A gorgeous retrospective CD sung beautifully and sensitively by
Richard-Charles Hoh, an actor and singer whose treasure trove of
experiences in his long life spent on Broadway and stages throughout the
world will thrill you with great music, and rich lyrics. Richard is a master
of the American Musical Songbook.
When Dick sings I feel warm inside...and he gets better all the time.
He makes me smile. Dick can sing to me
anytime, anywhere, any place. I cuddle with 'Looking Back With Love'
Actor & Chef
A note from Richard-Charles Hoh:
Ten years ago I started thinking about this CD ….two years ago I started
actively to work on it… mentally, that is….and at long last we started
rehearsing, then recording it about eight months ago….and here it is,
finally….MY LIFE IN SONG….(songs from my past and present that are special
in my life, with notes as to why I chose them)…
Music -- Listen to Audio Samples
So here's Richard's life according to song:
Click on song titles to hear samples
WHEN THE WORLD WAS YOUNG:
Although this song sets up my CD, and my life at present, it does not
reflect it with complete honesty. For one thing, I do NOT have my wallet
(read MONEY) to keep my heart warm. But it is a rather wonderful idea.
The main point is that I've been through many situations in my life, and
now being 82, have become rather sophisticated -- but I still have that
longing for the tender, more innocent days.
THE LILAC TREE (PERSPICACITY):
This is the first song I remember singing as a child. (Age 5, I think)
It's very short, and very sweet. The Hoh Family Orchestra was formed, as
I recall, when I was 7. EVERYONE sang, including my Dad and 7 brothers
and sisters, and I was not considered special. My mother died that year.
Six years later, my father died, and the four youngest of us went to St.
Joseph's Home in Erie, Pa.
THE GIRL NEXT DOOR:
Judy, (Garland that is) sang this song in MEET ME IN ST. LOUIS back in
the 40s, as The BOY Next Door, naturally, and I've loved it ever since, as
I've always loved her. I did have a terrible crush on a little girl at a
very early age, named Barbara Fish (I wonder if she remembers me?) but she
didn't live next door.
I LEFT MY HEART AT THE STAGE DOOR CANTEEN:
Actually, it was the HOLLYWOOD CANTEEN. I was never in New York until
after WW II. But I was very fortunate to be stationed in California for
the first year of my army career (at 18) and managed to get to the Canteen
many times, where I danced with Joan Leslie, Loretta Young, Merle Oberon
and many others, and was lucky to witness performances by Eddie Cantor,
Artur Rubenstein, and Danny Kaye…among others.
I'LL WALK ALONE:
This is probably the most touching and personal song of the WW II years.
All of us felt the need to connect with a substantial someone to come home
to, and to be faithful to while we were separated.
Actually, this is a World War I song, but it so typifies the close
friendships that were made during those Army days.
THE BALLAD OF THE SAD YOUNG MEN:
Returning finally to civilian life, there was first of all a wild need to
celebrate that we were still alive, which of course precipitated drinking,
carousing, and wildness (thank God drugs were relatively unknown at that
time). I think this song tells how we felt.
IT COULD HAPPEN TO YOU -- I FALL IN LOVE TOO EASILY:
Besides going to Art School, and then switching to Drama School, I started
singing with small bands, and these were two of my regular numbers. They
also reflect my state of mind and emotions at the time.
WHEN THE SUN COMES OUT:
Another one of my nightclub songs -- which is a tribute to Judy Garland.
When I was still in the Army in California, some of us soldiers were
included in an invitation to Spike Jones home where Judy sang, and this
was one of her songs.
LITTLE MARY SUNSHINE:
This was my first musical in New York, which played at the Orpheum Theater
downtown. There followed two more shows of Rick Besoyan's: THE STUDENT
GYPSY on Broadway, and BABES IN THE WOOD. Rick was a dear friend, and
when Dom De Luise and I formed a comedy act, (Dick & Dom), Rick played our
audition for the SHOWPLACE in Greenwich Village.
WAKE UP SINGING:
Dom and I both went on to do Rick's THE STUDENT GYPSY on Broadway. This
was one of my songs that opened the second act, but as so often happens,
was taken out, along with a number of other songs, when the dress
rehearsal ran 3½ hours. I am proud finally to be able to sing it
TOO LONG AT THE FAIR
This song from a Billy Barnes Review really reflects the rather fast and
loose life that took over my existence for a number of years before I woke
up to an awareness of more important things. This included the period of
my working on 62 cruises all over the world, as Singer (and Portrait
painter on the side, resulting in adding 100 more portraits to my resume
LOST IN THE STARS:
And then came the questioning period.
TIE ME TO YOUR APRON STRINGS AGAIN:
A pause for a moment to remember a lovely old song that was my father's
favorite, which also pays homage to my mother, and obviously my Dad's
I DON'T WANT TO KNOW:
When Dom and I played at the SHOWPLACE, our pianist was Jerry Herman, who
was fantastic. When he first appeared as our accompanist, and told me he
didn't read music, I was ready to cancel the show. However, as it turned
out, he probably played the best show we had ever done. This song of
Jerry's from DEAR WORLD speaks of the need, my need, for love.
WHAT I DID FOR LOVE:
I believe Marvin Hamlisch and Edward Kleban wrote the definitive song as
to why actors act, singers sing, and performers perform. And again, it's
for that magic word, LOVE. Money can be great, but for me love is what
makes life worth living.
THIS IS ALL I ASK:
At this stage of my life, I ask relatively little. Nostalgia plays a big
role naturally, and as the song says…."as long as there's a song to sing,
then I will stay younger than spring."
SING NO SAD SONGS FOR ME:
This song written by Cristina Rosetti, with music by Jim Wise is one of
the few songs about the consideration of death and how one person thinks
about it. It certainly struck a chord with me.
I'M STILL HERE:
Reflecting on what I presently feel, there's an attitude of bravado and
fortitude and thankfulness in this song. Never having made much money, or
a big name, I am lucky enough to have made a living in show biz, and
managed to make it this far.
I'LL BE HERE TOMORROW:
Leave it to Jerry Herman to top the previous song and look to the future,
as I do, with it all still going on…and on…and on…until….
||Piano and Piano Arrangements
||Guitar (and Bass & Drums on "I'm Still Here")
||All Other Instrumentation
Orchestrated, Recorded and Mixed at
Link Recording Studios, NYC
by PETER LINK
"John gave me a copy of your CD...it is beautiful...I really enjoyed it...I
loved the songs you chose. Some of them touched me deeply... I was really
impressed with the professional appearance and quality of it. Your voice
"Received your CD! It's a wonderfully personal statement, without at all
being self-centered or self-important. The little personal details, like
the falsetto "Mary" or the laughter and the "oh dear" at the end of that
one, are charming and endearing. Your program notes added some insight
and filler, but frankly, I think the pieces stand on their own, without
need for explanation.
I was genuinely impressed by how fresh your voice sounds-are you really
82? Amazing! Your diction, and your way with words and phrasing, make
you a paradigm for Sinatra, and not the other way around!
Anyway: Congratulations on a fine recording. And to your collaborators as
well… everything was on a first rate, fully professional level. Thanks
for sharing it with us."
"While still under the effect of your exceptional "Look Back", I wanted to
let you know how profoundly I was moved by it I had no favorite - each
song has its own nostalgia-provoking consequence.
I am truly impressed by your breath control - and RANGE - those high notes
- WHEW. And your articulation - I got every word!!
So what can I say about your heartfelt production? I'm overwhelmed. I
never expected to be so affected - REALLY. I love it!! You should be so
very proud to have to your credit such a listenable-to-all-ages
accomplishment, particularly for those of our generation
Lastly, I think you certainly don't sound your 82 years!!
No, wait ---- there's more. Thank YOU for such an absolutely delicious
(that word comes to mind) TREAT. I'm reminded of my favorite quote by
Goethe: 'Whatever you can do, or dream you can do, begin it. Boldness has
genius power and magic in it'. That's the word --- there's MAGIC in it.
May I have a like result for my dream."
Jane Feist Buchanan
"I finally got around to listening to your CD and it is nothing short of
amazing! I knew little of your life and what little you cover in the CD
text is fascinating. You have a beautiful singing voice and I very much
like that you put such care into picking songs that talked about you and
your life. I hope you are very proud of your work. I'd imagine that it
took a lot of time and effort to do this. Please know that in my opinion
in was more than worth it.
Congratulations on a life well led, and one that you are continuing to do
John Bridges, Assistant Dean|
The Theatre School,
About Richard-Charles Hoh
Richard-Charles Hoh began his show business career at age 7 as one of 8
brothers and sisters (and a father) comprising the HOH FAMILY ORCHESTRA in
Pennsylvania. He received his BFA in Drama at Goodman Theatre, Art
Institute of Chicago. Summer and Winter Stock and TV shows brought him to
New York City where he was the winner of the Garry Moore Talent Search at
Following two years with Dom DeLuise as half of the DICK & DOM Comedy Act,
Broadway saw Richard in TOVARICH and THE STUDENT GYPSY, as well as
Off-Broadway shows, including 2 ½ years as Captain Jim in LITTLE MARY
Thirteen years of entertaining on Cruise Ships also gave Richard the
opportunity to exercise his talents as a Portrait Painter, having over 350
to his credit (including Maureen Stapleton, Marian Mercer, Ruth Buzzi,
etc.), and Richard performed both on ship and off as a nightclub
entertainer resulting in two LP Albums, GATHER YE ROSEBUDS and THESE SONGS
Richard's new CD release, RICHARD-CHARLES HOH: LOOKING BACK WITH LOVE - MY
LIFE IN SONG conceived and recorded at the venerable age of 82, represents
a lifetime of artistic highlights thus far…
by Peter Link
Lyrics by Joe Bravaco & Larry
Book by Larry Rossler
Check out Sundown's official website:
eight men faced off on a dusty street in Tombstone, Arizona,
1881, they had no idea that their fight would launch them
into legend. The Gunfight at the OK Corral lasted less than
sixty seconds. But those fleeting moments grew rapidly into
an American myth, one that informs our national character
to this day, SUNDOWN explores the myth and the men who unwittingly
formed it: the Earps, the Clantons, the McLaurys, and the
unlikely outlaw known as Doc Holliday. His story is an American
romance - the romance of the gun. Sundown tells the story
of Doc Holliday, the notorious gambler and gunfighter, and
his fateful meeting with Wyatt Earp in Tombstone, Arizona.
larger than life figures play a part in one of the most
compelling legends of the American West -- the Gunfight
at the OK Corral. However, Sundown takes another look
at the legend in a musical that's filled with poignancy
and humor. Here, Doc Holliday is seen as a modern man
struggling to reform but making all the wrong choices.
Then, just when he finds the one good thing in his life,
an intriguing woman known as Cattle Kate, he discovers
that time has run out and, perhaps, his fate had long
ago been sealed. The musical was developed in workshops at ASCAP and the York Theatre in Manhattan
and received it's world premier at Lyric Stage in Texas.
to Peter Filichia, theatre critic of New Jersey's premier
paper, the Star Ledger, and internet columnist for Theatremania.com,
the lively country-based score is Link's best work.
One of the Top Ten
Best Theatrical Albums of 2004
Jonathan Frank, Talking Broadway
Music from the Sundown Studio Cast CD
on links below to listen to samples of the music:
sung by Steve Blanchard
and men's chorus
sung by Judy McLane
We Ain't Never
Had It So Good
sung by Joe Lutton, Bob Aronson,
Jeffrey Wolf and Peter Link
One More Drink
sung by Joe Lutton,
Judy McLane and men
sung by the entire cast
sung by Dennis Deal, Jimmy Bennet
and Patrick Ryan Sullivan
sung by Judy McLane
The Rest Of My Life
sung by Steve Blanchard
with Patrick Ryan Sullivan
sung by Steve Blanchard
with Julia Wade
& Steve Blanchard
found the biggest surprise of the year, theatrical recording-wise
at least, while listening to the recently released recording
of Sundown while Stairmastering at Harlem's New York Sports
Club. Although not the best place to listen to a musical about
the 1881 gunfight at the O.K. Corral, the fact that its country
music-inspired score cut through the hip-hop blaring overhead
and completely captivated me should speak volumes to the strength
of the score and its performers.
Written by composer Peter Link (King of Hearts, Salvation) and lyricist
Larry Rosler (who, with Joe Bravaco, also wrote the book), the
show is more tuneful and emotionally resonant than many shows to
hit the Great White Way in recent memory.
The show has seen a few productions already (the Lyric Stage in Irving,
Texas, and Virginia's Barter, as well as a staged reading at New
York's York Theatre Company), and the recording is a studio cast
recording featuring Broadway actors Steve Blanchard (currently
the Beast in Beauty and the Beast) as Doc Holliday, Judy McLane
(currently Tanya in Mamma Mia!) as his lady love Kate Fisher, and
Patrick Ryan Sullivan as Wyatt Earp.
If your knowledge of the gunfight is limited (like mine is) to the
Star Trek episode "Spectre of the Gun," Sundown recounts
the classic tale of the old west, wherein Doc Holliday joined forces
with Wyatt Earp and his brothers to battle the Clanton Gang in Tombstone,
Arizona. Told from the point of view of Doc Holliday, the show manages
what other Western shows tried and almost achieved (such as Johnny
Guitar) or flat-out failed miserably at (such as Urban Cowboy) and
that is, to tell a tuneful tale set in the mythic west that consists
of three-dimensional characters that have a reason to sing - and do
so with more than passable songs to boot! (Indeed, the sensual pick-up
number "One More Drink" sung by Joe Lutton and Judy McLane
perfectly captures the spirit and playfulness that was missing from
Musically, Sundown recalls a harder edged Big River, thanks to rollicking
character numbers like "Fly In The Ointment" and "Politickin'," which
stand side by side with beautiful ballads like "Bridges" (beautifully
performed by Judy McLane) and the title song (a plaintive 'end
of the trail' number sung by Doc Holliday). While the CD is hampered
at times by arrangements featuring far-too-obviously synthesized
instruments, the material in general and the performers in particular
make for an incredibly strong and highly listenable album. For
more information and to listen to samples, visit www.sundownmusical.com.
By Jonathan Frank, Sound Advice @ Talkingbroadway.com
by Peter Link
Lyrics by Jacob Brackman
Book by Steve Tesich
New York Times
" Now at Goodspeed Opera House in East Haddam, King of Hearts is about the
need for love, frivolity and grandeur. Simplicity and intimacy are recaptured
with affection, authenticity and focus. The musical is pure romantic escape – into
fantasy and into the fantastic…a celebratory rite of love’s redemptive
power. Mr. Link’s music is a fusion of classical chorales, down-home American
country style, French music hall and Viennese waltzes… Whatever may sound
derivative dissolves into the ephemera of real charm and enchantment. It is worth
by Peter Link
Book by William Shakespeare
With: Sam Waterston Kathleen Widdoes Barnard
Hughes April Shawnham Douglass Watson Glenn Walker,
Mark Hammer, Army Freeman, Bette Henritz, Jeanne Hepple, Jerry
Mayer, Jack Gianino, Marshall Efron, Will Mackenzie, Tom McDermott,
Bartlett, George Gugleotti, David Lenthall
captivates the imagination, captures the heart, and fills the night
with laughter." - The Christian Science Monitor
Papp’s 1972 CBS-TV television production of The New York
Shakespeare Festival’s Broadway staging of Shakespeare’s
rollicking comedy is brassy, bouncy and all-together entertaining.
Featuring Sam Waterston and the Tony nominated performances of
Kathleen Widdoes and Barnard Hughes, Papp’s turn-of-the-century
version has Teddy Roosevelt roughriders and bicycle-riding women
suffragettes, but remains faithful to the classic tale: Beatrice
and Benedick are still sparring partners fighting their merry war
of words; the evil Don Jon continues conspiring to break up the
wedding of Hero and Claudio; and it’s once again up to Dogbery
to save the day. Critically acclaimed and enormously popular with
audiences, "Much Ado About Nothing," originated at the
open-air Delacorte Theatre in Central Park, was transferred to
Broadway and was perceived as the first successful Shakespeare
to play without a major star in Broadway history. The CBS broadcast
was seen by twenty million people.
Directed by A.J. Antoon Nick Havinga
Originally aired: 1974