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A couple of funny things happened on the way to producing a show called The Kid Who Played the Palace. Most of it took place after someone told me that the average gestation period of a Broadway musical, from initial idea through opening, is eight years. I was in my twenties, and I scoffed; I knew in my heart that my production would be up and running in far less time. What happened instead might have been best explained by John Lennon: "Life is what happens while you're busy making other plans."
Looking back, eight years would have been cause for celebration. To quote from a project that took a mere two years, let's start from the very beginning...
On April 3, 1949, I was born into an upper-middle class suburban family with solid roots in both music and public school teaching. My parents were educators; dad was principal of P.S. 68 in New York City, and mom taught special needs students at Bellevue Hospital's on-site school. Although not professional musicians themselves, they managed to raise three children who were. I was their first child. My brother, Paul, two years younger, initially an accomplished oboe and clarinet player, would become a piano accompanist for many of the major dance companies in New York, and eventually direct piano-based music classes with children in Seattle, while my sister, Pam, four years younger, is an internationally-acclaimed flutist whose credits include an eclectic variety of film soundtracks, popular CDs, and commercials.
My uncle, George Rabin, who I remember quite well, was a violinist in the New York Philharmonic Orchestra; his son, my cousin, Michael Rabin, has been widely hailed as one of the greatest violin virtuosos of all time. I remember seeing him in concert numerous times, and playing catch with him in my backyard when I was 13. On one of those occasions, I took a photo of him which I still have.
In an apparent effort to have me follow in Michaels' footsteps, my mother arranged for me to begin formal piano lessons at age five. I apparently had some potential, since at age 12, I was awarded a scholarship to New York's Juilliard School of Music, where I studied piano and music theory for the next several years. My classical training was supplemented by my parent's love of Broadway. While attending Juilliard, I recall seeing such original classics as The Sound of Music, Music Man, and many others.
I had no idea that this would eventually have a greater impact on my future than the piano ever would.
My father would always purchase the 33 rpm album at the theater, and he'd play the songs on our Victrola when we got home. That's become a bit of a tradition for me; to this day, despite it being less expensive online, I purchase the CD of every Broadway show I attend at the theater, directly following the performance.
When the Beatles appeared, I took my first foray into popular music, learning dozens of songs on the radio by ear. In my late teens, I formed a prototype 60's rock band we called The Renegades. I sang lead and played keyboard. Our crowning achievement, apart from doing quite well in a few county-wide battles of the bands, was opening a concert for the Hollies, the group Graham Nash formed prior to Crosby Stills, and Nash. The Hollies were known for such hits as Bus Stop, Just One Look, The Air That I Breathe, and others, some of which I remember hearing the group perform as I sat backstage after our set.
Realizing our little amateur group, and several others I knew, actually had better-trained musicians, I remember wondering what it was exactly that made groups like the Hollies so popular. This was a mystery that would irritate me and remain unsolved until well after my career as a musician.
My rock years were followed by a discovery of jazz, blues, and older standards, and I began playing professionally in local restaurants and clubs throughout New York City. I also did a bit of studio work. My classical technique led to a nickname given to me by several of the contractors and sound engineers: "the guy with all the notes". My first recording job was an ironic throw-back to my classical years- I was hired to play Mozart's famous piano sonata in C as background music for, of all things, a Taster's Choice coffee commercial. I remember the awe I felt the first time I heard it on the radio. I also remember very clearly wondering what Mozart would have thought.
I had been out of high school for a year, playing piano and spending all my free time with an irresistibly beautiful girl named Brenda, when, in 1969, at age 20, my mother convinced me I should attend college. My brother, Paul, and I were both accepted at the University of Hartford; Paul enrolled in the university's Hartt College of Music. I still loved music intensely, but my interest in further classical training had waned, and, undoubtedly influenced by my parents' careers, I decided to study teaching. I entered the School of Education, stayed for two years, and hated it. I did however write prolifically for the school paper, the UH News, attacking racism, the War in Vietnam, the school's corporate board of directors, and other 60's issues. I feel compelled to mention here that for better or worse, I remember feeling more intellectually challenged and moved by the life and speeches of Malcolm X in a discussion group several of my fellow students and I formed on our own, than anything I learned in my classes. The inevitable happened: I dropped out, but not before falling in love with an exciting and talented fellow student, an aspiring artist named Marilyn Dowling.
Marilyn and I set up house together in my home town of New Rochelle, New York, and were eventually married. The relationship lasted just over two years, before my own preoccupation with building a career, coupled with more than a little immaturity on my part, resulted in a separation and ultimate divorce. This was a dynamic I would see repeated hundreds of times, without exception, with young people throughout my career. It's complete predictability led to one of my firm dictums to aspiring actors: careers and relationships do not work with young people.
Marilyn had moved to Massachusetts, and about a year after the divorce, perhaps subconsciously following her, I moved there as well. I settled in the Boston suburb of Newton Corner, where I discovered a teen youth center called Beginnings, held in the basement of the Elliot Church of Newton. It was directed by a deeply caring individual named Fred Rosene. Fred eventually wrote a book about that place entitled Making a Difference, which I was pleased to learn includes a great deal about my own work there. Most of the kids at Beginnings had problems with school, home, and the courts, and were not welcome at many places about town. This made the center a social oasis for them. More than thirty years later, I can still hear the pounding of their fists on the large wooden outside door every day just before four o'clock pm, which is when the center opened.
There was absolutely nothing in my own background that suggested any sort of affinity with these kids. They were tough, physical, street-wise, and had as much use for theater as I have for a pair of nunchucks. But the place had a stage, and believing I had little else to offer, I was stubbornly determined to get those kids into some sort of musical production. West Side Story seemed a perfect choice. Volunteering my time, I started by persuading the most influential kids to join, and soon had a full cast of Jets and Sharks, along with Tony, Maria, and the others. The production opened to a clearly impressed audience of parents, community members, and church people. To this day, I am convinced we had the most realistic gang fights ever staged in the history of theater.
West Side Story was followed by a series of other productions, including an original, albeit primitive musical of my own which I adapted from S.E. Hinton's famous novel, The Outsiders. Given the kids I was working with, its gang clashes made it a logical choice. Our success enabled the center to attract funding for my fledgling theater program, and I recall eventually being handed a check for $97 weekly for working more than 80 hours. It was the first money I ever received for working with kids. As much as I appreciated and needed it, however, I would have continued working with these kids for free. It was enough back then for me to believe I was one of the few adults in their lives who could command their respect without representing any sort of physical challenge to them. I was even more proud of the fact that I was probably one of the few adults on the planet who, without offering them money or fame, could persuade them to sing, dance, and act in front of an audience.
I supplemented my meager Beginnings income by playing piano in a number of Boston restaurants, but realized I was becoming less and less interested in a career as a musician. I was instead increasingly fascinated by the prospect of using the arts as a vehicle to reach, well, unreachable kids. I was soon directing similar programs, with similar kids, in the Boston working-class suburbs of Cambridge and Dorchester.
Around this time, I was introduced to a summer camp director named Ray Diamond who invited me to be the Theater and Music Counselor at his private camp in the Catskills region of New York State, Camp Lokanda. The job paid well, and it was fun. I spent five summers there, 1973 – 1978, taking a seasonal break each year from my work with Massachusetts kids, somehow managing to stage and musically direct a different full- length musical production every week. The grueling schedule notwithstanding, it was an invaluable experience in two respects:
1. I learned more about the structure of the libretto, script, and musical score of Broadway musicals those summers than at any time before or since.
2. Although the kids at the camp were from ostensibly stable, well-to-do families, I began to sense that many of them had emotional issues that ran deeper, and were more serious, than those of the "problem" kids I was working with in Massachusetts.
Recently, I was saddened to learn of Ray's passing. What I remember most from the theatrical crash course he had provided me, was the budding realization that I wanted to write and produce a musical of my own- one that would make a meaningful statement about kids.
My increased interest in theater, along with pressure from my parents to continue college, led me to enroll at the University of Massachusetts' Dorchester campus, with a double major in theater and psychology. This, too, lasted only two years which I attribute partially to the fact that, probably based more on arrogance than truth, I felt I wasn't learning much more than I had already taught myself directing community and camp theater for the past several years. Again, I dropped out of college, but not before managing to direct and mount a full-scale, public, totally illegal school production of Grease, which was playing on Broadway at the time. The show ran two nights. We had full houses and made about $2,000 at the box office, which I was told was unprecedented. I donated all of the money to one of the youth centers I had been working at.
A few weeks later, I received a terse letter from Tams Witmark Publishing Company's legal department asking who it was that had granted me permission to produce their property. They additionally demanded a formal accounting of the box office receipts. I responded by sending the attorneys as sincere-sounding a letter of apology as I could manage, hand-written with a pencil on wrinkled, torn yellow notebook paper, saying basically that I didn't realize I needed permission to do the show, since I was simply trying to raise money for underprivileged kids. I never heard from them again.
Rightly or wrongly, that experience is one of many in my life that led to another of my dictums to young people: whatever it is, if it doesn't hurt you and doesn't hurt anyone else, and doesn't get you into big trouble, do it.
In 1976, the daughter of a friend of my father happened to ask me to help her apply to the Harvard Graduate School of Education. Given my own dismal undergraduate history, I have no idea why she sought my assistance, except that she might have somehow known I did some occasional writing. In the process of editing her application forms, I was surprised to hear her suggest I submit an application myself. I pointed out that I didn't have an undergraduate degree. She informed me that Harvard would occasionally admit a student to its graduate schools on the basis of life experience. Intrigued by this, and imagining the prestige of a Harvard graduate degree, I familiarized myself with the Graduate School of Education curriculum, and applied, having compiled numerous pages of notes, documentation, and letters of recommendation from anyone I could think of. I also included some local newspaper coverage I had received in connection with my work with the kids of Boston and New York. My cover letter of sorts was a long essay about how I would apply my graduate coursework to furthering my effectiveness in using the arts as a vehicle to help "problem" kids.
The young lady I had assisted was not accepted. I was.
A few weeks after my submission, I was excited to receive a letter asking me to visit the school and meet with a member of the Admissions Committee. I don't recall anything specific about the interview, other than the fact that the woman I met with seemed warm and friendly, and was a good listener. I do remember leaving the room believing I had presented myself effectively, and apparently this was true. Another few weeks went by, and I received a letter with an official notice stating that I had been formally accepted to the Harvard Graduate School of Education as a candidate for a Masters degree in Education. Currently, that notice is framed and hanging on my living room wall, right next to the only degree I ever completed: an Ed. M. from Harvard University in 1978.
There are many positive things I could say about my graduate school experience, but the most profound was my familiarization with the work of psychologist Carl Rogers. Rogers, still alive at the time, had developed what he called client-centered therapy; in brief, this is a technique wherein the listening skills of the counselor lead the patient, or client, to become more aware of her feelings, and eventually accept them, and herself. One of Rogers' books, required reading for my counseling studies, was On Becoming a Person. This book, along with my counseling courses, was to change my life and career, and ultimately the lives of thousands of kids I would work with, in more profound ways than I can possibly describe here.
Following Harvard, I moved back to New York in 1978. The Newton youth center had closed, and I had become intrigued with the idea of working with "professional children", i.e. the kids who were actually appearing in the Broadway productions of the musicals I had been directing locally. I rented an apartment on lower Madison Avenue in Manhattan, and, while trying to figure out how to meet and work with industry kids, I returned to my usual means of earning a living- playing piano. I had discovered that surviving as a pianist in New York means, in addition to playing in clubs and a bit of studio work, accompanying and coaching singers. My musical theater experience had provided me with an extensive repertoire of vocal material, and largely through word of mouth, I developed a more than decent-sized practice of weekly private vocal coaching students. Even as the rest of my life unfolded, I continued working as a pianist and coach for the next twenty years.
One of the places I had applied for piano work was an intimate, upper east side restaurant that served only desserts. It was called Something Different, and had a small stage on which the waiters would take turns singing in between serving tables. Although the place wasn't looking for a pianist at the time, I had an idea. I asked the owner how she felt about having some of my younger vocal students perform songs for her customers in a showcase on the weekends. My proposal was that I would audition and select the kids, choose and arrange the songs, be the accompanist for the showcase, open it to the public on weekend afternoons, and we'd evenly divide whatever income the show attracted. She agreed.
Soon after, I learned of a west side restaurant and bar called Beefsteak Charlie's. It was said that this was where the kid casts of various Broadway shows would go with their parents to unwind after performances. One evening, hoping we might meet some of these kids and convince their parents to allow them to perform in our showcase, the owner of Something Different and I paid a visit. Sure enough, while listening to a very young Nathan Lane performing cabaret-style, we met a sweet woman who was there with her daughter,11-year-old Laura Dunn, one of the orphans in Broadway's Annie. I was thrilled with the prospect of having Laura sing in my fledgling showcase, and even more so when her mother not only agreed, but surprised me by behaving as the antithesis of a stage mother; she volunteered to ask other members of Annie's children's cast if they were interested as well.
Within a month, I had lined up all of the "orphans", including the star at the time, Allison Smith, who I auditioned backstage at the Alvin Theater, (subsequently re-named the Neil Simon). Soon, I had auditioned, and gladly accepted, all of the "Lost Boys" in Broadway's Peter Pan, starring Sandy Duncan, the full children's chorus of Evita, starring Patti Lupone, as well as kids from several other hit musicals of the day. Our showcase additionally attracted former cast members of some of these shows, including a teenage Sara Jessica Parker who preceded Miss Smith in the starring role of Annie. Bright, funny, perceptive, open, and always real, Sara quickly became one of my favorite kids. Many years later, I would lecture about how those qualities explained her eventual success.
I sent a release about the showcase to all the major newspapers and television stations. I was amazed that the first to respond was the much revered New York Times; a reporter covered one of our performances, and interviewed me at some length. This resulted in an article which appeared on that weekend's cover page of the Times' Arts and Leisure section. More newspaper and television coverage followed, until one afternoon I received a call from David Powers, Annie's official publicist. All I remember from the conversation was him declaring, not unhappily, that I was getting more attention for his show than he was. Our audiences began to include celebrities. Among others, I remember speaking briefly with Brooke Shields and her mother, Teri, following one of our performances.
One afternoon, I learned that Martin Charnin, Annie's director and lyricist, was planning to attend. This was due to the fact that in addition to working with the children in his Broadway cast, his own daughter, Sasha, herself a gifted performer, had been appearing in our showcase.
Martin's impending visit terrified me. I knew that if for any reason he didn't like what he saw and heard, we'd lose the Annie kids in a heartbeat, and probably most of our others. To my relief, he was all smiles from start to finish. At the end, he approached me and said: "Wonderful job." The praise was apparently sincere; a few days later, he called and asked me if I would create a musical arrangement of the Cole Porter standard, I Happen to Like New York, for a presentation he was directing for the New York Press Club. I did, and after the performance, he said: "Terrific arrangement." I was obviously thrilled.
Ironically, the second person of such stature to compliment me during that period was Martin's collaborator on Annie, who also happened to be the composer of Bye, Bye, Birdie, Charles Strouse. Charles' son, Nicholas, had been performing in my showcase, and I learned that Charles was conducting a song-writing workshop at the 92nd Street YMHA. I had begun writing some songs depicting the lives of kids in the industry, and one of these was inspired by the experiences of Annie's star, Allison Smith, who I had been working with. I knew Charles would appreciate the subject matter, since it had to do with his show, but I didn't know how he'd respond to the song-writing itself. Bravely, I signed up for his class, and when it came my turn to play something, I stopped and said: "I'm not really a song-writer, but I thought you might find this interesting." I played the song, and he responded: "You're wrong. You are a song writer." After that moment, I began to write in earnest.
By this time, I was holding regular auditions for new showcase performers, and these included a growing number of talented, but non-credentialed kids. As a result, talent representatives, i.e. agents and managers, began attending our showcases, looking for marketable kids to represent. I formed a good working relationship with several, who eventually would interview in their office literally anyone I recommended. For several years, I acted as a paid scout of sorts, collecting a commission from any jobs these kids booked. Judging from the income I received through those referrals, I'm reasonably certain that a significant number of young performers got their start in the industry as a result of our showcase. While I only recall a handful of those kids, I do remember how wrong I was in my predictions as to which of them would be the most sought after. I also remember being repeatedly surprised at who was.
Eventually, I realized something that astonished me and seemed completely counter-intuitive. It was not the best-looking kids who were getting the most jobs, nor those who acted or sang or danced the best, nor those with the biggest agents or brightest personalities. It was the kids who were simply the most happy and most genuine. For me, this was an entirely new way of viewing commercial marketability. It was also completely consistent with my graduate work at Harvard. I felt as if I had discovered a great truth, and I was eager to share it with my private coaching students, and eventually the world; it completely defined the thrust of the lectures I was to begin giving a few years later.
As long lines formed outside Something Different each weekend, I marveled over the fact that I had been involved in New York's entertainment world for only about six months, yet had managed to create my own little niche. There was only one thing gnawing at me: I knew a great deal about the talent, skills, and careers of the young people I was working with, but very little about who they were personally. Deep down, that's what I was most interested in.
At one of our performances, I was introduced to a child psychologist named Robert Caputo. Robert was then guidance counselor at St. John's Preparatory School in Queens. I was familiar with the group discussion process Michael Bennett had used to develop A Chorus Line a few years earlier. I approached Robert with the idea that this might be used to further two of my goals- learn more about the kids I was working with, and garner ideas for the musical I was still dreaming of creating. He was receptive, and we assembled about a half-dozen high-profile kids from Broadway, films, and TV, (including Sara), who would meet once or twice per week and talk about their lives, families, hobbies, friends, whatever. Robert moderated these discussions, and I recorded them. I remember we had only two rules: one person speaks at a time, and what's said in the group stays in the group. I still have the tapes, although even after thirty-five years, I've never allowed anyone to hear them.
These sessions continued for several weeks, and while it failed to give me any concrete ideas for a show, I did garner a world of information about who these kids were- their feelings, needs, family life, school, relationships, joys, disappointments, and much more. Some of it was heart-breaking, some hilarious, and all fascinating to me; I felt I was being given a highly privileged, insider's view of the lives of young stars. What I began to realize however was that the differences between these kids and all the others I had worked with, while perhaps interesting, were ultimately superficial. Hidden below the surface, I discovered similarities and universals that I marveled at and would ultimately include as topics in my lectures.
I was still earning a living as a musician during this period, and had discovered I particularly enjoyed playing old vocal standards from the thirties and forties. At some point, it occurred to me that the innocent lyrics and simple melodies of that era might form the basis of a unique vocal repertoire for kids. Although the songs themselves were quite simple melodically, I was determined to develop arrangements that were as challenging and sophisticated as possible. I felt this would not only represent an excellent learning experience for the kids, but would be something our showcase audiences would like. Before long, a core group of very talented kids had mastered four-part harmonies, counter-point melodic lines, and even scat-singing in complex arrangements of such classics as Irving Berlin's Shakin' the Blues Away, the Gershwin's I Got Rhythm, Louis Prima's Sing, Sing, Sing, and others. Our performances soon consisted almost entirely of these arrangements, and I re-named the showcase Professional Children's Revue.
By this time, we had re-located to the small stage of a well-known upper east side comedy club called The Comic Strip. While then-aspiring performers including Eddie Murphy tried out new material on that stage at night, we used it during the afternoon to rehearse and present my arrangements. I remember fumbling an explanation to a curious Gerry Seinfeld one afternoon as to why I was devoting so much time to an endeavor that produced so little income. I'm still not completely sure of what I told him, nor what I would tell him now.
My arrangements alternated with an increasing number of original vocal compositions, all of which had to do, in one way or another, with the experience of being a child in the entertainment field. When my own songs began to receive more audience praise and outnumber the others, I became fascinated with an idea: what if I was able to present a major, commercially-successful musical with a cast consisting entirely of kids? Excited, I announced to the kids and their parents that I was going to raise the money to present our showcase in an Off Broadway theater. Everyone was of course excited, although I had no idea how to produce an Off Broadway show. I simply wanted to.
I had recently enjoyed seeing a hilarious musical revue called Pumpboys and Dinettes which opened in 1982 at the newly-named Princess Theater, formerly the old Latin Quarter. I somehow learned that the owner, whose name I don't recall, was looking for shows to produce that would help establish his new venue as a legitimate theater. I approached him and asked if we might give one performance of my showcase, consisting entirely of my own songs, on his stage. The idea was that if he liked what he saw, he'd mount the showcase as a full-fledged Off Broadway musical at the theater. He agreed, and the kids and I performed our musical numbers, and some brief bits of connecting dialogue I had hastily written, to an audience of mostly parents and industry people. I recall that the audience seemed to genuinely like my songs. The overwhelming feedback, however, was that without a major adult story line, the songs alone would never generate an audience.
I went home unsettled, but with a gut feeling that I could do this. Over the next few months, I continued my showcases, discussion groups, and piano playing, but found myself increasingly distracted and frustrated as to how to go about writing a "major adult story line".
Then, one morning I woke up with an idea that literally made me laugh out loud. To this day, I marvel at how it eluded me for so long, especially since I had inadvertently stumbled on the well-known creative axiom: "You write what you know".
That morning, Benny Rosen was born. An aging former Vaudevillian and children's coach, Benny lived and worked in a small, museum-like studio in New York's Times Square neighborhood. The idea of writing a story about this old man and his young students was tantalizing. It seemed like the perfect idea- something I felt I related to, could easily write, and would personally like to see on a stage. After playing with some dialogue, however, I came to what should have been an obvious conclusion: I had a good main character, a good situation, and some good songs, but no story line whatsoever, and no clue how to write one.
Over the next couple of years, I hired and fired a series of writers. I was hoping desperately that one of them would basically write the show for me. Unfortunately, none of them created anything I wanted to use. It soon became terrifyingly clear that if I wanted to tell Benny's story, or mine, as it were, I would have to write it myself.
Our audiences had slowly dwindled at the Comic Strip, and my Professional Children's Revue had come to an end. Still, I kept my Broadway hopes alive by holding on to a small group of talented students who were willing to continue rehearsing my songs, along with experimenting with dialogue and scenes. The title had become The Kid Who Played the Palace, and my ambitions had evolved beyond Off Broadway. Despite having no story, nobody to write one, and no money to speak of, I had succumbed to an inner whirlwind of fantasy and wishful thinking, and was announcing to anyone who would listen that I was producing The Kid Who Played the Palace for Broadway.
To this day, I believe I just might have done it, and well within that average eight-year window, if it hadn't been for a phone call from none other than Ray Diamond of Camp Lokanda. Ray knew I was coaching kids in New York and, by then, Westchester County, and he presented an idea. He suggested I organize a resident musical theater clinic that would take place at his camp, immediately following his regular season. At first, I turned him down, viewing this as a distraction from my work on my show.
I had no idea how accurate that was. That "distraction" would last more than thirty years and counting. It was the founding moment of both the Beginnings Workshop and my lecture career.
My father had directed camps throughout my childhood, and I had grown up spending most of my summers in cabins surrounded by woods. The idea of being in charge of my own musical theater program in a camp environment proved irresistible. I called Ray and we began planning what was to eventually evolve far beyond the scope of a camp.
My first year, the parents of one of our students informed me she owned a theater group somewhere in Tennessee, and offered to pay my expenses as well as a small fee if I would visit and speak to her students about the realities of a career in the industry. I had no experience with kids from the south, and all sorts of stereotypical images lept to mind. In the talk, I described the industry to the best of my ability, focusing mostly on my opinions and views as to which sorts of kids tended to reach success, and which didn't, and why. Harvard met Broadway as I found myself weaving together such unlikely topic-mates as self-worth and the needs of New York agents and casting directors. In short, I asserted that the sort of kids that were most desirable in the industry were those who exhibited the confidence and openness that only a truly happy, self-accepting kid would have.
It was the first time I had ever said that, and the first time I had ever lectured about, well, anything. It was also the last time I ever accepted payment for giving a lecture. I found I didn't need to. Several of those children, like thousands who would follow, ended up attending my workshops, which barely surpassed the travel cost of my trip. I considered this more than adequate compensation, and still do.
The most interesting part of my visit to the south was interviewing the kids, which immediately followed the lecture. Once again, I observed a few fascinating but superficial differences between kids from different backgrounds, such as their accents, which I found adorable, and yet far deeper similarities.
While speaking in the south, I came across a very happy and outgoing 12-year-old in Alabama named Reese Witherspoon. Reese's parents accepted my workshop invitation; her attendance and subsequent success underscored my budding grasp of the connection between self-worth and marketability.
It was also becoming clear to me that the points I was making had importance that transcended show business.
A decade or so later, my workshops and lectures had evolved well beyond Ray Diamond's initial distraction. They had become my proverbial and literal day jobs; I was lecturing to thousands of students each year from all parts of the United States, and eventually Canada, and directing workshops that would soon spread from New York to Hollywood and even London.
Although The Kid Who Played the Palace had been forced into the background, rarely a day went by that I didn't spend at least a few minutes working on a lyric, melody, or piece of dialogue. I had enlisted a prominent Broadway expert and director named Bill Martin to dramaturge, and in 2004, we conducted stage readings of what was then a primitive script and score at the Emelin Theater in Mamaroneck, NY. This was immediately followed by a semi-orchestrated demonstration recording of the songs. Echoing my experience from twenty years earlier, the songs were again well-received, but the general consensus was that the story line was weak.
After many more years of intermittent work, with continued input from Dr. Martin, I enlisted a friend and professional writer, Lee Stringer, to assist with dialogue. Lee's input proved invaluable, and largely as a result, I decided it was once again time to put the show in front of an audience.
Soon, I will again be mounting staged readings of the script and score of The Kid Who Played the Palace. The hope is of course that the production is at long last close to being presentable to a Broadway audience.
That said, if the show is still not ready after that, I'm sadly confident that life will continue to provide ample, irresistible distractions and opportunities for even further delay.
Hope however does seem to spring eternal.
To steal a phrase from Kander and Ebb: maybe this time.
Thank you for listening.
Peter Sklar
July 12, 2015


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Factors to Consider When Hiring a Paving Company
A place looks much better when it is paved well and also has been maintained equally well. Paved ways create a very good impression on any visitor that comes to your enterprise. Paving is an important process that also serves as a way of remodeling the surroundings. The process of paving beautifies the whole area. It is very pleasing to have to drive through a very neatly paved way. Paving is best complemented with great landscaping. Make that feeling real and get your ways paved.
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Paving helps reduce and prevent some accidents. There is more clarity in the directions on the paved ways hence decreasing accidents. The dirt that comes with the rainy seasons will not affect your property if the area is well paved. Sealing your paved ways with asphalt is a good idea. This seal helps your paved ways give you value for your money. Protecting your pavements and parking lots from wear and tear is what the seal dos best. Regular maintenance of the paved ways is vital. This helps reduce the intensity of wear and tear. It will also reduce the regularity of repairing the ways.
After being aware of why paving is important finding a paving company that is reliable is what you need to know next. Finding a paving company is not a big deal but finding a reliable one is what takes everyone on a ride. You may want a reliable paving company to give you exactly what you ask for and in good time. One should ensure that there are strict safety measures before starting paving services. Find a company that is reputable in your area. Such kind of company will hardly give you disappointments. This company in mind should have staff that are highly skilled. Offering quality services should be their strong hold. They should be able to work within the timeframe that a client requires them to. Their level of capability will be determined by how they delivered for their previous clients.
If You Think You Understand Asphalt, Then Read This
Getting Creative With Paving Advice

subset: commoncrawl


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Mid Ulster MP Francie Molloy has urged the farming community to dispose of dead animals properly, after a carcass was abandoned in Pomeroy.
The dumping of the young lamb on the Edendoit Road is the latest in a series of incidents in the area.
Mid Ulster District Council have been informed, as well as police, and calls have been made for authorities to remain vigilant.
Mr Molloy spoke out about the "disgraceful" incident which occurred last Thursday.
"The dumping of these dead animals is not only illegal but is completely reckless and done without any concern for the implications for public health or the landowner", said the Sinn Fein MP.
"I am calling on all farmers to ensure they dispose of dead animals properly and effectively. It is in no one's interest to have animal carcasses lying close to the roadside, polluting the nearby rivers and causing potential spread of infection and disease."
Mr Molloy explained this was the latest dumping incident reported on this section of privately owned land.
"Each time to have an animal removed it costs money and causes distress", he continued.
"I have notified Mid Ulster Council and police have been informed of the series of incidents so that a closer check can be kept on the area. However, the main responsibility lies with the farming community to ensure that they dispose of dead animals correctly.
"I can't imagine any farmer would want someone coming along and throwing off a dead animal on their ground. Why therefore would it be acceptable for animals to be dumped on this ground.
"This behaviour must end and I would urge the local farming community to play their part in bringing it to an end, to be vigilant of vehicles in the area and to spread the message that dumping of animals is unacceptable and simply shows the farming community in a poor light."


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One of my favourite times for taking photos is at twilight. Especially during the spring and summer, the seasons when the light is at its most magical at this time of evening.
I've always liked the idea that great photography happens on the edges. Twilight, the transition between night and day, is an edge. While the low light levels can be technically challenging, the reward in terms of quality of light are well worth it. I think of it as the 'magic hour'. You may also see it referred to as the blue hour, a reference to the colour of the ambient light as night falls.
Twilight is the time that marks the transition between day and night. It starts after the sun has set and continues until night completely falls. The quality of light during twilight can be truly beautiful, especially after a bright sunny day. The duration depends on your distance from the equator. In the tropics night falls very fast and twilight is short. Go far enough north (or south) in the summer and it can last for over an hour.
One of the more obvious subjects that benefits from the quality of light at twilight is the landscape. Now, I'm sure most photographers are aware that one of the best times to photograph the landscape is during the golden hour – the hour or so before the sun sets. The sun is low in the sky and the warm, raking light it casts can bring the best out of a beautiful location.
Whenever I'm on location and see other photographers, I'm always a little surprised how early most of them leave. For the few that wait until the sun has set the reward is often an intensely beautiful, soft golden glow that gradually fades as night falls. This type of light is especially beautiful if you are by the sea or a lake as the water reflects the light. The opening photo is a good example of that.
There are two approaches to taking landscape photos in low light. One is to use a high ISO setting and shoot with the camera hand-held. I took the photo above at 1600 ISO shortly after sunset.
To take full advantage of the beautiful light during twilight though you will need to use low ISOs (better image quality) and consequently slow shutter speeds. You'll need a tripod to support the camera and a cable release or remote control to fire the camera without touching it (the self-timer will do in a pinch). The advantage of this approach is that you can use the slow shutter speeds to create blur. This works particularly well when there is water in the scene, as in the photo above.
I also like twilight for portrait photography. It's not without challenges, but if you can overcome those you'll be rewarded with some beautiful portraits taken in unusual conditions where many photographers wouldn't bother taking photos.
The best way to take advantage of the twilight for portraits is to arrive with your model before sunset to take advantage of the late afternoon light. Explain to your model that the light is best at this time of day, and they will be rewarded with some beautiful images. Then, just as in landscape photography, you can keep shooting after the sun has set until the light fades or the magic disappears. Unlike landscape photography though it's not practical to use a tripod, so you will need to set a high ISO and use the wide aperture settings of your lenses.
When it comes to lenses, primes are best because the wide maximum apertures let you shoot for longer. For example, if you have a kit lens, the maximum aperture at the telephoto end (focal length usually around 55mm) is f5.6. If you have a 50mm prime lens, the maximum aperture will be at least f1.8. That's a three stop difference.
You will also need to set a high ISO. It's a good idea to test out your camera beforehand using different high ISO settings to see how high you're willing to go before the deterioration in image quality is more than you're happy with. On my EOS 5D Mark II, for example, I'm quite happy to shoot at 3200 and sometimes even 6400, especially if I can expose to the right to maximise image quality. If you have a newer camera, especially full-frame, you might even be able to go higher. If your camera is older your limit will probably be lower. It's a personal decision that only you can make.
The photo above was taken using ISO 6400 and an aperture of f1.4. It was nearly dark, much darker than it looks in the image. The lights behind the model are a good indication of this.
Another approach is to use a tripod to support the camera and a portable flash to illuminate your model. If your model keeps still during the long exposure, there will be very little blur. This portrait was taken with a shutter speed of two seconds. This technique allows you to keep shooting during twilight when there is very little light.
My latest ebook, Mastering Photography: A Beginner's Guide to Using Digital Cameras introduces you to digital photography and helps you make the most out of your digital cameras. It covers concepts such as lighting and composition as well as the camera settings you need to master to take photos like the ones in this article.
I love this time of day, both morning and afternoon. But living just north of the equator means I have to be quick. Ten minutes is about the most I have, most days it's even less. I've tried most of these ideas, including people and my ever willing cats. Now I will try exposing a little to the right, I had overlooked this possibility.
Nice idea. I like this article
Some of my picture:
I love to shoot in low light so I feel like you are speaking directly to me. The one thing I have never even considered is photographing a person in this light. Unlike you, I am always on a tripod during this time shooting long exposures. Now I have a newer camera, so increasing ISO is a better option for me. I would love to hear what you think of my photos if you have the time. I am always trying to improve. I have sunset, sunrise and nightime photos.
By the way, i just signed up for your newsletter.
I agree with some of the people above, I've read about landscape work in the twilight and have oohed and awed with the rest over the results. The concept of portraits in twilight is a novel idea, especially without fill light. I might have to try that some time. Love the first shot, the blue creates a mood that I love for the picture.
I agree about it being 'magic hour'! Some of my best photographs have been taken during this small window of time.
I have never done portraits at this time...thanks for the tips!
The white balance of the first shot is waaay off.
Twilight happen twice everyday. After sunset ( afternoon twilight) and before sunrise ( morning twilight).
During twilight there are also magic colours will appear i.e after glow, alpenglow, blue hour
Simply, twilight is time between sunset and dusk and beween dawn and sunrise.
I do had lots of time experience with these condition. Thanks for sharing..
I have read about landscape photography at twilight but the portrait bit is new. Fascinating.
Twilight is indeed magical. I most experienced it in late Winter at polar regions. There you have twilight all day, from morning to afternoon. I had lots of time to experience with taking photos at these difficult light conditions.


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Intent: Ensure a business mission that encourages noble and positive business activities and decision making, while discouraging greed, exploitation and business activities that may, in the short term, be beneficial to the business, but that have negative social or environmental impacts.
Balancing "Doing Good" Versus Economic Mission. The principal reason for organizing as a benefit corporation is to incorporate broader social and environmental goals, and to protect directors from shareholder pressure to maximize return on investment despite negative environmental and social factors/costs. For this reason, in compelling cases, a benefit corporation's highly beneficial mission could possibly overshadow certain other components of BCSI Criteria, including economic, environmental and social requirements/factors. For example, a business that is deeply and genuinely engaged in reducing hunger in Africa might pay less than the prevailing wage, or lower benefits, no profit sharing, little or no retirement savings. Or, it might provide less than ideal office space and work environments. In those cases, where the the commitment and action devoted to noble purposes is highly compelling, BCSI Criteria does not rule out the possibility that such enterprises may be accredited as a BCSI Benefit Corporation, as determined on a case-by-case basis by a BCSI accredited AIE.
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Bay Area Day/Weekend Trips
Our short day- and weekend trips are a fun, affordable way to make new friends while sampling some appetizer-size adventures. Trips spotlight the best San Francisco Bay Area destinations, and feature various local highlights like wine-tasting, beach exploration, hikes through redwoods and more!
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Mendocino Coast Tour 3 Days/2 Nights
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Live Power Community Farm Weekend 3 Days/2 Nights
This country retreat weekend features a hands-on experience on a biodynamic farm, organic wine tasting and a tour through the 12-acre Solar Living Center. Explore alternative farming methods as we roll up our sleeves and dive into the evolving nature of mindful farming and energy sourcing.


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Brown and Purple Eyeliner Tutorial
Need make-up look glamorous appearance to accompany you on a special occasion? Give the touch on your eyes. Confused do not know how to apply make up on the eyes? Do not worry, here we have a tutorial anyway. You also just follow the steps very easy and makes you beautiful.
Come on we just follow the steps.
1. Start with the upper eyelid and under your eyes.
2. Use mocca colored eyeshadow or brown on the eyelid.
3. Use the blending brush to apply also copper colored eyeshadow on the outer corner of the end, so it makes little smokey look.
4. Use the same brush to apply a darker color on the outer corner of the eye. If you wish to use this makeup for the show during the day, you can simply stop by here. You simply apply a layer of mascara and it's done makeup for your eyes.
5. However, for display in the evening, followed by adding the color purple at the bottom of the eye that will make your eyes more vibrant and glamorous.
6. Give a little purple makeup to make it a little thicker stand.
7. Use black eye liner to emphasize the shape of the eye.
8. Do not forget to apply mascara too.
9. If you like, also use false eyelashes to give additional volume to the eye. Taaa deh-daaaaa … finish your eye makeup. Pair with soft colored lip gloss.
I hope you enjoyed tthis make up tutorial. If you do not like the color purple, you can replace it by using another color you like, such as turquoise, green, or metallic colors.


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How to Order Online Jio Sim Home Delivery – Jio at your Doorstep | Jio SIM Card Home Delivery – Jio Offers for you can get a JIO Sim Home Delivered. For this, you need Jio Sim home delivery registration by clicking on jio sim home delivery link. Fill the form and you can get Jio Sim Card at your doorstep by COD.
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Jio sim still looks to be a lucrative offer compared to its other competitors in the telecom business owing to its various extra features that you can get as a bonus with a Jio sim. When Jio was launched and the offers were announced, the most common scenario was a long queue in front of the stores. Every single individual was just looking for one single thing- a free Jio sim! But what if you come to know that you can avail a special jio sim benefit? Yes, you can go for it and order jio sim online home delivery just by sitting at the cozy corner of your house.
How to Order Jio Sim Home Delivery Online
So, for the lazy people out there or the ones who are busy enough to visit a store to get a sim, you can get a jio sim home delivered. All you need to do is follow some simple steps.
Steps to order jio sim online home delivery
Well, note that there is a particular website which you need to visit in order to look for jio sim card buy online free home delivery option. Once you have navigated to this site, just follow the below-mentioned steps.
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While the process may seem to be very simple, the delivery process may take a little bit of time owing to the constant demand. The official time that is mentioned on the website is a period of 7 to 10 days. However, it may take a bit longer and extend up to a period of 1 or 2 weeks.
Can I Get Jio Sim Card Home Delivery Online for Free?
While during the registration process, they may not charge any form of fees from you, but they do include fees of Rs.199 for the home delivery process. But even if you are paying, you are assured of the authenticity of the sim as you are getting the sim directly from the official Jio stores. However, you are not required to provide any barcode or IMEI number, which definitely acts as an advantage.
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Ponte Vedra is by far the most exclusive area in Northeast Florida. No other area in Northeast Florida features such a high concentration of golf courses, waterfront & oceanfront homes, as well as gated communities and country clubs. With five championship golf courses already in play, including Sawgrass home of the TPC Golf tournament, more have also been planned in the new Town Of Nocatee development. Thanks to the Intracoastal Waterway along the West, and the Atlantic Ocean with its beautiful, unspoiled beaches to the East, Ponte Vedra offers mile after mile of luxury waterfront and oceanfront estate homes. Boaters enjoy homes on Roscoe Blvd along the Intracoastal Waterway while golfers & country clubbers enjoy Sawgrass, The Plantation At Ponte Vedra, and Marsh Landing. To the South of Ponte Vedra is Vilano Beach, a secluded peninsula of beaches just across the waterway from historic St. Augustine, Florida.
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See Bali in a way you've never seen it before
Starting in view of Mount Batur volcano at Kintamani, this breathtaking bicycle tour winds down through 26km of lush valleys, through Balinese villages, past century-old temples and rich green rice fields. Expert guides will explain the history of the land, culture, its people and take you on an unforgettable experience that will remain with you long after you leave.
Stop to sample a variety of exotic fruits and spices then continue through the towering bamboo forest of Taro before ending with lunch at Bali's BIGGEST attraction, the Elephant Safari Park.
Tour includes:*
FREE entrance to the Elephant Safari Park
*Air conditioned return transfers*Buffet lunch and free mineral water*Iced towels*Safety equipment


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Reborn Photography
Behind the scenes of The SMN Show
Nikki Holland takes you behind the scenes of The SMN Show.... "I have Aiden James ready and waiting for his shoot to begin."
Behind Andrew photo shoot
Nikki Holland takes you behind the scenes of Andrews photo shoot for The SMN Show.
Photo props and toys for my reborn dolls
Here are a few of the toys and photo props I use...they include teddies, tiggers and toddler toys.
See all the latest SMN Shows here: https://www.stillmomentsnursery.com/store/index.php?main_page=thesmnshow
How to setup a doll photo room setup
Thought I would give you guys a quick tour of my photo room setup as it is at the moment. Nathan was my helper :o) Thanks for all watching. Nikki Holland.
Nathan was my helper :o)
Thanks for all watching.
Have you found our free reborn tutorials helpful?
Other ways to show your support and appreciation:
To keep up to date with brand new smn reborn tutorials as they become ready, be sure to subscribe to SMN Blog for instant updates.
Did you enjoy this Tutorial and want more? - Follow Nikki Holland on her The SMN Show, where she discusses various aspects of reborning.


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Connells Residential Lettings is offering an apartment at Staple House, Staple Hill, to rent at £1,100 per month.
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The Grand County Land Use Code is current through Ordinance 580, passed November 7, 2018.
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Pod Birthing Gives New Hope to Childless Orcs. - Controversial new technique a proven success.
"The results are incredible- it really is a new breakthrough" says Ugluk, now a happy father of 283. "Both Barad-Dur and Kazad-Dum used more natural approaches that catered to the masses without regard to the specific needs some orcs have. Here, we were told that specific needs are the number one priority, all the way up to the top".
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Mr. The White declined to comment if it was for their stem cells.
Steven Cavanagh, reporting from Orthanc.


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WiseInternet necesitaba un nuevo diseño de otro y lanzó un concurso de diseño en 99designs.
Un ganador ha sido elegido entre 67 diseños de 18 diseñadores freelance.
Shavings Express
The company produces shavings. At this stage, we are limited to shavings used for horse and other animal bedding.
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We are wanting a design that has a logo at the top (needs to be created) that resembles the Pony Express logo (ie has a horse(s) in it)
The logo is to incorporate the words Shavings Express.
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Under that needs to be the product name "Comfort Shavings" and the following benefits:
Preferred By Horses
Light, Soft and Fluffy
Southern Yellow Pine
Kiln Dried
Low Dust
The bag is to be printed using line printing and the design needs to be limited to 3 colors.
The design cannot contravene any trademarks (I am not sure whether the original Pony Express logo is trademarked)


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Listen to my podcast with Neil Ward-Dutton, co-founder and research director of MWD Advisors. In this Q&A, we cover the big year ahead for BPM as well as the key strategies that will enable a BPMS to live up to all the hype.
Listen to or download the 16:26 minute podcast below:


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On May 17, 2019, the cranberry industry finally received some good news amidst the ongoing trade war. The White House announced it reached a trade agreement with Mexico and Canada—the U.S. will suspend Section 232 Steel and Aluminum tariffs and in response, Mexico and Canada will suspend their retaliatory tariffs. Read more.
Rural Development Lending Reform Update
Broydrick & Associates continues its work towards reforming and enhancing RD lending to create robust markets for lenders and borrowers alike. Today, we brought our FY2020 RD lending initiatives to Puerto Rico at the National Rural Lenders' Roundtable! Read more.
Retaliatory Tariffs on Cranberry Industry
Due to President Trump's decision to impose tariffs on steel and aluminum imports, retaliatory tariffs have been imposed on many U.S. goods. Canada, Mexico, China, and the European Union are among those who have instituted retaliatory tariffs on U.S. imports such as cranberries and cranberry products. President Trump claims that the specific measures are meant to protect U.S. national security interests. Read more
Exact Sciences CEO Says Company Has "Attractive Long-Term Opportunity."
Exela CEO Dr. Phanesh Koneru Interviews President George W. Bush at Becker's Healthcare Conference
We're proud to welcome our newest clients:
Welcome to Client: Munger Farms
We are assisting Munger Farms in clarifying the current regulation on what constitutes organic production. Munger is the largest blueberry grower in America based on the West Coast with locations in California, Oregon, and Washington
Update on Exact Sciences' Cologuard and TRICARE
As of the most recent update to TRICARE's preventive services policies, Exact Science's Cologuard – the most effective, non-invasive colorectal cancer screening exam – is now given first-dollar coverage for 9.4 million active-duty, reserve, and National Guard personnel, veterans, and their dependents. The revision brings TRICARE into compliance with the most recent United States Preventive Services Task Force (USPSTF) colorectal cancer screening recommendations that include Cologuard as an A-rated option for preventive care. (Click heading to read more).
Exact Sciences' Cologuard included in the NCQA's HEDIS
As of two days ago Exact Sciences' Cologuard – the most effective, non-invasive colorectal cancer screening exam – is now included in the National Committee for Quality Assurance's (NCQA) Healthcare Effectiveness Data and Information Set (HEDIS). Inclusion in HEDIS means that physicians will receive quality credit for providing patients an exam given an "A" rating by the United States Preventative Services Taskforce (USPSTF). Earning quality credits is part of the overall movement towards Value Based Purchasing (VBP) that entitles providers to bonuses based on quality improvement. We applaud NCQA for its decision, marking a reaffirmation of our nation's commitment to fight colorectal cancer – the second leading cause of cancer deaths in America.
The decision marks yet another milestone for Cologuard on its path to nationwide, first-dollar coverage that already includes becoming the first product ever to simultaneously receive FDA approval and a Medicare coverage decision, A-rated by the USPSTF, and affirmed by Medicare Advantage.
EPA Announces Registration of Nanosilver Pesticide Product!
Congratulations to our client Poly-Technical Solutions, LTD!!
On Friday, EPA approved their application for a new nano-technology anti-microbial. It is a breakthrough innovation with wide applications and great commercial potential. Essentially it kills bacteria, fungi and viruses making clothing and many other materials including plastic self-cleaning.
Broydrick and Associates has represented them since December 2014. They first applied to EPA in 2009. We are happy and proud that we helped them win!
Read more on Bill's Blog
Another Victory! Victory on Liver Donation Controversy
Wisconsin Physicians Service reverses decision on kidney treatment coverage


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Joyce Kilmer School
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Click the links below to download the
following Health Office forms
Allergy Action Plan
All students who have an epinephrine injection device ordered for a severe allergic reaction must have this Allergy Action Plan completed and signed by their physician. The parent/guardian must complete the back of the form and sign it. The form is then submitted to the nurse along with the medication that has been ordered.
Medication Request
This form must be completed by the child's doctor and signed by a parent/guardian before medication can be administered during the school day.
Asthma Treatment Plan
All students using asthma medication while at school must have this asthma treatment plan completed and signed by their physician. A parent/guardian must also sign the form, & return to the school nurse with the medication.
Student Physical Exam
This form must be completed by a student's healthcare provider and submitted as part of registration (the exam must have been done within one year before entrance to school) and for documenting annual exams.
Annual Health History
This form must be completed annually by the student's parent/guardian and returned to the school.
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text: "Let me tell you a story about life, death and profit. It involves some of the poorest countries in the world and some of the richest companies. It goes to the heart of how the modern world is to be run and whether the institutions set up to police the global economy are up to … Continue reading


text: Recreational Facilities & Activities Panviman Spa & Massage Swimming pool with Jacuzzi Private Dinner Candle light Dinner Exploring the island : trekking, boat trip, motorbikes rental, Private car round the island, snorkeling trips, waterfall day trips and many more ! The new speedboat to be available from mid January 2017. It's more powerful, more luxury, more comfortable and better security. Other Facilities & Activities Book Conner Pan Sea Restaurant Beach towel service at beach area Water sports: diving, snorkeling, kayaking Viman shop Fitness outdoor. Other services: Room service daily 10:00 hrs. – 22:00 hrs. Laundry service Information service WIFI Internet service Transfer service Speed boat service Alarm clock service


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I'm pleased to announce that my epic fantasy novel, an e-book, is now free from Amazon's lending library for a limited time. If you haven't read it yet and you wanted to, here's your chance. Click the link to go to Amazon and download, The Treasures of Carmelidrium.
Amazon lending library link.
Please pass along the good news.


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WELCOME TO AppleInn
- AppleInn is conveniently located, only 3 minute walk from MongKok MTR (HK subway). There are many choices of good food,
shopping, & sightseeing within walking distance, including the Langham Place, Sin Tat Handphone Plaza, MongKok Computer Centre,
Ladies' Market, Temple Street, etc.
AppleInn's features are at below:
- HK Government Licensed Hostel;
- 24 hour CCTV security monitoring & recording system;
- Guesthouse started in Feb2014, new decoration;
- Friendly staff to provide information on travel, business, local specialties...;
- Choice of private room,& 4-6 bed dormitories.
AppleInn's special offers are at below:
- Free clothes wash & dry, self-serve ironing;
- Free extra bed in private room;
- Free color copy, print, scan;
- Free local call, fax, WiFi;
- Free use of PC, power adaptor, hair dryer;
- Free luggage storage.