Madeline Kahn interprets lyrics like it is her job to interpret resigned, half-bemused sorrow for the damn United Nations.
I also can’t remember the last time I heard Madeline sing something that really shows off the lower half of her register, and it’s so gorgeous! I think of her as this very flute-y soprano but this is just the greatest and it’s very rich and low. Also! It’s so lovely that she doesn’t play this song as just MOPING TIME, which many otherwise great singers do, there’s a sense of joyfulness and wryness here that makes it FUN, rather than just “oh no I want the bad sex,” which is all to the good.
I also have NO IDEA where the last two bars come from, I have never heard the bit about spending her husband’s money before! From whence does this spring, does anyone know?
Mallory is an Editor of The Toast.