Top 10 Broadway Opening Songs That Break the Fourth Wall

Meet Officer Lockstock, a policeman who acts as a channel of sorts between the audience and the musical’s world. He’s joined by Little Sally, a street kid who almost gives a little too much away. Lockstock makes it obvious that he knows they’re in a musical and even tells the audience as much. Sally chimes in, too, but she still has a lot to learn about good pacing in theater. Although, her opinions on the plot and even the show’s title are hilarious. This tongue-in-cheek opening number sets the perfect irreverent tone for the rest of the show. Now we know what lies ahead, we can’t wait to see it play out.

Teen musicals are all the rage right now, and they do a “Beautiful” job of bringing us back to our high school days before jumping into the main story. But nothing grabs our attention quite like the“Mean Girls” opening number “A Cautionary Tale.” In this song, Janis and Damian act as our narrators, giving us some background on Cady’s story and the morals of this narrative. Janis sets the scene almost like she’s introducing a teen horror flick. Luckily, Damian is there to clear things up. The lyrics are sharp and witty and perfectly capture the story’s cynical and humorous spirit. Also, it’s a totally Grool way to start a show.

Interestingly, when Anaïs Mitchell first started writing “Hadestown,” “Road to Hell” wasn’t the opening number. It wasn’t even a song! But as her list of introductions grew, she thought it could use a chorus. Keeping Dave Malloy’s “Great Comet” in mind, she decided to use the opening number to introduce the audience to the key players. Who better to sing it than Hermes, the messenger god? Notice how he switches between singing and spoken dialogue. This wasn’t just a creative acting choice; Mitchell planned it to evoke specific audience responses. It sounds like a hell of a lot of thought went into every note and lyric, and it certainly pays off.

Most musicals tend to start on an upbeat note, but not this one. As the characters gather for Emily Deetz’s funeral, Lydia, her daughter, and our protagonist, sings about the loneliness that comes with grief. Beetlejuice can’t help but point out how unconventional it is for a musical to start by bringing everyone down. He even jokes that fans of the 1988 movie “Beetlejuice” won’t remember such a dispiriting beginning. For a dark character, Beetlejuice sure knows how to lighten the mood. This somber start quickly shifts into the hilariously morbid and meta song “The Whole ‘Being Dead’ Thing,” which gives the audience a welcome they’ll never forget.

“Come From Away” tells the remarkable true story of the residents of Gander, Newfoundland, who showed the best of humanity in the worst of times. We feel their benevolence from the opening song, “Welcome To The Rock.” It opens on the morning of September 11th, 2001, where we meet the diverse characters and feel the warmth of this tight-knit community. As news of the tragic attacks unfolds, the tone changes, allowing audiences old enough to remember that day to reflect on their own memories, too. The song comes back with its lively melody, reminding us that there’s goodness to be found even in the toughest times. And boy, do we feel welcomed!

Lin-Manuel Miranda has a unique talent for immersing audiences in the universes of his shows. In “In the Heights,” Usnavi acts as our neighborhood guide. However, in “Hamilton,” Miranda faced the challenge of making a Founding Father’s life compelling enough for a musical. The opening song nails it, giving us a rundown of Hamilton’s early years and introducing the big names who helped shape his story. It also addresses how he tries to shake off the shadows of his past while building his future legacy. If history classes were taught like this, we might’ve remembered more! The song may reveal the ending, but can history really have spoilers? Anyway, it sure makes the past feel alive!

If you grew up learning British history, you probably breezed through Henry VIII’s wives with a simple rhyme. But they want you to know there’s much more to their stories than just being a king’s ex. As they debate who’s had it worse, they burst into song, with each Queen sharing her side. It’s a brilliant her-sto-remix that literally changes up the beat not only on the history we thought we knew but also bringing it into the modern age. It’s a total banger that makes us feel like we’re at a concert. This first song could quickly get any crowd on its feet. We could easily lose our heads over it!

Is there anything more chilling than an opening song that pulls you into a story draped in darkness? The ensemble becomes a Greek Chorus, spinning tales of our main character and the clients who visit him, never to be seen again. Sondheim cleverly wove in the “Dies Irae,” a Latin hymn meaning “the Day of Wrath,” into his melody, twisting and reshaping it throughout to keep his audience on edge. If that isn’t enough to send shivers up your spine, consider how the chorus hints at Sweeney Todd’s twisted sense of justice. Yeah, this whole number is essentially one big warning, and by the end, we’re practically glued to our seats in terror.

We absolutely love how Sondheim’s “A Funny Thing Happened on the Way to the Forum” sets the stage for a “Comedy Tonight.” Yet, we could never overlook this hilarious introduction from his underrated gem, “The Frogs.” This satirical take on ancient Greek drama starts with two actors praying to the theater gods before turning their attention to the audience. While these gods might keep the show running smoothly, their powers seem to not extend to the audience. So, the actors lay down some house rules, filled with clever wordplay and sharp one-liners. It’s non-stop laughter, especially if you’ve ever sat next to someone in need of a theater manners refresher. We’ll just be here waiting for our cue to applaud!

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

“Untitled Opening Number,” “[title of show]”
A Song About Writing a Musical in a Show About Writing a Musical

“Fancy Dress,” “The Drowsy Chaperone”
Meet Your Key Players & Anticipate Some Great Entertainment Ahead

“Prologue,” “Joseph and the Amazing Technicolor Dreamcoat”
How the Bible Might Be Taught If Your R.E. Teacher Was Fun (& Could Sing)

“Prologue,” “Natasha, Pierre & The Great Comet of 1812”
Welcome to 1812, Moscow. Did You Know That Andrey Isn’t Here?

“Magic to Do,” “Pippin”
A Magical Way to Really Engross the Audience from the Beginning

Introducing Tevye, a Jewish milkman from the village of Anatevka, steadfastly clinging to his traditions in a fast-changing world. In this opening number, Tevye invites us into his life, showing how these customs bind his community together and give everyone a vital role. It’s a lively melody that practically compels you to sing “Tradition!” at the top of your lungs. But what really strikes us is how the show employs the fourth wall break. It lets us really connect with Tevye and his neighbors, so when they face tough times, we’re right there with them. Without that connection, the bond between the audience and the characters could’ve been as shaky as a “Fiddler on a Roof.”

What’s your favorite fourth wall-breaking show tune? Let us know in the comments.