Top 10 Most Difficult Broadway Solos to Perform

Welcome to MsMojo, and today we’re counting down our picks for the most difficult theater songs for solo singers.

#10: “Watch What Happens”

“Newsies”

A difficult musical theatre solo is about more than just the high notes and this one has a few different challenges. Written by Alan Menken and Jack Feldman, “Watch What Happens” is sung by “Newsies’” female lead Katherine Plumber, a character who was created for the stage musical. It’s a fast-paced patter song for a mezzo-soprano, stretching from a G4 to an E5, and it requires some serious breath control. The singer has to transition between a chest voice, head voice and speak-singing, all while maintaining good diction and conveying the range of emotions that come over Katherine throughout the song. Kara Lindsay originated the role on Broadway and she makes it look easy, but it’s trickier than it appears.

#9: “Rose’s Turn”

“Gypsy”

The pressure is on for any actress performing the role of Mama Rose in “Gypsy” - and not just because they’re following in the footsteps of many famous stars. “Rose’s Turn” is the big eleven o’ clock number and a total show-stopper. After spending her life, and the entirety of the first act, pushing her daughters to be the best and the brightest, Rose finally takes center stage. She bares her soul in a five minute soliloquy that Bette Midler once called “a terrifying piece of music.” It’s the emotional heart of the musical and, at its best, a gut-wrenching tour-de-force that reminds us how magical musical theatre can be.

#8: “Gethsemane (I Only Want to Say)”

“Jesus Christ Superstar”

Andrew Lloyd Webber has created some of musical theatre’s most demanding solos, but “Gethsemane” may be the most difficult. Judas also tackles some challenging scales in “Heaven on Their Minds” but Jesus really has his work cut out in “Gethsemane.” He not only needs to dig deep emotionally but also reach a high G5. The challenging rock ballad takes place the night before the crucifixion, when Jesus prays alone in the garden of Gethsemane and asks his Father whether his death is the only way. It’s a very big song and bound to be intimidating for any actor, whether or not they’re in control of their falsetto.

#7: “The Ballad of Jane Doe”

“Ride the Cyclone”

In this 2009 musical by Jacob Richmond and Brooke Maxwell, a group of teens plummet to their deaths on a faulty rollercoaster and compete for a second chance at life by relating their backstories through song. Jane Doe’s haunting lament is one of the most talked about moments in the show, but it’s more of a classical aria than a musical theatre piece. It’s best suited to a powerful soprano with good classical technique - especially when you get to that fiendishly difficult final run. Aside from the technical stuff, Jane’s story is also the most tragic. To really win over an audience, the singer has to find a way to convey some very dark emotions while also giving an impeccable operatic vocal performance.

#6: “Pity the Child”

“Chess”

Anyone who’s ever tried to sing an ABBA song at karaoke will know that they’re much more difficult than they look. So pity the singer who attempts to take on this solo from “Chess,” which is considered one of the biggest challenges for male musical theatre performers. The 1984 musical was written by ABBA duo Benny Andersson and Björn Ulvaeus, with lyrics by Ulvaeus and Tim Rice. Set during the Cold War, it tells the story of two rival grandmasters, one Russian, one American. “Pity the Child” is sung by the latter and is a powerful star turn if the performer can overcome its difficulties. It’s an emotionally raw, rock ballad for a tenor voice, climbing to an octave above middle C.

#5: “Bring Him Home”

“Les Misérables”

Written specifically for Colm Wilkinson, who originated the role of Jean Valjean, “Bring Him Home” is a moving ballad that requires a lot of control and a beautiful falsetto to really do it justice. It’s a slow song with a simple melody and a lot of repetition. Nevertheless, it’s a famously difficult tenor part, thanks to the range, the shifting dynamics and the emotional heft of the piece. We see many facets to Jean Valjean throughout the show, but his plea to God to protect the man his adopted daughter loves, is one of the most touching moments. The lead actor must be able to convey both the power and the tenderness, in addition to hitting those high notes - sometimes while sitting down.

#4: “No Good Deed”

“Wicked”

“Defying Gravity” may be “Wicked’s” flagship song, and the number all musical theatre kids dream of taking a crack at, but the second act of the show provides an even bigger challenge. “No Good Deed” is Elphaba’s second act showcase: a dark, tortured soliloquy full of complex melodies, changing dynamics and a little bit of speak-singing. Because of the orchestration it requires a singer who can really belt it out to be heard above the music, sustaining those long, loud notes but also seamlesslessly transitioning into the softer moments. It was written specifically for Idina Menzel, known for her powerful belt.

#3: “Confrontation”

“Jekyll & Hyde”

You could argue that playing the lead in "Jekyll & Hyde” requires double the skill of an ordinary musical theatre role. You’re taking on two lead characters, with distinctive and opposite personalities. To make things even more complicated, they have very different singing styles. To perform both, and make it convincing, you’ll need a big range and a lot of stamina. In “Confrontation,” Dr. Jekyll and his evil alter ego finally face off against each other, resulting in a frenzied duet that is actually…a solo? Either way, it’s a cruel challenge for a leading man - although probably a lot of fun too.

#2: “And I Am Telling You I’m Not Going”

“Dreamgirls”

Effie White is not a role for the faint hearted. With multiple significant numbers and a lot to belt about, it’s a star vehicle that requires some serious star quality. Jennifer Holliday set the bar sky high in the original Broadway production and Jennifer Hudson launched her career off the back of a stellar performance in the movie musical. When performed with the power and passion it requires, “And I Am Telling You” is the kind of song that’ll have the audience on their feet in a standing ovation before you can say “interval.” Starting off quietly, it builds to a stirring emotional crescendo and that final, heartbreaking note that never fails to tug at the heartstrings.

Before we unveil our top pick, here are a few honorable mentions.

“Rainbow High,” “Evita”

Not the Most Famous Song in the Show, but Arguably the Most Difficult

“Dead Girl Walking,” “Heathers”

We’d Kill for a Range Like That

“I’m Here”, “The Color Purple”

Cynthia Erivo Says It’s More Difficult Than Defying Gravity - and We Believe Her!

“Made of Stone,” “The Hunchback of Notre Dame”

Quasimodo’s Big Second Act Solo Requires a Powerhouse Singer

“The Modern Major General’s Song,” “The Pirates of Penzance”

This Tongue-Twisting Classic is the Perfect Warm-Up Exercise

#1: “Getting Married Today”

“Company”

Stephen Sondheim is known for his complex melodies and whip-smart lyrics, but of all the songs he’s ever written, this may be the most demonically difficult. “Company” follows thirty-something bachelor Bobby and his friends, through a series of vignettes. In “Getting Married Today” the focus is on Amy - a bride to be with a terrible case of cold feet. Her fourth-wall breaking solo is a rapid-fire patter song, calling for strong diction, insane breath control and impeccable comedic timing. It starts fast and gets faster, mimicking Amy’s frantic spiral into wedding based anxiety. Anyone who can master it should be applauded.

Have you ever tried to sing any of these? And what do you think is the most challenging musical theatre role? Let us know in the comments!