I Feel Pretty (from West Side Story) (arr. William Stickles): SSA Choral Octavo

Pure, uncomplicated joy. Maria's conviction that she's pretty and clever radiates through every phrase, and the arrangement preserves that unguarded happiness. There's lightness and brightness here, the musical equivalent of someone walking down the street absolutely convinced of their own charm.

Choirs looking to add Broadway repertoire that feels fresh and performable at the high school or community level. This works especially well for singers who respond to theatrical material with clear storytelling and accessible ranges.

• Balance the top line so Maria's famous tune shines without the lower voices receding into accompaniment texture. The melody carries the storytelling weight.
• Lean into the rhythmic energy of the text, especially on "I feel pretty." The syncopation in Sondheim's original melody comes through clearly here and drives momentum.
• Shape the phrase endings with character. This isn't a sacred anthem; it's a character moment bursting with confidence, so let that confidence shape your final consonants and breath decisions.
• If you're using the recorded accompaniment, mark your entry points clearly so singers don't rely on finding the harmony by ear alone.

This sits naturally on a pops or Broadway concert, or weave it into a spring program where you want a guaranteed crowd favorite with legitimate musical substance. It's also a smart choice for a mixed repertoire festival where you need something that shows both musicality and theatrical style.

• Singing with forward articulation and clear diction in contemporary vocal writing
• Maintaining ensemble balance when the melody line dominates
• Executing rhythmic precision in syncopated figures that support the text
• Shaping phrase direction and character interpretation in Broadway idiom