Hail, Cryer & Ford! I met Gretchen and Nancy in the summer of 2017 in New York. Over brunch on the Upper West Side I persuaded them to co-host a docu-concert of their songs with Nancy Maier and me here in Cleveland. I had known and loved their work since I was 16 and bought the LP of their first New York show, Now Is the Time for All Good Men. Still have it…

How is it possible that none of Lerner & Loewe’s five major musicals—each so far removed by date and distance from the America of its own time—has ever sounded unfashionable or untruthful, corny or clichéd? Emily Altman, President of the Lerner & Loewe Foundation, answers this question.

There were so many written tributes paid to Burt Bacharach, who left us February 8 at the age of 95, that I would feel no need to add my own words now were it not for the paucity of space given to one of his finest projects: his only Broadway score, Promises, Promises (1968), with lyrics, as usual, by the agile and underrated Hal David.

Everybody who knows more than a dozen musicals knows that at 21 Barbra Streisand became a Broadway star as Fanny Brice in Funny Girl. And nearly everybody knows that two years earlier, she stole the show in I Can Get It for You Wholesale, wildly swiveling in her office chair as the sexually frustrated Miss Marmelstein.

The Musical Theater Project just closed its 15th annual “Christmas Cabaret” with sold-out performance at Edwin Too on Shaker Square—and once again audiences were surprised to hear an often-forgotten fact revealed by NANCY MAIER, NATALIE GREEN and JOE MONAGHAN.

November 26 marks the first year of Stephen Sondheim’s passing, and like you, I have been thinking a lot about the loss of this great artist. No doubt there have been hundreds of us—men and women who found the confidence to make a career in musical theater thanks to Sondheim’s generosity of spirit and dedication to teaching.

It’s rare that something you created 37 years ago is still admired decades later. The first LP Ken Bloom and I ever produced – Geraldine Fitzgerald in Streetsongs – was recently released on CD on The Musical Theater Project’s Harbinger label, and though it won raves back in the day from The New York Times and The Wall Street Journal, it appears to be a hit all over again.

When my father ran the Masterworks division of Columbia Records, the company released specialized projects under the “Legacy” label. They were boxed sets, elaborately and impeccably produced, and packaged with style and class including extensive notes.

Did you know that The Musical Theater Project has its own national record label? For 37 years many lovers of musical theater, cabaret and the Great American Songbook have considered Harbinger Records to be a kind of musical oasis.