G.H. Harding

CARREY IS MISSING — When The Mask came out in 1994 and introduced us to Jim Carrey, we immediately knew he was an actor of extraordinary talent. Directed by the late Chuck Russell, it was just masterful in every way. It also introduced us to a new actress named Cameron Diaz.

To be honest, I began to think of him as the best comic-actor since Andy Kauffman and then he went onto to do Man On The Moon (directed by Milos Forman) about Kauffman. Again, just a superlative role for him and a great tale about the late-comic.

The Truman Show (directed by Peter Weir) showed audiences he had just a terrific range. Not only was it a tremendous story, but again just a terrific performance. Ed Harris wasn’t that bad either!

Dumb and Dumber and Liar, Liar were great, but then he did Eternal Sunshine of a Spotless Mind which for me, proved once and for all, where he was headed. Carrey was a thinker and probably much more so than audiences thought. He paints, he draws … a true renaissance man.

But of late he’s gone silent and many say he’s departed acting for good. Sure, there’s a Grinch movie every so often, but I suspect that’s more for the huge payday, than the content.

Some personal travails have followed and probably given him even more reason for pause. The Telegraph in the U.K. ran an interesting piece the other day, which made me think about him and how much I miss him.

Take a read: https://www.telegraph.co.uk/films/2026/10/26/hollywood-extrovert-jim-carrey-fade/

Come back Jim … soon!

Tim Rice and Andrew Lloyd Webber

WEBBER VS. RICE — Andrew Lloyd Webber and Tim Rice first gained worldwide prominence with their stupendous Jesus Christ Superstar opera. in 1971 It was good, dammed good, but there was a constant rumor that side 2 was side 1 backwards. The opera had Ian Gillan as JC and Yvonne Elliman as Mary Magdalene. There even was a movie in 1973; many stage productions and a pretty grand TV production several years back.

The fact remains that it’s a staggeringly good play with some terrific music. Webber and Rice would split years later but it was recently announced they’d re-group for a new work called Sherlock Homes and the 12 Days of Christmas. It would have been their first collaboration in 40 years.

Rice told the Times on Wednesday (October 21) that his former partner’s songs had been “ditched” after Lloyd Webber allegedly withdrew his score. Webber claims that Rice’s contract called for more than Webber wanted to give. It’s also note worthy that Rice’s children are producing the play.

Whatever the true reasons, this re-collaboration would have been monumental. The two have enjoyed success beyond their wildest dreams and unfortunately, with this latest development, the work they did collaborate on we won’t hear.

The play’s debut is set for late next month. Here’s more from Broadwayworld.com: https://www.broadwayworld.com/article/Andrew-Lloyd-Webbers-Songs-Cut-From-Musical-Written-With-Tim-Rice-Ahead-Of-London-Run-20261022

SHORT TAKES — We just got the new Alice Cooper memoir Devil On My Shoulder (Da Capo) and it looks like a great read. Stay tuned … Andy Burns from Toronto’s BiffBamPop did a superb Micky Dolenz interview. Take a read: https://biffbampop.com/2026/10/28/exclusive-interview-micky-dolenz-on-new-music-the-monkees-and-more/ … Beatles-engineer Phil McDonald has passed. From Mojo: https://www.mojo4music.com/articles/stories/the-making-of-all-things-must-pass/  … (Via Deadline) After running Star Wars for years, Kathleen Kennedy is now taking on the Olympics’ opening and closing ceremonies that aren’t anywhere near a galaxy far far away.

In fact, with less than two years to go before LA28 kicks off on July 14, 2028 at both SoFi Stadium and the L.A. Memorial Coliseum, the former LucaFilm boss and now independent producer has to hit the ground running. As of today, multiple Oscar nominee Kennedy will take over Peter Rice’s old job as Head of Ceremonies and Content for the LA28 Olympic and Paralympic Games … RIP Kenny McPherson

NAMES IN THE NEWS — Man Parrish; Mark Berry; Raul Rodriguez; Tom & Lisa Cuddy; Ernesto Baldaro; Vinny Rich; Melissa Davis; Carol Ruth Weber; Mark Berry; Steve Thompson; Nile Rodgers; Maureen Van Zandt; Joel Diamond; Robey; Tommy Mottola; Daryl Hall; Ace Huttonson; Thomas Jay; Mike Wilkinsen; Kayla Espiritu; John Hughes; Bruce Glikas; Stormy; Vinny Rich; and BELLA!

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Broadway has always been an art form built on reinvention, with each generation of composers finding new ways to tell stories through music. Now Lincoln Center Theater is bringing some of musical theater’s most influential contemporary voices together with the artists who may shape its next chapter.

The inaugural Composer Series, presented at the Vivian Beaumont Theater, will feature three one-night-only events headlined by Tony, Grammy and Academy Award-winning songwriting duo Benj Pasek and Justin Paul on November 30, Lin-Manuel Miranda on December 14, and Sara Bareilles on June 21, 2027. Rather than traditional concerts devoted exclusively to established hits, these evenings will pair celebrated songwriters with emerging composers they have personally selected, offering audiences an unusual opportunity to hear musical theater’s present and future in the same room.

It is an intriguing proposition. Broadway has never lacked talented young writers, but developing a new musical requires far more than a memorable melody. It takes mentorship, opportunity, financial support and, perhaps most importantly, someone willing to recognize a distinctive voice before the industry has decided what to do with it. The Composer Seriesplaces that relationship at the center of the evening.

The series opens Monday, November 30, at 8 p.m. with Pasek & Paul, whose work on Dear Evan Hansen, The Greatest Showman, La La Land and A Christmas Story has helped redefine the relationship between Broadway songwriting and contemporary popular music. Joining them are five emerging artists whose backgrounds reflect just how dramatically the musical theater landscape is evolving: Barlow & Bear, Marie Dresselhuis, Joriah Kwamé, Oliver Richman and Jaheem King Toombs.

Among the most recognizable are Abigail Barlow and Emily Bear, the Grammy-winning duo who turned a social media phenomenon into The Unofficial Bridgerton Musical Album. Their subsequent work on Disney’s Moana 2 established them as significant voices in film songwriting, while their ability to move between classical composition, pop and theatrical storytelling represents a generation less concerned with traditional artistic boundaries. Barlow also returns to Broadway in SIX this November.

Joriah Kwamé brings an equally compelling trajectory. His viral song Little Miss Perfect became the foundation for a stage musical that premiered at Olney Theatre Center in 2026. He previously collaborated with Pasek & Paul on “Top of the World” for Lyle, Lyle, Crocodile and is now working with Siedah Garrett on the Broadway-bound Polly: The Musical, with direction and choreography by Debbie Allen. His honors include a Jonathan Larson Grant and the 2026 Stephen Schwartz Award.

Canadian singer-songwriter Marie Dresselhuis approaches storytelling through a distinctive blend of gospel, classical and contemporary influences, having shared stages with artists including Jacob Collier and Jensen McRae. Oliver Richman, a 2022 NYU Tisch graduate, has taken a more unconventional route, writing more than 1,000 songs through a self-imposed daily songwriting practice. His subjects range from the wonderfully absurd to the anxieties of finding human connection in an increasingly artificial world.

Jaheem King Toombs represents another increasingly important crossover between television, film and theatrical songwriting. Having begun his career as a performer on Nickelodeon’s 100 Things to Do Before High School, he has since contributed music to Disney projects including Zombies 4 and High School Musical: The Musical: The Series. He is currently developing the stage adaptation of Zootopia with Disney Theatrical Group, alongside his original musical Oakwood.

What makes this first evening particularly appealing is the diversity of its participants. These are not five composers following an identical career path. Some emerged through social media, others through television, recording studios or traditional musical theater development. Their common denominator is an understanding that songwriting must communicate something personal, regardless of the platform on which it is first heard.

The series continues December 14 at 8 p.m. with Lin-Manuel Miranda, whose In the Heights and Hamilton transformed Broadway’s musical vocabulary while introducing new audiences to the possibilities of contemporary musical storytelling. Miranda’s ability to combine theatrical structure with hip-hop, Latin rhythms and densely layered lyricism makes him an especially fascinating figure to lead an evening devoted to artistic mentorship.

Sara Bareilles takes the stage June 21, 2027, at 8 p.m., bringing the melodic sophistication and emotional directness that made Waitress such an important addition to the contemporary musical theater canon. Her transition from successful recording artist to Broadway composer offers another perspective on how musical theater continues to expand beyond its traditional borders.

The emerging composers and additional guest performers for the Miranda and Bareilles evenings will be announced at a later date.

At its best, musical theater is a conversation between generations. Rodgers and Hammerstein did not write like the composers who preceded them. Sondheim challenged the conventions he inherited. Jonathan Larson helped open another door, and the writers who followed have continued reshaping what a musical can sound like and whose stories it can tell.

The significance of The Composer Series lies in its recognition that the next generation deserves more than applause after it has already succeeded. It deserves an opportunity to be heard while its artistic identity is still taking shape.

And for audiences, there is something irresistible about the prospect of discovering tomorrow’s Broadway composers before their names become familiar above the marquee.

Tickets for the November 30 Pasek & Paul performance go on sale to Lincoln Center Theater members Monday, November 2, at 10 a.m., and to the general public Tuesday, November 3, at 10 a.m. Tickets are available through LCT.org, by calling 212-239-6200, or at the Lincoln Center Theater box office. Ticket information for the Miranda and Bareilles performances will be announced subsequently.

The Composer Series is presented by special arrangement with Creative Partners Productions, with Lincoln Center Theater season support from Daryl Roth and American Airlines.

G.H. Harding

ONE MORE MAC ATTACK — I love Fleetwood Mac. They’ve been on the scene ever since I first gravitated to music. One show at the long-gone, much-missed Calderone Concert Hall in Hempstead, Long Island remains a major moment. Halfway through the show the power went out and they kept on playing. Just brilliant.

They’ve had a myriad of greatest hits albums; books from not only the members, but from the producers and engineers; photo arrays and now Apple+ has announced the first (really?) authorized bio-pic called The Chain – coming next year and directed by Frank Marshall no less.

“The Chain” is the only Fleetwood Mac song that all five are properly credited on. When The Mac jettisoned Lindsey Buckingham in 2018, they took a lot of heat and it does seem, with the re-release of the brilliant Buckingham- Nicks album, featuring the song “Frozen Love,” that some sort of final re-union is indeed in the works.

Heartbreaker-Mike Campbell was a solid replacement for Lindsey, but true-blue fans were still angered. For me, Buckingham lit a fire for the Mac which has never been equaled He’ll be back for sure.

Lindsey Buckingham

btw: My favorite Buckingham composition is “Make Me A Mask.” Check it out here:

Interestingly, the track is from a Mac-compilation called The Chain.

More from Deadline: https://deadline.com/2026/10/fleetwood-mac-documentary-frank-marshall-apple-1237170586/

SHORT TAKES — 15 years since her passing, Amy Winehouse is still a powerhouse. Much missed for sure …. Fascinating Bernie Taupin interview with Rick Beato.

Bernie Taupin

Taupin reminds that the famous Liberty Records ad that he and Elton responded too, was also responded to by one Jeff Lynne. Also, when asked for the lyricists he most admires, he answers with Leonard Cohen and Mick Jagger. Wild for sure. btw: His new album The Sea Has No Mercy is pretty good and he does indeed sound like Cohen a bit. Would love to receive a review copy  but ShoreFire Media hasn’t green-lighted us. C.heck the Beato-interview here:

David Salidor, Micky Dolenz and Jim Kerr

SIGHTINGS: Q1043’s Jim Kerr at Cafe Luxembourg on the Upper West Side and PR-powerhouse David Salidor at Mikado in Brooklyn Heights ... Is there a new Alien movie in the works? Check this out: https://www.hollywoodreporter.com/movies/movie-news/new-alien-movie-in-the-works-1236739216/ … Final rehearsals are going on now for Rockers On Broadway 33 next Monday, 11/2 at SONY Hall. Just added: Alexa-Ray Joel … Excellent Micky Dolenz interview from Chicago’s Third Coast Review. Check it out here: https://thirdcoastreview.com/music/2026/10/25/interview-micky-dolenz-brings-monkees-classics-to-joliet …

American investigative journalist Bob Woodward, 18th February 1985. He reported on the Watergate scandal in the 1970s whilst working for ‘The Washington Post’. (Photo by Steve Wood/Express/Hulton Archive/Getty Images)

Between the celeb-tomes from Stallone and Douglas, veteran reporter Bob Woodward releases Secrets: A Reporter’s Memoir (592 pages so for 55 years. Believe me, this will be an eye-opener. Via Simon & Schuster … Aaron Sorkin wrote  A Few Good Men when he was 25, while bartending at The Palace Theater. He’s 65 now. Amazing …From Deadline: Keanu Reeves is set to star in Maelstrom, a new Netflix action flick from Carry-On‘s Jaume Collet-Serra, sources have confirmed to Deadline. Reeves takes over the lead from Reacher‘s Alan Ritchson, who exited the project for undisclosed reasons. Reps for Netflix declined to comment … RIP Walter Koenig – Happy Bday Bill Wyman; David Furnish; and Christopher Gilman!

NAMES IN THE NEWS — Tony Seidl; Steven J. Immerman; Maria Milito; Tom & Lisa Cuddy; Dan Zelinski; Steve Walter; Peter Abraham; Kent Kotal; Vinny Rich; David Adelson; Roy Trakin; Merle Ginsburg; Bill Maher; Chuck LaBella; Tony King; Pete Bennett; Fred Goodman; Juggy Gayles; Mark Berry; Man Parrish; Mike Wilkinsen; AND Sadie!

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James Bond has always understood the importance of making an entrance. Whether emerging from the shadows in a perfectly tailored tuxedo, ordering a martini, or escaping certain death with an impossibly beautiful woman at his side, 007 has spent more than six decades making danger look positively delicious. But perhaps his greatest accomplice has always been the music.

Steven Reineke Photo by Genevieve Rafter Keddy

At Carnegie Hall, Steven Reineke and The New York Pops brought the unmistakable sound of James Bond front and center, joined by Tony Award winner Lena Hall for an evening of cinematic sophistication, orchestral intrigue, and enough musical seduction to make even Miss Moneypenny blush.

Lena Hall , Steven Reieke Photo by Genevieve Rafter Keddy

The genius of Bond music lies in its instantly recognizable musical vocabulary. Beginning with Monty Norman’s iconic James Bond Theme from Dr. No, and developed through the extraordinary orchestral imagination of John Barry, the franchise established a sound that has become almost as famous as its leading man. Brassy declarations, slithering chromatic lines, dissonant harmonies, dramatic strings, and that deliciously twangy electric guitar create a world in which danger and desire are perpetually intertwined.

Lena Hall Photo by Genevieve Rafter Keddy

It is music that knows precisely how to flirt with disaster.

Steven Reineke Photo by Genevieve Rafter Keddy

Reineke, as Music Director and Conductor of The New York Pops, he has a particular gift for making orchestral music feel immediate, accessible, and theatrical without sacrificing its sophistication. Here, the orchestra had an opportunity to revel in the sweeping arrangements, explosive brass, and lush romanticism that have defined the Bond films for generations.

Lena Hall Photo by Genevieve Rafter Keddy

Lena Hall Photo by Genevieve Rafter Keddy

The program traveled through more than 60 years of 007 history, beginning with Norman’s legendary theme and moving into Barry’s thrilling instrumental writing for From Russia with Love, On Her Majesty’s Secret Service, and Moonraker. These selections reminded the audience that Bond music is not simply a collection of memorable title songs. It is an entire orchestral identity, one that can suggest international intrigue with a single brass phrase or impending danger through a quietly shifting harmony.

Lena Hall Photo by Genevieve Rafter Keddy

Barry’s contributions remain the musical backbone of the franchise. His compositions possess an extraordinary combination of elegance and menace. Even when the melodies are unabashedly romantic, there is an underlying tension, as though the music knows something the audience has yet to discover.

Lena Hall Photo by Genevieve Rafter Keddy

Then there was Lena Hall. The Tony Award-winning performer, celebrated for Hedwig and the Angry Inch and Kinky Boots, brought a welcome dose of theatrical glamour to the evening. Bond songs demand more than a beautiful voice. They require attitude, mystery, sensuality, and the ability to suggest an entire cinematic narrative within a few minutes. Hall’s rock-theater background made her an intriguing choice for a repertoire that moves from sultry torch songs to full-throttle pop anthems.

Lena Hall Photo by Genevieve Rafter Keddy

Lena Hall Photo by Genevieve Rafter Keddy

Her multiple costume changes added another dimension to the performance, transforming the concert into something approaching a miniature Bond revue.

Lena Hall Photo by Genevieve Rafter Keddy

The spectacular white dress worn for Barry’s Diamonds Are Forever was particularly memorable, an elegant visual complement to one of the franchise’s most deliciously extravagant songs.

Lena Hall Photo by Genevieve Rafter Keddy

Lena Hall Photo by Genevieve Rafter Keddy

The copper sequined dress in the second act brought its own shimmering sophistication. Bond has never been a franchise known for understatement, and Hall understood the assignment.

Lena Hall Photo by Genevieve Rafter Keddy

Lena Hall Photo by Genevieve Rafter Keddy

The repertoire offered a fascinating reminder of how the franchise has continually reinvented itself while remaining loyal to its musical DNA.

Lena Hall Photo by Genevieve Rafter Keddy

Lena Hall Photo by Genevieve Rafter Keddy

Marvin Hamlisch’s Nobody Does It Better, written for The Spy Who Loved Me, represents Bond at his most romantically vulnerable, its sweeping melody revealing the softer side beneath the impeccable tailoring. Paul and Linda McCartney’s Live and Let Die pushed the franchise toward rock, its explosive contrasts and shifting rhythms capturing the excitement of a changing cinematic era.

Lena Hall Photo by Genevieve Rafter Keddy

Lena Hall Photo by Genevieve Rafter Keddy

Duran Duran’s A View to a Kill brought the sleek, synthesizer-driven sound of the 1980s into Barry’s orchestral world, while License to Kill and GoldenEye continued the tradition of powerful, commanding vocal performances associated with the series.

Lena Hall Photo by Genevieve Rafter Keddy

Lena Hall Photo by Genevieve Rafter Keddy

The later selections demonstrated just how far the Bond sound has traveled. Chris Cornell’s You Know My Name from Casino Royale introduced a muscular, guitar-driven urgency suited to Daniel Craig’s more physically brutal interpretation of the character. Billie Eilish and Finneas O’Connell’s No Time to Die offered something altogether more intimate and haunted, while Adele’s Skyfall returned to the grand tradition of the sweeping Bond ballad, its dramatic orchestration and emotional weight recalling the golden age of the franchise.

Lena Hall Photo by Genevieve Rafter Keddy

Lena Hall Photo by Genevieve Rafter Keddy

One particularly interesting inclusion was Radiohead’s Spectre, the haunting composition the band submitted for the 2015 film but which was ultimately not used. Its presence in the program was a reminder that the musical identity of Bond is sufficiently powerful to inspire artists well beyond the franchise’s official soundtrack.

Steven Reineke, Lena Hall Photo by Genevieve Rafter Keddy

What makes these songs fascinating is not simply their individual popularity, but the musical thread connecting them. From Shirley Bassey’s glamorous vocal declarations to contemporary interpretations of heartbreak and danger, the Bond song remains a genre unto itself. Minor-key tension, unexpected harmonic shifts, orchestral grandeur, and a vocal performance that seems to conceal as much as it reveals have become its unmistakable trademarks.

Steven Reineke and husband Photo by Genevieve Rafter Keddy

Reineke’s programming allowed those connections to emerge naturally. Heard together, the songs became a musical history of changing tastes, recording styles, and cinematic personalities, all tied together by the enduring image of a secret agent who has somehow survived every cultural reinvention.

Lena Hall Photo by Genevieve Rafter Keddy

The New York Pops proved an ideal vehicle for this material. Bond scores were designed for the grandeur of a full orchestra, and Carnegie Hall offered a setting worthy of their scale. There is something immensely satisfying about hearing this music freed from the movie screen and allowed to stand on its own considerable musical merits.

Ultimately, the evening was a celebration not merely of James Bond, but of the composers, lyricists, orchestrators, and performers who helped make him immortal.

Actors come and go. Aston Martins change models. Even the martinis evolve.

But play those opening notes of the James Bond Theme, and the world knows exactly who has entered the room. Nobody does it better.

Do not miss One Night Only: An Evening with Denée Benton and Jordan Donica on November 20th and

The New York Pops celebrating the season with Derek Klena and Lindsay Mendez, December 18 and 19th. A New York City tradition, this festive evening of classic carols and new holiday favorites fills Carnegie Hall with cheer.

New York’s intimate stages are pulling out all the stops this November, with a lineup that reads like a who’s who of Broadway, jazz and cabaret royalty. At 54 Below, John Barrowman, Ann Hampton Callaway, David Yazbek, Marilyn Maye and Lea Salonga headline a glittering month, while Carnegie Hall welcomes the Falsettos 10th Anniversary Concert and The New York Pops with Denée Benton and Jordan Donica. Birdland keeps the jazz flowing with Dee Dee Bridgewater, Jim Caruso’s Cast Party and Jamie deRoy & Friends, while Café Carlyle offers John Pizzarelli and Jessica Molaskey, The Righteous Brothers and Lena Hall. The Laurie Beechman Theatre welcomes Lorna Luft, Lillias White and Christine Pedi; The Green Room 42 features Natalie Douglas, Reeve Carney and Samantha Pauley; and Sony Hall rocks out with Rockers on Broadway 33. Add Neil deGrasse Tyson, Jennifer Lopez and Rob Lowe at the 92nd Street Y, Richard Thomas bringing Mark Twain to The Town Hall, and an array of performances at Chelsea Table & Stage, Don’t Tell Mama, The Django and The Pocket, and November becomes a veritable feast for anyone who loves New York’s live entertainment scene.

Lea Salonga

54 Below: 254 West 54 St. 11/2: Casey Likes: Back To The Past;  11/3: LIVESTREAM | Nicolas King: No Bad Chords — Album Release Concert; 11/4 -7: John Barrowman; 11/14: Ann Hampton Callaway: Here’s To Life; 11/16: David Yazbek; 11/17 – 28 and Marilyn Maye; 11/29 and 12/1 – 5. Lea Salonga.

92 Street Y: 1395 Lexington Ave. 11/2: Neil deGrasse Tyson in Conversation with Lesley Stahl — Take Me to Your Leader: Perspectives on Your First Alien Encounter; 11/15: Jennifer Lopez — The JLO Show: Live in Las Vegas Screening and Conversation and 11/15: Rob Lowe: The Outsider — Advance Screening and Conversation with Rob Lowe and Josh Horowitz

Birdland Jazz: 315 West 44 St. Every Monday Jim Caruso’s Cast party; Every Monday and Tuesday: Vince Giordano leads The Nighthawks; Every Sunday Gabrielle Stravelli Trio;  11/9: Jeff Harner; 111/9: Tedd Firth; 1/11 – 14: Dee Dee Bridgewater and 11/23: Jamie deRoy and Friends

Carnegie Hall: 881 7th Ave at 57th St. 11/2: Falsettos 10 Year Anniversary Concert and 11/20: The New York Pops One Night Only: An Evening with Denée Benton and Jordan Donica.

Chelsea Table & Stage: Hilton Fashion District Hotel, 152 W 26th St. 11/19: All the Things You Are: Love, Laughter, and Music of Jerome Kern.

Dizzys Club Coca Cola: Frederick P. Rose Hall, Broadway at 60th Street.

Don’t Tell Mama: 343 W. 46 St. 11/5 and 19: Tanya Moberly: Repertoire With Jon Weber.

Laurie Beechman Theatre: at the West Bank Café: 407 West 42 St. 11/4: David Sabella and 11; 11/7: Lorna Luft; 11/20: Lillias White Live At The Beechman and 11/29: CVhristine Pedi.

Madame George: 45 West 45th: Broadway Night Mondays.

The Café Carlyle: 35 East 76 St. at Madison Ave.  11/3 -14: John Pizzarelli & Jessica Molaskey at Café Carlyle; 11/17 – 19: The Righteous Brothers at Café Carlyle and 11/20 – 21: Lena Hall at Café Carlyle.

The Cutting Room: 44 East 32nd St.

The DJango: 2 Avenue of the Americas. 11/6: Jason Tiemann Quinetet and 11/14 Lee Taylor and 11/24: People of the Earth.

The Iridium: 1650 Broadway.

The Pierre Hotel, Two E Bar & Lounge: 2 E 61st St.

The Pocket:130 West 36th St. Every Monday mingus big band; Every Tuesday arturo o’farrill & the afro latin jazz orchestra

Sony Hall: 235 W 46th St. 11/2: Rockers On Broadway: 33.

The Triad: 158 W. 72 St. Street. 11/6, 7, 12, 14, 20, 21, 27, 26 and 12/4, 5, and 11 True Confessions of Go-Go Girl.

The Town Hall: 123 W. 43 St. 11/2: Richard Thomas Mark Twain Tonight! A Special One-night Only Performance.