Top 10 Broadway Side Characters That Stole the Show

“Grease”
There are worse things she could do. Despite the film’s focus on Danny’s and Sandy’s relationship, “Grease” the musical was initially conceived as an ensemble piece. And no ensemble member shines more than the leader of the Pink Ladies. Rizzo’s sardonic snark in “Look At Me, I’m Sandra Dee” mocks not only the sheltered Sandy, but also ‘50s purity culture. Her tough stoicism in the face of judgmental gossip about her sex life is admirable, leading to the classic “There Are Worse Things I Could Do.” Rizzo’s repudiation of slut-shaming is as relevant now as it was in the ‘70s, and her character is one of the few aspects in “Grease” that has aged very well.

“Guys and Dolls”
Nathan Detroit’s friend and fellow gambler, Nicely Nicely completes the trio in “Fugue for the Tinhorns” and also contributes to the titular banger, “Guys and Doll.” But when Sky Masterson wins his bet and forces the gamblers to attend Sarah Brown’s prayer meeting, Nicely Nicely is the one to play along, by brilliantly recounting a false dream. His satiric number, “Sit Down, You're Rockin’ the Boat,” has become a fun showstopper. Plus, it’s one of the few examples of a side character getting the 11 o’clock number. His being played by the irresistibly likeable Stubby Kaye in the film version helps too. What a nice guy.

“Oliver!”
We’d do anything for this supporting lady. Based on Charles Dickens’ “Oliver Twist,” this Lionel Bart musical also includes the character of Nancy, a bit of a mother-sister figure for Fagin’s kid pickpockets. She is also the much-abused girlfriend of the violent Bill Sikes, and wins our hearts for protecting a young Oliver from his schemes. In the film, she even cleverly strikes up a tavern song in order to distract Sikes. Nancy’s love for him, though, prevents her from truly leaving him, to her doom. But her beautiful solo, “As Long as He Needs Me,” is a standard that always brings down the house, and leaves us all in tears. RIP, queen.

“Into the Woods”
It’s never agony when these two are on stage. In this satirical take on Grimms’ fairy tales, Cinderella’s Prince and Rapunzel’s Prince are actually brothers. They lament their inability to be with their princesses in their hilarious duet, “Agony.” And, in true brotherly form, each competes with one another over who has the worst situation. Of course, these princes are more charming than sincere. By the end of the musical, they are each married…and have moved on to wooing Sleeping Beauty and Snow White. No matter the actors, this womanizing duo is a riot and drives us all to tears—of laughter.

“Porgy and Bess”
It’s hard to resist a guy with a little devil in him. In Gershwin’s opera masterpiece, Sportin’ Life is the slyly charismatic dealer of Catfish Row, providing the glamorous Bess with “happy dust.” During the Kittiwah Island picnic, he lampoons the Bible’s many absurdities in the jazz standard, “It Ain’t Necessary So,” even getting the pious Catfish Row denizens to agree. Sportin’ Life is no mere slinky comic relief, though. When Porgy gets arrested, he is the one to plant doubts into a reformed Bess struggling to get clean. In one of the most consequential scenes in all of musical theater, Sportin’ Life invites her to go to New York with him. Bess is unable to resist his seduction. Honestly, who can blame her?

“Les Misérables”
When you think about unrequited love in musicals, this character almost assuredly comes to mind. Originating in Victor Hugo’s “Les Misérables,” Éponine is among the most attractive and poignant supporting characters of this sprawling cast. The daughter of the poor but thieving Thénardiers, she is hopelessly in love with Marius Pontmercy. Marius, however, only sees her as a friend, falling in love with Cosette instead. Éponine’s solo, “On My Own,” would become one of the most overdone audition numbers of recent years, a hymn for all pining teenage girls everywhere. Trust us, we’ve all been there.

“West Side Story”
You know your side character is something special when so many of its actresses have won awards for the role. The spunky girlfriend of María’s brother Bernardo, Anita plays the Nurse to María’s Juliet in this Shakespearean retelling, including opposing her decision to stick with Tony in the dynamic “A Boy Like That.” But it is Anita’s fiery “America” that unfailingly steals the show—and our hearts—in any version. Chita Rivera, Rita Moreno, and Ariana DeBose are among the many who have made this role their own, their performances arguably eclipsing that of the main leads in many cases. It’s no mystery why this character is one of the most beloved in musical theater.

“Hamilton”
We weren’t aware this was something a side character could do in only ten minutes of stage time. In this blockbuster musical, King George III appears only a few times, each with a reprise of his signature solo, “You’ll Be Back.” In all of them, this mad monarch stops the show entirely. What makes us laugh and clap when this English yandere appears? Is it the way Lin-Manuel Miranda cleverly reimagined the historical king as a clingy ex, sweetly threatening his lover to take him back? Is it the way King George keeps appearing, gleefully and confusedly commenting on America’s affairs like an obsessed stalker? Or is it just his catchy “Daydream Believer”-esque solo? It’s all of these, of course, and it’s priceless every time.

“Jesus Christ Superstar”
It’s official: Put a king as a side character on a stage, and you’ll bring down the house. In this rock opera, Jesus Christ is arrested and taken to Pontius Pilate. Pilate, however, dismisses him as “Herod’s case” and sends him right to the king himself, who encourages Jesus to prove he is indeed the Messiah. This Biblical king has even less stage time than all the rest combined, with only one scene to his name. Even so, his song is a catchy honky-tonk ‘20s pastiche that fully embraces the musical’s irreverence for this sacred history. With Tim Rice’s gleefully contemporary lyrics, Herod’s flamboyance, and Jesus’ priceless reaction in any and all versions, King Herod is a winner in all ways.

“Cats”
Most of our side characters so far have gotten typical side character songs, usually comic. But what about a side character that gets “the” musical standard showstopper? Granted, it’s not as if Andrew Lloyd Webber’s dance musical about anthropomorphic felines has a main character to begin with, or even a plot. But the shabby outcast Grizabella stands out by being onstage all of twice in the whole show. And in those two times, that show is hers. Her signature “Memory” is a Puccini-style lament of her old glamorous life now past. Grizabella’s physical allure may be gone, but the poignant beauty of this musical theater classic still lingers on in our hearts.


Which other Broadway side character do you feel steals the show and refuses to give it back? Let us know in the comments down below!