As musical theatre aficionados know, it’s the songs, not the dialogue, that capture what characters are truly feeling. They express their innermost thoughts, and the best ones push performers to their emotional and vocal limits, capturing raw intensity that resonates long after the curtain falls. If you’re looking for a tune for an audition, here are some of the best Broadway and West End solos.
‘As Long As He Needs Me’ from Oliver!
Nancy’s emotional ballad, ‘As Long As He Needs Me’, comes after Bill Sikes manipulates her into staying with him. The song is an expression of Nancy’s loyalty in the face of abuse, and gives an actor the opportunity to portray a character who is caught between love and fear.
Ideal for: A dramatic mezzo-soprano or alto. This is a raw, emotional ballad. The singer must convey vulnerability and desperation, with powerful belting during the climactic sections. You’ll be able to showcase depth of feeling and intensity, with rich lower notes as well as a strong top range.
‘If I Were a Rich Man’ from Fiddler on the Roof
Tevye’s ‘If I Were a Rich Man’ combines humour, reflection, and longing. He fantasises about wealth and the comforts it would bring, while revealing his values and family concerns.
Ideal for: A robust baritone with a strong sense of comic timing. You must be able to convey Tevye's boisterousness as well as his heartfelt dreams. The patter sections and dynamic shifts in the song are ideal for showcasing expressiveness and energy.
‘What I Did for Love’ from A Chorus Line
‘What I Did for Love’ explores the emotional cost of a life in the performing arts and what it means to chase your passion.
Ideal for: A mezzo-soprano or soprano with a smooth, rich timbre. It demands a balance of vocal strength and emotional sensitivity, requiring the singer to communicate both pride and wistfulness. With its soaring melody, it’s an excellent opportunity to demonstrate legato phrasing and controlled vibrato.
‘On My Own’ from Les Misérables
Éponine’s solo number ‘On My Own’ is one of the most famous musical theatre pieces. It delves into feelings of loneliness, love, and longing, as she reflects on her unrequited love for Marius.
Ideal for: A warm-voiced mezzo-soprano or a soprano with a strong mid-range. This ballad requires the ability to convey vulnerability through soft, lyrical passages, as well as powerful belting during the climactic moments. Its emotional depth makes it a perfect fit for a singer with expressive phrasing and a strong connection to the lyrics.
‘Macavity: The Mystery Cat’ from Cats
The playful number ‘Macavity: The Mystery Cat’ explores a whimsical character with hidden layers. This charming piece combines poetic language with an exaggerated sense of danger and mischief.
Ideal for: A mezzo-soprano with a sultry, agile voice. This slinky, jazz-influenced number requires vocal flexibility and dynamic phrasing. The performer must accentuate the mischievous and seductive qualities of the lyrics. It’s a great opportunity to show off vocal dexterity, particularly with articulation and rhythm.
‘The Music of the Night’ from The Phantom of the Opera
‘The Music of the Night’ is a seductive monologue where the Phantom reveals his obsession with Christine. It’s filled with dark and mysterious undertones, making it a compelling choice for actors who want to portray a complex, shadowy character.
Ideal for: A rich, lyrical tenor with an operatic quality to their voice. It requires smooth, controlled phrasing and the ability to sustain long, legato lines. You must bring a sense of allure and mystery, using your voice to convey both passion and tenderness, with seamless transitions between head voice and chest voice.
‘Defying Gravity’ from Wicked
‘Defying Gravity’ is one of the most powerful Act 1 finales. Sung by the character Elphaba, it marks the moment when she decides to embrace her powers and stand up against the oppressive forces of Oz. The song captures Elphaba’s journey from self-doubt to empowerment, as she resolves to break free from the constraints placed upon her.
Ideal for: A powerful soprano or mezzo-soprano with a strong belt. An anthem of defiance and empowerment, it requires significant breath control, especially in the high-belting sections, and the ability to handle sudden shifts in dynamics. The climactic notes are a chance to demonstrate range, power, and precision.
‘I Miss the Mountains’ from Next to Normal
Character Diana Goodman is a mother with bipolar disorder; in ‘I Miss the Mountains’ she reflects on her struggle with the side effects of her medication and the numbness they bring. She yearns for the highs and lows she used to feel.
Ideal for: A mezzo-soprano able to master a contemporary, folk-influenced vocal style. This deeply personal ballad requires the singer to express a sense of longing and nostalgia. Its mix of gentle melodies and powerful belts is ideal for showcasing dynamic control and emotional range.
‘You’ll Be Back’ from Hamilton
‘You'll Be Back’, delivered by King George III, is a quirky, sarcastic take on a breakup between the colonies and Britain. The monologue reveals the king’s personality – self-assured, out of touch, and a little bit dangerous. It’s a fantastic choice for actors who want to combine humour with historical commentary.
Ideal for: A light baritone or tenor with a playful, charismatic edge. This song demands a strong sense of comic timing and the ability to switch between regal arrogance and manic frustration. Its lyrical, witty style allows the performer to demonstrate their vocal control, while the falsetto sections add a chance to exhibit range and flair.
‘Flowers’ from Hadestown
In the harsh, impoverished world of the show, Eurydice is lured to Hadestown by Hades’ promises of safety, security, and warmth. She abandons her love, Orpheus, a choice she regrets deeply. ‘Flowers’ is a lament over the loss of her faith in both Orpheus and herself; her decision has destroyed the hope and beauty they once shared.
Ideal for: A soulful alto or mezzo-soprano. It requires a warm, expressive voice that can handle both softness and intensity. The song’s folk-jazz style calls for smooth phrasing and the ability to subtly build emotional tension. With its haunting melody and reflective lyrics, it’s an excellent opportunity to showcase depth of feeling and vocal artistry.
‘The Wall in My Head’ from Everybody’s Talking About Jamie
‘The Wall in My Head’ is sung by Jamie, a 16-year-old boy who dreams of becoming a drag queen. He confronts the fears and doubts that have been instilled in him, especially by his absent father, as he comes to terms with his identity.
Ideal for: A contemporary tenor or high baritone with a pop-influenced style. This ballad demands emotional vulnerability. With moments of gentle lyricism and powerful, chest-driven belting, it’s an opportunity to show both range and raw emotion.