The best Broadway shows you need to see

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

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.—David Cote 

The world of Harry Potter has arrived on Broadway, Hogwarts and all, and it is a triumph of theatrical magic. Set two decades after the final chapters of J.K. Rowling’s world-shaking kid-lit heptalogy, Jack Thorne's epic (richly elaborated by director John Tiffany) combines grand storytelling with stagecraft on a scale heretofore unimagined. It leaves its audience awestruck, spellbound and deeply satisfied.—Adam Feldman

Alfred Uhry and Jason Robert Brown’s 1998 musical tragedy, about the trial and lynching of a Jewish man in 1913 Georgia, lasted only a few months in its original incarnation. But director Michael Arden’s heart-piercing new production makes a masterful case for giving the show a new hearing—and what you hear at this Parade, as sung by a splendid cast led by Ben Platt and Micaela Diamond, will echo for a long time to come.—Adam Feldman

Jamie Lloyd's minimalist revival of A Doll’s House slices clean through you. The superb Jessica Chastain plays Nora Helmer, the young wife and mother of Henrik Ibsen’s protofeminist 1879 social drama, and the staging zeroes in on her with relentless focus: Chastain spends most of the next two hours facing forward in a plain wooden chair. The effect is like watching her in close-up, and she is startlingly present. And as she grasps her way to a final decision, she quietly, firmly brings down the house.—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

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

Natalie Mendoza 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

Who doesn’t enjoy a royal wedding? Toby Marlow and Lucy Moss's zingy musical Six celebrates, in boisterous fashion, the union of English dynastic history and modern pop music. On a mock concert stage, the six wives of the 16th-century monarch Henry VIII air their grievances in song, and most of them have plenty to complain about. In this self-described “histo-remix,” members of the long-suffering sextet spin their pain into bops; the queens sing their heads off and the audience loses its mind.—Adam Feldman 

Some Like It Hot is a well-aimed throwback: a jubilant, crowd-pleasing musical comedy, adapted from Billy Wilder's beloved 1959 film. Christian Borle and J. Harrison Ghee star as Prohibition-era musicians, on the run from the mob, who pose as women in an all-girl band fronted by Adrianna Hicks. Staged with zest by Casey Nicholaw, the musical reheats its story with abundant production values and canny attention to modern sensibilities. If it wobbles a little in its borrowed heels at first, it finishes in the confident stride of a hit.—Adam Feldman

This musical prequel to The Wizard of Oz addresses surprisingly complex themes, such as standards of beauty, morality and, believe it or not, fighting fascism. Thanks to Winnie Holzman’s witty book and Stephen Schwartz’s pop-inflected score, Wicked soars.—David Cote