Broadway Musical Logos: 2025-2026 Season: Titanique

Broadway Musical Logos:

2025-2026 Season: 

Titaníque

I always love it when a show's key art really reflects what the show is about and has a matching tone to the piece itself. As advertising, the public will really know what it is getting. As Broadway logo art, it gives those of us obsessed with such things plenty to chew on. Such is the case with the logo work for Titanique.

Everything about this says, "parody" and "fun," even if you do need some knowledge of the musical to fully get it. Once you know that woman is playing Celine Dion, you really get it. That smug, cocky grin is quintessential Celine. But lest you think this is a rehash of the blockbuster film as told by the Vegas entertainer that dominates the key art, you only need to look at two things. One, she is bursting through the iconic movie poster, with just enough Kate and Leo still in sight. And two, she's wearing a gold sequinned gown and holding a microphone. She did not book passage on the ill-fated love boat.

Then there are the two taglines. The top one addresses both the homage to the film and the identity of the woman to the left. And it is a cheeky play on words! And the second, more traditional tagline very effectively sends up that tradition and plays off the spray of a ship hitting an iceberg and the play on a jazzed up event. Has the word "splash" ever done that much work before?

Another iteration of this horizontal show art wisely plays up the names that they have assembled for this romp. Here again, it works in a twofold fashion. First, after its long off-Broadway run, theater goers in the know will want to know why they should spend Broadway level money on something they saw much cheaper last year. Second, and maybe more importantly, to grab the tourists (and to justify Broadway prices), they need famous names. Plus, the logo geek in me loves that they are in golden ovals, reminiscent of turn of the last century portraits.

Finally, the icing on the cake for me is the terrific choice of title font, slightly upgraded for its Main Stem sailing. Is it the rivets holding the letters together better than the real ship's bolts did? Is it the jaunty nod the Dion's French-ness with the accent over the second "i"? Or is it the fabulous gold the forces the letters into 3D? I'm going to say it's all three!

This is one clever piece of key art. I hope my maiden voyage on the Titanique is as enjoyable later this spring.

Grade: A+

Broadway Game: Musicals Connected

This season's final shows are gearing up to start performances in the coming weeks. When all is said and done, there will be 12 musicals that have opened during the 2025-2026 season, 6 new musicals and 6 musical revivals. What's cool is that each of them has at least one connection to another. Talk about one degree of separation!

Broadway Games:

Musicals Connected

How are each pair connected to each other?

 

1. The Lost Boys/The Rocky Horror Show

    a. Both feature a rock group as central characters

    b. Both feature an actor in a leading role that is making their Broadway debut

    c. Both have or are playing the Palace Theatre

    d. All of the above

 

2. Mamma Mia!/Beetlejuice

    a. Both shows have at some point played the Winter Garden Theatre

    b. Both shows were the end of their National Tours

    c. Both shows include jukebox songs in their scores

    d. All of the above

3. Beaches/The Queen of Versailles

    a. Both have jukebox songs as part of their scores

    b. Both have the same orchestrator

    c. Both feature writing teams that include the authors of their source material

    d. None of the above

4. Schmigadoon!/Two Strangers (Carry a Cake Across New York)

    a. Both feature book writers making their Broadway debut, but not the composer/lyricists

    b. Both feature composer/lyricists making their Broadway debut, but not the book writer

    c. Both shows feature a book writer and composer/lyricist making their Broadway debut

    d. None of the above

5. Chess/Titanique

    a. Both shows feature songs that were Billboard Chart pop hits

    b. Both shows have no credited book writer

    c. Both shows feature at least one principal actor that has won a Tony Award

    d. All of the above

6. Cats: The Jellicle Ball/Ragtime

    a. Both have cast members who appeared in the original Broadway cast

    b. Both shows feature the same scenic designer

    c. Both shows are currently on their second Broadway revival

    d. None of the above

The JKTS Fan Playlist 22-23 Season: Round 3: Almost Famous, Kimberly Akimbo, & Juliet

The JKTS Fan Playlist 22-23 Season:

Round 3: Almost Famous,

Kimberly Akimbo, & Juliet

Each week, we'll create a survey of all the songs from 3 or 4 shows, and you'll select your 3 favorites from each show (only 3, please!). At the end of the week, we'll tally your choices and the top three from each show will go on to the next round, and so on until we've created a Fan Favorite "Playlist" of one song from each show. 

Up first is the 2022-2023 season, which had 6 musical revivals and 9 new musicals. The first 3 new musicals that opened that season, Almost Famous, Kimberly Akimbo and & Juliet are on this week's survey. 

• Complete the survey by selecting up to three songs from each show. When you are done, you must tap the SUBMIT button for it to count.
• PLEASE NOTE: It may ask you for an email address to verify you are a real person, but it is NOT collecting your data.
• If you would rather, you can email us: jktheatrescene@yahoo.com. Put Playlist Round 3 in the subject line. Then name the show and each of your choices.

Have fun and thank you for playing!

Broadway Musical Logos: 2025-2026 Season: Cats: The Jellicle Ball

Broadway Musical Logos:

2025-2026 Season: 

Cats: The Jellicle Ball

It surprises me, pleasantly, that the logo for Cats: The Jellicle Ball is my favorite so far this season. That surprise comes due to how much I loved the original, iconic logo with its yellow dancer eyes and its simple, evocative font. So why do I love this one nearly as much?

First of all, I love how it plays homage to the original. It is primarily black and its featured image is as synonymous with this iteration of the show as the cat-like dancers were with the original. I also appreciate the similar austerity of the font used here, that resembles the kind of lettering that might be used on a flyer for a drag ball. 

I absolutely love the central image - a cat shaped mirror ball! Clever and perfect for a drag ball gathering of the Jellicles. And I can't be alone in hoping that I can buy one at the show's merch Booth, can I?

It meets all of the criteria for a successful show logo: it is eye-catching bright yellow on black (and the opposite) which will immediately draw the eye. Further it is simple and easy to get in a simple, quick glance. Everything you need to know and will likely remember in mere seconds. And the iconography is fun, stylish and memorable (no pun intended).

As a theater lover, I also appreciate how it is both respectful of its roots, but makes its own statement. And I'm not just talking about the title change. The original off-Broadway key art was, I think too close to the original, and leaving one to think it might just be an esoteric overlay of a concept on what is essentially the same show. Only after seeing it, and coupled with extremely positive word of mouth would one think you weren't seeing a rehash of the 80s mega-musical.

Subsequent iterations of the new logo have only enhanced and verified my initial take on it. Now, some of the advertising features a switch of colors - a bright yellow background with black titling. Still other key art shows dancers in poses representative of the ball culture: runway, realness, face, body and Vogue. Even the tilted cat mirror ball suggests that this will set the Cats we think we know on its ear.

Still further versions get even more clever - a simple "Meow" suggests a fun cattiness (pun intended), and the fan is a standard prop at these types of events. Plus, it's fun that they brought back the eyes. I love them all!

Finally, it all comes together, as it should on the marquee of the Broadhurst Theatre.

I must admit that my take on all of this is greatly informed by my recent viewing of the documentary Paris Is Burning which takes a deep dive into the drag ball culture from its roots right up until its release in 1990. It provided me with a new knowledge and understanding that will certainly help me enjoy the revival of Cats even more. If you get the chance to see the film do it.

Grade: A+

Review: Next to Normal (Regional Theater)

Review of the Friday, March 13, 2026 performance at the M&T Bank Exchange at the France-Merrick Performing Arts Center in Baltimore, Maryland. An Iron Crow Theatre production. Starring Allison Bradbury, Danny Bertaux, Brashley Stein, Alexandra Lopez, Jason Zuckerman and Pat Collins. With Kelly Mok, Heather Nicole Reed, Dani Rizzo and Jake Stibbe. Music by Tom Kitt. Book and lyrics by Brian Yorkey. Scenic design and technical direction by Bruce Kapplin. Costume design by Tiffany Zellner. Lighting design by Thomas P. Gardner. Video design by Chris Carcione. Sound design by Zach Sexton. Intimacy direction by Shawna Potter. Musical direction by Michelle Henning. Direction by Natka Bianchini. 2 hours 25 minutes, with one intermission. This production played its final performance on Sunday, March 15, 2026.

Over the weekend, we had the opportunity to experience a couple of theater firsts here in Baltimore. First, we attended the theater in a relatively new venue, the M&T Bank Exchange, a space that was a bank a long time ago, three stories tall, adorned with stunning stained glass windows. Today, it is multi-purpose facility, reconfigurable for everything from fashion shows and weddings to corporate events, and, of course, theatrical productions. (It is attached to Baltimore's Broadway touring house, the France-Merrick Performing Arts Center.) The other first was our first production by the professional theater company, Iron Crow Theatre, Maryland's queer theater company. Their definition of "queer" encompasses a broad spectrum of ideologies, remarkable in its inclusiveness. It was their production of the Pulitzer Prize winning Next to Normal that drew us to this unique group.

While this is not the first local professional production of this show we've seen, it is, unfortunately, the most uneven. Don't get me wrong, here. The fact that they are even attempting this complex piece is admirable. And where it is strong, it is wonderful. But there are a few rather glaring things that take what would otherwise have been amazing down to uncomfortably cringe worthy. First, Natka Bianchini's direction is uneven, with awkward scene transitions that cause a lack of flow, and still other times where side scenes detract from the main action. Yet, there are other times where the staging is inventive and interesting, including the use of a variety of projections and video (designed by Chris Carcione) that offer insight into the thought processes of the struggling main character, and add depth to the ethereal character of Gabe, her son. But then there are moments that feel more community theater than professional - an ensemble (more on them in a minute) employed to fill the stage yet clearly struggling to find their purpose for being there, and little things like having chairs on wheels that the actors lift up to move rather than roll them. Likewise, Tiffany Zellner's costume design lacks any cohesiveness and feel more like last-minute thrift shopping than any sort of character development.

The mixed bag that is the casting is probably the thing that hurt this potentially great production the most. One has to wonder why it was decided to add a four person ensemble to the cast. On paper, I'm sure it seemed like a great way to add to the show - it becomes crystal clear only in the final moments of the last song that all four represent the Goodman family members, when they literally shake hands with each other. In retrospect, there were other hints earlier, though at the time they just felt distracting. Then there's Danny Bertaux, miscast as Dan, the father trying desperately to keep his family together. Slump shouldered and a mostly blank face beyond looking sad when Dan is sad, he carries the tunes of Tom Kitt with little flair, and Brian Yorkey's lyrics with little more than perfunctory expression. That all of the other main characters do so much more than that makes him stick out in all the wrong ways. Brashley Stein, playing the enigmatic Gabe, has a terrific voice, and sings the role very well (his "I'm Alive" is a highlight), and yet his physicality is at odds with his vocal performance. He's more spirit fingers and sweeping gestures than a spirit with controlling gestures. He also looks like he could be Dan's brother than his 17 year old son. To be fair both of the Goodman children look like contemporaries of their parents than their offspring. Finally, there is Pat Collins as doctors Madden and Fine, who might be a perfect Little Shop Mushnik or Seymour, rather than a charismatic "rock star." Still, Collins sings both roles very well and even manages to sprinkle in some lighter, funny bits.

On the considerably brighter side, what there is to recommend here is really outstanding. The small band, led by Michelle Henning, plays this challenging score extremely well, too. Given the sheer size of the space, the sound design could prove difficult, yet Zach Sexton's efforts are laudable, with no balance issues and clarity throughout. Similarly, Thomas P. Gardner's lighting design creates both intimate moments and expansive lighting that somehow includes the audience and makes full effect of the huge space. It also supplements Bruce Kapplin's interesting scenic design which incorporates Carcione's video design. The design elements here are sharp and professional.

The cast also features three real aces. As the lovable stoner Henry, Jason Zuckerman is instantly endearing and carefully crafts a portrait of a loving teen and likely successor to the head of the family years from now. His chemistry with Alexandra Lopez' troubled teen  Natalie is palpable from the first seconds they are together. Lopez deftly navigates the complexities of a girl desperately trying to seem detached from her family, yet hungry for their love and attention. What is wonderful about this pair is how they complement each other as they journey from an oil/water duo to a lovingly dependent couple.

Finally, and most importantly, there is that winning performance of Allison Bradbury as Diana, the central character who struggles with mental disorders - inaccurately diagnosed most of the time - and the overwhelming grief of losing a child. She sings and acts this difficult role with an ease and quality that makes you feel confident that you are actually seeing her go through each trial and tribulation. Her profound sadness and fear of never being a "normal, loving mother" informs every moment of her terrific performance. 

Despite its unevenness, I am so glad to have seen this performance of one of my favorite pieces of musical theater, and especially having discovered an important new (to me, anyway) local company. I already look forward to seeing their future productions.

📸: W. Freeman

The JKTS Fan Playlist 22-23 Season: Round 2: Dancin', Sweeney Todd, Camelot

The JKTS Fan Playlist 22-23 Season:

Round 2: Dancin', Sweeney Todd, Camelot

Each week, we'll create a survey of all the songs from 3 or 4 shows, and you'll select your 3 favorites from each show (only 3, please!). At the end of the week, we'll tally your choices and the top three from each show will go on to the next round, and so on until we've created a Fan Favorite "Playlist" of one song from each show. 

Up first is the 2022-2023 season, which had 6 musical revivals and 9 new musicals. The final 3 revivals that opened that season, Bob Fosse's Dancin', Sweeney Todd: The Demon Barber of Fleet Street and Camelot are on this week's survey. 

• Complete the survey by selecting up to three songs from each show. When you are done, you must tap the SUBMIT button for it to count.
• PLEASE NOTE: It may ask you for an email address to verify you are a real person, but it is NOT collecting your data.

Have fun and thank you for playing!

Looking Forward to Spring: March - May 2026

Daylight is lasting longer. Temperatures are climbing. And the Broadway openings calendar is crowded. That can only mean one thing: spring is here!

Looking Forward to Spring:

March - May 2026

Like we always do, before we look ahead, we take stock of the recent past. The winter was a slow one, theater-wise for us, but that doesn't mean it was necessarily a bad one. We saw just two productions over the past three months, and they really showed the extremes that theater can be. 2025 ended with The Queen of Versailles, a show we really did not like (we weren't alone!), though it wasn't a complete loss. We saw the return of Sherie Rene Scott, which was a great thing. 2026 started with seeing Chess, one of our favorite imperfect shows with a fabulous score and, now, a glorious cast. So winter was a 50-50 for us.

This spring looks much busier, and kind of exciting!

Regional Theater

Next to Normal (Iron Crow Theatre Company - Baltimore, MD)

Long time readers know that any chance I get to see one of my favorite shows, I take it! Add to that, the production is by a local, somewhat new, rapidly growing professional theater company that emphasizes queer inclusion, and they got an easy ticket sale. I'm looking forward to a more diverse cast and an exciting, new (to me) venue! Look for our review very soon!

West Side Story (Washington National Opera - Baltimore, MD)

I am so looking forward to supporting this world class company, displaced by their conviction to not support the Trump regime at the Kennedy Center. How fortunate for us that they found a home at a local Baltimore venue, the Lyric. I've never seen this venerable production done by an opera company, so that's exciting. I'm also looking forward to hearing the WNO orchestra under the baton of Marin Alsop, and starring Broadway's Ryan McCartan and Shereen Pimentel (who we missed in the 2020 Broadway revival) as Tony and Maria.

Off-Broadway

The Wild Party (Encores! - New York City Center)

My favorite LaChuisa show, I have longed to see it ever since I got the chance to see it on Broadway 25 years ago! We are looking forward to the all-star cast and the City Center orchestra. I am especially excited to finally get to see Jasmine Amy Rogers, and to see Adrienne Warren, Jordan Donica, Claybourne Elder and the great Tonya Pinkins in a new role! 

Broadway

Beaches (Majestic Theatre)

Whenever I need a good, guaranteed cry, I pop in the movie Beaches. I will bring a couple of tissues with me to the Majestic to be safe. But if I'm honest, what I've seen and heard so far from this stage adaptation I'm feeling kind of meh about it. Still, I'd like to see what Jessica Vosk can bring to the role made iconic by Bette Midler. We shall see.

Cats: The Jellicle Ball (Broadhurst Theatre)

Just when I thought I'd had enough of the junkyard kitties, along comes this so crazy it works version of the 80s mega-musical. We managed to miss it off Broadway, so I'm glad the transfer happened after hearing so much about it. Hard to believe, but I know very little about this genre of entertainment, so I'm very much looking forward to seeing masters of this craft, while being able to concentrate on them and not the plot or score, which I already know like the back of my hand.

Schmigadoon! (Nederlander Theatre)

From everything I've heard about this property, it should be right up my alley. I will be going into this one blind - I haven't seen or heard anything from this show or the TV series upon which it is based. I don't have Apple TV. Still a parody of classic musical theater sounds fun, and the cast is full of people I love, including Ann Harada, Alex Brightman, Ana Gasteyer, Brad Oscar and McKenzie Kurtz. So this is one I'm pretty interested in!

The Lost Boys (Palace Theatre)

I adored the film, and it reminds me of my youth. Who doesn't need a dose of youth these days? What I've heard of the score, I like, and I'm interested in seeing all of the spectacle. I already love Shoshana Bean and Ali Louis Bourguiz, and it has been fun watching Benjamin Pajak grow up live on stage. Will this break the Broadway vampire musical curse? I hope so! After Queen of Versailles, Michael Arden could use a win.

The Rocky Horror Show (Studio 54)

I am not a Rocky Horror cult member, but I did enjoy its last Main Stem outing. I'm most looking forward to seeing what Sam Pinkleton does with it. And that cast? Damn it, Janet, it is aces! Top of my "Excited to See" list are Luke Evans, Rachel Dratch, Juliette Lewis, Stephanie Hsu and Andrew Durand. I'm ready to do The Time Warp!

Titanique (St. James Theatre)

I'm not sure how we missed this off-Broadway! I mean, I love the movie Titanic, I love Celine Dion, and I love a good parody. But here we are. I'm paying Broadway prices to see something everyone else has already seen. At least I'll get to see some terrific heavy-hitters in Jim Parsons, Deborah Cox, John Riddle and co-stars/co-creators Marla Mindelle and Constantine Rousouli. 

There are several plays that we hope to catch up on this summer. More to look forward to!