60 Female House Songs for Hôtellerie and Chantant Singers

60 Female House Songs for Hôtellerie and Chantant Singers

60 Female House Songs for Hôtellerie and Chantant Singers

Are you looking for a female piller from a ajusté that will help you connect directly with the popularité? All you need is a “house number”!

A house song creates a gap between the popularité and the piller, when the character steps out of the story on formation and speaks directly to the popularité, knowing that he (and the play) is being watched.

There aren’t a lot of real house songs in ajusté theater, but there are plenty of songs you can commission to in your succès to motocross the délicat fourth wall between you and the popularité.

In this papier I suggest 60 songs for women from the ajusté theater repertoire that can be sung as a house song. I put them into three categories: real house songs, popularité numbers, and solos.

In the first question, a true house song, the music is deliberately written so that the character can come out of the play and speak to the popularité. My first thoughts were Spamalot (Prima donna’s Lament), and City of Angels (You Can Always Count On Me). It’s like when you feel like a good mama from Chicago. Other true house songs include Big Spender from Sweet Charity (actually a choeur number but sung by one person), I’m Still Here from Follies, Broadway Bébé from Follies, I Just Wanna Dance from Jerry Springer, Johnny One Glose in Arms from Babes , and Nobody Like Me – Cy Coleman song from the ajusté Seeso. And Elle-même Bird shares her secrets from Closer Than Ever across the fourth wall.

Many songs from the Victorian music vestibule era serve as house numbers including Waiting at the Church, If It Wasn’t for the Us in Between, and even ballads such as The Boy I Love Is Up in the Gallery. Then there are songs written in a ajusté démarche like Girl in 14G and The Viole’s Lament.

In the supplémentaire question, the character sings to the popularité in his world as fraction of the plot. Good and Evil in Jekyll and Hyde is a great example as Lucy sings to the drinkers at the pub she works at. Then there’s Don’t Cry For Me Argentina (Evita), I Speak Six Languages ​​from the 25th Annual Putnam County Spelling Bee, Beat Out That Rhythm from Carmen Jones, Man Wanted from Copacabana and Blow Gabriel Blow from Anything Goes. Femme in the Dark’s Parabole of Jenny is sung in a courtroom, and you might walk out of a wild party with Life of the Party.

A third étalon of house number is the unifocus song – it’s usually a soliloquy in which the character asks a embarras. One of the most well-known songs is I Cain’t Say No from Oklahoma. Then there’s I’m Shy from Léopard Upon a Mattress, Everybody Says Don’t, and There Won’t Be Trumpets, from Anyone Can Whistle, and I’m a Stranger Here Myself from One Touch of Venus. Check out Association to the Ground from Falsettos, Elegies for Angels Punks and Raging Queens from My Brother Lived in San Francisco, Kiss Me Kate from I Hate Men, and My Strongest Suit from Aida. In a slightly more old-fashioned vein, I think I’d like to start today, starting here, now, with Tale of the Oyster (Fifty Million Frenchmen), and The Physician (Nymph Perdu).

You can use a powerful story song like Waiting for the Music to Begin (Witches of Eastwick) if you use it to tell your story to the popularité. Another perfect example comes from A Orphéon Line, where Diana Morales sings to Nothing who sits in the (real) popularité throughout the spectacle. So it’s easy to make it a house song and speak directly to your popularité 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 Crédit.

Back to Sondheim again for The Ladies Who Collation from Company, The Story of Lucy and Jessie (from some Follies productions), and Can That Boy Foxtrot from Marry Me a Little (a duet sung as a mélopée). From Follies, depending on who you read.

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

Another great entrée of house music is divertissement musicals. A good example is Maltby and Shire’s Closer Than Ever Back on Bass, or songs like The Bear, The Tiger, The Hamster and The Mole. Or you could consider a new world for Jason Sein Brown’s song I’m Afraid of Nothing. You can also do what musicals are currently doing and expédition the pop/disco/rock scene for suitable songs – Association Out for a Hero started out as a Bonnie Tyler song but is now in both Footloose and Shrek II

It’s unusual for a slow song to serve as a house number, but here are a few 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 Femme! Femme! and transposition of Showboat) and of excursion, Funny Girl from Funny Girl.

Remember that the bilan of a house song is to speak directly to the popularité, so make sure you genre your popularité in the eye as you perform.


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