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* Pseudolous and Gymnasia in ''Theatre/AFunnyThingHappenedOnTheWayToTheForum''. One look to the CuteMute, and Pseudolous is already hopelessly in love to the point of [[spoiler: risking to screw the plan intended to earn his freedom]]. Gymnasia herself is shown as clearly impressed and flattered by meeting someone actually able to understand that her frantic pantomimes are an highly complex and organized [[HandSignals sign language]].
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* In ''Theatre/{{Hamilton}}'' Eliza falls for Hamilton the moment she first lays eyes on him. Played with later on, however; since although Alexander and Eliza do end up loving each other, the play seems to imply that did not stop Alexander from flirting with other women and possibly finding at times her sister, Angelica, more attractive than her.
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* ''Theatre/{{Hadestown}}'' so much so on Orpheus part when he first lays eyes on Eurydice, that his first words to her are a marriage proposal.
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** In the Creator/TakarazukaRevue version, Death sings "Ai to Shi no Rondo" (The Rondo of Love and Death) about how Elisabeth is a simple human girl and yet she makes his heart tremble, and that he's willing to pursue her until he wins her love. (The song eventually made its way back to the German production as "Rondo - Schwarzer Prinz" (Rondo - Black Prince), a duet with Death expressing the same sentiment, but Sisi is only curious about him and feels safe with him rather than being actively in love.
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** In the Creator/TakarazukaRevue version, Death sings "Ai to Shi no Rondo" (The Rondo of Love and Death) about how Elisabeth is a simple human girl and yet she makes his heart tremble, and that he's willing to pursue her until he wins her love. (The The song eventually made its way back to the German production as "Rondo - Schwarzer Prinz" (Rondo - Black Prince), a duet with Death expressing the same sentiment, but Sisi is only curious about him and feels safe with him rather than being actively in love.
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* Both Franz Joseph and [[GrimReaper Death]] fall for the young, lively titular Princess Theatre/{{Elisabeth}} on their first meetings.
** In the Creator/TakarazukaRevue version, Death sings "Ai to Shi no Rondo" (The Rondo of Love and Death) about how Elisabeth is a simple human girl and yet she makes his heart tremble, and that he's willing to pursue her until he wins her love. (The song eventually made its way back to the German production as "Rondo - Schwarzer Prinz" (Rondo - Black Prince), a duet with Death expressing the same sentiment, but Sisi is only curious about him and feels safe with him rather than being actively in love.
** Franz Joseph was intended to marry Elisabeth's older, more well-behaved sister Hélène, but became enchanted with the younger princess.
** In the Creator/TakarazukaRevue version, Death sings "Ai to Shi no Rondo" (The Rondo of Love and Death) about how Elisabeth is a simple human girl and yet she makes his heart tremble, and that he's willing to pursue her until he wins her love. (The song eventually made its way back to the German production as "Rondo - Schwarzer Prinz" (Rondo - Black Prince), a duet with Death expressing the same sentiment, but Sisi is only curious about him and feels safe with him rather than being actively in love.
** Franz Joseph was intended to marry Elisabeth's older, more well-behaved sister Hélène, but became enchanted with the younger princess.
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* ''[[NatashaPierreAndTheGreatCometOf1812'' has Natasha Rostova experiencing this twice in the musical——in ''No One Else'' she sings about how when she first saw Andrey, she fell in love with him. Later, when she prepares to elope with Anatole, Sonya voices her frustration:
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* ''[[NatashaPierreAndTheGreatCometOf1812'' ''Theatre/NatashaPierreAndTheGreatCometOf1812'' has Natasha Rostova experiencing this twice in the musical——in ''No One Else'' she sings about how when she first saw Andrey, she fell in love with him. Later, when she prepares to elope with Anatole, Sonya voices her frustration:
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* ''Natasha, Pierre, and the Great Comet of 1812'' has Natasha Rostova experiencing this twice in the musical——in ''No One Else'' she sings about how when she first saw Andrey, she fell in love with him. Later, when she prepares to elope with Anatole, Sonya voices her frustration:
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* ''Natasha, Pierre, and the Great Comet of 1812'' ''[[NatashaPierreAndTheGreatCometOf1812'' has Natasha Rostova experiencing this twice in the musical——in ''No One Else'' she sings about how when she first saw Andrey, she fell in love with him. Later, when she prepares to elope with Anatole, Sonya voices her frustration:
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* [[DiscussedTrope Discussed]] in the ''Theatre/GuysAndDolls'' song "I'll Know." Uptight missionary Sarah Brown and freewheeling gambler Sky Masterson both believe this will happen to them one day; Sarah because she has planned exactly what her dream man will be like, and Sky because his dream girl will be such a perfect match that it will obviously be apparent. [[spoiler: Of course, they fall for each other.]]
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* Played sort-of straight in ''Theatre/SweeneyToddTheDemonBarberOfFleetStreet'' between Johanna and Anthony, the latter of whom expresses his feelings repeatedly in a ''supposedly'' romantic song that [[LyricalDissonance sounds a lot]] like [[StalkerWithACrush something John Hinckley Jr. would sing to Jodie Foster]]. This ''is'' Music/StephenSondheim, so the ridiculousness is also parodied in "Kiss Me", a song about the two running away from Judge Turpin before he [[WifeHusbandry forces Johanna into marriage]]. This little ditty features such lines as "I knew I'd be with you one day, even not knowing who you were" with Johanna's expression becoming momentarily confused as to how precisely this guy is the love of her life when she's only just met him, a fact underlined by the later line that clearly states (even though they're eloping) ''that she doesn't even know his name''.
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* Played sort-of straight in ''Theatre/SweeneyToddTheDemonBarberOfFleetStreet'' between Johanna and Anthony, the latter of whom expresses his feelings repeatedly in a ''supposedly'' romantic song that [[LyricalDissonance sounds a lot]] like [[StalkerWithACrush something John Hinckley Jr. would sing to Jodie Foster]]. This ''is'' Music/StephenSondheim, Music/StephenSondheim (who would indeed later write a song from Hinckley's POV in ''Theatre/{{Assassins}}''), so the ridiculousness is also parodied in "Kiss Me", a song about the two running away from Judge Turpin before he [[WifeHusbandry forces Johanna into marriage]]. This little ditty features such lines as "I knew I'd be with you one day, even not knowing who you were" with Johanna's expression becoming momentarily confused as to how precisely this guy is the love of her life when she's only just met him, a fact underlined by the later line that clearly states (even though they're eloping) ''that she doesn't even know his name''.
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* Happens to Tony and Maria at the dance in ''Theatre/WestSideStory''. Not surprising given it is a SettingUpdate of ''Thatre/RomeoAndJuliet''.
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* Happens to Tony and Maria at the dance in ''Theatre/WestSideStory''. Not surprising given it is a SettingUpdate of ''Thatre/RomeoAndJuliet''.''Theatre/RomeoAndJuliet''.
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* Although it's a staple of the original fairytale, it's perhaps even ''more'' pronounced in the Creator/RodgersAndHammerstein musical of ''Film/{{Cinderella}}'' - in the 1957 version, Jon Cypher looks like he's just been hit with a very large truck, and Paolo Montalban in the '97 edition looks like the floor has just dropped out from underneath him. Somehow, both of them actually manage to make it believable, too. The 1960's version averts this though.
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* Although it's a staple of the original fairytale, it's perhaps even ''more'' pronounced in the Creator/RodgersAndHammerstein musical of ''Film/{{Cinderella}}'' ''Theatre/CinderellaRodgersAndHammerstein'' - in the 1957 version, Jon Cypher looks like he's just been hit with a very large truck, and Paolo Montalban in the '97 edition looks like the floor has just dropped out from underneath him. Somehow, both of them actually manage to make it believable, too. The 1960's version averts this though.
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There’s interpretation in Johanna being practical, and I’ve seen productions where this is definitely the case and productions where nobody would draw that conclusion.
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** Under the circumstances, Johanna is being fairly practical. Anthony offers her a way out of marrying Judge Turpin, and she accepts it. After all, she doesn't have a lot of options. Besides, Anthony is quite possibly the first young man she's ever met. Naturally she's interested in him. Her desperation, loneliness, and curiosity might not equal love; she might be dressing up her feelings to make the best of a less-than-ideal situation.
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** Under the circumstances, Johanna is being fairly practical. Anthony offers her a way out of marrying Judge Turpin, and she accepts it. After all, she doesn't have a lot of options. Besides, Anthony is quite possibly the first young man she's ever met. Naturally she's interested in him. Her desperation, loneliness, and curiosity might not equal love; she might be dressing up her feelings to make the best of a less-than-ideal situation. Whether she’s actually in love or knowingly taking advantage an opportunity can really rely on the performance choices of the actress playing the role.
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* Played sort-of straight in ''Theatre/SweeneyToddTheDemonBarberOfFleetStreet'' between Johanna and Anthony, the latter of whom expresses his feelings repeatedly in a ''supposedly'' romantic song that [[LyricalDissonance sounds a lot]] like [[StalkerWithACrush something John Hinckley Jr. would sing to Jodie Foster]]. This ''is'' StephenSondheim, so the ridiculousness is also parodied in "Kiss Me", a song about the two running away from Judge Turpin before he [[WifeHusbandry forces Johanna into marriage]]. This little ditty features such lines as "I knew I'd be with you one day, even not knowing who you were" with Johanna's expression becoming momentarily confused as to how precisely this guy is the love of her life when she's only just met him, a fact underlined by the later line that clearly states (even though they're eloping) ''that she doesn't even know his name''.
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* Played sort-of straight in ''Theatre/SweeneyToddTheDemonBarberOfFleetStreet'' between Johanna and Anthony, the latter of whom expresses his feelings repeatedly in a ''supposedly'' romantic song that [[LyricalDissonance sounds a lot]] like [[StalkerWithACrush something John Hinckley Jr. would sing to Jodie Foster]]. This ''is'' StephenSondheim, Music/StephenSondheim, so the ridiculousness is also parodied in "Kiss Me", a song about the two running away from Judge Turpin before he [[WifeHusbandry forces Johanna into marriage]]. This little ditty features such lines as "I knew I'd be with you one day, even not knowing who you were" with Johanna's expression becoming momentarily confused as to how precisely this guy is the love of her life when she's only just met him, a fact underlined by the later line that clearly states (even though they're eloping) ''that she doesn't even know his name''.
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* ''MeAndMyDick'' has a subversion. Dick and Miss Cooter fall in love at first touch when Joey and Sally hug too close.
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* ''MeAndMyDick'' ''Theatre/MeAndMyDick'' has a subversion. Dick and Miss Cooter fall in love at first touch when Joey and Sally hug too close.
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* ''Theatre/RomeoAndJuliet'' are perhaps the most famous example. Also {{invoked}}, as both characters are teenagers and would likely qualify more as PuppyLove, but the FeudingFamilies turn them into StarCrossedLovers.
* In ''Theatre/MeasureForMeasure'', this happens to the antagonist, Angelo, after he first meets the protagonist, Isabella.
* More happily, in ''Theatre/AsYouLikeIt'', Orlando and Rosalind, and later Oliver and Celia, fall in love at first sight. The trope gets [[LampshadeHanging lampshaded]] and [[DeconstructedTrope even deconstructed]], but it's ultimately shown in a positive light.
* In ''Theatre/TheTamingOfTheShrew'', [[BetaCouple Lucentio falls in love with Bianca]] at first sight. His servant, Tranio, [[LampshadeHanging lampshades]] it.
-->"I pray, sir, tell me, is it possible\\
That love should of a sudden take such hold?"
* In ''Theatre/LesMiserables'', Marius and Cosette fall in love when Marius, chasing after Eponine, alternately walks into Cosette or knocks her basket off her arm. "I didn't see you there, forgive me," might be the best pickup line ever because suddenly both of them are in love with each other and manage to sing several songs about it before discovering what the other's name is.
* Played sort-of straight in ''Theatre/SweeneyToddTheDemonBarberOfFleetStreet'' between Johanna and Anthony, the latter of whom expresses his feelings repeatedly in a ''supposedly'' romantic song that [[LyricalDissonance sounds a lot]] like [[StalkerWithACrush something John Hinckley Jr. would sing to Jodie Foster]]. This ''is'' StephenSondheim, so the ridiculousness is also parodied in "Kiss Me", a song about the two running away from Judge Turpin before he [[WifeHusbandry forces Johanna into marriage]]. This little ditty features such lines as "I knew I'd be with you one day, even not knowing who you were" with Johanna's expression becoming momentarily confused as to how precisely this guy is the love of her life when she's only just met him, a fact underlined by the later line that clearly states (even though they're eloping) ''that she doesn't even know his name''.
** Under the circumstances, Johanna is being fairly practical. Anthony offers her a way out of marrying Judge Turpin, and she accepts it. After all, she doesn't have a lot of options. Besides, Anthony is quite possibly the first young man she's ever met. Naturally she's interested in him. Her desperation, loneliness, and curiosity might not equal love; she might be dressing up her feelings to make the best of a less-than-ideal situation.
** The Judge Turpin falls in ''lust'' at first sight for Lucy.
* Although it's a staple of the original fairytale, it's perhaps even ''more'' pronounced in the Creator/RodgersAndHammerstein musical of ''Film/{{Cinderella}}'' - in the 1957 version, Jon Cypher looks like he's just been hit with a very large truck, and Paolo Montalban in the '97 edition looks like the floor has just dropped out from underneath him. Somehow, both of them actually manage to make it believable, too. The 1960's version averts this though.
* Receives a TakeThat in ''Theatre/CyranoDeBergerac'':
-->'''Roxane:''' Well, I love him. That is all Oh--and I never saw him anywhere except the ''Comédie''.\\
'''Cyrano:''' You have never spoken?\\
'''Roxane:''' Only our eyes.\\
'''Cyrano:''' Why, then, how do you know?\\
'''Roxane:''' ... I know.\\
...\\
'''Cyrano:''' So soon! So soon we lose our hearts! But, my dear child ... You, who love only words, wit, the grand manner -- why, for all you know, the man may be a savage, or a fool.\\
'''Roxane:''' His curls are like a hero from D'Urfé.\\
'''Cyrano:''' His mind may be as curly as his hair.\\
'''Roxane:''' Not with such eyes. I read his soul in them.\\
'''Cyrano:''' Yes, [[SarcasmMode all our souls are written in our eyes!]]
* ''MeAndMyDick'' has a subversion. Dick and Miss Cooter fall in love at first touch when Joey and Sally hug too close.
* Happens to Tony and Maria at the dance in ''Theatre/WestSideStory''. Not surprising given it is a SettingUpdate of ''Thatre/RomeoAndJuliet''.
* ''Theatre/ShowBoat'' has Ravenal and Magnolia meeting and singing a love song during the first scene, though she's shy about it and he conveniently pretends that he's only acting. Her timely but winsome interruption of his solo number, "Where's the Mate for Me?", promises quite enough.
* ''Natasha, Pierre, and the Great Comet of 1812'' has Natasha Rostova experiencing this twice in the musical——in ''No One Else'' she sings about how when she first saw Andrey, she fell in love with him. Later, when she prepares to elope with Anatole, Sonya voices her frustration:
--> ''But I can't believe what I don't understand: how you loved one man a whole year, and suddenly——you've only known him ''three days'', Natasha, you're joking!''
** Averted by her eventual romance and husband, Pierre Bezukov, whom she has known since childhood but never considered a romantic prospect.
----
* In ''Theatre/MeasureForMeasure'', this happens to the antagonist, Angelo, after he first meets the protagonist, Isabella.
* More happily, in ''Theatre/AsYouLikeIt'', Orlando and Rosalind, and later Oliver and Celia, fall in love at first sight. The trope gets [[LampshadeHanging lampshaded]] and [[DeconstructedTrope even deconstructed]], but it's ultimately shown in a positive light.
* In ''Theatre/TheTamingOfTheShrew'', [[BetaCouple Lucentio falls in love with Bianca]] at first sight. His servant, Tranio, [[LampshadeHanging lampshades]] it.
-->"I pray, sir, tell me, is it possible\\
That love should of a sudden take such hold?"
* In ''Theatre/LesMiserables'', Marius and Cosette fall in love when Marius, chasing after Eponine, alternately walks into Cosette or knocks her basket off her arm. "I didn't see you there, forgive me," might be the best pickup line ever because suddenly both of them are in love with each other and manage to sing several songs about it before discovering what the other's name is.
* Played sort-of straight in ''Theatre/SweeneyToddTheDemonBarberOfFleetStreet'' between Johanna and Anthony, the latter of whom expresses his feelings repeatedly in a ''supposedly'' romantic song that [[LyricalDissonance sounds a lot]] like [[StalkerWithACrush something John Hinckley Jr. would sing to Jodie Foster]]. This ''is'' StephenSondheim, so the ridiculousness is also parodied in "Kiss Me", a song about the two running away from Judge Turpin before he [[WifeHusbandry forces Johanna into marriage]]. This little ditty features such lines as "I knew I'd be with you one day, even not knowing who you were" with Johanna's expression becoming momentarily confused as to how precisely this guy is the love of her life when she's only just met him, a fact underlined by the later line that clearly states (even though they're eloping) ''that she doesn't even know his name''.
** Under the circumstances, Johanna is being fairly practical. Anthony offers her a way out of marrying Judge Turpin, and she accepts it. After all, she doesn't have a lot of options. Besides, Anthony is quite possibly the first young man she's ever met. Naturally she's interested in him. Her desperation, loneliness, and curiosity might not equal love; she might be dressing up her feelings to make the best of a less-than-ideal situation.
** The Judge Turpin falls in ''lust'' at first sight for Lucy.
* Although it's a staple of the original fairytale, it's perhaps even ''more'' pronounced in the Creator/RodgersAndHammerstein musical of ''Film/{{Cinderella}}'' - in the 1957 version, Jon Cypher looks like he's just been hit with a very large truck, and Paolo Montalban in the '97 edition looks like the floor has just dropped out from underneath him. Somehow, both of them actually manage to make it believable, too. The 1960's version averts this though.
* Receives a TakeThat in ''Theatre/CyranoDeBergerac'':
-->'''Roxane:''' Well, I love him. That is all Oh--and I never saw him anywhere except the ''Comédie''.\\
'''Cyrano:''' You have never spoken?\\
'''Roxane:''' Only our eyes.\\
'''Cyrano:''' Why, then, how do you know?\\
'''Roxane:''' ... I know.\\
...\\
'''Cyrano:''' So soon! So soon we lose our hearts! But, my dear child ... You, who love only words, wit, the grand manner -- why, for all you know, the man may be a savage, or a fool.\\
'''Roxane:''' His curls are like a hero from D'Urfé.\\
'''Cyrano:''' His mind may be as curly as his hair.\\
'''Roxane:''' Not with such eyes. I read his soul in them.\\
'''Cyrano:''' Yes, [[SarcasmMode all our souls are written in our eyes!]]
* ''MeAndMyDick'' has a subversion. Dick and Miss Cooter fall in love at first touch when Joey and Sally hug too close.
* Happens to Tony and Maria at the dance in ''Theatre/WestSideStory''. Not surprising given it is a SettingUpdate of ''Thatre/RomeoAndJuliet''.
* ''Theatre/ShowBoat'' has Ravenal and Magnolia meeting and singing a love song during the first scene, though she's shy about it and he conveniently pretends that he's only acting. Her timely but winsome interruption of his solo number, "Where's the Mate for Me?", promises quite enough.
* ''Natasha, Pierre, and the Great Comet of 1812'' has Natasha Rostova experiencing this twice in the musical——in ''No One Else'' she sings about how when she first saw Andrey, she fell in love with him. Later, when she prepares to elope with Anatole, Sonya voices her frustration:
--> ''But I can't believe what I don't understand: how you loved one man a whole year, and suddenly——you've only known him ''three days'', Natasha, you're joking!''
** Averted by her eventual romance and husband, Pierre Bezukov, whom she has known since childhood but never considered a romantic prospect.
----
