2020 Musical Theatre Songs For The End of 2020

Even the most optimistic musical fan will have to admit that 2020 was a terrible year for musicals. The COVID-19 pandemic meant that theatres in Broadway and the West End have been closed since March, with two attempts to reopen the West End to socially distanced audiences being brought to a premature end by rising rates of COVID-19 infections throughout London. Major theatrical hubs will not be able to fully reopen until the second half of 2021, and attendance will probably be relatively low for months afterwards. However, the musical theatre genre is certain to survive this disaster – many of the greatest musicals have been popular for decades and will continue to entertain and inspire us regardless of all the problems in the wider world. The best musical songs have a heightened sense of emotion and energy that most conventional pop songs can struggle to match. Therefore, the best way of marking the end of 2020 is by celebrating some of the best songs in musical theatre.

Here are 20 musical songs which should be added to your end-of-year playlists. The tunes listed here can be divided into four categories – songs which represented significant milestones and successes for theatre in 2020, sad songs to provide an outlet for our misery, songs which capture a sense of longing for normality and purely joyous and upbeat ones which provided much - needed escapism.

(Note: Two of the characters mentioned in this list – the Leading Player from Pippin and Bobby from Company - have been played by both male and female actors, so gender neutral pronouns will be used for them)

2020 Milestones

1. Alexander Hamilton – Hamilton

In 2016, Disney purchased the rights to a filmed version of Lin-Manuel Miranda’s groundbreaking Broadway musical Hamilton. They originally planned to release it in cinemas in October 2021, but COVID-19 led to a radical change in plan – On July 3rd, the filmed version of Hamilton premiered on Disney’s streaming service Disney + fifteen months earlier than originally planned. This version was one of the last performances to feature the original Broadway cast, including Miranda himself as American founding father Alexander Hamilton and Leslie Odom Jr. as his rival Aaron Burr.

Hamilton’s innovative approach was set out effectively its opening number, "Alexander Hamilton". Telling the story of Hamilton’s childhood with intricate, wordy lyrics halfway between singing and rapping, it builds to a climax which teases the tale of Hamilton’s adult career and death in an impressively intriguing fashion – By the time the song is over, you want to know more about his story. How did Hamilton attain his fame in New York? How did Burr become “The dammed fool that shot him”? Although the Disney + premiere saw Hamilton get subjected to harsh criticism from those who felt the musical downplayed the bigotry of the Founding Fathers, the majority of viewers were thrilled to see the musical for themselves. In a time when it is almost impossible to see any live entertainment, getting to watch one of the most successful musicals in the world for the (relatively small) price of a Disney + subscription was excellent value for money. It also had the effect of creating a whole new audience ready to see Hamilton stage when theatres reopen…

2. Bad Cinderella – Andrew Lloyd Webber’s Cinderella

“Bad Cinderella” is the first song from Andrew Lloyd Webber’s forthcoming version of Cinderella to be released on streaming services. The song had to do two things in order to be considered a success. First of all, it needed to prove that a new version of Cinderella featuring entirely new songs can stand out in a West End dominated by blockbuster musicals such as Frozen and Broadway hits such as Dear Evan Hansen. Secondly, it needed to prove that Lloyd Webber’s Cinderella was distinct from other musical versions of the Cinderella story (such as the 1950 Disney film and the Rogers and Hammerstein adaptation). However, "Bad Cinderella" proved to be a pretty fun introductory song for Cinderella. For all his many faults as a producer, a person and a Tory Peer, Lloyd Webber deserves the most credit for this song’s success, as he provides a spiky instrumental hook that is really fun to sing along to. The lyrics from Dave Zippel are a bit hit-and-miss, but there are a few truly inspired lines (“They call me a witch, a b**ch, well choose one/every fairytale for sure could use one”) and Carrie Hope Fletcher performs with the venom and power needed to make it stand out. The song succeeds in its most important mission – demonstrating that Andrew Lloyd Webber’s Cinderella will be distinct from the more traditional and polite versions of the tale.

3. Gethsemane – Jesus Christ Superstar

The first musical to be staged in London since the start of Lockdown was an outdoor concert version of Andrew Lloyd Webber’s breakthrough musical, Jesus Christ Superstar at the Open Air Theatre in Regents Park. A musical retelling of the story of the Passion of Christ, it boasts one of his strongest soundtracks, providing a powerful nightmarish sensibility as Jesus slides towards his infamous martyrdom. The highlight of the musical is "Gethsemane", in which Jesus rages about his impending gruesome fate. Although the excesses of this song can be seen as a portent for Lloyd Webber’s worst self-aggrandizing tendencies, the changes in tempo and powerful lyrics provide a mix of anger and resignation that is impossible to forget. And of course, THAT high note is always incredible…

4. Magic To Do – Pippin

The sort of musical that could have only been made in the 70s, Pippin follows the son of Emperor Charlemagne as he tries to search for meaning in his life, whilst being manipulated by a mysterious theatrical troupe and their sinister Leading Player. The musical was a big Broadway hit when it premiered in 1972, but has mostly failed to find an audience in the UK. However, an outdoor production was performed at Vauxhall’s Garden Theatre through September and October, extending its run by three weeks due to popular demand. This socially distanced production had to use a small cast of around six people, but the outdoor setting and low-budget feel were perfectly suited to the hippy sensibilities of the musical. Meanwhile, in Australia, a grandiose production based on the Tony-winning 2013 revival premiered at Sydney’s Lyric Theatre, becoming the first major musical to open there since the start of the COVID-19 pandemic. One of Pippin’s standout songs is the opening number “Magic To Do”, where the Leading Player introduces audiences to the unusual pre-medieval world inhabited by the characters. A pleasingly smooth and sinuous song with a strong chorus, it promises an impressive and exciting show with a sinister edge, showcasing the Leading Player’s showmanship whilst hinting at their nefarious agenda. “Magic To Do” is also surprisingly well suited to hot summer days…

5. One Day More – Les Miserables

During the final of Britain's Got Talent, the megapowerful West End producer and theatre owner Cameron Mackintosh came up with a truly impressive interval act. It consisted of a medley of songs from three of his most successful musicals – Mary Poppins, The Phantom of the Opera and Les Miserables. Although the first two performances were impressive, the Les Miserables performance was the most spectacular by far. The cast of the recent concert version - including big name stars such as Alfie Boe, Michael Ball, Carrie Hope Fletcher and Matt Lucas – performed "One Day More", which combines many of the iconic songs from the musical into a single epic number. They gave the performance of their lives, and really demonstrated the power of this iconic number. If there is any song which embodies the power and spectacle of the West End in full form, it is "One Day More". No offence to the various talented acts who participated in the grand final, but the Mackintosh medley was the undisputed highlight of the evening.

6. Six – Six

Six, the hit British musical about the six wives of Henry VIII, was especially badly affected by COVID-19. A Broadway version was forced to close hours before its press night, and a drive-in touring production intended for August was cancelled at the eleventh hour due to insurance concerns. A socially distanced production in London finally managed to open at the start of December, but was forced to close two weeks later as COVID-19 infections rose rapidly in London. However, we can still listen to the soundtrack on Spotify as much as we like. Six has plenty of great songs, from the moving “Heart of Stone” to the vicious Britney pastiche “All You Wanna Do” but the standout song is the concluding number “Six”. A guitar-driven girl group anthem in the vein of “Ugly Heart” and “Shout Out to My Ex”, it allows the six wives to imagine a world where they turned down Henry VIII and decided to follow their own path in life. Upbeat, humorous but also pretty bittersweet, the title song of Six gives us the opportunity to view Henry VIII’s six wives as living, breathing individuals rather than the helpless or foolish victims they are so often depicted as.

7. Waiting In The Wings – Tangled: The Series

Disney legend Alan Menken finally completed his EGOT (winning an Emmy, a Grammy, an Oscar and a Tony Award) in July with this song from Tangled: The Series. A Disney Channel follow-up to Tangled, Tangled: The Series proved far more interesting and ambitious than most people were expecting, with Menken and regular collaborator Glen Slater returning to the Tangled universe to create new songs which matched (and at times surpassed) the songs they had created for the original movie. “Waiting In The Wings” is an “I Want” power ballad for the most important new character in Tangled: The Series, Rapunzel’s troubled handmaiden Cassandra. This soaring song allows Cassandra to express her frustrations with her situation in life and makes her a pretty relatable protagonist. Even though Cassandra spends most of the third and final season of Tangled: The Series sliding into villainy due to the influence of a sinister demon, songs like “Waiting In The Wings” ensure that we are still able to root for her to gain a happy ending. The fact that Menken won a Daytime Emmy as opposed to a Primetime one is irrelevant – Menken definitely deserved the award and "Waiting In The Wings" was a genuinely worthy winner.

Longing for Normality

8. Being Alive – Company

"Being Alive", the climactic song from Stephen Sondheim’s musical Company, gained renewed prominence after Adam Driver sang it in a key sequence of Oscar-nominated divorce drama Marriage Story. However, the COVID-19 crisis ensured that the song took on another meaning. “Being Alive” is sung by commitment-phobic protagonist Bobby as they realize they need other people in their life, a message that feels incredibly powerful right now. In a world of Stay at Home orders and social media, the temptation to retreat into total isolation can be overwhelming, but the joy and pain of human relationships have been invaluable in helping us survive the current crisis. Text a friend. Go on a dating app. And never take for granted the fact there will always be someone “frightened as you/ To help us survive/ Being Alive”…

9. From Now On – The Greatest Showman

For all the debate around Hamilton, Miranda’s sympathetic assessment of him seems like an incredibly harsh deconstruction compared to The Greatest Showman. A feel-good pop musical inspired by the story of the notorious circus impresario P.T Barnum, The Greatest Showman received substantial criticism on release for uncritically buying into the myths created by Barnum, an unscrupulous populist who made his living exploiting and mistreating the disabled. However, the musical became a huge sleeper hit, no matter how often newspaper critics and internet reviewers documented Barnum’s extensive list of real-life sins. This was because its catchy, modern soundtrack acquired a deeper meaning with many of the people who listened to it. In 2020, this became especially apparent when the concluding song from The Greatest Showman, “From Now On” was used in a flashmob video showing theatre performers dancing around an empty West End. The climactic refrain of “From Now On”, “We will come back home” gained a deeper resonance this year, as thousands of performers and technicians were forced to stay away from the place which has defined so much of their lives. But let’s remember this - theatre WILL come back home soon, and we will all be there when it does.

10. Send In The Clowns – A Little Night Music

Another Sondheim classic full of powerful yearning, “Send In The Clowns” is one of his best-known songs, covered by the legendary vocalists such as Frank Sinatra and Barbara Streisand. However, the short, questioning lines make it easy for singers and actors to capture the emotion, regardless of their vocal abilities – even the weakest vocalists can deliver moving, honest renditions that capture the heartbreak at the core of the song. There are many great versions of “Send In The Clowns”, with one of the most recent being sung by Sondheim regular Donna Murphy for the virtual benefit concert Take Me To The World.

11. Waving Through A Window – Dear Evan Hansen

The story of a teenager with anxiety disorder who ends up posing as the friend of a dead classmate, Dear Evan Hansen became one of the biggest Broadway hits of the late 2010s. Its timely exploration of mental health difficulties and the impact of social media was enhanced by an excellent soundtrack which blended pop-rock catchiness with powerful emotional insights. The one song that embodies this the most is Evan Hansen’s introductory song “Waving Through A Window”. The main character provides a summary of his deepest fears and insecurities that hits close to the bone for anyone who has struggled with anxiety, but this is accompanied by a strong guitar hook that is perfect for singing along to – When Halfords ran a recent poll of the catchiest musical theatre songs, “Waving Through A Window” came out on top, and it isn’t hard to see why. In a world where it has become incredibly dangerous to get too close to strangers, more people than ever can connect to Hansen’s frustrations and his sense of alienation. A movie adaptation of Dear Evan Hansen is currently filming, with Ben Platt reprising his Tony-winning performance as the titular protagonist.

Tearjerkers

12. No One Is Alone – Into the Woods

Into The Woods, Steven Sondheim’s deconstruction of classic fairytales and the negative side-effects of their “Follow your dreams” platitudes, is notable for its two-part structure, with a comedic first half and a more serious second half. This second half is especially tragic, but the song “No One Is Alone” arrives at the end to provide a light in the darkness. The two most mature protagonists – the Woodcutter and Cinderella – sing the song simultaneously to the younger characters, as they try to cope with the loss of loved ones who died when a vengeful giant went on the rampage.

“No One Is Alone” is full of truth and wisdom, with enough emotional authenticity to avoid turning false or saccharine. One of the most powerful and honest lines is “Witches can be right, Giants can be good”, a plea for nuance and understanding which feels especially important in this age of populism and greater social division. Sondheim’s ballads are his most successful and popular songs, and “No One Is Alone” is probably the best of the lot. It is a powerful reminder that your choices matter, and you still have the potential to bring positive changes even in the most hopeless situations.

13. The Next Right Thing – Frozen II

Although it lacked the fairy tale simplicity of the first Frozen, Frozen II had plenty of positive features that made it a worthy sequel to Disney’s 2013 megahit. The soundtrack featured a variety of strong songs, including the Oscar-Nominated “Into the Unknown” and the epic “Show Yourself”, but the number which feels the most unique and powerful is Princess Anna’s eleven o’clock ballad “The Next Right Thing”. Without going too far into spoilers, Anna sings this song close to the climax of the film, when she is all alone at her absolute lowest point. The main issue facing eleven o’clock ballads of this nature is the risk that they can end up losing the attention of viewers who know that the story will end happily. However, Kristen Bell’s performance is so powerful that you end up losing yourself in Anna’s despair, even as she works up the courage to do “the next right thing” and save the day by herself. During moments of pure hopelessness (Let’s face it, there were plenty of those this year!) “The Next Right Thing” feels all the more cathartic. If you’ve ever shared that the total sense of loss, and the need to carry on through it, you will understand why “The Next Right Thing” deserves to be acclaimed as of the most remarkable Disney songs of all time…

14. You Matter To Me – Waitress

Singer-songwriter Sara Barelies scored an unlikely Broadway hit when she adapted the 2007 indie film Waitress for the stage in 2016. Waitress tells the story of Jenna, a baker whose attempts at leaving abusive husband Earl are complicated when she becomes pregnant and starts an affair with gynaecologist Dr. Pomatter. Although the moving “She Used to Be Mine” is probably the most famous song from Waitress, “You Matter To Me”, the romantic duet between Jenna and Pomatter, is probably even better. Sung whilst secretly creating a pie together, it provides a moving opportunity for them to share their deep feelings for each other. However, it’s the moments where Jenna speaks to her unborn child (“I hope to become addicted to saying things and having them matter to somebody”) that will really hit home hardest.

Sadly, the COVID-19 pandemic meant that this heartwarming love song gained a far sadder additional meaning. In March, Nick Cordero, who played Earl in the original Broadway production of Waitress, was admitted to intensive care with COVID-19 and needed to have a leg amputated. After spending over three months in hospital dealing with the complications of the disease, he died on July 5th. Out of all the many COVID-19 deaths, Cordero’s felt like a particularly cruel blow. Despite the fact that he was often typecast as abusive husbands and other unpleasant characters, Cordero was a kind and supportive man with a loving wife and a one year old son. In 2018, Cordero recorded his own cover of “You Matter To Me” with Waitress co-star Drew Gehling (who originated the role of Dr. Pomatter) and his good friend Zach Braff, and this comedic (yet still pretty sincere) version was released posthumously in September. In recent months, it has been hard to think of the song without thinking of Cordero. His life and work mattered to so many people, and so did the lives of the numerous individuals who have so far died of COVID-19 and its complications…

Pure Joy

15. A Brand New Day – The Wiz Live !

The classic 1975 musical The Wiz is a fairly basic retelling of The Wizard Of Oz, but it stands out due to the fact it features one of the most upbeat soundtracks in Broadway history. Its winning blend of pop, Jazz, Rn’B and gospel styles is most apparent in “A Brand New Day”. After Dorothy defeats the Wicked Witch of the West, a group of formerly brainwashed minions celebrate their liberation with this joyous song. "A Brand New Day" is just one of several impressive songs in the soundtrack to The Wiz (Other highlights include "Ease On Down The Road", "Home" and "Don’t Nobody Bring Me No Bad News”) but its pure positive energy makes a particular stand out in the disaster of 2020. With Donald Trump about to leave the White House and several COVID-19 vaccines being rolled out, the hopeful optimism represented by “A Brand New Day” is beginning to enter our lives again, which makes it an ideal song for looking forward to a better 2021…

16. I 2 I – The Goofy Movie

As the Disney Renaissance was passing its peak in 1995, DisneyToons provided a movie spin-off for the Disney Channel show Goof Troop. A Goofy Movie was a lightweight but charming story about Goofy’s relationship with his teenage son Max. At the climax of the film, Goofy and Max finally arrive at a concert being given by Max’s favourite popstar Powerline, who sings this wonderfully enjoyable song. "I 2 I" is an energetic throwback to the 80s funk embodied by the likes of Michael Jackson and Prince, perfect for a fast-paced, lively dance sequence. However, there is substance to go along with the style, as the lyrics about realising how close we actually are is perfectly suited to Goofy and Max repairing their relationship. In the same year that Disney Animation provided the overly serious and solemn Pocahontas, DisneyToons wisely opted not to compete with it, and instead provided the best pop song in the Disney canon…

17. I’m Here – The Color Purple

The 2005 musical The Color Purple is an adaptation of Alice Walker’s 1982 Pulitzer Prize winning novel about an African-American woman called Celie and her battle to overcome the various misfortunes she faces in the early 20th century. It stays true to the source material’s depiction of Celie’s suffering at the hands of abusive parents and husbands, but its celebration of Black feminism is most powerfully highlighted through her song “I’m Here”, with its gentle and heartfelt opening building towards a joyous conclusion. Celie’s reflection on the struggles she has faced over her lifetime has gained renewed relevance as the Black Lives Matter protests encouraged us to turn our attention towards these stories, but “I’m Here” also moves us on a deeper level, encouraging us to look back on the things we have lost and be grateful for everything that we still have. A movie version of The Color Purple musical will be released in December 2023, and it will be brilliant to see “I’m Here” on the big screen. Cynthia Erivo’s version truly brought the song to prominence, and it would be really great if she got to reprise her Tony-winning performance as Celie for a wider audience…

18. Show Me Love - & Juliet

The mash-up of Shakespeare revisionism and Max Martin pop hits you never knew you needed in your life, & Juliet did surprisingly well at the Olivier Awards, with leading lady Miriam-Teak Lee winning Best Actress in a Musical, and Cassidy Janson and David Bedella winning in the supporting Actress and Actor categories. Live performances have focused on renditions of some of Martin’s best-known hits ("Roar", "Baby One More Time", "Problem") but one of the best covers on the soundtrack is a take on “Show Me Love”, the breakthrough single for Swedish pop icon Robyn. The original was a sultry, mid-tempo pop anthem, but the & Juliet version is bursting with upbeat energy, featuring some impressively strong harmonies from the cast as Miriam Teak Lee and friends belt out the chorus with gusto. Like many jukebox musicals, & Juliet does not have the most sophisticated story in the world, but it is impossible to dislike performances so full of happiness and positivity. If the & Juliet version of “Show Me Love” can’t raise the spirits, nothing will…

19. Why We Tell The Story – Once On This Island

Once On This Island has been a strong cult favourite since it premiered on Broadway in 1990. Inspired by classic tragic love stories such as Romeo and Juliet and Hans Christian Andersen’s The Little Mermaid, it tells the story of a peasant girl on a French Antilles island (more recent versions have specified that the island is Haiti) who heads off on a doomed mission to get married to a wealthy playboy. During her quest, four powerful gods monitor her journey and help or hinder her in various ways. Although the story itself is quite sad, the tone of the musical is kept positive with a truly impressive soundtrack combining traditional Caribbean calypso styles with gospel and RnB elements. The best song in Once On This Island is the closing number, “Why We Tell The Story”. As the gods use their magic to ensure that heroine Ti Moune can leave behind a truly remarkable legacy, the chorus celebrate the power of stories and the way they can help us express our deepest and most important emotions. A tale that could have easily ended with tears instead ends with us tapping our toes and singing along, and it is impossible to think of a better way of paying tribute to Ti Moune and her story. The Southwark Playhouse, one of London’s most reliable homes for unusual and innovative musicals, hosted an excellent production of Once On This Island in 2019, and hopefully we will get to see more versions of it in the near future.

20. Seasons of Love – RENT

The perfect song for musical theatre fans to end their year on, RENT’s signature tune remains as powerful as ever 25 years after Johnathan Larson’s musical first opened. The catchy lyrics and upbeat chorus are perfect for singing along to, and the message that we should “Measure our life in love” feels especially resonant at a time when most of the routines that have previously defined our life have been severely disrupted. Here’s hoping that the next 525,600 minutes will be an improvement on 2020…

And to round off the list, here is a song that isn’t from a musical, but deserves to be recognized anyway…

Murder Most Foul – Bob Dylan

Over his 60 year career, Bob Dylan has consistently demonstrated his ability at telling stories, providing both protest songs such as “Hurricane” and “Only A Pawn In The Game” and mysterious, atmospheric numbers like “All Along The Watchtower” and “Ballad of A Thin Man”. After spending most of the 2010s focusing on covering classic American songs, Dylan returned to songwriting in 2020 with “Murder Most Foul”, his first original song in eight years. The lead single for his new album Rough and Rowdy Ways, “Murder Most Foul” was a truly incredible comeback. Over a whopping 17 minutes, Dylan tells the story of the assassination of John F. Kennedy and how it destroyed the American ideal. Despite the length, the song never becomes boring, and is full of the intrictate and intelligent lyrics that have made Dylan a Nobel Prize winner. We have all made fun of Dylan’s incredibly rough vocal delivery, but with this song, it really works to his favour as it ensures that we have to pay extra close attention to the powerful lyrics. For all the great pop music released in 2020, there was absolutely nothing like “Murder Most Foul”- a towering achievement that few (if any) modern musicians will be able to emulate or surpass…

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