‘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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‘THE COTTAGE’: Laura Bell Bundy. Photo: Joan Marcus.

THE COTTAGE
Written by Sandy Rustin
Directed by Jason Alexander
Through October 29, 2023
The Helen Hayes Theater
240 West 44th Street
(212-239-6200), www.TheCottageOnBroadway.com

By David NouNou

Sandy Rustin’s The Cottage is about as close to a Noël Coward drawing-room comedy of the 1930s as one is going to get. It’s not meant as high art. As matter of fact, it is more lowbrow— simple fare to entertain us during these stifling summer doldrums.

The plot is not so much as being complicated as it is being twisted. The play opens with Sylvia (Laura Bell Bundy) awaiting her lover Beau (Eric McCormack) and  descent from his morning ablutions. Sylvia has sent telegrams to Clarke (Alex Moffat) her husband, who also happens to be Beau’s brother, and Marjorie (Lilli Cooper) who happens to be Beau’s wife, informing them that that that they are madly in love with each other and expect to divorce each other’s spouses respectively, only to find out that Clark and Marjorie are also having an affair with each other. All this is taking place in the cottage, replete with very thick English accents.

Along the way comes Dierdre (Dana Steingold). She is having extramarital affairs with Beau and this torpedoes Sylvia. Dierdre’s husband, Richard (Nehal Joshi) is not far behind; he arrives wanting to murder Beau for stealing his wife. Upon arrival, Richard is let in to the cottage by Sylvia only to find out they were long-lost lovers ages ago.

Of course, the whole premise is preposterous, taking a cue from Noël Coward‘s Private Lives where spouses divorce, marry new people, only to find out that both couples are honeymooning in the same place.

The fun is also derived from the broad strokes of acting from Eric McCormack, playing the handsome and dashing bounder, Laura Bell Bundy as the tantalizing temptress, Alex Moffat a masterful comic and alumni from “Saturday Night Live” as the hapless husband, and Lilli Cooper delightful as ever as the pregnant wife. They are deftly directed by Jason Alexander at a breakneck pace with wonderful sight gags, and plenty of cigarettes.

It’s almost impossible to find a comedy on Broadway these days, and Neil Simon revivals are too dated to be enjoyable now, so accept this little nugget in good faith and enjoy it for all the absurdities it serves and the actors doing their best to make this unbearable summer more enjoyable.

Edited by Scott Harrah
Published July 28, 2023
Reviewed at July 27, 2023 press performance.

‘THE COTTAGE’: Laura Bell Bundy & Eric McCormack. Photo: Joan Marcus.

‘THE COTTAGE’: Eric McCormack. Photo: Joan Marcus.

‘THE COTTAGE’: Lilli Cooper. Photo: Joan Marcus.

‘THE COTTAGE’: Alex Moffat. Photo: Joan Marcus.

‘THE COTTAGE’: Nehal Joshi. Photo: Joan Marcus.

‘THE COTTAGE’: Dana Steingold. Photo: Joan Marcus.

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‘POTUS’: Vanessa Williams & Julie White. Photo: Paul Kolnik.

POTUS: OR, BEHIND EVERY GREAT DUMBASS ARE SEVEN WOMEN TRYING TO KEEP HIM ALIVE
Written by Selina Fillinger
Directed by Susan Stroman
Through August 14, 2022
Shubert Theatre
225 West 44th Street
(212-239-6200), https://potusbway.com

By David NouNou

Did you ever wish you could go to the theatre to see a ludicrous farce that will leave you at times laughing hysterically? No hidden messages here, no agendas, a minimal plot that is so absurd that you don’t care; you just want to laugh because the times we live in are so stressful. Such a play exists. It’s called POTUS: Or, Behind Every Great Dumbass Are Seven Women Trying to Keep Him Alive.

It is difficult to discuss the plot because it is so convoluted. You have to go see it for yourself to make sense of it. No need to tell you any more than what the title of the show states. Now, there’s no particular president or first lady in this show. Loosely based on our recent American history, the characters are really amalgams and composites of presidents and first ladies and West Wing staff. Playwright Selina Fillinger cleverly lets you decide for yourself who you want them to be, and that makes the show all the more enjoyable.

As you know, no president can run the country by himself; it’s the women behind the scenes that keep him alive. In this instance there are seven women working very hard to accomplish their mission. There is the president’s wife, Margaret (Vanessa Williams); Chief of Staff, Harriet (Julie White); Press Secretary, Jean (Suzy Nakamura); White House Correspondent, Chris (Lilli Cooper); the president’s out-there, outrageous sister, Bernadette (Lea Delaria); office assistant, Stephanie (Rachel Dratch). Of course, there is always a beautiful mistress, Dusty (Julianne Hough). These women really work very hard at their jobs and the fun of the play is how they interact with each other. By the end of Act I, you are exhausted from the machinations and laughter.

I will admit Act II kind of meanders and loses a bit of footing because how can you sustain an absurdist farce after your hand has been revealed? Act II plays more of a clean-up for the mess that was created in Act I. I’m not trying to be evasive, elusive or mysterious. In a farce the less you know, the surprise element becomes extremely funnier.

There’s not one but seven funny ladies up on the stage working their butts off to make us laugh. Also let me caution you that you will be hearing a lot of coarse language, so prepare your ears. This isn’t a show to get offended by—just go with it and enjoy it.

Vanessa Williams is still gorgeous; she has elevated her status from the quintessential real-life Miss America to the fictitious Mrs. America, and can still deliver dialogue with aplomb like she did for years on TV’s “Ugly Betty.” Julie White is the consummate pro,  and so good at what she does, she could be the next president. Julianne Hough is a real talent. Forget her stint on TV’s “Dancing with the Stars” because Ms. Hough is both a beauty and can truly act. Rachel Dratch of “Saturday Night Live” fame and Lea DeLaria— their characters are so over-the-top, they are hysterical, and in lesser hands they would be ridiculous. Lilli Cooper and Suzy Nakamura have the hardest parts, for they are the serious women, but they do manage to get their share of laughs. They are deftly directed by the ever-ingenious Susan Stroman. Kudos to all the ladies who make us laugh, and to Beowulf Boritt for the clever revolving set that represents the different rooms in the White House.

On another note to leave you with, in these days of alternate truths and facts and alternate universes, such an event might not be so improbable. As an alternative, it can’t be any worse than what we went through in the past few years with the previous administration. Sit back and enjoy an alternative reality, written and directed by women and acted by a very funny all-star ensemble of smart and sassy women.

Edited by Scott Harrah
Published May 2, 2022
Reviewed at April 30, 2022 press performance.

‘POTUS’: Vanessa Williams & Rachel Dratch. Photo: Paul Kolnik.

‘POUTS’: Julie White & Suzy Nakamura. Photo: Paul Kolnik.

‘POTUS’: Julianne Hough, Lea Delaria & Suzy Nakamura. Photo: Paul Kolnik.

‘POTUS’: The cast. Photo: Paul Kolnik.

‘POTUS’: Lilli Cooper. Photo: Paul Kolnik.

‘POTUS’: Rachel Dratch & Julie White. Photo: Paul Kolnik.

‘POTUS’: Lilli Cooper, Rachel Dratch & Vanessa Williams. Photo: Paul Kolnik.

‘POTUS’: Julie White. Photo: Paul Kolnik.

‘POTUS’: Suzy Nakamura. Photo: Paul Kolnik.

‘POTUS’: Vanessa Williams. Photo: Paul Kolnik.

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‘TOOTSIE’: Santino Fontana & cast. Photo: Matthew Murphy

TOOTSIE
Book by Robert Horn
Music & lyrics by David Yazbek
Directed by Scott Ellis
Choreographed by Denis Jones
Marquis Theatre
1535 Broadway at 45th Street
(877-250-2929), www.TootsieMusical.com

By David NouNou

Based on the brilliant 1982 movie starring Dustin Hoffman, I have to say Tootsie is one of the better adaptations of movies in recent memory. Credit must be given to Robert Horn for an intelligent, bright and imaginative book. It is fresh and to its credit veers slightly from the movie to enable it to have a different slant.

Michael Dorsey (Santino Fontana) can’t land an acting job because of his exacting and infuriating difficulty of doing a part without having to question the parts motivation. He gets fired from every audition. His former girlfriend, Sandy (Sarah Stiles) comes over one night with a script entitled Juliet’s Nurse. Michael is supposed to help her get a better understanding of the part. It is a musical based on Romeo and Juliet; this takes place after Romeo dies but, in this version, Juliet is still alive and the nurse helps her recover. Michael decides to audition for the part of the nurse, and enters as Dorothy Michaels. Of course the show is awful, but Dorothy not only lands the part of the nurse but, with sheer determination, steers the show to a resounding success.

Michael is so desperate to land an acting job that he never considers any of the complications that will arise. For one thing, he falls in love with Julie Nichols, the young lady who plays Juliet (Lilli Cooper). Further complications arise when Romeo’s brother, Chris (John Behlmann) falls madly in love with the nurse/Dorothy Michaels. Dorothy turns a flop to a huge success and has to sign a two-year contract and has to continue being a woman. Michael gets the part and the stardom that he always wanted, but he also comes to a breaking point with all the conflicts he created.

What Mr. Horn has cleverly done is taken the TV setting out, in which Michael auditions for a part in a soap opera; now Michael auditions for a Broadway show which makes it more relatable to the audience who are seeing a Broadway musical. The rest stays true to form, more or less. The book is abetted by a bouncy score from David Yazbek. Last year, Mr. Yazbek won a Tony for the score of The Band’s Visit. While that show’s score was rich and haunting, this is upbeat standard Broadway fare.

The cast, although not dynamic, is effective. Santino Fontana as Michael/Dorothy doesn’t have the luxury to develop these two characters the way Dustin Hoffman did in the movie. In the theater it becomes more of a quick-change artist rather than morphing from one character to the other. Since the audience is already in on the joke, his transitioning becomes easier and less demanding.

Lilli Cooper is charming as Julie Nichols but lacks the vulnerability of the character that draws her to Dorothy/Michael. She is too independent to be taken in. Sarah Stiles, as the neurotic Sandy in desperate need of a part and validation, comes across a tad too shrill in the beginning but is quite effective in the end. John Behlmann as Dorothy’s ardent suitor is perfect as the narcissistic brain-dead actor. Julie Halston as the show’s producer is a delight.

Credit has to be given to director Scott Ellis, as this is his second show this season, the first being the brilliant revival of Kiss Me, Kate currently at Studio 54. The man has taste and knows how to keep things moving at a quick pace. He has taken a familiar story and presented it in new terms as a musical that is worth visiting and enjoying.

Edited by Scott Harrah
Published April 26, 2019
Reviewed at April 25, 2019 press performance.

‘TOOTSIE’: Santino Fontana & Lilli Cooper. Photo: Matthew Murphy

‘TOOTSIE’: Santino Fontana. Photo: Julieta Cervantes

‘TOOTSIE’: Santino Fontana & Lilli Cooper. Photo: Matthew Murphy

‘TOOTSIE’: Santino Fontana (right) & company. Photo: Matthew Murphy

‘TOOTSIE’: (left to right) Julie Halston, James Moye, Santino Fontana, Lilli Cooper & John Behlmann. Photo: Matthew Murphy

‘TOOTSIE’: (left to right) Leslie Donna Flesner, Shina Ann Morris, Santino Fontana & Julie Halston. Photo: Matthew Murphy

‘TOOTSIE’: Santino Fontana & Andy Grotelueschen. Photo: Matthew Murphy

‘TOOTSIE’: Lilli Cooper & cast. Photo: Matthew Murphy

‘TOOTSIE’: Reg Rogers (center) & cast. Photo: Matthew Murphy

‘TOOTSIE’: Lilli Cooper. Photo: Matthew Murphy

‘TOOTSIE’: Sarah Stiles & Andy Groteluesche. Photo: Matthew Murphy

‘TOOTSIE’: Santino Fontana (center) with (left to right) Drew King, Leslie Donna Flesner, Sissy Bell & John Arthur Greene. Photo: Julieta Cervantes

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‘SPONGEBOB SQUAREPANTS’: Ethan Slater, making a phenomenal Broadway debut bringing the iconic cartoon character SpongeBob to life. Photo: Joan Marcus

SPONGEBOB SQUAREPANTS: THE BROADWAY MUSICAL
Based on the series by Stephen Hillenburg
Book by Kyle Jarrow
Music Supervision, orchestration & arrangements by Tom Kitt
Choreographed by Christopher Gattelli
Directed by Tina Landau
Palace Theatre

Broadway & 47th Street

(877-250-2929), www.SpongeBobBroadway.com

By Scott Harrah

SpongeBob Squarepants: The Broadway Musical is surprisingly one of the best shows of the season and is a welcome respite from an otherwise lackluster fall on Broadway. Based on the hit Nickelodeon TV cartoon that’s been thrilling kids and adults alike since 1999, this original musical has so much colorful, joyful glee going for it, from the effervescent newcomer Ethan Slater as the iconic SpongeBob to clever sets and costumes by David Zinn to infectious songs by everyone from Cyndi Lauper, Sara Bareilles and John Legend to Steven Tyler and Joe Perry of Aerosmith and the late David Bowie, all skillfully and sharply directed by Tina Landau and choreographed by Christopher Gatelli.

One doesn’t even need to have ever seen an episode of “SpongeBob” (though it helps) to enjoy this magical piece of theatrical cotton candy. From the opening moments, when Patchy the Pirate (Jon Rua) takes the stage, followed by two security guards (Vashty Mompoint and JC Schuster), we know this show is all about having fun, and will be like a party. Its originality is ingenious and the pleasure never ends, thanks to a solid book by Kyle Jarrow and tight music supervision, orchestrations and arrangements by Tony and Pulitzer Prize winner Tom Kitt (Next to Normal).

The story is simple: Bikini Bottom, home to SpongeBob and all the whimsical undersea creatures that inhabit the TV show, faces annihilation by an impending volcanic eruption that will destroy everything and everyone. SpongeBob and his “BFF” Patrick Star (Danny Skinner) try to come up with a plan to save the town. Along the way, we meet the many townsfolk, from Squidward Q. Tentacles (Gavin Lee) to Eugene Krabs (Brian Ray Norris), Karen the Computer (Stephanie Hsu) and Sandy Cheeks (Lilli Cooper) to Sheldon Plankton (Wesley Taylor).

Great musicals have outstanding songs, and there are so many here, from the opener “Bikini Bottom Day” to “Hero is My Middle Name” by Cyndi Lauper and Rob Hyman. One of the highlights is “I’m Not a Loser” (written by They Might Be Giants), featuring Squidward Q. Tentacles and his many tap-shoe-covered “feet” doing a show-stopping, razzle-dazzle production number with the tap-dancing Sea Anemones.

There are so many impeccable performances from the mega-talented cast that it’s almost impossible to mention them all, but standouts include Gavin Lee with his snarky take on Squidward Q. Tentacles; Lilli Cooper as the brilliant Sandy Cheeks, the only mammal in this aquatic land; and of course, Ethan Slater as SpongeBob. Instead of wearing a SpongeBob costume, Ethan Slater is a flesh-and-blood incarnation of the famous creature who lives in a pineapple under the sea. Sporting plaid pants and suspenders, Mr. Slater brings an exhausting, stratospheric level of both energy and humanity to the role. There is a natural guilelessness to Mr. Slater and he imbues it flawlessly into SpongeBob, adding the many layers of dimension necessary to bring a cartoon character to life onstage.

Long may Bikini Bottom have a place on Broadway, because SpongeBob SquarePants deserves to run for years and entertain and inspire many with its universal message of teamwork, inclusiveness and hope, making it a badly needed tonic for these troubled times, but it’s also just a lot of harmless merriment and so much fun.

Edited by Scott Harrah
Published December 8, 2017
Reviewed at December 7, 2017 press performance.

‘SPONGEBOB SQUAREPANTS’: Lilli Cooper & Ethan Slater. Photo: Joan Marcus

‘SPONGEBOB SQUAREPANTS’: Wesley Taylor & company. Photo: Joan Marcus

‘SPONGEBOB SQUAREPANTS’: Gavin Lee & company. Photo: Joan Marcus

‘SPONGEBOB SQUAREPANTS’: The cast. Photo: Joan Marcus

‘SPONGEBOB SQUAREPANTS’: Danny Skinner & Ethan Slater. Photo: Joan Marcus

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