Projects presented at The WAH Theater of the Performing Arts

The WAH Theater hosts visiting troupes from all over the world, and has originated productions of musical plays by Peter Dizozza, many connected with WAH Center art exhibits, including Prepare to Meet Your Maker (Apocalypse 1999), The Last Dodo (2000), The Eleventh Hour (2001), The Golf Wars (The World Peace Exhibit, 2002), The Marriage at the Statue of Liberty (Brave Destiny, 2003), The Sea Heiress (2004), and Paradise Found (Artwork Celebrating John Milton’s 400th Birthday, 2008).
AND A Question of Solitude (2009)
The Ocean Floaters (2012)
Bulb (2016)
Associative Behavior (2017)

and most recently with Roman D'Ambrosio celebrating the Detritus Exhibition: Rapunzel and Sisyphus Freed! (November 2024) https://www.youtube.com/watch?v=2vuD5eFSYS0&t=22s

The Art of Comedy Recital Programs - June 15, 2024

Theater for the New City and The Yip Harburg Lyrics Foundation present THE ART OF COMEDY WORKSHOP RECITAL PROGRAM Noon, June 15, 2024 Exploring Comic Opera with W. S. Gilbert, Ira Gershwin and Yip Harburg Directed by Mark Marcante – Music Director: Peter Dizozza with J.C. Augustin, Viktor Feoktistov, Susan Goodstein, Ben Harburg, Paul Korzinski, Larry Litt, Lola Lukas, Emily Newhouse, Elizabeth Ruf & Lei Zhou Prelude: Singt dem großen Bassa Lieder – w/ Emily & Elizabeth A song about welcoming the Pasha, from “Die Entführung aus dem Serail” Lyric by Gottlieb Stephanie, Music by Wolfgang Amadeus Mozart 1782 Singt dem grossen Bassa Lieder, Töne, feuriger Gesang; Und vom Ufer halle wieder Unsrer Lieder Jubelklang! 1. If Somebody There Chanced to Be - Emily Newhouse An innocent lesson in etiquette from “Ruddigore,” Gilbert & Sullivan 1887 2. Were You Not to Koko Plighted - Elizabeth and Lei Zhou A song about what its singers would be doing under different circumstances, from “The Mikado,” W.S. Gilbert and Arthur Sullivan 1885, 3. The World Is Your Balloon - Ben Harburg. A puppet encourages its inventor to continue his creativity in this song from “Flahooley,” by Yip Harburg and Sammy Fain 1951 4. The Very Model of a Modern Major-General - J.C. Augustin and Chorus The song of a general who is educated in all matters vegetable, animal and mineral, from “Pirates of Penzance,” Gilbert & Sullivan 1879 5. Of Thee I Sing/Who Cares – Chorus The Campaign Songs of a politician running on a platform of Love, from the Pulitzer Prize winning musical “Of Thee I Sing,” George and Ira Gershwin 1931 6. They All Laughed - Susan Goodstein, Lola Lukas and Viktor Feoktistov. A they-who-laugh-last-laugh-best song from “Shall We Dance,” by George and Ira Gershwin 1937 7. Brother Can You Spare a Dime - Paul Korzinski. More than just political satire, here is a worker's impassioned plea after jobs-well-done are done, from “Americana,” Lyric by Yip Harburg, Music by Jay Gorney 1932 8. Lydia – Ben Harburg, The lessons we learn from tattoos, from “At the Circus,” by Yip Harburg and Harold Arlen 1939. (Yip said this is the best love song ever written.) 9. Down With Love - Elizabeth and Emily. An alternate take on love, from “Hooray for What!” by Yip Harburg and Harold Arlen, 1937 10. By Strauss - Lei Zhou. A song of Johanne Strauss riffs written to entertain guests at private parties, by George and Ira Gershwin 1936. 11. Here's to Your Illusions - Elizabeth Ruf A toast to bringing into reality illusions of imagination and love, from “Flahooley,” Yip Harburg and Sammy Fain 1951 12. As Some Day It May Happen/I've Got a Little List - Larry Litt with Chorus A song by an execution ready with his own suggestions, “The Mikado,” W.S. Gilbert and Arthur Sullivan 1885, with an updated lyric: Larry Litt 13. If I Only Had A Brain, A Heart, The Nerve - Paul, Ben, Lei A wishful song about what the singers would do if they had what they think they lack, from “The Wizard of Oz,” Yip Harburg and Harold Arlen 1939 14. Somewhere Over the Rainbow – Chorus. A song that identifies the location of a better place to be, from “The Wizard of Oz,” Yip Harburg and Harold Arlen 1939

The Art of Comedy Recital Programs - January 27, 2024

The Yip Harburg Lyrics Foundation and Theater for the New City present THE ART OF COMEDY WORKSHOP RECITAL January 27, 2024 Master of Ceremonies: Larry Litt Directed by Mark Marcante Music Director/Piano: Peter Dizozza PROGRAM OVERTURE, Arranged by Arthur Abrams 1. IDOL OF THE HALL Performed by Larry Litt Lyric: H. Chance Newton Music: Alfred Lee and Chris Simmons CHORUS I occupy the chair, By Jingo! I'm all there. With my Rap! Tap! Tap! Order, Please! I'm the Idol of the Hall 2. HEAVEN WILL PROTECT AN HONEST GIRL Performed by Emily Newhouse Lyrics: R.P. Weston and Bert Lee, music by Harris Weston (1933) CHORUS Heaven will protect an honest gel. An an-gi-el will guard you, little Nell. When these rich men tempt you, Nelly, with their spark-el-ling Moselly. Say 'Nay-nay!' and do be very care-fu-el. And if some old bloated blasé roue swell Says 'I'll kiss you, we're alone in this hotel,' Breathe a prayer he shall not do it And then biff him with the cruet, Then Heaven will protect an honest gel! 3. DADDY WOULDN'T BUY ME A BOW-WOW Performed by Conly Basham by Joseph Tabrar Daddy wouldn't buy me a bow wow (bow wow) Daddy wouldn't buy me a bow wow (bow wow) I've got a little cat. I am very fond of that, but I'd rather have a bow-wow-wow (wow wow wow) Repeat. 4. A LITTLE BIT OF CUCUMBER Performed by Lei Zhou I like pickeled onions. I like piccalilli. Pickled cabbage is all right with a Bit of cold meat on Sunday night. I can go termartoes, but what I do prefer, is a little bit of cu-cum-cu-cum-cu-cum, Little bit of Cu-cum-ber. 5. I WANT TO PLAY WITH LITTLE DICK Performed by Elizabeth Ruf by Will Godwin I Like to play with little Dick, Dick, Dick, I Like to play with little Dick, Dick, Dick. Cakes and toys don't do for me. I'm a big girl now, you see, and I love to play with little Dick-y, Dick-y, Dick-y, I Repeat... 6. WHAT A MOUTH performed by Paul Korzinski by R.P. Weston CHORUS: What a Mouth! What a mouth! What a 'north and south'! Ke- Ri-Key! What a mouth he's got! When He was a youngster, Oh! Lord Lovell, why his poor old mother used to Feed him with a shovel, what a Gap! Poor chap! He's never been known to laugh, for If he did it's a penny to a quid that his face 'd fall in half. 7. DON'T DILLY DALLY ON THE WAY – The “Cock Linnet” Song (My Old Man Said, "Follow the Van") performed by Conly Basham Charles Collins Fred W. Leigh (1919) CHORUS : My old man said, "Follow the van, Don't dilly dally on the way!" Off went the cart with the home packed in it, I walked behind with me old cock linnet. But I dillied and dallied; dallied and dillied, Lost the van and don't know where to roam. I stopped on the way to have the Old half-quartern, And I Can't find my way home. 8. WHEN FATHER PAPERED THE PARLOR Performed by Ben Harburg and Conly Basham. Song by Weston and Barnes CHORUS: When Father papered the parlor you couldn't see him for paste. Dabbing it here, dabbing it there. Paste and paper everywhere. Mother was stuck to the ceiling, the children stuck to the floor. I Never knew a blooming family so stuck up before. 9. I WANT TO SING IN OPERA Performed by Helene Worton David & George Arthurs – introduced by Wilkie Bard (1911) We Want to sing in op-'ra, We've got that kind of voice. We'd Always sing in op-'ra If we could have our choice. Signor Caruso Told us we ought to do so, That's why we want to sing in Op'ra, sing in Op – pop-pop-pop-a Ra! We can! 10. A BROKEN DOLL Performed by Elizabeth Ruf and Lei Zhou by Jas. W. Tate You called me Baby Doll a year ago. You told me I was very nice to know. I soon learnt what love was. I thought I knew, But all I've learnt has only taught me how to love you. You made me think you loved me in return. Don't tell me you were fooling after all. For if you turn away, you'll be sorry some day. You left behind a broken doll. 11. TOUCHING THAT LITTLE AFFAIR Performed by Paul by Bennett Scott & C.G.Cotes Touching that little affair. Touching that little affair. She Holds my wrist and watches me as my pulse goes up to ninety-three. Leave off Gertrude I'm better, I declare. Directly the lady doctor starts Touching that little affair. 12. BURLINGTON BERTIE FROM BOW Performed by Emily Newhouse William Hargreaves 1916 I'm Burlington Bertie. I rise at ten thirty and Saunter along like a toff. I Walk down the Strand with my gloves on my hand, then I Walk down again with them off. I'm all airs and graces, correct easy paces, with- Out food so long I've forgot where my face is, I'm Bert, Bert, I haven't a shirt but my People are well off, you know. Nearly Ev'ry one knows me from Smith to Lord Roseb'ry I'm Burlington Bertie from Bow (Beau). 13. SADIE SALOME, GO HOME! Performed by Lola Lukas and Larry Litt By Edgar Leslie and Irving Berlin (1909) CHORUS Don't do that dance, I tell you, Sadie. That's not a business for a lady. Most ev'rybody knows that I'm your loving Mose. Oy, oy, oy, oy Where is your clothes? You better go and get your dresses. Everyone's got the Opera Glesses. Oy, such a sad disgrace. No one looks in your face. Sadie Salome, go home. 14. SLAVIC FOLK SONG (Lola Lucas, Elizabeth Ruf and Larry Lit) 15. I GOT RHYTHM – FASCINATING RHYTHM Performed by Ben Harburg by George and Ira Gershwin (Our Syncopated City, makes us Jittery & Jumpy) CHORUS: I know that Once it didn't matter But now you're doing wrong When you start to patter I'm so unhappy. Won't you take a day off? Decide to run along, Somewhere far away off And make it snappy! Oh, how I long to be the man I used to be! Fascinating Rhythm, Oh, won't you stop picking on me? 16. SOMETHING SORT OF GRANDISH performed by Ben Harburg by Yip Harburg and Harold Arlen 16. LET'S ALL GO DOWN THE STRAND Performed by Larry Litt and Cast Harry Castling & C. W. Murphy introduced by Charles R. Whittle (1890’s) – with Larry and ensemble Let's all go down the Strand! Let's all go down the Strand! I'll be leader, you can march behind. Come with me, and see what we can find. Let's all go down the Strand. Oh, what a happy land! That's the place for fun and noise, all among the girls and boys, so Let's all go down the Strand.

The Art of Comedy Recital Programs - June 17, 2023

June 17, 2023 Art of Comedy Recital Program (Revised) 1. Where Did Robinson Crusoe Go with Friday on Saturday Night? by George W. Meyer, Sam M. Lewis and Joe Young - Lola Lukas 2. When I’m Not Near (the Girl that I love) from Finian's Rainbow, by E.Y. Harburg and Burton Lane - Ben Harburg 3. The Tipnohist (Skit The Hypnotist by Weber & Fields with additions by Silver & Litt) -- Larry Litt and Ron Silver 4. Who’s on First (Skit by Bud Abbot & Lou Costello) - Ben Harburg and Paul Korzinski 5. The Old Folks, by Jacques Brel - Elizabeth Ruf and Chorus? 6. The Funeral Tango, by Jacques Brel - Paul Korzinski 7. Carousel, by Jacques Brel - Emi Asano 8. Jackie, by Jacques Brel - Lei Zhou 9. The Paper Dolls, Skit (origin currently unknown) - Lola Lukas and Elizabeth Ruf 10. Walking to Silly, Skit from Zen Burlesque by Larry Litt - Larry and Len Zhou 11 & 12. Forty Second Street & Lullaby of Broadway, by Harry Warren and Al Dubin - Ben Harburg 13. Amsterdam, by Jacques Brel - Paul Korzinski 14. I loved, by Jacques Brel - Elizabeth Ruf 15. Doctor Kronkhite, Skit by Joe Smith & Charlie Dale - Emi Asano, Paul Korzinski and Larry Litt 16. Trouble of the World, traditional as adapted by Mahalia Jackson - Terry Lee King 17. If We Only Have Love, by Jacques Brel - Chorus

The Art of Comedy Recital Programs - January 23, 2023

Theater for the New City and The Yip Harburg Lyrics Foundation present THE ART OF COMEDY WORKSHOP RECITAL PROGRAM January 27, 2023 Master of Ceremonies: J.C. Augustin Piano: Peter Dizozza Directed by Mark Marcante 1. ASK A P'LICEMAN E.W. Rogers and A.E. Durandeau - introduced by James Fawn (1888) – with Dion Powell 4 CHORUSES If you want to know the time, Ask a P'liceman! The proper Greenwich time, Ask a P'liceman! Every member of the force has a watch and chain, of course; If you want to know the time, Ask a P'liceman! If you want to get a drink, Ask a P'liceman! He'll manage it, I think, Will a P'liceman! He'll produce the flowingpot,If the “Pubs” are shut or not, He could open all the lot - Ask a P'liceman! If you don't know where she is, Ask a P'liceman! For he's in the “know,” he is. Ask a P'liceman! Thegh they say with red she flew,Yet it's ten to one on blue, For he mashes just a few. Ask a P'liceman! If you want to learn to run, Ask a P'liceman! How to fly, though twenty “stun,” Ask a P'liceman! Watch a Bobby in a fight, in a tick he's out of sight. for advise on rapid flight, Ask a P'liceman! 2. OH! THAT GORGONZOLA CHEESE Fred W Leigh and Harry Champion (1894) – with Lei Zhou CHORUS Oh! that Gorgonzola cheese! Must have been unhealthy I suppose, For the old Tomcat fell a corpse upon the mat, When the “niff” got up its nose. Talk about the flavour of the cackling on the pork, Nothing could have been so strong, As the beautiful effluvia that filled our house, When the Gorgonzola cheese went wrong. 3. DON'T DILLY DALLY ON THE WAY – The “Cock Linnet” Song (My Old Man Said, "Follow the Van") Charles Collins Fred W. Leigh (1919) – with Krista Komodor CHORUS : My old man said, "Follow the van, don't dilly dally on the way!" Off went the cart with the home packed in it, I walked behind with me old cock linnet. But I dillied and dallied, dallied and dillied, Lost the van and don't know where to roam. 1. I stopped on the way to have the old half-quartern, And I can't find my way home. 2. Now who's go-ing to put up the old iron bedstead If I can't find my way home? 3. You can't trust the “specials” like the old-time “coppers” When you can't find your way home. 4. CHARLIE MOPPS, collected by Redd Sullivan from the chief refrigeration engineer on the s.s. Tekoa in 1953 – with James Duncan CHORUS Oh --- He oughta been an admiral, a sultan or a king, And to his praises we should always sing. Oh, Look what he has done for us, he's filled us up with cheer, Lord bless Charlie Mopps, the man who invented beer (beer beer beer beer beer beer – ). 5. I WANT TO SING IN OPERA Worton David & George Arthurs – introduced by Wilkie Bard (1911) – with Elizabeth Ruff We want to sing in op-'ra, We've got that kind of voice. We'd always sing in op-'ra If we could have our choice. Signor Caruso Told us we ought to do so, That's why we want to sing in Op'ra, sing in op -- pop-pop-pop-a Ra! We can! 6. TWO LOVELY BLACK EYES Charles Coborn, arranged by Edmund Forman (1886) – with Paul Korzinski Two lovely black eyes, Oh what a surprise! Only for telling a man he was wrong. Two lovely black eyes! 7. SCENE: “The Coster's Courtship” with Elizabeth and James ending with the chorus from: LILY OF LAGUNA Leslie Stuard – introduced by Eugene Stratton (1898) She's my lady love, she is my dove, my baby love. She's no gal for sitting down to dream, She's the only queen Laguna knows. I know she likes me, I know she likes me because she said so. She is the Lily of Laguna, She is my Lily and my Rose. 8. SWANEE Irving Caesar and George Gershwin (1919) & 9. LYDIA, THE TATTOOED LADY Yip Harburg and Harold Arlen (1939) – with Ben Harburg 10. “Costa’s Courtship” with Elizabeth and James 11. Eifersuchtsduett (JEALOUSY DUET) Kurt Weill and Bert Brecht (1928) English Version: John Willet/Ralph Mannheim (1976) with J.C. Augustin and Elizabeth 12. SCENE: “Dr. Kronkite” (Smith and Dale) with Paul, Krista and Lei 13. SCENE: “Why a Duck?” With Ben and L.J. Avalos 14. SCENE: “The Lion and Albert” with James 15. SCENE: The Funeral Parlor – with Elizabeth and Lei with SWING LOW SWEET CHARIOT (coming for to carry me home.) Printed by J. B. T. Marsh (1876) & SOMEWHERE Leonard Bernstein and Stephen Sondheim (1957) 16. LET'S ALL GO DOWN THE STRAND Harry Castling & C. W. Murphy introduced by Charles R. Whittle (1890’s) – with Paul and ensemble Let's all go down the Strand! Let's all go down the Strand! I'll be leader, you can march behind. Come with me, and see what we can find. Let's all go down the Strand. Oh, what a happy land! That's the place for fun and noise, all among the girls and boys, so Let's all go down the Strand

Our Own Pop Culture

We try to create our own pop culture world. I bought three grapefruits and put one next to Zora, next to her Yoko Ono Grapfruit book. I'm discovering that she loves to follow certain instructions, such as those found in the pages of Ms. Ono's book. The overall result from having the actual grapefruits, though, is that I'm eating a grapefruit. Maira and Zora don't seem to be interested in them, certainly not without the extended preparation they often receive prior to being served. I haven't had a grapefruit in a long time. I do recommend pealing them and eating them, after enjoying the smell of the skin, which I understand can be tossed into the fire to enahnce the smell of its smoke. I guess my mother told me that and also enjoyed eating its white rind, suprisingly tasty overall, though the tradition of serving a carefully prepared grapefruit at a room service breakfast can be fun too. Of course it is not only simpler but also tastier to just peal it and separate the slices. This touches upon my preference for minimal food preparation (I used to cook that way for myself) though Maira does like eating what she cooks, meals which are always fun to eat. I still find Ms. Ono's recorded work a challenge and I'm not sure how well it goes over with Maira and Zora as I am often out walking Fancy while it plays. However, I could see from the Tate Modern Yoko exhibit that we got to see in the beginning of August that Zora had a good connection with the interactive work there (hammering nails, tracing sillouettes and sliding around in bags) and as well as finding fascination with some of Ms. Ono's collaborators (one who did the animation, and there was a Japanese documentary about its artists from the 60's which held her attention). We also saw the Maysle movie of her Charlotte Morman homage with people cutting off her clothing, and most memorably with great music too, The Fly. I'm confronted with the question of buying Ms. Ono's double album, The Fly. Speaking of the Maysles, on my bike ride home from the Street Theater performance at Jackie Robinson Park I passed by The Maysles Center. They were showing The (1973) Spook Who Sat by the Door, so now I know of that movie. I think we tried another one, from a "Black Cinema" category, the Sweet Badass? -- The 1971 Sweet Sweetback's Baadasssss Song. The major monstor movie from that era for me is Cotton Comes to Harlem. We also heard the biggest number from Miriam Makeba thanks to Terry Lee King including it in the Street Theater Pre-Show dances. I had already bought one of her albums since I loved other material I had heard played on WKCR radio but the one I got was one of those RCA controlled recordings (I guess Harry Belefonte helped her get signed with RCA. He would often have these generic orchestra accompaniments too). Now at last we know, Pata Pata is hers! We get some pop culture from TCM which showed Jean Paul Belmondo movies, and as a result showed Truffaut's Mississippi Mermaid and Goddard's Pierrot La Fou, as well as the short Goddard made with Belmondo prior to Breathless. As a result we learned about the lovely south of france destination island, porquerolles. These are examples of our own pop culture.

He became distracted from his architectural plans, wasting time with other things that became the House that Jack Built.  I keep returning to that supremely unpleasant movie since it captures a delusion we can maintain while alone, that we are better than everyone else, that we're superior, simply by not putting ourselves under their scrutiny.  It's only at the end that we confront the grand project we've been working on all our lives, that it's a measly pathetic little thing, hardly begun. 
I take breaks to eat yogurt and grapes.  I sit here at the all-purpose dining room table, defeated because I can't find the simple music notebook I'd left on the piano, resting upon a prior notebook, because it's part of the grander Augusteia project. 
The end, no more yogurt and grapes in the bowl.
We're ready to sleep. 

And this is the extent of my thoughts for now, a day at the office followed by a day home, both nights consisting of music rehearsals for a CLE show, this one about the business of Marijuana in a country where States can legalize while the Federal Government can maintain it as contraband.  It was never worse than alcohol, because alcohol is pretty bad for the brain.  How do people manage to live with it and grow old with a sharp mind?

And what point can I make to produce readability?  Will I ever be of a mind to express myself?  Why do I think the crafted way is the better way?  Why can't freestyle be comprehensible, be worth reading.  Oops mosquito.