Welcome to the Schimmel Center Blog!

The Michael Schimmel Center for the Arts Blog Schimmel Center seeks to enrich and engage our audiences by bringing world-class talent to Lower Manhattan. Our programming features internationally-acclaimed talent in the areas of music, dance, film, cabaret and lecture.

17 October 2014 ~ 0 Comments

Hey, Look (Him) Over!: An inside look at the show-stopping composer, Cy Coleman

On Saturday, October 18, Fred Barton, his 13-piece orchestra and star studded cast of Broadway performers will be back to celebrate yet another show-stopping composer. On this occasion our audience will be treated to the jazzy, big-band melodies of Cy Coleman.  Coleman was known to Broadway audiences as one of the last, truly great composers of big-band style musicals. Let’s take a further look into the life and career of this extraordinary composer.

Cy Coleman

Cy Coleman

A native New Yorker, Coleman was born June 14, 1929 as Seymour Kaufman to Eastern European Jewish parents. By the time he was six years old, it was evident that Seymour was a child prodigy at playing the piano. Between the ages of six and nine, the young musician was being booked in venues such as Steinway Hall, Town Hall and even Carnegie Hall. In his late teens, he had become a very much in-demand club performer, by the name of Cy Coleman, along with his jazz trio, the Cy Coleman trio. After enjoying recording success with his trio, Coleman looked towards a career in writing popular music. He partnered with lyricist, Carolyn Leigh and produced standards such as, “Witchcraft,” “The Best Is Yet to Come,” and “I’m Gonna Laugh You Out of My Life,” among others. It was also during this time, that Coleman would score the “Playboy” theme music, forever becoming associated with the famous periodical’s television productions.

In 1962, Leigh and Coleman were approached to write the score for a new Broadway musical that would become a vehicle for star, Lucille Ball. A mild success, Wild Cat closed early due to the illness of its star. However, it did produce the hit song, “Hey, Look Me Over,” which was later recycled into the fighting song for LSU, “Hey, Fighting Tigers.” The success of the show’s score prompted producers to approach the team to write a musical based on the Patrick Dennis novel, Little Me.  With Little Me, Coleman and Leigh were able to introduce two new standards to the American songbook, “Real Live Girl” and “I’ve Got Your Number.”

Although highly successful, Coleman’s collaboration with Leigh was often described as, “turmoil.” In 1964, he began to look for new writing partners. While at a party, Coleman met Dorothy Fields and she was more than flattered when she was asked to collaborate with him. The two started work on a musical version of the Fellini film Nights of Cabiria. The contemporary score proved to be one of his biggest hits, Sweet Charity. With the help of Tony-winning choreography by Bob Fosse, the song, “Big Spender,” became a break out hit along with classics like, “If My Friends Could See Me Now,” and “I’m a Brass Band.” The show’s massive success  loomed like a shadow over the duo’s partnership, however. Fields only wrote two more shows with Coleman before her death in 1974, a failed bio-musical about Eleanor Roosevelt and Seesaw, which would go on to mild success in the hands of Tommy Tune.

After the death of Fields, Coleman jumped around to different partners. He joined with Michael Stewart, who had found success with shows such as Bye, Bye Birdie and Hello Dolly to create a much less loved musical, I love My Wife. He then joined fabled lyricists Betty Comden and Adolph Green to collaborate on the hit, On the Twentieth Century for which he won the Tony award for best original score. Coleman went on through the 1980’s and early 90’s finding success with shows such as Barnum, The Will Rogers Follies (Tony winner for best score) and The Life, although, he may be best remembered for his score to the hit 1989 musical, City of Angels, based on 1940’s film noir. The score signaled a return to his jazz roots and was a huge commercial success that won him another two Tony awards for best score and musical.

On top of his four Tony wins, Coleman was nominated nineteen times over his career. He also took home three Emmy awards as well as, two Grammy awards. He is also known for his scores to films such as, Father Goose, The Art of Love, Garbo Talks, Power, and Family Business. On November 18, 2004, Coleman died of cardiac arrest at the age of 75. Besides leaving behind an incredible music legacy, he was survived by his wife Shelby Coleman and their daughter, Lily Cye Coleman. Coleman’s music has been recorded by the likes of Frank Sinatra, Ella Fitzgerald, Barbra Streisand, Tony Bennett, Liza Minnelli and Lena Horne. This fall, a new revival of On the Twentieth Century will play the Roundabout, starring Kristin Chenoweth and Peter Gallagher. Coleman will always be remembered for his incredible show-stopping style. Be sure to come out this Saturday and help us honor the memory of this legendary composer.

See you at the Schimmel

Michael Scott-Torbet


Cy  Coleman at the Piano

Cy Coleman at the Piano












American Showstoppers: An Evening of CyColeman; Featuring the Fred Barton Orchestra; Saturday, October 18th at 7:30pm; Ticket Prices $49 | $39 | $29; Host, Producer, Arranger:  Fred Barton (Cy Coleman’s CITY OF ANGELS, THE WILL ROGERS FOLLIES, and LAWYERS, LOVERS & LUNATICS); Director-Choreographer:  Scott Thompson (ONE FOR MY BABY workshop); StarringKevin Earley (DEATH TAKES A HOLIDAY, THOROUGHLY MODERN MILLIE, LES MISERABLES), Deidre Goodwin (CHICAGO – Broadway and film – A CHORUS LINE, NINE), Sam Harris (Cy Coleman’s THE LIFE – Tony nomination, GREASE – Drama Desk nomination, THE PRODUCERS), Tari Kelly (ANYTHING GOES, THE BOY FROM OZ, SHOW BOAT), Damon Kirsche (ONE FOR MY BABY workshop, Encores’ ZIEGFELD FOLLIES OF 1936, Encores’ STRIKE UP THE BAND, Encores’ ON A CLEAR DAY), Karen Murphy (A LITTLE NIGHT MUSIC, 9 TO 5, 42ND STREET, ALL SHOOK UP, TITANIC), Lindsay Roginski (CHICAGO, ONE FOR MY BABY workshop), Leslie Stevens (LA CAGE AUX FOLLES, VICTOR VICTORIA, BIG), Terri White (Cy Coleman’s BARNUM, Cy Coleman’s WELCOME TO THE CLUB, FOLLIES, CHICAGO, FINIAN’S RAINBOW); Featuring Hannah DeFlumeri, AJ Hunsucker, Jesse Luttrell and THE SCOTT THOMPSON DANCERS: Beau Hutchings, Barrett Davis, Nic Thompson, Jeff Legace, Eric Rivas, Bobby Mira and Evan Campbell

Call (212) 346-1715 or visit https://web.ovationtix.com/trs/pr/938512 for tickets




16 September 2014 ~ 0 Comments

Inside Look: An Interview with Julia Bullock

On Sunday, September 21, The schimmel center will simultaneously launch our 2014-15 season and kick off our “VOCE: Rising Opera Stars in Recital” series. Joining accompanist, Steven Blier will be soprano,  Julia Bullock and Tenor, Paul Appleby as well as Baritone, Andrew Garland. I recently caught up with the stunning soprano, Julia Bullock to ask some questions about the program and her career.

Julia Bullock Photo Credit: Christian Steiner

MT: Can you describe your musical background growing up to me? How did this background lead you to your passion for classical music?

JB: Music was always playing in my house, but not much classical music other than Peter and the Wolf by Prokofiev. :) But I’d say that my introduction to music came most through dance growing up. Starting age 4, I would go to my mother’s tap classes, and follow along in the corner, once I was old enough I took lessons myself. I’d come home and turn on cds ranging from broadway musicals, to jazz, to 70s rock, you name it, and physically immerse myself in the music. (I still do that!)

I’d say that my passion for classical music didn’t come until I was about 17, when my step father gave me recordings of Regine Crespin, some productions of Peter Sellars which featured Lorraine Hunt Lieberson, and the definitive performance of Kiri Tekanawa and Frederika von Stade in a production of Le nozze di Figaro. I thought, “Ok these women have got something tremendous resonating through them. Not in the same manner as Janis Joplin, Nina Simone or Billie Holiday, but it’s something deep, and I want to know how to do that.” My passion for classical music was certainly informed by those initial audio and visual recordings, turning them on REALLY loud, and physically immersing myself in the sound.


MT: The Voce at Pace series is exciting because it’s one of the rare opportunities for New York audiences to experience rising opera stars such as yourself in an intimate recital setting. Can you speak about the differences in performing a recital as opposed to playing a part in a fully produced opera?

JB: Music is music: a lot of the differences just depends on the scale of the piece. One thing I ADORE about recital work is that there are so many different styles, languages, modes of communicating that can be joined together in one evening. The intimacy is felt between the performers themselves, and the audience, and which then enhances everyones engagement with the material. Conversely, if not everyone in a team is onboard with a common focus for a production, opera can feel a bit stifling (which is ironic given the size of the theaters in which operas are often presented). But when you’re working with great creative personalities, it can be some of the most satisfying, intense, and intimate work. I could maaaaaybe stand by this statement: the musical phrases in opera are often longer, whereas the literary phrases in the poetry of art song are more often than not, longer and more complex… there, that’s one difference! :)


MT: What was the process for picking out the repertoire for this recital? Was it a collaboration between you and Mr. Blier?

JB: Yes, it was a collaboration, for sure. Steve Blier proposed a concert of French and American music, and I thought that GREAT! Steven proposed an initial program, and out of the 10 songs he suggested for me, I like 8 of them, and then we added a few. Steve, I trust. He sees me pretty clearly, and I think I see him as well. I’ve known him for 4 years, and there are songs he suggests that I take a look at that I’d just never consider on my own, but I usually love them, and want to use them again and again. (But I surprise him too… ;)


MT: Are you drawn to “Art Music”? Why showcase French and American “Art Music” in particular? 

JB: Well, I can’t speak for anyone else on this program, but the first recording I fell in love with was Regine Crespin’s mélodie recording of Berlioz, Poulenc, Debussy, and Ravel. I don’t know if it was the material she sang, or how she sang it, but even now, after almost 10 years of studying classical voice, I can return to that recording and be immediately inspired. My mother took me to a lot of musicals when I was growing up, and I wanted to pursue musical theater for a long time, so that’s one piece of the American song literature that I loved, partially because I could relate to it immediately, there was no room for posturing. But a coach Scott Schoonover, that I met in the Artists-In-Training program with Opera Theatre of St. Louis, who currently runs his own opera company in St. Louis called Union Ave Opera, was the first person who helped me understand the close relationship between text and music, and those hours and conversations with him have remained with me to this day – and we worked a lot on American art song. A lot of the poetry in song literature is just mind-blowing. I’m encouraged to research the poetry, as much as the music itself. It’s a medium that demands all of my attention, which makes it super satisfying.


MT: How does the music in this recital program reflect on who you are as an artist right now?

JB: Musically, vocally, and mentally, it’s a demanding program. Even though we are only dealing with French and American song, there’s a wide range within that. It’s almost as if every composer draws out a different sort of vocalism, and right now, I’m excited by delving into those extremes without looking back.


MT: Do you have a favorite piece that you will be singing? Why is this your favorite?

JB: I always say that my favorite piece is the one I’m singing in that moment, and to a point I have to commit to that statement. However, one of the pieces that terrifies and excites me is Bernstein’s “A Julia de Burgos.” I didn’t know anything about this poet before Steve asked me to look at this song. Burgos was a fierce human being, but it’s almost as if the world couldn’t hold her for long. Her life story alone is tragic, but what she says in this poem, about being heard for who she was, and what she was, and where she wanted to go just shakes me to the core. So for the challenge of stepping into Julia de Burgos’s shoes, combined with the fiery setting that Bernstein gives her words, I’d say that piece is the one.


MT: You were recently the winner of the 2014 Naumburg International Vocal Competition. Is this a goal that you have had for a long time? What was the experience like for you?

JB: The pianist I work with regularly, Renate Rohlfing, suggested that we apply. The timing was a bit complicated because I was making my New York recital debut the same week, but Renate said, “You know, if we have to pull out, we just pull out.” And I thought, ok, if this is just about exploring repertoire, and presenting music to a panel of individuals whom I hold in the highest musical regard, then let’s give this a shot. I actually felt better about my musical offerings in each stage of the competition than I did for my recital, I think because I couldn’t anticipate anything (you have to offer two FULL recital programs in order to compete, so that’s approximately 45 songs); I just had to be poised and open to anything. Some of the American singers that have inspired me most, both vocally and in their life’s pursuit in music, have been amongst the winners (amongst them Dawn Upshaw, Shirley Verrett, Lucy Shelton). And Margot Garrett, who is Renate’s teacher and mentor, competed with Dawn the year she won, so in that respect it felt like we were living into a legacy of some sort. Naumburg is considered one of the most highly competitive and esteemed competitions in the country, so it was a great honor, not just to win, but to compete. This is not a competition about the voice, as much as it was about one’s ability to communicate. 

Naumburg was a competition founded in the 1920s to help young, emerging performing artists with financial and professional support. Each year they select a different instrument to have compete, (either strings, woodwinds, solo piano, sometimes chamber groups) and in 2014 they were auditioning for voice – which they hadn’t done for 5 or 6 years. Some of the American singers that have inspired me most, both vocally and in their life’s pursuit in music, have been amongst the winners. Naumburg is considered one of the most highly competitive and esteemed competitions in the country, so it was a great honor, not just to win, but to compete.

Julia Bullock Photo Credit: Christian Steiner

Julia Bullock
Photo Credit: Christian Steiner


MT: At such a young age, you have already accomplished so much. Where would you like to see your career in the next 10 years? Do you have any juicy dream roles?

JB: I don’t feel that young…. HA! Truthfully, I’m just on a quest to continue building my skill set – the work is never done. Choosing to live my life with music at its center feels all encompassing, but there are almost innumerable different and critical aspects to being a singer, so it keeps the investment and work exciting and varied. I’ve been fortunate enough to collaborate with teachers, coaches, directors, conductors, and musicians that continually push me forward in my development: physically, mentally, emotionally, and on and on and on. I feel that I’ll always be a student to some degree, even though I can finally acknowledge that I now have a lot of tools at my disposal to aid me along the way. For me, this is ultimately about exploration. When I look at the careers of my favorite singers, they always had a amazing presence, but out of those, the performances that move me the most came when whey were in their late 30s and 40s. So, when I take that into account, I’m amazed that I’ve been given so many opportunities to share.

Roles??? I’m just taking them as they come! :)

For more information on Julia Bullock, please visit www.juliabullocksoprano.com

See you at the Schimmel!

Schimmel Blogger, Michael Scott-Torbet


VOCE at Pace: Rising Opera Stars in Recital with Steven Blier, Julia Bullock, Paul Applby and Andrew Garland.


Sunday, September 21st at 3:00pm

Ticket Prices



26 August 2014 ~ 0 Comments

“What’s in a name?”

“… O, be some other name!
What’s in a name? that which we call a rose
By any other name would smell as sweet….”

Such is the eternal question posed by Shakespeare and continually asked again and again by “Literature 101” classes and a slew of would be Juliets from every stage east and west of Shakespeare’s famous Globe theatre throughout the ages. The nefarious query has also been pondered by authors, playwrights, publishers, advertising executives and branding experts alike, searching for the catchiest, flashiest title to sell their product. When a group of us at Schimmel Center sat down to talk about our name, it was nothing new. Countless others have sat around tables and pondered the ageless question.

We did know that regardless of what we called ourselves, one thing would not change. Schimmel Center would continue to bring in the highest quality of entertainment in the areas of cabaret, world music, dance and lecture. We also planned to widen our playing field and expand our repertoire to world class family entertainment as well as a carefully curated film series. Now came the hard part; deciding whether the brand, “Pace Presents” was working for us. After weighing many possible options we realized that the brand, “Pace Presents” was confusing and contradictory to our overall goal of establishing Schimmel Center as your downtown destination for world renowned cultural experiences. “Pace Presents” was a series but we are an entity that brings about and showcases talent from around the globe. From now on, all of our related marketing materials will showcase the name “Schimmel Center,” but we will continue to bring you the same exciting programing that you have come to rely on. Thank you for you patronage!

See you at the Schimmel!

Michael Scott-Torbet

Schimmel Center 2014-15 Blogger

As always, be sure to check out our full calendar of events for our latest season of programming!


21 August 2014 ~ 0 Comments

“Everything’s Coming Up …..”

As the long Summer season starts drawing to a close, Schimmel Center looks forward to a season of new and exciting programing. We may have dropped the “Pace Presents” title but we are still dedicated to bringing our audiences the finest world class entertainment in the areas of music, cabaret, dance and lecture. This season, we will also expand our repertoire to include film screenings as well as family programming.

Cabaret highlights of the season include the incomparable Patti LuPone. The Grand Dame of Broadway will take to our stage in May for a special evening of music and anecdotes about her storied career which includes roles in Evita, Les Miserables, Sweeny Todd and Gypsy. Our foot lights will shine bright yet again for another member of Broadway’s royal court, on May 30, when we welcome Ben Vereen. With a decades-long career in such musicals as Hair, Pippin, Fosse, Jesus Christ Superstar and Wicked, Vereen is sure to bring magic to our stage. Of course Fred Barton, his glorious orchestra and star studded cast of Broadway performers will be back, twice this year, to celebrate the show stopping scores of composers Cy Coleman and Irving Berlin, respectively.

Patti LuPone, the grand dame of the Great White Way will grace our stage on May 2, 2015, with her cabaret show, "Far Away Places."

Patti LuPone, the grand dame of the Great White Way will grace our stage on May 2, 2015, with her cabaret show, “Far Away Places.”

This season we are excited to be presenting some exciting new dance companies and welcoming back old favorites. Become enchanted with the whimsical and athletic “Backhausdance Company,” take in the harmonious Eastern aesthetic of “Take,” and revel in the raw passion of “Koresh.” You will also have the opportunity to become reacquainted with the holiday tradition of Gelsey Kirkland’s The Nutcracker. Speaking of Gelsey Kirkland, the studio will also be unveiling their newest production, Don Quixote in the spring.

“Let’s go to the Movies!” Travel back to the days of movie houses and grand organs with Ben Model. Model, one of the nation’s leading film accompanists, has worked with the Schimmel to curate an exciting series of silent film classics. Come gaze on some of the greatest faces to ever come out of Hollywood: Clara Bow, Buster Keaton and Douglas Fairbanks are sure to entertain in Titles like It, 7 Chances and The Mark of Zorro. This November, you can actually become a part of one of the most beloved American movie musicals of all time. Join us for the sing along version of Grease! You can come dressed up in your “pink lady” or “T-bird” finest and sing along with the movie. The price of admission even includes a free “magic moments fun pack!”

The whole family will love our new family fun series! Come for critically acclaimed acts such as Gustafer Yellowgold, The Okee Dokee Brothers and The Peking Acrobats. The family fun series has been especially curated for young audiences and is a fun and exciting Saturday afternoon excursion!

We have teamed up once again with the folks at LiveSounds to bring you the best musical talent from across the globe. You only have to travel as far as the Schimmel to hear the world’s premiere sitar player, Amjad Ali Kahn. Straight from Nigeria, the group Tal National, “mixes energy and precision with an engagingly hybrid style.” On Friday April 14, we will pay special tribute to the ground breaking Chilean singer-songwriter Violeta Parra. Special guests will include the Andean folk group, Illapu, as well as Parra’s niece, Columbina Parra.

For the fourth year in a row, we will welcome back Dr. Janetta Rebold Benton for her ever popular Art History Alive lecture series. This years’ series will include lectures on great masters like Botticelli, Goya, Rodin and Chagall and architectural masterpieces, respectively. As always, the conversation continues afterwards with a luncheon complete with a menu based on the foods of the country being discussed.

Rounding out our incredible season of offerings is Emmy Award winning singer song writer, Loudon Wainwright III. Best known for his novelty song, Dead Skunk (In the Middle of the Road) as well as numerous appearances in the films of Judd Apatow and the NBC comedy series Parks and Recreation, Wainwright will bring his quirky antics to the schimmel stage for an amusing night of music and laughs.

Loudon Wainwright III brings his quirky musical repertoire to the Schimmel stage on Saturday, October 11th.

Loudon Wainwright III brings his quirky musical repertoire to the Schimmel stage on Saturday, October 11th.

In addition to following  our Blog, we have several exciting ways to stay connected to us throughout the 2014-15 season. You can like us on Facebook or follow us on Twitter. Staying connected with us through our various social media outlets is a great way to ensure that you aren’t missing a moment of what our series has to offer! As always, you have the opportunity to join our Email Club. Friends receive our monthly e-newsletter, special discounted rates, first notice of additional shows added and a special discounted pre-announcement rate for our upcoming season. For full info on our incredible offerings, please be sure to check out our calendar page on the website. Please join us this season as we continue to pave the way for the downtown Manahttan cultural scene!

See you at the Schimmel!
Michael Scott-Torbet
Schimmel Center 2014-15 Blogger

20 May 2014 ~ 0 Comments

Life is a Dance: Inside “From the Horse’s Mouth” and Frederic Franklin

The 2013-14 Pace Presents’ season is coming to a close but we still have one last unique offering to bring you. May 30-June 1, will bring Tina Croll and Jamie Cunningham’s exciting dance/theatre event, “From the Horse’s Mouth.” The opening night, on May 30th,  will double as a special gala performance that will feature esteemed guest stars such as Marge Champion, Jacques d’Amboise, Arthur Mitchell and Carmen de Lavallade who will all be honoring the life and career of dance legend, Frederic Franklin.

A publicity still of Fredric Franklin in Agnes DeMille's 1942 ballet, "Rodeo."

A publicity still of Frederic Franklin in Agnes DeMille’s 1942 ballet, “Rodeo.”

“From the Horse’s Mouth,” is a one of a kind experience that combines the stories of dancers’ careers and lives, with movement from all genres, “from tap to ballet to Bharat Natyam to Irish step dancing and beyond.” The show was conceived back in 1998 by creative directors, Tina Croll and Jamie Cunningham. The two had known each other since 1966 when they met at the Dance Theatre Workshop. When they met up again in the late 1990’s for a concert they were performing in, they shared with each other their mutual passion for celebrating dancers of all ages, races and styles. The show has traveled globally to celebrate dancers from all types of communities. One of the team’s favorite productions was done in Hawaii with authentic hula dancing, music and stories. In June, the team will head to Toronto with actors, dancers, athletes and military to celebrate the stories of the LGBT community during World Pride month.

As mentioned previously, the production mounting at the Schimmel will celebrate the life of the great Frederic Franklin. When asked why they wanted to honor him, Croll and Cunningham had the following to say, “He was a major figure in the world of ballet.  He started off in tap and ballroom dancing and went on to dance star roles with every major dance company, continuing to be called up to do cameo appearances when he was in his 90′s!  In addition he had a photographic memory for movement and could remember a whole dance after seeing it once.  Balanchine called him in to help him reconstruct a dance from the 30’s that no one else, including Balanchine, could remember!  He helped many, many young dancers with their roles.” Croll and Cunningham had both met Franklin near the end of his life. When asked about him they remarked that he was, “amazingly lively at 98 when we met him.  He regaled us with stories.  He was full of light.” Cunningham has a particularly moving story about Franklin, “One story he told really stayed with me – Freddie said when he danced Stanley Kowalski in the ballet of Streetcar Named Desire, Marlon Brando came back stage and said, ‘If I could do with words what you’re doing with movement, I’d be a better Stanley.’ That’s the kind of artist he was,”

While all three performances will focus on stories about the legendary dancer, the opening gala performance on May 30th will feature an all-star cast of dancers who were closest to him. With the likes of Martine van Hamel, Gus Solomons Jr, Ella Baff and Xiomara Reyes sharing their personal stories, the gala promises to be a spectacular event. Audiences who come for the last two performances will have the pleasure of watching an all-male cast. When asked about the decision for an all-male cast, the two directors remarked, “ there is a lot of male energy on stage – clear and direct.  They all take care of each other and bond back stage!  The atmosphere is wild and wacky good humored and loving.  It’s important to celebrate men in dance.”

Beyond theatre and dance, “From the Horse’s Mouth” is really a celebration of life and community. Just as our primitive ancestors used to congregate around fires and tell stories to revere their common experiences, using dance and spoken word; Croll and Cunningham  continue the tradition in their work. While you are sure to take away a great deal from this experience, Croll and Cunningham do hope you take away at least one thing in particular, “an interest in dancers – their lives and their work.  It’s a special magical world.” Be there to experience this “magical world” with us!

To purchase tickets to this event, visit schimmel.pace.edu or call (866) 811-4111.

See you at the Schimmel!

Michael Scott-Torbet

Pace Presents’ 2013-14 Blogger



May 30th, 7:30pm | May 31st, 7:30pm | June 1st, 7:30pm
$95 | $40 | $35 | $25 (Please note all seats include a $1.50 facility fee)

GALA PERFORMANCE Friday, May 30 at 7:30pm – $95 Gala seats include VIP seating and reception. To purchase Gala tickets, click here
Featuring Jacques D’Amboise, Arthur Mitchell, Charles Askegard, Martine van Hamel, Gus Solomons jr, Carmen de Lavallade, Xiomara Reyes, Marge Champion and MoreGala proceeds to include the Frederic Franklin Scholarship Fund at the Jacqueline Kennedy Onassis (JK0) School at the American Ballet Theatre.Saturday, May 31 and Sunday, June 1 at 7:30pm The Men Dancers: From the Horses Mouth.  These two evenings feature an All Male Tribute to Frederic Franklin.