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Around The BroadwayWorld: Top News, Reviews, Interviews & More from May 2026

Tue, 09 Jun 2026 12:03:21 PST

Around the BroadwayWorld is our monthly snapshot of the biggest stories making waves across the global theatre community. In this May 2026 edition, we're bringing you a fresh batch of standout reviews from regional stages across the country - from Brigadoon at Pasadena Playhouse in Los Angeles to The Phantom of the Opera at Seattle's Paramount Theatre and Pippin at Signature Theatre in DC.

Diane Paulus directs an immersive, David Bowie-inspired Life on Mars at American Repertory Theater, the producers of Japan's Gypsy revival walk back a planned title change, and we go behind the scenes with interviews spanning Adam Fields of the Beetlejuice national tour, The Muny's casting director Michael Baxter, Richard Kind on finally taking on Edna in Hairspray, and BWW's Kid Reporters chatting with the touring Von Trapp kids of The Sound of Music. Plus, get a first look at exciting new productions through performance videos and photos, including Anastasia at La Mirada Theatre, Dear Evan Hansen at Arden Theatre, Pippin at Signature Theatre, and the Manila cast of Jesus Christ Superstar - and so much more from across the BroadwayWorld.

Diane Paulus Will Direct Immersive David Bowie Inspired LIFE ON MARS at American Repertory Theater

Joshua Wright | Boston

Diane Paulus will direct Life on Mars, an immersive theatrical production set to David Bowie's music, as the inaugural production at the Goel Center for Creativity & Performance in May.

GYPSY in Japan: Producers Walk Back Title Change Ahead of 2026 Revival

Joshua Wright | Japan

The Japanese revival of GYPSY will retain its original title when it returns to the stage in 2026, reversing an earlier decision to present the production under the name 'Rose.'

Interviews

Interview: Adam Fields of BEETLEJUICE National Tour

Brock Mills | Jacksonville

For Adam Fields, returning to Jacksonville with the national tour of Beetlejuice the Musical isn’t just another stop, it’s a full-circle moment. The production will play in Jacksonville from May 12–17 at the Jacksonville Center for the Performing Arts.

Interview: BWW’s 'Kid Reporters' Chat With THE SOUND OF MUSIC’s Touring Von Trapp Kids

Melissa Heckscher | Los Angeles

BroadwayWorld Los Angeles' kid reporters talk with the young touring cast of THE SOUND OF MUSIC to find out what it's like to be part of one of Broadway’s most iconic shows and what actually happens behind the curtain.

Interview: Chatting with The Muny's Casting Director Michael Baxter

James Lindhorst | St. Louis

Michael Baxter’s work will shine on The Muny stage during all 50 performances this summer. He led the efforts and had a hand in hiring every one of the 194 actors who will fill the principal and ensemble roles.

Interview: Richard Kind Talks Finally Taking on Edna in The Muny's HAIRSPRAY

James Lindhorst | St. Louis

When The Muny opens their production of Hairspray on June 15, 2026, the legendary Richard Kind will don Edna Turnblad’s housecoat and step into her fuzzy house slippers. Kind, star of stage, screen and film, calls it bucket list moments to get to perform at The Muny and play Edna all at the same time.

Reviews

Review: BRIGADOON at Pasadena Playhouse

Andrew Child | Los Angeles

Brava to Alexandra Silber for capturing all the heart and humor of Lerner’s original book with her thoughtful new adaptation and brava to Katie Spelman for dreaming up a Brigadoon that is as ebullient and spirited as it is deeply human.

Review: THE PHANTOM OF THE OPERA at Paramount Theatre

Shelley Dean | Seattle

It’s almost unbelievable for me to admit that this was my first time seeing The Phantom of the Opera. Of course, I knew the iconic songs and had seen countless clips over the years, but experiencing the production live on stage for the first time was entirely different, haunting, and spine-chilling in the best way possible. From the chandelier drop to the monumental set pieces, the show truly lives up to its legendary reputation. The 2026 tour, directed by Harold Prince, serves as a revitalized version of the original production, featuring Maria Björnson’s iconic designs, musical staging, and choreography by Gillian Lynne. It is absolutely ravishing, and Seattle audiences are lining up hours early to witness the spectacle for themselves.

Review: PIPPIN at Signature Theatre

Aidan O'Connor | Washington, DC

Certain facets of the human condition are foundational to our very existence – change, connection, desire. One such particularly toxic universal truth is a constant need to be something more than we currently are. To search for happiness in external achievement rather than within ourselves, in our simple joys. Pippin at Signature Theatre breathes within that precise virulence, relatively orchestrated by a troupe of impeccably costumed and choreographed players. A feast for the eyes in all senses, Matthew Gardiner’s production surpasses even the highest of expectations.

Videos

Video: Watch La Mirada Theatre's ANASTASIA Star Lena Ceja Perform 'Journey to the Past'

Michael Major | Los Angeles

La Mirada Theatre has released new video footage of Lena Ceja rehearsing 'Journey to the Past' from their upcoming production of Anastasia. The production features Dillon Klena as Dmitry, a role first played on Broadway by his brother Derek Klena.

Photos/Video: DEAR EVAN HANSEN At Arden Theatre

A.A. Cristi | Philadelphia

Arden Theatre Company is now presenting DEAR EVAN HANSEN as the final production of its 2025/26 season, with performances continuing through July 5. New production photos and video have been released from the Philadelphia production, including footage of Evan A. Kaushesh performing “Waving Through a Window.”

Video: Watch 'Corner of the Sky' From Signature Theatre's PIPPIN

Michael Major | Washington, DC

Watch a video of Brayden Bambino performing 'Corner of the Sky' in Signature Theatre's production of Pippin. The in-the-round production is now running through July 26 with tickets available now.

Photos

Photos: Get a First Look at JESUS CHRIST SUPERSTAR in Manila

Oliver Oliveros | Philippines

The 2017 Olivier Award winner for Best Musical Revival, Tim Rice and Andrew Lloyd Webber’s rock opera 'Jesus Christ Superstar,' has officially opened at The Theatre at Solaire.

BroadwayWorld Launches Producer Fantasy Game

Tue, 09 Jun 2026 11:00:05 PST

Ever watched the weekly Broadway grosses roll in and thought you could pick the winners? Now you can put it to the test. BroadwayWorld has launched the Producer Fantasy Game, a free, season-long competition that lets theatre fans build a roster of Broadway shows and earn points based on how those productions actually perform at the box office. The draft window is open now.

How It Works

The setup is simple. During the draft window, you pick any six Broadway productions that opened this season. Drafting is non-exclusive, so there is no need to race a rival for a hot title. Any number of players can roster the same show.

From there, your shows go to work for you. Every week, each production on your roster earns fantasy points based on its reported box office grosses and capacity percentages. When Tony, Drama Desk, Drama League, and Outer Critics Circle nominations and wins are announced, your shows bank bonus points on top of that. And each week you can answer our Fantasy Forecast prediction questions for up to five bonus points per correct call.

Weekly Scoring

Each week, a show earns one base point for every $50,000 it grosses, so a $1 million week is worth 20 base points. On top of that, shows can earn bonuses: up to five points for filling seats (based on how close to full capacity the house ran), six points for grossing $2 million or more (or three points for grossing between $1 million and $2 million), and eight points if its gross jumped at least 15 percent from the week before. A show loses four points if its gross dropped at least 15 percent. If a show goes dark and reports no gross for a week, it scores zero for that week with no penalty.

The Fantasy Forecast

The Producer Fantasy Game is really two games in one. The first is the box office game: drafting shows and earning points from their weekly grosses and awards. The second is the Fantasy Forecast, a weekly set of prediction questions about what's happening on Broadway, where each correct answer is worth up to five points. You can play one or both.

We track them separately so you can shine at either. Your Producer score covers the box office game, your Forecast score covers your prediction results, and your Combined score adds the two together for the overall championship ranking. The leaderboard lets you toggle between Overall, Producers, and Forecasters, so a sharp predictor can top the Forecasters board even during a rough season for their roster, and a roster powerhouse can lead the Producers board without answering a single question.

Managing Your Roster

Your lineup stays at six shows all season, and you have plenty of room to maneuver. You get one free drop every week, three additional season drops to use anytime before the trade deadline, and free replacements whenever a show on your roster closes. New productions open throughout the season and become available the moment they start reporting grosses, so it pays to keep a transaction in your pocket for that buzzy new opening.

Join the Game

The Producer Fantasy Game is free for all BroadwayWorld users, and you can join any time the draft window is open. Draft within the first two weeks of the season and your roster is scored from opening week, so the earlier you get in, the more weeks you bank. Build your roster, make your predictions, and start climbing the leaderboard today.

A DRAG QUEEN CHRISTMAS to Return for 12th Year With 39-City National Tour

Tue, 02 Jun 2026 19:57:07 PST

“A Drag Queen Christmas” will return for its 12th year, launching a 39-city national tour this November - December. The 2026 edition is hosted by returning fan favorite and theatre star Nina West, and features an all-new merry lineup of drag superstars from the Emmy-winning RuPaul's Drag Race franchise.

Artist pre-sale begins Wednesday, June 3 at 10 a.m. (local time) with the code “TWELVE,” and general on sale begins Friday, June 5 at 10 a.m. (local time) at dragfans.com.

This year's cast includes:

Myki Meeks, Winner of RuPaul's Drag Race Season 18 (2026)
Nini Coco, Runner-up, Drag Race Season 18 (2026)
Darlene Mitchell, Drag Race Season 18 (2026)
Juicy Love Dion, Drag Race Season 18 (2026)
Discord Addams, Drag Race Season 18 (2026)
Crystal Methyd, Drag Race All Stars Season 11 (2026) & Drag Race Season 12 (2020)
Silky Ganache, Drag Race All Stars Season 11 (2026), Drag Race All Stars Season 6 (2021), Drag Race Season 11 (2019)

“A Drag Queen Christmas” is the world's premiere holiday drag showcase and a sensational theatrical experience that delivers high camp, over-the-top lip-sync performances, side-splitting comedy, elaborate costumes, Broadway-style staging, and a whole lot of heart—something we all seek during the chaos of the holiday season. With plenty of spectacular surprises in store, the show offers audiences a chance to see drag queens at the top of their game perform showstopping numbers of epic holiday proportions on revered theater stages across America. Each year, “A Drag Queen Christmas” provides an annual tradition for folks from all walks of life to come together and connect, find community, and celebrate the season with joy and laughter.

This dazzling, 18+ holiday extravaganza runs two hours and offers fans the chance to add-on a VIP Meet & Greet Experience—including early access to the venue, photos with the queens on stage, autographs, and exclusive tour merchandise.

A Drag Queen Christmas 2026 Tour Dates:

November 11 - Detroit, MI (Fisher Theatre)

November 12 - Rochester, NY (Kodak Center)

November 13 - Rutland, VT (Paramount Theatre)

November 14 - Portland, ME (Merrill Auditorium)

November 15 - Boston, MA (Emerson Colonial Theatre)

November 17 - Red Bank, NJ (Count Basie Center for the Arts)

November 18 - Morristown, NJ (Mayo Performing Arts Center)

November 19 - Washington, DC (Warner Theatre)

November 20 - Durham, NC (Durham Performing Arts Center)

November 21 - Wilmington, NC (Wilson Center - Cape Fear Community College)

November 22 - Philadelphia, PA (Fillmore)

November 24 - Pittsburgh, PA (Byham Theater)

November 25 - Columbus, OH (Palace Theatre)

November 27 - Chicago, IL (Riviera Theatre)

November 28 - Appleton, WI (Fox Cities Performing Arts Center)

November 29 - Omaha, NE (Orpheum Theater)

November 30 - Oklahoma City, OK (The Criterion)

December 1 - Des Moines, IA (Hoyt Sherman Place)

December 2 - Kansas City, MO (Uptown Theater)

December 4 - Denver, CO (Paramount Theatre)

December 5 - Salt Lake City, UT (Kingsbury Hall)

December 7 - Seattle, WA (Moore Theatre)

December 9 - Sacramento, CA (Channel 24)

December 10 - San Francisco, CA (Golden Gate Theatre)

December 11 - Stockton, CA (Bob Hope Theatre)

December 12 - Los Angeles, CA (The Wiltern)

December 13 - Santa Rosa, CA (Luther Burbank Center)

December 15 - Mesa, AZ (Mesa Arts Center)

December 16 - Tucson, AZ (Fox Tucson Theatre)

December 17 - El Paso, TX (Plaza Theatre)

December 19 - Austin, TX (ACL Live at The Moody Theater)

December 20 - Dallas, TX (Winspear Opera House)

December 21 - Wichita, KS (Orpheum Theatre)

December 22 - St.Louis, MO (The Factory)

December 23 - Knoxville, TN (Tennessee Theatre)

December 26 - Tampa Bay, FL (Straz Center for the Performing Arts)

December 27 - Fort Myers, FL (Barbara B. Mann Performing Arts Hall)

December 28 - West Palm Beach, FL (Kravis Center for the Performing Arts)

December 29 - Jacksonville, FL (Florida Theatre)

THE JUNETEENTH STORY Brings An Original Tale To Acadiana Center For The Arts

Sun, 31 May 2026 14:45:07 PST

Black Theatre Experience and the SWLA Juneteenth Committee present The Juneteenth Story, an original play written by Lafayette playwright Twana Benoit and directed by Josiah Price, at the Acadiana Center for the Arts.

Told across two timelines, 1865 and today, the play follows the Williams family as elders hand down the story of how freedom came, connecting the emancipation era to the questions of justice and responsibility a Black family still carries now. It is a faith story as much as a history one, and a celebration as much as a remembrance: full of music, movement, and the kind of laughter that has always lived alongside Black survival.

"We cannot afford, as African Americans, to allow our history to be lost," said playwright Twana Benoit.

"This play asks a Black family what freedom required of them in 1865, and what it asks of us now. That question is the whole point," said director Josiah Price.

The production has deep roots in Acadiana. It began in the early 1990s as When We Gon Be Free and became The Juneteenth Story 17 years ago, growing into an annual community gathering that draws more than 500 guests each year. This year's staging opens with a pre-show by Fire Expressions Performing Arts Conservatory, alongside dedicated community performances welcoming Lafayette Consolidated Government summer camps and, in partnership with the Boys & Girls Clubs and Big Brothers Big Sisters, children attending free.

The weekend is anchored by the Heritage Jubilee, a fundraising soirée on June 19 at 6:00 p.m. in the AcA ArtHouse, all-black attire encouraged. The evening features chef-curated dishes from Jane's French Cuisine, Gravy, iMonelli, Prejean's Carencro, Demeca's Sweets, and Chef Derek Stanford's SaucayBawBQ; live saxophone from Isaiah Norwood; and a silent auction and vendor experience by The Allure for Moore. Proceeds benefit The Juneteenth Story, Black Theatre Experience, and the SWLA Juneteenth Committee. The opening performance follows downstairs in AcA's Moncus Theatre at 7:30 p.m.

Performances will take place on Friday, June 19 at 7:30 p.m. and Saturday, June 20 at 2:00 p.m. The Heritage Jubilee begins Friday, June 19 at 6:00 p.m. Tickets and Jubilee packages are available at The Juneteenth Story's website. The Acadiana Center for the Arts is located at 101 W. Vermilion St., Lafayette, LA 70501.

SONIC LIVE IN CONCERT to Launch Global Tour With US and UK Premieres

Wed, 27 May 2026 20:59:39 PST

As Sonic the Hedgehog celebrates 35 years as one of the most iconic video game franchises of all time, Senbla and SEGA today announced Sonic Live In Concert (www.sonicliveinconcert.com). This new concert experience brings the music and moments of the beloved video games to the stage.

Featuring iconic moments and music from the very first game in 1991 through today, the production will debut in the U.S. at the Dolby Theatre in Hollywood on September 26, 2026, before making its European premiere at London's Eventim Apollo on September 30. The U.S. tour will visit more than 30 cities nationwide, and a UK tour will follow in February 2027. More European dates will be announced at a later time. Tickets will go on sale May 29, 2026, with pre-sale tickets going on sale on May 28, 2026.

As part of a global rollout celebrating the franchise's milestone anniversary, Sonic Live In Concert features the most recognizable music from the Sonic universe, performed by a live ensemble alongside rock musicians, vocalists, and electronic elements. The setlist includes fan-favorite tracks and an incredible array of music from the very first game through to today accompanied by synchronized HD footage of iconic levels, moments and boss battles from the franchise. Audiences can expect musical Easter eggs woven into the arrangements, adding an extra layer of discovery that brings Sonic's world vividly to life on stage.

The concert also highlights the creative legacy behind Sonic's music from legendary composers Jun Senoue and Tomoya Ohtani, whose work has helped define Sonic's sound across generations.

"Sonic has some of the most distinct and celebrated music in gaming," says Ollie Rosenblatt, CEO of Senbla. "We wanted to create a live show that stays true to what the fans love about Sonic's music, from the electronic and melodic themes to high-energy rock."

“Music has always been a core part of Sonic's identity, shaping how fans experience this world across generations," said Ivo Gerscovich, Chief Business & Brand Officer at SEGA of America, Inc. "With this concert, we're looking forward to celebrating that legacy in a live setting; bringing together the energy, emotion, and creativity of Sonic's music in a way that both longtime fans and new audiences can enjoy together.”

Since his debut in 1991, Sonic the Hedgehog has become a global entertainment icon spanning video games, film, television, and consumer products. With renewed momentum driven by recent film releases, new game titles, and a global brand campaign tied to the 35th anniversary, the franchise continues to reach new generations of fans worldwide.

The performance schedule includes:

September 20, 2026 – Spokane, Washington – First Interstate Center for the Arts
September 22, 2026 – Seattle, WA – Paramount Theatre (preview)
September 23, 2026 – Portland, OR – Keller Auditorium (preview)
September 25, 2026 – San Diego, CA – San Diego Civic Theatre (preview)
September 26, 2026 – Hollywood, CA – Dolby Theatre
September 27, 2026 – Riverside, CA – Fox Performing Arts Center
September 29, 2026 – Mesa, AZ – Mesa Arts Center - Ikeda Theater
September 30, 2026 – London, U.K. – London Eventim Apollo
October 1, 2026 – Las Vegas, NV – Resorts World Theatre
October 2, 2026 – Fresno, CA – Saroyan Theatre
October 3, 2026 – San Jose, CA – San Jose Civic
October 4, 2026 – Reno, NV – Grand Theatre at The Grand Sierra Resort & Casino
October 6, 2026 – Denver, CO – Temple Hoyne Buell Theatre
October 8, 2026 – Irving, TX – The Pavilion at Toyota Music Factory
October 9, 2026 – Houston, TX – Bayou Music Center
October 10, 2026 – San Antonio, TX – Boeing Center at Tech Port
October 11, 2026 – Oklahoma City, OK – The Criterion
October 13, 2026 – Wichita, KS – Orpheum Theatre
October 15, 2026 – Omaha, NE – Orpheum Theater
October 16, 2026 – Peoria, IL – Prairie Home Alliance Theater
October 17, 2026 – Louisville, KY – The Louisville Palace Theatre
October 18, 2026 – St. Louis, MO – The Factory
October 19, 2026 – Nashville, TN – Ryman Auditorium
October 20, 2026 – Mobile, AL – Saenger Theatre
October 22, 2026 – Brandon, MS – City Hall Live
October 23, 2026 – Huntsville, AL – VBC Mark C. Smith Concert Hall
October 24, 2026 – Atlanta, GA – Fox Theatre
October 25, 2026 – Greensboro, NC – Steven Tanger Center for Performing Arts
October 27, 2026 – Charlotte, NC – Ovens Auditorium
October 28, 2026 – North Charleston, SC – North Charleston Performing Arts Center
October 29, 2026 – Jacksonville, FL – Florida Theatre
October 30, 2026 – St. Petersburg, FL – Duke Energy Center for the Arts - Mahaffey Theater
October 31, 2026 – Fort Lauderdale, FL – Broward Center for the Performing Arts - Au Rene Theater
November 1, 2026 – Orlando, FL – Walt Disney Theater at Dr. Phillips Center for the Performing Arts
February 17, 2027 – Glasgow, UK – Royal Concert Hall
February 18, 2027 – Edinburgh, UK – Usher Hall
February 19, 2027 – Manchester, UK – Bridgewater Hall
February 20, 2027 – Birmingham, UK – Symphony Hall

For more information, tour dates, and tickets, visit www.sonicliveinconcert.com.

ONCE Begins Performances at Le Petit Theatre In June

Wed, 27 May 2026 19:29:19 PST

Le Petit Théâtre du Vieux Carré will present ONCE from June 4–21, 2026, marking the first New Orleans production of the musical.

Based on the Academy Award-winning film by John Carney, ONCE follows the relationship between an Irish musician and a Czech immigrant who connect through music on the streets of Dublin. The stage adaptation features a score by Glen Hansard and Markéta Irglová and is known for its actor-musician staging, with cast members performing live music throughout the production.

Patrick Cragin will star as Guy opposite Josie Oliva as Girl. The cast also includes Charlie Antis, Alec Barnes, Owen Callahan, Ani Dean, Molly Graham, J.J. Hammerle, Noah Hazzard, John Jabaley, Lillian Miller, Brian Sanford, Judy Lea Steele, Emma Velasquez, and Jake Wynne-Wilson.

"Once is a musical that speaks to the power of music in our most challenging moments in life. It is a heartwarming story that we are proud to present for the first time in a New Orleans-originated production," says A.J. Allegra, Le Petit Theatre's artistic director. "We live in a city fueled by music, so the ability to bring 14 actor-musicians to the stage to tell the story of Once is both a unique privilege and, I hope, a special gift to our audience."

The production is directed by Conner Wilson, with music direction by Ainsley Matich and choreography by Chase Kamata. The creative team also includes scenic designer William Boles, Costume Designer Kaci Thomassie, lighting designer Daniel Zimmer, sound designer James Lanius, properties designer Deborah Bommer-Morrissey, and dialect coach Amy Chaffee.

Performance Information

Preview performances begin June 4, with opening night scheduled for June 5 at 7:30 p.m. Performances will continue through June 21 at Le Petit Théâtre du Vieux Carré in the French Quarter.

Regular performances are scheduled Thursdays through Saturdays at 7:30 p.m. and Sundays at 3:00 p.m., with a special matinee on June 20 at 2:00 p.m. A student matinee will also take place June 11 at 10:00 a.m.

Single tickets range from $40–$95, with discounted student tickets available for all performances and group discounts offered for parties of 10 or more.

THE NOTEBOOK North American Tour Adds 26 Cities to 2026-27 Route

Tue, 19 May 2026 08:13:15 PST

The North American Tour of THE NOTEBOOK hasannounced engagements for the 2026-27 season, adding 26 cites to the previously announced route, including stops in Atlanta, Boston, Dallas, and Houston. The tour began performances on September 6, 2025, at Playhouse Square in Cleveland, Ohio, and has welcomed over 500,000 patrons to date.

Read the reviews for the touring production of The Notebook.

Allie and Noah, two people from different worlds, share a lifetime of love despite the forces that threaten to pull them apart in a deeply moving portrait of the enduring power of love. Based on the book that has sold millions of copies worldwide and a film that is one of the highest-grossing romantic dramas of all-time, the musical adaptation of THE NOTEBOOK played Broadway at the Schoenfeld Theatre from March 2024 to December 2024 following a critically acclaimed world premiere engagement at Chicago Shakespeare Theater in the fall of 2022.

THE NOTEBOOK features music and lyrics by multi-platinum singer-songwriter Ingrid Michaelson and a book by playwright Bekah Brunstetter (writer and producer on NBC's “This Is Us,” The Cake). The production is directed by Michael Greif (Dear Evan Hansen, Next to Normal, RENT) and Schele Williams (Aida, The Wiz), with choreography by Katie Spelman (Associate Choreographer on Moulin Rouge! The Musical).

The creative team for the tour includes scenic design by David Zinn and Brett J. Banakis, costume design by Paloma Young, lighting design by Ben Stanton, sound design by Nevin Steinberg, hair and wig design by Mia Neal, and projection design by Lucy Mackinnon. The production's music supervisor is Carmel Dean, who also collaborated on arrangements with Ingrid Michaelson and on orchestrations with John Clancy, and the music director is Tina Faye. Casting by The Telsey Office, Patrick Goodwin, CSA.

The production was recognized with three 2024 Tony Award nominations (Best Book of a Musical, Best Performance by an Actress in a Leading Role in a Musical, Best Performance by an Actor in a Leading Role in a Musical), Drama League Award nominations for Outstanding Production of a Musical, two Distinguished Performance Awards and the Founders Award for Excellence in Directing, Drama Desk Award nominations for Outstanding Featured Performance in a Musical, and an Outer Critics Circle Award nomination for Outstanding Lead Performer in a Broadway Musical.

2026-2027 Tour Dates:

Detroit, MI — Fisher Theatre
September 22 – October 4, 2026

Dayton, OH — Schuster Center
October 6 – 11, 2026

Grand Rapids, MI — DeVos Performance Hall
October 13 – 18, 2026

East Lansing, MI — Wharton Center
October 27 – November 1, 2026

Richmond, VA — Altria Theater
November 3 – 8, 2026

Pittsburgh, PA — Benedum Center
November 10 – 15, 2026

Schenectady, NY — Proctors
December 1 – 6, 2026

Boston, MA — Emerson Colonial Theatre
December 8 – 20, 2026

Oklahoma City, OK — Civic Center Music Hall
December 29, 2026 – January 3, 2027

Houston, TX — Hobby Center
January 5 – 10, 2027

Dallas, TX — Winspear Opera House
January 12 – 24, 2027

New Orleans, LA — Saenger Theatre
January 26 – 31, 2027

Hershey, PA — Hershey Theatre
February 3 – 7, 2027

Providence, RI — PPAC
February 9 – 14, 2027

Rochester, NY — Auditorium Theatre
February 16 – 21, 2027

Fayetteville, AR — Walton Arts Center
February 24 – 28, 2027

Huntsville, AL — Von Braun Center
March 2 – 7, 2027

Ft. Lauderdale, FL — Broward Center
March 9 – 14, 2027

Ft. Myers, FL — Barbara B. Mann Hall
March 16 – 21, 2027

Naples, FL — Artis—Naples
March 23 – 28, 2027

North Charleston, SC — North Charleston PAC
March 30 – April 4, 2027

Birmingham, AL — BJCC Concert Hall
April 6 – 11, 2027

Atlanta, GA — Fox Theatre
April 13 – 18, 2027

Tucson, AZ — Centennial Hall
April 27 – May 2, 2027

San Jose, CA — Center for the Performing Arts
May 4 – 9, 2027

Sacramento, CA — SAFE Credit Union PAC
May 11 – 16, 2027

Feature: PRIMARY TRUST at Crescent City Stage

Fri, 15 May 2026 17:55:38 PST

A certain kind of loneliness comes from staying in one place, and Kenneth, the main character in Eboni Booth's PRIMARY TRUST, knows it well. He has lived his whole life in Cranberry, New York, shaped by childhood loss and the comfort of routine. He runs his bookshop, meets his friend Bert at the tiki restaurant every night and lives in a world where nothing ever changes.

But eventually, the world changes, even if it’s scary.

Jarrod Smith, who plays Kenneth in Crescent City Stage's production, understands his character’s struggles deeply. He talks about the role with a quiet intensity that reflects both himself and Kenneth.

The Architecture of Isolation

"My character is someone who lives in this small town in New York," Smith said. "It's called Cranberry, New York. His mom lived about 10 years until after he was born, and from that experience of losing his mother, he created this bubble of a world where everything's perfect."

Smith sees that Kenneth’s bubble comes from real pain.

“Since then, he's sort of found his way through the world. Cranberry is, for him, like Pleasantville, where everything's perfect. But of course, people's lives change, and the people in his life that have been so constant, they're starting to say, 'I gotta go this way.' And Kenneth's like, 'Wait, what? What do you mean you have to leave?'"

Smith was interested in Kenneth not because he is settled, but because the character struggles to communicate.

"It's the overall inability to communicate with the people that he knows, but then, now that he's stepping out and has to communicate with new people, I wanted to see: what is this like? How does this feel?"

Smith said he is naturally sociable—"I can pretty much talk to anyone"—but that difference made the role more interesting. "I believe that he certainly would pose a challenge."

The Performance of Vulnerability

A unique part of PRIMARY TRUST is how Kenneth speaks directly to the audience. Smith’s character guides the story, drawing viewers into Kenneth’s mind from the first "once upon a time" to the play’s emotional high point.

But talking directly to an audience, Smith has found, is far more complex than simply delivering words

"When you're really having a conversation, you're looking at people's facial expressions, and you're working off of that," he said. "So I know the words, but the inflection may be different because I might be looking at somebody who doesn't buy it. So I might be like, 'Hey, listen, this is what it is. This is what's happening. This is how I'm feeling.'"

Every performance is different, and that’s intentional.

"Finding new faces every show and trying to work my magic on them; that's been the challenge in doing that," Smith said.

A Personal Resonance

Smith understands Kenneth’s loneliness on a personal level. He has experienced some of the same feelings in his own life that Kenneth is just starting to face.

"I'm pretty much the only artist in my family. I started acting in college, then went to acting school, and I was out there by myself, finding things out on my own. Since then, I've moved around on my own. Since moving back to the city, this is the longest amount of time I've been stitched to a community of people. I certainly understand the loneliness that can come with moving, and how you can feel when you're losing community that you've accumulated and immersed yourself into."

His own experiences help him understand the play’s main anxiety in a way that goes beyond acting.

"Because of certain decisions—because you think, 'What is the betterment of my career?'—you have to leave that place. And it's as if it's never happened, you know?"

This reflects Kenneth’s biggest fear: that moving forward might erase the past, that making new friends could replace old ones, and that leaving feels like betrayal.

Bert and the Architecture of Support

PRIMARY TRUST focuses closely on Kenneth’s relationship with Bert, his friend at the tiki restaurant. Smith said their bond is essential for Kenneth’s emotional well-being.

"I see Bert as someone who instills confidence in Kenneth, especially in moments where he believes a lot of things can go wrong. There are moments of uncertainty, high anxiety, and Bert is there to ensure Kenneth that everything is going to be all right, that he can accomplish these things."

Smith said they have known each other for 28 years.

"They meet up for mai tais every night except the occasional Sunday. They've been drinking at Wally's, the tiki restaurant, for 15 years."

These details matter because they give Kenneth’s world a sense of ritual and permanence. When that sense of stability is threatened, Kenneth starts to question everything he believes about himself and his place in the world.

The Professional Transformation

A key moment in the play is when Kenneth gets a job at a bank. This isn’t just a plot point, it’s at the heart of his emotional change.

"That's the job his mom used to work," Smith said. "In stepping forward out of his past, he's stepping into this role where he's more closely connected to his mother than he's ever been. He's doing a job that his mother used to do as a bank teller."

The job teaches Kenneth something new. For 20 years, he worked in a bookshop, where he could "hide in the aisles" and avoid people. Working as a bank teller, he now has to interact with strangers all day.

"The bank has tuned him in to the rhythm of the people around him for the first time," Smith said. "It opens up a whole new world for him socially, because he wasn't used to interacting with people at all. This job has opened him up. And as far as his mother is concerned, he's connecting with her more because this is a job that she was working before she passed."

Loneliness After the Pandemic

Smith has thought a lot about what PRIMARY TRUST said about loneliness after the pandemic.

"We have a choice to move forward with things," he said. "We don't have to be stuck in this place, and it's not bad to be stuck in the past. It's always good to remember where we came from, to remember what people wanted for us. But it's important that we get into the world and get to know it as much as possible, even though it can be a scary place."

He acknowledges the paradox of modern isolation directly.

"With the oversaturation of news, one can be afraid to even step out of their house. But there are good people in the world, and they may be just as lonely as us. All we have to do is take the steps to find each other."

Smith believes the pandemic revealed something important about loneliness. Before, people could pretend they weren’t lonely by going out in public and blending in.

"But because of the pandemic, people virtually had to stay in their homes and had to be isolated. So there's no more cover there to even try to convince yourself that you're not lonely."

He found what happened after the pandemic remarkable.

"Folks were so excited to be around other people that it was insane. My interest level in people was so high. I just wanted to be around people and see who they were."

He thinks this curiosity is what PRIMARY TRUST asks of its audience: to step out of our safe, isolated worlds and truly connect with others.

Does Kenneth Find Happiness?

Smith answers the question of whether Kenneth achieves peace by the play's end without hesitation.

"He sees these people rallying around him, rooting for him in ways he probably didn't know existed. He finds a community of new people that have entered his life, that care about him, that want to see him succeed, that support him through every turn, understanding what has happened to him."

But Smith points out that happiness isn’t simple.

"He never sees his friend again, you know, because he's got new friends. So the memory, he's finding that even though he's moving forward with life and finding friends, the memory still lives on and still lives strong. It's just up to him to keep them alive in his own way throughout the years, moving on."

This may be the most honest part of the play and Smith’s performance: growth comes with loss, moving forward doesn’t erase the past, and we carry our histories with us in our choices and who we become.

A Vessel for the Character

Smith’s approach to playing Kenneth has changed during rehearsals, but not in the way you might think.

"I don't think my thoughts have changed much," he said. "But my approach has been a little more laid back, allowing the character to speak through me. There's gonna be hundreds of people that play Kenneth, but at this moment in time in this city, I'm currently just a vessel for this character to speak through. Being okay with that, and allowing myself to fade to the back seat and allow the character Kenneth to be present."

He also credits the rest of the cast. "Everyone in their roles are super fantastic. They bring their own uniqueness to it: Mark, Doug, Nicole, and even Steven, who's playing live music as the play goes on."

For many in the cast, theater is a second job they do after their regular work. In New Orleans, rehearsals happen at night after everyone finishes their day jobs. Still, Smith said the group has become very close.

"We put this show up really quickly, and we connected really quickly. We've been able to do some real powerful stuff. We're moved every single night as a group."

It takes a special kind of openness to admit that a play can move its actors every night. But that’s what PRIMARY TRUST does: it shows us the loneliness of today’s world and asks if we’re brave enough to face it and even braver to reach out to others.

"Come and see it," Smith said. "Allow yourself. Invite yourself to come be moved with us. Allow us to move you."

Interview: Craig Franke of BOOK OF MORMON at Saenger Theatre

Fri, 15 May 2026 17:55:21 PST

THE BOOK OF MORMON has been delighting audiences for 15 years with its audacious blend of irreverent comedy and genuine heart. As the show enters its second decade of touring, it's currently running its long-awaited New Orleans engagement at the Saenger Theatre. BroadwayWorld.com spoke with Craig Franke, who has been playing Elder McKinley for nearly two full years, about the privilege of landing Trey Parker, Matt Stone and Robert Lopez's precise, bold comedy night after night, and how the show's message of community remains timeless.

BroadwayWorld.com: How long have you been with the tour, and what has the experience of inhabiting Elder McKinley been like for you?

Franke: I've been with the tour for almost four years now, which makes me something of an elder statesman in the show, though I never planned it that way. I spent the first two years in the ensemble, covering both Elder McKinley and Elder Price. After two years, when another cast member moved on to Shucked, they offered me Elder McKinley, and I've been living in his head for almost two full years now. He's pretty stressed out, which is actually wonderful for me personally. Playing him forces me to experience and then release that anxiety every night, which reminds me not to carry stress or repression into my daily life. I live it with him on stage, feel his anxiety, and let it go at the end of the night. It's been really nice.

BWW: For someone who's never seen THE BOOK OF MORMON, how do you describe it?

Franke: I'd call it the funniest show of the 21st Century. It follows two Mormon missionaries hoping to be sent to amazing locations for their mission, France, Paris, Orlando, who instead end up in Uganda. Everything they learned in training goes out the window, and hilarity ensues from that point on. The show has been running for 15 years for a reason. If you haven't seen it, get your tickets now.

BWW: "Turn It Off" is one of the most iconic numbers in the show. What's it like to perform that number several times a week? Does it ever surprise you how audiences react to it?

Franke: Honestly, yes. There's a big surprise in the middle of that number that we can't talk about, but it really does feel like it's still taking audiences by surprise after 15 years. I was wondering if everyone would know the joke by now, but it truly feels like a fresh and unique moment every night. It's something I try never to take for granted, whether I'm tired or not feeling my best. It really has been such a privilege to perform that song for the last four years.

BWW: McKinley strikes me as a guy holding a lot down beneath the surface. How do you balance the comedy with that more vulnerable layer so he doesn't become a punchline?

Franke: That's one of the hardest things about the role. The key is to understand McKinley's truest goal, which, as the directors and I have discussed, is to get the mission up and running. Everything else to him is just a minor detail. He wants to succeed as a Mormon in Uganda. When your focus and intention go toward that goal, it's very easy to not make him a punchline or make the comedy sticky or offensive. He's just a man trying to achieve a high-functioning, successful mission in District Nine of Uganda, and that's the most important thing in his life. Everything else about him is just a detail.

BWW: Trey Parker, Matt Stone, and Robert Lopez have a very specific comedic style. What's the trick to landing their humor night after night?

Franke: You have to dive in with 100% commitment and trust the writers. The humor is not scared, it's bold and brash. If the performer is scared, it doesn't work as well. You have to trust that the audience is going to be with you. Some audiences are more with you than others, but for the vast majority, people are excited and ready to laugh. Yes, the show is sometimes crude, but I think there's a really big Broadway heart behind all those jokes. That's the dirty little secret of THE BOOK OF MORMON, at the end of the day, it's just a classic Broadway musical with a beautiful message.

BWW: What still connects with audiences in 2026, in the show's second decade of touring?

Franke: For me, it's the sense of community. No matter what's going on in your life, what you believe in, or what you hold most dear, if you have a community that you can weather the storm with, people who love you and whom you love, that's the most important thing. It's about taking care of your fellow human beings and lifting up the people beside you. I think that message is timeless. Whether it's 2001 or 2055, community and mutual support will always be relevant.

BWW: Is there a moment in the show, not necessarily one of yours, that still gets you every performance?

Franke: Yes. Elder Price has a line right before "Latter Day" where he says, "We can all still work together to make this our paradise planet." That's one of my favorite lines in the entire show. If I had to pick a thesis statement for THE BOOK OF MORMON, I think that's it.

BWW: Your regional credits include Young Frankenstein, Jersey Boys, and The Producers, a great spread of comedic and musical territory. What from those roles do you bring into McKinley?

Franke: It's a general sense of timing. I did Young Frankenstein when I was very young, and I had a great director, Kurt Olds, who was very strict and specific about timing. That taught me a new level of specificity in landing a joke and caring for an audience. I take that with me everywhere, especially in comedy. The more specific and sharp you are with every joke and every line, whether it's a punchline or not, the better. Young Frankenstein definitely taught me a lot about that precision.

BWW: As a graduate of Indiana University, is there a piece of advice from your training that you still use on the road?

Franke: I don't have one specific piece of advice, but I have nothing but love for that program. They taught me how to be a human being, which I think is incredibly important for an actor. You need to go out and experience life, whatever that means to you, because it gives you more knowledge and more tools in your acting toolkit. If you have more experiences, you understand more human experiences, and that directly serves you when you're trying to play people who aren't you. At a school like Indiana, with 40,000 undergrads, there are endless experiences to seek out and learn from. I'd say that's what I take with me: have as many experiences as you possibly can.

BWW: Is there anything you're looking forward to about playing in New Orleans?

Franke: I can't wait. I've never been, so I'm planning to do all the touristy things, Café du Monde, Bourbon Street. But I'd love recommendations for anything specific. It's one of those cities I've always wanted to visit and perform in. We joke that THE BOOK OF MORMON has never played New Orleans or Vegas in four years, so I'm thrilled to finally check one off. I'm really excited.

ONCE Will Come to Le Petit Theatre in June

Fri, 15 May 2026 10:52:37 PST

Le Petit Theatre will conclude its 2025-26 season with the Tony Award-winning musical Once, running June 4-21, 2026 in New Orleans. Directed by Conner Wilson, the musical features a book by Enda Walsh and music and lyrics by Glen Hansard and Markéta Irglová, based on the acclaimed film written and directed by John Carney.

Set on the streets of Dublin, Once follows an Irish musician and a Czech immigrant who are brought together through their shared love of music. Over the course of a single week, their unexpected friendship blossoms into a deeply complicated love story, underscored by the show's celebrated score. The musical remains the only Broadway show to feature music that has earned an Academy Award, Olivier Award, and Tony Award.

The production stars Patrick Cragin as Guy and Josie Oliva as Girl. The cast also includes Charlie Antis as Ensemble, Alex Barnes as Svec, Owen Callahan as Emcee, Molly Graham as Ex-Girlfriend, J.J. Hammerle as Bank Manager, Noah Hazzard as Andrej, John Jabaley as Da, Brian Sanford as Billy, Judy Lea Steele as Baruska, Emma Velasquez as Reza, Jake Wynne-Wilson as Eamon, and TBD as Ivonka.

The creative team includes music director Ainsley Matich, choreographer Chase Kamata, scenic designer William Boles, Costume Designer Kaci Thomassie, lighting designer Dan Zimmer, sound designer James Lanius, properties designer Deborah Bommer-Morrissey, production stage manager Carlie Claire Goodlett, and assistant stage manager Duncan Stone.

Performances run Thursdays, Fridays, and Saturdays at 7:30 p.m. and Sundays at 3:00 p.m., with an additional 2:00 p.m. matinee on Saturday, June 20. The production has an approximate runtime of two-and-a-half to three hours, including one 15-minute intermission.

Le Petit Theatre is also offering a special package for the final two productions of its 2025-26 season. Audiences can purchase Tier 2 or Tier 3 tickets to both God of Carnage and Once for $80, including fees. God of Carnage runs April 30-May 17, 2026.

Executive producers for Once are Jill and Minor Pipes and Gayle Terribile and Jimmy Ellis. Associate producers are Scott Hutcheson and David Hoover.

StageMag Launches Programmable PDF Editor for Digital Theater Programs

Thu, 21 May 2026 10:04:02 PST

StageMag, the digital show program platform from BroadwayWorld, today launched its new PDF Editor to all producers and stage managers using the service. The tool gives editors granular, real-time control over how their digital program renders as a downloadable or printable PDF - the format most often used in lobby printouts, accessibility packets, and press kits.

Until now, the StageMag-to-PDF path was a one-shot export: whatever fit, fit. The new editor turns the export into a configurable surface. Each section of a program including the cast list, song list, director's note, bios, advertisements, sponsor pages, articles, listings and more — can be individually told how to paginate. Editors choose between three strategies per section:

Flow: natural pagination, sections may split across pages.
Own page: start the section on a fresh page.
Fit one page: start fresh and scale the section to occupy the whole page.

A live preview pane re-renders the PDF on every change, so editors see the final printed result as they work rather than guessing and re-exporting.Beyond the strategy picker, the editor exposes a set of advanced controls familiar to anyone who has hand-tuned a long-form print document: hide-element selectors (drop sponsor strips or vestigial nav from the print version), forced page breaks before or after named elements, a draggable section-order list, custom header/footer/watermark text, and a custom-CSS escape hatch for theaters whose programs follow a house style.

The release also includes paper-level controls including US Letter or A4, portrait or landscape, three margin presets, three type scales, and a "booklet" mode that adds a binding gutter for stapled lobby printouts.

The PDF Editor is available now to all StageMag-enabled productions at no additional cost, under the Share PDF tab in the program editor. Existing programs render with sensible defaults; the new controls are opt-in and per-production.

About StageMag

StageMag is BroadwayWorld's digital playbill platform, used by Broadway, Off-Broadway, regional, university, and community theater productions to publish interactive programs that audiences open on their phones from a QR code in the lobby. StageMag is offered as a free service to participating productions.

About BroadwayWorld

Founded in 2003, BroadwayWorld is the largest theater website in the world, covering Broadway, the West End, and theater news, reviews, interviews, and resources across all 50 US states and 45 countries.

Review: THE SECRET CIRCUS THE MUSICAL at Mudlark Theatre

Mon, 04 May 2026 12:12:40 PST

The best thing about THE SECRET CIRCUS is that it knows exactly what it is and commits without apology. Chanel Samson and Holly Anne Mitchell's original musical, performed at the intimate Mudlark Theatre in New Orleans, is campy, heartfelt and unabashedly earnest in a way that lesser shows would sand down into palatability. It shouts its secrets out loud and dares you to join in.

That daring has lineage. The circus has long served as queer metaphor, the big top as refuge, the performer as an outsider elevated, the ring as a place where the rules of the outside world don't quite apply. THE SECRET CIRCUS works squarely within that tradition, and knows it. Its premise, feelings have been outlawed, and a rock-and-roll ringleader has established an underground Big Top as an act of resistance, is not subtle. It is not trying to be. There is a long and honorable history of queer art that announces its politics in sequins, and this show belongs to it.

What separates THE SECRET CIRCUS from the merely well-intentioned is execution. Samson, who leads the show as its ringleader, is a natural anchor; magnetic without being domineering, campy without sacrificing sincerity. The material could curdle fast in less assured hands, but Samson carries it with the ease of someone who has lived inside it long enough to stop explaining it and simply inhabit it. The audience follows without hesitation.

Where the show genuinely surprises is in its marionettes. They take up space, command attention and earn their emotional weight. In a show built around the right to feel, delegating that argument partly to creatures of string and wood is a quietly inspired decision. There is something disarming about watching a marionette embody vulnerability; it is harder to maintain ironic distance when the thing asking you to feel is already, by its nature, a metaphor.

The Mudlark Theatre, small enough to feel genuinely clandestine, does the show considerable favors. You are not watching THE SECRET CIRCUS so much as stumbling upon it; a hidden gathering, a hideaway tucked into the city's embrace. New Orleans, a place that has always understood the performance of feeling as a civic virtue, makes for an apt host. The venue turns what might be a logistical limitation into an aesthetic asset, giving the underground Big Top conceit a physical reality that a larger house simply could not provide. This is a show that needed to feel like a secret, and it does.

The four-piece house band plays with a looseness entirely at home in this city; unhurried, warm and alive to the room in ways that pit-recorded tracks never are. The audience interaction, including a moment where the crowd shouts their secrets aloud, lands with the right mix of silliness and genuine release. A balloon sculpture offering, charming in its smallness, reads as the show's ethos made physical: here is a gift; it is ridiculous; it is yours.

The one thing working against THE SECRET CIRCUS is its audience, or rather the partial absence of part of it. The crowd skewed adult, and while the show works for adults, functions, even, as emotional permission for people who long since stopped asking for it. there is a circuit it is clearly designed to close with children in the room that went partly incomplete on this night. The show bills itself as family-friendly, and you believe it absolutely; you just wish more families had shown up to test the claim. A roomful of children being told that what makes them strange is what makes them shine is a different, more urgent experience than adults receiving the same message, which is not to diminish the adults, but to suggest that the show's full power remains, on some level, yet to be fully witnessed.

Seeing THE SECRET CIRCUS as an adult, the feeling is less nostalgia than recognition, a reminder, delivered with rock-and-roll conviction and a marionette's worth of charm, that the permission to feel was always yours to take. It is Sesame Street for emotionally literate grown-ups, and it earns that comparison without a trace of condescension.

THE SECRET CIRCUS is small, specific and sure of itself in all the ways that matter. Find it wherever it lands next.

SOMETHING WONDERFUL: RODGERS AND HAMMERSTEIN AT THE MANSION Announced By Opera Saratoga

Sun, 03 May 2026 12:05:41 PST

Opera Saratoga opens its 2026 season with concerts featuring the 2026 Festival Artists, accompanied by Opera Saratoga’s music staff, led by acclaimed pianist and coach Adam Nielsen, who joined the company in December 2025.

Something Wonderful: Rodgers and Hammerstein at the Mansion, will showcase the voices of this year’s Festival Artists at The Mansion Inn, only minutes from downtown Saratoga Springs.

“These young singers are some of the best we’ve ever had in Saratoga Springs — they’ve won national awards, sung, and played in A-houses and many are going to Europe next year” says General and Artistic Director, Mary Birnbaum. “We are tremendously lucky to have them at Opera Saratoga, and I can assure you, you won’t want to miss this chance to hear them in a beautiful, intimate setting!”

“Something Wonderful” features many song from the musical theatre repertoire including songs from “The Sound of Music,” “South Pacific,” “Oklahoma!,” “Carousel,” and rarities like “Allegro,” “The Boys from Syracuse,” “Floyd Collins,” and “Once Upon a Mattress.”

Performances will take place on May 31 at The Mansion Inn located at 801 NY 29 Rock City Falls, NY. Tickets can be purchased at the Opera Saratoga's website.

OPERATION MINCEMEAT Reveals 2026-27 Tour Dates and Cities

Thu, 30 Apr 2026 09:12:44 PST

OPERATION MINCEMEAT has announced the full 2026/27 season dates for the North American leg of its world tour. The news comes as OPERATION MINCEMEAT celebrates its 500th performance on Broadway this Saturday, May 2, after hitting 2,000 performances worldwide - now playing simultaneously in the West End, on Broadway, and on tour across the UK. Following the North American leg, further stops on its international journey will include Australia, China, Mexico, and New Zealand.

Read the reviews for the Broadway run here.

Producer Jon Thoday for Avalon said, “Launching our third OPERATION MINCEMEAT production, the North American leg of the world tour, as the show reaches 500 performances on Broadway and passes 2,000 worldwide is incredibly exciting. With its continued international growth and an expanding fanbase, we look forward to welcoming new audiences across the continent.”

The North American leg of the Mincemeat World Tour will launch at the Providence Performance Arts Center (Providence, RI), on September 20, 2026, before crisscrossing North America this upcoming season, with stops including Chicago, Boston, Toronto, Los Angeles, and Washington, DC.

Operation Mincemeat Tour Dates:

Providence, RI – Providence Performing Arts Center
September 20–26, 2026

Chicago, IL – CIBC Theatre
September 29–October 11, 2026

Boston, MA – Colonial Theatre
October 13–25, 2026

Toronto, ON – Theatre TBD
October–December 2026

Philadelphia, PA – Forrest Theatre
December 15–20, 2026

Columbus, OH – Ohio Theatre
January 5–10, 2027

Detroit, MI – Fisher Theatre
January 12–24, 2027

Minneapolis, MN – Orpheum Theatre
January 26–31, 2027

Eugene, OR – Hult Center
February 3–7, 2027

Seattle, WA – 5th Avenue Theatre
February 10–21, 2027

Tempe, AZ – ASU Gammage
February 23–28, 2027

Salt Lake City, UT – Eccles Theatre
March 2–7, 2027

San Francisco, CA – Orpheum Theatre
March 9–28, 2027

Los Angeles, CA – Pantages Theatre
March 30–April 18, 2027

San Diego, CA – Civic Center
April 20–25, 2027

Hartford, CT – Bushnell Center
May 4–9, 2027

Durham, NC – Durham Performing Arts Center
May 11–16, 2027

Greenville, SC – Peace Center
May 18–23, 2027

Fayetteville, AR – Walton Arts Center
May 25–30, 2027

Tampa, FL – Straz Center
June 1–6, 2027

Washington, DC – The National Theatre
June 8–20, 2027

Buffalo, NY – Shea’s Performing Arts Center
June 22–27, 2027

Atlanta, GA – Fox Theatre
July 6–11, 2027

Memphis, TN – Orpheum Theatre
July 13–18, 2027

Fort Worth, TX – Bass Performance Hall
July 20–25, 2027

About Operation Mincemeat

In OPERATION MINCEMEAT: A NEW MUSICAL, it's 1943, and the Allied Forces are on the ropes. Luckily, they've got a trick up their sleeve. Well, not up their sleeve, per se, but rather inside the pocket of a stolen corpse. Equal parts farce, thriller, and Ian Fleming-style spy caper (with an assist from Mr. Fleming himself), OPERATION MINCEMEAT tells the wildly improbable and hilarious true story of the covert operation that turned the tide of WWII.

Written by triple Tony Award nominees SpitLip (comprised of David Cumming, Felix Hagan, Natasha Hodgson, and Zoë Roberts), OPERATION MINCEMEAT began performances on Broadway on February 15, 2025, and continues to play at the historic Golden Theatre (252 West 45th Street), where it has been extended eight times and will soon celebrate its 500th performance. The West End production, which has been playing at the Fortune Theatre since March 29, 2023, is widely recognized as one of the best-reviewed shows in West End history, holding the record for the most five-star reviews for a new musical, with a tally of 131. OPERATION MINCEMEAT has just launched its world tour, beginning with a UK leg before heading across the pond.

Olivier Award nominated Robert Hastie (Standing at the Sky's Edge, National Theatre – Best New Musical Olivier Award winner) will reprise his work for the tour, while Olivier Award nominated Jenny Arnold (Jerry Springer: The Opera, National Theatre) continues as Choreographer. The creative team will include Olivier nominated Set and Costume Designer Ben Stones (Standing at the Sky's Edge), Tony and Olivier winning Lighting Designer Mark Henderson (The History Boys), Tony nominated Sound Designer Mike Walker (Charlie & The Chocolate Factory), Tony nominated Orchestrator Steve Sidwell (Beautiful: The Carole King Musical), and Olivier nominated Music Supervisor Joe Bunker (Spring Awakening). Georgie Staight is Associate Director and Paul Isaiah Isles is Associate Choreographer. Production Stage Management is by Geoff Maus, Casting is by Carrie Gardner, CSA, and General Management is by TT Partners.

OPERATION MINCEMEAT has been nominated for 64 awards since opening at the 77-seat New Diorama Theatre in 2019, winning 13, including Best Musical 3 times, from the Olivier Awards, WhatsOnStage Awards, and Off-West End Awards. On Broadway, the show was nominated for 4 Tony Awards in 2025, including Best Musical. The production won Best Featured Actor in a Musical for Jak Malone's portrayal of Hester Leggatt, who previously won the Olivier Award in the same category. The production has also received nominations for Outstanding Production of a Musical at the Drama League Awards, Outstanding New Broadway Musical at the Outer Critics Circle Awards, Best Musical at the BroadwayWorld Theater Fans' Choice Awards, and Favourite New Musical at the Broadway.com Audience Choice Awards.

RAGTIME Will Launch National Tour in Fall 2027

Wed, 29 Apr 2026 16:00:22 PST

Lincoln Center Theater’s Broadway revival of Ragtime, directed by Kewsong Lee Artistic Director Lear deBessonet, announced today that it will launch a North American Tour in the fall of 2027. The tour will premiere at Shea’s Buffalo Theatre in Buffalo, New York, before continuing onto cities across the U.S. and Canada. Additional tour stops and casting will be announced at a later date.

Lincoln Center Theater’s limited engagement of Ragtime has been extended twice by popular demand with performances now through August 2, 2026. The production set a new box office record at the Vivian Beaumont Theater and was recently nominated foreight Drama Desk Awards, six Outer Critics Circle Awards including Best Revival of a Musical and Outstanding Direction of a Musical (Lear deBessonet), as well as five Drama League Awards including Outstanding Revival of a Musical and Outstanding Direction of a Musical (Lear deBessonet).

“Ragtime is one of the most ambitious musicals ever written, and it feels timelier than ever,” said producers Tom Kirdahy, Kevin Ryan, Robert Greenblatt, and Lamar Richardson in a statement. “What Lear deBessonet and this extraordinary company have created at Lincoln Center Theater is both epic in scale and deeply human. We couldn’t be more excited to share it with communities across North America.”

“It’s a real honor to kick off the North American Tour of Ragtime at Shea’s Buffalo Theatre,” said Buffalo presenter Al Nocciolino. “This is the kind of production people talk about long after the curtain comes down—remarkable in scale and deeply moving. We’re thrilled to welcome it to our stage and proud to share it with our community first.”

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Featuring a Tony Award-winning score by Stephen Flaherty and Lynn Ahrens, Tony Award-winning book by Terrence McNally, and Tony Award-winning orchestrations by William David Brohn, Ragtime weaves fictional narratives with real historical figures and events, creating a rich tapestry that blurs the line between personal struggle and national identity, making history feel both intimate and epic.

The creative team for Ragtime includes Ellenore Scott (choreography), David Korins (scenic design), Linda Cho (costume design), Adam Honoré & Donald Holder (lighting design), Kai Harada (sound design), 59 Studio (projection design), Tom Watson (hair & wig design), Ann James (sensitivity specialist), and The Telsey Office, Craig Burns, CSA (casting).

OH, MARY! Reveals Tour Dates and Cities For 2026-27

Wed, 29 Apr 2026 11:23:47 PST

The North American Tour of Oh, Mary! has announced the dates and cities for its 2026-27 season. The tour of the Tony Award and Olivier Award-winning comedy will tech and launch at The Bushnell in Hartford, Connecticut, with performances beginning September 19, 2026. Casting will be announced at a later date. Check out the full list of tour dates below~

Written by Tony Award and Olivier Award winner Cole Escola and directed by Tony Award winner Sam Pinkleton, Oh, Mary! opened on Broadway on July 11, 2024, and continues to play at the Lyceum Theatre, where it became the first show in the theatre’s 121-year history to gross more than $1,000,000 in a single week. Oh, Mary! has since broken its own box office record twelve times and became the first show of the 2024-25 Broadway season to recoup its investment. Oh, Mary! opened to rave reviews in London’s West End on December 18, 2025.

Oh, Mary! is a dark comedy about a miserable, suffocated Mary Todd Lincoln in the weeks leading up to Abraham Lincoln’s assassination. Unrequited yearning, alcoholism, and suppressed desires abound in this one-act play that finally examines the forgotten life and dreams of Mrs. Lincoln through the lens of an idiot (playwright Cole Escola).

The full creative team for the Broadway production includes dots (Scenic Designer), Holly Pierson (Costume Designer), Cha See (Lighting Designer), Daniel Kluger (Sound Design and Original Music), Drew Levy (Sound Designer), Leah J. Loukas (Wig Designer), Addison Heeren (Props Supervision), and David Dabbon (Musical Arrangements). Casting by Henry Russell Bergstein, CSA.

Oh, Mary! is produced on Broadway by Kevin McCollum & Lucas McMahon and Mike Lavoie & Carlee Briglia with Bob Boyett, The Council, Jean Doumanian Productions, Nicole Eisenberg, Jay Marcus & George Strus, Irony Point, Richard Batchelder/Bradley Reynolds, Tyler Mount/Tommy Doyle, Nelson & Tao, Palomares & Rosenberg, and Showtown Productions.

Tour Dates

September 19–23, 2026
Hartford, CT — The Bushnell

September 29–October 4, 2026
San Diego, CA — San Diego Civic Theatre

October 6–11, 2026
Las Vegas, NV — The Smith Center

October 13–November 1, 2026
San Francisco, CA — Curran Theatre

November 3–8, 2026
Seattle, WA — The Paramount Theatre

November 10–December 6, 2026
Los Angeles, CA — Ahmanson Theatre

December 21, 2026–January 3, 2027
Boston, MA — Emerson Colonial Theatre

January 6–17, 2027
Saint Paul, MN — Ordway Center for the Performing Arts

January 19–February 7, 2027
Chicago, IL — CIBC Theatre

February 9–21, 2027
Washington, DC — The National Theatre

February 23–28, 2027
Detroit, MI — Fisher Theatre

March 9–14, 2027
Philadelphia, PA — Miller Theater

March 16–28, 2027
Charlotte, NC — Blumenthal Arts

March 30–April 4, 2027
Cleveland, OH — Connor Palace

April 6–11, 2027
Tampa, FL — Straz Center

April 27–May 9, 2027
Houston, TX — Hobby Center

May 11–16, 2027
West Palm Beach, FL — Kravis Center

Play Broadway Games Every Day in May and Win a Merch Prize Pack

Wed, 29 Apr 2026 08:30:20 PST

Broadway fans, your daily warm-up just got a whole lot more rewarding. BroadwayWorld is launching the May 2026 Games Challenge - a month-long streak competition open to fans across the U.S., with a $250 merch prize pack featuring merchandise from popular Broadway shows up for grabs.

The challenge runs all 31 days of May 2026 (Eastern Time), and all you need to enter is a free BroadwayWorld account.

How It Works

The rules are simple: play at least one BroadwayWorld game every day in May. That's it. Complete all 31 days and you'll earn one entry to win the prize pack. Tracking is automatic once you're logged in - your progress populates on the challenge page as you play, no manual check-ins required.

Any of these six games count toward your daily credit:

Make-Up Days: Because Life Happens

Miss a day? You're not out of the running. Play all six games in a single day and you'll earn a make-up credit, which automatically forgives your earliest missed day. You can bank up to three make-up credits over the course of the month - so a skipped Tuesday or a busy weekend doesn't have to end your streak. Credits are applied to your missed days in order, oldest first.

Ready to Start Your Streak?

The May 2026 BroadwayWorld Games Challenge runs May 1-31 (Eastern Time) and is open to U.S. residents only.

Click here to get started. Sign in with your free BroadwayWorld account and your tracking begins automatically - no registration beyond that required.

See full rules and regulations here.

AMADEUS and More Set for Fat Squirrel NOLA Season 5 Lineup

Fri, 24 Apr 2026 06:37:13 PST

Fat Squirrel NOLA has revealed its Season 5 programming, featuring Miss Julie & Venus in Fur, Amadeus, and for colored girls who have considered suicide / when the rainbow is enuf

Miss Julie & Venus in Fur

Directed by Andrea Watson
Featuring Elizabeth McCoy, Jonathan Mares, and Mallory Osigian Favoloro
Runs: June 10-20
CANOA, 4109 St. Claude

Amadeus

Directed by Andrea Watson
Featuring Clint Johnson and Rahim Glaspy
Runs: September 10-20
CANOA, 4109 St. Claude

for colored girls who have considered suicide / when the rainbow is enuf

Directed by R'Myni Watson
Runs: December 3-20
CANOA, 4109 St. Claude

This season reflects the company's commitment to pairing canonical works with vital, contemporary voices-creating space for both technical rigor and emotional immediacy.

Expanded Quarterly Programming

In addition to its mainstage productions, Season 5 will include a slate of quarterly programming designed to foster experimentation and community engagement:

The Squirrel and the Squire - a choose-your-own-adventure comedy series
The Greenhouse - a new works series

These initiatives reinforce Fat Squirrel's emphasis on process-driven work and interdisciplinary collaboration across artistic mediums.

Artist Development & Community Investment

Fat Squirrel continues to prioritize artist training and accessibility through its practicum model, offering hands-on experience in performance, design, and production.

The company is currently accepting applications for its 2026 Emerging Directors Program through May 4, further investing in the next generation of theatre-makers.

AMADEUS and More Set for Fat Squirrel NOLA Season 5 Lineup

Fri, 24 Apr 2026 06:37:13 PST

Fat Squirrel NOLA has revealed its Season 5 programming, featuring Miss Julie & Venus in Fur, Amadeus, and for colored girls who have considered suicide / when the rainbow is enuf

Miss Julie & Venus in Fur

Directed by Andrea Watson
Featuring Elizabeth McCoy, Jonathan Mares, and Mallory Osigian Favoloro
Runs: June 10-20
CANOA, 4109 St. Claude

Amadeus

Directed by Andrea Watson
Featuring Clint Johnson and Rahim Glaspy
Runs: September 10-20
CANOA, 4109 St. Claude

for colored girls who have considered suicide / when the rainbow is enuf

Directed by R'Myni Watson
Runs: December 3-20
CANOA, 4109 St. Claude

This season reflects the company's commitment to pairing canonical works with vital, contemporary voices-creating space for both technical rigor and emotional immediacy.

Expanded Quarterly Programming

In addition to its mainstage productions, Season 5 will include a slate of quarterly programming designed to foster experimentation and community engagement:

The Squirrel and the Squire - a choose-your-own-adventure comedy series
The Greenhouse - a new works series

These initiatives reinforce Fat Squirrel's emphasis on process-driven work and interdisciplinary collaboration across artistic mediums.

Artist Development & Community Investment

Fat Squirrel continues to prioritize artist training and accessibility through its practicum model, offering hands-on experience in performance, design, and production.

The company is currently accepting applications for its 2026 Emerging Directors Program through May 4, further investing in the next generation of theatre-makers.

NEWSIES Unseats LES MISÉRABLES to Win BroadwayWorld's 2026 Ultimate Movie Musical Bracket

Wed, 22 Apr 2026 13:26:32 PST

After six weeks of voting, BroadwayWorld readers have crowned Newsies the Ultimate Best Movie Musical in the 2026 edition of BroadwayWorld's Annual Bracket. The 1992 Disney film, directed by Kenny Ortega and featuring music by Alan Menken and lyrics by Jack Feldman, defeated Les Misérables in the final round, ending the Tom Hooper-directed film's two-year winning streak.

In both 2024 and 2025, Les Misérables was voted as the Ultimate Best Musical of all time, making it the title to beat heading into this year's competition. Newsies, a perennial fan favorite that developed a devoted following after its theatrical release and has since been adapted for the Broadway stage, advanced through six rounds of head-to-head matchups before claiming the title.

Now in its third year, BroadwayWorld's Bracket invites readers to debate, defend, and ultimately crown the greatest movie musical of all time from a field selected by BroadwayWorld editors. Voting in the 2026 edition opened on Tuesday, February 24 and concluded on Sunday, April 12, with new matchups released each week.

PRIMARY TRUST To Make New Orleans Regional Premiere With Crescent City Stage

Mon, 13 Apr 2026 20:18:40 PST

Crescent City Stage will present the regional premiere of PRIMARY TRUST by Eboni Booth, the 2024 Pulitzer Prize-winning play, in partnership with the Contemporary Arts Center. The production will run from May 7 through May 24 in the CAC’s Black Box Theatre in New Orleans.

The play centers on Kenneth, a man whose carefully structured life begins to shift, prompting him to reconsider his relationships and sense of belonging. The story follows his journey as he navigates change and the possibility of new connections.

“New Orleans is a city that has always known how to hold grief and joy in the same breath. Primary Trust speaks directly to that spirit,” said director Michael A. Newcomer. “It's a story about a man learning to step outside the safe, familiar walls he's built around himself and discover that connection, friendship, and belonging are still within reach.”

CAST

The production will feature Jarrod Smith as Kenneth, alongside Doug Spearman, Nicole Collins, Mark Cosby, and Steve Gilliland. Gilliland will also serve as composer, with original music performed live onstage.

CREATIVE TEAM

Lighting and costume design will be by Adachi Pimentel and Elizabeth Newcomer.

PRIMARY TRUST

Contemporary Arts Center, Black Box Theatre
900 Camp Street, New Orleans, LA

May 7–24, 2026

Thursday, Friday, and Saturday at 7:30 p.m.
Sunday at 2:30 p.m.

TICKET INFORMATION

Preview tickets are priced at $25, with general admission tickets ranging from $38 to $48. Tickets are available at cacno.org.

Crescent City Stage is a nonprofit theater company focused on actor-centered productions, training, and programming for artists in New Orleans.

PRIMARY TRUST To Make New Orleans Regional Premiere With Crescent City Stage

Mon, 13 Apr 2026 20:18:40 PST

CAST

CREATIVE TEAM

Lighting and costume design will be by Adachi Pimentel and Elizabeth Newcomer.

PRIMARY TRUST

Contemporary Arts Center, Black Box Theatre
900 Camp Street, New Orleans, LA

May 7–24, 2026

Thursday, Friday, and Saturday at 7:30 p.m.
Sunday at 2:30 p.m.

TICKET INFORMATION

Preview tickets are priced at $25, with general admission tickets ranging from $38 to $48. Tickets are available at cacno.org.

Crescent City Stage is a nonprofit theater company focused on actor-centered productions, training, and programming for artists in New Orleans.

BroadwayWorld My Shows is Now Part of the New & Improved App

Mon, 13 Apr 2026 10:34:45 PST

Since launching last fall, BroadwayWorld My Shows has been the place where theatre fans log every production they've seen, rate performances, write reviews, and document their theatre experiences. Today, we're thrilled to announce that the complete My Shows experience - rebuilt from the ground up - is now available inside the BroadwayWorld app for iPhone and iPad.

Whether you're a Broadway regular, a West End devotee, a tour-chaser, or someone who just caught their very first show last weekend, My Shows in the app lets you track it all, connect with friends who love theatre as much as you do, and carry your entire theatregoing history with you wherever you go.

@broadwayworld
The complete My Shows experience - rebuilt from the ground up - is now available inside the BroadwayWorld app for iPhone and iPad. Get started now!
♬ original sound - BroadwayWorld

What's New in My Shows

A Social Feed Built for Theatre Fans- See what your friends are watching in real time: new logs, star ratings, and reviews in a scrollable activity stream. Like, comment, and discover what your community is raving about.

Your Complete Theatregoing Stats - The redesigned Profile turns your history into beautiful statistics: Shows Seen, Total Attendances, Repeat Visits, a Broadway / West End / Tour / Off-Broadway / Regional breakdown, and a Musicals vs. Plays split.

Smart, Grouped Show History - Seen Wicked four times? Record repeart attendances with individual visits, ratings, and reviews.

Find Friends - Search members, send and accept requests, and build your theatre community. A friend-requests banner at the top of your feed means you never miss a new connection.

The Quick Start Wizard - Catching up on years of theatregoing? Rapidly rate and log shows across Broadway, West End, Touring, Off-Broadway, and a curated popular list of the longest-running Broadway productions of all time.

Theatres You've Visited - Browse every theatre on Broadway, and beyond. See where you've been, what's still on your list, and every production that's ever played there.

Wishlist - Keep track of the shows you're dying to see, now front and center in the app's tab bar.

Built for iPhone and iPad — The entire experience is fully optimized for both, with layouts that adapt to bigger screens.

Getting Started

If you already have a BroadwayWorld account, just open the app, tap My Shows, and sign in. Everything you've ever logged on the website will be right there waiting for you.

New to BroadwayWorld? Create a free account in seconds and start building your theatregoing history today.

Download the BroadwayWorld app - free on the App Store - and take your theatre life with you.

Click Here to Play!

Around The BroadwayWorld: Top News, Reviews, Interviews & More from March 2026

Wed, 08 Apr 2026 11:54:50 PST

Around the BroadwayWorld is our monthly snapshot of the biggest stories making waves across the global theatre community. In this March 2026 edition, we're bringing you a fresh batch of standout reviews from regional stages across the country - from the world premiere of Mrs. Christie at Cincinnati Playhouse In The Park to touring productions of The Great Gatsby in Houston, Water for Elephants in Minneapolis, and Wicked in Providence.

Tony-winning Stereophonic lands at DPAC in Raleigh, The Hunchback of Notre Dame takes the stage at Hale Centre Theatre in Utah, and Safety Not Guaranteed makes its way to Signature Theatre in DC. Plus, get a first look at exciting new productions through performance videos and photos, including White Rooster at Lookingglass Theatre, the new tour of Kinky Boots, Romeo and Juliet at Arden Theatre Company, The Crucible at Washington National Opera, and the Manila cast of A Chorus Line - and so much more from across the BroadwayWorld.

Interview: Matthew Lombardo and Beth Leavel Tell the Tale of WHEN PLAYWRIGHTS KILL

R. Scott Reedy | Boston

After the headline-making 2019 run of his “Tea at Five,” which starred Faye Dunaway, playwright Matthew Lombardo returns to Boston’s Huntington Theatre April 3–18 with his latest effort, “When Playwrights Kill,” a behind-the scenes comedy about an up-and-coming playwright whose Broadway dreams are dashed when his female lead, a famously difficult diva, derails his play’s out-of-town tryout in Boston.

Interviews

Interview: Adam Grant Morrison, Albus Potter in HARRY POTTER AND THE CURSED CHILD at The Fox Theatre

Joseph Harrison | Atlanta

The magic of HARRY POTTER AND THE CURSED CHILD has officially arrived in Atlanta, with the first-ever touring production now playing at the Fox Theatre as part of the 2025/2026 Regions Bank Broadway in Atlanta season, running through March 15. To celebrate this landmark engagement, I caught up with Adam Grant Morrison, who stars as Albus Potter, Harry’s son, in this theatrical continuation of the beloved wizarding world. In our conversation, Morrison reflects on growing up in Atlanta, discovering theatre unexpectedly, stepping into an iconic role he once only dreamed of, and what it means to bring this magical story home to the Fox Theatre stage.

Interview: Eymard Cabling of MISS SAIGON at Short North Stage

Paul Batterson | Columbus

Growing up in Rockville, Md., Eymard Cabling’s fields of study were somewhat limited. Cabling, who will be playing the role of The Engineer in Short North Stage’s upcoming production of the epic MISS SAIGON, thought he had three career choices.

Interview: SoCal's Leianna Weaver Talks Lydia, Ghosts, and BEETLEJUICE

Melissa Heckscher | Los Angeles

Southern California native Leianna Weaver speaks with BroadwayWorld about what it felt like to land the role of Lydia Deetz in BEETLEJUICE, how she relates to the character, and some onstage mishaps (that may or may not have involved fire).

Interview: Theatre Life with David Andrews Rogers

Elliot Lanes | Washington, DC

Today’s subject David Andrews Rogers Is currently living his theatre life and a lifelong dream on the conductor’s podium as the Musical Director and Conductor of the new touring production of Disney’s Beauty and The Beast. The show begins performances here in DC on March 18th and will play through April 5th at The National Theatre.

Interview: Theatre Life with Suzy Eddie Izzard

Elliot Lanes | Washington, DC

Today’s subject Suzy Eddie Izzard is an award-winning performer, marathon runner, and author. Her tour de force solo show The Tragedy of Hamlet will be seen right here in DC at Shakespeare Theatre Company (STC) from March 27th to April 11th. The show will be performed in STC’s Klein Theatre.

Reviews

Review: MRS. CHRISTIE at Cincinnati Playhouse In The Park

Caroline Conard | Cincinnati

It’s very seldom these days that an original play check sall the boxes, yet Mrs. Christie manages to do exactly that. A fantastical show with mystery, quirky characters, and deeper themes, Mrs. Christie is sure to have something for everyone!

Review: THE GREAT GATSBY at Broadway at The Hobby Center

Brett Cullum | Houston

The book is full of mysteries, unspoken judgements, and a vicious sense of classism mixed with ruthless self-preservation, and there is not a lot of this present in this interpretation, brought to life by Kait Kerrigan's book, Jason Howland's music, and Fitzgerald-inspired lyrics by Nathan Tysen.

Review: WATER FOR ELEPHANTS at Orpheum Theatre Minneapolis

Jared Fessler | Minneapolis / St. Paul

Water for Elephants has officially set up shop at the Orpheum Theatre, and it honestly doesn’t take long to get swept up in it. From the start, it feels less like you’re sitting in a theatre seat and more like you’ve wandered backstage at a traveling circus that just happens to break into song.

Review: STEREOPHONIC at DPAC

April Sigler | Raleigh

Stereophonic, the most Tony-nominated play of all time and winner of 5 Tony Awards including Best Play, offers a compelling fly-on-the-wall look at a 1970s rock band recording their next album. With strong performances and music that feels like a character of its own, the show immerses you in the creative process, even if its scale and runtime occasionally soften the intimacy.

Review: WICKED at Providence Performing Arts Center

Andria Tieman | Rhode Island

One could be forgiven for feeling a little burned out on Wicked these days. After two super-sized movies and a press tour that seemed to last a decade, Wicked-mania feels a bit on the wane. However, there is no substitute for seeing this show live on stage. This show is more relevant than ever, and the current touring cast are exceptional.

Review: THE HUNCHBACK OF NOTRE DAME at Hale Centre Theatre

Sydney Naegle | Utah

Review: THE HUNCHBACK OF NOTRE DAME at Hale Centre Theatre Mesmerizing and a true Top of the World experience.

Review: SAFETY NOT GUARANTEED at Signature Theatre

Aidan O'Connor | Washington, DC

Nostalgia is a funny thing. It catapults the ordinarily rational into webs of what-ifs and immobilizes presence in the now. But what if you could turn back time to fix that one regret or evaluate outcomes of disparate decisions. Would you do it, or would you choose to accept your past as part of you. Safety Not Guaranteed at Signature Theatre takes that exact journey and winds up in an alt-indie-rock concert with a semblance of sci-fi and human connection. Much like most time machines however, it’s transcendent in theory but lacks flawless execution in reality.

Videos

Photos & Video: First Look at WHITE ROOSTER at Lookingglass Theatre

Chloe Rabinowitz | Chicago

You can now get a first look at photos and video of the world premiere of White Rooster, written and directed by Ensemble Member Matthew C. Yee. The production has revealed an extension of its run.

Video: First Look at 'I Can Hear The Bells' from HAIRSPRAY at Casa Mañana Theatre

Joshua Wright | Dallas

Casa Mañana Theatre is currently presenting HAIRSPRAY, running through March 8. Check out a first look at “I Can Hear the Bells” in the video below.

Video: First Look at THE BODYGUARD at The John W. Engeman Theater

Joshua Wright | Long Island

Watch a first look video of The Bodyguard at The John W. Engeman Theater, running March 12 through April 26, 2026 in Northport, NY.

Photos/Video: First Look at ROMEO AND JULIET at Arden Theatre Company

Nicole Rosky | Philadelphia

Arden Theatre Company has released production photos and video from its staging of ROMEO AND JULIET, William Shakespeare’s tragedy directed by Barrymore Award–winning director Amina Robinson.

Video: KINKY BOOTS Tour First Look

Joshua Wright | Philadelphia

Get a first look at the new non-equity North American Tour of Kinky Boots. Leading the tour is Omari Collins as Lola, Noah Silverman as Charlie Price, Sophia Gunter as Lauren, Jason Daniel Chacon as Don, Emma Dean as Nicola, and John Anker Bow as George

Video: Hale Centre Theatre's THE HUNCHBACK OF NOTRE DAME

Joshua Wright | Utah

Watch a first look video of THE HUNCHBACK OF NOTRE DAME at Hale Centre Theatre, running March 9 to April 25, 2026, with full cast details and performance schedule.

Video: Watch 'One Man Wrecking Machine' From Signature Theatre's SAFETY NOT GUARANTEED

Michael Major | Washington, DC

Signature Theatre has shared an exclusive look at the cast of Safety Not Guaranteed performing 'One Man Wrecking Machine.' Watch the video from Ryan Miller and Nick Blaemire's musical now!

Video: First Look at THE CRUCIBLE at Washington National Opera

Joshua Wright | Washington, DC

Watch a first look video of THE CRUCIBLE at Washington National Opera, running March 21–29, 2026, with full cast and creative team details.

Photos

Photos: The Cast of WHEN PLAYWRIGHTS KILL Meets the Press

Bruce Glikas | Boston

The World Premiere production of WHEN PLAYWRIGHTS KILL, a new backstage comedy by Matthew Lombardo and directed by Noah Himmelstein, will be performed in Boston. The cast recently met the press and BroadwayWorld was there. Check out photos here!

Photos: CINDERELLA: A SALSA FAIRY TALE at South Coast Rep

Joshua Wright | Los Angeles

South Coast Repertory presents CINDERELLA: A SALSA FAIRY TALE, a bilingual musical by Karen Zacarias and Deborah Wicks La Puma, running February 20–March 8.

PHOTOS: A CHORUS LINE Manila Cast Meets the Press

Oliver Oliveros | Philippines

See photos from A Chorus Line Manila's press meet! Conrad Ricamora & Lissa deGuzman lead the all-Filipino cast at Samsung Performing Arts Theater, March 2026.

BWW Q&A: Michael Meth Talks Last Night at the Rue Bayou

Tue, 07 Apr 2026 16:10:16 PST

New Orleans has inspired countless stories, but few have tried to bottle the city itself — the spicy air, the flicker of votive candles, the way a zydeco riff can turn strangers into family. That's exactly what creator Mike set out to do with Last Night at the Rue Bayou, an immersive new musical that transforms Storyville Music Hall in the French Market into a living, breathing New Orleans haunt where the living and the dead mingle freely, the stage becomes an altar, and a single night can change everything.

Mike's love affair with the Crescent City began long before he ever set foot there — first through the music of Louis Armstrong, Jelly Roll Morton, Professor Longhair, and the Zydeco and Cajun legends who stole his heart. But it was an extended stay in the 1990s, spent wandering neighborhoods on foot and bicycle, that convinced him a traditional "fourth wall" production could never capture what makes New Orleans feel like New Orleans. Drawing on his background as a creative director in the experiential marketing world, he began crafting something different: a show where the audience doesn't watch the story so much as step inside it, gumbo in hand.

For three weeks, Storyville Music Hall will cease to exist — in its place, the Rue Bayou, complete with café seating, two drinks, a bowl of Tiny Bouchard's secret-recipe gumbo, and a Mardi Gras ball where audience members themselves join the Krewe du Rue. In this Q&A, Mike talks about the magic and mystery woven through the show, his collaboration with director Tracey Conyers Lee and composer Martee Lebow on an all-original score, and his dream of the Rue Bayou becoming a lasting gift to the city and the theatre community that inspired it.

What inspired you to create "Last Night at the Rue Bayou," and how did your first visit to New Orleans spark the idea for this immersive musical experience?

The concept for the show was sparked not on my first visit to New Orleans but during the first visit when I was able to stay for an extended period. On foot, bicycle and public transportation I was able to explore many neighborhoods and interact with a whole bunch of local folks. That was in the nineties. I was employed as a creative director and writer in the live, “branded events” business so I was developing “immersive” experiences for corporate clients attended by customers and employees. I was interested in writing a New Orleans based story but it was clear to me that, while there have been many stories “set” in New Orleans, I wasn’t aware of one that allowed the audience to be more than a spectator. And so began the road to, “Last Night at the Rue Bayou.”

You've described New Orleans as "love at first sight" — what specific elements of the city's culture made you feel that a traditional stage production simply couldn't do it justice?

I say I had a “teenage crush” on the city because I felt an attraction long before I actually visited. First it was the music. Louis Armstrong, Jelly Roll Morton, Preservation Hall and all the Jazz forefathers, to Alain Toussaint, Dr. John, Irma Thomas and Professor Longhair. Then, when I heard Clifton Chenier play the Zydeco and Dewey Balfa and Doug Kershaw’s Cajun fiddle I was hopelessly in love. Once I started visiting, it was the food, the colors of Carnival, the energy in the clubs and the love in the hearts of the people. A traditional show behind a “fourth wall” just wasn’t going to do it.

Can you walk us through what audiences actually experience from the moment they walk through the doors of Storyville Music Hall?

First, our audience will not be walking into the, “Storyville Music Hall.” For the three weeks we are there, it IS the Rue Bayou. The outside signage and the inside décor will reflect the warmth and love that is the personality of the Rue. Guests are seated at café tables, high tops and bar rails and your ticket includes two drinks AND a bowl of gumbo. (The secret recipe of one of our characters, Tiny Bouchard.) Throughout the evening there will be interaction with our actors and volunteers from the audience will be featured in our “Krewe du Rue” Mardi Gras Ball. There’s lots more.

The show is described as a place where "the living and the dead mingle freely" — can you tell us more about the themes of magic and mystery that run through the production?

To me, “magic and mystery” are the heart and soul of the city. My first visit to St Louis cemetery was a real spiritual experience. While I know the practical reason why folks are interned above ground, it felt like a metaphor because as one of our characters, Reverend Beaucoup sings, “folks may go but they ain’t never gone. It’s a very fine line between the night and dawn.” There is magic and mystery in Last Night at the Rue Bayou. Observant folks may pick up the clues planted in the story but no spoilers here.

How did you approach writing lyrics and book for a show where the audience is meant to feel like participants rather than observers?

In writing the book, I felt I had to create opportunities for the cast and director to bring the story directly into the audience. In some cases, it is specific, scripted moments but our inventive director, Tracey Conyers Lee, and our wonderful cast of New Orleans actors are finding many more opportunities to use the story and the space to connect with our audience. Lyrically, the goal was to create songs that you could actually hear in a night out at a New Orleans club. BUT, I did not want to take the easy way out and make this show a “jukebox’ musical. I asked our composer, Martee Lebow to be a part of the team because she comes from the world of popular music and has deep roots in R&B and the New Orleans sound. The result is an all-original score that sounds and feels authentic to the world of the Rue Bayou. (I do want to send a shout out to Dwayne Dopsie who helped with some licks for our Zydeco number)

How do you balance the immersive, experiential elements of the show with the need to tell a compelling narrative story?

That word, “immersive” has come to mean many things over the years. While I enjoy the self-directed experiences like “Sleep No More,” that is not the appropriate style for us. We are inviting our audience to experience a night at the Rue Bayou. They are immersed in the story including entertainment from the stage and all the action behind the scenes between songs.

What do you hope audiences take away with them after their night at the Rue Bayou, and where do you see this production going from here?

7. Our hope for the show is that it could find a permanent home in New Orleans and then we bring the unique NOLA spirit to other music centric cities like Chicago, Nashville, Memphis, St. Louis, San Francisco as well as New York. My dream is that the show becomes a gift to the city and especially the theatre community of New Orleans as an on-going generator of jobs for actors, musicians, technicians and hospitality workers. In terms of the audience takeaway, our story is of New Orleans and the extended Rue Bayou family – which every audience member joins by attending, “Last Night at the Rue Bayou.” I’m hoping our audience comes away feeling what the Rue Bayou was built by and stands for – the love that flows through everything, every world, and everyone. In the words of our Cajun waltz, “Oh ma cherie, tout est ici. Oh my dear, everything is here.” All that and a bowl of gumbo.

LES MISÉRABLES vs. NEWSIES: Final Round Voting Open For BroadwayWorld's Movie Musical Bracket

Mon, 06 Apr 2026 11:59:10 PST

Voting is now open for the final round of BroadwayWorld's Annual Bracket! Which film is really the Best Movie Musical of all time? Our editors have selected the options, and now BroadwayWorld invites YOU to join us and our readers in deciding which movie musical deserves the title of The Ultimate Best Movie Musical!

Now in its third year, BroadwayWorld's Bracket brings together our community to debate, defend, and ultimately crown the greatest of them all. In both 2024 and 2025, Les Misérables was voted as the Ultimate Best Musical of all time.

Will the beloved musical be reigning champ again across mediums? Or will the Newsies finally unseat the incumbent champ?

What will win this year's Ultimate Movie Musical Bracket? Vote now!

How To Participate

-Select your pick in each contest round below & submit the form.
-Come back for round each round to see if your selections made it.
-Didn't join the contest in the first round? No problem! Join in any round.

Schedule of Events

Round 1: Starts Tuesday, February 24, 2026 and ends Sunday, March 8, 2026
Round 2: Starts Monday, March 9 and ends Sunday, March 15, 2026
Round 3: Starts Monday, March 16 and ends Sunday, March 22, 2026
Round 4: Starts Monday, March 23 and ends Sunday, March 29, 2026
Round 5: Starts Monday, March 30 and ends Sunday, April 5, 2026
Round 6: Starts Monday, April 6 and ends Sunday, April 12, 2026

Check back daily for live stats to see how your favorite shows are ranking!

Vote Now & View Stats

BroadwayWorld Goes Even More Global: Now Available in 20 Languages

Mon, 06 Apr 2026 08:00:20 PST

The world's largest theatre site expands its multilingual platform ahead of FIFA World Cup 2026, America's 250th Anniversary, and a wave of international visitors — fueled by exponential month-over-month audience growth. International visitors have always been at the heart of Broadway's story.

As New York City and the broader United States prepare to welcome the world for a historic stretch of global events — including FIFA World Cup 2026 and America's 250th Anniversary celebrations — BroadwayWorld is expanding its platform to meet that moment in a meaningful way.

Since launching BWW Translate in September 2025 with five languages, BroadwayWorld has seen exponential month-over-month growth in international readership. That momentum has made one thing clear: the appetite for Broadway coverage, delivered in the language audiences know best, is far greater than we imagined. Today, we're proud to announce that BWW Translate is expanding to 20 languages.

Readers around the world can now follow BroadwayWorld's industry-leading news, reviews, and features in:

Spanish (Español)
French (Français)
German (Deutsch)
Portuguese (Português)
Italian (Italiano)
Chinese (中文)
Japanese (日本語)
Korean (한국어)
Hindi (हिन्दी)
Dutch (Nederlands)
Russian (Русский)
Arabic (العربية)
Hebrew (עברית)
Polish (Polski)
Swedish (Svenska)
Turkish (Türkçe)
Greek (Ελληνικά)
Vietnamese (Tiếng Việt)
Ukrainian (Українська)
Thai (ไทย)

"When we launched with five languages last fall, we hoped the world would respond — and they did, beyond anything we projected," said Robert Diamond, CEO and Founder of BroadwayWorld. "With FIFA bringing millions of international fans to American cities, and the country's 250th birthday drawing visitors from every corner of the globe, there has never been a better time to make sure anyone who wants to experience live theatre has a guide they can actually read. Twenty languages is a milestone, but it's not the finish line."

The expansion builds on BroadwayWorld's existing international infrastructure, including language-specific guides developed with the site's global network of editors, covering everything a first-time Broadway visitor needs to know — from buying tickets to understanding the Tony Awards. Those resources, now available across all 20 languages, are designed to turn curious international travelers into lifelong theatregoers.

About BroadwayWorld

Wisdom Digital Media Publishing launched in 2001 and its flagship site, BroadwayWorld.com, in 2003. BroadwayWorld is the largest theatre site on the internet, covering Broadway, the West End, and beyond — across 100 US cities, 45 countries, and now 20 languages worldwide. BroadwayWorld delivers complete up-to-the-minute Broadway, Off-Broadway, and regional theatre news, in-depth interviews, extraordinary photo coverage, entertaining video features, lively message boards, ticket discounts, reviews, and more.

Fifth Round Voting Open For BroadwayWorld's Best Movie Musical Of All Time Bracket

Mon, 30 Mar 2026 13:19:18 PST

Voting is now open for the fifth round of BroadwayWorld's Annual Bracket! Which film is really the Best Movie Musical of all time? Our editors have selected the options, and now BroadwayWorld invites YOU to join us and our readers in deciding which movie musical deserves the title of The Ultimate Best Movie Musical!

How To Participate

Schedule of Events

Round 1: Starts Tuesday, February 24, 2026 and ends Sunday, March 8, 2026
Round 2: Starts Monday, March 9 and ends Sunday, March 15, 2026
Round 3: Starts Monday, March 16 and ends Sunday, March 22, 2026
Round 4: Starts Monday, March 23 and ends Sunday, March 29, 2026
Round 5: Starts Monday, March 30 and ends Sunday, April 5, 2026
Round 6: Starts Monday, April 6 and ends Sunday, April 12, 2026

Check back daily for live stats to see how your favorite shows are ranking!

Vote Now & View Stats

Video: Clint Townsend and Touring Company of THE GREAT GATSBY Sing 'What A Wonderful World' for ALS

Sat, 28 Mar 2026 20:44:54 PST

Company members from the North American Tour of The Great Gatsby have come together to support a powerful new collaboration with Heath, Texas resident Clint Townsend, resulting in a moving studio recording video of the timeless classic “What a Wonderful World.”

“Clint Townsend – What a Wonderful World,” just released worldwide on Friday, March 27, 2026. Proceeds from the project will benefit Team Gleason Foundation, established by former New Orleans Saints player Steve Gleason, who has been living with ALS (amyotrophic lateral sclerosis) for 15 years. Team Gleason provides cutting-edge technology, equipment, adventure experiences, and essential support services to individuals and families living with ALS.

Townsend, who was diagnosed with ALS in 2006 at just 37 years old, continues to redefine resilience and creativity in the face of adversity. Embracing his “new normal” with remarkable courage and an unwavering spirit for adventure, he has accomplished extraordinary feats using Eye Gaze technology, including authoring four books and recently returning to music after an 18-year hiatus.

The collaboration for “What A Wonderful World” began when music arranger and producer Kim Scharnberg (The Great Gatsby, Jekyll & Hyde, Little Women) brought together Townsend’s family, friends, and company members from the touring cast of The Great Gatsby during their Dallas run. United by a shared commitment to storytelling and artistry, the group assembled at Jam Creative Productions, where everyone generously donated their time and talent to help bring Townsend’s vision to life.

The recording session featured a three-camera production and includes a special voice-over contribution from Golden Globe-winning actor Scott Bakula.The project highlights not only Townsend’s enduring passion for music, but also the generosity and collaborative spirit of the The Great Gatsby company.

Through this collaboration, the company members of The Great Gatsby and Townsend hope to inspire audiences everywhere. Townsend’s infectious smile and joyful spirit, combined with the artistry of the touring cast, serve as a reminder of the power of community — whether supporting those living with ALS or anyone navigating life’s challenges.

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GOD OF CARNAGE To Play Le Petit Theatre In New Orleans

Thu, 26 Mar 2026 19:38:14 PST

Le Petit Theatre du Vieux Carré will present GOD OF CARNAGE by Yasmina Reza, translated by Christopher Hampton, beginning with previews April 30 and opening May 1, 2026. The production will run through May 17 in New Orleans.

The play follows two sets of parents who meet to discuss a playground altercation between their sons, only for the conversation to unravel into escalating conflict. What begins as a measured discussion shifts into a night of arguments, exposing tensions around civility, parenting, and identity.

The cast will include Julie Lake as Annette Raleigh, Conrad Ricamora as Alan Raleigh, Marie Lovejoy as Veronica Novak, and Joshua Mark Sienkiewicz as Michael Novak.

The production will be directed by A.J. Allegra, with scenic design by Bethany Lee, costume design by Yalani Warren, lighting design by Diane Baas, sound design by Jamie Doyle, properties design by Deborah Bommer-Morrissey, and projection design by Bruno Doria.

Performances will take place Thursdays through Saturdays at 7:30 PM and Sundays at 3:00 PM, with a special Saturday matinee on May 16 at 2:00 PM and a student matinee on May 7 at 10:00 AM. Opening night is scheduled for May 1 at 7:30 PM.

Ticket Information

Single tickets range from $35 to $85, with $15 student tickets available for all performances. Groups of 10 or more can receive a 20% discount. Tickets are now on sale for GOD OF CARNAGE as well as for Once (June 4–21) and full-season packages for the 2026–2027 season.

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