‘THE 25TH ANNUAL PUTNAM COUNTY SPELLING BEE’: Kevin McHale (center) & cast. Photo: Joan Marcus.

THE 25^TH ANNUAL PUTNAM COUNTY SPELLING BEE
Music & lyrics by William Finn
Book by Rachel Sheinkin
Conceived by Rebecca Feldman
Music supervision & vocal arrangements by Carmel Dean
Originally directed on Broadway by James Lapine
Directed & choreographed by Danny Mefford
Through September 6, 2026
New World Stages
340 West 50^th Street
https://spellingbeenyc.com/

By Scott Harrah

Two decades after it first appeared on Broadway, The 25th Annual Putnam County Spelling Bee is back. This Off‑Broadway revival feels both nostalgic and fresh. Spelling Bee was originally nominated for six Tony Awards and winner of two, including Best Book of a Musical for Rachel Sheinkin and Best Featured Actor in a Musical for Dan Fogler. The show also helped launch the careers of Jesse Tyler Ferguson and Josh Gad. Now, with an updated script and a marvelous cast, this beloved show proves why it has remained such an enduring hit.

The story of Spelling Bee

At its core, Spelling Bee is a musical comedy about six offbeat middle-school students competing in a regional spelling bee. Set inside a school gymnasium, the competition is a forum for the kids to show off their spelling skills and vent about their personal insecurities, hope and dreams. They share the stage with Vice Principal Douglas Panch (Jason Kravits), the weary “pronouncer” of the competition. Other characters include moderator and former champion Rona Lisa Peretti (Lilli Cooper); and overprotective parents who hover on the sidelines.

The competitors

Meanwhile, the characters and their many quirks quickly overshadow the actual spelling. Each contestant delivers a humorous monologue before attempting a word.

For example, there’s Olive Ostrovsky (Jasmine Amy Rogers), a nervous speller who’s upset because her mother is in India at an ashram, her father is running late to the event and she doesn’t have the $25 entrance fee.

William Barfée (Kevin McHale) is a cocky guy with many physical ailments who uses his “magic foot” technique to help him spell out words.

Logainne Schwartzandgrubenierre (Autumn Best) is a spunky speller with a lisp who cannot spell a word without her two fathers standing by her on the podium to encourage her.

The remaining contestants include Chip Tolentino (Phillipe Arroyo), a former champion and Boy Scout facing the awkward (and sometimes funny) realities of puberty; Leaf Coneybear (Justin Cooley), an unfocused speller with ADHD; and Marcy Park (Leana Rae Concepcion), a hyper‑accomplished overachiever who speaks six languages, practices karate, and sleeps just three hours a night.

Adding to the fun, several audience volunteers are selected at random to compete alongside the actors, creating spontaneous moments each night.

Winning ensemble cast

Spelling Bee relies on a cohesive company of the six spelling contestants. All of the six actors form a winning ensemble, thanks to tight direction and choreography by Danny Mefford.

First, Jasmine Amy Rogers is an emotional powerhouse as Olive, the anxious girl who is devastated that her parents are not attending the competition. Her delivery and timing are top notch. Her vocals in the solo numbers “My Friend, the Dictionary” and “The I Love You Song” are heartwarming highlights.

Next, Kevin McHale (of “Glee” fame) is perfect as William, the overzealous nerd. Mr. McHale is superb singing his solo “Magic Foot” and sometimes steals the show with his many outbursts and nervous tics.

Additionally, Justin Cooley’s quirky, trance‑like Leaf is consistently hilarious, while Phillipe Arroyo earns big laughs as Chip in “My Unfortunate Erection (Chip’s Lament).”

In addition, two of the other young actresses in the show are also crowd pleasers. Leana Rae Concepcion is hysterical as Marcy, the annoying overachiever, and she sings “I Speak Six Languages” with conviction. Autumn Best is charming as Logainne, the know-it-all girl with a speech impediment and a problem with low blood sugar.

Among the adults, Lilli Cooper shines as the spunky, high-spirited Rona. Jason Kravits brings charm and perfectly calibrated frustration to Vice Principal Douglas Panch.

A Spelling Bee for the 2020s

Although much of the original 2005 show remains intact, the script includes contemporary updates. For instance, Logainne references “hot” mayor‑elect Zohran Mamdani. Also, the epilogue humorously notes her later role in “President AOC’s administration.” Together, these touches keep the show grounded in present-day America without sacrificing its timeless appeal.

Ultimately, The 25th Annual Putnam County Spelling Bee celebrates underdogs navigating competition, identity, and the pressure to succeed—all themes as resonant now as they were two decades ago. This joyous revival is sure to be a big h‑i‑t.

Published November 17, 2025
Reviewed at press performance on November 14, 2025

‘THE 25TH ANNUAL PUTNAM COUNTY SPELLING BEE’: (left to right from top) Philippe Arroyo & Leana Rae Concepcion; (left to right from bottom) Autumn Best & Justin Cooley. Photos: Joan Marcus.

‘THE 25TH ANNUAL PUTNAM COUNTY SPELLING BEE’: The cast. Photo: Joan Marcus.

‘THE 25TH ANNUAL PUTNAM COUNTY SPELLING BEE’: Jason Kravits & Lilli Cooper. Photo: Joan Marcus.

‘THE 25TH ANNUAL PUTNAM COUNTY SPELLING BEE’: Matt Manuel, Autumn Best & Justin Cooley. Photo: Joan Marcus.

‘THE 25TH ANNUAL PUTNAM COUNTY SPELLING BEE’: Matt Manuel & Philippe Arroyo. Photo: Joan Marcus.

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‘FLYING OVER SUNSET’: (Left to right) Tony Yazbeck, Harry Hadden-Paton & Carmen Cusack. Photo: Joan Marcus.

FLYING OVER SUNSET
Music by Tom Kitt
Lyrics by Michael Korie
Book & direction by James Lapine
Through February 6, 2022
Vivian Beaumont Theater
150 West 65th Street
(212-239-6200), www.FlyingOverSunset.com

By David NouNou

Flying Over Sunset is a musical that is both intriguing and manipulating. It is intriguing due to the subject matter, the use of LSD, and it is manipulating because of the subjects who are using LSD. Had it been you, me, and a random third person, there would be no intrigue, plot or point. However, Cary Grant (Tony Yazbeck), a movie star from 1932 to 1966; Clare Boothe Luce (Carmen Cusack), a playwright who wrote The Women, a Republican Congresswoman from Connecticut, and a U.S. Ambassador to Italy; and Aldous Huxley (Harry Hadden-Paton), author of the 1932 dystopian classic novel Brave New World—all using LSD (lysergic acid diethylamide)— manipulates us to care about who and what is going on.

All three used LSD at low points of their lives. Cary Grant was trying to connect his movie-star persona to his childhood poverty-stricken self, Archie Leech; Clare Boothe Luce, after the death of her daughter, Ann, in a car accident; Aldous Huxley wanted to experiment and get in touch with his inner self, and after the death of his wife, Maria. They all needed to come to their point of self-realization. Their mentor who helped them through their journeys was Gerald Heard (Robert Sella), the grandfather of the “new age.”

The book by James Lapine is provocative in a manipulating way. Although the three subjects never had a collective session, it is interesting how Mr. Lapine wove together these three brilliant lives into a cohesive narrative.

As a musical, Flying Over Sunset at best is a very iffy proposition. As a drama, it would have been superior with all the insights thrown into these characters. The characters are compelling and do hold our interest. As a musical, the songs and the musical numbers tend to interrupt the proceedings. That being said, the music by Tom Kitt is beautiful and haunting, while the lyrics by Michael Korie are often pedestrian and forgettable.

Never having known Cary Grant, Clare Boothe Luce, or Aldous Huxley personally, of the three, most of us are familiar with the movies of Cary Grant. Thankfully, Mr. Yazbeck doesn’t impersonate Mr. Grant; he gives us the flavor of the self-doubting, dashing leading man, Ms. Cusack imbues a lot of tragedy to her Ms. Boothe Luce, and Mr. Hadden-Patton delves into Mr. Huxley’s persona with passion. They all have their moments to shine, but Ms. Cusack stands out for the beauty of her voice, and her vocals are gorgeously melodic, particularly when singing the show’s title song “Flying Over Sunset” in act one.

The major drawback to all the proceedings is the cavernous Vivian Beaumont Theater; not even Mr. Lapine’s expert direction and the great assistance of Beowulf Boritt’s beautiful and often hallucinogenic scenery can overcome this drawback. What will keep you in your seats and help you overcome this hollowness are the gifts of Carmen Cusack, Harry Hadden-Paton and Tony Yazbeck.

Edited by Scott Harrah
Published December 20, 2021
Reviewed at December 19, 2021 press performance.

‘FLYING OVER SUNSET’: (Left to right) Michele Ragusa, Carmen Cusack & Kanisha Marie Feliciano. Photo: Joan Marcus.

‘FLYING OVER SUNSET’: (Left to right) Michele Ragusa, Harry Hadden-Paton, & Kanisha Marie Feliciano. Photo: Joan Marcus.

‘FLYING OVER SUNSET”: Carmen Cusack (center) & cast. Photo: Joan Marcus.

‘FLYING OVER SUNSET’: Robert Sella & Carmen Cusack. Photo: Joan Marcus.

‘FLYING OVER SUNSET’: Tony Yazbeck. Photo: Joan Marcus.

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‘FALSETTOS’: Christian Borle & Andrew Rannells. Photo: Joan Marcus

FALSETTOS
Book by William Finn
Music & lyrics by William Finn & James Lapine
Directed by James Lapine
Through January 8, 2017
Walter Kerr Theatre
219 W. 48th Street
800-982-2787, www.lct.org

By Scott Harrah

The individual turmoil of characters, their neuroses and raw emotions, sung via melodic songs, are all at the heart of this superb revival of the William Finn-James Lapine musical. Falsettos remains a fresh, authentic slice of unconventional New York life, despite the fact that its characters lived decades ago. It originally appeared on Broadway in 1992 as a package of two earlier off-Broadway plays, March of the Falsettos and Falsettoland. Although parts of this mostly sung-through musical depict the troubles of another era, this outstanding production never feels dated.

Part of the show’s timelessness must be attributed to the stellar performances by a cast of Broadway veterans, but Mr. Finn and Mr. Lapine’s story about Marvin (Christian Borle), a man who wants to have it all (a wife, a child, and a male lover), was truly ahead of its time, written long before marriage equality and tales of nontraditional families became commonplace

The show opens in 1979 with Marvin about to leave his wife Trina (Stephanie J. Block) for a man, Whizzer (Andrew Rannells). Marvin and Trina’s young son Jason (Anthony Rosenthal) is caught in the middle of the maelstrom.  Meanwhile, the family’s psychiatrist Mendel (Brandon Uranowitz) starts a romance with Trina. In addition to the obvious LGBT theme, Falsettos also relies heavily on celebrating the Jewish New Yorker sensibility, particularly in the opening number “Four Jews in a Room Bitching.”  In fact, one of the reasons why the show holds up so well in 2016 is because it’s far more than merely a musical chronicle of a dysfunctional family and homosexuality. Everything from chess playing to Little League baseball is thrown into the mix. David Rockwell’s clever, simplistic sets frame everything wonderfully, with a cartoonish Manhattan skyline and what appears to be a giant 1980s Rubik’s Cube (remember them?) that is gradually taken apart at times to depict different settings.

Much of the narrative unfolds through song, and although Mr. Finn’s music and lyrics are repetitious at times, most songs are infectious and reveal each character’s feelings and frustrations vividly. One of the show’s best moments is Stephanie J. Block belting out the showstopper “I’m Breaking Down,”with lyrics that are humorous but also reveal her heartbreak when she sings, “He’s a queen/I’m a queen/Where is our crown?” 

Other highlights include “Marvin at the Psychiatrist (a Three Part Mini-Opera),” in which Marvin sings (along with Mendel, Jason and Whizzer) about all the reasons he needs psychotherapy.  In “March of the Falsettos,” all four male characters sing, in the titular falsetto voice to match Jason’s prepubescent tone, about the different aspects of masculinity.  Here it’s done cleverly with the guys all sporting fluorescent clothes, frolicking under black light. Pointless perhaps, but still great fun to watch.

While the first act focuses on family dysfunction, Act Two takes us to 1981. Marvin has split up with Whizzer and now lives next door to two lesbians, Dr. Charlotte (Tracie Thoms), an internist, and her lover Cordelia (Betsy Wolfe), a caterer specializing in “nouvelle” kosher cuisine.

Soon Whizzer becomes ill and enters the hospital.  At the same time, Marvin and Trina are nagging Jason about how he wishes to celebrate his bar mitzvah. To give any more detail would spoil the bittersweet twist of the tragic ending, but the final songs are some of the best, including Whizzer’s “You Gotta Die Sometime” and Marvin and Whizzer’s “What Would I Do?”

Mr. Borle makes a big departure here from his comic roles in Peter and the Starcatcher and Something Rotten as the self-absorbed, hopelessly neurotic Marvin.  Mr. Rannells, of Book of Mormon and Girls fame, is equally effective as Whizzer, and emotionally powerful in the show’s final songs.

The show’s biggest asset, however, is Stephanie J. Block.  Although she’s established herself on Broadway in a number of roles, Ms. Block gives the performance of her career as Trina, and she’ll certainly be a contender for all the awards in the spring. There is a haunting sincerity to Ms. Block’s Trina because, in every song she sings, from “I’m Breaking Down” to “Trina’s Song,” one feels her character’s helplessness in everything from her mannerisms (particularly the hilarious way she slices up a banana) to the beautiful, plaintive tone in her vocals.

Director James Lapine understands the scale of tragedy that was so rampant in AIDS-era New York, and his direction highlights the humanity, quirks and vulnerabilities of these characters’ lives and sheds humor and truth on them without coming across as heavy-handed.  Perhaps that’s why Falsettos can now be called a true classic.

Edited by Scott Harrah
Published November 7, 2016
Reviewed at press performance on November 6, 2016

‘FALSETTOS’: (left to right) Betsy Wolfe, Andrew Rannells, Christian Borle & Tracie Thoms. Photo: Joan Marcus

‘FALSETTOS’: Stephanie J. Block & Brandon Uranowitz. Photo: Joan Marcus

‘FALSETTOS’: Betsy Wolfe & Tracie Thoms. Photo: Joan Marcus

‘FALSETTOS’: Anthony Rosenthal & Christian Borle. Photo: Joan Marcus

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