Complete A-Z listing of Broadway shows in NYC
Want to see a Broadway show in NYC? Here’s the complete list of plays, musicals and revivals running now.
Of all the things you can do here, Broadway shows in NYC are the top, synonymous with New York City, often used as shorthand for theater in general (which also includes Off Broadway and Off-Off Broadway). Throughout the history of NYC, the Great White Way has evolved and kept reinventing itself. Today Broadway consists of 40 theaters, 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. 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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A Bronx Tale
First a dramatic monologue, then a movie, now Chazz Palminteri's autobiographical coming-of-age tale returns as a Broadway musical. With songs by composer Alan Menken and lyricist Glenn Slater (Leap of Faith), the piece is co-directed by Robert De Niro and Jerry Zaks. A boy must choose between his law-abiding, bus-driving father and a smooth-talking mob boss.
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Aladdin
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
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An American in Paris
An American in Paris: Theater review by David Cote The arrival of two big musicals derived from classic 1950s movies located in the City of Light (see Gigi) indicates either a resurgent interest in the early film oeuvre of Leslie Caron or a lack of producer imagination. Or maybe it’s just random, unintentionally reflected in the patchwork—if also lavish and classy—quality of An American in Paris. There’s much gorgeous ballet to admire in choreographer Christopher Wheeldon’s Broadway directorial debut, set against attractive, painterly backdrops by Bob Crowley, but the overall effect is of a dance concert with a semiserious musical squeezed into the cracks. Book writer Craig Lucas takes the bones of Alan Jay Lerner’s 1951 screenplay, which sent the great Gene Kelly leaping through postwar Paris after Caron to the hooting, swooning strains of George Gershwin, and concocts a story tinged by Nazi-occupation guilt and soldiers with PTSD. Adam Hochberg (Brandon Uranowitz) narrates the story of his pal, GI artist Jerry Mulligan (Robert Fairchild), and their shared passion for ballerina-muse Lise (Leanne Cope). The leads are charming and the score’s divine, but mainly there’s middling singing and loads of dance. Hollywood made it look so easy, but simple amour can be hard to translate. Palace Theatre (see Broadway). Music and lyrics by George and Ira Gershwin. Book by Craig Lucas. Directed and choreographed by Christopher Wheeldon. With ensemble cast. Running time: 2hrs 30mins. On
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Beautiful—The Carole King Musical
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
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The Book of Mormon
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
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Cats
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
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The Cherry Orchard
Stephen Karam, already represented on Broadway with his Tony-winning family drama The Humans, turns to Russian subjects with this adaptation of the Chekhov classic. British director Simon Godwin stages the production, which stars Diane Lane as landscaping-averse Ranevskaya.
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Chicago
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.
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Cirque du Soleil Paramour
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
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The Color Purple
The Color Purple: Theater review by Adam Feldman Seeing The Color Purple on Broadway, a decade after its premiere, is like meeting an old friend who has gotten her life together since the last time you saw her. It seems more confident in itself, surer in its sexuality, and it’s lost a lot of weight; the cast of John Doyle’s revival and the theater in which it’s playing are 40 percent smaller than their 2005 equivalents. But the shrinking of this violet has not lessened its force. On the contrary, Doyle’s production intensifies The Color Purple and brings out its deeper hues. The musical blossoms into a classic.The Color Purple is not easy to get right. Adapted from Alice Walker’s 1982 novel, the show spans several decades in the early-20th-century life of Celie (the exceptional Cynthia Erivo), who rises through unspeakable adversity to find joy and self-respect. When we meet her, Celie is 14 years old and pregnant for the second time, having been raped by the man she believes to be her father; thinking her children are dead, she is married off to Mister (Isaiah Johnson), who beats her and forbids her from seeing her beloved sister, Nettie (Joaquina Kalukango). In adapting the book for the stage, Marsha Norman skips quickly past this harrowing start—which is understandable, given how it might play in a musical. But without that raw early pain, Celie’s evolution is at risk of seeming less compelling. In the 2005 production, starring LaChanze, Celie sometimes seemed like a side
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I've seen 10.
terribly done page
says a-z but does not display all the shows well