Something / Make Him Mine Lyrics – Witches of Eastwick, The

Song Overview

“Make Him Mine” is the wish-turned-incantation from The Witches of Eastwick where Alexandra, Jane and Sukie sketch their dream partner in tight, playful lyrics and stacked harmonies. On the Original London Cast Recording it’s sung by Lucie Arnaz, Joanna Riding and Maria Friedman, produced by David Caddick for First Night Records in 2000. The number lands early in Act 1, right after “Eastwick Knows,” and its wishful spark lights the musical’s plot.

Personal Review

These lyrics jump like sparks off flint. The trio pictures the ultimate companion, and the music keeps nudging the fantasy forward until it starts to feel like a spell. Key takeaways: the rhyme work is quick and crisp; the voices braid without clutter; and the arrangement pulses with that just-before-midnight excitement. In one sentence: it’s a wish list that accidentally opens a door.

Song Meaning and Annotations

The scene is simple: three women in a small New England town decide to describe the man they want. The melody swaggers, then softens, matching the back-and-forth between confidence and vulnerability. That contrast is the motor of the song.

Genre and feel: classic late-20th-century show-tune craft with pop polish. You hear bright woodwinds and buoyant rhythm, the chorus lifting like a kite in clean coastal wind. It’s catchy by design, but there’s steel under the sugar.

Emotional arc: it starts as a playful list and turns declarative. By the time the trio hits “All manner of man in one man,” the wish stops being private. It’s shared, public, a tiny act of rebellion in a town that gossips about everything.

Context to know: this number comes right after we learn how Eastwick hums with chatter. The very next narrative beat introduces the stranger who will upend that order, so “Make Him Mine” reads as both cause and omen.

Production touchpoints: music by Dana P. Rowe, lyrics by John Dempsey, from a West End production developed by Cameron Mackintosh at Theatre Royal Drury Lane before transferring to the Prince of Wales Theatre. That institutional muscle explains the sheen on the cast album and the clarity of its vocal blend.

Cultural echoes: the song sits in a lineage with earlier musical-theatre wish songs where characters name their ideal love - think Marian’s “My White Knight” or even “Someday My Prince Will Come.” Here, though, three women speak in chorus, not in isolation, and the collective voice is the point.

“Make him handsome as the devil, yet perfectly divine.”

That balancing act - danger and grace - signals what’s coming. The town will get both. It’s not just romance; it’s temptation with a grin.

“All manner of man in one man.”

A neat hyperbole. They want contradictions reconciled into one body. That’s desire as collage, and it rhymes with the show’s theme of appetite versus restraint.

“I close my eyes and I see him there.”

Vision becomes action. In the musical, that imagined figure soon arrives. Whether he’s conjured or coincidental is left deliciously fuzzy in the storytelling.

Creation history

The musical opened July 18, 2000 at Theatre Royal Drury Lane, then moved to the Prince of Wales Theatre the next summer with revisions to songs and staging. On June 20, 2022, a starry one-night concert at the Sondheim Theatre revived the score for new ears, with Maria Friedman directing and Carrie Hope Fletcher, Natasha J Barnes and Laura Pitt-Pulford tackling this trio.

Verse Highlights

Verse 1

The opening sketches a gentleman in overlapping traits: strong yet gentle, bookish yet physical. The rhyme runs fast, but each image lands clean. It’s the musical equivalent of flipping through a glossy catalog of archetypes.

Chorus

“Make him mine” repeats like a chant, the harmony widening on “divine” and “design.” That widening sells the spell. You feel the town’s night air shift a little.

Bridge

Lines like “I think the words, I speak the thought” mark the pivot from dreaming to doing. The tempo inches hotter, and the trio stops asking permission. That’s where the fun begins.

Key Facts

• Featured: Lucie Arnaz, Joanna Riding, Maria Friedman.
• Producer: David Caddick.
• Composer: Dana P. Rowe. Lyricist: John Dempsey.
• Release Date: November 6, 2000.
• Album: The Witches of Eastwick - Original London Cast Recording.
• Label: First Night Records (catalog CAST CD79).
• Length: 4:00.
• Language: English.
• Track #: 3 on the cast album.
• Music style: contemporary musical theatre with pop sheen; trio lead and orchestra.

Questions and Answers

Who produced the recording of “Make Him Mine”?

David Caddick produced and served as musical supervisor for the cast album.

When was the recording released?

It was released on November 6, 2000 by First Night Records.

Who wrote the song?

Music by Dana P. Rowe, lyrics by John Dempsey.

Where does it sit in the show?

Early in Act 1, after “Eastwick Knows,” the witches sing it as they imagine their ideal partner.

Any notable later performances?

Yes. A 2022 West End concert at the Sondheim Theatre featured Carrie Hope Fletcher, Natasha J Barnes and Laura Pitt-Pulford leading the number, directed by Maria Friedman.

Awards and Chart Positions

The 2000 West End production that introduced this song earned five nominations at the 2001 Laurence Olivier Awards, including Best New Musical, Best Actress in a Musical for Joanna Riding, and Best Supporting Performance in a Musical for Rosemary Ashe.

No official single release or chart placement for “Make Him Mine” is documented; the track appears on the 18-song cast album rather than as a standalone single.

Songs Exploring Themes of Desire

“My White Knight” - The Music Man. Marian sings not for flash but for character. The lyric itemizes values with quiet conviction, and the melody moves like a turning page. Where “Make Him Mine” stacks shiny opposites for effect, “My White Knight” prefers one clear silhouette. Both pieces, though, chase the same idea: desire as a list of specifics rather than a vague blur.

“Matchmaker” - Fiddler on the Roof. Three voices, one problem. The girls start by dreaming up husbands, then talk themselves into caution. It’s comic, but the stakes feel real. While “Matchmaker” cools its fantasies, “Make Him Mine” heats them until reality knocks on the door. The contrast shows how group numbers can pivot a plot without losing charm.

“Someday My Prince Will Come” - Snow White and the Seven Dwarfs. The archetypal wish song. It floats, almost translucent, and trusts the future to deliver. “Make Him Mine” is brasher and modern, a city of adjectives compared with a watercolor. Still, both underline a truth: when characters name what they want out loud, stories start moving.”