A number of songs from the Evil Dead Musical could qualify, but "It's Time" takes the cake. With over-the-top lines like "Tonight (Kick you square,) you will die (in the balls) by the saw or the gun!" and "When danger calls, you must the balls of an ox, or a bear, or any large mammal~!" It's a step away from parodying this trope.
The entire point of Assassins seems to be to give these to people who really don't deserve them. The Ballads of Booth, Guiteau, and Czolgosz have some SERIOUS Draco in Leather Pants potential.
A lot of Next To Normal, but most of all the "Yo u Don't Know" / "I Am the One" trio.
"I'm Alive". Brilliant, gorgeous, and scary as hell.
"Who's Crazy/My Psychopharmacologist and I-" This troper was especially impressed by Louis Hobson's (who plays Drs. Fine and Madden) ability to keep a completely straight face while Marin Mazzie danced all over him during the show. Also, Diana's little interludes get funnier and funnier.
For this troper, seeing "Light" performed live was breathtaking, especially as they slowly brighten every single lightbulb on the set and in the house, so that the entire theatre is blinding.
Concurred. This troper cried so hard during "Light" that she was hysterical.
"Aftershocks" is one of the creepier songs on Broadway, and one of the most captivating. Actually, anything sung by Gabe deserves a mention, since Gabe is incredibly sexy. Every note he sings is Made of Win.
This troper has only one line to share: "Cause if you won't grieve me, you won't leave me behind!"
What? No love for "Perfect for You"? Or any song with Henry for that matter is bound to be a Crowning Moment of Heartwarming.
"Alegria" (Title song, probably the most famous Cirque number)
"Quidam" (Title song)
From the same show: "Incantation", "Rivage", "Steel Dreams", and "Reveil". Why is Quidam so awesome?
"Tzelma" (Interlude, "O")
""Simcha" from that show may be the happiest piece of music ever.
I concur. When I saw the show (I was two rows away from the front), I looked all around me, and everybody on stage who wasn't diving, were dancing!! Including the band!! :D What can I say, it's that kind of a song!
If the titular piece, "O" doesn't move you to tears of joy and give you shivers, you have no soul.
There's also a piece of music from "O" that brought me (and my mother) to tears. Although the song, as it is known in "O" as "Debbie," isn't on the show's CD, it CAN, however, be heard on the CD for the soundtrack for the Cirque film "The Journey Of Man", and it is the song of the same title (albeit with English lyrics).
The first show to use previously extant music was LOVE — since it's the music of The Beatles, the show serves it, not the other way around.
And even still, it was remixed especially for the show. Who knew that "Strawberry Fields," "Penny Lane," "In My Life," and "Hello Goodbye" could be combined into a coherent whole? Or, for that matter, "Drive My Car," "What You're Doing," and "The Word"?
Likewise for Michael Jackson: the Immortal World Tour. The remixes are just too awesome for words.
Amaluna has the theme tune (which gets everyone innthe audience clapping, no, pounding their palms along to the beat at the end), the Chinese pole song, the first straps number, the waterbowl number... Actually, the whole show,
"Defying Gravity" from Wicked never fails to give goosebumps. It's not a showstopper for nothing.
This troper agrees. Along with "No Good Deed" and "The Wizard and I", along with a lot of others.
Add "What Is This Feeling" to the list for Crowning Music Of Les Yay.
It is commonly agreed that all of the songs from the musical are awesome.
And what about "For Good"? One of the final songs in the whole musical, This Troper never, never fails to get goosebumps at the superb harmonies towards the end of the song.
Tearjerker bonus: Here's Kristen!Glinda's last time Wicked preformance. As a comment says, they weren't just singing it that time, it was a real goodbye.
"As Long As You're Mine". This troper had NEVER cried at a musical before seeing that song performed.
Completely seconded. It's dark, sexy, and utterly perfect for the scene.
The Lord of the RingsMusical has the enviable position of having music that is very nearly as (or, arguably, in limited cases, more) epic than the film, especially in Flight to the Ford, Lothlorien, and The Battle of Minas Tirith.
Firelight's Glow and Smeagol's reprise of the same are... well, they don't have quite the same caliber of "epic" but are indeed very, very good.
Alice has "Table Top Joe", "We're All Mad Here", and the heartbreaking "Fawn" theme.
The Black Rider ranges from the tragic melancholy of "The Briar and the Rose" to the gleefully diabolical Villain Songs "Just the Right Bullets" and "Flash Pan Hunter". There's also the messed-up instrumental "Oily Night" to go along with a satanic ritual.
Frank's Wild Years. "Way Down in the Hole". So awesome it became the theme music for The Wire.
Woyzeck kicks off with a chromatic scale that morphs into the terrifyingly excellent "Misery is the River of the World". And then there's the ''three' Villain Songs, "Everything Goes to Hell", "God's Away on Business", and "Starving in the Belly of a Whale". And let's not forget the instrumental, "Knife Chase", which is Exactly What It Says on the Tin.
"The Writing on the Wall" from Drood is pure Betty Buckley awesome. Final "the wall", anyone? Belted E, a capella. 'Nuff said.
I believe! That Satan has a hold on you! I believe! That the lord God has sent me here! I believe! That in 1978 God changed his mind about black people!
No love for Man Up? It's my official song for when I need to be inspired to do things that would otherwise scare me. I'm a non-Christian woman. That's how awesome the song is.
"Tomorrow is a Latter Day", the ending of the show. Especially Kevin's reprise of "I believe!" halfway through.
The Phantom of the Opera's signature organ chords (pretty much stolen from Pink Floyd, so why wouldn't they be awesome?). Also the five-chord progression that concludes "Music of the Night" and later the show itself.
The huge "BEEE!" and ethereal "soar" also from "Music of the Night" certainly deserve recognition. Anyone who can pull of those is certainly awesome in this troper's book.
Notes I, Notes II, Prima Donna, and the Point Of No Return are also exceptional standouts, that is, if I can't count the whole show!
The Phantom's "All I Ask of You" reprise (reprise?) after "Point of No Return" gets this troper every time.
In the films cut edition, Gerard Butlers!Phantom sings a song called "No One Would Listen" to the same tune as "Learn to be Lonely". Say what you may of the film and Butler's singing skills, but that man sold the song like Billy Mays sold Oxiclean.
Two words, followed by six more: Les Misérables, "Do You Hear the People Sing?"
And three more: "One Day More."
"Morgen Schon", the German translation of "One Day More" on the Viennese cast recording, is—YMMV, of course—even more gorgeous than any English recording.
The encore reprise of "One Day More" at the 25th Anniversary O2 Concert brings back much of the original 1985 cast, including Colm Wilkinson (Valjean), Frances Ruffelle (Eponine), Michael Ball (Marius), Rebecca Caine (Cosette), Roger Allam (Javert), Alun Armstrong (Thenardier), and Susan Jane Tanner (Mme. Thenardier), to join in with the concert singers, the companies of both the Barbican Anniversary production and the Queen's Theatre production, and an enormous backup choir - with the 1985 leads singing their original solos. Between Michael and Rebecca practically setting the stadium ablaze with their chemistry, Colm Wilkinson being there, and Frances Ruffelle outshining even Lea Salonga in the 10th Anniversary Dream Cast, this particular rendition truly qualifies for the adjective EPIC.
Actually, just the overture and the lead-in to the Prologue gives This Troper chills. [1] And then there's "Donnez, Donnez" from the original concept album, which has this fantastic 80s rock-opera sound.
While we're on the subject of the concept album, how about the original version of "Do You Hear the People Sing?" I think it's superior in both lyrics and arrangement to the current version.
The reprise of "Do You Hear the People Sing?" at the very end of the show makes This Troper want to applaud when he's at home alone.
And let's not forget "Javert's Suicide". The held-out "reprieved" never fails to give This Troper the chills.
I Dreamed A Dream. Angst has never sounded so fucking awesome.
Master Of The House is insanely catchy, funny, is the most cheerful song in the musical despite being a villain song and is just a whole lot of fun.
Who Am I? will be with this troper to his dying day.
"Bring Him Home" never fails to make this troper bawl - same goes for "Empty Chairs at Empty Tables."
It's probably too broad to claim every note Valjean sings as crowing awesome, but he's darn close. In addition to the songs already mentioned, there's his soliloquy in the prologue, the harmonies on "Every Day," the moment on the barricade where he pardons Javert... pretty much all of it.
The transition from the end of 'Waltz of Treachery' into 'Look Down'. The shift in tone of the scene is so incredibly effective and spine-chilling.
Let's end this argument right here: the Crowning Music begins as soon as the first notes of the overture play, and ends when the last note of the last encore fades out. This score is the tightest, most awesome, best-written score in musical theater history.
Miss Saigon has I Still Believe, Last Night of the World, and I'd Give My Life For You, just to name a few. The last page of I Still Believe always gives this troper goosebumps.
Man of la Mancha is often erroneously referred to as a one-song show. It's not, really, it's just that "The Impossible Dream" is so damn good.
And once you've heard Joan Diener's cover of "Aldonza" on the French cover, with Jacques Brel, you will be riveted to your seat, goosebumps all over you, and you will never consider Man of la Mancha to be a one-song show again.
Riff Raff's entrance in the finale, where he kicks in the door. Best part of the film.
So many pieces qualify that you can make a case for including the whole show. Science Fiction (Double Feature), Dammit Janet, There's A Light, The Time Warp, Sweet Transvestite, The Sword of Damocles, I Can Make You A Man, Hot Patootie, Touch-a Touch-a Touch Me and Eddie are consecutive songs and all very much worthy of being here. Many would agree the last three or four songs aren't quite as good, but for this troper Eddie is the most consistently underrated piece of brilliance to drip from Richard O'Brien's mind.
The choral part of the title song in Oklahoma! never fails to give me chills.
"Find Your Grail" from Spamalot is so incredibly, unbelievably, and intentionally cheesy that it wraps back around to awesome.
"I'm All Alone" is really funny and really sad (partly because I keep acting like Arthur does in real life, but Patsy!).
And let's not forget "The Song That Goes Like This."
And "Suddenly Seymour," "Feed Me/Git It," "Suppertime" and "Somewhere That's Green"!
Aren't you forgetting the title song?
Excuse moi? Now (It's Just the Gas) is this troper's all-time favourite musical number.
DON'T FEED THE PLAAAAAAAAAAANTS!
IIIIIIII am your deeeeentist!
Mushniiiiiik... and son!
May I put forward Grow For Me, The Meek Shall Inherit, and Ya Never Know? We'll Have Tomorrow (and A Little Dental Music) would be a perfect candidate as well, were it not a Cut Song.
In the realm of the Cut Song, The Meek Shall Inherit (Reprise) is pretty neat, too, despite its short length.
So is I Got A Hobby (though the song that replaced it, the aforementioned Dentist! is better.)
Despite essentially being tone-setting filler, Closed For Renovation and Call Back In The Morning also qualify.
For a song that mostly consists of talking, Da Doo is pretty neat, too.
And Sominex (the last song before things start falling apart), and Suppertime II (when things DO start falling apart). Also Somewhere That's Green (Reprise), one of the best examples of Tear Jerker ever.
Of all the assorted Cut Songs that Little Shop of Horrors produced, The Worse He Treats Me is the one with the most understandable reason for cutting; it completely mischaracterizes the female lead, is disturbing, and doesn't really fit in anywhere. It's STILL a Crowning Music of Awesome.
Though it was written for the movie, Mean Green Mother From Outer Space is occasionally readded to the show, and it's DEFINITELY this. The best part, though, is the end of the song, which wasn't present in the movie, as Audrey II eats Seymour. The Cut Song that it replaced, Bad, is also pretty awesome, though to really turn it into this trope you should use Audacity to raise the tempo by sixty percent.
"Rent, rent, rent, rent, rent! We're not gonna pay rent! 'Cause everything is RENT!" The movie version is even more epic, because they're able to BURN THEIR EVICTION NOTICES.
I challenge you to listen to La Vie Boheme and not sing along.
The worst is trying not to dance, because if you're listening to this on the train or something...
"Christmas Bells," which was stupidly cut from the movie.
Much as this troper loves that song, it's a song that plays so much better onstage than it ever could on film, so the cut isn't really stupid. Disappointing, maybe, but not stupid.
525,600 minutes...
Have to second that one. I get a little teary every time I hear it.
Thirded. This troper first heard it as part of his sixth form choir. It. Was. Awesome. Also became this troper's favourite choir piece since he joined the school three years ago.
This troper sang what they thought was going to be the obscure One Song Glory at karaoke the other night. Wouldn't you know it the whole fucking bar knows every word to that song?!?!?
Finale B. Finale B. Not only is it an amazing medley of major themes from the rest of the musical, if you listen close, even to the recording or movie version, you can hear Angel's voice. On the stage version, Angel comes back out onstage. There's something ridiculously awesome about it— this troper still gets happy tears even thinking about it, it's that awesome.
In the alternate ending for the film, you also see Angel - the screen cuts back to the opening visual, with all of them singing into microphones onstage, and near the end of the song she walks out and joins them.
This Troper loves "I'll Cover You". Yes, both versions. I can never actually see the stage(i saw it multiple times) clearly due to overwhelming tears the second time this song comes.
"Please take me! Ooo-uuuuut to-ni-GHT! I have to go-ooo, Ooo-uuuuut to-night!"
"What You Own"? That has to be this troper's favorite song, by a slim margin, but still.
"Take Me Or Leave Me." Idina Menzel belting her mouth off is always awesome, but this song has an epic battle between two lesbian. Needless to say, awesomeness ensues.
"Halloween". Dear lord, WHY did they cut it from the movie?
Actually, I challenge you to name a song from RENT that isn't awesome.
Likewise, it is virtually impossible to listen to "You Can't Stop the Beat" from Hairspray without feeling the urge to get up and dance. (This can get quite awkward if you're driving.)
Hairspray deserves all the love it gets.
The other one I love from this is "I Can Hear the Bells." That song just makes me grin and get up and dance everytime.
"Big Blonde and Beautiful". Awesome.
There's also I Can Wait which was cut from the movie. I get chills eveytime.
[2] was this trooper's bedtime lullaby (wow, it must have been played on a cassette),and only years later did this trooper watch the film and realize the musical-geekiness of her parents.
"Luck Be a Lady" counts DOUBLE when it's sung by Marlon Brando.
Oh my god Young Frankenstein. "Frederick's Soliloquy" deserves to be on here.
So does "Life, Life" , especially the incredibly epic ending.
Newsies had some pretty rousing numbers. Carrying the Banner and Seize the Day stand out in particular.
Don't forget The World Will Know and Once and For All.
I defy you to listen to "This Is The Moment" from Jekyll and Hyde and not feel invincible.
Furthermore, "Confrontation". Jekyll is a tenor, Hyde is a baritone, and the actor sings a duet WITH HIMSELF.
This troper always had a thing for "Facade"...
Depending on the singers, Dangerous Game has the potential to be either this or incredibly narmy. However, the Robert Cucciolli and Linda Eder version is most definitely Crowning Music of Awesome.
Alive and its reprise have always been some of this troper's favorite songs in the show. Now take both songs. Combine them into one with a really freaky little interlude to bridge the gap. Add some rocking guitar. The result? Pure freaking awesome.
And we've gotten to In the Heights without mentioning "Blackout"? This and "96,000", among others, explain just why it won an award for "Best Musical."
"When my eyes darken" from the israeli play "Funeral". it's a very depresing song about a dead newborn baby who miss his living mother, but it's also kind of awesome in his on way.
Charlie Anderson has a few of these in Shenandoah, mainly "I've Heard it All Before" and "Meditation."
The Soliloquy from Carousel.
And "If I Loved You", especially the reprise, and "You'll Never Walk Alone", again especially the reprise. Both those are also prone to be tear jerkers.
Seconding "You'll Never Walk Alone". On that last reprise? Chills, every time.
The moment when Pilate finally condemns Jesus to death ("Die if you want to, you innocent puppet") and then the orchestra comes in with the beginning of the title song is quite possibly the high point of Andrew Lloyd Webber's career.
Say what you will about the Narm, but Lord of the Dance/Feet of Flames has some freaking awesome music. See: Cry of the Celts, Planet Ireland.
"Memory" from Cats. Grizabella's entire subplot is that she left the Jellicle tribe to be famous and acted like a total Jerkass. So, naturally, when she comes back, the cats don't want any part of her. "Memory" is her saying that she wants the old days back and that she was sorry for being a bitch in the most awesome way possible.
This troper has to throw in "Jellicle Songs For Jellicle Cats" (mainly for the awesome dancing) and "Mr. Mistoffeles", for the Ear Worm value.
This troper is unsure where Bill Bailey should go as a genre, but his stage performances include a lot of awesome music. Probably the best would be the in Tinsleworm, where he, with a local group of Indian musicians, perform a "Hindi Indie" version of Radiohead's "Creep".
Definitely seconding the stage version - this troper hasn't seen the movie. This troper's crowning song for the show? Two Words: "Rainbow High." Particularly when sung by the original, the queen herself, Patti Lupone. Don't believe me? Check this out. [3]
This troper has seen both, and while "Don't Cry for Me Argentina" absolutely has to be on this list, she also has to show some love for "And the Money Kept Rolling In and Out" (which Antonio Bandaras knocks out of the park in the movie).
"Come to Your Senses", especially that very long ending note.
Kristina (aka Kristina from Duvemåla) has a lot of good music, but few things can beat Gold Can Turn To Sand.
In the original Swedish version, Kristina's You Have To Be There is one of the best songs from any musical ever. Unfortunately the English translation is poor, repetitive and has little of the original lyric's emotion and angst.
Also the opening number "Hold Me, Bat Boy," "Apology to a Cow," and the London-version-exclusive "Mine, All Mine."
"Mama Who Bore Me (Reprise)" from Spring Awakening. Just. So. Amazing.
What makes many of the songs, hands down, among the best lyric writing is the simple implicit expression. So little is straightfoward yet the audience can detect its meaning.
"It's broken inside, I'm a man and a child... knocks at my piece with no keys to my soul."
"Touch Me" also has some incredible moments, especially the buildup to the climax. "Consume my wine, consume my mind..."
"I Believe" which is two minutes of non-stop harmony.
This troper finds this song takes on a whole new power when it's in context with the scene.
And "Totally Fucked" is roughly three minutes and fifteen seconds of pure cathartic awesomeness.
"Those You've Known" is the climax of the entire plot and is hauntingly beautiful. The same goes for the live performance of "The Dark I Know Well"
The German incarnation of Spring Awakening is also a powerful experience, with the almost ethereal version of "Whispering" as "Hör nür hin".
The Russian Dance from The Nutcracker Suite, with the distinction of being a Crowning Music of Awesome in a ballet!
In Béla Bartók's one-act opera Duke Bluebeard's Castle, the opening of the fifth door reveals the full extent of Bluebeard's wealth as a landowner. The accompanying power chords are so overwhelmingly awesome they had me in tears the first time she heard the piece performed.
Bertolt Brecht and Kurt Weill's Threepenny Opera gave us "Die Moritat von Mackie Messer" (The Ballad of Mack the Knife), but this troper has always been partial to "Zuhälterballade" (Pimp's Ballad). What a beautiful, slow tango. They had some amazing music in their works. All you have to do is get past the rather depressing stories. Or enjoy them together, as you really should.
In Legally BlondeThe Musical, this troper has to give this to "Ireland" and its reprise. Humor, a touch of pathos, and an actress with a big voice - exactly what this trope is made of in this troper's opinion! For a multiple person number, might I suggest "Omigod You Guys," "Chip on My Shoulder," or "Take It Like a Man"?
"So Much Better" is basically pure, gleeful, triumph and personal achievement expressed in song.
"Run, Freedom, Run!" from Urinetown is so awesome that even hostage Hope has to bounce along with it.
Cop Song is pretty epic as well. Also "Snuff That Girl". Both can be creepy as Hell when done right, and are major ear worms to boot.
The whole show is one giant CMOA moment. BUT... this troper is DISGUSTED nobody has mentioned "We're Not Sorry" yet!!! Calling the Old Man Out is awesome in itself but a bunch of angry hobos and the daughter of the Big Bad lashing out against the rich and killing them as well as the Police is just insanely awesome. Helped that when his school did the show, the end of the song had a hint of distorted electric guitar in it,
The Addams Family has some fantastic songs ("When You're An Addams", "Happy/Sad", and "Move Toward the Darkness", among many others), but the crown has to go to Alice's "Waiting", which is a scathing, hurting, vicious strike back at her neglectful husband, and it stops the show cold.
Also, the finale is utterly beautiful and uplifting, especially the orchestra in the playout. And who can forget Papageno and Papagena?
Let's just say: MOZART = King of Awesome Music!
Tanz Der Vampire has its Finale, which never fails to deeply, deeply unsettle this troper or make her want to go out and kick ass. Or both.
Oh gosh. The Finale is made of pure awesome. As are several other songs in the show, most notably "Totale Finsternis," "Carpe Noctem," and "Unstillbare Gier".
On the note of German musicals, though, let us not forget the awesome that is Elisabeth. As with Tanz Der Vampire, pretty much the entire soundtrack is made of awesome.
Team Starkid seem to have a lot of brilliant songs.
"There Ain't Nothing Like A Dick" is amazing too. Pretty good showing for a musical about walking and talking genitalia, eh?
A Very Potter Musical and A Very Potter Sequel are FULL of this trope. "Going Back To Hogwarts," "The Coolest Girl," "Voldemort Is Going Down," "Granger Danger," "Not Alone," "Harry Freakin' Potter," "No Way," "Stutter," and "Days of Summer," in particular.
Don't forget about "To Have A Home" and "Those Voices."
This troper will go ahead and deem all music in both shows as being this trope.
From Starship we have "Status Quo", "Kick It Up a Notch", "Get Back Up", "Life", "Beauty", "The Way I Do"... eff it, EVERY DANG SONG!
Don't forget Little White Lie. Watching Sami and Duder perform "It's Over Now" and totally rock it after everyone thinks they suck is just a wonderful moment.
Holy Musical Batman continues the grand tradition. "Holy Musical Batman!", "Rogues Are We", "To Be a Man", "Super Friends"... *sigh* every song. Again.
The demos of the songs as well.
Although Cole Porter in general was mentioned a bit up the page, Anything Goes deserves a special mention.
Despite the now-awkward title, Blow, Gabriel, Blow is just pure win.
13 brings us "Brand New You", which may well be the best song of the musical. All of Lucy's songs are quite nice, too.
No love for We Will Rock You? Of course being a Queen Jukebox musical they picked the best.
From The Wedding Singer, may I recommend "Saturday Night in the City", "Right in Front of Your Eyes" and "It's Your Wedding Day" and its reprise? The rest of the show's good enough, but those three are pretty fantastic. Helps that the version I saw had a really good Holly.
"Grow Old with You" was really sweet too. The version I saw had two superb vocalists who just made the song work and it was a high school production. Overall, the song is just embodies what it's like to love someone and want to marry them.
Sierra Boggess' rendition of Part of Your World in the Broadway production of The Little Mermaid. The first time I heard, chills ran up my spine when she held the note on "shore up above".
Next To Normal, it might match the implicit expression in the lyric-writing like Spring Awakening. The writing expresses so much pain.
Even their cut songs (from the Off-Broadway production) qualify!
"My Husband Makes Movies," from Nine. And while the movie seems to be considered rathermediocre, Marion Cotillard's version was simply gorgeous.
And speaking of Marion Cotillard, the sadness and neglect implicit in "My Husband Makes Movies" comes to a crescendo of bitterness and thoroughly justified rage in "Take It All." Her character's suffering at the hands of her cheating husband, who only knows how to take and not to give, is expressed via a fantasy cabaret scene in which her husband sits and watches as she performs for a club full of men who tear her clothes off. Intense, poignant scene with awesome music to boot.
To this we've come from The Consul, by Gian Carlo Menotti. Also, Afraid, Am I Afraid? from The Medium, by the same composer. Actually, pretty much all of Menotti could count.
Your Daddy's Son and Make Them Hear You from Ragtime. Beautiful and heartbreaking.
It opens with CMOA. The various groups swirling around each other, mixing, separating, then blasting out that last verse- amazing.
"She Was There", "When I Look at You" and "Where's the Girl".
Obvious, but "Into The Fire" is worth including on the list. And then there's "The Riddle": "Every Judas once loved a Jesus/ But finally, treason will seize us". DAMN. It helps when one of the singers is Terrence Mann, of course.
Seussical's Alone in the universe is pretty powerful, in particular when Horton and Jojo are both singing the chorus together- "I have wings, and I can fly, around the moon and far beyond the sky!"
Solla Sollew as well. I was in the show and sang it again on two other occasions, but that song never fails to make me sniffle a little.
Children Of Eden is Stephen Schwartz's less-loved show, but it's got a couple great numbers- "Spark of Creation", "The Hardest Part of Love", and "Lost In The Wilderness" are all excellent, but the clinchers are the A Capella harmonies in the Act One Finale and Title Song "Children of Eden" and Act Two Finale, "In the Beginning". If you do not leave the theatre sobbing and/or amazed at the talented cast, someone is doing their job horribly, horribly wrong.
"Keys/It's Alright" from Passing Strange. It starts as a ballady number, in which the main character, Youth — who's on his finding-myself world journey - has just arrived in Amsterdam and needs a place to stay, and a new friend simply hands him her house keys and says she can stay with him — and he is understandably touched. It builds into a huge explosive celebration of hope and optimism and "everything's gonna be alright", with the narrator bringing Youth's artist heroes into the song to encourage him as well:
