It's always hard for me to find amazing male songs since I'm always drawn to the divas. But anyway, here are some of my favorites:
Gethsemane Juda's Death Being Alive I Am What I Am Swanee Rock-a-Bye- Your Baby with a Dixie Melody I Don't Care Much This is The Moment Ol Man River Everybody Says Don't
If anyone ever tells you that you put too much Parmesan cheese on your pasta, stop talking to them. You don't need that kind of negativity in your life.
all that jazz, just a note of caution: when I was working at the Fabulous Palm Springs Follies, the Four Coins, a boy-band from the 1950s, sang "Swanee", which had been one of their hits.
We had African-Americans walk out at every performance (which was surprising because the audience wasn't that diverse and we rarely had more than 8 or 10 black people to begin with).
They were very sensitive to songs that refer to "Mammy" (which would also apply to "Rock-a-bye my Baby", "My Mammy" and a lot of great songs). I love Al Jolson songs, but I can understand why the black community may hear them differently than I.
It's probably not worth the risk, unless you are black yourself and auditioning for THE SCOTTSBORO BOYS.
(I hope it's clear this is a caution based on what I've witnessed; I'm not criticizing you or accusing you of anything.)
"TO LOVE ANOTHER PERSON IS TO SEE THE FACE OF GOD"- LES MISERABLES---
"THERE'S A SPECIAL KIND OF PEOPLE KNOWN AS SHOW PEOPLE... WE'RE BORN EVERY NIGHT AT HALF HOUR CALL!"--- CURTAINS
Here are some that I really like and think are showstopper worthy. I don't know if all of them would really be considered showstoppers though, especially considering the timing of them in the performances:
Confrontation - Jekyll & Hyde Goodbye - Catch Me If You Can Raise A Little Hell - Bonnie & Clyde Memphis Lives in Me - Memphis I've Been, and I'm Alive - Next To Normal
@GavestonPS. I already know my question's gonna sound stupid, but I need to ask it anyway : What makes Being Alive such a hard song to sing? I mean I know it's not a piece of cake, after all it IS Sondheim, but the highest note is A flat, otherwise Bobby hits only a couple of Fs in it.
But I agree, BEING ALIVE is one great showstopper.
@GavestonPS. I already know my question's gonna sound stupid, but I need to ask it anyway : What makes Being Alive such a hard song to sing?
Because to really work, the song should be set at the very top of the singer's range. (Frankly, that was what was lacking in Larry Kert's rendition: it was obvious he could sing every note and then some.)
Dean Jones' remains the definitive version to me because every time I hear it, I'm really not sure if he will make it through the number or not. And that's how the song should be sung.
All IMO, obviously.
P.S. There was nothing stupid about your question. I'm sure others here will disagree with me.
For me Being Alive it's an immensely challenging number to perform in the sense that the emotions and the singing go hand in hand. The higher you sing it, the more powerful and emotional it becomes. Those final notes should sound like an explosion, and no one can deliver the song as Raul does, at least for me.
Sunset Boulevard and Love Changes Everything have some really nice nuances and those killer money notes at the end. Great songs for men.
"The sexual energy between the mother and son really concerns me!"-random woman behind me at Next to Normal
"I want to meet him after and bang him!"-random woman who exposed her breasts at Rock of Ages, referring to James Carpinello
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Being Alive's final notes *could* be done the way Raúl did it, which I find incredibly satisfying and electrifying and stunning, or it could be done the way my other favorite rendition of the song was performed, which is Adrian Lester's from the Donmar production. His take was bruised and battered, emotionally devastating, filled with a lump in his throat that the final notes cleared away, but not all the way. Or do it the way NPH did two years ago, where it seems to fall in on itself and frightens Bobby with the thought of it.
A couple of other showstoppers:
Molasses to Rum and/or Is Anybody There? (1776) Betrayed (THE PRODUCERS) (literally a show-stopper) This Is Not Over Yet (PARADE) She Loves Me (SHE LOVES ME) (I've seen this song get an ovation before Georg even starts singing, the audience was that ready for the joy to explode) Make Them Hear You (RAGTIME)
Words don't deserve that kind of malarkey. They're innocent, neutral, precise, standing for this, describing that, meaning the other, so if you look after them you can build bridges across incomprehension and chaos. But when they get their corners knocked off, they're no good anymore…I don't think writers are sacred, but words are. They deserve respect. If you get the right ones in the right order, you can nudge the world a little.
I believe- Book of Mormon Where is the life that late I led- Kiss me Kate Epiphany- Sweeney Todd
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