Industry presentations of the new musical A Sign of the Times, featuring songs made famous by Petula Clark and other 1960s hit-makers, will be presented December 14–15 in Manhattan.

The cast will feature Chilina Kennedy (currently starring as Carole King in Broadway’s Beautiful) as Cindy, Ryan Silverman (Side Show) as Brian, Van Hughes (Spring Awakening) as Dennis, Drew Seeley (Jersey Boys) as Matt, and Crystal Lucas-Perry (Bull in a China Shop) as Tanya.

Directed by Gabriel Barre (Amazing Grace) with choreography by JoAnn M. Hunter (School of Rock), the musical made its world premiere last summer at Goodspeed Musicals in Connecticut. Lucas-Perry reprises her performance from the previous engagement; the rest of the principal company is new to the title.

The ensemble will comprise Lauren Boyd, Brad Bradley, Lauren Nicole Chapman, Melessie Clark, Natalie Charle Ellis, Mylinda Hull, Jeremy Gaston, Jeremiah Ginn, Lindsay Moore, Kevin Santos, Nathan Scherich, and Amos Wolff.

The new musical, conceived and created by Richard Robin with a book by Emmy-winning writer and performer Bruce Vilanch, concerns Cindy, whose passion for making a difference in the world takes her from her small Midwestern town to New York City. Set against the backdrop of the events in 1965—The Civil Rights Movement, Women’s Liberation, and the war in Vietnam—songs include “Downtown,” “I Know a Place,” “The Boy from New York City,” “The Shoop Shoop Song (It’s in His Kiss),” and “If I Can Dream.”

Music supervision is by Joseph Church (The Lion King, Tommy) with music direction by Rick Fox (Jesus Christ Superstar), and casting by Tara Rubin Casting.

“It was quite an experience for A Sign of the Times to have had such a positive response during its first production at Goodspeed,” said creator and producer Richard Robin in a statement. “Using feedback from the Goodspeed audience and ongoing discussions with the creative team, the December presentations will showcase a number of changes to the book and score. As options for the next production are being explored, we hope that A Sign of the Times will make its next appearance on stage in 2018.”

The post Bruce Vilanch’s New Musical, A Sign Of The Times, To Have Industry Reading In New York first appeared on We Got Bruce!.

Lug Nut Entertainment (Daniel DeMello and Nathaniel Nowak) in association with the world popular dating app SCRUFF, has announced that it will present FORK ON THE LEFT, KNIFE IN THE BACK: BROADWAY ROASTS Michael Musto, a one night only charitable event, directed by Rachel Klein that will honor the pop culture journalist and New York Nightlife fixture Michael Musto along with Callen-Lorde, the vital community Health Center that provides sensitive, quality healthcare and related services targeted to New York’s lesbian, gay, bisexual, and transgender communities on Monday, May 22nd at 8PM at the Actors Temple, 339 West 47th Street. All ticket proceeds go to benefit Callen-Lorde. For more information, visit www.BroadwayRoast.com. For tickets (ranging from $60 to $175), go to www.telecharge.com/Off-Broadway/Broadway-Roasts-Michael-Musto/Overview.

Join film and television star ROSIE O’DONNELL (who will kick off the evening), Comedian and Emmy Award winner Bruce Vilanch (who will host the event); Insult Comedian & Winner of Ru Paul’s Drag Race Season 6, Bianca Del Rio! Actor, Director and Producer Michael Urie (ABC’s Ugly Betty); Singer, Songwriter and Tony Award Nominated Actress, ORFEH (Legally Blonde on Broadway); New York Post Journalist and Broadcaster, Michael Riedel; Creator of one of the biggest dating apps in the world, SCRUFF, JOHNNY SKANDROS; Television Personality, Model, Author and Singer COUNTESS Luann de Lesseps (Real Housewives of New York City); Actress and Comedian, Mindy Cohn (The Facts of Life); Season 5 Winner of Ru Paul’s Drag Race, Jinkx Monsoon; Lola in Broadway’s Kinky Boots CRYSTAL DEMURE; Satirist and Viral Sensation Randy Rainbow; Sultry Siren of Avenue Q, Lucy The Slut (and her talented puppet handler Elizabeth Ann Berg).

The evening will also feature special video appearances by Alan Cumming, Drew ElliotT, Mickey Boardman, LYNN YAEGER, KENYON PHILLIPS, Frankie Grande, Jesse Green, Patrick Pacheco, Susan Haskins, Cheyenne Jackson, Perez Hilton, Jackie Hoffman, Daphne Rubin-Vega, John Waters & Doug Wright.

These stars of theater, television, film, journalism, tech and social activism will pay homage to Mr. Musto by mercilessly hurling a slew of absolutely cruel, vicious, & tasteless jokes at him (and at each other) – all of which he and they have agreed to endure in order to raise money for the vital services that Callen-Lorde offers to the LGBTQ community in NYC.

Michael Musto is the long-running writer known from the Village Voice (where he wrote the popular “La Dolce Musto” column for 29 years and is currently a correspondent), Out.com (where he writes the weekly “Musto! The Musical!” column), Paper, and the New York Times “Styles” section. He is awell known commentator on all things pop culture-related on CNN and CNN International, is a recurring panelist on Logo’s “Cocktails & Classics” movie show, and is a regular on Theater Talk. Musto–who’s won seven Glam awards for Best Nightlife Writer and was named to the Out 100 of influential LGBTs–has written four books–the non-fiction guide “Downtown,” the roman-a-clef “Manhattan on the Rocks,” and the collections “La Dolce Musto,” and “Fork on the Left, Knife in the Back.” He rides a bike even through blizzards, and is proud to say it’s a girl’s bike from K-Mart.

Erik Ransom (Lead Comedy Writer) is a composer, playwright, librettist and performer with a diverse body of work. His musical, More Than All the World, which is a musical inspired by Christopher Marlowe‘s Edward II will be presented in the reading series at the Drama Desk award-winning York Theatre Company in March 2016. Erik’s smutty opus, GRINDR The Opera premiered in concert in Spring of 2014 and had a high profile staged reading hosted by RAndy Jones (The original cowboy from the Village People) in April 2015. The reading was covered by The Daily Beast, The Guardian, Salon.com and the National Public Radio of the Republic of Ireland, among others, and was written up in 7 languages. Erik’s musical Coming: A Rock Musical of Biblical Proportions has been fully produced at The Prince Music Theatre in Philadelphia and Theatre 80 St. Marks in New York. He has a degree in classical music performance, and has studied with Metropolitan opera stars Jerome Hines and Enrico DiGiuseppe. His musical SAGA: The Ragnarok Opera was nominated for several Broadway World Philadelphia awards, and his musical Tragic Events has been performed at the Painted Bride Arts Center’s Ruckus Festival. Erik penned the lyrics for the recent Off-Broadway musical spectacular: The Anthem, which ran at The Culture Project‘s Lynn Redgrave Theatre and he is slated to write for season two of the Emmy-nominated web-series, Tainted Dreams. He is also a two-time champion of Tune-in-Time, which is a monthly, timed, improvised musical theatre writing competition based in Manhattan.

Writer Matthew McLachlan is a comedy writer, Dramatist Guild Member, and resident playwright for Ruddy Productions. Most recently, his play Orionran Off-Broadway at Theatre Row on 42nd Street, having received an ever-rare positive review by Rex Reed. His play The Knowledge of Sin ran at the Hudson Guild Theater with an encore presentation and was nominated for Best Overall Play at the Venus Adonis Festival. His work Haywire was a finalist in the Manhattan Repertory Theater’s Fall One-Act Festival and has been adapted into a short film. His work Men’s Monthly closed out Ruddy Production’s sold out New Works Festival in 2015. In addition, Matthew was nominated for outstanding writing in a comedy at the LA WebFest for writing the entire third season to the highly acclaimed comedic web series, ADULTish. He has recently published a collection of his work entitled “A Collection of One Acts: and Other Things You May or May Not Enjoy” now available on Amazon.com.

Comedy Writer Jarrod Allan is also donating material for the evening.

Rachel Klein (Director) is a NYC based director, coined “Endlessly Clever,” (The New York Post), “Nothing short of brilliant,” (Broadway World) and of whose work The New York Times has praised: “What makes this show pop is the bracing vision of its director, Rachel Klein.” Off-Broadway: Around the World in 80 Days (The Davenport Theatre); The Anthem (Starring RAndy Jones, the Original Cowboy from the Village People); Gay Bride of Frankenstein (iStar Theatre Lab). Selected NYC Theatre: Tink! (New York Musical Festival); More Than All the World (musical adaptation of Marlowe’s Edward II); Coming: A Rock Musical of Biblical Proportions (Fringe NYC); Symphony of Shadows (a Jerome Robbins Foundation commission); Secret Summer (an immersive Midsummer Night’s Dream). Selected Regional and Workshops: Snow (Playwright’s Horizons); 54 The Musical (Axelrod Entertainment); A Midsummer Night’s Dream (New Brunswick Shakespeare Festival, NJ); Dracula (the Jenny Wiley Theatre in KY); The Severed Hand of Neverland (Musical Theatre Factory). Ms. Klein holds a BA in Theatrical Direction from Columbia College, studied at the International Directors Symposium in Spoleto, Italy, is an associate member of the SDC, and is Artistic Director of Belle Reve Productions, an immersive theatrical Production Company.

Joan Wyatt (Stage Manager) is a NewYork based stage manager, working primarily in theatre and dance. Broadway: Groundhog Day, Holiday Inn, Kiss Me Kate (benefit concert). Select New York credits: More Than All the World, Sleep No More, Baby Fat. Columbia ’17.

Callen-Lorde is the global leader in LGBTQ healthcare. Since the days of Stonewall, the organization has been transforming lives in LGBTQ communities through excellent comprehensive care, provided free of judgment and regardless of ability to pay. In addition, it continuously pioneers research, advocacy and education to drive positive change around the world. Callen-Lorde Community Health Center provides sensitive, quality health care and related services targeted to New York’s lesbian, gay, bisexual, and transgender communities – in all their diversity – regardless of ability to pay. To further this mission,

Callen-Lorde promotes health education and wellness, and advocates for LGBT health issues. Callen-Lorde’s grassroots heritage dates back over 40 years to the St. Mark‘s Community Clinic and the Gay Men’s Health Project, two volunteer-based clinics that provided screening and treatment for sexually-transmitted diseases. These clinics merged in 1983 to form Community Health Project, a mostly volunteer-staffed, episodic care program housing the nation’s first community-based HIV clinic.

Daniel DeMello and Nathaniel Nowak have been producing together since 2014, when they launched NYC’s Extreme Egg Hunt and Easter Extravaganza, Full Bunny Contact. Nathaniel is a producing member of Psycho Clan, and has co-produced Nightmare: Horror Show, the critically acclaimed theatrical festival version of Timothy Haskell‘s popular haunted house, the distorted winter wonderland Santastical and Northern Pole Territory. Daniel is a publicist representing a diverse list of companies and individuals in New York and abroad. The pair are taking a year off from producing Full Bunny Contact in order to stage this inaugural Broadway-centric roast and give back to their LGBTQ community in New York City.

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Bruce Vilanch is writing the libretto.

A Sign of the Times, a new musical that uses songs made famous by 1960s pop sensation Petula Clark “and other hit-makers of the day,” has announced the cast for its summer production at Goodspeed’s Norma Terris Theatre in Chester, CT.

Running July 29–September 4, the show has an original story by Richard Robin and an original book by comedy writer Bruce Vilanch. The score includes such period hits as “Downtown,” “Call Me,” “Don’t Sleep in the Subway” and “The Boy From New York City.”

Gabriel Barre will direct the musical, which tells the story of a young woman named Cindy who comes to New York in 1965. According to production notes, “Unexpected friends, lovers, careers, and conflicts are all a subway ride away in a pop-fueled new musical. Forget all your troubles, forget all your cares—go ‘Downtown’ and find out who you are!”

Cindy will be played by Ephie Aardema, who appeared in the Broadway production of The Bridges of Madison County and Goodspeed’s Terris Theatre production of Snapshots. Robert Lenzi from Broadway’s Tuck Everlasting and South Pacific will play Brian. Also in the cast: Bryan Fenkart (Broadway’sMemphis), Nick Bailey (Broadway’s Casa Valentina) and Crystal Lucas-Perry ( Little Children Dream of God at the Roundabout Theatre).

The ensemble includes Lauren Boyd (Broadway’s West Side Story), Lauren Chapman (Broadway’s Kinky Boots), Melessie Clark, Drew Franklin ( Seven Brides for Seven Brothers at Goodspeed and Broadway’s Rodgers & Hammerstein’s Cinderella), Jeremy Gaston (Broadway’s Sister Act), Alexandra Matteo (Broadway’s Annie), Keven Quillon (Broadway’s Grease, Shrek the Musical and Annie), Kevin Santos (Broadway’s A Chorus Line, West Side Story), Dave Schoonover (Broadway’s Young Frankenstein) and Alet Taylor (Broadway’s The Producers).

Other creative team credits: choreography by JoAnn M. Hunter, scenic design by Paul Tate dePoo lII, costumes by Jennifer Caprio, lighting design by Ken Billington, projection design by Benjamin Pearcy, sound design by Jay Hilton and music direction by Rick Fox.

Tickets are available through the Box Office (860) 873-8668, or on-line at Goodspeed.org.

Here are the songs used in the show, along with the artist who recorded them and who wrote them:

“Color My World,” Sung by Petula Clark, Written by Yvonne J. Harvey and Tony Hatch
“I Couldn’t Live Without Your Love,” Sung by Petula Clark, Written by Yvonne J. Harvey and Tony Hatch
“I Only Want To Be With You,” Sung by Dusty Springfield, Written by Michael Edwin Hawker and Ivor Raymonde
“The Other Man’s Grass Is Always Greener,” Sung by Petula Clark, Written by Yvonne J. Harvey and Tony Hatch
“I Know A Place,” Sung by Petula Clark, Written by Tony Hatch
“Turn Back The Hands Of Time,” Sung by Tyrone Davis, Written by Jack Daniels and Bonnie Thompson
“Round Every Corner,” Sung by Petula Clark, Written by Tony Hatch
“Baby The Rain Must Fall,” Sung by Glenn Yarbrough, Written by Elmer Bernstein and Ernie Sheldon
“Five O’Clock World,” Sung by The Vogues, Written by Allen Reynolds
“Call Me,” Sung by Petula Clark, Written by Tony Hatch
“These Boots Are Made For Walkin’,” Sung by Nancy Sinatra, Written by Lee Hazlewood
“Rescue Me,” Sung by Fontella Bass, Written by Raynard Miner and Carl William Smith
“The Boy From New York City,” Sung by The Ad Libs, Written by John Taylor and George Davis
“If I Can Dream,” Sung by Elvis Presley, Written by Earl Brown
“Who Am I,” Sung by Petula Clark, Written by Yvonne J. Harvey and Tony Hatch
“The In Crowd,” Sung by Petula Clark, Written by Billy Page
“A Sign Of The Times,” Sung by Petula Clark, Written by Tony Hatch
“It’s In His Kiss,” Sung by Betty Everett, Written by Rudy Clark
“Society’s Child,” Sung by Janis Ian, Written by Janis Ian
“Don’t Sleep In The Subway,” Sung by Petula Clark, Written by Yvonne J. Harvey and Tony Hatch
“You’d Better Come Home,” Sung by Petula Clark, Written by Tony Hatch
“You Don’t Own Me,” Sung by Lesley Gore, Written by John Madara and David White
“Kiss Me Goodbye,” Sung by Petula Clark, Written by John Barry Mason and Leslie David Reed
“Downtown,” Sung by Petula Clark, Written by Tony Hatch

The post Bruce Vilanch’s Petula Clark Inspired Musical, Sign Of The Times, Announces Cast And Songs first appeared on We Got Bruce!.

We live in a world of lies, bombarded daily by half-truths, obfuscations and outright falsehoods from promoters and politicians. So let’s get erect and give a standing ovation to Naked Boys Singing for earning the “truth in advertising” award. This spirited musical revue may not have any dialogue, characters or plot, but it’s got more exposed penises than a half-dozen productions of Equus. Which just goes to show how far our city has evolved: Back in 2000, a lone Naked Guy at the Orlando Fringe faced threats of arrest, but in 2016 seven nude dudes can strut on the Footlight stage for five weekends and no one blinks an eye.

A long-running hit in New York, NBS comes to Orlando courtesy of producer-director Tim Evanicki, who recently took the reins of the Parliament House’s Footlight Theatre. Under former artistic directors Michael Wanzie and David Lee, Footlight hosted not only PH’s popular drag shows, but legit dramas and comedies that drew audiences of every orientation. That leaves Evanicki some big shoes to fill in his new role, as he graciously acknowledged at the packed press preview.

“I am loving this job,” Evanicki told me in an interview after opening night. “Parliament House is an LGBT resort that caters to everyone. I’d like the programming in the theater to reflect that. We will be bringing in more book musicals and big names that appeal to all walks of life.”

Evanicki first saw Naked Boys Singing at NYC’s Actors Playhouse in 2004 and made it his top priority upon becoming PH’s new artistic director. “I wanted to make sure we kicked it off with something that would put the Footlight Theatre on the map,” he said. “I also wanted to pick a show that would cater to and attract more than just the LGBT community.” Of course, assembling a show where the cast is unclothed nearly the entire time required some adjustments. “Singing auditions were fully clothed, but the dance callback was done nude,” Evanicki recalled. “It was funny, because we have union performers, and the union required us to have a monitor from Actors’ Equity audit the audition process. Poor Doug Truelsen.” The early rehearsals were done dressed, but drawers were dropped once Pete Simpson’s choreography – which puts a floppy twist on the classic chorus kickline – was complete. “I left it up to the boys as to when they felt comfortable rehearsing nude,” said Evanicki. “We had 12 total rehearsals, and they were nude on day seven.”

It’s one thing to hoot and holler at a stage of stripped strangers, but I found the show a tad awkward to watch (at least at first) because I know some of the cast. For example, I’ve been friends with Joshua Roth since we worked on Tod Kimbro’s 2011 Fringe musical Suckers, but I’ve never seen him as exposed as during his “Perky Little Porn Star” number. “There is nothing that truly prepares you for 90 minutes of nudity; you kind of just have to jump into the deep end headfirst and with a smile on your face,” Roth told me. A theme-park performer by day, Roth’s NBS role has let him “step way out of my comfort zone, as well as become more comfortable with myself, my peers and also complete strangers.” Of course, you can’t do a nude musical without some unintended side effects: “I have been working a lot with aerial silks lately, and I have a pretty bad bruise on my upper left thigh … pretty much my groin area. I pulled Pete (our choreographer) into the dressing room, and without even thinking about it pulled down my pants and showed him the bruise. It wasn’t even until about five minutes after he left the dressing room that he realized that I had just whipped it all out for him and he didn’t even notice or care … and neither did I.”

So after all that, how is the show? As I said above, if you are interested in story or deep meaning, better move along: There’s a nod to nakedness as a metaphor for emotional vulnerability and a maudlin song about a dead lover, but otherwise the mood is kept light and campy. The performers are all solid (ahem), especially Kevin Kelly, who wears Liza well in the Fosse-flavored “Entertainer,” but the majority of the music is simply unmemorable. With a baker’s dozen of credited writers (including Bruce Vilanch), it’s a clear case of too many cooks muddling the man-chowder, and musical director John T. Gardner’s keyboard often drowned out the unamplified singers. As a hetero male, I didn’t identify with some of the topics (like gym addiction), though it appears sung schlong synonyms make everyone’s inner 12-year-old snicker, gay or straight. But if a boozy, bawdy evening of ogling buff boys with their balls swinging in the breeze sounds like ideal entertainment, better buy your seats now; Naked Boys Singing looks to be the hardest ticket of this theater season.

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The post Orlando: Naked Boys Singing is a boozy, bawdy evening of ogling buff boys with their balls swinging in the breeze first appeared on We Got Bruce!.

Will Holt, a songwriter whose lyrics for the 1970 musical “The Me Nobody Knows” were nominated for a Tony Award, and whose Latin-tinged folk song “Lemon Tree” became a musical signpost of the 1960s, covered by myriad artists and finding its way into advertising and the literature of the Vietnam War, died on Sunday in Los Angeles. He was 86.

The death was confirmed by his son, Courtney, who said his father had Alzheimer’s disease.

Mr. Holt spent much of his musical career creating theater projects. They included “The World of Kurt Weill in Song,” an Off Broadway revue that he conceived and performed with the Viennese soprano Martha Schlamme in a handful of different incarnations in 1963 and 1964. He also wrote a pair of one-acts, twinned under the title “That 5 A.M. Jazz,” and produced Off Broadway in 1964, starring James Coco. The first was a playlet in the form of a creation parable, the second a rhythm-and-blues musical set in a Las Vegas hotel suite. Another project Mr. Holt conceived and staged was a tribute to the theater music of Leonard Bernstein in 1965. “A Walk on the Wild Side,” a musical he wrote based on Nelson Algren’s novel of New Orleans, had its premiere in Los Angeles in 1988.

Mr. Holt’s first foray on Broadway — a 1969 musical called “Come Summer,” for which he wrote the book and lyrics — vanished quickly after unfavorable reviews. He had much better success in the 1970s, lending a significant hand to three well-received shows.

The first, “The Me Nobody Knows,” a surprise hit that began Off Broadway, was about city youngsters living in poverty and was based on essays written by New York schoolchildren. Mr. Holt’s lyrics, to a pop-rock score by Gary William Friedman that evoked both pain and hope, were all adapted from the ideas of the original child writers.

“I keep on knocking/No one is there,” Mr. Holt wrote for a plaintive chorus in “Let Me Come In,” a lyric that continues:

Windows are black, and the walls are all bare

I stand in darkness, followed by fear

Tell me I’m dreaming, tell me you’re here

Look through the window, give me some light

Tell me I’m home now, say it’s all right.

Though Mr. Holt failed to win the Tony (Stephen Sondheim did, for “Company”), the show ran on Broadway for nearly a year, first at the Helen Hayes Theater and then at the Longacre. He subsequently wrote the book for “Over Here!,” a 1974 musical about life on the home front during World War II, starring two of the Andrews Sisters, Patty and Maxene, and Ann Reinking. And in 1975, with the actress and singer Linda Hopkins, he conceived and wrote the show “Me and Bessie,” which starred Ms. Hopkins as the blues singer Bessie Smith and ran for more than 450 performances.

Mr. Holt was part of the folk-music revival of the 1950s and ’60s. His melancholy song about the passage of time, “Raspberries, Strawberries,” was a hit for the Kingston Trio. His most enduring song, “Lemon Tree,” was written in Chicago in the late 1950s for a nightclub act he was performing with Dolly Jonah, his wife at the time. The melody was adapted from a Brazilian song, “Meu Limão, Meu Limoeiro,” and it retained its samba-like lilt. Mr. Holt’s lyric tells of a father’s warning about the vicissitudes of love, invoking the title as a metaphor:

But the fruit of the poor lemon is impossible to eat.

Catnip for folk singers of the era (and others, subsequently), the song was recorded by Peter, Paul and Mary, the Kingston Trio, Chad and Jeremy, the Seekers and Trini Lopez. It was appropriated for a television commercial for Pledge, a lemon-scented wood furniture cleaner. And much later, in 1990, in Tim O’Brien’s celebrated novel about the Vietnam War, “The Things They Carried,” one passage testified to the song as an emblem of that era. The narrator recalls a soldier named Lemon, who had stepped on a booby trap and was blown to bits, his remains sprayed onto nearby branches.

“The parts were just hanging there,” Mr. O’Brien wrote, “so Dave Jensen and I were ordered to shinny up and peel him off.”

“The gore was horrible and stays with me,” he continued. “But what wakes me up 20 years later is Dave Jensen singing ‘Lemon Tree’ as we threw down the parts.”

Will Holt — that was his full name — was born in Portland, Me., on April 30, 1929. His father, William, was a doctor. His mother, the former Marjorie Scribner, who played the piano, was the musician in the family.

He attended Phillips-Exeter Academy and Williams College and studied with the folk singer and voice teacher Richard Dyer-Bennet. After traveling for a time in Europe — he found work in a Helsinki nightclub singing cowboy songs — he served in the Air Force. For much of the 1950s he performed in clubs in St. Louis, Las Vegas, New York and elsewhere.

Mr. Holt’s later stage projects included three shows with short Broadway lives: “Music Is,” a 1976 musical adaptation of “Twelfth Night,” for which he wrote the lyrics in a collaboration with the director and book writer George Abbott and the composer Richard Adler; a 1978 musical, “Platinum,” starring Alexis Smith as a film star of the ’40s and ’50s attempting a comeback as a rock singer, for which he wrote the lyrics and, with Bruce Vilanch, the book; and “A Kurt Weill Cabaret” (1979), in which he performed and also translated some of the lyrics.

Ms. Jonah, an actress, died in 1983. In addition to his son, Mr. Holt is survived by his second wife, Dion Alden, and two grandchildren.

The post Will Holt ‘Who Wrote ‘Lemon Tree,’ ‘The Me Nobody Knows,’ ‘Platinum’ Dies At 86 first appeared on We Got Bruce!.