DOCSLIB.ORG

In Death Watch for Stranger, Becoming A

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
In Death Watch for Stranger, Becoming A Reprinted from front page, A1 New York, Sunday, January 25, 2004 In Death Watch for Stranger, Becoming a Friend to the End By N. R. KLEINFIELD That first day, Bill Keating hoped that Lew Grossman was not a weeper. Anything else he thought he could handle, but, please, not someone who cried. In a nursing home bed, still as stone, Mr. Grossman looked awful. A bedraggled, brittle-looking man, 77, he was able to move only his left arm. He had a large nose and protruding ears. He had sunken jowls, and all but five teeth were gone, victims of too much affection for sweets. Wispy white hair erupted from his head. The doctors didn't imagine he had much longer. Too many things wrong. An odd time to meet someone, when that person's life is about gone. uby Washington/The New York Times That was the point. It was supposed to R be handshakes on death's doorstep. Bill Keating, a volunteer, paiid regular visits to Lew Grossman, who otherwise would Lew Grossman lived at the Isabella have died alone. Geriatric Center, a sprawling, well- tended nursing home on Audubon and smiled but never spoke, not one with terminally ill people alone with Avenue in Washington Heights. For the word. their mortality. After all, there's no most part, his days were spent In May 2002, when they met, Bill rental agency for friends, for when cloistered in his room. No friends, no Keating didn't know a thing about Lew you're sick and staring death in the visitors. His companions were the TV Grossman. Mr. Keating was no social face. and his memories. The TV was always worker or minister or anything like Bill Keating belonged to the tuned to Channel 7. He was a stickler that. He was a retired corporate lawyer program's first full crop of volunteers, about that. "They've got good stuff on in his mid-60's, recruited into a new nine strong, and the entire enterprise Channel 7," was his explanation. In the program that paired volunteers was still feeling its way. So was Mr. next bed was a roommate who nodded somewhat enlightened in the particulars Keating. of death (they were called "doulas") The Doula Program to Accompany and Comfort, Inc. www.DoulaProgramm.org (212) 706-0398 As he would sum it up: "There's a certain satisfaction in doing something that no one else wants to do." Instructions on Death The eight training sessions were held in the evenings, in early 2002. The first session put it right out there. Harriet Feiner, the program's director and the instructor, asked, "What word or words come to mind when you hear about death or contemplate your own death?" What ran through Mr. Keating's mind was: "It's inevitable. We're all going to die and hopefully we're ready for it when it comes. It's a fact of life." He wasn't into deep philosophical thought. Death was death. Then 66, he had had more than enough of its bitter ngel Franco/The New York Times Times York New Franco/The ngel A taste — his entire family was gone. Lew Grossman kept a photo of himself with his companion, Roy Allshause, on the wall. Both parents were dead, and his two brothers had died young, one at 15 of Before it was over, something rare It all coalesced in Ms. Farley's polio, his last days encased in an iron would happen in this room, but not head. She decided to start a program to lung, and the other one at 17. He had what either man imagined. Right now, train volunteers to befriend those fated been going to football camp, but Mr. Keating hunted for hints. He to die in solitude. missed the bus and hitchhiked a ride in looked at the diminished man curled in She found sponsorship from the a truck that turned over. the bed and he thought, well, at least he Shira Ruskay Center of the Jewish The flavor of the classes was didn't seem to be in pain. No tears. This Board of Family and Children's clinical as well as mystical. It got to be could work. Bill Keating resolved to go Services, a private New York mental heavy going. Quotations were thrown forward and see what it was like being health and social service agency, and out. Lew Grossman's last friend on earth. N.Y.U. Medical Center. In late 2000, From Genesis: "It is not good for Doula? Until two years ago, Mr. she got a pilot program percolating that man to be alone. I will make him a Keating had never heard the word. A paired five volunteers and the dying. partner." friend told him about the doula She liked the name "doula," a From Beckett's "Waiting for program, and then at a dinner party late Greek word for women who assisted Godot": "Don't talk to me. Don't speak in 2001 he encountered Phyllis Farley, mothers with childbirth. The idea to me. Stay with me." whom he knew. zigzagged across her mind that there There was more: instruction on Ms. Farley, now 79, is a proponent should be doulas to help people leave hope in the face of death, the intricacies of natural childbirth and chairwoman of the world. The program was named of health care proxies and do-not- the board of the Maternity Center "Doula to Accompany and Comfort." resuscitate orders, spirituality and Association in Manhattan. Being They found volunteers where they death, how to be a compassionate around hospitals a lot, she was could, some at dinner parties. Ms. companion. disturbed to see how many people died Farley sized up Mr. Keating, pegged Some fairly graphic clinical alone, with no one to nurture them him as promising doula material. He material was discussed on things that through their final days. mulled this over; it sounded worthy, might happen to a person at the very In 1998, while at a conference sure, but pretty downbeat. Not that he end — disorientation, incontinence, dealing with end-of-life issues, Ms. was squeamish about illness — his gurgling sounds from the chest, Farley listened to a talk by Dr. Sherwin father had been a doctor — but he was discolored extremities, an odor from Nuland, a professor of surgery and an still early in the beguilement of his the body. author. He stressed how important it retirement and wondered how sitting Once they went into the field, the was for sick people to have death watch would mix with bridge and students were told, some cases might companionship to help them accept opera. consume a few weeks, others several death, and he used the Yiddish word Then again, he had been given months. (One case would in fact end for funeral, "levaya," which means "to much. He was prosperous, happy, after three days.) Death tolled when it accompany." healthy. This was a way to give back. pleased. In the ideal execution of their 2 assignment, the volunteers would be sitting there, holding the person's hand, when they breathed their last breath. (That would happen only once.) When the classes started, there were a dozen people. Nine stayed to the end. Dropouts were expected. No mistaking, it was a dark mission. Bill Keating stayed. In April 2002, a graduated doula, he was ready for an actual human being. The students were asked if they had preferences — someone old, someone young, did any type of disease bother them? Mr. Keating didn't care. "They're dying," he said. "What difference did it make?" A Spanish speaker came up. Mr. ichard Perry/The New York Times Times York New Perry/The ichard Keating didn't speak it. The next name R was Lewis Grossman? And so life went Bill Keating with three others in the Doula program, which helps the terminally ill. visiting death. left him paralyzed below the waist, and The steak tartare was tricky. Mr. A Cautious Beginning he was mightily depressed. His doctor Keating imagined a nightmarish result. From the start, he picked the late said he had what is sometimes called He'd bring along steak tartare, and in morning, around the lunch hour. He the frailty syndrome: in all senses, his the hour or so it took him to get to the began with two visits a week, an hour body was breaking down. home, the meat would spoil. The steak or so each time. Enough time to have a But Mr. Keating didn't know any of would poison Mr. Grossman. presence, get a bead on the man, but the backstory — how he had made a So he cooked the steak a bit on his not too consuming. living, relationships, children, his likes stove. Mr. Grossman didn't notice. He They were awkward with each and dislikes. He was a man in a bed wanted more. other. Lew Grossman was remote. He and he was alone. Through pickles and matzo ball didn't give much, opened no doors into Mr. Keating hunted for a thread of soup, the dynamics of the relationship his world. conversation. improved. Mr. Keating, after all, had "How's the food?" he said. Mr. Keating saw he needed to materialized out of nowhere. Mr. "Awful," he said. genuinely enter Mr. Grossman's world Grossman wasn't told the actual reason In fact, in recent months, sulky, he if he was going to reach him. On Mr. Keating was there. He knew him as had barely been eating.
Load more

Recommended publications
  • GLENN MILLER ORCHESTRA Highlights
    GLENN MILLER ORCHESTRA Highlights Glenn Miller was born on March 1, 1904, in Clarinda, Iowa. Glenn Miller originally wrote the music for Moonlight Serenade (later to become his theme song) as an exercise when he was studying with noted arranger, Joseph Schilinger. The first Glenn Miller Orchestra, formed in 1937, was a financial failure. In March 1938, Glenn Miller launched his second band, and unlike the first band, it became an enormous success with multiple hit records and huge box office sales. At the height of the orchestra’s popularity, Glenn Miller disbanded his musical organization in 1942 to volunteer for the army. He then organized the famous Glenn Miller Army Air Force Band. On December 15, 1944, Major Glenn Miller took off in a single engine plane from England – against his better judgment – to precede his band to France, never to be seen again. The army officially declared him dead one year later. Due to popular demand, the Miller Estate authorized the formation of the present Glenn Miller Orchestra in 1956. In 1941, Glenn Miller and His Orchestra had more hit records in one year, including A String of Pearls, than anybody in the history of the recording industry. Although other songs had sold over a million record copies, in 1941 Glenn Miller’s recording of Chattanooga Choo Choo received the first Gold Record ever to be awarded. The Glenn Miller Orchestra has been “on the road” longer and more continuously than any other Big Band ever. The Glenn Miller Orchestra travels over 100,000 miles each year, playing nearly 300 dates.
    [Show full text]
  • “In the Mood”—Glenn Miller (1939) Added to the National Recording Registry: 2004 Essay by Cary O’Dell
    “In the Mood”—Glenn Miller (1939) Added to the National Recording Registry: 2004 Essay by Cary O’Dell Glenn Miller Original release label “Sun Valley Serenade” Though Glenn Miller and His Orchestra’s well-known, robust and swinging hit “In the Mood” was recorded in 1939 (and was written even earlier), it has since come to symbolize the 1940s, World War II, and the entire Big Band Era. Its resounding success—becoming a hit twice, once in 1940 and again in 1943—and its frequent reprisal by other artists has solidified it as a time- traversing classic. Covered innumerable times, “In the Mood” has endured in two versions, its original instrumental (the specific recording added to the Registry in 2004) and a version with lyrics. The music was written (or written down) by Joe Garland, a Tin Pan Alley tunesmith who also composed “Leap Frog” for Les Brown and his band. The lyrics are by Andy Razaf who would also contribute the words to “Ain’t Misbehavin’” and “Honeysuckle Rose.” For as much as it was an original work, “In the Mood” is also an amalgamation, a “mash-up” before the term was coined. It arrived at its creation via the mixture and integration of three or four different riffs from various earlier works. Its earliest elements can be found in “Clarinet Getaway,” from 1925, recorded by Jimmy O’Bryant, an Arkansas bandleader. For his Paramount label instrumental, O’Bryant was part of a four-person ensemble, featuring a clarinet (played by O’Bryant), a piano, coronet and washboard. Five years later, the jazz piece “Tar Paper Stomp” by Joseph “Wingy” Manone, from 1930, beget “In the Mood’s” signature musical phrase.
    [Show full text]
  • Sun Valley Serenade Orchestra Wives
    Sun Valley Serenade Orchestra Wives t’s funny how music can define an entire come one of Miller’s biggest hits, “Chattanooga We also get some wonderful Harry Warren and era, and Glenn Miller’s unique sound did Choo Choo,” which, in the film, is a spectacu- Mack Gordon songs, including “At Last” (the Ijust that. It is not possible to think of World lar production number with Dandridge and The castoff from Sun Valley Serenade), “Serenade War II without thinking of the Miller sound. It Nicholas Brothers. Another great new song, “At in Blue,” “People Like You and Me,” and the was everywhere – pouring out of jukeboxes, Last,” was also recorded for the film, but wasn’t instant classic, “I’ve Got a Gal in Kalamazoo.” radios, record players. Miller had been strug- used, except as background music for several The latter was, like “Chattanooga Choo Choo,” gling in the mid-1930s and was dejected, but scenes. The song itself would end up in the nominated for an Oscar for Best Song. It knew he had to come up with a unique sound next Miller film. lost to a little Irving Berlin song called “White to separate him from all the others – and, of Christmas.” course, the sound he came up with was spec- “Chattanooga Choo Choo” hit number one on tacular and the people ate it up. His song the Billboard chart in December of 1941 and George Montgomery’s trumpet playing was “Tuxedo Junction” sold 115,000 copies in one stayed there for nine weeks. The song was dubbed by Miller band member, Johnny Best week when it was released.
    [Show full text]
  • THE JERRY GRAY STORY – 1947 [Updated Jun 15, 2018 – Version JG.002E]
    THE JERRY GRAY STORY – 1947 [Updated Jun 15, 2018 – Version JG.002e] January 26, 1947 [Sunday]: Jerry Gray arranged tunes made famous by Glenn Miller for New York City-based “Here’s To Ya” broadcast over the CBS radio network, January 26, 1947, 2:30 – 3:00 pm local time, performed by the Phil Davis Orchestra [including Trigger Alpert and Bernie Privin] and the Hires Hands vocal group [including Bill Conway]. Sponsored by Hires Root Beer. Moonlight Serenade – arranged by Jerry Gray Don’t Sit Under The Apple Tree – arranged by Jerry Gray Moonlight Cocktail – arranged by Jerry Gray A String Of Pearls – arranged by Jerry Gray Serenade In Blue – arranged by Jerry Gray In The Mood – arranged by Jerry Gray Chattanooga Choo Choo – arranged by Jerry Gray _______________ Harrisburg Telegraph [Harrisburg, Pennsylvania], Jan 18, 1947, Page 19: NEW SUNDAY MUSICAL SHOW HEARD ON WHP ‘Here’s To Ya’ Opens Jan. 26; Stars Louise Carlyle, Phil Hanna, Phil Davis “Here’s To Ya,” sparkling half-hour of popular and familiar music, featuring Contralto Louise Carlyle, Baritone-Emcee Phil Hanna, Phil Davis’ orchestra, and the Hires Hands singing group, starts on the Columbia network and WHP Sunday, January 26, 2:30-3 p.m. “Here’s To Ya” will be the first of a series of new shows to be added to the WHP schedule during the first few weeks of 1947 daytime schedule. Time and all information on the new programs will be announced in the near future on this page. Louise Carlyle, feminine star of “Here’s To Ya,” got her first big break several years ago as vocalist with her brother Russ’ orchestra.
    [Show full text]
  • Glenn Miller and His Orchestra “Top 10 Hits” 1939-1943
    GLENN MILLER AND HIS ORCHESTRA “TOP 10 HITS” 1939-1943 Prepared by: Dennis M. Spragg September 2017 TABLE OF CONTENTS INTRODUCTION .............................................................................................................................4 METHODOLOGY .............................................................................................................................4 1. SUMMARY ..................................................................................................................... 5 2. The Billboard Top 10 Records, 1940-1943........................................................................ 8 3. The Billboard #1 Records, 1940-1943 .............................................................................. 9 4. The Billboard Chronology, 1940-1943 ........................................................................... 10 1940 ............................................................................................................................................ 10 1941 ............................................................................................................................................ 11 1942 ............................................................................................................................................ 13 1943 ............................................................................................................................................ 16 5. Your Hit Parade Top 10 Records, 1939-1940 .................................................................
    [Show full text]
  • “In the Mood”--Glenn Miller and His Orchestra (1939) Added to the National Registry: 2004 Essay by Dennis M
    “In the Mood”--Glenn Miller and His Orchestra (1939) Added to the National Registry: 2004 Essay by Dennis M. Spragg (guest post)* “The Anthem of the Swing Era” On August 1, 1939, Glenn Miller and his Orchestra recorded the Joe Garland composition “In the Mood” for RCA Bluebird records. It became a top-selling record that would be permanently associated with Miller and which has become the easily recognized “anthem of the swing era.” “In the Mood” appears to have been inspired by several earlier works from which the tune was developed. Once composed, it remained a “work in progress” until recorded by Miller. The first indication of a composition with elements resembling what would become “In the Mood” was “Clarinet Getaway,” recorded by the Jimmy O’Bryant Washboard Wonders in 1925 for Paramount records. It is matrix number P-2148 and was issued as Paramount 12287. It was paired with a tune titled “Back Alley Rub.” The recording was made by a four-piece band with Arkansas native O’Bryant playing clarinet and accompanied by a piano, cornet and washboard player. Following O’Bryant, similar themes were evident in the Wingy Manone recording of “Tar Paper Stomp.” Manone’s recording is considered the genesis of “In the Mood” by most jazz historians. The recording is by Barbeque Joe and his Hot Dogs, the name under which Manone recorded at the time. Manone recorded “Tar Paper Stomp” on August 28, 1930, for the Champion label (which was acquired by Decca in 1935). Reissues credit the record to Wingy Manone and his Orchestra.
    [Show full text]
  • MOONLIGHT SERENADE-Glenn Miller/Mitchell Parish 4/4 1...2...123 (Without Intro)
    MOONLIGHT SERENADE-Glenn Miller/Mitchell Parish 4/4 1...2...123 (without intro) Intro: | | | | | I stand at your gate, and the song that I sing is of moon-light, I stand, and I wait for the touch of your hand in the June night, The roses are sigh - ing a moonlight sere - nade The stars are a-glow, and to-night how their light sets me dream-ing, My love, do you know that your eyes are like stars, brightly beaming? I bring you, and sing you, a moonlight sere -nade Let us stray, till break of day, in love's valley of dreams Just you and I, a summer sky, a heavenly breeze kissing the trees p.2. Moonlight Serenade So don't let me wait, come to me, tenderly, in the June night, I stand at your gate, and I sing you a song in the moonlight, A love song, my dar - ling, a moonlight sere- nade. A love song, my dar - ling, a moonlight sere- nade. MOONLIGHT SERENADE-Glenn Miller/Mitchell Parish 4/4 1...2...123 (without intro) Intro: | F#m7 Bm7 | Em Gm6 Em7 | A13 A7+ | D A7+ | D6 Fdim Em7 Adim A7 I stand at your gate, and the song that I sing is of moon-light, A7+ D DMA7 D D7 B7 I stand, and I wait for the touch of your hand in the June night, Em7b5 F#m7 Bm7 Em Gm6 Em7 A13 A7+ D A7+ The roses are sigh -ing a moonlight sere-nade D6 Fdim Em7 Adim A7 The stars are a-glow, and to-night how their light sets me dream-ing, A7+ D DMA7 D D7 B7 My love, do you know that your eyes are like stars, brightly beaming? Em7b5 F#m7 Bm7 Em Gm6 Em7 A13 A7 Am7 D7 I bring you, and sing you, a moonlight sere-nade GMA7 Gm6 C#m7 F#7 Am6 Let us stray, till break of day, in love's valley of dreams B7+ Bm6 C#7 Bm6 C#7 Am6 B7 Em7 A7b9 Just you and I, a summer sky, a heavenly breeze kissing the trees D6 Fdim Em7 Adim A7 So don't let me wait, come to me, tenderly, in the June night, A7+ D DMA7 D D7 B7 I stand at your gate, and I sing you a song in the moonlight, Em7b5 F#m7 Bm7 Em Gm6 Em7 A13 A7+ D A love song, my dar -ling, a moonlight sere-nade.
    [Show full text]
  • Glenn Miller's
    n Dec. 15, 1944, it had been raining in Eng- land for three days. The regular military shuttle Oflights to France were canceled. Maj. Glenn Miller waited impatiently, eager Glenn Miller’s to get to Paris to make arrangements for a Christmas performance by his Army Air Forces band. Air Force Odyssey When the opportunity arose to hitch a ride across the English Channel on a small single-engine airplane, he leapt at it. The aircraft was a UC-64 Noorduyn Norseman, the military version of a Canadian bush plane. Miller did not fully understand the risk he was tak- ing, nor did he know that the pilot was exceeding his clearance, which was for local flying only. The airplane took off into the fog from a field north of London at 1:55 p.m. and disappeared into history. For a while, there was hope that it might have landed somewhere, but it did not turn up. Eighth Air Force officially declared the aircraft missing and made a public announcement on Christmas Eve. Glenn Miller was at the peak of his fame. He had been the most popular bandleader in America before he joined the Army in 1942. In 1940 alone, his records sold almost three million copies and he had 31 hits in the Top 10 that year. His AAF band, formed in 1943, was an all-star team. Miller had his pick of top musicians who had been drafted into the armed forces. He was able to pull in several former members of his own band and others who had played with Benny Goodman, Tommy Dorsey, and Artie Shaw.
    [Show full text]
  • Glenn Miller 1941 “Keep ‘Em Flying” America’S Number One Band
    GLENN MILLER 1941 “KEEP ‘EM FLYING” AMERICA’S NUMBER ONE BAND Dedicated to the Glenn Miller Birthplace Society June 2021 Prepared by: Dennis M. Spragg Glenn Miller Archives Glenn Miller and his Orchestra, Cafe Rouge, January 1941 A Pivotal Year 1941 was a pivotal year in the history of the United States and for America’s number one bandleader, Glenn Miller. As of January 1, all ASCAP-licensed music (most popular music) was off the air. Glenn broadcast with a replacement BMI-licensed theme, “Slumber Song.” On January 17, the band recorded the classic “Song of the Volga Boatmen,” Bill Finegan’s traditional music response to Jerry Gray’s treatment of “Anvil Chorus.” If not for the broadcasting industry vs. ASCAP dispute, these two all-time Miller hits might never have been written or performed. Further changes arrived to shake up the successful Miller musical organization. A gossip columnist ran a story about Marion Hutton’s pregnancy, which pushed her to stop performing sooner than anticipated. By January 1941, Marion was only appearing on Glenn’s “Chesterfield Moonlight Serenade” broadcasts and not at the Café Rouge. Miller had to replace her. A young “dimpled darling” named Dorothy Claire from LaPorte, Indiana was singing for bandleader Bobby Byrne. Dorothy was under contract for three years with Byrne. So when Bobby learned that Glenn Miller intended to hire Ms. Claire, he promptly sued Miller for $25,000. However, Claire joined the Miller band on January 8. Glenn offered her a salary of $250 per week, a significant raise from the $75 per week she earned with Byrne.
    [Show full text]
  • Studio Big Band Program Notes
    Sing, Sang, Sung Gordon Goodwin (b. 1954) Moonlight Serenade Glenn Miller (1904-1944) Lyrics by Mitchell Parish Studio Big Band Arr. Bob Mintzer Dr. David Scott, director Moonlight Serenade Glenn Miller Wednesday, April 5, 2017 - 8 p.m. (1904-1944) Casa Loma Room Program Notes Chet’s Call Pat Metheny & Lyle Mays (b. 1954) & (b. 1953) Chet’s Call Pat Metheny & Lyle Mays Arr. Bob Curnow This chart has had an interesting life. It was written by Pat Metheny and Lyle Mays Music from Chicago Music by John Kander for collaboration between bassist Charlie Haden, drummer Billy Higgins and All That Jazz (b. 1927) trumpeter Chet Baker – but the performance never actually took place and it wasn’t Cell Block Tango Lyrics by Fred Ebb recorded. The music was “lost in history” for a time, until it was rediscovered in Roxie Arr. Roger Holmes 1985 on a radio transcription. It is a fun swing tune with plenty of solo space and a catchy melody. Oblivion Astor Piazzolla (1921-1992) Music from Chicago Music by John Kander, Lyrics by Fred Ebb Arr. Bob Curnow Chicago (1975) is an American musical set in Prohibition-era Chicago. The story The 4,679,385th Blues in Bb Rob McConnell is a satire based on real cases and corruptions found in the justice system during the 20’s in Chicago. It is based on a 1926 play of the same name by reporter Maurine (1935-2010) Dallas Watkins. PEnnsylvania 6-5000 Jerry Gray Opening in 1975 at the 46th Street Theatre, Chicago ran until 1977.
    [Show full text]
  • This Is a Listing of Our Most Requested Popular Songs That We Perform. This Is Just a Small Sampling of Tunes from Our Library of Over 700 Musical Arrangements
    This is a listing of our most requested popular songs that we perform. This is just a small sampling of tunes from our library of over 700 musical arrangements. Most Requested Songs 1. Old Time Rock And Roll 2. Give Me Some Lovin' 3.The Twist 4. Mony, Mony 5. Shout 6. Y.M.C.A 7. Electric Slide 8. Celebration 9. The Locomotion 10. Twist And Shout 11. I Swear 12. Stayin Alive 13. How Deep Is Your Love, 14. My Sharona 15. Hang On Sloopy 16. Jump, Jive, And Wail 17. Margaritaville 18. Land Of 1000 Dances 19. Down At The Twist And Shout 20. In The Mood And Many More....... Contemporary Ballads Contemporary Rock After the Lovin Always All Night Long Always & Forever Beat It Can’t Take My Eyes Off of You Billie Jean Color My World Brown Eyed Girl Endless Love Celebration Evergreen Disco Inferno Have I Told You Lately That I Love You Easy Lover Hello Feels So Good How Deep Is Your Love Give Me Some Lovin If Give Me the Night Just the Two of Us Hang on Sloopy Just You and Me Heart of Rock & Roll Lady Heard It Through the Grapevine Love Me Tender Hip to be Square Memory I Saw Her Standing There My Girl La Bamba Never Gonna Let You Go Land Of 1000 Dances Rainy Days & Monday Louie, Louie Saving All My Love For You Locomotion Send in the Clowns Make Me Smile Somewhere Out There Margaritaville Still Mony, Mony That’s What Friends Are For My Sharona The Way We Were Old Time Rock & Roll The Way You Look Tonight Pick Up the Pieces Theme From Ice Castles Play That Funky Music White Boy Truly Please Mr.
    [Show full text]
  • Summer Season Schedule
    ADDITIONAL SUMMER OFFERINGS JUNE August missoula bill zeffiro children’s 19 & Marissa mulder 13|14 theatre 8:00 PM Season Kickoff Cabaret 7:00 pm|2:00 PM Alice In Wonderland A dazzling performance Join Alice, the White CABARET family SERIES SPONSOR by two of New York’s SERIES SPONSOR Rabbit and a host of biggest Cabaret stars, others when the vocalist Marissa Mulder and pianist/songwriter/ Missoula Children’s Theatre presents an original vocalist Bill Zeffiro. Hear beloved standards and musical adaptation of the Lewis Caroll classic, Alice In Wonderland. contemporary classics-to-be. Get a sneak peak at Performed by local youth. the upcoming 2021–22 Season and enter free raffles TICKETS: ADULT $13 | CHILD $8 | LAP $4 for upcoming performance tickets. TICKETS: $28 | $25 JUly august the world famous 19 kids from wisconsin 27 glenn miller orchestra 6:30 PM Live! In Living Color 7:30 PM Most Popular Swing Band in America 147 N. RURAL STREET, HARTFORD After a stellar 51st season, The World Famous Glenn family MAINSTAGE SCHAUERCENTER.ORG SERIES SPONSOR the Kids From Wisconsin Miller Orchestra, under SERIES SPONSOR 262-670-0560, EXT. 3 will be Live! In Living the direction of Nick Color in 2021. The show will take a look at some of Hilscher, brings timeless classics like “In the Mood,” BOX OFFICE: the greatest live music venues throughout the history “Moonlight Serenade,” “Chattanooga Choo Choo,” MONDAY, WEDNESDAY, FRIDAY of this country and the musical artists that helped “String of Pearls,” and “Tuxedo Junction” back to the 11:00 AM – 3﹕00 PM define their legacy’s.
    [Show full text]