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Villain Song / Theatre

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Villain Songs in theatre.

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  • The Italian work The Betrothed Lovers Modern Opera: Jesus Christ, where to begin?
    • First of all, the Ouverture gives us a glimpse of Don Rodrigo's song, "What is this fire?". That's right, the very introduction is interrupted by the villains singing about his evil goal.
    • The third song, "It has not to be done", features the Thugs (led by the Griso), threatening Don Abbondio, the town priest, saying that it will end bad for him, should he ever marry the titular betrothed. It's mostly intended as comedic, especially when they mock him, but it is still frightening when you realize that, in a time and place that saw Vatican at its maximal power, Don Rodrigo is not afraid to threaten a man of Church.
    • The fifth one, "Going... fleeing... the power" starts off with just Don Abbondio establishing once again his lack of guts, but when he goes to sleep... he actually dreams about Don Rodrigo, on top of a skull-decorated spider-web, who nonchalantly plays with a rapier, all while representing the embodiment of the very concepts of power and arrogance. He didn't even appear in the story, yet, and he is already established as a guy not to be messed with. In this particular piece, he sings about how he can walk at his will over people heads, and how he is everything while Don Abbondio is nothing. And now picture such a self-centered bully played by the same guy who played Quasimodo.
    • The eighth song, "Law is the same for everybody", is one of the funniest and, ironically one of the most evil. In it, the lawman Azzeccagarbugli (lit., Mischief-finder, which in Italy has become a nickname for every corrupted lawperson) sings about how it is his job to use law and justice to help people, while he means his "help" actually is avoiding criminals to pay the price of their crimes. He even accuses Renzo (the lead male character) of being a criminal, for daring to suggest to go against Don Rodrigo.
    • The eleventh song, "Wine, wine", sees for the first time Don Rodrigo. With all of his friends (other noble bullies), he playfully spars with swords and sings about the joy of drinking fine wine in company on the day of St. Martin. Then he casually mention he will subjugate and tame Lucia, just as a bet with a friend of his, and the song ends with them all gloating about the even bigger joy of having their way with women.
    • Right after, "There will be a day" is mainly sung by one of the most significantly good characters, Fra Cristoforo, and is about how God will not be pleased with that power abuse against the weakest. Then, Don Rodrigo interrupts, insulting Fra Cristoforo and telling him to watch his tongue. Ironically, the truly frightening part of this song comes from Cristoforo himself, who pretty much curses Don Rodrigo, telling him God will annihilate him. And the scary part is... it actually happens.
    • Then we have "The nigh of Mischieves", in which the main characters try to trick Don Abbondio in marrying Renzo and Lucia. But there is also the Griso, with other thugs, singing in a magnificent baritonal voice of how they are going to kidnap Lucia and how Don Rodrigo will be proud of them for such an act.
    • Just when we heard five songs about the good guy, and we were starting to lose hope about the amount of villainy, we have "St. Martin has arrived", a reprise of "Wine, wine", really similar but with an even better choreography, with much more swordsmanship and every background character groping at least one maid during the number.
    • It is immediately followed by the aforementioned "What is this fire". A song so full of pathos and sexual depravity, it could give "Hellfire" and "Your love will kill me" a run for their money. Yeah, you read it right: a song so lustful Frollo seems tame in comparison. Especially creepy when Don Rodrigo sings "Never you will tell me 'stop!', you, who now are saying 'never!'"; he basically says he will continue to rape Lucia until she forces herself to enjoy it. Jesus Christ. And, no, it was not added for this adaptation: even in the original novel, he bet he could have the ius primae noctis, and the only thing added in this version was that here Don Rodrigo actually lusts after Lucia, instead of seeing her just as a bet. It's hardly any better.
    • "The Griso has returned", which immediately follows, is both yet another reprise of "Wine, wine", and, in the second part, one for the thug's part in "The night of mischievs". Don Rodrigo doesn't want to accept his defeat, and he bets all of his wine he will have Lucia before the end of St.Martin's day. Then The Griso arrives empty-handed, getting properly bitch-slapped.
    • "Let's violate the clausure", just two songs away, starts of as just the hammiest badass boast in the history of musical villainy, with the thugs claiming they will attack the convent and take Lucia. Then, Don Rodrigo cuts their bullshit, and gives a dark reprise to one of Fra Crisotoforo's song, announcing he knows who he has to talk to. Immediately this certain someone is described as almost more a force of nature than a man: the Unnamed.
    • "The unnamed" is right after that, and it is pretty much a glorification of that guy. He starts by singing about he enjoys life because death itself is his trusted companion, and they are against everybody and everything, not caring about the existence of something as futile as a law or even God Himself. His henchmen (some creepy black-cloaked things), even call him "The black shadow, the fear". Then we see Don Rodrigo, who has always been arrogant and full of himself, pretty much begging the Unnamed to help him; he responds by saying "that convent has no door, has no gate and has no wall", while his thugs reply "all is open at His will, each and one defense will fall!". The song ends saying that the Unnamed holds a limitless power, which makes him master of every fate, and that he can destroy without a move fear, life and death. Keep in mind that this is a realistic setting, so he has no supernatural power whatsoever: he is just that feared, that ruthless and that competent. Plus, he is played by Vittorio Matteucci, who was Frollo in "Notre-Dame de Paris" and Dracula in "Dracula Opera Rock"; probably, when he cuts himself shaving, he bleeds awesome assholism.
    • Immediately after, we have "Let her out": the Kite (the Unnamed's elite mook) has sent Egidio, the lover of Monza's Nun, to convince her to send Lucia out, so that the thugs may abduct her, bring her to the Unnamed, and then give her to Don Rodrigo.
    • And then, "The Abduction", which is pretty much what the title implies. Monza's Nun tricks Lucia into going out, purposedly playing on her faith and weak will, and her tragic backstory doesn't help us giving her sympathy. But still, the fact that the Nun was brain-washed and forced in the convent by her materialistic nutjob of a father, was then seduced by Egidio who only sees her as a tool of pleasure, and looks like a cross between a S&M slave and a mistress, adds both pathos and incredible creepyness.
    • "The Lansquenets, the letters". Cannon sounds, blood-red lighting, and an arm of mercenaries marching through Milano, singing a creepy cross between a Church chant, a Nazi parade anthem, and that thing the Uruk-Hai sung in the Bakshi "Lord of the Rings" movie. If anybody studied history, they'll know what exactly the Lansquenets did. If nobody did, don't worry: while they do their war chants, Renzo provides an explanation, saying that they are a scourge devastating the fields, burning the houses, murdering everybody, raping women and bringing the plague, to top all of that; the song itself ends with Renzo repeating "The Plague!", echoed by the Lansquenets in German. All is made especially creepy when you realize that is what Renzo is dictating to be written in a letter to Lucia, to tell her he hopes to make it out alive to see her again.
    • "The Betrayal", the last villains song, sees Don Rodrigo dying by plague; there is no make-up to simulate the symptons, but Giò di Tonno actually seems febricitant, trembling and ill; plus, he has a vision of what Fra Cristoforo has shown him, and feels he's being crushed by the rightful wrath of the Almighty. He send the Griso to call a doctor, but his thug returns with some jackals, to take him away and steal his fortune. Ironically, the Griso gets infected and dies before he has to change to spend a single coin of what he stole.
    • This huge, lavish presentation of Alessandro Manzoni's classic novel has to be seen to be believed. Ponchielli, eat your heart out!
  • Claggart's song "O beauty, O handsomeness, goodness!" in Benjamin Britten's Billy Budd. Unlike a classic Villain Song in that he is anything BUT happy about his situation... still. You've gotta love a song with lyrics like "There I established an order such as reigns in Hell", and "With hate and envy I am stronger than love", and "I, John Claggart, Master-at-Arms upon the Indomitable, have you in my power, and I will destroy you, I will destroy you."
  • The Secret Police Agent in Menotti's The Consul has a pretty terrifying aria in the first act, where he attempts to intimidate the protagonist, Magda Sorell.
  • Probably the first great English villain song, Wayward Sisters from Purcell's Dido and Aeneas is the Sorceress' villain song. She sings it while summoning her fellow witches to plot Dido's death.
  • Le Veau d'Or from Gounod's Faust, sung by Mephistopheles himself. Mephistopholes also gets the mocking serenade, Vous qui faites l'endormie, which has one of the best EvilLaughs ever.
    • Faust operas are great for this kind of thing. Mefistofele, in Arrigo Boito's Mefistofele, has some awesome ones. "I am the spirit that denies all things..." Creepy.
  • Ha! welch' ein Augenblick! from Beethoven's Fidelio (in which the evil prison governor Pizarro rejoices in the fact that the forthcoming "surprise" inspection by the Minister of Justice will require him (Pizarro) to do what he could have done at any time he wanted, ie. kill his unlawfully imprisoned rival Florestan).
  • The villain Caspar in Carl Maria von Weber's Der Freischütz (English: The Marksman) gets two of these: the first, "Hier im ird'schem Jammerthal", a drinking song about the pleasures of wining, wenching, and gambling, and the second, "Schweig', damit dich niemand warnt", calling upon the spirits of evil to take the hero instead of him, now that his deal with the devil is coming to its end. (In addition, there is an entire scene devoted to summoning up the devil in order to cast the magic bullets that give the opera its name.)
  • In Amilcaire Ponchielli's opera La Gioconda, the villainous Alvise Bodero plots to murder his unfaithful wife via poison and put her corpse on display during a ball to show his guests what happens to those who betray him: Si, morir ella de!.
  • The Magic Flute has The Queen of the Night's ear-splittingly infamous aria Der Hölle Rache kocht in meinem Herzen. She forces her daughter Pamina to assassinate Sarastro upon pain of disowning and cursing her. Damn, that's cold.
  • The pagan sorceress Ortrud in Richard Wagner's Lohengrin has a short aria, "Entweihte Götter", in which she calls upon the gods to help her deceive and avenge herself upon her Christian enemies.
  • In the 12th century liturgical drama, the Ludus de Herode, Herod and his son have a duet, Salve, pater inclite, in which they threaten the newborn Messiah.
  • Parodied in The Mikado with "I've Got a Little List". The scary executioner gets a Villain Song, in which he rattles off a Long List of Acceptable Targets whom he intends to kill — and in the next dialogue scene, we learn he's a spineless wimp who is terrified of killing. Except that the executioner is more of an Anti-Hero. The primary villain song is probably "Your revels cease - O Fool, that fleest my hallowed joys", sung by Katisha.
  • When Giuseppe Verdi and Arrigo Boito wrote Otello, based on Shakespeare's Othello, they added the aria "Credo in un Dio crudel" ("I believe in a cruel God"), a sublime villain song, where the villain Iago, in a parody of a Christian creed, confesses to do evil because the world is pointless and everything is ruled by Fate
    And after all this mockery comes death.
    And then? And then?
    Death and Nothingness
    Heaven is an old wives tale Ahahahahahahaha!
  • Though the pirates in The Pirates of Penzance aren't exactly villains, they do get a show-stopping Villain Song in "With Cat-Like Tread".
    • The Pirate King gets his number "Pirate King" which is all about how awesome it is to be a Pirate King. Naturally he's something of an Anti-Villain.
    • And there's a short one with Pirate!Ruth about how they're going to kill the Major-General and his daughters, called "Tonight He Dies".
  • "La donna è mobile" from Verdi's Rigoletto is the Duke's villain song and apparently he sings it a lot. A lot of the commercials that use it to sell their products seem to forget it's a villain song.
  • Susannah has Olin Blitch with a villain sermon.
  • "Pirate Jenny" is a Villain Protagonist song about cold-blooded revenge from The Threepenny Opera.
    They move in the shadows where no one can see
    And they're chainin' up people and they're bringin' em to me
    askin' me, "Kill them NOW, or LATER?"
    Askin' ME! "Kill them now, or later?"
    Noon by the clock, and so still by the dock
    You can hear a foghorn miles away
    And in that quiet of death, I'll say, "Right now."
    Then they'll pile up the bodies
    And I'll say, "That'll learn ya!"
  • Act One of Puccini's Tosca ends with the corrupt police chief Scarpia gloating, because he has gained a hold on the title character that will force her to succumb to his perverted desires. And if that was not creepy enough, there is a simultaneous Te Deum to provide Ominous Latin Chanting. In Act II, Scarpia gets another solo in which he professes his lustful urges to Tosca, Gia mi dicon venal.
  • Lord Ruthven's aria "Ha! Welche Lust!" ("Ha! What Pleasure!") from Marschner's Der Vampyr (English: The Vampire) is all about the joys of sucking the blood of innocent, terrified maidens.

    Contemporary Theatre 
  • Radames' father, though not the main villain of Aida gets two: the standard "Another Pyramid" and "Like Father, Like Son", which Radames tries to turn into a "The Villain Sucks" Song. He fails.
  • The Musical of American Idiot turns the Green Day song "Know Your Enemy" into somewhat of a Villain Song for St. Jimmy, as he attempts to lure Johnny back to his pointlessly rebellious and self-destructive lifestyle, as well as manipulating Johnny into attempting to stab his girlfriend.
  • In Annie, Miss Hannigan expresses her hatred for children in "Little Girls"; later, she is joined by her sleazy brother Rooster and his airhead girlfriend for the song "Easy Street".
  • Anyone Can Whistle has several songs for the evil Mayoress Cora Hoover-Hooper. The best of these is the first song of the show, "Me and My Town", in which she laments her 0% Approval Rating.
  • "The Apple Tree (Forbidden Fruit)" from The Apple Tree. The first act of the musical is based off of Mark Twain's Adam and Eve story. It's sung from The Snake to temp Eve to take a bite from the apple.
    • Also if you count the King from the second act, he has a short musical piece "Barbara, how could you?" It's only about 10 seconds long. It's his reaction to seeing his daughter in love with a forbidden lover. He also sings a small solo in "Which Door?"
  • Assassins has a ton of them, appropriately enough for a play about presidential assassins. "The Ballad of Booth", "The Gun Song", "The Ballad of Czolgosz", "The Ballad of Guiteau" and "Another National Anthem" are all unusual variants of the standard Villain Song. The most iconic villain song of the musical is "Everybody's Got The Right", a irony-tainted song where the assassins proclaim everybody has the right to pursue the American Dream through any means neccesary...including presidential assassination.
    • Probably the most unusual villain song in the musical is "The Ballad of Guiteau", where the villainous Charles Guiteau sings a demented hymn as he tap-dances up to the gallows. What makes it unusual is that some ofthe lyrics (the "I am going to the lordy/I am so glad" part, specifically) are taken from a poem that the real Charles Guiteau wrote on the way to his execution; Stephen Sondheim simply set it to music.
  • "Special" from Avenue Q might be one since it acts as a Establishing Character Moment for Lucy the Slut, who acts as an antagonist towards Kate by trying to steal Princeton from her.
  • In Baker Street: A Musical Adventure Of Sherlock Holmes, Moriarty has the Evil Gloating song "I Shall Miss You".
  • Jim Steinman's unproduced Batman Musical has two. The corrupt officials controlling Gotham City sing "In the Land of the Pig, the Butcher is King" (which was later covered by Meat Loaf) while The Joker gets "Wonderful Toys", which is perhaps the most insane and over the top villain song you could hope for.
    "Do, a deer, I killed that deer..."
  • "I'd Rather Die on My Feet Than Live on My Knees" for Thomas in The Beautiful Game. The song is short and Thomas isn't exactly a show stopping villain, but it's extremely effective in vilifying the guy. For the majority of the show he was a misguided jerkass, but not worse than some of the others.
  • The Beauty and the Beast musical introduces a new song, "Maison des Lunes", in which Gaston and LeFou convince Monsieur D'Arque to incarcerate Maurice in his asylum.
  • Naturally, the Beetlejuice musical gives a good amount of songs to the titular Ghost with the Most. His most prominent villain songs include "The Whole 'Being Dead' Thing" (the off-the-wall opening number where he welcomes the audience to his "show about death"), "Say My Name" (his attempt to persuade Lydia into setting him free), and "That Beautiful Sound (Reprise)" (where he conjures up his plot to resurrect himself by marrying Lydia).
  • The Trans-Siberian Orchestra Rock Opera Beethoven's Last Night has two: "Mephistopheles", where the titular demon proclaims himself "god of second chance" while trying to cut a deal with Beethoven, and "Misery", when Mephistopheles gleefully threatens to maim, cripple, torture, and eventually kill a child if Beethoven doesn't give him what he wants. Both get sung way over the top, with much scenery-chewing and Large Hammery.
    • TSO also included an equally hammy Villain Song in their album The Lost Christmas Eve: "What is Christmas?", sung by the Scrooge-like antagonist.
  • Be More Chill's villain song is The Pitiful Children, where the SQUIP convinces the protagonist Jeremy to give SQUI Ps to all the other students in his school in order to take over the world.
  • In Andrew Lippa's version of The Wild Party, Burrs gets several songs, such as "Queenie Is A Blonde", "What Is It About Her", "Let Me Drown", and "Make Me Happy".
  • The second musical for Black Butler, The Most Beautiful Death in the World, has the song "Druitt no Jibun Sanka", or "Druitt's Self-Paean", in which he sings about how great he and his sadism are to two roped-and-bound girls, referring to himself as a martyr.
  • Most songs from The Black Rider: The Casting of the Magic Bullets are pretty creepy, but Pegleg gets in three songs of his own: "Just The Right Bullets", "Flash Pan Hunter" and "Gospel Train".
  • Depending on the production, "Shoes Upon the Table" can be played this way in Blood Brothers.
  • "Tomorrow Belongs to Me", the Nazi anthem from Cabaret. It was so realistic and of the spirit that it got the (Jewish) producers accused of anti-Semitism!
  • "The Seven Deadly Virtues" from Camelot. Also, Mordred and the knights have "Fie on Goodness" after their collective Face–Heel Turn, in a number dropped from many productions (the original Broadway production dropped it just after its inclusion on the cast album, which has the ensemble fill in for Mordred for some reason).
  • "Bon Voyage" from Candide, except for the (increasingly sarcastic) chorus part, is all Evil Gloating from the Governor (or Vanderdendur, depending on the performing edition) about the profits he made from putting Candide on a totally unseaworthy boat.
    Oh but I'm bad, oh but I'm bad,
    Playing such a very dirty trick on such a fine lad.
    I'm a low cad, I'm a low cad,
    Every time I do this sort of thing it makes me so sad.
  • 'Carrie'' has quite a few. Alpha Bitch Chris Hargensen gets "The World According to Chris" in the revival, in which she sings about her "whip or get whipped" view of the world. Chris and her boyfriend Billy sing "Do Me a Favor" with Sue and Tommy, their share being Chris talking him into helping her. They also have a brief part in "A Night We'll Never Forget", in which they plot to get even with Carrie at the dance.
    • Margaret gets "And Eve Was Weak", where she warns her daughter about the "curse of blood" when she gets her period (this song also serves as a Mood Whiplash from Margaret's sweet, motherly demeanor, and is meant to show just how Ax-Crazy she can get when snapped). "When There's No One", another solo, could also qualify, given the fact that it's the moment she realizes that she must kill Carrie in order to save her from damnation.
    • The notorious bomb of the 1988 production had a much more straightforward example with "Out for Blood", which opened Act 2 with Chris talking about her vengeful ways and the plan to humiliate Carrie at the prom.
  • Macavity, the levitating crime lord cat from Cats. His song (though he doesn't sing it himself) is a lengthy paean to his dastardly trickery, and is likely the one song besides "Memory" that is most remembered from the play. The film adaptation has him join in on the number.
  • Charlie and the Chocolate Factory uses this trope to an unusual end. The four bratty kids and their parents aren't villains, so their establishing tunes fall under the "I Am" Song trope, though Mike's verses in "It's Teavee Time" overlap with a villain song as he proudly declares that he cheated to get his Golden Ticket. But the show does have a glamorous, Large Ham, Ambiguously Evil Anti-Hero: Willy Wonka. His first song "It Must Be Believed to Be Seen", which doubles as the Act One finale, is a Welcoming Song and an "I Am Great!" Song lyrically, but musically and visually it's this trope — brassy, intense, cheekily sinister, and catchy. There's Spontaneous Choreography for the Golden Ticket winners and the press, the scenery's awash in colorful light by the end...and all along, only the audience suspects/knows that the enthusiastic tour group is going to get a lot more than they bargained for in Act Two.
  • Chess has "The Soviet Machine", sung by Molokov and the KGB Agents.
    • "Difficult and Dangerous Times", also titled "US vs. USSR" (formerly a part of "Opening Ceremony"), which is basically a villain song for Cold War politics in general.
    But we're gonna smash that bastard!
    Make him wanna change his name—
    Take him to the cleaners and devastate him
    Wipe him out, humiliate him...
  • The Cell Block Tango in Chicago. Awesome song, mood lighting and girls prowling around in leather underwear talking about how their murders were completely justified.
    • He had it comin'!
      • Of course, the innocent Hungarian prisoner's verse states her innocence is for real, and of course she's the only one who pays for it. Crapsack World indeed.
    • From the same musical, "All I Care About", sung by Billy Flynn. The entire song is a lie.
      • An even better example for Flynn is "Razzle Dazzle", where he gleefully gives a show-stopping number about getting away with anything by using pure showmanship.
    • Almost every song from Chicago (except for "Mr. Cellophane" and "A Little Bit of Good" - sung by Mary Sunshine in the show) could be considered a Villain Song, as almost all of the main characters are murderers or corrupt.
  • "The Stepsister's Lament" from Rodgers and Hammerstein's Cinderella. Long before they even sing the song, the tune is the stepfamily's theme song and plays during some of their entrances.
  • The Anti-Love Song "To Keep My Love Alive" from A Connecticut Yankee.
  • "Bolero de Amore" in Barry Manilow's Copacabana.
  • The Cradle Will Rock has the fake-friendly duet "The Freedom of the Press", in which Mr. Mister demands that Editor Daily print Malicious Slander against The Hero.
  • "Those Were the Good Old Days" from Damn Yankees which also somewhat parodies the "I Want" Song. Applegate laments how much easier being evil was in the days of Nero, cannibals, and Lady Guillotine.
    • "A Little Brains, a Little Talent" for Lola, as well as "Whatever Lola Wants", although she turns out to be not so bad.
  • Tanz Der Vampire (English: Dance of the Vampires) has "Ewigkeit", in which a whole chorus of vampires rises from their graves and plots to make humanity as miserable and insane as they are. It happens to be the most chilling song in the whole musical.
  • "The Spring of Next Year" from Dear World.
  • Death Note: The Musical has "Where Is the Justice?" for Villain Protagonist Light Yagami, in which he preaches to his class about how the world is corrupt, and that justice must be brought to those who deserve it. His second solo, "Hurricane", depicts him finding the Death Note for the first time, and ultimately deciding to use it to purge the world and become a god. Ryuk also gets "Kira!", where he comments on Light's killing spree and his newfound identity as "Kira" labeling him a false idol in some productions.
  • The 1980s musical Drood is notable here in that it has nine possible villain songs: Two which are always in the show ("A Man Could Go Quite Mad" and "Jasper's Confession") and seven possible murderer confessions decided by audience vote. Some may not count, however, as at least one is a joke about how unlikely that particular character being the murder is.
  • The closest The Drowsy Chaperone gets to a villain song is the song "Toledo Surprise", in which through the Pastry Chefs threaten to kill Feldzieg through a variety of thinly veiled, pastry-themed double-entendres. This quickly devolves into a dance number featuring the Pastry Chefs and Kitty until the rest of the cast bursts in, revealing that while Adolpho did accidentally seduce the wrong woman, through an unlikely set of circumstances, Feldzieg's villainous plot has come to fruition anyway, as Janet has called off the wedding due to the fact that Robert kissed a "very beautiful" French woman by the name of Mimi (who was secretly Janet taking advantage of Robert's blindfolded rollerblading to test his love for her). Overjoyed, Feldzieg declares that it is a "wonderful, wonderful tragedy" and leads the rest of the cast in a dance number. The ramifications of this (that this is "the saddest day of [their] life") aren't realized until after the song is completed.
    • Curiously, Feldzieg suffers no ill-effects after this song, despite having revealed that he had ordered Adolpho to seduce Janet to the entire rest of the cast. Neither do the Pastry Chefs, who, before the song begins, had been ready to kill Feldzieg and telling him how they were going to do it in explicit (if thinly veiled) detail. Chalk it up to the cheesy nature of the show-within-a-show.
  • Sophie in Elisabeth, as more of a Knight Templar than a really sinister villain, has the rigid "Eine Kaiserin muss glanzen!" ("An Empress Must Sparkle!"), in which she bullies her newly-married daughter-in-law into (temporary) tears and submission. Later on, though, she sends her son to a brothel to weaken his marriage, and the shady madam and prostitutes' song "Nur kein genieren" ("Don't Be Ashamed, Dear") fits into this trope fairly well.
    • There's also the bouncy "Kitsch", which serves as a villain song for the murderous, sarcastic Lucheni and as a kind of "The Villain Sucks" Song for the selfish Elisabeth as well as all of her fawning, devoted subjects- including the audience.
    • "Der letzte Tanz" may count, considering it is a personification of Death showing up to menace Elisabeth at her wedding, gloat about how he'll win her in the end whether she likes it or not, and basically stop the show.
    • "Die Schatten werden länger", which is all about Death trying to convince Rudolf to commit suicide.
  • A brief, out-of-context clip attests that Enron has at least one good villain song with Jeff Skilling's "Primetime for Skilling". ("I'm the boss, here's the gist; I'm the guy who gets to lie to analysts...") Actually, at least half of the twenty-six songs listed sound like contenders.
  • Older Than Feudalism: A significant chunk of Aeschylus' Theatre/Eumenides is the villain song of the Erinyes, where they seek to justify the Revenge they enforce and boast of how terrible and powerful they are, while disdaining the injustice of the Cycle of Revenge that is the plot of the story.
  • Evil Dead: The Musical has "Join Us", a bouncy upbeat song extolling the virtues of submitting to the Evil Dead. "Look Who's Evil Now", "Bit Part Demon" and "Do the Necronomicon" are also worth mentioning.
  • In both stage and screen versions of Evita, Che (who isn't quite the villain, but he's close enough) has "Oh, What a Circus". There's also the short and sinister "The Art of the Possible" with Peron, and the fantastic "Waltz for Eva and Che" with, well, guess.
  • The Fantasticks has the eerie, hypnotic "Round and Round" for the sinister bandit-slash-carnival impresario El Gallo, sung as he seduces lead character Luisa, and accompanied by a creepy fantasy sequence showing his henchmen abusing her love interest Matt.
  • The stage version of Footloose plays with this. The Anti-Villain main antagonist, Reverend Moore, gets two songs, but "Heaven Help Me" is more like a "The Villain Sucks" Song directed at himself, while "I Confess" is sung at the very end during his Heel–Face Turn. The straight example is actually "The Girl Gets Around," which is sung by local Hate Sink/Bastard Boyfriend Chuck Cranston as he gloats about how he's using Ariel Moore for cheap sex and loving every minute of it.
  • Downplayed in Frozen: In addition to "Love is an Open Door",the stage adaptation gives Hans his own song, "Hans of the Southern Isles". However, like "Love is an Open Door", the song (and its Triumphant Reprise) are sung in the first act, when Hans still appears to be a good guy. An openly villainous reprise, for when he betrays Anna, was used in the original Denver production, but cut before the production reached Broadway.
  • A Funny Thing Happened on the Way to the Forum has Miles Gloriosus bragging about his accomplishments (many of which are rather unsavory) in "Bring Me My Bride".
    I, Miles Gloriosus
    I, slaughterer of thousands
    I, oppressor of the meek
    Subduer of the weak
    Degrader of the Greek
    Destroyer of the Turk
    Must hurry back to work
  • "Hector's Song" from The Golden Apple, an oleaginous, Affably Evil soliloquy about how corruptible people are.
  • Arguably, "Rose's Turn", from Gypsy. It depends on whether or not you view her as the antagonist, and even then it might be a Villainous Breakdown.
    • Another example could be "Everything's Coming Up Roses". Louise and Herbie are certainly horrified.
  • From Hairspray, "(The Legend of) Miss Baltimore Crabs". Front step, cha-cha-cha... There's just something about that one line that screams "you're walking into the serpent's lair". Michelle Pfeiffer even said she signed on for this one song. It's not hard to see why.
  • Hamilton has "You'll Be Back", sung by King George III as an Anti-Love Song about America's attempt to split from Great Britain. As you'd expect, it's deliciously hammy and villainous - the last full line is 'I will kill your friends and family to remind you of my love!' Interestingly, King George gets two more songs after this, and while they're both still villainous, in purpose they're really more of a Greek Chorus commenting on the state of the American government at the time - first, "What Comes Next?", talking about how the Americans underestimate how hard it'll be to rule a country on their own, and then "I Know Him", about how shocking it was that Washington stood down and how little faith anyone had in President John Adams ('They will tear each other into pieces / Jesus Christ, this will be fun!').
    • "Wait for It" is an Anti-Villain Song, because while it in and of itself isn't villainous in any way (the most egregious thing Burr admits to is sleeping with the wife of a British officer, which had been established only moments before anyway) it does set up a lot of Burr's defining character traits which are later developed in "The Room Where it Happens".
    • James Reynolds' letter in "Say No to This", and the song as a whole, is likely as truly villainous as the show gets. To have your wife seduce a prominent politician in order to blackmail him is one thing, but it's not like Hamilton's entirely blameless in the entire affair either: the song takes place immediately afterwards Hamilton refuses to accompany his wife, son, and sister-in-law for a summer trip to visit Hamilton's father-in-law, immediately before which Hamilton had been taking part in the historical equivalent of sexting with his sister-in-law.
    • "The Room Where it Happens" is a song with Southern banjo and sinister piano to show Burr's transition to a villain and Democrat-Republican from the feeling that he and the other delegates not present at the infamous dinner party are left out of the decision making. The feeling of being left out of the deal caused him to be more ambitious and pursue being a senator.
    • "Washington on Your Side" is sort of a quasi example - it's sung by Jefferson, Madison, and Burr, the three primary antagonists of the show, about how they hate Hamilton and are searching for a way to take him down, but it's also clear in the lyrics that they don't see themselves as villains at all. Instead, they all genuinely believe that Hamilton's financial plan will screw over the poor, if not ruin the entire country. The fact that Jefferson seems to have it out for Hamilton personally by this time is mostly beside the point.
    Jefferson: Our poorest citizens, our farmers, live ration to ration / As Wall Street robs ‘em blind in search of chips to cash in
  • Heathers:
    • The seminal song of the titular Heathers, "Candy Store", is a a dramatic, seductive introduction to the Heathers' Alpha Bitch lifestyle, with each of the three putting down Veronica for still clinging onto her loser best friend Martha Dumptruck and imploring her to dump the poor girl and go along with their cruel prank for her to once and for all prove she's worthy of being a member of the Heathers.
    • J.D. has quite a few of them that can potentially be taken as villain songs, but the most obvious is "Meant to Be Yours", which completes J.D.'s own descent into murderous, obsessive insanity.
    • While Heather Chandler and Heather McNamara both get solo songs of their own in the original run, Heather Duke was rather notably left out, being the single major character never to get her own major song. Until the West End run, where Duke gets "Never Shut Up Again" where, with Chandler dead, Duke seizes the power vacuum and vows never to be on the receiving end of a "shut up, Heather!" again.
    • The West End production also gives Kurt and Ram a proper Villain Song: in the original production, "Blue" was far too lighthearted and comical to serve as a proper villain song and Kurt and Ram are mostly just drunken but harmless jerks. The West End production, in order to avoid it seemed like the musical is downplaying Attempted Rape, swaps out "Blue" with the much more aggressive and assertive "You're Welcome," which cranks Kurt and Ram's vicious, licentious behavior Up to Eleven and throws in a generous dosage of victim-blaming ("If you don't want me starin', why you wearin' that skirt?").
  • The little-known German musical Hexen has "Gleich", sung by the Magitek witch Clony, whose magic borders on Mad Scientist territory. Clony doesn't consider herself evil and really thinks she's doing humanity a favor by giving everyone armies of clones of themselves to do all the work, but she is nevertheless an unabashed egotist who gets a huge rock number in which she praises her own intellect, style and superiority over everyone else. Not to mention that the plan she's explaining is essentially one for slavery.
  • The closest thing to a villain in How to Succeed in Business Without Really Trying is Smug Snake Bud Frump, and his reprise of "The Company Way" and Dark Reprise of "Been A Long Day" arguably qualify for this, the former being a self-congratulatory number about how great he is (for being made head of the mailroom) an the latter sung as he puts his Evil Plan into action through blackmailing his uncle.
  • I Can Get It for You Wholesale has "The Way Things Are", in which the protagonist says There Are Two Kinds of People in the World, and he wants to be the kind that gets to step on the other kind.
  • Into the Woods has the fairly short but often uncomfortable "Hello Little Girl", sung by The Wolf (who is traditionally also one of the princes). It's not always entirely clear precisely what his designs on Red arenote , but they're definitely villainous.
  • It's a Bird, It's a Plane, It's Superman has the song "Revenge", in which Dr. Abner Sedgwick recounts all the Nobel Prizes he's been robbed of and says he'll destroy Superman to show the scientific community.
  • James and the Giant Peach gives wicked aunts Spiker and Sponge the delightfully hammy "Property of Spiker and Sponge", which has them stealing from passerby and, at first, dreading the idea of their now-orphaned nephew James living with them before realizing they can use him as a slave.
  • Jekyll & Hyde gives Edward Hyde "Alive", where he sings about how being so free and evil makes him feel passionate about living. At one point, the music swells triumphantly as he boasts that he'll live on forever with Satan himself by his side.
  • In Jesus Christ Superstar, the high priests get "This Jesus Must Die", which is rather self-explanatory. If you ignore the lyrics, it's one of the most upbeat and catchy tunes in the whole show.
  • John Howard's dark and menacing march "Power" in Keating!. Which is then hilariously contrasted with "The Mateship".Whether he's a villain in Real Life depends which side of the political spectrum you're on, but he definitely qualifies in the musical.
  • "Was I Wazir?" from Kismet.
  • The title song from Kiss of the Spider Woman.
    • The Spider Woman isn't so much the villain of that show as a character's nightmare. A better villain song would be "Lucky Molina".
  • "One Touch of Alchemy" in Knickerbocker Holiday, the culmination of Stuyvesant's New Era Speech. Shortly after, he has a duet with one of his henchmen, "The One Indispensable Man".
  • The Lady Pirates of Captain Bree has the title song for the title character though she does a Heel–Face Turn later on and "A Lady of Sensibility" for the resident Rich Bitch, both of which double as I Am Songs.
  • "Blood in the Water" from Legally Blonde, in which Callahan teaches his students how to become amoral attorneys.
  • La Légende du Roi Arthur has no less than three villain songs in the strictest sense of the trope.
    • "Advienne que pourra", in which Méleagant expresses distaste for Arthur being proclaimed king instead of him.
    • "Tu vas le payer", in which Morganne sings of the revenge she will take on Arthur for what his father did to their mother
    • "A nos vouex sacré" where the two team up and decide to mutually destroy Arthur.
  • "Progress Is the Root of All Evil" from the musical adaptation of Li'l Abner.
  • "The Madness of King Scar" from The Lion King, in which he demonstrates his growing schizophrenia and essentially tries to seduce/rape Nala. This is new to the musical, but is based on a deleted scene from the film.
  • The Little Mermaid Broadway musical gives three new songs to Ursula: "I Want the Good Times Back", which details Ursula's plot to get to King Triton (and the throne) through Ariel (it also doubles as an "I Want" Song), "I Want the Good Times Back (Reprise)", in which she anxiously awaits the end of Ariel's contract (and the start of her reign), and a Dark Reprise for "Poor Unfortunate Souls", which she sings when she finally gets her hands on the trident and the throne. Her Evil Minions Flotsam and Jetsam also get some songs, "Sweet Child" (where they persuade Ariel to meet with Ursula) and its reprise (where they mock Ariel's attempts to get Eric to kiss her). As you can see, the musical is heavy with reprises.
  • Audrey II from Little Shop of Horrors got "Feed Me" and "Suppertime". From the same musical, Orin had "Dentist!". In the film version and some productions, there is a song called "Mean Green Mother from Outer Space" for Audrey II. There was also a Cut Song for Audrey II titled, simply, "Bad". Furthermore, a little-known Cut Song from the stage version, a reprise of "The Meek Shall Inherit", would have gone to Patrick Martin, the man that sells the plants across the nation and thus brings about the end of the world.
    • "The Meek Shall Inherit" is already pretty sinister; even if they don't know they're doing it, the singers are encouraging Seymour to kill more people so he'll be famous.
  • The stage adaptation of Matilda has Miss Trunchbull singing "The Hammer" and the epic Patter Song "The Smell of Rebellion".
  • The stage adaptation of Mary Poppins has "Brimstone and Treacle", sung by the wicked nanny, Miss Andrew (a character adapted from the books rather than the film itself). Showcasing Andrew's sinister disciplinary tactics and use of a horrible medicine, the titular concoction, the entire song is meant to contrast Mary Poppins' "A Spoonful of Sugar". It even gets a reprise, now sung by Mary as she literally gives Miss Andrew a taste of her own medicine (and, in a surprisingly dark twist, locks her in a giant birdcage and sends it deep below).
  • Mean Girls has four:
    • "Meet the Plastics", which introduces Cady and the audience to the clique, The Plastics, led by Alpha Bitch Regina George, who admits to being "drunk with power" and that "this whole school humps my leg like a chihuahua". She is joined by yes-woman Gretchen Wieners, "seated at her right hand like a Jewish princess-Jesus", and The Ditz Karen Smith, "the dumbest person you will ever meet".
    • "Someone Gets Hurt" for Regina, who, after discovering that Cady has eyes for her ex Aaron, spitefully flirts with and manipulates him into getting back together with her.
      • A reprise of "Someone Gets Hurt" ends the first act, with Regina swearing revenge for Cady ousting her from the Plastics.
    • "World Burn", also for Regina, who decides to destroy Cady by revealing the contents of the Burn Book to the entire school and framing her as the original author.
  • Les Misérables has two, with Thénardier singing "Master of the House" and "Dog Eat Dog". (Three, if you count "Beggars at the Feast", which is the same tune as "Master of the House" but with new lyrics.) The primary (albeit misguided) antagonist, Inspector Javert, has the song "Stars".
    • "Master of the House" is an interesting one because it stands out as a moment of relatively light relief in a musical about rebellion, tragedy and romance.
    • The most villainous of all these possible Villain Songs might well be "Dog Eats Dog", in which Thénardier sings about the joy of robbing dead bodies. Unlike in some cases, this fails to seem like lovable roguery at all — it finally hits the audience in the face that Thénardier really is scum. And most of those he is robbing are essentially youths and children, including his own son and daughter.
    • And "Beggars at the Feast" is sort of a Villain Song in that it further outlines the Thénardiers' ideals and motivations (though by the point in the play when it's sung, their motivations are pretty well established). Singing to the Lord on Sundays, praying for the gifts he'll send, but we're the ones that take it, we're the ones who make it in the end! It's also essentially the Karma Houdini trope summed up in a song—the last line is even "when we're rich as Croesus, Jesus won't we see you all in Hell!"
    • "Stars", Javert's song, is an interesting version. Though Javert is the primary antagonist, his song is a very beautiful, melodic song about doing his duty to God and being a servant of justice; he doesn't see the motives or plans he's singing about as "evil". It can be played as confident and determined or softer and more humble depending on the actor. The implication is that though Javert may be not be a nice or good man by any stretch, he's not really evil. The tone contrasts well with "Dog Eats Dog", which is the REAL villain song of Les Misérables, identifying Thenardier as far more evil than Javert. One might even say that "Stars" is an Anti-Villain Song.
  • Arguably, Terrible Ride from Lizard Boy, where the main antagonist Siren expresses her regrets and pain at never being able to find the final child from the playground accident in order to defeat the dragons... [1]
  • Miss Asp's songs in Love In Hate Nation, where she expresses her desires for society to stay conservative and expresses longing for the good old days with Nixon, the war, and...Hitler.
  • Miss Saigon: The Engineer's ode to America's love of depravity (and his love for that) in "The American Dream". "If You Want to Die In Bed" also counts as it spells out his goal to save his own skin. Actually, anything the Engineer sings might fall under this trope...
  • Mozart! features a mute villain- Mozart's own genius, portrayed a a demon/Creepy Child in the shape of Mozart himself at age six or so that follows the adult Mozart around, constantly composing and using Mozart's blood as ink. Thus, the big showstopping villain-song-stand-in goes to Archbishop Colloredo, who's more of a petty annoyance than anything, in the form of "Wo Bleibt Mozart?" It's still pretty grandiose and nasty to the title character.
    • If we count Colloredo as a villain, "Der einfache Weg" fits the bill: it demonstrates Colloredo's attitude towards music, method, and goal of trying to coax Mozart back to his side. With a hefty side of attempted manipulation of Mozart's status as a "Well Done, Son!" Guy.
  • Salieri in Mozart L'Opera Rock has several songs, but perhaps the best example is "Le bien qui fait mal", which is all about how he's "Envoûté par des idées folles/Bewitched by crazy thoughts", and "Je sens de violentes pulsions/I'm feeling violent impulses", oh and "Le désir devient ma prison/Desire has become my prison". Salieri's clearly losing it.
  • Natasha, Pierre, and the Great Comet of 1812 has "Charming", sung by Alto Villainess Hélène to manipulate The Ingenue Natasha.
  • The theatrical version of Newsies gives Joseph Pulitzer the song "The Bottom Line", wherein he explains why he's boosting the price of his papers, and how he doesn't care how it'll affect the newsies. He gets a reprise in Act 2, when he threatens to have all the newsies arrested if Jack doesn't tell them to end the strike.
  • The true antagonist of Next to Normal is mental illness, but a secondary villain is Gabe, who certainly enables Diana in her mental illness (and even leads her into a suicide attempt, in "I Dreamed a Dance"). His song "I'm Alive" and its extremely Dark Reprise could be considered Villain Songs.
    • If you consider Gabe as an avatar for Diana's mental illness the song gets even darker.
  • In the children's musical Oh Jonah!, the people of Niniveh sing "City of Sin", where they revel in lawlessness — in a vague, child-friendly way — and invite Jonah to join them. (At least one church added a banner saying, "NINIVEH: WHAT HAPPENS HERE STAYS HERE.") In the biggest let-down of an otherwise entertaining show, all it takes is "Stop!" to cue a low-key song of repentance.
  • Jud Fry, the villain of Rodgers and Hammerstein's Oklahoma! gets "The Lonely Room". It's almost enough to make you feel sorry for the guy.
  • Oliver! has several: Big Bad Bill Sykes gets "My Name" and the Affably Evil Fagin actually gets two, "You've Got to Pick a Pocket or Two" and "Reviewing the Situation" (in the reprise especially). That Fagin gets more than the real villain isn't too surprising though, since the role is usually played as a Large Ham.
  • "Forever Yours" from Once On This Island is a bizarre half-love ballad-half-Villain Song, taking on the latter quality after Papa Ge joins in. "Your life is forever miiiiiiiiiiiiiiiiine!" Agwe has "Rain", a song about causing a storm that intentionally results in a near-fatal car crash; immediately before that, the Jerkass Gods sing "And the Gods Heard Her Prayer", in which they concoct their plot to use Ti Moune for their own ends. Asaka and Erzulie get a song each, but theirs aren't villainous (though they are extremely self-congratulatory). Rich Bitch Andrea sings for a bit, too.
  • In Only You Can Save Mankind: The Musical, the Gunnery Officer gets "What Are We Waiting For?" where he not only rebels against the Captain's efforts to make peace with the humans, he seems to be advocating his fellow ScreeWee rebel against everything.
  • "Big News!" and "Real Big News!" for Britt Craig in Parade, "That's What He Said" for Jim Conley, "Something Ain't Right" for Hugh Dorsey, "Hammer of Justice" for Tom Watson, and "Where Will You Stand When the Flood Comes", as led by Tom Watson.
    • Also played with in "Come Up to My Office", which is sung by Leo Frank, but is actually a fabricated account on the part of the prosecution.
  • The Musical version of Peter Pan gives one of these to Captain Hook. Given the tone of the play, Hook's Card-Carrying Villain status, and his word choice, however, it's halfway between one of these and a "The Villain Sucks" Song. In some versions, Hook and Smee have "Never Smile at a Crocodile".
  • The title theme of The Phantom of the Opera ("The Phantom of the opera is there/ Inside your mind!").
  • "Spread a Little Sunshine" in Pippin, in which Fastrada plots to get her son closer to the throne while (sarcastically) singing about following the Golden Rule. Actually a subversion: the song's lyrics are entirely innocent, even though the action surrounding it is not.
  • Pokémon Live! features Giovanni's "It Will All Be Mine". Sung by Darren Dunstan, possibly better known as the American voice of Pegasus.
    • He also twists two other songs into Villain Songs: "You and Me and Pokémon" and "Everything Changes".
    • Team Rocket got a subversion of the traditional Villain Song called "The Best at Being the Worst", centering around their own incompetence at what they do.
    • "Double Trouble" could also count, which has Team Rocket showing enjoyment of being bad guys. However, this originally had a longer version of from a CD the show put out which had several other songs that were in the musical, including "Misty's Song" and "Two Perfect Girls".
  • In Pokémon: The Mew-sical, Giovanni gets "To Be Boss" and "Finally", while Team Rocket gets "The Plan". Gary gets several villainous parts as well in different songs.
  • "It Ain't Necessarily So" and "There's a Boat That's Leaving Soon For New York", Sportin' Life's songs mocking a sermon and tempting one of the protagonists to a life of vice respectively, from Porgy and Bess.
  • Portal 2: The (Unauthorized) Musical has two, one for each villain.
    • GLaDOS has "Poor Unfortunate Subjects", in which she gloats over Chell being at her mercy again, and expresses her fury over Chell killing her.
    You lucked out and passed all of your tests the last time
    I know that you thought that you could forget
    But I feel you’ve been misled
    I’ve been busy being dead
    We’ve both said a lot of things that you’ll regret
    • Initially averted with "Running the Whole Machine", in which Wheatley mocks GLaDOS for being absolutely powerless to stop him from freeing Chell. However, it's played straight when Wheatley goes mad with power, deciding he'd acutally rather keep Chell inside Aperture to run tests for him and ending with him punching both GLaDOS and Chell down the elevator shaft in a fit of rage.
  • The Producers likely invoked this with the title song of "Springtime for Hitler"?
  • The Austrian musical Rudolf – Affaire Mayerling, about the life of Rudolf, Crown Prince of Austria, before his suicide, has Count Eduard Taaffe, the Austrian Emperor's closest advisor, sing a very intense song about how politics are easy if you pull the strings behind the curtains and how as advisor to the Emperor, the whole world bends to his will if he demands it. The Aristocrats and even the Emperor dance as his puppets underneath and are shown to listen to his advice. There is also an English Version but the German Version is much faster and far more powerful.
    • It's a little ironic to listen to the song if you know that later during his ministry, Austria went into WW1 and therefore lost most of their political clout as a nation for a long time.
  • "When the Night Wind Howls" from Ruddigore.
  • Every villain gets one in the Sailor Moon stage adaptations, the Sera Myu. Some villains who were the baddies of multiple musicals got multiple songs, notably Queen Beryl and Sailor Galaxia. The two even SHARED a song, titled Yamikoso Utsukushii ~Galaxia no Iradachi~ (Darkness is Beautiful ~Galaxia's Irritation~) in one musical wherein Galaxia revived Beryl. (Or rather it was set up Beryl's original villain Group song, with additions of Galaxia snaking about how she's just using Beryl in the long run in the background) Villain songs in the Sera Myu generally fell in one of two categories: Songs for individual villains, and songs for the baddie group as a whole. An example of the former is Yami no Hitsugi (Coffin of Darkness), which is all about Queen Beryl, while an example is the original Yamikoso Utsukushii which was for the Dark Kingdom as a whole and their Evil Plans. When a villain shows up in a later (unrelated) musical they sometimes get a new song, sometimes they re-use an old one. Rarely a villain could also share a theme with a Senshi, an example of this rare type is Onna no Ronsou (Dispute between Women) which was sung between Sailor Pluto and Queen Beryl describing how they were similar and their shared unrequited love for Mamoru.
  • "Falcon in the Dive" from the musical adaptation of The Scarlet Pimpernel (which conveniently comes after the main heroic song, "Into the Fire", in the libretto).
  • Seussical (That's right, there's a Dr. Seuss musical) has General Ghengis Khan Schmitz's "The Military" and Mayzie's "Amazing Mayzie". The Sour Kangaroo doesn't have one, oddly, despite being the main antagonist, although she does have some lines in "Biggest Blame Fool" which would definitely qualify.
  • "Cool, Cool Considerate Men" from 1776 lays out the reasons Dickinson and his supporters don't want independence: they're comfortable as they are, they don't want to put their wealth and property at risk for a cause they think can't win, and they think the common man will follow them because they're pretty cynical about him. It's accompanied by a big dance number on the floor of Congress.
    • "Molasses to Rum" for Edward Rutledge, which is also him saying that the South and the North are Not So Different—they both, in different ways, participate in and profit from the slave trade. Therefore, not only must the anti-slavery clause be removed from the Declaration, the Northerners are absolute hypocrites for wanting it there in the first place.
  • Lord Farquaad gets two in Shrek: The Musical:
  • From Sister Act: The Musical, the Big Bad and the Quirky Miniboss Squad both get one. "When I Find My Baby", sung by the Big Bad Curtis, is about how he will find Deloris again and "shoot that girl! And then I’ll stab that girl, and then I’ll take her and shake her, and make her meet her maker!"... "Lady in the Long Black Dress" is sung by the Miniboss Squad and is about seducing the nuns of the convent.
  • Groovelily's musical Sleeping Beauty Wakes has some marvelous villain songs by the Evil Fairy: "Uninvited", about not being invited to the celebration of the princess' birthday, and "The Wheel Goes Round", sung when she's in disguise trying to lure the princess to the spinning wheel.
  • A Shoggoth on the Roof (yes, a parody of Fiddler on the Roof) has some pretty dark tunes. Turning famous songs into a Lovecraftian induced musical. A lot of these can be considered villain songs in their own right, but the one the takes the cake is easily "Do You Fear Me?" which is sung by... Cthulhu himself! Even though The Nightmareis a close runner up due a portion of it dedicated to The Ghost of Lavinia Whately singing about her plan to have her two sons rape Armitage's daughter Prudence with tentacles!
  • The motivations of Buffalo Bill were revealed by "Are You About a Size Fourteen?" in Silence! The Musical.
  • The Soldier's Tale: "The Devil's Song", in which the Devil warns that though the Soldier may have won for now, Hell will win the next time they meet. It's a Spoken Word number since there are no singing roles, and also the only time anyone but the Narrator speaks over the music.
  • Dr. Robotnik has "Give Me Chaos" from Sonic: Live in Sydney where brags about how mean he is, how he plans to trap Sally to lure in Sonic and his preference for Chaos instead of good.
  • Although Max and Elsa don't have a Villain Song in the film of The Sound of Music, in the original stage production they have two, "How Can Love Survive?" and "No Way to Stop It".
  • Spamalot: "Run Away" for the French, where they taunt the Knights of the Round Table.
  • Spider-Man: Turn Off the Dark has several.
    • Flash Thompson and his cronies have "Bullying by Numbers" and "Venom".
    • Before the show was revamped, second-act villain Arachne had two as well; "Think Again", lamenting Peter's decision to give up his Spider-Man identity, and "Deeply Furious", an absurd and much mocked song about shoes.
    • The Green Goblin gets three. As Norman Osborn he sings "D.I.Y. World", about how designer genes are the way of the future. Not blatantly evil, but we know what happens. As the Goblin, he sings "I'll Take Manhattan", a lounge-style number, and "A Freak Like Me Needs Company" (derived from a recurring line in "Deeply Furious") about his creation of the Sinister Six.
    • And one more, "Pull the Trigger", from the military group funding Norman's research to create super soldiers.
  • Spies Are Forever has a few villain songs
    • Somebodys Gotta Do It introduces the main antagonist of the show, the Deadliest Man Alive who is secretly Curt's thought-to-be-dead lover Owen and characterizes him as a ruthless killer who takes delight in "making people bleed."
    • While the song 'Not So Bad is cheery and fun, it IS sung by Nazis trying to convince the protagonist that Hitler was in the right. So... villain song.
    • Torture Tango shows the Deadliest Man Alive having an amazing time as he tortures Agent Curt Mega, relishing in every bit of pain he inflicts on him. It's made more clear in retrospect that the Deadliest Man, aka Owen Cavour, is getting his revenge in this song. It parodies the trope of the vaguely erotic torture/interrogation scene
  • In The SpongeBob Musical, Plankton has one in the form of "When the Going Gets Tough", a Piss Take Rap (written by rap artist T.I.) where he persuades the citizens of Bikini Bottom into migrating to a new home after their town is threatened by a destructive volcano. Using their fear to his advantage, he manipulates everyone into believing that the only way to face your problems is by running away from them; this, of course, is just a ploy to get all the citizens together, hypnotize them en masse, and become the supreme ruler of their new town.
  • Team StarKid:
  • The original version of Starlight Express had "C.B." the gleeful confession of a serial killer caboose. It Makes Sense in Context.
    • While the character of Greaseball is not anywhere as villainous as C.B. his introductory number "Rolling Stock" still counts.
    • Electra's introduction song, "AC/DC", is another example.
  • "Let Things Be Like They Always Was" from Street Scene is less of a song than a Puccini-like aria, but it certainly sounds dark and menacing. It's Mr. Maurrant's only uninterrupted solo, in which he gives vent to his bitter reactionary attitude.
  • The closest thing to a Villain Song in Andrew Lloyd Webber's stage adaptation of Sunset Boulevard is the title song, "Sunset Boulevard", which is about Jerkass Protagonist Joe Gillis describing and rationalizing his manipulation of his (much older, much richer, and very emotionally-unstable) girlfriend Norma's feelings in order to have access to her stuff and money. This gets an even darker reprise at the very end of the show, where Joe emotionally abuses the innocent Betty (the literal Betty to Norma's Veronica), whom he had just told he loved two scenes earlier.
  • The Villain Protagonist of Sondheim's Sweeney Todd: The Demon Barber of Fleet Street gets "Epiphany".
    • Judge Turpin also has a Villain Song, though it's sometimes cut. Probably because, well, he's whipping himself and praying in between lusting after Johanna (suggesting that he practices self-flagellation or is just a freaky masochist). Programs and cast albums usually list this song as "Johanna", but it has no musical connection with the love song of the same name in the first act (which is the one performed outside the show under that name), or the "Johanna Sequence" in the second act, which includes a portion of the earlier "Johanna" in between new verses which Todd sings to himself as he offs his customers.
    • "A Little Priest" also fits the rules for a villain song: where "Epiphany" describes Todd's violent reaction to an awful world, "Priest" is Mrs. Lovett's refinement of the idea into a practical ("yet appropriate as always") course of action. And also contains justifications for their awful scheme: "save a lot of graves, do a lot of relatives favours" for instance.
  • The ice spirit Arktos in Tabaluga und Lilli gets "Schlüssel zur Macht" (translation: "Key to Power").
  • The Teenage Mutant Ninja Turtles: Coming Out of Their Shells Tour has "I Hate Music" from Shredder. Yes, really. Shredder is singing a song about hating music.
  • 13 has "Opportunity" and part of "It Can't Be True".
  • Thoroughly Modern Millie has "They Don't Know".
    • "Muquin" also. Although that may not be a villain song so much as Meers giving her henchmen some more motivation.
  • Most of the songs in Thrill Me are this. Chronologically: "Nothing Like a Fire" is Richard glorying in the warehouse fire he just set, and seducing Nathan; "A Written Contract" is Richard getting Nathan to agree to continue helping with his crimes "no matter what degree" and gloating about their superiority; "The Plan" is Richard excitedly plotting a murder; "Roadster" is Richard luring a twelve-year-old to his death; "Superior" is Richard gloating about being...superior to everyone else; and "Life Plus 99 Years" is Nathan gloating about having strung Richard along through almost all of the show. And really, there are arguments to be made for most of the other songs.
  • The Toxic Avenger: The Musical has a few for Tromaville's corrupt mayor Babs Belgoody.
    • "Jersey Girl", where she sings about her plans to become Governor.
    • She performs "Get the Geek" along with her henchmen and the town bullies Sluggo and Bozo, where she orders them to eliminate Melvin.
    • "Evil Is Hot", where she seduces Professor Zen to get him to tell her how she can kill Toxie.
    • "Bitch/Slut/Liar/Whore", between the Mayor and Toxie's mother (traditionally played by the same actress) as the latter swears to protect her son, their feud having started in high school. It also counts as a "The Villain Sucks" Song on Mrs. Ferd's part.
  • The Tuck Everlasting musical has three for the Man in the Yellow Suit: "Everything's Golden" and its reprise, in which he gloats about how he'll become a powerful, immortal millionaire after exploiting the spring water of Treegap Wood, and "The Story of the Man in the Yellow Suit", where he confronts the Tucks and holds Winnie hostage until they lead him to the spring. He gets killed right when the song ends.
  • The villain song from Tumbleweeds (a musical written to be performed by students) has the title "It Feels So Good to Be Evil" and consists of the various villains gloating about exactly how much they love being villains.
  • Turnabout Musical, the musical adaptation of Phoenix Wright: Ace Attorney, has some good ones in the making: Winston Payne's comical "Rookie Killer", Redd White's catchy "Redd White and You" (a plain-clothes rehearsal can be seen here), and Manfred von Karma's appropriately haunting, though strangely baritone, "Anything to Win" — Ominous Latin Chanting included. Fortunately, the "hero songs" are very much a match for them.
  • In Twice Charmed, Wicked Fairy Godfather Franco DiFortunato gets "It's Never Too Late."
    It’s never too late to plan a wicked plan / Smash both of her shoes and make off with her man!
  • The main antagonist of Queen's Rock Opera We Will Rock You is called Killer Queen. Naturally she's introduced with the song of the same name. "Flash" might be one for Khashoggi.
    • Khashoggi's rendition of "Seven Seas of Rhye" is also highly villainous.
  • In Urinetown, several songs go to the bad guys, including "Cop Song" which goes to the henchmen as well as "Don't be the Bunny" and "Mister Cladwell" going to the main villain Mr. Cladwell. The latter of which is an outright song praising his virtues (Mister Cladwell, you're so Godly/oddly perfect and right).
  • You Will Still Be Mine from Theatre/Waitress, where Jenna's abusive husband Earl finds out about her pregnancy. He proclaims that this child means that Jenna can never leave him now, but that Jenna will always love him more than the baby.
  • "All About the Green" in the musical adaptation of The Wedding Singer - though Glen is more of a Jerkass than an outright villain, and there are cooler songs in "Casualty of Love", "Today You Are a Man" and others, it's still right up there.
  • Notably averted in Wicked. Fiyero's song "Dancing Through Life" is a textbook cackling song about his nihilistic philosophy, but he turns out to be a much better person than he seems. The Wizard's song, "Wonderful", is the very opposite of a standard Villain Song: he's trying to justify his crimes by playing humble and innocent, and (unlike The Sound of Music) is still the Big Bad. Elphaba (the heroine and titular Wicked Witch) even gets one in "No Good Deed", but it's undercut by the fact that she's rocketing through the stages of grief and has some full blown Sanity Slippage/Heroic BSoD going on by the end. Despite her big talk, she never can bring herself to be the villain. "March of the Witch Hunters" comes close, especially the Tin Man's parts, but they truly believe that they're doing the right thing and are unaware that they're being manipulated by Madame Morrible. Finally, "Wicked Witch of the East" can almost be read as one, except that Nessarose is mourning the fact that she somehow became the villain without noticing.
  • The Winx Club musical Winx Power Show gives us "Non c'è Amore" ("There's No Love"), sung by Trix about their intention to destroy the Winx (or fight forever if they fail) and become invincible and the fact there's so much rage inside them that no love can redeem them.
  • "Don't Nobody Bring Me No Bad News" is the mantra of Evilene, the Wicked Witch of the West, in The Wiz.
  • "You Can Get Away with Anything" from The Woman in White.
  • "The Mad Hatter" and "I Will Prevail" sung by, you guessed it, the Mad Hatter in Wildhorn's Wonderland, a musical adaptation of Alice in Wonderland. Because, you know, high notes higher than Alice's mean the Hatter is obviously evil. "Hatter" serves as an eponymous introduction song, while "I Will Prevail" opens act two with a bang —and more Incredibly Long Notes.
    • Similarly, the manic milliner struts her manipulative side when she entreats Alice's daughter Chloe to join the Hatter and her minion on "A Nice Little Walk".
    • The original version of the show (which held its tryout run in Tampa back in 2010) included a song for the Jabberwocky entitled "Misunderstood", although it's more of a subverted Villain Song, as he claims himself to be Necessary Evil in a world where "you can't know pleasure if you don't know pain", even justifying his actions by claiming that he was born to be a man-eating monster, and that it's really all he can do. Sadly, both the song and the character were cut from the show once it hit Broadway.
    • The Queen of Hearts gets the Black Comedy-filled "Off with Their Heads!", though the Queen herself is an Unwitting Pawn for the Hatter.
  • Since Woyzeck has so many villains, each one gets their own song: the Doctor has "God's Away on Business", the Drum Major has "Another Man's Vine" and a creepy duet with Marie called "Everything Goes to Hell", and the Captain gets "Starving in the Belly of a Whale".
  • "Evil Woman" from the stage version of Xanadu.
  • Yes Virginia: The Musical has a relatively low-key one (in keeping with a kid's show) where Frank Church espouses his belief that newspapers had a duty to report the negative over the positive.
  • Z: The Masked Musical (which never got past the concept album stage) featured the alcalde's delightful "Glorious, Gluttonous Greed", in which he recounts his love of money, revels in the suffering of the peasants, describes his plan to purchase a noble title, and demonstrates the ability to count and identify coins just by the sound they make hitting the table. The rest of the album is execrable.

Alternative Title(s): Opera, Theater


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