Encore Atlanta August 2009 ASO Verizon

August 1, 2009

In tune with great music.

Much like a musician spends countless hours perfecting and refining their music, we continually strive to refine our performance. With the latest technology and devices, plus features like V CAST Music and Video, Mobile TV, messaging and more, Verizon Wireless has the perfect arrangement for you.

America’s Largest and Most Reliable Wireless Network Select phone & add'l charges req'd for V CAST services. Network details and coverage maps at verizonwireless.com. Š2009 Veri Verizon izon Wireless.

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Dear Music Lovers,

Welcome

to the second season of the Atlanta Symphony Orchestra at Verizon Wireless Amphitheatre at Encore Park!

Last summer we explored fresh possibilities of bringing classical music to our new summer home. Together, with your tremendous support, we cultivated new traditions that enriched our musical experiences. We were overjoyed by the warm welcome we received from the greater North Fulton Community, and by the overwhelming response we continue to have about the gorgeous surroundings and acoustics at Verizon Wireless Amphitheatre. Thank you for making our 2008 opening summer an extraordinary experience for us all.

This season, in response to your feedback, we are delighted to bring you more of the effervescent musical experiences and traditions we have grown to love. You will continue to hear what ASO musicians and guest artists have to say about each eveningâ&#x20AC;&#x2122;s concert at our Top of the Lawn conversations; text message your questions to guest artists to see and hear the answers during live on-site broadcasts projected on large screens throughout the summer; and join in the fun of themed evenings by dining on specially prepared food and beverages at each concert. Your enthusiasm for our movie-themed fare at Turner Classic Movie Night, world-cuisine offered at our classical concerts, and our gourmet picnic baskets, has encouraged endless creative possibilities for this summerâ&#x20AC;&#x2122;s themed menus!

This year, we carry on the traditions we have created together to make every night a unique, magical experience.

We are delighted to share Atlanta Symphony Orchestra events with you. Enjoy!

Yours in music,

Allison Vulgamore President and Chief Executive Officer Atlanta Symphony Orchestra

Encore Atlanta

Robert Spano Music Director

The arts nourish our hearts and imaginations.

For that reason and many more, weâ&#x20AC;&#x2122;re proud to support the arts in Atlanta.

Encore Park for the Arts The Legacy Founders Robert W. Woodruff Arts Center

Atlanta Symphony Orchestra

Robert W. Woodruff Foundation

City of Alpharetta

Fulton County The Estate of Margaret and Board of John A. Conant Bob Reiser Commissioners under the guidance of the Fulton County Arts Council

Atlanta Symphony Orchestra Atlanta Symphony Orchestra League 2009-2010 Board of Directors Officers Ben F. Johnson, III Chair Vice Chairs Clayton F. Jackson Finance Chair/ Treasurer Jeff Mango Penny McPhee Chilton Davis Varner Allison Vulgamore * Kathleen (Suzy) Wasserman * ASA President Joni Winston Secretary

Directors Pinney L. Allen Joseph R. Bankoff * Jan Bennett Jason A. Bernstein Paul Blackney C. Merrell Calhoun Donald P. Carson Philip Cave Ann W. Cramer Christopher Crommett Cari K. Dawson Carla Fackler Gary P. Fayard Dr. Robert Franklin Paul Garcia Willem-Jan O. Hattink

Jim Henry Edward S. Heys, Jr. Tycho Howle Tad Hutcheson Mrs. Roya Irvani Clayton F. Jackson Ben F. Johnson, III Marsha Sampson Johnson Mark Kistulinec Mike Lang Donna Lee Lucy Lee Meghan H. Magruder Jeff Mango Darrell J. Mays JoAnn McClinton

Penny McPhee Giorgio Medici Charles Moseley Galen Oelkers Victoria Palefsky Leslie Z. Petter Patricia Reid Margaret Conant Reiser Martin Richenhagen John D. Rogers Dennis Sadlowski William Schultz Tom Sherwood John Sibley Hamilton Smith Thurmond Smithgall

Gail R. Starr Mary Rose Taylor Liz Troy Ray Uttenhove Chilton Davis Varner Allison Vulgamore * Rick Walker Mark Wasserman Kathleen (Suzy) Wasserman * John B. White, Jr. Richard S. (Dick) White, Jr. Joni Winston Patrice Wright-Lewis Camille Yow

John S. Hunsinger Aaron J. Johnson Herb Karp Jim Kelley George Lanier Patricia Leake Mrs. William C. Lester

Mrs. J. Erskine Love Carolyn C. McClatchey John W. McIntyre Bertil D. Nordin Dell P. Rearden Joyce Schwob Mrs. Charles A. Smithgall, Jr.

W. Rhett Tanner G. Kimbrough Taylor Michael W. Trapp Edus Warren Adair R. White Neil Williams

Azira G. Hill

Dr. James M. Hund

Arthur L. Montgomery

* ex officio

Board of counselors Howell E. Adams, Jr. Mrs. John Aderhold Robert M. Balentine Elinor Breman Dr. John W. Cooledge Bradley Currey, Jr. John Donnell

Jere Drummond Arnoldo Fiedotin Ruth Gershon Charles Ginden John T. Glover Frances B. Graves Dona Humphreys

Life Directors Mrs. Drew Fuller

Mary D. Gellerstedt

Encore Park for the Arts 2009-2010 Board of Directors Joseph R. Bankoff Chair Paul Hogle Secretary Stephen P. Merz Treasurer

Encore Atlanta

Brandon Beach Barrie Davenport Donald F. Fox Alex Gross

Penn Hodge Dona Humphreys Clay Jackson Bruce Kenney Lucy Lee

Mayor Arthur Letchas Mike Nixon Fulton County Commissioner Lynne Riley

Clay Schell Mike Troy Allison Vulgamore

’

Robert Spano, conductor

M

usic Director Robert Spano, currently in his eighth season as music director of the Atlanta Symphony Orchestra, is recognized internationally as one of the most imaginative conductors today. Last season, Mr. Spano conducted and recorded the Atlanta Symphony Orchestra and Chorus in Puccini’s La Bohème, the first American recording of the opera since 1956. It was released by Telarc in conjunction with the semi-staged performance he led at Verizon Wireless Amphitheatre at Encore Park, the Orchestra’s new state-of-the-art 12,000-seat venue in Alpharetta, Ga., where he conducted all of the orchestral concerts in the inaugural season.

Since 2001, Mr. Spano has invigorated and expanded the Orchestra’s repertoire while elevating the ensemble to new levels of international prominence and acclaim. The Orchestra and audiences together explore a creative programming mix, recordings and visual enhancements, such as Theater of a Concert, the Orchestra’s continuing exploration of different formats, settings, and enhancements for the musical performance experience (such as the first concert-staged performances of John Adams’s Doctor Atomic in November 2008). The Atlanta School of Composers reflects Mr. Spano and the Orchestra’s commitment to nurturing and championing music through multi-year partnerships defining a new generation of American composers, including Osvaldo Golijov, Jennifer Higdon, Christopher Theofanidis, and Michael Gandolfi. Since the beginning of his tenure, Mr. Spano and the ASO have performed nearly 100 contemporary works (composed since 1950), including seven ASO-commissioned world premieres, two additional world premieres and one U.S. premiere.

Mr. Spano continues to expand the discography of the Atlanta Symphony to include the music of Atlanta School of Composers Christopher Theofanidis, Jennifer Higdon and Michael Gandolfi, as well as John Adams, David Del Tredici, Sibelius’s Kullervo, Brahms’s Requiem, a recently released live recording of La Bohème and the Grammy® Award-winning recordings of Vaughan Williams’s A Sea Symphony and Berlioz’s Requiem. Mr. Spano and the ASO also have recently recorded two discs of the music by Atlanta School of Composers Osvaldo Golijov for Deutsche Grammophon: one including Three Songs and Oceana, and the other including the chamber opera Ainadamar, which was awarded two Grammys. In 2008, Robert Spano was named Musical America’s Conductor of the Year.

Atlanta Symphony Orchestra

T

he Atlanta Symphony Orchestra, currently in its 64th season, is one of America’s leading orchestras, known for the excellence of its live performances, presentations, renowned choruses and its impressive list of Grammy Awardwinning recordings. With the opening of the 12,000-seat Verizon Wireless Amphitheatre at Encore Park (vzwamp. com) in May 2008, the Atlanta Symphony Orchestra became the first U.S. orchestra to annually perform and present in its concert hall and in two amphitheaters. In Summer 2008, the Orchestra celebrated 35 years at the legendary Chastain Park Amphitheater, the award-winning 6,500-seat venue in Atlanta, during the ASO’s annual Delta Classic Chastain concert series (classicchastain.com).

The leading cultural organization in the Southeast, the Atlanta Symphony Orchestra serves as the cornerstone for artistic development and music education in the region. Under the Creative Partnership of Music Director Robert Spano, Principal Guest Conductor Donald Runnicles, and President and CEO Allison Vulgamore since September 2001, the Orchestra and audiences together explore a creative programming mix, recordings, and visual enhancements, such as the ASO Theater of a Concert, the Orchestra’s continuing exploration of different formats, settings, and enhancements for the musical performance experience. Another example is the Atlanta School of Composers, which reflects Mr. Spano and the Orchestra’s commitment to nurturing and championing music through multi-year partnerships defining a new generation of American composers.

During its 31-year history with Telarc, the Orchestra has recorded more than 100 albums, and its recordings have won 26 Grammy Awards in categories including Best Classical Album, Best Orchestral Performance, Best Choral Performance and Best Opera Performance. The ASO Chorus has earned nine Grammy Awards for Best Choral Performance, most recently for the Berlioz Requiem in 2005.

The Atlanta Symphony Orchestra performs more than 200 concerts each year to a combined audience of more than a half million in a full schedule of performances which also feature educational and community concerts. A recognized leader and supporter of contemporary American music, the Orchestra recently received the 2007 award for Strongest Commitment to New American Music from the American Society of Composers, Authors and Publishers.

Encore Atlanta

Atlanta Symphony Orchestra

Verizon Wireless Amphitheatre at Encore Park

Rodgers and Hammerstein

At the Movies Saturday, August 1, 2009, 8:30 pm Richard Kaufman, Conductor Robert Osborne, Host Richard Rodgers (1902-1979)

Oklahoma Overture “Oh, What A Beautiful Mornin’” “The Surrey with the Fringe on Top” “Oklahoma!”

Carousel The Carousel Waltz “If I Loved You” “June Is Bustin’ Out All Over”

South Pacific Main Title “There Is Nothin’ Like A Dame” “Some Enchanted Evening” “Dites-Moi” INTERMISSION Max Steiner (1888-1971) (arr. Frank Campbell-Watson)

Tara (A Short Tone Poem for Orchestra) Richard Rodgers (1902-1979)

The King and I Main Title

The March Of The Siamese Children “Getting To Know You” “Shall We Dance”

State Fair “It’s A Grand Night For Singing”

The Sound of Music Opening Sequence and “The Sound of Music” “Do-Re-Mi” “So Long, Farewell” “Climb Every Mountain,” Finale

Special Thanks to Robert Osborne, Turner Classic Movies and Peachtree TV. Thanks, also, to Phil Kent, Chairman and CEO of Turner Broadcasting System, and Chairman, Woodruff Arts Center Board of Trustees.

Atlanta’s Performing Arts Publication

by Jim Brown Richard Rodgers was born June 28, 1902, Queens, New York and died December 30, 1979, New York, New York.

Oscar Hammerstein II was born July 12, 1895, New York, New York and died August 23, 1960, Doylestown, Pennsylvania.

Photo courtesy of The Rodgers and Hammerstein Organization

Notes on the program

Oklahoma “ All the sounds of the earth are like music ….”

Released October 1955 in Todd-AO & CinemaScope Director: Fred Zinnemann Cinematographer: Robert Surtees Choreographer: Agnes de Mille Cast includes: Gordon MacRae (Curly), Shirley Jones (Laurey), Gene Nelson (Will Parker), Gloria Grahame (Ado Annie), Eddie Albert (Ali Hakim), Charlotte Greenwood (Aunt Eller) and Rod Steiger (Jud Fry). t never set well, with the good folks in the Sooner State, that the movie version of R&H’s quintessential American musical, Oklahoma, was filmed in….Arizona! Oklahoma’s 1950’s modernity, and the search for wide-open spaces, turned the filmmakers attention west to Arizona’s San Rafael Valley. So, when the wind came sweepin’ down the plain, and the wavin’ wheat sure smelled sweet, it was doing so just northeast of Nogales.

There, Aunt Eller’s vintage farm set took form, while the railroad station with “Claremore” (Oklahoma) emblazoned on the side, where Gene Nelson and company dance and sing Everything’s Up To Date in Kansas City, was built on a railroad spur line in nearby Elgin, Arizona.

Oklahoma opened on Broadway in March 1943, based on the play, Green Grow The Lilacs, by Lynn Riggs. Originally titled Away We Go, it was changed to Oklahoma because of the popularity of that song in the show. It ran for 2,212 performances over a record-breaking five years.

In May 1954, after the last touring company closed, R&H announced they would now produce the screen version, to be released in the new wide-screen process, called Todd-AO. However, there were few theaters equipped to show the system, so it was decided to shoot a second negative, in CinemaScope. That meant every scene was photographed twice, although both cameras were used for the non-dialogue and dance sequences. Most audiences saw the CinemaScope version.

Fred Zinnemann (High Noon [1952], From Here to Eternity [1953]) was chosen to direct, even though he had never done a musical. Critics said Zinnemann seemed more comfortable with the dark shadings of Rod Steiger’s villainous character, than the innocent and often static interaction the director provides between Gordon MacRae’s Curly and Shirley Jones’ Laurey. It was also evident in Zinnemann’s handling of non-dancer Steiger’s menacing participation in Agnes de Mille’s groundbreaking stage choreography of the Dream Ballet, recreated for the film.

MacRae was 34 at the time, and when he rode through the cornfield with his rich baritone voice celebrating Oh, What a Beautiful Morning, the corn was ‘as high as an elephant’s eye’, thanks to the careful nurturing, with chemicals and water, of the 10-acre cornfield, planted where it was visually needed. The trees of the transplanted ‘bearing’ peach orchard were also embellished with several hundred wax peaches, complete with fuzz. Jones was only 20, when she made her movie debut as Laurey. She had been spotted in the chorus of a touring stage version and R&H signed her to a personal contract, the only singer ever to receive that honor.

Oklahoma received Academy Awards for Best Scoring (adaptation) of a Musical Picture and Best Sound. The soundtrack album became one of the most popular movie music albums ever released.

10 Encore Atlanta

Photo courtesy IMG

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TM & Š 2009 Turner Classic Movies. A Time Warner Company. All Rights Reserved.

The stuff that dreams are made of.

Celebrating classic movies the way they were meant to be seen â&#x20AC;&#x201C; uncut and commercial free.

CAROUSEL “ June is busting out all over. All over the meadow and the hill ....”

Released February 1956 in CinemaScope Director: Henry King Cinematographer: Charles Clark Choreographer: Rod Alexander Cast includes: Gordon MacRae (Billy Bigelow), Shirley Jones (Julie Jordan), Cameron Mitchell (Jigger Craigin), Barbara Ruick (Carrie Pipperidge), Claramae Turner (Cousin Nettie) and Robert Rounseville (Mr. Snow).

D

id you know that the suave French-born actor Charles Boyer and the all-American baritone Gordon MacRae played the same movie role? Each was 35 years old when he put his stamp of bravado and exuberance on the tragic carousel barker, central to Ferenc Molnar’s play Liliom. Boyer, as Liliom Zadowski, gave a straight dramatic French language treatment (1934), aided by a Franz Waxman score. Zadowski became Billy Bigelow when R&H turned it into an American musical, Carousel, for the stage, then the movies.

It is the bittersweet tale of a womanizing ne’re do-well who falls in love with an innocent girl. Panicked, when he is about to become a father, he enters into a robbery scheme, which goes awry. Upon Billy’s death (suicide on stage, accidentally in the movie), he enters heaven and is told he can redeem himself by returning to earth to brighten the life of his unhappy 15-year-old daughter. (Unlike the stage version, the film opens in heaven, to soften the impact on the audience of Billy’s later death. A kind of, ‘don’t leave the theater, the story isn’t over yet’ change.)

The Theater Guild, which had produced R&H’s Broadway production of Oklahoma, two years earlier, suggested the pair do a musical adaptation of Molnar’s tragic story. R&H set the fantasy musical in Maine, adding a New England clambake. While the leads do sing, and some of the songs are cheerful, Carousel never forgets, it is a tragic drama. The original production opened in New York, in April 1945, starring John Raitt and Jan Clayton, and had the shortest run of any R&H stage musical, only 890 performances.

The short-lived Frank Sinatra participation in Carousel has taken on mythic proportions of what might have been. He was cast as the rowdy Billy Bigelow and prerecorded the songs. When he arrived on location, in Booth Bay Harbor, Maine, and found out that each scene had to be filmed twice (once, for CinemaScope 55, and, again, for regular CinemaScope), the actor is alleged to have told R&H, “ You’re not getting two Sinatras for the price of one.” Three days later Gordon MacRae arrived at the Maine location to join his Oklahoma co-star Shirley Jones.

While MacRae, pondering his future child, delivers a rich and visually interesting Soliloquy on a rocky coastline (Zuma Beach, California), it served only to emphasize that, perhaps, Sinatra’s darker, but more emotionally vulnerable presence as Billy, was a missed opportunity.

Carousel is the only R&H musical film that received no Academy Award nominations. In addition, while critics raved, it is also the only R&H movie not to do well at the box office. However, R&H agreed that it was their most favored collaboration and Rodgers, in his autobiography Musical Stages, called Carousel his favorite musical.

SOUTH PACIFIC “ Some enchanted evening, you may see a stranger …. ” Released March 1958 in Todd-AO & CinemaScope Director: Joshua Logan Cinematographer: Leon Shamroy Choreographer: LeRoy Prinz Cast: Rossano Brazzi (Emile De Becque), Mitzi Gaynor (Nellie Forbush), Jon Kerr (Joe Cable), Ray Walston (Luther Billis), France Nuyen (Liat) and Juanita Hall (Bloody Mary).

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Photo courtesy IMG

t was originally a series of short stories about one theater of action in World War Two, but, when former Navy Lt. Commander James Michener combined them, it became a Pulitzer Prize winning book, Tales of the South Pacific. R&H based their first post-war stage musical on these tales, shortening the title to…South Pacific. Offering songs, humor and romance, while candidly exploring racial prejudice, it opened April 1949, winning ten Tony Awards and, the Pulitzer Prize for drama (1950)! Mary Martin starred as the Navy nurse and cock-eyed optimist, Nellie Forbush, with former Metropolitan Opera star, Ezio Pinza, cast as the older French planter, Emile de Becque. Martin owned the part on stage, but, ten years later, at age 45, she was too old to play the perky Forbush in the film version.

12 Encore Atlanta

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Of all the names mentioned to play Nellie on the screen, Doris Day came closest to being cast. With her ideal all-America good looks and at the peak of her film and recording popularity, she desperately wanted the part.…her husband-manager Marty Melcher wanted her to have the part….R&H wanted her….but Melcher reportedly also wanted too much money. (Day should have washed that man right out of her hair!) R&H said, no deal, and the role went to Mitzi Gaynor. Italian actor, Rossano Brazzi, was cast as De Becque, his singing voice dubbed by opera bass, Giorgio Tozzi. Interestingly, Juanita Hall, who played Bloody Mary on Broadway and in the film, was dubbed in the latter, by the stronger-voiced Muriel Smith, who had performed the role in London. The request was said to have come from R&H! Critical acclaim for the movie was limited. One problem was the lack of chemistry between the two leads. What had been bright and breezy on the stage became ponderously over-produced and seemingly non-directed on the screen. More glaring was the creative choice of turning some of the lush location settings on Kauai, Hawaii, into a mono color. Although they chose to use a vastly improved Todd-AO camera process, cinematographer Leon Shamroy was forced, by director Josh Logan, to color-saturate some of the musical numbers to represent the ‘actors emotions.’ Examples: the golden fog over the Brazzi/Tozzi rendering of Some Enchanted Evening and the green and purple accenting the beach setting of Juanita Hall’s Bali Ha’i. Hammerstein unsuccessfully tried to get Fox to eliminate the tints, while, later, Logan called the color filter idea one of the worst of his career. South Pacific’s lone Academy Award was for Best Sound.

South Pacific is the only film treatment of an R&H stage musical that has all the original score, plus a song, My Girl Back Home (Gaynor, with Bill Lee doubling John Kerr’s voice), that had been cut from the play before it opened.

THE KING AND I “Getting to know you, getting to know all about you ….”

Released June 1956 in CinemaScope 55 Director: Walter Lang Cinematographer: Leon Shamroy Choreographer: Jerome Robbins Cast: Yul Brynner (King Mongkut), Deborah Kerr (Anna Leonowens), Rita Moreno (Tuptim), Carlos Rivas (Lun Tha), Martin Benson (Kralahome), Terry Saunders (Lady Thiang).

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Writing the score for the stage musical presented a puzzlement for Richard Rodgers: how to compose music in an oriental setting for occidental ears. “The too accurate … sound of 1862 Siam,” he said, “would drive an American audience howling into the streets!” The musical puzzle was solved and retitled, The King and I, and the show opened in New York, in March 1951, starring Gertrude Lawrence, as Anna, and a 31year old, charismatic Yul Brynner, as the king. It ran for 1,246 performances.

When it came time to cast the movie version, Brynner was the obvious choice for the king, but Gertrude Lawrence, had died of cancer at age 54, during the run (replaced by understudy Constance Carpenter), so a new movie Anna, with star quality, had to be found. Brynner pressed for Deborah Kerr, whom he’d met during her Broadway run of Tea and Sympathy (1953), but the talented actress was not a singer. No problem! She was dubbed by Marni Nixon, who encored Kerr’s ‘singing voice’ in An Affair to Remember (1957), as well as dubbing Natalie Wood in West Side Story (1961) and Audrey Hepburn in My Fair Lady (1964).

If you list the memorable songs from the stage and film versions, i.e. Getting to Know You, I Whistle a Happy Tune, Hello, Young Lovers, Something Wonderful, We Kiss in a Shadow and I Have Dreamed (cut from the film), the list, arguably, provided more popular song hits than any other R&H score. And nothing has more romantic tension than Brynner and Kerr in their impromptu, energetic Shall We Dance. (The kiss that audiences hoped for, which was rightfully missing in that scene, took place three years later, when the two were reunited in The Journey (1959).

14 Encore Atlanta

Photo courtesy IMG

t was a remarkable journey for a widowed English schoolteacher and her son, sailing halfway around the 19th-century world to exotic Bangkok to educate the children of the autocratic King of Siam. The clashing personalities in the tale first appeared in Margaret Landon’s 1944 novel, Anna And The King of Siam.

Film executive Darryl F. Zanuck spotted the movie’s potential, and, while questioning the complete objective accuracy of the real life story, bought the screen rights.

Keeping the same title, and starring Irene Dunne and Rex Harrison, the film was released in June 1946, to critical and commercial acclaim.

King Mongkut would become Brynner’s seminal role. Not only did he win an Academy Award for his film version, but, over the years, he played it on stage over 46-hundred times, which bore out the monarch’s favorite phrase, “Et cetera, et cetera, et cetera!”

The King and I won an additional four Academy Awards for Art Direction, Costume Design, Music Scoring and Sound. Nominated, but left out of the win column were the films leading lady, cinematographer, director and the movie itself as Best Picture.

STATE FAIR “It’s a grand night for singing, the moon is flying high ….”

Released August 1945 Director: Walter Lang Cinematographer: Leon Shamroy Cast includes: Dick Haymes (Wayne Frake), Vivien Blaine (Emily Edwards), Dana Andrews (Pat Gilbert), Jeanne Crain (Margy Frake), Charles Winninger (Abel Frake), Fay Bainter (Melissa Frake) and William Marshall (Marty, the band singer).

Released March 1962 Director: Jose Ferrer Cinematographer: William Mellor Cast includes: Pat Boone (Wayne Frake), Ann-Margret (Emily Porter), Bobby Darin (Jerry Dundee), Pamela Tiffin (Margy Frake), Wally Cox (Hipplewaite), Tom Ewell (Abel Frake) and Alice Faye (Melissa Frake).

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hat’s your ambition in life? For one Iowa family, it is to visit the state fair, where Pa can win the top prize for his New Hampshire hog, and Ma, for her mincemeat pie. Their son and daughter would go along for fun and romance. That’s the simple premise of Philip Stong’s novel that was turned into a non-musical comedy in 1933, starring the American humorist Will Rogers.

After filming background material at the Iowa State fair, the show’s prize-winning hog was purchased by the film company and used in the movie. When filming ended, it was suggested Rogers buy the hog. “No,” he said, “I wouldn’t feel right eating a fellow actor.”

In 1944, knowing R&H weren’t ready to put their stage hit Oklahoma to film, Fox head-man Darryl F. Zanuck, commissioned the pair to write an original movie score that would have the same optimistic, warm and folksy feeling. Zanuck said he had the perfect vehicle, a remake of State Fair. In agreeing, R&H stated their terms, including that both would be exempt from having to do any work in Hollywood, and as one biographer noted, “the songs for State Fair, set in Iowa and filmed in California, were written in New York, Connecticut and Pennsylvania,” While not ignoring Pa’s hog and Ma’s mincemeat, the film musical shifts its attention to the romantic adventures of the younger actors. Dick Haymes and Vivien Blaine were professional singers, while Jeanne Crain was dubbed by Louanne Hogan and Dana Andrews, by Ben Gage. (Esther Williams’ future husband.) State Fair would turn out to be the only original movie musical that R&H wrote and provided them with their only Academy Award for Best Song, It Might As Well Be Spring.

In 1961, Fox decided to remake State Fair, in CinemaScope. Rodgers was creatively alone since Hammerstein’s death the year before.

For the new version, he wrote both music and lyrics for five additional songs, none particularly memorable. Fox handed the directing chore for the remake to Jose Ferrer, a theater and film actor with landmark credits, but directing, as they say, was not his milieu! The film was universally panned. Wally Cox made his film debut as the judge who gets pickled eating Ma’s brandy-spiked mincemeat pie.

Alice Faye, a major Fox star of the 30’s and 40’s, (In Old Chicago [1937], Alexander’s Ragtime Band [1938], Hello, Frisco, Hello [1943]), came out of a 17-year retirement to play the mother and got stuck with one of Rodgers new songs, Never Say No To a Man.

THE SOUND OF MUSIC “The hills are alive with the sound of music ….”

Released: March 1965 in 70mm Todd-AO & CinemaScope Director: Robert Wise Cinematographer: Ted McCord Choreographers: Marc Breaux, Dee Dee Wood Cast includes: Julie Andrews (Maria), Christopher Plummer (Capt. von Trapp), Eleanor Parker (The Baroness), Peggy Wood (Mother Abbess), Anna Lee (Sister Margaretta), Richard Haydn (Max Detweiler), and the children, Charmian Carr, Heather Menzies, Nicolas Hammond, Duane Chasen, Angela Cartwright, Debbie Turner and Kym Karath.

T

he Sound of Music, by Rogers and Hammerstein (1965), and West Side Story, by Bernstein and Sondheim (1961), are two of the iconic musical films of the 1960’s. Despite their differences in story and song, they share some cinematic similarities.

Both were directed by the same man, Robert Wise*, and both begin the same way. For West Side Story, a straight down helicopter shot

16 Encore Atlanta

of Manhattan moves from skyscrapers to the Jets gang on a tenement playground. For The Sound of Music, soaring helicopter views of the Austrian Alps, ends on Julie Andrews’ wheeling lone figure, her arms outstretched, and breaking into the title song.

The origins of The Sound of Music were two mid-1950’s nonmusical German/Austrian films, based on Maria von Trapp’s book, The Story of the Trapp Family Singers (1949). Seeing the potential, director Vincent Donehue brought the idea to Broadway star, Mary Martin, as a possible stage play with a few traditional Trapp family songs. It was soon agreed it needed all new music and the trio of Martin, Rogers and Hammerstein from South Pacific, ten years earlier, were reunited. The Sound of Music opened in New York in November 1959, directed by Donehue and starring Martin as Maria, the errant novitiate nun, and Theodore Bikel as Capt. von Trapp.

It ran for more than three years!

The stage version offered classic R&H material such as My Favorite Things, Edelweiss and Climb Every Mountain, which would be kept for the movie. However, the expanded screenplay and extensive location filming required additional songs. Hammerstein had died in 1960, so Rodgers wrote both music and words for two new numbers, Something Good and I Have Confidence. The actors who could not sing presented a dubber’s delight. Christopher Plummer was dubbed by Bill Lee, Peggy Wood by Margery McKay, Anna Lee by Marie Greene and Marni Nixon by….Marni Nixon. The so-called ‘Voice of Hollywood’ who dubbed so many big stars, including Audrey Hepburn in My Fair Lady (1964), the film version of Andrews’ big stage hit, made a rare on-screen appearance in the film as Sister Sophia. Greeting Nixon on the set, Andrews reportedly said, “Marni, I’m such a fan of yours.”

The Sound of Music is one of the most successful movie musicals ever made, winning a total of five Academy Awards including Best Picture, Director, Film Editing, Sound and Music Scoring adaptation. (Julie Andrews was nominated but lost to Julie Christie in Darling.) For more than a decade, The Sound of Music held the all-time box-office record for a movie musical. It was also the finale to the golden age of R&H film musicals. *Wise shared directing credit and an Academy Award as Best Director on West Side Story with choreographer Jerome Robbins.

Copyright by Jim Brown

Richard Kaufman, conductor

R

ichard Kaufman has devoted much of his musical life conducting and supervising music for film and television productions, as well as performing film and classical music in concert halls and on recordings. As Principal Pops Conductor, Richard is in his 14th season with the Dallas Symphony Orchestra, and his 19th season with Orange County’s Pacific Symphony. He is currently in his fifth season with the Chicago Symphony Orchestra concert series, “Friday Night at the Movies,” conducting classic and contemporary film music, as well as classical music used in motion pictures. Following his debut last season, Richard returns to conduct the Cleveland Orchestra, both in Severance Hall and at the Blossom Festival. Richard often appears as a guest conductor with symphony orchestras throughout both the U.S. and around the world including Utah, Atlanta, Pittsburgh, the National Symphony in Washington D.C., Calgary, Rotterdam and the Malaysian Philharmonic. In the Fall of 2009, he will also conduct a special concert for Andy Williams at Royal Albert Hall in London.

Richard received the 1993 Grammy Award in the category of Best Pop Instrumental Performance for Richard Kaufman a recording he conducted with the Nuremberg Symphony. His most recent recording, entitled The High and the Mighty (Varese Sarabande) is with the London Symphony Orchestra. Recorded at Abby Road Studios, this CD features music from classic and contemporary films about flying. Richard’s other recordings include film music performed by the Brandenburg Philharmonic in Berlin, a second recording with the Nuremberg Symphony celebrating the 100th anniversary of motion pictures and two critically acclaimed CDs with the New Zealand Symphony Orchestra, conducting the film music of Alfred Newman and Victor Young.

He has conducted for performers including John Denver, Andy Williams, Mary Martin, Nanette Fabray, Juliet Prowse, Sir James Galway, Diana Krall, Chris Botti, The Pointer Sisters, Arturo Sandoval, The Beach Boys, Monica Mancini, Peter Paul and Mary, Patty Austin, Robert Goulet, David Copperfield, Davis Gaines, The Righteous Brothers, Martin Short and Art Garfunkel. As a violinist, Richard performed on numerous film and television scores including “Jaws,” “Close Encounters of the Third Kind,” “Saturday Night Fever” and (in a moment of desperation) “Animal House.” He has recorded with artists including John Denver, Burt Bacharach, Neil Sedaka, The Carpenters, Neil Diamond and Ray Charles.

Richard joined the Music Department of Metro-Goldwyn-Mayer Studios in 1984 as Music Coordinator, and for the next 18 years supervised music for all MGM television projects. He received two Emmy Award nominations, one for the animated series, “The Pink Panther” in the category of Outstanding Music Direction and Composition, and another for Outstanding Original Song co-authored for the series, “All Dogs Go to Heaven.” For the MGM television series “In the Heat of the Night,” Richard composed songs with Actor/ Producer Carroll O’Connor. He conducted scores for films including Guarding Tess and Jungle to Jungle.

18 Encore Atlanta

As a unique part of his career in film, Richard has coached various actors in musical roles including Jack Nicholson, Dudley Moore, Tom Hanks, Armand Assante, David Ogden Stiers and Susan Sarandon.

Richard has served as Music Director and Conductor for numerous musicals. His first assignment (at age 23) was as conductor for the National Tour of Sweet Charity starring Juliet Prowse. He conducted the First National Tours of Company (for Hal Prince) and Two Gentlemen of Verona (for Joseph Papp and the New York Shakespeare Festival). For the Los Angeles and San Francisco Civic Light Operas, he was Music Director and Conductor for musicals including Wonderful Town (starring Nanette Fabray), Irma La Douce, The Sound of Music (for which he was nominated by the San Francisco Theater Critics for Outstanding Music Direction) and Guys and Dolls (starring Milton Berle).

While a student at California State University @ Northridge, Richard composed the Alma Mater and Fight Song. In May of 2008, Richard was the keynote speaker for the Honors Convocation Ceremony at his Alma Mater. He has appeared as a guest speaker at various universities including Southern California, Georgia, Furman and the California State Universities at Northridge and Fullerton.

He is a member of the Music and Business Advisory Boards of the Young Musicians Foundation.

Born in Los Angeles, Richard began violin studies at age 7, played in the Peter Meremblum California Junior Symphony, and was a member of the Young Musicians Foundation Debut Orchestra. He attended the Berkshire Music Festival at Tanglewood in the Fellowship program and earned a B.A. in Music from California State University Northridge. Richard lives in Southern California with his wife, Gayle. His daughter, Whitney is a graduate (with honors) from Chapman University in Orange, Calif., and recently completed 2 years as a member of the cast of the National Tour of Mama Mia.

Robert Osborne, host

A

s primetime host and anchor of Turner Classic Movies (TCM), Robert Osborne brings viewers out of their living rooms and into the world of classic Hollywood, providing insider information, facts and trivia on TCM movie presentations.

Osborne is also a columnist-critic for The Hollywood Reporter, the daily show business trade paper.

He is known as the official biographer of Oscar®, thanks to a series of books he’s written on the subject of Hollywood’s annual Academy Awards®. His latest book, 80 Years Of the Oscar, written at the request of the Academy of Motion Picture Arts and Sciences, has been called “the most comprehensive and definitive book ever done on the subject.”

Osborne was born in Colfax, Wash., and graduated from the University of Washington’s School of Journalism, appearing in local plays in his non-study hours. He eventually went to Hollywood as an actor under contract to Lucille Ball and Desi Arnaz. It was Lucy who encouraged him to pursue writing, which he considers “the best advice at the best time” he’s ever been given. Lucy remained a friend and mentor to him until her death.

Robert Osborne

Osborne joined the staff of The Hollywood Reporter in 1977 and six years later began writing the paper’s influential “Rambling Reporter” column, which covers all aspects of the movie and television business. In 1982, he also began as the on-air entertainment reporter for the nightly news on Los Angeles’ KTTV. In 1987, he was signed by CBS to make daily appearances on the “CBS Morning Program,” and from 1986-1993, he was also a regular host of The Movie Channel cable network.

From 1981-83, Osborne served as president of the Los Angeles Film Critics Association (LAFCA). He is a frequent guest on “Entertainment Tonight,” “Good Morning America” and other network shows; was twice a CableACE nominee for his “Osborne Report” segments for The Movie Channel; and was nominated for an Emmy® as Best Host Moderator. Osborne is also the winner of the 1984 Press Award from the Publicists Guild of America. On Feb. 1, 2006, he received a star on the Hollywood Walk of Fame, and in January 2008, he received a special award from the National Board of Review for his contributions as a film historian.

In addition to his hosting duties for TCM, Osborne has also done several specials for the network, including “Private Screenings,” an hour-long interview series with such Hollywood luminaries as Shirley MacLaine, Lauren Bacall, Angela Lansbury, James Garner, Jane Fonda, Sidney Lumet, Norman Jewison and Tony Curtis. He also hosts TCM’s “Guest Programmer” series, in which he has been joined in introducing movie line-ups by an eclectic mix, including David Mamet, Alec Baldwin, Mia Farrow, Martha Stewart, Whoopi Goldberg, Tom Ford, Liz Smith, Bill Cosby, Donald Trump, James Elroy, Evander Holyfield, Danny DeVito, Renee Feming, Gore Vidal and Kermit the Frog.

The use of cameras or recording devices during the concert is strictly prohibited.

Four Seasons Hotel Atlanta is the preferred hotel of the ASO. Trucks provided by Ryder Truck Rental, Inc. Promotional support provided by WSB-AM and Atlanta Journal-Constitution.

20 Encore Atlanta

$10 off the purchase of two entrĂŠes*

11405 Haynes Bridge Rd. Alpharetta, GA 30009 (770) 569-9199 www.sagewoodfiretavern.com

Creativity with Passion

2355 Mansell Rd. Alpharetta, GA 30022 (770) 650-6400 www.thedineratnorthpoint.com * This offer is not valid with any other offers or specials. $10 off the purchase of two entrĂŠes is only valid the evening of the Atlanta Symphony show. Ticket stub must be provided.

Atlanta Symphony Orchestra Robert Spano, Music Director The Robert Reid Topping Chair *

Donald Runnicles, Principal Guest Conductor The Neil and Sue Williams Chair *

Jere Flint, Staff Conductor; Music Director of the Atlanta Symphony Youth Orchestra The Zeist Foundation Chair *

Norman Mackenzie, Director of Choruses The Frannie and Bill Graves Chair

Mei-Ann Chen, Assistant Conductor, League of american orchestras Conducting Fellow FIRST VIOLIN William Pu Associate/Acting Concertmaster

The Charles McKenzie Taylor Chair *

Justin Bruns

Assistant Concertmaster The Mary and Cherry Emerson Chair

Jun-Ching Lin

Assistant Concertmaster

Carolyn Toll Hancock

The AGL Resources Chair

Martha Reaves Head John Meisner Alice Anderson Oglesby Lorentz Ottzen Christopher Pulgram Carol Ramirez Juan Ramirez Olga Shpitko Denise Berginson Smith Kenn Wagner Lisa Wiedman Yancich SECOND VIOLIN David Arenz Principal The Atlanta Symphony Associates Chair *

Sou-Chun Su

Associate Principal TheFrances Cheney Boggs Chair *

Jay Christy

Assistant Principal

Eleanor Arenz Sharon Berenson David Braitberg Noriko Konno Clift Judith Cox David Dillard Raymond Leung Ruth Ann Little Thomas O’Donnell Ronda Respess Sanford Salzinger Frank Walton

VIOLA Reid Harris

Principal The Edus H. and Harriet H. Warren Chair *

Paul Murphy

Associate Principal The Mary and Lawrence Gellerstedt Chair *

Wesley Collins Robert Jones Marian Kent Yang-Yoon Kim• Catherine Lynn Lachlan McBane Heidi Nitchie Ardath Weck CELLO Christopher Rex

Principal The Miriam and John Conant Chair *

Daniel Laufer

Associate Principal The Livingston Foundation Chair

Karen Freer

Assistant Principal

Dona Vellek Klein

Assistant Principal Emeritus

Joel Dallow Jere Flint Larry LeMaster Brad Ritchie Davin Rubicz• Paul Warner BASS Ralph Jones

OBOE Elizabeth Koch

Principal The George M. and Corrie Hoyt Brown Chair *

TROMBONE Colin Williams

Principal The First Union Chair

Stephen Wilson

Associate Principal The Patsy and Jere Drummond Chair

Yvonne Powers Peterson

Bill Thomas George Curran

Deborah Workman Patrick McFarland

BASS TROMBONE George Curran

ENGLISH HORN Patrick McFarland

TUBA Michael Moore

Associate Principal

CLARINET Laura Ardan

Principal The Robert Shaw Chair *

Principal TheGeorgia-Pacific Chair

TIMPANI Mark Yancich

Ted Gurch

Principal The Walter H. Bunzl Chair *

William Rappaport

William Wilder

Associate Principal The Lucent Technologies Chair

Alcides Rodriguez E-FLAT CLARINET Ted Gurch BASS CLARINET Alcides Rodriguez BASSOON Carl Nitchie

Principal The Walter L. “Buz” Carr, III Chair

Elizabeth Burkhardt Associate Principal

Laura Najarian

Assistant Principal

PERCUSSION Thomas Sherwood Principal The Julie and Arthur Montgomery Chair *

William Wilder Assistant Principal Charles Settle** HARP Elisabeth Remy Johnson Principal The Delta Air Lines Chair

KEYBOARD

Principal The Marcia and John Donnell Chair *

The Pricewaterhouse ­Coopers Chair

Juan de Gomar

Gloria Jones

T he Hugh and Jessie Hodgson Memorial Chair *

CONTRABASSOON Juan de Gomar

Peter Marshall † Beverly Gilbert † Sharon Berenson

Associate Principal

Jane Little

Assistant Principal Emeritus

Joseph Conyers• Michael Kenady Michael Kurth Douglas Sommer Thomas Thoreson FLUTE Christina Smith

Principal The Jill Hertz Chair *

Robert Cronin

Associate Principal

Paul Brittan

The Georgia Power Foundation Chair

Carl David Hall

22 Encore Atlanta

PICCOLO Carl David Hall

HORN Brice Andrus

Principal TheSandra and John Glover Chair

LIBRARY Rebecca Beavers Principal

Susan Welty

Steven Sherrill

Thomas Witte Richard Deane

John Wildermuth

Associate Principal

Assistant

TheUPS Community Service Chair

Bruce Kenney TRUMPET Thomas Hooten

Principal The Madeline and Howell Adams Chair* * Chairnamed in perpetuity • New this season Kevin Lyons **Leave of absence Associate Principal † Regularly engaged musician Joseph Walthall TheSunTrust Bank Chair Players in string sections are listed alphabetically.

Michael Tiscione

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Shhh. Sounds like applause The Coca-Cola Company proudly supports

Atlanta’s Arts Community

“ A Dream Come True”

The ASO’s inaugural season at Verizon Wireless Amphitheatre provided a rush of excitement for new audiences throughout North Fulton County

By Karl Schnittke

L

ate on the evening of May 10, 2008, well after the grand opening concert had ended and the audience, musicians and most of the staff had headed home, Atlanta Symphony Orchestra Music Director Robert Spano proclaimed loudly to the remaining handful of colleagues and friends that “Tonight was one of the greatest nights of my life.”

The ASO’s new summer home at Verizon Wireless Amphitheatre at Encore Park in Alpharetta was in fact one of the greatest nights in the Orchestra’s 64-year history. Mr. Spano led an unforgettable performance, featuring Gershwin’s Rhapsody in Blue, the finale of Beethoven’s Symphony No. 9, and the Tchaikovsky 1812 Overture, with a cast of hundreds including the Orchestra’s Chorus, Youth Orchestra, and two marching bands from Alpharetta and Milton high schools.

26 Encore Atlanta

Table seating for patrons was a popular feature and will be available for all ASO concerts this season.

H I G H

HIGH MUSEUM OF ART ATLANTA

Monet Water Lilies

Claude Monetâ&#x20AC;&#x2122;s garden.

Now in your own backyard.

Purchase tickets at High.org or call 404-733-HIGH.

Monet Water Lilies is a collaboration between The Museum of Modern Art, New York, and the High Museum of Art, Atlanta.

The exhibitions and programs of the MoMA Series are made possible by

Planning Partner

Experience Monetâ&#x20AC;&#x2122;s Water Lilies in an intimate exhibition that includes a breathtaking 42-foot-wide painting â&#x20AC;&#x201D;one of the largest outside of France.

Also on view Richard Misrach: On the Beach

Through August 23, 2009

WOODRUFF ARTS CENTER | 1280 PEACHTREE STREET, N.E. | MEMBERS ALWAYS FREE

Claude Monet (French, 1840â&#x20AC;&#x201C;1926), Reflections of Clouds on the Water-Lily Pond (detail), ca. 1920, oil on canvas, The Museum of Modern Art, New York. Mrs. Simon Guggenheim Fund. Š The Museum of Modern Art/Licensed by SCALA/Art Resource, NY.

The Rich Foundation

A ThAnk you To The people who mAde EncorE Park hAppen:

Âą-USICAL COMPOSITIONS IT SHOULD BE REMEMBERED DO NOT INHABIT CERTAIN COUNTRIES

CERTAIN MUSEUMS LIKE PAINTINGS AND STATUES 4HE -OZART 1UINTET IS NOT SHUT UP IN 3ALZBURG ) HAVE IT IN MY POCKET ² â&#x20AC;&#x201D; Henri Rabaud

Sponsored by:

Christine Glavey, md, FAAd Certified by the American Board of Dermatology

“We knew we had a lot of friends in North Fulton,” confided ASO President and Chief Executive Officer Allison Vulgamore.

“And it was tremendously gratifying to see the turnout, not just for the grand opening, but all summer long.”

Fulton County Commissioner Lynne Riley vividly remembers the inaugural concert. “It was a magnificent experience, vibrating with enthusiasm for the phenomenal musical performance,” she said. “The audience was treated to an evening of sensory stimulation — wonderful sights, sounds, aromas, flavors, and applause were all part of the event.”

Emphasizing the ASO’s impact on the region, Brandon Beach, President and Chief Executive Officer of the Greater North Fulton Chamber of Commerce, said, “The inaugural season was a true celebration for all of North Fulton. Fine arts and culture are important to our families and business community, and the new venue is an exciting place for those interests to converge.”

WSB-AM Radio’s Scott Slade chatted with concertgoers and conveyed text-messages to artists.

seen an ASO concert. “Reaching such a large number of new audience members is deeply encouraging for our future,” said Ms. Vulgamore.

The new venue was hit with its neighbors, particularly the location. “It’s great to have such a venue on this side of town, and my family enjoys hearing the ASO in an outdoor setting,” enthused Frank Chu of Alpharetta. For Sharon Morgan it meant she could enjoy the Orchestra more than ever. “I simply would not attend ASO concerts as often if I had to go downtown,” she admitted, adding, “The amphitheater being right here changes everything.”

The Atlanta Symphony Orchestra, the Woodruff Arts Center New traditions flourished during the inaugural season, sparked and the North Fulton community had come together to creby the venue’s open spaces and rolling landscape. ASO Insider ate a landmark summer, exploring and ultimately achieving and Program Annotator Ken Meltzer seamlessly moved his novel methods to stretch the boundaries of the classical music popular concert previews to the “Top of the Lawn,” where experience. Over the course of the summer more than 40,000 he and ASO musicians held court before a rapt audience. people came to hear the Orchestra Intermissions became lively quesperform, with 34 precent coming from tion-and-answer forums. Patrons a wide stretch of counties across North text-messaged questions for the artGeorgia, as well as bordering states. In ists, who responded to as many as addition, an audience survey revealed time permitted on the big screens that fully one-third had never before overlooking the stage.

– Robert Spano

“

Tonight was one of the

”

greatest nights of my life

28 Encore Atlanta

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ASO Insider and Program Annotator Ken Meltzer’s “Top of the Lawn” pre-concert previews, with ASO musicians and audience Q & A sessions, return this season.

“

The inaugural season

Quality food was a major new tradition.

Attending an ASO performance became Concertgoers could order from a variety an experience unlike any other. “The of food and beverage choices, including music is great, and hearing it in a beaupicnic baskets, laden with freshly made tiful setting is really a huge bonus,” – Brandon Beach appetizers, entrees, and desserts precommented Lee Waring of Vinings.

President and CEO, Greater North pared by the venue’s on-site caterer. A Added Duluth’s Rob Perryman, “You Fulton Chamber of Commerce special basket, themed to each evening’s can’t beat the atmosphere and music programming, also was available offering under the stars.” Jody Lovell, visittreats such as Wild Rice Kiev Salad and Russian Tea Cakes to ing from Highlands, N.C., found the venue “lovely, and the seating is perfect … you’re so close to the performance.” accompany works by Rachmaninov and Rimsky-Korsakov.

Virginia-Highland’s Becky Shaw summed it up in one The venue’s operational amenities, from the proximity of word: “Fabulous!” concession stands and parking to ample signage and an invit-

”

was a true celebration

ing VIP Club, pleased Verizon Wireless Amphitheatre General Manager Trevor Ralph, who came to the ASO from Northern California. But there is always room for improvement.

“In our business if you stand still you fall behind,” he explained. “We know there is more work to be done. We have used an extensive survey program to measure our performance and to push ourselves to higher levels of guest satisfaction.

We are proud to know that we have one of the best buildings and many of the best people in our business right here in North Georgia.”

30 Encore Atlanta

The Symphony Hall faithful, eager to see their hometown orchestra at its new summer residence, had an easy-does-it drive from Buckhead, Midtown, and points east, west, north and south. “I can’t believe how fast we got there!” said Clay Jackson of Ansley Park in downtown Atlanta. “We were pleasantly surprised, and realized the drive back wouldn’t be a problem.”

The dawning of the Verizon era was particularly gratifying to Alpharetta’s honorable mayor, Arthur Letchas, a staunch supporter of a new park for his constituents from day one.

“It was a dream come true after many years of hard work,” he said. “Every time I attended an event it seemed as if everyone there appreciated having such an incredible venue in Alpharetta.”

Mei-Ann Chen

Assistant Conductor

“

”

You can’t beat the atmosphere and music under the stars

– Duluth patron

Robert Spano

Music Director

Atlanta’s Performing Arts Publication 31

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32 Encore Atlanta

Covered Seating

First Aid Station

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