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 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

Uneasy lies the head that wears a tiara in this new biomusical about Diana, Princess of Wales, whose marriage to Prince Charles came undone in a sea of tabloid ugliness. Reprising the roles they played at La Jolla last year, Jeanna de Waal and Roe Hartrampf play the royal couple, flanked once again by Judy Kaye as Queen Elizabeth II and Erin Davie as Camilla Parker-Bowles. Christopher Ashley (Come from Away) directs; Joe DiPietro and David Bryan, who wrote the 2010 Tony winner Memphis, are the writers.

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

Playwright-director Conor McPherson weaves 20 songs by Bob Dylan into this adumbral evocation of America during the Great Depression. The songs exist in dramatic brackets; when the excellent actors sing, they usually leave the action of the play and face out to the audience, often planted at old-fashioned standing microphones. McPherson uses Dylan’s tunes as atmosphere in the broadest sense: They are the air the characters breathe. After a run at the Public last season, the musical now blows into the Belasco.

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

Lin‑Manuel Miranda applies 21st-century musical storytelling to the rags-to-Treasury tale of Alexander Hamilton in this dazzlingly ingenious national sensation. It’s a success story of the best kind, breathtaking but also breath-giving: an inspiration.—Adam Feldman

Broadway's love affair with men in drag continues with this musical adaptation of the 1993 movie about adivorced dad turned cross-dressed Scottish housekeeper. Adapted by Something Rotten!'s John O'Farrell and Karey and Wayne Kirkpatrick, the show is directed by musical-comedy ace Jerry Zaks (Hello, Dolly!). Rob McClure, more recently seen in Beetlejuice, fills Robin Williams's sensible shoes in the title role, joined by Jenn Gambatese, Brad Oscar and Mark Evans.

Is Broadway ready to embrace a biographical musical portrait of Michael Jackson in the early 1990s, when the King of Pop was on his Dangerous world tour? The producers of MJ are hoping so. Created with the cooperation of Jackson's estate, the show will feature many songs by the late star's extensive catalog, with a book by two-time Pulitzer Prize winner Lynn Nottage (Ruined) and direction and choreography by Christopher Wheeldon (An American in Paris). Empraim Sykes, a breakout star for his Tony-nominated turn as David Ruffin in Ain't Too Proud, plays the title role.

Musical theater does right by the jukebox with this behind-the-music tale, presenting the Four Seasons’ energetic 1960s tunes (including “Walk Like a Man” and “Big Girls Don’t Cry”) as they were meant to be performed. After an 11-year run on Broadway, the show has returned for a scaled-down open-ended run at New World Stages.—Adam Feldman

Eight nice-looking men take it all off and vocalize in this collage of cutesy vignettes on gay themes, recently revamped with new jokes and more up-to-date references. Although sex is central to most of the numbers, the goofy nudism has no erotic charge, and when the show tries to be serious, it's hard to watch with a straight face.—Adam Feldman

Mark Mauriello and Andrew Barret Cox's queer nightclub musical immerses audiences in a secret future bunker at which culture has been whittled down to "sequins, reality television and the complete works of Oscar Wilde." Shira Milkowsky directs for the Neon Coven.

A tot obsessed with pink cupcakes finds herself turning her favorite rosy hue in this long-running children's musical, with music by John Gregor and book and lyrics by Elizabeth and Victoria Kann. Teresa K. Pond directs.

Mixing whimsy and information, Anthony Caporale makes the story of our relationship with alcohol remarkably compelling. A cappella classics are performed by a gifted ensemble, and the show's enjoyable lessons can be washed down with thematically appropriate beverages.—Amelia Bienstock

This shrewd garbage heap of clog dancing, prop comedy and chest-thumping percussion spins out impressive (if numbing) variations on vaudeville by way of English punk.—David Cote