Frost Amphitheater

 


PROGRAM INFORMATION

 

Stanford Live and Goldenvoice

Danny Elfman's Music from the Films of Tim Burton

Danny Elfman with Symphony San Jose, Symphony San Jose Chorale,
violin soloist Sandy Cameron, boy soloist Rishaan Naryawala
conducted by John Mauceri

 

Friday, September 16, 2022 | 6:30 PM
Frost Amphithteater
 


Artists


Featuring

conductor John Mauceri, Symphony San Jose, violin soloist Sandy Cameron, Symphony San Jose Chorale & boy soloist Rishaan Naryawala

 

Act 1

CHARLIE AND THE CHOCOLATEFACTORY PEE-WEE'S BIG ADVENTURE BEETLEJUICE
SLEEPY HOLLOW MARS ATTACKS BIG FISH
BATMAN/BATMAN RETURNS

 

—INTERMISSION—

 

Act 2

PLANET OF THE APES
TIM BURTON’S CORPSE BRIDE DARK SHADOWS FRANKENWEENIE
EDWARD SCISSORHANDS
TIM BURTON’S NIGHTMARE BEFORE CHRISTMAS

 

Encore

ALICE IN WONDERLAND

 

Concert Produced by:

AMP Productions Worldwide, LLC

Richard Kraft & Laura Engel of Kraft-Engel Management

 

Season Sponsor: 

 

PROGRAM SUBJECT TO CHANGE. Please be considerate of others and turn off all phones, pagers, and watch alarms. Photography and recording of any kind are not permitted. Thank you.


A Note from Johnny Depp


Danny and Tim, without doubt, are the two greatest gifts this job ever gave me. I would be neither here, there, nor probably anywhere without them and their general magnificence.

Now, the world is fully aware of the individual genius to be found betwixt the two, but what is more important here is the way in which these unique talents combine and ultimately complement one another, allowing the other’s work to bloom in a way unforeseen independently.

Essentially, Danny’s darkly sonorous creations are the audio manifestations of Tim’s singularly shadowy visions. He is the Ralph Steadman to Tim’s Hunter S. Thompson. Together they breathe color into one another’s worlds – from my initial experience, working alongside them both—on Edward Scissorhands, throughout the many projects that constitute a relationship, which now spans some 20 years…and counting. His music, so warm and inviting, yet somehow unnerving, ultimately manages to sound both elegant and haunting, perfectly defining the character of that very first collaboration. Having then unearthed the precise mood of Tim’s film, within the divine notes of his celestial score, Danny soundtracked the tale’s soul deep into the hearts of millions.

Subsequently, their working relationship has never floundered. Time after time, their industry gives birth to new beings of wonder and weirdness, charged to delight and excite cinema goers the planet ‘round.

So, a match made in the stars, you might say. Tim and Danny, it was simply meant to be.


Danny Elfman and Tim Burton


Danny Elfman’s working relationship with Tim Burton is one of the longest and most successful filmmaker/composer collaborations in the history of film—and one of the most unexpected. Elfman was drawn to the movies his entire life, but only came to music as a young adult and with no formal training. It was at 18, during a year of traveling in West Africa, when Elfman picked up his first musical instrument (violin) and began to toy with the fantasy of a musical direction for his life.

At 19 he teamed up with his brother Richard, who founded the avant-garde musical cabaret troupe “The Mystic Knights of the Oingo Boingo”, and it was there Elfman taught himself to write music by doing transcriptions of early 1930’s jazz bands. He also began writing his first compositions.

After eight years with the troupe, Elfman started the idiosyncratic rock band known simply as Oingo Boingo. As their writer and singer he performed and recorded with them for almost two decades.

But there was another side to Danny Elfman—the kid who religiously attended Saturday matinees, watching every type of horror and fantasy movie imaginable. The young Danny had no interest in music—he wanted to be a scientist, or a “radiation biologist” as he once explained. When he did begin to notice music, it was movie music, and he found a particular delight in the filmmaker/composer relationship of stop-motion animator Ray Harryhausen and Bernard Herrmann. “If I saw the names Harryhausen and Herrmann in the same title sequence,” he said, “I already knew the movie was going to be a huge favorite—something really special.”

In high school Elfman began listening to the classical composers who would later become his inspiration. The Russian composers Stravinsky, Prokofiev and Shostakovich particularly got under his skin. He also began to refine his interest in film, rediscovering Bernard Herrmann through the legendary composer’s other great collaborator, Alfred Hitchcock. Elfman was absorbing the language of movie music. His first taste in scoring would come from another collaboration with his brother, who directed the cult film FORBIDDEN ZONE in the late ’70s—but he wouldn’t truly become a film composer until 1985, when he got a strange call from an extraordinary young animator he had never heard of.

Tim Burton came out of the suburbs of Burbank and the California Institute for the Arts (CalArts), and, like Elfman, he had been mesmerized by Ray Harryhausen’s stop-motion fantasies as a child, as well as the vivid black-and-crimson iconographies of horror films. Burton had made an uncomfortable fit for the Walt Disney Company, toiling as a conceptual artist and animator on movies like THE FOX AND THE HOUND. But his short film FRANKENWEENIE grabbed the attention of executives and filmmakers in Hollywood...including Paul Reubens, the performer who created and portrayed Pee-wee Herman. Reubens and Phil Hartman had written a movie for the character called PEE-WEE’S BIG ADVENTURE, and after seeing FRANKENWEENIE, Reubens quickly lobbied for Burton to direct it.

Both Burton and Reubens were familiar with Danny Elfman through Oingo Boingo, and FORBIDDEN ZONE, and when editor Billy Webber tracked a scene from the movie with music from Bernard Herrmann’s score to the Harryhausen movie THE 7TH VOYAGE OF SINBAD, Burton loved the effect. When Elfman came in to interview for the job, he happened to mention that very same score as one of his life-long favorites. Burton was sold, and Elfman, after some hesitation, decided to jump into a completely new world, figuring he’d either learn to swim or drown in the attempt. He was certain of one thing: the score would not be a rock score. He would explore an insane mashup of Bernard Herrmann and Nino Rota (who did Federico Fellini’s scores) and in the process created an alternately joyous and manic sound that fit the hyper-enthusiastic Pee-wee character likeaglove.

Elfman’s score to PEE-WEE’S BIG ADVENTURE was a revelation, and an instantly indelible musical personality had invaded film. And Elfman was also now hooked on a new addiction…film scoring. He immediately began getting offers to score other films, but it was already clear he had a special working relationship with Burton. Their next collaboration was another comedy, but one out of left field—the “ghost exterminator” story BEETLEJUICE, a movie that allowed Burton to express his own personality more than he had on PEE-WEE’S BIG ADVENTURE. Elfman’s frantic opening music demonstrated his love for the “danse macabre”—the ability to have a fiendishly good time.

Elfman and Burton would both have to prove themselves on their next project: BATMAN. Shot well before the current vogue of costumed superheroes, Burton’s take on the Caped Crusader created a shadowy world halfway between a film noir and an animated graphic novel. The film required a major symphonic score, which he knew would be an enormous challenge. Elfman’s score was a sensation—as quirky and unpredictable as his earlier comic works, yet so muscular and violently stark that it instantly helped define the comic book genre.

Amazingly, Elfman faced doubts again on his fourth collaboration with Burton, EDWARD SCISSORHANDS. With three successes under his belt, Burton could afford to make a film that was truly his, and Edward was nakedly autobiographical, depicting an inarticulate, artistic character adrift in a hostile world that looked suspiciously like the suburbs of Burbank. There were no questions about whether Elfman could score this kind of a movie, because no one knew what kind of a movie EDWARD SCISSORHANDS was. But from the opening celeste notes of Elfman’s score, it was clear he had found Edward’s soul. EDWARD SCISSORHANDS became a film music genre just as much as Burton’s film defined his output as a director—and it’s still perhaps Elfman’s most imitated and personal work.

Burton and Elfman revisited Batman with BATMAN RETURNS, expanding on the gothic landscape both men had initiated in their first effort, with Elfman providing distinctive approaches to Michelle Pfeiffer’s Catwoman and Danny DeVito’s Penguin. But for their next project, the two men dug into their past love of stop-motion animation and took advantage of Elfman’s skills as a songwriter and performer. THE NIGHTMARE BEFORE CHRISTMAS turned vintage Rankin-Bass holiday specials inside out, exploring a monsters-eye-view of Christmas through the character of Jack Skellington, brought to life with the singing voice of Elfman himself. THE NIGHTMARE BEFORE CHRISTMAS was a vivid, original vision and a cult smash, throwing songs like “This Is Halloween” into the cultural marketplace and again demonstrating Elfman’s versatility.

MARS ATTACKS! bubbled with subversive humor, kicked off by Elfman’s Russian-inspired main title march, which grows from an impishly comic rhythm into a full-blown sci-fi anthem complete with theremin.

Elfman and Burton explored more serious genre territory in their next two collaborations. SLEEPY HOLLOW was Burton’s love poem to the British Hammer horror movies he’d loved as a child, and Elfman responded with a richly atmospheric and gothic score. For PLANET OF THE APES, Elfman stepped into the footsteps of legendary composer Jerry Goldsmith, fashioning his own musical world of simian rule using the massive collection of exotic percussion instruments he’d collected as far back as his teenage trip to Africa.

As he had with BATMAN, Burton followed up PLANET OF THE APES with a more personal project. BIG FISH mixed Burtonesque fantasy with a more serious personal drama, as a resentful son tries to come to terms with his father’s predilection for tall tales—lies, as the son sees them. By the time he scored BIG FISH, Danny Elfman had been completely accepted in Hollywood—in 1997 he received his first Oscar nominations for both GOOD WILL HUNTING and MEN IN BLACK. For his touching Americana score to BIG FISH, Elfman received his first Oscar nomination earned by one of his collaborations with Tim Burton.

For CHARLIE AND THE CHOCOLATE FACTORY, Elfman again took advantage of his rock and performance background to create the songs performed by the movie’s diminutive Oompa-Loompas (all voiced by Elfman) in a pageant of pop rock styles—everything from Beatles-esque to Bollywood, all alongside an evocative orchestral score to characterize the edible environment of Willy Wonka’s sweets factory.

Burton and Elfman returned to the gothic stop-motion territory of THE NIGHTMARE BEFORE CHRISTMAS in CORPSE BRIDE, with Elfman creating songs whose inspiration ranged from Gilbert and Sullivan to Cab Calloway.

Burton’s adaptation of ALICE IN WONDERLAND became one of the biggest money makers in movie history in 2010, a hugely challenging technical exercise for the director, who shot the majority of the film on green screensets so most of his cast could be transformed into computer-generated versions of Lewis Carroll’s classic characters. Elfman responded to the controlled chaos by writing one of his grandest scores, driven by his stirring “Alice’s Theme.”

For their most recent collaborations, Burton and Elfman once again turned to their genre pasts. Burton cast Johnny Depp, the star of numerous Burton films, as Barnabas Collins in his tongue-in-cheek remake of the DARK SHADOWS television series, which showed the director still has chops for the offbeat comedy he demonstrated in PEE-WEE’S BIG ADVENTURE and BEETLEJUICE. Elfman created a lush score dominated by the iconic, sensuous flutes inspired by the eerie vibe on from the ’70s television series.

Burton mounted an animated version of his own FRANKENWEENIE in 2012 (which ironically, was his first live- action film). Filmed in black-and-white, FRANKENWEENIE sprang directly from Burton’s illustrations, and Elfman returned to his gothic, yet emotionally charged style to accompany the story of a young boy who brings his pet dog back to life.

Elfman and Burton continue their movie music relationship with Burton’s BIG EYES, marking their 16th collaboration over 25 prolific years.

 

Jeff Bond is the author of Danse Macabre: 25 Years of Danny Elfman and Tim Burton.


Biographies


Danny Elfman
For over 30 years, four-time Oscar nominee Danny Elfman, has established himself as one of the most versatile and accomplished film composers in the industry. He has collaborated with directors such as Tim Burton, Gus Van Sant, Sam Raimi, Peter Jackson, Ang Lee, Rob Minkoff, Guillermo del Toro, Brian De Palma, James Ponsoldt and David O’ Russell. Beginning with his first score on Tim Burton’s Pee-wee’s Big Adventure, Elfman has scored over 100 films, including: Milk (Oscar nominated), Good Will Hunting (Oscar nominated), Big Fish (Oscar nominated), Men in Black (Oscar nominated), Edward Scissorhands, Batman, To Die For, The Nightmare Before Christmas, Alice in Wonderland, The Grinch, Silver Linings Playbook, American Hustle, Avengers: Age of Ultron, Spiderman, A Simple Plan, Midnight Run, Sommersby, Dolores Claiborne, and the Errol Morris documentaries The Unknown Known and Standard Operating Procedure. In addition to his film work, Elfman wrote the iconic theme music for the television series The Simpsons and Desperate Housewives. Elfman recently scored the Marvel feature Dr. Strange in the Multiverse of Madness.

A native of Los Angeles, Elfman grew up loving film music. He travelled the world as a young man, absorbing its musical diversity. He helped found the band Oingo Boingo, and came to the attention of a young Tim Burton, who asked him to write the score for Pee-wee’s Big Adventure. 37 years later, the two have forged one of the most fruitful composer-director collaborations in film history. Since 1985, composer Danny Elfman has set the tone for over 100 films with his instantly recognizable scores, garnered four Academy® Award nominations, collected two EMMY® Awards and one GRAMMY® Award, generated hundreds of millions of streams, and earned platinum and gold certifications.

Elfman has expanded his writing to composing orchestral concert works which include: Serenada Schizophrana, a symphony commissioned by the American Composer’s Orchestra, which premiered at Carnegie Hall in 2005, Rabbit and Rogue, for the American Ballet Theater choreographed by Twyla Tharp, performed at The Metropolitan Opera house in 2008, and Iris for Cirque du Soleil directed by French choreographer Philippe Decouflé. In 2013, Danny Elfman’s Music from the Films of Tim Burton live orchestral concert, premiered at Royal Albert Hall, and has since toured around the world and won two Emmys.

In 2017 Elfman premiered his first violin concerto “Eleven Eleven” which was co-commissioned by Stanford Live and performed at Bing Concert Hall in March, 2018. “Eleven” was recorded by the Royal Scottish National Orchestra and released on Sony Classical records which also contains his first Piano Quartet commissioned by the Berlin Philharmonic. In March 2022, two of Elfman’s compositions had European world premieres: Percussion Concerto #1, performed by Colin Currie with the London Philharmonic Orchestra, and Cello Concerto #1, performed by Gautier Capuçon with the Vienna Symphony.

In 2021, Elfman performed a concert of Nightmare Before Christmas featuring Billie Eilish. He recently released the double “Chamber Punk” album BIG MESS along with 7 singles and videos from the album culminating in his critically acclaimed career spanning 2022 Coachella concert!

“I need to push myself into new territory with fresh challenges as much as I can and whenever I can. I am told I have a recognizable style, but my greatest pleasure is when I can surprise the audience with my music.” – Elfman


Tim Burton
Tim Burton, widely regarded as one of the cinema’s most imaginative filmmakers, has enjoyed great success in both the live-action and animation arenas. Most recently Burton directed Big Eyes and the critically acclaimed Frankenweenie which was a 2012 Academy Award® nominee for Best Animated Picture.

Earlier in 2012 Burton directed Johnny Depp, Michelle Pfeiffer, Helena Bonham Carter and Eva Green in the gothic thriller Dark Shadows, based on the cult favorite television show. He also produced the fantasy horror Abraham Lincoln: Vampire Hunter which was directed by Timur Behmambetov.

In 2010, he directed Alice in Wonderland, an epic fantasy based on the classic story by Lewis Carroll, and starring Johnny Depp, Helena Bonham Carter, Anne Hathaway, and Mia Wasikowska in the title role. The film earned more than a billion dollars at the worldwide box office, making it the second-highest-grossing release of 2010. Alice in Wonderland also received a Golden Globe nomination for Best Picture – Musical or Comedy, and won two Academy Awards®, for Best Art Direction and Best Costume Design.

Burton was previously honored with an Academy Award® nomination for Best Animated Feature for the 2005 stop-motion film Corpse Bride, which he directed and produced. He earlier received BAFTA Award and Critics’ Choice Award nominations for Best Director for the acclaimed fantasy drama Big Fish. More recently, Burton won a National Board of Review Award and garnered Golden Globe and Critics’ Choice Award nominations for his directing work on Sweeney Todd: The Demon Barber of Fleet Street, which also won the Golden Globe for Best Film – Musical or Comedy. Depp earned an Oscar® nomination for his performance in the title role of Burton’s 2007 film adaptation of the Stephen Sondheim musical thriller, also starring Bonham Carter and Alan Rickman.

Burton began his film career in animation, and, in 1982, directed the stop-motion animated short “Vincent,” narrated by Vincent Price, which was an award winner on the film festival circuit. He made his feature film directorial debut in 1985 with the hit comedy Pee-Wee’s Big Adventure.

In 1988, Burton helmed the inventive comedy hit Beetlejuice, starring Michael Keaton as the title character. He then reteamed with Keaton on the action blockbusters Batman, which became the top-grossing film of 1989 and also starred Jack Nicholson as the Joker, and Batman Returns, also starring Michelle Pfeiffer and Danny DeVito.

In 1990, Burton directed, co-wrote and produced the romantic fantasy Edward Scissorhands, which was acclaimed by both critics and audiences. The film also marked the start of his successful cinematic partnership with Johnny Depp, who delivered a poignant performance in the title role. Their subsequent collaborations include the Burton-directed films Ed Wood, also starring Martin Landau in an Oscar®-winning portrayal of Bela Lugosi; Sleepy Hollow, adapted from the classic tale by Washington Irving; and the 2005 worldwide smash Charlie and the Chocolate Factory, which was based on Roald Dahl’s beloved book and grossed more than $470 million worldwide.

Burton’s additional directing credits include the all-star sci-fi comedy Mars Attacks!, which he also produced, and the 2001 remake of Planet of the Apes, which marked his first collaboration with producer Richard Zanuck.

Burton also conceived and produced the stop-motion animated feature The Nightmare Before Christmas, which remains an enduring holiday favorite. In addition, he has produced such films as Cabin BoyBatman Forever, and the animated features James and the Giant Peach and 9.

In 2010, the filmmaker released The Art of Tim Burton, a 430-page book comprising more than 40 years of his personal and project artwork. In November of that year, the Museum of Modern Art (MoMA) opened an extensive exhibit of his work, which went on to tour in Melbourne, Toronto, Los Angeles, Paris, Seoul, Prague, Tokyo, and Osaka.


John Mauceri
John Mauceri is a Grammy, Tony, Olivier, and multiple-Emmy award-winning conductor and educator, having been appointed to the faculty of Yale University when he was 22 years old and making his professional orchestral debut at 27. He is the former music director of four opera companies, three symphony orchestras and has music directed three productions on Broadway. For eighteen years, Mr. Mauceri worked with Leonard Bernstein, editing and conducting the composer’s major premieres at Mr. Bernstein’s request. In 1991, the Los Angeles Philharmonic created the Hollywood Bowl orchestra for him and for sixteen seasons he conducted an unprecedented 325 concerts at the 18,000-seat venue to a combined audience of four million people. Regarded as the world’s leading performer of the music of Hollywood’s émigré composers as well as composers outlawed by the Third Reich, he has taken the lead in the restoration and performance of many kinds of music with over 70 albums to his name.

An internationally published author, Mr. Mauceri’s most recent book The War on Music—Reclaiming the Twentieth Century (Yale University Press) was an L.A. Times Top Ten Best Seller. His adaptation of The Nutcracker and the Mouse King (with Alan Cumming) will be broadcast nationally this Christmas on PBS.

Mr. Mauceri has long been a champion of the music of Danny Elfman. They have performed together all over the world—London, Glasgow, Edinburgh, Paris, New York’s Lincoln Center, Los Angeles, Tokyo, Mexico City, Vienna, and Seoul. He premiered the Elfman violin concerto (with Sandy Cameron) in Prague and subsequently recorded it with the Royal Scottish National Orchestra.


Sandy Cameron
Declared “brilliant” by the Washington Post, violinist Sandy Cameron is one of the most strikingly unique artists of her generation. Since her debut at the age of 12 in Eindhoven, the Netherlands, Ms. Cameron has performed extensively as a soloist throughout the world. Here are some personal highlights of Sandy’s work:

Places and Orchestras: Ms. Cameron has been recognized on stages worldwide and in a variety of settings. The White Nights Festival in St. Petersburg, Russia, and the Adelaide Festival of the Arts in Australia are among of a number of unique performance experiences Ms. Cameron has had. She has appeared at venues such as the Kennedy Center in Washington, D.C., David Geffen Hall at Lincoln Center, the Elbphilharmonie in Hamburg, Germany, and the Sydney Opera House. Ms. Cameron has collaborated with numerous orchestras, including the Royal Scottish National Orchestra, Kirov Orchestra, Seattle Symphony, Colorado Symphony Orchestra, Virginia Symphony Orchestra, National Symphony Orchestra, and Tokyo Philharmonic.

On Stage: The most noteworthy, and a truly rewarding experience of Ms. Cameron’s career as a concert soloist is Danny Elfman's Violin Concerto, "Eleven Eleven". Mr. Elfman wrote this concerto for Ms. Cameron, and she had the great pleasure and honor of presenting the world premiere with conductor John Mauceri at the Prague Proms in June 2017. It was received with great success, and Ms. Cameron continues to enjoy performing the piece for audiences worldwide. Other special stage appearances include performances for Cirque du Soleil, Tan Dun’s Martial Arts Trilogy, and Danny Elfman's Music from the Films of Tim Burton. Ms. Cameron is also featured in performances with renowned jazz trumpeter-composer Chris Botti, with whom she has toured globally. Additionally, Ms. Cameron has written and performed her own musical arrangements for several productions at the Hollywood Bowl, including Disney's The Nightmare Before Christmas Live in Concert, Disney's The Little Mermaid Live in Concert, Willy Wonka and the Chocolate Factory Live in Concert, and Disney’s Beauty and the Beast Live in Concert. Ms. Cameron has also partnered with the illustrious composer, Marco Beltrami, in an exciting new project: Bach by Beltrami.

The outstanding violin used by Ms. Cameron, crafted by Pietro Guarnerius of Venice, c. 1735, is on extended loan through the generous efforts of the Stradivari Society® of Chicago.


Credits


Music Composed and Arranged by Danny Elfman Films & Artwork by Tim Burton

Concert Produced by AMP Productions Worldwide LLC, Richard Kraft & Laura Engel of Kraft-Engel Management Supervising Orchestrator: Steve Bartek

Orchestrations: Steve Bartek, Edgardo Simone, David Slonaker, Jeff Atmajian Additional Orchestrations: Scott Dunn

Music Production Supervisor: Melisa McGregor

Midi Supervision & Choir Music Preparation: Marc Mann Synth Programming & Technical Supervision: TJ Lindgren Score Proofreading: Misha Morgovsky, Tim Rodier

Music Preparation: Dakota Music Services - David Hage, Reprise Music Services - Rob Skinnell Assistant to Mr. Elfman: Melissa Karaban

Pre-record Mix Engineer: Noah Snyder

Chief Studio Tech: Greg Maloney Transcriptions: Tim Rodier

Midi Mock-ups: Dan Negovan, Peter Bateman, Miles Bergsma

Technical Directors: Black Ink Presents - John Kinsner, Alek Deva & Mike Kasprzyk Audio Consultant: Paul Bevan

Librarians: Travis Hendra, Scott McRae Sibelius Set-up: Sandra Schneiders

Project Interns: Alex Arntzen, Seth Kaplan, Sergei Stern Video Editing: Todd Miller & Chris Lebenzon

Concert Producers' Assistants: Jonathan Clark, Sarah Kovacs, Erika Noguchi

 

Special thanks to: Derek Frey, Holly Kempf Keller and Leah Gallo at Tim Burton Productions, Bill Abbott, Bob Badami, Paul Bevan , Peter Cobbin, Bobby Fernandez, Isobel Griffiths, Mike Higham, Doug Mark, Shawn Murphy, Bobbi Page, Shie Rozow, Dennis Sands, Steve Savitsky, Ellen Segal, Thiago Tiberio, Nick Woolidge, Gina Zimmitti, Patti Zimmitti, Cinesamples, Thomas DiGiovanni

In Loving Memory of Richard Zanuck

 

Assets from ALICE IN WONDERLAND, FRANKENWEENIE and THE NIGHTMARE BEFORE CHRISTMAS courtesy of Disney Enterprises, Inc.

Footage and Stills from PLANET OF THE APES (2001) and EDWARD SCISSORHANDS courtesy of Twentieth Century Fox. All rights reserved.

SLEEPY HOLLOW courtesy of Paramount Pictures BIG FISH courtesy of Columbia Pictures

CORPSE BRIDE, PEE-WEE’S BIG ADVENTURE, BATMAN & BATMAN RETURNS, MARS ATTACKS, CHARLIE AND THE CHOCOLATE FACOTRY, DARK SHADOWS AND BEETLEJUICE courtesy of Warner Brothers.

Music provided for:

ALICE IN WONDERLAND, FRANKENWEENIE and THE NIGHTMARE BEFORE CHRISTMAS courtesy of Wonderland Music Company, Inc. and Buena Vista Music Company

EDWARD SCISSORHANDS and PLANET OF THE APES courtesy of JoAnn Kane Music Service

SLEEPY HOLLOW and BIG FISH courtesy of Mandalay Entertainment Group & Sony/ATV Music Publishing LLC

Licensing of copyrighted material for CORPSE BRIDE, PEE-WEE’S BIG ADVENTURE, BATMAN & BATMAN RETURNS, MARS ATTACKS, CHARLIE AND THE CHOCOLATE FACOTRY, DARK SHADOWS AND BEETLEJUICE provided by Alfred Music on behalf of Warner Bros. Entertainment

 

 

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