Summer Bracket 2026: Where Do 21st Century Broadway Musicals Come From? The Winners

Summer Bracket 2026:

Musical Sources

The Winners!

First of all, thank you all for participating! Lots of votes in each round, and several close pairings. It was close the whole time, so that means there were some really tough cuts. Twice, there was a winner determined by a SINGLE VOTE! Your votes really do count.

The top 5 adaptations are below, and I have to say you picked some really superb examples of the sub-genre - proof that our readers have excellent taste. One thing I thought was interesting was that (just as in sports sometimes), the eventual winner got the most votes in the championship, but the second place/runner up show actually got the most cumulative votes over the course of the tournament.

Here are your Top 5 Favorite Musical Adaptations of the 21st Century!

5. Green Day's American Idiot (Album Adaptation)

4. Movin' Out (Songbook Adaptation)

3. Once (Film Adaptation)

2. Hairspray (Film Adaptation)

And the winner is... 

Wicked (Book Adaptation)

Broadway Games: Let's Put On a Show!

In a way, with some shows, you get two for the price of one! In some musicals, there is a show within the show, and that's what today's game is all about! Good luck!

Broadway Games:

Let's Put On a Show

DIRECTIONS: Match the title of the musical with that "show" in that show.

A. The Sound of Music    B. The King and I    C. South Pacific

D. Cats        E. Guys and Dolls    F. Cabaret    G. Kiss of the Spider Woman

H. Mamma Mia!    I. City of Angels        J. Damn Yankees

1. "Russian Movie/Good Times"

2.  "Super Trouper" - The one night only return of Donna and the Dynamos

3.  "The Money Song" 

4.  "The Thanksgiving Follies"

5.  A detective story performed as a film noir

6.  "The Small House of Uncle Thomas"

7.  "The Lonely Goatherd" - a marionette show

8.  "Growltiger's Last Stand"

9.  "Who's Got the Pain?" - a hospital benefit

10.  "A Bushel and a Peck" - a Hot Box number

Cast Recording Review: The Lost Boys - Act One Tracks

It is no big secret that my favorite new musical of last season is The Lost Boys. I think my review of the show covers the many reasons why, including my admiration for the score by The Rescues. Now having listened to it a few times, my feelings for it have only deepened.

Cast Recording Review:

The Lost Boys

The Act One Tracks

As long time readers will tell you, I'm pretty old school when it comes to my cast recordings - at least as far as format goes. I started my collection with the only available format at the time, vinyl LPs (which are still my favorite), and graduated to some cassettes of favorites when my first car had a tape deck. Then I went full into the CD revolution, with its clean sound, easy track search, and capacity for nice packaging, with booklets full of notes, lyrics and production photos. In recent years, ordering a CD from Amazon has included a digital copy, and so I have several cast albums that way, too, though to date I have yet to listen to any of them.

But time marches on, and now I've reached a new bend in the road: a recording available only (at least as of now) in a digital format. And while the sound is terrific, and the track selection is a breeze, I hate that I have no notes to read, no lyrics to follow, and only "the cover" to look at while I listen. If ever there was a production that would benefit from such things, this is it. That lack of accompanying media is pretty much my sole complaint; otherwise, this is a first-rate OBCR.

Here are some thoughts on Tracks 1-14, which represent Act One of the show:

Track One: "No More Monsters" - Lucy, Michael and Sam Emerson, and Ensemble

This opening number hits all the criteria for an exhilarating start to a show: it immediately sets the scene of where we are, where we are going and who will take us there. It is catchy throughout, with urgent piano that suggests that time is of the essence, and a full blossoming of the sound lushly orchestrated and filled in with stunning harmonized backing vocals. The lyrics also evolve, the urgency punctuated with simple, obvious rhymes as we find out what each character hopes to leave behind and later dreams of finding with this big move west. The lyrics are deceptively simple, a way of easing us into what we are about to see, and they drip with ironic humor - "death of me," "I've been through Hell," "sucking the life out of me." We are in on the joke knowing that this family ain't seen nothin' yet.

Track Two: "Lose Yourself" - Michael Emerson and Ensemble

The pulsing vibe of the electric guitar emphasizes Michael's anger and desperation to get out from under his family and strike out on his own. The lyrics and LJ Benet's vocal style here mirrors that. And the further he gets from home (and closer to the town) the orchestrations become fuller, with a nod to the 80s sound of Bon Jovi. In town, the ensemble in a menacing, but alluring unison join Michael in verbalizing all of his wants - they are welcoming, letting him know he can lose himself with them. 

Track Three: "Have to Have You" - The Lost Boys, Star, Michael Emerson and Ensemble

"Lose Yourself" blends into this song seamlessly as Michael gets swallowed up into the crowd enjoying a late night concert by The Lost Boys. The hard rock edge to this song elevates the sense of danger the group poses to the community; their sound plays to the crowd who seeks that danger and excitement. Ali Louis Bourzgui's breathy deep singing voice is seductive, and as the music shifts to a less dense but more mysterious tone, it seems that he is now singing directly to Michael. The focus then shifts to Michael's thoughts as he is instantly smitten with the vivacious Star (Maria Wirries), who in turn has locked into Michael's thoughts as well, as she realizes he will be an easy target - one she already feels the need to protect.

Track Four: "Murder Capital of the World" - The Frog Brothers and Ensemble

This is one catchy track. The combination of slasher film vibes and adventure hero motifs are the perfect over-the-top way to introduce the Frog Brothers. The included dialogue shows that this is a clever way to disguise some exposition, too.

Track Five: "Hurt a Little" - Star and Michael Emerson

Here is a great example of how The Rescues have managed to craft a song with a musical theater trope - the double meaning duet, with period perfect subtlety - 80's synth punctuating the simple guitar licks, and still making it sound modern. It's fun to revisit this one having seen the show because now it is easier to notice the character reveals of both Star (conflicted, protective) and Michael (rebellious, reckless). Foreshadowing in a deeper way...

Track Six: "Time to Kill" - David, Marko, Dwayne, Paul and Ensemble

I love this short number! Ali cranked up the breathy seduction in this singing to 10, and the rest of The Lost Boys harmonize with him in such a way that it really shows their mutual and necessary dependence on each other. This also contains the "Lost Boys Theme," a soulful wail that reeks of loneliness and resignation, while still being alluring. And that final crescendo!

Track Seven: "The Good Part" - Lucy Emerson and Ensemble

When we saw the show, this song was just recently added, so recent that the Playbill still listed the song that was there before it. I don't know the other, so I can't speak to whether or not this was a good choice, but does it matter? I mean, a chance to hear Shoshana Bean sing? Always a good thing, and boy do you get what you paid for here. Powerful acting, thrilling riffs, just like Ms. Bean delivers perfectly. And I appreciate that the urgency, clipped notes, and the slow steady build of the song mirror the opening number - the last time we heard from Lucy musically. This is a great way for the character to check in and show some growth, too. The references to film and video stores are clever, too.

Track Eight: "Now, Forever" - Star and Michael Emerson

What would an 80s show be without a power ballad duet? This one checks all the boxes of that genre and then some. It helps that both Benet and Wirries understand the assignment here, and that their voices blend perfectly and diverge perfectly, too. Every time I listen to it, I think about which 80s stars would sing the radio version.

Track Nine: "Lost Boy" - David, Michael Emerson, Marko, Dwayne, Paul and Ensemble

Michael finds belonging in a song ironically called "Lost Boy." They just had to include the motorcycle scene, and what a chilling way to do it. Bourzgui's sexy voice entices, Benet's voice soars with abandon, and the gang brings in the theme again, this time with even more power.

Track Ten: "Take My Heart With You" - David, Star, Marko, Dwayne, Paul and Ensemble

This song calls to mind religious hymns and incantations, and matches the moment in the story - Michael drinks the blood - in a haunting way. The a cappella harmonizing is jaw-dropping, and the seamless way it blends into...

Track Eleven: "Thou Shall Not..." - The Company

...this song tracks perfectly as the night of initiation and ritual continues. The discord of the final harmony in this brief number is a startling reminder that danger lurks as Michael continues to be oblivious to what is happening to him. This blends into...

Track Twelve: "Hurt a Little (Reprise)" - Star and Ensemble

Star now being the observer, helpless to stop what is happening. As things slide into even more danger, the heavy rock guitars do the heavy lifting that builds to David's instruction to Michael...

Track Thirteen: "Belong to Someone" - Michael Emerson, David, Marko, Dwayne, Paul and Ensemble

The turning point song for our hero. He realizes what he needs. He sees it in The Lost Boys. And they show him the beautiful, freeing side of joining them. Just as the music begins to soar, so, too, do the boys. They fly in a sort of dream ballet. You, of course, can't see it, but you can hear and feel it. The orchestrations by The Rescues and Ethan Popp are simply exquisite.

Track Fourteen: "Secret Comes Out" - David, Star, Michael Emerson, Marko, Dwayne, Paul and Ensemble

The sequence starts to build with track Nine, and comes to a riveting and powerful conclusion to close out the act. Percussion driven and again almost ritualistic, the song addresses the inevitability of everything coming to light. For David, it is the need and desire for Michael to become part of his coven. For Star, it is desperation for finding a way out, and for Michael, it is blissful oblivion. The song ends with a question, "Do you know who you are?" and one has to wonder who they are singing that to. The final notes before the blackout are another discordant harmony...

This lengthy sequence of events calls to mind a similar sequence in a little show called Sweeney Todd. Evil draws you in there as it does here. What a way to end act one! I remember that euphoric rush as the blackout led to house lights up and the electricity that pervaded the entirety of the Palace Theatre.

Tap HERE to check out our review of the Act Two Tracks. (Coming next week!)

Summer Bracket 2026: Where Do 21st Century Broadway Musicals Come From? The Championship!

We are so glad that so many of you have joined our annual summer fun! This year, there were some REALLY tough choices, along with some really choice comments about shows that are adapted from other sources. Those may be best for another time...

That said, I was really impressed by your selections for last week's Final 4. Any one of the four are worthy of the title. Of course there can only be one winner, and this championship round is doozy. I'm glad I don't have to make a choice!

Summer Bracket 2026:

Musical Sources

The Championship Round!

May the best musical adaptation win!

• Select one show from the pair. Consider the entire production and how well it used its source material to create a new piece of art.
• When you are done, be sure to tap the SUBMIT button at the end to record your vote.
• The poll is 100% secure and no personal information is collected.
• Be sure to check back next week to see the winner!

This week's round will close at 11:59 PM on Tuesday, August 11th. (Haven't voted before? No worries! Join the fun this week!) 

The Friday 5: 5 Favorite Broadway Kid Roles (and the Actors Who Played Them)

Favorite Broadway Kid Roles

(and the Actors Who Played Them)

Several shows this past season featured kids in major roles, ranging from small children to older teenagers. The Tony-winning Best Musical Schmigadoon! featured the adorable Carson (played by Ayaan Diop). This year's Best Revival of a Musical, Ragtime has The Little Boy (Nick Barrington), The Little Girl (Tabitha Lawing) and the precious Coalhouse Walker III (Kaleb Johnson). Of course, Broadway shows have long featured children in their casts. Here are 5 of our favorites (alphabetically by show title)!

Billy Elliot: Billy Elliot (played by David Alvarez, Trent Kowalik & Kiril Kulish)

We were lucky enough to have seen all three of the original Broadway Billys, and they were all wonderful. A complex and demanding role, each brought something slightly different to this confused but driven boy. But each also brought superb dance skills and amazing presence. No wonder they gave all three the Tony Award!

Fun Home: Small Alison (played by Sydney Lucas)

In a show that gives us three versions of the same character, how delightful that the youngest got just as much great material to work with as the "older" Alisons. And this role also gives the actress playing it one of the great show tunes of the 21st century, "Ring of Keys." And Sydney Lucas captivated audiences from off to on Broadway, and the nation at large with a Tonys performance for the ages.

 

Matilda: Matilda (played by Sophia Gennusa, Oona Laurence, Bailey Ryon & Milly Shapiro)

After some push back for giving all of the Billys a competitive Tony, the committee hedged their bets by giving the four original Matildas a "Special Tony Award." Regardless of what they called it, they were deserving. Our first was Milly Shapiro, and she blew us away. The role calls for a little girl who is quietly strong, yet dynamic enough to earn that signature pose. There's a fine line between precocious and honest, and she was brilliantly able to walk that line as if it were a tightrope/ 

 

The Lost Boys: Sam Emerson & The Frog Brothers (played by Benjamin Pajak, Jennifer Duka & Miguel Gil)

The Lost Boys features 3 young teen roles for us to root for, and Pajak, Duka and Gil had us in the palm of their hands from the minute they stepped on stage. The Frog Brothers don't have a huge amount of time on stage, but they make the most of every appearance. It speaks well of the writing that we can glean so much about them, and also believe that they have the fortitude to slay vampires. Sam has considerably more to work with, and it is a credit to both the writers and the actor that he evolves as much more than a comic book loving geek. Turns out that the comics are just the language he uses to protect himself, his family and his friends. He comes of age is a most endearing way.

The Secret Garden: Mary Lennox (played by Daisy Eagan)

I'll bet many of you weren't even alive when The Secret Garden made it on to the St. James stage. The beloved children's novel came to stunningly beautiful life (the set was gorgeous), and took itself appropriately seriously. As a result, there were no cloying, smarmy "stage kid" performances. The leading role of the orphaned Mary Lennox was played by Tony winner Daisy Eagan, who set a new bar for child actors that year. Her Mary was a captivating mix of heartbreak, petulance, defiance and, ultimately, a cathartic cry for love and an affection her life had been missing. When this show makes it back to Broadway (soon, I hope) these will be tough shoes to fill.

Summer Bracket 2026: Where Do 21st Century Broadway Musicals Come From? The Final 4

Each summer, we play a Broadway themed bracket game using your votes on a particular topic. This year, the topic is 21st Century Musicals and their sources. Inspired by the relative lack of completely original musicals like Maybe Happy Ending and Two Strangers, we thought this summer we'd settle, for once and for all which musical from the last 25 years is the very best based on another source. 

Summer Bracket 2026:

Musical Sources

The Final 4 

You can see from the bracket above which shows on the left side moved on to this round. This week, we have 4 musicals, all of which are worthy to make it to next week's Championship! May the best musical adaptation win

• Select one show from each pair. Consider the entire production and how well it used its source material to create a new piece of art.
• When you are done all of the pairs (all are required), be sure to tap the SUBMIT button at the end to record your vote.
• The poll is 100% secure and no personal information is collected.

This week's round will close at 11:59 PM on Tuesday, August 4th. (Haven't voted before? No worries! Join the fun this week!)

Thanks for playing along this summer!   

At This Theatre: The New Amsterdam

At This Theatre:

The New Amsterdam

  

Currently in what might be called its "Disney Era," the New Amsterdam Theatre has been entertaining theater-goers on 42nd Street since it first opened in 1903. Over the years, just like the street it lives on, the space has undergone many changes, including a dark period of decay. Most obviously, its famous facade that has included its iconic art deco with clock marquee since the 1930s, didn't always look like that. 
As you can see from the far right photo above, the entrance looked quite different!

Some 123 years ago, this stunning house opened with a revival of Shakespeare's A Midsummer Night's Dream, and over the century was home to a wide variety of plays, operettas and musicals. Among them were productions of Ivan the Terrible (4 or 5 times!), Dr. Jekyll and Mr. Hyde (5 or 6 times), Beau Brummell (many, many times). The huge stage space was perfect for its most famous era, when it played host to 13 editions of the Ziegfeld Follies. It survived the Great Depression, but ceased operations as a legitimate theater in 1937, and didn't reopen until Disney refurbished it to its former state of grandeur and opened with a 1997 concert version of the Tim Rice-Alan Menken musical, King David. It never materialized a fully produced show, but both writers would find much success there with The Lion King and Aladdin, respectively. Other than some one night only concerts of classic musicals, since 1997, the stage has been home only to Disney Broadway productions. I feel very fortunate to have seen all three.

SHOWS WE'VE SEEN THERE: 3

The Lion King, Mary Poppins, Aladdin

    

The Lion King Whole books have been written about this spectacular musical; I'm not sure what I can add to the discourse. But I will say that I sat through most of it with my mouth agape. The theatricality of each panoramic scene was stunning, and thrilling as each unfolded in a unique way. Director Julie Taymor's vision brought the African plains to vivid life, and brought the father-son dynamic to touching levels. But all the charm and delight of the Disney film upon which is based.

 

Mary Poppins Like The Lion King before it, Mary Poppins kept much of the charm of the beloved film, while expanding upon it, and bringing all of it to life in ways that theater can and a movie can not. I will never forget watching Mary take flight and exit over the audience. The dance lover in me thrilled to Gavin Lee's Bert tap dancing literally upside down on the proscenium, and the technician in me marveled at the three story Victorian home that rose up from the stage. It was breathtaking.

 

Aladdin Thanks to a continued long run, I have not been back to the New Amsterdam since we saw an early preview of this show in more than a decade! But it is a hard one to forget. From the cavalcade of costumes and pageantry of "Prince Ali," to the show-stopping "Friend Like Me," stage magic rules the production. But it is true Disney Magic that brought the flying carpet to life in "A Whole New World." I am sure both Howard Ashman and Robin Williams would be pleased that their legacy lives on.