11 Oclock Numbers- Page 2

[ShbrtAlley44]

Posted: 1/27/05 at 2:50pm

robbie, you're probably right about We're Not Sorry.

[DramaKimm]

Posted: 1/27/05 at 2:58pm

For Aida it would have to be the Elaborate Lives Reprise. Either that or Written in the Stars, which is the theme music that was played as the principles took their bows. Written always ended a bit abruptly for me, and I wish they had sang together a little more (like the Elton/LeAnn Rimes version...plus with the way Adam and Heather's voices blended, I always wanted more!) And as far as emotional impact, it doesn't get much more powerful than Heather singing Elaborate Lives

[Yankeefan007]

Posted: 1/27/05 at 3:01pm

Aida- Written in the Stars
The Wild Party- The Life of the Party
The Full Monty- Let it Go
Seussical
The Producers- Springtime for Hitler/Betrayed/Prisoners of Love
Urinetown
Mamma Mia- Winner Takes it All
Thorougly Modern Millie- Muquin
Hairspray- You can't stop the beat
Movin' Out- River of Dreams/Keeping the Faith/Only the good die young
Avenue Q- the money song
Little Shop of Horrors- suddenly seymour
The Boy From Oz- I go to rio
Wicked- No Good Deed
Taboo
Caroline or Change
Bombay Dreams- Shakalaka Baby
Brooklyn- Streetsinger
Updated On: 1/28/05 at 03:01 PM

[Mythus]

Posted: 1/27/05 at 3:02pm

The Producers- Springtime for Hitler/Producers

Are you kidding? Betrayed is the 11 o'clock number.

[umgeoboy]

Posted: 1/27/05 at 3:04pm

taboo is probably petrified but you could make a case for out of fashion or il adore

[me101]

Posted: 1/27/05 at 3:14pm

Drama & Yankee, your probably right. I just figured it was 'Easy as Life' because it's a dramatic solo in which Aida makes a big decision, but it does come a little too early to be an 11 o'clock number.

[jonartdesigns]

Posted: 1/27/05 at 3:22pm

The Producers- Betrayed
Urinetown- We're not sorry reprise (only 45 some odd seconds but shows a turn in cladwell)
Thorougly Modern Millie- Gimme Gimme
Hairspray- I Know where i've been
Avenue Q- For now (although the closest to the definition is Fine,fine line)
Little Shop of Horrors- suddenly seymour
The Boy From Oz- once before i go
Wicked- No Good Deed

[CastAlbumFan]

Posted: 1/27/05 at 3:41pm

Wouldn't "You Walk with Me" be considered the 11 o'clock number from THE FULL MONTY?

[DramaKimm]

Posted: 1/27/05 at 3:45pm

I know Me...it's hard to call with Aida, cause Easy as Life is like No Good Deed as far as the big emotional solo for the lead Actress...and it's the second song in Act II! Really, most of the songs in Act II of Aida have that level of emotional urgency, you can't call any of em a true 11 o'clock number.

I miss that show so much =(

[Mister Matt]

Posted: 1/27/05 at 6:15pm

Keep in mind that not every show has an 11 o'clock number. That applies to the more standard form of traditional book musicals and many modern shows have departed from that. And they are not always the same type of song or have the exact same placement. Plus, there are a lot of wrong answers on this thread. I've listed what would be considered the 11 o'clock number or the closest in absence of a true 11 o'clock number.

Aida - Easy as Life
The Wild Party - closest is Love Ain't Nothin'
The Full Monty - closest is Breeze Off the River
Seussical - All For You
The Producers - Betrayed
Urinetown - closest is Tell Her I Love Her (We're Not Sorry is too short and a reprise)
Mamma Mia - The Winner Takes it All
Thorougly Modern Millie - Gimme Gimme
Hairspray - I Know Where I've Been
Movin' Out - River of Dreams/Keeping the Faith/Only the Good Die Young
Avenue Q - The Money Song
Little Shop of Horrors - Suddenly Seymore
The Boy From Oz - Once Before I Go
Wicked - No Good Deed
Taboo - Out of Fashion
Caroline or Change - Lot's Wife
Bombay Dreams - The Journey Home
Brooklyn - Streetsinger

[TGIF]

Posted: 1/27/05 at 6:22pm

I am torn between Easy as Life, Written in the Stars, and I Know the Truth for Aida. I am leaning more towards either Easy as Life or I know the Truth. I could be dead wrong though, but it is NOT Elaborate Lives

Updated On: 1/27/05 at 06:22 PM

[ShbrtAlley44]

Posted: 1/27/05 at 6:22pm

I don't think it would be I Know The Truth.

[TGIF]

Posted: 1/27/05 at 6:29pm

*shrugs* You're probably right. There has never been a consistent definition for what IS an 11 o'clock number so its hard for me to pick :)

[me101]

Posted: 1/27/05 at 6:33pm

>>I don't think it would be I Know The Truth.

Aida's funny because its like the three principal characters each have their own 11 o'clock number, if you go by the definiton that its the song where a character makes their final big decision. I Know the Truth would be Amneris'number

[ShbrtAlley44]

Posted: 1/27/05 at 6:39pm

Yeah, I know what you mean...actually I'd agree with Mister Matt and say it doesn't have an 11 o'clock number per se.

[TGIF]

Posted: 1/27/05 at 6:48pm

Quite possible. Its just one of those if you HAD to pick, which would it be type thing. Either way its fun choosing.

[Therese]

Posted: 1/27/05 at 7:28pm

For what it's worth - when they performed the song on "Regis & Kelly," John Tartaglia referred to "I Wish I Could Go Back to College" as Q's "eleven o'clock number."

[VeuveClicquot]

Posted: 1/27/05 at 10:34pm

"Eleven o'clock number" is a very murky term.

According to Kantor and Maslon, they define "Eleven o'clock number" as the song toward the end of the show in which the leading character would sing his or her heart out, choosing which fork in the road to follow, or letting the audience discover the character's secret dreams. They site "Rose's Turn" as being the definitive "eleven o'clock number."

By this definition, an "eleven o'clock number" cannot be an ensemble piece, it has to be sung by the leading character. Therefore, in an ensemble musical (like THE FULL MONTY), there is no "eleven o'clock number."

[bwayballerina]

Posted: 1/27/05 at 10:42pm

I'm not familiar with all of these shows, but here's my two cents:
Aida- prolly Elaborate Lives (rep.)
Seussical- All for You
The Producers- need to check my CD, will update
Mamma Mia- need to check CD
Movin' Out- forgot the name of the whole song, but it includes River of Dreams
Little Shop of Horrors- without a doubt, it's Suddenly Semour (I've heard this referred to as an 11 o'clock number)
The Boy From Oz- need to check CD
Wicked- prolly No Good Deed, but I could see For Good as being considered an 11 o'clock number.

[wildcat]

Posted: 1/28/05 at 12:58am

In whatever murky definition of an 11 o'clocker you choose, it is also intended to get an enormous response from the audience...e.g. "Fifty Percent" from Ballroom
"I'm Goin' Back" from Bells Are Ringing
"Music That Makes Me Dance" from Funny Girl
"Ladies Who Lunch" from Company

It's not good theatre to have an 11 o'clocker that leaves the audience in a torpor.

[Chrysanthemum62001]

Posted: 1/28/05 at 1:09am

I would say Taboo's 11 o clock would be Petrified. It's what people are going to discuss when they are heading home.
And as for Millie, definately Gimme Gimme.
I would think Aida's would be the Reprise of Elaborate Lives.

[VeuveClicquot]

Posted: 1/28/05 at 2:02am

wildcat,

All perfect examples of 11 o'clock numbers. (Except for "Ladies Who Lunch" -- more on that later.)

TABOO? No 11 o'clock number. "Petrified," as great a number as it is, doesn't really count, because it's not sung by a lead character. MOVIN' OUT? No 11 o'clock number. Because none of the characters in the show actually sing. HAIRSPRAY? No 11 o'clock number, because Tracy's "realization" moment happens during the reprise of "Good Morning Baltimore."

On the other hand, "Lot's Wife" from CAROLINE, OR CHANGE is a quintessential 11 o'clock number.

Here's where it gets murky: While "Ladies Who Lunch" would seem to be an 11 o'clock number, in the case of COMPANY, we have an ensemble show. I think this is the exception that's allowable -- even though Strichie is not the lead in COMPANY, she was a powerhouse actress who had a realization sung as an epiphany late in the show. It has all the hallmarks of an 11 o'clock number, so it passes.

I think "Suddenly, Seymour" counts too. Because it's BOTH of the leading characters' defining moment (although it's more her realization than his, the duet structure of it plays against the general rules).

I would argue that "It's a Fine, Fine Line" from AVENUE Q qualifies as well. It's Kate Monster's revelation, and while AVENUE Q is an ensemble show, the plot hinges on her character discovering herself.

Updated On: 1/28/05 at 02:02 AM

[andyf]

Posted: 1/28/05 at 2:19am

I know it's not near the end of the show, but when I think Aida, "Easy of Life" seems like the obvious choice.

The closest thing in Hairspray is definitely "I Know Where I've Been," but that's Motormouth. Either way there's nothing that really screams "11 o' clock" about the GMB reprise, even though on paper it fits the criteria, thematically anyway.

Avenue Q, "Fine Fine Line" has "11 o' clock" written all over it, but I guess "College" works, even though it's not as intense as "Fine Fine Line."

Is it possible that they just don't have 11 o' clock numbers...
I mean Gimme Gimme, Rose's Turn, even *gasp* No Good Deed (STOP SAYING "FOR GOOD"!!) are all SUCH 11 o' clockers...I think if it really takes that much analysis, maybe those shows just don't have 11 o' clock numbers.

[VeuveClicquot]

Posted: 1/28/05 at 3:16am

Regarding MILLIE, I think it actually has TWO 11 o'clock numbers: Both "Gimme, Gimme" and "Forget About the Boy" pass the test -- they're both solo epiphanies sung by the leading character in the second act of the musical.

I was wondering about male 11 o'clock numbers -- they seem to generally go to female characters. Although I think "I've Grown Accustomed To Her Face" from MY FAIR LADY certainly fits into the definition. Others?

Posted: 1/28/05 at 7:14am

Veuve -

Wand'rin Star - Paint Your Wagon
Impossible Dream - Man of La Mancha
Lily's Eyes - Secret Garden
She was There - The Scarlet Pimpernel
Welcome to the World - A Man of No Importance

Not sure about any of these, just curious what you think.