‘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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‘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.

‘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 September 20, 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 August 9, 2026
Hudson Theatre
141 West 44th Street
https://everybrilliantthing.com/

Editor’s Note: Mariska Hargitay assumed the lead role on May 26, 2026. Tracee Ellis Ross begins performances July 7, 2026.

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 November 22, 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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‘BUENA VISTA SOCIAL CLUB’: The cast. Photo: Matthew Murphy.

BUENA VISTA SOCIAL CLUB
Book by Marco Ramirez
Music by Buena Vista Social Club
Choreography by Patricia Delgado & Justin Peck
Directed  & developed by Saheem Ali
Gerald Schoenfeld Theatre
236 West 45^th Street
https://buenavistamusical.com/

By Scott Harrah

Don’t miss this joyful tale of music in Cuba told during two separate time periods: In the 1950s, in the days before the Cuban Revolution, when President Fulgencio Batista still ruled and Havana was a gambling haven. Juxtaposed cleverly with this timeline is the year 1996, when a group of Cuban musicians reunite to record the titular Grammy-winning album on which this lively, colorful musical is based.

The backstory

In 1996, producer Juan de Marcos (Justin Cunningham) brings together a backup band for the older Cuban singers. The story focuses on four musicians, Omara Portundo (Natalie Venetia Belcon), Ibrahim (Mel Semé), Rubén (Jainardo Batista Sterling) and Eliades (Renesito Avich), all coping with the Fidel Castro regime and how it has affected their lives.

The narrative tells how the eponymous album (released in 1997) was made, bringing the musicians world recognition. The story was made into an acclaimed, Oscar-nominated 1999 documentary of the same name, by German filmmaker Wim Wenders.

When approached about doing the album, Omara is hesitant because she has not sung in years. But she is soon convinced by the album producer to reunite with old friends at the club. She, of course, immediately has no regrets.

From the 1950s to 1996

Part of the story is told in flashbacks to the ‘50s. The young Omara (Isa Antonetti) and sister Haydee (Ashley De La Rosa) are being pursued to sign a recording contract. In addition, Haydee is enthralled with the glamour of the white clubs frequented by tourists in Havana, while Omara prefers performing at the mostly Afro-Cuban Buena Vista. We also meet the younger Compay (Da’Von T. Moody) and Rubén (Leonardo Reyna). Rubén is a master at the piano and gets the whole group jamming with glee.

This is that rare stage musical in which flashbacks actually work and make sense. All songs are performed in Spanish. The best aspect of the show is seeing all the magnificent choreography by Patrick Delgado and Justin Peck, with characters all sporting Dede Ayite’s authentic Cuban costumes.

An entertaining evening

Mr. Delgado and Mr. Peck, with the help of creative consultant David Yazbek, Marco Paguia (music director, orchestrations and arrangements) and music director Dean Sharenow, have assembled an incredibly entertaining evening.

Director Saheem Ali gets marvelous performances from the entire gifted cast, and the story and songs all flow together well. Dav’Von T. Moody as young Compay and Leonardo Reyna as young Rubén make a dynamic duo.

Standouts include Ms. Belcon as Omara and Ms. Antonetti as the young Omara. The two women have powerful voices that soar. For instance, Ms. Belcon’s vocals are both incredibly sultry and raspy in the song “Candela.”

The Atlantic Theater Company originally produced the musical in 2023. Granted, this reviewer never saw that production, but there is no question that this festive celebration of Cuban music and life belongs on Broadway. It is one of the spring 2025 season’s best musical revivals—a nonstop jubilee of culture, history and Cuban music that will keep audiences spellbound from beginning to end. ¡Viva Cuba!

Published April 4, 2025
Reviewed at press performance on March 27, 2025

‘BUENA VISTA SOCIAL CLUB’: Leonardo Reyna (seated at piano) & cast. Photo: Matthew Murphy.

‘BUENA VISTA SOCIAL CLUB’: Isa Antonetti. Photo: Matthew Murphy.

‘BUENA VISTA SOCIAL CLUB’: (left to right) Justin Cunningham, Marco Paguia (seated at piano), Renecito Avich, Natalie Venetia Belcon & Román Diaz. Photo: Matthew Murphy.

‘BUENA VISTA SOCIAL CLUB: (left to right) Natalie Venetia Belcon, Mel Semé (foreground) & Wesley Wray. Photo: Matthew Murphy.

‘BUENA VISTA SOCIAL CLUB’: The cast. Photo: Matthew Murphy.

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‘MAYBE HAPPY ENDING’: Helen J Shen & Darren Criss. Photo: Matthew Murphy & Evan Zimmerman.

MAYBE HAPPY ENDING
By Will Aronson & Hue Park
Directed by Michael Arden
Belasco Theatre
111 West 44^th St.
https://www.maybehappyending.com/

By Scott Harrah

Artificial intelligence or “AI” is becoming commonplace in the 21^st century, and it won’t be too long until robots will be everywhere. However, although robots are not human, do they have actual emotions? Can they fall in love? That’s the premise of Will Aronson and Hue Park’s charming, high-tech musical Maybe Happy Ending, set in the near future in Seoul, Korea.

Darren Criss stars as Oliver, a “HelperBot 3” robot. He is “retired” from his work as a robot. Oliver has a dull, routine life and goes each day to get his mail, hoping his owner James will call him back to work.

Soon, it is 12 years later. Oliver meets Claire (Helen J Shen), a “HelperBot 5” who is a younger, later model. She knocks on his door to ask if she can borrow his “charger.” Like a cell phone, these robots must have their batteries recharged or else they will “power down.”

In a fast-moving one hour and 45 minutes, we see Oliver and Claire fall in love and also learn about their own mortality because, like humans, robots don’t live forever. The musical is often touching, especially when Oliver learns the truth about James (Marcus Choi) and has a confrontation with James’ son, Junseo (also played by Mr. Choi).

Brilliant design team

Overall, Maybe Happy Ending is a simplistic musical, with standard songs and music and a gorgeous, futuristic but utilitarian set created by a brilliant team: video design by George Reeve; scenic and additional design by Dane Laffrey; neon lighting by Ben Stanton; and sound by Peter Hylenski. In addition to the songs and set, small items from a firefly in a jar, a record player to a potted plant help propel the story forward.  The firefly represents the short-lived beauty of relationships, while the potted plant named HwaBoon is a metaphor for Oliver’s craving for attention. The record player helps Oliver relive his past, when he often played jazz records for his owner.

First-rate ensemble

Director Michael Arden gets superlative performances from the first-rate ensemble cast. Mr. Criss (American Buffalo, How to Succeed… and TV’s “Glee”) is consistently outstanding. Whether he’s brushing his teeth (and eyebrows) or taking care of his plant, Mr. Criss is a master at physical comedy and is in fine voice. Helen J Shen is a natural as Claire, the quick-witted younger robot, and she has tremendous chemistry with Mr. Criss. Marcus Choi skillfully portrays multiple roles from James and Junseo to numerous other characters. Dez Duron is dynamic as a sharp-dressed mid-century singer. One would never expect a musical about robots to deliver such a heartwarming message about humanity and technology, but that is just one of many nice surprises in Maybe Happy Ending.

Published November 15, 2024
Reviewed at November 14, 2024 press performance

‘MAYBE HAPPY ENDING’: Darren Criss & Helen J Shen. Photo: Matthew Murphy & Evan Zimmerman.

‘MAYBE HAPPY ENDING’: Darren Criss. Photo: Matthew Murphy & Evan Zimmerman.

‘MAYBE HAPPY ENDING’: Helen J Shen. Photo: Matthew Murphy & Evan Zimmerman.

‘MAYBE HAPPY ENDING’: Helen J Shen & Darren Criss. Photo: Matthew Murphy & Evan Zimmerman.

‘MAYBE HAPPY ENDING’: Helen J Shen & Darren Criss. Photo: Matthew Murphy & Evan Zimmerman.

‘MAYBE HAPPY ENDING’: Dez Duron. Photo: Matthew Murphy & Evan Zimmerman.

‘MAYBE HAPPY ENDING’: Marcus Choi & Darren Criss. Photo: Matthew Murphy & Evan Zimmerman.

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‘OH, MARY!’ Cole Escola. Photo: Emilio Madrid.

OH, MARY!
By Cole Escola
Directed by Sam Pinkleton
Through January 3, 2027
Lyceum Theatre
149 West 49^th Street
https://www.ohmaryplay.com/

By Scott Harrah

Don’t go to Oh, Mary! expecting an historically accurate portrayal of Mary Todd Lincoln. Do go if you want to see Broadway’s funniest show in many years. The show recently transferred to the Lyceum Theatre on Broadway after a sold-out run downtown at the Lucille Lortel. Original comedies are almost unheard of on Broadway nowadays, and no one ever thought we would get one that’s consistently hysterical from start to finish.

Cole Escola wrote Oh, Mary! and stars as Mary Todd Lincoln in a show that is like a very raunchy, family-unfriendly extended skit from TV’s “Carol Burnett Show” with shades of humor similar to the absurdist gender-bending genius Charles Busch and his many farcical shows. However, Cole Escola has a unique comic style all their own, from their manic energy to the endless pratfalls and exaggerated facial expressions.

There’s not much a reviewer can tell you about the show without giving away all the crazy comic twists but here’s the basic premise in this totally unauthorized, inaccurate “historical” bio-comedy: Mary Todd Lincoln is an alcoholic diva who will do anything for booze. She tries hiding it and her husband, President Abraham Lincoln (Conrad Ricamora), goes to great lengths to keep her away from the bottle but is always unsuccessful. The president is watching the Civil War wind down and is worried that news of Mary being a boozer will damage his already fragile public image, but he has a scandalous secret of his own: He’s gay and has the hots for his assistant, Kyle (Tony Macht).

Mary is also at odds with her friend and chaperone, Louise (Bianca Leigh). Mary insists she is a cabaret star and her time would be better spent working the cabaret circuit around the country rather than sitting around bored, being First Lady of the United States in the White House.  The humor is tasteless, silly, stupid and completely juvenile, and that’s what makes Oh, Mary! so much fun. From Mary desperately drinking paint thinner when she can’t find her booze to puking in a bucket, Cole Escola’s comedic sensibility is shamelessly lowbrow, in the same way that early John Waters films were vile, gross, inane but also hysterical. Everything is done for cheap laughs here—and it always works.

To humor Mary’s dreams of being in show business, Abe hires a handsome young acting teacher (James Scully) to teach Mary how to act in classic Shakespearean dramas. Mary reacts like a spoiled brat of a child, insisting the Bard is beneath her and she’s much more suited to wearing showgirl costumes in a ridiculous cabaret act.

This reviewer will not give any more of the story away, but of course we all know how the story of Abraham Lincoln and Mary Todd Lincoln ends on that fateful night at Ford’s Theater in Washington. Or do we?

Director Sam Pinkerton gets outstanding performances from the entire cast and manages to keep all the insanity together for 80 glorious minutes. Conrad Ricamora as “Mary’s husband” (as he is listed in the Playbill) gives a gleefully goofy portrayal of Abraham Lincoln as a horny closeted gay man, and his performance shows what great range he has as an actor considering that, last year, he played Philippine senator Ninoy Aquino in Here Lies Love on Broadway. Bianca Leigh, Tony Macht and James Scully are all marvelous supporting players. Cole Escola as Mary is simply brilliant, a true master of the absurd. Cole Escola is Broadway’s newest, most original gender-fluid clown, and they have set a new high standard for comedy in the American theater.

2024 is a year when most Americans have little to bring us joy and something so absurd and mirthful that it makes us guffaw and howl with delight. Oh, Mary! is a gift to a troubled city and a deeply divided nation in need of genuine laughs.

Edited by Scott Harrah
Published July 11, 2024
Reviewed at July 9, 2024 press performance

‘OH, MARY!’: (left to right) Tony Macht, Cole Escola, Conrad Ricamora & Bianca Leigh. Photo: Emilio Madrid.

‘OH, MARY!’: Cole Escola & Bianca Leigh. Photo: Emilio Madrid.

‘OH, MARY!’: Cole Escola & James Scully. Photo: Emilio Madrid.

‘OH, MARY!’: Cole Escola & Conrad Ricamora. Photo: Emilio Madrid.

The post ‘Oh, Mary!’: Spoof is funniest show in years appeared first on StageZine.

‘THE GREAT GATSBY’: The cast. Photo: Matthew Murphy & Evan Zimmerman.

THE GREAT GATSBY
Based on the novel by F. Scott Fitzgerald
Book by Kait Kerrigan
Music by Jason Howland
Lyrics by Nathan Tysen
Directed by Marc Bruni
Broadway Theatre
1681 Broadway at 53rd Street
(212-239-6200), www.BroadwayGatsby.com

By David NouNou

Hallelujah! I can finally say that an extravagant, splashy, glitzy musical has landed at the Broadway Theatre by the name of The Great Gatsby.  The show surprisingly sticks to the facts and styling of the way F. Scott Fitzgerald wrote this timeless classic American tale from the late teens and 1920s Jazz Age.

Set in 1917 in both New York City and Long Island, there is the established old-money rich and the nouveau riche. Nick Carraway (Noah J. Ricketts) has just arrived from Minnesota and needs a place to stay, but Manhattan is expensive. He finds there is a little cottage to be rented out by Jay Gatsby (Jeremy Jordan). Gatsby would be new money and he has done everything in his power to reclaim his former love Daisy Buchanan (Eva Noblelzada), now married to Tom Buchanan (John Zdrojeski) who represents old money. Daisy’s father refused to let Daisy marry Jay because he was penniless. So, he went and fought in World War I. Although Tom is very abusive and has constant affairs, including the one with Myrtle Wilson (Sarah Chase)—the local floozy in Queens, who is married to gas-pump jockey George Wilson (Paul Whitty). He thought he was a better match for Daisy. In the mix is also Jordan Baker (Samantha Pauly) who befriends Nick.

Life on the outside is luscious parties galore, champagne is flowing and it was the Jazz Age. That party lasted the whole summer of 1917, when all things and disillusionments started setting in. All the rich people were really quite evil, life and death were meaningless and love was just bounced around as a plaything not to be taken seriously. Jay Gatsby was the best of the best of them and the ultimate loser. He even built that eternal “green light” for Daisy that only he could see from his balcony.

The book by Kait Kerrigan follows F. Scott Fitzgerald’s famous narrative almost perfectly. The score by Jason Howland and Nathan Tysen is melodic, grand and lush. Marc Bruni’s direction is a delight but some of the comedic segments could have been left out.

Which brings us to the two leads: Jeremy Jordan has never been in finer voice and his stage presence was never felt so profoundly. Eva Noblezada has outshined all her screen predecessors, portraying Daisy with the right mix of strength and vulnerability. They make a dynamic duo indeed.

What gives lushness to the proceedings is Paul Tate De Poo III’s scenic and projection designs. They transform you to other worlds, and Linda Cho’s costumes are innovative and a delight.

For a grand musical and a fun night at the theatre, The Great Gatsby is the ticket. It is a rare gem and one of the 2024 season’s best new musicals.

Edited by Scott Harrah
Published April 25, 2024
Reviewed at April 23, 2024 press preview performance

‘THE GREAT GATSBY’: Samantha Pauly (center) & cast. Photo: Matthew Murphy & Evan Zimmerman.

‘THE GREAT GATSBY’: Eva Noblezada & Jeremy Jordan. Photo: Matthew Murphy & Evan Zimmerman.

‘THE GREAT GATSBY’: Jeremy Jordan & Eva Noblezada. Photo: Matthew Murphy & Evan Zimmerman.

‘THE GREAT GATSBY’: (left to right) Noah J. Ricketts, Sara Chase, & John Zdrojeski. Photo: Matthew Murphy & Evan Zimmerman.

‘THE GREAT GATSBY’: Paul Whitty. Photo: Matthew Murphy & Evan Zimmerman.

‘THE GREAT GATSBY’: Eva Noblezada. Photo: Matthew Murphy & Evan Zimmerman.

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