Top 20 Most Underrated Songs from Popular Musicals

There are so many wonderful songs in “Newsies.” When you have Alan Menken on your team, that’s bound to happen. But between all the “King of New York,” “Something to Believe In,” and “Santa Fe,” talk, there’s one song we think deserves a little more credit. “That’s Rich” is performed relatively early in the first act by Medda Larkin, a theater owner who’s friends with the main character. The song is big, brassy, and endlessly clever. It requires a powerful voice to make it work, but when it does, it has the power to bring the house down.

Over the years, Jason Robert Brown has written the music and lyrics for a number of amazing musicals. But with all his success on Broadway, a little Off-Broadway show called “The Last Five Years” continues to be arguably his most popular. It features a number of wonderful solos for both men and women, but today, we want to focus on one we think deserves a little more credit. “If I Didn’t Believe In You” is one of the show’s best-written songs. The lyrics have to be delivered with conviction and truth, while the person on the receiving end also has to be able to find the hubris and cruelty. It takes a special performer to make this one work.

Over the past few years, “Be More Chill” has become one of the new theater generation’s quintessential musicals. It follows a teenager named Jeremy who, in an effort to leave his loser status behind, takes a pill that helps teach him how to be cool. The show has many amazing songs sung from the perspective of a teenager. But one of the best numbers comes partly from an adult’s point of view. Throughout the story, Jeremy’s father is reeling from his divorce and refuses to put pants on. When Jeremy finally blows up at him for this, the dad does some real self-evaluation with “The Pants Song.” The tune is funny, heartfelt, and heartbreakingly honest.

If there’s one show that’s full of songs we can’t help but belt out, it’s “Legally Blonde.” However, we do think that this particular song should get more time on the belting schedule. In the movie “Legally Blonde,” Paulette is one of the most beloved characters. That fan adoration carried over to the musical, where the character is given one of the most underrated numbers. “Ireland” may not make much sense at first, but Orfeh (Paulette in the musical’s original Broadway cast) delivers it with such exuberance and force that it doesn’t matter. Talk about selling your message with gusto!

Much like the film it’s based on, “Heathers: The Musical” has become a bit of a cult classic. There are plenty of songs to latch onto, like “Seventeen” and “Dead Girl Walking.” Even some of the lesser known tunes, like “Lifeboat,” are worth a play. But our favorite overlooked song has to be “Kindergarten Boyfriend.” It’s sung by Martha, the outcast and most miserable figure in the show. The lyrics lament her lost relationship with a boy she met in kindergarten, and how social norms and popularity get in the way as kids grow up. It’s deeply devastating, and one of the more earnest tunes in the show.

The best part of “Waitress” is undoubtedly its music. With songs by Sara Bareilles, there’s not a dud in the bunch, her lyrics and knack for melodies shining through. But for some reason, “I Didn’t Plan It” doesn’t get nearly enough credit. Whether it’s Bareilles or original Broadway cast member Keala Settle lending their voices to the tune, it’s an absolute banger. The character of Becky sings about an affair she’s having while still married. With a beautiful melody that sails up into her register, the number allows her to express her desire to live free of judgment. She might’ve done something wrong, but she’s made the choice that’s best for her.

Though Lin-Manuel Miranda has become synonymous with “Hamilton,” real theater heads remember that “In the Heights” is also magnificent. There are so many tracks to write home about. From solos like “Breathe” to big ensemble numbers like “Blackout,” each tune has a groove to it. But one of the film’s least popular songs is actually one of its best. “Paciencia y Fe” spotlights Abuela Claudia as she recounts her journey to the United States. Olga Merediz, who reprised the role in the film version, sings it with heart and strength. It’s a standout moment.

In 2019, “Hadestown” took the Broadway world by storm. At the Tony Awards that year, the musical earned a whopping 14 nominations and took home eight wins. One of those wins was Best Original Score for Anaïs Mitchell. Mitchell gave us great numbers like "Wait for Me" and the stunning “Flowers.” But the one that flies under the radar far too often is “Doubt Comes In.” The musical follows the tale of Eurydice and Orpheus. If you know anything about that story, you know that Orpheus makes the mistake of turning around, dooming Eurydice. This is the song that plays during that climactic moment, and it more than lives up to the challenge of capturing the gravity of the situation.

Without a doubt, “Falsettos” itself is one of the most underrated musicals of the past few decades. It’s funny and entertaining, while still managing to say something extremely poignant about important topics like the HIV/AIDS crisis, a fine and difficult line to walk. That moment in our history is dealt with in a relatively direct way through “Something Bad Is Happening.” The song is mainly sung by a doctor close to the central family as she tries to cope with the number of gay men coming to the hospital ill. It’s the first time that the audience really becomes aware that AIDS will be a major factor in the plot, and the number itself is harrowing.

The worst crime in musical theater history came to light in 2014. That’s when the film version of “Into the Woods” was released, and we learned that they cut “No More.” “Into the Woods” deals in large part with what we pass down to our children and the responsibility we have to them. Our main protagonist, the Baker, works through this directly for most of the show. He can’t deal with the mistakes his own father made, and they’re affecting his ability to grow and by the same token raise his kid. He finally tackles this head on during “No More,” where he speaks directly to his dad’s ghost. In typical Stephen Sondheim fashion, the music and lyrics are beautifully emotive and deep.

“Aida,” with music and lyrics by Elton John and Tim Rice, might have some of the most entertaining musical theater songs in the history of the genre. Rice and John combined numerous styles of music, including rock, reggae, and Motown, creating a new type of sound for the show. While “A Step Too Far” does feature some of those new elements, it also captures the melodrama and romanticism inherent in the production. It’s a trio that gives each character time to tell us how they’re feeling, before dropping into a beautiful harmony that builds to a stunning crescendo. As far as we’re concerned, it should be on everyone’s radar.

We love “Red and Black” and “Empty Chairs at Empty Tables.” But “A Little Fall of Rain” is something else. Éponine is shot in a frantic moment and sings her final song as she dies in Marius' arms. With her life at an end and Marius holding her, Éponine can't seem to feel any pain, however. While Éponine's final breaths are with someone she loves, the moment is bittersweet since he doesn't truly love her back. The rain in effect becomes a poetic stand-in for all of Éponine's troubles, which seem trivial in her last seconds. In a musical full of tragic moments, “A Little Fall of Rain” shines thanks to its clever wordplay and subtlety.

One of the show’s most underrated songs has to be “Good For You.”It’s surpassed only by “Requiem.” In the wake of Connor's death, each of his family members respond in their own way. His sister Zoe remembers Connor as an aggressive and mean person, and chooses not to mourn a monster. Father Larry doesn't understand his son's depression, and ultimately sees Connor as ungrateful for his wealthy upbringing. Connor's mother Cynthia, however, finds comfort in Evan's fictitious email exchange with her son. Though she’s able to move forward with her life, Cynthia unfortunately only does so through a lie. By showing each character's personality through their reaction to Connor, “Requiem” is a surprisingly revealing song.

"Mister Cellophane" might be about feeling invisible, but that’s surely a song we could never forget. So let’s focus on “Razzle Dazzle.” As Billy Flynn prepares Roxie for her court appearance, he sings about the power of wowing audiences. While “Razzle Dazzle” sounds like it's about show business, Flynn's advice has more to do with winning over juries. Through Roxie's love of performance, Billy explains how she can confuse judges and make people believe any story she wants. Despite the classic Broadway tones of this track, its themes about law tactics are actually quite smart. Though Billy's number is overshadowed by all the strong women in “Chicago,” “Razzle Dazzle” is a deceptively fun tune that highlights the power of good acting.

After Seaweed meets Tracy and Penny, he breaks into an exciting number about fighting racism. Rather than asking for acceptance, “Run and Tell That” finds Seaweed shouting with pride for the color of his skin. He praises how interesting people of color can be, while comparing them to fruit and chocolate. Inez's solo is even more energetic, as the song kicks into a bridge about finding equality between everyone. “Run and Tell That” has the same upbeat funk of other “Hairspray” tracks, but its over-the-top performances and socially conscious lyrics are some of the musical's most engaging.

Glinda celebrates how well her life is turning out, but there's an unsettling notion behind her happiness. Her marriage has her feeling happier than ever before, but she knows that her fiancée isn't truly in love with her. Glinda says she has her dream life, but she's also torn up about leaving Elphaba behind. Amongst all of her doubt, the seemingly excited villagers are actually spreading rumors behind Glinda's back. Though “March of the Witch Hunters” is a great ensemble piece, Glinda's song has a much more complicated emotion to it. While she's often seen as the popular witch, “Thank Goodness” shows more nuance and depth to Glinda. We also shouldn’t forget about raucous ensemble numbers like “Dancing Through Life.”

The Phantom and Christine have some great duets, our favorite of which is “The Point Of No Return.” But the musical’s most overlooked number has to be "Notes…"/"Prima Donna." André and Firmin are losing their minds reading notes from the Phantom, which critique Carlotta's performances. The letter hilariously insists that Carlotta play the pageboy in the opera, since it's a silent role. With Carlotta's ego broken, Firmin and Andre start singing her praises to get her to perform again. Every line plays to her addiction with fame, and becomes so exaggerated that soon the entire city is singing to Carlotta. Between Phantom's comedic insults and the backhanded compliments of “Prima Donna,” “Notes” is easily one of the show’s funniest moments.

It’s hard to figure out which “Hamilton” tune is most underrated. We came close to choosing “Hurricane,” “Your Obedient Servant,” and “Farmer Refuted.” But we settled on “The Election of 1800.” We see Aaron Burr starting to take action, while Thomas Jefferson worries about dealing with the public. Jefferson cleverly rants about knowing where France is, while also revealing why people find him undeletable. Alexander Hamilton drops poetic lines about endorsing Jefferson, which brilliantly summarize letters from the real Hamilton. All the chorus chants of “Well I'll be damned” match the building excitement of the song's story and beats. The condensed and entertaining history of “The Election of 1800” is a true wonder of pop writing.

Tony is looking to leave gang life behind and starts shaking with anticipation at where his life could go next. The raw sense of happiness and life that grips Tony comes through as much in his shouted lines as his whispered ones. He even swings some vocals and creates huge crescendos on others. It's also interesting to see Tony express his joy through not only his singing, but his wild body movements too. “Something's Coming” is an exhilarating listen because of how well it matches its music to its emotions. It’s not “West Side Story”’s only underrated track, either. Who could forget “The Dance at the Gym” , and "A Boy Like That / I Have a Love"?

Steve begins singing to his disease support group, airing out real issues in his life through song. Though the looping lyrics of “Will I?” feel simple, they're used to capture the vicious cycle the characters find themselves in. “Will I wake tomorrow?” is repeated heavily throughout the song, as a reflection of both limited time and trying to find optimism. While the solo intro starts the song on a pretty dire note, the additions from the chorus help keep the song positive. Through its mix of desperation and unity, “Will I?” presents a realistic and memorable look at life with AIDS.