” “Law & Order: SVU;”
“Guiding Light;” “All My Children” and “The Great Gatsby” (PBS).
ANTONIA L. KITSOPOULOS (Young Camille)
“While working on CAMILLE CLAUDEL I enjoyed the other actors, the orchestra and
the stagehands because they were all really nice. I also enjoyed being with my
parents because it made it easier for me. A touching moment for me was on opening
night when I ran up to Linda and we were both hugging and crying at the end of the
show.”
Antonia made her Broadway debut in November 2002 in Baz Luhrmann's production
of Puccini's LA BOHEME. She studies piano and oboe and loves to sing and put on
shows with her friends. Antonia is pleased to be making her Goodspeed debut and
to be working with Gabe, Linda and Frank.
***
Our thanks to the entire cast for so skillfully portraying the story of Camille Claudel. We hope to see many of you
reprising your roles on a Broadway stage!
(NOTE: Bios as presented in the CAMILLE CLAUDEL Playbill from The Norma Terris Theatre, Summer 2003.)
Milo O'Shea and Gabe Barre
Readers of THE VOICE were first introduced to the
amazing director, Gabriel Barre, in the Summer 2003
edition as he was preparing to take CAMILLE
CLAUDEL to the stage of The Norma Terris Theatre.
At that time, he shared with us his thoughts and ideas
as he was about to embark on this wonderful journey.
Those who were fortunate to attend one of the
performances last summer know full well the talent that
this man possesses and the magic he worked to bring
Camille and her work to life. He left audience after
audience in a state of awe and complete admiration.
Many fans had the chance to attend the talk back
sessions and to speak with Gabe after a performance.
He was always so generous with his time and very
eager to hear what people had to say so that he could
continuously improve the show. What he managed to
accomplish in the span of only a few weeks is a
testament to his talent and dedication to his work.
Gabe has been very busy with many projects since the closing of CAMILLE CLAUDEL in September, but he
found the time to answer a few questions about the run of the show in Chester last summer.
VOICE: You must be very pleased at the successful run of CAMILLE CLAUDEL last summer. Opening Night was
quite eventful in light of the blackout. Please share your thoughts and feelings on Opening Night.
GABE: It was very exciting, especially considering the blackout. We did the first act without lights, sound or
costumes. It went well and Linda and the rest of the cast did a great job. However, it didn't feel like I really got to
see the show and what we really had until the next night.
VOICE: The audience was so appreciative of what all of you went through to
perform the show that night under very difficult circumstances. Once opening
night was over, what was a typical day like for you during the run of CAMILLE
CLAUDEL?
GABE: Get up early. Compile notes from last night's performance and note
sessions afterwards. Prepare for rehearsal. Rehearse from 12:00 to 5:00,
refining and putting in changes. Dinner, often conferring with industry guests
about to see the show that night. Attend the performance and take notes. Go
out with the authors, producers and often Linda, to discuss the evening's
performance and continue discussions on what to change and when. Then start
all over again.
VOICE: That sounds very exhausting. Although you were working almost nonstop during the run, it was nice that your wife was able to be there with you as
one of the cast members of CAMILLE CLAUDEL. What was it like as a director
working with your wife, Tricia Paoluccio?
Gabe Barre
GABE: It was wonderful! We have been lucky enough to work together in that
capacity a few times and really love it. It also is one less time that we are
separated than we might have been. My wife is a gifted actress, singer and
dancer and is exceedingly creative, so purely as a director it is always a
pleasure to have her in a company. In general, we keep our relationship
focused on the work in rehearsal and if an outsider came into the room at any
given time, they would have no idea that we were married. It was also nice that
Tricia and Linda developed a nice friendship, since Frank and I often had to
work together after hours.
VOICE: What did you find most challenging during the rehearsals and the run?
GABE: The lack of quality time to explore the material more with the actors.
With only three weeks of rehearsals and with rewrites every day, you barely
have time to get the basic shape of things.
VOICE: The audience members seemed to have definite opinions as to what
they liked or wanted to see changed about the show. Did audience reaction
play an important role in any of the changes you made during the run?
Gabe Barre and Tricia Paoluccio
GABE: Yes, most definitely. As I mentioned, we talked about their reaction after
every performance and had a couple of “talk backs” with the audience directly.
VOICE: How did it make you feel to realize the emotional impact the show had on the audience?
GABE: Wonderful! Very gratifying but it's important not to be too misled by that. There can be flaws in the
material and still get that reaction. We let ourselves feel good for a couple of seconds and then go back to
digging in on making it even better.
VOICE: Your staging of “Gold” was pure genius. What led you to the decision to include the entire cast in the
final scene rather than have Linda alone on stage during this song?
GABE: It has always been our fear (Linda's especially) that the show would be regarded as a glorified
opportunity to see and hear Linda in concert. Obviously, a glorious experience
as you all know… but not what we were doing. We were telling a story. Linda
was playing and embodying Camille Claudel. A real person. We needed to
(and still may need to more) keep that last moment part of the play, the story,
the resolution.
VOICE: We wish you the best of luck as this musical moves forward in its
journey. What other projects are you currently developing while continuing to
work on CAMILLE CLAUDEL?
GABE: I am currently working on the second production of another new
musical called MEMPHIS, which we hope to bring to New York eventually. I am
also continuing to develop a new musical with Kander and Ebb and Joe Stein
based on Thornton Wilder's The Skin of Our Teeth as well as a number of
other projects.
VOICE: Thank you for taking the time to speak with us, and good luck with all
of your projects.
GABE: Thank you all for all of your support.
Close your eyes, sit back, relax and picture yourself in the midst of a beautiful, idyllic setting.
Imagine a quaint New England town nestled in the mountains near a picturesque river, interesting
shops, wonderful restaurants, babbling streams and waterfalls. Those who traveled to Chester,
Connecticut this summer to see CAMILLE CLAUDEL found themselves in such a pleasant setting.
At the center of this wonderful little town stands The Norma Terris Theatre, an amazing and
intimate venue where CAMILLE CLAUDEL had its world premiere. Once inside this little theatre in
the woods, fans who traveled from far and wide to experience this new Frank Wildhorn/Nan
Knighton musical found a staff of remarkable people awaiting their arrival. After weeks of
preparation, the staff was as excited as the fans. Each person who interacted at all with staff
members found them to be kind and willing to go out of their way to ensure that this theatrical
experience would be memorable for all.
Michael Price, Goodspeed's Executive Director, was so supportive of this production of CAMILLE
CLAUDEL. His enthusiasm for the cast, creative team and crew was very evident as he spoke
prior to the opening night performance in the middle of the Blackout of 2003. In speaking about the
run of CAMILLE CLAUDEL at The Norma Terris, Michael said, “Everyone agrees that the world
premiere was a huge success. With every ticket sold and lines at the Box Office, Wildhorn and
Knighton were able to put their musical on the stage in front of a live
audience with sets, costumes, lighting and sound. Goodspeed
received another opportunity to work on a high profile project and
enhance their already exceptional capabilities. This is another
example of what Goodspeed does.”
Hattie Guin-Kittner , Goodspeed's General Manager, was equally
enthusiastic. “Every night felt like a special event! The thing about
the run that I loved the most was the teamwork, all of us together,
smiling, laughing, and seeing the audience share in the excitement,”
she said.
Many fans had the pleasure of meeting a truly extraordinary woman,
Mary Miko , House Manager of The Norma Terris Theatre. Mary was
there for each and every
Left to Right: Hattie Guin-Kittner,
General Manager, Mary Miko,
House Manager, and Liz Cripps,
Asst. Box Office Manager
performance to
ensure that
everything ran
smoothly. She was
so kind to Linda's fans, even making it possible
for audience members to bid on Linda's sketches
from each performance with the money going to
charity. Mary shared the following thought about
her experience during the run of CAMILLE
CLAUDEL. “Overall, I have to say how impressed
I was with Linda's loyalty to her fans. She never
said no, regardless of how tired she was.”
Linda Eder, Mary Miko and Frank Wildhorn
The kindness and warmth of the Goodspeed
management was also evident in the ushers and usherettes, both in the lobby as well as in the
theatre itself. One person who best exemplified this kindness was Lynn Gamerdinger . She was
always so helpful while selling souvenirs and saw to it that everyone was comfortable inside the
theatre. Lynn was very honored to be part of this run of CAMILLE and wanted to share a few of her
favorite memories with Linda's fans.
Lynn commented on the fans and the now-famous sketch of Monsieur Claudel, “It is obvious why
Frank and Linda have so many fans; they are two of the most friendly and genuine people I've met
during my short time with Goodspeed. The surprise for me came in the form of Frank and Linda's
fans and their dedication to seeing Miss Linda perform no matter where. Fans traveled from as far
as California, Texas and even England to our little Goodspeed Theatre in Chester, CT. It was a
pleasure to meet and
serve them all. Who knew that Miss Linda's talent spilled over into drawing as well?! The fans just
ate up all her beautiful sketches of the delightful Milo
O'Shea. Being overwhelmed with requests for sketches,
Mary set up an auction for patrons / fans to bid on the
drawing. Every single one was the same, Milo O'Shea,
and yet each was remarkably different and not at all
difficult to sell. The money raised went to the Equity
Fights Aids charity and the fans were generous.”
According to Lynn, there was never a dull moment at the
souvenir stand. “It started innocently enough. Mary filled
the display cases with new CDs related to the performers
in CAMILLE CLAUDEL. Linda Eder's CDs stretched from
one end to the other on the top shelf and patrons came
over to view and admire them whether or not they owned
every single one of the them or none at all! They even
Lynn Gamerdinger and James Aucoin
liked to show off and tell us about her music / CDs. There
was, however, a little sleeper hit on the second shelf from
the man we all fell in deep like with, Mr. Matt Bogart. So we at the counter began to verbally
advertise this little gem and they began to sell… I'm not certain how many went that opening
weekend but on Sunday I bought my copies (one of each) and listened to them for a solid week
during my commute to work every day. I really enjoyed Matt's smooth voice and the ‘complex'
songs he chose for his ‘Simple Songs.' So, now that I had actually heard Matt perform (on stage
and in my car), I promoted his CDs all the more. Some evenings they sold like hotcakes and so we
slowly chipped away at our stockpile. The five-song CD sold out first. Then, during the last show's
intermission, a Broadway veteran who was enjoying the performance bought the final copy. James
and I gave a high-five that we did it—for Matt!” Lynn continued, “As I was driving home one
evening listening to Matt's ‘Simple Songs' CD, the final track ended and I waited for the first song
to begin again. Then there came the voice of a young boy singing ‘On top of
spaghetti…' to the tune of ‘On top of Old
Smokey…' It had to be Matt, I thought, or
some bizarre hoax from the record company.
So I asked him. Matt stood at one end of the
candy counter in The Norma Terris lobby
while Mary and I listened intently to his tale.
After his grandfather passed away, Matt
discovered cassette tapes in the glove
compartment of his car. As Matt began to
listen to them he realized it was his siblings
and himself on them and that his grandfather
had kept them for years. What a gem to have
and then share with the rest of us, Matt! I
Left to Right: Dick Cutbill, Salli Miller, Cormac Meehan, Katie
Gamelli, Mary Miko and Emma Burton
don't know about Mary but I don't remember
one thing that went on around us in the lobby
with all the people, chatter, flashbulbs, etc. while Matt told us his story. All I remember is one
modest, friendly, genuine man standing in front of us sharing a happy moment of his past. Thanks,
Matt.”
Goodspeed Opera House
The Editorial Staff of THE VOICE would like to thank each and every person at Goodspeed and
The Norma Terris Theatre for providing the perfect venue for a perfect musical!
Many fans traveled to Chester, CT last summer to attend the world premiere of CAMILLE
CLAUDEL. Several fans have graciously shared their experiences with THE VOICE. We hope you
will enjoy reliving the show through the eyes of these fans.
What could be more exciting than Opening Night of a brand new musical by Frank Wildhorn? How
about Opening Night with a major east coast power failure? Imagine…the plug is pulled and the
whole Wildhorn production comes grinding to a halt, just hours away from the debut of CAMILLE
CLAUDEL. This might be too much excitement for average people to overcome. But remember,
“There's no people like show people.” Everyone involved at The Norma Terris Theatre managed to
pull it together, thanks to a generator and extraordinary professionalism from the cast and crew.
We did not have to miss one moment of this beautifully crafted new musical. The stage is a place
for make-believe, and for a brief time, Camille, you were there with us in that theatre. Linda
brought your life to us and at least for a few hours that night, your voice was more than “just a
whisper.”
-Terry Krebs
Since I live just outside of Boston, I was fortunate enough to be able to attend three performances
of CAMILLE CLAUDEL this summer. My tickets were for opening weekend, the closing
performance, and one in the middle. While all three were terrific, they were all a little different,
naturally. I am a huge, longstanding Linda Eder fan and mostly went to hear her sing… although, I
also have been to countless Broadway musicals, and have been to the Rodin museum in Paris .
So, all in all, a musical starring Linda Eder in the role of Camille Claudel was perfect entertainment
for me.
The early show had some stumbles, not surprisingly.
A few missed lines, forgotten phrases, actors looked
a little nervous, Linda Eder almost losing her
nightgown during “In His Arms”… that sort of thing.
Overall though, I thought it just lent to the charm. The
show was longer and included more music than the
later shows did and I really liked that. I can
appreciate there has to be a time limit…but in my
dream world, Linda Eder just goes on singing and
singing and singing. So, I didn't mind in the least. I
was completely impressed by the staging and
Debra Anderson and Linda Eder
props… inventive, creative, spartan yet appropriate,
versatile, convincing… brilliant, really. Michael Nouri was perfectly cast and pulled off Rodin very
well, I thought. Milo O'Shea was also terrific. Of course, I was watching hard to see if Ms. Eder
would be a convincing Claudel… and she was. I was most struck by three things…the magnificent
ballet/waltz sequence, using live actors as sculpture, and the actors showing Claudel's most
famous works at the end. This was a late Sunday performance and the crowd was an Eder
crowd… applauding loudly and frequently. Generally, I prepare for musicals before I go, becoming
completely familiar with the songs, so I can follow all the dialogue/lyric. While I absolutely loved the
music, I so wished there was a recording I might have had in advance. Yet, like hundreds of other
Eder/Wildhorn/Knighton fans, I am also patiently (well, sort of) waiting for the Original Broadway
Cast Recording.
The second performance was in the middle and also on a Sunday, but earlier in the day. The show
was shorter and more polished. I was alert for changes… afraid it would detract from the overall
performance, but I never got that impression. I missed Mrs. Claudel's song, but it didn't hugely
detract from the show. I enjoyed this performance in a different way. I was ready for the impressive
staging and looked forward to hearing the beautiful music for a second time. I wasn't disappointed.
However, this was also a typical “season ticket holder” crowd. Since the crowd was a very different
composition, they weren't as enthusiastic or responsive as they were for my first experience.
Chatter around me wasn't as gushing as the first time, although it was still pretty positive. It really
made me appreciate being in a crowd full of Linda Eder fans (where I usually am)… what an
amazing difference. There's an energy, even as an audience member, that you clearly feel or don't
feel. I expect the actors noticed the difference on stage, too. Man oh man, give me the energy of
an adoring crowd any day.
Okay, and now, the closing performance. Wow. I will always pat myself on the back for buying
these tickets. With all the hundreds of shows I have attended, this single performance will be in my
mind for a long, long time. Here's why. While the performance was definitely the most perfected
and smooth, there was something electric in the air from the beginning. As Linda Eder fans well
know, she wears her emotions outwardly… often shedding tears during especially moving songs…
and this show was no exception. At first, I thought I was imaging it… she seemed a little more
emotional than at the other performances… seemed like her voice cracked a few times. But I
passed it off… until the final number. When Ms. Eder began to sing “Gold,” she could barely
whisper the words. She was on the verge of tears, but the consummate performer that she is,
somehow managed to keep going. What first struck me was, as she made her way around the
stage to her different fellow actors, each one, in some small way, immediately tried to support her.
There was a smile (where one hadn't been in previous performances), holding her hands a bit
longer, a kiss on the hands, grasping her shoulders, or just steadily holding her glance. It was a
magical few moments where everyone else reached out to bolster Ms. Eder through those painful
passages. Then, about halfway through the song, she pulled herself together and BELTED out the
rest of “Gold.” Then, just when I thought I'd seen everything that could be packed into a single
song, came the part where little Camille runs over to big Camille. Linda Eder reached down and
stroked her cheek so sweetly and tenderly, and I thought the crowd would simply fall apart. I was
stunned. In the space of a four minute song, she went from weeping and being entirely dependent
on the cast for moral support… to lovingly extending a single gesture of support to a little girl
looking up at her. I dunno. Maybe I read too much into all that, but it's the sort of theatre moment
that will stick with me forever.
While I read the Linda Eder sites regularly, I rarely post. I also never wait after shows to meet her. I
love reading stories from others, but hesitate to do the same. However, I was so moved by this
final performance that I decided to wait and meet Ms. Eder. I got her autograph and told her this
was the third time I had come down from Boston to see the show… and that she blew the roof off
with this particular performance. She touched my shoulder, looked at me, and simply said, “It was
SO hard.” As if she needed to say that. Her triumph over all that emotion at the end said it all.
I've thought long and hard about what it is that makes Linda
Eder fans so passionate about her. Many are so devoted
that it frightens me sometimes. They follow her every move
and are hugely involved in her life. Some, I swear, would
defend her to the death. At times, I think it's odd. But then I
realize, at the root of it all, we're all essentially the same.
It's just a matter of degree, I guess. Something about Ms.
Eder fundamentally touches us all… whether it's her lack of
pretension, maternal/marital pride and devotion, beauty,
wrapping her voice around the music and lyric, availability,
vulnerability, passion, candor, versatility, friendliness…
maybe some of each… maybe all of some. The point is,
she manages to deeply touch her fans in a way that few
other performers even make an effort to do. It sets her
considerably apart from all the rest.
As a real aside, I am single and in the process of adopting
three little boys (brothers) from Ecuador any day now. It's
long been a dream of mine to be a mom. Taped to my
back door is a picture of the three boys with the following
two quotes. “All the secret dreams we have, don't ever
really die. They watch us from a distance, as we wave
goodbye. And now and then a backwards glance, reminds
us that there's still a chance. And so, we fill our sails and
travel on.” CAMILLE CLAUDEL provided me with the
second quote. “You have to live the life you're given and
never close your eyes. You hold on… and stare into the
sky… and burn against the cold. For any moment, you
might find the gold.” As I await the arrival of my little boys,
I'm also a little afraid of “Let Him Fly” increasingly turning
me into a blubbering fool. So as my days of freely traveling
around the New England/ New York area to see Linda
Eder are ending, my boys will SO grow up with the magic
of her music in their lives.
-Deb Anderson
Hi, Linda! I just wanted to tell you how much I enjoyed
Debra Anderson's Sons
CAMILLE CLAUDEL in Chester this past summer. I am
from Massachusetts and I drove down after work to see the play. I have been a long time fan of
your music but have never had an interest in theatre before. Your husband, Frank, and you
produce top-notch work, so I just had to see what the play was all about. It was fantastic! I could
have watched back-to-back performances. Your acting was so passionate and real. I was taken
aback. I have always heard through the years that Broadway actors and actresses were the best
and after seeing CAMILLE CLAUDEL, I can really understand this. Your singing of “Gold” brought
tears to my eyes as well as to the eyes of others around me, and I applaud your people for
producing this kind of work.
-Brian Gomes
I will begin my reaction to CAMILLE CLAUDEL with a brief story of my exposure to and ensuing
love of Linda Eder. My best friend, Jill, had stoked a fire which once burned brightly but had
diminished over the years. During the 1970's, I worked with people who enjoyed the Broadway
Theatre. We would save money weekly and travel as a group a few times a year to see a show
and have a nice evening out. Musicals were our favorite. As careers and lives moved forward, this
group slowly broke apart and other interests took over.
During the 1990's, Jill and I became close friends and Jill's love of Broadway and vintage music
began to infiltrate my life. Once again we traveled to Broadway and enjoyed some wonderful
shows. One day Jill told me of this artist named Linda Eder whom she had seen on a video named
“Broadway's Leading Ladies.” I saw the video and was also captivated by the voice of this
performer. Jill had an opportunity to see Linda perform in Sarasota, Florida and came home raving.
Subsequently, she was able to get tickets to a performance in New Haven, CT at the Shubert
Theatre. Experiencing that performance hooked me for good. As I write this, I have met Linda
several times and have been to nine venues. I am not sure whether I am more impressed with the
voice she was given or the gift of kindness and down to earth qualities she exhibits to her adoring
fans. In either case, this all led to hearing about and finally seeing Linda perform in CAMILLE
CLAUDEL.
Jill and I desperately wanted to see CAMILLE, but job issues and a busy summer schedule
prevented us from being able to commit until tickets were almost impossible to find. A fellow Linda
“addict,” who will forever affectionately be known as “Frank from Bedford,” posted on Linda's
website that he had (4) tickets available since personal commitments would prevent his attending
the next to final night's performance. Jill and I got two of them. I was thrilled to discover they were
front row tickets, but I had no idea what I was in for.
We arrived early in Chester and were enjoying the soundtrack from THE SCARLET PIMPERNEL
when who should walk by but Frank Wildhorn. Of course Jill, not being known for her shyness,
yells out, “Hey, Frank!” As he approached the car, Jill proudly announced we were listening to “his”
PIMPERNEL, to which he chuckled and took a few minutes to say hello. A fun start to the evening
for sure! The theatre was warm on this September evening so I waited outside while Jill proceeded
to get us something to drink. This resulted in a funny side story that I still get kidded about. I saw a
van pull up that included some dogs. I knew without asking that this must be the infamous Janet
and Rachel from the message board. Instead of being my usual smiling self, I guess I stood there
staring. Later on, when meeting Janet officially for the first time, she explained how she thought I
was some sort of security guard checking out arrivals. She has reminded me of that every time we
meet. I should improve my first impressions!
We finally got seated and I was stunned at just how close the front row
really was. For those who saw the show, there was a little point that juts
out just to the right of center stage, which is where we were seated. The
curtain rose, and there was Linda/Camille literally three feet away. The
play began with Camille singing “In the Stone.” Having only heard “The
Voice” in concerts with full amplification, I was overwhelmed with hearing
her “natural” voice.
I had accidentally discovered a week before the performance that one of
Linda Eder and Jeff Bankson the Movie Channels was broadcasting the 1989 movie Camille Claudel.
Despite it being in French, I watched (and read) the movie and really got
caught up in what must have captivated Linda and Frank to want to tell the story. My only concern
was the movie ended in a very dark tone that I hoped would not overwhelm the Chester
production. I expected that between Nan Knighton's writing and Frank's music, Camille would be
honored.
Michael Nouri's ability to portray a strong willed Rodin was impressive and his singing was
surprisingly clear and wonderful. Linda has the unique ability to convey playfulness in Camille as
well as an equal if not stronger will than Rodin himself. Matt Bogart playing Paul Claudel was
wonderful. I had expected his singing to be top notch but was equally impressed with his
interpretation of Paul. Milo O'Shea and Rita Gardner brought Camille's parents to life in such a way
that you truly could relate to Camille's frustrations.
I did not expect any special effects or stage sets to be overly impressive since this was an early
production run. Linda remained a beautiful Camille throughout the show and did not appear
disheveled as I would have imagined Camille to be based on the end of the movie. To lose the
love of your life, your family and finally your artistic acceptance could only have been devastating.
Fortunately, I did not get the same sense of self-destruction and devastation near the end of the
play.
There was very clever use of the supporting cast members in the show who were used to depict
the various works of art created by Camille Claudel. The ability to freeze a pose while made up to
look like sculptures was awesome as was the choreography.
The only point in the production that was a little confusing was the “Gates of Hell” segment. Rodin
worked on this piece from 1880 until his death in 1917. One has to wonder if indeed Camille's
haunting memory did not partially curse the finality of this piece. But the linkage of this to the rest
of the story was somewhat confusing to me.
As I pointed out before, I was concerned about how Nan and
Frank would bring the story to a conclusion. I must
admit the ending was an incredible concept. It
could have been a dark ending to focus on her life's
completion in a sanitarium. Instead, pictures of
Camille's remaining works of art were displayed as
she walked around the stage singing “Gold.” I felt
this truly summed up the beauty her life produced
and how important it is for all of us to rejoice in
Camille's ability to have “touched the gold.”
The score, as expected, was brilliant and the
production sensational considering that this was a
trial run. I look forward to seeing it succeed on
Broadway and further exposing the wonderful talent
the Wildhorns possess.
K (Big Time Girl), Liz Flynn, Janet Coulter, Judy Mosteiro,
Jeff Bankson and Jill Olthoff
The evening ended with yet another opportunity to
chat with “our” Linda and the other cast members. As always, despite being exhausted after doing
two shows with another two the following day, Linda was gracious and allowed for as much time as
anyone wanted with her. The truly personal time she gives her fans is such a unique aspect to her
career. I hope it never changes.
Go, Camille! Break a leg!
-Jeff Bankson
Hi, Linda! We managed to make it to Chester, CT to see CAMILLE CLAUDEL during its run at The
Norma Terris Theatre. WE LOVED IT! After the show, we had the opportunity to meet you, Frank
and Michael Nouri. That was a wonderful experience!
-Peter Zangardi & Dan Magee
“I like to say at every show that I have some of the
finest musicians in the world working for me and
that's a fact. Dave Mann is a true artist and it's so
evident in every note he plays and the incredible
sounds he makes. I never have to worry about the
solos because I know they will always be magical.
Most of the time I don't want to come back in. I
just want him to keep on going.”
Whether you know it or not, you have heard David Mann's music. From his many solo records, to his work with
Tower of Power, James Taylor, Paul Simon and Linda Eder (just to name a few) or from his unmistakable sound
on ABC News Nightline and Monday Night Football, you have heard David play.
But David Mann's musical adventure began a long time ago in his hometown of Ann Arbor, Michigan, where
David was exposed to the challenging world of Jazz. His career as a saxophonist, which includes performance
and recording credits with many of the biggest names in music, originally started in a different direction. David
was a diligent student of Charlie Parker, Cannonball Adderley and John Coltrane and aspired to one day play
with Art Blakey and Miles Davis. David's influences eventually expanded to include David Sanborn and Michael
Brecker, and David's style of blending classic Jazz with a more modern flavor was born.
Fresh out of the New England Conservatory of Music and new on the New York scene, David launched his solo
career in the formative days of contemporary Jazz with the popular “Games” (1987) and “Insight” (1989) on the
Island/Antilles label. Along with his brother, bassist Ned Mann, came the 1993 release of The Mann Brothers
“Mann to Mann” on DMP Records. In 2001, David released “Touch” on N-Coded Music, which showcased his full
range of abilities as a composer, producer, programmer, and of course as a saxophonist. Named “one of the best
albums of the year” and “debut artist of the year” by Jazztrax, “Touch” finds David in fine company, teaming up
with Bob James, Chris Botti, Chuck Loeb and Chieli Minuchi. Along with working on his own albums, David has
become an increasingly accomplished composer and producer, working with such artists as Wayman Tisdale,
Nelson Rangell, Steve Cole, Kim Waters, Point of Grace, and Rachel Z. In 2001 alone, David scored two #1 NAC
singles (with Wayman Tisdale and Steve Cole).
David has performed and recorded with many of the biggest names
in music, including Tower of Power (1993-1996), James Taylor, Paul
Simon, Michael Jackson, Gil Evans, Pat Metheny, Sting, Madonna,
Chaka Khan, George Michael, Billy Joel, Lyle Lovett, Bob James,
Linda Eder, Liza Minnelli, Patti Austin, Ivan Lins, Michael McDonald,
Alicia Keys, Vanessa Williams, Bette Midler, Michael Bolton, Chieli
Minucci, Luther Vandross, BB King, Phish, Spyro Gyra, Sergio
Mendes, Bobby McFerrin, Leni Stern, Elements, Miles Evans
Orchestra, Ricky Martin, Chuck Loeb, Special EFX, Donnie and
Marie Osmond, Al Jarraeu, Rob Mathes, Club 1600, Whitney
Houston and George Russell. He also can be heard on many TV
themes and jingles, including those for Monday Night Football, ABC
News Nightline, NBA on TBS, The Early Show with Bryant Gumbel,
Later Today, 20/20, 48 Hours and Super Bowl XXIV on ABC. Movie
credits include “Lucky Numbers,” “Any Given Sunday,” “Shaft 2,”
“The Mask” and “Scrooged.” David has performed as a soloist with
the Boston Pops and the National Symphony and has toured
extensively throughout the world.
David graciously agreed to share with Linda's fans a glimpse into his life and his impressive career.
VOICE: Who inspired you to pursue a career in music?
DAVE: My older brother Ned was my first inspiration. He used to rehearse in our basement with his band so I
was surrounded by music from an early age.
VOICE: What was your first instrument and when did you begin playing it?
DAVE: I started on the saxophone at age 9 in the school music program.
VOICE: We know you have played alongside your brother, bassist Ned Mann, and so do you come from a
musical family?
DAVE: Ned and I are the only musicians in my immediate family – however there are lots of musicians on my
mother's side of the family. My cousins are singers and my uncle plays the piano.
VOICE: What other instruments do you play?
DAVE: In addition to the saxophone I play the flute, clarinet and keyboards.
VOICE: When did you first realize you wanted to be a musician and when was your first professional
performance?
DAVE: When I played my first professional gig at a bar called the DelRio in my hometown of Ann Arbor,
Michigan . We had a six-piece jazz group and played a lot of music from Art Blakey's group, which was my
favorite at the time.
VOICE: How did you first connect with Linda?
DAVE: I first came into contact with Linda when I subbed in the band at the
recommendation of David Finck, whom I had known since I came to New York
in the middle 80s. I think this was 1997.
VOICE: What's your favorite song to perform with Linda in concert?
DAVE: My favorite song to perform with Linda is “On the Street Where You
Live.” I enjoy our musical moment together and I love how it's different every
night.
VOICE: What are the pros and cons of life on the road?
DAVE: The pros of life on the road are many – seeing the world, meeting new
people, and hanging with your fellow musicians. The cons are the obvious ones – early wake-up calls and
crowded airports. Too many late night stops at the 7-11 in the middle of nowhere. All that said – it still beats
working!
VOICE: What has been your most exciting moment as a live performer?
DAVE: Some of my first gigs with Tower of Power come to mind. Also playing with James Taylor at the Beacon
Theatre was a thrill. And looking back on it – playing with my group at the World Trade Center in 1987 was a thrill
as well.
VOICE: Is Jazz your favorite type of music?
DAVE: Jazz is my favorite for sure, but I love many different kinds of music. As Duke Ellington said, “There's only
two kinds of music, good and bad!”
VOICE: Can you tell us how you became a student of Charlie Parker, Cannonball Adderley and John Coltrane?
DAVE: As all aspiring jazz musicians should, I surround myself with the music of the masters. Cannonball,
Coltrane and Miles are the ones who inspired me the most.
VOICE: In your biography, you mentioned you aspired to one day play with Art Blakey and Miles Davis. Did this
dream come true?
DAVE: I never did play with Art Blakey or Miles Davis and unfortunately they are both gone now.
VOICE: How did it feel to be named “one of the best albums of the year” and “debut artist of the year” in 2001 for
the album “Touch?” This must have been very
gratifying considering you were composer,
producer, programmer and saxophonist.
DAVE: It was exciting to be named “one of the best
albums of the year” and “debut artist of the year” in
2001 for my album “Touch” for sure. A project that
you put so much time and energy into… it's always
nice when it's appreciated.
VOICE: What do you do for fun?
DAVE: I love going on vacation with my wife – I
love tinkering with my computers and with my home
studio – I love playing chess – but most of all I love
playing music!
VOICE: What's in your personal CD collection?
DAVE: Jazz, Pop, Classical, Funk – you name it!
VOICE: If you weren't a musician, what else would you do?
DAVE: Probably something with computers or technology.
VOICE: Are you married and do you have children?
DAVE: I am married and we live in New York City . We don't have any children.
VOICE: Thank you for giving Linda's fans an insight into your remarkable life and career.
DAVE: You're very welcome.
***
For more information on David Mann visit http://davidmann.net .
“Without question, Kim has given me some of
the finest arrangements I have ever heard let
alone sung. All I have to do is come up with a
little idea of what I want a piece to sound like and
he brings back this amazing arrangement full of
beauty or fire or humor and always full of things
that are uniquely Kim.”
Linda has been blessed to work with so many talented individuals throughout her career. We have enjoyed
hearing her magnificent voice complemented by very beautiful musical arrangements of new songs as well as
classics. We've gotten to know some of her fabulous musicians and have marveled at their talent and extensive
credits. For this edition of THE VOICE, the Editorial Staff decided to go behind the scenes to learn more about
the talented gentleman who is responsible for many of the arrangements and orchestrations we have heard live
in concert and on Linda's recordings. This talented “behind-the-scenes” guy is none other than Kim Scharnberg.
Before getting up close and personal with Kim, we wanted to learn more about his very successful career since
graduating with highest honors from the Eastman School of Music in Rochester, New York where he studied
composing and arranging with Rayburn Wright and Manny Albam. Kim has arranged for a wide variety of artists
including (in alphabetical order): Julie Andrews, Laura Branigan, Betty Buckley, Linda Eder, Michael Feinstein,
Jennifer Holliday, Mark Isham, Sumi Jo, Tracy Lawrence, Edwin McCain, Liza Minnelli, The Mormon Tabernacle
Choir, The Pointer Sisters, LeAnn Rimes, Sister Hazel, Spyro Gyra, Tower of Power, Travis Tritt, Ronan Tynan,
Ben Vereen and Trisha Yearwood. His arrangements have been performed by the Boston, National,
Philadelphia, Houston, Minnesota, Atlanta and St. Louis Symphony Orchestras as well as many others.
Kim has orchestrated the Broadway shows Jekyll & Hyde, The Scarlet Pimpernel,
The Civil War and the London production of Doctor Dolittle as well as the national
and international productions of those shows. He composed the score for Houston's
Alley Theatre production of the Brecht play In the Jungle of Cities for their 50 th
anniversary. Other theatre projects include: Inherit the Wind (Alley Theatre), Silver
Dollar (Goodspeed Theatre), Romeo and Juliet the Musical (Ordway) and the
upcoming production of Little Women.
He has done orchestrations for several feature films including A River Runs
Through It, Quiz Show, Made in America, Fly Away Home, Miami Rhapsody,
Alaska, The Net, The Getaway, Fire in the Sky and Nowhere to Run. His television
credits include: Sledgehammer!, Dallas, Knot's Landing, Ed, Briscoe County, Jr., The Edge, Sliders, Party of Five
and three Incredible Hulk movies-of-the-week.
Kim was co-producer of the Grammy nominated Jekyll & Hyde cast recording, Jekyll & Hyde – The Complete
Work, The Scarlet Pimpernel cast recording, The Scarlet Pimpernel Encore!, The Civil War concept album and
Linda Eder's Gold and Christmas Stays the Same (all for Atlantic Records). Other albums he has arranged and
orchestrated include Empire Brass, all of Linda Eder's albums, CELLO, the concept album of Jekyll & Hyde and
the Christmas album by Jung (also produced for Atlantic Records).
Kim co-produced and conducted the orchestra for the song “Gold,” which was featured in the opening
ceremonies for the 2002 Winter Olympics. In June, the Atlanta Symphony performed an entire evening of his
arrangements with the rock bands Sister Hazel and Edwin McCain. His arrangements have also been a part of
the Boston Pops television specials the past two years on the Fourth of July, last year on A&E with Linda Eder
and this year on CBS with LeAnn Rimes singing two songs, “We Can” and Kim's arrangement of "America the
Beautiful,” which also featured the 360 voice Mormon Tabernacle Choir.
The Editorial Staff of THE VOICE recently had the opportunity to speak with Kim. We found him to be very down
to earth and extremely witty. We know you will enjoy this glimpse into the creative mind of this incredibly talented
man.
VOICE: Where did you grow up and receive your first exposure to music?
KIM: Cedar Rapids, Iowa. Hey, did you hear the one about the singer from Minnesota?
VOICE: That sure rings a bell! Did you grow up in a musical family?
KIM: My oldest brother is a professional French hornist who teaches horn at the University of North Texas and is
president of the International Horn Society. My other brother played “at” the saxophone, my mother played a little
piano and occasionally we'd let my father play the radio. So no, not really.
VOICE: How did you first become really interested in music?
KIM: Being around my oldest brother, I'd go to lots of orchestra and band concerts from a very early age. I
remember doing my first concert review in second grade for Show and Tell – it went something like “loud, soft,
soft, loud, soft, really loud!” Plus I had this music teacher in 3 rd grade, Mrs. Wolf, who separated the class into
those with musical ability and those without. Guess who was in the part withOUT ability? Dear Mrs. Wolf…
VOICE: We hope Dear Mrs. Wolf lived long enough to witness your success in music. What was the first
instrument you learned to play?
KIM: The first and only instrument I learned to play was the trombone.
VOICE: Do you still enjoy playing the trombone?
KIM: I don't really play any more and I really miss it, but I considered a second or third comeback after playing a
drive-by trombone solo on Jack Murphy's album.
VOICE: A picture seems to be coming to mind of a trombone playing Santa Claus! We'll talk about that a little
later, but let's go back to the beginning of your relationship with Frank and Linda. Please tell us how you became
part of the Wildhorn family.
KIM: I met Frank in Los Angeles at a studio I was part of and he told me he was looking for an orchestrator for a
musical he was bringing to Broadway – this was 1985 or '86! The rest is history as they say!
VOICE: What was your first project with Frank?
KIM: Our first project together was in 1986 and was the original demo for Jekyll & Hyde. It featured important
early songs like “The Miracle of Chemistry” and “The Ballad of Jekyll & Hyde,” but also “Alive” and fragments of
other great tunes that eventually made it into the show! Frank played the piano and we overdubbed an orchestra
on top of that. This was pre-Linda and pre-Leslie Bricusse so a lot has changed since then.
VOICE: Jekyll & Hyde certainly has enjoyed a long life and continues to entertain musical theatre lovers all
around the world. You must be very proud of this accomplishment.
KIM: I think it's great that after all the years it took to get it to Broadway amidst all the nay sayers that it really has
endured and will endure for years.
VOICE: It wasn't too long after your first project with Frank that you met Linda. When was the first time you heard
Linda sing? What was the song and what was your reaction?
KIM: 1987, 1988? I remember being over at Frank's house and he showed me the Star Search video of all of her
performances back to back and being totally amazed. Plus she'd just won a hundred grand and still seemed
pretty darn nice and that was cool!
VOICE: It sounds like you were pretty impressed with Linda's talent from the first time you heard her sing. It must
be so amazing to work with her in the recording studio. Can you share with us other projects have you done with
Frank and Linda?
KIM: It started with being in London recording the original Jekyll pre-cast album with Colm Wilkinson and hasn't
stopped since then. I remember hearing “Someone Like You” in a mall in L.A. in 1990 or so and thinking that
Linda could really be going somewhere… Each album has been a great experience and is always something
new and fun. I'm very lucky to have Linda to arrange for because, besides her incredible voice, she lets me take
chances and be creative every step of the way.
VOICE: Linda is very lucky to have you to arrange for her. It must have been her idea for you to play Santa Claus
in her return to Broadway at the Gershwin Theatre.
KIM: I have no idea what you're talking about… (deny, deny, deny) hmmm, do you mean my professional
performing debut on Broadway? I vaguely recall that it was Dave Hart's idea that Linda wholeheartedly endorsed.
It seemed like a good idea until after the first show when I realized that I had to drive an hour and a half for a fourminute gig in a Santa costume for four more concerts AFTER Christmas. Gee, why was the suit rental so
cheap?? The hardest part was that Jim Pugh, one of my trombone idols when I was growing up, was playing in
the band right behind me while I hammed it up with Linda. Actually it was fun if only slightly embarrassing
because my son Will got to see it and tell all the audience members he was sitting near that his Dad was Santa
and that Santa plays the trombone.
VOICE: That must have been fun and the audience definitely enjoyed it. Let's switch gears and talk about some
of your latest work. You recently produced an album for Kaitlyn Lusk, a fourteen-year-old rising star and huge
Linda Eder fan. It must have been a different type of experience working with someone so young.
KIM: Kaitlyn is pretty amazing and very mature for her age! I'd gone to college with her father so after he sent me
some rough demos, the first thing I did was take her to Linda's Carnegie Hall concert this past February. She's a
huge fan of Linda's and really sees her as a model for her own career. We just finished recording an album and
lots of good things are starting to happen. She's already sung with the Baltimore Symphony and on New Year's
Eve she sang with the Boston Pops! Not bad for a kid who just went on a field trip to Boston's Symphony Hall
with her 8 th grade class last May!
VOICE: Kaitlyn's very lucky to actually be living the dream of so
many young girls who have been influenced by Linda – all those girls
who will one day recall growing up with Linda's music. Were any
other members of the Wildhorn family involved in this album?
KIM: I worked with the players and friends that I know are great and
would be perfect for this project, which just happens to be a lot of
Linda's band. David Finck, Clint deGanon, Peter Calo and Stephanie
Cummins all contributed to this album which just came out. Plus Jack
Murphy wrote a beautiful lyric for one song and he and his wife sang
back up on a new version of “Put a Little Love in Your Heart.” If
anyone is interested in Kaitlyn, you can check her out at www.
kaitlynlusk.com ! **
VOICE: You are now involved with a new show, Little Women.
Please tell us a little about this project.
Kim directs as Kaitlyn sings on stage.
KIM: There is not that much to tell at this point. The show was postponed from starting in January until
September. Jason Howland (Jekyll conductor, Pimpernel and Civil War music supervisor and all around good
guy) is the composer with lyrics by Mindi Dickstein, book by Allan Knee and directed by Susan Schulman. All the
pertinent information can be found at: http://www.playbill.com/news/article/82984.html . My personal feelings on
Little Women are that it has a wonderful score that I'm really looking forward to orchestrating! Jason and I have a
very good history together, and I think that this is one of those shows that's really going to succeed – great tunes,
a wonderful family-oriented story and a solid cast. Obviously I'm disappointed that we weren't able to start last
month, but I think their decision to wait for the perfect person to play Jo is a good one and will make the show
that much stronger when it does go. Plus I'm good at waiting for shows to happen. Stay tuned…
VOICE: We look forward to hearing more about this project when it does happen. We've spoken about your work
and now we'd like to get to know a little more about what makes you tick. Can you share with us who or what
inspires you in your work?
KIM: Gee, that's a tough one because each project is so individual, but in general I'd have to say it's my family
who inspires my soul and it's my love of music that makes me want to try new things and get better with each
song.
VOICE: Both are wonderful sources of inspiration that also keep changing and growing with each new project.
How do you manage to come up with a fresh take on classic songs like “The Impossible Dream” which have
been sung and recorded so many times and in so many different ways?
KIM: I figure that if you're going to do a song that everybody knows there better be a good reason for doing it and
for making it something different! I kept calling that song “Mission: Impossible Dream” because what are you
going to do with a song that's been heard and arranged a million times? I usually have to think about it for several
days and then I sit by myself in a little room and think and think some more, play a couple of chords on the piano
and then play solitaire on the computer. After awhile I realize that I have to get something done so I make some
more coffee and put the first few notes down. After that, it usually comes pretty fast. That's one of the things I
love about Linda – she or Frank will just give me a song title, the key she wants to sing it in, and then the next
time we talk about it is at the session with a whole bunch of musicians playing it! I think that's a certain level of
trust that can only happen after years of working together.
VOICE: It's certainly a partnership that has given us some beautiful musical creations. You must have a favorite
song that Linda performs today.
KIM: There's that old chestnut called “Vienna” that's still pretty perky!
VOICE: You'll have a whole bunch of Linda's fans agreeing with you on that one! Is it possible for you to name
the key musical influence in your life?
KIM: Another tough one – please turn the interrogation light off! I'd probably have to say Max Northrup, my
elementary and junior high band director who performed the very first arrangement I ever wrote in 7th grade. It
took me nine months to write and I made my own music paper since I didn't know you could buy it! There's also
Rayburn Wright, my arranging teacher in college who was musical director at Radio City for years and years and
who still influences every note I write (and erase) even though he's been dead for quite some time!
VOICE: It's very evident that music is the center of your life. What type of music might we find you listening to
when you're not working?
KIM: I have the strangest CD collection on the planet. In my car I have the new records by Steely Dan and Sting,
a bunch of CDs my friends have made, Ella Fitzgerald Sings Gershwin box set, Debussy, a Peggy Lee bootleg
and some Balinese percussion music. Don't even ask what's in my studio or in my living room… Oh, and of
course the new Linda Eder Greatest Hits album – you have that, don't you?
VOICE: Oh, if only there was one! Here's one that will really get you thinking! What interests do you have aside
from music?
KIM: There's something else besides music? Wow – when did that start? Actually I like spending time with my
family and especially with my son doing whatever they're up to.
VOICE: You've had and will continue to have a great career and one that you obviously thoroughly enjoy. After
this one, we'll let you off the hook! Please tell us what has been one of the most thrilling highlights of your career.
KIM: I've been very lucky to have a wonderful career in music with so many great moments and my work with
Linda and Frank has to fill a lot of those great moments (being Santa notwithstanding)! I absolutely love the fact
that there's a shot of my son in Linda's Christmas Special that they show on Bravo every year. He miraculously
stays three years old and has a Santa hat on year after year! Hey wait – I'm seeing a pattern here…
VOICE: Ah, Santa in training for the future! It has been great speaking with you and learning more about you and
your amazing career. Thank you for taking the time to do this interview for THE VOICE.
KIM: You're welcome. It's been very enjoyable.
**
EDERtors' Note: You can learn more about Kaitlyn and her new CD by reading her message to Linda in Fan
Corner.
Jeff has to wear many hats. As Tour Manager,
he has to baby-sit all of us and believe me that
is not always easy or fun. He always keeps a
great attitude even when everyone around him
is complaining. As our Sound Man, he gets to
create and be an important part of the music.
He always makes me feel comfortable and
confident because he is so good at what he
does
It is half past noon on Saturday, November 15, 2003. On the outside, the
State Theatre in New Brunswick , NJ is seemingly dark, save for the
sparse box office staff, busily fielding calls from patrons hoping to snag
last-minute tickets for the evening's near sold-out concert. In just under
eight short hours, Linda Eder and her band will take the stage for another
magical performance at The State. These final hours before the show will
drag by ever so slowly for the fans who've been eagerly anticipating the
evening for months. For Jeffery Osborne, the man essentially tasked with
pulling everything together, these final hours will fly by in a heartbeat.
Inside the theater, the house lights are down and a lighting technician is testing and focusing spotlights. There
are figures in the shadows, pointing and moving on stage. It's Jeff-- working with sound engineers and stage
hands to arrange everything on stage exactly the way it needs to be for the performance. Jeff has already been
here for hours, but preparation for tonight's show began weeks ago.
“I should own stock in Rolaids,” says Jeff, in his signature half-joking/half-serious tone.
He makes a very good point. As Linda's Front-of-House (FOH) Sound Mixer, Tour Manager and Production
Manager, Jeff wears three hats, yet carries with him the responsibility
of dozens of jobs. It's no wonder that some stress should come with
the territory.
So what is Jeff's typical “day” of working with Linda? “I arrange
everything for a show weeks ahead of time. My typical day usually
involves me on the phone or near my computer trying to coordinate
travel plans, renting equipment and instruments or arranging specific
details with venues... everything from what kind of sound system they
have at the theater, to catering and setting up the dressing rooms...
it's called advancing the show,” explains Jeff. “The day of a
performance I'm always the first person from Linda's team to arrive at
the theater. Most of the time the theaters have their own crews, but
sometimes we hire local workers-- equipment guys, lighting, sound
engineers, monitor engineers, technicians, stage crew, security...
everything!
“We start with an empty stage and we build it up with risers so that everything is exactly the way Linda and
Jeremy need it. We put the piano in place first and then we make sure the sight lines are good from there.
Jeremy needs to see everyone so he dictates the way the stage should be set up. After the stage is set up and
everything has the proper microphones, we run wires and start testing the sound and lighting, hours before the
official sound check takes place. Next, we tune the piano, have sound check, eat dinner, everyone goes off to
their dressing rooms, I pop a few more Rolaids and the show is ready to begin.”
Of course, for the purpose of our article, Jeff is simplifying things.
Weeks of work are finally ready to bloom, and (most times) Jeff has
a few moments to relax and enjoy dinner with Linda and the band,
because he's planned for these moments. “It's all about scheduling
and expecting the unexpected,” says Jeff. “I have to make sure
nothing goes wrong and that everyone is safe and happy. I'm
completely on edge the entire time, but it's a dream job.”
Jeff recalls one time when “expecting the unexpected” helped save the show. “A few years ago, Linda sang with
the Boston Pops for the Annual 4 th of July televised ‘Pop Goes The Forth ' concert. There were hundreds of
thousands of people all lined up on the banks of the Charles River and we were about to go live in front of four
million people on TV. A stagehand had forgotten to unlock one of the piano legs and when we went to move it
the leg snapped off. Clear off! So everyone was flipping out, naturally, we had a two-legged piano. Luckily, with a
little quick thinking and a speaker case that happened to be the same height as the piano leg, the show was able
to go on. We jammed the case under the piano and Linda sang, quite beautifully, with the Boston Pops. No one
ever knew... well, at least not until now.”
Such high-stress moments are seemingly what keeps Jeff going. “I can't see
myself doing anything else. This is what I was meant to do... I just stayed on the
road and stumbled into it.”
Jeff grew up in Manchester , CT and is “the baby” of the family with five siblings
from all walks of life. He's always loved mixing sound and is self-taught. For Jeff,
it all began in Atlanta . The year was 1978.
“I was ‘just a kid,' and I somehow ended up sleeping on a park bench in Atlanta .
A buddy of mine turned me on to a job as a stagehand for the first Police show
in Atlanta . I remember thinking how cool it was and I couldn't believe they were
paying me for it! I went on and worked for Emmilou Harris, Paul Young, B-52s,
Talking Heads, REM, and many more acts. I'm self-taught in that I learned how
to ‘turn knobs' on my own by just watching and instinctively knowing what
sounded good. Eventually, I just started picking up the phone and planning
everything. It was more of a ‘CYA' move that I didn't get paid for at the time, but I gained the valuable experience
I needed to get me to the point where I would get paid. Now, you could say I'm a sound guy and a grand project
manager. I can do whatever it takes to get the job done”
Jeff met Linda through Dave Hart about six years ago, and he says
it was one of the best things to ever happen to him professionally.
“I spent some 25 odd years on the road and it can be a rough life. I
enjoyed life on the road ‘as a kid,' but it was time to grow up. Dave
Hart and I go way back and I have him to thank for introducing me
to Linda. The first time I heard Linda sing it was at a show in
Houston and the rest is history. Now the shows are a pleasure... I
get paid for the travel. It's been great watching Linda evolve as a
performer. She amazes me each time she opens her mouth and
her mic technique is the finest I've ever seen.”
After hundreds of shows with Linda, you'd guess that there are some musical selections that Jeff enjoys more
than others, but, you'd guess wrong. The fact is, Jeff doesn't have a favorite
song because for him... it's work. “I actually don't go to concerts or listen to
much music because for me it's a job... I pick it apart. If I had to choose my
favorite song from Linda's concert set list, I'd say it's whatever the last song is,
because that means that the show is over and no one got hurt. As it happens,
the song that Linda ends all of her shows with now (“If I Had My Way”) gives
me chills. Her presentation of the song leaves me speechless. I feel it with her
and I just want to give her a big hug, and many times I do. I'm the ‘behind-thescenes' guy whose job is to hold everything together and make Linda happy.
Sometimes I can't believe I get paid to do it. I'm fortunate to work with someone
I love as a friend and as a human being. That said, in the end, if people walk
away from a concert and say ‘that was amazing!'... then, I've done my job.”
While Jeff takes his work “as serious as a heart attack,” there is still time for fun on the road with Linda and the
Jeff makes his Carnegie Hall debut!
band. And with each new show, Jeff says he gets to practice
and polish his craft-- the mixing and mastering of sound-which is one of the biggest thrills of all. “It's a ‘family thing'
and we try to give each other a hard time as much as
possible!” Jeff says with a grin. “Also, it's refreshing to work
with Linda's band. They are all such outstanding
professionals-- they are seriously trained and they don't miss
a beat. It's amazing what they can do and it makes it that
much more of a challenge to mix the sound... it's a thrill to
balance all of them. It's like constructing a building with
sound... first there are the drums as foundation, then bass,
horns, percussion, strings, piano, voice. I absolutely love
mixing sound; it's different each time and even if it's just Linda
and JR, I have the power to make them sound as big as an
entire band.”
And what's an even bigger thrill than doing something you love and getting paid for it? “After some twenty or so
years, I can finally say that my mom is proud of what I do. And she actually understands what I do! She proudly
tells her friends ‘that's my boy!'... and then she hits me up for Linda tickets for her entire bridge club! It's a riot.”
As I sat at the Lenape Regional Performing Arts Center listening to
Linda Eder in concert perform “I Am What I Am” and once again sing
“Don't Rain On My Parade,” I lost focus and began to reminisce—
thinking about all of my fond memories of Linda over the past nineteen
years from listening to her lounge act, seeing her on Broadway, and
performing in concert. I find it hard to believe (and actually admit!) that I
was literally “dragged” to see her perform for the first time by my mother!
It was June of 1984. School had just ended and my parents just “knew”
that I would love this lounge act they had seen at Ivana's Lounge in
what is now called the Trump Plaza Hotel/Casino in Atlantic City . So,
on my first day of summer “freedom” (I'm a high school teacher), they
carted me off to see it. I now laugh at the outcome, especially when I
consider that I was not at all a happy camper about going. As soon as
Joan Bruno and Linda Eder
Linda opened her mouth, I was hooked! It's not often that one gets to
hear a singer with a great four plus octave range voice! My eyes and ears were suddenly wide open, and begged
my folks to stay for another show.
In those days casino lounges were abundant and not scarce as they are today. My
family had a vacation cottage about thirteen miles south of Atlantic City . For four
summers from June of '84 until August of '88, Linda would travel by van from
Minnesota, rent living quarters in the Atlantic City area and perform six to eight week
gigs in the casino lounges. Those were the days when she was wearing “high necked”
clothing and sewing sequins on her clothes while riding in the van. I found myself
frequenting the lounges at Trump Plaza and at Harrah's in Brigantine two or three
nights a week when Linda was in town. What's even better is that each time I would
bring a friend and stay for three or four shows a night (lounge acts do three to five
forty-minute shows a night). It was FREE entertainment for the mere cost of a
beverage! The lounges provided a small, intimate setting, and Linda had the chance
to sit and talk with her “fans” during those twenty-minute breaks. I enjoyed the
summers at Harrah's because occasionally Linda would join us for cheesecake and
Linda Eder, Star Search
coffee in the café. The format permitted her to take requests from audience members.
The irony in hearing her sing “Don't Rain On My Parade” is that it was one of the ones I always requested along
with other favorites—“Ice Castles,” “Endless Love,” “You Don't Bring Me Flowers,” “Don't Cry For Me Argentina,”
“Rockabye Your Baby” and “Swanee” (she loved Judy Garland).
The last time I saw Linda at the end of those four summers was
a night I'll never forget—NOT because it was the eve of my
birthday; NOT because she had just told me of her good fortune
in winning 100 grand on Star Search; but because as I sat
talking with her at the Atrium in Harrah's, my car was being
stolen!!! During that conversation she told me about her future
appearance in the Broadway musical, JEKYLL & HYDE, and
every week I called my sister in NY and asked her to check the
NY Times and look for the show. I had also learned about
Linda Eder and Ed
Linda's work with Frank Wildhorn from an actress friend during
McMahon, Star Search the hiatus from the end of those four summers until the mid 90's
when JEKYLL became a reality, went on the road and then opened on Broadway!
While my lifestyle didn't permit me to fly around the country to all of her performances
Linda Eder, Star Search
as some loyal fans are able to do, I was happy to be able to get to see her on tour in
Delaware and then on Broadway about thirteen times, and now to attend several of her concerts in the
Philadelphia and New York area. No matter how long the performance or how tired she is, this incredible lady
always manages to find time for those autographs and photos for her many fans.
Things are different now…or are they? I enjoy hearing Linda sing no
matter what type of music it is. We all know that Frank is a creative genius
and that together they make terrific music! While I must admit that I have
missed hearing Linda sing all those show tune “favorites” of mine, I thank
Frank for helping her achieve the celebrity that she so very much
deserves. And thank you both for BROADWAY MY WAY where I can
once again enjoy hearing Linda sing those tunes. I have often wondered
what I would request if ever given another opportunity to do so as in those
lounge act days. But Linda has answered that for me in BROADWAY MY
WAY because she not only sings “Don't Rain On My Parade” but also “I
Am What I Am.” That's another favorite because I know someone who
starred in that show. So, maybe a sequel to BROADWAY MY WAY????
Linda Eder
It's really been a great journey for me—following a very talented and
personable lady (who just loved being on a farm with her dogs and horses
in Anoka, Minnesota ) achieve celebrity. Linda, may you always continue
to have “a song in your heart” and, oh yes, those dimples!!! This fan will
always be grateful to you for the many hours of enjoyment I have
received. And yes, Mom, thanks to you too for dragging me to Atlantic City
on that June day in '84!
-Joan Bruno
HAPPY BIRTHDAY, LINDA!
***
CONGRATULATIONS TO DAVE HART AND RONNI AROUGHETI ON THEIR ENGAGEMENT! BEST
WISHES FOR A FUTURE FILLED WITH HAPPINESS!
***
CONGRATULATIONS TO DEBRA AND JEREMY ROBERTS ON THE BIRTH OF THEIR DAUGHTER! WE
KNOW SHE WILL BRING YOU YOUR GREATEST JOY.
***
DAISY SAMANTHA ROBERTS
BORN ON 11/10/03 AT 4:13PM
WEIGHT: 8 POUNDS, 10 OUNCES
LENGTH: 20-3/4 INCHES
Dave, Linda, and Jeremy
Congratulations to everyone who submitted a photo for the Winter 2004 Contest! One winner was supposed to
be chosen in a random drawing, but these great pictures are ALL winners. Everyone who sent in a picture with
an Eder-themed license plate will receive a special Linda prize. Please email your address to:
[email protected] .
Nicholas Golden, Jaclyn Golden, Shelley Taylor, and Laura Richards
Greg Kuritz
Treia Krieger
Mike Piddisi
Amanda Hudson and Jaclyn Taylor
Markcurtis Otani
Kris Johnson
Congratulations
to Bob and Rachel Korn of New York and Joanna Rogers of Texas, the winners of the WANTED POSTER
Contest in the Summer 2003 edition of THE VOICE!
Lara Lazenby, Tommy Lazenby, Jane Lazenby, Linda Eder,
Ruth Saxon, Brent Lazenby, and Tom Lazenby
We had a great night last night in Birmingham,
Alabama . Needless to say, it was a night for
us to remember! Since we live way down
south, we don't go to as many concerts as we
would like, but we go whenever possible to the
ones in our area and many in the NY area. We
are already looking forward to the next one.
-Jane Lazenby
Geoff Hall, Linda Eder, John Alvarado, Patrick Teague,
Denton Hawk, and Dwayne Whitt
I saw Linda in concert for the first time on
November 6, 2003, and it was so much more than I
ever expected it to be. Linda was wonderful, and
hearing her sing live was so incredible. She was so
gracious to her fans after the show. Even though
she needed to get on the road, she stood there
and signed autographs and had her picture taken
with anyone who wanted one, myself included.
Thanks to Linda, that is a night I will never forget
and it will not be the last concert of Linda's that I
attend. Thank you so much!!!
Linda Eder and Debbie Garner
-Debbie Garner
Hello! My name is Kaitlyn Lusk and I am a 14
year old singer from State College,
Pennsylvania. I have recently completed my
very first album and am living a dream that I'm
sure many young singers must have. On this
album (which is called No Looking Back and
can be found at KaitlynLusk.com), I was lucky
enough to work and record with one of Linda's
arrangers, Kim Scharnberg, and some of her
incredible musicians. David Finck (bass), Clint
deGanon (drums), Stephanie Cummins (cello)
and Peter Calo (guitars) all contributed greatly.
In addition, Jack Murphy wrote a beautiful lyric
for one of the songs and sang background
vocals with his wife, Jan, on another. Besides
writing all of the arrangements, Kim also
produced the album. While working on the
album, I had my professional debut with the
Hershey Pops last August and sang with the
Baltimore and Owensboro (KY) Symphonies in
holiday concerts. A big highlight among many
highlights last year was when I was the
featured soloist with the Boston Pops in their
annual New Year's Eve concert. Keith Lockhart
conducted and I sang songs that Kim arranged
for full orchestra. It was a thrill beyond belief!
Linda Eder and Casey Rae Falotico with Teder
Linda Eder and Linda Jerousek
I started listening to Linda when I was about 9
years old, and my sisters and I (and I have 4
sisters!) would sing along with all of her songs.
It was pretty loud! Last February Kim heard a
rough demo of me singing two songs, and he
invited me to come sing for him in New York
City and to attend Linda's Carnegie Hall
concert with my dad. Not a bad first venue to
see Linda live in concert! The concert was
amazing and I met Linda briefly backstage that
night. Then a few months ago I met Linda
again after her concert in my hometown. She
was so nice to my mother, my sisters and me
when she came out dressed casually in jeans
after the show. She talked with us and asked
me how I liked working with Kim, etc.
It's hard to pick a favorite album of Linda's
because there are so many things I like from
each one. However, there is one song that
really means a lot to me. One of my first major
performances in front of an audience was at
my middle school talent show just 2 years ago
where I sang Linda's song, “Gold,” from
CAMILLE CLAUDEL. The question of “Did I do
anything? Did I make a difference?” was so
poignant that I felt the song itself was waiting
for other people to sing its heart wrenching
lyric. Having heard Linda sing and perform
“Gold,” I tried to grasp her perspective and
expression only to discover that the song was
so powerful and would be interpreted
differently by every person who sang it. As
small as it seems now, that talent show was
one of the performances that really improved
me as a performer and musician.
Ted Jacobs and Linda Eder
Last September I was lucky enough to be able
to see Linda starring in CAMILLE CLAUDEL at
the Goodspeed Theatre in Connecticut. Her
voice, charisma and personality have inspired
and taught me so much about performing,
connecting with an audience, story telling and,
most of all, being a musician.
I am so excited to have my first album
completed and to be performing with such
fabulous musicians and wonderful symphony
orchestras. I also feel very fortunate to
hopefully be following in the footsteps of
someone I admire so greatly and to be working
with some of the same people that she's been
working with for years! Thanks, Linda!
Judy Dellisant , Linda Eder, and Mike Dellisant
-Kaitlyn Lusk
On November 15, 2003 at 8 pm, five close friends
and I settled into our seats, ready for another
fabulous evening listening to Linda's special gift.
Not only was she in fine voice, but once again she
made us all feel as though she was happy to see
us again. As usual, we sang along, yelled and
even stood during a few of our favorites. We
enjoyed every minute of the concert and were very
sad when Linda's final return to the stage meant
we had to say goodnight. Linda, we all want you to
know that we are very thankful for you and the
wonderful warm feeling you left us with that
memorable evening… thank you, Linda… we love
you.
-Felicia Kolcun
Betty Greenawalt and Linda Eder
Yes, I'll admit it. I've got a full-blown case of
“diva worship.” So many singers force the song
to say what they want it to say rather than
listening to what it wants to tell them. Linda,
you know how to work together with the song
to bring its message across. Whenever I play
BROADWAY MY WAY for anyone, the usual
response is, “She's amazing! Who is she?” I
feel like the sole promoter, though I'm happy to
say the “cult” is growing.
-Matthew Yates
Kevin Walker, Linda Eder, and Jan Bankert
Hi. My name is Karen Welthy and I met
Linda for the first time on Valentine's Day
after her show at the Proctor Theatre in
Schenectady, New York. I am attaching the
picture I most like of she and I. I remember
sitting at our table at a restaurant called
Yono's, one of the area's best. I was just
sitting at my table, looking around the room
when I realized Linda was already seated at
the table next to us. It seemed like she had
just appeared. There was no fanfare and no
grand entrance. I don't know when she even
arrived. She was seated with some local
politicians (lucky them!). I met her later in the
evening and asked her to sign my sheet
music and some discs. I didn't want to
overwhelm her with a lot to sign.
She was absolutely wonderful. She was
upbeat, interested, friendly, and gracious. I
am a musician and have been since I was
six years old. I'm now thirty-three. I told her
a little about my musical endeavors in piano
and voice and the type of performing I do.
There was a piano in the room and I would
have loved to play for her but I didn't ask. As
it turned out, one of the restaurant owners
told us that Linda would have to leave soon.
And she did, in order to get home to her
family.
I think the greatest thrill I could ever have
would be the opportunity to accompany her
at one of her after concert dinner parties. So
I guess I'll put that out there and see if the
opportunity ever arises.
Thanks, Linda, for being so wonderful that
night. I brought the picture of she and I into
my office and have gotten several comments
from people I work with on it, namely about
her beauty. I like to tease them back and say
that of course both have great teeth and lips,
so we must be related! And then I proceed
to tell them about her talent and how they
should certainly go out and see her and buy
her CDs. I also sang one of her songs,
"Anything Can Happen," for my sister's
wedding in October, 2003 and it was very
well received.
Thanks to you folks at The Voice for offering
a forum for fans to express to Linda their
gratitude and amazement at her talent.
-Karen Welthy
Linda Eder and Karen Welthy
THE VOICE NEEDS YOU!
THE VOICE IS BY THE FANS FOR THE FANS!
For the SUMMER 2004 ISSUE we are requesting that
you submit the following:
●
●
●
●
●
LINDA STORIES
SHORT MESSAGES TO LINDA
FAN PHOTOS WITH LINDA
PHOTOS OF THE VENUES
SUGGESTIONS FOR FUTURE CONTEST
If you would like to be a contributing reporter to THE VOICE,
please submit ideas, reviews or stories for consideration.
Please send submissions electronically
to [email protected] or mail to:
THE VOICE
P.O. BOX 20180
BALTIMORE , MD 21284-0180
All materials must be submitted by
Friday, July 2nd, 2004.
Further announcements about the SUMMER 2004 ISSUE
and contests will appear on the Linda Eder Message Board.
NOTE: THE VOICE will only accept original submissions
not previously viewed in other publications / websites.
Website Disclaimer
THE VOICE, the official newsletter for Linda Eder fans, was designed using standard design practices used in
the computing industry. However, the nature of our publication is intended to be printer friendly. The webmaster
of THE VOICE has tested this website on every Windows based platform from Windows 95-Windows XP
Professional as well as the Macintosh OS Platform 8.1 and higher. We have found that this website is compliant
with Internet Explorer 3.0 and higher as well as Netscape based browser 4.5 and higher. While we do not use
any tracking technology for viewing who comes to this site, we do use cookies to enforce the design and
construction of each individual page for the purposes of printing the newsletter to your liking.
However, when attempting to print, each computer has different browser settings and each configuration is by
nature uniquely configured to your personal preference. While the webmaster of THE VOICE has enforced
technical defaults in the design of this website for publication purposes, we cannot guarantee that every page will
be print ready for your enjoyment. If you use AOL or MSN, your printer is not capable of breaking continuous
pages up into separate units. Therefore, some lines of print may break up or appear lost. Some versions of
Internet Explorer and Netscape encounter the same problem based on the computer manufacturer.
THE VOICE is a nonprofit publication that has been compiled by the fans of Linda Eder. Our sole purpose is to
promote her career, recordings, concert appearances, and to support and show appreciation for Linda Eder.
Neither this publication, nor any part of it, (including but not limited to artwork, design and layout) may be
reproduced, stored in a retrieval system, or transmitted in any way or by any means, electronic, mechanical,
photocopying or otherwise without prior permission of the publisher of THE VOICE. The publisher shall have the
sole right to edit or reject submitted material. By offering proposed material for publication in THE VOICE,
submitter shall warrant and represent: that all submitted material is solely owned by the submittor and has not
been granted, assigned or transferred to any other person; no copyright relating to the submitted material has
been violated.
© 2004 Linda Eder & The Voice, All Rights Reserved

Winter 2004 - Linda Eder

Transcription

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