Want to see a Broadway show in New York? Here’s a complete list of plays, musicals and revivals currently running.
Best Shows Broadway Right Now
Often used as a shorthand for the theater itself. A visit to the Great White Way means a visit to one of the 41 large cinemas clustered near Times Square, most of which hold more than 1,000 people. Top Broadway shows include musicals ranging from longtime favorites.
Weekly Schedule Of Current Broadway Shows
And Moulin rouge!, but new productions and revivals are also an important part of the Broadway experience. As the entire A-Z list shows, there are tons of Broadway shows. For a full list of upcoming shows, check out our full list of upcoming Broadway shows.
Aladdin: In Brief Disney presents its latest animated and musical project: the tale of a boy, uncapped spirit and aero-mat. Composer Alan Menken added new songs to the 1992 original. soundtrack, and Chad Beguelin brings a new book. Notable highlights include James Monroe Iglehart bouncing Genie and flying carpet F/X. Aladdin: Theatrical Review by Adam Feldman What do we want in a Disney musical? It’s unrealistic to expect the same aesthetic triumph of The Lion King, but you shouldn’t settle for empty action spots like Tarzan or The Little Mermaid. The latest in the line of tone-tuners, Aladdin, falls between those poles; Closer to the style (though less so) of Disney’s first effort, Beauty and the Beast, the show is tricked-out, touristy, family-friendly theme park, this time draped in the billowing cloth of Arabian Orientalist fantasy. “It’s savage, but hey, it’s home,” sings the genial Genie (playful, charismatic Iglehart) in the opening song, and that’s the tone of Aladdin as a whole: child-centered. As in 1992 in the film, a genie steals a sequence from the eponymous “street rat” hero (Jacob, with white teeth and tanned chest). His musical highlight was his best-seller “A Friend Like Me,” where his fourth-wall-breaking spirit called out wave after wave to demonstrate his power. (The amount corresponds to the rococo opulence of the New Amsterdam Theater.) Accepted three wishes for the Genie to be free from the lamp, Ala.
Adam Feldman’s Broadway Review Keep it light, tough, fun, and that’s it! This is the terrible advice that 16th-century housewife Anne Hathaway (Betsy Wolfe) gives her slovenly husband William Shakespeare (Stark Sands) to improve his play Romeo and Juliet, which he thinks is too scary. It’s also the central ethos of the new Broadway musical Jukebox and Juliet. It’s an almost Elizabethan romp between chart-topping Swedish songwriter and producer Max Martin. Synthetic Moulin Rouge!, Something Bad!, Mamma Mia! and Head Over Heels, this show delivers what you expect. That’s what it is: hook you up and give you a standing ovation. Martin is a famous pop hitmaker from the past 25 years, so & Juliet has a lot to draw from. The show’s 30 songs include bops originally recorded by the Backstreet Boys, Britney Spears and Katy Perry, as well as songs Martin wrote – or, in all but two cases, co-wrote – Pink, NSYNC, Kesha, Robyn, Kelly. Clarkson, Jessie J, Céline Dion, Ariana Grande, Justin Timberlake, Ellie Goulding, Demi Lovato, Adam Lambert, The Weeknd and even Bon Jovi. (Notes absent from his collaboration with Taylor Swift.) Roar, Domino, Because U is gone: the list of hits is on and on. As a compilation disc performed live, this is a celebration for millennials; the alternative title could be Now That’s What I Call a Musical! and Juliet Photo: Matthew Murp
Best Broadway Shows For Kids, Including Wicked And Six
Broadway Musical Theater Review Adam Feldman loves the story of Cinderella, and in 2023. This love is unusually literal. The archetypal rags-to-riches heroine figures prominently in two Broadway mash-ups, the recent Into the Forest and the upcoming Once Upon a Time More; Last month, Off Broadway’s Hip Hop Cinderella sent him into outer space. And now there’s Bad Cinderella, 2021. Andrew Lloyd Webber’s bawdy, which ran for a year in the West End as Cinderella, but slapped the word “Bad” on the title for its US debut. This is a small victory for truth in marketing. As the old saying goes: if the shoes fit… Actually, Cinderella is only half bad, but her virtues are in all the wrong places. That said, this show is presented as a critique of superficiality. Emerald Fennell’s script, retouched for Broadway by Alexis Scheer, is set in the monarchical French city-state called Belleville, which fit, brightly dressed, residents of Instagram-ready to cheerfully sing that “beauty is our duty”; the orphan Cinderella (Linedy Genao), reduced to housework by her resentful stepfamily, defines herself against the prevailing aesthetic regime. (When we first meet him, he’s told by a nice crowd that he’s painting BEAUTY SUCKS on a statue of the city’s lost hero, Prince Charming.) But this promising conceit is in vain. Bad Cinderella is a jewel box: Chic but small. Gabriela Tyles
Adam Feldman’s Broadway Review From the 1960s to the early 1980s, at the height of his long career, Neil Inten shone very brightly. As A Beautiful Noise, a biomusical musician based on his life, tried to inform us early on, he has dozens of Top 40 hits and sold 120 million albums. “Can you imagine the biggest box office draw in the world beating Elvis Presley?” King,” Deimantas wondered later. The Brooklyn-born singer-songwriter-showman has sometimes been called the Jewish Elvis, and in that case A Beautiful Noise is a fitting tribute to him; in its biggest numbers, it resembles an old-school Vegas-style impersonation show , recreating concert moments for a happy audience to take a musical nostalgia trip. A Beautiful Noise mines as many pop gems as possible from the diamond mine. From his initial breakthrough as “I Believe” for the Monkees writer to more than two dozen subsequent hits (such as ” Cracklin’ Rosie,” “Song Sung Blue” and “America,” although perhaps not “Girl, You’ll Be a Woman Soon”), the show made the main focus of attraction and research for its subject work. Its most enduring hit, “Sweet Caroline,” also features prominently as the Act I finale, with Inten describing it as coming from God himself, and Michael Mayer’s production obliging a chorus of dancers in sparkling white, à la Jesus Christ Superstar. – and at the last hum after the curtain call,
If theater is your religion and Broadway musicals are your cult, you’ve had some unfortunate faith challenges lately. Exciting, boundary-pushing songs like Spring Awakening, Bloody Bloody Andrew Jackson and Next to Normal are over too. American Idiot was embarrassingly ignored at the Tonys and will be gone in three weeks. Meanwhile, the airborne infection Spider-Man: Turn Off the Dark dominated the headlines and millions without opening. Celebrities and corporate brands sell bad ingredients, innovation is shown the door, and crap floats to the top. This is enough to turn you into a heretic, singing along with the villagers of the Book of Mormon Uganda, “You bastard God in the ass, mouth and cunt-a, you bastard in the eyes.” such penetrating lyrics provide a taste of the various scat-theological joys can be experienced in this wildly entertaining treat, created by Trey Parker and Matt Stone of South Park fame and lyricist Robert Lopez, who created Avenue Q. How you laugh. Pour your head over the lively tap-dancing of the Latter-day Saints and hold gay tendencies deep in the African bush, and you’ll be transported back ten years to The Producers and Urinetown’s revival of the American musical comedy, infusing time-tested conventions. with meta-theatrical irreverence and a healthy dose of evil. sense of humor Filled with hilarious humor, sharp satire, and catchy tunes, The Book of Mormon is a morbidly mystical revelation, the most entertaining Broadway musical in years. top q
Best Musicals To Watch Anytime You Need A Pick Me Up
Adam Feldman’s Broadway Review Lincoln Center Theater’s revival of Camelot is paying its last respects. 1960 Musical about King Arthur by Alan Jay Lerner and Frederick Loewe, inspired by 1958. A collection of stories by T.H. White The Once and Future King suffers in comparison to the team’s previous show My Fair Lady. But his association with John F. Kennedy after his assassination imbued the series with sentimental value that has been alive ever since. Director Bartlett Sher doesn’t treat Camelot with blind reverence – its weakest element, Lerner’s original book, has been heavily altered by Aaron Sorkin – but the production gives a greater sense that the beloved ancient property is propped up beyond its means. A fantasy about the mythical past, Camelot is built on nostalgia, and previous Broadway revivals have been built on it: their Arthurs have been played by Richard Burton (who created the role), Richard Harris (who played him in the movie) and Robert. Goulet (who
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