Censorship in Texas

I received this letter from my friend Kaitlin Hopkins, who is the head of the musical theater department at Texas State University. I am sharing it here. Regardless of your thoughts on religion or gay rights, these are issues of censorship, hatred, bigotry, and misinformation. If you are in a position to support Kaitlin and her student, I encourage you to do so. Thanks. G.

Dear Friends in San Antonio and Austin (and a few in New York/LA too),

One of my students is working at the San Perdro Playhouse in San Antonio, Texas where they are doing Terrance McNally's play Corpus Christi.

It was greatly upsetting to hear that protestors were showing up every night of the run (thru July 10th) due to the subject matter. If you are not familiar with the play, it depicts Jesus and the Apostles as gay men living in modern-day Texas. See photos of the protests.

My student Joe (who is in the production of Dirty Rotten Scoundrels in other theater space there) was squirted with holy water by a Catholic woman in the crowd last night trying to get into the theater. I am not sure if she thought it might melt him like the Wicked Witch, ensure he not burn in hell or just give him some relief from the heat in Texas right now but regardless of her reasons, I am asking friends to help in whatever way you can to show support for this play, the theater and this company of actors and director who are going through this. Last night the casts were not allowed to leave the theater once they were in the building.

Those of you that are in the area, please go support the production and let your friends know about it. I am notifying the two student organizations on the Texas Sate campus that support the gay student community here, LAMBDA and the Bobcat Equality Alliance so they can lend their support and stand in solidarity with this company. This breaks my heart, I have many gay young men and woman students here who need to know they are not alone and can be who they are and not be humiliated or punished for it.

Those of you in New York: if you have blogs or in any way can let people know, I would greatly appreciate it. Last night the protest crowd was about 30 strong, some with signs that were just awful. My guess is the numbers will increase next week. I am hoping to get this company some support.

Internet Piracy of Sheet Music Panel at the Dramatists Guild Conference

Watch live streaming video from newplay at livestream.com

How To Treat Your Pianist

Oh my goodness she makes me laugh. I do not have issue with point number 6, though. Do you?

Making A Record

Of all the things I do, I think being in the recording studio is my favorite. Of course, it's also the most expensive thing I do, so I don't get to do it as often as I'd like. One of the things that has most surprised me about being a grown-up professional musician is how little of your time is actually spent making music. But when I DO get to sit at a piano and play -- either into a microphone or for an audience or just for the pleasure of playing -- it's the best part.

Several months ago this musical theater friend of mine, Robert Creighton (who goes by Bobby, so I'll now start calling him Bobby), asked me if I might like to help him make his first solo album. Bobby has been in six Broadway shows (currently ANYTHING GOES) and he's written a show about Jimmy Cagney (called CAGNEY) that's getting a lot of attention. Bobby felt like if he made a record of old-fashioned songs, people would buy it. Only he didn't want the album to feel old fashioned. He wanted fresh, new arrangements of the songs that were suited to the kind of singing he most enjoys. Bobby knew that that kind of arranging is exactly what I did on my musical HELLO! MY BABY, so he asked if I'd like to do it for him, as well.

I've recorded my own debut album, and I've played on and written for a lot of other people's albums, but Bobby and I were starting from scratch. He'd say, "What if we recorded 'You Are My Sunshine?" and I'd say, "How do you hear it? Is it a ballad? Is it an uptempo? Is it a solo? A duet? Is it guitar-driven, piano-driven, rhythmic, lyrical? Is it happy? Are you singing all of the verses? What's the right key for you? Do you like the intro or should we skip it?" We did this over and over again until we had a master list of songs we liked and a template for how each of the songs might go so that the album was diverse and interesting but still felt like it all came from the same source.

It's interesting to consider that people don't really listen to records the way they used to. In 2007 when I released "This Ordinary Thursday" my record producer told me that I was the first album on their label (PSClassics) that sold more song downloads than physical copies. It used to be that you could have a hit single on one side of the vinyl and then you could put some less-good "filler" song on the B-side knowing that people would buy it just to get the hit. Nowadays, people can sample the 30-second preview of the song on iTunes, and if it's not as good as the rest of the album, they'll just skip it.

As we've been recording, I've asked Bobby to consider the order of these songs. I remember putting on a record in my room and listening to it from top to bottom. But now we listen to music in our cars, on our iPods, while we work out, and there are many more things to consider. Your first track still has to be fantastic, or people don't listen to the second track. But people who listen in their cars often get four or five songs in and then they've arrived at their destination. They might not ever get to the end of the album. And so many people just pick their favorite tunes and put them in shuffle play, so maybe it doesn't matter at all, anyway.

Unless it does. Sometimes a person will still put on a record and listen to the whole thing consecutively. Maybe they just want to sit and experience your music, top to bottom, in the order you intended. And for those people, we try to keep in mind that the best albums have flow. They have balance. The tempo, energy, key, and style of one song will lead you appropriately into the next. Great albums are conceived as great albums.

So, back in January Bobby and I recorded five songs. And last week, in late May, we recorded seven more. I flew to New York on Sunday. On Monday, we rehearsed all day, making sure we had communicated about all the ideas for the arrangements, making sure we'd thought through the performances. We talked about how singing on mic is so different from singing on stage. On the microphone, I can hear whether or not the singer is smiling. Joy can be captured in an audio performance. We rehearsed Bobby's guest singers. (They are unbelievable... but I won't spoil the announcement for him.) On Tuesday, we recorded the rhythm section - piano (me), bass, drums, and guitar. We recorded most of these things to click track (metronome) so the time would be unwavering. On Wednesday, we brought in a horn section (trumpet, trombone, sax) and recorded them as overdubs to the rhtyhm tracks we'd already recorded. On Thursday Bobby did most of his solo vocals as overdubs over the rhythm and horn charts. And on Friday, we brought in the guest vocalists and recorded them in duets (and in one case, in a barbershop quartet) with Bobby. We spent a lot of time on Thursday and Friday doing rough edits, comping together what we call a "rough mix," which means all of the layers are there, but they are not yet balanced against themselves.

So what we have now is like raw footage for a film, and now the editing begins. Next week we start mixing, or balancing the sounds. After that, there's mastering, which is the final post-production step that evens out the levels and keeps you from having to turn the volume up for one track and down for the next. And then Bobby will have photos made and a cover and a CD jacket designed. And then we'll have made a record. Simple as that.

(photo l to r is Eric Davis (guitar), Bobby Creighton, me, Larry Lelli (drums) and Randy Landau (bass))

College MT Programs?

I've been asked to compile a list of colleges that have prominent Musical Theater programs. Basically the list should include any school that would have enough kids studying musical theater that they would book master classes, have a library of sheet music, produce a non-student-run musical, etc. Here's what I've come up with so far. What am I missing? Leave comments! Thanks!


US

Abilene Christian University (TX)
AMDA (NYC, LA)
American University (DC)
Arkansas State University (AR)
Avila University, Kansas City (MO)
Baldwin-Wallace College (Ohio)
Ball State (IN)
Bates College (ME)
Belhaven University, Jackson (MS)
Belmont University (TN)
Berklee College of Music (MA)
Birmingham Souther University (AL)
Boston Conservatory (MA)
Bowling Green State University (OH)
Brigham Young University (UT)
Brown University (RI)
CalArts (CA)
CalPoly (CA)
Cal State Fullerton (CA)
California State University Chico (CA)
CAP 21 (NY)
Capital University, Colombus (OH)
Carnegie Mellon (PA)
Catholic University (DC)
Catawba College (NC)
Central Michigan University (CMU) (MI)
Chicago College of the Performing Arts (CCPA) at Roosevelt U. (IL)
Cincinnatti Conservatory (CCM) (OH)
Clarion University (PA)
Coastal Carolina University (SC)
College of the Canyons (California)
Colombia College, Chicago (IL)
Cornerstone University, Grand Rapids (MI)
Cornish College Of The Arts (WA)
Covina Center for the Performing Arts (California)
East Carolina University (NC)
Drake University, Des Moines (IA)
Drew University (Madison, NJ)
Eastern Michigan University, Ypsilanti (MI)
Elon University (NC)
Emerson College (MA)
Fairleigh Dickinson University, Madison (NJ)
Florida Atlantic University (West Palm Beach, FL)
Florida State University (FL)
Florida International University (FL)
Harrison School for the Visual and Performing Arts (Lakeland, FL)
Hartt School of Music (CT)
Hollins University, Roanoak (VA)
Hofstra (NY)
Howard University (DC)
Hunter College (NY)
Illinois Wesleyan University (IL)
Indiana University (IN)
Ithaca College (NY)
James Madison University, Harrisonburg (VA)
The Juilliard School (NY)
Lees-McRae College (close to Boone, NC)
Liberty University (Lynchburg,VA)
Loyola University, Chicago (IL)
Manhattanville College
Marymount Manhattan (NY)
Milliken University (IL)
Middle Tennessee State Univ (TN)
Missouri State Univeersity (Springfield, MO)
Montclair State University (NJ)
Muhlenberg College (Allentown, PA)
New World School of the Arts (FL)
New York Film Academy (NY)
New York School of Film and TV (NY)
Northwestern (IL)
North Carolina School of the Arts (NC)
North Dakota State University, Fargo (ND)
Nova Southeastern Univeristy, Ft. Lauderdale (FL)
NYU (Tisch, Playwrights, Steinhardt) (NYC)
Oakland University (Rochester, Michigan)
Ohio Northern University (OH)
Oklahoma City University, OKCU (Oklahoma)
Oral Roberts University (OK)
Otterbein University (OH)
Ouchita Baptist College (AR)
Pace University (NY)
Pacific Conservatory of the Performing Arts at Allan Hancock College (CA)
Patel Conservatory, Straz Center for the PA (Tampa, FL)
Pepperdine University (Malibu, CA)
Penn State (PA)
Plymouth State University, Plymouth (NH)
Point Park University (PA)
Rockford College (IL)
Rowan University, Glassboro (NJ)
Samford Univeristy (AL)
Sam Houston State University (Texas)
San Diego State Univ (CA)
Savannah College of Art and Design (SCAD) (GA)
Seton Hill University, Greensburg (PA)
Shenandoah Conservatory (VA)
Shorter College (Rome, Georgia)
Southern Methodist University (Dallas, TX)
Suffolk University, Boston (MA)
Syracuse University (NY)
Temple (Philadelphia, PA)
Texas Chrisitian University (TX)
Texas State University (San Marcos, TX) new program
Troy University (Troy, AL)
Tulane Univ. (New Orleans, LA)
UCLA (CA)
The University of Alabama (Tuscaloosa, AL)
The University of Arizona at Tuscon (AZ)
The University of the Arts (PA)
The University of California, Irvine (CA)
The University of Central Florida (FL)
The University of Central Oklahoma (OK)
The University of Cincinnati (OH)
The University of Colorado Boulder (CO)
The University of Findlay (OH)
The University of Florida Gainesville (FL)
The University of Georgia Athens (GA)
The University of Oklahoma (OK)
The Unviersity of Maryland, College Park (MD)
The University of Memphis (TN)
The Univeristy of Miami (FL)
The University of Michigan (Ann Arbor, Michigan)
The University of Minnesota (Duluth, MN)
The University of Mississippi (MS)
The University of Missouri, Kansas City (MO)
The University of Montevallo (Montevallo, AL)
The University of N. Carolina at Chapel Hill (NC)
The University of N. Carolina Greensboro (NC)
The University of Nebraska, Lincoln (NE)
The University of North Carolina at Pembroke (NC)
The University of Northern Colorado (CO)
The University of South Florida (Tampa, FL)
The University of Southern California (USC) (CA)
The University of Southern Colorado (CO)
The University of Southern Illinois (Carbondale, IL)
The University of Southern Maine (ME)
The University of Tampa (FL)
The University of Tennessee (TN)
The University of Texas (TX)
The University of Tulsa (OK)
The University of Wisconsin at Steven's Point (Steven's Point, WI)
Valdosta State University (Valdosta, GA)
Vanderbilt University (TN)
Virginia Commonwealth University (Richmond, VA)
Viterbo College (WI)
Vassar College (Poughkeepsie, NY)
Wagner College (NY)
Weber State University (Ogden, Utah)
Webster University (MO)
West Texas A & M University, Amarillo (TX)
Western Carolina University (Cullowhee, NC)
Western Illinois University (IL)
Western Michigan University (MI)
Westminster College of the Arts at Rider University (NJ)
Wichita State University (KS)
Wright State University (OH)
Yale University (CT)


PROMINENT HIGH SCHOOLS
Booker T. Washington- Dallas
Campolindo HS- Moraga (CA)
Dreyfoos School of the Arts- Palm Beach, Fl
The Duke Ellington School (Baltimore)
Episcopal High School- Houston
Hamilton Academy of Music - Los Angeles, CA
High School of Visual and Performing Arts- Houston
Humphrey's School-TUTS- Houston, Tx
Interlochen Academy Interlochen Michigan
LACHSA - Los Angeles, CA
LaGuardia High School (NY)
NC School of the Arts High School Division- Winston-Salem, NC
New World School of the Arts- Miami
NOCCA (New Orleans Creative Center for the Arts)- New Orleans
North Carolina Theatre School Raleigh, NC
Orange County High School of the Arts (California)
Pebblebrook High School (Atlanta)
Pinellas Center for the Arts at Gibbs High School- St. Pete Fla
Stratford High School- Houston
Virginia Governor's School of the Arts- Norfolk,Va
Walnut Hill School for the Arts - Natick, MA


INTERNATIONAL SCHOOLS
The Arts Educational Schools (ArtsEd) (London) (UK)
The Australia Institute of Music (Australia)
Bird College, London (UK)
The Brit School (London) (UK)
Canadian College of Performing Arts (Victoria, Canada)
Central School of Speech and Drama (UK)
Concordia University (Montreal, Canada)
Danske Musicla Akademi (Denmark)
Dudley College (West Midlands, UK)
Griffith University (Australia)
Guildford School for Acting (UK)
Italia Conti Academy, London (UK)
Knightswood, The Danse School of Scotland (Scotland)
Laine Theatre Arts (UK)
Liverpool Institute for Performing Arts (LIPA) (UK)
London Studio Centre (London, UK)
Monash University (Australia)
Mountview Academy of Theatre Arts (London)
National Institute of Dramatic Art (NIDA) Sydney (Australia)
Performers College (London)
Randolph (Toronto, Canada)
Royal Academy of Music (London)
Royal Scottish Academy of Music and Drama (UK)
Royal Welsh College of Music and Drama (UK)
Sheridan (Ontario, Canada)
St. Lawrence College Brockville (Ontario, Canada)
Trinity Laban College of Music and Dance (UK)
The University of Ballarat (Ballarat Victoria) (Australia)
The University of British Columbia (Vancouver, Canada)
The University of Gothenburg, Academy of Music and Drama (Sweden)
The University of Toronto (Canada)
The University of Western Ontario (Canada)
The Urdang Academy (UK)
Victoria College of the Arts (Australia)
Western Australian Academy of Performing Arts (WAAPA) (Australia)

Musical Theatre Talk Radio Interview

Listen here to today's radio interview. Trish Causey and I talked a lot about writing, music directing, TV work, balancing motherhood and career, and plans for the future. (My part of the program starts at about 8:50.)

Coachings: Pop/Rock

I give several private coachings each week to actors and singers who book an hour of one-on-one time in my studio. I work from the piano and guide the actors through song interpretation or vocal technique or audition prep. Each coaching is its own unique little thing, but today an actor was specifically looking for a pop/rock song. Ah, yes. That again.

Musical theater actor/singer/dancer types are being asked more and more to sing pop/rock, and often they have no idea what to do. They've spent years tap dancing and singing Rodgers and Hammerstein, Sondheim, Charles Strouse, and Ahrens and Flaherty and now they've got a big audition for one of the more pop/rock shows. (Think Spring Awakening, Next To Normal, Rent, Rock of Ages, Jersey Boys, Mamma Mia.... etc.) Actors want you to believe they can do everything, that they are malleable, versatile, skilled chameleons. Sometimes this is actually true.

But the actors who have for years relied on, well, acting, are freaked out at the idea that they will be required to stand in the middle of an audition room and sing a pop song. Here's why.

The big difference between musical theater songs and pop (radio) songs is they way they function. For the most part, a musical theater song exists to get a character from point A to point B. Over the course of the song, a character will have a realization, make a discovery, choose a direction or solve a problem, leading us from one dramatic scene to the next, keeping the show moving forward. If a musical theater song does not have direction to it, an actor has nothing to play and the show stalls. We audience members don't want that. We are sitting in the seats of the theater, waiting to see what's going to happen to our character. We are listening. We are invested. We do not want to be here all night.

A pop song, however, is usually more of an elaboration of a feeling. Pop songs are designed to be sung along with. They make you smile or they make you ache or they make you dance. If you can't sing along to the chorus by the second time you've heard it, it's probably not going to stick. So if you try to act your way through a pop song, it's likely going to be pretty awkward.

I remember one coaching where the actor asked, with earnest sincerity, "Won't you take me to... Funky Town?"

So here's the challenge. You've got to find a song that lets you rock out like a superstar on stage at Madison Square Garden, but you've also got to convince the panel that you can hold your own in a role in a musical.

I'm going to jump ahead and tell you that the answer is, and always is, you've got to figure out who YOU are when you're wearing this particular costume. In the same way that you'd expect to dig deep into your personal experience to figure out where you and Nathan Detroit meet, you've also got to find your inner rock star.

Here's what I think. I think the casting directors and the creative teams are asking you to show them what you look like when nobody else is looking. How do you sound when you're in the shower? What's on your iPod at the gym? What's in your car on a road trip? What is the music that you feel, deep in your soul? In today's coaching I asked my singer what pop music (recorded in the last ten years please, and five is better) he belted out in his car. His first two answers were Maroon 5 and Kings of Leon. So we spent some time on YouTube watching the videos of their songs, critically asking ourselves these questions.

1. Does this song have enough music in it? Is there an actual melody for me to sing? Is it going to sound decent when it's played on just a piano? Is it in my vocal range? (Or could it be if I raised or lowered it a step or two?) Is it as satisfying to sing as it is to listen to?

2. Once I cut the guitar/keyboard/bagpipe solo out of the middle, is there enough song left for me to use? Is there an obvious place to end? Is there a full song here or just a really great 16-bar cut? (Both are useful.)

3. Is the sheet music available? (Everything we found today was available for $5.25 at www.musicnotes.com.) Important: Is it in the same key as the recording? Or perhaps better still: Is it transposable into a key that's better suited for me?

4. Are any of these lyrics going to make the panel cringe? Do I believe what I'm saying? Will I be able to be authentically me when I am standing in that room, singing this song?

5. Can I sing this song without just imitating the original recording artist? Or if I DO imitate the original recording artist, do I sound awesome? (God forbid you sound like a pale imitation of the only other person we've ever heard sing this song.)

Ultimately, my client and I found a few songs today that he is going to learn, and once we've worked on them a bit he'll choose what's the most effective for him. His goal was to find the thing that would not make him feel like an idiot in the "I-don't-really riff/sing-gospel/rock/improvise" category. If we find that song -- or ideally, two contrasting songs -- we will put them in his book, right after Rodgers and Hammerstein's "If I Loved You."

And my client sings a mean "If I Loved You."

Disney Social Media Moms Celebration 2011

I spent Thursday and Friday participating in an amazing event. My pal Susan Egan and I were asked to be the closing event at the Disney Social Media Moms Celebration. Susan and I perform together often, and she has a longstanding relationship with Disney dating back to the 90s when she was the original Belle in the Broadway production of Disney's BEAUTY AND THE BEAST. (Look how gorgeous she is!) The convention was a gathering of extremely media savvy mom bloggers, and we were asked to put together an hour-long set that incorporated singing and talking on the topics of motherhood, social media, and balancing home and career. (I feel like I am both expert and novice at all of those things!)

Susan and I wondered, what on earth qualifies us to talk to this group of women? And as we sat down to build our show, here are some of the things we remembered. Susan had one of the very first websites for a Broadway actress, and I have been blogging since 2006. We are both active on Facebook and I have a busy Twitter account. (Susan now has one, as well, as the result of meeting so many inspiring women this week!) And we've done entire shows about motherhood before. (Remember our "All Knocked Up" show? Here's an interview we did as we were putting it together two years ago.)

So Sus and I put together a show that consisted of a lot of my tunes but also a lot of found material, and we yammered on quite a bit between tunes.

1. THE ME OF THE MOMENT (music and lyrics by Georgia Stitt)
Brand new song of mine, written specifically for Susan Egan about the many roles (wife, mother, performer) real women are required to play. (To be released on my next album, with Susan singing.)

2. MY LIFELONG LOVE (music and lyrics by Georgia Stitt)
A woman recounts the story of falling in love with Adam, a boy who played the clarinet. (Released on Lauren Kennedy's album "Here and Now" on PSClassics.)

3. I WON'T SAY I'M IN LOVE (from Disney's HERCULES) (music by Alan Menken, lyrics by David Zippel)
Susan's song from Hercules that her character Meg sings, sung here with the movie's animation projected on a screen behind her.

4. THIS ORDINARY THURSDAY (music and lyrics by Georgia Stitt)
Title song of my CD, about falling in love with a city and falling in love with an extraordinary man.

5. I NEVER EXPECTED THAT (music by Georgia Stitt, lyrics by David Kirshenbaum and Georgia Stitt)
Social Media song -- "The things the internet says about you/ Are there forever whatever you do..."

6. CHILDREN WILL LISTEN (music and lyrics by Stephen Sondheim)
Relevant in a new way in the context of bloggers. "Careful the things you say. Children will listen."

7. I GET TO SHOW YOU THE OCEAN (music and lyrics by Georgia Stitt)
The Cape Cod song I wrote for my daughter Molly on her first birthday. Recorded on "This Ordinary Thursday" by Faith Prince.

8. NINA DOESN'T CARE (music and lyrics by Susan Egan and Brian Haner)
Susan's original tune about how playing a princess on Broadway was a little bit different from raising a princess.

9. DEFYING GRAVITY (music and lyrics by Stephen Schwartz)
Because isn't that what we're all trying to do?

10. BEAUTY AND THE BEAST MEDLEY (music by Alan Menken, lyrics by Tim Rice)
Susan's signature Disney song, supported with backstage video from the original production.

11. MOMSENSE (based on the William Tell Overture, music by Rossini, lyrics by Anita Renfroe)
Seriously the best encore ever written.

WHILE I was on stage, I got nearly 50 new followers on Twitter, and in the days following the network continues to grow. I'm just beginning to learn about all of it, but I've got to believe that social networking like this can only contribute to sales on iTunes and www.musicnotes.com. Plus, it was great for my ego. FASCINATING.

If you're searching, my songs can be found on iTunes and the sheet music is available on www.musicnotes.com. Details for easy downloads HERE.

Thanks to all of the women (and some men, too) who made this week possible. What a treat to be included!

Australia, CAP21 Gala, March Update!

So... I went to Australia.

It's kind of a crazy thing that every now and then I get to put on a dress and do a concert in a foreign country, but two weeks ago Australia got to see me do exactly that. In beautiful Brisbane (which they call Bris-Vegas for no obvious reason), I co-hosted an evening with my fantastically talented fellow songwriter JOHN BUCCHINO, featuring the song stylings of singers MARIKA AUBREY, ANDREW CONAGHAN, MADELINE CAIN, ANGELA HARDING, LUKE KENNEDY and TOD STRIKE. And then, less than a week (and a few master classes) later, I had a solo concert in Melbourne, adding the vocal talents of SOPHIE CARTER, AVIGAIL HERMAN, and CHRISTINA O'NEILL. My husband Jason was also on tour in Australia, and so our kids were able to come with us. Kangaroos were seen; it was a great time! Thanks to everyone who made that trip possible, especially JEREMY YOUETT of Your Management International and MEL ROBERTSON, stage manager extraordinaire.

The past few months have been jam-packed, keeping me the best kind of busy. In January HELLO! MY BABY was presented at the Goodspeed Festival of New Voices in Connecticut, and the show was a big success. We had some incredible actors from the senior classes of the Hartt School of Music (Hartford) and the Boston Conservatory, and they brought real joy and fun to the presentation. This past weekend we did a backer's audition in Santa Barbara, CA (see photo), and we're considering a number of possibilities for the world premiere of the show, hopefully next season. I'll certainly keep you posted here if there are announcements to be made, but if you'd like to see pictures of the show and read about its progress, find our "HELLO! MY BABY" fan page on Facebook!

In February, writing partner JOHN JILER flew out to LA and we began a major rewrite on our show BIG RED SUN. For those of you who don't live in this particular hell, writing a musical means writing a first draft and then rewriting it over and over again. The more opportunities you get to work on a show, the more you learn about it. And after the NAMT Festival last fall, we learned quite a bit. So BIG RED SUN is getting a bit of a facelift and will hopefully be ready to show off her (his? her?) fancy new smile again by the end of the summer.

And FINALLY, right around President's Day, I had an original piece of music featured on NPR. Take a look.

UPCOMING:
On April 11th, JASON ROBERT BROWN and GEORGIA STITT (that's me!) will be honored in a gala concert for CAP21 at the Kaye Playhouse at Hunter College in NYC. Special guests will include (this is good stuff, y'all): DAVIS GAINES, AISHA DE HAAS, CHRISTOPHER JACKSON, BRIAN d'ARCY JAMES, LAUREN KENNEDY, JESSICA MOLASKEY, KELLI O'HARA, a 30-voice choir and a nine-piece band. OH YES.

Details here:
http://www.cap21.org/gala.html

and here:
http://www.facebook.com/event.php?eid=203567582992942

Jason and I don't perform together often. This is going to be a good one. Hope to see you there!

I'm off this weekend to be the guest speaker at Disneyworld for a Celebration of SOCIAL MEDIA MOMS. I'm singing original songs (with SUSAN EGAN) and talking about Twitter. Help me look more impressive by joining Twitter just to follow me!

Thanks for reading, you guys. I remain so grateful that you are listening.

BEWARE THE IDES OF MARCH!

XO
Georgia