Categories
Creative

“I don’t think I’ll ever think of it the old way again”: A Q&A with Emergence’s Patrick Olson

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Q&A with Patrick Olson of Emergence

By Broadway’s Best Shows Staff

The new show Emergence, now running at the Pershing Square Signature Center, knows it’s hard to describe – is it a musical? A concert? A scientific exploration? An acid trip? It’s a little bit of everything. In this interview with lead performer and composer Patrick Olson, we explore the creative process behind this idiosyncratic event, that’s a little bit David Byrne, a little bit Carl Sagan, and even a little bit Woodstock. 

This interview has been edited and condensed for clarity. 

Broadway’s Best Shows

Why write songs about huge philosophical questions?

Patrick Olson

You know, it may be less of a choice than just a simple response to how my mind is evolving, as I get older. I’ve tended to find that over time, whatever songs I’m writing at a given point in my life are reflective of the thought space that I carry around in that time. And maybe that’s not so surprising! I really think about these big questions, I really think about the implications of scientific insight. I really think about what it means to be human in a rapidly changing environment that we’re all in. And since I think about those things all the time, I think it’s natural that the music would reflect that.

BBS

Tell us about the songwriting process. I mean, it’s the cliche question, which comes first, the music or the lyrics, but…

PO

I normally start with just a baseline, and try to find some bass groove that feels right to me, and evokes some kind of specific emotion. The rhythm section of drums and bass constitute the spine of any song, so I like to start with the spine. And once that feels like it’s in a certain kind of pocket, then I just start noodling around the edges of that. Typically, the next thing [is] a basic portal structure that I would do on an acoustic piano, and figure out what kind of chord progressions feel right in relation to that baseline and those drums, and what sort of harmonic harmonic dimensions will come out of that. Lastly, I start to experiment with vocal ideas, which constitute the melody of any given song. 

Once all of that is in place, then I really like to give the music a week or two, to breathe on its own and develop its own sense of character. And so when writing lyrics and the song, the structure of the song, the tone of the song, the qualities that the instrumentals offer, they really shape what the emotional context of the lyrics is going to be in. Then it’s just a matter of linking that to whatever ideas seem to fit the best. And usually, there are scientific insights of one kind or another, and the song kind of comes together at that point.

BBS

How and why did your album Music for Scientists become a work of theater that’s now running at the Pershing Square Signature Center? That’s a really unusual journey. 

PO

Yeah! Writing and recording and producing that album was immense, fun, and really interesting. We really didn’t cut any corners. You know, we had a full orchestra that we recorded in Nashville. And this was during COVID, too, so that represented all of its own challenges, but we had I think a 50, 60, 70 piece orchestra with it. All of the songs on that album constitute the fertile soil that the next stage would grow out of. We really only used one song from that album, in the show Emergence, and that was “Moons of Jupiter.” I wrote nine new songs to constitute the show. But that album laid out the DNA for what the following songs would be and how they might constitute a different kind of experience, not just an isolated sonic experience, but a visual experience and a community experience of that theatrical experience.

BBS

That leads really nicely into my next question– what is the sort of emotional experience you’re  hoping to create for your audience?

PO

I would really love for people to just be plainly entertained, in the most superficial way. [And] I would hope people would experience some emotional movement. For them to be touched, or for them to have the music and the stage-theatrical experience, evoke an emotion from them. 

I’m really, really happy to report that, we go out into the lobby after every show and greet everyone as they’re leaving, and every single night, I get to hear people say [those] things: they feel it was so entertaining, and the show was really tight, and the choreo was great. And everything just kept moving, and they didn’t know what to expect next. And that there were periods of time in the show where people tell me they were really moved to tears. And it was just really beautiful. 

People tell me pretty regularly, “I never thought of this in that way. And I don’t think I’ll ever think of it the old way again. Now I see the world in this way.” So it’s not just my intention, but I really have the privilege of being able to have face to face contact with people as they’re leaving the theater. And they tell me [that] happens. And it’s wonderful! 

BBS

And you give them a tulip, which is also lovely. (Audience members are handed a tulip as they leave the theater.)

PO

They get a tulip as well! Which is sort of an emblem of the show in many ways. It’s referenced in the show and has scientific meaning as well as, you know, just kind of a nice little practical thing to give people to memorialize the experience.

BBS

So what do you see as the importance of an artist, such as yourself, communicating science? Why is that important to you? Why does that matter?

PO

It’s really fascinating because the word ‘science’ is loaded. It can mean so many different things to so many other people, you can say the word ‘science’ to someone on the street and who knows how they might react to that – it might be they have a sense of dread about physics exams that they had during college, or they feel like it’s really ‘mathy’ and something far away from them. Or it’s inscrutable, [like] “science is all about test tubes, and formulas and things I don’t understand.” 

I don’t think of science as any of that stuff. I think of science as the insight, the understanding into the nature of the universe. That’s what I care about. The scientific method and good research methodology lead to solid insights, but it’s the insights that I care about. And so when I think about science, what I think about is reality. That is our best human understanding of the nature of things. And science happens to be the most reliable tool for getting at that thing, but it’s that thing that I care about.

BBS

An element of the show that was really unique was Jordan Noltner’s lighting design. It had a sort of rock concert feel that I so rarely see onstage. And so I’d love to know how that unique visual was created. 

PO

There’s no question Jordan Noltner is a gifted lighting designer. It has to do with the DNA of the show… a big part of what we are is a musical concert, and any rock concert that you would go to for any popular musician, they have extensive and dramatic lighting, and we felt that that would be fitting for what we’re doing here as well.

BBS

So you come from the music world. How is the theater schedule treating you? What’s your routine to do this show? Because this is a big sing.

PO

Yeah, you know what I didn’t realize? Last night we finished our 62nd or 63rd show. And since a run of this length is very new to me, I did not understand just how taxing it is physically. I find I live a pretty quiet life outside of the show. And that’s necessary for me to summon all of the energy and explosive stuff that happens in the show. And then I go back home and recover and continue with my quiet life. So it does take a lot of sustained energy–I was surprised by how physically taxing a theatrical run like this is! But it is at the same time the most inspiring and most fun thing I think I’ve ever done in my life. So I will take the exertion, I’ll take all the beatings that come down the pipe, and I’ll keep doing this as long as we’re able to, because it is so exciting. And mostly it’s just about having contact with the audience after the show, when they can speak to me about their experience and that, more than anything else, just recharges my batteries for the next show.

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Categories
Long Form

Persisting Pauses: The Status of Intermissions on Broadway

By Ben Togut

For many Broadway lovers, the intermission is a welcome interlude in the theater-going experience, providing audience members with the opportunity to get out of their seats, use the restroom, or head to the concession stand. However, it appears the well-worn tradition of the intermission is at a critical juncture. According to an article in the Philadelphia Inquirer, of the 80 new plays that opened in the U.S. 2019-2020 theater season, 62% had no intermission. This development begs a vital question: are intermissions a thing of the past?

The intermission has a storied history. Before electricity, they allowed theater staff the opportunity to trim and relight the wicks of candles illuminating the stage. Intermissions served a similar purpose in movies, giving projectionists the time to change film reels. Over time, the intermission gained commercial as well as practical value. In the 1950s and 60s, advertisers enticed moviegoers to make trips to the concession stand with commercials like Let’s All Go to the Lobby, featuring dancing candy, popcorn, and soft drinks. Likewise, Broadway theaters encourage audience members to open their wallets during intermission with flashy merch tables and cocktails with names relevant to the show, allowing the audience to continue engaging with the production between acts. 

In recent years, more and more Broadway shows have been presented without an intermission, including musicals such as Come From Away and the most recent revival of West Side Story (which was pared down to a single act), and plays like Leopoldstadt, The Minutes, The Shark is Broken, Ohio State Murders, Jaja’s African Hair Braiding, and The Sound Inside alike. Why has there been a trend away from intermission in recent years? Given shorter attention spans and an increased focus on accessibility in the theater, it seems that the absence of an intermission would be counterintuitive.

Come From Away
The 2017 musical Come From Away had a runtime of approximately 90 minutes with no intermission at the Schoenfeld Theatre. Photo by Matthew Murphy

However, having an intermission doesn’t always make sense for a production. In an interview with the L.A. Times, playwright and director Robert O’Hara argues that a “seismic shift” must occur between acts for an intermission to be justified. From this angle, productions shouldn’t have intermissions just because they are expected. Instead, an intermission should only occur if it serves the narrative of the show and how the audience experiences the story. 

More and more, having an intermission in theater seems arbitrary, especially when audiences are willing to sit through long movies without a break. Recently, Oppenheimer, Killers of the Flower Moon, and Avatar: The Way of Water have been hits at the box office while all running three hours or longer. If audience members can watch the latest Scorsese saga straight through, a two-hour Broadway show should be a walk in the park.

The 2023 Broadway revival of Purlie Victorious is performed without an intermission at the Music Box Theatre. Photo by Marc J. Franklin

What’s more, not having an intermission often has strategic value to theatermakers, allowing them to heighten the emotional and narrative arc of their plays. The current revival of Purlie Victorious is a timely example. While the original 1961 production had an intermission, standard for straight plays of the era, the 2023 revival runs without one. Without an interruption, Purlie Victorious builds tension and maintains its comedic momentum, taking audience members on an uproarious journey as they root for Purlie to win back his family’s inheritance. Foregoing an intermission, Purlie Victorious sustains its dramatic thrust, providing no shortage of laughs and surprises over its two hours.

While plenty of shows continue to have intermissions, playwrights and directors are reconsidering the efficacy of this tradition, not having a break in their shows’ runtime unless it makes sense as a narrative tool. Although not having an intermission can have strategic value, it raises concerns about accessibility, especially for the elderly and people with disabilities, for whom sitting for extended periods of time can be physically challenging. Going forward, Broadway may consider taking further measures to ensure that everyone has a more comfortable and enjoyable time at the theater.

Categories
Broadway's Best

Broadway’s Best Performances of 2023

What is a Broadway show without the actors at its core? Here, we single out the singular talents that burned bright on Broadway stages this year. Prepare to be enthralled as we navigate some of the exceptional performances that have defined the essence of Broadway in the year 2023.

Photo by Joan Marcus

Sean Hayes in Good Night, Oscar

In a surprise to no one, the top mention in this year’s list goes to Sean Hayes for his Tony-winning turn as Oscar Levant in Doug Wright’s play. Whether it was his tickling of audiences’ ribs or the ivories in his rendition of ‘Rhapsody in Blue,’ a performance this special does not go unnoticed. In his return to the Broadway stage after performing An Act of God in 2015, Hayes asserted himself as a theatrical powerhouse, and he will surely be welcomed back to the stage in seasons to come.

Photo by Matthew Murphy & Evan Zimmerman

Annaleigh Ashford in Sweeney Todd

After icons including Angela Lansbury, Patti LuPone, Imelda Staunton, and Christine Baranski have all filled the role of Mrs. Lovett, you wouldn’t think there were any crumbs left in the material with which to do something new, make a unique choice. It is our utmost pleasure to report that Ms. Ashford finds them all, and then some. With her wit and vocals in hand, Ashford manages to almost recreate this tried and true character, begging her castmates to catch up as she runs off with their show.

Photo by Marc J. Franklin

Kara Young in Purlie Victorious

Fresh off her second Tony Award nomination for Martyna Majok’s Cost of Living (which was in turn fresh off her first Tony Award nomination for her Broadway debut in Lynn Nottage’s Clyde’s), Young displays a different facet of her enormous talent and versatility as Lutiebelle Gussie Mae Jenkins in Purlie Victorious. In this role, Young delivers a masterclass in comedy in all its forms: physical, verbal, satirical, and the like. Her prowess, a must-not-miss performance, is on display nightly at the Music Box Theatre through February 4, 2024.

Jodie Comer in Prima Facie

This year, Comer brought her Olivier-winning performance in Suzie Miller’s one-woman legal drama stateside, where she added yet another trophy to the mantle. Known to New York audiences primarily for her television career, Comer’s stage acting wowed as she spun this heavy tale with authenticity, nuance, and sheer power.

Photo by Andy Henderson

Leslie Rodriguez Kritzer in Spamalot

As the Lady-of-the-Lake, Kritzer is the Standout-of-the-show! In a series of sparkly Jen Caprio gowns, she evokes Broadway divas like Liza Minelli, and adds the touch of Broadway glamor that holds the looney world of Spamalot together, making it not just a salute to Monty Python, but an exceptional stage musical on its own. Director Josh Rhodes wisely gives Rodriguez Kritzer ample opportunity to improvise, making the show fresh every night (see: the floored social media reactions from the audience that found out the SAG-AFTRA strike had ended because Leslie announced it live onstage and in character.) It’s a delight to watch her lead the company in her 8th Broadway show, and a treat to hear her belt to the rafters. 

Michael Urie in Spamalot

Urie has a sterling reputation as a comedic heavy hitter, from prior credits like Torch Song Trilogy, Buyer and Seller, and TV’s Ugly Betty. In a production full of actors with PhDs in clowning, Urie still manages to steal the show with his surgically precise timing, detailed facial expressions, and total commitment to chaos in his performance as the nervy Sir Robin and a host of other medieval wackos. Who else could land a huge laugh just by darting his eyes back and forth? Watching him bring down the house with his Act 2 number ‘You Won’t Succeed on Broadway’ is a bit like watching Julia Child cook or Serena Williams play tennis – the sheer joy of watching a master at work. 

Photo by Matthew Murphy

Alex Brightman in The Shark is Broken

Jaws fans got a behind-the-scenes look at the storied set of the iconic blockbuster in this year’s The Shark is Broken. With Alex Brightman (AKA Beetlejuice, to those in the know) playing the real-life Richard Dreyfuss, the play was infused with a burst of energy, zaniness, and neurosis that transports the audience effectively through the boredom of waiting on the boat. Brightman excels in exhibiting Dreyfuss’s ambitious and chaotic spirit, even if the real-life actor did not so much appreciate the interpretation… 

Photo by Marc J. Franklin

Billy Eugene Jones & Jay O. Sanders in Purlie Victorious

Both given a near-impossible task of making grounded and genuine human characters out of archetypes, Billy Eugene Jones (last seen on Broadway in Fat Ham) and Jay O. Sanders (last in Girl From the North Country) make comedy magic as Gitlow Judson and Ol’ Cap’n Cotchipee, respectively. As the “Uncle Tom” and racist plantation owner types, this duo of New York theater perennials use the vessels created by Ossie Davis to subvert stereotypes and deliver the play’s thesis, under the watchful direction of Kenny Leon.

Daniel Radcliffe, Jonathan Groff, and Lindsay Mendez in Merrily We Roll Along

How could we sever the unbreakable bond between this trio of Broadway stars?! For their convincingly deep friendship and for their help in reifying the glory of one of Stephen Sondheim’s lost treasures, the Frank-Charlie-Mary of 2023 round out our list of the best performances to hit Broadway this past calendar year.

Categories
Capsule Reviews

Appropriate

Photo by Joan Marcus

By Ben Togut

On the occasion of their father’s death, three siblings return to a dilapidated plantation home where they must battle with dysfunctional relationships and their own demons in Appropriate, now playing at the Hayes Theater. Returning to the Broadway stage, Sarah Paulson takes no prisoners. As Toni, Paulson is unrelenting yet vulnerable, delivering a masterclass in emotional volatility, especially as tensions run high in the second act. 

You would be hard-pressed to find a weak link in the cast of Appropriate. Under the direction of Lila Neugebauer, the actors shine both individually and as a whole, tackling Branden Jacobs-Jenkins’ tragicomic narrative of a dysfunctional family with both humor and heart. Michael Esper delivers an affecting performance as Franz, estranged and desperate to reconcile with his siblings over the harm he caused them in the past, while Elle Fanning is eccentric yet grounded as his younger girlfriend River.

Another highlight of Appropriate is its sound design by Bray Poor and Will Pickens. Throughout the show, an anxious chorus of cicadas pervades the theater, overwhelming audiences with the feeling that something terrible is about to happen. Just as impressive is scenic design by dots, especially in the play’s last five minutes, when rapid set changes take place as the plantation house falls into disarray and is overrun by vegetation. Together, these elements add to the play’s dramatic tension, creating an environment of dread that leaves audiences on the edge of their seats.

A riveting portrait of family dysfunction and prejudice, Appropriate is not to be missed.

Categories
Creative

Where’s That Cast Now? Legally Blonde Edition

Photo by Joan Marcus

Following an out-of-town tryout in San Fransisco, Laurence O’Keefe, Nell Benjamin, and Heather Hack’s musical adaptation of the 2001 film Legally Blonde opened on Broadway in 2007. With a pro-shot that aired on MTV, the musical gained a cult following and became a favorite of theatergoers across the globe. Below, Broadway’s Best Shows explores the original cast members and where they’ve been in the more than 15 years since.

Shorts | So Much Better From Legally Blonde on Broadway (Laura Bell Bundy) - YouTube
Laura Bell Bundy in Legally Blonde. Photo by Marc J. Franklin.

Laura Bell Bundy (Elle Woods)

Following Legally Blonde, Bundy continued her career in theater and also ventured into television and film. Most recently back on Broadway in the new play The Cottage, she has also appeared in TV shows like “Hart of Dixie”, ”Anger Management”, and “How I Met Your Mother.” Since appearing as Elle Woods, Bundy has also ventured into country music, releasing the albums Achin’ & Shakin’, which debuted at number 5 on the Billboard Top Country Album chart, and Another Piece of Me.

//assets.playbill.com/editorial/33805ca58875cf23522a6e939c524e9e-Christian_Borle.jpg
Christian Borle in Legally Blonde. Photo by Marc J. Franklin.

Christian Borle (Emmett Forrest)

After originating the role of Emmett Forrest, Borle has won two Tony Awards for his roles in Peter and the Starcatcher and Something Rotten!. His other Broadway credits post Legally Blonde include Marry Poppins, Falsettos, and Charlie and the Chocolate Factory. He also starred alongside Debra Messing, Katherine McPhee, and Megan Hilty in the NBC television series SMASH. 

In 2019, Borle appeared in the Off-Broadway revival of Little Shop of Horrors. Borle is starring in the Tony-nominated musical Some Like It Hot, which plays at the Shubert Theatre until December 30th.

From Glinda to Dot: Take a Look at Annaleigh Ashford on the Stage | Playbill
Annaleigh Ashford in Kinky Boots. Photo by Matthew Murphy

Annaleigh Ashford (Margot)

Since her performance as Margot, Ashford has become a household name for theater lovers. In 2012, she appeared in the Off-Broadway in Dogfight alongside Lindsay Mendez and Derek Klena. She originated the role of Lauren in the Tony-winning musical Kinky Boots. In 2014 she won a Tony Award for her performance in the revival of You Can’t Take It with You. She also starred in Sylvia and the revival of Sunday in the Park with George. Ashford recently received a Tony nomination for her performance as Mrs. Lovet in the revival of Sweeney Todd, alongside Josh Groban. Her final performance will be on January 14th, 2024. 

Leslie Kritzer (Serena)

Kritzer, after her run as the high-energy cheerleader Serena, has continued to work in the theater, appearing on and off Broadway including A Catered Affair, Sondheim on Sondheim, Closer Than Ever, Elf, and Something Rotten!. She gained notoriety for her portrayal of Delia and Miss Argentina in the Broadway production of Beetlejuice, and is currently in the Broadway revival of Spamalot alongside James Monroe Iglehart, Taran Killam, Michael Urie, Christopher Fitzgerald, and Ethan Slater.

Kate Shindle (Vivienne Kensington)

In 2011, Kate Shindle starred as the Mad Hatter in the Broadway production of Wonderland. In 2015, Shindle was elected President of the Actor’s Equity Association, which is a position she continues to hold. 

Orfeh (Paulette)

Following her beloved portrayal of Elle’s friend Paulette, Orfeh released her first album “What Do You Want From Me.” She is a frequent voiceover artist and has appeared across mediums, including the video game Grand Theft Auto: San Andreas. In 2018, Orfeh returned to Broadway in the musical adaptation of the film Pretty Woman. 

The Broadway Love Story of Pretty Woman Stars Andy Karl and Orfeh | Broadway Direct
Orfeh and Andy Karl.

Andy Karl (Kyle the UPS Guy)

Karl has had continued success in theater after Legally Blonde, including Broadway appearances in 9 to 5, Wicked, Jersey Boys, The Mystery of Edwin Drood, Rocky the Musical, Waitress, On The Twentieth Century, Groundhog Day, Pretty Woman: The Musical, and most recently, Into the Woods. This spring, Karl recently reprised his Tony-nominated performance of Phil Connors in London, and will join the company for its Australian premiere in 2024. 

Categories
Capsule Reviews

How to Dance in Ohio

Photo by Curtis Brown/Vivacity Media Group

by Ben Togut

A colorful cast of characters celebrates the struggles and triumphs of young adults on the autism spectrum in How to Dance in Ohio, which opened at the Belasco Theatre on December 10th. Based on the HBO documentary of the same name, the musical follows seven young people as they get ready for their spring formal, highlighting how living with autism complicates their yearning for community and human connection. 

One of the musical’s great joys is its ensemble cast. Through their heartfelt performances and onstage chemistry, the cast of How to Dance in Ohio acts as a tight-knit family with a genuine commitment to the musical’s emotional heft. Standout performances include Liam Pearce, who conveys Drew’s adolescent angst through his commanding stage presence and soaring vocals, and Amelia Fei, who comes alive onstage as Caroline, navigating the challenges of finding oneself and seeking connection with both exuberance and anxiety. 

A musical guaranteed to pull on your heartstrings, How to Dance in Ohio illustrates the power of community to help us overcome the challenges in our way, and to not only succeed but thrive.

Categories
Broadway's Best

Broadway’s Best 2023 Holiday Gifts for your Theater Loving-Loved One

Broadway’s Best Shows has all the holiday recs you could wish for. There’s something out there for every type of theater kid this holiday season (of love)…

For the Super-Fan

When Broadway shows close, materials such as curtains, flooring, and vinyl posters would normally get thrown out, but small business Scenery Bags works with set designers and technicians to preserve these materials and transform them into fun accessories for fans. They feature bags made from the sets of shows like Ain’t Too Proud, Pasadena Playhouse’s Sunday in the Park With George, and Hello Dolly, among many others. They also sell all sorts of accessories, including this keychain made out of Phantom of the Opera banners, or this coffin-shaped ring made from the stage floor of Beetlejuice’s DC run.

For the Theatre Artist in Your Life

For your friend who works in the theater, and has been through tech rehearsals and production meetings, Scenery Bags sells “I’m Sorry for What I Said During Tech” and “Nothing For The Group” zip bags, great for storing pencils or makeup, or for travel. The materials are recycled from multiple off-Broadway scenery backdrops. 

Your actor or arts worker friend probably spends a lot of time in Midtown, so they’ll also appreciate a gift card for Hell’s Kitchen bakery and coffee spot Amy’s Bread.

For Your Friend who Loves Theater Gossip

Shy: The Alarmingly Outspoken Memoirs of Mary Rodgers, published posthumously by Rodgers with assistance and additional material from New York Times theater critic Jesse Green, is a hilarious and wide-ranging book by the beloved composer of Once Upon A Mattress, who also grew up surrounded by theater royalty, as the daughter of Richard Rodgers. It’s full of juicy stories and cameos from Golden Age legends like Stephen Sondheim and Hal Prince, and even what Leonard Bernstein was complaining about at a cocktail party! Now out in paperback. 

For the New Parent, Grandparent, or Aunt/Uncle

Start a child’s love of theater early with these picture books that introduce Broadway to kids:

Broadway Bird, by Tony-winning director Alex Timbers, tells the story of a parakeet who dreams of being a Broadway star. 

A is for Audra and B is for Broadway, both by John Robert Allman, are beautifully illustrated alphabet books that introduce young readers to leading ladies (think “P” is for “Patti LuPone”) and the theater world at large (“C” is for “choreography.”)

For your Monty Python-Loving Dad

“Fetchez la vache!” The new Spamalot revival is selling cow socks, a shrubbery tote bag, and a baseball cap that says “Ni!” 

For Your “Old Friend” Who Knows Their Theater History

Merrily We Roll Along offers this sweatshirt, which harkens back to the iconic costume design of the original, short-lived 1984 production. 

For Your Friend Who Loves New Plays

Let them buy all the plays, theater biographies, and memoirs they want with a gift card to The Drama Book Shop. They can shop the latest scripts from Samuel French, like recent Pulitzer Prize winners Fat Ham and English. Gift cards can be purchased in-store or by calling (212) 944-0595, and can only be used in person. Unfortunately, gift cards cannot be used to purchase items at the cafe, like their monthly rotating Broadway-themed drinks (we recommend the Carolee Carmello Caramel Latte), but the baristas at the Shop will also have excellent book recommendations. 

For Your Friend Who Loves Really New Plays

For just $12 per year, buy your friend a membership to New Play Exchange. A database created by theaters around the country, it offers access to over 50,000 scripts by emerging and established playwrights. This is also a great gift for a playwright friend, who can upload their work to the site so that it can be discovered around the world. 

For the Friend Who’s Seen Everything

For your friend who loves storing all of their Playbills, or tracking every show they see in the Notes app or Mezzanine, let them show off how much they’ve seen with this scratch-off poster featuring 100 contemporary and golden-age musicals.

For the Wicked Superfan

These “Shiz University” sweatpants are cozy and relaxing, but nice enough to wear out and about. Your friend could even wear them to the multiplex next Christmas to see the Wicked movie! Also, if they weren’t able to make it to the 20th anniversary celebration, Playbill is still selling the special programs. 

For your favorite New Yorker

Now that single-use plastic bags are banned in NYC, reusable tote bags make for an incredibly thoughtful and handy gift.

  • This tote bag from Gutenberg! says, “we’re on the weird side of 7th avenue.” Gutenberg is now playing at the James Earl Jones, one of only five Broadway theaters east of 7th avenue – great for a theater lover who knows the Theatre District like the back of their hand. 
  • Or, for a friend who loves a powerful statement, check out this Purlie Victorious tote bag, with the quote from the play, “make civil rights from civil wrongs.” 

For Your Millennial Sibling/Niece/Nephew/etc

Tap into their late-nineties nostalgia with this faux candy necklace, made by the Kimberly Akimbo merch store. Or, for more childhood-themed fun, this Broadway-themed coloring book for adults features 24 pages of Mamma Mia, Hamilton, Seussical and many more shows to color in.

For Your Friend Who’s the Life of the Party

These Shucked shot glasses are hilarious yet functional. 

For Your Friend Who Has A Detailed Ranking of Elphabas

This shop doesn’t just sell Waitress Playbill earrings. It offers half a dozen different Waitress Playbills as earrings, so you can make sure you get your friend’s favorite Jenna. Choose between Jessie Mueller, Katherine McPhee, Katherine McPhee’s Pridebill, Sara Bareilles’ 2017 or 2021 Playbill covers, Ciara Renee and Joshua Henry, or West End star Allison Luff. 

…and For your Theater Twitter Friend Who Has Opinions About the 2017 Tony Awards

These earrings are also a Spotify scan code that links to “No One Else” from Natasha, Pierre, and the Great Comet of 1812. 

Categories
Broadway's Best

Broadway’s Best Shows of 2023

Shining a spotlight on the best all-around productions Broadway had to offer this year. And who better to make the top 10 picks than the site titled Broadway’s Best Shows? Keep an eye out for our listing of the year’s best performances!

A Doll’s House

Henrik Ibsen’s timeless classic took center stage once again, its 14th Broadway production but the first since 1997. The play’s 1889 exploration of the complexities of marriage, misogyny, and societal expectations remains as relevant as ever. With Jessica Chastain starring in a new barebones adaptation by Amy Herzog, this Jamie Lloyd-helmed production brought a fresh eye to this masterpiece. The revival ran at the Hudson Theatre in the spring.

Fat Ham

Shakespeare met hip-hop in ‘Fat Ham,’ a Pulitzer prize-winning bold reimagining of ‘Hamlet’ from writer James Ijames that electrified the stage of the American Airlines Theatre with its innovative fusion of classic and contemporary, after premiering at the Public Theater. 

Here Lies Love

Immersive and pulsating with energy, ‘Here Lies Love’ was the unique theatrical experience that explored the life of Imelda Marcos. The show dazzled audiences with its interior transformation of the Broadway Theatre, inventive staging and infectious music from David Byrne and Fatboy Slim.

Photo by Joan Marcus

Merrily We Roll Along

Stephen Sondheim’s ‘Merrily We Roll Along’ finally gets its due, as superstars Jonathan Groff, Lindsay Mendez, and Daniel Radcliffe endure the deterioration of friendship and creative partnership nightly at the Hudson Theatre. The revival, the first since the production’s infamous initial flop, captures the conflict between friendship and ambition among artists, set to a particularly melodic Sondheim score.

Parade

Based on a true story, ‘Parade’ weaves a haunting tale of injustice and redemption in the American South. Starring Ben Platt and Micaela Diamond, the Broadway transfer of New York City Center’s 2022 gala production, brought the gripping narrative to life at the Bernard B. Jacobs Theatre with powerful staging from Michael Arden and Jason Robert Brown’s stirring score.

Prima Facie

The drama of the courtroom took center stage as this new play, on Broadway last spring from across the pond, tackles issues of justice and gender. Jodie Comer won a Tony Award for her compelling and thought-provoking exploration of the complexities of finding justice or healing for sexual assault survivors from within the legal system.

Photo by Marc J. Franklin

Purlie Victorious: A Non-Confederate Romp Through the Cotton Patch

A celebration of African-American culture and resilience, ‘Purlie Victorious’ is a jubilant comedy that remains relevant and uplifting 62 years after its original Broadway bow. Ossie Davis’s essential words are brought to resounding life by Leslie Odom, Jr., Kara Young, and the rest of the pitch-perfect cast under the direction of Kenny Leon. The revival runs at the Music Box Theatre through February 4, 2024. 

Photo by Matthew Murphy & Evan Zimmerman

Sweeney Todd: The Demon Barber of Fleet Street

Stephen Sondheim’s macabre masterpiece continues to thrill audiences with its chilling tale of revenge and obsession. Josh Groban and Annaleigh Ashford give two of the great musical theatre performances of our times at the Lunt-Fontanne Theatre, with Aaron Tveit and Sutton Foster taking over the leads in early 2024. 

Summer, 1976

Manhattan Theatre Club’s ‘Summer, 1976’ captured the essence of a generation in a nostalgic journey. Theatrical perennials Laura Linney and Jessica Hecht starred in this new play presentation at the Samuel J. Friedman Theatre.

The Thanksgiving Play

In the comedic exploration of political correctness, Larissa Fasthorse’s ‘The Thanksgiving Play’ satirizes the challenges of creating an inclusive holiday celebration. Finally premiering on Broadway after a 2018 off-Broadway premiere, the play tickled audiences at the Helen Hayes Theatre with standout turns from Chris Sullivan and D’Arcy Carden.

Categories
Creative

The Broadway Career of Aaron Tveit

Photo by Matthew Murphy

Aaron Tveit, the multi-talented Tony-winning performer whose charm and charisma have graced screens and stages, big and small, has left an indelible mark on Broadway. While many recognize him from his television and film roles, including the suave Danny Zuko in “Grease Live!,” the enraged Enjrolas in the film adaptation of “Les Misérables,” or any number of shifty singers on Apple TV+’s “Schmigadoon,” Tveit’s roots in theater run deep. With the recent news that Tveit is set to succeed Josh Groban in the title role of the murderous barber in Sweeney Todd: The Demon Barber of Fleet Street, Broadway’s Best Shows is taking a delightful stroll down the memory lane of his Broadway career, relishing each note, dance step, and standing ovation.

Hairspray (2006): The Broadway Debut that Sparked a Star

In 2006, Aaron Tveit burst onto the Broadway scene in the musical Hairspray. Tveit took over the role of the swooning and crooning love interest Link Larkin in July 2006 after playing the role on the musical’s long-running national tour. His infectious energy and standout performance must have caught the attention of audiences and industry insiders alike, since little did they know that they were witnessing the birth of a Broadway star. Tveit’s exceptional singing and dancing skills set the stage for what would become a remarkable career on stage and screen. He would later return to the role for a brief 2-week run in April 2008 before hopping into his next Broadway role just months later.

Wicked (2008-2009): Tveit Takes Flight as Fiyero

In the summer of 2008, Aaron Tveit soared to new heights when he stepped into the role of Fiyero in the Broadway production of Wicked. Taking on the part originated by Norbert Leo Butz, Tveit brought his own flair to the charismatic character, creating a Fiyero that was both charming and full of depth. His chemistry with the leading ladies, particularly in the fan-favorite number ‘As Long As You’re Mine,’ earned him praise from fans and critics. Adding this chapter to Tveit’s Broadway journey, Wicked became another feather in his cap, highlighting his adaptability and charm in a role that demands both vocal prowess and a magnetic stage presence. 

Next to Normal (2009): A Breakthrough Performance with Emotional Depth

Tveit’s next venture on Broadway was in the critically acclaimed Next to Normal in 2009, his first fore into originating a role of his own. He portrayed Gabe, the troubled son of Diana, originally played by Alice Ripley. Tveit’s ability to convey both vulnerability and strength in his performance earned him widespread recognition and a Drama Desk Award nomination. His rendition of “I’m Alive” left audiences in awe, showcasing his vocal prowess and emotional depth.

Candice Marie Woods, Aaron Tveit and company in <i>Catch Me If You Can</i> on Broadway, 2011 HR

Catch Me If You Can (2011): A Smooth Criminal Takes Center Stage

In 2011, Tveit took on the challenging role of Frank Abagnale Jr. in Catch Me If You Can, a musical adaptation of the hit film based on the true story. Tveit’s charismatic portrayal of the young con artist showcased his versatility as an actor and cemented his status as a leading man on Broadway. His chemistry with co-star Norbert Leo Butz was a highlight of the production, earning them both Tony Award nominations.

Moulin Rouge! The Musical (2019-2020): A Spectacular Return to the Broadway Stage

The 2019 adaptation of “Moulin Rouge!” brought Tveit back to Broadway in the role of Christian, the penniless writer caught in a love triangle. This production showcased Tveit’s ability to embody the romantic allure of the bohemian world. His performances of hit songs like ‘Your Song’ and ‘Come What May’ captivated audiences, earning him a Tony Award for Best Actor in a Musical.

Aaron Tveit’s Broadway career is a testament to his immense talent, versatility, and dedication to the craft. From Baltimore to Oz to Paris and now onto Fleet Street, Tveit’s list of Broadway credits has taken him on an exhilarating journey through a diverse array of iconic settings and characters, proving his ability to seamlessly transition from one captivating world to another. Tveit has continually proven that he’s a force to be reckoned with on the Broadway stage.

Categories
Creative

Broadway-Inspired Thanksgiving Feast

As Thanksgiving approaches, why not infuse a touch of Broadway magic into your familial feast? This year, we draw inspiration from Broadway’s currently running shows to create a menu that celebrates both the theatrical and the culinary arts.

Pheasant on the Bone from SIX: The Musical

Our culinary adventure begins with a twist on the traditional turkey; a regal dish inspired by the hit musical SIX. “Pheasant, keep it on the bone,” exclaims Anna of Cleves in her number ‘Get Down.’ Now, the dish takes center stage, mirroring the vibrant energy and historical flair of the show. In SIX, the six wives of Henry VIII reclaim their narratives, and this dish, rich and flavorful, symbolizes the opulence of the Tudor era.

Corn from Shucked

Transitioning from Tudor elegance, let’s take a comedic turn with the simplicity and humor found in the musical Shucked. The exclamation “Corn!” serves as a delightful reminder that sometimes, the most uncomplicated pleasures are the most enjoyable. Incorporate corn in your Thanksgiving menu, be it corn on the cob, cornbread, or a savory corn casserole, to bring a touch of Shucked‘s lighthearted charm to your festive table.

Spam from Spamalot

Now, over to Spamalot and the iconic canned meat, Spam… a lot. Embrace the quirkiness of Monty Python’s Spamalot by adding this unexpected delight to your Thanksgiving spread. Whether it’s incorporated into a festive appetizer or presented in all its Spam glory, this dish will undoubtedly add a comedic twist to your feast, ensuring that your guests will be talking about your unique Thanksgiving for years to come.

Meat Pies from Sweeney Todd

As we delve into the darker side of Broadway offerings with Sweeney Todd, we encounter the infamous “Meat Pies.” While we hope your version is entirely free of any unsavory ingredients, the essence of Mrs. Lovett’s culinary creations should not be lost. 

“Ali Baba Ganoush” from Aladdin

Now, let’s transport ourselves to the magical world of Aladdin with a delightful addition to our Broadway-inspired Thanksgiving feast – in ‘Friend Like Me,’ Genie conjures up “a lifetime supply of Ali Baba Ganoush.” This playful twist on baba ganoush pays homage to the exotic and vibrant atmosphere of Agrabah. Infused with Middle Eastern flavors, “Ali Baba Ganoush” is a creamy and smoky eggplant dip that adds a touch of Aladdin’s enchantment to your Thanksgiving spread. Serve it with warm pita bread, and let your guests savor the magic of Broadway in every bite.

Aunt Missy’s Sweet Potato Pie from Purlie Victorious: A Non-Confederate Romp Through the Cotton Patch

And for dessert, let’s bring a touch of Southern charm with “Aunt Missy’s Sweet Potato Pie” from Purlie Victorious. This scrumptious sweet pays homage to the play’s celebration of culture and family ties. Much like the message of Purlie Victorious, this pie brings people together, infusing your Thanksgiving with a sense of unity and the sweet taste of tradition.

Candy Necklaces from Kimberly Akimbo

In Kimberly Akimbo, a coming-of-age musical that combines humor with heart, the title character Kimberly finds solace in chewing on her candy necklace. Bring a touch of whimsy to your Thanksgiving dessert table with this playful treat. Candy necklaces not only add a burst of color but also embody the sweetness of familial bonds, mirroring the themes explored in Kimberly Akimbo.