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Broadway's Best

Broadway’s Best Mystery and Thriller Plays

by Ben Togut

Mystery and thriller plays have enthralled Broadway for decades. Through taut pacing and nail-biting suspense, these plays have kept audiences at the edge of their seats, eagerly anticipating the twists and turns that await them.

Angel Street, also known as Gaslight, premiered on Broadway in 1941. A suspense thriller written by Patrick Hamilton, the play takes place in Victorian London and tells the story of a husband intent on driving his wife insane. Angel Street was an instant hit and was adapted into a 1954 film starring Ingmar Berman, which is considered responsible for popularizing the term “gaslight.” The play was later revived on Broadway in 1975 starring Michael Alinson and Dina  Merrill.

Dial M For Murder, a murder mystery which opened on Broadway in 1952. Written by Frederick Knott, the play is about a tennis player plotting to murder his socialite wife to steal her inheritance. The play has been adapted several times, first as a 1954 Hitchcock film starring Ray Milland and Grace Kelly and 1998 movie remake called A Perfect Murder featuring Gwyneth Paltrow and Michael Douglas.

Witness for the Prosecution, written by Agatha Christie, had its Broadway premiere in 1954. Taking place in 1920s London, the play is about a man accused of murdering a widow to steal her money. The play was a resounding success, with actors Patricia Jessel and Francis L. Sullivan both winning Tony Awards for their performances. Witness for the Prosecution was later adapted into a 1957 film starring Billy Wilder and Marlene Dietrich and a 1982 made-for-television drama featuring Beau Bridges, Diana Rigg, and Deborah Kerr.

Wait Until Dark, which opened on Broadway in 1966 and was written by Frederick Knott. This thriller tells the story of a blind woman who is targeted for owning a heroin-filled doll her husband transported from Canada. The original Broadway production starred Robert Duvall and Lee Remick, who was nominated for a Tony Award for her performance as Susy Hendrix. The play was adapted in a 1967 film starring Audrey Hepburn and Alan Arkin, and later revived on Broadway in 1998 with a cast including Marisa Tomei and Quentin Tarantino.

Sleuth, which premiered on Broadway in 1970. Written by Anthony Shaffer, the play is about games-obsessed mystery writer Andrew Wyke who convinces his wife’s lover Milo to stage a robbery of her jewelry. When writing the play, Shaffer drew inspiration from his friendship with beloved composer Stephen Sondheim, whose passion for games served as the basis for Andrew Wyke. Sleuth was critically acclaimed upon its Broadway opening and won the Tony Award for Best Play. The play has been adapted into a film twice: in 1972 starring Laurence Olivier as Wyke and Michael Caine as Milo, and again in 2007, featuring Jude Law as Milo and Michael Caine as Andrew Wyke.

Elliott Gould and Mariette Hartley in rehearsal for <i>Deathtrap</i>

Death Trap, which opened on Broadway in 1978. Written by Ira Levin, Death Trap is about a disillusioned playwright who makes a last-dash effort at success after a series of unsuccessful plays. Starring Broadway veterans John Woods and Marian Seldes, the play was a commercial success and remains one of the longest running non-musicals on Broadway. In 1982, Death Trap was adapted into a film starring Michael Caine and Christopher Reeve. In the late 90s, Elliott Gould and Mariette Hartley (pictured above) starred in the play’s national tour.

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Creative

Tap to Trapeze: Dance Styles on Broadway in 2024

by Ben Togut

The musicals on Broadway this season feature an eclectic variety of dance styles. Through dance, these musicals push the envelope, showcasing movement as a vehicle for innovative storytelling.

In Illinoise, Justin Peck employs a diverse array of dance styles to bring Sufjan Stevens’ concept album to life onstage. While much of the choreography is interpretive, in Illinoise Peck also features theater dance, tap, break dancing, and ballet. A blend of several styles, Peck’s eye-catching choreography is what makes Illinoise shine.

In Hell’s Kitchen, Camille A. Brown puts hip-hop front and center to tell the story of a young artist growing up in New York City in the 1990s. Brown pulled from her experience living in New York in the 90s to create the musical’s choreography, incorporating the movements and rhythms she grew up around. Brown’s choreography, which also features rhythmic, contemporary, and modern dance, amplifies the energy and intensity of this coming-of-age story.

In Water for Elephants, high-flying acts abound. Shana Carroll and Jesse Robb harness the language of circus to bring Sara Gruen’s beloved novel to the stage. The musical’s choreography features a variety of circus acts, like trapeze and acrobatics, as well as styles such as lyrical, jazz, and swing. Showcasing the art of circus, Carroll and Robb’s choreography makes Water for Elephants feel authentic and alive onstage.

In The Who’s Tommy, Lorin Latarro’s high octane choreography is center stage. Drawing inspiration from rock n’ roll, Latarro’s choreography embraces spectacle. During the show, the ensemble flips the child actor who plays Tommy in the air as if he’s pizza dough. At other moments, such as in the number “Pinball Wizard,” dancers burst with such energy it’s as if they themselves are pinballs bouncing around in a machine.

Outside of this season’s new musicals, there is a colorful array of dance styles represented on Broadway. In last season’s audience favorite & Juliet, Jennifer Weber marries hip-hop, pop, and ballet to bring Max Martin’s jukebox musical to life. Bob Fosse’s iconic jazz choreography continues to dazzle audiences in Chicago, while Wayne Cilento’s high-energy musical theatre choreography infuses Wicked with storybook magic.

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Broadway's Best

Broadway’s Best Political Plays

by Ben Togut

From presidential campaigns to government scandals, there has been a wealth of political plays on Broadway in recent years. Featuring politicians both real and imagined, these plays provide audiences with intrigue and insight, exploring notable periods of history and how political dynamics affect relationships. 

The Best Man, which opened on Broadway in 1960. Written by Gore Vidal, The Best Man is about two candidates facing off in the presidential primaries, each with flaws that threaten their personal lives and political careers. When the play premiered, it was widely understood as an analogue to that year’s Democratic Convention and as well as a critique of the Democratic Party. The Best Man was adapted into a film in 1964 and has been revived twice—in 2001 and 2012—featuring Broadway veterans such as James Earl Jones, Christine Ebersole, and Angela Lansbury.

Life on the Stage: Frost/Nixon : Jacob Burns Film Center

Peter Morgan’s Frost/Nixon, which opened on Broadway in 2007. The play dramatizes a contentious set of interviews between President Richard Nixon and British broadcaster David Frost, examining Nixon’s presidency and his involvement in the Watergate scandal. Starring Frank Langella as Nixon and Michael Sheen as David Frost, the play was later adapted into a film by Ron Howard with Langella and Sheen repeating their original roles.

On Broadway: 'NOVEMBER'

David Mamet’s November, which opened on Broadway in 2008 starring Nathan Lane and Laurie Metcalf. Just as in politics, elections are at the crux of many political plays. Billed as a satire, November focuses on an unpopular president in the days leading up to his second election. The production was praised for its sharp humor as well as the strength of its performances, with Metcalf receiving a Tony nomination for her role as Carlice Bernstein, the president’s secretary.

Hillary and Clinton' Review: Play With Laurie Metcalf, John Lithgow
Photo by Julieta Cervantes

Hillary and Clinton, which premiered on Broadway in 2019. Written by Lucas Hnath, Hillary and Clinton takes place in an alternate universe, focusing on the struggles of Hillary Clinton’s 2008 campaign and her relationship with Bill Clinton. Starring Laurie Metcalf as Hillary Clinton and John Lithgow as Bill Clinton, the play was applauded for its witty writing and unique exploration of Hillary and Bill Clinton’s marriage.

All The Way (Broadway, Neil Simon Theatre, 2014) | Playbill
Photo by Evgenia Eliseeva

All the Way, which premiered on Broadway in 2014 with Bryan Cranston as President Lyndon. B. Johnson. Written by Robert Schenkkan, the play focuses on Johnson assuming the presidency and his campaign to pass the Civil Rights Act of 1964. Cranston received high praise for his performance as Johnson, which led to him winning his first Tony Award. In 2016, All the Way was adapted into a film, with Cranston reprising his role as LBJ.

Photo by Evan Zimmerman for MurphyMade

The Great Society, which opened on Broadway in 2019 starring Brian Cox as LBJ, is Schenkkan’s continued exploration of Johnson’s presidency. The play examines the events following the president’s re-election in 1964, including the rise of the civil rights movement, the worsening of the Vietnam War, and the assassinations of Martin Luther King Jr. and Robert Kennedy. In addition to Cox, the original Broadway production featured Gordon Clapp as J. Edgar Hoover, Marc Kudisch as Richard J. Daley, and Bryce Pinkham as Robert F. Kennedy.

Current political representations on New York stages include Patriots, diving into Russian leadership; Suffs, which dramatizes the suffragist movement; and An Enemy of the People, which depicts the reaction of a small-town government and local press to a public health scandal. Soon to come is N/A, which will have its world premiere at Lincoln Center’s Mitzi E. Newhouse. Starring Holland Taylor and Ana Vilafañe, the play focuses on two prominent congresswomen, generations apart, and is based on real people and events.

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Broadway's Best

Best Broadway Shows of 2024

With the 2023-2024 Broadway season in the books, here is a recap of all the productions that have opened in this season, many of which are now competing for recognition at this year’s Tony Awards!

New Musicals:

Once Upon a One More Time (Marquis Theatre)

  • Opening Date: June 22, 2023
  • Closing Date: September 3, 2023

Here Lies Love (Broadway Theatre)

  • Opening Date: July 20, 2023
  • Closing Date: November 26, 2023

Back to the Future: The Musical (Winter Garden Theatre)

  • Opening Date: August 3

Harmony (Ethel Barrymore Theatre)

  • Opening Date: November 13, 2023
  • Closing Date: February 4, 2024

Days of Wine and Roses (Studio 54)

  • Opening Date: January 28, 2024
  • Closing Date: March 31, 2024

Water for Elephants (Imperial Theatre)

  • Opening Date: March 21, 2024

The Outsiders (Bernard B. Jacobs Theatre)

  • Opening Date: April 11, 2024

Lempicka (Longacre Theatre)

  • Opening Date: April 14, 2024
  • Closing Date: May 19, 2024

Suffs (Music Box Theatre)

  • Opening Date: April 18, 2024

Hell’s Kitchen (Shubert Theatre)

  • Opening Date: April 20, 2024

The Heart of Rock and Roll (James Earl Jones Theatre)

  • Opening Date: April 22, 2024

The Great Gatsby (Broadway Theatre)

  • Opening Date: April 25, 2024

Illinoise (St. James Theatre)

  • Opening Date: April 24, 2024
  • Closing Date: August 10, 2024

Musical Revivals:

Merrily We Roll Along (Hudson Theatre)

  • Opening Date: October 10, 2023
  • Closing Date: July 7, 2024

Spamalot (St. James Theatre)

  • Opening Date: November 16, 2023
  • Closing Date: April 7, 2024

The Who’s Tommy (Nederlander Theatre)

  • Opening Date: March 28, 2024

The Wiz (Marquis Theatre)

  • Opening Date: April 17, 2024

Cabaret at the Kit Kat Club (August Wilson Theatre)

  • Opening Date: April 21, 2024

Gutenberg! The Musical! (James Earl Jones Theatre)

  • Opening Date: October 12, 2024
  • Closing Date: January 28, 2024

New Plays:

Grey House (Lyceum Theatre)

  • Opening Date: June 6, 2024
  • Closing Date: July 30, 2023

Just For Us (Hudson Theatre)

  • Opening Date: June 26, 2024
  • Closing Date: August 19, 2023

The Cottage (Hayes Theater)

  • Opening Date: July 24, 2023
  • Closing Date: October 29, 2023

The Shark Is Broken (John Golden Theatre)

  • Opening Date: August 10, 2023
  • Closing Date: November 19, 2023

Jaja’s African Hair Braiding (Samuel J. Friedman Theatre)

  • Opening Date: October 3, 2023
  • Closing Date: November 19, 2023

I Need That (Todd Haimes Theatre)

  • Opening Date: November 2, 2023
  • Closing Date: December 30, 2023

Prayer for the French Republic (Samuel J. Friedman Theatre)

  • Opening Date: January 9, 2024
  • Closing Date: March 3, 2024

Patriots (Ethel Barrymore Theatre)

  • Opening Date: April 22, 2024
  • Closing Date: June 23, 2024

Mary Jane (Samuel J. Friedman Theatre)

  • Opening Date: April 23, 2024
  • Closing Date: June 2, 2024

Mother Play (Hayes Theater)

  • Opening Date: April 25, 2024
  • Closing Date: June 16, 2024

Stereophonic (John Golden Theatre)

  • Opening Date: April 19, 2024
  • Closing Date: July 7, 2024

Play Revivals:

Purlie Victorious: A Non-Confederate Romp Through the Cotton Patch (Music Box Theatre)

  • Opening Date: September 27, 2023
  • Closing Date: February 4, 2024

Appropriate (Hayes Theater & Belasco Theatre)

  • Opening Date: December 18, 2023
  • Closing Date: June 23, 2024

An Enemy of the People (Circle in the Square Theatre)

  • Opening Date: March 18, 2024
  • Closing Date: June 23, 2024

Doubt (Todd Haimes Theatre)

  • Opening Date: March 7, 2024
  • Closing Date: April 21, 2024

Uncle Vanya (Vivian Beaumont Theater)

  • Opening Date: April 24, 2024
  • Closing Date: June 16, 2024
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Broadway's Best

Broadway’s Best Shows for Kids

Whether you’re a New York local or planning your family’s very first trip to the city, it can be challenging to figure out which of Broadway’s bevy of options are right for the children in your life. The Broadway’s Best Shows editorial team has assembled our recommendations based on age group (5-10, 11-14, and 14-18), and we’ve also included information about what might be scary or confusing (i.e., humor for grown-ups) so that you can make an informed decision. While the very young might not have the attention span for a three-hour movie, luckily, Broadway blockbusters have intermissions! 

Note that most theaters only permit children ages 4 and up, so be sure to check the website.

For elementary school-aged children 

Water For Elephants

This heart-pounding adventure story about running away to the circus features mind-blowing stagecraft, puppetry, and an emotional, universal story, ideal for someone’s first Broadway show. While it was not explicitly created with kids in mind like Lion King was, and does not talk down to audiences, nothing in the story is too scary for young children – note that a very sick circus horse dies early in Act 1, but (spoilers!) the circus animals actually get to save the day in Act 2. Theatergoers of all ages will be awed by the real circus performers onstage. 2 hrs 45 mins with intermission. 

The Lion King

This long-running stalwart has been the first Broadway show many children ever see, for a reason – Julie Taymor’s awe-inspiring puppetry, a straightforward story and easy humor, Elton John’s songs that are still bops, 30 years in. Don’t let the Disney of it all fool you – the grownups will not be bored either. (Good luck steering your kid away from the mind-blowing amount of merchandise for sale in the lobby.) 2 hrs 30 mins with an intermission. All children require a ticket, even if sitting in a caregiver’s lap. 

For middle schoolers and tweens

SIX

Henry the 8th’s six wives (divorced, beheaded, died, divorced, beheaded, survived) are now LIVE on Broadway! A pair of young musical theater writers from England cleverly turned this 17th-century history into a pop concert a la the Spice Girls or Little Mix, and it’s become a Broadway smash. It’s got a cheeky, British sense of humor, and every song is an earworm. It’s bubbly, feisty fun for fans of the Barbie movie, and for children who’ve recently grown out of their “princess phase.” 80 minutes, no intermission. 

Suffs

Inspired by the real-life suffragists who fought to get women the right to vote, Suffs is a thrilling story of female friendship and resilience that fans of Little Women, Annie, and Matilda will love. It’s an opportunity to learn about real-life history even though the show doesn’t feel like homework, and theatergoers will leave feeling inspired. Note that there’s some light swearing, and some incredibly relatable real-life misogyny. 2 hours 45 minutes with intermission. 

The Outsiders

Your sixth-grader is probably required to read S.E. Hinton’s novel for school, so why not take them to the new musical adaptation, which is a vast improvement on the 1980 movie version? The classic tale of teen gang warfare between the rich and the poor in 1960s Telsa is infused with electrifying choreography and soulful, bluegrass-inspired music. The production confronts difficult ideas like how the poor Greasers are trapped in a cycle of poverty, and as a content warning, two of its adolescent characters die (one by suicide.) 2 hours 45 minutes with intermission. 

For high schoolers 

Cabaret

Cabaret’s portrayal of wild Weimar Berlin during the rise of the Nazi party is probably too dark for children under age 13, but its sexuality, thematic maturity, and sheer brilliance is ideal for teenagers hungry for something raw and angry. The 2024 production directed by Rebecca Frecknell wants to spark conversations about the connections between 1930s Germany and today, and dresses the characters in contemporary clothes. Themes of choosing to stand up for what you believe in will resonate with high schoolers. The production runs 2 hours and 45 minutes, with an optional hour long pre-show before curtain time. 

Stereophonic

For the high schooler who’s obsessed with today’s rock stars like Harry Styles and Billie Eilish, who’s done extensive research to figure out who a Taylor Swift song is really about, or who loves Daisy Jones & The Six, this behind-the-scenes look at the recording of a fictional album in 1976 will be a huge crowd pleaser. Its sharply crafted characters, strong humor, and amazing original songs by Will Butler are sure to impress. Older generations in your group will love the allusions to Fleetwood Mac recording Rumours, and the Beatles’ Get Back documentary. Note that the show is period-accurate and includes extensive drug abuse, as well as adult language and intense emotional abuse among the band’s artists. We pinky-promise that the show’s 3 hour runtime flies by, leaving you wanting even more. 

…and for the kid who says they ‘hate theater’ 


The Book of Mormon

The key to this show’s success, now running on Broadway for 13 years, is its sense of humor, refreshingly brutal and snarky. Written by the South Park team, it’s foul-mouthed, juvenile, and crass, perfect for kids too embarrassed or annoyed by the razzle dazzle of Broadway. (It’s okay – jazz hands aren’t for everyone.) Its irreverent humor will entertain the Dimension 20, Rick and Morty, or even PewDiePie fran in your life. It runs 2 hours and 30 minutes with a

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Creative

Shakespeare on Broadway

We are celebrating the legacy of William Shakespeare by recalling the ways that he continues to live on, through his works on our grandest stages, on Broadway. 

With new productions of Othello and Romeo & Juliet already on the way for the 2024-2025 Broadway season, we look back at the recent revivals of some of the Bard’s most prominent works.

1. Macbeth

  • Most Recent Revival: 2022
  • Theater: Longacre Theatre
  • Directed by Sam Gold; starred Daniel Craig as Macbeth and Ruth Negga as Lady Macbeth.
  • This revival was noted for its stark, modern interpretation with minimalistic design. Daniel Craig and Ruth Negga’s performances were highly praised, bringing intense and nuanced interpretations to their roles.

2. King Lear

  • Most Recent Revival: 2019 at the Cort Theatre
  • Directed by Sam Gold; starred Glenda Jackson as King Lear.
  • Glenda Jackson’s portrayal of Lear brought a fresh and poignant perspective to the role, emphasizing the themes of power and loss. The modern setting and innovative stage design highlighted the timeless nature of Shakespeare’s tragedy.

3. Twelfth Night

  • Most Recent Revival: 2013 at the Belasco Theatre (part of a double feature with Richard III
  • Directed by Tim Carroll; starred Mark Rylance as Olivia and Stephen Fry as Malvolio.
  • This production was acclaimed for its authentic Elizabethan staging, complete with all-male casting and period costumes. Mark Rylance’s performance as Olivia was particularly celebrated for its comedic brilliance and depth.

4. Romeo and Juliet

  • Most Recent Revival: 2013 at the Richard Rodgers Theatre
  • Directed by David Leveaux; starred Orlando Bloom as Romeo and Condola Rashad as Juliet.
  • This revival featured a modern setting with a racially diverse cast, exploring the play’s themes of love and conflict through a contemporary lens. The chemistry between Bloom and Rashad was notably compelling.

5. The Merchant of Venice

  • Most Recent Revival: 2010 at the Broadhurst Theatre
  • Directed by Daniel Sullivan; starred Al Pacino as Shylock.
  • Al Pacino’s portrayal of Shylock was a highlight, offering a nuanced interpretation of the complex character. The production was well-received for its clarity and the compelling performances of its cast.

6. Hamlet

  • Most Recent Revival: 2009 at the Broadhurst Theatre
  • Directed by Michael Grandage; starred Jude Law as Hamlet.
  • Jude Law’s performance was central to this production’s success, bringing a youthful energy and emotional depth to the role. The minimalist staging focused the audience’s attention on the psychological drama.
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Capsule Reviews

Mother Play

by Ben Togut

Across several decades, a relentless matriarch struggles to navigate her relationship with her two children in Mother Play, now playing at The Hayes Theater. 

As Phyllis, Jessica Lange is mesmerizing. Lange commands the stage in each of her character’s iterations—as an emotionally abusive mother living in poverty, a woman grappling with her children’s queer identities, and a patient at a nursing home trying to cope with her surroundings. As Martha and Carl, Celia Keenan-Bolger and Jim Parsons deliver performances that are moving in their own right, Keenan Bolger as a tomboy struggling with her mother’s expectations and Parsons as a free thinker who remains steadfast in his principles and identity.

Under the direction of Tina Landau, the actors deftly navigate the production’s emotional terrain, finding genuine comedy amid the play’s bleak subject matter. Mother Play gets its biggest laughs through physical comedy, such as when Carl teaches Martha how to “walk like man,” parodying a masculine gait and having her imitate him. Projection design by Shawn Duan, which features a dancing chorus of roaches, provides a welcome moment of campiness while illuminating the family’s experience of poverty.

With layered performances that amplify Paula Vogel’s tragicomedy, Mother Play is an exacting portrait of family dynamics gone awry.

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Capsule Reviews

Uncle Vanya

by Ben Togut

A professor’s return to a country estate reignites old resentments in Uncle Vanya, now playing at the Vivian Beaumont Theater. Back on Broadway with a star-studded cast and a new adaptation by Heidi Schreck, Uncle Vanya finds the humor and pathos in dysfunctional family relationships and breathes new life into Chekhkov’s classic.

Steve Carrell is at the top of his game as the titular Vanya, skillfully tackling Chekhov’s humor and turning a character usually played pathetic and self-pitying into someone lovable. Anika Noni Rose delivers a regal yet grounded performance as Elena, a woman who is keenly aware of how her beauty makes her appear untouchable. Rose is a joy to watch as she reveals Elena’s true character, advocating for a smitten Sonia (Alison Pill) and exposing her own vulnerabilities when she struggles to ward off a romance with Astrov (William Jackson Harper).

The set, by Mimi Lien, features familiar furniture and a giant mural of trees in the background, making the space feel intimate and expansive, while musical interludes by Andrew Bird add a warm, homespun quality to the production. Lighting design by Lap Chi Chu and Elizabeth Harper complements the mood of the play, shifting from candlelit family gatherings to stark, white lighting in the production’s final moments.