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Entries in Broadway (343)


Call Answered: Todd Schroeder: Sam Harris' HAM: A Musical Memoir" at ARS NOVA

Todd Schroeder"Call Me Adam" chats with musical director, composer and performer Todd Schroeder about musically directing and performing in Sam Harris' HAM: A Musical Memoir, currently playing a three week limited engagement at ARS NOVA (511 West 54th Street) in NYC through January 24 only! Click here for tickets!

For more on Todd be sure to visit and follow him on Facebook and Twitter!

1. You are currently musical directing and performing in Sam Harris' HAM: A Musical Memoir at Ars Nova in NYC through January 24. You have been working with Sam for over 20 years, but what made you want to work on this particular project? Yes, we have been performing together for many years. One of my favorite aspects of our collaboration is that each show, concert and project we do is an opportunity to try new things and continually challenge ourselves. I was particularly excited to work together on this project because besides musical directing and accompanying Sam, I also act during pivotal moments throughout the show. I play Sam’s father, his baseball coach and a few other voices in Sam’s head. His father has a monologue near the end of the show that presented great challenge and opportunity for me. Also, Sam and I wrote some original material for this show which added another enticement to sign on.

Sam Harris and Todd Schroeder in Sam Harris' "HAM: A Musical Memoir"2. Last year HAM: A Musical Memoir was performed at 54 Below for four shows only. What made now the right time to bring the show back to NYC, but for a limited 3 week run? Last year when we performed at 54 Below, the timing coincided with the release of his book, HAM. The show was a "liter-usical." Sam was at first going to just do book readings and signings in bookstores but we felt that there was an audience that would love to have an experience greater than only hearing him reading the stories from the book, and those shows integrated Sam singing songs that complemented the stories. Those shows were at 54 Below in January 2014, and were attended by our current producers of HAM, A Musical Memoir. They approached Sam about turning the book reading into a full-fledged theatrical production. After we finished the book tour, we quickly changed our focus to theatricalize the stories.

3. Out of all the venues in NYC, what made ARS NOVA the right venue for this run of the HAM: A Musical Memoir? It’s an intimate, warm setting with no obstructions. The sound travels beautifully in there and we use very little amplification. And the crew are all top notch. When I first saw the Ars Nova Theater, they were running a show called Jacuzzi. The set was all turned around in the theater. The seats were built up against a wall and they built a chalet that could accommodate a full-sized operating jacuzzi. But when I came back in January, the theater had been returned to its normal venue and then the beauty of Ars Nova really shined.

Sam Harris in Sam Harris' "HAM: A Musical Memoir"4. What do you identify most with about HAM: A Musical Memoir? At the core of HAM is the message of wanting to feel fulfilled, wanting to feel a sense of belonging and knowing that even if you have different ideas than the community around you, those differences should be celebrated. I grew up in a small town with a musical gift but most people who were like me had left town to pursue their dreams. I had no one to identify and share with. Fortunately, I had amazing support from my family and teachers.

5. What do you hope audiences come away with after seeing HAM: A Musical Memoir? I believe that Sam always thought he had to do more to belong or feel chosen. When really, what he needed to do was accept himself and all that made him who he is. Though his story is unique to Sam, and very entertaining, the message is universal. Sam and I wrote a few new songs for the show, of which the most poignant is one called "Broken Wing." The last line is "I’ve only got a broken wing, and it can’t keep me down." It says that we all have obstacles and reasons to doubt and fear our life’s journey. But they are not enough for us to give up. Our obstacles are only broken wings and they will heal and we will fly again.

Billy Porter6. What was the best part about having Billy Porter direct this show? I have known and respected Billy Porter for many years. We first performed together in L.A. many years ago and he was an amazing performer with an incredible voice. What I really love about Billy now, above and beyond his talent, is his confidence in who he is and what he shares. His enthusiasm is infectious and his acting ability is undeniable. (Hello, Tony Award!) He is a wonderful musician and he was the perfect fit to bring this book to life. Billy and Sam had worked together on Grease, and they even shared a dressing room. They have an understanding of each other both growing up in difficult environments and getting national attention from Star Search. Billy directed Sam in a way that only someone who has been there could. And Sam really trusted Billy. It was great to watch, laugh, cry and let the whole process evolve with this talented team.

7. In addition to musically producing HAM: A Musical Memoir, you have produced several of Sam's albums (including my all time favorite Revival). Is your process of musically directing Sam different for a live show than for an album? If so, how is it different? I have had the privilege of producing on Sam’s last five albums and even wrote "Don’t Let the World Step On Your Soul" that was featured on Revival. It’s so great to be in the studio with Sam. His range and control and passion are so unique and combined are the reason he has been called "one of the greatest voices of our time." There is a difference in musical directing and producing Sam live rather than in the studio. When we are doing a show, it’s about choosing the right key, placement and pacing so that he can perform night after night. When we are in the studio, it’s about letting it fly and capturing all the passion and emotion in every note and syllable. It’s about feeling the same sense of awe after listening to it over and over. Then we know we have it.

Todd Schroeder8. What do you think the secret is to your over two-decade collaboration with Sam? What have been some of your favorite moments working together? Sam and I met in November of 1992. I had just moved to L.A. and was musical directing a Christmas benefit concert and Sam was the headliner. I had watched Sam when he was on Star Search and of course, thought he was amazing. So I was very excited when I got the call to work with him. I remember the day we first met. I went to his place to rehearse. We started working on "Bridge Over Troubled Water." It was instant magic. We both connected emotionally, musically and by the end of the rehearsal, he said "I have to work with someone until New Year’s and then I would like you to be my musical director for the rest of my life." Well, that was 22 years ago. We have had many favorite moments working together. Carnegie Hall, twice. We performed at the White House. Probably my most favorite was when we performed on The Oprah Winfrey Show right after 9/11. It was her first live broadcast and we were brought in for what she called "Healing America Through Music." It featured BeBe and Cece Winans, Donnie McClurkin, Denyce Graves and Sam and myself. It was truly awesome. And Oprah is the real deal.

9. You are also the founder of the Todd Schroeder Young Artist Grant, which presents scholarships to graduating high school students wanting to pursue careers in the arts. This grant has been in existence for 20 years now. What made you want to start this grant?  What is it like to meet the winners of the grant? How do their stories inspire you at this point in your career? I grew up in the small town of Sonora, California, in the foothills of the Sierra Mountains in Northern California. My mom was a social worker and a financial aid director at the local college. So growing up, I was always told how important it is to give back and support your community. In 1995, I was musical directing for Rita Coolidge and decided to do a concert in my hometown to raise money to present a scholarship at my high school. Rita came up to perform and a few of my other friends did too. It was a success. I thought it was going to be a one-time thing but so many people were excited about it, I went back the following year and did it again. Here we are twenty years later and it really is an honor. Other performers in the past twenty years have included Sam Harris, Jason Alexander, David Burnham, Jordan Hill, Kevin Fisher, Mark Espinoza and a bunch of other talented friends who have all generously donated their time and talent.

We have given over 45 scholarships to graduating high school seniors that want to pursue their dream in singing, acting, playing an instrument, dancing, drawing, directing and even stage managing. The concerts are in the spring and I present the scholarship and a trophy right before the students graduate. Many have gone on to become music teachers and one even started a scholarship because of how he felt when he received mine. Their success stories inspire me constantly and remind me that when you throw a pebble in the water, you never know where the ripples will find shore.

10. In 2013, BroadwayWorld named you "Musical Director of the Year." What did this honor mean to you? It is so wonderful and important to be recognized for hard work. I love what I get to do and the many people I get to work with. I know that not everyone gets to wake up and do what they love to do for a living and I assure you, there are days that are tougher than others but at the end of it, I am so grateful for the opportunity to share my gift, my joy and my passion for what I do.

11. How do you want to be remembered? I try to bring passion, enthusiasm and joy to everything I do. Playing piano, acting, singing, golfing, drinking tequila…For me, these are the elements for a full and happy life. If those qualities could be associated with me, and shared, I would like that very much. I am fortunate to have two beautiful daughters that have taken on those qualities (of course, with the exception of the tequila!).


12. What is the best advice you've ever received? I think it would have been a "teaching joke" told by my mother. She often asked, "How do you eat an elephant?" and then without waiting for an answer, said, "One bite at a time." Sometimes, reaching the finish line can be daunting and very overwhelming. It is important to remember that the only way to get there is one step at a time. It’s easier if you focus on what’s in front of you and when you accomplish that, then you can go on. I try and share this advice wherever I can.

Todd Schroeder13. Who haven't you worked with that you would like to? I would have loved to have worked with the late Eva Cassidy. Her voice had so many textures and I would have loved to have explored with her. Such a loss. I would like to work with Audra McDonald. She is glorious and also a Californian. And Hugh Jackman. My wife is an Aussie and I would score big points working with him!!

14. If you could have any super power, which one would you choose? I would split myself into two identical beings. It’s so wonderful to be on stage every night performing here in New York, but I miss my family in L.A. That superpower would enable me to simultaneously experience the best of both worlds.

15. If you could create a signature drink, what would you call it and what would the ingredients be? The "Frog in Your Throat." I musical direct several shows for Universal Studios Japan located in Osaka. For the past two years, I have show directed the "Frog Choir," part of The Wizarding World of Harry Potter Experience at USJ. That magic world and wonderful show commands a cocktail of equal stature.

1 oz tequila

1 oz triple sec

1 1/2 oz sweet and sour mix

1/2 oz Midori® melon liqueur

2 oz lemon lime soda

Combine tequila, lemon lime soda, triple sec, and sweet & sour mix over ice. Finish off by slowly pouring the Midori melon liquour over the drink for a colorful mixing effect.

Todd SchroederMore on Todd:

Todd has released six original albums and has written a number of original musicals, including Braveheart, The Empower Pack, Unbeatable and For over a decade, he’s served as the vocal director for Disney’s Aladdin, A Musical Spectacular, and vocal director for Universal Studio Japan’s Wicked, as well as a number of live performance shows at their Osaka park. He also regularly teaches a Masterclass entitled Auditioning for Today’s Musical Theater across the US, as well as internationally. He has collaborated with a coterie of distinguished performers, including Angela Lansbury, Jason Alexander, Joan Ryan and Sam Harris, as well as many others. He’s also appeared on TV, acting as musical director on a number of talk shows, including The Oprah Winfrey Show, The Rosie O’Donnell Show and The Late Late Show. And, he’s performed at venues ranging from Carnegie Hall to The White House, and with The Boston Pops, Mormon Tabernacle Choir and the Duke Ellington Orchestra.


Call Answered: SpazCandy Conference Call with Becca Ayers and Bradley Dean Whyte

Becca Ayers and Bradley Dean Whyte, Photo Credit: Laura SpectorDesigned by Laura Spector"Call Me Adam" chats with Broadway's Becca Ayers and producer Bradley Dean Whyte about collaborating on their new album Spazcandy, which is out now on Amazon and iTunes! We also premiere their music video for "Map of Your Brain" at the end of the interview!

Click to purchase Spazcandy: Amazon and iTunes!

For more on Becca Ayers be sure to visit and follow her on Twitter!

For more on Bradley Dean Whyte be sure to visit and follow him on Twitter!

For more on Spazcandy visit!

Becca Ayers and Bradley Dean Whyte, Photo Credit: Laura Spector1. You recently released your newest album Spazcandy, a collection of original pop songs. How did you two come to work together initially? 

Becca Ayers: Bradley and I had both spent time in Kansas City, on various theatrical endeavors, and met thru a mutual connection in New York. We felt an instant kinship and started collaborating immediately. We also hiked, texted potential band names back and forth obsessively, went to see bands like "The Ditty Bops," and improvised new verses to "This Is Halloween" from The Nightmare Before Christmas ad nauseam. Bradley later moved to Thailand, but our connection was so strong that we continued to collaborate, and he produced my first solo EP Lovesick. When he moved back to the states, I started going to Texas to collaborate with him in person again, and between the internet and finally being in the same room together again, Spazcandy was born. It was great to be in Texas with him this last time around, because it was only the second time that we actually played together live-the first being in Austin-and it was so cool to see how people wanted to dance with their pants to our music. I really hope we can tour some day, even if in short spurts. We have such chemistry onstage together that is born out of our mutual theatrical and improvisational backgrounds, mixed with our intense need to continue to try to supercede each others’ ridiculousness by "stage pestering" each other between harmonies.

We're so lucky to have gotten some awesome old friends to play on this album, such as Bryan Crook, who is not only a masterful reed player whose had a permanent chair in The Book Of Mormon orchestra since the beginning, and was also nominated for a Tony for the Motown orchestrations, among countless other projects. I'm lucky to be surrounded by such talented renaissance men.

Bradley Dean Whyte: I met Becca in Kansas City at a UMKC theatre department party back in 1996 but she doesn't remember. This was back when I used to play Sarah McClachlan songs on the guitar, cry on my yoga mat and drink herbal tea. I certainly wasn't ready for Becca. Becca's not really someone you can "get ready" for anyway. She's a constant surprise. Like, have you ever seen two pictures of her with the same expression? No you have not. But I digress. We reconnected in New York around 2004 through a friend and we quickly tapped into each other's musical funny bone, and haven't stopped since.

Becca Ayers and Bradley Dean Whyte, Photo Credit: Laura Spector2. After some time apart, you reconnected and created Spazcandy. What was it like to get back in touch and how long after did you decide to make a new album together?

Becca Ayers: We're always thinking of ideas and I like that we push and inspire each other. Bradley is always finding new ways to challenge himself and grow his work. He brings something very special out in me.

Bradley Dean Whyte: I was very lucky to be able to work in person with Becca for two visits during 2014. It's always great to play with her. We stay in touch when we're not in the same town; Skype makes things easier but we're always talking about making albums. That's why she came to visit to begin with. Making things together is an indivisible part of the friendship. So I think it started when we met and it just keeps going…we're in talks for the next one already!

Designed by Chadwick and Spector3. What made you want to call the album Spazcandy? What made you want to give this album more of a pop feel as opposed to the folk/pop feel of your previous album Lovesick?

Becca Ayers: We called it Spazcandy because we know how bad sugar is for you, so we thought we would try our hand at replacing it with the natural high of an album full of ear-candy. We pushed the pop more because we wanted something that was intelligent, yet accessible to a wider audience, that you might find in the soundtrack for Girls or Orange Is The New Black, or that "Indie" film that stars the girl with the pink flats and the yellow polka dotted dress who looks like St. Vincent with no makeup. We'd like to follow in the footsteps of Pomplamoose or Okay, Go; creative, indie writers who are always thinking of new ways to stretch themselves, yet are still capable of producing a Christmas jingle for a car commercial.

Bradley Dean Whyte: I have a strong affinity for the late 60s/early 70s "Golden Age of Bubblegum Pop":  Monkees, Jackson 5, and those old mail-order, As-Seen-On-TV, K-Tel compilation albums. But I also love 80s and 90s brainy alternative music like They Might Be Giants and The B-52s, Beatlesque power pop like Jellyfish and Badfinger. So, I don't know who came up with it, but the name just seemed to fit the schizophrenic genre-hopping that occurs from track to track. Nilsson is also a big influence on me personally and I think I'm always trying to play with opposites in each song the way he did…between the highs and lows, the happy and sad, the juxtaposition of nice palatable melodies and gnarly imagery in the lyrics. Vinnie Zummo who plays lead guitar on a few tracks understands this. Check out his guitar voices on "WaterSlide" and "Never Forget Your Technicolour Voodoo" or his soloing on "Dark Night Of The Soul" and you'll hear what I mean.

Becca Ayers and Bradley Dean Whyte, Photo Credit: Laura Spector4. How do you feel you've grown as artists with Spazcandy?

Becca Ayers: I feel like I’ve become more trusting, as an artist, with Spazcandy. The more I work with Bradley, the more I respect and trust his talent. Releasing the album has also given me the opportunity to flex my live performance muscle in regards to my own music. For one show, I openend for our band with a solo set on the guitar. Performing my own material terrifies me much more than acting in a show, because there is no one to blame but myself if it sucks, and "selling" my own material has always been an unnatural challenge for me. Hiding behind a character while someone else picks out my clothes and does my hair is much less vulnerable.

Bradley Dean Whyte: I think I'm best working with Becca. This album reminded me of that. To me, the songs we composed together, I think, are the most interesting ones. Also, it's great to have real drumming on the album. I learned a lot about how to work with real drummers. Keith Matthews does some great drumming on SpazCandy. So does Anton Fig and Dan Gluszak. This process was a constant reminder that the best things come from collaborations. I could do it alone if I had to but it just wouldn't be as good!

Bradley Dean Whyte and Becca Ayers, Photo Credit: Laura Spector5. What should make fans excited about Spazcandy?

Becca Ayers: For me, the most exciting thing about Spazcandy for audiences is that it’s danceable and happy-inducing without compromising thought-provoking undertones. The first track on the album that Bradley wrote; "Bait And Switch" is brilliantly exisitential. It's one that you can listen to over and over and keep learning from, and that's my favorite kind of song.

Bradley Dean Whyte: I know everyone says this but "It's something different!" But, truly, this is different. Like, I'm really proud of how this record is somehow completely weird and completely pop at the same time.   Not an easy thing to achieve. I think fans will enjoy all the different colors. Dan Gluszak, who mixed the album, remarked how each song is an entirely different musical statement. There's variety there, for sure. Also, there's two kinds of psych music in the world. The kind you have to be on drugs to enjoy and then there's the kind that just makes you just feel like you're on drugs. I prefer the latter. I think SpazCandy is that kind of music. Something to give people a sober acid-tinged high.

6. Since the album is called Spazcandy, what is your favorite kind of candy to go spazztic over?

Becca Ayers: Nerds.

Bradley Dean Whyte: Okay, I'm gluten-free these days and sometimes sugar free…for chunks of time…when I'm feeling ambitious. And my wife Laura makes an amazing shake in the Cuisinart from cacao nibs, almond milk, ice and bananas…You know what? Never mind. That's bullshit. I do love that snack. But, let's be honest, we just had Christmas and I ate a lot of crap. The best thing was probably those little Ghirardelli Dark Chocolate Squares with Mint Filling. I'd like to get some more right now actually. Hold on. Be right back.

Becca Ayers and Bradley Dean Whyte in the recording studio, Photo Credit: Laura Spector7. What is your favorite part of the creative process in making an album?

Becca Ayers: "Imagine that I am on stage - under a watchtower of punishing light - and in the haze is your face bathed in shadow - and what’s beyond you is hidden from sight - and somebody right now is yawning - and watching me like a tv - and I’ve been frantically piling up sandbags against the floodwaters of fatigue and insecurity - and suddenly I hear my guitar singing - and so I just start singing along - and somewhere in my chest, all the noise just gets crushed by the song - yeah, imagine that I’m at your mercy - imagine that you are at mine - oh, pretend I’ve been standing here watching you watching me all this time - now imagine that you are the weather in the tiny snow globe of this song - and I am the Statue Of Liberty; one inch long - and here I am at my most hungry - and here I am at my full - and here I am waving a red cape, locking eyes with a bull - just imagine that I am on stage - under a watchtower of punishing light - and in the haze is your face bathed in shadow - and what’s beyond you is hidden from sight" -Ani Difranco

Bradley Dean Whyte: Working with so many great people, co-writing with others, emailing parts to one another. Becca and I enjoyed a lot of help on SpazCandy. Anton Fig played drums for me a long time ago on the song "Bound To Find" which I wrote with country singer-songwriter Joe Thompson and I'm glad to finally have a finished recording. Keith Matthews, an acquaintance from my childhood, randomly contacted me and we've been collaborating ever since. Annie Van Bergen, someone I met on Facebook, once sent me a poem and it became the verses for "Dark Night Of The Soul". The amazing Bryan Crook played horns for us. Folk singer/songwriter Meghan Cary shared a song with me years ago and encouraged me to expand on it, and "Last Cigarette" was written. Dave Ulrich, a classmate from my college days, wrote "Let It Go Down" with me during a Christmas break over a decade ago.

8. What's the best advice you've ever received?

Becca Ayers: "In your heart, if something feels wrong, don’t do it. If it feels right, knock yourself out." Allison Mondiser - Hair woman extraordinaire for Miss Saigon in Toronto, Canada.

Bradley Dean Whyte: Anton Fig told me once, when I was freaking about how long it was taking me to record stuff at home, said "Don't worry. It'll take as long as it takes…" And that was that. I try to remember that time is only a self-imposed relationship to desire. That said, I'm still keenly aware that I will die someday and it's important to get shit done. I haven't discussed death with Anton but maybe he's got some insight there too.

Bradley Dean Whyte and Becca Ayers performing9. What have you learned about yourselves from working together?

Becca Ayers: Stop overthinking and go with your gut and stop overthinking your gut and what that means and how you can tell if it’s your gut talking or not; you'll never know so what's the point of thinking about it?

Bradley Dean Whyte: I've learned that Becca is in better cardiovascular shape than me. Man, a song starts, and off she goes. She's amazing. I've also learned that I should keep comparing myself to her because, while it's unhealthy, it's good motivation for me to sing in tune and keep a journal.

10. How do you want to be remembered?

Becca Ayers: I would like to be remembered as someone who helped people. I want to be an advocate for change and equality. I want to be a different voice; an alternative option. I would like to be an example of someone who carved out a life that she wanted, not one that society expected of her. I’m still trying to figure out what that life is, but I know that it probably doesn’t involve having children and it may not even involve having a permanent significant other, which I am coming to think is another belief that has been societally engrained. All I know so far is that family is important. Be it blood relatives or chosen family. I want to empower myself and my loves as a means to empower others.

Bradley Dean Whyte: It's way too early to ask that question. And not too early in the day or anything, I mean…just way too early in my career.  Besides, it seems the whole world is on the path to fame of some sort.  Literally everyone. So it's possible that no one will be remembered that we'll all just get lost and blend in with each other. I'm not sure what I mean by that but it makes emotional sense to me when I say it. "No one will be remembered." See, doesn't that feel good?


Bradley Dean Whyte and Becca Ayers, Photo Credit: Laura Spector11. If you could have any super power, which one would you choose?

Becca Ayers: The power to be able to walk in someone else’s shoes, and to make others do the same.

Bradley Dean Whyte: First off, I have to say that I think this whole superpower fantasy appeals to a person's desire to control things. And I work so hard trying to accept that I don't control anything that it's hard for me to enjoy entertaining a power that is seriously awesome. Like flying or invisibility. So my imagination insists on a compromise; I resort to allowing myself to fantasize about one of those tortured-soul superpowers. Like the kind that David Banner struggles with. Or Sam Beckett (not the playwright but the Quantum Leap guy). So, okay, get this: whenever I'm in a dangerous situation, I have the freakish ability to explode into countless pieces of bio-debris, randomly spreading in all surrounding directions. Then, when the dust settles, I re-materialize in the location where the farthest piece of me has landed. I can't control where, or in what direction, but it's just enough to cause a diversion and get away. And I'm always naked when I come out of it, so that's a bit of a problem too. I can't control when it's going to happen either, so I just sorta try to stay out of trouble. Some days I think it'd be easier to just get punched in the face than to have to use my superpower. I'm sorry, but it's the best I've got.

12. If you could create your own signature drink, what would you call it and what would the ingredients be?

Becca Ayers: The Super Duper Becca Boost - 1 Tablespoon of  Agent Cooper Copper Protein, lemonade, 4 Sprees, Daisies.

Bradley Dean Whyte: Waking Dream. Made with Ginger, Caffeine and Absinth. Not the 20th century kind, but the 100-year old mythological Absinth…the kind that makes you see fairies. The Ginger and Caffeine is there to help people stay alert and centered while they hallucinate.

Bradley Dean Whyte and Becca Ayers, Photo Credit: Laura SpectorMore on Becca and Bradley:

We are Becca Ayers and Bradley Dean Whyte, musically kindred spirits. Many moons ago, we made sweet, sweet music together in New York. We’d hike, drink tea and write music. Then Bradley moved to Thailand and it seemed the collaboration was finished. However, because of the new-fangled technology that the kids are calling "the internets," we were able to continue making music. Sweet, sweet music. Bradley co-wrote and produced Lovesick with Becca from the jungles of northern Thailand just before releasing his first home-made studio record, The Emperor’s New Tea.

Today, Bradley resides in Houston, Texas. When Becca came to visit from NYC this past winter, we rekindled our musical shenanigans and we were all, "this sh*t’s for real, yo. Time to make some… SpAzCaNdY."

We have that certain complex, volatile relationship that the fans just love: Bradley annoys Becca, but Becca annoys Bradley even more.

For most of our lives, we have been lucky enough to earn our living in the performing arts — creating theatre, music, recordings, and teaching. Becca continues to perform in NYC and has spent the last 7 years working on Broadway (Avenue Q, Les Miserables, South Pacific, and Addam’s Family, where she had the diverse opportunity to perform alongside Nathan Lane, Bebe Neuwirth, and Brooke Shields). Bradley began his career as an actor, performing with regional theaters and Shakespeare festivals. Over the last 10 years, he has written and produced music for regional theaters, international children's cartoons and educational CDs, he has been a contributor for NPR's The Next Big Thing and, in 2011, he released his debut LP Emperor's New Tea.

"Map of your Brain" Music Video:

Map Of Your Brain (Explicit) - The Perfectly Violent Dream With Becca Ayers from Bradley Dean Whyte on Vimeo.

More from Spazcandy:


Call Answered: Facetime Dream Interpretation video with Bobby Cronin and Jefferson Harman

Jefferson HarmanBobby CroninIn this special episode of "Call Me Adam," dream interpreter Jefferson Harman reveals the meaning behind the dreams of award winning composer/lyricist Bobby Cronin.




For more on Jefferson be sure to visit and follow him on Twitter!

For more on Bobby visit: and follow him on Twitter, and YouTube! 

Dream Interpretation with Jefferson Harman and Bobby Cronin:

More on Jefferson:

Jefferson Harman is a Symbolic Intuitive, Dream Interpreter, Radio Personality and Writer who reads the symbols present in your dreams & everyday life. By interpreting this invisible language, he identifies your blocks and challenges and ways to overcome them. He has been actively studying the relationships among metaphysics, psychology and anatomy for over 25 years.

Jefferson is available for private readings in person, by phone and through Skype. He conducts workshops on various topics including Dream Interpretation, Overcoming Your Phobias and The Healing Power of the Mind. In his workshop series, New Thoughts, New Lives®, Jefferson explores the transformative power of Affirmation. He also teaches workshops in Origami as a meditation tool to promote World Peace.

Jefferson is a recurring guest on Life Unedited with John Aberle, on WCHE Radio 1520 AM, in the Philadelphia area on the first Saturday of each month - listen live at Listeners can call in to have their dreams interpreted LIVE on the air and are welcome to ask questions on dreams, phobias and more.

Jefferson's podcast series Everyday Symbology® is available at iTunes and on the web. The show includes interviews with holistic practitioners, artists and musicians, presenting topical discussions on all things holistic and metaphysical. Jefferson also has a book in the works by the same title.

Jefferson writes a regular column entitled Night Sailing, originally printed in the holistic publication MARCI Magazine. In each article he interprets dreams that readers have sent him via email. Send your dream to He also contributed articles and book reviews to the magazine, which will be reposted over time to this website.

Jefferson is a former Member of the Board of Trustees of the Holistic Mentorship Network and the former Chairperson of the HMN Publishing Committee, which included the Network's flagship publication, MARCI Magazine. He is also a Board Member of the Pompton Lakes Residents for Environmental Integrity (PLREI).

More on Bobby:

Bobby Cronin is a multi-award-winning composer/writer whose current projects include: Sunset City with bookwriter Wade Dooley and co-lyricist Brett Teresa (2013 Running Deer Theatre Lab, Goodspeed Mercer Project); The Concrete Jungle with co-bookwriter Crystal Skillman, which went into workshop March 2014 and was commissioned in 2012 for London's esteemed ArtsEd School (President: Andrew Lloyd Webber) which opened in June 2012. Welcome To My Life (W2ML) currently under a Broadway option; 'Til Death Do Us Part with Harrington winning bookwriter Allen Mogol (2012 Alec Baldwin Fellowship Winner, UK's S&S Award Finalist). Daybreak (add'l material by Brett Teresa) which won the 2011 New Jersey Playwrights Contest and premiered in Wayne, NJ and London's Tristan Bates Theatre June 2012. Currently writing Mary & Max with Crystal Skillman and Stafford Arima, Alone In The US for CAP21 with Terry Berliner, and the short musical film A Mile In Her Shoes for NYFA. Other: 54 Below, Lincoln Center Songbook Series, Birdland, Symphony Space, London's The Players Theatre and St. James Theatre, and more. Reach The Sky: Live at The Beechman and The Concrete Jungle International Studio Cast Recording both on iTunes. Yale graduate, Member of ASCAP, Dramatists Guild, and MMD (UK).


Call Redialed: Shayna Steele: Rise

Shayna Steele, Photo Credit: Shervin Lainez"Call Me Adam" catches up with recording artist Shayna Steele about her sophomore album Rise, which will be released January 20, 2015. We also discuss Shayna's most recent single "Can't Let Go," working with Jazz vocalist Sachal Vasandani and Kelly Clarkson as well as how being a new mother has influenced her music.

For more on Shayna be sure to visit and follow her on Facebook, Twitter, YouTube, Instagram, iTunesSoundcloud, and Reverbnation!

1. This January, you are releasing your sophomore full length album Rise. What excites you about this upcoming release? The idea of putting another record out into the world excites me, because it's another piece of work that I leave behind before I leave this earth. A recording is like a fixture in time. It's timeless and I'm psyched to feature these songs and these musicians.

2. What did you enjoy most about making this album? I enjoyed recording "Gone Under" again after the Snarky Puppy release on Family Dinner. It’s an entirely different performance with a whole new vibe. I really enjoy that two versions of this piece will be out now!

3. What do you hope fans come away with after listening to Rise? I hope they're inspired to create something of their own, musical or non-musical. Everyone has the ability to make something beautiful. I hope it can get someone through a hard time. Music has that kind of power.

4. The most recent single off your new album is "Can't Let You Go," which features jazz vocalist Sachal Vasandani. I feel "Can't Let You Go" really captures the strength of your non-belting voice and blends wonderfully with Sachal. How did you and Sachal come to work together? What was the best part about working with Sachal? Thank you! It's nice to take a break from the belting and the hollering! I met Sachal through my husband David Cook (also my writing partner/MD) at a University of Michigan event. Sachal was performing and I was immediately drawn to his voice. We've become really good friends and we like to crash each other's gigs, too.

5. What made you want to release "Can't Let You Go" as one of the singles off the album? I really wanted to feature a completely different sound. Not a lot of people have heard me sing something so vulnerable and exposed. I really love the song, too.

Shayna Steele at the Canal Room in NYC, Photo Credit: Press1Photo.com6. Starting in February 2015, you are going on tour around the world in support of Rise. What is the best part about touring and getting to meet your fans from all around the world? I hope it's the entire world! Doing some hits in Europe and the U.S. and I have a few guest performances with Snarky Puppy later in the year. The fans are so amazing. I remember playing this tiny town in Slovakia and I had a one hour conversation with 3 fans who barely spoke any English. We had such a deep talk about hopes and dreams and fears. It was so rad. And the beer was really good.

7. How do you feel you have grown as a singer/songwriter with this album? When I started writing for this album, I was in a place of uncertainty. By the time I'd finished writing for it, I'd become a mother so it was a journey I'd never been on. I also write songs now that I’d want to listen to. Before I thought you had to write songs that were radio friendly?? Where’s the fun in that? For me, well. If I’m not feeling it, what makes me think for one second my fans will dig it?

Kelly Clarkson and Shayna Steele8. You have worked with some of the greatest singers of our time: Moby, Bette Midler, Dolly Parton, Kelly Clarkson, Rihanna, Queen Latifah, and many others. What is like working beside these artists? Who did you learn the most from and what did you learn from them? Some of these artists I either spent 1 day working with them or several years behind them and learned something new from each one. Best lesson I learned was it taught me to know what kind of artist I wanted to become once I stepped out on my own. I still sing with Kelly a lot and she has impressed me so much. Not only are her vocal performances so sick, every single time, but the way she treats her band and staff is so refreshing. She’s a true professional and a super cool chick.

9. What is the best advice you've ever received? Don’t let fear sabotage your goals. That goes for music and for life. I have to remind myself to let the fear go about 10 times a day.

Shayna Steele Singing10. What have you learned about yourself from being a singer/songwriter? That sometimes I suck. Sometimes I write really bad songs and I have to finish them and throw them away. I’ve learned that it doesn’t come easily to me. I’m not the kind of person that can just pull lyrics and melody out of thin air 5 times a day. Maybe 5 times a year! I tend to write mostly when I’m not distracted…usually when I’m overseas traveling. I don’t watch TV when I’m there and I’m usually away from my friends and family. So I focus on the writing. It’s the way I escape the sorrow I have for being away from my loved ones.

11. You recently became a new mother. Has motherhood changed the way in which you make music? Most definitely. I don’t know how to explain it. Now when I write, I think: My daughter will hear this. Her friends and her friends parents will hear this. I don’t want to embarrass her! No seriously, she is my biggest inspiration. She’s so sweet and smart. It’s like I’ve been given another chance to live those years all over again through her. She’s absolutely the best thing that every happened to me.


12. If you could have any super power, which one would you choose? The super power to sprinkle happiness and love over violent people like terrorists, crooked politicians and rapists…so that they can never, ever hurt another living soul. I think that’s a pretty good super power. The news these days…I'm sick about it. Especially being a mother. The tears I’m shedding this week over those innocent children dying could fill an ocean.

13. If you could create your own signature drink, what would you call it and what would the ingredients be? I’m a wine drinker. So something red, spicy, super dry and very interesting.

14. How do you want to be remembered? I want people to say: She was loyal and a solid, trustworthy friend/colleague/mother/daughter. Best thing anyone could ever say.

Shayna Steele, Photo Credit: Shervin LainezMore on Shayna:

There's no need to sugar coat it, since her impressive credits speak for themselves. Her colleagues praise her ability, her dedication and drive to perfecting her craft as a professional singer and knockout performer. On stage and in the studio, New York City based vocalist and songwriter Shayna Steele proves she is a vocal force to be reckoned with.

Born in Sacramento, California, to a black father and a white mother, Steele lived the itinerant childhood of an American Air Force brat. Moving from California to Oklahoma and then to Ramstein, Germany, where she spent seven formative years, she had little chance to contemplate her racial identity until her family landed in Biloxi, MS in 1985. She explains, "[Ramstein] took up quite a bit of my early childhood and had a big influence on how I viewed life, the world and especially racial tension. Living amongst the safety of an Air Force Base in Germany with many other children from bi-racial families gave me a false sense of security and I wasn't quite ready for the criticism and ridicule I would receive when we moved to Mississippi." Feeling "awkward, out of place and unsure where to fit in" in Biloxi, she dove headfirst into music, entering (and winning) several pageants and talent shows, including an appearance on Ed McMahon's Star Search at the tender age of 15. Star Search was her first experience performing in front of a nationally televised audience. After losing by a 1/2 star, Shayna returned to Mississippi to finish high school and pursue a music degree before exposing herself to the cutthroat "reality" of the business. "I was embarrassed and defeated. I wanted nothing more than to go home and crawl in a hole."

Shayna Steele"I never really felt 'grounded' until I moved to NYC. It was then that I really opened up to different genres of music other than R&B." Schooled in jazz by her Godfather, self-taught and guided by her musician father and gospel by her choir director, the Grammy-nominated Michael McElroy, Steele began to develop her sound, blending new influences, from Ledisi to Rachelle Farrell, with her childhood icons Stevie Wonder, Aretha Franklin, Chaka Khan and the Temptations. A completely unexpected call in 2005 would drop her squarely in the middle of genre she had absolutely no experience with: Electronica. Hearing that Moby "needed a screamer" for a track off his new album Hotel, a mutual friend recommended Steele, resulting in the disc's second single "Raining Again". Two years later, she was back, laying down vocals for "Extreme Ways (2007)" - Moby's theme song to The Bourne Ultimatum - and in early 2008, "Disco Lies", the first single off Moby's 2008 release Last Night. The song reached #1 on the US Billboard Dance charts and went on to be featured in J.J. Abram's summer blockbuster Cloverfield and the movie The Backup Plan starring Jennifer Lopez. Her voice has remained high in demand with recent vocals on Hairspray (movie soundtrack), 2012's The Bourne Legacy, Sex and the City 2, NBC's Smash, 2008 Summer Olympic highlights on BBC, The Shanghai Restoration Project and HBO's The Sopranos.

Steele started writing music with partner David Cook in 2002. The two quickly developed a creative synergy, collaborating on Steele's eponymous debut EP in 2004. Though self-released, the album's breakout soul-funk single "High Yella" achieved the attention she needed to raise her solo profile. She and/or her band have since shared the stage with luminaries Ledisi, opening for George Clinton and the Sugar Hill Gang, a featured singer with Bjorkestra and Grammy winning conducter/composer/trumpeter Dave Douglas, featured with Snarky Puppy in 2014 at the Nice Jazz Festival, the Estival Jazz Festival and the North Sea Jazz Festival, the Grammy- nominated Broadway Inspirational Voices and as a sideman with Lizz Wright, Bette Midler, Natasha Bedingfield, John Legend, Matthew Morrison, Yeah Yeah Yeahs, Queen Latifah, Dolly Parton, Rihanna and Kelly Clarkson.

It was the release of Shayna's first full-length album I'll Be Anything co-written with Cook that put Shayna on the map as a legitimate solo artist. She was soon sought after by clubs in Los Angeles and San Francisco, New York City, Milan, Rome and Zurich, welcoming her to packed rooms and a dedicated fan base. Shayna and the band have toured and continue to tour extensively throughout the United States and Europe. In 2013, Shayna's original song "Gone Under" was recorded live for DVD on Snarky Puppy's Family Dinner, Volume 1, where the band received a Grammy Award in 2014 for their performance of "Something" with Lalah Hathaway.

Her experience has lead to appearances on: Conan O'Brien, The Grammy Awards, The Tony Awards, The Tonight Show, David Letterman, Saturday Night Live, The Oprah Winfrey Show, American Idol, The Brit Awards, Jimmy Fallon, Good Morning America, The Today Show, The Billboard Music Awards and The Academy of Country Music Awards as well as contracting and/or doing vocals for Season 1 and Season 2 (contractor) of NBC's Smash and America's Got Talent and the shows Rent, Jesus Christ Superstar and Hairspray on Broadway in New York City.

Shayna Steele on "Conan O'Brien"Most recently, Shayna went to Paris to record a song for saxophonist/songwriter Manu Dabango's (Soul Makossa) upcoming project. Shayna continues to work non-stop in music out of their home teaching privately, recording, writing and creating in addition to being one of the most high in demand and sought after gigging musicians. Tour dates in support of Shayna's sophomore album Rise are already booked in Geneva, Zurich, Bologna, Paris and Berlin in February of 2015.


Call Answered: Conference Call with David Loud & Noah Racey: 92Y's Lyrics & Lyricists: A Good Thing Going: The Stephen Sondheim and Harold Prince Collaboration

Noah RaceyDavid Loud"Call Me Adam" chats with Artistic Director David Loud and Actor/Choreographer/Director Noah Racey about putting together the opening show of the 45th Season of Lyrics & Lryicists. This year's opener is A Good Thing Going: The Stephen Sondheim and Harold Prince Collaboration which will play at the 92nd Street Y from January 10-12 and feature a host of Broadway talent singing selections from the 1970-1981 partnership of Stephen Sondheim and Harold Prince, taking the audience behind the groundbreaking musicals CompanyFolliesA Little Night MusicPacific OverturesSweeney Todd and Merrily We Roll Along.

Scheduled to appear are Broadway's Kate Baldwin, Heidi Blickenstaff, Liz Callaway, James Clow, Jason Danieley, and Jeremy Jordan. Click here for tickets!

For more on the 92Y be sure to visit and follow them on Facebook, Twitter, YouTube, and Instagram!

1. From January 10-12, 2015, you are opening the 45th Season of the 92Y Lyrics and Lyricists series with A Good Thing Going: The Stephen Sondheim and Harold Prince Collaboration. How did you two come to work together on this concert event?

David Loud: Noah and I have been friends since Curtains, the Kander & Ebb show that David Hyde Pierce starred in on Broadway. Noah was one of the leads and I was the Conductor, and our dressing rooms were on the same floor. You learn a lot about people when you are constantly encountering them in various stages of undressedness. We had a wonderful two years. Everything about that show was joyful and rewarding, so I try to work with people from that particular experience whenever possible. Noah has a great talent for physicalizing a song, and is just as skilled at working with singers as he is with dancers. He also seems to intuit everything I want to communicate, which saves time!

Noah Racey: I met David Loud working on the show Curtains. I was a part of the earlier work shops and readings and then we took it to Los Angeles for our out of town tryout at the Ahmanson Theatre and then through our year and a half run at the Hirschfeld theatre. He asked me a few years ago to stage a concert he was putting together and we have continued to work together in that capacity ever since.

2. How did you decide to start the 45th season off with this show?

David Loud: My previous shows at Lyrics & Lyricists were focussed on two terrific composers who are not exactly household names: Burton Lane, who had several major Broadway scores but never quite ascended into the Richard Rodgers - Irving Berlin - George Gershwin - Cole Porter pantheon, and Vernon Duke, an amazing and virtually unknown artist who had flop after disappointing flop, despite the fact that each of his scores contains a few remarkable songs. Both projects were the results of many months of research and arranging, and I loved doing them. For this season, Artistic Director Deb Winer asked me if I wanted to do something "a little less off-the-beaten-path," and I came up with the idea of a Stephen Sondheim show that was different from other Sondheim revues I’d seen or worked on: one that dealt specifically with the shows he created with Director/Producer Harold Prince. I do love the fact that for the Lyrics & Lyricists audience, a Stephen Sondheim evening is considered more "mainstream"…

Noah Racey: I think the obvious reason is that in our industry, for Lyrics & Lyricists, you can't find a more prominent, creative force than Stephen Sohdheim. Ever since his work on West Side Story in 1957, where he established himself as a leading voice in the new vanguard of Musical Theatre writers, he has been at the forefront of the art form in terms of musical sophistication and emotional depth in story telling. It makes perfect sense to have an evening that celebrates the work of the two men who brought those stories to life.

3. What excites you about being the premiere show of this special season?

David Loud: Nothing. It means I have less time to prepare and that I’ll spend all of Christmas orchestrating.

Noah Racey: It's exciting to take part in such a well established series. The audiences for Lyrics & Lyricists are extraordinarily knowledgeable about the material, they tend to know the work very intimately, so you feel at every point in rehearsal that they will recognize and appreciate the intricacies and detail you strive for in staging or interpreting the songs.

Jeremy Jordan4. How did you pick the performers for the evening: Kate Baldwin, Heidi Blickenstaff, Liz Callaway, James Clow, Jason Danieley, and Jeremy Jordan? What excites you about working with them?

David Loud: I’ve worked with all of them before, and they are each truly extraordinary. Great voices, of course, and heavenly to work with, but they also have that essential ability to interpret a lyric in a way that’s fresh and clear. Sondheim songs often require the performer to feel contradictory emotions simultaneously, or to exist in an undecided state, or to change one’s mind in the middle of a thought. They’re complicated and particular and demanding, and I needed singing actors who could do that. How lucky am I to have assembled this astonishingly talented group of artists, each of whom said "yes" within minutes of being asked?!

Noah Racey: The beauty of working with David Loud is that the best of the best say YES! when he asks them to join us. And the man knows EVERYBODY! I have had the honor of staging quite a few concerts with him, and through that work I have learned to trust him completely when it comes to choosing which voices he wants to sing each of the pieces. So, to answer the first question, I did very little!

What excites me about working with these people? EVERYTHING. These 6 performers are supremely gifted, to pick one of their characteristics to praise is to overlook their most valuable asset...versatility. One of the wonderful things about this kind of concert is that it is an opportunity for the performers to do such a wide variety of work, in many instances much more than would be asked for in a typical show. And that is why having these particular actors is such joy. They all bring an astounding array of colors and energies to the table for us to pick from and to round it all out, their vocal chops truly can't be beat. Versatility is the definitely the ingredient that excites me most.

David Loud5. How did you decide which songs you were going to feature in the concert?

David Loud: Well first I wrote down all my favorite songs from the six shows they did together, but the 92nd St. Y, apparently, is not interested in producing a five-hour concert, so I had to cut a few. I wanted to pick songs that illuminated the essence of each of the extraordinary pieces that they collaborated on, and, of course, once the cast was set, I wanted to tailor it to them, as well. And I try to find an emotional arc for the whole evening…it becomes quite a jigsaw puzzle.

Noah Racey: Two parts popular demand, two parts personal affection. And then a healthy dose of what does Mr. Loud want to play with?

6. What do you hope audiences come away with after attending this evening?

David Loud: A deep appreciation of the six wildly different shows that comprise the Stephen Sondheim/Harold Prince collaboration. As the Artistic Director of this evening, my goal is to make you hear songs that you may think you know as if you were hearing them for the first time, and to try to explain why I think they’re so extraordinary.

Noah Racey: An appreciation not only for the talent and craft of Steven Sondheim, but for the extraordinary collaboration of these two men, because above all, Musical Theatre is a collaborative art form, it is at it's best when it is the melding of ideas between artists.

Bernadette Peters, David Loud, Parker Ease, Stephen Sondheim, and John Doyle at the closing night party of "A Bed and a Chair: A New York Love Affair", Photo Credit: Genevieve Rafter Keddy7. How have Stephen Sondheim and Harold Prince influenced each of you? 

David Loud: When I was 18, I was cast in the original Broadway production of Merrily We Roll Along. I was already a huge fan of Sondheim’s work, and the opportunity to be a part of a new show that he was creating with Harold Prince was, well, many things: thrilling, intimidating, challenging, heart-breaking…to watch these great craftsmen working on the show — writing, re-writing, editing, re-staging — for five weeks of previews was the greatest crash-course in Musical Theatre ever offered.

Noah Racey: Their work sets the bar for me in terms of emotional depth in lyric, Musical sophistication, and theatrical storytelling/conflict construction. Musical Theatre as an art form has been undergoing a steady transformation from simple music hall sketches and Vaudeville fun to elaborate, thought provoking, daring, exciting and substantial theatre; and it has been ushered forward through these changes and transformations by artists who asked more of it. Steven Sondheim and Harold Prince did just that, they asked more of the people who gathered together to share stories, they asked more of the music and the ears that would hear it; more of the subject matter and the minds that would digest it, more of everyone involved. We should aspire to do the same, ask more of each other.

Noah Racey performing8. If you had to pick your favorite song and show that they produced together, which ones would you choose?

David Loud: Impossible, of course, to choose an absolute favorite, but the duet at the end of the first act of Sweeney Todd, "A Little Priest" has always been on my list of major miracles. Funny, macabre, a beer hall waltz with impossibly clever lyrics that illuminates the entire British class system while playing rhyming games and furthering the story. It doesn’t really get any better than that.

Noah Racey: For over all score I have a huge affinity for Follies. I played "Buddy" in college (complete with bald-pate) and the first revival at the Belasco was my Broadway debut. I love the romance, the sense of nostalgia and desperate yearning to reclaim, the love letter to performers, all of it, it's my personal favorite of his scores. For a single song I would have to say "Weekend In The Country." The entire sequence is just breathtaking.

9. What has been the best part about working together? What have you learned from each other?

David Loud: Noah and I seem to have identical taste, which is hard to find in a collaborator. And he often will come up with an off-the-wall staging idea that would never have occurred to me — one that fulfills the song theatrically in a way that a more pedestrian choice would never have achieved.

Noah Racey: Finding people to work with where you can actually watch yourself growing is one of the most exciting aspects of working in theatre. So much of what we do is a question of taste, and you only discover that taste through an attention to detail. When you find people to collaborate with that mirror or compliment your sense of taste...well, that's everything to me. And then there's the fact that everybody is in love with him! David is one of those examples of the best of the best not bringing any kind of unnecessary "starch" or defensiveness to the creative table, his work speaks for it's self. It's no wonder he and John Kander get along so beautifully. For all the refining and searching we did in constructing Curtains it all felt like taking deep, relaxing breaths.

In working with David, I have learned so much about the art form of Musical Theatre. How inseparable all of it is; the staging, the lighting, the intro, the lyric, the melody, the tempo, the interpretation of all of it, it all must work in tandem. And for all of the pearls of wisdom he has given me (and there have been many), when someone as established and accomplished as David defers to your direction and takes constructive criticism from you, you are given the invaluable gift of learning to trust yourself.

Noah Racey tap dancing10. What's the best advice you've ever received?

David Loud: Do what you love. And if your gut tells you something, follow it.

Noah Racey: Do your homework.


11. If you could have any super power, which one would you choose?

David Loud: Time travel. Is that a super power? I want to go back to the thirties and see a Gershwin show on Broadway!

Noah Racey: The dancer in me insists that it be the ability to fly.

12. If you could be any original flavor Life Saver, which one would you be?

David Loud: Pep-O-Mint.

Noah Racey: Probably raspberry.

13. If you could have a song written about your life, what are some key elements you would want to make sure the lyricist wrote into the song? For example, I've had two theme songs written for for my past radio show and one for a live interview series I used to conduct. The key elements I wanted to make sure got written into each theme song was that I did entertainment interviews and then the lyricists wrote my theme songs around that idea.

David Loud: How lucky I am that my friends are my collaborators and my inspiration.

Noah Racey: It's about rhythm and timing, and letting go into the mystery.

14. How do you want to be remembered?

David Loud: As a good musician.

Noah Racey: Fondly.

David LoudMore on David:

David Loud has frequently collaborated with Stephen Sondheim. Among his many credits, Loud was the onstage pianist of the original Broadway production of Merrily We Roll Along, music director of Broadway’s Sondheim on Sondheim, and music director of A Bed and a Chair: A New York Love Affair, a collaboration between Sondheim and Wynton Marsalis and starring Bernadette Peters at the New York City Center in 2013. For the 2011/12 Broadway season, David was both musical supervisor of The Gershwins’ Porgy and Bess and conductor of the incidental music for Death of a Salesman, starring Philip Seymour Hoffman. Among his other Broadway credits, he was music director of the original productions of Ragtime, A Class Act, Steel Pier and The Look of Love, and the revivals of She Loves Me, Company, The Boys from Syracuse and Sweeney Todd. This past November David was music supervisor for the world premiere of Lynn Ahrens and Stephen Flaherty’s Little Dancer, directed by Susan Stroman, at the Kennedy Center. He also has the distinction of simultaneously serving as a cast and artistic staff member of two Broadway shows: Terrence McNally’s Master Class, in which he played "Manny" and was musical supervisor; and Kander & Ebb’s Curtains, in which he played "Sasha" and was music director.

Noah RaceyMore on Noah:

Noah Racey, a performer, director, choreographer and educator, made his Broadway debut in the 2001 revival of Follies, and has since appeared in Thoroughly Modern Millie (for which he was also associate choreographer for Rob Ashford’s Tony Award-winning choreography), Never Gonna Dance and Curtains. Noah’s directing and choreographic work has been seen regularly in the Town Hall’s Broadway by the Year series, and for its 2007 summer Broadway Festival production of All Singin’! All Dancin’! He recently starred in Holiday Inn at the Goodspeed Opera House. Noah is founder and artistic director of the internationally acclaimed New York Song & Dance Company.