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Saturday, 17 October 2009 13:11

The Dramatists Guild of America Presents Conversations with Carol Hall and Peter Mills



The Dramatist Guild of America will present this season’s first DuoLogues Seminar, “A CONVERSATION WITH CAROL HALL and PETER MILLS”,
on Tuesday October 27th at 5:30pm.
 The event will take place at the Guild’s New York Office which is located at 1501 Broadway (between 43rd & 44th Streets).
For reservations and further information please call  212-398-9366  (ext. 20)

The first song Carol Hall ever wrote for a child was Jenny Rebecca a gift for a friend who had just had a baby. It was immediately recorded by
a young up-and-coming singer named Barbra Streisand.  For the next ten years Hall was a mainstay contributor to SESAME STREET, and
was a major contributor to Marlo Thomas' landmark children's classic FREE TO BE... YOU AND ME (Emmy and gold album), and to its
sequel FREE TO BE... A FAMILY.  She also contributed to Thomas' recent book and Grammy award-winning CD, THANKS & GIVING/ALL YEAR LONG
and created songs for Disney's “DUMBO II.”  In 2003 she won the MAC SONG OF THE YEAR AWARD for I Dream In Technicolor.  
One of the few theater people to write both music and lyrics, Carol Hall received two Drama Desk Awards for her score to the popular
Broadway hit “THE BEST LITTLE WHOREHOUSE IN TEXAS,” a Grammy nomination for the cast album, and an ASCAP Most
Performed Country Song Award for Dolly Parton's recording of Hard Candy Christmas from the film.   Other stage work includes the
Off-Broadway musical “TO WHOM IT MAY CONCERN,” individual songs for “A MY NAME IS ALICE,” “A MY NAME IS STILL ALICE,”
the recently premiered musical, “HATS” and the highly acclaimed Theatreworks production of the musical ‘MAX & RUBY.”  Hall has received
three BACKSTAGE BISTRO AWARDS, MAC (Manhattan Association of Cabarets) awards and the prestigious Johnny Mercer Award, given for
her contribution to American popular song.  Besides Streisand, other artists who have performed her songs are Olivia Newton-John, Tony Bennett,
Barbara Cook, Ann-Margret, Chita Rivera, RuPaul, Frederica von Stade and Big Bird.  Carol’s most recent CD, Hallways, The Songs of Carol Hall,
which has been recently released nationally by LML Music to much critical acclaim, is now in its second printing and has most recently received the
BISTRO AWARD for Outstanding CD of 2008-2009.  The CD also won the prestigious Special Material MAC AWARD for the album’s highly
praised song ‘This is My Birthday’.

Most recently, Peter wrote music and lyrics for GOLDEN BOY OF THE BLUE RIDGE, a critically-acclaimed
bluegrass adaptation of J.M. Synge's Playboy of the Western World set in 1930s Appalachia. Peter received
the 2007 Fred Ebb Award for emerging songwriters, 2006 Drama Desk Award nominations for his show
THE PURSUIT OF PERSEPHONE (Best Music and Best Orchestrations), the 2003 Richard Rodgers
New Horizons Award from the ASCAP Foundation, and a 2002 grant from the Jonathan Larson Performing
Arts Foundation. He supplied lyrics for IRON CURTAIN, (book by Susan DiLallo, music by Stephen Weiner),
which received the 2006 IT Award for Best Musical and was selected for the 2008 Eugene O'Neill Musical
Theatre Conference.  The show returns this fall as part of the 2009 NAMT Festival. ILLYRIA, a musical
adaptation of Twelfth Night, had its regional premiere at The Shakespeare Theatre of New Jersey in Fall 2004,
with a cast album released in April 2005. The show is now licensed by Theatrical Rights Worldwide.   And Peter's
first full-length show, THE TAXI CABARET, was published by Samuel French in Fall 2004. With Cara Reichel,
he wrote THE FLOOD, which was selected for the 2001 ASCAP Musical Theater Workshop.
MARCO POLO, written with composer Deborah Abramson, was selected for the ASCAP Musical
Theater Workshop in 2000, and Peter and Deborah were chosen as 2000-01 Dramatists Guild Fellows. As composer/lyricist, other shows include THE ALCHEMISTS, LONELY RHYMES, THE ROCKAE, and HONOR. Peter holds an M.F.A. in Musical Theater Writing from New York University's Tisch School for the Arts
and a degree in English/Dramatic Literature from Princeton University. He is a founding member of
Prospect Theater Company.

The Dramatists Guild of America was established over eighty years ago, and is the only professional association
which advances the interests of playwrights, composers, lyricists and librettists writing for the living stage.
The Guild has over 6,000 members nationwide, from beginning writers to the most prominent authors represented
on Broadway, Off-Broadway and in regional theaters.   The Guild is governed by a Board of Directors elected
from its membership, and which currently includes such writers as Stephen Sondheim (West Side Story, Gypsy, Into the Woods),
Edward Albee (Who’s Afraid of Virginia Woolf, A Delicate Balance), Marsha Norman (‘night, mother), Tony Kushner
(Angels In America), John Patrick Shanley (Doubt), John Guare (Six Degrees of Separation), Lynn Nottage (Intimate Apparel)
and Rebecca Gilman (Spinning Into Butter). The current president of the Guild is John Weidman (Contact, Assassins, Pacific Overtures).
Past presidents have included Richard Rodgers, Oscar Hammerstein, Moss Hart, Alan Jay Lerner, Robert Sherwood, Robert Anderson,
Frank Gilroy, and Peter Stone.  Past Guild members have included Eugene O’Neill, George S. Kaufman, Arthur Miller, Lillian Hellman,
Frank Loesser, Frederick Loewe, and Tennessee Williams. The Dramatists Guild of America was established for the purpose of
aiding dramatists in protecting both the artistic and economic integrity of their work. The Guild believes that a vibrant, vital and
provocative theater is an essential element of the ongoing cultural debate which informs the citizens of a free society. The Guild
believes that if such a theater is to survive, the unique, idiosyncratic voices of both men and women who write for it must be
cultivated and protected. To that end, the Guild maintains model contracts for all levels of productions, (including Broadway,
regional and smaller theaters) and encourages its members to use these contracts when negotiating with producers. These contracts
embody the Guild’s over­arching objectives of protecting the dramatist’s control over the content of his work, and ensuring that the
dramatist is compensated for each use of his work in a way which will encourage him to continue writing for the living stage.
In addition to its contract services, the Guild acts as an aggressive public advocate for dramatists’ interests and assists dramatists’
 in developing both their artistic and business skills through its publications, which are distributed nationally, and the educational
programs which it sponsors around the country. Through a variety of activities, the Dramatists Guild of America works to ensure
that theater in America will continue to flourish and that the voices which give it life will continue to reflect and celebrate the
richness and diversity of the American experience.
Last modified on Sunday, 18 October 2009 11:14