Like its predecessor, this chapter is a case study, this time detailing Very Good Eddie. This second Princess musical dwarfed Nobody Home in terms of commercial success—which says a great deal for Very Good Eddie, as Nobody Home was well-received. Greater acclaim was possibly the result of an even more daring score. In Chap. 2 , I began with a historical account contextualizing the musical’s creation before analyzing that score. This score is characterized by even more extensive dramatic integration than that of Nobody Home. Kern’s underscoring, enhanced by Frank Saddler’s orchestrations, works in tandem with Bolton’s libretto to convey compelling and sympathetic characters. The show’s rare novelty numbers—a parody of contemporary “problem plays” and an impromptu fashion show—contribute to the show’s “realism” in their own way: each allows the audience members to recognize themselves onstage in a lovingly self-aware way. Kern’s songs replace dialogue at key points, demonstrating the creators’ confidence that music can reveal their characters’ truths more effectively than spoken words. Similarly, Kern uses songs as monologues to convey characters’ motivations and emotions in ways that would appear campy or implausible if spoken. Very Good Eddie’s score represents a bold step forward in the musical possibilities of Broadway.