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Broadway's Best Creative

The Revival Cycle: Broadway’s Most Returned-To Plays

By Ben Lerner

If you thought the last Death of a Salesman revival before the current Tony-winning production with Nathan Lane and Laurie Metcalf felt recent, you’re not alone and you’re not wrong. The previous production, with an all-Black cast led by Wendell Pierce and Sharon D. Clarke, played on Broadway less than four years ago, in late 2022. Classics are classics for a reason, and some plays lead the pack in their repeated popularity over the decades. If you’ve ever wondered which are brought back the most, look no further!

Arthur Miller’s drama Death of Salesman is not the record holder here, but it has played Broadway six times following its original 1949 production: in 1975 with George C. Scott, in 1984 with Dustin Hoffman, in 1999 with Brian Dennehy, in 2012 with Philip Seymour Hoffman, and the aforementioned two recent productions.

Death of a Salesman

Which play does hold the record? Perhaps quite obviously, the answer is Hamlet – revived 65 times since 1864 and last seen in 2009 starring Jude Law – as Shakespeare’s classics have a multi-century headstart. Following Hamlet, his most-revived plays are The Merchant of Venice (49 revivals), Macbeth (47), Romeo & Juliet (37), and Twelfth Night (30). If we eliminate Shakespeare from consideration, as well as Gilbert & Sullivan’s operettas, our winning playwright is Henrik Ibsen. His Hedda Gabler isn’t quite as old, having premiered in 1898 – and it’s been revived 18 times since, most recently in 2009, with Mary-Louise Parker in the titular role.

Close behind is Anton Chekhov’s The Cherry Orchard, which was first performed around the same time (1904, in Russia) and has been revived 15 times since its English-language premiere. Its last appearance on Broadway was a decade ago, in 2016, starring Diane Lane. Next is Cyrano de Bergerac by Edmond Rostand, revived 14 times since its 1898 premiere.

Another classic turn-of-the-century playwright whose work is revived nearly as often is George Bernard Shaw. While his most famous work today is Pygmalion (which inspired My Fair Lady), his most-returned-to play is actually Candida, revived 13 times within the twentieth century alone. Candida premiered in 1903 and was revived over a dozen times in 90 years – but it hasn’t been back since 1993! It’s tied with Ibsen’s A Doll’s House, originally performed in 1889 and most recently produced in 2023 starring Jessica Chastain, as well as with Richard Brisley Sheridan’s The School For Scandal – but that play dates back to 1777, so it’s not an even comparison. (Sheridan’s play, like Candida, has not been revived since the 1990s.)

The very same non-Shakespearean playwrights hold the next records, as well: Ibsen’s An Enemy of the People and Chekhov’s Uncle Vanya have been revived 10 times, both most recently in 2024, respectively starring Jeremy Strong and Steve Carell. Right behind are Chekhov’s The Three Sisters (9 revivals), Rostand’s L’Aiglon (9, although none since 1934!), and Sheridan’s The Rivals (also 9, but with a 200-year headstart). Also joining them at nine revivals is The Old Homestead by Denman Thompson, but don’t worry if you’ve never heard of it: those nine productions all played between 1897 and 1913!

An Enemy of the People. Photo by Emilio Madrid

When we move down to a mere eight revivals, a legendary twentieth century American playwright from the modern theatrical era joins the list: Tennessee Williams. A Streetcar Named Desire was first produced in 1949, far later the prior record holders, and has returned eight times since. That number ties Shaw’s Saint Joan, originally from 1923, as well as Oscar Wilde’s classic The Importance of Being Earnest, which first played Broadway in 1895. (Also at eight, less impressively, are the older, less well-known plays She Stoops to Conquer, which premiered in 1777, and Louis XI, from 1858.)

Classic plays in the seven revival club include Tennessee Williams’ The Glass Menagerie (premiered 1945), Chekhov’s The Seagull (1916), and several classic operas. The Gershwins’ Porgy and Bess (1935) joins them as the first musical on the list, making it the most revived musical of all time, not counting older operettas.

The Glass Menagerie

Finally, joining Death of a Salesman at six revivals are the classic musicals Show Boat (1927, by Jerome Kern & Oscar Hammerstein II) and The Threepenny Opera (1928, by Berthold Brecht & Kurt Weill), alongside Shaw’s play Arms and the Man, Gilbert & Sullivan operettas, Shakespeare plays, and more classic operas. A sixth revival of Williams’ Cat on a Hot Tin Roof will premiere on Broadway next spring, directed by Sam Gold.

As you’ve seen, if we discount Shakespeare and focus on plays written in the last 150 years, the most revived playwrights are easily Henrik Ibsen, George Bernard Shaw, and Anton Chekhov. None of these writers are American, however, so as far as twentieth century Broadway playwrights, Tennessee Williams and Arthur Miller reign supreme.

But you never know who is waiting in the wings…classic American plays like Thornton Wilder’s Our Town, Arthur Miller’s The Crucible, and Eugene O’Neill’s Long Day’s Journey Into Night are standing strong at five revivals, as are such beloved musicals as Gypsy, Guys & Dolls, Oklahoma, Fiddler on the Roof, and West Side Story. Any of these could rise on the list in the upcoming Broadway seasons. Which would you like to see back on the stage next? 

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Broadway's Best Creative

What to Expect from Broadway’s 2026-2027 Season: The Plays

With the recent Tony Awards celebrating Broadway’s 2025-26 season now in the rearview mirror, Broadway’s Best Shows is looking ahead to what promises to be a very buzzy 2026-27 theatrical season. While we are currently in a lull between openings, as new productions for the upcoming season won’t land until later in the summer, there’s a palpable energy in the air about what shows are on deck.

With plenty of shows (and exciting revivals) already announced (and more to come!), let’s take a look at what to expect from the plays arriving this fall through Spring 2027.

NEW PLAYS

Paranormal Activity: The first official opening of the season is another transfer from London. This “new stage experience” based on the horror film series starts previews this August at the August Wilson Theatre.

860: A new autobiographical one-man show by Billy Crystal, focused on his family home lost in the Palisades fires, will open at the Imperial Theatre in October, directed by Scott Ellis. Crystal won a Tony for Best Special Theatrical Event for his 2005 one-man show 700 Sundays. He also received a nomination for 2022’s Mr. Saturday Night.

Inter Alia: Rosamund Pike stars as a London Crown Court judge in this new drama that will start previews this November at the Music Box Theatre. A transfer from the West End, Inter Alia won Pike the 2026 Olivier Award for Best Actress. 2025 Olivier winner Lesley Manville recently won the Tony for the West End transfer of Oedipus – so Pike’s performance is one to watch.

Gloria: Pulitzer-winning playwright Branden Jacobs-Jenkins’ comedy about magazine assistants will make its Broadway premiere next spring at the Helen Hayes Theatre. It will likely be considered original, although it was previously staged at the Vineyard Theatre Off-Broadway. His play Appropriate was considered a revival, but his 2025 Pulitzer-winning Purpose won the Tony for Best Play.

Mix and Master: A new play by Dominique Morisseau tells the story of a DJ’s fight to save Brooklyn’s last record shop and stars Tony winners Ruben Santiago-Hudson and Kara Young. It’s scheduled to play the Todd Haimes Theatre this winter.

Montauk: Five-time Tony nominee Laura Linney returns to Broadway in a new play by David Hare about a complex relationship between two artists, set to open next spring at MTC’s Samuel J. Friedman Theatre. 

PLAY REVIVALS

School Girls; Or, The African Mean Girls Play: First produced off-Broadway in 2017, School Girls will premiere on Broadway this September at the Samuel J. Friedman Theatre. A comedy about a beauty contest amongst Ghanaian schoolgirls, it will star Tony winner Patina Miller and Tony nominees Denee Benton and Jasmine Amy Rogers. (Yes, Rogers will also do The Sound of Music in the spring!)

Other Desert Cities: Julia Louis-Dreyfus will make her Broadway debut in an all-star revival of this play about exposed family secrets, directed by John Benjamin Hickey and opening at the Hudson Theatre in October. It costars Tony nominees Allison Janney, Lily Rabe, and Ed Harris, alongside Stranger Things’ Joe Keery.

A Few Good Men: Lincoln Center will produce the first revival of Aaron Sorkin’s play, opening in October at the Vivian Beaumont Theatre and directed by Michael Arden. The military courtroom drama was first staged in 1989 and was later adapted into an award-winning film starring Tom Cruise, Jack Nicholson, and Demi Moore. The LCT revival will star Bradley Whitford and Tom Blyth.

Much Ado About Nothing: Jamie Lloyd will also direct a revival of Shakespeare’s classic at the Winter Garden Theatre – opening this fall, before his adaptation of Evita rolls in to the same venue. It’s also a transfer from London, starring Tom Hiddleston and Hayley Atwell.

The Imaginary Invalid: A new adaptation of Moliere’s classic comedy about a hypochondriac, The Imaginary Invalid was adapted by and will star Bill Irwin. It’s scheduled to play the Todd Haimes Theatre this fall, though no date has been confirmed.

Awake and Sing!: A revival of the classic 1935 play about a Brooklyn family during the Great Depression will start previews in December at the Samuel J. Friedman Theatre. It will star Tony winner Danny Burstein and Tony nominee Jessica Hecht, recently seen on Broadway in Marjorie Prime and Dog Day Afternoon, respectively.

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Broadway's Best Cover Story Creative

Broadway Through The Decades – Richard Thomas

By Ben Lerner

There are plenty of Broadway performers who are on the boards over many decades, carving out a career onstage throughout different phases of their lives. Some are legends, while others are unsung stalwarts of the stage. Then there’s Richard Thomas, who debuted as a 7 year old child actor on Broadway back in 1958, and who just starred, at age 75, in the Tony-nominated play The Balusters

The Balusters, photo by Jeremy Daniel.

It’s not a record (yet!), as Helen Hayes appeared on Broadway over 78 years (debuting in 1909 and last performing in 1987). More recently, June Squibb appeared in Marjorie Prime at age 96, having debuted in 1959 as Electra in Gypsy. However, Squibb spent multiple consecutive decades away from the stage before returning.

Richard Thomas has performed on Broadway every single decade from the 1950s through the 2020s, with the exception of the 1970s and 1990s. (He starred as John-Boy in the hit series The Waltons throughout the 70s, winning an Emmy along the way, and he starred in regional theatre and several Waltons reunion movies throughout the 90s.) As far as these statistics have been tracked, this makes him the male record holder.

Thomas first appeared on Broadway at just seven years old as President Franklin Roosevelt’s youngest child, John, in Sunrise At Campobello, a drama about FDR’s struggle with polio. In 1963, age 12, he was cast as the child version of Gordon in a revival of Eugene O’Neill’s Strange Interlude, co-starring Jane Fonda.

Sunrise at Campbello.

Thomas appeared twice more in Broadway plays as a teenager. In 1965, he starred in the short-lived psychological thriller, The Playroom, and in 1967, he appeared in Edward Albee’s adaptation of Giles Cooper’s Everything in the Garden.

With four plays under his belt by age 17, Thomas moved to Hollywood and spent most of the 1970s starring in The Waltons. But mere months after the series concluded in 1981, Thomas was back on the Broadway stage, now 30, replacing Christopher Reeve as the lead in Fifth of July. He played a gay double amputee Vietnam veteran, opposite Jeff Daniels as his boyfriend. Both later starred together in the roles for a made-for-TV film adaptation.

He appeared twice more on Broadway in the 1980s, co-starring in a 1986 revival of the 1928 newspaper comedy The Front Page, opposite John Lithgow. (They both appeared on Broadway and were Tony-nominated this most recent season, 40 years later, with Lithgow winning for Giant.) In 1989, Thomas stepped in for a weeklong run in the revolving cast of Love Letters, a two-character romance told in epistolary format, where he was reunited with Swoozie Kurtz, his co-star from Fifth of July.

Thomas didn’t return to Broadway for 15 years, but came back in full force in the 2000s. Now in his 50s, he starred in back-to-back original plays two seasons in a row: Democracy (2004) and A Naked Girl on the Appian Way (2005). Next, in 2009, the veteran actor starred in David Mamet’s Race, opposite James Spader and Kerry Washington, both making their Broadway debuts.

Race, photo by Robert J. Saferstein.

Richard Thomas was booked and busy in the 2010s, during which he appeared in four different Broadway plays, starting with a 2012 revival of Henrik Ibsen’s classic An Enemy of the People. In 2015, he replaced Mark Linn-Baker in a Tony-winning revival of the 1936 comedy You Can’t Take It With You, co-starring with James Earl Jones, Annaleigh Ashford, and Rose Byrne.

Next came the 2017 revival of Lillian Hellman’s The Little Foxes, for which Richard Thomas earned his first career Tony nomination for Best Featured Actor in a Play. This production was famous for Cynthia Nixon and Laura Linney alternating the roles of Birdie and Regina. Both were also Tony-nominated, with Nixon winning.

The Great Society, photo by Evan Zimmerman for MurphyMade.

Thomas’ last Broadway role of that decade was originating the role of Vice President Hubert Humphrey in 2019’s The Great Society, where Brian Cox played President Lyndon B. Johnson. (It was a follow-up to 2012’s All The Way, which had earned Bryan Cranston a Tony for his performance as LBJ.)

Our Town, photo by Daniel Rader

Thomas made his grand post-COVID return to the Broadway stage as Mr. Webb in the 2024 revival of Thornton Wilder’s classic Our Town, opposite Katie Holmes. Now, nearly 70 years after his debut, Thomas just closed The Balusters on June 21, which earned him his second career Tony nomination for Best Featured Actor in a Play.

While some may mostly know Richard Thomas from The Waltons, we salute his long-running career in the theatre and hope to see him onstage for years to come. If we’re lucky enough to have him on Broadway in a decade’s time, he will beat Helen Hayes’ record for longest Broadway career!

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Broadway's Best Creative

What To Expect From Broadway’s 2026-2027 Season: The Musicals

By Ben Lerner

With the recent Tony Awards celebrating Broadway’s 2025-26 season now in the rearview mirror, Broadway’s Best Shows is looking ahead to what promises to be a very buzzy 2026-27 theatrical season. While we are currently in a lull between openings, as new productions for the upcoming season won’t land until later in the summer, there’s a palpable energy in the air about what shows are on deck.

Most recently announced was Lincoln Center’s upcoming season, including a revival of The Sound of Music starring Jasmine Amy Rogers. With plenty of shows (and exciting revivals) already announced (and more to come!), let’s take a look at what to expect from the musicals arriving this fall through Spring 2027.

NEW MUSICALS

Wanted: The first new original musical of the season will premiere this fall at the James Earl Jones Theatre, inspired by the true story of two Black twin sisters fighting to settle their mother’s sharecropping debt and save her home. It stars Solea Pfeiffer, Liisi LaFontaine, and Ledisi.

Galileo: A new biomusical about – you guessed it – scientist Galileo Galilei, will open this December at the Shubert Theatre. Helmed by veteran director Michael Mayer, who most recently directed Chess, the show stars Raul Esparza in the titular role, opposite Joy Woods.

Paddington The Musical: In a transfer from the West End, the Andean bear from the children’s books and films will come to Broadway next spring at the Al Hirschfeld Theatre. Keen viewers may have seen his preview cameo in Pink’s opening number at the recent Tony Awards!

Warriors: This just-announced original musical marks Lin-Manuel Miranda’s first Broadway score since Hamilton. This time co-written with Eisa Davis, Warriors is based on the cult 1979 film about a New York City gang. It will open at the Lunt-Fontanne Theatre in Spring 2027.

MUSICAL REVIVALS

The Fantasticks: The long-running off-Broadway hit makes its Broadway premiere this fall at the Helen Hayes Theatre. With a newly revised book telling a gay romance, it will still likely count as a revival. Fresh off directing and choreographing the Tony Award-winning Schmigadoon!, Christopher Gattelli will direct.

Evita: Already one of the hottest tickets on Broadway months before it opens, Jamie Lloyd’s acclaimed revival of Andrew Lloyd Webber’s musical about the rise and fall of Eva Peron hits the Winter Garden Theatre this spring. Lloyd’s last reimagining of a Webber musical, Sunset Boulevard, earned multiple Tonys, including Best Actress for Nicole Scherzinger. Will Evita star Rachel Zegler also win? Time will tell – but she will not be performing on a street-facing outdoor balcony like in the West End. 

The Sound of Music: Lincoln Center is known for its large-scale revivals of classic musicals, and Rodgers & Hammerstein’s The Sound of Music seems long overdue to return. Last revived in 1998 starring the late Rebecca Luker as Maria, the new production will star Jasmine Amy Rogers (a Tony nominee for Boop!, no relation to composer Rodgers!). It will open at the Vivian Beaumont Theatre next spring, directed by Lear deBassonet, who recently helmed LCT’s Tony Award-winning Ragtime.

The Full Monty: The first revival of the 2000 musical about unemployed steelworkers putting on a strip show is scheduled to open at Roundabout’s Todd Haimes Theatre in the spring. With music by David Yazbeck and a book by Terrence McNally, The Full Monty revival will be directed by Suffs’ Leigh Silverman.

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Broadway's Best Tony Awards

Tony Awards 2026: The Winners, the Surprises, and the Moments Broadway Will Never Forget

The 79th Annual Tony Awards arrived at Radio City Music Hall on Sunday night and delivered exactly what Broadway fans want from theatre’s biggest celebration: major wins, historic milestones, emotional speeches, and a few surprises along the way. By the end of the evening, one thing was clear: Broadway is thriving.

Hosted by P!nk, the ceremony aired live on PlutoTV and CBS and celebrated a season that saw Broadway showcase an impressive mix of new musicals, beloved revivals, and daring plays. The result was one of the most entertaining and memorable Tony broadcasts in years.

The Opening Number

P!nk kicked off the ceremony acknowledging the elephant in the room: why was someone who has never been on Broadway hosting the Tony Awards? She then launched into a star-packed rendition of “Leading Lady Marmalade,” joined by Megan Thee Stallion, Neil Patrick Harris, Marla Mindelle, Shoshana Bean, Sara Chase, and 170 cast members from all of the nominated musicals that demonstrated she might not have a Broadway credit (yet!) but has the talent to perform with the best of them. The twist on the original song, with lyrics by Benj Pasek, Justin Paul, and Mark Sonnenblick, shouted out each leading lady nominated for acting awards. The opener has been praised by fans and critics alike, and no one will be forgetting “Gitchie, gitchie Carrie Coon” anytime soon!

The cast of Schmigadoon! performs onstage during The 79th Annual Tony Awards at Radio City Music Hall on June 07, 2026 in New York City. (Theo Wargo / Getty Images for Tony Awards Productions)

A Three-Way Tie at the Top

While no single musical completely dominated the evening, three productions emerged as the night’s biggest musical winners. Schmigadoon!, The Lost Boys, and Ragtime tied for the lead among musicals with four awards each.

For Schmigadoon!, the evening culminated with the coveted Best Musical prize. The Broadway adaptation of the 2021 musical TV series also won Best Book and Best Original Score, with creator Cinco Paul winning three Tonys for his solo authorship of the show’s book, music, and lyrics, along with Best Orchestrations. Might Schmigadoon!’s success lead to season 3 of the beloved TV show on which the musical is based?

Ragtime continued its remarkable run, winning Best Revival of a Musical and reminding audiences why the epic American story remains one of the most powerful works ever written for the stage. In a funny moment, sound designer Kai Harada also won Best Sound Design of a Musical, but he only heard his name and had to ask presenter Laura Benanti which show he’d won for (he was also nominated for Cats: The Jellicle Ball.)

The Lost Boys took home design awards, including Best Scenic Design and Best Lighting Design of a Musical, as well as supporting acting awards for both Actress and Actor.

Caissie Levy, winner of the Best Performance by an Actress in a Leading Role in a Musical award for “Ragtime,” and Joshua Henry, winner of the Best Performance by an Actor in a Leading Role in a Musical for “Ragtime,” pose in the 79th Annual Tony Awards press room at Radio City Music Hall on June 7, 2026, in New York City (Credit: Dia Dipasupil/WireImage)

Joshua Henry and Caissie Levy Deliver the Night’s Most Celebrated Wins

Joshua Henry won his first Tony for Best Actor in a Musical, having been previously nominated for The Scottsboro Boys, Violet, and Carousel. His commanding performance as Coalhouse Walker Jr. anchored the revival. In his speech, Henry shouted out the “Black-don’t-crack legacy” of original Ragtime stars Audra McDonald and Brian Stokes Mitchell.

Caissie Levy won Best Actress in a Musical for her role as Mother — also her first Tony, and remarkably, her first nomination. In her acceptance speech, Levy proclaimed, “Playing Mother has been one of the greatest gifts of my artistic life,” and she also honored the community surrounding her who enables her to work in the theatre: “I’m twenty years in, and the most important thing I’ve learned is that no one does it alone. Thank you to every babysitter who’s made it possible for me to be both a Broadway actor and a mother.”

Qween Jean poses in the press room with the award for best costume design of a musical for “Cats: The Jellicle Ball” during the 79th Tony Awards on Sunday, June 7, 2026, at Radio City Music Hall in New York. (Photo by Evan Agostini/Invision/AP)

Qween Jean Makes Tony History

One of the evening’s most important moments came when Qween Jean won Best Costume Design of a Musical for Cats: The Jellicle Ball, making her the first openly trans person to win a Tony Award.

Her work on the ballroom-inspired reimagining of Andrew Lloyd Webber’s classic musical involved creating around 500 costumes, including tributes to trans revolutionaries like Marsha P. Johnson and Sylvia Rivera. But beyond the artistry, the moment represented a milestone for Broadway and the Tony Awards.

In her acceptance speech, Jean said, “We are here for the legacy of queer people, trans people. We are taking up space in ways we have to take up space. We have to shift the paradigm.” It was instantly one of the defining moments of the night, fans clacking in agreement.

Rachel Sussman, from left, Daryl Roth, and Bess Wohl accept the best play award for “Liberation” at the 2026 Tony Awards. (Theo Wargo / Getty Images for Tony Awards Productions)

The Plays Shared the Love

Death of a Salesman emerged as the night’s overall leader with six Tony wins, including Best Revival of a Play. Laurie Metcalf took home Best Featured Actress in a Play for her third career Tony, and Joe Mantello was honored for his direction. The production also won for lighting, scenic, and sound design.

Playwright Bess Wohl was honored for Liberation with Best Play, making her only the fourth woman in Tony history to receive the award and the first American woman playwright to win since Wendy Wasserstein in 1989, which she passionately called out during her speech.

Both Best Actress and Actor in a Play awards went to British vets who also won the Olivier for the same role. John Lithgow won Best Actor for Giant, breaking the record for the longest gap between Tony wins — 53 years after his first — and simultaneously becoming the oldest man to win a competitive acting Tony at age 80. Primarily a West End actress, Lesley Manville took home the Best Actress award for Oedipus in her Broadway debut and completed her sweep of all the major awards this season.

A Night That Celebrated Broadway’s Future

Broadway can honor its past through revivals like Ragtime and Death of a Salesman; it can reinvent classics through bold productions like Cats: The Jellicle Ball; it can push the boundaries with The Lost Boys, while remembering its roots with Schmigadoon! With hints at next season’s shows (marmalade sandwich, anyone?) and a beautiful performance by Rachel Zegler, starring in Evita next season, there’s much to look forward to.

With historic wins, recognition for beloved performers, and some incredible performances that didn’t pander to audiences but showed Broadway in all its bright, gay, fun, sometimes inappropriate self, the 2026 Tony Awards was a success.

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Broadway's Best Tony Awards

How to Watch the 2026 Tony Awards: Date, Time, Streaming, Performances, and Everything You Need to Know

Broadway’s biggest night is almost here! The 79th Annual Tony Awards will return to the legendary Radio City Music Hall in New York City on Sunday, June 7, 2026, celebrating the very best of the 2025-2026 Broadway season. Whether you’re a lifelong theatre fan or tuning in to see your favorite stars, here’s everything you need to know about how to watch the 2026 Tony Awards in the United States.

When are the Tony Awards?

The 2026 Tony Awards will take place on Sunday, June 7, 2026. 

Act One, the live pre-show begins at 6:35PM ET and is broadcast live coast-to-coast.

The official ceremony will also be broadcast live coast-to-coast:

8:00 PM ET
7:00 PM CT
6:00 PM MT
5:00 PM PT

The telecast will run until 11:00 PM ET.

What channel are the Tony Awards on?

The 2026 Act One Pre-Show will air for free on Pluto TV. Watch it by heading to pluto.tv and clicking on the “Live Music” channel.

The 2026 Tony Awards will air live on CBS, making it easy for viewers across the country to tune in through their local CBS affiliate. If you have traditional cable, satellite, or a live TV streaming service that includes CBS, you’ll be able to watch the ceremony live.

Can I stream the Tony Awards?

The Tony Awards will also stream on Paramount+. Here’s how streaming access works:

Paramount+ Premium Subscribers
Premium subscribers can watch the ceremony live through their local CBS affiliate feed and also access the broadcast on demand after it airs.

Paramount+ Essential Subscribers
Essential subscribers will not have access to the live broadcast, but will be able to watch the ceremony on demand beginning on Monday

How else can I follow along?

See exclusive content from the red carpet, backstage, and beyond on the Tony Awards social channels @thetonyawards on Instagram, Tiktok, Facebook, Twitter/X, and Youtube.

Who is hosting the Tony Awards?

Broadway favorites Laura Benanti and Tituss Burgess will host Act One, the live pre-show.

Pop superstar P!NK will host the 79th Annual Tony Awards, bringing her signature energy and live-performance expertise to Broadway’s biggest celebration.

What shows will perform at the 2026 Tony Awards?

One of the most exciting parts of every Tony Awards ceremony is the chance to see Broadway’s newest productions perform live. This year’s telecast will feature performances from many of the season’s biggest nominated musicals and musical revivals, including:

– The Lost Boys
– Schmigadoon!

– Titaníque
– Two Strangers (Carry a Cake Across New York)
– Cats: The Jellicle Ball
– Ragtime
– The Rocky Horror Show

In addition to the nominated shows, the 2026 Tony Awards will feature two major Broadway celebrations.

The long-running Broadway revival of Chicago will celebrate its 30th anniversary with a special all-star performance featuring:

– Queen Latifah
– P!NK
– Jesse Tyler Ferguson
– Alex Newell
– Julianne Hough
– Whitney Leavitt
– Dylan Mulvaney

and additional special guests.

The Tony Awards will also celebrate The Book of Mormon‘s 15th anniversary with a reunion performance featuring members of the original Broadway cast, including:

– Nikki M. James
– Josh Gad
– Andrew Rannells
– Rory O’Malley

Which shows lead the 2026 Tony nominations?

When nominations were announced on May 5, two productions emerged as the season’s frontrunners:

The Lost Boys: 12 nominations

Schmigadoon!: 12 nominations

Close behind is Lincoln Center Theater’s acclaimed revival of Ragtime with 11 nominations.

As far as plays, Arthur Miller’s Death of a Salesman revival leads the field with 9 nominations, tying musical revivals Cats: The Jellicle Ball and The Rocky Horror Show.

Where are the Tony Awards held?

The Tony Awards return to the iconic Radio City Music Hall in New York City, one of the world’s most famous entertainment venues and the longtime home of Broadway’s biggest night.

Why are the Tony Awards important?

Presented by the American Theatre Wing and The Broadway League, the Tony Awards recognize excellence in Broadway theatre and often play a major role in determining which shows become the must-see hits of the year and beyond, including touring licensing, and future revivals.

For audiences across the country, the ceremony offers a rare opportunity to see Broadway’s top performers, discover new musicals, and celebrate the artists who bring live theater to life.

Whether you’re rooting for The Lost Boys, Schmigadoon!, Ragtime, or simply tuning in for the anniversary performances of Chicago and The Book of Mormon, the 2026 Tony Awards promise to be one of the most exciting nights of the Broadway season.

The 79th Annual Tony Awards air live Sunday, June 7, 2026, at 8:00 PM ET on CBS and Paramount+.

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Broadway's Best Creative

The Art That Sold the Show

A Look at the Posters Behind the 2026 Tony Nominees

Before audiences fell in love with these productions, they fell in love with an image. A Broadway poster has one job: stop someone in Times Square, on Instagram, or flipping through a Playbill and convince them to lean in. The best key art truly becomes part of the show’s identity.

This year’s Tony nominees offer a fascinating mix of approaches, from bold typography and conceptual design to celebrity photography and illustration. Here are the posters that helped define Broadway’s season.

Ragtime

Perhaps the boldest piece of graphic design among this year’s nominees. The blazing red background and towering white typography feel urgent, revolutionary, and impossible to ignore. The Statue of Liberty torch instantly evokes immigration, America, and social change, all central themes of the musical.

What We Love: This timeless design would have worked in 1998 or 2026.

Cats: The Jellicle Ball

This is arguably the most successful reimagining of existing Broadway branding in years.

The original Cats logo with its piercing yellow eyes is iconic, but this campaign boldly reinvents it through ballroom culture. The electric yellow, striking pose, and disco-ball cat head instantly communicate that this isn’t a revival interested in nostalgia.

What We Love: It reinvents a brand without losing its identity. Purrrfect.

The Lost Boys

The rich darkness and flash of color instantly set a mood. The glowing hand feels supernatural, seductive, and dangerous. It doesn’t explain itself, which is exactly why it works. The campaign understands something many horror-inspired productions miss: mystery is often more powerful than information.

What We Love: It feels like a prestige film poster.

Little Bear Ridge Road

This subtle poster is one of the season’s most human. The handwritten typography, monochrome portraits, and glowing house suggest intimacy, family, and emotional complexity. Nothing here is flashy, and that’s precisely the point.

What We Love: It feels deeply personal.

Arthur Miller’s Death of a Salesman

This poster demonstrates extraordinary restraint, especially by not showing the faces of its stars. Typography and a classic automobile are all it needs because the design understands that Arthur Miller’s title already carries enormous cultural weight.

What We Love: Confidence through simplicity.

The Rocky Horror Show

Some logos are simply too powerful to abandon. The dripping blood-red mark remains one of theatre’s most recognizable visual identities. This production wisely leans into that legacy while modernizing the surrounding design.

What We Love: It understands the value of an icon.

Becky Shaw

At first glance, it’s simply a tube of lipstick. Then you notice the wick. Then the spark. Suddenly the lipstick has become a stick of dynamite.

What’s especially impressive is how economical the design is: no cast photo, no scenic image, no explanatory tagline; just one single object. That’s often the mark of truly great key art.

What We Love: The entire play is hidden inside a single visual metaphor.

Schmigadoon!

This poster is charming. The embroidered ribbon floating through a bright blue sky immediately evokes classic musical theatre while still feeling fresh and contemporary. Rather than parodying Golden Age musicals, the design lovingly celebrates them.

What We Love: It captures optimism without becoming cheesy.

The Balusters

The quirky illustration of a collapsing townhouse packed with eccentric characters immediately communicates comedy, chaos, and social satire. The visual gag lands before the audience even knows what the play is about.

What We Love: The illustration explains it all.

Oedipus

The flashing cameras surrounding Mark Strong and Lesley Manville transform an ancient tragedy into a modern story about public scrutiny, celebrity, and downfall. The design cleverly uses contemporary imagery to illuminate timeless themes.

What We Love: It modernizes Greek tragedy without losing its weight.

Giant

This artwork is a masterclass in celebrity storytelling. John Lithgow’s “giant” imposing presence dominates the image, but the real brilliance lies in the details. The torn silhouette embedded within the title hints at the complicated legacy of Roald Dahl, creating tension beneath the straightforward star portrait.

What We Love: It turns a famous face into a thematic statement.

Liberation

The oversized yellow typography dominates the composition with the confidence of a protest sign. The design feels rooted in feminist activism while remaining contemporary and clean. It’s simple, direct, and impossible to miss.

What We Love: The poster itself feels political.

Chess

This is star-driven marketing executed with precision. Aaron Tveit, Lea Michele, and Nicholas Christopher are photographed like fashion icons, creating a sleek and glamorous image that mirrors the high-stakes world of the musical itself. The hot pink title treatment slices through the monochromatic photography.

What We Love: Broadway glamour at its most unapologetic.

Two Strangers (Carry a Cake Across New York)

This poster tells the audience exactly what kind of night they’re about to have. Bright colors, immediate chemistry, and a giant title that practically becomes part of the New York skyline. The cake boxes are part of the plot. Also, a rare occurrence that we see a show poster that uses production photography.

What We Love: It sells character before concept.

Marjorie Prime

Another great example of minimalism and restraint. The faceless figure beneath a cloud communicates memory and identity. The image is elegant, unsettling, and intellectually engaging all at once. It also fits in well as part of Second Stage Theatre’s season with Becky Shaw’s artwork.

What We Love: It trusts the audience to do some of the work.

Titanique

A masterpiece of pure camp. A grinning Céline Dion literally bursts through the iconic 1997 movie poster, hijacking Jack and Rose’s doomed romance to instantly let you know this is an unhinged, Vegas-style musical comedy, not a historical tragedy. The fabulous 3D gold typography complete with industrial ship rivets screams pop diva parody.

What We Love: It promises a completely wild, laugh-out-loud night out.

Categories
Broadway's Best Tony Awards

10 New Categories the Tony Awards Need to Add ASAP

It takes a lot of invisible labor to make Broadway’s theatrical magic look effortless, and many of the hardest-working folks in the industry are still left out of the Tony Awards. Here are ten of the many blind spots that the Tony Awards could address with new categories.

1. Best Ensemble

Why it should be added: If the leads are the face of a musical, the ensemble is its beating heart. A competitive award would honor the collective heavy lifting, immense stamina, and seamless collaboration – from complex, synchronized choreography to lush harmonies – required to make a Broadway show truly soar.

Photo by Matthew Murphy

2. Best Hair and Wig Design

Why it should be added: Hair and wigs are crucial to establishing a character’s age, era, and social status long before they speak. While the Tonys recently honored visionary wig designer Nikiya Mathis with a Special Tony Award in 2024 for her incredible work on Jaja’s African Hair Braiding, this shouldn’t be relegated to a one-off special recognition. From gravity-defying historical updos to rapid quick-changes, these designers are true architects of character identity and deserve a permanent competitive category alongside costume design.

3. Best Makeup Design

Why it should be added: Makeup is a highly technical, transformative art form that faces unique live-theatre challenges, like executing flawless, sweat-proof glamour eight times a week. With the Oscars and Emmys already recognizing this artistry, it’s time the Tonys formally honored these meticulous designers.

Photo by Matthew Murphy

4. Best Replacement Performer

Why it should be added: Stepping into a starring role in a massive hit without a full, original rehearsal process is a unique and daunting challenge. Honoring the fresh energy and sheer resilience of replacement performers would celebrate masterclass performances while giving long-running shows a well-deserved moment back in the Tony spotlight.

Photo by Matthew Murphy

5. Best Projection Design

Why it should be added: Projections have evolved from simple background enhancements into foundational elements of scenic storytelling. These incredibly detailed digital designs can shift locations instantly, doing groundbreaking, immersive work that warrants its own spotlight distinct from traditional scenic or lighting design.

6. Best Casting Director

Why it should be added: Casting is the invisible alchemy that makes or breaks a show. With the Academy Awards finally introducing a competitive Oscar for casting directors starting in 2026, it’s highly overdue for the Tonys to celebrate the theatrical visionaries discovering stars and curating the talent on stage.

7. Best Understudy, Standby, or Swing

Why it should be added: Covers are Broadway’s ultimate lifesavers. Honoring the superhuman agility and dedication required to learn up to a dozen complex tracks and step into them at a moment’s notice would be a massive, well-deserved victory for these essential theatrical athletes.

Photo by Matthew Murphy

8. Best Fight Direction and Intimacy Coordination

Why it should be added: Keeping actors safe during intense combat or physically vulnerable romantic scenes is a deeply technical skill. These artists ensure physical storytelling is dynamic, repeatable, and secure. As the industry rightfully prioritizes actor boundaries, their vital choreography deserves recognition.

9. Best Stage Management Team

Why it should be added: Stage managers are the air traffic controllers of Broadway. Giving an award to the team that calls every cue, oversees massive transitions, and ensures chaotic, multi-million-dollar productions run safely would be the ultimate nod to the people holding the entire show together.

10. Best Artwork (Key Art & Creative Direction)

Why it should be added: A show’s key art is its first impression and lasting legacy… think of the iconic Les Misérables Cosette illustration or the Wicked silhouettes. Creative directors and designers do the vital commercial work of distilling a production’s entire emotional soul into a single, captivating image.

You can probably name this show even without a title, right?
Categories
Broadway's Best Capsule Reviews

FALLEN ANGELS — Capsule Review

By Robyn Roberts

There is a distinct kind of magic that occurs when a century-old theatrical artifact is dusted off, popped and primed, then poured out for a contemporary audience, like a frosty bottle of expensive champagne. When Roundabout Theatre Company announced their major Broadway revival of Noël Coward’s initially-taboo 1925 comedy, Fallen Angels, at the beautifully renovated Todd Haimes Theatre, insiders and stage fans alike responded with immense curiosity. Could a drawing-room farce centered on upper-class British housewives pining over a shared pre-marital French lover still resonate, let alone provoke the raucous belly laughs required of a premium Broadway ticket today?

Rose Bryne and Kelli O’Hara in Fallen Angels on Broadway. Photo by Joan Marcus.

The overwhelming answer is yes. Under the witty direction of Tony Award nominee Scott Ellis, the intermission-free production is a flawless display of comedic timing, distinguished clowning, and shameless escapism. Museum-piece preciousness of the Art Deco era is replaced with a relentless, dizzying energy that channels the best of classic Hollywood screwball comedies, albeit while dripping in silk and feathers. Led by a dream-team of femme power, Tony winner Kelli O’Hara and Golden Globe winner Rose Byrne, Fallen Angels does more than simply entertain; it serves as a gorgeous and hilarious, hour-and-a-half reminder of how profoundly fresh pure theatrical fun can be.

Walking into the new Todd Haimes Theatre feels less like entering a cavernous Broadway house and more like being invited into an exclusive, upscale mid-1920s salon. The perfect location to tell this story. But this is also a venue designed for shared amusement, providing the ideal acoustic chamber for the fits of laughter that will undoubtedly plague the audience.

Tracee Chimo and Aasif Mandvi in Fallen Angels on Broadway. Photo by Joan Marcus.

Set and vibe designer, David Rockwell, has outdone himself with this one, constructing a luxurious and stately London drawing room that is a colorful feast for the eyes. Expect rich textures, deluxe furnishings, architectural flourishes, and an expansive layout that gives the actors ample room to slide, stumble, and stomp during their most unhinged physical sequences. The set feels grounded in its period historical accuracy, yet vibrant and cinematic enough to look entirely alive. Matching Rockwell’s memorable space is the work of costume designer Jeff Mahshie. The garments worn by Byrne and O’Hara are nothing short of frothy. From the draped, fluid lines of silk pajamas to more structured, glamorous evening wear, Mahshie’s dressings capture the reckless indulgence of the Roaring Twenties with gilded precision. The wardrobes act as a brilliant comedic foil, as the characters’ internal composure completely unravels, their external wardrobe remains stubbornly glamorous, heightening the delicious absurdity of the affair.

While Fallen Angels is largely driven by its two delightful leading ladies, the revival’s supporting cast also promises that the momentum never falters when the spotlight shifts away from the central sofa. Tracee Chimo plays the newly hired, brilliant and outspoken maid, and is a scene-stealing delight. Saunders prides herself on a life of endless past experiences in which she feels inclined to serve the ladies, as often as a fresh glass of bubbles. Whenever Chimo enters the scene, you can expect a haughty punchline to follow. 

Christopher Fitzgerald, Mark Consuelos and Aasif Mandvi in Fallen Angels on Broadway. Photo by Joan Marcus.

In a Broadway landscape that often leans into moody dramas or massive, highly-engineered spectacles, Fallen Angels rises to the surface as a hilarious love letter to the art of the actor. It does not ask you to dig deep, nor does it seek to resemble the heavy anxieties of the modern world. Instead, Fallen Angels offers a glorious, unadulterated escape into a ninety-minute sanctuary of laughs, messy glitz and glamour, and memorable, standout performances. See it before it ends on June 7! 

Categories
Broadway's Best

14 Broadway Shows For People Who Say They Hate Broadway

When most people say “I hate Broadway,” what they actually mean is: I hate the version of Broadway that lives in my head: jazz hands, three-hour runtimes, someone singing about their feelings in a cornfield.

But here’s the thing… the Broadway that exists right now? It barely resembles that. Some of these shows feel like concerts and some like prestige TV and indie films. Others feel like you accidentally walked into a life-changing experience.

We ranked them from pure crowd-pleaser to the ones that will quietly undo you.

Photo by Matthew Murphy

1. MJ The Musical

For people who like: concerts, nostalgia, absolutely no homework.
You already know every song. You will not be doing any emotional labor. You are just… vibing.

Photo by Matthew Murphy

2. Moulin Rouge! The Musical

For people who like: chaos, nightclubs, sensory overload as a lifestyle.
Big, loud, and sexy. If you get bored, you are actively resisting fun.

Photo by Matthew Murphy

3. & Juliet

For people who like: Max Martin music, Shakespeare being humbled, surprisingly good cries.
Pop bangers, self-awareness, and just enough heart to catch you off guard.

Photo by Matthew Murphy and Evan Zimmerman

4. Maybe Happy Ending

For people who like: quiet devastation, love stories that linger.
It’s two robots, but it’s one of the most human things you’ll ever see.

Photo by Joan Marcus

5. Six

For people who like: pop concerts, girl groups, history as a flex.
Short, punchy, and refuses to waste your time.

Photo by Joan Marcus

6. The Book of Mormon

For people who like: South Park, being slightly scandalized.
You’ll laugh so hard you forget you’re at a musical.

Photo by Matthew Murphy

7. Harry Potter and the Cursed Child

For people who like: blockbuster movies, “did that just happen?” magic effects.
It’s spectacle-first and theatre second. (Also now starring Tom Felton as Draco Malfoy!)

Photo by Matthew Murphy and Evan Zimmerman

8. Stranger Things: The First Shadow

For people who like: Stranger Things, origin stories.
Feels like binge-worthy TV… but live. It’s huge spectacle and worth the dollars.

Photo by Joan Marcus

9. Hamilton

For people who like: hip-hop, history, crying later.
Still doesn’t feel like Broadway. Still hits.

Photo by Matthew Murphy

10. The Outsiders

For people who like: grit, brotherhood, emotional damage
You don’t watch this one… you feel it.

Photo by Matthew Murphy

11. The Lost Boys

For people who like: vampires, 80s energy, getting in early.
New, buzzy, and already building a cult following.

Photo by Matthew Murphy

12. Death Becomes Her

For people who like: camp, chaos, big performances.
Knows exactly what it is… and commits.

Photo by Marc J. Franklin

13. Beaches: A New Musical

For people who like: weepies, comedies, big performances.
You bring your best friend to this and you leave holding them a little tighter.

Photo by Matthew Murphy

14. Every Brilliant Thing

For people who like: unexpected crying, human connection.
It sneaks past your defenses… and suddenly you’re in it.

“Hating Broadway” is a vibe… not a fact. Shows vary from concerts to movies on a stage to emotional ambushes that you can’t get on your couch. All are exactly what you didn’t know you needed.