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

Tue, 09 Jun 2026 12:03:21 PST

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

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

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

Joshua Wright | Boston

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

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

Joshua Wright | Japan

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

Interviews

Interview: Adam Fields of BEETLEJUICE National Tour

Brock Mills | Jacksonville

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

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

Melissa Heckscher | Los Angeles

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

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

James Lindhorst | St. Louis

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

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

James Lindhorst | St. Louis

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

Reviews

Review: BRIGADOON at Pasadena Playhouse

Andrew Child | Los Angeles

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

Review: THE PHANTOM OF THE OPERA at Paramount Theatre

Shelley Dean | Seattle

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

Review: PIPPIN at Signature Theatre

Aidan O'Connor | Washington, DC

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

Videos

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

Michael Major | Los Angeles

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

Photos/Video: DEAR EVAN HANSEN At Arden Theatre

A.A. Cristi | Philadelphia

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

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

Michael Major | Washington, DC

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

Photos

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

Oliver Oliveros | Philippines

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

BroadwayWorld Launches Producer Fantasy Game

Tue, 09 Jun 2026 11:00:05 PST

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

How It Works

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

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

Weekly Scoring

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

The Fantasy Forecast

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

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

Managing Your Roster

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

Join the Game

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

THE LEGEND OF KORRA IN CONCERT Sets 2027 UK Dates

Wed, 27 May 2026 10:43:19 PST

Following Avatar: The Last Airbender in Concert, Paramount, GEA Live and Senbla are launching The Legend of Korra in Concert, a new live-to-picture orchestral experience that brings the animated series to life on stage, combining live music with cinematic visuals.

The UK leg of the global tour will stop in London, Manchester, Birmingham, Edinburgh and Glasgow in January and February. The tour coincides with the 15th anniversary of The Legend of Korra, which premiered on Nickelodeon in 2012.

Tickets for the UK dates will go on pre-sale with Ticketmaster and venues on Thursday 28th May at 9am with the general on-sale Friday 29th May at 9am here.

The Legend of Korra in Concert hails from the producers of global touring sensations Avatar: The Last Airbender in Concert and Avatar: The Last Airbender in Concert – The 20th Anniversary Tour. Together, they have sold more than half a million tickets across more than 25 countries.

The new production invites fans to experience Korra's world through a live symphonic performance of Jeremy Zuckerman's genre-defying score synchronized with HD projections of memorable scenes from the series.

“The music of The Legend of Korra explores a very different emotional and musical landscape than Avatar: The Last Airbender, blending orchestral, jazz, and electronic influences to reflect Korra’s more modern world,” says Zuckerman. “Hearing that score performed live brings a new level of energy to the music, and allows audiences to experience the story in a completely different way.”

The Legend of Korra follows a powerful young hero who can control the elements as she journeys to a bustling city to begin her airbending training and protect it from crime and growing rebellion.

Since its debut, The Legend of Korra has remained a favorite among fans of the Avatar Legends universe, expanding the franchise with new characters and deeper mythology. Set 70 years after Avatar: The Last Airbender, the action-packed series is available to stream on Paramount+.

2027 UK/EU Tour Dates:

31st January London Eventim Apollo
1st February                 Manchester Bridgewater Hall
2nd February                Birmingham Symphony Hall
3rd February                Edinburgh Usher Hall
4th February                Glasgow Royal Concert Hall
12th March                   Antwerp, BE - Stadsschouwburg Antwerpen
13th March                   Düsseldorf, DE - Mitsubishi Electric Halle
14th March                   Paris, FR- Le Grand Rex
15th March                   Rotterdam, NL - De Doelen
16th March                   Frankfurt, DE - Jahrhunderthalle
17th March                   Hamburg, DE - Barclays
19th March                   Vienna, AT - Wiener Stadthalle
20th March                   Prague, CZ - O2 Universum
21st March                   Berlin, DE - Tempodrom
22nd March                  Copenhagen, DK - K.B. Hallen
23rd March                   Stockholm, SE - Annexet

About The Legend of Korra

The Legend of Korra launched in April 2012 on Nickelodeon and ran for four seasons (52 episodes). Created and executive produced by Michael DiMartino and Bryan Konietzko, The Legend of Korra is translated into more than 25 languages for Nickelodeon-branded channels internationally.

The story of The Legend of Korra, set in the world of Avatar: The Last Airbender 70 years later, follows the journey of Avatar Korra, a 17-year-old girl striving to live up to the legacy of her predecessor Avatar Aang, while using her mastery of all four elements to confront political and spiritual unrest in a modernizing world.

The property has translated into an ongoing graphic novel series. The first graphic novel storyline, Legend of Korra: Turf Wars, written by DiMartino, captured various top 10 sales spots across children's fiction, YA science fiction, and graphic novel categories. In 2025, The Legend of Korra became the spotlight focus of Season 4 of the Signal Award-winning podcast Avatar: Braving the Elements.

Review: SCHOLL - THE BUD OF THE WHITE ROSE [DIE KNOSPE DER WEISSEN ROSE] at Theater Magdeburg

Sun, 24 May 2026 22:09:28 PST

With “SCHOLL – The Bud of the White Rose”, Thomas Borchert and Titus Hoffmann have created an exceptionally complex and intellectually ambitious work. Following its world premiere in Fürth, Theater Magdeburg now presents a musically and dramaturgically refined production featuring a sensationally talented young cast. A significant chapter of German history is reimagined here as a highly philosophical coming-of-age drama, exploring the confusions and contradictions of extraordinary young lives under National Socialism.

Contrary to what the title — originally “SCHOLL – Die Knospe der weißen Rose” in German — and certain media preconceptions might suggest, the musical does not primarily focus on the lives of Sophie and Hans Scholl themselves. Instead, it tells a small but pivotal episode from their youth that becomes the formative spark for the historic resistance movement later associated with the name “White Rose” — a term that originally referred only to the first four leaflets written by Hans Scholl and Alexander Schmorell. During the winter holidays of 1941/42, less than a year before the Scholl siblings’ execution, Hans and Sophie spend several days in a ski lodge in the Tyrolean Alps together with close friends. Through ideological and philosophical discussions, as well as the reading of banned anti-war literature, the first seeds of resistance begin to emerge — ideas that would eventually culminate in the famous leaflet campaigns of the following year.

In that sense, the musical functions almost as a prequel to the events that made the Scholls historical figures — hence the “bud” in the title. The story is narrated by Traute, a fellow student and temporary romantic partner of Hans. Looking back from a temporal perspective after the siblings’ deaths, she guides the audience through the events unfolding inside the mountain cabin. Through flashbacks, she also reveals the circumstances that led to the gathering of the six students, while frequent flash-forwards foreshadow how these shared experiences ultimately culminated in the White Rose resistance and the protagonists’ deaths. Everyday relationship struggles and youthful insecurities intertwine with existential questions of morality, identity, purpose, and the search for meaning. This highly layered narrative is brought to life through poetic imagery, songs inspired by original writings of the historical figures, and a fragmented structure full of flashbacks, inner monologues, and dream sequences. Musicals this structurally and philosophically intricate are exceedingly rare. Director and librettist Titus Hoffmann, whose extensive research lends the material an unusually differentiated historical perspective, succeeds in dismantling familiar narrative conventions through a seemingly non-chronological structure in which multiple timelines gradually converge into a carefully constructed mosaic by the end of the second act.

That complexity — as well as the production’s clear ambition to challenge misconceptions deeply embedded in collective historical memory — also becomes one of its greatest challenges. The density of information within the songs, which alternate almost seamlessly with lyrical, intellectually demanding dialogue, requires the audience’s full concentration. This is very much a musical that demands active engagement and likely more than one viewing in order to be fully grasped. Yet for those willing to surrender to its unusual narrative rhythm, the result is a richly layered and startlingly relevant work whose themes could hardly feel more urgent today. The musical ultimately becomes not only a story about resistance, but also about the mechanisms of remembrance itself: about how history is simplified, mythologized, and stripped of uncomfortable truths over time.

Rather than reproducing the familiar post-war narrative surrounding the Scholl siblings, the production deliberately foregrounds historically neglected aspects of Hans Scholl’s identity — particularly the queer dimension of his life and his emotionally intimate bond with Alexander Schmorell, referred to here as Shurik. In doing so, the musical consciously distances itself from the heavily canonized post-war interpretations largely shaped by Inge Scholl herself. Even the term “White Rose” becomes part of the production’s interrogation of collective memory, as the historical group never consistently referred to itself collectively by that name, nor did Sophie Scholl associate herself with the term in later interrogations.

The stage design itself, masterfully conceived by Stephan Prattes, becomes an integral part of the storytelling. Several height-adjustable wooden beams, together with a wooden platform, staircase framework, countless crates, and parquet flooring, convincingly create the atmosphere of a Tyrolean ski lodge. At the back of the stage, an LED wall is occasionally used to project Alpine landscapes, wartime imagery, or archival footage from the Nazi era, while also providing dates and locations to orient the audience within the production’s deliberately fragmented narrative structure. Most of the time, however, the screen remains dark, transforming the cabin into a claustrophobic and oppressive space.

One particularly brilliant visual concept only reveals itself upon closer observation: the suspended beams form a swastika looming statically above the characters like a Damoclean sword, embodying their ideological imprisonment within the Nazi regime. Whenever thoughts of freedom, protest, or dissent begin to emerge among the protagonists — or whenever personal intimacy and emotional honesty take precedence over ideology — the symbol fractures through the movement of individual beams and gradually dissolves. In moments of extreme helplessness, LED strips attached to the underside intensify the image with harsh illumination. The set itself thus becomes a narrative force within the production. Quite simply, it is ingenious.

The production’s selective but striking use of props is equally memorable. In one particularly beautiful image, the students open forbidden books in near darkness, warm light illuminating their faces from within — a powerful visual metaphor for intellectual awakening and the birth of their yearning for freedom. The recreation of the White Rose leaflet campaign at the University of Munich becomes another unforgettable theatrical moment: a large suitcase at center stage bursts open, sending countless leaflets flying upward before raining down across the stage. It is an image of devastating intensity. Conny Lüders’ costumes cleverly bridge the visual language of the 1940s with contemporary aesthetics, reinforcing the production’s insistence that these figures should not be perceived as untouchable historical icons, but as ordinary young people caught between deeply human desires and the brutal realities of war. Compared to the original production in Fürth, the Magdeburg version feels noticeably tighter, clearer, and more dramatically cohesive, allowing the evening to unfold as an emotionally gripping theatrical experience that lingers long after the curtain falls.

Working symbiotically with the set, performances, and text, the sophisticated lighting design subtly guides the audience through the musical’s various narrative layers. Differences in intensity and color delicately distinguish flashbacks, inner monologues, dream sequences, and narrative interruptions from one another. The lighting succeeds remarkably well in navigating the audience through the production’s densely interwoven storytelling.

In Magdeburg, the musical has found an almost ideal theatrical home: a stage large enough to realize its visually and dramaturgically intricate ideas with the necessary technical sophistication, yet intimate enough to preserve the psychological immediacy and emotional vulnerability at the core of the piece. The sound quality is excellent throughout the evening. The mixing is especially impressive: dialogue remains clearly intelligible, while the complex vocal arrangements ensure that both lyrics and orchestration remain audible at all times.

Thomas Borchert’s score, performed live by a five-piece band hidden behind the stage, beautifully underlines the protagonists’ poetic and philosophical struggles. The music moves through an astonishing range of styles: a cappella passages, classical music, opera, jazz, hip hop, rock, and sweeping musical theatre ballads coexist within a score dominated primarily by rock influences. Complex and demanding verse melodies alternate with memorable refrains. The music succeeds in softening the crushing weight of the subject matter while continually reminding the audience that, despite everything, these are still young people on holiday — adolescents whose idealism, friendships, and fleeting lightness persist amidst the darkness surrounding them.

Many of the lyrics draw directly from Hans Scholl’s poetry, diary writings, and personal correspondence, lending the score an unusually intimate, literary quality. The musical language often feels less conventionally theatrical than diaristic, introspective, and deeply internal. The revised Magdeburg production appears noticeably more focused and musically refined than the original Fürth staging. It also introduces newly added musical material, including Sophie’s “Brief von Fritz” and Hans’ introspective “Die finsteren Stunden”, both of which deepen the protagonists’ internal conflicts. As a result, questions surrounding the emergence of political resistance become inseparably intertwined with themes of queerness, emotional dependency, spiritual doubt, patriotism, family loyalty, and the painful tension between private longing and public responsibility.

The seven-member cast is so extraordinary that praising them without resorting to endless superlatives becomes nearly impossible. Such a concentrated display of talent, emotional nuance, and vocal power is exceptionally rare — all the more so on a municipal theatre stage. The casting demonstrates remarkable instinct: every performer seems handpicked to bring the absolute maximum out of their role. Both returning cast members from the world premiere and newly cast performers approach the material with palpable urgency, emotional honesty, and deep respect for the historical subject matter.

As Traute, Judith Caspari portrays a strong-minded liberal young woman who is emotionally torn apart while simultaneously intellectually mature and fiercely thoughtful. It is an extraordinarily demanding role, one Caspari masters with complete authenticity and emotional precision. Her major vocal triumph comes in “Der Doppelgänger”, where she renders her character’s inner turmoil regarding Hans’ increasingly contradictory behavior with devastating intensity. The performance lingers long after the curtain falls. As the narrative anchor connecting all protagonists, Traute must continuously reposition herself emotionally and philosophically in relation to the others — most often through music. Caspari’s evolving relationship with Hans is explored through several duets with Alexander Auler: from the tenderness of newfound love in “Glück”, through growing uncertainty in “Schweigen”, to the painful unraveling of the relationship in “Diese Worte bleiben”. Together, the two performers chart the dissolution of a young romance with tremendous sensitivity and emotional maturity.

Caspari also shines in her scenes with Bianca Basler as Inge, the emotionally reserved and deeply conflicted older sister of Hans and Sophie, who seeks refuge in faith. Through the quiet “Windlicht” and the emotionally charged “Nicht der Rede wert”, the two actresses make their characters’ conflicting value systems unmistakably clear while still finding moments of fragile reconciliation. Her chemistry with Celena Pieper’s energetic and passionate Sophie Scholl is equally compelling; their shared values and growing friendship become instantly believable.

Although Caspari draws remarkable complexity out of nearly every interaction, the individual cast members also stand magnificently on their own. Alexander Auler’s Hans Scholl emerges as perhaps the production’s most layered figure, torn between political and philosophical questions about war, morality, and humanity on one side, and his struggle with homoerotic and romantic feelings for both a former comrade and Shurik on the other. Auler conveys these internal conflicts with striking conviction and possesses a commanding vocal presence, particularly evident in his solo “Das geistige Gefängnis”. In quieter moments such as “Diese Worte bleiben” or the deeply emotional duet “Gemeinsam” with Celena Pieper, he proves equally affecting in vulnerability and restraint. Through the emotional flashback sequences, his Hans gradually evolves into a patriotic young man courageous enough to finally confront and articulate his innermost truths to Sophie and Traute alike.

Pieper herself not only demonstrates her remarkable vocal versatility through the operatic “Sentimentaler Quatsch”, but also fully captivates in the more rock-oriented “Gott ist fern”. Her portrayal of Sophie’s profound closeness with her brother radiates warmth and sincerity. In sharp contrast, her emotionally ambivalent interactions with Basler’s Inge poignantly reflect the fractures within the Scholl family itself. Pieper’s nuanced performance vividly conveys Sophie’s restless longing for a better world and her desperate desire for peace.

Raphael Binde proves impressively versatile, playing not only the cheerful fellow student Freddy but also appearing in flashbacks as Hans’ youthful love Rolf and as a threatening Nazi officer. Musically, he reveals an astonishing ability to shift between entirely different emotional registers, particularly in “Am Sonntag kommt zum Kaffeeklatsch” and the reprise of “Flamme sein”. Within Andrea Danae Kingston’s choreography, both Binde and Fin Holzwart stand out through exceptional physical agility within an already movement-wise outstanding ensemble.

Lara Kareen delivers a vocally and dramatically highly nuanced performance. As Ulla, she carries much of the musical’s lighter emotional texture. Although the character often remains in the background of the central events, Kareen effortlessly imbues her with emotional nuance and quiet depth, repeatedly drawing attention even in fleeting moments. Through her strong Stage Presence, Ulla becomes an emotional confidante and connective force within the group, subtly influencing the dynamics between the characters — particularly during scenes such as the New Year’s Eve tarot card reading.

Bianca Basler’s Inge often appears detached, almost elevated above the others, embodying a fundamentally different worldview than Traute, Sophie, and Hans. Her character’s retreat into religion as a response to traumatic experiences feels utterly authentic — Basler seems to merge completely with the role. Yet beneath Inge’s cool exterior, she subtly conveys a protective warmth toward her siblings with remarkable restraint and precision. As guardian of the Scholl family’s integrity and public image, she gives the role an impressive emotional weight while also excelling vocally through several soaring belt passages.

Fin Holzwart handles the difficult role of Alexander Schmorell — referred to here as Shurik — with extraordinary skill. Unlike the other characters, Shurik never physically appears inside the mountain lodge and exists solely through flashbacks and Hans’ memories. Through their ongoing philosophical exchange, Hans gradually arrives at the fateful decision to resist the regime. Holzwart powerfully channels the character’s hunger for justice and longing for freedom, especially in the vocally explosive Act Two opener “Propaganda”. His duet with Hans, “Das Rad der Geschichte”, remains one of the production’s emotional highlights. Holzwart also succeeds in portraying Shurik’s own inner conflict surrounding courage, emotional vulnerability, and the fear of self-revelation. The stage chemistry between Holzwart and Auler remains tangible throughout, even when separated by different narrative layers and timelines.

“SCHOLL – The Bud of the White Rose” is a remarkable German musical gem for audiences willing to engage with demanding material and appreciative of poetic, intellectually ambitious theatre. Theater Magdeburg’s production succeeds not merely as a historical drama, but as a provocative reflection on memory culture, suppressed identities, and the uncomfortable contradictions that shape collective historical narratives. At the same time, the production feels strikingly transferable and clearly suited for future productions beyond Magdeburg, as its thematic urgency and structurally ambitious approach possess clear potential for future stagings. Few German musicals currently feel this intellectually uncompromising, emotionally urgent, and theatrically alive.

Review: TITANIC at Theater Erfurt

Sun, 24 May 2026 09:17:51 PST

Maury Yeston’s musical epic “Titanic” arrives in Erfurt as a visually and acoustically imposing piece of theatre in a widely acclaimed and award-winning production at the Theater Erfurt. Through clever cuts and tightly focused character direction, amplified to great effect by choreography and set design, the production delivers the tension between human ambition and human tragedy in an intensely moving way.

Owing to the immense success of Stephan Witzlinger’s production, the Theater Erfurt has seen numerous completely sold-out performances of “Titanic” – hardly surprising considering how frequently this musical is staged throughout Germany, proving itself even more unsinkable than its tragic title heroine. This is thanks to the extraordinary visual sophistication and sheer theatrical force that successfully set the Erfurt production apart from the flood of other “Titanic” stagings. Together with dramaturg Larissa Wieczorek, Witzlinger succeeds in drawing fresh impulses from the material. Numerous cuts streamline the evening. Some reduce the number and complexity of the passengers aboard the doomed liner; others trim Peter Stone’s sprawling book or shorten sections of Yeston’s score. For “Titanic” fans who want to mentally follow the piece in its full length from memory, this may require some adjustment, but for the dramaturgy of the work it is an absolute gain. There is a much clearer focus on the piece’s most complex characters, on the dramatic progression of the catastrophe, and on the still relevant questions surrounding the limits of human striving.

The stage concept is extraordinary: the iron curtain of the proscenium is staged as the Titanic’s colossal stern, appearing infinitely high, with the ship’s name emblazoned across it in weathered lettering that already prophesies the wreck, while dull underwater sounds that make the auditorium tremble establish a sense of dread before the show even begins. The completely emptied orchestra pit is transformed into a lifting stage, used for the production’s most striking scenes: through clouds of fog, the frozen victims of the disaster emerge from this vast stage pit, while the red-lit coal bunker or the party-driven third-class deck beneath the promenade levels and lounges of the wealthier passengers is represented there. The lowering of the lifeboats and the dramatic separation scenes of families are likewise illustrated on this exceptionally effective playing level – and the horrifying seconds of the final people clinging to the nearly vertical ship, seemingly plunging into doom through the stage chasm, are rendered with devastating intensity. From the orchestra pit, the crow’s nest is also raised above the audience, so that by the end of the first act – with the main stage as the first-class guest deck, the apron stage for the ship’s collision zone, a liftable grandstand walkway for the captain’s bridge, and the rear stage showing the bow and funnels of the steamer – the illusion of the gigantic ship is complete. Through set pieces such as an ornate dining table, mirrored walls, or railing elements, the perspective of the ship before its maiden voyage, the various onboard spaces, and the entire sinking process across all levels of the vessel become almost cinematic. When the central stage section containing the bed of the Straus couple rises into a vertical position, the sinking itself is rendered visually overwhelming. Life and death aboard perhaps the most famous ship in human history become tangible through the design. The costumes, too, are perfectly chosen, representing the early twentieth century and all classes and professions aboard the crossing flawlessly. The special touch lies in the fact that most characters – namely those who actually perished in the sinking – receive a second costume portraying them as frozen, ghostly figures. Gradually, the stage fills with the frozen dead, dominating the stage toward the end of the piece before, after the sinking, forming the immense and oppressive mass behind the handful of survivors. Lena Scheerer is responsible for the stage concept, scenic design, and costume design, delivering a true masterwork that defines the entire production. In collaboration, Witzlinger and Scheerer also developed the lighting concept, successfully executed by Florian Hahn: again and again, the mood shifts from celebratory to ominous, reinforcing the cinematic aspect of the production. Perfectly balanced sound design provides exactly the right accents – particularly impressive is the transition from deafening chaos to an ever quieter, empty stage: the cries, at first demanding and desperate, gradually fall silent until not even a pin drop can be heard.

The choreography is equally exceptional. Kerstin Ried introduces expressive movement sequences reminiscent of expressionist dance, lending the production both dynamism and urgency. Much more moving than many other “Titanic” productions, Ried succeeds in placing the entire ensemble – often within their respective class-divided groups – into a skillful balance between movement, dance, and expression. In doing so, the transitions between locations and the simultaneous actions unfolding on the various decks of the ship, including the devastating disparity between protection and helplessness, safety and panic, hope and despair, are presented superbly.

The large orchestra, permanently placed on the rear stage depicted as the ship’s bow, is conducted magnificently by Leonie Bulenda. Yeston’s epic score unfolds here in full splendor, while the opera chorus (prepared by Markus Baisch and symbiotically integrated into the movement direction by Witzlinger) becomes a thrilling wall of sound during the ensemble numbers, at times even moving the audience to tears – especially during the grand melody of “Farewell, Titanic” at the beginning and end of the piece.

Every role is cast to perfection with a mixture of in-house ensemble members and numerous guest performers from the musical theatre world – classically trained opera singers and musical performers work together here without noticeable breaks and elevate the piece with remarkable theatrical precision. The ensemble roles are covered by Andrea Viggiano, Lisa Radl, Milena Galvan Odar, and Edgar Sagarra. The three Kates, portrayed energetically and full of hope by Gioia Heid, Helena Lenn, and Johanna Spantzel, are especially impressive in the dramatic break into survival mode. Björn Christian Kuhn as William Murdoch, ultimately consumed by his own guilt, is haunting. Director Stephan Witzlinger himself takes on the role of the determined chief steward Latimer. William Baugh, portraying crow’s nest lookout Frederick Fleet somewhere between youthful and ghostly, Stefan Preuth as the ship’s highest-ranking officer, and Jörg Rathmann as third officer Herbert Pitman all perform with great dramatic sensitivity. Tobias Gerisch as Jim Farrell offers a small glimmer of hope amidst the catastrophe, presenting his love story with Kate McGowan in touching fashion.

The married couple Edgar and Alice Beane are portrayed by Benjamin Eberling and Katja Bildt, initially in comic fashion but later with heartbreaking tenderness. Alice, whose goal in the first act is to mingle with haute couture society, also shines vocally through Bildt’s performance. Lukas Witzel presents a slightly eccentric yet deeply likable wireless operator Harold Bride with gentle vocals. His perfect counterpart is Daniel Eckert as stoker Frederick Barrett, who throws himself into the role with fierce energy and conviction, while also conveying the courage to rebel and stand up for what is right, delivering a convincing and vocally flawless performance. The Straus couple are portrayed with melancholic lovability by the two musical theatre veterans Kerstin Ibald and Martin Berger, whose final duet before retreating to the bed of their soon-to-be vertical cabin is profoundly moving and brimming with deep acting – in addition, Ibald and Berger deliver outstanding vocals that cut straight to the heart.

Máté Sólyom-Nagy portrays businessman Bruce Ismay as consumed by ambition and, in the truest sense of the phrase, willing to walk over corpses. The way the grandstanding Ismay turns into a small, furtively sneaking shadow of himself aboard a lifeboat is portrayed convincingly by the classical singer. Martin Sommerlatte is likewise compelling as Captain E.J. Smith, shifting from authoritarian self-assurance to desperate dissociation. Sólyom-Nagy and Sommerlatte interpret the trio about the question of guilt in bone-chilling fashion together with Dennis Weissert, who, as shipbuilder Thomas Andrews, is the revelation of the evening. At first he appears self-confident, almost smug – always maintaining the analytical eye for the bigger picture and, despite his pride in his work, remaining humbly in search of flaws in the machinery. His descent into utter despair, when he collapses over the Titanic blueprints and helplessly watches the passengers plunging into the icy void (during the solo “Mr. Andrews’ Vision”), is the evening’s most intense acting performance.

“Titanic” in Erfurt emerges as an impressive Gesamtkunstwerk audiences seemingly cannot get enough of even after the production’s second run – a petition calling for a third engagement has already gathered nearly 400 signatures. This ship refuses to sink for good, and in Erfurt’s case, deservedly so.

Review: PIPPIN - DIE KUNST DES LEBENS at Staatsoperette Dresden

Sun, 24 May 2026 09:18:03 PST

For the Staatsoperette Dresden, the German-language premiere of Stephen Schwartz’s classic “Pippin – Die Kunst des Lebens” is a triumph on every level. Visual opulence, sharply played tragicomedy, a thunderously powerful orchestra, choreography overflowing with highlights, and a vocally formidable cast come together here in perfect symbiosis.

In the United States, “Pippin” is an institution among musicals, though in German-speaking countries Stephen Schwartz’s debut work remains beloved mainly by connoisseurs. In a kind of play-within-a-play, the life of Charlemagne’s eldest son — one of the key figures of European, especially French and German, history — is retold with complete historical inaccuracy. The young man is in relentless search of his place in life and tries out everything that constitutes ‘life’ for him, driven by a troupe of actors led by the so-called Leading Player, who externalize his deepest frustrations and most exalted desires. The overall tone of the story is cheerful and parodistic, while the storytelling, despite the age of the piece, still feels refreshingly dynamic and inventive in both form and pacing, and the ending lands with devastating force. Frank Thannhäuser, Iris Schumacher and Nico Rabenald have done a magnificent job adapting Roger O. Hirson’s script and Stephen Schwartz’s lyrics for a contemporary German audience.

“Wir entfachen Magie,” sings the Leading Player at the beginning of the show, and that becomes the evening’s fitting motto: Simon Eichenberger masterfully succeeds in uniting this inherently German yet in essence hardly more American story onstage in such a way that every department functions in flawless symbiosis. He brilliantly balances focused character direction for the protagonists with grand show numbers built on atmosphere and spectacle. Together with dramaturges Mark Schatsiek and Valeska Stern, Eichenberger creates a production that is equally gripping and entertainingly light-footed, whose structure makes the devastating ending all the more impactful. The audience, trapped in eternal hedonism and dissatisfaction with their own existence, is confronted with a powerful mirror image of itself — when Pippin ultimately refrains from his spectacular suicide as the culmination of all his shattered dreams and instead chooses love, the opulent set is dismantled, the lights dim, and the Leading Player breaks the fourth wall to search among the audience for a new victim whose insecurities and doubts she can inflame — finding one in the form of Pippin’s stepson. A masterful escalation fully achieved by the directing team.

Visually, too, the production impresses throughout: Aleš Valášek’s costumes, simultaneously historically grounded and deliberately out of time, shift between the Middle Ages, Vaudeville, and “Cabaret” aesthetics, opening up several meta-levels at once. Not only are the characters already positioned through their appearance, but quick-changes from drab to glittering attire also reveal their inward and outward selves. The costume elements extending beyond mere clothing are outstanding as well. A puppeteer controlling a marionette in his own likeness who himself, hinted at through a hand-shaped hat, seems to be controlled by a higher entity; absurd little house pigs woven into the choreography with guaranteed laughs, coquettish chickens, and the poor, deathly ill duck Otto all come to life — a wealth of wonderful costume ideas enriching the show on multiple levels. Martin Wingerath’s sound design creates an impressive contrast between overwhelming opulence and oppressive silence. Michael Grundner’s lighting design is cinematic and captures every mood — whether inner monologue, desperate hopelessness, silly farmyard atmosphere, Vaudeville interlude, or dramatic regicide scene — with first-rate precision. Grundner is a master of his craft.

The same applies to Charles Quiggin, who conjures a massive set for the Staatsoperette that inspires complete awe. Suggested is an early medieval throne hall with gigantic stone staircases, Gothic windows, and mirrored walls offering space for micro-scenes while symbolically inviting reflection. Great trees reaching into Charlemagne’s sanctum sanctorum perhaps symbolize the unchristian wilderness surrounding the still-emerging empire, perhaps the longing for a life outside predetermined, constricting spaces, perhaps Pippin’s own anxiety and the crumbling of his inner walls. Oversized movable props, nuanced lighting, and stage effects such as wind, flying leaves, fire, and seemingly magically moving objects enrich the imposing imagery. It proves astonishingly dynamic at the end of the show, when the entire throne hall — staircase, walls, and windows included — vanishes, leaving behind nothing but deep blackness. Outstanding work created in the Staatsoperette workshops under Katrin Falkenberg, Annette Opitz, Franziska Schobbert, Torsten Ulrich, Jörg Danke, Angelika Meinzerhagen, and Avgoust Yankow.

Eichenberger is not only responsible for directing the production, but also for its choreography. What he creates here in terms of sprawling, endurance-demanding, seemingly endless choreography could easily hold its own on Broadway, from which his dance language is visibly inspired. Fosse elements abound, the visual language strongly recalls “Chicago” and “Cabaret,” but iconic stylistic devices associated with works like “A Chorus Line” also appear in abundance. Dynamic, atmospheric, nuanced, and bursting with energy, his choreography fills the entire piece with astonishing intensity and sheer quantity.

Peter Christian Feigel leads his enormous orchestra through Koen Schoots’s masterfully expanded arrangements. Under his virtuosic direction, impressive sonic worlds emerge, drawing nuanced colors and textures from the ensemble — particularly striking are the opulent passages from Schwartz’s score, which inevitably evoke his later works such as “Wicked” or “The Hunchback of Notre-Dame.” Feigel’s conducting and the house orchestra quite deservedly received the evening’s loudest applause.

Since 2023, the production has played with an almost unchanged cast. The 22 ensemble members and eight principal roles are superbly cast, and the combination of opera singers, ballet dancers, stage actors, and musical performers — guest artists and in-house members alike — works unusually well. The opera chorus expands Schwartz’s epically conceived soundscapes, while the melodies reminiscent of Kander and Ebb are carried by the musical theatre voices. The ballet’s dance abilities merge seamlessly with the show dancers, while strong dramatic acting complements the big musical theatre voices. Everything interlocks perfectly.

Sascha Luder plays Ludwig, Pippin’s delightfully hyperactive stepbrother with more courage than common sense. Marcus Günzel breathes life into Emperor Charles (“Krieg ist nicht einfach” [“War is a Science”]) with remarkable diction and commanding Stage Presence, while also imbuing the character with dry, weary, and at times cynical humor. Silke Richter portrays a matronly Fastrada radiating diva-like charisma and proving just as capable of cutting loose in “Etwas Sonne schenken” [“Spread a Little Sunshine”] as Bettina Weichert, who slips into the role of Pippin’s life-affirming grandmother Bertha. Frail at first glance, she suddenly glides across the stage on roller skates during her dream sequence to “Zeit zu Leben” [“No Time at All”], spinning pirouettes and delivering a true showstopper that became the evening’s encore. Sybille Lambrich shines as the passionate yet fate-stricken widow Catherine with refined acting, an excellent sense for both tragicomedy and situational comedy, and delights with her closing gag — the famous “Wicked” riff from “Defying Gravity” woven into her song “Eine Frau wie ich” [“Kind of Woman”] in the second act — while also moving the audience deeply with the profoundly authentic rendition of “Ich glaub, er wird mir fehl’n” [“I Guess I’ll Miss the Man”].

Gero Wendorff’s Pippin is youthful, dreamy, driven, ambitious, and torn apart: dramatically, he fills the role with every required nuance, while vocally impressing with both powerful phrasing and fragile falsetto — through his singing, Wendorff conveys both grand and intimate emotions superbly. His “Mein Platz auf dieser Welt” [“Corner of the Sky”] brings tears to the eyes. The evening’s great star, however, is Kerry Jean in the role of the Leading Player. She makes one completely forget that the role was not originally conceived for a woman and inhabits it so profoundly that one might think she invented the character herself. Radiant, charismatic, and dominating the stage every second she is on it, she guides not only the narrative as raconteuse, but also much of the score with mighty belts and riffs (for instance in “Ruhm und Ehre”, Wir entfachen Magie” or “Der rechte Weg” [“Glory,” “Magic to Do,” or “On the Right Track”]). Jean is the born triple threat — a magnificent singer, dynamic dancer, and accomplished actress. She succeeds in executing the goosebump-inducing transformation of her character from highly likable showmaster to domineering puppet-master to dark, almost disturbing siren seemingly luring her victims to ruin. This performer is a force to be reckoned with.

Sadly, after three years “Pippin” in Dresden has reached its final performance, celebrated with frenzied, never-ending applause from the audience and tears of emotion from the company. Fortunately, this German-language premiere was immortalized by the Austrian label HitSquad with the same cast — even as a complete recording including all dialogue and instrumental passages — available not only on streaming platforms, but also, quite remarkably nowadays, on CD. One can only hope that this unique production has not celebrated its very last closing performance in German-speaking countries — this production has enormous potential to conquer stages across Germany.

Video: BACK TO THE FUTURE (ZURÜCK IN DIE ZUKUNFT) DAS MUSICAL in Hamburg

Tue, 19 May 2026 09:13:45 PST

All new footage has been released from the German production of Back to the Future - The Musical (Zurück in die Zukunft – Das Musical). Performances are now underway in Hamburg. check out the video here!

Under the direction of Tony Award winner John Rando, the musical celebrated its Germany premiere on March 22, 2026 at the Stage Operettenhaus. Previews began on March 15.

Raphael Groß stars as Marty McFly, with Lino Kalich serving as alternate Marty. Jan Kersjes plays Doc Brown. The cast also includes Sandra Leitner as Lorraine Baines, Terence van der Loo as George McFly, Florian Sigmund as Biff Tannen, Hope Maine as Goldie Wilson/Marvin Berry, and Siegmar Tonk as Strickland, alongside a large ensemble.

Since its 2021 West End debut, BACK TO THE FUTURE – The Musical has won the Olivier Award and expanded to Broadway, Sydney, and Tokyo, with additional touring productions in North America and the UK. The Hamburg production marks the next chapter for the international hit as it arrives in Germany for the first time.

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Review: MJ - DAS MUSICAL at Stage Theater An Der Elbe

Mon, 18 May 2026 10:42:45 PST

Als jemand, für den Michael Jackson und seine Musik ein wichtiger Teil der Jugend waren, war der Besuch von MJ – Das Michael Jackson Musical in Hamburg weit mehr als nur ein Musicalabend. Es fühlte sich fast wie eine Wiederentdeckung an. Musik und Erinnerungen, die über die Jahre etwas in den Hintergrund gerückt waren, kamen mit voller Wucht zurück.

Und vielleicht lag genau darin auch die besondere Wirkung dieses Abends: Ich hatte kurz zuvor bereits den Film „Michael“ gesehen, den ich ebenfalls für sehr gelungen halte. Während der Film etwa 1988 endet, setzt das Musical rund um die Dangerous-Ära Anfang der 90er an. Dadurch fühlte sich MJ fast wie eine perfekte Fortsetzung des Films an. Tatsächlich kam mir während der Vorstellung mehrfach der Gedanke, dass Universal Studios sich vielleicht sogar die Rechte an diesem Ansatz sichern sollte, um einen möglichen zweiten Film darauf aufzubauen. Die Struktur, die Emotionen und der dramaturgische Fokus würden sich dafür erstaunlich gut eignen.

Für alle, die den Film bereits gesehen haben, aber noch nicht im Musical waren: Genau mit diesem Gedanken sollte man hineingehen – und es einfach genießen.

Was Stage Entertainment hier auf die Bühne bringt, ist technisch und künstlerisch absolutes Top-Niveau. Bühne, Licht, Sound und besonders die Choreografien sind durchgehend beeindruckend und transportieren genau die Energie, die man mit Michael Jackson verbindet. Dabei wirkt nichts wie eine bloße Kopie oder Tribute-Show. Das Musical schafft es, den Spirit seiner Musik und seiner Präsenz einzufangen.

An dem Abend spielten Benét Monteiro und Jay Karim-Jonker die zentralen MJ-Versionen – und beide waren schlicht perfekt besetzt. Nicht nur stimmlich und tänzerisch, sondern auch in den kleinen Gesten, Bewegungen und der Aura. Gerade dadurch funktionierten die verschiedenen Zeitebenen und Flashbacks der Handlung hervorragend.

Überraschend stark war für mich die Rahmenhandlung rund um die Dangerous-Tour. Der Flow zwischen Gegenwart und Rückblenden war teilweise regelrecht magisch inszeniert. Szenen wechselten mitten im Moment in andere Zeitebenen, ohne jemals den Rhythmus zu verlieren. Dadurch entstand ein sehr cineastisches Gefühl, das das Musical von vielen anderen Produktionen abhebt.

Natürlich sind die großen Nummern ein absolutes Highlight. „Thriller“ kurz vor dem Finale war einer dieser Momente, bei denen das gesamte Publikum förmlich explodierte. Gleichzeitig fiel mir etwas auf, das ich früher als jüngerer Michael-Jackson-Fan oft übersehen habe: Wie stark gerade die ruhigen Songs wirken. „Human Nature“ und „Man in the Mirror“ hatten an diesem Abend eine enorme emotionale Kraft und blieben fast noch länger hängen als manche der großen Dance-Nummern.

Besonders schön war außerdem das Publikum selbst. Im Saal saßen Menschen, die Michael Jackson noch in verschiedenen Phasen seiner Karriere erlebt hatten, aber auch sehr junge Fans – sogar Kinder unter zehn Jahren in kompletter MJ-Montur. Diese generationsübergreifende Begeisterung erzeugte eine unglaublich warme Atmosphäre und zeigte, wie zeitlos seine Musik geblieben ist.

Ein kleiner Kritikpunkt wäre lediglich, dass bestimmte Themen innerhalb der Handlung etwas zu häufig wiederholt wurden, insbesondere die immer wieder angesprochenen Allegations. Die Wiederholung an sich ergibt dramaturgisch Sinn, etwas mehr Variation in der Herangehensweise hätte dem Ganzen aber gutgetan.

Abgesehen davon ist MJ – Das Michael Jackson Musical eine mitreißende, emotionale und technisch beeindruckende Produktion, die nicht nur Fans begeistert, sondern auch daran erinnert, welchen kulturellen Einfluss Michael Jackson bis heute besitzt. Für mich war es ein Abend voller Nostalgie, Energie, Emotionen – und der Erkenntnis, wie sehr diese Musik eigentlich gefehlt hat.

https://www.stage-entertainment.de/musicals-shows/mj-das-michael-jackson-musical-hamburg

Review: WE WILL ROCK YOU at Stage Palladium Theater, Stuttgart

Sun, 17 May 2026 11:50:58 PST

The current incarnation of the beloved rock musical “We Will Rock You” in Stuttgart arrives on stage draped in an entirely new visual guise. The book, too, feels fresher, more coherent and more comprehensible than before. At the heart of it all, naturally, are the immortal songs of Queen — the audience is truly having a ball in this show!

Since 2004, the Queen musical “We Will Rock You” has been making the rounds across German stages, repeatedly dusted off and revived for audiences devoted to light entertainment and the iconic songs of Freddie Mercury. Admirers of complex storytelling, meanwhile, have generally tended to avoid the piece with consistency. For the current revival, Ben Elton has fundamentally revised the book, implementing considerably more substance and a sharper connection to contemporary reality. The far-removed story of the messianic Galileo, destined to restore music and creativity to the world, feels markedly more grounded in this version of the musical thanks to its relocation into a cyber-dystopian landscape in which young people have devolved into smartphone zombies endlessly swiping through social media: likes matter more than friendship, trends overpower individuality, genuine emotions hide behind influencer personas. The storytelling feels more coherent and accessible — the motivations of the characters become tangible, and the audience is able to follow the journey of Galileo Figaro, Scaramouche and their newly formed clique far more closely. Only in the second act does the musical still lose itself in unpredictable, far-fetched plot devices, though the newly strengthened narrative foundation absorbs much of the impact.

The iconic songs remain in English, while Wolfgang Adenberg’s dialogue is retained in German. The humour of the piece thrives on parodic references to contemporary pop culture and lyrical nods to German Schlager, Neue Deutsche Welle and 90s pop. Hashtags and cringe moments make their way into the scenes; alongside Whitney Houston and Tina Turner, the Bohemians now also invoke Avicii, Lady Gaga and Taylor Swift — and there is even a surprisingly pointed joke about the Covid pandemic. Fabian Aloise’s choreography is nothing short of sensational: borrowing movements from countless iconic concert performances ranging from Tina Turner and Madonna to K-pop influences, the choreography crackles with energy. Clean-lined formations and the constant interplay with synchronisation create striking visual tableaux.

The lighting and projection design is loud, dystopian and distinguished by its use of laser effects and massive LED video projections, firmly situating the setting within a sci-fi future. The visual aesthetic of the production — further elevated by its flamboyant yet consistently fashion-forward costume and wig design — becomes a highlight in its own right. Another principal character, metaphorically speaking, is the mighty sound design, which throbs and sends waves of energy crashing through the auditorium. Boris Ritter guides the band, made up of passionate rock musicians, with virtuosity through the sometimes upbeat-stylised, sometimes genuinely balladic rock numbers.

Nicolas Christahl shines through precise vocal and physical comedy in the uproariously funny role of Tazer. His “I Want It All” is punchy and evolves into a genuine showstopper moment. Alongside him, Helena Lenn’s Meat emerges as the ideal counterpart to Tazer, delivering powerhouse vocals and fiery passion. Her “Only the Good Die Young” sparks storms of enthusiasm. Michelle Bergé portrays an eccentric, vicious school principal working for Zuckermusk, who is interpreted with expressive flair by Christian Schöne. The Killer Queen’s henchman reveals himself as a gifted character actor, balancing caricature and antagonism simultaneously. A moment of pure theatrical gold arrives when he frantically attempts to flee from his boss during “Another One Bites the Dust.”

Reinwald Kranner’s Pop is rock incarnate, yet through his distinctive diction and deliberate performative choices he also demonstrates remarkable dramatic finesse. His “These Are the Days of Our Lives” reveals vocal qualities reminiscent of Meat Loaf — stirring, powerful and deeply moving in equal measure. The thirteen-member ensemble, required to shift seamlessly between Gaga Girls, Bohemians and iPlanet stormtroopers, performs with unwavering precision in energy, vocals, dance and expressiveness, contributing decisively to the overall impact of large-scale ensemble numbers such as “Radio Ga Ga” and “One Vision” and their accompanying choreography.

As Killer Queen, Marle Martens serves pure fierceness and gloriously exaggerated villainy. Her rendition of “Don’t Stop Me Now” showcases not only her formidable belt-driven vocals but also her comic instincts. Sjoerd van der Meer, alternating in the role of Galileo, brings an attractively androgynous nuance to his emphatically charismatic performance. His Stage Presence captivates, while his self-aware, low-key comedic timing lands effortlessly throughout. His chemistry with Scaramouche is both passionate and hilariously charged — especially in the argument scenes of the second act, which leave scarcely a dry eye in the house. Both his “Bohemian Rhapsody” and “We Will Rock You” are interpreted with expressive intensity and vocal power. The production’s crowning highlight, however, is Isabel Waltsgott as Scaramouche: armed with an apparently inexhaustible vocal range, spectacular riffs and tremendous dramatic temperament, she captivates throughout — above all in “I Want to Break Free” and the delightfully comic rendition of “Under Pressure.”

This new incarnation of “We Will Rock You” convinces across the board and should not be missed.

Review: DISNEY'S DIE EISKÖNIGIN at Stage Apollo Theater, Stuttgart

Sun, 17 May 2026 11:51:36 PST

The global musical phenomenon “Die Eiskönigin” („Frozen“) continues to captivate audiences of all ages in Germany. Following a successful run in Hamburg, Elsa, Anna, and Olaf have firmly established themselves in Stuttgart, the capital of Baden-Württemberg. This acclaimed production — a replica of the Broadway and West End versions — proves to be nothing less than pure Disney magic here as well.

Anyone familiar with Disney+’s filmed version of the musical already knows the kind of visual and musical spectacle unfolding live on stage night after night. The fairy tale based on Hans Christian Andersen, which culminated in the blockbuster “Frozen” and gave rise to a vast franchise, works exceptionally well as a stage musical too. Beyond the performances themselves, the true centerpiece of the production is its opulent design — especially Christopher Oram’s masterful work on sets and costumes. Exquisite court attire and countless colorful garments — hundreds of them sweeping across the stage night after night — envelop the ensemble in visual splendor. The film’s iconic aesthetic is carefully preserved, particularly for the two princesses Anna and Elsa. Elsa’s “Lass jetzt los” gown, covered entirely in rhinestones and weighing heavily on the leading actress’s body, is a visual coup few current productions can rival. For her major solo “Monster” in Act Two, Elsa is newly given a more emancipated costume that elevates the character beyond expectation and proves utterly thrilling. One of the evening’s great highlights is naturally the magical on-stage quick change in which Elsa transforms from royal attire into her glittering ice dress during her great anthem of self-discovery — pure theatrical enchantment. And there is more than enough of that to go around.

Not only are Olaf the snowman and Sven the reindeer seamlessly fused with their puppeteers through Michael Curry’s costume design, but through a host of distinctive theatrical flourishes both figures become touchingly lifelike — almost as though they had stepped straight out of the film. The set design radiates that same beloved sense of wonder: rapid scene changes follow one another in dazzling succession. Elsa’s bedroom transforms into the throne room, the throne room into a wisteria-covered castle garden, the kingdom of Arendelle turns in real time into a frozen landscape, and moments later we find ourselves inside a quintessential Scandinavian wooden cabin complete with sauna — all achieved through cutting-edge stage technology, overhead panel systems, and large-scale, intricately crafted props. Elsa’s breathtaking ice palace, dominated by a giant glittering staircase and suspended crystals, repeatedly serves as a setting and each appearance leaves the audience audibly breathless with awe. Through magnificent costumes, outstanding scenic design, state-of-the-art technology, and not least Neil Austin’s cinematic lighting design, Finn Ross’ symbiotic video design, and Peter Hylenski’s thunderous sound design, the production delivers a visual spectacle of the highest caliber, making “Die Eiskönigin” one of the most elaborate and impressive stage productions of our time. Unfortunately, on the evening attended, the sound mix repeatedly compromises both lyrical clarity and ensemble vocals, which at times becomes genuinely frustrating.

Compared to the film, the music by Kristen Anderson-Lopez and Robert Lopez has been expanded with numerous wonderful additional songs, yet none of the familiar hits are missing — quite the opposite: most of them gain even greater profile, momentum, and emotional impact. Michael Grandage stages the story, together with Jennifer Lee’s tightly structured book that honors the original, with a strong emphasis on the sisters’ relationship despite all the visual grandeur, allowing the central characters to appear far more nuanced than in the film. Kevin Schröder and Ruth Deny have translated the musical flawlessly into German, striking the difficult balance between fidelity to the source material, audience-oriented — especially humorous — adaptations, fresh lyrical impulses that deepen the emotional interiority of the characters, and the preservation of the already well-established song lyrics familiar from the German dub featuring Willemijn Verkaik as Elsa.

Under Guido Löflad, the orchestra performs the classic Disney songs with force and momentum, yet always with sensitivity. Rob Ashford’s choreography also integrates seamlessly into the overall experience, even creating several standout moments: the ensemble dances elegantly during the coronation sequence, a revue-style chorus line emerges for “Hygge” as a spirited opening to Act Two, and the mythical Hidden Folk celebrate exuberantly alongside Kristoff and Anna. Particularly impressive is the ensemble choreography during the major final conflict “Kälter, immer kälter,” in which the cast embodies both the soldiers threateningly hunting Elsa and the literal snowstorm accompanying the catastrophe at the climax. Another unforgettable image is Anna’s transformation into an ice sculpture as she attempts to save Elsa’s life: here, costume design, lighting, sound, ensemble, and choreography work together symbiotically to create a moment of towering drama that sets a new theatrical benchmark.

The 25-member ensemble slips into a vast array of roles and dazzles with strong dance performances, acrobatic elements, powerful vocals, and crystal-clear, beautiful harmonies in the choral passages. Lanie Sumalinog and Oliver Aagard-Williams portray the royal couple of Arendelle with a parental warmth that genuinely touches the heart. Enny de Alba and Shane Landers, meanwhile, charm as the mystical yet deeply lovable Bulda and Pabbie of the Hidden Folk — their song “Ein paar kleine Macken” positively sparkles with energy. Philip Rakoczy’s Swabian-accented Oaken is utterly hilarious in the “Hygge” sequence and quickly becomes an audience favorite. The same naturally applies to Olaf, portrayed by Edwin Parzefall with lovable and multilayered comic timing (including in the film favorite “Im Sommer”); once again, it becomes clear that covers, swings, and walk-ins are in no way inferior to their principal-cast colleagues.

Alexis Abreu faces the mammoth task of bringing Sven the reindeer to life, and rises to the physically demanding challenge so convincingly that the illusion of a real living animal with endearing quirks emerges. Simon Loughton sings Hans from the Southern Isles with charm and dreamy sincerity, making his eventual transformation into the antagonist all the more convincing: parts of the audience gasp audibly in outrage during Hans’ villainous self-revelation at the end — proof that Loughton has done everything right. His stage chemistry with Princess Anna is wonderful and adventurous, especially in “Liebe öffnet Tür’n,” where he and his supposed beloved perform acrobatic feats of the highest entertainment value. Eric Minsk is a true “Eiskönigin” veteran, having remained with the production through every cast change and even the relocation from Hamburg to Stuttgart. The Duke of Weselton seems tailor-made for him: squeaky, eccentric, irritating, yet consistently absurdly funny, the seasoned character actor storms through the piece as an antagonist one can never entirely hate despite his misogynistic streak — a delicate balancing act that Minsk masters brilliantly.

Andreas Nützl is another fantastic cover performer on stage. He draws every facet, nuance, emotional shade, and comic subtlety from the role of Kristoff, while singing “Wann warst du schonmal verliebt” and its touching solo reprises with pristine princely finesse. Few other actors in the role manage to imbue this hero — so often reduced to awkward hermit stereotypes — with such feeling, inner conflict, and relatability.

Kim Fölmli is a delightful Anna, gradually freeing herself from naïve dreaminess while revealing the deep childhood wounds that define Anna’s dynamic with her older sister Elsa. Fölmli carries the story confidently on her shoulders — because Anna ultimately emerges as the production’s emotional center on the journey toward discovering real love. In “Zum ersten Mal seit Ewigkeiten” and her duet “Du bist alles” with the Ice Queen, Fölmli also demonstrates striking vocal power — a Disney princess straight out of a storybook.

The iconic role of Elsa has already been shaped in Germany by major names in the musical theatre world: Sabrina Weckerlin, Willemijn Verkaik, and Ann Sophie have all left their mark on the character. The current principal performer is Chiara Fuhrmann, who alongside Pamina Lenn is perhaps the only actress to have portrayed both Anna and Elsa. Yet what West End star Mercedesz Csampai conjures on stage as the alternate Elsa is nothing short of magical: broken, desperate, hopeful, wounded, and defiant all at once, she paints the portrait of a courageous young woman struggling to grow into her own destiny. Every glance, every movement from Csampai seems to communicate something, reflecting the inner world, deepest thoughts, and emotions of her character — always torn between a carefully maintained façade and a soul ravaged by self-doubt. As an actress, Csampai delivers a highly complex characterization underscored by tremendous vocal power. With a résumé shaped by highly dramatic roles (Yocheved in “Prince of Egypt,” Christine in “Phantom der Oper,” Eponine in “Les Misérables,” and above all Esmeralda in “Der Glöckner von Notre-Dame”), Elsa as a psychologically layered figure is in virtuosic hands with Csampai — and every song, whether hushed and reverent in “Gefährlich wenn man träumt,” triumphant in “Lass jetzt los,” or electrifying in “Monster,” becomes a highlight of the production through this extraordinary performer.

“Die Eiskönigin” promises an evening filled with magic, grand imagery, beautiful songs, and performances of the very highest standard.

Review: RUDOLF - DER LETZTE KUSS at Festspielhaus Neuschwanstein

Thu, 14 May 2026 15:32:54 PST

With “Rudolf – The Last Kiss,” the Festspielhaus Neuschwanstein, in collaboration with Vereinigte Bühnen Wien, has achieved a masterstroke: the beloved musical, long absent from German-speaking stages, has been so thoroughly overhauled that it emerges stronger than ever before.

Musicals centered on the Habsburg dynasty have been en vogue in Germany and Austria for decades, but they also captivate countless fans in China, Korea, and Japan. Alongside the new VBW flagship production “Maria Theresia“ and Füssen original “Ludwig²”, it is above all arguably the most famous German-language musical of all, “Elisabeth,” that stand as timeless masterpieces. Veteran composer Frank Wildhorn, too, turned his attention to a dramatic fate within the imperial family and conceived “Rudolf – Affaire Mayerling,” a work about the tragic downfall of Sisi’s son, with music arranged by Koen Schoots and lyrics by Jack Murphy. It premiered in Budapest in 2006 under the title “Rudolf – One Last Kiss” and subsequently enjoyed a successful run in Vienna before disappearing from the stage for well over a decade.

This year, the tale of Crown Prince Rudolf arrives in Germany for the very first time — and perhaps at the most fitting venue imaginable. Ludwig’s Festspielhaus in Füssen is one of Europe’s largest musical theatre stages and famous for its opulence. An ideal place, then, to breathe new life into the story. Since the original had undeniably begun to feel somewhat dated, suffered from narrative longueurs, and tended to lose itself in sentimentality and side plots, the time had come to fundamentally rethink “Rudolf.” And that has worked brilliantly.

It is thanks to Christian Struppeck that the musical now carries greater impact than ever before. He took Murphy’s book apart and reworked it from the ground up: scenes have been tightened, entirely rearranged narratively, and refocused around the characters and their motivations, which previously felt blurred and barely discernible. Wolfgang Adenberg, meanwhile, completely rebuilt the spoken and especially the sung texts. Through the new narrative structure, Rudolf himself is placed firmly at the center of events, his emotional world now tangible in a way it never was before. At the same time, the fates and struggles of his fiancée Princess Stephanie, his star-crossed lover Mary Vetsera, and his father Emperor Franz Joseph become far more identifiable, making the story markedly more human, relatable, and emotionally effective. Stephanie and Prime Minister Taaffe, who in the original version were framed rather antagonistically, largely lose that connotation and gain considerable nuance. Rudolf’s confidante Mizzi and Countess Marie Larisch, previously more peripheral figures, also acquire far greater dramatic weight.

Director Alex Balga succeeds in translating Struppeck’s and Adenberg’s reconceived version onto the stage with the same clarity of vision, for instance by framing the piece through a reverse-chronological structure and allowing the audience to remain constantly aware of the catastrophe awaiting Rudolf at the end of his life. The expected pomp and grandeur of other royal musicals is deliberately pushed aside here. Instead, Balga’s staging renders the production’s character-focused approach almost oppressively tangible at times. Through the precise use of stark lighting contrasts and vast playing spaces left in darkness, the suffocating, almost claustrophobic world of the crown prince — a world that externalizes his innermost self — becomes visually palpable.

The enormous revolving stage is equipped with a semicircular tower-like structure resembling an elevated proscenium, stretching across the full width of the stage and providing multiple playing levels over two floors, each side connected by a spiral staircase. It evokes both the pompous court scenes and the tangled back alleys of Vienna. These different levels allow for an abundance of scenes ranging from desperate self-searching in symbolically empty, cavernous halls to moments of mass uprising against the dying monarchy looming above the people from the balustrades, while several narrative threads unfold simultaneously.

The 360-degree revolving stage repeatedly opens up new perspectives — sometimes tentatively hinted at, almost hidden behind giant curtains, at other times brutally and mercilessly exposed. Morgan Large’s set design works in magnificent harmony with Michael Grundner’s lighting design, which amplifies much of the drama and propels the narrative forward through its cinematic interplay of exposing light and darkness that alternates between merciful and destructive.

Dennis Heise and Johannes Minichmayr provide an equally cinematic sound design that allows the silences themselves to carry enormous dramaturgical weight. Through the use of large-scale projections, impressive fire effects, and a beautiful, dreamlike ice-skating sequence in the snow — illusionistically performed by inline skaters — the production gains further visual splendor. The same applies to Aleksandra Kica’s contemporary yet period-appropriate costumes, which reflect all social classes with precision. Johnathan Huor’s choreography, ranging from Viennese waltz to sensual seduction and expressive character dance, continues the musical and visual language of the piece with thrilling consistency. Particularly haunting is the nightmare sequence in the second act, in which the protagonist’s profound traumas, his present fears born of his position and environment, and his longing for death are rendered so intensely through dance that the scene becomes deeply unsettling.

Kim Scharnberg’s orchestrations are arranged, expanded with additional music, and conducted by Koen Schoots, who was already involved in the original production. Serving additionally as musical supervisor, he delivers musical excellence throughout the evening. He knows exactly how to fuse the sweeping score with the storytelling and leads the Bohemian Symphony Orchestra Prague magnificently. Wildhorn’s grand, classically inspired melodies are played with astonishing nuance by the orchestra — a true delight to listen to. Among the most significant musical changes is the reworking of “Ein hübscher Krieg” into a duet not between men vying for women, but a confrontation between Taaffe and Countess Marie; the transformation of “So viel mehr” into a powerful trio between Rudolf, Mary, and Stephanie; and the repositioning of the act finales. No longer does “Vertrau in uns” close the first act — now it is “Wohin führt mein Weg?” Meanwhile, “Ich halt die Fäden in der Hand” is no longer the nightmarish opening of the second act but a grounded depiction of the prime minister’s political reality, while the nightmare itself is reconceived as a powerful instrumental overture in which Rudolf’s tormented mind is haunted not only by his fiancée and his ever-looming father, but also by Sisi, his rejecting and tragically misunderstood mother. Her appearance ties together previously loose threads and becomes psychologically crucial to Rudolf’s downfall. Especially the second act is musically sharpened through Rudolf’s inner conflict between progressive political ideals and his sense of dynastic duty.

The large ensemble performs with remarkable precision, whether in the grand choral passages, the choreography, or the many supporting roles that energetically fill the enormous stage of the Festspielhaus. Despite the ensemble’s size, the diction remains impressively clear, aided by excellent sound mixing. André Bauer as revolutionary publisher Moritz Szeps, Christoph Apfelbeck as Count Andrássy, Rinus Render as Count Károlyi, Christian Sattler as Heinrich Vogelsang, Thijs Kobes as Rudolf’s servant Johann Loschek, and Arvid Assarsson as Prince Edward all prove harmonious scene partners for Rudolf and lend considerable momentum to shared musical numbers such as “Zeit zu handeln.” Matthias Trattner’s Wiligut, the prime minister’s anxious informant, develops a fascinating mix of bumbling charm and unsettling surveillance energy. Jakob Pinter provides a convincing counterweight to Rudolf as Emperor Wilhelm.

Lucius Wolter as Eduard Graf Taaffe impresses with authoritative acting and a blend of calculated cunning and politically fueled temperament. Yet his scheming never feels wholly antagonistic, but politically comprehensible. His vocal confrontations with Countess Marie in the first act and Mary Vetsera in the second are also among the production’s acting highlights. Kristin Backes leaves a lasting impression as Mizzi Kaspar, one of Rudolf’s closest confidantes, torn between the seductive superficiality of her profession and a genuine concern for Rudolf’s emotional well-being. Through sincere acting and a wonderful singing voice, she gives the role remarkable depth. The same is true of Barbara Obermeier as Marie Larisch, who functions almost like a catalyst for the narrative itself: she sets the love story in motion, becomes a safe harbor for both Rudolf and Mary, defies the powerful Taaffe despite her attraction to him, protects the secret lovers, and foreshadows Rudolf’s fate in the vocally stunning “Die Liebe lenkt.” Vocally, Obermeier may well be the revelation of the evening.

Felix Martin is ideal casting as Emperor Franz Joseph. This distinguished character actor has an extraordinary ability to make roles entirely his own through expressive and nuanced performance, setting genuine acting benchmarks. Every scene featuring him as emperor is dominated by his larger-than-life Stage Presence — and this despite portraying an aging monarch. Martin’s theatrical virtuosity is undeniable, especially in his climactic final confrontation with his son, during which his solo “Ich schütz den Staat” proves deeply impressive.

Kristine Emde as Crown Princess Stephanie shifts seamlessly between the cold, embittered, almost cynical betrayed wife, the jealous rival, the wounded queen-to-be, and the embodiment of Habsburg composure itself. Her solo “Zu zweit allein” strikingly conveys her leaden loneliness. Her second-act musical outburst against Rudolf is shattering, and the reprise of “Ich bleib bei dir,” now turned against her rival Mary in the Habsburg crypt, compensates for the removal of one of the few scenes in which the original arguably surpassed this new adaptation emotionally.

Katia Bischoff as Mary Vetsera succeeds in emancipating her character decisively from Rudolf’s orbit. As the story’s second protagonist, the audience follows her journey enthralled as she moves through the crossfire of politics, monarchy, adultery, love, and spiritual kinship — a conflict Bischoff portrays with courageous and truthful acting entirely free of cliché. Her stage chemistry with Oedo Kuipers, who delivers a sensational Rudolf, is deeply moving and leaves a lump in the throat by the production’s end. Both her solos — above all “Vertrau in uns” — and her duets with Rudolf, especially “Du bist meine Welt,” become musical and emotional high points of the evening. Vocally, Kuipers stands shoulder to shoulder with the great Drew Sarich, who once defined the role. With an enormous vocal range, powerful chest voice and mixed register, and a flawlessly controlled vibrato, his vocal performance reaches a world-class level. Dramatically, too, he convinces across the board: from the quiet, world-weary yet dutiful prince to the love-struck antihero, the emotionally detached husband, the traumatized little boy yearning for his mother’s love and his father’s approval, and finally the regime-critical dreamer and rebel, Kuipers embodies every facet of this exceptionally complex character. His solos “Wohin werd ich gehen?” in the first act and “Was bin ich wirklich wert?” in the second stand as emblematic milestones of Rudolf’s transformation, which Kuipers fills with vocal brilliance and extraordinary dramatic finesse.

In Füssen, the team around Struppeck, Adenberg, Balga, and Huor has created a profound new version of this beloved musical — psychologically and dramaturgically far deeper, narratively more coherent and convincing — proving that the courage to radically rethink familiar and established material can be immensely rewarding and elevate the original work to entirely unforeseen heights.

StageMag Launches Programmable PDF Editor for Digital Theater Programs

Thu, 21 May 2026 10:04:02 PST

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

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

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

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

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

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

About StageMag

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

About BroadwayWorld

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

Review: SISTER ACT - National Tour, Germany

Sun, 10 May 2026 16:02:07 PST

“Sister Act” owes its status as a global phenomenon to the iconic Whoopi Goldberg film, but Alan Menken’s stage version of the beloved Hollywood comedy has long since conquered stages all over the world. In its acclaimed West End incarnation, the musical has already been touring German-speaking venues for a third year, presented by production company Showslot, continuing to fill auditoriums all over the country. Both the linguistic adaptation and the technical realization for touring operations across Germany are flawless. The show is nothing short of a gospel of good fun – hallelujah!

The musical adaptation of the 1992 film premiered in 2006, produced by Stage Entertainment. Countless touring productions have since emerged from the lavish original sit-down staging, and by now “Sister Act” has also become the go-to musical for countless open-air productions and amateur theatre groups alike. In 2022, the nun comedy returned to London’s West End in a glitter-soaked new incarnation. Bill Buckhurst directed, joined by Morgan Large (sets and costumes), Alistair David (choreography), Tim Mitchell (lighting), and Tom Marshall (sound). This production was replicated almost seamlessly and adapted only minimally for touring operations in Germany, so that by 2024 the current road production was already sent out on tour.

The resident directors and German creative team have translated the West End production wonderfully. The German-language lyrics and dialogue from the original 2006 Stage Entertainment production were revised, one song was completely re-written (“Meine Offenbarung” is now called “Nonnen haben’s gut”), and the jokes were reimagined to be less edgy but still funny in different ways. The book by Cheri and Bill Steinkellner was entertainingly adapted for the German market by Werner Sobotka and Michael Ronzoni, with some joke variations existing exclusively in this touring version. Glenn Slater’s lyrics for Alan Menken’s unmistakable score, oscillating between grand Disney balladry and 70s disco tracks, were translated with rhythmic and lyrical finesse by Kevin Schroeder and Heiko Wohlgemuth.

The focal point of the set design is a semi-circular stage portal that can be illuminated in every colour of the rainbow and, together with the large backdrop, evokes the image of a gothic cathedral rose window. For scenes outside the convent, the elements are simply taken out of the light while several selectively used oversized props — a bedroom façade, a bar with jukebox, a tuk-tuk, or filing cabinets from a police office for example — instantly and convincingly evoke the other locations of the turbulent story.

The rose window remains the visual showstopper, theatrically framing the many scenes surrounding Deloris, Mother Superior, and their flock of nuns through the lighting design — sometimes delightfully chaotic, sometimes surprisingly intense and introspective. The choreography is buoyant and delivers everything one could wish for from this sacred comedy: it shakes, sways, grooves, jiggles, and waddles; the habits flutter and billow, hands fly skyward, people hop, rejoice, and exult. Standout moments include Eddie’s quick-change extravaganza during “Tief in mir”, the goofy seduction trio performing “Hey Schwester”, and of course the exalted nun-choir showstoppers “Sonntagmorgenfieber” and “Singt hinauf zum Himmel”, where both the comedy and sheer joy transfer directly through the movement vocabulary.

The costume design is outstanding. Not only does it perfectly capture the spirit of the 70s and manage to visually distinguish the very different nuns through subtle nuances, it also delivers genuine eye-catchers and wow moments. Eddie’s double onstage quick-change from police uniform into a white disco outfit and back again is spectacularly executed. Deloris’ glittery stage outfits, her white gown for the curtain call, and Mother Superior’s imposing robe compete with the sparkling nun costumes in full technicolour frenzy. The finale thus becomes a full-blown theatrical spectacular – a true euphoric sensory overload.

Even in Frankfurt’s Jahrhunderthalle — whose auditorium is arguably far too wide and deep for a musical — the sound design and acoustics function astonishingly smoothly. Spoken dialogue, sung lyrics, and the music performed by the dynamic eight-piece band under Florian Kießling are transmitted crystal-clear even to the furthest and highest rows, while the sound design deliberately plays with volume and sonic force: the climax of Mary Robert’s ballad “Die Welt, die ich nie sah” hits the audience with almost physical force and creates goosebumps, while “Sister Act” as Deloris’ emotional quiet ballad moves audiences to tears precisely because of its introverted sound approach, and “Lass die Liebe herein” brings the audience to its feet. Technically, the production is magnificent.

The ensemble is cast coherently throughout. While Alexander di Capri plays gangster Curtis with relaxed arrogance in “Ich mach sie kalt”, Marcel Weber’s shy police officer Eddie Fritzinger remains intentionally restrained and understated in his performance. Mark John Forbes spices up his eccentric Monsignor with cool dance moves, and the gangster trio consisting of Pablo (Diego Montez), Joey (Benjamin Hauschild), and TJ (Andres Vercoutere) evolves into audience favourites thanks to their flirtatious number.

Yet the evening clearly and unequivocally is in women’s hands, performance-wise. Deloris’ showgirl companions Michelle (Aminata Ndaw) and Tina (Naomi Diebel) immediately heat things up at the beginning of the show with “Fabelhaft, Baby!”. Ronja Rückgauer’s ancient Mary Theresa and Susanne Rietz’s utterly spaced-out Mary Nirvana ensure there isn’t a dry eye in the house. Linda Rietdorff plays bubbly, quirky Mary Patrick, who — according to her own account — used to trigger her uncle’s seizures with her epic operatic soprano before taking the habit.

Janina Maria Wilhalm as the shy Mary Robert is a vocal revelation. The audience is left with goosebumps and jaws dropped when the postulant belts out her self-discovery ballad in the second act. Dramatically, too, she undergoes a touching development from wallflower to self-determined young woman. Sylvia Moss absolutely steals the show as cynical, eccentric, somewhat tomboyish Mary Lazarus, laying down the hottest moves on stage with sonorous hip-hop and outrageous choreography. Moss is also a true master of comic character acting. Kevin Gordon Valentine as the unlucky taxi driver, Florian Karnatz as police informant Clemont, as well as Daniela Moser and Silja Teerling as fellow sisters round out the ensemble harmoniously.

Femke Soetenga in the role of the stern Mother Superior is a presence that commands reverence without ever becoming antagonistic. Rarely is this role played with such nuance. As a second heroine alongside nightclub singer Deloris, one follows her struggles with the unwanted exile within her convent walls with equal amusement and empathy. No matter how forceful and uncompromising she may appear, Soetenga’s nuanced acting repeatedly offers glimpses behind the façade, revealing not only the abbess’ odd little quirks but also her own distinct sense of humour. It is worth watching the performer even in scenes where she is not the focus of the action — laughter is guaranteed. When Deloris stretches out her arms for a hug during the final reconciliation and Mother Superior, completely misreading the gesture, responds by raising her own arms heavenward in beatific praise, her singular comedic timing lands perfectly with the audience. That Soetenga belongs among the most distinguished performers in the German musical theatre scene becomes apparent in every single entrance through her extraordinary Stage Presence, which commands the stage effortlessly.

American performer Jahlisa Norton conquers German stages as disco queen Deloris Van Cartier. Her charisma goes far beyond the diva qualities demanded by the role profile. Brash and rough-edged, loud and a little “from the hood”, she completely makes the protagonist her own. In doing so, she generously mixes in traces of her own background: she flirts with American slang, parodies the nuns with whooping mannerisms borrowed from exuberant Southern church services, and vocally thunders with the expressiveness of holy ghost preaching, at times recalling the legendary Oda Mae Brown, another of Whoopi Goldberg’s iconic roles. Norton’s physical comedy and facial expressions are likewise an experience in themselves: always on point, always the centre of attention, she effortlessly wraps the audience around her finger. Vocally, she is brilliant and at times evokes the great Patina Miller — especially her lower register causes outright enthusiasm. Yet she convinces just as fully in the quieter scenes that reveal the character’s emotional depth, moving audiences to tears with her eleven-o’clock number. A magnificent performer and an absolute enrichment for the German musical theatre scene.

“Sister Act” promises immensely entertaining, high-quality escapism with sparkling music, plenty of laughs, and a whole lot of heart! Amen!

Listen: Alexander Auler Releases 'Sie Allein' Single from New Musical DER HERZOG & ICH

Fri, 08 May 2026 08:24:55 PST

An all new single version of "Sie Allein" has been released from DER HERZOG & ICH - The Theatermacher Musical by Titus Hoffmann and Christoph Zirngibl, in cooperation with TTMusic.

Performed by Alexander Auler and accompanied by the Deutsches Filmorchester Babelsberg, the song is now streaming worldwide on all major platforms.

Listen to the song below or stream it here.

DER HERZOG & ICH will celebrate its world premiere on December 5, 2026, at the Staatstheater Meiningen.

Written by musical librettist Titus Hoffmann and Emmy Award-winning film composer Christoph Zirngibl, this romantic comedy tells the story of Ellen Franz, one of the most celebrated actresses of the 19th century, and her passionate — and scandalous — love affair with Georg II of Meiningen, the so-called “Theatre Duke.”

At its heart lies not only a forbidden romance that defies social convention, but also a revolutionary artistic awakening: from the union of these passionate theatre visionaries emerges an entirely new understanding of stagecraft, ensemble performance, and directing — innovations that continue to shape modern theatre to this day.

Review: MÄNNERPARADIES at Boulevardtheater Bremen

Fri, 08 May 2026 13:29:14 PST

Ich war gestern bei der Premiere von „Männerparadies“ im Boulevardtheater Bremen.

Und ich bin etwas zwiegespalten.

Die Darsteller selbst hatten sichtbar Spaß und besonders Marc Gelhart und Marco Linke haben ihre Rollen wirklich getragen. Auch das Publikum hatte immer wieder größere Lacher, gerade bei Running Gags und den bewusst klischeehaften Momenten. Das Ganze ist warmherzig gespielt und will vor allem unterhalten.

Allerdings hatte ich relativ früh das Gefühl: Wo soll die Geschichte eigentlich hin?
Leider beantwortet das Stück diese Frage nie wirklich. Es wirkt eher wie eine Aneinanderreihung von Sketches als wie eine durchgehende Handlung. Besonders in der Pause fehlte mir komplett dieses klassische „Ich bin gespannt, wie es weitergeht“.

Dabei hätte die Konstellation eigentlich viel Potenzial gehabt. Gerade das Thema „Mann sein“ oder die Vater/Sohn Dynamik hätten deutlich stärker und moderner ausgearbeitet werden können. Viele Konflikte bleiben eher oberflächlich oder wirken wie aus einer anderen Zeit. Manche Dialoge fühlen sich an, als wäre das Stück Anfang der 2000er entstanden und seitdem nicht mehr wirklich weiterentwickelt worden.

Schade fand ich auch, dass storybedingt keine einzige Frau mitspielt. Dadurch fehlt dem Abend manchmal eine zusätzliche Energie oder Reibung. Selbst das Bühnenbild blieb eher funktional, obwohl das Theater mit seinem Drehboden eigentlich Möglichkeiten gehabt hätte.

Und doch: Wer sketchartige Boulevard-Komödien mag, wird hier definitiv seinen Spaß haben. Das Publikum heute war überwiegend älter und genau dafür funktioniert der Abend vermutlich auch sehr gut.

Mein Gefühl war eher: Das Stück selbst bräuchte mal eine echte Auffrischung. Die Darsteller hätten mit moderneren Dialogen, klarerer Handlung und mehr thematischer Tiefe wahrscheinlich sogar noch sichtbar mehr Freude daran.

https://boulevardtheater-bremen.de/maennerparadies

Review: MONÉT X CHANGE & GUESTS at Staatstheater Wiesbaden

Thu, 07 May 2026 18:26:57 PST

Global drag excellence conquers the acclaimed “International May Festival” in Wiesbaden: Drag superstar Monét X Change, for one night only. Somewhere between opera, pop, and chanson unfolds a glittering gala concert evening – at times dreamy, at times exalted – unlike anything the sophisticated grand hall of the spa city has accommodated before.

The “International May Festival” in Wiesbaden has existed since 1896, during the late Imperial era, and in 2026 celebrates its 130th anniversary with 270 artists from 28 nations. Every May, the Wiesbaden State Theatre brings outstanding opera, drama, dance, and concert productions from around the world to its stages, combining tradition with contemporary accents. Opera icon Maria Callas, classical superstar Enrico Caruso, and Bel Canto legend Edita Gruberová were among the most celebrated guests of this month-long festival series’ history.

Just two days after musical theatre star Katharine Mehrling and her program dedicated to composer Kurt Weill, audiences at the “Großes Haus” were in for a special show that promised to merge the art form of drag with the lavish world of opera. This was reflected in a strikingly mixed crowd filling the theatre’s opulent foyer: alongside silver-haired patrons in evening wear and party ladies in glittering boleros, there were also young men in pup-play masks and crop tops, voguing with giant fans. A visual collision between what one expects from this esteemed festival series and what was on the program that evening. That it all comes together so successfully in the end – and sweeps the entire audience from their seats – demonstrates just how unifying the art and entertainment form of drag can be.

And that drag is far more than a polished mug, sky-high styled wigs, sultry showdance, splits, death drops, and gorgeous reveals – every fan of “RuPaul's Drag Race” has known that for a long time already – is showcased impressively throughout the evening. Monét X Change is a global phenomenon. As an “All Stars” winner of the worldwide TV franchise in which drag queens compete against one another in all kinds of categories, she has made a name for herself unlike almost anyone else who has emerged from the show. She has proven to be an outstanding entertainer across countless incarnations of the popular drag franchise. One of her many talents is classical singing, which takes center stage this evening. Joining Monét is musical theatre performer Fausto Israel, whose drag persona Kelly Heelton is among the pioneers of Germany’s drag mainstream: she was one of the successful contestants on the first season of “Drag Race Germany”. Tenor Joshua Sanders, a member of the Wiesbaden State Theatre ensemble, also gets to present his dazzling side to local audiences as the cabaret- and vaudeville-inspired drag queen Pretty Lamé. Completing the glittering queen lineup is Australian soprano Sharon Kempton.

The setlist moves fluidly between classical opera from Vincenzo Bellini, Franz Lehár, and Wolfgang Amadeus Mozart, chansons in the style of Édith Piaf or Kurt Weill, musicals such as “Les Misérables” and “La Cage aux Folles”, immortal Harold Arlen hits from the Great American Songbook, all the way to pop interludes by Dua Lipa and Monét X Change’s very own songs. A colorful mixture that works above all because drag embraces everything, the performers live between the genres, and the audience absolutely loves and frenetically celebrates exactly that.

There is no shortage of vocal highlights throughout the evening, which is superbly underscored by the Hessian State Orchestra Wiesbaden under Paul Taubitz and cohesively choreographed by Thomas Helmut Heep. The dance quintet – Enzo Boffa, Gorka Duran Villar, Alessio Pirrone, Marcos Novais, and Benjamin Wilson – complements the dazzling stage personalities perfectly, with especially memorable choreographic moments emerging during Kelly Heelton’s song numbers and Kempton’s solo performance of “Je ne regrette rien,” alternating between dreamy elegance and fierce intensity.

Kempton and Pretty Lamé performing the Garland/Streisand duet “Happy Days Are Here Again / Get Happy” becomes one of the evening’s vocal showstopper moments, lingering long afterward. During Kempton’s “Over the Rainbow,” the audience can visibly be seen humming along, deeply moved. Pretty Lamé reveals an overwhelmingly powerful tenor voice with a belt that fills the venerable theatre halls, but is equally capable of delicate, fragile tones in “Pure Imagination” from “Charlie & the Chocolate Factory” – this performer is unmistakably at home in the world of vocal storytelling. To “Don’t Start Now”, “Freed from Desire”, and “Feeling Good”, Kelly Heelton truly fires up the audience with flawless vocals, the strongest drag looks of the evening, and sparkling choreography.

With “Lost in the Stars” on one side, Mozart’s “O Isis und Osiris” and Lehár’s “Lippen schweigen” from “Die lustige Witwe” on the next, and her own pop song “Body” on the other, Monét X Change ultimately showcases a vocal range equally capable of effortlessly handling classical, soulful, and pop-infused material. With a fulminant quartet rendition of “I Am What I Am” and an encore by Monét of her hit “Bitch, I’m Beyoncé” in the finest and fiercest drag tradition, both opera lovers and “Drag Race” fans got exactly what they came for. The audience leaves the buoyant evening – sadly far too short – uplifted, an evening that could easily have sustained another handful of songs from across genres in order to do full justice to both the artists and the audience alike.

BOOKPINK Will Come to Deutsche Oper Berlin

Mon, 04 May 2026 10:22:46 PST

Die Autorin Caren Jeß veröffentlichte 2019 ihr dramatisches Kompendium Bookpink, eine Sammlung von sieben Miniaturen über menschliche Abgründe, soziale Gefüge und gesellschaftliche Debatten, deren Protagonisten Vögel waren. Nach dem ATT-Atelier 2024 wächst das Bookpink-Universum weiter – Caren Jeß stellt die Neuankömmlinge in der Vogelwelt, die unserer allzu ähnlich ist, vor: voll Machtfantasien, fragilen Ordnungen und dem seltsamen Verschwinden von Fantasie.

Da ist der Adler, der sein Küken verachtet. Eine Mutter ohne weibliche Form, aber mit strengem Weltbild: Stärke zählt, Schwäche schadet dem Ruf. Also ab mit dem kleinen, „missratenen” Sohn ins Reservat für auffällige Arten. Neue Eier, neue Hoffnung, alte Härte.

Dann Frau Pétain, ein quirliges Kolibriweibchen, das sich sterilisieren lassen will, um ihr Leben selbst zu bestimmen. Doch der Eingriff misslingt – und die ärztliche Zaunkönigin findet das sogar ganz richtig so.

Und Nikki die Kanarie: leuchtend gelb, gefangen in einer Voliere, die eher wie ein hübscher Käfig als ein Zuhause wirkt. Ihr Mensch Cord liegt im Sterben, das Zimmer ein Kaleidoskop aus Glas und Licht. Am Fenster wartet der Zilpzalp auf den Moment, in dem sich die Tür öffnet und Nikki vielleicht wieder singt.

Bookpink: New Arrivals ist ein Abend über Macht, Fürsorge, Fantasie – und darüber, was passiert, wenn man Vögel zu ernst nimmt. Oder genau ernst genug.

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.

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.

ENHYPEN Reveal Venues and Ticket Information for 'Blood Saga' World Tour

Tue, 14 Apr 2026 12:53:13 PST

K-pop group ENHYPEN has unveiled the venue and ticketing details for their upcoming world tour, ENHYPEN WORLD TOUR ‘BLOOD SAGA’ in Latin America, the United States, the UK & Europe.

After kicking off the tour at KSPO Dome in Seoul on May 1, with three consecutive shows, the group will bring ‘BLOOD SAGA’ to Latin America for the first time this summer, with stops in São Paulo, Lima, and Mexico City. The tour will then continue across the United States, visiting Dallas, San Diego, Tacoma, Oakland, and Las Vegas.

‘BLOOD SAGA’ will extend into Europe, marking the group’s second European tour. Beginning in Milan on February 24, 2027, the leg will travel through Paris, Amsterdam, and Berlin before concluding in London on March 9.

For those with an Engene Membership, the Latin America/UK/Europe ticket presale runs from Wednesday, April 22 at 10 AM to Thursday, April 23 at 10 PM (local time). General onsale begins Friday, April 24 at 10 AM (local time). In the U.S. the Engene presale runs from Wednesday, April 22 at 4 PM to Thursday, April 23 at 10 PM (local time), with general onsale beginning Friday, April 24 at 4 PM (local time). Visit here to register and buy tickets.

During their third world tour, ENHYPEN WORLD TOUR ‘WALK THE LINE’, the group played to over 676,000 fans across 32 shows in 19 cities worldwide. More details on the tour can be found HERE.

ENHYPEN consists of members JUNGWON, HEESEUNG, JAY, JAKE, SUNGHOON, SUNOO, and NI-KI. Bursting onto the scene with their debut mini-album BORDER : DAY ONE, they’ve placed five albums in the Billboard 200 Top 10 in five years: MANIFESTO : DAY 1 (No. 6, 2022), DARK BLOOD (No. 4, 2023), ORANGE BLOOD (No. 4, 2023), ROMANCE : UNTOLD (No. 2, 2024), and DESIRE : UNLEASH (No. 3, 2025).

ENHYPEN 'Blood Saga' Latin America, United States, UK & Europe Tour Dates:

July 4, 2026 - São Paulo, Brazil - Allianz Parque (Ticketmaster)

July 8, 2026 - Lima, Peru - Estadio San Marcos (Ticketmaster)

July 11, 2026 - Mexico City, Mexico - Arena CDMX (Superboletos)

July 17 & 18, 2026 - Dallas, TX - American Airlines Center (Ticketmaster)

July 21, 2026 - San Diego, CA - Snapdragon Stadium (Ticketmaster)

July 26, 2026 - Tacoma, WA - Tacoma Dome (Ticketmaster)

July 28 & 29, 2026 - Oakland, CA - Oakland Arena (AXS)

Aug 1, 2026 - Las Vegas, NV - T-Mobile Arena (AXS)

Feb 24, 2027 - Milan, IT - Unipol Dome (Ticketone)

Feb 27, 2027 - Paris, FR - La Défense Arena (Ticketmaster)

Mar 2, 2027 - Amsterdam, NL - Ziggo Dome (Ticketmaster)

Mar 5, 2027 - Berlin, DE - Uber Arena (Eventim)

Mar 9, 2027 - London, UK - The O2 (AXS)

Photo Courtesy of BELIFT LAB

One Last Bow: MRS. DOUBTFIRE Takes Her Leave in Germany

Mon, 13 Apr 2026 14:33:45 PST

Final curtain call for the prickly Scottish nanny in Germany: "Mrs. Doubtfire" takes its leave as a true emotional tour de force, studded with exuberant choreography, a superb ensemble, immaculate sound and visuals—and an abundance of heart. In the all-consuming title role, Thomas Hohler and Dustin Smailes appear to have found the roles of their lives. It is both a joyful and tearful goodbye for this excellent production. The stage set and props move on across the English Channel to be used for the upcoming UK tour—and judging from the meticulously crafted production in Germany, this musical should be a massive hit on tour!

This replica production from Broadway and London’s West End has been transferred, with minor adjustments, flawlessly to the boards of Düsseldorf’s Capitol Theater, well-equipped for the demands of touring. Brian Ronan’s elaborate sound design holds a wealth of surprises, including a live-performed number with a loop station that is genuinely thrilling. Philip S. Rosenberg’s lighting design is equally peerless: rarely is a musical sculpted with such intricate precision in its use of light as "Mrs. Doubtfire". His concept is instrumental in generating the emotional charge of many key scenes, time and again astonishing and beguiling.

David Korins’s cinematic, lovingly crafted set combines apartment interiors lifted from the cult film with various backdrop screens descending from the flies. Catherine Zuber’s costume design likewise resurrects the film, perfectly reproducing the iconic look of Mrs. Doubtfire while dressing every other character with meticulous attention to detail and humour. Not only the smoking, singed blouse—charred during Daniel’s disastrous cooking attempts—feels lifted straight from the movie. It is a tour de force to devise a costume design that enables the leading man to execute countless lightning-fast transformations from man to Scottish housekeeper and back again. These hair-raising quick changes from Daniel Hillard to Euphegenia “Effie” Doubtfire frequently occur live on stage—complete with facial mask, makeshift padding, a suggested fat suit, and layered, homespun granny attire.

Yet the costume must still afford the protagonist freedom of movement, for Doubtfire repeatedly joins Lorin Latarro’s high-octane choreography—including breakdancing. Seldom do contemporary musicals employ choreography as differentiated, virtuoso, and stylistically hybrid as this. Tap, voguing, hip-hop, flamenco, contemporary, classic Broadway show dance with echoes of Busby Berkeley, Gillian Lynne, and Bob Fosse—the dances leave nothing to be desired, nor does their execution by the stellar ensemble, led by dance captain Calum Flynn.

Jerry Zaks’s directorial approach proves fully effective in Düsseldorf: the story is told briskly and seamlessly, following the familiar film narrative with engaging clarity. The arc of tension is sustained throughout, and the audience delights in following Daniel, a.k.a. Mrs. Doubtfire, on his exhilarating and emotional odyssey. Despite the tight pacing, Zaks masterfully creates space, through well-judged deceleration, for large emotions at precisely the right moments—again and again moving the audience to tears. John O’Farrell and Karey Kirkpatrick’s book unfolds here with even greater impact than in the West End, thanks to the outstanding cast. Through a character-focused direction, this laugh-out-loud script becomes a plea for familial cohesion, humanity, and love—and it strikes straight to the heart.

Johannes Deny, Ruth Deny, and Kevin Schroeder succeed in translating both the book and the lyrics by Wayne and Karey Kirkpatrick into German with a profound sense of tone and considerable emotional finesse. With a keen awareness of the local audience, they have especially adapted the jokes and Daniel’s rapturously received impersonations: as in the original, Kermit and Miss Piggy make an appearance, but Otto Waalkes, Marcel Reich-Ranicki, and Heidi Klum also join the barrage of parody.

Under Joe Schmitz’s baton, the eight-piece band plays the score with virtuosity and punch, yet with the requisite sensitivity. The twelve-member ensemble sings, acts, and dances with virtuosity and a seamless synergy easily comparable to Broadway and the West End. Every member of the cast gets their moment to shine, and they seize it to full effect, always delivering with pinpoint precision. From the high-spirited YouTube influencer Amy (Tiziana Turano) and the eccentric chef Louis (Julian Schier) to secret dance sensation and youth idol Loopy Lenny (Daniel Delyon), the iconic Donna Summer (Anna Tarcy), Grace Kelly (Marlen Praxmarer), Cher (Daisy Quainton), and a stage incarnation of Oscar Wilde (Giovanni Corrado), every ensemble member is cast to perfection and merits an ovation of their own for the demands of this musical, as each of these mentioned roles represents only one of a plethora of characters embodied by every performer in this dynamic show.

Throughout the run, the energetic squad of swings—Kevin Gordon Valentine, Lisa Wissert, Teya Quarmine, Julia Waldmayer, Laya Höfling, and Calum Flynn—deliver remarkable work; this show demands the highest degree of flexibility and meticulous precision from its swings, covers, and walk-ins in each and every role. As ensemble members and covers of various demanding roles, Francesco Alimonti, Jack Walker, Steven Armin Novak, and Dani Spampinato, who were not on for the final shows on April 12, also deserve praise for helping shape this production over the past six months with their dedicated performances.

The final performance is filled with joyous clapping along, frenetic applause, and laughter, which the cast receives in abundance on ist closing night—comedic showstoppers galore! Mark van Beelen’s Mr. Jolly is a delightfully cranky, endearing TV grandpa whose best days on screen are long past. His fine sense of comedic timing is nothing short of masterful. Anneka Dacres, as media mogul Janet Lundy, has little to laugh about; dry and cynical, she barely changes expression regardless of the onstage chaos—precisely this masterfully played contrast makes her performance so amusing, as Lundy herself obviously believes she has a great sense of humour but never cracks a smile until the very end of the story, when her character snaps delightfully. Pure comedy gold!

Lilian Nikolic steals the show, in the best sense, as the flamenco singer: in the final escalation to “Er log mich an,” where Daniel must dart frantically between his roles in the restaurant “La Rosa” to keep his double life from unraveling, Nikolic sings and dances her heart out. In flamenco style, she laments a lost love and unleashes anger and wrath, while Daniel desperately tries to salvage what he has built. This collision of wildly exaggerated telenovela melodrama with a tangible conflict is arguably the show’s strongest comic scene.

Tamara Wörner portrays the stern, unyielding social worker Wanda Sellner, who becomes a kind of nemesis to Daniel and relishes the role with intensity. In the nightmare-like sequence “Du spielst mit dem Feuer,” where Sellner and a handful of Doubtfire clones circle him menacingly as his masquerade tightens its grip, Wörner also demonstrates her vocal prowess. Her dry demeanour in itself gives rise to some of the funniest moments of the narrative, earning her mid-scene applause for her perfect delivery. Christian Funk renders Stuart Dunmire—the muscular new flame of Daniel’s ex-wife—approachable and likable. In “Keine Chance, nein!” he engages in a delightful sparring match with Mrs. Doubtfire, culminating in a comically absurd self-celebration with his gym bros.

Frank Hillard and his partner André Mayem are played in perfect symbiosis by Nicolas Tenerani and Malick Afocozi. With their expressive quirks and warmly sensible counsel, they quickly become audience favourites and recurrent rescuers in moments of crisis. They command the stage with flamboyance, and their number “Ich muss ’ne Frau sein” is a highlight: during the song, Daniel is transformed into Mrs. Doubtfire as inspirations for the drag persona appear in the flesh—a piece of theatrical cinema at its finest. Tenerani plays out Frank’s quirks, most notably his need to shout and scream when lying—which he has to do frequently—with comedic perfection. Afocozi’s character is fierce and theatrical in the best possible ways: his devotion and hyperfixation on Donna Summer and Jennifer Holliday, as well as his expressive acting amid the chaos his brother-in-law puts him through, are as impressive as his fantastic singing.

The child performers are a revelation—nineteen children have been cast, and all of them deliver powerful performances, with a bright stage future ahead. The honour of opening the show at its premiere and closing it with a stellar final performance was granted to two extraordinary child performers: Mika brings energetic authenticity to the tough Christopher Hillard, while Greta movingly portrays the young Natalie, struggling with her parents’ separation. Alongside their older sister Lydia—outstandingly embodied and sung by Alina Simon—they drive the family narrative forward; with “Was für’n Scheiß,” they sing and dance their way straight into the audience’s hearts at the outset. Simon is deeply affecting in “Einfach so tun” toward the end, when even the seemingly grown-up eldest cannot suppress her childlike fears of separation. Jessica Kessler portrays mother Miranda with warmth and temperament. Where the film counterpart and the West End casting failed to strip Miranda of her antagonistic edge, Kessler achieves this seemingly effortlessly through nuanced, authentic acting. Though the audience primarily perceives the family crisis through Daniel’s restless attempts to remain close to his children, Kessler renders her character’s perspective—also vocally, in “Frei in deiner Haut” and “Lass los”—both moving and comprehensible.

During the last six months, I (the reviewer) was able to experience some remarkable cover performances which, in retrospect, following the final curtain fall, cannot go unmentioned: Kevin Gordon Valentine’s and Dani Spampinato’s equally funny portrayals of Mr. Jolly, Mark van Beelen’s sympathetic version of Stu, Teya Quarmine’s on-point delivery of Janet Lundy, Marlen Praxmarer’s and Laya Höfling’s youthfully rebellious yet touchingly vulnerable takes on Lydia, Daniel Delyon as a flamboyant Andre, Julian Schier's hysterically funny Frank and Julia Waldmayer’s and Tiziana Turano’s passionate interpretations of Miranda once again showed that first cast and second cast do not entail any loss of performative quality or excellence.

Ultimately, Thomas Hohler and Dustin Smailes are the undisputed stars of the final performances. How they manage to fill this physically and dramatically all-consuming role with such overwhelming verve is nothing short of astonishing. The dual role of Daniel and Mrs. Doubtfire is arguably the most demanding male part in musical theatre on every level: Hohler and Smailes not only sing superbly (notably in “Ich wäre gern da” and “Sie ist glücklich”) and dance—even breakdancing—the show’s most intricate and rapid choreography, but remain almost constantly electrified through their countless quick changes and relentless costume transformations. Bringing distinct details to both the comedy and the tragedy of their respective “Effie,” Smailes and Hohler generate entirely different, yet equally affecting experiences. They both excel in the Robin Williams role, honed to comedic perfection, while also rendering the drama and tragedy of the character with deeply moving poignancy. It seems only fitting to say: here, both Thomas Hohler and Dustin Smailes are performing the roles of their lives.

That "Mrs. Doubtfire" is more than a mere film adaptation—that beyond its fantastic comedy it contains substance and a great deal of heart—becomes unmistakably clear in the finale, “Weil nichts als Liebe bleibt.” Uplifted, enraptured, and profoundly moved, the audience celebrates this beautiful cast and show one last time, moving the ensemble to tears from the final scenes onward until the end of the curtain call. Artistic director Michelle Escaño salutes the entire cast and crew for producing this masterpiece, which moved audiences to tears of joy and emotion, leaving behind perfect audience satisfaction, outstanding reviews, and a wealth of beautiful memories.

This musical is among the best that have ever graced German stages. Bound for the UK and Ireland, "Mrs. Doubtfire" embarks on a tour from August 2026 through 2027, with audiences in Germany wishing for a return of their beloved show in the future—and a spark of hope for a recording of this uniquely flawless cast. Fans leave the theatre to celebrate the cast at the stage door one last time, resonating with the show's final premise: "Weil nichts als Liebe bleibt - As long as there is love"!

Photos: SCHOLL - Die Knospe Der Weißen Rose at Theater Magdeburg

Mon, 13 Apr 2026 06:48:45 PST

All new production photos have been released from the Magdeburg staging of SCHOLL – The Bud of the White Rose, a musical by Titus Hoffmann & Thomas Borchert. Check out the photos below!

The cast includes Judith Caspari, Alexander Auler, Celena Pieper, Ein Holzwart, Bianca Basler, Raphael Binde, and Lara Kareen.

SCHOLL – The Bud of the White Rose returns to Theater Magdeburg in a new staging, following its world premiere in 2023 at Stadttheater Fürth. With book and lyrics by Titus Hoffmann and music by Thomas Borchert, this musical sheds new light on the legacy of Hans Scholl and Sophie Scholl.

At its heart lies a long-silenced truth: Hans Scholl’s persecution under Paragraph 175—a trauma that marked the first step in his rejection of Nazi ideology, and a chapter of his life that remained hidden for decades.

Drawing on his own writings and poetry, SCHOLL reveals the human story behind the icon: a young man torn between fear, identity, and courage.

Told through the eyes of Traute Lafrenz—who loved Hans, survived the war, and lived to witness the enduring legacy of the resistance—this musical becomes both an act of remembrance and a powerful rediscovery. The production is directed by Titus Hoffmann.

Photo Credit: Andreas Lander

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.

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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!

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Review: THE BODYGUARD at Alte Oper, Frankfurt And On Tour In The UK

Sun, 05 Apr 2026 16:22:00 PST

The touring production of The Bodyguard arrives at a pivotal moment in its continental journey. After stops in Zurich, Munich and Berlin, interspersed with various UK engagements including London, the show now plays its final German date at the Alte Oper Frankfurt. From here, it will return to British venues through mid-year. There is, accordingly, a sense of culmination in the air: a production taking its last bow on German soil before retreating to its home circuit. And what a send-off it proves to be.

Already staged in fifteen countries, The Bodyguard—based on the 1992 film hit by Lawrence Kasdan, starring Whitney Houston and Kevin Costner—demonstrates the enduring popularity of its source material. Blending romance with thriller elements and inextricably tied to the songs immortalised by Houston, the piece continues to resonate with audiences worldwide: Superstar Rachel Marron and her family find themselves under threat from a dangerous stalker and must be protected by bodyguard Frank Farmer – yet love and jealousy also enter the fray. The touring production of The Bodyguard delivers musical theatre excellence across the board. A powerful sound, dynamic storytelling, a coherent set design, striking choreography and an ensemble performing at a world-class level all come together seamlessly. In the leading role, Sidonie Smith is nothing short of a revelation.

The book by Alexander Dinelaris is concise and tightly structured, and under the direction of Thea Sharrock and Mark Hedges, it never comes close to losing any momentum. Few two-act musicals unfold their narrative with such speed and drive, yet thanks to fluid staging, brisk transitions and a vividly expressive cast, the production never feels rushed or superficial. While this touring version largely forgoes the opulent West End set, Tim Hatley’s design does not feel diminished, but rather purposeful, coherent and refined. Scenes are constructed through the interplay of minimal props—be it a bed, a sofa or a bar—and suspended backdrops. In an instant, a variety of locations emerges: Rachel’s mansion, Fletcher’s bedroom, a jazz club, a disco, the stalker’s lair, a karaoke bar, a recording studio or even the stage of the Dolby Theatre during the Academy Awards.

The illuminated framing of the stage portal further enhances the impression of watching a live film – the whole show conveys the feeling of a cinematic experience. Mark Henderson’s theatrical lighting design amplifies this perspective considerably: sweeping, stadium-like lighting lends emotional weight to the show ballads, while the banks of lights lining the stage frame create striking moments during Rachel Marron’s triumphant concert sequences. At the same time, Henderson proves equally adept at shaping the quieter, more intimate scenes. Hatley’s costume design, in synergy with Campbell Young’s hair and make-up work, vividly reanimates the iconic imagery of the original material. Rachel’s show costumes in particular—most notably the stunning gown at the Oscar ceremony—are glamorous eye-catchers. Duncan McLean’s video design, employing large-scale projections to visualise key dramatic moments, completes the visual picture, impressing especially in the opening with striking close-ups of Rachel ahead of “Queen of the Night”.

The same can be said of Karen Bruce’s energetic, highly demanding and thoroughly modern choreography, which does not shy away from acrobatic elements. The ensemble consists of outstanding dancers performing at the top of their game, executing the thrilling choreography with precision. Bruce’s work is remarkable: rarely does a choreographic language feel so cohesive without ever becoming redundant, and at the same time so expressive and vibrant.

Beyond their exceptional dancing, the eleven-strong ensemble also demonstrates dramatic precision and a finely tuned sense of cohesion. Whether as karaoke girls belting out “Where Do Broken Hearts Go”, as Rachel’s creative team, security staff or exuberant fans of the diva, transitions are executed so seamlessly alongside the filmic scene changes that the term “cinema on stage” feels entirely apt. While Ryan Bennett brings charisma and urgency to Rachel’s PR manager Sy Spector, attempting to steer her career toward the Academy Awards despite looming danger, John Macaulay offers a warm, paternal counterbalance as manager Bill Devaney.

James-Lee Harris embodies the disturbingly compelling stalker with chilling effect: his slow movements, measured focus and a blend of arrogance and melancholy create a deeply unsettling antagonist whose presence is felt even when he is not physically on stage. The role of the spirited young Fletcher is shared by four boys on tour. Rio Chigwedere proves to be an accomplished young performer, convincingly navigating the shift from carefree youthful ease to genuine fear, while also singing and especially dancing with impressive skill and visible enjoyment. His authentic performance makes Fletcher’s role as the fulcrum for Rachel, Nicki and Frank entirely believable.

Alongside these three central characters, one might almost identify a fourth protagonist in this production: the sound design by Richard Brooker and his team. The powerful sound of the virtuoso six-piece band under the direction of Charlie Ingles surges through the auditorium, with bass lines that seem to reverberate through the seats themselves. Breathtaking sound effects, worthy of a Hollywood film, draw the audience right in. Music, vocals and effects interact in a masterful balance between deliberate restraint in moments of oppressive silence, ominous tension or romantic delicacy, and the full force of exuberant concert energy or high dramatic escalation.

Matt Milburn (taking over the role from Broadway-star Adam Garcia for select performances) portrays Frank Farmer as a classic “hard shell, soft centre” figure with considerable appeal. Reserved, yet empathetic, he conveys the character’s inner conflict between professionalism and emotion with clarity. It takes a skilled vocalist to convincingly play a bad singer: in a karaoke scene to “I Will Always Love You”, Milburn delivers a delightfully awkward rendition that becomes one of the evening’s comic highlights – alongside his clumsy approaches, standoffs and squabbles with Rachel Marron upon meeting each other for the first time. His nuanced performance makes the tension between duty and affection in his relationship with Rachel and her family entirely convincing – each dynamic, be it between him and Rachel’s son or her sister, feels authentic.

With a powerful voice and deeply felt performance, Sasha Monique impresses as Nicki Marron, whose role as the perpetually overlooked sister unfolds with considerable tragic weight. Her solo numbers, “Saving All My Love for You” in the first act and the heartbreaking “All at Once” in the second, impress through vocal clarity and emotional depth. Her duet with Sidonie Smith, “Run to You”, is particularly harmonious, the two voices seeming to elevate one another. She portrays the ambivalent, complex relationship with her famous sister, as well as her affectionate bond with her nephew Fletcher and her romantic feelings for Frank, with great sensitivity.

Sidonie Smith ultimately triumphs in the role of Rachel Marron. Her public show persona defines each concert scene, radiating a commanding presence that feels truly larger than life. Yet Rachel is not a conventional protagonist; she is defined by a striking ambivalence and remains an intriguingly conflicted figure. Faced with a constant sense of threat, she continues to yearn for fame and recognition, and even her love for her sister is at times overshadowed by her ambition, with Fletcher as her emotional anchor. At her core, however, she is deeply human: a self-determined, strong woman driven by a desire for freedom, claiming what she wants—until the threat surrounding her and her son forces her to confront fear and vulnerability. To render this complexity in a way that remains tangible and relatable is a significant acting achievement, one that Smith accomplishes through countless subtle nuances. At no point do Rachel’s thoughts or motivations feel obscure; Smith expresses emotion outwardly with passion and control, never tipping into artificiality. Her characterisation stands comfortably alongside that of Broadway star Heather Headley, who originated the role on stage. Vocally, Smith crafts her own interpretation, distinct both from Headley and from the ever-present spectre of Houston. With a voice rich in emotion and remarkable range, she turns her songs, most notably four Whitney ballads—“Greatest Love of All”, “I Have Nothing”, “One Moment in Time” and, of course, “I Will Always Love You”—into overwhelming showstoppers.

After a cinematic and intense finale, Smith proves an electrifying entertainer alongside the ensemble, sending the audience out on a euphoric high as “I Wanna Dance With Somebody” turns both stage and auditorium into a celebration. This meticulously performed show is not to be missed!

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.

Review: THE LOOM SESSIONS BRAM THAMATA at Literaturhaus Cafe Hamburg

Wed, 01 Apr 2026 13:26:34 PST

When talking about LOOM SESSIONS, everyone is referring to the one with Oliver Edward in December 2025. We are back with another Session, this time with Bram Tahamata, best known for playing May in the Hit-Musical & Juliet in Hamburg at the Literaturhauskaffee in Hamburg's picturesque Außenalster. The Loom-Session-concept focuses strongly on the performing artists' talent, enabling them to create a magnificent space, and that's exactly what Bram did.

The setlist was filled with songs from Bram’s latest Album T.H.M.T., released earlier this March, as well as songs from the Album MOONLIGHT, and of course something from the band project 2 A.M. While the first part brought us energetic songs you can’t help but just have to break into dance, the second part focused on the quieter and more deeply emotional moments. While the evening was exceptional in all, there is one song, or better called, MASH-UP, I’m Not That Girl (WICKED), with I’m Not A Woman (&Juliet), to mention, songs from two shows to find on Bram's CV. Of course, we knew about the vocal ability, given such a beautiful voice, but this number brought up so much more; it is a declaration of love and the chance to say goodbye to a show Bram unfortunately missed the final performance of.

It wouldn’t be Bram if there weren’t a (not so surprising) guest to perform with. UZOH, (Muse Klio in Disney's HERCULES in Hamburg) joined to perform Tahamata's newest song, Ce N’nest Que Moi, to an avid audience.

Bram Tahamata illuminated the Literaturhauskaffee with this very special Session; it’s a Second-to-None evening we have to be thankful for. The Loom Sessions are an enriching environment and a wonderful addition to Hamburg's creative portfolio. Rumor has it, there is even more to come. Hamburg can't wait!

Click here to listen to Bram's Music

Review: FALCO MEETS AMADEUS at Metropol Theater BREMEN

Wed, 01 Apr 2026 10:32:28 PST

Ein Falco-Abend sollte knistern. Er sollte überraschen, reiben, vielleicht sogar kurz irritieren – aber immer mit einer klaren inneren Linie. Genau daran scheitert „Falco meets Amadeus“ im Metropol Theater Bremen schon in den ersten Minuten.

Der Einstieg wirkt erstaunlich holprig. Statt einen Ton zu setzen, stellt sich schnell die Frage: Wohin soll das alles führen? Besonders eine frühe Szene sorgt eher für Stirnrunzeln als für Neugier – plötzlich tauchen Figuren wie Elvis oder die Blues Brothers auf, inszeniert als „verstorbene Ikonen“. Ein irritierender Moment, der weder dramaturgisch vorbereitet noch wirklich zu Ende gedacht ist. Dass dabei ausgerechnet die Blues Brothers-Konstellation halb aufgelöst wird, verstärkt das Gefühl von Beliebigkeit statt Konzept.

Dabei bringt der Hauptdarsteller handwerklich vieles mit: Stimme, Attitüde, Timing – alles sitzt. Und doch entsteht eine Distanz. Der sichtbar größere Altersunterschied zu Falco nimmt der Figur etwas von jener fragilem Glamour, der Falco ausmachte. Es bleibt eine sehr gute Interpretation, aber selten ein wirkliches Eintauchen.

Die Inszenierung versucht, eine Geschichte zu erzählen, verliert sich dabei jedoch immer wieder in bizarren Momenten, die eher an einen surrealen Trip erinnern als an eine klare Dramaturgie. Man fühlt sich stellenweise wie in einem Film von David Lynch – nur ohne dessen präzise Absicht dahinter.

Musikalisch funktioniert vieles solide. Die Songs sind sauber eingebettet, wirken nicht einfach aneinandergereiht. Und trotzdem bleibt ein entscheidender Funke aus. Gerade bei „Vienna Calling“ – einem Song, der eigentlich Gänsehaut garantieren müsste – stellt sich diese nicht ein. Es fehlt der Zauber, der Moment, in dem Bühne und Publikum wirklich eins werden.

Auch visuell bleibt die Produktion überraschend zurückhaltend. Wenig bleibt hängen, vieles wirkt funktional statt ikonisch. Die zweite Hälfte schließlich verliert zusätzlich an Spannung und zieht sich merklich, ohne neue Impulse zu setzen.

Unterm Strich ist „Falco meets Amadeus“ kein Totalausfall, aber ein Abend, der deutlich hinter seinen Möglichkeiten bleibt. Vieles ist ordentlich gemacht, manches sogar stark gespielt – doch das Gesamtbild wirkt zu oft unentschlossen. Für Fans der Musik ein netter Nostalgietrip. Für alle, die sich eine echte Auseinandersetzung mit Falco erhoffen, bleibt ein schaler Nachgeschmack.

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

Mon, 30 Mar 2026 13:19:18 PST

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

How To Participate

Schedule of Events

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

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

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