Act Well Your Part

A little musical theatre blog including my comments, princples, heresies, grudges, whines, and anecdotes. Yes, Stephen Sondheim said that.

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I don't know if anyone still reads this or if anyone's still on Tumblr.

I started writing musicals and plays! I had my second showcase of my work last night, but last night was exclusively material I've written for the stage. Felt weird and felt fun and felt scary. Very cool to show everyone what I've been working on.

Just felt like typing into the void.

[greenonthefruittree]

why does nobody talk about michal katurian

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I had the privilege of playing Michal almost five years ago and I'm grateful every single day. His story resonates with mine in a really crazy way.

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Anna Karenina

The show that I’ve always wanted to listen to because of its amount of legit repertoire, but have never had the time to. Now is the time.

It's been two and a half years since I went through a show this way. I graduated from college a week ago tomorrow, and I am finding time to do my favorite things again. It's been such a fun time reflecting on my time at university. I'm grateful.

Background Info

Anna Karenina ran at Circle in the Square in the early 1990s. It wasn’t largely successful from what I understand. It is based on the Tolstoy novel of the same name. There was no cast recording for the musical until 2007, when an absolutely crazytown (my favorite term for TALENTED) group of people recorded it for posterity! Wait until you hear these names.

Writers

Music for Anna Karenina was written by Daniel Levine, who received a Tony nomination for Best Original Score for his work on the show. Peter Kellogg wrote the book and the lyrics.

I’ve been through hell and high waters trying to get a legible and complete score for this show, so we shall see how this goes.

Character List

COUNT ALEXIS VRONSKY (Baritone) - Anna's lover, a cavalry officer.

ANNA KARENINA (Soprano) - Oblonsky's sister, Karenin's wife, and Vronsky's lover. A woman who is unhappy in her marriage and searching for fulfillment in her own way.

CONSTANTIN LEVIN (Tenor) - Kitty's suitor, Stiva's old friend, certified nervous wreck.

PRINCE STEVEN OBLONSKY (Baritone) - Civil servant, Anna's brother, and man about town.

PRINCESS KITTY SCHERBATSKY (Mezzo-Soprano) - Sister-in-law to Oblonsky, pursued by Levin. Bubbly and fun.

NICOLAI KARENIN (Bass) - Senior statesman and Anna's husband, twenty years her senior.

Who’s Singing?

As I mentioned above, there was a studio cast recording that happened in 2007. It has an all-star cast, including Brian d’Arcy James as Vronsky, Melissa Errico as Anna, Gregg Edelman as Levin, Marc Kudisch as Oblonsky, Kerry Butler as Kitty, and Jeff McCarthy as Karenin. This is such a group of amazing singers and actors, especially the four men. I’m very excited to dig into this show.

Let’s Do This

In the cast album, we begin with “Journey to Moscow.” The interweaving eighth notes remind me of Anastasia. The 3+3+2 accent pattern begins as the ensemble and principals begin to sing about being on the train and all of their personal problems that will be fixed by being on the train…? I love that each of the principals get a little moment of solo line throughout. Not the most dramatically exciting opening number, but the rhythmic pulse in the music does a good job compensating for it. I do love the end, especially the piano swell.

Anna and Oblonsky sing a duet called “There’s More to Life Than Love,” filled with witty conversation. Anna is trying to tell Oblonsky that there is more to life than love (as if you didn’t get that from the title) and she is telling him this by bringing up other topics, hobbies, and humanities, however for everything she brings up, he counteracts with its connection to love. It’s written as a waltz. Marc Kudisch does such a fun job of coloring all of his comebacks. I love how Melissa Errico so casually throws her soprano up into the stratosphere out of nowhere. I especially love the very end where you think it’s going to be a big finish, but Oblonsky so quickly and quietly spits out the last lines, saying “But who cares?”

Kerry Butler enters the picture as Kitty with her solo “How Awful.” As she always is, she is earnest and hilarious. This is a fun range-y song for a mixer looking for something that is funny, but not well known. The beats are fun to play, the melody is challenging and fun to sing as well. Kerry Butler sings the role with a lot of charm.

“Would You” introduces us to Levin, who when asked how long he’d be in Moscow replies with a marriage proposal. I am beyond utterly obsessed with this song. The energy is so exciting, and the odd time signature makes it all feel a little disjunct and scared and anxious and excited. Lovely singing from Gregg Edelman!

There’s a conversation piece (Wonderful Town, anyone?) number for Kitty, Anna, Levin and Vronsky called “In a Room.” They sing individually, voicing their thoughts while the others chatter (perhaps?) I was more focused on following along in the music because the copy I have has the song, but it may as well be a completely different piece by a completely different composer for a completely different musical. It’s cute. Not very memorable.

Anna has her first solo with “Nothing Has Changed.” She lists the things she finds similar compared to the last time she was here. Levine’s harmony in this song is really remarkable. There is a constant churning with both the mode used for this piece, and also the extra notes in the chords. The suspensions added to the root position chords are impossible to miss. This song is really stunning musically. Dramatically, it’s one of those songs that tries to make something bigger out of ending exactly where the character began. Oops.

In “I Shall Work,” Levin sings about how he will become a learned man in order to ignore the romantic feelings he has for Kitty. The song reminds me a bit of Henrik from A Little Night Music. It’s got a solid high note at the end too.

“How Many Men” is where Kitty wonders how many romantic trysts she’ll have to go on before she can meet “the one.” Kerry Butler takes every opportunity to make this fun, and she succeeds. In a waltz, she allows the melody and music to accompany the dramatics of the song. This is a great audition song that no one does!

In his first solo “We Were Dancing,” Vronsky sings, presumably to Anna, as they dance. Another solo that I don’t have music for, but it’s beautiful. It reminds me of Anastasia yet again. Brian d’Arcy James keeps the material interesting.

Jeff McCarthy, everyone’s favorite officer (Lockstock) comes in as Karenin. His solo “Karenin’s List” begins with a fiery recitative. He jumps into the song proper and plots what he will say to his wife. The melody twists and turns around the scale as he maneuvers his brain through the possibilities of what to do here. McCarthy has always had a sort of operatic sound to his voice. It never ceases to amaze me. His sound has always been so remarkable for every show he’s been in. So many of these songs would work so well in an audition setting. It reminds me of She Loves Me because of the amount of solos!

Anna has another solo called “I’m Lost.” She realizes where she is in her relationship with her husband and where she is in her relationship with Vronsky. A woman discontented, she sings to herself “on the way home” according to Wikipedia. Not a big fan of the lyric “So lost, and I don’t even want to be found!” It’s giving the reaction that 8-year-olds have when they hear “you’re grounded give me your phone and go to your room” instead of “Isn’t it rich? Are we a pair?”

In the Act I Finale, “Waiting for You,” Anna and Vronsky finally have a love duet. This music is soul-stirring, and beautifully lush. Perhaps the music didn’t work its charm until the two lovers were able to embrace their love for each other. Oops. Again. Stunning vocal performances from both Errico and d’Arcy James. 

Act II starts with “This Can’t Go On.” It is an operatic trio between Anna, Vronsky, and Karenin where the three individually lament their situations. Anna asks Karenin for a divorce and reveals that she is pregnant. The harmony swells and surges. It reminds me of the “Storm” from The Secret Garden. The stakes are HIGH at the top of Act II, people! At least no one’s singing about a train anymore.

It seems that Levin’s heart has been broken in “That Will Serve Her Right.” Rather than feeling bad, he feels rage - makes for a much more interesting song. Edelman does a good job as he reprises his role from Broadway fifteen years prior. The resolution is so apparent in his voice!

Anna and Vronsky sing a duet called “Everything’s Fine.” I’m thinking about the structure of the story and I don’t see how many of these songs function in the narrative. I hunted for a script, but I couldn’t find one. Both Errico and d’Arcy James sound incredible on this music.

Anna and Kitty have their duet with “I Never Dreamed” where they both look forward to marriage, Kitty with Levin and Anna with Vronsky.

Karenin gets the eleven o’clock slot with “Only at Night.” He sings that he misses Anna, but only at night. There’s an incredible bridge here that could work so well in a cut. McCarthy is simply masterful. In this role, it reminds me of when he was in Side Show as Terry Connor.

As she denies her son, realizing that he is better off without her, Anna goes to railroad tracks and stands in front of a train in “Seryozha.” It is a hauntingly beautiful finale into a lovely “Epilogue.”

Audition Songs

There are so many solos in this show!

“How Awful” - Princess Kitty Scherbatsky, C4-F5

There is a fun, tantrum-like energy to this song. It would work for younger roles really well.

“Would You?” - Constantin Levin, C3-B4

This song is perfect for a role like Laurie from Little Women. There’s such an excited and nervous energy here. It bubbles through the accompaniment and the irregular time, and it is a fun challenge in musicianship and acting.

“Nothing Has Changed” - Anna Karenina, G3-D5

This song has a lot of beauty musically. The only problem is that, just like the title, nothing changes. It is up to the actor to choose a good and interesting cut because the music is really incredible.

“I Shall Work” - Constantin Levin, D3-B4

This time, the B is not sustained, but it is full voice. The A right beneath it is sustained right before it! This one seems like a lot of fun to act and sing. Complete devotion to someone. There are a few roles that this would be really good for. I said earlier that this reminds me of Henrik in A Little Night Music. Certainly, use it for that.

“How Many Men” - Princess Kitty Scherbatsky, A3-G5

This song has Kristin Chenoweth’s style written all over it, especially the early roles of her career. Glinda, Sally, Precious, all of them! Put it in your books!

“Karenin’s List” - Nicolai Karenin, A#2-F4

Great for a bass-baritone. There are moments of patter, but it isn’t frenzied - it is metered, it is precise, and it is premeditated. The F isn’t sustained, just tapped a couple of times.

“That Will Serve Her Right” - Constantin Levin, G2-E4

The music I have has the range listed above. The version that Gregg Edelman sings on the studio cast recording is very different. The pitches, rhythms, and many lyrics are changed.

“Only At Night” - Nicolai Karenin, Bb2-Eb4

This song is hauntingly beautiful. It lingers. The key that Jeff McCarthy sings it in is lower than the music I have.

To Wrap It Up

I didn’t see this show as one that would astound me. It didn’t flop, but it didn’t remain particularly noteworthy after its closing. Another sign is that there is no way to license the show. The good thing is that there is a lot of really good material for singers who want to explore more of a legit sound in their singing. I really like the role of Levin!

Thanks for reading!

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New Beginnings and Old, Tired Endings

Hey all

I've been revisiting Into the Woods lately as I was preparing for a table read with a few buddies of mine. I was slated to play the legendary role of The Witch. I love doing table reads and I hope that soon, they can re-enter my life in a safe fashion. I forget too often how close the material is to my heart and how deep it penetrates my soul.

Something as simple as "Careful the things you say, children will listen" can make me a puddle ten times over.

We didn't end up doing the reading, but getting familiar with the material from the performance side of things was incredibly interesting. The book meshes so beautifully with the music and lyrics, and it reminded me how I fell in love with theatre in the first place. This beautiful, beautiful show introduced me to the world of stage performance in a transfixing way. It's also funny beyond belief.

I really miss creating moments - something Into the Woods focuses on in great detail.

Anyway, bye for now.

[liveandbreathemusicals]

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Random thoughts

I'm sad that no one has made a musical using the music of Joni Mitchell. Her music sounds like a dancing candle.

I've been back in a rehearsal room for the last couple of weeks. It feels so special to watch discoveries happen (even if they are super silly).

Colton Ryan is the 21st-century's gift to musical theatre.

Cleanliness is indeed next to Godliness.

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Happy New Year?

There’s no question 2020 has been absolute garbage for many reasons. Sometimes, trying to place hope in something like the new year can be helpful, but the reality is that it’s just another day. Time is a human-made construct. Over the years, I’ve realized that it’s nothing but time passing. I don’t wanna bash anyone who’s really into celebrating the new year, but to me, it’s just another day. I’m trying to take things as they come. This last year was incredibly disappointing because of the ridiculous people who do nothing but foster hatred. If there’s any resolution I have for this new year (eye roll again), it would be that I could encourage others to spread kindness and share understanding with those who aren’t like them. There’s been a lot of good things to come out of 2020, but I want to leave it behind. There’s been a lot of hurt and a lot of despair, and the government would clearly rather see us suffer than help us out. I almost can’t believe it.

Please agree to be better on behalf of all of us. I can’t take it anymore. Thanks.

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Aimless Thoughts

I think one of the things I miss most about life before the pandemic is spontaneity.

I’m not sure if I’m ready to be back in a rehearsal room. Playing the piano for long periods of time is a lot more draining than I remember. It’s still incredibly gratifying, but I get really overwhelmed with it. I had a handle on all of that just as the pandemic started. Now it sort of feels like I’m back to square one about it all.

Passion, the Sondheim musical, is so incredibly intriguing to me. I also think Fosca is one of the most demanding roles in the musical theatre canon. Judy Kuhn who played the role Off-Broadway has stated that Fosca is the King Lear of musical theatre. Big shoes to fill, right? I don’t disagree with her. The physical and mental toll that that role requires is insane.

I watched The Prom today on Netflix and I thoroughly enjoyed it. I liked everything, save James Corden. The portrayal is wrong on so many levels.

Few things more exciting to me than hearing what my younger friends from high school are thinking about studying in school or preparing to do with their lives.

I really miss hugging my friends. There’s such a special connection through a hug.

Curly McLain is a terrible person. I truly believe that he is a manipulative piece of $#!t.

Sara Bareilles has one of the most special souls on this planet. Her artistry makes me feel complete. She has such a genuine way of making music.

That being said, Waitress has some really special messages. “Everything Changes” might be one of my favorite finales.

I’m really starting to like A Year with Frog and Toad because one of my best friends always mentions it and says he and I need to play Frog and Toad respectively. Winter Break always seems to be the time that I get back into musical theatre.

If you’re reading this, please know that I am incredibly grateful for you and that doing as much as simply reading this makes my heart full.

You are needed in this world. You make it a better place.

Sending so much love, light, and healing during this wintry season.

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Winter Break

Hey readers!

I’m finishing up with first semester finals and I’ve been slowly getting back to listening to musical theatre in a consistent and intentional way. Recently, I’ve really been diving deep into opera and considering that career path as a coach. It’s still very much a part of my life and in the game, but I have such a strong and beautiful relationship with musical theatre. It’s not like I can’t do both, right?

SPOILER ALERT

Superhero, Tom Kitt’s new musical, has really been on my radar lately. I love the songs and I also love the beauty of there being a story between a boy finding a positive relationship with a father figure. The relationship with the boy’s mother (played incredibly by Kate Baldwin) is central to the story as they’re grieving their father/husband. Bryce Pinkham’s character, is their neighbor who is revealed to be a superhero, much to the son’s excitement and intrigue as he is obsessed with superheroes. Beauty and pain both ensue and there’s restoration and love in the story. The music is warm and the orchestrations are stunning. It makes me feel so happy. It’s allowed me to transition into listening to musical theatre for joy and happiness again, which led me here to the blog. It’s been a while, but today I woke up with the intention to fill everyone in on what I’ve been doing lately. I hope you all are well.

Much love.

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What in the world has been going on?

Hey readers.

It’s been quite a while since I’ve updated this blog. Quarantine got really busy for me somehow and I just stopped posting (as I often do on this blog). I get little spurts of inspiration (as I just did three minutes ago while doing my hair waiting to go on a walk with my friend) to post on here.

I’ve been tired. I’ve been sad. I’ve really missed physical contact with others. I miss seeing their smiling faces and hearing their laughs. I miss seeing the way their mouths move to express joy or sadness. I miss giving hugs and getting hugs. The last six months have been very lonely.

I have really found solace in cooking and sharing what I’ve made on my Instagram story. It’s become a really fun hobby of mine; now if only it magically cleaned itself up when I’m done with it...another time.

An hour and a half ago I got an update on my phone that Supreme Court Justice Ruth Bader Ginsburg passed away. What a long, fruitful, and inspiring life she lived. She provided a path and way for so many people and was dedicated to giving women voices and standing for equality in every sense of the word.

The longer I live, the more I realize that we can’t continue to have Donald Trump in office. I’ve thought this since the beginning, and it’s only declined since. He is a narcissistic ignoramus dedicated to ruining the lives of those who don’t look or act like him. Ruth Bader Ginsburg had a hand in protecting those Trump has attempted to target, and with her gone, he could wreak absolute havoc everywhere. I pray that wisdom will be present in our minds when we go to vote in November.

I’m sure it’s really hard to see the light now - I’m speaking from experience - but we have to hold each other up as best we can (six feet apart) and look out for each other. This world is a very scary place when you have to face it all on your own.

The good news is you don’t have to.

Please be well and love each other. It’s so necessary.

[enthusiasticmusicalfeelings]

Corey Cott really didn’t get nominated for a Tony/any other award for playing this character huh

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I completely agree. Robbed.

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Thoughts on Proshots

Sondheim released many of his shows on DVD or they were aired on PBS’ Great Performances; people have gotten to watch his shows for years and years in the comfort of their own home to enjoy his brilliance. What if the reason his work is so admired (brilliance aside) is that he was willing enough to share his work with everyone at home? And that is the reason that he is so highly regarded?

What if everyone did this?

His ticket sales have only risen.

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Thoughts

Every now and then, I’ll remember how special it is to be an artist.

I am a part of a community that creates profound material to help others understand the greatest mysteries of this world.

Art triggers thinking. Even in the best poems, there takes some level of brain power you have to use to understand it, then interpret in your own words, and realize what that means to you and in your own unique interpretation. People involved in any type of art do this very act every time they experience art. In the theatre, you do it very quickly. You have to process things as they happen immediately, because, chances are, it won’t slow down for you (just like life). With visual art, I personally feel like the initial viewing of a piece happens, and thoughts flood, but they aren’t digested or realized until later. Music is its own unique experience as well. For example, one of the most amazing musical experiences I’ve ever had was when I went to see Mahler’s Resurrection Symphony performed by the St. Louis Symphony Orchestra, Chorus, and guest Mezzo-Soprano soloist, Tamara Mumford. *the soprano was also lovely, but I am forgetting her name at the moment, especially considering this is all just abstract and scattered word vomit* I went in blind and wanted to experience everything for the first time in that moment. I looked around often during the work at the other audience members in my peripherals and I could see and feel what they were experiencing. All of that to say this: music has transcendental properties that make you feel spiritually renewed, mentally rejuvenated, and physically fresh. I saw a Black woman in her sixties who was sitting two seats down who had her eyes shut nearly the entire symphony. She sat motionless, noticeably affected by the music. When the fourth movement, “Urlicht” began, a small tear escaped her right eye. I became immediately empathetic. I could tell she was affected deeply and having a genuine experience with Ms. Mumford’s beautiful interpretation of this poignant and stately aria. Music impacts you when you hear it, but it also tends to stay with you so much longer afterwards. As does visual art. As can choreography. As can a beautiful monologue or soliloquy. And as does poetry.

Art is a beautiful thing that has affected people ever since the world began. I am so privileged to feel a necessity to help others experience this avenue of life.

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But music and singing have been my refuge, and music and singing shall be my light.

Frank Ticheli’s “Earth Song”

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Anything you do, let it come from you. Then, it will be new. Give us more to see.

Dot in Sunday in the Park with George by Stephen Sondheim

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What I've done recently (not that you asked).

Yo.

Today was oddly filled with theatre when I wasn’t even making an effort to do that, and yet I feel more fulfilled than I do when I make an effort to be fulfilled. Weird mind games? Idk bro.

I’ve been trying to watch a new musical every couple of days. I started with Barnum, a proshot I’ve never taken time to truly watch. I liked it! Hummable melodies, incredible stagecraft, terrific acrobatics, and Michael Crawford, alongside the two leading ladies really did a standout job. Not sure if I’d watch it again, but it made good use of my time.

Then I watched the Arena Tour production of Jesus Christ Superstar, starring Tim Minchin (composer of Groundhog Day and Matilda) as Judas Iscariot, and this AMAZING tenor as Jesus. Annas and Caiaphas were very good too. I might watch this again. The performances were good and the concept was interesting.

Then I got to John Doyle’s production of Company, starring Raul Esparza as Bobby and Barbara Walsh as Joanne. Despite my obsession with Stephen Sondheim’s work, I’ve never sat down and watched this production, and I am proud to say that that is a complete shame. Powerful raw performances in this production all around. I don’t even want to say anything about it because it was so good. Just - find some way to watch it and you won’t be disappointed. I can’t wait to be a part of this show some day in some way. Powerful powerful stuff. It reminded me that if you have good material and good actors, you have a good show. That is a true statement, and I feel that it always will be.

I wrote an essay on Stephen Sondheim’s writing process and standards in lyric writing today that he outlines and explains in his first volume of collected lyrics, appropriately entitled Finishing the Hat. I will never not be astonished by the brilliance of this man. Everything he says is so complicated, yet so simple. He is going to be remembered for a very long time.

Quarantine is somehow getting better and easier to bear. I was talking with a friend of mine yesterday and he said (paraphrased) “Make sure you always have something to look forward to.” I wanted to pass that on to any and all of you who may be reading this.

Peace and blessings and so much love.

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Song Analysis: “Maybe (Next to Normal)” from Next to Normal

Hey, readers!

I don’t know about you all, but I’ve found this transition very rough, and I’m in the mood to just write about some music. I’ll go through all of it so you can understand how it’s been for me.

My college chamber choir went on tour to Florida the week before Spring Break began. We had a great time! At the airport back home, we got notified that we would be having classes online until April 6th. This was a little surprising, but I looked at it as an opportunity to spend time with my family. Not too long after, we found out that we were to be moved out of our on-campus housing (dorms, apartments, what have you) ASAP. I brought my best friend along and we road tripped to pick up all of my stuff from St. Louis and haul it back to Kansas City. Many trash bags later, I got back home and decided I wanted to paint my bedroom. I’ve always wanted to have a green room. A week later, and that’s done. All while trying to stay on top of schoolwork. It has been a challenge, but I am doing a really remarkable job staying on top of my stuff. Staying organized is a challenge, but it’s nothing I can’t handle.

It has been really hard, too. There have been challenges. Living at home after living on my own is a weird adjustment. I was starving for quality time with my family by the time we left for my choir tour, and finding out we would be online for a bit was really refreshing, to be honest. Now we’re on a mandatory quarantine and stay at home order until the 24th of April, and I’ll be honest: it’s isolating. If you know me personally, you know that I love my friends. They are so important to me, and when I’m home, I want to see them. I thrive on social interaction. When I don’t get to see them, it’s really hard for me.

In times like these, I almost always turn to the musicals that shaped my time in high school. One of those is Next to Normal. One of the themes of this show (to me, at least) is finding beauty in pain. Diana as a mother struggling with Bipolar II, Dan as a father struggling with Depression, and their daughter, and Natalie, who is constantly overlooked and turns to substance abuse, all have such bizarre circumstances at surface level, but is it really that out of the ordinary? I wouldn’t say so.

Musical Analysis

We’re in the lovely key of A-flat major. The first chord is open and there’s no third. Then, the next key is one of the most beautiful chords I’ve ever heard. It’s spelled D-flat, E-flat, A-flat, G. You could call it a Dbadd9(#4). This piano solo texture repeats underneath Diana’s initial words. The repition of the verse starts with the strings slowly entering, and the piano has shifted to a beautiful, pulsing accompaniment.

Rhythmically, this is very disjunct. It is in simple time, but there’s rarely a complete phrase in 4/4. It will often end with a 2/4 transitional bar into the next part of the verse. I think this is a beautiful way of saying that Diana is struggling on coming up with what to say.

Natalie comes in, and the chords being played are that same Dbadd9(#4), but this time it’s over Eb in the bass. There’s a lot of syncopation between the hands. Natalie is finally getting to speak her mind. During Natalie’s verse, there isn’t a sixteenth note that isn’t occupied by sound. I don’t know what to make of that, but it was a beautiful realization.

The progression for Diana’s “motif” in this song is quaint, and yet it never leaves your memory. Natalie’s walks up the literal bassline, progression-wise. To me, it signifies her gaining strength as she has this coherent conversation with her mother.

It ends with a beautiful uncertainty musically, but the text ends with a weighty certainty, which is why I am SO excited to talk about it.

Text Analysis

Here is Diana’s first stanza:

“Maybe I’ve lost it at last. Maybe my last lucid moment has passed. I’m dancing with death, I suppose, But really, who knows?”

This is truly the first time in the show that Diana has confronted the reality of her mental illness, at its bare bones, in a verbal way. The third line is a callback to her duet with Gabe earlier in the show, “I Dreamed a Dance” which made way for most of the remaining action in the show. Next stanza.

“Maybe I’m tired of the game, of coming up short of the rules, of the shame and maybe you feel that way too. I see me in you.”

Diana is comparing life to a game, and finally finds out how Natalie has felt this entire time. “Maybe you feel that way too,” might be all Natalie really needed to hear. “I see me in you” is such a beautiful lyric. Alice Ripley is truly one of the best interpreters of simplicity I’ve ever seen or heard. Next, Diana goes on to describe the hurt that she felt as a young woman who had to grow up very quickly, and compare Natalie and herself.

“A girl full of anger and hope... a girl with a mother who just couldn’t cope... a girl who felt caught and thought no one could see but maybe, someday, she’ll be free.”

Here, Diana concludes her statement. I think that the last line is truly her decision to go away. Natalie comes back with this.

“It’s so lovely that you’re sharing, No, really, I’m all ears. But where has all this caring been for sixteen years? For all those years I prayed that you’d go away for good Half the time afraid that you really would. When I thought you might be dying, I cried for all we’d never be, But there’ll be no more crying...not for me.”

What always gets me are these two parts:

“Maybe we can’t be okay, but maybe, we’re tough, and we’ll try anyway. We’ll live with what’s real, let go of the past, and maybe, I’ll see you at last.”

“I don’t need a life that’s normal, that’s way too far away, but something next to normal would be okay.”

“We’ll get by.”

So much of the text is left up to how the audience feels. It’s a conversation between mother and daughter that has had to happen for a long time.

Wow. So refreshing. Seriously.

Why this song?

Like I mentioned above, I always turn to the shows that influenced my taste when I’m feeling blue. This song, in particular, is so honest. It’s showing us this relationship that has been tattered and whethered by the storms of life. There is something so beautiful between a mother and a daughter. What this show, and even this song alone says about mental illness, about women, about family, about struggle, is so poignant. I wish everyone in this world knew this song. This song always makes me feel like everything is gonna be okay. 

With this blasted virus and the hurt it’s caused so many, I hope everyone can find some light through this post and through art. May we never stop turning to art in times of need.