News From VHSource, LLC Vol 6 June 2019 The Gibraltar of The Broadway Publishing World

with a beautiful singing voice that would lead him all Audacity and Innovation! the way into a minstrel troupe at age 13 as a “madrigal boy” or chorus boy (1882). The entire family of t all started with a toy printing press – a child’s toy siblings routinely produced small stage shows which and five brothers who managed to convince dear old usually made little money but developed quite a nice Idad that they could make money in New York City. “reputation” which often landed them more printing From such humble beginnings came the game changing jobs. The minstrel job had initially been offered to company which would become known as the Gibraltar Isidore by the Thatcher, Primrose & West Minstrels. of the Broadway Publishing World. Isidore chose to pass it on to Julius so he could stay home and help his father. Julius Witmark traveled all M. Witmark & Sons, Inc. was comprised of five across the continent for more than a year as the only Witmark brothers, Isidore, Julius, Jay, Frank and white face performer (negotiated after winning an Eddie (Adolph S.) in a family consisting of six children audition) in a minstrel troupe of black face talent. – daughter Frances never figured heavily in the Julius won his first solo stint in 1884 with Leavitt’s business. Notice not one of the boys had the initial M. Gigantean Minstrels at Tony Pastor’s (Pastor (1837- Who was M. Witmark? The “M” was for the father 1908) was considered one of the founding forces Marcus, who was needed to sign the legal papers when behind vaudeville.) From that point on, Julius was a hit the business was incorporated. Every single son was a singer known all across America, until his death in minor in 1886. Marcus was the chief cheerleader of his 1929. very musical sons, but was never an active participant in M. Witmark & Sons. Therefore, the singular, most fascinating fact regarding M. Witmark & Sons was that at the moment of its incorporation in 1886, Isidore (1869-1941) was 17, already a composer, librettist, stage director and printer; Julius (1870-1929) was 16, a star tenor across the country; Jay (1877-1950) was 14, a financial wiz; Frank was 9, a New York City rising singing star; and Eddie was 7, “the youngest character artist on the stage.” In addition, these “wunderkinder” had actually been independently working in both the theatrical and printing business since they had been 14, 13, 11, 7 and 5, respectively. Vintage Toy Printing Press

Isidore, the eldest, held many jobs from age 9 forward, In 1883, Jay at age 11 was a typical mischievous young including photo album salesman, piano salesman and student at PS 28 in Manhattan when he managed to win tuner, magazine salesman, librettist/director/producer an arithmetic prize in class. Normally the award was a and song writer, while brother Julius had been blessed medal, but his teacher could not bring herself to award 2 News From VHSource, LLC Vol 6 June 2019 a medal to a less than model student. Instead, she offered M. Witmark & Sons relied repeatedly on two driving Jay his choice of a tool chest, a velocipede (early forces, audacity and innovation. The boys never bicycle), a baseball outfit or a toy printing press. It was waited around for the next hit or the next opportunity. much to Jay’s credit that he delayed his initial choice of They sought out songs for publishing at every the tool chest until he had a chance to consult his opportunity. Since the four eldest already wrote music, brothers. they began reading the newspaper with an eye toward events that might need a song or two. More than Newly fired, fourteen year old Isidore had just vowed to anything else, they constantly trusted each other’s taste his mother that he would “never work for another man and gut feelings about projects, songs, and shows. as long as I live,” having been dismissed to make way for a boss’s relative, newly arrived from Germany. At Constant innovation kept the business fresh and that moment in walked Jay with his news. Isidore called growing. M. Witmark & Sons were the first publishing a meeting of the brothers to assess the decision. All house to actively plug their own songs instead of agreed that the “printing press” would be the most waiting for singers to come to them. They were the first valuable, and they were suddenly “in business.” to offer free or “perusal” copies of songs and Beginning with New Year’s Day cards, business cards, eventually, scores to entice performers and orchestras stage programs, show posters, etc., the brothers were to “sell” their new songs across the country which in soon able to purchase bigger and better presses in order turn fueled sheet music sales. The boys were the first to to begin to print the music they wrote. Thus, was hire additional composers and arrangers on staff to launched from a toy, the business which would dominate demonstrate and tailor their ever growing catalogue of New York City’s theatrical music publishing houses songs to the exact needs of performers who needed into the late 1920s. fresh material. Need it in a different key? Done. Need it for a duet? Done. Almost from the beginning, According to David A. Jansen, in the book Tin Pan business was booming! In 1888, M. Witmark & Sons, Alley, Plume, 1995: Inc. made it first move out of the family home to 32 East 14th Street to be in the middle of the New York “. . . the Witmarks became the first truly major full- theater district. line popular sheet music publisher of the [eighteen] nineties, developing the personal and professional Because Julius had spent and continued to spend creative and marketing skills that soon became the significant time touring as a member of minstrel standard throughout the industry.” troupes, the Witmarks were the first to become aware that communities across the nation were beginning to In short, the brothers became the epitome of what we at want to put on their own minstrel shows. Isidore set up VHSource LLC like to call “Game Changers.” a whole division of the corporation to deal solely The initial focus was business printing. However, when with providing minstrel Willis Woodward & Company reneged on a promise songs, scripts, props, and of royalties to Isidore for his first published song, “A dance routines to the rest of Mother’s A Mother After All,” the boys moved into the country. They devised the music publishing world. One didn’t have to worry special kits: “everything you about earning royalties if one printed the songs himself. need to put on your own In addition, Julius was not only the best song plugger in minstrel show,” and sold the United States, but he had also developed a huge them through a mail order talent for being able to spot “hits” at the first hearing. catalogue along with book The “kiddies” had a competitive edge on everyone else guides (see above). Such kits became the roots of the which made them unstoppable and drove their American community theater movement, which competition crazy. The other existing music publishing continues to this day to rent (or license) their musical houses placed bets on how long the kiddie company comedy productions from the Tams-Witmark Music would last. No one ever collected! Library, among others. 3 News From VHSource, LLC Vol 6 June 2019

When the International Copyright Law of 1891 suddenly Being a composer educated and steeped in German forced all American publishers to pay attention to traditions, Herbert had chosen E. Schuberth & Co., a European composers’ rights, it was M. Witmark & Sons fine German publisher with a branch office in New who were the first to see the advantage of having a York City, as his publisher of choice almost as soon as branch office in London. Off one of the brothers went to he arrived in New York City in 1886. However, by establish relationships with both Charles Sheard & 1897 Herbert was also falling in love with his adopted Company, England’s second largest music publisher, country, and thus, quite ready for a visit in early 1898 and Reynolds & Company, a music specialist from Otto Weyl, the new general manager of the publisher. M. Witmark & Sons soon had offices in Witmark Music Library. It did not hurt matters that London headed by Charles Warren. Weyl had also been a classmate in Vienna of the soprano Therese Forster, better known in 1898 as During 1893, Julius Witmark, still on the road singing Mrs. Victor Herbert. Weyl was already a confidential his firm’s songs with minstrel troupes, saw the adviser to the young composer. The Witmarks had advantage of opening a branch office of M. Witmark & strategically picked the perfect emissary and landed the Sons in Chicago during the upcoming Columbia World first major theatrical licensing contract with a composer Exposition and installed Sol Bloom as the new general well on his way to becoming one of America’s finest. manager. The brothers always had that total trust in each other’s judgment going for them. In August of 1898, a notice appeared in the fairly new newsletter, The Witmark Monthly, that “Mr. Victor At home, business was booming, causing M. Witmark & Herbert, the celebrated conductor and composer, has Sons to move uptown to a building at 49-51 W. 28th entered into an agreement with us whereby our house Street. More room was needed to accommodate their are [sic] to publish his new comic opera, “The Fortune minstrel division, their vaudeville division and their Teller,” book by Harry B. Smith, which has been sheet music division. Plus the New York theaters written for Alice Nielsen and The Alice Nielsen Opera themselves had begun migrating up into the twenties and Company.” That business relationship would last thirties. When major players migrate, the support teams through 1919 with M. Witmark & Sons publishing 24 usually follow and hence a constantly growing wave of Herbert operettas, far more than its next competitor. music publishers crowded West 28th Street. While other publishing houses would be utilized in addition to E. Schuberth & Co., that choice was largely By 1897, M. Witmark & Sons was the top of the heap of dependent upon who was producing a Herbert work at the American Music Publishing industry. In the same the time. More often than not, Herbert would voice his year composer Victor Herbert opened what is often opinion – M. Witmark & Sons. considered to be his first major masterpiece, The Serenade, written for The Bostonians and their exciting With Victor Herbert as new coloratura Alice Nielsen, (opened February 17, their flagship composer, 1897). That same year Herbert opened The Idol’s Eye, other theatrical composers commissioned by vaudevillian Frank Daniels (October and creators of both 25). This was the first time the young Irish composer operetta and that brand Herbert had opened more than one operetta in a given new genre “musical year. He was not only making quite a name for himself comedy” developed by as a composer of great melodies, but he had developed George M. Cohen, an interesting habit of choosing 8 to 12 songs from each quickly signed with the operetta to publish as sheet music – a fact well noted by company. M. Witmark & the Witmark men. Hmmmm – two operettas running Sons, Inc. was now simultaneously, and 16 to 24 new sheet music hits in one positioned to be the game year – the situation could not possibly have failed to changer of theatrical catch the Witmarks’ immediate attention. licensing from Broadway to small town USA. 4 News From VHSource, LLC Vol 6 June 2019

In 1898, M. Witmark & Sons became the first music a bunch of tin pans clanging together. The writer also publisher to rent an entire building located at 8 West 29th characterized the exceptionally crowded street as an Street. The company had added a Professional Division alley - hence the label Tin Pan Alley came to denote with a staff of playwrights, songwriters and arrangers the crazy wasp nests of New York City music publisher who wrote to order, and the Witmark Music Library offices even after they migrated several more times. had grown to service the increasingly numerous “salon They would eventually center permanently in 1931 orchestras” which bought and/or rented “special around and in the Brill Building at 1619 Broadway (at arrangements of medleys, overtures, and popular 49th Street). NOTE: M. Witmark & Sons, Inc. was far too operatic productions, operatic selections, oratorios, large and sophisticated to ever be counted among the masses, vocal parts for chorus, band scores and minions of Tin Pan Alley. orchestra scores.” There was still the regularly increasing Minstrel Department which had grown far The combination of integrity, professionalism, beyond the early simple kits to include instruments, marketing know-how and international clout made M. accessories, costumes, and make-up. Almost the largest Witmark & Sons, Inc. the Gibraltar of the Broadway new department was a booming Mail Order Publishing World from 1885 well into the 1920s. So Department, featuring a “Black and White” Series what happened to M. Witmark & Sons? When exactly containing semi-classical numbers, famous ballads, did they morph into Tams-Witmark Music Library? standard features and steady sellers. This department And when did the sterling reputation become a bit on served the firm as a buffer to cover themselves when the tawdry side? To answer those questions, one must times were lean. first examine the first decade and a half of the new 20th century. Around 1900, Monroe Rosenfeld, a prolific composer- lyricist, was hired to write a series of articles for the While the Witmark business quickly became the largest New York Herald newspaper on the “new and and most profitable, they were not the only game in energetic popular music publishing business.” He would town. Other music publishers had been around since be the one to first utilize the phrase Tin Pan Alley. after the Civil War. As the “kiddies” grew into formidable competition, a particularly acrimonious rivalry grew between the brothers and the Arthur W. Tams Music Library. The latter business, founded in 1870, had previously been the most successful in the city. Tams resented the new competition, especially given the age of the principals, and the fact that M. Witmark & Sons, Inc. kept beating them to the punch with all those innovations. The rivalry was to last three decades and turn nasty quite often. Each time the brothers moved their offices to follow the ever moving construction of new theaters, Tams’s nose got a little more out of joint – especially when forced to move themselves. When M. Witmark & Company eventually decided to build their own building on 37th street, the rancor turned to nasty non-communication. Tin Pan Alley 1900 His first stop was the office of Harry Von Tilzer at 42 Fortunately, business was healthy for all until World West 28th between Broadway and Sixth Avenue to do War I loomed, beginning in 1914 in Europe. At the some research for his articles. Upon leaving Von same time more and more theaters were built around Tilzer’s rather seedy run-down office, Rosenfeld heard the booming Times Square. Witmark & Sons had a din of competing pianists pounding away on old, committed to their owning their own building, so when nd decrepit pianos, and he noted that with all the song the rest of the publishers surge forward into the 42 demonstrators working at the same time, it sounded like Street/Times Square area, Witmark was the establishment left behind. What followed were the 5 News From VHSource, LLC Vol 6 June 2019 only real lean years in Witmark’s history – 1914 through entitled “Broken Wing” by Paul Dickey and Charles W. 1920. During this time, the brothers were forced to hire Goddard, starring a young George Abbott. That cars to get their usual producers to even visit their project made a handy profit over the next two years. offices. Brother Milton formed an opera school which was also successful for number of years. Enter new players into this M. Witmark & Sons v. Arthur W. Tams rivalry, the Aborn Brothers, producers In 1923, after just barely surviving their tough financial of opera aimed at the common man rather then the Met’s situation, M. Witmark & Sons, Inc. finally made the society audience. First a bit of background on Sargent decision to sell their own building and move the entire st and Milton Aborn. They had begun producing and business uptown to 51 and Broadway. Try not to feel packaging tours across the country in 1901, presenting too sorry for the firm. M. Witmark & Sons still had 23 the “poor man’s opera.” They had huge success during branches across the country and internationally. the first decade of the 1900s, obtaining most of their performance materials from Arthur W. Tams Music Perfect timing now favored M. Witmark & Sons, as a Library. As Victor Herbert’s reputation kept growing on young composer named Sigmund Romberg suddenly Broadway, the Aborns began strengthening their became available to contract just as Herbert was relationship with M. Witmark & Sons who held those slowing down in his output. When Victor Herbert rights and those of other prominent American unexpectedly passed away on May 26, 1924, it was Composers on Broadway. The Aborns became the first Romberg who filled the void, and became the second company to do both Herbert and DeKoven works in major composer to lift M. Witmark & Sons to repertory in their summer theatre touring companies. publishing glory. His Student Prince opened on December 4, 1924 on Broadway, and ran for 608 In 1914, the Aborns rented the new Century Theatre at performances. Such success returned the publishers to the corner of 62nd and Central Park West for a series of the top of their game financially. inexpensive opera productions including the very last full production of Victor Herbert’s Natoma, all under Going back to 1922 for a the auspices of a specially formed Century Opera moment, interestingly Company. Unfortunately, that endeavor was short lived Sargent Aborn had left given the limitations of the Century Theatre (poor producing altogether, and acoustics for music and too many seats). However, it was hired as General cemented the Aborns’ relationships with both Tams and Manager of the Arthur W. M. Witmark. Tams Music Library. He steered the company in the 1918 would prove to be the “worst of times” for M. direction of licensing more Witmark & Sons. Victor Herbert was slowing down a and more works to amateur bit and turning his creative interest in other directions, groups across the country. including film score and overture composing. Sargent Aborn circa 1913 Entertainment dollars were going overseas to support the war effort rather then into Broadway tickets. Herbert In 1924 he approached M. Witmark & Sons about a was also working with producers who were insistent possible merger of their two music libraries, focusing upon using music publisher T.B. Harms & Francis, Day even more solidly on amateur rights. Because Aborn & Hunter, Inc. as their publisher of record. This had done major business with both organizations, the particular publisher had grown into one of the seven initial dialogue was much easier. The merger seemed to largest publishers of popular music and Herbert found make a lot of sense, especially with the rise of T.B. he didn’t quite have the clout he was used to having in Harms & Francis, Day & Hunter, Inc. The move as choosing publishers. considered would have no effect on the rest of the M. Witmark & Sons’ business interests, and moved the In 1920, the Aborn Brothers broke up their partnership. management of the merged libraries into the hands of Sargent produced the first play ever about an airplane, Sargent Aborn, for whom both Tams and Isidore Witmark had great respect. 6 News From VHSource, LLC Vol 6 June 2019

In January, 1925, a new company was formed as a No where else in the history of American music- merger of the Arthur W. Tams Music Library (1870) and publishing, and rarely in the history of music- the M. Witmark & Sons Music Library. This new publishing the world over, had there been such a company now known as Tams-Witmark Music Library, fruitful, intimate association between composer and managed the works of such notable composers as John publisher. Together, the Witmarks and Herbert had fought for the rights of the composer and the author Philip Sousa, Franz Lehár and Victor Herbert. Shortly and the publisher; together they had marched from after consolidation, it also began to manage music by triumph to triumph on the stage and in the concert George and Ira Gershwin, Cole Porter, Jerome Kern, hall. Guy Bolton and P.G. Wodehouse. It added to its collection during those early years two of its most Thus we can answer the question as to what happened popular works, Anything Goes and Girl Crazy, on which to M. Witmark & Sons, Inc. Warner Brothers was based the musical Crazy for You. The company purchased that entity but not the Tams-Witmark Music continued to expand for the next few decades, picking Library which had fortunately been formed into a new up all Broadway shows until other licensors arrived on separate entity. That is the company that remains the scene. The most notable was Rodgers and today. For each and every one of us, renting from this Hammerstein who quickly made the decision to licensed organization was likely our first taste of doing of a their own works in 1944. Broadway show. There would never again be a M. Witmark & Sons, Inc. Except for historical accounts, This merger with Tams allowed the always innovative few today even remember a time when there was. Witmark brothers to begin to focus on three areas they had not yet dominated: film (now headed towards the Now, as to why so many of us developed a rather rude “Talkies”), radio and Mechanical Devices (recording). opinion of Tams Witmark Music Library. It should be remembered that in 1925, the organization inherited That new concentration caught the attention of Warner vast materials which were all in handwritten format. Brothers. As Hollywood moved into the area of adding NOTE: There were no computers, let alone computer sound synchronization to the moving image, they saw software to allow transfer of the performance materials into the need for owning the rights to the music world of a digital format. The notation software Finale and Sibelius Broadway. They looked about for the firm with the most were far into the future – 1988 and 1993, respectively. There integrity and began wooing M. Witmark & Sons, Inc. was a huge audience across the country wishing to see, According to Isidore Witmark, the firm was bought by and be in, the theatrical shows held by Tams-Witmark. Warner Brothers in 1928, but continued functioning with all executives still in place until the inevitable Each set of materials was rented over and over again, happened. supposedly cleaned of any performance marks each time before being returned. We all know how much Almost upon the signing of the paper work, Julius P. that was enforced! The best anyone could hope for was Witmark died on June 14, 1929, one month after singing the creation of multiple sets of materials so each set “Ah Sweet Mystery of Life” at the annual memorial would not be used quite so often. Hundred year old program for Victor Herbert on the National materials steadily turned yellow and deteriorated. The Broadcasting Company (NBC)’s Station WJZ. once proud reputation plummeted and the venerable name became a bit of a joke regarding the quality of the The youngest brother Adolph (“Eddie”) had died the materials they routinely sent out. year before and with Julius’ passing, the brothers lost the will to continue as M. Witmark & Sons, passing The Aborn family retained total control of Tams- quietly into the Warner Brothers fold. Witmark until 2018. During that year, they, along with other grand names like the Hammerstein Organization One last thought on the importance of the before them, succumbed to the BUYOUT. The Herbert/Witmark relationship, Isidore Witmark offered company doing the buying was Concord Music his own estimation of that particular relationship: Group. The following will tell you exactly who Concord is in their own words: 7 News From VHSource, LLC Vol 6 June 2019

Concord is the independent, worldwide leader in the We hope you agree that the real foundations of our development, management and acquisition of sound wonderful American musical theater world are far recordings, music publishing and theatrical deeper, richer and much farther back than Show Boat performance rights. Concord has offices in Los in 1927 – and we’ve only slightly touched on the Angeles, New York, Nashville, London, Berlin and contributions of George M. Cohan. Miami and operates via three primary operating divisions:

CONCORD RECORDED MUSIC Herbert Program Now A Finalist! Concord Recorded Music is comprised of five active labels across many musical genres: Concord Records, We are delighted to announce that the radio Fantasy Records, Fearless Records, Loma Vista documentary, “Victor Herbert, Son of Dublin” has been Recordings and Rounder Records. Concord is also nominated for the New York Festivals Radio Awards! home to the #1 kids’ music brand, KIDZ BOP. On May 24th Guy Livingston and Claire Cunningham got word that their radio program featuring Victor CONCORD MUSIC PUBLISHING Herbert had advanced to the finalist round! Concord Music Publishing represents more than 390,000 copyrighted works spanning all musical genres and including many of the world’s most CLICK HERE to hear this wonderful program if you celebrated compositions by its most legendary missed it the first time around back in February. creators. Boosey & Hawkes, the world’s leading classical music publisher, and The Rodgers & New York Festivals Radio Awards honors radio Hammerstein Organization are also business units of content in all lengths and formats and across all Concord Music Publishing. platforms from radio stations, networks and independent producers from around the globe. CONCORD THEATRICALS Concord Theatricals is the world’s most significant The winners will be announced on Monday, June 24, theatrical agency, comprised of R&H Theatricals, 2019 at their annual gala in New York City. The Musical Company, Tams-Witmark and Samuel French. Concord Theatricals is the only firm that provides truly comprehensive services to the creators Upcoming Herbert Performances and producers of plays and musicals under a single banner, including theatrical licensing, music publishing, script publishing, cast recording and Saturday June 1, 2019 at 07:55, Grampian Concert first-class production. Orchestra, Tim Tricker (conductor), will present a varied program of light classics to get you in the mood There is a saving grace to the above. The company is for spring. The concert will be held at the Mannofield American, based in California, unlike the initial Parish Church, Great Western Road, Aberdeen, purchaser of the Hammerstein Organization – ImageM, Grampian, Scotland. a Danish entity! If you read over the above carefully, a thought might cross your mind as it did with us. The (Here’s the really great part of this listing) Victor brothers who formed M. Witmark & Sons Inc. so long Herbert was born in Guernsey in the late 19th century, ago in 1886, might be highly satisfied with this but lived much of his life in the United States, during BUYOUT. which time he composed light operettas including one called 'Babes in Toyland', which was later picked up by Source of the majority of the above article: The Story of Laurel and Hardy and made into a short film of the the House of Witmark - From Ragtime to Swingtime same name, featuring Herbert's music. March of the by Isidore Witmark and Isaac Goldberg, Lee Furman, Toy Soldiers is from the climax of the film when the Inc., New York, 1939. This book is a treasure trove of toy soldiers defeat the evil bogeymen and save the day! wonderful information, giving one a completely (Finally, folks are researching and finding the right different opinion of M. Witmark & Sons, Inc. than you information regarding Herbert’s birth.) may have had previously. You can purchase this book on Amazon.com. 8 News From VHSource, LLC Vol 6 June 2019

Tuesday, Wednesday, Thursday (2), Friday and Burns! That is a line from “To A Mouse” and it seemed Saturday, July 23-27, 2019, the College Light Opera to fit the situation VHRP LIVE! found itself in to a tee Company, Falmouth, MA (Cape Cod) will present during the month of May. New wrinkles developed in Victor Herbert’s 1910 The Red Mill (Mott Version). the company that have necessitated a change from the Playwright Alyce Mott will be visiting CLOC on wonderful Season 6 announced in the Sweethearts Saturday, July 27 for a 5:30pm discussion of “American program on May 1. Notice all has been righted in the Entertainment Game Changers.” What’s a game changer world of Herbert. If you are wondering where the 1903 anyway, and who gets the honorable title in the history Babette went, think Fall of 2020. Not to worry, you’ll of the American musical theatre. The answers will see her soon! surprise. The rest of the CLOC season is now up and the box office is open. So what is that new wrinkle? We are very pleased to announce that our very first company couple to marry, Tuesday, Nov 19, 2019 and Wednesday, Nov 20, 8pm, Sarah Caldwell Smith and Daniel Greenwood, are the Victor Herbert Renaissance Project LIVE! will open set to become Mommy and Daddy in October. So our its Season 6 with Herbert’s 1914 musical comedy, The first married couple morphs into our first family in the Debutante. This all French season will feature a year 2019. WOW! That being said we should potpourri of musical comedy, opera and operetta. See acknowledge that Company member Matt Wages was the other calendar listings for the rest of the season. All married to a non-company member quite a while ago, performances are at Christ & St. Stephens Church, 120 and they adopted two adorable twin boys. So W. 69th Street, New York, New York. Watch this space technically Sarah and Daniel might be the second for the opening of the Box Office. VHRP LIVE! family.

Tuesday, March 3, 2020 and Wednesday, Mar 4, With this newsletter, the mad dash through delightful 8pm, the Victor Herbert Renaissance Project LIVE! will summer begins. It’s been a long trek through Spring in continue its Season 6 with Victor Herbert’s 1914 rarely New York City. There have been days when none of us performed opera, Madeleine. All performances are at were at all certain that Winter would ever formally Christ & St. Stephens Church, 120 W. 69th Street, New withdraw. Yes, the calendar said Spring, but the York, New York. Watch this space for the opening of number of wet, windy, raw days far outnumbered the the Box Office. delightful, fresh, comfy, sunny ones.

Tuesday, May 5 and Wednesday, May 6, 8pm, the By the way, hope to see some of you on Cape Cod, the Victor Herbert Renaissance Project LIVE! will close its weekend of July 26th for the College Light Opera Season 6 with Victor Herbert’s 1905 operetta, Mlle. Company’s production of Herbert’s The Red Mill and Modiste. All performances are at Christ & St. Stephens my discussion of “American Game Changers” at 5:30 Church, 120 W. 69th Street, New York, New York. on Saturday, July 27th. Watch this space for the opening of the Box Office. In addition, there are rumors coming from Germany, that there will be a Babes In Toyland premier in Alyce's Musings . . . December. We’ll keep you posted on the details. I’m sure you also caught the fact that the June 1, 2019 HRP LIVE! has finished its Fifth concert in the calendar was in Scotland. Heigh ho the Season with a wonderful Revival! Vpresentation of Sweethearts and is now well on its way to Season 6 With that note, we’ll end this very informative containing: the 1914 The Debutante, newsletter and enjoy a stroll out into the soft June air. the 1914 one act experimental opera Madeleine, and the 1905 Mlle. Modiste. See you next month. However, there are times when “The best laid schemes o' mice an' men / Gang aft a-gley.” Thank you, Robert