Reviews for A Fair Compromise
showtunediva chapter 1 . 2/2/2011
I really liked this a lot. It was a nice crossover between Chicago and Music Man. I really like your writing

Perhaps we can collaborate?
Emery Saks chapter 1 . 7/11/2010
One of the things I always enjoy about your stories is that you incorporate serious material into what was originally a fluffy, sugary sweet universe. Meredith Willson set out some great characters with a good story, but you have fully fleshed out those chracters and made them multifaceted individuals.

I was pleasantly surprised to see Marian as the one who supported the death penalty and Harold as the one who argued in its fallibilty. However, I think both supported very convinving arguments for their beliefs.

I think it fitting that Harold would have reservations about it, especially give his past. You did a wonderful job in tying in his still-existent doubts (after so many years) of what Marian would think if she knew all he had done.

Excellent story here with some gritty content that gives us deeper insight into Harold and Marian.

Curious - Harold said two times it escalated into violence. Once with was Eileen. What was the other?
bballgirl22 chapter 1 . 7/5/2010
Interesting. Nice work. :)
Clio1792 chapter 1 . 6/29/2010
I have one immediate reaction to this story: YIPPPEEE!

I appreciate that you have reservations about introducing serious issues into Fan Fiction, but you do it so well (I'm also thinking of an earlier story where you took on questions of religious faith), and, well, I enjoy it so much...why shouldn't Fan Fiction be thought-provoking as well as amusing, or romantic? Why on earth should any of these elements be mutually exclusive?

This was terrific because the juxtaposition in the perspectives of Mr. and Mrs. Hill was entirely believeable-Marian, the gal for whom moral questions are abstractions of principle, dismisses lady's privilege to assert gender equity (feminism where it counts?); Harold the pragmatist who has seen everything and been seasoned and chastened by it all, invokes gender privilege but is really shying away from judgments precisely because he identifies with the accused across gender.

I really liked it that *both* characters advanced solid arguments, leaving the actual issue under examination open for the reader to contemplate further. I also liked the way in which the second, "crossover" layer of this piece, as an entry that linked "The Music Man" to "Chicago," usefully contrasted the serious sweetness of Meredith Wilson's musical to the cynicism of Bob Fosse's darker production.

Just brilliant.

Clio