Georgia’s Blog

PPC Benefit

June 12, 2010

7:30 PM

Pasadena Presbyterian Church

585 E. Colorado Blvd.

Pasadena, CA 91101


Broadway comes to PPC for one night only, when husband and wife musical theater composers JASON ROBERT BROWN and GEORGIA STITT share the stage with their talented friends.

JASON ROBERT BROWN has been hailed as “one of Broadway’s smartest and most sophisticated songwriters since Stephen Sondheim” (Philadelphia Inquirer), and his “extraordinary, jubilant theater music “ (Chicago Tribune) has been heard all over the world, whether in one of the hundreds of productions of his musicals every year or in his own incendiary live performances.

GEORGIA STITT has been called “a songwriter with a truly distinctive writing voice; a voice that blends theater, pop and classical flavors into a sound all her own” (Craig Carnelia). Her music is “highly recommended. Reflective and personal, but with the intelligence and craft of good theatre songs” (National Public Radio).


in concert TOGETHER


and in the CHOIR:
Francesca Baer, Christopher Carothers, Robyn Clark, Will Collyer, Cat Davis, Jay Donnell, Scott Douglas, Jesse Einstein, Graham Fenton, Julie Garnye, Lori Jaroslow, Nicole Kaplan, Chil Kong, Tyler Mann, Ashley Marks, Baraka May, Megan McDermott, Eileen Cherry O’Donnell, Erin Quill, James Leo Ryan, Jennifer Shelton, Ali Stroker, Elissa Weinzimmer, Lizzie Weiss, Robert Yacko, Penelope Yates, David Zack

Tickets ($35 general admission)

For church members: $15 tickets available at PPC

Pasadena Presbyterian Church offers sacred space for the city, building a worshipping community whose foundation is the inclusive love of God. Through the hospitality of Jesus and the guidance of the Holy Spirit, we witness to our oneness in Christ by bridging boundaries of age, language, race, class, culture, gender and sexual identity. We welcome all people to serve as Christ’s disciples for our diverse multicultural city and world. By nurturing the mind and spirit, celebrating the creative arts and engaging in local and global mission, we proclaim hope.

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PPC Benefit

Pasadena Presbyterian Church
7:30 p.m. in the Sanctuary
Broadway comes to PPC for one night when
husband and wife musical theater composers
share the stage with their talented friends in a concert to benefit
Pasadena Presbyterian Church.
Tickets ($15 for PPC members; $35 for nonmembers)
will be on sale beginning Sunday, May 30.
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Angels 4 Ana Concert June 7th

How often have you felt like you would do something to help, but you just didn’t know what to do?

I am inspired by my friend Daniel Tatar. A friend of his, Ana Adame, was diagnosed with late-stage lymphoma this last February, and according to Daniel, “her fears were not for herself, but for her son and his future. The cancer treatments have been extensive and intense, keeping her away from work and family.”

It’s heartbreaking to hear about anyone struggling with the burden of medical expenses (even with health insurance, thank you America), but as a mother I am especially moved by her concern for her child. And so was Daniel, who took the “how can I help?” question and provided an answer.

Daniel called me a few months ago and said he wanted to put together a benefit to raise money for Ana to help offset her medical expenses and provide her some financial relief. If he just gathered all his friends in the same place and had them perform, and sold tickets, surely that would amount to something. We’ve all talked about doing it for this cause or that cause. Daniel actually did it, and it’s turned into a beautifully produced, highly professional benefit.

So, I’m performing, and I roped my husband (Jason Robert Brown) into coming, too, as well as my gal pal Susan Egan. And we’re on the same bill as Ana Ortiz (from Ugly Betty) and Megan Hilty (Wicked) and Steve Kazee (Spamalot) and Luke Menard (American Idol) and Valerie Perri (Evita) and Michelle Duffy (Can-Can). Cuz Daniel has some fancy friends.

It’s going to be a great evening of showbiz, but what’s especially unique about this evening is the extremely personal way it came to be. I don’t yet know Ana, but I know Daniel, and I’m amazed at what he’s managed to pull together in such a short time. If I were in need, I hope someone would be so committed about figuring out how to help me.

If you can make it, please come. It’s in Pasadena on June 7th. Details here. There’s a silent auction (7 pm) and a concert (8 pm). (I’m singing one of my own songs and performing with Susan.) But if you can’t make it, maybe you can make a donation. For Daniel. For Ana.

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The Making of MOSAIC

About a year ago I got a phone call from Paulette Haupt, a producer in New York who runs the O’Neill National Musical Theatre Conference. She asked me if I would be interested in writing a piece for a new series she was creating called INNER VOICES. She described the project as kind of a musical version of Alan Bennett’s “Talking Heads,” saying she wondered what would happen if she commissioned writers to write musical monologues. One actor, alone on stage for 30-40 minutes. One or two musicians. Those were the parameters. Go.

Paulette suggested I might want to meet Cheri Steinkellner, a writer based on the west coast (as I am). Cheri’s credits are impressive: in addition to having SISTER ACT currently running on London’s West End, she wrote a musical called PRINCESSES, a movie called TEACHER’S PET and a little TV show called CHEERS. Yeah, okay, I’ll meet her. We had coffee and she pitched me an idea about a woman keeping a video blog. As the woman talked into the computer, the images she saw on her screen would be projected onto an upstage wall. The woman would be archiving her life and at a certain point in the show we’d realize she was pregnant, and she was archiving for her unborn child with the fear that she might not be there to watch the child grow up. It was a great start and it made me excited to think about working with her.

This idea ultimately became MOSAIC, and we spent the fall of 2009 writing it. The first draft Cheri sent me was about seven pages long… this happens, then this happens, then there’s a song, then this happens, etc. And we carved away at it, adding lyrics and music and reshaping the dialogue until we had a version that was about 35 minutes long. We flew to New York, and with Cheri at her computer and me at the piano, we played it for Paulette, who cried at the end. Success.

Paulette was pulling all the details together for the Off-Broadway production, and the other piece she’d commissioned was written by composer Josh Schmidt and playwright David Simpatico. (Their piece is called WHIDA PERU.) Director Jonathan Butterell was examining both pieces, trying to find things about them that linked them together. If you know me, and you know Josh, you can see what a challenge that might have been. I have really gotten to know Josh and his work through this process, and I think he’s an astounding musician and an inspiring composer, but as he said to me during the rehearsal process, “We don’t even breathe the same musical air.”

Cheri and I, along with Paulette and Jonathan, began talking about casting and all came to the conclusion that the piece would be a natural fit for Heidi Blickenstaff. We made an offer and hoped she’d say yes. Thrillingly, she did. Steve Marzullo, a friend and colleague I respect and admire but had never worked with, agreed to music direct. We found Simon Kafka to play the guitar parts, which then meant I had to write guitar parts. We were off and running.

Creative team in place, we rehearsed in New York for the month of March and ran for sixteen performances in April at Primary Stages, housed in 59 East 59th Street Theater. The rehearsal process was pretty standard, I suppose, except it was exhausting for Heidi never having anyone else as a scene partner. And the piece asked her to get very emotional and very personal. She’s a total rock star, because she did it all, sometimes crying her way through rehearsal (often making everyone else in the room cry, too), sometimes screaming, trying things, rejecting them, keeping them, elaborating on them, challenging us to make our work specific and correct. Meanwhile, our director Jonathan had such a respect for the writing, for the actor’s process, for making the rehearsal room a safe space where risks can be taken and process can grow. He is musical. He is thoughtful. He is organized. Cheri and I have made a few small changes at his request, but really the overall sense in the room has been that the script has something to say and it’s everyone’s job to honor it and bring it to life. Ooooohhhhhh what a treat it is to have so much space to grow.

And then we teched, and then we opened, and then we got reviewed, and then we closed. It was a quick chapter, the birth of this little piece. My very favorite thing about the process, and what I say when anyone asks me, is that it was a thrill to be commissioned to write a piece and then get to see it come to life. We didn’t get stuck in development. We didn’t have seven hundred readings. We didn’t have to fire anyone. There were no legal battles or personality conflicts. We just wrote it, and Paulette just did it. For giving me THAT experience on my first Off-Broadway show, I will always be grateful. Thanks, all.

P.S. In the works… We plan to write a companion piece to MOSAIC: our own second act. We’ve recorded three of the songs with Heidi, which I hope to release on my next album. And the sheet music to those three songs is available here (“Not Yet”) and here (“You Never Know”) and here (“Lullaby”).

music direction and piano STEVE MARZULLO

produced by PAULETTE HAUPT and PRIMARY STAGES at 59 East 59th Street
producing associate SUSAN ELLIOT
stage manager BOB BENNETT
assistant stage manager AARON GONZALES
costume and set design DANE LAFFREY
lighting design JENNIFER SCHRIEVER
sound design TOBY ALGYA
video design ROCCO DISANTI

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As if there weren’t enough ways to promote yourself online, I have now succumbed to Twitter. If you TWEET like a TWEETY-BIRD, then please follow me. I’m georgiastitt. But you knew that. Thanks. Just trying to keep up with the kids.
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