Word: chorused
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Lieut. Sweeney, a stickler for good order and discipline, demanded a crisp salute from enlisted men. Whenever he approached a group of us, we would assign one person in the group to salute lefthanded. A thicket of arms would snap up in the regulation manner, accompanied by an enthusiastic chorus of "Good morning, SIR!" Sometimes, Lieut. Sweeney would pause after he passed us, look puzzled for a moment and then shake his head and move on. But the notion that we could have an impact on his mental health was wishful thinking...
...handle on why I was so angry." He didn't record again for almost 10 years, and when he did, on 1985's smashing Centerfield (Warner Bros.), he got in some licks at his adversary in a hard-driving tune called Zanz Kan't Danz, with a chorus that warned: "Zanz can't dance/ But he'll steal your money/ Watch him or he'll rob you blind...
...McNeely's performance was also chilling enough to make the audience feel guilty for sympathizing with an assassin. Juliene James '00 appears onstage with him as The Balladeer, a narrator of sorts who comments on and interacts with the characters, falling somewhere in between Jiminy Cricket and a Greek chorus. She cuts into Booth's sad, drunken ramblings both to point out Booth's ultimate place in the history of assassins and to chastise him for it. "Johnny," as she calls him, paved the way for all future assassins, but, as she adds, "angry men don't write the rules...
...itself. Lillias White, as an over-the-hill hooker, brings vivacity and soul to Gasman's clever lyrics ("I'm getting too old/ For the oldest profession"), and the driving, up-tempo number Why Don't They Leave Us Alone turns the hookers and pimps into the most inspired chorus line in town. The Life may, in truth, be just another kind of Broadway hustle, but when the con men are as slick as these, you drop your money with a smile...
...costumes and sets by Randy Barcelo added a great deal to this piece. From the simple gray and black suits of the men to the gray dresses of the women and the sequin-covered glitz of the two chorus girls, the costumes set the tone of the decade and the club music scene. The sets included black and white backdrops of New York City streets and the interior of many of the clubs including Birdland and The Royal Roost. There was constant changing of props from saxophones to trumpets, which the dancers actually carried throughout some of the sequences. There...