Top 10 Songs That Were Better on Broadway

“Dear Evan Hansen” (2021)

There’s a lot that’s been said about the unfortunate 2021 adaptation of the hit musical. Despite casting its Tony winning star, Ben Platt, it was a series of creative misfires. If it had any good will to play with, most of it was probably bound up in this first act “I Want” song about the title character’s loneliness. But the odd closeups, Ben Platt’s unfortunate hairstyle, and a cluttered soundscape rob the song of the power it had on the stage. A movie musical doesn’t have to be a recreation of the stage production, but it should be more cinematic without sacrificing what made it good.

“Gypsy” (1962)

This was back in the days when dubbing in movie musicals was common. The singer who performed most of Russell’s singing, Lisa Kirk, did a great Rosalind Russell impression, but it doesn’t do anything for the great score. This is most felt in the show’s climax, “Rose’s Turn.” The all-time great mental breakdown number would have benefitted from a talented vocalist. Instead, it’s a flat and stiff approximation of the number Ethel Merman absolutely slayed every night on Broadway. Russell is one of Old Hollywood’s greatest actresses, but she was not a powerhouse singer. So the baffling decision to cast her in what is often described as one of the greatest American musicals of all time is still a head scratcher.

“A Chorus Line” (1985)

Translating the box office busting musical to the screen, the creatives behind this adaptation made several cuts to the original script, and what was left in rang hollow. Its biggest error is recentering the show’s big ballad, “What I Did for Love.” Originally a group number led by one dancer, Diana, the song reflected the show’s themes of what an artist must sacrifice to make a living. The movie repurposes it as a conventional torch song. It’s now sung by Cassie, a dancer who’s in a contrived love affair with the director. As Cassie, Alyson Reed’s rendition has none of the excitement or heartbreak of the original show.

“Nine” (2009)

Rob Marshall may have helped reintroduce “Chicago” to the masses, but the director all but buried “Nine,” a tragically undersung musical adaptation of Federico Fellini’s “8½.” The movie leaves a lot to be desired, missing the show’s best comic beats and adding a brooding atmosphere that doesn’t work. That’s never more apparent than in this early number. Daniel Day-Lewis is a great actor. It’s undeniable. However, a musical leading man he is not. His shaky vocal ability fails to land, and as a result, it’s hard to connect with his character as he gripes about his desire to be everything and nothing all at once.

“Evita” (1996)

Critics of the 1996 film adaptation of this Andrew Lloyd Webber musical called it a glorified “music video with epic pretensions,” lacking depth or emotion. While the original musical has its own critics, it has the undeniable impact of Patti LuPone’s star-making performance as Argentinian first lady Eva Perón. Eva’s signature song in the show, “Don’t Cry for Me Argentina,” is a big reason for that. While LuPone might have her own opinion of the movie, Madonna is not terrible. However, her screen presence doesn’t fill those big shoes easily. As a result, “Evita’s” biggest song doesn’t hit the way it does on stage.

“Cats” (2019)

It’s almost too easy to pick on “Cats.” The show itself is goofy, but given the right amount of vocal talent and spectacle, it can be a fun time. However, the 2019 film unleashed horrors that no one deserved. A diverting, peppy song in the original stage production, the movie’s version of “The Old Gumbie Cat” is a grotesque and literal translation of the number’s theatrical conventions. A costume change in the show is made horrific in the movie, and the fatphobic jokes just keep on coming. Rebel Wilson plays Jennyanydots, and turns her lack of singing ability into a breathy 3 minute and 49 second joke - yes we counted the seconds - that wasn’t funny to begin with.

“The Phantom of the Opera” (2004)

Gerard Butler’s Phantom has his defenders, but even they can’t deny his lack of technical skill. Some try to turn that defect into an asset, claiming it enhances the character’s humanity. Most critics and fans of the original musical seem to disagree. Butler vocally manhandles even the gentlest songs, treating musical notes as obstacles to overcome. The character’s most tender song, “Music of the Night, is full of shaky low notes, notes that land with loud thuds, and notes he just flat-out doesn’t hit at all. By the time the song’s melody recurs in the finale, Butler has clearly had enough.

“Les Misérables” (2012)

Inspector Javert may be a villain with a strong sense of justice at all costs, but he’s one of “Les Misérables” more psychologically complex characters. That’s why his song, “Stars,” is such a memorable moment. Russell Crowe was just one of many performers wronged by the 2012 movie’s misplaced obsession with realism, and his performance of Javert’s signature song is a major weak point. Lacking any resonance or feeling, it’s a dull recreation of a great moment in the show. It’s a problem throughout the movie, with Jean Valjean’s heavenly prayer “Bring Him Home,” suffering from a similar awkwardness under Hugh Jackman’s vague quavering (xref).

“Mame” (1974)

The producers of “Mame” could be forgiven for thinking Lucille Ball could do anything. She was an icon and a legend, but she was not a singer. In the show, “Bosom Buddies” is a pleasant sparring match between two witty friends that you could watch for hours. Original cast member Bea Arthur has a distinctive voice, and on stage, Angela Lansbury’s smoother sound served as a perfect counterbalance. In the film, we go from Arthur’s huskiness to Ball’s gravelly pitchiness, and it makes a fun song feel like a punishment. Even if they sound good, it moves at a snail’s pace, pausing for laughs that probably won’t come.

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

Marlon Brando May Have Nailed the Emotion, but His Voice Leaves a Lot to Be Desired

The 2014 Movie Made a Lot of Changes & None of Them Landed

Lee Marvin Was Unexpected Casting for a Musical & There Was a Reason

Honestly, Anything Would Have Been Better

“A Little Night Music” (1977)

Stephen Sondheim wrote “Send in the Clowns” specifically for Glynis Johns, who played Desiree on Broadway. Her voice, though lovely, was not powerful. The song is written in short phrases, relying on the performer’s acting ability. Still, the performer shouldn’t be so limited as a singer that it’s distracting. While it is an inarguable fact that Elizabeth Taylor was one of the greatest movie stars of all time, like many entries on this list, the filmmakers here chose her for star power rather than vocal ability. Her breathy and weak singing clouds the emotional impact of the song. In the right hands, it’s one of the most devastating songs in musical theater.