Major support for Lincoln Center’s American Songbook is provided by Fisher Brothers, In Memory ofRichard L. Fisher; and Amy & Joseph Perella.

Wine generously donated by William Hill Estate Winery, Official Wine of Lincoln Center.

Saturday Evening, April 5, 2014, at 8:00

Unsung Carolyn Leigh

with Donna Bullock, Rachel de Benedet, Drew Gehling,Autumn Hurlbert, Adam Kantor, Jeremy Kushnier, Alli Mauzey, Jenny Powers, Max von Essen, and Teal Wicks

Fran Minarik, Musical Director, Arranger, and PianoJohn Convertino, BassJustin D. Hofmann, Drums

Ben West, Creator and Director

Produced for Lincoln Center’s American Songbook byUnsungMusicalsCo.

This evening’s program is approximately 75 minutes long and will be performedwithout intermission.

This performance will be streamed live at www.lincolncenter.org/watch.

Steinway PianoStanley H. Kaplan Penthouse

Please make certain your cellular phone,pager, or watch alarm is switched off.

This performance is made possible in part by the Josie Robertson Fund for Lincoln Center.

Sponsored by Prudential Investment Management

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Additional support for Lincoln Center’s AmericanSongbook is provided by The Brown Foundation, Inc.,of Houston, The DuBose and Dorothy HeywardMemorial Fund, The Shubert Foundation, Jill andIrwin Cohen, The G & A Foundation, Inc., GreatPerformers Circle, Chairman’s Council, and Friendsof Lincoln Center.

Endowment support is provided by Bank of America.

Public support is provided by the New York StateCouncil on the Arts.

Artist catering is provided by Zabar’s andZabars.com.

MetLife is the National Sponsor of Lincoln Center.

Movado is an Official Sponsor of Lincoln Center.

United Airlines is the Official Airline of LincolnCenter.

WABC-TV is the Official Broadcast Partner ofLincoln Center.

William Hill Estate Winery is the Official Wine ofLincoln Center.

We would like to remind you that the sound of coughing and rustling paper might distract the performers and your fellow audience members.

In consideration of the performing artists and members of the audience, those who must leavebefore the end of the performance are asked to do so between pieces. The taking of photographsand the use of recording equipment are not allowed in the building.

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Fairytales Can Come Trueby Ben West

Fiercely talented and famously difficult, CarolynLeigh (1926–83) was a rare and remarkable artist,fashionably spinning a tumultuous, three-decadecareer into a gloriously tuneful tunestack that is itself a hit parade. The breadth and quality ofher work leaves little doubt that the New Yorknative has firmly secured her standing as one ofthe greatest lyricists of American popular song,with a catalogue boasting such timeless trea-sures as “Young at Heart,” “The Best Is Yet toCome,” “Firefly,” “When in Rome,” “Witch-craft,” and countless more.

Defined not only by its boisterous, blissfullyeffervescent wordplay and the precision withwhich each poetic line is sculpted, Leigh’s singu-lar style is perhaps most often characterized byits uncommonly sophisticated use of language,the Tony- and Grammy-nominated lyricist regu-

larly infusing her work with dexterous doses of acerbic wit, cool confidence, and effort-less sensuality. Note the opening lines of “You Fascinate Me So,” written with composerCy Coleman (her principal collaborator from 1957–64) and replete with the gorgeous intri-cacies of a classic Carolyn Leigh lyric:

I have a feeling that beneath the little halo on your noble headThere lies a thought or two the devil might be int’rested to know.You’re like the finish of a novel that I’ll fin’lly have to take to bed.You fascinate me so…I feel like Christopher Columbus when I’m near enough to contemplateThe sweet geography descending from your eyebrow to your toe.The possibilities are more than I can possibly enumerate.That’s why you fascinate me so.

This particular item having been featured in the 1958 nightclub revue Demi-Dozen, Leigh’sskillful endeavors often extended beyond the pop world, most notably to the Broadwaystage, providing in Little Me and How Now, Dow Jones what are considered among thebest comedy lyrics written for the musical theater. Moreover, the score to each of her fourmain stem entries has proven especially fruitful, generating an abundance of popular hits:“I’m Flying,” “I Gotta Crow,” and “I Won’t Grow Up” (Peter Pan, 1954); “Hey, Look MeOver” (Wildcat, 1960); “I’ve Got Your Number,” “Here’s to Us,” and “Real Live Girl” (LittleMe, 1962); and “Step to the Rear” (How Now, Dow Jones, 1967). Still, her only other full-length stage work to reach production was Something to Do, a special 1976 KennedyCenter cantata for the U.S. Department of Labor.

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If Leigh’s musical theater canon seems strangely slender, it is not for a shortage of pro-jects. Beyond her four produced Broadway musicals, Leigh had been working fastidiouslyon numerous shows, all of which were ultimately aborted. See: Roman Holiday, producerDavid Merrick’s stage version of the classic film, which was to have opened on Broadwayin October 1964; Flyers, based on a rather interesting and complex idea by Leigh, which,in the 1980–81 season, was to star Tommy Tune as Hermes, messenger of the gods, whoarrives on Earth to post its closing notice; even Dream Girl, a musical adaptation of theElmer Rice play on which she had begun collaborating with Rice himself in 1959 (sevenyears before Broadway saw its Dream Girl–inspired musical in the 1966 tuner Skyscraper).

And yet, despite the high-profile names attached to these three particular ventures, eachappears to have been abandoned rather early on in the creative process, leaving little orno evidence of its brief existence, save the several script treatments Flyers managed toreceive. Of her dozen or so unproduced undertakings, it would instead be the musicalsGatsby, Caesar’s Wife, Juliet, and Smile that would consume the formidable lyricist forover a decade. The cumulative results yielded some of her most extraordinary and adven-turous work, perhaps none more so than the highly promising musical adaption of F. ScottFitzgerald’s classic novel.

As initially reported in the New York Times, Gatsby was to begin rehearsals in December1969 toward a spring Broadway opening, but the $600,000 Artie Shaw production nevercame to fruition, leaving shelved an exceptionally rich, stylistically complex Jazz Age scorewritten with “Catch a Falling Star” composer Lee Pockriss. (Hugh Wheeler provided theelegant libretto.) The vibrant, romantically lush 1920s musical tapestry they wove is quiteunlike any of Leigh’s other work, marking a distinct departure from the classic Broadwaybrass that had previously defined her catalogue.

Working then on the long-aborning Caesar’s Wife (again with Pockriss, from 1967–73) andSmile (with Marvin Hamlisch, from 1981–83), she would return to her bright and brassyroots, albeit peppering the former, an original work centering on Julius Caesar’s fourthwife, with fiery Latin flavors. (It should also be noted that Smile did finally reach Broadwaythree years after its 1983 workshop, though none of Leigh’s contributions remained.Hamlisch and Howard Ashman rewrote the entire score.)

Rather, it is the material for Juliet that saw the lyricist again daring to explore new ground.Penned with Pulitzer Prize winner Morton Gould for a musical adaption of Fellini’s Julietof the Spirits, the score stands out as being her most emotionally raw and exquisitely lyri-cal. And quite possibly her most personal:

What beautiful is, is most undemocratic.What beautiful is, is really quite unfair,When beautiful is a teenaged acrobaticWho never has kept a house or slept with curlers in her hair.Oh, let me escape to some delightful planetWhere everyone’s past the age of twenty-three.And beautiful is what I’d adore,Like fair and fat and forty-four;In other words, something sort of more like me.

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The lyric, written circa 1977, is perhaps especially poignant when you consider it is by thesame woman who 20 years earlier advised, “fairytales can come true; it can happen toyou, if you’re young at heart.”

That 1954 Frank Sinatra hit proved an auspicious start to an arresting career. And so, withher untimely death in 1983 at the age of 57, we are left to look back at her extraordinarycatalogue and simply marvel, for Carolyn Leigh not only markedly enriched, but, moreimportantly, helped to define that iconic era of popular music known today as the AmericanSongbook. Her brilliance: undeniable. Her legacy: undying. Her work: pure witchcraft.

—Copyright © 2014 by Ben West

Hotheaded, hardhearted;Unstoppable once started.A dangerous toy, that much is true.But I’m all woman!All woman...

Five fingers, six senses;No hurdles and no fences.All set to destroy ev’ry taboo...

—Carolyn Leigh, “All Woman” (circa 1969)

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Donna Bullock Donna Bullock has had the great pleasureof working with Ben West in Unsung-MusicalsCo.’s production of Platinum aswell as Nothing Is Forever, a song cyclefeaturing lyrics by Carolyn Leigh and musicby Morton Gould. She was last seen byNew York audiences in the world premiereof A Perfect Future at the Cherry LaneTheatre. Broadway credits include Motherin Ragtime (Jefferson Award, Chicago),Lucy in A Class Act (Ovation Award nomi-nation, Los Angeles), and Bobbi/Gabby inCity of Angels. Some theatrical favoritesinclude Take Me Along (Irish RepertoryTheatre), Rabbit Hole (Huntington TheatreCompany), Foxfire with Hume Cronyn andJessica Tandy, Sweet Bird of Youth withLauren Bacall (Ahmanson Theatre), TerraNova (Mark Taper Forum), Me and My Girlopposite Tim Curry (first national tour), TopGirls (Obie Award, Public Theater), Portraitof Jennie, Julie Taymor’s Liberty’s Taken,and Much Ado About Nothing as Beatriceto her husband Sherman Howard’sBenedick at the Shakespeare Theatre ofNew Jersey. Some television creditsinclude Monk, Medium, Six Feet Under,Smallville, Frasier, and Touched by anAngel, to name a few. She starred in thebrief but critically acclaimed NBC seriesAgainst the Grain. Her film credits includeAir Force One, All Good Things, and TheGirl Next Door.

Rachel de Benedet has performed onBroadway in Catch Me If You Can (PaulaAbagnale, Astaire Award nomination), TheAddams Family (Morticia opposite NathanLane), Dirty Rotten Scoundrels (Murielopposite both John Lithgow and JonathanPryce), Nine (with Antonio Banderas andChita Rivera), and The Sound of Music. Hernational tours include Camelot asGuenevere opposite Lou Diamond Phillipsand The Sound of Music as Elsa oppositeRichard Chamberlain (Judy Award for BestSupporting Actress). Among her Off-Broadway credits are Christopher Durangand Peter Melnick’s Adrift in Macao(Barrymore Award for Best Actress for theoriginal Philadelphia Theatre Company pro-duction) and The Second Tosca. Regionalfavorites include the Tommy Tune–helmedTurn of the Century with Jeff Daniels at theGoodman Theatre, The King and I oppositeLorenzo Lamas at Ogunquit Playhouse, AsBees in Honey Drown (Denver DramaCritics Circle Award for Best Actress in aPlay) at the Arvada Center, Blithe Spirit atRiverside Theatre, Brigadoon for TheatreUnder the Stars, Kiss Me, Kate (IRNE Awardnomination) for North Shore MusicalTheatre, and most recently Tell Me on aSunday for Hesston Bethel Performing Arts.She can be seen in the soon-to-be-releasedfilm Creedmoria. Ms. de Benedet hasworked previously with UnsungMusicalsCo.in Carolyn Leigh’s Nothing Is Forever in con-cert at both Symphony Space and theConnelly Theatre.

Rachel de Benedet

Meet the Artists

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Drew Gehling was an original cast memberin the revival of On a Clear Day You Can SeeForever, in which he played the role ofWarren to critical acclaim alongside theincomparable Harry Connick Jr. He starred inthe original Chicago production of JerseyBoys, and has now portrayed the role of BobGaudio across the country, including onBroadway. He has also performed in showsand/or workshops for Lincoln CenterTheater, the Goodman Theatre, Paper MillPlayhouse, La Jolla Playhouse, UtahShakespeare Festival, and the New YorkTheatre Workshop, including A Minister’sWife and Anne of Green Gables (both Off-Broadway, with award-winning cast record-ings). On screen he can be seen in theStephen Frears film Muhammad Ali’sGreatest Fight starring Christopher Plummer,Danny Glover, and Ben Walker; 30 Rock asthe nemesis of Kenneth the page; andSmash. Mr. Gehling co-authored a paperabout professional singers along with severalfaculty members at the NYU Voice Center inManhattan, and is also a post-baccalaureatestudent at Columbia University. He holds adegree from the Carnegie Mellon UniversitySchool of Drama.

Autumn Hurlbert is thrilled to be revisitingthe beautiful work of Carolyn Leigh. Shehas appeared on Broadway in LegallyBlonde, and she performed in the first

national tour of Little Women. Her Off-Broadway/regional theater credits includeNobody Loves You (Second Stage), To -morrow Morning (York Theatre), KillingWomen (Theatre Row), On the Town(Encores!), Legally Blonde (North CarolinaTheatre), Private Lives (Huntington The -atre), every tongue confess (Arena Stage),Becky’s New Car (Theater Aspen), andLucky Guy (Goodspeed). Ms. Hurlbert’stelevision, film, and web credits include TheSound of Music Live (NBC), runner-up inLegally Blonde: The Search for Elle Woods(MTV), Guiding Light, Sudden Death!, andResearch (web series).

Adam Kantor most recently played Jamie inthe acclaimed New York revival of The LastFive Years, directed by the composer JasonRobert Brown at Second Stage Theatre. Hestarred in Rent on Broadway as Mark, thefinal performance of which was capturedby Sony Pictures for Rent: Filmed Live onBroadway. Mr. Kantor subsequently playedHenry in the Pulitzer Prize–winning musicalNext to Normal on Broadway, as well asPrinceton/Rod in the smash comedyAvenue Q Off-Broadway. He originated therole of Jeff in Nobody Loves You by ItamarMoses and Gaby Alter at the Old Globe. Ontelevision, Mr. Kantor played Ezra on TheGood Wife. He is a graduate of North -western University in Chicago, and he alsostudied at the British American Academy ofDramatic Arts in London and at Stella AdlerStudio in New York. Mr. Kantor serves onthe board of American Musical TheatreLIVE! in Paris, and he is a co-founder of thenonprofit arts education organizationBroadway in South Africa.

Drew Gehling

Autumn Hurlbert

Adam Kantor

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Jeremy Kushnier’s Broadway credits includeRen McCormick in Footloose, Roger in Rent,and Tommy DeVito in Jersey Boys. Hisnational tour credits include Radames in Aidaand Dr. Madden in Next to Normal. On tele-vision and film, he has appeared in Person ofInterest, The Good Wife, and the indepen-dent short Will. Mr. Kushnier’s recordingsinclude In Time and the self-titled JeremyKushnier, both independent releases. Learnmore at jeremykushnier.com.

Alli Mauzey most recently starred as Glindain the Broadway company of Wicked. Beforethat she made her City Center Encores!debut in the role of Sydney in It’s a Bird…It’sa Plane…It’s Superman. Other Broadwaycredits include Lenora in the musical Cry-Baby, for which she won a Theatre WorldAward and was nominated for a DramaLeague Award. Ms. Mauzey also originatedthe role of Lenora in the pre-Broadway pro-duction of Cry-Baby at La Jolla Playhouse inSan Diego (Theatre Critics Circle Award). Sheplayed Brenda in Hairspray on Broadway andin the original company of the first nationaltour. Regionally Ms. Mauzey has appearedas Mallory in City of Angels for Reprise!,Snookie in 110 in the Shade at the PasadenaPlayhouse, and Audrey in Little Shop ofHorrors at the Muny, for which she wasnominated for a Kevin Kline Award. Shehas also performed several concerts withsymphonies across the country, including

playing the title role in Cinderella alongsidethe Nashville Symphony, benefiting thecharity Show Hope.

Jenny Powers most recently originated theroles of Samira in the world premiere ofSecondhand Lions (Seattle’s 5th AvenueTheatre) and Maggie in the upcoming worldpremiere of A Little More Alive (Kansas CityRep). She has starred on Broadway as Rizzoin Grease and Meg in Little Women. Othertheater highlights include Lois Lane in theCity Center Encores! production of It’s aBird…It’s a Plane…It’s Superman, MaryKate Danaher in the Irish Rep revival ofDonnybrook! (Drama Desk nomination),Veronica Franco in the world premiere ofDangerous Beauty (Pasadena Playhouse),Gina in Happiness (Lincoln Center Theater),Sydney Sharp in It’s a Bird…It’s a Plane…It’sSuperman (Dallas Theater Center), DianaDevereaux in Of Thee I Sing (Encores!), andYoung Phyllis in Follies (Encores!). Ms.Powers’s television and film credits includeBlue Bloods, The Good Wife, Mercy, Law &Order: Criminal Intent, Six Degrees, NurseJackie, I Think I Love My Wife, andConfessions of a Shopaholic. Gonna MakeYou Love Me is her debut album with herhusband, Matt Cavenaugh. Learn more atjenny-powers.com.

Max von Essen recently completed a suc-cessful run on Broadway in the revival of

Jeremy Kushnier

Alli Mauzey

Jenny Powers

Max von Essen

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Evita, appearing as Agustin Magaldi and reg-ularly stepping in for Ricky Martin as Che. Hisother Broadway credits include the firstrevival of Les Misérables, Dance of theVampires, the closing company of the origi-nal Les Misérables, and the 2000 revival ofJesus Christ Superstar, where he understud-ied and frequently performed the title role.Mr. von Essen also appeared in the worldpremiere of Maury Yeston’s Death Takes aHoliday at the Roundabout Theatre Companyand the Transport Group’s revival of MichaelJohn LaChiusa’s Hello Again (Drama Leaguenomination). Other New York credits includeJerry Springer: The Opera at Carnegie Hall,Finian’s Rainbow at the Irish RepertoryTheatre, and The Fantasticks at the SullivanStreet Playhouse. His television and filmcredits include The Good Wife, Royal Pains,Gossip Girl, The Beautiful Life, Sex and theCity 2, and the upcoming short film Blonde.He is a regular on the hit web seriesSubmissions Only. Mr. von Essen’s record-ings include Evita, Death Takes a Holiday,Love Songs of Andrew Lloyd Weber, Finian’sRainbow, and Broadway Musicals of 1928.Learn more at maxvonessen.com.

Teal Wicks was last seen as Emma Carewin the recent Broadway revival of Jekyll &Hyde. She is well known for her portrayalof Elphaba in the Los Angeles, SanFrancisco, and Broadway productions ofWicked. Other notable credits include thecritically acclaimed production of Carouselat Goodspeed Opera House, Pippin on tourand at Goodspeed, Belle Époque musicalThe Blue Flower Off-Broadway at SecondStage and at Boston’s American RepertoryTheater, and the City Center Encores! pro-duction of Stairway to Paradise.

Fran MinarikFran Minarik’s (musical director, arranger, andpiano) Broadway credits include Xanadu andIn My Life. His Off-Broadway credits includeLife on the Mississippi and The J.A.P. Show.He served as musical director or associatemusical director for Radio City ChristmasSpectacular Christmas Across Americaengagements, and as conductor or pianistfor My Way, Smokey Joe’s Cafe (LyricTheatre), and 1776 (Ford’s Theatre). Mr.Minarik composed original music for Makingthe Boys, When Ocean Meets Sky, andTagged (Barnes and Noble). His short filmcredits include The Rub, directed by JamesHorvath. For UnsungMusicalsCo., he hasserved as musical director and music, vocal,and dance arranger for the new productionsof How Now, Dow Jones, Platinum, MakeMine Manhattan, At Home Abroad, andBless You All!, and for the world premiereconcerts of Gatsby and Nothing Is Forever.Works in process include The Compleat TapDancer. Mr. Minarik is a member of the staffat the American Musical and DramaticAcademy (AMDA) in New York.

John ConvertinoJohn Convertino (bass) is a prominentbassist working in musical theater, cham-ber music, and jazz. He toured the U.S.with the first national productions of MyWay: A Tribute to Frank Sinatra, HappyDays: A New Musical, and How the GrinchStole Christmas. Mr. Convertino is alsosolo bassist with the Lyons ChamberOrchestra and the Orchestra of Our Time.He began studies at The Juilliard School in1992. His teacher Homer Mensch oftenasked Mr. Convertino to work with him,performing with the Little OrchestraSociety at Avery Fisher Hall.

Justin D. HofmannJustin D. Hofmann (drums) is a full-timedrummer and multi-instrumentalist wholeads the group Lights over Caves, and heperforms with Orca Age, Mil’s Trills, and

Teal Wicks

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Golden Bloom. He is also writing and performing pieces for prepared vibraphone,composing scores and commercial works,and watching Battlestar Galactica.

Ben WestBen West (creator and director) is thefounder and artistic director of Unsung-MusicalsCo. (UMC), a New York–based not-for-profit production company dedicated toinvestigating, revitalizing, and giving newvoice to obscure but artistically sound musi-cal works. Upcoming projects include ThePassing Show, a new music hall revue by ateam of contemporary writers; Up in Arms!,a new musical utilizing material from ArnoldAuerbach and Frank Loesser’s World War IIarmy revues; and Rodgers and Hart’s Peggy-Ann, a reading of which he will direct thisMay at the New York Public Library for thePerforming Arts at Lincoln Center. For UMC,Mr. West’s recent directing credits includenewly conceived productions of Make MineManhattan, At Home Abroad, The FigLeaves Are Falling, and Bless You All!; worldpremiere concerts of Gatsby, Nothing IsForever, and Caesar’s Wife; and severaldevelopmental readings including BarefootBoy with Cheek and Sounds Like Love, anew romantic comedy adapted from anunpublished 1955 work by Arnold B. Horwitt.On Broadway, Mr. West served as assistantdirector and dramaturge for Old Acquain -tance, and assistant producer for bothAugust: Osage County and The Home -coming. Unsung Carolyn Leigh is his fifthCarolyn Leigh project, beginning in 2009 withhis new adaptation of How Now, Dow Jones.

UnsungMusicalsCo.UnsungMusicalsCo. (UMC) is a New York–based not-for-profit production companydedicated to the preservation of musical the-ater through the revitalization and presenta-tion of obscure but artistically sound works.Focusing primarily on overlooked projectsfrom the Golden Age of musical theater

(1931–71), UMC treats each property as anew musical, thereby providing a uniquebridge between the artists of today andthose of the past. Founded in 2009 underthe artistic direction of Ben West, UMC hasrecently presented critically acclaimed,newly conceived productions of Make MineManhattan and The Fig Leaves Are Falling; astarry concert production of At HomeAbroad with Bruce Vilanch, Julie Halston,Christine Pedi, Noah Racey, Liz Larsen, andKT Sullivan; world premiere concerts ofGatsby, Caesar’s Wife, and Nothing IsForever; and the critically acclaimed NewYork International Fringe Festival productionof How Now, Dow Jones. UMC alsorecently launched its Unsung concert serieswith Unsung Jimmy Van Heusen, hosted byTony Award nominee Tom Wopat. Devotedto researching, assembling, and ultimatelypreserving rare musical material for futuregenerations, UMC is receiving its own col-lection in the Billy Rose Theatre Division ofthe New York Public Library for thePerforming Arts at Lincoln Center, wherethe company’s developmental readingseries is also in residence at the BrunoWalter Auditorium. For current projects, pro-duction history, press, media, and a full listof donors, please visit UnsungMusicals.org.

American SongbookIn 1998, Lincoln Center launched AmericanSongbook, dedicated to the celebration ofpopular American song. Designed to high-light and affirm the creative mastery ofAmerica’s songwriters from their emer-gence at the turn of the 19th century upthrough the present, American Songbookspans all styles and genres, from theform’s early roots in Tin Pan Alley andBroadway to the eclecticism of today’ssinger-songwriters. American Songbookalso showcases the outstanding inter-preters of popular song, including estab-lished and emerging concert, cabaret, the-ater, and songwriter performers.

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Lincoln Center for the Performing Arts, Inc.Lincoln Center for the Performing Arts(LCPA) serves three primary roles: presen-ter of artistic programming, national leaderin arts and education and community rela-tions, and manager of the Lincoln Centercampus. A presenter of more than 3,000free and ticketed events, performances,tours, and educational activities annually,LCPA offers 15 programs, series, and festi-vals including American Songbook, Great

Performers, Lincoln Center Festival,Lincoln Center Out of Doors, MidsummerNight Swing, the Mostly Mozart Festival,and the White Light Festival, as well as theEmmy Award–winning Live From LincolnCenter, which airs nationally on PBS. Asmanager of the Lincoln Center campus,LCPA provides support and services for theLincoln Center complex and the 11 resi-dent organizations. In addition, LCPA led a$1.2 billion campus renovation, completedin October 2012.

Lincoln Center Programming DepartmentJane Moss, Ehrenkranz Artistic DirectorHanako Yamaguchi, Director, Music ProgrammingJon Nakagawa, Director, Contemporary ProgrammingLisa Takemoto, Production ManagerBill Bragin, Director, Public ProgrammingCharles Cermele, Producer, Contemporary ProgrammingKate Monaghan, Associate Director, ProgrammingJill Sternheimer, Producer, Public ProgrammingMauricio Lomelin, Associate Producer, Contemporary ProgrammingNicole Cotton, Production CoordinatorRegina Grande, Assistant to the Artistic DirectorJulia Lin, Programming AssociateAnn Crews Melton, Programming Publications Editor

For American SongbookRocky Noel, Lighting DesignScott Stauffer, Sound DesignKyle Moore, Sound EngineerJessica Barrios, Wardrobe AssistantSara Sessions, Production Assistant

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For UnsungMusicalsCo.Ben West, Artistic DirectorBen Coleman, Associate ProducerJoe Hodge, Lighting DesignerJosh Liebert, Sound DesignerBrittany Kramer, Stage ManagerGerilyn Shur/Brigade Marketing, Press RepresentativeSimma Park, Artwork and Website

Mr. West would like to offer special thanks to June Silver, Sonja Pockriss, the GouldFamily, Michael Kerker, Charles Cermele, Jon Nakagawa, Geoff Josselson, Mark EdenHorowitz, Chamisa Redmond Nash, Cait Miller, Jonathan Hiam, Katrina Dixon, EdwardComstock, Martha Yavers, Judi Bainbridge, Peter Millrose, Nathan Romano, Dan Seabolt,Library of Congress, and the New York Public Library for the Performing Arts.

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