The College’s Broadway Musical Revue (BMR) group put on a series of fantastic performances on the weekend of Nov. 18. The songs and choreography were particularly well done, interspersed with BMR traditions such as the game “Miniature Tanks”—where actors got on their hands and knees to topple each other—as well as other entertainment during the transitions between songs.

Many of the songs, especially those sung by the BMR men, tended to include comedy of the absurd. The songs themselves were comedic in nature, but the BMR cast took them to another level with generous amounts of irony and physical comedy. For example, during their performance of “Coffee Break,” all of the performers wore disheveled clothing and moved in caffeine-deficient jerky movements.

Body language played a very effective part in each one of the songs, adding humor to songs like, “I Know it’s Today,” from Shrek: The Musical, in which BMR women, dressed as princesses, tried to keep their optimism as their princes failed to arrive. The book used as a prop, Cardinal Sins, was also a particularly ironic choice considering their costumes.

Among the more modern theatrical pieces were those which called one back to old Broadway and more classical musical theater. Flashy formal attire characterized the song, “Show People,” and classy formal wear for the song “You’re On Top.”

As is their practice, BMR also performed a piece in which they included an audience member. This year the song they used for this was My Big French Boyfriend, from a musical entitled, “The Toxic Avenger.” The lucky audience member became the subject of the song, with several BMR women fawning over him. Even among the other comical antics in the performance, this song was particularly entertaining, especially for the friends of the lucky chosen audience member.

BMR filled the transitions between their songs with short skits such as a very strange version of the game Twister and classics such as their “Miniature Tanks” game, as mentioned, which must be seen to be properly appreciated.

Another BMR tradition present in this production was a showcasing of sorts of their new first-year members. These performers had prominent roles in the performances and also sometimes in the transition periods between songs.

The choreography of the pieces was very well done and seemingly complicated in the songs involving a large amount of the cast. The movement was complex but very well-orchestrated and constructed. BMR can be seen improving and expanding upon work done in previous years to create a better show, and this was especially apparent in the development of their choreography.

Though they presented a wide variety of songs during their show, BMR demonstrated the full range of its talent during the opening and closing numbers. The untitled opening number was a very creative hyperbole of the writing process, accentuated by explicitly saying what was being done musically. In closing, BMR performed an arrangement integrating “Side by Side” and “What Would We Do Without You,” demonstrating musically the artistic camaraderie within the group and the amount of enjoyment that they always appear to get from working together.

With a dazzling overall performance this fall, the next BMR show should be a highly anticipated part of everyone’s spring.