Is there an issue? Send a MessageReason:
None
Changed line(s) 1,281 (click to see context) from:
----
* ''Theatre/Portal2TheUnauthorizedMusical'' has two, one for each villain.
** [=GLaDOS=] has "Poor Unfortunate Subjects", in which she gloats over Chell being at her mercy again, and expresses her fury over Chell killing her.
-->'' You lucked out and passed all of your tests the last time\\
I know that you thought that you could forget\\
But I feel you’ve been misled\\
I’ve been busy being '''dead'''\\
We’ve both said a lot of things that '''you’ll regret'''''
** Initially averted with "Running The Whole Machine", in which Wheatley mocks [=GLaDOS=] for being absolutely powerless to stop him from freeing Chell. However, it's played straight when [[spoiler:Wheatley goes [[DrunkWithPower mad with power]], deciding he'd acutally rather keep Chell inside Aperture to run tests for him and ending with him punching both [=GLaDOS=] and Chell down the elevator shaft in a fit of rage]].
* When Giuseppe Verdi and Arrigo Boito wrote an opera over Shakespeare's ''Theatre/{{Othello}}'' they added the aria [[https://www.youtube.com/watch?v=1QpxMMSuj-E "Credo in un Dio crudel"]] ("I believe in a cruel God"), a sublime villain song, where the villain Iago, in a parody of a Christian creed, confesses to do evil [[NietzscheWannabe because the world is pointless and everything is ruled by Fate]]
-->And after all this mockery comes death.\\
And then? And then?\\
Death and Nothingness\\
Heaven is an old wives tale [[EvilLaugh Ahahahahahahaha!]]
* Also Verdi: "La donna è mobile" from ''Theatre/{{Rigoletto}}'' is the Duke's villain song and apparently he sings it a lot. A lot of the commercials that use it to sell their products seem to forget it's a villain song.
* Act One of Puccini's opera ''Theatre/{{Tosca}}'' ends with the corrupt police chief Scarpia [[https://www.youtube.com/watch?v=G3lPxwct2sk gloating]], because he has gained a hold on the title character that will force her to [[ScarpiaUltimatum succumb to his perverted desires]]. And if that was not creepy enough, there is a simultaneous ''Te Deum'' to provide OminousLatinChanting. In Act II, Scarpia gets another solo in which he professes his lustful urges to Tosca, ''[[https://www.youtube.com/watch?v=2MkPdkidTNI Gia mi dicon venal]]''.
* ''[[https://www.youtube.com/watch?v=WUgoMzkaSoE Le Veau d'Or]]'' from Gounod's ''Faust'', sung by Mephistopheles himself. Mephistopholes also gets the mocking serenade, [[https://www.youtube.com/watch?v=c78KhJkwxN8 Vous qui faites l'endormie]], which has one of the best {{EvilLaugh}}s ever.
* Faust operas are great for this kind of thing. Mefistofele, in Arrigo Boito's ''Mefistofele'', has some awesome ones. "I am the spirit that denies all things..." [[https://www.youtube.com/watch?v=-OCOc4nZCjk&feature=related Creepy]].
* The villain Caspar in Carl Maria von Weber's ''Theatre/DerFreischuetz'' gets two of these: the first, [[https://www.youtube.com/watch?v=AJkvPtP_aIw "Hier im ird'schem Jammerthal"]], a drinking song about the pleasures of wining, wenching, and gambling, and the second, [[https://www.youtube.com/watch?v=1HkT4PajIpY "Schweig', damit dich niemand warnt"]], calling upon the spirits of evil to take the hero instead of him, now that his deal with the devil is coming to its end. (In addition, there is an [[https://www.youtube.com/watch?v=mtQvP1u_hDI entire]] [[https://www.youtube.com/watch?v=X-yE0nZz5B0 scene]] devoted to summoning up the devil in order to cast the magic bullets that give the opera its name.)
* The Secret Police Agent in Menotti's "The Consul" has a pretty terrifying aria in the first act, where he attempts to intimidate the protagonist, Magda Sorell.
* Claggart's song [[https://www.youtube.com/watch?v=RSLt2oJebEM "O beauty, O handsomeness, goodness!"]] in Benjamin Britten's ''Billy Budd''. Unlike a classic Villain Song in that he is anything BUT happy about his situation... still. You've gotta love a song with lyrics like "There I established an order such as reigns in Hell", and "With hate and envy I am stronger than love", and "I, John Claggart, Master-at-Arms upon the ''Indomitable'', have you in my power, and I will destroy you, I will destroy you."
* The pagan sorceress Ortrud in Music/RichardWagner's ''Lohengrin'' has a short aria, [[https://www.youtube.com/watch?v=XHtRUyJiH3E "Entweihte Götter"]], in which she calls upon the gods to help her deceive and avenge herself upon her Christian enemies.
* In Amilcaire Ponchielli's opera ''La Gioconda'', the villainous Alvise Bodero plots to murder his unfaithful wife via poison and put her corpse on display during a ball to show his guests what happens to those who betray him: ''[[https://www.youtube.com/watch?v=AEHIrX0txxE Si, morir ella de!]]''.
* Lord Ruthven's aria "Ha! Welche Lust!" ("Ha! What Pleasure!") from Marschner's ''Theatre/DerVampyr'' is all about the joys of [[HemoErotic sucking the blood]] of innocent, terrified maidens.
* [[Theatre/TheMagicFlute The Queen of the Night]]'s ear-splittingly infamous aria ''Der Hölle Rache kocht in meinem Herzen''. She forces her daughter Pamina to assassinate Sarastro upon pain of disowning and cursing her. [[EvilMatriarch Damn, that's cold.]]
* ''Susannah'' has Olin Blitch with a villain ''sermon.''
* ''[[https://www.youtube.com/watch?v=pzvdAvd3tqk Ha! welch' ein Augenblick!]]'' from Beethoven's ''Fidelio'' (in which the evil prison governor Pizarro rejoices in the fact that the forthcoming "surprise" inspection by the Minister of Justice will require him (Pizarro) to do what he could have done at any time he wanted, ie. kill his unlawfully imprisoned rival Florestan).
* Probably the first great English villain song, ''[[https://www.youtube.com/watch?v=lMUnMSdA4u0 Wayward Sisters]]'' from Purcell's ''Dido and Aeneas'' is the Sorceress' villain song. She sings it while summoning her fellow witches to plot Dido's death.
* ''Theatre/LesMiserables'' has two, with Thenardier singing "Master of the House" and "Dog Eat Dog". (Three, if you count "Beggars at the Feast", which is the same tune as "Master of the House" but with new lyrics.) The primary (albeit [[WellIntentionedExtremist misguided]]) antagonist, InspectorJavert, has the song "Stars".
** "Master of the House" is an interesting one because it stands out as a moment of ''relatively light relief'' in a musical about rebellion, tragedy and romance.
** The most villainous of all these possible {{Villain Song}}s might well be "Dog Eats Dog", in which Thenardier sings about the joy of robbing dead bodies. Unlike in [[Film/RepoTheGeneticOpera some cases]], this fails to seem like [[LoveableRogue lovable roguery]] at ''all'' -- it finally hits the audience in the face that Thenardier really is scum. And most of those he is robbing are essentially youths and children, [[spoiler:including his own son and daughter.]]
** And "Beggars at the Feast" is sort of a Villain Song in that it further outlines the Thenardiers' ideals and motivations (though by the point in the play when it's sung, their motivations are pretty well established). ''Singing to the Lord on Sundays, praying for the gifts he'll send, but we're the ones that take it, we're the ones who make it in the end!'' It's also essentially the KarmaHoudini trope summed up in a song--the last line is even "when we're rich as Croesus, Jesus won't we see you all in ''Hell!''"
** "Stars", Javert's song, is an interesting version. Though Javert is the primary antagonist, his song is a very beautiful, melodic song about doing his duty to God and being a servant of justice; he doesn't see the motives or plans he's singing about as "evil". It can be played as confident and determined or softer and more humble depending on the actor. The implication is that though Javert may be not be a nice or good man by any stretch, he's [[HeroAntagonist not]] [[AntiVillain really]] [[InspectorJavert evil.]] The tone contrasts well with "Dog Eats Dog", which is the REAL villain song of ''Theatre/LesMiserables'', identifying Thenardier as far more evil than Javert. One might even say that "Stars" is an AntiVillain [[VillainSong Song]].
* "When the Night Wind Howls" from ''Theatre/{{Ruddigore}}''.
** Subverted in the first act, where Sir Despard makes a DastardlyWhiplash quality entrance, but his song is a TheVillainSucksSong about ''himself'' -- because, of course, his ancestors are forcing him to be a DesignatedVillain.
* "Bon Voyage" from ''Theatre/{{Candide}}'', except for the (increasingly sarcastic) chorus part, is all EvilGloating from the Governor (or Vanderdendur, depending on the performing edition) about the profits he made from putting Candide on a totally unseaworthy boat.
-->Oh but I'm bad, oh but I'm bad,\\
Playing such a very dirty trick on such a fine lad.\\
I'm a low cad, I'm a low cad,\\
Every time I do this sort of thing it makes me so sad.
* Every 'villain gets one in the ''Franchise/SailorMoon'' stage Musical adaptations, the ''Theatre/SeraMyu''. Some villains who were the baddies of multiple musicals got multiple songs, notably Queen Beryl and Sailor Galaxia. The two even SHARED a song, titled Yamikoso Utsukushii ~Galaxia no Iradachi~ (Darkness is Beautiful ~Galaxia's Irritation~) in one musical wherein Galaxia revived Beryl. (Or rather it was set up Beryl's original villain Group song, with additions of Galaxia snaking about how she's just using Beryl in the long run in the background) Villain songs in the ''Sera Myu'' generally fell in one of two categories: Songs for individual villains, and songs for the baddie group as a whole. An example of the former is Yami no Hitsugi (Coffin of Darkness), which is all about Queen Beryl, while an example is the original Yamikoso Utsukushii which was for the Dark Kingdom as a whole and their {{Evil Plan}}s. When a villain shows up in a later (unrelated) musical they sometimes get a new song, sometimes they re-use an old one. Rarely a villain could also share a theme with a Senshi, an example of this rare type is Onna no Ronsou (Dispute between Women) which was sung between Sailor Pluto and Queen Beryl describing how they were similar and their shared unrequited love for Mamoru.
* Dr. Robotnik has ''[[https://youtu.be/7PNAACyQYnQ Give Me Chaos]]'' from ''[[Franchise/SonicTheHedgehog Sonic Live In Sydney]]'' where brags about how mean he is, how he plans to trap Sally to lure in Sonic and his preference for Chaos instead of good.
* Although Max and Elsa don't have a VillainSong in the film of ''The Sound of Music'', in the original stage production they have ''two'', "How Can Love Survive?" and "No Way To Stop It".
* "Blood in the Water" from ''Theatre/LegallyBlonde'', in which Callahan teaches his students how to become {{amoral attorney}}s.
* "The Mad Hatter" and "I Will Prevail" sung by, you guessed it, the Mad Hatter in Wildhorn's "Wonderland", a musical adaptation of ''Literature/AliceInWonderland''. Because, you know, [[IncrediblyLongNote high notes]] higher than Alice's mean the Hatter is obviously [[EvilTwin evil]]. "Hatter" serves as an eponymous introduction song, while "I Will Prevail" opens act two with a bang --and more [[IncrediblyLongNote Incredibly Long Notes]].
** Similarly, the manic milliner struts her manipulative side when she entreats [[spoiler:Alice's daughter Chloe to join the Hatter and her [[EvilMinions minion]] on "A Nice Little Walk"]].
** The original version of the show (which held its tryout run in Tampa back in 2010) included a song for the Jabberwocky entitled "[[https://www.youtube.com/watch?v=Vm3ks1fct8M Misunderstood]]", although it's more of a subverted VillainSong, as he claims himself to be NecessaryEvil in a world where "you can't know pleasure if you don't know pain", even justifying his actions by claiming that he was ''born'' to be a man-eating monster, and that it's really all he can do. Sadly, both the song and the character were cut from the show once it hit Broadway.
* "It Ain't Necessarily So" and "There's a Boat That's Leaving Soon For New York," Sportin' Life's songs mocking a sermon and tempting one of the protagonists to a life of vice respectively, from ''Theatre/PorgyAndBess''.
* ''Theatre/{{Assassins}}'' has a ton of them, appropriately enough for a play about presidential assassins. "The Ballad of Booth", "The Gun Song", "The Ballad of Czolgosz", "The Ballad of Guiteau" and "Another National Anthem" are all unusual variants of the standard Villain Song. The most iconic villain song of the musical is "Everybody's Got The Right", a irony-tainted song where the assassins proclaim everybody has the right to pursue the American Dream through any means neccesary...including presidential assassination.
** Probably the most unusual villain song in the musical is "The Ballad of Guiteau", where the villainous Charles Guiteau sings a demented hymn as he tap-dances up to the gallows. What makes it unusual is that the lyrics are taken from a poem that the real Charles Guiteau wrote on the way to his execution; Music/StephenSondheim simply set it to music.
*** Well, ''Guiteau's'' continual "I am going to the Lordy/I am so glad" refrains are. The Balladeer's lines, obviously, are written by Sondheim.
* The VillainProtagonist of Sondheim's ''Theatre/SweeneyToddTheDemonBarberOfFleetStreet'' gets "Epiphany".
** Judge Turpin also has a VillainSong, though it's sometimes [[CutSong cut]]. Probably because, well, he's whipping himself and praying in between lusting after Johanna (suggesting that he practices self-flagellation or is just a freaky masochist). Programs and cast albums usually list this song as "Johanna", but it has no musical connection with Anthony's love song "Johanna" in the first act (which is the one performed outside the show under that name), or the "Johanna Sequence" in the second act, which includes a portion of the earlier "Johanna" in between new verses which Todd sings to himself as he offs his customers.
** "A Little Priest" also fits the rules for a villain song: where "Epiphany" describes Todd's violent reaction to an awful world, "Priest" is Mrs. Lovett's refinement of the idea into a practical ("yet appropriate as always") [[ImAHumanitarian course of action]]. And also contains justifications for their awful scheme: "save a lot of graves, do a lot of relatives favours" for instance.
* Parodied in ''Theatre/TheMikado'' with "I've Got a Little List". The scary executioner gets a Villain Song, in which he rattles off a LongList of AcceptableTargets whom he intends to kill -- and in the next dialogue scene, we learn he's a spineless wimp who is terrified of killing. Except that the executioner is more of an AntiHero. The primary villain song is probably "Your revels cease - O Fool, that fleest my hallowed joys", sung by Katisha.
* Though the pirates in ''Theatre/ThePiratesOfPenzance'' aren't exactly villains, they do get a show-stopping Villain Song in "[[WithCatlikeTread With Cat-Like Tread]]".
** The Pirate King gets his number [[https://www.youtube.com/watch?v=eXShM8IjbmM&feature=related "Pirate King"]] which is all about how awesome it is to be a Pirate King. Naturally he's something of an AntiVillain.
** And there's a short one with Pirate!Ruth about how they're going to kill the Major-General and his daughters, called [[ExactlyWhatItSaysOnTheTin Tonight He Dies]].
* "Progress is the Root of All Evil" from the musical adaptation of ''Li'l Abner''.
* "The Seven Deadly Virtues" from ''Camelot''. Also, Mordred and the knights have "Fie On Goodness" after their collective FaceHeelTurn, in a number dropped from many productions (the original Broadway production dropped it just after its inclusion on the cast album, which has the ensemble fill in for Mordred for some reason).
* The title theme of ''ThePhantomOfTheOpera'' ("The Phantom of the opera is there/ Inside your mind!").
** Since the Phantom is turned into an even bigger [[TheWoobie Woobie]] in the Arthur Kopit/Maury Yeston take on the story, he doesn't even get that much (except perhaps his VillainousBreakdown towards the end of "Christine".) Carlotta, however, has the gloating "This Place Is Mine".
** In the sequel, ''Theatre/LoveNeverDies'', [[AdaptationalVillainy Madame Giry]]'s part in "[[TheSongBeforeTheStorm Devil Take The Hindmost]]" also fits this.
* "You Can Get Away with Anything" from ''The Woman In White''.
* The motivations of Buffalo Bill were revealed by "Are You About A Size Fourteen?" in ''[[Film/TheSilenceOfTheLambs Silence! The Musical.]]''
** Don't forget "[[https://www.youtube.com/watch?v=03FIqPk_rBM I'd Fuck Me]]"!
* The Trans-Siberian Orchestra RockOpera ''Beethoven's Last Night'' has two: "Mephistopheles", where the titular demon proclaims himself "god of second chance" while trying to cut a deal with Beethoven, and "Misery", when Mephistopheles gleefully threatens to maim, cripple, torture, and eventually kill a child if Beethoven doesn't give him what he wants. Both get sung way over the top, with much scenery-chewing and {{Large Ham}}mery.
** TSO also included an equally hammy Villain Song in their album ''The Lost Christmas Eve'': "What is Christmas?", sung by the Scrooge-like antagonist.
* "Don't Nobody Bring Me No Bad News" is the mantra of Evilene, the Wicked Witch of the West, in ''Theatre/TheWiz''.
* The [[https://www.youtube.com/watch?v=GoCZEmfnE-M Cellblock Tango]] in ''Theatre/{{Chicago}}''. Awesome song, mood lighting, and girls prowling around in leather underwear talking about how their murders were completely justified.
** ''He had it comin'!''
*** Of course, the innocent Hungarian prisoner's verse states her guiltlessness for real, and of course she's the only one who pays for it. CrapsackWorld indeed.
** From the same musical, "All I Care About is Love", sung by Billy Flynn. The entire song is a lie.
*** An even better example for Flynn is [[https://www.youtube.com/watch?v=Rn5-VN3SH1o "Razzle Dazzle"]], where he gleefully gives a show-stopping number about getting away with anything by using pure showmanship.
** Almost every song from ''Chicago'' (except for "Mr. Cellophane" and "A Little Bit of Good" (sung by Mary Sunshine in the show)) could be considered a Villain Song, as almost all of the main characters are murderers or corrupt.
* Notably averted in ''Theatre/{{Wicked}}''. Fiyero's song "Dancing Through Life" is a textbook cackling song about his nihilistic philosophy, but he turns out to be a much better person than he seems. The Wizard's song, "Wonderful", is the very opposite of a standard VillainSong: he's trying to justify his crimes by playing humble and innocent, and (unlike ''The Sound of Music'') is still the BigBad. Elphaba (the heroine and titular Wicked Witch) even gets one in "No Good Deed", but it's undercut by the fact that she's rocketing through the stages of grief and has some full blown SanitySlippage[=/=]HeroicBSOD going on by the end. Despite her big talk, she never can bring herself to be the villain. "March of the Witch Hunters" comes close, especially the Tin Man's parts, but they truly believe that they're doing the right thing and are unaware that they're being manipulated by Madame Morrible. Finally, "Wicked Witch of the East" can almost be read as one, except that Nessarose is mourning the fact that she somehow became the villain without noticing.
* From ''Film/{{Hairspray}}'', "(The Legend of) Miss Baltimore [[DoubleEntendre Crabs]]". ''Front step, cha-cha-cha...'' There's just something about that one line that screams "you're walking into the serpent's lair". Michelle Pfeiffer even said she signed on for this one song. [[https://www.youtube.com/watch?v=uCW-iFgUbKY It's not hard to see why.]]
** Her daughter Amber has "Cooties", a mean-spirited TakeThat song not-so-subtly directed at Tracy.
** The [[TeensAreMonsters Corny Collins Show council]] contribute to both of these.
* Macavity, the levitating crimelord cat from ''Theatre/{{Cats}}''. His song (though he doesn't sing it himself) is a lengthy paean to his {{Magnificent Bastard}}ry, and is likely the one song besides "Memory" that is most remembered from the play.
** [[ThoseTwoGuys Mungojerrie and Rumpelteazer]] sing a song congratulating themselves on their thievery, but they're more of a QuirkyMinibossSquad.
* Most songs from ''The Black Rider: The Casting of the Magic Bullets'' are pretty creepy, but [[{{Satan}} Pegleg]] gets in three songs of his own: "Just The Right Bullets", "Flash Pan Hunter", and "Gospel Train".
* Since ''Theatre/{{Woyzeck}}'' has so many villains, each one gets their own song: the Doctor has "God's Away on Business", the Drum Major has "Another Man's Vine" and a creepy duet with Marie called "Everything Goes to Hell", and the Captain gets "Starving in the Belly of a Whale".
* "The Soviet Machine" from ''Theatre/{{Chess}}'', sung by Molokov and the KGB Agents.
** "Difficult and Dangerous Times", also titled "US vs. USSR" (formerly a part of "Opening Ceremony"), which is basically a villain song for Cold War politics in general.
-->''But we're gonna smash that bastard!''\\
''Make him wanna change his name--''\\
''Take him to the cleaners and devastate him''\\
''Wipe him out, humiliate him...''
* "Was I [[EvilChancellor Wazir]]?" from ''Kismet''.
* The Engineer's ode to America's love of depravity (and his love for that) in "The American Dream" from ''Theatre/MissSaigon''. "If You Want to Die In Bed" also counts as it spells out his goal to save his own skin. Actually, anything the Engineer sings might fall under this trope...
* ''Theatre/JekyllAndHyde'' gives Edward Hyde [[https://www.youtube.com/watch?v=VzVbFBRnk_s "Alive"]], where he sings about how being so free and evil makes him feel passionate about living. At one point, the music swells triumphantly as he boasts that he'll live on forever with Satan himself by his side.
* Giovanni's [[https://www.youtube.com/watch?v=Mocsc_BsAdI "It Will All Be Mine"]] from the ''Theatre/PokemonLive'' musical. Sung by Darren Dunstan, possibly better known as the American voice of [[Anime/YuGiOh Pegasus]].
** He also [[DarkReprise twists]] two other songs into {{Villain Song}}s: "You and Me and Pokémon" and "Everything Changes".
** Team Rocket got a subversion of the traditional VillainSong called "The Best at Being the Worst", centering around their own incompetence at what they do.
** "Double Trouble" could also count, which has Team Rocket showing enjoyment of being bad guys. However, this originally had a longer version of from a CD the show put out which had several other songs that were in the musical, including "Misty's Song" and "Two Perfect Girls".
* "Cool, Cool Considerate Men" from the musical ''Theatre/SeventeenSeventySix'' lays out the reasons Dickinson and his supporters don't want independence: they're comfortable as they are, they don't want to put their wealth and property at risk for a cause they think can't win, and they think the common man will follow them because they're pretty cynical about him. It's accompanied by a big dance number on the floor of Congress.
** "Molasses to Rum" for Edward Rutledge, which is also him saying that the South and the North are NotSoDifferent--they both, in different ways, participate in and profit from the slave trade. Therefore, not only must the anti-slavery clause be removed from the Declaration, the Northerners are absolute hypocrites for wanting it there in the first place.
* "Falcon in the Dive" from the musical adaptation of ''Theatre/TheScarletPimpernel'' (which conveniently comes after the main heroic song, "Into The Fire", in the libretto).
* "It's All About The Green" in the musical adaptation of ''The Wedding Singer'' - though Glen is more of a {{Jerkass}} than an outright villain, and there are cooler songs in "Casualty of Love", "Today You Are A Man" and others, it's still right up there.
* "Bolero de Amore" in Barry Manilow's ''Copacabana''.
* TheMusical version of ''Theatre/{{Peter Pan|1954}}'' gives one of these to Captain Hook. Given the tone of the play, Hook's CardCarryingVillain status, and his word choice, however, it's halfway between one of these and a TheVillainSucksSong.
** It's also a ''serious'' EarWorm: ''"Who's the creepiest creep in the world? Captain Hook! Captain Hook!"''
** In some versions, Hook and Smee have "Never Smile at a Crocodile".
* "Those Were The Good Old Days" from ''Theatre/DamnYankees'' which also somewhat parodies the IWantSong. [[{{Satan}} Applegate]] laments how much easier being evil was in the days of Nero, cannibals, and Lady Guillotine.
** "A Little Brains, A Little Talent" for Lola, as well as "Whatever Lola Wants", although [[spoiler:she turns out to be not so bad.]]
* "Tomorrow Belongs to Me", the Nazi anthem from ''Theatre/{{Cabaret}}''. It was so realistic and of the spirit that it got the (Jewish) producers accused of anti-Semitism!
* ''Film/TheProducers'' likely invoked this with the title song of "SpringtimeForHitler"?
* In ''Theatre/{{Urinetown}}'', several songs go to the bad guys, including "Cop Song" which goes to the henchmen as well as [[https://www.youtube.com/watch?v=JTwXwYmxHio "Don't be the Bunny"]] and "Mister Cladwell" going to the main villain Mr. Cladwell. The latter of which is an outright song praising his virtues (''Mister Cladwell, you're so Godly/oddly perfect and right'').
* ''Anyone Can Whistle'' has several songs for the evil Mayoress Cora Hoover-Hooper. The best of these is the first song of the show, "Me And My Town", in which she laments her ZeroPercentApprovalRating.
* "The Spring Of Next Year" from ''Dear World''.
* Jim Steinman's unproduced [[Theatre/BatmanTheMusical Batman]] [[http://www.freewebs.com/batman_themusical/home.ht Musical]] has two villain songs. The corrupt officials controlling Gotham City sing [[http://www.4shared.com/file/20334162/e41fb6bc/landofthepig.html "In the Land of the Pig, the Butcher is King"]] (which was later covered by Music/MeatLoaf) while SelfDemonstrating/TheJoker gets the song [[http://www.4shared.com/file/15260005/7d8a0d68/jokerssong.html "Wonderful Toys"]] which is perhaps the most insane and over the top villain song you could hope for.
--> "Do, a deer, I killed that deer..."
* Miles Gloriosus' "Bring Me My Bride" in ''A Funny Thing Happened on the Way to the Forum.''
* ''Theatre/{{Oliver}}'' has several Villain songs: BigBad Bill Sykes gets "My Name" and the AffablyEvil Fagin actually gets two, "You've Got to Pick a Pocket or Two" and "Reviewing the Situation" (in the reprise especially). That Fagin gets more than the real villain isn't too surprising though, since the role is usually played as a LargeHam.
* In ''Theatre/{{Annie}}'', Miss Hannigan expresses her [[ChildHater hatred for children]] in "Little Girls"; later, she is joined by her sleazy brother Rooster and his airhead girlfriend for the song "Easy Street".
* ''I Can Get It For You Wholesale'' has "The Way Things Are", in which the protagonist says ThereAreTwoKindsOfPeopleInTheWorld, and he wants to be the kind that gets to step on the other kind.
* In ''Baker Street: A Musical Adventure Of SherlockHolmes'', Moriarty has the EvilGloating song "I Shall Miss You".
* "Let Things Be Like They Always Was" from ''Theatre/StreetScene'' is less of a song than a Puccini-like aria, but it certainly sounds dark and menacing. It's Mr. Maurrant's only uninterrupted solo, in which he gives vent to his bitter reactionary attitude.
* John Howard's dark and menacing march "Power" in ''Keating!''. Which is then hilariously contrasted with "The Mateship".Whether he's a villain in RealLife depends which side of the political spectrum you're on, but he definitely qualifies in the musical.
* The little-known German musical ''Hexen'' has "Gleich", sung by the {{Magitek}} witch Clony, whose magic borders on MadScientist territory. Clony doesn't consider herself evil and really thinks she's doing humanity a favor by giving everyone armies of clones of themselves to do all the work, but she is nevertheless an unabashed egotist who gets a huge rock number in which she praises her own intellect, style and superiority over everyone else. Not to mention that the plan she's explaining is essentially one for slavery.
* Theatre/TanzDerVampire has ''Ewigkeit'', in which a ''whole chorus of vampires'' rises from their graves and plots to make humanity as miserable and insane as they are. It happens to be the most chilling song in the whole musical.
* Sophie in ''Theatre/{{Elisabeth}}'', as more of a KnightTemplar than a really sinister villain, has the rigid "Eine Kaiserin muss glanzen!" ("An Empress Must Sparkle!"), in which she bullies her newly-married daughter-in-law into (temporary) tears and submission. Later on, though, she sends her son to a brothel to weaken his marriage, and the shady madam and prostitutes' song "Nur kein genieren" ("Don't Be Ashamed, Dear") fits into this trope fairly well.
** There's also the bouncy "Kitsch", which serves as a villain song for the murderous, sarcastic Lucheni ''and'' as a kind of TheVillainSucksSong for the selfish Elisabeth as well as all of her fawning, devoted subjects- including the audience.
** "Der letzte Tanz" may count, considering it ''is'' a personification of Death showing up to menace Elisabeth at her wedding, gloat about how he'll win her in the end whether she likes it or not, and basically stop the show.
** "Die Schatten werden länger", which is all about Death trying to convince Rudolf to commit suicide.
* The title song from ''Literature/KissOfTheSpiderWoman''.
** The Spider Woman isn't so much the villain of that show as a character's nightmare. A better villain song would be "Lucky Molina".
* "I'd Rather Die on My Feet Than Live On My Knees" for Thomas in ''The Beautiful Game''. The song is short and Thomas isn't exactly a show stopping villain, but it's extremely effective in vilifying the guy. For the majority of the show he was a misguided {{jerkass}}, but not worse than some of the others.
* [[IWantSong "Big News!"]] and "Real Big News!" for [[IntrepidReporter Britt Craig]] in ''Parade'', "That's What He Said" for Jim Conley, "Something Ain't Right" for [[AmoralAttorney Hugh Dorsey]], "Hammer of Justice" for [[TheFundamentalist Tom Watson]], and [[AngryMobSong "Where Will You Stand When the Flood Comes"]], as led by Tom Watson.
** Also played with in "Come Up to My Office", which is sung by Leo Frank, but is actually a fabricated account on the part of the prosecution.
* ''Theatre/{{Mozart}}'' features a mute villain- Mozart's own genius, portrayed a a demon/CreepyChild in the shape of Mozart himself at age six or so that follows the adult Mozart around, constantly composing and using Mozart's blood as ink. Thusly, the big showstopping EarWorm villain-song-stand-in goes to Archbishop Colloredo, who's more of a petty annoyance than anything, in the form of "Wo Bleibt Mozart?" It's still pretty grandiose and nasty to the title character.
** If we count Colloredo as a villain, "Der einfache Weg" fits the bill: it demonstrates Colloredo's attitude towards music, method, and goal of trying to coax Mozart back to his side. With a hefty side of [[ManipulativeBastard attempted manipulation]] of Mozart's status as a WellDoneSonGuy.
* Radames' father, though not the main villain of ''Aida'' gets two: the standard "Another Pyramid" and "Like Father, Like Son", which Radames tries to turn into a TheVillainSucksSong. He fails.
* The AntiLoveSong [[http://ie.youtube.com/watch?v=k8RV9A3SoXs "To Keep My Love Alive"]] from ''A Connecticut Yankee''.
* "Evil Woman" from ''Film/{{Xanadu}}''.
* "The Madness of King Scar" from ''Theatre/TheLionKing'' Broadway musical, in which he demonstrates his growing schizophrenia and essentially tries to seduce/rape Nala. This is new to the musical, but is based on a deleted scene from the movie.
* Arguably, ''Rose's Turn'', from ''Gypsy''. It depends on whether or not you view her as the antagonist, and even then it might be a VillainousBreakdown.
** Another example could be "Everything's Coming Up Roses". Louise and Herbie are certainly horrified.
* "They Don't Know" from ''Theatre/ThoroughlyModernMillie''.
** "Muquin" also. Although that may not be a villain song so much as Meers giving her henchmen some more motivation.
* Depending on the production, "Shoes Upon the Table" can be played this way in ''Theatre/BloodBrothers''.
* In ''Theatre/JesusChristSuperstar'', the high priests get "This Jesus Must Die", which is rather [[CaptainObvious self-explanatory]]. If you ignore the words [[LyricalDissonance it's one of the most upbeat and catchy tunes in the whole show]].
** There's also "Herod's Song", another seriously catchy number.
** Norman Jewison's film version also adds "Then We Are Decided", which figures as both another VillainSong and an IWantSong for Caiaphas and Annas.
* Draco's "Back To Hogwarts" solo from ''Theatre/AVeryPotterMusical'' can be quite evil, considering that he's a short woman in a blonde wig playing a delusional pratfaller twelve-year-old boy in a comedy/parody. Needless to say, the delivery is brilliant.
-->''Look out world, for the dawn of the day''\\
''When everyone will do '''whatever''' I say''\\
''And that Potter won't be in my way, and then''\\
''I'll be the one who is [[CatchPhrase totally awesome]]!''
** [[SensitiveGuyAndManlyMan Quirrel & Voldemort]] sing a duet "Different As Can Be" early on, about what an OddCouple they are. They get a reprise a few scenes later, but rather than being [[DarkReprise darker]], it's as [[EarWorm upbeat]] as can be, despite including the lyrics [[LyricalDissonance "We'll lead 'em to the slaughter/And we'll murder Harry Potter!"]]
*** Voldemort gets a second song after his resurrection, entitled "Dance Again" which culminates with him and the Death Eaters doing a kickline.
** Umbridge's showstopping number "Stutter" from ''Theatre/AVeryPotterSequel''. The Dementor back-up dancers have to be seen to be believed.
** The first song "Not Over Yet". It is sung by Lucius Malfoy, outlining his plan to prevent Voldemort's defeat by using a Time Turner to kill Harry in his first year of Hogwarts.
-->''Our history is nothing more than what the losers settle for.''
* In ''Theatre/{{Starship}}'', Pincer has "Kick it Up a Notch". It is later reprised by [[spoiler:Junior.]]
* "Rogues are we" from Holy Musical B@man.
* ''Theatre/TwistedTheUntoldStoryOfARoyalVizier'' has the titular song "Twisted", sung by [[Disney/TheLittleMermaid Ursula]], [[Disney/TheLionKing Scar]], [[Disney/BeautyAndTheBeast Gaston]], [[Disney/SleepingBeauty Maleficent]], and [[Disney/PeterPan Captain Hook]] (along with a ''very'' brief appearance by [[Disney/OneHundredAndOneDalmatians Cruella DeVil]]). With all these iconic Disney Villains, it ''sounds'' like a typical VillainSong, right? [[SubvertedTrope It's not. It actually details how each of the villains' stories were twisted by the heroes in order to make them LOOK like the bad guys, when in reality, they were good-hearted souls who just wanted to make things right]].
** Played straight with [[AdaptationalVillainy Aladdin's]] "I Steal Everything", [[AscendedExtra Prince Achmed's]] "No One Remembers Achmed", and the DarkReprise for "The Golden Rule", sung by the Royal Vizier and his [[{{Mook}} Mooks]].
* In the 12th century liturgical drama, the ''Ludus de Herode'', Herod and his son have a duet, ''Salve, pater inclite'', in which they threaten the newborn Messiah.
* ''Turnabout Musical'', the musical adaptation of ''VisualNovel/PhoenixWrightAceAttorney'', has some good ones in the making: Winston Payne's comical "Rookie Killer", Redd White's [[EarWorm diabolically catchy]] "Redd White and You" (a plain-clothes rehearsal can be seen [[https://www.youtube.com/watch?v=ASgJvscdjpc here]]), and Manfred von Karma's appropriately haunting, though strangely baritone, "Anything to Win" -- OminousLatinChanting included. Fortunately, the "hero songs" are very much a match for them.
* Salieri in ''Theatre/MozartLOperaRock'' has several songs, but perhaps the best example of this trope is "Le bien qui fait mal", which is all about how he's "Envoûté par des idées folles/Bewitched by crazy thoughts", and "Je sens de violentes pulsions/I'm feeling violent impulses", oh and "Le désir devient ma prison/Desire has become my prison". Salieri's clearly losing it.
* "One Touch Of Alchemy" in ''Knickerbocker Holiday'', the culmination of Stuyvesant's NewEraSpeech. Shortly after, he has a duet with one of his henchmen, "The One Indispensable Man".
* The true antagonist of ''Theatre/NextToNormal'' is mental illness, but a secondary villain is Gabe, who certainly enables Diana in her mental illness (and even [[spoiler:leads her into a suicide attempt, in "I Dreamed A Dance"]]). His song "I'm Alive" and its extremely DarkReprise could be considered Villain Songs.
** If you [[spoiler:consider Gabe as an avatar for Diana's mental illness]] the song gets even darker.
* A brief, out-of-context clip attests that ''Enron'' has at least one good villain song with Jeff Skilling's "Primetime for Skilling". ("I'm the boss, here's the gist; I'm the guy who gets to lie to analysts...") Actually, at least half of the [[http://creditboards.com/forums/index.php?showtopic=219225 twenty-six songs listed]] sound like contenders.
* In both the movie and musical versions of ''Theatre/{{Evita}}'', Che (who isn't ''quite'' the villain, but he's close enough) has "Oh What a Circus". There's also the short and sinister "The Art of the Possible" with Peron, and the fantastic "Waltz for Eva and Che" with, well, guess.
* Jud Fry, the villain of Creator/RodgersAndHammerstein's ''Theatre/{{Oklahoma}}'' gets "The Lonely Room". It's almost enough to make you feel sorry for the guy.
* Groovelily's musical ''Sleeping Beauty Wakes'' has some marvelous villain songs by the Evil Fairy: [[https://www.youtube.com/watch?v=Zx51o0XoTUk "Uninvited"]], about not being invited to the celebration of the princess' birthday, and "The Wheel Goes Round", sung when she's in disguise trying to lure the princess to the spinning wheel.
* "Pirate Jenny" is a Villain Protagonist song about cold-blooded revenge from ''Theatre/TheThreepennyOpera''
-->They move in the shadows where no one can see\\
And they're chainin' up people and they're bringin' em to me\\
askin' me, "Kill them NOW, or LATER?"\\
Askin' ME! "Kill them now, or later?"\\
Noon by the clock, and so still by the dock\\
You can hear a foghorn miles away\\
And in that quiet of death, I'll say, "Right now."\\
Then they'll pile up the bodies\\
And I'll say, "That'll learn ya!"
* Even though It's a parody to a ''Theatre/FiddlerOnTheRoof'', ''Theatre/AShoggothOnTheRoof'' has some pretty dark tunes. Turning famous songs into a [[Franchise/CthulhuMythos Lovecraftian]] induced musical. A lot of these can be considered villain songs in their own right, but the one the takes the cake is easily [[https://www.youtube.com/watch?v=qCGcfGX0Q84 "Do You Fear Me?"]] which is sung by... [[spoiler:Cthulhu himself]]! Even though [[https://www.youtube.com/watch?v=LTmmMApUEl8&feature=related The Nightmare]]is a close runner up due a portion of it dedicated to [[spoiler:The Ghost of Lavinia Whately]] singing about her plan to have her two sons [[spoiler:raping Armitage's daughter Prudence with Tentacles!]]
* Audrey II from ''Theatre/LittleShopOfHorrors'' got "Feed Me" and "Suppertime". From the same musical, Orin had "Dentist!". In the film version and some productions, there is a song called "Mean Green Mother From Outer Space" for Audrey II. There was also a CutSong for Audrey II titled, simply, "I'm Bad". Furthermore, a little-known CutSong from the stage version, a reprise of "The Meek Shall Inherit", would have gone to Patrick Martin, the man that sells the plants across the nation and thus brings about the end of the world.
** "The Meek Shall Inherit" is already pretty sinister; even if they don't know they're doing it, the singers are encouraging Seymour to kill more people so he'll be famous.
* "Z: The Masked Musical" (which never got past the concept album stage) featured the alcalde's delightful "Glorious, Gluttonous Greed", in which he recounts his love of money, revels in the suffering of the peasants, describes his plan to purchase a noble title, and demonstrates the ability to count and identify coins just by the sound they make hitting the table. The rest of the album is execrable.
* ''Theatre/{{Seussical}}'' (That's right, there's a Creator/DrSeuss [[TheMusical musical]]) has General Ghengiz Khan Schmitz's "The Military Academy" and Mayzie's "Amazing Mayzie". The Sour Kangaroo doesn't have one, oddly, despite being the main antagonist, although she does have some lines in "Biggest Blame Fool" which could count.
* The original version of ''Theatre/StarlightExpress'' had "C.B." the gleeful confession of a serial killer caboose. It makes sense in context.
** While the character of [[JerkJock Greaseball]] is not anywhere as villainous as C.B. his introductory number "Rolling Stock" still counts.
** Electra's introduction song, "AC/DC", is another example.
* ''Theatre/EvilDeadTheMusical'' has [[https://www.youtube.com/watch?v=QX-gQN9Uw5U Join Us]], a bouncy upbeat song extolling the virtues of submitting to the Evil Dead. [[https://www.youtube.com/watch?v=QX-gQN9Uw5U Look Who's Evil Now]], [[https://www.youtube.com/watch?v=Ea1QkvMJcsA Bit Part Demon]], and [[https://www.youtube.com/watch?v=KfOpNOldOWU Do The Necronomicon]] are also worth mentioning.
* "Forever Yours" from ''Theatre/OnceOnThisIsland'' is a bizarre half-love ballad-half-VillainSong, taking on the latter quality after [[TheGrimReaper Papa Ge]] joins in. "Your life is forever ''miiiiiiiiiiiiiiiiine''!" Agwe has "Rain", a song about causing a storm that intentionally results in a near-fatal car crash; immediately before that, the JerkassGods sing "And the Gods Heard Her Prayer", in which they concoct their plot to use Ti Moune for their own ends. Asaka and Erzulie get a song each, but theirs aren't villainous (though they are [[ItsAllAboutMe extremely self-congratulatory]]). RichBitch Andrea sings for a bit, too.
* "Hector's Song" from ''Theatre/TheGoldenApple'', an oleaginous, AffablyEvil soliloquy about how corruptible people are.
* The 1980's Broadway musical ''Drood'' is notable here in that it has ''nine'' possible villain songs: Two which are always in the show ("A Man Could Go Quite Mad" and "Jasper's Confession") and 7 possible murderer confessions decided by audience vote. Some may not count, however, as at least one is a joke about how unlikely that particular character being the murder is.
* The ''[[Film/TheToxicAvenger Toxic Avenger]]'' musical has a few songs for Tromaville's corrupt mayor Babs Belgoody.
** "Jersey Girl", where she sings about her plans to become Governor.
** She performs "Get the Geek" along with the town bullies Sluggo and Bozo, where she orders them to eliminate Melvin.
** "Evil is Hot", where she seduces Professor Zen to get him to tell her how she can kill Toxie.
** "Bitch/Slut/Liar/Whore", which also counts as a TheVillainSucksSong on Toxie's mother's part.
* ''Theatre/SpiderManTurnOffTheDark'' has several.
** Flash Thompson and his cronies have "Bullying by Numbers" and "Venom".
** Before the show was revamped, second-act villain Arachne had two as well; "Think Again" lamenting Peter's decision to give up his Spider-Man identity, and "Deeply Furious" an absurd and much mocked song about shoes.
** The Green Goblin gets three. As Norman Osborn he sings "DIY World", about how designer genes are the way of the future. Not blatantly evil, but we know what happens. As the Goblin, he sings "I'll Take Manhattan", a loungey evil song, and a "A Freak Like Me Needs Company" (derived from a recurring line in "Deeply Furious") about his creation of the Sinister Six.
** And one more, "Pull the Trigger", from the military group funding Norman's research to create super soldiers.
* The main antagonist of Music/{{Queen}}'s RockOpera ''Theatre/WeWillRockYou'' is called Killer Queen. Naturally she's introduced with the song of the same name. "Flash" might be one for Khashoggi.
** Khashoggi's rendition of "Seven Seas Of Rhye" is also highly villainous.
* "Special" from ''Theatre/AvenueQ'' might be one since it acts as a EstablishingCharacterMoment for [[MeaningfulName Lucy The Slut]] who acts as an antagonist towards Kate by trying to steal Princeton from her.
* OlderThanFeudalism: A significant chunk of Aeschylus' ''Theatre/Eumenides'' is the villain song of the Erinyes, where they seek to justify the {{Revenge}} they enforce and boast of how terrible and powerful they are, while disdaining the injustice of the CycleOfRevenge that is the plot of the story.
* From ''Film/SisterAct: The Musical'', the BigBad and the QuirkyMinibossSquad both get one. "Lady In The Long Black Dress" is sung by the Miniboss Squad and is about seducing the nuns of the convent. "When I Find My Baby", sung by the Big Bad, is about how he will find Deloris again and "shoot that girl! And then I’ll stab that girl, and then I’ll take her and shake her, and make her meet her maker!"...
* Lord Farquaad gets two in ''Theatre/ShrekTheMusical'':
** "What's Up, Duloc?" is a crowd song about [[SmugSnake how great he is]] and how he's rid Duloc of [[FantasticRacism non-human "freaks"]].
** "The Ballad of Farquaad" details his backstory and his [[UnreliableNarrator supposed]] FreudianExcuse.
* The closest thing to a VillainSong in ''Theatre/SunsetBoulevard'' is the title song, "[[ExactlyWhatItSaysOnTheTin Sunset Boulevard]]", which is about {{Jerkass}} [[VillainProtagonist Protagonist]] Joe Gillis describing and rationalizing his manipulation of his (much older, much richer, and very emotionally-unstable) girlfriend Norma's feelings in order to have access to her stuff and money. This gets an [[DarkReprise even darker reprise]] at the very end of the show, where Joe emotionally abuses the innocent Betty (the [[BettyAndVeronica literal Betty to Norma's Veronica]]), whom he had just told he loved two scenes earlier.
* The Austrian musical ''Rudolf – Affaire Mayerling'', about the life of Rudolf, Crown Prince of Austria before his suicide, has Count Eduard Taaffe, the Austrian Emperor's closest advisor, sing a very intense song about how politics are easy if you pull the strings behind the curtains and how as advisor to the Emperor, the whole world bends to his will if he demands it. The Aristocrats and even the Emperor dance as his puppets underneath and are shown to listen to his advice. There is also an [[https://www.youtube.com/watch?v=5uSaVemKots English Version]] but the [[https://www.youtube.com/watch?v=2Nc-X1wlU3Q German Version]] is much faster and far more powerful.
** It's a little ironic to listen to the song if you know that later during his ministry, Austria went into UsefulNotes/WW1 and therefore lost most of their political clout as a nation for a long time.
* The Italian work ''The Bethrothed Lovers Modern Opera'': Jesus Christ, where to begin?
** First of all, the Ouverture gives us a glimpse of [[BigBad Don Rodrigo]]'s song, "What is this fire?". That's right, the very introduction is interrupted by the villains singing about his evil goal.
** The third song, "It has not to be done", features the Thugs (led by [[TheDragon the Griso]]), threatening [[DirtyCoward Don Abbondio]], the town priest, saying that it will end bad for him, shoulf he ever marry the titular bethrothed. It's mostly [[PlayedForLaughs intended as comedic]], especially when they mock him, but it is still frightening when you realize that, in a time and place that saw Vatican at its maximal power, Don Rodrigo is not afraid to threaten a man of Church.
** The fifth one, "Going... fleeing... the power" starts off with just Don Abbondio establishing once again his lack of guts, but when he goes to sleep... he actually dreams about Don Rodrigo, on top of a skull-decorated spider-web, who nonchalantely plays with a rapier, all while representing the embodiment of the very concepts of power and arrogance. He didn't even appear in the story, yet, and he is already established as a guy not to be messed with. In this particular piece, he sings about how he can walk at his will over people heads, and how he is everything while Don Abbondio is nothing. And now picture such a self-centered bully played by the same guy who played Quasimodo.
** The eighth song, "Law is the same for everybody", is one of the funniest and, ironically one of the most evil. In it, the lawman Azzeccagarbugli (lit., Mischief-finder, which in Italy has become a nickname for every corrupted lawperson) sings about how it is his job to use law and justice to help people, while he means his "help" actually is avoiding criminals to pay the price of their crimes. He even accuses Renzo (the lead male character) of being a criminal, for daring to suggest to go against Don Rodrigo.
** The eleventh song, "Wine, wine", sees for the first time Don Rodrigo. With all of his friends (other noble bullies), he playfully spars with swords and sings about the joy of drinking fine wine in company on the day of St. Martin. Then he casually mention he will [[IHaveYouNowMyPretty subjugate and tame Lucia]], just as a bet with a friend of his, and the song ends with them all gloating about the even bigger joy of having their way with women.
** Right after, "There will be a day" is mainly sung by one of the most importants good characters, Fra Cristoforo, and is about how God will not be pleased with that power abuse against the weakest. Then, [[TemptingFate Don Rodrigo interrupts, insulting Fra Cristoforo and telling him to watch his tongue]]. Ironically, the truly frightening part of this song comes from Cristoforo himself, who pretty much curses Don Rodrigo, telling him God will annihilate him. And the scary part is... it actually happens.
** Then we have "The nigh of Mischieves", in which the main characters try to trick Don Abbondio in marrying Renzo and Lucia. But there is also the Griso, with other thugs, singing in a magnificent barithonal voice of how they are going to kidnap Lucia and how Don Rodrigo will be proud of them for such an act.
** Just when we heard five songs about the good guy, and we were starting to lose hope about the amount of villainy, we have "St. Martin has arrived", a reprise of "Wine, wine", really similar but with an even better coreography, with much more swordsmanship and every background character groping at least one maid during the number.
** It is immediately followed by the aforementioned "What is this fire". A song so full of pathos and sexual depravity, it could give "Hellfire" and "Your love will kill me" a run for their money. Yeah, you read it right: a song so lustful Frollo seems tame in comparison. Especially creepy when Don Rodrigo sings "Never you will tell me 'stop!', you, who now are saying 'never!'"; he basically says he will continue to rape Lucia until she forces herself to enjoy it. Jesus Christ. And, no, it was not added for this adaptation: even in the original novel, he betted he could have the ius primae noctis, and the only thing added in this version was that here Don Rodrigo actually lusts after Lucia, instead of seeing her just as a bet. It's hardly any better.
** "The Griso has returned", which immediately follows, is both yet another reprise of "Wine, wine", and, in the second part, one for the thug's part in "The night of mischievs". Don Rodrigo doesn't want to accept his defeat, and he bets all of his wine he will have Lucia before the end of St.Martin's day. Then The Griso arrives empty-handed, getting properly bitchslapped.
** "Let's violate the clausure", just two songs away, starts of as just the [[LargeHam hammiest]] [[BadassBoast badass boast]] in the history of musical villainy, with the thugs claiming they will attack the convent and take Lucia. Then, Don Rodrigo cuts their bullshit, and gives a dark reprise to one of Fra Crisotoforo's song, announcing he knows who he has to talk to. Immediately this certain someone is described as almost more a force of nature than a man: [[TheDreaded the Unnamed]].
** "[[NamesToRunAwayFromReallyFast The unnamed]]" is right after that, and it is pretty much a glorification of that guy. He starts by singing about he enjoys life because death itself is his trusted companion, and they are against everybody and everything, not caring about the existence of something as futile as a law or even God Himself. His henchmen (some creepy black-cloaked things), even call him "The black shadow, the fear". Then we see Don Rodrigo, who has alway been arrogant and full of himself, pretty much begging the Unnamed to help him; he responds by saying "that convent has no door, has no gate and has no wall", while his thugs reply "all is open at His will, each and one defense will fall!". The song ends saying that the Unnamed holds a limitless power, which makes him master of every fate, and that he can destroy without a move fear, life and death. Keep in mind that this is a realistic setting, so [[BadassNormal he has no supernatural power whatsoever]]: he is just that feared, that ruthless and that competent. Plus, he is played by Vittorio Matteucci, who was Frollo in "Notre-Dame de Paris" and Dracula in "Dracula Opera Rock"; probably, when he cuts himself shaving, he bleeds [[MagnificentBastard awesome assholeness]].
** Immediately after, we have "Let her out": the Kite (the Unnamed's elite mook) has sent Egidio, the lover of Monza's Nun, to convince her to send Lucia out, so that the thugs may abduct her, bring her to the Unnamed, and then give her to Don Rodrigo.
** And then, "The Abduction", which is [[ExactlyWhatItSaysOnTheTin pretty much what the title implies]]. Monza's Nun tricks Lucia into going out, purposedly playing on her faith and weak will, and her tragic backstory doesn't help us giving her simpathy. But still, the fact that the Nun was brain-washed and forced in the convent by [[AbusiveParents her materialistic nutjob of a father]], was then seduced by [[ManipulativeBastard Egidio]] [[BastardBoyfriend who only sees her as a tool of pleasure]], and looks like a cross between [[BondageIsBad a S&M slave and a mistress]], adds both pathos and [[ThisIsWrongOnSoManyLevels incredible creepyness]].
** "The Lansquenets, the letters". Cannon sounds, blood-red lighting, and an arm of mercenaries marching through Milano, singing a creepy cross between a Church chant, a Nazi parade anthem, and that thing the Uruk-Hai sung in the Bakshi "Lord of the Rings" movie. If anybody studied history, they'll know what exactly the Lansquenets did. If nobody did, don't worry: while they do their war chants, Renzo provides an explanation, saying that they are a scourge devastating the fields, burning the houses, murdering everybody, raping women and bringing the plague, to top all of that; the song itself ends with Renzo repeating "The Plague!", echoed by the Lansquenets in German. All is made especially creepy when you realize that is [[AdultFear what Renzo is dictating to be written in a letter to Lucia, to tell her he hopes to make it out alive to see her again]].
** "The Betrayal", the last villains song, sees Don Rodrigo dying by plague; there is no make-up to simulate the symptons, but Giò di Tonno acually seems febricitant, trembling and ill; plus, he has a vision of what Fra Cristoforo has shown him, and feels he si being crushed by rhe rightful wrath of the Allmighty. He send the Griso to call a doctor, but his thug returns with some jackals, to take him away and steal his fortune. Ironically, the Griso gets infected and dies before he has to change to spend a single coin of what he stole.
* The theatrical version of ''Film/{{Newsies}}'' gives [[HistoricalVillainUpgrade Joseph Pulitzer]] the song "The Bottom Line", wherein he explains why he's boosting the price of his papers, and how he doesn't care how it'll affect the newsies. He gets a reprise in Act 2, when he threatens to have all the newsies arrested if Jack doesn't tell them to end the strike.
* ''It's A Bird, It's A Plane, It's Superman'' has the song "Revenge", in which Dr. Abner Sedgwick recounts all the Nobel Prizes he's been robbed of and says he'll destroy Superman to show the scientific community.
* The closest thing to a villain in ''Theatre/HowToSucceedInBusinessWithoutReallyTrying'' is SmugSnake Bud Frump, and his reprise of "The Company Way" and DarkReprise of "Been A Long Day" arguably qualify for this, the former being a self-congratulatory number about how great he is (for being made head of the mailroom) an the latter sung as he puts his EvilPlan into action through blackmailing his uncle.
* "The Apple Tree (Forbidden Fruit)" from ''The Apple Tree''. The first act of the musical is based off of Mark Twain's Adam and Eve story. It's sung from The Snake to temp Eve to take a bite from the apple.
** Also if you count the King from the second act, he has a short musical piece "Barbara, how could you?" It's only about 10 seconds long. It's his reaction to seeing his daughter in love with a forbidden lover. He also sings a small solo in "Which Door?"
* "The Stepsister's Lament" from ''Rodgers and Hammerstein's Cinderella''. Long before they even sing the song, the tune is the stepfamily's theme song and plays during some of their entrances.
* "Opportunity" and partially "It can't be true" from ''13''.
* ''Theatre/{{Drood}}'' has "A Man Could Go Quite Mad", introducing John Jasper and his repressed insanity. Any of the murderers' confessions could count as well.
* TheMusical of ''Music/AmericanIdiot'' turns the Music/GreenDay song "Know Your Enemy" into somewhat of a VillainSong for St. Jimmy, as he attempts to lure Johnny back to his pointlessly rebellious and self-destructive lifestyle, as well as manipulating Johnny into attempting to [[DoesThisRemindYouOfAnything stab]] [[Music/SexPistols his]] [[ShoutOut girlfriend]].
* ''The Lady Pirates of Captain Bree'' has the title song for the title character [[spoiler:though she does a HeelFaceTurn later on]] and "A Lady of Sensibility" for the resident RichBitch, both of which double as {{I Am Song}}s.
* "Spread A Little Sunshine" in ''Theatre/{{Pippin}}'', in which Fastrada plots to get her son closer to the throne while (sarcastically) singing about following the Golden Rule. Actually a subversion: the song's lyrics are entirely innocent, even though the action surrounding it is not.
* The Broadway musical version of ''{{Literature/Matilda}}'' has "The Hammer" and "The Smell of Rebellion".
* ''Theatre/CharlieAndTheChocolateFactory'' uses this trope to an unusual end. [[NoAntagonist The four bratty kids and their parents aren't villains]], so their establishing tunes fall under the IAmSong trope, though Mike's verses in "It's Teavee Time" overlap with a villain song as he proudly declares that he cheated to get his Golden Ticket. But the show ''does'' have a glamorous, LargeHam, AmbiguouslyEvil AntiHero: '''Willy Wonka'''. His first song "It Must Be Believed to Be Seen", which doubles as the Act One finale, is a WelcomingSong and an IAmGreatSong lyrically, but musically and visually it's this trope -- brassy, intense, cheekily sinister, and catchy. There's SpontaneousChoreography for the Golden Ticket winners and the press, the scenery's awash in colorful light by the end...and all along, only the audience suspects/knows that the enthusiastic tour group is going to get a ''lot'' more than they bargained for in Act Two.
* In ''Theatre/TwiceCharmed'', Wicked Fairy Godfather Franco [=DiFortunato=] gets "It's Never Too Late."
-->It’s never too late to plan a wicked plan / Smash both of her shoes and make off with her man!
* Most of the songs in ''Theatre/ThrillMe'' are this. Chronologically: "Nothing Like a Fire" is Richard glorying in the warehouse fire he just set, and seducing Nathan; "A Written Contract" is Richard getting Nathan to agree to continue helping with his crimes "no matter what degree" and gloating about their superiority; "The Plan" is Richard excitedly plotting a murder; "Roadster" is Richard luring a twelve-year-old to his death; "Superior" is Richard gloating about being...[[ExactlyWhatItSaysOnTheTin superior to everyone else]]; and "Life Plus 99 Years" is [[spoiler:Nathan]] gloating about having strung [[spoiler:Richard]] along through almost all of the show. And really, there are [[AlternateCharacterInterpretation arguments]] to be made for most of the other songs.
* In ''Theatre/PokemonTheMewsical'', Giovanni gets "To Be Boss" and "Finally," while Team Rocket gets "The Plan." Gary gets several villainous parts as well in different songs.
* The villain song from "Tumbleweeds" (a musical written to be performed by students) has the title "[[EvilFeelsGood It Feels So Good To Be Evil]]" and consists of the various villains gloating about exactly how much they love being villains.
* ''The Cradle Will Rock'' has the fake-friendly duet "The Freedom of the Press," in which [[CorruptCorporateExecutive Mr. Mister]] demands that Editor Daily print MaliciousSlander against TheHero.
* The ''WesternAnimation/WinxClub'' musical Winx Power Show gives us "Non c'è Amore" ("There's No Love"), sung by Trix about their intention to destroy the Winx (or fight forever if they fail) and become invincible and the fact there's so much rage inside them that no love can redeem them.
* In the children's musical "Oh Jonah!", the people of Niniveh sing "City of Sin", where they revel in lawlessness -- in a vague, child-friendly way -- and invite Jonah to join them. (At least one church added a banner saying, "NINIVEH: WHAT HAPPENS HERE STAYS HERE.") In the biggest let-down of an otherwise entertaining show, all it takes is "Stop!" to cue a low-key song of repentance.
* In ''[[Literature/JohnnyMaxwellTrilogy Only You Can Save Mankind]]: The Musical'', the Gunnery Officer gets "What Are We Waiting For?" where he not only rebels against the Captain's efforts to make peace with the humans, he seems to be advocating his fellow [=ScreeWee=] rebel against ''everything''.
* The ice spirit Arktos in [[Franchise/{{Tabaluga}} Tabaluga und Lilli]] gets [[https://www.youtube.com/watch?v=KayydKf3i-s Schlüssel zur Macht]] (translation: Key to Power).
* The musical adaptation of ''Literature/{{Carrie}}'' has quite a few of them. AlphaBitch Chris Hargensen gets "The World According to Chris" in the revival, in which she sings about her "whip or get whipped" view of the world. She and her boyfriend Billy also have a brief part in "A Night We'll Never Forget", in which they plot to get even with Carrie at the dance. Margaret gets "And Eve Was Weak", where she warns her daughter about the "curse of blood" when she gets her period (this song also serves as a MoodWhiplash from Margaret's sweet, motherly demeanor, and is meant to show just how crazy and serious she could get when snapped). "When There's No One", another solo for Margaret, could also qualify, given the fact that it's the moment she realizes that she must [[spoiler:kill Carrie in order to save her from damnation]].
* The Broadway adaptation of ''Film/{{Mary Poppins}}'' has "Brimstone and Treacle", sung by the wicked nanny, [[EvilCounterpart Miss Andrew]] (a character adapted from the books rather than the film itself). Showcasing Andrew's sinister disciplinary tactics and use of a horrible medicine, the titular Brimstone and Treacle, the entire song is meant to contrast Mary Poppin's "A Spoonful of Sugar". It even gets a reprise, now sung by [[spoiler:Mary as she literally gives Miss Andrew [[ATasteOfTheirOwnMedicine a taste of her own medicine]] (and, in a surprisingly dark twist, locks her in a giant birdcage and sends it [[DraggedOffToHell deep below]])]].
* The ''[[Disney/TheLittleMermaid Little Mermaid]]'' Broadway musical gives three new songs to Ursula: "I Want the Good Times Back", which details Ursula's plot to get to King Triton (and the throne) through Ariel (it also doubles as an IWantSong), "I Want the Good Times Back (Reprise)", in which she anxiously awaits the end of Ariel's contract (and the start of her reign), and a DarkReprise for "Poor Unfortunate Souls", which she sings when she finally gets her hands on the trident and the throne. Her EvilMinions Flotsam and Jetsam also get some songs, "Sweet Child" (where they persuade Ariel to meet with Ursula) and its reprise (where they mock Ariel's attempts to get Eric to kiss her). As you can see, the musical is ''heavy'' with reprises.
* The ''Disney/BeautyAndTheBeast'' musical introduces a new song, "Maison des Lunes", in which Gaston and [=LeFou=] convince Monsieur D'Arque to incarcerate Maurice in his [[BedlamHouse asylum]].
* ''Theatre/IntoTheWoods'' has the fairly short but often uncomfortable "Hello Little Girl," sung by The Wolf (who is traditionally also one of the princes). It's not always ''entirely'' clear precisely what his designs on Red are[[note]]it's obvious from the lyrics that he intends to eat her, but depending on the production, there may be implications that he's also planning to rape her first[[/note]], but they're definitely villainous.
* The second musical for [[Manga/BlackButler Black Butler]], ''The Most Beautiful Death In The World'', has the song [[https://www.youtube.com/watch?v=Nm65EA9FTQw Druitt no Jibun Sanka]], or "Druitt's Self-Paean". In it he sings about how great he and his sadism are to two girls who are tied up, referring to himself as a martyr.
* ''Theatre/{{Heathers}}'':
** The seminal song of the titular Heathers, "Candy Store," is a a dramatic, seductive introduction to the Heathers' AlphaBitch lifestyle, with each of the three putting down Veronica for still clinging onto her loser best friend Martha Dumptruck and imploring her to dump the poor girl and go along with their cruel prank for her to once and for all prove she's worthy of being a member of the Heathers.
** J.D. has quite a few of them that can potentially be taken as villain songs, but the most obvious is "Meant To Be Yours," which completes J.D.'s own descent into murderous, obssesive insanity.
* ''Theatre/DeathNoteTheMusical'' has "Where is the Justice?" for VillainProtagonist Light Yagami, in which he preaches to his class about how the world is corrupt, and that justice must be brought to those who deserve it. His second solo, "Hurricane", depicts him finding the Death Note for the first time, and ultimately deciding to use it to purge the world and [[AGodAmI become a god]]. Ryuk also gets "Kira!", where he comments on Light's killing spree and his newfound identity as "Kira" labeling him a false idol in some productions.
* The stage version of ''Film/{{Footloose}}'' plays with this. The AntiVillain main antagonist, Reverend Shaw Moore, gets two songs, but "Heaven Help Me" is more like a TheVillainSucksSong directed at ''himself'', while "I Confess" is sung at the very end during his HeelFaceTurn. The straight example is actually "The Girl Gets Around," which is sung by local HateSink and BastardBoyfriend Chuck Cranston as he gloats about how he's using Ariel Moore for cheap sex and loving every minute of it.
* ''Theatre/{{Hamilton}}'' has ''You'll Be Back'', sung by King George III as an AntiLoveSong about America's attempt to split from Great Britain. As you'd expect, it's deliciously hammy and villainous - the last full line is 'I will kill your friends and family to remind you of my love!' Interestingly, King George gets two more songs after this, and while they're both still villainous, in purpose they're really more of a GreekChorus commenting on the state of the American government at the time - first, talking about how the Americans underestimate how hard it'll be to rule a country on their own, and then about how shocking it was that Washington stood down and how little faith anyone had in President John Adams ('They will tear each other into pieces / Jesus Christ, this will be fun!').
** ''Wait For It'' is an Anti-Villain Song, because while it in and of itself isn't villainous in any way (the most egregious thing Burr admits to is sleeping with the wife of a British officer, which had been established only moments before anyway) it does set up a lot of Burr's defining character traits which are later developed in ''The Room Where it Happens''.
** James Reynold's letter in ''Say No To This'', and the song as a whole, is likely as truly villainous as the show gets. To have your wife seduce a prominent politician in order to blackmail him is one thing, but it's not like Hamilton's entirely blameless in the entire affair either: the song takes place immediately afterwards Hamilton refuses to accompany his wife, son, and sister-in-law for a summer trip to visit Hamilton's father-in-law, immediately before which Hamilton had been taking part in the historical equivalent of sexting with his sister-in-law.
** ''The Room Where it Happens'' is a song with Southern banjo and sinister piano to show Burr's transition to a villain and Democrat-Republican from the feeling that he and the other delegates not present at the infamous dinner party are left out of the decision making. The feeling of being left out of the deal caused him to be more ambitious and pursue being a senator.
** ''Washington on Your Side'' is sort of a quasi example - it's sung by Jefferson, Madison, and Burr, the three primary antagonists of the show, about how they hate Hamilton and are searching for a way to take him down, but it's also clear in the lyrics that they don't see themselves as villains at all. Instead, they all genuinely believe that Hamilton's financial plan will screw over the poor, if not ruin the entire country. The fact that Jefferson seems to have it out for Hamilton personally by this time is mostly beside the point.
-->'''Jefferson:''' Our poorest citizens, our farmers, live ration to ration / As Wall Street robs ‘em blind in search of chips to cash in
* In ''Theatre/TheSpongeBobMusical'', Plankton has one in the form of "When the Going Gets Tough", a PissTakeRap (written by rap artist T.I.) where he persuades the citizens of Bikini Bottom into migrating to a new home after their town is threatened by a destructive volcano. Using their fear to his advantage, he manipulates everyone into believing that the only way to face your problems is by running away from them; this, of course, is just a ploy to get all the citzens together, hypnotize them en masse, and become the supreme ruler of their new town.
* ''Theatre/TheSoldiersTale'' has "The Devil's Song," in which the Devil warns that though the Soldier may have won for now, Hell will win [[WeWillMeetAgain the next time they meet]]. It's a SpokenWord number since there are no singing roles, and also the only time anyone but the Narrator speaks over the music.
* The closest ''Theatre/TheDrowsyChaperone'' gets to a villain song is the song ''Toledo Surprise'', in which through the Pastry Chefs threaten to kill Feldzieg through a variety of thinly veiled, pastry-themed double-entendres. This quickly devolves into a dance number featuring the Pastry Chefs and Kitty until the rest of the cast bursts in, revealing that while Adolpho did accidentally seduce the wrong woman, through an unlikely set of circumstances, Feldzieg's villainous plot has come to fruition anyway, as Janet has called off the wedding due to the fact that Robert kissed a [[ButHeSoundsHandsome "very beautiful"]] French woman by the name of Mimi (who was secretly Janet taking advantage of Robert's blindfolded rollerblading to test his love for her). Overjoyed, Feldzieg declares that it is a "wonderful, wonderful tragedy" and leads the rest of the cast in a dance number. The ramifications of this (that this is "the saddest day of [their] life") aren't realized until after the song is completed.
** Curiously, Feldzieg suffers no ill-effects after this song, despite having revealed that he had ordered Adolpho to seduce Janet to the entire rest of the cast. Neither do the Pastry Chefs, who, before the song begins, had been ready to kill Feldzieg and telling him how they were going to do it in explicit (if thinly veiled) detail. Chalk it up to the cheesy nature of the show-within-a-show.
* Theatre/LaLegendeDuRoiArthur has no less than three villain songs in the strictest sense of the trope.
** "Advienne que pourra", in which Méleagant expresses distaste for Arthur being proclaimed king instead of him.
** "Tu vas le payer", in which Morganne sings of the revenge she will take on Arthur for what his father did to their mother
** "A nos vouex sacré" where the two team up and decide to mutually destroy Arthur.
* ''Disney/{{Frozen}}'': In addition to "Love is an Open Door", the stage adaptation of ''Frozen'' gives Hans his own song "Hans of the Southern Isles".
* ''Theatre/YesVirginiaTheMusical'' has a relatively low-key one (in keeping with a kid's show) where Frank Church espouses his belief that newspapers had a duty to report the negative over the positive.
* ''Theatre/MeanGirls'' has "World Burn" for Regina, after she has been kicked out of the Plastics by Cady and decides to destroy Cady by revealing the contents of the Burn Book to the entire school and framing her as the original author.
----
* ''Theatre/Portal2TheUnauthorizedMusical'' has two, one for each villain.
** [=GLaDOS=] has "Poor Unfortunate Subjects", in which she gloats over Chell being at her mercy again, and expresses her fury over Chell killing her.
-->'' You lucked out and passed all of your tests the last time\\
I know that you thought that you could forget\\
But I feel you’ve been misled\\
I’ve been busy being '''dead'''\\
We’ve both said a lot of things that '''you’ll regret'''''
** Initially averted with "Running The Whole Machine", in which Wheatley mocks [=GLaDOS=] for being absolutely powerless to stop him from freeing Chell. However, it's played straight when [[spoiler:Wheatley goes [[DrunkWithPower mad with power]], deciding he'd acutally rather keep Chell inside Aperture to run tests for him and ending with him punching both [=GLaDOS=] and Chell down the elevator shaft in a fit of rage]].
* When Giuseppe Verdi and Arrigo Boito wrote an opera over Shakespeare's ''Theatre/{{Othello}}'' they added the aria [[https://www.youtube.com/watch?v=1QpxMMSuj-E "Credo in un Dio crudel"]] ("I believe in a cruel God"), a sublime villain song, where the villain Iago, in a parody of a Christian creed, confesses to do evil [[NietzscheWannabe because the world is pointless and everything is ruled by Fate]]
-->And after all this mockery comes death.\\
And then? And then?\\
Death and Nothingness\\
Heaven is an old wives tale [[EvilLaugh Ahahahahahahaha!]]
* Also Verdi: "La donna è mobile" from ''Theatre/{{Rigoletto}}'' is the Duke's villain song and apparently he sings it a lot. A lot of the commercials that use it to sell their products seem to forget it's a villain song.
* Act One of Puccini's opera ''Theatre/{{Tosca}}'' ends with the corrupt police chief Scarpia [[https://www.youtube.com/watch?v=G3lPxwct2sk gloating]], because he has gained a hold on the title character that will force her to [[ScarpiaUltimatum succumb to his perverted desires]]. And if that was not creepy enough, there is a simultaneous ''Te Deum'' to provide OminousLatinChanting. In Act II, Scarpia gets another solo in which he professes his lustful urges to Tosca, ''[[https://www.youtube.com/watch?v=2MkPdkidTNI Gia mi dicon venal]]''.
* ''[[https://www.youtube.com/watch?v=WUgoMzkaSoE Le Veau d'Or]]'' from Gounod's ''Faust'', sung by Mephistopheles himself. Mephistopholes also gets the mocking serenade, [[https://www.youtube.com/watch?v=c78KhJkwxN8 Vous qui faites l'endormie]], which has one of the best {{EvilLaugh}}s ever.
* Faust operas are great for this kind of thing. Mefistofele, in Arrigo Boito's ''Mefistofele'', has some awesome ones. "I am the spirit that denies all things..." [[https://www.youtube.com/watch?v=-OCOc4nZCjk&feature=related Creepy]].
* The villain Caspar in Carl Maria von Weber's ''Theatre/DerFreischuetz'' gets two of these: the first, [[https://www.youtube.com/watch?v=AJkvPtP_aIw "Hier im ird'schem Jammerthal"]], a drinking song about the pleasures of wining, wenching, and gambling, and the second, [[https://www.youtube.com/watch?v=1HkT4PajIpY "Schweig', damit dich niemand warnt"]], calling upon the spirits of evil to take the hero instead of him, now that his deal with the devil is coming to its end. (In addition, there is an [[https://www.youtube.com/watch?v=mtQvP1u_hDI entire]] [[https://www.youtube.com/watch?v=X-yE0nZz5B0 scene]] devoted to summoning up the devil in order to cast the magic bullets that give the opera its name.)
* The Secret Police Agent in Menotti's "The Consul" has a pretty terrifying aria in the first act, where he attempts to intimidate the protagonist, Magda Sorell.
* Claggart's song [[https://www.youtube.com/watch?v=RSLt2oJebEM "O beauty, O handsomeness, goodness!"]] in Benjamin Britten's ''Billy Budd''. Unlike a classic Villain Song in that he is anything BUT happy about his situation... still. You've gotta love a song with lyrics like "There I established an order such as reigns in Hell", and "With hate and envy I am stronger than love", and "I, John Claggart, Master-at-Arms upon the ''Indomitable'', have you in my power, and I will destroy you, I will destroy you."
* The pagan sorceress Ortrud in Music/RichardWagner's ''Lohengrin'' has a short aria, [[https://www.youtube.com/watch?v=XHtRUyJiH3E "Entweihte Götter"]], in which she calls upon the gods to help her deceive and avenge herself upon her Christian enemies.
* In Amilcaire Ponchielli's opera ''La Gioconda'', the villainous Alvise Bodero plots to murder his unfaithful wife via poison and put her corpse on display during a ball to show his guests what happens to those who betray him: ''[[https://www.youtube.com/watch?v=AEHIrX0txxE Si, morir ella de!]]''.
* Lord Ruthven's aria "Ha! Welche Lust!" ("Ha! What Pleasure!") from Marschner's ''Theatre/DerVampyr'' is all about the joys of [[HemoErotic sucking the blood]] of innocent, terrified maidens.
* [[Theatre/TheMagicFlute The Queen of the Night]]'s ear-splittingly infamous aria ''Der Hölle Rache kocht in meinem Herzen''. She forces her daughter Pamina to assassinate Sarastro upon pain of disowning and cursing her. [[EvilMatriarch Damn, that's cold.]]
* ''Susannah'' has Olin Blitch with a villain ''sermon.''
* ''[[https://www.youtube.com/watch?v=pzvdAvd3tqk Ha! welch' ein Augenblick!]]'' from Beethoven's ''Fidelio'' (in which the evil prison governor Pizarro rejoices in the fact that the forthcoming "surprise" inspection by the Minister of Justice will require him (Pizarro) to do what he could have done at any time he wanted, ie. kill his unlawfully imprisoned rival Florestan).
* Probably the first great English villain song, ''[[https://www.youtube.com/watch?v=lMUnMSdA4u0 Wayward Sisters]]'' from Purcell's ''Dido and Aeneas'' is the Sorceress' villain song. She sings it while summoning her fellow witches to plot Dido's death.
* ''Theatre/LesMiserables'' has two, with Thenardier singing "Master of the House" and "Dog Eat Dog". (Three, if you count "Beggars at the Feast", which is the same tune as "Master of the House" but with new lyrics.) The primary (albeit [[WellIntentionedExtremist misguided]]) antagonist, InspectorJavert, has the song "Stars".
** "Master of the House" is an interesting one because it stands out as a moment of ''relatively light relief'' in a musical about rebellion, tragedy and romance.
** The most villainous of all these possible {{Villain Song}}s might well be "Dog Eats Dog", in which Thenardier sings about the joy of robbing dead bodies. Unlike in [[Film/RepoTheGeneticOpera some cases]], this fails to seem like [[LoveableRogue lovable roguery]] at ''all'' -- it finally hits the audience in the face that Thenardier really is scum. And most of those he is robbing are essentially youths and children, [[spoiler:including his own son and daughter.]]
** And "Beggars at the Feast" is sort of a Villain Song in that it further outlines the Thenardiers' ideals and motivations (though by the point in the play when it's sung, their motivations are pretty well established). ''Singing to the Lord on Sundays, praying for the gifts he'll send, but we're the ones that take it, we're the ones who make it in the end!'' It's also essentially the KarmaHoudini trope summed up in a song--the last line is even "when we're rich as Croesus, Jesus won't we see you all in ''Hell!''"
** "Stars", Javert's song, is an interesting version. Though Javert is the primary antagonist, his song is a very beautiful, melodic song about doing his duty to God and being a servant of justice; he doesn't see the motives or plans he's singing about as "evil". It can be played as confident and determined or softer and more humble depending on the actor. The implication is that though Javert may be not be a nice or good man by any stretch, he's [[HeroAntagonist not]] [[AntiVillain really]] [[InspectorJavert evil.]] The tone contrasts well with "Dog Eats Dog", which is the REAL villain song of ''Theatre/LesMiserables'', identifying Thenardier as far more evil than Javert. One might even say that "Stars" is an AntiVillain [[VillainSong Song]].
* "When the Night Wind Howls" from ''Theatre/{{Ruddigore}}''.
** Subverted in the first act, where Sir Despard makes a DastardlyWhiplash quality entrance, but his song is a TheVillainSucksSong about ''himself'' -- because, of course, his ancestors are forcing him to be a DesignatedVillain.
* "Bon Voyage" from ''Theatre/{{Candide}}'', except for the (increasingly sarcastic) chorus part, is all EvilGloating from the Governor (or Vanderdendur, depending on the performing edition) about the profits he made from putting Candide on a totally unseaworthy boat.
-->Oh but I'm bad, oh but I'm bad,\\
Playing such a very dirty trick on such a fine lad.\\
I'm a low cad, I'm a low cad,\\
Every time I do this sort of thing it makes me so sad.
* Every 'villain gets one in the ''Franchise/SailorMoon'' stage Musical adaptations, the ''Theatre/SeraMyu''. Some villains who were the baddies of multiple musicals got multiple songs, notably Queen Beryl and Sailor Galaxia. The two even SHARED a song, titled Yamikoso Utsukushii ~Galaxia no Iradachi~ (Darkness is Beautiful ~Galaxia's Irritation~) in one musical wherein Galaxia revived Beryl. (Or rather it was set up Beryl's original villain Group song, with additions of Galaxia snaking about how she's just using Beryl in the long run in the background) Villain songs in the ''Sera Myu'' generally fell in one of two categories: Songs for individual villains, and songs for the baddie group as a whole. An example of the former is Yami no Hitsugi (Coffin of Darkness), which is all about Queen Beryl, while an example is the original Yamikoso Utsukushii which was for the Dark Kingdom as a whole and their {{Evil Plan}}s. When a villain shows up in a later (unrelated) musical they sometimes get a new song, sometimes they re-use an old one. Rarely a villain could also share a theme with a Senshi, an example of this rare type is Onna no Ronsou (Dispute between Women) which was sung between Sailor Pluto and Queen Beryl describing how they were similar and their shared unrequited love for Mamoru.
* Dr. Robotnik has ''[[https://youtu.be/7PNAACyQYnQ Give Me Chaos]]'' from ''[[Franchise/SonicTheHedgehog Sonic Live In Sydney]]'' where brags about how mean he is, how he plans to trap Sally to lure in Sonic and his preference for Chaos instead of good.
* Although Max and Elsa don't have a VillainSong in the film of ''The Sound of Music'', in the original stage production they have ''two'', "How Can Love Survive?" and "No Way To Stop It".
* "Blood in the Water" from ''Theatre/LegallyBlonde'', in which Callahan teaches his students how to become {{amoral attorney}}s.
* "The Mad Hatter" and "I Will Prevail" sung by, you guessed it, the Mad Hatter in Wildhorn's "Wonderland", a musical adaptation of ''Literature/AliceInWonderland''. Because, you know, [[IncrediblyLongNote high notes]] higher than Alice's mean the Hatter is obviously [[EvilTwin evil]]. "Hatter" serves as an eponymous introduction song, while "I Will Prevail" opens act two with a bang --and more [[IncrediblyLongNote Incredibly Long Notes]].
** Similarly, the manic milliner struts her manipulative side when she entreats [[spoiler:Alice's daughter Chloe to join the Hatter and her [[EvilMinions minion]] on "A Nice Little Walk"]].
** The original version of the show (which held its tryout run in Tampa back in 2010) included a song for the Jabberwocky entitled "[[https://www.youtube.com/watch?v=Vm3ks1fct8M Misunderstood]]", although it's more of a subverted VillainSong, as he claims himself to be NecessaryEvil in a world where "you can't know pleasure if you don't know pain", even justifying his actions by claiming that he was ''born'' to be a man-eating monster, and that it's really all he can do. Sadly, both the song and the character were cut from the show once it hit Broadway.
* "It Ain't Necessarily So" and "There's a Boat That's Leaving Soon For New York," Sportin' Life's songs mocking a sermon and tempting one of the protagonists to a life of vice respectively, from ''Theatre/PorgyAndBess''.
* ''Theatre/{{Assassins}}'' has a ton of them, appropriately enough for a play about presidential assassins. "The Ballad of Booth", "The Gun Song", "The Ballad of Czolgosz", "The Ballad of Guiteau" and "Another National Anthem" are all unusual variants of the standard Villain Song. The most iconic villain song of the musical is "Everybody's Got The Right", a irony-tainted song where the assassins proclaim everybody has the right to pursue the American Dream through any means neccesary...including presidential assassination.
** Probably the most unusual villain song in the musical is "The Ballad of Guiteau", where the villainous Charles Guiteau sings a demented hymn as he tap-dances up to the gallows. What makes it unusual is that the lyrics are taken from a poem that the real Charles Guiteau wrote on the way to his execution; Music/StephenSondheim simply set it to music.
*** Well, ''Guiteau's'' continual "I am going to the Lordy/I am so glad" refrains are. The Balladeer's lines, obviously, are written by Sondheim.
* The VillainProtagonist of Sondheim's ''Theatre/SweeneyToddTheDemonBarberOfFleetStreet'' gets "Epiphany".
** Judge Turpin also has a VillainSong, though it's sometimes [[CutSong cut]]. Probably because, well, he's whipping himself and praying in between lusting after Johanna (suggesting that he practices self-flagellation or is just a freaky masochist). Programs and cast albums usually list this song as "Johanna", but it has no musical connection with Anthony's love song "Johanna" in the first act (which is the one performed outside the show under that name), or the "Johanna Sequence" in the second act, which includes a portion of the earlier "Johanna" in between new verses which Todd sings to himself as he offs his customers.
** "A Little Priest" also fits the rules for a villain song: where "Epiphany" describes Todd's violent reaction to an awful world, "Priest" is Mrs. Lovett's refinement of the idea into a practical ("yet appropriate as always") [[ImAHumanitarian course of action]]. And also contains justifications for their awful scheme: "save a lot of graves, do a lot of relatives favours" for instance.
* Parodied in ''Theatre/TheMikado'' with "I've Got a Little List". The scary executioner gets a Villain Song, in which he rattles off a LongList of AcceptableTargets whom he intends to kill -- and in the next dialogue scene, we learn he's a spineless wimp who is terrified of killing. Except that the executioner is more of an AntiHero. The primary villain song is probably "Your revels cease - O Fool, that fleest my hallowed joys", sung by Katisha.
* Though the pirates in ''Theatre/ThePiratesOfPenzance'' aren't exactly villains, they do get a show-stopping Villain Song in "[[WithCatlikeTread With Cat-Like Tread]]".
** The Pirate King gets his number [[https://www.youtube.com/watch?v=eXShM8IjbmM&feature=related "Pirate King"]] which is all about how awesome it is to be a Pirate King. Naturally he's something of an AntiVillain.
** And there's a short one with Pirate!Ruth about how they're going to kill the Major-General and his daughters, called [[ExactlyWhatItSaysOnTheTin Tonight He Dies]].
* "Progress is the Root of All Evil" from the musical adaptation of ''Li'l Abner''.
* "The Seven Deadly Virtues" from ''Camelot''. Also, Mordred and the knights have "Fie On Goodness" after their collective FaceHeelTurn, in a number dropped from many productions (the original Broadway production dropped it just after its inclusion on the cast album, which has the ensemble fill in for Mordred for some reason).
* The title theme of ''ThePhantomOfTheOpera'' ("The Phantom of the opera is there/ Inside your mind!").
** Since the Phantom is turned into an even bigger [[TheWoobie Woobie]] in the Arthur Kopit/Maury Yeston take on the story, he doesn't even get that much (except perhaps his VillainousBreakdown towards the end of "Christine".) Carlotta, however, has the gloating "This Place Is Mine".
** In the sequel, ''Theatre/LoveNeverDies'', [[AdaptationalVillainy Madame Giry]]'s part in "[[TheSongBeforeTheStorm Devil Take The Hindmost]]" also fits this.
* "You Can Get Away with Anything" from ''The Woman In White''.
* The motivations of Buffalo Bill were revealed by "Are You About A Size Fourteen?" in ''[[Film/TheSilenceOfTheLambs Silence! The Musical.]]''
** Don't forget "[[https://www.youtube.com/watch?v=03FIqPk_rBM I'd Fuck Me]]"!
* The Trans-Siberian Orchestra RockOpera ''Beethoven's Last Night'' has two: "Mephistopheles", where the titular demon proclaims himself "god of second chance" while trying to cut a deal with Beethoven, and "Misery", when Mephistopheles gleefully threatens to maim, cripple, torture, and eventually kill a child if Beethoven doesn't give him what he wants. Both get sung way over the top, with much scenery-chewing and {{Large Ham}}mery.
** TSO also included an equally hammy Villain Song in their album ''The Lost Christmas Eve'': "What is Christmas?", sung by the Scrooge-like antagonist.
* "Don't Nobody Bring Me No Bad News" is the mantra of Evilene, the Wicked Witch of the West, in ''Theatre/TheWiz''.
* The [[https://www.youtube.com/watch?v=GoCZEmfnE-M Cellblock Tango]] in ''Theatre/{{Chicago}}''. Awesome song, mood lighting, and girls prowling around in leather underwear talking about how their murders were completely justified.
** ''He had it comin'!''
*** Of course, the innocent Hungarian prisoner's verse states her guiltlessness for real, and of course she's the only one who pays for it. CrapsackWorld indeed.
** From the same musical, "All I Care About is Love", sung by Billy Flynn. The entire song is a lie.
*** An even better example for Flynn is [[https://www.youtube.com/watch?v=Rn5-VN3SH1o "Razzle Dazzle"]], where he gleefully gives a show-stopping number about getting away with anything by using pure showmanship.
** Almost every song from ''Chicago'' (except for "Mr. Cellophane" and "A Little Bit of Good" (sung by Mary Sunshine in the show)) could be considered a Villain Song, as almost all of the main characters are murderers or corrupt.
* Notably averted in ''Theatre/{{Wicked}}''. Fiyero's song "Dancing Through Life" is a textbook cackling song about his nihilistic philosophy, but he turns out to be a much better person than he seems. The Wizard's song, "Wonderful", is the very opposite of a standard VillainSong: he's trying to justify his crimes by playing humble and innocent, and (unlike ''The Sound of Music'') is still the BigBad. Elphaba (the heroine and titular Wicked Witch) even gets one in "No Good Deed", but it's undercut by the fact that she's rocketing through the stages of grief and has some full blown SanitySlippage[=/=]HeroicBSOD going on by the end. Despite her big talk, she never can bring herself to be the villain. "March of the Witch Hunters" comes close, especially the Tin Man's parts, but they truly believe that they're doing the right thing and are unaware that they're being manipulated by Madame Morrible. Finally, "Wicked Witch of the East" can almost be read as one, except that Nessarose is mourning the fact that she somehow became the villain without noticing.
* From ''Film/{{Hairspray}}'', "(The Legend of) Miss Baltimore [[DoubleEntendre Crabs]]". ''Front step, cha-cha-cha...'' There's just something about that one line that screams "you're walking into the serpent's lair". Michelle Pfeiffer even said she signed on for this one song. [[https://www.youtube.com/watch?v=uCW-iFgUbKY It's not hard to see why.]]
** Her daughter Amber has "Cooties", a mean-spirited TakeThat song not-so-subtly directed at Tracy.
** The [[TeensAreMonsters Corny Collins Show council]] contribute to both of these.
* Macavity, the levitating crimelord cat from ''Theatre/{{Cats}}''. His song (though he doesn't sing it himself) is a lengthy paean to his {{Magnificent Bastard}}ry, and is likely the one song besides "Memory" that is most remembered from the play.
** [[ThoseTwoGuys Mungojerrie and Rumpelteazer]] sing a song congratulating themselves on their thievery, but they're more of a QuirkyMinibossSquad.
* Most songs from ''The Black Rider: The Casting of the Magic Bullets'' are pretty creepy, but [[{{Satan}} Pegleg]] gets in three songs of his own: "Just The Right Bullets", "Flash Pan Hunter", and "Gospel Train".
* Since ''Theatre/{{Woyzeck}}'' has so many villains, each one gets their own song: the Doctor has "God's Away on Business", the Drum Major has "Another Man's Vine" and a creepy duet with Marie called "Everything Goes to Hell", and the Captain gets "Starving in the Belly of a Whale".
* "The Soviet Machine" from ''Theatre/{{Chess}}'', sung by Molokov and the KGB Agents.
** "Difficult and Dangerous Times", also titled "US vs. USSR" (formerly a part of "Opening Ceremony"), which is basically a villain song for Cold War politics in general.
-->''But we're gonna smash that bastard!''\\
''Make him wanna change his name--''\\
''Take him to the cleaners and devastate him''\\
''Wipe him out, humiliate him...''
* "Was I [[EvilChancellor Wazir]]?" from ''Kismet''.
* The Engineer's ode to America's love of depravity (and his love for that) in "The American Dream" from ''Theatre/MissSaigon''. "If You Want to Die In Bed" also counts as it spells out his goal to save his own skin. Actually, anything the Engineer sings might fall under this trope...
* ''Theatre/JekyllAndHyde'' gives Edward Hyde [[https://www.youtube.com/watch?v=VzVbFBRnk_s "Alive"]], where he sings about how being so free and evil makes him feel passionate about living. At one point, the music swells triumphantly as he boasts that he'll live on forever with Satan himself by his side.
* Giovanni's [[https://www.youtube.com/watch?v=Mocsc_BsAdI "It Will All Be Mine"]] from the ''Theatre/PokemonLive'' musical. Sung by Darren Dunstan, possibly better known as the American voice of [[Anime/YuGiOh Pegasus]].
** He also [[DarkReprise twists]] two other songs into {{Villain Song}}s: "You and Me and Pokémon" and "Everything Changes".
** Team Rocket got a subversion of the traditional VillainSong called "The Best at Being the Worst", centering around their own incompetence at what they do.
** "Double Trouble" could also count, which has Team Rocket showing enjoyment of being bad guys. However, this originally had a longer version of from a CD the show put out which had several other songs that were in the musical, including "Misty's Song" and "Two Perfect Girls".
* "Cool, Cool Considerate Men" from the musical ''Theatre/SeventeenSeventySix'' lays out the reasons Dickinson and his supporters don't want independence: they're comfortable as they are, they don't want to put their wealth and property at risk for a cause they think can't win, and they think the common man will follow them because they're pretty cynical about him. It's accompanied by a big dance number on the floor of Congress.
** "Molasses to Rum" for Edward Rutledge, which is also him saying that the South and the North are NotSoDifferent--they both, in different ways, participate in and profit from the slave trade. Therefore, not only must the anti-slavery clause be removed from the Declaration, the Northerners are absolute hypocrites for wanting it there in the first place.
* "Falcon in the Dive" from the musical adaptation of ''Theatre/TheScarletPimpernel'' (which conveniently comes after the main heroic song, "Into The Fire", in the libretto).
* "It's All About The Green" in the musical adaptation of ''The Wedding Singer'' - though Glen is more of a {{Jerkass}} than an outright villain, and there are cooler songs in "Casualty of Love", "Today You Are A Man" and others, it's still right up there.
* "Bolero de Amore" in Barry Manilow's ''Copacabana''.
* TheMusical version of ''Theatre/{{Peter Pan|1954}}'' gives one of these to Captain Hook. Given the tone of the play, Hook's CardCarryingVillain status, and his word choice, however, it's halfway between one of these and a TheVillainSucksSong.
** It's also a ''serious'' EarWorm: ''"Who's the creepiest creep in the world? Captain Hook! Captain Hook!"''
** In some versions, Hook and Smee have "Never Smile at a Crocodile".
* "Those Were The Good Old Days" from ''Theatre/DamnYankees'' which also somewhat parodies the IWantSong. [[{{Satan}} Applegate]] laments how much easier being evil was in the days of Nero, cannibals, and Lady Guillotine.
** "A Little Brains, A Little Talent" for Lola, as well as "Whatever Lola Wants", although [[spoiler:she turns out to be not so bad.]]
* "Tomorrow Belongs to Me", the Nazi anthem from ''Theatre/{{Cabaret}}''. It was so realistic and of the spirit that it got the (Jewish) producers accused of anti-Semitism!
* ''Film/TheProducers'' likely invoked this with the title song of "SpringtimeForHitler"?
* In ''Theatre/{{Urinetown}}'', several songs go to the bad guys, including "Cop Song" which goes to the henchmen as well as [[https://www.youtube.com/watch?v=JTwXwYmxHio "Don't be the Bunny"]] and "Mister Cladwell" going to the main villain Mr. Cladwell. The latter of which is an outright song praising his virtues (''Mister Cladwell, you're so Godly/oddly perfect and right'').
* ''Anyone Can Whistle'' has several songs for the evil Mayoress Cora Hoover-Hooper. The best of these is the first song of the show, "Me And My Town", in which she laments her ZeroPercentApprovalRating.
* "The Spring Of Next Year" from ''Dear World''.
* Jim Steinman's unproduced [[Theatre/BatmanTheMusical Batman]] [[http://www.freewebs.com/batman_themusical/home.ht Musical]] has two villain songs. The corrupt officials controlling Gotham City sing [[http://www.4shared.com/file/20334162/e41fb6bc/landofthepig.html "In the Land of the Pig, the Butcher is King"]] (which was later covered by Music/MeatLoaf) while SelfDemonstrating/TheJoker gets the song [[http://www.4shared.com/file/15260005/7d8a0d68/jokerssong.html "Wonderful Toys"]] which is perhaps the most insane and over the top villain song you could hope for.
--> "Do, a deer, I killed that deer..."
* Miles Gloriosus' "Bring Me My Bride" in ''A Funny Thing Happened on the Way to the Forum.''
* ''Theatre/{{Oliver}}'' has several Villain songs: BigBad Bill Sykes gets "My Name" and the AffablyEvil Fagin actually gets two, "You've Got to Pick a Pocket or Two" and "Reviewing the Situation" (in the reprise especially). That Fagin gets more than the real villain isn't too surprising though, since the role is usually played as a LargeHam.
* In ''Theatre/{{Annie}}'', Miss Hannigan expresses her [[ChildHater hatred for children]] in "Little Girls"; later, she is joined by her sleazy brother Rooster and his airhead girlfriend for the song "Easy Street".
* ''I Can Get It For You Wholesale'' has "The Way Things Are", in which the protagonist says ThereAreTwoKindsOfPeopleInTheWorld, and he wants to be the kind that gets to step on the other kind.
* In ''Baker Street: A Musical Adventure Of SherlockHolmes'', Moriarty has the EvilGloating song "I Shall Miss You".
* "Let Things Be Like They Always Was" from ''Theatre/StreetScene'' is less of a song than a Puccini-like aria, but it certainly sounds dark and menacing. It's Mr. Maurrant's only uninterrupted solo, in which he gives vent to his bitter reactionary attitude.
* John Howard's dark and menacing march "Power" in ''Keating!''. Which is then hilariously contrasted with "The Mateship".Whether he's a villain in RealLife depends which side of the political spectrum you're on, but he definitely qualifies in the musical.
* The little-known German musical ''Hexen'' has "Gleich", sung by the {{Magitek}} witch Clony, whose magic borders on MadScientist territory. Clony doesn't consider herself evil and really thinks she's doing humanity a favor by giving everyone armies of clones of themselves to do all the work, but she is nevertheless an unabashed egotist who gets a huge rock number in which she praises her own intellect, style and superiority over everyone else. Not to mention that the plan she's explaining is essentially one for slavery.
* Theatre/TanzDerVampire has ''Ewigkeit'', in which a ''whole chorus of vampires'' rises from their graves and plots to make humanity as miserable and insane as they are. It happens to be the most chilling song in the whole musical.
* Sophie in ''Theatre/{{Elisabeth}}'', as more of a KnightTemplar than a really sinister villain, has the rigid "Eine Kaiserin muss glanzen!" ("An Empress Must Sparkle!"), in which she bullies her newly-married daughter-in-law into (temporary) tears and submission. Later on, though, she sends her son to a brothel to weaken his marriage, and the shady madam and prostitutes' song "Nur kein genieren" ("Don't Be Ashamed, Dear") fits into this trope fairly well.
** There's also the bouncy "Kitsch", which serves as a villain song for the murderous, sarcastic Lucheni ''and'' as a kind of TheVillainSucksSong for the selfish Elisabeth as well as all of her fawning, devoted subjects- including the audience.
** "Der letzte Tanz" may count, considering it ''is'' a personification of Death showing up to menace Elisabeth at her wedding, gloat about how he'll win her in the end whether she likes it or not, and basically stop the show.
** "Die Schatten werden länger", which is all about Death trying to convince Rudolf to commit suicide.
* The title song from ''Literature/KissOfTheSpiderWoman''.
** The Spider Woman isn't so much the villain of that show as a character's nightmare. A better villain song would be "Lucky Molina".
* "I'd Rather Die on My Feet Than Live On My Knees" for Thomas in ''The Beautiful Game''. The song is short and Thomas isn't exactly a show stopping villain, but it's extremely effective in vilifying the guy. For the majority of the show he was a misguided {{jerkass}}, but not worse than some of the others.
* [[IWantSong "Big News!"]] and "Real Big News!" for [[IntrepidReporter Britt Craig]] in ''Parade'', "That's What He Said" for Jim Conley, "Something Ain't Right" for [[AmoralAttorney Hugh Dorsey]], "Hammer of Justice" for [[TheFundamentalist Tom Watson]], and [[AngryMobSong "Where Will You Stand When the Flood Comes"]], as led by Tom Watson.
** Also played with in "Come Up to My Office", which is sung by Leo Frank, but is actually a fabricated account on the part of the prosecution.
* ''Theatre/{{Mozart}}'' features a mute villain- Mozart's own genius, portrayed a a demon/CreepyChild in the shape of Mozart himself at age six or so that follows the adult Mozart around, constantly composing and using Mozart's blood as ink. Thusly, the big showstopping EarWorm villain-song-stand-in goes to Archbishop Colloredo, who's more of a petty annoyance than anything, in the form of "Wo Bleibt Mozart?" It's still pretty grandiose and nasty to the title character.
** If we count Colloredo as a villain, "Der einfache Weg" fits the bill: it demonstrates Colloredo's attitude towards music, method, and goal of trying to coax Mozart back to his side. With a hefty side of [[ManipulativeBastard attempted manipulation]] of Mozart's status as a WellDoneSonGuy.
* Radames' father, though not the main villain of ''Aida'' gets two: the standard "Another Pyramid" and "Like Father, Like Son", which Radames tries to turn into a TheVillainSucksSong. He fails.
* The AntiLoveSong [[http://ie.youtube.com/watch?v=k8RV9A3SoXs "To Keep My Love Alive"]] from ''A Connecticut Yankee''.
* "Evil Woman" from ''Film/{{Xanadu}}''.
* "The Madness of King Scar" from ''Theatre/TheLionKing'' Broadway musical, in which he demonstrates his growing schizophrenia and essentially tries to seduce/rape Nala. This is new to the musical, but is based on a deleted scene from the movie.
* Arguably, ''Rose's Turn'', from ''Gypsy''. It depends on whether or not you view her as the antagonist, and even then it might be a VillainousBreakdown.
** Another example could be "Everything's Coming Up Roses". Louise and Herbie are certainly horrified.
* "They Don't Know" from ''Theatre/ThoroughlyModernMillie''.
** "Muquin" also. Although that may not be a villain song so much as Meers giving her henchmen some more motivation.
* Depending on the production, "Shoes Upon the Table" can be played this way in ''Theatre/BloodBrothers''.
* In ''Theatre/JesusChristSuperstar'', the high priests get "This Jesus Must Die", which is rather [[CaptainObvious self-explanatory]]. If you ignore the words [[LyricalDissonance it's one of the most upbeat and catchy tunes in the whole show]].
** There's also "Herod's Song", another seriously catchy number.
** Norman Jewison's film version also adds "Then We Are Decided", which figures as both another VillainSong and an IWantSong for Caiaphas and Annas.
* Draco's "Back To Hogwarts" solo from ''Theatre/AVeryPotterMusical'' can be quite evil, considering that he's a short woman in a blonde wig playing a delusional pratfaller twelve-year-old boy in a comedy/parody. Needless to say, the delivery is brilliant.
-->''Look out world, for the dawn of the day''\\
''When everyone will do '''whatever''' I say''\\
''And that Potter won't be in my way, and then''\\
''I'll be the one who is [[CatchPhrase totally awesome]]!''
** [[SensitiveGuyAndManlyMan Quirrel & Voldemort]] sing a duet "Different As Can Be" early on, about what an OddCouple they are. They get a reprise a few scenes later, but rather than being [[DarkReprise darker]], it's as [[EarWorm upbeat]] as can be, despite including the lyrics [[LyricalDissonance "We'll lead 'em to the slaughter/And we'll murder Harry Potter!"]]
*** Voldemort gets a second song after his resurrection, entitled "Dance Again" which culminates with him and the Death Eaters doing a kickline.
** Umbridge's showstopping number "Stutter" from ''Theatre/AVeryPotterSequel''. The Dementor back-up dancers have to be seen to be believed.
** The first song "Not Over Yet". It is sung by Lucius Malfoy, outlining his plan to prevent Voldemort's defeat by using a Time Turner to kill Harry in his first year of Hogwarts.
-->''Our history is nothing more than what the losers settle for.''
* In ''Theatre/{{Starship}}'', Pincer has "Kick it Up a Notch". It is later reprised by [[spoiler:Junior.]]
* "Rogues are we" from Holy Musical B@man.
* ''Theatre/TwistedTheUntoldStoryOfARoyalVizier'' has the titular song "Twisted", sung by [[Disney/TheLittleMermaid Ursula]], [[Disney/TheLionKing Scar]], [[Disney/BeautyAndTheBeast Gaston]], [[Disney/SleepingBeauty Maleficent]], and [[Disney/PeterPan Captain Hook]] (along with a ''very'' brief appearance by [[Disney/OneHundredAndOneDalmatians Cruella DeVil]]). With all these iconic Disney Villains, it ''sounds'' like a typical VillainSong, right? [[SubvertedTrope It's not. It actually details how each of the villains' stories were twisted by the heroes in order to make them LOOK like the bad guys, when in reality, they were good-hearted souls who just wanted to make things right]].
** Played straight with [[AdaptationalVillainy Aladdin's]] "I Steal Everything", [[AscendedExtra Prince Achmed's]] "No One Remembers Achmed", and the DarkReprise for "The Golden Rule", sung by the Royal Vizier and his [[{{Mook}} Mooks]].
* In the 12th century liturgical drama, the ''Ludus de Herode'', Herod and his son have a duet, ''Salve, pater inclite'', in which they threaten the newborn Messiah.
* ''Turnabout Musical'', the musical adaptation of ''VisualNovel/PhoenixWrightAceAttorney'', has some good ones in the making: Winston Payne's comical "Rookie Killer", Redd White's [[EarWorm diabolically catchy]] "Redd White and You" (a plain-clothes rehearsal can be seen [[https://www.youtube.com/watch?v=ASgJvscdjpc here]]), and Manfred von Karma's appropriately haunting, though strangely baritone, "Anything to Win" -- OminousLatinChanting included. Fortunately, the "hero songs" are very much a match for them.
* Salieri in ''Theatre/MozartLOperaRock'' has several songs, but perhaps the best example of this trope is "Le bien qui fait mal", which is all about how he's "Envoûté par des idées folles/Bewitched by crazy thoughts", and "Je sens de violentes pulsions/I'm feeling violent impulses", oh and "Le désir devient ma prison/Desire has become my prison". Salieri's clearly losing it.
* "One Touch Of Alchemy" in ''Knickerbocker Holiday'', the culmination of Stuyvesant's NewEraSpeech. Shortly after, he has a duet with one of his henchmen, "The One Indispensable Man".
* The true antagonist of ''Theatre/NextToNormal'' is mental illness, but a secondary villain is Gabe, who certainly enables Diana in her mental illness (and even [[spoiler:leads her into a suicide attempt, in "I Dreamed A Dance"]]). His song "I'm Alive" and its extremely DarkReprise could be considered Villain Songs.
** If you [[spoiler:consider Gabe as an avatar for Diana's mental illness]] the song gets even darker.
* A brief, out-of-context clip attests that ''Enron'' has at least one good villain song with Jeff Skilling's "Primetime for Skilling". ("I'm the boss, here's the gist; I'm the guy who gets to lie to analysts...") Actually, at least half of the [[http://creditboards.com/forums/index.php?showtopic=219225 twenty-six songs listed]] sound like contenders.
* In both the movie and musical versions of ''Theatre/{{Evita}}'', Che (who isn't ''quite'' the villain, but he's close enough) has "Oh What a Circus". There's also the short and sinister "The Art of the Possible" with Peron, and the fantastic "Waltz for Eva and Che" with, well, guess.
* Jud Fry, the villain of Creator/RodgersAndHammerstein's ''Theatre/{{Oklahoma}}'' gets "The Lonely Room". It's almost enough to make you feel sorry for the guy.
* Groovelily's musical ''Sleeping Beauty Wakes'' has some marvelous villain songs by the Evil Fairy: [[https://www.youtube.com/watch?v=Zx51o0XoTUk "Uninvited"]], about not being invited to the celebration of the princess' birthday, and "The Wheel Goes Round", sung when she's in disguise trying to lure the princess to the spinning wheel.
* "Pirate Jenny" is a Villain Protagonist song about cold-blooded revenge from ''Theatre/TheThreepennyOpera''
-->They move in the shadows where no one can see\\
And they're chainin' up people and they're bringin' em to me\\
askin' me, "Kill them NOW, or LATER?"\\
Askin' ME! "Kill them now, or later?"\\
Noon by the clock, and so still by the dock\\
You can hear a foghorn miles away\\
And in that quiet of death, I'll say, "Right now."\\
Then they'll pile up the bodies\\
And I'll say, "That'll learn ya!"
* Even though It's a parody to a ''Theatre/FiddlerOnTheRoof'', ''Theatre/AShoggothOnTheRoof'' has some pretty dark tunes. Turning famous songs into a [[Franchise/CthulhuMythos Lovecraftian]] induced musical. A lot of these can be considered villain songs in their own right, but the one the takes the cake is easily [[https://www.youtube.com/watch?v=qCGcfGX0Q84 "Do You Fear Me?"]] which is sung by... [[spoiler:Cthulhu himself]]! Even though [[https://www.youtube.com/watch?v=LTmmMApUEl8&feature=related The Nightmare]]is a close runner up due a portion of it dedicated to [[spoiler:The Ghost of Lavinia Whately]] singing about her plan to have her two sons [[spoiler:raping Armitage's daughter Prudence with Tentacles!]]
* Audrey II from ''Theatre/LittleShopOfHorrors'' got "Feed Me" and "Suppertime". From the same musical, Orin had "Dentist!". In the film version and some productions, there is a song called "Mean Green Mother From Outer Space" for Audrey II. There was also a CutSong for Audrey II titled, simply, "I'm Bad". Furthermore, a little-known CutSong from the stage version, a reprise of "The Meek Shall Inherit", would have gone to Patrick Martin, the man that sells the plants across the nation and thus brings about the end of the world.
** "The Meek Shall Inherit" is already pretty sinister; even if they don't know they're doing it, the singers are encouraging Seymour to kill more people so he'll be famous.
* "Z: The Masked Musical" (which never got past the concept album stage) featured the alcalde's delightful "Glorious, Gluttonous Greed", in which he recounts his love of money, revels in the suffering of the peasants, describes his plan to purchase a noble title, and demonstrates the ability to count and identify coins just by the sound they make hitting the table. The rest of the album is execrable.
* ''Theatre/{{Seussical}}'' (That's right, there's a Creator/DrSeuss [[TheMusical musical]]) has General Ghengiz Khan Schmitz's "The Military Academy" and Mayzie's "Amazing Mayzie". The Sour Kangaroo doesn't have one, oddly, despite being the main antagonist, although she does have some lines in "Biggest Blame Fool" which could count.
* The original version of ''Theatre/StarlightExpress'' had "C.B." the gleeful confession of a serial killer caboose. It makes sense in context.
** While the character of [[JerkJock Greaseball]] is not anywhere as villainous as C.B. his introductory number "Rolling Stock" still counts.
** Electra's introduction song, "AC/DC", is another example.
* ''Theatre/EvilDeadTheMusical'' has [[https://www.youtube.com/watch?v=QX-gQN9Uw5U Join Us]], a bouncy upbeat song extolling the virtues of submitting to the Evil Dead. [[https://www.youtube.com/watch?v=QX-gQN9Uw5U Look Who's Evil Now]], [[https://www.youtube.com/watch?v=Ea1QkvMJcsA Bit Part Demon]], and [[https://www.youtube.com/watch?v=KfOpNOldOWU Do The Necronomicon]] are also worth mentioning.
* "Forever Yours" from ''Theatre/OnceOnThisIsland'' is a bizarre half-love ballad-half-VillainSong, taking on the latter quality after [[TheGrimReaper Papa Ge]] joins in. "Your life is forever ''miiiiiiiiiiiiiiiiine''!" Agwe has "Rain", a song about causing a storm that intentionally results in a near-fatal car crash; immediately before that, the JerkassGods sing "And the Gods Heard Her Prayer", in which they concoct their plot to use Ti Moune for their own ends. Asaka and Erzulie get a song each, but theirs aren't villainous (though they are [[ItsAllAboutMe extremely self-congratulatory]]). RichBitch Andrea sings for a bit, too.
* "Hector's Song" from ''Theatre/TheGoldenApple'', an oleaginous, AffablyEvil soliloquy about how corruptible people are.
* The 1980's Broadway musical ''Drood'' is notable here in that it has ''nine'' possible villain songs: Two which are always in the show ("A Man Could Go Quite Mad" and "Jasper's Confession") and 7 possible murderer confessions decided by audience vote. Some may not count, however, as at least one is a joke about how unlikely that particular character being the murder is.
* The ''[[Film/TheToxicAvenger Toxic Avenger]]'' musical has a few songs for Tromaville's corrupt mayor Babs Belgoody.
** "Jersey Girl", where she sings about her plans to become Governor.
** She performs "Get the Geek" along with the town bullies Sluggo and Bozo, where she orders them to eliminate Melvin.
** "Evil is Hot", where she seduces Professor Zen to get him to tell her how she can kill Toxie.
** "Bitch/Slut/Liar/Whore", which also counts as a TheVillainSucksSong on Toxie's mother's part.
* ''Theatre/SpiderManTurnOffTheDark'' has several.
** Flash Thompson and his cronies have "Bullying by Numbers" and "Venom".
** Before the show was revamped, second-act villain Arachne had two as well; "Think Again" lamenting Peter's decision to give up his Spider-Man identity, and "Deeply Furious" an absurd and much mocked song about shoes.
** The Green Goblin gets three. As Norman Osborn he sings "DIY World", about how designer genes are the way of the future. Not blatantly evil, but we know what happens. As the Goblin, he sings "I'll Take Manhattan", a loungey evil song, and a "A Freak Like Me Needs Company" (derived from a recurring line in "Deeply Furious") about his creation of the Sinister Six.
** And one more, "Pull the Trigger", from the military group funding Norman's research to create super soldiers.
* The main antagonist of Music/{{Queen}}'s RockOpera ''Theatre/WeWillRockYou'' is called Killer Queen. Naturally she's introduced with the song of the same name. "Flash" might be one for Khashoggi.
** Khashoggi's rendition of "Seven Seas Of Rhye" is also highly villainous.
* "Special" from ''Theatre/AvenueQ'' might be one since it acts as a EstablishingCharacterMoment for [[MeaningfulName Lucy The Slut]] who acts as an antagonist towards Kate by trying to steal Princeton from her.
* OlderThanFeudalism: A significant chunk of Aeschylus' ''Theatre/Eumenides'' is the villain song of the Erinyes, where they seek to justify the {{Revenge}} they enforce and boast of how terrible and powerful they are, while disdaining the injustice of the CycleOfRevenge that is the plot of the story.
* From ''Film/SisterAct: The Musical'', the BigBad and the QuirkyMinibossSquad both get one. "Lady In The Long Black Dress" is sung by the Miniboss Squad and is about seducing the nuns of the convent. "When I Find My Baby", sung by the Big Bad, is about how he will find Deloris again and "shoot that girl! And then I’ll stab that girl, and then I’ll take her and shake her, and make her meet her maker!"...
* Lord Farquaad gets two in ''Theatre/ShrekTheMusical'':
** "What's Up, Duloc?" is a crowd song about [[SmugSnake how great he is]] and how he's rid Duloc of [[FantasticRacism non-human "freaks"]].
** "The Ballad of Farquaad" details his backstory and his [[UnreliableNarrator supposed]] FreudianExcuse.
* The closest thing to a VillainSong in ''Theatre/SunsetBoulevard'' is the title song, "[[ExactlyWhatItSaysOnTheTin Sunset Boulevard]]", which is about {{Jerkass}} [[VillainProtagonist Protagonist]] Joe Gillis describing and rationalizing his manipulation of his (much older, much richer, and very emotionally-unstable) girlfriend Norma's feelings in order to have access to her stuff and money. This gets an [[DarkReprise even darker reprise]] at the very end of the show, where Joe emotionally abuses the innocent Betty (the [[BettyAndVeronica literal Betty to Norma's Veronica]]), whom he had just told he loved two scenes earlier.
* The Austrian musical ''Rudolf – Affaire Mayerling'', about the life of Rudolf, Crown Prince of Austria before his suicide, has Count Eduard Taaffe, the Austrian Emperor's closest advisor, sing a very intense song about how politics are easy if you pull the strings behind the curtains and how as advisor to the Emperor, the whole world bends to his will if he demands it. The Aristocrats and even the Emperor dance as his puppets underneath and are shown to listen to his advice. There is also an [[https://www.youtube.com/watch?v=5uSaVemKots English Version]] but the [[https://www.youtube.com/watch?v=2Nc-X1wlU3Q German Version]] is much faster and far more powerful.
** It's a little ironic to listen to the song if you know that later during his ministry, Austria went into UsefulNotes/WW1 and therefore lost most of their political clout as a nation for a long time.
* The Italian work ''The Bethrothed Lovers Modern Opera'': Jesus Christ, where to begin?
** First of all, the Ouverture gives us a glimpse of [[BigBad Don Rodrigo]]'s song, "What is this fire?". That's right, the very introduction is interrupted by the villains singing about his evil goal.
** The third song, "It has not to be done", features the Thugs (led by [[TheDragon the Griso]]), threatening [[DirtyCoward Don Abbondio]], the town priest, saying that it will end bad for him, shoulf he ever marry the titular bethrothed. It's mostly [[PlayedForLaughs intended as comedic]], especially when they mock him, but it is still frightening when you realize that, in a time and place that saw Vatican at its maximal power, Don Rodrigo is not afraid to threaten a man of Church.
** The fifth one, "Going... fleeing... the power" starts off with just Don Abbondio establishing once again his lack of guts, but when he goes to sleep... he actually dreams about Don Rodrigo, on top of a skull-decorated spider-web, who nonchalantely plays with a rapier, all while representing the embodiment of the very concepts of power and arrogance. He didn't even appear in the story, yet, and he is already established as a guy not to be messed with. In this particular piece, he sings about how he can walk at his will over people heads, and how he is everything while Don Abbondio is nothing. And now picture such a self-centered bully played by the same guy who played Quasimodo.
** The eighth song, "Law is the same for everybody", is one of the funniest and, ironically one of the most evil. In it, the lawman Azzeccagarbugli (lit., Mischief-finder, which in Italy has become a nickname for every corrupted lawperson) sings about how it is his job to use law and justice to help people, while he means his "help" actually is avoiding criminals to pay the price of their crimes. He even accuses Renzo (the lead male character) of being a criminal, for daring to suggest to go against Don Rodrigo.
** The eleventh song, "Wine, wine", sees for the first time Don Rodrigo. With all of his friends (other noble bullies), he playfully spars with swords and sings about the joy of drinking fine wine in company on the day of St. Martin. Then he casually mention he will [[IHaveYouNowMyPretty subjugate and tame Lucia]], just as a bet with a friend of his, and the song ends with them all gloating about the even bigger joy of having their way with women.
** Right after, "There will be a day" is mainly sung by one of the most importants good characters, Fra Cristoforo, and is about how God will not be pleased with that power abuse against the weakest. Then, [[TemptingFate Don Rodrigo interrupts, insulting Fra Cristoforo and telling him to watch his tongue]]. Ironically, the truly frightening part of this song comes from Cristoforo himself, who pretty much curses Don Rodrigo, telling him God will annihilate him. And the scary part is... it actually happens.
** Then we have "The nigh of Mischieves", in which the main characters try to trick Don Abbondio in marrying Renzo and Lucia. But there is also the Griso, with other thugs, singing in a magnificent barithonal voice of how they are going to kidnap Lucia and how Don Rodrigo will be proud of them for such an act.
** Just when we heard five songs about the good guy, and we were starting to lose hope about the amount of villainy, we have "St. Martin has arrived", a reprise of "Wine, wine", really similar but with an even better coreography, with much more swordsmanship and every background character groping at least one maid during the number.
** It is immediately followed by the aforementioned "What is this fire". A song so full of pathos and sexual depravity, it could give "Hellfire" and "Your love will kill me" a run for their money. Yeah, you read it right: a song so lustful Frollo seems tame in comparison. Especially creepy when Don Rodrigo sings "Never you will tell me 'stop!', you, who now are saying 'never!'"; he basically says he will continue to rape Lucia until she forces herself to enjoy it. Jesus Christ. And, no, it was not added for this adaptation: even in the original novel, he betted he could have the ius primae noctis, and the only thing added in this version was that here Don Rodrigo actually lusts after Lucia, instead of seeing her just as a bet. It's hardly any better.
** "The Griso has returned", which immediately follows, is both yet another reprise of "Wine, wine", and, in the second part, one for the thug's part in "The night of mischievs". Don Rodrigo doesn't want to accept his defeat, and he bets all of his wine he will have Lucia before the end of St.Martin's day. Then The Griso arrives empty-handed, getting properly bitchslapped.
** "Let's violate the clausure", just two songs away, starts of as just the [[LargeHam hammiest]] [[BadassBoast badass boast]] in the history of musical villainy, with the thugs claiming they will attack the convent and take Lucia. Then, Don Rodrigo cuts their bullshit, and gives a dark reprise to one of Fra Crisotoforo's song, announcing he knows who he has to talk to. Immediately this certain someone is described as almost more a force of nature than a man: [[TheDreaded the Unnamed]].
** "[[NamesToRunAwayFromReallyFast The unnamed]]" is right after that, and it is pretty much a glorification of that guy. He starts by singing about he enjoys life because death itself is his trusted companion, and they are against everybody and everything, not caring about the existence of something as futile as a law or even God Himself. His henchmen (some creepy black-cloaked things), even call him "The black shadow, the fear". Then we see Don Rodrigo, who has alway been arrogant and full of himself, pretty much begging the Unnamed to help him; he responds by saying "that convent has no door, has no gate and has no wall", while his thugs reply "all is open at His will, each and one defense will fall!". The song ends saying that the Unnamed holds a limitless power, which makes him master of every fate, and that he can destroy without a move fear, life and death. Keep in mind that this is a realistic setting, so [[BadassNormal he has no supernatural power whatsoever]]: he is just that feared, that ruthless and that competent. Plus, he is played by Vittorio Matteucci, who was Frollo in "Notre-Dame de Paris" and Dracula in "Dracula Opera Rock"; probably, when he cuts himself shaving, he bleeds [[MagnificentBastard awesome assholeness]].
** Immediately after, we have "Let her out": the Kite (the Unnamed's elite mook) has sent Egidio, the lover of Monza's Nun, to convince her to send Lucia out, so that the thugs may abduct her, bring her to the Unnamed, and then give her to Don Rodrigo.
** And then, "The Abduction", which is [[ExactlyWhatItSaysOnTheTin pretty much what the title implies]]. Monza's Nun tricks Lucia into going out, purposedly playing on her faith and weak will, and her tragic backstory doesn't help us giving her simpathy. But still, the fact that the Nun was brain-washed and forced in the convent by [[AbusiveParents her materialistic nutjob of a father]], was then seduced by [[ManipulativeBastard Egidio]] [[BastardBoyfriend who only sees her as a tool of pleasure]], and looks like a cross between [[BondageIsBad a S&M slave and a mistress]], adds both pathos and [[ThisIsWrongOnSoManyLevels incredible creepyness]].
** "The Lansquenets, the letters". Cannon sounds, blood-red lighting, and an arm of mercenaries marching through Milano, singing a creepy cross between a Church chant, a Nazi parade anthem, and that thing the Uruk-Hai sung in the Bakshi "Lord of the Rings" movie. If anybody studied history, they'll know what exactly the Lansquenets did. If nobody did, don't worry: while they do their war chants, Renzo provides an explanation, saying that they are a scourge devastating the fields, burning the houses, murdering everybody, raping women and bringing the plague, to top all of that; the song itself ends with Renzo repeating "The Plague!", echoed by the Lansquenets in German. All is made especially creepy when you realize that is [[AdultFear what Renzo is dictating to be written in a letter to Lucia, to tell her he hopes to make it out alive to see her again]].
** "The Betrayal", the last villains song, sees Don Rodrigo dying by plague; there is no make-up to simulate the symptons, but Giò di Tonno acually seems febricitant, trembling and ill; plus, he has a vision of what Fra Cristoforo has shown him, and feels he si being crushed by rhe rightful wrath of the Allmighty. He send the Griso to call a doctor, but his thug returns with some jackals, to take him away and steal his fortune. Ironically, the Griso gets infected and dies before he has to change to spend a single coin of what he stole.
* The theatrical version of ''Film/{{Newsies}}'' gives [[HistoricalVillainUpgrade Joseph Pulitzer]] the song "The Bottom Line", wherein he explains why he's boosting the price of his papers, and how he doesn't care how it'll affect the newsies. He gets a reprise in Act 2, when he threatens to have all the newsies arrested if Jack doesn't tell them to end the strike.
* ''It's A Bird, It's A Plane, It's Superman'' has the song "Revenge", in which Dr. Abner Sedgwick recounts all the Nobel Prizes he's been robbed of and says he'll destroy Superman to show the scientific community.
* The closest thing to a villain in ''Theatre/HowToSucceedInBusinessWithoutReallyTrying'' is SmugSnake Bud Frump, and his reprise of "The Company Way" and DarkReprise of "Been A Long Day" arguably qualify for this, the former being a self-congratulatory number about how great he is (for being made head of the mailroom) an the latter sung as he puts his EvilPlan into action through blackmailing his uncle.
* "The Apple Tree (Forbidden Fruit)" from ''The Apple Tree''. The first act of the musical is based off of Mark Twain's Adam and Eve story. It's sung from The Snake to temp Eve to take a bite from the apple.
** Also if you count the King from the second act, he has a short musical piece "Barbara, how could you?" It's only about 10 seconds long. It's his reaction to seeing his daughter in love with a forbidden lover. He also sings a small solo in "Which Door?"
* "The Stepsister's Lament" from ''Rodgers and Hammerstein's Cinderella''. Long before they even sing the song, the tune is the stepfamily's theme song and plays during some of their entrances.
* "Opportunity" and partially "It can't be true" from ''13''.
* ''Theatre/{{Drood}}'' has "A Man Could Go Quite Mad", introducing John Jasper and his repressed insanity. Any of the murderers' confessions could count as well.
* TheMusical of ''Music/AmericanIdiot'' turns the Music/GreenDay song "Know Your Enemy" into somewhat of a VillainSong for St. Jimmy, as he attempts to lure Johnny back to his pointlessly rebellious and self-destructive lifestyle, as well as manipulating Johnny into attempting to [[DoesThisRemindYouOfAnything stab]] [[Music/SexPistols his]] [[ShoutOut girlfriend]].
* ''The Lady Pirates of Captain Bree'' has the title song for the title character [[spoiler:though she does a HeelFaceTurn later on]] and "A Lady of Sensibility" for the resident RichBitch, both of which double as {{I Am Song}}s.
* "Spread A Little Sunshine" in ''Theatre/{{Pippin}}'', in which Fastrada plots to get her son closer to the throne while (sarcastically) singing about following the Golden Rule. Actually a subversion: the song's lyrics are entirely innocent, even though the action surrounding it is not.
* The Broadway musical version of ''{{Literature/Matilda}}'' has "The Hammer" and "The Smell of Rebellion".
* ''Theatre/CharlieAndTheChocolateFactory'' uses this trope to an unusual end. [[NoAntagonist The four bratty kids and their parents aren't villains]], so their establishing tunes fall under the IAmSong trope, though Mike's verses in "It's Teavee Time" overlap with a villain song as he proudly declares that he cheated to get his Golden Ticket. But the show ''does'' have a glamorous, LargeHam, AmbiguouslyEvil AntiHero: '''Willy Wonka'''. His first song "It Must Be Believed to Be Seen", which doubles as the Act One finale, is a WelcomingSong and an IAmGreatSong lyrically, but musically and visually it's this trope -- brassy, intense, cheekily sinister, and catchy. There's SpontaneousChoreography for the Golden Ticket winners and the press, the scenery's awash in colorful light by the end...and all along, only the audience suspects/knows that the enthusiastic tour group is going to get a ''lot'' more than they bargained for in Act Two.
* In ''Theatre/TwiceCharmed'', Wicked Fairy Godfather Franco [=DiFortunato=] gets "It's Never Too Late."
-->It’s never too late to plan a wicked plan / Smash both of her shoes and make off with her man!
* Most of the songs in ''Theatre/ThrillMe'' are this. Chronologically: "Nothing Like a Fire" is Richard glorying in the warehouse fire he just set, and seducing Nathan; "A Written Contract" is Richard getting Nathan to agree to continue helping with his crimes "no matter what degree" and gloating about their superiority; "The Plan" is Richard excitedly plotting a murder; "Roadster" is Richard luring a twelve-year-old to his death; "Superior" is Richard gloating about being...[[ExactlyWhatItSaysOnTheTin superior to everyone else]]; and "Life Plus 99 Years" is [[spoiler:Nathan]] gloating about having strung [[spoiler:Richard]] along through almost all of the show. And really, there are [[AlternateCharacterInterpretation arguments]] to be made for most of the other songs.
* In ''Theatre/PokemonTheMewsical'', Giovanni gets "To Be Boss" and "Finally," while Team Rocket gets "The Plan." Gary gets several villainous parts as well in different songs.
* The villain song from "Tumbleweeds" (a musical written to be performed by students) has the title "[[EvilFeelsGood It Feels So Good To Be Evil]]" and consists of the various villains gloating about exactly how much they love being villains.
* ''The Cradle Will Rock'' has the fake-friendly duet "The Freedom of the Press," in which [[CorruptCorporateExecutive Mr. Mister]] demands that Editor Daily print MaliciousSlander against TheHero.
* The ''WesternAnimation/WinxClub'' musical Winx Power Show gives us "Non c'è Amore" ("There's No Love"), sung by Trix about their intention to destroy the Winx (or fight forever if they fail) and become invincible and the fact there's so much rage inside them that no love can redeem them.
* In the children's musical "Oh Jonah!", the people of Niniveh sing "City of Sin", where they revel in lawlessness -- in a vague, child-friendly way -- and invite Jonah to join them. (At least one church added a banner saying, "NINIVEH: WHAT HAPPENS HERE STAYS HERE.") In the biggest let-down of an otherwise entertaining show, all it takes is "Stop!" to cue a low-key song of repentance.
* In ''[[Literature/JohnnyMaxwellTrilogy Only You Can Save Mankind]]: The Musical'', the Gunnery Officer gets "What Are We Waiting For?" where he not only rebels against the Captain's efforts to make peace with the humans, he seems to be advocating his fellow [=ScreeWee=] rebel against ''everything''.
* The ice spirit Arktos in [[Franchise/{{Tabaluga}} Tabaluga und Lilli]] gets [[https://www.youtube.com/watch?v=KayydKf3i-s Schlüssel zur Macht]] (translation: Key to Power).
* The musical adaptation of ''Literature/{{Carrie}}'' has quite a few of them. AlphaBitch Chris Hargensen gets "The World According to Chris" in the revival, in which she sings about her "whip or get whipped" view of the world. She and her boyfriend Billy also have a brief part in "A Night We'll Never Forget", in which they plot to get even with Carrie at the dance. Margaret gets "And Eve Was Weak", where she warns her daughter about the "curse of blood" when she gets her period (this song also serves as a MoodWhiplash from Margaret's sweet, motherly demeanor, and is meant to show just how crazy and serious she could get when snapped). "When There's No One", another solo for Margaret, could also qualify, given the fact that it's the moment she realizes that she must [[spoiler:kill Carrie in order to save her from damnation]].
* The Broadway adaptation of ''Film/{{Mary Poppins}}'' has "Brimstone and Treacle", sung by the wicked nanny, [[EvilCounterpart Miss Andrew]] (a character adapted from the books rather than the film itself). Showcasing Andrew's sinister disciplinary tactics and use of a horrible medicine, the titular Brimstone and Treacle, the entire song is meant to contrast Mary Poppin's "A Spoonful of Sugar". It even gets a reprise, now sung by [[spoiler:Mary as she literally gives Miss Andrew [[ATasteOfTheirOwnMedicine a taste of her own medicine]] (and, in a surprisingly dark twist, locks her in a giant birdcage and sends it [[DraggedOffToHell deep below]])]].
* The ''[[Disney/TheLittleMermaid Little Mermaid]]'' Broadway musical gives three new songs to Ursula: "I Want the Good Times Back", which details Ursula's plot to get to King Triton (and the throne) through Ariel (it also doubles as an IWantSong), "I Want the Good Times Back (Reprise)", in which she anxiously awaits the end of Ariel's contract (and the start of her reign), and a DarkReprise for "Poor Unfortunate Souls", which she sings when she finally gets her hands on the trident and the throne. Her EvilMinions Flotsam and Jetsam also get some songs, "Sweet Child" (where they persuade Ariel to meet with Ursula) and its reprise (where they mock Ariel's attempts to get Eric to kiss her). As you can see, the musical is ''heavy'' with reprises.
* The ''Disney/BeautyAndTheBeast'' musical introduces a new song, "Maison des Lunes", in which Gaston and [=LeFou=] convince Monsieur D'Arque to incarcerate Maurice in his [[BedlamHouse asylum]].
* ''Theatre/IntoTheWoods'' has the fairly short but often uncomfortable "Hello Little Girl," sung by The Wolf (who is traditionally also one of the princes). It's not always ''entirely'' clear precisely what his designs on Red are[[note]]it's obvious from the lyrics that he intends to eat her, but depending on the production, there may be implications that he's also planning to rape her first[[/note]], but they're definitely villainous.
* The second musical for [[Manga/BlackButler Black Butler]], ''The Most Beautiful Death In The World'', has the song [[https://www.youtube.com/watch?v=Nm65EA9FTQw Druitt no Jibun Sanka]], or "Druitt's Self-Paean". In it he sings about how great he and his sadism are to two girls who are tied up, referring to himself as a martyr.
* ''Theatre/{{Heathers}}'':
** The seminal song of the titular Heathers, "Candy Store," is a a dramatic, seductive introduction to the Heathers' AlphaBitch lifestyle, with each of the three putting down Veronica for still clinging onto her loser best friend Martha Dumptruck and imploring her to dump the poor girl and go along with their cruel prank for her to once and for all prove she's worthy of being a member of the Heathers.
** J.D. has quite a few of them that can potentially be taken as villain songs, but the most obvious is "Meant To Be Yours," which completes J.D.'s own descent into murderous, obssesive insanity.
* ''Theatre/DeathNoteTheMusical'' has "Where is the Justice?" for VillainProtagonist Light Yagami, in which he preaches to his class about how the world is corrupt, and that justice must be brought to those who deserve it. His second solo, "Hurricane", depicts him finding the Death Note for the first time, and ultimately deciding to use it to purge the world and [[AGodAmI become a god]]. Ryuk also gets "Kira!", where he comments on Light's killing spree and his newfound identity as "Kira" labeling him a false idol in some productions.
* The stage version of ''Film/{{Footloose}}'' plays with this. The AntiVillain main antagonist, Reverend Shaw Moore, gets two songs, but "Heaven Help Me" is more like a TheVillainSucksSong directed at ''himself'', while "I Confess" is sung at the very end during his HeelFaceTurn. The straight example is actually "The Girl Gets Around," which is sung by local HateSink and BastardBoyfriend Chuck Cranston as he gloats about how he's using Ariel Moore for cheap sex and loving every minute of it.
* ''Theatre/{{Hamilton}}'' has ''You'll Be Back'', sung by King George III as an AntiLoveSong about America's attempt to split from Great Britain. As you'd expect, it's deliciously hammy and villainous - the last full line is 'I will kill your friends and family to remind you of my love!' Interestingly, King George gets two more songs after this, and while they're both still villainous, in purpose they're really more of a GreekChorus commenting on the state of the American government at the time - first, talking about how the Americans underestimate how hard it'll be to rule a country on their own, and then about how shocking it was that Washington stood down and how little faith anyone had in President John Adams ('They will tear each other into pieces / Jesus Christ, this will be fun!').
** ''Wait For It'' is an Anti-Villain Song, because while it in and of itself isn't villainous in any way (the most egregious thing Burr admits to is sleeping with the wife of a British officer, which had been established only moments before anyway) it does set up a lot of Burr's defining character traits which are later developed in ''The Room Where it Happens''.
** James Reynold's letter in ''Say No To This'', and the song as a whole, is likely as truly villainous as the show gets. To have your wife seduce a prominent politician in order to blackmail him is one thing, but it's not like Hamilton's entirely blameless in the entire affair either: the song takes place immediately afterwards Hamilton refuses to accompany his wife, son, and sister-in-law for a summer trip to visit Hamilton's father-in-law, immediately before which Hamilton had been taking part in the historical equivalent of sexting with his sister-in-law.
** ''The Room Where it Happens'' is a song with Southern banjo and sinister piano to show Burr's transition to a villain and Democrat-Republican from the feeling that he and the other delegates not present at the infamous dinner party are left out of the decision making. The feeling of being left out of the deal caused him to be more ambitious and pursue being a senator.
** ''Washington on Your Side'' is sort of a quasi example - it's sung by Jefferson, Madison, and Burr, the three primary antagonists of the show, about how they hate Hamilton and are searching for a way to take him down, but it's also clear in the lyrics that they don't see themselves as villains at all. Instead, they all genuinely believe that Hamilton's financial plan will screw over the poor, if not ruin the entire country. The fact that Jefferson seems to have it out for Hamilton personally by this time is mostly beside the point.
-->'''Jefferson:''' Our poorest citizens, our farmers, live ration to ration / As Wall Street robs ‘em blind in search of chips to cash in
* In ''Theatre/TheSpongeBobMusical'', Plankton has one in the form of "When the Going Gets Tough", a PissTakeRap (written by rap artist T.I.) where he persuades the citizens of Bikini Bottom into migrating to a new home after their town is threatened by a destructive volcano. Using their fear to his advantage, he manipulates everyone into believing that the only way to face your problems is by running away from them; this, of course, is just a ploy to get all the citzens together, hypnotize them en masse, and become the supreme ruler of their new town.
* ''Theatre/TheSoldiersTale'' has "The Devil's Song," in which the Devil warns that though the Soldier may have won for now, Hell will win [[WeWillMeetAgain the next time they meet]]. It's a SpokenWord number since there are no singing roles, and also the only time anyone but the Narrator speaks over the music.
* The closest ''Theatre/TheDrowsyChaperone'' gets to a villain song is the song ''Toledo Surprise'', in which through the Pastry Chefs threaten to kill Feldzieg through a variety of thinly veiled, pastry-themed double-entendres. This quickly devolves into a dance number featuring the Pastry Chefs and Kitty until the rest of the cast bursts in, revealing that while Adolpho did accidentally seduce the wrong woman, through an unlikely set of circumstances, Feldzieg's villainous plot has come to fruition anyway, as Janet has called off the wedding due to the fact that Robert kissed a [[ButHeSoundsHandsome "very beautiful"]] French woman by the name of Mimi (who was secretly Janet taking advantage of Robert's blindfolded rollerblading to test his love for her). Overjoyed, Feldzieg declares that it is a "wonderful, wonderful tragedy" and leads the rest of the cast in a dance number. The ramifications of this (that this is "the saddest day of [their] life") aren't realized until after the song is completed.
** Curiously, Feldzieg suffers no ill-effects after this song, despite having revealed that he had ordered Adolpho to seduce Janet to the entire rest of the cast. Neither do the Pastry Chefs, who, before the song begins, had been ready to kill Feldzieg and telling him how they were going to do it in explicit (if thinly veiled) detail. Chalk it up to the cheesy nature of the show-within-a-show.
* Theatre/LaLegendeDuRoiArthur has no less than three villain songs in the strictest sense of the trope.
** "Advienne que pourra", in which Méleagant expresses distaste for Arthur being proclaimed king instead of him.
** "Tu vas le payer", in which Morganne sings of the revenge she will take on Arthur for what his father did to their mother
** "A nos vouex sacré" where the two team up and decide to mutually destroy Arthur.
* ''Disney/{{Frozen}}'': In addition to "Love is an Open Door", the stage adaptation of ''Frozen'' gives Hans his own song "Hans of the Southern Isles".
* ''Theatre/YesVirginiaTheMusical'' has a relatively low-key one (in keeping with a kid's show) where Frank Church espouses his belief that newspapers had a duty to report the negative over the positive.
* ''Theatre/MeanGirls'' has "World Burn" for Regina, after she has been kicked out of the Plastics by Cady and decides to destroy Cady by revealing the contents of the Burn Book to the entire school and framing her as the original author.
----
to:
* ''Theatre/Portal2TheUnauthorizedMusical'' has two, one for each villain.
** [=GLaDOS=] has "Poor Unfortunate Subjects", in which she gloats over Chell being at her mercy again, and expresses her fury over Chell killing her.
-->'' You lucked out and passed all of your tests the last time\\
I know that you thought that you could forget\\
But I feel you’ve been misled\\
I’ve been busy being '''dead'''\\
We’ve both said a lot of things that '''you’ll regret'''''
** Initially averted with "Running The Whole Machine", in which Wheatley mocks [=GLaDOS=] for being absolutely powerless to stop him from freeing Chell. However, it's played straight when [[spoiler:Wheatley goes [[DrunkWithPower mad with power]], deciding he'd acutally rather keep Chell inside Aperture to run tests for him and ending with him punching both [=GLaDOS=] and Chell down the elevator shaft in a fit of rage]].
* When Giuseppe Verdi and Arrigo Boito wrote an opera over Shakespeare's ''Theatre/{{Othello}}'' they added the aria [[https://www.youtube.com/watch?v=1QpxMMSuj-E "Credo in un Dio crudel"]] ("I believe in a cruel God"), a sublime villain song, where the villain Iago, in a parody of a Christian creed, confesses to do evil [[NietzscheWannabe because the world is pointless and everything is ruled by Fate]]
-->And after all this mockery comes death.\\
And then? And then?\\
Death and Nothingness\\
Heaven is an old wives tale [[EvilLaugh Ahahahahahahaha!]]
* Also Verdi: "La donna è mobile" from ''Theatre/{{Rigoletto}}'' is the Duke's villain song and apparently he sings it a lot. A lot of the commercials that use it to sell their products seem to forget it's a villain song.
* Act One of Puccini's opera ''Theatre/{{Tosca}}'' ends with the corrupt police chief Scarpia [[https://www.youtube.com/watch?v=G3lPxwct2sk gloating]], because he has gained a hold on the title character that will force her to [[ScarpiaUltimatum succumb to his perverted desires]]. And if that was not creepy enough, there is a simultaneous ''Te Deum'' to provide OminousLatinChanting. In Act II, Scarpia gets another solo in which he professes his lustful urges to Tosca, ''[[https://www.youtube.com/watch?v=2MkPdkidTNI Gia mi dicon venal]]''.
* ''[[https://www.youtube.com/watch?v=WUgoMzkaSoE Le Veau d'Or]]'' from Gounod's ''Faust'', sung by Mephistopheles himself. Mephistopholes also gets the mocking serenade, [[https://www.youtube.com/watch?v=c78KhJkwxN8 Vous qui faites l'endormie]], which has one of the best {{EvilLaugh}}s ever.
* Faust operas are great for this kind of thing. Mefistofele, in Arrigo Boito's ''Mefistofele'', has some awesome ones. "I am the spirit that denies all things..." [[https://www.youtube.com/watch?v=-OCOc4nZCjk&feature=related Creepy]].
* The villain Caspar in Carl Maria von Weber's ''Theatre/DerFreischuetz'' gets two of these: the first, [[https://www.youtube.com/watch?v=AJkvPtP_aIw "Hier im ird'schem Jammerthal"]], a drinking song about the pleasures of wining, wenching, and gambling, and the second, [[https://www.youtube.com/watch?v=1HkT4PajIpY "Schweig', damit dich niemand warnt"]], calling upon the spirits of evil to take the hero instead of him, now that his deal with the devil is coming to its end. (In addition, there is an [[https://www.youtube.com/watch?v=mtQvP1u_hDI entire]] [[https://www.youtube.com/watch?v=X-yE0nZz5B0 scene]] devoted to summoning up the devil in order to cast the magic bullets that give the opera its name.)
* The Secret Police Agent in Menotti's "The Consul" has a pretty terrifying aria in the first act, where he attempts to intimidate the protagonist, Magda Sorell.
* Claggart's song [[https://www.youtube.com/watch?v=RSLt2oJebEM "O beauty, O handsomeness, goodness!"]] in Benjamin Britten's ''Billy Budd''. Unlike a classic Villain Song in that he is anything BUT happy about his situation... still. You've gotta love a song with lyrics like "There I established an order such as reigns in Hell", and "With hate and envy I am stronger than love", and "I, John Claggart, Master-at-Arms upon the ''Indomitable'', have you in my power, and I will destroy you, I will destroy you."
* The pagan sorceress Ortrud in Music/RichardWagner's ''Lohengrin'' has a short aria, [[https://www.youtube.com/watch?v=XHtRUyJiH3E "Entweihte Götter"]], in which she calls upon the gods to help her deceive and avenge herself upon her Christian enemies.
* In Amilcaire Ponchielli's opera ''La Gioconda'', the villainous Alvise Bodero plots to murder his unfaithful wife via poison and put her corpse on display during a ball to show his guests what happens to those who betray him: ''[[https://www.youtube.com/watch?v=AEHIrX0txxE Si, morir ella de!]]''.
* Lord Ruthven's aria "Ha! Welche Lust!" ("Ha! What Pleasure!") from Marschner's ''Theatre/DerVampyr'' is all about the joys of [[HemoErotic sucking the blood]] of innocent, terrified maidens.
* [[Theatre/TheMagicFlute The Queen of the Night]]'s ear-splittingly infamous aria ''Der Hölle Rache kocht in meinem Herzen''. She forces her daughter Pamina to assassinate Sarastro upon pain of disowning and cursing her. [[EvilMatriarch Damn, that's cold.]]
* ''Susannah'' has Olin Blitch with a villain ''sermon.''
* ''[[https://www.youtube.com/watch?v=pzvdAvd3tqk Ha! welch' ein Augenblick!]]'' from Beethoven's ''Fidelio'' (in which the evil prison governor Pizarro rejoices in the fact that the forthcoming "surprise" inspection by the Minister of Justice will require him (Pizarro) to do what he could have done at any time he wanted, ie. kill his unlawfully imprisoned rival Florestan).
* Probably the first great English villain song, ''[[https://www.youtube.com/watch?v=lMUnMSdA4u0 Wayward Sisters]]'' from Purcell's ''Dido and Aeneas'' is the Sorceress' villain song. She sings it while summoning her fellow witches to plot Dido's death.
* ''Theatre/LesMiserables'' has two, with Thenardier singing "Master of the House" and "Dog Eat Dog". (Three, if you count "Beggars at the Feast", which is the same tune as "Master of the House" but with new lyrics.) The primary (albeit [[WellIntentionedExtremist misguided]]) antagonist, InspectorJavert, has the song "Stars".
** "Master of the House" is an interesting one because it stands out as a moment of ''relatively light relief'' in a musical about rebellion, tragedy and romance.
** The most villainous of all these possible {{Villain Song}}s might well be "Dog Eats Dog", in which Thenardier sings about the joy of robbing dead bodies. Unlike in [[Film/RepoTheGeneticOpera some cases]], this fails to seem like [[LoveableRogue lovable roguery]] at ''all'' -- it finally hits the audience in the face that Thenardier really is scum. And most of those he is robbing are essentially youths and children, [[spoiler:including his own son and daughter.]]
** And "Beggars at the Feast" is sort of a Villain Song in that it further outlines the Thenardiers' ideals and motivations (though by the point in the play when it's sung, their motivations are pretty well established). ''Singing to the Lord on Sundays, praying for the gifts he'll send, but we're the ones that take it, we're the ones who make it in the end!'' It's also essentially the KarmaHoudini trope summed up in a song--the last line is even "when we're rich as Croesus, Jesus won't we see you all in ''Hell!''"
** "Stars", Javert's song, is an interesting version. Though Javert is the primary antagonist, his song is a very beautiful, melodic song about doing his duty to God and being a servant of justice; he doesn't see the motives or plans he's singing about as "evil". It can be played as confident and determined or softer and more humble depending on the actor. The implication is that though Javert may be not be a nice or good man by any stretch, he's [[HeroAntagonist not]] [[AntiVillain really]] [[InspectorJavert evil.]] The tone contrasts well with "Dog Eats Dog", which is the REAL villain song of ''Theatre/LesMiserables'', identifying Thenardier as far more evil than Javert. One might even say that "Stars" is an AntiVillain [[VillainSong Song]].
* "When the Night Wind Howls" from ''Theatre/{{Ruddigore}}''.
** Subverted in the first act, where Sir Despard makes a DastardlyWhiplash quality entrance, but his song is a TheVillainSucksSong about ''himself'' -- because, of course, his ancestors are forcing him to be a DesignatedVillain.
* "Bon Voyage" from ''Theatre/{{Candide}}'', except for the (increasingly sarcastic) chorus part, is all EvilGloating from the Governor (or Vanderdendur, depending on the performing edition) about the profits he made from putting Candide on a totally unseaworthy boat.
-->Oh but I'm bad, oh but I'm bad,\\
Playing such a very dirty trick on such a fine lad.\\
I'm a low cad, I'm a low cad,\\
Every time I do this sort of thing it makes me so sad.
* Every 'villain gets one in the ''Franchise/SailorMoon'' stage Musical adaptations, the ''Theatre/SeraMyu''. Some villains who were the baddies of multiple musicals got multiple songs, notably Queen Beryl and Sailor Galaxia. The two even SHARED a song, titled Yamikoso Utsukushii ~Galaxia no Iradachi~ (Darkness is Beautiful ~Galaxia's Irritation~) in one musical wherein Galaxia revived Beryl. (Or rather it was set up Beryl's original villain Group song, with additions of Galaxia snaking about how she's just using Beryl in the long run in the background) Villain songs in the ''Sera Myu'' generally fell in one of two categories: Songs for individual villains, and songs for the baddie group as a whole. An example of the former is Yami no Hitsugi (Coffin of Darkness), which is all about Queen Beryl, while an example is the original Yamikoso Utsukushii which was for the Dark Kingdom as a whole and their {{Evil Plan}}s. When a villain shows up in a later (unrelated) musical they sometimes get a new song, sometimes they re-use an old one. Rarely a villain could also share a theme with a Senshi, an example of this rare type is Onna no Ronsou (Dispute between Women) which was sung between Sailor Pluto and Queen Beryl describing how they were similar and their shared unrequited love for Mamoru.
* Dr. Robotnik has ''[[https://youtu.be/7PNAACyQYnQ Give Me Chaos]]'' from ''[[Franchise/SonicTheHedgehog Sonic Live In Sydney]]'' where brags about how mean he is, how he plans to trap Sally to lure in Sonic and his preference for Chaos instead of good.
* Although Max and Elsa don't have a VillainSong in the film of ''The Sound of Music'', in the original stage production they have ''two'', "How Can Love Survive?" and "No Way To Stop It".
* "Blood in the Water" from ''Theatre/LegallyBlonde'', in which Callahan teaches his students how to become {{amoral attorney}}s.
* "The Mad Hatter" and "I Will Prevail" sung by, you guessed it, the Mad Hatter in Wildhorn's "Wonderland", a musical adaptation of ''Literature/AliceInWonderland''. Because, you know, [[IncrediblyLongNote high notes]] higher than Alice's mean the Hatter is obviously [[EvilTwin evil]]. "Hatter" serves as an eponymous introduction song, while "I Will Prevail" opens act two with a bang --and more [[IncrediblyLongNote Incredibly Long Notes]].
** Similarly, the manic milliner struts her manipulative side when she entreats [[spoiler:Alice's daughter Chloe to join the Hatter and her [[EvilMinions minion]] on "A Nice Little Walk"]].
** The original version of the show (which held its tryout run in Tampa back in 2010) included a song for the Jabberwocky entitled "[[https://www.youtube.com/watch?v=Vm3ks1fct8M Misunderstood]]", although it's more of a subverted VillainSong, as he claims himself to be NecessaryEvil in a world where "you can't know pleasure if you don't know pain", even justifying his actions by claiming that he was ''born'' to be a man-eating monster, and that it's really all he can do. Sadly, both the song and the character were cut from the show once it hit Broadway.
* "It Ain't Necessarily So" and "There's a Boat That's Leaving Soon For New York," Sportin' Life's songs mocking a sermon and tempting one of the protagonists to a life of vice respectively, from ''Theatre/PorgyAndBess''.
* ''Theatre/{{Assassins}}'' has a ton of them, appropriately enough for a play about presidential assassins. "The Ballad of Booth", "The Gun Song", "The Ballad of Czolgosz", "The Ballad of Guiteau" and "Another National Anthem" are all unusual variants of the standard Villain Song. The most iconic villain song of the musical is "Everybody's Got The Right", a irony-tainted song where the assassins proclaim everybody has the right to pursue the American Dream through any means neccesary...including presidential assassination.
** Probably the most unusual villain song in the musical is "The Ballad of Guiteau", where the villainous Charles Guiteau sings a demented hymn as he tap-dances up to the gallows. What makes it unusual is that the lyrics are taken from a poem that the real Charles Guiteau wrote on the way to his execution; Music/StephenSondheim simply set it to music.
*** Well, ''Guiteau's'' continual "I am going to the Lordy/I am so glad" refrains are. The Balladeer's lines, obviously, are written by Sondheim.
* The VillainProtagonist of Sondheim's ''Theatre/SweeneyToddTheDemonBarberOfFleetStreet'' gets "Epiphany".
** Judge Turpin also has a VillainSong, though it's sometimes [[CutSong cut]]. Probably because, well, he's whipping himself and praying in between lusting after Johanna (suggesting that he practices self-flagellation or is just a freaky masochist). Programs and cast albums usually list this song as "Johanna", but it has no musical connection with Anthony's love song "Johanna" in the first act (which is the one performed outside the show under that name), or the "Johanna Sequence" in the second act, which includes a portion of the earlier "Johanna" in between new verses which Todd sings to himself as he offs his customers.
** "A Little Priest" also fits the rules for a villain song: where "Epiphany" describes Todd's violent reaction to an awful world, "Priest" is Mrs. Lovett's refinement of the idea into a practical ("yet appropriate as always") [[ImAHumanitarian course of action]]. And also contains justifications for their awful scheme: "save a lot of graves, do a lot of relatives favours" for instance.
* Parodied in ''Theatre/TheMikado'' with "I've Got a Little List". The scary executioner gets a Villain Song, in which he rattles off a LongList of AcceptableTargets whom he intends to kill -- and in the next dialogue scene, we learn he's a spineless wimp who is terrified of killing. Except that the executioner is more of an AntiHero. The primary villain song is probably "Your revels cease - O Fool, that fleest my hallowed joys", sung by Katisha.
* Though the pirates in ''Theatre/ThePiratesOfPenzance'' aren't exactly villains, they do get a show-stopping Villain Song in "[[WithCatlikeTread With Cat-Like Tread]]".
** The Pirate King gets his number [[https://www.youtube.com/watch?v=eXShM8IjbmM&feature=related "Pirate King"]] which is all about how awesome it is to be a Pirate King. Naturally he's something of an AntiVillain.
** And there's a short one with Pirate!Ruth about how they're going to kill the Major-General and his daughters, called [[ExactlyWhatItSaysOnTheTin Tonight He Dies]].
* "Progress is the Root of All Evil" from the musical adaptation of ''Li'l Abner''.
* "The Seven Deadly Virtues" from ''Camelot''. Also, Mordred and the knights have "Fie On Goodness" after their collective FaceHeelTurn, in a number dropped from many productions (the original Broadway production dropped it just after its inclusion on the cast album, which has the ensemble fill in for Mordred for some reason).
* The title theme of ''ThePhantomOfTheOpera'' ("The Phantom of the opera is there/ Inside your mind!").
** Since the Phantom is turned into an even bigger [[TheWoobie Woobie]] in the Arthur Kopit/Maury Yeston take on the story, he doesn't even get that much (except perhaps his VillainousBreakdown towards the end of "Christine".) Carlotta, however, has the gloating "This Place Is Mine".
** In the sequel, ''Theatre/LoveNeverDies'', [[AdaptationalVillainy Madame Giry]]'s part in "[[TheSongBeforeTheStorm Devil Take The Hindmost]]" also fits this.
* "You Can Get Away with Anything" from ''The Woman In White''.
* The motivations of Buffalo Bill were revealed by "Are You About A Size Fourteen?" in ''[[Film/TheSilenceOfTheLambs Silence! The Musical.]]''
** Don't forget "[[https://www.youtube.com/watch?v=03FIqPk_rBM I'd Fuck Me]]"!
* The Trans-Siberian Orchestra RockOpera ''Beethoven's Last Night'' has two: "Mephistopheles", where the titular demon proclaims himself "god of second chance" while trying to cut a deal with Beethoven, and "Misery", when Mephistopheles gleefully threatens to maim, cripple, torture, and eventually kill a child if Beethoven doesn't give him what he wants. Both get sung way over the top, with much scenery-chewing and {{Large Ham}}mery.
** TSO also included an equally hammy Villain Song in their album ''The Lost Christmas Eve'': "What is Christmas?", sung by the Scrooge-like antagonist.
* "Don't Nobody Bring Me No Bad News" is the mantra of Evilene, the Wicked Witch of the West, in ''Theatre/TheWiz''.
* The [[https://www.youtube.com/watch?v=GoCZEmfnE-M Cellblock Tango]] in ''Theatre/{{Chicago}}''. Awesome song, mood lighting, and girls prowling around in leather underwear talking about how their murders were completely justified.
** ''He had it comin'!''
*** Of course, the innocent Hungarian prisoner's verse states her guiltlessness for real, and of course she's the only one who pays for it. CrapsackWorld indeed.
** From the same musical, "All I Care About is Love", sung by Billy Flynn. The entire song is a lie.
*** An even better example for Flynn is [[https://www.youtube.com/watch?v=Rn5-VN3SH1o "Razzle Dazzle"]], where he gleefully gives a show-stopping number about getting away with anything by using pure showmanship.
** Almost every song from ''Chicago'' (except for "Mr. Cellophane" and "A Little Bit of Good" (sung by Mary Sunshine in the show)) could be considered a Villain Song, as almost all of the main characters are murderers or corrupt.
* Notably averted in ''Theatre/{{Wicked}}''. Fiyero's song "Dancing Through Life" is a textbook cackling song about his nihilistic philosophy, but he turns out to be a much better person than he seems. The Wizard's song, "Wonderful", is the very opposite of a standard VillainSong: he's trying to justify his crimes by playing humble and innocent, and (unlike ''The Sound of Music'') is still the BigBad. Elphaba (the heroine and titular Wicked Witch) even gets one in "No Good Deed", but it's undercut by the fact that she's rocketing through the stages of grief and has some full blown SanitySlippage[=/=]HeroicBSOD going on by the end. Despite her big talk, she never can bring herself to be the villain. "March of the Witch Hunters" comes close, especially the Tin Man's parts, but they truly believe that they're doing the right thing and are unaware that they're being manipulated by Madame Morrible. Finally, "Wicked Witch of the East" can almost be read as one, except that Nessarose is mourning the fact that she somehow became the villain without noticing.
* From ''Film/{{Hairspray}}'', "(The Legend of) Miss Baltimore [[DoubleEntendre Crabs]]". ''Front step, cha-cha-cha...'' There's just something about that one line that screams "you're walking into the serpent's lair". Michelle Pfeiffer even said she signed on for this one song. [[https://www.youtube.com/watch?v=uCW-iFgUbKY It's not hard to see why.]]
** Her daughter Amber has "Cooties", a mean-spirited TakeThat song not-so-subtly directed at Tracy.
** The [[TeensAreMonsters Corny Collins Show council]] contribute to both of these.
* Macavity, the levitating crimelord cat from ''Theatre/{{Cats}}''. His song (though he doesn't sing it himself) is a lengthy paean to his {{Magnificent Bastard}}ry, and is likely the one song besides "Memory" that is most remembered from the play.
** [[ThoseTwoGuys Mungojerrie and Rumpelteazer]] sing a song congratulating themselves on their thievery, but they're more of a QuirkyMinibossSquad.
* Most songs from ''The Black Rider: The Casting of the Magic Bullets'' are pretty creepy, but [[{{Satan}} Pegleg]] gets in three songs of his own: "Just The Right Bullets", "Flash Pan Hunter", and "Gospel Train".
* Since ''Theatre/{{Woyzeck}}'' has so many villains, each one gets their own song: the Doctor has "God's Away on Business", the Drum Major has "Another Man's Vine" and a creepy duet with Marie called "Everything Goes to Hell", and the Captain gets "Starving in the Belly of a Whale".
* "The Soviet Machine" from ''Theatre/{{Chess}}'', sung by Molokov and the KGB Agents.
** "Difficult and Dangerous Times", also titled "US vs. USSR" (formerly a part of "Opening Ceremony"), which is basically a villain song for Cold War politics in general.
-->''But we're gonna smash that bastard!''\\
''Make him wanna change his name--''\\
''Take him to the cleaners and devastate him''\\
''Wipe him out, humiliate him...''
* "Was I [[EvilChancellor Wazir]]?" from ''Kismet''.
* The Engineer's ode to America's love of depravity (and his love for that) in "The American Dream" from ''Theatre/MissSaigon''. "If You Want to Die In Bed" also counts as it spells out his goal to save his own skin. Actually, anything the Engineer sings might fall under this trope...
* ''Theatre/JekyllAndHyde'' gives Edward Hyde [[https://www.youtube.com/watch?v=VzVbFBRnk_s "Alive"]], where he sings about how being so free and evil makes him feel passionate about living. At one point, the music swells triumphantly as he boasts that he'll live on forever with Satan himself by his side.
* Giovanni's [[https://www.youtube.com/watch?v=Mocsc_BsAdI "It Will All Be Mine"]] from the ''Theatre/PokemonLive'' musical. Sung by Darren Dunstan, possibly better known as the American voice of [[Anime/YuGiOh Pegasus]].
** He also [[DarkReprise twists]] two other songs into {{Villain Song}}s: "You and Me and Pokémon" and "Everything Changes".
** Team Rocket got a subversion of the traditional VillainSong called "The Best at Being the Worst", centering around their own incompetence at what they do.
** "Double Trouble" could also count, which has Team Rocket showing enjoyment of being bad guys. However, this originally had a longer version of from a CD the show put out which had several other songs that were in the musical, including "Misty's Song" and "Two Perfect Girls".
* "Cool, Cool Considerate Men" from the musical ''Theatre/SeventeenSeventySix'' lays out the reasons Dickinson and his supporters don't want independence: they're comfortable as they are, they don't want to put their wealth and property at risk for a cause they think can't win, and they think the common man will follow them because they're pretty cynical about him. It's accompanied by a big dance number on the floor of Congress.
** "Molasses to Rum" for Edward Rutledge, which is also him saying that the South and the North are NotSoDifferent--they both, in different ways, participate in and profit from the slave trade. Therefore, not only must the anti-slavery clause be removed from the Declaration, the Northerners are absolute hypocrites for wanting it there in the first place.
* "Falcon in the Dive" from the musical adaptation of ''Theatre/TheScarletPimpernel'' (which conveniently comes after the main heroic song, "Into The Fire", in the libretto).
* "It's All About The Green" in the musical adaptation of ''The Wedding Singer'' - though Glen is more of a {{Jerkass}} than an outright villain, and there are cooler songs in "Casualty of Love", "Today You Are A Man" and others, it's still right up there.
* "Bolero de Amore" in Barry Manilow's ''Copacabana''.
* TheMusical version of ''Theatre/{{Peter Pan|1954}}'' gives one of these to Captain Hook. Given the tone of the play, Hook's CardCarryingVillain status, and his word choice, however, it's halfway between one of these and a TheVillainSucksSong.
** It's also a ''serious'' EarWorm: ''"Who's the creepiest creep in the world? Captain Hook! Captain Hook!"''
** In some versions, Hook and Smee have "Never Smile at a Crocodile".
* "Those Were The Good Old Days" from ''Theatre/DamnYankees'' which also somewhat parodies the IWantSong. [[{{Satan}} Applegate]] laments how much easier being evil was in the days of Nero, cannibals, and Lady Guillotine.
** "A Little Brains, A Little Talent" for Lola, as well as "Whatever Lola Wants", although [[spoiler:she turns out to be not so bad.]]
* "Tomorrow Belongs to Me", the Nazi anthem from ''Theatre/{{Cabaret}}''. It was so realistic and of the spirit that it got the (Jewish) producers accused of anti-Semitism!
* ''Film/TheProducers'' likely invoked this with the title song of "SpringtimeForHitler"?
* In ''Theatre/{{Urinetown}}'', several songs go to the bad guys, including "Cop Song" which goes to the henchmen as well as [[https://www.youtube.com/watch?v=JTwXwYmxHio "Don't be the Bunny"]] and "Mister Cladwell" going to the main villain Mr. Cladwell. The latter of which is an outright song praising his virtues (''Mister Cladwell, you're so Godly/oddly perfect and right'').
* ''Anyone Can Whistle'' has several songs for the evil Mayoress Cora Hoover-Hooper. The best of these is the first song of the show, "Me And My Town", in which she laments her ZeroPercentApprovalRating.
* "The Spring Of Next Year" from ''Dear World''.
* Jim Steinman's unproduced [[Theatre/BatmanTheMusical Batman]] [[http://www.freewebs.com/batman_themusical/home.ht Musical]] has two villain songs. The corrupt officials controlling Gotham City sing [[http://www.4shared.com/file/20334162/e41fb6bc/landofthepig.html "In the Land of the Pig, the Butcher is King"]] (which was later covered by Music/MeatLoaf) while SelfDemonstrating/TheJoker gets the song [[http://www.4shared.com/file/15260005/7d8a0d68/jokerssong.html "Wonderful Toys"]] which is perhaps the most insane and over the top villain song you could hope for.
--> "Do, a deer, I killed that deer..."
* Miles Gloriosus' "Bring Me My Bride" in ''A Funny Thing Happened on the Way to the Forum.''
* ''Theatre/{{Oliver}}'' has several Villain songs: BigBad Bill Sykes gets "My Name" and the AffablyEvil Fagin actually gets two, "You've Got to Pick a Pocket or Two" and "Reviewing the Situation" (in the reprise especially). That Fagin gets more than the real villain isn't too surprising though, since the role is usually played as a LargeHam.
* In ''Theatre/{{Annie}}'', Miss Hannigan expresses her [[ChildHater hatred for children]] in "Little Girls"; later, she is joined by her sleazy brother Rooster and his airhead girlfriend for the song "Easy Street".
* ''I Can Get It For You Wholesale'' has "The Way Things Are", in which the protagonist says ThereAreTwoKindsOfPeopleInTheWorld, and he wants to be the kind that gets to step on the other kind.
* In ''Baker Street: A Musical Adventure Of SherlockHolmes'', Moriarty has the EvilGloating song "I Shall Miss You".
* "Let Things Be Like They Always Was" from ''Theatre/StreetScene'' is less of a song than a Puccini-like aria, but it certainly sounds dark and menacing. It's Mr. Maurrant's only uninterrupted solo, in which he gives vent to his bitter reactionary attitude.
* John Howard's dark and menacing march "Power" in ''Keating!''. Which is then hilariously contrasted with "The Mateship".Whether he's a villain in RealLife depends which side of the political spectrum you're on, but he definitely qualifies in the musical.
* The little-known German musical ''Hexen'' has "Gleich", sung by the {{Magitek}} witch Clony, whose magic borders on MadScientist territory. Clony doesn't consider herself evil and really thinks she's doing humanity a favor by giving everyone armies of clones of themselves to do all the work, but she is nevertheless an unabashed egotist who gets a huge rock number in which she praises her own intellect, style and superiority over everyone else. Not to mention that the plan she's explaining is essentially one for slavery.
* Theatre/TanzDerVampire has ''Ewigkeit'', in which a ''whole chorus of vampires'' rises from their graves and plots to make humanity as miserable and insane as they are. It happens to be the most chilling song in the whole musical.
* Sophie in ''Theatre/{{Elisabeth}}'', as more of a KnightTemplar than a really sinister villain, has the rigid "Eine Kaiserin muss glanzen!" ("An Empress Must Sparkle!"), in which she bullies her newly-married daughter-in-law into (temporary) tears and submission. Later on, though, she sends her son to a brothel to weaken his marriage, and the shady madam and prostitutes' song "Nur kein genieren" ("Don't Be Ashamed, Dear") fits into this trope fairly well.
** There's also the bouncy "Kitsch", which serves as a villain song for the murderous, sarcastic Lucheni ''and'' as a kind of TheVillainSucksSong for the selfish Elisabeth as well as all of her fawning, devoted subjects- including the audience.
** "Der letzte Tanz" may count, considering it ''is'' a personification of Death showing up to menace Elisabeth at her wedding, gloat about how he'll win her in the end whether she likes it or not, and basically stop the show.
** "Die Schatten werden länger", which is all about Death trying to convince Rudolf to commit suicide.
* The title song from ''Literature/KissOfTheSpiderWoman''.
** The Spider Woman isn't so much the villain of that show as a character's nightmare. A better villain song would be "Lucky Molina".
* "I'd Rather Die on My Feet Than Live On My Knees" for Thomas in ''The Beautiful Game''. The song is short and Thomas isn't exactly a show stopping villain, but it's extremely effective in vilifying the guy. For the majority of the show he was a misguided {{jerkass}}, but not worse than some of the others.
* [[IWantSong "Big News!"]] and "Real Big News!" for [[IntrepidReporter Britt Craig]] in ''Parade'', "That's What He Said" for Jim Conley, "Something Ain't Right" for [[AmoralAttorney Hugh Dorsey]], "Hammer of Justice" for [[TheFundamentalist Tom Watson]], and [[AngryMobSong "Where Will You Stand When the Flood Comes"]], as led by Tom Watson.
** Also played with in "Come Up to My Office", which is sung by Leo Frank, but is actually a fabricated account on the part of the prosecution.
* ''Theatre/{{Mozart}}'' features a mute villain- Mozart's own genius, portrayed a a demon/CreepyChild in the shape of Mozart himself at age six or so that follows the adult Mozart around, constantly composing and using Mozart's blood as ink. Thusly, the big showstopping EarWorm villain-song-stand-in goes to Archbishop Colloredo, who's more of a petty annoyance than anything, in the form of "Wo Bleibt Mozart?" It's still pretty grandiose and nasty to the title character.
** If we count Colloredo as a villain, "Der einfache Weg" fits the bill: it demonstrates Colloredo's attitude towards music, method, and goal of trying to coax Mozart back to his side. With a hefty side of [[ManipulativeBastard attempted manipulation]] of Mozart's status as a WellDoneSonGuy.
* Radames' father, though not the main villain of ''Aida'' gets two: the standard "Another Pyramid" and "Like Father, Like Son", which Radames tries to turn into a TheVillainSucksSong. He fails.
* The AntiLoveSong [[http://ie.youtube.com/watch?v=k8RV9A3SoXs "To Keep My Love Alive"]] from ''A Connecticut Yankee''.
* "Evil Woman" from ''Film/{{Xanadu}}''.
* "The Madness of King Scar" from ''Theatre/TheLionKing'' Broadway musical, in which he demonstrates his growing schizophrenia and essentially tries to seduce/rape Nala. This is new to the musical, but is based on a deleted scene from the movie.
* Arguably, ''Rose's Turn'', from ''Gypsy''. It depends on whether or not you view her as the antagonist, and even then it might be a VillainousBreakdown.
** Another example could be "Everything's Coming Up Roses". Louise and Herbie are certainly horrified.
* "They Don't Know" from ''Theatre/ThoroughlyModernMillie''.
** "Muquin" also. Although that may not be a villain song so much as Meers giving her henchmen some more motivation.
* Depending on the production, "Shoes Upon the Table" can be played this way in ''Theatre/BloodBrothers''.
* In ''Theatre/JesusChristSuperstar'', the high priests get "This Jesus Must Die", which is rather [[CaptainObvious self-explanatory]]. If you ignore the words [[LyricalDissonance it's one of the most upbeat and catchy tunes in the whole show]].
** There's also "Herod's Song", another seriously catchy number.
** Norman Jewison's film version also adds "Then We Are Decided", which figures as both another VillainSong and an IWantSong for Caiaphas and Annas.
* Draco's "Back To Hogwarts" solo from ''Theatre/AVeryPotterMusical'' can be quite evil, considering that he's a short woman in a blonde wig playing a delusional pratfaller twelve-year-old boy in a comedy/parody. Needless to say, the delivery is brilliant.
-->''Look out world, for the dawn of the day''\\
''When everyone will do '''whatever''' I say''\\
''And that Potter won't be in my way, and then''\\
''I'll be the one who is [[CatchPhrase totally awesome]]!''
** [[SensitiveGuyAndManlyMan Quirrel & Voldemort]] sing a duet "Different As Can Be" early on, about what an OddCouple they are. They get a reprise a few scenes later, but rather than being [[DarkReprise darker]], it's as [[EarWorm upbeat]] as can be, despite including the lyrics [[LyricalDissonance "We'll lead 'em to the slaughter/And we'll murder Harry Potter!"]]
*** Voldemort gets a second song after his resurrection, entitled "Dance Again" which culminates with him and the Death Eaters doing a kickline.
** Umbridge's showstopping number "Stutter" from ''Theatre/AVeryPotterSequel''. The Dementor back-up dancers have to be seen to be believed.
** The first song "Not Over Yet". It is sung by Lucius Malfoy, outlining his plan to prevent Voldemort's defeat by using a Time Turner to kill Harry in his first year of Hogwarts.
-->''Our history is nothing more than what the losers settle for.''
* In ''Theatre/{{Starship}}'', Pincer has "Kick it Up a Notch". It is later reprised by [[spoiler:Junior.]]
* "Rogues are we" from Holy Musical B@man.
* ''Theatre/TwistedTheUntoldStoryOfARoyalVizier'' has the titular song "Twisted", sung by [[Disney/TheLittleMermaid Ursula]], [[Disney/TheLionKing Scar]], [[Disney/BeautyAndTheBeast Gaston]], [[Disney/SleepingBeauty Maleficent]], and [[Disney/PeterPan Captain Hook]] (along with a ''very'' brief appearance by [[Disney/OneHundredAndOneDalmatians Cruella DeVil]]). With all these iconic Disney Villains, it ''sounds'' like a typical VillainSong, right? [[SubvertedTrope It's not. It actually details how each of the villains' stories were twisted by the heroes in order to make them LOOK like the bad guys, when in reality, they were good-hearted souls who just wanted to make things right]].
** Played straight with [[AdaptationalVillainy Aladdin's]] "I Steal Everything", [[AscendedExtra Prince Achmed's]] "No One Remembers Achmed", and the DarkReprise for "The Golden Rule", sung by the Royal Vizier and his [[{{Mook}} Mooks]].
* In the 12th century liturgical drama, the ''Ludus de Herode'', Herod and his son have a duet, ''Salve, pater inclite'', in which they threaten the newborn Messiah.
* ''Turnabout Musical'', the musical adaptation of ''VisualNovel/PhoenixWrightAceAttorney'', has some good ones in the making: Winston Payne's comical "Rookie Killer", Redd White's [[EarWorm diabolically catchy]] "Redd White and You" (a plain-clothes rehearsal can be seen [[https://www.youtube.com/watch?v=ASgJvscdjpc here]]), and Manfred von Karma's appropriately haunting, though strangely baritone, "Anything to Win" -- OminousLatinChanting included. Fortunately, the "hero songs" are very much a match for them.
* Salieri in ''Theatre/MozartLOperaRock'' has several songs, but perhaps the best example of this trope is "Le bien qui fait mal", which is all about how he's "Envoûté par des idées folles/Bewitched by crazy thoughts", and "Je sens de violentes pulsions/I'm feeling violent impulses", oh and "Le désir devient ma prison/Desire has become my prison". Salieri's clearly losing it.
* "One Touch Of Alchemy" in ''Knickerbocker Holiday'', the culmination of Stuyvesant's NewEraSpeech. Shortly after, he has a duet with one of his henchmen, "The One Indispensable Man".
* The true antagonist of ''Theatre/NextToNormal'' is mental illness, but a secondary villain is Gabe, who certainly enables Diana in her mental illness (and even [[spoiler:leads her into a suicide attempt, in "I Dreamed A Dance"]]). His song "I'm Alive" and its extremely DarkReprise could be considered Villain Songs.
** If you [[spoiler:consider Gabe as an avatar for Diana's mental illness]] the song gets even darker.
* A brief, out-of-context clip attests that ''Enron'' has at least one good villain song with Jeff Skilling's "Primetime for Skilling". ("I'm the boss, here's the gist; I'm the guy who gets to lie to analysts...") Actually, at least half of the [[http://creditboards.com/forums/index.php?showtopic=219225 twenty-six songs listed]] sound like contenders.
* In both the movie and musical versions of ''Theatre/{{Evita}}'', Che (who isn't ''quite'' the villain, but he's close enough) has "Oh What a Circus". There's also the short and sinister "The Art of the Possible" with Peron, and the fantastic "Waltz for Eva and Che" with, well, guess.
* Jud Fry, the villain of Creator/RodgersAndHammerstein's ''Theatre/{{Oklahoma}}'' gets "The Lonely Room". It's almost enough to make you feel sorry for the guy.
* Groovelily's musical ''Sleeping Beauty Wakes'' has some marvelous villain songs by the Evil Fairy: [[https://www.youtube.com/watch?v=Zx51o0XoTUk "Uninvited"]], about not being invited to the celebration of the princess' birthday, and "The Wheel Goes Round", sung when she's in disguise trying to lure the princess to the spinning wheel.
* "Pirate Jenny" is a Villain Protagonist song about cold-blooded revenge from ''Theatre/TheThreepennyOpera''
-->They move in the shadows where no one can see\\
And they're chainin' up people and they're bringin' em to me\\
askin' me, "Kill them NOW, or LATER?"\\
Askin' ME! "Kill them now, or later?"\\
Noon by the clock, and so still by the dock\\
You can hear a foghorn miles away\\
And in that quiet of death, I'll say, "Right now."\\
Then they'll pile up the bodies\\
And I'll say, "That'll learn ya!"
* Even though It's a parody to a ''Theatre/FiddlerOnTheRoof'', ''Theatre/AShoggothOnTheRoof'' has some pretty dark tunes. Turning famous songs into a [[Franchise/CthulhuMythos Lovecraftian]] induced musical. A lot of these can be considered villain songs in their own right, but the one the takes the cake is easily [[https://www.youtube.com/watch?v=qCGcfGX0Q84 "Do You Fear Me?"]] which is sung by... [[spoiler:Cthulhu himself]]! Even though [[https://www.youtube.com/watch?v=LTmmMApUEl8&feature=related The Nightmare]]is a close runner up due a portion of it dedicated to [[spoiler:The Ghost of Lavinia Whately]] singing about her plan to have her two sons [[spoiler:raping Armitage's daughter Prudence with Tentacles!]]
* Audrey II from ''Theatre/LittleShopOfHorrors'' got "Feed Me" and "Suppertime". From the same musical, Orin had "Dentist!". In the film version and some productions, there is a song called "Mean Green Mother From Outer Space" for Audrey II. There was also a CutSong for Audrey II titled, simply, "I'm Bad". Furthermore, a little-known CutSong from the stage version, a reprise of "The Meek Shall Inherit", would have gone to Patrick Martin, the man that sells the plants across the nation and thus brings about the end of the world.
** "The Meek Shall Inherit" is already pretty sinister; even if they don't know they're doing it, the singers are encouraging Seymour to kill more people so he'll be famous.
* "Z: The Masked Musical" (which never got past the concept album stage) featured the alcalde's delightful "Glorious, Gluttonous Greed", in which he recounts his love of money, revels in the suffering of the peasants, describes his plan to purchase a noble title, and demonstrates the ability to count and identify coins just by the sound they make hitting the table. The rest of the album is execrable.
* ''Theatre/{{Seussical}}'' (That's right, there's a Creator/DrSeuss [[TheMusical musical]]) has General Ghengiz Khan Schmitz's "The Military Academy" and Mayzie's "Amazing Mayzie". The Sour Kangaroo doesn't have one, oddly, despite being the main antagonist, although she does have some lines in "Biggest Blame Fool" which could count.
* The original version of ''Theatre/StarlightExpress'' had "C.B." the gleeful confession of a serial killer caboose. It makes sense in context.
** While the character of [[JerkJock Greaseball]] is not anywhere as villainous as C.B. his introductory number "Rolling Stock" still counts.
** Electra's introduction song, "AC/DC", is another example.
* ''Theatre/EvilDeadTheMusical'' has [[https://www.youtube.com/watch?v=QX-gQN9Uw5U Join Us]], a bouncy upbeat song extolling the virtues of submitting to the Evil Dead. [[https://www.youtube.com/watch?v=QX-gQN9Uw5U Look Who's Evil Now]], [[https://www.youtube.com/watch?v=Ea1QkvMJcsA Bit Part Demon]], and [[https://www.youtube.com/watch?v=KfOpNOldOWU Do The Necronomicon]] are also worth mentioning.
* "Forever Yours" from ''Theatre/OnceOnThisIsland'' is a bizarre half-love ballad-half-VillainSong, taking on the latter quality after [[TheGrimReaper Papa Ge]] joins in. "Your life is forever ''miiiiiiiiiiiiiiiiine''!" Agwe has "Rain", a song about causing a storm that intentionally results in a near-fatal car crash; immediately before that, the JerkassGods sing "And the Gods Heard Her Prayer", in which they concoct their plot to use Ti Moune for their own ends. Asaka and Erzulie get a song each, but theirs aren't villainous (though they are [[ItsAllAboutMe extremely self-congratulatory]]). RichBitch Andrea sings for a bit, too.
* "Hector's Song" from ''Theatre/TheGoldenApple'', an oleaginous, AffablyEvil soliloquy about how corruptible people are.
* The 1980's Broadway musical ''Drood'' is notable here in that it has ''nine'' possible villain songs: Two which are always in the show ("A Man Could Go Quite Mad" and "Jasper's Confession") and 7 possible murderer confessions decided by audience vote. Some may not count, however, as at least one is a joke about how unlikely that particular character being the murder is.
* The ''[[Film/TheToxicAvenger Toxic Avenger]]'' musical has a few songs for Tromaville's corrupt mayor Babs Belgoody.
** "Jersey Girl", where she sings about her plans to become Governor.
** She performs "Get the Geek" along with the town bullies Sluggo and Bozo, where she orders them to eliminate Melvin.
** "Evil is Hot", where she seduces Professor Zen to get him to tell her how she can kill Toxie.
** "Bitch/Slut/Liar/Whore", which also counts as a TheVillainSucksSong on Toxie's mother's part.
* ''Theatre/SpiderManTurnOffTheDark'' has several.
** Flash Thompson and his cronies have "Bullying by Numbers" and "Venom".
** Before the show was revamped, second-act villain Arachne had two as well; "Think Again" lamenting Peter's decision to give up his Spider-Man identity, and "Deeply Furious" an absurd and much mocked song about shoes.
** The Green Goblin gets three. As Norman Osborn he sings "DIY World", about how designer genes are the way of the future. Not blatantly evil, but we know what happens. As the Goblin, he sings "I'll Take Manhattan", a loungey evil song, and a "A Freak Like Me Needs Company" (derived from a recurring line in "Deeply Furious") about his creation of the Sinister Six.
** And one more, "Pull the Trigger", from the military group funding Norman's research to create super soldiers.
* The main antagonist of Music/{{Queen}}'s RockOpera ''Theatre/WeWillRockYou'' is called Killer Queen. Naturally she's introduced with the song of the same name. "Flash" might be one for Khashoggi.
** Khashoggi's rendition of "Seven Seas Of Rhye" is also highly villainous.
* "Special" from ''Theatre/AvenueQ'' might be one since it acts as a EstablishingCharacterMoment for [[MeaningfulName Lucy The Slut]] who acts as an antagonist towards Kate by trying to steal Princeton from her.
* OlderThanFeudalism: A significant chunk of Aeschylus' ''Theatre/Eumenides'' is the villain song of the Erinyes, where they seek to justify the {{Revenge}} they enforce and boast of how terrible and powerful they are, while disdaining the injustice of the CycleOfRevenge that is the plot of the story.
* From ''Film/SisterAct: The Musical'', the BigBad and the QuirkyMinibossSquad both get one. "Lady In The Long Black Dress" is sung by the Miniboss Squad and is about seducing the nuns of the convent. "When I Find My Baby", sung by the Big Bad, is about how he will find Deloris again and "shoot that girl! And then I’ll stab that girl, and then I’ll take her and shake her, and make her meet her maker!"...
* Lord Farquaad gets two in ''Theatre/ShrekTheMusical'':
** "What's Up, Duloc?" is a crowd song about [[SmugSnake how great he is]] and how he's rid Duloc of [[FantasticRacism non-human "freaks"]].
** "The Ballad of Farquaad" details his backstory and his [[UnreliableNarrator supposed]] FreudianExcuse.
* The closest thing to a VillainSong in ''Theatre/SunsetBoulevard'' is the title song, "[[ExactlyWhatItSaysOnTheTin Sunset Boulevard]]", which is about {{Jerkass}} [[VillainProtagonist Protagonist]] Joe Gillis describing and rationalizing his manipulation of his (much older, much richer, and very emotionally-unstable) girlfriend Norma's feelings in order to have access to her stuff and money. This gets an [[DarkReprise even darker reprise]] at the very end of the show, where Joe emotionally abuses the innocent Betty (the [[BettyAndVeronica literal Betty to Norma's Veronica]]), whom he had just told he loved two scenes earlier.
* The Austrian musical ''Rudolf – Affaire Mayerling'', about the life of Rudolf, Crown Prince of Austria before his suicide, has Count Eduard Taaffe, the Austrian Emperor's closest advisor, sing a very intense song about how politics are easy if you pull the strings behind the curtains and how as advisor to the Emperor, the whole world bends to his will if he demands it. The Aristocrats and even the Emperor dance as his puppets underneath and are shown to listen to his advice. There is also an [[https://www.youtube.com/watch?v=5uSaVemKots English Version]] but the [[https://www.youtube.com/watch?v=2Nc-X1wlU3Q German Version]] is much faster and far more powerful.
** It's a little ironic to listen to the song if you know that later during his ministry, Austria went into UsefulNotes/WW1 and therefore lost most of their political clout as a nation for a long time.
* The Italian work ''The Bethrothed Lovers Modern Opera'': Jesus Christ, where to begin?
** First of all, the Ouverture gives us a glimpse of [[BigBad Don Rodrigo]]'s song, "What is this fire?". That's right, the very introduction is interrupted by the villains singing about his evil goal.
** The third song, "It has not to be done", features the Thugs (led by [[TheDragon the Griso]]), threatening [[DirtyCoward Don Abbondio]], the town priest, saying that it will end bad for him, shoulf he ever marry the titular bethrothed. It's mostly [[PlayedForLaughs intended as comedic]], especially when they mock him, but it is still frightening when you realize that, in a time and place that saw Vatican at its maximal power, Don Rodrigo is not afraid to threaten a man of Church.
** The fifth one, "Going... fleeing... the power" starts off with just Don Abbondio establishing once again his lack of guts, but when he goes to sleep... he actually dreams about Don Rodrigo, on top of a skull-decorated spider-web, who nonchalantely plays with a rapier, all while representing the embodiment of the very concepts of power and arrogance. He didn't even appear in the story, yet, and he is already established as a guy not to be messed with. In this particular piece, he sings about how he can walk at his will over people heads, and how he is everything while Don Abbondio is nothing. And now picture such a self-centered bully played by the same guy who played Quasimodo.
** The eighth song, "Law is the same for everybody", is one of the funniest and, ironically one of the most evil. In it, the lawman Azzeccagarbugli (lit., Mischief-finder, which in Italy has become a nickname for every corrupted lawperson) sings about how it is his job to use law and justice to help people, while he means his "help" actually is avoiding criminals to pay the price of their crimes. He even accuses Renzo (the lead male character) of being a criminal, for daring to suggest to go against Don Rodrigo.
** The eleventh song, "Wine, wine", sees for the first time Don Rodrigo. With all of his friends (other noble bullies), he playfully spars with swords and sings about the joy of drinking fine wine in company on the day of St. Martin. Then he casually mention he will [[IHaveYouNowMyPretty subjugate and tame Lucia]], just as a bet with a friend of his, and the song ends with them all gloating about the even bigger joy of having their way with women.
** Right after, "There will be a day" is mainly sung by one of the most importants good characters, Fra Cristoforo, and is about how God will not be pleased with that power abuse against the weakest. Then, [[TemptingFate Don Rodrigo interrupts, insulting Fra Cristoforo and telling him to watch his tongue]]. Ironically, the truly frightening part of this song comes from Cristoforo himself, who pretty much curses Don Rodrigo, telling him God will annihilate him. And the scary part is... it actually happens.
** Then we have "The nigh of Mischieves", in which the main characters try to trick Don Abbondio in marrying Renzo and Lucia. But there is also the Griso, with other thugs, singing in a magnificent barithonal voice of how they are going to kidnap Lucia and how Don Rodrigo will be proud of them for such an act.
** Just when we heard five songs about the good guy, and we were starting to lose hope about the amount of villainy, we have "St. Martin has arrived", a reprise of "Wine, wine", really similar but with an even better coreography, with much more swordsmanship and every background character groping at least one maid during the number.
** It is immediately followed by the aforementioned "What is this fire". A song so full of pathos and sexual depravity, it could give "Hellfire" and "Your love will kill me" a run for their money. Yeah, you read it right: a song so lustful Frollo seems tame in comparison. Especially creepy when Don Rodrigo sings "Never you will tell me 'stop!', you, who now are saying 'never!'"; he basically says he will continue to rape Lucia until she forces herself to enjoy it. Jesus Christ. And, no, it was not added for this adaptation: even in the original novel, he betted he could have the ius primae noctis, and the only thing added in this version was that here Don Rodrigo actually lusts after Lucia, instead of seeing her just as a bet. It's hardly any better.
** "The Griso has returned", which immediately follows, is both yet another reprise of "Wine, wine", and, in the second part, one for the thug's part in "The night of mischievs". Don Rodrigo doesn't want to accept his defeat, and he bets all of his wine he will have Lucia before the end of St.Martin's day. Then The Griso arrives empty-handed, getting properly bitchslapped.
** "Let's violate the clausure", just two songs away, starts of as just the [[LargeHam hammiest]] [[BadassBoast badass boast]] in the history of musical villainy, with the thugs claiming they will attack the convent and take Lucia. Then, Don Rodrigo cuts their bullshit, and gives a dark reprise to one of Fra Crisotoforo's song, announcing he knows who he has to talk to. Immediately this certain someone is described as almost more a force of nature than a man: [[TheDreaded the Unnamed]].
** "[[NamesToRunAwayFromReallyFast The unnamed]]" is right after that, and it is pretty much a glorification of that guy. He starts by singing about he enjoys life because death itself is his trusted companion, and they are against everybody and everything, not caring about the existence of something as futile as a law or even God Himself. His henchmen (some creepy black-cloaked things), even call him "The black shadow, the fear". Then we see Don Rodrigo, who has alway been arrogant and full of himself, pretty much begging the Unnamed to help him; he responds by saying "that convent has no door, has no gate and has no wall", while his thugs reply "all is open at His will, each and one defense will fall!". The song ends saying that the Unnamed holds a limitless power, which makes him master of every fate, and that he can destroy without a move fear, life and death. Keep in mind that this is a realistic setting, so [[BadassNormal he has no supernatural power whatsoever]]: he is just that feared, that ruthless and that competent. Plus, he is played by Vittorio Matteucci, who was Frollo in "Notre-Dame de Paris" and Dracula in "Dracula Opera Rock"; probably, when he cuts himself shaving, he bleeds [[MagnificentBastard awesome assholeness]].
** Immediately after, we have "Let her out": the Kite (the Unnamed's elite mook) has sent Egidio, the lover of Monza's Nun, to convince her to send Lucia out, so that the thugs may abduct her, bring her to the Unnamed, and then give her to Don Rodrigo.
** And then, "The Abduction", which is [[ExactlyWhatItSaysOnTheTin pretty much what the title implies]]. Monza's Nun tricks Lucia into going out, purposedly playing on her faith and weak will, and her tragic backstory doesn't help us giving her simpathy. But still, the fact that the Nun was brain-washed and forced in the convent by [[AbusiveParents her materialistic nutjob of a father]], was then seduced by [[ManipulativeBastard Egidio]] [[BastardBoyfriend who only sees her as a tool of pleasure]], and looks like a cross between [[BondageIsBad a S&M slave and a mistress]], adds both pathos and [[ThisIsWrongOnSoManyLevels incredible creepyness]].
** "The Lansquenets, the letters". Cannon sounds, blood-red lighting, and an arm of mercenaries marching through Milano, singing a creepy cross between a Church chant, a Nazi parade anthem, and that thing the Uruk-Hai sung in the Bakshi "Lord of the Rings" movie. If anybody studied history, they'll know what exactly the Lansquenets did. If nobody did, don't worry: while they do their war chants, Renzo provides an explanation, saying that they are a scourge devastating the fields, burning the houses, murdering everybody, raping women and bringing the plague, to top all of that; the song itself ends with Renzo repeating "The Plague!", echoed by the Lansquenets in German. All is made especially creepy when you realize that is [[AdultFear what Renzo is dictating to be written in a letter to Lucia, to tell her he hopes to make it out alive to see her again]].
** "The Betrayal", the last villains song, sees Don Rodrigo dying by plague; there is no make-up to simulate the symptons, but Giò di Tonno acually seems febricitant, trembling and ill; plus, he has a vision of what Fra Cristoforo has shown him, and feels he si being crushed by rhe rightful wrath of the Allmighty. He send the Griso to call a doctor, but his thug returns with some jackals, to take him away and steal his fortune. Ironically, the Griso gets infected and dies before he has to change to spend a single coin of what he stole.
* The theatrical version of ''Film/{{Newsies}}'' gives [[HistoricalVillainUpgrade Joseph Pulitzer]] the song "The Bottom Line", wherein he explains why he's boosting the price of his papers, and how he doesn't care how it'll affect the newsies. He gets a reprise in Act 2, when he threatens to have all the newsies arrested if Jack doesn't tell them to end the strike.
* ''It's A Bird, It's A Plane, It's Superman'' has the song "Revenge", in which Dr. Abner Sedgwick recounts all the Nobel Prizes he's been robbed of and says he'll destroy Superman to show the scientific community.
* The closest thing to a villain in ''Theatre/HowToSucceedInBusinessWithoutReallyTrying'' is SmugSnake Bud Frump, and his reprise of "The Company Way" and DarkReprise of "Been A Long Day" arguably qualify for this, the former being a self-congratulatory number about how great he is (for being made head of the mailroom) an the latter sung as he puts his EvilPlan into action through blackmailing his uncle.
* "The Apple Tree (Forbidden Fruit)" from ''The Apple Tree''. The first act of the musical is based off of Mark Twain's Adam and Eve story. It's sung from The Snake to temp Eve to take a bite from the apple.
** Also if you count the King from the second act, he has a short musical piece "Barbara, how could you?" It's only about 10 seconds long. It's his reaction to seeing his daughter in love with a forbidden lover. He also sings a small solo in "Which Door?"
* "The Stepsister's Lament" from ''Rodgers and Hammerstein's Cinderella''. Long before they even sing the song, the tune is the stepfamily's theme song and plays during some of their entrances.
* "Opportunity" and partially "It can't be true" from ''13''.
* ''Theatre/{{Drood}}'' has "A Man Could Go Quite Mad", introducing John Jasper and his repressed insanity. Any of the murderers' confessions could count as well.
* TheMusical of ''Music/AmericanIdiot'' turns the Music/GreenDay song "Know Your Enemy" into somewhat of a VillainSong for St. Jimmy, as he attempts to lure Johnny back to his pointlessly rebellious and self-destructive lifestyle, as well as manipulating Johnny into attempting to [[DoesThisRemindYouOfAnything stab]] [[Music/SexPistols his]] [[ShoutOut girlfriend]].
* ''The Lady Pirates of Captain Bree'' has the title song for the title character [[spoiler:though she does a HeelFaceTurn later on]] and "A Lady of Sensibility" for the resident RichBitch, both of which double as {{I Am Song}}s.
* "Spread A Little Sunshine" in ''Theatre/{{Pippin}}'', in which Fastrada plots to get her son closer to the throne while (sarcastically) singing about following the Golden Rule. Actually a subversion: the song's lyrics are entirely innocent, even though the action surrounding it is not.
* The Broadway musical version of ''{{Literature/Matilda}}'' has "The Hammer" and "The Smell of Rebellion".
* ''Theatre/CharlieAndTheChocolateFactory'' uses this trope to an unusual end. [[NoAntagonist The four bratty kids and their parents aren't villains]], so their establishing tunes fall under the IAmSong trope, though Mike's verses in "It's Teavee Time" overlap with a villain song as he proudly declares that he cheated to get his Golden Ticket. But the show ''does'' have a glamorous, LargeHam, AmbiguouslyEvil AntiHero: '''Willy Wonka'''. His first song "It Must Be Believed to Be Seen", which doubles as the Act One finale, is a WelcomingSong and an IAmGreatSong lyrically, but musically and visually it's this trope -- brassy, intense, cheekily sinister, and catchy. There's SpontaneousChoreography for the Golden Ticket winners and the press, the scenery's awash in colorful light by the end...and all along, only the audience suspects/knows that the enthusiastic tour group is going to get a ''lot'' more than they bargained for in Act Two.
* In ''Theatre/TwiceCharmed'', Wicked Fairy Godfather Franco [=DiFortunato=] gets "It's Never Too Late."
-->It’s never too late to plan a wicked plan / Smash both of her shoes and make off with her man!
* Most of the songs in ''Theatre/ThrillMe'' are this. Chronologically: "Nothing Like a Fire" is Richard glorying in the warehouse fire he just set, and seducing Nathan; "A Written Contract" is Richard getting Nathan to agree to continue helping with his crimes "no matter what degree" and gloating about their superiority; "The Plan" is Richard excitedly plotting a murder; "Roadster" is Richard luring a twelve-year-old to his death; "Superior" is Richard gloating about being...[[ExactlyWhatItSaysOnTheTin superior to everyone else]]; and "Life Plus 99 Years" is [[spoiler:Nathan]] gloating about having strung [[spoiler:Richard]] along through almost all of the show. And really, there are [[AlternateCharacterInterpretation arguments]] to be made for most of the other songs.
* In ''Theatre/PokemonTheMewsical'', Giovanni gets "To Be Boss" and "Finally," while Team Rocket gets "The Plan." Gary gets several villainous parts as well in different songs.
* The villain song from "Tumbleweeds" (a musical written to be performed by students) has the title "[[EvilFeelsGood It Feels So Good To Be Evil]]" and consists of the various villains gloating about exactly how much they love being villains.
* ''The Cradle Will Rock'' has the fake-friendly duet "The Freedom of the Press," in which [[CorruptCorporateExecutive Mr. Mister]] demands that Editor Daily print MaliciousSlander against TheHero.
* The ''WesternAnimation/WinxClub'' musical Winx Power Show gives us "Non c'è Amore" ("There's No Love"), sung by Trix about their intention to destroy the Winx (or fight forever if they fail) and become invincible and the fact there's so much rage inside them that no love can redeem them.
* In the children's musical "Oh Jonah!", the people of Niniveh sing "City of Sin", where they revel in lawlessness -- in a vague, child-friendly way -- and invite Jonah to join them. (At least one church added a banner saying, "NINIVEH: WHAT HAPPENS HERE STAYS HERE.") In the biggest let-down of an otherwise entertaining show, all it takes is "Stop!" to cue a low-key song of repentance.
* In ''[[Literature/JohnnyMaxwellTrilogy Only You Can Save Mankind]]: The Musical'', the Gunnery Officer gets "What Are We Waiting For?" where he not only rebels against the Captain's efforts to make peace with the humans, he seems to be advocating his fellow [=ScreeWee=] rebel against ''everything''.
* The ice spirit Arktos in [[Franchise/{{Tabaluga}} Tabaluga und Lilli]] gets [[https://www.youtube.com/watch?v=KayydKf3i-s Schlüssel zur Macht]] (translation: Key to Power).
* The musical adaptation of ''Literature/{{Carrie}}'' has quite a few of them. AlphaBitch Chris Hargensen gets "The World According to Chris" in the revival, in which she sings about her "whip or get whipped" view of the world. She and her boyfriend Billy also have a brief part in "A Night We'll Never Forget", in which they plot to get even with Carrie at the dance. Margaret gets "And Eve Was Weak", where she warns her daughter about the "curse of blood" when she gets her period (this song also serves as a MoodWhiplash from Margaret's sweet, motherly demeanor, and is meant to show just how crazy and serious she could get when snapped). "When There's No One", another solo for Margaret, could also qualify, given the fact that it's the moment she realizes that she must [[spoiler:kill Carrie in order to save her from damnation]].
* The Broadway adaptation of ''Film/{{Mary Poppins}}'' has "Brimstone and Treacle", sung by the wicked nanny, [[EvilCounterpart Miss Andrew]] (a character adapted from the books rather than the film itself). Showcasing Andrew's sinister disciplinary tactics and use of a horrible medicine, the titular Brimstone and Treacle, the entire song is meant to contrast Mary Poppin's "A Spoonful of Sugar". It even gets a reprise, now sung by [[spoiler:Mary as she literally gives Miss Andrew [[ATasteOfTheirOwnMedicine a taste of her own medicine]] (and, in a surprisingly dark twist, locks her in a giant birdcage and sends it [[DraggedOffToHell deep below]])]].
* The ''[[Disney/TheLittleMermaid Little Mermaid]]'' Broadway musical gives three new songs to Ursula: "I Want the Good Times Back", which details Ursula's plot to get to King Triton (and the throne) through Ariel (it also doubles as an IWantSong), "I Want the Good Times Back (Reprise)", in which she anxiously awaits the end of Ariel's contract (and the start of her reign), and a DarkReprise for "Poor Unfortunate Souls", which she sings when she finally gets her hands on the trident and the throne. Her EvilMinions Flotsam and Jetsam also get some songs, "Sweet Child" (where they persuade Ariel to meet with Ursula) and its reprise (where they mock Ariel's attempts to get Eric to kiss her). As you can see, the musical is ''heavy'' with reprises.
* The ''Disney/BeautyAndTheBeast'' musical introduces a new song, "Maison des Lunes", in which Gaston and [=LeFou=] convince Monsieur D'Arque to incarcerate Maurice in his [[BedlamHouse asylum]].
* ''Theatre/IntoTheWoods'' has the fairly short but often uncomfortable "Hello Little Girl," sung by The Wolf (who is traditionally also one of the princes). It's not always ''entirely'' clear precisely what his designs on Red are[[note]]it's obvious from the lyrics that he intends to eat her, but depending on the production, there may be implications that he's also planning to rape her first[[/note]], but they're definitely villainous.
* The second musical for [[Manga/BlackButler Black Butler]], ''The Most Beautiful Death In The World'', has the song [[https://www.youtube.com/watch?v=Nm65EA9FTQw Druitt no Jibun Sanka]], or "Druitt's Self-Paean". In it he sings about how great he and his sadism are to two girls who are tied up, referring to himself as a martyr.
* ''Theatre/{{Heathers}}'':
** The seminal song of the titular Heathers, "Candy Store," is a a dramatic, seductive introduction to the Heathers' AlphaBitch lifestyle, with each of the three putting down Veronica for still clinging onto her loser best friend Martha Dumptruck and imploring her to dump the poor girl and go along with their cruel prank for her to once and for all prove she's worthy of being a member of the Heathers.
** J.D. has quite a few of them that can potentially be taken as villain songs, but the most obvious is "Meant To Be Yours," which completes J.D.'s own descent into murderous, obssesive insanity.
* ''Theatre/DeathNoteTheMusical'' has "Where is the Justice?" for VillainProtagonist Light Yagami, in which he preaches to his class about how the world is corrupt, and that justice must be brought to those who deserve it. His second solo, "Hurricane", depicts him finding the Death Note for the first time, and ultimately deciding to use it to purge the world and [[AGodAmI become a god]]. Ryuk also gets "Kira!", where he comments on Light's killing spree and his newfound identity as "Kira" labeling him a false idol in some productions.
* The stage version of ''Film/{{Footloose}}'' plays with this. The AntiVillain main antagonist, Reverend Shaw Moore, gets two songs, but "Heaven Help Me" is more like a TheVillainSucksSong directed at ''himself'', while "I Confess" is sung at the very end during his HeelFaceTurn. The straight example is actually "The Girl Gets Around," which is sung by local HateSink and BastardBoyfriend Chuck Cranston as he gloats about how he's using Ariel Moore for cheap sex and loving every minute of it.
* ''Theatre/{{Hamilton}}'' has ''You'll Be Back'', sung by King George III as an AntiLoveSong about America's attempt to split from Great Britain. As you'd expect, it's deliciously hammy and villainous - the last full line is 'I will kill your friends and family to remind you of my love!' Interestingly, King George gets two more songs after this, and while they're both still villainous, in purpose they're really more of a GreekChorus commenting on the state of the American government at the time - first, talking about how the Americans underestimate how hard it'll be to rule a country on their own, and then about how shocking it was that Washington stood down and how little faith anyone had in President John Adams ('They will tear each other into pieces / Jesus Christ, this will be fun!').
** ''Wait For It'' is an Anti-Villain Song, because while it in and of itself isn't villainous in any way (the most egregious thing Burr admits to is sleeping with the wife of a British officer, which had been established only moments before anyway) it does set up a lot of Burr's defining character traits which are later developed in ''The Room Where it Happens''.
** James Reynold's letter in ''Say No To This'', and the song as a whole, is likely as truly villainous as the show gets. To have your wife seduce a prominent politician in order to blackmail him is one thing, but it's not like Hamilton's entirely blameless in the entire affair either: the song takes place immediately afterwards Hamilton refuses to accompany his wife, son, and sister-in-law for a summer trip to visit Hamilton's father-in-law, immediately before which Hamilton had been taking part in the historical equivalent of sexting with his sister-in-law.
** ''The Room Where it Happens'' is a song with Southern banjo and sinister piano to show Burr's transition to a villain and Democrat-Republican from the feeling that he and the other delegates not present at the infamous dinner party are left out of the decision making. The feeling of being left out of the deal caused him to be more ambitious and pursue being a senator.
** ''Washington on Your Side'' is sort of a quasi example - it's sung by Jefferson, Madison, and Burr, the three primary antagonists of the show, about how they hate Hamilton and are searching for a way to take him down, but it's also clear in the lyrics that they don't see themselves as villains at all. Instead, they all genuinely believe that Hamilton's financial plan will screw over the poor, if not ruin the entire country. The fact that Jefferson seems to have it out for Hamilton personally by this time is mostly beside the point.
-->'''Jefferson:''' Our poorest citizens, our farmers, live ration to ration / As Wall Street robs ‘em blind in search of chips to cash in
* In ''Theatre/TheSpongeBobMusical'', Plankton has one in the form of "When the Going Gets Tough", a PissTakeRap (written by rap artist T.I.) where he persuades the citizens of Bikini Bottom into migrating to a new home after their town is threatened by a destructive volcano. Using their fear to his advantage, he manipulates everyone into believing that the only way to face your problems is by running away from them; this, of course, is just a ploy to get all the citzens together, hypnotize them en masse, and become the supreme ruler of their new town.
* ''Theatre/TheSoldiersTale'' has "The Devil's Song," in which the Devil warns that though the Soldier may have won for now, Hell will win [[WeWillMeetAgain the next time they meet]]. It's a SpokenWord number since there are no singing roles, and also the only time anyone but the Narrator speaks over the music.
* The closest ''Theatre/TheDrowsyChaperone'' gets to a villain song is the song ''Toledo Surprise'', in which through the Pastry Chefs threaten to kill Feldzieg through a variety of thinly veiled, pastry-themed double-entendres. This quickly devolves into a dance number featuring the Pastry Chefs and Kitty until the rest of the cast bursts in, revealing that while Adolpho did accidentally seduce the wrong woman, through an unlikely set of circumstances, Feldzieg's villainous plot has come to fruition anyway, as Janet has called off the wedding due to the fact that Robert kissed a [[ButHeSoundsHandsome "very beautiful"]] French woman by the name of Mimi (who was secretly Janet taking advantage of Robert's blindfolded rollerblading to test his love for her). Overjoyed, Feldzieg declares that it is a "wonderful, wonderful tragedy" and leads the rest of the cast in a dance number. The ramifications of this (that this is "the saddest day of [their] life") aren't realized until after the song is completed.
** Curiously, Feldzieg suffers no ill-effects after this song, despite having revealed that he had ordered Adolpho to seduce Janet to the entire rest of the cast. Neither do the Pastry Chefs, who, before the song begins, had been ready to kill Feldzieg and telling him how they were going to do it in explicit (if thinly veiled) detail. Chalk it up to the cheesy nature of the show-within-a-show.
* Theatre/LaLegendeDuRoiArthur has no less than three villain songs in the strictest sense of the trope.
** "Advienne que pourra", in which Méleagant expresses distaste for Arthur being proclaimed king instead of him.
** "Tu vas le payer", in which Morganne sings of the revenge she will take on Arthur for what his father did to their mother
** "A nos vouex sacré" where the two team up and decide to mutually destroy Arthur.
* ''Disney/{{Frozen}}'': In addition to "Love is an Open Door", the stage adaptation of ''Frozen'' gives Hans his own song "Hans of the Southern Isles".
* ''Theatre/YesVirginiaTheMusical'' has a relatively low-key one (in keeping with a kid's show) where Frank Church espouses his belief that newspapers had a duty to report the negative over the positive.
* ''Theatre/MeanGirls'' has "World Burn" for Regina, after she has been kicked out of the Plastics by Cady and decides to destroy Cady by revealing the contents of the Burn Book to the entire school and framing her as the original author.
----
Is there an issue? Send a MessageReason:
Corrected the title of Ryuk's song in Death Note The Musical
Changed line(s) 262 (click to see context) from:
* ''Theatre/DeathNoteTheMusical'' has "Where is the Justice?" for VillainProtagonist Light Yagami, in which he preaches to his class about how the world is corrupt, and that justice must be brought to those who deserve it. His second solo, "Hurricane", depicts him finding the Death Note for the first time, and ultimately deciding to use it to purge the world and [[AGodAmI become a god]]. Ryuk also gets "The Name is Kira!", where he comments on Light's killing spree and his newfound identity as "Kira".
to:
* ''Theatre/DeathNoteTheMusical'' has "Where is the Justice?" for VillainProtagonist Light Yagami, in which he preaches to his class about how the world is corrupt, and that justice must be brought to those who deserve it. His second solo, "Hurricane", depicts him finding the Death Note for the first time, and ultimately deciding to use it to purge the world and [[AGodAmI become a god]]. Ryuk also gets "The Name is Kira!", "Kira!", where he comments on Light's killing spree and his newfound identity as "Kira"."Kira" labeling him a false idol in some productions.
Is there an issue? Send a MessageReason:
The main page says that The Music of the Night isn't an example
Deleted line(s) 63 (click to see context) :
** ...and "The Music of the Night".
Is there an issue? Send a MessageReason:
None
Added DiffLines:
* ''Theatre/MeanGirls'' has "World Burn" for Regina, after she has been kicked out of the Plastics by Cady and decides to destroy Cady by revealing the contents of the Burn Book to the entire school and framing her as the original author.
Is there an issue? Send a MessageReason:
None
Changed line(s) 103 (click to see context) from:
* TheMusical version of ''Literature/PeterPan'' gives one of these to Captain Hook. Given the tone of the play, Hook's CardCarryingVillain status, and his word choice, however, it's halfway between one of these and a TheVillainSucksSong.
to:
* TheMusical version of ''Literature/PeterPan'' ''Theatre/{{Peter Pan|1954}}'' gives one of these to Captain Hook. Given the tone of the play, Hook's CardCarryingVillain status, and his word choice, however, it's halfway between one of these and a TheVillainSucksSong.
Is there an issue? Send a MessageReason:
Namespacing PW:AA
Changed line(s) 160 (click to see context) from:
** Played straight with [[AdaptationalVillainy Aladdin's]] "I Steal Everything", [[AscendedExtra Prince Achmed's]] "No One Remember's Achmed", and the DarkReprise for "The Golden Rule", sung by the Royal Vizier and his [[{{Mook}} Mooks]].
to:
** Played straight with [[AdaptationalVillainy Aladdin's]] "I Steal Everything", [[AscendedExtra Prince Achmed's]] "No One Remember's Remembers Achmed", and the DarkReprise for "The Golden Rule", sung by the Royal Vizier and his [[{{Mook}} Mooks]].
Changed line(s) 162 (click to see context) from:
* ''Turnabout Musical'', the up-and-coming musical adaptation of ''PhoenixWright'', has some good ones in the making: Winston Payne's comical "Rookie Killer", Redd White's [[EarWorm diabolically catchy]] "Redd White and You" (a plain-clothes rehearsal can be seen [[http://www.youtube.com/watch?v=ASgJvscdjpc here]]), and Manfred von Karma's appropriately haunting, though strangely baritone, "Anything to Win" -- OminousLatinChanting included. Fortunately, the "hero songs" are very much a match for them.
to:
* ''Turnabout Musical'', the up-and-coming musical adaptation of ''PhoenixWright'', ''VisualNovel/PhoenixWrightAceAttorney'', has some good ones in the making: Winston Payne's comical "Rookie Killer", Redd White's [[EarWorm diabolically catchy]] "Redd White and You" (a plain-clothes rehearsal can be seen [[http://www.youtube.com/watch?v=ASgJvscdjpc here]]), and Manfred von Karma's appropriately haunting, though strangely baritone, "Anything to Win" -- OminousLatinChanting included. Fortunately, the "hero songs" are very much a match for them.
Is there an issue? Send a MessageReason:
None
Changed line(s) 66 (click to see context) from:
* The motivations of Buffalo Bill were revealed by "Are You About A Size Fourteen?" in ''[[TheSilenceOfTheLambs Silence! The Musical.]]''
to:
* The motivations of Buffalo Bill were revealed by "Are You About A Size Fourteen?" in ''[[TheSilenceOfTheLambs ''[[Film/TheSilenceOfTheLambs Silence! The Musical.]]''
Is there an issue? Send a MessageReason:
None
Changed line(s) 93,95 (click to see context) from:
* Hyde has "Alive" from the ''Jekyll and Hyde'' musical.
** His half of "Confrontation" definitely counts as well:
-->"You can't control me! I'll live deep inside you! Each day you'll feel me devour your soul!"
** His half of "Confrontation" definitely counts as well:
-->"You can't control me! I'll live deep inside you! Each day you'll feel me devour your soul!"
to:
* ''Theatre/JekyllAndHyde'' gives Edward Hyde has "Alive" from [[https://www.youtube.com/watch?v=VzVbFBRnk_s "Alive"]], where he sings about how being so free and evil makes him feel passionate about living. At one point, the ''Jekyll and Hyde'' musical.
** His half of "Confrontation" definitely countsmusic swells triumphantly as well:
-->"You can't control me! I'llhe boasts that he'll live deep inside you! Each day you'll feel me devour your soul!"on forever with Satan himself by his side.
** His half of "Confrontation" definitely counts
-->"You can't control me! I'll
Is there an issue? Send a MessageReason:
None
Changed line(s) 77 (click to see context) from:
* Notably averted in ''Theatre/{{Wicked}}''. Fiyero's song "Dancing Through Life" is a textbook cackling song about his nihilistic philosophy, but he turns out to be a much better person than he seems. The Wizard's song, "Wonderful", is the very opposite of a standard VillainSong: he's trying to justify his crimes by playing humble and innocent, and (unlike ''The Sound of Music'') is still the BigBad. Elphaba (the heroine and titular Wicked Witch) even gets one in "No Good Deed", but it's undercut by the fact that she's rocketing through the stages of grief and has some full blown SanitySlippage[=/=]HeroicBSOD going on by the end. Despite her big talk, she never can bring herself to be the villain. Finally, "Wicked Witch of the East" can almost be read as one, except that Nessarose is mourning the fact that she somehow became the villain without noticing.
to:
* Notably averted in ''Theatre/{{Wicked}}''. Fiyero's song "Dancing Through Life" is a textbook cackling song about his nihilistic philosophy, but he turns out to be a much better person than he seems. The Wizard's song, "Wonderful", is the very opposite of a standard VillainSong: he's trying to justify his crimes by playing humble and innocent, and (unlike ''The Sound of Music'') is still the BigBad. Elphaba (the heroine and titular Wicked Witch) even gets one in "No Good Deed", but it's undercut by the fact that she's rocketing through the stages of grief and has some full blown SanitySlippage[=/=]HeroicBSOD going on by the end. Despite her big talk, she never can bring herself to be the villain. "March of the Witch Hunters" comes close, especially the Tin Man's parts, but they truly believe that they're doing the right thing and are unaware that they're being manipulated by Madame Morrible. Finally, "Wicked Witch of the East" can almost be read as one, except that Nessarose is mourning the fact that she somehow became the villain without noticing.
Is there an issue? Send a MessageReason:
None
Changed line(s) 50 (click to see context) from:
** Probably the most unusual villain song in the musical is "The Ballad of Guiteau", where the villainous Charles Guiteau sings a demented hymn as he tap-dances up to the gallows. What makes it unusual is that the lyrics are taken from a poem that the real Charles Guiteau wrote on the way to his execution; StephenSondheim simply set it to music.
to:
** Probably the most unusual villain song in the musical is "The Ballad of Guiteau", where the villainous Charles Guiteau sings a demented hymn as he tap-dances up to the gallows. What makes it unusual is that the lyrics are taken from a poem that the real Charles Guiteau wrote on the way to his execution; StephenSondheim Music/StephenSondheim simply set it to music.
Is there an issue? Send a MessageReason:
None
Changed line(s) 241 (click to see context) from:
* TheMusical of ''Music/AmericanIdiot'' turns the Music/GreenDay song "Know Your Enemy" into somewhat of a VillainSong for St. Jimmy, as he attempts to lure Johnny back to his pointlessly rebellious and self-destructive lifestyle, as well as manipulating Johnny into attempting to [[DoesThisRemindYouOfAnything stab]] [[SexPistols his]] [[ShoutOut girlfriend]].
to:
* TheMusical of ''Music/AmericanIdiot'' turns the Music/GreenDay song "Know Your Enemy" into somewhat of a VillainSong for St. Jimmy, as he attempts to lure Johnny back to his pointlessly rebellious and self-destructive lifestyle, as well as manipulating Johnny into attempting to [[DoesThisRemindYouOfAnything stab]] [[SexPistols [[Music/SexPistols his]] [[ShoutOut girlfriend]].
Is there an issue? Send a MessageReason:
None
Changed line(s) 22 (click to see context) from:
* The pagan sorceress Ortrud in Creator/RichardWagner's ''Lohengrin'' has a short aria, [[http://www.youtube.com/watch?v=XHtRUyJiH3E "Entweihte Götter"]], in which she calls upon the gods to help her deceive and avenge herself upon her Christian enemies.
to:
* The pagan sorceress Ortrud in Creator/RichardWagner's Music/RichardWagner's ''Lohengrin'' has a short aria, [[http://www.youtube.com/watch?v=XHtRUyJiH3E "Entweihte Götter"]], in which she calls upon the gods to help her deceive and avenge herself upon her Christian enemies.
Is there an issue? Send a MessageReason:
None
Changed line(s) 48 (click to see context) from:
* "It Ain't Necessarily So" and "There's a Boat That's Leaving Soon For New York," Sportin' Life's songs mocking a sermon and tempting one of the protagonists to a life of vice respectively, from ''PorgyAndBess''.
to:
* "It Ain't Necessarily So" and "There's a Boat That's Leaving Soon For New York," Sportin' Life's songs mocking a sermon and tempting one of the protagonists to a life of vice respectively, from ''PorgyAndBess''.''Theatre/PorgyAndBess''.
Is there an issue? Send a MessageReason:
None
Changed line(s) 47 (click to see context) from:
** The original version of the show (which held its tryout run in Tampa back in 2010) included a song for the Jabberwocky entitled "[[ https://www.youtube.com/watch?v=Vm3ks1fct8M Misunderstood]]", although it's more of a subverted VillainSong, as he claims himself to be NecessaryEvil in a world where "you can't know pleasure if you don't know pain", even justifying his actions by claiming that he was ''born'' to be a man-eating monster, and that it's really all he can do. Sadly, both the song and the character were cut from the show once it hit Broadway.
to:
** The original version of the show (which held its tryout run in Tampa back in 2010) included a song for the Jabberwocky entitled "[[ https://www."[[https://www.youtube.com/watch?v=Vm3ks1fct8M Misunderstood]]", although it's more of a subverted VillainSong, as he claims himself to be NecessaryEvil in a world where "you can't know pleasure if you don't know pain", even justifying his actions by claiming that he was ''born'' to be a man-eating monster, and that it's really all he can do. Sadly, both the song and the character were cut from the show once it hit Broadway.
Is there an issue? Send a MessageReason:
New link
Changed line(s) 47 (click to see context) from:
** The original version of the show (which held its tryout run in Tampa back in 2010) included a song for the Jabberwocky entitled "[[https://youtu.be/MwPGOuGxWoE Misunderstood]]", although it's more of a subverted VillainSong, as he claims himself to be NecessaryEvil in a world where "you can't know pleasure if you don't know pain", even justifying his actions by claiming that he was ''born'' to be a man-eating monster, and that it's really all he can do. Sadly, both the song and the character were cut from the show once it hit Broadway.
to:
** The original version of the show (which held its tryout run in Tampa back in 2010) included a song for the Jabberwocky entitled "[[https://youtu.be/MwPGOuGxWoE "[[ https://www.youtube.com/watch?v=Vm3ks1fct8M Misunderstood]]", although it's more of a subverted VillainSong, as he claims himself to be NecessaryEvil in a world where "you can't know pleasure if you don't know pain", even justifying his actions by claiming that he was ''born'' to be a man-eating monster, and that it's really all he can do. Sadly, both the song and the character were cut from the show once it hit Broadway.
Is there an issue? Send a MessageReason:
None
Changed line(s) 135,136 (click to see context) from:
* ''Mozart!'' (from the same creative team as ''Theatre/{{Elisabeth}}'') features a mute villain- Mozart's own genius, portrayed a a demon/CreepyChild in the shape of Mozart himself at age six or so that follows the adult Mozart around, constantly composing and using Mozart's blood as ink. Thusly, the big showstopping EarWorm villain-song-stand-in goes to Archbishop Colloredo, who's more of a petty annoyance than anything, in the form of "Wo Bleibt Mozart?" It's still pretty grandiose and nasty to the title character.
** Notable in that it's the ''very first song'', so as to leave no doubt as to whom the Bad Guy is supposed to be. "We'll forge a check, or cut your neck, if we can make a dime!"
** Notable in that it's the ''very first song'', so as to leave no doubt as to whom the Bad Guy is supposed to be. "We'll forge a check, or cut your neck, if we can make a dime!"
to:
* ''Mozart!'' (from the same creative team as ''Theatre/{{Elisabeth}}'') ''Theatre/{{Mozart}}'' features a mute villain- Mozart's own genius, portrayed a a demon/CreepyChild in the shape of Mozart himself at age six or so that follows the adult Mozart around, constantly composing and using Mozart's blood as ink. Thusly, the big showstopping EarWorm villain-song-stand-in goes to Archbishop Colloredo, who's more of a petty annoyance than anything, in the form of "Wo Bleibt Mozart?" It's still pretty grandiose and nasty to the title character.
character.
**Notable in that it's If we count Colloredo as a villain, "Der einfache Weg" fits the ''very first song'', so bill: it demonstrates Colloredo's attitude towards music, method, and goal of trying to coax Mozart back to his side. With a hefty side of [[ManipulativeBastard attempted manipulation]] of Mozart's status as to leave no doubt as to whom the Bad Guy is supposed to be. "We'll forge a check, or cut your neck, if we can make a dime!"WellDoneSonGuy.
**
Is there an issue? Send a MessageReason:
None
Changed line(s) 233 (click to see context) from:
* The theatrical version of ''{{Newsies}}'' gives [[HistoricalVillainUpgrade Joseph Pulitzer]] the song "The Bottom Line", wherein he explains why he's boosting the price of his papers, and how he doesn't care how it'll affect the newsies. He gets a reprise in Act 2, when he threatens to have all the newsies arrested if Jack doesn't tell them to end the strike.
to:
* The theatrical version of ''{{Newsies}}'' ''Film/{{Newsies}}'' gives [[HistoricalVillainUpgrade Joseph Pulitzer]] the song "The Bottom Line", wherein he explains why he's boosting the price of his papers, and how he doesn't care how it'll affect the newsies. He gets a reprise in Act 2, when he threatens to have all the newsies arrested if Jack doesn't tell them to end the strike.
Is there an issue? Send a MessageReason:
None
Changed line(s) 36 (click to see context) from:
* "Bon Voyage" from ''Theatre/{{Candide}}'', except for the (increasingly sarcastic) chorus part, is all EvilGloating.
to:
* "Bon Voyage" from ''Theatre/{{Candide}}'', except for the (increasingly sarcastic) chorus part, is all EvilGloating.EvilGloating from the Governor (or Vanderdendur, depending on the performing edition) about the profits he made from putting Candide on a totally unseaworthy boat.
-->Oh but I'm bad, oh but I'm bad,\\
Playing such a very dirty trick on such a fine lad.\\
I'm a low cad, I'm a low cad,\\
Every time I do this sort of thing it makes me so sad.
-->Oh but I'm bad, oh but I'm bad,\\
Playing such a very dirty trick on such a fine lad.\\
I'm a low cad, I'm a low cad,\\
Every time I do this sort of thing it makes me so sad.
Is there an issue? Send a MessageReason:
None
Changed line(s) 36 (click to see context) from:
* "Bon Voyage" from ''Theatre/{{Candide}}'', except for the chorus, is all EvilGloating.
to:
* "Bon Voyage" from ''Theatre/{{Candide}}'', except for the chorus, (increasingly sarcastic) chorus part, is all EvilGloating.
Is there an issue? Send a MessageReason:
None
Changed line(s) 231 (click to see context) from:
* The closest thing to a villain in ''HowToSucceedInBusinessWithoutReallyTrying'' is SmugSnake Bud Frump, and his reprise of "The Company Way" and DarkReprise of "Been A Long Day" arguably qualify for this, the former being a self-congratulatory number about how great he is (for being made head of the mailroom) an the latter sung as he puts his EvilPlan into action through blackmailing his uncle.
to:
* The closest thing to a villain in ''HowToSucceedInBusinessWithoutReallyTrying'' ''Theatre/HowToSucceedInBusinessWithoutReallyTrying'' is SmugSnake Bud Frump, and his reprise of "The Company Way" and DarkReprise of "Been A Long Day" arguably qualify for this, the former being a self-congratulatory number about how great he is (for being made head of the mailroom) an the latter sung as he puts his EvilPlan into action through blackmailing his uncle.
Is there an issue? Send a MessageReason:
None
Changed line(s) 258 (click to see context) from:
* ''Theatre/{{Heathers}}'' has Candy Store and ESPECIALLY Meant To Be Yours.
to:
* ''Theatre/{{Heathers}}'' ''Theatre/{{Heathers}}'':
** The seminal song of the titular Heathers, "Candy Store," is a a dramatic, seductive introduction to the Heathers' AlphaBitch lifestyle, with each of the three putting down Veronica for still clinging onto her loser best friend Martha Dumptruck and imploring her to dump the poor girl and go along with their cruel prank for her to once and for all prove she's worthy of being a member of the Heathers.
** J.D. hasCandy Store and ESPECIALLY Meant quite a few of them that can potentially be taken as villain songs, but the most obvious is "Meant To Be Yours.Yours," which completes J.D.'s own descent into murderous, obssesive insanity.
** The seminal song of the titular Heathers, "Candy Store," is a a dramatic, seductive introduction to the Heathers' AlphaBitch lifestyle, with each of the three putting down Veronica for still clinging onto her loser best friend Martha Dumptruck and imploring her to dump the poor girl and go along with their cruel prank for her to once and for all prove she's worthy of being a member of the Heathers.
** J.D. has
