Another Op'nin', Another Show: SATB Choral Octavo

Jay Althouse's arrangement captures the infectious momentum of Porter's original while tailoring it brilliantly for developing SATB choirs. The piece builds narrative energy through voice-to-voice pass-offs rather than relying on complex harmonies, making it both dramatically satisfying and technically accessible. It's a showstopper that doesn't require a showstopping technique level from your singers.

The energy is pure opening-night giddiness. The tune is infectious and playful, bouncing from voice part to voice part like nervous excitement rippling through a theater. When the full ensemble arrives at the title line, it feels like the curtain rising on something wonderful about to happen.

This arrangement works beautifully for developing SATB choirs with solid part-singing skills but not necessarily advanced vocal technique. The piece also appeals to choir directors programming concerts with Broadway content or seeking repertoire that excites audiences and gives singers a genuine theatrical experience.

• Shape the dynamic arc carefully during the buildup; each new voice entering should feel like genuine excitement mounting, not just volume increasing. Use dynamic contrast between the voice-to-voice exchanges to highlight the text and create theatrical momentum.
• Articulate the text crisply, especially on the bubbly, rapid passages. Clear diction on the title line pays off the entire build and lands the laugh that Porter intended.
• If choreography or staging is part of your plan, rehearse the vocal parts first so singers own the melody and rhythm independently. Once they're secure, staging choices will feel organic rather than layered on top.

This is an ideal standalone encore or a centerpiece for a pops concert. It also works well alongside other Porter songs or as part of a Broadway-themed program. The 12-page length and performance appeal make it substantial enough to anchor a section of your concert without overstaying its welcome.

• Building dynamic shape across an extended passage
• Coordinating entry points when melody passes between voice parts
• Theatrical storytelling through text and tempo
• Part independence in a call-and-response texture