For 20 years, Leigh Silverman has built an impressive directing career in New York and across the country. Since her Off-Broadway debut with 2004’s Well at the Public Theater (which she would restage for Broadway two years later), Silverman has helmed five Broadway and over 30 Off-Broadway productions.
Her Broadway credits include Chinglish, The Lifespan of a Fact, and Grand Horizons, among others, and her sixth Broadway show is this season’s new musical Suffs, which Silverman brings to the Music Box Theatre following its Public Theater premiere in 2022.
Her awards nods include a Tony nomination for her work on the 2014 revival of Violet and two Drama Desk nominations, one for directing the play From Up Here in 2008 and the other for the musical Soft Power. The latter happens to be the show that came to mind for Silverman when Broadway’s Best Shows asked about her most challenging work to date. See what she had to say about the difficult project, and her eye towards its future… 👀
Conrad Ricamora & Kendyl Ito in Soft Power at the Public Theater. Photo by Joan Marcus
This interview has been edited for clarity and concision.
Broadway’s Best Shows: What has been your most challenging work to date?
Leigh Silverman: This is such an interesting question because every project is rife with its own unique, amazing challenges. I love challenge when it is artistic in nature and forces my collaborators and me to imaginatively and rigorously grapple.
The most challenging work, using this framework, would be Soft Power, a musical I directed at the Ahmanson Theater in 2018 followed by a run at the Curran in San Francisco and was then produced at the Public Theater in 2019.
BBS: What was so difficult about this project?
LS: This musical had been a dream of David Henry Hwang’s, with music by Jeanine Tesori, and was a true exploration/investigation of what is “possible” in musical theater. David wanted to write a play that would shatter when the character of DHH is stabbed (a hate crime that did happen to the real David), and then the play would replay/transform into a musical complete with a full orchestra. He loved the structure of Anne Washburn’s iconic play, Mr. Burns, and in his own spin wanted to create an inverse to Rodgers and Hammerstein’s The King and I.So in his musical Soft Power, America’s struggles are musicalized through a futuristic Chinese musical lens.
We faced challenges in tone and style as we tried to bend and twist and subvert and articulate why we love musicals, and why, even when they are so very problematic and racist, they still have the power to move us so deeply. All this while commenting on China’s possible future point of view about America as told through musical theater and thereby exerting their “soft power.”
BBS: How did you address and/or resolve the challenges?
LS: We worked tirelessly. We love musical theater and wanted to make an exciting piece of musical theater that honored the form while interrogating it. We wanted to explicitly address the brutal and constant racism Asian Americans face. We worked and worked and worked and at one point Jeanine said to David, “David! Put your pancreas on the table!” That’s how hard we were all working.
BBS: Are you proud of the result?
LS: Extremely. But also it is unfinished.
BBS: Is there anything you would do differently with the benefit of hindsight?
LS: The world has changed significantly since 2019 and I believe, when we get back to it, there will be fresh ideas and energy for reinvestigating David’s incredible vision.
Caught in the grip of alcoholism, two lovers watch as their lives spiral out of control in Days of Wine and Roses, a new adaptation of the 1962 film, now playing at Studio 54. Two Broadway veterans at the top of their game, Kelli O’Hara and Brian d’Arcy James deliver nuanced and devastating performances as a husband and wife struggling to navigate the toll of addiction.
As Kirstie, O’Hara is truly a joy to watch. Commanding Adam Guettel’s haunting score, she has never sounded better, her rich soprano underscoring the emotional volatility of her performance. Guettel’s score provides O’Hara ample opportunity to showcase her versatility as both a vocalist and actor, as when she scats while her character drunkenly vacuums the apartment, a welcome moment of comedy in a musical with such bleak subject matter.
D’Arcy James perfectly complements O’Hara, delivering an earnest and moving performance as Joe, a husband fighting to stay sober and keep his family afloat. The chemistry between the couple and the pathos of their performances is also a credit to director Michael Greif, whose direction establishes the emotional stakes of this classic story and breathes new life into its characters.
At once a love story and a harrowing portrait of addiction, Days of Wine and Roses is sure to resonate with audiences whether they are familiar with the original movie or not.
While some Broadway shows are lucky enough to run for decades with no signs of slowing, others set out only to play for a finite time in a limited engagement, or, unfortunately close earlier than they had hoped, due to the unpredictable nature of the industry.
Here’s a recap of what you need to see in the next month before they disappear from the Broadway boards for good:
Photo by Matthew Murphy
Gutenberg! The Musical! – January 28
Bud & Doug, as played by Josh Gad & Andrew Rannells, are soon to hang their hats (of the yellow baseball variety) as they end their limited Broadway engagement at the James Earl Jones Theatre on January 28. With this metatheatrical musical directed by Alex Timbers, the duo reunited on Broadway for the first time since originating the lead roles in The Book of Mormon together back in 2011.
Purlie Victorious: A Non-Confederate Romp Through the Cotton Patch – February 4
Leslie Odom, Jr. returned to the stage for the first time since Hamilton in September 2023 when he opened the first-ever revival of Ossie Davis’s Purlie Victorious in the titular role. Starring alongside Kara Young in this “outrageous comedy,” as director Kenny Leon put it, Odom, Jr. has put this 1961 play back on the map and you only have a couple weeks left to experience it. Final performance Sunday, February 4.
Photo by Julieta Cervantes
Harmony – February 4
With music by Barry Manilow and a book & score by his longtime collaborator Bruce Sussman, Harmony came to Broadway in the fall to retell the true story of the Comedian Harmonists. This moving musical darkly dramatizes the rise of Naziism across Europe as it collides with the hopes and dreams of this part-Jewish group of traveling singers. The histori-musical ends its Broadway run on February 4.
Photo by Curtis Brown
How to Dance in Ohio – February 11
Based on the HBO documentary of the same title, this peppy new musical recounts the highs and lows of a group of young adults on the Autism spectrum, as they learn all the skills and behaviors needed ahead of their group therapy program’s spring dance. The show introduces audiences to seven of these young adults, all played by actors who are also on the spectrum. Featuring standout performances from Liam Pearce and Caesar Samoya, endearing storytelling helmed by Sammi Cannold, and authentic representation across the board(s), don’t miss your chance to dance along with this inspiring company until February 11.
Photo by Joan Marcus
Appropriate – March 3
Branden Jacobs-Jenkins’ family drama made its Broadway debut in late 2023, ten years after it was initially performed in Washington, D.C. Sarah Paulson, Elle Fanning, and Corey Stoll lead the cast as the Lafayette family comes to terms with its dark ancestral past. The play is running in a limited engagement at Second Stage’s Helen Hayes Theater through March 3.
Prayer for the French Republic – March 3
Joshua Harmon’s epic exploration of Jewish identity and perseverance over generations of persecution and hate landed on Broadway as the first new show of 2024. Following its smashing success Off-Broadway, Manhattan Theatre Club has transferred the David Cromer-directed three-act to the Samuel J. Friedman Theatre, where its short run is scheduled through March 3.
Beowulf Boritt is one of the busiest set designers on Broadway. Since making his debut with 2005’s The 25th Annual Putnam County Spelling Bee, Boritt has designed the set of over 30 Broadway productions, earning two Tony Awards (from six nominations), and two Drama Desk Awards (from eight nominations) in the best scenic design category. His latest Broadway set was for Harmony, and next up is the upcoming revival of Thornton Wilder’s Our Town.
His 2023 Tony Award and Drama Desk Award wins were both for his design of the new musical New York, New York. These must have been particularly rewarding accolades, considering that show is the one Boritt named when we asked him about his toughest project to date. Here is Beowulf Boritt on his most challenging work to date:
An early sketch for ‘Wine & Peaches’ in New York, New York, courtesy of Beowulf Boritt.
This interview has been edited for clarity and conciseness.
Broadway’s Best Shows: What has been your most challenging work to date?
Beowulf Boritt:New York, New York (by John Kander, Fred Ebb, David Thompson, Sharon Washington, and Lin-Manuel Miranda at the St. James Theatre, Directed and Choreographed by Susan Stroman, 2023) was by far the largest, most complicated set I’ve designed.
BBS: What was so difficult about this project?
BB: The show required many, many locations in quick succession and it all had to squeeze into a Broadway theatre without a very big backstage. The rapid pace of the scene changes was hard because there were several 15-20 minute sequences in the show that were basically constant scene changes keeping the crew working at a fevered pace. For the first 10 days of tech, I think the crew and stage management just thought it was impossible, but they kept at it valiantly, and eventually, we got it all working efficiently, safely, and beautifully.
BBS: How did you address and/or resolve the challenges?
BB: We planned very carefully, making sure everything was exactly the size we had laid out in our technical drawings so it could all fit together like a giant three-dimensional Tetris game. We had to balance all these technical needs with the look of the design so it would all feel beautiful and effortless.
BBS: Are you proud of the result?
BB: I won a Tony Award for it, so that’s a nice cherry on top!
BBS: Is there anything you would do differently with the benefit of hindsight?
BB: The show was enormous. Perhaps too enormous to survive in the current Broadway climate. It was what the artistic and producing team wanted, I think, but I suppose in retrospect had we done a much simpler production it might have had a longer life.
After the first Broadway opening of 2024, “Prayer for the French Republic” at the Samuel J. Friedman Theatre on January 9, Broadway’s winter theater season is off to a strong start. To keep the celebration alive, Broadway’s Best Shows presents a peek at some of the most anticipated shows set to grace the stage between now and the spring equinox on March 19, 2024. From romance-centered musicals to intense classic dramas and one-person spectacles, the next couple of months promise a diverse roster of new Broadway offerings.
Photo by Ahron R. Foster
Days of Wine & Roses
Where: Studio 54
Opening: January 28
Following its world premiere at the Atlantic Theater Company last year, “Days of Wine & Roses” brings its poignant tale of love and struggle to Studio 54, with powerhouse performances by Brian D’Arcy James and Kelli O’Hara and an original score by Adam Guettel (“The Light in the Piazza”) in tow. For more information, click here.
Doubt
Where: American Airlines Theatre (soon to be renamed the Todd Haimes Theatre)
Opening: February 29
Roundabout Theatre Company presents a revival of “Doubt” with powerhouse duo Tyne Daly and Liev Schreiber taking center stage. Off-Broadway stalwarts Zoe Kazan and Quincy Tyler Bernstine (Mr Burns: A Post-Electric Play) round out the cast. This is the first revival of John Patrick Shanley’s Pulitzer Prize- and Tony Award-winning 2005 play. For more information, click here.
Photo by Mark Senior
My Son’s A Queer (But What Can You Do?)
Where: Lyceum Theatre
Opening: March 12
Direct from a critically acclaimed London premiere, Rob Madge makes a splash on Broadway with their one-person show My Son’s A Queer (But What Can You Do?). Madge’s compelling storytelling and charismatic stage presence promise an evening of laughter, tears, and a celebration of love and acceptance. For more information, click here.
The Notebook
Where: Gerald Schoenfeld Theatre
Opening: March 14
As iconic as the beloved novel and film, “The Notebook” takes a new form as a musical at the Gerald Schoenfeld Theatre. With music by songstress Ingrid Michaelson, get ready for a romantic and emotional journey as three pairs of performers play lovers Noah and Allie at different stages of their lives. For more information, click here.
An Enemy of the People
Where: Circle in the Square Theatre
Opening: March 18
Directed by Sam Gold and featuring Jeremy Strong (“Succession”) and Michael Imperioli (“The Sopranos”), the latest revival of Henrik Ibsen’s An Enemy of the People features a new adaptation by Amy Herzog (of last season’s A Doll’s House). Strong plays a doctor who uncovers corruption and pollution in a close-knit vacation spa town. For more information, click here.
The threat of antisemitic violence, both past and present, looms throughout Prayer for the French Republic by Joshua Harmon, now running at Manhattan Theatre Club’s Samuel J. Friedman Theatre on Broadway. A portrait of a family in crisis, one of the three-act epic’s great strengths is its dynamic ensemble cast, who embody the humor and pathos at the heart of Harmon’s timely play.
As Elodie, the eldest daughter of the Salomon-Benhamou family, Francis Benhamou is delightfully sardonic as she defends and rails against her family’s antics and staunchly held beliefs throughout the play. Anthony Edwards gives a commanding performance as Patrick Salomon, who recounts his family’s struggle with antisemitism yet struggles with the religiosity and growing anxieties of his sister’s family.
The scenic design by Takeshi Kata is an undeniable highlight, working seamlessly with the play’s alternating timelines, as the Benhamous’ apartment transforms back and forth between Paris of the present day and the 1940s with ease. It elegantly complements David Cromer’s staging, which places the anxieties that the Salomon-Benhamou family confronts in the past and present in conversation with each other and highlights that the struggle against antisemitism is a constant one.
An urgent story of faith and family, Prayer for the French Republic is a thought-provoking and necessary production.
Running at the Samuel J. Friedman Theatre through February 18, 2024. For more information and tickets, click here.
Broadway is often a platform for important stories that reflect the diverse tapestry of our collective history. Martin Luther King Jr., an iconic figure in the civil rights movement, has not been exempt from this trend. Over the years, various productions have paid homage to his legacy through impersonation, invocation, and references. In celebration of Martin Luther King Jr. Day, let’s take a journey through some notable instances of Martin Luther King Jr. on the Broadway stage.
Samuel L. Jackson as Martin Luther King Jr. in The Mountaintop. Photo by Joan Marcus
The Mountaintop Katori Hall’s The Mountaintop provides a unique perspective on the last night of Dr. King’s life. Premiering on Broadway in 2011, the play featured Samuel L. Jackson as Martin Luther King, Jr., and Angela Bassett as a mysterious hotel maid. The production delved into King’s inner thoughts and struggles, offering a poignant portrayal of the man behind the movement. The Mountaintop humanizes the legendary leader, giving audiences a glimpse into the vulnerability beneath the public persona.
Brandon J. Dirden as Martin Luther King Jr. in All The Way. Photo by Evgenia Eliseeva
All The Way Bryan Cranston took on the challenging role of President Lyndon B. Johnson in All The Way, which premiered on Broadway in 2014. While the play primarily focuses on LBJ’s presidency, it touches upon the Civil Rights Act and King’s interactions with the administration during a crucial period in American history. Brandon J. Dirden took on the role of the iconic activist as “All The Way” served as a reminder of the intricate dance between political leaders and activists during a pivotal era.
Jay O. Sanders as Ol’ Cap’n Cotchipee in Purlie Victorious. Photo by Marc J. Franklin
Purlie Victorious: A Non-Confederate Romp Through the Cotton Patch Although not a play centered on Martin Luther King Jr., Ossie Davis invokes his name in Purlie Victorious as a timeless symbol of progress and racial equality when Ol’ Cap’n Cotchipee asserts that segregation ought to remain the way of things and “to hell with Abraham Lincoln and Martin Luther King.” It also deserves mention due to King’s actual attendance at its original Broadway production. Dr. King was in the audience when the play reached its 100th performance, becoming a historical moment connecting theater and the civil rights movement.
Billy Dee Williams as Martin Luther King Jr. in I Have A Dream. Photo by Martha Swope
I Have A Dream I Have A Dream was a musical revue that pays tribute to the powerful words of Dr. King. Premiering on Broadway in 1976, the production wove together King’s speeches and sermons, providing audiences with a musical journey through the key moments of the civil rights movement. Billy Dee Williams played the central figure. Through soul-stirring musical performances and poignant storytelling, “I Have A Dream” celebrated the enduring impact of King’s words and the resonance they continue to have in the fight for justice and equality.
The cast of the film One Night in Miami, directed by Regina King.
One Night in Miami Kemp Powers’ play One Night in Miami explores a fictional meeting between Malcolm X, Muhammad Ali, Sam Cooke, and Jim Brown. While not directly focused on King, the play acknowledges his influence on the era, placing his ideals at the center of the cultural and political discourse. One Night in Miami invites audiences to reflect on the interconnectedness of historical figures and the collective pursuit of social change. The play underscores the enduring relevance of King’s principles in shaping conversations around activism and equality. The play was adapted by Regina King for a 2020 film.
These Broadway productions serve as a testament to the enduring impact of Martin Luther King Jr. on American society. Whether through direct impersonation or indirect references, the stage has become a canvas for artists to explore and celebrate the legacy of a man who played a pivotal role in the fight for civil rights.
Max Wolf Friedlich made a splash this fall with the world premiere of his play JOB. Starring Sydney Lemmon (Tár) and Peter Friedman (Succession), and directed by Friedlich’s longtime collaborator Michael Herwitz, the psychological thriller about tech workers in San Francisco, opened last October at Soho Playhouse. Now, the new play moves to the Connelly Theatre beginning on January 19th.
We recently spoke to Max about his inspirations, from Martin McDonagh to AI Instagram influencers, and how the production hopes to bring new audiences to the Off-Broadway space.
JOB playwright Max Wold Friedlich. Photo by Nikky Ayra
This interview has been edited and condensed for clarity.
Broadway’s Best Shows
Congratulations on the upcoming remount of Job at the Connelly! I’d love to know your influences, and how this script began.
Max Wolf Friedlich
I think at my core, it was growing up seeing Conor McPherson plays and Martin McDonagh plays, and Jez Butterworth and Sarah Kane, very British [and] Irish. Dark, twisty, supernatural, perverted, surreal, but also very real, often with a horror element. I think those were the things that as a kid were really foundational, and they are the kind of writer I still aspire to be.
Job is not the most autobiographical work. I started writing it as part of a theater development group in LA in fall of 2019. We were really actively working on it until the final preview that we locked. This past summer, we did a week-long workshop, where going in the script was 14 pages longer [than it is now.]
BBS
That was a very fruitful workshop if you cut 14 pages! Congratulations.
MWF
Thank you! I have worked with our director, Michael Herwitz, and our dramaturg-slash-producer Hannah Getts for many years. I write the plays, but we really develop [them] as a core trio. To be honest, it was pretty seamless. Where the play comes from is twofold. One is, I met someone at a party who had the job that is portrayed in the show, working in content moderation [for social media.] And the other element of it was, I worked for this very strange tech company that built fictional influencers, the most famous of which was called Lil Miquela.
So I have the strange experience of being a famous woman on the internet by playing this character professionally. The parts of the play that are really autobiographical are like, when you have 1.3 million followers, and you’re portraying a 19-year-old young woman–I didn’t mainline the internet the same way that the character in the play does–but, I could look at my phone any hour of the day, and someone [would be] saying something really heartfelt, or really disturbing, or very weird, or, you know, “I’m in the Philippines, I love your fashion.” That’s crazy. It’s literally me, you know?
BBS
That sounds like a truly surreal experience.
MWF
Really ran the gamut from Martin McDonagh to fake influencers. Yeah.
BBS
I’m imagining you at eight years old, just reading The Pillowman.
MWF
Maybe not eight, but probably…10. Yeah.
BBS
What was the theatrical experience that got you from a general interest in theater to playwriting?
MWF
I was a really self-conscious kid, which is why my mom suggested that I try acting. I really didn’t enjoy being on stage in that way. I didn’t like being told what to do. And then I wrote a Christmas play that I won’t disclose the details of because I picked it up again recently, like 10 years later, and it’s the next play that I want to do [after JOB.] It was a very perverse Christmas play. And my eighth grade English teacher, Mr. Byrne, was like, “I need to tell your parents about this. Because this is disgusting.” And also, “This is great, and you should keep going.”
JOB at Soho Playhouse. Photo by Emilio Madrid
BBS
The play takes place in a therapist’s office. And without saying too much, it is about a woman, Jane, who has been deeply traumatized. The show is constantly questioning mental health care, its relationship to being a participant in labor, and then also how trauma functions [in the brain].
MWF
Yeah. I did very little research into the actual job. That is encapsulated in the fact that it used to be fairly obvious that Jane worked at a very specific company. And then we were like, well, we’re not really doing the due diligence. We’re not representing these people. So the play is really an accentuated hyperbolic version of what it is to be on the internet. The experience of being online and growing up online is so ubiquitous that we don’t think of ourselves as having our brain chemistry altered and having seen traumatic images and had experiences that we shouldn’t have had, due to our access to the internet.
There’s a lot of my own relationship with therapy too, which is I think a very uneasy one. I don’t go, not currently, but, I have historically gone. I think therapy is good. But I’ve always been unnerved by that relationship and being like, Who is this person? What have they done? I had a therapist once who, anytime I’d mention something in my relationship, he would be like, “women can be really difficult.” And then I found out through our setting [that] he was divorced. And I was like, “Okay, you’re kind of bringing your own stuff.”
I’m more interested in the Rorschach test possibility of theater, rather than being like, this is where I want you to get to. I think anything people take away from it is something that I’m cool with.
BBS
You’ve spoken about how this play is about and for young people. Can you tell me more about how Job is trying to show young people that theater can be about them?
MWF
I’m an avid theater goer. I grew up in New York and have seen a s***load of theater, and I simply don’t see a lot of things that address our generation’s experience. And I think that that can exist across lines of race and gender and sexuality. JOB is really about our modern relationship with labor. First and foremost, it’s a play about how Millennials and Gen Z see work and see their role in the world. We were really conscious [of that] in our branding. We used photographers and graphic designers who typically work in music editorial, because we didn’t want it to look like a play. Which – accessibility means a number of things, right? There’s very tangible things like ticket prices. And then there’s things in the middle. How do we actually reach this audience? You can make your ticket prices as low as you want but if the content isn’t for the demographic that it seeks to reach, and if you’re not reaching them, then there’s no way to get them there. It’s little things. I’m a huge advocate of saying, “hey, doors at 6:30, show’s at 7”, because, when young people go see music, and it says the show’s at 7, the show is never actually at 7. It lets people know that this is for them, that there aren’t tricky rules that they don’t understand. As a young person seeing theater when I was 10, or 11 or 12, I was made very aware that I was an outlier in those spaces. I don’t want 10 year olds coming to see JOB, to be clear!
BBS
Ha, yeah, I was going to say.
JOB starts performances at the Connelly Theatre, 220 East 4th St, January 19th, and runs through March 3rd. $32-$127.
The jukebox musical featuring the songs of ABBA, premiered on the West End in 1999. Two years later, the show was an international sensation and opened on Broadway at the Winter Garden Theatre. In the years since, the musical continues to entertain with productions and tours all over the world, two movie adaptations, and a rumored third on the way!
Come along, dancing queens, as Broadway’s Best Shows dives into the careers of the original Broadway cast over 22 years later.
Louise Pitre (Donna Sheridan)
As Donna, Pitre earned herself a Tony Award nomination in 2002. After leaving the show in 2003, Pitre has continued in musical theatre, with iconic performances as Fantine in Les Misérables, Mama Rose in Gypsy, and Joanna in Company. In 2009, Pitre performed at Carnegie Hall in the musical Kristina, written by ABBA’s Benny Andersson and Bjorn Ulvaeus.
Judy Kaye (Rosie)
Kaye received a Tony Award nomination for Mamma Mia!, and has continued to appear on Broadway and regional stages across the country. In 2006, Kaye appeared as Mrs. Lovett for 1 week in the revival of Sweeney Todd while Patti LuPone was on vacation. Later that year, she took over for Patti again in the revival of Gypsy. Kaye starred in the 2012 musical Nice Work If You Can Get It, winning a Tony Award, Drama Desk Award, and Outer Critics Circle Award for her portrayal of Duchess Estonia Dulworth. After a brief run as the Dowager Empress in the Broadway musical Anastasia, she originated the role of Queen Elizabeth II in Diana, The Musical.
Karen Mason (Tanya)
Seven years after originating the role of Tanya on Broadway, Mason appeared on Broadway in Hairspray as Velma Von Tussle. In 2011, Mason appeared as the Queen of Hearts in the Broadway musical Wonderland and went on to recreate the role in the Tampa & Houston productions. She also appeared as Madame Giry in the national tour of Andrew Lloyd Webber’s Lover Never Dies.
Karen Mason, Louise Pitre & Judy Kaye in Mamma Mia! Photo by Joan Marcus
Ken Marks (Bill Austin)
Marks has appeared in several Broadway productions since originating the role of Bill, including Hairspray as Wilbur Turnblad, Spring Awakening, Spider-Man Turn off the Dark, Airline Highway, and most recently, the 2022 Tony-winning revival of Take Me Out.
Dean Nolan (Harry Bright)
Following his run as Harry Bright, Nolan continued to appear in Off-Broadway and regional theaters. He co-produced a documentary titled “None Less than Heroes,” about the Honor Flight program which brings World Warr II veterans to Washington D.C. Currently, Nolan is on the faculty Texas Tech University’s School of Theatre and Dance.
Tina Maddigan & Joe Machota in Mamma Mia! Photo by Joan Marcus
Tina Maddigan (Sophie)
In 2006, Maddigan returned to Broadway as a standby in the original Broadway cast of The Wedding Singer. After a spinal injury left her with vocal paralysis, Maddigan spent years in vocal therapy and is currently an avid TikToker with over 500k followers.
Joe Machota (Sky)
After leaving the production in 2005, Machota moved to the business side of the industry, becoming the head of theater at CAA, where he currently represents some of the largest names in entertainment.
Notable Broadway Replacements
Carolee Carmello (Donna)
Following her departure from the show, Carmello originated the role of Alice Beineke in the musical The Addams Family. In 2011, she replaced Victoria Clark as Mother Superior in the musical Sister Act. Other notable Broadway credits include Scandalous, Finding Neverland, and Tuck Everlasting. Carmello starred as Dolly Levi in the national tour of Hello, Dolly! Until its closing in 2020, and most recently appeared in the Broadway musical Bad Cinderella.
Beth Leavel (Donna)
Beth Leavel succeeded Carolee Carmello as Donna in 2009. Since, she’s appeared on Broadway in Elf the Musical and Baby It’s You!, earning a Tony nomination for the latter. In 2018, she starred in The Prom, earning another Tony nomination. Most recently, Leavel starred as Miranda Priestly in the Chicago premiere of the musical adaptation of “The Devil Wears Prada.”
Christy Altomare
Altomare made her Broadway debut in Mamma Mia! Since, she originated the role of Anya in the Broadway musical adaptation Anastasia.
Judy McLane (Donna & Tanya)
McLane starred as both Donna and Tanya, and is the longest-running lead in the musical’s history with over 4,000 performances. Currently, McLane is starring as Joanne on the national tour of Company.
Mark your calendars because New York City Tourism + Conventions is back with a show-stopping extravaganza – Broadway Week! And it’s not just a week; it’s a theater lover’s dream that stretches from January 16 to February 4! Yes, you read that right – more than a week of Broadway bliss awaits you.
Here’s the scoop: NYC Broadway Week is your golden ticket to the finest theatrical productions, all available at a fabulous 2-for-1 deal. The stage is set, the actors are ready, and the only missing piece? You! Grab your tickets to the Broadway’s best without breaking the bank!
Here is our list of some of the best shows available for this season’s offer:
Hamilton
First up on our list is the phenomenon that took Broadway by storm – Hamilton. Join Alexander Hamilton, Aaron Burr, and the rest of the Founding Fathers in this Pulitzer Prize and Tony Award-winning musical that seamlessly blends hip-hop, R&B, and traditional show tunes. One of the hottest tickets in town, don’t throw away your shot to witness the magic of Lin-Manuel Miranda’s masterpiece!
Photo by Matthew Murphy
Gutenberg! The Musical
If you’re in the mood for laughter, look no further than Gutenberg! The Musical. Andrew Rannells and Josh Gad reunite for the first time since their Book of Mormon days in this comedy where two aspiring writers attempt to sell their “masterpiece” – a musical about printing press inventor Johann Gutenberg. Only in performances through January 28, so don’t miss out!
& Juliet
For a fresh take on a classic, look no further than & Juliet. This innovative pop musical, powered by the music of Max Martin, reimagines Shakespeare’s Romeo and Juliet, giving Juliet a chance to rewrite her own destiny. This modern twist on the timeless tale of love is a must-see for romantics and rebels alike!
Photo by Marc J. Franklin
Purlie Victorious
Ossie Davis’s landmark 1961 play Purlie Victorious: A Non-Confederate Romp Through the Cotton Patch is back on Broadway for the first time in over 60 years! Leslie Odom, Jr. and Kara Young star in the roles that Davis and his wife Ruby Dee originated in the original production. Set in the American South, this gem of a revival promises powerful performances and an unforgettable journey that will tug at your heartstrings.
Photo by Matthew Murphy & Evan Zimmerman
Spamalot
If you’re a fan of irreverent humor and absurdity, Spamalot is the show for you. This Tony Award-winning musical returns to Broadway to lovingly mock the legend of King Arthur and his Knights of the Round Table in true Monty Python style. Some of Broadway’s brightest stars, including Leslie Rodriguez Kritzer, Michael Urie, James Monroe Iglehart, and Alex Brightman are giving laugh-out-loud performances nightly at the St. James Theatre!
Prayer for the French Republic
Last but certainly not least is Josh Harmon’s latest, Prayer for the French Republic. This thought-provoking epic play explores the continuation of antisemitism around the world by contrasting the experience of a Jewish family in Paris across two periods of recent French history. The new play opened on Broadway on January 9, 2024 after a successful Off-Broadway run last season.
So, what are you waiting for? Click here to snag your 2-for-1 tickets to these Broadway gems. Whether you’re a seasoned theatergoer or a Broadway newbie, NYC Broadway Week is your chance to savor the magic of live performances at a price that can’t be beaten!
