Chip Deffaa’s IRVING BERLIN SONGBOOK: RARE AND UNRECORDED SONGS Musical Numbers... 1. “BRING BACK MY LOVIN’ MAN” .... (words and music by Irving Berlin) ... Natalie Douglas 2. “KISS YOUR SAILOR BOY GOODBYE”... (words and music by Irving Berlin) .... Ryan Lammer 3. “PIANO MAN”... (words by Irving Berlin, music by Ted Snyder) ... Emily Bordonaro 4. “RAGTIME VIOLIN”... (words and music by Irving Berlin) ... Jonah Barricklo 5. “THE CIRCUS IS COMING TO TOWN”... (words and music by Irving Berlin) ... Charles Franklin 6. “ARABY”... (words and music by Irving Berlin) ... Jed Peterson 7. “SOME SUNNY DAY”... (words and music by Irving Berlin) ... Alec Deland 8. “DOWN IN CHATTANOOGA”.... (words and music by Irving Berlin) ... Katherine Paulsen 9. “I’M DOWN IN HONOLULU, LOOKING THEM OVER”... (words and music by Irving Berlin) ... Giuseppe Bausillio 10. “MY WIFE’S GONE TO THE COUNTRY”... (words by George Whiting and Irving Berlin, music by Ted Snyder) ... Michael Townsend Wright and Jack Saleeby 11. “HOMESICK”... (words and music by Irving Berlin) ... Dylan Adams 12. “THAT MYSTERIOUS RAG”... (words by Irving Berlin, music by Ted Snyder) ... Chloe Brooks 13. “THAT MESMERIZING MENDELSSOHN TUNE” ... (words and music by Irving Berlin) ... Brianna Leigh Smail 14. “YOU’VE GOT ME HYPNOTIZED”... (words and music by Irving Berlin) ... Livi Perrone 15. “IT ISN’T WHAT HE SAID, BUT THE WAY HE SAID IT”... (words and music by Irving Berlin) ... Amanda Andrews 16. “I’M LOOKING FOR A DADDY LONGLEGS”... (words and music by Irving Berlin) ... Rayna Hirt 17. “SMILE AND SHOW YOUR DIMPLE”... (words and music by Irving Berlin) ... Ryan Muska 18. “RUN HOME AND TELL YOUR MOTHER”... (words and music by Irving Berlin) ... Jeffrey Sewell 19. “ALICE IN WONDERLAND”... (words and music by Irving Berlin)... Livi Perrone and Dyan Adams 20. “DROWSY HEAD”... (words and music by Irving Berlin and Vaughn DeLeath) ... Nina Paganucci 21. “COHEN OWES ME $97.00" ... (words and music by Irving Berlin) ... Eric Johnson 22. “SADIE SALOME (GO HOME)”.... (words and music by Irving Berlin and Edgar Leslie) ... K. F. Greenberg 23. “DOGGONE THAT CHILLY MAN”... (words and music by Irving Berlin, 1911) ... Chloe Brooks 24. “HE’S A DEVIL IN HIS OWN HOME TOWN”... (words by Grant Clarke and Irving Berlin, music by Irving Berlin) ... Michael Townsend Wright 25. “AT THE DEVIL’S BALL”... (words and music by Irving Berlin) ... Michael Caizzi 26. “LADY OF THE EVENING”.... (words and music by Irving Berlin) ... Magnus Tonning Riis 27. “ALEXANDER’S RAGTIME BAND”... (words and music by Irving Berlin) ... Rachel Hundert 28. “I HATE YOU”... (words and music by Irving Berlin) ... Emily Bordonaro and Giuseppe Bausillio 29. “AFTER YOU GET WHAT YOU WANT, YOU DON’T WANT IT”... (words and music by Irving Berlin) ... Beth Bartley This album is dedicated by the producer--with great appreciation for her many kindnesses, inspiration, and wisdom--to the one-and-only Carol Channing A bit of background on THE IRVING BERLIN SONGBOOK: Rare and Unrecorded Songs... Irving Berlin (1888-1989) wrote more hits and made more money than any of his colleagues in the Golden Age of American Popular Song. He created songs that the average American could—and did--easily sing An immigrant who never learned to read or write music, Berlin expressed the American spirit as well as any artist of his time. He composed the scores for 18 Broadway shows and 19 Hollywood musicals–shows like “Annie Get Your Gun” and “Call Me Madam,” and “Easter Parade” and “White Christmas” that are pure Americana. His songs--rich and varied, and deceptively simple–have spoken to generations of American people. In this album, ASCAP award-winning writer/director Chip Deffaa– perhaps the world’s foremost authority on the music of Irving Berlin–goes far beyond the Berlin ditties that everyone knows. He presents talented artists from New York’s theater and cabaret communities, singing 29 Berlin songs—most of which will probably be new to listeners. Many of these songs have never before been recorded. And you’ll find some real gems in the mix. The album is being distributed exclusively in the US via CDBaby. Chip Deffaa is certainly no stranger to the world of Berlin. Deffaa has written five different musical plays about Berlin–a one-man play (“Irving Berlin: In Person”), a two-man play (“Irving Berlin’s America”), a 10-person “Irving Berlin Ragtime Revue”; a biographical play for 12-16 actors, “Irving Berlin & Co.”; and a full-scale musical comedy, “The Irving Berlin Story,” for a cast of 20 or more players. All are available for licensing. Cast albums for four of those shows have been released; an album for the fifth show will be forthcoming. Deffaa–who has been collecting Berlin sheet music for much of his life--has one of the major collections of Berlin sheet music, including some very rare items. “And I want to share some of these little-known songs with the world,” Deffaa says “I’m going to produce a series of Irving Berlin songbook albums, to help bring to light some of these terrific rarities,”. Berlin was amazingly prolific–and not always the best judge of his abilities. He discarded many songs he wrote. One of his greatest songs, “There’s No Business Like Show Business,” only survives because his secretary retrieved the crumpled first copy that he’d thrown into the waste basket. Another of his greatest songs, “God Bless America,” languished in his trunk for two decades before he finally decided to let others hear it. Singers you’ll hear on this album have appeared in such Broadway shows as “The Book of Mormon,” “Aladdin,” “Cats,” “Newsies,” “Billy Elliot,” “Bridges of Madison County,” “Fortune’s Fool,” “Aspects of Love,” “Chess,” and “Me and My Girl.” They’ve sung in such supper clubs and cabarets as the Café Carlyle, the Metropolitan Room, the Duplex, the Triad, Don’t Tell Mama, and Birdland. Some of the singers are seasoned pro’s with many years of experience; others may be young artists-to-watch. All love this music. * * * THE PRODUCER’S NOTES ON THE SINGERS AND THE SONGS..... 1. “BRING BACK MY LOVIN’ MAN” .... This song is a major find. Berlin was so prolific, he often had multiple songs of his competing with one another, and some very good songs inevitably got lost in the shuffle; this was one of them. Berlin wrote this in 1911–the same year he wrote his mega-hit “Alexander’s Ragtime Band,” which was one of the biggest successes in the history of popular music. Other song publishers complained that “Alexander’s Ragtime Band” was such a huge smash, it was impossible for other songs to gain traction that year.... Natalie Douglas--who has the honor of being the first person to ever record “Bring Back My Lovin’ Man” and gives it a sincere, heartfelt interpretation--is one of the most honored singers in cabaret. She’s won the top awards–the Bistro Award, the Nightlife award, the MAC Award (seven times!). She’s sung at Lincoln Center and in Carnegie Hall. I’ve long admired her mix of sensitivity and strength, and beauty of tone. To learn about her albums and appearances, visit: www.nataliedouglas.com. 2. “KISS YOUR SAILOR BOY GOODBYE” is another terrific, never-before-recorded “find.” And I love Ryan Lammer’s showmanly performance. In recent years, Lammer has toured the U.S.—visiting, thus far, 45 of the 50 states–as well as Japan, in an Irving Berlin revue (directed by Ray Roderick) called “I Love a Piano.” I loved his work in the show. But I didn’t need that revue to convince me that Ryan Lammer’s something special. He starred in the very first public presentation of my show “Yankee Doodle Boy” (published by Drama Source).at Theatre Row Studios. I’d gladly work with him any time. And he understands—as few do today—the concept of “big singing.” 3. “PIANO MAN” is sung by Emily Bordonaro, who’s enlivened assorted shows and cast albums of mine (“The Irving Berlin Ragtime Revue,” “The Seven Little Foys,” “Presenting Fanny Brice,” “Irving Berlin & Co.”). I think she’s as talented as any singing actress her age. (She’s just 18.) A protégé of Betty Buckley (and winner of the 13th Street Rep’s “Betty Buckley Award”), she’s appeared in the “Whistle Down the Wind” national tour. Her TV/film credits include “Celebrity Ghost Stories 2,” “Disconnect,” “Brilliant Mistakes.” 4. “RAGTIME VIOLIN” is sung here, complete and uncut, by Jonah Barricklo. He was the youngest cast-member in my show “The Irving Berlin Ragtime Revue” at the 13th Street Theater in New York City–and a great favorite with the audiences; he has personality aplenty. I was glad to have him on the cast albums of both “The Irving Berlin Ragtime Revue” and “Irving Berlin & Co.” And I’m glad to have him sing, with characteristic good cheer, this early vaudeville hit of Berlin’s (which, some may recall, was included in the films “Alexander’s Ragtime Band” and “Easter Parade”). 5. “THE CIRCUS IS COMING TO TOWN” is sung here—complete and uncut, exactly as Irving Berlin originally copyrighted it—by Charles Franklin, currently appearing on Broadway in “The Book of Mormon,” and previously in the original Broadway company of Jason Robert Brown’s “Bridges of Madison County.” I like Franklin’s work and hope to feature more of him in subsequent albums in this series; he’s not only a fine singer (as anyone in the Broadway community must be), he has a particular feel for older American songs; he “gets” them. Not all of today’s singing actors do. (And the fact that he studied circus skills at French Woods might give him an extra connection to this song.) He comes from an unusually musical family. His mother, Lisa Franklin, is a singing actress and vocal coach; his sister Emily Louise Franklin is studying musical theater at Pace University; and his brother, George Franklin (who’s also recorded for me) was seen on Broadway in “A Christmas Story.” 6. “ARABY” is sung here by Jed Peterson, who’s starred in such Off-Broadway shows as “Hard Times” and “Nevsky Prospect”; has been seen on television’s “Madame Secretary.” He’s one of only two American actors who’ve performed on the main stage of the Moscow Art Theatre with members of that famed Russian theatrical company. Peterson may be heard, starring as Mr. Berlin, on the premiere recording of my show “Irving Berlin: In Person.” 7. “SOME SUNNY DAY” is handled deftly by Alec Deland, who first impressed me when I saw him co-starring with Gabriella Green in a production of Jerry Herman’s “Mack and Mabel” at Stage Door Manor. Both will be heard singing work of mine on the forthcoming album “The Chip Deffaa Songbook.” (In fact, both will be heard performing a piece I wrote for them, “A Stage Door Kind of Love.”) And both will be back for more Irving Berlin albums, I’m sure. “Some Sunny Day” has long been a favorite of mine. I’ve featured it in my musical comedy “The Seven Little Foys”–it’s heard as a group number on the original cast album of that show. 8. “DOWN IN CHATTANOOGA” is appealingly sung by Katherine Paulsen. Educated at Yale (where she led an a capella vocal group) and now a member of The Actors Project in NYC, Paulsen was featured in the role of “Katherine” in my show “Mad About the Boy” at the 13th Street Rep, and will be heard on the forthcoming cast album. She also may be heard on the album for my show “Irving Berlin & Co.” 9. “I’M DOWN IN HONOLULU, LOOKING THEM OVER” was recorded by Al Jolson in 1916; collectors consider it be the rarest of Jolson’s many records. Michael Kasper sang a quick chorus of this song in my “Irving Berlin Ragtime Revue” at the 13th Street Rep (and on the cast album). I’ve asked the ebullient Giuseppe Bausillio–whose credits, at age 18, already include four Broadway shows (“Cats,” “Aladdin,” “Newsies,” “Billy Elliot”) and one television series (“The Next Step”)–to sing the whole song, with both of the original verses, here. 10. “MY WIFE’S GONE TO THE COUNTRY” was Berlin’s first big hit. Within four days of its publication in 1909, Berlin remarked to one newspaper interviewer of that era, everyone in New York seemed to be singing it, humming it, or whistling it. And he had to write countless extra encore choruses to keep up with public demand. The song is sung here by Michael Townsend Wright and Jack Saleeby, who co-starred in the first public presentation of my show “Irving Berlin’s America” and may be heard on the premiere recording. My association with the wonderfully versatile Wright--whose career includes work in legitimate theater, film, TV, and burlesque--goes back 25 years. Saleeby, a recent graduate of Hofstra University, is a terrific up-and-coming musical-comedy man. He’s done my show “The Seven Little Foys,” as well as assorted readings and recordings with me. I’ve always loved the joi de vivre he projects in his work. 11. “HOMESICK” is sung by Dylan Adams, who performs in such New York clubs as The Duplex and The Metropolitan Room. I first met him when he auditioned for a show of mine; I so liked his sound and his forthright delivery, I asked him to sing one number after another, simply because I was enjoying his singing so much. 12. “THAT MYSTERIOUS RAG” is used—in shortened form—as the opening number in my show “One Night with Fanny Brice.” I thought it would be fun to have Chloe Brooks—who sang that song for several years, off-and-on, in “One Night with Fanny Brice” at the 13th Street Theater--sing the complete song here, with all of the rarely heard original lyrics that Berlin wrote. I wanted to preserve on disc both the original song, and Chloe Brooks’s fine way with that song. 13. “THAT MESMERIZING MENDELSSOHN TUNE” is sung here by Brianna Leigh Smail. An NYU grad, Smail first impressed me in a production of “West Side Story” at Connecticut’s famed Thomaston Opera House. And she aided me, too, in the development of my show “Mad About the Boy,” participating in the first reading at the 13th Street Rep. 14. “YOU’VE GOT ME HYPNOTIZED” is given its first recorded performance by Livi Perrone. I love Livi’s sound and spirit. Currently enrolled at NYU, Perrone co-starred in the world-premiere production of my musical comedy “The Fanny Brice Story” (published by Leicester Bay Theatricals) at the Rosen Theater in Wayne, New Jersey. 15. “IT ISN’T WHAT HE SAID, BUT THE WAY HE SAID IT” is a never-before-recorded Berlin song from 1914. Amanda Andrews--who originated the role of “Miss McNibby” in my show “Mad About the Boy” and will be heard on the forthcoming cast album—makes the premiere recording. She also sang on the album for “Irving Berlin & Co.” She graduated from Notre Dame de Namur University with a BFA in Vocal Performance. 16. “I’M LOOKING FOR A DADDY LONGLEGS” was written by Berlin for the tall (and famously long-legged) comic actress Charlotte Greenwood in the 1920s. Why no one recorded the song back then is anybody’s guess; it’s a fun number…. You can almost see the twinkle in her eye as Rayna Hirt—who’s worked with me in assorted shows as an actress, singer, dancer, and choreographer—sings it here. Hirt was in my original New York productions of “The Seven Little Foys” and “The Irving Berlin Ragtime Revue.” And she choreographed my show “Mad About the Boy.” She’s performed on several of my albums—and will be heard on more, I’m sure; I like her energy. Originally from Florida, she’s toured the US and Canada as a performer, and is on the faculty of the American Musical and Dramatic Academy (AMDA). 17. “SMILE AND SHOW YOUR DIMPLE” marks the recording debut of Ryan Muska, whose fine, true, sweetly innocent voice serves well this World War One-era Berlin rarity. I previously included in one of my stage shows an excerpt of this little-known song (whose main melodic theme Berlin would later re-use for his immortal song “Easter Parade”); l I felt it was now time to the give the whole song its due, and Muska and the song would be a good fit. Muska was the standout in a production of “Catch Me If You Can,” produced by Frank Avellino, that I caught in New Jersey. He impressed me, too, playing the lead in a production of “Urinetown,” and I invited him to record with us. 18. “RUN HOME AND TELL YOUR MOTHER.” This little-known, very early Berlin song is sung with characteristic understanding of—and respect for--the composer’s intentions by Jeffrey Sewell. I’m very glad that Sewell—whom I first discovered on YouTube, thanks to a recommendation, via Facebook, from Broadway star Andrew Keenan-Bolger—drove down from Massachusetts to record with us in New York. This up-and-coming artist (whom you’ll also hear on our “Irving Berlin & Co.” album) has a bright future. 19. “ALICE IN WONDERLAND” is a major find. This never-before-recorded Berlin ballad—sweet and pure and innocent, and unlike anything else he wrote—is being introduced on record here by Livi Perrone and Dyan Adams. I just love this song—it ought to be better known--and the beautiful rendition these two artists provide. 20. “DROWSY HEAD” was co-written by Berlin and Vaughn De Leath, a popular entertainer of the 1920s who was known as “The First Lady of Radio.” (She was believed to be the first woman ever to sing “live” on radio, in 1920.) New York-based actress Nina Paganucci (who’s currently working at the Woodstock Playhouse) tenderly introduces this never-before-recorded Berlin lullaby. Paganucci first caught my attention when she starred in “Footloose” at Connecticut’s historic Thomaston Opera House. (Theater writer Nancy Sasso Janis has noted that many of my performers—now living and working in New York--have Connecticut roots. That’s a tribute to Connecticut’s vibrant theater scene; I’m grateful to such Connecticut theater people as Foster Evans Reese, Sharon Wilcox, Marianna Vagnini-Dadamo, and Eric Larivee for the training they’ve given so many fine singing actors I work with.) 21. “COHEN OWES ME $97.00,” put over with vaudeville flair by Eric Johnson, was originally introduced by Belle Baker at the Mecca of vaudeville, New York’s Palace Theater. Johnson’s appeared in assorted Broadway shows, including “Aspects of Love,” “Me and My Girl,” and “Chess.” He also directs shows. (Our paths first crossed when he was involved in directing shows of mine.) I’m very happy that Johnson, who’s currently appearing Off-Broadway in “Ruthless,” found time to record this early ethnic novelty song of Berlin’s. For me, the song also brings memories of my late friend, that ever-supportive singer/songwriter John Wallowitch; I learned this song (and other Berlin rarities) from John; I’m in his debt. 22. “SADIE SALOME (GO HOME)”–which Berlin wrote in 1909--was featured by a not-yet-famous Fanny Brice. She was so green, Berlin claimed he had to teach her how to do the Yiddish accent. (For the record, I might add that Sophie Tucker also claimed she taught young Fanny Brice how to do a Yiddish accent for the stage. Brice herself insisted that nobody in the business had to teach her anything about Yiddish inflections; like Berlin and Tucker, she grew up hearing Yiddish spoken by both family members and friends.) Kimberly Faye Greenberg, who sings the number here, was one of the actresses I cast to star in my show “One Night with Fanny Brice” in New York. I had originally hoped to include “Sadie Salome” in that show, but had to cut it due to time constraints. I’m happy to be able to include the song here. (You can hear Greenberg sing other Brice-related songs on the cast album of my show, “One Night with Fanny Brice.”) 23. “DOGGONE THAT CHILLY MAN” is a real rarity. This is a song that Irving Berlin wrote especially for the legendary Fanny Brice, who introduced it in the Ziegfeld Follies. But it was never recorded by Brice (or anyone else back then, for that matter). The song is recorded now, for the first time ever, by Chloe Brooks…. In the script for my show “One Night with Fanny Brice” (published/licensed by Leicester Bay Theatricals), I give a special shout-out of thanks to “the astonishing Chloe Brooks,” who’s performed the show over a longer period of time than anyone else, and still dazzles me each time she does it. I hope she can perform the show, in many different places, for many more years to come, as opportunities arise. And I’m happy she gets to sing this “unknown” Irving Berlin/Fanny Brice song. 24. “HE’S A DEVIL IN HIS OWN HOME TOWN” is sung by Michael Townsend Wright, who was—among many other credits—a regular on television’s “The Uncle Floyd Show”; comedian Joey Faye’s last burlesque partner; a guest star on TV programs ranging from “Emergency” to “The Naked Brothers Band”; an actor in such motion pictures as “The Rat Pack” and “Lansky”; and the star of several musical productions of mine. 25. “AT THE DEVIL’S BALL” is sung with tremendous aplomb by Michael Caizzi, a rising artist to watch. This summer he’s starring in “A Funny Thing Happened on the Way to the Forum” at the Priscilla Beach Theater, one of the oldest and most respected summer theaters in the country. I caught him starring in “Fiddler on the Roof” at Hofstra and was so taken by his singing, acting, and general command of the stage–he performs with irresistible verve–I knew he’d be perfect for this number--and some other little-known early Berlin songs. 26. “LADY OF THE EVENING”–a haunting, unusual “unknown” ballad written by Berlin in 1922–gets a sensitive interpretation from Magnus Tonning Riise. Originally from Ilseng, Norway, this recent transplant to NYC is rapidly winning fans for his beautiful vocals, in performances at clubs like 54 Below. 27. “ALEXANDER’S RAGTIME BAND” was an enormous international hit the year Berlin wrote it; it was sung in many different countries, in many different languages. (My late great-grandmother recalled the song being a hit three distinct times in her lifetime–in 1911, when it was new; in 1938, when the film of the same name brought it back again; and in 1947, when a recording by Al Jolson and Bing Crosby became a million-seller.) I’m delighted to have Canadian entertainer Rachel Hundert – who sounds lyrical in any language–sing the song here. Watch for her cabaret shows! As I type these notes, she’s appearing at the Metropolitan Room in New York City. 28. “I HATE YOU” is a real find. This was written by Irving Berlin for the Broadway show “Watch Your Step”—it was to have been introduced by Vernon Castle and Renee Gratz. But it was cut from the show during rehearsals, and quickly disappeared. Sometimes a director will have to cut a song—even a most appealing song—before a show opens. Perhaps the show is too long or the song—although good—slows down the action. There are any number of reasons why very good songs can wind up being cut from a show. And this is a charming number. Berlin found a way to recycle some bits from this song into another song, more than 20 years later. But this song is a delight in its own right. Two of the best younger performers I know—Giuseppe Bausillio (who co-starred in my show “Irving Berlin’s America” and is currently on Broadway in “Cats”) and Emily Bordonaro (a show-stealer in my “Seven Little Foys” and “Ragtime Revue”) team to make the first-ever recording of this number. Their chemistry is so great together, I’m eager to record more duets by them. 29. “AFTER YOU GET WHAT YOU WANT, YOU DON’T WANT IT” was a hit in the 1920s; Berlin revived it for his 1954 film musical, “There’s No Business Like Show Business” (where it was sung by Marilyn Monroe). It’s a superior, mature Berlin song, which deserves to be better known. It’s interpreted here with great feeling and understanding by Beth Bartley. Bartley is one of the few actresses I know who is equally effective whether performing straight dramas or musical theater. She’s often done plays by Tennessee Williams, a great favorite of hers among playwrights. (As I type these notes, she is appearing, Off-Broadway, in Williams’ “Orpheus Descending,” directed by Austin Pendleton.) I’ve been impressed by Bartley since she was a student at Juilliard, long before she found work on Broadway and off-Broadway, and in the regional theaters. I wrote the role of “Mrs. Foy”--which she’s performed in my musical comedy “The Seven Little Foys” in New York and on the cast album—especially for her. She brings this album to a strong, thoughtful close. I plan to produce a series of albums of Berlin songs. I’m grateful to the singers on this album, and to music-director Richard Danley, for helping bring these rare items to light. A special shout-out of thanks to the indefatigable Don Brown, who began preparing music for this project almost a decade ago. Thanks, too, to the one-and-only Carol Channing, who’s not only been a great, good friend for a quarter-century, I’ve learned more about show business from her than from anyone else; every time I step into a recording studio or theater, her words are guiding me. Wonderful woman! --- CHIP DEFFAA * * * CHIP DEFFAA (producer) is the author of 16 published plays and eight published books, and the producer of 14 albums. For 18 years he covered entertainment, including music and theater, for The New York Post. He is a graduate of Princeton University and a trustee of the Princeton "Tiger" magazine. He wrote/directed such Off-Broadway successes as "George M. Cohan Tonight!" and "One Night with Fanny Brice." His shows have been performed everywhere from London to Seoul. He is a member of the Dramatists Guild, the Stage Directors & Choreographers Society, and ASCAP. He’s won the ASCAP/Deems Taylor Award, the IRNE Award, and a New Jersey Press Association Award. Please visit: www.chipdeffaa.com. RICHARD DANLEY (music director/pianist) is Chip Deffaa's first choice among music directors and has worked on many shows and/or cast albums of Deffaa's, including "Irving Berlin's America," “The Irving Berlin Ragtime Revue,” "One Night with Fanny Brice," "The Seven Little Foys," "George M. Cohan Tonight!," “Mad About the Boy,” “Irving Berlin: In Person,” and "Theater Boys." Danley has performed everywhere from daytime dramas on television, to cruise ships, to clubs, to Carnegie Hall. He is on the faculty of the American Musical and Dramatic Academy (AMDA). * * * If you’ve enjoyed this album, you might also enjoy these 14 other Chip Deffaa albums (available from Amazon.com, CDBaby.com, iTunes, etc.): “The Irving Berlin Ragtime Revue,” “George M. Cohan Tonight!,” “Irving Berlin’s America,” “One Night with Fanny Brice,” Irving Berlin: In Person,” “The Seven Little Foys” “Theater Boys,” “Presenting Fanny Brice,” “George M. Cohan: In his Own Words,” “Mad About the Boy,” “The George M. Cohan Revue,” “Irving Berlin & Co.,” “The Johnny Mercer Jamboree,” “Irving Berlin: In Person,” “George M. Cohan: Rare Original Recordings.” * * * Chip Deffaa has written five different musical plays about Berlin:“Irving Berlin: In Person”; “Irving Berlin’s America”; “The Irving Berlin Ragtime Revue”; “Irving Berlin & Co.”; and “The Irving Berlin Story.” All are available for licensing. Cast albums for four of those shows have been released; an album for the fifth show will be forthcoming. For more information on any of Deffaa’s shows, please feel free to contact Chip Deffaa Productions LLC, 50 Quartz Lane, Paterson, NJ 07501-3345, telephone: 973-684-3340; Email: Footloose518@aol.com; www.chipdeffaa.com. Playwright/director/producer Chip Deffaa is represented by The Fifi Oscard Agency (attention: Peter Sawyer, President), 1440 Broadway, 23rd Floor, New York, NY 10018, Email: psawyer@fifioscard.com, tel. (212) 764-1100. Our appreciation to editors Abraheem Abdelhaq, Adam Barki, Yunis Alibrahimi. And to proofreaders Matthew Cardona, Joseph Mestanza. Chip Deffaa’s “Irving Berlin Songbook: Rare and Unrecorded Songs” (p) and © 2016 by Chip Deffaa. * * * Chip Deffaa’s IRVING BERLIN SONGBOOK: RARE AND UNRECORDED SONGS Starring: Giuseppe Bausillio. Emily Bordonaro. Michael Townsend Wright, Natalie Douglas, Charles Franklin, Ryan Lammer, Beth Bartley, Jed Peterson, Rayna Hirt, Dylan Adams, Jonah Barricklo,, Alec Deland, Chloe Brooks, Jack Saleeby, Brianna Leigh Small, Nina Paganucci, Michael Caizzi, Livi Perrone, Ryan Muska, Jeffrey Sewell, Eric Johnson, Magnus Tonning Riise, Amanda Andrews, Katherine Paulsen, Rachel Hundert, K. F. Greenberg Produced by Chip Deffaa; Musical director: Richard Danley Music preparation by Donald Brown and Richard Danley; Stage managers: Kate Solomon Tilley, Megan Ulan Assistants to the Producer: Peter Charney, Tyler DuBoys, Max Galassi; Historical consultant: Jessee D. Riehl Aides-de-camp: Matthew Nardozzi, Nick Keeperman. Michael Kasper, Gabe Beer Recording Engineer: Slau Halatyn ; Graphic de sign: Frank Avellino; Interns: Max Beer, Michael Herwitz Chip Deffaa's IRVING BERLIN SONGBOOK: RARE AND UNRECORDED SONGS (p) and (c) by Chip Deffaa 2016