I recently had a young baritone reach out to me via direct message on Instagram!

He told me he’s a musical theatre baritone who is equally strong with vocals, as well as acting chops. Right away, a few songs jumped out at me. 

If you’re like him , a strong baritone who is also a strong actor, I have good news: you have a LOT more options than the same five songs that seem to show up on every “baritone audition songs” list (no, really. You do! )

And I think baritones sometimes get shortchanged when it comes to repertoire suggestions. 

There’s a tendency to either hand them a big, serious “old man” ballad ,or push them into material that is really written for a baritenor (and what isn’t written for a baritenor super high tenor these days,right?) 

But some of the best baritone repertoire in musical theatre gives you something else entirely: character.

So, if you’re the kind of singer who wants a song where you can actually DO something rather than just show off your voice, here are ten I think are worth looking at…’cause they do BOTH!

1. “Where Is the Life That Late I Led?” — Kiss Me, Kate

If you’re a strong comic actor, this is IT! 

It needs swagger (lots and lots of that, please) comic timing, and a full, rich sound.

See: Brian Stokes Mitchell. 

You cannot just stand there and sing it beautifully and expect it to work.

And yes, it’s from the Golden Age. No, that does not mean boring, kids. 

Actually, this is exactly the kind of Golden Age song I wish more younger performers would investigate because there is sooo much to play with here. 

Cole Porter will always work. 

2. “Lonely Room” — Oklahoma!

Here’s another reason not to dismiss Golden Age material. 

…..Aside from the fact that back then, they actually wrote for baritones. 

“Lonely Room” is dark. It’s intense. It’s psychologically complicated.

Jud Fry is not exactly your standard charming musical theatre leading man, and that’s precisely why this can be such interesting material for a strong actor.

It also gives a baritone the opportunity to use some real vocal weight without the song becoming nothing but a vocal showcase, because as I said, it’s intense drama, too! 

3. “C’est Moi” — Camelot

This one is SO much fun if you have the personality for it. 

Dry humor? Yes, please. 

Lancelot is essentially introducing himself by explaining how extraordinary he is.

You need confidence. You need comic timing (like with the Kiss Me Kate song). Ideally, you have a rich, full, vocal tone as well.

And you also need enough charm that the audience is on your side and doesn’t immediately think, “Wow, this guy sure is full of himself!” 

That balance is what makes the song interesting.

4. “The Road You Didn’t Take” — Follies

Completely different kind of acting challenge. Because, Sondheim.

This is quiet. Reflective. Complicated.

There isn’t a ton of obvious “acting” built into the song, which means the singer has to understand the subtext and really know what he is thinking from moment to moment.

For a mature performer (I can’t stress this part enough)  who knows how to communicate without overselling, this can be fantastic.

Vocally, Sondheim can be interesting. His music sounds exquisite sung by highly skilled singers, but can be SO believable if sung by an “actor who also sings..a little”

Having said that, if you can give BOTH to this song? Steve will smile down upon you. 

5. “I Don’t Remember You” — The Happy Time

This is one I wish more people knew. Oh, it’s good. 

It’s Kander and Ebb, it’s beautiful, and it gives the singer a lot more to work with dramatically and vocally than you might initially think.

There’s nostalgia in it, but also distance and uncertainty.

It’s one of those songs where phrasing matters tremendously. A thoughtful actor can make it incredibly moving without doing very much physically at all. 

Just you, your voice, unforced expression..and the spotlight . 

That is more than enough.

6. “Dust and Ashes” — Natasha, Pierre & the Great Comet of 1812

For somebody looking for something contemporary, this is a wonderful option.

Pierre is at a genuine turning point, and the song has a real dramatic journey. It starts from one emotional place and absolutely does not end there!

That makes it particularly satisfying for an actor-singer.

Vocally, take note that Josh Groban originated the role of Pierre, to give you an idea of the demands in that department. A rich, big sound makes this piece all the more effective. 

And for baritones who sometimes feel like contemporary musical theatre has forgotten they exist: here you go. This one is fantastic.

7. “Deep in the Darkest Night” — Dracula

Yes, I’m putting Dracula on the list. Hush. 

There is some really effective material in this score, and “Deep in the Darkest Night” can be a great choice for someone who has a darker sound and wants something dramatic. 

Ok, super dramatic.

It gives you intensity without asking you to force it. 

The music already gives you plenty to work with. Your job is to stay specific and let the story do its job.

Vocally more demanding for sure. Listen to Norm Lewis, one of my favorite Broadway baritones sing it! He has a big, warm sound and incredible range. 

8. “To Thine Own Self” — Something Rotten!

This is one of those songs that works because it feels conversational.

It doesn’t need a singer who is constantly trying to impress us and sing big

In fact, I think it is much stronger when the performer trusts the writing and lets the sincerity come through.

That can make it a very good choice for somebody whose biggest strength is genuine, grounded acting.

But, like the other selections, a strong middle voice makes this all the more effective! 

9. “How to Handle a Woman” — Camelot

Yes, we are going back to Camelot.  So what?

It’s a GIFT to baritones, because ALL the solos for men are for baritones, so there.

This one requires warmth, phrasing, and the ability to tell a story without forcing it.

It can go very wrong if somebody tries to make it overly grand or overly sentimental.

Keep it simple. Think. Communicate.

10. “Everybody Says Don’t” — Anyone Can Whistle

“Everybody Says Don’t” is energetic, smart, active and full of intention. It gives an actor something to really show us instead of just something to sing at us. 

It’s Sondheim, after all! 

Vocally: some people think this is more of a tenor song. Who cares what the label is, as ling as it fits your voice? Remember, sometimes in musical theatre there’s a gray area. 

And that brings me to probably the biggest point of this entire list.

Don’t Choose Repertoire Based on Voice Type Alone

Being a baritone tells me something about your voice.

It does not tell me everything about you as a performer. Far from it! 

Are you funny?

Are you intense?

Are you charming?

Do you have a huge sound?

Is your sound more legit, or pop/contemporary? 

Are you better when you’re doing something understated?

Are you better doing something big and sweeping, or big and belt-y? 

Those things matter when choosing repertoire, too.

 Always. 

The best audition song isn’t necessarily the one that proves, “LOOK! I AM DEFINITELY A BARITONE! SEE? I CHOSE A BARITONE SONG!” 

It’s the one that lets the people in the room understand who you are, so pick your repertoire wisely, and choose it for a reason. 

So yes, know your voice type. It helps. 

But then go find songs that let you really sing…. and act!

Did you know I teach acting as well? I do! If you found a song on this list that speaks to you, I’d love to help you with both aspects of your song. Schedule something with me now, baritone extraordinaire!