Maury Yeston

On stage 1 production

Each row is a staging this name appears in the cast list of, read from the production record rather than from the person record. The person record names works instead, and a work cannot say which run somebody was in — that is how Elaine Stritch ends up filed under Show Boat 1927 when she was in the 1994 revival. No row here says what part was played, because no cast list records it.

Also credited on4 works

Nine
Titanic
Grand Hotel
Nine (2003 Revival)

These come off the person record, which names a work and not a production. So we can say this name is attached to the work and we cannot say which staging, or in what capacity. For a composer or a writer that is the whole career we hold; there is no cast list to find them in.

In the literature8 passages

• Even within the United States, musical theatre is shifting away from Broadway and the West End. Maury Yeston and Arthur Kopit’s Phantom is an example of a show that has been produced very profitably in the regions without ever playing in New York. “Of course, people dream of having their shows discovered and raised to the Tony Award or Ol…ebooks/Atkey, Mel/Million Miles from Broadway_ Musical Theatre Beyond New York and London, A - Mel Atkey.txt
• There are exceptions. In her 1977 Violet, JeanineTesori was able to create a theatrically viable style out of country music. Maury Yeston's 1982 Nine, whichYeston began in the BMI Workshop, has a distinctive style that alludes only occasionally to the Italian setting of his musical version of the Fellini film 8-1 /2 (or to its soundtrack…ebooks/Engel, Lehman/Words with Music_ Creating the Broadway Musical Libretto - Lehman Engel.txt
• Once Tommy Tune listened to the tape of Maury Yeston’s music and lyrics for Nine that had been left at his apartment building, he became quite excited. Although the musical version of 8½ had had a number of growing pains, Tune saw possibilities in the story of megalomaniacal movie director Guido Contini. He delivered a production that ear…ebooks/Filichia, Peter/B007L4OWCU EBOK - Peter Filichia.txt
• Composer-lyricist Maury Yeston admits that his musicalization on Federico Fellini’s 8½ was one that he never thought would be produced. It was merely what he decided to write when his mentor, Lehman Engel, commanded his BMI Musical Theatre Workshop to select and work on a project as an exercise.ebooks/Filichia, Peter/B007L4OWCU EBOK - Peter Filichia.txt
• But producer Allan Carr had already secured the rights and signed Mike Nichols and Tommy Tune to co-direct, Tune to choreograph, Maury Yeston to write the score, and Jay Presson Allen to pen the book. The team would Americanize the property, moving it from St. Tropez to New Orleans and calling it The Queen of Basin Street.ebooks/Filichia, Peter/B007L4OWCU EBOK - Peter Filichia.txt
• But Maury Yeston almost matched Dick Cummings’s rate of speed after he came home one night, played his answering machine messages, and heard, “Yeston, this is Tune. I have a suite in the Ritz-Carlton in Boston in your name. Come.”ebooks/Filichia, Peter/B007L4OWCU EBOK - Peter Filichia.txt

Passages naming this person, found by keyword across 178 books. A keyword match is not a biography, and a common name will pull in the wrong one.

What this page does not know

• What this person played. No cast list we hold records a character against a performer.
• Any portrait. 1,626 of 7,139 people have one, so this is the usual case rather than the exception.
• Which of the credits above the roles on this record — composer, lyricist — apply to. The roles sit on the person and never on a credit, so a director who also acted looks the same here as one who did not.