Music

The music that Paula Vogel's script for this play suggests is music that spans two generations. The Motown music that she mentions several times, as well as songs by Roy Orbison, Jan and Dean, and the Beach Boys, are all historically correct for action that is taking place in the mid-to late-1960s. Stylistically, they are romantic songs with hints of sexuality and with roots in the harmonically rich doo-wop music of the 1950s. This is most important for understanding the playwright's point when, at the end of the discussion about sex, the chorus members who have been speaking for Li'l Bit's mother, grandmother, and grandfather break into song, singing in three-part harmony and evoking the kind of music that lovers would listen to on the radio, as the scene dissolves to Li'l Bit and Uncle Peck in his car. Though the play deals with child molestation, a...