The American Musical Song Plot
THE HERO WITH A THOUSAND FACES BY JOSEPH CAMPBELL
Broadway producer and New York University professor Jack Viertel’s The Secret Life of the American Musical: How Broadway Shows Are Built (2016) compiles his dramaturgical wisdom and NYU teachings into a comprehensive guide to the structure of Broadway musicals. In it, Viertel breaks down the traditional “song plot” of American musicals, which he defines as “a graph on which the songs in a musical story can be laid out” (2016, p. 9). Through this, Viertel identifies the storytelling patterns found across Broadway musicals and analyzes why they are successful.
Not every musical follows Viertel’s song plot to tee; however, much like myths approximate Joseph Campbell’s Hero’s Journey, most popular musicals tend to hit the major song plot beats. Why does this formulaic storytelling found across American musicals succeed? In essence, Viertel (2016) argues:
“Audiences really do like to be told a definite story in a compelling way. It has to have captivating characters, an exciting challenge for them to solve, and a solution that’s worthy of the time we’ve taken to watch it” (p. 18).
1. THE OPENING NUMBER
Producer Jack Viertel (2016) says the audience is “in trouble” when the curtain goes up, writing: “that’s when confusion reigns – who is everybody onstage, how do we tell them apart, and what does each one want?” (p. 33). Thus, the Opening Number must answer the following question: “What kind of show is it?” (Viertel, 2016, p. 35).
There are two major forms of the Opening Number: the “all-hands-on-deck-number” that introduces the entire company and musical world, and the more intimate opening number performed by just the protagonist (Viertel, 2016, p. 44).
Exemplary “All-Hands-On-Deck” Opening Numbers
▶︎ “Tradition” from Fiddler on the Roof (Bock & Harnick, 1964)
▶︎ “Willkommen” from Cabaret (Kander & Ebb, 1966)
▶︎ “Magic to Do” from Pippin (Schwartz, 1972)
▶︎ “Company” from Company (Sondheim, 1970)
▶︎ “I Hope I Get It” from A Chorus Line (Hamlisch, 1975)
▶︎ “Hello!” from The Book of Mormon (Parker, Lopez, & Stone, 2011)
Exemplary Intimate Opening Numbers
▶︎ “Summertime” from Porgy and Bess (Gershwin & Gershwin, 1935)
▶︎ “Oh, What a Beautiful Mornin’” from Oklahoma! (Rodgers & Hammerstein, 1943)
▶︎ “The Sound of Music” from The Sound of Music (Rodgers & Hammerstein, 1959)
▶︎ “Sunday in the Park with George” from Sunday in the Park with George (Sondheim, 1984)
▶︎ “Not for the Life of Me” from Thoroughly Modern Millie (Tesori & Scanlan, 2002)
2. THE “I WANT” SONG
The “I Want” song is “a solo number in which the protagonist tells the audience what’s driving her or him” (Viertel, 2016, p. 72). Viertel (2016) argues a great I Want song introduces “two hills” to conquer: “The first hill is about something concrete; the second is about something humane” (p. 90). Ideally, by the end of the song:
“The original ‘I Wants’ are suddenly forgotten and irrelevant. The problem is much bigger than anyone imagined. The second hill is spectacularly more interesting than the first, but the first was interesting enough to start us eagerly climbing” (Viertel, 2016, p. 89).
Exemplary “I Want” Songs
▶︎ “Wouldn’t It Be Loverly” from My Fair Lady (Lerner & Loewe, 1956)
▶︎ “Something’s Coming” from West Side Story (Bernstein & Sondheim, 1957)
▶︎ “If I Were A Rich Man” from Fiddler on the Roof (Bock & Harnick, 1964)
▶︎ “Corner of the Sky” from Pippin (Schwartz, 1972)
▶︎ “Maybe” from Annie (Strouse & Charnin, 1977)
▶︎ “Somewhere That’s Green” from Little Shop of Horrors (Menken & Ashman, 1982)
▶︎ “Part of Your World” from The Little Mermaid (Menken & Ashman, 1989)
▶︎ “Santa Fe” from Newsies (Menken, Feldman, & Redford, 1992)
▶︎ “The Wizard and I” from Wicked (Schwartz, 2003)
3. THE CONDITIONAL LOVE SONG
The Conditional Love Song, named for “If I Loved You” from Rodgers and Hammerstein’s Carousel (1945) typically occurs “after the protagonist has told us of his or her hopes and dreams and the accompanying determination to achieve them,” and has met a love interest (Viertel, 2016, p. 100). It is called a “conditional” love song because it tends to take place before the characters have truly gotten to know one another; thus, they are discussing the potential relationship they could share, “if [they] love[d].” In other words, the couple discusses the condition of their dynamic. According to Viertel (2016), “the form of these Conditional Love Songs is fairly consistent” (p. 112). He writes:
“First one sings and then the other sings a rebuttal, but both assertion and response have the same melody. So there’s something that tells us, subliminally, that these two have more in common than they think they do – they have the same music. At the end, for a moment, at least, the two actually sing together, in simple harmony. And when a couple sings in harmony, the groundwork for eventual emotional harmony is laid, so to speak” (Viertel, 2016, p. 112).
Conditional Love Songs work best when the characters have “differing attitudes” on the subject, so that there is “something to talk about” (Viertel, 2016, p. 115). However, the Conditional Love Song does not necessarily have to be between a romantic pairing; in shows such as Wicked and The Book of Mormon, the primary relationships are odd-couple friendships.
Exemplary Conditional Love Songs
▶︎ “People Will Say We're In Love” from Oklahoma! (Rodgers & Hammerstein, 1943)
▶︎ “If I Loved You” from Carousel (Rodgers & Hammerstein, 1945)
▶︎ “I’ll Know” from Guys and Dolls (Loesser, 1950)
▶︎ “Tonight” from West Side Story (Bernstein & Sondheim, 1957)
▶︎ “We Can Do It” from The Producers (Brooks, 2001)
▶︎ “What Is This Feeling?” from Wicked (Schwartz, 2003)
▶︎ “You and Me (But Mostly Me)” from The Book of Mormon (Parker, Lopez, & Stone, 2011)
4. THE RECESS
Viertel (2016) calls the fourth song in the typical American musical the “Recess” number (p. 132). At this point in the show, the audience tends to “get the big picture of what the story’s to be about,” and is ready for a tempo shift (Viertel, 2016, p. 132). These Recess numbers are less relevant to the plot and are more focused on providing entertainment value to the audience. According to Viertel (2016):
“There’s no narrative story material in any of these numbers, however; they make a joyful noise instead. And they perform another useful function: they introduce us to subsidiary characters who will figure in the plot or subplot. We meet some new folks, and we’re happy to meet them because they, too, contribute to the energy boost. We want to know more about them. Our interest is rekindled” (p. 136).
5. THE SUBPLOT INTRODUCTION
The fifth song typically introduces the musical’s subplot or supporting characters. When looking at a musical using the standard three-act-story arc found across film and literature, this moment in the show marks the beginning of the second act. According to Viertel (2016), this is when “the journey begins in earnest, with complications, unexpected twists, and secondary characters who cause trouble or turn the story in different directions” (p. 142).
One standard iteration of this number is the second-couple song. Viertel (2016) writes:
“Second-couple songs rarely get the kind of attention they are entitled to–of necessity, they exert less of a pull than the songs written for the main plot. We don’t want them to upset the story architecture by seizing the stage too forcibly. They tend to do their work subversively, drawing our attention just long enough to add a layer of meaning to what the leading players are going through, while simultaneously providing some relief from it. Originally a comic device, they have evolved over the decades to play every conceivable supporting role–young, old, comic, tragic, and thematic” (p. 155).
A second version of the subplot number is the villain introduction. Like second-couple songs, these were initially written to be comedic relief numbers from dense main plots, but villain songs have since evolved to reveal more humanity in antagonists. According to Viertel (2016):
“The question every show with a villain has to answer is how much to expose. In a comedy, the villain is likely to be tweaked, to make us laugh. She or he remains at a safe distance, a type, not a person… [I]n a drama, we’re usually made to understand that there’s a deeply troubled and complicated person struggling with demons. In either case, the decision of how to treat the villain is usually at its clearest when the villain takes center stage about two-thirds of the way through Act 1 and finally sings” (p. 163).
6. ACT 1 STAR REPRISE
After spending time away from the protagonist, most musicals return to the main plot for the sixth song. For Viertel (2016) this number is the act one “star reprise” to remind the audience why it came to the theatre (p. 171). Since most of the show’s plot has been explained by this point in the show, Viertel (2016) considers this number to be a “golden opportunity” for songwriters to showcase the best of their music or star talent (p. 172). This is also a moment for the protagonist to share a secret insight with the audience that will charge the rest of the show’s plot (Viertel, 2016, p. 177).
7. THE TENTPOLE
The audience grows tired toward the end of Act 1; therefore, it is time for an energy boost. Viertel (2016) calls this number the “tentpole” of the show, which “gets everyone’s blood pumping hard enough to get us to the first-act curtain” (p. 181). He writes:
“Tent poles keep the roof from caving in on the audience. They may or may not be relevant to the story–the best ones unified shows usually are, of course. But, as with the noise, it’s not a requirement that they be anything but energizing. This is another one of those places where musicals are allowed–even required–to defy the logic of storytelling and operate on the other part of the brain–the part that responds to color and light, rhythm and pace” (Viertel, 2016, p. 181).
8. THE ACT 1 CLOSER
According to Viertel, the Act 1 Closer should bind together all the interweaving plots explored thus far, much like a crossbeam in construction (Viertel, 2016, p. 204). This number is traditionally called a “finaletto” – a term from the opera world referring to a piece of music that ends the scene, often “reprising familiar melodic strains in a small bouquet” to remind audiences “how [the characters] feel and what they’ve been through emotionally” (Viertel, 2016, p. 208).
Virtel argues a great Act 1 Closer introduces a “gap” that “throw[s] the characters and the audience into energized emotional chaos by pulling out the rug” (2016, p. 201). These moments throw the show into a direction the characters, and audience, never anticipated. This, Viertel (2016) writes, is “why we come back for Act 2” (p. 199).
9. THE ACT 2 OPENER
Originally, Act 2 opening numbers were written as non-essential palette cleansers to accommodate for audience members lingering in the lobby at intermission (Viertel, 2016, p. 226). Consequently, this place in the show gives songwriters “a certain kind of freedom, a recess from the demands of storytelling and character exploration” (Viertel, 2016, p. 226).
10. THE “CANDY DISH”
Traditionally, the second song in Act 2 showcases the star of the show. Viertel (2016) calls the second song in Act 2 the “candy dish” – a sweet “visit with the star” (p. 236). In more recent shows, this number is less about showcasing star talent and more about “finding a new flavor that the show hasn’t already exploited” (Viertel, 2016, p. 241). Ideally, the modern “candy dish” song introduces a new “real human element” that “turns the show around,” or provides a fresh new take on the show’s themes and sounds (Viertel, 2016, p. 245).
Exemplary “Candy Dish” Numbers
▶︎ “Vanilla Ice Cream” from She Loves Me (Bock & Harnick, 1963)
▶︎ “Hello Dolly” from Hello, Dolly! (Herman, 1964)
▶︎ “Suddenly Seymour” from Little Shop of Horrors (Menken & Ashman, 1982)
▶︎ “Putting It Together” from Sunday in the Park with George (Sondheim, 1984)
11. THE RETURN TO THE SUBPLOT
The third song in Act 2 tends to return to the subplot, often resolving any remaining questions from the first act. This is the last deviation from the main plot before the show’s climax.
Exemplary Return to the Subplot Numbers
▶︎ “Sue Me” from Guys and Dolls (Loesser, 1950)
▶︎ “Gee Officer Krupke” from West Side Story (Bernstein & Sondheim, 1957)
▶︎ “You Gotta Get a Gimmick” from Gypsy (Styne & Sondheim, 1959)
▶︎ “Bend and Snap” from Legally Blonde (O’Keefe & Benjamin, 2007)
▶︎ “I Love You Like a Table” from Waitress (Bareilles, 2016)
12. THE 11 O’CLOCK NUMBER
The “11 O’Clock Number” is the “final star turn” of the musical, in which the main character experiences a major revelation that exposes the show’s emotional core (Viertel, 2016, p. 258). Named for the time it would typically take place in the night, the 11 o’clock number should be the “main event” of the night – a “promise fulfilled” (Viertel, 2016, p. 258).
The traditional 11 o’clock number features the star of the show performing a power ballad to the audience. However, modern shows have adapted this number to more ensemble-based, show-stopping climaxes as audiences’ tastes and expectations have evolved.
Exemplary 11 O’Clock Numbers
▶︎ “Sit Down You're Rocking the Boat” from Guys and Dolls (Loesser, 1950)
▶︎ “Rose’s Turn” from Gypsy (Styne & Sondheim, 1959)
▶︎ “Cabaret” from Cabaret (Kander & Ebb, 1966)
▶︎ “Ladies Who Lunch” from Company (Sondheim, 1970)
▶︎ “I Guess I’ll Miss the Man” from Pippin (Schwartz, 1972)
▶︎ “Your Fault/Last Midnight” from Into the Woods (Sondheim, 1988)
13. THE NEXT-TO-LAST SCENE
Some shows have a “next-to-last scene” after the 11 o’clock number in which the lead “speak[s] plainly and from the heart” (Viertel, 2016, p. 286). It is usually a “human” piece that “set[s] the audience’s mind at rest and give[s] it the release it was seeking and the opportunity to embrace the play’s larger questions” (Viertel, 2016, p. 276).
Exemplary Next-to-Last Scenes
▶︎ “Being Alive” from Company (Sondheim, 1970)
▶︎ “Move On” from Sunday in the Park with George (Sondheim, 1984)
▶︎ “No One Is Alone” from Into the Woods (Sondheim, 1988)
▶︎ “For Good” from Wicked (Schwartz, 2003)
▶︎ “Those You've Known” from Spring Awakening (Sheik, 2006)
▶︎ “How It Ends” from Big Fish (Lippa, 2013)
▶︎ “The World Was Wide Enough” from Hamilton (Miranda, 2015)
14. THE FINALE
The Finale is the grand culmination of the show. In the early days of the American musicals, finales often “resolved quietly, leaving the audience alone with the protagonist, the lovers, the characters we cared most about” (Viertel, 2016, p. 310). Modern closers come in two varieties, much like opening numbers. Viertel (2016) explains that there are “the intimate ones that tie a beautiful knot and the noisy ones that shoot the works” (p. 310).
Some finales are a reprise of previous numbers or a medley of the show’s motifs. In these cases, the goal “is not to create new emotions with old tunes but, instead, to drive us headlong into a suspense climax” (Viertel, 2016, p. 312).
Exemplary Finales
▶︎ “Finale” from Pippin (Schwartz, 1972)
▶︎ “Finale Ultimo (Don’t Feed the Plants)” from Little Shop of Horrors (Menken & Ashman, 1982)
▶︎ “Hot Honey Rag” from Chicago (Kander & Ebb, 1975)
▶︎ “One (Reprise)” from A Chorus Line (Hamlisch, 1975)
▶︎ “You Can’t Stop the Beat” from Hairspray (Shaiman & Wittman, 2002)
▶︎ “The Song of Purple Summer” from Spring Awakening (Sheik, 2006)
▶︎ “Who Lives, Who Dies, Who Tells Your Story” from Hamilton (Miranda, 2015)