History Main / IWantSong

5th Feb '16 6:54:02 AM TheAmazingBlachman
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* Parodied in ''Film/MontyPythonAndTheHolyGrail'' -- Prince Herbert repeatedly attempts to sing one of these, but his father [[GenreSavvy always puts a stop to it]]. It is first when Herbert turns it into a CrowdSong he manages to get one started.
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* Parodied in ''Film/MontyPythonAndTheHolyGrail'' -- Prince Herbert [[InvokedTrope repeatedly attempts attempts]] to sing one of these, but his father [[GenreSavvy his father]] [[DefiedTrope always puts a stop to it]]. It is first when Herbert turns it into a CrowdSong he manages to get one started.
17th Jan '16 8:50:19 PM godzillavkk
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* [[https://www.youtube.com/watch?v=cbsB3DRB8Xs "The World from way up here"]] from the Christmas movie ''AnimatedFilm/AnnabellesWish'' is about the titular characters wish to [[DreamsofFlying fly.]] In the end she uses her next Christmas wish [[SelflessWish to restore the voice of Billy, a mute boy she has grown to love, sacrificing her christmas wish from Santa]]. In the end, Billy as an adult [[CrowningMomentofHeartwarming repays her kindness by wishing that Annabelle, now old and near death could fly as one of Santa's Reindeer.]]
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* [[https://www.youtube.com/watch?v=cbsB3DRB8Xs "The World from way up here"]] from the Christmas movie ''AnimatedFilm/AnnabellesWish'' is about the titular characters wish to [[DreamsofFlying [[CalloftheWildBlueYonder fly.]] In the end she uses her next Christmas wish [[SelflessWish to restore the voice of Billy, a mute boy she has grown to love, sacrificing her christmas wish from Santa]]. In the end, Billy as an adult [[CrowningMomentofHeartwarming repays her kindness by wishing that Annabelle, now old and near death could fly as one of Santa's Reindeer.]]
17th Jan '16 8:15:00 PM nombretomado
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* ‘’StarlightExpress’’ has several, including portions of "Call Me Rusty", and of course "Starlight Express".
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* ‘’StarlightExpress’’ ‘’Theatre/StarlightExpress’’ has several, including portions of "Call Me Rusty", and of course "Starlight Express".
15th Jan '16 3:55:56 AM major-kumquat
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* Who could forget "Tomorrow" from ''Annie''?
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* Who could forget "Tomorrow" from ''Annie''?''Theatre/{{Annie}}''?

* The TitleSong from the musical adaptation of ''Film/{{Carrie}}'' is all about Carrie's desire to be accepted and for someone to call her by her name. It later gets a DarkReprise both during the climax of the prom and from her mother as a lullaby [[spoiler:before she murders Carrie.]]
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* The TitleSong [[TitleTrack Title Song]] from the musical adaptation of ''Film/{{Carrie}}'' is all about Carrie's desire to be accepted and for someone to call her by her name. It later gets a DarkReprise both during the climax of the prom and from her mother as a lullaby [[spoiler:before she murders Carrie.]]
15th Jan '16 3:54:58 AM major-kumquat
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* "Suburban Home" by the Descendents is one of these in SarcasmMode. Example lyrics: -->I wanna be stereotyped\\ I wanna be classified\\ I wanna be a clone\\ I want a suburban home\\

* In ''Theatre/{{Titanic}}'' there is "Lady's Maid" a song about what the 3rd class when to do when they get America,"I Must Get on That Ship" a song about, well, [[ExactlyWhatItSaysOnTheTin wanting to get on that ship]] and "I Have Danced" a song about Alice, one of the second class passengers, talking to her husband about how she wants the grandeur of the first class. * In ''Theatre/{{Grease}}'' (more so the play than the movie), literally every song serves the purpose of giving the audience insight into a character's (or group of character's) personality. Very few of the songs actually move the plot along in any way. * ''Theatre/WestSideStory'': ** ''Something's Coming''. ** ''Somewhere (There's a Place For Us)''. It gets a classic DarkReprise, even though it does indeed turn out to be (in a [[BittersweetEnding bittersweet]] way) all worth it. ** ''America''. * "Waiting for Life" from ''Theatre/OnceOnThisIsland''. ** Arguably, "Some Girls".
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* In ''Theatre/{{Titanic}}'' there The Elton John musical ''Theatre/{{Aida}}'' has "Enchantment Passing Through" for Aida and Radames, which gets a DarkReprise in the second act. * Who could forget "Tomorrow" from ''Annie''? ** As well as the opening number, "Maybe". * "Oh, To Be A Movie Star" from ''Passionella'', part of the musical ''The Apple Tree''. ** Creator/StephenSondheim fans might be more familiar with his version, "Truly Content". * ''Theatre/{{Assassins}}'' features a Deconstruction of this; the opening theme, "Everybody's Got the Right" is "Lady's Maid" a song about what how the 3rd class when to do when they get America,"I Must Get on That Ship" a song about, well, [[ExactlyWhatItSaysOnTheTin wanting to get on that ship]] and "I Have Danced" a song about Alice, one of the second class passengers, talking to her husband about how she wants the grandeur of the first class. * In ''Theatre/{{Grease}}'' (more so characters in the play than have the movie), literally every song serves right to follow their dreams. Of course, said characters include the purpose likes of giving the audience insight into a character's (or group of character's) personality. Very few of the songs actually move the plot along in any way. * ''Theatre/WestSideStory'': ** ''Something's Coming''. ** ''Somewhere (There's a Place For Us)''. It gets a classic DarkReprise, even though John Wilkes Booth, Charles Guiteau, and John Hinckley, so it's not quite as inspiring as it does indeed turn out to be (in a [[BittersweetEnding bittersweet]] way) all worth it. ** ''America''. might seem at first glance. * "Waiting for Life" "Far and Distant Places" from ''Theatre/OnceOnThisIsland''. ** Arguably, "Some Girls".''Theatre/{{Atlantis}}'', in which Adelena wanted to see the outside world while running away from the palace in disguise.

* "Where is Love" and "Who Will Buy?" from ''Oliver!'' * "Castle on a Cloud" from ''Theatre/LesMiserables'' is an example of a bittersweet ones. ** To some extent, "In My Life", at least Cosette's part, is a bit of an I Want. ** Also, "On My Own" could be considered a subversion, because the song is basically Eponine saying that she wants to be in a relationship with Marius, yet by the end of the song she is aware that he will never return her affections and he only loves her in her fantasies. ** Same with "I Dreamed a Dream", in which Fantine lets go of all her wants and resigns herself to her misery. * "Wouldn't it Be Loverly" from ''My Fair Lady''. * "Somewhere That's Green" from ''Theatre/LittleShopOfHorrors'', which gets a truly DarkReprise. ** Despite being discounted in the opening description, Seymour's solo section in "Skid Row" definitely counts ("I constantly pray I'll get outta here ... I'd do I don't know what to get out of Skid Row!") [[DealWithTheDevil Then Audrey II comes along...]] ** Really, "Feed Me (Git It)" also counts. ** "Mushnik and Son" is a somewhat villainous version. ("Seymour, I want to be your dad...") "The Meek Shall Inherit" also qualifies on several levels, though Seymour's part in it is a bit of a subversion--he doesn't ''really'' want what he's signing up for, and he's only doing it so Audrey (whom he ''does'' want) will love him. * "Corner of the Sky" from ''{{Pippin}}'' has the protagonist promises not to settle for the ordinary and to [[DesperatelyLookingForAPurposeInLife search for a higher state of fulfillment]]. His big dreams are a wild goose chase, keeping him from the important things in life. The deranged attempt at a BrightReprise in the final scene leads to spectacular failure. ** "Extraordinary" from the same show is nominally an IAmSong, but Pippin's trying to convince himself he's as great as he aspires to be is obviously delusional. * In ''Theatre/GuysAndDolls'', Sky and Sarah actually sing "I'll Know" as a duet, though not really to each other. Their duet ends in an embrace (what they want is each other) - [[KissKissSlap followed by a slap]] (they don't know it yet).
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* "Where is Love" and "Who Will Buy?" from ''Oliver!'' The Musical ''Baby'' has [[http://www.youtube.com/watch?v=GKB-oSfDJO0 "I Want It All"]]. * "Castle on a Cloud" from ''Theatre/LesMiserables'' is an example ''Theatre/{{Barnum}}'' has "The Colors of a bittersweet ones. ** To some extent, "In My Life", at least Cosette's part, a two-part number - part one is a bit of an I Want. ** Also, "On My Own" could be considered a subversion, about the hero's big dreams, and part two is about his wife's Chairy homey ones; the key conflict in the show is between their wants. The Act One closer "Out There" has him deciding to travel with Swedish singer Jenny Lind's tour in part because he's fallen for her; in Act Two he returns to Chairy and tries to live the song is basically Eponine saying that life she wants wanted him to, and it ''really'' doesn't work. "The Colors of My Life", now a duet, follows - and turns out to be in a relationship with Marius, yet by the end of the song she is aware that he will never return her affections and he only loves her in her fantasies. ** Same with "I Dreamed a Dream", in which Fantine lets go of all her wants and resigns herself prelude to her misery. * "Wouldn't death, making it Be Loverly" from ''My Fair Lady''. * "Somewhere That's Green" from ''Theatre/LittleShopOfHorrors'', which gets a truly DarkReprise. ** Despite being discounted * "Let Me Walk Among You" from ''Theatre/BatBoyTheMusical'', in which Bat Boy pleads the townspeople of Hope Falls to accept him and help him be human. * "Picture Show," the opening description, Seymour's solo section in "Skid Row" definitely counts ("I constantly pray I'll get outta here ... I'd do I don't know what to get out of Skid Row!") [[DealWithTheDevil Then Audrey II comes along...]] ** Really, "Feed Me (Git It)" also counts. ** "Mushnik and Son" is a somewhat villainous version. ("Seymour, I want to be your dad...") "The Meek Shall Inherit" also qualifies on several levels, though Seymour's part in it is a bit of a subversion--he doesn't ''really'' want what he's signing up for, and he's only doing it so Audrey (whom he ''does'' want) will love him. * "Corner of the Sky" from ''{{Pippin}}'' has the protagonist promises not to settle for the ordinary and to [[DesperatelyLookingForAPurposeInLife search for a higher state of fulfillment]]. His big dreams are a wild goose chase, keeping him duet from the important things in life. The deranged attempt at a BrightReprise in the final scene leads to spectacular failure. ** "Extraordinary" from the same show short-lived Wildhorn musical ''Bonnie and Clyde'' is nominally an IAmSong, but Pippin's trying to convince himself he's as great as he aspires this for both protagonists (Bonnie wanting to be is obviously delusional. * In ''Theatre/GuysAndDolls'', Sky a movie star; Clyde wanting to be a wealthy gangster). The characters start the song as children and Sarah actually sing "I'll Know" as a duet, though not really "age" to each other. Their duet ends in an embrace (what they want is each other) - [[KissKissSlap followed their adult selves by a slap]] (they don't know it yet).the end, showing that both of these dreams were going nowhere fast. * "Sal Tlay Ka Siti" from ''[[Theatre.TheBookOfMormon The Book of Mormon]]''.

* "I Want to Be a Producer" from the musical, ''The Producers''. * "I Need To Know", "No One Knows Who I Am", "Girls of the Night" and "Someone Like You" from ''Jekyll and Hyde: The Musical''. ** And "Sympathy and Tenderness", which gets its DarkReprise. * And who could forget "Tomorrow" from ''Annie''? ** As well as the opening number, "Maybe". * "Somebody, Somewhere" from ''The Most Happy Fella''. The dialogue preceding it couldn't be anything other than a cue for an IWantSong: -->'''Rosabella:''' We've been going home every night, kinda ''wanting'' something... but wanting what, Cleo?\\ '''Cleo:''' ''Wanting'' to soak my feet! Come on, dream girl. (She exits.)\\ '''Rosabella:''' (singing) Wanting to be wanted. Needing to be needed. ''That's'' what it is. * In ''Theatre/SweeneyToddTheDemonBarberOfFleetStreet'' Mrs. Lovett sings "By The Sea" about how she wants to move to the seaside and marry Sweeney Todd. ** This example is a slight subversion, since the story isn't about Lovett's quest for a seaside retirement, and she never gets anywhere close to achieving this goal. More pertinent (if less traditional) is Sweeney's "My Friends" in which he lovingly addresses his razors and delights in being able to exact his revenge, which is joined in by Mrs. Lovett with her longing for Sweeney halfway through. *** The movie takes "By The Sea" further into subversion with the visualization of her fantasy, [[spoiler:by far the most happy and colorful scenes of the film...undercut by Sweeney being an unwilling participant, showing just how ridiculous her fantasy is.]] ** Johanna gets the "crushed by life" version in "Green Finch and Linnet Bird": having lived most of her life as the ward and effectively the prisoner of Judge Turpin, all she dares hope for is the ability to adjust to captivity: "If I cannot fly, let me sing!" * "Sal Tlay Ka Siti" from ''[[Theatre.TheBookOfMormon The Book of Mormon]]'' * "Santa Fe" from ''Theatre/{{RENT}}'' (allegedly inspired by the song of the same name from {{Newsies}}) also counts, as the disillusioned New Yorkers fantasize about life in sunny Santa Fe. ** As does, more traditionally, "One Song Glory", which is about Roger wanting to leave a mark on the world in the form of a beautiful, powerful piece of music.
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* "I Want to Be a Producer" The musical ''Theatre/{{Camelot}}'' has an exceedingly ironic example of this trope in the song "The Simple Joys Of Maidenhood". Especially given the rest of the plot. * The TitleSong from the musical, ''The Producers''. * "I Need To Know", "No One Knows Who I Am", "Girls musical adaptation of ''Film/{{Carrie}}'' is all about Carrie's desire to be accepted and for someone to call her by her name. It later gets a DarkReprise both during the climax of the Night" prom and "Someone Like You" from ''Jekyll and Hyde: The Musical''. ** And "Sympathy and Tenderness", which gets its DarkReprise. * And who could forget "Tomorrow" from ''Annie''? ** As well her mother as the opening number, "Maybe". * "Somebody, Somewhere" from ''The Most Happy Fella''. The dialogue preceding it couldn't be anything other than a cue for an IWantSong: -->'''Rosabella:''' We've been going home every night, kinda ''wanting'' something... but wanting what, Cleo?\\ '''Cleo:''' ''Wanting'' to soak my feet! Come on, dream girl. (She exits.)\\ '''Rosabella:''' (singing) Wanting to be wanted. Needing to be needed. ''That's'' what it is. * In ''Theatre/SweeneyToddTheDemonBarberOfFleetStreet'' Mrs. Lovett sings "By The Sea" about how lullaby [[spoiler:before she wants to move to the seaside and marry Sweeney Todd. ** This example is a slight subversion, since the story isn't about Lovett's quest for a seaside retirement, and she never gets anywhere close to achieving this goal. More pertinent (if less traditional) is Sweeney's "My Friends" in which he lovingly addresses his razors and delights in being able to exact his revenge, which is joined in by Mrs. Lovett with her longing for Sweeney halfway through. *** The movie takes "By The Sea" further into subversion with the visualization of her fantasy, [[spoiler:by far the most happy and colorful scenes of the film...undercut by Sweeney being an unwilling participant, showing just how ridiculous her fantasy is.murders Carrie.]] ** Johanna gets the "crushed by life" version in "Green Finch and Linnet Bird": having lived most of her life as the ward and effectively the prisoner of Judge Turpin, all she dares hope for * "Memory" is the ability to adjust to captivity: "If an unusual I cannot fly, let me sing!" * "Sal Tlay Ka Siti" Want Song from ''[[Theatre.TheBookOfMormon The Book ''Theatre/{{Cats}}'' because the singer isn't singing about the future. What Grizabella really wants is a chance to relive her life, which consisted of Mormon]]'' a misspent youth. Knowing that a wish for the past to change is ungrantable, she'll settle for understanding and acceptance. * "Santa Fe" "(I'm Gonna Be) Somebody" from ''Theatre/{{RENT}}'' (allegedly ''Celebration''. * The third song in the West End musical ''Theatre/CharlieAndTheChocolateFactory'', "A Letter from Charlie Bucket", has Charlie writing to Mr. Willy Wonka the day before he and his family learn about the Golden Ticket contest. Charlie is in awe of Mr. Wonka's achievements and has been inspired by his example to brainstorm ideas for wonderful sweets of his own, but the song poor boy has no hope of actually realizing them, so he sends Mr. Wonka the letter (via paper airplane) in hopes that he can. As it turns out, all of the inventions are specifically intended to improve the lives of Charlie's loved ones, because he [[CheerfulChild doesn't need anything for himself]] -- well, aside from two things: -->''Please drop them off yourself\\ So we can ask ya "How'd ja do?"\\ And well, I'd like one Wonka Bar\\ That I would share with you'' * "Roxie" from ''Theatre/{{Chicago}}''. Sung by the character of the same name about her desire to be famous. * "The Spark of Creation" from {{Newsies}}) also counts, ''Children of Eden'', where Eve sings about how being made in God's image has given her a restless urge for creativity. ** And later, "Lost in the Wilderness" which basically portrays Cain, sympathetically, as the disillusioned New Yorkers fantasize about life world's first agnostic. * "I Hope I Get It" for the entire cast of ''A Chorus Line''. * Another variation from Sondheim: in sunny Santa Fe. ** ''Company'', the "I Want" song comes at the very end, since it takes the entire musical for Bobby to figure out just what, exactly, he does want from a relationship. The first-act closer "Marry Me A Little" might look like the "I Want" song, but the context makes it clear that the kind of no-strings relationship that song pleads for ("We'll build a coccoon/Of love and respect/You promise whatever you like/I'll never collect") isn't sustainable. The final song, "Being Alive", begins as a denunciation of marriage ("Someone to hold you too close/Someone to hurt you too deep") and ends as a plea for it ("Somebody, hold me too close!/Somebody, hurt me too deep!"). As does, more traditionally, "One Song Glory", the curtain closes, Bobby's finally ready to blow out the candles on his birthday cake and make a wish... * ''Copacabana'' has "Just Arrived", which is all about Roger wanting Lola's desire to leave be a mark on the world star in the form of a beautiful, powerful piece of music.New York.

* "The Wizard and I" from ''Wicked'' - Elphaba wants to be accepted and praised in spite of her strange appearance (i.e. green skin). ** The song also contains the first appearance of the "Unlimited" interlude, which forms one of the musical's several {{Dark Reprise}}s at the end. ** "Popular" is a subversion, as Galinda tries to convince Elphaba of what she should want rather than what she does want. * "Some People" for Rose and "If Momma Was Married" for June and Luise, both from ''Theatre/{{Gypsy}}''. ** [[SanitySlippageSong Rose's Turn]] is an inversion: it's more of an I Want''ed'' song. * "The Spark of Creation" from ''Children of Eden'', where Eve sings about how being made in God's image has given her a restless urge for creativity. ** And later, "Lost in the Wilderness" which basically portrays Cain, sympathetically, as the world's first agnostic. * "Matchmaker, Matchmaker" and/or "If I Were a Rich Man" from ''Fiddler on the Roof'', the former being more directly related to the conflict of the show. * ''Legally Blonde: The Musical'''s I Want Song is actually titled "What You Want". * "The Beauty Is" and "Il Mondo Era Vuoto" from ''The Light in the Piazza''.

* ''Film/{{Fame}} - the Musical'' (the stage play that followed the hit movie and the TV series) has some: ** "Hard Work" for the students ("when I hit the heights, put my name in lights, show the world that I can make it...") ** "I Want to Make Magic" for Nick. ** "There She Goes/Fame" for Carmen. * "Much More" from ''Theatre/TheFantasticks''. * "Matchmaker, Matchmaker" and/or "If I Were a Rich Man" from ''Fiddler on the Roof'', the former being more directly related to the conflict of the show. * "The Wizard and I" Call" from ''Wicked'' - Elphaba wants to be accepted and praised in spite of her strange appearance (i.e. green skin). ** The ''Floyd Collins''. * In ''Theatre/{{Grease}}'' (more so the play than the movie), literally every song also contains serves the first appearance purpose of giving the audience insight into a character's (or group of character's) personality. Very few of the "Unlimited" interlude, which forms one of songs actually move the musical's several {{Dark Reprise}}s at the end. ** "Popular" is a subversion, plot along in any way. * In ''Theatre/GuysAndDolls'', Sky and Sarah actually sing "I'll Know" as Galinda tries a duet, though not really to convince Elphaba of what she should each other. Their duet ends in an embrace (what they want rather than what she does want. is each other) - [[KissKissSlap followed by a slap]] (they don't know it yet). * "Some People" for Rose and "If Momma Was Married" for June and Luise, both from ''Theatre/{{Gypsy}}''. ** [[SanitySlippageSong Rose's Turn]] is an inversion: it's more of an I Want''ed'' song. * "The Spark Aaron Burr, the antagonist of Creation" from ''Children of Eden'', where Eve sings about how being made in God's image has given her a restless urge for creativity. ** And later, "Lost ''Theatre/{{Hamilton}}'', gets an example in the Wilderness" which basically portrays Cain, sympathetically, as the world's first agnostic. * "Matchmaker, Matchmaker" and/or "If I Were a Rich Man" from ''Fiddler on the Roof'', the former being more directly related to the conflict form of the show. * ''Legally Blonde: The Musical'''s I Want "The Room Where It Happens", where he finally reveals his desire for a high political position. Unusually for an "I Want" Song is actually titled "What You Want". * "The Beauty Is" and "Il Mondo Era Vuoto" from ''The Light - but appropriately enough for the indecisive, secretive Burr - the number comes late in the Piazza''.show, about halfway through the second act, with Burr's motives having been obscured before that. Even more than that, the song itself isn't revealed to be an "I Want" Song until more than halfway in!

* "The Movie In My Mind" from ''MissSaigon''. "The American Dream" could apply, too. * "Not For the Life of Me" from ''Thoroughly Modern Millie''. ** Later, "Gimme Gimme" and "Muquin". * "The Impossible Dream" from ''Theatre/ManOfLaMancha''. * All of Music/TomWaits' musicals will do something with this. ** Most of ''Music/FranksWildYears'', especially "Innocent When You Dream", except that whenever Frank tries to sing it, someone interrupts him. He doesn't get to sing the whole song until the end, at which point he is ''just as unfulfilled as he was at the beginning''. ** "Coney Island Baby" from ''Woyzeck'', about how Woyzeck just wants to live happily with Marie. ** "But He's Not Wilhelm" from ''Music/TheBlackRider'', sung by Agathe about how she wants to marry Wilhelm. [[IJustShotMarvinInTheFace Unfortunately, the plotline kicks in]]. ** The title song in ''Music/{{Alice}}'' is a very creepy version of this, as it's sung by Creator/LewisCarroll, who knows [[{{Lolicon}} exactly what he wants]]. * "Wheels of a Dream" from ''Ragtime'' is part this, part AwardBaitSong love duet. ** Also, "Goodbye, My Love". * "With One Look" ''and'' "As If We Never Said Goodbye" from ''Film/SunsetBoulevard''. * Aaron Burr, the antagonist of ''Theatre/{{Hamilton}}'', gets an example in the form of "The Room Where It Happens", where he finally reveals his desire for a high political position. Unusually for an "I Want" Song - but appropriately enough for the indecisive, secretive Burr - the number comes late in the show, about halfway through the second act, with Burr's motives having been obscured before that. Even more than that, the song itself isn't revealed to be an "I Want" Song until more than halfway in! * "All That's Known" from ''Theatre/SpringAwakening''. ** Melchior's closing refrain here -- "You watch me, just watch me, and one day all will know" -- is echoed in both "Bitch of Living" and, most notably, as the closing lines of "Those You've Known" as a DarkReprise. ** It could be argued that a good majority of the play's songs are "I Want" Songs- "Mama Who Bore Me" is "I want to be treated like an adult", "Touch Me" is "I want sex/physical intimacy", and "I Don't Do Sadness" is "I want to be free from my neuroses."
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* "The Movie In My Mind" Several from ''MissSaigon''. "The American Dream" could apply, too. * "Not For the Life of Me" from ''Thoroughly Modern Millie''. ** Later, "Gimme Gimme" and "Muquin". * "The Impossible Dream" from ''Theatre/ManOfLaMancha''. * All of Music/TomWaits' musicals will do something with this. ** Most of ''Music/FranksWildYears'', especially "Innocent When You Dream", except that whenever Frank tries to sing it, someone interrupts him. He doesn't get to sing the whole song until the end, at which point he is ''just as unfulfilled as he was at the beginning''. ** "Coney Island Baby" from ''Woyzeck'', about how Woyzeck just wants to live happily with Marie. ** "But He's Not Wilhelm" from ''Music/TheBlackRider'', sung by Agathe about how she wants to marry Wilhelm. [[IJustShotMarvinInTheFace Unfortunately, the plotline kicks in]]. ‘’Theatre/HowToSucceedInBusinessWithoutReallyTrying’’: ** The title song opening number: "How To..." is exposition as well as Finch's IWantSong. Reprised in ''Music/{{Alice}}'' is a very creepy version of this, as it's sung by Creator/LewisCarroll, who knows [[{{Lolicon}} exactly what he wants]]. * "Wheels of a Dream" from ''Ragtime'' is part this, part AwardBaitSong love duet. ** Also, "Goodbye, My Love". * "With One Look" ''and'' "As If We Never Said Goodbye" from ''Film/SunsetBoulevard''. * Aaron Burr, Act 2 near the antagonist end for the secretaries. ** "Happy To Keep His Dinner Warm" is Rosemary's. ** "Rosemary" becomes one for the two of ''Theatre/{{Hamilton}}'', gets them - Finch has finally figured out that he loves Rosemary, and his proposal causes her to reciprocate. ** "Paris Original" appears to be one of these at first, as Rosemary's crooning about her dress that'll knock Finch for a loop and make him swoon over her, but HilarityEnsues with an example in the form of "The Room Where It Happens", where he finally reveals his desire for DressesTheSame - a high political position. Unusually for an "I Want" Song - but appropriately enough for the indecisive, secretive Burr - the number comes late in the show, about beautiful [[SubvertedTrope subversion]] beginning halfway through the second act, with Burr's motives having been obscured before that. Even more than that, the song song. ** Finally, "Love From A Heart Of Gold" turns itself isn't revealed to be an "I Want" Song until more than halfway in! into one for Biggley and Hedy. * "All That's Known" "96,000" from ''Theatre/SpringAwakening''. ** Melchior's closing refrain here -- "You watch me, just watch me, ''Theatre/InTheHeights'' is an interesting variation; the characters know that ''someone'' in the neighborhood has won the title amount in the lottery and one day all will know" -- is echoed in both "Bitch of Living" and, most notably, as have the closing lines of "Those You've Known" as a DarkReprise. ** It could be argued that a good majority chance to improve their lives, even "get out of the play's songs are "I Want" Songs- "Mama Who Bore Me" is "I want to be treated like an adult", "Touch Me" is "I want sex/physical intimacy", barrio." They just don't know who. **Also "It Won't Be Long Now”, sung by one of the Heroines, and "I Don't Do Sadness" is "I want to be free from my neuroses.""When You're Home", a duet.

** Cinderella sings in "A Very Nice Prince" that "What I want most of all... is to know what I want" and relays a similar sentiment in "On the Steps of the Palace". Indeed, one of her defining character traits is indecisiveness and not knowing if she wants the ball or the prince. * ''Theatre/{{Assassins}}'' features a Deconstruction of this; the opening theme, "Everybody's Got the Right" is a song about how the characters in the play have the right to follow their dreams. Of course, said characters include the likes of John Wilkes Booth, Charles Guiteau, and John Hinckley, so it's not quite as inspiring as it might seem at first glance. * "Roxie" from ''Theatre/{{Chicago}}''. Sung by the character of the same name about her desire to be famous. * Another variation from Sondheim: in ''Company'', the "I Want" song comes at the very end, since it takes the entire musical for Bobby to figure out just what, exactly, he does want from a relationship. The first-act closer "Marry Me A Little" might look like the "I Want" song, but the context makes it clear that the kind of no-strings relationship that song pleads for ("We'll build a coccoon/Of love and respect/You promise whatever you like/I'll never collect") isn't sustainable. The final song, "Being Alive", begins as a denunciation of marriage ("Someone to hold you too close/Someone to hurt you too deep") and ends as a plea for it ("Somebody, hold me too close!/Somebody, hurt me too deep!"). As the curtain closes, Bobby's finally ready to blow out the candles on his birthday cake and make a wish... * "96,000" from ''Theatre/InTheHeights'' is an interesting variation; the characters know that ''someone'' in the neighborhood has won the title amount in the lottery and will have the chance to improve their lives, even "get out of the barrio." They just don't know who. ** ''Theatre/InTheHeights'' Has a couple. "It Won't Be Long Now" is sung by one of the Heroines and "When You're Home" is this in a duet. * "Mr. Right" from ''Love Life''.
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** Cinderella sings in "A Very Nice Prince" that "What * "I Need To Know", "No One Knows Who I want most of all... is to know what I want" and relays a similar sentiment in "On the Steps Am", "Girls of the Palace". Indeed, one of her defining character traits is indecisiveness Night" and not knowing if she wants the ball or the prince. * ''Theatre/{{Assassins}}'' features a Deconstruction of this; the opening theme, "Everybody's Got the Right" is a song about how the characters in the play have the right to follow their dreams. Of course, said characters include the likes of John Wilkes Booth, Charles Guiteau, and John Hinckley, so it's not quite as inspiring as it might seem at first glance. * "Roxie" "Someone Like You" from ''Theatre/{{Chicago}}''. Sung by the character of the same name about her desire to be famous. * Another variation from Sondheim: in ''Company'', the "I Want" song comes at the very end, since it takes the entire musical for Bobby to figure out just what, exactly, he does want from a relationship. ''Jekyll and Hyde: The first-act closer "Marry Me A Little" might look like the "I Want" song, but the context makes it clear that the kind of no-strings relationship that song pleads for ("We'll build a coccoon/Of love and respect/You promise whatever you like/I'll never collect") isn't sustainable. The final song, "Being Alive", begins as a denunciation of marriage ("Someone to hold you too close/Someone to hurt you too deep") and ends as a plea for it ("Somebody, hold me too close!/Somebody, hurt me too deep!"). As the curtain closes, Bobby's finally ready to blow out the candles on his birthday cake and make a wish... * "96,000" from ''Theatre/InTheHeights'' is an interesting variation; the characters know that ''someone'' in the neighborhood has won the title amount in the lottery and will have the chance to improve their lives, even "get out of the barrio." They just don't know who. ** ''Theatre/InTheHeights'' Has a couple. "It Won't Be Long Now" is sung by one of the Heroines and "When You're Home" is this in a duet. * "Mr. Right" from ''Love Life''.Musical''.

** Cinderella sings And "Sympathy and Tenderness", which gets its DarkReprise. * In ''The Last Five Years'', Cathy expresses her theatrical ambitions by singing "Climbing Uphill". Unusually for the trope, she defines her ambitions through what she ''doesn't'' want. -->''I will not be the girl stuck at home in "A Very Nice Prince" that the 'burbs\\ With the baby, the dog, and the garden of herbs\\ I will not be the girl in the sensible shoes\\ Pushing burgers and beer nuts and missing the clues'' * ''Legally Blonde: The Musical'''s I Want Song is actually titled "What I want most You Want". * "Castle on a Cloud" from ''Theatre/LesMiserables'' is an example of all... a bittersweet ones. ** To some extent, "In My Life", at least Cosette's part, is to know what a bit of an I want" and relays a similar sentiment in Want. ** Also, "On My Own" could be considered a subversion, because the Steps of the Palace". Indeed, one of her defining character traits song is indecisiveness and not knowing if basically Eponine saying that she wants the ball or the prince. * ''Theatre/{{Assassins}}'' features a Deconstruction of this; the opening theme, "Everybody's Got the Right" is a song about how the characters in the play have the right to follow their dreams. Of course, said characters include the likes of John Wilkes Booth, Charles Guiteau, and John Hinckley, so it's not quite as inspiring as it might seem at first glance. * "Roxie" from ''Theatre/{{Chicago}}''. Sung by the character of the same name about her desire to be famous. * Another variation from Sondheim: in ''Company'', the "I Want" song comes at the very end, since it takes the entire musical for Bobby to figure out just what, exactly, he does want from a relationship. The first-act closer "Marry Me A Little" might look like the "I Want" song, but the context makes it clear that the kind of no-strings relationship that song pleads for ("We'll build a coccoon/Of love and respect/You promise whatever you like/I'll never collect") isn't sustainable. The final song, "Being Alive", begins as a denunciation of marriage ("Someone to hold you too close/Someone to hurt you too deep") and ends as a plea for it ("Somebody, hold me too close!/Somebody, hurt me too deep!"). As with Marius, yet by the curtain closes, Bobby's finally ready to blow out the candles on his birthday cake and make a wish... * "96,000" from ''Theatre/InTheHeights'' is an interesting variation; the characters know that ''someone'' in the neighborhood has won the title amount in the lottery and will have the chance to improve their lives, even "get out end of the barrio." They just don't know who. ** ''Theatre/InTheHeights'' Has a couple. "It Won't Be Long Now" song she is sung by one of the Heroines aware that he will never return her affections and "When You're Home" is this he only loves her in her fantasies. ** Same with "I Dreamed a duet. * "Mr. Right" from ''Love Life''.Dream", in which Fantine lets go of all her wants and resigns herself to her misery.

* "Far and Distant Places" from ''Theatre/{{Atlantis}}'', in which Adelena wanted to see the outside world while running away from the palace in disguise. * A version where the person singing is neither the Villain nor the protagonist is found in ''Film/YoungFrankenstein TheMusical'' in the song "Please Send Me Someone". * ''Film/TheRockyHorrorPictureShow'' has "Touch-a Touch-A Touch-a Touch Me", "Rose Tint My World", and "I Can Make You A Man". Not surprising in a musical about lust and desires. * The musical ''Theatre/{{Camelot}}'' has an exceedingly ironic example of this trope in the song "The Simple Joys Of Maidenhood". Especially given the rest of the plot. * ''Theatre/{{Barnum}}'' has "The Colors of My Life", a two-part number - part one is about the hero's big dreams, and part two is about his wife's Chairy homey ones; the key conflict in the show is between their wants. The Act One closer "Out There" has him deciding to travel with Swedish singer Jenny Lind's tour in part because he's fallen for her; in Act Two he returns to Chairy and tries to live the life she wanted him to, and it ''really'' doesn't work. "The Colors of My Life", now a duet, follows - and turns out to be the prelude to her death, making it a DarkReprise. * "Class", sung by Gene from Stephen Sondheim's ''Saturday Night''. A humorous example in that it is rife with examples of how Gene, unaware of himself, simply isn't capable of attaining the class to which he aspires. * "The Call" from ''Floyd Collins''.
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* "Far "The Beauty Is" and Distant Places" "Il Mondo Era Vuoto" from ''Theatre/{{Atlantis}}'', ''The Light in the Piazza''. * "Somewhere That's Green" from ''Theatre/LittleShopOfHorrors'', which Adelena wanted to see gets a truly DarkReprise. ** Despite being discounted in the outside world while running away opening description, Seymour's solo section in "Skid Row" definitely counts ("I constantly pray I'll get outta here ... I'd do I don't know what to get out of Skid Row!") [[DealWithTheDevil Then Audrey II comes along...]] ** Really, "Feed Me (Git It)" also counts. ** "Mushnik and Son" is a somewhat villainous version. ("Seymour, I want to be your dad...") "The Meek Shall Inherit" also qualifies on several levels, though Seymour's part in it is a bit of a subversion--he doesn't ''really'' want what he's signing up for, and he's only doing it so Audrey (whom he ''does'' want) will love him. * "Mr. Right" from ''Love Life''. * "The Impossible Dream" from ''Theatre/ManOfLaMancha''. * "The Movie In My Mind" from ''MissSaigon''. "The American Dream" could apply, too. * "Somebody, Somewhere" from ''The Most Happy Fella''. The dialogue preceding it couldn't be anything other than a cue for an IWantSong: -->'''Rosabella:''' We've been going home every night, kinda ''wanting'' something... but wanting what, Cleo?\\ '''Cleo:''' ''Wanting'' to soak my feet! Come on, dream girl. (She exits.)\\ '''Rosabella:''' (singing) Wanting to be wanted. Needing to be needed. ''That's'' what it is. * Both leads in ''Theatre/TheMusicMan'' get their own: "The Sadder But Wiser Girl for Me" for Professor Hill and its DistaffCounterpart "My White Knight" for [[HotLibrarian Marian the Librarian]]. Ironically, they both end up falling in love with someone exactly opposite from the palace in disguise. * A version where the sort of person singing is neither they each claim to want. Also there's the Villain nor songs "Goodnight My Someone", "Marian the protagonist is found in ''Film/YoungFrankenstein TheMusical'' Librarian", and "The Wells Fargo Wagon." * "Wouldn't it Be Loverly" from ''My Fair Lady''. * "I Miss The Mountains" from ''Theatre/NextToNormal'' *might* be considered an I Want song--though it's really about one thing that Diana Goodman wants at this one point in the song "Please Send Me Someone". show (to feel again without drugs pulling her into a bland unemotional state) rather than the one thing that she wants more than anything throughout the show. * ''Film/TheRockyHorrorPictureShow'' "Where is Love" and "Who Will Buy?" from ''Oliver!'' * "Waiting for Life" from ''Theatre/OnceOnThisIsland''. ** Arguably, "Some Girls". * ''Theatre/OnceUponAMattress'' has "Touch-a Touch-A Touch-a Touch Me", "Rose Tint My World", "Happily Ever After" and "I Can Make You A Man". Not surprising in "Opening for a musical Princess"; the first is about lust Winifred's desire for a fairytale ending and desires. * The musical ''Theatre/{{Camelot}}'' has an exceedingly ironic example of this trope in the song "The Simple Joys Of Maidenhood". Especially given second is about how the rest of the plot. castle people want Dauntless to marry. * ''Theatre/{{Barnum}}'' ''Theatre/PacificOverture'' has "The Colors of My Life", a two-part number - part one is about an "I Want" Song, "Please Hello", for all the hero's big dreams, and part two is about his wife's Chairy homey ones; the key conflict in the show is between countries trying to "open" Japan. The take turns with their wants. The Act One closer "Out There" has him deciding to travel with Swedish singer Jenny Lind's tour demands (each in part because he's fallen for her; in Act Two he returns to Chairy and tries to live their own national style: the life she wanted him to, American in pseudo-Sousa, the Brit as a patter-song "modern major general" riff, etc). Then they start singing over each other as the demands escalate and it ''really'' doesn't work. "The Colors of My Life", now a duet, follows - and turns out to be is dazzling "Don't touch the prelude to her death, making it a DarkReprise. * "Class", sung by Gene from Stephen Sondheim's ''Saturday Night''. A humorous example in that it is rife with examples of how Gene, unaware of himself, simply isn't capable of attaining the class to which he aspires. * "The Call" from ''Floyd Collins''.Coat!".

* "I Hope I Get It" for the entire cast of ''A Chorus Line''. * ''Theatre/PacificOverture'' has an "I Want" Song, "Please Hello", for all the countries trying to "open" Japan. The take turns with their demands (each in their own national style: the American in pseudo-Sousa, the Brit as a patter-song "modern major general" riff, etc). Then they start singing over each other as the demands escalate and it is dazzling "Don't touch the Coat!". * The Elton John musical ''Theatre/{{Aida}}'' has "Enchantment Passing Through" for Aida and Radames, which gets a DarkReprise in the second act. * ''Copacabana'' has "Just Arrived", which is all about Lola's desire to be a star in New York. * ''Theatre/WeWillRockYou'' has several that qualify, including "I Want to Break Free" (Galileo/Scaramouche), "I Want It All" (Meat and Britney) and even "Seven Seas of Rhye", to some extent, for Kashoggi. * "Someday" from ''The Wedding Singer'', but sung by the female love interest, not the hero. Also, to a lesser extent (as it's sung by the female love interest's cousin), "Right In Front Of Your Eyes", and "Let Me Come Home" (sung by the female villain-of-sorts). * "Memory" is an unusual I Want Song from ''Theatre/{{Cats}}'' because the singer isn't singing about the future. What Grizabella really wants is a chance to relive her life, which consisted of a misspent youth. Knowing that a wish for the past to change is ungrantable, she'll settle for understanding and acceptance. * "Let Me Walk Among You" from ''Theatre/BatBoyTheMusical'', in which Bat Boy pleads the townspeople of Hope Falls to accept him and help him be human. * ''Theatre/OnceUponAMattress'' has "Happily Ever After" and "Opening for a Princess"; the first is about Winifred's desire for a fairytale ending and the second is about how the rest of the castle people want Dauntless to marry.
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* "I Hope I Get It" "Corner of the Sky" from ''{{Pippin}}'' has the protagonist promises not to settle for the entire cast of ''A Chorus Line''. * ''Theatre/PacificOverture'' has an "I Want" Song, "Please Hello", ordinary and to [[DesperatelyLookingForAPurposeInLife search for all a higher state of fulfillment]]. His big dreams are a wild goose chase, keeping him from the countries important things in life. The deranged attempt at a BrightReprise in the final scene leads to spectacular failure. ** "Extraordinary" from the same show is nominally an IAmSong, but Pippin's trying to "open" Japan. The take turns with their demands (each in their own national style: the American in pseudo-Sousa, the Brit convince himself he's as a patter-song "modern major general" riff, etc). Then they start singing over each other great as the demands escalate and it is dazzling "Don't touch the Coat!". * The Elton John musical ''Theatre/{{Aida}}'' has "Enchantment Passing Through" for Aida and Radames, which gets a DarkReprise in the second act. * ''Copacabana'' has "Just Arrived", which is all about Lola's desire he aspires to be a star in New York. is obviously delusional. * ''Theatre/WeWillRockYou'' has several that qualify, including "Till I Hear You Sing" from ''Love Never Dies'', the sequel to ''ThePhantomOfTheOpera'', is this for the Phantom. * "I Want to Break Free" (Galileo/Scaramouche), "I Want It All" (Meat and Britney) and even "Seven Seas of Rhye", to some extent, for Kashoggi. * "Someday" Be a Producer" from the musical, ''The Wedding Singer'', but sung Producers''. * "Wheels of a Dream" from ''Ragtime'' is part this, part AwardBaitSong love duet. ** Also, "Goodbye, My Love". * "Santa Fe" from ''Theatre/{{RENT}}'' (allegedly inspired by the female love interest, not song of the hero. Also, to a lesser extent (as it's sung by the female love interest's cousin), "Right In Front Of Your Eyes", and "Let Me Come Home" (sung by the female villain-of-sorts). * "Memory" is an unusual I Want Song same name from ''Theatre/{{Cats}}'' because {{Newsies}}) also counts, as the singer isn't singing disillusioned New Yorkers fantasize about the future. What Grizabella really wants is a chance to relive her life, life in sunny Santa Fe. ** As does, more traditionally, "One Song Glory", which consisted of a misspent youth. Knowing that a wish for the past to change is ungrantable, she'll settle for understanding and acceptance. * "Let Me Walk Among You" from ''Theatre/BatBoyTheMusical'', in which Bat Boy pleads the townspeople of Hope Falls to accept him and help him be human. * ''Theatre/OnceUponAMattress'' has "Happily Ever After" and "Opening for a Princess"; the first is about Winifred's desire for Roger wanting to leave a fairytale ending mark on the world in the form of a beautiful, powerful piece of music. * ''Film/TheRockyHorrorPictureShow'' has "Touch-a Touch-A Touch-a Touch Me", "Rose Tint My World", and the second is "I Can Make You A Man". Not surprising in a musical about how the rest of the castle people want Dauntless to marry.lust and desires.

* The Musical ''Baby'' has [[http://www.youtube.com/watch?v=GKB-oSfDJO0 "I Want It All"]]. * "Oh, To Be A Movie Star" from ''Passionella'', part of the musical ''The Apple Tree''. ** Creator/StephenSondheim fans might be more familiar with his version, "Truly Content". * "I Miss The Mountains" from ''Theatre/NextToNormal'' *might* be considered an I Want song--though it's really about one thing that Diana Goodman wants at this one point in the show (to feel again without drugs pulling her into a bland unemotional state) rather than the one thing that she wants more than anything throughout the show.
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* "Class", sung by Gene from Stephen Sondheim's ''Saturday Night''. A humorous example in that it is rife with examples of how Gene, unaware of himself, simply isn't capable of attaining the class to which he aspires. * Several characters in ''Theatre/ShrekTheMusical'' have them: ** Fiona's "I Know It's Today", where she longs for a prince to come rescue her, just like the princesses depicted in her storybooks. ** Dragon's part of "Forever", where she laments being Fiona's "glorified babysitter", constantly disturbed by would-be-heroes who see her only as an obstacle instead of another lady who'd like to be rescued. ** Shrek's "Who I'd Be", where he reveals his desire to be a "semi-dashing" hero, or a daring viking, or a poet. * The Musical ''Baby'' title song of ''Theatre/TheSoundOfMusic''. * "All That's Known" from ''Theatre/SpringAwakening''. ** Melchior's closing refrain here -- "You watch me, just watch me, and one day all will know" -- is echoed in both "Bitch of Living" and, most notably, as the closing lines of "Those You've Known" as a DarkReprise. ** It could be argued that a good majority of the play's songs are "I Want" Songs- "Mama Who Bore Me" is "I want to be treated like an adult", "Touch Me" is "I want sex/physical intimacy", and "I Don't Do Sadness" is "I want to be free from my neuroses." * ‘’StarlightExpress’’ has [[http://www.youtube.com/watch?v=GKB-oSfDJO0 several, including portions of "Call Me Rusty", and of course "Starlight Express". * "I Want It All"]]. * "Oh, To Be A Movie Star" Rich" from ''Passionella'', part of the musical ''The Apple Tree''. ** Creator/StephenSondheim fans might be more familiar with his version, "Truly Content". * "I Miss ''Stop The Mountains" from ''Theatre/NextToNormal'' *might* be considered an World, I Want song--though it's really To Get Off''. * "With One Look" ''and'' "As If We Never Said Goodbye" from ''Film/SunsetBoulevard''. * In ''Theatre/SweeneyToddTheDemonBarberOfFleetStreet'' Mrs. Lovett sings "By The Sea" about one thing that Diana Goodman wants at this one point in the show (to feel again without drugs pulling her into a bland unemotional state) rather than the one thing that how she wants more than anything throughout to move to the show.seaside and marry Sweeney Todd. ** This example is a slight subversion, since the story isn't about Lovett's quest for a seaside retirement, and she never gets anywhere close to achieving this goal. More pertinent (if less traditional) is Sweeney's "My Friends" in which he lovingly addresses his razors and delights in being able to exact his revenge, which is joined in by Mrs. Lovett with her longing for Sweeney halfway through. *** The movie takes "By The Sea" further into subversion with the visualization of her fantasy, [[spoiler:by far the most happy and colorful scenes of the film...undercut by Sweeney being an unwilling participant, showing just how ridiculous her fantasy is.]] ** Johanna gets the "crushed by life" version in "Green Finch and Linnet Bird": having lived most of her life as the ward and effectively the prisoner of Judge Turpin, all she dares hope for is the ability to adjust to captivity: "If I cannot fly, let me sing!"

* "Much More" from ''Theatre/TheFantasticks''. * "(I'm Gonna Be) Somebody" from ''Celebration''. * "Till I Hear You Sing" from ''Love Never Dies'', the sequel to ''ThePhantomOfTheOpera'', is this for the Phantom. * Both leads in ''Theatre/TheMusicMan'' get their own: "The Sadder But Wiser Girl for Me" for Professor Hill and its DistaffCounterpart "My White Knight" for [[HotLibrarian Marian the Librarian]]. Ironically, they both end up falling in love with someone exactly opposite from the sort of person they each claim to want. Also there's the songs "Goodnight My Someone", "Marian the Librarian", and "The Wells Fargo Wagon." * Several from Theatre/HowToSucceedInBusinessWithoutReallyTrying: ** The opening number: "How To..." is exposition as well as Finch's IWantSong. Reprised in Act 2 near the end for the secretaries. ** "Happy To Keep His Dinner Warm" is Rosemary's. ** "Rosemary" becomes one for the two of them - Finch has finally figured out that he loves Rosemary, and his proposal causes her to reciprocate. ** "Paris Original" appears to be one of these at first, as Rosemary's crooning about her dress that'll knock Finch for a loop and make him swoon over her, but HilarityEnsues with an example of DressesTheSame - a beautiful [[SubvertedTrope subversion]] beginning halfway through the song. ** Finally, "Love From A Heart Of Gold" turns itself into one for Biggley and Hedy. * The stage musical ''Titanic'' (nothing to do with [[Film/{{Titanic 1997}} this]] or [[WesternAnimation/TitanicTheLegendGoesOn this]] except the big ship) has a few. The most memorable is probably "Lady's Maid", in which third-class passengers declare the careers they wish to pursue after immigrating to [[EagleLand America]], a "[[ShiningCity better place for me and you]]" where "[[CityOfGold the streets are paved with gold]]". * "That's A Very Interesting Question/I'd Like To Be A Rose" from the rock musical ''Theatre/TwoGentlemenOfVerona''. * ''Vanities'' has [[http://www.youtube.com/watch?v=KOeQASqFmQI "I Don't Wanna Miss a Thing"]], "An Organized Life", and [[http://www.youtube.com/watch?v=VlWsHuukhdE "Fly Into The Future"]]. * "I Want To Be Rich" from ''Stop The World, I Want To Get Off''. * StarlightExpress has several, including portions of "Call Me Rusty", and of course "Starlight Express". * The title song of ''Theatre/TheSoundOfMusic''. * The Title song from the musical adaptation of ''Film/{{Carrie}}'' is all about Carrie's desire to be accepted and for someone to call her by her name. It later gets a DarkReprise both during the climax of the prom and from her mother as a lullaby [[spoiler:before she murders Carrie.]]

* ''Film/{{Fame}} - the Musical'' (the stage play that followed the hit movie and the TV series) has some: ** "Hard Work" for the students ("when I hit the heights, put my name in lights, show the world that I can make it...") ** "I Want to Make Magic" for Nick. ** "There She Goes/Fame" for Carmen. * "Suburban Home" by the Descendents is one of these in SarcasmMode. Example lyrics: -->I wanna be stereotyped -->I wanna be classified -->I wanna be a clone -->I want a suburban home * "Picture Show," the opening duet from the short-lived Wildhorn musical ''Bonnie and Clyde'' is this for both protagonists (Bonnie wanting to be a movie star; Clyde wanting to be a wealthy gangster). The characters start the song as children and "age" to their adult selves by the end, showing that both of these dreams were going nowhere fast. * The third song in the West End musical ''Theatre/CharlieAndTheChocolateFactory'', "A Letter from Charlie Bucket", has Charlie writing to Mr. Willy Wonka the day before he and his family learn about the Golden Ticket contest. Charlie is in awe of Mr. Wonka's achievements and has been inspired by his example to brainstorm ideas for wonderful sweets of his own, but the poor boy has no hope of actually realizing them, so he sends Mr. Wonka the letter (via paper airplane) in hopes that he can. As it turns out, all of the inventions are specifically intended to improve the lives of Charlie's loved ones, because he [[CheerfulChild doesn't need anything for himself]] -- well, aside from two things: -->''Please drop them off yourself\\ So we can ask ya "How'd ja do?"\\ And well, I'd like one Wonka Bar\\ That I would share with you'' * Several characters in ''Theatre/ShrekTheMusical'' have them: ** Fiona's "I Know It's Today", where she longs for a prince to come rescue her, just like the princesses depicted in her storybooks. ** Dragon's part of "Forever", where she laments being Fiona's "glorified babysitter", constantly disturbed by would-be-heroes who see her only as an obstacle instead of another lady who'd like to be rescued. ** Shrek's "Who I'd Be", where he reveals his desire to be a "semi-dashing" hero, or a daring viking, or a poet. * In ''The Last Five Years'', Cathy expresses her theatrical ambitions by singing "Climbing Uphill". Unusually for the trope, she defines her ambitions through what she ''doesn't'' want. -->''I will not be the girl stuck at home in the 'burbs\\ With the baby, the dog, and the garden of herbs\\ I will not be the girl in the sensible shoes\\ Pushing burgers and beer nuts and missing the clues''
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* ''Film/{{Fame}} - "Not For the Musical'' (the stage play Life of Me" from ''Thoroughly Modern Millie''. ** Later, "Gimme Gimme" and "Muquin". * In ''Theatre/{{Titanic}}'' there is "Lady's Maid" a song about what the 3rd class when to do when they get America,"I Must Get on That Ship" a song about, well, [[ExactlyWhatItSaysOnTheTin wanting to get on that followed ship]] and "I Have Danced" a song about Alice, one of the hit movie and second class passengers, talking to her husband about how she wants the TV series) has some: ** "Hard Work" for grandeur of the students ("when I hit the heights, put my name in lights, show the world first class. * All of Music/TomWaits' musicals will do something with this. ** Most of ''Music/FranksWildYears'', especially "Innocent When You Dream", except that I can make it...") whenever Frank tries to sing it, someone interrupts him. He doesn't get to sing the whole song until the end, at which point he is ''just as unfulfilled as he was at the beginning''. ** "But He's Not Wilhelm" from ''Music/TheBlackRider'', sung by Agathe about how she wants to marry Wilhelm. [[IJustShotMarvinInTheFace Unfortunately, the plotline kicks in]]. ** The title song in ''Music/{{Alice}}'' is a very creepy version of this, as it's sung by Creator/LewisCarroll, who knows [[{{Lolicon}} exactly what he wants]]. * "That's A Very Interesting Question/I'd Like To Be A Rose" from the rock musical ''Theatre/TwoGentlemenOfVerona''. * ''Vanities'' has [[http://www.youtube.com/watch?v=KOeQASqFmQI "I Don't Wanna Miss a Thing"]], "An Organized Life", and [[http://www.youtube.com/watch?v=VlWsHuukhdE "Fly Into The Future"]]. ** Cinderella sings in "A Very Nice Prince" that "What I want most of all... is to know what I want" and relays a similar sentiment in "On the Steps of the Palace". Indeed, one of her defining character traits is indecisiveness and not knowing if she wants the ball or the prince. * "Someday" from ''The Wedding Singer'', but sung by the female love interest, not the hero. Also, to a lesser extent (as it's sung by the female love interest's cousin), "Right In Front Of Your Eyes", and "Let Me Come Home" (sung by the female villain-of-sorts). * ''Theatre/WestSideStory'': ** ''Something's Coming''. ** ''Somewhere (There's a Place For Us)''. It gets a classic DarkReprise, even though it does indeed turn out to be (in a [[BittersweetEnding bittersweet]] way) all worth it. ** ''America''. * ''Theatre/WeWillRockYou'' has several that qualify, including "I Want to Make Magic" Break Free" (Galileo/Scaramouche), "I Want It All" (Meat and Britney) and even "Seven Seas of Rhye", to some extent, for Nick. Kashoggi. * "The Wizard and I" from ''Wicked'' - Elphaba wants to be accepted and praised in spite of her strange appearance (i.e. green skin). ** "There She Goes/Fame" for Carmen. * "Suburban Home" by The song also contains the Descendents is first appearance of the "Unlimited" interlude, which forms one of these in SarcasmMode. Example lyrics: -->I wanna be stereotyped -->I wanna be classified -->I wanna be a clone -->I want a suburban home * "Picture Show," the opening duet from musical's several {{Dark Reprise}}s at the short-lived Wildhorn musical ''Bonnie and Clyde'' end. ** "Popular" is this for both protagonists (Bonnie wanting a subversion, as Galinda tries to be a movie star; Clyde wanting to be a wealthy gangster). The characters start the song as children and "age" to their adult selves by the end, showing that both convince Elphaba of these dreams were going nowhere fast. * The third song in the West End musical ''Theatre/CharlieAndTheChocolateFactory'', "A Letter from Charlie Bucket", has Charlie writing to Mr. Willy Wonka the day before he and his family learn about the Golden Ticket contest. Charlie is in awe of Mr. Wonka's achievements and has been inspired by his example to brainstorm ideas for wonderful sweets of his own, but the poor boy has no hope of actually realizing them, so he sends Mr. Wonka the letter (via paper airplane) in hopes that he can. As it turns out, all of the inventions are specifically intended to improve the lives of Charlie's loved ones, because he [[CheerfulChild doesn't need anything for himself]] -- well, aside from two things: -->''Please drop them off yourself\\ So we can ask ya "How'd ja do?"\\ And well, I'd like one Wonka Bar\\ That I would share with you'' * Several characters in ''Theatre/ShrekTheMusical'' have them: ** Fiona's "I Know It's Today", where she longs for a prince to come rescue her, just like the princesses depicted in her storybooks. ** Dragon's part of "Forever", where she laments being Fiona's "glorified babysitter", constantly disturbed by would-be-heroes who see her only as an obstacle instead of another lady who'd like to be rescued. ** Shrek's "Who I'd Be", where he reveals his desire to be a "semi-dashing" hero, or a daring viking, or a poet. * In ''The Last Five Years'', Cathy expresses her theatrical ambitions by singing "Climbing Uphill". Unusually for the trope, she defines her ambitions through what she ''doesn't'' want. -->''I will not be the girl stuck at home in the 'burbs\\ With the baby, the dog, and the garden of herbs\\ I will not be the girl in the sensible shoes\\ Pushing burgers and beer nuts and missing the clues''should want rather than what she does want.

Added DiffLines:
* ''Film/{{Fame}} - the Musical'' (the stage play that followed the hit movie and the TV series) has some: ** "Hard Work" for the students ("when I hit the heights, put my name in lights, show the world that I can make it...") ** "I Want to Make Magic" for Nick. ** "There She Goes/Fame" for Carmen. * "Suburban Home" by the Descendents is one of these in SarcasmMode. Example lyrics: -->I wanna be stereotyped -->I wanna be classified -->I wanna be a clone -->I want a suburban home * "Picture Show," the opening duet "Coney Island Baby" from ''Woyzeck'', about how Woyzeck just wants to live happily with Marie. * A version where the short-lived Wildhorn musical ''Bonnie and Clyde'' person singing is this for both protagonists (Bonnie wanting to be a movie star; Clyde wanting to be a wealthy gangster). The characters start neither the Villain nor the protagonist is found in ''Film/YoungFrankenstein TheMusical'' in the song as children and "age" to their adult selves by the end, showing that both of these dreams were going nowhere fast. * The third song in the West End musical ''Theatre/CharlieAndTheChocolateFactory'', "A Letter from Charlie Bucket", has Charlie writing to Mr. Willy Wonka the day before he and his family learn about the Golden Ticket contest. Charlie is in awe of Mr. Wonka's achievements and has been inspired by his example to brainstorm ideas for wonderful sweets of his own, but the poor boy has no hope of actually realizing them, so he sends Mr. Wonka the letter (via paper airplane) in hopes that he can. As it turns out, all of the inventions are specifically intended to improve the lives of Charlie's loved ones, because he [[CheerfulChild doesn't need anything for himself]] -- well, aside from two things: -->''Please drop them off yourself\\ So we can ask ya "How'd ja do?"\\ And well, I'd like one Wonka Bar\\ That I would share with you'' * Several characters in ''Theatre/ShrekTheMusical'' have them: ** Fiona's "I Know It's Today", where she longs for a prince to come rescue her, just like the princesses depicted in her storybooks. ** Dragon's part of "Forever", where she laments being Fiona's "glorified babysitter", constantly disturbed by would-be-heroes who see her only as an obstacle instead of another lady who'd like to be rescued. ** Shrek's "Who I'd Be", where he reveals his desire to be a "semi-dashing" hero, or a daring viking, or a poet. * In ''The Last Five Years'', Cathy expresses her theatrical ambitions by singing "Climbing Uphill". Unusually for the trope, she defines her ambitions through what she ''doesn't'' want. -->''I will not be the girl stuck at home in the 'burbs\\ With the baby, the dog, and the garden of herbs\\ I will not be the girl in the sensible shoes\\ Pushing burgers and beer nuts and missing the clues''"Please Send Me Someone".
15th Jan '16 3:28:35 AM major-kumquat
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Added DiffLines:
* Aaron Burr, the antagonist of ''Theatre/{{Hamilton}}'', gets an example in the form of "The Room Where It Happens", where he finally reveals his desire for a high political position. Unusually for an "I Want" Song - but appropriately enough for the indecisive, secretive Burr - the number comes late in the show, about halfway through the second act, with Burr's motives having been obscured before that. Even more than that, the song itself isn't revealed to be an "I Want" Song until more than halfway in!
9th Jan '16 10:05:30 AM StFan
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* In ''Theater/{{Titanic}}'' there is "Lady's Maid" a song about what the 3rd class when to do when they get America,"I Must Get on That Ship" a song about, well, [[ExactlyWhatItSaysOnTheTin wanting to get on that ship]] and "I Have Danced" a song about Alice, one of the second class passengers, talking to her husband about how she wants the grandeur of the first class.
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* In ''Theater/{{Titanic}}'' ''Theatre/{{Titanic}}'' there is "Lady's Maid" a song about what the 3rd class when to do when they get America,"I Must Get on That Ship" a song about, well, [[ExactlyWhatItSaysOnTheTin wanting to get on that ship]] and "I Have Danced" a song about Alice, one of the second class passengers, talking to her husband about how she wants the grandeur of the first class.
7th Jan '16 7:36:38 AM Morgenthaler
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* I Wanna Fuck Your Brains out, Eat You Out, and I Wanna Rape You by GGAllin.
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* I Wanna Fuck Your Brains out, Eat You Out, and I Wanna Rape You by GGAllin.Music/GGAllin.
4th Jan '16 3:02:54 PM nombretomado
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* "All That's Known" from ''Spring Awakening''.
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* "All That's Known" from ''Spring Awakening''.''Theatre/SpringAwakening''.

** It could be argued that a good majority of the songs in ''Theatre/SpringAwakening'' are "I Want" Songs- "Mama Who Bore Me" is "I want to be treated like an adult", "Touch Me" is "I want sex/physical intimacy", and "I Don't Do Sadness" is "I want to be free from my neuroses."
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** It could be argued that a good majority of the play's songs in ''Theatre/SpringAwakening'' are "I Want" Songs- "Mama Who Bore Me" is "I want to be treated like an adult", "Touch Me" is "I want sex/physical intimacy", and "I Don't Do Sadness" is "I want to be free from my neuroses."
4th Jan '16 3:02:33 PM nombretomado
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** It could be argued that a good majority of the songs in SpringAwakening are "I Want" Songs- "Mama Who Bore Me" is "I want to be treated like an adult", "Touch Me" is "I want sex/physical intimacy", and "I Don't Do Sadness" is "I want to be free from my neuroses."
to:
** It could be argued that a good majority of the songs in SpringAwakening ''Theatre/SpringAwakening'' are "I Want" Songs- "Mama Who Bore Me" is "I want to be treated like an adult", "Touch Me" is "I want sex/physical intimacy", and "I Don't Do Sadness" is "I want to be free from my neuroses."
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