Top 10 Darkest & Creepiest Songs in Musicals

Leave it to an ancient demon to interrupt a somber occasion to draw attention back to himself. But that’s exactly what Betelgeuse does when he explains “The Whole ‘Being Dead’ Thing”. And while that’s creepy in a more kooky way, Lydia’s solo, “Dead Mom,” later on, leaves us feeling more ill at ease. Lydia misses her late mother, and she’s frustrated that her dad's forcibly trying to move on. She implores her mom to help her through the loss. It’s a dark recognition of the grief cycle and how everyone handles it differently. Sung with a fervor from the depths of her soul, Lydia’s sorrow leaves audiences with goosebumps.

“1776” follows the Founding Fathers in the lead-up to the adoption of the Declaration of Independence. In one of its darkest yet most powerful moments, Edward Rutledge, a delegate from South Carolina, sings about how the sanctimonious Northern Colonies claim they’re anti-slavery but continue to profit from it. The lyrics call out false virtue, while the melody mirrors the atrocities of the slave trade. The song packs a strong political punch that feels as bleakly relevant today as it did when the musical first premiered in 1969. It's striking, commanding, and devastatingly unsettling. Sung well, this song can make listeners' hairs stand on end.

During the eerily charged “The Point of No Return,” Christine realizes that her co-star isn’t who she expected. She unmasks the Phantom, inciting his outrage. As he forces her to his lair, he sings about how his “seat of sweet music’s throne” is actually a prison separating him from an unforgiving society. The song is filled with so much anger, resentment, and pain. Layered on top of the chorus’ mob cry, it’s terrifying. It also leads to the final confrontation, where the Phantom forces Christine to choose between him and Raoul. It had us wishing we’d booked the matinée because we weren’t getting any sleep with the Phantom’s chilling voice inside our minds.

This song is so bone-chillingly terrifying, because it highlights just how dangerous political indifference can be. While Sally Bowles tells audiences that “Life is Cabaret,” something far more sinister is happening outside the Kit Kat Klub. We see a young man singing a folksy-sounding tune. But soon enough, we discover this isn’t your average patriotic song. And as more voices join the chorus, the tone becomes increasingly ominous and its message evermore threatening. It exemplifies how the Nazis commandeered German culture and indoctrinated much of its coming-of-age population. Unfortunately, some far-right groups have since begun using the song for their purposes, showing its message remains frighteningly relevant today.

You might be thinking that this song was inspired by a certain recent U.S. administration. But no, it was actually penned about a decade earlier. Still, it’s rather alarming how timely it is. Even the call and response between Hades and his followers feels eerily current. Indeed, Hades joins a long history of fear-mongering leaders seeking totalitarian control. He uses his walled-in world to brainwash his followers and keep them in line in exchange for perceived stability. The soporific melody and Hades’ hypnotic voice are trance-inducing. Do you find yourself absent-mindedly singing along with the workers? Creepy, isn’t it? Just the fact that it seems so real makes it all the more chilling.

We can’t talk about “Heathers” without taking a moment to spotlight “Dead Girl Walking.”. But somehow, that isn’t the musical’s creepiest number. Taking a direct quote from the 1989 black comedy, the writers penned a romantic ballad, “Our Love Is God” with a very menacing undertone. However, those undertones soon become more apparent. By the end, even Veronica can’t really ignore the red flags anymore. It starts softly enough, but as the song builds, our nerves become more fraught, especially since J.D.’s unnerving calmness never falters. That all changes in “Meant to be Yours,” where a grieving and desperate J.D. sings a chaotic melody that mirrors his psyche and takes audiences to a really dark place.

Jud Fry is a lonely and troubled farmhand who’s developed an obsession with Laurey. If you’ve only seen the 1955 film adaptation, you might not be familiar with this song. It’s quite bleak, so we wouldn’t be surprised if that’s why they chose to omit it. But, in the musical, it follows “Pore Jud Is Daid,” which sees Curly cruelly taunt the farmhand. This only makes Jud more resolute to gain Laurey’s affections. The lyrics of “Lonely Room” depict a man who wants to be loved. But it’s sung with an ominous intensity, making our skin crawl. We can’t help but feel uneasy over what drastic steps he might take to achieve his goal.

In “Façade,” audiences are put on edge as the ensemble points out that we all hide behind a mask of sorts to fit in. But when Mr. Hyde comes “Alive,” he has no interest in hiding; instead, he ponders why being bad feels so good. Lucy also contemplates her entanglement in his “Dangerous Game.” But does it get darker or creepier than “Confrontation”? Jekyll and Hyde fight for control in the ultimate fight between good and evil. And since both roles are typically played by the same actor, the way it plays out on stage is spectacular. We all have to silence our inner voice sometimes. But this is like something out of an anxiety-fuelled nightmare.

Look, it’s there in the title. No one was expecting songs about sunshines, rainbows, and smelling roses. Instead, we get a number about cold-blooded dentist Orin Scrivello that’s equal parts disturbing and total bop. But we know one blood-thirsty plant who knows how to deal with his type. Yeah, Audrey II convincing Seymour to go along with its plan is morbid. But things get even worse when Seymour’s boss, Mushnik, wants answers regarding Orin’s disappearance, only to become Twoey’s next meal. And what about when the plant takes things into its own stems – vines, tentacles? – and lures Audrey into its trap, too? We don’t know about you, but we pretty much cleared our homes of all plants after that.

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

“The Pitiful Children,” “Be More Chill”
The SQUIP Taking Over Is More Chilling Than Chill

“Spooky Mormon Hell Dream,” “The Book of Mormon”
An Eerily Hilarious Send-Up of the Dream Sequence

“Kiss of the Spider Woman,” “Kiss of the Spider Woman”
Once You’re in Her Web, There’s No Way of Escaping Her Kiss

“My Name,” “Oliver! ”
Bill Sikes: The Name That Leaves Theatre-goers Cowering Behind Their Playbills

“And Eve Was Weak,” “Carrie”
Carrie’s Mom’s Fight Song Against the Crimson Tide

The show’s opening number introduces us to Sweeney Todd, a barber we eventually learn is seeking revenge on Judge Turpin, who destroyed his family. He meets Mrs. Lovett, a pie shop owner, who reunites him with his razors. Let’s just say when a man sings a number dubbed “My Friends” to a collection of blades, it’s time to back away. That’s especially true when he sings about them dripping rubies and isn’t talking about precious gems. Later on, when the judge escapes his clutches, Todd has an “Epiphany” that all mankind should pay for their sins. An eerily short amount of time later, he and Mrs. Lovett devise their plan. We’ve been carefully scrutinizing the ingredients of all pies ever since.

Which song leaves you sleeping with the light on? Let us know in the comments.