This project was first brought to my attention during the summer of 1991, during my tenure as the resident conductor/musical director for the Music Theatre of Wichita by its producing director Wayne Bryan.

Up to that point there had been only three stage incarnations of Singin’in the Rain: a successful one in the UK starring Tommy Steele (though because of international copyright problems unable to use much of the film score), an unsuccessful Broadway production, and a moderately successful national tour of the latter.

As our production staff was assembled (Jamie Rocco as director, Linda Goodrich as choreographer), it became apparent that we shared a mutual love of the story and score, and frustration over the fact that it had never been really been successfully translated to the stage. Especially frustrating to allof us was the fact that the "Broadway Ballet," the most ambitious production number and cornerstone of the film, had never been successfully realized onstage in its original concept.

While Jamie streamlined the existing stage script, bringing it closer to the original film and outlining the story for the new ballet, Linda began creating new dances to accompany the classic ones she had so lovingly recreated from the film. I, in the meantime, set about creating new orchestrations for some of the classic dances, while combining several pre-existing musical elements for others.

It should not have come as a surprise to me that the result of all our efforts would be responsible for the show enjoying such resurgence in popularity. Since that summer in ’91, this version has spawned many regional and stock productions of Singin’ in the Rain across the country, including a new tour.

Though not always able to directly participate in each production, I have taken great delight in monitoring its musical journey over the last five years. This recording reflects all of our best efforts and serves as a tribute to all of the artists who have contributed to the success of this show.

It was not until after the tour (and my third production of the show) that I began to realize there was such a demand for a new recording. I immediately found an enthusiastic supporter in John Yap (that savior of neglected material) and it is due to him that we have been afforded such a lustrous recording.

For this album, we have assembled the best of the best: performers, arrangements, etc. May you experience as much joy listening to them as we have all had working on them.