Windows open on the Fox, sitting by our tiny balcony’s screen door, the white sheers softly billow while Shorty curls up on my lap. Enjoying this morning’s cooler, gentler air, eyes closed, we snooze. “Beep, beep, beep” the coffee’s ready and on cue, he’s scoots!  I open the laptop and topping off today’s email is Jesse Mooney-Bullock’s greeting, “Hello Oz-makers, Just wanted to let you know my designs for the puppets have been compiled into an easy-to-view PDF packet. Here is the link,” and WOW! The day’s off to a great start in preparation for tomorrow’s The Wizard of Oz production meeting! If you recall Jesse’s stunningly brilliant, Jeff Award-winning puppets in Director/Choreographer Amber Mak’s The Little Mermaid, you know the kind of theatrical magic in store for you this holiday season! 

For kids of all ages, Paramount’s production is newly imagined and unlike anything you’ve ever seen before. 


And so it goes for Legally Blonde which begins rehearsals on Monday! Director Trent Stork has jam-packed so much fun into his surprise take on this show with non-stop dancing (co-choreographed with Megan Farley) and powerhouse vocals enough to blow the roof off the place! Speaking of which, remember our Million Dollar Quartet? Well, MDQ’s Music Director, Kory Danielson, is back to lead us musically for both LB and WOZ! Our Jeff-winning Tom Vendafreddo returns to music direct The Producers with yours truly, which reminds me to mention I’m meeting with our scenic designer on that one, William Boles this afternoon. William is creating a universe for Mel Brooks’ antics where “the king” himself would be happy to reign! (“It’s good to be the king.”) Today, I get the first glimpse of William’s miniature scaled model of the set. It’s all about the glory days of Old Broadway, Times Square, the maniacal pressures and pace while celebrating the joys and Follies-like glamour of the Golden Age of Musical Comedy. 

Wondering if we might get a preview, a taste of what Tony-winning Broadway Director John Doyle might have in store when he directs August Rush here next spring, Amber and Trent, with their significant others, joined me Friday night to see Doyle’s nationally touring Broadway production of The Color Purple at Chicago’s Auditorium Theater.

With his uniquely minimalist stagecraft, a one-of-a-kind simplicity, it is staged with remarkable poignancy as a transformative tale with a cast of overwhelming vocal power and passion. 


Something to look forward to in his next new work at Paramount!


Love & thanks,



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