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AMERICAN CLASSICS PETER BOYER Ellis Island: The Dream of America Barry Bostwick • Blair Brown • Olympia Dukakis Anne Jackson • Bebe Neuwirth Eli Wallach • Louis Zorich Philharmonia Orchestra • Peter Boyer

Ellis Island as it appears today (courtesy Ellis Island Immigration Museum) 8.559246 16 Ellis Island Booklet 3/23/05 5:06 PM Page 2

Notes on Ellis Island: The Dream of America Ellis Island: The Dream of America was born out of my fascination with the relationship between history and music. I’m drawn to good stories—especially stories which come from the past but are relevant to the present—and as an orchestral composer, I’m intrigued by the potential of the orchestra as a storytelling medium. Of course, orchestral music cannot tell stories in a literal way, but its ability to suggest scenes and emotions, and evoke responses in listeners, has challenged and stimulated composers for centuries. My fascination with the story of the Titanic led me to choose that as the subject of an early orchestral work, and considering the plight of that vessel’s third-class passengers—humble European immigrants bound for America—led me to think more broadly about early twentieth-century American immigration. America is a nation of immigrants, and our immigrant history is a profound part of our American mythology. In the history of American immigration, Ellis Island and the Statue of Liberty are icons of immense significance. In the years of its operation, from 1892 to 1954, more than twelve million immigrants, over 70% of all immigrants to the United States, passed through Ellis Island, the processing station which was “the gateway to America.” Today, more than 40% of the U.S. population, over 100 million Americans, can trace their roots to an ancestor who came through Ellis Island. The stories of Ellis Island immigrants are in many ways our family stories: whether they are the tales of our grandparents, great-grandparents, aunts and uncles, cousins, or friends, so many Americans can relate to these experiences as part of our collective history. This is what makes Ellis Island stories so fascinating, and it’s what drew me to this material as the basis of a major composition. When I decided to create a work about Ellis Island, I knew that I wanted to combine spoken word with the orchestra. When I began researching Ellis Island, I learned of the existence of something which would come to define the nature of the piece: the Ellis Island Oral History Project. This is a collection of interviews, housed at the Ellis Island Immigration Museum, with immigrants who were processed at Ellis Island during the years of its operation. Begun in 1973, the Ellis Island Oral History Project now contains over 2,000 interviews. The largest number of these were done during the late 1980s and early 1990s, catalyzed by the opening of the Museum in 1990. All immigrants interviewed for the Project were asked a standard set of questions: what life was like in their native country, reasons for coming to America, the nature of the voyage to port and the journey by ship, experiences arriving in New York Harbor and being processed at Ellis Island, their ultimate destination, and their experiences adjusting to life in the United States. Collectively, the interviews which constitute the Ellis Island Oral History Project—in both recorded form and in transcripts—are a treasure of immeasurable worth in American history. When I learned of the existence of this resource, I knew I had found the source from which my texts would be drawn: real words of real people telling their own stories. The decision to use texts from the Ellis Island Oral History Project meant that the work would require actors, and it’s an important distinction that they are not “narrators” or “speakers,” but actors. They deliver their monologues in the first person. The use of actors and, in live performance, projected images with the orchestra makes Ellis Island: This page: Actors’ recording sessions, Magic The Dream of America a hybrid work which is closer to a theater piece than a pure concert work, though it is Venture Studio, New York City, September 2003. intended to be performed in the concert hall. (Photos by Gary Gershoff) 8.559246 2 15 8.559246 Ellis Island Booklet 3/23/05 5:06 PM Page 14

Though I am a composer and not a writer, I decided early in the process that I would create the script for the work myself, prior to composing the music. The creation of the script involved the selection, arrangement and editing of texts from the Ellis Island Oral History Project into a sort of dramatic narrative. This proved to be a huge task, not least because of the staggering amount of material which exists (much more than I could ever realistically canvas for material). Ellis Island welcomed (or rejected) immigrants from a great many countries over a span of more than sixty years, and so I wanted the immigrants’ stories chosen for inclusion to be widely representative of both geography and historical period. And of course, I wanted to use stories which would say something important about the American immigrant experience, stories which were poignant, gripping, or even humorous. I examined over 100 interviews, and found many more stories than could be included in a 43-minute piece with 25 minutes of spoken word. Ultimately I settled on a structure which includes seven stories, four female and three male, of immigrants who came through Ellis Island from seven countries, between 1910 and 1940. For the final text in the work, I knew from the beginning that I could not create a work about Ellis Island without making reference to the poem by Emma Lazarus, The New Colossus, which is inscribed at the base of the Statue of Liberty. This poem is synonymous with the Statue, Ellis Island, and American immigration in the minds of many Americans. A number of immigrants interviewed for the project made reference to the poem, and the words of Katherine Beychok provided a natural bridge to a recitation of the poem, which serves as the work’s epilogue. The orchestral music in Ellis Island: The Dream of America is continuous, framing, commenting on, and amplifying the spoken words. Following a six-minute orchestral prologue, the work’s structure alternates the individual immigrants’ stories with orchestral interludes. In general, during the actors’ monologues in which the immigrants’ stories are told, the orchestra plays a supporting role, employing a more sparse orchestration and texture so as not to overpower the speaking voice. During the interludes, the orchestra assumes the primary role, and accordingly “speaks up” with fuller orchestration. The prologue introduces much of the work’s principal thematic material. It is in two sections, slow and fast. In the first section, the work’s main theme, simple and somewhat folk-like in character, is introduced by a solo trumpet, then taken up by the strings and developed. The second section is quick and vigorous, and introduces a fast-moving theme in the trumpets, with pulsating accompaniment in the whole orchestra, which I think of as “traveling music.” These themes recur in many guises throughout the entire piece. In addition to these, there are other important musical themes, some of which are associated with particular immigrants’ stories. Of course I attempted to compose music which was appropriate for the nature and character of each of the stories. For Lazarus Salamon’s story of the military oppression in the Hungary of his youth, a menacing snare drum tattoo is significant. But when he speaks of arriving in New York and seeing the Statue of Liberty, a quiet, hymn-like theme for the strings is heard—which will recur at a later mention of the Statue. Lillian Galletta’s story is that of children’s reunion with their father—an emotional and heartwarming story which I attempted to reflect in a lyrical “reunion” theme. The story of Helen Rosenthal is one of escaping the Nazis to find freedom in This page: America, though her entire family perished at Auschwitz. For this I chose a solo violin to play a lamenting theme Philharmonia Orchestra recording sessions, Air Studios, London, February 2003 with a kind of Jewish character. In stark contrast to this is the story of Manny Steen, an irrepressible Irish immigrant (Photos by Richard Smith)

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and delightful raconteur. His story cried out for a “Tin Pan Alley” treatment, markedly different in style from the rest of the music. Just as each immigrant is a strand in the American tapestry, so I attempted to reflect their tales with various musical styles. In live performances of Ellis Island: The Dream of America, there is a visual component which accompanies the music during the Prologue and Epilogue. This consists of images from the archive of historic photographs housed at the Ellis Island Immigration Museum Library. Many of these come from the collection of Augustus Sherman, a longtime Ellis Island employee who took a number of poignant and historically important photographs of immigrants. These immigrants’ faces seem to tell their own stories, and it is little wonder that copies of many of these photographs are displayed prominently in the Ellis Island Immigration Museum. Work on this piece was begun in the months before September 11, 2001, and completed in the months that followed. During my research trips to Ellis Island in the summer of 2001, many times I had imagined what it was like to be an immigrant sailing into New York Harbor, and seeing the skyline of lower Manhattan. As the world mourned those devastating events, I often reflected on how that skyline had tragically changed. After September 11, the Statue of Liberty National Monument and Ellis Island Immigration Museum, which draw millions of visitors each year, were closed to the public for over three months; the Statue itself did not welcome visitors again until August 2004. The reopening of these American icons reminds us of the endurance of the freedoms which have drawn generations of immigrants from around the world. Ellis Island: The Dream of America was commissioned by The Bushnell Center for the Performing Arts, in celebration of the inaugural season of its Belding Theatre. It was premiered by the Hartford Symphony Orchestra under my direction, with a cast of actors directed by Martin Charnin, at The Bushnell on April 9, 2002. At that first performance, it was my great pleasure to welcome to the stage Lillian Galletta, the only one of the seven immigrants featured in my work who is still with us. This delightful moment was made even more poignant by the fact that her four older siblings, all in their eighties, who had traveled with her from Sicily to America in 1928, joined us that evening. The stories of Ellis Island are stories of journeys. My personal journey with this project, from its conception in 1999, to its premiere in 2002, its recording in 2003, and this Naxos release in 2005, has been both a long and rewarding one. It was a thrill and a privilege for me to make this recording with world-class artists: the Philharmonia Orchestra in London in February 2003, and the actors Barry Bostwick, Blair Brown, Olympia Dukakis, Anne Jackson, Bebe Neuwirth, Eli Wallach, and Louis Zorich, directed by Martin Charnin, in New York This page: City in September 2003. I hope that listeners may find these stories as fascinating, illuminating and inspiring as I do. Actors’ recording Peter Boyer, 2005 sessions, Magic Venture Studio, New York City, September 2003. (Photos by Gary Gershoff)

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This recording was made possible in part through a generous grant from the LLWW Foundation. The blend of symphonic music combined with words taken from actual oral histories of Ellis Island immigrants makes Peter Boyer would like to thank the following for invaluable assistance in the creation and recording of Peter Boyer’s Ellis Island: The Dream of America a Ellis Island: The Dream of America. uniquely moving experience. I attended the work’s First and foremost, very special thanks to Martin Charnin, for assembling an extraordinary cast of actors, and for premiere, and the results were simply breathtaking—it was profound artistic insight; and to the seven immensely gifted actors who brought to life the words of these Ellis an enormously emotional experience for audience and Island immigrants. orchestra members alike. This recording, with its stellar Thanks to those at The Bushnell Center for the Performing Arts: David Fay, Jim Nelson, Ronna Reynolds, Dorothy cast, wonderfully captures that experience. We applaud the Berloni, and Zita Christian; those who funded the commission: Mr. and Mrs. Richard Gates and the Jodik beauty and power of what Mr. Boyer has created, and see it Foundation, and Drs. Thomas and Dennie Wolf; the Hartford Symphony Orchestra and its Executive Director as a most appropriate and meaningful extension of the Oral Charles Owens; those at the Ellis Island Immigration Museum of the National Park Service: Dr. Janet Levine of the History Project, which plays such an important role at the Ellis Island Oral History Project, Barry Moreno and Jeff Dosik. Thanks to Lillian Galletta and her family for their Ellis Island Immigration Museum. This is a piece to be story, and for traveling to Hartford for the premiere some 64 years after their experience at Ellis Island, bringing enjoyed, not only by the over 100 million Americans who such genuine truth to this whole endeavor. Thanks to the superb musicians of the Philharmonia Orchestra, and to trace their heritage back to an ancestor who first set foot on David Whelton, Roanna Chandler, and Paul Talkington of the Philharmonia; to recording engineers Geoff Foster at American soil at Ellis Island, but by their children and Air Studios in London, Brian McGee in New York, and Casey Stone and Ed Kalnins in Los Angeles. Thanks to Kerry Toolan and the various offices of Claremont Graduate University for administration of the LLWW grandchildren. Its themes celebrate the American Dream of Foundation grant; to those at Naxos of America: Jim Sturgeon, Matt Whittier, Peter Wolff, and Lindsay Davis. For freedom, hope and opportunity for all—aspirations as true friendship and various forms of help and support, thanks to Michael Fine, Evans Mirageas, Samuel Jones, Pete today as they were 100 years ago. It is surely a work for the Anthony, Patrick Russ, Blake Neely, Robert Freedman, Jeannie Kauffman, Robert Zappulla, Frank Traficante, generations. Stephen Martorella, Anthony Torelli, Bridget Gailey, and Steve Winogradsky. Grateful thanks to the many Peg Zitko orchestras, conductors, and actors who have performed this work around the United States. Director of Public Affairs, Special thanks to Victor Ledin, Ralph Jackson of BMI, Steve Metcalf, Peg Zitko of the Statue of Liberty–Ellis The Statue of Liberty–Ellis Island Foundation, Inc. Island Foundation, Ursula Kleinecke, my wonderful son Stephen Boyer, and all my family. Philharmonia Orchestra conducted by Peter Boyer As the Historian at the Statue of Liberty–Ellis Island Actors directed by Martin Charnin National Monument, my work is exclusively with the Oral Texts from the Ellis Island Oral History Project History Program. Over the years, I have worked with many Photograph courtesy of Ellis Island Immigration Museum Produced by Peter Boyer researchers who have made use of our extensive oral Orchestra recorded at Air Studios, London, February 16, 2003 history archive. In his composition Ellis Island: The Dream of America, Peter Boyer has used the voices of those Recording engineer: Geoff Foster who immigrated to this country in a dramatic and successful way. They have inspired the musical composition and Assistant engineer: Jake Jackson they, quite literally, are incorporated in it. So, for example, the turbulence of the ocean voyage is reflected in the Actors recorded at Magic Venture Studio, New York City, September 17-19, 2003 musical score, and he has interspersed selected quotes from immigrants speaking about that time of upheaval. At the Recording engineer: Brian McGee premiere performance of this work, I witnessed it bring resounding enthusiasm from the audience. It has been said Edited by Peter Boyer and Geoff Foster that if one goes back far enough, we are all immigrants. I believe that the people who heard Dr. Boyer’s work Mixed by Casey Stone, Ed Kalnins, and Peter Boyer related to the music and the content, and that the total effect was greater than the sum of its parts. Published by Propulsive Music (BMI). For performance inquiries, visit www.PropulsiveMusic.com. Copyright c & p 2005 Propulsive Music Janet Levine, Ph.D. Cover photo: Jeremy Woodhouse, Photodisc/Getty Images Oral Historian, The Statue of Liberty–Ellis Island National Monument American flag, folk artist, 1880s National Park Service, United States Department of the Interior 8.559246 12 5 8.559246 Ellis Island Booklet 3/23/05 5:06 PM Page 6

Peter Boyer Louis Zorich Composer/Conductor/Producer words of James Apanomith Peter Boyer is emerging as one of the most successful young American orchestral Louis Zorich has appeared on Broadway in Ma Rainey’s Black Bottom, 45 Seconds From composers, whose music has been widely acclaimed by audiences and critics alike for its Broadway, Encore Series City Center, Follies, She Loves Me, The Marriage of Figaro, Arms dramatic strength and evocative power. At 35, his orchestral works have received nearly and the Man, Death of a Salesman with Dustin Hoffman, They Knew What They Wanted one hundred performances, by more than forty orchestras. He has conducted recordings of (Drama Desk Nomination), Hadrian VII (Tony Nomination), Herzl, Good Time Charley, his music with two of the world’s finest orchestras, the London Symphony Orchestra and Moonchildren, and Fun City. In Blau and Irving’s first year at Lincoln Center Repertory, Zorich the Philharmonia. His music has been performed in venues including New York’s Carnegie appeared in Danton’s Death, The Country Wife, The Condemned of Altona, The Odd Couple, Moby Dick with Rod Hall, London’s Abbey Road Studios, Los Angeles’ Shrine Auditorium, and Dallas’ Steiger, and Becket with Anthony Quinn and Laurence Olivier. His Off-Broadway credits include Henry IV, Parts I Meyerson Symphony Center. His works have been broadcast by NPR in the U.S., Classic & II, True West, Sunset, The Tempest, Good Soldier Schweck, Six Characters in Search of an Author, To Clothe the FM in the U.K., Bayerischer Rundfunk in Germany, Radio France, and also in Belgium, The Netherlands, and Naked and Henry V, among others. He has worked in many regional theaters, especially the Williamstown Summer Australia. In 2001, at age 31, he became one of the youngest composers in the world to have an entire disc of his Theatre Festival in plays by Chekhov, Brecht, Euripedes, Pinter, O’Neill, Miller and Williams, often with his wife, music recorded by a world-class orchestra and distributed by an international record label. Olympia Dukakis, with whom he co-founded the Whole Theatre in Montclair, New Jersey. His film credits include Commandments, Bloodhounds of Broadway, Fish in the Bathtub, City of Hope, Fiddler on the Roof, The Muppets Boyer has won six national competitions, including two BMI Awards, the First Music Carnegie Hall commission, Take Manhattan, and Made For Each Other, to name just a few. Zorich has appeared in over 300 television shows. and the Ithaca College Heckscher Prize. Orchestras which have performed his music include the Dallas Symphony, He was a regular on the series Brooklyn Bridge and Mad About You. Pacific Symphony, Brooklyn Philharmonic, Buffalo Philharmonic, Bamberg Symphony, Fort Worth Symphony, Toledo Symphony, Hartford Symphony, Kalamazoo Symphony, Rhode Island Philharmonic, Fresno Philharmonic, Philharmonia Orchestra Santa Barbara Symphony, Fort Wayne Philharmonic, Wheeling Symphony, New York Youth Symphony, Young One of the world’s great orchestras, the Philharmonia Orchestra Musicians Foundation Debut Orchestra, and many others. Conductors who have programmed Boyer’s music celebrates its 60th Anniversary in 2005 at one of the most exciting times include Carl St.Clair, Miguel Harth-Bedoya, Raymond Harvey, JoAnn Falletta, Gisèle Ben-Dor, Grant Cooper, in its distinguished history. The Orchestra is now in its eighth season Andrew Massey, Edvard Tchivzhel, and many others. Boyer recently completed a commission from the Pacific with its Principal Conductor, the eminent German maestro Christoph von Symphony for a large work for soloists, chorus, children’s chorus, and orchestra, to celebrate its 25th anniversary Dohnányi, who had formerly held the position of Principal Guest season. Carl St.Clair conducted the premiere of this work, entitled On Music’s Wings, in June 2004. The finale of Conductor since 1995. Under his leadership, the Orchestra has the work featured nearly 1,000 performers, including hundreds of children from throughout Orange County. established itself at the helm of British musical life, recognized for its Boyer’s major work Ellis Island: The Dream of America, which celebrates the American immigrant experience, has innovative approach to residencies in London, the UK and abroad, as been his most successful composition to date. This work was commissioned by The Bushnell Performing Arts well as to education and audience development. During its first six Center, and its premiere performance, by the Hartford Symphony under Boyer’s direction, was broadcast on NPR’s decades, the Philharmonia Orchestra has collaborated with most of the great classical artists of the 20th century. SymphonyCast. Ellis Island has been enjoying an extraordinary performance history, with nearly forty Conductors associated with the Orchestra include Fürtwangler, Richard Strauss, Toscanini, Cantelli, Karajan and performances by twenty orchestras from its debut in 2002 through the 2005-06 season, making it one of the most- Guilini. Otto Klemperer was the first of many outstanding Principal Conductors, and other great names have performed American orchestral works composed in the last decade. included Lorin Maazel (Associate Principal Conductor), Riccardo Muti (Principal Conductor and Music Director) and Giuseppe Sinopoli (Music Director). As well as Christoph von Dohnányi, current titled conductors are Sir In addition to his work for the concert hall, Boyer is active in the film and television industry. He was an Charles Mackerras (Principal Guest Conductor), Kurt Sanderling (Conductor Emeritus) and Vladimir Ashkenazy orchestrator on three of the last films scored by the late composer Michael Kamen: Against the Ropes (Paramount), (Conductor Laureate). As one of the world’s most recorded symphony orchestras, with well over 1,000 releases to Open Range (Touchstone), and First Daughter (Fox/Regency, Kamen’s score completed by composer Blake its credit, recording and broadcasting continue to play a significant part in the Philharmonia Orchestra’s activities. Neely). Boyer was also an orchestrator on the 73rd Academy Awards on ABC for music director Bill Conti, and on As well as CD recordings for all the major record companies, the Orchestra regularly records television and film films for MGM Animation and TNT. Boyer has composed original music for several short films, including soundtracks. Recent productions include The Red Violin (Academy Award winner for Best Original Score, Covenant, which played at more than 20 film festivals in the U.S. and Europe. He has conducted music for the Fox featuring Joshua Bell), Channel 4’s Shackleton, Miramax’s The Shipping News and Vanity Fair, and the Network show Boston Public, and in a departure from his usual work, he recently conducted the music of Aaron soundtracks for the Harry Potter computer games. In addition to its continuing relationship with BBC Radio 3, Copland on-camera for two national television beef commercials. the Orchestra announced a new partnership with Classic FM in early 2003, as Classic FM’s Orchestra on Tour.

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Bebe Neuwirth Boyer’s music has been praised in such publications as The New York Times, Los Angeles Times, USA TODAY, words of Helen Rosenthal Gramophone and BBC Music Magazine, which featured him in its “Fast Track: Rising Star” column. He holds the Raised in Princeton, New Jersey, Bebe Neuwirth has established herself as a versatile dancer Smith Hobson Family Chair in Music and the rank of Associate Professor at Claremont Graduate University, where and actress on stage, film and television. She recently starred as Velma in the Broadway he has taught since 1996. He also served as a conductor at the Henry Mancini Institute for six summers (at Cal State production of Chicago, for which she won a Tony Award, Drama Desk Award, and an Astaire Long Beach and UCLA), and was on the faculty of the Conductors Institute at Bard College in 2000. Boyer was Award. She also received a Tony Award for her role as Nickie in Sweet Charity. Neuwirth’s born in Providence, Rhode Island in 1970, and began composing at the age of 15. His first large-scale composition other Broadway credits include Fosse, Damn Yankees, Dancin’, Little Me, and A Chorus Line. was a 40-minute Requiem Mass in memory of his grandmother, composed while only a teenager. He received In addition, she has performed leading roles in numerous regional theatre productions, including the title role in national acclaim for this work while still an undergraduate. He received his Bachelor’s degree from Rhode Island Kiss of the Spiderwoman on London’s West End, West Side Story for the Cleveland Opera, The Threepenny Opera College, which awarded him an honorary Doctor of Music degree in 2004. He received Master of Music and in San Francisco, and Katherine in The Taming of the Shrew at the Williamstown Theatre Festival. She is perhaps Doctor of Musical Arts degrees from The Hartt School of the University of Hartford, which named him its 2002 best known as Lilith Sternin on Cheers and Frasier, for which she won two Emmy Awards. Neuwirth stars as Alumnus of the Year. Following his doctoral work, Boyer studied privately with John Corigliano in New York, Assistant District Attorney Tracy Kibre in the new NBC series Law & Order: Trial By Jury. Her other television then relocated to Los Angeles, studying film music with Elmer Bernstein, David Raksin, and Buddy Baker at USC. appearances include the role of Dorothy Parker in Dash and Lilly and recurring guest work on Hack. Neuwirth’s In 2003, Boyer launched Propulsive Music, a publishing company representing his music. More information can be film work includes roles in Liberty Heights, Summer of Sam, Celebrity, Jumanji, Malice, The Faculty, Green Card, found at www.PropulsiveMusic.com. The Paint Job, Bugsy, Tadpole, and How to Lose a Guy in 10 Days. She recently appeared in Le Divorce for Merchant Ivory Films. Neuwirth began training in ballet at age five. She later danced with the Princeton Ballet in such classics as Peter and the Wolf, The Nutcracker and Coppelia. Bebe Neuwirth is proud to be an honorary Zeigfeld Girl. Martin Charnin Director Martin Charnin originated the role of “Big Deal” in the Broadway production of West Side Eli Wallach Story in 1957, and singing in “Gee, Officer Krupke,” he played the role for 1,000 words of Lazarus Salamon performances. Subsequently, he has been the director, lyricist, composer, librettist, producer or In a career that has spanned some six decades, Eli Wallach has amassed awards, critical praise combination of the above for over 85 theatrical productions. His Tony Award-winning and a list of credits that includes classic films and plays. In the 1950s, he emerged as one of the Broadway production of Annie, for which he wrote the lyrics and directed, and which had American theatre’s most respected method actors, and soon proved to be a versatile performer music by Charles Strouse and a book by Thomas Meehan, is the sixteenth-longest-running of considerable range. Wallach has appeared in numerous stage productions, including Eugene American musical in Broadway history. It opened at the Alvin Theatre in April of 1977 and celebrated its twentieth Ionesco’s Rhinoceros, the double bill The Tiger and The Typist, The Waltz of the Toreadors anniversary in 1997 with a return to Broadway. Charnin has directed eight national companies of Annie, two of (these with wife Anne Jackson) and Tom Stoppard’s Every Good Boy Deserves Favour. On the big screen, he first which spent three years touring the United States. Another production closed in 2000 in the United Kingdom, came into prominence in the adaptation of Tennessee Williams’s Baby Doll. He went on to portray numerous, often having been nominated for the 1999 Olivier Award; a third production ended a two-year run in Amsterdam in hot-headed characters, from the Mexican bandit leader Calvera in John Sturges’ The Magnificent Seven to Clark 2001; and his most recent production closed after a triumphant run in Australia in 2002. Charnin has received four Gable’s buddy in The Misfits to the cunning Tuco in Sergio Leone’s landmark “Spaghetti Western,” The Good, the Tony nominations, two Tony Awards, six Grammy Awards, three Emmy Awards, three Gold Records, two Bad, and the Ugly. He gradually mellowed into more sober, avuncular roles, like the rabbi in Girlfriends and the Platinum Records, six Drama Desk Awards, a Peabody Award for Broadcasting, and most recently another psychiatrist evaluating Barbara Streisand in Nuts, but he could still play unsavory types, including a short-sighted Grammy Award for Jay-Z’s rap album Hard Knock Life, which went triple platinum in 1999. He has recently hit man in Tough Guys and Mafioso Don Altobello in The Godfather, Part III. Other movies include Lord Jim, The completed a play, Swimming with Sharks, based on the 1993 film of the same name. With Kurt Andersen writing Moon-Spinners, How to Steal a Million, The Deep, Cinderella Liberty, The Hunter, The Impossible Spy, The Two the book and utilizing Leroy Anderson’s celebrated orchestral music, Charnin is writing the lyrics for and directing Jakes, Article 99, Mistress, and Night and the City. Wallach’s television work began in the late 1940s in many of a musical derived from the fantastic cartoon character “Broomhilda.” the live dramas of the period. He won an Emmy for The Poppy Is Also a Flower. His work in miniseries has included Seventh Avenue, Skokie, Anatomy of an Illness, Legacy of Lies, and Our Family Honor. For much of the 1990s, he lent his distinctive vocal talents to narrations and character voices on such series and specials as The Donner Party, Lincoln, Ken Burns’ Baseball and The West.

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Barry Bostwick Olympia Dukakis words of Manny Steen words of Lillian Galletta From his portrayal of the quintessential all-American Brad Majors in The Rocky Horror During a career that spans over 40 years, Olympia Dukakis has worked as an actress, director, Picture Show to the hilarious Mayor Randall Winston on ABC’s Spin City, Barry Bostwick has producer, teacher, activist, and most recently, author, with her best-selling memoir Ask Me had quite a career spanning all genres and mediums of show business. He has had starring roles Again Tomorrow. She received an Academy Award, the New York Film Critics Award, the in many highly acclaimed television film and mini-series, including the title role in the two Los Angeles Film Critics Award, and the Golden Globe Award for her work in Norman part Peabody award-winning CBS miniseries George Washington. He won a Golden Globe for Jewison’s film Moonstruck. Dukakis has received two Obie Awards, for A Man’s A Man, and his performance in ABC’s epic War and Remembrance. He has appeared in several television The Marriage of Bette and Boo at Joseph Papp’s Public Theatre. She made her London debut in 1999 at the Royal musical specials for PBS, including Broadway Plays Washington, The Best of Broadway, In Performance at the National Theatre in the one-woman play Rose, to rave reviews, then opened Rose on Broadway at the Lyceum White House, Irving Berlin’s 100th Birthday Celebration at Carnegie Hall, and Working. He has hosted The Great Theatre in 2000. Dukakis has appeared in over 125 productions Off-Broadway and regionally. She taught acting at American History Quiz on the History Channel, and The Disney California Adventure Special, which celebrated the New York University for fifteen years, and currently teaches master classes at various universities and colleges opening of Disney’s newest theme park. He also hosted the NBC television special celebrating the grand re- throughout the U.S. Her feature film work includes Mr. Holland’s Opus, Mighty Aphrodite, I Love Trouble, The opening of Radio City Music Hall. He has seven times hosted A Capital Fourth, the PBS Fourth of July Special, Cemetery Club, Steel Magnolias, Dad, and Look Who’s Talking I, II, & III. On television, Dukakis co-starred in live from the steps of the U.S. Capital. Bostwick received his first Tony nomination for the role of Danny Zuko in Last of the Bombshells for HBO, and in Ladies and the Champ for ABC. One of her favorite projects, Tales of the Grease, and his second for the role of Joey in They Knew What They Wanted. He won the Tony Award for The City, was a controversial ratings blockbuster for PBS. She went on to star in the sequels More Tales of the City and Robber Bridegroom, a role he originally created at the Mark Taper Forum in Los Angeles. He was the Pirate King Further Tales of the City for Showtime, for which she earned Emmy, Screen Actors Guild and BAFTA in the Joseph Papp production of The Pirates of Penzance. In 1991, he starred on Broadway in Nick and Nora. nominations. As a founding member and Producing Artistic Director of the Whole Theatre in Montclair, New Bostwick has been very outspoken about his bout with prostate cancer several years ago. He received the American Jersey for 19 years (1971-1990), Dukakis directed and appeared in many acclaimed productions. She actively Cancer Society’s Courage Award in recognition of his determination to reach others about the importance of early participated in first cousin Michael Dukakis’ presidential campaign in 1988. She lives in New York City with her detection. husband, actor Louis Zorich. Blair Brown words of Helen Cohen Anne Jackson Blair Brown recently starred in John Caird’s production of Humble Boy with Jared Harris for words of Katherine Beychok the Manhattan Theatre Club, played Prospera in The Tempest directed by Emily Mann at the Anne Jackson made her debut in Eva LeGallienne’s road company of The Cherry Orchard in McCarter Theatre, and starred in Mark Brokaw’s acclaimed revival of A Little Night Music for 1946. Her first Broadway hit in 1948 was Tennessee Williams’ Summer And Smoke, followed the Kennedy Center’s Stephen Sondheim Festival. Brown won the Tony Award for her by the hit play Oh Men, Oh Women. This was quickly followed by her third Tony nomination performance in Michael Frayn’s Copenhagen directed by Michael Blakemore in 2000. Other for her role as Edward G. Robinson’s daughter in Middle of the Night. After playing the title Broadway credits include: Sam Mendes’ and Rob Marshall’s Cabaret for the Roundabout Theatre; Richard role in Charles Laughton’s revival of Shaw’s Major Barbara, she joined her husband Eli Nelson’s James Joyce’s The Dead with Christopher Walken for Playwrights’ Horizons; Tom Stoppard’s Arcadia Wallach in a series of plays including Ionesco’s Rhinoceros, which co-starred Zero Mostel, and Schisgal’s double directed by Trevor Nunn for Lincoln Center Theatre with Billy Crudup and Robert Sean Leonard; David Hare’s bill The Typist and The Tiger, which after a year-long run Off-Broadway moved to the Globe Theatre in London The Secret Rapture and Richard Foreman’s The Threepenny Opera for Joseph Papp’s New York Shakespeare and was directed by Sir John Gielgud. Jackson and Wallach returned to the States to perform together in Schisgal’s Festival. Favorite film credits are Clint Eastwood’s Space Cowboys; Victor Nunez’s A Flash of Green with Ed acclaimed hit play Luv, joined by Alan Arkin and directed by Mike Nichols. Their two daughters joined them in the Harris and Richard Jordan; The Astronaut’s Wife with Johnny Depp; Ken Russell’s Altered States with William revival of The Diary Of Anne Frank. In the 1980s, they toured The Waltz of the Toreadors, and it was brought to Hurt; Michael Apted’s Continental Divide with John Belushi; Stealing Home with Jodie Foster; and David Hare’s Circle in the Square, where it played for several months. In the meantime, Jackson appeared in 84 Charing Cross Strapless with Bruno Ganz and Bridget Fonda. In television she is best known for the title role in The Days and Road for the BBC, Golda with Ingrid Bergman in Israel, and Out On A Limb with Shirley Maclaine in Los Angeles. Nights of Molly Dodd created by Jay Tarses for NBC and Lifetime Television, for which she received four Emmy Jackson’s film credits include Stanley Kubrick’s The Shining, The Secret Life of an American Wife with Walter nominations and the Cable Ace Award. Recently she was seen on the WB series Smallville with John Glover, the Matthau, Lovers and Other Strangers with Gig Young, Nasty Habits with Glenda Jackson, The Tiger Makes Out CBS drama CSI: Miami and the NBC drama Law & Order. Brown is on the board of People for the American Way with Eli Wallach, and Dirty Dingus McGhee with Frank Sinatra. Most recently, Jackson joined her husband on the and served with Christopher Reeve as co-president of The Creative Coalition, an educational and advocacy group. television series The Education of Max Bickford with Richard Dreyfuss.

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Barry Bostwick Olympia Dukakis words of Manny Steen words of Lillian Galletta From his portrayal of the quintessential all-American Brad Majors in The Rocky Horror During a career that spans over 40 years, Olympia Dukakis has worked as an actress, director, Picture Show to the hilarious Mayor Randall Winston on ABC’s Spin City, Barry Bostwick has producer, teacher, activist, and most recently, author, with her best-selling memoir Ask Me had quite a career spanning all genres and mediums of show business. He has had starring roles Again Tomorrow. She received an Academy Award, the New York Film Critics Award, the in many highly acclaimed television film and mini-series, including the title role in the two Los Angeles Film Critics Award, and the Golden Globe Award for her work in Norman part Peabody award-winning CBS miniseries George Washington. He won a Golden Globe for Jewison’s film Moonstruck. Dukakis has received two Obie Awards, for A Man’s A Man, and his performance in ABC’s epic War and Remembrance. He has appeared in several television The Marriage of Bette and Boo at Joseph Papp’s Public Theatre. She made her London debut in 1999 at the Royal musical specials for PBS, including Broadway Plays Washington, The Best of Broadway, In Performance at the National Theatre in the one-woman play Rose, to rave reviews, then opened Rose on Broadway at the Lyceum White House, Irving Berlin’s 100th Birthday Celebration at Carnegie Hall, and Working. He has hosted The Great Theatre in 2000. Dukakis has appeared in over 125 productions Off-Broadway and regionally. She taught acting at American History Quiz on the History Channel, and The Disney California Adventure Special, which celebrated the New York University for fifteen years, and currently teaches master classes at various universities and colleges opening of Disney’s newest theme park. He also hosted the NBC television special celebrating the grand re- throughout the U.S. Her feature film work includes Mr. Holland’s Opus, Mighty Aphrodite, I Love Trouble, The opening of Radio City Music Hall. He has seven times hosted A Capital Fourth, the PBS Fourth of July Special, Cemetery Club, Steel Magnolias, Dad, and Look Who’s Talking I, II, & III. On television, Dukakis co-starred in live from the steps of the U.S. Capital. Bostwick received his first Tony nomination for the role of Danny Zuko in Last of the Bombshells for HBO, and in Ladies and the Champ for ABC. One of her favorite projects, Tales of the Grease, and his second for the role of Joey in They Knew What They Wanted. He won the Tony Award for The City, was a controversial ratings blockbuster for PBS. She went on to star in the sequels More Tales of the City and Robber Bridegroom, a role he originally created at the Mark Taper Forum in Los Angeles. He was the Pirate King Further Tales of the City for Showtime, for which she earned Emmy, Screen Actors Guild and BAFTA in the Joseph Papp production of The Pirates of Penzance. In 1991, he starred on Broadway in Nick and Nora. nominations. As a founding member and Producing Artistic Director of the Whole Theatre in Montclair, New Bostwick has been very outspoken about his bout with prostate cancer several years ago. He received the American Jersey for 19 years (1971-1990), Dukakis directed and appeared in many acclaimed productions. She actively Cancer Society’s Courage Award in recognition of his determination to reach others about the importance of early participated in first cousin Michael Dukakis’ presidential campaign in 1988. She lives in New York City with her detection. husband, actor Louis Zorich. Blair Brown words of Helen Cohen Anne Jackson Blair Brown recently starred in John Caird’s production of Humble Boy with Jared Harris for words of Katherine Beychok the Manhattan Theatre Club, played Prospera in The Tempest directed by Emily Mann at the Anne Jackson made her debut in Eva LeGallienne’s road company of The Cherry Orchard in McCarter Theatre, and starred in Mark Brokaw’s acclaimed revival of A Little Night Music for 1946. Her first Broadway hit in 1948 was Tennessee Williams’ Summer And Smoke, followed the Kennedy Center’s Stephen Sondheim Festival. Brown won the Tony Award for her by the hit play Oh Men, Oh Women. This was quickly followed by her third Tony nomination performance in Michael Frayn’s Copenhagen directed by Michael Blakemore in 2000. Other for her role as Edward G. Robinson’s daughter in Middle of the Night. After playing the title Broadway credits include: Sam Mendes’ and Rob Marshall’s Cabaret for the Roundabout Theatre; Richard role in Charles Laughton’s revival of Shaw’s Major Barbara, she joined her husband Eli Nelson’s James Joyce’s The Dead with Christopher Walken for Playwrights’ Horizons; Tom Stoppard’s Arcadia Wallach in a series of plays including Ionesco’s Rhinoceros, which co-starred Zero Mostel, and Schisgal’s double directed by Trevor Nunn for Lincoln Center Theatre with Billy Crudup and Robert Sean Leonard; David Hare’s bill The Typist and The Tiger, which after a year-long run Off-Broadway moved to the Globe Theatre in London The Secret Rapture and Richard Foreman’s The Threepenny Opera for Joseph Papp’s New York Shakespeare and was directed by Sir John Gielgud. Jackson and Wallach returned to the States to perform together in Schisgal’s Festival. Favorite film credits are Clint Eastwood’s Space Cowboys; Victor Nunez’s A Flash of Green with Ed acclaimed hit play Luv, joined by Alan Arkin and directed by Mike Nichols. Their two daughters joined them in the Harris and Richard Jordan; The Astronaut’s Wife with Johnny Depp; Ken Russell’s Altered States with William revival of The Diary Of Anne Frank. In the 1980s, they toured The Waltz of the Toreadors, and it was brought to Hurt; Michael Apted’s Continental Divide with John Belushi; Stealing Home with Jodie Foster; and David Hare’s Circle in the Square, where it played for several months. In the meantime, Jackson appeared in 84 Charing Cross Strapless with Bruno Ganz and Bridget Fonda. In television she is best known for the title role in The Days and Road for the BBC, Golda with Ingrid Bergman in Israel, and Out On A Limb with Shirley Maclaine in Los Angeles. Nights of Molly Dodd created by Jay Tarses for NBC and Lifetime Television, for which she received four Emmy Jackson’s film credits include Stanley Kubrick’s The Shining, The Secret Life of an American Wife with Walter nominations and the Cable Ace Award. Recently she was seen on the WB series Smallville with John Glover, the Matthau, Lovers and Other Strangers with Gig Young, Nasty Habits with Glenda Jackson, The Tiger Makes Out CBS drama CSI: Miami and the NBC drama Law & Order. Brown is on the board of People for the American Way with Eli Wallach, and Dirty Dingus McGhee with Frank Sinatra. Most recently, Jackson joined her husband on the and served with Christopher Reeve as co-president of The Creative Coalition, an educational and advocacy group. television series The Education of Max Bickford with Richard Dreyfuss.

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Bebe Neuwirth Boyer’s music has been praised in such publications as The New York Times, Los Angeles Times, USA TODAY, words of Helen Rosenthal Gramophone and BBC Music Magazine, which featured him in its “Fast Track: Rising Star” column. He holds the Raised in Princeton, New Jersey, Bebe Neuwirth has established herself as a versatile dancer Smith Hobson Family Chair in Music and the rank of Associate Professor at Claremont Graduate University, where and actress on stage, film and television. She recently starred as Velma in the Broadway he has taught since 1996. He also served as a conductor at the Henry Mancini Institute for six summers (at Cal State production of Chicago, for which she won a Tony Award, Drama Desk Award, and an Astaire Long Beach and UCLA), and was on the faculty of the Conductors Institute at Bard College in 2000. Boyer was Award. She also received a Tony Award for her role as Nickie in Sweet Charity. Neuwirth’s born in Providence, Rhode Island in 1970, and began composing at the age of 15. His first large-scale composition other Broadway credits include Fosse, Damn Yankees, Dancin’, Little Me, and A Chorus Line. was a 40-minute Requiem Mass in memory of his grandmother, composed while only a teenager. He received In addition, she has performed leading roles in numerous regional theatre productions, including the title role in national acclaim for this work while still an undergraduate. He received his Bachelor’s degree from Rhode Island Kiss of the Spiderwoman on London’s West End, West Side Story for the Cleveland Opera, The Threepenny Opera College, which awarded him an honorary Doctor of Music degree in 2004. He received Master of Music and in San Francisco, and Katherine in The Taming of the Shrew at the Williamstown Theatre Festival. She is perhaps Doctor of Musical Arts degrees from The Hartt School of the University of Hartford, which named him its 2002 best known as Lilith Sternin on Cheers and Frasier, for which she won two Emmy Awards. Neuwirth stars as Alumnus of the Year. Following his doctoral work, Boyer studied privately with John Corigliano in New York, Assistant District Attorney Tracy Kibre in the new NBC series Law & Order: Trial By Jury. Her other television then relocated to Los Angeles, studying film music with Elmer Bernstein, David Raksin, and Buddy Baker at USC. appearances include the role of Dorothy Parker in Dash and Lilly and recurring guest work on Hack. Neuwirth’s In 2003, Boyer launched Propulsive Music, a publishing company representing his music. More information can be film work includes roles in Liberty Heights, Summer of Sam, Celebrity, Jumanji, Malice, The Faculty, Green Card, found at www.PropulsiveMusic.com. The Paint Job, Bugsy, Tadpole, and How to Lose a Guy in 10 Days. She recently appeared in Le Divorce for Merchant Ivory Films. Neuwirth began training in ballet at age five. She later danced with the Princeton Ballet in such classics as Peter and the Wolf, The Nutcracker and Coppelia. Bebe Neuwirth is proud to be an honorary Zeigfeld Girl. Martin Charnin Director Martin Charnin originated the role of “Big Deal” in the Broadway production of West Side Eli Wallach Story in 1957, and singing in “Gee, Officer Krupke,” he played the role for 1,000 words of Lazarus Salamon performances. Subsequently, he has been the director, lyricist, composer, librettist, producer or In a career that has spanned some six decades, Eli Wallach has amassed awards, critical praise combination of the above for over 85 theatrical productions. His Tony Award-winning and a list of credits that includes classic films and plays. In the 1950s, he emerged as one of the Broadway production of Annie, for which he wrote the lyrics and directed, and which had American theatre’s most respected method actors, and soon proved to be a versatile performer music by Charles Strouse and a book by Thomas Meehan, is the sixteenth-longest-running of considerable range. Wallach has appeared in numerous stage productions, including Eugene American musical in Broadway history. It opened at the Alvin Theatre in April of 1977 and celebrated its twentieth Ionesco’s Rhinoceros, the double bill The Tiger and The Typist, The Waltz of the Toreadors anniversary in 1997 with a return to Broadway. Charnin has directed eight national companies of Annie, two of (these with wife Anne Jackson) and Tom Stoppard’s Every Good Boy Deserves Favour. On the big screen, he first which spent three years touring the United States. Another production closed in 2000 in the United Kingdom, came into prominence in the adaptation of Tennessee Williams’s Baby Doll. He went on to portray numerous, often having been nominated for the 1999 Olivier Award; a third production ended a two-year run in Amsterdam in hot-headed characters, from the Mexican bandit leader Calvera in John Sturges’ The Magnificent Seven to Clark 2001; and his most recent production closed after a triumphant run in Australia in 2002. Charnin has received four Gable’s buddy in The Misfits to the cunning Tuco in Sergio Leone’s landmark “Spaghetti Western,” The Good, the Tony nominations, two Tony Awards, six Grammy Awards, three Emmy Awards, three Gold Records, two Bad, and the Ugly. He gradually mellowed into more sober, avuncular roles, like the rabbi in Girlfriends and the Platinum Records, six Drama Desk Awards, a Peabody Award for Broadcasting, and most recently another psychiatrist evaluating Barbara Streisand in Nuts, but he could still play unsavory types, including a short-sighted Grammy Award for Jay-Z’s rap album Hard Knock Life, which went triple platinum in 1999. He has recently hit man in Tough Guys and Mafioso Don Altobello in The Godfather, Part III. Other movies include Lord Jim, The completed a play, Swimming with Sharks, based on the 1993 film of the same name. With Kurt Andersen writing Moon-Spinners, How to Steal a Million, The Deep, Cinderella Liberty, The Hunter, The Impossible Spy, The Two the book and utilizing Leroy Anderson’s celebrated orchestral music, Charnin is writing the lyrics for and directing Jakes, Article 99, Mistress, and Night and the City. Wallach’s television work began in the late 1940s in many of a musical derived from the fantastic cartoon character “Broomhilda.” the live dramas of the period. He won an Emmy for The Poppy Is Also a Flower. His work in miniseries has included Seventh Avenue, Skokie, Anatomy of an Illness, Legacy of Lies, and Our Family Honor. For much of the 1990s, he lent his distinctive vocal talents to narrations and character voices on such series and specials as The Donner Party, Lincoln, Ken Burns’ Baseball and The West.

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Peter Boyer Louis Zorich Composer/Conductor/Producer words of James Apanomith Peter Boyer is emerging as one of the most successful young American orchestral Louis Zorich has appeared on Broadway in Ma Rainey’s Black Bottom, 45 Seconds From composers, whose music has been widely acclaimed by audiences and critics alike for its Broadway, Encore Series City Center, Follies, She Loves Me, The Marriage of Figaro, Arms dramatic strength and evocative power. At 35, his orchestral works have received nearly and the Man, Death of a Salesman with Dustin Hoffman, They Knew What They Wanted one hundred performances, by more than forty orchestras. He has conducted recordings of (Drama Desk Nomination), Hadrian VII (Tony Nomination), Herzl, Good Time Charley, his music with two of the world’s finest orchestras, the London Symphony Orchestra and Moonchildren, and Fun City. In Blau and Irving’s first year at Lincoln Center Repertory, Zorich the Philharmonia. His music has been performed in venues including New York’s Carnegie appeared in Danton’s Death, The Country Wife, The Condemned of Altona, The Odd Couple, Moby Dick with Rod Hall, London’s Abbey Road Studios, Los Angeles’ Shrine Auditorium, and Dallas’ Steiger, and Becket with Anthony Quinn and Laurence Olivier. His Off-Broadway credits include Henry IV, Parts I Meyerson Symphony Center. His works have been broadcast by NPR in the U.S., Classic & II, True West, Sunset, The Tempest, Good Soldier Schweck, Six Characters in Search of an Author, To Clothe the FM in the U.K., Bayerischer Rundfunk in Germany, Radio France, and also in Belgium, The Netherlands, and Naked and Henry V, among others. He has worked in many regional theaters, especially the Williamstown Summer Australia. In 2001, at age 31, he became one of the youngest composers in the world to have an entire disc of his Theatre Festival in plays by Chekhov, Brecht, Euripedes, Pinter, O’Neill, Miller and Williams, often with his wife, music recorded by a world-class orchestra and distributed by an international record label. Olympia Dukakis, with whom he co-founded the Whole Theatre in Montclair, New Jersey. His film credits include Commandments, Bloodhounds of Broadway, Fish in the Bathtub, City of Hope, Fiddler on the Roof, The Muppets Boyer has won six national competitions, including two BMI Awards, the First Music Carnegie Hall commission, Take Manhattan, and Made For Each Other, to name just a few. Zorich has appeared in over 300 television shows. and the Ithaca College Heckscher Prize. Orchestras which have performed his music include the Dallas Symphony, He was a regular on the series Brooklyn Bridge and Mad About You. Pacific Symphony, Brooklyn Philharmonic, Buffalo Philharmonic, Bamberg Symphony, Fort Worth Symphony, Toledo Symphony, Hartford Symphony, Kalamazoo Symphony, Rhode Island Philharmonic, Fresno Philharmonic, Philharmonia Orchestra Santa Barbara Symphony, Fort Wayne Philharmonic, Wheeling Symphony, New York Youth Symphony, Young One of the world’s great orchestras, the Philharmonia Orchestra Musicians Foundation Debut Orchestra, and many others. Conductors who have programmed Boyer’s music celebrates its 60th Anniversary in 2005 at one of the most exciting times include Carl St.Clair, Miguel Harth-Bedoya, Raymond Harvey, JoAnn Falletta, Gisèle Ben-Dor, Grant Cooper, in its distinguished history. The Orchestra is now in its eighth season Andrew Massey, Edvard Tchivzhel, and many others. Boyer recently completed a commission from the Pacific with its Principal Conductor, the eminent German maestro Christoph von Symphony for a large work for soloists, chorus, children’s chorus, and orchestra, to celebrate its 25th anniversary Dohnányi, who had formerly held the position of Principal Guest season. Carl St.Clair conducted the premiere of this work, entitled On Music’s Wings, in June 2004. The finale of Conductor since 1995. Under his leadership, the Orchestra has the work featured nearly 1,000 performers, including hundreds of children from throughout Orange County. established itself at the helm of British musical life, recognized for its Boyer’s major work Ellis Island: The Dream of America, which celebrates the American immigrant experience, has innovative approach to residencies in London, the UK and abroad, as been his most successful composition to date. This work was commissioned by The Bushnell Performing Arts well as to education and audience development. During its first six Center, and its premiere performance, by the Hartford Symphony under Boyer’s direction, was broadcast on NPR’s decades, the Philharmonia Orchestra has collaborated with most of the great classical artists of the 20th century. SymphonyCast. Ellis Island has been enjoying an extraordinary performance history, with nearly forty Conductors associated with the Orchestra include Fürtwangler, Richard Strauss, Toscanini, Cantelli, Karajan and performances by twenty orchestras from its debut in 2002 through the 2005-06 season, making it one of the most- Guilini. Otto Klemperer was the first of many outstanding Principal Conductors, and other great names have performed American orchestral works composed in the last decade. included Lorin Maazel (Associate Principal Conductor), Riccardo Muti (Principal Conductor and Music Director) and Giuseppe Sinopoli (Music Director). As well as Christoph von Dohnányi, current titled conductors are Sir In addition to his work for the concert hall, Boyer is active in the film and television industry. He was an Charles Mackerras (Principal Guest Conductor), Kurt Sanderling (Conductor Emeritus) and Vladimir Ashkenazy orchestrator on three of the last films scored by the late composer Michael Kamen: Against the Ropes (Paramount), (Conductor Laureate). As one of the world’s most recorded symphony orchestras, with well over 1,000 releases to Open Range (Touchstone), and First Daughter (Fox/Regency, Kamen’s score completed by composer Blake its credit, recording and broadcasting continue to play a significant part in the Philharmonia Orchestra’s activities. Neely). Boyer was also an orchestrator on the 73rd Academy Awards on ABC for music director Bill Conti, and on As well as CD recordings for all the major record companies, the Orchestra regularly records television and film films for MGM Animation and TNT. Boyer has composed original music for several short films, including soundtracks. Recent productions include The Red Violin (Academy Award winner for Best Original Score, Covenant, which played at more than 20 film festivals in the U.S. and Europe. He has conducted music for the Fox featuring Joshua Bell), Channel 4’s Shackleton, Miramax’s The Shipping News and Vanity Fair, and the Network show Boston Public, and in a departure from his usual work, he recently conducted the music of Aaron soundtracks for the Harry Potter computer games. In addition to its continuing relationship with BBC Radio 3, Copland on-camera for two national television beef commercials. the Orchestra announced a new partnership with Classic FM in early 2003, as Classic FM’s Orchestra on Tour.

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This recording was made possible in part through a generous grant from the LLWW Foundation. The blend of symphonic music combined with words taken from actual oral histories of Ellis Island immigrants makes Peter Boyer would like to thank the following for invaluable assistance in the creation and recording of Peter Boyer’s Ellis Island: The Dream of America a Ellis Island: The Dream of America. uniquely moving experience. I attended the work’s First and foremost, very special thanks to Martin Charnin, for assembling an extraordinary cast of actors, and for premiere, and the results were simply breathtaking—it was profound artistic insight; and to the seven immensely gifted actors who brought to life the words of these Ellis an enormously emotional experience for audience and Island immigrants. orchestra members alike. This recording, with its stellar Thanks to those at The Bushnell Center for the Performing Arts: David Fay, Jim Nelson, Ronna Reynolds, Dorothy cast, wonderfully captures that experience. We applaud the Berloni, and Zita Christian; those who funded the commission: Mr. and Mrs. Richard Gates and the Jodik beauty and power of what Mr. Boyer has created, and see it Foundation, and Drs. Thomas and Dennie Wolf; the Hartford Symphony Orchestra and its Executive Director as a most appropriate and meaningful extension of the Oral Charles Owens; those at the Ellis Island Immigration Museum of the National Park Service: Dr. Janet Levine of the History Project, which plays such an important role at the Ellis Island Oral History Project, Barry Moreno and Jeff Dosik. Thanks to Lillian Galletta and her family for their Ellis Island Immigration Museum. This is a piece to be story, and for traveling to Hartford for the premiere some 64 years after their experience at Ellis Island, bringing enjoyed, not only by the over 100 million Americans who such genuine truth to this whole endeavor. Thanks to the superb musicians of the Philharmonia Orchestra, and to trace their heritage back to an ancestor who first set foot on David Whelton, Roanna Chandler, and Paul Talkington of the Philharmonia; to recording engineers Geoff Foster at American soil at Ellis Island, but by their children and Air Studios in London, Brian McGee in New York, and Casey Stone and Ed Kalnins in Los Angeles. Thanks to Kerry Toolan and the various offices of Claremont Graduate University for administration of the LLWW grandchildren. Its themes celebrate the American Dream of Foundation grant; to those at Naxos of America: Jim Sturgeon, Matt Whittier, Peter Wolff, and Lindsay Davis. For freedom, hope and opportunity for all—aspirations as true friendship and various forms of help and support, thanks to Michael Fine, Evans Mirageas, Samuel Jones, Pete today as they were 100 years ago. It is surely a work for the Anthony, Patrick Russ, Blake Neely, Robert Freedman, Jeannie Kauffman, Robert Zappulla, Frank Traficante, generations. Stephen Martorella, Anthony Torelli, Bridget Gailey, and Steve Winogradsky. Grateful thanks to the many Peg Zitko orchestras, conductors, and actors who have performed this work around the United States. Director of Public Affairs, Special thanks to Victor Ledin, Ralph Jackson of BMI, Steve Metcalf, Peg Zitko of the Statue of Liberty–Ellis The Statue of Liberty–Ellis Island Foundation, Inc. Island Foundation, Ursula Kleinecke, my wonderful son Stephen Boyer, and all my family. Philharmonia Orchestra conducted by Peter Boyer As the Historian at the Statue of Liberty–Ellis Island Actors directed by Martin Charnin National Monument, my work is exclusively with the Oral Texts from the Ellis Island Oral History Project History Program. Over the years, I have worked with many Photograph courtesy of Ellis Island Immigration Museum Produced by Peter Boyer researchers who have made use of our extensive oral Orchestra recorded at Air Studios, London, February 16, 2003 history archive. In his composition Ellis Island: The Dream of America, Peter Boyer has used the voices of those Recording engineer: Geoff Foster who immigrated to this country in a dramatic and successful way. They have inspired the musical composition and Assistant engineer: Jake Jackson they, quite literally, are incorporated in it. So, for example, the turbulence of the ocean voyage is reflected in the Actors recorded at Magic Venture Studio, New York City, September 17-19, 2003 musical score, and he has interspersed selected quotes from immigrants speaking about that time of upheaval. At the Recording engineer: Brian McGee premiere performance of this work, I witnessed it bring resounding enthusiasm from the audience. It has been said Edited by Peter Boyer and Geoff Foster that if one goes back far enough, we are all immigrants. I believe that the people who heard Dr. Boyer’s work Mixed by Casey Stone, Ed Kalnins, and Peter Boyer related to the music and the content, and that the total effect was greater than the sum of its parts. Published by Propulsive Music (BMI). For performance inquiries, visit www.PropulsiveMusic.com. Copyright c & p 2005 Propulsive Music Janet Levine, Ph.D. Cover photo: Jeremy Woodhouse, Photodisc/Getty Images Oral Historian, The Statue of Liberty–Ellis Island National Monument American flag, folk artist, 1880s National Park Service, United States Department of the Interior 8.559246 12 5 8.559246 Ellis Island Booklet 3/23/05 5:06 PM Page 4

and delightful raconteur. His story cried out for a “Tin Pan Alley” treatment, markedly different in style from the rest of the music. Just as each immigrant is a strand in the American tapestry, so I attempted to reflect their tales with various musical styles. In live performances of Ellis Island: The Dream of America, there is a visual component which accompanies the music during the Prologue and Epilogue. This consists of images from the archive of historic photographs housed at the Ellis Island Immigration Museum Library. Many of these come from the collection of Augustus Sherman, a longtime Ellis Island employee who took a number of poignant and historically important photographs of immigrants. These immigrants’ faces seem to tell their own stories, and it is little wonder that copies of many of these photographs are displayed prominently in the Ellis Island Immigration Museum. Work on this piece was begun in the months before September 11, 2001, and completed in the months that followed. During my research trips to Ellis Island in the summer of 2001, many times I had imagined what it was like to be an immigrant sailing into New York Harbor, and seeing the skyline of lower Manhattan. As the world mourned those devastating events, I often reflected on how that skyline had tragically changed. After September 11, the Statue of Liberty National Monument and Ellis Island Immigration Museum, which draw millions of visitors each year, were closed to the public for over three months; the Statue itself did not welcome visitors again until August 2004. The reopening of these American icons reminds us of the endurance of the freedoms which have drawn generations of immigrants from around the world. Ellis Island: The Dream of America was commissioned by The Bushnell Center for the Performing Arts, in celebration of the inaugural season of its Belding Theatre. It was premiered by the Hartford Symphony Orchestra under my direction, with a cast of actors directed by Martin Charnin, at The Bushnell on April 9, 2002. At that first performance, it was my great pleasure to welcome to the stage Lillian Galletta, the only one of the seven immigrants featured in my work who is still with us. This delightful moment was made even more poignant by the fact that her four older siblings, all in their eighties, who had traveled with her from Sicily to America in 1928, joined us that evening. The stories of Ellis Island are stories of journeys. My personal journey with this project, from its conception in 1999, to its premiere in 2002, its recording in 2003, and this Naxos release in 2005, has been both a long and rewarding one. It was a thrill and a privilege for me to make this recording with world-class artists: the Philharmonia Orchestra in London in February 2003, and the actors Barry Bostwick, Blair Brown, Olympia Dukakis, Anne Jackson, Bebe Neuwirth, Eli Wallach, and Louis Zorich, directed by Martin Charnin, in New York This page: City in September 2003. I hope that listeners may find these stories as fascinating, illuminating and inspiring as I do. Actors’ recording Peter Boyer, 2005 sessions, Magic Venture Studio, New York City, September 2003. (Photos by Gary Gershoff)

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Though I am a composer and not a writer, I decided early in the process that I would create the script for the work myself, prior to composing the music. The creation of the script involved the selection, arrangement and editing of texts from the Ellis Island Oral History Project into a sort of dramatic narrative. This proved to be a huge task, not least because of the staggering amount of material which exists (much more than I could ever realistically canvas for material). Ellis Island welcomed (or rejected) immigrants from a great many countries over a span of more than sixty years, and so I wanted the immigrants’ stories chosen for inclusion to be widely representative of both geography and historical period. And of course, I wanted to use stories which would say something important about the American immigrant experience, stories which were poignant, gripping, or even humorous. I examined over 100 interviews, and found many more stories than could be included in a 43-minute piece with 25 minutes of spoken word. Ultimately I settled on a structure which includes seven stories, four female and three male, of immigrants who came through Ellis Island from seven countries, between 1910 and 1940. For the final text in the work, I knew from the beginning that I could not create a work about Ellis Island without making reference to the poem by Emma Lazarus, The New Colossus, which is inscribed at the base of the Statue of Liberty. This poem is synonymous with the Statue, Ellis Island, and American immigration in the minds of many Americans. A number of immigrants interviewed for the project made reference to the poem, and the words of Katherine Beychok provided a natural bridge to a recitation of the poem, which serves as the work’s epilogue. The orchestral music in Ellis Island: The Dream of America is continuous, framing, commenting on, and amplifying the spoken words. Following a six-minute orchestral prologue, the work’s structure alternates the individual immigrants’ stories with orchestral interludes. In general, during the actors’ monologues in which the immigrants’ stories are told, the orchestra plays a supporting role, employing a more sparse orchestration and texture so as not to overpower the speaking voice. During the interludes, the orchestra assumes the primary role, and accordingly “speaks up” with fuller orchestration. The prologue introduces much of the work’s principal thematic material. It is in two sections, slow and fast. In the first section, the work’s main theme, simple and somewhat folk-like in character, is introduced by a solo trumpet, then taken up by the strings and developed. The second section is quick and vigorous, and introduces a fast-moving theme in the trumpets, with pulsating accompaniment in the whole orchestra, which I think of as “traveling music.” These themes recur in many guises throughout the entire piece. In addition to these, there are other important musical themes, some of which are associated with particular immigrants’ stories. Of course I attempted to compose music which was appropriate for the nature and character of each of the stories. For Lazarus Salamon’s story of the military oppression in the Hungary of his youth, a menacing snare drum tattoo is significant. But when he speaks of arriving in New York and seeing the Statue of Liberty, a quiet, hymn-like theme for the strings is heard—which will recur at a later mention of the Statue. Lillian Galletta’s story is that of children’s reunion with their father—an emotional and heartwarming story which I attempted to reflect in a lyrical “reunion” theme. The story of Helen Rosenthal is one of escaping the Nazis to find freedom in This page: America, though her entire family perished at Auschwitz. For this I chose a solo violin to play a lamenting theme Philharmonia Orchestra recording sessions, Air Studios, London, February 2003 with a kind of Jewish character. In stark contrast to this is the story of Manny Steen, an irrepressible Irish immigrant (Photos by Richard Smith)

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Notes on Ellis Island: The Dream of America Ellis Island: The Dream of America was born out of my fascination with the relationship between history and music. I’m drawn to good stories—especially stories which come from the past but are relevant to the present—and as an orchestral composer, I’m intrigued by the potential of the orchestra as a storytelling medium. Of course, orchestral music cannot tell stories in a literal way, but its ability to suggest scenes and emotions, and evoke responses in listeners, has challenged and stimulated composers for centuries. My fascination with the story of the Titanic led me to choose that as the subject of an early orchestral work, and considering the plight of that vessel’s third-class passengers—humble European immigrants bound for America—led me to think more broadly about early twentieth-century American immigration. America is a nation of immigrants, and our immigrant history is a profound part of our American mythology. In the history of American immigration, Ellis Island and the Statue of Liberty are icons of immense significance. In the years of its operation, from 1892 to 1954, more than twelve million immigrants, over 70% of all immigrants to the United States, passed through Ellis Island, the processing station which was “the gateway to America.” Today, more than 40% of the U.S. population, over 100 million Americans, can trace their roots to an ancestor who came through Ellis Island. The stories of Ellis Island immigrants are in many ways our family stories: whether they are the tales of our grandparents, great-grandparents, aunts and uncles, cousins, or friends, so many Americans can relate to these experiences as part of our collective history. This is what makes Ellis Island stories so fascinating, and it’s what drew me to this material as the basis of a major composition. When I decided to create a work about Ellis Island, I knew that I wanted to combine spoken word with the orchestra. When I began researching Ellis Island, I learned of the existence of something which would come to define the nature of the piece: the Ellis Island Oral History Project. This is a collection of interviews, housed at the Ellis Island Immigration Museum, with immigrants who were processed at Ellis Island during the years of its operation. Begun in 1973, the Ellis Island Oral History Project now contains over 2,000 interviews. The largest number of these were done during the late 1980s and early 1990s, catalyzed by the opening of the Museum in 1990. All immigrants interviewed for the Project were asked a standard set of questions: what life was like in their native country, reasons for coming to America, the nature of the voyage to port and the journey by ship, experiences arriving in New York Harbor and being processed at Ellis Island, their ultimate destination, and their experiences adjusting to life in the United States. Collectively, the interviews which constitute the Ellis Island Oral History Project—in both recorded form and in transcripts—are a treasure of immeasurable worth in American history. When I learned of the existence of this resource, I knew I had found the source from which my texts would be drawn: real words of real people telling their own stories. The decision to use texts from the Ellis Island Oral History Project meant that the work would require actors, and it’s an important distinction that they are not “narrators” or “speakers,” but actors. They deliver their monologues in the first person. The use of actors and, in live performance, projected images with the orchestra makes Ellis Island: This page: Actors’ recording sessions, Magic The Dream of America a hybrid work which is closer to a theater piece than a pure concert work, though it is Venture Studio, New York City, September 2003. intended to be performed in the concert hall. (Photos by Gary Gershoff) 8.559246 2 15 8.559246 Ellis Island Booklet 3/23/05 5:06 PM Page 16

AMERICAN CLASSICS PETER BOYER Ellis Island: The Dream of America Barry Bostwick • Blair Brown • Olympia Dukakis Anne Jackson • Bebe Neuwirth Eli Wallach • Louis Zorich Philharmonia Orchestra • Peter Boyer

Ellis Island as it appears today (courtesy Ellis Island Immigration Museum) 8.559246 16 CMYK NAXOS Playing PETER BOYER (b. 1970) Time: Ellis Island: The Dream of America 43:31 1 Prologue 6:09 c broadcasting andcopying ofthis compactdisc prohibited. public Unauthorised performance, translations reserved. texts and inthis soundrecording, artwork, All rights

8.559246 2 Words of Helen Cohen, emigrated from EE BOYER: PETER & Poland in 1920, read by Blair Brown 2:37 p AMERICAN CLASSICS 3 Interlude 1 1:24 2005 Propulsive Music •Made inCanada 4 Words of James Apanomith, emigrated from What was it like to be one of the millions of Greece in 1911, read by Louis Zorich 2:43 immigrants coming to America through Ellis 5 Interlude 2 2:07 Island early in the 20th century? Peter Boyer’s 6 Words of Lillian Galleta, emigrated from Ellis Island: The Dream of America brings that Italy in 1928, read by Olympia Dukakis 3:32 experience to life in a unique and powerful 7 Interlude 3 1:33 way. This work combines elements of 8 Words of Lazarus Salamon, emigrated from symphonic music, theatre and history to

Hungary in 1920, read by Eli Wallach 4:16 celebrate the American immigrant experience. TheDream of America Ellis Island: 9 Interlude 4 1:56 Boyer chose stories from the Ellis Island Oral 0 Words of Helen Rosenthal, emigrated from History Project, wove them together into a Belgium in 1940, read by Bebe Neuwirth 4:27 narrative describing the hopes, dreams and ! Interlude 5 1:01 struggles of these individuals, and composed @ Words of Manny Steen, emigrated from dramatic and evocative symphonic music Ireland in 1925, read by Barry Bostwick 4:42 which frames and amplifies these stories. A # Interlude 6 2:24 cast of renowned stage and screen actors joins $ Words of Katherine Beychock, emigrated from with symphony orchestra in bringing to life Russia in 1910, read by Anne Jackson 2:53 the actual words of these real American Ellis Island:Ellis America of Dream The % Epilogue: “The New Colossus” immigrants. The work closes with a stirring (Emma Lazarus, 1883), read by all actors 1:50 reading of Emma Lazarus’s The New Colossus Philharmonia Orchestra conducted by Peter Boyer (“Give me your tired, your poor, your huddled Actors directed by Martin Charnin masses yearning to breathe free…”), the Texts from the Ellis Island Oral History Project classic poem inscribed on the base of the Produced by Peter Boyer Orchestra recorded at Air Studios, London, February 16, 2003 Statue of Liberty. DDD Recording engineer: Geoff Foster Assistant engineer: Jake Jackson Actors recorded at Magic Venture Studio, New York City, September 17-19, 2003 PETER BOYER: Recording engineer: Brian McGee

www.naxos.com 8.559246 Edited by Peter Boyer and Geoff Foster 8.559246 Mixed by Casey Stone, Ed Kalnins, and Peter Boyer Published by Propulsive Music (BMI). For performance inquiries, visit www.PropulsiveMusic.com. c & p 2005 Propulsive Music Cover photo: Jeremy Woodhouse, Photodisc/Getty Images NAXOS American flag, folk artist, 1880s