- 6 weeks ago
Get ready to relive some of the most unforgettable moments in musical theater history. From tender love ballads to cheeky showstoppers, these iconic duets capture passion, humor, and heartbreak like no other. Featuring powerful performances from shows like “West Side Story,” “The Phantom of the Opera,” and “Les Misérables,” this countdown celebrates the chemistry and magic that only a perfect duet can bring to the stage.
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00:00I do believe I have been changed forever.
00:06Welcome to Ms. Mojo, and today we're counting down our picks for the most unforgettable songs ever performed by a duo in a theater production.
00:14We'll only be looking at duets, not quartets, that originated in a musical and ranking them based on recognizability, chemistry, harmonies, uniqueness, and impact.
00:32There may be some spoilers ahead.
00:35Number 30. All I've Ever Known, Hadestown.
00:38This one is a true modern classic.
00:41Annius Mitchell's Hadestown is for fans of Greek mythology.
00:44You take me in your arms, and suddenly there's sunlight all around me.
00:53Everything bright and warm.
00:55It presents an alternate version of Orpheus and Eurydice's love story, and all I've ever known is where their romance blooms.
01:02The duet is as warm as summertime, and it's hard not to revel in its sweetness, even when we know their separation is inevitable.
01:09I don't even know you now, I want to hold you, hold you close, I don't want to ever hurt you to let you go.
01:18Eurydice's vulnerability as she surrenders to her feelings, and Orpheus's unshakable certainty of heart, make this song undeniably touching.
01:27When they harmonize, sharing promises of forever, you can't help but want to protect them.
01:32As long as we stay with each other, then it will always be like this.
01:42Number 29. The Next 10 Minutes. The Last 5 Years.
01:46This duet marks the first and only time we hear our main characters, Jamie and Kathy, sing together.
02:02He has just popped the question to her, the rose-tinted glasses are on, and all seems well in the world.
02:08The duet, in all its grandeur and beauty, feels bittersweet, as viewers know how their marriage unravels.
02:14Till there's no one left, who has ever known us apart.
02:26Yet for a few minutes, we feel their passion in our bones.
02:30Jamie and Kathy are undoubtedly in love, and their feelings are at their strongest in this song.
02:35It is, perhaps, the only moment of pure happiness in the musical.
02:39That is exactly why it hurts.
02:41If I Can Fix Him were a song, this would be it.
03:0217 is a duet between high school students J.D. and Veronica.
03:05Can we be 17?
03:12Is that so hard to do?
03:18By the time this song rolls around, three people have lost their lives to J.D.
03:22Sure, the victims weren't exactly saints, but J.D. is no vigilante.
03:26In 17, Veronica tries to convince her lover to snap out of his god complex, and give up his murderous rage against society.
03:42She offers to spend an ordinary life with him if he mends his ways, and he agrees, albeit temporarily.
03:48The duet paints a fragile fantasy of a life untainted by blood, an impossible dream.
03:55The music is hopeful, but tinged with anxiety, and the pathos it evokes is truly moving.
04:00You're the one I choose.
04:07As the name suggests, this duet is largely about the lofty ambitions of church elder Kevin Price,
04:22as he sent on a mission to Uganda with elder Arnold Cunningham.
04:25However, it wouldn't be nearly as iconic as it is if not for the latter's overly friendly interjections.
04:43Elder Cunningham is too pure for his own good here, eager to keep Price company even if he's reduced to a sidekick.
04:49Kevin delivers flashy vocals, while Arnold is just happy to harmonize and support his companion's dream.
05:04Funnily enough, this duet is said to be reminiscent of defying gravity from Wicked.
05:09While Elphaba's anthemic battle cry is about owning one's power, Price's self-regard screams narcissism.
05:19Number 26. First Date, Last Night, Dogfight.
05:30This musical is set in the 1960s, but this song still perfectly encapsulates the awkwardness of modern dating.
05:36Oh, it's a blanket night like summer snow.
05:40We'll let it pour.
05:43Just cover up whatever came before.
05:47First Date, Last Night, is a duet between Rose Fennie, who's going on a date with Eddie Birdlace.
05:53He's a U.S. Marine who's spending his last night in his home country before being deployed to fight in the Vietnam War.
05:59Their first encounter ended on a terrible note, but when he wants to take her out in earnest, she gives him a second chance.
06:05Their apprehension is conveyed endearingly and honestly in the duet, which becomes a launching pad for sparks to fly.
06:11Although a large chunk of the lyrics goes bum, bum, bum, sometimes that's all the articulation love needs.
06:26Number 25. 16 Going On 17, The Sound of Music.
06:31This duet is so ingrained in popular culture that you probably started singing it in your head when you heard the name.
06:36You are 16, going on 17, fellows will fall in line.
06:44During 16 Going On 17, 17-year-old Rolf warns 16-year-old Liesel von Trapp of the dangers that lie ahead of her as she steps into womanhood.
06:53She lets him play the older and wiser man he so desperately wants to be.
06:57But in reality, she has him wrapped around her finger.
07:00The playful chemistry between the two characters is so adorable in this duet, but it never fails to make us giddy.
07:21Their teenage romance is idyllic and as sweet as cotton candy, which also means it doesn't last.
07:27Nevertheless, this number will always be special.
07:30You are 17, going on 18, I'll depend on you.
07:40Number 24. Bosom Buddies, Mame.
07:44What kind of BFFs are you if you can't throw a little shade at each other, right?
07:48At least that's what Mame and Vera believe.
07:49We'll always be Bosom Buddies, friends, sisters, and pals.
07:58The two declare their unbreakable bond as kindred spirits in this duet.
08:02However, the lyrics are filled with cheeky jabs, veiled as banter.
08:06I say that your tongue is vicious.
08:10If I call you uncouth, it's simply that.
08:15Who else but a bosom buddy will sit down and tell you the truth.
08:22It's the perfect number to showcase the complex dynamic between the ladies,
08:26which is equal parts loving and competitive, but never malicious.
08:29Bosom Buddies, Angela Lansbury and Bea Arthur's version in particular,
08:34is fun, quotable, and hilariously relatable at times.
08:38No wonder both actresses won Tony Awards for their roles as Mame and Vera in 1966.
08:43Well, sit down and lie, bro, and take up the damn wheel.
08:48Sit down and tell you the truth.
08:54Number 23.
08:56Agony.
08:56Into the Woods.
08:57This duet is best described as two self-proclaimed high-value men
09:01fighting for their lives in a pity contest.
09:03Agony.
09:05Far more painful than yours.
09:09When you know she would go with you.
09:13If there only were doors.
09:17The men in question are Cinderella's prince and Rapunzel's prince,
09:20who are in utter pain over how the ladies elude them.
09:24The brothers try to one-up each other's misery,
09:27making over-the-top declarations of their unmet desires.
09:30Agony.
09:31Misery.
09:32Though it's different for each.
09:36Always ten steps behind.
09:38Always ten feet below.
09:39And she's just out of reach.
09:43It's the ultimate satire.
09:45And the humor of it all is amplified by how elegant and dignified the vocals sound.
09:49The princes are not playing around.
09:51And that is exactly what makes this number so amusing.
09:54Agony that can cut like a knife.
10:02I must have her to wife.
10:13Number 22.
10:15You're timeless to me.
10:16Hairspray.
10:17Wilbur Turnblad was the OG green flag.
10:20In this Hairspray character's duet with his wife, Edna Turnblad, he waxes lyrical about her.
10:25You like a stinky old cheese, babe?
10:28Just getting riper with age.
10:31The moment she shows the slightest hint of insecurity,
10:34he's there with the most bizarrely romantic metaphors to convince her that she's perfect for him.
10:39Yeah!
10:39Edna feels the same way about Wilbur and is more than happy to spend forever with him.
10:51What others would consider imperfections are utterly insignificant in front of the love these two have for each other.
10:58Their relationship is so wholesome, they basically invented couple goals.
11:01As a bonus, the dance break in this duet is the sweetest.
11:05You'll always be the first string.
11:09Ring-a-ding-ding.
11:12You're timeless to me.
11:17Number 21.
11:19A Little Priest.
11:20Sweeney Todd, the Demon Barber of Fleet Street.
11:23This duet marks the shocking end to Act 1 of Stephen Sondheim's iconic musical.
11:27I have a little priest.
11:29Is it really good?
11:30So it's too good, at least.
11:33Then again, they don't commit sins of the flesh.
11:37So it's pretty fresh.
11:38During A Little Priest, Sweeney Todd and Mrs. Lovett fantasize about running a booming business selling pies made of human flesh.
11:45The number is performed with breathless delight, conveying the utter joy the sinister idea brings to the pair.
11:51Try the politician so oily, it's served with a doily, not one.
11:56Put it on a pan, well you never know if it's going to run.
12:02It's also one of the longest songs in the musical, and keeps getting exceedingly unsettling as Todd and Lovett come up with potential flavors of human pies.
12:10As the musical progresses, it becomes clear that these psychopaths were not joking.
12:16Needless to say, A Little Priest is dark comedy at its finest.
12:20The wheels of anyone, we'll sing anyone, and to anyone, at all.
12:31Number 20, Move On, Sunday in the Park with George.
12:35I do not know where to go.
12:37Nor did I.
12:38I want to make things that count, things that will be in you, what am I to do, move on.
12:50Loosely based on the life of the painter Georges Seurat, this award-winning musical is a comic and moving exploration of art and reasons we make it.
12:59Themes of embracing change and trusting yourself artistically are brought to the fore in this number.
13:05Dot, Seurat's former lover and muse, returns to him in a vision.
13:09Something of my own.
13:14Move on.
13:19Move on.
13:23The bittersweet duet that follows is musically complex with simple, heartfelt lyrics.
13:28The legendary Bernadette Peters originated the role of Dot, and Mandy Patinkin, her original Georges, made the perfect duetting partner.
13:37We also love his rendition of Lily's Eyes from The Secret Garden.
13:40How can I now forget that what I like to be, in love alive and whole, in Lily's eyes.
13:52Move on is a difficult piece, but spectacular when done well.
13:56Anything you do, let it come from you, then it will be in you.
14:06Give us more to see.
14:12Number 19.
14:13Dear Theodosia, Hamilton.
14:15Dear Theodosia, what to say to you?
14:20You have my eyes, you have your mother's name.
14:23Lin-Manuel Miranda has written some fabulous duets for stage and screen.
14:28One of our favorites is When You're Home from his debut musical, In the Heights.
14:33When you're home, this time of nice I do love when you're home.
14:40Now that you're here with me.
14:42The feel-good number bolsters Benny and Nina's budding romance, but the lyrics also tackle themes of displacement and alienation.
14:50Hamilton's Dear Theodosia isn't a traditional love song either.
14:54Instead, it explores the bond between two fathers and their newborn children.
14:58It's a tender, heartfelt lullaby that reveals a softer side to the powerful men who sing it.
15:17The duet also highlights the similarities between the rivals.
15:21Hamilton and Burr know what it's like to not have a dad,
15:24and are determined to create a better future for their little ones.
15:27Yeah, you'll grow up someday, someday, someday.
15:39Number 18. All the Wasted Time, Parade.
15:43I will never understand, if I live a thousand lifetimes,
15:51why you did the things you did for me.
15:57Parade is the story of a Jewish factory worker, falsely accused of a terrible crime.
16:02It's a whodunit, a courtroom drama and a political think piece,
16:06but at its heart, it's a love story.
16:09All the Wasted Time is a duet between the protagonist and his wife Lucille,
16:13who stands by her husband when the world turns against him.
16:16For so long, all the wasted time, all the million eyes...
16:29Accompanied by a simple and moving piano refrain,
16:32Leo Frank wonders aloud what he did to deserve her.
16:35The song becomes a sorrowful shared lament of missed opportunities and love taken for granted.
16:40It's touching and tragic,
16:43especially once it becomes clear that these are the couple's final moments together.
16:47I never knew anything...
16:50Number 17. This World Will Remember Us, Bonnie and Clyde.
17:06It's true that love can save you and this world will remember me.
17:14One of the key ingredients of a musical theater duet is chemistry,
17:18and Bonnie and Clyde have it in spades.
17:20The show's killer combination of sultriness and southern charm is heightened by toe-tapping music.
17:26While plenty of different genres are utilized,
17:28one duet between the girls has a traditional musical theater flavor.
17:31You love who you love, and you go with what you feel.
17:40Still, our favorite numbers focus on the killer couple themselves.
17:44In This World Will Remember Me, Clyde and Bonnie get to know one another.
17:48To live in legends, that's what we will be.
17:52And that's okay with me.
17:55Every place that we go, folks will turn their heads.
17:59But it's not until the pivotal This World Will Remember Us that she goes all in,
18:05joining him in this life of crime and birthing a legend.
18:08Their excitement is infectious, and we love the bluesy tone to Clyde's voice.
18:13No way they won't remember us.
18:24Number 16.
18:26Before and After You, One Second and a Million Miles, The Bridges of Madison County
18:31Kissing you now the waves begin
18:35And evermore divide me
18:38Before and after you
18:45Based on the novel by Robert James Waller,
18:49The Bridges of Madison County centers around a brief but passionate love affair.
18:53Francesca is a farm wife in 1960s Iowa,
18:56Unhappy in her marriage and homesick for her native Italy.
18:59When she falls for Robert, a traveling photographer,
19:02He opens up a whole new world of possibilities.
19:05And you and I
19:09Are just one second
19:12Spinning by
19:16While the Act 1 duet Falling Into You explores the couple's burgeoning feelings for each other,
19:21Before and After You is the real turning point.
19:24Now is what is true
19:28I have been falling
19:34This is the moment when Robert asks Francesca to come away with him.
19:39He and I
19:43Have just one second
19:47And not here I feel alive
19:51All my life
19:54Beginning as a moving and sensual ballad,
19:56The duet really hits its stride when the two voices join together in a powerful and emotional chorus.
20:02And a million miles to go
20:09With me
20:13Number 15
20:14Bad Idea
20:15Waitress
20:16It's a bad idea to be in you
20:19I've never known anything so true
20:24It's a terrible idea to be in you
20:27Jenna and Dr. Pomader, the central couple from Waitress, get to perform some wonderful duets over the course of the show.
20:34It Only Takes a Taste showcases their growing attraction to each other.
20:38It only takes a taste
20:40When you know it's good
20:42Sometimes one bite is more than enough
20:52Later, we get the beautifully tender, not quite love song, You Matter to Me.
20:57However, our favorite number has to be Bad Idea.
21:09In this scene, we see the couple briefly fight their feelings before finally giving in to their desires.
21:14They know it's a bad idea and so do we
21:17But we're still cheering when they get together.
21:19It's the only thing I love her
21:29While You Matter to Me always gets us in our feels, Bad Idea just hits different.
21:34It's the only thing I love her
21:38While You Matter to Me always gets us in our feels, Bad Idea just hits different.
21:44Number 14. Do You Love Me? Fiddler On The Roof
21:49Do you love me?
21:54Do I love you?
21:57Most romantic duets concern themselves with young love or the feeling of falling in love for the first time.
22:03Do You Love Me? from Fiddler On The Roof bucks the trend.
22:06The song is a dialogue between an older married couple.
22:09Maybe it's indigestion.
22:11Goldie, I'm asking you a question.
22:14Their union was arranged, but they've lived as husband and wife for 25 years.
22:19For 25 years I've washed your clothes, cooked your meals, cleaned your house, given you children, milk the cow.
22:28After 25 years, why talk about love right now?
22:33He asks her if she loves him, and she doesn't give her answer until the last moments of the duet, but we all know what it will be.
22:40It's a simple, comedic song, but also deeply romantic.
22:44It's a simple, comedic song.
22:59Although the number isn't sentimental on the surface, the audience can easily read between the lines and see that this couple are devoted to each other.
23:07After 25 years, it's nice to know.
23:21Number 13. Sun and Moon, Miss Saigon
23:25Miss Saigon is not the most cheerful musical in the world.
23:42What else would you expect from the people behind Les Mis?
23:45However, the show's romantic duets offer a glimmer of hope in the darkness.
23:49Last Night of the World is beautifully bittersweet, but Sun and Moon has a sweetness and innocence that's uniquely heartbreaking.
23:56A cry that tells us love goes on and on, played on a solo sex of all.
24:09Young lovers Kim and Kris meet under sordid circumstances in war-torn Saigon.
24:14After the bombast of the opening number, Sun and Moon shines a spotlight on the young couple and their burgeoning and tentative feelings for each other.
24:21And we meet in the sky.
24:31The musical turned Lea Salonga into a star, and when she sings this song, it's easy to see why.
24:37Made of sunlight, moonlight
24:56Number 12. People Will Say We're In Love, Oklahoma
25:00Don't laugh, and my joke's too much
25:07People Will Say We're In Love
25:13As with Do You Love Me, you have to read between the lines of this Rogers and Hammerstein classic to understand what the characters are really saying.
25:21Some people claim that you are to blame as much as I
25:27Why do you take the trouble to bake my favorite pie?
25:33In People Will Say We're In Love, Oklahoma's Curly and Lori serve each other with a laundry list of don'ts.
25:39If they do too many things that courting couples do, people might accuse them of being in love.
25:44Your hand feels so grand and mine
25:52People will say we're in love
25:58The tongue-in-cheek lyrics create a flirtatious back-and-forth between two people who clearly do feel that way about each other, but aren't yet ready to tell the world.
26:06They do feel so
26:11They do know
26:15They do know
26:17Interestingly, the duet was reportedly important to the late Queen Elizabeth II and Prince
26:29Philip.
26:30Number 11.
26:31I Know Him So Well Chess
26:47Benny Anderson and Bjorn Olvius are best known for being part of ABBA, but they've also
26:56dabbled in musical theater.
26:58Chess features music from the dynamic duo, with the latter teaming up with Tim Rice to
27:02work on the lyrics.
27:03Set during the Cold War, it follows two grandmasters and their relationships.
27:08I Know Him So Well is the musical's most famous song.
27:11It's a compelling duet between the spouse and the lover of one of the protagonists,
27:28with Elaine Page and Barbara Dixon's version topping the UK charts back in 1985.
27:33With a memorable pop melody, simple emotional lyrics and fantastic harmonies, the number
27:38remains one of the most memorable duets in musical theater history.
27:42I Know Him So Well
27:53Number 10.
27:54Suddenly Seymour, Little Shop of Horrors
27:57Lift up your head, wash off your mascara, here take my Kleenex, wipe that lipstick away.
28:06For a musical about a flesh-eating plant named Audrey 2, Little Shop of Horrors has some
28:11rather poignant tracks.
28:13Composed by Alan Menken with lyrics by Howard Ashman, Suddenly Seymour is a wonderful duet
28:18that finally sees Seymour Krelborn and Audrey express their feelings for one another.
28:22Suddenly Seymour
28:25Transfiring quite early in Act 2, Suddenly Seymour amounts to more than a simple love song.
28:37The duet elegantly displays Audrey's insecurities stemming from a tragic childhood and abusive
28:42relationships before Seymour steps in to lend a sympathetic hand.
28:47Rather than, I love you, Suddenly Seymour says, I understand you.
28:54Your name.
29:10Number 9.
29:1210 Minutes Ago, Cinderella.
29:1410 Minutes Ago, I Saw You, I Looked Up When You Came Through The Door.
29:25The duo of composer Richard Rogers and lyricist Oscar Hammerstein II are responsible for creating
29:30numerous Broadway classics during the golden age of musical theatre.
29:33Seven years after Disney's Cinderella, Rogers and Hammerstein adapted the fairy tale into
29:39a live television broadcast starring Julie Andrews and John Cypher.
29:42Unsurprisingly, the music frequently hits the mark.
29:45In the arms of my love I'm flying over mountain and meadow and glen.
29:51And I like it so well that for all I can tell my veins ever come down again.
29:58Sung by the prince and Cinderella, 10 Minutes Ago serves as the musical centerpiece.
30:03As this single track carries the responsibility of convincingly conveying the couple's instant
30:08mutual attraction.
30:09A classic ballad crafted by two industry heavyweights, 10 Minutes Ago is magical.
30:15I may never come down to earth again.
30:35Number 8.
30:36If I Loved You, Carousel.
30:38Along with Oklahoma, Carousel serves as a prime example of a quintessential Rogers and Hammerstein
30:55production.
30:56And the same can be said for the musical's iconic duet.
30:59Meeting earlier the same day and both out of a job, If I Loved You basically consists of
31:04Julie and Billy sheepishly trading hypothetical declarations of love.
31:08I'd let my golden chances pass me by.
31:20Coinciding with the iconic bench scene, If I Loved You brilliantly reflects the couple's
31:25unfortunate tendency to self-destruct while suggesting certain romances are better ignored.
31:30Carousel explores complex themes, and If I Loved You subverts the traditional love song.
31:35If I Loved You.
31:48Number 7.
31:49All I Ask Of You, The Phantom Of The Opera.
31:52No more talk of darkness.
31:55Forget these wide-eyed fears.
32:00I'm here.
32:01Nothing can harm me.
32:04Picking out a single duet from The Phantom Of The Opera is a near impossible task.
32:09But there is just something about Christine and Rowell's piano ballad that demands attention.
32:14Created by Andrew Lloyd Webber, Charles Hart, and Richard Stilgoe, All I Ask Of You is Broadway's
32:19attempt at a pop song.
32:21Lyrically, the duet showcases Christine's inherent hunger for romance.
32:25A need Rowell is more than happy to satisfy.
32:28Then say you'll share with me one love, one lifetime.
32:36Let me lead you from your solitude.
32:42In a void of cynicism or irony, All I Ask Of You embodies a fundamental desire to discover
32:47warmth, safety, and freedom through a relationship.
32:50Even if the duet's themes are straightforward, All I Ask Of You's brilliance lies in its
32:55masterful composition and lyrical sincerity.
32:58Love me, that's all I ask of you.
33:19Number 6.
33:20Tonight, West Side Story.
33:23Only you, you're the only thing I'll see forever.
33:30A modern retelling of Shakespeare's Romeo and Juliet, West Side Story's focus on social
33:35commentary, dance sequences, and electrifying music changed theatre forever.
33:40While the rivalry between the Jets and the Sharks often overshadows Tony and Maria's romance,
33:45the star-crossed lovers sing one of West Side Story's greatest tracks in Tonight.
33:50For here you are, and what was just a world is a star to love.
34:02Occurring during the musical's equivalent of Romeo and Juliet's iconic balcony scene,
34:07Tonight boasts a legendary melody and immaculate lyricism that highlight Tony and Maria's passionate
34:13romance while foreshadowing the eventual doom awaiting the couple.
34:17Although we'd be remiss not to mention Anita and Maria's collision in A Boy Like That, I Have A Love,
34:37which is memorable too.
34:39He'll murder your love, he murdered mine.
34:42Just wait and see, just wait, Maria, just wait and see.
34:46Oh, Anita, no, Anita, no.
34:52Number 5.
34:53Take Me or Leave Me – Rent.
34:55There will always be women in rubber flirting with me. Give me a break.
35:00Every single day, I walk down the street. I hear people say, baby, it's so sweet.
35:08Although much of the plot takes place in 1989, everything about Jonathan Larson's musical screams the 90s.
35:15Taking place in the aftermath of the AIDS crisis, Rent combines alternative rock and an impressively diverse cast to tell a story fitting of its era.
35:24Joanne and Maureen's breakup duet, Take Me or Leave Me, is just as much about the character's refusal to change as it is about the couple's relationship.
35:32Make me for what I am, who I was meant to be, and if you give a damn.
35:45Backed by an energetic composition wisely removed from the musical's predominantly rock sound, Take Me or Leave Me is a product of a bygone era that has aged gracefully.
35:54If you feel too blue after listening to this, you can always just play what you own next.
35:59And when you're living in America, at the end of the millennia, you're what you are.
36:14Number 4. The Confrontation – Les Miserables.
36:18The longest-running musical in London's West End, Les Miserables persevered in the face of initial critical backlash to emerge as a landmark production.
36:40Taking place in 19th-century France, it quickly establishes the adversarial dynamic between the reformed fugitive Valjean and the police officer obsessed with arresting him, Javert.
36:50Believe in me, what you will.
36:51Men like you can never change.
36:53Men like me just want to change.
36:55You know nothing of my lies.
36:59A slow-paced but intense number, the confrontation marks the point these two finally come face to face.
37:06Hitting Javert's staunch legalism against Valjean's sense of justice in a phenomenal alternating stanza, the confrontation is critical in establishing arguably Les Miserables' central relationship.
37:17That said, we also have to give a nod to A Little Fall of Rain for the way it tugs at our heartstrings.
37:33A little fall of rain can hardly hurt you now.
37:43Number 3. For Good – Wicked.
37:46I've heard it said that people come into our lives for a reason.
37:54Based on Gregory Maguire's 1995 novel, Wicked retells The Wizard of Oz from the perspective of Elphaba, the Wicked Witch of the West, and Galinda the Good Witch, who form an unlikely friendship despite the pair's conflicting personalities.
38:09And now, whatever way our stories end, oh, you have rewritten mine by being my friend.
38:22As the musical's penultimate track, For Good immortalizes Elphaba and Glinda's charming relationship that helped both witches mature into better people.
38:31Elphaba and Fierro's As Long As You're Mine also deserves a shoutout, but the Bittersweet For Good caps an emotional journey and provides closure to Elphaba and Glinda's endearing dynamic.
38:42For good.
38:48Number 2. Anything You Can Do – Annie Get Your Gun.
38:53Anything you can do, I can do better. I can do anything better than you.
38:58Oh, you can. Yes, I can. Oh, you can. Yes, I can. Oh, you can. Yes, I can. Yes, I can. Yes, I can.
39:04Once in a blue moon, a song comes along that transcends Broadway but remains inherently associated with musical theatre.
39:10Debuting in 1946, Annie Get Your Gun songs have been covered by countless famous musicians.
39:16But the playful Anything You Can Do requires the stage to truly come alive.
39:21Seeking to outdo each other, Annie and Frank put their vocals through the ringer to see who can strike a higher or hold a longer note.
39:29For the era, Anything You Can Do was powerful and progressive.
39:32Can you bake a pie? No. Neither can I.
39:35Anything you can sing, I can sing sweeter. I can sing anything sweeter than you.
39:41Stripped of context or subtext, it's just a plain old entertaining duet sung by two talented people who can do everything but bake pies.
39:50Yes, I can, can, can. Yes, I can.
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40:17Number 1. You're the Top. Anything Goes.
40:20It's fast, instead of getting you off my chest, to let them rest on its breast.
40:27Somehow, Cole Porter's song is simultaneously timeless and dated.
40:31However, rather than diminish You're the Top's appeal, this only serves to enhance its charm.
40:36You're a melody from a symphony by Strauss.
40:40You're a Spendalbott and a Shakespeare thought of your Mickey Mouse.
40:45Spawning countless parodies, You're the Top sees Billy and Reno trade compliments while referencing everything from Mickey Mouse to the GOP, or Gop, to Cheese.
40:54I'm a good for a nod. No.
40:56An afterthought. I'm a slaughter. But a baby. I'm a bottle. You're a guy.
41:02Anything Goes debuted during a time when stage shows seldom used musical numbers as tools to express serious dramatic plot points.
41:09And this number exemplifies that practice.
41:12Porter's bouncy duet is bigger than Billy and Reno or Anything Goes.
41:16You're the Top is the 1930s.
41:19The only other duet from Anything Goes we'd consider equally entertaining is probably Friendship from the 1987 and 2011 revivals.
41:38Friendship. Friendship. Just a perfect friendship.
41:43Where now the friendship's a bit fucked up. I would still be hot.
41:48Do you agree with our picks? Check out this other recent clip from Ms. Mojo.
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41:58We'll see you next time.
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