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Kids!: Choral Instrumental Pak

By Lee Adams / By Charles Strouse / Arranged by Alan Billingsley

Item: 35-PK00030088

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Description
"Kids! I don't know what's wrong with these kids today!" "Bye Bye Birdie" has been an audience favorite year after year. In this musical theatre classic, the ever-growing generation gap provides plenty of humorous moments for performers and audience members. Performance Time: Approx. 2:00

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Additional Details
Publisher: Hal Leonard
SKU: 35-PK00030088

More about this title

About the Composer: Lee Adams

Lee Adams spent his career writing lyrics for musical theatre with composer Charles Strouse, creating some of Broadway's most quotable and singable scores. Their partnership produced 'Bye Bye Birdie,' 'Applause,' and 'Golden Boy,' among others, establishing Adams as a lyricist who could balance wit with genuine emotional resonance. His gift for capturing generational attitudes and social moments through song made him essential to the development of modern American musical theatre.

Why we love this

Billingsley's arrangement captures the infectious energy and humor of this Strouse/Adams classic while making it accessible for ensemble performance. The two-minute timeframe keeps momentum tight without sacrificing the number's comedic impact, making it ideal for directors who want a show-stopping moment without lengthy rehearsal demands.

What to expect

Pure theatrical energy. The number captures the exasperation of adults baffled by youth culture, delivered with enough musical warmth that both generations in the audience end up laughing together. It's the kind of moment that reminds people why musical theatre matters.

Who it's for

High school and middle school choirs looking for Broadway repertoire with real comedic payoff. This works equally well for concert programming or as part of a larger 'Bye Bye Birdie' production.

How to get the most out of it

  • Keep the comedic intent sharp. The humor lives in rhythmic precision and clear diction, so lock the ensemble on uniform articulation before worrying about dynamics.
  • Balance vocal brightness with understandable lyrics. These lines are comedy gold only if the audience hears them clearly.
  • Use the combo voicing flexibility to rotate soloists if you have strong singers at different voice parts. This keeps the novelty factor high across multiple performances.

How to use it

This fits naturally into a Broadway or American musical theatre concert, or as a standalone comedic interlude that breaks up heavier programming. The short duration makes it perfect for filling a specific spot in a mixed concert without requiring major structural changes to your setlist.

Skills your students will build

  • Rhythmic precision in comic delivery
  • Clear, crisp diction at moderate to fast tempos
  • Ensemble balance and blend in combo voicing
  • Comic timing and intentional expression

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