Millennial Mouthful was White Knuckle Sandwich’s millennial extravaganza, in December 1999.  I wrote a new song for the occasion, “Y2WKS”; we had slides, videos, and special appearances by Brian Dewan and Linda Mancini.  Anne and Jen showed their smutty slideshow, “The Milkman Cometh”; Brian joined me for a two-autoharp arrangement of my song “Make the […]

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Here’s a postcard I designed, for a gig that White Knuckle Sandwich did at the Duplex, back when we were doing that sort of thing.

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Helen Dannenberg put on a concert of her dances at the Margaret Jenkins Dance Studio, in San Francisco, in November 1982.  I provided music for “Fine Wishes, Fine Dances, Good Life, Good Luck,” drawing upon a large assortment of percussion instruments and noisemakers.

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Michael Smith developed a children’s show in the ’90s, and I was invited to provide music.  I loaded a piano with percussion and sound effects, and had a fine time.  A number of people were also on board through its many changes, including that notable puppeteer, Alison Mork.  Mike and I decided at some point […]

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Steve Paul and Gregory Dawson put together a cabaret revue at the Rainbow and Stars in 1991.  Somehow, I ended up hosting it — with my inimitable dummy, Eddie Gray, who received separate billing.

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There were many variety/performance/music series in downtown Manhattan in the ’90s.  This one was hosted by that excellent cartoonist, R. Sikoryak.  I sang my songs, with Carol Benner playing obbligati on the viola; we were bracketed with that excellent writer, David Sedaris.

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In 1982, I wrote music for Cortland Set, a dance by Margaret Jenkins.  The score was based on the poetry of Michael Palmer: part of it was a tetrachordal setting of his words, and part was piano music developed from the same material.  

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The Regard of Flight appeared at the Great Lakes Festival in Cleveland in 1987.  It was a busy year for that show. Here’s a review.  I’ve been called many things, but I’d never before been compared to an Arrow collar ad.

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In 1980, Bill Irwin and I did a show for the Baltimore International Theatre Festival; it contained many of the bits that later became The Regard of Flight. Murdoch was the name of our putative theatrical company, which also included Michael O’Connor.  He was elsewhere for this gig.

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For “Murder in the Library,” Michele Larsson and I wrote a half-hour radio detective show, by scrupulously following the formulas in a writers’ manual.  We recorded it with a fine cast, and Michele choreographed a solo dance to it.  This was in San Francisco, in 1980.

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