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60 Female House Songs For Cabaret and Musicals Singers
Are you looking for a female singer of Music that will help you connect directly to the audience? What you need is a “House Number”!
House song bridges the gap between the audience and the singer, when the character comes out of the story on stage and speaks directly to the audience, know that he (and the drama) are being watched.
In Musical Theater there aren’t many true House Songs, but there are a few songs that you can change to make your performance cross that invisible fourth wall between you and the audience.
In this article I propose 60 songs for women from the repertoire of Musical Theater, which could be sung as House songs. I put them into three categories: the real House song, the audience and the monologue.
In the first category, the true House song, the musical is written deliberately so that the character comes out of the drama and speaks to the viewers. My first thoughts are Spamalot (The Lament of the Diva), and City of Angels (You Can Always Count On Me). When You’re Good To Mama from Chicago immediately comes to mind. Other true House songs include Big Spender from Sweet Charity (originally a chorus shadow but can be sung by one person), I’m Still Here from Follies, Broadway Baby from Follies, I Just Wanna Dance from Jerry Springer, Jonny One Note from Babes . in Arms, and Nobody Does It Like Me – the Cy Coleman song from the musical SeeSaw. And Miss Byrd of Closer Than Ever shares her secret beyond the fourth wall.
Many of the songs from the Victorian Music Hall era work as house numbers including Waiting At the Church, If It Wasn’t For the ‘Ouses In Between, and even ballads such as The Boy I Love Is Up In The Gallery. Then there are the songs written in Musical style like Girl in 14G, and The Alto’s Lament.
In the second category, the character sings to an audience in her world as part of the plot. Good and Evil from Jekyll and Hyde is a great example when Lucy sings to the drinkers in the bar where she works. Then there’s Don’t Cry For Me Argentina (Evita), I Speak Six Languages from Putnam County’s 25th Annual Spelling Bee, Beat Out Dat Rhythm by Carmen Jones, Man Wanted by Copacabana, and Blow Gabriel Blow by Anything Goes. Lady in the Dark’s Jenny Saga is sung in a courtroom, and you might just get away with Life of the Wild Party.
The single focus song is the third type of House number – it is usually a monologue in which the character asks a question. One of the best known songs is I Cain’t Say No from Oklahoma. Then there’s I’m Shy from Once Upon A Mattress, Everybody Says Don’t, and There Won’t Be Trumpets, from Anyone Can Whistle, and I’m A Stranger Here Myself from One Touch of Venus. Check out Holding To The Ground by Falsettos, My Brother Lived In San Francisco by Elegies for Angels Punks and Raging Queens, I Hate Men by Kiss Me Kate, and My Strongest Suit by Aida. In a slightly more old-fashioned vein, there’s I Think I Might Want to Remember Today from Starting Here, Starting Now, Tale of the Oyster (Fifty Million Francs), and The Doctor (Nymph Errant).
You can use a strong story song like Waiting For The Music To Begin (Witches of Eastwick) if you use it to tell the audience your story. Another perfect example comes from A Chorus Line, where Diana Morales sings Nothing to Zach who is sitting in the (real) audience during 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, and Always The Bridesmaid from I Love You, You’re Perfect, Now Change.
Back to Sondheim again for The Ladies Who Lunch from Company, The Story of Lucy and Jessie (from certain Follies productions), and Can That Boy Foxtrot (a duet that can be sung as a solo) from Marry Me A Little, or a cut. of Follies, depending on who you read.
Then there’s Everybody’s Girl from Steel Pier, Old Fashioned Love Story from Wild Party, When You Got It, Flaunt It from The Producers, and How Did I End Up Here from Romance Romance. You might consider One Hundred Easy Ways from Wonderful City, or My New Philosophy from You’re A Good Man Charlie Brown, and experiment with a song like Cockeyed Optimist from South Pacific.
Another great source of House songs is the revue musical. Closer Than Ever by Maltby and Shire is a good example for songs like Back On Base, or The Bear, The Tiger, The Hamster and The Mole. Or you could consider Songs for a New World by Jason Robert Brown for I’m Not Afraid Of Anything. You can also do what the musicals are doing these days and raid the pop/disco/rock scene for appropriate songs – Holding Out For A Hero started as a Bonnie Tyler song but is now in both Footloose and Shrek II.
It’s unusual for a slower song to work as a house number, but here are some suggestions: Maybe I like it this way from Wild Party, That’s Him from One Touch Of Venus, Why Him from Carmelina, Bill (from Oh Lady! Lady! and Showboat versions) and of course, Funny Girl by Funny Girl.
Remember that the purpose of a House song is to speak directly to the audience, so make sure you look your audience in the eye as you perform.
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