THEATER
Lincoln Center Theater’s
War Horse
Vivian Beaumont Theater
160 W. 65th St.
212-239-6200
My granddaughter Jessica and I viewed this breathtakingly exciting WW I drama with its anti-war sentiment embodied by life-sized equine puppets who lope, whinny, and nuzzle, most notably Joey who “grows” from foal to battle-tested and barbed wire-averse, no-man’s-land warrior. Joey is the pet horse of young teenager Albert Narracott, marvelously played by Seth Numrich. In fact the entire ensemble of players is wonderful, all the more remarkable, since none crossed the ocean from the West End to Lincoln Center. Much as I loved the London original, as did Grandson James. [ Click here: This Time I Saw London By James Feinberg ] this tightened and transporting version is distinguished by the fact that the 13 people who invest Joey, Topthorn, Coco and Heine with their balletic efforts, are seasoned actors – not solely puppeteers. A combination of designers Adrian Kohler and Basil Jones, for the Handspring Puppet Company, based in Cape Town and directors Marianne Elliott and Tom Morris, endow the steeds with a dexterous ability to ascend the Beaumont’s orchestra staircases and rear-up majestically among the awed audience, as fully realized characters.
For James Feinberg’s War Horse review…
Click here: My Kind of New York - Grandkid's Eyeview - May 2011
Roundabout Theater Company’s
Anything Goes.
Stephen Sondheim Theater
124 W. 43rd St.
212-239-6262
Sutton Foster is a treasure, and a triumph of versatility as Reno Sweeney. She tap-dances as convincingly as Eleanor Powell, acts with the brio and brassiness of Merman and most important, e-nun-ciates (are you listening Patti LuPone?) so that you now detect every syllable of Cole Porter’s unforgettable better words, even four letter words, of praiseworthy prose. Scene 8 of Act One will lift you out of your seat, as Foster, the ship’s sailors and the passengers do a tap dance number of the title song that is goose-bumpingly thrilling. Kathleen Marshall and Rob Fisher, do a fantastic job, as respectively Director and Choreography and Music Supervisor and Vocal Arranger. The highest compliment I could pay Colin Donnell who plays Sweeney’s opposite number Billy Crocker is that he sings my favorite of all Porter songs, All Through the Night with all the beauty and bravura of Howard McGillen in the 1987 Lincoln Center revival. Huzzahs to John McMartin, Joel Grey and Jessica Walter in key supporting roles. Anything Goes is the Coliseum, the Louvre Museum and the nimble tread of the feet of Fred Astaire. In short, it’s the Top!
The Book of Mormon
Eugene O’Neill Theater.
230 W. 49th St.
212-239-6200
For James Feinberg’s The Book of Mormon review …
Click here: My Kind of New York - Grandkid's Eyeview - May 2011
Arcadia
Ethel Barrymore
243 W. 47th St.
212-239-6200
Review by Guest Critic Leonard Elman
This was the third time I saw it; and while I still enjoyed it, I had some reservations about the production. I first saw the original production in London with Rufus Sewell as Septimus Hodge, the tutor and Felicity Kendell (playwright Tom Stoppard’s then girlfriend) as Hannah Jarvis. In the 1995 NY production Billy Crudup portrayed Septimus, Blair Brown was Hannah and Victor Garber played Bernard Nightingale, the Don. Both productions were extremely well cast. The current production’s women were not up to the level of those in the two previous productions. Director David Levaux obviously had something else in mind when he tolerated Bel Powley’s shrillness as Thomasina Coverly and Lia Williams’ much too flighty interpretation of Hannah Jarvis. Conversely, the male leads (Billy Crudup again, but this time as Bernard, Tom Riley as the tutor and Raúl Esparza as the modern times, mathematician brother were uniformly excellent). The play is a dazzler, requiring rapt attention yet is always gratifying to invest one’s time.
Aaron Tveit
Catch Me if You Can.
Neil Simon Theater
250 W. 52nd St.
877-259-2929
Here’s what Catch Me if You Can has going for it. Two words: Aaron Tveit, as the con man Frank W. Abagnale (done on the screen by Leonard DiCaprio). Tveit (pronounced Tuh-vate) has in a meaty song-and-dance role that he performs admirably. Not a surprise to any of us who saw the marvelous musical Next to Normal, with Alice Ripley, Brian d’Arcy James, Jennifer Damiano and Tveit as a conflicted teenager, whose mother (Ripley) has bipolar disorder. Norbert Leo Butz as the FBI agent who Tom Hanks played in the 2002 film, succeeds here as he did not in Dirty Rotten Scoundrels and Tom Wopat is typically solid in a minor role. The problems with this show start and end with a pedestrian book by Terrence McNally, a reminiscent score by Marc Shaiman, unwieldy lyrics by Shaiman and Scott Wittman and utterly derivative choreography by Jerry Mitchell.
How To Succeed in Business without Really Trying.
Al Hirschfeld Theater
302 W. 45th St.
212-239-6200
The big surprise to me is how utterly multi-talented Daniel Radcliffe is as
J. Pierrepont Finch in this first-rate revival of the Frank Loesser/Abe Burrows/Shepherd Mead classic. Given his stiff-upper-lip Harry Potter pedigree I was anticipating of Radicliffe the kind of wimpy performance Matthew Broderick displayed in the sorry 1994 revival. I am not suggesting that Radcliffe will make you forget Robert Morse, who wowed us all in the original 1967 production, but I can certify that he sings well, dances commendably and is genuinely at ease with Rob Ashford’s stellar direction and choreography. Plaudits to John Larroquette as his boss J. B. Biggley (a role assumed in the original production, by Rudy Vallée) and. Ellen Harvey as the executive secretary Miss Jones who reminds me of the wise-cracking Eve Arden.
For James Feinberg’s How to Succeed review, Click here: My Kind of New York - Grandkid's Eyeview - May 2011
Jerusalem.
The Music Box
239 W. 45th St.
212-239-6200
To that devoted legion of critics who have sung the praises of this alleged black comedy, I can only echo – the meretricious adjective of lead actor Mark Rylance as Johnny “Rooster” Byron – Bollocks!
Wonderland.
Marquis Theater
46th St.
Btwn B’Way & 8th Ave.
Final performance May 15
For James’s Review of Wonderland and our backstage interview
of Karen Mason.Click here: My Kind of New York - Grandkid's Eyeview - May 2011
Playwrights Horizon
Kin
(212) 279-4200
This is an earnest, yet unfulfilling play by Brit-born writer Bathsheba Doran, who in Scene I has Simon, a self-absorbed Columbia University professor (Matthew Rauch) offering a Stoppardian monologue articulating his reasons for breaking off his bond with Anna (Kristen Bush) a young adjutant professor. Her inter-relationships that follow in succeeding scenes invite – as Cole Porter would term it – that old ennui. How, for example, she later becomes romantically involved with Sean (Patch Darragh) a personal trainer of dubious IQ, through an on-line dating service is beyond my ken. I was intrigued by the ceiling-high sets of Paul Steinberg, which were minimalist, resourceful and patently mobile the old fashioned way, with the performers themselves pushing the scenery.
Roundabout Theater Company’s
The People in the Picture
Studio 54
254 W. 54th St.
(212) 719-1300
Here’s another show in which the characters push the scenery, which in this case may be a charity, since it takes your concentration off the music, book, lyrics and choreography. Worse yet, they try to push the envelope, relating the story of a New York grandmother, played by Donna Murphy, who was once a Yiddish theater actress in Poland before World War II. “Bubbie” now longs to tell her Holocaust tales to her granddaughter Jenny, despite her daughter Red’s desire to forget the past. There is more schmaltz in this lame attempt at replicating the essence of Fiddler on the Roof than a pushcart filled with herring on Pitkin Avenue in the 1930s. As to Donna Murphy playing Bubbie, here’s my dilemma. There is no musical performer on the boards with her versatility, whether it be the Connie Boswell-type band singer in Song of Singapore in which I first saw her, the homely introvert in Stephen Sondheim’s underrated Passion, Anna in a superb revival of The King & I or Ruth leading the conga line in Wonderful Town. I found it immensely disappointing that she and/or director Leonard Foglia have her take on the persona of Molly Picon, figuratively oozing Dr. Brown’s Cel-Ray Tonic from every pore. Other familiar performers adding a Second Avenue touch to the proceedings are Lewis J. Stadlen, a terrific interpreter of Groucho and Harpo Marx on Broadway, and Chip Zien, so outstanding in Falsetto.
Priscilla, Queen of the Desert.
Palace Theater
877-250-2929
B’Way & 47th St.
For James Feinberg’s review,Click here: My Kind of New York - Grandkid's Eyeview - May 2011
Bengal Tiger at the Baghdad Zoo
Palace Theater
B’Way & 47th St.
877-250-2929
There was an unanticipated synchronicity between the events onstage which take place in 2003 with American troops absurdly engaging Uday and Qusay Hussein, Saddam’s sons in Baghdad, and the almost flawless dispatching of Osama Bin Laden in Pakistan a week before this was written. Not since Mrs. Doubtfire has Robin Williams been in a role that so ill-suited him. Here he is a Bengal Tiger spouting F-word invectives against the stupidity of the lions who broke out of their cages without inviting him to join in their escape only to be mowed down by artillery. He bites off the hand of an American soldier, Tom (Glenn Davis) who strays too boldly to the cage and in the process is shot by another soldier Kev (Brad Fleisher) becoming the most vindictive ghost since Dickens’s Marley.
Born Yesterday
Cort Theater
138 W. 48th St.
212-239-6200
It’s good to have Robert Sean Leonard back where he belongs, in a proscenium rather than on a High Def screen. He brings a dimension to the role of Washington columnist Paul Verrall, that was done with aplomb in the original 1946 production (which I saw) by Gary Merrill and later by William Holden in the excellent motion picture version. Set in a DC hotel, Verrall is hired by Junkyard magnate Harry Brock to teach his airhead squeeze Billie Dawn to comport herself properly among senators and lobbyists, and wives of same. Verrall welcomes the opportunity (and money) to teach Billie, Pygmalion-style, everything from Aeschyllus to Zeus. The original Billie, Judy Holliday of course, was the progenitor of a succession of dumb blonde bombshells that have inhabited so many American comedies. The one previous revival, done in 1981, had Madeline Kahn as Billie and Ed Asner as Brock, neither of whom was equal to the task. Happily, Nina Arianda, whose acting credits were frankly unfamiliar to me, brings her own comic sensibility and believability to the role. Garson Kanin would have been proud. It is Jim Belushi as Brock, whose bluster and bombast tilt the play off its axis. His unfettered meanness should have and could have been tempered by director Dough Hughes. Paul Douglas in the original and Broderick Crawford in the screen version were big arrogant lugs, but they had an incipient humanity that endeared them to their audiences.
MOVIES
In a Better World
If I had seen the new Danish-made film, In a Better World, two weeks earlier I would certainly have placed it on my 10 Best Movie list. It is in my estimation, the best Foreign Language film I’ve seen this past year, eminently worthy of the Oscar it will likely receive Sunday. It is notable for the remarkably captivating performances of two gifted 10-year-olds in their very first movie roles, Markus Rygaard as Elias and William Jøhnk Nielsen as Christian. Elias’s parents Anton and Marianne are separated and struggling with the possibility of divorce. Mikael Persbrandt brings a compelling dignity to Anton, a doctor who commutes between his home in Denmark and his volunteer humanitarian work in an African refugee camp. Torn by the obligations of his profession, his absences from Marianne (Trine Dyrholm) and their two sons, he is unmindful of the difficulties Elias, the older of the two, faces in school at the hands of a bully. It is tough being the Swedish kid in a Danish school. Enter Christian who has just moved from London with his father Klaus (Ulrich Thomsen) where his mother lost her battle with cancer. On his arrival at school he bonds with Elias and faces down Elias’s tormentor Sofus (Simon Maagaard Holm). I was reminded of 11-year-old Tom Brown of School Days fame, who is looked after by a more experienced classmate, Harry "Scud" East after, being targets of a bully named Flashman. To me, there is something reassuring about movies like Tom Brown’s School Days, Young Abe Lincoln or Shane, where the oppressee (read: Flashman, Jack Armstrong, Jack Wilson) decks the oppressor. Here two bullies get their comeuppance but with potentially tragic consequences for the boys and their parents.
Incendies
The official Canadian entry, an Academy Award contender for Best Foreign Language film, is as challenging as a giant Rubic’s Cube. Nod off for a few fleeting seconds, and you may need to diffidently inquire of your mate about the twins Jeanne and Simon Marwin (Melissa Desormeaux Poulin, Maxim Gaudette) “Are you sure they’re really brother and sister?” Or “is there father definitely dead?” Insinuations such as these are advanced from the opening scene when the twins sit down with notary Jean Lebel (Remy Girard) to be read their mother Nawal’s will (Lubna Azabal). They are stunned to receive a pair of envelopes, one for the father they thought was dead, the other for a brother they didn’t know existed. While Simon is unmoved by their mother’s posthumous mind games, he joins Jeanne in her determination to comb their ancestral homeland in the Middle East for answers to the enigmatic posture of the woman who brought them into the world. With Lebel’s selfless help, the twins and you will doubtlessly piece together a puzzle that is at once tragic and elevating. Subtitles.
The Lincoln Lawyer
In spite of its ambiguous title, this flick has nothing at all to do with Honest Abe, but relates to the itinerant Town Car in which Matthew McConaughey as Mich Haller, Esq., conducts his business. The movie is Hitchcockian, which is high praise. That Haller has a chauffeur Earl (Laurence Mason), reminds me of the Charlie Chan/Sidney Toler movie series in which Mantan Moreland is his driver and aide-de-camp. It’s a killer/thriller adroitly adapted from the Michael Connelly book of the same title — directed by Brad Furman and written by John Romano. Marisa Tomei, John Leguizamo and William H. Macy are three of the accomplished actors who give the film its resonance and grit.
Potiche (Trophy Wife)
This is a light and airy comedy, enhanced by the presence of Catherine Denueve, who is either looking plus de magnifique than ever or beneficiary of my aging eyesight. She plays Suzanne Pujol, a compliant housebound wife who steps in to manage her tyrannical husband (Fabrice Luchini)’s umbrella factory after the workers go on strike and take him hostage. Gérard Depardieu, grotesquely overweight with a Prince Valiant hair do , plays a former union leader and ex beau of Suzanne, to whom she is still unaccountably attracted. Subtitles.
Puzzle
Set me up with a board game like Scrabble© or Boggle© and I’m content. But put me in a competition based on my speed and facility interlocking jigsaw puzzle pieces, and I’d give it the old ho-hum. That it is the subject of a motion picture says volumes about what Argentineans do for hobbies. I’ll say this for it – it’s safer than running the bulls in Pamplona. The movie is however strikingly arresting for the presence of a superb actress Maria Onetto as a 40-something housewife from the suburbs of Buenos Aires, whom her benign husband and her teenage sons take for granted. When she discovers her gift at assembling puzzles, she surreptitiously trains with a millionaire bachelor with whom she goes from the boardroom to the bedroom, with Argentine’s national puzzle championship and a trip to Germany for the World prize in the offing. There is a subtle bow by the writer Natalia Smirnoff to such competition movies as the recent Spellbound and the great unrequited love movie, Brief Encounter. Subtitles.
Bride Flight
This is an agreeable, albeit slightly convoluted movie based loosely on the 1953 “Great Air Race” by a prop KLM passenger plane from London to Christchurch, New Zealand. Dubbed the Bride Flight, it follows the adventures of three women who are eager to depart post WWII Holland to emigrate to New Zealand for a better life. Two of the three have fiancés who await them – but they all become fast friends on the plane. Though they part ways on arrival, the paths of the trio continue to cross in the years to come. A passenger on the plane, Frank, a dashing young man with the charm and looks of Jean Pierre Aumont (Waldemar Torenstra) will come to play a critical role in each of their lives (in later years he is portrayed by Rutger Hauer). Subtitles.
MUSEUM
Emilius Bærentzen. Danish, 1799–1868
The Family Circle ca. 1830 Oil on canvas
Statens Museum for Kunst, Copenhagen
Metropolitan Museum of Art
1000 Fifth Avenue New York, NY 10028
Rooms with a View: The Open Window in the 19th Century
Through July 4
By Nancy Treiger, Slice Of New York Arts Correspondent
This poignant, intimate exhibition, homes in on Romantic 19th Century artists from Northern European Countries, Denmark, France, Germany and Russia, where the ubiquity of Northern light is so important. These diminutive paintings, destined for the artists’ own collections or for private homes. It is the first exhibit that brings together 35 oils and 25 works on paper with the view from a window as the prevailing theme. One thinks of Vermeer and the significance of light in many of his paintings. Here, however, the view from the window is the important element.
GALLERIES
Linda Freeman
Imaginary Landscape Series
SOHO20 CHELSEA GALLERY
547 West 27th St.
Suite 301
NEW YORK, NY 10001
Alice and I had a marvelous time, visiting and viewing the works of a vivacious and talented artist, whom I originally met through another remarkable and storied artist, Faith Ringgold. The techniques that mark Linda’s painting style include layers of acrylic overlaid with oil glazes, which allow for a delicate transparent effect. Her paintings are bordered with multi-colored fabrics complementing the ethereal transparencies of the finished work.
AUTHORS
92nd St. Y
Lexington Ave. & 92nd St.
David McCullough with New Yorker’s Adam Gopnik: The Greater Journey
Kaufmann Concert Hall
June 6
8 pm
212-415-5500
David McCullough has twice received the Pulitzer Prize, for Truman and John Adams. The Greater Journey is a chronicle spanning generations of the many gifted young Americans, ambitious to excel, whose time in Paris—from 1830 to 1900—changed their lives and thus the course of American literature, medicine, art, architecture, music and dance. His other widely acclaimed books are 1776, Brave Companions, The Great Bridge and The Johnstown Flood.
Eva Gabrielsson: My Life with Stieg Larsson
Buttenwieser Hall
Jun 23
8:15pm
Eva Gabrielsson discusses her 30-plus year relationship with the late author of the internationally best-selling Millennium Trilogy, including the passion for political causes they shared, Steig Larsson's work exposing the activities of the far right in Sweden, the trilogy's genesis, the sources for the characters and places in each book, the mystery of the fourth volume and the saga of Larsson's death and legacy. Gabrielsson is an architect and author of books on a variety of subjects, including concubinage and architecture. Her memoir is "There Are Things I Want You to Know" About Stieg Larsson and Me.
JAZZ
92nd St. Y JAZZ IN JULY
Lexington Ave. & 92ND St.
Bill Charlap, Artistic Director
All Concerts at 8 PM
212-415-5500
July 19 - SWING, SWING, SWING!
A melting pot of hot rhythm section players and soloists, from the famed guitarist Bucky Pizzarelli to Houston Person on sax, Jay Leonhart on bass and the young violinist Aaron Weinstein. With vocalist Marilyn Maye.
July 20 - THE KEY PLAYERS
Inspired by Marian McPartland’s “Piano Jazz,” the evening features four piano greats: Kenny Barron, Bill Mays, Bruce Barth and Charlap.
July 21 - THE MUSIC OF BENNY CARTER
NEA Jazz Master Benny Carter had an extraordinary career as a saxophonist and composer, lasting 70 years and stretching from Europe to Hollywood. Mary Stallings, vocals; Phil Woods,alto sax ; Jon Gordon, alto sax ; Harry Allen, tenor sax ;Jimmy Greene, tenor sax ; Gary Smulyan, baritone sax; Bill Charlap, piano; Peter Washington, bass; Kenny Washington, drums.
July 26 - THE BLUE NOTE RECORDS LEGACY
This show presents new arrangements of some of the classic Blue Note artists’ recordings featuring a unique combination of players, including trumpet master Randy Brecker, pianist Renee Rosnes, Charlap and Peter Washington.
July 27, CELEBRATING DAVE BRUBECK
Dave Brubeck’s vast catalogue includes such compelling pieces as Blue Rondo à la Turk, The Duke, and Paul Desmond’s classic, mesmerizing hit, Take Five. Dick Oatts, Scott Wendholt and Dave’s son bass trombonist Chris Brubeck join bassist Harvie S and drummer Terry Clark in a celebration of the Brubeck legacy.
July 28 - ALWAYS: IRVING BERLIN
This closing-night concert will doubtless include such favorites as Blue Skies, How Deep is the Ocean and The Best Thing for You. Players include Jeremy Pelt and Joe Locke and Rosnes and Charlap on piano.
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READER PLAYBACK ON MY TOP 20 WWII SONGS
I received a constant flow of email agreeing or disagreeing (mostly the latter) with my choices. Here in brief, they are:
1) PRAISE THE LORD AND PASS THE AMMUNITION.
2) I’ll WALK ALONE.
3) DON’T SIT UNDER THE APPLE TREE WITH ANYONE ELSE BUT ME.
4) THIS WILL BE MY SHINING HOUR.
5) THEY’RE EITHER TOO YOUNG OR TOO OLD.
6) SAY A PRAYER FOR THE BOYS OVER THERE.
7) WE DID IT BEFORE AND WE CAN DO IT AGAIN.
8) YOU’D BE SO NICE TO COME HOME TO.
9) WHEN THE LIGHTS GO ON AGAIN ALL OVER THE WORLD.
10) I’LL BE HOME FOR CHRISTMAS.
11) JOHNNY DOUGHBOY FOUND A ROSE IN IRELAND
12) G.I. JIVE.
13) JOHNNY GOT A ZERO.
14) HE’S 1-A IN THE ARMY.
15) ANY BONDS TODAY?
16) OH, HOW I HATE TO GET UP IN THE MORNING.
17) THIS IS THE ARMY, MR. JONES.
18) I LEFT MY HEART AT THE STAGEDOOR CANTEEN.
19) WITH MY HEAD IN THE CLOUDS.
20) I’M GETTING TIRED, SO I’LL SLEEP
The singer who comes most to mind during WWII was Britain’s Gracie Fields, who sang Wish Me Luck as You Wave Me Goodbye. "Cheerio, here I go, on my way. Wish me luck as you wave me goodbye. Not a tear, but a cheer, make it gay.”
Eileen Lockwood, St. Joseph, MO.
How about “White Cliffs of Dover,” “Rosie the Riveter” and “Reveille for Beverly?”
Ralph Schlossman, Beechhurst, New York
I was called to task by most readers, understandingly, for omitting White Cliffs of Dover from my list. Dr. Schlossman was correct about Rosie the Riveter being a song as well as a famous poster. It was written by Redd Evans and John Jacob Loeb. On the other hand, though there was a movie starring Ann Miller and Larry Parks,( remember him?) called Reveille for Beverly, there was no specific musical number with that title.
“Don't worry, I do not think any less of you - even though you omitted Coming In on a Wing and A Prayer, one of the most popular songs in those days. I heard it so often I still remember the words. And what about "There will be Bluebirds Over The White Cliffs of Dover."
Karl Neumann, Forest Hills, NY
“A Nightingale Sang in Berkeley Square.”
Esther Plotner, Forest Hills, NY
I was born in 1940 and my mom and I drove my dad to Floyd Bennett Field in Brooklyn, where he left as a naval officer, for the South Pacific. I can still see him walking with his duffle bag over his shoulder!!! Hal, I so agree with you on I’ll Walk Alone sung by Jo Stafford. In fact I loved anything Jo Stafford sung.
Click here: YouTube - Jo Stafford I'll Walk Alone.
Bobbie Horowitz, Manhattan.
Hal, Heidi here from the Frick. – Right off the top, I would nominate The White Cliffs of Dover. I get a bit teary-eyed with that one, don’t you?
Did you know that my husband and I are authentic vintage swing dancers? We love 1940s dances and music, and have performed at the WWII Air Show around D-Day weekend in Reading PA…(the biggest East Coast Reenactment event annually…an amazing event with music during the day and big swing dances at night with a large big band, with lots of vets coming.
My father grew up one-half Jewish in Nazi Germany in Berlin. [miraculously, he and his parent survived, or else I wouldn’t be writing this]…but was too young to have known about swing music at the time…although, yes, it was being used as a tool by the Nazi’s, who felt that OUR music was inappropriate, being written and performed by non-Aryans. But they appropriated the melodies and arrangements often, while dubbing in anti-US and anti-UK lyrics. Here is a video of my husband and me in ‘40s clothing … actually dancing to New Orleans ‘20s music in a sort of early ‘20-30s style of Charleston….
Click: http://www.youtube.com/watch?v=4WvMDUcHAks
On a typical night out, we’ll be doing good old 1940s WWII lindy hop swing dancing). I have a couple of great UK CDs from the period that contain a few hits that may be less known here, but very big in the UK... one I adore called Sitting on a Mine on the Maginot Line and another was called Please Leave my Butter Alone.
Click: http://www.youtube.com/watch?v=Z7kX2DUpbsk.
Heidi Rosenau, Head of Media Relations & Marketing, The Frick Collection, New York City
On a side note, I’m amazed your WWII songs list doesn’t include Till We Meet Again or White Cliffs of Dover, or event Comin’ In on a Wing and a Prayer !
Sarah Morton, Press Relations, 92nd St. Y, New York City
Hal, here’s my list: White Cliffs of Dover; I'll Be SeeingYou ; Love Letters; I'll Be Seeing You; You'd Be So Nice to Come Home To; Boogie Woogie Bugler Boy of Company B; P. S. I Love You; When the Lights Go on Again All Over the World. As for the music of nostalgia, I have always been a Fats Waller fan - Here’s a novelty song, rediscovered recently that relates to WWII’s scrap collection drives for tin foil, cooking fat, and the like. Click: http://www.authentichistory.com/1939-1945/4-music/10-Pitching_In/19411216_Cash_For_Your_Trash-Fats_Waller.html
Kevin Snover, North Babylon, New York.
My favorite is How Deep is the Ocean since it was "our song.”
Lee Berger, Manhattan
Finally got around to your WWII song list. How could you omit I'll be Seeing You and The White Cliffs of Dover? Anyway, this was great nostalgia fun. Thanks for doing it.
Anita Dimendberg, Manhattan
Don't sit under the apple tree; You'd be so nice to come home to; " I'll be home for Christmas". Margie Karpas, Livingston, New Jersey
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