Playbill explores the origins of this type of Broadway power ballad, which no longer occurs at 11 PM.
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11 o'clock numbers are named for the time they would have occurred on stage, back when Broadway shows began later in the evening than they do today. This soul-stirring penultimate number is considered a key part of a musical's structure, with the finale song often serving as a bow wrapping up the plot, which usually would be all but aligned by the end of the 11 o'clock number.
The term is nebulous, and is often used by fans to describe the feeling a song imparts rather than bestowing the title after formulaic analysis. However, such a song usually has at least three of the following characteristics:
- A show-stopping showcase for the star.
- The second-to-last sequence in the show.
- A moment of great dramatic realization or revelation.
- The energetic summit of the evening to which the entire show had been leading.
- A song that could, with minor adjustments, be performed out of context by recording and cabaret artists.
While solo star 11 o'clock numbers are often the most enduring in the public consciousness (in part due to the second life many of these songs have due to characteristic 5, which keep them alive long after specific productions close), vividly energetic or emotional group numbers also qualify. Eg "Brotherhood of Man" from How to Succeed in Business Without Really Trying
Some songs commonly touted as 11 o'clock numbers are technically disqualified from the moniker due to their position in the show. Eg "Wishing You Were Somehow Here Again" from Phantom.
Intricate reprises now occasionally occupy the traditional position of the 11 o'clock number. Eg "Wait for Me" from Hadestown.
Some immensely successful shows make dramatic choices to reinvent or entirely eschew the format. Eg "For Good" from Wicked.
Perhaps what is most important about 11 o'clock numbers are the way they make an audience feel. The emotional payoff of such richly dramatic or energetic numbers serves as the glowing memory in an audience member's mind when they leave the theatre.