Broadway shows in NYC: They’re practically synonymous with New York City, often used as shorthand for theater itself (which, to be fair, means Off Broadway and Off-Off Broadway, too). Throughout NYC history, the Great White Way has evolved and kept reinventing itself. Today Broadway consists of 41 theaters (used to be a lot more), the majority of which are concentrated near Times Square. Each year millions of tourists flock to the city to see the best Broadway shows, whether that means a long-running phenomenon such as The Phantom of the Opera or a recent hit like Hamilton. Many of them are proud winners of Tony Awards and were part of some of the best Tony Awards performances. Don’t feel like you have to limit yourself to the show with the greatest accolades. There’s a lot of variety out there; witness our complete A-Z listing below.
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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
If producers wanted to make a Broadway musical out of the 2001 French film fantasy, who on earth could they get to do the Audrey Tatou part? Enter Phillipa Soo. The dulcet-voiced powerhouse ingénue from Hamilton and Natasha, Pierre & the Great Comet of 1812 rises even higher to divadom with this whimsical new tuner. The score is by Daniel Messé, lyrics by Nathan Tysen and Messé.
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 Still 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 first marriage to lyricist-partner Gerry Goffin (Jake Epstein) and their friendly rivalry with anothe
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
A boy must choose between his law-abiding, bus-driving father and a smooth-talking mob boss in Chazz Palminteri’s coming-of-age story, which began as a monologue, became a movie and now returns as a Broadway musical. With songs by composer Alan Menken and lyricist Glenn Slater (Leap of Faith), the piece is directed by Robert De Niro and Jerry Zaks.
Andrew Lloyd Webber's iconic musical returns as a taxidermied pet. In other words, this is the same tacky and tedious '80s spectacle that ran an inexplicable 18 years on Broadway. Very little can freshen up the synth-heavy tunes or bolster the scattershot book. If you loved Cats as a kid, this could sour your "Memory." Read the full review
Roald Dahl's beloved parable about kids, candy and capitalism, which inspired a beloved film with Gene Wilder and also one with Johnny Depp, arrives on Broadway as a musical. Expertly zany two-time Tony winner Christian Borle plays eccentric factory owner Willy Wonka in David Greig's adaptation of Dahl's 1964 book, with a score by Hairspray's Marc Shaiman and Scott Wittman (augmenting tunes from the 1971 movie). Jack O'Brien directs the production, which features puppets by downtown marvel Basil Twist.
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 Running Time: 2hrs 30mins. One intermission.
Paramour: Theater review by David CoteThe global neocircus giant Cirque du Soleil does things no one else on Broadway can. Its acrobats execute quadruple backflips off a teeterboard, their heels seeming to brush the rigging high above the stage. They contort their bodies into positions that would cripple even the supplest chorus girl. There’s a reason the Tonys doesn’t award Best Trapeze Artist: We’re talking ultra-rare talents here. What Cirque cannot do, alas, is craft a decent Broadway musical. Paramour is a desperately mediocre (if extravagant) song-and-dance affair tricked out with specialty acts that are far more engaging than the dopey romantic triangle meant to hold our attention.Said love story involves megalomaniacal movie director A.J. Golden (Jeremy Kushnier), ingénue-chanteuse Indigo (Ruby Lewis) and her songwriting partner Joey (Ryan Vona). Per the program, we’re in “The golden age of Hollywood,” crammed with gaudy Art Deco interiors and soundstage clowns mugging like crazy. In search of a muse, A.J. discovers Indigo warbling in a speakeasy, signs her as his next star and proceeds to muscle in between her and Joey. Although we’re repeatedly told that A.J. is a visionary auteur, he excels mainly at abusing employees between inane takes of jugglers and tumblers. Joey mopes on the sidelines, pining for Indigo and struggling to pen the perfect love song for her. Rather than being forced to choose which man to love, Indigo is trapped between a shouty sociopath and a
One of the more unlikely musicals on Broadway this season, Come from Away is the tense but humane story of an airport on 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.