are these the worst songs in these musicals? | a stagey debate ft Kate Reinking (TheatreIsLife)

Summary

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Podcast Summary

Podcast: MickeyJoTheatre
Episode: Are These the Worst Songs in These Musicals? | A Stagey Debate ft. Kate Reinking (TheatreIsLife)
Hosts: Mickey Jo Theatre & Kate Reinking
Date: May 10, 2026

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Episode Overview

In this lively and humorous episode, theatre critics and content creators Mickey Jo Theatre and Kate Reinking (TheatreIsLife) embark on a spirited debate: What are the worst songs in beloved musicals? Drawing from their deep knowledge and strong opinions, they tackle a series of major shows—ranging from “Kiss Me Kate” to “Dear Evan Hansen”—randomly generated off-camera by Aaron James, dissecting the weakest links in otherwise classic scores. The conversation is peppered with playful jabs, musical nerd-outs, and honest disagreements. While the tone is lighthearted (“We disagree about theatre constantly” – [03:38]), both hosts bring thoughtful analysis on why certain numbers just don’t stack up.

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Key Discussion Points & Insights

Opening and Premise

• The pair set the stakes: It’s not about trashing entire musicals, but rather being honest about even great shows having “skip tracks.”
  • “It’s fair enough to say, like, this is a great show, but this song is not good.” – Mickey Jo, [02:24]
  • “They can’t all be winners.” – Kate, [03:52]

Rapid-Fire “Worst Song” Judgments

Kiss Me Kate

• "We Open In Venice" singled out as the weakest:
  • Mickey Jo: “It’s very like you’re on a carousel in Disneyland.” [04:44]
  • Kate: “I hate that song.” [05:09]

Jesus Christ Superstar

• "I Don’t Know How To Love Him" divided the panel:
  • Kate: “It’s so slow and I don’t care about her at all as a character.” [06:23]
  • Mickey Jo pushes back, invoking Judy Kuhn’s iconic version but acknowledges “Nice is different than good.” [06:59] (one of the episode’s recurring quotes)

Beetlejuice

• "Home" deemed the weakest but still strong overall:
  • Kate: “To me, it never fully hits that emotional landing… I’m a little bored.” [08:16]
  • Both agree: If "Home" is the weakest, the score is in great shape.

Aladdin

• The “Three Best Friends” number is disliked for being padding:
  • Mickey Jo: “It’s just so generic. And it’s indicative of the problems in the show... we have to pad for time.” [09:35–09:52]
  • Kate loves "A Million Miles Away," but concedes some material is forgettable.

Into the Woods

• "Our Little World" vs. "Stay With Me":
  • Kate: “My gut is telling me, Stay With Me… Except for Heather Headley’s version.” [10:48]
  • Interesting music theory tangent about Sondheim’s rhythmic challenges.

Oliver!

• Indisputable choice: "That’s Your Funeral":
  • Kate: “The Gravekeeper song is the worst song in the show.” [13:16]
  • Mickey Jo notes its omission from the film improves the movie version.

Cats

• Mixed feelings about “Growltiger's Last Stand” and the “Naming/Addressing of Cats,” for oddness and, in Growltiger’s case, problematic material.
  • “[Those] are both like, I feel like I’m holding my breath underwater trying to survive.” – Mickey Jo, [15:05]
  • But: “So many bops.” – Kate, [15:31]

Waitress

• Kate surprises with “Love You Like a Table” as her least favorite, though “Pomatter Ballet” gets a mention for being skippable in cast recordings. [16:36–16:43]
• Extended, thoughtful debate on the “morality” of the material and Dr. Pomatter's behavior.

Gypsy

• "Have an Egg Roll, Mr. Goldstone" is unanimously deemed the weakest; discussion of its narrative dispensability.
  • Mickey Jo: “In terms of the narrative, you could lift that out and the show would still work.” [18:54]
• Debate over ballads: “Small World is a yawn, honey.” – Mickey Jo, [19:43]

Wicked

• Tough choices among “Sentimental Man,” “Wonderful,” and “Something Bad.” Final consensus:
  • “That’s something bad. I’m so sorry.” – Kate [21:46]

Heathers

• “Shine a Light” called out for being nervy in the audience interaction.
  • “Shine a Light makes me actively nervous as a man in the audience because there’s a non-zero chance that I could be Steve.” – Mickey Jo, [25:50]
• Comparative discussion of high school “party songs” across musicals: “Big Fun” praised, “Whose House is This?” from “Mean Girls” panned.

Les Misérables

• “Dog Eat Dog” universally loathed:
  • “Is there anything worse than Dog eat dog? No.” – Both [26:41–26:49]
• Brief detour into “Castle on a Cloud” lyric choices.

Rent

• Contested: “Your Eyes” (Kate) and “Santa Fe” (Mickey Jo, structurally).
  • “I would stay dead if I was Mimi.” – Kate, [28:12]
• Agreement reached on “I Should Tell You” as especially slow and draggy.

Phantom of the Opera

• Jokingly, Kate threatens “Music of the Night,” but actual critiques focus on “All I Ask of You” and how lyrics contradict themselves.
  • “Every song in Phantom kind of sounds the same.” – Kate, [30:32]

Legally Blonde

• Both agree it's nearly a “skip-free show.” Strong debate over the title song’s lyric and intent, with Mickey Jo probing the meta:
  • “The stage musical does not acknowledge that it’s a pun and that’s like—a funny turn of phrase from Callahan. But... if she sings it so sincerely, does she even know it’s a pun?” – Mickey Jo, [32:39]

Dear Evan Hansen

• “Sincerely, Me” (Kate) vs. “Only Us” (Mickey Jo):
  • “Wild teenagers in their bedrooms the world over are disagreeing with you about this one.” – Mickey Jo, [35:17]
  • “Its greatest crimes are probably exemplified in Only Us.” – Mickey Jo, [37:01]

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Notable Quotes & Memorable Moments

• “Nice is different than good.” – Mickey Jo, [06:59]
• “There are so many shows and... not all of them are good.” – Mickey Jo, [03:53]
• “I feel like I’m holding my breath underwater trying to survive.” – Mickey Jo (on Cats) [15:05]
• “I would stay dead if I was Mimi.” – Kate, [28:12]
• “Shine a Light makes me actively nervous as a man in the audience…” – Mickey Jo, [25:50]
• “Big Fun escapes this conversation purely by virtue of dang dang diggity dang.” – Mickey Jo, [25:07]
• “Every song in Phantom kind of sounds the same.” – Kate, [30:32]
• “The stage musical does not acknowledge that it’s a pun and that’s… weird.” – Mickey Jo, [32:39]

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Notable Timestamps

• [03:43] | The episode’s debate premise launches: favorite musicals, least favorite songs
• [04:44] | “Kiss Me Kate” – “We Open In Venice” chosen
• [06:59] | “Nice is different than good”—recurs as a motif
• [07:10-09:00] | Beetlejuice and Aladdin skippable numbers discussed
• [10:48-12:14] | Into the Woods—song structure and particularities
• [13:16] | Oliver!—“That’s Your Funeral”
• [16:43-18:18] | Waitress—table songs and a morality deep-dive
• [19:05] | Gypsy—musical function and “egg roll” discourse
• [21:46] | Wicked—verdict: “Something Bad”
• [25:07] | Heathers—“Big Fun” escapes, “Shine a Light” lands as worst
• [26:41] | Les Mis—“Dog Eat Dog” gets swift consensus
• [28:12] | Rent—“I would stay dead if I was Mimi”
• [30:32] | Phantom—meta discussion, lyric contradiction in “All I Ask of You”
• [32:39] | Legally Blonde—debate over the title song’s meta layers
• [35:17] | Dear Evan Hansen—division over “Sincerely Me” vs. “Only Us”
• [38:00] | Reflections, surprising discoveries (strongest scores, unexpected agreement)

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Episode Tone and Takeaways

• Warm, “stagey,” and playful—true to both creators' online personas.
• Both hosts oscillate between musical/theatrical analysis and subjective enjoyment (“skip-track” energy), modeling how theatregoers often relate to musicals.
• Open invitation for listener engagement and disagreement, encouraging comment section debate and suggestions for part two.

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Conclusion

If you’ve ever found yourself skipping a song on your favorite cast recording, or arguing over which Sondheim number you’d cut, this episode is for you. Mickey Jo and Kate bring both critical rigor and affectionate irreverence, making a compelling case for why not every song in every classic is as golden as fans pretend. Their honest, detailed rationale for each “worst song” also doubles as an insightful primer on what makes a great musical number—and why some land with a thud, even in masterpieces.

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Suggested Next Listen:
A potential Part 2, or a deep-dive into “high school party songs” in contemporary musicals, per their Heathers discussion.

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Transcript

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[Mickey Jo Theater]

I need to start with asking you both just in general, what is your worst like least favorite so song in any musical that feels harsh to specific composers to like. So you're about to done commercials? I mean yeah it's fair enough to say, like, this is a great show, but this song is not good. If you ask me, the worst song of all time, it's gonna be like. And this entire show is garbage.

[Kate Reinking]

Yeah. Cause I just thought of my least favorite show, which. The songs individually aren't bad. It's the collective that's bad.

[Mickey Jo Theater]

So I don't think I know what this. Do you wanna whisper to me what this is? Do it with charades. What was that? This is going so well already. Oh, my God. Hey.

[Kate Reinking]

Hello.

[Mickey Jo Theater]

My name is Mickey Jo, and I'm obsessed with all things theatre.

[Kate Reinking]

And this is Kate Reinking. And I love talking about theater because theatre is life.

[Mickey Jo Theater]

Yay. We are both stagey content creators and IRL friends.

[Kate Reinking]

Yeah.

[Mickey Jo Theater]

Yeah. We met in person in the rush line of Parade.

[Kate Reinking]

We did. Which I was not rushing.

[Mickey Jo Theater]

No, you were just walking past.

[Kate Reinking]

I was walking by and I was like, oh, I know that guy.

[Mickey Jo Theater]

Yeah. And we disagree about theatre constantly.

[Kate Reinking]

All the time.

[Mickey Jo Theater]

As we're going to prove today as we discuss very spreading positivity and joy, our least favourite songs in some of our favorite musicals.

[Kate Reinking]

They can't all be winners.

[Mickey Jo Theater]

No, no. There are so many shows and there are so many scores, and there are so many songs in those scores, and not all of them are good.

[Kate Reinking]

I just realized I'm gonna have to, like, remember songs from shows in general.

[Mickey Jo Theater]

That's why I have my phone here.

[Kate Reinking]

Great. Okay. We have. We have assistants.

[Mickey Jo Theater]

Neither of us are as young as we used to be, so that's. That's what that is. Aaron James is off camera supplying us with a randomly generated list of musicals. Your first show is Kiss Me Kate. Oh, not your kind of half namesake.

[Kate Reinking]

Yeah, I mean, yeah, I have.

[Mickey Jo Theater]

There's one that comes to mind. Oh, no, no, I. I have one.

[Kate Reinking]

I immediately thought, brush up your Shakespeare, but I actually like that song, so I don't know why that's a classic. No, I do. I do. That's. That's not my answer at all. That was just immediately what came to mind.

[Mickey Jo Theater]

I thought of, you know, before. So when he meets her in the dressing room and they sing Wunderbar and they're like that song we sang together in that show. Wunderbar. Wunderbar. There's a famous star. It's very like you're on a carousel in Disneyland.

[Kate Reinking]

Yeah, yeah. No, that is.

[Mickey Jo Theater]

It's that all. We open in Venice. We next play Verona, then onto Ramona. Lotta laughs in Ramona and Madua, then Padua.

[Kate Reinking]

That is absolutely the answer. I Hate that song.

[Mickey Jo Theater]

On to the next. That was easy. Jesus Christ Superstar.

[Kate Reinking]

Oh, I'm sorry, but it's. I don't know how to love him.

[Mickey Jo Theater]

Wow. Okay. This is. The thing about you is you are always gonna go for a. We're gonna get to Wicked, and you're gonna be like. Defying gravity's not that great.

[Kate Reinking]

Like, no, never.

[Mickey Jo Theater]

You love a controversial.

[Kate Reinking]

It's so like, girl, come on.

[Mickey Jo Theater]

There's worse options. I promise. There's worse. Worse options. I've done Jesus Christ Superstar. So what really sucked? Both to hear and to sing. See, there's bits of the Last Supper that get cool because of the confrontation.

[Kate Reinking]

Like, yeah, there's. There's no part of. I don't know how to love him that gets cool.

[Mickey Jo Theater]

It's just in the last one, they're like, look at all my trials and tribulations when. Oh, the lyric that I hate. Then when we retire, we can write the gospel so they'll still talk about us when we've died. Bom, bom. It's so, like.

[Kate Reinking]

None of that bothers me as much as freaking, I don't know how to love him. I'm so sorry.

[Mickey Jo Theater]

What is it about it?

[Kate Reinking]

I don't know. It's just. It's so slow. And I don't care about her at all as a character.

[Mickey Jo Theater]

So how do you weigh that against everything's all right? Try not to get worried. Try not to turn off to problems that upset.

[Kate Reinking]

I just like that more musically fair.

[Mickey Jo Theater]

That also has another fun argument in the middle. Woman. You find ointments brand new and expensive. I. I don't know how to love him by himself can be a snooze. I just think about it in the Andrew Lloyd Webber Trio when it's Judy Kuhn. And that's nice.

[Kate Reinking]

Sure. Nice is different than good.

[Mickey Jo Theater]

Nice is different than good. Next show. Yeah. Beetlejuice. Beetlejuice. Beetlejuice.

[Kate Reinking]

Oh, gosh. I feel like there's something. We may have to look up the song list for this one.

[Mickey Jo Theater]

I. I have issues with some of the Lydia material, but I don't know if it's the songs or the Diction on the Cross recording.

[Kate Reinking]

Oh, I. I don't love Home.

[Mickey Jo Theater]

That's what I was thinking of, because Dead mom is Dead Mom's great. A classic of the genre. Ready, set? Not yet.

[Kate Reinking]

That's cute. I love that song.

[Mickey Jo Theater]

It's not Barbara 2.0.

[Kate Reinking]

It's not Barbara 2.0, but I think it's like, I almost want to go with the prologue but it's so. Yeah, but it's so, like, intentionally that way. And they get out of it so well that I can't fully say that.

[Mickey Jo Theater]

Oh, there's so many bangers that come towards the end. You've got Barbara 2.0. What? I know now.

[Kate Reinking]

Yeah. I think it's horrible. I think it's hard Home.

[Mickey Jo Theater]

So that's. I mean, if that's your worst song in your score, that's a good score. That's a pretty good.

[Kate Reinking]

And that just. I. Yeah. To me, it never. It never fully hits that emotional landing that we want in that moment. And I'm just like. I'm a little bored.

[Mickey Jo Theater]

It doesn't. Yeah. It doesn't follow up to. Does it reprise any of Dead moments?

[Kate Reinking]

I don't know, because I. Skip it. So I.

[Mickey Jo Theater]

The Dead mom reprise. Because I was like, there should be a triumphant reprise of it. No, that's in Mama, if you're listening.

[Kate Reinking]

Duh. And that.

[Mickey Jo Theater]

Just blow your mind. Shake, shake, shake, shake. Tanora. Which is a great part of the score, actually. So if they did that in her. But she's not ready to do that in home. Okay, fine. Home. Do you know why? Because it's not home from the Wiz

[Kate Reinking]

or home from Beauty and the Beast. Is that. Is this home?

[Mickey Jo Theater]

Is this. There's too many homes.

[Kate Reinking]

So many homes.

[Mickey Jo Theater]

Too many homes.

[Kate Reinking]

A house is not a home.

[Mickey Jo Theater]

No. No one should have this many homes. Anyway. Aaron. Next. Aladdin. Oh,

[Kate Reinking]

what's the one with the three best friends?

[Mickey Jo Theater]

Babcac. Omar, Aladdin, Kasim, Miracle. I remembered that.

[Kate Reinking]

Clearly. I don't. Because. Skip track.

[Mickey Jo Theater]

Did I get this? The names right? No. I have such irritation with this. And the one they added to Hunchback. They're the same song. We'll be a million miles away.

[Kate Reinking]

I love A Million Miles Away.

[Mickey Jo Theater]

Stop. What did I tell you? What did I tell you after A Million Miles Away? It's competent because it's. Look at the songwriters. They're not going to churn out something terrible. But it's just so generic. And it's indicative of the problems in the show, which is like, we have to pad for time here because we want the genie to be.

[Kate Reinking]

You're not wrong. I still love it. That's a song. And if we're. If we're talking about padding time, then whatever. Whatever and whatever.

[Mickey Jo Theater]

I have cat Camara. L.

[Kate Reinking]

You could have just added a boo puppet.

[Mickey Jo Theater]

Okay, you make a good point. I can't remember. What's the rest of that song? That's not them just singing that. Does it ever get good? No, you wouldn't know. You're skipping it.

[Kate Reinking]

That's true. That's true.

[Mickey Jo Theater]

There's like, five songs in a row in this. In this show that are all new.

[Kate Reinking]

Yeah.

[Mickey Jo Theater]

And the Broadway audience, like, hearing this for the first time. People must have been like, what is this you've got?

[Kate Reinking]

I mean, Proud of yout, Boy was a cut song from the anime film.

[Mickey Jo Theater]

You go from one jump ahead, and then you are in, like, new territory.

[Kate Reinking]

That's true.

[Mickey Jo Theater]

Like, 40 minutes. Another show. Please, my love into the woods. Oh, I thought about this.

[Kate Reinking]

You know, my gut is telling me, stay with me.

[Mickey Jo Theater]

Wow.

[Kate Reinking]

Except for Heather Headley's version, which is the best version I've ever heard in my life. And the fact that we don't have a cast recording of that is criminal.

[Mickey Jo Theater]

How do you feel about our little world? Are we counting that it exists in a lot of.

[Kate Reinking]

Sure. I don't love our little world. I like to stay with me. Yeah, I mean, you know, if we're counting that, then, sure, that would be it.

[Mickey Jo Theater]

I don't know how I feel about

[Kate Reinking]

ever after Journey Over All Is Mended.

[Mickey Jo Theater]

Do you know, I think it's the bit that the witch sings where I'm like, you can be as dexterous as you want, but there is no way to sing that to that rhythm. It just. It's just impossible. I was empty I had everything but beauty and power and a daughter like flower in a tower Then I went into the wizard get my wish Now I'm ordinary Lost my power and my flower and happy now and there's no way to actually get that on the Beast.

[Kate Reinking]

I love that part.

[Mickey Jo Theater]

That's my power and my flower we're unhappy now there's no way it's okay.

[Kate Reinking]

It's okay to be wrong.

[Mickey Jo Theater]

Have you heard the My Little Pony version of it at the Gala?

[Kate Reinking]

Yeah.

[Mickey Jo Theater]

I think a problem I have with it is I now think about that.

[Kate Reinking]

Okay. Well, there you go.

[Mickey Jo Theater]

At the gala with the ponies. I'm going to eat some apples. Look it up if you haven't. It's a wild time. I can only assume it was done with permission.

[Kate Reinking]

I feel like an earlier version of me would have said, no more. But that is a song that has grown on me exponentially as I got older.

[Mickey Jo Theater]

I do get to know more every single time. And I'm like, oh, now we're really into the meat of it. And then it's over so fast. I always think that it's more substantial and truly, the great bit is, like, two lines, because it's. Can't we just live out our lives with our children? Like it's no more, duh, duh. No more. Like, he doesn't have the baker. Only seems like twice. Yeah, it is. It's not. There's so much of his, like, running away. Let's do it. Free from the ties that bind. So, final answer. Giants in the sky. No, I'm joking. Aaron James. Let's move on. What's the next show?

[Kate Reinking]

Oliver. Oliver. Oliver.

[Mickey Jo Theater]

You're not allowed to say all of it.

[Kate Reinking]

There are good songs in Oliver.

[Mickey Jo Theater]

You be nice to Oliver or I'm gonna have some things to say about Annie.

[Kate Reinking]

I would say. You can say what you want about Annie. I don't like Annie. I don't claim her.

[Mickey Jo Theater]

They're our nation's children, and I think

[Kate Reinking]

they should both be orphans.

[Mickey Jo Theater]

I've got great news for you.

[Kate Reinking]

Yeah, I would say whatever. The Gravekeeper song is the worst song in the show.

[Mickey Jo Theater]

That's your funeral. That's your funeral. I didn't know it until I saw it really recently because it took me a long time to see Oliver on stage. And it's not in the movie.

[Kate Reinking]

Oh, that's true. That is a good film.

[Mickey Jo Theater]

That's your. It is. Yeah, it is. That's one of the good. Like, they used to do a good job quite consistently back in the day of musicals. And then we got so bad at them, and we've started to get good again. We had a little bit of a

[Kate Reinking]

good run in the early 2000s. There's some bad ones in there, don't get me wrong. Yeah, but when you have Chicago and Dream Girls, there's some good ones.

[Mickey Jo Theater]

Hairspray.

[Kate Reinking]

Hairspray, sure.

[Mickey Jo Theater]

Yeah. Good times. Good times. But, yeah, that's your funeral. That's our skip track. Your next musical is Cats.

[Kate Reinking]

What's the song that comes after Gus the theater cat? That is, like, the. Not Even Angelica Ball.

[Mickey Jo Theater]

The racist one.

[Kate Reinking]

The racist one.

[Mickey Jo Theater]

Growltiger's last song.

[Kate Reinking]

That's the one.

[Mickey Jo Theater]

We were talking about this earlier because Aaron said, oh, the DJ Angelica Ball is called Griddlebone. And I was like, it doesn't mean anything. But it's a. It's a smart thing to do dramaturgically because even in the VHS recording, they sing in Macavity. I might mention Mungo Jerry. I might mention Griddlebone. Griddlebone's not in that version of the show.

[Kate Reinking]

Correct.

[Mickey Jo Theater]

Where's. Who's that? Who's Griddle Bone? And so now is there anything. Oh, the naming of cats and the addressing of the cats are both like, I feel like I'm. I feel like I'm holding my breath underwater trying to survive.

[Kate Reinking]

You're not wrong. Yeah.

[Mickey Jo Theater]

The naming of cats is a difficult matter, but also the slowest delivery in the world of the line, a cat is not a dog, only redeemed by when they're like.

[Kate Reinking]

And at that point, you're like, okay, this can end.

[Mickey Jo Theater]

Yeah. Yeah. Otherwise, great songs.

[Kate Reinking]

So many bops.

[Mickey Jo Theater]

So many bops. The next musical is Waitress. Oh, is there a skip track in Waitress? Yes.

[Kate Reinking]

I mean, yeah, I actually like Old Joe's Song.

[Mickey Jo Theater]

Oh, I. Yeah, no, not Old Joe's Song. It's Earl's song. The till the sun will shine, you will still be mad. And I feel like if we didn't say that, we would be endorsing domestic abuse, and we don't, so that has to be.

[Kate Reinking]

I don't mind that song, though.

[Mickey Jo Theater]

Wow. Wow. Okay. Do you have beef with the Dr. Pomatter? Like, you remind me of a girl I once knew.

[Kate Reinking]

I love it. Only takes a taste.

[Mickey Jo Theater]

Okay. I don't know. I'm trying to think of, like.

[Kate Reinking]

I mean, really, if we're going with a skip track, it's the Pomatter ballet.

[Mickey Jo Theater]

Oh, wait, that barely counts. Okay, well, because, well, you're talking about, like, listening to the cast recording, but, like, in the context of the show

[Kate Reinking]

and seeing it is very minuscule. Honestly, I think it's love you like a table. I'm so sorry.

[Mickey Jo Theater]

How do you. Where do you stand on the morality of Waitress? Because this is the other debate.

[Kate Reinking]

The morality of Waitress.

[Mickey Jo Theater]

I just saw a TikTok the other day being, like, how Dr. Pomatter takes advantage of her and it's medically unprofessional.

[Kate Reinking]

Oh, yeah, okay, sure, if you want to get into the weeds of it. But who cares? Let the girl have her affair.

[Mickey Jo Theater]

Who. Who cares? Pies.

[Kate Reinking]

And she was always in a position to say no. Like, she does leave the office, right?

[Mickey Jo Theater]

She calls him. She makes the appointment that she does not need.

[Kate Reinking]

She does. No, she does kind of need the

[Mickey Jo Theater]

appointment in the context the moment we watched this recently, and I was like, oh, she sees dawn and Ogie connect meaningfully. He does, like, never getting rid of me. Then they have their, like, one if by land, two if by sea, Civil war.

[Kate Reinking]

Sure, sure.

[Mickey Jo Theater]

And then she says, oh, almost makes you believe again. Pie starts talking about this pie, and then she makes an appointment, and it's really feeble. She's like, if I just, like, had any concerns, like, maybe I need to come in. And then at the appointment, she's like, isn't there anything else you want to say to me? And then it's.

[Kate Reinking]

She.

[Mickey Jo Theater]

She wants it.

[Kate Reinking]

You're not. You're not wrong. But I do think, like, even in, like, the morality of. He gets her there to the office, there's nobody else there. I think even then, she clearly is okay to leave. Like, she's never in a spot where it's. She feels unsafe.

[Mickey Jo Theater]

She's out the door.

[Kate Reinking]

She's out the door.

[Mickey Jo Theater]

She comes back in and kisses him when he's like, you left your bag.

[Kate Reinking]

And in the movie, I think she makes it to the street. Like, she's like, all the way out there.

[Mickey Jo Theater]

Wow.

[Kate Reinking]

And then.

[Mickey Jo Theater]

We don't have time for that in the stage musical.

[Kate Reinking]

We don't. He can't do a set change.

[Mickey Jo Theater]

Quick turnaround. Anyway, that's waitress.

[Kate Reinking]

Sorry, table.

[Mickey Jo Theater]

Your next musical is Gypsy. We talked about this the other night.

[Kate Reinking]

We did, we did. We did.

[Mickey Jo Theater]

You said gimmick like a queen. Crazy.

[Kate Reinking]

I did say gotta get a gimmick. I take that back.

[Mickey Jo Theater]

Good. Cuz there's. I mean, there's obvious contenders. Like, there's the little lambs of this world.

[Kate Reinking]

I love little lambs.

[Mickey Jo Theater]

I'm not. I'm not saying it, but it's.

[Kate Reinking]

It's such a great moment for Louise, and I think it's not Rose's turn. I almost want to say, have an egg roll.

[Mickey Jo Theater]

Have an egg roll. Mr. Goldstone, in terms of the narrative, you could lift that out and the show would still work. And I don't know that you could say that about any other song.

[Kate Reinking]

I do think Gypsy is a perfect show, unfortunately, so. This is hard.

[Mickey Jo Theater]

Yeah. Have a cookie. Have to. But all it does is, like, Tells us detail. That song, like, celebrates a moment of triumph and tells us details about her we already know. Right. I don't think that adds anything. That's a good suggestion. I think I'll agree. Also, I don't know if I've ever had.

[Kate Reinking]

You're not sticking with some people. I think that was your.

[Mickey Jo Theater]

I did not say some people. I did.

[Kate Reinking]

Oh, no, you said small world. Small world.

[Mickey Jo Theater]

Some people.

[Kate Reinking]

That's her first song, Small World, isn't it?

[Mickey Jo Theater]

What in the hell?

[Kate Reinking]

I. I'm just gonna thrust horrible opinions on you.

[Mickey Jo Theater]

I. Small World is a yawn, honey. You're a man who likes children. What if we did it literally double the speed and made it a patter song and it's over.

[Kate Reinking]

Honey, you're a man who likes children.

[Mickey Jo Theater]

That's an important sign. Honey. I'm a woman with children. Isn't it? Isn't it small and funny? And it's done. I only like it because the reprise, when she sadly sings it to herself after he's left, which is not always in the show. That's. That's nice.

[Kate Reinking]

It's a great moment.

[Mickey Jo Theater]

And your next musical is Wicked. This has been discussed a lot.

[Kate Reinking]

It's got to be Sentimental Man.

[Mickey Jo Theater]

It's the world of options. Are Sentimental man wonderful or something bad? And I think there's. We need Sentimental man because it's just a little setup for. Since once I had my own day in the sky. I think everyone deserves a chance to fly. And the rhyme of helping you in your ascent allows me to feel so parental. Ascental and parental. That's Schwartz being.

[Kate Reinking]

That's a great rhyme. It doesn't make it a good song.

[Mickey Jo Theater]

It redeems it just enough. Because something bad has nothing of that to offer. Like the best lyric in Something Bad is enough to give pause to anyone with pause, which is cute but silly.

[Kate Reinking]

I just love the moment where she's like, oh, my gosh. Now I can't even remember because I do skip something bad. I'm so sorry. But the moment where she says to him, that's why we have a wizard.

[Mickey Jo Theater]

So nothing bad.

[Kate Reinking]

Yeah. Like that's such an important moment.

[Mickey Jo Theater]

That's the script.

[Kate Reinking]

It is the. Sure, sure. I guess you could cut it.

[Mickey Jo Theater]

I'm not cutting the whole script script. The worst song in Wiccan is not the book.

[Kate Reinking]

Just an act, too. Okay, fine. That's something bad. It's something bad. I'm so sorry.

[Mickey Jo Theater]

Something bad. Wonderful is like.

[Kate Reinking]

I am more likely, however, to listen to something bad than I am to either of the wizard songs.

[Mickey Jo Theater]

I do like the camp drama of it couldn't happen here in Horses. I. You know, I'm feeling euphoria just remembering the experience of getting through that song. And then the, like, establishing music of Dancing through life is like the light at the end of the freaking tunnel after something bad. When. And you're like, oh, thank God. Good music again. Heathers.

[Kate Reinking]

Ooh, are we counting? I did just see Heathers. Are we counting cut tracks. I. I think, though, I like blue, so I wouldn't say blue.

[Mickey Jo Theater]

Yeah. I find blue and its replacement sort of interchangeable.

[Kate Reinking]

You're welcome.

[Mickey Jo Theater]

Once you were geeky and nerdy. Now you're flirty, breaky and dirty.

[Kate Reinking]

Unfortunately, I think it's shine a light.

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[Kate Reinking]

Nothing is everything.

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[Kate Reinking]

Yeah, it's funny to me it's between Shine a Light and Dead Gay Sun. But Dead Gay Son is I would rather listen to it than Shine a Light.

[Mickey Jo Theater]

Big Fun escapes this conversation purely by virtue of dang dang diggity dang.

[Kate Reinking]

I love Big Fun and I think in the sub genre of like high school party songs, it's one of the better ones.

[Mickey Jo Theater]

This is a conversation all of its own because the worst one is from Mean Girls, correct? See, we do agree. What are you talking about that's an objective. If the world over doesn't agree on that, they're wrong.

[Kate Reinking]

Whose house is this?

[Mickey Jo Theater]

Because I think be more Chills is also better.

[Kate Reinking]

Yeah.

[Mickey Jo Theater]

But maybe Big Fun is the best of those. Maybe you're right. Yeah.

[Kate Reinking]

Larry o' Keefe knows how to write a song.

[Mickey Jo Theater]

He does? He does indeed.

[Kate Reinking]

Plus, Dead Gay's son gets the gasp moment. And you don't get that in like, Shine of Light is Shine Light makes

[Mickey Jo Theater]

me actively nervous as a man in the audience because there's a non zero chance that I could be Steve. Yeah. Singled out via flashlight.

[Kate Reinking]

I use sitting in the first three rows often because I feel like when you're sitting further back in London, they

[Mickey Jo Theater]

used to find you in London, like other palace. They'd get you. It's. It's a theater that does that. So they can be on the pro shot. It's like a man in like the seventh row, I think.

[Kate Reinking]

Oh, my God.

[Mickey Jo Theater]

So nobody is safe unless you go in drag. Wow.

[Kate Reinking]

I've only ever seen in the front in like the same section on Off Broadway.

[Mickey Jo Theater]

I think they should expand the gender binary of Steve.

[Kate Reinking]

Well, they can't, because then it wouldn't make sense for her to fake it.

[Mickey Jo Theater]

Les. Oh, my God.

[Kate Reinking]

Dog eat dog.

[Mickey Jo Theater]

No, True. So true. Actually, is there anything worse than Dog eat dog?

[Kate Reinking]

No.

[Mickey Jo Theater]

Again, I've done this show. There were bits that were like, you know, Valjean reprises basically the whole of I Dreamed a Dream.

[Kate Reinking]

I would take every single reprise over ever having to subject my ears to dog eat dog again.

[Mickey Jo Theater]

But it's a nice. It's the completion of the Thenardier arc. Because it's when he gets real dark.

[Kate Reinking]

You know who I don't care about in Les Mis? The Thenardiers.

[Mickey Jo Theater]

Either of them.

[Kate Reinking]

Either of them.

[Mickey Jo Theater]

Yeah. And if I said Castle on a cloud, then what?

[Kate Reinking]

Oh, yeah, you know, I'm not bad with that answer.

[Mickey Jo Theater]

Then what? Famously hate children. There is a castle on a clown. Because everyone always talks about like, isn't it clever that this line deliberately doesn't rhyme? And I'm like, but why is that clever?

[Kate Reinking]

What's the point?

[Mickey Jo Theater]

I dun dun dun da something toys. There are a hundred boys and girls Them being like, we could have rhyme, but we didn't. But the rest of the song still rhymes. Why? What's the reason? What is the reason? Young cassette. Next musical is rent. Well, here we go.

[Kate Reinking]

Your eyes when we said our goodbyes, baby no.

[Mickey Jo Theater]

Is offensive out of my mind no. The melody of like, how'd I let you slip Away when I'm running so to hold you now A death for one more day. No, it's too good.

[Kate Reinking]

I would stay dead if I was Mimi.

[Mickey Jo Theater]

You'd be like, sing a better song.

[Kate Reinking]

I was listening to that boy's song and I was like, angel, I'm staying here.

[Mickey Jo Theater]

Turn around, girlfriend, and listen to that boy's song. She considers it. She's like, it's not great. It's a skip track. And so I'm gonna skip life. Wow. It's. No, it's gotta be that bit in the middle of. We were talking about this on the subway the other day, and I said you could cut Santa Fe from the show.

[Kate Reinking]

And Insane. Take it.

[Mickey Jo Theater]

Not because I don't like it. It just doesn't interfere with the structure. Like, you don't lose anything structurally, you.

[Kate Reinking]

That. First of all, that is the moment that we get all of these friends interacting for the first time out in public. In addition to that, it sets up Roger going to Santa Fe in the second act.

[Mickey Jo Theater]

Isn't a musical about friends interacting in public. Do they need to. Does that need to be part of it? I don't know.

[Kate Reinking]

Because it makes sense that when he's trying to find some meaning in the world, he goes back to that one really great night that he had.

[Mickey Jo Theater]

You're putting a lot of. I've never connected that thought before. Wow. I'm gonna look at this show very differently from now on. But I can't abandon the hatred and the rage that that song brings out in the middle of la vie. In the middle of la vieboheme. And this joy. I've got to come down from the high of that for. I should tell.

[Kate Reinking]

Oh, yeah. No, I should tell you.

[Mickey Jo Theater]

Well, here we go. When you don't. That's a song. You don't think it could possibly get slower? And then it does.

[Kate Reinking]

Oh, no.

[Mickey Jo Theater]

Oh no. I'm like, am I dying? Is life slowing down?

[Kate Reinking]

They are.

[Mickey Jo Theater]

Am I having a bad trip? Why? What's happening right now? The Phantom of the Opera.

[Kate Reinking]

And if I said music of the night.

[Mickey Jo Theater]

You enjoy doing this. That's what this is. You just enjoy it. I have beef with all I ask of you because I think it is non deliberately a contradictory lyric. Cuz when they're like, love me. That's all I ask of you. And I'm like, right, but you said 12 other things.

[Kate Reinking]

I'm not gonna lie. Every song in Phantom kind of sounds the same. So I don't even know which one's the worst.

[Mickey Jo Theater]

I famously enjoy the Weird little ones, like, I love notes.

[Kate Reinking]

I love notes. I love. You know, obviously, masquerade.

[Mickey Jo Theater]

It's really not amusing. He's abusing up addition. In addition, I love.

[Kate Reinking]

Poor fool. He makes me laugh.

[Mickey Jo Theater]

How do you feel about the point of no return?

[Kate Reinking]

I love point of no return.

[Mickey Jo Theater]

Okay.

[Kate Reinking]

I honestly think it may be, jokes aside, music of the night, justice for brigadou.

[Mickey Jo Theater]

I mean, if we're talking about plagiarism, they lose us. It's musical. Legally Blonde.

[Kate Reinking]

That is a skip free show.

[Mickey Jo Theater]

Yeah. That may be a perfect score. What's the worst?

[Kate Reinking]

I think it's Ireland.

[Mickey Jo Theater]

Wow. I was gonna say. Is it take it like a man?

[Kate Reinking]

No. God, I love shopping for guys.

[Mickey Jo Theater]

I knew that's what you were gonna say.

[Kate Reinking]

Watching them change right before my eyes. Don't watch me change, Steve. There you go. Great song.

[Mickey Jo Theater]

Is it the first time we hear the song Legally Blonde, huh?

[Kate Reinking]

That's the best number in the show.

[Mickey Jo Theater]

The first one. Yes. Just Let Me Be Leaky Blonde. The title shoehorned into the lyric. The title is. Shoot. They took that lyric. They took the title. And they were just like. No, because.

[Kate Reinking]

Because Callahan just insulted her by saying that she was Legally Blonde. So she's like, just let me be Legally Blonde. If that's all they see me as. Yeah. But then obviously he started seeing her as something more than just that and freaking assaults her. And so she's, like, not defending that. I'm not saying you are. I'm not saying you are. But then she's like, just let me

[Mickey Jo Theater]

be that he was calling her Legally Blonde because, like, she was like, a Barbie playing at being a lawyer. That's the implication. And if she goes home, then she's not even doing that anymore, so she wouldn't be Legally Blonde. Also the original title of the movie. Because they never say Legally Blonde in the film Legally Blonde. It's a pun on Legally Blind.

[Kate Reinking]

Sure.

[Mickey Jo Theater]

And the stage musical does not acknowledge that it's a pun. And that's like. It's a funny turn of phrase from Callahan. But then it implies that she saying it so sincerely doesn't know if she knows it's a pun. It's weird that she sings it like that. If she doesn't, it makes her seem dumb, which undermines the whole point. I didn't know I had such strong feelings about this, but it's brought out in me doubling down. Yeah. Legally Blonde from Legally Blonde. It's also what I go to every time I want to make fun of a show, trying to create a show. Based on a movie that tries to create a title song. I always think it's like just let me be Shrek the Musical. Like I think about it, but it's such a good moment because you think the Karate Kid. That's why I sang the time traveler's wife thing.

[Kate Reinking]

It makes sense.

[Mickey Jo Theater]

Time traveler's wife. She's the time traveler's wife. Oh, yeah. And the remix is great.

[Kate Reinking]

The remix is great. But the remix is what you expect them to do with Lili Blonde. The remix is them reclaiming the insult.

[Mickey Jo Theater]

We're gonna have a fight after this.

[Kate Reinking]

This is the fight. This is the fight.

[Mickey Jo Theater]

Erin. Next show. What's the next show? Dear Evan Hansen, oh,

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[Mickey Jo Theater]

Is it to break in a glove?

[Kate Reinking]

No, it's sincerely me.

[Mickey Jo Theater]

Wild, wild teenagers in their bedrooms the world over are disagreeing with you about this one as they sing about drugs. I guess if we're going with like the full expanded universe of dear Evan Hansen, it is absolutely. I was gonna. What's. What's their version of Beautiful ghosts from the film the something ones.

[Kate Reinking]

The anonymous ones.

[Mickey Jo Theater]

The anonymous ones.

[Kate Reinking]

No, I like that song.

[Mickey Jo Theater]

I thought that was a good.

[Kate Reinking]

I could not sing your mama. I could not sing a single how

[Mickey Jo Theater]

does the title go?

[Kate Reinking]

Just let me be anonymous 1.

[Mickey Jo Theater]

Do you know what I could sing right now? Start to finish note perfect. The whole of Sincerely.

[Kate Reinking]

That's fair. I can sing Breaking a Glove To

[Mickey Jo Theater]

Break in a Glove probably is one of the better musical theatre dance songs. Yeah, the party songs. We've got to talk about the dance songs.

[Kate Reinking]

And it's such a. It's a such. Such a great moment between the two of them because you see this dad who really wanted to connect with his son and wasn't able to. And then you see Evan, who never was able to connect with his dad. It was a formative moment when his dad left.

[Mickey Jo Theater]

I love that we're taking turns being superficial about this because you're like, here's the dramatic reason behind it. And I'm like, song is kind of dull.

[Kate Reinking]

But then you get that great harmony moment between the two of them where it's like follow through. It just takes a little patience, takes a little time.

[Mickey Jo Theater]

Little perseverance, little uphill climb.

[Kate Reinking]

Ah, it's great.

[Mickey Jo Theater]

Yeah. Miracle. We went for different harmony lines there. Okay, so if not that, then I'm not willing to say it's sincerely me.

[Kate Reinking]

That's fine.

[Mickey Jo Theater]

But it is

[Kate Reinking]

actually. It can't be sincerely me because that's when you get the most amazing trees line. I think I take it back in

[Mickey Jo Theater]

terms of I'm usually a dear Evan Hansen defender. I think many of the accusations against it are sort of misaligned. And yet its greatest crimes are probably exemplified in Only us.

[Kate Reinking]

Yeah.

[Mickey Jo Theater]

I feel confident in all the answers I've given.

[Kate Reinking]

Yeah.

[Mickey Jo Theater]

And we agreed on occasion.

[Kate Reinking]

We did. We agreed more than we thought we were going to agree.

[Mickey Jo Theater]

I think that we took in turns coming at it from very different angles in terms of this is boring versus this is, like, worthwhile to the show. So much to consider if you would like to See a Part 2 When we are next in the same country, which is happening a couple more times this year, maybe. Who knows? Honestly, who knows? Let us know in the comments and suggest some shows or feel free to wildly disagree with us and share your own thoughts about the musicals that we discuss here and what their worst songs are.

[Kate Reinking]

I think the most surprising part of all of this is that Beetlejuice is such a strong score.

[Mickey Jo Theater]

Yeah, Beetlejuice. The best musical theatre score of all time. Anyway, thank you so much for joining us. If you haven't already, make sure to subscribe to Kate's YouTube channel, which will be linked everywhere and all over the screen. All over the screen. And as always, we both hope that everyone is staying safe and that you

[Kate Reinking]

have a stagey day.

[Mickey Jo Theater]

Bye bye for 10 more seconds. I'm Mickey Jo Theater. Oh my God. Hey, thanks for watching. Have a stagey day. Subscribe.

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[Skyrizi Ad Voice 2]

Don't use if allergic to Skyrizi. Serious allergic reactions, increased infections or lower ability to fight them may occur before treatment. Get checked for infections and tuberculosis. Tell your doctor about any flu like symptoms or vaccines.

[Skyrizi Ad Voice]

Thanks to Skyrizi. There's nothing on my skin and that means everything is everything. Ask your doctor about Skyrizi, the one dermatologist prescribed biologic in psoriasis. Visit skyrizi.com or call 1-866-Skyrizi to learn more.

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[Mickey Jo Theater]

don't know where to start at the

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[Mickey Jo Theater]

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[Mickey Jo Theater]

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[Mickey Jo Theater]

How doers get more done.