As described, this right here is going to be a (working) list of MY top ten Musical Theatre songs. Not the top ten most legendary songs, not the top ten songs I thought you'd clap for me if I added, etc. etc.
This right here is my disclaimer that though I love musical theatre and I know a lot about it, I do have holes in my knowledge just like everyone. So. While there are many legendary songs missing from this list due to not earning spots, I acknowledge that there may be others I simply have not heard enough to consider yet.
I tried very hard to not have any criteria on this. I didn't measure quantitatively by number-of-sick-riffs or anything. I did not limit how many times a composer could appear (you'll see some repeats), however I did try to avoid putting the same show on there twice (which, now that I think of it, doesn't even matter because I did fail). I am also only including songs that were originally written for the stage (for example, "The World Will Know" from Newsies got booted because it was in the movie first).
The idea here is that I picked based on the song itself. The melody, the lyrics; the context being somewhat important, but not picking any song solely for its emotional value- especially if it's automatically touching due to being about dead puppies or something. Also, I'm not using specific performances. A great actor can put on an incredible performance of a horrible song; I want the bones. In addition, a song being present does not indicate my endorsement of everything the composer has ever done, everything the actors have ever done, or even the content of the entire show the song is from. It just means I like the song. I consider this list to be somewhat in order, but it can shuffle around due to the hour, or my mood, or if there's a full moon.
Okay! Wahoo!
10. The Thrill of First Love
The Falsettos, William Finn, 1992
Can I be so for real right now? I've never seen The Falsettos all the way through. It's on the top of my list. And to be honest, in my head, I thought this song had more people in it. Like, I listen to it all the time and I have it memorized...I guess I objectively know that it's just the two of them, but it just has so much energy that I didn't realize it was only a duet.
I love William Finn. As I'm going to mention later on here: a lot of my favorite Musical Theatre composers create work that is best enjoyed self-contained, which is to say: in a seat in a theatre watching the whole show in order, and I feel that way about him. I genuinely believe The 25th Annual Putnam County Spelling Bee to be a revolutionary creation in musical theatre writing, but most of its songs are not nearly as enjoyable in a vacuum. The Falsettos (to my knowledge) is similar in that way, but The Thrill of First Love stands out as remarkably accessible (for lack of a better word). It showcases Finn's compositional style while being entirely enjoyable without the listener needing to be immersed in the Falsettos world (should I be saying Falsettoland?) to understand or love it.
The Thrill of First Love is much more human than I'd say most MT tends to be. Its musical style is still very elevated (which does a lot for me), while the story it tells stays down here on earth. There is no need for extraneous showmanship when it comes to acting style; precision is all it takes, and such a realist form of storytelling plays to my personal tastes. It's clever, unique, and I would guess that most anyone (MT-adjacent or otherwise) would be able to recognize its merits as a song. I just love it! I can't get enough of it!
9. The Phantom of the Opera
The Phantom of the Opera, Andrew Lloyd Webber, 1986
Nora, the title song? From Phantom of the Opera? You're a pretentious theatre kid, aren't you supposed to be pickier than that?
No.
First thing: it slaps.
Second thing: I had seen the tour of Phantom when it came through Denver several times in my youth, but I didn't see it on Broadway until I moved to New York in 2023. Hear me: I have not seen anything on Broadway remotely like it in terms of orchestration, precision, or sheer commitment since then. Any big Broadway show you're about to pitch me; I've probably seen it, and if not, I hope you're willing to pay for my tickets. This show is Musical Theatre to me. And I know that I really do mean that, because I would never be in it! So there's no selfish agenda at hand!
Anyway, it's just a remarkable song. I don't pray to ALW as a god, I promise- I saw Bad Cinderella, I've even heard rumors of plagiarism (if I ever know more about that, you'll be the first to hear), but as a piece of the musical theatre canon...it scratches my brain itch like nothing I've ever heard and I will personally love it until the day I die.
8. Blackout
In the Heights, Lin-Manuel Miranda, 2005
Here it is, you knew he was coming, you're gonna see him again, it's the man himself. I don't know what to tell you. Yeah he's cringe, yeah he can be wack... the man knows how to write a fucking song.
I tend to be somewhat (more) immune (than most) to the wiles of the phenomenon I'm going to call "The Crazy Counterpoint Act I Closer." Like... I know what you're doing to me. I've listened to One Day More a lot of times in my short life. The different characters are going to go through separate but related turmoils via interlocking melodies. It's going to be loud and touching. You can't surprise me.
Except when Lin-Manuel Miranda totally does, even still, even after I've watched this song live many times. The music is phenomenal; as a show, I think the orchestrations of In the Heights are unmatched. Every single choice in this specific piece is both purposeful and punchy (oh Roger, what alliteration!). There are so many moments that force you to stop and take a breath, before the action starts again and continues the momentum at full speed, whether you're ready or not.
I've seen several productions of In the Heights, and something I adore about this song is the way the lighting designer always gets to really flex. I've never seen a bad interpretation. They're watching fireworks! At an emotional crossroads! As a chosen family! We're watching the light of the fireworks reflected on their faces! My fucking HEARTSTRINGS!
Great song. I cry every time. As I do with most of these songs.
7. The Weekly Volcano Press
Little Women, Jason Howland/MIndi Dickstein, 2001
A few things. 1) You will notice I had to attach two (2!) separate, grainy, short videos of the OBC in rehearsal. This is because there are ZERO good videos of pretty much anything from Little Women on Broadway, because I guess 2001 was still the Dark Ages of filming theatre. This song in its entirety is like 9 minutes long; I hope, for those who have not been fortunate enough to see this show, that you can gather the vibe of the song from the pieces I could get you. And! 2) I acknowledge my deep personal bias of being profoundly attached to Little Women due to being very close to my sisters and also due to having seen it (featuring one of my sisters nonetheless!) at a formative time in my Musical Theatre taste-developing journey. That being said: I'm always right and it's really good.
This song would be an example of "Crazy Counterpoint Act I Closer," except for one thing: it opens Act II instead. Act I ends with a different cliché, one of the most beloved contemporary I-want songs: "Astonishing." Frankly, if it simply must be categorized: in my head, this song is more of an extremely early 11-o'clock-number than anything (because of how hype I get, not so much as a matter of structure or function). Either way, intermission at Little Women is bookended with straight dubs ("dub" being short for "W," referring to the first letter of the word "win," for any of my non-slang-familiar family members who are here with me).
I cry. I cry, I cry, I cry. This song is made of layer after layer after layer; thematically and musically, as well as literally (in the staging). One of the layers of the interpretation here is that Jo is telling her (few) friends about her first taste of success at something she's dreamed of doing her entire life. Touching already. Another is that as a part of this, she's simultaneously telling a story of hers (she's a writer, if you're unfamiliar) where she has clearly (whether on purpose or not) inserted the people she loves most as the characters. So, in a way, (in a literal way because of the cast doubling in this particular production), you're seeing her family and her best friend bolster her rise to success, even from miles away. Again with the heartstrings.
As you'll see in more songs on this list, the lush vocal arrangements and the counterpoint just get me every time. It really feels like an Act I closer because of how much of a firecracker the end is- it's clean and touching and clever (and funny specifically! When done right!) all at once. I find it overwhelming. I think this song is the one I'll still be humming someday if the rest of my memory ever goes.
It takes something whimsical and childish, and grounds it in passion and human connection. I love this song on a different level than any other song here.
6. The Ballad of Sweeney Todd
Sweeney Todd, Stephen Sondheim, 1979
On the off chance some of you haven't seen the 2014 Lincoln Center version of this song, I won't spoil it for you. All I will say is that if a genie came to me and said that I could (sans repercussions) go back in time to experience one moment in history, to be there in one moment as a participant for the first time, I would choose this. I would give a LOT of things to have been in this room. I get goosebumps just thinking about it.
Is "The Ballad of Sweeney Todd" even my favorite song from Sweeney Todd? I'm honestly not sure. I've seen it staged several times in ways I abhorred. But what's the best thing about Sweeney Todd? It's the music. Even if you think you disagree with me, I'm pretentious enough and confident enough to say that I think you're incorrect and that I actually know you better than you do. And what's the most Sondheim-y song in Sweeney Todd? It's "The Ballad of Sweeney Todd."
I don't know if you've noticed by the everything-I've-ever-said, but my favorite feeling in the world (my second favorite feeling in the world being "getting into a hot tub after a long day of skiing," in case you were curious) is to be hit by a sudden wave of sound; specifically a sudden wave of voices and instruments making noise in tandem. Sondheim was a master at that specific feeling, and he gave bitches like me (see: bitches who live for that shit) a lifelong gift with this song. It's just an all-timer. Like, when I think of Sweeney Todd, even if I may feel fonder of other parts of it, this song will always be the first thing I picture. I truly feel like that very first "swing your razor wide, Sweeney" is all most people really need in order to decide that they like the show. Even if you aren't into the macabre, you can't help but be bewitched by that moment.
5. Paciencia y fe
In the Heights, Lin-Manuel Miranda, 2005
Here he is again!
If you pick one video from this list to watch in its entirety, make it this one. I feel like this performance of this song really speaks for itself. You can't even see the rest of the stage- and trust that there are really cool things going on back there- but you don't really need to. It's all in the heart of the song.
Are you familiar with the idea of the boring-2nd-act-old-person-mentor-song? The "More I Cannot Wish You's", the "To Break In a Glove's", the "Everything Happens's", the "Sentimental Man's", the "Take It from an Old Man's", the Song in Every Musical That No One Likes (although, for the record, I will never forgive Sarah Smallwood Parsons for including "Mister Cellophane" in her list, but I digress)? I bring this concept up because "Paciencia y Fe" is so emphatically NOT one of those songs. Abuela Claudia is a fully fleshed out human being for every second of In the Heights, and this is her most significant moment. Rather than a half-assed ballad where Abuela would just pull up, give some advice, then leave- the audience is given a moment alone with her. We're given a glimpse into the lived experience of a woman who immigrated to NYC as a young girl, and who is still here decades later.
It's a story song, too! But you forget that it is, and you don't get bored, because the emotional weight of Abuela telling the story is so heavy and so immediate in the moment and the context of the show.
It pulls me all the way in. Every single time. Incredible work of art.
4. Wait For It
Hamilton, Lin-Manuel Miranda, 2015
You can't actually find a full, un-interrupted video of this song in context on YouTube because D*sney owns Hamilton now, but (and I mean this): if you are a reader of mine and you have not seen the pro-shot Hamilton, I will pay for you to be able to watch it. Fill out my contact form.
That being said: I was already considering using this video instead of a staged one, because I remember watching it when it first got posted and just...breaking the fuck down. The vocal arrangements... I feel these voices reverberating through my bones long after the song has ended. Obviously the lyrics of this song are stuffed full of Lin-Manuel Miranda's trademark clever wordplay, and it is clever, but like I said earlier: man knows how to write a fucking song. Complete mastery of song structure, of melody, of composition; he knows exactly how to play to his audience. I know I said I wasn't picking specific performances- AND I'M STILL NOT, this choice includes every Aaron Burr you could possibly see- but c'mon. Leslie Odom Jr. is just godly here.
I wanted to feel embarrassed that I gave Lin-Manuel Miranda three whole spots on here when there are other composers I adore who aren't present at all, but then I remembered a few things: first, I can do whatever I want. Second: he is particularly good at writing songs that are just as effective out-of-context as they are in the show. The songs that I picked for this particular list, my top MT songs of all time, are all songs that work flawlessly on their own. A lot of my other favorite composers have work that just happens to be more context-dependent and tone-specific. Like, their pieces may be every bit as "good" (whatever that means), but they work best inside the bookends of the entire show and not so much as standalone songs. And! When I say the man knows how to write a SONG, I mean specifically that! He knows the ins and outs of a single song like the back of his hand.
Anyway, I promise this is his last feature here. Swear on my life.
3. Maria
West Side Story, Leonard Bernstein/Stephen Sondheim, 1957
It feels so silly to be like "here's why I, a 24-year-old girl, think that one of the most legendary songs of all time by one of the most legendary composers of all time is good :)." Like...what could I possibly have to add to this conversation that hasn't been said a million times, in a million better ways?
If you didn't go to American music school, a little factoid for you: when students are trying to memorize the sounds of intervals, there's a go-to list of songs that are used as sort of audial mnemonics for when they need to think of a certain one. "Here Comes the Bride," for the perfect fourth, for example. Well, "Maria" is the song they use for the tritone. I love that, because everyone loves to talk about that myth about the tritone being banned in the Middle Ages by the Catholic Church for being the "Devil's interval," and yet, for most of my peers, the song that conjures the sound of that interval is a shining evocation of young love at first sight.
This piece is just such a masterful display of compositional brilliance that I fear I will never be able to fully grasp it. Did you know that there are only 50 unique words in the entirety of the (film version of the) song? There are 147 words total, and 24 of them are "Maria." So little! And yet, anything more, and it would've suffered.
The way the lyrics and the melody flow together is unmatched. I want to call it text painting, the way that every single "Maria" just...feels like the name Maria. You can hear him turning the name over in his mind, just through that endlessly entrancing melody. You can still hear it when the orchestra plays the theme sans-vocals!
I know it's fictional, I know it's a song, but man... sometimes, I find myself wondering if nobody else feels love as intensely as I do. I'm not joking! Sometimes everyone appears so unbothered and level-headed that I think... am I crazy? So thank god Sondheim existed to put life's emotional extremes into words. Again, I know that any single thing I could possibly say about this song, about this show, would be an understatement, but thank god he and Leonard Bernstein met to create one of the greatest masterpieces of the century. I don't think anyone would accuse me of exaggeration on that one.
2. Without Love
Hairspray, Marc Shaiman/Scott Wittman, 2002
Trigger warning for Matthew Morrison! (this was a joke for all the kids out there)
I know! Kind of a weird call! Guys, I don't know what to tell you. I'm crying thinking about the song. I know Hairspray has a lot of problems (mainly that it oozes white saviorism), but I don't think Without Love in particular is all that significant to that part of the narrative, so I feel like I can still love it. Not saying we should all start snapping up the rights to Hairspray again, though! It's just one good song.
First off, it's just universally uplifting. The melody is catchy, the harmonies are satisfying, the chorus backs it up perfectly (my first experience with Hairspray was actually as a Nicest Kid in my freshman year of high school, and it was some of the most fun I've ever had learning a score), the key change comes exactly when you want it to...plus, these lyrics are some of the most clever in the show; they're deceptively simple. The format becomes immediately familiar, while the constant elaborations on what life would be like without love keep it engaging. If done with the right timing, it can be hilarious. This song is just so satisfying. It puts you in a jaunty mood, and who doesn't want to feel jaunty?
1. Sit Down, You're Rockin' the Boat
Guys and Dolls, Frank Loesser, 1950
Those who spend a lot of time with me know I have been touting this song as the "best musical theatre song of all time" for years. I cried watching this video, just now, when I went to get the link to embed it here. It is just so good.
My stepdad tells a story about going to see a production of Guys and Dolls where the audience just kept begging for encore after encore of this number, until the actor playing Nicely Nicely was dripping with sweat, and they were still cheering when he was forced to keep the show moving (lest they do this song all night). I mean...did you watch the video? Then you get it!
I'm a sucker for some precise, entire-ensemble-singing-their-hearts-out arrangements, and this is a masterclass in it. In fact, not surprisingly, most of the songs on this list ended up being big ensemble numbers. I think "Sit Down" is one of the best, though- by nature of the context it's hilarious, but if you didn't know what was going on, it would read as entirely genuine.
I also love the way that this song is usually staged. I appreciate elaborate choreography, don't get me wrong, but in my opinion: the stage picture that the choreography takes place IN is much more important. It's like...putting all the best pizza toppings on a half-baked crust. The crust is the integrity! It's what holds it together and gives it the ability to be interesting! So. This piece is almost always done with more big-picture-motivated movement than true dance, and when done well, it's so effective!
In my eyes, there is nothing anyone could really dislike about this song. It's universal, it's fun, it's well-done; it's just a good time. Pardon my french, it's just a great fucking song. Not much more to say, methinks.
Honorable mentions
Frankly, any one of these songs could be swapped onto this list at any moment, they just didn't happen to be there right now
Wait For Me (Reprise), Hadestown, Anaïs Mitchell, 2006
Lily's Eyes, The Secret Garden, Lucy Simon/Marsha Norman, 1989
Your Daddy's Son, Ragtime, Stephen Flaherty/Lynn Ahrens, 1996
I Don't Care Much, Cabaret, John Kander/Fred Ebb, (1987 revival onward)
Easy Street, Annie, Charles Strouse/Martin Charnin, 1976
Solla Sollew, Seussical the Musical, Stephen Flaherty/Lynn Ahrens, 2000
Freak Flag, Shrek the Musical, Jeanine Tesori/David Lindsay-Abaire, 2008
Prayer, Come From Away, Irene Sankoff & David Hein, 2017
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