BroadwayWorld.com Delaware Stories

THE CHER SHOW Will Come to Clear Space Theatre Company

Thu, 11 Jun 2026 10:16:11 PST

Clear Space Theatre Company will bring the life and music of one of pop culture’s most enduring icons to the stage this summer with The Cher Show, running June 23 through August 27, 2026. Directed by James FitzSimmons, the hit Broadway musical will be presented in repertory with Mean Girls and Pretty Woman as part of the company's Summer Rep season.

Featuring a book by Rick Elice and packed with Cher’s greatest hits, The Cher Show chronicles the extraordinary journey of the legendary entertainer from her humble beginnings to international superstardom. The production follows Cher through decades of personal and professional triumphs, tracing her evolution from a young dreamer to one half of a celebrated duo, and ultimately to a groundbreaking solo artist and cultural icon.

The musical’s unique storytelling approach features three versions of Cher onstage simultaneously, each representing a different chapter of her life. Audiences can expect a dazzling theatrical experience filled with beloved songs, glamorous costumes inspired by famed designer Bob Mackie, and the unforgettable story behind one of entertainment’s most recognizable figures.

Leading the cast are Shannen Hofheimer as Star Cher, Anya Kay as Young Cher, Abby Lynn as Babe, and Breanna Lemerise as Lady. Caetano de Sá stars as Sonny, with Noah Mutterperl portraying Gregg Allman and Jordan Kilgore appearing as Rob Camiletti.

The company also features Eryk Bluto as Bob Mackie; Donna de Kuyper as Georgia/Lucile Ball; Kali Evonne as The Dark Lady; Kelly Kravchenko as Ensemble; and a talented supporting cast that includes Kylee Brown, Jaide Fisher, Taiven Goodson, Thomas Higgins, Madison Winkler, Jaiden Leo Riley, Abby McDonough, Sierra Steinberg, and Daniela Velasquez. Hofheimer is a member of Actors’ Equity Association.

With 35 hit songs, heartfelt storytelling, and plenty of sparkle, The Cher Show invites audiences to “turn back time” and experience the remarkable life of a performer whose influence continues to resonate across generations.

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 CHER SHOW, MEAN GIRLS, and PRETTY WOMAN Set For Clear Space Theatre Company This Summer

Mon, 01 Jun 2026 10:20:06 PST

Clear Space Theatre Company in Rehoboth Beach will continue its 2025–2026 season into the summer with a slate of long-running musicals beginning this summer, including productions that extend into late August at its downtown venue.

One of the headline engagements is “The Cher Show,” running June 23 through Aug. 27, 2026, at Clear Space Theatre in Rehoboth Beach. The production presents the life and career of Cher through three performers portraying different eras of the entertainer’s life, from her early career to her rise as a solo icon. The musical features more than 30 of Cher’s hits and is part of the theatre’s professional summer season.

Following that, “Mean Girls” runs June 26 through Aug. 29, 2026, also at Clear Space Theatre. The production is the stage adaptation of the 2004 Paramount film and the Tony Award-nominated Broadway musical by Tina Fey, Jeff Richmond and Nell Benjamin. It follows new student Cady Heron as she navigates the social hierarchy of an American high school.

Both productions are part of Clear Space Theatre’s ongoing 2026 summer repertory season, which also includes “Pretty Woman: The Musical,” scheduled July 1 through Aug. 25, 2026.

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.

Review: ARSENIC AND OLD LACE at The Candlelight Theatre

Tue, 19 May 2026 16:27:53 PST

It doesn’t matter if you know the stage version, or the movie version, or don’t know anything about it, just know ARSENIC AND OLD LACE has an easy to follow plot that leads you down a path of hijinks straight to your funny bone. The stage version penned in 1939 opened on Broadway in January 1941 starring Jean Adair and Josephine Hall as the Brewster sisters. You may not know those names, but you most likely will recognize the actor playing Jonathan Brewster being the one and only, Boris Karloff. Given Boris Karloff was in the cast, and the title of the play includes the name of a poison, one could easily posit the existence of a dark and deadly essence infusing the play. And, you would be correct. But the darkness isn’t the entrée, it’s the comedy that feeds this satisfying three act meal.

The actual undertakings in a house on Prospect Street in Windsor, Connecticut between 1907 and 1917 may have inspired playwright Joseph Kesselring. That is where Amy Archer-Giiligan operated the Archer Home for the Elderly and Infirm which just so happened to be the same place where lifetime care clients had a knack for dying shortly after “giving” a large sum of money to Mrs. Archer-Gilligan. Investigations into the deaths found that Mrs. Archer-Gilligan bought large quantities of arsenic and strychnine to kill rats. Authorities counted 48 deaths in the nursing home but it is believed Mrs. Archer-Gilligan may have been a bit busier than that. One of the OG female serial killers, Mrs. Archer-Gilligan was tried in 1917, found guilty, sentenced to death, appealed, retried in 1918, and subsequently sentenced to life in prison. In 1924, she was transferred to the Connecticut Hospital for the Insane where she died in 1962. Not a Hallmark movie script, is it? How could a playwright find the funny in that? Well…by creating two perpetrators who are just the most adorable, sweetest little ol’ ladies you can’t help but give a pass to.

The plot in short: Two sisters, Abby and Martha, provide lodging to older gentlemen with no attachments promising them a comfortable place to live until the end of their days. Also living in the house are their nephews, Mortimer, a theater critic, and Teddy, who squarely believes he is President Theodore Roosevelt. For the most part, the sisters have been going about their business with ease and efficiency. Lodger arrives, and while chatting with the sisters on all sorts of topics, most importantly, their religion, the Lodger enjoy a specially crafted elderberry wine. Lodger shockingly passes away. The sisters alert Teddy of another yellow fever victim, the sisters utilize Teddy’s passion for digging locks for the Panama Canal (in the basement) to bury the newly deceased, after which, they hold services of the appropriate denomination. After all, you wouldn’t want to give a Catholic service to a Methodist, would you? Do the sisters do it for the money? Who knows, who cares? Young Mortimer is too engrossed with his job and his fiancée, Elaine Harper, to ever notice any strange or unusual goings-on; that is until he discovers the latest elderberry wine connoisseur, Mr. Hoskins, in the window seat box. Quite out of sorts from the discovery, Mortimer becomes completely unhinged when his aunts explain they are responsible for Mr. Hoskins, as well as other basement residents. In his attempt to safeguard his aunts, Mortimer puts Elaine through an emotional wringer sending her into full stubbornness mode. And, if that isn’t enough, Mortimer’s long-forgotten brother, Jonathan, who now resembles Boris Karloff, makes his way home with his partner in crime, Dr. Einstein, and their own dead body, in an effort to evade the authorities. If the Brewster’s had family game night, I suppose they would play, “Who’s Crazier?” and “Whose Body Is It Anyway?”

In this gifted cast, Janean Clare and Susan Giddings play sisters Abby Brewster and Martha Brewster, respectively. They are both so sweet, so kind, so giving, and oh, so cunning. Abby exudes more of the doe-eyed, “Who? Me??” kind of assassin while Martha has a subdue inner “prove it” type of vibe. Their portrayals are pleasant, evenly measured, and firmly grounded in the grandmother everyone loves, wouldn’t hurt a fly façade. Both actresses make it easy for the audience to forget about the sisters’ deeds and root for their success. Taking up the role of Teddy, Shaun Yates gleefully charges his way to the laughs with the aid of several props and costume accoutrements. Although, I feel there’s room for a bit more slapstick with the character and props to fully encompass his daffiness. Johnny Drumgoole delivers a delightful and smartly played Mortimer complete with the necessary physical comedy and quick-change emotions - spirited, anxious, flummoxed, hopeful, confounded – necessary for keeping (or attempting to keep) all of the plates spinning.

Steve Connor as Jonathan and David T. Wills as Dr. Einstein capably fulfilled their duties as the villains so much so that audience members amusingly booed while clapping during their curtain call. That is the true test of success! Mr. Connor brings menacing physical and intimidating vocal attributes to Jonathan to heighten the creep factor. Add in Jonathan’s family tree of maniacs and you reach super creepy. Mr. Wills agreeably delivers a sleazy, unethical, and corrupt quasi-henchman to Jonathan.

Laura Mancano as Mortimer’s fiancée Elaine nicely handles the no nonsense, rational thinking character by giving Elaine subtle inner strength and the ability to remain calm during Mortimer’s shenanigans. Her father, The Rev. Dr. Harper (William R. McHattie), very briefly seen in the beginning of the play, along with two other bit character seen later, Mr. Gibbs & Mr. Witherspoon (Jack Dibeler), aren’t actually needed to convey the story and I’ve never understood why playwrights do such a thing. The other smaller roles of Officer Brophy (David Cuff), Officer Klein (Michael Ignudo), Officer O’Hara (Mac Versak-Kennedy) and Lieutenant Rooney (Dan Healy) all have some purpose – buffooning cops. However, the final scene with the authorities lumbers along, giving too much to characters we have no investment in while taking away from the comedy of the main characters. Yes, I know, it’s too late to ask for a rewrite. Every actor in these roles gives it their all and turns in earnest work.

Tom Teti’s stage direction is clear and fluid. The performers work well with and off of each other to create an amicable ensemble. The laughs are genuine, organic - not forced or purposely mined. Costumes (Timothy Lamont-Cannon) are period and character appropriate. Clayton Stacey offers his usual loveliness with wigs, hair and makeup. Aaron Kirschner provides a solid sound design as does Matthew J. Kator with the lighting design. The wonderfully colorful and well-appointed two story set (Matthew Kator – Set Design & Anthony Connell – Set Dressing) garnered the highest of compliments from my tablemates. The wallpaper – chefs kiss!

Candlelight is after all a dinner theater so be prepared to fill your belly before you laugh. As most dinner theater do, your server may also be a character in the show, who will merrily provide your intermission drinks and desserts in full costume. Remember to tip your servers no matter what they wear!! If you don’t want to dine at the theater, call the box office to ask about Show Only tickets (and I think you may be able to purchase drinks from the bar with those tickets).

ARSENIC AND OLD LACE
Written by Joseph Kesselring
Directed by Tom Teti
The Candlelight Theatre
2208 Millers Road
Wilmington, DE 19810
(302) 475-2313
www.candlelighttheatredelaware.com

Photo Credit: Tisa Della-Volpe

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

GYPSY Will Be Performed by Second Street Players in July

Mon, 18 May 2026 05:03:09 PST

Second Street Players will present their 2026 summer musical, the classic Gypsy. Directed by John H. Hulse with music direction by Diane Trautman and choreography by Mark Lenard, Gypsy will be held at the Riverfront Theater, 2 South Walnut Street in Milford, DE.

Show dates are scheduled for the weekends of July 10, 11, 12, 17, 18, and 19. Friday and Saturday shows begin at 7 p.m. and Sunday shows begin at 2 p.m. Seats are $30 with a $2 discount available to seniors, students and SSP theater members. Gypsy is recommended for ages 10 and up.

Arthur Laurents' landmark script explores the world of show business with brass, humor, heart, and sophistication. Gypsy is the ultimate tale of an ambitious stage mother fighting for her daughters' success, while secretly yearning for her own.

Set all across America in the 1920s and 30s, when vaudeville was dying and burlesque was born, the score by Jule Styne and Stephen Sondheim boasts one hit after another, including "Everything's Coming Up Roses", "Rose's Turn", "Small World", "Together Wherever We Go", "You Gotta Get a Gimmick", and "Let Me Entertain You."

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.

SPELLING BEE and More Set for Delaware Theatre Company 2026/27 Season

Mon, 04 May 2026 13:46:35 PST

Delaware Theatre Company has revealed its 2026/27 Season. The season will launch on September 16, 2026, featuring five plays.

The season opens with The 25th Annual Putnam County Spelling Bee. A New Light Theatre production presented by Delaware Theatre Company, the Tony and Drama Desk Award Winner for Best Book runs from September 16 to October 4, 2026. Sam Kissajukian’s imaginative 300 Paintings follows, playing from October 21 to November 8, 2026. Steel Magnolias, Robert Harling’s beloved play, takes the stage from December 2 to 20, 2026, directed by Mimi Warnick. In the new year, Other World: A New Musical, runs from February 17 to March 7, 2027, and features art direction provided by Academy Award-winning Weta Workshop (The Lord of the Rings, Avatar). Closing out DTC’s 26/27 season is two-time Pulitzer Prize winner Lynn Nottage’s soulful comedy Clyde’s from April 14 to May 2, 2027.

"This season will celebrate DTC’s reputation as a gathering place where audiences don’t just watch, but feel seen and leave with a renewed sense of belonging in and beyond our theater’s walls,” remarks Producing Artistic Director Mimi Warnick.

DELAWARE THEATRE COMPANY’S 2026/27 SEASON

THE 25TH ANNUAL PUTNAM COUNTY SPELLING BEE

A New Light Theatre production presented by Delaware Theatre Company
September 16 to October 4, 2026
CONCEIVED BY Rebecca Feldman
ADDITIONAL MATERIAL BY Jay Reiss
MUSIC AND LYRICS BY William Finn
BOOK BY Rachel Sheinkin

Winner of the Tony and Drama Desk Awards for Best Book, The 25th Annual Putnam County Spelling Bee is a charming and deeply human musical that shines a light on the inner lives of six adolescents vying for the spelling championship of a lifetime. As they candidly share hilarious and touching stories from their home lives, these tweens spell their way through a series of (potentially made-up) words hoping to avoid the soul-crushing “ding” of the bell that signals a mistake. Blending humor and heart, the show is a joyful celebration of individuality, belonging, and the courage to be seen.

Sam Kissajukian: 300 PAINTINGS

October 21 to November 8, 2026
CREATED AND PERFORMED BY Sam Kissajukian
PRODUCED BY Sally Horchow AND Matt Ross
IN ASSOCIATION WITH OCTOPUS THEATRICALS
ORIGINALLY PRODUCED BY Vineyard Theatre

In 2021, Sydney comedian Sam Kissajukian decided to quit standup, rent an abandoned cake factory, and become a painter. Over the course of a six-month manic episode, he created 300 large-scale paintings, unknowingly documenting his mental state through the process. In this hilarious, fascinating, and wildly original show, Kissajukian brings audiences on a rollercoaster ride that explores the ties between art, mental health, and creativity.

STEEL MAGNOLIAS

December 2 to 20, 2026
WRITTEN BY Robert Harling
DIRECTED BY MIMI WARNICK

Set in a small town beauty salon in Louisiana, Steel Magnolias celebrates the unbreakable bond between six remarkable women who share laughter, love, and life’s toughest moments. Filled with sharp wit and deep emotion, this beloved play is a testament to the strength, resilience, and enduring power of friendship.

OTHER WORLD: A NEW MUSICAL

February 17 to March 7, 2027
BOOK BY Hunter Bell
MUSIC AND LYRICS BY Jeff Bowen AND Ann McNamee

One moment, Sri and Lorraine are in a garage on Earth. The next, they’re unexpectedly transported into Sri’s favorite video game, Other World. Now trapped in the game and in a race against the clock, this unlikely pair must work together, discover their inner strengths, and connect with gifted gamers and astonishing avatars in order to survive and find a way home. With art direction provided by Academy Award-winning Weta Workshop (The Lord of the Rings, Avatar), this heartfelt, humorous musical explores the connections we make on- and off-line, while celebrating the families and friendships we need to thrive in any world. Join us for this spectacular, original, otherworldly adventure. Your journey begins... now!

CLYDE’S

April 14 to May 2, 2027
WRITTEN BY Lynn Nottage

From two-time Pulitzer Prize winner Lynn Nottage, Clyde’s is a sharp, soulful comedy about redemption and resilience. Set in a roadside sandwich shop staffed by formerly incarcerated workers, the play explores the healing power of food, the complexities of forgiveness, and the transformative strength of human connection.

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.”

Lincoln Center Theater" width="356">

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

THE ADDAMS FAMILY Musical Begins At Farmington Hills Youth Theatre This May

Tue, 28 Apr 2026 20:54:31 PST

The Hawk Theatre – Farmington Hills Youth Theatre will present THE ADDAMS FAMILY MUSICAL in May at The Hawk Theatre.

The production follows Gomez, Morticia, Wednesday, and the Addams family, bringing the characters to the stage through a story centered on family relationships and identity.

Performances will take place Friday, May 15 at 7:00 p.m.; Saturday, May 16 at 1:00 p.m. and 6:00 p.m.; and Sunday, May 17 at 1:00 p.m. at 29995 W 12 Mile Road in Farmington Hills.

Tickets are $15 in advance, $20 at the door, with $5 tickets available for students. For more information, inquiries can be directed to inthemittenproductions@gmail.com.

THE ADDAMS FAMILY Musical Begins At Farmington Hills Youth Theatre This May

Tue, 28 Apr 2026 20:54:31 PST

The Hawk Theatre – Farmington Hills Youth Theatre will present THE ADDAMS FAMILY MUSICAL in May at The Hawk Theatre.

The production follows Gomez, Morticia, Wednesday, and the Addams family, bringing the characters to the stage through a story centered on family relationships and identity.

Performances will take place Friday, May 15 at 7:00 p.m.; Saturday, May 16 at 1:00 p.m. and 6:00 p.m.; and Sunday, May 17 at 1:00 p.m. at 29995 W 12 Mile Road in Farmington Hills.

Tickets are $15 in advance, $20 at the door, with $5 tickets available for students. For more information, inquiries can be directed to inthemittenproductions@gmail.com.

Review: RIDE THE CYCLONE, THE MUSICAL at Wilmington Drama League

Tue, 28 Apr 2026 14:30:42 PST

For many, the wild and unpredictable ride of a roller coaster is exhilarating and euphoric, while for others, it is traumatic and elicits multiple phobic fears. The musical RIDE THE CYCLONE is very much like a roller coaster in that the mindset of the viewer makes all the difference. Labeled as a “wildly original new musical – part comedy, part tragedy, and wholly unexpected,” is RIDE THE CYCLONE worth the price of a ticket?

RIDE THE CYCLONE from creators Jacob Richmond and Brooke Maxwell opened in 2009 in Victoria, British Columbia and made its Off-Broadway premiere on November 20, 2016 at the Lucille Lortel Theatre in New York City to mixed reviews. Today, the show is more of a cult favorite rather than a marquee staple. RIDE THE CYCLONE is the second installment of Richmond’s Uranium Teen Scream Trilogy which explores themes of grief, redemption and the absurdity of life. The first installment Legoland (2006) never truly made a mark in theater and the third installment is without a name, has no details, and no status or information since 2012. Never heard of Legoland? You are not alone. Never heard of RIDE THE CYCLONE? Again, you are not alone. However, RIDE THE CYCLONE is being added to many audience members’ musical theater lexicons.

Members of the Saint Cassian High School Chamber Choir board the Cyclone roller coaster at a local amusement park. Within minutes, their frivolity takes a tragic turn - the coaster’s axle breaks, throwing them skyward and then plunging them downward to their deaths. They “awaken” inside of the amusement park’s eerie storage building which includes the mechanical fortune teller, the Amazing Karnak, who offers one of them the chance to return to life should they win his unspecified, rule changing game. It was at this point my companion whispered to me, “Is this Saw, The Musical?” I assure you this show, although dark, is not horrific or grotesque.

What starts to unfold during the one act musical isn’t anything miraculous but rather ordinary fare with the typical tropes for a group of teens – the self-proclaimed leader, the reluctant follower, the meek, the outcast, the misunderstood. The one unusual character in the group is the unknown. A student without a name, without a story and seemingly without hope. A fortune telling moment is conjured for each student which gives way to the character’s solo moment wherein they provide the narrative to their inner most secrets and desires. Basic teenager stuff…on the surface. The story makes its point when the group truly listens to each other to grasp a deeper comprehension of a personal journey and the differences in measuring one’s life.

The introductions begin with The Amazing Karnak played by Owen Kanienberg. To devise a character who has to sit in a box, making only robotic-like movements from the waist up all while speaking in a mechanical metered tambor, is ridiculous, but Mr. Kanienberg is up to the challenge and succeeds far better than most. Never once did I see anything other than an animatronic in that box. In my experience, there are those who think a character who sits for the entire show is the easiest. It is, in fact, characters like Karnak that are the hardest to pull off because it is so easy to fade out of character while sitting still. The expression of relief on Mr. Kanienberg’s face at curtain call most likely isn’t for the show being over but rather the joy in standing up and becoming human again.

We next meet Ocean O’Connell Rosenberg played by Lauren Cusick. Ocean is the overachieving, almost obnoxious choir captain with a nicer than usual mean girl vibe who believes no one in the choir other than herself will amount to anything in life. Ms. Cusick offers the right amount of rude in her song What The World Needs which includes the lyrics, “Do we really need another zero?” and “I’m the mover. I’m the shaker. I’m the headline maker. What the world needs is people like me.” As Ocean, Ms. Cusick drives the action nicely while keeping her choirmates in check.

Next is Christopher Williams as Noel Gruber, the after-school Taco Bell employee who is obsessed with theatrical tragedy and yearns to be a post-war French sex worker. In his song Noel’s Lament, it is difficult not to be taken aback with the lyrics, “So now I sell my love for opium. At night I burn myself with cigarettes.” The lyrics are so overly dramatic that it is easy to cross from the desperately tragic to the silly and frivolous. Mr. Williams staddles the line well enough without ever falling completely over to the completely comedic.

Mischa Bachinski (William Bryan) is the most oddly written character for a show of this type. A Ukrainian child adopted by a Canadian couple who kept him in the basement because he was a teenager instead of a baby. Left to his own devices, Mischa became an overly aggressive, hip-hop obsessed alcoholic who is engaged to his online true love, Natalia. (That is weird and very specific, don’t you think?) Mischa is given two songs – This Song Is Awesome and Talia. The first, a mediocre written attempt at hip hop having a smattering of interesting autotune moments, and the second, a love song to his betrothed that, as with Noel’s Lament, can slide into the silly rather than romantic. Mr. Bryan handles the vocals nicely and easily switches styles between energetic hip-hop artist and standard musical theater balladeer.

Jamie Depto’s portrayal of the most imaginative boy in town, Ricky Potts, is genuine and sweet. Suffering from an unnamed affliction making him unable to talk or walk and therefore ostracized by his peers, Ricky uses his overactive imagination to dwell on the planet Zolar. His song, Space Age Bachelor Man, is a lot of fun, although the strangest of them all. Mr. Depto purrfectly scratches all the right places.

In the role of Constance Blackwood, Amaya Howard superbly delivers a life defining monologue before her full-tilt song, Sugar Cloud. Constance hides a very intimate and personal secret which Ms. Howard carefully protects until the bitter end.

In the coveted role of Jane Doe, Lauren Knecht brings the audience to the edge of tears, both of despair and of joy. Always remembering her character’s plight, Ms. Knecht’s physical movements never faulter. Her vocal refinement, flexibility and clarion sound for The Ballad of Jane Doe solidifies it as the showstopper it is meant to be.

RIDE THE CYCLONE is definitively an ensemble piece. There are no minor characters. No one character is more important than the other. Each has their own story and their own journey. The artists for this production commit fully, sincerely and without hesitation in exploring life, death, and identity. From the beginning measures of The Uranium Suite to the final harmonic chord of It’s Just A Ride, electricity flows freely from the stage. The performers vary in age from high school student to soon-to-be college graduate and just a little older. I mention that because it matters. It matters for the simple reason that there are experienced adult theater artists who could not have created such an experience or given a more defined portrayal of the characters. The book for RIDE THE CYCLONE lacks in certain respects, the biggest disappointment being character development. There just isn’t enough time to really dig in to the character’s psyche. We get a nice glimpse, more so with respect to Constance, but it certainly isn’t a complete picture. The characters play the game for themselves solely, until they don’t. The musical numbers support and elevate the emotional theme of the scenes with some being fun and bouncy, and others heartfelt and sweet. What I truly appreciate is that many are hummable. Even if you are hearing them for the first time, you just might be humming one of the tunes on your way of the theater. Kudos to the band (Tom Pulcinella, Krista Thomas, Josh Vance, Michael Campanile, Sean Townsend, Casey Warfield, Jane Roberts) for their great work in making the theater rock.

The large set (Aaron Cook) filling almost the entire stage is visible the moment you walk in which I found delightful as there are so many bits and pieces to gazes upon while waiting for the show to start. The Set Decoration Team led by Lindsey Cusick and Jack Johnston leave no doubt you are in a carnival environment. Lighting (Ryan Phillips) suits the moods of each scene; however, there were a few dark edges that made a muddy look for the performers. Sound (Jen Scorziello) can be an issue at WDL, and this time was no different. After seeing so many shows there and even performing on its stage, to me, it’s the room not being able to easily accommodate a live band. After some tweaking, the balance settled. Poorly chosen costumes can lessen the visual imagery and timing of this show. Costumer Laurene Eckbold and her team (Katie Donovan, Roy Eckbold) absolutely deliver – breakaway outfits and all.

Ray Crozier (Stage Director), Tom Pulcinella (Music Director), and Kaity Cherkaksy (Choreographer) were all on the same page in deciding how to execute the plan. The performers move between and within scenes seamlessly with purpose and focus. Because the set is large and the band is positioned behind the set, performers occupy the downstage areas more often allowing for a deeper connection with audience members. Being able to see and read facial cues is important with a show of this type. The performers kept me transfixed and engaged throughout. When dance or movement occurs, it supports the statement rather than being the standard musical theater choice. The vocals are strong, diction is clear and harmonies are tight.

Attendance on Opening Night was robust with what I can only assume to be fans of the show because there were numerous outbursts of hoots and woots before a song even hit the second measure. The audience showed its appreciation for the incredible performance given by the artists with a well-deserved standing ovation which lasted longer than the band had music to cover. As the closing number goes:

Yes, it’s everything you loved,
and it’s everything you dreamed,
and it’s everything you shared,
and it’s everything that seemed oh so terrifying,
turning round. It’s just a ride. It’s just a ride.

What a ride this production is! I highly recommend buying a ticket to RIDE THE CYCLONE at Wilmington Drama League.

Ride the Cyclone, The Musical
Book, Music & Lyrics: Jacob Richmond & Brooke Maxwell
Stage Director: Ray Crozier
Music Director: Tom Pulcinella
Choreographer: Kaity Cherkassky

Wilmington Drama League
10 W. Lea Boulevard
Wilmington, DE 19802
(302) 764-1172
www.wilmingtondramaleague.org

Show Runs April 24 to May 3
Photo Credit: Rich Lee / KRL Photography

###

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.

THE MUSIC MAN National Tour is Coming to The Playhouse on Rodney Square

Mon, 27 Apr 2026 16:59:02 PST

"Ya Got Trouble" in Wilmington, Delaware as Big League Production's National Tour of Meredith Willson's THE MUSIC MAN comes to The Playhouse on Rodney Square for four performances, June 5-7, 2026. Tickets for Meredith Willson's THE MUSIC MAN are on sale and start at $60.00.

There's trouble in River City when a fast-talking salesman gets his heart stolen by the town librarian. Meredith Willson's six-time, Tony Award-winning musical comedy THE MUSIC MAN follows fast-talking traveling salesman, Harold Hill, as he cons the people of River City, Iowa, into buying instruments and uniforms for a boys' band that he vows to organize - this, despite the fact that he doesn't know a trombone from a treble clef. His plans to skip town with the cash are foiled when he falls for Marian, the librarian, who transforms him into a respectable citizen by curtain's fall. Featuring songs such as "Seventy-Six Trombones," "Ya Got Trouble," "'Till There Was You," "Pick-a-Little" and "Gary, Indiana," THE MUSIC MAN is a family-friendly story to be shared with every generation.

This new production is helmed by veteran director Matt Lenz. Joshua Bergasse, Emmy Award winner, Tony Award nominee, and critically acclaimed choreographer, will create all new dances for the citizens of River City.

Meredith Willson's iconic humor, wordplay, and optimism will shine in this inventive reimagination of a beloved classic. Scenic Design is by Ann Beyersdorfer, Video Design is by Lisa Renkel, and Lighting Design is by Tony Award winner Ken Billington. The production will showcase the Broadway costumes designed by Tony Award winner Santo Loquasto.

Review: 1776 at Walnut Street Theatre

Sun, 26 Apr 2026 14:33:50 PST

The Walnut Street Theatre’s opening night production of 1776 is, quite simply, magnificent. It arrives not merely as a theatrical event, but as something more essential—an experience that feels necessary. For the audiences who will undoubtedly fill the seats of America’s oldest theatre, this production offers both exhilaration and reflection. At a moment when civic discourse often feels strained, 1776 reminds us—powerfully—of the messy, fragile, and ultimately inspiring birth of American democracy.

Director and choreographer Glenn Casale has shaped this production with extraordinary precision. Like a pointillist master—one thinks of Georges Seurat’s A Sunday Afternoon on the Island of La Grande Jatte—Casale assembles countless fine details into a cohesive and luminous whole. Every moment feels deliberate, every gesture purposeful, resulting in a staging that is both visually striking and emotionally resonant.

The production is anchored by a formidable cast drawn from the Philadelphia region’s finest talent. Ben Dibble leads with vigor and nuance as John Adams, capturing both the character’s relentless drive and underlying vulnerability. Jeffrey Coon brings gravitas and flair to Richard Henry Lee, while Scott Greer offers a warm, wry, and deeply human Benjamin Franklin. Fran Prisco’s Robert Livingston adds further strength to the ensemble, and the company as a whole operates with seamless cohesion. Each performance contributes to a collective energy that drives the narrative forward with clarity and conviction.

Lucy Horton’s Abigail Adams brought both grace and emotional resonance, her mellifluous voice soaring in the duet “Till Then,” imbuing it with a palpable sense of longing and devotion. Kathryn Brunner’s Martha Jefferson offered a striking contrast, infusing “He Plays the Violin” with playful sensuality and suggestive nuance that added unexpected texture to the evening.

The close of Act I proved deeply sobering. As the Courier, Isaac Ripley became the human cost of revolution incarnate—his tear-filled eyes reflecting the burden of young lives lost to war, a moment that visibly rippled through the audience with shared emotion.

Equally arresting was Ben Michael’s 2nd Act commanding rendition of “Molasses to Rum” as Edward Rutledge. Delivered with searing intensity, the number exposed the stark hypocrisy within the Congress (many Northerners had slaves) and became a dramatic fulcrum, driving the uneasy compromise on slavery with chilling clarity.

Design elements across the board are exemplary. From the beatific scrim that greets the audience upon entering the theatre to Roman Tatarowicz’s richly realized period set, the visual world is immersive and evocative. Mary Folino’s costumes are elegant and historically grounded, while Ryan O’Gara’s lighting design enhances both the intimacy and scale of the storytelling. Ed Chapman’s sound design ensures clarity and balance, and Carissa Thorlakson’s wigs and makeup provide the finishing touches that bring these historical figures vividly to life. There is a remarkable absence of flaws—an achievement that speaks to the production’s meticulous craftsmanship.

Music Director Chris Burcheri leads a superb ten-member orchestra that feels fully integrated into the performance. The musicians do not simply accompany; they participate, underscoring the drama with vitality and precision. The vocal performances are equally thrilling, with harmonies that echo the richness and authenticity of the original Broadway production.

At its core, 1776 is a story of individuals—flawed, passionate, and often divided—grappling with the immense challenge of forging a new nation. The musical captures the debates, compromises, and personal sacrifices that shaped the Declaration of Independence. It is a narrative filled with tension and humanity, reminding us that democracy is neither simple nor inevitable, but rather the product of courage, persistence, and collective will.

This production does more than entertain; it invites reflection. It asks us to consider the meaning of leadership, the value of dissent, and the enduring importance of striving toward a more perfect union. It asks us to put into historical prospective and thereby evaluate what this present administration under the Orange Jesus is doing to alter democracy into authoritarianism.

The audience was both moved and inspired by this production. Aisle Say considers himself privileged to witness it.

Through May 31

1776 The Musical -- Walnut Street Theatre -- Philadelphia, PA -- Official Website

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.

THE CANINE STARS Will Perform At The Grand In Wilmington

Mon, 20 Apr 2026 20:04:40 PST

The Canine Stars will perform at The Grand Opera House Wilmington for a one-day engagement. The performance will take place on May 31, 2026 at 2 p.m. in Copeland Hall.

The production is an educational stunt dog show featuring rescued dogs performing a range of athletic disciplines. The performance includes dog dancing, freestyle disc, high jumping, dock diving, and agility racing, presented in a theatrical format designed for performing arts centers.

The show incorporates a custom Ball Pit Pool, allowing for dock diving stunts to be performed onstage without water. Unlike traditional dog acts that emphasize comedy, The Canine Stars focuses on athleticism and the bond between dogs and their handlers.

All dogs featured in the production have been adopted from shelters, humane societies, and rescue organizations across the United States, Canada, and Mexico. The company’s mission is to promote adoption and demonstrate the potential of rescue dogs through performance.

Founded in 2012 by Keri Caraher, the company is led by Caraher and Vice President Ethan Wilhelm, who have performed and competed with dogs for more than 20 years. The show has appeared on programs including America’s Got Talent, Stupid Pet Tricks with Sarah Silverman, Nickelodeon Unleashed, and American Ninja Warrior.

Tickets are available at the venue’s website or by calling the box office.

Review: THE CHEQUERBOARD WATCH at Delaware Theatre Company

Mon, 20 Apr 2026 10:28:14 PST

George Abbott earned the reputation of Broadway’s “show doctor” in the 1950s because he had an uncanny ability to fix troubled musicals quickly and commercially. Producers would bring him in—often late in rehearsals or even during out-of-town tryouts—to tighten scripts, sharpen comedy, restructure scenes, cut weak material, and improve pacing. He wasn’t usually hired to originate shows at that stage, but to make them work with audiences.

He turned THE PAJAMA GAME (“Hey There”, “Fernando’s Hideaway”) and DAMN YANKEES (“Heart”, “Whatever Lola Wants”) into Broadway gold.

With that spirit in mind, Aisle Say—after 40 years in the aisle and a deep affection for live theatre—will don the white coat, hang the stethoscope around the neck, and offer a diagnosis.

The Delaware Theatre Company is presenting the World Premiere of The Chequerboard Watch, which means, by definition, this is a work in progress. And work is indeed needed.

Conceived and directed by Mimi Warnick. Book and Lyrics by Selena Seballo.

Earlier this year, Aisle Say wrote about the dangers of small theatre clans assuming “ownership” of a theatre. The article was not to criticize, but to preserve and strengthen -perhaps to save the institution. In that same constructive spirit, here are some observations and suggestions:

1) The Story
At present, the plot is nearly impossible to follow. The program synopsis does little to clarify the narrative, leaving the audience adrift.
Suggestion: Introduce a narrator to guide us. Billy could serve beautifully in this role, moving fluidly between participant and storyteller, grounding the audience in the action.

2) The Set
1855, aboard a four-masted clipper ship bound for South Australia to collect wool. Unfortunately, the set suggests something far more recent—more Home Depot than high seas.
Suggestion: Distress the set. This should feel like a working commercial vessel, not a newly constructed showroom. Texture, wear, and grit are essential to evoke the period.

3) Costumes
Costuming is an extension of character—and here, it falters. One lead character (Philip) wears what appear to be new ballet shoes; another wears a neatly pressed shirt that looks fresh from Goodwill. A pressed shirt on a working sailor (Ansel) in 1855 strains credibility.
Suggestion: Treat costumes as part of the cast. They must reflect the time, the labor, and the lived-in reality of life aboard ship.

4) Length and Focus
At 2 hours and 40 minutes (including intermission), the show overstays its welcome. At least 20 minutes should be trimmed. Several scenes feel extraneous or confusing, diluting whatever endgame the writers intend.
To wit:

A homosexual interaction that feels underdeveloped and disconnected from the central narrative
The Captain’s main obsession was obtaining the load of wool before the competition. Talk of the demise of wooden ships versus iron ships? Necessary? (Ten years later at Hampton Roads the Monitor/Merrimack put that question to rest.)
The competition and threat by the ‘red’ challenger was never fully developed.

5) Choreography

Neither particularly tight nor innovative.

6) Captain Edwards: “Glory Is Mine To Take”

It was sung with the power and obsession of Javert’s “Stars” in Les Mis. The character needs another song.

7) Production Title. With a world premiere –a new show - the audience needs a prelude as to what to expect. This title brings little understanding of what the show is about.

The original music by Jack Denman was the highlight of the performance. Wonderful vestiges of Irish Traditional music…the fiddle, the Uilleann bagpipes, the penny whistle, the Bodhran drum. “Among Brothers”, the final number, is a rousing anthem.

Suggestion: Tighten the script. Clarify character arcs. Cut or refine songs and scenes that neither serve nor progress the story.

This is a premiere, not a finished product—and that’s an opportunity. With careful shaping, sharper storytelling, and attention to period detail, The Chequerboard Watch could yet find its true course.

For now, the patient is stable—but still in need of a skilled doctor.

— Aisle Say

Though May 3

Next Up – The 25th ANNUAL PUTNAM COUNTY SPELLING BEE – Sept 16 – Oct 4

Second Street Players Will Perform GIRLS' WEEKEND at Riverfront Theater in Milford

Mon, 20 Apr 2026 06:58:39 PST

Second Street Players has announced the cast and show dates for their spring production, Girls' Weekend. Directed by Chris Ennis, Girls' Weekend will be performed at the Riverfront Theater, 2 South Walnut Street in Milford, DE. Show dates are scheduled for the weekends of May 8, 9, 10, 15, 16, and 17, 2026. Friday and Saturday shows begin at 7 p.m. and Sunday shows begin at 2 p.m. Seats are $27 with a $2 discount available to seniors, students and SSP theater members.

In this lightning-quick farce, Meg (Jill Lewandowski), Carol (Rachel Loper), Ellie (Piper Drace) and Dot (Susannah Griffin) travel to Dot's Northwoods cabin to consume copious amounts of wine, laugh at their lives, trade stories and chat about their book club's latest selection. However, after the third case of wine comes through the door, it becomes clear there will be more stewing than reviewing. The madcap, door-slamming chaos comes to a head when Dot wakes up and discovers her girls' weekend is full of... well, we don't want to spoil it all! Rounding out the cast are Greg Ellis (Rick), Jason Bruce (Stephen), Steven Perry (Sheriff Tom), and Brodie Sapp (Bubba).

Written by Karen Schaeffer, Girls' Weekend is presented through special arrangement with Dramatic Publishing.

Review: CABARET at Smyrna Opera House

Tue, 14 Apr 2026 15:53:18 PST

The Smyrna Opera House’s Cabaret isn’t just good—it’s a minor miracle. This is their first musical in years, and instead of easing back in with something safe, they went straight for one of the most stylistically demanding, tonally complex shows in the canon. And they pulled it off with grit, intelligence, and surprising polish.

What makes this production especially compelling is context. Unlike Candlelight, Delaware Theatre Company, or Wilmington Drama League—organizations with decades of institutional muscle memory—Smyrna had no recent template. No built-in rhythm. This wasn’t a revival; it was a reinvention. Many cast members were returning to the stage after long absences, while others were making their debut in the space. That kind of instability usually shows. Here, it didn’t. That’s not luck—that’s leadership.

Enter Bob Gatchel, the production’s not-so-secret weapon. Calling him a “triple threat” undersells it. Gatchel is the rare performer-director who understands that Cabaret lives in the margins—the glances, the pauses, the undercurrents. His direction is precise without being fussy, shaping performances that feel lived-in rather than indicated. Every shrug, every sidelong look had intention. And yes, the accents—so often a community theatre casualty—were consistently on point, from Sally to Schneider to Schultz to Tristan Torres’ sharply drawn Ernst Ludwig.

Gatchel has clearly been in the jaws of the theatre beast for decades (think Jonah and The Whale), and here it pays dividends. His enthusiasm is infectious, but more importantly, it’s disciplined. This is a thought-out Cabaret.

The boldest—and smartest—choice? Casting Lennon Heitz as the Emcee. A woman in the role isn’t a gimmick here; it’s a revelation. Heitz doesn’t imitate past Emcees—she sidesteps them. Her performance is seductive, knowing, and just unhinged enough to keep the audience off balance. She commands the stage with ease, threading decadence with menace. It’s one of the freshest takes on the role I’ve seen—and I’ve seen plenty, including my own; 3 times in the early 70’s with Joel Gray whiteface.

Jasmine Bradley’s Sally Bowles leans hard into the character’s delusion, which is exactly right. Too often Sally is played as knowingly tragic; Bradley makes her oblivious until it’s far too late. Her “Don’t Tell Mama” and “Mein Herr” have the expected sparkle, but there’s an undercurrent of desperation that creeps in if you’re paying attention. It’s not a carbon copy of Liza—but we buy into Bradley’s version.

Maria Glockner’s Fraulein Schneider is the emotional anchor of the show. Her performance is unforced and deeply human, with a beautifully sustained accent and aching musicality. “What Would You Do” lands exactly where it should—quietly devastating. Ken Speir’s Herr Schultz complements her with warmth and restraint, making “Married” genuinely moving instead of merely sweet.

The Kit Kat ensemble deserves real credit. Fosse is unforgiving—stylized, specific, and easy to get wrong. Choreographer Madalynn Martino doesn’t water it down, and the cast meets the challenge head-on. Is it perfect? No. Is it committed, energetic, and often downright entertaining? Absolutely. “Two Ladies,” cheekily staged with Kit Kat Boy Nick Carey, is a standout, and yes—there’s plenty of unapologetic pelvic action.

Design-wise, this production knows exactly where it is. Sally Borghardt’s costumes are provocative without tipping into excess—this is Smyrna DE, not Berlin’s seediest back alley. The aesthetic restraint actually works in the show’s favor. Autumn Birney (also a memorable Fraulein Kost) deserves a nod for the makeup influence—the Edith Piaf-style brows are a sharp, evocative touch. Her “Tomorrow Belongs to Me” is haunting, as it should be. Lovely voice.

Is this Broadway? Of course not. But that’s beside the point. This is something arguably more exciting: a community theatre production that refuses to think small. It’s a hybrid—grassroots passion with real artistic ambition.

Lighting Design by Valerie “V” Gatchel hit all the right notes, especially those around the proscenium.

And here’s the bottom line: Smyrna Opera House didn’t just stage Cabaret. They proved they’re ready to matter. Aisle Say hopes they make this part of their future.

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.

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.

Franklin Stage Company Reveals 30th Anniversary Season - THE CIVILITIES World Premiere and More

Mon, 30 Mar 2026 16:45:57 PST

The Franklin Stage Company has revealed their 30th anniversary season from May 31 through August 23rd, featuring Much Ado About Nothing, HOME? A Palestinian Woman’s Search for Life, Liberty and Happiness and more.

30th Anniversary Fundraising Event – May 31

The first event of 2026 is a celebration of a generation of daring performance at Franklin Stage Company’s 30th Anniversary Fundraising Event on May 31. The evening features music group Duo Extempore debuting a newly commissioned piece created exclusively for the milestone, and giving donors and audiences an opportunity to support the Franklin Stage Company in sustaining innovative theater for generations to come. Tickets to this event can be purchased on the company’s website.

Much Ado About Nothing (July 3–July 19)

On July 3, FSC opens its regular performance season with the classic play, Much Ado About Nothing, Shakespeare’s beloved romantic comedy of sparkling wit, deception, and desire. As gossip and misunderstandings swirl, two couples navigate pride, rumor, and the messy road to happiness. Much Ado About Nothing runs July 3–July 19 with 5 shows per week.

HOME? A Palestinian Woman’s Search for Life, Liberty and Happiness (July 24–26)

Next, July 24–26, FSC presents Hend Ayoub’s solo show, HOME? A Palestinian Woman’s Search for Life, Liberty and Happiness. The piece blends masterful storytelling, humor, and movement to explore the search for home amid borders, history, and memory.

Dual Rivet Dance Company (July 31–August 2)

The following weekend, July 31–August 2, brings Dual Rivet Dance Company whose performances balance power and fragility, speed and stillness, inviting audiences into immersive worlds.

The Civilities

FSC’s final production of the season is the theater’s second world premiere—a new play from Kyle Bass, author of Possessing Harriet and Toliver & Wakeman, plays previously produced by FSC. His new play, The Civilities, is set in Upstate NY in 1936, the 75th anniversary of the end of the Civil War, and explores the relationship of a young black graduate student at Cornell University and a Confederate veteran and poet, living in the North.

BroadwayWorld.com Delaware Stories

THE CHER SHOW Will Come to Clear Space Theatre Company

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

Editor's Picks: Top News Stories

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

Interviews

Interview: Adam Fields of BEETLEJUICE National Tour

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

Reviews

Videos

Photos

BroadwayWorld Launches Producer Fantasy Game

How It Works

Weekly Scoring

The Fantasy Forecast

Managing Your Roster

Join the Game

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

This year's cast includes:

A Drag Queen Christmas 2026 Tour Dates:

THE CHER SHOW, MEAN GIRLS, and PRETTY WOMAN Set For Clear Space Theatre Company This Summer

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

Review: ARSENIC AND OLD LACE at The Candlelight Theatre

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

2026-2027 Tour Dates:

GYPSY Will Be Performed by Second Street Players in July

StageMag Launches Programmable PDF Editor for Digital Theater Programs

About StageMag

About BroadwayWorld

SPELLING BEE and More Set for Delaware Theatre Company 2026/27 Season

THE 25TH ANNUAL PUTNAM COUNTY SPELLING BEE

Sam Kissajukian: 300 PAINTINGS

STEEL MAGNOLIAS

OTHER WORLD: A NEW MUSICAL

CLYDE’S

OPERATION MINCEMEAT Reveals 2026-27 Tour Dates and Cities

Operation Mincemeat Tour Dates:

About Operation Mincemeat

RAGTIME Will Launch National Tour in Fall 2027

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

Tour Dates

THE ADDAMS FAMILY Musical Begins At Farmington Hills Youth Theatre This May

THE ADDAMS FAMILY Musical Begins At Farmington Hills Youth Theatre This May

Review: RIDE THE CYCLONE, THE MUSICAL at Wilmington Drama League

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

THE MUSIC MAN National Tour is Coming to The Playhouse on Rodney Square

Review: 1776 at Walnut Street Theatre

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

THE CANINE STARS Will Perform At The Grand In Wilmington

Review: THE CHEQUERBOARD WATCH at Delaware Theatre Company

Second Street Players Will Perform GIRLS' WEEKEND at Riverfront Theater in Milford

Review: CABARET at Smyrna Opera House

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

What's New in My Shows

Getting Started

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

Editor's Pick

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

Interviews

Interview: Eymard Cabling of MISS SAIGON at Short North Stage

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

Interview: Theatre Life with David Andrews Rogers

Reviews

Review: MRS. CHRISTIE at Cincinnati Playhouse In The Park

Videos

Photos

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

BroadwayWorld Goes Even More Global: Now Available in 20 Languages

About BroadwayWorld

Franklin Stage Company Reveals 30th Anniversary Season - THE CIVILITIES World Premiere and More

30th Anniversary Fundraising Event – May 31

Much Ado About Nothing (July 3–July 19)

HOME? A Palestinian Woman’s Search for Life, Liberty and Happiness (July 24–26)

Dual Rivet Dance Company (July 31–August 2)

The Civilities