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Mountain Neighborhood Theatre presents its newest manufacturing in reference to the vacation season. Their newest manufacturing is the traditional “Miracle on thirty fourth Avenue”. Peter Gelblum performs the function of the Santa within the division retailer who believes that he’s the true St. Nicholas. Miracle on the thirty fourth Steet Play is directed by Kathie Kratochvil of Mountain Neighborhood Theatre. Kulani Kamaha’o is the musical director of this play. The play begins on Friday and will end until the 19th of December. Performances could be seen every Friday and Saturday at 8p.m. and 2p.m. during Sundays at Park Hall in Ben Lomond. Tickets are sold at and for Sunday matinees and seniors.

Dynamics Country Theater of Tallmadge also presents the classic “Miracle on 34th Street” which shall be on 3rd and 4th of December at 7:30p.m. in auditorium of Tallmadge High School, 140 North Munroe Road. Tickets are sold at and for seniors and children.

The production is directed and designed by IceHouse managing artistic director Darlin Barry, with costumes by Grayson Tate and lighting design by Amy Hadley. The IceHouse production of this heartwarming story is brought to life by a versatile cast of 43 actors, together with 24 adults and 19 youthful ensemble members.

“The scenic necessities have been taken instantly from the movie – together with the script calling for reside reindeer and a illustration of the Macy’s parade,” notes director Barry. “The design consists of rotating scenic items that serve to maneuver the motion alongside in a cinematic fashion to accommodate the 15 locales – the play is structured in 33 scenes that move from Doris Walker’s condo to inside Macy’s toy department to outdoors in Central Park to inside the Courthouse to a U.S. Postal sorting room, to the streets of New York – it’s an exquisite journey for the audience to see all the memorable moments of this favorite movie with dwelling

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I of course am aware that many may not know who Charles Coleman is and it is for those that do not that I have chosen to write this article as he was the man, who in part is responsible for my love of opera and classical music that even lead to the creation of my first book “New York’s Opera Society”. Naturally when referring to Charles Coleman, I do so regarding the New York composer who way back in 1985 was a schoolmate of mine at “The Tutoring School Of New York” and not others with the same name; such as the one who was executed in the state of Oklahoma for murder back in 1990 or the noted English painter.

For the Charles Coleman I make reference to is the one who has given us many compositions among which are included “Deep Woods” and “Redemption” along with orchestrations of songs such as Jimi Hendrix’s “Manic Depressant”, Frank Zappa’s “Uncle Remus”, The Beatles’ “Come Together” and several others. Charles Coleman, apart from displaying talents in both composition and arranging did so as a singer of merit; as he at a very early age sang soprano at the Metropolitan Opera, performing many child roles including the one of “Feodor” in Mussorgsky’s “Boris Godunov”.

As for the friendship which developed between Charles and myself, this started in the fall of 1985 at the start of the school semester, in what was my senior year and Charles’s junior; given that he was and still is one year younger them myself. Charles and I at first did not really have a lot to say to one another, though we knew of each other given the fact that ours was a very small school with only 80 students and we were in the same European history class. History by the way being one of the few subjects in school I was good at as it had always fascinated me and still does to learn of events from the past with effect the reality of

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Can You Fly was the album that put Freedy Johnston on the map and it set the tone for his future recordings. It was well received and made several critics “Best Of” list that year. Robert Christgau of The Village Voice called it a “perfect record.” In a way, I think Freedy attempted to return to the quality and mood of Can You Fly on his subsequent works, while trying to demonstrate his independence from it.

Pay No Attention To The Man Behind The Curtain!

Mark Zoltak was the man with a plan. He saw the big picture and had extensive musical knowledge. When listening to a demo, he’d hear its final mix instead. He preached Freedy’s work like Billy Graham cited scripture. Mark talked at a heart palpitating, mile-a-minute pace with motivational energy. His mind was five steps ahead of yours in a conversation. When we were airborne en route to Holland, he remembered that he left his car double parked, flashers blinking on a busy Hoboken street. That was just like him, as his passions sometimes rendered him absent-minded. He had an absolute panic attack on board the plane! Mark was consumed by Freedy’s career and was the perfect manager. In the not too distant future, Freedy would fire Mark.

Here’s The Real Deal. Mark was the kind of guy that, on first glance, few took seriously. Soon, however, he demonstrated qualities that few can only aspire to. He spoke his mind freely and often. He was politically incorrect. He’d say things with serious intent, but in a way that would generate laughter instead. The bottom line is that Mark knew his stuff and knew it better than anyone. The problem with Mark wasn’t his problem, but it was one of outside perception. It’s that he just said and did things in a manner that often did not command authority. He didn’t have much of a track record in the music business, nor did he play any instrument. At times he was personally volatile and

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