her baby son Jeff with music Hays composed and words she wrote. From this kernel, Hays determined to form a group to make children's music, and he brought on board Alan Arkin, a young actor, and his nurse wife Jeremy Yaffe. Yaffe and Willens both bore sons in 1956: Adam Arkin in August and Andrew "Pete" Kaplan in October. By 1958, the four adults had become the Baby Sitters, singing together and playing toy instruments. Arkin covered acoustic guitar while Hays strummed the autoharp. The Baby Sitters produced two albums in 1959, with Willens credited as Doris Kaplan. Two more boys were born in 1960: Dan Kaplan on March 15 and Matthew Arkin on March 21. Arkin and Yaffe divorced in 1961. The Baby Sitters reformed in 1964, with Arkin's second wife, Barbara Dana, replacing Yaffe. Their next album, The Baby Sitters' Family Album (1965), featured eight-year-old Adam on two songs. All five of the Arkin and Kaplan boys participated. This album was reviewed by Audio magazine, with praise for the casual context of the music, apparently recorded in the living room. The songs were complimented for being entertaining "without being patronizing." The reviewer remarked about how the guitar sounded "inept" at some points and "extremely expert" at others, with Willens' voice drifting off pitch, all of it perfectly appropriate and enjoyable. The group's final studio album was released in 1968. Vanguard Records compiled a 40-song greatest hits album, releasing it on two LPs in 1975, then again on CD in 1991. Theatre Willens authored dramatic and musical pieces for the theatre. Piano Bar was workshopped in 1976, and enjoyed a brief run off-Broadway at the Westside Theatre in mid-1978. Musical director Joel Silberman also portrayed the titular piano player, while Tony Award–winner Kelly Bishop played a bar patron, along with Richard Ryder and others. Willens wrote lyrics for 21 songs, teaming with her friend Rob Fremont who wrote the music. Reviews were mixed to negative, with New Jersey drama critic Emory Lewis saying that the musical, with its "shallow" characters, was "in search of a plot." He said that Willens' lyrics rose above the "routine" music. Critic Rex Reed wrote that the production was "a distressing misfortune that left me speechless." Piano Bar played in Philadelphia, Syracuse and Japan. A 1980 Wilmington production was praised, but another the next year in Berkeley was panned. Willens herself was invited to