There are as many different types of song in MT as there are shows – big belters, ballads, showstoppers, choruses, comic theatricals, and curtain-raisers.
In this post I’ll share some of my favourite sad songs, tearjerkers, items of pathos, musical beauties. This takes in examples from between the world wars through to the present day: I hope I’ve included some of your favourites.
Kern and Hammerstein: in creating Show Boat a couple of classic love songs were launched. ‘You Are Love’ brings Gaylord and Magnolia together, while ‘Bill’ gives Julie a torch song of regret; the use of a turn of the century stage favourite by Charles Harris, ‘After the Ball’, focuses on father and daughter meeting after a separation.
Rodgers and Hart: ‘Bewitched, Bothered and Bewildered’ from Pal Joey. An anthem of awakened feelings from an older lady. ‘My Romance’, from Jumbo, love in the circus. ‘With a Song in my Heart’, which was a film number, not stage, but beautiful.
Rodgers and Hammerstein: ‘Something Wonderful’ and ‘Hello, Young Lovers’ from The King and I, where Anna Leonowens finds purpose in Siam. ‘People Will Say We’re In Love’ from Oklahoma, Curly and Laurey’s unsure steps. ‘If I Loved You’ and ‘Soliloquy’ from Carousel, where bluff Billy almost softens. ‘Do I Love You Because You’re Beautiful’ from Cinderella, done twice for TV before making it to the stage. ‘This Nearly Was Mine’ from South Pacific, when Emile feels he has lost Nellie, who has been ‘carefully taught’ to fear the unknown.
Andrew Lloyd Webber: ‘I Don’t Know How To Love Him’ from Jesus Christ Superstar. ‘Other Pleasures’ and ‘Seeing is Believing’ from Aspects of Love, an underrated circle of love and desire. ‘Old Deuteronomy’ from Cats. ‘As If We Never Said Goodbye’ and ‘The Greatest Star of All’ from Sunset Boulevard. ‘An Unexpected Song’ from Tell Me On a Sunday, just breathtaking.
Stephen Sondheim: ‘Little Lamb’ from Gypsy. ‘Send in the Clowns’ from A Little Night Music. ‘Losing My Mind’ and ‘The Road You Didn’t Take’ from Follies. ‘Move On’ from Sunday in the Park With George. ‘Being Alive’ from Company. He has such an eye for the real detail.
Abba musicals: ‘Pity the Child’ and ‘Anthem’ from Chess. ‘Slipping Through My Fingers’ from Mamma Mia, mothers and daughters.
Willy Russell: ‘Tell Me It’s Not True’ from Blood Brothers. The tale of twins as alike as two pins.
Richard O’Brien: ‘I’m Going Home’ and ‘Once In Your Life’ from The Rocky Horror Show. Strangely touching.
Gershwin: ‘Summertime’ and ‘I Loves You, Porgy’ from Porgy and Bess. ‘But Not For Me’ from Girl Crazy.
Boublil and Schoenberg: ‘Bring Him Home’, ‘I Dreamed a Dream’ and ‘I Saw Him Once’ from Les Miserables. ‘The Movie in My Mind’, ‘Bui-Doi’ and ‘I’ll Give My Life for You’ from Miss Saigon. ‘When Will Someone Hear’ and ‘How Many Tears’ from Martin Guerre. Big belters with a lot of heart.
Bernstein: ‘Make Our Garden Grow’ from Candide. ‘One Hand, One Heart’ and ‘Maria’ from West Side Story.
Ivor Novello: ‘My Dearest Dear’ from The Dancing Years. ‘We’ll Gather Lilacs’ from Perchance to Dream. Of their time operettas, but beautifully done.
Noel Coward: ‘If Love Were All’ from Bitter Sweet. ‘Matelot’ from Sigh No More.
Peggy Gordon: ‘By My Side’ from Godspell. A beautiful blend of melodic voices.
‘I Don’t Need a Roof’ and ‘Daffodils’ from Big Fish, a new musical with a lot of heart.
Lerner and Loewe: ‘I Could Have Danced All Night’ from My Fair Lady. ‘It’s Almost Like Being in Love’ from Brigadoon. ‘Wand’rin Star’ from Paint Your Wagon. ‘How To Handle a Woman’ and ‘Before I Gaze at You Again’ from Camelot. The title song from ‘Gigi’, as Gaston falls in love. Five musicals which need big ticket revivals.
Irving Berlin: ‘It’s a Lovely Day Tomorrow’ from Louisiana Purchase but best known for the version by Vera Lynn. ‘They Say It’s Wonderful’ from Annie Get Your Gun, a sweet pause in a raucous sea of sound.
Jerry Herman: ‘If He Walked Into My Life’ from Mame. ‘I Won’t Send Roses’ from Mack and Mabel. ‘Song on the Sand’ from La Cage Aux Folles. Naked, honest, what ifs.
Bock and Harnick: ‘Sunrise, Sunset’ from Fiddler on the Roof.
What are yours?
3 thoughts on “Tearjerkers in Musical Theatre”
well, a lot of the Les Mis songs are tearjerkers for me
Will I? and Your Eyes from Rent along with a couple others from Rent
For Good from Wicked
three years ago when I saw the stage show of Sound of Music, Edelweiss turned out to be a tearjerker which I wasn’t expecting
It can just depend really, but Les Mis is the biggest tearjerker of songs and I still get emotional at those songs
Edelweiss can be – I can definitely see that.
I was quite surprised by my reaction to Edelweiss when I saw Sound of Music live three years. Never in my long journey with Sound of Music has the negative emotions been in the songs or have I cried during Sound of Music. So it was a big surprise
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