Whether you’re a casual enthusiast or an avid theater geek, you’ll no doubt want to book the best Broadway tickets NYC has to offer. Use our list of the best Broadway shows in NYC to decide which show you want to watch and snag your seats ahead of time to avoid those pesky lines. From favorites of this year’s Tony Awards to revivals of classic Broadway shows, these are the best Broadway tickets in NYC.
Best Broadway tickets in NYC
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.
Composer-lyricist-star Lin-Manuel Miranda forges a groundbreaking bridge between hip-hop and musical storytelling with this sublime collision of radio-ready beats and an inspiring, immigrant slant on Founding Father Alexander Hamilton. A brilliant, diverse cast takes back American history and makes it new.
Stephen Karam’s beautifully wrought group portrait of life in the shadow of disaster unfurls in a single scene, but it never feels static. As performed by Joe Mantello’s seamless ensemble cast, led by Reed Birney and Jayne Houdyshell, the play limns a family dinner with gorgeous naturalism, then boldly forces us into a world beyond the familiar.
Sean Hayes gives the Unmoved Mover a campy, bratty vibe in David Javerbaum’s extremely funny and well-versed script, sprinkled with fresh, topical jokes (Hamilton, Trump, etc). In the show’s premise, God unveils 10 new (subversive) commandments to remedy some of the damage that blind faith has caused for millennia.
The Broadway musical 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.
Harvey Fierstein and Cyndi Lauper’s fizzy crowd-pleaser, in which a sassy-yet-dignified drag queen kicks an English shoe factory into gear, feels familiar at every step. But it has been manufactured with solid craftsmanship and care, and is boosted by a heart-strong cast led by Wayne Brady. The overall effect is nigh irresistible.
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.
This funny, splashy extravaganza offers anything-for-a-laugh gags wrapped in a solid structure, with a dash of sweet, emotional ballast. Brian d’Arcy James is splendid as an Elizabethan playwright trying to construct the world’s first musical. ’Tis indeed Broadway funniest musical comedy in at least 400 years.
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.
Ballet choreographer Christopher Wheeldon makes his Broadway directing debut with this lavish and classy reimagining of the 1951 Gene Kelly musical. There’s plenty of gorgeous ballet to admire, but the overall effect is of a dance concert with a semiserious book musical squeezed into the cracks.
'Beautiful', a show based on the songs and life of baby boomer megastar Carole King, is a decent affair, strikingly similar in form and arc to 'Jersey Boys' (indubitably the best of the jukebox crop), and festooned with great songs that King both performed and wrote for others.
A 16-year original run, a 2006 revival and a megahit movie clearly can’t quell the French fighting spirit. Cameron Mackintosh brings his global phenomenon back to the Great White Way, in a reconceived staging that stars Ramin Karimloo, Will Swenson, Caissie Levy and Nikki M. James.
Rarely has a Broadway show offered such extremes of talent and inanity as Motown founder Berry Gordy’s self-hagiography. When its focus is on Gordy, Motown is a compost heap of dubious history and risible dialogue. But the musical numbers, drawn from more than 50 classic soul-pop songs and performed by an exceptional cast, set the theater on fire.
This awkward, garish and manipulative musical based on the 2004 Miramax film about playwright J.M. Barrie and the boys who inspired Peter Pan has been show-doctored into a state of shrill mediocrity. Matthew Morrison and Laura Michelle Kelly’s charisma is blunted against a manic staging and a bland pop score with trite, forgettable lyrics.
Andrew Lloyd Webber’s iconic, bombastic musical returns to the big stage. Directed by Harold Prince, The Phantom of the Opera is lavish and engaging enough to draw tourists more than two decades into its run. Although the score often strikes a cheesy 1980s synth-pop note, the spectacle and romance remain more or less intact. Norm Lewis now plays the Phantom.
With Andrew Lloyd Webber’s long-running cash cow (er, cat) returning this summer, the lucky lord has three Broadway musicals running at once (including The Phantom of the Opera and School of Rock). Based on T.S. Eliot’s Old Possum’s Book of Practical Cats and featuring new and tweaked numbers, the revival will test audience’s appetite for ’80s megamusicals. And leg warmers.