INTRO
I insisted my whole family watch my favorite show Schmigadoon. Everyone loved Season 1, which is based on the 1940s-1950s Golden Era of musicals. Season 2, AKA Schmicago, delves into the next era of 1960s-1970s musicals. Unfortunately, this left my parents feeling quite lost since they aren't as familiar with this era of musicals. I made these videos as a quick primer for what inspired each episode of Schmicago. Of note: the years I listed in the videos are the year each musical was made, not the year each performance/movie is from.
->Click HERE for a link to the full playlist!<-
Musicals most prevalently used for inspiration in Schmicago:
- Cabaret (1966)
- Sweet Charity (1966)
- Hair (1967)
- Promises, Promises (1968)
- Company (1970)
- Godspell (1970)
- Jesus Christ Superstar (1971)
- Pippin (1972)
- A Chorus Line (1975)
- Chicago (1975)
- Annie (1977)
- Sweeney Todd (1979)
- The Muppets Movie (1979)
- Dreamgirls (1981)
EPISODE 1: WELCOME TO SCHMICAGO
Episode 1: Original Influences
- Pippin (1972): "Magic to Do" heavily influenced the song "Welcome to Schmicago," and Schmicago's narrator is very similar to Pippin's narrator
- Company (1970): The character Joanne who sang "Ladies Who Lunch" in Company shows up as a recurrent figure in each episode of Schmicago with her tag line "I'll drink to that!"
- Sweet Charity (1966): "Do We Shock You" in Schmicago is a parody of "Hey Big Spender" from Sweet Charity
- Cabaret (1966): The emcee of the Kratt Club is based on the emcee from Cabaret, and Jenny Banks is based on Sally Bowles from Cabaret. "Kaput" has similarities in its choreography / intro / message as "Mein Heir," with a musical progression similar to the title song "Cabaret." At one point, Jenny even sings "please get out of mein hair" as a direct pun/reference to "Mein Heir." As an aside, the roommate Elsie who dies in the song "Cabaret" is the name of the dancer (& Jenny's roommate) who dies in the first episode of Schmicago. All the other Kratt Club girls are named after orphans from the musical Annie (Annie, Kate, Molly, Tessie, Pepper, and Duffy).
- Chicago (1975): the start of the Overture to Chicago is similar to the background music of the Leprechaun's song.
Episode 1: Leitmotifs
Also, I can't get enough of all the leitmotifs used in Season 2! If you're not familiar with this concept, a leitmotif is a musical theme associated with a character, idea, or place. Leitmotifs are used all the time in musicals and movies and can often trigger an emotional response even if you're not fully aware of why it's happening (think of the doo-doo doo-doo that symbolizes the shark in Jaws, or Darth Vader's theme in Star Wars). The fact that this is the second season of Schmigadoon gives it the advantage of being able to cleverly reference songs from Season 1 in the background. Here are some leitmotifs you can listen out for in the background of Episode 1:
- Opening (takes place 10 seconds after Schmigadoon): a more unsure version of “This is How We Change” from Season 1
- Josh and Melissa's wedding: "A Happy Beginning" from the finale song of Season 2
- Josh looks at his kazoo: “With All of Your Heart” from Season 1
- Josh and Melissa are in the woods looking for Schmigadoon: “Schmigadoon” from Season 1 and Sondheim's “Into the Woods”
- Josh and Melissa in the car: “You Make Me Want to Sing” from Season 1
- Ann Harada's (mayor's wife in Season 1, Madam Frau in Season 2) entrance: “He’s a Queer One” from Season 1
EPISODE 2: DOORWAY TO WHERE
Episode 2: Original Influences
- Pippin (1972): "Doorway to Where" in Schmicago is a parody of "Corner of the Sky" from Pippin. Topher's character is also based on Jesus from Godspell (1970) and Jesus Christ Superstar (1971) as well as Berger from Hair (1967), but more on that later. As a side note, the guy in the metallic jumpsuit in prison is lead character Conrad, from the 1963 musical Bye Bye Birdie.
- Chicago (1975): Bobby's intro monologue has a similar feel to Roxie's monologue before her song "Roxie."
- A Chorus Line (1975): "I Need to Eat" is basically like a condensed version of the musical A Chorus Line, most closely mimicking the music, choreography, and famous end shot of the opening song "I Hope I Get It." Mel's character sings a similar plea as the character Cassie in "Music in the Mirror," complete with the same ending dance moves. Also, there's a fun little easter egg during this sequence: one of the dancers during the audition gives a monologue that implies she’s a grown up Liesl from The Sound of Music. “I’d like… to stay… and taste my first champagne…?”
- Chicago (1975): "Bobby's Vamp" is based on the intro (We Want Billy) from Chicago's "All I Care About it Love."
- Company (1970) & Chicago (1975): "Bustin' Out" has the musical stylings of "You Could Drive a Person Crazy," and then they sneak in a dance break that's reminiscent of Chicago's overture.
Episode 2: Leitmotifs
- At the press conference, a reporter says "send him to the chair:" "Dias Irae," a Requiem mass frequently used to indicate death. The "Dias Irae" is used a lot in Sweeney Todd.
- Josh and Melissa say they love each other while in prison: "You Make Me Want to Sing" from Season 1.
- Jenny turns on the record: "With All of Your Heart" from Season 1. This goes along with her describing herself as "an old soul."
- Sergeant Rivera and Mel are talking: "Suddenly" from Season 1.
EPISODE 3: BELLS AND WHISTLES
Episode 3: Original Influences
- Hair (1967): The hippies greet Josh with "good morning, Josh-shine," which is a reference to the song "Good Morning Starshine" from the musical Hair. The intro to "Everyone's Gotta Get Naked" further resembles "Good Morning Starshine" with its playful nonsensical words. As an aside, a handful of the nonsense words used in "Everyone's Gotta Get Naked" are actually names of the characters from the 1971 musical Grease (Rizzo, Cha Cha, Doody, Zuko, Kenickie). "Everyone's Gotta Get Naked" has choreography similar to "Aquarius" which is also from Hair. The song refers to the infamous nude scene from Hair, which was so controversial that at one point it made it to the Supreme Court.
- Godspell (1970): Topher's hippy clan resembles Jesus's followers from Godspell, with their campy personalities, eclectic bright costumes, face paint, and junk yard gathering place. The names of the hippies are the first names of the actors who play them. This is a tradition of Godspell; the characters are always named after the actors (except for Jesus and Judas)
- Annie (1977) & Sweeney Todd (1979): Mrs Caldwell's character is based on Miss Hannigan from Annie mixed with Mrs Lovett from Sweeney Todd.
- Sweeney Todd (1979): Dooley Blight is inspired by Sweeney Todd. "The Worst Brats in Town" (and its reprise) are based on Sweeney Todd's "Worst Pies in London, and the next song "There Was a Butcher" is based on Sweeney Todd's "The Barber and His Wife" and "Epiphany."
- Godspell (1970): The parable scene pokes fun at Godspell. All the parables in that musical feel exactly like that.
- Chicago (1975) & A Chorus Line (1975) & Company (1970): Schmicago's "Bells and Whistles" echos the meaning behind Chicago's "Razzle Dazzle," with a fun nod to "We Both Reached for the Gun." The musical style resembles A Chorus Line's "Dance 10 Looks 3." The patter toward the end of the song is reminiscent of the patter from Company's “Not Getting Married Today”
- Jesus Christ Superstar (1971) & Sweeney Todd (1979): "Two Birds with One Stone" has musical influences from Jesus Christ Superstar's “Hosanna” and “This Jesus Must Die.” The self-flagellation references Judge Turpin's song "Mea Culpa" from Sweeney Todd.
Episode 3: Leitmotifs
- Melissa tells Alan Cumming (the mayor in Season 1, Dooley Blight in Season 2) that he reminds her of an old friend: “Somewhere Love is Waiting for You”
EPISODE 4: SOMETHING REAL
Episode 4: Original Influences
- Jesus Christ Superstar (1971): When Topher breaks into his angry song "Why Are You Hassling Me?" it resembles Jesus's part during "The Last Supper" from Jesus Christ Superstar
- Sweet Charity (1966): "Talk to Daddy" is influenced by "Rhythm of Life" and "Rich Man's Frug," both are which from Sweet Charity
- Pippin (1972): "Something Real" doesn't directly parody any song, but perhaps has closest similarities to "Love Song" from Pippin.
- Sweeney Todd (1979), Annie (1977), Bye Bye Birdie (1963), Chicago (1975), Follies (1971), Promises, Promises (1968), & Oliver (1960): "Good Enough to Eat" is thematically a blend of Sweeney Todd and Annie. The intro draws from the tune, meaning, and puns of "A Little Priest" from Sweeney Todd. The song then breaks into a catchy melody with the same vibe as "You're Never Fully Dressed Without a Smile" from Annie. During the dance sequence, you get little nods to Bye Bye Birdie's "Put on a Happy Face," Annie's "It's a Hard Knock Life," Chicago's "All I Care About Is Love" fan dance, the intro to Sondheim's Follies, and the "Turkey Lurkey Time" dance from Promises, Promises. The image of orphans lined up in front of a large cauldron or at the dinner table also bring the musical Oliver to mind.
Episode 4: Leitmotifs
- When Melissa and Josh look at their drawings of different characters: Dooley is represented by "Butcher and His Wife," Jenny is represented by "Kaput," and Kratt gets a deep boom sound.
- Jenny meets the hippies "Everyone's Gotta Get Naked" from Season 2, which has now become the leitmotif of the junk yard location.
EPISODE 5: SOMETHING REAL
Episode 4: Original Influences
- Sweeney Todd (1979): There are a lot of "Welcome to Schmicago" reprises that are all slightly different from each other, but the one at the beginning of this episode opens with a scene inspired by Sweeney Todd, with musical cues from "The Ballad of Sweeney Todd."
- Cabaret (1966): "It's My Turn Now" has similarities to Cabaret's "Maybe This Time"
- Jesus Christ Superstar (1971) & Company (1970): "Famous as Hell" draws inspiration from multiple songs from Jesus Christ Superstar: the title song, "Heaven on My Mind," and "Simon Zealotes." It also features a great cameo from our recurrent character who's based off of the character Joanne in Company.
- Jesus Christ Superstar (1971): "You Betrayed Me" is similar to Topher's earlier song "Why Are You Hassling Me?" and again mimics parts of "the Last Supper" from Jesus Christ Superstar. The insult "sour macaron" refers to Judas calling Jesus a "jaded mandarin," while also making a callback to Season 1's theme song "and the air's as sweet as a macaron."
- Promises, Promises (1968): "There's Always a Twist" is a nod to the more bebop song styles of this era, such as those used in the musical Promises, Promises.
Episode 5: Leitmotifs
- No actual leitmotifs spotted this episode, but the weird child-like duo at the Kratt Club is performing to a jazzy version of "Good Enough to Eat" which makes for a cute (or creepy?) callback.
EPISODE 6: OVER AND DONE
Episode 6: Original Influences
- Dreamgirls (1981): "Over and Done" emulates the style of the musical Dreamgirls. Musically, it reminds me most of "One Night Only" with its ballad style and theme of rejecting a lover. Visually, it appears closest to the musical's Finale, when the main character Effie is reunited with the three other Dreams. To really tip you off, the choreography includes a pose that's straight out of the poster to Dreamgirls. There are moments toward the end, particularly in the ending pose, which refer to Effie's big song "And I Am Telling You."
- Flower Power: There's a moment where Jenny mirrors the famous photograph taken in 1967 of a protestor placing a carnation into the barrel of a soldier's rifle.
- The Phantom of the Opera (1986): The chandelier scene refers to the famous scene from Phantom of the Opera, symbolizing that the next era of musicals is starting to crash in.
- The Rocky Horror Show (1973): Sergeant Rivera's breakout number is a reference to Frank-N-Furter's opening song "Sweet Transvestite" from The Rocky Horror Show.
- Pippin (1972) & Company (1970): The scene toward the end where the narrator tries to tempt Melissa and Josh to stay in Schmicago is similar to the scene at the end of Pippin where the narrator tries to tempt Pippin to set himself on fire. Bobby gets the line "add em up, kiddos, add em up" which is similar to a line in "Being Alive" from Company. The narrator being replaced by a woman refers to actress Patina Miller taking over the role of narrator for the Pippin revival in 2013, 41 years after Ben Vereen originated the role. Each of them won a Tony Award for their portrayals.
- My favorite easter egg of the series: the leprechaun brothers are named Oscar and Stephen, after Oscar Hammerstein II (lyricist of Rogers & Hammerstein, well known for the golden era that Schmigadoon is based on) and Stephen Sondheim (composer/lyricist who wrote many musicals including Company and Sweeney Todd which influenced Schmicago). Hammerstein was a father figure to Sondheim, so the two of them bridge the gap between the two musical worlds.
- The Muppet Movie (1979) & Godspell (1970): The final song "A Happy Beginning" was inspired by "Rainbow Connection" from the Muppet Movie. The very last shot in Schmicago is a replication of the last shot of the film Godspell, with a special little cameo by Cinco Paul, the show's creator and songwriter.
Episode 6: Leitmotifs
- Dooley is reunited with Jenny: "Somewhere Someone's Waiting for You"
- Josh and Melissa embrace: "You Make Me Want to Sing"
