A Song By Any Other Name

Hi Everybody!

(Hi Dr. Nick!)

Today, I want to delve into a conversation that I had the other day with an amazing person that I've just recently gotten more acquainted with, Ms. Jen Waldman.

For anyone in the business who doesn't know Jen yet, you should.  She not only has wonderful credits as a performer (and the talent to back them up), but she has also been doing great things for our community by way of instruction, coaching and most recently, producing.  (To learn more about Jen and her accomplishments/efforts/classes, click here.)

Anyway, I took an awesome class with Jen, and afterward we were discussing my 'Charm Song' posting.  She has very strong thoughts about the term, and about catagorizing songs in musicals, as a whole.  Her opinion (and correct me if I misspeak, Jen!) was that the catagory of 'Charm Song' often feels like a misnomer.  The term implies a sound or quality within the piece that at this stage of the game is rare, and therefore the term doesn't truly express the intention of the song.  I actually tend to agree with her.  In fact, even at BMI our moderators often state their frustration with the label.  I wouldn't be surprised if a new term was coined soon that helps give a clearer idea of what this type of song accomplishes.

Once we were in agreement about the definition, and questionable titling, we went deeper.  We started to delve into the discussion of catagorizing songs in general, and why we even have to do so.  (Especially when the labels can seem inaccurate at times.)

"Why do we catagorize song types in a musical?"

In popular music today, we have ballad or uptempo.  That is all.  Ballad or Uptempo.  Makes sense, clean and easy...no further description really required.  If you want to go deeper, you can specify the style of song (i.e. country, rock, pop), but we rarely go beyond that, because we don't need to.  The song stands alone and therefore we are not required to think about what the song is 'doing'.  How it's helping a greater whole.

In American Musical theater, however, that is not the case.  We have to consider how a song is servicing the story. 

"What Function is the Song Serving?"

There are several catagories of song in musical theatre.  (Charm Song, Comedy Song, Relationship Developing Song, I Am/I Want Song, Opening Number...etc.)  These catagories include basic rules that serve as guidelines.  They are in place so that writers are able to follow (or at least consider) a specific set of ideas that will assist them in the storytelling of the show.  I will open discussion to go into greater detail about each song catagory in future posts, but for now we can understand that every song in a show has an intended purpose, and helps propel us through to the end in some way or another.  As with everything, the rules are often broken...but it is best if this is done with the knowledge of the rule in the first place. That way, rule abiding or not, the song can accomplish what it sets out to do, and without raising any eyebrows with the audience.

The various song types, or catagories, are just labels...names decided upon long ago, so that we had something to call 'the-song-that-helps-establish-the-main-character' (I Am/I Want Song) or 'that-song-that-is-put-in-just-to-make-us-laugh-out-loud-and-forget-the-woes-of-the-last-scene' (Comedy Song).  These labels are allowed to be imperfect, because they are just there to let us know the function the song plays, not tell us exactly how it's going to do it.

And so with these labels in place, a storyteller can structure their show with a clear idea of what 'kind' of song is best suited for each moment, even if they don't know exactly what the song is yet.  Then, when crafting the actual moments, they have a loose set of instructions to help govern the writing of the tune so that it performs the proper storytelling function, and is far more likely to succeed!

Cool stuff, huh?

And now, some extra fun!!

Since a blog is nothing without it's readers, I am going to invite YOU to be part of the process!

You are the next Lehman Engel, and all of American Musical Theatre is looking to YOU to relabel the 'Charm Song'!

Leave a comment below with your suggestion for a new catagory label that serves the 'Charm Song' function...

Who knows, maybe it'll stick!

Until next time...

-Lee

...of 'Lee'rical Wordplay...

A Charming Notion (Part III)

And our journey continues...Welcome back!

So here it is...the rewrite attempt that my composer, Jonathon Lynch, and I came up with upon being told that our song didn't work as it was.

If you missed my posting with the first draft, read it here.  Jonathon and I (along with the rest of the class) were tasked to write a Charm Song for the classic Jimmy Stewart film, 'It's A Wonderful Life'.  Also, if you missed, you may want to learn what we are using as a definition of a Charm Song by clicking here.

The scene/song below was our second attempt at this Charm Song.  I'll hold further discussion of the rewrite until after the excerpt....

------------------------------------------------------------------------------------------------------------------

 

Livin’ The Dream!

(The scene opens on a large oak tree, with a sign made from sticks hanging from a branch overhead reading ‘Welcome to Bailey Park’.  We push past the oak tree and see several quaint and lovely little houses lining a well-kept dirt road.  There is a crowd surrounding one particular home, number 4587 Bailey Way.  The crowd is cheering as we see MARY and GEORGE BAILEY standing on the porch with a few items in hand.  The MARTINI family is standing in front of them.)

GEORGE

Mr. and Mrs. Martini…Welcome home!  Enter the Martini castle!

MARTINI

(with a thick Italian accent.)

Thank you!  So nice!

CROWD

 (Everyone cheers, then they begin chanting…)

Speech!  Speech!  Speech!  Speech!

MARTINI

(Reluctantly accepting.)

Ok, OK!  I’ma make-a da speech!

(An exciting chord is heard.  Perhaps filled with mock reverence, mixed with a bit of Italian stereotype.  SUNG:)

FIRST, I LIKE TA THANK-A YOU ALL

FOR COME TO CELEBRATE

THE VERY FIRST HOUSE I’MA EVAH OWN!

I’MA SO PROUD, AND SO HAPPY TO SAY…

WE LIVE AT 4-5-8-7 BAILEY LANE!

GEORGE

(The music pauses as GEORGE corrects him.)

Uh, that’s…Bailey Way…

MARTINI

(Music repeats the phrase.)

4-5-8-7 BAILEY WAY!

AND… NOW… I’M LIVIN’ THE DREAM!

BOY, HOW I’M LIVIN’ THE DREAM!

(MARTINI in interrupted as the crowd chimes in, and the tempo quickens.)

FEMALE

SHAKE OFF THE DUST…!

GEORGE

NOW YOU’RE THE UPPER CRUST…!

GUS

THE CRÈME DE LA CREAM!

ALL

YOU SAW THE TINIEST SPARK

AND TOOK A SHOT IN THE DARK,

NOW BAILEY PARK IS WHERE YOU LIVE THE DREAM!

GEORGE

Well, that’s just beautiful!

MARTINI

Thank you, Mr. Bailey!  Thank you!  We so happy to be here!

GEORGE

Well, we’re happy to have you here.  Aren’t we, folks?!

(crowd cheers)

Say, Martini…I’d like you to meet one of your new neighbors, Gus.

GUS

Hi, there!  Welcome to the neighborhood!

MARTINI

Thank you!

GUS

Say, where were you staying before you moved here?

MARTINI

Oh, well…

GEORGE

Mr. and Mrs. Martini were renting a place from Potter…

(crowd gasps.  Music halts?)

GUS

Potter?!  Well, you made the right decision to get out of there…

MARTINI

Yes…you see, it was always my dream to have-a da-

GUS

I had a place with Potter once, myself.  Biggest mistake I ever made!

THIS RENTAL I SEALED,

IN OLD POTTER’S FIELD.

PERFECT PLACE TO HANG MY HAT…

BUT ONE LITTLE HITCH

LEFT OUT OF THE PITCH…

I’D BE ROOMING WITH A RAT!

I CAUGHT MY FIRST GLANCE,

THE RODENT STOOD IN A TRANCE…

I TOLD MYSELF ‘WELL, MAYBE ONE STROLLED IN, BY CHANCE…’

I OPENED THE DOOR,

THERE WAS A MISCHIEF, OR MORE…

NEARLY WET MY PANTS!

BUT NOW I’M LIVIN’ THE DREAM!

LOOK HOW I’M LIVIN’ THE DREAM!

AND SINCE OLD POTTER THINKS I’M VERMIN

I HAVE SWITCHED UP MY TEAM.

GEORGE CAME ON COMMAND,

A TRAP AND CHEDDAR IN HAND…

THE TOWN I’M NOW INVESTED IN’S INFESTED WITH THE BEST!

YOU GUESSED I’M LIVIN’ THE DREAM!

IMPRESSED?  I’M LIVIN’ THE DREAM!

I TOOK FIRST PLACE IN THAT OL’ RAT RACE AND I’VE GOT A NEW SCHEME!

THAT POTTER SURE IS A SHARK,

AND THOUGH THE FUTURE WAS STARK…

NOW BAILEY PARK IS WHERE I LIVE THE DREAM!

MARTINI

Yes, yes!  We are very looking forward to-

MALE

Aww, Gus, that’s nothing!  I’m sure Martini’s old house had much bigger problems…

MARTINI

Well, actually, yes… You see, it was always my dream to have-a da-

FEMALE

Yeah, Gus.  You think you had issues in your old place?  Well, just let us tell you…!

WE RENTED A FLAT,

FROM POTTER, AT THAT…

MALE

SEEMED A NIFTY LITTLE SPACE.

FEMALE

THE HOUSE WAS UNSTAINED,

‘TIL ONE DAY IT RAINED…

MALE

WATER FILLED THE WHOLE DAMN PLACE!

FEMALE

A MOP AND A PAIL,

WE STARTED TRYING TO BAIL…

THOUGH POTTER KNEW, HE ONLY SAT AND WATCHED US FLAIL!

MALE

OH, STORM AFTER STORM,

TIL ‘ALL ASHORE!’ WAS THE NORM …

FELT LIKE WE’D SET SAIL!

BOTH

BUT NOW WE’RE LIVIN’ THE DREAM,

LOOK HOW WE’RE LIVIN’ THE DREAM.

THOUGH OUR CUP MAY NOT RUNNETH OVER,

MALE

WE DON’T NEED THAT EXTREME.

BOTH

GEORGE HELPED US GET OUT,

BEFORE WE SWAM WITH THE TROUT!

FEMALE

OUR SPOUT WAS OVERFLOWING,

MALE

TOOK UP ROWING,

FEMALE

HAD TO GO!

MALE

AND SO

BOTH

WE’RE LIVIN’ THE DREAM!

LAND HO!  WE’RE LIVIN’ THE DREAM!

AND YOU WILL NEVER SEE US FLOUNDERIN’ OR SWIMMIN’ UPSTREAM…

THOUGH WE WERE SET TO EMBARK, WE GOT THE HELL OFF THE ARK!

NOW BAILEY PARK IS WHERE WE LIVE THE DREAM!

GEORGE

Well, now, wait a minute everyone!  I’m very flattered that you feel that way…and you can all share your stories with Mr. and Mrs. Martini soon, BUT since it’s Mr. Martini’s big day, how about you finish that speech of yours!

MARTINI

Ok…Ok!  You see…

MA DREAM ON DA SHELF?

I THINK-A MASELF,

I’MA RENT A HOUSE FOR LIFE…

A PLACE FOR DA BEDS,

ROOF OVER OUR HEADS…

AND A KITCHEN FOR MA WIFE!

DA DEAL, SHE’S-A PASS,

A PLOT IN OL’ POTTER’S GRASS,

THE ROOF’S-A LEAK AND FLOORS-A CREEK, SHE

SMELLS LIKE GAS!  BUT,

POTTER NO CARES…

NO LET ME MAKE NO REPAIRS!

THIS MAN, HE’S AN ASS!

I’VE NO MUCH TO SPEND,

SO ASK-A MA FRIEND,

BAILEY’S SAVINGS AND-A LOAN!

NOW, THANKS TO DIS GUY,

WE’RE ABLE TO BUY

OUR OWN ABITAZIONE!

ALL

AND NOW YOU’RE LIVIN’ THE DREAM!

LOOK HOW YOU’RE LIVIN’ THE DREAM!

MARTINI

AND WE WILL KEEP OUR HOME SO TIDY,

LOOK AT HOW SHE’S-A GLEAM!

ALL

GEORGE BAILEY’S THE GUY

WHO HELPED US REACH FOR THE SKY!

THAT’S WHY WE ALL ARE WINNING,

CAN’T STOP GRINNING!  IT’S A SIN!

GIVE IN TO LIVIN’ THE DREAM!

BEGIN!  YOU’RE LIVIN’ THE DREAM!

NO LONGER SQUATTERS DOWN IN POTTER’S FIELD, YOU’RE HELD IN ESTEEM!

AND THOUGH OLD POTTER MAY BARK,

YOU’LL JUST SIT BACK AND REMARK,

THAT BAILEY PARK IS WHERE YOU LIVE THE DREAM!

(Key Change!)

TODAY WE’RE LIVIN’ THE DREAM!

HUR-RAY! WE’RE LIVIN’ THE DREAM!

NO LONGER SQUATTERS DOWN IN POTTER’S FIELD,

WE’RE HELD IN ESTEEM,

AND THOUGH OLD POTTER MAY BARK,

WE’LL JUST SIT BACK AND REMARK,

THAT BAILEY PARK IS WHERE WE LIVE THE DREAM!

TODAY WE’RE LIVIN’ THE DREAM!

HUR-RAY! WE’RE LIVIN’ THE DREAM!

AND BAILEY PARK IS WHERE WE LIVE…

THE…

DREAM!

(End of scene.)

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So what about this works?

Well as this is a verse chorus song, we learned from the feedback of our last attempt that we needed a longer chorus, so we both shortened the verse sections and lengthened the chorus.  This gives the audience a chance to really live in the 'catchy' part of the song.  That was a nice start!  We changed the main singers of the song from the original two (Bert and Ernie) because there are already several other song opportunities for them throughout the show.  This gave other townspeople a chance to be involved, and let us see some other personalities.  Not a bad move!  And last, we kept in that darling Mr. Martini section, with his wonderful broken English that we loved so much.

Ok, so it has some stuff going for it.

But now let's look deeper.  As I said in my last post, there are TWO huge problems with the song as it stands, even in this incarnation.

1.  We still seem to be focusing on the negatives more than the positives!

By this I mean that the verses are spending a lot of time telling specific instances of what was NOT the dream.  For a song called 'Livin' the Dream', we still were giving more focus to flaws with past living circumstances, as opposed to WHAT the dream was, or HOW these characters were living it.

2.  It still feels like we are shirking Martini!

Poor Mr. Martini and family!  We chose a moment to write a song about how they are 'movin' on up' in the world, and then steal it out from under them with a slew of chorus members that nobody has heard of before...or ever will again!  In this draft, I attempted to play with the notion that this theft of scene was a 'bit', and made it clear that Martini kept trying to speak, but was being interrupted by an exuberant 'know-it-all' crowd...but this was not enough to save this song.

So how do we fix it?!

This is where all you writers are probably shouting at your screen, 'Lee, you idiot!  Obviously, all you have to do is (fill in here with some brilliant answer to fix the song)!'  (Although I respect your exuberance, please don't call me an idiot.)  I can say that after months away from the class, and even longer away from this particular assignment, I have an idea or two of my own that I am bringing up to my composer as I write this.  And quite frankly, it's writing this very blog that has brought to light some clarity as to where things were off and how they could be remedied.  So, thanks a lot!  I couldn't have done it without you!

Anyway, I'll be discussing some changes with Jonathon, and we'll see what culminates.  Maybe I'll even share.  (Just kidding...you know there's no 'maybe' about it!)

Until next time...

-Lee

...of 'Lee'rical Wordplay...

...in case there was any question...

A Charming Notion (Part II)

Just a thought...

Writing is hard.  Right?  I mean, there are wonderful aspects of it, and once you've 'finished' something you're really proud of it feels amazing, but the work of it...the actual 'writing' part of writing...that's difficult.

There are rules you have to follow, and have to know when to break, and they differ between the various types of writing you may be doing.  And with different forms of writing, the fact is that even when you follow the rules, and have done so many aspects of it right, the end result still may not all add up quite the way it should.

That's the way I feel about the next song I am presenting to you.  Yes, that's right...I am not only presenting what I consider to be my successes!  How would we learn anything if we only focused on what worked?  The fact is, we grow a hell of a lot more from the failed attempts than we do from the winning ones.

So with that in mind, this next song helped me grow.  A LOT.

This assignment was a seemingly easy one (compared to other challenges in the workshop), but it's one that has frustrated my collaborator and I to this day.

My collaborator on this was composer Jonathon Lynch, and the challenge was to write a Charm Song for the old classic movie, 'It's A Wonderful Life'.  Don't know what a Charm Song is?  Well, click here.  Or here.  Or even...here!  (hint:  They all go to the same place...but go ahead...click them all, just to be sure!)

Anyway, we had to write a song that did not progress the story, but could be used to give the audience a break and a feel of the overall world of the show.  In this case, the 'show' would be our hypothetical musical rendition of the old Jimmy Stewart film.

Jonathon and I set out to do just that.  We watched the film and discussed the moments we felt worked best for such a song, and finally concluded that the moment we wished to work with was just about mid-way through the film...the scene where we first see Bailey Park, and George is welcoming Mr. and Mrs. Martini (the bar owners) to their new home.  It's a scene about hope, about dreams coming true, about funny Italian accents...and so that's what we wrote.

The scene/song below was our first attempt at this Charm Song.

------------------------------------------------------------------------------------------------------------------

Livin’ The Dream!

(The scene opens on a large oak tree, with a sign made from sticks hanging from a branch overhead reading ‘Welcome to Bailey Park’.  We push past the oak tree and see several quaint and lovely little houses lining a well-kept dirt road.  There is a crowd surrounding one particular home, number 4587 Bailey Way.  The crowd is cheering as we see MARY and GEORGE BAILEY standing on the porch with a few items in hand.  The MARTINI family is standing in front of them.)

GEORGE

Mr. and Mrs. Martini…Welcome home!

MARY

(to Mrs. Martini)

Bread…that this house may never know hunger!

(SHE hands Mrs. Martini the items.)

Salt…that life may always have flavor!

GEORGE

(grabbing the wine)

And wine!  That joy and prosperity may reign forever!

(HE hands Mr. Martini the bottle of wine.)

Enter the Martini castle!

MARTINI

(accepting the wine, he crosses himself, then speaks with a thick Italian accent.)

Thank you!  So nice!

CROWD

(overlapping one another)

Hurray!  This is just great!  Fantastic!  Speech!!

(everyone grabs onto the last word, and chants it.)

Speech!  Speech!  Speech!  Speech!

MARTINI

(reluctantly accepting.)

Ok, OK!  I’ma make-a da speech!

(an exciting chord is heard.  Perhaps filled with mock reverence, mixed with a bit of Italian stereotype.  SUNG:)

FIRST, I LIKE-A TA THANK YOU ALL

FOR COME TO CELEBRATE

THE VERY FIRST HOUSE I’MA EVAH OWN!

I’MA SO PROUD, AND SO HAPPY TO SAY…

WE LIVE AT 4-5-8-7 BAILEY LANE!

GEORGE

(the music pauses as GEORGE corrects him.)

Uh, that’s…Bailey Way…

MARTINI

(Music repeats the phrase.)

4-5-8-7 BAILEY WAY!

You know, not so long ago Marie and I, we dream-a to one day rent-a da house in Potter’s Field.  And now…now, we own-a da home!  I’ma livin’ da dream!

(The crowd cheers)

GEORGE

Well, that’s just beautiful!  Isn’t that beautiful, folks?!

(HE lifts a glass to toast, as a brisk underscore starts up.)

BERT

Guess that just goes to show, sometimes what you end up with is better than what you wanted in the first place…

GEORGE

What d’ya mean, Bert old boy?  You didn’t always know you’d be the best darn flatfoot this town’s ever seen?

BERT

Oh no, Georgie.  I had a different idea…once…

WHEN I WAS A KID,

THERE’S ONE THING I DID…

BASEBALL ALWAYS MADE ME GRIN.

THE ROAR OF THE CROWD,

THE MEN TOUGH AND PROUD…

WITH THE SKILL IT TAKES TO WIN!

THEN, I NEARLY SPAT,

IT WAS MY FIRST ‘UP AT BAT’!

I MISSED THE BALL, AND ‘STRIKE OUT’ WAS THE CALL, LIKE THAT!  THE

COACH YELLED “HEY, SON,

WHY CAN’T YA CATCH, HIT OR RUN…?

GUESS YOU’RE JUST TOO FAT!”

WELL, SPORTS WERE A FLOP.

BUT NOW, AS A COP,

ALL I DO IS WALK MY BEAT…

SO, I NEVER SCORED…

THERE’S STILL A REWARD…

ALL THE DOUGHNUTS I CAN EAT!

NO DOUBT I’M LIVIN’ THE DREAM!

YOU’RE OUT!  I’M LIVIN’ THE DREAM!

THOUGH I COULD NEVER WATCH MY WEIGHT ENOUGH TO GET ON THE TEAM!

CAN’T USE A BAT ON A CON, BUT I CAN SWING A BATON,

SO FROM NOW ON I’M GONNA LIVE THE DREAM!

ERNIE

Wow, Bert…that’s a pretty good pitch you got, there!

BERT

That’s not what Coach said…

GEORGE

You guys are a couple of real cutups!

ERNIE

Say, that reminds me of what I used to want to be as a kid!

BERT

Barber?  Butcher?  Seamstress?

 (everyone looks at him)

…cut ups…?

ERNIE

Oh, no…I had something else in mind…

WHEN I WAS A BOY,

MY ONE SINGLE JOY…

I WAS GONNA SAIL THE SPHERE!

THE SALTIEST AIRS…

THE SWEAR-I-EST SWEARS…

WHAT COULD BRING A MAN MORE CHEER?

BUT WHEN WE SET SAIL,

MY KNEES WENT WEAK, MY CHEEK PALE,

WHO COULD-A KNEW THAT THE ENTIRE CREW WAS MALE?!  OH,

NIGHT AFTER NIGHT,

AND NOT A DAME WAS IN SIGHT…

MIGHT AS WELL BE JAIL!

I HURRIED ASHORE,

NOW WHAT WAS IN STORE?

HAD TO WORK FOR MY THREE SQUARES…

I HOPPED IN MY CAR…

FOUND I COULD GO FAR,

DEALIN’ WITH THE LADIES’ FARES!

AND SO I’M LIVIN’ THE DREAM!

LAND HO!  I’M LIVIN’ THE DREAM!

AND YOU WILL NEVER SEE ME FLOUNDERIN’ OR SWIMMIN’ UPSTREAM…

WHO NEEDS A GAL AT EACH PORT, WHEN THERE ARE TONS HERE TO SPORT?!

WHEN I’M ESCORTING THEM I LIVE THE DREAM!

GEORGE

Say, that’s real classy Ernie!

ERNIE

Well, I did always want to explore ‘abroad’!

BERT

Who knew?  Guy goes out to sea and comes back all wet!

GEORGE

Hey Martini!  Martini!  It’s your big day!  How about you finish that speech of yours!

MARTINI

Ok…Ok!

MA DREAM ON DA SHELF?

I THINK-A MASELF,

I’MA RENT A HOUSE FOR LIFE…

A PLACE FOR DA BEDS,

ROOF OVER OUR HEADS…

AND A KITCHEN FOR MA WIFE!

DA DEAL, SHE’S-A PASS,

A PLOT IN OL’ POTTER’S GRASS,

THE ROOF’SA LEAK, THE FLOORS-A CREEK, SHE

SMELLS LIKE GAS!  BUT,

POTTER NO CARES…

NO LET ME MAKE NO REPAIRS!

THIS MAN, HE’S AN ASS!

I’VE NO MUCH TO SPEND,

SO ASK-A MA FRIEND,

BAILEY’S SAVINGS AND-A LOAN!

WITH HELP FROM DIS GUY,

WE’RE ABLE TO BUY

OUR OWN ABITAZIONE!

ALL

SO NOW THEY’RE LIVIN’ THE DREAM!

BOY, HOW THEY’RE LIVIN’ THE DREAM!

BERT

SHAKE OFF THE DUST…!

GEORGE

NOW YOU’RE THE UPPER CRUST…!

ERNIE

THE CRÈME DE LA CREAM!

ALL

THEY SAW THE TINIEST SPARK, AND TOOK A SHOT IN THE DARK,

NOW BAILEY PARK IS WHERE THEY LIVE THE DREAM!

ALL

TODAY WE’RE LIVIN’ THE DREAM!

HUR-RAY! WE’RE LIVIN’ THE DREAM!

NO LONGER SQUATTERS DOWN IN POTTER’S FIELD,

WE’RE HELD IN ESTEEM,

WE SAW THE TINIEST SPARK, AND TOOK A SHOT IN THE DARK,

NOW BAILEY PARK IS WHERE WE LIVE THE DREAM!

TODAY WE’RE LIVIN’ THE DREAM!

HUR-RAY! WE’RE LIVIN’ THE DREAM!

AND BAILEY PARK IS WHERE WE LIVE…

THE…

DREAM!

(End of scene.)

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We wanted the theme of this song to be that we often think we want one kind of life, but as events occur and time passes, we sometimes see that we end up right where we want to be.  Our goals change, and we can find the ideal life we never knew we wanted.  Sounds about right for the movie, right?

Well, this song missed the mark.  Not because Jonathon didn't write good music.  Not because I didn't follow the rules and write good lyrics.  Because something about it felt inappropriate.  It seemed like they were singing about things that were NOT the dream a lot more than telling us WHY they were 'living the dream'.

Also, the primary focus of this scene is supposed to be our lovely Italian stereotypes, Mr. and Mrs. Martini, receiving the keys to their very own house in Bailey Park.   This shows us how George was helping people in general...but most specifically, the Martini family!  And in we come with an ensemble of other characters to elaborate on this scene/theme, and completely pulled focus from the moment at hand.  Basically, we had a scene about a family moving into their new place, and we stole the moment from them to give (another) opportunity to Bert and Ernie (the town cop and the town cabbie), who are in MANY other scenes and could potentially have MANY other songs already.

I'd like to say that the realization of this was enough for us to scrap the version entirely, and try something completely different.  I'd like to.  But I can't.

Unfortunately, we had in our heads that this could work...and so when given the opportunity to rewrite, we tried making adjustments to the material you see above.  The result was better, but still less than successful.

As you'll see soon, when I post 'Part III' which will include our rewrite...

 

Until next time...

-Lee

...of 'Lee'rical Wordplay...

...in case there was any question...