Let Me Entertain You (from Gypsy): Score: Choral SoundPax

Larry Shackley's arrangement captures the kaleidoscopic nature of this number without losing sight of what makes it singable for a student ensemble. The progression through distinct musical styles (2-beat, swing, waltz, kick line) keeps the energy dynamic and gives singers multiple musical contexts to explore within a single piece. It's the kind of arrangement that teaches musical flexibility and style awareness while delivering the theatrical payoff students crave.

Pure theatrical joy. The piece sparkles with vaudeville charm, swings with casual confidence, waltzes with unexpected grace, and erupts into raucous celebration. It's the musical equivalent of a variety show, capturing the showmanship at the heart of Gypsy while inviting singers to inhabit each style fully.

Choirs with access to at least a small jazz or show-style instrumental ensemble (or the ability to use recorded accompaniments). The vocal writing is accessible to intermediate singers, but the stylistic demands and ensemble coordination require directors comfortable coaching multiple performance styles within one arrangement.

• Study the style shifts as distinct moments rather than abrupt changes. Each section has its own character: the opening 2-beat should feel crisp and vaudeville-inflected, the swing section wants laid-back phrasing, and the waltz moves with lilt and lightness.
• The kick line finale demands rhythmic precision from the ensemble. Lock the rhythm section (bass and drumset) so the choir can commit fully to the choreography without losing their pulse.
• Balance the instrumental soloists with the vocal texture. The clarinet, saxophones, and trumpets are integral to the arrangement's personality, not accompaniment; give them room to breathe while maintaining choral clarity.
• Rehearse the transitions between styles explicitly. Mark tempo changes and style cues in the score and sing through them repeatedly so they feel intentional and seamless rather than jolting.

This works beautifully as a concert opener or a show-within-a-show moment on a pop music or musical theatre program. Its variety makes it stand alone effectively, or pair it with other Styne selections or Broadway numbers for a revue-style set. The built-in movement and staging appeal makes it equally at home in a concert or a fully staged production.

• Singing in multiple styles (2-beat, swing, waltz) within a single piece
• Responding to conductor cues and style changes mid-performance
• Ensemble coordination with instrumental soloists
• Rhythmic precision in a kick line finale
• Understanding theatrical character and showmanship in vocal performance