Most Epic Song Climax? — Page 2

I find that the most exhilarating song climaxes come from the flurries, fillips, and flourishes the orchestra can add to a song after the singer stops singing. Two of the most striking examples of this are found in my two favorite songs from Kwamina, both sung by the incomparable Sally Ann Howes: "You're As English As" and "What Happened to Me Tonight?" (A question I often ask myself after staggering out of some of today's unspeakable theatrical entities.) 

Updated On: 6/18/15 at 10:59 PM

In terms of literal climaxes, in "The Tunnel of Love" in Side Show, Daisy's climax that Violet feels. The way Alice Ripley belted out "Where is mine? I want mine!" in the theater was absolutely spine-chilling.

For me, more from the original 1971 performance than the recording: The end of "Who's That Woman?" in FOLLIES. After McCarty and the gang peaked the music (that orchestration is killer heard live) -- the house came down/up/around/and/thru -- but it became apparent that the number wasn't really over. Right at the peak of the applause, McCarty comes way downstage and shouts out "Wasn't that a BLAST!?!?!?", and the audience came apart again and peaked ITSELF. I guess it's that moment when you enjoy the fact that it's not just the onstage magic that is overwhelming, it's the magic which happens in the air in between stage and house. The "music" continued even after the song's end. Stunning.

A few more songs with wonderful orchestral finishes:

Twin Soliloquies; Take the Moment (Do I Hear a Waltz?); This Really Isn't Me (First Impressions); The Lusty Month of May (Thank you eternally, Alan Jay Lerner, Frederick Loewe, and Julie Andrews); I Could Have Danced All Night; On the Street Where You Live --- Lilac trees bloom in every part of town when the orchestra plays the end of that song.

Make Our Garden Grow

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The end of "How Glory Goes" from Floyd Collins. IMO it's one of the most beautiful, breathtaking musical moments I've ever heard.

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The end of the Title number from MAME always gives me chills, even though it's just everyone singing the word MAME at the top of their lungs. I remember a legend that they hired a woman who walked on stage and just sang the top notes and did nothing else.

For me, more from the original 1971 performance than the recording: The end of "Who's That Woman?" in FOLLIES.

That was the number that taught me what a real "show stopper" is. I couldn't agree more with your analysis of the number.

It's not from a stage musical originally, but few song climaxes can compare (at least in my book) to the end of "The Bells Of Notre Dame" from THE HUNCHBACK OF NOTRE DAME. Especially at the end of the movie with Clopin singing over the chorus of "Bells, Bells, Bells, Bells."

I Have a Love, from West Side Story. Maria sings "Be with him now, tomorrow, and all of my life!" The orchestral climax immediately after she sings this line is one of my favorites.

"Matilda: That gorgeous moment in When I Grow Up when the key changes and the tempo picks up. "And when I grow up, I will have treats every day." "

Couldn't agree more. Especially onstage with the swings? Chills every time.

My first thought on this one was "Muddy Water" from Big River. The middle end-ish section where they both sing "look out for me" and then the orchestra does that "da-da-da-da" (sorry that was the absolute worst description of a song EVER) is one of my favorite parts in any musical theater score.