Bill threatens future of public radio

March 23, 2011 | Chloe Rosenberg News Editor

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What a sad dichotomy from Friday to Monday when President Obama’s budget was released  Here we discover devastating cuts  for the already grossly underfunded  National Endowment for the Arts, Corporation for Public Broadcasting, National Endowment for the Humanities,  Institute of Museum and Library Sciences and US Department of Education‘s “Arts in Education!”

When statistic after statistic  reveals the enormous positive impact which arts and culture have on economic growth, markedly positive effects on student performance and  consistent positive impact on community coalition building, reason would dictate that the  National arts and culture organizations would be offered a bonus rather than a cut.  Yet, here we find ourselves once again begging for dwindling crumbs.   Compare the proposed combined 775 million dollar budget appropriations for the aforementioned agencies to that of say the Securities and Exchange Commission which received a boost bringing their budget to a tidy 1.427 billion.  Now let’s see…. I think this means in individual taxpayer dollars that’s about twice the amount for the SEC as compared to the entirety of arts and culture.

The next few days will tell us a lot about whether this is going to get better or worse for those of us who understand the value of the arts.  Please stay on the alert for updates and calls to action.  To help you do so, you may wish to follow some of the following websites:

http://www.artsactionfund.org/

http://www.americansforthearts.org/

http://www.southarts.org/site/c.guIYLaMRJxE/b.6552353/k.8E1F/Advocacy__Policy.htm

http://www.nasaa-arts.org/

http://www.allaccess.com/net-news/archive/story/87141/house-gop-budget-proposal-would-cut-funding-for-cp

One of the things that constantly captures my attention is the extraordinary beauty and diversity that can be found in the residential architecture all over the city of Newark.  This city literally grew out of the ground primarily during the nineteenth century.  Records show that in 1777, there were 141 homes in Newark. Sixty years later, there were 1542–a remarkable growth in a period where labor was painstaking.  There are sterling examples of rich architectural detail and creative design from this period which still stand today.

While there is no doubt that the greatest concentration of magnificent mansions can be found in the Forest Hill section of Newark, one need only to travel the streets of The Ironbound, University Heights, Lincoln Park, Vailsburg, Weequahic and even the Central Business District to find numerous notable treasures.  Some have been lovingly maintained or restored, and far too many others have fallen to varying degrees of neglect.

The stories behind these homes are as fascinating as the structures themselves.  One of my favorites is of The Sydenham House which is Newark’s oldest private home thought to be considered for a time by George Washington as use for his headquarters.

The Sydenham House

The Sidman family dates back to the time of William the Conqueror, when the first ancestor of whom there is any record is said to have come to England from Normandy. He appears to have been a favorite of the great William and received from him a considerable grant of land on the river Syd and from this the family derived its name—Sydenham, which was later shortened to Sidman.

The introduction of the Sidman family to this neighborhood began with a romance, when John Sydenham ran away with Susannah Handcock, in 1711.

It seems that Edward Handcock, “yoeman” (or Handcook, as one document gives the name) was living on this property in the year above mentioned, and
that John Sydenham, who happened along from no one knows just where, fell desperately in love with Susannah, an only daughter, but the stem father frowned on the young man’s suit and Susannah was locked in an upper room. However, John brought around a ladder one night, and the two adjourned to the parson. That they were promptly forgiven is evidenced by the following extract from a deed, made in 171 1 by Edward Handcock,in which he says: ”for and in consideration of ‘the love, good will and affection which I have and do bear unto my loving son-in-law, John Sydenham, etc., and my only daughter, Susannah, his wife”.  He then deeds to his son-in-law four acres of his land situated on the “highway to Acquacanong”, and six acres on the “highway to Watersson.” 

The woods on the Sidman place were used to some extent as a camping ground by certain Indians.  Another of the early memories is Mollie, an old Indian basket maker, who frequented the neighborhood, securing her material from the Sidman woods. She frequently slept on the floor of the kitchen, always in a sitting posture. One day other Indians came this way and the wild instinct returned to the old basket maker who, after an excited conversation with her new-found friends, departed with them never to be seen again in the neighborhood.

The above stories were found in a delightful read, “Woodside, the north end of Newark, N. J. : its history, legends and ghost stories, gathered from the records and old inhabitants now living” by C.G. Hine, published in 1909.

The Sydenham House today has been home of Mr. and Mrs. D. J. Henderson for over 20 years.  The couple oversaw the faithful restoration of the property.

Another interesting example of current historic residence is The Fewsmith Home.

Built in the 1830′s, this large French Chateau was the home of the Reverend Joseph Fewsmith, of the Second Presbyterian Church.  Fewsmith was longest-serving pastor of this church and it may be noted that his brother, Henry, was a well-respected artist who studied at the Fine Arts Academy of Dusseldorf.

This home was completely restored by the Capriola Family in the early 2000′s who now use the home as their residence on Central Avenue.

Other noted homes have been repurposed.  Located near the Fewsmith Home, this solid large mansion known as The Marcus L. Ward Home now serves as the site of the world-famous Newark Museum.

The Plume House, located in the Lower Broadway area on Broad St., was built as a farmhouse in 1710.  It has served as the rectory for the House of Prayer Episcopal Church since 1850.  It was in this house in 1887, in the top floor laboratory, that the Rev. Hannibal Goodwin invented flexible film which became a basis for the motion picture industry.

The former residents of the Plume House sparked some tales as interesting as the Sydenham’s.

In the days when the shots fired at Lexington and Concord stirred to patriotism the hearts of the men of Newark, this old house stood on the outskirts of the town, an easy prey for redcoats when they came in from Hackensack, as it was the first house they reached. Hessians then prowled through Newark, established themselves uninvited in homes, and destroyed property. Alistress Ann van Wagenen Plume, whose dairy stood then where the House of Prayer now stands on Broad Street, was a good Patriot. So, also, was her husband, and the troops of King George were not welcome. However, the Plumes had to make the best of them, only sometimes things did go badly, so badly that Mistress Plume showed high temper. There was an instance of this when, on hearing an unusual thumping one day downstairs, she descended to find Hessians chopping in her back parlor wood which they were about to put on the open fireplace.

“Stop that!” said Mistress Plume.

“If you speak another crooked word, 111 blow your head off!”
retorted the officer.

“Ram’s horn, if I die for it!” exclaimed the thoroughly angry lady,
looking the officer straight in the eye.

Tradition says that the officer and soldiers kept their pistols in their
belts, and beat a retreat from Ann van Wagenen Plume’s back parlor.

Now the lady of the Plume household was resourceful and shrewd. When, a few days later, she found a Hessian soldier taking an inventory of her ice-house, she said nothing, but shut the door and put the key in her pocket. It was cold in the ice-house, and the soldier howled for help; but the walls were thick, and nobody heard him. A short time afterward word flew that the Continentals were coming, and the red- coats, in great disarray, hastened off. They did not miss their imprisoned comrade. He was in the ice-house, shivering; and even the coveted provisions that surrounded him were of little comfort.

The Continentals came. Mistress Plume led them directly to her ice-house, and unlocked the door.

“Come out!” she said to her prisoner.

He came out, wearing the customary Hessian hat, decorated with heavy brass trimmings. This the Continentals unceremoniously removed from his head, and presented to Mistress Plume as a reward for the capture. It is said that she took off these brass adornments, and that for years they served as a knocker on the front door.

Sadly, the Plume House is currently in a state of disrepair.  But perhaps, the greatest injustice to architectural magnitude in Newark is The Krueger-Scott Mansion.  Believed to be the most expensive home ever constructed in Newark, this edifice is in dire need of a savior.

Built in 1888 at 601 Martin Luther King Blvd, the home of Gottfried Krueger, one of Newark’s five estimable brewers.  His namesake brewery would become the first in the US to offer beer in cans. This 40 room mansion was built in the heart of the “silk stocking district of Newark high upon a hill.  He told the architect to “outdo” Mr. Ballentine’s house, and, indeed he did.  From the 1920s and for the next 30 years, the mansion belonged to the Scottish Rite Masons.  The masons built a 700 seat auditorium within the house to use for their functions.  The last owner was self-made entrepreneur, Louise Scott.  Mrs. Scott worked as a domestic during the day and at night studied at beauty school.  She soon established a chain of beauty salons in Newark and her business grew to make her the first millionairess in Newark.

Mrs. Scott saved the house from destruction at one point and managed to obtain historical preservation status for the structure.  More recently, the house has generated a hotbed of controversy.  After the house had been vacant for a decade, in the 1990s the city started making plans to convert it into an African-American Cultural Center. 7 million dollars and 7 years later, very little renovation was done to the building.  Money ran out, blame was tossed from all sides and the mansion has remained in this state for several years.

One positive note is news of the Krueger-Scott Mansion Urban Farm.  As a cooperative project of Urban Farm Fresh,  the City of Newark’s office of Housing and Economic Development and Rutgers University Agricultural Experiment Station, an acre of land around the home will serve as a working urban farm and farmer’s market.  A portion of this land will be sectioned into community gardens for “do-it-yourself” gardeners from the immediate community. And a three-season meeting space will be available for educational activities and events focusing on health, wellness, and urban agriculture.

(Excellent 2 part video about the Krueger-Scott mansion created by Samantha J. Boardman for Clementine Productions).

But, if you are not in a position to undertake the renovation of Krueger-Scott, perhaps you would like to look at these photos of architecturally rich properties which are currently on the market for sale in Newark.  Prices range from the low 200,000s to the 400,000s for these fantastic mansions and brownstone.  Some are in mint condition and others are in need of artistic TLC!

In my opinion, the most intriguing is this lovely home on Ballantine Parkway in Forest Hill.  Built for Dr. George Lamont in 1909, the attic of the home served as storage for Dr. Lamont’s boat.  As the story goes,  a few months after he took residence in this mansion, Dr. Lamont took his boat out to Barnegat Bay and promptly drowned!  The mansion then reverted ownership to be shared by his five red-headed daughters.  Today, this exquisite, well-maintained home can be yours for $480,000.

You may search for many, many other fine properties in Newark on the search feature in the right hand column of this blog.  Enjoy!

My thanks for resource help on this posting from Principle Newark City Planner and Acting Historic Preservation Officer, Michele Alonso and Ulana Zakalak (Zakalak Associates, LLC) restoration specialist and architectural historian.

Did you know that in 1922 Newark had 63 live theaters, 46 movie theaters, and an active nightlife.  Billie Holiday loved to stay at the old Coleman Hotel.  Frank Sinatra sang at Newark Symphony Hall time and time again and Sarah Vaughan literally found her voice there.  The impresario, Frederick Freeman Proctor who pioneered the method of continuous vaudeville built an 8 story complex on Market Street which housed a 2300 seat auditorium at ground level and a smaller 900 seat theatre upstairs which now sits derelict and desperately needs an inspired new owner.

Do you know where George Burns and Gracie Allen did their first gig together?

It was at the Hill (later named Essex) Theatre on Springfield Avenue in Newark.  They were hired for a 3-day booking  as a “flirtation act” and were paid $5 to perform 3 shows a night.

Did you know that the city was founded by a group of New Haven puritans who wanted to create a church/state theocracy based on Calvinist principles?

In 1666, Robert Treat purchased the land, now known as Newark, directly from the Hackensack Indians for goods–gunpowder, 100 bars of lead, 20 axes, 20 coats, guns, pistols, swords, kettles, blankets, knives, beer and 10 pairs of breeches–all valued at $750.

Did you know that Newark is home to one of the world’s most renowned concert halls?

The magnificent NJPAC is credited for being the catalyst to the great revitalization of the city of Newark.   NJPAC serves as a principal venue for the New Jersey Symphony, national tours of Broadway shows, a vibrant and nationally recognized performing arts series hosting an electic mix of culturally diverse and iconic performers.  As well, the “PAC” serves local and area performing arts organizations, offers residencies in dance, theatre and music at the NJPAC Arts Academy and presents the wildly popular JP Morgan Chase Sounds of the City on the plaza on Thursday nights during the summer.

Did you know WPA artists decorated the walls of the Newark subway with Arts Deco Scenes?

Did you even know that Newark HAS a subway?  Since 1910!  It’s a really nice one, actually, with a great history.  Some of the beautiful old cars have been sold to the San Francisco Municipal Railway’s Market Street Railway, which runs a system of historic streetcars.

The Newark City Subway is really an underground trolley which provides around the clock transportation to many of the city’s neighborhoods and to adjacent towns of Belleville and Bloomfield.  Owned by NJ Transit, it also serves to connect to NJT trains, Amtrak and PATH trains.  Under construction now is a link to the Newark Broad Street station which is a hub for trains to many of New Jersey’s most popular suburbs. Another link connecting downtown to the Newark International Airport and the city of Elizabeth is also under construction.

Did you know that Newark now has a light rail as well?

The above ground Light Rail began operation in 1998 and connects along a one mile stretch downtown between Newark Broad Street Station and Newark Penn Station, where one can transfer to the subway.  The light rail has given significant boost to the downtown revitalization effort with stops at the NJ Performing Arts Center and the Riverfront Stadium, home of the Newark Bears and the NJIT and Rutgers-Newark Baseball teams.

Did you know that in addition to the Newark Airport, Newark also has two train stations which serve as transportation hubs for the state of New Jersey?

Newark Penn Station was dedicated in 1935 as one of the centerpieces of the Pennsylvania Railroad.  The beautiful station created by the renowned architectural firm McKim, Mead and White, is a mixture of Art Deco and NeoClassical.  The interior boasts medallions depicting the history of transportation.

The Newark Broad Street Station is heralded by an elegant clock tower which still alerts traveler’s as to the hour.  The station was completely renovated between 2004-2008.   There is artwork here by Ik Joong Kahn, featuring a colorful array of 100 images, including children with magical powers, winter becoming spring, walls becoming windows, and strangers becoming friends.
And the words of Stephen Sondheim’s Send    in the Clowns are inscribed there.

Did you know that Newark has a park every bit as wonderful as Central Park?

Three hundred and sixty acres called Branch Brook Park incorporate 2,000 cherry trees which serve as the backdrop for its popular Cherry Tree Festival every April. Formerly, the Old Blue Jay Swamp, the trees were a gift of Caroline Bamberger Fuld, sister of the department store magnate, Louis Bamberger.

In 1900, the Essex County Parks Commission hired the firm of Frederick Law Olmstead to design the park.  The beauty of this park, one of the largest urban parks in the US, is reminiscent of Central Park, another of Olmstead’s creations.  One magnificent historic mansion after another is located on the east side of the park making up the neighborhood of Forest Hill.  The northern portion of the district is part of the official historic district highlighting the rich array of homes created by wealthy Newarkers in various styles–Victorian, Beaux Arts, Colonial Gothic, Spanish Revival.  It was also center to scores of literary and social clubs.  The area also is home to landmarks including the old Tiffany      factory and the Cathedral Basilica of the Sacred Heart which is the 5th largest cathedral in the US. 

Did you know that in addition to the well-regarded Newark Arts High School, the city has 7 institutions of higher learning?

Rutgers and Seton Hall Law Schools and a campus of Berkeley College are located in the downtown area, but a concentration of four large campuses adjoin one another in University Heights.  New Jersey Institute of Technology opened its doors in 1883 and now offers 27 majors and 30 graduate specialties and is ranked in the top tier of US research universities.  Across the street, Rutgers-Newark campus was created as Rutgers, the 8th oldest institution of higher learning in the country expanded in 1946.   The University of Newark merged with Rutgers to create the campus and the school cooperates in shared learning with NJIT and UMDNJ, (University of Medicine and Dentistry of New Jersey).  The fourth adjacent college, nearest to Newark Arts High School is Essex County College.  ECC is part of a collaborative research and development venture with NJIT, Rutgers and UMDNJ known as University Heights Science Park.  Sidebar note that last month, a Ninngguo, China became sister city of Newark.  The purpose of the partnership is that through NJIT and its Enterprise Development Center, a technical business incubator will be created in Ninngguo with the goal of making it China’s “solar city.”

Can you name 4 well known artists who were born in Newark?
Here’s a hint…..

Stephen Crane, Allen Ginsberg, Jason Alexander, Vivian Blaine, Ice-T, Jerry Lewis, Queen Latifah, Jack Warden, Joe Pesci, Ray Liotta, Betty Carter, Connie Francis,Cissy Houston, Whitney Houston,Melba Moore, Wyclef Jean,Savion Glover, Gloria Gaynor, John Amos, Paul Simon, Frankie Valli, Eva Marie Saint

and if you want more, here are several other famous Newark borns:
Chief Justice William Brennan, Shaquille O”Neal, Aaron Burr

Did you know that Newark is the state’s premiere center for performing and visual arts?

Hosting numerous organizations with all manner of training, star performances and presentation opportunities from the venerable Newark Boys Chorus School to the Prudential Center which presents popular icons and major attractions to Aljira, a Center of Contemporary Art which champions the works of local artists and City Without Walls, an urban center for emerging artists to Kikamo’s Blues People, a cultural nightspot in the residence of renowned poet, playwright and activist, Amiri Baraka.  Cultural activities are inextricably woven into the fabric of Newark’s rich historical tapestry.

Does all of this change your image of Newark a little bit?  It’s the CITY OF OPPORTUNITY holding out its arms for more artist infiltration.   Stay tuned for Part II next Monday!

Durham, NC –  Magnetizing through planning and architectural design

When I was growing up in NC, my family did not often make a trip to nearby Durham.  We would usually go instead to Chapel Hill or Raleigh, two towns which sort of “bookend” Durham on either side.  On occasion, there would be some function at Duke which we would attend, but I don’t recall that we ever went to downtown Durham to eat or shop.  By the time I was in college, the downtown area had become a dangerous place and the the racially charged city was plagued with problems.

Recently, I visited my dear friend, Stephen Barefoot, a long time Durham resident.  Stephen was eager to take me on a tour of  “new” Durham.  We parked in a very nice parking deck and followed the breezeway to The American Tobacco Complex.  I could hardly believe my eyes.  The old tobacco factory has been completely re-purposed into an architectural wonder of cascading and winding waterfalls created from materials from some of the demolished factory buildings.  Both sides of the falls are lined with shops, businesses, restaurants and the sidewalks were teeming with diverse people of all ages.  The old water tower remains in place and serves as a lighting scaffold for an outdoor stage built underneath.  A few steps away on the ATC campus is the fine new Durham Bulls Stadium,  the Judicial Center and the magnificent Durham Performing Center (DPAC).

The other two tobacco companies are also being re-purposed.  One of the factories has been turned into a huge complex of artist studios, arts shops and galleries. Even the old bus station has been transformed into a “go to” destination.

Durham serves as a shining example of extraordinary architectural design and community cultural planning.   Ask Woody Holliman why he moved his graphics design firm, Firewheel, into downtown Durham, and the answer comes easily.”I heard about the other creative firms coming down here — architect firms, ad agencies — and this seemed like the place to be,” said Holliman.  Read more.

Detroit, MI – Oh, what a couple of artists can do!

It’s not very hard to remember what was happening in Detroit in 2009.  The auto industry had gone bust.  City leaders were embroiled in headline making corruption charges.  And,  in a place already plagued by years of poverty, the statistics on foreclosures were devastating.  For most, the confluence of dreadful circumstances created a hopeless scene.

Not so for local couple,  Mitch Cope and Gina Reichert, both artists, who decided to take a chance and buy a house for $1900.  The interior had been vandalized and gutted and rather than turn away, Mitch and Gina viewed this as an opportunity.  They were able to envision a “green” home optimized for solar living and along with another purchase of two adjacent lots, began to imagine a self-sustaining scenario.

Once they began recreating, they bought another house in the area for $500 and immediately sold it for $50 dollar profit to two other artist friends.  Four friends pooled $6000 and bought the abandoned Burton Theatre.  They turned it into an art house for independent and foreign films, and the city  responded by turning the street lights back on.  And then, there was another and another and soon an entire neighborhood of East Detroit was beginning to be transformed.  For artists, here existed a wide swath of affordable housing and business opportunities.  Each project was treated as a blank canvas upon which they could draw their dreams.  For a desperate city, this has become an inspiring example of artist ingenuity that directly engenders economic growth.  Look at five ideas from Detroit.

South Orange, NJ – Economic Bust or Boom?

The two towns of South Orange and Maplewood have long been a magnet for artists who consider New York to be their employment base.  Known for its diverse and erudite population, charming neighborhoods, an excellent shared school system and ease of commutation to the city,  “SOMA” is a beehive of cultural combustion.

Several years ago, plans were put in place to build a new performing art center adjacent to the train station in South Orange.  For many, this seemed like an ill-advised plan.  After all, South Orange is a mere 12 miles west of the cultural capital of the world.  If that weren’t enough, the glorious NJ Performing Arts Center had a few years earlier risen like a beacon to revitalize adjacent Newark.

In the years since it was built,  for the above and a variety of other reasons, SOPAC has never really experienced financial health.  But, in taking a closer look , has it been an economic failure?  Where for years, downtown South Orange was a “ho-hum” area with a few of decent restaurants, a popular pizza place and essential service shops—altogether convenient. Since the arrival of SOPAC, it has become a destination.  Almost as soon as it was built, the immediate surrounding storefronts were upgraded, renewed or found new management.  Great new entertainment-centric restaurants were built.  An outdated grocery store was replaced by a gourmet grocer and a new high-rise condominium.   The adjacent parking area offers easy accessibility to the whole downtown area.

For commuters, services are now steps away and at the end of the day, the family can meet and enjoy a variety of activities at any point around the train station.  Upgrades and expansion in the immediate area continue unabated.  So while the arts center itself may still be finding its legs, it has proven to be an enormous boost for the local economy.

Perhaps there is a savior on the horizon. One of the newest enterprises at SOPAC is created by artists, Charlie Pollock, Jeremy Dobrish and Sandy Rustin.  Because of the ever increasing number of local theatre folk, Mid-Town Direct Repertory Theatre offers an ensemble of Broadway craftspersons presenting new musicals.  Will South Orange be the new place of out-of-town try-outs?   The NY Times article on Mid-Town Direct Rep.



It’s here!  It’s our Time!

Have you noticed the confluence of thought and energies around a  focus on innovation and entrepreneurship?  Have you also noticed the gradual and growing directional leaning of these thoughts and energies toward artists?  Although this trend has been developing since the dawn of the new millennium, it is only very recently that the world is beginning to recognize the power of artists to influence positive and lasting change.

With a president who embraces the arts, a dynamic new chair of the National Endowment for the Arts and an emergence of new training programs at recognized colleges and universities, the public is becoming aware that through the unique and special skill sets possessed by artists in all genres, opportunities exist to creatively and collaboratively generate new ideas and build consensus.  In this way, problems are addressed with sensitivity and ingenuity.  Sustainable solutions are put in place.   Ideas are animated locally and globally.  Society awakens.

Looking at the history of the Renaissance era,  it was a time of great social, political and religious upheaval just as exists today.  It was perhaps best known, however, as a cultural movement, an era of great artistic achievement and intellectual transformation.  It was a period were great thinkers and artists put forth novel, natural, holistic, rational and humanistic thoughts.  There was, for many, a fusion of thought between artists and scientists.  And perhaps, most significantly, outstanding artists were recognized, supported and sought after for their particular genius.

The Renaissance era was propelled by the invention of the printing press which afforded the ability to share ideas globally and adapt them for local circumstances.  Currently, as the information highway grows more sophisticated daily and social networking allows for rapid viral spread of ideas, we are afforded unlimited opportunity to pinpoint need and creatively engage in solution building.

No matter what one’s definition of the Renaissance era or one’s view of its affect on world history, one thing is certain-artists were considered leaders and the output of their crafts was tied to the economy.  This, I believe, is exactly where the global push for innovation places the value of artists in current society.

In coming weeks, “Monday Matters” will focus on additional training resources which are available.  There will be a spotlight on successful strategies and best practices. We will explore areas in which artist influence is needed and opportunities for affordable housing and “live where you work” possibilities exist.

For the moment, I would like to share some information for your perusal and consideration.

–For those who are interested in learning more about how to build cultural capital, I highly recommend the series of affordable, online courses offered through Arts Builds Communities, a function of the Bloustein School of Planning and Public Policy at Rutgers University. There is still time to register for courses which start this month.  One may take a course simply for edification or to work towards certification as a planner.  These highly accessible courses are lead by outstanding cultural community scholars and practitioners and are designed for diverse levels of experience with a  focus on interactive participation.  Please take a minute to look at the online catalog.

–If you have not recently looked at the exciting new initiatives which are being promoted by the National Endowment for the Arts, you may wish to check this out. Many opportunities exist for your examination and  involvement.  In addition to the current projects, you will find details on publications, grants, the latest arts news, resources, NEA pod and webcasts and more.

Happy New Year! Happy New Decade!  Carpe Diem, fellow artists!

One of my favorite songs at this season of the year is “O Holy Night.”  Like many, I grew up hearing this piece of music.  I can well remember it being sung by some student soloist or another at my high school (back in the days when performing sacred music wasn’t an issue).  It always seemed to me, at the time,  to be a bit of a joke because you could just see the soloist “winding up” to belt out that last high note as he (it was usually a “he”) sang O night di-VI–I-INE and the relief in the breath before O night, (more relief-breath) O night Di…..vine.  The odd thing is,  I don’t ever remember hearing the last verse of this song when I was in high school.

As the years have progressed, however, this song has become a joy for me to sing and, if reports are to be believed, something other than a mere “joke” for my audiences.  I deeply regret that this particular year, I will have no opportunity to perform this beloved, enduring carol.

This has been a tough year for so many of us, for our near neighbors and our brothers and sisters across the globe.  Hope is in scarce supply.  Peace seems impossible.  I feel, somehow, that these lyrics take on a deeper meaning this holiday season than any in the recent past.  As I ponder on the power of these words, I am struck by how current and relevant are the sentiments expressed here.  Yet, this song was written over 150 years ago!

I invite you to spend a moment or two examining these words.  No matter where you are in your spiritual journey or who or what you consider to be your personal guide or savior,  I believe that you may find an opportunity to consider this message anew.  I hope that it will touch your soul and help to encourage you to preach your own gospel of peace to family and friends near and far.

O holy night! The stars are brightly shining,
It is the night of our dear Saviour’s birth.
Long lay the world in sin and error pining,
‘Til He appear’d and the soul felt its worth.
A thrill of hope the weary world rejoices,
For yonder breaks a new and glorious morn.

Fall on your knees! O hear the angels’ voices!
O night divine, O night when Christ was born;
O night divine, O night, O night Divine.

Truly He taught us to love one another;
His law is love and His gospel is peace.
Chains shall He break for the slave is our brother;
And in His name all oppression shall cease.
Sweet hymns of joy in grateful chorus raise we,
Let all within us praise His holy name.

Christ is the Lord! Then ever, ever praise we,
His power and glory evermore proclaim.
His power and glory evermore proclaim.

My Christmas wish for you is that you can be the living embodiment of  the gospel of peace.  May your heart be filled with joy and gratitude through the holiday season.  May you continue to  generously share your gospel with all you meet.

O Holy Night in Performance

Should you wish to have an audio-visual reminder for the above, set your DVR to CBS on Christmas Eve.  At 11:35 PM (check schedule for local listings), A Christmas Eve for Everyone will be broadcast.  This performance was taped last week at the St. Paul and St. Andrew United Methodist Church  in NYC.  The music was lovingly prepared by my longtime friend, Dr. Frank Glass and features Phil Hall at piano and as arranger for I Wonder as I Wander.  Even though I was not present for the taping, I am certain that Victoria Clark’s (Tony-Award winning actor for Light in the Piazza) rendition of O Holy Night is presented with the same extraordinary integrity and resplendence  as is her custom.   A Christmas for Everyone


What is happening to our craft?  When an artistic masterpiece which is a compelling and thought-provoking musical work can’t find an audience, what does this say about our industry? If the most respected creative and producing names in the profession can’t attract market share, where have our customers gone?  Are we guilty of feeding the Broadway consumer commercial pablum for so long that they no longer have the capacity to digest a  feast for the eyes, ears and mind?

For a number of years, I’ve been concerned about the erosion of artistic craft and production values in the Broadway theatre.  Those who know me have heard me address this issue often.  It is heartbreaking when a production of the caliber of SCOTTSBORO BOYS is forced to close so prematurely.

This production, which dealt with an incidence of historically relevant racial injustice in as well-conceived, constructed and presented manner imaginable, was entertaining as well as provocative.  (Last I looked, in our country, we are still dealing with racial inequality).  It’s been a long time since shows like KING AND I and SOUTH PACIFIC had their opening nights, but it remains vitally important for us to offer presentations which grapple with social issues.

I am passionate about the musical theatre.  I believe that we are able to affect change both simple and radical through accessible and compelling material and production.  And I believe that the work we do through words, music and design can stimulate the senses in more ways than any other medium.  The effects can get ‘under the skin’ and stay there and people’s actions and reactions are altered.

When I was new to the business, the champions of the musical theatre were people like Richard Rodgers, Michael Bennett, and even David Merrick-.  Now, the “kids who were in the chorus” are the choreographers and directors and playwrights and producers of many of today’s shows.  Yet, I wonder, at what point do we assume the mantle of guardianship of our beloved art form?  Are we somehow to blame for, what may be considered to be a crisis in the craft?  Can we be accused of sacrificing the art for the commercial?

There are many in the industry who feel strongly about this.  We can take a unified and positive stand to demand that musical theatre quality be elevated.  We can support and promote the art through social networks and other mediums, generating a hunger for rich and provocative musical drama   We can raise the bar for our audiences and require them to listen and think.  We can train our students to recognize, respect and practice fine craftsmanship.  We can be selective in the projects to which we are willing to devote our time and talents.  We can, nay we must, become a beacon for a vibrant, varied, and vital American musical theatre,

Final thought: Rather than waiting until the closing notice was posted, just imagine how different the outcome may have been if each of us who had seen and loved SCOTTSBORO BOYS had, the next day,  posted a positive review and a “must-see” alert to our Facebook friends.  If we had encouraged each of them to spread the word to 10 of their friends and each of them to another ten and another……. The Lyceum Theatre has 922 seats available for each performance.  175 million people log into Facebook every day!