The cast of Chess on Broadway delivers an electrifying and emotionally resonant performance, guided by director Michael Mayer, and ignited by legendary score of writers, Benny Andersson, Björn Ulvaeus, and Tim Rice.
Chess arrives on Broadway with the confidence of a grandmaster and the vibe of a genuine crowd-pleaser. From the first flicker of the chessboard motif to the last sustained note, Chess makes a compelling case for the show’s return to the spotlight, embracing its Cold War intrigue and pop-opera sweep with clarity, style, and heart.
Aaron Tveit commands the stage as Freddie Trumper, infusing the role with magnetic energy and a rock-inflected vocal brilliance that captures both the character’s bravado and vulnerability. Lea Michele’s Florence Vassy lends vocal clarity with dramatic depth, anchoring the show’s complex love triangle with a performance that balances strength with sensitivity. Nicholas Christopher, playing Anatoly Sergievsky, offers a nuanced approach, his rich baritone and understated intensity gives gravitas to the Russian chess champion’s moral and personal struggles within.
The performances match the production’s ambition. The central trio generates genuine heat and nuance, suggesting the triangle not as a plot convenience but a collision of bruised egos, genuine affection, and clashing personal identities. Vocally, the cast delivers the goods. Rangy, expressive, and attentive, yet what lingers is the specificity in their actions. A glance that lands like a dagger, a breath held one beat too long, a gesture that reveals more than a lyric could alone. The Chess ensemble is a live wire, snapping into crisp formations and lending high-stakes urgency to press conferences, game matches, and media frenzies.
Musically, it’s a feast. Chess marries ABBA’s pop sophistication with theatrical sweep. The band gives the score real weight, as 1980’s synth-pop shimmers without feeling dated, guitars snarl where they should, and the strings add depth and ache. “One Night in Bangkok” crackles with satirical bite and percussive snap.
Great music and choreography aside, perhaps most impressively, the evening never loses sight of the human story. For all the spectacle, the production keeps returning to the people at the center of the story. What it costs to win, what it costs to walk away, what it means to be seen only as a symbol. By the curtain, the applause feels as much for the clarity as for the craft. Chess plays like the great musical it’s always threatened to be. Big, bold, and fiercely alive. See it at New York’s Imperial Theatre before it ends in early May, 2026. Tickets at https://chessbroadway.com/
There’s a delightful new romantic comedy about two strangers carrying a cake across NYC. It happens to be a musical direct from London called Two Strangers (Carry A Cake Across New York), now playing on Broadway at the Longacre Theatre.
It delivers on that premise, but I can also promise you’ll laugh, smile, swoon, and be moved. Weeping is not out of the question. Being charmed by its two leads is guaranteed. Developed in the UK but set in Manhattan and Brooklyn over two days in December, Two Strangers makes New Yorkers, Brits, and any romcom aficionado feel right at home.
Unlike the average musical comedy, Two Strangers has only two cast members — and you guessed it, they’re the two strangers in question. One is Dougal, fresh off the plane from London to attend his estranged father’s NYC wedding, and the other is Robin, a busy New Yorker and sister of the bride who is tasked with picking up “the kid.” Do they vibe at first? Of course not! Do things change? Well, it’s a romcom after all!
Luckily, a classic meet-cute leads to some surprising developments, as truths about both characters are revealed and they begin to care for each other. It follows a formula without being formulaic, largely thanks to the tiny cast, unique direction and a memorable score that spans genres.
The other referenced characters never appear, and while that can occasionally it feel incomplete, Two Strangers thrives on the chemistry and comic timing of its two leads, who are developed beautifully through their maximal stage time. Sam Tutty, known for his Olivier-winning turn as the titular character in the West End’s Dear Evan Hansen, shines as Dougal, who is at times corny, at times vulnerable, and always very adorable and very British. He played the role in London, but his costar, the phenomenal Christiani Pitts as the pessimistic (and secret-carrying!) barista Robin, is new to the Broadway transfer. Pitts, who appeared in King Kong and A Bronx Tale on Broadway, is from New York, which is clear in her referential one-liners about NYC culture.
Jim Barne and Kit Buchan have written a script both wholesome and clever, weaved between catchy songs well-suited for online virality, all sung expertly by Tutty and Pitts. The unique set of oversized suitcases on a Hamilton-esque turntable, designed by Soutra Gilmour, has a few surprises of its own. Its abstract nature and simplicity contrasts with the realistic image on the Playbill cover of Dougal and Robin on the subway.
Directed by Tim Jackson, Two Strangers (Carry A Cake Across New York) is another welcome British addition to the Great White Way. It’s neither radical nor revolutionary, but it’s special to see two talented actors perform a musical romantic comedy all on their own. I’d wager that there’s a bright word-of-mouth future for the production and that its score will develop a young and passionate fandom. Appealing to lovers of both situational comedy and wholesome romance, Two Strangers, set in NYC in December, is a sweet treat for the holiday season. Tickets at https://twostrangersmusical.com/
The 54th Annual Tony Awards marked a vibrant moment in Broadway history, celebrating a slate of performers and creatives whose work helped define a new era of theatrical storytelling. As these winners celebrate two and a half decades since their big night, we look back at what earned them Broadway’s top honor and where their careers have taken them since.
Brian Stokes Mitchell – Best Actor in a Musical (Kiss Me, Kate)
One of Broadway’s most iconic leading men, Brian Stokes Mitchell earned his Tony for his performance as Fred Graham / Petruchio in the 1999 revival of Kiss Me, Kate.Today, he remains a cornerstone of the Broadway community. In the years since his win, he has starred in King Hedley II (earning another Tony nomination), Man of La Mancha, Women on the Verge of a Nervous Breakdown, and Shuffle Along. During the pandemic, Mitchell became a symbol of hope with his nightly balcony serenades on West 98th Street, which raised awareness for the Entertainment Community Fund (then called The Actors Fund), where he also served as Chairman of the Board. He continues performing in concerts nationwide and remains one of Broadway’s most beloved ambassadors, even acting as the voice of God during the 2025 Tony Awards.
Heather Headley – Best Actress in a Musical (Aida)
Heather Headley’s electrifying performance in Disney’s Aida made her a Broadway legend overnight. After her Tony win, she shifted into a successful recording career and earned a Grammy Award.Headley later returned to the stage with acclaimed performances as Shug Avery in The Color Purple, the Witch in Into the Woods and Rachel Marron in The Bodyguard. She has also built a robust television résumé with roles in Chicago Med, Sweet Magnolias, and She’s Gotta Have It. Today, Headley remains a multi-hyphenate force who moves between stage, screen, and studio.
Boyd Gaines – Best Featured Actor in a Musical (Contact)
Boyd Gaines won his third Tony Award in 2000 for Susan Stroman’s groundbreaking dance musical Contact. Already a respected stage veteran, Gaines has continued to show his versatility across genres.
He went on to appear in Gypsy (earning another Tony), Journey’s End, Twelve Angry Men, Pygmalion, Driving Miss Daisy, and An Enemy of the People. His screen credits include The Good Wife, Law and Order, and The Goldfinch. Though he has taken a step back from stage acting, with his last role being in 2012, Gaines remains one of the most decorated performers in Tony history.
Karen Ziemba – Best Featured Actress in a Musical (Contact)
Karen Ziemba’s luminous performance in Contact earned her a well-deserved Tony, solidifying her status as one of Broadway’s most dynamic triple threats.In the years since, she has appeared in Curtains, Bullets Over Broadway, Prince of Broadway, The Visit, and Hot Mikado. Ziemba continues to work steadily in regional theatre, Off Broadway, and concert settings, bringing her blend of warmth, dance expertise, and comic timing to every project. She remains a beloved figure in the musical theatre landscape.
Stephen Dillane – Best Leading Actor in a Play (The Real Thing)
Stephen Dillane’s quietly smoldering performance as Henry in The Real Thing earned him a Tony Award cemented his status as one of the most compelling actors of his generation. A British actor known for his intellectual intensity and emotional precision, Dillane has moved fluidly between stage and screen throughout his career. Interestingly, though, this was his only foray to Broadway, with all of his other stage roles coming on the West End
After The Real Thing, he continued to deliver acclaimed theatrical work, most notably in Macbeth and The Tempest, while also branching into film and television with roles in The Hours, John Adams, and Game of Thrones. With a degree in history and politics from Exeter, Dillane remains a master of thoughtful, layered character work, celebrated for bringing a scholar’s mind and a poet’s sensitivity to every role.
Jennifer Ehle – Best Leading Actress in a Play (The Real Thing)
Jennifer Ehle’s luminous performance as Annie in The Real Thing showcased her natural warmth, keen intelligence, and effortless charisma, earning her a Tony Award and introducing Broadway to one of its most versatile talents. She went on to build a distinguished career across mediums, appearing in productions such as The Coast of Utopia (winning another Tony), Oslo, and Design for Living. On screen, Ehle is known for her work in The King’s Speech, Zero Dark Thirty, Contagion, and Fifty Shades of Grey. Whether on Broadway or in film, Ehle continues to impress with performances marked by grace, emotional depth, and impeccable craft.
Blair Brown – Best Featured Actress in a Play (Copenhagen)
Blair Brown won her Tony for her nuanced work in Michael Frayn’s Copenhagen, a play that dominated the 2000 season, with wins for Best Play and Best Direction of a Play.After her win, she continued a prolific career on stage and screen, appearing in The Minutes, The Parisian Woman and Mary Page Marlowe. On television, she is widely known for memorable roles in Orange is the New Black, Fringe, and Limitless. Brown remains a respected actor whose work spans drama, science fiction, comedy, and high profile streaming hits.
Roy Dotrice – Best Featured Actor in a Play (A Moon for the Misbegotten)
Roy Dotrice’s commanding turn as the rough-edged yet fiercely devoted Phil Hogan in A Moon for the Misbegotten earned him a Tony Award and reaffirmed his reputation as one of the great character actors of his era. A master storyteller with a booming presence and meticulous craft, Dotrice brought Eugene O’Neill’s world to life with humor, heart, and unmistakable grit. Following his Tony win, he continued a wide-ranging career on stage and screen. Dotrice holds the Guinness World Record for most character voices by an individual for an audiobook for A Song of Ice and Fire. Though he passed in 2017, Dotrice’s wide breadth of work cemented him as a singular talent whose voice and versatility left an indelible mark on audiences worldwide.
Susan Stroman – Best Choreography (Contact)
Susan Stroman’s elegant, movement-driven storytelling transformed the Broadway musical when she won her third Tony Award for Best Choreography for Contact.Since then, Susan Stroman has become one of the most influential directors and choreographers working today. Her credits include the blockbuster The Producers (which earned her two more Tonys in 2001), Bullets Over Broadway, The Scottsboro Boys, Young Frankenstein, New York, New York, and Crazy for You. She remains an essential artistic voice in contemporary musical theatre, championing new works and nurturing rising creators.
One might think a new play based on an Ancient Greek myth would offer thought-provoking modernizations and great performances, but perhaps not too much shock value. One would be mistaken, at least when it comes to the brilliant transfer of the West End’s hit Olivier-winning production of Oedipus, which opened on Broadway on November 13 at Studio 54.
This Oedipus, adapted and directed by Robert Icke and set in the modern world of politics, uses almost entirely new language, while remaining faithful to the infamous dramatic plot points of Sophocles’ play — though they’re revealed differently through an original narrative. The character names are the same and the text displayed on screens is in Greek, though the all-British cast suggests the election occurs in the UK.
Beyond these names and motifs, Icke crafts a new, hyper-realistic political and familial drama in real time, set over two uninterrupted hours before the results of an election. Here, Oedipus (Mark Strong) is in his campaign headquarters on the precipice of victory, surrounded by his family and staff. These include his wife Jocasta (Lesley Manville), his mother Merope (Anne Reid, spectacular at age 90!), his brother-in-law/campaign manager Creon (John Carroll Lynch), and his children Eteocles, Polyneices, and Antigone (Jordan Scowen, James Wilbraham, and Olivia Reis, respectively).
The horrifying plot twists, which I won’t describe here but are well-known to most — through the original play, Shakespeare’s version, or the corresponding Freudian psychological concepts — are inevitable, yet they hit Studio 54 with such force most of the audience leaves stunned into a silent daze. This is a testament to Icke’s writing and direction and the haunting lead performances by Strong and Manville. Both are Tony-worthy, but at the very least, Manville should be a lock to win Best Actress in a Play, as she did for this role earlier this year at the Olivier Awards.
Strong and Manville are both veterans of West End theatre perhaps more familiar to American audiences for their onscreen work — Strong for films such as Kingsman, Zero Dark Thirty and Sherlock Holmes, and Manville for her Oscar-nominated performance in Phantom Thread and Emmy-nominated role as Princess Margaret in The Crown. In Oedipus, they both reach new dramatic heights, telling their characters’ tragic tales with nuance, raw emotion, and even humor. The audience laughs before it gasps, transfixed from its start to its stunning finish.
What transpires in between is edge-of-your-seat drama that is salacious (naturally), but also deeply devastating when set in this modern context. I left simultaneously horrified, heartbroken, and awestruck. It’s a tragedy in every sense of the word, and one that anyone who appreciates top-tier stage acting and playwriting should not miss. (Except children. Don’t bring them!)
Oedipus will shock you, sicken you, and sadden you — and it will stick with you in a way most new plays cannot. Witness it at Studio 54 now through February 8, 2026. Tickets at https://oedipustheplay.com/
It was recently announced that Oscar winners Emma Stone and Jennifer Lawrence will be producing a Miss Piggy film with a script penned by Oh, Mary! Tony winner Cole Escola. For those who can’t wait to see Piggy in action, she’s currently costarring in a Broadway show — but probably not the one you expected.
Miss Piggy and her Muppet friends cameo in Rob Lake Magic, currently playing at the Broadhurst Theatre. The show is what it sounds like: an interactive Vegas-style magic show starring Rob Lake of America’s Got Talent fame. Is the inclusion of the Muppets somewhat random? Definitely. Is it a bad thing? Not at all. If anything, they’re underutilized.
Cole Escola’s script will almost certainly contain raunchy adult humor, but at Rob Lake Magic, the Muppets are as family-friendly as it gets. Lake performs a mix of his famous illusions — not new ones — and includes significant audience participation. There were occasional technological hiccups, but it was clear that magic lovers and child attendees had a ball. And that’s who this production is catered to, rather than a general adult audience or Broadway fans. It’s perfectly enjoyable, if not slightly underwhelming, as a non-magic-obsessed adult, but in many ways it’s a Vegas show on a Broadway stage and operates as such.
Make no mistake: there are plenty of mystifying moments to go around, with several leaving the audience, myself included, dumbfounded. Other tricks employ what seems to be prerecorded video and audio and are less shocking. There are classic illusions like “woman sawed in half” that are not mind-blowing to an adult audience — but again, this is a family show for kids and magic superfans, most of whom seemed to leave amazed.
Even if some illusions run smoother than others, but children under 10 won’t be bothered. Many get to participate, which yields adorable moments. Adults are called to the stage, too, and many of them were no less bewildered. The final trick has a great payoff.
Rob Lake has a good stage presence and grew more comfortable throughout the show, bantering with audience members and leading with self-deprecating humor. These moments land best, compared to the classic Vegas magician moments of bravado. While this is a classic magician trope, the arms-spread-wide pose after the illusion to soak up the glory can come off inauthentic. This is likely because Lake really is a normal, nice, non-egotistical guy with a special talent, though some may come with an expectation of Vegas-level drama. I noticed Lake’s costume — a basic blue sweater on top, leather pants below — almost reflected this interesting mixed persona.
If you love illusions — or have kids who would be excited by them — you’re sure to have a great time full of oohs and ahhs at Rob Lake Magic. If you fit into neither category, it may not be catered to you. It’s playing on Broadway, but it’s certainly more of a “Special Event,” and one that any magic-loving child would adore as a family outing. And while I wish we’d seen more of them, the Muppets are the legendary scene stealers we know and love. As Miss Piggy asks the audience, “It’s good to see moi, isn’t it?” No need to respond — that was rhetorical!
Rob Lake Magic is playing at the Broadhurst Theatre through November 16, 2025. Tickets at www.roblake.com/broadway
As Broadway looks ahead to its next big season of revivals and fresh voices, it’s worth pausing for a look back to the year 2000, when a bold new generation of shows helped shape what modern Broadway would become. Now, a quarter-century later, those musicals and plays are celebrating their silver anniversaries, and many remain as relevant, resonant, and revolutionary as ever. From Aida and Contact to Proof and The Full Monty, the class of 2000 marked a turning point in how Broadway told its stories with pop scores, dance-driven storytelling, and emotionally intimate plays that expanded the definition of what a hit could be.
Aida
When Aida opened at the Palace Theatre in March 2000, it redefined the “pop Broadway musical.” With music by Elton John and lyrics by Tim Rice, the show fused pop, rock, and classical influences into a sweeping retelling of the classic story of forbidden love between an enslaved Nubian princess and an Egyptian soldier. Starring Heather Headley in the titular role in a breakout, Tony-winning performance, Aida ran for more than 1,800 performances and left a cultural imprint far beyond its Broadway run, inspiring international productions and even a rumored revival. Its influence still shows up today in the era of pop-driven musicals like & Juliet and Six.
Contact
Few shows captured Broadway’s imagination quite like Contact. Conceived by Susan Stroman and John Weidman, this dance musical blurred the line between theatre and ballet, using existing music instead of an original score. The production, which moved to Broadway after a successful Off-Broadway debut at Lincoln Center, went on to win the 2000 Tony Award for Best Musical. It was a groundbreaking moment for a show told almost entirely through movement. Stroman’s kinetic storytelling paved the way for other dance-forward works like Movin’ Out and The Times They Are A-Changin’, and her influence continues today in revivals like Crazy for You and new choreography-driven projects across Broadway like 2024 Tony Award nominee Illinoise.
Proof
David Auburn’s Proof, which premiered at the Manhattan Theatre Club before transferring to Broadway later that year, became one of the defining plays of the early 2000s. Its mix of intellectual intrigue, family tension, and emotional vulnerability won both the Tony Award for Best Play and the Pulitzer Prize for Drama. Twenty-five years later, Proof is returning to Broadway this season starring Ayo Edebiri, Don Cheadle, Jin Ha, and Samira Wiley — a timely revival for a play that still feels urgent in its exploration of genius, grief, and trust. Its original run also made stars of Mary-Louise Parker and Ben Shenkman, solidifying MTC’s reputation as a launching pad for smart, emotionally rich new writing.
The Full Monty
Before Kinky Boots and Billy Elliot, there was The Full Monty — the blue-collar musical that brought heart, humor, and a little striptease to Broadway. With a score by David Yazbek and a book by Terrence McNally, the show told the story of out-of-work steelworkers in Buffalo who decide to form an unlikely strip act. Opening at the Eugene O’Neill Theatre in October 2000, The Full Monty was an instant crowd-pleaser and earned ten Tony nominations. Its blend of laughter, working-class realism, and sincerity set a tone for the decades of “feel-good” musicals that followed.
Seussical
A fantastical mash-up of Dr. Seuss stories, Seussical was a bright, family-friendly entry into the 2000 season. Written by Lynn Ahrens and Stephen Flaherty (Ragtime), it brought together Horton the Elephant, the Cat in the Hat, and a colorful ensemble of Whoville characters in a whirlwind of rhymes and rhythm. While its initial Broadway run was short-lived, Seussical found massive success in schools and community theaters, becoming one of the most-performed shows in the U.S. Its enduring popularity speaks to the show’s charm — and to the timelessness of Seuss’s message about imagination and inclusion.
Dirty Blonde
Claudia Shear’s Dirty Blonde, directed by James Lapine, explored the life and legend of Mae West and the way her image continued to resonate decades later. With Shear herself in the leading role, the 3-hander offered a fresh, feminist take on celebrity and identity. Dirty Blonde earned five Tony nominations (and is one of the few plays in Broadway history to have its entire cast receive a Tony nom) and remains a benchmark for actor-driven, biographical storytelling on Broadway. Its influence can be felt in later pieces like I Am My Own Wife and Tina: The Tina Turner Musical — shows that blur biography and performance to reveal something deeper about fame and self-invention.
Copenhagen
Michael Frayn’s Copenhagen brought physics, philosophy, and moral ambiguity to Broadway — and made it thrilling. The play dramatized a 1941 meeting between physicists Niels Bohr and Werner Heisenberg, turning a scientific mystery into a riveting human drama. The Broadway production won the 2000 Tony Award for Best Play and showcased the power of intellectual theater at a time when musicals often dominated the conversation. Its success paved the way for other smart, idea-driven plays — from The History Boys to Oslo — that prove audiences will lean in when the writing sparks curiosity.
Broadway’s Best Shows sat down with Justin Adams and Emely Rachela of Broadway Crew, a company that provides event staffing and street team services for Broadway shows and beyond.
Founded in 2018 by Sam Clark, Broadway Crew began as a simple idea: give theatre artists a flexible and connected parallel career. Today, that idea has blossomed into a nationwide promotional staffing agency whose crews don’t just hand out flyers, they represent shows, engage audiences, and collect real-time feedback for producers and marketing teams.
From Street Team to Ad Agency
“We started with that classic image of the Times Square street team,” Justin explains. “Now we’re a full-fledged staffing agency. We help assemble opening night gifts, survey audiences, and even do mascot work.”
That mascot work has ranged from Romeo the Raccoon for The Public Theater to Elf activations at the Marriott Marquis, complete with Santa appearances and holiday brunches. “It’s a little bit camp, a little bit chaos,” Justin laughs, “but always fun.”
The Crew at Work
Emely, one of Broadway Crew’s Team Leads, spends her days at the TKTS booth, leading and mentoring the team that greets thousands of tourists. “We’re the people chatting with folks in line, helping them pick a show, finding out what they love, and sending them to see something that fits,” she says.
Some visitors arrive with no plan. “They just stand in line because it’s there,” Emely jokes. “We help them find their match so they’ll come back for more.”
Her favorite part? Watching shows grow from word-of-mouth to sell-outs. “Maybe Happy Ending was one we started promoting when the show was relatively unknown,” she recalls. “Now people literally grab flyers from our hands.”
Actors, Artists, and True Fans
Roughly 90 percent of Broadway Crew’s staff are working actors. The rest are dancers, playwrights, or devoted fans who want to stay close to the energy of the stage. “Some even have nine-to-five jobs but work weekends with us because they love the community,” Justin says.
Recruitment happens mostly through word of mouth and social media, though listings on Playbill, Backstage, and college networks also help. “It’s a word-of-mouth company powered by good vibes,” he adds.
Why Every Show Needs a Street Team
So why should a producer hire one? Justin doesn’t hesitate. “Every show — hit or not — needs people on the ground. We’ve worked with Hamilton to help fill its last few seats and with new shows trying to get noticed. We’re not just handing out flyers; we’re giving producers real-time insights into what audiences are saying.”
He also urges producers to start earlier. “A month before previews is perfect,” he says. “Don’t wait until you’re panicking about sales. We can be out at fall festivals, Halloween events, even commuters’ spots — meeting audiences where they are.”
Emely agrees. “When a show first appears on the TKTS board, people hesitate because it’s often the first time they’ve heard of it. If they’d seen our team talking about it weeks earlier, that recognition would already be there.”
The People Behind the Paper
Street teams aren’t anonymous promo machines, they’re theatre lovers. “Talk to our crew,” Emely says. “They’re not pressuring anyone. They’re just passionate about the art form.”
Justin nods. “We’re all part of the same club — the theatre nerds keeping the spark alive.”
Broadway Crew proves that the heart of Broadway beats not only onstage but also on the sidewalks, one conversation, one flyer, and one fan at a time.
When The Phantom of the Opera arrived at the Majestic Theatre in 1988, no one knew it would become Broadway’s longest-running show. The chandelier, the romance, the mystery — unforgettable. But it was the original cast who brought this gothic love story to life and set the tone for decades of performers to come.
Here is where those iconic stars are now.
Michael Crawford (The Phantom)
There is only one first Phantom, and Michael Crawford set the bar at a level that performers still chase. His intensity, vulnerability, and soaring vocals created a Phantom who was both terrifying and heartbreakingly human.
After more than 1,300 performances, Crawford has returned to Broadway only once more, in Dance of the Vampires in 2002. He also performed on the West End in The Woman in White, The Wizard of Oz, and other major productions. Health challenges led to quieter periods, but his occasional public appearances remain moments of celebration in the theatre world.
A true Broadway legend whose shadow looms as majestically as the Phantom’s cape.
Sarah Brightman (Christine Daaé)
Sarah Brightman’s shimmering soprano and dreamlike presence defined Christine for a generation. She was ethereal, curious, and the perfect muse for Phantom’s dark devotion.
After departing the show, she launched a global classical-crossover career, recording chart-topping albums and touring the world. Brightman has the honor of performing the theme song for the Olympic Games twice, in Barcelona with “Amigos Para Siempre” and in Beijing with “You and Me.” Her duet “Time to Say Goodbye” with Andrea Bocelli is one of the best-selling singles of all time.
From opera houses to arenas, she turned Christine’s innocence into full-scale international stardom and is still performing today.
Steve Barton (Raoul)
Steve Barton brought a warmth and sincerity to Raoul that balanced Phantom’s gothic drama. His voice, charm, and grounded presence made Christine’s love story feel real and heartfelt.
He continued to perform widely across Europe and the United States, oftenworking in Germany and Austria in shows such as Cats, West Side Story, Evita, Guys and Dolls, Dance of the Vampires, Beauty and the Beast, Jekyll & Hyde, and more. He was a respected leading man in musical theatre until his passing in 2001. His legacy remains deeply cherished by fans and colleagues alike.
Judy Kaye (Carlotta)
Judy Kaye entered Phantom with comedic firepower and vocal brilliance, turning Carlotta into far more than a prima donna punchline. Regal, ridiculous, commanding — she played it all with style.
She went on to become one of Broadway’s most versatile stars, winning two Tony Awards and dazzling audiences in everything from opera to musical comedy. Her career continues to shine bright.
Her Broadway résumé is packed, including On the Twentieth Century (Tony Award), Mamma Mia! (Tony Award nomination), Wicked, Ragtime, Sweeney Todd, Nice Work If You Can Get It (Tony Award), Anastasia, and Diana: The Musical.
Nicholas Wyman (Monsieur Firmin)
Nicholas Wyman played Firmin, one half of the overwhelmed opera managers caught between diva tantrums and paranormal chaos. His dry humor and authority made him a beloved part of Phantom’s world.
Wyman continued his career in theatre (Sly Fox, Dirty Rotten Scoundrels, A Tale of Two Cities, Catch Me If You Can, Network) film, and television, and also took on leadership roles in the arts. His varied work reflects the same poise and polish he brought to the stage.
Cris Groenendaal (Monsieur André)
As André, Cris Groenendaal delivered impeccable timing, warmth, and just the right amount of controlled panic. He helped shape Phantom’s blend of grandeur and humor — and did it with charm to spare. After Phantom, he continued performing in opera and musical theatre, including Passion, A Funny Thing Happened on the Way to the Forum, Ragtime, and Sunday in the Park with George, and became a respected vocal coach and educator. His artistry and work in many Sondheim musicals influenced a new generation of performers.
Why be a ghost when you can be glamorous, undead, painted, bewitched, bewigged, robotic, romantic, and delightfully theatrical? This year, skip the generic costumes and pull your Halloween inspiration straight from Broadway, where clothing becomes character and drama is the dress code.
From camp horror to high-gloss glamour, here is how to dress Broadway for Halloween using inspiration from this season and last.
Beetlejuice: The Demon’s in the Details
For the Halloween personality who thrives on chaos and eyeliner. Think black and white stripes, gravity-defying hair, corpse bride lace, and the unhinged smirk of someone who absolutely should not be trusted with ancient magic.
Carry a sandworm-striped bag for candy. Required line: “It’s showtime.”
The Queen of Versailles: Haunted Luxury
Sequins. Sky-high hair. Diamonds for days. A look that says “I built my empire” with undertones of “and now I haunt the foyer.”
Serve billionaire glam with a ghostly twist. Think undead Palm Beach royalty meets Broadway spotlight.
ART: A Walking Canvas
Minimalist but dramatic. Wear white from head to toe and add bold paint streaks as if you left a gallery fight or started one.
Carry a miniature blank canvas. Gaze at strangers like their taste in art disappoints you deeply.
The Rocky Horror Show: Time Warp Energy
Corsets, pearls, fishnets, platform heels, smoky eyeliner. This costume is about power, sensuality, camp confidence, and zero shame.
If you break into the Time Warp in the kitchen, you are doing it right.
Maybe Happy Ending: Romantic Retro Robots
A softer sci-fi look. Pastel tones, gentle wiring accents, subtle metallic glow, vintage headphones, and a record tucked gently under your arm.
You are a robot discovering love and vinyl. The most important accessory is sincerity.
Death Becomes Her: Immortal Glamour
Old Hollywood elegance with a supernatural glitch. Sleek satin, refined pearls, immaculate hair and makeup plus one tasteful sign of stylish demise.
Suggest eternal beauty with slightly cursed undertones. Just try not to lose an arm at the party.
Two Strangers (Carry a Cake Across New York): Sweet Meet-Cute Style
For those who prefer charm over fear. Effortlessly cool New York wardrobe, a bakery box, and rom-com energy.
A love story costume for people who arrive fashionably late but with dessert.
More Broadway Inspirations to Steal
Water for Elephants: vintage circus glamour and sawdust sparkle The Wiz: technicolor emerald chic with gold-power energy Back to the Future: 1980s denim, lab coat, messy genius hair, hoverboard prop Hadestown: industrial romance, deep colors, flower crown with edge Cabaret: Berlin club decadence, smoky eyes, suspenders, satin shorts Suffs: historical sashes, structured jackets, hats, determined purpose
A hilarious, side-splitting lesson on the power of subjectivity and personal conviction between friends.
Performing for only 17 weeks at The Music Box Theatre, ART on Broadway delivers laughs as big as the A-list cast. Set in Paris, present day, you can easily expect to be tickled by the dry quips shared between three best friends, as early as the opening act.
Bobby Cannavale’s character, Marc, finds himself utterly confused by the six-figure purchase of a painting acquired by his friend, Serge, played by Neil Patrick Harris. The tug of war between two strong opinions, where Marc sees a silly, expensive mistake while Serge sees a modern masterpiece, can only be won with a third player playing both sides. Enter their friend, Yvan, played by the delightfully dizzying James Corden, who’s too consumed with his own potentially expensive predicament to care about another’s art choice.
Corden is the angsty, high strung, high octane compliment to Cannavale’s confident swagger and Harris’ steady matter-of-factness. The chemistry and playful dynamics between the three friends are most convincing. The battle of differing opinions or the inability to commit to one at all, tests the loyalty between the friends, revealing the sneaky ways in which subjectivity can crack even long held bonds.
Will one painting ruin the friendships of three grown men? See ART on Broadway by December 21, 2025 at New York’s storied Music Box Theatre to find out. Playwright Yasmina Reza and Director Scott Ellis have executed a very fun and funny feat that’s only 100 minutes long.
It’s easy to expect critiques of fine art to be dramatic. But if you can make it hilarious as well, then why not go ahead and call it a masterpiece. Depending on who you ask, of course.
