Everything Old Is New Again (from The Boy From Oz) (arr. Alan Billingsley): SSA Choral Octavo

Alan Billingsley's arrangement captures the nostalgia and warmth of Allen's original while making it accessible for developing SSA voices. The scoring sits comfortably in upper voices without requiring soloistic demands, allowing your singers to focus on the lyrical phrasing and period charm that make this song so endearing.

There's an inherent wistfulness here, underscored by the gentle irony of the title itself. The arrangement likely preserves Allen's characteristic blend of wry humor and genuine sentiment, inviting singers and listeners into a quiet reflection on how quickly time moves and how memory reshapes what we thought was current.

This arrangement works beautifully for treble choirs, show choirs needing a sophisticated non-comedic moment, or any group looking to add a theatrical standard that audiences recognize. It suits singers with basic to intermediate proficiency who benefit from accessible, singable voicing.

• Lean into the conversational, reflective quality of the text. This isn't a showstopper; it's a moment of connection with the audience.
• Shape the harmonic progressions by listening to how the chords move beneath the melody. Let the inner voices support rather than compete.
• Balance brightness with warmth in the upper voices. The arrangement likely sits high, so encourage singers to sing through the passaggio without pushing.

Place this between heavier works to offer pacing contrast and showcase your singers' ability to sustain lyrical lines. It pairs well on programs celebrating American musical theater or works featuring secular standards. Consider programming it as a concert closer or a bridge piece in a medley focused on iconic Broadway composers.

• Legit singing technique with sustained vowels in the passaggio
• Phrase shaping and narrative storytelling through melody
• Blend and balance in three-part harmony
• Text communication and emotional restraint