Barry Kleinbort
Barry Kleinbort has worked as a
director, composer, lyricist, and librettist over the last twenty five years,
earning the prestigious Edward Kleban Foundation Award for Lyric Writing, a
2002 and 2003 Gilman-Gonzalez Musical Theatre Commendation Award, the 2007
ASCAP Foundation Jamie de Roy award, two Back Stage Bistro awards and ten
Manhattan Association of Cabarets (MAC) awards for his efforts.
Throughout
the United States and in Europe, Mr. Kleinbort has directed and/or written
material for such show biz luminaries as Kaye Ballard, Regis Philbin, Marcia
Lewis, Mary Cleere Haran, John Barrowman, Penny Fuller, Karen Mason, Rita
Gardner, Brent Barrett, Sylvia McNair, Eric Michael Gillett, Harolyn Blackwell,
Jeff Harnar, Heather MacRae, RodneyGilfry, the late Jerry Hadley and many, many
others. He recently adapted and directed the New York premiere of Bob Merrill's
musical "The Prince of Grand Street" starring Mike Burstyn for the
Jewish Repand John Epperson’s well received autobiographical evening SHOW TRASH
at the Studio Theater in Washington D.C.
He
wrote the book and lyrics for the new musical, WAS, (based onGeoff Ryman’s cult
classic with music by Joseph Thalken) which was the inaugural production of the
American Music Theater Project in Chicago. He wrote the incidental music and
songs for the off-Broadway production of SECOND AVENUE by Allan Knee and the
book, music and lyrics for ANGELINA, a musical based on That Summer-That Fall
by Frank D. Gilroy. As librettist, he co-wrote with David Levy PERFECT HARMONY,
a musical play about the lives of the Barry Sisters that has been optioned for
off-Broadway.
For PBS, he provided the written continuity for "A Washington Opera
Celebration" and the 2003 presentation of DIE FLEDERMAUS. Over the
past few seasons, he has performed similar writing duties for six PBS
broadcasts of Keith Lockhart and the Boston Pops and, currently, Erich Kunzel
and the Cincinnati Pops. Most recently, he was an artistic consultant on
“Cathouse: The Musical” for HBO.
Christophe
Mirambeau
Christophe Mirambeau, a fait ses études au
Conservatoire National de Toulouse (piano, écriture, musique de chambre) et à
l'Université de Toulouse-le-Mirail (Lettres Modernes). Il a collaboré à la mise
en scène de nombreux musicals et d'opéras aux côtés d'Alain Marcel avant
de signer ses propres mises-en scène, telles le Toréador d'Adolphe Adam
(dont il signe le nouveau libretto) à l’Opéra Royal de Wallonie, ou encore Les Mousquetaires au Couvent, Orphée aux Enfers (Monaco, 2005) et Sacha
en chansons au Grand Auditorium de la Bibliothèque Nationale de France
- François Mitterrand - consacrée à la recréation et la création de raretés et
d'inédits de Sacha Guitry (11.07).
Spécialiste
du théâtre musical, il a publié Le Moulin Rouge (Ed.
Assouline, Paris – VF-, New York – V.A.-, 11.03), et Saint-Luis (Flammarion) biographie du célèbre
ténor Luis Mariano (10.04). Son Albert
Willemetz, Un regard dans le siècle (La
Rampe, 2005) lui a valu le Prix Thorel pour le
Meilleur ouvrage d'érudition de l'Académie des Sciences Morales et
Politiques/Institut de France. Sa bibliographie s'enrichit de trois
nouveaux items en 07-08 : il publie la première biographie française de Barbra
Streisand (Flammarion), un essai consacré à l'homosexualité dans l'opérette
française d'entre-deux guerres ["Il faut en être - Gay Kitsh
Camp in French musicals 1920 -1940" ] dans l'ouvrage collectif, publié
sous la direction de Kevin Clarke, intitulé Glitter and Be Gay (Mannerschwarm
Verläg, Hamburg),
puis "Sacha Guitry et le musical : évolutions, révolutions,
innovations", dans le catalogue de l'exposition conjointe
Bibliothèque Nationale de France/Cinémathèque Française, Sacha Guitry, une
vie d'artiste (Gallimard). Il prépare actuellement un nouvel ouvrage, La
Joyeuse Occupation - une comédie humaine 1940 - 1946, (Payot,
2010). Christophe est par ailleurs éditeur de la série French Fun (06.09) chez Universal Publishing.
Parallèlement,
il poursuit son travail d'auteur de pièces et de chansons — pour les Folies Bergère, avec une revue de de
Caf' Conc' consacrée à l'opérette, pour la compagnie Roger (une comédie
dramatique, La fille au piston), à l’occasion de Music-hall du Lundi de la Pépinière
opera, ou encore des shows tels French, Hot & Blue,
pour la Lady Diana Foundation/West End Cares à Londres pour Dominique Noblès, ou encore et la revue satirique Ça
monte et ça descend créée à Paris au printemps 2004. Il a signé
l'adaptation française du musical Nunsense (Dan Goggin) au théâtre
Déjazet à Paris (janvier - Avril 2005). Il est par ailleurs le librettiste
posthume de Jacques Offenbach, à l’occasion des Rheinnixen, les Fées
du Rhin, opéra allemand récemment redécouvert, pour l'édition critique
monumentale de l'œuvre d'Offenbach (Offenbach
Edition Keck/Boosey & Hawkes). Il vient d’achever les versions
françaises des poèmes de Jan Tuwim, Mieczyslav Jastrun, Stanislas Balinski, …
pour les mélodies du compositeur Simon Laks (1901-1983) (à paraître chez Boosey
& Hawkes-Bote&Bock/Berlin).
Ken Bloom
Ken Bloom is a leading authority on American
popular song and musical theatre.
His
books AMERICAN SONG, HOLLYWOOD SONG, and TIN PAN ALLEY are seminal works on
stage, film and popular songs, documenting over 300,000 songs. AMERICAN
SONG was named Reference Book of the Year by Choice Magazine.
HOLLYWOOD SONG was named an Outstanding Reference Source. His BROADWAY:
AN ENCYCLOPEDIC GUIDE TO THE HISTORY, PEOPLE AND PLACES OF TIMES SQUARE was
named one of the top reference books of the year and has recently come out in
an updated third edition. It was followed by the highly successful JERRY
HERMAN: THE LYRICS: A CELEBRATION. His BROADWAY MUSICALS: THE 101 GREATEST
SHOWS OF ALL TIME, written with Frank Vlastnik, has sold over 75,000 copies and
won the American Library Association’s prestigious George Freedley Memorial
Award. His book AMERICAN SONGBOOK: THE SINGERS, THE SONGWRITERS, AND THE SONGS
was published to great acclaim. He and Vlastnik compiled a BROADWAY MUSICALS
CALENDAR and last Christmas their SITCOMS: THE 101 GREATEST SHOWS OF ALL TIME
hit bookstores. This November, REMEMBER THAT I LOVE YOU, written with Jerry and
Elaine Orbach, will be released by Simon & Schuster.
Ken
hosted twelve hours of musical theatre on Sirius satellite broadcasting on a
weekly show. He was a programmer for United Airlines’ inflight entertainment.
Ken enjoyed a 15-year run as the co-host of Musical Theatre Today on
WKCR-FM. He has also contributed to National Public Radio's All Things Considered and Morning Edition and, for two years, was
Broadway correspondent for the CBC. Ken was also editor of THE WASHINGTON
SEASON, the monthly arts magazine supplement to the Washington Post. He is currently Publications Director for the
Theatre Historical Society and editor of their MARQUEE magazine.
His
theatre work includes 15 years running the legendary New Playwrights Theatre of
Washington. His show A Brief History of
White Music enjoyed a year-long run at the Village Gate and he has produced
and directed benefits with such stars as Patti LuPone, Carol Burnett, Marc Antony,
Paul Anka, Wynona Judd, Donna Murphy, Jerry Orbach, and Duncan Sheik.
As
President of the 25-year-old Harbinger Records, Ken has produced more than
twenty albums including those by Peggy Lee, Maxine Sullivan, and Geraldine
Fitzgerald. His MAXINE SULLIVAN SINGS GREAT SONGS OF THE COTTON CLUB BY
HAROLD ARLEN AND TED KOEHLER was nominated for a Grammy Award and won NAIRD's
Best Jazz Vocal award. His Peggy Lee recording, LOVE HELD LIGHTLY, was
featured on many ten best lists. Ken has also served as a judge for the
Producer of the Year GRAMMY Award. New York City Opera star Amy Burton’s
SOUVENIR DE PRINTEMPS was recently named CD of the month in Opera News.
He is a
sought after consultant, working for such organizations as Angel Records, Decca
Records, Sony, Universal Music, the Museum of the City of New York, the
Smithsonian Institution, the Goodspeed Opera House, Prentice Hall publishers,
and the National Endowment for the Arts Theatre, New Plays, Musical Theatre and
Expansion Arts programs. He has worked for the Library of Congress’ music
division working on the papers of Burton Lane, Jerry Herman, Florence Klotz,
Peter Stone, and other masters of the musical theatre. He currently sits on the
board of the Library of the Musical Theatre of the Goodspeed Opera House.
Olivier
Bénézech
Olivier
Bénézech exerce un travail d’animateur et de metteur en scène fondé sur la
découverte d’oeuvres, le mélange des genres et la pédagogie.
Ainsi ont été mis en place des
projets liés à la littérature, à la poésie, la musique du XXe : Max Jacob,
Radiguet, Apollinaire, Cocteau, Satie, Poulenc, Auric, Christiné, Xavier
Leroux, en collaboration de nombreuses scènes nationales.
Travail aussi avec les auteurs
vivants : Mark Foster (La Grotte d’Ali de Richard Demarcy à l’Opéra
de Lyon), Michèle Reverdy (Le Précepteur de Jacob Lenz à l’Opéra de
Rennes, Le nom sur le bout de la langue
texte de Pascal Quignard) et Jean Michel Damase (L’As-tu Revue ? à
l’Opéra Comique).
L’équilibre avec les grandes
œuvres classiques a été accompli avec Boris Godounov (Au Festival
d’Orange et à l’Opéra de Lyon avec Valery Gergiev et la troupe du Théâtre
Mariinsky), Don Giovanni de
Mozart à l’Opéra de Marseille, Idomeneo, de Mozart à l’Opéra de Nice, et Pelléas et Mélisande de Debussy, aussi à Nice. Désormais Olivier
Bénézech s’intéresse à de nouvelles rencontres entre l’univers du théâtre et
celui de la musique, en s’inspirant des pratiques anglo-saxonnes : pas de
« hiérarchie » entre les genres dans le spectacle vivant. L’important est la qualité du projet, son
originalité, sa faculté à rassembler de nouveaux publics pour le spectacle
vivant.
Dans cet esprit Olivier
Bénézech a créé, pour Lille 2004 et la Clef des Chants, The Cradle will rock,
de Marc Blitzstein, œuvre culte américaine; une nouvelle version du célèbre musical de Broadway Le Violon sur le Toit au Théâtre Comédia et au Casino de Paris, en
coréalisation avec Jeanne Deschaux (nomination pour le meilleur spectacle
musical aux Molières 2006) ; enfin deux opéras de Poulenc (La Voix Humaine et Les Mamelles de Tirésias) à l’Opéra de Toulon Provence Méditerranée en 2006,
reprise ensuite avec le Médium de
Menotti, avec La Clef des Chants, à l’Opéra de Lille et le Grand Théâtre de
Reims (2007).
Enfin en 2008 à la BNF à Paris création française de la
version musicale de Krapp ou la dernière
Bande de Samuel Beckett, et le mythique Grease
au Théâtre Comedia à Paris.
Olivier Bénézech montera prochainement un opéra de
Lully, Amadis, et la création
française de Street Scenes de Kurt
Weill.
Paul Greenwood
Paul Greenwood, is well known as a pianist, arranger,
and singer on theNew York Cabaret circuit. He began his New York career at age
19, aresident pianist at the legendary nightclub, The Improvisation.
Since then he has performed in numerous rooms
and cabarets all over town,including, The OakRoom at the Algonquin, and
Feinstein’s at the Regency. Off-Broadway, he was one of stars of the original
production of the hit revue, “Our Sinatra.” He also appeared
in “Tallulah Tonight » with two time Tony winner, Helen Gallagher,
at The American Place Theatre, as well as with internationally acclaimed
chanteuse, MaryCleere Haran, at ManhattanTheatre Club. Recently, he
performed at the Metropolitan Room, in the musical revue “Why Lee?” a show
about the legendary singer, Lee Wiley. Paul has accompanied countless
performers in concert and cabaret, including, the late George Burns, Elly Stone
Art Garfunkel, Ann Hampton Callaway, Nancy Lamott and Sylvia McNair. Most
recently, he appeared with Penny Fuller at Theatre East 59, and with Anna
Bergman at the Prince Music Theater, in Philadelphia
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