When it comes to auditioning, many creatives know a good song when they hear it. The trouble happens, though, when multiple actors get the same idea to do the same song. And nobody wants to see that look of disdain from the casting director when you announce you're singing the same song they've already heard 27 other people do. Take it from a former music director and audition accompanist: There are absolutely songs that one gets tired of hearing.
Now keep in mind—overdone songs become overdone for a reason. Granted, I would never tell you that any included on this list are bad songs, per say. I can also tell you (again as a former music director and audition accompanist) that the secret truth in this general area of discussion is that if you really—and I mean really—kill one of those "overdone" songs, it will absolutely still work for you and no one will be upset that you brought them your top-tier performance of them. Whether or not you are able to sing the snot out of these oft-sung tunes enough to surpass their reputation for being overdone...I'll simply leave that up to you.
The good news is that the musical theatre canon is large and rich, so there are many options for audition songs—whether you're trying to get into a school or trying to land that next job. If you're looking to expand your repertoire, or truly have some groaners in your book that it's time to swap out, try these songs on for size!
TYPICAL PICK: "I Could Have Danced All Night," from My Fair Lady
ALSO CONSIDER: "Come Home," from Allegro
"I Could Have Danced All Night" is truly your favorite overdone musical theatre song's favorite overdone musical theatre song, the ur-overdone musical theatre song, if you will. And obviously, theatre folks love it for its beautiful melody and the opportunity for those rich, soprano high notes. I, however, have never understood why the same has never seemed to happen for Allegro's "Come Home." It probably has something to do with the fact that Allegro is not one of Rodgers and Hammerstein's better remembered (or really ever performed) musicals, but that doesn't make this song any less gorgeous. If you want to hear an excellent take on the tune, seek out Audra McDonald's performance from the musical's studio cast album. It's divine.
TYPICAL PICK: "Vanilla Ice Cream," from She Loves Me
ALSO CONSIDER: "My Book," from Seven Deadly Sins
I've got two reasons to avoid "Vanilla Ice Cream." Though it is written for a soprano and is a funny character moment—a rare combo when it comes to soprano musical theatre songs—it is very common at auditions. Also, it calls for tempo changes, each chorus starting slow and gradually getting faster and faster. Most pianists should know this one, but any mid-song tempo change is an opportunity to show off from your pianist, and nobody wants that. As for the replacement song, this is truly a deep cut. This is a song written for the song cycle Seven Deadly Sins that was, as far as I know, only performed once: by Audra McDonald at an NYC concert and broadcast on the radio. Yes, I'm directing you to Audra McDonald again (WWAMD: What would Audra McDonald do). "My Book," inspired by the so-called deadly sin of sloth and written by actor-songwriter extraordinaire Jeff Blumenkrantz, is not very well known, but it's super hilarious and written for a soprano! It's a great little gem, and lucky for you, Blumenkrantz sells the sheet music to it on his website.
TYPICAL PICK: "The Wizard and I," from Wicked
ALSO CONSIDER: "The Writing's on the Wall," from The Mystery of Edwin Drood
I love "The Wizard and I." You love "The Wizard and I." We're living, breathing fans of theatre, so that's not surprising. And while this song has been fairly overdone for a while, you also have the added bonus right now of being compared to world class singer-actor Cynthia Erivo if you bring this one in to an audition—not advisable! For this replacement, we went back to the '80s when, frankly, Broadway ladies were not commonly singing in the high belt that is so prevalent now—except for Betty Buckley. In particular, Buckley's rendition of "The Writing's on the Wall" from the 1985 musical The Mystery of Edwin Drood. This one is so impressive that even former Elphaba Stephanie J. Block had to sing the song a half-step lower than Buckley did when she played the same role in the 2012 revival! Whether you pick Buckley's key or Block's, "The Writing's on the Wall" will give you a chance to really show off your pipes.
TYPICAL PICK: Anything from the score of Thoroughly Modern Millie
ALSO CONSIDER: "That'll Show Him," from A Funny Thing Happened on the Way to the Forum
"Not for the Life of Me," "Gimme Gimme," "Jimmy"—Jeanine Tesori and DIck Scanlan's score for Thoroughly Modern Millie ignited the wild career of Sutton Foster and turned an entire generation of young belters into wannabe flappers. And every last one of them brought those songs into audition rooms for years after. These days, people pretty much know those songs are high on the list of songs to avoid. But have you tried "That'll Show Him" from A Funny Thing Happened on the Way to the Forum? In its original key, it's not as belty as the Millie material, but it's got a good, uptempo beat, it's very funny, and it would sound great if you took the key up a tone or two to impress.
TYPICAL PICK: "Corner of the Sky," from Pippin
ALSO CONSIDER: "Sweet Charity," from Sweet Charity
I'm not sure there's a more iconic "I Want" song for a musical theatre male than "Corner of the Sky" (cue 15 angry emails from people who disagree—bring it on, queens!). But when it comes to Cy Coleman and Carolyn Leigh's Sweet Charity, it's only the girls' songs that tend to get done very much, and I've never understood why. The title song is a lovely, tuneful song with lots of great high notes in it for male singers. I'd give an honorable mention to the same character's "I'm the Bravest Individual," too, if you're looking for a cute little comedy number.
TYPICAL PICK: "All I Need is the Girl," from Gypsy
ALSO CONSIDER: "One-Track Mind," from Sweet Smell of Success
You want jazzy, you want cute, you want charming...you pick "All I Need is the Girl." Trouble is, so did 500 spirited tenors before you. Meanwhile, Sweet Smell of Success is a criminally underrated Marvin Hamlisch-Craig Carnelia score (poised to make an NYC return this year!), and "One-Track Mind" is honestly every bit as jazzy, tuneful, cute, and charming as "All I Need is the Girl." It also gives you some better opportunities for high notes, and we all love that.
TYPICAL PICK: "Santa Fe," from Newsies
ALSO CONSIDER: "Till I Hear You Sing," from Love Never Dies
Speaking of high notes for tenors, let's talk about "Santa Fe" from Newsies. Thanks to Jeremy Jordan's stunning original performance on Broadway, this one has become your typical musical theatre tenor's favorite way to show off the top of their range. But boys, there's many songs that give you the same opportunity. Andrew Lloyd Webber's Phantom of the Opera sequel Love Never Dies may not be quite as successful as the original show, but "Till I Hear You Sing" is certainly amongst the most beautiful, soaring melodies Lloyd Webber has ever written. And given this one was written for Ramin Karimloo originally, you know it's giving you the soaring high notes, specifically. Sing this one well, and there's little else more impressive.
TYPICAL PICK: "My Petersburg," from Anastasia
ALSO CONSIDER: "Proud Lady," from The Baker's Wife
Gosh it's almost like musical theatre boys really like songs that offer them big high notes—and I swear that's not a read! If you're looking for an option that has more of the boyish charm and upbeat tone of Anastasia's "My Petersburg," try "Proud Lady" from Stephen Schwartz's lesser known musical The Baker's Wife (which is getting an Off-Broadway revival this season). You get nice, big high notes and some impressive patter if you plan your cut right, and we love getting to show some range in the audition room!
