That Mari song was a good way to begin the day, bracing, if confusing. How people get by pronouncing merry, Mary and marry exactly the same I'll never know.
A question brought up by Donald's radio show last week that's been on my mind is: Who writes the dance music for Broadway musicals?
Sometimes, as with Oklahoma's dream ballet, a dance is made up of themes from the songs (arranged by Trude Rittman, I believe) but I recognized none of Hazel Flagg's themes in the selection Donald played from that show (and credited to Jule Styne). So, when the ballet is, in that sense, original, can we safely assume the composer of the songs wrote it?
Tonight's the first run-through of
Generation F'd and I can't be there since I'm rehearsing
And Then He Wrote: Songs of Squeaky Klein at the same time. So, they won't be doing the songs.
Second City booked me to be in two places at the same time, which is uniquely frustrating. I'll be unable to shake the feeling that I could have done more, song-wise, with the
Generation F'd cast if I hadn't missed more than half their rehearsals.
And Then He Wrote: Songs of Squeaky Klein
is improvisation. A cast will come out and make-up songs, chorales, cantatas and ballets from the long career of Squeaky Klein, all based on audience suggestions. Picture Side by Side by Sondheim with a songwriter who's incredibly derivative. It plays December 8; I don't know where.
Generation F'd
is the fifth and final revue showcase. (Actually, it's the sixth: they did one without me. Eli Bolin was my repacement.) For this, a cast develops sketches and songs using improvisation, then writes it all down and rehearses it. So, the audience makes no suggestions. The score includes Need Somebody, the catchiest song ever written, which contains three-part counterpoint.
Actually, there's going to be counterpoint in the improv show as well, unless we decide to cut it.
Generation F'd will play at Barrow on W. 36 December 5 and 13.
Also on the 13th, Joy returns home.