The St. James Theatre will welcome Dolly’s life story this December, with opening night set for what would have been the legend’s 81st birthday.

Broadway has always loved a star, but few stars have possessed the combination of talent, wit, generosity, determination and sheer individuality that made Dolly Parton a cultural institution. Now, as Broadway prepares to bring her extraordinary life to the stage, the occasion carries a poignancy nobody originally anticipated. As was Dolly’s wish, DOLLY: A True Original Musical will begin previews December 7 at the St. James Theatre, with its official opening scheduled for January 19, 2027, what would have been her 81st birthday.

The show must go on, and in this case, those words carry considerably more meaning than the familiar theatrical expression. Dolly was not merely the subject of this musical. She helped create it, wrote new songs specifically for the production and collaborated with Emmy Award-winning writer Maria S. Schlatter on the book. This is her story told through her own music, her own humor and her own understanding of the remarkable journey that took a little girl from the Smoky Mountains of Tennessee to international superstardom.

Crystal Kellogg

The producers have now announced the complete Broadway company, with Crystal Kellogg joining the principal cast as Judy Ogle, Dolly’s best friend since the third grade. It is an especially meaningful role in a musical about a woman whose fame never completely severed her connection to the people and places that shaped her.

Katie Rose Clarke

Kellogg, whose credits include Finding Neverland, School of Rock and the national tour of & Juliet, joins Katie Rose Clarke and Carrie St. Louis, who will portray Dolly at different stages of her life, with Norah Nunes appearing as Little Dolly. John Behlmann takes on the role of Carl Dean, Dolly’s famously private husband, while Gabriel Ebert portrays Porter Wagoner, the country music star whose professional partnership with Parton became one of the defining chapters of her early career.

Carrie St. Louis

There is rich theatrical material in those relationships. Dolly’s marriage to Dean endured for decades despite her very public career and his determination to remain outside the spotlight. Her association with Wagoner helped introduce her to a national audience, but their eventual professional separation also became part of her extraordinary journey toward artistic independence. It was that separation that inspired one of her most enduring compositions, “I Will Always Love You,” a song whose emotional generosity has often obscured the remarkable strength behind its creation.

Norah Nunes

Under the direction of Tony Award winner Bartlett Sher, the musical promises to explore the woman behind the rhinestones rather than simply assemble a parade of greatest hits. The score includes “Jolene,” “Coat of Many Colors,” “9 to 5” and “I Will Always Love You,” alongside new material written by Parton for the stage. With a catalog containing more than 3,000 songs, the challenge is hardly finding enough music. It is choosing which songs best illuminate the life that produced them.

John Behlmann

And what a life it was. Born into poverty in rural Tennessee, Parton built a career that crossed musical genres, generations and cultural boundaries. She became a country music legend, a successful actress, a businesswoman, a philanthropist and one of the rare celebrities whose appeal extended far beyond the audience that first made her famous. Beneath the wigs, the elaborate costumes and the perfectly delivered jokes was a songwriter with an extraordinary gift for expressing complicated emotions in language anyone could understand.

Gabriel Ebert

That gift is precisely what makes her story so promising for musical theatre. Dolly understood character, conflict, longing and the power of a memorable refrain. Her songs frequently tell complete stories in a matter of minutes. The challenge for this production will be to weave those individual stories into a theatrical portrait that reveals something more than audiences already know.

The company surrounding the principal cast is substantial, with Piper Allen, Bill Army, Josh Canfield, Lincoln Cohen, Ryan Demoville, Haley Fish, Sarah Hunt, Erin Kei, Evan Kinnane, Ryland J. Mar, Jenny Mollet, James Moye, Julian Ramos, Larkin Reilly, Maddie Robert, Alex Ross and Quinn VanAntwerp completing the ensemble. Sarah Bockel, Sadie Daniels, Tiffany Engen, Michael Milkanin and Rixey Terry will serve as swings. The company brings together established Broadway performers, returning members of the Nashville production and artists making their Broadway debuts.

Behind the scenes, Sher has assembled a formidable creative team. Mandy Moore provides choreography, Derek McLane designs the scenery, Jennifer Moeller creates the costumes, Donald Holder handles lighting and Peter Hylenski designs the sound. Nathan Amzi and Joe Ransom are responsible for video design, with Robert Pickens overseeing hair and Studio Pickens creating makeup. Stephen Oremus serves as music supervisor, Charity Wicks as music director and John Clancy as orchestrator. Longtime Parton collaborators Richard Dennison, Gregg Perry and Kent Wells bring an invaluable connection to the musical world she created.

The production arrives on Broadway following its world premiere in Nashville at Belmont University’s Fisher Center for the Performing Arts. The sold-out engagement became the most successful production in the venue’s history, establishing an enthusiastic foundation for the show’s New York debut. Broadway, of course, is another matter entirely. It will be interesting to see how a musical conceived with its subject’s personal involvement evolves into a lasting theatrical tribute.

In true Dolly fashion, the producers are also finding a way to make the celebration accessible to fans. On Monday, November 9, when the St. James Theatre box office opens at 10 a.m., the first 100 people in line will have the opportunity to purchase two tickets for just $9.25 each for select performances between January and May 2027. The offer is available exclusively in person, and the price is a playful nod to Dolly’s beloved 9 to 5. Fans who turn out that morning will also receive a complimentary cup of her new Cup of Ambition coffee.

It’s difficult to imagine a more fitting promotion. Dolly built an empire without ever losing her appreciation for the ordinary people who helped make it possible. A Broadway ticket priced at $9.25, accompanied by a cup of coffee, feels like the kind of gesture she would have enjoyed immensely.

But the emotional center of this production remains its opening date. January 19 was meant to be a birthday celebration. It will now be something more complicated and, in many ways, more moving: an opportunity for the Broadway community to celebrate an artist whose creative imagination continued expanding long after she had conquered virtually every other corner of the entertainment industry.

There will undoubtedly be tears mixed with the laughter, and an unmistakable sense of absence amid the rhinestones and music. Yet there is also something wonderfully appropriate about honoring Dolly Parton not with silence, but with a Broadway musical filled with the songs she gave the world.

Dolly spent her life refusing to be limited by other people’s expectations. She turned what others dismissed as excess into an unmistakable signature, transformed personal experiences into universal songs and built a career on the conviction that being a true original was worth far more than fitting comfortably into someone else’s idea of success.

Now Broadway gets to tell that story.

While Dolly herself will not be standing in the wings on opening night, her fingerprints will be everywhere: in the music, in the characters, in the humor, in the heart and, undoubtedly, in every rhinestone that catches the light.

The curtain will rise on January 19. The birthday girl will be missing, but the celebration she dreamed of will go on.

DOLLY: A True Original Musical begins previews December 7, 2026, and officially opens January 19, 2027, at the St. James Theatre, 246 West 44th Street. Tickets are available at dollymusical.com, with the initial booking period running through November 21, 2027.

Well, yes, he was in Paris, at 54 Below’s presentation of Ben Franklin in Paris, the 1964 musical by Mark Sandrich, Jr. and Sidney Michaels, with two additional songs by Jerry Herman. James Woods was a superb music director, while Walter Willison did the heavy lifting here, as producer and director, and then tackled the title role.

Walter Willison

This outing, celebrating the 250^th anniversary of our nation’s independence, was a welcome addition to the many tributes popping up to mark the occasion, and hats off to 54 Below for bringing this musical to the forefront if only for one evening.

(Video by Magda Katz)

The year 1964 was a big one in Broadway history, with Hello, Dolly!, Funny Girl, and She Loves Me all vying for attention.  Coming off two Tony wins was Robert Preston, who took on the role of our gout-ridden Founding Father. Sadly, no Tony nomination this time around (the award went to Bert Lahr for Foxy).

Ann Kittredge

Franklin was in Paris seeking financial support for the revolution being waged back home and not meeting with much success.  An old flame, Diane, portrayed beautifully by Ann Kittredge, does not succumb to Franklin’s persuasive charm, leaving him in a somewhat frantic muddle. Playing several roles in this dilemma is Ron Spivak, whose deep baritone voice and comedic talent brought a natural charm to the proceedings.

Ron Spivak

Franklin’s was not the only romance afoot here. His son, played by Keaton Miller, is in his own pursuit of love, expressed beautifully in the song “When I Dance with the Person I  Love.” Supporting cast included Keith Crowningshield, Timothy Jerome, Zoë Parrish, Melinda Hopkins and Sheila Wormer.

It is difficult to believe that amid Hello, Dolly! fever and excitement, Jerry Herman found the time to write two songs for this show. Done by Willison and Kittredge, ”Too  Charming” and “To Be Alone with You” were standouts. Willison has retained the voice and charm that earned him a Tony Nomination at the beginning of his career. Kittredge certainly matched him in the voice/charm department and had the added advantage of being beautifully coiffed and dressed, with a French accent that was delicate and alluring.

A highlight came at the end in Franklin’s speech about future generations valuing the sacrifices made on their behalf to achieve freedom.  It was a poignant moment that gave one pause amidst all the frivolity.

More than 75 original works celebrate the extraordinary career of an artist who has made caricature an art form all its own.

Some artists capture a likeness. Others capture a personality. Ken Fallin does something considerably more remarkable: he captures the entire performance of being someone, often with nothing more than a few beautifully placed strokes of pen and ink.

At Gallery New World Stages, located at 343 West 49th Street, ABOUT FACE: THE ART OF KEN FALLIN brought together more than 75 original works celebrating one of the most distinctive artistic voices in American entertainment. Curated by Bernard Stote, the exhibition offered a fascinating journey through Broadway, Hollywood, politics and Wall Street, with a collection of famous faces transformed by Fallin’s unmistakable wit, elegance and extraordinary eye for character.For those of us who have spent our lives in and around the theatre, Ken Fallin’s drawings are more than illustrations. They are part of Broadway’s visual vocabulary. His subjects may be actors, politicians, business leaders or cultural icons, but his genius lies in recognizing the detail that makes each individual unmistakably themselves. A raised eyebrow, an extravagant hairstyle, the angle of a chin or the particular way someone carries their importance becomes, in Fallin’s hands, an entire biography.

There is a wonderful theatricality to his work. He understands that a face is never simply a collection of features. It is an expression of ambition, vulnerability, humor, vanity, intelligence and sometimes magnificent absurdity. His drawings can be affectionate without becoming sentimental, pointed without becoming cruel and exaggerated without ever losing their essential truth. That balance is considerably harder to achieve than it looks.

Fallin’s career began with the wonderfully irreverent Forbidden Broadway, where he created advertising campaigns and posters for the legendary theatrical revue. Inspired by the incomparable Al Hirschfeld, Fallin developed his own distinctive approach to capturing the larger-than-life personalities who inhabit the entertainment world. It was an ideal artistic marriage: a show that lovingly skewered Broadway’s biggest stars and an illustrator who could reveal an entire theatrical personality in a handful of lines.

Jim Kierstead, Richard Hillman, Lorna Dallas, Sal Viviano

What followed was a career that extended far beyond the footlights. A five-year association with the Sunday edition of the Boston Herald established him as a regular presence in arts journalism, while national advertising campaigns for American Express, Belvedere Vodka and CNBC’s Squawk Box demonstrated that his visual wit could travel effortlessly between entertainment, commerce and the financial world.

Ken Fallin and Lorna Dallas

His illustrations have appeared in The Washington Post, Los Angeles Times, Boston Globe, Hollywood Reporter, Chicago Tribune and The New Yorker. Since 1994, his work has been a regular presence in The Wall Street Journal, where his portraits have given personalities from business, politics and culture an unmistakable artistic identity. He has also chronicled the New York theatre scene through his illustrations since 2010, extending a tradition in which the artist becomes an essential witness to theatrical history.

Ken Fallin and Sal Viviano in deep conversation

That is precisely what makes Fallin’s work so important. Photography documents how someone looked at a particular moment. A great caricature tells us how that person occupied the world. It catches the public persona, the private eccentricity and the quality that makes an individual memorable long after a performance has ended or a headline has faded.

Fragrance designer Sue Phillips was also there and showed me her caricature when she was an actress

The comparison with Hirschfeld is inevitable, but Fallin has long since earned his own place in that distinguished artistic tradition. Where a lesser caricaturist might settle for an oversized nose or an exaggerated smile, Fallin understands composition, movement and the almost musical rhythm of a line. His drawings are deceptively economical. Nothing feels accidental, and very little is wasted. Each flourish has a purpose, whether it is revealing a performer’s flamboyance or exposing the carefully cultivated authority of a Wall Street titan.

T2C owner Suzanna Bowling who wrote the books forward and Ken Fallin

His achievements have received recognition well beyond Broadway. In 2010, Fallin earned an Emmy Award nomination for an animated CNBC commercial, and in 2012, his first one-man exhibition, Ken Fallin Draws Hollywood, was presented at the Hamilton Selway Gallery in Los Angeles. His work is included in the permanent collection of London’s Victoria and Albert Museum, an extraordinary distinction that places his drawings within one of the world’s great institutions devoted to art and design.

Chita

Then there are the private collectors, a roster that reads like a particularly glamorous opening-night party. Bernadette Peters, Angela Lansbury, Bob Avian, Sir Cameron Mackintosh, Sir Patrick Stewart, Marlo Thomas, Helen Hunt and Norbert Leo Butz are among those who own his work. It seems entirely appropriate that performers who have spent their careers interpreting characters should appreciate an artist who can interpret them so brilliantly.

My personal favorite Katherine Hepburn

New World Stages has given this remarkable body of work an ideal theatrical setting. Gallery New World Stages occupies 150 linear feet of exhibition space across two floors of the New World Stages complex, offering audiences an opportunity to encounter Fallin’s work in the heart of the neighborhood that has inspired so much of his career. Surrounded by five theatres and the constant energy of New York’s performing arts community, the gallery provides a fitting home for an artist whose imagination has been so closely intertwined with the stage.

The King is back

There is also something especially satisfying about seeing caricature celebrated in a gallery rather than treated merely as an accompaniment to an article, advertisement or theatrical production. Illustration is too often regarded as a supporting art, even when the image becomes more memorable than the words it was created to accompany. Fallin’s work makes a persuasive argument that a great caricature deserves to be experienced as art in its own right.

Audra as Lady Sings The Blues

For Broadway lovers, the exhibition is an opportunity to revisit the faces that have shaped our theatrical memories. For those interested in Hollywood, politics and popular culture, it offers a reminder that fame is as much about personality as achievement. And for anyone who appreciates extraordinary draftsmanship, it is a chance to study the remarkable precision behind drawings that appear almost effortlessly spontaneous.

What Ken Fallin has accomplished over the course of his career is more than the creation of an impressive collection of portraits. He has developed a visual record of the people who have entertained us, challenged us, influenced us and occasionally made us roll our eyes. His drawings preserve not simply their appearances but something of the cultural moment in which they mattered.

Long after a Broadway marquee goes dark, a television series ends or a political figure leaves the spotlight, Fallin’s lines remain, capturing the wit, extravagance and unmistakable humanity of his subjects.

And that, ultimately, is the magic of ABOUT FACE. We recognize the famous people on the walls, but we also recognize the extraordinary intelligence of the artist who saw them so clearly.

Because in Ken Fallin’s world, everybody has a face. But only a true artist knows which lines tell the story.

ABOUT FACE: THE ART OF KEN FALLIN is presented at Gallery New World Stages, 343 West 49th Street, New York City and is open daily from 10 a.m. to 6 p.m.

There are certain lines that become so famous they almost swallow the work that created them. “You can’t handle the truth!” is one of them. Jack Nicholson’s explosive delivery as Colonel Nathan Jessep in the 1992 film A Few Good Men became part of the cultural vocabulary, quoted and parodied so often that it is easy to forget something rather important: before Hollywood got hold of it, A Few Good Men was a play.

Now Aaron Sorkin’s breakthrough work is returning to the stage, and at a recent press meet and greet, the company of Lincoln Center Theater’s new Broadway production gathered ahead of its first preview Thursday, October 8, at the Vivian Beaumont Theater.

The revival brings together an intriguing combination of generations.

Bradley Whitford

Bradley Whitford

Bradley Whitford

Bradley Whitford

Bradley Whitford takes on Colonel Jessep, the role forever associated on film with Nicholson

Tom Blyth

Tom Blyth

Tom Blyth

Tom Blyth

Tom Blyth

Tom Blyth stars as Lt. Daniel Kaffee

Krysta Rodriguez

Krysta Rodriguez

Krysta Rodriguez

Krysta Rodriguez

Krysta Rodriguez plays Lt. Cdr. JoAnne Galloway.

Michael Arden

Michael Arden

They were joined by members of the company, Sorkin, director Michael Arden

Lear deBessonet

Lear deBessonet

and artistic director Lear deBessonet as the production offered its first real glimpse of what this A Few Good Men intends to be.

Aaron Sorkin, Michael Arden

Aaron Sorkin, Michael Arden

Arden seems considerably less interested in recreating an icon than in rediscovering a play.

Aaron Sorkin

Aaron Sorkin

Aaron Sorkin

Aaron Sorkin

That is precisely what makes this revival potentially fascinating. A Few Good Men premiered in 1989, when Sorkin was still in his twenties, before The West Wing, The Social Network, Steve Jobs and the unmistakable verbal rhythms that would eventually make “Sorkinesque” almost an adjective of its own. Sorkin has returned to the script himself for this production, revising and polishing the work and acknowledging that he considers himself a better writer today than the young man who originally wrote it.

Cast and Crew

Cast and Crew

There is something wonderfully audacious about that. Most writers would probably like to sneak back into their early work in the middle of the night with a red pencil. Sorkin actually gets to do it.

Bradley Whitford

Yet the essential conflict remains potent: a military courtroom, the death of a young Marine, questions of obedience and responsibility, and the dangerous territory between following an order and being morally accountable for carrying it out. The play asks who gets to define duty, where authority ends and individual conscience begins, and what happens when institutions protect themselves by demanding unquestioning loyalty from the people inside them.

Tom Blyth

Tom Blyth

Tom Blyth

Those questions haven’t exactly grown quaint.

Krysta Rodriguez

Krysta Rodriguez

Krysta Rodriguez

Krysta Rodriguez

Arden, whose work as a director has repeatedly demonstrated an ability to approach familiar material without embalming it, is looking for new truths inside Sorkin’s text rather than treating the original production—or the enormously successful film—as sacred territory. That becomes particularly important with Whitford’s Jessep. Trying to reproduce Nicholson would be theatrical suicide. The far more interesting possibility is discovering another man entirely inside those words.

Bradley Whitford

Michael Arden, Bradley Whitford

Aaron Sorkin, Michael Arden, Bradley Whitford

Michael Arden, Bradley Whitford, Krysta Rodriguez

Whitford also arrives with his own long history inside Sorkin’s universe, most famously as Josh Lyman on The West Wing. There is an irresistible bit of theatrical symmetry in watching an actor so associated with delivering Sorkin’s language now inhabit one of the writer’s most formidable characters.

Aaron Sorkin

The company also promises to lean into something that sometimes gets lost beneath the courtroom fireworks: Sorkin can be extremely funny. His dialogue moves quickly because his characters think quickly, and humor frequently becomes both weapon and defense. Allowing that wit to breathe may help separate the stage production from the darker cinematic weight that has hung over the story for more than three decades.

Cast

At the meet and greet, what emerged was not a company attempting to compete with a beloved movie but one intent on reminding audiences that A Few Good Men was built for a room where actors and audience breathe together. A courtroom confrontation has a very different electricity when there is no camera deciding where we look.

Lear deBessonet, Aaron Sorkin, Bradley Whitford, Michael Arden, Krysta Rodriguez, Tom Blyth

Then there is that line. Everyone knows it is coming. That may be Whitford’s greatest challenge. How do you say five words that millions of people already hear in somebody else’s voice? The answer may lie in the philosophy behind the entire production: don’t try to erase what came before. Find the truth underneath it.

A Few Good Men begins previews Thursday, October 8, at Lincoln Center Theater’s Vivian Beaumont Theater and officially opens October 29.

More than thirty-five years after Sorkin first put these men and women in a courtroom, America already knows the line.

Now Michael Arden and his company get to ask whether we ever really understood the question.

There are few places better suited to celebrating John Kander and Fred Ebb than Dizzy’s Jazz Club. On Sunday, October 4, New York was misty beyond those magnificent windows, the room was filled with Kander and Ebb melodies, and, making the evening even more special, John Kander himself was sitting at the table directly behind me listening to his music come alive.

John Kander

Hosted and curated by Deborah Grace Winer, Songbook Sundays: Life Is Kander and Ebb brought together three very different vocalists—Karen Ziemba, Matthew Scott and Vanisha Gould—with music director and pianist Jon Weber, Mark McLean on drums, Jay Leonhart on bass and Sam Chess on trombone. The talent was unquestionable, the musicianship superb and the surroundings quintessentially New York.

Karen Ziemba

Yet I left wanting more as I know this songbook inside and out.

Vanisha Gould, Karen Ziemba, Matthew Scott Vanisha Gould

Not more talent. There was plenty of that. What I wanted was more Kander and Ebb.

Karen Ziemba opened with “Where You Are,” immediately reminding us why she has had such a remarkable career. Ziemba doesn’t merely sing a lyric; she understands what is underneath it. That quality served her particularly well throughout the show, whether she was having wicked fun with “Don’t Tell Mama,” finding the aching simplicity of “My Coloring Book,” or delivering “How Lucky Can You Get.” Kander and Ebb frequently wrote characters who perform one emotion while another one is quietly breaking through, and Ziemba knows exactly how to live in that contradiction.

Matthew Scott has a terrific voice coupled with genuine acting chops, something especially evident in “Not Every Day of the Week” and “Love and Love Alone.” When he arrived at “Theme from New York, New York,” he wisely didn’t try to compete with the ghosts surrounding one of the most recognizable songs ever written about this city. Instead, he found his own way into it, allowing us to hear the song rather than an imitation of the singers who made it famous.

Then there was Vanisha Gould, who possesses a fabulous smoky, growling voice that sounds as though it was made for the 1930s. There is something wonderfully lived-in about her sound, a little dangerous around the edges, and it gave “Funny Honey” and “All That Jazz” an entirely different texture. “Maybe This Time” allowed her to move beyond the sass and into the vulnerability underneath, where Kander and Ebb so often do their best work.

The musicians were every bit as important to the performance.

Weber knows how to support a singer without disappearing beneath one, and McLean, Leonhart and Chess gave the music the swing and bite it requires. “Sing Happy” put the band front and center, while

Leonhart—whose career has included playing for an extraordinary roster of great performers—stepped into the spotlight to deliver his own “Razzle Dazzle.” It was an irresistible reminder that sometimes the musicians have a few tricks of their own.

Ziemba and Scott joined forces for “But the World Goes ‘Round,” another quintessential Kander and Ebb song about continuing when life has other plans. “Cabaret,” naturally, also made its appearance, bringing us back to the musical that remains inseparable from the Kander and Ebb name.

Which brings me to the one thing that bothered me about an otherwise beautifully performed performance.

Jon Webber and John Kander

Perhaps having John Kander sitting directly behind me made me even more aware of the sheer size of the catalogue being celebrated. Here was one of the architects of American musical theatre, listening to songs from a collaboration that stretched across decades, and I kept thinking about everything we weren’t hearing.

Vanisha Gould, Karen Ziemba, Matthew Scott

There were three selections from Chicago and three from Cabaret, along with two each from Flora the Red Menace and New York, New York. They are terrific songs, certainly, and nobody is going to object to hearing them sung this well. But Kander and Ebb wrote so much more.

John Kander, Matthew Scott

Where was The Happy Time, Zorba, 70, Girls, 70, The Act, Woman of the Year, The Rink, Steel Pier, Curtains, or The Scottsboro Boys? There is an astonishing amount of material in that catalogue, including songs that deserve to be rediscovered rather than allowed to sit quietly in the shadow of “All That Jazz” and “Cabaret.”

That is particularly what I look for from something called Songbook Sundays. A songbook series has the opportunity not merely to celebrate the songs everybody already knows, but to open the book a little wider. Give us something we have forgotten or haven’t heard in years. Give a younger audience a song they didn’t know existed. Let us hear the journey of the writers, not simply their greatest hits.

Kander and Ebb were never just Chicago and Cabaret. Their partnership was far richer and stranger than that. They could be cynical and sentimental, sophisticated and vulgar, politically savage and heartbreakingly romantic. Again and again they wrote about people performing confidence while quietly falling apart underneath it. Their characters keep dancing, keep singing, keep putting on the makeup and facing the world because, as one of their greatest songs reminds us, the world goes ’round.

Maybe that’s why I wanted more.

What Winer gave us was beautifully sung and beautifully played. Ziemba remains a masterful interpreter, Scott impressed with both voice and dramatic instinct, and Gould made me want to hear much more from that wonderfully smoky voice. Weber and his musicians gave us sophistication, warmth and swing.

Outside those windows was a mist-covered New York, while inside sat John Kander himself listening to his songs. Really, how much more New York can you get? Except, of course, for a few more Kander and Ebb songs.

I enjoyed Life Is Kander and Ebb immensely. My complaint is actually a compliment: with a songbook this extraordinary, I didn’t want the afternoon to end with so many pages still unopened.