Spotlight on Plays: May 2026
by Team BWW - May 6, 2026
Spring has sprung, and with it's arrival, comes new plays for theatre lovers of all kinds. Whether you live for intense dramas or would rather escape with zany comedies, there's something for everyone both on and off-Broadway in May 2026.
Did You Know That These Broadway Shows Originally Had Different Names?
by Jennifer Ashley Tepper - May 17, 2026
Perhaps the most well-known instance of a show changing titles during the development process belongs to the groundbreaking 1943 phenomenon, Oklahoma! The Rodgers and Hammerstein musical that changed the art form in terms of subject matter, integration of elements, and more was originally titled Away We Go! when it went out of town for a New Haven tryout. Oklahoma! is far from the only instance where a musical changed its title along the development road.
Review: FUNNY GIRL at Lakewood Theatre
by Dawn Sellers - May 3, 2026
Hello Gorgeous! Lakewood Theatre brings the curtain down on its 73rd season in spectacular fashion with the heartfelt, funny, and moving musical comedy Funny Girl. What a way to say goodbye to a landmark season. Get tix https://lakewood-center.org/
Spotlight on Plays: April 2026
by Team BWW - Apr 1, 2026
Spring has sprung, and with it's arrival, comes new plays for theatre lovers of all kinds. Whether you live for intense dramas or would rather escape with zany comedies, there's something for everyone both on and off-Broadway in April 2026.
Vanessa Williams, Tony Danza and More to Perform at 54 Below in February
by Chloe Rabinowitz - Jan 30, 2026
Next month, 54 Below, Broadway’s Supper Club & Private Event Destination, will present some of the brightest stars from Broadway, cabaret, jazz, and beyond, including Vanessa Williams, Tony Danza and more.
Review: Before There Was Charlie Brown, There Was Menotti’s AMAHL, now at Lincoln Center Theater
by Richard Sasanow - Dec 21, 2025
Lincoln Center Theater’s new Kenny Leon production of Gian Carlo Menotti’s AMAHL AND THE NIGHT VISITORS, presented in association with the Metropolitan Opera, is hardly “A Charlie Brown Christmas” or “The Nutcracker.” Yet it manages to give us faith, hope and charity at a time we could all use more than a little of it, though there doesn’t seem to be much of a nod by director Leon to the setting of “The Present” mentioned in the Playbill.