Top 10 Broadway Act One Finales That Didn't Have to Go THAT Hard

From a show inspired by the true story of a struggling shoe factory, this act one closer is a celebration of the business’ first pair of niche footwear. While it’s no surprise that a song written by musical talent Cyndi Lauper would be a hit, the dance break is what really sets this number apart. The choreography features many performers and takes advantage of the conveyor belts in the set. The extra element of movement adds a wonderful amount of excitement, while the inclusion of Lola’s angels ensures a little flair. For a song about constructing footwear, it’s certainly over the top. But they’re not just any basic boring shoes, so we wouldn’t have it any other way.

Retellings of classic fairy tales aren’t uncommon, but Stephen Sonhiem’s musical amalgamation sets itself apart with realism and really good music. While the second act is a disenchanted continuation of popular children’s stories, the beginning is a more faithful retelling of the original source materials. The happily ever afters most of us are familiar with come to pass during the end of the first act. The entire company joins in song and dance with quick rhythms, strong harmonies and overlapping melodies. The cast then calls back to the opening number in unison. Considering the consequences that are to come later on, the characters’ energetic assertion that they’re “happy now” is probably made too soon. Still, the moment itself is unforgettable.

Following up one song by composer Stephen Sonheim with another, this pick is well-known in the world of musical theater. The number comes from a show inspired by “A Sunday Afternoon on the Island of La Grande Jatte,” a painting by Georges Seurat. It acts as a staged adaptation of the tableau, and Sondheim’s interpretation of the famous work has become iconic in its own right. The song has grown to be emblematic of more than just a pointillism painting, bringing it to life in a moving manner. It represents the struggle of the artist from the composer’s perspective, marking the end of the story’s first half with truly masterful music and lyrics.

Bubbly, ambitious, and typically donning pink, the character of Elle Woods perfectly translates from the screen to the stage. In the Broadway adaptation of the 2001 film, the leading lady carries most of the show with one number after another, often accompanied by her own Greek Chorus. This moment finds her getting awarded Callahan’s internship alongside Warner and Vivienne. Her goal of marriage with her ex is getting further and further out of reach. Yet the song sees Elle finding a new source of validation in her academic and professional successes, and letting her mom know. Calling a parent with good news always feels satisfying, but her enthusiasm really shines through each lyric, and the result is infectious.

Debuting in 1934, this musical theater classic makes multiple references to the pop culture of the time. Yet “Anything Goes” continues to feel relevant, with observations regarding a society’s changing values. Set on the deck of a ship with performers dressed as sailors, the theatrical visuals create an exciting sense of travel. The number, led by nightclub singer Reno Sweeney, has witty lyrics, a catchy melody and an epic dance break which sets it over the edge. The show itself has been revived more than once, with icons Patti LuPone and Sutton Foster each having a Broadway run as the leading lady. When you combine the tune’s clever quips with that kind of star power, it exemplifies what musical theater should be.

This jubilant ode to the bohemian lifestyle is divided in two sections by the duet “I Should Tell You” just before intermission. Both part A and B take place at the Life Café following Maureen’s performance. The whole company including Benny is present, and the landlord insults his former roommates by claiming bohemia is no more. In response, the diverse group of artists defend their free-spirited lifestyle. The name alludes to “La Bohème,” an Italian opera which served as inspiration for the rock musical. The lyrics are full of alliteration and cultural references, often pushing the envelope by bringing up something taboo. Proud and empowered, it’s an anthem for everyone — but especially those who are left out by mainstream society.

Lin-Manuel Miranda’s “In the Heights” makes a huge impression before intermission. But the first act finisher from his historical Broadway hit is too impressive to ignore. As the longest number in the show, “Non-Stop” is narratively complex and absolutely striking. It notably sets the characters up for their lives in a young America as politicians, while Angelica moves across the pond. Amid all this change is Alexander Hamilton, writing non-stop. He solidifies his legacy as a founding father and federalist with his pen. Additionally, the song marks the moment Washington asks him to run the Treasury Department. The number accomplishes all this and more while referencing past tunes like “Satisfied” and “My Shot.” Writing has never sounded so epic — or frenzied!

After realizing the Wizard is up to no good, Elphaba decides to fight the injustice coming from behind the curtain. She and Glinda are confronted with their conflicting work and have to part, with the former fleeing on a broomstick. For an audience familiar with the Wicked Witch of the West, it’s satisfying to see her finally take flight. The moment is also exciting from a performance perspective. Suspended above the rest of the company with her cape flowing behind her, Elphaba ends the first act on a high note, both literally and figuratively. As far as we’re concerned, this soul-stirring number is one of the most iconic ones in contemporary musical theater. There’s a reason it’s considered the signature song from “Wicked,” after all!

When considering musical act one finales, it’s almost impossible not to recall this massive number from the stage adaptation of Victor Hugo’s classic novel. The overlapping melodies and distinct vocal groups make for a chilling result, transporting the audience into the show’s world in a hauntingly beautiful manner. We’re engrossed in each person’s story and struggle, feeling what they do. And as the characters make their various preparations, their voices weave together so tightly it's easy to forget they’re preparing for the Paris Uprising. With nearly every cast member contributing, the choral arrangement leaves a strong impression well after it’s over. We know it’s impossible to sing every part at once, but that doesn’t mean we won’t try.

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

“Don't Rain on My Parade”, “Funny Girl”
It’s Essentially the Iconic Fanny Brice’s Elevated Version of Rain Rain Go Away

“All I Ask of You (Reprise)”, “The Phantom of the Opera”
The Phantom Eavesdrops & Doesn’t Like What He Hears, but His Response Is Moving

“You Will Be Found”, “Dear Evan Hansen”
Evan’s Speech Goes Viral & Gives Us Chills

“Everything's Coming Up Roses”, “Gypsy”
Abby Lee Miller Couldn’t Handle This Stage Mom, but We’re Big Fans

“Till We Reach That Day”, “Ragtime”
Death Is Grieved & Injustice Is Called Out in a Powerful Number

Putting aside the group numbers, duets, and dance breaks, this is a solo with star-making power. The soulful torch song is performed by Effie White as things with manager Curtis Taylor Jr. come to an end. She demonstrates the strength of her love, will, and voice through song. The melody is powerful with plenty of opportunities for the singer to show off their vocal chops. Jennifer Holliday, who originated the role on Broadway, and Jennifer Hudson, who made her big film debut as Effie, each slayed their renditions, making waves and capturing everyone’s attention. Their performances take the song to the edge and while they didn’t have to go that hard, we’re sure glad they did.