Complete A-Z list of Broadway musicals and Off Broadway musicals in NYC

The Temptations are hard to resist: No matter how much you may chafe at the clunky machinery of Broadway’s latest jukebox biomusical, the hits just keep coming. The workmanlike script gives us Motown the Musical by way of Jersey Boys, but when the show’s lavishly gifted stars (Including Derrick Baskin and the sensational Ephraim Sykes) are moving and singing in sync, the pull of nostalgia is strong.—Adam Feldman

Disney's latest toon tuner is a tourist-family–friendly theme-park attraction, robed in the billowing fabrics of orientalist Arabian fantasy. As in the 1992 film, the Genie (a charismatic James Monroe Iglehart) steals the show from its eponymous “street rat” hero (Adam Jacobs). Stuffed with glitz, the musical is a carpet with little texture but colorful patterns aplenty.—Adam Feldman

If nothing else, this musical adaptation of Tim Burton’s 1988 film is spectacularly weird: Its designers come at it from all kinds of crazy angles. If only so much of the rest of the show were not a busy mess. The tone varies wildly, and the rules that govern the plot (which veers ill-advisedly widely from its source) are both overexplained and opaque.—Adam Feldman

If theater is your religion, and the Broadway musical your particular sect, it’s time to rejoice. This gleefully obscene and subversive satire is one of the funniest shows to grace the Great White Way since The Producers and Urinetown. Writers Trey Parker and Matt Stone of South Park, along with composer Robert Lopez (Avenue Q), find the perfect blend of sweet and nasty for this tale of mismatched Mormon proselytizers in Uganda.—David Cote

This John Kander–Fred Ebb–Bob Fosse favorite—revived by director Walter Bobbie and choreographer Ann Reinking—tells the saga of chorus girl Roxie Hart, who murders her lover and, with the help of a huckster lawyer, becomes a vaudeville star.—David Cote

Irene Sankoff and David Hein’s swelling heart of a musical tells a true story from the aftermath of 9/11, when 38 flights were forced to land in the small town of Gander, Newfoundland. Under Christopher Ashley’s fluid direction, 12 versatile actors play dozens of roles. The show makes a persuasive case for the value of good intentions; for this kind of uplift you don’t need planes.—Adam Feldman

In this captivating original musical, Hello, Dolly! scene-stealer Andrew Barth Feldman now plays the title role of a high school student thrust into social relevance after a classmate's suicide. Benj Pasek and Justin Paul's score combines well-crafted lyrics with an exciting pop sound, and Steven Levenson’s book gives all the characters shaded motives.—Adam Feldman

Very talented performers perform a 90-minute storm of improvised raps and sketches, directed by Hamilton's Thomas Kail. Notable alums (such as Lin-Manuel Miranda, James Monroe Iglehart, Christopher Jackson and Daveed Diggs) may drop by for guest appearances—not that the show's core cast needs any help.—Adam Feldman

There is too little magic in this lukewarm stage adaptation of the smash 2013 Disney movie about a princess who must save her realm from the eternal winter to which her witchy sister has unwittingly condemned it. There are glimmers of light in the performances and design, but the shaky plot now seems even less secure, and the show feels substantially less animated all around.—Adam Feldman

Go to hell—and by hell we mean Hadestown, Anaïs Mitchell’s fizzy, moody, thrilling new musical. Ostensibly, at least, the show is a modern retelling of the ancient Greek myth of Orpheus and Eurydice. But the newness of Mitchell’s score and Rachel Chavkin’s gracefully dynamic staging bring this old story to quivering life.—Adam Feldman

Gerard Alessandrini, the affectionately caustic creator of Forbidden Broadway and Spamilton, puts mockery aside for a spell as the conceiver and director of this tribute to composer Maury Yeston, whose Broadway credits include Nine, Titanic and much of Grand Hotel. The cast of five comprises Benjamin Eakeley, Jovan E’Sean, Alex Getlin, Justin Keyes and Mamie Parris.

Three couples with buns in the oven manage their expectations in this modestly scaled musical—book by Sybille Pearson, score by Richard Maltby Jr. and David Shire—which has attracted something of a cult following since its brief 1983 Broadway run. Ethan Paulini directs and choreographs a site-specific two-week revival at a loft in midtown; the cast of nine, led by major musical-theater attraction Alice Ripley (Next to Normal), also includes Evan Ruggiero, Christina Sajous and Robert Fowler.

The Al Hirschfeld gallery, located in an old Greenwich Village mansion, is the scene of this site-specific adaptation of Dickens's Christmas chestnut. Jeffries Thaiss plays all the roles, using text from the original novella; Eric Scott Anthony provides continual live accompaniment in the form of music and sound effects. Tea and puddings are served before the show; the Saturday evening performance features a fuller holiday buffet.

This hour-long original musical adaptation of Dickens's yuletide fable, created by composer Michael Sgouros and librettist-director Brenda Bell, returns for its 11th year at the West Village's Players Theatre. The updated set is inspired by traditional British panto.

Joanne Sydney Lessner and Joshua Rosenblum adapt Alan Lightman's best-selling 1992 novel into a musical, directed by Cara Reichel for her Prospect Theater Company. Zal Owen plays the physicist at the relatively tender age of 26, when his world-changing ideas about time and space were beginning to take full shape.

Folksbiene's Yiddish-language Fiddler became an unlikely hit last summer, prompting a move to a larger theater uptown. Those who get shpilkes imagining what that migration might do to Tevye the dairyman and his brethren can breathe easy. They've arrived with their stripped-down aesthetic and emotionally lucid production intact.—Raven Snook

Undeterred by the failures of Frankenstein-themed tuners on Broadway and Off Broadway in 2007 (and Off-Off Broadway in 2016), composer-librettist-scientist Eric B. Sirota ventures back into the mad musical laboratory for his adaptation of Mary Shelley's classic horror novel. Clint Hromsco directs the premiere.

Once devoted to extending the runs of shows from the New York International Fringe Festival, this annual series has more recently expanded its purview to encompass productions from Fringe Festivals in Florida, California, Scotland, England, Canada, Australia and New Zealand. This year's roster includes musicals, comedies, dramas, storytelling, vampire-slaying and a tribute to singer-songwriter Paul Simon.

Yara Arts Group presents the U.S. premiere of a new opera-theater work inspired by a 1923 Kyiv production of Georg Kaiser's expressionist German drama Gas I. Virlana Tkacz directs this futuristic work, which she crated with Ukrainian composers Roman Grygoriv and Illia Ruzumeiko.

[Note: The review below is for a 2014 version of this show, which was then titled The Imbible. A revised version now plays at New World Stages. A different, brunch-theater edition, titled Day Drinking, plays on weekend matinees.] Remember Bill Nye the Science Guy? Great! Now imagine him as a bartender who is deeply interested in the history of ethanol alcohol, really likes wigs and costumes, and just joined a coed barbershop quartet. That description of Anthony Caporale’s The Imbible: A Spirited History of Drinking may sound far-out, but the show is both educational and entertaining. (It's also a fine showcase for a cappella classics arranged by Josh Ehrlich and performed by a gifted ensemble that includes the show's director, soprano Nicole DiMattei.) Mixing whimsy and information, Caporale makes the story of our relationship with alcohol remarkably compelling. And the show's lessons—on subjects like the drinks served at Prohibition-era speakeasies, the origin of the gin and tonic, and the difference between a cocktail and a mixed drink—can be washed down with complimentary, thematically appropriate beverages. As Caporale says, “Trust me, I get funnier with every sip.” That makes the show a must-see for anyone who enjoys free booze, which is probably nearly everyone.—Amelia Bienstock