Top 10 Musical References in Schmigadoon Season 2
#10: Pip, Pip Hooray for the Intro
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If we learned anything from our first trip to Schmigadoon, it’s that this town knows how to stage an intro. And Season Two hooks us all over again with one of the most recognizable openers in musical theater. The white gloved hands of “Pippin” fame are a direct giveaway, but Titus Burgess’ introduction as narrator is also strongly in the vein of Ben Vereen’s Leading Player. And while the costumes more closely align with something like “Cabaret,” the acrobatic choreography of the dance break recalls “Pippin”’s most recent Broadway revival. We start to pick out the influence of several other musicals as our characters are introduced. But from one iconic reference to the next it’s the magic of “Pippin” that draws us into this new story.
#9: A Cast of Familiar Characters
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The season one residents of Schmigadoon were a Bingo card of classic musical characters, and season 2 seems to go in even harder. Some of the new personas are easy to pin down to existing characters. You’d have to be completely unfamiliar with Musical Theater not to see Sweeney Todd in Schmicago’s bloodthirsty butcher, Dooley Blight. Other characters are hybrids. Aaron Tveit’s Topher looks like a certain Godspell savior, but expresses Pippin-like yearnings. As Mrs. Codwell, Kristin Chenoweth looks and sounds like she’s straight off Fleet Street, but a hatred for the orphans in her care adds strong Miss Hannigan vibes as well. Meanwhile, Kratt has a lot in common with Sweeney Todd’s Judge Turpin, but shows shades of other antagonists as well.
#8: Bobby & Billy & Roxie & Val…
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As that refrain might suggest, Schmicago’s smooth and shady lawyer in residence is meant to conjure up “Chicago”’s Billy Flynn. Bobbie’s office even includes a subtle reference. But it’s not a one to one comparison. For one thing, Bobbie’s energy is actually much more similar to that of Billy’s client, Roxie Hart. This merging of characters really comes through in Bobbie’s courtroom appearance. We see multiple examples of Roxie’s moves coupled with Billy’s methods. The scene also nods to Jane Krakowski’s real life Broadway cred. We get roller skates a la “Starlight Express,” and a trapeze that recalls “Nine.” And though she has yet to appear in “A Chorus Line,” Krakowski’s showmanship is a perfect match for Val’s “Dance: Ten; Looks: Three,” which is paralleled by the chorus of the song in the scene
#7: Prepare Ye for a Hairy Situation
Josh might be lost with his new Hippie friends, but we’ve been on this trip before. Topher’s Tribe welcomes Josh to their home, a setting that wouldn’t be out of place in productions of “Godspell” or “Hair.” And as they initiate Josh into the group, they naturally build to what is both the centerpoint of their philosophy, and the most infamous feature of the latter. Oblivious to Josh’s reticence, their enthusiasm plays out in a dance segment reminiscent of “Age of Aquarius.” When that doesn’t move Josh to bare it all though, the Tribe moves on to their other tool of persuasion. The performance style recreates the devised quality seen in “Godspell”’s staging. As well as how polarizing those choices have been for audience members over the years.
#6: How Sweet It Is
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The aesthetics of the Kratt Klub are unmistakably part of a “Cabaret” homage, from the double K name, to the phones on the tables. But when the show starts, another Fosse musical grabs the spotlight. What’s shocking is how well this number recaptures “Hey Big Spender” from “Sweet Charity,” down to recreating some very recognizable choreography. Though, as Josh and Melissa’s reactions suggest, the material isn’t nearly as transgressive as it used to be. “Sweet Charity” receives another faithful salute later on, with the song “Talk to Daddy.” Not only does the song recall “The Rhythm of Life,” but the choreography lifts directly from “The Rich Man’s Frug” down to the styling of the featured dancer.
#5: Finding Religion
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The Tribe’s penchant for narrating their parables is right out of the “Godspell” playbook. And, as we mentioned, Topher already bears a striking resemblance to the version of Jesus who appears in that show. But when he’s busy romancing Jenny, the Tribe is quick to find itself a new savior. With the new regime comes a heavier theme, and the strains of “Jesus Christ Superstar.” The narrator slips easily into the role of Judas with a song that plays on several recognizable tunes from the show. Through the number we see growing resentment from both Jenny and Topher, leading to a confrontation. The Judas/Jesus conflict is clear in the exchange between Josh and Topher, with Aaron Tveit getting to deliver on an iconic high note.
#4: On the Chorus Line
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This music echoes in the ears of musical theater fans everywhere, so it’s no wonder that everyone already knows the choreography. Except for Melissa. This Kratt Klub dance audition takes its cues directly from the ultimate audition experience, “A Chorus Line.” Not only does it include pieces of the original choreography, but it includes step out moments for the dancers to tell their personal stories. Of course this becomes another opportunity for a sly wink at a different show. Melissa is our Cassie, with allusions to “The Music and the Mirror” in her confessional, her popping head, and her attempt to replicate Donna McKechnie’s dance solo. And no “Chorus Line” tribute would be complete without a dramatic headshot pose.
#3: Life is a Cabaret in Schmicago
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As Jenny Banks, Dove Cameron is almost uncanny, effortlessly embodying the energy and mannerisms of Liza Minnelli’s Sally Bowles. Get this girl in a revival production! And if you have any doubts, they’ll all be Kaput after her solo number. The performance masterfully references “Mein Herr” both stylistically and lyrically. Off stage, “Cabaret” allusions abound at the Kratt Klub from visual gags to throwaway lines. It takes multiple viewing to appreciate all the little details so meticulously included. But the best reference is a particularly subtle one. Only referenced in the lyrics of “Cabaret,” Schmicago features Elsie as a character, albeit a very short lived one. Jenny’s late roommate very clearly did not spend time sitting alone in her room.
#2. Good Company
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Introspective and emotional, Stephen Sondheim’s 1970 musical “Company” never broke into the mainstream the way other musicals referenced this season have. But fans of this show are passionate, and “Schmigadoon” clearly boasts its share. There are understated references sprinkled throughout the episodes in several lines of dialogue. Even the name of lawyer Bobbie Flannagan is a nod to female iterations of Company’s main character seen in recent remounts of the show. But the most overt reference is in Melisa’s Kratt Klub debut. The trio number is clearly inspired by “You Could Drive a Person Crazy.” Of all the clever homages to “Company,” this one is easily the most charming. Though we also enjoy the recurring interjections of a Joanne lookalike. Before we unveil our top pick, here are a few honorable mentions. The Devil in the Details Though Not the Inspiration for Kratt, Fans of Patrick Page’s “Hadestown” Role Won’t Be Able to Miss the Similarities They Always Will Be Together This Reference Goes by So Fast It Might as Well Be Greased Lightning A Darker Tomorrow Not a Lot of Smiles Here, but They’re Not Exactly Fully Dressed Anyway Bye, Bye, Jailbirdie Blink and You’ll Miss Out on What Really Happened to the Rockstar Heartthrob of Yore An Event to Bring Down the House Phantom’s Legacy Lives On When a Wedding Takes an Operatic Turn
#1: Two Bad Babysitters for the Price of One
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When Dooley Blight and Mrs. Codwell team up, the worlds of “Sweeney Todd” and “Annie” come colliding together in a dark and hilarious turn. Taking a cue from “A Little Priest,” Codwell and Dooley run down their potential menu, with the orphans very gamely acting as their props. The number then segues into what is unmistakably a riff on “Hard Knock Life.” Obviously we can’t get behind the…um, execution, of this idea, but the gleeful energy of the entire ensemble does make the grisly premise so much more delicious. As an extra cherry on top, we see “Promises, Promises” represented in the last moments. And given the subject matter at hand, “Turkey Lurkey Time” takes on a very different connotation.
