Last night’s concert at SubCulture was a treat for me, a rare evening in which I got to highlight some of the art songs and poetry settings I’ve been writing over the years. For those of you asking about the songs or their original poems, here’s a set list. Click on the hyper-links to read lyrics, watch videos, buy sheet music, and more.

Thanks for listening!

Georgia Stitt
ALPHABET CITY CYCLE and OTHER SONGS at SubCulture, 3/9/15

FEATURING: Kate Baldwin, Andréa Burns, Bradley Dean, Rebecca Luker, David Schmidt

Georgia Stitt (Piano); Victoria Paterson (Violin); Mairi Dorman-Phaneuf (Cello)

• THE HOLY SECRET (words by Len Schiff)
• PALIMPSEST (words by Georgia Stitt)
  Andréa Burns

• THESE TWO (words by Howard Schwartz)
• LOVE AFTER LOVE (words by Derek Walcott)
  Bradley Dean

WORLD PREMIERE SONGS

• WHAT LIPS MY LIPS HAVE KISSED  (words by Edna St. Vincent Millay)
• WHEN I AM DEAD (words by Christina Rossetti)
  Rebecca Luker

FIRST SONGS

• LONDON (words by William Blake)
• COMPOSED UPON WESTMINSTER BRIDGE (words by William Wordsworth)
  David Schmidt

ONE MINUTE SONG CYCLE

• COMMUNICATION (words by Alicia Partnoy)
• PERMISSIVE SOCIETY (words by Connie Bensley)
• THAT LOOK (words by Faye Greenberg)
• ALAN’S DEAD (words by Faye Greenberg)
• A VERY SHORT SONG (words by Dorothy Parker)
  Andréa Burns

SONNETS

• SONNET (words by Henry William Hutchinson)
  Rebecca Luker
• SONNET XXIX (words by William Shakespeare)
  Bradley Dean

ALPHABET CITY CYCLE (words by Marcy Heisler)

• THE WANTING OF YOU
• ALMOST EVERYTHING I NEED
• I HARDLY REMEMBER
• BLANKET IN JULY
• SUNDAY LIGHT
  Kate Baldwin

Soprano Kate Baldwin, violinist Victoria Paterson and composer Georgia Stitt reunite March 9 at SubCulture to perform Alphabet City Cycle, a song cycle with lyrics by Marcy Heisler about women alone in New York City. Originally recorded in 2009, Alphabet City Cycleconsists of five songs. Show time is 8 PM.

Also on the evening’s program are the world premiere of two songs Stitt composed for soprano Rebecca Luker; performances by Bradley Dean and Andréa Burns of song settings of poems by Christina Rossetti, Derek Walcott, Edna St. Vincent Millay, Shakespeare and Henry William Hutchinson; and a song Stitt wrote with poet Howard Schwartz for her wedding to composer Jason Robert Brown. READ MORE HERE.

Last night, composer/lyricist Georgia Stitt was joined by Broadway powerhouse performers Kate Baldwin, Derrick Baskin, Ta’Rea Campbell, Jeremy Jordan, Caitlin Kinnunen, Zak Resnick, Elena Shaddow, Jessica Vosk, EJ Zimmerman, and a few more special guests at 54 Below with THE DANGER YEAR in concert. BroadwayWorld bring you photos of the evening below! Read more HERE.

On Monday, November 10, The Lilly Awards Foundation with the Broadway at Birdland Series will soon present The Lilly Awards Broadway Cabaret: An evening of showstoppers written by women and performed by Broadway’s Best to benefit The Lilly Awards Foundation whose mission is to promote gender parity at all levels of theatrical production, and develop and celebrate the work of women in the theater. The evening will be directed by Daisy Prince, musical direction by Georgia Stitt and co-produced by Amanda Green and Georgia Stitt.

Guest performers will include Brooks Ashmanskas, David Beach, Heidi Blickenstaff, Jenn Colella, Gretchen Cryer, Jason Danieley, Katrina Rose Dideriksen, Nancy Ford, Matt Gallagher, Adam Guettel, Caitlin Kinnunen,Sydney Lucas, Debra Monk, Kathleen Elizabeth Monteleone, Cass Morgan, Jim Newman, Keala Settle,Douglas Sills, Dale Soules, Elizabeth Stanley, Maria Thayer, Jessica Vosk, Adrienne Warren, Kate Wetherhead, and The Broadway Boys, with special appearances by Jason Robert Brown, Carol Hall, Steven Pasquale, and Valerie Vigoda. The evening will be directed by Daisy Prince, musical direction by Georgia Stittand co-produced by Amanda Green and Georgia Stitt.

Below, Stitt shares with BroadwayWorld her history with the organization, what to expect from the concert and more! Click here for the interview!

This rarely happens. I’ve filed my official, pen-named review (actually I forgot to put a pen name on it so it’s probably out there under my real one…oops). Usually at this point I let it go and get on with the million other things I’m supposed to be doing, but there was something about Georgia Stitt’s concert at the Garrick on Sunday that reminded me why I love ‘event theatre’ (inverted commas because I hate that phrase but it works so I’m using it), and made me want to keep talking.

I got in to theatre because I fell head over heels with the idea of exclusive events. I loved the idea that these shows would not last forever; if you missed it, it was gone, at least for now. The thrill of creating something that was such a celebration it would only happen once formed a huge part of my early career, and the very nature of the ‘one night only’ meant that the projects were always things worth seeing. To go to that effort for something sub-par would not only be a complete waste of time and money, but also kind of soul destroying. It comes back to one of my favourite ‘production sayings’: We do it because we can’t not. That applies hugely with the one-nighters, I think. Up to ten months of work for one night? You must either be crazy or convinced. Read more…