You’ve heard the song. Even if you aren't a "theatre person," you’ve likely stumbled across that soaring, glass-shattering climax on a late-night YouTube spiral or a talent show where the contestant bit off way more than they could chew. We’re talking about Linda Eder Someone Like You, the definitive power ballad from the 1990 musical Jekyll & Hyde.
Honestly, it’s one of those rare moments where a song and a singer fused so perfectly that it’s almost impossible to imagine anyone else doing it justice. Linda Eder didn't just sing "Someone Like You"; she basically built a skyscraper out of it and then stood on the roof.
The Story Behind the Song
Before it was a Broadway staple, the track actually had a bit of a weird journey. It first appeared on Eder’s 1991 self-titled debut album, but back then, it was sort of buried. It wasn't until the show finally clawed its way to the Great White Way in 1997—after nearly a decade of regional tours and concept recordings—that the world truly caught on.
Frank Wildhorn, the composer (and Eder’s husband at the time), wrote it with Leslie Bricusse. They needed a moment for the character Lucy Harris, a prostitute with a heart of gold who’s caught between the kind Dr. Jekyll and the terrifying Mr. Hyde.
The song happens at the end of Act 1. Lucy is sitting alone, thinking about the brief kindness Jekyll showed her. It’s a song about hope, which makes it all the more heartbreaking when you know how the story ends.
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Why Linda Eder Someone Like You Is a Vocal Beast
If you try to sing this at karaoke, good luck. Seriously.
The song starts out almost like a whisper. It’s conversational, vulnerable, and grounded in a "middle" head voice that sounds like she’s just talking to herself. But then the modulation hits at around the 2:43 mark (depending on which recording you're listening to).
Eder has this "yelling with intent" technique she calls the secret to belting. It’s not just loud; it’s supported by massive breath control she learned while growing up on a farm in Minnesota. She’s famously said she used to sing classical arias to the farm animals when she was ten. That kind of lung capacity is what allows her to hold those final notes while still making the "I" in the lyrics sound beautiful rather than strained.
- Vocal Range: It requires a massive belt that stays rich and warm, not shrill.
- Emotional Weight: You can't just hit the notes; you have to sell the desperation.
- The "Streisand" Factor: Early in her career, everyone compared her to Barbra. By the time Jekyll & Hyde hit Broadway, she had carved out a style that was uniquely "Eder"—heavier, more athletic, and arguably more contemporary.
The Star Search Connection
A lot of people forget that Linda Eder was the original reality TV singing champion. Long before American Idol was a thing, she appeared on Star Search in 1988.
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She won for 12 consecutive weeks.
That’s where Frank Wildhorn first saw her. It’s basically a Cinderella story, except instead of a glass slipper, she got a role in a Gothic horror musical and a $100,000 grand prize (which she used to buy a 40-acre horse farm). This connection is vital because it proves her voice wasn't a product of Broadway training; it was raw, natural talent that Wildhorn then used as a muse for his compositions.
Common Misconceptions
Some people think "Someone Like You" was written specifically for the Broadway stage. Kinda, but not really. As mentioned, it lived on her pop album first.
Also, there’s often confusion about the different versions of the musical. While the show received some pretty harsh reviews from critics—they called it "loopy" and "over-the-top"—audiences absolutely loved it. It ran for over 1,500 performances at the Plymouth Theatre.
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Why the disconnect? Probably because the critics were looking for high art, and the audience just wanted to hear Linda Eder blow the roof off the building. They weren't there for the plot; they were there for the voice.
How to Sing It (Or at Least Not Fail)
If you're a singer looking to tackle this piece, take a page from Eder’s own masterclasses. She emphasizes "sitting on your air." This isn't about pushing from the throat. It’s an athletic sport.
- Natural Pronunciation: Don't "theatre-ize" the words. Sing it like you’d say it.
- Lift the Mask: Use your facial muscles to keep the sound forward and bright.
- The Middle Ground: Don't go too far back into the throat, or you'll lose the resonance.
Basically, if you want to master Linda Eder Someone Like You, you have to find the balance between the "Minnesota farm girl" and the "Broadway diva." It's that grounded, honest quality that makes the high notes feel earned rather than just showy.
To truly appreciate the technical mastery, listen to the 1997 Original Broadway Cast Recording. Pay attention to how she handles the transitions between her registers—it’s seamless. Then, compare it to her "Hallelujah Broadway" live performance from 2010. Even years later, the power remained, proving that her technique was built to last.
Study the phrasing in the first verse. Most singers rush it to get to the "big part," but the magic is in the restraint. Listen to how she breathes—or rather, how you can't hear her breathing. That’s the hallmark of a pro. Once you've nailed the breath control, work on the vowel shapes, specifically the "Ah" sounds in the climax, which provide the most resonance.