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

Broadway’s latest boomer jukebox musical never achieves the comic zip or dramatic force of Jersey Boys, but it is an appealing and skillfully built vehicle for Carole King’s hit ditties and soulful ballads. It's a lovable love letter to a fine songwriter and natural woman.—David Cote

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

Will Roland (Dear Evan Hansen) stars as a teenager who pops a pill to be popular in this cartoonish sci-fi musical by Joe Iconis and Joe Tracz. It’s a comfortingly familiar hybrid: Little Shop of Mean Girls. But the scrappiness that helped make it an online sensation among young adults does not transfer well to the show's larger Broadway digs.—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 campy jukebox biomusical provides what it promises: Cher, Cher and more Cher. The fabulous Stephanie J. Block, in a full-throated impersonation that avoids the trap of the impersonal, shares the titlw rolwe with Teal Wicks and Babe. Zipping through six decades of history—and brief snippets of the star's pop hits—the show doesn’t  have very much to say. But Bob Mackie's costumes are sensational and, like Cher herself, the musical has the virtue of never taking itself too seriously. As a delivery system for fabulousness, it’s strong enough.—Adam Feldman

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

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.—David Cote

World collide when a group of nerds and their lady friends are tested by a character from Star Trek in Karlan Judd's raunchy musical spoof of the long-running sitcom. Tristan J. Shuler directs. 

Fans of musical theater will get a kick out of watching improvisers shamelessly employ the genres' tropes to create a hilarious new musical at each performance. Have your smartphone charged and handy to submit suggestions; then kick back and watch these top-notch performers go to work.

The beloved Bindlestiffs blends of acrobatics, aerialism, comedy, music and history in a new circus pageant that celebrates the culture of Brooklyn. The show is written, directed and designed by the team at David Gallo Designs. 

A vacationing gay couple stumbles into a free-spirited compound of nudists in a very campy new musical comedy conceived and directed by Marc Eardley. The show is staffed by an all-male cast of seven; the book and lyrics are by Jay Falzone, and five composers have contributed music.

Tony Kushner and Jeanine Tesori's portrait of a maid in 1963 Louisiana is one of the great musicals of the past half-century: This is a show that can actually change the way you see the world and the people in it on a daily basis. Astoria Performing Arts Center's modestly scaled but very satisfying production offers a rare and valuable chance to see this beautiful work of art on its sturdy, white-stockinged feet.—Adam Feldman

The great Montreal contemporary-circus troupe brings its latest show to NYC, performing classic acrobatics and tightly choreographed dance numbers amid lavish costumes and set pieces. This show, written and directed by Daniele Finzi Pasca, is inspired by the culture of Mexico.

Stan Daniels and Joseph Stein’s musical, based on Carl Reiner's novel about a horny Jewish nebbish with showbiz dreams in 1930s New York, tanked on Broadway in 1976. But these days, when humor often has a bitter political aftertaste, it's comforting to slurp up the show’s Borscht Belt silliness. Stuart Ross directs the revival with friskiness and flair.—Raven Snook

German music-theater auteur Heiner Goebbels (Stifters Dinge) returns to the Park Avenue Armory with a multimedia spectacle that surveys the past 100 years of history. The production features five live musicians, 12 dancers and a wide array of evocative props.

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 National Yiddish Theatre Folksbiene's version, which lets the characters speak­ (and sing) in the expressive guttural tongue they would have used in real life.—Raven Snook