Aaron Grant

The  Lippi Musical team is thrilled to be joined by Executive Producer/Business Manager, Aaron Grant. Aaron brings energy, experience and Broadway business smarts to the project. He is currently Partner and General Manager at Kelvin Productions LLC, where he serves as an independent Executive Producer, General Manager and Producer.

Current projects include: rendering General Management services for a new musical based on the classic literary figure Sherlock Holmes currently in development; rendering Executive Producer services for an upcoming revival of the hit Off-Broadway production Six Goumbas and a Wannabe; and rendering service as General Manager and Executive Producer for Peggy and Me, a new musical about Peggy Lee featuring the music of Jerry Leiber and Mike Stoller, based on the stories of the late Joe Beck with Tony nominated director Randal Myler attached to direct.

From May 2006 through January 2009 Mr. Grant worked at Aruba Productions LLC, a boutique theatrical general management and executive production firm where he had primary GM and EP responsibilities under the direct supervision of Ken Denison. At Aruba Productions, Aaron worked on such shows as the Broadway-bound musical stage plays Grumpy Old Men: The Musical, Stormy Weather and Robin and the 7 Hoods, as well as such projects as The Molly Maguires, Almost Heaven: Songs of John Denver, C.S. Lewis’ The Screwtape Letters, Minimum Wage and the Chicago production of Altar Boyz.

Independently, Aaron was lead producer on the Off-Broadway comedy, White’s Lies by Ben Andron which in various stages involved Molly Ringwald, Tom Cavanagh, Martha Plimpton, Betty Buckley and Elaine Stritch. A UK production is currently in development.

Most recently Aaron has begun developing a new Broadway bound comedy with Ben Andron titled The Legend of Bobby Stone and the Good Feeling Hat. Comedy legend Peter Scolari is attached to direct.

Aaron’s grasp of both the business and creative sides of the project along with his youthful energy have charged enthusiasm and direction into the Lippi, the Musical team. There is now a plan in place that will move this ambitious project forward.

Steve Kayser and Ken Sutherland review the Lippi Musical performance in New York.

Steve: Lippi, the Musical, was performed at The York Theatre Developmental Read program, an award-winning venue in New York with 180 Broadway theater goers and industry leaders in attendance. Now that the dust has settled – what’s your take?

Ken: The New York performance at the York Theatre was exceptional. Standing ovation to a packed house. With 9 actors from Dallas and 6 from New York, the show was smoother and better paced than the Dallas presentation. We have learned so much from the staged readings. The York Theatre really is the place “where musicals come to life”.

Steve: Were there any story-line issues or concerns that came up?

Ken: The main concern expressed by a number of folks at the New York read was consistent: we need to shorten the running time. We’ve now done that. The show is tighter, more exciting and flies by with no serious damage to the score or the heart of the story. Characters are now fully flushed out and the through-story line is focused.

The major asset we brought in was Eugene Gwozdz, our New York based musical director. What a phenomenal talent. And though the intention of the read was to showcase the score and the story, the combined Dallas and New York cast was terrific. Hollis Scarborough was spot on as Angelina and Michael and Angelo – played by Seth Grugle and Joe Cooper – almost stole the show. Renee Freeman, Samantha Blair and Haley Patersen added great vocals, youthful enthusiasm and minimal but effective choreography. Kim Whalen’s turn as Lucrezia captivated everyone. Director Tod Booth once again showed creativity and style with this performance.

Steve: Next steps?

Ken: Looks like right now a work shop (also in New York) off Broadway in October. “Lippi” continues to move forward!

After five years of writing and re writing, creating some 20 odd drafts, 28 songs recorded (and counting), along with wading through a pile of research, Lippi, The Musical is taking the next important step. The York Theatre Developmental Read program has invited the show to New York City for a full length directed read in front of an audience of theater goers, producers, and potential backers.

About The Author

Ken Sutherland was blessed early on. Living just 30 minutes from Manhattan and with his older brother in tow, Ken’s Dad – a former radio singer in the 30’s – hauled the two boys off to virtually every musical that played in New York and/or surrounding country side: previews in DC, in Connecticut, in Philadelphia and of course great seats at every theater on and off Broadway.

Those formative years were the genesis of his musical theater education. And he soaked up those experiences like a sponge.

In 1971, while working at an ad agency in New York, Ken and fellow ad man, Stewart Johnson, tried their hand at writing a musical based upon the Tom Sawyer and Huckleberry Finn characters created by Mark Twain. They finished Act 1.  Then the demands of “real world” work took over and, alas, some time later along came “Big River”.

Then in or about 1972 a friend showed Ken a screenplay based upon the life of legendary Renaissance Master, Fra Filippo Lippi.  Ken looked at the opening pages and immediately discarded the script, declaring “this guy’s life should be a musical”.  He had learned of Lippi’s story as an art major at Carnegie Mellon University.

And while the call to write another musical took awhile to be heard, in 1973 he dove headlong into a diverse music career. Commercials at first, then documentaries, trade shows, songs for R&B, POP and C&W artists and, finally film and television.

During the seventeen years he serviced the advertising community through his music production company, Ken was responsible for creating and producing commercial music for a multitude of major clients, including: American Airlines, Holiday Inn, Coors Beer, Frito Lay, Ford Motor Company, Exxon, Sports Illustrated, Quaker Oats, Gulf Oil, Radio Shack, Levi Strauss, 7-11 Corporation, McDonald’s, Wendy’s, Zales Jewelers and Pepsi Cola, to name just a few.

During that time, he won numerous awards for advertising and documentary music, including: More than 300 Gold Addys, 2 Gold Camera Awards, 3 Cine Golden Eagle Awards, 2 IBC Awards, and the London International Advertising Award in 1990. In 1985 He was named Man of the Year by the Texas Film Commission and in 1987 he was voted to Ad Week Magazine’s All-Star Creative Team.

In 1984, along with writer/orchestrator Phil Kelly, Ken wrote the lyrics and music for an original musical for the Southland Corporation’s Olympic participation convention in Las Vegas, a one performance only project.

His music production company activities have led Ken to Europe and the Middle East to write and produce musical scores for television and industrial films abroad. In 1985 he wrote and produced the music for “Here Is My Love, Pass It Along” a Texas effort – similar to “We Are The World” – to raise awareness and money for the Texas Food Bank and the Biafra humanitarian project.  Over 250 Texas media stars participated including Steven Stills, Billy Preston, B.J. Thomas, Charley Pride, The Gatlin Brothers, etc.

Ken also wrote the official theme song, “Nixon Now More Than Ever” for President Nixon’s re-election campaign in 1972 and, in that same year, the official “Thanks To You” theme for the National United Way campaign.

Concurrently with the development and growth of his music production company in Dallas in the early seventies, he began a song writing career through some of the top music publishers in Los Angeles and spent much of his time commuting between the two cities until finally moving to Los Angeles in 1986.

Composing music for motion pictures had long been a dream of his and in 1974 he got his first opportunity, writing the complete score and title song for “BLACK RIDER”, starring pro football great, Fred Williamson. Since then he has written most of the songs and the complete musical scores for seven motion pictures including the award-winning family film, “SAVANNAH SMILES”, in 1983. This wonderful little film remains a top seller and rental through video stores and enjoys regular broadcasts on local and cable television both domestically and in Europe.

Additional film scores composed by Ken include “PAPA WAS A PREACHER” for Producer Martin Jurow, “SHADOWS ON THE WALL” for Manson International Pictures, “DARK BEFORE DAWN” for Hemdale Releasing Company and “BIG BAD JOHN” for Magnum Entertainment.

Now back in Dallas, he is currently writing and producing record album projects and film scores while directing the development of a new entertainment company. In 2004 Ken co-wrote and produced the CD “My Walk, His Way” with award winning gospel artist, Benita Arterberry Burns.

In 2006 he completed an original score for “Dancing With Torah”, a feature length documentary filmed and directed by Robert O. Curry with support from the Simon Wiesenthal Holocaust Center.

In late 2005 while discussing a motion picture soundtrack opportunity with writer/producer Sidsel Alpert, Ken was asked “Any ideas for a musical?” “Yeah”, said Ken.  With encouragement and support from Ms. Alpert he went to work.

In 1972 Ken proposed that the Fra Lippi story should be “A Musical”

Today – 37 years later – it is!

Eugene Gwozdz

Originally from Ft. Worth, Texas, now based in New York City, Music Director/Pianist and Arranger Eugene Gwozdz is considered one of Broadway’s best. Eugene just finished orchestrating and arranging music for the revival of IT’S A BIRD, IT’S A PLANE, IT’S SUPERMAN, and is currently co-writing a new musical, MORGAN STREET, with Anika Noni Rose and Jeremy Alan Richards.

Mr. Gwozdz was also Music Director/Pianist/Arranger for the hit show, THRILL ME, at the York Theatre which earned 2 DRAMA DESK nominations for OUTSTANDING MUSICAL and OUTSTANDING MUSIC, and an OUTER CRITICS CIRCLE AWARD nomination for OUTSTANDING OFF-BROADWAY MUSICAL. Eugene was also Music Director for the critically acclaimed 20th Anniversary Revival Production of Maltby & Shire’s BABY at the Paper Mill Playhouse.

On Broadway, Eugene has played keyboards for THE FULL MONTY and OKLAHOMA!. Eugene is very proud to be the Music Director/Pianist for “The Princess & The Frog” star, Anika Noni Rose, and is also the Music Director/Pianist for Broadway Tony Award Winners Donna McKechnie, Cady Huffman; and is the MD/Pianist for Rachel York’s Cabaret Show. Broadway National Tours: SUNSET BOULEVARD (Petula Clark), THE FLOWER DRUM SONG, SWING!, COLOR PURPLE,PHANTOM OF THE OPERA, THE WILL ROGERS’ FOLLIES, and WEST SIDE STORY (Conducted and played keyboards). Off-Broadway: THRILL ME, SCROOGE, INSOMNIA, I LOVE YOU YOU’RE PERFECT NOW CHANGE, TIME AND AGAIN and THE PRINCE AND THE PAUPER. In Fort Worth, Eugene Music Directs for Casa Manana Theatre at the BEAUTIFUL Bass Performance Hall. He has worked with many Broadway stars includingChita Rivera, Leslie Uggams, Shirley Jones, Will Chase, Betty Buckley, Michael Rupert, Carolee Carmello, LaChanze, Norm Lewis, Sutton and Hunter Foster, Kristin Chenowith, John Tartaglia, Laura Benanti, Karen Ziemba, Lou Diamond Phillips, and Laura Bell Bundy.

Eugene Gwozdz

Originally from Ft. Worth, Texas, now based in New York City, Music Director/Pianist/Arranger Eugene Gwozdz is considered one of Broadway’s best. Eugene just finished orchestrating and arranging music for the revival of IT’S A BIRD, IT’S A PLANE, IT’S SUPERMAN, and is currently co-writing a new musical, MORGAN STREET, with Anika Noni Rose and Jeremy Alan Richards.

Mr. Gwozdz also was Music Director/Pianist/Arranger for the hit show, THRILL ME, at the York Theatre which earned 2 DRAMA DESK nominations for OUTSTANDING MUSICAL and OUTSTANDING MUSIC, and an OUTER CRITICS CIRCLE AWARD nomination for OUTSTANDING OFF-BROADWAY MUSICAL. Eugene was also Music Director for the critically acclaimed 20th Anniversary Revival Production of Maltby & Shire’s BABY at the Paper Mill Playhouse.

On Broadway, Eugene has played keyboards for THE FULL MONTY and OKLAHOMA!. Eugene is very proud to be the Music Director/Pianist for “The Princess & The Frog” star, Anika Noni Rose, and is also the Music Director/Pianist for Broadway Tony Award Winners Donna McKechnie, Cady Huffman; and is the MD/Pianist for Rachel York’s Cabaret Show. Broadway National Tours: SUNSET BOULEVARD (Petula Clark), THE FLOWER DRUM SONG, SWING!, COLOR PURPLE,PHANTOM OF THE OPERA, THE WILL ROGERS’ FOLLIES, and WEST SIDE STORY (Conducted and played keyboards). Off-Broadway: THRILL ME, SCROOGE, INSOMNIA, I LOVE YOU YOU’RE PERFECT NOW CHANGE, TIME AND AGAIN and THE PRINCE AND THE PAUPER. In Fort Worth, Eugene Music Directs for Casa Manana Theatre at the BEAUTIFUL Bass Performance Hall. He has worked with many Broadway stars includingChita Rivera, Leslie Uggams, Shirley Jones, Will Chase, Betty Buckley, Michael Rupert, Carolee Carmello, LaChanze, Norm Lewis, Sutton and Hunter Foster, Kristin Chenowith, John Tartaglia, Laura Benanti, Karen Ziemba, Lou Diamond Phillips, and Laura Bell Bundy.

Veteran Stage Director Tod Booth has joined with author and composer Ken Sutherland on the LIPPI MUSICAL project.

About  Tod Booth, Director

Tod Booth is thrilled to be a part of the “LIPPI” creative team.  He is the Executive Producer/Director of The Alhambra in Jacksonville, Florida.  The Alhambra is the oldest Equity dinner theatre in America.  For the past 25 years, his production company has owned and operated the theatre.  Prior to the Alhambra, Tod was the Executive Producer/Director of Chicago’s famed Drury Lane Theatres.  During his Chicago tenure, many times, he had three shows simultaneously on stage in Chicago and several on tour throughout the country.

Mr. Booth has produced/directed over 350 Equity shows featuring many stars of the past, as well as, stars of today and tomorrow.  Musicals are his specialty.  The creative process with the original writers, composers, lyricists, designers, and casts is the most exciting adventure imaginable.  Mr. Booth’s name appears as the original producer/director on scripts licensed by both Samuel French and Dramatist Play Service. His original musicals include “Christmas Carole”, “One Shining Moment”, and “The Four Bills”.

His work on stage, television, and film illustrates a diversity in background and experience.  He has staged major musicals in a concert environment with symphony orchestras and sometimes appears as a solo artist on major projects.   Having served as consultant to state arts councils and the National Endowment for the Arts, he has shared his over 40 years in the business with budding artists.  Mr. Booth is a proud member of Actors’ Equity Association, Screen Actors Guild, and the Society of Stage Directors and Choreographers.

His debut as a professional actor began at the age of sixteen with Don Ameche in “Silk Stockings”.  He has directed and/or performed opposite Mickey Rooney,  Cloris Leachman, Forrest Tucker, Vera Miles, Sonny Bono, Elke Sommer, Carrol Baker, Ray Walston,  Frank Gorshin, Nannette Fabray, Bernie Koppel, Megan Mullaly, Kevin Anderson,  Kelley Jeane Grant ( Broadway “Company”, presently as Christine in”Phantom” tour),  Angela Robinson (5 Broadway shows and starring in “Color Purple” on tour), and James Kinney (8 Broadway shows and best Fosse dancer in the city).

The “LIPPI” project is an opportunity to join an exciting creative team in bringing Ken Sutherland’s dream to the stage.

Clergy, police, nuns, ordinary citizens: all know what lies ahead.

They know Lippi will be tried by the church and hang for heresy!

The York Theatre Developmental Read program

The York Theatre Developmental Read program is unique. Founded in 1969, this program has birthed dozens of successful Broadway and off Broadway musicals. The York folks are committed to developing and producing new musical theater projects and their track record is remarkable. “Avenue Q”, “Summer of ’42”, “Harold and Maud”, “Bush Is Bad”, and “Musical Of Musicals” are some of the shows that have recently been nurtured through their exposure at the York. Some 40 reads a year – all musicals – are performed at the York.  And more than 60 shows have enjoyed full productions at this cozy, off Broadway venue.  In 2006 they were presented with a special Drama Desk award for their unique and impressive record of incubating and launching new musical theater works.

Veteran Stage Director Joins the Lippi Musical

An invitation to the York program is blessing for any new work. So a new team has been formed to guide Lippi through the developmental read process in New York. Veteran Stage Director Tod Booth has joined with author and composer Ken Sutherland to form a unit that will help shape the show for the Broadway audience. They are looking for a dynamite Music Director/Pianist to complete the team for the York Theatre developmental read.

“Renaissance Man” from Lippi, The Musical (c) Kennett Music Company ASCAP Http://www.lippimusical.com

“When I Close My Eyes” from Lippi, The Musical (c) Kennett Music Company ASCAP Http://www.lippimusical.com

“Somewhere in Florence” from Lippi, The Musical (c) Kennett Music Company ASCAP

FLORENCE, ITALY 1455 – The Dawn of the Renaissance

It is 1455.

Just ahead: the Inquisition and the genius of Galileo and Newton

Just ahead: the discovery of the New World

Just ahead: the spectacular careers of Leonardo Da Vinci and Michaelangelo. And Europe, itself, has just emerged from the brutal, soul-less middle ages.

There is a new light on the horizon. It is the renaissance: the rebirth of art, of architecture and literature. And at the dawning of this new light – as happens in every age – there arose men of vision and of extraordinary gifts.

One of those early giants was Fra Filippo di Tommaso di Lippi. Fra Lippi, an orphan raised in the Carmelite Abby in Florence, never intended to be a servant of God. He plainly had other ideas. His paintings, frescos and panels would become the master-pieces that all of those who followed would study. And his reputation as a lover of earthly pleasures was justly earned.

But . . .  this is a love story.

A true love story.

All of the fanciful trappings that this author – and others – have attached to this man do not belie the truth: this love story happened. Embellishments, time line moves and characters have been added, dismissed or combined.

But this love story happened. And it brought into conflict the Catholic Church and the cultural and civic leaders of Florence, indeed, of all of Italy.

This love story holds all of the consequences and frailties that have possessed mankind since the dawning of civilization: betrayal, lust, anger, remorse, revenge, justice, life and death. Transformation.

Most of all, Fra Lippi’s story levitates an awareness of the true power of love that transcends time; that makes his story relevant more than 550 years later.

This musical play is but one storyteller’s version of this incredible journey. And this musical has Cirque du Soleil inspired acrobatics on the scaffold, a breath taking sword fight, digital visual magic, spectacle, drama, comedy, action and passion. It has unlikely heroes and, of course, sensational choreography.

Lippi: Pittore d’Amore: It’s a very colorful musical journey!

We open:

Cosimo d’Medici, head of the most influential family in Florence, leads a couple of dignitaries up the staircase in his villa to an upstairs bedroom where he has quarantined Fra Filippo Lippi. Lippi’s reputation for being late, drunk, off chasing women – you name it – was no secret in Florence. Oh, and by the way: Lippi was a Carmelite Monk.  Gifted though he was, Lippi was a handful – even for his primary patron, Medici.  They knock on the bedroom door. No answer. They knock again. Medici unlocks the door only to find a half finished painting of the Madonna and Lippi climbing down the outside wall. Yep. He was off to God knows what kind of mischief. As Lippi heads for the plaza he is joined by two of his assistants (Michael and Angelo) and their friend, Yeshel, a Jewish money lender. We learn that Lippi almost always is indebted to Yeshel, a fact that annoys the kindly lender. (Renaissance Man)

In the plaza we meet Diamante, Lippi’s most trusted and skillful assistant. He deplores Lippi’s reckless life style because it gets in the way of the work they all love. We also meet Prince Rinaldo Albizzi, a royal who is jealous of Lippi’s friendship with Medici. Albizzi is a hateful, insecure man. And he is dangerous.  We also meet Lucrezia Buti and her friend and companion, Angelina Gherardini. Lucrezia has been contracted by her father to marry Albizzi much to her dismay. (Somewhere In Florence) We also learn that Lippi has been working at Albizzi’s villa as well, a fact unknown to Medici. When Medici finds out he is obviously unhappy and makes that clear to Lippi.

The artists continue their work on a huge mural at Albizzi’s. (Diamante’s Lament) We learn that Diamante has acquired another skill; one that will ultimately save the day in act 2. As they paint they see Yeshel with Albizzi and they are naturally curious. Yeshel simply tells them that even he has to dance with the devil on occasion. (What Is A Jew To Do) Yeshel has taken on a business relationship with Albizzi, one that will ramp up the drama in the second Act. Lippi gets drunk and defaces the mural. (You’re A Disgrace) The short tempered Albizzi has him thrown in jail.

Medici – preparing for a battle with their rival city state, Venice – has Lippi released from jail and, along with their friend, Pope Nicholas V, tells Lippi he must leave town or suffer additional retribution from Albizzi. (When I Close My Eyes) Lippi – against his will – is sent to a Monastery in Prato, a small town some 10 miles from Florence. One problem: the monastery is next door to a convent. With only Diamante at his side he tries in vain to paint a Madonna, one that he can only dream of.

Until the one he can only dream of walks past him with her sister novitiates. It is Lucrezia who, with Angelina, has fled Florence to the security of the convent. Lippi is overwhelmed by Lucrezia and insists that she be allowed to pose for him.

The Abbess at the convent has heard the rumors of Lippi’s insatiable hunger for women and wine and takes every precaution to keep her nuns from his reaches. (Diligence, Attention, Resolve) But Lippi is determined and finally gets permission to use Lucrezia as a model for his Madonna. (Stay Inside The Lines)

As Lippi and Lucrezia develop a relationship, Angelina and Diamante – adversaries of sort at first – are also finding some common ground. The novitiates warn Lucrezia about Lippi’s reputation (Don’t Go There) but the inevitable happens. (I Never Saw This Coming) Lippi and Lucrezia fall in love, an experience completely unfamiliar to Lippi. The Abbess has also been watching the romance bloom and is reminded of a love she once knew. (I Walk A Blessed Road). Lippi and Lucrezia elope (Look Where Love Has Led Me Now) from the monastery and the convent to a cottage in the country side. Lucrezia gets pregnant. (One Love At Last). Lippi is overjoyed but when the news hits Florence all hell breaks loose. (That’s What You Get) And when Albizzi learns that Lippi and Lucrezia are together and that she is with child, he goes ballistic. Albizzi has Lippi arrested and the church tribunal – headed by Cardinal Borgia – sentence Lippi to hang for heresy. (All Things New Again) He is jailed and brutally beaten.

Lucrezia, in disguise, visits Lippi in jail and tells him that they must have faith. (Faith Enough For Two) Diamante and Angelina – now back in Florence – learn that Medici is returning from the Venetian wars. Yeshel has also been busy. He learns that the very money he has helped raise for Albizzi is being used by Albizzi to stage a coup.

The final scenes are played out in Medici’s grand hall (where Diamante and Yeshel have their heroic moments), in the streets of Florence and in the Vatican. Relationships are exposed, battles waged and love ultimately wins the day.

The show features spectacular aerobatic/acrobatic sequences, wonderful choreography, digital magic, an athletic sword fight, humor and, finally, an in depth look at the transformational power of love.

And most of it is true.

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Flickr photo courtesy of Rose Without a Thorn

Fra Filippo Lippi’s  painting “Salome dancing at the Feast of Herod.”

One of Fra Filippo Lippi. paintings – Virgin and Child Surrounded by Angels with St. Frediano and St. Augustine (The Barbadori Altarpiece). 1437. Tempera on panel. Louvre, Paris, France.

Fra’ Filippo Lippi (1406 – October 8, 1469) the Carmelite,  was an Italian painter of the Italian Quattrocento (15th century) school.  Although Lippi took his vows in 1421, he found himself temperamentally unsuited to the monastic lifestyle.