Mother Nature has her faux fur coat on the foot of her bed and she’s almost ready to step out for New York’s hottest shows. We are here to celebrate the eight shows that will open up on Broadway before October.
Marianne Elliott (Company, Angels in America, Warhorse) directs this critically-acclaimed West End Transfer
Tony Award Nominee and Multi-Olivier Award Winner Sharon D. Clarke, Wendell Pierce (HBO’s The Wire) and the incomparable André De Shields round out this powerhouse cast
The Black actors portraying the Loman family during the 1940s transcends the writing making an even harder hit for Willy, his wife and his boys
The 2017-2018 Broadway season reached 13,792,614 in attendance and grossed over $1.6 million. Despite these record setting numbers, discussion and debate broke out amongst fans as all four Tony nominated Best Musicals were stage adaptations of films; The Band’s Visit, SpongeBob SquarePants the Musical, Frozen, and Mean Girls.
The Broadway cast of Some Like It Hot
A major criticism of Broadway is the trend of stage adaptations of popular movies, which has been featured heavily in recent seasons. With this upcoming season having two announced adaptations, Almost Famous and Some Like It Hot, and even more rumored for the future including The Notebook, The Devil Wears Prada, and a transfer of the West End’s Back to the Future, there is an understandable interest in the creation and development of original stories on Broadway. What many theatergoers are unaware of is that this trend isn’t new to Broadway. In fact, Broadway has a long history of translating movies to the stage including some classic and fan favorite shows.
Little Shop Of Horrors
While some adaptations are more obvious, such as the Disney Broadway catalog including shows like Beauty and the Beast, Newsies, and The Lion King, many well known theater classics were inspired by movies. Sondheim and Wheeler’s A Little Night Music, which originally opened on Broadway in 1973 and ran for 601 performances, is based on the 1955 Ingmar Bergman film Smiles of a Summer Night. The well-known Bob Fosse and Gwen Verdon staple Sweet Charity, written by Neil SImon with music by Cy Coleman and lyrics by Dorothy Fields, is based on the 1957 screenplay Nights of Cabiria. Little Shop of Horrors, whose award winning Off-Broadway revival is currently running at the Westside Theatre, is based on the low budget 1960 dark comedy, The Little Shop of Horrors. Andrew Lloyd Webbers’ Sunset Boulevard, which broke advance sale records and sold over 1 million tickets with its original Broadway production, is based on the 1950 film of the same name. Some other classics include Nine, based on Frederico Fellini’s 1963 film 8½, On The 20th Century, based on the 1930s film of the same name, Rodgers and Hammerstein’s State Fair, and Promises, Promises, based on the 1960 film The Apartment.
Heathers The Musical on Roku
Beyond the classics, many fan favorites, such as Heathers which currently has a production on the West End, are based on films. The 2007 Legally Blonde, which has become a go-to for many community theaters and High Schools across the country, is heavily based heavily on the 2001 film starring Reese Witherspoon as well as the Amanda Brown novel. The beloved Sara Bareilles musical Waitress, which ran on Broadway from 2016 to 2020 and returned in a limited engagement in 2021, is based on the 2007 film written by Adrienne Shelly. Other fan favorite adaptations include the currently running Beetlejuice, based on the Tim Burton horror comedy, 9 to 5, based on the 1980 film, Anastasia, based on the 1997 animated movie, and many more.
Billy Elliott the Musical
Some screen to stage adaptations have even garnered critical acclaim and gone on to win Tony Awards, such as Once, which won the 2012 Tony Award for Best Musical. Carnival, which won the 1962 New York Drama Critics’ Circle Award for Best Musical and an Outer Critics Circle Award, was based on the 1953 film Lili. The 2013 winner Kinky Boots, which ran on Broadway for 2,507 performances and is currently running Off-Broadway at Stage 42, is based on a 2005 British film of the same name. The 2021 Tony Award-winning Best Musical, Moulin Rouge!, is based on the 2001 film starring Nicole Kidman and Ewan McGregor. Other Tony Award winning adaptations include Billy Elliot the Musical, Spamalot, Hairspray, Thoroughly Modern Millie, The Producers, and Passion.
The river flows both ways. While many musicals based on films have gone on to win awards and break records, Hollywood continues to turn out movies based on beloved Broadway shows. In the last 5 years alone, there have been a slew of film adaptations of Musicals including Jonathan Larsons’ Tick, Tick…Boom, directed by Lin Manuel Miranda starring Andrew Garfield, a remake of West Side Story directed by Stephen, In The Heights, 13, The Prom, Dear Evan Hansen, and The Last 5 Years (although this came out in 2014 and has yet to have a Broadway production). Coming to Netflix this December will be a movie adaptation of the acclaimed musical Matilda. The long-running Broadway musical Wicked, which has multiple national tours and international productions, has a film adaptation in the late stages of development starring Ariana Grande, Cynthia Erivo, and Jonathan Bailey.
While there should be a healthy mix of original stories and adaptations in commercial theater, the relationship between Broadway and the silver screen has an extensive history that shouldn’t be dismissed. If a screen to stage adaptation is done well, it has the potential to connect with audiences, set records, and become a staple in the theater canon.
It was a wonderful opportunity to explore Lillian Hellman’s classic play with such a dream cast as part of this series of online performances. The themes of liberal America and its imperative to combat fascism in all its manifestations feels all too pertinent to the needs of our present times. When Watch On The Rhine premiered in 1941 it served to bring to the theatre-going public a sense of the turmoil that was brewing in mainland Europe and its potential impact on the global stage.
I was first exposed to the epic dimensions of the American drama when I made my professional theatrical debut in a revival of Strange Interlude by Eugene O’Neill. Written in the shadow of the Great War, this Pulitzer Prize winning drama features the theatrical convention of characters speaking their innermost thoughts as asides. In deploying this classical device in a contemporary setting, O’Neil shows that despite the privileges of modern education, human beings still struggle to communicate directly and truthfully with one another. However, my lasting impression of this masterpiece is not as profound as I would wish. I was thirteen years old at the time and my hair had been bleached a platinum blonde to evoke the archetypal Golden Child. The abiding memory I have is of the cast, which included Glenda Jackson and my father Brian Cox, gently but firmly urging me to go easy on the gold hairspray that I had applied to my side parting when the dark roots began to show. Luckily, I don’t think my besmirching of the beautifully tailored 1920’s costumes could be glimpsed past the front row.
Thirty seven years later and one of the benefits of being involved in the remote capture of an online performance of a classic play is that this actor can transform himself without having to make a trip to the hairdresser.
Alan Cox recently played Uncle Vanya at the Hampstead Theatre in London and Claudius in Hamlet for the Shakespeare Theatre Company in Washington, D.C. He played David Frost in the national tour of Frost/Nixon, for which he received a Helen Hayes Award nomination. He made his Broadway debut in Translations. He made his motion picture debut as Watson in Young Sherlock Holmes. His film work includes Contagion, The Dictator, Mrs. Dalloway, and An Awfully Big Adventure. Alan’s television credits include The Good Wife, John Adams, and The Odyssey. He can be seen in Spotlight on Play’s Watch on the Rhine streaming this Thursday.
In 1981, I was in my last year of high school in the suburbs of Toronto. I’d done a bunch of musicals in theatre class (Godspell, Pippin, Fantasticks) but never worked professionally. I got a job bussing tables at a brand-new dinner theatre uptown, O’Neill’s. The opening show, starring six young actors in their mid-20’s, was a collection of songs (from other musicals) about making it in show biz. It was called, literally, One Big Break. Five nights a week, for months, I’d clear plates and glasses, then sit at the back, by the spotlight, and watch my new, slightly-older friends perform. After one show, I was washing dishes when I overheard the owners, in a kitchen corner, whispering their concerns about Stephen, one of the actors.
“He could barely sing tonight,” said Sandra O’Neill, the theatre’s namesake. “Well, we don’t have understudies, Sandra,” hissed the other owner, “what would you suggest?”
“I can do it,” I blurted.
They looked over at me, in my apron and my mullet. Sandra smiled, like I was an adorable puppy. “Aww,” she cooed, “thanks, hon. It’s Eric, right? We’ll figure it out, sweetheart.”
The next day, in history class, I got called to the front office. This had never happened in my life. The principal’s secretary handed me the phone. Sandra O’Neill was on the other end.
“Were you… serious?” she asked, with hesitation.
“Absolutely,” I replied, with none. The bravado of eighteen.
I met with the musical director at 4:00 and we ran the numbers. Once. When the actors got there, they looked ashen. Sure, I was their favorite busboy, but…this? We reviewed choreography for about half an hour…then we opened the place for dinner.
And I bussed tables.
At 8:00, the waiters (to the surprise of the patrons) suddenly became the performers. One by one they’d put down their trays and start to sing the opening number. I was the last. The first lines out of my mouth, the first words I ever sang in a professional theatre…
“One good break is really all I need to make the world stand up and cheer…”
It was a pretty good night. I played the role for two more months. I will always have a special place in my heart for Sandra.
And for Stephen McMulkin.
Eric McCormack
Best known as Will Truman on TV’s Will & Grace, Eric McCormack made his Broadway debut in The Music Man. He appeared as a mystery guest star in The Play What I Wrote, starred off-Broadway in Neil LaBute’s Some Girl(s) and returns to the Main Stem opposite James Earl Jones in the 2012 revival of Gore Vidal’s The Best Man.
This may come as a surprise to some, not so much to others, but Othello is a complex role to accept for the 21st century black actor. On one hand, he’s an incredibly deep, densely drawn character and one of the few that are built specifically for actors of color in the Elizabethan canon. On the other hand, he’s been reduced to some pretty nasty stereotyping. The character has a well documented history of blackface, and the optics of a white woman being strangled by a black man brings to mind the gut-dropping feeling we got in those last moments of Jordan Peele’s Get Out (Daniel Kaaluya hands wrapped around the neck of his captor/honeypot/devil in a white dress, Allison Williams, when suddenly red and blue lights wash the screen). So in my second year of graduate school, when I was called into my department chairs office to talk about playing Othello in the spring…I wasn’t sure what to do. I mean sure; in the name of the pedagogical experience, in the name of practice (because inevitably it wouldn’t be my last time playing the character) and well, the thing looks good on the resume, so why not? But does taking the part make me a sellout? Or worse…is it a full on soul sell?
Around this time, I was reckoning with myself, my artistry and this liquid prison I was attempting to construct. Growing inside me was this festering shadow of insecurity, imposter syndrome, and the ever present doom of letting everyone down, one I tried to bar up with Whiskey, Tequila and Rum. Little did I know, this shadow loved a drink, and despite my attempts to drown it, grew gills. I’ll spare you the rest of the bloody details but I can tell you with confidence that some people do indeed crack their skulls open on rock bottom. Others, however, bounce off stones of despair (it’s my band name, you cannot have it) and are given a chance to change direction.
I started writing letters to Othello in between classes, outpatient treatment, rehearsal and AA meetings on cold Sunday mornings (so much coffee and the squeaking of grey slush on the bottoms of winter boots). It’s not a ritual I had experienced before, but one of my Sunday Morning Crew was like “I write letters to myself and found xyz”. I thought that was a corny thing for a person to do, so I wrote letters to the characters I was cast as (a practice I still carry with me and yes, it is a far cornier endeavor).
We all “know” the play, and in that “knowledge” Othello is this larger than life character who looms over the canon/performer. If the past were to be prologue, he “should” be this gravitational force, the embodiment of strength and “manly-ness”. He’s jealous and angry or something along those lines. So rather than fall in lockstep with the mythic barnacles of the play, I re-read it with the fresh young eyes of a curious child at Disneyworld for the first time.
The first Act is the portrait of a man in love, a man with purpose, a man who has a grasp on what he wants the world to look like and how he can nudge the paradigm a bit closer to the shores of that promise. In my letters, I asked Othello to teach me what love was; specifically, to teach me what it was to be in love with oneself and one’s purpose (he later taught me that once you do that, falling in love is relatively easy). I asked him to remind me of what it means to see beyond what “is” into the realm of what “can be”. I asked him to demand my radical honesty. For a time it felt as though the letter went unheeded. Instead of waiting, I worked my ass off. I scanned and rescanned text, I battled tooth and nail for text to be re-entered into the cut, I linked arms with my castmates/peers to honor the work put in to tell the story as written. I fought for the story in the hopes that it would fight for me. And then, out of that big, looming shadow shrank there emerged a man. He looked a bit like me; a little stockier, a whole lot wiser and a generous smile. And we walked side by side through the play and he revealed things to me. Little secrets other people overlook.
Jealousy seems to be a trait oft associated with The Moor of Venice. I ask…where though? He’s one of the highest ranking generals in the nation, he’s got the hand of one of the most sought after bachelorettes in the nation, he talks business, pleasure and war with the Duke. Iago mentions jealousy, sure…but when does Othello? On the page, he wants to be the change he wants to see in the world. He chooses to partner with the only other human who sees him as such: who sees the sensitivity and the vulnerability in Othello, rather than upholding the expectations of manhood set upon him. With this realization, I felt a little hydrophobic daemon, resistant to my attempts to drown him, squeal away in a puff of brimstone and smoke. I dug deeper: when it is made known to him the possibility of deceit on the part of Desdemona, there is no time for jealousy when your heart is shattered. When you’ve been duped, hoodwinked, bamboozled, how can you blame anyone else but yourself? You can only perform the confusing task of picking up the shards of your heart and fighting through the wincing pain of putting it back together…even though you know it will not refract light the same way. Huh. That’s not jealousy. That’s good old fashioned world weary heartbreak and disappointment. In understanding a bit about him, I understood a bit more about myself. He wasn’t a monolith looming over me, he was right there, next to me, ensuring I honored every step in his shoes.
It’s a cliché to say that Theatre saved my life…so I won’t (it did though, *insert eyeroll*). I know that the characters aren’t actually leaping off the page to rescue me (I’m fully aware it’s my imagination+therapy+the work doing some heavy lifting). As much as I say that the characters are teaching me things, I know that ultimately it’s me, a room full of people, blood, sweat, tears, imagination, and ink on paper. Nor am I here to suggest that Theatre is a replacement to therapy, psychiatry, and/or AA/NA meetings (it isn’t, shout out to my therapist). But it can be a supplement (like B12). The gift and wisdom of the playwright is their ability to teach us lessons about what it means to be human. Sometimes those lessons are about success. They are often about failure; but always, there are lessons to be excavated, digested and shared. There are empathetic bridges to be built; within ourselves, to each other, and to the world into which we wake. And while that sounds like a gushy Barney sing along, the work is hard. It requires dedication, it requires an open mind and an open heart. Building empathetic bridges to truly see each other can be painful. Much like a journey to sobriety, it can feel pretty ugly (ha, I did one of those Shakespeare things). Much like nudging social norms and our existential paradigm towards a just and verdant society, you take it one day, one hour, one minute at a time.
It’s worth it.
Brandon Burton is a 2020 graduate of The Yale School of Drama Master of Fine Arts program. He can be seen in Spotlight on Play’s reading of The Baltimore Waltz streaming April 29th
When I first came to New York, with all those aspirations, I, through a fluke of a chance conversation between an actor I know and her agent, learned that Jerry Robbins, who was about to direct, off-Broadway, Arthur Kopit’s brilliant play Oh Dad, Poor Dad, Momma’s Hung You in the Closet and I’m Feeling so Sad, was having a terrible time casting the part of the young son in the play. I worked hard on the audition and waltzed in and knocked him out with the audition. So he asked me to come to a callback audition a few days later. At which I totally bombed. I’d never heard of a callback. It was a fiasco. Jerry called me the next day and asked me to come see him. He said. “what happened?!” He wasn’t angry, he was just bewildered. I told him that I had no idea, at that second audition, what I was doing. So he kept calling me back and calling me back, looking for the fire to return. Then finally, on, I think, the sixth audition, he had me read opposite the magnificent Barbara Harris. And we soared.
So my career was launched. Jerry was the launcher and Barbara was the rocket.
Luck. Pure, wild luck. This business is beyond capricious.
Austin Pendleton
Austin Pendleton is an actor and director who made his Broadway debut as the original Motel in Fiddler on the Roof. Other Broadway credits include Hail Scrawdyke!, The Little Foxes, An American Millionaire, Doubles, Grand Hotel, The Diary of Anne Frank and Choir Boy as an actor and Shelter, The Runner Stumbles, John Gabriel Borkman and Spoils of War as a director. He was nominated for a Tony Award for Best Direction of a Play for The Little Foxes and most recently appeared on Broadway as Mr. Oldfield in The Minutes.
The sun is shining, cherry blossoms are blooming, and many world economies are opening up (slowly but surely). It seems like spring 2021 has finally arrived, bringing with it the seasonal sense of joy, promise, and new beginnings that has long been lauded by writers and artists throughout history. While many people may associate springtime with Shakespeare sonnets, Impressionist paintings, or even madrigals, spring has also been the focus of many Broadway composers and lyricists.
The most obvious example of springtime making its way into the Broadway canon is the song “Younger Than Springtime” from Rodgers and Hammerstein’s South Pacific. Sung right after Lieutenant Cable and Liat first meet (and make love), “Younger Than Springtime” has all the classic markers of a spring love song. Cable compares Liat to spring – favorably – saying she is “younger than springtime,” “gayer than laughter,” “sweeter than music,” and “warmer than the winds of June.” But the song also has a great “turn” – certainly one of the reasons it’s still so well-known today. While Cable begins the song by saying that Liat is like springtime, halfway through, he implies that she is also transformative: “when your youth/and joy invade my arms/and fill my heart as now they do/then younger than springtime/am I.” Through Liat’s love, Cable argues that he becomes someone who is “gayer than laughter,” “softer than starlight,” and “younger than springtime,” too.
Another well-known use of spring in the lyrics, title, and imagery of a Broadway song can be found in “It Might As Well Be Spring” from State Fair, another Rodgers and Hammerstein collaboration. The song plays with some of the springtime tropes and patterns used in “Younger Than Springtime.” The singer, Margy, makes clear that she hasn’t seen any of the typical, physical signs of oncoming spring. In fact, it’s decidedly not spring: “I haven’t seen a crocus or a rosebud/or a robin on the wing,” Margy sings, “But…it might as well be spring.” This is a prime example of Oscar Hammerstein’s genius use of conditional thinking. In the same way Hammerstein implies in Carousel that Julie Jordan is madly in love with Billy Bigelow using the conditional “IF I loved you,” and that Laurie and Curly in Oklahoma! are similarly destined to mate with the conditional “people will SAY we’re in love,” Hammerstein is able to write a spring love song that’s not actually sung during springtime.
The song grows even more rich and complex in its associations with the season. While the characteristics of springtime that Cable lists in “Younger Than Springtime” are all positive, for Margy “it might as well be spring” not only because she’s “starry-eyed,” “giddy,” and “gay,” but also because she feels “restless,” “jumpy,” and “vaguely discontented.” In “It Might As Well Be Spring” you get both sides of the coin: the good and the bad, the positive and the negative, perhaps best summed up by the lyric: “But I feel so gay/in a melancholy way/that it might as well be spring.” Here, spring is being used as a metaphor for the “nameless” discontent Margy feels with her life at the moment – a vague restlessness which sets up most of the action of the play: while Margy is dating Harry, who wants to marry her, she “keep[s] wishing [she] were somewhere else,/Walking down a strange new street./Hearing words that [she’s]…never heard/ From a man [she’s] yet to meet.” These lyrics foreshadow her meeting, and falling in love with, Pat at the (titular) state fair. It’s also hard not to read these lyrics without picking up something of a sexual edge. When Margy starts the song, she sings of “want[ing] a lot of…things/[she’s] never had before.” Given the traditional associations of birth, new beginnings, love, and even sexuality, with springtime, “It Might As Well Be Spring” could easily speak to Margy’s desires as a newly minted young woman.
Many Broadway songs focus on this deeper side of spring’s transitions. In Rodgers and Hart’s I Married an Angel, for example, Willy sings “Spring Is Here” when things with his angel-wife (yes, you read that correctly) have gone sour. “Spring is here/why doesn’t my heart go dancing?/spring is here/why isn’t the waltz entrancing?…Maybe it’s because nobody needs me…Maybe it’s because nobody loves me,” he sings. It’s another clever inversion of the springtime myth: spring may be here, with its gentle “breezes,” and “lads and girls…drinking May wine,” but because Willy has fallen out of love, he can no longer enjoy it. It’s a springtime love song that depends on negative space rather than positive space: without “love,” “desire,” or “ambition,” there can be no spring.
“Spring Can Really Hang You Up the Most,” Fran Landesman and Tommy Wolf’s 1955 tune which was then incorporated into the 1959 musical The Nervous Set, similarly focuses on the “have-nots” of spring rather than the “haves.” A send-up of the first lines of T.S. Eliot’s “The Wasteland” (“April is the cruelest month…”), “Spring Can Really Hang You Up the Most” implies that spring can actually be the worst time of the year – if you’re single, that is. “Spring this year has got me feeling like a horse that never left the post;/I lie in my room staring up at the ceiling/Spring can really hang you up the most!” the lyrics read. The song reverses traditional springtime psychology and implies that the singer was happy and in love in the winter, and now, during the joyful spring season of rebirth, is experiencing loneliness. “Love seemed sure around the New Year,” she sings, “Now it’s April, love is just a ghost;/ Spring arrived on time, only what became of you, dear?” It should be noted that this song, as well as “It Might As Well Be Spring,” became jazz standards, covered by the likes of Ella Fitzgerald and Frank Sinatra. The season’s failure to deliver on its promise is clearly a recurring theme on Broadway and beyond.
But no discussion of spring on Broadway would be complete without “Springtime for Hitler” from Mel Brooks’ The Producers. The major song in the musical’s show-within-a-show, a favorable retelling of WWII from the perspective of a disgruntled Nazi, “Springtime for Hitler” shows Brooks’ thoughtful understanding – and appreciation – of spring’s metaphorical function in Golden Age musicals. As the tap-dancing, sausage-wearing Nazis sing lines like “And now it’s springtime for Hitler and Germany/Deutschland is happy and gay,” Brooks is sending up the positive traits associated with springtime in musicals like South Pacific and State Fair. And to the Nazis represented in the show, “springtime for Hitler” is indeed positive: it encapsulates their military campaign to take over the world. Brooks makes clear, however, that this seasonal rebirth is actually extremely dark. Peppered in with the image of a “happy and gay” Germany are lyrics about “U-boats…sailing once more.” In the song, springtime equals gaiety, but it also happens to equal “bombs falling from the skies again.” Combined with the schmaltzy musical style, movie-musical tap-dancing, over-the-top costumes, and of course the late, great Gary Beach’s acting, springtime in “Springtime for Hitler,” repeated over 20 times in the eight-minute song, becomes an absurd (and incredibly funny) dramatic irony.
Brooks’ hilarious treatment of springtime is similar to the season’s representation in a lesser known E.Y. Harburg and Fred Saidy song, “Springtime Cometh” from the 1951 flop Flahooley. Like “Springtime for Hitler,” “Springtime Cometh” relies on and leans into the audience’s positive associations with spring and its traditional representation in Golden Age musicals. Sandy/Penny and her genie (truly – don’t ask) sing about “lilacs growing on the clothesline,” “roses growing in the ashcan,” “hummingbird[s],” “merry maidens,” and repeat the word “springtime” six times in the short song. Harburg went one step further and even wrote the lyrics in a sort of faux Olde English: “Springtime cometh,” the characters sing. “Hummingbird hummeth,/little brook rusheth,/merry maiden blusheth…springtime cometh for love of thee.” Harburg pushes this construction even further for comedic effect with “Sugarplum plummeth,/Heart, it humpty-dummeth,/And to summeth up,/The Springtime cometh for the love of thee.” The faux Olde English language reaches its zenith with Harburg’s tongue-and-cheek reference’s to spring’s inherent sexuality: “Lad and lass/In tall green grass/Gaily skippeth,/Nylon rippeth,/Zipper zippeth…which is to say/Spring cometh.” Harburg’s ironic send-up of springtime is sexual, funny, self-aware, and, most importantly, irreverent.
Broadway clearly has a long-time fascination – and infatuation – with all things spring. From the huge number of songs with “spring” in their title (and chorus) – to ones that rely on springtime imagery like the lilac trees in My Fair Lady’s “On the Street Where You Live” – lyricists have used the season to convey and inspire romance, joy, lust, restlessness, loneliness, humor, and personal transformation in equal parts. So in this close-to-post-pandemic moment: crank up the Broadway show tunes, smell the flowers, and look forward to a new (and hopefully, better) day. As they say: “springtime cometh!”
Katie Birenboim is a NYC-based actor, director, and writer. She’s performed and directed at Classic Stage Company, Berkshire Theatre Group, Barrington Stage, City Center Encores!, The Davenport Theatre, and Ancram Opera House, to name a few. She is a proud graduate of Princeton University, member of Actors’ Equity, and hosts a weekly interview show on YouTube with theatre’s best and brightest entitled “Call Time with Katie Birenboim.”
In 1997 I did a one man play about a drunken Irish theatre critic at the Bush theater in London. St Nicholas! Written by Conor McPherson, which I subsequently performed the following year at Primary Stages in New York on 45th street, and for which I was honored with ‘The Lucille Lortel Award’!
But the previous year the play was premiered at the Bush Theatre in London. The Bush was a small intimate theatre with the audience on three sides. This particular night was a sellout performance. The audience were packed to the rafters.
Now St Nicholas is an extremely intricate complicated and fantastical text. With a sinewy comic thread! It demands an incredible level of Concentrated attention from the player. That evening started well.
But…About 6 minutes into the evening I noticed that sitting on front row…in…the middle…to my right was my ex girlfriend. Who I had recently broken up with. I was a little thrown by this …and wondered why on earth she had chosen that particular, really, quite prominent, seat.
I recovered from this slight ‘hiccup’ and continued, feeling proud of myself that I was not thrown by this ‘obstacle’. So I proceeded with renewed confidence.
After a few minutes, I’d just gotten back in stride when I turned to address my audience stage left and there sitting…in the middle of the left front row was…my ex ex girlfriend. The girl friend previous…to the girl friend…now sitting stage right. In fact these two young ladies were actually sitting…facing…each other. I didn’t panic… but, my anxiety…was, shall we say…mounting.
What on earth was going on? And of course various scenarios began to play out in my mind!
Had they come together?
And as some bizarre joke decided to sit opposite each other?
Or??….were they there by pure coincidence?
My brain became occupied with, what seemed endless permutations on these shifting scenarios. The text of the play, the main purpose of my attention, was drifting in my consciousness. And..ten minutes into the evening….the inevitable happened. I went up! Dried stone dead.
I struggled like a drowning man seeking a life raft. But after..a beat..which seemed a lifetime. I stopped turned to the audience, and said “Ladies and Gentlemen I’m afraid for reasons I can’t entirely explain, I need to start the evening over again! Apologies!” And so indeed I did…and it was truly scary!
“Will I get over the point where concentration abandoned me.”
And…”Will I indeed get through the entire evening….”
The moment where I had lost my way, was looming like one of those huge fences at the English Grand national horse race. Would I get over the fence? The moment arrived… and I lept the fence.. and..proceeded obsessively to the finish. After it was over, I left the stage exhausted!
I sat in my dressing room. There was a knock on my door. It was my ex-girlfriend. “Brian that was wonderful, what an incredible evening.” I was about to answer when there was another knock at the door. Enter my ex-ex-girlfriend “Brian that was wonderful, what an amaz….Oh hello, blank!
I was about to answer when there was another knock at the door. Enter my ex-ex-girlfriend “Brian that was wonderful, what an amaz….Oh hello, blank! Were you in?”
Ex-girl friend, “Yes, were you, wasn’t it wonderful
Ex-ex-girlfriend “Amazing!”
I sat there in a state of stupefaction! Me “But weren’t you?… didn’t you? ..Um..ah…see..?”
Both, “What?
Me, “Oh…Nothing…”
Ex girlfriend “ I was absolutely caught from the moment you came on!
I was in a sauna with my husband and 3 year old son on the Dingel peninsula when I received a phone call from Joe Papp asking me to start a multicultural Shakespeare company for him to play for the New York City school system.
Why me? He had seen a multicultural-multilingual production of ANTONY AND CLEOPATRA that I had directed at the Womens’ Interart Theater on 52nd Street. I put together a company: 5 Blacks, 6 Hispanics, 3 Japanese, 2 Whites and 1 Turk.
We played in the Anspacher theater at 425 Lafayette Street for one year and then moved to the Belasco Theater on West 44th Street as SHAKESPEARE ON BROADWAY. It was Joe Papp’s dream.
We played daytimes during the school week for high school and junior high school students. On Friday and Saturdays they could bring their families from great grandparents to babes-in-arms. It was all free.
I TOOK FIVE MONTHS TO DEVELOP THE COMPANY
First an hour of relaxation and physical work led by a member of the company who was a dancer.
Then an hour of vocal work led by another member of the company. Then, five hours of free form work to find out who these actors were.
The reason for these five months?
Commercial actors of whatever culture or race learned to “act white” back in the 80s. I wanted to know who these people really were, their customs, their talk, their heritage, themselves. That stuff is the bedrock of compelling theater and fine acting.
One day Rene Moreno, an Hispanic, was showing us something of his heritage when Vince Williams, a big black guy from a family of musicians in New Orleans, sitting near me watching in the audience, piped up with “My heritage is some guys standing on a beach waiting to be brought here to be slaves”. Necessary talk this. Five months of it.
What do high school students like? Sports teams, oh, yes!
We put sweats on the actors and we had a sports team. (Ruth Morley of ANNIE HALL fame did the costumes). THE NEW YORK SHAKESPEARE FESTIVAL PLAYERS
AFTER 5 MONTHS, HERE’S THE DRILL!
The actors came out to introduce themselves “Hello. I’m . . .”
But-hold it! Is that theater? What is your moniker, what is your “John Hancock”?
What is yourself? Show me your essence!
Not easy. Maybe impossible. Try.
One actor was really good at juggling. One could do backflips. One had been trained at New York City Ballet. Got it? Too big a challenge? Yes. Try!
By now the kids were into it.
Bess Myerson, a former Miss America, now part of the city government saw just this much of the performance and gave us a big donation.
BLACKOUT. LIGHTS UP. AS YOU LIKE IT.
Natsuko was Rosalind. Celia was Regina Taylor—with a live boa constrictor around her neck. 25 pounds. Had his own dressing room.
“I can’t rehearse all day with this thing around my neck.” Of course not—but it had been her idea.
One matinee, lights came up and a big girl in the front row shot to the back of the house – faster than any animal I had ever seen run.
The snake was still on Regina’s shoulders.
We alternated AS YOU LIKE IT and ROMEO AND JULIET.
We played the Anspacher, the Mobile Unit in the parks all summer, and then added the Scottish play when we became SHAKESPEARE ON BROADWAY. Ching Valez played Lady M.
Oh, but she could.
After the students had seen the productions, the actors, as themselves, visited the schools and “played Shakespeare” with them.
At the end of our second season, I went, as a wife, to Gracie Mansion for dinner with the Mayor. My husband worked in the city government.
Bobby Wagner, head of the school board, was there. He told a story.
“I was in a school elevator and asked a teacher how her year had been. She said ‘Estelle Parsons’ Shakespeare program was the only good thing that happened all year.”
Estelle Parsons received an Academy Award for Best Supporting Actress for her role as Blanche Barrow in Bonnie and Clyde, and was also nominated for Best Supporting Actress for her work in Rachel, Rachel. She is well known for playing Beverly Harris, on the sitcom “Roseanne”, and its spinoff “The Conners”. She has been nominated five times for the Tony Award (four times for Lead Actress of a Play and once for Featured Actress) for her work in The Seven Descents of Myrtle, And Miss Reardon Drinks a Little, Miss Margarida’s Way, Morning’s at Seven, and The Velocity ofAutumn.
Beverly Jenkins is not afraid of a cut show. That’s a performance where there are more actors calling out than there are understudies or swings to replace them, and it requires a last-minute reconfiguration of everything from blocking to costuming to the placement of props.
For many people, this would be terrifying, but for Jenkins, who’s been a Broadway stage manager since the early 90s, it’s an opportunity.
“It’s a challenge I actually enjoy,” she says. “I know it’s a crazy thing to enjoy. It’s not something you wish for, but if you need to make it happen and you have the right people, you can make it happen.”
Case in point: At one performance of Broadway’s A Bronx Tale The Musical, she only had one Black actress available, even though there was a scene that required two. “I had to decide,” she recalls. “‘Do I have one Black female on stage, or do I have a Black female and a Black male in that other track?’ I’d planned for that, because you have to plan for that, even if it never happens. So I made the decision to have a Black male on stage, because otherwise it would have thrown some things off [to just have one person]. I spoke to some people; we made a few changes, and it worked. No problem.”
That solution indicates what a distinct style of stage management Jenkins has developed over her career, which includes landmark productions like Bring in ‘Da Noise, Bring in ‘Da Funk; the original Miss Saigon; and her current gig as the production stage manager for Hadestown.
The cast and crew of Hadestown
Crucially, she sees a cut show as a chance to connect. “It’s a community event,” she says. “You check with wardrobe, and they’ll make adjustments. The music department and the dance captains are involved. I always reach out to the director or the AD to make sure my choices are okay. And I take the personal trip to tell people what’s happening. I get a couple of extra steps in on my FitBit, and I’m good. I want to make sure I’m personally letting people know what’s going on before they step on stage.”
Those steps — up and down stairs, into the green room, into the wings — set Jenkins apart “Beverly runs a building, and she doesn’t have to open her computer to do it,” says Michael Rico Cohen, a fellow stage manager who has worked alongside her on A Bronx Tale The Musical, Amazing Grace, and Fully Committed.
“She is the person-to-person contact. She’s the problem solver. She’s the empathy master.”
Or to borrow a phrase Jenkins uses to describe herself, she’s a mom of many. “I’m fine with the tech,” she says. “It’s all good. I’m very calm, and I can call a cue just as well as the next person, but I believe my speciality is about being hands-on with the people. I put a lot of thought and care into everyone — not just the actors, but everyone — coming into that theatre.”
On every show, then, a big part of her job is figuring out exactly what this particular group of people needs. For instance, on Bring in ‘Da Noise, Bring in ‘Da Funk, the 1996 dance musical that uses tap to trace Black history in the United States, Jenkins worked with performers who were more familiar with the dance world than with Broadway. “Sorry Equity, but I had to bend the rules for this group of young men,” she says. “I had to assess the rules and see what they needed. Like, ‘I know this is half hour, and if you’re not here at half hour, then I need you to call me and tell me how far away you are. And as Iong as I know you’re coming, you get a five-minute grace period.’ And that’s something I still do, the five-minute grace period.”
On Noise/Funk, she also turned her office into an occasional daycare center, so that parents in the company could bring their children with them when there were no other options. She recalls, “I had Barney tapes. I had a playpen. I was like, ‘You’re not going to be forced to miss work because you’re doing the right thing with your child.’ I have to get my show up, no matter what. I have to figure out how to get the best show on stage today. And on that show, watching kids was part of it.”
For Amazing Grace, the 2015 Broadway musical that explores how the British slave trade inspired the titular hymn, Jenkins knew her job required extra compassion. She says, “Amazing Grace was important to me because of what was happening on stage. How hard is it that the first time you see Black people on stage, they are stuffed in a crate, and then they get pulled out, thrown on the ground, and shot in the back? So when the actors come off stage, how can they not carry that off stage? How do we make sure that these people are not carrying the feelings of trauma off stage with them?
“We had company morale-building events. We had t-shirt day. We made sure the dressing rooms were mixed, and that we weren’t keeping the Puritans over here and the Africans over here. It was good to see everyone put thought into how to make this a harmonious backstage area and still tell that particular story.”
It no doubt helped that Jenkins herself was spearheading the backstage culture. “She is wildly good at creating fellowship and community,” says Rachel Chavkin, the director of Hadestown.
“She exudes exuberance, but also doesn’t beat around the bush when she’s got a problem to work through. And she’s not precious, because she’s focused on problem-solving at every turn.”
Jenkins asserts that small touches help a company avoid bigger problems, particularly when they’re together for a lengthy run. That’s one reasons she runs a “turkey hand” contest for Thanksgiving, getting everyone in the building to trace their hand on construction paper and then turn it into a decorated turkey drawing. “And believe me, there are prizes, honey,” she says.
Cohen confirms, “There’s nobody that loves a turkey hand competition more than Beverly Jenkins. But it’s more than just turkey hands or door decorating contests or the Father’s Day barbecue. She’s a master of the casual-but-meaningful interaction. It creates a camaraderie and an immediate trust. It’s these little things that really make the building a happy place over a period of years. All of those things are just as important — and sometimes more — than announcing what we’re doing in understudy rehearsal on Friday.”
Mark Blankenship is the founder and editor of The Flashpaper and the host of The Showtune Countdown on iHeartRadio Broadway.
There is a slew of new musicals headed to Broadway this season. With thriving revivals already in performances like Sunset Boulevard and Once Upon a Mattress alongside Broadway first-timers like Maybe Happy Ending and Tammy Faye, the fall season is already well underway. Elf will come knocking in time for the holidays, with Swept Away, Death Becomes Her, and Gypsy to open and join the fray before New Year’s Day.
Let’s look ahead here to 2025, where an astonishing 11 musicals are currently scheduled to begin performances:
Redwood
Idina Menzel will return to Broadway in Redwood, a deeply personal new musical directed and co-written by Tina Landau, premiering at the Nederlander Theatre. This production explores the journey of Jesse, a seemingly successful woman who embarks on a transformative road trip through the forests of Northern California after her personal life begins to unravel. Previews begin January 24, 2025, with the official opening on February 13, 2025.
Buena Vista Social Club
This new musical will transport audiences to 1950s Havana, where a group of musicians create a revolutionary sound, only to be disrupted by the Cuban Revolution. Decades later, they reunite to record an album that becomes a world music sensation. Directed by Saheem Ali with choreography by Patricia Delgado and Justin Peck, the show blends Afro-Cuban rhythms with a story of survival, redemption, and music’s lasting power. Previews begin at the Gerald Schoenfeld Theatre on February 21, 2025, with an official opening set for March 19, 2025
Operation Mincemeat
This Olivier Award-winning musical makes its Broadway debut at the Golden Theatre in 2025. Set in 1943 during World War II, it tells the absurd and true story of a British intelligence operation that used the corpse of a homeless man to deceive the Nazis. Known for blending farce with espionage thrills, the musical is written and performed by the UK comedy group SpitLip. Directed by Robert Hastie with choreography by Jenny Arnold, it begins previews on February 15, 2025, and officially opens on March 20, 2025.
BOOP! The Betty Boop Musical
This vibrant new musical brings the iconic cartoon flapper Betty Boop to life on Broadway, with previews starting March 11, 2025, and an official opening set for April 5 at the Broadhurst Theatre. Directed and choreographed by Jerry Mitchell (known for hits like Kinky Boots and Legally Blonde), and featuring a score by Grammy-winner David Foster, lyrics by Susan Birkenhead, and a book by Bob Martin, the show explores Betty’s whimsical journey from her black-and-white world to the colorful streets of New York City, where she embarks on an adventure of self-discovery.
The Last Five Years
Jason Robert Brown’s beloved musical The Last Five Years will make its long-awaited Broadway debut in 2025, with Nick Jonas and Adrienne Warren leading the cast. Directed by Whitney White, this limited engagement will run at the Hudson Theatre. Previews begin on March 18, 2025, and the official opening is set for April 6, 2025. The musical chronicles a couple’s five-year relationship, told from two perspectives: Jamie’s story moves forward in time, while Cathy’s unfolds in reverse. With its intricate structure and emotional score, this production promises a fresh, heartfelt take on a fan-favorite story. The run is scheduled to conclude on June 22, 2025.
Stephen Sondheim’s Old Friends
This musical revue, celebrating the legacy of Stephen Sondheim, will arrive on Broadway at the Samuel J. Friedman Theatre. Previews begin March 25, 2025, and the official opening follows on April 8, 2025. The production features an all-star cast, including Bernadette Peters and Lea Salonga, reprising their acclaimed roles from the West End. Additional cast members include Beth Leavel, Gavin Lee, and Ryan McCartan, among others.
Smash
The Broadway adaptation of the NBC series Smash will begin previews at the Imperial Theatre on March 11, 2025, with its official opening on April 10, 2025. This musical takes audiences behind the scenes of the fictional production Bombshell, chronicling the chaotic journey of creating a Marilyn Monroe musical. The production is helmed by director Susan Stroman and features a score by Marc Shaiman and Scott Wittman, known for their work on Hairspray. Robyn Hurder and Caroline Bowman lead the cast, promising high-energy performances and a love letter to Broadway itself.
Floyd Collins
The long-anticipated Broadway debut of Floyd Collins, a musical by Adam Guettel and Tina Landau, will open at the Vivian Beaumont Theater under the direction of Landau. Previews start on March 27, 2025, with an official opening on April 21, 2025. This production marks a milestone in Lincoln Center Theater’s 40th-anniversary season. The musical, featuring a haunting score by Guettel, first premiered Off-Broadway in 1996 and has since developed a devoted following. The upcoming Broadway staging will revive the original creative vision while introducing new design elements for a contemporary audience
Just In Time
The upcoming musical Just In Time will feature Tony Award winner Jonathan Groff as the legendary singer Bobby Darin. Directed by Alex Timbers, this immersive production will transport audiences to an intimate nightclub setting, complete with a live band performing Darin’s greatest hits. Previews begin on March 28, 2025, at Circle in the Square Theatre, with the official opening on April 23, 2025.
The Pirates of Penzance
A new revival of Gilbert and Sullivan’s The Pirates of Penzance will debut on Broadway at the Todd Haimes Theatre. Directed by Scott Ellis, with choreography by Warren Carlyle, this updated production will feature a jazzy, New Orleans-inspired setting, bringing fresh rhythms to the beloved operetta. The show stars Ramin Karimloo as the Pirate King and David Hyde Pierce as the Major General. Previews begin April 4, 2025, with the official opening set for April 25. The limited run will continue through June 22, 2025.
Real Women Have Curves: The Musical
Real Women Have Curves: The Musical will premiere on Broadway at the James Earl Jones Theatre this spring. Previews are scheduled to begin on April 1, 2025, with an official opening night set for Sunday, April 27, 2025. This musical adaptation of the beloved play and film will explore themes of body positivity, family dynamics, and cultural identity. It follows a group of Latina women working in a Los Angeles garment factory, finding strength and pride in their shared experiences.
The revival of Thornton Wilder’s Pulitzer Prize-winning Our Town opened at the Barrymore Theatre this month. It is a cause for celebration! Often described as a cornerstone of American theater, this production as reimagined by director Kenny Leon, serves as a powerful reminder of why Wilder’s exploration of life, love, and death in the small town of Grover’s Corners, New Hampshire, remains a timeless classic. At its center, Wilder’s text is a tribute to the profound simplicity of life; a plea for all those listening to cherish each moment. From their delivery on stage, it is clear that this company cherishes this play. Jim Parsons delivers a masterful performance, infusing charm, humor, and gravitas into every line. Other notable performances include Zoey Deutch, whose portrayal of Emily Webb in the third act moved many audience members to tears. Small town living may not be for everyone, but Our Town’s exploration of humanity remains universal.
Thornton Wilder’s Our Town—starring Jim Parsons, Katie Holmes, Zoey Deutch, Ephraim Sykes, Billy Eugene Jones, Richard Thomas, Michelle Wilson, Julie Halston, Donald Webber Jr., and more—is in performances through January 19, 2025 at the Ethel Barrymore Theatre.
Thornton Wilder explored the search of finding the profound in the mundane.
As Our Town graces the Broadway stage once more, under the skilled direction of Kenny Leon and featuring the standout talent of Jim Parsons, we’re reminded of the timelessness of Thornton Wilder’s work. First premiered in 1938, Our Town has not only stood the test of time but has evolved into a quintessential American play, offering poignant reflections on life, love, and the human condition. The latest revival was dubbed “an Our Town for all of us” by The New York Times. Much like a beloved Broadway musical that brings together a diverse audience, this celebration of Wilder’s enduring legacy invites us to pause and appreciate the beauty in the everyday moments that make life truly spectacular.
Born on April 17, 1897, in Madison, Wisconsin, Thornton Wilder was a prolific writer whose literary career spanned novels, plays, and essays. His early exposure to literature and drama was significantly influenced by his family, particularly his mother, who encouraged his creative pursuits. Wilder attended Yale University and later spent time in Europe, where he absorbed the cultural tapestries of literary styles and philosophies that would inform his own writing.
Peterborough, NH
Wilder’s Our Town is set in the fictional town of Grover’s Corners, a reflection of his experiences in Peterborough, New Hampshire. The simplicity of small-town life, underscored by universal themes of love, loss, and the passage of time, makes Our Town a profound exploration of human existence. Wilder’s writing resonates with audiences, evoking both nostalgia and a deeper appreciation for the simple moments we often overlook: breakfast with the family, sharing weather patterns with a neighbor, and that ‘terrible moon.’ Wilder creates an intimate connection, drawing us into the heart of Grover’s Corners. The latest production’s cast even took a pilgrimage to Peterborough for inspiration, to find a connection between Wilder’s work and the town that inspired it (with a lot of snacks on the long bus ride to and fro).
Wilder’s influence extends far beyond his own works; he has inspired a generation of playwrights including Paula Vogel, Edward Albee, David Mamet, Donald Margulies, and even Gertrude Stein. These writers have drawn on Wilder’s ability to blend the profound with the mundane, shaping their narratives to explore complex human emotions and social realities. Many American essayists and journalists have hailed Thornton Wilder as the greatest American writer of our time, recognizing his ability to capture the essence of the human experience with grace and insight. His works are revived again and again on Broadway. Recently, The Tony-nominated The Skin of Our Teeth was reconceived with puppetry and trimmed for context, proving that the themes he tackled are as relevant today as they were during his lifetime.
Beyond Our Town, Wilder’s literary contributions are vast and varied. His novel The Bridge of San Luis Rey won the Pulitzer Prize for Fiction in 1928, exploring the interconnectedness of human lives through the story of a bridge collapse in Peru. This theme of connection reflects Wilder’s belief in the shared experiences that bind humanity together. His other notable play, The Matchmaker, showcases his knack for blending realism with fantasy, capturing the complexities of life with both humor and heart. It would later form the basis for the iconic musical Hello, Dolly!
Wilder’s legacy as a writer extends beyond his individual works. He is often credited with reshaping American theater by pushing the boundaries of traditional narrative forms. Wilder’s ability to weave humor into profound philosophical questions has influenced countless artists, making him a key figure in American literature.
It’s clear that his works continue to inspire and provoke thought. In a world that often feels chaotic, Our Town serves as a gentle reminder of the beauty of our everyday lives. It encourages us to cherish the moments we often take for granted. The current Broadway revival not only highlights Wilder’s genius but also reinvigorates the conversation about the importance of community, love, and the shared human experience.
As we celebrate the success of Our Town on Broadway, let us remember the profound lessons embedded within his writing. His legacy endures not only in the pages of his plays but also in the hearts of those who continue to find meaning in his words.
The spotlight is burning brighter than ever this season on Broadway. With a busy season ahead, Broadway’s Best Shows is here to keep you up to date on where to find the biggest stars on Broadway this fall!
In The Roommate at the Booth Theatre
Mia Farrow and Patti LuPone star in this new comedy from Jen Silverman. Now in performances. More information and tickets are available HERE.
Patti LuPone and Mia Farrow (Matthew Murphy)
In McNeal at the Vivian Beaumont Theater
Academy Award winner Robert Downey Jr. makes his Broadway debut in the new drama from Pulitzer Prize winner Ayad Akhtar. Directed by Bartlett Sher, the cast also features Melora Hardin, Andrea Martin, and Ruthie Ann Miles. Now in performances. More information and tickets are available HERE.
The cast of Mcneal (Matthew Murphy & Evan Zimmerman)
In Our Town at the Barrymore Theatre
You can see four-time Emmy Award winner Jim Parsons alongside Katie Holmes, Zoey Deutch, Billy Eugene-Jones, Ephraim Sykes, Richard Thomas, Michelle Wilson, Julie Halston, and more in this revival of Thornton Wilder’s Pulitzer Prize-winning play, directed by Tony Award-winner Kenny Leon. Now in performances. More information and tickets are available HERE.
Jim Parsons and the cast of Our Town (Daniel Rader)
In Left On Tenth at the James Earl Jones Theatre
Julianna Margulies and Peter Gallagher star in the new play by Delia Ephron. Based on her memoir, the romantic comedy about second chances is brought to life under the direction of five-time Tony Award winner Susan Stroman. Now in performances. More information and tickets are available HERE.
Julianna Margulies and Peter Gallagher (Mary Ellen Matthews)
In Romeo & Juliet (Circle in the Square Theatre)
“Heartstopper” star Kit Connors and “West Side Story” star Rachel Zegler unite in a contemporary revival of Romeo & Juliet, directed by Sam Gold. Now in performances. More information and tickets are available HERE.
Kit Connor and Rachel Zegler (Sam Levy)
In Sunset Boulevard at the St. James Theatre
Nicole Sherzinger stars in the upcoming Broadway revival of Andrew Lloyd Webber’s Sunset Boulevard. Performances begin September 28th. More information and tickets are available HERE.
Nicole Scherzinger (Courtesy of DKC/O&M)
In Maybe Happy Ending at the Belasco Theater
You can see Emmy Award winner Darren Chriss alongside Helen J. Shen in the refreshing new musical, directed by Tony Award winner Michael Arden. Performances begin October 16th.
In Gypsy at the Majestic Theatre
Audra McDonald stars as the iconic Mama Rose in the upcoming revival of Arthur Laurents, Jule Styne, and Stephen Sondheim’s musical theatre classic, Gypsy. Performances begin November 21st. More information and tickets are available HERE.
Audra McDonald (Michaelah Reynolds)
In Cabaret at the August Wilson Theatre
Adam Lambert and Auli’i Cravalho have officially joined the Tony-nominated revival of Cabaret as the Emcee and Sally Bowls, respectively. Now in performances. More information and tickets are available HERE.
Adam Lambert and Auli’I Cravalho (Gina Manning)
In Moulin Rouge! The Musical at Al Hirschfeld Theatre
Pop star Jojo unites with Broadway leading man Aaron Tveit in the Tony Award-winning musical Moulin Rouge! Now in performances. More information and tickets available HERE.
Joanna “JoJo” Levesque and Aaron Tveit (Matthew Murphy)
When Cady Huffman was asked to direct Empire, the new Off-Broadway musical that focuses on the courageous workers who built the Empire State Building, the decision was a no-brainer. Huffman, who first participated in a workshop of the musical in 2011 as a performer and felt connected to the show’s message, jumped at the opportunity.
However, when Huffman got the call in December 2023, she never thought the show would be up and running at New World Stages by July, where it is currently playing.
“It was so fast and furious,” Huffman said. “The set was designed in a week and built in a week. It makes it super exciting to do it that way. And you have to make decisions real fast. I learned a lot, I learned a lot about myself, about what I can do.”
One of the most exciting parts of Huffman’s process of working on Empire as a director was helping writers Caroline Sherman and Robert Hull from a dramaturgical standpoint. Empire goes back and forth in time between New York of the late 20s and early 30s, and the city in 1976, where a woman named Sylvie reflects on her father who died during building the Empire State Building. In addition to the character of Sylvie, since Huffman first worked on the show, the writers added Rudy, a Mohawk woman who disguises herself as a man to be an ironworker during the building of the iconic New York monument.. For Huffman, showcasing Rudy and other Mohawk characters was critical, allowing her and the writers to shine light on an often overlooked piece of history.
“That’s the most thrilling thing for me,” Huffman said. “The legendary Mohawk ironworkers, I can’t believe how few people know that story. So that’s what I got really excited about developing. We did a lot of dramaturgy. And a lot of trying to combine these two worlds, because it was previously a much more traditional musical than it is now.”
Photo by Matthew Murphy
When it comes to her work on Empire, Huffman’s directorial ethos comes not only from her experience as an actor but from the great directors she had the privilege to work with as a performer.
“I auditioned for Bob Fosse at an open call with 1,000 people on stage,” Huffman told Broadway’s Best Shows. “When he broke us out into groups, he walked up to every single person and thanked us for coming in. Every single person got that bit of respect from him. So every person who walks into my audition room, I walk up and I shake their hand and introduce myself.”
Having been on the other side of the table, Huffman understands the unique pressures and anxieties that come with being an actor. Following in the footsteps of the directors who came before her, Huffman understands that leading from a place of friendliness and empathy is what encourages performers to be the best they can be.
In Empire, what stands out most about the production is the palpable level of camaraderie and among the cast. The kinsmanship among the members of the company emerges in part because Empire is a show about community, about people from different cultures coming together and persevering despite the obstacles in their way. However, it is also a testament to Huffman’s ability to nurture talent and to forge strong working relationships in the rehearsal room.
Photo by Matthew Murphy
An experience that has shaped Huffman’s approach to directing came early in her career. In 1991, Huffman took on her first major role on Broadway as Ziegfield’s Favorite in The Will Rogers Follies. She recalls standing in front of Tommy Tune, 25 and terrified, uncertain of how to approach her big scene during rehearsal.
“Tommy Tune comes up to me and gives me the best direction I’ve ever gotten,” Huffman said. “He says, ‘Well, Cady, do something.’ I threw everything into that speech …kicks, cartwheels, splits, turns, everything, my ears were on fire. And I just put much too much into it, and he goes, ‘Great, now we can start.’ Come in with ideas. Because it’s much easier for me, as a director, to say ‘do less’ than it is to try to pull energy out of somebody.”
As a director, Huffman values this spirit of play and improvisation because it allows the rehearsal room to be a space of collaboration. While she can show performers how she would approach certain beats as an actor, Huffman is far more interested in what performers come up with organically.
“When I have allowed talented young people to do something, they always do something better than I would do and more creative than I would do,” Huffman explained. “My experiences have always been to allow people to do what they do well, and then I can always give notes and I can always say no. But mostly people are going to surprise me with their vision.”
Expanding on her ethos as a director, Huffman borrows from an unlikely source: John Wooden, the former head coach of the UCLA Bruins.
“John Wooden has this great book about not creating great basketball players, but creating great scholars and gentlemen,” Huffman said. “And I would much rather approach life like that. I can teach you how to sing, dance, act, I can tell you all the technical stuff. But really, I want to enjoy being in the room with you. I want to help you understand the joy of rehearsals, the joy of finding it.”
From historical dramas to laugh-out-loud comedies, portrayals of real-life politicians abound on Broadway. Whether they take artistic liberties with their depiction of historical figures or closely adhere to history, for theatre audiences these representations entertain and provide insight into well-known politicians. Major political figures are lighting up the New York theater boards this summer with N/A, Suffs, Oh Mary!, alongside the continued run of Hamilton. Here’s a look at some of the more impactful representations of politicians on the Broadway stage.
Fiorello La Guardia, Fiorello!
Opening on Broadway in 1959, Fiorello! the life of New York City mayor Fiorello La Guardia. The musical chronicles the mayor’s rise to political power and how he weakened the influence of Tammany Hall, a Democratic political machine that was a major source of corruption in New York City.
The Founding Fathers, 1776
1776 opened on Broadway in 1969. In many ways a predecessor to Hamilton, 1776 depicts the events preceding the signing of the Declaration of Independence, including John Addams attempts to convince the Founding Fathers to vote for independence. The musical was most recently revived in 2023, with a cast consisting of female, trans, and nonbinary actors.
Eva and Juan Perón, Evita
When Evita premiered on Broadway in 1979, Andrew Lloyd Webber and Tim Rice turned Eva Perón into one of musical theatre’s great divas. Evita focuses on the Argentinian political leader’s early life, her rise to power and marriage to president Juan Perón, and her untimely death from cancer. The original Broadway production starred Patti LuPone and Mandy Patinkin, who both won Tony Awards for portraying Eva and Juan Perón.
Andrew Jackson, Bloody Bloody Andrew Jackson
Michael Friedman and Alex Timbers transformed the life of Andrew Jackson into a rock concert with Bloody Bloody Andrew Jackson, which opened on Broadway in 2010. The musical satirizes the life and politics of Andrew Jackson, in the show as an emo rock star, exploring the establishment of the Democratic Party, the Indian Removal Act, and Jackson’s embrace of populism.
Ann Richards in Ann
Holland Taylor both wrote and starred in Ann, a one woman show with Taylor as former Texas governor Ann Richards. A character study of Richards’ person and political life while she was in office, Ann is based mostly on anecdotes Taylor collected from those close to the former governor. For her portrayal of Richards, Taylor was nominated for a Tony Award for Best Performance by a Leading Actress in a Play.
Lyndon B. Johnson, All the Way and The Great Society
Playwright Robert Schenkkan explored the political career of Lyndon B. Johnson in All the Way and The Great Society, the former of which saw Bryan Cranston star as LBJ, and the latter with Brian Cox in the presidential shoes. All the Way, which premiered on Broadway in 2014, follows Johnson assuming the presidency and his campaign to pass The Civil Rights Act of 1964. The Great Society focuses on the events following Johnson’s re-election, including the rise of the Civil Rights Movement, the heightening of the Vietnam War, and the assassinations of MLK Jr. and Robert Kennedy.
Alexander Hamilton, Hamilton
Based on the 2004 book Alexander Hamilton by Ron Chernow, Hamilton opened on Broadway in 2015. This cultural phenomenon dramatizes the life of first U.S secretary of the treasury Alexander Hamilton, exploring his role in the American Revolution, his marriage to Eliza Schuyler Hamilton, and his political rivalry with Aaron Burr. The original Broadway cast included Lin Manuel Miranda as Alexander Hamilton, Leslie Odom Jr. as Aaron Burr, and Phillipa Soo as Eliza Hamilton.
Imelda Marcos, Here Lies Love
In Here Lies Love, David Byrne and Fat Boy Slim transport audience members to a Studio 54-inspired disco hall to bring the story of former Filipina first lady Imelda Marcos to life. This immersive disco musical traces the trajectory of Marcos’ life from her early beginnings, her rise to power and dictatorship alongside husband President Ferdinand Marcos, and later downfall at the hands of the People Power Revolution. The original Broadway production starred Arielle Jacobs as Imelda Marcos, Jose Llana as Ferdinand Marcos, and Conrad Ricamora as opposition leader Ninoy Aquino.
Woodrow Wilson, Suffs
In Shaina Taub’s Suffs, former President Woodrow serves as an intractable symbol of male power in the fight for female suffrage. Woodrow, played by Grace McLean, appears as a sly, cartoonish gatekeeper who refuses to give in to the demands made by the ensemble’s dedicated band of suffragists. Other politicians represented in Suffs are Dudley Malone, Wilson’s Third Assistant Secretary of State, and Harry T. Burn, a member of the Tennessee State Assembly who delivered a decisive vote allowing for the ratification of the 19th Amendment.
Abraham Lincoln, Oh, Mary!
Written by Cole Escola, Broadway hit Oh, Mary! is a delightful spoof on the lives of First Lady Mary Todd Lincoln and President Abraham Lincoln. Playing fast and loose with the facts of history, the play shows Conrad Ricamora’s President Lincoln desperately trying to reign in his wife’s alcoholism, while conducting an affair with Mary’s Teacher behind closed doors.
The college years are an incredibly formative and intellectual period for young minds. Students and faculty alike can develop and learn valuable life lessons in what can often be intense and consequential situations. Fitting then for higher education institutions to serve as the setting for many plays and musicals across Broadway history. As the school year starts up again, let’s take a look at some of Broadway’s Best Shows set on college campus.
The Male Animal
Written by James Thurber and Elliot Nugent, The Male Animal, opened on Broadway in 1940, and starred the Nugent himself alongside Ruth Matteson and Leon Ames. This comedy follows an English teacher at Midwestern University as he struggles with what to do when not allowed to express his worldview sentiments to his class. In the midst of his struggle for his defense of free speech, his wife’s former boyfriend, a football legend, arrives to complicate matters. In 1942 the show was adapted into a screenplay that starred Henry Fonda, Olivia de Havilland and Jake Carson. The show was revived in 1952 once again starring the writer Nugent, with Robert Preston and Martha Scott.
Photo by Joan Marcus
Wicked
With a now iconic score by Stephen Schwartz and book by Winnie Holzman, Wicked opened on Broadway in 2003. One of the longest-running shows on Broadway, it follows the story of a young witch, Elphaba, and the unlikely friendship that forms with her schoolmate Glinda before the events of The Wizard of Oz. Mainly taking place at Shiz University, the original cast starred Kristen Chenoweth as Glinda, Idina Menzel as Elphaba and Norbert Leo Butz as Fiyero. The show was nominated for 11 Tonys, winning three of them. It also won six drama Desk awards, including Outstanding New Musical. The modern classic continues to be one of the most popular shows on Broadway. A new movie adaption is set to release November 2024, starring Ariana Grande, Cynthia Erivo and Jonathan Bailey.
Legally Blonde
Written by Laurene O’Keefe and Nell Benjamin with a book by Heather Hatch, Legally Blonde opened on Broadway in 2007. Based on the 2001 movie starring Reese Witherspoon, Jennifer Coolidge, Matthew Davis and Luke Wilson, the show follows Valley girl, Elle Woods, as she goes to Harvard Law in order to win back her ex boyfriend, while still staying true to herself. The musical starred Laura Bell Bundy, Richard H. Blake, Orfeh Christian Borle, Michael Ruper and Kate Shindle. The show was nominated for seven Tony Awards and ten Drama Desk Awards.
Photo by Jeremy Daniel
Seminar
Written by Theresa Rebeck, Seminar opened on Broadway in 2011. It starred Alan Rickman, Hamish Linklater, Jerry O’Connell, Hettienne Park and Lily Rabe. This comedy follows four young writers and their professor during a ten week writing seminar. Rickman’s performance awed viewers and made the show a success.
Photo by Richard Termine
Ohio State Murders
Ohio State Murders opened on Broadway in 2022, marking the Broadway debut of playwright Adrienne Kennedy, who penned the play in 1991. The show focuses on college student Suzanne Alexander at Ohio State University in 1950. As a renowned black author, she goes back to speak about her experience there and the murders of her daughters. The show starred Audra McDonald (Tony Nominee), Bryce Pinkham, Mister Fitzgerald, Lizan Mitchell and Abigail Stephenson.
Photo by Michael Brosilow
Who’s Afraid of Virginia Woolf
Written by Edward Albee, Who’s Afraid of Virginia Woolf premiered on Broadway in 1962. The original cast starred Uta Hagen, Arthur Hill, Melinda Dillon and George Grizzard. The play follows the marriage of Martha and George, who, after a university faculty party, drag a younger couple, Nick and Honey, into their relationship issues. The show won four Tony awards in 1963 including Best Play. Due to the unusually long length of the show, three hours, a separate matinee cast had to be formed, performing twice a week. The play was revived three times, in 1976, 2005 and in 2012, with a planned revival in 2020 that was thwarted by the COVID-19 pandemic. The most recent production starred Tracy Letts, Amy Morton, Carrie Coon and Madison Dirks. It won three Tonys and three Drama Desk Awards, including Best Revival of a Play in 2013. A film adaption was created in 1966 and it starred Elizabeth Taylor, Richard Burton, George Segal and Sandy Dennis.
In the weeks leading up to the 77th Annual Tonys, Broadway’s Best Shows ran a series exploring the Broadway careers of this past season’s nominees. However, there was a wealth of excellent performances in the last season that were overlooked in this past season’s awards circuit that are just as deserving of recognition. As we head into a very busy 2024-2025 Broadway season, we want to take a moment to celebrate the work of these fine performers. In honor of these actors and their onstage contributions, here are some of Broadway’s great unsung performances from the 2023-2024 season.
Jay O. Sanders
One of Purlie Victorious’ undeniable highlights was Jay O. Sanders. In the production, Sanders played Ol’ Cap’n Cotchipee, a tyrannical plantation owner who believes he treats his workers well but weighs them down with debt. Critics and audiences alike enjoyed Sanders’ performance for its humor and intensity.
Noah Ricketts
While The Great Gatsby was largely overlooked during awards season, Noah Ricketts emerged as one of the show’s bright stars. Audience members and critics praised his commanding portrayal of Nick Caraway, who provides an outsider’s perspective into Gatsby’s lavish world.
Anika Noni Rose
Tony Award winner Anika Noni Rose turned in another brilliant performance in Uncle Vanya. Stepping into Chekhov’s world, Rose showcases her versatility as an actress, revealing the vulnerabilities that lie beneath Elena’s confident exterior.
Chip Zien
An actor who has originated iconic roles such as The Baker in Into the Woods, Chip Zien most recently returned to Broadway in Harmony. Zien’s performance as Rabbi Josef Roman Cycowski, the last surviving member of a German singing group broken apart by the Nazis, was well-liked by audience members and critics like Jesse Greene, who celebrated Zien’s “forceful” onstage presence.
Billy Eugene Jones
Billy Eugue Jones gave a standout performance in Purlie Victorious as Gitlow Judson, Purlie’s brother and one of Cotchipee’s sharecroppers. A key player in Lutiebelle’s scheme to win back a $500 inheritance, Jones gave a performance which New York Magazinecalled “extraordinarily committed, gutsy, and delicate.”
Izzy McCalla
Another memorable performance from this season came from Izzy McCalla, who played star circus performer and love interest Elena in Water for Elephants. Critics praised McCalla in particular for her graceful and nuanced portrayal of a survivor of domestic abuse. According to Frank Rizzo of Variety, in McCalla’s capable hands, Elena is not a victim but “an ever-resilient wife walking the tightrope of fidelity, fear and desperation.”
Michael Urie
Michael Urie garnered critical acclaim for his impassioned performance as Sir Robin in Spamalot. Critics such as Charles Isherwood and Jesse Greene commended Urie for the infectious energy and comic sensibility he brought to the role originated by Eric Idle and later by David Hyde Pierce in the original Broadway production.
Brittany Adebumola
Brittany Adebumola turned in another standout performance this season as Miriam in Jaja’s African Hair Braiding. Critics and audiences relished Adebumola’s portrayal of a girl-next-door door hair braider who, while timid on the surface, reveals her true feistiness throughout the show. While she wasn’t nominated for a Tony, Adebumola received a well-deserved nomination from the Drama Desk awards
In April, it was announced that Thornton Wilder’s Our Town will be returning to Broadway. Directed by Kenny Leon, the revival, which will feature stars such as Jim Parsons, Zoey Deutch, Ephraim Sykes, and Katie Holmes, begins performances at The Ethel Barrymore Theatre on September 17th. In anticipation of its opening, let’s take a look at the history behind this classic play.
Written by Thornton Wilder, Our Town premiered on Broadway in 1938. A play-within-a-play, Our Town depicts the everyday lives of citizens living in a fictional small town in New Hampshire, honing in on the relationship between George Gibbs and Emily Webb, two childhood friends who fall in love and get married. The play’s main character, the Stage Manager, provides commentary on the inhabitants of the town Grover’s Corners, breaking the fourth wall to address the audience.
Upon its original opening in the 1930s, Our Town received widespread acclaim, going on to win the Pulitzer Prize for Drama. Considered one of the greatest plays in American theatre, Our Town is also one of the most popular, remaining a perennial favorite for high school productions since its inception. It is consistently produced by theaters at every level, be they professional, community, or school groups. No matter where or when it is staged, Our Town remains an unmissable American masterpiece.
The 1938 Broadway production of Our Town.
Following its 1938 Broadway premiere, Our Town was revived in 1944, starring Montgomery Clift as George Gibbs, Martha Scott as Emily Gibbs, and Thomas W. Ross as Mr. Webb.
Twenty five years later, Our Town was revived once again, starring Henry Fonda as Stage Manager and Elizabeth Hamilton as Emily Webb. Also included among the cast were Ed Begley and Margaret Hamilton, famous for her portrayal of the Wicked Witch of the West in the 1939 film version of The Wizard of Oz.
The 1988 Lincoln Center Theater production of Our Town.
Our Town was revived again in 1988, this time with Spalding Gray as Stage Manager, Frances Conroy as Mrs. Gibbs, Penelope Ann Miller as Emily Webb, and Eric Stoltz as George Gibbs. The production was nominated for five Tony Awards, winning for Best Revival.
Our Town was last revived in 2002, starring Paul Newman as Stage Manager in what would be his final onstage performance. Alongside Newman, Jayne Atksinon played Mrs. Gibbs while Jane Curtin played Mrs. Webb. This production was immortalized with a PBS Masterpiece Theatre filmed adaptation, still part of the PBS live theatre catalog today.
The 2002 Broadway revival of Our Town, later released in 2003 as a TV Movie on PBS.
Shoshana Bean has been a Broadway lovers’ household name for about two decades now. While she’s currently appearing in “Hell’s Kitchen” in a role for which she earned her second Tony nomination, here’s a breakdown of the Broadway roles that got her there:
Hairspray (2002)
Bean made her Broadway debut in the original company of Hairspray as Shelly, one of Corny Collins’ Council Members. Bean also served as the understudy for Tracy Turnblad, Prudy Pingleton, and Velma Von Tussle in this musical based on John Waters’ classic film.
Wicked (2004)
Bean was next on Broadway in Wicked as a replacement standby for Elphaba, taking over the role full time following Idina Menzel’s departure from the production. Due to Bean’s powerhouse vocals and dynamic onstage presence, theatre aficionados often rank Bean as one of the best Elphabas appearing in Wicked throughout its Broadway run.
Waitress (2019)
In 2019, Bean joined the cast of Waitress as Jenna, a woman who finds solace from her abusive marriage in baking. Bean starred opposite Jeremy Jordan as Dr. Pomatter, together performing the music of Sara Bareilles.
Mr. Saturday Night (2022)
Bean next appeared on Broadway in Mr. Saturday Night, a musical that follows an older comedian making a last ditch effort at fame. Playing opposite Billy Crystal and Randy Graff, Bean starred as the comedian’s estranged daughter Susan. For her performance in the role, Bean garnered her first Tony nomination.
Hell’s Kitchen (2024)
Bean is currently on Broadway opposite Maleah Joi Moon and Brandon Victor Dixon in Hell’s Kitchen, an original musical inspired by the life of Alicia Keys. In this coming-of-age musical , Bean plays Jersey, the overprotective mother of a young artist growing up in Hell’s Kitchen in the 90s. For her feisty presence and unforgettable vocals, Bean earned her second Tony nomination.
