TOP 10 TUESDAY: Springtime Songs
- James Tradgett
- Apr 2
- 9 min read
Winter has at long last melted into spring, and the world has come back to life, so what better way to mark this rebirth than to go through my picks for the top 10 songs from musical theatre that sing about, celebrate, or even just reference the spring time in all its verdant beauty...
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10. "Daffodils" - BIG FISH
We start with a romantic duet, sung between principal protagonist Edward Bloom and his lover Sandra, representing the very height of his romanticism in the musical. Acting as the climax of the first act, "Daffodils" is arguably the most pivotal moment of the musical, acting as a turning point of Edward's emotional journey with Sandra, after having found out that she is engaged to his high school rival Don, as well as an anchor to the fantastical nature of the narrative. The song is a means of the largely unfazed Edward vowing to win her over, providing her with "a life full of daffodils", in spite of her heart already having been promised to another.
Originally performed by Tony Award winner Norbert Leo Butz opposite Kate Baldwin, this is an ode to many people's first sign of springtime, as who hasn't seen the daffodils starting to bloom and thought to themselves "looks like spring is here". It is not only symbolic of the blurring of the lines between fantasy and reality, but of the ever verdant "blooming" of Edward's love for Sandra.
9. "Did Spring Come To Texas?" - GIANT
Around a decade and a half before the recent play about the life of Roald Dahl, we had the musical of the same title, based on the 1952 novel by Edna Ferber, most famously adapted into the film of the same name starring Rock Hudson and Elizabeth Taylor, however the musical rejects the plot changes that were implemented for the movie. It tells of the 30 year journey of a ranch family in Texas, and how the oil boom affected their lives, with the song "Did spring come to Texas" acting as the show's primary exposition; it is often touted as having similarities to "Oklahoma!", especially in its depictions of the love of the land, as well as its landscape and cultural identity.
Led by the show's main protagonist Bick Benedict, this opening number also provides an expression of newfound love and happiness, following his recent marriage to Leslie. Whilst it does directly reference the springtime, its themes and lyrics also encompass many of its central themes such as rejuvenation, new beginnings and a love of the pastoral. Though the musical has had little live beyond its initial staging, it remains one of Michael LaChiusa's best received pieces of theatre.
8. "Younger Than Springtime" - SOUTH PACIFIC
The second of two love songs to appear in this list, this timeless ballad sees US Lieutenant Cable express his sudden, passionate feelings to Liat, a young Tonkinese girl whom he'd met through her mother Bloody Mary, whilst American troops had been stationed in the titular region. Following his refusal to engage in a spy mission, Cable accompanies Luther Bills to the fictional, mystical island of Bali Ha'i, and it's here where he meets, and promptly falls in love with, the young Liat. This song presents him with a brief moment of passion and youth, partially as a means of defying the often stigmatised notion of interracial relations during the second world war, especially in pre-civil rights era United States.
It has since become a popular jazz standard, with everyone from Dinah Shore and The Andrews Sisters to Frank Sinatra, Bing Crosby and Ken Dodd having recorded their own versions of the song over the decades. Representative of love, renewal and escapism, this is a song in which many will be able to find a degree of either solace or uplift, as its timeless message is one that spans generations.
7. "Let's Go Fly a Kite" - MARY POPPINS
Forty years after the beloved 1964 film starring Julie Andrews, "Mary Poppins" finally made it to the stage, with a new book by Julian Fellowes, and additional songs by George Stiles and Anthony Drewe. Set in Edwardian London, the exact seasonal timing of the story is unclear, however there are plenty of references to the action taking place in a greener, more pleasant season, which is all but confirmed when Bert, Jane and Michael sing about flying a kite in the park. This song comes at the very end of the film, acting as a major character climax for George Banks, however in the musical it takes place early in the second act, acting as a signal of return of Mary herself into the story.
With flying a kite having been a lifelong dream for younger Banks sibling Michael, this scene, rather than tying the story up with string, instead acts to reinvigorate both the story and its central characters, and is one of a multitude of reasons why the musical is considered as being far closer to P. L. Travers' original story. In many ways shares a lot in common with the notions and central themes of springtime, whether intentional or otherwise, and it certainly makes us want to run outside, grab the nearest kite, and run to the park to give it a whirl.
6. "Oh What A Beautiful Morning" - OKLAHOMA!
Even the most casual of musical theatre fans will know this rousing Rodgers & Hammerstein anthem that opens their inaugural musical theatre collaboration, as a new day dawns and Curly regales us in the emergence of the "bright, golden haze on the meadow" in Claremore, Oklahoma. All is well for Curly, as he prepares to visit farm girl Laurey, whom both spend much of the early exchanges teasing one another, but later go on to form a romantic relationship. The song acts as the musical's opening number, but it also marks the birth of what would become a groundbreaking, genre defining writing partnership that would inspire countless other future composers and librettists to come after them.
It is another one of a whole host of songs penned by Rodgers & Hammerstein that, separate from their theatrical sources, have become popular in their own right, alongside age-old classics like "Getting to know you" from The King & I, "Edelweiss" from The Sound of Music and "Some enchanted evening" from South Pacific, and there's no doubt that the vast majority of us have, on occasion, had this ode to the new day swirling around our heads upon awakening from hibernation.
5. "I Feel So Much Spring" - A NEW BRAIN
There's celebration and representation of the spring, and then there's the more longing, pining quality that one experiences when faced with the prospect of one's own mortality, an idea explored by William Finn in this autobiographical work of 1998. Gordon Michael Schwinn cuts a frustrated figure, working as songwriter for a children's TV show, under a tyrannical employer who is often seen dressed as a frog; however his life is thrown into disarray and turmoil after he collapses face first into his lunch, and is rushed to hospital, being diagnosed with a rare brain condition called arteriovenous malformation.
The song "I feel so much spring" comes at the show's finale, and sees Schwinn begin to look forwards, and leave the dark winter of his sickness behind him. Just as the trees sprout new leaves and flowers return to the fields, he emerges into a true rebirth, and discovers a newfound zest for life after being granted this second chance. "A New Brain" in many ways represents both the fragility of our mortal existence, and how facing our own mortality can make us appreciate the life we;ve been given all the more.
4. "Everything's Coming Up Roses" - GYPSY
Musical theatre's favourite tyrannical helicopter parent has plenty of chances to take centre stage, contrasting with her character's general sense of chagrin at not having made it big time as a star of the theatre. This Jule Styne and Stephen Sondheim piece sees Mama Rose Hovick, the quintessential nightmare stage parent, spending much of the musical bullying producers, directors and show staff, dead set on getting her way, and making sure her children spend as much time as possible in the spotlight that tragically eluded her when she herself was young. After assumed megastar daughter June departs the Vaudeville scene to elope, Rose takes it upon herself to ensure the success of eldest daughter Louise, and after things begin developing positively for her, Rose outwardly expresses her elation at this favourable turn of events.
Although spring itself is not directly referenced, the idea of "roses and daffodils" blooming is common imagery, and the song, more than anything, represents a renaissance for Rose herself, vicariously through her daughter Louise, later operating under the stage name Gypsy Rose Lee. The character of Rose is often considered the pinnacle of musical theatre for leading ladies, having been taken on by theatrical trailblazers such as Ethel Merman, Angela Lansbury, Patti LuPone, Imelda Staunton, Bernadette Peters, and most recently Audra McDonald, with this act 1 finale proving one of the most musically and emotionally challenging, not just in the show, but throughout all of musical theatre.
3. "Lusty Month of May" - CAMELOT
Though this late Lerner & Loewe work never hit the same heady heights as their biggest hit "My Fair Lady", it still possesses no shortage of theatrical charm and romanticism, and its own popularity has led to four separate broadway revivals over the past 45 years. Lady Guenevere is a consort like none other, clever, witty, rebellious, and actively wants to make Camelot a true utopia; following the departure of the winter chill, Guenevere leads the charge in celebrating throwing away one's inhibitions, and not being afraid to act on impulse, rather than the responsibilities that often tie us down.
"Lusty month of May" represents the reawakening of amorous feelings, tying into the central romantic themes of the musical, with Alan Lerner's lyrics specifically referencing the "gorgeous holiday" where everyone goes "blissfully astray". Performed originally by Julie Andrews, and then later by the likes of Elizabeth Larner, Fiona Fullerton, and most recently by Phillipa Soo in the 2023 broadway revival, this uplifting anthem to all things frivolous can bring out the best of both those acting on the stage, and all present to witness it.
2. "Springtime for Hitler" - THE PRODUCERS
In our runner up spot, we have Mel Brooks' magnum opus, in which theatre producer Max Bialystock, and his young protegé Leo Bloom, attempt to stage the worst, most unsuccessful musical production in the history of broadway, in order to pocket the surplus of their fraudulently oversold assets for themselves, that musical? "Springtime for Hitler: A Gay Romp with Adolf and Eva", perceived as so offensive, vulgar, tasteless and uncouth that it couldn't possibly go right...right? Well unbeknownst to the pair of them, it seemed that it was exactly what broadway needed, as it became an overnight smash hit, with fans all over New York sporting swastikas and goose stepping their way back to the box office to see it all over again.
The title song of this distasteful tribute to the third reich is the pivotal scene in the musical, Max and Leo have their hopes pinned on the show flopping harder than Fosbury, however instead we have a camp, uproariously funny satirisation of Hitler and his Nazi party, complete with an impressive chorus, sharp tap choreography, and more sparkle than a Canal Street drag show. It proves a true showstopper, that makes even the audience forget all about to whom they're giving such a standing ovation. If you ever struggle to believe in your own work, just remember that two guys made an unintentional theatrical success out of Nazi Germany.
1. "Livin' It Up On Top" - HADESTOWN
Perhaps one of the most vivid and profound modern allegories for climate change, it's fair to say that Anaïs Mitchell's musical "Hadestown" has thoroughly made its mark on the world of theatre since its first performance in Vermont two decades ago. The story begins in the latter stages of winter, with poor Eurydice desperately seeking food and shelter, whilst her eventual lover Orpheus tries to write the song that can bring the world back into balance. Enter goddess of spring Persephone, whose presence up on top after six months with husband Hades in the underworld triggers a seasonal rebirth, as we see "the flowers bloom", and "the fruit get ripe".
Whilst the bulk of this story is taken from Greek tragedy, "Livin' it up on top" gives us one of the few moments of respite from the intensity of the overriding narrative, with the upbeat, trombone-led jazz score, and energetic choreography seeing the entire company united in song and dance, in a euphoric ode to the return of the world to life after so long. The scene reaches its climax when Orpheus is encouraged to toast the return of spring, and its patroness Persephone, "who has finally returned to us with wine enough to share". Though a wide variety of performers have taken on this role, it is Amber Gray's fire and swagger as Persephone than stick in the memory of most, as she takes the springtime by the scruff of its neck and announces its arrival with wonderful vivacity.
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Did I miss any of your favourites? Which songs from musical theatre have you feeling ready for spring? Let me know down below, or via my Instagram page.
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