the right name for the achievement, if there were yet a book to
be integrated with. I think it significant that a true moment of
integration involves the orchestra in the pit accompanying pan-
tomime or dance on the stage, and does not need any words.
(Guys and Dollsand West Side Storyalso open with dances.) We
will return to this point shortly. For the moment, we may
note that the other scene for which I suggested integration as
the right word, “A Weekend in the Country,” from the act 1
ending of A Little Night Music, achieved its simultaneous
actions, all the characters singing and dancing to the same
tune regardless of their disagreements, through the underlying
coordination provided by the orchestra. There we were dis-
cussing the “voice of the musical,” and here we are discussing
the orchestra. This is no accident. The orchestra defines the
voice of the musical. It is the leading agent by which this voice
becomes known. And when an integrated effect is achieved for
a moment, the ensemble tendency of the musical is declaring
itself on the groundwork of the orchestra. The musical is not
aWagnerian form of musical theatre, but it is an eclectic form,
with revue and vaudeville hints still circulating in the most
solidly book shows, and there is no reason not to make a slot
for Wagner here and there.
Underscoring: South Pacificand Show Boat
The unseen, omniscient orchestra knows what is in the minds
of the characters even before the characters do. In South Pacific,
Ensign Nellie Forbush’s realization that she loves Emile de
Becque after all (despite her racist anxiety over his previous liai-
son with a Polynesian woman) is first announced by the orches-
tra. Nellie has come to ask the commanding officer if Emile is
indeed the Frenchman who is risking his life to report on Japa-
nese ship movements from a remote island. The orchestra un-
derscores this with the “I’m in love with a wonderful guy”
theme, well known from earlier scenes. Captain Brackett un-
knowingly reflects the theme with his remark that Emile is