‘THE ROCKY HORROR SHOW’: (left to right) Amber Gray, Juliette Lewis, Michaela Jaé Rodriguez & Andrew Durand. Photo: Joan Marcus.

THE ROCKY HORROR SHOW
Book, music & lyrics by Richard O’Brien
Directed by Sam Pinkleton
Through November 29, 2026
Roundabout Theatre Company at Studio 54
254 West 54th Street
https://rockyhorrorshowbroadway.com/

By Scott Harrah

“Let’s do the Time Warp again!” The beloved cult classic The Rocky Horror Show returns to Broadway for the first time in 26 years. It still bursts with infectious songs and bizarre, lovable characters. Now, Tony and Olivier Award-winning director Sam Pinkleton (Oh, Mary!) reimagines it for a new generation.

Meanwhile, the film adaptation, The Rocky Horror Picture Show, just marked its 50th anniversary. Its legend comes as much from unruly midnight audiences as from Richard O’Brien’s subversive creation. Anyone who attended those screenings (including this reviewer) may feel surprised by this first Broadway revival since 2000. “It’s Live Theater, Not a Movie,” signs warn in the Studio 54 lobby. During the opening number, cast members even hold up signs that read “Don’t Be an A**hole.”

Restrained but divinely decadent new spin

This is not the cult-film free-for-all many remember. No shouted callbacks erupt. No flying props or shadow-cast antics take over. Instead, restraint drives the evening. Even so, the show remains a great deal of fun. Pinkleton delivers a sleeker, more controlled Rocky Horror. He still invites you to do the “Time Warp”…just not as loudly.

Juliette Lewis makes her Broadway debut as Magenta. The Oscar-nominated actress (Cape Fear, “Yellowjackets”) plays the demented domestic servant with a delicious edge. When she sings “Science Fiction Double Feature,” she nearly talks her way through it, and the choice lands beautifully. Her ghoulish glamour sets the tone. Throughout the show, she shifts between a punked-out French maid fantasy and a kooky usherette. As a result, the performance and her look both land somewhere between Siouxsie Sioux and a glam-rock banshee.

Brad & Janet enter a weird & wacky world

Soon, straight-laced couple Brad (Andrew Durand) and Janet (Stephanie Hsu) run into car trouble. They search for a telephone and stumble upon the castle of Dr. Frank-N-Furter (Luke Evans). Then, the eerie Riff Raff (Amber Gray), a Nosferatu-style hunchback, answers the door. He pulls them into a world of seduction and self-discovery. With bold contemporary casting, the revival goes further into the weird, the wacky, and the gleefully gender-bending.

Inside, the couple meets a string of eccentrics. Each proves stranger than the last. There is the twitchy Riff Raff, Magenta, and the quirky, unhinged groupie Columbia (Michaela Jaé Rodriguez). All remain loyal to their flamboyant master. That master, of course, is Dr. Frank-N-Furter. He presides over the chaos with total authority. Soon enough, he unveils his latest creation: Rocky (Josh Rivera), a musclebound creature built for pleasure.

At first, Brad and Janet simply want help. However, the night quickly spirals into sexual awakening, blurred identities, and rising tension. As the castle’s inhabitants draw them deeper inside, the story turns increasingly surreal. Unexpected arrivals shift loyalties. Gradually, something sinister emerges beneath the surface. In the end, the couple plunges far beyond its comfort zone and into a free-fall of anything-goes sexuality and mayhem.

Controlled chaos

Here, director Sam Pinkleton blends genres with confidence. The show feels part creature feature, part alien invasion flick, and part rock ’n’ roll fever dream. He mixes everything into a glitter-drenched, gender-bending fantasia. At the same time, he maintains tight control. His staging favors precision over audience chaos, and it works.

Design elements support that vision. Dot leans into a retro B-movie aesthetic with heightened flair. David I. Reynoso’s costumes carry much of the storytelling. They swing between kitschy excess and sleek glamour. Meanwhile, the staging keeps everything moving at a brisk, almost cinematic pace.

Killer performances

The cast commits fully, and their killer performances drive the night.

Luke Evans commands the stage from his first entrance. His Frank-N-Furter feels as camp as Christmas, yet something sharper lurks underneath. He pushes the role further than Tim Curry’s iconic take while keeping it distinctly authentic. When he launches into “Sweet Transvestite,” he owns the room. He moves with seductive swagger and total confidence. In that moment, he embodies “Don’t dream it, be it” without slipping into caricature.

Andrew Durand grounds Brad with clean-cut sincerity. Even as chaos builds, he keeps the character rooted. Stephanie Hsu brings Janet to life with bright, searching energy. Each shift in her performance registers clearly, and her powerful vocals soar with glee.

Amber Gray delivers a striking Riff Raff. She pairs eerie physicality with a surprisingly beautiful voice. Meanwhile, Juliette Lewis continues to haunt the edges of scenes. Her watchful, conspiratorial presence adds unpredictability.

Michaela Jaé Rodriguez (TV’s “Pose”) reshapes Columbia into something darker yet grounded. She strips away the “cutesy” edges and finds a quieter strength. Josh Rivera plays Rocky with playful charm rather than brute force, which adds warmth. Harvey Guillén as Eddie/Dr. Scott and various ensemble actors add energy to the production. Finally, Rachel Dratch anchors the evening as narrator. Her droll delivery and winking irony keep the show self-aware without slowing it down.

Sinful splendor

Ultimately, this Rocky Horror feels more restrained than its midnight-movie counterpart. Still, it remains wildly entertaining. Sam Pinkleton celebrates liberation and self-expression, even as he asks audiences to behave just a bit better. The result is a decadent delight, and an evening of sinful splendor for longtime fans and newcomers alike.

Published May 3, 2026
Reviewed at press performance on May 1, 2026.

‘THE ROCKY HORROR SHOW’: (left to right) Juliette Lewis, Andrew Durand, Stephanie Hsu & Amber Gray. Photo: Joan Marcus.

‘THE ROCKY HORROR SHOW’: (left to right) Larkin Reilly, Stephanie Hsu, Andrew Durand & Caleb Quezon. Photo: Joan Marcus.

‘THE ROCKY HORROR SHOW’: Luke Evans & Josh Rivera. Photo: Joan Marcus.

‘THE ROCKY HORROR SHOW’: Luke Evans. Photo: Sarah Krulwich/The New York Times/Redux.

‘THE ROCKY HORROR SHOW’: Rachel Dratch. Photo: Joan Marcus.

‘THE ROCKY HORROR SHOW’: (left to right) Stephanie Hsu, Paul Soileau, Harvey Guillén, Caleb Quezon & Larkin Reilly. Photo: Joan Marcus.

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‘FALLEN ANGELS’: Kelli O’Hara, Mark Consuelos & Rose Byrne. Photo: Joan Marcus.

FALLEN ANGELS
By Noël Coward
Directed by Scott Ellis
Through June 7, 2026
Roundabout Theatre Company
Todd Haimes Theatre
227 West 42^nd St.
https://www.roundabouttheatre.org/get-tickets/2025-2026-season/fallen-angels/performance

By Scott Harrah

Broadway veteran Kelli O’Hara and Oscar nominee Rose Byrne are a hilarious dynamic duo as two booze-swilling best friends in this knockout revival of Noël Coward’s 1928 comedy Fallen Angels.

Mr. Coward’s play hasn’t been on Broadway since 1956. That production featured a revised script by Mr. Coward, moved the story from London to New York, and starred Nancy Walker.

Now, 70 years later, Fallen Angels returns in its original form as a sophisticated, zany farce set in a posh London apartment. Julia (Kelli O’Hara) and Jane (Rose Byrne) are two wealthy society women who spend a girls’ night swilling champagne and dishing about everything from their husbands to a former lover with whom they both allegedly had an affair. While their husbands are away on a golf trip, the two best friends discuss the impending arrival of former French lover Maurice (Mark Consuelos) and argue over whether to stay in London and face him or leave town entirely.

As they slowly get drunk on champagne, they reflect on whether they are still happy in their marriages. They grow increasingly competitive and revealing as they become more inebriated. Watching Ms. O’Hara and Ms. Byrne’s comic chemistry is completely riveting and consistently hilarious.

Comic masterclass

Ms. O’Hara is best known for playing leading ladies in musical theater and serious dramas. She received a Tony nomination in 2024 for her portrayal of struggling alcoholic Kirsten Arnesen in Days of Wine and Roses. As Julia, Ms. O’Hara plays a more lovable drunk who may remind some of Edina Monsoon in the 1990s BBC Brit-com “Absolutely Fabulous.” She delivers Edina-style physical pratfalls, juggling cigarettes and champagne, pacing nervously, and falling into furniture.

Ms. Byrne received an Oscar nomination this year for playing Linda in If I Had Legs I’d Kick You, a disturbing drama about a psychotherapist unable to cope with caring for a daughter with a severe pediatric feeding disorder. She is also renowned for her work in the blockbuster comedies Bridesmaids, Neighbors, and Spy. As Jane, Ms. Byrne is more impulsive than her friend. She staggers and flings herself across the room with a mix of excitement and hysteria. Every emotion manifests physically as she drinks, like a more refined version of Patsy Stone in “Absolutely Fabulous.” Ms. Byrne brings a sense of elegance and cosmopolitan wit to the character of Jane. Both Ms. Byrne and Ms. O’Hara have a harmonic rapport onstage. They truly seem like two friends having a blast together.

Fallen Angels is a classic comedy by Noël Coward, steeped in posh, Art Deco elegance. Nearly a century later, it still sparkles, thanks largely to the electrifying performances of Kelli O’Hara and Rose Byrne. Both actresses lean fully into Coward’s champagne-soaked farce, playing society women who go off the rails into giddy, uninhibited chaos. Ms. O’Hara reveals a dazzling comic edge as Julia, tossing off physical gags with precision while steadily descending into deliciously sloppy drunkenness. Ms. Byrne matches her beat for beat, and together they create a whirlwind of impeccable timing and gleeful excess.

Coward’s world

Noël Coward’s world is one of polished surfaces and carefully curated appearances, where even a casual remark carries weight. He peppers the dialogue with references to London neighborhoods and fashionable destinations, using geography as a sly marker of class and taste. A passing mention of a hotel in Bayswater signals status, aspiration, and the subtle hierarchies that define these characters’ lives. The joke lands differently depending on what you know, but it always lands.

Julia and Jane aren’t the only ones getting laughs in this evening of excess. Tracee Chimo plays the lovable maid Saunders, often serving as a deadpan counterpoint to their antics. Saunders loves to interrupt the ladies with long-winded, often irrelevant anecdotes. She also boasts about how knowledgeable and worldly she is, citing her work with the Red Cross, the Foreign Legion, concert pianists, and countless aristocrats.

Saunders also hilariously condones the duo’s drinking. “Several drinks never do any harm,” she quips. “It is only the first which is dangerous, after that the damage is done.”

Later, when Jane mentions a hotel in Bayswater, it’s not simply a generic line. Mr. Coward plays the same game “Absolutely Fabulous” perfected decades later, using London neighborhoods like Shepherd’s Bush and Holland Park as a wink to those in the know and a subtle dig at social climbing for everyone else.

When the men arrive

Julia and Jane’s husbands Fred (Aasif Mandvi) and Willy (Christopher Fitzgerald) soon come home and instantly know things aren’t normal. The apartment is a mess, and both women try far too hard to appear sober, insisting that everything is fine and nothing out of the ordinary transpired.

Maurice soon arrives and chaos ensues. He is now much older and less handsome than the women remember. (Mark Consuelos, of course, is still very dashing and attractive in real life and he’s perfect as Maurice.) Julia and Jane realize they have risked their marriages for nothing.

Both husbands grow suspicious as they try to figure out what really happened, while the wives attempt to do damage control.

Direction & design

Scott Ellis directs this gifted ensemble with skillful precision, allowing each actor to shine. The set design by David Rockwell is gorgeous, and Jeff Mahshie’s period costumes are stunning, particularly those for the leading ladies. Noël Coward’s comedies are best known for sending up the shortcomings of the British upper classes with razor-sharp dialogue. One could argue that Mr. Coward is not known for plays that are slapstick-driven vehicles. However, in Fallen Angels, the physical chaos really is the story. Watching the two women come unglued before pulling themselves together is what makes the show so much fun.

Aasif Mandvi, Christopher Fitzgerald, and Mark Consuelos provide strong comic support in less showy roles. The three men help give the farce just enough structure as everything spirals delightfully out of control. Fallen Angels is an effervescent, bubbly comedy and one of the best revivals of a Noël Coward play in many years.

Published April 26, 2026
Reviewed at press performance on April 23, 2026.

‘FALLEN ANGELS’: Christopher Fitzgerald, Mark Consuelos & Aasif Mandvi. Photo: Joan Marcus.

‘FALLEN ANGELS’: Tracee Chimo & Aasif Mandvi. Photo: Joan Marcus.

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‘SCHMIGADOON!’: The cast. Photo: Matthew Murphy & Evan Zimmerman.

SCHMIGADOON!
Book, music & lyrics by Cinco Paul
Based on the Apple TV+ series “Schmigadoon!” co-created by Cinco Paul & Ken Daurio
Directed & choreographed by Christopher Gattelli
Through January 3, 2027
Nederlander Theatre
208 West 41st St.
https://schmigadoonbroadway.com/

By Scott Harrah

No, this isn’t another revival of Brigadoon. Schmigadoon! affectionately goofs on the Golden Age of Broadway with a snarky, modern sense of humor.

Schmigadoon! is based on the 2021 Apple TV+ series co-created by Cinco Paul. The show draws inspiration from classic Broadway musicals, including Brigadoon. That original property later became a 1954 film directed by Vincente Minnelli and starring Gene Kelly.  It follows two New Yorkers who stumble upon a mystical Scottish village that appears once every 100 years.

However, don’t come to this must-see show expecting anything remotely like the original. Instead, Schmigadoon! delivers a colorful, feel-good send-up of Brigadoon and countless classic musicals of yesteryear. It’s consistently funny, and it ranks among the season’s best new musicals.

In this version, the stage adaptation resets the premise with a modern twist. It relocates the action to a fictional town somewhere in North America rather than Scotland. At the center is a New York couple with romantic problems. Josh (Alex Brightman) is a sarcastic doctor with commitment issues, while his girlfriend Melissa (Sara Chase) wants something more. Soon, they’re transported to a strange town where everything seems picture-perfect at first. However, appearances quickly prove deceptive.

Schmigadoon is a make-believe town that blends elements from many classic Broadway musicals. Here, characters burst into high-spirited, emotional production numbers in technicolor style. Before long, Josh and Melissa learn the rules: no one can leave this idyllic place until they find “true love.” Naturally, things get complicated. Both are tempted by beguiling locals. As a result, the town’s charm begins to expose the cracks in their relationship.

‘SCHMIGADOON!’ Ana Gasteyer (center) & cast. Photo: Matthew Murphy & Evan Zimmerman.

The townsfolk

The town’s filled with characters who serve as affectionate composites of vintage Broadway musical archetypes.

For example, Mildred Layton (Ana Gasteyer), the preacher’s wife, parodies Eulalie Shinn from The Music Man. She claims her great-great-grandfather founded the town. As a result, she sees herself as the ultimate arbiter of morality. She expects everyone to be as pious, righteous, and holier-than-thou as she is—or else.

Elsewhere, schoolteacher Emma Tate (Isabelle McCalla) is a dead ringer for Marian the librarian from The Music Man. Meanwhile, Danny Bailey (Max Clayton) is a charismatic yet destructive carnival barker modeled after Billy Bigelow in Carousel. Betsy (McKenzie Kurtz) is an innocent, guy-crazy farm girl who blends traits of Ado Annie from Oklahoma! with one of Farmer McDonough’s seven daughters in Seven Brides for Seven Brothers. Finally, Mayor Menlove (Brad Oscar) and his doting wife Florence (Ann Harada) appear to be the perfect couple. In reality, theirs is a “lavender” marriage.

Direction, design & score

Director and choreographer Christopher Gattelli keeps the action moving briskly, staging the musical numbers with energy and precision. Meanwhile, visually, the production embraces a vibrant, color-saturated aesthetic, with sets and costumes that gently poke fun at the originals. This reviewer hasn’t seen all the musicals Schmigadoon makes fun of, and I don’t think others need to either. The musical is funny enough on its own even for those who haven’t seen many of the golden oldies.

The score is where Schmigadoon! really shines. The full-company opening number, “Schmigadoon,” cleverly goofs on Oklahoma! and immediately sets the tone. “Corn Puddin’,” a hilarious send-up of Carousel’s clambake, is a comic highlight, while “With All of Your Heart” affectionately winks at “Do-Re-Mi” from The Sound of Music. In Act Two, Ana Gasteyer ignites the crowd with “Tribulation,” a showstopping number in which she revels in the town’s moral decay with sanctimonious glee while showcasing her powerhouse vocals. At times, the humor’s broad, but the show’s craft and sheer enthusiasm keep it consistently entertaining.

As in any parody, not every joke lands. Some of the humor plays it too safe and may click most with audiences familiar with the classic musicals being mocked. Still, the show delivers plenty of universal comic gems, including an “interfaith” bake sale featuring goods from Presbyterians and Methodists. Sight gags like this artfully highlight just how homogenized and delightfully “white bread” the town really is.

The players

Alex Brightman embraces Josh’s cynicism with sharp comic timing, grounding the show’s more absurd elements. Sara Chase provides a warm and appealing counterbalance, giving Melissa emotional clarity even as the world around her spirals into musical fantasy.

Ana Gasteyer, however, is the standout. As the show’s deliciously wicked villain, she delivers a campy, over-the-top performance that may remind some of Cruella de Vil in 101 Dalmatians. She’s outrageously cruel and hilariously self-righteous, fully embracing the role’s heightened style. Her Act Two showstopper “Tribulation” elicits thunderous applause, blending trenchant satire with powerhouse vocals. It’s the kind of unforgettable performance that should put her firmly in the conversation this awards season.

The supporting cast is uniformly strong, fully committing to the show’s stylized world and musical pastiche.

Ultimately, Schmigadoon! delivers big laughs and sharp, skewering humor, emerging as a high-octane standout of the season’s new musicals.

Published April 25, 2026
Reviewed at press performance on April 22, 2026.

‘SCHMIGADOON!’ Sara Chase, McKenzie Kurtz, Brad Oscar, Alex Brightman & cast. Photo: Matthew Murphy & Evan Zimmerman.

‘SCHMIGADOON!’: The cast. Photo: Matthew Murphy & Evan Zimmerman.

‘SCHMIGADOON!’: Isabelle McCalla & cast. Photo: Matthew Murphy & Evan Zimmerman.

‘SCHMIGADOON!’: Sara Chase & Ann Harada. Photo: Matthew Murphy & Evan Zimmerman.

‘SCHMIGADOON!’: Sara Chase & Max Clayton. Photo: Matthew Murphy & Evan Zimmerman.

‘SCHMIGADOON!’: Brad Oscar & Maullik Pancholy. Photo: Matthew Murphy & Evan Zimmerman.

‘SCHMIGADOON!’: Alex Brightman & McKenzie Kurtz. Photo: Matthew Murphy & Evan Zimmerman.

‘SCHMIGADOON!’: Alex Brightman & Ayaan Diop. Photo: Matthew Murphy & Evan Zimmerman.

The post ‘Schmigadoon!’: Feel-good show of the year appeared first on StageZine.

‘BEACHES’: Kelli Barrett & Jessica Vosk. Photo: Marc J. Franklin.

BEACHES: A NEW MUSICAL
Book by Iris Rainer Dart & Thom Thomas
Music by Mike Stoller
Lyrics by Iris Rainer Dart
Directed by Lonny Price & Matt Cowart
Through September 6, 2026
Majestic Theatre
245 W 44th St.
https://beachesthemusical.com/

By Scott Harrah

The beloved 1988 hit “chick flick” Beaches, starring Bette Midler and Barbara Hershey, arrives on Broadway as a new musical. Composer Mike Stoller provides the score, while Iris Rainer Dart returns to write the book and lyrics. The film was a box-office blockbuster. However, does this adaptation hold up, and does the story still resonate nearly 40 years later?

An iconic film like Beaches does not need reinvention. It needs restraint. The musical closely follows the original emotional blueprint. It traces a lifelong friendship shaped by ambition, class differences, loyalty, and loss. As a result, longtime fans will find much that feels familiar. At the same time, the show offers enough theatricality and vocal power to engage new audiences. Still, the shift from cinematic intimacy to stage spectacle raises a key question: Can a quiet, deeply personal story sustain itself when the emotions must carry the narrative through song?

Beaches follows more than 30 years of friendship between Cee Cee Bloom (Jessica Vosk) and Bertie White (Kelli Barrett). Cee Cee is brassy and ambitious. Bertie is shy and comes from a wealthy, conservative family.

Under the boardwalk

As in the film, the story chronicles the two women from a childhood meeting on the Atlantic City boardwalk through years of letters, reunions, and diverging paths. Cee Cee pursues show business with relentless drive. Meanwhile, Bertie searches for identity beyond her family’s expectations. She dreams of becoming a lawyer and navigates love, marriage, and motherhood.

Scenes featuring the younger versions of Cee Cee and Bertie stand out. Mayim Bialik famously got her start as Little Cee Cee. Here, Samantha Schwartz and Zeya Grace deliver engaging performances. The young actors feel natural and well-cast. As a result, they ground the early scenes with warmth and authenticity. However, from a mid-orchestra seat, some dialogue and lyrics are difficult to understand.

As the years pass, the two women drift together and apart. Their friendship reflects ambition, circumstance, and the different lives they choose. Cee Cee remains driven by her career. In contrast, Bertie seeks stability while wrestling with her own sense of identity.

Mama’s girls

Both women feel the strong influence of their mothers. Leona (Sarah Bockel), Cee Cee’s mother, is flashy and boisterous. She favors garish clothes and Yiddish-inflected humor. She is like a Jewish Mama Rose, pushing her daughter toward stardom at any cost. Meanwhile, Bertie’s mother Rose (Lael Van Keuren) is the quintessential patrician “WASP,” controlling and icy. She dismisses Cee Cee as “vulgar” and insists Bertie marry well. Ms. Bockel delivers strong comic energy. At the same time, Ms. Van Keuren gives the role a haughty, imperious edge.

The relationship between Cee Cee and Bertie cycles through closeness and conflict. Long stretches of separation follow. Letters and reunions reconnect them. Ultimately, the story leans into sentimentality in its final act. The emotional arc feels familiar. Its success depends on how well the production earns those moments.

‘BEACHES’: Jessica Vosk & cast. Photo: Marc J. Franklin.

The old razzle-dazzle

The show opens with Cee Cee’s TV variety-show number, “You Believe in Me.” Jessica Vosk belts the song alongside backup singers. The staging recalls Bette Midler’s early work with the Harlettes. It also evokes the glossy look of “The Sonny & Cher Comedy Hour.” Iris Rainer Dart once wrote for that series, which makes the reference feel intentional. The number sets a razzle-dazzle theatrical tone from the start.

Vosk commands the stage immediately. She delivers powerhouse vocals and a brassy confidence that fits Cee Cee perfectly.

Star turns & spotlight moments

Jessica Vosk and Kelli Barrett anchor the show. Both bring strong acting chops and emotional weight. Their voices are powerful and expressive. Songs like “My Best” highlight their range and control.

Brent Thiessen plays John Perry with charm and complexity. He creates a character who attracts and unsettles Bertie. Ben Jacoby plays Michael Barron, the wealthy suitor favored by Bertie’s mother. He represents the “appropriate” match she expects.

Where it washes ashore

Lonny Price and Matt Cowart direct the production. The show runs over two and a half hours with an intermission. As a result, it feels long, especially in the first act. The directors extract strong performances from the cast. However, the material would benefit from tighter editing. Several scenes and songs could be trimmed.

The adaptation stays faithful to its source. It delivers the expected emotional beats. Still, the heavy use of flashbacks creates challenges. Onstage, time shifts feel abrupt at times. The musical feels more like a translation than a reinvention. The episodic structure across the years seems rushed, a problem that is common with epic films turned into musicals.

The show also reflects a familiar creative pattern. Iris Rainer Dart’s earlier 2011 World War II musical, The People in the Picture, used similar themes. Both works blend memory, humor, tragedy, and Jewish cultural identity. At times, sentimentality dominates. The tone feels heightened, with emotions pushed beyond what the material earns.

The finale, set to “Wind Beneath My Wings,” embraces spectacle. The staging is visually striking and slightly camp in a fun way. Multiple versions of Cee Cee and Bertie appear together, including the younger performers. The moment is a crowd-pleaser. However, a tighter journey would make the payoff stronger. Beaches is a fun musical that makes waves but struggles to stay afloat.

Published April 22, 2026
Reviewed at press preview on April 17, 2026.

‘BEACHES’: Jessica Vosk & Kelli Barrett. Photo: Marc J. Franklin.

‘BEACHES’: Jessica Vosk & Kelli Barrett. Photo: Marc J. Franklin.

‘BEACHES’: Zeya Grace (left) & Samantha Schwartz. Photo: Marc J. Franklin.

‘BEACHES’: Jessica Vosk. Photo: Marc J. Franklin.

‘BEACHES’: Kelli Barrett. Photo: Marc J. Franklin.

‘BEACHES’: Brent Thiessen & Ben Jacoby. Photo: Marc J. Franklin.

‘BEACHES’: Kelli Barrett (center) & cast. Photo: Marc J. Franklin.

The post ‘Beaches’ makes a splash, but can’t stay afloat appeared first on StageZine.

‘THE BALUSTERS’: (clockwise from left) Ricardo Chavira, Carl Clemons-Hopkins, Richard Thomas, Anika Noni Rose, Jeena Yi, Marylouise Burke & Kayli Carter. Photo: Jeremy Daniel.

THE BALUSTERS
By David Lindsay-Abaire
Directed by Kenny Leon
Through June 7, 2026
Manhattan Theatre Club at the Samuel J. Friedman Theatre
261 West 47th St.
https://www.manhattantheatreclub.com/shows/2025-26-season/the-balusters

By Scott Harrah

Everyone in Vernon Point thinks they are progressive and open-minded. That is the first misconception and the most revealing one in this blisteringly funny look at bigotry, bias, and 21st-century culture wars. The play draws big laughs even as it cuts close to the bone. In The Balusters, playwright David Lindsay-Abaire sets the scene for a neighborhood association meeting where civility feels carefully staged. At first, the group debates mundane topics like safety, zoning, and aesthetics. Soon, the tone shifts.

What begins as a polite discussion about community values quickly turns into a competition over who can sound the most enlightened, while revealing just the opposite. Brooks (Carl Clemons-Hopkins) recounts a visit to a local store and describes a man’s glare as “an I-hate-gay-people look.” The comment sets off a wave of narrow-minded conclusions about religion, identity, and intent. Vernon Point may be fictional, but The Balusters mirrors modern American tensions around prejudice and identity. As a result, the satire lands with uncomfortable precision. Laughter ripples through the audience. Often, a brief hush follows as the implications sink in.

Civic pride and prejudice

The play opens in the stately Victorian home of Kyra (Anika Noni Rose), a newcomer eager to make a good impression. She and her housekeeper Luz (Maria-Christina Oliveras) prepare for the meeting. Luz knows the neighborhood well because she has worked for several families, including association president Elliot (Richard Thomas).

Kyra’s hopes for a pleasant evening dissolve quickly. First to arrive is Melissa (Jeena Yi), the sharp-tongued vice president, whose awkward misstep with Luz sets the tone. Penny (Marylouise Burke), a well-meaning but often oblivious longtime secretary, follows. Then comes Ruth (Margaret Colin), the blunt and dry-witted treasurer who says what others avoid.

Soon, the room fills with clashing personalities. Isaac (Ricardo Chavira) bristles at political correctness. Alan (Michael Esper) tries to be the “nice guy” but retreats when challenged. Willow (Kayli Carter) polices language with earnest intensity. Brooks observes it all with dry, knowing detachment. Elliot, the self-appointed guardian of the neighborhood’s traditions, arrives ready to preside. As Brooks puts it, “It’s not too late, Kyra. You can still escape.”

Biases simmer beneath the surface

At first, the meeting sticks to routine business. Then an innocuous conversation about safety and whether or not to put up a stoplight exposes deeper biases. What begins as practical concern quickly turns personal. A passing remark about suspicious activity spirals into a debate over racial profiling. Meanwhile, attempts at inclusive language spark their own tensions. The terminology some use starts petty squabbles. For example, one character pushes back against being labeled “Latinx,” calling it “retro woke bulls**t.” Another character objects to the term “lame” as being “ableist.”

The script spares no group. It shows how quickly good intentions give way to defensiveness.

Gavel down, gloves off

Under Kenny Leon’s direction, tensions build steadily before everything unravels into something far messier. Mr. Lindsay-Abaire’s rapid-fire, overlapping dialogue creates strong momentum. Punchlines land in quick succession and often overlap, as if the characters are racing to outdo one another. The staging turns Kyra’s stately home into a pressure cooker. As a result, polite conversation gives way to barely concealed hostility. Each character struggles to maintain composure.

The ensemble is uniformly strong. Anika Noni Rose anchors the production with quiet authority and holds her ground as the room spirals around her. Richard Thomas balances Elliot’s easy charm with an undercurrent of control. Carl Clemons-Hopkins delivers the evening’s driest humor. Marylouise Burke finds both comedy and pathos in Penny’s well-meaning obliviousness. Margaret Colin is especially sharp as Ruth and lands her barbed observations with precision. Together, the cast maintains cohesion even as their characters pull in opposite directions.

Nothing off-limits

By the end, The Balusters shows that nothing is off-limits. Early jabs at anti-fur activism, introduced with Ruth’s arrival, establish the tone for a play that steadily widens its target. Mr. Lindsay-Abaire takes aim at everything from debates over Muslims and gays to casual bigoted perceptions of Jews, Black, and Latino communities. As a result, the play becomes an equal-opportunity lampoon where no one is spared. The humor is relentless and at times uncomfortable. It underscores how true to life the story feels.

Few recent Broadway comedies land laughs this consistently or this uncomfortably.

The Balusters plays like a sharply observed slice of American life. The effort to be thoughtful, inclusive, and aware often veers into something far messier. Mr. Lindsay-Abaire captures both good intentions and high-wire tension in a culture that talks over itself. Every word is scrutinized and every misstep is amplified. In Vernon Point, everyone wants to get it right. That may be the problem. David Lindsay-Abaire’s The Balusters may be the funniest and most incisive look yet at political correctness in American life.

Published April 21, 2026
Reviewed at press preview on April 19, 2026.

‘THE BALUSTERS’: (seated) Jeena Yi, Marylouise Burke & (standing) Michael Esper & Richard Thomas. Photo: Jeremy Daniel.

‘THE BALUSTERS’: Anika Noni Rose & Carl Clemons-Hopkins. Photo: Jeremy Daniel.

‘THE BALUSTERS’: Carl Clemons-Hopkins, Margaret Colin, Michael Esper & Jeena Yi. Photo: Jeremy Daniel.

‘THE BALUSTERS’: Kayli Carter, Carl Clemons-Hopkins, Anika Noni Rose & Jeena Yi. Photo: Jeremy Daniel.

‘THE BALUSTERS’: Anika Noni Rose & Marylouise Burke. Photo: Jeremy Daniel.

‘THE BALUSTERS’ (collage, left to right): Margaret Colin & Maria-Christina Oliveras. Photos: Jeremy Daniel.

‘THE BALUSTERS’: Ricardo Chivira & Margaret Colin. Photo: Jeremy Daniel.

‘THE BALUSTERS’: Richard Thomas & Anika Noni Rose. Photo: Jeremy Daniel.

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‘BECKY SHAW’: Patrick Ball & Lauren Patten. Photo: Marc J. Franklin.

BECKY SHAW
By Gina Gionfriddo
Directed by Trip Cullman
Through June 14, 2026
Second Stage at The Hayes Theater
240 West 44th Street
https://2st.com/

By Scott Harrah

Second Stage’s outstanding revival of Becky Shaw centers on an emotionally volatile family and what happens when a blind date sets off a chain reaction of chaos. As a result, family secrets slowly surface, exposing uncomfortable truths with caustic wit.

Playwright Gina Gionfriddo’s acerbic, darkly comic play debuted Off Broadway at Second Stage in 2008 and later became a Pulitzer Prize finalist. Here, characters carefully manage how they come across to others, until that control begins to crack. Becky Shaw unfolds as a tightly coiled dramedy, where tension stems not only from what is said, but also from what is avoided, misheard, or ignored. Ultimately, it becomes a portrait of relationships shaped by deflection, control, and emotional instability. The outstanding cast leans into that instability with precision.

A family on edge

The story begins before Suzanna Slater (Lauren Patten) is married, as she meets with her newly widowed mother, Susan (Linda Emond), alongside Max (Alden Ehrenreich), a troubled young man who was taken in by the family years earlier. Suzanna’s father has just died, and everyone is already on edge. Here, grief manifests as tension rather than shared family anguish.

As the conversation unfolds, Max comes across as disarmingly likable, but he quickly grows uncomfortable when questions turn to his past. Meanwhile, Susan shows little outward sign of mourning and instead complains throughout the evening. What begins as a strained family interaction soon gives way to something more impulsive and revealing, setting the tone for the instability that follows.

The play then jumps forward several months. Suzanna is now married to Andrew (Patrick Ball), and she has set up a blind date between Max and Andrew’s coworker Becky Shaw (Madeline Brewer), a temporary office employee, who enters the story at this point. What begins as an awkward social encounter quickly spirals into a series of messy, destabilizing interactions. As a result, long-buried tensions and contradictions begin to surface, exposing the fragile dynamics at the center of these relationships.

A finely tuned ensemble

Consistently sharp director Trip Cullman has assembled a finely tuned ensemble, with each actor contributing to the play’s carefully controlled instability.

The women, in particular, leave a lasting impression, each delivering sharply defined performances that deepen the play’s emotional complexity. Madeline Brewer gives Becky a layered mix of vulnerability and unpredictability, keeping the audience guessing about her true intentions. Lauren Patten stands out with her precise command of Suzanna’s staccato dialogue and emotional acuity, capturing both her need for control and the rigidity beneath it. Meanwhile, Linda Emond is consistently compelling as Susan. Despite limited stage time, she commands attention with a performance of remarkable authority and nuance that lingers well beyond her final scene.

The men match that intensity with performances that add structure and tension to the ensemble. Patrick Ball (of “The Pitt”) draws early attention as Andrew, fully embracing the character’s conflict-averse nature while revealing the limits of his passivity. Alden Ehrenreich is equally strong as Max, bringing a magnetic unpredictability that gradually exposes the character’s defensiveness and discomfort with intimacy. Together, their performances sustain the production’s uneasy balance and reinforce the instability that drives the play forward.

A sharply observed revival

Like the fragile, volatile relationships it portrays, Becky Shaw offers no easy resolution. None of the characters fully arrives at a place of clarity. Even so, that sense of incompleteness feels deliberate and effective. Anchored by a strong cast and driven by performances that capture both what is said and unsaid, the play lingers. Not because it ties everything together, but because it reflects the unsettled nature of human relationships.

Published April 16, 2026
Reviewed at press performance on April 9, 2026.

‘BECKY SHAW’: Patrick Ball. Photo: Marc J. Franklin.

‘BECKY SHAW’: Lauren Patten & Alden Ehrenreich. Photo: Marc J. Franklin.

‘BECKY SHAW’: Alden Ehrenreich. Photo: Marc J. Franklin.

‘BECKY SHAW’: Madeline Brewer. Photo: Marc J. Franklin.

‘BECKY SHAW’: Alden Ehrenreich & Madeline Brewer. Photo: Marc J. Franklin.

‘BECKY SHAW’: Linda Emond. Photo: Marc J. Franklin.

‘BECKY SHAW’: Lauren Patten & Linda Emond. Photo: Marc J. Franklin.

‘BECKY SHAW’: Alden Ehrenreich & Madeline Brewer. Photo: Marc J. Franklin.

The post ‘Becky Shaw’ revival simmers at Second Stage appeared first on StageZine.

‘TITANIQUE’: Marla Mindelle. Photo: Evan Zimmerman.

TITANIQUE
Book by Marla Mindelle, Constantine Rousouli & Tye Blue
Music supervision, orchestrations & arrangements by Nicholas James Connell
Choreography by Ellenor Scott
Directed by Tye Blue
Through September 20, 2026
St. James Theatre
246 West 44^th Street
https://titaniquebroadway.com/

By Scott Harrah

C’est si bon! All aboard for the Broadway transfer of the Off-Broadway splash-hit musical sensation Titanique. Like the equally outrageous Oh, Mary!, it arrives with a devoted fan base and is poised to win over a new crowd on the Broadway stage.

Marla Mindelle returns as French-Canadian pop superstar Céline Dion. She serves as emcee, narrator, and guide through this satirical retelling of both the Titanic tragedy and the mega-hit, Oscar-winning 1997 film. For its Broadway run, the show is splashier and glitzier. It now features major stars, including Jim Parsons as Ruth DeWitt Bukater and R&B legend Deborah Cox as Molly Brown.

Story & parody

Titanique is a double spoof of both the James Cameron film and Céline Dion. Ms. Dion, of course, never appeared in the movie, but she famously sang the theme “My Heart Will Go On.” However, in her version, she is on the ship. She also plays a major role in the love story of Jack (Constantine Rousouli) and Rose (Melissa Barrera).

All the major plot elements of the 1997 film are here. These include Jack and Rose, as well as her wealthy fiancé Cal (John Riddle). Familiar figures also appear, including Rose’s overbearing mother, the “unsinkable” Molly Brown, and the ship’s crew. Each character is reimagined with exaggerated flair. As a result, Titanique gleefully satirizes the original story into a campy, music-filled spectacle driven by Ms. Dion’s offbeat narration.

The show is a complete parody. It mixes the serious emotional stakes of the 1997 film with zany comedy and hammy theatrics. In turn, the wacky narrative transforms Titanique into an atypical jukebox musical. Céline Dion’s hit songs are cleverly repurposed to fit the absurd retelling.

As the iceberg approaches, Titanique becomes both a loving homage and a nonstop send-up. The show also pokes fun at some of the film’s more unexpected elements. For example, Frankie Grande doubles as both Victor Garber and Luigi, leaning fully into the absurdity. Meanwhile, Layton Williams steals scenes in a dual turn as a seaman and the Iceberg, reimagined as a Tina Turner–inspired drag persona.

On deck: The cast

Marla Mindelle is brilliant, commanding the stage as global pop superstar and Québécois icon Céline Dion with great comic timing and powerhouse vocals. Her over-the-top portrayal borders on caricature, but never feels mean-spirited. Instead, she anchors the show’s chaos with confidence. She guides the audience through the many outrageous twists while never missing a punchline.

Constantine Rousouli brings all the requisite charm to Jack. He highlights the character’s earnestness while embracing the show’s irreverent tone. Melissa Barrera’s Rose stands out, particularly for her vocals. When she teams up with Deborah Cox for the duet “Tell Him,” the two achieve rapturous harmony with matching vibratos. The number becomes even stronger when Ms. Mindelle joins in.

Deborah Cox makes a striking departure from her past glamorous Broadway roles. Here, she plays Molly Brown in the spirit of Kathy Bates, as a boisterous and outspoken woman who cuts through first-class pretensions. Known for both her R&B club hits and Broadway roles in Aida, Jekyll & Hyde, and The Wiz, she delivers a rousing rendition of “All By Myself.”

John Riddle plays Cal as a preening, entitled cad. He heightens the character’s arrogance for comic effect without losing the menace.

Jim Parsons chews up the scenery with comic aplomb as Rose’s overbearing mother, Ruth. Frankie Grande is delightfully absurd in his dual roles as Victor Garber and Luigi.

One of the show’s highlights is Layton Williams as the Iceberg. He delivers a high-energy, show-stopping rendition of “River Deep, Mountain High” that brings down the house.

High camp, lowbrow laughs

At times, the humor is unapologetically raunchy. For instance, a duet between Rose and Molly Brown devolves into a barrage of visual innuendos involving a very suggestive plastic eggplant. This moment reflects the show’s naughty, sometimes lowbrow approach. Along with its LGBTQ-inflected jokes, it pushes the material into PG territory. Even so, Titanique remains suitable for families with older children. At the performance this reviewer attended, several families were in the audience, and the jokes landed with consistent laughter. This sensibility will feel familiar to audiences accustomed to contemporary pop culture and television.

Sailing off in style

Titanique is not only a clever, intelligent parody but also an unabashedly joyful, crowd-pleasing spectacle. It sails along on humor, heart, and vocal fireworks. The show knows exactly what it is and leans into the absurdity with confidence. As a result, it delivers big laughs, powerhouse vocals, and a thoroughly entertaining night at the theater. Director Tye Blue, who co-authored the book with Marla Mindelle and Constantine Rousouli, steers the production with a sure hand. He keeps the laughs coming while embracing the show’s shameless sense of excess.

Like its namesake, Titanique proves unsinkable. If audiences have anything to say about it, this voyage should extend well beyond its initial 16-week run.

Published April 12, 2026
Reviewed at press preview on April 11, 2026.

Editor’s Note: Titanique runs at the St. James Theatre in New York through July 12, 2026, and the Olivier Award-winning production plays London’s West End through August 30, 2026 (London tickets).

The French-language Canadian production, starring Véronique Claveau, plays Montreal (Studio-Cabaret de l’Espace St-Denis) June 6 to August 23, followed by Gatineau (Théâtre du Casino) September 1 to 5 and Quebec City (Salle Albert-Rousseau) September 10 to 14, 2026. Tickets and details (Canada).

‘TITANIQUE’: Marla Mindelle (center) & cast. Photo: Evan Zimmerman.

‘TITANIQUE”: The cast. Photo: Evan Zimmerman.

‘TITANIQUE’: Marla Mindelle (center) & cast. Photo: Evan Zimmerman.

TITANIQUE’: Melissa Barrera, Constantine Rousouli & cast. Photo: Evan Zimmerman.

‘TITANIQUE’: Constantine Rousouli & Melissa Barrera. Photo: Evan Zimmerman.

‘TITANIQUE’: Melissa Barrera & John Riddle. Photo: Evan Zimmerman.

‘TITANIQUE’: Jim Parsons & Melissa Barrera. Photo: Evan Zimmerman.

‘TITANIQUE’: Deborah Cox. Photo: Evan Zimmerman.

‘TITANIQUE’: Jim Parsons, Frankie Grande & Deborah Cox. Photo: Evan Zimmerman.

‘TITANIQUE’: Layton Williams. Photo: Evan Zimmerman.

‘TITANIQUE’: Frankie Grande. Photo: Evan Zimmerman.

TITANIQUE: Deborah Cox & Melissa Barrera & (right) Marla Mindelle. Photo: Evan Zimmerman.

‘TITANIQUE’: Marla Mindelle & cast & (right) John Riddle & Melissa Barrera. Photo: Evan Zimmerman.

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‘EVERY BRILLIANT THING’: Daniel Radcliffe. Photo: Matthew Murphy.

EVERY BRILLIANT THING
Written by Duncan Macmillan with Jonny Donahoe
Directed by Jeremy Herrin & Duncan Macmillan
Through May 24, 2026
Hudson Theatre
141 West 44th Street
https://everybrilliantthing.com/

By Scott Harrah

Daniel Radcliffe is a true master of the stage, and his many gifts are in fine form in the Broadway solo show Every Brilliant Thing.

In Every Brilliant Thing, Daniel Radcliffe carries a 70-minute one-man show about depression and suicide with a level of ease and connection few actors could sustain. His approach to such dark subject matter feels deeply personal and powerful, and he keeps audiences engaged with each word he utters. That ability has developed over time. This reviewer first described his work in Equus back in 2008 as “consistently riveting,” a performance that marked a clear departure from his Harry Potter films.

Since then, he has steadily expanded his range across Broadway and the West End. His credits include Martin McDonagh’s quirky The Cripple of Inishmaan in 2014 and the 2023 revival of Stephen Sondheim’s Merrily We Roll Along (he won a Tony Award for his portrayal of Charlie Kringas). One of his strongest dramatic roles came in The Lifespan of a Fact in 2018, where his sharp delivery and commanding presence stood out. Here, he distills those qualities into something more intimate and direct.

From Edinburgh to Broadway

First developed at the Edinburgh Festival Fringe in 2013, Every Brilliant Thing moved to Off-Broadway in 2014. It later played a West End engagement in 2024, steadily building an international following.

The story

A narrator reflects on a life shaped by his mother’s depression and begins a list of “every brilliant thing” to capture the small joys that make life worth living. He writes many of these “brilliant things,” from ice cream and roller coasters to water fights and the color yellow, on Post-It notes. He creates this list to show his mother reasons to continue living and to find peace in life’s simplest pleasures.

As the list grows, it becomes a deeply personal thread that connects love, loss, and the ongoing search for meaning. The show also incorporates audience participation, with theatergoers seated on stage as well as in the orchestra and mezzanine.

As the narrator matures, the story expands to include school, first love, marriage, and career choices. At the same time, it revisits the lasting impact of his mother’s illness. The list continues to evolve and reflects changing perspectives on happiness, connection, and survival.

Audience interaction

Audience participation plays a central role in the show. Select theatergoers deliver lines and inhabit certain roles. At first, it may seem spontaneous, and this reviewer initially thought some participants might be “plants.” However, Mr. Radcliffe appears on stage approximately 30 minutes before each performance and selects volunteers to assist in the storytelling. No one is forced to do anything. As a result, the technique creates intimacy without disrupting the narrative flow.

Before the show begins, ushers hand out slips of paper to the audience. At the performance this reviewer attended, one slip noted that a brilliant thing about life is “waking up with someone you love.” This is an odd choice, as not everyone has someone in their life. Widows, widowers, and those who are divorced or single often sleep alone. In a production with a strong message about mental health, asking audience members to read such a statement aloud may feel uncomfortable or even triggering for some.

Direction & audience connection

Co-directors Jeremy Herrin and Duncan Macmillan allow Mr. Radcliffe to connect directly with the audience. This is no easy task in a drama that relies heavily on dialogue and interaction.

Accessible & approachable

Every Brilliant Thing takes the sensitive, stigmatized topic of mental health and makes it accessible and approachable for a broad audience, and that’s one of the truly brilliant aspects of the show. Moreover, it is refreshing to encounter a production like this in a world currently torn apart by war and political division. One leaves the theater deeply moved, with a renewed faith in both humanity and the power of theater.

Published March 21, 2026
Reviewed at press performance on March 18, 2026.

‘EVERY BRILLIANT THING’: Daniel Radcliffe. Photo: Matthew Murphy.

‘EVERY BRILLIANT THING’: Daniel Radcliffe. Photo: Matthew Murphy.

‘EVERY BRILLIANT THING’: Daniel Radcliffe. Photo: Matthew Murphy.

‘EVERY BRILLIANT THING’: Daniel Radcliffe. Photo: Matthew Murphy.

‘EVERY BRILLIANT THING’: Daniel Radcliffe. Photos: Matthew Murphy.

‘EVERY BRILLIANT THING’: Daniel Radcliffe. Photos Matthew Murphy.

The post ‘Every Brilliant Thing’: Daniel Radcliffe excels appeared first on StageZine.

‘TWO STRANGERS’: Christiani Pitts & Sam Tutty. Photo: Matthew Murphy.

TWO STRANGERS (CARRY A CAKE ACROSS NEW YORK)
Book, music & lyrics by Jim Barne & Kit Buchan
Directed & choreographed by Tim Jackson
Through July 5, 2026
Longacre Theatre
220 West 48th Street
https://twostrangersmusical.com/

By Scott Harrah

Two Strangers (Carry a Cake Across New York ) is a rare gem indeed. It’s an original “rom com” Broadway musical that’s realistic, poignant, and never sappy or corny. After a successful run in London’s West End, the two-hander has opened in New York. Let’s look at why it works so well.

Unlikely match

The entire story takes place over a 36-hour time period. Dougal (Sam Tutty) is a bright-eyed, naïve British tourist who has traveled to New York and the USA for the first time to attend his father’s second wedding.

He soon learns that life here is nothing like the Hollywood depiction of our city as portrayed by Gene Kelly and Debbie Reynolds in Singin’ in the Rain. By the same token, it’s also not exactly Gene Kelly and Frank Sinatra pursuing Vera-Ellen and Betty Garrett in On the Town. Dougal says he especially loves Home Alone 2 and believes that in New York “everything comes with a smile, a high five, and a slice of cheese.”

However, even if New York was actually like anything in those classic films, Dougal is so broke that he can’t afford the entrance fees to most tourist attractions, let alone a proper date with a woman.

Robin (Christiani Pitts) is the baby sister of the bride Dougal’s father is marrying. A spunky, no-nonsense New Yorker, she works as a barista and wastes no time giving the cold shoulder to Dougal both at JFK Airport and later at Bump and Grind, the café where she works.  She tells him she needs to take the subway out to Flatbush, Brooklyn, to pick up her sister’s wedding cake, and Dougal insists on going with her.

Carrying the cake across New York

Dougal soon learns that Flatbush isn’t just where the wedding cake is being created. It’s also the part of Brooklyn where Robin grew up, reminiscing to him about her childhood there and regaling him with nostalgic stories of her youth.

What makes everything work is the dynamic chemistry between Mr. Tutty and Ms. Pitts. On the stage, they seem like an odd couple indeed, but sparks ignite slowly and not in a hackneyed way like so many rom-coms.

Nevertheless, although Two Strangers has all the formulaic elements of a standard romantic comedy—a guy pursuing a girl and the girl isn’t immediately interested—this show isn’t like some half-baked Hallmark movie or schmaltzy Harlequin romance novel. Composer Jim Barne’s lush melodies and Kit Buchan’s true-to-life dialogue and emotionally powerful lyrics are full of realism and grit. One may have to suspend disbelief that Dougal and Robin would fall for each other in just 36 hours, but just go with the story. Everything simply works beautifully.

Innovative scenic, sound design & lighting

Soutra Gilmour’s unique, simplistic set, great lighting by Jack Knowles, and Tony Gayle’s sharp sound design also make Two Strangers especially innovative. The set features two rotating heaps of airline luggage that are designed to resemble the Manhattan skyline. The luggage piles also serve multiple functions, including a place for the actors to climb on or sit.

Ms. Gilmour’s costumes are also delightful, especially the glamorous dresses Robin wears in Act Two.

Dynamic duo

Turning to performances, the two young leads are perhaps the show’s greatest asset. Together, Ms. Pitts and Mr. Tutty are a brilliant “misfit” couple, as unlikely as Satine and Christian in Moulin Rouge or Sandy and Danny in Grease. Ms. Pitts portrays Robin with the perfect arc of the character, starting out as a jaded, overworked, and cynical woman who eventually sheds her hard shell and opens up to Dougal. Mr. Tutty brings the right mix of guileless charm and sincerity to Dougal, a young lad who at first seems annoying but ultimately shows he has a big heart. The duo are pure magic together singing such songs as “On the App” and “New York/What’ll It Be.”

With seamless direction by Tim Jackson, Two Strangers (Carry a Cake Across New York) shines throughout. The haunting score and strong book by Jim Barne and Kit Buchan help make the show a “sleeper” surprise delight and one of the year’s best musicals.

Published November 20, 2025
Reviewed at press preview on November 15, 2025

‘TWO STRANGERS’: Christiani Pitts & Sam Tutty. Photo: Matthew Murphy.

‘TWO STRANGERS’: Christiani Pitts & Sam Tutty. Photo: Matthew Murphy.

‘TWO STRANGERS’: Christiani Pitts & Sam Tutty. Photo: Matthew Murphy.

‘TWO STRANGERS’: Christiani Pitts & Sam Tutty (top left & bottom); (top right) Sam Tutty. Photos: Matthew Murphy.

‘TWO STRANGERS’: Sam Tutty & Christiani Pitts (top left & bottom); (top right) Christiani Pitts. Photos: Matthew Murphy.

The post ‘Two Strangers’ one of 2025’s best musicals appeared first on StageZine.

‘JUST IN TIME’: Jonathan Groff. Photo: Matthew Murphy & Evan Zimmerman.

JUST IN TIME
Book by Warren Leight and Isaac Oliver
Based on an original concept by Ted Chapin
Music supervision & arrangements by Andrew Resnick
Choreography by Shannon Lewis
Directed by Alex Timbers
Through September 6, 2026
Circle in the Square
235 W 50th St.
https://justintimebroadway.com/

Editor’s Note: Jeremy Jordan has taken over the role of Bobby Darin. Isa Briones is now in the role of Connie Francis, and Carrie St. Louis is now playing Sandra Dee.

By Scott Harrah

Tony Award winner Jonathan Groff gives his best performance to date in Just in Time, the new Broadway musical about the iconic Bobby Darin, the velvet-voiced pop singer of the 1950s and 1960s who died at age 37.  Mr. Groff brings the man who sang such classics as “Splish Splash,” “Mack the Knife,” “Dream Lover” and “Beyond the Sea” to vivid life in the best “jukebox musical” since Jersey Boys nearly two decades ago. One doesn’t need to be a Bobby Darin fan to appreciate the nonstop energy that Mr. Groff brings to the role.

Broadway via the Copacabana & Las Vegas

Scenic designer Derek McLane has turned Circle in the Square into a glorious retro nightclub that pays homage to the venerable Copacabana in Manhattan and the glitzy Las Vegas lounge stages of yesteryear. It’s a winning tribute to a bygone era when stylish ladies and gentlemen would gather in cozy, intimate nightclubs to sip cocktails, smoke cigarettes and marvel at the latest pop crooners of the day. Shortly after the show opens, Mr. Groff reminds us that he’s not the real Bobby Darin and we’re actually watching this spectacle “in the basement of Wicked.”

What’s more, the mellifluous orchestrations by music supervisor Andrew Resnick and Michael Thurber bring all the ebullient brass and jazz-hot sounds of a “big band” orchestra to the Broadway stage. This lets audiences immerse themselves in the nostalgic glory of the classic songs being performed.

As an added treat, we see performances by two of Mr. Darin’s real-life romantic partners: The inimitable, golden-throated pop queen Connie Francis (Gracie Lawrence); and “America’s sweetheart,” movie superstar Sandra Dee (Erika Henningsen), who was briefly married to Mr. Darin. Both women, like Bobby Darin himself, lived very public, volatile lives and were scandalous tabloid fodder in their heyday and beyond.

An icon & his lady loves

Bobby Darin (real name Walden Robert Cassotto) had a short but dramatic life. Growing up in East Harlem, New York, he suffered from bouts of rheumatic fever as a child and doctors said he would only live to be 16, but he proved them wrong.

He started out as a songwriter for Ms. Francis. She was already a household name with such hits as “Stupid Cupid” and “Who’s Sorry Now?” Darin immediately took a shine to the star and she was also smitten with him, but her parents did not approve.

Goody-two-shoes matinee idol Sandra Dee also won his heart. After pouring on lots of charm and giving flowers to her demanding, overprotective mother (Valeria Yamin), Mr. Darin got her blessing and was allowed to date Ms. Dee while filming Come September in Portofino, Italy in 1960. She was just 18 and he was 24 at the time. They had a brief, passionate affair and later married. Ms. Dee and Mr. Darin had one child, son Dodd, before divorcing.

Scandalous family secret

Mr. Darin was raised by Polly Walden (Michele Pawk), his nurturing mother. His older sister Nina (Emily Bergl)  looks out for him as if she is his nanny. When Mr. Darin becomes successful, he hires Nina’s husband—his brutish brother-in-law, Charlie Maffia (Joe Barbara)—as his personal valet. All three family members have been keeping a scandalous secret from Bobby all his life and his world is shattered when he learns the truth

Outstanding performances

Director Alex Timbers skillfully directs the gifted cast, all of whom give outstanding performances.

The supporting cast are certainly worth noting. Gracie Lawrence is superb as Connie Francis, singing the nostalgic star’s songs with the right mix of zest and vulnerability. Ms. Lawrence’s take on the Connie Francis standard “Who’s Sorry Now?” is one of the show’s highlights. She also captures the singer’s demure presence and powerhouse presence with aplomb. That’s no easy task considering Ms. Francis was a superstar in the 1950s and 1960s, singing both pop chart-toppers as well as ethnic standards. Songs from her two albums Connie Francis Sings Italian Favorites and Connie Francis Sings Jewish Favorites are still played at many Italian and Jewish weddings today.

Erika Henningsen also gives a knockout portrayal of Sandra Dee, another megastar from the era. Ms. Henningsen brings all the saccharine sweetness and melodrama to the character, and does so with consistent conviction. It’s quite a departure from her most famous Broadway role, originating the lead part of Cady Heron in Mean Girls. 

Michele Pawk as Polly Walden, and Emily Bergl as Nina, both bring plausibility to their respective roles, and each has a unique and crisp voice. Valeria Yamin is magnificent as Sandra Dee’s overbearing mother.

Noteworthy supporting cast

Other noteworthy supporting performances include the always-delightful Cesar Samayoa (How to Dance in Ohio and Come From Away). Mr. Samayoa really nails the part of 1970s music maven Don Kirshner, the man who discovered many pop and rock greats, including Bobby Darin. Gen X audiences will remember his 1970s TV show “Don Kirshner’s Rock Concert.”  Mr. Samayoa has an amazing voice and does a fine job portraying Mr. Kirshner as well as other small parts in the show. In addition, Joe Barbara is the ultimate New York tough guy as Charlie, Bobby’s personal valet and brother-in-law.

Jonathan Groff’s best role yet

Bobby Darin is the role Jonathan Groff was born to play. He won a Tony Award for Merrily We Roll Along and was nominated for a Tony for his portrayal of Mad King George in Hamilton. However, he is at the top of his game here. Mr. Groff has the charm, acting chops and beautifully textured voice to bring Bobby Darin back to glorious life. He sweats profusely and is a manic, energized force who keeps us riveted and mesmerized from the moment the show starts and he never lets up. Don’t miss Just in Time.

Editor’s note: Just in Time received six 2025 Tony Award nominations, including one for Jonathan Groff for Best Performance by an Actor in a Leading Role in a Musical.

Published April 30, 2025
Reviewed at press performance on April 26, 2025

‘JUST IN TIME’: Jonathan Groff & cast. Photo: Matthew Murphy & Evan Zimmerman.

‘JUST IN TIME’: Gracie Lawrence. Photo: Matthew Murphy & Evan Zimmerman.

‘JUST IN TIME’: Jonathan Groff & cast. Photo: Matthew Murphy & Evan Zimmerman.

‘JUST IN TIME’: Gracie Lawrence (Connie Francis) & Jonathan Groff (Bobby Darin). Photo: Matthew Murphy & Evan Zimmerman.

‘JUST IN TIME’: Christine Cornish, Jonathan Groff & Julia Grondin. Photo: Matthew Murphy & Evan Zimmerman.

‘JUST IN TIME’: Valeria Yamin, Michele Pawk & Julia Grondin. Photo: Matthew Murphy & Evan Zimmerman.

‘JUST IN TIME’: Erika Henningsen. Photo: Matthew Murphy & Evan Zimmerman.

‘JUST IN TIME’: (left) Emily Bergl; (right) Caesar Samayoa. Photos: Matthew Murphy & Evan Zimmerman & Caesar Samayoa is courtesy of Polk PR.

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