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Broadway songs for 12-15 year old boys

My studio suddenly has a handful of younger boys, several with recently-changed voices, and one who is not there yet.

I’m building a list of songs that are appropriate for them, both vocally and temperamentally.  I’m looking for texts that are also age-appropriate.

Here goes, with what I’ve taught in the last few months (song, show):

  • Just one person, Snoopy
  • Giants in the sky, Into the Woods
  • Wonderful day like today, Roar of the Greasepaint
  • That kind of a day, Sheldon Harnick song book
  • Leaning on a lamppost, Me and My Girl
  • If I ruled the world, Pickwick
  • Love I hear, A Funny Thing Happened on the Way to the Forum
  • There’s me, Starlight Express
  • If the world only knew, Scott Evan Davis
  • Edwina, Edwina
  • I’m home, Captains Courageous
  • When I get my name in lights, The Boy from Oz
  • Just wasn’t meant to happen, Calvin Berger (or any of Calvin’s songs)
  • Sara Lee, Kander and Ebb songbook
  • Try me, She Loves Me
  • Rhyme for Angela, Firebrand of Florence
  • It’s not where you start, Seesaw
  • The kite, You’re a Good Man, Charlie Brown
  • Suppertime, You’re a Good Man, Charlie Brown
  • Put on a happy face, Bye Bye Birdie
  • All my devices, Stephanie Salzman
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Anatomy

Thanks, Matt Edwards, for this wonderful primer!!

https://edwardsvoice.wordpress.com/laryngeal-anatomy-101/

Song choices

Spring 2017 song choices for the acting and musical theatre students in my studio:

  • Take me away, Scott Alan
  • Oh is there not one maiden breast, Pirates of Penzance
  • Mister Snow, Carousel
  • Spark of Creation, Children of  Eden
  • Neverland, Scott Alan
  • Fair House of Joy, Roger Quilter
  • Jason’s Song, Jeffrey Carter
  • Goodbye Yellow Brick Road in the Sara Bareilles rendition
  • Mira, Carnival
  • Winter’s On the Wing, The Secret Garden
  • Love, I Hear, A Funny Thing Happened on the Way to the Forum
  • Accident Prone, Laurence O’Keefe and Kirsten A. Guenther
  • Little Susan Lawrence, Big! 
  • Where did we go wrong, Kerrigan & Lowdermilk
  • Watch me soar, Scott Alan
  • Time in a bottle, Jim Croce
  • John Wellington Wells, Iolanthe

Post-millennial musical theatre composers

A Second Golden Era:
The Music of Post-Millennial Musical Theatre Composers

[This session, presented in October 2016 at the National Association of Teachers of Singing Central Division student summit in Iowa city, surveys the work of numerous (generally) post-millennial musical theatre composers.]

 

The current musical theatre scene includes a wealth of younger songwriting teams and individual composers, many of whom self-publish. Their music is vivid, varied, and worth knowing.

With a wealth of examples available on YouTube, we witness a number of songs in recordings of live performance. We also review composer websites and resources on line. The aim is to help students and teachers gain new insight into contemporary literature, and build knowledge of a dozen or more contemporary composers. I also share some personal notes about my impression of some of this music.

A word about sheet music: most of these composers and teams provide purchasable PDF sheet music from their websites, or link you to an on-line store.  Buying this music directly, rather than sharing a scan from someone else, enables these folks to make a living and keep on writing.  Notice too that numerous songs come in female (belty) and male (baritenor or tenor) keys.

Do check out the resources at newmusicaltheatre.com.

And also check out this Buzzfeed column.

N.B. — While I include Andrew Lippa on this survey, he really is not part of the gestalt of post-millennial musical theatre. Rather, along with JRB, Guettel and others, he’s an important voice in contemporary musical theatre, with songs cast in more traditional formal structures and story-telling techniques.  Also not part of this survey are originators of current rock musicals and rap musicals.

And another N.B. — I have received some comments reminding me that many of the composers on this team are not Millennials. Those reminders are correct.  But this list is intended to be a very incomplete survey of composers writing in a post-millennial style.  Perhaps I’ll do another blog entry or session on composers and composing teams who are indeed part of the Millennial generation! [comment added 11/7/16]


Broadway’s ‘Golden Era’ is generally considered to be the days of Rodgers & Hammerstein, Lerner & Loewe, Bernstein, Cole Porter and Irving Berlin, Frank Loesser and Meredith Willson.  Yip Harburg, Jule Styne, Jerry Herman and others are in the mix too.

Others of the remaining third of the 20th century (some of whom remain active today) included Cy Coleman, Andrew Lloyd Webber, Boublil & Schonberg, Stephen Schwarz, Marvin Hamlisch, Ahrens & Flaherty, Marsha Norman & Judy Simon, Jason Robert Brown, Maltby & Shire, and the great Stephen Sondheim.  We must also consider composers of rock musicals and rock-influenced musicals, such as Elton John. And the Disney musicals.

Millennials are the generation born 1982-2002, according to demographers.

But what is post-millennial musical theatre?

Much of post-millennial musical theatre literature is intimate, emotionally present, and very much in a story-telling vein.  Songs that, in the moment, drive a plot ahead with action or need.  Songs that stand alone well in a cabaret setting — solo mic, lights focusing on the performer, audience not many feet away. Performers delivering without artifice or traditional conventions of musical theatre.  Hand-in-hand with this observation: most of these shows won’t go to Broadway, but will be Off- and Off-Off-Broadway instead, suiting the more intimate style and subject matter.

My colleague Neal Richardson says

Vocal considerations are akin to acting considerations–casually natural qualities predominate. For me, this means both male and female should be largely in a mix characterized by an ease and uniformity between low and high. Parlando singing that is closely connected to speech will help achieve the desired vocal colors. A beautiful, pure head voice is a distraction as it will communicate an “I’m singing now” quality. Belt is acceptable and even required at times, but only if the moment justifies it. If you belt without justification it also communicates: “listen to my voice.”

I might add a danger too: many contemporary singing actors have grabbed onto an artifically tight, retroflex R; a stiff upper lip; and an exaggerated /u/ vowel (perhaps modeling Alice Ripley and others) — all of which may be appropriate as an occasional dramatic choice, but which in no way mimic normal speech patterns.  I work with my own students to avoid these affectations, going for the most natural quality possible.


Any list of post-millennial musical theatre composers is naturally going to leave important voices aside, but here’s a somewhat curated list of folks I teach:

carner-gregorCarner and Gregor; partnered on a project in the early 2000s at NYU, and have worked together ever since; Derek Gregor, music & Sam Carner, lyrics; strong melodies, clear story arcs, accessible rhythm, beautifully written accompaniments; musicals include Island Song and Unlock’d; printed pages are beautiful, demonstrating great care

Pasek and Paul; started working together at University of Michigan; Tony Award nominees; collaborate on music and lyrics; intricate accompaniments, highly detailed rhythmic patterns, rich and singable melodies, with music described as ‘elegant’ and ‘consistently bouyant and clever’; musicals include Dogfight, Dear Evan Hansen, James and the Giant Peach, A Christmas Story: The Musical and Edges; original songs also featured on second season of Smash

Scott Alan; more songwriter than show-writer; music of simpler style, less complex than Pasek and Paul, direct and appealing melodies; “I write about issues that are relatable.”; seven CD albums available; many of his songs are more or less autobiographical; N.B. — I find many songs need a key change, and many accompaniments are written in the same vein

kerrigan-lowdermilkKerrigan and Lowdermilk; Kait Kerrigan (words) and Brian Lowdermilk (music); musicals include Henry and Mudge, The Unauthorized Autobiography of Samantha Brown, Tales from the Bad Years, The Woman Upstairs, Wrong Number, The Freshman Experiment, Republic, Unbound, and Flash of Time; strong and appealing melodies, evocative accompaniments, superior sense of build and climax in the arc of a song, intricate rhythmic underlay; N.B. — printed music often has rhythmic notation that is non-standard, but new songbook from Hal Leonard has cleaned much of this up

Seth Bisen-Hersh; musicals include Love Quirks; extensive YouTube channel; multi-faceted artist, author, reality TV star; some witty comic numbers

pete_millsPeter Mills; musicals include Golden Boy of the Blue RidgeThe Taxi Cabaret and Lonely Rhymes, a contemporary comic song cycle; currently writing lyrics for Broadway-aimed The Honeymooners; elegant and sophistocated writing, wicked and witty word play, and beautifully presented music, both visually and aurally

Brett Macias; Webster University and NYU alum; composes to lyrics by Caroline Murphy; musicals include Tuesday, Fishing the Moon, and Beneath the Surface; intriguing and probing subject matter (rape, fighting the current of life, violence in our schools), and easily among the most social-commentary of the composers and writers in this list; Macias says that when he discovered that he could “do more for the art form by writing and building a musical from the ground up” (as opposed to pursuing acting), his path was clearly laid out in front of him; read a superior and lovingly-written introduction

Andrew Lippa; significant Broadway and off-Broadway successes include John & Jenn, Big Fish, The Wild Party, The Addams Family, and the rescoring of You’re A Good Man, Charlie Brown; a chameleon composer, capable of a pastiche of styles and genres, always careful with notation, clear with lyrics, and generous to the performer; songbook available from Hal Leonard, with some non-show-related songs

Jonathan Reid Gealt; multi-talented composer, performer, and screenwriter; check out the song cycle Forward; two albums available; his music has a strong following among top-line performers such as Kelli O’Hara, Matt Doyle, Kate Baldwin, and Titus Burgess

tom_kitt_bioTom Kitt; successes include Next to Normal, If/Then, and High Fidelity; and with Lin-Manuel Miranda, Bring It On: the Musical; punchy and evocative music, with well-crafted rhythms, melodies that mean something, and a kaleidoscope of textural colors; engages in significant work as arranger and MD

Jeff Bowen and Hunter Bell; Hunter is the playwright, with Jeff writing lyrics and music; shows include [title of show], Silence: the Musical, and Now. Here. This.; composes self-aware, stream-of-consciousness musicals that mock some conventions but are also incredibly entertaining and at times emotionally moving; N.B. — many songs are tough to excerpt because they are so specific to time/place/character; I suggest Now. Here. This. as the best show to look at for song study and audition cuts

Jeff Blumenkrantz; actor, composer, lyricist; musicals include Urban Cowboy; multiple Broadway stage appearances; songbook is available, as are single copies of many songs; honest and strong approaches to real life, with lots of humor, some wonderful moments of raw pathos, and powerful melodies; piano accompaniments are strong and lay beautifully under the fingers

adam_gwon_250pxAdam Gwon; one of the cleanest websites you’ll see!; shows include Ordinary Days, Cake Off, and The Boy Detective Fails; emotionally accessible, powerful sense of descriptive melody, lovingly written accompaniments; one of the most-awarded of post-millennial musical theatre composers, winning nearly every new musical theatre prize and recognition out there; a real fan of the current crop of Broadway stars

Goldrich and Heisler; composer Zina Goldrich and lyricist Marcy Heisler; music published by Hal Leonard; have composed for children’s theatre, including Dear Edwina; other musicals 87527include Junie B. Jones and Adventures in Love; perhaps best-known for ‘Taylor, the Latte Boy’; among the most accessible of all the teams and composers on this list, with audience-pleasing melodies, clear story arcs, plenty of humor, and pianist-pleasing accompaniments

Ryan Scott Oliver; self-described “A composer-lyricist fashioning epic dramas, Gothic thrillers, and high-octane rock and roll into exhilarating new musicals.”; shows include 35MM, Darling, Jasper in Deadland, and We Foxes; songbook published by Hal Leonard; strong rock influences, more provocative subject matter, powerful sense of rhythm; Huffington Post said he “could very well be musical theater’s answer to an auteur filmmaker or a gothic novelist”

Timothy Huang; has more recently specialized in short musicals; shows include Peter and the Wall, The View From Here, and Costs of Living; here’s an interview with him; “I want them to respond to all of my shows: to question the way they, as members of this society, define what an American is.”; and check out this interview


And check out some other resources! —

Ways to practice

How do we hone our own skills without guidance from an outside voice?  Dramatics magazine ran a great article about this topic in Fall 2015.  While the specifics are pointed toward actors, the sentiment is true for singers and opera performers and singing actors of all kinds.

Here’s the article.  It’s a short, worthwhile read: on-your-own

Audition song choices 2015

I’m live-blogging at the 2015 annual conference of the International Thespian Society.  Because of commitments in Saint Louis, I missed the Monday and Tuesday thespian auditions this year, but today’s session includes well over 100 actors and singers.

Here’s a list of the songs we heard today:

  • Foolish to think.  A Gentleman’s Guide to Love and Murder
  • Fly fly away.  Catch Me If You Can.
  • Pretty funny.  Dogfight.
  • Fly into the future.  Vanities
  • Don’t let me go.  Shrek, the Musical
  • Proud of your boy.  Aladdin
  • Being alive.  Company
  • Shiksa goddess.  The Last Five Years
  • If he really knew me.  They’re Playing Our Song
  • Nothing.  A Chorus Line.
  • Screw loose.  Crybaby the Musical
  • One more kiss.  Follies
  • Fight the dragons.  Big Fish.
  • Suppertime.  You’re A Good Man, Charlie Brown
  • I wish it so. Juno
  • I dreamed a dream.  Les Miserables
  • Astonishing.  Little Women
  • My new philosophy.  You’re A Good Man, Charlie Brown
  • I wanna be a producer.  The Producers
  • Alto’s lament.  Kerrigan and Loudermilk
  • With you.  Ghost, the Musical
  • Bye bye baby.  Gentlemen Prefer Blondes
  • Tonight at eight.  She Loves Me
  • Much more.  The Fantasticks
  • If I left London.  Chaplin, the Musical
  • Beautiful.  Heathers
  • Good morning, Baltimore.  Hairspray
  • I got rhythm.  Mr and Mr Gershwin
  • Corner of the sky.  Pippin
  • Mama who bore me.  Spring Awakening
  • Someone like you.  Jekyll and Hyde
  • Extraordinary.  Pippin
  • Happy/Sad.  The Addams Family
  • Suddenly Seymour.  Little Shop of Horrors
  • Fine, fine line.  Avenue Q
  • Dyin’ ain’t so bad.  Bonnie & Clyde
  • Unexpected song, Song and Dance
  • Waiting.  The Addams Family
  • On my way. Violet
  • Loving you.  Passion
  • Glitter and be gay.  Bernstein
  • Superboy and the invisible girl.  Next to Normal
  • I can cook too.  On the Town
  • As we stumble along.  The Drowsy Chaperone
  • Make me see it.  The Fantasticks
  • Diva’s lament.  Spamalot
  • Seasons of love.  Rent
  • I can hear the bells.  Hairspray
  • Spark of creation. Children of Eden
  • Once upon a time.  Bare
  • You can’t get a man with a gun.  Assassins
  • Freeze ray.  Dr. Horrible etc.
  • Lifeboat.  Heathers, the Musical
  • Some enchanted evening.  South Pacific
  • How can I call this home?  Parade

More song lit

I kept a list last month while I was adjudicating the second round of college students at the Classical Singer competition in Chicago.  We heard a long four hours of undergraduate students singing one song each, for the most part, and we send six on to the next round.

Here’s a partial list of what we heard (with some commentary):

  • Kurt Kaiser: The Longing Soul (what a wonderful work this is!)
  • Mozart: Il mio tesoro intanto
  • Handel: V’adoro pupille
  • Strauss: Beim Schlafengehen (not the best choice for a younger voice, as this song requires some emotional weight of the years)
  • Copland: Heart, we will forget him
  • Mozart: Batti, batti
  • Bellini: Oh! Quante volte
  • Weill: Lonely House
  • Mozart: Un aura amarosa
  • Tchaikowsky: Nur wer di sehnsuch kennt
  • Mechem: Fair Robin I love
  • Bellini: La ricordanza
  • Fauré: Au bord de l’eau
  • Böhm: Still wie die nacht
  • Mozart: Ah! Fuggi il traditor
  • Britten: The last rose of summer
  • Verdi: Saper vorresti
  • Schubert: Du bist die ruh
  • Bolcom: Song of Black Max
  • Donizetti: Ah! Tardai troppo
  • Dvorak: Song to the Moon
  • Hahn: Ah Chloris!
  • Mozart: Che beltà, che leggiadria
  • Donaudy: Perche dolce caro bene
  • Donizetti: Chacun le sait
  • Mozart: Non piu andrai
  • Mozart: Porgi, amor
  • Quilter: Love’s Philosophy
  • Mozart: Voi che sapete
  • Puccini: O mio babbino caro
  • Duparc: Soupir
  • Duparc: Phidylé
  • Handel: Total Eclipse
  • Dell’Acqua: Villanelle
  • Handel: Pastorella vaghe bella
  • Copland: Laurie’s Song
  • Gounod: Ah! Je veux vive
  • Lalo: Vainement, ma bien aimée
  • Rossini: Ecco ridente in cielo
  • Handel: Svegliatevi nel core
  • Beach: Ah, love but a day
  • Fine: Polar Oli
  • Mozart: Un moto di gioia
  • Parry: My heart is like a singing bird

Contest songs

As I was adjudicating last weekend at the Classical Singer conference in Chicago, I kept track of the songs from the High School Musical Theatre (Legit) second round.

In no particular order, here’s the list:

What good would the moon be.  Street Scene

Make Believe.  Showboat

I feel pretty.  West Side Story

If I were a bell.  Guys and Dolls

Art is calling for me.  Victor Herbert (four times)

Into the fire.  Scarlet Pimpernel

How could I ever know.  Secret Garden

I don’t know what I’d do.  A Gentleman’s Guide to Love and Murder (twice)

Tell me on a Sunday.  Song and Dance

Waitin’ for my dearie.  Brigadoon

The beauty is.  The Light in the Piazza

Stars.  Les Miserables

Les Poissons.  Little Mermaid

The Impossible Dream.  Man of La Mancha

Mr. Snow.  Carousel

Green Finch and Linnet Bird.  Sweeney Todd (five times!)

Beyond my wildest dreams.  Little Mermaid

If I loved you.  Carousel

I’m a stranger here.  Touch of Venus

And this is my beloved.  Kismet

The life I never led.  Sister Act

Warm all over.  The Most Happy Fella

Cool.  West Side Story (complete with choreography, flips, and a muscle shirt)

I rise again.  On the 20th Century

If ever I would leave you. Camelot

White Christmas.  Holiday Inn

My white knight.  The Music Man

The devil you know.  Side Show

Bless your beautiful hide.  Seven Brides for Seven Brothers

I could have danced all night.  My Fair Lady

Il mondo . . .  The Light in the Piazza

My true love.  Phantom

Wishing you were somehow here again.  Phantom of the Opera

Male duets

For some time, I’ve been collecting lists of male duets in musical theatre.

Herewith, in no particular order, a list:

  • Pretty Women, Sweeney Todd
  • We can do it, The Producers
  • Lily’s Eyes, The Secret Garden
  • You rule my word, Full Monty
  • Agony, Into the Woods
  • Alone in the universe, Suessical
  • Dirty Rotten Number, Dirty Rotten Scoundrels
  • Confrontation, Les Miserables
  • All for the best, Godspell
  • That guy, Blood Brothers
  • The river won’t flow, Songs for a New World
  • Guys and dolls, Guys and Dolls
  • To Life!, Fiddler on the Roof
  • No contest, Chess
  • Vegas, by Kerrigan-Loudermilk
  • You’re Nothing Without Me, City of Angels
  • Brush up your Shakespeare, Kiss Me Kate
  • The Proposal/The night was alive, Titanic
  • The beauty that drives men mad, Sugar
  • The Riddle Song, Floyd Collins
  • Pitiful penniless bums, Sugar
  • It would have been wonderful, A Little Night Music
  • Worlds Apart, Big River
  • Song on the Sand, La Cage aux Folles
  • Little boy, be a man, Catch Me If You Can
  • A powerful thing, Steel Pier

Musical theatre audition songs

With Jocelyn before auditions on Monday.  I wasn't looking this lively Tuesday at 6!

With Jocelyn before auditions on Monday. I wasn’t looking this lively Tuesday at 6!

I am finished now with two days (11.5 hours!) of auditions at the 2014 International Thespian Society annual conference. We have more to go on Thursday and Friday.

I have been keeping track of most of the songs that have been used for auditions here as rising high school seniors are singing for various college and university reps.

Herewith, a nearly-complete list in no particular order (and not checked for duplicates):

  • Someone Like You – Jekkyl & Hyde
  • Life of the Party – Wild Party
  • Blow Gabriel Blow – Anything Goes
  • I am Aldolpho – Drowsy Chaperone
  • When words fail – Shrek
  • Breathe – In the Heights
  • As long as he needs me – Oliver!
  • Somewhere that’s green – Little Shop of Horrors
  • Fly, fly away – Catch me if you can
  • In these skies – Ace
  • Green finch and linnet bird – Sweeney Todd
  • Many a new day – Oklahoma!
  • Benny’s Dispatch – In the Heights
  • Here I Am – Dirty Rotten Scoundrels
  • Notice me, Horton – Seussical
  • Corner of the Sky – Pippin
  • So Anyway – Next to Normal (I would urge careful consideration and caution before using this for an audition!  It’s too specific, too hard for a youngster to understand, and too identified with a particular singer.)
  • Gimme, gimme – Thoroughly Modern Millie (I would urge careful consideration and caution before using this for an audition! It’s overdone.)
  • Maybe This Time – Cabaret
  • Lost in the Wilderness – Children of Eden
  • Together Again – Young Frankenstein
  • Now I Have Everything – Fiddler on the Roof
  • Pulled – Addams Family
  • Being Alive – Company
  • She Loves Me – She Loves Me
  • Javert’s Suicide – Les Miserables
  • If you were gay – Avenue Q
  • Part of your world – Little Mermaid (I would urge careful consideration and caution before using this for an audition! The song tends to be a bit cloying when taken out of context.)
  • Change – A New Brain
  • What About Me? – 25th Annual Putnam County Spelling Bee
  • Cross the Line – Big
  • Live in living color – Catch Me If You Can
  • All through the night – Cole Porter
  • Giants in the sky – Into the Woods
  • Mama who bore me – Spring Awakening
  • Beyond my wildest dreams – Little Mermaid
  • Love, look away – Flower Drum Song
  • Little Shop of Horrors – Little Shop of Horrors
  • Once more I can see – Wonderland
  • I don’t remember you – Happy Time
  • A Mix Tape – Avenue Q
  • I will prevail – Wonderland
  • The Life I Never Led – Sister Act
  • Loose Ends – Witches of Eastwick
  • Model Behavior – Women on the Verge of Nervous Breakdown
  • The gentleman is a dope – Allegro
  • If I loved you – Carousel
  • Don’t rain on my parade – Funny Girl (I would urge careful consideration and caution before using this for an audition! It’s identified with an inimitable star.)
  • King Herod’s Song – Jesus Christ Superstar
  • Fire Within Me – Little Women
  • Some things are meant to be – Little Women
  • In know the truth – Aida
  • Santa Fe – Newsies (I would urge careful consideration and caution before using this for an audition! The song is too current with a particular show.)
  • Magic to Do – Pippin
  • Pretty Funny – Dogfight
  • Grow for Me – Little Shop of Horrors
  • I can hear the bells – Hairspray
  • Some Day – The Wedding Singer
  • Cabaret – Cabaret
  • Miracle of Miracles – Fiddler on the Roof
  • Sailor of my dreams – Dames at Sea
  • Dancing all the time – Big
  • And this is my beloved – Kismet
  • Run away with me
  • Colored Women – Memphis
  • Far from the home I love – Fiddler on the Roof
  • This world will remember – Bonnie & Clyde
  • Man Inside the  . . . – Catch Me If You Can
  • Out of my dreams – Oklahoma!
  • I got plenty of nothin’ – Porgy & Bess
  • Go the Distance – Hercules
  • I Don’t Do Sadness – Spring Awakening
  • O mio babbino caro – La Rondine
  • Once upon a time – Brooklyn
  • Lonely Town – On the Town
  • Who I Be – Shrek
  • Waiting for life – Once on This Island
  • Fine fine line – Avenue Q
  • Patterns – Baby
  • Don’t Let Me Go – Shrek
  • Pirate King – Pirates of Penzance
  • When I’m not with the girl I love – Finian’s Rainbow
  • I want to be bad – Follow Through
  • Sunset Boulevard – Sunset Boulevard
  • A little brains – Damn Yankees
  • Bigger is better – When Pigs Fly
  • Watch What Happens – Newsies
  • Someone to watch over me – Gershwin
  • Dying Ain’t So Bad – Bonnie & Clyde
  • Perfect – Edges
  • A trip to the library – She Loves Me
  • History of Wrong Guys – Kinky Boots
  • Quiet – Forward
  • Climbing Up Hill – Last Five Years
  • Hello, Tom
  • How are things in Glocca Mora – Finian’s Rainbow
  • Any place I hang my hat – St. Louis Woman
  • I decided to marry you – Gentleman’s Guide to Love and Murder
  • My white knight – The Music Man
  • Everlasting – Tuck Everlasting
  • DeLovely – Anything Goes
  • Where is love – Oliver!
  • If he walked into my life – Mame
  • May I like it this way – Wild Party
  • Mr. Snow – Carousel