L

RICK BESOYAN

(Original Book, Music and Lyrics) ’s theatrical works, off-Broadway and on-Broadway, were small in number—just three musicals and one cabaret review. However, at least one of them LITTLE MARY SUNSHINE, seems to be running forever. This musical spoof of stage and screen operettas has had, at last count, more than a hundred thousand showings in all fifty of the United States and thirty foreign countries.
L
LLRichard Besoyan was born in Alameda, California, in 1924. By the time he was in high school, he was already writing musical comedies. Rick served in the U.S. Army Infantry from 1943 to 1946, and also participated in entertainment for the G.I.s in both the United States and Europe during World War II.
L
LLAfter being discharged from the army, Rick performed for one year with the Breden-Savoy Light Opera Company in California, and then settled in New York City. Like most young theatre hopefuls, he supported himself with a series of odd jobs—principally waiting tables. It was in this period Rick received, yearly a pair of Thom McAnn shoes from the Conrad Cantzen Shoe Fund, then a division of the Actor’s Fund. On a somewhat higher level, he later taught musical comedy at the Stella Adler Studio.
L
LLRick’s musical review, IN YOUR HAT, at the showplace, a tiny Greenwich Village night club, was the genesis for LITTLE MARY SUNSHINE, which he wrote with a young actress in mind. LITTLE MARY SUNSHINE opened with Eileen Brennan in the title role, in December, 1959. The reviews were unanimous raves, he received the Drama Desk’s Vernon Rice Memorial Award for Outstanding Achievement, and the show ran for three years. The young composer/director never waited tables again.
L
LLRick followed LITTLE MARY SUNSHINE with THE STUDENT GYPSY or THE PRINCE OF LIEDERKRANZ, on Broadway, and BABES IN THE WOOD off-Broadway. One opened during a three-day blizzard, and the other during a newspaper strike. Although they were basically good shows, neither was successful. At the time of his death, Rick had completed a full-scale musical version of Paul Gallico’s MRS. ‘ARRIS GOES TO PARRIS. It was never produced.

Click here to go to the official Rick Besoyan Web site.

L
JAMIE ROCCO

(Director) was Interim Artistic Director of STAGE ONE, A Theatre for New Musical Development. Prior to that he was Producing/Artistic Director of LYRIC THEATRE OF OKLAHOMA & Founding Artistic Director of MANDANCE. He began his Directing career in New York City, with an energetic revival of HENRY, SWEET HENRY, first performed at the famed Mercer Arts Center & moved "uptown" to The Lambs Theatre. More recently, he created the Musical Staging for THE WIZARD OF OZ starring Roseanne, Eartha Kitt & Mickey Rooney at the Theatre at Madison Square Garden. Other NY credits include SWEENEY TODD at Cap 21’s exquisite 99 Seat Theatre, A COUNTRY CHRISTMAS CAROL (which he commissioned), Co-creating the *"camp masterpiece" NITE CLUB CONFIDENTIAL, as well as playing the Rum Tum Tugger in the Broadway company of CATS.
L
LLHe Directed: In Tokyo the World Premiere of the Japanese Sci-Fi musical GALAXY EXPRESS 999, produced by ArtsSphere/Mitsubishi; in London, the World Premiere of DOIN’ WHAT COMES NATURALLY at the Shaw Theatre; in Monterey, the World Premiere of THAT’S MARIO at the Wharf Theatre; in Wichita, the World Premiere of ROCK & ROLL CHRISTMAS (a show he wrote with Albert Evans and Frank Kelly); & in Bridgeport, the World Premiere of WOP BOP!
L
LLAfter the horrific events surrounding the Oklahoma City bombing incident, Jamie mobilized the theatrical community in an unforgettable event. BROADWAY SINGS FOR THE HEARTLAND, "The Benefit" starred Ed Harris, Sandy Duncan, Ben Vereen, Mimi Hines, Margaret Whiting, Susan Powell & 100 other musical theatre performers from all over the country. It began the fund raising efforts that helped restore peace of mind to the citizens of Oklahoma City.
L
LLHe conceived & directed a lovingly revised version of SINGIN’ IN THE RAIN—heralded by the New York Times, Tokyo Premiere at the Nissay Theatre, (Shochiku Co); Paper Mill Playhouse; Sacramento Light Opera; & World Premiere at Music Theatre of Wichita.
L
LLHis credentials as a Regional Director/Choreographer and/or Producer include productions of SUPERSTAR, BIG RIVER, CABARET, BYE BYE BIRDIE, ALWAYS PATSY, ANNIE, THE ROCKY HORROR SHOW, INTO THE WOODS, OKLAHOMA!, SOUTH PACIFIC, A LITTLE NIGHT MUSIC, GUYS & DOLLS, SHE LOVES ME, GREASE, CHESS, VIOLET, ALL NIGHT STRUT, BEEHIVE, THE SOUND OF MUSIC, EVITA, SECRET GARDEN, MOLLY BROWN, CAMELOT, DAMN YANKEES, THEY’RE PLAYING OUR SONG, & THE WILL ROGERS FOLLIES.
L
LLIn 1999, he directed a short film celebrating George Abbott & 21 other SDF Award Winning Directors called 21 for the 21st. In 1997, he was Recognized in OUTSTANDING YOUNG MEN IN AMERICA.

L
JONATHAN TUNICK

(Music Director/Conductor) was the recipient of the first Tony Award for orchestration for his work on TITANIC (1997). Long regarded as Broadway's preeminent orchestrator, Mr. Tunick has served in that capacity for Stephen Sondheim on COMPANY (1970), FOLLIES (1971), A LITTLE NIGHT MUSIC (1973), PACIFIC OVERTURES (1976), SWEENEY TODD (1979), MERRILY WE ROLL ALONG (1981), INTO THE WOODS (1987), PASSION (1994), A FUNNY THING HAPPENED ON THE WAY TO THE FORUM (1996, revival), the US premiere production of SATURDAY NIGHT (1999), PUTTING IT TOGETHER (1999, Broadway), and FOLLIES (2001, revival).

Other musicals orchestrated include PROMISES, PROMISES (1969), DAMES AT SEA (1969), A CHORUS LINE (1975, partial), BALLROOM (1979), NINE (1982), Maury Yeston's PHANTOM (1993), the Harold Prince production of THE PETRIFIED PRINCE (1994), MARTIN GUERRE (1996), MARIE CHRISTINE (1999), Michael John LaChiusa's THE WILD PARTY (1999), and NAPOLEON (2000, London). He also orchestrated Leonard Bernstein's MASS (1971).

Mr. Tunick is the composer and conductor of over 50 scores for films and TV, including COLUMBO, MURDER, SHE WROTE, AMAZING STORIES (Emmy nomination) and LOVE AND WAR (ASCAP Film and TV Music Awards and an Emmy nomination). He has received an Emmy (for NIGHT OF 100 STARS), Grammy (for CLEO SINGS SONDHEIM) and Drama Desk awards, and the Academy Award for his work on the film version of A LITTLE NIGHT MUSIC (1977). He adapted the score for Warren Beatty's REDS (1981), orchestrated Sondheim's score for STAVISKY (1974), and was the musical director and arranger of Mike Nichols' REGARDING HENRY (1991) and THE BIRDCAGE (1996). He composed the score for FORT APACHE, THE BRONX (1980), ENDLESS LOVE (1981), I AM THE CHEESE (1983), and THE LAST GOOD TIME (1994), and orchestrated the music for Mel Brooks' BLAZING SADDLES (1974) and YOUNG FRANKENSTEIN (1974).

He has collaborated as arranger/conductor on recordings, including Judy Collins' JUDITH (1975), Cleo Laine's CLEO SINGS SONDHEIM (1987), Dionne Warwick's DIONNE SINGS COLE PORTER (1989), Patti Lupone's LIVE (1992), Kiri Te Kanawa's KIRI SINGS KERN (1993) , Barbra Streisand's BACK TO BROADWAY (1993), Harolyn Blackwell's STRANGE HURT (1994), and recordings by Placido Domingo, Itzhak Perlman, and Paul McCartney. He also conducted the London Symphony Orchestra's recording of SOUTH PACIFIC (1986). In 1998, Mr. Tunick conducted and co-produced the recording of the Paper Mill Playhouse production of FOLLIES.