Fifty Key Stage Musicals: The Podcast

DEAR EVAN HANSEN

COMPOSER: Benj Pasek & Justin Paul

LYRICIST: Benj Pasek & Justin Paul

BOOK: Steven Levenson

DIRECTOR: Michael Greif

CHOREOGRAPHER: Danny Mefford

PRINCIPLE CAST: Rachel Bay Jones (Heidi), Laura Dreyfuss (Zoe), Ben Platt (Evan), 

OPENING DATE: Nov 14, 2016

CLOSING DATE: Still running as of publication

PERFORMANCES: Still running as of publication

SYNOPSIS: Evan Hansen is a high schooler struggling with both peer and self-acceptance. When a fellow student takes his own life, Evan begins to create a fictional friendship with the dead student, tricking not only the student’s family but the whole world. 

Producer Stacey Mindich revolutionized the relationship between Broadway musicals and their young fans, making recordings available to the public alongside the announcement of the show’s first tryout, attempting to reflect their experiences on stage without parodying or satirizing them, and even leading a video campaign which includes fan videos in the show’s projection design. Frederick D. Miller explores the ways Dear Evan Hansen comments on a societal reliance on social media while existing in an industry increasingly dependent upon social media to profit and survive. Young writers Benj Pasek, Justin Paul, and Steven Levenson provided nuanced observations on the budding culture around social media without moralizing or criticizing. It was this musical that then fostered the growth of such musicals as Joe Iconis’ Be More Chill.

Frederick D. Miller is an undergraduate theatre major at the Pennsylvania State University. A dramaturg, Miller’s work focuses on twentieth- and twenty-first-century American theatre. His work has informed productions of Angels in America, A Little Night Music, To Kill a Mockingbird, and Caroline, or Change. He is the regional recipient and national semi-finalist for the 2020 KC/ACTF Award for Outstanding Dramaturgy, and a project associate for the #HereToo Project, which amplifies youth activists’ voices through performance. An advocate for theatre education, Miller is a frequent teaching artist with high schools and theaters in the Central Pennsylvania region.

SOURCES

Dear Evan Hansen by Steven Levenson, Benj Paek, Justin Paul, published by Theatre Communications Group (2017)

Dear Evan Hansen, Original Broadway Cast Recording. Atlantic Records (2017)

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HAMILTON

COMPOSER: Lin-Manuel Miranda

LYRICIST: Lin-Manuel Miranda

BOOK: Lin-Manuel Miranda

DIRECTOR: Thomas Kail

CHOREOGRAPHER: Andy Blankenbuehler 

PRINCIPLE CAST: Lin-Manuel Miranda (Hamilton), Leslie Odom Jr. (Burr), Phillipa Soo (Eliza)

OPENING DATE: August 6th, 2015

CLOSING DATE: Still Playing as of this writing

PERFORMANCES: +1900

SYNOPSIS: The life of American Founding Father Alexander Hamilton is explored from his immigration to the United States through his murder by political rival Aaron Burr. 

W. Jerome Stevenson argues Hamilton’s significance as a twenty-first century musical which was able to maintain mass appeal to the public amid a flurry of tourist-oriented Broadway productions. Hamilton’s original score and historical storyline update the structure of a traditional book musical by fusing the narrative with rap and hip hop and reimagining white figures as people of color. The Lin Manuel Miranda, Thomas Kail, and Andy Blankenbuehler production set off a global revolution with its contemporary score but was later brought under scrutiny for its lack of accurate representation of Afro-Caribbean and African-American voices.

W. Jerome Stevenson is an Instructor of Performance for the Helmerich School of Drama at the University of Oklahoma and served as the Producing Artistic Director of the Pollard Theatre Company in Oklahoma until 2020. Stevenson is an accomplished director and a proud member of Actor’s Equity Association and serves as adjunct theatre faculty at Oklahoma City and Oklahoma Universities. Stevenson’s numerous directing credits include Hairspray, Green Day’s American Idiot, Crowns, and The Curious Incident of the Dog in the Night-Time. In addition to a variety of work in radio, television, and film, Jerome was the recipient of a 2018 Oklahoma Governor Arts Award for Community Service.

SOURCES

Hamilton, Original Broadway Cast Recording. Atlantic (2016)

Hamilton, starring Lin-Manuel Miranda and Leslie Odom Jr., directed by Thomas Kail. Walt Disney Pictures (2020)

Hamilton: One Shot to Broadway, starring Lin Manuel Miranda and Leslie Odom, Jr., directed by Elio Espana. Symettrica Entertainment (2017)

Hamilton: The Revolution by Lin-Manuel Miranda and Jeremy McCarter, published by Grand Central Publishing (2016)

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FUN HOME

COMPOSER: Jeanine Tesori

LYRICIST: Lisa Kron

BOOK: Lisa Kron

SOURCE: Alison Bechdel’s graphic novel Fun Home (2006)

DIRECTOR: Sam Gold

CHOREOGRAPHER: Danny Mefford

PRINCIPLE CAST: Michael Cerveris (Bruce), Sydney Lucas (Young Alison) Beth Malone (Old Alison)

OPENING DATE: Apr 19, 2015

CLOSING DATE: Sep 10, 2016

PERFORMANCES: 583

SYNOPSIS: Alison is a lesbian author and illustrator who looks back not only on her own evolution in discovering her sexuality but her father’s tragic journey as a closeted gay man. 

Courtney Laine-Self, who directed the regional premiere of Fun Home, examines the difficulties critics and audiences had categorizing this musical from its premiere as a musical based on an autobiographical graphic novel by Alison Bechdel while addressing the historical significance of its lesbian protagonist. The musical’s address of queer womanhood in a coming of age narrative is widely embraced by queer women who feel the show represents their own experiences authentically. The marketing for the production initially avoided tying ticket sales to the subject matter in the plot, but after establishing the piece as a success, the campaign shifted to appeal to an increasingly vocal LGBTQ+ public. Opening in a time of significant political change for the LGBTQ+ community, the show’s significance seems easier to highlight in hindsight. After surveying the response to Fun Home’s mainstream lesbian representation, as written by Lisa Kron and Jeanine Tesori, this chapter argues that The Color Purple is overlooked as a Broadway musical which centers a female protagonist’s queerness. The continued representation of lesbians on Broadway and the future of representation in the theatrical landscape as a whole is explored.

Courtney Laine Self is a director and choreographer interested in creating new work in the musical theatre genre that incorporates non-realistic and abstract theatrical techniques as well as developing methods on how to responsibly and with innovation revive Broadway-style musicals. Recent credits: Assistant Director, Proof of Love, Audible Theater/New York Theatre Workshop, co-created dance musicals Making Bkjkt and RPT with 92Y, directed the world premiere of Sheila and Moby for Flying V Theatre Company in DC, and the regional theatre premiere of Fun Home at Millbrook Playhouse. MFA: Directing, Southern Illinois Univ., BFA: Music Theatre, The Hartt School. www.courtneylaineself.com

SOURCES

Fun Home, Original Broadway Cast Recording. PS Classics (2015)

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NEXT TO NORMAL

COMPOSER: Tom Kitt

LYRICIST: Brian Yorkey

BOOK: Brian Yorkey

DIRECTOR: Michael Greif

CHOREOGRAPHER: Sergio Trujillo

PRINCIPLE CAST: Alice Ripley (Diana), J. Robert Spencer (Dan), Aaron Tveit (Gabe)

OPENING DATE: Apr 15, 2009

CLOSING DATE: Jan 16, 2011

PERFORMANCES: 733

SYNOPSIS: Diana, a suburban wife and mother, is so devoted to her teenage son Gabe that she has neglected her other family members. What makes matters even more complicated is that Gabe died when he was two years old. As Diana slips further and further away from reality her family must try to save her.

Lyricist and book writer Brian Yorkey discusses his collaboration with composer Tom Kitt and director Michael Greif and the challenges in musicalizing a mental health crises in Next to Normal. Yorkey reflects on the delicate balancing act between presenting heavy subject matter and introducing levity to a narrative through humor without belittling mental illness. The development process of the musical helped the creative team realize the themes they were most invested in exploring. Controversial subject matter studied through a rock musical earned the surprise attention from the Pulitzer Prize committee and expanded the potential thematic focus of future Broadway musicals.

Brian Yorkey received the 2010 Pulitzer Prize for Drama, as well as the 2009 Tony Award for Best Score, for Next to Normal. He was also nominated for the Tony Award for Best Musical and Best Book of a Musical for Next to Normal, and his work on the show earned him the Outer Critics Circle Award for Best Score. He's a graduate of Columbia University, an alum of the BMI/Lehman Engel Musical Theatre Workshop and a proud member of the Dramatists Guild and the WGA.

SOURCE

Next to Normal, Original Cast Recording, Ghostlight Records (2009)

Next to Normal by Tom Kitt and Brian Yorkey, published by Theatre Communications Group (2010)

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IN THE HEIGHTS

COMPOSER: Lin-Manuel Miranda

LYRICIST: Lin-Manuel Miranda

BOOK: Quiara Alegria Hudes

DIRECTOR: Thomas Kail

CHOREOGRAPHER: Andy Blankenbuehler

PRINCIPLE CAST: Robin De Jesus (Sonny), Mandy Gonzalez (Nina), Lin-Manuel Miranda (Usnavi), 

OPENING DATE: Mar 09, 2008

CLOSING DATE: Jan 09, 2011

PERFORMANCES: 1,184

SYNOPSIS: Washington Heights, New York is the diverse environment that holds an eclectic group of citizens. Usnavi, the show’s narrator and bodega manager, observes the lives of his neighbors as they begin to forge new paths in and out of the barrio.  

In the Heights was the first Broadway musical to rely on rap as its primary mode of storytelling. Composer Lin Manuel Miranda first began developing the show while a student at Wesleyan University with a desire to share his perspective as a child of immigrants and emphasize a universal desire to find belonging. Devon Hunt traces In the Heights’ seven year development process, collaborators Thomas Kail and Quiara Alegría Hudes, and outlines the significant cultural influences which informed the work. The musical is significant as a Latinx-authored, authentic telling of Latinx immigrant stories and its success laid the groundwork for Miranda’s later artistic accomplishments.

Devon Hunt is an Assistant Professor of Theatre at Oklahoma State University. His areas of research include secondary musical theatre educator training and Black contributions to early 20th-century musical theatre. Selected regional acting credits: She Loves Me (SDSU), A Chorus Line (Welk Resorts Theatre), The Producers (Moonlight Amphitheatre), and the world premiere of The Tale of Despereaux (The Old Globe/PigPen Theatre). Devon holds an MFA in Musical Theatre from SDSU and an MM in piano performance from the University of Maryland. He is an Equity Membership Candidate and a proud member of the Musical Theatre Educators’ Alliance.

SOURCES

In The Heights by Quiara Alegria Hudes and Lin Manuel Miranda, published by Applause Libretto Library (2013)

In The Heights, Original Cast Recording. Ghostlight Records (2008)

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JERSEY BOYS

COMPOSER: Bob Gaudio

LYRICIST: Bob Crewe

BOOK: Marshall Brickman, Rick Elice

DIRECTOR: Des McAnuff

CHOREOGRAPHER: Sergio Trujillo

PRINCIPLE CAST: Christian Hoff (Tommy), Daniel Reichard (Bob), John Lloyd Young (Frankie)

OPENING DATE: Nov 06, 2005

CLOSING DATE: Jan 15, 2017

PERFORMANCES: 4,642

SYNOPSIS: The rise and fall of The Four Seasons, a real-life band that dominated the 1960s music scene, is told through rotating narrators, who all offer their own theories as to why the band succeeded and subsequently dissolved. 

The early 2000s saw an onslaught of failed jukebox musicals which aimed to capitalize on the disposable income of former rock fans by luring them to the theatre with familiar songs. Jersey Boys was successful because it tells the true, engrossing story of the Four Seasons and juxtaposes the violence of the narrative against the sterile, cherry tunes for which the band was known. Rick Elice examines how contradicting stories from the three living band members lent the show a multi-perspective narrative frame. The show set the standard for jukebox musicals which tell the story of the artists behind the music and led a fleet of such shows to Broadway for decades such as Beautiful and Tina.

Rick Elice co-wrote Jersey Boys (winner 2006 Tony Award, 2007 Grammy Award and 2009 Olivier Award for Best Musical) with Marshall Brickman. His play, Peter and the Starcatcher, received nine 2012 Tony Award nominations (including two for Rick) and won five, more than any play of the season. It’s currently playing in New York and on tour across North America. Also on Broadway, Elice wrote The Addams Family (with Marshall Brickman, music and lyrics by Andrew Lippa), currently touring North America, with productions in Europe and South America. In 2014, the Old Globe Theatre in San Diego presented the world premiere of his new musical, Dog and Pony (music and lyrics by Michael Patrick Walker). Rick is currently writing a musical for Disney Theatricals with Benj Pasek and Justin Paul, based on the film Make Believe, and Super Fly (co-written with Seth Zvi Rosenfeld), directed and choreographed by modern dance legend, Bill T. Jones. Heartfelt thanks to those whose work in the theatre makes him grateful for the day he was born: Sondheim, Stoppard, Bennett, Prince, Fosse, Robbins, Nichols, Tune, Nunn, Laurents, Stone, Kushner, Taymor, Papp, Schumacher, Schneider, Coyne, Brickman, Timbers and Rees. Rick thinks about them a lot. He never thought about Jersey much. He does now.

SOURCES

Jersey Boys, Original Cast Recording. Decca Records (2005)

Jersey Boys starring Erich Bergen and John Lloyd Young, directed by Clint Eastwood. Warner Brothers (2014)

Jersey Boys: The Story of Frankie Valli & The Four Seasons by David Cote, published by Broadway (2007)

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WICKED

COMPOSER: Stephen Schwartz

LYRICIST: Stephen Schwartz

BOOK: Winnie Holzman

SOURCE: Gregory Maguire’s book Wicked: The Life and Times of The Wicked Witch of The West (1995)

DIRECTOR: Joe Mantello

CHOREOGRAPHER: Wayne Cilento

PRINCIPLE CAST: Norbert Leo Butz (Fiyero), Kristin Chenoweth (Glinda), Idina Menzel (Elphaba), 

OPENING DATE: Oct 30, 2003

CLOSING DATE: Still running as of this publication

PERFORMANCES: +6000

SYNOPSIS: 

Elphaba is a guarded young lady who is inflicted with green skin. Her roommate Glinda is an outgoing, popular student. Together, they navigate life at Oz's Shiz University. Their rocky partnership is made even more tumultuous when they discover they are both in love with Fiyero, a fellow classmate. 

Though its tryouts and opening were met with mixed reviews, Wicked has maintained international popularity. Beginning with composer and lyricist Stephen Schwartz’s first encounter with Gregory Maguire’s book, Wicked’s path to Broadway included some of the American theatre industry’s most notable talents, including Kristin Chenoweth, Idina Menzel, Joe Mantello, and Wayne Cilento. Lauren Haughton makes the argument that the inclusion of screenwriter Winnie Holzman as the librettist for Wicked allowed the show to examine the relationships of adolescent girls in a uniquely authentic way, positing the musical as a pioneering exploration of feminine friendship. The musical’s employment and subversion of standard musical theatre conventions is outlined through a feminist lens and broad ideologies of mainstream feminist movements are applied to the show’s storyline.

Winnie Holzman is an American dramatist, screenwriter, and poet. She is known for having created the ABC television series My So Called Life which led to a nomination for a scriptwriting Emmy Award in 1995, as well as her work writing for thirtysomething and Once and Again Holzman has garnered fame for her work on Broadway, most notably for co-writing the smash stage musical Wicked.

Lauren Haughton Gillis is currently an Assistant Professor of Musical Theatre at Indiana University. She has served on faculty at Northwestern University and San Diego State University. As a director/choreographer she recently finished a fellowship at the La Jolla Playhouse on their production of Fly. Earlier this season she choreographed She Loves Me at San Diego Musical Theatre, was the associate director on Jesca Prudencio's PDA at the La Jolla Playhouse Without Walls Festival and directed and choreographed the world premiere of The Magic Hummingbird. As a performer, Lauren appeared on Broadway in Wicked, at the Goodman Theatre in Turn of the Century (with Tommy Tune), at The Old Globe in Sammy (with Leslie Bricusse), and at Maine State Music Theatre in Hans Christian Anderson (with Maury Yeston) Lauren holds an MFA in Musical Theatre from San Diego State University and a BFA in Musical Theatre from Syracuse University. 

SOURCES

Wicked, Original Cast Recording, Decca (2003)

Wicked: The Grimmerie, a Behind the Scenes Look at the Hit Broadway Musical by David Cote and Joan Marcus, published by Hachette Books (2005)

Unnaturally Green: One Girl’s Journey Along a Yellow Brick Road Less Traveled by Felicia Ricci, published by Felicia/Ricci (2011)

A Little Bit Wicked: Life, Love, and Faith in Stages by Kristin Chenoweth, published by Touchstone (2010)

How Wicked Made It to the Stage by Jeri Freedman, published by Cavendish Square Publishing (2018)

Wicked: A Musical Biography by Paul R. Laird, published by Scarecrow Press (2011)

Defying Gravity: The Creative Career of Stephen Schwartz, from Godspell to Wicked by Carol de Giere, published by Applause (2018)

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MAMMA MIA

COMPOSER: Benny Andersson, Bjorn Ulvaeus

LYRICIST: Benny Andersson, Bjorn Ulvaeus

BOOK: Catherine Johnson

DIRECTOR: Phyllida Lloyd

CHOREOGRAPHER: Anthony Van Laast

PRINCIPLE CAST: Judy Kaye (Rosie), Karen Mason (Tanya), Louise Pitre (Donna)

OPENING DATE: Oct 18, 2001

CLOSING DATE: Sep 12, 2015

PERFORMANCES: 5,758

SYNOPSIS: Sophie is about to be married and wants her father at the wedding except she doesn’t know who that might be. Limiting it to three men that her mother knew intimately, she invites them all to her wedding to see if she can figure out which one is her real dad. 

Using the hits of Swedish pop group ABBA to tell a fictional story, Mamma Mia! was heralded as Broadway’s first mega-hit jukebox musical. After the rocky reception of their first Broadway endeavor, Chess, band members Benny Andersson and Björn Alvaeus gave complete freedom to book writer Catherine Johnson, believing the plot of the musical was the key to its success, not the music. Upon opening, though the show was mocked by critics and ultimately overlooked by awards shows, the musical was a major commercial success. Malcolm Womack explores how its financial successes encouraged producers to mine the discographies of successful artists to guarantee Broadway hits with such musicals as All Shook Up, Lennon, Come Fly Away, and Movin’ Out. 

Malcolm Womack is an Assistant Teaching Professor at the Penn State School of Theatre. He has been published in the academic journals Film & Theatre and the Journal of Popular Culture, and has contributed several entries to the African American National Biography. Malcolm has written about Mamma Mia! previously twice, providing an article for the journal Studies in Musical Theatre and a chapter for the edited collection Mamma Mia! The Movie: Exploring a Cultural Phenomenon. He received his doctorate from the University of Washington with a dissertation on Harlem’s Cotton Club.

SOURCES

Mamma Mia, Original Cast Recording, Decca Records (1999)

Mamma Mia! How Can I Resist You: The Inside Story of Mamma Mia And The Songs Of ABBA by Judy Craymer, Benny Anderson, and Bjorn Ulvaeus, published by WN (2006)

Mamma Mia starring Pierce Brosnan and Meryl Streep, directed by Phyllida Lloyd, NBC Universal (2008)

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THE PRODUCERS

COMPOSER: Mel Brooks

LYRICIST: Mel Brooks

BOOK: Mel Brooks, Thomas Meehan

SOURCE: Mel Brooks’ film The Producers (1967)

DIRECTOR: Susan Stroman

CHOREOGRAPHER: Susan Stroman

PRINCIPLE CAST: Matthew Broderick (Leo), Cady Huffman (Ulla), Nathan Lane (Max)

OPENING DATE: Apr 19, 2001

CLOSING DATE: Apr 22, 2007

PERFORMANCES: 2,502

SYNOPSIS: Broke Broadway producer Max Bialystock meets accountant Leo Bloom who offhandedly mentions that under the right circumstances a Broadway show that fails could make more money than one that succeeds. Seeing a way out of his current financial situation, Max decided to produce a musical that is guaranteed to flop: Springtime for Hitler. 

Finding waning success in Hollywood, Mel Brooks was eventually convinced to adapt his Academy Award winning screenplay, The Producers, into a musical. Kasey RT Graham follows the ways Brooks, director Susan Stroman, and co-writer Thomas Meehan reinterpreted the cult classic film into a two act Broadway musical. Additionally, analysis of The Producers as a uniquely comic piece among the weightier subject matters of other popular Broadway musicals in the early 2000s and a look at how the 9/11 terrorist attacks at the World Trade Center affected attendance at Broadway shows is provided. The musical’s record-breaking success at the Tony Awards, including for Nathan Lane, heralded a wave of musical comedies based on Hollywood films such as Thoroughly Modern Millie, Hairspray, and Shrek. 

Kasey RT Graham is a director, music director, writer, and educator. Associate and resident director credits include the Broadway revival of On the 20th Century, the national tour of The Phantom of the Opera, and the US and Australian tours of Dirty Dancing. Conducting credits include the national tours of Oklahoma, The Producers, The Wizard of Oz, and Spring Awakening. Kasey is head of the Musical Theatre department at the University of Nevada - Reno. His book Small Talk is available on Amazon.

SOURCES

The Producers, Original Cast Recording, Sony (2001)

The Producers: The Book, Lyrics, and Story Behind the Greatest Hit on Broadway by Mel Brooks and Thomas Meehan, published by Miramax (2001)

The Producers, starring Matthew Broderick and Nathan Lane, directed by Susan Stroman, Universal Pictures (2005)

Recording The Producers, starring Matthew Broderick and Nathan Lane, directed by Susan Froemke, Rhombus International (2001)

A Year With The Producers: One Actor’s Exhausting (But Worth It) Journey From Cats to Mel Brooks’ Mega-Hit by Jeffry Denman, published by Routledge (2002)

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SEUSSICAL

COMPOSER: Stephen Flaherty

LYRICIST: Lynn Ahrens

BOOK: Lynn Ahrens and Stephen Flaherty

SOURCE: The stories of Dr. Seuss (c. 1950s)

DIRECTOR: Rob Marshall

CHOREOGRAPHER: Kathleen Marshall

PRINCIPLE CAST: Kevin Chamberlain (Horton), Janine LaManna (Gertrude), David Shiner (The Cat in the Hat)

OPENING DATE: Nov 30, 2000

CLOSING DATE: May 20, 2001

PERFORMANCES: 198

SYNOPSIS: The wild world of Dr. Seuss comes to life as Seuss’ various characters come together to tell the story of Horton, a lonely elephant, and Gertrude McFuzz, a shy bird, as they fall in love with one another. 

Nathan Brewer argues for Lynn Ahrens and Stephen Flaherty’s Seussical as a significant show that, despite lackluster reviews and box office sales, went on to find financial success as a staple within community theatre and educational institutions, especially through the work of director Marcia Milgrom Dodge. Seussical’s ability to redefine theatrical financial success, and public exposure, after its failure on Broadway, offered shows that were not commercially viable to become regionally successful such as Little Women, The Addams Family, and Be More Chill.

Nathan Brewer is a director of theatre, opera, concerts, film, and events.  Directing credits include Lincoln Center, The Kennedy Center, Washington National Opera, Park Avenue Armory, Theatreworks/USA, New York Musical Theatre Festival, numerous symphonic and pops concerts, and televised award shows.  Nathan is on the musical theatre faculty at The New Studio on Broadway at NYU/Tisch, and The College of New Jersey.  He has previously taught at Penn State and Westminster Choir College.   Assisting credits include Aladdin (Broadway), and Relatively Speaking (Broadway).  Nathan is the Founder & Artistic Director of Recreational Arts, a performing arts educational organization, with programs in New York, New Jersey, and Pennsylvania.  

Stephen Flaherty is the composer of the Broadway musicals Ragtime (Tony, Drama Desk, OCC Awards, two Grammy nominations), Seussical (Grammy, Drama Desk nominations), Once on This Island (Tony nomination, Olivier Award, Best Musical) and Rocky. Additional Broadway includes Chita Rivera: The Dancer's Life (original songs) and Neil Simon's Proposals (incidental music). Stephen has also written four musicals at Lincoln Center Theatre: The Glorious Ones (OCC, Drama Desk nominations), Dessa Rose (OCC, Drama Desk nominations), A Man of No Importance (OCC, Best Musical, Drama Desk nomination) and My Favorite Year. Other theater includes In Your Arms (Old Globe), Little Dancer (Kennedy Center), Lucky Stiff (Playwrights Horizons) and Loving Repeating: A Musical of Gertrude Stein (Chicago's Jefferson Award, Best New Musical.) Film includes Anastasia (two Academy Award and two Golden Globe nominations), the documentary After The Storm and Lucky Stiff. Mr. Flaherty's concert music has premiered at the Hollywood Bowl, Boston's Symphony Hall, Carnegie Hall, the Guggenheim Museum and Symphony Space. This year celebrates Stephen's 32-year collaboration with lyricist-librettist Lynn Ahrens. Stephen and Lynn are members of the Dramatists Guild Council and co- founders of the Dramatists Guild Fellows Program. In 2015 they were inducted into the Theater Hall Of Fame. Upcoming: the stage adaptation of Anastasia. AhrensAndFlaherty.com.

SOURCES

Seussical, Original Cast Recording, Decca Records (2000)

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