IN MUSICAL THEATRE, WHAT IS AN 11 O'CLOCK NUMBER?
Definition: In musical theatre, an "Eleven O'clock Number" is a showstopping number given to the lead character towards the end of the second act. Not to be confused with the final number in a show, the 11 o'clock number is highly dramatic moment towards the end of the show, when the protagonist comes to a turning point -- an important moment of self-realization or crisis. Because these numbers historically come at around 11pm, these show-stopping numbers, frequently ballads, have become known as "11 o'clock numbers". Not all shows have them (my own show HOW RUDE, which is a comic revue does not), but the best musicals -- the ones we treasure the most -- all do.
Click Here for a great list of 11 O'clock Numbers with clips!
What is the history of an eleven o'clock number?
During the late 1950's, which is smack dab in the middle of Broadway's legendary "Golden Age", Pulitzer Prize winning producer, director, and composer Cy Feuer invented the term "11 o'clock number" to differentiate big numbers from little ones. Feuer decided that the songs that happen in the last two scenes of a musical, since the mostly occurred at 11 pm, would become known as 11 o'clock numbers. Although there are certainly examples of the genre from the Golden Age ("Rose's Turn", "Sit Down, You're Rocking the Boat"), more recent Broadway history is bursting with them. It's not a big, splashy Broadway musical anymore without one.
BROADWAY AND IT'S FAVORITE 11'O'CLOCK NUMBERS
"The Winner Takes is All" from MAMMA MIA
This particular example is interesting to note because it comes from a "Juke Box" musical -- that is, a musical constructed around a pre-existing song catalogue...in this case, the songs of ABBA. Donna's climactic second act song is a cry from the heart about the end of an affair that broke her heart and forever changed her life.
"Cabaret" from CABARET
Sally Bowles defiant refusal to accept life as it is actually happening is the capper to this stunning musical set in a nightclub in 1930's Berlin right before the Nazi's start the Second World War. Although political realities should have her running for the exits, Sally digs her heels in to insist that the life she is living is perfectly marvelous. Is it a celebration or a mental collapse?
"Words Fail" from DEAR EVAN HANSEN
Evan Hansen's sad admission of culpability is a stunning moment of self-realization and a trip into the darkest recesses of his troubled soul. We are almost at the end of his journey, and what needs to be said is finally on the table. If you ever lied to make your life just a little bit better, you will relate. This number works because it is blazingly honest. The trajectory of the show hinges on Evan finally admitting to others and himself the exact nature of who he is.
"Rose's Turn" from GYPSY
"Rose's Turn" is the absolute gold standard for the 11 o'clock number. Rose's mental breakdown has it all. It is theatrical, thrilling, terrifying and all-around tour-de-force moment for any musical theatre diva at the pinnacle of her career. It's been compared to King Lear, and with good reason -- it is the ultimate mental breakdown set to music.
"I'm Here" from The Color Purple.
This anthem of self-actualization brings Miss Celie's arch to a satisfying apotheosis. This critically acclaimed song resonates with anyone who has ever bought into the idea that the nature of their true identity somehow diminishes them. It is one of the best 11 o'clock numbers because it sings in the hearts of anyone who has ever stood on the outside of what others consider to be normal.
"The World was Wide Enough" from Hamilton.
Don't argue with me -- this one fits the bill perfectly. Alexander Hamilton's final song is an interior monologue that happens in a split second. He has one last chance to find his redemption and he completely blows it -- or does he? You won't leave the theatre humming this one -- you are not supposed to -- but if it doesn't give you goosebumps, you are beyond help.
"And I'm Telling You, I'm Not Going" from Dreamgirls.
This is my favorite 11 o'clock number by far, and I'm actually cheating. This song fits all the rules, but happens in the first act, not the second. Effie's realization that both The Dreams and Curtis are both dumping her leads to this powerhouse ballad that stops the show cold in its tracks. This is the ultimate tour de force musical theater R&B belter track, and you don't have the chops to sing it (and almost no one does) you really shouldn't try. The film adaptation won Jennifer Hudson an Oscar.
"No Good Deed" from Wicked.
This is the number in the show where Elphaba figures it out at last. No matter what she does, she is punished and castigated by those who consider her to be freakish and terrifying. Having spent most of her time trying to fit in, she finally decides to stop trying. Observant readers here might be seeing a trend -- showstopper songs often are given to outsiders.
MY FAVORITE 11 O'CLOCK NUMBER (and why).
"I Know Where I've Been" from HAIRSPRAY.
The story of Tracy Turnblad is the story of yet another outsider. However, in this case, Tracy is absolutely indefatigable. She may be the object of the scorn and ridicule of others, but she is deeply loved by her family, and that alone sustains her through it all. In this case, however, the big turning point of the show is not given to Tracy, but to Motormouth Maybelle -- who serves as a figure of motherly wisdom for Tracy and for the black kids who hang out in her shop. The song is a blazing anthem that reminds everyone of the long struggle for racial equality as well as the difficult road that lies ahead of us all. It is a reminder of the work we have left to do and for that reason, it may be the most American 11 o'clock song of all time.
