“Glitter and Be Gay” sounds like something out of a pride parade, doesn’t it. Bahaha. It’s actually from the operetta Candide, and it’s the song in which young waif Cunegonde decides to stop moping around about her situation and start taking advantage of it. The message or “plot” of the song is funny on its own, but the song is really technically difficult – if you take a listen, the notes jump around a lot, and very quickly, and get progressively higher and higher, some of them notes that only dogs can hear properly. Then on top of that, while the singer could just stand there and deliver a technical performance, the blocking of the scene generally requires a lot of jumping around and playing with costume jewelry.
I don’t usually think of acting in a musical as a strenuous workout, but seeing Kristen Chenoweth perform this song, I can definitely believe it.
What’s interesting to me about this song is that Cunegonde has been treated horribly by the narrative (thanks, Voltaire), so it isn’t as though the moping at the beginning of the song isn’t justified. I mean, if your family had been slaughtered in front of you, and you had been rock-paper-scissor divvied between a corrupt member of the Church and an old merchant, and that was only the start of your troubles … well. That kind of tragedy is pretty exhausting. But underlying this is a sort of meta idea that while it makes sense to feel sorry for yourself, it’s also boring to watch other people wallow in misery – and it doesn’t do anything for the plot, either. At some point the character’s gotta pick herself up and find a way to keep going, otherwise she’s a cardboard cut-out.
And while in the original novella, Cunegonde pretty much was a cardboard cut-out, the operetta’s got some dissenting opinions on that.
So, having endured so much already, Cunegonde decides to not only endure her current situation but to take as much advantage of it as she can. She redefines her character from “broken victim” status to “survivor,” and when she does finally reunite with Candide, she’s got the willpower and resilience to escape with him as an active participant in the plan.
(A cynic might ask, “well, if her situation is so horrible, why doesn’t she try to leave sooner?” But that discussion is a subject for a different post.)
(And if you’re thinking, “jeez, who reads this much into a musical number,” all I can say is I was an English minor for a reason.)
Anyway, if you’ve never read the book Candide, you’re not missing out on that much. The operetta sensationalizes the story and makes it a lot more fun for consumers, but it gets the main point across, too, and the plot points are easier to remember when they’re attached to snazzy musical numbers. I wouldn’t call it “pandering” so much as “making it more accessible.”
Besides, what book hasn’t been vastly improved by the inclusion of snazzy musical numbers.