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60 Female House Songs For Cabaret and Musicals Singers

Looking for a female song from a musical that will help you connect directly with the audience? What you need is a “House Number”!

A House song bridges the gap between the audience and the singer, when the character steps out of the story onto the stage and speaks directly to the audience, knowing that they (and the drama) are being watched.

There aren’t many true House songs in Musical theatre, but there are a number of songs that you can change to make your performance cross that invisible fourth wall between you and the audience.

In this article, I recommend 60 songs for women from the Musical Theater repertoire that can also be sung as House songs. I divided them into three categories: the real House song, the audience number and the solo.

In the first category, the true House song, the musical is deliberately written so that the character can step out of the drama and speak to the audience. My first thoughts are Spamalot (Lament of a Diva) and City of Angels (You can always count on me). I immediately think of Chicago’s When It’s Good for Mama. Other true House songs: Big Spender by Sweet Charity (originally a chorus number, but can be sung by one person), I’m Still Here by Follies, Broadway Baby by Follies, I Just Wanna Dance by Jerry From Springer, Jonny One Note from Babes. in Arms, and Nobody Does It Like Me – Song by Cy Coleman from the musical SeeSaw. And Miss Byrd from Closer Than Ever shares her secret to breaking through the fourth wall.

Many songs from the Victorian Music Hall era serve as house numbers, including Waiting At the Church, If It Wasn’t For the Ouses In Between and even ballads such as The Boy I Love Is Up In The Gallery. Then there are songs written in the musical style, such as Girl in 14G and Alto’s Lament.

In the second category, the character sings to the audience in his world as part of the plot. A good example from Jekyll and Hyde is Good and Evil, as Lucy sings to the drinkers in the pub where she works. Then there’s Don’t Cry For Me Argentina (Evita), I Speak Six Languages ​​​​from The 25th Annual Putnam County Spelling Bee, Beat Out Dat Rhythm from Carmen Jones, Man Wanted from Copacabana, and Blow Gabriel Blow from Anything Goes. Jenny’s Saga Of Jenny from Lady in the Dark is sung in a courtroom and maybe Life of the Party can get away with Wild Party.

A single-focus song is the third type of House track – it’s usually a soliloquy in which the character asks questions. One of the best known songs is Oklahoma’s I Cain’t Say No. Then there’s I’m Shy, Once Upon a Mattress, Everybody Says No, and Trumpets Won’t, Anyone Can Whistle, and I’m A Stranger Here Yourself from One Touch of Venus. Check out Holding To The Ground from Falsettos, My Brother Lived In San Francisco from Elegies for Angels Punks and Raging Queens, I Hate Men from Kiss Me Kate and My Strongest Suit from From Aida. In a slightly more old-fashioned spirit, there is I Think I Want Want To Remember today starting from here, starting now, with The Tale of the Oyster (Fifty Million French) and The Doctor (Nymph Errant).

You can use a powerful story song like Waiting For The Music To Begin (Witches of Eastwick) to tell your story to your audience. Another perfect example comes from A Chorus Line, where Diana Morales sings Nothing to Zach, who is sitting in the (real) audience during the performance. So you can easily turn it into a House song and speak directly to the audience. Other songs include Gimme Gimme from Thoroughly Modern Millie, I Know Things Now from Into the Woods, Defying Gravity from Wicked and Always The Bridesmaid from I Love You, You’re Perfect, Now Change -from.

Back to Sondheim again for The Ladies Who Lunch from Company, The Story of Lucy and Jessie (from select productions of Follies) and Can That Boy Foxtrot (a duet that can also be sung as a solo) for Marry Me A Little, or cut. from the Follies, depending on who you read.

Then there’s Everybody’s Girl from Steel Pier, Old Fashioned Love Story from Wild Party, When You Got It, Flaunt it from Producers and How Did I End Up Here from Romance Romance. You might consider One Hundred Easy Ways from Wonderful Town or My New Philosophy from You’re A Good Man Charlie Brown and experiment with a song like Cockeyed Optimist from South Pacific.

Another great source of House songs is revue musicals. Maltby and Shire’s Closer Than Ever is a good example of songs like Back On Base, or The Bear, Tiger, The Hamster and The Mole. Or consider Jason Robert Brown’s Songs for a New World from I’m Afraid of Nothing. It might as well do what musicals are doing now and invade the pop/disco/rock scene for the right songs – Holding Out For A Hero started out as a Bonnie Tyler song but has also been in Footloose and Shrek II can be found.

It’s unusual for a slower track to work as a house number, but here are some suggestions: Maybe I Like It This Way from Wild Party, That’s Him from One Touch Of Venus, Why Him from Carmelina, Bill (from Oh Lady! Lady ! and Showboat versions) and of course Funny Girl from Funny Girl.

Remember that the point of a House song is to speak directly to the audience, so make sure you look the audience in the eye while performing.


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