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PLAYBILL March 1976
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ARTHUR T. BIRSH - publisher
JOAN ALLEMAN RUBIN - editor-in-chief
CYNTHIA CARTY - program coordinator
LEO LERMAN - senior editor
THOMAS A. STEINFIELD - national sales director
L. ROBERT CHARLES - general sales director
ELAINE KLEIN - director of special sales
MIMI HOROWITZ - publication coordinator
MARY F. SEATON - assistant to the publisher
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PLAYBILL is published monthly in New York, Boston and Philadelphia. New York edition is published by American Theatre Press, Inc. 151 E. 50th St., New York, N.Y. 10022 212-751-9550. Pres. & Treas.: Arthur T. Birsh; Vice-Pres.: Steven J. Kumble; Sec.: Mary F. Seaton. Printed in U.S.A. Copyright [[copyright symbol]] American Theatre Press, Inc. 1976. All rights reserved.
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tion of passages of music and lyrics; a simple, meaningful message; writing songs that are "an emotional experience;" the growing use of underscoring (background music that is neither sung nor danced to).

To those who love music and the theatre, composers are specially blessed. They summon up from fertile imaginations sparkling songs, and poems that can be sung to them. That is rare enough. But these must be songs and poems that can be integrated smoothly into the flow of a drama performed by actors.

Getting started as a theatre song writer is an informal business. Rodgers attracted attention by writing the score for a Columbia University varsity show when he was a 16-year-old freshman. Many, including Kern, Gershwin and Hamlisch, wiggled into the field as rehearsal pianists. "You're the 'gopher,'" Hamlisch notes. "When you're not playing you run errands."

To get a first show to score, you simply have to convince a director or produces through your piano-playing, your understanding of the idiom, and some sample tunes that you're a fresh, original talent. The fact that as an unknown you'll work comparatively cheap helps.

Composers and lyricists regularly meet to plan, and to exchange and test their latest work, then go off again to create in solitude. The same writer seldom does both music and words, as Sondheim now does, and Rodgers sometimes has.

Marvin Hamlisch works in a newish

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If you had silver like this maybe you wouldn't want to eat out after the theater.

[[image - black and white photograph of a silver knife (A.), spoon (B.) and fork (C,)]]

This isn't just any silver. This is silver from the source. From Fortunoff. 

That means what you see on this page comes from our 72-foot wall covered with sterling silver, silverplate, stainless and pewter place settings. Patterns that we travelled all over the world to collect.
We have sterling patterns by the great American silversmiths, like International, Towle and Wallace. And almost every famous brand you've ever heard of. And patterns by the most skilled English, French and Italian craftsmen. Heavy silverplate that's guaranteed for a lifetime. Stainless from Scandinavia, Europe and the Near and Far East. Even patterns we design and manufacture ourselves.
And, here's something even more beautiful. Our prices. For instance, domestic sterling. a 5-piece place setting starts at $55. And English sterling at $127.50. You see, we have so much, and do so much ourselves, our prices are absolutely the best you can find. The best.

Now, here are just 3 patterns from our Georgian House collection from London.

A. Queen Anne. Most stores have 1 or 2 versions of Queen Anne, we have 58.

B. English Onslow. One of the oldest sterling silver patterns in existence.

C. Coburg. Heavy, gorgeous, ornate, dramatic silver from England.

Now that you've had a little taste, come experience it all.

What we do for silver, we also do for gold, jewelry, gifts and watches. Everything from sterling candelabra to Victorian brooches, to crystal rings, to diamond earrings.

And that's why we're called the source.

Fortunoff, the source.

WESTBURY, L.I. 1300 Old Country Road at the Raceway. NEW YORK, 124 East 57th Street between Park and Lex.

PARAMUS, NJ. Paramus Park Shopping Center, between Route #17 and Garden State Parkway.
Please note that the language and terminology used in this collection reflects the context and culture of the time of its creation, and may include culturally sensitive information. As an historical document, its contents may be at odds with contemporary views and terminology. The information within this collection does not reflect the views of the Smithsonian Institution, but is available in its original form to facilitate research. For questions or comments regarding sensitive content, access, and use related to this collection, please contact