Oak Floors, The Musical

Every time I see a rehearsal, I learn something. Today I was able to catch the run for lights of Around the World in 80 Days, opening in two weeks at Globe Theatre. 
There's a narrator, at times. His/Her voice fulfills the simple task of letting us know what world we're living in, in this play. 
In recent days I've been think about inserting such a function into my musical (which is now known by the title of this blog entry). This Balladeer, as I call him, will guide us into and through the world of the piece without, I hope, getting in the way. Until these last few days, a young woman named Patty had the job of animating the transitions from scene to scene. I rather liked the hallway dance she did, and how just by cocking an ear toward a door as she passed she could get us into a scene inside. Now the Balladeer (a name I like less every time I use it) will do it.
As with every choice I make with this work, the pitfalls are plenty. But so far, so good. Patty, I think, will turn out to be more interesting when she's less responsible for moving things along. 
As long as this B. voice doesn't say too much. 
Closing note about one of the characters, whom I'd dubbed Paleo Joey, also the name of his food truck business: His real name is Paolo, from Portugal, and he's heading for a fado session with the nurse, Evelyn.