Looking Forward to Fall: September - November 2026

Fall is my favorite time of year, I think. I love that it gets cooler, and the leaves change color. New York City is my favorite place, and so fall in The Big Apple is the best of all possible worlds for me. This fall on the theater scene looks to be a rich and busy time, and I'm excited for several productions that are starting in the coming months!

As always, before we look forward, we look back at the season that was. Over the summer months, we didn't get to as many things as we had hoped to - just two to be exact, both on Broadway - Becky Shaw (⭐️⭐️⭐️⭐️) and a return visit to The Lost Boys (⭐️⭐️⭐️⭐️⭐️), an average of ⭐️⭐️⭐️⭐️½⭐. Not bad!

This fall, we are looking to catch up on a show we missed previously, some off-Broadway shows, Broadway revivals and new shows, and even something regional!

Looking Forward to Fall:

September - November 2026

(** - We have tickets!)

Catching Up From Summer:

** Heated Rivalry: The Unauthorized Musical Parody (off-Broadway at The Culture Club) Well, we didn't find the time to see this in the heat of summer, but as luck would have it, they extended, and now we'll get to it before it closes this fall. And, though I'm disappointed that we won't be seeing Jimin Moon, I am super excited to see Troy Iwata as Shane Hollander! I've been crushing on him since his charming turn in Netflix's Dash and Lily. Of course, as our loyal readers know, we are serious Jay Armstrong Johnson fans, so we are thrilled we won't be missing him as Ilya Rozanov. (Have you seen the video for "The Gym Song"? 🔥🔥🔥)

Regional:

Laura Benanti: Nobody Cares (At Baltimore Center Stage) This season, Maryland's State Theater is bringing the Broadway divas! First up is one of my favorite musical actresses who is great at both drama and comedy, Laura Benanti. I love her self-aware, self-depricating humor. Throw in a few songs, and I am there!

Mama I'm a Big Girl Now (At Baltimore Center Stage) How fun to have three of Broadway original cast members of Hairspray coming here with their acclaimed act. "Good Morning, Baltimore" will take on a special meaning for sure. I've probably seen each of these spectacular women more than a dozen times, but only once together when I saw them in Hairspray. I really hope I get to see them this time around!

New Shows:

Galileo (On Broadway at The Shubert Theatre) At first blush, it is yet another bio-musical. But here is not a trip down memory lane, but rather a modern look at an historic figure - no jukebox hits to be found. Instead, a rock musical a la Jesus Christ Superstar, Evita and Hamilton with a fresh score and a kick ass cast that includes the long awaited Broadway return of Raul Esparza, along with Jeremy Kushnier and always thrilling Joy Woods. I know nothing beyond the very basics about Galileo, so who knows? Maybe we will learn a thing or two to boot!

** The Heart (off-Broadway at The Laura Pels Theatre) Here's a show that snuck up on me - apparently it has been building up to its New York debut, with eyes on Broadway in the future. The story about the heart of a victim being transplanted into another person and everything that comes after sound intriguing. Well, when they announced that Heidi Blickenstaff and Joaquina Kalukango, Drew Gheling and Jason Tam would be heading the off-Broadway company, getting tickets was a no-brainer. And the preview price was just right, too!

Wanted (On Broadway at The James Earl Jones Theatre) Our October Trip was going to include this show, but budget and seat selection wasn't the best for when we were going, so we are shelving it until later in the fall. The premise intrigues me in the same way Galileo does. And who doesn't love Solea Pfeiffer and a stacked cast of powerhouse vocalists? Even though we put it off, it is definitely a production I am excited to see.

Revivals:

** A Few Good Men (On Broadway at The Vivian Beaumont Theater at Lincoln Center) I saw the original production's first national tour, and remember the extreme tension that filled the theater. In the years since, of course, the film version has cemented its place in American culture. "You can't handle the truth!" has taken on a life of its own. Perhaps the element of surprise will be gone, but I have confidence that Michael Arden and his esteemed company of actors headed by Bradley Whitford, Tom Blyth and Krysta Rodriguez will find ways to make it exciting and current.

Much Ado About Nothing (On Broadway at The Winter Garden Theatre) This is one of Shakespeare's plays I've never seen, so there's that to look forward to. And if anyone can make it fun, exciting and riveting, it is director Jamie Lloyd. Throw in legit British actors like Tom Hiddleston and Hayley Atwell, and I don't see how we can miss it!

** The Fantasticks (On Broadway at The Hayes Theatre) We saw this perfect little jewel of a show a few years ago off-Broadway. It is utterly charming, life-affirming and sweet. These days, it is the perfect antidote to a world on fire. With a tweaking of the story to center on two gay boys and their scheming mothers, it sounds fresh again. I do hope they don't do too much to it, though. It is just wonderful as is. But I have full trust in Christopher Gattelli, and an amazing cast that includes no less than Tony-winner Ruthie Ann Miles and the riotous Leslie Rodriguez Kritzer. I can't wait for this one!

If Money and Time Were No Object:

Other Desert Cities (On Broadway at The Hudson Theatre) Saw the original Broadway production. Twice. Love this play, and the cast can't be beat this time around. But even the cheapest seats aren't. And the view from up there for a play seems less than ideal.

School Girls; Or, the African Mean Girls Play (On Broadway at The Samuel J. Friedman Theatre) I have heard nothing but solid raves about this play, and I really hope we can squeeze it in. The cast is very exciting. Fingers crossed for an open slot in our fall itineraries and maybe a decent discount.

Adieu, Moulin Rouge!

Adieu

Yesterday, after 24 previews, 2289 performances, and surviving one global pandemic, Moulin Rouge! closed at the Al Hirschfeld Theatre. All shows must eventually come to an end. It's the circle of Broadway life. And yet, I feel a sort of sadness I don't normally feel for such a show.

It is not only a screen to stage musical adaptation, but also the very definition of a jukebox musical. There sure are a lot of those these days. Yet, somehow this one hits differently to me. I've been wondering why since they announced the closing months ago.

Perhaps it is because the movie upon which it is based is a favorite of mine to begin with. Or maybe it's because that film is itself a jukebox musical. Both versions also share that they use those jukebox tunes in very clever ways, turning up the emotion and twisting things in a knowing, self-aware way. Then, there is that both versions take their message of "truth, beauty, freedom and love" to heart and wear it on their artistic sleeves.

The musical also takes care to include beloved elements from the movie, while expanding and nurturing them in purely live theater terms. It does what only a live experience can. The design submerged you and a completely separate world, from inside the lobby doors. The visuals were breathtaking - from the red windmill slowly spinning, to the passerelle thrusting out into the seats, to the giant blue elephant standing vigil over the house. The show promised "spectacular spectacular" and it delivered from pre-show to curtain call. In a climate where more often than not minimalism is an economic necessity, Moulin Rouge! was unabashedly maximalist.

Personally, I have some wonderful memories of the show. 

It was the first time I traveled to see a world premiere out of town tryout. (Being from the Baltimore/D.C. area I've been lucky to see many pre-Broadway runs.) It was my first time ever going to Boston, and being both a history buff and a theater lover, it was right up my alley. I remember it was a warm, almost hot day when we went to the historic Emerson Colonial Theatre, home to many great out of town tryouts over the years. It was grand in a way you only read about, and in the way that pictures simply do not do it justice. Before we even went in the house, it was amazing and humbling to see the walls covered with show posters of some of what would turn out to be Broadway's biggest hits with some of history's biggest stars.

  

  

Now, after all this love and admiration, you'd think I'd have seen this show many times over the past seven or so years. You'd be wrong. We only went once to the show on Broadway. It was a preview performance, and actually a special occasion - it was "Baz Luhrmann Day," complete with a post-show appearance by the man himself. What a thrill! It was so perfect, I really didn't want to spoil the memory by seeing different people in these roles (not that I wasn't tempted...). How wonderful to see three of my all-time favorite performers together - Aaron Tveit, Karen Olivo and Danny Burstein. And how terrific that Aaron and Danny won Tony Awards for their efforts.

And so, it is with mixed emotions and a measure of gratitude that I bid the Bohemians a fond adieu. You all were truly spectacular spectacular.

Broadway Games: A Show of Hands

This week, we have a game for all of you logo lovers! You know we are logo lovers here at JKTS, and we've been reviewing all the key art of the shows (plays and musicals) currently on Broadway. Would you believe that 12 of the productions  on the boards this week have logos that feature hands!!??

Broadway Games:

A Show of Hands

DIRECTIONS: Identify the show from the hands on the show logos below.

Sample: This hand is part of the key art for Wicked.

1.

2.

3.

4.

5.

6.

7.

8.

9.

10.

One That Got Away: Death of a Salesman (2026)

One That Got Away:

Death of a Salesman (2026)

I have long been a fan of Arthur Miller, in fact since I was in high school when I devoured The Crucible. Over the years, I've seen that classic several times. Ditto, another favorite of mine, All My Sons. In school, like many of you I'm sure, I was assigned to read perhaps his most famous work, Death of a Salesman. There have been films made of it and it has been on Broadway now seven times. Hard to believe, but I have never seen it performed live! 

That this is One That Got Away, is particularly egregious, since the time it was on Broadway in 2012 was one that I am still kicking myself for missing - the late Philip Seymour Hoffman, Linda Emond and Andrew Garfield!? Come on! So when the most recent revival was announced with the incredible casting of Nathan Lane and Laurie Metcalf, plus the wonderful Ben Ahlers, who I so enjoy on The Gilded Age, not to mention in a play about John Wilkes Booth just last year, I simply could not miss it this time around.

  

  

Well, it came and went without me. Again. I blame it on two things. First, there never seemed to be a time when I could schedule it. (7 performances a week didn't help, I'm sure.) That's on me. Second, and most of all, it was for the most part out of my price range. Even the limited number of partial view seats were too pricey for my wallet. When there were reasonably priced seats, I couldn't go. When I could, I was seeing seats in the $700-$1,000+ range. Such is the way of things these days. Big names + limited runs + lots of awards = regular people are priced out.

I'm sure I'll get to see it some day. Well, I hope so, anyway...

Death of a Salesman began its 36 preview and 129 performance run at the Winter Garden Theatre on March 6, 2026, and closed on August 9, 2026. It was nominated for 9 Tony Awards, winning 6, including Best Revival of a Play, Best Performance by an Actress in a Featured Role (Laurie Metcalf), Best Direction of a Play (Joe Mantello), Best Scenic Design, Best Lighting Desigh, and Best Sound Design (all three in the play categories). This production also won 4 Drama Desk Awards. Ben Ahlers was awarded a 2026 Theatre World Award as well.

From Where We Sat: The Palace Theatre

Today, we have the next in our series of seating articles based on many of your emails requests and questions, namely "how were your seats?" Sure, I'm aware of another website that provides a similar service that covers New York theaters, national theaters and concert and sporting venues. I hope to provide a bit more information and insight. That said, if there's anything more you'd like to know or want to share your own experiences please feel free to contact us on social media at JKsTheatreScene.

From Where We Sat:

The Palace Theatre

The Theatre: 

• 160 W. 47th Street
• Current capacity: 1648 seats
• Orchestra, Mezzanine, Balcony and Box seating

What We Saw There:

• The Lost Boys (show review HERE) 
• The Lost Boys (2nd visit review HERE)

Where We Sat: 

• We sat in Orchestra Row R, Seats 114 & 116. This is the house right center section of the orchestra. The seating in this theater has average leg room. The seats themselves are very comfortable and in new condition.

What We Paid: 

• $108.00 (+ Audience Rewards redemption). These seats, at the Box Office, are $179.00 each. 

The Location: 

• With the renovation and raising of the theater, the entrance (and box office) is no longer on Broadway; now you enter on West 47th Street. The lobby is relatively spacious, and you enter the theater proper via escalators or stairs.
• Upon entering the theater, we were directed to the right aisle.
• Row R is the eighteenth row from the stage.

Seat Amenities and Exiting the Theatre:

• These seats are still new since the renovation and the seats themselves are quite comfortable. There is a comfortable amount of legroom.
• The rows of this part of the orchestra are at a fair rake, and seeing over the people in front is not a problem. The seats are far enough back that the stage is fully visible.  
• Restrooms are downstairs and a pretty fair hike from here.
• Exiting the theatre is easy, even with a large crowd. Between the staircase and the two down escalators traffic flows easily and rapidly. And now, with the exit onto 47th Street, instead of directly into Times Square, there is no uncomfortable blending into already big crowds. This is all a definite improvement.  
• We were out of the theater and on our way in about 5 minutes post curtain call.

Pre-Show

Start of Act Two

So how was the view 

• These seats were an excellent view, top to bottom. We were far enough back to get the full stage picture at all times. While we were under the mezzanine overhang, the entire proscenium was visible, and therefore the massive set and the flying were 100% visible at all times.
• It would seem that sitting too close to the front would cause difficulty in seeing the full action. First, the stage deck is tall. Second, the pit is used frequently for action scenes that would be practically blocking the main action. And the side orchestra sections would not be good if you want a full view of the stage - depending on which side section you sat in, you'd miss anything happening on that side of the stage much of the time.

The bottom line:

• I would definitely get these seats again. From this further away location, you can see the cinematic sweep if the staging and the full breadth and wonder of the flying sequences. I also think sitting the the center mezzanine toward the front would be excellent.

* - Your seating preferences may vary, of course. And these seats may not be as ideal for a different production.

Other seating at The Palace Theatre

• We have seen several productions at this theater and we've sat in various locations in the orchestra and mezzanine areas. 
• Aside from obvious view differences, the rear orchestra and rear mezzanine section seating offers a potentially limited view of the top of the stage area, crucial to this production. The back of the orchestra feels very far away. The front mezzanine offers a full view that doesn't feel very far away.  Finally, though more budget friendly, the side sections of the orchestra are almost certainly partial view as the set around the proscenium would block the upstage side of the view on whichever side you are sitting.

We also saw The Lost Boys...

• From Orchestra Right Row F (review HERE).