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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.

Interview: Curtis Reynolds of OMAHA BROADWAY BAR is Blowing Up Omaha!

Wed, 03 Jun 2026 20:31:10 PST

There is a new phenomenon in Omaha’s live music scene. Omaha Broadway Bar, conceived and developed by Curtis Reynolds, has grown from a solo piano bar experience to an exploding traveling performance event that crosses genres and venues.

Curtis Reynolds has developed a unique traveling show that is growing at lightning speed in Omaha and surrounding areas. Reynolds, as pianist, vocalist, and emcee, tailors the themes and artists according to the venue. For bigger venues, he calls in local musicians on guitar, drums, and woodwinds to accompany a larger group of singers. Smaller, more intimate venues call for a solo performance or a handful of singers.

In the beginning, Reynolds reached out to venues across the metro to offer Omaha Broadway Bar performances. Now an increasing number of venues reach out to him, making his Broadway Bar a full time occupation.

Reynolds grew up in small town Nebraska, the son of musical parents who met in a variety band. His mother taught music and his father played guitar and sang. Reynolds took piano lessons from kindergarten to eighth grade, but was not acquainted with the concept of a piano bar until his later years.

Reynolds graduated from New York University with a Bachelor of Music in Vocal Performance (Musical Theater) and the Boston Conservatory at Berklee with a Master of Fine Arts in Musical Theater Vocal Pedagogy. His vast Music Director experience includes working on new musicals in New York City, coaching at NYC's American Musical and Dramatic Academy (AMDA), and directing the music for numerous regional theaters, concerts, cabarets and workshops across the country.

Reynolds served as Music Director for the national tour of “Spamilton: An American Parody", expanding into playing and singing as King George standby. Further acting credits are diverse, with the most recent being at the Omaha Community Playhouse as Ogie in “Waitress” for which he received the Barbara Ford Award for outstanding performance in a supporting role.

In his mid twenties, Reynolds was hired by a cruise company to direct and teach the singers the songs for the shows. He was subsequently contracted to perform in their Billboard Onboard shows which unfortunately did not focus on Broadway music.

“That’s how I got my feet wet with piano bar style entertainment,” Reynolds said, and added that he would want to lean into Broadway music if he ever did this again.

Before moving to Omaha, Reynolds taught in the Four Corners region of Colorado. When a job popped up at Creighton University in the performing arts department, he relocated to Omaha. He moved on to the University of Nebraska Omaha as Assistant Professor of Musical Theatre, which is where his idea for the Broadway Bar took root, initially as a creative outlet.

Reynolds staffs his events from a growing pool of more than 150 singers. He started by asking those he knew, but today he receives cold calls from people who just want to sing. These performers appreciate the opportunity to not only perform, but to connect with other singers they may not have met.

Reynolds said, “I’m proud of the fact that this brings people from different theaters together.”

Local performer Mark Thornburg commented, “Our metro theatre community is a close and tight knit group. Broadway Bar has made it even more so. It’s given us an opportunity to celebrate and showcase many of our talented artists in roles and characters they otherwise might not have had a chance to do so.”

If you haven’t had a chance to attend an Omaha Broadway Bar event, there are several opportunities to do so. Each event is different and special. Check their Facebook or Instagram page for dates and details.

The link for bookings is tinyurl.com/bookbwaybar

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

Tue, 02 Jun 2026 19:57:07 PST

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

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

This year's cast includes:

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

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

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

A Drag Queen Christmas 2026 Tour Dates:

November 11 - Detroit, MI (Fisher Theatre)

November 12 - Rochester, NY (Kodak Center)

November 13 - Rutland, VT (Paramount Theatre)

November 14 - Portland, ME (Merrill Auditorium)

November 15 - Boston, MA (Emerson Colonial Theatre)

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

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

November 19 - Washington, DC (Warner Theatre)

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

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

November 22 - Philadelphia, PA (Fillmore)

November 24 - Pittsburgh, PA (Byham Theater)

November 25 - Columbus, OH (Palace Theatre)

November 27 - Chicago, IL (Riviera Theatre)

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

November 29 - Omaha, NE (Orpheum Theater)

November 30 - Oklahoma City, OK (The Criterion)

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

December 2 - Kansas City, MO (Uptown Theater)

December 4 - Denver, CO (Paramount Theatre)

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

December 7 - Seattle, WA (Moore Theatre)

December 9 - Sacramento, CA (Channel 24)

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

December 11 - Stockton, CA (Bob Hope Theatre)

December 12 - Los Angeles, CA (The Wiltern)

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

December 15 - Mesa, AZ (Mesa Arts Center)

December 16 - Tucson, AZ (Fox Tucson Theatre)

December 17 - El Paso, TX (Plaza Theatre)

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

December 20 - Dallas, TX (Winspear Opera House)

December 21 - Wichita, KS (Orpheum Theatre)

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

December 23 - Knoxville, TN (Tennessee Theatre)

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

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

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

December 29 - Jacksonville, FL (Florida Theatre)

Review: MARY POPPINS at Omaha Community Playhouse is Perfect Family Fun!

Tue, 02 Jun 2026 12:57:11 PST

Flying into the Omaha Community Playhouse with parrot umbrella and a satchel of tricks in hand, MARY POPPINS instantly enthralls her appreciative audience.

Everyone loves the classic P.L Travers book and Disney film of the same name. Cameron Mackintosh and Julian Fellowes have created a supercalifragilisticexalidocious amalgamation of the two. With original songs by The Sherman Brothers and a few new ones written and composed by Geroge Stiles and Anthony Drewe, OCP adds a vocally dynamic cast and crew. The result couldn’t be more perfect.

Mary Poppins, describing herself as “Practically Perfect,” is the antidote the Banks family requires as it struggles with two disagreeable children, their remote father, and their mother who longs for significance. The family is fragmented. Nannies come and go. Then Poppins appears out of thin air and settles into their lives like a miracle.

Director Brandon Box-Higdem with Assistant Director Echelle Childers have produced an incredibly pleasing show where complicated set pieces slide in and off stage or raise up and down. Characters are fleshed out. Ensemble numbers are cohesive. Pacing is regulated. Visual and audio components are pleasing to eye and ear. It is so well done!

Jim Boggess, Music Director, confesses that this is a difficult production, but he makes it look easy. The orchestra and vocals are impressive. It is impossible to leave the theatre without the refrains stuck in your brain.

Lauren Krupski could not be a better Mary Poppins. She is not practically perfect. She IS perfect. Her voice. Her diction. Her mannerisms. Her facial expressions. All perfection. Somehow she has captured just the right amount of conceit, caring, and comedy to create a character that is completely charming…enough so that Michael later in the show is only content when she expresses her no-nonsense brand of love rather than sentimentality.

Newcomer Erik Nordstrom’s rendition of Bert is excellence personified. He is so light-hearted and agreeable that you want to be his friend. His vocals are spot on with an appealing tone and an unwaverable accent.

The Banks family is deeply immersed in character development. As George Banks, Christopher Violett epitomizes a man who was traumatized in his own childhood by absent parenting and a bully nanny. He perpetuates that trauma on his own family. Violett’s performance is solid throughout with strong vocals and musically pleasing tone. Every word is distinct. He is easy to hear, but also easy to understand his reluctance to show affection to his wife and children. His transformation is heartwarming.

Analisa Swerczek shines as Winifred Banks, desperately clinging to “Being Mrs. Banks” while trying to suppress feelings of unworthiness. Her husband disregards her. Her children don’t mind her. Her friends are nonexistent. Swerczek makes Winifred a tragic character who shows incredible resolve to not give up. Swerczek’s voice is emotional and musical with clear diction. She tells the story rather than just singing the notes.

There are two children playing Michael and Jane Banks: George Beutler and Finn McKamy play Michael, and Cora Wagner and Lucy Beutler play Jane. For this performance I saw George and Cora. George is sweetly naughty, while Cora is more boisterous and defiant. Their confidence and capability are remarkable with no slip ups.

Several supporting actors deserve mention. Mark Thornburg as the Admiral and Bank Chairman is comedy genius. His unexpected reaction to a high wind is hilarious and draws loud applause. And as the Bank Chairman, his acting choices provoke laughter.

Mary Kay Desjardins as Mrs. Brill constantly tickles the funny bone with her “HAIR loom” comments, persnickety personality, and clumsiness.

Olivia Bryant is a captivating Mrs. Corry, colorful and vibrant. Her on Stage Presence is magnetic. Her whole face lights up, her eyes sparkle, and her wide smile draws you in. You can’t miss her even in a group number.

Elyssia Finch is endearing as the Bird Woman with her sweet demeanor and lovely voice. Lindsay Pape’s gauzy and threadbare costume is just right to show beauty still discoverable in poverty.

Brendon Brown and Marcus Benzel both add humor as Park Keeper and Policeman, but also a serious note as John Northbrook and Von Hussler, two men negotiating with George Banks for bank loans for their disparate business plans.

Melissa Comstock as Miss Lark is fun with her “puppy.” Keenan Reilly is equally engaging as Neleus, an animated statue with personality.

Sarah Ebke (Miss Andrews) is one of the craziest, best parts of the show. Her makeup is bizarrely dark. Her actions and speech are appropriately off-putting. And the duet scene of “Brimstone and Treacle” with Krupski is insanely fun! The special effects make it even more so. Plus, the harmony is great.

Michelle Garrity’s choreography including everything from moving statues to tap dancing chimney sweeps excels. The show is rife with eye catching movement. There is never a dull moment.

Scenic Design by Cody Rutledge is over the top. The bank scene with its dark overtones and the big clock on the back wall is moody. When combined with the silver and black costumes designed by Lindsay Pape, it creates a anxiety ridden, clockwork effect of soulless regulation. His rooftop with glittering stars is beautiful, accented with gorgeous lighting by Cameron Filepas. Sound by Tim Burkhart and sound effects by John Gibilisco are excellent. Props by Andrew Morgan include some really cool pieces like the heirloom vase. Everything works together to create a magical experience.

Come enjoy the Banks family rediscovering the human race because of the appearance of a very unusual nanny. There is no chance you will not love this show. It is practically perfect in every way.

Photo Credit: Casey Wood

Show times: Wednesday through Saturday, 7:00 pm. Sunday matinees at 2:00 pm. The show runs through June 28th and tickets are selling fast. Tickets are available at www.ticketomaha.com or by calling the Box Office at (402) 553-0800.

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

Wed, 27 May 2026 20:59:39 PST

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

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

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

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

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

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

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

The performance schedule includes:

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

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

CHICAGO to Open at The TADA Theatre in June

Tue, 19 May 2026 19:45:04 PST

On stage at The TADA Theatre June 11-28 is the blockbuster musical Chicago! This musical classic is a tale of greed, show business, murder and all that jazz. Set in the 1920's, two of the Cook County Jail's most notorious murderesses become rivals as they compete for headlines and the skills of a sleek lawyer.

Now celebrating its 30th year on Broadway, with one show stopping number after another, Chicago features the music and timeless lyrics by John Kander and Fred Ebb and an utterly engaging book by Kander and Bob Fosse.

The large and talented cast includes Bailey Domann as Roxie Hart, Cherie Jarosik as Velma Kelly, Cole Peterson as Amos Hart, Lisa A. Taylor as Mama Morton and special guest Matt Nesmith, the Associate Professor of Theatre and Coordinator of the Musical Theatre at the University of South Dakota, as Billy Flynn. The remainder of the cast includes Neal Stenberg, Sam Varney, Jax Barkhaus, Geoff Chenoweth, Ivy Auletti-Oliveras, Briar Forrest, Alexandra Wohlgemuth, Gradie Cunningham, Erica Shockey, Tenaj Motz, Larry Weixelman, Tom Hinshaw, Harold Scott and Mona Reeves.

Chicago is directed by Robert D. Rook, with choreography by Courtney Piccoli, musical direction by Cris Rook, musical arrangements by Bill Strongin, production management by Candyce Martin, scenic design by Jenna Williamson, technical coordination by Jax Barkhaus, ast. technical coordination by Kevin Welch, scenic painting & prop coordination by Mariah Lieberman, costume coordination by Shelly Shelf and lighting design by Robert D. Rook. The show is produced by TADA Productions, Inc. and sponsored by FMNE & The Hyatt Suites.

Chicago is on stage at the award winning The TADA Theatre at 701 P Street in Lincoln, Nebraska's Historic Haymarket District, June 11-28, 2026. Ticket reservations can be made and additional information can be found at www.tadatheatre.info.

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

Tue, 19 May 2026 08:13:15 PST

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

Read the reviews for the touring production of The Notebook.

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

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

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

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

2026-2027 Tour Dates:

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

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

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

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

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

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

Schenectady, NY — Proctors
December 1 – 6, 2026

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

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

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

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

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

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

Providence, RI — PPAC
February 9 – 14, 2027

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

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

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

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

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

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

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

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

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

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

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

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

DEATH BECOMES HER Sets Closing Date

Mon, 18 May 2026 11:00:20 PST

BroadwayWorld has just learned that the Tony Award winning and Grammy Award nominated musical, and the most nominated production of the 2024/2025 Broadway season, DEATH BECOMES HER, will conclude its Broadway run on Sunday, June 28, 2026 after 20 months, over 650 performances and 900,000 tickets sold at the Lunt-Fontanne Theatre.

Lowe Cunningham, SVP, Head of Creative & Strategy, Universal Theatrical Group said today on behalf of the producers, “Bringing Death Becomes Her to Broadway has been an incredible joy, and we are immensely proud of every artist, musician, crew member, and individual who helped make this show what it is. Night after night, it has been a thrill to watch audiences come together to laugh, celebrate, and embrace the wildly entertaining spirit of this production. We are deeply proud of what this show has brought into the world, and we are excited for its life to continue as it tours across the U.S. and beyond in the years ahead.”

DEATH BECOMES HER will launch a multi-year North American tour this September at Playhouse Square in Cleveland, OH.

DEATH BECOMES HER North American tour schedule:

CLEVELAND, OH 9/12/2026 10/3/2026 Playhouse Square
COLUMBUS, OH 10/6/2026 10/11/2026 Ohio Theatre
ST. LOUIS, MO 10/13/2026 10/25/2026 The Fabulous Fox
OMAHA, NE 10/27/2026 11/1/2026 Orpheum Theatre
NASHVILLE, TN 11/3/2026 11/8/2026 TPAC
DURHAM, NC 11/10/2026 11/15/2026 DPAC
ATLANTA, GA 11/17/2026 11/22/2026 The Fox Theatre
KNOXVILLE, TN 11/24/2026 11/29/2026 Tennessee Theatre
ORLANDO, FL 12/1/2026 12/6/2026 Dr. Phillips Center
TAMPA, FL 12/8/2026 12/13/2026 Straz
FORT LAUDERDALE, FL 12/15/2026 12/27/2026 Broward Center for the Performing Arts
NAPLES, FL 12/29/2026 1/3/2027 Artis-Naples
GREENSBORO, NC 1/5/2027 1/10/2027 The Tanger Center
BOSTON, MA 1/12/2027 1/24/2027 Citizens Bank Opera House
PROVIDENCE, RI 1/26/2027 1/31/2027 Providence Performing Arts Center
BALTIMORE, MD 2/2/2027 2/7/2027 The Hippodrome Theatre
CHARLOTTE, NC 2/9/2027 2/14/2027 Blumenthal | Belk Theater
BUFFALO, NY 2/16/2027 2/21/2027 Shea's Performing Arts Center
PITTSBURGH, PA 2/23/2027 2/28/2027 Benedum Center
GRAND RAPIDS, MI 3/2/2027 3/7/2027 DeVos Performance Hall
LOUISVILLE, KY 3/9/2027 3/14/2027 Overture Center
MADISON, WI 3/16/2027 3/21/2027 Overture Hall
DETROIT, MI 3/23/2027 4/4/2027 Detroit Opera House
TULSA, OK 4/6/2027 4/11/2027 Tulsa Performing Arts Center
OKLAHOMA CITY, OK 4/13/2027 4/18/2027 Civic Center Music Hall
HOUSTON, TX 4/20/2027 4/25/2027 The Hobby Center
AUSTIN, TX 4/27/2027 5/2/2027 Bass Concert Hall
SAN ANTONIO, TX 5/4/2027 5/9/2027 Majestic Theatre
DALLAS, TX 5/11/2027 5/23/2027 Music Hall at Fair Park
DENVER, CO 5/25/2027 6/6/2027 Buell Theatre
SAN FRANCSISCO, CA 6/9/2027 6/27/2027 Orpheum Theatre
LOS ANGELES, CA 7/6/2027 7/25/2027 Hollywood Pantages Theatre
COSTA MESA, CA 7/27/2027 8/8/2027 Segerstrom Center for the Arts
SAN DIEGO, CA 8/10/2027 8/15/2027 San Diego Civic Theatre
TEMPE, AZ 8/24/2027 8/29/2027 ASU Gammage
SACRAMENTO, CA 9/1/2027 9/5/2027 SAFE Credit Union Performing Arts Center

For more information on the tour, visit https://deathbecomesher.com/tour/.

Death Becomes her opened at the Lunt-Fontanne Theatre on November 21, 2025. Check out what the critics had to say.

Death Becomes Her at the box office.

DEATH BECOMES HER was the most nominated show of the 2024-2025 Season with 34 total nominations, including: 12 Outer Critics’ Circle Award Nominations, Five Drama Desk Award Nominations, Four Drama Leage Award Nominations, Two Chita Rivera Award Nominations, 10 Tony Award Nominations, and One GRAMMY Award Nomination for “Best Musical Theater Album.”

DEATH BECOMES HER became a viral sensation on social media following the release of the Original Broadway Cast Recording, which has been streamed over 34 million times in North America and 16 million times elsewhere worldwide. A clip of Tony Nominee Jennifer Simard performing the album’s 16th track, “Hit Me,” went viral on TikTok—peaking at #2 on the TikTok Viral Chart and #13 on the TikTok 50 Chart—with 491,000 creator uses and over 2.7 billion total views to date. The track “Let’s Run Away Together” has also gained traction on the platform, inspiring over 10,000 videos using its audio.

The cast and creative team of DEATH BECOMES HER made over 30 national television appearances during the Broadway run, completing interviews and musical performances on such programs as NBC’s Macy’s Thanksgiving Day Parade, CBS’s Tony Awards, NBC’s The Tonight Show with Jimmy Fallon, NBC’s TODAY (Four musical performances and multiple interview segments), CNN’s New Year’s Eve Live, ABC’s Good Morning America, NBC’s The Kelly Clarkson Show, Fox’s SHERRI, Bravo TV’s Watch What Happens Live, ABC’s Nightline, NBC’s Late Night with Seth Meyers, and more.

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DEATH BECOMES HER features direction and choreography by Tony Award winner Christopher Gattelli, a book by Tony Award Nominee Marco Pennette, and an original score by Tony Award Nominees Julia Mattison and Noel Carey, and stars Tony Award nominees Betsy Wolfe (Madeline Ashton), Tony Award Nominee Jennifer Simard (Helen Sharp), Tony Award Nominee Christopher Sieber (Ernest Menville), and Grammy® Award winner Michelle Williams (Violet Van Horn) with Taurean Everett (Chagall) and Josh Lamon (Stefan). The cast also features Marija Abney, Kate Bailey, Sarita Colón, Alexa DeBaar, Brayden Newby, Ximone Rose, Jonalyn Saxer, Bethany Ann Tesarck, Mitch Tobin, Sir Brock Warren, Bud Weber, Ryan Worsing, David Wright Jr., Warren Yang, Ayla Ciccone-Burton, Kristine Covillo, Alex Hartman, Lakota Knuckle, McKinley Knuckle, Justin O’Brien, Preston Perez, Amy Quanbeck, and Dee Roscioli.

DEATH BECOMES HER features scenic design by two-time Tony Award winner Derek McLane, costume design by Tony Award winner Paul Tazewell, lighting design by Tony Award winner Justin Townsend, sound design by Tony Award winner Peter Hylenski, hair and wig design by two-time Drama Desk Award winner Charles G. LaPointe, make-up design by Joe Dulude II, fight direction by Drama Desk Award winner Cha Ramos, with music supervision by Drama Desk Award winner Mary-Mitchell Campbell, orchestrations by three-time Tony Award winner Doug Besterman, music direction by Mary-Mitchell Campbell, dance & music arrangements by Tony Award nominee Sam Davis, vocal arrangements by Mary-Mitchell Campbell, Julia Mattison & Noel Carey, music coordination by Kristy Norter, casting by Tara Rubin Casting, production stage management by Rachel Sterner, and general management by 321 Theatrical Management. Marcia Goldberg serves as Executive Producer.

Madeline Ashton is the most beautiful actress (just ask her) ever to grace the stage and screen. Helen Sharp is the long suffering author (just ask her) who lives in her shadow. They have always been the best of frenemies… until Madeline steals Helen’s fiancé away. As Helen plots revenge and Madeline clings to her rapidly fading star, their world is suddenly turned upside down by Viola Van Horn, a mysterious woman with a secret that’s to die for. After one sip of Viola’s magical potion, Madeline and Helen begin a new era of life (and death) with their youth and beauty restored…and a grudge to last eternity. Life’s a bitch and then you die. Or not!

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.

Aline Mayagoitia, Claudia Bennett and More to Join WICKED National Tour

Fri, 08 May 2026 11:43:32 PST

The National Tour of Wicked will welcome new principal cast members next month. Beginning Tuesday, June 9 at Music Hall at Fair Park in Dallas, Aline Mayagoitia (Elphaba), Claudia Bennett (Glinda), Susan Cella (Madame Morrible), Pablo Laucerica (Boq) and Cristina Sastre (Nessarose) will join the company.

They join a cast that includes Tom McGowan (The Wizard), Ethan Kirschbaum (Fiyero), Drew McVety (Doctor Dillamond), Adelina Mitchell (Elphaba Standby), Jennifer Mariela Bermeo, Sam Buchanan, Sean Burns, Reagan Davidson, Olivia Dei Cicchi, Matt Densky, Ben Diamond, Kelley Dorney, Reed Gnepper, Darriel Johnakin, Mattie Tucker Joyner, David Kaverman, Konnor Kelly, Kelly Lafarga, Marina Lazzaretto, Taylor Quick, Jackie Raye, Donivyn Riley, Derek Schiesel, Wayne Schroder, Brett Stoelker, Ben Susak, Maggie Van Wieringen, Melissa Victor and Justin Wirick.

ABOUT THE CAST

Aline Mayagoitia

(Elphaba). Proud Mexican immigrant. Aline made her Broadway debut originating the role of Itzel in Real Women Have Curves, and was featured in the film Kiss of the Spiderwoman opposite Luna/">Diego Luna and Jennifer Lopez. Previously toured the country with Six as Katherine Howard. Theatre: Sweet Smell of Success, Cabaret, Forbidden Broadway, Evita, In the Heights. TV: “Love Life” on HBO. University of Michigan graduate.

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CLAUDIA BENNETT

(Glinda) is making her National Tour debut in Wicked! She is a 2025 BFA graduate of the University of Southern California School of Dramatic Arts. Proudly represented by Nicolosi and Co. and Schachter Entertainment. Deepest gratitude to Craig, Alex, Lisa, and the entire Wicked team for this lifelong dream come true.

Susan Cella

(Madame Morrible). Broadway: The Rose Tattoo, The Graduate, Me and My Girl, Evita, On the Twentieth Century, Allegro and Lady in the Dark for Encores! National Tours: Fiddler on the Roof, Hairspray, 42nd Street, La Cage aux Folles, Me and My Girl, Can-Can. Off-Broadway: The Devil's Disciple, Babylon Line, Hello Muddah, Hello Fadduh, Mayor, Jacques Brel ... TV: “Madam Secretary,” “Search Party,” “Elementary,” “Person of Interest,” “Law & Order” (2 episodes), “The Sopranos,” “Hi Honey, I'm Home” (series regular), “All My Children,” “Follies” and “A Sondheim Celebration” for PBS. Regional: over 40 productions. “Love and thanks to BRS/GAGE.”

PABLO LAUCERICA

(Boq). Pablo’s artistic interests include acting, songwriting and music producing. Recent credits: King Louis XIV in The Queen of Versailles (Broadway), Frankie Valli in Jersey Boys (The Muny) and Jared Kleinman in Dear Evan Hansen (First National Tour). “Many thanks to DGRW and Telsey! Love to Ma, Kaki, and the Primelles for their endless support. For pops, always.”

Cristina Sastre

(Nessarose). Tour debut! Broadway: How to Dance in Ohio (Ashley Amigo, OBC). Select regional: In the Heights (Nina), Spring Awakening (Wendla), Mamma Mia! (Sophie). BFA: TXST MT. “Special thanks to the entire Wicked team, Alex and Craig at Telsey, my team at CGF, my family, and the biggest Wicked fans I know: Grace and Emma. For all my sisters and brujas everywhere.” @cristina__sastre

ABOUT WICKED

The Broadway sensation WICKED looks at what happened in the Land of Oz…but from a different angle. Long before Dorothy arrives, there is another young woman, born with emerald-green skin, who is smart, fiery, misunderstood, and possessing an extraordinary talent. When she meets a bubbly blonde who is exceptionally popular, their initial rivalry turns into the unlikeliest of friendships…until the world decides to call one “good,” and the other one “wicked.”

Interview: Kennedy Jackson of MRS. DOUBTFIRE at Orpheum Theatre

Fri, 08 May 2026 13:14:23 PST

Kennedy Jackson, debuting as Wanda Sellner in the second National Tour of MRS. DOUBTFIRE the Musical at the Orpheum Theatre in Omaha, spoke with me about her experiences with the show and growing up in New York and rural South Carolina.

Kennedy, who is Wanda Sellner?

Wanda Sellner is a social worker and court liaison. She makes sure that Daniel can have custody of his children. She is a pillar in the chaos. She is so fun and is close to home for me. My grandmother was a social worker for years. She is a character close to my heart and I hope that I’m doing her justice.

Do you feel you are taking on some of your grandmother’s personality?

Definitely. At times I think, “Ooh, that’s something that my grandmother would have done.”

It sounds like you were really close to your grandmother and great grandmother.

Yes. My great grandmother came from the generation at the end of slavery. She had her own land and house. She was the pillar of our family. She encouraged me to follow my dreams and achieve an education. I feel like I am the fruits of her labor. When I see Monarch butterflies, I think of her.

Who is Kennedy?

I was born in Rockville Center, New York and raised in Trenton, South Carolina which is where my grandmother lives and my great grandmother lived until she passed away in 2020. I find I share both qualities of a city girl and a country girl, that I get to go back and forth. It's one thing I'm embracing in my adulthood.

I went to South Carolina School of the Arts. My college training was at University of North Carolina School of the Arts. The arts have been in my life since I was a little girl. My town was sports heavy, but there were a lot of artistic opportunities for me in that small town. There was a drama club at Strom Thurmond High School. I fell in love with theatre. I was in community theatre at the age of nine. My mom auditioned with me for Hairspray and got the role of a Dynamite. Every night I would go to rehearsal and the director noticed that I was there and asked my mother if I wanted to be a detention kid.

Now I travel the country with the national tour of Mrs. Doubtfire, which is a blessing and a coming full circle for me. I’m able to see my mentors along the way. I’m so grateful.

What makes Mrs. Doubtfire a show that is a favorite for families?

It is based on a classic movie. It interests all ages from five to seventy-five by incorporating pop culture today as well references from the past, specifically with Daniel playing an older woman. We have four kids in the show who alternate every night. They are so sweet! I feel they are inspiring the little kids out there. It is a beautiful family bringing awareness to different kinds of families.

It must feel like traveling with family.

We do have that family dynamic. We take care of each other. When anybody needs anything, we are there for them. It is beautiful watching the kids grow up. They are having the best time on tour! We love the parents in the show. They make sure they take care of us, too.

Do you have a favorite moment from the show?

My favorite moment from the musical is the nightmare. One of the songs that I sing, “Playing With Fire,” is so fun, very campy. There are a lot of crazy things that happen in the dream. My other favorite is the loop machine where Daniel creates his own song. I’m excited for the audience to experience that first hand!

MRS. DOUBTFIRE will run Tuesday, May 12 through Sunday, May 17. Tickets are available online and at the box office.

A CHORUS LINE To Be Presented At BLUEBARN Theatre

Mon, 04 May 2026 17:19:06 PST

BLUEBARN Theatre will present A CHORUS LINE, the Pulitzer Prize-winning musical conceived by Michael Bennett. The production will be directed by Susan Clement, with choreography by Melanie Epps, and will run from May 14 through June 14 at the BLUEBARN Theatre.

For 50 years, A CHORUS LINE has remained a staple of the American musical theater canon. The show features a score by Marvin Hamlisch, lyrics by Edward Kleban, and a book by James Kirkwood Jr. and Nicholas Dante.

The production team includes direction by Susan Clement, co-direction and choreography by Melanie Epps, and music direction by Mark Kurtz.

A CHORUS LINE received nine Tony Awards as well as the Pulitzer Prize for Drama, and continues to be recognized for its focus on the lives and experiences of performers.

OPERATION MINCEMEAT Reveals 2026-27 Tour Dates and Cities

Thu, 30 Apr 2026 09:12:44 PST

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

Read the reviews for the Broadway run here.

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

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

Operation Mincemeat Tour Dates:

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

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

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

Toronto, ON – Theatre TBD
October–December 2026

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

About Operation Mincemeat

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

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

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

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

RAGTIME Will Launch National Tour in Fall 2027

Wed, 29 Apr 2026 16:00:22 PST

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

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

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

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

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

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

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

Wed, 29 Apr 2026 11:23:47 PST

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

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

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

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

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

Tour Dates

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Interview: Grant Reynolds of MAMMA MIA! at Orpheum Theater

Tue, 28 Apr 2026 16:57:07 PST

BroadwayWorld Omaha representative Analisa Swerczek sat down with Grant Reynolds, currently starring as Sky in the Mamma Mia! tour arriving in Omaha this week, to talk about his Chicago roots, life on the road, and all things Mamma Mia!

Well, I'd love to start at the beginning. Like, how did you find your love of theater? What was that transition like in life for you to get into the arts?

The arts have always kind of been a part of my life. My grandpa was kind of a local Chicago celebrity. I'm from Chicago originally, and my grandpa would always sing at the Bud Billiken Day Parade or the Army Observance Day because my grandfather was a veteran of the Army. So he was very, very particular about his singing. I started to sing in choir; it's one of my first memories of him being so on me about how I was singing, and he would call and be like, “Are you practicing?” I was so young to not really understand the importance or just how special that was. But I had a very normal… Illinois, which is this village right in the center of the city. Both of my parents are Chicago-raised, so it's kind of all I know, and I grew up playing sports. You know, I used to be the kid who needed an outlet for all of my energy, and I'm also an only child, so there weren't a lot of other people to entertain me. But I started doing sports forever, and then in sixth grade, I remember they were having musical auditions, and I remember it was kind of the… and all my friends were in it. And so fast-forward, I auditioned. And that program is called Bravo Performing Arts Academy, and it's run by Tina Reynolds, who is like a mentor to me. She's been my boss and everything. But it was really just something that I did because I wanted to have fun. I loved theater. I loved the quality of the productions that they produced. It allowed me to explore myself. I was kind of a shy kid, so it allowed me to step out of that box. I craved being on the stage. I don't think I knew all of these things as I was getting myself into it, but it's amazing. And so, yeah, theater is the one—not sport but hobby—that I've been very consistent with and stuck with my whole life.

So I did that forever. I started in middle school. I was a show choir kid all throughout high school as well, and all things with the arts. And when I was later in middle school, I got the opportunity to dance for this company called iTheatrics and Musical Theater International. They license junior shows. A show does Annie, or your middle school does Legally Blonde—they receive this packet that is full of these materials, and one of them includes example choreography. And they get this example choreography from scouting basically these kids who they bring to New York. That was kind of the turning point for me because I had never been to New York. I flew there with my dad, saw my first Broadway shows—everything. I was waking up early. I remember we had to go and get food because I was waking up early, and I would have to make my breakfast, make my lunch. I would walk to the studio. We would rehearse all day. I'd leave at five, and then I'd go see a show, and I just thought it was the most thrilling thing ever. So that was kind of how my love started for this. I always wanted—I thought it was, and I still do think it is—I thought it was just so impressive to be on Broadway or to be a Broadway touring artist because it's like being an athlete. I remember my dad, who was a former football player, would be like, “It's crazy, they do this eight times a week live.” So I think a part of me was always trying to prove to myself that I could do that, and now I definitely have overproved it. But that’s how I started into all of this.

I love that! You've had quite a history with Mamma Mia. I'd love to hear about your initial audition with it and what that process was like for you.

Absolutely. So I used to be—before all of this—a nanny in the city. I used to work for… me and my Best Friend, my roommate, we used to work for a New York super sweet guy. When I first moved to the city, I was immediately a nanny. So I worked for two families mainly. One was Neal’s, and one was this other very, very sweet family. So I was just kind of figuring myself out in New York. And I remember I was set to go out, like go help Neal or something, and I had randomly gotten this call or this appointment from my agents to come in for Mamma Mia. And I obviously know Mamma Mia—the IP that is Mamma Mia—but I wasn’t so familiar with the story and what exactly… I was kind of missing the middle part of it all. I was like, okay, I know it's about this girl and she's trying to find her dad, but do we find out who her dad is? Blah, blah, blah. So I remember getting the audition, and I was at first a little hesitant because I had never seen a super, super diverse cast of Mamma Mia. I'd only had the movie and previous stage adaptations to reference. So I was like, um… on top of not being as familiar as I'd like, I also don't know if this is going to be for me. Do they actually want to see me? What's the deal kind of thing?

I ended up going in. I did the material, and the first time I was paired with someone… with theater and auditions, you really can't get too excited about anything. So the first round I was like, okay, I did good work. That's always the goal. And I left. I got called back, and I was like, okay, this is exciting, but we're just not going to get too excited. Did that, and I left. And throughout all of this, every time was incredibly pleasant—which is not rare for an audition, but you're normally nervous or you're feeling a bunch of things. But each time I felt very calm and good. And by my third time going in, I was like, oh, I'm actually falling in love with this. This is so fun to do. I was so intrigued and everything.

Fast-forward a couple of weeks, I was back to working my normal job, and I knew they had the final round of callbacks the next day. And I hadn't received a call, so in my head I was like, okay, you know what? It was not for me, and that's totally okay. And then literally like 30 minutes later, I got a call from my team and they were like, “Oh, they forgot to put something in for you, but they really want you to come tomorrow,” blah, blah, blah. Fast-forward, I ended up going, and it was the best audition that I had ever had—not just a personal victory for me; I tried to do the best work—but it was such a fun environment. I remember that was when we had the dance audition, and it was just an amazing dance, and the energy in the room was very inviting, which is kind of rare to have, especially in the final round of a major musical that's about to launch on tour. It's normally very competitive, cutting-edge vibes. So I think once I finished that day, I was like, you know what, even if I don't book this, I'm just so thankful that this was a safe and welcoming space. And then that was on a Friday. And then on that Monday, I found out that I booked it. So it seems really full circle just because it felt very comfortable from the beginning.

If it's okay, I'd love to pop back to a comment you made about diversity. Mamma Mia has not historically always been one that has been known for being very diverse. What do you think that looks like in the theater world today? And why is that so important for artists coming up in society today to get to see that diversity and know that there is a place for everyone on that stage?

I—oh my gosh, amazing question. I think for me, just because I'm a Black man. I've lived my whole life as a Black man. My family is Caribbean, so I have a lot of Afro-Latino family, and that's always been a part of my life—embracing every aspect of my identity, especially growing up with a Caribbean heritage that is so multicultural. I think that the visualization of representation is everything. Because Mamma Mia is kind of like the UK’s flagship show, almost like how we have Wicked. Mamma Mia started in the UK. So it's very cemented in a lot of their humor, a lot of their modernity from whenever this was—1998—a lot of their colloquialisms. So I think what was such an amazing, smart, delusional choice by the Mamma Mia team in casting us—which is inherently a new, diverse, fresh face of people—is it allows access to not just Americans who are seeing the show, but anyone who is seeing clips of our show or coming from anywhere to see our show, that it is very possible and it's real.

The big thing with representation is seeing yourself. Me seeing a career on Broadway as possible for myself was only attainable because I was young and I got to see people like Leslie Odom Jr., Billy Porter, Norm Lewis, Audra McDonald, Nikki Renée Daniels, Heather Headley—strong African American performers… John Leguizamo, an amazing Hispanic actor; J-Lo—people like that. I think when you're in a society and you grow up and you see everyone that looks like you, it becomes very normal and familiar. And I think for a lot of people of color, even people who are within the LGBTQ+ community, having somebody who represents where you're from makes it seem like you're able to do it.

And I think for me, I have this weird situation where my dad's fiancée—they’ve been dating since I was probably in sixth grade—her brother was actually a part of the original Broadway cast. And he was in the ensemble. He's an actor and now he's a writer. He's actually, weirdly enough, in Death of a Salesman at the Winter Garden, where we just closed Mamma Mia, and he's in my dressing room. It's amazing—such a weird thing. But he was a part of the show back in the day when they were not seeing boys of color for the role of Sky. It wasn't really an intentional thing; it was just kind of a systematic thing that they had put in place, similar to what we've seen with Wicked and how they just recently got their first full-time Black Elphaba. It was something that never really made its way down the reins.

And so this was so special for me—not just to honor my uncle, because he was so proud of me, because it was such a barrier shift for him, because he had seen when that wasn't a thing. But the response that I have gotten, especially with the blessing of touring the show—young boys, especially Black and Latino boys, who come up and their moms are like, “Oh, he never thought he could be a lead, and we saw you on the commercial and we wanted to get tickets because my son loves theater and I wanted to show him.” I think that is so… it's beyond special to me. It's so important because from a young age, you want to be able to see that it's possible, that you can do it. Whether you're a young Black boy, young Latino boy, young Asian boy, a young girl who is seeing maybe these amazing astronauts that just made their landing last week—I think that's so inspiring, just to see people who are taking the dreams that seem almost too whimsical: the astronauts, the mad scientists, the superstars. I think all of those things, even though they're kind of inflated, they're super possible.

And I think that in making the conscious choice to diversify it, it only makes the show better. I think you can have people get worried, like, oh, are we going to fare well in this city? Are people even… As we travel to Nebraska, everyone's like, I don't know, what's in Nebraska? I've been to Nebraska once. But I'm like, girls, there's stuff to do. There's a huge… I got my nails done in Nebraska. Oh yeah, Gabrielle Union is from Nebraska—that's always my fun fact. There's just so much to do. And I think at the end of the day, people don't know… to an interfaith couple. So I think it's just about normalizing and modernizing to the times. And I'm really thankful that Mamma Mia did that because it's opened a huge gate, not just for me. Jalynn Steele is the first full-time Black Tanya. Her performance every night—I don't know what we're at, number 908—is a standing ovation every single time. So I think that injects more positivity into our life, and it also just makes things normal. It's a hurdle that the boy behind me, who is playing another role in another show, just won't have to cross.

I know audiences last time you were in town—and it was the same Tanya and Rosie last time too—audiences here loved everyone. They're were wonderful!

I mean, this cast—I'm biased, I work with them every day—but it's insane what they can do. And even now with our refresh, because we have some new members, it's really… it's such a joy to watch on stage. And I'm not saying that because I'm in it, but I do find myself sitting back a lot and just being like, wow, this is incredible. I think it would be hard not to.

Well, speaking of refresh—you've done the tour, then transferred to Broadway, and now you're back on the tour. And a lot of people in your cast have had that same kind of path. I mean, you're talking about show number 900 for Jalynn. How do you keep a show fresh for each and every one of you, or how do you keep that show fresh for you?

After so many performances—because a lot of people, I think, would assume, oh, it's just plug and play, you just kind of zone out—but how do you keep that from happening for yourself, and how do you find new experiences every show? For me, I always try to go in listening first. I think that's my Carnegie Mellon acting training—always be a listener. But truly, that is my biggest asset with the show, especially when you're hearing it every single day, sometimes twice a day, and you know all the songs by heart. I think going in with any situation, but especially with acting and with Mamma Mia, I want to be listening to what's happening so that I can genuinely respond. You get in a rhythm, and then there's a comfortability about having a certain pattern and saying certain things a certain way. And we have to do some of those things. We have to go here so the light hits us here. You move here so that the set doesn't… you know. But I think coming in with an open gaze, and also it's very important for all of us to have separatism. The show is such a big thing in itself, and you can definitely get swallowed up into the show. And when we were on Broadway, you leave home and it wasn't until I got back to Brooklyn where I could be like, okay, a deep breath—nobody is asking you questions about the show or if the… you know?

So I think grounding myself and having… like today, we have two shows. We're in Arkansas. It's a cute gloomy day. Just me standing out on the balcony, having a cup of coffee, stretching, making sure my body is as warm as I can, as prepared as I can be, is how content I will be. I'm not type A, but I am the type of person who's like, okay, I want to make sure I have all my stuff and that my body feels good. I want to be ready for anything. So I think just listening and preparation are the big things. And obviously sleep and water and physical therapy and voice lessons—all those things help too.

Perfect. Just one more question. I'm sure everyone is excited for Mamma Mia. Everyone loves Mamma Mia throughout the world. But last time, it was such a great audience and reception for you all here. For those people who haven't quite yet pushed the purchase-ticket button, what would you say to those individuals, and any last thoughts on the show here in Omaha?

I would say that you can't go wrong by coming. I mean, it is escapism to the finest. I think right now in the world, we are just so overstimulated. No matter what it is—you could name it: the weather, politics, your dog, or your spouse—there's just something going on. So I think to enter a show that is not only full of joy but is true escapism, you're getting so many factors that you just can't hit with other shows. An amazing musical canon that most of us are familiar with—that is the ABBA legacy—is outstanding costuming. I'm biased, but outstanding costuming with award-winning lighting. So it's gorgeous upon gorgeous visually. And you get this really relatable, tender story that is really about family. We all have a family, whether it's big or small, whether it's you and your dog or your imaginary friend or you and your 15 aunts and uncles. We all have a family. It's about family, your chosen family, identity. It's multi-generational. So not only is this great for your 70th birthday party, but you can also bring your 10-year-old cousin along too, who is also going to know the music and have an amazing time. And it's funny. And it's just true escapism. So from the beginning to the end—that two hours and 39-ish minutes—you're getting full joy. You're getting us also having the best time of our lives on stage. It doesn't just look that way; we are truly enjoying ourselves to the max. So I really now—and this is coming from someone who wasn't a Mamma Mia stan before I booked the show—it is absolutely the best possible show that you can go see to have a break, to have a moment, and to enjoy. The performances are going to sweep you off your feet, and that's just the cherry on top.

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.

GEORGE MICHAEL REBORN To Make Nebraska Debut

Sun, 19 Apr 2026 11:25:52 PST

George Michael Reborn will be performed at the Bourbon Theatre next month. George Michael Reborn is the ultimate concert escape that features no lip syncing, iconic dance moves and celebrates the image of the 80s star down to the ripped jeans.

Musical selections include the early WHAM! days hits like "Wake Me Up Before You Go Go", "Careless Whisper" and numerous songs from Michael's "Faith" album.

Since 2019, that the US based Robert Bartko has transformed George Michael Reborn from an acoustic set to a full band, that mirrors the late artist's concerts. Bartko closely crafts a setlist that covers the A and B sides of Michael's discography.

The performance will take place on May 9 at 7pm at the Bourbon Theater located at 1415 O Street, Lincoln, NE 68508. General Admission tickets start at $33.93, reserved tables are also available. Tickets can be purchased at the Bourbon Theater's website.

Review: DIAL M FOR MURDER at Omaha Community Playhouse Keeps You on Your Toes!

Fri, 17 Apr 2026 16:36:41 PST

When you think of DIAL M FOR MURDER, you may be old enough to remember Alfred Hitchcock's suspenseful movie starring Grace Kelly and Ray Milland in 1954. If the play is new to you, you will enjoy Jeffrey Hatcher’s adaptation of Frederick Knott’s screenplay on a more modern level. Either way, this tale of intrigue and quick thinking will titillate your senses and keep you on your toes.

Frederick Knott, known as “The Reluctant Writer," was said to have hated writing and that he wrote only for money. He wrote few plays, but was extremely successful. This particular play follows the Wendices living in London. Tony Wendice works in publishing after an unsuccessful run at writing. His socialite wife Margot is the one with the money and is an unhappy wife with a secret. Maxine Hadley, an American crime novelist who likes to itemize all the possible ways to murder a victim, is a client of Tony’s and close friend of Margot’s. When Tony suspects Margot of having an affair, he concocts a plan to murder her. He hires a former schoolmate, Lesgate, to do the deed. Inspector Hubbard enters with critical thinking and the perseverance of a bulldog to unravel the murder. The story is less of a “whodunit” (we know who done it) and more of a will-they-succeed and how will this all play out?

Addie Barnhart does a marvelous job keeping the pacing rapid and tight. There is no room for empty pauses and slow movement. There is a continuous excitement that builds throughout the roughly two hour show. The succession of detailed clues, the off the cuff responses and the ongoing need to track the lies keep the audience guessing.

Josh Peyton as the conniving Tony is superb. His delivery of lines is sharp with a believable British accent that is clearly understood. Peyton can speak volumes with the smallest gesture or facial expression. Tilting his head at just the right moment, pausing at a critical part of speech- his timing is perfect. Nothing is unintentional. All of it creates a complex, captivating character that ensnares you. He is just that good.

Contrasting with the sketchy Tony, Margot (Nina Washington) appears the innocent. But she has a secret life she is hiding from her husband. Washington shines in a gorgeous red gown designed by Bradley Pesarchick. The gown says everything about the image Margot is trying to maintain, beautiful, shiny, and rich. Washington steadily grows from the stereotypical soft spoken socialite to a woman who can speak for herself, defend herself, and fight for the truth.

Mackenzie Zorn plays the plucky American crime novelist and friend Maxine Hadley. She evolves from someone who imagines murder in print to actually sleuthing out a murder. Zorn has a natural ability to embody a character. Her diction is precise and clear. Zorn’s Hadley is no nonsense, smart and practical despite being a person who lives off of pretense.

These three are accompanied by diametrically opposed persons. The Inspector played by Brett Foster is the play’s Columbo. He is strong. He is insistent. His job is to ferret out false narratives and find the real story and he isn’t about to be distracted. He is quick with lines and forceful in his presence. There’s no getting around him.

Lesgate (Seth Maisel) on the other hand just doesn’t know who he is. He morphs into a double dealer who clearly is out for himself. Money is his motivator, but he doesn't have the brain Tony does. Maisel does a great job filling out this interesting character which involves a lot of physicality. He is a burst of personality on the stage which is beautifully designed by Jim Othuse, who never fails to amaze me. The opulent chandelier, the ornate doors, the lovely furnishings all create a home for the well to do.

Soft music plays in the background, composed by the talented Kyle Thomas.

If you love a good mystery, this is for you. If you don't care about mysteries, but love a good drama, this is for you. If you prefer a comedy to make you laugh, this is still for you! You can't go wrong by taking a seat in the Omaha Community Playhouse for this production. I don't have enough superlatives to describe how fun this show is. Discover for yourselves.

The play runs at OCP April 7 through May 10. Tickets are available online at ticketomaha.com or by calling the Box Office at 402-553-0800.

Photo Credit: Colin Conces

Comedian Matt Mathews Will Come to the Lied Center

Thu, 16 Apr 2026 05:23:18 PST

Matt Mathews is a comedian and singer/songwriter whose blend of honesty, quick wit, and Southern charm has made him one of comedy's fastest-rising stars. Mathews first captured attention during the pandemic with viral “farm chore” videos that quickly built a devoted following of more than 12 million fans and generated over a billion views across social media.

Mathews will perform at the Lied Center on Thursday, October 15, 2026 at 7:00pm. Tickets go on sale Friday, April 17 at 7:00pm online, (402) 472-4747, and at the Lied Center box office.

Recommended for 18+

ABOUT MATT MATHEWS

Matt Mathews is a comedian, singer/songwriter, and unapologetic trailblazer whose blend of raw honesty, quick wit, and Southern charm has made him one of comedy's fastest-rising stars. Born and raised in Birmingham, Alabama, Mathews first captured attention during the pandemic with viral “farm chore” videos that showcased his humor and authenticity, quickly building a devoted following of more than 12 million fans and generating over a billion views across social media.

What began as a playful diversion from his full-time career as a boudoir photographer soon ignited into a new path in stand-up comedy. Within months of his first performance in 2022, Mathews was headlining his own shows and embarking on his first national tour. Today, his Live Nation–promoted Boujee On A Budget Tour has grown into a blockbuster, with more than 150,000 tickets sold and stops at major venues including multiple shows at Nashville's historic Ryman Auditorium and his first-ever arena show in his hometown of Birmingham.

Mathews' comedy is deeply rooted in his life experiences—whether as a farmer, barrel racer, photographer, proud Alabamian, or LGBTQ+ voice pushing boundaries in the entertainment industry. He creates a space where audiences can forget the noise of the outside world and simply laugh.

In addition to comedy, Mathews is pursuing his longtime passion for music. Encouraged by friend Jewel to take the leap, he began working with producer Stanton Edward (The Wallflowers, Jewel) on his debut album, a mix of country and folk influences shaped by his Alabama roots and personal storytelling. The project follows early releases like “What a War” and “Joke's On Me,” showcasing a new layer of artistry from a performer unafraid to bare it all.

Whether on stage, on the farm, or in the recording studio, Matt Mathews is proving himself to be much more than a comedian—he's a fearless entertainer and storyteller redefining what it means to be boujee on a budget.

SUFFS Will Make Nebraska Debut at Lied Center

Wed, 15 Apr 2026 05:43:03 PST

The first national tour of SUFFS, the Tony Award-winning musical about the passionate American women who fought tirelessly for the right to vote, will arrive in Lincoln as part of the 2025-26 Glenn Korff Broadway Series. The inspiring, award-winning musical is set to appear at the Lied Center for Performing Arts from May 5-10, 2026. Tickets for SUFFS are on sale on now.

About SUFFS

Created by Shaina Taub, the first woman to ever independently win Tony Awards for Best Book and Best Score in the same season, this new musical boldly explores the triumphs and failures of a struggle for equality that’s far from over. It’s a given that the women of the suffragist movement—who called themselves “Suffs” for short—were brilliant, but as they fought tirelessly for the right to vote, they were also flawed, stubborn, passionate and funny. SUFFS tells their story: the remarkable friendships, the heartbreak, and how this movement brought them together—or, in some cases, tore them apart.

SUFFS is winner of the Outer Critics’ Circle Award for Best New Musical and two Drama Desk Awards including Best Score. The successful Broadway production played a 10-month run at the Music Box Theatre from April 18, 2024, through January 5, 2025, and the first national tour marches across North America, after launching this past September in Seattle, WA.

SUFFS features book, music and lyrics by Tony Award-winner Shaina Taub, direction by Tony Award-nominee Leigh Silverman (Violet, Yellow Face), choreography by Mayte Natalio (How to Dance in Ohio), music supervision by Andrea Grody, scenic design by Christine Peters, original Broadway scenic design by Tony Award-nominee Riccardo Hernández (Jagged Little Pill), costume design by Oscar and Tony Award-winner Paul Tazewell (Hamilton, Death Becomes Her), lighting design by Tony Award-nominee Lap Chi Chu (Camelot), hair and wig design by award-winning Charles G. LaPointe, makeup design by Joe Dulude II, sound design by Jason Crystal (Sweeney Todd) with associate Sun Hee Kil (Choir Boy), orchestrations by Tony Award-winner Michael Starobin (Next to Normal), vocal arrangements by Shaina Taub and Andrea Grody (The Band’s Visit), incidental music arrangements by Shaina Taub, Andrea Grody, and Michael Starobin, associate direction by Lori Elizabeth Parquet, associate choreography by Hawley Gould, and general management by 101 Productions, Ltd.

Jill Furman and Rachel Sussman serve as lead producers of SUFFS. Co-producers for the North American tour of SUFFS currently include Roy Furman; Cue to Cue Productions; Renee Ring & Paul Zofnass; Walport Productions; No Guarantees Productions; Ruth Ann Harnisch; The Broadway Investor’s Club; Erica Lynn Schwartz; Sally Martin; Peter May; The Bhatia Sisters; David Carroll; Julie E. Cohen; The Garelicks; John Gore Organization; Judith Teal Davis & Joe Carroll; Laura Lonergan; Mayer Productions; MML Productions; Nederlander Presentations; Morgan Steward; Jennifer Friedland; Xan Weiser; Matters of the Art; Jeffrey Shoenberg; Ari Conte; Brian Spector; Silly Bears Productions; Theatre Producers of Color; Level Forward; Above the Fray Entertainment; Debbie and Stephen Block; Alissandra Aronow; Vibecke Dahle Dellapolla; Funroe Productions; Jennifer Kroman; Michelle Noh; Todd B. Rubin; Stanley S. Shuman; Six Point Productions; Second Set; and The Shubert Organization.

The national tour is booked by The Booking Group with casting by The Telsey Office: Rachel Hoffman, CSA. Stacy N. Taylor serves as the Production Stage Manager, Maya Bhatnagar is the Stage Manager, Megan Ciszek is the Assistant Stage Manager, and Hilary Hamilton is the Company Manager.

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

Mon, 13 Apr 2026 10:34:45 PST

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

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

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

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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.

REZA Will Bring Edge Of Illusion to Lied Center in Lincoln

Mon, 06 Apr 2026 21:57:27 PST

Illusionist REZA will return to the Lied Center for Performing Arts in Lincoln for a one-night performance on April 18 at 7:30 p.m. The engagement follows a previous sold-out appearance at the venue in 2023.

REZA’s production, Edge of Illusion, combines large-scale stage effects with magic and audience interaction. The show includes illusions involving vehicles appearing on stage, as well as levitation sequences and other effects inspired by classic escape artistry.

The performer has appeared on television programs including Penn & Teller: Fool Us and Duck Dynasty, and has presented his work internationally. His performances integrate theatrical production elements with live illusion.

Tickets are available at liedcenter.org, by calling (402) 472-4747, or at the Lied Center box office.

WINE DOWN WEDNESDAYS Will Return to Lincoln Theatre With Summer Jazz Series

Mon, 06 Apr 2026 19:19:40 PST

The Lincoln Theatre will present the return of its Wine Down Wednesdays summer patio series, beginning May 20 on the Michael B. Coleman rooftop patio. The series will feature live jazz performances from Columbus-based artists alongside food and beverage offerings.

Doors will open at 5:00 p.m., with performances beginning at 6:45 p.m. The series will include performances across the summer, culminating in a September finale with an additional late-night set.

Lineup

Wednesday, May 20 – Bobby Floyd. Bobby Floyd has performed extensively with artists including Ray Charles, Rusty Bryant, Jeff Tyzik, Chris Howes, Byron Stripling, and Sarah Morrow, and is a frequent soloist with the Columbus Jazz Orchestra.

Wednesday, June 24 – Don Carlos and the Illatmospherics. Don Carlos blends live break-beat percussion, electronic textures, and jazz-influenced improvisation as part of the Columbus ensemble Playhouse.

Wednesday, July 15 – Sean Carney. Sean Carney, a Columbus-based guitarist and vocalist, is the winner of the 2007 International Blues Challenge and has performed with Christine Kittrell, Jimmy “T-99” Nelson, and Big Joe Duskin.

Wednesday, August 19 – Stephan Ballard. Stephan Ballard is a Grammy and Stellar Award–nominated musician known for his work in contemporary and traditional gospel.

Wednesday, September 16 – Largemouth Brass Band. The Columbus-based ensemble performs a mix of New Orleans Second Line jazz, funk, hip-hop, and original compositions.

Special Event

A one-night-only late-night set will take place on Wednesday, September 16 at 8:30 p.m., featuring percussionist Cedric Easton.

Wine Down Wednesdays will combine live jazz with a curated selection of wine, specialty cocktails, and hors d’oeuvres in an outdoor setting. In the event of inclement weather, performances will be moved indoors to the Lincoln Theatre lobby.

Ticket Information

General admission tickets are $32, with a limited number of VIP packages available for each performance. Tickets may be purchased online at LincolnTheatreColumbus.com or CAPA.com, by phone at (614) 469-0939, or in person at the CAPA Ticket Center.

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

Mon, 06 Apr 2026 11:59:10 PST

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

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

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

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

How To Participate

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

Schedule of Events

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

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

Vote Now & View Stats

Review: NEXT TO NORMAL is Next to Perfection at SNAP! Productions

Mon, 06 Apr 2026 10:18:34 PST

By Natalie McGovern

At first glance, Next to Normal is the quintessential domestic scenario. We see a suburban family with a seemingly normal life in “Just Another Day.” Diana is the perfect wife, has the perfect husband (albeit he can be a bit boring,) and an angsty teenage daughter who feels invisible. It’s the “perfect, loving, family” dynamic. Just as quickly as the musical opens that façade begins to unravel. Everything is normal until one key moment: The house is “spinning,” and Diana finds herself making sandwiches for school lunches on the floor. It’s a common theme we find throughout- things end up on floor that become stationary; untouched.

Her husband Dan (Scott Van Den Top) tells her it’s time to call a doctor. Diana is struggling with severe Bipolar disorder bordering on Schizophrenic psychosis. Treatment for her condition is the only path forward in the hope of gaining stability.

Analisa Swerczek plays Diana, a mother with unresolved grief that creeps into her daily life to the point where she begins to see delusions of her son Gabe who died. As she hallucinates, he beckons to her, daring her to come closer, (“Alive.”) Nick Knipe plays the son as a 17-year-old, full of fervor and determination to not be a forgotten memory. He’s right there with her, whether in spirit or as an actual figment of her imagination. Throughout Act I we see Diana cope with so much, from cleaning-frenzy mania to sinking into deep, numbing depression. She experiments with meds that don’t work. Undergoes ECT therapy to rid her of traumatic memories. Nothing seems to get better.

Swerczek’s portrayal of Diana is raw, contemplative, and emotive. “I Miss the Mountains,” one of the more poignant numbers, depicts the life she once knew, expressing the highs and lows of feeling both euphorically manic and painfully depressive, if only just to feel something again.

The performances alone in this show are heart-wrenching and deliver strong emotional visuals. Its themes are both heavy and intense but if armed with this knowledge it’s not as jarring.

Her daughter Natalie, (Audrey Saucier) begins to spiral emotionally, delving into drugs to cope with her family’s dysfunction. She starts seeing a boy who is a stoner, Henry, (Anthony Mondragon) who has noticed her, offering a chance at something she’s been missing: love (“Perfect for You.”) Saucier’s vocal performances are especially powerful with her mixed belt, (“Everything Else, Growing Up Unstable.”)

Van Den Top plays the character of Dan with a tender warmth that really shows his love and care for Diana, desperately seeking to find a cure. Evocative moments during “A Light in the Dark,” really hit home.

Justin Parsley plays two different roles fluidly as psychopharmacologist and psychiatrist Dr. Fine and Dr. Madden, attempting to medicate his patient with every form of treatment available. Dr. Fine is methodical in his approach to seeking stability; Dr. Madden is on the cutting edge of psychiatry with advocating for electroshock therapy.

Next to Normal’s score is catchy, engaging, and follows the structure of so many well-known contemporary musicals with rich harmonies and nuanced storytelling. Composed in 2009 by Tom Kitt with book and lyrics by Brian Yorkey, it won three Tony Awards and the Pulitzer for Best Drama in 2010. Piano driven interludes with an accompanying rock band back up the powerhouse vocals of this talented cast, directed by Joey Hartshorn. The creative team does a flawless job with lighting, sound, and set to integrate a very believable story together that plays with the suspension of disbelief.

SNAP! Production’s version of this modern rock musical encapsulates what immersive theatre is supposed to be: in your face performances so raw that they feel real. In this type of space every note sung is not only heard but felt. The emotional performances alone serve as an anchor for the psychological journey of this piece.

Next to Normal draws attention to a bigger issue and one that is often overlooked: a conversation about mental health and crisis when it’s needed most. When examining the experience of loss and grief or trauma in life, what truly defines normalcy? In an era where mental health is being brought to the forefront and slowly destigmatized, it’s an important conversation to have. SNAP! Productions has partnered with organizations like NAMI Nebraska and Community Alliance to bring attention to mental health awareness and to provide resources for these heavy topics.

Next to Normal doesn’t shy away from shining light on the hard to talk about topics of mental illness.

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.

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

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Interview: Adam Fields of BEETLEJUICE National Tour

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

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Review: MARY POPPINS at Omaha Community Playhouse is Perfect Family Fun!

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DEATH BECOMES HER North American tour schedule:

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Aline Mayagoitia, Claudia Bennett and More to Join WICKED National Tour

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

Editor's Pick

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

Interviews

Interview: Eymard Cabling of MISS SAIGON at Short North Stage

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Interview: Theatre Life with David Andrews Rogers

Reviews

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Review: NEXT TO NORMAL is Next to Perfection at SNAP! Productions

BroadwayWorld Goes Even More Global: Now Available in 20 Languages

About BroadwayWorld