Choosing a musical theatre song is often treated as a simple matter of vocal range. Richard Hurst’s What Should I Sing? Volume I and Volume II argue for something far more thoughtful: repertoire should fit the performer as a complete artist, not merely as a set of notes.
Together, the two volumes form a substantial working library for singers who want stronger reasons behind their choices.
Question That Started It All
Hurst’s project began with a familiar problem in the teaching room. Students regularly approached him after performance classes, audition workshops, and coaching sessions asking what they should sing and where suitable material could be found. The research process was difficult, particularly in an era when recordings were harder to access and published vocal scores were expensive.
His response was to organize that research into a practical handbook. The books contain more than 1,300 musical-theatre titles with technical specifications, background information, performance observations and cautions. Richard Hurst makes clear that the performer must still do the work. His commentary is intended to encourage a why-based approach to repertoire.
Two Volumes, Wider Choices
Volume I focuses on Soprano, Mezzo and Tenor repertoire, while Volume II turns its attention to Baritone and Ensemble material. Volume I’s structure includes separate Soprano, Mezzo and Tenor Collections, while Volume II includes Baritone and Ensemble Collections alongside extensive Indexes.
A song is evaluated according to more than vocal classification. Age, range, style, character, difficulty, phrasing, and theatrical context all enter the decision.
Words Matter
Across both volumes, Hurst treats lyrics as a performer’s primary dramatic evidence. In Volume I, his notes on Easy as Life from Aida, encourage performers to separate the words from the music during preparation, identify changes in thought, and resist adding unnecessary vocal ornamentation.
Volume II applies the same discipline to demanding Baritone material. His discussion of Soliloquy from Carousel asks the performer to identify emotional and mental transitions, manage stamina, and consider where the character is directing his thoughts. The result is an approach in which technique serves storytelling rather than competing with it.
The Ensemble Conversation
Volume II expands the concept further by addressing ensemble work. Once several performers share a scene, preparation becomes collaborative. Listening, relationships, physical positioning, balance, and blend become part of the actor’s responsibility.
The Ensemble material demonstrates that musical theatre is not always about individual brilliance. A performer must know when to lead, when to listen, and how to remain part of the larger dramatic picture.
Resource for the Long Haul
The extensive indexing strengthens both books as practical references. Volume II, for example, organizes material by Decades, Composers, Song Types, Difficulty, BIPOC-Created Songs and Shows, making it easier to approach Repertoire from several directions.
Together, the volumes encourage curiosity without sacrificing discipline. They respect tradition while making room for contemporary repertoire, changing casting conversations and varied performance styles.
Takeaway
What Should I Sing? Volume I and Volume II are ultimately about judgment. Knowing what to choose, why it belongs in a Repertoire list, and how to prepare it honestly. The right song can introduce a voice. The right choice can introduce an artist.
Build a Repertoire with intention, intelligence, and theatrical purpose. Explore Richard Hurst’s What Should I Sing? Volume I and Volume II, and let every song choice begin with a better question.