has been described as a mix of and , exploring sexuality, self expression, guilt, jealously, teen pregnancy, female body image, and religion, all overflowing with the kind of urgency and intensity that comes with being seventeen. Like , explores a community that includes both straight and gay people, all struggling with the complexities of being young in contemporary America. Like , is important in the history of gay theatre because though both shows focus on gay relationships, neither show is really a "gay show." Gay theatre is slowly coming out of the ghetto and being allowed to mix and marry with "straight shows."
Hartmere also skillfully writes complex conversations set to music, sometimes for an extended scene, sometimes with more than one conversation going on at once, sometimes among just two characters, sometimes among five or six (see "Promise" as an example). It’s the one of most advanced uses yet of the kind of extended musical scene Oscar Hammerstein pioneered back in the 1920s in and in the 1940s in the classic Rodgers and Hammerstein musicals. But though those Hammerstein scenes are impressive for their time, there’s a formality and an awkwardness that keeps them from actually feeling real. In , those conversations feel both spontaneous and real. Where Hammerstein had to contort sentences and use odd word choices in order to hold to his structure and rhyme scheme, here Hartmere knows that rules are made to be broken and authenticity is the highest goal now, so he forsakes rhyme when it makes sense to. Composer Stephen Sondheim believes that the amount of rhyme in a song connotes a character’s intelligence and/or presence of mind. The less intelligent or the less rational a character is, the less he rhymes (look at "Getting Married Today in , which has almost no rhyme). In , Hartmere fashions believable spontaneity by not getting chained to the old conventions. When characters are fighting and emotions are running high, Hartmere ignores rhyme. The audience doesn’t notice because they’re too wrapped up in the conversation.
Collectif des ONGs Agréés du Cameroun
But Peter and Jason talk past each other through the whole song, even though they sometimes sing the same words. At the end they both sing, "I love/d you from the start," but they’re saying different things. For Jason, it’s an argument for being together again. For Peter, it’s an attempt to lessen the pain he’s causing by leaving Jason. Same words, very different meanings.
It’s the sacrament of oppression.
In your job field, you may be required to write a speech for an event, such as an awards banquet or a dedication ceremony. The introduction of a speech is similar to an essay because you have a limited amount of space to attract your audience’s attention. Using the same techniques, such as a provocative quote or an interesting statistic, is an effective way to engage your listeners. Using the funnel approach also introduces your audience to your topic and then presents your main idea in a logical manner.
We have no need for forgiveness
It is not unusual to want to rush when you approach your conclusion, and even experienced writers may fade. But what good writers remember is that it is vital to put just as much attention into the conclusion as in the rest of the essay. After all, a hasty ending can undermine an otherwise strong essay.
Because our shit’s none of his business.
A conclusion that does not correspond to the rest of your essay, has loose ends, or is unorganized can unsettle your readers and raise doubts about the entire essay. However, if you have worked hard to write the introduction and body, your conclusion can often be the most logical part to compose.
I’ve tried so hard to please you
Bowing to pressure from Arima and producers, Hartmere set about a complete rewrite of the show, cutting twenty-three of the show’s thirty-six songs, turning many of them into dialogue scenes. Composer Intrabartolo refused to be part of it, so the show’s music director Lynn Shankel wrote some new songs with Hartmere, while Hartmere wrote new lyrics to some existing songs. Longtime fans were horrified, comparing this "revisal" to reviving or and cutting two-thirds of those score to make them into conventional musicals. Arima said in interviews that they wanted to turn songs into dialogue so they could get deeper into characterization, but the new version did exactly the opposite – almost all their changes cut out complexity and nuance, and replaced it with cliché and stereotype.