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How to Write a Musical That Works

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Theater Resources Unlimited (TRU) and CreateTheater.com announce an upcoming TRU Feedback Workshop, How to Write a Musical That Works – Part Three: Reckoning and Resolution, reformatted and rethought for virtual presentation, on Sunday, March 26, 2023 from 12pm-7:00pm ET. This workshop is dedicated to fostering a conversation about musical theater structure not only for writers but also for producers, directors and everyone involved in the creation and production of new works. The submission deadline is Wednesday, March 15, 2023. For more information and to submit an application, visit truonline.org/events/reckoning-and-resolution-2023.

Accepted applicants will present 10-15 minutes including one song and scene, followed by 15 minutes of feedback. There will be a participation fee of $100 ($80 for TRU members), which includes 2 seats for the entire day workshop as well as a presentation slot. Additional attendees from the musical team (including music director, additional collaborators and cast members) who wish to observe the entire workshop must reserve in advance and will be charged a nominal $25 per person. Non-participant Observers may attend for $55 ($35 for TRU members).
Part Three: Reckoning and Resolution will focus on the last scenes of a musical and how songs help resolve the story and the characters’ journeys: 1) songs that express the resolution of a character’s “want,” or the overcoming of obstacles, and how it leads to a final choice; 2) “eleven o’clock numbers,” the big dramatic showstopper that sums up the (usually) main character’s journey; 3) the finale, an effective and emotionally satisfying way of concluding your story. Because of the virtual format, participants are expected to film and edit their presentation. TRU is pleased to announce that they have set aside a fund to help with writer expenses, and will provide a music director and tech person, or reimburse expenses up to $100.
Writers (and producers) are invited to submit no more than 25 pages of a show they are working on. TRU wants to see the last section of the show in which we head towards the summing up and conclusion of the plot and the resolution of the characters’ wants. Include MP3s of the songs within only those pages. Also send a concise synopsis of the preceding action of the show, and how it leads to the resolution in the section presented.
Up to ten teams will present a song and scene from their shows to a professional panel of commercial producers, directors and writers, including:
Ken Cerniglia, former dramaturg and literary manager of Disney Theatrical;
Cheryl Davis, Kleban and Larsen Award winning librettist and lyricist (Barnstormer), Audelco Award winning playwright (Maid’s Door);
Nancy Golladay, literary consultant (NY Shakespeare Festival, O’Neill Conference, more), moderator of the BMI Librettists’ Workshop;
Skip Kennon, composer/lyricist (Herringbone, Don Juan DeMarco, Time and Again), former artistic coordinator of the BMI Lehman Engel Musical Theatre Workshop and teacher for two decades;
Tamra Pica, London, off-Broadway and TV producer.
Bob Ost, executive director of Theater Resources Unlimited, and TRU Literary Manager Cate Cammarata will facilitate.
SCHEDULE
12:00pm-12:15pm: Check in
12:15pm-1pm: Discussion: How do you bring the action of your show to an effective dramatic (and musical) conclusion? Is resolution better served by song or by dialogue? Do all shows need a big “eleven o’clock” number, or are there other ways to leave an audience emotionally satisfied?
1pm-3pm: Five writing teams will explain their work’s overall concept (in 30 seconds or less) and present 10-15 minutes of a song and scene that demonstrates a resolution of the show’s major conflict or a coming to terms for one of the characters, the resolution of their ongoing “want.” After each presentation, panelists will provide feedback.
3pm-3:30pm: Break
3:30pm-4:15pm: Discussion: The dramatic journey of characters: how wants and goals may evolve over the course of a show. Panelists will comment and invite audience feedback.
4:15pm-6:15pm: Five writing teams will explain their work’s overall concept (in 30 seconds or less) and present 10-15 minutes of a song and scene that musicalizes the action leading to the resolution, or leads up to (and includes) a satisfying finale that leaves the audience with a sense of completion.
About the Faculty
Ken Cerniglia is a veteran dramaturg, writer, and creative executive. He dramaturged the innovative Broadway hits Hadestown (8 Tony Awards, including Best Musical) and Peter and the Starcatcher (5 Tony Awards). As resident dramaturg and literary manager for Disney Theatrical Productions for 16 years, he developed over 60 titles for Broadway, touring, international, and licensed productions, including The Hunchback of Notre Dame, Freaky Friday, Aladdin, Newsies,  The Little Mermaid, High School Musical, and Tarzan. He recently conceived and developed Marvel Spotlight, a collection of one-act plays with teenage super hero protagonists who tackle real-world problems in a diverse society. Other dramaturgy includes the chamber opera Blood Moon (PROTOTYPE 2020); the new musical Bridges (Berkeley Playhouse); Passion Trilogy (Fisher Ensemble/Loyola Marymount University); and Bud, Not Buddy, The Gift of Nothing, The Cricket in Times Square, and OLIVERio: A Twist on Dickens (Kennedy Center). Ken is a frequent guest lecturer, artist, and adjudicator at conferences, universities, and festivals around the world. He is immediate past president of Literary Managers and Dramaturgs of the Americas (LMDA), co-founder of the American Theatre Archive Project, and Artistic Director of Two Turns Theatre Company. He holds a Ph.D. in theatre history and criticism from the University of Washington.
Cheryl L. Davis received the Kleban Award as a librettist for her musical Barnstormer, (written with Douglas J. Cohen) about Bessie Coleman, the first Black woman flyer. The show received a Jonathan Larson Award through the Lark Play Development Center. Her play Maid’s Door received great reviews, won seven Audelco Awards, and was a finalist for the Francesca Primus Prize. Her play The Color of Justice (commissioned by Theatreworks/USA), received excellent reviews in the New York Times and Daily News, and tours regularly. Her musical Bridges, which was commissioned by the Berkeley Playhouse, received its world premiere in February 2016 to great reviews and three award nominations from the San Francisco Bay Area Theatre Critics Circle. She received a Writers’ Guild Award for her work on “As the World Turns”, and was also nominated for a Daytime Emmy Award. Her work has been read and performed internationally, including at the Cleveland Play House, the Actors Theatre of Louisville, and the Kennedy Center.  She is the General Counsel of the Authors Guild.
Nancy Golladay has served as a literary consultant with the New York Shakespeare Festival, Paul Sills, the O’Neill Playwrights Conference, Ellis Rabb, Warner Brothers Films, Punch Productions, the Nederlander Organization, Tenterfield Productions, the La Jolla Playhouse, the Stratford Shakespeare Festival, and Davenport Theatrical. Nancy was actively involved in the founding of the U.K.’s Book, Music, and Lyrics (BML) Workshop, an evolving group focused on the development of musical theatre writers and choreographers. She was an invited speaker at Mercury Musical Developments writers’ conference in London, and appeared on the original Dramatists Guild “Art of the Synopsis” panel in New York. Nancy has worked for many years on the Drama League, Drama Desk, and Tony-honored BMI Lehman Engel Musical Theatre Workshop as a member of the faculty and Advisory Committee. As Moderator of the Librettists Workshop, she has recently created a popular program of in-house table readings of its members’ new projects.
Skip Kennon was the overall Artistic Coordinator of the BMI Lehman Engel Musical Theatre Workshop and the teacher of the first year there for two decades. He wrote the music for the one-man musical Herringbone (Playwrights Horizons – starring David Rounds, Hartford Stage – starring Joel Grey, Edinburgh Festival, Philadelphia’s Prince Music Theater, Chicago’s St. Nicholas Theater, 2007 season opener at Williamstown Theater Festival – starring B.D. Wong), the music for Here’s Our Girl (workshopped at the New York Shakespeare Festival/Public Theater), and the music and lyrics for the musical version of The Last Starfighter (Storm Theatre, Village Theatre Festival of New Musicals – summer 2006, New York Musical Theatre Festival readings – fall 2006), Blanco (Goodspeed Opera House at Chester, National Alliance for Musical Theatre, National Music Theater Network), Feathertop (WPA Theater, Pennsylvania Stage Co.), and Time and Again (Manhattan Theatre Club, San Diego’s Old Globe Theater, Eugene O’Neill Center National Music Theater Conference). Kennon also wrote the music and lyrics for the one-act musical Plaisir d’Amour (book by Terrence McNally), which was produced at New York’s Triangle Theater and seen in workshop at Circle Rep, as well as the music for the one-act musical Afternoon Tea (book & lyrics by Eduardo Machado), which was performed at Theater Row Theaters in 2005 by Ed Harris and Amy Madigan. He was a classical music critic at the Hollywood Reporter for five years.
Cate Cammarata is an Off-Broadway producer, director and dramaturg in NYC, dedicated to the development of new plays and musicals. She is the Founder and Executive Producer of CreateTheater’s 2022 New Works Fest, the Associate Artistic Director for Rhymes Over Beats Hip Hop Theater Collective and has been the Literary Manager for Theater Resources Unlimited (TRU) for ten years. Off-Broadway: The Assignment, My Father’s Daughter. Regional: My Life Is a Musical (Bay Street Theater). Cate’s company CreateTheater, has been helping writers develop and produce new work since 2016. During the shutdown of 2020-2022 CreateTheater developed and/or produced more than 70 shows with online readings, workshops and dramaturgical guidance. For this work Theater Resources Unlimited (TRU) has honored her with the TRU Entrepreneur of the Year award in 2022. Cate holds an MFA in Dramaturgy from SUNY Stony Brook and is an Associate Professor of Theatre Arts at CUNY Baruch College.  www.CateCammarata.com  www.CreateTheater.com
While still a senior at U. of Pa., Bob Ost’s one-act Beast was produced by Bob Moss in the first season of Playwrights Horizons. He went on to write book, music and lyrics for the off-Broadway revue Everybody’s Gettin’ into the Act at the Actor’s Playhouse, and Finale!, Grand Prize winner in the 1990 American Musical Theater Festival Competition (presented at NAMT) and the 1992 New American Musical Writers Competition, and a finalist at the O’Neill Music Conference in 1989. More recently his musical Angel in My Heart won Best Musical in the 2014 Fresh Fruit Festival. He won the 2011 New Works of Merit Playwriting Competition for his play Breeders, previously a finalist at the O’Neill, as well as a selection of the TRU Voices New Plays Reading Series. The Necessary Disposal was a 2010 finalist in the Maxim Mazumdar New Play Competition at the Alleyway Theatre in Buffalo, has been a finalist in three other national competitions, and was part of the Shotgun Productions New Play Reading Series and the Oberon Theatre Reading Series. He won a 2004 OOBR Award for the review “Songs Are Like Friends”, and is a 3-time MAC nominee. While he was producing his own musical revues at cabarets around Manhattan he discovered he could combine his artistic talent with the business skills he was picking up in the advertising world. The idea of Theater Resources Unlimited was born, with the help of co-founders (and fellow writers) Gary Hughes and Cheryl Davis in 1992. He has gone on to produce musicals Civil War Voices and Rip in the Midtown International Theater Festival, and the classic Chinese musical, Romance of the Western Chamber.
TRU publishes an email community newsletter of services, opportunities and productions; presents weekly Community Gatherings; offers a Producer Development & Mentorship Program taught by prominent producers and general managers in New York theater, and also presents Producer Boot Camp workshops to help aspirants develop business skills. TRU serves writers through the TRU Voices Play Reading Series, Writer-Producer Speed Date, a Practical Playwriting Workshop, How to Write a Musical That Works and a Director-Writer Communications Lab.
Programs of Theater Resources Unlimited are supported in part by the Montage Foundation, The Storyline Project and the Leibowitz Greenway Foundation.
For more information about TRU membership and programs, visit truonline.org.

Suzanna, co-owns and publishes the newspaper Times Square Chronicles or T2C. At one point a working actress, she has performed in numerous productions in film, TV, cabaret, opera and theatre. She has performed at The New Orleans Jazz festival, The United Nations and Carnegie Hall. She has a screenplay and a TV show in the works, which she developed with her mentor and friend the late Arthur Herzog. She is a proud member of the Drama Desk and the Outer Critics Circle and was a nominator. Email: suzanna@t2conline.com

Art

Events In April Bring Easter, Spring and Flowers Galore.

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Photograph: Eugene Gologursky/Getty Images for Macy’s, Inc.

Join the Judy Garland and Fred Astaire tradition with the Easter Bonnet Parade on Fifth Avenue. There is also the Orchid Show at the New York Botanical Garden or right at home the flower show at Macy’s. On select Fridays every month, you can enjoy Free Admission to the Intrepid Sea, Air & Space Museum between 5 pm and 9 pm.

Until 4/9: Macy’s Flower ShowThe show includes beautiful, bright floral arrangements, special events including live music, and kids’ activities.

until 4/23: This is The Orchid Show‘s 20th year. Reconnect with nature while experiencing the picture-perfect beauty of the orchids. On select nights, adults can experience the exhibition through Orchid Nights, with music, cash bars, and food available for purchase.

4/1-30: Sakura Matsuri Cherry Blossom Festival. The festival, hosted by the Brooklyn Botanic Garden, celebrates Japanese culture and the arrival of spring. It features a variety of cultural performances and activities, as well as a small flea market, tea ceremonies, and crafts. The highlight is the magnificent display of cherry blossom trees, with over 200 trees in full bloom. Visitors can admire the pink and white blooms and enjoy a traditional Japanese atmosphere. Tickets are usually around $40 for adults, though seniors and students get a reduced rate of $35.

4/7-16th: The New York International Auto ShowThe first new york Auto Show took place in 1900, for over 120 years now they have been sharing what’s new and interesting in the auto industry.

4/9: The Easter Parade starts near St. Patrick’s Cathedral at 10am. The tradition dates back to the 1870s, where elaborate bonnets and fashion galore is full frontal.

4/9: “Georgia O’Keeffe: To See Takes Time,” comes to MoMA.

4/15: The Tartan Day Parade is an NYC tradition that offers attendees a unique way to celebrate and honor Scottish culture. For the 25th year, there will be bagpipes, dancers, and even Scottish dogs marching in the parade. Attendance is free and open to the public. In addition to the parade, expect a whole week of Scottish-themed events and festivities.

4/15: Pillow Fight in the Park at Washington Square Park.

4/15: The New York Restoration Project is giving out 3,500 free trees to New Yorkers across all five boroughs. To get one of the 3,500 free trees that will be given away, register in advance on this website, where you’ll also get to browse through the current list of distribution dates, times and locations.

4/15 and 29: f the likes of udon, yakitori, ramen, and taiyaki make your mouth water, then mark your calendar for Japan Fes in Chelsea. The event will be held from 10:00 AM to 6:00 PM and is considered a paradise for Japanese foodies and cultural enthusiasts.

4/16: Holi in The City demands food, music, dance, and fun while embracing people and organizations from all ethnic and religious backgrounds.

4/22: Earth Day celebrated in NYC with a festive, family-friendly outdoor fair in Union Square. There will be dozens of exhibitors, interactive displays, a green-vehicle show, family activities, music, and entertainment. 12-6pm.

4/27: Attend The Queen’s Ball: A Bridgerton Experience

4/27- 30: Antiquarian Book Fair now in its 63rd year, this festival for book collectors at Park Avenue Armory for a full weekend of first editions, maps, manuscripts and other treasures from literary epochs past from nearly 200 exhibitors.

 

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Book Reviews

Inside The PR Brain

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G.H. Harding

For PR-guru David Salidor, late-February proved to be as hectic a week in his 40+-year career as ever. With client Micky Dolenz in tow; Monday night was The Tonight Show with Jimmy Fallon; Tuesday held four different interviews at SiriusXM; later that night was the premiere for actor Willem Dafoe’s new movie Inside; and, Wednesday held an early spot back at NBC for NY LIVE with host Sara Gore.

THE TONIGHT SHOW STARRING JIMMY FALLON — Episode 1803 — Pictured: (l-r) on Monday, February 27, 2023 — (Photo by: Todd Owyoung/NBC)

For the music industry veteran, it was the latest chapter in a career that was sealed back in 1967 at Long Island’s Lido Beach Club when he saw a new group, The Who: Says Salidor, “My father who worked for Decca Records asked if I wanted to accompany him and go see a new group the company had just signed. Believe it or not, it was The Who, playing around the club’s swimming pool. It was unlike anything I had ever seen; Keith Moon with day-glow drumsticks and Townshend literally destroying his guitar at the end of the set. For me, that was it, this business was for me.”

Salidor also worked for the legendary My Father’s Place club in Roslyn, New York, that launched everyone from Bruce Spingsteen,  to Todd Rundgren and Hall & Oates. “If The Who whet my appetite, My Father’s Place solidified my journey,” Salidor adds.

London Records

His first job out of college (where he was music director the college-station) was for the much-missed London Records. “All of a sudden, I was working with the Rolling Stones and Moody Blues, Al Green and Gilbert O’Sullivan. I was the new kid in town, but learned about everything all at once. I was doing ad layouts, writing press releases and taking the artists to radio stations. It was a trial by fire for sure, but I loved it,” adds Salidor.

He went onto to work for other labels like Atlantic and the PR-firm the Howard Bloom Organization, which at the time was the hottest pr-firm in the country, with clients including Billy Joel; Prince; Genesis. Genesis stands out for him. “It was right when Peter Gabriel left the band and there was a tour which I went on. Imagine every night not only seeing a terrific show, but also a dazzling visual show. No question, they were the tops at that point,” he says.

He also formed a relationship with Tom Silverman – then running a very influential tip-sheet called Dance Music Report. He and Silverman, who was also his first and only partner for a spell, went onto create the New Music Seminar, which became a focal point for all the new labels and artists to network. Adds Salidor, “That first event was held at SIR Studios in NY and everyone who was anyone attended. It’s funny now to recall that we started it because we couldn’t get properly accredited for the Billboard Music Forum, which was then the featured industry event in the business; but really neglected the up-and-coming acts and labels.”

A two-year stint with indie ZE Records was also a fascinating run. “This was during the burgeoning new-wave/no-wave movement and I just loved it. Kid Creole & The Coconuts; Cristina; Material; Suicide ; james White and the Blacks and it introduced me to the The Mudd Club, which became an instant favorite.”

A life-long association with August Darnell and his Kid Creole & The Coconuts began as well. “August is without a doubt one of the most creative artists I’ve ever worked with, Totally unique.”

He decided to start his own firm in 1984. He adds, “I learned very quickly that working for someone else is a double-edge sword. If a good campaign happens, the head of the firm gets the credit; if the campaign doesn’t work, you get called on the carpet.”

His first success via his dis Company was with Profile Record’s Run-DMC. “Profile was an amazing label back then. Cory Robins was one of the premiere music guys and had a prescient nuance. Together we got Run-DMC on the cover of Rolling Stone and made them a major marquee attraction. They started the whole urban, hip-hop era. I know it was a long time ago, but they were the first along with Kurtis Blow. No question.”

The next big project to come his way was with a 15-year-old from Merrick, Long Island, named Debbie Gibson. “This was something I had never encountered before; a performer who wrote her own music; produced it and had just an engaging personality. Needless to say, she was a smash. Tours, videos, hit singles followed. Totally engaging and creative. I remember being in Bremen, Germany, when I sat with her at a piano and she played me her entire second album … that hadn’t even been recorded or released yet. Totally amazing talent,” adds Salidor.

Mark Bego and David

Also, a life-long association with celebrity-scribe Mark Bego began. Called the “prince of pop bios” by Publisher’s Weekly. 62-books later, their relationship continues to this day. Bego will be releasing a bio on Joe Cocker later this year via Yorkshire Publishing – also a client.

David, Mark Bego and Micky Dolenz at the Hard Rock Cafe in 1993

Bego would go on to pen several books on Salidor’s clients; including Debbie Gibson and Madonna. Also, Bego wrote the authorized bio on Micky Dolenz (I’m A Believer) in 1993 and Salidor set up a launch party at NYC Hard Rock Cafe. That was the first time Salidor met Dolenz,which foreshadowed a Dolenz/Salidor PR-connection down the road.

David with Jellybean, Madonna; and Russell Simmons photos from dis COMPANY archives)

He was also involved with Madonna in her early stages. “Madonna was always a star. You could just feel it. Repping her then boyfriend and producer John Benitez was key. She and I would constantly discuss pr and together we accomplished a lot. Signing her to Seymour Stein’s Sire was a major move for her.”

Salidor also recalls repping a number of prominent DJs turned producers as well, including Jim Burgess; Arthur Baker; Shep Pettibone and Mark Berry. Remembering, “It was an interesting time; people today forget the amazing contributions they made to music. Pettibone’s production and writing of ‘Vogue’ is still a gem to this day.”

Amid so much success, Salidor also recalls the low-points of a career. “When a client leaves after so much success, there’s certainly a mourning period, but it’s also part of the business. Loyalty is a word that gets thrown around a lot, but is not as evident as one would assume in this business. I just read where a major music personality personally delivered tour bonuses to his road  crew. In all my years, I’ve never heard of something like that happening … never. Loyalty and professionalism are rare, rare traits.”

Gibson and Profile would eventually leave his purview; although he worked for Gibson on many of her other endeavors.

In 2004 Salidor met Micky Dolenz and they began working together. “No shade to former clients, but Micky is the most professional client we’ve ever had. Certainly, growing up in the family business, as I had, had everything to do with it. Last year Dolenz did a sit-down with CBS Morning’s Anthony Mason which was sensational. Mason, a fan, did a no-holds barred interviews that was universally embraced by not only Dolenz’s huge fanbase, but by other PR-persons as well, which is always an interesting development – having other experts compliment you!” Salidor recalls.

“When you set a campaign up, three things can happen. #1, everything goes well and it’s a smash. #2: It doesn’t go well, and, #3. It happens, but there’s no feedback. The reality is that sometimes, even bad feedback is good. It’s a funny business, but your reputation, contacts and experience is key.”

Regrets … he’s had a few: “There was a jazz/rock/fusion band that made some terrific records, on SONY of all places and though they had a #1 jazz album, they just did not get the respect that they should have had. I love jazz and watching them perform live was just great. The powers-that-be there had their own ideas, which weren’t at all realistic.”

And, “When Debbie Gibson was a hit, every parent that had a child who they thought could sing called us. 99% of them didn’t have it. Talent, success, know-how … it’s something that I’ve always been able to recognize. We’ve worked with several young female-singers, but they just didn’t have the right people in place. One from New Jersey had her father paying for everything, but doing exactly what he wanted and he just didn’t have any idea about the business. He installed solar heating panels!”

Continues Salidor, “Management is key and finding the right one is often not easy; there are a lot of people who profess to be a manger and they’re clearly not. Organizing a campaign is a lot of meticulous work; knowing what the client is capable of is key too. Being a PR-person is akin in some ways to being a closet-psychiatrist – you’ve got to know your limitations. That NYC-week with Micky Dolenz was prodigious because I knew exactly what would work and I knew how well he’d perform.”

Salidor is also currently repping involved writer Terry Jastrow (Anne Archer’s husband); Donnie Kehr’s Rockers on Broadway and writer C.W. Hanes.

What does Salidor see in his future. “Certainly, more of the same. Identifying the talent and trying to develop it to the point of releasing it in the most effective way. Many of my peers say the music business has changed and not for the better. I disagree as there are more opportunities for music and musical artists than ever before.  bring it on!

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Events

Celebrity Chef Sal Scognamillo, George Pettignano Bring Patsy’s Italian Restaurant To Life

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Patsy’s Italian Restaurant has been known for years as the restaurant made famous by Frank Sinatra, and his family still enjoys dining here whenever they are in town. George Clooney’s aunt, cabaret singer and actress Rosemary Clooney, was once quoted, “Patsy’s is still the best Italian restaurant in town. I make a pasta pilgrimage there every time I return.”

Other long-time high profile patrons who consider Patsy’s Italian Restaurant their Manhattan dining room include, Tony Bennett, Michael Bublé, George Clooney, Sean “Puff Daddy” Combs, Tony Danza, Jennifer Lopez, Liza Minnelli, Al Pacino, Rihanna, Martha Stewart, Ben Stiller, Oprah Winfrey, and many others.

Celebrity Chef Sal Scognamillo

We all had the pleasure to join Celebrity Chef Sal Scognamillo for a very special Private Lunch on March 18th hosted City Guide and Eli Marcus.

Eli Marcus,George Pettignano

Chef Sal shared some of his riveting stories about celebrities, sports stars and others famous guests. Ha also told us a few one-of-a-kind frank Sinatra stories about Frank’s exclusive table near we were seated.

Popular entertainer George Pettignano, a cousin of Bobby Rydell, sang classic tunes from the 40’s to 70’s ranging from Frank Sinatra, Dean Martin, The Beatles, Elvis & more!  George, as a former Hollywood stunt man, shared some of his classic stories

Eli Marcus

Everyone enjoyed a great meal and then danced the afternoon away!

Eli Marcus, Celebrity Chef Sal Scognamillo, Errol Rappaport

Errol Rappaport, Celebrity Chef Sal Scognamillo,Eli Marcus

Steve Garrin, wife, George Pettignano

Colin O’Leary Celebrity Chef Sal Scognamillo,Rena Sylvester, Eli Marcus

Colin O’Leary,Rena SylvesterErrol Rappaport

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