Song Analysis and Singing in Character

Drama Teachers! Do you want to teach musical theatre in your program, but you’re getting feedback from students like I can’t sing. I could never be in a musical. If you can’t sing you can’t be in a musical. 

First of all, in an educational context, there is a seat for everyone at the table. You can easily assess a student on elements (confidence, endurance, risk taking) that have nothing to do with whether or not a student can “sing.” 

Further to that, in a performance context, it’s not about hitting the right notes. The best “singer” is not always the one with the most polished technique; it’s the one who finds the heart of the song, the heart of the character, and is able to connect meaning beyond the notes. 

All of these things can be taught and performed!

Where do you start? Have students analyze their song just like they analyze a monologue. Ask and answer questions about the character and the lyrics.The more students know, the more they can draw on for their performance (be it in class or on the stage). 

Start with these questions:

• Where is the character in their life? 
• Where is the character in relation to other characters? 
• Where are they right before they open their mouths to sing this song?
• What is their emotional Why?

This last one is a big one. Songs happen in musicals because characters are at a point emotionally where they can’t do anything else but sing. Knowing “why” a character breaks into song will really help a student understand and connect beyond the notes. 

Example: In the song ‘'Close Every Door” from Joseph and the Amazing Technicolour Dreamcoat, Joseph has just been thrown into prison, with no apparent chance of getting out. Where is the character emotionally? His Why is to find hope while in despair. 

Here’s another: “I Feel Pretty” from West Side Story. Maria has no choice but to burst out in song because she's so happy and so in love. Her Why is happiness. 

And one more: And even in something as frothy as “You Can't Stop the Beat” from Hairspray, each character has an emotional standpoint. Exercise: Take the full song lyrics of “You Can’t Stop the Beat,” identify each character who sings, and determine their emotional Why. 

Another question for students to ask is: What does my character want?

The “I want” song is very common in musical theatre (accompanied by the “I am” song), and understanding the character’s want goes hand in hand with knowing the physical and emotional state of the character. Is your character trying to make a decision? Do they want to share their feelings about another character? Do they want happiness? A new life? Their old life back? Emphasize to students that knowing what the character wants and communicating that in the song is the easiest way to connect to an audience.

Example: In “The Wizard and I” from Wicked, Elphaba wants to meet the wizard, which means acceptance for who she is, which is also something she wants. 

Here’s another: In My Fair Lady, Eliza starts “Wouldn’t it be Loverley” with the line, “All I want is a room somewhere….” expressing her want for a different life, not a necessarily grander life, which is what she must later come to terms with. 

And one more: In “Maybe,” the opening song from Annie, Annie sings about wanting parents.

Another question for students to consider: What's going on in the song?

What is the story of the song? Make sure students understand what's being said. What's happening in the story up to this point? Sometimes musical numbers rely on metaphor and it's easy to catch someone who is only spouting words without any thought behind them. Can students write a one-line description of the song?

And one last question: Who is the character singing to?

Is it a specific person? Is it to the audience? If it's the audience that's fine, but think about what the character is trying to communicate to the audience or get the audience to do. Be specific, and “no one” is not an answer.

Example: When Annie sings “Tomorrow,” she is singing to her dog, but also to herself. She is convincing herself and the audience not to give up, there's always tomorrow.