Broadway 3-peats: Jordan Donica

Today, we bring you our latest in our 3-peat series, albeit with a bit of a cheat. We loved this actor three performances in a row, all three in revivals of musicals. The first two were classics presented by Lincoln Center, the third was a red hot revival from the Encores! series at City Center, so technically, not Broadway. I think we can let it slide, especially given how Jordan Donica's star is on the rise in a major way. Fans of HBO's The Gilded Age love him as the accomplished doctor in love with another Broadway baby, Denee Benton. In fact, in the upcoming 4th season, he's been promoted to a series regular! And international theater lovers are excited by his current turn as the title character in The Phantom of the Opera in the West End.

Broadway 3-peats:

Jordan Donica

Role #1: Freddy Eynsford-Hill in My Fair Lady (2018)

I will admit that at first blush, the only thing I really loved about this lavish musical revival was Lauren Ambrose as Eliza Doolittle. But I also remember being struck by the tall and beautifully handsome young man playing Freddy Eynsord-Hill, Eliza's would be suitor. That, of course, was Mr. Donica, who was dashing every single time he was onstage. The kind of actor your eye is drawn to naturally, even when he's not the focus, he exuded that "I'm going to be a big star soon" energy. While the day, we saw him he struggled a bit with the higher notes of "On the Street Where You Live," his impression was a great one.

Role #2: Lancelot Du Lac in Camelot (2023)

With this show, the actor was two for two in being a highlight in an otherwise lacking production. On the cavernous (and shockingly bare) Vivian Beaumont stage, it was impressive that his presence was so large - others in the cast got swallowed whole. Of this performance, we wrote, "With the central trio, we are watching a living chess game. The knight, Lancelot, is played with humorous pomposity and staggering chivalry by Jordan Donica. His 'If Ever I Would Leave You' is a true highlight of the entire Broadway season." Apparently, I wasn't alone in my assessment: he was honored with a 2023 Tony Award nomination for Best Actor in a Featured Role in a Musical. I suspect that in the coming years, there will be more nominations and, perhaps, a win.

Role #3: Burrs in The Wild Party (2026)

Heretofore, this suave leading man has been the romantic interest, but the brilliant revival of LaChiusa's complex, hard-partying jazz age musical has him playing an entirely different leading role. Of this breathtaking performance we wrote: "This production has found the perfect pair in Jasmine Amy Rogers and Jordan Donica. Their palpable chemistry is all the more mesmerizing as they spar and abuse each other to the point of mutual destruction. Donica is violent and vicious as described, and downright scary as he writhes and seethes, literally spitting out his anger... for my money, they are giving the leading performances of the season." I stand by that assessment. He was marvelous.

I'll bet the next time we see Donica, I'll have to call him a "4-peat." 

Broadway Games: Name That 90s Show!

 I still can't believe that the 90s were three decades ago! Time sure flies, doesn't it? How much do you know about the Broadway musicals of the 1990s? Maybe a few pictures will help! Good luck!

Broadway Games:

Name That 90s Show!

DIRECTIONS: Take a close look at each show photo and name that 90s Broadway musical! (Tap the pics to enlarge. The Bonus is an extra tough one!)

1.

2.

3.

4.

5.

Bonus:

Off-Broadway Cast Recording Review: Heated Rivalry

 Off-Broadway Cast Recording Review:

Heated Rivalry:

The Unauthorized Musical Parody

I was on the fence about whether or not I should even listen to this cast recording before seeing the show. Could I wait over a month to listen to the whole thing? Would listening to it spoil any of the surprises of the hit off-Broadway musical Heated Rivalry: The Unauthorized Musical Parody? Well, I kinda already spoiled it by listening to the infectious "Gym Song" dozens of times since the music video for it came out. I love it! So, why not listen to the rest of it? After all, I'm sure there are plenty of surprises in the book scenes.

As it turns out, I'm glad I listened to this fun cast recording ahead of seeing the show. Dylan MarcAurele's rapid fire lyrics are laugh out loud funny, so funny that at times I missed some of it because I was laughing. And the infectious tunes also by MarcAurele are serious bops, every one. Like all good parodies, this one skewers its source material while treating it with respect and - in this case - heartfelt love. I suspect anyone who sees this show won't appreciate all of it if they aren't familiar with the TV series. That said, there are enough sports (not just hockey) references and sec jokes to give even novices belly laughs. (I wouldn't necessarily play this where younger ears may hear it...)

Another smart thing about this score - and I'll assume the book is similarly smart - is that it cleverly sets up the conceit of the musical versus the novel versus the series in the opening number, "What We Want," also reprised as the finale. I won't spoil it for those of you haven't seen it yet, but I will say it really shows how aware the whole team is of its impact on culture. I love that the song pays tribute to both its Canadian roots and the woman that started it all, author Rachel Reid.

As far as the recording goes, the sound is impressive, with the music coming across as full-bodied and cleverly orchestrated. Vocally, it is also striking. Often, it struck me as remarkable that all of that was coming from just six voices! Most of the company plays several characters, and the recording has me excited to see how they play the characters as uniquely as their voices do. Ryann Redmond, who I've loved since I first saw her in Bring It On: The Musical, is a riot, and uses her impressive voice to give legitimate bona fides to each song she sings, especially "You're a Gay Guy." That song, like nearly all the others, encapsulates the idea that while it is outrageous fun, and really kinda dirty, it also has a sincerity and warmth that makes it all work so well. Cherry Torres and Ryan Duncan are similarly gifted with comic chops and versatility. Duncan is particularly funny as the counterpoint in "Gym Song."

Like the show and novel, the musical centers around Ilya Rozanov and Shane Hollander, and the recording really shows how great the casting is/was, with star turns by both Jay Armstrong Johnson and Jimin Moon, respectively. (Though Moon is no longer with the show, I'm sure his replacement, Troy Iwata, will be terrific.) 

The score, at least, if not the book, relies heavily on Shane Hollander's story, and as such he carries the heavier burden here. His sincerity and wide-eyed wonder at all of his self-discoveries comes across easily in Moon's interpretations. That's not meant to imply that the character, actor or songs are overwrought, but rather that he makes oblivious observations - dick jokes and double entendre are the point here - and the delivery is priceless. "I Can Host" gives him a terrific 11 o'clock number. 

Johnson does a spot-on Russian accent that is both realistic and the height of parody. His big number, "Big Ass, Cold Heart," manages to be both hysterical and touching. And when he utters the famous line, "I'm coming to the cottage," I have to believe he stops the show cold.

At just about 35-40 minutes, the cast recording proves to be smart enough not to wear out its welcome, but is also easy to listen to multiple times. I'm glad I chose to hear this ahead of seeing it, as I can now watch the show with the ease of not having to concentrate so hard on the words that I miss some of the action and what will surely be equally clever staging.

Here's to the rink, the Marriott gym and the cottage. Give this one a listen!

Grade: A

What Would You See on Broadway 50 Years Ago?

Fifty years ago, the U.S. was celebrating its bicentennial. Times Square was a viper's nest of porn, prostitution and crime. The lights were bright, but dirty. Broadway was, as usual, "dying." Of course.

And yet, the theaters were open and serving a theater-going crowd the escape they craved. Inside those hallowed palaces was a refuge of elegance, glamour and vibrant art. Oases each and every one of them.

What might we have seen this week in 1976?

Broadway 

Time Machine:

What to See in September 1976

First-nighters had quite the week half a century ago! FIVE opening nights in a row!!

  

BROADHURST THEATRE:

Opening Night: September 21, 1976

A Texas Trilogy: Lu Ann Hampton Laverty Oberlander 

2 previews, 21 performances

Starring Diane Ladd and Everett McGill

Opening Night: September 22, 1976

A Texas Trilogy: The Last Meeting of the Knights of White Magnolia 

2 previews, 22 performances

Starring Fred Gwynne and Henderson Forscythe

Opening Night: September 23, 1976

A Texas Trilogy: The Oldest Living Graduate 

2 previews, 20 performances

Starring Fred Gwynne, Henderson Forscythe, Ralph Roberts and Patricia Roe

All three plays by Preston Jones and directed by Alan Schneider were performed in repertory.

EDISON THEATRE:

Opening Night: September 24, 1976

Oh! Calcutta!

5,959 performances

Until Chicago, this was the longest-running musical revival in Broadway history. 8 performers famously bared all in this musical revue that stuck around until 1989!

URIS THEATRE:

Opening Night: September 25, 1976

Porgy and Bess

5 previews, 122 performances

This production presented by the Houston Grand Opera was originally a limited run stop on a national tour. It went on to be nominated for 6 1977 Tony Awards, including for co-stars Larry Marshall and Clamma Dale, as well as director Jack O'Brien. It won for Most Innovative Production of a Revival.

BILTMORE THEATRE:

The Robber Bridegroom

12 previews, 145 performances

Fans of early previews had a chance to catch the first glimpse of eventual Best Actor in a Musical Tony winner Barry Bostwick.

Established hits to choose from included:

SHUBERT THEATRE: 

A Chorus Line 

Now in its 2nd smash year, the one singular sensation was the toughest, most coveted ticket in town.

ANTA PLAYHOUSE: 

Bubbling Brown Sugar 

A very popular musical revue of the African-American songbook.

46TH STREET THEATRE: 

Chicago 

The original production of the now classic Kander and Ebb was doing brisk business. The Bob Fosse helmed production started the legendary Gwen Verdon as Roxie Hart, Jerry Orbach as Billy Flynn, and Lenora Nemetz as Velma Kelly.

BOOTH THEATRE: 

for colored girls who have considered suicide/when the rainbow is enuf 

The original, ground-breaking play has just opened last week to considerable acclaim. Good luck getting a ticket!

ROYALE THEATRE: 

Grease 

The original Broadway production continued its record-breaking run - at this point, nearly the longest-running musical in Broadway history, a record it would set before finally closing in 1980. You may have seen Richard Gere, John Travolta, Marilu Henner and Judy Kaye!

BROADWAY THEATRE: 

Guys and Dolls 

This all-Black revival of the Frank Loesser classic was taking Broadway by storm with Tony nominees Robert Guillaume and Ernestine Jackson leading the cast as Nathan Detroit and Sarah Brown, respectively.

ST. JAMES THEATRE: 

My Fair Lady 

This 20th Anniversary production starred Christine Andreas as Eliza Doolittle, Ian Richardson as Henry Higgins, Robert Coote as Col. Pickering and Tony winner George Rose as Alfred P. Doolittle.

MAJESTIC THEATRE:

The Wiz

Ease on down the road - 44th Street, that is - to catch the newly crowned Tony Award Best Musical (and 6 more Tonys!) soulful retelling of The Wizard of Oz. 

Which shows would you have picked to see back in the day?

Friday 5: 5 Times a Jukebox Musical Number Got Creative

5 Times a Jukebox Musical Number

Got Creative

Depending on who you talk to, jukebox musicals are the scourge of Broadway. I, myself, have a love-hate thing for them. But if I am being completely honest, there are some that are actually quite good, excellent even. The recent closure of long-running Best Musical-winning Moulin Rouge! got me to thinking about the sub-genre. And while I think I'll always prefer something new and fresh, there have been several times where the music and lyrics are familiar to me, but the staging of these songs were so creative and theatrical that they were elevated and wonderful.

  

Before I get to my 5 favorite of those numbers, I would like to shout out to two jukebox dance musicals that certainly found beautiful ways to create some new art out of old material: Movin' Out a Twyla Tharp dance show using the catalog of Billy Joel songs, and the recent modern dance musical based on the album by Sufjan Stevens, Illinoise. Both were critically acclaimed and deservedly so.

American Psycho - "In the Air Tonight" Psycho is a hybrid jukebox musical, using three or four 80s pop hits to punctuate the otherwise original score by Duncan Sheik. The one that sticks out in my memory, though, is the ultra cool re-imagining of this Phil Collins classic. The tempo change, the vocal arrangements and stylized staging made the perfect complement to the bizarre world of Patrick Bateman.

Edit: This was written and posted before the announcement of Mr. Sheik's death. Along with his work on Spring Awakening, I very much admired his work on this score as well. The use of pop hits from the era was totally in keeping with the theme and characters of the piece, but in no way diminished his work on the otherwise rich score.

Our thoughts are with his family, friends and all of the artists who were impacted by him. I know we will miss him very much, too. Thank you, Duncan for everything.

American Idiot - "Extraordinary Girl" and "Wake Me Up When September Ends" In a show full of creative staging, there were two numbers that really stood out for me. The former Green Day song was exhilarating and thought-provoking. Part fantasy sequence - they fly high above the hospital ward in a dance of life, death and love - and part social commentary - you could feel the emotional shift in the audience as the video screens showed EKG blips that changed to Arabic words. The latter was staged to use the context of the 9/11 terror attacks on the World Trade Center. The stunned silence as the familiar song played to visuals of people in business suits tumbling around the stage as sheets of business stationary cascaded from above was palpable.

  

Head Over Heels - "Beautiful" and "Vacation" This Go-Gos musical remains one of my favorite musicals of any type in recent years. Endlessly creative, smart and sexy, it had a point of view and a lot to say. Both numbers I've listed here are remarkable for their way of creating an exciting new context and making a point at the same time. "Beautiful" was certainly one of the lesser known numbers so it actually had to work harder for me to appreciate it, but Bonnie Milligan's delivery and star power elevated this song about the empowerment of self-respect. plus it is as catchy as hell! "Vacation" was one of the band's greatest hits, but here it was given a sapphic context and a fun staging. It was the perfect example of what the whole show was about.

 

Jagged Little Pill - "Smiling" and "Predator" Creating a story from the songs of Alanis Morissette's seminal album was ambitious, and save for some controversy behind the scenes, was a successful look as 21st century family troubles and teen angst. I loved every single minute of it both times I saw it. Ironically (no pun intended, honest) the two numbers that I really loved were the two that she wrote for the show that aren't on the album. I was floored by the staging and story-telling of "Smiling," with its encapsulation of events in a day in the life of an addict. When they started to do a detailed rewind in front of us, my jaw flopped right open. The emotional power of "Predator" was as chilling as it was thrilling. Elizabeth Stanley and Kathryn Gallagher, respectively, gave stunning performances.

Moulin Rouge! - "Chandelier" If you knew how much I don't really care for Sia's music, you'd be really surprised (as much as I am!) that this song made the cut. But I really loved this show's take on the song, and how it was literally involving a chandelier, how it was used in the plot, and how the characters' styles informed how it played out. Plus, who doesn't love an absinthe induced Green Fairy hallucination?

Is Broadway Dying? A Few Thoughts

Every time a spate of closings is announced on Broadway, the same thing happens. Cries of "Broadway is dying!" are heard all across the land. Every. Single. Time. So, basically every year or two I find myself chuckling at these doomsayers. That's what happens when you've been following the theater scene as long as I have.

Is Broadway Dying?

A Few Thoughts...

This time around, it's the Moulin Rouge! closing, followed by announcements for upcoming closures of & Juliet and Six. Surely, death of the main stem is eminent! Well, let's think about it with a clear head. All three shows had/will have had lengthy runs, all three at well over 1,000 performances each. And all three recouped their initial investments. The truth is, all three have simply run out of box office steam, as all shows will do. These closures may sting a bit more because they each have ardent, very vocal fan bases, and of course, they are upset by it. 

Clumps of closures also stick out more in this era of super long-running shows. 1,000 performance runs seem paltry against shows like Chicago, The Lion King, Aladdin, etc. It is also true that all shows will close eventually, even these stalwarts. The circle of life as it is said. In my time, people thought Grease, A Chorus Line, Cats and The Phantom of the Opera would never close. But they did. And guess what? Someday, Hamilton will, too.

Then, there is the seasonal pearl clutching over Broadway gasping its last breath that occurs twice a year. Once, after the holidays, and second, after the Tonys/during the summer. It happens more reliably than the Farmer's Almanac. Let's look at the post-holiday purge already taking shape. As of today, there are SEVEN shows scheduled to close on January 3, 2027. Seven! Let's look at those:

• Long-runners bowing out with months of advanced notice: Six and & Juliet, and for a play, Stranger Things: The First Shadow would certainly qualify.
• Limited runs ending as scheduled: Schmigadoon! and Paranormal Activity (to be fair, I wouldn't be shocked to find out the both extend, though this year's Best Musical isn't really a blockbuster).
• Shows that haven't even started yet scheduled for limited engagements: 860, Now You See Me Live!

There are many other reasons to be concerned about the health of Broadway, to be sure. The closing of Cats: The Jellicle Ball stings on many levels. I can tell you that in some four decades, I've felt that same sting many times. (I don't think I'll ever get over the quick death of The Scottsboro Boys...) That is for another day. 

And though it isn't as common as it once was, I find a lot of hope for original and small shows when I think about the runs/critical success and audience love of shows like Kimberly Akimbo, The Outsiders, Maybe Happy Ending and Hadestown, and even shows that defy the odds and are audience darlings like Just in Time, MJ, The Great Gatsby and the like.

But if crime, Disney, jukebox shows, a terror attack and a global pandemic couldn't kill that which we all love so much, it's hard to see it going anywhere soon. And always keep in mind that other shows had to close to make room for Moulin Rouge!, Six and & Juliet to open.

January 3, 2027 will not be on Broadway's tombstone. Trust me.

Broadway Musical Logos: 2026 - 2027 Season: Wanted

Broadway Musical Logos

2026 - 2027 Season

Wanted

The musicals of the 2026-2027 Broadway season are starting to grow in number, with several opening this fall, winter and spring. So, I thought this season, I'd get ahead of it a bit!

In just over a month, the season's first new musical, Wanted, begins previews at the James Earl Jones Theatre, and they are starting the logo season off with a bang! I really like it, and I especially like that they have offered several variations on a theme as they ramp up the advertising. This offers an opportunity for brand recognition without immediate over-saturation. This way, potential ticket buyers are being reminded of the new show, while variations allow for second glances and curiosity. In short, it lessens the chance of it blending into the background.

Another thing that is terrific about this key art is that it immediately sets the scene - a late 1800s Western. The background is attractive and colorful - a large setting sun, in gorgeous swath of colors, and a foreground of an American western desert. It is both pretty and informative (and a great attention-getter).

The way the title - and tagline and font choice - is part of the variations I mentioned above, but also comes across as time period effective and modern. I applaud that they didn't go with a traditional Old West Wanted poster font. Instead, the large bold lettering, slightly distressed, but without any serifs gets the attention and suggests a Western with a modern edge. There may be cowboys, tumbleweed and saloons, but the story will have the edge and agency of a 21st Century epic tale. I love how the embellishments on either side of "A New Musical" are old-timey, set off with what look like spurs. And then there's the tagline, a smart wording in an important, all caps font in white so that it stands out from, but does not detract from, the title. You can practically hear the clink of boot spurs when you read "The Legend of the Sisters Clarke."

Finally, there's the central image, a striking portrait of two women looking like outlaws in their dark hats and coats - looking wanted. But their facial expressions are proud, dignified and defiant. Not to be messed with, and yet enticing. They look legendary. Knowing, as I do, that the Clarke sisters were African American but white passing adds to the allure. It makes me wonder how many potential ticket buyers will catch that from the image. I suspect that may be one aspect of this logo that will evolve as the show continues.

Strong women in an era of American history not known for strong women is certainly eye-catching. And whether you like Westerns or not, the image is provocative enough to generate interest.

Grade: A