I See Stars (from Mean Girls: The Broadway Musical) (arr. Mark Brymer): SAB Choral Octavo

Brymer captures the theatrical sparkle and comedic energy of this song while keeping the vocal writing within reach of a mixed SAB ensemble. The arrangement gives singers real moments to shine without demanding extensive preparation time, making it ideal for programs that want Broadway impact without Broadway complication.

Sharp, sassy, and full of attitude. The song pulses with contemporary pop sensibility wrapped in Broadway flair, capturing the mischievous spirit of its source material. Singing it feels fun, but the arrangement proves that fun and musicianship can coexist.

Middle school through high school choirs looking for contemporary musical theater that speaks to younger singers. This works especially well for programs planning a Broadway or pop concert, or for any choir wanting a break from traditional repertoire that still demands musical attention.

• Balance the characterization: this song works best when singers commit to the humor and attitude without oversinging. Let the arrangement's orchestration do the heavy lifting.
• Shape the phrases with intention. The rhythmic figures that drive the piece need clear articulation, so lock in the rhythm section early and build ensemble precision around it.
• Keep the soprano line lifted and engaged even during harmony passages. That top voice carries much of the melodic identity, so avoid letting it disappear into the texture.
• Consider staging this with energy and movement. The music practically demands physicality, and a directed approach will energize both singers and audience.

Feature this as a standalone piece in a pops or Broadway concert, or pair it with other selections from musical theater to build a thematic show. It also works beautifully as a lighter moment between heavier classical selections, giving audiences (and singers) a moment of levity without sacrificing musicality.

• Rhythmic precision and syncopation in pop and contemporary idioms
• Part independence in three-part mixed voicing
• Theatrical expression and character work suited to Broadway style
• Maintaining vocal energy and articulation in uptempo material
• Balancing individual voice parts within ensemble texture