The live cast recording, recorded on their (new) opening night, captures the unique energy that has turned Six from quirky online phenom to Broadway hit.
With some catchy tunes and a talented cast, the cast recording of Love in Hate Nation is a valiant effort, but it never quite rises to standout status.
Diana attempts a throwback-pastiche score with baffling moments of camp to tell the story of an uber-famous blonde whose relationship with the press both made her and destroyed her.
The team of Andrew Lloyd Webber, David Zippel, and Emerald Fennell have created a new version of Cinderella that's actually quite fun, sometimes lovely, and consistently catchy.
Far from being musical heresy, R&H Goes Pop! instead serves as a reminder of how Rodgers and Hammerstein were at the forefront of musical theatre during their time, and how their music is truly timeless.
Within the first few lines of the opening song of Salad Days, the mini-musical already tells you exactly what it’s going to be: a delightful, deliberately modern comedy that lightly pokes fun at the markers of urban millennial life.
The Prom's movie soundtrack is largely a well-made version of Matthew Sklar and Chad Beguelin’s score, although it occasionally seems to prioritize glitz and polish over the scrappy joys of its stage predecessor.
Bright spots in 2020 have been few and far between, but 'Legacy,' a previously-unreleased pair of song cycles from Lynn Ahrens and Stephen Flaherty, is definitely one of the year’s unexpected highlights.
“Spring will come again” may be one of the most iconic lines in Hadestown, but the cast’s new holiday album 'If the Fates Allow' proves that they’re just as talented in the winter chill as in the bloom of spring.