Top 10 Hilariously Meta Broadway Songs
#10: “Untitled Opening Number”
“[title of show]” Forget meta songs, this whole musical is meta! Created by Jeff Bowen and Hunter Bell, “[title of show]” follows two friends, Jeff and Hunter, as they try coming up with a show to present at the New York Musical Theatre Festival… Guess where that idea came from? Naturally, a song about creating a musical is brimming with songs about, well, writing “An Original Musical.” The show kicks off with a song that introduces the musical’s premise, setting the stage for its self-referential nature. Throughout the number, we get a feel of how these projects get off the ground, from workshopping musical notes and dynamics to finding actor friends who’ll work for free. Don’t worry; the “Secondary Characters” get their chance to shine too.
#9: “Comedy Tonight”
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“A Funny Thing Happened on the Way to the Forum” Stephen Sondheim works his magic by turning the Greek chorus into a barrel of laughs, giving the classics a makeover that even ancient playwrights would envy. Take, for instance, the uproarious opening number, “Comedy Tonight.” In it, Pseudolus, a Roman servant, breaks the fourth wall to fill audiences in on the wild ride ahead. It’s filled with practically every comedic cliché in the book and that really only serves to amplify its self-reflexivity. Likewise, in Sondheim’s “The Frogs,” the actors begin by setting the stage for a night of comedy. However, first, there are some ground rules to go over with the audience.
#8: “For Now”
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“Avenue Q” As the show ends, Princeton’s friends assure him it’s okay not to have all the answers because everything in life is just “For Now” anyway. What starts as a song intended to uplift the puppet soon turns its attention to the audience. When “Avenue Q” premiered in 2003, the cast reassured viewers that then-President George Bush was “only for now.” Well, they weren’t wrong. Since then, they’ve been tweaking that line to match whatever the current political and social climate reflects, even switching it up based on where the musical is performed. Over the years, audiences have reported hearing everything from ‘Justin Bieber’ to ‘Prop 8’ to ‘Fox News’ filling that slot.
#7: “Brush Up Your Shakespeare”
“Kiss Me, Kate” In act two of this musical, a pair of gangsters unexpectedly find themselves in the spotlight with no choice but to think on their feet. So, they sing advice on how to woo women by referencing Shakespeare’s works, staying in tune with the play-within-a-play. They use some of Bard’s most notable works to create hilarious innuendos. It’s almost like they’re directly interacting with the audience and inviting them to participate in the joke. We would’ve loved to have been a fly on the wall when Cole Porter penned these witty lyrics because they’re brilliant. Also, who doesn’t love a song within a musical that acknowledges its own existence as a song. (You know what we mean!)
#6: “Prologue: Invisible”
“Beetlejuice” “Beetlejuice” begins on a rather somber note, with the characters gathered for the funeral of Emily Deetz, our protagonist Lydia’s mother. While Lydia laments the loneliness that accompanies grief, the titular Beetlejuice chimes in, noting that most musicals don’t typically start with such a solemn number. He’s got a point! How often do you see a musical open with a ballad about bereavement? Also, this scene is totally different from how Tim Burton kicked off his quirky 1988 flick. Then again, this tune would probably stick out like a clown at a goth convention there, too. Anyway, Beetlejuice’s abrupt tone shift brings plenty of humor as he segues into “The Whole ‘Being Dead’ Thing.”
#5: “Act One Finale”
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“Urinetown” “Urinetown” is a funny and thought-provoking musical set in a world where a water shortage has led to a ban on private restrooms. The show explores themes of capitalism, corruption, equality, and environmental conservation, also featuring songs that parody some of our other favorite shows. In this “Les Mis”-like number, our pee-ved protagonist, Bobby, leads a rebellion against the greedy CEO, Caldwell B. Cladwell. This is a man whose grip on law enforcement is tighter than a clenched… we’ll let you finish that sentence. The number also includes clever nods to real-world political and social problems. As it concludes, Officer Lockstock, who doubles as the show’s narrator, hilariously wraps things up before wishing the audience a happy intermission.
#4: “Intermission Song”
“A Strange Loop” Ironically, “Intermission Song” in “A Strange Loop” doesn’t happen during intermission—because there isn’t one. Instead, it appears at the top of the show. Usher, an usher at “The Lion King” on Broadway, ponders the show he’s creating about his own experiences during that show’s break. His personified inner thoughts converse with him in a way that reminds us of Bobby’s friends in “Company.” As you might imagine, a musical about an usher named Usher isn’t short on meta songs. “Today,” which follows the opening number, reveals his yearning for change. Meanwhile, the titular finale number sees him break the fourth wall as we come back full circle. Only this time, Usher is changed by his introspective journey.
#3: “A Musical”
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“Something Rotten!” Who here doesn’t love a musical? Okay, maybe one person, but she didn’t have Nostradamus to convince her that box steps are the best thing since jazz hands. Let’s not forget that Nick Bottom also thought musicals were “the stupidest thing” he’d ever heard. But then the seer shares his visions of the future of theater, and things get musical. It’s a musical theater lover’s dream, with enough witty nods and send-ups to light up all of Broadway. You’ll want to rewatch this number multiple times just to catch all the references, and believe us, there are plenty. By curtain call, you’ll still be laughing and humming the catchy tune as you kick-line your way out of the auditorium.
#2: “The Song That Goes Like This”
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“Spamalot” This musical is an irreverent reimagining of “Monty Python and the Holy Grail,” which is a comedic skewering of King Arthur’s story. But when it comes to parodies, why stop there? This number, sung by Sir Galahad and the Lady of the Lake, offers a tongue-in-cheek spoof of typical Broadway love songs. It pokes fun at the clichés and predictability of these numbers but in an exaggerated, comedic way. However, the Lady of the Lake isn’t content with her limited spotlight and vents her frustration in “Diva’s Lament”. (No one play her “Alto’s Lament” – she doesn’t need another reason to feel snubbed!) We must also say L’chaim to “You Won’t Succeed on Broadway,” a toast to the show’s self-awareness. Before we unveil our top pick, here are a few honorable mentions.
All of It, “The Musical of Musicals (The Musical!)”
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“Everybody Wants to Do a Musical, ” “Nick & Nora”
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“Stop,” “Mean Girls”
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“Show Off, ” “The Drowsy Chaperone”
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“Climbing Uphill,” “The Last Five Years”
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#1: “I Wanna Be a Producer”
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“The Producers” “The Producers” is filled with songs that give a playful nod to musical theater enthusiasts. Ulla’s “When You’ve Got It, Flaunt It” overflows with double entendres and playfully acknowledges the showy nature of the genre. Meanwhile, “I Wanna Be a Producer” is a ribbing of those big-shot Broadway types, you know the ones. Choosing Leo Bloom, the jittery accountant, to sing it is essentially Mel Brooks winking at the audience—it’s a clever take on the show’s satire. Also, did you catch all those references that blur the lines between the musical’s fictional story and the actual world of theater? This song is basically an invitation to the audience to join in on the jokes.
