That's Entertainment: SATB Choral Octavo
Words by Howard Dietz, music by Arthur Schwartz / arr. Alan Billingsley
Item: 00-PO-0007550
$2.45
Minimum order quantity: 20 copies
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Description
Lady Gaga released her cover of this showbiz standard on Harlequin, a companion album to the film Joker: Folie à Deux. Opening with a short spotlight solo and then breaking into a bouncy Broadway 2-beat, this theatrical arrangement is sure to thrill choirs of all ages! This stage-worthy opener, finale, or concert theme song craves choreo, including even a kick-line toward the rousing finish. Don't miss the spectacular orchestration on our pizazzy SoundTrax and SoundPax accompaniment.
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Additional Details
Series:
Alfred Pop Choral Series
Publisher:
Alfred Music
Page Count:
16
SKU:
00-PO-0007550
More about this title
About the Composer: Howard Dietz
Howard Dietz (1896-1983) was a lyricist and librettist who shaped the Golden Age of American musical theater alongside composers like Arthur Schwartz. His witty, urbane lyrics graced Broadway shows including The Band Wagon and Dancing in the Streets, and his work extended into film scoring and revue writing. Dietz understood how to marry clever wordplay with singable melodies, a skill that made "That's Entertainment" endure as a showbiz anthem across generations.
Arthur Schwartz (1900-1984) was the composer partner who brought Dietz's words to life with sophisticated, jazz-inflected melodies. A pianist trained at the Juilliard School, Schwartz composed for Broadway, film, and television with equal fluency, always respecting the human voice and the theater's demand for memorable hooks.
Why we love this
Alan Billingsley's arrangement captures the vaudeville swagger of the original while giving your choir room to shine with that spotlight solo and the infectious 2-beat groove. The built-in theatrical choreography opportunities (including that kick-line finish) mean you're not just performing a song; you're staging a complete entertainment moment. This is the rare standard that works equally well as a concert opener, finale, or standalone showstopper without feeling forced into any of those roles.
What to expect
A high-energy tap number that feels both retro and fresh, complete with the glitz of old Hollywood and the snap of a well-oiled Broadway pit band. The melody is instantly hummable, the lyric witty without being precious, and the arrangement generous with moments for the choir to deliver both polish and personality.
Who it's for
This octavo works for intermediate to advanced choirs who enjoy theatrical repertoire and can handle both a spotlight solo and tight ensemble coordination. Directors programming concert pops, nostalgia-themed shows, or end-of-year celebrations will find an instant crowd-pleaser here, especially in mixed-voice settings.
How to get the most out of it
- Give the spotlight soloist permission to be conversational and charming in the opening; let them own the audience's attention before the full choir enters with the 2-beat energy.
- Lock the rhythm section on that Broadway 2-beat so the pulse feels effortless and driving. This groove is what makes the piece bounce.
- Layer any choreography carefully so it enhances rather than distracts from the singing. The lyrical content is clever enough to carry without overload.
- Build the dynamic arc toward that kick-line finish; make the final section feel like a genuine climax, not just a repetition of what came before.
How to use it
Open a pop concert or pops-themed show with this to set an upbeat, entertaining tone immediately. It also lands brilliantly as a finale if you want audiences to leave the theater smiling. For schools or choirs doing a nostalgia or musical theater program, this anchors your "Great American Songbook" segment and gives younger singers exposure to classic Broadway style.
Skills your students will build
- Rhythmic precision in 2-beat patterns and syncopation
- Singing with theatrical character and confidence in solo roles
- Balancing choreography with vocal technique
- Understanding jazz-influenced harmony and swing phrasing
- Ensemble blend while maintaining individual vocal presence