Want to see a Broadway show in NYC? Here’s the full list of plays, musicals and revivals running now.
Shows On Broadway Nyc Right Now
Often used as shorthand for the theater itself. Visiting the Great White Way involves going to one of 41 large theaters in the vicinity of Times Square, seating more than 1,000 people.
List Of The Longest Running Broadway Shows
And Moulin Rouge!—but new plays and revivals are also an important part of the Broadway experience. There is a wide variety of Broadway shows available, as our complete A-Z list attests. And for a full list of upcoming shows, check out our full list of upcoming Broadway shows.
Aladdin: In a Nutshell Disney reveals its latest cartoon project to music: the story of a boy, a ghost without a cork and an aerodynamic blanket. Composer Alan Menken adds new tunes to the original 1992 soundtrack, and Chad Beguelin provides a new book. Claimed highlights include James Monroe Iglehart’s Genie Bounce and the F/X flying carpet. Aladdin: A Theater Review by Adam Feldman What do we want in a Disney musical? It’s unrealistic to expect an aesthetic triumph on the same level as The Lion King, but we don’t have to settle for empty action spots like Tarzan or The Little Mermaid either. The latest in the toon-tuner line, Aladdin, falls between those poles; closer in style (albeit lower in stakes) to Disney’s first effort, Beauty and the Beast, the show is a theme park tourist attraction, this time decked out in the oriental fabrics of Arabian fantasy. “It’s barbaric, but hey, it’s home,” sings the genial Genie (game, charismatic Iglehart) in the opening song, and that’s the tone of Aladdin as a whole: child-oriented. As in the 1992 film, the Genie steals the show from its “streetwise” hero of the same name (Jacobs, white teeth and tan chest). The musical highlight is the hard-selling “Friend Like Me”, where the fourth wall-breaking spirit summons a wave of glitter to demonstrate the scope of her power. (The number will answer to the rococo cornucopia of the New Amsterdam Theatre.) Granted by the desire to release the Genie from a lamp, Ala.
Broadway Review by Adam Feldman “Keep it light, keep it tight, keep it fun, and then we’re done!” That’s the unfortunate advice that grumpy 16th-century housewife Anne Hathaway (Betsy Wolfe) gives her neglectful husband, William Shakespeare (Stark Sands), as a way to improve his play Romeo and Juliet, which she considers too -negative. It’s also the guiding ethos of the new Broadway musical Jukebox & Juliet, a semi-Elizabethan romp by Swedish songwriter and producer Max Martin. A synthetic crossover that is different from Moulin Rouge!, Rotten Thing!, Mamma Mia! and Head Over Heels, this show delivers exactly what you would expect. The thing is: He gives you the hooks and he gets the eggs. Martin is the most influential pop singer of the last 25 years, so Juliet has a lot to draw from. The show’s 30 songs include dozens of pop songs originally recorded by the Backstreet Boys, Britney Spears and Katy Perry, as well as tunes Martin wrote – or, in all but two cases, co-wrote – for 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. (Any of his collaborations with Taylor Swift must be absent.) “Roar,” “Domino,” “Oh U Been Gone”: the hit list goes on and on. As a compilation disc performed live, it’s a treat for the Millennials; maybe its other title is Now That’s What I Call a Musical! & Juliet | Photo: Matthew Murp
The Most Anticipated New Musicals In The 2022/2023 Broadway Season
Broadway Review by Adam Feldman Musical theater loves the story of Cinderella, and in 2023 that love was very literal. The archetypal rags-to-riches heroine is featured in two mash-ups of Broadway fairy tales, the recent Into the Woods and the upcoming Once Upon a One More Time; last month, Off-Broadway’s Cinderella sent her to outer space. And now there’s Bad Cinderella, Andrew Lloyd Webber’s 2021 bauble that ran for a year in the West End as Cinderella but ditched the word Bad in front of its title to make its US debut. That’s a small victory for truth in marketing, at least. As the old saying goes: If the shoe fits… To be fair, this Cinderella is only half-evil, but her qualities are in all the wrong places. Ostensibly, the show presents itself as a critique of superficiality. The screenplay by Emerald Fennell, reimagined for Broadway by Alexis Scheer, is set in a royal French city-state called Belleville whose fit, well-dressed, Instagram-ready denizens sing, Happy that “beauty is our duty “; the orphaned Cinderella (Linedy Genao), reduced to housework by her mean stepfamily, opposes the prevailing aesthetic order. (When we first meet her, a fork-wielding mob is behind her spray-painted BEAUTY sucking up a statue of the city’s lost hero, Prince Charming.) Still, this idea isn’t promising. Bad Cinderella is a box of costume treasures: flashy but short-lived. Gabriela Tyleso
Broadway Review by Adam Feldman From the 1960s to the early 1980s, at the height of his long career, Neil Diamond shone brightly. From A Beautiful Noise, the biopic jukebox based on his life, it was hard for us to get to know him early, he had many top 40 hits, and sold 120 million albums. “The biggest box office in the world, in front of Elvis Presley, can you imagine? The King,” Diamond wonders later. The Brooklyn-born singer-songwriter has sometimes been called the Jewish Elvis, and A Beautiful Noise is a fitting tribute to him; at its most it’s like an old-school Vegas-style impersonation show, recreating concert moments for an audience willing to go on a musical nostalgia trip. A Beautiful Noise pulls as much pop music as possible from the diamond mine. From his breakthrough writing the Monkees’ “I’m a Believer” to more than two dozen later hits (such as “Cracklin’ Rosie,” “Song Sung Blue” and “America,” though he may not realize it.“Girl, You’ll Be a Woman Soon”), the show places a central emphasis on attractiveness and investigation of the subject’s oeuvre. His most enduring hit, “Sweet Caroline,” features prominently at the end of Act I — when Diamond describes it as a visit from God himself, and Michael Mayer’s stage is bound by a chorus of dancers in dazzling white, à la Jesus Christ Superstar — and in a send-’em-out finale after the curtain call,
If theater is your religion and Broadway musicals are your set, you’ve recently had an unfortunate religious challenge. Boundary-pushing enterprise works such as Spring Awakening, Bloody Bloody Andrew Jackson and Next to Normal were closed too early. American Idiot was shamefully ignored at the Tonys and will be gone in three weeks. Meanwhile, that airborne contagion Spider-Man: Turn Off the Dark is dominating headlines and millions, without even opening. Celebrities and corporate brands sell bad content, innovation is shown the door, and crap floats to the top. Enough to turn you into a heretic, to sing with the Ugandan villagers of the Book of Mormon: “God fuck you in the ass, mouth and cunt-a, fuck you in the eye.” Such insightful lyrics give a taste of the various scatto-theological pleasures to be found in this ugliness fest by Trey Parker and Matt Stone, of South Park fame, and composer-lyricist Robert Lopez, who penned Avenue Q .And laughing at you. you dance to the finest of Latter Day Saints while wildly indulging gay tendencies deep in the African bush, you are transported back to a decade when the Producers and Urinetown succeeded in resurrecting American musical comedy , infusing time-tested conventions with metaphysical hatred and a healthy dose of evil. – humor of taste. Filled with delightful vulgarity, sharp satire and catchy tunes, The Book of Mormon is a sickly mystical revelation, the most satirical Broadway musical of recent years. The high q
Nyc Broadway Week 2023
Adam Feldman’s Broadway review of Lincoln Center Theater’s revival of Camelot has a final feel to it. Alan Jay Lerner and Frederick Loewe’s 1960 musical about King Arthur, inspired by T. H. White’s 1958 story collection The Once and Future King, suffered in comparison to the team’s previous show, My Fair Lady. But because of his relationship with John F. Kennedy after his assassination, the show was imbued with the sentimental value of his interests that have existed ever since. Director Bartlett Sher doesn’t treat Camelot with respect – its weakest element, Lerner’s original book, has been heavily revised by Aaron Sorkin – but the production promotes the overarching sense of a beloved old property after holding it over its strength. A fantasy about a mythical past, Camelot is based on nostalgia, and its previous Broadway revivals depended on it: Arthurs were played by Richard Burton (who created the role), Richard Harris (who played him in the film) and Robert Goulet (who
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