By Daniel Hathaway

The composers had colorful texts to work with. Millay’s sonnets follow the traditional fourteen-line format in which the final couplet often contains a surprise, and Sokefeldt has deconstructed familiar “Mother Goose” rhymes — along with English and French songs — into what she calls “feminist rager lullabies,” “retelling old lullabies for a new, queer age.”




