Broadway Musicals List A–Z
Aladdin. New Amsterdam Theatre (see Broadway). Music by Alan Menken. Lyrics by Howard Ashman and Tim Rice. Book and additional lyrics by Chad Beguelin. Directed by Casey Nicholaw. With Adam Jacobs, James Monroe Iglehart, Courtney Reed. Running time: 2hrs 20mins. One intermission. Aladdin: In brief Disney unveils its latest cartoon-to-musical project: the tale of a boy, an uncorked spirit and an aerodynamic rug. Composer Alan Menken adds new tunes to the 1992 original soundtrack, and Chad Beguelin provides a fresh book. Reputed highlights include James Monroe Iglehart's bouncy Genie and the flying-carpet F/X. Aladdin: Theater review by Adam Feldman What do we wish for in a Disney musical? It is unrealistic to expect aesthetic triumph on par with The Lion King, but neither need we settle for blobs of empty action like Tarzan or The Little Mermaid. The latest in the toon-tuner line, Aladdin, falls between those poles; nearer in style (though inferior in stakes) to Disney’s first effort, Beauty and the Beast, the show is a tricked-out, tourist-family-friendly theme-park attraction, decorated this time in the billowing fabrics of orientalist Arabian fantasy. “It’s barbaric, but hey, it’s home,” sings the genial Genie (a game, charismatic Iglehart) in the opening song, and that’s the tone of Aladdin as a whole: kid-Oriented. As in the 1992 film, the Genie steals the show from its eponymous “street rat” hero (Jacobs, white teeth and tan chest agleam). The musical’s high point i
Theater review by Adam FeldmanBroadway musicals often feature heroines trying to find themselves, but perhaps never as literally as in Anastasia. In 1927 Leningrad, the scrappy, strapping Dmitry (Derek Klena) and the worldly, roguish Vlad (John Bolton) devise a scheme to pass off a street sweeper, Anya (Christy Altomare), as the Grand Duchess Anastasia Nicholaevna Romanov, rumored to have survived the massacre of the rest of her royal family in the Russian Revolution 10 years earlier. But as the con men school her, My Fair Lady–like, in the ways of nobility—hoping to deceive Anastasia’s grandmother in Paris, the Dowager Empress (an elegant Mary Beth Peil)—it emerges that Anya may be the real Anastasia after all. Who knows? Not Anya: She has amnesia. What former self might be nested like a doll inside her, waiting to be revealed? And might there be other dolls inside that one?As Anastasia piles discovery upon discovery, the happiest surprise is how consistently good the musical turns out to be. Smartly adapted by Terrence McNally from the 1997 animated film and the 1956 Ingrid Bergman movie—with Stephen Flaherty and Lynn Ahrens impressively expanding their score from the former—Anastasia is a sweeping adventure, romance and historical epic whose fine craftsmanship will satisfy musical-theater fans beyond the show’s ideal audience of teenage girls. (When I saw it, a second-act kiss was greeted with deafening shrieks of approval.) Director Darko Tresnjak keeps the story swirling
Updated review by Adam Feldman (2018) Ten months into its Broadway run, David Yazbek and Itamar Moses’s Tony-winning musical remains quietly ravishing: It seems to have almost as much silence as music, and it trusts us to fill in the blanks. Sasson Gabay now stars as Tewfiq, the conductor of an Egyptian band stranded in an Israeli desert town—the role he played in the film from which the show is adapted. His performance is bone-dry and bone-deep, and his scenes with the stunning Katrina Lenk retain the delicate balance she had opposite Tony Shalhoub, with a slight shift in emphasis: Gabay has a more somber and paternal presence, which casts his relationship with wayward trumpet player Haled (Ari'el Stachel) into clearer relief. The richness of the writing, the nuances of David Cromer’s production and the continued excellence of the ensemble cast make each return visit a pleasure. Broadway review by Adam Feldman (2017) In a musical that is full of beautiful moments, perhaps the loveliest is the one shared on a plain park bench by Dina (Katrina Lenk), an Israeli café owner, and Tewfiq (Tony Shalhoub), an Egyptian bandleader stranded for the night in her uneventful desert town in 1996. As members of his ceremonial police orchestra play incidental music behind them, Dina asks Tewfiq how it feels to be a conductor. They each raise their arms, inhabiting an imagined experience together, and the music we have been hearing stops; what they feel is realer, and we are invited to im
[Note: Abby Mueller, the sister of original star Jessie Mueller, takes over as King starting August 7.] Beautiful—The Carole King Musical shares several virtues with its titular singer-songwriter, among them humility, earnestness and dedication to craft. If Douglas McGrath’s book never achieves the dramatic grit or comic zip of Jersey Boys, at least director Marc Bruni’s production avoids being a brain-dead, self-satisfied hit parade à la Berry Gordy’s Motown. Still, it does seem that stretches of Broadway’s newest jukebox musical consist of situations such as this: “Carole, you’ve got to write us a hit!” “I’ve written something.” “It’s a hit!” Yes, Beautiful loves its diligent, long-suffering pop genius, and invites you to do the same. It’s quite an easy task when you have the phenomenal Jessie Mueller in the lead. The effortlessly appealing star cut her teeth on Broadway flops (the mis-reconceived On a Clear Day You Can See Forever) and in supporting parts (The Mystery of Edwin Drood). Now she’s ready to carry a show. As Brooklyn-raised King, who started churning out teenybopper tunes at 1650 Broadway in the late ’50s, Mueller exudes warmth and common sense, playing up King’s old-fashioned modesty and insecurity without becoming a doormat or cipher. And when she wraps her rich, burnished voice around those hits—“So Far Away,” “Will You Love Me Tomorrow,” “It’s Too Late”—they feel as fresh as the day King penned them. McGrath’s deft, wry book tracks its hero’s tortured fi
If theater is your religion and the Broadway musical your sect, you've been woefully faith-challenged of late. Venturesome, boundary-pushing works such as Spring Awakening, Bloody Bloody Andrew Jackson and Next to Normal closed too soon. American Idiot was shamefully ignored at the Tonys and will be gone in three weeks. Meanwhile, that airborne infection Spider-Man: Turn Off the Dark dominates headlines and rakes in millions, without even opening. Celebrities and corporate brands sell poor material, innovation gets shown the door, and crap floats to the top. It's enough to turn you heretic, to sing along with The Book of Mormon's Ugandan villagers: "Fuck you God in the ass, mouth and cunt-a, fuck you in the eye." Such deeply penetrating lyrics offer a smidgen of the manifold scato-theological joys to be had at this viciously hilarious treat crafted by Trey Parker and Matt Stone, of South Park fame, and composer-lyricist Robert Lopez, who cowrote Avenue Q. As you laugh your head off at perky Latter-day Saints tap-dancing while fiercely repressing gay tendencies deep in the African bush, you will be transported back ten years, when The Producers and Urinetown resurrected American musical comedy, imbuing time-tested conventions with metatheatrical irreverence and a healthy dose of bad-taste humor. Brimming with cheerful obscenity, sharp satire and catchy tunes, The Book of Mormon is a sick mystic revelation, the most exuberantly entertaining Broadway musical in years. The high
This jukebox musical traces decades in the life of one Cherilyn Sarkisian, who apparently is a singer and actor of some kind. Three women—Stephanie J. Block, Teal Wicks and Micaela Diamond—play the showbiz survivor at different stages of her career; Rick Elice, who cowrote Jersey Boys, tries to make biomusical lightning strikes twice, and Jason Moore (Avenue Q) directs. At the very least, the show is sure to have fabulous costumes: Bob Mackie is designing them.
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 sensation. The cast frequently features guest celebrities in short stints.
One of the more unlikely musicals on Broadway this season, Come from Away is the tense but humane story of an airport in Gander, Newfoundland, where 38 planes and more than 6,000 passengers were forced to land on September 11, 2001. The book, music and lyrics are by the Canadian team Irene Sankoff and David Hein. Read the full review.
In this captivating original musical, Hello, Dolly! scene-stealer Taylor Trensch 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. Read the full review.
Theater review by Adam Feldman At the end of the first act of Frozen, there is a moment that zaps the audience to life like a blast of cold air. Elsa (Caissie Levy), the young queen of a Nordic realm, has witchy ice-creation powers that she has been forced to keep hidden; now, self-exiled to a Fortress of Solitude–like castle, she exults in reckless freedom and power. As she belts the show’s takeaway number, “Let It Go,” her heavy royal garments transform, in one thrilling instant, into a shimmery frost-blue party dress. It’s “Defying Gravity” on the rocks, and for the duration of this Wicked-cool number, Frozen breaks free from the forces that keep most of Disney’s latest musical earthbound. Otherwise, there is altogether too little magic in the kingdom of Arendelle, which Elsa’s impulsive younger sister, Anna (Patti Murin), must save from the eternal winter to which Elsa has unwittingly condemned it. In adapting their smash 2013 movie to the stage, Frozen’s creators—including screenwriter Jennifer Lee and songwriters Kristen Anderson-Lopez and Robert Lopez—faced a challenge: Many of the film’s key sequences are adventure scenes (a wolf attack, a giant snow monster, a climactic blizzard) that are hard to re-create onstage. Julie Taymor solved this problem in The Lion King by coming up with a comprehensive aesthetic vocabulary of her own, but Frozen director Michael Grandage’s reach is less ambitious. In lieu of the great outdoors, he moves much of the show to lofty and stu
Off Broadway Musicals
After many years, the sassy and clever puppet musical doesn’t show its age. Robert Lopez and Jeff Marx’s deft Sesame Street–esque novelty tunes about porn and racism still earn their laughs. Avenue Q remains a sly and winning piece of metamusical tomfoolery. Running time: 2hrs 15mins. One intermission.
Will Roland (Dear Evan Hansen) stars as a teenager who pops a pill to be popular in this sci-fi high school musical by Joe Iconis and Joe Tracz, based on a 2004 novel by Ned Vizzini. The cast album from the show's 2015 premiere in New Jersey has become an online sensation; now's your chance to see the show live. Stephen Brackett directs a cast that includes much of the 2015 cast as well as longtime Iconis associates Jason Tam and Jason SweetTooth Williams.
Daniel Alexander Jones (Duat) inhabits his longtime alter ego, Jomama Jones—or does she inhabit him?—in a high-concept musical evening that reflects on a shattered mirror of black history. Jomama is a paradigm of R&B-diva grandeur circa 1982, with impeccable posture and elocution that bespeak an old-school black-star dignity. Although the original "Afromystical" songs don’t always rise to the occasion, it’s a pleasure to bask in Jones’s sequined, oracular presence, especially when Jones allows us to see the pain and labor behind the all-but-impervious diva’s self-fashioning.
After a hit run at the York Theatre last year, Peter Kellogg and David Friedman’s rootin’-tootin’-shootin’-prosecutin’-prostitutin’ Wild West musical returns with a second helping of its tasty corn pudding. Very loosely adapted from Shakespeare’s Measure for Measure (and written in rhyming dialogue), the show ropes you in with peppy songs and an engaging cast of six sharpshooters: Peter Saide as a strapping lawman, Conor Ryan as a jailed outlaw, Sarah Parnicky as a nun (with a wimple and a dimple), Nick Wyman as a lecherous German villain, Gary Marachek as a boozy priest and Lauren Molina as an ever-game, highly seasoned saloon gal.—Adam Feldman 2017 theater review by Diane Snyder [Note: This review is for the original New York production of Desperate Measures at the York Theatre Company. The show returns for an encore run at New World Stages starting May 30.] It takes true grit to fashion a musical from Shakespeare and set it in the late-19th-century Old West. Inspired by Measure for Measure, the peppy tuner Desperate Measures follows the plight of soon-to-be-nun Susanna (Emma Degerstedt), who can save her brother (Conor Ryan) from the hangman’s noose only by spending a night with the deplorable governor (a deliciously drooling Nick Wyman). To preserve her chastity, the handsome sheriff (Peter Saide) suggests she get saloon gal Bella (Lauren Molina, hilariously bawdy) to switch places with her. After all, Bella’s the reason Johnny got involved in the deadly gunfight
Theater review by Raven Snook How do you make Fiddler on the Roof even more Jewish? Do it in Yiddish! Fans of Jerry Bock and Sheldon Harnick’s landmark musical about Tevye the Milkman and his shtetl community in early-20th-century Russia will go meshuga for the U.S. premiere of Shraga Friedman’s translation, which ran briefly in Israel in 1965. It’s a mitzvah that the century-old National Yiddish Theatre Folksbiene has resurrected this version, which lets the characters speak (and sing) in the expressive guttural tongue they would have used in real life—the language of the Sholem Aleichem stories that inspired the show. English translations are projected for the benefit of those who don’t know Yiddish, and many of the performers aren’t fluent in the language, either (they have learned their lines phonetically, much as opera singers often do). But director Joel Grey—yes, that Joel Grey—has made sure the performers know what they’re feeling, even if they don’t know what they’re saying, and their emotional journeys are so clear you may find yourself abandoning the oddly placed supertitles to luxuriate in the sound of the language and the klezmer-inflected score, played by a lively 12-piece orchestra. Of course, that means you may miss the ways this Yiddish interpretation differs from the original, as when “If I Were a Rich Man” is reimagined as “If I Were a Rothschild,” a reference to a 1902 tale by Aleichem. Steven Skybell, who appeared in the most recent Broadway revival
Gina Gershon, the slyly glamorous star of Showgirls and Bound, plays Melania Trump in a satirical musical comedy written and directed by Danny Salles, with music and additional lyrics by Tor Hyams and Lisa St. Lou. The scenario is a TV special that, not surprisingly, skids off the rails.
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.
The great Irish playwright-director Conor McPherson (The Night Alive) goes American with a tale of Minnesota life and strife in the Great Depression, set to songs by no less an American icon than Bob Dylan. It's not the first time a major artist has tried to stage the back catalog of the Nobel Prize–winning bard; Twyla Tharp stumbled over it in the 2006 Broadway dance musical The Times They Are A-Changin'. Will McPherson's leaner, starker approach fare better? For its U.S. premiere at the Public, the show's ensemble cast includes such musical-theater pros as Stephen Bogardus, Mare Winningham, Marc Kudisch, Luba Mason, David Pittu and Todd Almond.
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