This jukebox musical about the Cuban artists who made the Grammy Award-winning 1997 album of the title isn’t straight biography. Developed and directed by Saheem Ali (“Fat Ham”), it uses real people and events as a jumping-off point for its storytelling. Rooted in the recording sessions, and choreographed by Patricia Delgado and the Tony winner Justin Peck (“Illinoise”), it was an Off Broadway hit last season for Atlantic Theater Company. (At the Gerald Schoenfeld Theater.) Read the review.
“Willkommen, bienvenue, welcome” — but for real this time. With a sinuous, sensuous Adam Lambert now starring as the Emcee, Rebecca Frecknall’s darkly seductive take on the Kander and Ebb classic has acquired a much more human feel. Inside Tom Scutt’s Tony-winning immersive design of the Weimar-era Kit Kat Club, the show is newly rebalanced for the better with Auliʻi Cravalho as Sally Bowles and Calvin Leon Smith as Clifford Bradshaw, while Bebe Neuwirth as Fräulein Schneider and Steven Skybell as Herr Schultz will still charm your heart, then break it. Starting March 31, Orville Peck and Eva Noblezada take over as the Emcee and Sally. (At the August Wilson Theater.) Read the review.
The hapless Elmer McCurdy wasn’t much good as an Old West criminal, but the real-life, sideshow-attraction saga of his mummified corpse made for a rollicking sleeper-hit musical comedy Off Broadway last year. Once again starring Andrew Durand as Elmer, playing dead like nobody’s business, it’s a country-tinged tale with a conscience from the book writer Itamar Moses, the composer-lyricist David Yazbek and the director David Cromer — Tony winners all for “The Band’s Visit” — and the composer-lyricist Erik Della Penna. (Starts previews April 12 at the Longacre Theater; opens April 27.) Read the Off Broadway review.
Based on real events, this musical drama by Tina Landau (“Redwood”) and Adam Guettel (“Days of Wine and Roses”) stars Jeremy Jordan in the title role of a cave owner and explorer in 1925 Kentucky who creates a national media sensation when he is trapped deep underground. Taylor Trensch plays Skeets Miller, the diminutive cub reporter who descends into the cave to conduct a series of interviews with Floyd and help get him out. Landau directs. (Through June 22 at the Vivian Beaumont Theater.) Read the review.
Sarah Hyland stars as Daisy opposite the show’s new Gatsby, Ryan McCartan (“Frozen”). This musical adaptation of F. Scott Fitzgerald’s Jazz Age novel has a book by Kait Kerrigan (“The Mad Ones”), with music by Jason Howland and lyrics by Nathan Tysen (both of “Paradise Square”). Marc Bruni (“Beautiful: The Carole King Musical”) directs. Linda Cho’s luxurious 1920s costumes won the show a Tony. (At the Broadway Theater.) Read the review.
Grabbing the baton first handed off by Ethel Merman, Audra McDonald plays the formidable Momma Rose in the fifth Broadway revival of Arthur Laurents, Jule Styne and Stephen Sondheim’s exalted 1959 musical about a vaudeville stage mother and her daughters: June, the favorite child, and Louise, who becomes the burlesque stripper Gypsy Rose Lee. Directed by George C. Wolfe, with choreography by Camille A. Brown, the cast includes Danny Burstein, Joy Woods, Jordan Tyson and Lesli Margherita. (At the Majestic Theater.) Read the review.
Alicia Keys’s own coming-of-age is the inspiration for this jukebox musical stocked with her songs. With numbers including “Girl on Fire,” “Fallin’” and “Empire State of Mind,” it’s the story of a 17-year-old (Maleah Joi Moon, a newly minted Tony winner performing through March 30) in the Hell’s Kitchen neighborhood of Manhattan, growing into an artist. Jessica Vosk and, through March 9, Brandon Victor Dixon play her parents, and Kecia Lewis plays her piano teacher in a Tony-winning performance. Directed by Michael Greif, the show has a book by Kristoffer Diaz and choreography by Camille A. Brown. (At the Shubert Theater.) Read the review.
Jonathan Groff, a Tony winner for last season’s “Merrily We Roll Along,” stars as Bobby Darin in this biomusical about the singer-songwriter who became a pop star of the 1950s and ’60s with songs like “Splish Splash,” “Mack the Knife” and “Dream Lover,” married a teenage Sandra Dee and died at 37. With a book by Warren Leight (“Side Man”) and Isaac Oliver, and a cast that includes Gracie Lawrence, Erika Henningsen and Michele Pawk, it’s directed by Alex Timbers. (Starts previews March 28 at Circle in the Square Theater; opens April 26.) Listen to six songs that capture Darrin’s versatility.
Jason Robert Brown’s two-character musical of doomed romance, which arrived Off Broadway in 2002 and later became a movie starring Anna Kendrick and Jeremy Jordan, comes to Broadway for the first time. Adrienne Warren, a Tony winner for “Tina,” stars as Cathy opposite Nick Jonas as Jamie, New Yorkers whose marriage can’t bear the tension between his swift success as a novelist and her lack of it as an actress. Whitney White (“Jaja’s African Hair Braiding”) directs. (Through June 22 at the Hudson Theater.) Read the review.
A sneaky compassion lies at the heart of this caper of a show, a deliciously eccentric London import that won the 2024 Olivier Award for best new musical. Starring the original West End cast, it’s a riff on a bizarre true story from World War II, when British Intelligence, keen to misdirect the Germans, dressed up a dead man as a Royal Marines major, planted a fake invasion plan on him and dropped him in the sea for the enemy to find. (Through Feb. 15, 2026, at the Golden Theater.) Read the review.
Josefina López’s 1990 play has never been as well known as the 2002 film it spawned, which starred America Ferrera in her breakthrough role. Now both of those form the bases of this new musical about Ana (Tatianna Córdoba), an American teenager in 1980s Los Angeles trying to reconcile her aspirations for herself with her obligations to her undocumented immigrant family. Directed and choreographed by the Tony winner Sergio Trujillo, with music and lyrics by Joy Huerta and Benjamin Velez. (Previews start April 1 at the James Earl Jones Theater; opens April 27.)
The Tony winner Idina Menzel (“Wicked”) returns to Broadway for the first time in a decade, teaming up with the relentlessly inventive director Tina Landau (“Mother Play”) to tell the story of a woman who retreats from her usual life to heal from grief in a giant tree in a redwood forest. Conceived by Landau and Menzel, and seen in its premiere last season at La Jolla Playhouse in California, this new musical has a book by Landau, music by Kate Diaz and lyrics by Landau and Diaz. (At the Nederlander Theater.) Read the review.
Bernadette Peters, a favorite of Stephen Sondheim, is back on Broadway for the first time since “Hello, Dolly!” in this sparkly tribute to the composer, a revue of his songs imported from London’s West End by way of Los Angeles. Also starring Lea Salonga, with a large cast that includes Kate Jennings Grant, Bonnie Langford, Beth Leavel, Gavin Lee, Jason Pennycooke and Joanna Riding, it’s a Cameron Mackintosh production directed by Matthew Bourne. (Through June 15 at the Samuel J. Friedman Theater.) Read the review.
Denzel Washington made a Broadway box-office hit out of “Julius Caesar” two decades ago. On the big screen, he has played Macbeth. Now he takes on Shakespeare’s Othello, the honorable general and smitten newlywed. Jake Gyllenhaal is his foil as the perfidious Iago, who goads Othello into unreasoning jealousy with lies about his beloved Desdemona (Molly Osborne). Directed by Kenny Leon, a Tony winner for his revival of “A Raisin in the Sun,” which also starred Washington. (Through June 8 at the Barrymore Theater.) Read the review.
Theatergoing admirers of the HBO drama “Succession” love to ascribe its savvy artistry partly to the considerable stage chops among its cast. Now Sarah Snook, the Australian actor who played Shiv Roy — older sister to Kieran Culkin’s Roman — makes her Broadway debut in Kip Williams’s intricately high-tech retelling of Oscar Wilde’s classic novel. Snook takes on all 26 characters, a feat that won her raves, and a 2024 Olivier Award, in the London run of this Sydney Theater Company production. (Through June 29 at the Music Box Theater.) Read the review.
Ramin Karimloo follows up his delicious turn in “Funny Girl” by stepping into the boots of the Pirate King in this new comic twist on Gilbert and Sullivan’s operetta “The Pirates of Penzance.” Also starring David Hyde Pierce and Jinkx Monsoon, this adaptation by Rupert Holmes, a double Tony winner for “The Mystery of Edwin Drood,” sends the pirate ship to New Orleans. Scott Ellis directs; Warren Carlyle choreographs. (Through July 27 at the Todd Haimes Theater.) Read the review.
David Mamet’s luxuriantly crude, bare-knuckled real estate drama, which won the 1984 Pulitzer Prize, gets its third Broadway revival. Kieran Culkin, last on Broadway a decade ago in “This Is Our Youth,” stars as Richard Roma — the Al Pacino role in the movie adaptation — opposite Bob Odenkirk, Bill Burr, Michael McKean, Donald Webber Jr., Howard W. Overshown and John Pirruccello. Patrick Marber, a 2023 Tony winner for his production of “Leopoldstadt,” directs. How’s that for a lead? (Through June 28 at the Palace Theater.) Read the review.
In Arthur Miller’s “The Crucible,” a skewering of McCarthyism set amid the witch trials of 17th-century Massachusetts, John Proctor is meant to be the hero. This #MeToo play by Kimberly Belflower turns that presumption on its head, with a group of contemporary high school girls who detect similarities between Miller’s putative good guy and the men in their own world. Sadie Sink (“Stranger Things”) stars; Danya Taymor, a Tony winner for “The Outsiders,” directs. (Through June 29 at the Booth Theater.) Read the review.
Channeling the deliriously outrageous, emphatically queer downtown spirit of Charles Ludlam and his Ridiculous Theatrical Company, this arch comedy by Cole Escola (“Difficult People”) was a fizzy Off Broadway hit. The title character is a sozzled, stage-struck Mary Todd Lincoln (Escola) — a very loose cannon largely ignored by her husband, the president (Conrad Ricamora), who is otherwise occupied with assorted sexual exploits and the bothersome Civil War. (Through June 28 at the Lyceum Theater.) Read the review.
Fresh off his Tony win for “Appropriate,” the playwright Branden Jacobs-Jenkins returns with a new drama about the members of a famous, albeit fictional, Black political dynasty in Chicago, reckoning with history, morality and legacy as they gather for a celebration. Phylicia Rashad directs this Steppenwolf Theater production, whose ensemble cast includes Alana Arenas, Glenn Davis, Jon Michael Hill, LaTanya Richardson Jackson, Harry Lennix and another 2024 Tony winner, Kara Young. (Through July 6 at the Helen Hayes Theater.) Read the review.
Megan Hilty and Jennifer Simard play friends turned rivals in this musical adaptation of the 1992 Meryl Streep-Goldie Hawn comedy about the terror of aging, the pursuit of beauty and the trouble with acquiescing when a sorceress (Michelle Williams) offers a potion that brings eternal youth. Directed and choreographed by Christopher Gattelli. (At the Lunt-Fontanne Theater.) Read the review.
In his Broadway debut, George Clooney plays the broadcast journalist Edward R. Murrow, exposing the demagogic Senator Joseph R. McCarthy on air in 1954, during his Communist-hunting campaign of terror. Adapted by Clooney and Grant Heslov from their lauded 2005 movie of the same name, and using clips of the real McCarthy, it’s a tale that pits truth against disinformation and those who sow it for their own political ends. David Cromer directs a cast that includes Will Dagger, one of Off Broadway’s finest, making his Broadway bow as Don Hewitt, Heslov’s role in the film. (Through June 8 at the Winter Garden Theater.) Read the review.
Rival gangs in a musical who aren’t the Sharks and the Jets? Here they’re the Greasers and the Socs, driven by class enmity just as they were in S.E. Hinton’s 1967 young adult novel and Francis Ford Coppola’s 1983 film. Set in a version of Tulsa, Okla., where guys have names like Ponyboy and Sodapop, this new adaptation is the show with the rainstorm rumble you’ve heard about. It won four Tonys, including best musical and best direction, by Danya Taymor. With a book by Adam Rapp with Justin Levine, it has music and lyrics by Jamestown Revival (Jonathan Clay and Zach Chance) and Levine. (At the Bernard B. Jacobs Theater.) Read the review.
The TV series about the making of a Broadway musical has itself become a Broadway musical: a backstage comedy leading up to the opening of “Bombshell,” a musical about Marilyn Monroe. Directed by the five-time Tony winner Susan Stroman, it has a score by Marc Shaiman and Scott Wittman (“Hairspray”), whose dozens of songs for the series include “Let Me Be Your Star.” The book is by Rick Elice and Bob Martin; Brooks Ashmanskas, Krysta Rodriguez and Kristine Nielsen are among the cast. (At the Imperial Theater.) Read the review.
Set in Hawkins, Ind., in 1959, this Olivier-winning sensory spectacle of a play is a prequel to the supernatural Netflix series “Stranger Things.” Directed by Stephen Daldry, it has a script by Kate Trefry, a writer on the hit series, and an original story by Trefry, Jack Thorne and the Duffer brothers, who created the series. Transferring from London’s West End, where it opened in 2023, the show is recommended for ages 12 and older. (At the Marquis Theater.) Read the review.
With a song list full of pop hits, this frolicsome musical comedy imagines — with an assist from Anne Hathaway, Shakespeare’s wife — what happens when Juliet goes on living sans her Romeo. (At the Stephen Sondheim Theater.) Read the review.
Song, dance and extravagant design buoy Aladdin, Jasmine and the Genie in this winking stage adaptation of Disney’s 1992 animated film, directed and choreographed by Casey Nicholaw. (At the New Amsterdam Theater.) Read the review.
A pair of Mormon missionaries seek converts in Uganda in this gleefully profane musical comedy by Trey Parker, Matt Stone and Robert Lopez. (At the Eugene O’Neill Theater.) Read the review.
The 1996 revival, Broadway’s longest-running show, has far outpaced the original production of Bob Fosse, John Kander and Fred Ebb’s dark vaudeville about Roxie Hart, Velma Kelly and all that jazz. (At the Ambassador Theater.) Read the review.
Anaïs Mitchell’s jazz-folk musical about the mythic young lovers Eurydice and Orpheus takes audiences on a glorious road to hell in Rachel Chavkin’s splendidly designed production. (At the Walter Kerr Theater.) Read the review.
Lin-Manuel Miranda’s game-changing musical-theater phenomenon raps its tale of “the 10-dollar founding father without a father.” (At the Richard Rodgers Theater.) Read the review.
The saga of the grown-up Harry and his Hogwarts friends continues with the next generation, and is now even more slimmed down from its original, two-part marathon form. (At the Lyric Theater.) Read the review.
Lush with masks and puppetry, Julie Taymor’s visually extravagant retelling of the Disney animated classic has a score by Elton John and Tim Rice, additional music by the South African composer Lebo M., and choreography by Garth Fagan. (At the Minskoff Theater.) Read the review.
This dance-infused Michael Jackson jukebox musical, directed and choreographed by Christopher Wheeldon, with a book by Lynn Nottage, is produced “by special arrangement with” Jackson’s estate. (At the Neil Simon Theater.) Read the review.
For those to whom a Broadway show means spare-no-expense spectacle, this lavishly designed adaptation of Baz Luhrmann’s 2001 movie musical is just the ticket. (At the Al Hirschfeld Theater.) Read the review.
The half-dozen wives of Henry VIII recount their marriages pop-concert style — divorces, beheadings and all — in Toby Marlow and Lucy Moss’s upbeat musical. (At the Lena Horne Theater.) Read the review.
The witches from “The Wizard of Oz” get a friends-and-foes origin story in Stephen Schwartz and Winnie Holzman’s captivatingly designed, impeccably maintained musical. (At the Gershwin Theater.) Read the review.
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