Understudy Joined: 6/7/10
The first role that comes to mind is that of Albin from La Cage Aux Folles (Harvey Fierstein).
Another role that comes to mind is Desiree from A Little Night Music.
Henry Higgins
Ruth Sherwood
I disagree with your opinion re: Albin.
This is a subjective question, largely. That said, I'll say the King in The King and I was not intended for a great singer.
However, you can put a great singer into any of these roles and it changes the dynamics of the show entirely. I mean, Lorelei Lee doesn't require a great singing voice, neither does Dolly Levi or Sally Bowles (it's been played with good singers, most notably on film where Liza really nailed it).
The first thing I thought of was Harold Hill.
Not sure I agree with the context of the OP. I would say any role that requires singing, requires a great voice. Unless it is merely a speaking role, the show will be much better with a great voice in any role. Whether economics will allow it, is a different story.
Both of the adult roles in Spring Awakening, since they only sing during the group numbers. I think it even says on the audition notice "does not have to be strong singer"
Understudy Joined: 6/7/10
"I disagree with your opinion re: Albin."
Really? Forgetting that Harvey played the role for a moment, I've never known of drag performers having pleasant voices when singing as the opposite sex. While I'm only familiar with the 2010 revival and its cast recording, "The Best of Times" begins with Albin singing in a falsetto that leads you to believe that Zaza isn't the best singer. "A Little More Mascara" is another number that seems to support the notion that the role doesn't require a great voice...it's about what Albin does when he feels ugly...and he sounds ugly (artistically it's an ugly vocal).
Sally Bowles in CABARET
Harold Hill in THE MUSIC MAN
Professor Henry Higgins in MY FAIR LADY
Desiree in A LITTLE NIGHT MUSIC
Can't think of others right now.
Any role created by Shirley Booth.
Broadway Legend Joined: 12/31/69
Apparently Evita, Reno Sweeney, Mrs. Lovett, Madame Rose, that part in Women on the Verge and now Joanne in Company.
Clearly Joe is not a fan of Elaine Paige, Sutton Foster, Angela Lansbury, Tyne Daly, Sheri Rene Scott, or Elaine Stritch.
Broadway Legend Joined: 9/16/07
People really consider Elaine Strich's voice pleasant?
I'd put most of the roles in Company in that category, other than Bobby of course.
The Phantom, in The Phantom of the Opera. At least if the casting of Gerard Butler is anything to go by.
OMG MADAME MORRIBLE from WICKED. most of the actresses just yell/speak the words rather than sing
and Kristine in CHORUS LINE (the one who sings "Sing")
Updated On: 6/21/11 at 12:59 PM
Define great? Mrs. Hardcourt in Anything Goes (1962 Revision) is a fun acting role that only needs to take a few solo lines in Bon Voyage. She has a bunch of great little moments as Billy is trying to hide his identity from the captain, the sailors, and Mrs. Hartcourt before his capture. A small role, but a good one.
Mr. Lundie gets that great scene where he explains the history of Brigadoon and he doesn't sing at all in the show.
I've seen a few good productions of The Music Man where Harold Hill wasn't a great singer but acted so well you didn't really notice or care.
The Wicked Witch doesn't sing anything in the non-Lloyd Webber The Wizard of Oz and it's a fantastic role. Glinda's pretty good too without any singing.
The Man in the Chair in The Drowsy Chaperone only sings a few lines at the end of the show and they aren't supposed to be great.
A strong actress can sell Miss Hannigan in Annie without being a great singer. If they can carry a tune and get into the character, it tends to work.
People really consider Elaine Strich's voice pleasant?
I have a lovely recording of her singing "Why Don't We Try Staying Home."
I'd put most of the roles in Company in that category, other than Bobby of course.
I actually think Susan needs the best voice in Company.
Broadway Legend Joined: 12/31/69
I've heard some early Stritch recordings that are beautiful. Sail Away is even not so bad.
And no lie, I cannot STAND Sutton Foster, either.
Jenny needs to be the strongest Company voice since she's got the Getting Married Today solos. It was only in the recent revival that it was Susan, and I think that was because they needed Jenny on the strings for that number.
As for Night Music, I never realized that Desiree and her mother don't have anything especially hard to sing. Vocally, the only really strong female is Anne, and to some extent Petra.
Swing Joined: 6/28/10
The two Gangsters in "Kiss Me Kate." I've seen it done with mediocre singers and strong singers. If directed and acted well I don't think it really matters.
Understudy Joined: 9/5/08
Of more recent shows.
Billy in Billy Elliot
Usnavi in In the Heights.
Broadway Legend Joined: 9/16/07
Susan did "Getting Married Today" in 1995 revival and in the recent concert as well. I wonder if that's been made a permanent change.
Roxie in CHICAGO
Finch in HOW TO SUCCEED
Edna in HAIRSPRAY
Albert in BYE BYE, BIRDIE
Understudy Joined: 1/5/11
You can include Bobby from Company into that mix. None of his material is complex to sing, it's complex to act.
This is probably because the show was written for Anthony Perkins, who if you listen to Greenwillow and even Evening Primrose has a quite grating singing voice. He only left to direct/write something, and was replaced by Dean Jones. Who, if you listen to the OBC, isn't the master of sounding pleasant in that show... None of the cast is.
Sondheim writes for actors first. That's why many OBCs of his work, especially pre 1990s feature some very interesting singer choices... You can't judge Sondheim's roles off revival recordings because it's usually cast against his intentions for many roles.
Susan did "Getting Married Today" in 1995 revival and in the recent concert as well. I wonder if that's been made a permanent change.
Are you meaning the lead Church singer ("Bless this day...."?) is usually taken by the actress playing Susan? On the oBCR it is Teri Ralston who played Jenny.
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