Nikki Renée Daniels

As a celebration of our performers, and the necessary medium of film to tell these stories at this moment in time, this special program presents some of the best songs specifically written for film ever since the genre first achieved the technology to capture sound. A diverse concert of hits like “Moon River” and “The Man That Got Away” mixed in with other songs from decades of film history offers a look at the effect of these songs on an audience and how, even in a non-musical film, music is key to unlocking the emotional journey of storytelling.

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It is said that Jule Styne published over 1,500 songs in his lifetime, a staggering number that spans decades and includes dozens of collaborators. Beginning with Sammy Cahn in the 1940s, his lyricists would include names like Betty Comden, Adolph Green, Leo Robin, Bob Merrill, and Stephen Sondheim. Styne wrote some of our most famous songs and classic Broadway hits, with a multitude of lesser-known work along the way. The lasting power of star vehicles like Gypsy and Funny Girl has remained throughout every sea change of cultural mood and sentiment.

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The groundbreaking works of Richard Rodgers, most famously in his collaborations with Lorenz Hart and Oscar Hammerstein II, gave us the foundation of the modern musical form. But Rodgers also left a family lineage that has enriched the craft in abundant fashion. In a loose song cycle format, this program will weave his work with the charming and witty creations of daughter Mary Rodgers (Once Upon a Mattress) and the complex and extraordinary palette of grandson Adam Guettel (The Light in the Piazza, Floyd Collins), as we look toward the progression of musicals over the decades and into the future.

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60 years ago, on May 3, 1960, at the tiny Sullivan Street Playhouse in Greenwich Village, The Fantasticks opened on the sparsest of budgets and ran uninterrupted for nearly 42 years, closing on January 13, 2002 after a record 17,162 performances. Its elegance and simplicity endured four decades of the chaotic world going “Round and Round” while its creators continued their evolution into several uptown successes. Including 110 In the Shade and I Do! I Do!, the jewel box of creativity that is the Jones and Schmidt collaboration is perhaps the most steadfast of its kind.

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This program is set among excerpts of letters and archival interviews with George Gershwin and his brother and lyricist Ira Gershwin, his longtime musical collaborator Kay Swift, and the legendary pianist Oscar Levant. The words of Todd Duncan and Anne Brown, the original Porgy and Bess, provide an intimate perspective on the creation of Gershwin’s “folk opera” and the invaluable contributions of its performers. Peppered among hits like “Embraceable You” and “Love Is Here To Stay” are pieces of essays written by George Gershwin in which he pondered and pontificated on the meaning of “jazz” and the definition of “music” itself. Asserting his constant effort to eschew genres, Gershwin wrote: “From any sound critical standpoint, labels mean nothing at all. Good music is good music, even if you call it ‘oysters.’”

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An unlikely friendship. A lost love resurfaced. A marriage at its turning point. A date that might not have been a date. An unconventional new family. These are unique stories about the joys and tribulations of love, each inspired by true events.

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After years away from the CIA, Elizabeth McCord is pulled back into the political arena. The newly appointed Secretary of State is tough, fair, and smart, driving international diplomacy, wrangling office politics, and circumventing protocol as she negotiates global and domestic issues, both at the White House and at home.

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The Sound of Music Live! is a television special that was originally broadcast by NBC on December 5, 2013. Produced by Craig Zadan and Neil Meron, the special was an adaptation of Rodgers and Hammerstein's Broadway musical The Sound of Music, starring country singer Carrie Underwood as Maria von Trapp, performed and televised live from Grumman Studios in Bethpage, New York. Meron felt that if the telecast were successful, the concept could become "another kind of entertainment that can exist on TV." By her request, Underwood's casting as Maria was personally endorsed by Julie Andrews, who starred in the 1965 film.

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The best in the performing arts from across America and around the world including a diverse programming portfolio of classical music, opera, popular song, musical theater, dance, drama, and performance documentaries.

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Grab a front-row seat at a concert featuring new arrangements and timeless renditions of some of the greatest show tunes of musical theatre.

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