Broadway

It's a hit! [*Merrily We Roll Along*](https://www.newyorktheatreguide.com/show/27417-merrily-we-roll-along-tickets)'s first Broadway revival will begin performances at the [Hudson Theatre](https://www.newyorktheatreguide.com/theatres/hudson-theatre) on September 19, and tickets are available now. Get *Merrily We Roll Along* tickets on New York Theatre Guide.

Jonathan Groff, [Daniel Radcliffe](https://www.newyorktheatreguide.com/stars-on-stage/daniel-radcliffe), and Lindsay Mendez star in *Merrily We Roll Along* as Frank, Charley, and Mary, a trio of friends whose bond fractures over the course of 20 years. The story of how fame and money break them apart is told in reverse chronological order.

The starry trio reprise their roles from a critically acclaimed 2022 Off-Broadway revival of the musical at New York Theatre Workshop, directed by Maria Friedman. [New York Theatre Guide's four-star review](https://www.newyorktheatreguide.com/reviews/merrily-we-roll-along-off-broadway-review-jonathan-groff-daniel-radcliffe-lindsay-mendez) calls the production "stirring" and reads, "The story’s consideration of the fragility of friendships stands out."

Stephen Sondheim and George Furth's musical hasn't appeared on Broadway since 1981. A flop at the time, the show has since [underwent numerous revisions](https://www.newyorktheatreguide.com/theatre-news/news/everything-you-need-to-know-about-merrily-we-roll-along-on-broadway) and become a celebrated classic featuring some of Sondheim's most famous songs, including "Not a Day Goes By" and "Good Thing Going."

*Merrily We Roll Along* Broadway tickets are available for the musical's limited 18-week engagement.

Get *Merrily We Roll Along* tickets now.

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'Merrily We Roll Along' Broadway tickets on sale now

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Merrily We Roll Along on Broadway - NYC

Merrily We Roll Along on Broadway

The first Broadway revival of Stephen Sondheim's classic musical will star Jonathan Groff, Daniel Radcliffe, and Lindsay Mendez for a limited time only.

They're the best pics in London! New photos have been released of the latest Broadway revival of [*Sweeney Todd*](https://www.newyorktheatreguide.com/show/26216-sweeney-todd-on-broadway-tickets), which officially opens March 26 at the [Lunt-Fontanne Theatre](https://www.newyorktheatreguide.com/theatres/lunt-fontanne-theatre).

Tony and Grammy Award nominee [Josh Groban](https://www.newyorktheatreguide.com/stars-on-stage/josh-groban) stars in the title role of Stephen Sondheim and Hugh Wheeler's Tony Award-winning musical classic. Sweeney is a barber bent on revenge against a corrupt judge who destroyed his family — and then some. Aiding him in his bloody quest is Mrs. Lovett (Tony winner [Annaleigh Ashford](https://www.newyorktheatreguide.com/stars-on-stage/annaleigh-ashford)), who minces Sweeney's victims into the tastiest meat pies in the city.

The star-studded cast also features *Stranger Things*'s Gaten Matarazzo as the naive assistant Tobias, Jordan Fisher (*Hamilton*, *Dear Evan Hansen*) as the lovestruck Anthony, and Ruthie Ann Miles (Tony winner for *The King and I*) as the mysterious Beggar Woman. See photos of Groban, Ashford, Matarazzo, Fisher, Miles, and more below, and then get tickets to see their delicious talents live.

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![7 sweeney-1200x600-NYTG](//images.ctfassets.net/6pezt69ih962/7gzSXonAWlHmzrQwwduBA/552327f1ea1cae3882fcea9649ba1ee8/7_sweeney-1200x600-NYTG.jpg)

![3 sweeney-1200x600-NYTG](//images.ctfassets.net/6pezt69ih962/5CrPDwrBgYjO8rLuR9YVZU/43973751683e2e1f738a4d2be7dd3acb/3_sweeney-1200x600-NYTG.jpg)

![1 sweeney-1200x600-NYTG](//images.ctfassets.net/6pezt69ih962/7DwIKQVqkxdzEOWCb0BJiP/f9b42439fb925068ef6e8c8b730038cd/1_sweeney-1200x600-NYTG.jpg)

![9 sweeney-1200x600-NYTG](//images.ctfassets.net/6pezt69ih962/6fbcrecuYqSxWKaObcLK3x/cf396a687405053cca600347f87399ff/9_sweeney-1200x600-NYTG.jpg)

![5 sweeney-1200x600-NYTG](//images.ctfassets.net/6pezt69ih962/2hBz8HfKK7NBdkO1CfElnR/ef4276f5e924aa84b7ae1b232d28fe8e/5_sweeney-1200x600-NYTG.jpg)

![2 sweeney-1200x600-NYTG](//images.ctfassets.net/6pezt69ih962/3ZPiIQTLWN0NCommQ1RQff/a184091c5c4c200ce200e4a139f6aaff/2_sweeney-1200x600-NYTG.jpg)

![4 sweeney-1200x600-NYTG](//images.ctfassets.net/6pezt69ih962/3yg3iI9P4wFinonb5OMceP/86b762bebe08a33e7bf593833cc58727/4_sweeney-1200x600-NYTG.jpg)

![10 sweeney-1200x600-NYTG](//images.ctfassets.net/6pezt69ih962/5ObLAmnwjYvYyQbR4Xum1w/6253a154ebd043245b1aaa45afe54c1f/10_sweeney-1200x600-NYTG.jpg)

![6 sweeney-1200x600-NYTG](//images.ctfassets.net/6pezt69ih962/5LT417tbAzw6GDZIk5VVwL/eb3a289381d1e3cff2a40a366531661f/6_sweeney-1200x600-NYTG.jpg)

![8 sweeney-1200x600-NYTG](//images.ctfassets.net/6pezt69ih962/5d6m9eAI4F4cba33znc9mk/90fae9ace6c029c58d525e5a2f124ca4/8_sweeney-1200x600-NYTG.jpg)

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*Photo credit: Sweeney Todd on Broadway. (Photos by Matthew Murphy and Evan Zimmerman)*

See photos of Josh Groban, Annaleigh Ashford in 'Sweeney Todd' on Broadway

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Sweeney Todd on Broadway - NYC

Sweeney Todd on Broadway

Take a look at the cast of the latest revival of Stephen Sondheim's classic, bloody musical thriller, currently playing at the Lunt-Fontanne Theatre.

Even if you don't know [*Peter Pan Goes Wrong*](https://www.newyorktheatreguide.com/show/27336-peter-pan-goes-wrong-tickets), you're likely familiar with the first part of that title. The story of the boy from Neverland who wouldn't grow up [first took flight in 1904 as a play by J.M. Barrie](https://www.newyorktheatreguide.com/theatre-news/news/all-the-peter-pan-adaptations-in-broadway-theatre) and continues to shape countless childhoods worldwide. 

In 2013, Mischief Theatre Company — a comedy theatre group led by British writer/performers Jonathan Sayer, Jonathan Lewis, and Henry Shields — followed up the success of their smash hit [*The Play That Goes Wrong*](https://www.newyorktheatreguide.com/show/14790-the-play-that-goes-wrong-tickets) with their own take on that beloved tale. *Peter Pan Goes Wrong* is less of an adaptation and more of a play-within-a-play, as the fictional Cornley University Drama Society is actually putting on *Peter Pan*.

But there’s a key difference: The show gets derailed almost constantly by mile-a-minute slapstick in the form of crumbling sets, forgotten lines, offstage fights, and fly rigs that don't actually lift up the actors.

This physical comedy, plus the globally familiar, family-friendly nature of *Peter Pan*, makes Mischief's show — now premiering on Broadway at the [Barrymore Theatre](https://www.newyorktheatreguide.com/theatres/barrymore-theatre) — a treat for anybody. As performer Fred Gray described the play, "It just feels like you've been hugged."

"The show is pretty much language-independent," added performer Stephen James Anthony. "Folks who may not speak English well or first could probably still enjoy the show."

Hear more from *Peter Pan Goes Wrong*'s cast and creators about even more reasons to join them in Neverland through July 9.

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## *Peter Pan Goes Wrong* uses *The Play That Goes Wrong* playbook.

The two shows have the same creator, after all. *Peter Pan Goes Wrong* isn't an official sequel to *The Play That Goes Wrong*, but both center on the same Cornley troupe. Their murder mystery play in *The Play That Goes Wrong* was a bust, but the group decides to give it another go with *Peter Pan*.

"It's rare that you get to go see a different show with the characters that you love from a previous show, even though it's about a totally different plot," said understudy Ryan Vincent Anderson. "You're going get the lovable characters you like [from *The Play That Goes Wrong*], but you're also going to get the absolutely amazing story of *Peter Pan*."

Sure, Cornley's staging still goes awry, in part due to the characters' offstage squabbles: "You get a little bit more of a peek into the relationships going on between the cast of Cornley," Greg Tannahill, who plays Jonathan, explained. "You see... things going wrong and them not dealing with it in the best way, but you also get a little peek at them not dealing with each other in the best way."

Nonetheless, keen fans will notice growth in the familiar characters, like sound board operator Trevor, diva Sandra, and stage manager-turned-actress Annie.

"We've learned some things about how to produce better theatre," said understudy Brenann Stacker, referring to the Cornley troupe. "They're better actors, they're better scenic designers. They're actually growing as human beings."

## The cast members are friends on stage and off.

Multiple *Peter Pan Goes Wrong* actors met at drama school together. Chris Leask and Matt Cavendish — who play Trevor and Max, respectively — were in the same year. Sayer, Shields, and Lewis created Mischief as a group project during their time at university.

Plus, most of the principal cast members worked together on the show's premiere 10 years ago, and others have worked with Mischief in at least one production of *Peter Pan Goes Wrong* or *The Play That Goes Wrong* worldwide.

"It's not just a working relationship. We're all best mates, and we have been for the last 13 years, which is why Mischief came together in the first place," said Leask. "Everyone just enjoyed working together and creating theatre. The charm of Mischief is that we all know each other so well. We all just want to get out [there] every night and have fun and entertain our audience. You can see that relationship on stage between the actors."

In other words, *Peter Pan Goes Wrong* lets the actors goof off with their friends. What could be more fun than that?

## *Peter Pan* is a globally beloved story.

"We've done [*Peter Pan Goes Wrong*] in several different countries, and we keep thinking, how are we going to adapt it for this particular country?" said director Adam Meggio. "And in the end, you don't actually have to do that much with it because it's *Peter Pan*, which is a fairly universal story.

"People tend to know it," he continued. "And even if you don't know it, it doesn't matter, because you get it when you watch it." The nostalgic familiarity of *Peter Pan* and its characters — Peter, Tinkerbell, Wendy, Captain Hook — is a major reason Mischief's version succeeded in multiple countries on both sides of the Atlantic.

## The play is rooted in a popular British theatre form.

"Back in the U.K., we have a big English tradition of the pantomime," Meggio explained. "The grand style of acting, the actor down in the footlights being a villain, puffs of smoke and people appear, old stage magic."

In short, pantomime is just a more exaggerated version of what comedic performing already is. The concept of pantomime may be uniquely British, but its old-fashioned, campy performance style is universal.

That said, the creators made some tweaks for American audiences, mainly vocabulary-wise. "Rather than white spirit, it's paint thinner," Sayer said. Added Shields: "We've changed the word interval to intermission... We also had to change the word polytechnic to university, which is fair because I don't think even British people really know what to call it."

## *Peter Pan Goes Wrong* takes flight — literally.

You can't follow the second star straight on 'till morning on foot. Peter Pan and Tinkerbell must fly, and that's only half the complex stage magic going on in this show. "There's loads of elaborate routines like flying and pirate ships and creating these incredible sets," described Shields. "That really is just fodder for us to tear everything apart."

In other words, expect lots of flying, but in the hands of the clueless Cornley company, expect lots of failed takeoffs and falling, too.

## We all have an inner Peter Pan.

Unlike Peter Pan, we're all growing up whether we like it or not. But at *Peter Pan Goes Wrong*, the actors and audience members can stop the clock for a few hours.

"There's something really universal about not growing up, right?" said Anthony. "Life gets serious and difficult, especially in these past few years, and who doesn't want to go back to a place of childlike wonder and simple pleasures?"

Added Anderson: "Our inner child just withers away sometimes. We kind of have to, to get through life, but then to come to a show like this and just experience childlike joy, it's amazing."

## Everyone loves when things go wrong.

No one likes embarrassing themselves, but when others do it, it's comedy. When asked why this phenomenon is so universal, the *Peter Pan Goes Wrong* cast had quick answers.

"Comedy is mostly about status and status transactions: people thinking that they're better than they are, and then getting their comeuppance and being knocked down a peg or two," Meggio said. "Those sorts of things tend to be very human."

Anthony had just the word: "Schadenfreude. There's something delicious about watching someone get defeated by a prop, or, despite their best efforts to be very respectable, they end up looking like an absolute fool." We might usually feel bad for laughing, but at *Peter Pan Goes Wrong*, it's not only okay, but encouraged.

## The play isn't just funny — it's heartfelt.

Despite facing setbacks at every turn, the actors are determined to make it through their play. *Peter Pan Goes Wrong* sincerely celebrates resilience and teamwork, which one might not expect from a show bursting with gags.

Harry Kershaw, who plays Francis, made this point by comparing *Peter Pan Goes Wrong* to *The Office*. "[In] the English *Office*... the most successful thing that's happened is that Ricky Gervais has told someone to fuck off," he said. "That's the win, whereas the American *Office* ends on a more upbeat note, with Michael Scott being a hero.

"In this show, there's more of a sense of everyone who's managed to finish the show is a hero," Kershaw continued. "There's a wonderful sense of achievement."

That warm feeling, plus all the joy from the comedy leading up to it, makes this trip to Neverland worthwhile.

Get *Peter Pan Goes Wrong* tickets now.

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*Responses have been condensed and edited for length and clarity.*

*Photo credit: Photo credit: The cast of Peter Pan Goes Wrong in London in 2015. (Photo by Alastair Muir)*

Why 'Peter Pan Goes Wrong' has universal comedic appeal

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Peter Pan Goes Wrong on Broadway - NYC

Peter Pan Goes Wrong on Broadway

The show's Broadway cast, many of whom have performed in it or *The Play That Goes Wrong* before, shares what makes this show that goes wrong so hilariously right.

Razzle dazzle us! For 40 years, composer John Kander and lyricist Fred Ebb worked side by side to create a brand of Broadway musicals packed with beauty and biting commentary. Their shows leave you singing and thinking – a case in point is [*Chicago*](https://www.newyorktheatreguide.com/show/22-chicago-tickets), one of the longest-running shows in theatre history. 

The prolific duo is known for collaborations with various writers, directors, and actors, and their Broadway premieres continued even after Ebb’s death at age 76 in 2004. The latest is [*New York, New York*](https://www.newyorktheatreguide.com/show/26043-new-york-new-york-tickets), based loosely on Martin Scorsese’s same-named film, now playing at the [St. James Theatre](https://www.newyorktheatreguide.com/theatres/st-james-theatre). It’s a perfect time to look back through the team’s illustrious career – which includes three Tony Award-winning scores – and all the Kander and Ebb musicals on Broadway.

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## 1965: *Flora, The Red Menace*

Kander and Ebb’s first Broadway collaboration is based on the novel *Love is Just Around the Corner*. Set in Depression-era New York, the romantically and politically charged musical lasted around three months. That was long enough for its star, Liza Minnelli, to win a Tony Award and begin a long collaboration with the pair.

## 1966: *Cabaret*

A ratty club in Germany amid the Third Reich’s rise to power seems an unlikely musical setting, but countless audiences came to the cabaret. Based on Christopher Isherwood’s stories and the play they inspired (John Van Druten’s *I Am A Camera*), the show is a masterwork that earned the duo their first Best Score Tony win.

The musical, directed by Harold Prince, opened in 1966 and ran for nearly three years, later Willkommen-ing audiences back to Broadway in 1987, 2004, and 2014 revivals. Plus, the *Cabaret* film starring Minnelli and Joel Grey, who reprised his Tony-winning role as the emcee, dropped in 1972 and has since become one of the most celebrated movie musicals in history. 

## 1968: *The Happy Time*

This bittersweet show starring Robert Goulet follows a globetrotting photographer who returns to his hometown in Canada to search for something missing in life. It earned Kander and Ebb a Tony nomination for Best Score, and the show’s happy time on Broadway ended after 286 performances. 

## 1968: *Zorba*

Two months after their previous show closed, this dark-streaked musical, adapted from the novel *Zorba the Greek*, launched its 305-performance run. The songwriting duo’s attraction to edgy material continues here, including in the song “Life Is.” It matter-of-factly states that "life is what you do while you’re waiting to die.” The show came back to life in a 1983 revival. 

## 1971: *70, Girls, 70* 

Ebb, who wrote the book and lyrics, and Kander were in a lighter mood for this work about senior citizens who steal and resell furs to finance the rescue of their retirement home. The show opened in April 1971 but made a quick getaway from Broadway, running for only 35 performances.

## 1975: *Chicago* 

Regarding celebrity criminals and the true crime craze, this story of merry man killers Roxie Hart and Velma Kelly – roles originated by Gwen Verdon and Chita Rivera – was way ahead of its time. *Chicago* was up for 11 Tonys, including Best Score and Best Book (co-written by Ebb), but the show went home empty-handed. Nowadays, the six-time Tony-winning 1996 revival is the second longest-running show in Broadway history. 

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## 1977: *The Act*

Michelle Craig, a movie-star-turned Las Vegas performer played by Minnelli (who won a Tony), recalls her rocky career moves and romances in this show that opened in October 1977 and ran for 233 performances.

Among the tunes in the Tony-nominated score is “The Money Tree,” in which Michelle wises up about the guy in her life: “The day will come; he’ll come running to me the day the sun turns black and there’s a money tree.”

## 1981: *Woman of the Year*

The duo found creative inspiration for this Lauren Bacall star vehicle in the 1942 Spencer Tracy and Katharine Hepburn comedy about rival reporters falling in and out of love. Bacall sings about that in the witty number “I Wrote the Book,” in which her character notes that she is up on everything – including how to lose a man.

Likewise, Kander and Ebb continued to show they wrote the book on songwriting, winning a Tony for their score. The show opened in March 1981 and closed after 770 performances in just under two years.  

## 1984: *The Rink*

The songwriting team notched another Tony nomination for this score. *The Rink* takes place at a decrepit roller rink, where a mom and daughter (played by Rivera and Minnelli) deal with various challenges, including each other. The show opened in August 1984 and rolled along for 204 performances before calling it a day. 

## 1992: *Kiss of the Spider Woman*

Based on the Manuel Puig novel about a prisoner in Latin America who escapes into a fantasy world, *Kiss of the Spider Woman* was adapted into an Oscar-winning movie before becoming a Tony-winning musical.

Kander and Ebb took home the Best Score Tony, one of seven prizes for the show, including Best Musical and Best Actress for Rivera in the title role. The show opened in May 1993 and had its last kiss in April 1995 after 904 performances.

## 1997: *Steel Pier*

Gritty settings and scenarios become Kander and Ebb. No wonder this show about lost souls in Depression-era Atlantic City appealed to them. Their score got a Tony nomination, but the show ran just 76 performances after its April 1997 premiere.

## 2006: *Curtains*

This backstage murder mystery musical comedy starring David Hyde Pierce opened in March 2007 – making it the duo’s first new show since Ebb’s death – and ran 511 performances. The Tony-nominated score featured “Show People,” an upbeat nod to theatre performers “who live in a world of their own” and who are “born every night at half-hour call.” Write what you know, they say – and Kander and Ebb knew actors.

## 2010: *The Scottsboro Boys* 

“How about a musical about racism, rape, and Jim Crow?” New York Theatre Guide noted in its [four-star review of *The Scottsboro Boys*](https://www.newyorktheatreguide.com/reviews/the-scottsboro-boys-0). It added that “if anyone is going to handle” those topics, it’s Kander and Ebb, who are both credited for music and lyrics in their Tony-nominated score. The story recounts true events from 1931 Alabama, where nine young Black men were accused of raping two white women. The show, directed by Susan Stroman, was framed as a minstrel show, which inspired protests. It ran 49 performances.

## 2015: *The Visit*

A star vehicle for Rivera, this show about a scorned woman who engineers the ultimate revenge on her ex-lover is based on Friedrich Duerrenmatt's 1956 play. The show took 15 years of development to reach Broadway. *The Visit* was up for five Tonys but won none, and the musical closed after 61 performances. 

## 2023: *New York, New York* 

Listen up for Kander and Ebb hits including the title blockbuster and “But the World Goes Round” from Martin Scorsese’s 1977 film. The duo’s songs and the setting — 1946 New York — are the only carryovers from the screen, though. This musical features a new plot about artists seeking success in the city.

*New York, New York* also includes new songs by Kander and Hamilton’s Lin-Manuel Miranda, bridging old and new songwriting talents. You’ll want to be a part of this Kander and Ebb collaboration.

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## Other Kander and Ebb Broadway credits

The above are the musicals the duo created together, but Kander and Ebb songs are so popular that they pop up in plenty of other Broadway shows. These include *Prince of Broadway*, a 2017 tribute to Harold Prince; *Come Fly Away*, a 2010 dance show built around Frank Sinatra hits; and *Liza*, a 1974 concert by Minnelli.

*Photo credit: Chicago on Broadway. (Photo by Jeremy Daniel)*

A history of Kander and Ebb musicals on Broadway

Photo credit: Cast of Chicago (Photo by Jeremy Daniel)

New York, New York on Broadway - NYC

New York, New York on Broadway

John Kander and Fred Ebb are the songwriting duo behind one of Broadway's longest-running shows and many other theatrical classics that often get revived.

Be a part of it! [*New York, New York*](https://www.newyorktheatreguide.com/show/26043-new-york-new-york-tickets) will offer rush and lottery tickets for its Broadway run, which begins performances March 24 at the [St. James Theatre](https://www.newyorktheatreguide.com/theatres/st-james-theatre). Opening night is April 26.

*New York, New York* offers $35 tickets via a digital lottery. Lottery entries are accepted until 10:30 a.m. the day before the performance, and winners are notified by email and text shortly afterward at 11 a.m. Each person can request up to two tickets.

*New York, New York* also offers $30 rush tickets in person at the St. James box office. Rush tickets are available beginning when the box office opens at 10 a.m. each day except Sunday, when it opens at 11 a.m. Each person can purchase up to two tickets for that day's performance. Rush tickets are subject to availability.

Loosely based on the 1977 Martin Scorsese film of the same name, *New York, New York* follows a group of artists trying to make it big in the city in 1946. The show features songs from the film, including the iconic title theme, by John Kander and Fred Ebb. New songs composed for the musical are by Kander and Lin-Manuel Miranda.

Colton Ryan and Anna Uzele star, and five-time Tony Award winner Susan Stroman directs.

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'New York, New York' to offer Broadway lottery and rush tickets

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This is a bombshell! The new musical [*Smash*](https://www.newyorktheatreguide.com/show/24261-smash-a-new-musical-tickets), based on the hit TV drama series of the same name, will come to Broadway during the 2024-2025 season.

The *Smash* TV show ran on NBC for two seasons from 2012-2013. It centered on the road to Broadway for *Bombshell*, a fictional musical about the life of Marilyn Monroe.

Key characters included Karen ([Katharine McPhee](https://www.newyorktheatreguide.com/stars-on-stage/katharine-mcphee)) and Ivy (Megan Hilty), two actresses vying to play Marilyn; Julia ([Debra Messing](https://www.newyorktheatreguide.com/stars-on-stage/debra-messing)) and Tom ([Christian Borle](https://www.newyorktheatreguide.com/stars-on-stage/christian-borle)), the writers of *Bombshell*; and Derek (Jack Davenport), the director of *Bombshell*.

Casting for the Broadway production has yet to be announced, but multiple major names are attached on the creative side. Directing is five-time Tony Award winner Susan Stroman, who's known for staging musicals including *The Producers*, *Contact*, *Show Boat*, and *Crazy for You*. She also directs and choreographs [*New York, New York*](https://www.newyorktheatreguide.com/show/26043-new-york-new-york-tickets) on Broadway this season.

Marc Shaiman and Scott Wittman wrote original songs for the *Smash* TV series, and many of those songs will appear in the musical alongside new material from the duo. They're behind this season's [*Some Like It Hot*](https://www.newyorktheatreguide.com/show/24262-some-like-it-hot-tickets) musical and the Tony-winning *Hairspray*.\

The book for *Smash* is by Tony winner Bob Martin (*The Prom*, *The Drowsy Chaperone*) and Tony nominee Rick Elice (*Jersey Boys*, *Peter and the Starcatcher*).

Joshua Bergasse, who choreographed the TV show, returns to direct the *Smash* musical. Additionally, producing is Steven Spielberg, who came up with the original concept for the TV show, alongside Robert Greenblatt and Neil Meron.

Check back for information on *Smash* tickets on New York Theatre Guide.

'Smash' to premiere on Broadway in 2024-25 season

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Smash, A New Musical - NYC

Smash, A New Musical

The new musical comedy is based off the hit TV series about the creation of a fictional Marilyn Monroe musical, which aired on NBC from 2012 to 2013.

It’s showtime, folks! Typical Broadway musicals come with stories that have a beginning, a middle, and an end. [*Bob Fosse’s Dancin’*](https://www.newyorktheatreguide.com/show/24249-bob-fosses-dancin-tickets) doesn’t follow that template, and it wastes no time letting audiences know that. “What you are about to see is an almost plotless musical,” a performer says in the show’s opening moment. 

True enough. Then again, in this exuberant musical revue celebrating the singular, groundbreaking work of choreographer Bob Fosse, every dancer's movement – from goofy, vulnerable knock knees to hypnotizing, frisky finger wags — tells an eloquent, and often provocative, story. 

Director Wayne Cilento’s revival of the 1978 Tony-winning Best Musical, then simply called *Dancin’*, preserves Fosse’s original choreography and interpolates a wide sweep of numbers, including rarely performed pieces and Fosse classics. Look for them to shimmy, shuffle, and leap across the stage. 

But perhaps you don't know what "classic Fosse" looks like or why his legacy warrants a two-hour musical. No worries — you're in the right place to find out the basics of his dance style, what you'll see on stage in *Dancin'*, and all that jazz. Learn more about this Broadway superstar and his sexy fancy footwork, and then check it out at the [Music Box Theatre](https://www.newyorktheatreguide.com/theatres/music-box-theatre).

Get *Bob Fosse’s Dancin’* tickets now.

[![Book Tickets CTA - LT/NYTG](//images.ctfassets.net/6pezt69ih962/3qAtGOdQq9x3k1WcHlaJnw/90ece91bbe47ed07e142c2e43c7a7a3f/BookTickets-250.png)](https://www.newyorktheatreguide.com/show/24249-bob-fosses-dancin-tickets)

## Who is Bob Fosse?

Bob Fosse was a choreographer, director, performer, and visionary changemaker in the theatre world. Beginning in the 1950s, he reshaped Broadway dancing with his innovative and influential choreography that was as precise as it was sensual. His moves set several of musical theatre’s most famous shows in motion, and the dancing is now just as iconic as the songs and stories. 

## What musicals is Bob Fosse known for?

By the time of his death at age 60 in 1987, Fosse had won eight Tony Awards for *The Pajama Game*, *Damn Yankees*, *Redhead*, *Little Me*, *Sweet Charity*, *Pippin*, *Dancin’*, and *Big Deal*. Among his most popular and iconic dance numbers from these shows are the sultry [“Steam Heat”](https://youtu.be/eQdyDlSie0Q) from *Pajama Game*, in which he used his now-trademark bowler hats; the sexy bump-and-grinding [“Big Spender”](https://youtu.be/iG3VfKlfDEk) from *Sweet Charity*; and the mesmerizing [“Magic to Do”](https://youtu.be/ADeU6qz37B4) from *Pippin*, with sharp jazz hands in the spotlight. Look for bits of these on stage at *Bob Fosse’s Dancin’*.

Fosse also co-wrote, directed, and choreographed John Kander and Fred Ebb’s 1975 Broadway premiere of [*Chicago*](https://www.newyorktheatreguide.com/show/22-chicago-tickets) — he's a triple threat and then some. The musical's 1996 revival, which Ann Reinking meticulously choreographed in Fosse's style, is now the second-longest running show in Broadway history.

## What is Fosse known for beyond Broadway?

Fosse generally gravitated to works with a sexy edge, a dark side, or both. He directed the films *Sweet Charity*, *Lenny*, *All That Jazz*, and *Star 80*. But most notably, he won an Oscar for his direction of 1972 film version of Kander and Ebb’s *Cabaret*, which he also choreographed.

Fosse wasn't involved with the musical's Broadway premiere, but the film indelibly linked Fosse's name with *Cabaret*. A number in *Bob Fosse’s Dancin’*, "Spring Chicken," features Fosse's choreography from that film's song ["Mein Herr."](https://youtu.be/lxmz3RcNNBE)

In addition, a number of film and TV projects portray Fosse's own life story — he was a fascinating character on stage and off. In the semi-autobiographical 1979 movie *All That Jazz*, Fosse directed Roy Scheider as his alter ego Joe Gideon, a manic moviemaker who has a fatal cardiac event. Fosse died of a heart attack in 1987; leave it to him to call the steps on his own demise.

The 2019 miniseries *Fosse/Verdon* focused on his personal and working relationship with Gwen Verdon, his wife and the star of multiple of his projects.

## What is the Fosse dance style?

Fosse’s full-bodied signature jazz choreography created a style and a language that speaks for itself. Movements, and stillness, are meticulous. His signature jazz moves include curved shoulders, hip rolls and thrusts, turned-in knees and toes, sideways shuffling, insistent finger snaps, and the famous jazz hands. Hats, particularly bowlers, are a classic Fosse tool to make the dance more dynamic.

## What dance styles are in *Bob Fosse's Dancin’*?

Fosse is best known as a jazz choreographer, but *Bob Fosse’s Dancin’* shows he has a much wider range. He was fluent in classical, jazz, pop, and tap, and all those styles and others are on view.

“Percussion” is a four-part piece that showcases Fosse’s appreciation for the precision and rigor of traditional ballet, but through characters such as boxers. “Big City Mime” is a mini-ballet set in a seedy urban sexscape. “Sing Sing Sing” – set to the Benny Goodman classic – bursts with energy as dancers leap and tap across the stage. A bit of the iconic [“Manson Trio”](https://youtu.be/V3b40WGwPuw?t=220) from *Pippin* gets its place at center stage. 

## Where is *Bob Fosse’s Dancin’* playing?

*Bob Fosse’s Dancin’* is at the Music Box Theatre. Director Wayne Cilento, who was nominated for a Best Featured Actor Tony for the original 1978 production and won a Best Choreography Tony for *The Who’s Tommy*, said he wants “to introduce Fosse to a new generation of audiences.” He’s doing that – one hip pop at a time.

Get *Bob Fosse’s Dancin’* tickets now.

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*Photo credit: The company of Bob Fosse's Dancin' on Broadway. (Photo by Julieta Cervantes)*

What to know about the legendary namesake of ‘Bob Fosse’s Dancin’’ on Broadway

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Bob Fosse's Dancin' on Broadway - NYC

Bob Fosse's Dancin' on Broadway

The choreographer behind *Chicago*, *Cabaret*, *Pippin*, and more is known for jazz hands and black hats, but there’s much more to his style — learn more here.

Come join the cookout! The Pulitzer Prize-winning Broadway play [*Fat Ham*](https://www.newyorktheatreguide.com/show/27141-fat-ham-tickets) is offering digital rush tickets via TodayTix for its entire Broadway run. Performances began last night ahead of an April 12 opening, and the play is at the [American Airlines Theatre](https://www.newyorktheatreguide.com/theatres/american-airlines-theatre) until June 25 only.

Rush tickets will be available for $39 [on the TodayTix app](https://www.todaytix.com/nyc/shows/27141-fat-ham-on-broadway). Beginning at 9 a.m. each performance day, users can purchase up to two tickets for that day's performance on a first-come, first-served basis. Users can set an alert to be notified when tickets become available each day.

## What is *Fat Ham* about?

*Fat Ham* takes Shakespeare's classic tragedy *Hamlet* and [sets the action at a Southern barbecue](https://www.newyorktheatreguide.com/theatre-news/news/the-differences-and-similarities-between-fat-ham-and-shakespeares-hamlet). But Juicy, the Hamlet figure, is a queer, Black college student with second thoughts about murdering his uncle to avenge his father.

The play premiered off Broadway in 2022 at The Public Theater, and the [whole cast of that production](https://www.newyorktheatreguide.com/theatre-news/news/meet-the-cast-of-fat-ham-on-broadway) reprises their roles on Broadway. They include Nikki Crawford as Tedra, Chris Herbie Holland as Tio, Billy Eugene Jones as Rev/Pap, Adrianna Mitchell as Opal, Calvin Leon Smith as Larry, Marcel Spears as Juicy, and Benja Kay Thomas as Rabby. Saheem Ali directs.

A [four-star review of *Fat Ham*](https://www.newyorktheatreguide.com/reviews/fat-ham-off-broadway-review) off Broadway calls the show "hilarious, chaotic and weirdly lovely... This slice of life leans hard into comedy, not tragedy, as it ponders big things that matter: personal identity, sexuality, transparency, living out loud."

[Learn more about *Fat Ham* on Broadway.](https://www.newyorktheatreguide.com/theatre-news/news/why-you-should-see-the-pulitzer-prize-winning-play-fat-ham)

Get *Fat Ham* tickets now.

[![Book Tickets CTA - LT/NYTG](//images.ctfassets.net/6pezt69ih962/3qAtGOdQq9x3k1WcHlaJnw/90ece91bbe47ed07e142c2e43c7a7a3f/BookTickets-250.png)](https://www.newyorktheatreguide.com/show/27141-fat-ham-tickets)

*Photo credit: The cast of Fat Ham on Broadway. (Photo by Marc J. Franklin)*

'Fat Ham' offering rush tickets on TodayTix

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Fat Ham on Broadway - NYC

Fat Ham on Broadway

The Pulitzer Prize-winning play that modernizes Shakespeare's *Hamlet* will offer a limited number of same-day tickets to each performance of its limited run.

Great Scott! The complete [*Back to the Future*](https://www.newyorktheatreguide.com/show/26018-back-to-the-future-tickets) Broadway cast has been set. The show will fly into the [Winter Garden Theatre](https://www.newyorktheatreguide.com/theatres/winter-garden-theatre) on June 30 ahead of an August 3 opening.

*Back to the Future* is based on the hit 1985 film of the same name about Marty McFly, a teenager who almost stops his parents from meeting when he travels back in time to 1955. With the help of scientist Doc Brown, he must figure out how to fix the past to save his future.

The *Back to the Future* musical premiered in London in 2020 and won the Olivier Award for Best New Musical in 2022.

## Who is in the *Back to the Future* Broadway cast?

Rounding out the principal cast are Liana Hunt as Lorraine Baines, Jelani Remy as Goldie Wilson/Marvin Berry, and Nathaniel Hackmann as Biff Tannen. They join previously announced leads Roger Bart as Doc Brown, Casey Likes as Marty McFly, and Hugh Coles as George McFly. Bart and Coles reprise their roles from London.

The newly announced ensemble cast includes Merritt David Janes as Strickland, Mikaela Secada as Jennifer Parker, Amber Ardolino, Will Branner, Victoria Byrd, Brendon Chan, Kevin Curtis, Nick Drake, Samuel Gerber, Marc Heitzman, Kimberly Immanuel, Joshua Kenneth Allen Johnson, Hannah Kevitt, JJ Niemann, Becca Petersen, Emma Pittman, Jonalyn Saxer, Blakely Slaybaugh, Gabi Stapula, and Daryl Tofa.

The creative team is led by director John Rando. The book is by Bob Gale, who co-wrote the *Back to the Future* film trilogy's screenplays, and music and lyrics by Alan Silvestri (who composed the film's score) and Glen Ballard. Additional songs from the film including “The Power of Love” and “Johnny B. Goode” also appear in the stage musical.

Check back for information on *Back to the Future* tickets on New York Theatre Guide.

*Photo credit: Casey Likes and Roger Bart. (Photo by Hugo Glendinning)*

'Back to the Future' sets complete Broadway cast

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Back to the Future on Broadway - NYC

Back to the Future on Broadway

Find out who is joining Casey Likes, Roger Bart, and Hugh Coles in the New York premiere of this musical based on the cult classic 1985 sci-fi comedy film.

Roundabout Theatre Company has set its full 2023-24 theatre season, including four world-premiere plays and one revival. Beginning in September, two plays will go up on Broadway and three off Broadway.

The first Broadway play in the season is the world premiere of Theresa Rebeck's new comedy *I Need That*, starring Golden Globe winner and Tony and Oscar nominee Danny DeVito. He plays a reclusive hoarder who must clean up his home when threatened with eviction.

DeVito stars alongside his daughter, Lucy DeVito, and Ray Anthony Thomas at the [American Airlines Theatre](https://www.newyorktheatreguide.com/theatres/american-airlines-theatre) from October 2023. Moritz von Stuelpnagel directs.

Roundabout's spring Broadway production, also at the American Airlines, is a revival of the Tony-nominated play *Home*, written by Samm-Art Williams and directed by Kenny Leon. This coming-of-age show centers on a man named Cephus Miles who must reevaluate his life when his high school sweetheart marries someone else. The Negro Ensemble Company originally staged *Home* in 1979.

The first Off-Broadway show in Roundabout's season is *The Refuge Plays* by by Nathan Alan Davis. The show follows one Black family over 70 years, beginning when a ghost tells a woman named Gail she will die within 24 hours. Roundabout presents the show in association with New York Theatre Workshop, beginning performances in September 2023 at the [Harold and Miriam Steinberg Center for Theatre](https://www.newyorktheatreguide.com/theatres/harold-and-miriam-steinberg-center-for-theatre)'s Laura Pels Theatre. Patricia McGregor directs.

The world premiere of York Walker's [*Covenant*](https://www.newyorktheatreguide.com/show/25220-covenant-tickets), originally announced for the 2022-23 season, will now go up in October 2023 at the Steinberg Center's Black Box Theatre. Tiffany Nichole Greene directs this show about a blues musician who is rumored to have made a deal with the devil to get his incredible talent.

The final show in the Off-Broadway season, *Jonah*, is written by Rachel Bonds and directed by Danya Taymor. In this haunting coming-of-age story, Ava will do just about anything to make her fantasies come true. Her fellow boarding school student Jonah might be the perfect person for her, but he's not all he seems. Performances will begin in spring 2024.

Additional casting, creative team, and exact performance dates for all the above shows will be announced at a later date.

*Photo credit: Danny DeVito. (Photo by Daniel Bergeron)*

Danny DeVito to lead 'I Need That' on Broadway; 2023-24 Roundabout season announced

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Roundabout Theatre Company has set five total shows in its season, on Broadway at the American Airlines Theatre and off Broadway at the Steinberg Center.

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Red Bull Theater presents the world premiere of&nbsp;The Alchemist, a new adaptation by Jeffrey Hatcher, originally written by&nbsp;Ben Jonson.The production is&nbsp;directed by Jesse Berger and is brought to you by&nbsp;the same&nbsp;team that created the acclaimed hit The Government Inspector.

A side-splitting, screwball farce of magical proportions from the creators of "The Government Inspector." (Ages 14+) 

New World Stages

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Bubble lovers of all ages are delighted with an unbubblievable experience, awashed with a bubble tide, and perhaps even find themselves inside a bubble. (2+)

Gazillion Bubble Show [13514]

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Located beneath the Worldwide Plaza between Times Square and Hell’s Kitchen, New World Stages is a modern performing arts complex with five theatres for Off-Broadway productions.

The building was constructed in 1994 on the site of the third Madison Square Garden. It first opened as a Loews Cineplex Entertainment multiplex cinema, which closed in 2001.

For the next three years, the building underwent substantial renovations and finally reopened as Dodger Stages in 2004, designed by architects Beyer, Blinder, and Belle. The theatre complex was renamed New World Stages on March 16, 2006, and Stage Entertainment assumed sole ownership of the property. The Shubert Organization took over ownership and operation on November 17, 2017.

All five spaces have between 100 and 500 seats, officially deeming New World Stages an Off-Broadway venue. Stage 1 and Stage 3 are the largest theatres in the complex with 499 seats. Stages 2 and 4 offer a 350-seat capacity. Stage 5 is the smallest venue with 199 seats. The Green Room is the official bar and lounge for New World Stages, but it can also be a performance space.

## How to get to New World Stages off Broadway

New World Stages is closest to the 50th St. subway stop on the C and E lines. The nearest bus stop is 9 Av./W 50 St. on the M11 line.

## Where is *The Play That Goes Wrong* playing?

*The Play That Goes Wrong* is at New World Stages' Stage 4. The comedy play made its Broadway debut in 2017, and after running there for two years, it transferred off Broadway.

Previous productions that enjoyed long Off-Broadway runs at New World Stages after closing on Broadway are *Jersey Boys* and *Avenue Q*.

New World Stages - NYC

The Play That Goes Wrong [14790] (USE THIS 2021) 

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The Play That Goes Wrong

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Halfway through the first act of the hilarious off-Broadway staging of <a href="/show/the-play-that-goes-wrong">The Play That Goes Wrong</a>, an actor who has grown wildly frustrated because of a missing prop turns to the audience and says, "Stop laughing! This isn't television, I can see you." The demand, naturally, only makes the audience laugh harder. And that is an impressive feat given that the chuckles had been pouring forth relentlessly from the production's opening moments and, indeed, carry through to the final madcap meltdown, with the scenery seemingly in a race with the performers to see which will tip over first. If it is cliché to say that a show has non-stop laughs, then this show is cliché in the extreme. If it is pat to say that this play lives up to its title, rarely have a talented crew of actors and technicians so seamlessly joined forces to make a ridiculously wrong piece of theater feel so very right.The script, by a trio of gents who trained at the London Academy of Music &amp; Dramatic Art, actually has a rather complicated exoskeleton. It is a play within a play, with actors portraying other actors who, in turn, are portraying characters in a murder mystery. It is an Agatha Christie type of an affair where one dead body turns into two, then back into one, then into several, while siblings, friends, a love interest and, of course, the butler, are all scrutinized by an intrepid inspector (a game for anything Matt Harrington). But none of this matters in the least. It is merely an excuse for two hours of well-timed spit takes, killer pratfalls, silly antics by men with serious British accents, pyrotechnics of both the literal and metaphorical variety, purposefully egregious over-acting and death defying moments of scenic design by Tony Award winner Nigel Hook. Director Matt DiCarlo, either a genius or a fool, pulls it all together with the nerves of a demolition expert handling a bomb with a dozen different triggers.Beyond the simple joys of a man running face-first into a pole, there are recognizable pleasures to be had for anyone who has ever been in a play, amateur or professional, on stage or in the wings. There are cascading prop failures, sound cues with a mind of their own, and misdelivered dialogue that leads to one scene getting stuck in an endless loop. An ensemble of eight perform the tricky task of bashing each other while making sure their antics are safely executed. Bartley Booz, as the confused thespian, Dennis, has his lines written on his hands but still manages to mispronounce everything as he tries to create a believable butler. Matt Walker, as Max, intentionally steals every scene he is in by making devilish eye contact with the audience, much more concerned with showing off than with actual acting. Ashley Reyes handles the ingénue duties with aplomb, gamely being thrown out the window when not torn between two lovers. Ryan Vincent Anderson and Bianca Horn are two stagehands who get dragged into the action with predictably bruising results while Chris Lanceley and Brent Bateman portray friends with stiff upper lips and quivering legs.Having ended its successful Broadway run in January, the play has found a happy home at <a href="/theatres/new-world-stages">New World Stages</a>, joining fellow transfers <a href="/show/avenue-q">Avenue Q</a> and <a href="/show/jersey-boys">Jersey Boys</a> in the underground complex which originally housed a discount multiplex cinema. This cramped stage feels more in keeping with the ruse that the production is presented by a dysfunctional British drama society. The smaller proscenium makes it seem all the more big-hearted.(Photo by Jeremy Daniel)

Review of The Play That Goes Wrong at New World Stages

May be inappropriate for 12 and under.  Children under the age of 4 are not permitted in the theatre.

Anthony Rapp’s Without You - NYC

Anthony Rapp-s Without You. Photo by Russ Rowland (7)

Anthony Rapp’s Without You

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"Five hundred, twenty-five thousand, six hundred minutes..."

The immediately recognizable "Seasons of Love" appropriately kicks off [*Without You*](https://www.newyorktheatreguide.com/show/26814-without-you-tickets), the theatrical memoir of Anthony Rapp, who originated the lead role of Mark in Jonathan Larson's groundbreaking rock musical *Rent*. To Rapp's credit, he makes what could be a painfully cliche opening feel genuine, as though the song was written only yesterday. It's a freshness that only an original *Rent* star could give a 30-year-old tune.

That's also the vibe of *Without You* at large. The show is adapted from Rapp's same-named 2006 memoir about events that happened in the mid-90s: his rapid rise from Starbucks barista to Broadway star, which coincided with the loss of Larson and, miles from New York, Rapp's mother. He delivers this story with such passion — signaled, at times, by visible tears on his cheeks — that you'd think it all just happened.

Moments like Rapp's vivid reenactment of *Rent*'s very first performance — a concert-style tribute to Larson, who passed away that morning — even feel like they're happening for the first time right there at [New World Stages](https://www.newyorktheatreguide.com/theatres/new-world-stages). (Indeed, *Without You*'s official opening tonight is the 27th anniversary of that performance.) Rapp's singular look behind the scenes of the beloved musical is not only the show's biggest draw, but its greatest strength.

He breaks out all the hits — "One Song Glory," "Rent," "La Vie Boheme," "No Day But Today" — and recalls his conversations with people like Larson, director Michael Greif, and castmates Adam Pascal and Daphne Rubin-Vega, skillfully mimicking all their voices. Images of various *Rent*-related objects and actual behind-the-scenes photos are projected collage-style on the walls behind him throughout, echoing the look of *Rent*'s original show poster.

But half of *Without You* dispenses with *Rent* as Rapp recalls his relationship with his on-and-off sickly mother in her last years. It's impossible for such a story not to strike an emotional chord, but theatrically, the show loses momentum in these sections and reminds us of its origin as a book.

Rapp doesn't quite succeed in integrating his two throughlines, making *Without You* feel like two separate shows at once. There's a chasm between the rollicking energy of the *Rent* sections, punctuated by Larson's tunes at both joyous and sorrowful moments, and the mellow straightforwardness of the family sections, scored by Rapp's easygoing original songs. (A live five-piece band supports all of Rapp's vocals.) There's little consistency between the two, both musically and visually — the carefully curated, stylized *Rent*-inspired projections give way to generic art as Rapp sings his own music. And a country-inspired tune about a cancerous tumor dubbed "Wild Bill" stands out as particularly bizarre, not quite matching either section's tone.

Rapp's effortlessly affable persona, however, keeps *Without You* largely entertaining nonetheless. And there is one consistent through line: "Seasons of Love." The song bookends the show and pops up a few times in between. It's the first number Rapp learned at the first *Rent* rehearsal — the symbol of a new beginning — and a key moment in *Rent*'s first performance after Larson's passing — the symbol of an end, "as if Jonathan had written his own memorial," as Rapp puts it. In other words, that one song ties together all of *Without You*'s themes of life and love and loss, with no trace of its time-acquired banality.

Mrs. Rapp loved any chance Rapp got to sing, he says. She, and Larson, would be proud.

[*Without You* is at New World Stages through April 30. Get *Without You* tickets on New York Theatre Guide.](https://www.newyorktheatreguide.com/show/26814-without-you-tickets)

*Photo credit: Anthony Rapp in Without You. (Photo by Russ Rowland)*

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