Cindy Goldfield

“A Grand Night For Singing” Staged by 42nd Street Moon

San Francisco’s 42nd Street Moon has announced the complete cast and creative team for the Company’s first production of 2022: the Tony Award®-nominated A GRAND NIGHT FOR SINGING, a musical revue showcasing the songs of Rodgers and Hammerstein.

A GRAND NIGHT FOR SINGING was conceived by Walter Bobbie and features music by Richard Rodgers, lyrics by Oscar Hammerstein II and music arrangements by Fred Wells. 42nd Street Moon’s production of A GRAND NIGHT FOR SINGING will be directed and choreographed by Cindy Goldfield with music direction by Lynden James.

A GRAND NIGHT FOR SINGING will perform at the Gateway Theatre (215 Jackson Street, San Francisco, CA 94111) from March 10 – 27, 2022 with an Opening Night on Saturday, March 12, 2022 at 6:00 p.m.

Post-performance talk-backs will take place following the performances on Sunday, March 13 at 3:00 p.m. and Sunday, March 20 at 3:00 p.m. Tickets range from $35 – $76 and are available now at

“We can’t wait to delight Moon audiences with this contemporary take on the classic genius of Rodgers and Hammerstein,” added Director and Choreographer Cindy Goldfield. “A GRAND NIGHT FOR SINGING creates a link between the beauty and familiarity of the Golden Age tunes, and our universal experience of being human.”

In this exclusive interview, Ms. Goldfield reflects on the state of Bay Area arts:

Cultural Currents: What has the pandemic taught you about ordinary human desires?

Cindy Goldfield: I think the most striking thing that I have learned is the just the deep desire we have to nurture and take care of each other.  And the deep need we have to treat ourselves with the kindness that we would give each other.

CC: How has this been translated into your business as a provider of bespoke catering?

Goldfield: Starting this food business as a way to deal with being out of work while theaters were closed, allowed me to see how much folks needed to have connection, to share an experience, to celebrate and mourn together, to help each other navigate this crazy time. Personally, I also found that my deepest desires had to do wanting to return to the work that has sustained me emotionally throughout my life… and discovering more about WHY it has sustained me.  How the structure and rituals inherent in how we create theatre has been a guiding, supportive framework for my life.

CC: Please tell us more about your catering business.

Goldfield: When the pandemic shut down happened and cut short rehearsals for the show I was doing, I realized that I was going to need to create some way for my partner, Willi, and I to support ourselves… assuming that we would be only doing this for a month or two until we could both get back to work.  Willi is an executive level chef ( who was between positions when the shut-down hit. I had always been a prolific baker, so with his skills and mine, it seemed to make sense to start a little food delivery business to try to cover our expenses and offer a way that our friends and family could have home-cooked, delicious food. We quickly realized that folks wanted to gift their loved ones… that everyone was desperate to connect in the time-honored way of nurturing through food. Folks bought meals for friends, bought gift vouchers to help loved ones through difficult transitions (sickness, new babies, job loss and insecurity) and we met that with our own little gift of waiving all delivery fees on gifts…that way the entire gift could be used on food, and we got to be a part of the lovely nurturing that was going on, despite the inability for folks to gather together.

That first year we also found that we were helping folks celebrate holidays in some fashion… although they were gathering on zoom, at least they had a delicious turkey dinner to help make Thanksgiving not feel quite so alone.

CC: How will this experience shape your return to theatrical directing?

Goldfield: The experience of having theatre shut down was profound to me… both in just understanding how much of my worth/identity/comfort comes from my work, but also in recognizing how much of the small details, rituals and customs are important to me, like a path of spirituality that includes everyone.

In returning to this world (in the capacity as a director) I am coming to the work with a new-found awareness and appreciation for how I want the environment of the rehearsal room to feel like a safe, supportive, encouraging place.  A place where actors feel comfortable stretching into the unknown, exploring the dark as well as the light, and finding themselves in the work. I know that I have always cultivated a rehearsal culture that is welcoming and supported, but I am increasingly committed to making that a priority.  The work can only be enhanced by actors feeling safe, supported and uplifted.

CC: Finally, any thoughts or reflections on the San Francisco ferry community?

Goldfield: How fun to be able to ride a ferry to work or play!  I find great comfort and a sense of well-being by being on or near the water, and use walks on the beach (and jumping in the cold bay) like a form of therapy, so the ability to taste the salt and feel the wind in your face on the daily commute seems to me to be a very smart self-care practice. And it’s more earth-friendly than sitting in traffic day after day, all alone in a car!