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60 Female House Songs For Cabaret and Musicals Singers
Are you looking for a Female Musical Voice to help you connect directly with your audience? All you need is “House Number”!
A house song bridges the gap between the audience and the singer, and when a character comes on stage and speaks directly to the audience, know that they (and the play) are watching.
There aren’t many true House songs in musical theater, but there are a few that you can tweak your performance to cross the invisible fourth wall between you and the audience.
In this article, I offer 60 songs for women in the musical theater repertoire. I’ve put them into three categories: True House Songs, Audience Songs, and Vocals.
In the first category, the musical, which is a true House song, is deliberately written to speak out of the drama and speak to the audience. My first thoughts are Spamalot (Lament of the Couch) and City of Angels (You Can Always Count on Me). Chicago’s “Good for Mom” immediately comes to mind. Other authentic house songs include Sweet Charity’s Big Spender (originally a choral number but can be sung by one person), Follies’ I’m Still Here, Follies’ Broadway Baby, Jerry Springer’s I Just Wanna Dance, Babes Includes Jonny One Note. in Arms, and Nobody Does It Like Me – Cy Coleman song from the musical SeeSaw. Miss Bird from Closer Than Ever shares her secrets behind the fourth wall.
Many of the songs from the Victorian music hall era are ballads such as Waiting for the Church, If It Wasn’t for the ‘Ouses in the Between and even The Boy Is Up In The Gallery. Then there are songs like Girl in 14G and The Alto’s Lament written in the style of a musical.
In the second category, the character sings to an audience in his world as part of the plot. Good and Evil by Jekyll Hyde is a great example of singing to the drunkards in the pub where Lucy works. Then Don’t Make Me Cry Argentina (Evita), I Speak Six Languages from The 25th Annual Putnam County Spelling Bee, Beat Out Dat Rhythm by Carmen Jones, Man Wanted from Copacabana, Blow Gabriel Blow including films such as The story of Jenny from Lady in the Dark is sung in the courtroom, and you might just walk away with “Party of Life” from Wild Party.
The Unifocus song is the third type of House number – it’s usually a soliloquy where a character asks a question. One of the most popular songs is Oklahoma’s I Cain’t Say No. Then I’m Shy from Once Upon a Mattress, Everybody Says No, No Trumpets, Anyone Can Whistle, and I’m a Stranger Here, from One Touch of Venus. Check out Holding To The Ground from Falsettos, Elegies for Angels Punks and Raging Queens, My Brother Lived in San Francisco, I Hate Men Men Kiss Me Keith, My Strongest Suit Aida. In a slightly old-fashioned way, I think “I want to remember today” from “Starting here and now”, “The Tale of Oysters” (Fifty Million Frenchmen), “The Doctor” (Nymph Errant).
If you use it to tell your story to an audience, you can use a powerful story song like Waiting for the Music to Begin (Witch of Eastwick). Another perfect example comes from A Chorus Line where Diana Morales sings Nothing to Zach who is sitting in the (real) audience throughout the show. So it’s simple to make it a House song and speak directly to your audience. Other songs include Gimme Gimme from Thoroughly Modern Millie, I Know Things Now from Into the Woods, Defying Gravity from Wicked, Always The Bridesmaid from I Love You, You’re Perfect and Now Change.
Go back to Sondheim in The Ladies Who Lunch from Company, The Lucy and Jesse Story (from some of the Follies productions), Can That Boy Foxtrot from Marry Me (a solo duet) from Follies, depending on who reads it.
Then everybody’s Girl from Steel Pier, Old Fashioned Love Story from Wild Party, When You Got It, “Flaunt It” from The Producers, “How Did I End Up Here?” You can try a song like “Cockeyed Optimist” from South Pacific with “One Hundred Easy Ways” from “Wonder City” or “My New Philosophy” from “You’re a Good Man” by Charlie Brown.
Another great source of house music is revue musicals. Maltby and Shire’s Closer Than Ever is a good example, as is Back On Base, or The Bear, The Tiger, The Hamster, The Mole. Or you might consider Jason Robert Brown’s I’m Afraid of Nothing, Songs for a New World. And you can do what musicals are doing right now and invade the pop/disco/rock scene for appropriate songs – Holding Out For A Hero started as a Bonnie Tyler song, but now it’s in both Footloose and Shrek II.
It’s unusual for a slow song to work as a house number, but here are some suggestions: I might like this one from Wild Party, She’s the One from One Touch Of Venus, Bill from Carmelina (from Oh Lady! ) Lady! and Showboat versions) and of course Funny Girl from Funny Girl.
Remember, the point of house music is to speak directly to the audience, so make sure to look your audience in the eye when performing.
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