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

Broadway Games: Back to School!

Broadway Games:

Back to School!

Summer vacation is over and the kids are heading back to school! Broadway has had its share of school days. Can you name the musical set primarily in a high school from the clues provided?

1. Which musical am I?

• Rydell High School
• "Summer Nights"
• Goody two shoes falls for a too cool for school bad boy
• Drive-in movies, school dances, cafeteria antics

2. Which musical am I?

• Horace Green Preparatory School
• "Stick It to the Man"
• Child prodigies meet a substitute teacher
• Battle of the Bands

3. Which musical am I?

• Truman High School vs Jackson High School
• "We Ain't No Cheerleaders"
• Has 2 Pulitzer 'Prize winning writers
• Lots of lifts, throws and pyramids

4. Which musical am I? 

• East High School
• "Get'cha Head in the Game"
• 1 stage musical, 2 TV movies, 1 feature film and 1 musical TV series
• Basketball jocks meet brainiacs on Thespian turf

5. Which musical am I? 

• A Maryland high school
• "You Will Be Found"
• Personal letter therapy
• A lie goes viral

6. Which musical am I?

• North Shore High School
• "I'd Rather Be Me"
• The Queen Bee gets her comeuppance thanks to a school bus
• The home-schooled girl from Africa meets the boy of her dreams in AP Calculus 

7. Which musical am I?

• St. Cecilia's Catholic Boarding School
• "God Don't Make No Trash"
• Star-crossed Peter and Jason
• Romeo and Juliet is the school play

8. Which musical am I?

• A Maine high school
• "Eve Was Weak"
• There's never been a musical like her.
• A bloody (and deadly) prom

9. Which musical am I? 

• Westerberg High School
• "Candy Store"
• The death count includes two underwear clad jocks and one mythic bitch
• The anti-hero leading man seduces his leading lady with a Slurpee from 7-11

10. Which musical am I?  

• Middle Borough High School
• "Michael in the Bathroom"
• Halloween party
• The Squip

Steel Magnolias - The Play, the Film and Dolly

Like so many of you, I continue to mourn the loss of Dolly Parton, a woman who was truly among the best of us. And like many of you, her passing has afforded me the opportunity to revisit some of her terrific films over the past weeks, like 9 to 5 and my personal favorite, Steel Magnolias. 

Steel Magnolias

The Play, the Film and Dolly

In a recent re-watch of that movie, it got me to thinking about my long history with the property, first with a national tour of the original off-Broadway production, then, of course, the film, and later, when I saw its all-star Broadway debut. In addition to that, I actually had the opportunity to direct a production of Robert Harling's semi-autobiographical play, so I am pretty well versed in all things to do with the ladies of Chinquapin Parish. Often, I am asked about how the play and the movie compare. That is both a simple and complicated answer.

Simply, I love both versions for different reasons. They both hit that sweet spot of "laughter through tears." And they are both full of characters I would love to know in real life. Both also resonate with me because I have a sister who I love so dearly, and I know I'd feel devastated if I were to lose her. Mr. Harling felt a pain I hope I never have to feel, and I'm so grateful that he took that pain and made it into a work of art.

Loving the play version has evolved for me. The first time I saw it, it was a fresh experience - the film hadn't come out yet - so the story was full of surprises, both happy and sad. I remember specifically, that the end of the first act left us knowing that M'Lynn and Shelby were going into surgery, and that the start of the second act involved the ladies coming in to Truvy's beauty parlor preparing for a funeral. You didn't know who died - there were references only to "she" - just that one of them didn't make it. That is until M'Lynn walked in. Then you knew. The gasp and sniffles all around me (myself included) are seared into my memory. 

Next, the film came out, and I reveled in the beauty of the scenery, the way the movie was expanded to include all the things the play only discussed, and the interesting juxtaposition between the women I was already familiar with and the men in their lives. The addition of the new material actually enhanced the experience. Seeing Shelby's brothers crying and shattered by their sister's death hit me hard. But it was also fun to actually see Ouiser's dog, to watch Drum and the boys try to shoot the birds out of the trees, to see the church bathed in pink, to actually see the gray icing on the groom's cake... I could go on and on. And I appreciated that Robert Harling is in the film, playing the minister who married and later buried Shelby. How he must have felt...

Then seeing it on Broadway years later, was another experience altogether. Seeing another group of amazing actresses perform the play was a treat of course, but there was no longer the element of surprise. And, though I knew every line by heart, it was disconcerting to hear people around me saying the lines with the actresses on stage. My mouth was shut! Still, laughter through tears is my favorite emotion, and I still wept in my seat.

So... back to Dolly. When I saw the national tour production, the role of Truvy was played by the original - Margo Martindale. She was wonderful, a Southern lady with a no nonsense streak and a certain air of weariness and resignation. You wanted to fight for her and hug her hard at the same time. On Broadway, Delta Burke was Truvy, and she was, well, Delta Burke just like you'd expect her to be. A slightly softer Suzanne Sugarbaker, which was fine, if not exactly right. But on film, Dolly being Dolly was perfection. There was enough acting in the role that it wasn't like watching "Dolly Parton," but I also found myself hoping that that's really how she was! Sassy, smart as a whip, and full of love. I'm not being sentimental when I say that she is my favorite Truvy.

On a final side note, I have to say I love seeing all the social media posts of people making "Dolly's Cuppa Cuppa Cuppa" recipe (with vanilla ice cream to cut the sweetness, naturally). I think she'd be delighted, but I'm also sure she'd be quick to point out that the recipe isn't hers, it belongs to Steel Magnolias. Of course, Dolly will always be the definition of a steel magnolia. I don't know about the rest of you, but I miss her so much.

Broadway 3-peats: The John Golden Theatre

I've had incredible luck with the shows I've seen at The John Golden Theatre. I've seen quite a variety of productions there, and, frankly, I've enjoyed each one that I've seen there. But there was a run of three plays in the 20-teens that really stood out to me - an amazing Broadway 3-peat.

Broadway 3-peats:

The John Golden Theatre

1. A Doll's House, Part 2 by Lucas Hnath (2017): A modern period play sequel that shows us what happens to Nora, the play was highly entertaining. But it was a true study of ensemble acting. True, Laurie Metcalf was the star of the show, and legitimately the leading performance, but the way she played give and take with the rest of the company really played up the group effort. Each person was just as important to the show as every other. With almost no scenery, but with a strikingly physical performance, here is the perfect example of what happens when the quality of the actors chosen trumps their impressive marquee value. All four actors - Chris Cooper, Jayne Houdyshell, Condola Rashad and Laurie Metcalf - were nominated for Tonys (Metcalf won).

2. Three Tall Women by Edward Albee (2018): Next up was another Tony-winning performance by Laurie Metcalf, along with a brilliant Tony-winning performance by the legendary Glenda Jackson. The third woman, a dazzling turn by Alison Pill, was egregiously overlooked. There was so much to love and take in from this amazing revival (though it was making its Broadway debut). I was so enthralled, think I held my breath the entire time. Joe Mantello's direction was brisk, sharp and fat free, and Miriam Buether's scenic design earned each gasp.

3. The Waverly Gallery by Kenneth Lonergan (2018): Another ensemble piece, another all-star company of actors, each bringing marquee names, but delivering bonafide Broadway quality to enraptured audiences, this revival (making its Broadway debut) starred the legendary Elaine May in, to date, the single best performance I have ever seen in decades of theater-going. As dementia took its toll on her character, May vanished completely in a brave, no holds barred tour de force star turn. If, when it was over, it was announced that the actress, in fact, had dementia, I'd have believed it without question. As amazing as she was, it says so much about the rest of the cast, including Joan Allen, Lucas Hedges, Michael Cera and David Cromer was just a brilliant as a family barely holding it together. Brilliant for start to finish; a privilege to have witnessed.

Friday 5: 5 Thoughts on Lining Up

5 Thoughts on Lining Up

It was a hot, humid afternoon when we queued up for a recent matinee of The Lost Boys. It got me to thinking about the first few Broadway shows I saw back in the day, including the August preview of the original La Cage aux Folles also at the Palace, albeit at the entrance on Broadway that no longer exists. That winter of 1983, I also lined up at the Winter Garden for a sold out performance of Cats and an equally busy performance of 42nd Street at the Majestic. My point is that for all three, the weather was extreme. What I don't remember is being forced to wait in a very long line outside.

1. Different security needs. OK, it was a different time and we didn't have to be walked through a scanner, or a random bag check. So I get the need for orderly lines. That said, now that the scanners do most of the work, there shouldn't be delays. It should be as simple as walking through the door.

2. Unnecessary gate-keeping. It is amazing that there weren't pile ups back in the day. Using just the examples above, neither the Winter Garden nor the Majestic have spacious lobbies. However, both also have a decent area between the doors and the seating area - room for bars and merch stands and for milling about before the seating area is open. Why can't they just let people in for heaven's sake? They used to. No bottlenecks created, no cranky patrons already feeling like sheep being herded. Of note, several theaters have almost no space between the doors and the seating area - think the Broadhurst, the Shubert, the Booth, the Golden, the Schoenfeld, etc. Still no uncomfortable herding back in the day. Is control that enticing to the powers that be?

3. Unpleasant patrons. On the flip side of that, maintaining orderly lines sets a tone of organization and standards. Why is that necessary? Well, increasingly, people attending the theater are feeling entitled, bold, and so self-important that consideration isn't even an afterthought for these rude people. Still, those of us with a sense of decorum and reverence for the art form behave as expected, but have to bear the consequences of the bad apples.

4. Overwhelmed ushers. Lining up and monitoring entrance to the house may give the ushers a fighting chance against the rude throngs who shove their way down the aisles to self-seat. Karma is a swift bitch, though. I'll admit to a certain amount of joy when these folks are inevitably in the wrong seats, and find themselves sans Playbills. If lining folks up slows down the masses enough to let the house staff do their jobs I can endorse that choice.

5. Lines, lines and more lines. All this thinking about the line to get in has made me realize just how much lining up one does at a show. The line to get in when you have your tickets. A line at the box office to pick up tickets if you don't already have them. A line to get a drink and/or snack - before the performance and/or during intermission. A line to get merch - before the show, or during intermission, or after the show. Lining up to be seated. Lining up to use the restroom... lots of lines.

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.