2. One-sentence thesis statement:

But perhaps it’s time for in its original formto return at last, in this new Age of Ironic Detachment. In 2005, Norman Lebrecht wrote about the new postmodern musicals () in his online column: "The music in each of these shows amplifies this element of separation, licensing us to stand apart from what we are seeing and enter a third dimension where each of us can individually decide whether to take the plot literally or sardonically, whether to take offense or simply collapse in giggles. This degree of Ironic Detachment is the very making of the postmodern hit musical. Ironic Detachment would be unattainable in a Tom Stoppard play because I.D. requires musical inflexion; it is impossible in opera and ballet, which are stiffened by tradition against self-mockery. Its application is unique to the musical comedy, an ephemeral entertainment which has found new relevance through its philosophical engagement with 21st century concepts of irony and alienation." Still, Ironic Detachment isn’t entirely new in musical theatre – we’ve seen it before, periodically over the twentieth century, in (1928), (1931), (1937), (1950), (1959) (1961) (1965), (1966), (1969), (1970), (1973), (1974), and yes,

a. Supporting evidence for the first idea:

 b. Supporting evidence for the first idea:

c. Supporting evidence for the first idea:

The line graph illustrates the number of UK residents going abroad from the UK and overseas residents visting the UK between 1979 and 1999. Instead of this can we say UK residents who went abroad from the UK and overseas residents who visited the UK between… what is the difference between the two.

a. Supporting evidence for second main idea:

As Grace Palladino asks in , "Did the world really work better when girls had no choice in life but to get married, blacks knew their servile place, and kids who lived outside the charmed circle of upper-middle class life were invisible?"

b. Supporting evidence for second main idea:

Rizzo’s pretty great at choosing metaphors…

…the "darling, pink world," as she herself characterized it, that Sandra Dee was thought to inhabit by her fans had always been a grotesque mockery, plagued not by an overripened case of virginity but by childhood incest. The girl with brimming brown eyes and a fizzy lilt to her voice was born Alexandria Zuck in Bayonne, New Jersey. Her parents divorced when she was five; her father, a bus driver, disappeared from her life shortly thereafter, and her mother, Mary, married a much-older real-estate entrepreneur named Eugene Duvan within a few years. . . Worse yet, Dee's devoted but manipulative mother turned a conveniently blind eye to the defiled sexual appetites of her new husband. Duvan, who liked to tease his wife that he married her "just to get Sandy," started having sex with his beautiful stepdaughter when she was 8 and continued doing so almost until his death when she was 12.

Thanks for sharing and very well done – great score 🙂

Are there difficult or confusing words? Even if you are only the slightest bit unsure about the meaning of a word, look it up in a good dictionary. If you are reading poetry written before the twentieth century, learn to use the Oxford English Dictionary, which can tell you how a word's definition and usage have changed over time. Be sure that you determine how a word is being used--as a noun, verb, adjective, adverb--so that you can find its appropriate meaning. Be sure also to consider various possible meanings of a word and be alert to subtle differences between words. A good poet uses language very carefully; as a good reader you in turn must be equally sensitive to the implications of word choice.

1. Restatement of your thesis:

2. Insightful sentence to end your essay:

Are there any allusions to other literary or historical figures or events? How do these add to the poem? How are they appropriate?

An experience largely forgotten by most productions of the show today.

Read a poem with a pencil in your hand.

What mood is evoked in the poem? How is this accomplished? Consider the ways in which not only the meanings of words but also their sound and the poem's rhythms help to create its mood.

Darphne Merkin wrote in  in 2005 at the time of Sandra Dee’s death:

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As a result, Sandra Dee later suffered from anorexia, depression, and alcoholism throughout her life. All this made her cynically manufactured façade of sweetness even darker and more complex. This was the conventional, repressed, hypocritical, manufactured life from which Sandy Dumbrowski must escape.