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Changed line(s) 69 (click to see context) from:
*** [[https://www.youtube.com/watch?v=PWq84G3tJcE "Elevation"]], the song for the [[TheCenterpieceSpectacular hair suspension act]], begins with a Music/{{Vangelis}}-style symphonic electronica intro, before morphing into a Music/DeadCanDance pastiche, completely with Music/LisaGerrard-esque {{scatting}} vocals by Camilla Bäckman.
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*** [[https://www.youtube.com/watch?v=PWq84G3tJcE "Elevation"]], the song for the [[TheCenterpieceSpectacular hair suspension act]], begins with a Music/{{Vangelis}}-style symphonic electronica intro, before morphing into a Music/DeadCanDance pastiche, completely complete with Music/LisaGerrard-esque {{scatting}} vocals by Camilla Bäckman.
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Changed line(s) 69 (click to see context) from:
*** [[https://www.youtube.com/watch?v=PWq84G3tJcE "Elevation"]], the song for the [[TheCenterpieceSpectacular hair suspension act]], begins with a Music/{{Vangelis}}-style symphonic electronica intro, before morphing into a Music/DeadCanDance pastiche, with [[BilingualBonus Finnish-sounding]] vocals by Camillla Bäckman (who hails from Finland).
to:
*** [[https://www.youtube.com/watch?v=PWq84G3tJcE "Elevation"]], the song for the [[TheCenterpieceSpectacular hair suspension act]], begins with a Music/{{Vangelis}}-style symphonic electronica intro, before morphing into a Music/DeadCanDance pastiche, completely with [[BilingualBonus Finnish-sounding]] Music/LisaGerrard-esque {{scatting}} vocals by Camillla Bäckman (who hails from Finland).Camilla Bäckman.
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Changed line(s) 346 (click to see context) from:
* Yes, it was a VampireMusical. Yes, it flopped on Broadway. But that doesn't mean that ''[[Theatre/{{Lestat}} Lestat: The Musical]]'' didn't have any awesome songs. Listen to [[EnfantTerrible Claudia's]] song, "[[https://www.youtube.com/watch?v=eT4vD0USEMM I Want More]]".
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* Yes, it was a VampireMusical. Yes, it flopped on Broadway. But that doesn't mean that ''[[Theatre/{{Lestat}} Lestat: The Musical]]'' didn't have any awesome songs. Listen to [[EnfantTerrible Claudia's]] song, "[[https://www.youtube.com/watch?v=eT4vD0USEMM I Want More]]".
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** ''Theatre/{{Luzia}}'''s main theme, "Cierra Los Ojos", in both its [[https://youtu.be/S3sTwGrmQAk live]] and [[https://youtu.be/dsWwwXkj5IY soundtrack]] renditions, is basically the SpiritualSuccessor to "Alegria".
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Changed line(s) 431,436 (click to see context) from:
* Musical/TheLastBreakfastClub: Being a JukeboxMusical, the entire score is filled with epic 80s songs.
** Don't You Forget About Me is a fun callback to the film's iconic usage of the song, and the loud synth track is exciting every time.
** Danger Zone is best known for its use in Film/TopGun. The adrenaline-fueled lyrics and guitar riffs are awesome, but its also wonderful in a meta sense. The characters singing, Andrew and Bender, have belligerent sexual tension buried deep beneath their performative masculinity, much like the [[HoYay homoerotic subtext]] throughout Top Gun.
** [[Film/BackToTheFuture Marty McFly]] sings Johnny B Goode to Film/TheBreakfastClub.
** Hazy Shade of Winter contains an awesome electric guitar track, gorgeous harmonies, and poetic lyrics. Here, the protagonists sing it while getting high.
** John Bender serenades a joint with Sweet Child of Mine by Guns N Roses
** Don't You Forget About Me is a fun callback to the film's iconic usage of the song, and the loud synth track is exciting every time.
** Danger Zone is best known for its use in Film/TopGun. The adrenaline-fueled lyrics and guitar riffs are awesome, but its also wonderful in a meta sense. The characters singing, Andrew and Bender, have belligerent sexual tension buried deep beneath their performative masculinity, much like the [[HoYay homoerotic subtext]] throughout Top Gun.
** [[Film/BackToTheFuture Marty McFly]] sings Johnny B Goode to Film/TheBreakfastClub.
** Hazy Shade of Winter contains an awesome electric guitar track, gorgeous harmonies, and poetic lyrics. Here, the protagonists sing it while getting high.
** John Bender serenades a joint with Sweet Child of Mine by Guns N Roses
to:
* Musical/TheLastBreakfastClub: Being a JukeboxMusical, the ''Theatre/TheLastBreakfastClub'' has an entire score is filled with epic 80s songs.
**Don't "Don't You Forget About Me Me" is a fun callback to the film's iconic usage of the song, and the loud synth track is exciting every time.
**Danger Zone "Danger Zone" is best known for its use in Film/TopGun.''Film/TopGun''. The adrenaline-fueled lyrics and guitar riffs are awesome, but its also wonderful in a meta sense. The characters singing, Andrew and Bender, have belligerent sexual tension buried deep beneath their performative masculinity, much like the [[HoYay homoerotic subtext]] throughout Top Gun.''Top Gun''.
** [[Film/BackToTheFuture Marty McFly]] singsJohnny "Johnny B Goode Goode" to Film/TheBreakfastClub.
**Hazy "Hazy Shade of Winter Winter" contains an awesome electric guitar track, gorgeous harmonies, and poetic lyrics. Here, the protagonists sing it while getting high.
** John Bender serenades a joint withSweet "Sweet Child of Mine Mine" by Guns N RosesRoses.
**
**
** [[Film/BackToTheFuture Marty McFly]] sings
**
** John Bender serenades a joint with
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* Musical/TheLastBreakfastClub: Being a JukeboxMusical, the entire score is filled with epic 80s songs.
** Don't You Forget About Me is a fun callback to the film's iconic usage of the song, and the loud synth track is exciting every time.
** Danger Zone is best known for its use in Film/TopGun. The adrenaline-fueled lyrics and guitar riffs are awesome, but its also wonderful in a meta sense. The characters singing, Andrew and Bender, have belligerent sexual tension buried deep beneath their performative masculinity, much like the [[HoYay homoerotic subtext]] throughout Top Gun.
** [[Film/BackToTheFuture Marty McFly]] sings Johnny B Goode to Film/TheBreakfastClub.
** Hazy Shade of Winter contains an awesome electric guitar track, gorgeous harmonies, and poetic lyrics. Here, the protagonists sing it while getting high.
** John Bender serenades a joint with Sweet Child of Mine by Guns N Roses
** Don't You Forget About Me is a fun callback to the film's iconic usage of the song, and the loud synth track is exciting every time.
** Danger Zone is best known for its use in Film/TopGun. The adrenaline-fueled lyrics and guitar riffs are awesome, but its also wonderful in a meta sense. The characters singing, Andrew and Bender, have belligerent sexual tension buried deep beneath their performative masculinity, much like the [[HoYay homoerotic subtext]] throughout Top Gun.
** [[Film/BackToTheFuture Marty McFly]] sings Johnny B Goode to Film/TheBreakfastClub.
** Hazy Shade of Winter contains an awesome electric guitar track, gorgeous harmonies, and poetic lyrics. Here, the protagonists sing it while getting high.
** John Bender serenades a joint with Sweet Child of Mine by Guns N Roses
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** "At the Ballet" sees Sheila, Maggie, and Bebe reminiscing over their unhappy childhoods, and how ballet allowed them to escape into a world away from parents who were some combination of emotionally abusive, absent, or serially adulterous. Maggie in particular really gets to strut her stuff as a singer; if she really nails the high E, the applause is always thunderous.
** "Montage" gives us a series of rapid-fire character portraits of every dancer except Paul (who instead gets an extended monologue about three-quarters of the way through the play) in a masterpiece of counterpoint and vocal back-and-forth, with the spotlight shining for just long enough on each dancer to give us an idea of who they are and what drives them.
** "Montage" gives us a series of rapid-fire character portraits of every dancer except Paul (who instead gets an extended monologue about three-quarters of the way through the play) in a masterpiece of counterpoint and vocal back-and-forth, with the spotlight shining for just long enough on each dancer to give us an idea of who they are and what drives them.
to:
** "At the Ballet" sees Sheila, Maggie, and Bebe reminiscing over their unhappy childhoods, and how ballet allowed them to escape into a world away from parents who were some combination of emotionally abusive, absent, or serially adulterous. Maggie in particular really gets to strut her stuff as a singer; if she really nails the high E, the applause is always thunderous.
** "Montage" (AKA "Hello Twelve, Hello Thirteen, Hello Love") gives us a series of rapid-fire character portraits of every dancer except Paul (who instead gets an extended monologue about three-quarters of the way through the play) in a masterpiece of counterpoint and vocal back-and-forth, with the spotlight shining for just long enough on each dancer to give us an idea of who they are and what drives them.
** "Montage" (AKA "Hello Twelve, Hello Thirteen, Hello Love") gives us a series of rapid-fire character portraits of every dancer except Paul (who instead gets an extended monologue about three-quarters of the way through the play) in a masterpiece of counterpoint and vocal back-and-forth, with the spotlight shining for just long enough on each dancer to give us an idea of who they are and what drives them.
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** The musical adaptation of ''Literature/TheScarletSails'', composed by Maksim Dunayevsky (of ''Film/DArtagnanAndThreeMusketeers'' fame).
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** The musical adaptation of ''Literature/TheScarletSails'', composed by Maksim Dunayevsky (of ''Film/DArtagnanAndThreeMusketeers'' fame).
** "[[https://youtube.com/watch?v=GC9pBM5KppA You Are Not Like the Others]]", the VillainLoveSong of Menners Jr. The tender music of the reprises, which embodies his longing for Assol and for the world of hope, purity and beauty that she represents, is just gorgeous. No wonder it makes fans swoon.
** "[[https://youtube.com/watch?v=xd7eiPjars4 On the Wings of Scarlet Sails]]", the beautifully heartwarming and uplifting final chorus.
** "[[https://youtube.com/watch?v=GC9pBM5KppA You Are Not Like the Others]]", the VillainLoveSong of Menners Jr. The tender music of the reprises, which embodies his longing for Assol and for the world of hope, purity and beauty that she represents, is just gorgeous. No wonder it makes fans swoon.
** "[[https://youtube.com/watch?v=xd7eiPjars4 On the Wings of Scarlet Sails]]", the beautifully heartwarming and uplifting final chorus.
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* ''Theatre/AChorusLine'' won a double armload of Tonys and a Pulitzer and set a (since broken) record for longest run on Broadway for many reasons, one of which is its awesome score.
** A MinskyPickup and choreographer Zach yelling "AGAIN!" cues the outstanding opening number, "I Hope I Get It". As well as introducing multiple {{Recurring Riff}}s, the song sets the tone of the musical as the dancers express their anxiety over the chorus line audition; several of them mention that they are desperate for work, any work, while they all angst over mistakes in the various dance combinations and are convinced they've already blown their chances. But eventually, seventeen of them are chosen for the next phase of the audition, and the "I really need this job" melody takes centre stage, now sounding much more hopeful.
** "At the Ballet" sees Sheila, Maggie, and Bebe reminiscing over their unhappy childhoods, and how ballet allowed them to escape into a world away from parents who were some combination of emotionally abusive, absent, or serially adulterous. Maggie in particular really gets to strut her stuff as a singer; if she really nails the high E, the applause is always thunderous.
** "Montage" gives us a series of rapid-fire character portraits of every dancer except Paul (who instead gets an extended monologue about three-quarters of the way through the play) in a masterpiece of counterpoint and vocal back-and-forth, with the spotlight shining for just long enough on each dancer to give us an idea of who they are and what drives them.
** "Dance: Ten; Looks: Three", AKA "Tits and Ass", is the play's comedy highlight, as Val proudly boasts about how much better her career and sex life have been since she had surgery on her... well, the clue is in the title.
** "One" may be deliberately stylistically at odds with the rest of the score, as it is the only number intended for the ShowWithinAShow, and it may reduce the wonderfully unique individual dancers we have come to know over two hours to interchangeable smiling faces in identical shiny gold suits and hats, but it's such a high-energy number that it's hard to resist its charm as the chorus members talk up how the (never seen) female lead lights up a room from the moment she walks into it, especially when the cast gathers on stage for the finale to show us how talented they really are.
** "What I Did for Love" sees the dancers, rattled by Paul's aggravation of a potential CareerEndingInjury, dodging the question of what they will do with their lives when they can no longer dance. Instead, they focus on the hard work and sacrifice they have undertaken, all for the love of dancing, once again shining a light on how all of the dancers on a stage, even the anonymous chorus members, have their own stories to tell about how hard they have worked to be where they are.
** A MinskyPickup and choreographer Zach yelling "AGAIN!" cues the outstanding opening number, "I Hope I Get It". As well as introducing multiple {{Recurring Riff}}s, the song sets the tone of the musical as the dancers express their anxiety over the chorus line audition; several of them mention that they are desperate for work, any work, while they all angst over mistakes in the various dance combinations and are convinced they've already blown their chances. But eventually, seventeen of them are chosen for the next phase of the audition, and the "I really need this job" melody takes centre stage, now sounding much more hopeful.
** "At the Ballet" sees Sheila, Maggie, and Bebe reminiscing over their unhappy childhoods, and how ballet allowed them to escape into a world away from parents who were some combination of emotionally abusive, absent, or serially adulterous. Maggie in particular really gets to strut her stuff as a singer; if she really nails the high E, the applause is always thunderous.
** "Montage" gives us a series of rapid-fire character portraits of every dancer except Paul (who instead gets an extended monologue about three-quarters of the way through the play) in a masterpiece of counterpoint and vocal back-and-forth, with the spotlight shining for just long enough on each dancer to give us an idea of who they are and what drives them.
** "Dance: Ten; Looks: Three", AKA "Tits and Ass", is the play's comedy highlight, as Val proudly boasts about how much better her career and sex life have been since she had surgery on her... well, the clue is in the title.
** "One" may be deliberately stylistically at odds with the rest of the score, as it is the only number intended for the ShowWithinAShow, and it may reduce the wonderfully unique individual dancers we have come to know over two hours to interchangeable smiling faces in identical shiny gold suits and hats, but it's such a high-energy number that it's hard to resist its charm as the chorus members talk up how the (never seen) female lead lights up a room from the moment she walks into it, especially when the cast gathers on stage for the finale to show us how talented they really are.
** "What I Did for Love" sees the dancers, rattled by Paul's aggravation of a potential CareerEndingInjury, dodging the question of what they will do with their lives when they can no longer dance. Instead, they focus on the hard work and sacrifice they have undertaken, all for the love of dancing, once again shining a light on how all of the dancers on a stage, even the anonymous chorus members, have their own stories to tell about how hard they have worked to be where they are.
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Wick Migration
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%%** ''Theatre/{{Company}}'' - [[TearJerker "Being Alive"]] and "Ladies Who Lunch".
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%%** ''Theatre/{{Company}}'' ''[[Theatre/CompanySondheim Company]]'' - [[TearJerker "Being Alive"]] and "Ladies Who Lunch".
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----
[[index]]
* ''AwesomeMusic/DearEvanHansen''
* ''AwesomeMusic/{{Hadestown}}''
* ''AwesomeMusic/{{Hamilton}}''
* ''AwesomeMusic/PokemonLive''
* ''AwesomeMusic/{{Waitress}}''
[[/index]]
----
[[index]]
* ''AwesomeMusic/DearEvanHansen''
* ''AwesomeMusic/{{Hadestown}}''
* ''AwesomeMusic/{{Hamilton}}''
* ''AwesomeMusic/PokemonLive''
* ''AwesomeMusic/{{Waitress}}''
[[/index]]
----
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Changed line(s) 410,411 (click to see context) from:
* ''Theatre/WesterosAnAmericanMusical'': When a play's songs are all parodies of songs from ''Theatre/{{Hamilton}}'', which has its own set of entries for the trope, it has a head start in having good music. The music is also frequently quite fitting for whichever part of the story is being being told, which can make the new lyrics memorable in their own right.
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* ''Theatre/WesterosAnAmericanMusical'': When a play's songs are all parodies of songs from ''Theatre/{{Hamilton}}'', which has its own set of entries for the trope, it has a head start in having good music. The music is also frequently quite fitting for whichever part of the story is being being told, which can make the new lyrics memorable in their own right.
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*** [[https://www.youtube.com/watch?v=8uxHm_iK6ik "The Change"]], from the Swiss rings and bungees act at the show's halfway point, has one hell of an EarWorm chorus that will get the audience singing along.
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*** [[https://www.youtube.com/watch?v=8uxHm_iK6ik "The Change"]], from the Swiss rings and bungees act at the show's halfway point, has one hell of an EarWorm chorus that will get the audience singing along.
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** [[https://www.youtube.com/watch?v=bOtMizMQ6oM Dentist]] is a total Earworm of a VillainSong and one of the most memorable songs.
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** [[https://www.youtube.com/watch?v=bOtMizMQ6oM Dentist]] is a total Earworm of a VillainSong and one of the most memorable songs.
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** [[https://www.youtube.com/watch?v=B2Rd7Cpx-Ss "96,000".]] Warning: clicking on the link may result in spontaneous dancing and [[EarWorm singing the song to yourself for weeks on end]].
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** [[https://www.youtube.com/watch?v=B2Rd7Cpx-Ss "96,000".]] Warning: clicking on the link may result in spontaneous dancing and [[EarWorm singing the song to yourself for weeks on end]].end.
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* ''Theatre/WesterosAnAmericanMusical'': When a play's songs are all parodies of songs from ''Theatre/{{Hamilton}}'', which has its own set of entries for the trope, it has a head start in having good music. The music is also frequently quite fitting for whichever part of the story is being being told, which can make the new lyrics memorable in their own right.
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Changed line(s) 291 (click to see context) from:
* ''Theatre/{{Thirteen}}'' brings us "Brand New You", which may well be the best song of the musical. All of [[Creator/LizGillies Lucy]]'s songs are quite nice, too.
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* ''Theatre/{{Thirteen}}'' brings us "Brand New You", which may well be the best song of the musical. All of [[Creator/LizGillies [[Creator/ElizabethGillies Lucy]]'s songs are quite nice, too.
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This page is NOT about you. NEVER use first person voice when writing for the wiki. Ever. This entry is also full of formatting mistakes.
Changed line(s) 145 (click to see context) from:
** Skid Row is one of the catchiest and (ironically enough) to me one of the most motivating songs in musical theatre, up there with One Day More and Do you Hear the People sing from Les Misérables. It's just stunning, and the crescendo that happens before Seymour's part (which is extremely catchy) makes that segment even better).
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** Skid Row "Skid Row" is one of the catchiest and (ironically enough) to me one of the most motivating songs in musical theatre, up there with One "One Day More More" and Do "Do you Hear the People sing Sing" from Les Misérables. ''Les Misérables''. It's just stunning, and the crescendo that happens before Seymour's part (which is extremely catchy) makes that segment even better).better.
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** Skid Row is one of the catchiest and (ironically enough) to me one of the most motivating songs in musical theatre, up there with One Day More and Do you Hear the People sing from Les Misérables. It's just stunning, and the crescendo that happens before Seymour's part (which is extremely catchy) makes that segment even better).
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** "[[https://www.youtube.com/watch?v=zg0oy53kpUw All That Jazz]]", a song ''so awesome'' that Creator/CatherineZetaJones, originally approached for the leading role of Roxie Hart, asked to play Velma Kelly instead -- ''just so she could sing that song''.
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Outside certain scientific contexts, "utilize" and "use" are complete synonyms. The difference is that "use" is three letters long and "utilize" is seven. Brevity is good.
** ''Crystal'' is their first non-artist-specific show to use covers of pop hits, which are surprisingly well-executed and integrated into the story. Exhibit A: Ariane Moffatt's rendition of Music/{{Sia}}'s [[https://www.youtube.com/watch?v=SD8lXciUUSY "Chandelier"]] during the swinging trapeze number.
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** ''Crystal'' is their first non-artist-specific show to utilize covers of pop hits, which are surprisingly well-executed and integrated into the story. Exhibit A: Ariane Moffatt's rendition of Music/{{Sia}}'s [[https://www.youtube.com/watch?v=SD8lXciUUSY "Chandelier"]] during the swinging trapeze number.
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** ''Crystal'' is their first non-artist-specific show to utilize covers of pop hits, which are surprisingly well-executed and integrated into the story. Exhibit A: Ariane Moffatt's rendition of Music/{{Sia}}'s [[https://www.youtube.com/watch?v=SD8lXciUUSY "Chandelier"]] during the swinging trapeze number.
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%%** "[[HeelFaceTurn In.]] [[EverythingsSquishierWithCephalopods The.]] [[NaughtyTentacles Arms".]]
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%%** "[[HeelFaceTurn In.]] [[EverythingsSquishierWithCephalopods The.]] [[NaughtyTentacles Arms".]]
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Changed line(s) 283 (click to see context) from:
%%** ''WebVideo/HolyMusicalBatman'' continues the grand tradition. "Holy Musical Batman!", "Rogues Are We", "[[ClusterFBomb To Be a Man]]", "Super Friends"... *sigh* every song. Again. The demos of the songs as well.
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%%** ''WebVideo/HolyMusicalBatman'' ''Theatre/HolyMusicalBatman'' continues the grand tradition. "Holy Musical Batman!", "Rogues Are We", "[[ClusterFBomb To Be a Man]]", "Super Friends"... *sigh* every song. Again. The demos of the songs as well.
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Chess is not part of The Fantasticks.
Changed line(s) 406 (click to see context) from:
** ''Theatre/{{Chess}}'' has the ten-minute extravaganza known as "[[https://youtu.be/LFMWKZ_QChc Endgame]]". The first two minutes feature a choir that [[EtherealChoir sounds like it arrived from the depths of Hell]], with everything after that point growing even more intense from there.
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Changed line(s) 284 (click to see context) from:
* Music/ColePorter's ''Music/AnythingGoes'' deserves a special mention.
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* Music/ColePorter's ''Music/AnythingGoes'' ''Theatre/AnythingGoes'' deserves a special mention.
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* ''Nine'':
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* ''Nine'':''Theatre/{{Nine}}'':
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Fixed formatting
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** When Theatre/AFunnyThingHappenedOnTheWayToTheForum was struggling with its out-of-town tryouts, Sondheim was called upon to replace the opening number "Love is in the Air" with something that better fit the farcical tone of the show. The result, "Comedy Tonight", helped save the show and is one of the most infectious introductions a musical could ask for.
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** When Theatre/AFunnyThingHappenedOnTheWayToTheForum ''Theatre/AFunnyThingHappenedOnTheWayToTheForum'' was struggling with its out-of-town tryouts, Sondheim was called upon to replace the opening number "Love is in the Air" with something that better fit the farcical tone of the show. The result, "Comedy Tonight", helped save the show and is one of the most infectious introductions a musical could ask for.
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** Theatre/{{Chess}} has the ten-minute extravaganza known as "[[https://youtu.be/LFMWKZ_QChc Endgame]]". The first two minutes feature a choir that [[EtherealChoir sounds like it arrived from the depths of Hell]], with everything after that point growing even more intense from there.
to:
** Theatre/{{Chess}} ''Theatre/{{Chess}}'' has the ten-minute extravaganza known as "[[https://youtu.be/LFMWKZ_QChc Endgame]]". The first two minutes feature a choir that [[EtherealChoir sounds like it arrived from the depths of Hell]], with everything after that point growing even more intense from there.
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** When ''A Funny Thing Happened on the Way to the Forum'' was struggling with its out-of-town tryouts, Sondheim was called upon to replace the opening number "Love is in the Air" with something that better fit the farcical tone of the show. The result, "Comedy Tonight", helped save the show and is one of the most infectious introductions a musical could ask for.
to:
** When ''A Funny Thing Happened on the Way to the Forum'' Theatre/AFunnyThingHappenedOnTheWayToTheForum was struggling with its out-of-town tryouts, Sondheim was called upon to replace the opening number "Love is in the Air" with something that better fit the farcical tone of the show. The result, "Comedy Tonight", helped save the show and is one of the most infectious introductions a musical could ask for.
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a
Changed line(s) 322 (click to see context) from:
** "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 TitleSong "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''.
to:
** "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 TitleSong 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''.
