Complete Broadway Musicals A–Z
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
Troubled young Percy Jackson (Chris McCarrell) discovers he's a demigod in this musicalization of Rick Riordan's best-selling YA mash-up of Greek myths and modern-day adolescence. With its campy humor, clever no-tech effects and agreeable pop-rock tunes, it offers pleasures for mere grown-ups as well as tweens.—Raven Snook
Director-designer Julie Taymor surrounds the Disney movie's mythic plot and Elton John–Tim Rice score with African rhythm and music. Through elegant puppetry, Taymor populates the stage with a menagerie of African beasts; her staging has expanded a simple cub into the pride of Broadway.—Adam Feldman
A canny crossbreed of Heathers and Hairspray, this new musical has been adapted by Tina Fey from her own 2004 cult movie about high-school social warfare, and it remains her vehicle: an auto de Fey, burning with bookish anger at the limits young women place on each other and themselves. Where the show shines brightest is in the spotlight it casts on its exciting young performers, including Taylor Louderman as the fearsome leader of the queen-beeyatch trio known as the Plastics.—Adam Feldman
Karen Olivo and Aaron Tveit play lovers caught in a bad romance in this gorgeous, gaudy, spectacularly overstuffed adaptation of Baz Luhrmann’s 2001 movie. Directed with opulent showmanship by Alex Timbers and drawing music from more than 75 pop hits, this jukebox megamix may be costume jewelry, but its shine is dazzling.—Adam Feldman
After a hit run at St. Ann's Warehouse last year, this bold, dark, modern-dress revival moves to Broadway. Director Daniel Fish’s vision treats Rodgers and Hammerstein’s 1943 musical with deep respect, shining a hard light on its underlying issues of justice, violence and the autonomy of women. It ventures into rough territory and leaves the show in a brand-new state.—Adam Feldman
More than three decades into its Broadway run, Andrew Lloyd Webber's horror-romance musical continues to draw tourists into its candlelit lair.While the epic synth-rock chords of the title song may ground Phantom in the 1980s, the show’s Puccini-inflected airs are far grander than most of what one hears elsewhere on Broadway, and Hal Prince's production remains a marvel of sumptuous surfaces.—Adam Feldman
Santino Fontana plays an unemployable actor who disguises himself as a woman in this musical update of the beloved 1982 film. Robert Horn's crackerjack script is packed with great jokes, and Scott Ellis’s bright, snappy production has assembled a murderer’s row of actors to put them over. It's the rare musical comedy that is actually very funny.—Adam Feldman
Shoshana Bean and Jeremy Jordan currently star in this delightful musical about a lady who’s a whiz at making pies but messes up everything else; her lout of a husband has knocked her up, and now she’s falling for her gynecologist. Sara Bareilles’s bright, frisky score is a delight, and Diane Paulus directs with whimsy and verve.—David Cote
Off Broadway Musicals A–Z
A Filipino faith healer and his teenage grandson make a trip to San Francisco in this new musical by Jessica Hagedorn and Fabian Obispo, directed by Ralph B. Peña for Ma-Yi Theater Company. The cast of seven includes Alan Ariano, Nacho Tambunting and Ching Valdes-Aran.
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.
Yo! Ho! Ho! This latest spin-off of Anthony Caporale's long-running drink-history show The Imbible focuses on the lore surrounding rum, with an emphasis on its popularity among pirates of the Caribbean. Written and directed by Caporale and Nicole DiMattei, the production includes musical numbers and three rummy cocktails.
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
Jonathan Groff, Tammy Blanchard, Christian Borle and Tom Alan Robbins star in the latest revival of Alan Menken and Howard Ashman's dark, sweet, tuneful and utterly winsome 1982 horror-camp musical about a flesh-eating plant who makes dreams come true for a lowly flower-shop worker. Michael Mayer directs the feeding frenzy, which features Kingsley Leggs as the voice of the big green baddie. (Gideon Glick subs in for an absent Groff from November 5 through 17.
Audience members' personal data is incorporated into the lyrics and visuals of this "immersive techno-noir operatic experience" about surveillance and privacy in the digital age. HERE's Kristin Marting directs the world premiere of this ambitious multimedia piece, which features music by Kamala Sankaram and a libretto by Rob Handel.
A teenage Star Wars fan, a Blockbuster Video clerk and an activist actress create a musical celebration of the Force in this new musical by Tom D'Angora, Taylor Cousore and Scott Richard Foster, with a score by Billy Recce. Cousore and Foster also costar with the winsomely daffy Emily McNamara.
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