Beth Malone

뉴욕시에서 식당 웨이터로 일하는 한편, 명작을 쓰겠다는 희망으로 창작에 매진하는 뮤지컬 작곡가. 서른 살 생일과 중요 공연을 앞두고 심적 압박을 받는 상황에서도 사랑과 우정을 헤쳐나간다.

Medicine, money and morality clash when a hospital's Heart Transplant Selection Committee has only minutes to decide which of three patients on the transplant list will receive a heart that has suddenly become available.

As a celebration of our performers, and the necessary medium of film to tell these stories at this moment in time, this special program presents some of the best songs specifically written for film ever since the genre first achieved the technology to capture sound. A diverse concert of hits like “Moon River” and “The Man That Got Away” mixed in with other songs from decades of film history offers a look at the effect of these songs on an audience and how, even in a non-musical film, music is key to unlocking the emotional journey of storytelling.

It is said that Jule Styne published over 1,500 songs in his lifetime, a staggering number that spans decades and includes dozens of collaborators. Beginning with Sammy Cahn in the 1940s, his lyricists would include names like Betty Comden, Adolph Green, Leo Robin, Bob Merrill, and Stephen Sondheim. Styne wrote some of our most famous songs and classic Broadway hits, with a multitude of lesser-known work along the way. The lasting power of star vehicles like Gypsy and Funny Girl has remained throughout every sea change of cultural mood and sentiment.

The groundbreaking works of Richard Rodgers, most famously in his collaborations with Lorenz Hart and Oscar Hammerstein II, gave us the foundation of the modern musical form. But Rodgers also left a family lineage that has enriched the craft in abundant fashion. In a loose song cycle format, this program will weave his work with the charming and witty creations of daughter Mary Rodgers (Once Upon a Mattress) and the complex and extraordinary palette of grandson Adam Guettel (The Light in the Piazza, Floyd Collins), as we look toward the progression of musicals over the decades and into the future.

60 years ago, on May 3, 1960, at the tiny Sullivan Street Playhouse in Greenwich Village, The Fantasticks opened on the sparsest of budgets and ran uninterrupted for nearly 42 years, closing on January 13, 2002 after a record 17,162 performances. Its elegance and simplicity endured four decades of the chaotic world going “Round and Round” while its creators continued their evolution into several uptown successes. Including 110 In the Shade and I Do! I Do!, the jewel box of creativity that is the Jones and Schmidt collaboration is perhaps the most steadfast of its kind.

This program is set among excerpts of letters and archival interviews with George Gershwin and his brother and lyricist Ira Gershwin, his longtime musical collaborator Kay Swift, and the legendary pianist Oscar Levant. The words of Todd Duncan and Anne Brown, the original Porgy and Bess, provide an intimate perspective on the creation of Gershwin’s “folk opera” and the invaluable contributions of its performers. Peppered among hits like “Embraceable You” and “Love Is Here To Stay” are pieces of essays written by George Gershwin in which he pondered and pontificated on the meaning of “jazz” and the definition of “music” itself. Asserting his constant effort to eschew genres, Gershwin wrote: “From any sound critical standpoint, labels mean nothing at all. Good music is good music, even if you call it ‘oysters.’”

뉴욕시 마라톤 대회 출전을 목표로 훈련을 시작하기로 결심 한 젊은 여성의 이야기

알코올중독자 엄마, 백수한량 아빠와 함께 ‘네브라스카’ 깡 촌에 살고 있는 13세 소녀 ‘룰리’는 자신의 인생이 불행하고 고달프다고 생각한다. 어느 날, 엄마가 다른 남자와 집을 나가버리고, 아빠마저 홧김에 떠나버리자 혼자 남게 된 ‘룰리’는 TV광고를 보고 ‘라스베가스’로 가기로 마음 먹는다. 옷 몇 벌과 지도, 생일선물로 받은 권총 한 자루를 가방에 넣고 나선 길에서 ‘룰리’는 우연히 같은 방향으로 가던 ‘에디’의 차를 얻어 타게 된다. 하지만 그와 동행한지 얼마 안돼 말싸움으로 차에서 내리게 된 ‘룰리’는 이번엔 젊고 예쁘지만 어딘가 비밀을 간직한 듯한 ‘글렌다’의 차를 얻어 타게 되는데…

Follows a musician and a carefree kid as they fall in love at first sight.