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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.
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.