The Best Shows of 2015: Part II

With the impending arrival of 2015, it's time to take a look back at the year that was and assess some of the highlights of the year in theatre. I've already shared 5 of my Best of 2015 picks in my previous post, and today it is time to reveal my picks for the Top 5 shows of the past calendar year. As always, this list is limited to productions which officially opened in 2015 and which I actually saw, so think of it more as a personal favorite list rather than a definitive ranking.

Without further ado, here are my favorite theatrical experiences of 2015!

5) Honeymoon in Vegas

Rob McClure (center) and the cast of Honeymoon in Vegas

Jason Robert Brown just can't seem to catch a break when it comes to his Broadway shows. Just like the criminally ignored Bridges of Madison County (my absolute favorite show of 2014), Honeymoon in Vegas was another stellar musical that just couldn't find an audience. Brown's first attempt at full blown musical comedy, this delightful Vegas-set tale featured a brassy, big band score and the kind of witty, tongue-twisting lyrics the composer is known for. The cast was first rate, especially Rob McClure and Brynn O'Malley as the romantic leads, so I couldn't begin to tell you why the well-reviewed show didn't do better at the box office. Maybe it was the prolonged two-month preview period, which made the show seem like old news by the time it opened in mid-January. Maybe it was the presence of Tony Danza in the cast, which many people seemed to mistake for stunt casting even though the TV star actually turned in a rather appealing performance. Thankfully the show received a cast album, and I suspect that like many of Brown's other works this is a show that will be discovered and cherished by many musical theatre fans for years to come.

4) The Color Purple

Jennifer Hudson leads the cast of The Color Purple in a rousing rendition of "Push Da Button."

There are many reason to praise God for John Doyle's absolutely stunning revival of The Color Purple, but perhaps the biggest blessing of this scaled back version is it has allowed critics to see what I saw while rushing the original Broadway production 10 years ago: The Color Purple is a superbly written emotional sucker punch of a show, a harrowing but ultimately joyous celebration of life and overcoming adversity. This production also finally brought Jennifer Hudson to Broadway, something we've all been waiting for since her Oscar-winning turn as Effie White in the Dreamgirls film. And while Hudson is excellent, the talk of the town is sure to be British newcomer Cynthia Erivo, who blows the roof off the Bernard B. Jacobs Theatre as the beleaguered Miss Celie. Erivo inhabits the role with a commanding stage presence that far exceeds her diminutive frame, and her powerhouse voice turns mere songs into soul rattling epiphanies set to music. Even if the rest of the production was garbage, this Color Purple would be worth seeing for Erivo alone. The fact that the rest of the cast often matches her awe-inspiring commitment and intensity makes this easily one of the best shows of the year.

3) The Hunchback of Notre Dame

Michael Arden and Ciara Renee in Paper Mill Playhouse's The Hunchback of Notre Dame.

The best Disney Theatrical show I've ever seen didn't even make it to New York, instead playing across the river in New Jersey's Paper Mill Playhouse. The long-rumored stage adaptation of Disney's Hunchback of Notre Dame took the most problematic film of the studio's Animation Renaissance and de-Disneyfied it, returning to the darker, more melancholy tone of Victor Hugo's original novel. This approach made all the difference, resulting in a decidedly adult show that didn't shy away from the nastier implications of this Parisian-set tragedy. In providing the villainous Claude Frollo with more morally complex, clearly defined motivations, he actually emerged as an even more monstrous and menacing villain than the cartoonishly evil character in the film (a quality augmented by Patrick Page's excellent performance). And let's not forget Michael Arden's wonderfully effective and thrillingly sung take on the title character, nor Ciara Renee's beguiling gypsy Esmeralda. I ultimately understand Disney's decision not to move the show to Broadway (it is not one of the family-friendly spectacles the company has become known for), but that doesn't lessen the sting of the show's all too brief run. I'm just glad I made the trek out to Jersey before it closed.

2) The King and I

Tony-winner Kelli O'Hara and Tony-nominee Ken Watanabe in Lincoln Center's The King and I. I'll say it again: TONY-WINNER KELLI O'HARA!

Simply glorious. That's the best way to describe the absolutely transcendent Lincoln Center Theatre production of Rodgers and Hammerstein's The King and I, one of the most lavishly produced and lovingly crafter musical revivals I've ever seen. From the second the radiant (now Tony-winner!) Kelli O'Hara makes her entrance on the imposing prow of her ship to the final tableau of Anna and the King of Siam surrounded by the next generation, this expertly handled production remains riveting throughout its three hour runtime. Director Bartlett Sher's genius lies in his ability to radically alter the way a show is performed without appearing to do anything at all, to the point where you leave the theatre convinced his take on the material is what the authors had always intended. This King and I functions as both a family friendly musical entertainment and a highly complex character drama, directly tackles issues such as female empowerment and the nature of rule while providing all the eye-popping visuals audiences have come to expect in a modern musical. Anchoring it all is O'Hara and the supremely talented cast, which also includes the hypnotic Ruthie Ann Miles as the King's primary wife, Lady Thiang. This is as good a production of the Rodgers and Hammerstein classic as we're ever likely to see, and it will hopefully run for a good long while.

1) Hamilton

You know your show has a devoted following when a minor character like Peggy Schuyler (who has maybe 10 lines total) has her own rabid fanbase.

How could anything but Hamilton top my list of 2015's best shows? Lin-Manuel Miranda's hip-hop magnum opus has dominated Broadway websites for the better part of the year, while also crossing over into pop-culture in a way few musicals ever do. Yet the reason Hamilton tops my personal list is not its record-breaking financial success, nor its near ubiquity in the theatrical conversation. The show earns the title of Best Show of 2015 due to the fact that when you strip away all the hype, you are left with a near-perfect piece of theatrical writing, brazenly adventurous and yet hugely respectful of all that has come before. The score is a compulsively listenable work of genius, instantly captivating and yet so richly nuanced that new surprises reveal themselves with each repeated hearing. The cast is simply astounding, from Miranda's commanding performance in the title role to Leslie Odom, Jr.'s star making turn as Aaron Burr to the scene stealing Daveed Diggs in the dual roles of the Marquis de Lafayette and Thomas Jefferson. And let's not forget Phillipa Soo's deeply felt performance as Eliza Hamilton or Renee Elise Goldsberry's revelatory (and Tony-worthy) work as Eliza's sister Angelica. Everyone from the top billed stars to the ensemble - one of the hardest working group of dancer/singers on Broadway - give 110% from start to finish, executing Thomas Kail's brilliant staging and Andy Blankenbuehler's hard-hitting choreography flawlessly. Do whatever you have to secure a ticket and witness theatrical history being made, as Hamilton may well prove to be the Best Show of the Decade.


And that wraps up my look back at the Best Shows of 2015. Looking back, the breadth of the type of shows which have been produced, and their artistic daring, gives me great hope for the future of the industry. This is a year where producers took some major risks, and many of them paid off not only artistically but commercially. An intimate musical about a lesbian coming to terms with her closeted father won the Tony and turned a profit, and a hip-hop musical with a multi-ethnic cast has become the most critically and commercially successful musical in years. Here's hoping for a 2016 that is equally varied and artistically ambitious, and be sure to keep checking Broadway Etc. for coverage of all the latest and greatest the New York theatre scene has to offer.

Happy New Year!

Extremely Early 2015 Tony Predictions: Part II

Because my love of the Tony Awards cannot be contained to a mere six weeks in the spring, I am once again using the winter lull in Broadway activity to assess the Tony prospects of last fall's shows. I've already discussed my thoughts on the production categories, meaning it's time to turn my attention to the leading actor and actress awards.

This year sees a potentially game changing new rule allowing up to seven nominees in each of the acting categories, which is highly exciting but also makes any predictions that much harder. Since a tie in the nominations process is required to activate a category expansion I doubt we'll see it occur across the board, and after last year's Best Musical controversy I think it's best to assume the committee will err towards less rather than more nominees. With a large number of productions slated to open in the next few months that will surely produce some awards buzz, I'm also going to limit my discussion here to those performers I think have made particularly strong critical impressions.

Warning: Occasional snark and lots of speculation to follow.

Best Actor in a Musical

Tony Yazbeck is giving a helluva performance in the triumphant Broadway return of On the Town.

The currently aren't a lot of performers who qualify in this category, but a couple of them already look like sure things. Tony Yazbeck is a hard-working and well-respected triple threat who's been given the role of his career in the top notch revival of On the Town. Yazbeck knocks it out of the park with his beautifully sung and gorgeously danced Gabey, and I would be shocked if he didn't at least score a nomination. I also expect Honeymoon in Vegas' Rob McClure to be among the lucky few on April 28th, especially since his current vehicle is much more deserving of the mercurial actor's many talents than the ill-fated Chaplin (for which he was also nominated). If there weren't so many male-fronted musicals on the horizon I would be more optimistic about Michael Esper's chances for his accomplished work in The Last Ship, but that show's early closing will be a difficult obstacle to overcome. There's also a very slim chance McClure's costar Tony Danza scores a nod, although I suspect he might be demoted to the supporting actor race despite his above the title billing.

Best Actor in a Play

Recent Julliard graduate Alex Sharp (right) astounds in The Curious Incident of the Dog in the Night-Time, a performance made all the more impressive by the fact that it's his Broadway debut. 

This is, hands down, the most competitive acting category at the moment. If any race is going to prompt an expansion in the number of nominees, it will be this one, which features a glut of deserving talent even before the upcoming spring shows are taken into account. It would be downright criminal to deny a nomination to The Curious Incident of the Dog in the Night-Time's Alex Sharp, the Julliard graduate whose Broadway debut is more layered, nuanced, and compelling than many Broadway veterans. And while Bradley Cooper's name certainly helped generate initial interest in The Elephant Man, it's his universally praised performance as the titular character that has made that revival one of the season's hottest tickets. Both Sharp and Cooper are virtual locks.

Very close behind them is Broadway favorite Hugh Jackman, although The River has proven divisive enough as a play that it might hinder his Tony chances. On the other hand, even critics who were lukewarm on the production were impressed with the Jackman's performance, with several calling it the best of his Broadway career. It would be very surprising to see Jackman's name excluded when the nominations are announced, but the category is so competitive he may wind up as one of this year's high profile snubs. A case can also be made for Jake Gyllenhaal in his well-reviewed Broadway debut, but my feeling is that several of the spring plays will have to disappoint for the trippy Constellations to have any real awards momentum come April. And while Nathan Lane is one of our most reliable talents and was easily the best thing about the disappointing It's Only a Play, I just don't know if there's space for him among this year's nominees. If there's going to be a wildcard among the lead actors, it would be Disgraced's Hari Dhillon, but in all honesty I think the category is just too crowded for him to make the cut.

Best Actress in a Musical

Brynn O'Malley (right) gets romanced by a crooning Tony Danza in the fun-filled musical romp Honeymoon in Vegas.

I want to go on record saying Brynn O'Malley needs a Tony nomination for her standout work in Honeymoon in Vegas; her performance was my favorite thing about Jason Robert Brown's highly enjoyable musical comedy. She has little chance of actually winning, especially with new roles for Tony darlings Kelli O'Hara, Kristin Chenoweth, and Chita Rivera on the horizon, but I'm really hoping the committee includes O'Malley's name among those announced on April 28th (I think they will). I also have a soft spot for Side Show's Erin Davie and Emily Padgett, perfectly matched as conjoined twins Daisy and Violet Hilton, but I fear their show will be too long gone by the time nominations are doled out. While it would be nice to see the pair win a joint nomination like their predecessors Alice Ripley and Emily Skinner did in 1998, I have a sneaking suspicion these talented ladies will be considered individually and split votes to the point neither gets nominated. Should the category expand to six or seven nominees, there's also an outside chance The Last Ship's Rachel Tucker gets nominated for her performance as the conflicted Meg Dawson, but that scenario involves one or more of the spring's actresses turning in an unexpectedly subpar performance.

Best Actress in a Play

Three time Tony winner Glenn Close returned to Broadway in the well reviewed revival of A Delicate Balance, but the curiously buzz free production may well be forgotten by the time Tony Awards are handed out.

Most of the big names in plays this fall were men, which leaves the Best Actress category with more breathing room. It also makes this race more unpredictable, as it could go any number of ways. Glenn Close's much anticipated Broadway return in A Delicate Balance was well received and certainly makes the three-time Tony winner a contender, although that production has virtually no buzz around it. As a member of Disgraced's much praised ensemble Gretchen Mol also merits consideration, and may be the one actor from the incendiary play that actually manages to score a nomination. I would also keep an eye on Constellations' Ruth Wilson, as the two-time Olivier Award winner is a big part of why that reality-spanning love story went over so well with critics. The Real Thing's Maggie Gyllenhaal might even slip in here if the category does expand, although I have to imagine at least one of the slots is reserved for Helen Mirren's Queen Elizabeth II in this spring's The Audience.


Those are my thoughts on where the lead actor and actress races currently stand; feel free to share your picks in the comments. And for more of my 2015 Tony Awards coverage, check out below:

Tony Awards Rule Change
Extremely Early 2015 Tony Predictions: Part I

Extremely Early 2015 Tony Predictions: Part I

Given my unabashed enthusiasm for predicting the Tony Awards, last year I decided to take a midseason look at the likely nominees for the Big 12 categories (re: production and acting), and those posts ended up being some of the most popular in the blog's history. So I'm at it again this year, taking stock of all the shows that have already opened to see who has made a big enough impression to be remembered when the Tony Award nominations are announced on April 28th. As the Tonys historically favor spring shows, only the people and productions who have made incredibly strong critical and/or commercial showings can really be considered contenders at this point. So which productions do I think have done just that? Find out below!

WARNING: Occasional snark and lots of speculation to follow.

Best Musical

Tony Danza and Rob McClure in the year's best new musical thus far, Jason Robert Brown's fun-filled Honeymoon in Vegas.

There are currently only three shows eligible in this category, and the chances of Holler If Ya Hear Me scoring a Best Musical nod after its disastrously short run in early June are almost non-existent. It is tempting to say the two other new musicals, The Last Ship and Honeymoon in Vegas, will both make the Tonys' shortlist, but by only selecting four Best Musical contenders last year the nominations committee proved that just because they can nominate five shows doesn't mean they will. With a host of high profile new musicals slated for the spring, I suspect that we will only see one nominee from this fall's batch of shows. After all, I have to imagine Pulitzer Prize finalist Fun Home will get a Best Musical nod, and with anticipated shows like Finding Neverland, Something Rotten, and Doctor Zhivago on the horizon things look particularly grim for the already shuttered Last Ship. In addition to scoring stronger reviews, Honeymoon at least has a chance at running into the spring (although its box office will need to improve quickly), which makes it the closest to a sure thing we have right now. And for the record, I do expect to see five Best Musical nominees this year; I just expect the majority of them to come from the seven productions slated to open in the spring.

Best Play

One of many eye-popping images from the spectacular London import The Curious Incident of the Dog in the Night-Time.

This is already a strongly competitive category, with Disgraced, The Curious Incident of the Dog in the Night-Time, and Constellations all scoring across the board raves. Unless the spring slate of new plays is particularly weak, at least one of these shows will likely be omitted despite a probable five Best Play nominees. Curious Incident is in the best position, having earned a mention on many Best of 2014 lists (including my own) thanks to its eye-popping staging and engrossing portrayal of an autistic teen's struggle to clear his good name. I would consider the show a virtual lock for a nomination and a strong contender to actually win. One would think Pulitzer Prize winner Disgraced would also make the cut, but interest in the show has cooled considerably and it will close long before Tony nominations are announced; the committee may decide the show has already received the recognition it deserves. Constellations will probably prove too heady and weird for its own good, although it still has a shot if one or more spring shows disappoint.

Best Musical Revival

NY City Ballet principal dancer Megan Fairchild (left) makes an impressive Broadway debut next to longtime scene stealer Jackie Hoffman (right) in the stellar revival of On the Town.

The obvious frontrunner here is John Rando's knockout revival of the Bernstein-Comden-Green tuner On the Town. I expect this show to do quite well come Tony time, and although it faces steep competition from Lincoln Center's sure-to-be lavish The King and I, this little show that could might just win it all on Tony Sunday. Meanwhile, Side Show's fortunes are harder to predict. Those familiar with the property, either from its original Broadway run or that production's cast recording, were over the moon about this reconceived revival, but the uninitiated seemed to not quite understand what all the fuss was about. Compounding Side Show's woes is the fact it has already shuttered, placing it out of sight and out of mind for many voters. For this dark musical to have any shot at a nomination, at least one of the spring revivals - On the Twentieth Century, Gigi, or the aforementioned King and I - will have to bomb, as there aren't enough shows to force an expansion of the category (and we may only get three nominees, just like last year).

Best Play Revival

Bradley Cooper (left) has been packing them in for his critically acclaimed run in The Elephant Man.

There are just enough play revivals scheduled for this season that the Tony committee could select five nominees if they were so inclined. Even if they don't, the majority of Best Revival of a Play nominees will come from the fall season, as there are only two more scheduled for the spring. The one sure thing is critical and box office smash The Elephant Man, which proves that Bradley Cooper can sell tickets and win accolades whether he's onscreen or onstage. Not quite as certain but still very likely is a nod for the excellently rendered You Can't Take It With You, which managed to overcome industry skepticism and make critics view this well-worn comedy afresh.

Given the lack of any other breakout hits, the rest of the nominations could go any number of ways. Both Love Letters and This is Our Youth received surprisingly strong reviews but only middling box office, and will have been closed for months by the time Tony voters cast their ballots. I wouldn't rule either show completely out, although I would favor Youth over Letters, as the latter was essentially a glorified reading and some voters will surely scoff at that. There's an outside chance Broadway's love of Glenn Close and John Lithgow leads to A Delicate Balance getting nominated, or that the huge box office of It's Only a Play gets it recognized, but I wouldn't count on either. I actually think It's Only a Play has hurt its chances by extending without its strongest asset (Nathan Lane), as two months of pulling in half the grosses it did this fall is going to take a lot of the sheen off this middling McNally revival.


Of course, all of this is subject to change based on the strength of the spring slate of productions, especially the Best Musical and Play categories. Check back soon to see which actors and actresses I think are sitting pretty when it comes to awards prospects, and feel free to let me know who you're rooting for in the comments.

For more 2015 Tony coverage, check out my thoughts on the latest Tony rule changes here.

When You Say Vegas, You're Saying Laughs

Review: Honeymoon in Vegas

Tony Danza (left) and Rob McClure (right) ham it up in the hysterical new comedy Honeymoon in Vegas.

If there was a Tony Award for most versatile composer, Jason Robert Brown (who already has 3 of the gold statuettes) would certainly be a prime candidate. Brown's bouncy songs for the frothy, tuneful Honeymoon in Vegas couldn't be further removed from the rapturous, nearly operatic score he composed for The Bridges of Madison County just one year ago. Like Bridges, his latest show is not entirely free from flaws, but those problems are miniscule compared to everything this slickly produced and highly entertaining comedy gets right. Honeymoon is the most purely entertaining new musical of the season, and represents yet another high point in Brown's ever expanding songbook.

The show concerns Jack Singer, an everyday Brooklynite with serious commitment issues. Although Jack dearly loves his longtime girlfriend Betsy, a deathbed promise to his departed mother causes him to choke every time he contemplates popping the big question. He finally works up the nerve to take her to Las Vegas to elope, but things go awry when an unscrupulous gambler by the name of Tommy Korman decides he must have Betsy for himself (as she is a dead ringer for Tommy's deceased wife). What follows is a madcap adventure that takes everyone from the Vegas Strip to the beaches of Hawaii and back over the course of one zany weekend, with plenty of musical comedy shenanigans along the way.

Brown has been duly praised over the course of his career, and his work here again asserts his position as one of the most versatile, accomplished composers working in the theatre today. Brown combines infectious melodies and toe tapping vamps with playfully inventive lyrics that are witty without feeling forced; even the ever-exacting Sondheim would surely be delighted with the rhyming of "Beyoncé" and "fiancé." The songs walk the fine line between sounding familiar and still offering sonic surprises, and everything has been arranged by Brown and his co-orchestrators Don Sebesky, Larry Blank, and Charlie Rosen to evoke the big brassy musicals of yesteryear. While a couple of songs overstay their welcome, the vast majority are so delightful you'll actually find yourself wishing for full fledged reprises rather than the melodic motifs Brown favors here. If there's one major knock against the score, it's that the songs are so well integrated into the plot that it prohibits any true showstoppers from emerging.

Speaking of plotting, librettist Andrew Bergman has done a smashing job of adapting his own screenplay for the stage. Although certain developments are a little too clearly telegraphed, the book scenes in large part avoid the inauthenticity that plagues so many musical comedies. The songs are the clear highlight, but the book scenes hold your interest because they handle character and plot development in a way that is virtually seamless.

Unfortunately for the show, some of Brown and Bergman's sterling work is obscured by Gary Griffin's overly busy direction. Certain jokes get lost thanks to unnecessarily distracting staging, which renders numbers like the opening "I Love Betsy" less humorous than they could be. There are also certain physical conventions that are only haphazardly employed, which again confuses things in this very tightly written and plotted show. One glaring example is "Forever Starts Tonight," which sees Tommy inexplicably interacting with Jack and Betsy while they steadfastly ignore his presence. Griffin probably means for Tommy to be in a separate location, but having him move between the two and even touch them (on a bare stage) makes the distinction harder to grasp. First time choreographer Denis Jones' work is also underwhelming, although part of his problem stems from trying to shoehorn a traditional ensemble into songs that don't really require them outside of backing harmonies.

In the central role of Jack, Tony-nominee Rob McClure does exceptional work. McClure has an appealing everyman quality with just enough neurosis to keep him interesting, and his delivery of Brown's lyrics is as natural and effortless as breathing. McClure's incredibly expressive face speaks volumes, and the young actor has a clear gift for musical comedy that he smartly deploys throughout the evening. Television icon Tony Danza is surprisingly effective as McClure's romantic rival Tommy, with a pleasant singing voice and an easy-going persona that belies the nefarious means he'll use to get what he wants. Danza can seem stiff at times, but overall he gives a charmingly accomplished performance.

As the much desired and put upon Betsy, Brynn O'Malley is something close to a revelation. O'Malley takes a character that could have been quite boring and makes her the most interesting and human person onstage, in a brilliantly naturalistic turn that has just enough comedic bite to withstand the tomfoolery going on around her. Equally adept at heartfelt ballads and more comedic uptempos, O'Malley also has a subtly hilarious, entirely wordless cameo as Tommy's long-dead wife during the song "Out of the Sun." The only thing that could possibly improve O'Malley's performance is if Brown had written her the showstopper she so clearly deserves. The extremely catchy "Betsy's Getting Married" comes *this close* to being such a number, but unfortunately for O'Malley the song morphs into a musical scene between Jack and Tommy just when she's poised to kick the song into high gear.

The entire enterprise is slickly designed and lovingly realized, with the saturated colors and slightly exaggerated geometry of Anna Louizos' set selling the fantasy of Honeymoon's versions of Vegas, New York, and Hawaii. Louizos also makes excellent use of projections to seamlessly enhance her sets in a way that is almost unnoticeable (and more importantly, doesn't replace physical set pieces). Brian Hemesath's costumes encompass everything from track suits to feathered headdresses, all rendered in eye-popping colors that perfectly compliment the show's heightened tone. The show is always a joy to look at, successfully combining a modern Broadway aesthetic with an old school sensibility.

In fact, that duality best sums up Honeymoon in Vegas. It seamlessly combines the best traits of Golden Age musical comedies and more contemporary works, bolstered by yet another outstanding score from the multi-talented Jason Robert Brown. Overflowing with wit and warmth, the production is occasionally hindered by Gary Griffin's overreliance on bells and whistles, but the show's big beaming heart shines through regardless. Rob McClure proves that his excellent work in the ill-fated Chaplin was not a fluke, and Brynn O'Malley emerges as a musical comedy force to be reckoned with. Honeymoon is one of the safest bets you can currently make on Broadway, a guaranteed good time that deserves a wider audience.

2014 Fall Preview: The Musicals

Erin Davie and Emily Padgett are set to reprise their roles as conjoined twins Violet and Daisy Hilton in the Broadway transfer of the acclaimed Kennedy Center production of the cult musical Side Show.

Although I am vehemently opposed to our nation's obsession with pumpkin everything and the attendant rush to have it be fall RIGHT NOW, there's no denying that the summer is coming to a close. The coming months will see a bevy of new Broadway productions begin performances, and since I've already examined the fall's crop of plays it's time to turn our attention to the type of theatre that is most synonymous with the Great White Way: the Broadway musical. While there aren't nearly as many musicals as plays premiering in the coming months, the industry seems to have collectively decided on a quality-over-quantity approach. (Almost) Every single musical, new or revived, sounds like an enticing evening at the theatre, and I am legitimately excited for them. So without further ado, here are the upcoming shows that will hopefully have us singing and dancing in the aisle this coming fall.

On the Town
Previews begin 9/20; Opening Night 10/16

While I'm not convinced the current Broadway economy can really support a big budget, old school song-and-dance fest like On the Town, I'm sure glad some producers have decided to give it a try. The Bernstein-Comden-Green musical perfectly fits my criteria for shows that merit a full scale revival (it's a well-liked musical that was a huge hit during its original run that isn't produced very often anymore), and it will be nice to see another dance musical on the Great White Way now that Newsies has ceased carrying the banner. I'm concerned On the Town has booked Spider-Man's old theatre (the freshly renamed Lyric), because I don't think the musical has the kind of drawing power to consistently sell a house that size, but hopefully the producers keep running costs low so it won't need to be a sell-out hit to survive.

The Last Ship
Previews begin 9/30; Opening Night 10/26

This is the one musical I am not interested in seeing, thanks mostly to the snooze-inducing preview performance on this year's Tony telecast. Multiple Grammy-winner Sting tries his hand at writing showtunes for this semi-autobiographical show about a shipbuilding town in England struggling to stave off financial ruin. As Bono and the Edge proved with their disastrous Spider-Man: Turn Off the Dark, success and acclaim in the recording industry doesn't always translate to the stage, and quite honestly the entire affair sounds dull and uninteresting. In fairness, The Last Ship received encouraging (but by no means stellar) reviews during its out of town tryout, but it's going to need really strong buzz to convince me I want to sit through 2 1/2 hours of the same type of low-key material showcased on the Tonys.

Side Show
Previews begin 10/28; Opening Night 11/17

It took longer than I initially expected, but the well-reviewed Kennedy Center production of this 1997 cult-musical is officially coming to Broadway, and I couldn't be more excited. While the original production of Side Show only ran for a couple of months, the musical's reputation has only grown since its premature closing thanks to an intriguing premise - it tells the story of real-life conjoined twins Daisy and Violet Hilton - and a fantastic score. The show has been retooled, rethought, and rewritten by original authors Henry Krieger and Bill Russell along with the revival's director, Bill Condon (an Oscar winner who is also responsible for the fantastic film version of Krieger's Dreamgirls). I'm concerned about the show's financial prospects - dark musical dramas are a hard sell these days - but I will certainly be in attendance, and I hope this new production is the beginning of a long and prosperous second life for the ambitious property.

Honeymoon in Vegas
Previews begin 11/18; Opening Night 1/15/15

While I couldn't begin to tell you why a show The New York Times' Ben Brantley practically demanded transfer to Broadway has a two month preview period, the important thing is Honeymoon in Vegas is coming to bless us with another glorious Jason Robert Brown score. While this is the first full-fledged comedy the three-time Tony-winner has written, his previous works are rife with inventive lyrics and fun, uptempo melodies in songs like The Last 5 Year's "Summer in Ohio" or Songs for a New World's "Surabaya-Santa." It also marks the Broadway return of rising star Rob McClure, who will hopefully find a vehicle more worthy of his talents than the misguided Chaplin a few years back. If the show is as good as early buzz suggests, Honeymoon may give Brown his first commercial success, something that should help ease the sting of the criminally chilly reception his brilliant Bridges of Madison County received earlier this year. (Sidenote: both the show and leading lady Kelli O'Hara were *robbed* of Tony Awards this year!)


And there you have it! Those are all 16 productions scheduled to premiere on Broadway this fall. Which shows are you most excited about? Don't be afraid to let me know in the comments!

And in case you missed it, here are the previous two parts of my Fall Preview:

2014 Fall Preview: Play Revivals
2014 Fall Preview: New Plays

A Reasoned Explanation of Why Some Shows Just Need to Close Already

Sorry all you ABBA fans, but it's time for these "dancing queens" to retire.

Last season turned out to be a pretty prolific season for new musicals, with 12 brand new tuners officially debuting on the Great White Way.  But looking ahead at the 2014-2015 season, the situation is a lot less cheery.  Holler If Ya Hear Me already came and went, and looking at the currently announced shows for the next season, there are a whopping 3 new musicals scheduled to come to Broadway: The Last Ship, Honeymoon in Vegas, and An American in Paris. 

Yes, there are a handful of other musicals which have announced their intentions to come to Broadway next season, but as far as I'm concerned a musical isn't officially happening until it has a specific date and theatre lined up.  Even then, it isn't a done deal (see the very public collapse of Rebecca) but once those qualifications are met it becomes significantly more likely the show will happen.  So while a show like Finding Neverland (currently premiering at ART in Boston) will most likely come to Broadway, and shows like Bull Durham and Allegiance have announced intentions to come to Broadway sooner rather than later, they aren't guaranteed just yet.

Now obviously, any season that only produces 4 new musicals is depressing (especially when one of them has already flopped).  But what's more troubling is what this says about the current state of Broadway.  If you look at the Upcoming Broadway Shows list on Playbill.com, you can see the problem isn't a lack of new works.  After the 3 confirmed shows mentioned above, there are no less than 16 musicals with producers and creative teams attached that have announced Broadway intentions.  I count 9 shows that could reasonably be ready for a Broadway bow by spring 2015, as all 9 have already had world premieres or are scheduled to have them by this winter.  A few of them do have some well-documented behind the scenes troubles (Rebecca chief among them), but the majority of them are waiting on just one thing: an available theatre.

And that is what really bugs me about this upcoming season.  We have too many long-running productions on Broadway right now, many of which have become tired and a few of which weren't particularly good to begin with (for my purposes, long running means anything that premiered before spring 2013).  These productions are exclusively musicals, several of which wore out their welcome long ago, and as far as I'm concerned it would be better for everyone if those shows ended their runs to make room for new blood. 

Whenever someone expresses the sentiment that a show (or shows) need to close, certain segments of the industry are quick to point out that those shows mean jobs.  Now, I won't deny that Chicago and Mamma Mia! have employed a lot of people over the years, but the flip side of that is they have only employed a specific type of person.  If someone is not right for these shows (and many actors aren't), the productions' continued runs are actually preventing that actor from working by taking up theatre space which could be used for a show the performer is perfect for.  Both Mamma Mia! and Chicago long ago became the almost exclusive domain of tourists (or New Yorkers entertaining out of town guests), and there has also been a noticeable decline in quality in both productions.

When did it become the norm for a show to run for 10+ years? (Answer: the 1980s.)  The original production of Oklahoma! was considered an unprecedented smash when it ran for 5 years; in today's climate, a production with the kind of acclaim Oklahoma! received would be considered a mild disappointment if it "only" ran that long (many people were surprised when The Producers shuttered after 6 years).  This is a problem, in that it creates both unrealistic expectations for the vast majority of shows and eats up valuable theatrical real estate as producers try to chase these new standards.

Unless the production is poorly budgeted/horribly mismanaged, it really shouldn't take more than a couple of years for a Broadway musical to turn a profit.  Even a major musical like Kinky Boots, which had a capitalization of $13.5 million, managed to turn a profit in less than a year.  So rather than viewing a show as a disappointment for closing after 3 years, especially a profitable one that won good reviews and industry acclaim, I wish the theatrical community would celebrate a 3 year run as the achievement it is, letting more shows gracefully exit the limelight so new productions can take their place.

A perfect example of this philosophy is what Disney has done with Newsies.  Considering the excitement and strong notices that greeted the Broadway production, no one was particularly surprised when its "strictly limited engagement" became an open-ended run.  What was surprising was when the show, which still pulls in a very respectable weekly gross, announced it was closing at the end of the summer after a 2 year run.  Make no mistake, Disney could run this show longer if they wanted to.  Newsies could easily sustain itself until Christmas, and could probably limp along through next summer if it wanted.  After all, it recouped its capitalization ages ago, so as long as the weekly box office covers operating costs the show isn't hurting anyone financially.  But instead Disney has smartly decided to let Newsies go out while still on top, rather than wearing out its welcome and thereby damaging the show's overall brand.

It is a win for everyone involved.  The show turned a profit and made its producers money.  It has run more than long enough to be seen by everyone who was seriously interested.  From now until the end of time the show can be marketed as "the (Tony-winning) Broadway musical Newsies," with all the attendant prestige that description brings with it.  Without worrying about protecting the Broadway profits, Disney can tour and license the show to their heart's content.  And now the Nederlander Theatre is free to house a different show, increasing the number of new productions for the general public to consume.

Coming back to my original observation, I do believe the number of new musicals for next season will exceed the four announced, potentially by a lot.  There are several Broadway productions I have trouble seeing last through the holidays, and there are no shortage of shows looking for a suitable Broadway home.  As long as all the theatres that open up aren't snatched up by revivals (although I do hope Side Show finds a home sooner rather than later), next season should turn out fine.  But imagine how much more exciting things would be if some of Broadway's longer-running tenants packed up shop and let someone else move in.