Winter 2003 - Linda Eder

Transcription

Home | EDERtors Notes | Broadway My Way | David Finck | Jack Murphy
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Hello again.....hello! It's that time of year when we try to hold on to
something a little longer at the same time we are preparing to start
something new. Year's end always makes me a little sad and a little
excited at the same time. Sad to end ...eager to begin. Every new year
brings some kind of change, but this year feels different, a little more
changing. The "seven year itch" is coming to get me. Watch out!
2003 will bring two new Eder albums. One, a compilation album from
Angel Records that will take selections from the Concept SCARLET
PIMPERNEL CD and AND SO MUCH MORE and add some new songs
that I recorded during the time I was signed to Angel. Angel Record's
CEO and President is now our good friend Bruce Lundvall, one of the
few true legends in this business. So we are excited for him and for us.
The other new album is a long awaited Broadway CD. It will be titled
BROADWAY MY WAY and include some of the Broadway songs you
have heard me sing over the years along with some new selections. I
had a great time recording it. My whole band joined the studio
musicians so it was a real family affair. I sincerely hope that it will live
up to your expectations.
My concerts will morph into BROADWAY MY WAY, a title I innocently created that seems to be building in momentum.
The big kick off will be at Carnegie Hall - a place you know I love. New songs, new arrangements, lots of new lyrics to
memorize.
Broadway is the theme for 2003. Camille Claudel has crawled inside my brain and she is beating on my head to get
out. I don't think anyone has told her how hard it is to get a show to Broadway. The good news is that we have made a
strong start. We have done two readings that were well received and the rewrites continue. Her story is compelling and
all the more so because it's true. It culminates in a song that I think is one of Frank's very best, "GOLD." I wish I could
look into a crystal ball and tell you when the show will come to life, but Jekyll and Hyde taught me to keep my mouth
shut about that. It happens when it happens. Until it does I will enjoy the free time that I have. God knows you don't get
any when you're in a Broadway show.
I've been so very lucky in my life, and as a result I do enjoy my time at home. Sometimes I think if I never went
anywhere again it would be okay. Everything I want is at home. And now ... thanks to the wonders of the Internet, I feel
like I have the world at my fingertips. Frank and I have enjoyed visiting www.lindaeder.com. Now that Frank is finally
up to speed on the computer (he knows how to sign on and has rudimentary navigational skills, but it's a start ), I often
find him sitting behind the computer after I have put Jake to bed. So for those of you who have been skeptical about
whether or not your posts and letters are read ... think again. We love it. Not everything we read is accurate, but
neither is the New York Times! Your posts are witty, charming, enlightening, and real. Thank you.
I want to thank all the fans for always being there for me. You
fill the seats, you shower me with gifts, you make me feel like
it's all worth it. That last part is the most important. As the
years go by I need more reasons to keep getting on airplanes
and leaving my family behind. I hate to fly, I'm afraid to fly. For
the unafraid these words will mean very little. Those of you like
me will better understand the effort that I make for each show.
Life on the road is no place for a child; so I leave my son
behind and I miss him terribly. So when I say that I appreciate
the support ... I mean it. In the past I never knew who would be
in the audience. Now I know that no matter where I play, you
will be there welcoming me to each town, each venue.
Thank you for a wonderful 2002. I look forward to 2003!
Charlotte Review | Brittany's Story | Gold Tour | Contest Winners
Welcome to the Winter 2003 edition of THE VOICE, your
official Linda Eder newsletter! The Editorial Staff has been
hard at work for the past four months interviewing,
researching, and “burning the midnight oil” while writing,
rewriting, and editing the material you will read in this edition.
We hope you enjoy reading what we have thoroughly enjoyed
writing for Linda and her fans.
From left to right THE VOICE EDITORS:
Ellen Jacobs, Charlene Hyman, Linda Eder,
Lori Phelan, and Amanda Christensen.
Missing: Webmaster, Jack Hyman
Our main focus for this edition has been truly something that
we have all been eagerly anticipating - the release of
BROADWAY MY WAY. This project has been a labor of love
for us. This journey we have been on has been both
educational and fascinating. You will see as you read the
pages dedicated to BROADWAY MY WAY that a tremendous
amount of research was involved as we went back to the
original Broadway
production of each musical from which Linda chose a song to record. In addition to a synopsis of each musical, we
have provided you with the credits, information as to how each song fits into the story line, and some interesting trivia.
The Editorial Staff has learned so much through our research as will you when you read BROADWAY MY WAY.
Interviewing and collaborating with David Finck, our favorite bassist, on his article was so much fun and another
learning experience for us. Everyone knows what a talented musician he is from hearing him play in Linda’s band, but
we were totally blown away as we discovered all that he has accomplished in the world of music. David has been part
of more than one hundred recordings and has played with some of the most notable musicians in the business. To us,
he has become fondly known as “King!” As you read this article, you will get a glimpse of the private David Finck as
well. We discovered that he is a proud father and a very funny guy, and we’re sure you’ll enjoy learning more about
this fascinating musician.
We also had the distinct pleasure of getting to know the truly gifted Jack Murphy. This modern-day Shakespeare
shared with us some insights of his work with Linda and Frank and what “makes him tick.” We discovered that Jack’s
wit and way with words are absolutely equaled by his warmth and phenomenal sense of humor. We hope our interview
with Jack gives all of the fans a feel for who the man behind the words really is.
When Carol Blalock of Chicago offered her services as a guest reporter at Linda’s Charlotte, NC concerts in
October, none of us knew what a beautiful story she would have to tell upon her return. Through Carol, you will be
introduced to a very special young lady, Brittany Maier, and her wonderful family. We know everyone will be inspired
by the story of her life and her trip to hear Linda sing. You will need your tissues for this one.
To Linda: Words cannot express how grateful we are to you for
this opportunity to bring THE VOICE to your fans. As busy as your
schedule is, you always find the time to personally contribute to
each edition. Your unequaled talent, kindness, and class never
cease to amaze us. Thank you for being so incredibly gracious.
A special thank you to: David Finck, Jack Murphy, the Maier
family, Carol Blalock, and Nan Knighton for helping to make this
edition of THE VOICE something the fans will treasure.
To Jill Siegel and Michelle Avedissian of Jill Siegel
Communications, Jeremy Roberts, David Hart and Denyce Mylson
of The Agency Group, and Brian Feinstein and Nick Cheng of
Wildhorn Productions: Thank you for your behind the scenes
assistance without which this newsletter would not be possible.
And to the fans: Thank you for your support of THE VOICE.
Bringing THE VOICE to you, the fans, is such a pleasure.
However, the pages wouldn’t be complete without your
contributions. You may send photos and messages to Linda at
any time. If you would like to be a guest reporter for a future
edition, please feel free to contact us. You may submit a concert
review or share a special story from a concert you have attended as Carol Blalock did in this edition. Please refer to
the contact information found on the Upcoming Issue Page or email [email protected]
Happy reading!
THE VOICE EDITORIAL STAFF
Amanda Christensen, Charlene Hyman, Ellen Jacobs, Lori Phelan, and Webmaster, Jack Hyman
(Click Here)
Track # 1
“I AM WHAT I AM”
from the Broadway musical La Cage Aux Folles
Music: Jerry Herman
Lyrics: Jerry Herman
Book: Harvey Fierstein
Producer: Allan Carr
Director: Arthur Laurents
Opening: August 21,1983
Theatre: The Palace
Performances: 1,761
Cast: George Hearn, Gene Barry, Jay Garner, John
Weiner, Elizabeth Parrish, Leslie Stevens, William
Thomas Jr. and Merle Louise
Synopsis
The curtain rises on a street in St. Tropez (France). As the sun goes down and the lights come on in the building
windows, there is a nightclub, La Cage aux Folles, in the distance. Suddenly, we are inside, and Georges welcomes us
to the club he owns and hosts.
The club curtain rises, and we are introduced to the performers...a line of female impersonators called Les Cagelles.
ZaZa, the star of the show, is, as always, late. As Georges goes to hurry her up, we realize that ZaZa is also Georges'
lover of twenty years, Albin. After a small battle, Albin agrees to dress for the show, climbs the stairs to his dressing
room and begins applying his makeup.
Georges returns to their apartment behind the club to find his son waiting. Jean-Michel, the product of a one-night affair
twenty-five years earlier, announces his intention to marry Anne, the daughter of an anti-gay politician, Deputy Eduard
Dindon. The problem is Anne's parents are coming to meet Jean-Michel's parents, and Jean-Michel doesn't want Albin
anywhere in sight. He convinces Georges of the sincerity of his emotions. Agreeing to help his son leaves Georges in
an uncomfortable predicament-he must now tell Albin he is not wanted at the forthcoming family gathering. Georges
tries to prepare Albin for the bad news.
They go for a walk through town. Seated at an outdoor cafe table, Georges tries, but cannot bring himself to tell Albin
the truth. The moon is full, and so is Georges’ heart. It is suddenly time for the second show, and Albin rushes back to
ready himself. The midnight show begins.
Coming offstage after his number, Albin catches Georges and Jean-Michel removing his belongings from the
apartment, and Georges is finally forced to tell everything. Instead of reacting as we expect, Albin goes out on stage to
finish his performance. He begins to sing, but his emotions take charge. Albin sends the cast offstage, turns to Georges
in the wings; and in a triumphant gesture, he tears off his wig, throws it at Georges, and storms out of the club.
At the street cafe the following morning, Georges persuades Albin to speak to him and begs him to come to the dinner
party disguised as Uncle Al. But Albin has a bit to learn about passing for a heterosexual. The apartment is now
stripped of its decor as Albin has been stripped of his, but it's still not enough for Jean-Michel, who rails against his
father's lover. Georges, fed up with his son's selfishness, tries to tell the boy about Albin.
The Dindons arrive. Albin, self-sacrificing to the end, disguises himself as Jean-Michel's mother and suddenly appears
to save the day. He whisks his guests off to Chez Jacqueline. Jacqueline, recognizing her old friend ZaZa,
embarrasses Albin into performing. ZaZa wins over his in-laws-to-be until, during his triumphant bow, he pulls off his
wig out of habit and is revealed as a man in drag.
Back in the apartment, the Dindons fume as Jean-Michel apologizes to his "mother." Disgusted with his "perversity,"
the Dindons try to leave but are stopped by Jacqueline, who, recognizing Dindon, has invited the press to photograph
her with him and the gay couple. They're trapped, but Albin has the solution. He places the Dindons in show costumes
and sneaks them out. The Dindons have escaped and the young couple is off to be married. The club show is over,
and Georges is left alone onstage. Albin appears, and the two walk off, arm in arm, into the St. Tropez sunrise.
“I AM WHAT I AM”
“I AM WHAT I AM” is a powerful anthem of self-worth and dignity, sung by Albin at the close of Act 1. The song is a
declaration of pride from Albin, who is hurt from just discovering that his lover, Georges, wants to keep their
relationship a secret from his son’s future in-laws. Feeling the sting of his companion’s embarrassment, he slowly
begins, “I am what I am, I am my own special creation. So come take a look, give me the hook, or the ovation. It's my
world, that I want to have a little pride. My world… and it's not a place I have to hide in.” Realizing the importance of
defining himself and not basing his life choices on the perceptions of others, Albin feverishly builds to the triumphant
finish, “Life's not worth a damn till you can shout out! I am what I am!!!”
Trivia
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The English translation of Le Cage Aux Folles is “Birds of a Feather.”
La Cage Aux Folles is based on a French film by Jean Poiret (same title, 1978) and was again adapted for the
screen in 1996 with the Robin William’s hit The Birdcage (also starring Gene Hackman and Nathan Lane).
Composer/Lyricist Jerry Herman took home the 1984 Tony Award for Best Musical Score for La Cage Aux
Folles. Herman is honored in the Songwriters Hall of Fame and is the only composer to have had three musicals
which ran more than 1,500 consecutive performances on Broadway.
The members of the La Cage Aux Folles chorus are the ones who initiated the backstage fundraisers that
became the backbone of Broadway Cares/Equity Fights AIDS, a $6 million-a-year theatrical fundraising
accomplishment.
Since its founding in 1988, BC/EFA has raised more than $50 million for critically needed services for people
with AIDS, HIV or HIV-related illnesses. Visit www.bcefa.org for more information or to support this worthy
cause.
Track # 2
“ANTHEM”
from the Broadway musical Chess
Music: Benny Andersson and Bjorn Ulvaeus
Lyrics: Tim Rice
Book: Richard Nelson
Producers: Shubert Organization, 3 Knights Ltd. &
Robert Fox Ltd.
Director: Trevor Nunn
Opening: April 28,1988
Theatre: Imperial
Performances: 68
Cast: David Carroll, Philip Casnoff, Judy Kuhn, Harry
Goz
Synopsis
The complicated story revolves around the Chess World Championships (loosely based on the legendary match up
between Boris Spassky and Bobby Fischer) during the Cold War. While the two opponents from the United States
(Freddie) and the Soviet Union (Anatoly) duke it out on the chessboard, an intricate game of politics and espionage
occurs in the background.
The first half of the World Chess Championship takes place in Bangkok. Freddie arrives with Florence and alienates
the press and his opponents with his temperamental cheap theatrics. A meeting is arranged at a restaurant, but
Freddie is nowhere to be found. Molokov, Anatoly’s advisor leaves to look for Freddie. Meanwhile, Florence and
Anatoly are attracted to each other. Freddie finds them kissing and feels betrayed by Florence. Although Anatoly is
married, he loves Florence. She has a confrontation with Freddie, packs her bags, and wants to leave Bangkok.
Anatoly defects and leaves with Florence.
Three months later, the second half of the World Championship takes place in Budapest (Florence’s homeland). The
Soviet Union allows Anatoly to return behind the Iron Curtain to play chess. Florence has a meeting with Molokov in a
church and offers to find her father or at least find out whether he is still alive. Anatoly and Florence are staying at the
hotel together and it infuriates Freddie to shape up for the match.
Florence learns that Anatoly’s wife, Svetlana, is in Budapest. Anatoly meets with her and is torn between his love for
Florence and compassion for his wife. Hardships are being imposed on her and members of his family since his
defection.
At the match, Freddie is beating an emotionally torn Anatoly. A deal is made. The Soviets want Anatoly back. There is
information about Florence’s father. Anatoly wants a week’s break in the match. Florence tries to talk to Freddie but he
refuses. Florence and Svetlana have a chance meeting in a restaurant where they discuss Anatoly. Both seem
destined to lose the man they love. Thanks to Molokov, Florence is taken through the streets of Budapest to meet a
man who might be her father.
The exhausted and confused Anatoly is the subject of speculation by the K.G.B., C.I.A., and the press. Anatoly enters
the arena and begins to play. At the height of the match, deciding to accept the K.G.B’s offer to return to Russia so that
Florence may be reunited with her father, he knowingly makes a wrong move. Freddie is the victor.
At the airport, Florence has a tearful goodbye with Anatoly. Once he is gone she is told that the man she met was not
her father after all. Instead, Anatoly had been traded for a captured C.I.A. agent. Betrayed by her country, having lost
her father and the man she loves, Florence is left alone to face whatever the future may bring.
“ANTHEM”
In the underground garage of the arena, Florence is given a letter from Anatoly by Walter stating that Anatoly, in spite
of the fact that he is married, wishes to defect because he loves her. Together, Anatoly and Florence escape. Upon
their arrival at the airport, they are faced by members of the press, who question Anatoly’s reasons for defecting. He
answers them with his stirring “ANTHEM.”
Trivia
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Chess originated as a successful record album before it became a stage production.
Two new songs were written by Bjorn and Benny for the Broadway production.
Although successful in London, the show lost six million dollars in New York.
Track # 3
"ON THE STREET WHERE YOU LIVE"
from the Broadway musical My Fair Lady
Music: Frederick Loewe
Lyrics: Alan Jay Lerner
Book: Alan Jay Lerner
Producer: Herman Levin
Director: Moss Hart
Opening: March 15,1956
Theatre: Mark Hellinger
Performances: 2,717
Cast: Julie Andrews, Rex Harrison,
Stanley Holloway, Cathleen Nesbitt
Synopsis
A professor of Phonetics, Henry Higgins, is listening to the various speech patterns of the people outside Covent
Garden, London. He bumps into an old colleague, Colonel Pickering, who has long admired the work that Higgins has
achieved in the field of Phonetics. Overhearing the strong cockney accent of a flower girl, Eliza Doolittle, Pickering
wagers Higgins that he cannot turn Eliza from a cockney flower girl into a lady who will be accepted as one of their own
by the upper class. Eliza agrees to take speech lessons in order to fulfill her dreams of working in a flower shop.
Intrigued by the challenge, Higgins moves Eliza into his home and proceeds to coach her and turn her into a lady as
Pickering has challenged.
Meanwhile, coal-man Alfred Doolittle, Eliza’s father, always one with an eye to the main chance, learns of the situation
and attempts to capitalize on the events but is unsuccessful. More successful, however, is Higgins. Eliza is learning
how to speak and act as an upper-class lady. Taken to the social event of the season, the race at Ascot, she manages
to charm everyone in spite of the odd lapse of speech, especially a young man named Freddy Eynsford-Hill.
Later, she attends a magnificent ball where she is studied by one of Higgins’ ex-students, Zoltan Kaparthy, who
suggests to those around that Eliza is a member of a European noble family. Once again, Eliza carried off the
deception but receives no praise or acknowledgement of her achievements from Higgins. Deeply upset by his lack of
feeling, she leaves the house and runs into Freddy. He professes his love for her but she demands that he stop talking
about it. In an attempt to find her true identity, she returns to the flower mart. She encounters her father, who informs
her that he is getting married to his long-time sweetheart. He spends one last night on the town.
Higgins discovers Eliza has left him. He finds Eliza at his mother’s home where she has gone for warmth and
sympathy. She tells him that he is rude, selfish, and an egomaniac. He leaves and back at his study reminisces about
the way she has affected his life. Eliza steps in quietly and he finally notices her. He leans back in his chair and with a
long, contented sigh, demands his slippers as the curtain falls.
"ON THE STREET WHERE YOU LIVE"
Henry Higgins introduces Eliza to society for the first time at the Ascot Races. Beautifully gowned and very much the
lady, she instantly captivates the heart of Freddy Eynsford-Hill. He follows her and haunts the Higgins home and the
street for a sight of Eliza, while singing “ON THE STREET WHERE YOU LIVE.”
Trivia
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Winner of six Tony Awards, My Fair Lady came into being only after Hungarian film producer Gabri Pascal
devoted the last two years of his life to finding writers who would adapt George Bernard Shaw’s play,
Pygmalion, into a musical. Rejected by Rogers and Hammerstein and Noel Coward, Pascal finally turned to the
talent of duo Frederick Loewe and Alan Jay Lerner.
Track # 4
"WHAT KIND OF FOOL AM I ?"
from the Broadway musical Stop the World - I Want To Get Off!
Music: Leslie Bricusse
Lyrics: Leslie Bricusse and Anthony Newley
Book: Leslie Bricusse and Anthony Newley
Producer: David Merrick
Director: Anthony Newley
Theatre: Shubert
Opening: October 3,1962
Performances: 555
Cast: Anthony Newley, Anna Quayle
Synopsis
The show was conceived as “a simple, lighthearted satirical life cycle of the seven ages of man (youth and
adolescence, decision, sophistication, maturity, sagacity, retirement and senility).” It is an allegory about acquiring fame
and power but ending up disillusioned. All the characters dress in simplified clown costumes with Littlechap (Newley)
and all the women in his life (Quayle) wearing clown makeup on their faces as well.
The story begins as Littlechap mimes the birth and early childhood of a baby. He mimes graduating from school,
turning his pockets inside out and looking for a job. He gets one in a factory and meets Evie. She snubs him but he
pursues her. Littlechap finds out it is the boss’s daughter and promises not to see her again. He runs into her only to
find out she is pregnant. Littlechap shouts out “Stop the World” and addresses the audience as he does throughout the
play whenever there is a problem. He marries her and has a daughter, Susan.
As he moves up the ladder of success, Evie once again becomes pregnant and has another daughter, Jane. He is
disappointed she is not a son. He forces his workers into a faster pace which impresses the boss. He is sent to
Moscow where he meets Anya, a Russian version of Evie. He wants a son with Anya and then a boy appears on stage.
He mimes struggling to life and dying. Littlechap looks in horror seeing the death of his son, and once again shouts,
“Stop the World.”
Littlechap returns from Russia, dissatisfied with his family and life. His boss is pleased with his work in Moscow and
gives him a raise. With a higher salary, Littlechap can afford a maid and then Ilse, a German version of Evie, appears.
He becomes estranged from Evie and moves his things into the spare room. On a trip to America, he meets Ginnie, the
American version of Evie. He declares his love for her but returns home when he finds out his daughter is pregnant.
He seeks political office and wins by a landslide. He advances through various Parliamentary committees until he has a
heart attack. Evie and Littlechap move to a retirement community and he realizes a bit late what a treasure Evie is. She
passes on.
Meantime, Littlechap’s youngest daughter gives birth to a son. Death appears and Littlechap intervenes protecting the
boy and allowing him to survive. From offstage, Littlechap shouts “Stop the World.” He runs onstage and starts the
whole play over again by miming the birth.
"WHAT KIND OF FOOL AM I?"
After the death of Evie, Littlechap tells his daughter, Jane, that he is writing his memoirs. He recalls the women in his
life including Anya, Ilse, and Ginnie. He realizes he was never in love with anyone except himself. Thus he sings
“WHAT KIND OF FOOL AM I ?”
Trivia
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Anthony Newley was thirty years old when he co-wrote Stop the World with Leslie Bricusse.
Leslie Bricusse wrote the lyrics to Jekyll and Hyde, with our genius, Frank Wildhorn.
Track # 5
"SOME PEOPLE"
from the Broadway musical Gypsy
Music: Jules Stein
Lyrics: Stephen Sondheim
Book: Arthur Laurents
Producers: David Merrick and Leland Hayward
Director: Jerome Robbins
Opening: May 21,1959
Theatre: Broadway
Performances: 702
Cast: Ethel Merman, Sandra Church, Jack Klugman,
Lane Bradbury, Maria Karnilova, Paul Wallace,
Jaqueline Mayro
Synopsis
The musical, Gypsy, is loosely based on the memoirs of Gypsy Rose Lee, a famous burlesque stripper. Baby June
and Baby Louise, as their mother calls them, are auditioning their act at various venues under the watchful eye of their
mother, Rose. She is an overbearing stage mother who is pushing her daughters into vaudeville. They have not been
successful in getting bookings into any large theaters and have only been able to perform at small venues that pay very
little. Rose is determined that June and Louise will make it big so they will have plenty of money.
Rose decides to push the career of her more talented daughter, June, and gathers some boys to go on the road with
them. The act is called “Dainty June and Her Newsboys” when it hits the vaudeville circuit. Rose manages to charm a
candy salesman named Herbie into being their manager.
When June and Louise begin to mature and vaudeville begins to fade, Herbie wants to retire the act and marry Rose.
Rose will not hear of any such thing. She changes the costumes, calls the very same act “Dainty June and Her
Farmboys,” and heads back out on the road. They are not successful because there are very few bookings for them.
June and Louise long to have a normal life away from the stage, but Rose won’t hear of it. When she can’t take it any
more, June elopes with Tulsa, one of the farmboys from the act. Louise is left to break the bad news to her mother.
Rose is very upset, but she doesn’t stay that way for long. Although Louise has little talent, her mother reworks the act
again to star Louise. Herbie is successful in booking the act, but they discover the theater is a house of burlesque when
they arrive there. A trio of strippers convinces Louise that she can be a star if she can get herself a gimmick. When it is
announced that the star of the show has been arrested, Rose pushes Louise on stage to do a strip-tease.
Louise decides to become a burlesque star and changes her name to Gypsy Rose Lee. She headlines at Minsky’s
Burlesque in New York City and becomes independent of her mother for the first time. The two quarrel and Rose
storms out of the room. After a time, mother and daughter reach a mutual understanding.
"SOME PEOPLE"
When Rose realizes the careers of her daughters are not taking off, she returns home to her father to ask him for
money. She wants to get the act on the right track, and she needs money to do it properly. Rose is tired of working and
paying bills and never getting ahead. She expresses these feelings to her father when she sings “SOME PEOPLE,” a
song that tells of her dream for them. When her father refuses to give her money, Rose steals his gold watch and takes
off with June and Louise to pursue her dream.
Trivia
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This musical is called Gypsy instead of Rose, even though it is about Rose, because Gypsy Rose Lee herself
stipulated that she wanted the title to be Gypsy. In order to use her memoirs, they had to follow her wishes.
Originally Stephen Sondheim was supposed to write both the music and lyrics, but Ethel Merman refused to
work with an untried composer.
Track # 6
“I’LL BE SEEING YOU”
from the Broadway musical Right This Way
Music: Sammy Fain
Lyrics: Irving Kahal
Book: Marianne Brown Waters, Parke Levy
and Alan Lipscott
Producer: Alice Alexander
Directors: Bertram Robinson and Alice Alexander
Opening: January 4,1938
Theatre: 46th Street
Performances: 15
Cast: Henry Arthur, Hugh Ellsworth, Jack Gilchrist,
Dorothea Jackson, Joe E. Lewis, Tamara, Thelma
White, Jack Williams
Synopsis
A young American man named Jeff is working for a newspaper in Paris. During his time there, he has been living with
his girlfriend, Mimi, and they are very much in love. The city of Paris holds so many memories for them.
All is going well until Jeff’s boss decides to call him back to America to work. It was not uncommon for unmarried
people to live together in Paris, but Jeff could foresee problems if they were to do so back in America. To prevent any
problems when they return home, Jeff insists that he and Mimi marry before coming back. They do get married, but
there are problems in the marriage and it doesn’t work out.
Mimi decides to leave Jeff and go back to Paris. Before long, Jeff follows her there, and they get back together.
“I’LL BE SEEING YOU”
Mimi and Jeff’s marriage doesn’t work out, and she returns to Paris. Mimi is in Paris alone, thinking about the many
beautiful memories they shared at all the old familiar places. She sings “I’LL BE SEEING YOU” as she recalls the time
they spent together in Paris.
Trivia
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Right This Way contained only two other songs besides “I’LL BE SEEING YOU,” “I CAN DREAM CAN’T I” and
“I’VE GOT RINGS ON MY FINGERS.”
“I’LL BE SEEING YOU” was first recorded on February 26, 1940 by Tamara, who sang the song on Broadway.
The song wasn’t a hit until it was recorded by Bing Crosby and Tommy Dorsey in 1944. Bing Crosby’s version
entered the charts two months later where it stayed for twenty-four weeks. It topped the charts at # 1 for four
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weeks. It was popular because the lyrics expressed the feeling of lovers who were parted during World War II.
This song was a hit for the Andrews Sisters in 1950 and was adopted by Liberace as his theme song. Sadly, the
song didn’t become popular until two years after Irving Kahal’s death.
Track # 7
“GOLD”
from the Upcoming Broadway musical Camille Claudel
Music: Frank Wildhorn
Lyrics: Nan Knighton
Book: Nan Knighton
Producers: Clear Channel Entertainment
Director: Gabriel Barre
Opening: 2003-2004 Season
Theatre: TBA
Performances: Until Jake goes to college so Linda
can stay home!
Cast: Linda Eder & Company
Synopsis (Nan Knighton)
Camille Claudel is a musical about a woman who broke all the rules. In the late 19th century, women did not become
sculptors. They certainly did not sculpt nudity and sexuality, and God knows they didn’t live alone, and smoke and
drink, and have scandalous love affairs with world-famous artists like Auguste Rodin. No woman would dare defy
society like that-except Camille. As one critic of the time put it, “she was revolt against nature a woman of genius.” Her
life was a fascinating and spirited struggle, and in the end she opened a door for all women artists who followed.
Synopsis (Linda Eder on 10/12/02 at the Union County Arts Center, Rahway, NJ)
So far, everything about Camille Claudel is going really well. People are excited about it, and I have to say it’s a really
wonderful script. And, of course, the music is great! The music is written by my husband, Frank Wildhorn, and the book
and lyrics are written by Nan Knighton. She’s a fabulous writer, and she has written an amazing script. She has truth to
write about, and you know what they say about truth. It’s an amazing story about an amazing woman named Camille
Claudel. If the name doesn’t mean anything to you, that’s ok. That’s part of the reason we want to do this show. Her
name should mean something to us. She was a turn of the century French sculptor and a woman who was trying to
make it in what was very much a man’s world, and she had an amazingly difficult battle. She wanted to do it like the
guys were doing it. She didn’t want to sculpt the pretty little clothed figurines like other women were doing. At this time,
women weren’t even allowed into the art schools. So it was very, very difficult. Camille became the muse, the protege,
and the mistress of the famous sculptor, Rodin. That is what our story is really about. The two of them had an amazing
ten to fifteen year period when they were together, apart, and then back together again creating fabulous art, each
stimulating the other in their work. Most of Camille’s work was incredible. Rodin knew it. Unfortunately, most of the
world would not know it, and Camille would die never knowing if anybody ever appreciated her art. That’s why we want
to do this piece. There are over eighty works of art in the world today that are hers and they are gorgeous. She was a
wonderful pioneer and that’s why we want to celebrate her.
“GOLD” (Nan Knighton)
Because Rodin was Camille’s teacher and lover, people always assumed that her work was merely an imitation of his.
Nothing could be further from the truth, and Rodin himself said, “I showed her where to find the gold, but the gold she
found was truly her own.” Her life was an amazing struggle, but she always knew that once she touched the gold. She
expresses these feelings as she sings “GOLD.”
Trivia
●
●
Camille Claudel was only seventeen when she arrived in Paris in 1881 and began to sculpt.
Frederic-Auguste Bartholdi created the Statue of Liberty at the same time Camille was in Paris.
●
Camille Claudel created 260 to 280 cast pieces in clay, plaster, marble, or bronze.
Track # 8
"DON'T RAIN ON MY PARADE"
from the Broadway musical Funny Girl
Music: Jules Styne
Lyrics: Bob Merrill
Book: Isobel Lennert
Producer: Ray Stark
Director: Garson Kanin
Opening : March 26,1964
Theatre: Winter Garden
Performances: 1,348
Cast: Barbra Streisand, Sydney Chaplin, Kay
Medford, Danny Meehan
Synopsis
Funny Girl is the life of vaudeville comedienne, Fanny Brice (1891-1951) and her rise to fame in the early 20’s. The
show opens in Fanny’s dressing room at the New Amsterdam Theatre, where she is a reigning Ziegfeld star. Fanny is
waiting for her husband, Nick Arnstein, to return after being in prison. As she sits in her dressing room, her thoughts
are on something more important than the show. She must make a decision about their future. As she ponders her
problem, she remembers herself as a stage struck teenager as the story flashes back to her origins. The scene opens
as her mother’s poker buddies think she’s wasting her life trying to break into show business, but she is fiercely
determined to get ahead in the theatre.
Fanny leaves to audition for Keeney’s Music Hall but gets turned down. She tries to convince the dance director, Eddie
Ryan, she has star potential and he agrees to hire her. She wows the audience with a specialty number. After the
performance, she meets Nick Arnstein for the first time. Immediately, she is attracted to him, but thinking she will never
see him again, Fanny concentrates on her career.
Months later, she gets an audition call from Florenz Ziegfeld for the Follies. Fanny is upset about the finale number but
does it with her comedic touch. Ziegfeld is furious with her but realizes she is right and lets her continue her way.
Meanwhile, she meets Nick Arnstein again and invites him back to her mother’s saloon on Henry Street for a block
party in her honor. They have a few quiet moments to themselves during the celebration, but Nick must leave for
Kentucky early in the morning. He promises to call her when he returns.
Time passes and Fanny is on tour with Ziegfeld’s show in Baltimore. She runs into Nick and he arranges a dinner. She
is still upset that he never called when he returned from Kentucky but meets him anyway. They spend time together
and fall in love. He wants to marry her but wants to make a fortune before he does. He leaves for Europe. Fanny walks
out on the show and follows him.
Fanny and Nick are married and move into a mansion on Long Island. During rehearsals for the new Follies, Nick gets
involved in a new deal. Fanny’s opening night of the new show is ruined by Nick’s failure to appear. After the
performance, he comes to her dressing room and tells her that his venture has failed and the money is gone.
She tries to treat the bad news lightly and not make Nick feel worse. Nick feels Fanny is making light of his ventures
and complains that she treats him like a child. For the first time, Fanny begins to have doubts about their relationship.
Now she anonymously tries to put up money for him in another venture. But when he finds out about this, he becomes
incensed; he is not comfortable being so dependent on his wife. Out of desperation, he gets involved in a shady bond
deal. Nick is soon arrested for embezzlement. He spends eighteen months in jail.
Back to the present day, Fanny is in her dressing room remembering her part. Fanny tells Ziegfeld she’s ready to give
up performing if Nick asks her. Nick arrives and tells her he thinks they should split up. Fanny is shocked but pretends
this is what she wants also. Nick leaves and Fanny prepares to face the future without him.
"DON'T RAIN ON MY PARADE"
At the end of the Baltimore run, Fanny’s train is leaving to go to Chicago while Nick must catch the train to New York
and then head for Europe. Nick tells Fanny he loves her and she suggests he marry her. He wants to make a fortune
before he does. On the spur of the moment, Fanny decides to leave the tour and follow Nick to New York. Eddie and
Ziegfeld try to talk her out of it, but Fanny is intent on following Nick. She has success in show business and now wants
a personal life as well. Eddie tries to advise her by telling her one more time, “Don't” and she replies with “DON’T RAIN
ON MY PARADE.”
Trivia
●
●
●
Before Barbra Streisand won the leading role in Funny Girl, it was turned down by three actresses.
After five opening night postponements, three directors, four title changes, and numerous script revisions, it was
a great success.
Linda credits Barbra Streisand as being one of her inspirations as a singer. She has the utmost respect and
admiration for her and sings “DON’T RAIN ON MY PARADE” in her concerts as a tribute to this great singer.
Track # 9
“THE IMPOSSIBLE DREAM”
from the Broadway musical Man of La Mancha
Track # 13
“MAN OF LA MANCHA (I, DON QUIXOTE)”
Music: Mitch Leigh
Lyrics: Joe Darion
Book: Dale Wasserman and Albert Marre
Producers: Albert W. Selden and Hal James
Director: Albert Marre
Opening: November 22,1965
Theatre: ANTA Washington Square
Performances: 2,328
Cast: Richard Kiley, Joan Diener, Irving Jacobsen,
Ray Middleton
Synopsis
Based on The Adventures of Don Quixote, by Miguel de Cervantes y Saavedra, Man of La Mancha is a comic tragedy
of man’s struggle to better himself and the world in which he lives. Miguel de Cervantes, aging and an utter failure in
his varied careers as playwright, poet and tax collector for the government, and his man Sancho, have been thrown
into a dungeon in Seville to await trial by the Spanish Inquisition. The thieves and robbers in the prison are quick to
descend upon the new arrivals and ravish their possessions. Cervantes concedes everything except a carefully
wrapped package of papers. He begs the prisoners to allow him to win back the papers, convincing them that they are
only of value to him. Cervantes presents a story as his defense, with his “jury” actors in the play. Cervantes plays
Alonso Quijana, a man who has set his own reality aside and becomes Don Quixote de La Mancha.
As the knight-errant, he tilts at windmills and champions an unwilling harlot named Aldonza. To Quixote’s “touched”
mind, she is the fair maiden, Dulcinea. Through his kind words and attention, she attempts to believe in a better way of
life. Together with Sancho, they vow to route the muleteers’ attempt to torment Aldonza. For his valour, Quixote
persuades the lord of the castle (the innkeeper) to knight him. It is following this dubbing that the muleteers catch
Aldonza alone and brutally assault her.
Meanwhile, Quixote’s family has sent his niece’s fiancée, Dr. Carrasco, to bring Quixote back to his senses and his
home. Posing as the Knight of Mirrors, Carrasco succeeds. Reality is so inhumane that the old man is soon near death.
Aldonza finds Quixote’s home and begs forgiveness for her ingratitude. As Don Quixote, he has brought beauty and
warmth to her life for the first time. The old man rallies to Quixote’s idealism, but his frail body succumbs in his last
moment of triumph.
Moved by his story, the prisoners vote that the tale of Don Quixote shall live. They return the manuscript just as
Cervantes is called before the Inquisition.
“MAN OF LA MANCHA (I, DON QUIXOTE)”
Cervantes is in prison with his manservant to await trial. His possessions are confiscated and he pleads to keep a
package. When the “Governor,” the self-anointed king pin of the prison, threatens to throw it in the fire, Cervantes stops
him, demanding a trial and proposes to offer a novel defense in the form of entertainment. He will become a knighterrant and set forth into the world to right all wrongs. He becomes his invented character, Don Quixote. Quixote and
Sancho mount their “horses” and ride forth to the brave music of “MAN OF LA MANCHA (I, DON QUIXOTE).”
“THE IMPOSSIBLE DREAM”
Quixote asks of “The Lord of the Castle” (the Innkeeper), that he be officially dubbed a knight, and the Innkeeper
agrees. He will dub him at dawn, after Quixote has held vigil in the proper manner. Aldonza (Dulcinea) demands to
know why he does these things. “I hope to add some measure of grace to the world,” replies Quixote. “It is necessary
to follow the quest. It is the mission of each true knight, his duty, his privilege.” Then he sings “THE IMPOSSIBLE
DREAM.”
Reprise
In the prison, the drums of the Inquisition are heard as the guards come to fetch Cervantes for his real trial. The
Governor hands Cervantes his precious manuscript. The prisoners sing a finale, “THE IMPOSSIBLE DREAM,” to lend
Cervantes courage as he mounts the stairs.
Trivia
●
●
●
●
Six years prior to its stage debut, it premiered as an original drama written for television starring Lee J. Cobb as
Quixote and Eli Wallach as Sancho. It aired under the title I, Don Quixote.
Man of La Mancha was originally booked into an off-Broadway theatre and was ignored by everyone but the
audience. The production was a critical success and within four months was transferred to the Martin Beck.
Rex Harrison was cast as the original lead and backed out. Richard Kiley took over the role and won the Tony for
Best Actor in a Musical.
It has recently been revived starring Brian Stokes Mitchell, at the original Broadway theatre, the Martin Beck.
Track # 10
“A NEW LIFE”
from the Broadway musical Jekyll and Hyde
Music: Frank Wildhorn
Book: Leslie Bricusse
Lyrics: Leslie Bricusse
Producers: PACE Theatrical Group, Inc. & Fox
Theatrical
Director: Robin Phillips
Opening: April 28,1997
Theatre: Plymouth
Performances: 1,543
Cast: Robert Cuccioli, Linda Eder, Christiane Noll,
Rob Evan, George Merritt, Barrie Ingham
Synopsis
Adapted from Robert Louis Stevenson’s 1886 novella, The Strange Case of Dr. Jekyll and Mr. Hyde, Jekyll and Hyde
tells the story of a Dr. Henry Jekyll, a brilliant young doctor and research scientist, who, distraught over his father’s
mental illness, embarks upon a quest to isolate the dual elements of good and evil that are constantly struggling for
supremacy inside every human being. Refused help by his peers and superiors, he begins experiments on himself with
his formula. He meets with success and shocking results. Jekyll inadvertently gives life to Edward Hyde, his evil alter
ego, a murderous being who lets loose a reign of terror on the city of London. He murders the members of the Board of
Governors who had ridiculed Jekyll’s research. He fights in vain to keep his darker half under control.
Caught in the cross-fire of the internal struggle are Jekyll’s fiancee, Emma Carew, her father, Sir Danvers, Jekyll’s best
friend, John Utterson, and a disillusioned young soul who wants to make something of her life, Lucy Harris.
Jekyll first encounters Lucy at a club, “The Red Rat.” Utterson tries to take Jekyll’s mind off his problems by dragging
him unwillingly to this disreputable dive. Jekyll is incensed when the club’s seedy owner abuses Lucy in front of the
customers. Consoling her, Jekyll gives her his card, should she ever need a friend. He receives an unexpected visit
from Lucy, who has been badly injured by a sadistic gentleman visitor to the “The Red Rat.” He is transfixed with horror
as Lucy tells him that it was Hyde….Edward Hyde. Jekyll leaves as Lucy daydreams of an impossible relationship with
Jekyll as she wanders the streets of London.
The killings continue. Unaware of the truth, Emma is frantic with worry about her fiancée, trying to bring him back to the
path of reason. She will wait for him however long it takes. Jekyll’s experiment is out of control and his friend, Utterson,
goes in search of drugs to help his friend to continue his struggle against Hyde. Utterson returns to Jekyll’s lab and
finds out about Hyde. Jekyll sends Utterson to Lucy’s room with a letter begging her to leave London. He leaves before
Hyde arrives and kills her. Hyde returns to the lab. In a desperate final battle for supremacy, a confrontation takes
place with Jekyll’s alter ego, Hyde.
The final scene takes place at Henry and Emma’s wedding. Just as they are about to exchange vows, the spirit of Hyde
takes over him. He strangles a guest and threatens to kill Emma. She knows he will not harm her. He begs Utterson to
end his suffering and set them free. Utterson takes out his swordstick but cannot do it. Hyde runs onto his sword and
falls, mortally wounded. Emma cradles him in her arms as he dies in her embrace.
“A NEW LIFE”
Jekyll gives Utterson a farewell letter to Lucy, begging her to leave London at once. He reads Jekyll’s letter to the
illiterate Lucy and begs her to leave with the money he has sent her to start a new life elsewhere. Lucy, left alone,
considers her future as she sings “A NEW LIFE.”
Trivia
●
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●
The production was nominated for four Tony Awards.
Robert Cuccioli won the Drama Desk for Best Actor.
Linda Eder won a 1997 Theater World Award for Outstanding Debut Performer in NYC.
Track # 11
"EDELWEISS"
from the Broadway musical The Sound Of Music
Music: Richard Rodgers
Lyrics: Oscar Hammerstein
Book: Howard Lindsay and Russel Crouse
Producers: Leland Hayward, Richard
Halliday, Rodgers & Hammerstein
Director: Vincent J. Donehue
Opening: November 16,1959
Theatre: Lunt-Fontanne
Perforamces: 1,443
Cast: Mary Martin, Theodore Bikel, Kurt Kasznar,
Marion Marlowe, Patricia Neway, Brian Davies, Lauri
Peters
Synopsis
Based on the autobiography of Maria von Trapp, The Sound of Music is set in Austria, the homeland of Linda’s father,
Georg Eder. This musical tells the story of Maria Rainer, a free-spirited postulant who is preparing to become a nun.
The Mother Abbess and most of the other nuns don’t believe that she is cut out for the religious life. The Mother
Abbess decides that Maria should experience life outside of the Abbey to see for herself if the religious life of a nun is
meant for her.
To gain this experience, Maria is sent to be the governess for the seven children of Captain Georg von Trapp, a naval
officer who has been raising his children alone since the death of his wife. He has turned his children into robots who
must respond to him at the sound of his whistle. The children are very difficult, and they have succeeded in getting rid
of all the governesses before Maria with their mean tricks. Maria treats the children with kindness and love, and she
soon wins them over. She teaches them how to sing and have fun again. At the same time, Maria angers Captain von
Trapp because she refuses to respond to his whistle and obey his orders.
Although Georg is engaged to marry Elsa Schraeder, Maria finds herself falling in love wih him. When she realizes
what is happening, she runs back to Nonnberg Abbey. The Mother Abbess tells Maria that she must go back to the von
Trapp household to find out for herself if she was meant to be married. She won’t let Maria run away and hide from her
problem.
Soon after Maria returns, it is apparent that it will not be long before the Nazis take over Austria. Georg will hear
nothing of it and vows that he will never give in to them. On the other hand, Elsa believes that they should accept the
situation and cooperate with the Nazis. Elsa and Georg realize that their marriage will never work because of their
opposing beliefs. Elsa returns to Vienna, leaving Maria free to tell Georg of her feelings for him.
With the approval of the von Trapp children and the Mother Abbess, Georg and Maria marry at Nonnberg Abbey. While
they are on their honeymoon, the Nazis invade Austria and summon Captain von Trapp to report for duty in the Navy of
the Third Reich. Georg refuses to serve under the Nazis and develops a plan to flee Austria with his family. They
manage to make their escape and hide in Nonnberg Abbey for a time until they can safely make their way over the Alps
to freedom.
"EDELWEISS"
Captain von Trapp’s entire family is entered in the Salzberg Festival as a singing group, and he plans a way to use this
appearance as an opportunity to escape from Austria. The family will exit the stage one or two at a time while singing
“SO LONG FAREWELL” and will leave the building before the Nazis realize what is happening. Before this final
farewell, Captain von Trapp, joined by Maria when he becomes too emotional to go on, sings “EDELWEISS” as a
tribute and farewell to his homeland. He knows he will never return and this is his good-bye to Austria.
Trivia
●
●
●
●
They were originally supposed to use music actually sung by the von Trapps with one song written by Rodgers
and Hammerstein. Rodgers and Hammerstein wouldn’t agree to this, so eventually they were allowed to write
the entire score.
The Sound of Music Original Cast Recording was the # 1 album of 1959 and sold over 2,000,000 copies.
Edelweiss is a small white flower found in the Alps. It holds special meaning to the people of Austria,
Switzerland, Germany, and Italy.
Linda played the role of the Mother Abbess in high school.
Track # 12
“UNUSUAL WAY”
from the Broadway musical Nine
Music: Maury Yeston
Lyrics: Maury Yeston
Book: Arthur Kopit
Producers: Michael Stuart, Harvey J. Claris, Roger
S. Berlind, James H. Nederlander, Francine LeFrak,
and Kenneth D. Greenblatt
Director: Tommy Tune
Opening: May 9, 1982
Theatre: Richard Rodgers
Performances: 732
Cast: Liliane Montevecchi, Raul Julia, Anita Morris,
Karen Akers, Shelly Burch
Synopsis
Nine revolves around one central character, Guido Contini, a forty-year-old Italian movie director who is hailed as the
best, yet can’t seem to find his creative muse anymore. His last three films have been flops and he suffers from a midlife crisis fueled by endless diversions of his decadent lifestyle. One such diversion occurs while he is vacationing at a
Venetian spa, trying to repair his crumbling marriage to his wife, Luisa. He discovers that his mistress, Carla, is also in
Venice and she provides considerable distractions.
Guido is also enamored of his former protégée Claudia Nardi, the actress, and is hard pressed to choose from among
the three women in his life. To make matters worse, his Parisian producer, Liliane La Fleur, insists that he create a
movie musical for her, but he hasn’t the slightest idea for a film.
Tormented, Guido is haunted by three earlier moments in his life when, as a child of nine, he was fawned over by his
mother and aunt, introduced to sexuality by the exuberant prostitute, Saraghina, and punished at his parochial school
for having gone to visit Sarah on the beach. When almost all seems lost, Claudia comes to Venice and inadvertently
inspires Guido’s idea for his movie. The film begins rehearsal immediately, but while it is in progress, Guido violates a
trust with Luisa and alienates the other women in his life. Abandoned by Luisa, Carla, and Claudia, and with his film
doomed to failure, Guido becomes seriously disoriented and fantasizes suicide.
He is saved by the spectre of his nine-year-old self, Little Guido, who urges him toward maturity after which Guido
abandons at last his orchestra of women and sets out in search of his one true love – Luisa.
“UNUSUAL WAY”
When things look bleak for Guido, Claudia arrives in Venice. She expresses her feelings for him in a very “UNUSUAL
WAY.” Claudia’s presence and song inspires Guido to go ahead with the idea for his movie.
Trivia
●
●
●
Nine is based on Frederico Fellini’s Film, 8-1/2, an adaptation from the Italian version by Mario Fratti.
Nine won five Tony Awards in 1982 including Best Musical.
The first revival is set for this spring, starring Antonio Banderas.
References
REFERENCES CITED AND COPYRIGHT DISCLAIMER
Much of the factual content for the BROADWAY MY WAY section was researched using materials found on third party
websites which have no affiliation with THE VOICE. The Editorial staff of THE VOICE has used various facts, plot
summaries, and images from web-based sources. Under the United States Copyright and Fair Use Laws, THE VOICE
has been granted full permission in reproducing all content on this site because it is not intended for profitable use, is
being distributed for the soul purpose of educating the general public, and does not incorporate more than the allowed
maximum permitted (10 %) of our total content to be deemed "infringed" given the medium which publication was
provided. The list below incorporates all the sites which were used for BROADWAY MY WAY. Any item denoted with
an * indicates that multiple sources of information were provided using such websites.
CONTENT
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http://www.matthewkingston.com/theatre/database *
http://www.hahns.tv/Musicals/Chess/chess.htm
http://www.curtainup.com *
http:// www.theatrehistory.com *
http:// www.imagi-nation.com *
http:// www.ibdb.com *
http:// www.musicalheaven.com *
http://www.frankwildhorn.com *
Jekyll & Hyde The Musical Liner Notes
http://www.broadwaytovegas.com/July6,1998.html
http://www.stageagent.com/cb/info.pl/ti/la_cage_aux_folles
http://musicals.net *
http://www.iclassics.com/iclassics/ *
http://www.ninebroadway.com/
http://www.centrohd.com/biogra/n1/nine_this_musical_adaptation_of_htm
http://www.sheetmusicplus.com
http://www.nodanw.com/biographies/sammy_fain.htm
http://www.bellevuechamberchorus.net/Research/20thCentury/Music/IllBeSeeingYou
http://www.kcmetro.cc.mo.us/pennvalley/biology/lewis/crosby/IllBeSeeingYou.html
http://www.nordanw.com/biographies/sammy_fain.htm
http://www.onstage.co.nz/database/right _this_way/right_this_way.htm
http://www.calpoly.edu-bway/chess
http://www.dalewasserman.com
http://www.prigsbee.com
http://users.bestweb.net-foosie/newley.htm
http://www.bjsmusic.com/fgbway/html
I always say that I'm lucky to work with the musicians that I do,
and in the case of David Finck, I got lucky really early on. As a
singer's career grows, often so does the quality of the
musicians, and today I am surrounded by the very best. I can't
say enough about Dave. It always amazes me to hear what he
creates with his fingers and his mind. The acoustic bass is a
big awkward instrument, and Dave makes it sing like a delicate
violin. He's at the top of his game, and it is a great feeling to
know that no matter how high my career may go I don't need
to look any higher for a bass player or a friend. He's it!
As fans of Linda and her music, we have had the privilege of enjoying David Finck perform with her live in concert as
well as on her recordings. Who among us has not marveled at his skill as a bassist? His talent is simply amazing! It is
always a special treat when Linda features David during her concerts, and it is very evident to all that she admires and
respects him as a musician and also values him as a friend.
Most of us have come to know David because he is such an important part of Linda’s band. He has graciously agreed
to share with us a glimpse into his background and his very successful career in music. What everyone may not know
is that David is among the most sought after musicians in New York, maintaining an outstanding reputation in the
areas of jazz, popular, Broadway, and classical music. With a discography including more than one hundred
recordings, his musical skills are continuously requested by a wide range of international artists.
To fully understand how David’s musical career developed over the years, we decided to start at the very beginning. A
native Philadelphian, he was born into a musical family. His mother plays the clarinet and his father the guitar. More
recently, his father has taken up the bass as well. Neither parent chose to pursue music professionally. Both chose a
career in academia, but they saw to it that music was an important part of their family’s life. Because of his parents’
love of music, David grew up with an appreciation for all types of music. He began formal musical training on the piano
at the age of six. He told us that he still plays a little piano but admitted that he does not play well. He began playing
bass at age nine or ten, studying with Philadelphia double bassists Samuel Goradetzer and Michael Shahan. It was
around the age of eleven that he first realized that he wanted to pursue a professional career in music. Obviously, his
first and foremost inspiration to realize this goal came from his parents.
In addition to his parents’ influence, there was another very important person whose inspiration led David to a
professional career in music. His orchestra director in junior high school recognized his natural talent. As a result of his
influence during those years, David continued on the path that would lead him to a successful musical career. He
recalls that his first professional performance came during his junior high school years, probably at a private party.
Upon graduating from high school, David moved to Rochester, New York and began studies at the Eastman School of
Music. It was during his college years that he experienced one of his most memorable moments as a performer.
Thinking back on this special time, David recollects, “One of the most exciting moments for me as a live performer was
actually in college. I have a distinct memory of the orchestra playing Mozart’s Symphony 35. There were about sixteen
measures which we all played perfectly together. After the passage, everybody just stopped and looked at each other
in silence, amazed by what we had just done. It was eerie.”
David graduated from Eastman in 1980 and was immediately invited to join Woody Herman and His Thundering Herd.
Following a one year tour with Woody’s band, he settled in New York City, and since his arrival, he has played with
some of the most important artists and groups in the music industry. Among them are Dizzy Gillespie, Phil Woods,
Aretha Franklin, Joe Williams, Ivan Lins, Andre Previn, Kenny Rankin, James Moody, Clark Terry, Gilberto Gil,
Roberta Flack, Linda Ronstadt, The Orchestra of Saint Lukes, and the Carnegie Hall Jazz Band. Among his favorite
memories are performing with Dizzy Gillespie in Nice, France and with Rosemary Clooney at several of her concerts.
In the mid 1980’s, David had the good fortune of meeting Frank Sinatra at a nightclub called Jimmy Weston’s. He was
already very familiar with Sinatra and his music. When he was growing up in Philadelphia, his parents listened to a
weekly radio show called "Sunday with Sinatra." He vividly remembers listening to Sinatra’s music with his parents. It
was a thrill for David to meet Sinatra in person, even though it was a very brief encounter. He fondly recalls shaking
Sinatra’s hand and telling him that he was one of his favorite performers. Sinatra replied, “Thank you very much.” That
was the extent of the conversation. David also had the thrill of seeing him in concert. Reflecting on the experience, he
recalls, “I’ll never forget a concert in Carnegie Hall in the 1980’s. When Sinatra walked out on stage, we all jumped out
of our seats. It was just like being at a Beatles’ concert. I was a big fan. As I matured as a musician, I began to realize
what a powerful musical force he was.” In the early 1990’s, David was asked to write an article about Sinatra for The
Village Voice. This article titled “Sinatra at Eighty” appeared in a special jazz supplement on June 20, 1995. In
November of 1998, he gave a lecture at a symposium on Sinatra’s life and work at Hofstra University on Long Island.
This was an experience he thoroughly enjoyed. His research and analysis allowed him to gain an even deeper
understanding of this legendary singer’s skills.
In 1986, David began working with jazz pianist Steve Kuhn. His work with Kuhn includes six trio recordings featuring
drummers Lewis Nash, Joey Barron, Billy Drummond, and Al Foster. With the Steve Kuhn Trio, he has performed in
the United States, Europe, Canada, and Japan.
In 1987, David was invited to join saxophonist Paquito D’Riviera’s Havana-New York Ensemble, a move that would
eventually lead him to Linda. With Paquito he traveled throughout the United States, Europe, Japan, and South
America. He recorded several compact discs with the group including TICO-TICO (Chesky 1989), REUNION with
Arturo Sandoval (Messidor1991), LA HABANA-RIO CONEXION (Messidor 1992), PORTRAITS OF CUBA (Chesky
1996), and HAVANA CAFE (Chesky 1991). In a review of the HAVANA CAFE project, Scott Yannow of Cadance
Magazine wrote, “David Finck’s (composition) “LOOK AT YOU” is best to become a future standard.” (Cadence
Magazine September, 1992)
It was in the early 1990’s when David first connected with Linda and Frank during
the time he was working with Paquito D’Riviera. They were living in New York then,
and he was playing in the Havana-New York Ensemble with a drummer named
Mark Walker. Linda had first met Mark at an industrial show in Chicago for which
she was performing. Mark was the one who recommended David to Linda and
Frank. They have now been working together for over nine years. Speaking of their
special relationship, David told us, “Over the years I’ve really grown to enjoy the
time spent with Linda and Frank. They are truly nice, warm people with great
senses of humor.”
David has been an important part of Linda’s recordings during the time he has been
associated with her. These recordings include AND SO MUCH MORE (Angel
Records 1994), IT’S TIME (Atlantic 1997), JEKYLL & HYDE (Atlantic 1997),
SCARLET PIMPERNEL ORIGINAL BROADWAY CAST (Atlantic 1998), SCARLET
PIMPERNEL ENCORE (Atlantic 1999), IT’S NO SECRET ANYMORE (Atlantic
1999), CHRISTMAS STAYS THE SAME (Atlantic 2000), and GOLD (Atlantic 2002). Currently David is in charge of
hiring and coordinating the musicians for BROADWAY MY WAY as well as playing bass on the recording.
During his career, David has spent a great deal of time traveling throughout the world. Considering life on the road,
David told us it has obvious cons. For him, the cons include being away from his home and family, not being available
to work in New York, and the exhaustion that comes with traveling. The pros include being able to see friends in
different parts of the country and the world and enjoying the company of the others on the tour. Many lifelong
friendships are formed on tour. Despite the cons of touring, David really enjoys traveling with Linda and the band. He
recalls one trip in particular. “Everyone had a very good time on the road when Linda had two shows in Cancun. We all
brought our families and stayed for a week. They’re a very nice group of people, and it’s so much fun to travel with
them. Dave Hart, Linda’s manager, wasn’t along on that particular trip, but when he does travel with us, we have lots
of laughs. He is especially funny!”
While on the road with Linda, David has heard her perform her entire
repertoire many times. We wondered what song he most enjoys hearing her
sing in concert. He told us Linda’s rendition of “Children Will Listen”
particularly moves him. “I always love the way Linda sings “Children Will
Listen” because I feel that she is with that song in a special way. She
convinced me that this song was very meaningful to her. Unfortunately she
hasn’t been singing it lately.” Today his favorite song to hear Linda sing in
concert is “We’re All Alone.”
Around the same time that David first met and began working with Linda,
the renowned conductor and pianist Sir Andre Previn invited him to
participate in two recordings for Phillips Classics featuring soprano Sylvia McNair. The first, SURE THING, THE
JEROME KERN SONGBOOK, was released in 1995. The second, COME RAIN OR COME SHINE, was released in
1996 and featured the songs of Harold Arlen. David and Andre Previn have also recorded three compact discs for
Universal Music. The first, WE GOT RHYTHM, a collection of Gershwin songs, was released in 1998. The second,
released in 2000, is called WE’VE GOT IT GOOD AND THAT AIN’T BAD. It features the compositions of Duke
Ellington. The third disc, LIVE AT THE JAZZ STANDARD, was released in 2001.
Besides the recordings already mentioned, David’s discography also includes recordings with The Empire Brass
Quintet (Telarc 1987), Carly Simon (Arista 1997), Natalie Cole (Elektra 1996), Barry Manilow (Arista 1995), Peter,
Paul, and Mary (Warner Brothers 1995), Rosemary Clooney (Concord 1991, 1992), Ivan Lins (Velas 1995), George
Michael (Virgin 2000), Phil Woods (Chesky 1996), Lee Konitz (Venus 1995, 1996), and many others.
Other appearances in concert by David include the Free Jazz Festival in Rio and Sao Paulo, The Santa Fe Chamber
Music Festival, The New Jersey Chamber Music Society, The LaJolla Chamber Festival, Tanglewood, and Lincoln
Center.
Recently, the Editorial Staff had the great pleasure of attending Christy Baron’s show at Joe’s Pub in New York City,
where she was accompanied by David, as well as Barry Danielian and David Mann. Christy is a very talented singer
with a newly released CD, TAKE THIS JOURNEY. Just when we thought we knew everything about David’s
accomplishments in the world of music, we discovered that besides being one of the greatest bass players in the world
today, he is also a producer, arranger, and writer. In a review for the latest edition of JAZZTIMES, Christopher Louden
praises his work on this CD. “Much of the credit for the album’s polished luminosity must however, go to bassist David
Finck, who does quadruple duty as Baron’s co-producer, arranger, and music director. He also shows off his
considerable songwriting skills with ‘Gentle Journey,' a soothing samba that unfolds like a soigne ‘Come Fly With Me,’
and a whip-smart spin on the old ‘Guess Who I Saw Today’ theme called ‘The Way He Captured Me’.”
In addition to his busy recording and performance schedule, David also enjoys teaching and writing. He taught bass
and jazz improvisation at Bennington College in Vermont for two years and also coached singers during this period.
Today he occasionally teaches private lessons at home. When we asked David what he might be doing if he were not
a musician, he replied, “I would probably be a writer. I have written liner notes for recordings, articles for publication,
and plenty of letters to the editor.”
Considering all the different styles of music he has played and recorded, we were interested in knowing what we might
find in David’s personal CD collection. “I have a little bit of everything-Frank Sinatra, of course, jazz, classical, funk,
pop, and many Brazilian CDs, a genre of which I am particularly fond.”
We’re sure you are amazed by all David has done and continues to do in the music industry. Free time must be very
special to such a busy man. How does he spend his precious time away from recording and performing? His top
priority is his family. He is the proud father of three children ages seven, five, and one and a half who keep him very
busy. Are there any budding musicians among them we wondered? According to David, “It’s too early to tell. Right now
they are into soccer, baseball, ballet, Pokemon, Barbie, and Teletubbies!” Spending time with his children is most
important to him. David also loves to cook and really enjoys eating what he cooks. His favorite dishes to prepare are a
great pasta dish with shrimp and broccoli and grilled salmon. Sounds delicious!
We were amazed and impressed by the many accomplishments of David Finck in the world of music. As fans of Linda,
we are so lucky to have been introduced to such an accomplished musician and a very nice person. Thank you, David.
Jack Murphy has written so many wonderful words for me in song
lyrics and liner notes so it is a pleasure to be able to write something
for him. I love to sing his lyrics because they are always intelligent. He
can take our sentimental, sappy ideas about love and spin them out in
a whole new, smart way. He makes me feel like I'm Sinatra, and that's
saying something, "Let me tell ya!" Yeah, I think Ol' Blue Eyes would
have loved to wrap his lips around some of Jack's great timeless lyrics.
I will never forget the day that Jack gave me IF I HAD MY WAY. I still
feel the goosebumps and the tears that came when I heard him sing
them to me. Jack is a classic. I feel lucky that I get his work hot off the
press, and I feel blessed to have Jack and his beautiful wife, Jan, as my
friends.
Where do we even begin when trying to describe the amazing gift possessed by Lyricist, Composer, Performer, and allaround good guy, Jack Murphy? Perhaps a famous English poet said it best in the 19th century:
“But words are things, and a small drop of ink,
Falling, like dew, upon a thought produces
That which makes thousands, perhaps millions think."
- Lord George Gordon Byron
English poet (1788-1824)
No one writes like Jack Murphy. His lyrics have the power to
soothe and entrance, to intrigue and excite. Combined with
Frank Wildhorn’s music and Linda’s angelic voice, Jack
Murphy’s words are a force to be reckoned with.
We thought it would be interesting to get to know more about
the man behind the words.
Jack is best-known to Linda Eder fans as the lyricist who wrote
“an anthem for all women everywhere! (and a few men too)”
with the jazzy “I Want More.” He has written lyrics for Linda's
EMI (Angel) album, “And So Much More,” as well as songs on
her Atlantic albums: “It’s Time,” “It’s No Secret Anymore,”
“Christmas Stays The Same,” and “Gold.” In collaboration with
Frank Wildhorn and Gregory Boyd of the Alley Theater in
Houston, Texas, Jack wrote the lyrics for “The Civil War,” which
earned him a 1999 Tony Nomination for Best Musical Score.
He has written and performed albums for many record labels
including A&M, Verve, MGM, Elektra, Columbia and ABC
Dunhill, and was a staff writer for United Artists Music.
We met up with Jack at last-year’s Broadway Under The Stars concert in New York City, where Linda performed “If I
Had My Way,” for which he penned the stirring lyrics. More recently, in December 2002, we had the pleasure of seeing
Jack at the Duplex in Greenwich Village, where he, Frank, and Rob Evan, performed selections from a new
Wildhorn/Murphy musical, “Scott And Zelda: The Other Side Of Paradise.”
Jack graciously agreed to share with us some insights into his work with the Wildhorn team, what he’s up to when he’s
not creating poetry and a how not to get lost in Nashville.*
VOICE: How did you become part of “The Wildhorn Family”?
JM: It was ten years ago. I often say that Frank was my "thousandth" lunch. I had recently moved back to New York
from Los Angeles and was trying to re-establish myself ... you know, renewing old contacts and trying to meet new
people. My sister-in-law, Lynne Taylor-Corbett, was doing the choreography for the workshop of "Jekyll and Hyde,"
and she suggested that I meet this guy, who was always looking for new lyricists. So I did.
VOICE: What was your first collaboration with Frank?
JM: When we first met, Frank was in a pinch for quick lyrics. He gave me about five songs and said he needed lyrics in
a week, which is blazingly fast, but Frank's music was so inspiring that I was able to write good lyrics. Frank was
impressed and that was the beginning of a long friendship.
VOICE: Are those “first songs” anything we would know?
JM: I remember one of them was "Next Time I Love," which made it to Linda's "And So Much More" album, and
remains one of my favorites of Frank's and my collaboration. There were some pop things which were fun, but I think
the only memorable one from that first batch was "Next Time I Love."
VOICE: Ten years is a long time to work closely with someone. Any special highlights come to mind?
JM: There are a lot of them so it's hard to say, but I guess the biggest "special highlight" was that I got to get to know
Linda as a friend and write lyrics for her. I also got to meet her dad and get beat at golf by him, but that's another story
altogether.
VOICE: So what about Broadway!
JM: I'm happy to report that "Scott and Zelda: The Other Side
of Paradise," a love story based on the life of F. Scott
Fitzgerald, is completed. I finished the script and all the lyrics
but one on December 24... a sort of Christmas present for
myself and Frank. The Book and Worktape CD are just now
being copied and sent out to various interested parties. I'm very
proud of this show and I know Frank is as well.
VOICE: Are there plans for a demo, perhaps involving our
favorite leading lady?
JM: We should be doing demos either at the end of this month
[January] or the beginning of February, and both Frank and I
are very excited about who's going to be singing: Linda has agreed to sing the Zelda role; the Scott role will be sung by
Michael Feinstein - pretty hotsy-totsy demo singers don't you think? We have also been working with director Anne
Reinking, who seems to have a real affinity for the piece.
VOICE: Sounds excellent. And from what we heard at the Duplex in December, Scott and Zelda have quite a story to
tell. Along those lines, do you think it’s easier or harder to write about real people/true events, or doesn’t it even
matter?
JM: I don't think it's easier or harder to write about a real person as opposed to a fictional character. Unless you're
trying to write a documentary, for which I don't think a musical is the correct medium. Whether real or fictional, the
show must be emotionally true. I have no problem combining events from a real person's life or making a composite
character out of several real people as long as you stay true to the emotions involved. The Scott and Zelda show, for
instance, is very stylistic. I call it a ‘dream play’ insofar as time and place are as unstable as a dream, changing from
one moment to the next depending on what the situation dictates.
VOICE: Now that really does sound intriguing. We’ll keep our eyes on The Great White Way for this one! But we know
how everyone on the Wildhorn team loves to multitask. Are you working on any other Broadway projects at the
moment?
JM: Strangely enough Lynne Taylor-Corbett and myself are working on a show based on Frank's and my material,
tentatively titled "Is This Anyway To Fall In Love?" I say strangely because Lynne was the person who introduced
Frank and me in the first place, so it would appear that we've come full circle. The Show is what used to be referred to
as a "trunk show"-- that is full of songs that never made it into other shows or just emotionally orphaned material-- of
possible interest to Linda's fans is the fact that a lot of the songs are from her albums. Anyway, more about that as it
develops ... if you're interested that is.
VOICE: We sure are! That sounds like something they’ll be lining up around the block for. As they will for your new
album, which we heard you were working on. Tell us more about that.
JM: I'm happy to announce that my album is finished and just waiting to be mastered. The title of the album is "Live
and Learn," and should be available for sale by the beginning of February on my website: www.jackmurphymusic.com.
In a former life I used to do a lot of albums (six in total) for major record labels, so it was kind of fun to go back to my
rock n' roll, pop roots to do this record.
VOICE: What kind of music is on the album?
JM: The music is very eclectic. Everything from N'Orleans rock and roll a la "Little Feat," to intimate and quiet to
cinematic orchestral. But I hope all of it rings true.
By Carol Blalock
Business trips are never easy, especially when traveling long distances for boring meetings
and walking endless miles at a trade show. But every year I make the trip to attend the
Industrial Fabrics Show. I’ve been to Orlando, Nashville, and next year will go to Las Vegas,
all in search of the elusive million dollar client. This year, however, I was thrilled to attend
the show because it was just a sidelight to the main reason to go to Charlotte, NC on
October 25th and 26th…LINDA EDER would be performing the same weekend!!!
I spent the day anxiously awaiting the 8:00 pm starting time. I left my hotel (about 5 miles
from the Ovens Auditorium) two hours early, leaving extra “getting lost time” so that I
wouldn’t miss a single note. When I arrived, friendly ushers rummaged through my purse,
an unfortunate result of post September 11th events.
The Ovens Auditorium was recently renovated and will undergo additional renovations early next year. The seating
was very comfortable, and I was fortunate to find my seat in Row A, Seat 103. A hint for first time concertgoers: when
you’re attending a concert by yourself, you can get awesome seat locations!
The evening began with the Charlotte Symphony and an evening of “Trick or Treat”…six pieces having to do with
witches and goblins, including a selection from Peer Gynt. Albert-George Schram was conducting…a delightful,
congenial host!
After a brief intermission, the announcer said the words we all love to hear, “Ladies and Gentlemen, Linda Eder!” Linda
came out wearing a beautiful floor length black gown. The dress had a square neck and black sequined straps. The
front panel of the dress was black and the side panels were a sheer material with the same sequins as the straps. She
wore a simple diamond solitaire necklace, diamond stud earrings, and had on black satin criss-cross strap sandals.
Her hair was slightly back with bangs.
Jeremy Roberts (piano), Clint de Ganon (drums), and Dave Finck (bass) accompanied her to Charlotte, and the song
list was as follows:
1. Come Rain or Come Shine
2. Someone Like You
3. It’s No Secret Anymore
4. The Bells of St. Paul
5. On the Street Where You Live
6. What Kind of Fool Am I?
7. I’ll Be Seeing You
8. Havana
9. We’re All Alone
10. I Want More
11. Gold
12. Don’t Rain On My Parade
13. Vienna
14. I, Don Quixote (Man of La Mancha)
15. If I Had My Way
"Vienna" was a very special rendition indeed. Linda introduced the song by reading from a letter that she had received.
The parents of a little girl named Brittany Maier, of Irmo, SC, had written to Linda to tell her how much she means to
the Maier family. (See Brittany’s Story) Linda ended the evening with “I, Don Quixote,” and then in an encore,
performed “If I Had My Way.”
What an unbelievably moving evening! A very emotional experience! BUT WAIT!!!! I got to attend the Saturday night
show as well! I was originally supposed to leave Charlotte Saturday morning, but then my boss requested that I attend
a Monday morning meeting in High Point. So gee, darn! I had to stay an extra night; I might as well see Linda again!
Saturday night I was in the 13th row…still a great seat! Linda came out wearing a black lace dress with a nude sheath
underneath it. She got many appreciative catcalls in response to the dress. One especially vocal fan yelled, “Looking
Good!” To which Linda replied, “Like the dress? That’s why I wore it!” She got a big laugh. A little later, maybe the
same fan gave her a huge “wolf whistle”, to which she said, “Do I know you?” To which he replied, “I Wish!”
Linda sang the same song list from Friday night (no complaints here!) She had a little problem with “I Want More.” She
came in early on the second verse, and half the symphony followed her and half followed Jeremy. A few moments
later, she stopped singing, burst out laughing, and said, “I just lost my place…I’ve only sung this song about a million
times. Maybe this means I should stop singing it!” A few people yelled out, “No!” She just laughed and picked up where
she left off.
Linda mentioned that work was going to begin on her new CD, BROADWAY MY WAY, in November…something for
everyone to anticipate!!
During the concert, Linda mentioned how much she misses Jake when she’s traveling, especially now that he’s at
such a fun age where he’s talking all the time. She said that he can’t pronounce everything correctly, and one day
walked into the kitchen and asked for some “ass cream.” She didn’t bother correcting his pronunciation because, “You
know what, we might as well call it ‘ass cream’ because that’s exactly where it goes!” She got a big laugh from
everyone.
After the show, Linda came out the stage door to a crowd of about 50 people. As always, she was extremely gracious
and kind, posing for pictures, signing autographs and answering questions. In fact, she waited patiently through three
tries as someone’s camera wouldn’t cooperate and refused to focus. Later at the stage door, she said to me, “You saw
both shows…I can’t believe I screwed up 'I Want More' both nights!”
I left Charlotte thinking that if I could incorporate a Linda Eder concert or two into every business trip, I’d be traveling
as much as Linda does (and have tons of new clients to boot).
Thanks, Linda, for a wonderful weekend business trip to Charlotte!
October 25, 2002 is a day that will forever live on in the
memory of the Maier family. It is the day Chuck and Tammy
Maier, along with their daughters Brittany and Charlie, drove
from their home in Irmo, South Carolina to attend Linda
Eder’s concert in Charlotte, North Carolina. They were filled
with excitement and anticipation. They knew it would be a
very special night for their entire family, but most of all for
their thirteen year old daughter, Brittany. Thanks to Linda’s
kindness, she was about to have the best night of her life.
To fully understand what attending Linda’s concert was going
to mean to Brittany, it is necessary to go back to the day of
her birth. She was born four months premature and weighed only one pound and six ounces. She put up a fierce
struggle to live and was finally released from the hospital at six months of age. Because of the high levels of oxygen
she required when she was born, Brittany was blind.
Chuck and Tammy, determined to raise their daughter with love and a feeling of optimism for her future, gave her all
the experiences she needed to begin closing the gap created by her premature birth. They had been prepared to
expect developmental delays, but they began to grow concerned when Brittany didn’t speak or show any interest in the
world around her. Only when they played music did she seem to come alive, and she actually learned to crawl in order
to get closer to the music she was hearing. From that point on, there was always music playing in the Maier
household.
At the age of five, Brittany amazed her parents by attempting to sing along with a Jimmy Buffett recording. Her parents
gave her a small keyboard because she loved music so much. Around the same time, Brittany changed schools, and
placement tests there showed a diagnosis of autism (the limited ability to communicate and interact) and echolalia (the
tendency to repeat what one hears). On their drive to and from the new school, Chuck played music for his daughter.
Several days after he played a collection of Christmas music, an astonished teacher from Brittany’s new school told
the Maiers that their daughter had played a song which sounded like “Ave Maria” that afternoon. Chuck and Tammy
soon discovered that she could play songs and even entire musicals after hearing them only a few times. Over the
next several weeks, Brittany played hundreds of songs, and within a year the number of songs increased to over one
thousand. This amazing child memorized every new CD her father bought within a day or two and played them on her
keyboard.
For Christmas the following year, Brittany received a 64-key electric keyboard and several new CD’s. Among them
was THE PHANTOM OF THE OPERA. Although she was only six years old, she memorized the entire musical within
seven days. Her knowledge of what Tammy calls “powerful” singers was limited to Barbra Streisand and Whitney
Houston, and now Sarah Brightman was added to the list. Chuck, recognizing his daughter’s passion for Sarah’s
voice, searched to find what other “powerful” voices were out there. He purchased LES MISERABLES and Highlights
From JEKYLL & HYDE. Upon hearing JEKYLL & HYDE, Brittany’s parents observed a reaction from her they had
never seen before. According to Tammy, “Britt’s excitement over it could not be contained. Her body shook with
excitement as if every nerve in her experienced the songs in a way unimaginable to us.”
The next purchase was The Original Broadway Cast Recording of JEKYLL & HYDE, and listening to it caused Brittany
to smile and clap wildly. She memorized the entire musical, but the characters held so much emotion and depth that
soon the words were memorized and sung by the entire family. They belted out the complete score almost daily.
Obviously partial to Linda’s voice, Brittany chose to listen to her selections over and over, making her parents wonder
if it was the music or Linda’s voice that gave their daughter the most pleasure. In the next few years, they added to
their collection all of Linda’s CD’s, several of Frank’s musicals, and a video of Linda in concert. One of her favorite
songs was “Vienna,” and her parents saw what an effect Linda’s voice and that particular song had on her. Now that
you know a little about Brittany, her father will relate the Maier family’s experience on October 25, 2002 at Ovens
Auditorium in a letter he sent to THE VOICE.
I write you on behalf of my family
as well as my daughter, Brittany,
whom you know is a child both
blind and autistic. Her happiness
in life is centered around the
music she hears as well as
creates on her piano. During the
past thirteen years of her life, my
wife and I have tried to create as
many wonderful experiences for
her as we can. We hope that by
our efforts, she is able to
experience more of the same
joys in life as we experience
them. As Brittany is blessed with the ability to understand happiness and has a wonderful,
outgoing personality, she is an absolute pleasure to be around. Her excitement for life is
contagious, and there is nothing like experiencing the joy of a moment when she is at her
happiest. One of these moments occurred recently at Linda Eder’s concert in Charlotte,
North Carolina, and I am writing to tell you about it.
The day I found out that Linda was coming to Charlotte, I called my wife at home to let her
know the good news. With several months notice, I also asked her if she would attempt to
contact Linda’s manager and ask if Brittany could meet Linda during her visit to Charlotte.
As the time grew nearer, we purchased the closest tickets to the stage we could get
(second row!) because we somehow felt that the closer we are to Linda, the happier
Brittany will be. Shortly thereafter came the news that Tammy’s attempt had been
successful, and Ms. Eder had agreed to meet with us and Brittany after the concert.
As Brittany is a child who understands very little of the normal goings on in life, and
speaks even less than her knowledge, Tammy teaches her at home. She attempts to
educate Britt on words that will help her understand the world she can’t see. Tammy
encourages her to “talk” to us and convey simple messages. Britt has recently come to
understand the word “concert” (from herself performing in public), and the week prior to
Linda’s concert, Tammy had worked with Brittany on understanding that “on Friday she
would go to see a Linda Eder concert,” and that after the concert they would “talk to Linda
Eder.” Brittany understood perfectly because a huge smile came upon her face each time
Tammy reminded her.
So on Friday, October 25th, with high hopes that the security staff at Ovens Auditorium
would be understanding and allow us to bring a camera inside, we drove to the concert
with an overjoyed Brittany on our arm.
After arriving at the auditorium, we found our seats and waited very little time before Linda
was introduced. She was stunning! Our whole family was emotional just being in the same
room with her-LIVE! Brittany was a sight! She rocked in her chair with excitement, and
Tammy and I pleaded with her to calm down, as she seemed to want to clap and yell like
she were at a rock concert! Each song Linda sang was begun with a verbal explanation
before it (something Britt enjoys hearing when she listens to a video tape of Linda at
home) and which made the concert more of a live reality for Brittany. She knew that this
wasn’t a CD, video, or DVD. Ms. Eder was right there-just beyond her reach. She
applauded wildly each time a song would end and acted as if she were a child
understanding her first Christmas as she anticipated what the next gift would be from
under the tree. Brittany’s next gift was soon to come.... After enjoying song after song for
quite some time, we realized the concert was (sadly) to come to an end soon. The
audience quieted to listen to the introduction of what they hoped might be a particular
greatly anticipated song-you know the one!....
Well, there are moments in life when time seems to simply stand still. We could never
have imagined what was to happen next at Ms. Eder’s concert, but what I do remember is
that time seemed to be slowing down as she began telling the audience a story-it was
about my daughter!
Tammy had sent a synopsis of Brittany’s story to Linda in the form of a letter, and with all
the warmth, beauty, and style she exudes, Linda began sharing a little bit of Brittany’s
extraordinary life with her audience, even cupping her hand to explain just how small
Brittany was at birth as Tammy had described to her in the letter. We were overcome with
emotion, and Brittany was just as astonished as we were. She became still in her chairlistening to every word Linda spoke and erupting in smiles as she heard her name
mentioned several times. This is recognition enough for us that Brittany understood the
moment-the moment her beloved Linda Eder “talked to her.” When Ms. Eder finished
telling Brittany’s story, she dedicated “Vienna” to her. For Brittany, as well as our family,
time stopped at that very moment. My wife and I are still to this day and very moment
emotional about recalling that particular part of her concert. Linda gave us more than she
possibly could have imagined by doing what she did.
What were we, her parents, feeling? It felt as if we were giving Brittany the world. To see
Brittany as happy as she was that night fills our hearts, as we often think of how much
beauty in life she misses without her sight. We would be fools not to realize a moment like
this one means as much to Brittany as our sight to us.
The concert ended after a few more songs, and as planned, we were invited backstage to
meet Linda. Only now, we were tear-streaked, emotional, and star-struck all wrapped into
one! (Not a pretty sight!) On my first attempt to talk to Linda, I actually couldn’t speak-so
Tammy had to take over! During my second attempt, I babbled like an idiot! Linda was
gracious and patient with us, listening to all we wanted to say, and she accepted a small
gift we had for her of Brittany’s music. We introduced Brittany to her, and Linda gently took
Britt’s hand and led her to the piano where Brittany was more comfortable “speaking” with
her songs rather than her words.
It’s hard to determine Brittany’s favorite song, but we are sure of her enthusiasm when she
hears “Bring on the Men,” so it was the song we requested her to play. Amidst a small
audience of admirers, Linda knelt down by Brittany’s side and began singing the words to
the song in the astonishing, unquestionably recognizable voice that Brittany has come to
love. If reality had not happened before, it was most certainly happening now. For Brittany,
the moment would compare only to what you may feel if you won the lottery. Not only had
time stood still that evening, but the stars aligned too. I am overcome with emotion just
writing this letter, so I would like to end it now by saying this:
Linda, words cannot express what your time with us was worth, for no one can put a value
to what your voice and the music your husband writes means to Brittany. Thank you, and
may God bless you in a special way for all you gave His child.
Thank you to the Editorial Staff of THE VOICE for affording me this opportunity and forum
to express our thanks once again.
"My baby played the piano while an angel sang to her. Moments like this
are what make life worth living."
Very truly yours,
Chuck Maier
There is so much of Brittany’s extraordinary life left to tell. Picking up from the time Brittany discovered Linda and her
music, here are the highlights of the life of a very special girl. By the age of ten, Brittany had memorized approximately
five thousand pieces of music. The owner of a piano store
was amazed when he heard Brittany play, and he
recommended that the Maiers take her to the University of
South Carolina School of Music to begin piano lessons
with Dr. Scott Price. After a few months of lessons, she
began to play music her parents had never heard before.
Brittany was composing her own music to the amazement
of everyone! A fundraiser was begun to purchase a new
piano for Brittany, and she was presented with a Yamaha
grand piano which would record her music as she played
it. The Maiers have received many requests to purchase
Brittany’s music, so Brittany recorded and pressed her
own CDs in 2001 with the help of her parents.
To learn more about Brittany or to purchase her CD, please visit her website at www.brittanymaier.com.
The Editorial Staff would like to thank Linda for making a special young girl and her family very happy, Dave Hart for
giving us the opportunity to tell this beautiful story, Carol Blalock, our guest reporter, for helping to record the events of
October 25th in words and pictures, and the Maier family for allowing us to tell you about their precious daughter,
Brittany.
Westbury Music Fair
Westbury, New York
State Theater
New Brunswick, New Jersey
Union County Arts Center
Rahway, New Jersey
Warner Theatre
Torrington, Connecticut
Ruth Eckerd Hall
Clearwater, Florida
Van Wezel Performing Arts Hall
Sarasota, Florida
Community Theatre
Morristown, New Jersey
Lenape Regional Performing Arts Center
Marlton, New Jersey
Turning Stone Casino
Verona, New York
Michigan Theatre
Ann Arbor, Michigan
Ovens Audtiorium
Charlotte, North Carolina
Linda Eder & Andrea Blumenthal
Winner of the Summer 2002
LINDAholic Contest
Congratulations Gail Andahazy!!!
The Winner of our GOLDen Contest...
Gail, you are in for big time fun when you use your BACKSTAGE PASS to meet Linda and have your BROADWAY MY WAY CD
autographed!
I will never forget the first time I ever heard you sing. You were a bright spot in a very sad holiday season. After 9/11, listening to the news
every day was beginning to GENTLY BREAK MY HEART. One night that December, I decided to take part in the American pasttime of
channel surfing.
A few moments later, you appeared on my television screen, a beautiful woman with a voice of GOLD, and I knew my life would never be
the same. As I listened to you sing, I felt my sadness begin to slowly DRIFT AWAY. A friend of mine was visiting with me and your music
touched HER GYPSY HEART. Watching you perform made EVERYTHING THAT'S WRONG with the world go away for a few hours.
A neighbor, who is a SON OF A PREACHER MAN, wondered HOW IN THE WORLD we could make life safer for our children. We talked
about the importance of faith, family and friends. I told him, whenever I feel that WE'RE ALL ALONE , I hear your voice reminding me
HERE COMES THE SON.
Since I play your CD's every day, people think I listen to you too much, UNTIL I DON'T LOVE YOU ANYMORE. Of course that will never
happen because, IF I SHOULD LOSE MY WAY, your music is there lifting my spirits and brightening my day.
The past year has made me realize HOW LITTLE WE KNOW about countries ACROSS THE WATER.
IF I HAD MY WAY, everyone in the world would have a chance to hear, and be touch by, the miracles of your voice.
Honorable Mention- Rachel Bieler
Rachel, watch the mail for your LINDA POSTER to arrive!
October 12, 2002 – the greatest night of my life! I was going with Andrea to see Linda Eder perform in Rahway and meet her afterwards!
Following a pre-concert dinner with fellow fans, we eagerly took our seats in anticipation of the fantastic night ahead.
Finally, those words we live for: “Ladies and gentlemen…Linda Eder!” The second Linda appeared onstage I thought, “HERE COMES
THE SUN,” because Linda lights up any room she enters. I know IF I SHOULD LOSE MY WAY, her music helps me find my way back.
The concert was amazing – taking the audience through the gamut of emotions. Along with tears came a lot of laughter. At one point,
Linda stopped her normal spiel to ask what the audience thought of her gorgeous new dress. Being in the proverbial wrong place at the
wrong time (or right place, depending on your point of view), I was placed on “pit patrol” by Linda herself. As Linda pointed in my direction
(I was in the first row directly in front of her), I sat stunned to say the least. The audience roared as Linda explained that the fuzzy material
on her dress had a habit of rubbing off on her underarms. This prompted a joke about a possible impending Schick sponsorship.
Remembering this incident always makes EVERYTHING THAT’S WRONG simply DRIFT AWAY.
On the other end of the emotional spectrum, as I listened to Linda’s introduction to “IF I SHOULD LOSE MY WAY,” I knew that song
would GENTLY BREAK MY HEART. I was so overwhelmed by how incredible she was, I could hardly breathe, let alone speak after the
concert. I was just shaking. Although many fans at Rahway had already seen Linda perform numerous times, it’s always interesting HOW
LITTLE WE KNOW what an incredible effect she’ll have on us.
I continued my Ederly fantastic night by meeting with Linda backstage. To our surprise, backstage was in the theatre. If I’d known this
ahead of time, maybe I wouldn’t have exclaimed, “What?!?!” when someone informed me Linda had just walked in behind me and was
across the room. Finally, it was almost our turn to speak with Linda. With that, some friends decided it’s time to introduce Linda to
Lindazilla, AKA the GOLD “Godzilla poster” (the eye is watching you!). Linda’s back was still turned as we tried to unfold Lindazilla
(accidentally hitting some poor guy in the process) without giggling too much. Suddenly, Linda turned around, stood there shocked, and
exclaimed, “What the…? HOW IN THE WORLD…? Where did you get that?!?!”
Once we all stopped laughing, Linda offered to sign Lindazilla and proceeded to get down on all fours searching for an appropriate spot to
write on. Upon quite literally kneeling on HER GYPSY HEART, Linda blurted out, “Hey look! I’m crawling on myself!” We spoke briefly and
took pictures.
As we drove ACROSS THE WATER into NY from NJ, I realized, as her fans, WE’RE ALL ALONE in knowing what incredible talent Linda
possesses and what a wonderful person she is. I feel like a SON OF A PREACHER MAN, or in my case a daughter, because I can’t stop
raving about Linda to anyone who’ll listen.
After this awe-inspiring experience, I must say, IF I HAD MY WAY I would attend every single Linda Eder concert. Linda – it would be a
gross understatement to say it’ll be a long time UNTIL I DON’T LOVE YOU ANYMORE! It’ll be more like forEDER. ? Thank you for giving
me something to believe in.
Honorable Mention- Kristen Floyd
Kristin, watch the mail for your LINDA POSTER to arrive!
I roll over and stretch my arms to the ceiling as I shut off my alarm. Ahhhh, yes, HERE COMES THE SUN on another day. However, this
day is unlike any other. I am going to see Linda Eder in concert tonight. I decide to prepare as usual by listening to her CD's in random
order as a warm up. My brother, hearing the fabulous voice echo throughout the house, asks me who is singing. I think to myself HOW
LITTLE WE KNOW if he doesn't know who she is. I ignore his lack of knowledge of the finer things and continue to sing along at the top of
my lungs. My mom then questions me on how much longer I plan on singing along. I reply with, "UNTIL I DON'T LOVE YOU ANYMORE."
I leave her to ponder that as I finish getting ready for the concert. Before the concert, I'm meeting my friend at her house so we can ride
together. I gather up all my Linda CD's so we can listen to them on the way. As I head to my car, I spot my neighbor, who just happens to
be the SON OF A PREACHER MAN. I tell him that I am so excited to see Linda in concert finally, but I'm a little nervous as to how to find
the venue, and I don't know what I would do IF I SHOULD LOSE MY WAY. It turns out, he too adores Linda! Oh, please, GENTLY
BREAK MY HEART! He's got front row seats! I congratulate him but now must hurry for I am late to meet my friend. I hop in my car and
pop in a Linda CD even though it's only a five minute drive. Sometimes just hearing a Linda song can make EVERYTHING THAT'S
WRONG in my life just DRIFT AWAY to some far off place way ACROSS THE WATER of sorrow and despair. I finally arrive to my
friend's house. Bless HER GYPSY HEART, she's on time! She hops in my car and is welcomed by a blast of Linda's vocals. I beg her to
sing along with me, but she refuses for she is fearful someone will hear. "HOW IN THE WORLD is anyone going to hear you? WE'RE ALL
ALONE!" So after a little persuasion, she gives in. Her voice is GOLD. Who knows why she tries to hide it? We finally arrive at the concert
and rush to grab our seats. Linda takes the stage, dressed all in red, and gives us that first glorious note. I lean over to my friend and
whisper, "IF I HAD MY WAY, we'd do this everyday."
Linda Eder & Linda Durnin
My first exposure to your talent came by way of
one day being in a record store looking for a cd of
another singer. In browsing, I came across your It's
No Secret Anymore CD. Well, after hearing your
voice,especially the song Vienna, I got blown
away. I went back to that store and bought four
more of your CD's, I now have all of your CD's and
had the honor of seeing you perform from a front
row seat at the Westbury Theatre on July 14,
2002. Judy Garland was always my favorite female
vocalist and I never thought anyone would replace
her. There is no doubt that you have the most
beautiful voice I have ever heard and, of course,
you have now become my favorite singer of all
time. Thank you for bringing much joy into my life
and the lives of all your fans.
Robert Smith-Glen
I met Linda about 2 years or so ago in New
Brunswick, New Jersey at a concert she was doing
there. To meet her, my husband had to carry me
across a 4 foot tall ledge that was approximately a
foot wide, and he had to walk sideways because
there were trash dumpsters there. He carried me
because I am physically disabled. Finally we got to
the group of people and they ushered me RIGHT
up to the spot she was coming out, and I was one
of the first ones to meet her. I didn't have my
camera that night so she signed a CD and
program. She also gave me a hug. It was the best
night of my life. She has shaped my future.
Because of her, I am going to be soon starting my
degree in Music Performance with a concentration
Linda Eder & Gerry Colgin
in Voice. THANK YOU, LINDA, I LOVE YOU!!!
Michelle Wetterling
Katie Phelan, Marie Rosasco, Linda Eder, Renee Voith,
Sarah Kearney and Andy Kearney
Linda, Linda, Linda....she's like buttah...like a hot
knife through buttah! Seriously though, I just
returned from Linda's concert in Providence, RI
this past weekend. Even with a chest cold, she
was magnificent. Her luminous grace on stage is
unmatched by any performer. As I watched her
from the 20th row, I recalled my last Linda
experience-- Sculler's Jazz Club in Boston, MA a
few years ago...I went to see "Linda E." with the
boys at this wonderfully intimate venue. We were
originally sitting in the back, however that was not
good enough for me. I worked my way through the
crowd and found an empty table right next to the
stage...who could ask for more, right? It truly was
the best performance I have ever seen...what a gift
she has and how wonderful for her to share it with
us. As she sang her final song, I noticed that her
exit was going to take her right past me. Standing
up to applaud this woman (whose voice is angelic)
her foot caught something on the stage as she
was about to pass me and she started to fall. I
grabbed her arm (all 5'2" of me trying to catch 6' of
Ms. Eder) and stopped her from falling. A kiss on
the cheek and a thank you, I was on my way.
Nicole O'Brien
While surfing channels with my remote just before
I was ready to retire for the evening, I came across
the Bravo Christmas Concert with Linda Eder. I
was mesmerized by what I was hearing. So much
so, I stayed up an hour later than usual to hear the
rest of the concert. I thought I knew and heard the
best singers around, but I am embarrassed even
now to admit I had never heard of her before. I
apologize to Linda and will go out and purchase all
her music recordings I can find.
I hope to see her more often on and off television
in future concerts. Wake up Music World to the
treasure that must be shared.
Linda Eder & Nikki Moia
Mike Simonetti
My girlfriend and I must see Linda whenever we
can because she stirs feelings inside us that no
other performer can reach! We knew we liked her
from Broadway, but live she is spectacular! The
chills that I get when she sings. I can't even
describe! She's simply the best!
Marlton Tavern Gathering - Marlton, NJ
Chuck Renaud
I finally saw Linda perform last May in Ann Arbor,
MI. It was the most glorifying experience for me. I
have all of her CD's as well as her song books. I
am a singer/actress and school teacher by day. My
accompanist and I have done some of my favorite
songs together. I love her music, her vocal style
and expression. I will never forget that evening in
Ann Arbor. I have a picture with her and I proudly
display it!
Julie Mulady
Linda Eder & Rachel Bieler
I know that Linda is an inspiration to many fans
and I am no exception. I have always wanted to be
a singer and she has inspired me to not give up on
my dream.I would truly love to go to the concerts
and enjoy a wonderful entertainer and person
perform.
Kourtney Kuzma
Old Man Rafferty's Gathering - New Brunswick, NJ
I lost my mother on September 29, 2002. She had
the pleasure of hearing Linda's voice just before
she died. My mother said to me, "She has a voice
of an Angel from Heaven, where I will be soon." I
feel my mother's presence every time I play
Linda's music.
Joe Perez
Linda Eder & Terri Panasik
THE VOICE NEEDS YOU!
THE VOICE IS BY THE FANS FOR THE FANS!
For the SUMMER ISSUE we are requesting that
you submit the following:
●
●
●
●
LINDA STORIES
SHORT MESSAGES TO LINDA
FAN PHOTOS WITH LINDA
LINDA PHOTOS / EDER - WILDHORN TEAM PHOTOS
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, June 27th, 2003
Further announcements about the SUMMER 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.
© 2002 - 2003 Linda Eder & The Voice, All Rights Reserved

Winter 2003 - Linda Eder

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