Top 10 Songs Cut from Broadway Musicals

First beginning life as an off-Broadway musical in 1982, “Little Shop of Horrors” was composed by Alan Menken with lyrics by Howard Ashman. It eventually received its cult film adaptation in 1986. Some songs were cut along the way, including “We’ll Have Tomorrow,” a power ballad sung by Seymour and Audrey. This was replaced with the iconic “Suddenly Seymour,” which became a highlight of the show. A snippet of “We’ll Have Tomorrow” does still remain in the show’s finale number. The “We’ll Have Tomorrow” demo was included as a bonus track in the 2003 cast album so that fans could finally hear this moving number.

Lin-Manuel Miranda was firing on all cylinders when he composed the smash hit “Hamilton,” writing tons of material that never even made it into the show. There is Ben Franklin’s introductory song, for instance, eventually performed by the Decemberists. Miranda also wrote an extended version of Hamilton’s “The Adams Administration” rap, of which only Hamilton’s expletive was retained in the show. But by far the most regrettable cut was Angelica’s longer, extended version of “Congratulations,” a section of “The Reynolds Pamphlet.” Here, Angelica superbly calls out Hamilton’s arrogance and pride in revealing his extramarital affair, with classic Miranda flair. It’s a shame that it all had to be curtailed sharply in the stage show, but at least now the fans know the score, literally.

Before Idina Menzel was Elphaba, Stephanie J. Block played the part in the workshops. Among the songs eventually cut from the show was “Making Good,” Elphaba’s “I want” song before it was replaced with “The Wizard and I.” Unlike the latter, “Making Good” sounds more traditionally Broadway, especially with Block’s crystal clear notes, and features a more interesting rhyme scheme. However, “Making Good” is much less grand and dynamic than “The Wizard and I.” The “Unlimited” motif also works much better in “The Wizard and I” than in “Making Good.” But for a rejected ballad, it’s memorable, and it fits Elphaba’s musical character well.

A legendary musical by Frederick Loewe and Alan Jay Lerner, replete with many beautiful songs, “My Fair Lady’s” rejects are also notable. One of them was “Say A Prayer for Me Tonight,” a favorite of Julie Andrews, who originated the role of Eliza Doolittle. Eliza was supposed to have sung this to Mrs. Pearce at the night of the ball. Ultimately, though, both this song and a lengthy ballet sequence were dropped and replaced with Lerner’s dialogue. “Say A Prayer for Me Tonight” was eventually reworked in Lerner and Loewe’s “Gigi,” so it was not lost for long. A good melody always finds a way.

Mama’s letting loose throughout the classic Jule Styne and Stephen Sondheim musical “Gypsy.” But she also has moments when a softer side emerges, such as during “Small World.” “Mama’s Talkin’ Soft” was written for Baby June and Baby Louise to sing about their mother wooing Herbie, and was meant as a counterpoint to “Small World,” in fact. It’s a jaunty little melody, catchy in a sly and insinuating way. But it was cut for running time purposes (also, because the actress playing Baby Louise was frightened of the elevated platform on which it was sung). Interestingly enough, the song eventually got new life as a Petula Clark single in 1959, so all’s well that ends well.

This hugely influential Rodgers and Hammerstein musical had a bit of song list shuffling before it found its final form. But did you know that “Boys and Girls Like You and Me” was intended to be the big second act duet between Curly and Laurey? It’s a lovely number, but it didn’t have the dramatic oomph that a song in Act Two needed, so it was cut. It was replaced with a short but punchy reprise of “People Will Say We’re in Love.” It’s a lyrical song, though, in that dreamy Rodgers style. The song eventually found its way into the stage version of Rodgers and Hammerstein’s “State Fair,” so it eventually was heard and appreciated.

When you see two guys singing about traveling light, you can bet that they’re singing about some doll. This Frank Loesser musical originally had Sky Masterson and good ol’ reliable Nathan Detroit sing about the attractions of bachelor life. The only problem was that Sam Levene, who played Nathan Detroit, really struggled with performing the song, due to his vocal limitations. So Loesser cut “Travelin’ Light” (right before the premiere, at that) and another of his songs, leaving only “Sue Me” and a little of “The Oldest Established.” It’s a little too long, but it’s still a lyrical number with a good string arrangement, and it makes for a good mirror song with Adelaide and Sarah’s “Marry the Man Today.” Loesser was no lesser composer.

Frank Wildhorn’s most successful musical, in typical Wildhorn fashion, has been tinkered with a lot throughout the years. Fans were especially put out when Lucy’s flashy burlesque number, “Bring on the Men,” was cut from the 1997 Broadway production, replaced by “Good ‘N’ Evil.” Fortunately, all the other productions seemed to realize their error, since all of them have since reinstated that song. Still, a cut song is a cut song, and the only filmed recording of the Broadway production doesn’t have it. It’s justly a fan favorite, with Linda Eder’s powerhouse vocals delivering the song’s brassy lyrics with aplomb.

Some good songs just can’t seem to get any respect. Irving Berlin’s “Mr. Monotony” was written for - and cut from - the 1948 Judy Garland movie “Easter Parade,” presumably because Garland’s fedora-and-black-tails outfit was too risqué for the film’s setting, 1912. He then tried to put it in his stage musicals, “Miss Liberty” and “Call Me Madam,” but it was dropped from them, too. This comic song, about the love doldrums of trombonist Mr. Monotony, shows the jazzier side of Berlin, with a good build-up and dynamism. Fortunately, it eventually was heard on the stage in 1989’s “Jerome Robbins’ Broadway.”

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

“Costco,” “Next to Normal”
Because This Ode to This Superstore Is Inspiring

“The Lady’s Got Potential,” “Evita”
Because Andrew Lloyd Webber Rock With Tim Rice Snark Is Always a Winner

“Happily Ever After,” “Company”
Because It’s Stephen Sondheim Being Both Dark & Jaunty

“I Don’t Care Much,” “Cabaret”
Because This Bleakly Haunting Number Gives Us Chills

“There Won’t Be Trumpets,” “Anyone Can Whistle”
Because We Don’t Need Trumpets to Know This Song Is Great

The glory of Gershwin is never-ending. This song, cut from the 1924 Broadway musical “Lady, Be Good,” is especially marvelous and eventually resurfaced in the George and Ira Gershwin 1927 musical, “Strike Up the Band” - which closed out of town. But great melodies are never left ignored, and the song became a jazz standard sung by countless artists. Among the best is jazz singer Ella Fitzgerald’s interpretation, arranged by Nelson Riddle. Like a lot of standards, “The Man I Love” is a versatile number about a woman’s longing for a future love, both sultrily sophisticated and earnestly romantic, with lyrical longing and sly playfulness. Thank goodness the Gershwin brothers didn’t shelve this song for good.

Which other cut song from a musical do you feel deserves a second listen? Let us know in the comments down below!