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

The Transport Group presents an original musical that follows three generations of an African-American family in the South as it grapples with questions of civil rights, economic inequality and police brutality. The music is by Ted Shen, and the libretto is by Ellen Fitzhugh and Harrison David Rivers. Jack Cummings III directs.

As a platform for the swoon-worthy Peter Dinklage, the New Group’s musical take on Edmond Rostand’s classic 1897 romance, Cyrano de Bergerac, has seductive moments. But it’s hard to fall in love with this otherwise confounding production.—Raven Snook

In this original musical, Iris Beaumier plays Josephine Baker, who escaped the limitations of the United States in the 1920s to become an exotic jazz sensation in Paris. The score is by Mario E. Sprouse; the book is by Glynn Borders, who also directs the world premiere.

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.

City Center revives Andrew Lloyd Webber and Tim Rice's 1978 pop opera, the tale of a local girl who makes good and weds a famous man who happens to be the quasi-fascist dictator of Argentina in the 1940s. Directed by Sammi Cannold, this version eschews the epic political bent of Harold Prince's original Broadway production to focus on Eva Perón's humanity, and divides the central role between two actors: Solea Pfeiffer as the adult Eva and Maia Reficco as her younger self.

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

Broadway's loyal opposition, Gerard Alessandrini, returns with a new edition of his beloved satirical revue, which has ribbed the Great White Way since 1982. This latest version—the first since 2014—lays into Dear Evan Hansen, Hadestown, Moulin Rouge!, Oklahoma! and other fat targets. Musical-theater lovers will be sure to eat it up.

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.

[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  

Four friends explore the history of brunch and the cocktails associated with it in a musical companion piece to Anthony Caporale's popular A Spirited History of Drinking, formerly known as The Imbible. The score is by Josh Erlich; Carorale wrote the book, and codirects the show with Nicole DiMattei. Admission includes a modest brunch and three complimentary cocktails, so arrive half an hour early to take full advantage.