Guys: 25 MORE Wow-Able Solos From Broadway’s Golden Age

Written by Jackson Upperco

January 9, 2017

Guys, are you looking for a non-overdone solo from Broadway’s Golden Age – the years in between Oklahoma! (1943) and Hair (1967) – that’ll be guaranteed to WOW? Well, put away those copies of “Luck Be A Lady” and “Oh, What A Beautiful Mornin’”; they’ve been done to death! These 25 character-laden numbers below are sure to leave a more lasting impression on your audience – and give you some meaty material with which to play!

And don’t forget to check out our first list of solo suggestions here.

1. “Westwind” from One Touch Of Venus (1943) (Baritone)



A live Venus reminds an art connoisseur of an old flame. Stellar ballad for a baritone wanting to show off his vocal chops.

2. “I’ll Go Home With Bonnie Jean” from Brigadoon (1947) (Tenor)



A Scottish lad is excited for his pending nuptials. Sweet, bright and clear fun; do you have a kilt handy?

Get the Sheet Music Here

3. “There’s Nothing Like A Model T” from High Button Shoes (1947) (Baritone)



A 1913 New Jersey conman is advertising a model T car. Great character number for a sleazy sort.

4. “Gotta Dance” from Look, Ma, I’m Dancin’ (1948) (Tenor)



A choreographer hopes to introduce modern jazz ballet to his company’s repertoire. Ideal for dancers-singers.

5. “Thousands Of Miles” from Lost In The Stars (1949) (Baritone)



A South African priest prepares to embark on a quest to save his sister and find his son. Powerful ballad for gentlemen of color.

6. “A Cow And A Plough And A Frau” from Arms And The Girl (1950) (Tenor)



A Hessian soldier sympathetic to the Americans during their Revolution has a dream for his future. Honest and simple.

7. “I’m In Love With Miss Logan” from New Faces Of 1952 (Baritone)



A slaphappy student has a crush on his teacher, Miss Logan. Cute fun for a boyish fella who registers young.

8. “Don Jose Of Far Rockaway” from Wish You Were Here (1952) (Baritone)



A social director of a camp for singles entertains his guests. The song’s subject is sort of an “Adolpho” for the 1950s.

9. “I Am In Love” from Can-Can (1953)  (Baritone)



A stuffy judge in 1890s Paris is mad about a scandalous dance hall hostess. Rapturous Cole Porter rouser.

10. “You Can Take The Word Of A Gentleman” from Carnival In Flanders (1953) (Baritone)



A Spanish Duke has a history of toying with women. A lesser known ditty in the “I’m A Bad, Bad Man” variety.

11. “The Man I Used To Be” from Pipe Dream (1955) (Baritone)



A marine biologist finds himself changing as the result of love. A seldom sung gem by Rodgers and Hammerstein.

Get the Sheet Music Here

12. “Hey, Madame” from Oh, Captain! (1958) (Baritone)



A prim British sailor lives a wild double life in Paris. Recorded version is slightly different than what’s featured in the show.

13. “Shall I Take My Heart And Go?” from Goldilocks (1958) (Tenor)



A millionaire wonders if his actress fiancé is really in love with him. Choice material for a perennial underdog.

14. “My Girl Is Just Enough Woman For Me” from Redhead (1959) (Baritone)



An American strong man has fallen for a wax museum curator in Victorian England. Unalloyed joy.

15. “Fun Life” from The Nervous Set (1959  (Baritone)



An avant-garde magazine editor shares with his new wife his new motif. Before there were hipsters, there were Beatniks!

16. “Nine O’Clock” from Take Me Along (1959) (Baritone)



A teenager in turn-of-the-century Connecticut is experiencing young love. Soaring material for idealistic juvenile.

17. “I Wonder What The King Is Doing Tonight” from Camelot (1960) (Baritone)



King Arthur of Camelot imagines what his subjects think about him on the eve of his wedding. Memorable and cheeky.

Get the Sheet Music Here

18. “No Champagne” from Sing, Muse! (1961) (Tenor)



Paris tells his lover Helen that he won’t be celebrating with champagne. From an off-beat Off-Broadway musical about Helen of Troy.

 

19. “I Just Can’t Wait” from Subways Are For Sleeping (1961) (Baritone)



A homeless man tells the financially struggling object of his affection that he’s found a way to raise her rent money. All character.

20. “How Sad” from No Strings (1962) (Baritone)



An American novelist now living in Paris muses on what women see in men. Straightforward, adult.

21. “My Fortune Is My Face” from Fade Out – Fade In (1964) (Baritone)



A vain ‘30s movie star sings himself an ode while looking in the mirror. Amusing number for a “pretty boy.”

22. “Colorful” from Golden Boy (1964) (Baritone)



A black prizefighter talks about how he came to accept his skin color. Swinging choice; not serious.

23. “Take The Moment” from Do I Hear A Waltz? (1965) (Tenor)



A Venetian shopkeeper is falling for a visiting American. Soaring number for a strong vocalist.

Get the Sheet Music Here

24. “She’s Roses” from Drat! The Cat! (1965) (Baritone)



A detective is smitten with a mysterious woman – not knowing she’s the cat burglar he’s seeking. Buried treasure.

25. “Why Does The Whole Damn World Adore Me?” from Sherry! (1967) (Baritone)



An egotistical critic and radio broadcaster feigns self-deprecation. From a musical adaptation of The Man Who Came To Dinner.



Listen to a Spotify Playlist of these audition songs here:

Looking for more material? Check out our other stories below!

Jackson Upperco is a lover of retro television, forgotten Broadway musicals, and Pre-Code Hollywood. He boasts a Bachelors Degree in Film and Television from Boston University. You can keep up with all of his entertainment interests at jacksonupperco.com.