Categories
Capsule Reviews

Review of RAGTIME

By Ben Lerner

Ragtime has risen at Lincoln Center. The musical revival, based on E.L. Doctorow’s 1975 historical fiction novel, opened October 16 at the Vivian Beaumont Theater as a transfer of New York City Center’s hit Encores! production from last fall. The cast and direction are largely the same, but unlike City Center, with its huge capacity and sky-high balconies, this Ragtime feels intimate, performed in the round with stadium seating — so everyone can see the performers’ faces. The result is transcendent: a glorious revival of a musical masterpiece that is always timely, but remarkably so in 2025.

Set in NYC suburb New Rochelle during the early twentieth century in the years leading up to World War I, Ragtime blends the stories of real life personalities like Evelyn Nesbit, Emma Goldman, and Harry Houdini with the fictional tales of a wealthy white family, a poor immigrant family, and Coalhouse Walker Jr. and Sarah, a Black pianist and his lover. The stories intertwine over a decade, at times comically and often tragically, tackling racism, classism, xenophobia, and the unrealized American dream. 

Lynn Ahrens and Stephen Flaherty’s score is breathtaking, spanning genres and gorgeously performed by a 28-piece orchestra. It’s elevated to new heights by the lead performances and large ensemble cast. As Coalhouse, Joshua Henry is a vocal and dramatic tour de force. The sheer power and range of his instrument is otherworldly, and the Tony for Best Actor should be locked. Nichelle Lewis devastates as Sarah, with a wholly different vocal performance from role originator Audra McDonald — Lewis and Henry’s “Wheels of a Dream” is sensational. Caissie Levy, Brandon Uranowitz, and Ben Levi Ross are in top form, giving nuanced and moving performances as Mother, Tateh, and Younger Brother, respectively. 

Ragtime opens with a lone child actor on an empty stage. When the full ensemble rises from the back of the stage, it’s a chills-inducing moment — the first of many. And when Sarah’s Friend (the spectacular Allison Blackwell) belts “Till We Reach That Day” at the end of the first act, praying through grief for an America that is truly antiracist and finally free of discrimination, it’s palpable that day has still not been reached. Don’t miss the opportunity to witness this story, with this score, sung by this cast  — at the Vivian Beaumont Theater until January 4, 2026. Tickets at: https://www.lct.org/shows/ragtime/

Categories
Broadway's Best

Broadway’s Best Choreography Moments of All Time

Broadway has always danced its way into history—one step, kick, and pirouette at a time. From Balanchine’s groundbreaking ballet in On Your Toes to Justin Peck’s haunting modern storytelling in Illinoise, choreography has been the heartbeat of the American musical. These are the numbers that stopped shows, broke rules, and redefined what movement could mean on stage.

1936 – “Slaughter on Tenth Avenue,” On Your Toes
Choreography: George Balanchine
This was the moment ballet crashed Broadway’s party. Balanchine’s “Slaughter on Tenth Avenue” combined classical technique with the grit of gangsters and showgirls, turning a tongue-in-cheek story ballet into a thrilling, dramatic centerpiece. It was the first time a full-length ballet sequence was integrated into a musical’s plot. The number marked the arrival of serious dance on Broadway and opened the door for choreographers to become storytellers, not just decorators.

1943 – “Dream Ballet,” Oklahoma!
Choreography: Agnes de Mille
Broadway changed forever the moment Laurey fell asleep. Agnes de Mille’s “Dream Ballet” wasn’t just a dance, it was the first time choreography told a character’s subconscious story. Fifteen minutes of swirling tulle, heartbreak, and innovation that announced that dance could think instead of a shout, and Broadway never stopped listening.

1957 – “Cool,” West Side Story
Choreography: Jerome Robbins
Snaps, slides, and explosions barely contained. Robbins gave the American musical a new vocabulary: ballet laced with street tension. “Cool” is still studied as the moment dance became emotion’s twin.

1975 – “One,” A Chorus Line
Choreography: Michael Bennett
Gold hats, high kicks, heartbreak. “One” immortalized the chorus: uniform, dazzling, and unseen. The finale that turned dancers into myth and mirrors.

1975 – “All That Jazz,” Chicago
Choreography: Bob Fosse
Smoky, syncopated, and sinister. The opening of Chicago reintroduced Fosse’s aesthetic as cultural gospel: hips low, fingers alive, everything precise and dangerous. It’s Broadway stripped to attitude and anatomy.

1980 – “We’re in the Money,” 42nd Street
Choreography: Gower Champion 
A tap extravaganza gleaming with Depression-era optimism. Champion’s staging turned tap into a glittering survival dance, resilience in rhythm.

1992 – “Slap That Bass,” Crazy for You
Choreography: Susan Stroman
A jazz fantasia where bodies become instruments. Stroman’s dancers pluck invisible strings and bounce like basslines, proving that dance is music made visible.

2002 – “Movin’ Out,” Movin’ Out
Choreography: Twyla Tharp
Billy Joel’s music meets Tharp’s muscular modern dance in a show that tells its story entirely through motion. Jazz, ballet, and rock collide in a piece that made Broadway feel brand new.

2005 – “Electricity,” Billy Elliot
Choreography: Peter Darling
A working-class boy discovers his power through motion. The number builds from confusion to catharsis, part tap, part rebellion. A child discovering freedom mid-air.

2014 – “An American in Paris Ballet,” An American in Paris
Choreography: Christopher Wheeldon
Wheeldon’s luminous dream ballet brought Gershwin’s score to life with balletic sweep and cinematic grace. The sequence blurs realism and reverie, transforming post-war Paris into living art. It reignited Broadway’s love affair with classical form.

2019 – “El Tango de Roxanne,” Moulin Rouge! The Musical
Choreography: Sonya Tayeh
Raw, sensual, and explosive. Tayeh’s fusion of contemporary and ballroom forms turns desire into violence and heartbreak into art. It’s a masterclass in emotional choreography.

2024 – “Illinoise Ballet,” Illinoise
Choreography: Justin Peck
No words, no dialogue, just bodies and Sufjan Stevens’ music translating memory and loss into dance. Illinoise is the latest reminder that Broadway choreography can still astonish without uttering a line. If Agnes de Mille invented narrative dance, Justin Peck made it human again.

Categories
Broadway's Best

Broadway’s Most Powerful Protest Moments

Across decades, Broadway has proven that the stage can be a powerful place for protest. From groundbreaking musicals to provocative plays, these productions turned resistance into art, reminding audiences that theatre has always had the power to challenge, inspire, and spark change.

Hair: Flower Power, Anti-War, and Social Revolution
From its opening, Hair broke the mold. Against the backdrop of the Vietnam War and a rapidly changing America, Hair brought anti-war sentiment, sexual freedom, and racial integration into Broadway’s spotlight. Songs like “Aquarius” and “Let the Sunshine In” became anthems for a generation disenchanted with traditional norms. It wasn’t just a show, it was a movement, embodied night after night in public protest, civil disobedience, and counterculture style.

Les Misérables: Barricades That Resonate Across Time
Set in 19th-century France but speaking to so many modern struggles, Les Misérables became a perennial symbol of revolution and unity. The iconic moments, including the barricade scenes into “Do You Hear the People Sing?”, transforms political despair into collective hope. It deepened with every revival, every global protest, carrying forward the message that when the few oppress the many, resistance is inevitable.

Parade: Unearthing Injustice, Out in the Open
Parade tells the true story of Leo Frank, a Jewish industrialist in the early 1900s who was wrongly accused, tried, and lynched in Georgia. The musical forces audiences to confront racism, antisemitism, and miscarriage of justice, not through allegory, but through character, testimony, and heartbreak. The 2023 Broadway revival brought even more urgency, with protesters outside the theater echoing the very biases Parade indicts, proving that the past is never as far behind us as we might like to think.

John Proctor Is the Villain: Rewriting the Myth for Today’s Reckonings 
Kimberly Belflower’s John Proctor Is the Villain reframes The Crucible’s Salem mythos in a rural Georgia high school, between teenage girls and their complicity, accusations, and silences. The play becomes protest theatre. It interrogates gender, power, and the legacy of witch hunts, literal and metaphorical. It’s a sharp reminder that the stories we’ve inherited aren’t neutral; they shape what we accept or fight against.

Liberation: Reclaiming Feminist Voices
In Bess Wohl’s Liberation, six women convene in a 1970s Ohio rec center to form a consciousness-raising group. Through candid conversations about their lives, the play delves into the complexities of second-wave feminism, memory, and generational change. Praised as “the best play I’ve seen this season” by Vulture, Liberation intertwines personal narratives with broader social movements, highlighting the enduring relevance of feminist activism. Liberation is in performances at the James Earl Jones Theatre through January 11, 2026: https://liberationbway.com/ 

These Broadway moments remind us that protest takes many forms, and that art, at its most fearless, can move hearts and minds. 

Categories
Broadway's Best

The Art of the Discount: How to Experience Broadway Without Breaking the Bank

There’s nothing quite like the lights, music, and energy of Broadway, but those ticket prices can dim the excitement fast. The good news is that scoring affordable seats isn’t a secret art. It’s a mix of timing, flexibility, and knowing where to look. Whether you’re a local theatre fan or visiting the city for the first time, here are the best ways to land a great deal and still get swept up in the magic of Broadway.

Top Ways to Get Discount Broadway Tickets

TKTS Booths (by TDF)
Classic same-day deals, often up to 50% off. Visit the red-steps booth in Times Square or Lincoln Center. Check the TKTS app first to preview what’s available.

Digital Lotteries
Many shows offer $10–$40 tickets through daily online lotteries. Enter early, and act fast if you win since claims close quickly.

Rush and Student Rush Tickets
Day-of bargains, usually $30–$60, sold when the box office opens. Some are open to everyone, others require a student ID.

Standing Room Only
When shows sell out, a few standing spots open for cheap. Ask at the box office; these go fast for popular productions.

Promo Codes and Discount Sites
Websites like BroadwayBox, TheaterMania, and Playbill Deals regularly post limited-time codes for 20–50% off.

Membership Discounts
Join programs like TDF or industry groups for exclusive early access to discounted tickets.

Special Promotions
Keep an eye on seasonal events like Broadway Week or Kids’ Night on Broadway, which offer two-for-one or free youth tickets.

Group Sales
If you’re seeing a show with ten or more friends or coworkers, call the theater’s group sales office. Bulk bookings often mean built-in discounts.

Papering Lists
Some organizations quietly “paper the house” with free or ultra-cheap tickets for members. Try Club Free Time or local arts newsletters.

Affordable Broadway seats do exist; you just have to know where and when to look. With a bit of planning, patience, and the right mix of apps, booths, and insider programs, you can see world-class theatre without emptying your wallet. 

Categories
Capsule Reviews

Review of Punch

By Robyn Roberts

Based on the book, Right from Wrong, by Jacob Dunne, Punch on Broadway tells the story of a young man battling himself and everyone else in Nottingham, England. Adapted for the stage by British playwright, James Graham, and directed by Adam Penford, Punch hits every reservoir of emotion between the opening and final act.

Jacob, played flawlessly by Will Harrison as the lead antagonist turned protagonist, takes the audience along with him as he grapples with cause and effect of his environment versus his life choices. Jacob found understanding and community in the Nottingham streets while his single mother worked long hours to build a respectable life for her son. Jacob is also plagued with a spectrum of disabilities which only add fuel to his internal fire to snuff out a modicum of meaning or purpose to his life. Punching back at everyone and thing that have taunted or dismissed, Jacob becomes a habit that ultimately knocks him onto his most painful, but inspired trajectory yet.

The Punch cast is small and mighty, with many actors playing multiple characters within Jacob’s scarred reality. Costumes and set changes are minimal too, because in this story, it’s the characters’ rollercoaster of raw emotions that need no filler or color. As an audience member, you’ll revisit loss and grief, the anxiety of self-doubt, the rush of a new flirty crush, the weight of societal and familial pressures. You may laugh at times or cry at others, but you’ll easily leave humbled by your own life choices, and the idea of real second chances.

Harrison lends buckets of dialed-in energy to his portrayal of Jacob, amongst many other standout performances. Lucy Taylor as Jacob’s “mum” will leave you breathless as she reckons with the fate of the boy she raised. And then you meet another mum, played by Judith Lightfoot Clarke, whose grief is most palpable after the one punch that would change all.

Open now and running until November 2, 2025, go to the Samuel J. Friedman Theatre and experience Punch on Broadway before it ends. https://www.manhattantheatreclub.com/shows/2025-26-season/punch/

Categories
Broadway's Best

Fall Broadway Spotlight: Four Shows Opening This October

This October, Broadway offers a striking mix of revivals and premieres. From a cult-favorite musical rising again to an intimate family drama, the fall season promises variety and impact. Here are the four productions opening this month.

Beetlejuice

Palace Theatre | October 8, 2025
Broadway’s favorite ghost makes his return in Alex Timbers’ high-octane staging. With its blend of outrageous humor, eye-popping design, and devoted fan following, Beetlejuice reclaims the spotlight at the newly reopened Palace Theatre.

Ragtime

Lincoln Center Theater | October 16, 2025
One of Broadway’s most sweeping and powerful musicals comes back in a revival directed by Lear deBessonet. Starring Joshua Henry, Caissie Levy, and Brandon Uranowitz, Ragtime offers a timely reflection on identity, change, and the American dream.

Liberation

Broadway Theatre | October 22, 2025
Set in 1970s Ohio, Liberation follows Lizzie as she gathers a circle of women determined to reshape their lives and their world. Decades later, her daughter steps back into that unfinished revolution and confronts what it means to inherit a movement. Written by Bess Wohl and directed by Whitney White, this new play examines freedom, legacy, and the fight to carry change forward.

Little Bear Ridge Road

Booth Theatre | October 30, 2025
Playwright Samuel D. Hunter and director Joe Mantello bring a quiet intensity to this new drama starring Laurie Metcalf and Micah Stock. Set in rural Idaho, Little Bear Ridge Road explores grief, family, and endurance with Hunter’s trademark emotional precision.

Categories
Interviews

Unsung Heroes: Company Manager Mike McLinden on the Heart, Hustle, and Humanity Behind Broadway

Jim Glaub sat down with Mike McLinden (Our Town, Hello Dolly!, Purpose, and the upcoming Little Bear Ridge Road) to discuss the pivotal and thankless job of Company Management; Broadway’s most under appreciated role. They balance the books, manage the cast, serve as first line HR, liaise with producers, and keep the machine running, all while staying out of the spotlight. For our Unsung Heroes series, Mike talks about what it really means to hold a show together.

Q: For people who don’t know: what is a company manager?

Mike: We’re hired by the producer and general manager to oversee the day-to-day operations of the show. We run payroll, pay the bills, settling with the box office, and keep the show on budget. But we’re also the first people to see problems brewing, whether that’s a dressing room that’s too warm or an actor who needs support. At the end of the day we are a conduit for communication. Basically, if you look at a show and wonder, ‘Who does that?’ it’s probably the company manager.

Q: As far as I can assume, nobody grows up saying, ‘I want to be a company manager.’ How did you find your way into this world?

Mike: I studied stage management and lighting design in college. My first company management internship was almost by accident, at the Illinois Shakespeare Festival, a scrappy operation where the CMs also were on the run crew. Later, I spent summers at the Glimmerglass Festival, and that’s when I realized this work played more to my strengths. I wasn’t also running a show and juggling things outside my wheelhouse. Eventually, I landed at the Frankel office in New York on Standing on Ceremony Off-Broadway and then Leap of Faith. That was my front row view of legendary company managers like Kathy Lowe, and from there, every job I’ve gotten has traced back to those connections.

Q: Has there been a moment where you thought, I can’t believe this is my job?

Mike: All the time. During the Hello, Dolly! revival, I watched a rehearsal where the title number was just supposed to be marked. Suddenly Bette and the ensemble were full-out performing it, and I thought, ‘wow, small town Illinois kid in a Broadway theatre, pinch me.’ On the flip side, I’ve also dealt with stars threatening not to go on over something relatively trivial. That’s when you think, ‘Really? This is what I’m juggling today?’

Q: What’s harder: the numbers or the people?

Mike: Definitely the people. Everyone has lives outside the theatre… bad news at home, stress, illness. My job is to support them through that. If they don’t feel safe or valued, the show suffers.

Q: Has empathy ever changed the course of a situation?

Mike: Coming back after COVID, morale was low. People were on edge, worried about shutdowns. Small gestures like bagel Sundays, drinks after rehearsal, gave the company a chance to breathe. It bought goodwill and shifted the mood.

Q: Company management is so under the radar. How do you help people discover this as a career?

Mike: The NMAM apprentice program through our union is a huge step . It’s two years of seminars, training, and mentorship before becoming a full member. I also jump at any chance to talk to colleges. Students need to know you don’t have to sing or dance to build a career in theatre. And I love showing them: I didn’t move to Chicago like my peers, I tried New York, and it worked.

Q: What kind of person thrives in this role?

Mike: Someone with a knack for data, but who’s also a people person. And someone who doesn’t need the spotlight. If people outside the company know my name, something probably went wrong.

Q: If you could company manage any show in Broadway history, which would it be?

Mike: Phantom of the Opera. My grandma played the soundtrack constantly. And to be at the center of that phenomenon, a show that became a household name before the internet, that would’ve been extraordinary.

Q: This is a thankless job. What’s the best thank you you’ve ever received?

Mike: Glenda Jackson thanked me in her Tony speech. Nothing will ever top that. She was an icon, and to hear my name from that stage… I fell out of my chair.

Company managers are rarely in the spotlight, but without them, Broadway wouldn’t run. As McLinden proves, the role is equal parts accountant, counselor, negotiator, and cheerleader. Perhaps it’s time Tony speeches made ‘thank you, company manager’ as common as thanking agents and producers.

Pictured: Mike, Glenda Jackson, and SMs for Three Tall Women. Backstory on this photo from Mike: “Glenda had this sweatshirt that she wore EVERYWHERE. NYT Panel, she wore it. Tony Nominee luncheon, she wore it under a green camo jacket from Ann Roth. It drove some folks on the team a little crazy, so for closing we all got one and wore it.”
Categories
Broadway's Best

Favorite NYC Restaurants Before You Enjoy Broadway

Your Broadway night deserves more than just a quick bite. Luckily, the theater district offers everything from glamorous institutions to tucked-away gems. To help you choose your pre-show dinner, we’ve grouped our favorites into categories so you can find the perfect match for your mood (and your Playbill).

The Glamorous Crowd-Pleasers

Red Eye Grill: Seafood With Star Power

Seafood towers that feel like stage props, sushi that sings, and a buzzing, art-filled space that’s as lively as the shows down the block.

Bond 45: Antipasto Takes Center Stage

Hand-rolled pastas, wood-fired pizzas, and that show-stopping antipasto bar make this Italian trattoria in the heart of Times Square a true headliner.

The Broadway Legends

Joe Allen: The Cast Party Classic

Unpretentious American fare, theater folks at every table, and the infamous “flop wall” of short-lived productions. A must for Broadway insiders.

Sardi’s: Where Legends Dine

Martinis, continental cuisine, and caricatures of Broadway’s best covering every inch of wall space. Tradition with a side of nostalgia.

Pasta, Wine & Comfort

Becco: Unlimited Ovations for Pasta

The all-you-can-eat pasta tasting menu is worth a standing ovation. Add a generous wine list and you’ve got fuel for an unforgettable Act Two.

Glass House Tavern: The Chic Ensemble Member

Modern American plates, a polished vibe, and cocktails that practically demand a toast, including a nitro espresso martini served tableside.

Hidden Gems & Insider Picks

Vida Verde: A Colorful Quick Hit

Casual Mexican plates, tacos that shine in the spotlight, and mural-filled walls that buzz with energy.

Danji: The Cozy Scene-Stealer

Modern Korean small plates served in an intimate setting with bold flavors in a low-key atmosphere just steps away from the neon lights.

Obao: Where East Meets West Side

A Thai-Vietnamese fusion spot with bold flavors and a stylish atmosphere. Think pad Thai with a twist, crispy duck, and cocktails that pack as much drama as a Broadway finale.

Nizza: Pasta’s Neighborhood Darling

A snug Italian bistro on 9th Avenue, Nizza serves rustic plates, house-made pastas, and thin Roman-style pizzas. Comforting, unfussy, and beloved by locals.

Sushi of Gari 46: A Hidden Hit

For sushi fans, this unassuming Midtown outpost delivers some of the city’s most creative omakase bites. Elegant, refined, and a perfect prelude to a sophisticated show.

Marseille: A French Accent on 9th Avenue

A charming brasserie blending French and Mediterranean flavors. Mussels, steak frites, and wine by the glass make it a pre-theater gem with European flair.

Categories
Interviews

Inside the Art of Casting: A Conversation with Peter Van Dam

Jim Glaub sat down with Casting Director Peter Van Dam to talk about his journey from actor to casting, his philosophy on discovering talent, and how he’s reimagining classics like Chez Joey for a new generation.

Q: What first inspired you to pursue casting as a career?

Peter Van Dam: Growing up, I didn’t really know what a casting director did. I thought directors just picked the actors. But I was fascinated by theatre, listening to cast recordings, comparing different versions, and noticing how a single role could be transformed by different performers.

At 15, I went to Walnut Hill, a performing arts boarding school, and tried acting. I studied at NYU and then Boston Conservatory. But during senior year, when industry professionals came to speak, I realized I was more excited giving feedback to classmates than performing myself. 

That’s when it clicked.

I interned with Roundabout Theatre Company’s casting office, and being in that culture confirmed this was the right path. Later, I even worked as Lonny Price’s assistant — years later, I ended up casting his shows, which felt full-circle.

Q: Did your acting background make you a better casting director?

Van Dam: Absolutely. Having studied acting, voice, and dance gives me empathy for what actors go through and vocabulary to assess stamina and technique. Add to that my time with directors and talent agencies, and it’s made me understand the collaborative nature of the theatre industry of musicals from all angles.

Q: What do people misunderstand most about casting?

Van Dam: Everyone asks, “So what do you do?” Some assume we pick the people, but we don’t. We build lists, organize auditions, and advise the team. Directors, choreographers, music supervisors, and producers all have different priorities — we’re the connective tissue helping balance them.

Q: Have you had moments where your instinct was proven right?

Van Dam: Casting Peppermint in Head Over Heels was one. The role was written as non-binary, and we reached out to the trans community. She sent in tapes, came into the room, and it was undeniable. It was groundbreaking — the first openly trans woman cast in a principal Broadway role — and the production’s celebration of diversity was something I’ll always be proud of.

Q: You also recently worked on Dead Outlaw. How did that process evolve?

Van Dam: That began as a workshop for what was then the “untitled Yazbek/Moses/Della Penna musical.” Because it was The Band’s Visit team, it was easy to get people in the room. But the material wasn’t traditional musical theatre — it was rock-folk. We needed versatile actors who could play multiple roles convincingly. Watching it grow from workshop to Broadway was incredibly rewarding.

Q: With Pal Joey (now Chez Joey) being reimagined, how do you approach casting a classic?

Van Dam: It starts with the re-imagined book — Joey as a Black jazz singer in Chicago, and the interracial relationship with Vera. Working with Savion Glover and Tony Goldwyn, auditions feel more like rehearsals. We have a jazz band in the room, and actors are encouraged to play, not just perform perfectly. That creative freedom makes the process thrilling.

Q: How has technology changed casting?

Van Dam: Self-tapes have always been around, but after the pandemic, virtual auditions and Zoom callbacks became common. It means we can work with actors in LA or abroad without flying them in. Virtual open calls also expand the net — like when we recast Phantom of the Opera’s Christine, we saw 4,000 submissions and discovered someone in Texas we never would’ve found otherwise.

But nothing replaces the energy of being in a room. Live theatre is about presence, and that’s something you only feel in person.

Q: Do you find talent on social media?

Van Dam: Constantly. I’m on YouTube and TikTok, and people send me links all the time. For Six, we found performers that way. If we only relied on agents’ submissions, we’d miss out. Discovery is part of the job.

Q: What advice do you give young actors?

Van Dam: Don’t walk in asking, “How am I doing?” Instead, ask, “What am I doing?” Be bold in your preparation and show what makes you unique. Forget “type” — focus on what makes you stand out.

Q: If you could go back and cast any show in history, which would it be?

Van Dam: The original A Chorus Line. The auditions for that must have been fascinating — casting a show about casting.

Q: Last fun one: what’s the audition song you never want to hear again?

Van Dam: Songs about the business. Unless it’s A Chorus Line or Smash, I want to see a human being, not just someone singing about showbiz. Otherwise, I don’t mind “overdone” songs — it’s about the take. Ultimately, what I’m looking for is the same as any audience member: to be moved.

Categories
Creative

Broadway’s Best Wedding Songs: For Your First Dance

Broadway weddings

There’s nothing quite like the first dance at a wedding. That magical moment when all eyes are on the couple, swaying together in a song that feels like it was written just for them. And what better place to draw inspiration than Broadway, where love stories have been told for decades. From golden age classics to contemporary favorites, Broadway has given us a soundtrack of romance that’s perfect for the dance floor.

Classic Golden Age Romance

For couples who love tradition and timeless melodies.

1. “Some Enchanted Evening” (South Pacific)
 Rodgers & Hammerstein at their most sweeping – a grand, cinematic ballad about love at first sight.

2. “’Til There Was You” (The Music Man)
 Sweet and understated, with just enough charm to melt hearts.

3. “If I Loved You” (Carousel)
 A lush duet, brimming with longing and romance.

4. “Sentimental Person” (Maybe Happy Ending)
 Elegant, dramatic, and perfect for a graceful waltz.

Dramatic Showstoppers

Big voices, big orchestrations, and first dances that feel like opening night.

5. “All I Ask of You” (The Phantom of the Opera)
 A Broadway power duet that soars with passion.

6. “Somewhere” (West Side Story)
 Yearning and hopeful, with a grandeur that fills the room.

7. “What I Did for Love” (A Chorus Line)
 Heartfelt and emotional, a declaration of commitment beyond the spotlight.

Modern Favorites

For couples who want Broadway’s newer ballads to define their love story.

8. “Falling Slowly” (Once)
Intimate and contemporary, with quiet emotion that builds beautifully.

9. “You Matter to Me” (Waitress)
 Sara Bareilles’ tender duet – modern, personal, and full of warmth.

10. “I Choose You” (The Bridges of Madison County)
 Jason Robert Brown’s soaring ballad of devotion feels tailor-made for weddings.

Sweet & Quirky Picks

11. “They Can’t Take That Away from Me” (Crazy for You)
A Gershwin gem that’s equal parts classy and charming – perfect for couples who want timeless elegance with a wink.

12. “Do You Love Me?” (Fiddler on the Roof)
Gentle, sweet, and slightly playful – a duet that captures the humor and tenderness of lasting love.

13. “You’re the Top” (Anything Goes)

Cole Porter’s witty wordplay brings sophistication with a dash of humor – an upbeat and charming choice.