That’s smart, confident writing.

The last words of the show, arranged in glorious four-part choral harmony sum up the show itself, its point, its tragedy, the great loss at its center: And in those final moments, we see that this is a story about responsibility. There has been "no voice, no sound" to help these kids navigate their world. There has been only silence from those in authority. But now, these kids understand that have a voice, that can help each other and those like them, that if they raise their voices together as one, maybe it will be heard. One precious voice has been lost, but another voice has been found. And perhaps that voice is .

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At the party, all the relationships become more complicated and closer to boiling over. Peter pulls Jason aside and sings a waltz about wanting to go back to the rave. Intrabartolo uses waltz time in the show a lot, and though that’s not very rock and roll, it is very emo. They fight again and Peter leaves. The music transitions to the first use of the seduction theme, opening "One Kiss" as an instrumental. In more musical conversation, Ivy launches an all-out campaign of seduction on Jason and, in the wake of his fight with Peter over being open about their love, Jason succumbs to Ivy’s advances.

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At Ivy’s party, there’s more rap conversation, along with the incredibly nasty birthday song Nadia has written for Ivy, called "Birthday Bitch." It’s the casual vulgarity of certain parts of the show that lend reality to these teenagers and also that balance the very naked, non-ironic emotion of other parts.

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We have no need for forgiveness

Hartmere also skillfully writes complex conversations set to music, sometimes for an extended scene, sometimes with more than one conversation going on at once, sometimes among just two characters, sometimes among five or six (see "Promise" as an example). It’s the one of most advanced uses yet of the kind of extended musical scene Oscar Hammerstein pioneered back in the 1920s in and in the 1940s in the classic Rodgers and Hammerstein musicals. But though those Hammerstein scenes are impressive for their time, there’s a formality and an awkwardness that keeps them from actually feeling real. In , those conversations feel both spontaneous and real. Where Hammerstein had to contort sentences and use odd word choices in order to hold to his structure and rhyme scheme, here Hartmere knows that rules are made to be broken and authenticity is the highest goal now, so he forsakes rhyme when it makes sense to. Composer Stephen Sondheim believes that the amount of rhyme in a song connotes a character’s intelligence and/or presence of mind. The less intelligent or the less rational a character is, the less he rhymes (look at "Getting Married Today in , which has almost no rhyme). In , Hartmere fashions believable spontaneity by not getting chained to the old conventions. When characters are fighting and emotions are running high, Hartmere ignores rhyme. The audience doesn’t notice because they’re too wrapped up in the conversation.

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By the end, their thoughts will turn from the concrete to the abstract, from the everyday to the eternal. They will be changed by all that has happened. There has been pain but there is also hope. What hope there is back at the end of Act I is all self-delusion.

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Ultimately, Claire hangs up before Peter can tell her, but we know she got the message because she now gets her soliloquy, "Warning," mourning the loss of the son she now knows she never really knew. It’s very minimalist musically, using very little musical material over and over, as Claire’s mind runs in circles. Her melody is built largely on triplets, but over an accompaniment in 4/4. Her voice works against the music; she’s lost her footing. And though for the most of the show, Claire speaks rather than sings, here her emotions pour out of her and she needs music. She goes through several emotional states. First, the recognition of the truth and the recognition of her intentional denial of it. Then her anger takes over and her music becomes harder rock (using the music Peter sang in "Best Kept Secret"); she mourns the "loss" of the son she thought she had raised. But her love for Peter is stronger than her anger, and she returns to the gentler music. But now her thoughts turn to the practical. How will she tell he ex-husband? What will other people think of her now?

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We’re doing time in confession.

But just as remarkable and just as fresh as the music are Jon Hartmere’s lyrics. He’s as adept at a structured song as he is at musicalized conversations, some of them in the form of rap. He has written big solos – soliloquies, arias – for all the central characters in . They seem to be conventional in form, often with a pop "hook" in the lyric, but most of them are more complicated, running through evolving, conflicting emotions, or sometimes sitting, brooding over just one; some of the language bare and stark, while other moments are more like minimalist, stream-of-consciousness poetry. In a way, even as he has used as a jumping off place, Hartmere has created a contemporary equivalent to Shakespeare’s contrasting blank verse and soaring poetics.