Given the term was a construct of Theatre to begin with, about 90% of stage musicals contain an Eleven-O'clock Number at some point.
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* "Get Out and Stay Out" from ''Film/NineToFive: The Musical'', Judy tells off Dick, making it clear she's moved on from staying with a man that treats her life garbage.
* "If That's What It Is" from ''Theatre/{{Thirteen}}'' Evan finally realizes he's happy with the friends he made, not the popular clique he was so desperate to be a part of.
* "The I Love You Song" from ''Theatre/TheTwentyFifthAnnualPutnamCountySpellingBee'', the most serious and sad song in an otherwise comical musical. Olive has a fantasy of her physically and emotionally distant parents telling her that they love her.
* "Is Anybody There?" from ''Theatre/SeventeenSeventySix'' as John Adams begins to have doubt in the Constitution.
* ''Theatre/AndJuliet'' features "[[Music/KatyPerry Roar]]", as Juliet, tired of everyone telling her what to do, and how to feel, asserts her own authority in her life.
* ''Theatre/AidaJohnRice''
** "Written in the Stars" for [[StarCrossedLovers Aida and Radames]] who bemoan their entire existence seems to be playthings for the divine.
** Followed immediately with "I Know the Truth" by Amneris, after overhearing the above, realizing that the man she has loved all her life is in love with her closest friend, and that her entire wedding and marriage will be a sham.
* "Somebody's Got Your Back" from the stage version of ''Theatre/{{Aladdin}}'', both Aladdin and Genie realize their relationship is more than just simply a Master-Servant arrangement.
* From ''Theatre/AmazingGrace'', "Testimony" in which John has a revelation, culminating in his renewal of faith in God, and vowing to end the slave trade in England to the Lord.
* ''Theatre/{{Anastasia}}'': "Everything To Win", as Anya is being presented to the Dowager Empress, Dimitri impatiently waits for the results, envisioning that Anya will have her family, and he will be granted riches beyond his imagining, but also realizing that if Anya is recognized by her Majesty as the Grand Duchess Anastasia, then he will never see her again.
* "Anything You Can Do" from ''Theatre/AnnieGetYourGun''. Both Annie and Bill have a contest of personalities, declaring each to be better than the other.
* [[ExactlyWhatItSaysOnTheTin "An Eleven O'Clock Song"]] from ''Ankles Aweigh'' as it resolves the heroes journey to his happy ending.
* "With So Little To Be Sure Of" from ''Theatre/AnyoneCanWhistle''. Both Fay and Hapgood realize that while it was brief, and partially fake, [[RomanticFakeRealTurn at first]], their love affair really did mean something to the both of them.
* From ''Theatre/AnythingGoes'', "Be Like The Blue Bird" as Moonface tries to cheer up Billy, assuring him that though things look bad, it can always get better.
* "Something Just Broke" from ''Theatre/{{Assassins}}'' -- the most emotional song of the show, and one for the ensemble, to boot.
* ''[[Literature/PrideAndPrejudice Austen's Pride]]'' has "What If Lydia Ran Away?", in which Lydia elopes with Wickham, followed by Jane and Bingley's FinalLoveDuet TriumphantReprise of "Isn't She Wonderful?" as "I Think You're Wonderful", and Darcy's solo song "Fine Eyes".
* "I Wish I Could Go Back To College" from ''Theatre/AvenueQ''. An unhappy Princeton, a seemingly StoodUp Kate Monster and a homeless Nicky all reflect on how easier life was back in college, when they never really had to deal with real life, but also realizing that they can never go back, given they've all grown beyond that illusion.
* "Fifty Percent" from ''Ballroom'', Bea realizes that Alfred may not love her in the same way as she does, but she's happy for the time they've had, and if she's only going to have Fifty Percent of him, then she's happy.
* ''[[Music/CaroleKing Beautiful]]'' features "You've Got a Friend," a song Carole writes to say goodbye to Barry, Cynthia and Don.
* Subverted with "If I Can't Love Her," from ''Theatre/BeautyAndTheBeast''. Though it fits the thematic criteria, it takes place as the Act 1 finale, not near the end of the show, although there is a TriumphantReprise during the finale ultimo. Played straight however with Belle's "A Change in Me", which was added later in the run of the show, as Belle realizes what her time with the Beast has done for her.
* From the Stage Adaptation of ''Theatre/{{Beetlejuice}}'' is Lydia's "Home," where she finally reconciles with her feelings of grief and lack of belonging while stuck in [[spoiler:the Netherworld]].
* "I'm Going Back" from ''Theatre/BellsAreRinging''. Ella quits her job at Susanswerphone to start her life with Jeff.
* ''Theatre/TheBestLittleWhoreHouseInTexas'': "Hard Candy Christmas", Miss Mona and her girls, the night before the House is closed for good, lovingly say goodbye to one another.
* "When You're Big" from the musical version of ''Film/{{Big}}'', Josh begins to realize that he doesn't fully understand the repercussion of being an adult, and has to find a way to become a kid again so he can properly grow up.
* "Once We Were Kings" from TheMusical of ''Film/BillyElliot'', as the miners bemoan that they will soon be loosing their jobs.
* "Dyin' Ain't So Bad" from Frank Wildhorn's ''Bonnie and Clyde'', both Bonnie and Clyde are nearly cornered by the police, and are realizing that their time is almost up, but Bonnie lets Clyde know that she doesn't regret any second of her life, even her upcoming death, because Clyde was a part of it.
* "You and Me (But Mostly Me) [Reprise]" from ''Theatre/TheBookOfMormon'' features Elder Price, who previously devoted his entire life to converting as many people to Mormonism as possible, finally realizing that Elder Cunningham was right that religion shouldn't be about blindly following scripture, it should be about creating a new community. It's a much more solemn version of this type of song, since it directly follows all of the missionaries getting excommunicated from the church.
* Robert's "It All Fades Away" from ''Theatre/TheBridgesOfMadisonCounty'' is the second-to-last number in the show and is a sweeping declaration of how, [[spoiler: at the end of his life]], the only thing that has never faded from memory is his and Francesca's love.
* "From This Day On" from ''Theatre/{{Brigadoon}}''. Though Tommy has decided to leave Brigadoon, he and Fiona assure one another they will never forget each other.
* ''Brooklyn'' initially features "Love Fell Like Rain" as Brooklyn tries to finish the Unfinished Lullaby during her vocal duel with Paradice, but when Taylor doesn't show, the Street Singer jumps in to help her and they change the song to "Streetsinger" as the two instead sing a song of having hope and faith in the face of adversity.
* "Spanish Rose," where Rosie trolls her fiancé's racist mother by making fun of SpicyLatina stereotypes, is the last song before the finale of ''Theatre/ByeByeBirdie'', and it was written during tryouts specifically to give Chita Rivera an eleven o'clock number
* ''Theatre/{{Cabaret}}'' has the title song, where Sally resolves to go on living hedonistically as the walls between the ShowWithinAShow and her own world almost literally dissolve.
* ''Theatre/{{Carousel}}'' Has "You'll Never Walk Alone." After Billy dies, Nettie comforts Julie, stating that as long as she continues to have hope, and rely on the people who love her, she will never be alone in life.
* "Guenivere" from ''Theatre/{{Camelot}}''. With Arthur grief stricken in a situation where he has no choice but to sentence his beloved Queen to death, for her betrayal, both he and his subjects openly hope for Lancelot to return to her rescue.
* "Can-Can" from ''Theatre/CanCan'', as Madame Pistache and her dancers extoll the freedom and joy that dancing the Can-Can brings, and that anyone who try's can Can-Can too.
* ''Theatre/CarolineOrChange'': "Lots Wife". Caroline after her hateful outburst at Noah, after attending Church, begins to feel great guilt and shame for her actions concerning the laundry money, and begs God to free her from her greed.
* ''Theatre/{{Carrie}}'': Margaret's "When There's No One". Fully plunged deep into her mental illness and convinced that Carrie is a witch, she solemnly comes to terms that to save her daughter's soul, she must kill her. In turn she also realizes the heartache and loneliness she will feel without Carrie in her life anymore.
* "Memory" from ''Theatre/{{Cats}}'', where Grizabella wistfully sings about her glamour days. [[spoiler:This musing gets her chosen to ascend to the Heaviside Layer]].
* The "Quo Vadis" duet from ''Theatre/CesareIlCreatoreCheHaDistrutto'', the second-to-last song in the musical, is a duet between Cesare Borgia and Creator/DanteAlighieri (a vision in Cesare's mind) about Cesare's decision to leave the CorruptChurch and become a soldier, and whether HeWhoFightsMonsters risks being corrupted from outside the church as well as from within.
* The London production of ''Theatre/CharlieAndTheChocolateFactory'' used the [[Film/WillyWonkaAndTheChocolateFactory 1971 film's]] "Pure Imagination," while the Broadway production has "The View From Here" as its Eleven O'clock Number.
* From ''[[Theatre/CinderellaLloydWebber Andrew Lloyd Webber's Cinderella]]'', "Cinderella's Soliloquy". After hearing the wedding chimes Cinderella [[spoiler:falsely]] believes Sebastian and Adele's wedding has gone through, and she has missed her chance at confessing her true feelings for him. However, after a moment of despair, she resolves and finds the strength within her to finally leave Belleville, and start a new life, where people will appreciate her, and that someday she will forget Sebastian, and that she loved him.
* "Funny" from ''Theatre/CityOfAngels'' fits, albeit a little snugly. After Gabby leaves him and Donna has taken over his movie, Stine realizes what his actions have cost him.
* ''Theatre/{{Chaplin}}'' has "This Man". Hannah, eventually joined in by the full company, reflect on the effect that Charlie Chaplin had on the film industry and the public in general.
* ''Theatre/{{Chess}}'' has "Endgame", as the titular Endgame of the match takes place, Anatoly is pressured by all sides of his philosophies regarding the worlds social/international eco-structure, his standing with Florence and Svetlana, and his own passion for chess.
* ''Theatre/{{Chicago}}'' has "Razzle Dazzle", Billy assures a frightened Roxie that the judicial system, in the end, is all a bunch of showmanship, and he himself happens to be a great showman.
* "Ain't It Good" from ''Theatre/ChildrenOfEden'', Mama Noah leads her children in a song of praise towards Father, for giving humanity another chance.
* "What I Did For Love" from ''Theatre/AChorusLine''. When one of the chorus members breaks his leg and can no longer perform, the other chorus members sing about how their love for the art of theater even if it can be taken away at any moment, summarizing the major theme of the musical.
* ''Theatre/AChristmasCarolTheMusical'': "Yesterday, Tomorrow and Today", Scrooge after seeing what the future may hold for him, and for Tiny Tim, vows to the Ghosts that he will strive to change his ways, and live the Christmas spirit, everyday for the rest of his life.
* "I'm Here" from the musical adaptation of ''Literature/TheColorPurple'', has Celie come to embrace the love that she has for herself.
* ''Theatre/ComeFromAway'' has "Somethings Missing", the passengers return safely home, but everyone will have to contend with the realities, and the losses, that come from the aftermath of 9/11.
* "Being Alive" from ''{{Theatre/Company|Sondheim}}''. Lady-Killer Robert finally realizes that he wants what all his friends have. Someone to love and to make their way through life with.
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[[folder: D-G]]
* "Those Were The Good Old Days" and "Two Lost Souls" from ''Theatre/DamnYankees''.
** "Those Were The Good Old Days" Applegate, aka The Devil, remembers how much easier his job was to tempt humanity into selling they're souls.
** "Two Lost Souls" Lola distracts Applegate, helping Joe win the game.
* ''Theatre/DearEvanHansen'' has "Words Fail," which serves as Evan's [[spoiler:LiarRevealed moment]] and has him apologize for everything he's done and open up about his anxiety.
* ''Theatre/{{Diana}}'' has "An Officer's Wife", the Queen finally agrees to allow Diana to divorce from Prince Charles, but also she must then relinquish her official title, luxuries and duties as The Princess of Wales. Doing so Her Royal Majesty also nostalgically remembers a time when she wasn't "Queen Elizabeth II", but simply just Elizabeth, the wife of a naval officer.
* The murderer's confessions in ''Theatre/{{Drood}}'' can vary in content depending on the audience vote, but always serve as the penultimate song that boisterously explains exactly what happened to Drood.
* ''Theatre/DeathNoteTheMusical'': "When It Ends" as the cat and mouse game between L and Light nears its conclusion, [[spoiler:with Light declaring he has already written L's name in the Death Note]].
* ''Theatre/TheDrowsyChaperone'' has "I Do! I Do! In the Sky" in which Trixie marries all the couples.
* ''Theatre/{{Elisabeth}}'': "Boote in der Nacht" or "Boats in the Night", has Elisabeth admit that while she may still love Franz Joseph, too much has happened for them ever to reunite in the happy fairy-tale life they dreamed of as a young Emperor and Empress, and that sometimes, love isn't enough to sustain a marriage. The song is a somber ironic echo of the hopeful love duet "Nichts ist schwer" the two shared after their engagement is arranged.
** Followed immediately with "Am Deck der sinkenden Welt"/"On the Deck of a Sinking World" in which Franz-Jospeh has a nightmare about the fall of the age of the monarchy, metaphorically staged as him and the other heads of state on a sinking ship while he feverishly clings to the Austrian Crest, as Luigi explains what became of many of their fellow Kings and Queens/Emperors and Empresses, many of which were their relatives. Likewise Franz-Joseph sees Der Tod for the first time, and the two argue over their love for Sisi, until Death explains to the Emperor that he has already arranged for Elisabeth's assassination, tossing Luigi the file that he will plunge into the Empress's heart, as Franz-Joseph screams in horror.
* ''Theatre/{{Evita}}'' has "Waltz for Eva and Che" as both discuss the pros and cons of their respective worlds, and their sides of the political spectrum of Argentina.
** The Revival also borrows from the filmed adaptation's "You Must Love Me", as Eva realizes that Juan, despite both the political and social angles both had in their marriage, does genuinely love her, and that she loves him in return.
* ''Falsettos'' has "What Would I Do?" a duet between Marvin and [[spoiler:the dying]] Whizzer.
* ''Theatre/{{Fame}}'' features "In L.A." as Carmen details to Schlomo her experiences in Hollywood, finally deciding to clean herself up and earn her G.E.D.
* "Anatevka" from ''Theatre/FiddlerOnTheRoof'', the Jewish denizens of Anatevka, just before being forcibly evicted out of their homes, remember their community, and also ponder their futures.
* Stephen Sondheim's ''Theatre/{{Follies}}'' has not one but four 11 o'clock numbers, one for each of the principal characters: the comic patter song "Buddy's Blues," the torch ballad "Losing My Mind," the Star Lady turn "The Story of Lucy and Jessie," and, finally, the top-hat-and-tails ditty "Live, Laugh, Love," which features a twist ending: [[spoiler:as debonair Ben realizes that the cheery words he's singing are a horrible lie, he repeatedly flubs the lyrics and finally has a breakdown onstage.]]
* ''Theatre/FunHome'' has three examples, set one after the other at the end of Act II: "Days and Days", "Telephone Wire" and "Edges of The World", leading up to Bruce Bechdel's suicide.
* The ''Theatre/{{Frozen}}'' Broadway adaptation has "True Love," in which Anna reflects on the mistakes her idealistic belief in OneTrueLove has brought about, and "Monster", a BSODSong by Elsa juxtaposed with an AngryMobSong by Hans and the townsfolk.
* ''Theatre/FunnyGirl'' has "The Music That Makes Me Dance", Fanny, while admitting that Danny isn't a good husband or person, recognizes that she can't help but love the passion and zeal he has for life, and that she also recognizes that he does genuinely love her in return, even if it may not be enough to sustain a marriage.
* "Keeping Cool with Coolidge" in ''Theatre/GentlemenPreferBlondes'' literally jazzes up the show when the characters and audience are getting tired of GayParee.
* ''Der Glockner Von Notre Dame'' the DarkerAndEdgier adaptation of Disney's ''Theatre/TheHunchbackOfNotreDame'' features "Wie aus Stein/Made of Stone," for Quasimodo, as he declares his intention to shut himself off from the outside world, and "Einmal/Someday," for Esmerelda and Phoebus, in which they share a solemn prayer to God and their hope for a better world, as well as their belief that all of humanity is still ultimately good.
* The reprise of "Sandra Dee" is this in ''Theatre/{{Grease}}'', Sandy decides she has to change herself, if she ever wants to fit in.
* "Sit Down You're Rocking The Boat" from ''Theatre/GuysAndDolls''. Nicely-Nicely and the other Guys all confess their sins, at first jokingly, but sincerely realizing that their obsession, nearing addiction, to gambling had been causing damage to their souls.
** Later "Marry The Man Today" has Adelelaid and Sarah humoursly resolve to marry Nathan and Sky, then work on their personalities after wedding.
* ''Theatre/TheGuyWhoDidntLikeMusicals'':
** "Show Stoppin Number" is a parody of the trope, a big number Hidgens sings as part of the big reveal that [[spoiler:he wants to turn humanity over to the aliens due to his love for musicals]]. However, it derails quickly into Hidgens just bragging about the musical he's writing.
--->'''Professor Hidgens:''' ''This is humanity's [[LampshadeHanging eleventh hour]], and I've prepared something for the occasion.''
** The number for the musical proper is "Let It Out," in which Paul [[spoiler:sings for the first time]] while confronting the alien hub, leading to a crisis about whether it would be a happier life to join the hive than keep living his miserable life.
* "Rose's Turn", often the template used for most Eleven-O'Clock Numbers, from ''Theatre/{{Gypsy}}'' is the last major song in the show, in which Louise has outgrown Rose's influence and Rose sings about her ''own'' desires to be a star instead of her daughters always being in the spotlight, imagining her own name in lights.
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[[folder:H-K]]
* ''Theatre/{{Hadestown}}'' has "Doubt Comes In," featuring the climax of Orpheus's quest to rescue Eurydice.
* According to the creators, the Eleven O'Clock Number for ''Theatre/{{Hairspray}}'' is "I Know Where I've Been," where Motormouth Maybelle sings a slow number about the fight for racial justice and equality. The film, however, moves this up to the Act 1 finale, so "Without Love" (where Link and Seaweed rescue Tracy and Penny respectively, and they sing about their love for one another) serves as the eleven o'clock number instead.
* ''Theatre/{{Hamilton}}'': "Your Obedient Servant", where Alexander Hamilton and Aaron Burr finally agree to participate in [[spoiler:the infamous duel that will kill Hamilton]] after Burr becomes furious with Hamilton for [[spoiler:endorsing Thomas Jefferson in the election of 1800.]]
* "So Long, Dearie" from ''Theatre/HelloDolly''. Fed up with his cruelty towards her and everyone around him, Dolly gives Horace the biggest [[TheReasonYouSuckSpeech telling off in musical history]], declaring that since he values money over everything else, then that's all he'll ever have.
* "Brotherhood Of Man" from ''Theatre/HowToSucceedInBusinessWithoutReallyTrying'' as Finch tries to convince his co-workers they are family to each other, in an attempt to save their jobs.
* "Always Starting Over" in ''Theatre/IfThen'', in which Liz, surrounded by nothing but darkness and stars, finally comes to terms with her grief and vows to move on.
* "Champagne" and "When The Sun Goes Down" from ''Theatre/InTheHeights''. It sparks the romantic resolutions of Usnavi and Vanessa, and Nina and Benny respectively.
* "No More" and "No One Is Alone" of ''Theatre/IntoTheWoods'' fame both have elements of this.
** In "No More" the Baker, after having a reconciliation [[spoiler:with his father]] decides to end the cycle of abandonment in his family.
** "No One is Alone" The Baker and Cinderella comfort [[spoiler:the newly orphaned]] Jack and Red, and offer words of wisdom to the two.
* ''Music/JaggedLittlePill'': "You Oughta Know", after catching Frankie in bed with Phoenix, with Frankie's excuse being she didn't think Jo and her were exclusive, Jo angrily tells her off. Eventually overhearing Jo and Frankie's argument, Jo's friends jump to their defense when Frankie tries to run off, forcing her to listen to Jo's pouring out their emotions and what she did to Jo.
* "Confrontation" from ''Theatre/JekyllAndHyde''. As the song says, both Jekyll and Hyde have a battle of wills within his mind, while debating the Good and the Evil in them, and ultimately, in the World.
* ''Theatre/JesusChristSuperstar'' has "Superstar" in which Judas questions Jesus's methods of delivering the word of God to the masses, and if Christ knew that His HeroicSacrifice would still be discussed, debated, celebrated, but ultimately remembered thousands of years later.
** Thematically, Jesus' number is actually "Gethsemane". It occurs far before the end of the show but it represents His decision to die and is His final major singing part: after this, Jesus barely sings at all, and most of His lines are resigned acceptance of His fate.
* ''Theatre/JosephAndTheAmazingTechnicolorDreamcoat'' has "Joseph All The Time", where Joseph realizes his brothers have grown into better people, after standing up for Benjamin, revealing himself to them, offering them forgiveness and sharing a joyous reunion with his family.
* ''[[Theatre/KimberlyAkimbo2021 Kimberly Akimbo]]'' has "Before I Go" where Kimberly tells her parents that before she dies from her disease, they have to let go of the image they had of her, and accept her for who she is.
* "Shall We Dance" from ''Theatre/TheKingAndI'' has Anna and The King sharing a friendly dance as both have learned something new from the other.
* ''Theatre/KissMeKate'' has "I Am Ashamed Women are So Simple" in which Lili, in character as Katharine, reconciles with Fred.
* ''Literature/KissOfTheSpiderWoman'': The Title number has Molina remembering a role Aurora played that terrified him, the Spider-Woman, who murders men with her deadly kiss, all the while his life in prison is getting more deadly.
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[[folder: L-O]]
* ''Theatre/LesMiserables'' has "Javert's [[spoiler:Suicide]]" at the eleventh hour, where Javert finally realizes he was wrong to label Jean Valjean as a criminal all this time and has a crisis of faith.
* ''Theatre/LegallyBlonde'' TheMusical has "Legally Blonde", Elle's BSODSong which she sings after [[spoiler:Callahan sexually assaults and then fires her]]. It also has Emmett finally realize (or confess, depending on the production[[note]]In all stagings after the original Broadway show, the duet never leaves the courtroom, meaning that Elle actually hears his confession; Emmett's line "Please will you open the door?" is changed to "I should have told you before" as a result.[[/note]]) his love for Elle. It's then followed by the TriumphantReprise "Legally Blonde Remix" where [[spoiler:Vivian and the rest of Elle's friends convince her to get back on the case and support her all the way to the courtroom]].
* ''Theatre/TheLightInThePiazza'' has "This is Love To Me", in which Fabrizzio affirms his feelings for Clara.
* ''Theatre/TheLionKing'' for the stage to screen adaptation has Rafiki's "He Lives In You", the TriumphantReprise of Mufasa's "They Live in You" as she shows Simba that Mufasa lives on in him. Many people have compared its power to that of "The Circle of Life" so much so the song served as the Parallel opening song in ''WesternAnimation/TheLionKingIISimbasPride''.
* ''Theatre/ALittleNightMusic'' has "Send In The Clowns", as [[EthicalSlut Desiree]] muses on the irony of her relationship with [[SympatheticAdulterer Fredrick]], in that he is stuck in a loveless/passionless marriage due to his moral code, and she has had many affairs but only ever loved him.
* "The Meek Shall Inherit" from ''Theatre/LittleShopOfHorrors'', which occurs right after [[spoiler:Audrey II eats Mushnik]] and Seymour sacrifices his morals in favor of fame.
* "The Fire Within Me" from ''Literature/LittleWomen''. Starting as Jo's second BSOD Song after "Astonishing", it culminates with her inspiration for writing ''Little Women'' coming from her sisters.
* The stage musical of ''Theatre/TheLittleMermaid'' has the [[DistantDuet Distant Quartet]] "If Only" sung by Ariel, Eric, Triton and Sebastian, on Ariel's last night has a human.
* "Time Heals Everything", from ''Theatre/MackAndMabel'' with her relationship with Mack over, and her career starting to slip away, Mabel in a full on delusion believes everything will turn out in her favor, as Taylor persuades her into trying heroin, to make her forget Mack.
* "If He Walked into My Life" from ''Theatre/{{Mame}}''. Having just had a serious argument with Patrick, Mame solemnly wonders where she went wrong in raising her nephew, and if she had the chance she would have fixed the problem before.
* "The Winner Takes It All" from ''Theatre/MammaMia'', as Donna finally gets to confront Sam over all of the unresolved issues he created within her when he left her the way he did.
* "Welcome to the World" from ''Theatre/AManOfNoImportance''. Alfie finally sieges control of who he is, and confidently accepts himself as a gay man.
** Before that Lily's "Tell Me Why", as she makes it clear, that while she did push for him to marry a nice girl, he should have always known that, while it would have taken some time, she would have accepted Alfie's homosexuality, and that no matter the situation, she would always love her brother.
* "Revolting Children" from ''Theatre/{{Matilda}}'', when the students finally stand up and declare independence from Trunchbull.
* ''Theatre/MerrilyWeRollAlong'' plays with this, "Opening Doors" shows how a hopeful Franklin, Charlie, Mary and Beth got their start, but given the show [[BackToFront runs in reverse]], by canon it would actually be one of the first songs in the shows.
* "The American Dream" from ''Theatre/MissSaigon''. The Engineer dreams of a life in America, where everyone has an actual chance of a better life.
* "Till There Was You"" from ''Theatre/TheMusicMan''. Marian declares that Harold has made her life better, and taught her what it means to truly love somebody, and in doing so Harold realizes he too has fallen real love with Marion.
* ''Theatre/MyFairLady'' features "I've Grown Accustomed to her Face," in which Professor Higgins finally realizes that, while arguably not romantically, but platonically has come to care about Eliza, and will genuinely miss her.
* "So Anyway" leading directly into "I am the One (reprise)" from ''Theatre/NextToNormal'', featuring Diana deciding to leave the family and Dan admitting that he could see Gabe the whole time. Both songs feature the two adults realizing that they never properly grieved their son's loss and deciding to finally do so in the way they need.
* "Be On Your Own" and "I Can't Make This Movie" from ''Theatre/NineMusical''
** "Be On Your Own", Luisa tells Guido she is leaving him and ending their marriage.
** "I Can't Make This Movie" Guido, after watching his wife walk off, realizes that his obsession with his film, and his multiple infidelities has cost him that which truly matters.
* From ''Theatre/NotreDameDeParis'' "Dieu Que Le Monde Est Injuste," for Quasimodo as he bemoans that his ugliness will ensure that Esmerelda can never fully return his love for her, and "Vivre," for Esmerelda, as she declares her everlasting love for Phoebus.
* "Oklahoma!" from ''Theatre/{{Oklahoma}}'' as the company celebrates that soon the territory will be a full blown state in the United States.
* "Reviewing the Situation" from ''Theatre/{{Oliver}}''. Fagin considers changing his life from that of crime, but can't decide how he would do so.
* ''Theatre/{{Oliver}}'': "As Long As He Needs Me" as Nancy reflects that while Bill is abusive, both physically and emotionally, and that she does realize he isn't a good man in the slightest, she still is loyal to him, because despite everything, she loves him.
** The Reprise is even more powerful. Having grown to care for Oliver, Nancy makes the decision to defy Bill and help get the boy to his grandfather, fully knowing the very real danger she is putting herself in if Bill should ever find out.
* "Promises/Forever Yours (reprise)" from ''Theatre/OnceOnThisIsland'' has Papa Ge come to collect on his end of the deal with Ti Moun, as both he and Erzuli's battle of Love vs Death reaches its climax.
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[[folder: P-T]]
* "Let it Burn" from ''Theatre/ParadiseSquare'', in the midst of the draft riots Nellie defiantly tells off the men burning down her and Willie's establishment, as the bar isn't what is important to her but her patrons, the friends and loved ones who stand behind her.
* "All The Wasted Time" from ''Theatre/{{Parade|1998}}'', Leo and Lucille finally realize that they do genuinely love one another.
* ''Theatre/PercyJacksonAndTheOlympians'' has "The Last Day of Summer," in which Percy reflects on his quest and [[spoiler: Luke reveals he has been working with Kronos.]]
* ''Theatre/ThePhantomOfTheOpera'': "The Point of No Return". The Phantom, disguised as Piangi and Christine take the stage together, singing both in-character as Don Juan and his Conquest, and as themselves of how it's too late to turn back from the events that are about to unfold.
** In the sequel ''Love Never Dies'', this is the title song's function. Christine takes the stage, singing the Phantom's aria, realizing that the Love she is singing isn't of Raoul's, or even the Phantom, but the love for music.
* "I Guess I'll Miss The Man" from ''Theatre/{{Pippin}}'' is a short and understated variant, in fact sometimes it isn't even listed in the programs, with Catherine singing a capella about her love for Pippin (seemingly in defiance of the leading player) before Pippin goes to partake in the finale number.
* "Betrayed" from ''Film/TheProducers'' is not only a classic 11 o'clock number, but also a five-minute, one-man summary of the ''entire show'' to that point. [[JustForFun/IThoughtItMeant Not to be confused with]] [[RunningGag the other]] [[DoubleEntendre 11 o'clock]] mentioned in the song itself.
* ''Theatre/PromisesPromises'', the title number, has Chuck, fed up with Sheldrake and the other higher ups have been using him for his apartment, and in turn Chuck himself has been passive in allowing many women's, in particular Fran's, feelings and hearts to be ruined, defiantly quits his job.
* "Unruly Heart" from ''Theatre/TheProm'', the song Emma sings about her love and pride that goes viral.
* "Back to Before" in which Mother realizes the changes that have occurred between her and Father, or "Make Them Hear You" in which Coalhouse encourages his followers to take the way of peace to make a difference for race relations, from ''Literature/{{Ragtime}}''.
* ''Theatre/{{Rebecca}}'' has "Jenseits der Nacht/Beyond the Night" as Maxim and "I" (the second Mrs. de Winter) with the trauma of Rebecca behind them plan their bright new future.
* "Your Eyes" from ''Theatre/{{Rent}}'' is the song Roger spent the entire musical trying to write, which he sings to [[spoiler:a dying Mimi]] as he realizes he truly loves her.
* ''Theatre/RideTheCyclone'' has "Be Safe, Be Good", in which [[MysteriousWaif Jane Doe]] [[QuestForIdentity rediscovers her identity]].
* ''Theatre/RockOfAges'' has "Oh Sherri" by Steve Perry, as Drew, realizing that fame wasn't what he needed but Sherri, chases after her, hoping to catch her before she boards the train home.
* ''Theatre/TheRockyHorrorShow'' parodies it with "I'm Going Home", an overly dramatic expression of love by Dr. Frank-N-Furter. However both Riff-Raff and Magenta see right through his ruse, knowing he doesn't mean anything he's saying, and immediately guns him, Rocky and Columbia down before returning to their home planet leaving a bewildered and confused Brad and Janet to sing the true Eleven O'clock Number "Superheroes", as they question the futility of existence and the bizarre sexploits they shared.
* TheMusical of ''Film/RomyAndMichelesHighSchoolReunion'' has "We're Done", where Romy and Michele, having decided to [[BeYourself Be Themselves]] at the reunion, deliver their TheReasonYouSuckSpeech to [[AlphaBitch Christie]] and her GirlPosse, followed by Sandy's solo number "I Don't Have You", after which he dances with Romy and Michele to an instrumental TriumphantReprise of "It's A Giant Mystery".
* ''Theatre/SchoolOfRock'' has the title song as this, when Dewey and the Kids perform Zack's song at the contest for the crowd and their parents.
** Before that the reprise of "If Only You Would Listen", Tomika and the Kids convince Dewey that he has done good in their life, and made them feel confident in themselves, and that they do need him to perform with him and the band.
* From ''Theatre/TheSecretGarden'', has "How Could I Ever Know" in which Lily's ghost visits Archibald, and while she is regretful for having left him when she died, also assures him that she lives on in both him and their son Collin, as well as in her garden.
* "All for You" from ''Theatre/{{Seussical}}''. Maisey lets Horton know her feelings for him, stating he has never been alone in his endeavors.
* "Freak Flag" from ''Theatre/ShrekTheMusical'', where the fairy tale creatures declare their pride and plan their rebellion against Farquaad.
* ''Theatre/ShowBoat'' originally had an 11:00 song to show off Magnolia's daughter, Kim (here [[IdenticalGrandson played by the same actress as Magnolia]]) in a 1920s-type production number. The original 11:00 song, "It's Getting Hotter in the North" (based on Magnolia's {{Leitmotif}}), was cut and replaced by a reprise of "Why Do I Love You" with impersonations and a jazz dance. The London production used an entirely new 11:00 song, "Dance Away The Night." The 1936 film version built up an elaborate production number around the MovieBonusSong "Gallivantin' Around," which fell victim to editing before it was released. The 1946 Broadway revival used yet another newly written song, "Nobody Else But Me," but dropped the number without replacement when it went on tour. The 1994 Broadway revival replaced it with a dance number, "Kim's Charleston."
* ''Theatre/{{Shucked}}'': "Corn Mix" wraps up the main storyline, as Gordy gets so drunk he confesses that he's just there for the blue rocks.
* "Sister Act" fittingly from the Stage version of ''Film/SisterAct''. Delores is just about to receive everything she always wanted, fame, fortune, glory, but realizes she's discovered something greater. Friendship, and that she has learned to appreciate her sisterhood with the nuns.
* ''Theatre/{{Six}}'' has Catharine Parr's "I Don't Need Your Love" as she sings how she wishes she could have told off Henry. She also mentions that in the time being she did what she could to make the world a better place during her time as consort. The other Queens after hearing this imagine an alternate future without Henry, in which the Six of them met sooner.
* The concert sequence from ''Theatre/TheSoundOfMusic'', which has "Edelweiss" in between an elaborate reprise of "Do-Re-Mi" and a plain repetition of "So Long, Farewell."
* "You Have To Be Carefully Taught" from ''Theatre/SouthPacific'', as Cable explains to Emile, both of whom have been victimized by the systemic racism of the USA, that hate isn't something people are born with, but something that society teaches them when they are growing up.
* ''Theatre/{{Spamalot}}'' has "All Alone", with Arthur singing of how he's all alone in his endeavors, [[{{Irony}} while Patsy and the rest of the Company join him in chorus]].
** Parodied with "Diva's Lament", as The Lady of the Lake stops the show to complain, in song form, how despite the show nearing the end, she has yet to have appeared in Act II.
* ''Theatre/SpidermanTurnOffTheDark'' has "Boy Falls From the Sky", with Peter recognizing that no matter how he feels about, he will always be Spider-Man.
* During "Whispering" from ''Theatre/SpringAwakening'', nothing looks like it's going well. Moritz [[spoiler:has died]], Wendla has just [[spoiler:discovered her pregnancy]], and Melchior [[spoiler:has been expelled]]. However, there are only about 15 minutes left in the show.
* "It's Always Love" from ''Theatre/{{Sugar}}''. is the third-to-last song. "When You Meet a Man in Chicago" is the second-to-last, but it doesn't fit the "revelation/turning point" part as well (and was originally a reprise anyway), while "It's Always Love" starts with one of the male leads denouncing love, and ends with him admitting that he's in love.
* "Move On" from ''Theatre/SundayInTheParkWithGeorge''. George is met by the spirit of his Great-Grandmother Dot, who tells him, like his inspiration, and his great-grandfather George Seruat, to not focus on the past, but to learn from it.
* From ''Theatre/SweetCharity'' Charity's "I'm a Brass Band." Charity after hearing Oscar admit he loves her, has a drawn out fantasy sequence, celebrating that she finally has someone that loves her back.
* "Not While I'm Around" from ''Theatre/SweeneyToddTheDemonBarberOfFleetStreet'', Tobias declares his love and protection for Mrs. Lovett, and his suspicions against Todd.
* ''Theatre/StarlightExpress'': "Starlight Sequence" in which Rusty finally realizes he is the "[[GodInHumanForm Starlight Express]]".
* ''Theatre/TheSpongebobMusical'': "Best Day Ever", in which Spongebob, Patrick and Sandy gets the entirety of Bikini Bottom to forget about the volcano and the aborted concert, and come together as a town and be grateful for what they do have: each other.
* "Gimme Gimme" from ''Film/ThoroughlyModernMillie'' is the posterchild for this trope, Millie realizes she would rather marry for love than for money.
* ''Theatre/{{Titanic}}'': [[HeroicBSOD "Mr. Andrews Vision"]] has Mr. Andrews going over the blueprints of the ship, and realizing that one easy adjustment to the construction of the ship and how simple it could have been to prevent the sinking of the Titanic, eventually cursing his and all of mankind's hubris for wanting to build bigger and better achievements, while also envisioning the horrific fate of the passengers still on board the vessel as it slowly begins to plunge below the surface of the freezing sea.
* The musical version of ''Film/{{Tootsie}}'' has "Talk To Me Dorothy," where Michael debates what to do about the Dorothy persona he's kept up the entire musical.
* ''Theatre/{{Treason}}'' has "Caught in the Crossfire" as the women after discovering the Gunpowder Plot, agree to turn their husbands in for their crimes, realizing that they can't sit idly by when innocents could be slaughtered in the planned blowing up of parliament.
* ''Theatre/TwistedTheUntoldStoryOfARoyalVizier'': The title song "Twisted", Ja'far, at an impasse in his life, contemplates his next move after stealing the lamp from Aladdin, is advised by other "villains" from Scheherazade's stories. After hearing that the backgrounds of each of their histories' weren't as black and white as he believed, he decides if it means saving the Magic Kingdom, he willingly will become the villain of his story as well.
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[[folder:U-Z]]
* "We're Not Sorry" from ''Theatre/{{Urinetown}},'' though the turning point is more for the ensemble and ingenue (who are finally carrying out their rebellion against Cladwell and his lackeys) than for the hero. [[spoiler:Hard to have an epiphany when you died two songs ago.]]
* The stage adaptation of ''Film/{{Waitress}}'' has "She Used to Be Mine", sung at Jenna's lowest point after her husband [[spoiler:takes the money she was going to use for the pie contest]] and she belts her feelings out about her abusive situation and complicated self-identity.
* "A Boy Like That/I Have a Love," from ''Theatre/WestSideStory''. After the [[spoiler:death of Bernardo at Tony's hands, in retaliation over the death of Riff]], Anita is horrified/furious to discover that Maria has made love with Tony, and shames her for falling in with a white boy, [[spoiler:let alone her brother's killer]]. Maria then shoots back that she loves Tony and he loves her, and that Anita, who loved Bernardo, should understand that once love is in the picture nothing else matters.
** "Somewhere," could also qualify, in which Tony and Maria envision a better world where the two gangs live in peace with one another.
* ''Theatre/WeAreTheTigers'' has "Idk" which sees the girls angrily accusing each other of [[TenLittleMurderVictims the murders]]. It's only the third-last song, but fits the bill better than "The Breakdown", a RepriseMedley.
* ''Theatre/WhistleDownTheWind'' has "Nature of the Beast" has the Man explaining to Swallow who he truly is.
* From ''Theatre/{{Wicked}}'', "For Good" as Elphaba and Glinda solidify their friendship one last time, before Elphaba goes to face the angry mob and her destiny.
* ''Theatre/TheWiz'': "Believe in Yourself" (aka "If You Believe") has Dorothy and her friends realize they had what they wanted all along.
* "Wrong Note Rag" from ''Theatre/WonderfulTown'' in which Eileen, assisted by Ruth, makes her big showbiz debut.
** Before that "It's Love", in which Eileen gets Bob to finally admit that he's fallen in love with Ruth.
* From ''Theatre/{{Wonderland}}'' "Hero" from the pre-broadway version, and "Home (Reprise)" from the Broadway version, in which while Alice is saddened [[spoiler:by Jack's sacrifice]], she has her daughter back, which as her friends and the Queen assure her, that's all she ever needed.
* From the musical adaptation of ''Film/{{Xanadu}}'', uses "[[Music/OliviaNewtonJohn Have You Ever Felt Mellow]]" as Kira tries to explain to Zeus, while helped by other mythological creatures, how she fell in love with Sonny.
* ''Theatre/YoungFrankenstein'' has Elizabeth's "Deep Love" as she grandly declares her love for Fredrick's Monster.
** Likewise "Fredrick's Soliloquy" as just about to be hanged he triumphantly declares himself a Frankenstein.
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