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Someone Elses Story from Chess

Composer: Benny Anderson, Bjorn Ulvaeus


Lyricist: Tim Rice
Performer: Sutton Foster
Date of Premiere: April 28, 1988
As always, Sutton Foster delivers an impeccable performance. The song itself is brilliant.
A simple but interesting melody is paired with poignant lyrics that are relatable to nearly
everyones life. A wonderful metaphor takes the listener on a journey as beautiful as Fosters
iconic voice. Another, related journey is taken as well- one that is guided by Suttons use of vocal
technique.
The iconic Sutton Sound seems to stem from the retraction of the false vocal folds, oral
twang and cricoid tilt when belting, as well as a brightening of the sound achieved by widening
the lips. She also has brilliant control over her thyroid tilt, resulting in extremely clean and
polished vibrato. Additionally, there is visible neck anchoring, allowing her voice to seem so
effortless, even during powerful belts. She begins this song with thin folds for the first verse,
keeping it very soft, building very little until about halfway into the second verse at I dont see
myself as taking part at all. At the low note in she realized shed left him behind, Foster adds
more oral twang to make the sound more audible as to not lose the note because of the low pitch.
Later in the first verse, at he wouldnt even mind, Sutton uses thick folds and cricoid
tilt as the sound builds. Likewise, the majority of the final verse utilizes thick true vocal folds.
The final two lines of the song, trouble is, the girl is me. The story is, the girl is me are sung
with stiff true vocal folds, bringing the intensity of the song back down for the end of the song.

Word Count: 272

Foolish to Think from A Gentlemans Guide to Love and Murder


Composer: Steven Lutvak
Lyricist: Steven Lutvak
Performer: Bryce Pinkham
Date of Premiere: November 17, 2013
This song was fervently suggested by Lexi Neito, who may have oversold it slightly
when she described the musical as the most perfect and beautiful thing on the planet, ever. It
wasnt bad, but it wasnt a show-stopper. The number itself was well written. The lyrics were
clever and the melody was simple but catchy. The rhythms were unique, as 6/8 isnt common in
modern musical theatre. Additionally, several melodic and rhythmic surprises break the
monotony of the number, such as at for a blade in a motor car- hell go far.
As for Pinkhams performance, the vocals were enjoyable, and they featured a polished
technique. It could have benefitted from increased variation, as all the builds in dynamics were
fairly slow and predictable. The number begins with stiff folds, a larynx at a middle position, and
some thyroid tilt, as evidenced by subtle vibrato present throughout the first verse. The third
verse, beginning with foolish to hope she would ever see, features a gradual transition from
thin to thick true vocal for the entirety of the verse, except for the final line, hell go far, which
is sung with stiff folds to provide a surprising decrescendo to match the surprising rhythm. In
that same verse, the word are in the phrase all that you really are is sung with significantly
more thyroid tilt, and as a result, more vibrato.
Likewise, the fourth verse, beginning with foolish to pray, features an increase of oral
twang and thyroid tilt, helping the gradual build for the entire number. Later, on the line what
will become of me, Pinkhams loud belt suggests cricoid tilt. Like many of the songs I have
recently reviewed, this song features a return to the initial vocal quality at the end of the number.
In this song, this occurs for the final verse, beginning with am I foolish to dream, and features
stiff folds once more.
Word Count: 318

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