shall marry the miller's son Pin my hat on a nice piece of property Friday nights, for a bit of fun We'll go dancing Meanwhile... It's a wink and a wiggle And a diggle in the grass And I'll trip the light fandango A pinch and a diddle In the middle of what passes by It's a very short road From the pinch and the punch To the paunch and the pouch and the pension It's a very short road To the ten thousandth lunch And the belch and the grouch and the sigh In the meanwhile There are mouths to be kissed Before mouths to be fed And a lot in between In the meanwhile And a girl ought to celebrate what passes by Or I shall marry the business man Five fat babies and lots of security Friday nights, if we think we can We'll go dancing Meanwhile... It's a push and a fumble And a tumble in the sheets And I'll foot the highland fancy A dip in the butter And a flutter with what meets my eye It's a very short fetch From the push and the whoop To the squint and the stoop and the mumble It's not much of a stretch To the cribs and the croup And the bosoms that droop and go dry In the meanwhile There are mouths to be kissed Before mouths to be fed And there's many a tryst And there's many a bed To be sampled and seen In the meanwhile And a girl has to celebrate what passes by Or I shall marry the Prince of Wales Pearls and servants and dressing for festivals Friday nights with him all in tails We'll have dancing Meanwhile It's a rip in the bustle And a rustle in the hay And I'll pitch the quick fantastic With flings of confetti And my petticoats away up high It's a very short way From the fling that's for fun To the thigh pressing under the table It's a very short day 'Til you're stuck with just one Or it has to be done on the sly In the meanwhile There are mouths to be kissed Before mouths to be fed And there's many a tryst And there's many a bed There's a lot I'll have missed But I'll not have been dead when I die! And a person should celebrate everything Passing By And I shall marry the miller's son
Dear grant I was ac casting agents for 15 years on broadway. Miss Goldsberry’s voice is lovely but does not seem to shimmer or soar. She clearly has had training both acting and voice. She is very “studied “ in her delivery. I would request another song from her atypicall of what she would choose for herself to get an idea of what her natural vocal gifts are. Something not studied.
@@foriamemma And she was brilliant as Angelica, but Terrance's point is well-taken. "Miller's Son," as with a lot of Sondheim, has a lot of nuance and depth, and her take on it is relatively one-note. She also seems to be working harder at it than she needs to which, combined with a too-fast tempo, inhibits her ability to "shimmer or soar." To me, it's a performance indicative of the all-too-common trend to just go out there and "nail a song," instead of getting deep underneath its skin, which Renée is incredibly good at doing in Hamilton. Here are two other performances for comparison: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-lFBei6wdvM8.html and ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-udNinvC05Ks.html.
@@benmalkevitch356 It might have helped if she had sung all 3 verses. By cutting the middle verse, they really wrecked the dramatic structure of the song-it’s really a play within a play and doesn’t make as much sense without all the verses.
Is it just me, or is she not keeping with the music like at all, changing tempo every two seconds, and taking it way too fast in general? And I feel like there isn't much acting/variance through the whome song, it just feels like it's all one tone. Don't get me wrong, she was great in hamilton, but this was definitely not her best work. 😅
