Review: The Heart

Review of the Sunday, October 25, 2026 preview performance at the Laura Pels Theatre in New York City. Starring Heidi Blickenstaff, Lincoln Clauss, Nick T. Daly, Drew Gheling, Bre Jackson, Jaoquina Kalukango, Max McKenna, Wren Rivera and Jason Tam. Book and additional lyrics by Kait Kerrigan. Music and lyrics by Ann and Ian Eisendrath. Scenic design by Richard Brill. Video design by Lucy Mackinnon. Costume design by Sarafina Bush. Lighting design by Amanda Zieve. Sound design by Gareth Owen. Music direction by Wendy Bobbitt Cavett. Choreography by Mandy Moore. Direction by Christopher Ashley. 90 minutes, no intermission.

⭐️⭐️⭐️⭐️½⭐

What happens when a hopeful young man tragically loses his life, when decisions must be made under the stress of grief, and when the luck of the draw determines who lives and who dies? Who knew a medical drama could make for such a riveting musical? Well, The Heart  is just that and much, much more. In 90 hold-on-to-your-seats minutes the show, with a tight book by Kait Kerrigan and bop filled EDM score by Ann and Ian Eisendrath, takes us on a 24 hour journey from profound tragedy to uplifting hope that is heartbreaking and heartwarming and everything in between. Equal parts Next to Normal and Come From Away, The Heart is in rarified company in the 21st century musical theater canon.

So wonderfully put together, it is hard to pinpoint exactly where the directing, choreography and technical elements start and stop. Christopher Ashley's gift for making every second count, but never at the expense of emotion, is on full display here. Save for a rare transition where the cast breaks the fourth wall to give us transplant statistics, even the most medical of moments is electrically charged with purpose and drive. Mandy Moore's dance moves are spot on when the music throbs during a pair of club scenes, as one might expect, but there aren't really any dance numbers (thank goodness) to take us out of the tension. Yet, her fingerprints are all over this piece, as computer consoles, gurneys, and various pieces of medical equipment become dance partners for the doctors, nurses and support staff and move as one to get the job done. The transplant process requires a relentless, no-time-to-think precision, and so Ashley and Moore have staged every second of this with that in mind.

Next level video design by Lucy Mackinnon provides insight not only into the moods of the show, but also frequent looks at the medical aspects of what is happening. Charts, graphs, EKG readouts and CAT scan imagery are informative, yet feel poignant and thrilling just the same. An ever present digital clock provides an urgency, and sometimes, an ominous reminder that life is precious every single second. Amanda Zieve's lighting design not only compliments the visuals, but also takes on a life of its own, bringing scientific sterility and gut-wrenching humanity together in a way that never lets us forget that medicine is wonderful, perilous and ultimately, humanity encapsulated. All of this takes place on Robert Brill's staging platform set, a no-frills - wonderfully so - a platform that reminded me of the epic ancient Greek theater amped up for the 21st century. That sums it up perfectly: for all of this show's considerable technical prowess, none of it gets in the way of the most important thing, the human element. 

The powerhouse cast of nine slips in and out of their multitudes of characters with ease (and aided by the quick-change costume designs of Sarafina Bush), and manage clear distinctions sometimes with just a few lines. As Simon, the tragic figure in the center of it all, Nick T. Daly impressed with his ability to emote through a lot of simple observations of what is happening to his body. He has a nice singing voice and blends especially well with Jason Tam, who plays his grieving and somewhat absent father, during the song "Dawn Patrol," a sort of reverie about their common bond over surfing. Simon's mother, a strong (though at times fragile) woman faced with impossible choices, is played by Joaquina Kalukango with heartbreaking sorrow. Her ache is palpable in the far reaches of the theater, and she is simply brilliant in the penultimate gut-punch that is "Marianne's Dream." When I tell you that tears poured forth... Finally, as Simon's girlfriend, an electronica DJ, Max McKenna offers a tearful goodbye in the song "Drift Away," which uses her world of EDM as a metaphor for the stages of grief she is going through. That song also serves as a thematic explanation for the style of music employed throughout the show.

Integral to the whole thing is the medical staff, including the heart surgeon who has built up a wall of sorts by joking his way through the day. Always reliable Drew Gheling plays this role with his patented charm, and is really most surprising when the surgery begins and he is sharply focused and deadly serious. As the patient/transplant liaison, Lincoln Clauss charms us with his entrance - at home singing an operatic aria clad in a towel-turban a la Norma Desmond, and impresses with his compassionate and determined demeanor as his walks the tightrope that means life for many people or their death if he can't convince the parents to donate their young son's organs. Edgy and ultra modern, Wren Rivera is funny in their off-hours gamer mode, and awe-inspiring as they uses those skills when they literally flip a switch as the donor liaison, matching organs with patients. Her "Strike the Match" is a thrilling moment. In what may be a star-making performance, Bre Jackson nearly steals the show with her warmth and benevolence as the care nurse in charge of keeping Simon's body in working order. When she sings to him and talks to him, and takes good care of his parents, it makes the coldest of hearts melt.

Finally, there is Heidi Blickenstaff who plays two central (and opposing) roles. First, as the no-nonsense (one might say cold) ER doctor, she is maddeningly focused and has little time for anything remotely touchy-feely. Of course, it becomes obvious that this is her protective gear - one gets the sense that earlier in her career she let the tragedies affect her... a lot. Second, she is Claire, the recipient, who when we meet her is celebrating her 50th birthday by deciding she's had enough and wants off the transplant list, much to the horror of her friends and family. All of this comes out in a disturbing and powerful number, "No One Gets Out Alive." Then she gets the call, and the race begins. Ms. Blickenstaff is really perfect in both roles and her bold singing style fits both characters like a glove.

When all is said and done, I hope history will look back on this brave show for being a new step forward in the evolution of musicals. Much has been said, and will be I'm sure, about how the music is all pre-recorded (programmed is the better term). But the bigger story here is how exactly perfect the music and EDM genre is so truly perfect for this show. There are pulses and beeps that match the sounds of a hospital and of a heart; there is a harmony between technology and all that makes us human. (The catchy "Keep Up" is a terrific example of just that.) Here, the possibilities are on the right track, I think, where computers aren't taking over, but are amplifying what we can do. And I'd be remiss not to mention the integral work of Wendy Bobbitt Cavett, the musical director, who is manually hitting each programming cue while conducting the vocalists. What an amazing job she does here. Brava!

The combination of acting, staging and design here are nearly flawless, but this is one of those rare shows where I wish there was just a little more. The characters (and there are many) in Kerrigan's book are all sharply drawn and are, to a person, interesting. So it must have been pretty tough to decide what to cut and what to keep. True to its subject matter, there is almost an almost surgical precision to it. While it perfectly brings the dozens of people that by necessity do their singular job and move out of the way for the next participant, there were more than a few characters I would have liked to spend a few more minutes with. A small quibble when considering that this is the best new musical of this young season. 

📸: J. Marcus

Review: A Few Good Men

Review of the Saturday, October 24, 2026 matinee preview performance at the Vivian Beaumont Theater in New York City. A Lincoln Center Theater production. Starring Bradley Whitford, Tom Blyth, Krysta Rodriguez, Stephanie Berry, Nick Blaemire, Michael Braugher, Christopher Gurr, Billy Eugene Jones, Collin Kelly-Sordelet, Michael Oberholtzer, Lavel Schley, Thom Sesma, Daniel Valez and John Zdrojeski. A play by Aaron Sorkin. Composer Gabriel Mann. Set design by Dane Laffery. Costume design by Alejo Vietti. Lighting design by Japhy Weideman. Sound design by Joshua D. Reid. Vocal coaching by Kate Wilson. Movement direction by Ricky Ubeda. Directed by Michael Arden. 2 hours 30 minutes, including one intermission.

⭐️⭐️⭐️⭐️

Everything about the Lincoln Center production of Aaron Sorkin's play A Few Good Men is big. A massive set (on a massive stage in a massive theater) and a huge cast bring out the big themes of the work - justice, loyalty, honor. Despite reported updates made by the playwright prior to its Broadway return, the play remains largely what I remember from the original production, and of course, the iconic film. A detailed recounting of the plot is unnecessary for anyone previously familiar with the piece. Unlike a revival of say Death of a Salesman or any number of musicals, a courtroom drama doesn't really leave much wiggle room for creative big swings. Add to that the parameters of it being focused on the U.S. military, and there's even less room to maneuver. That does not mean, however, that this endeavor isn't worth a visit. To the contrary, it is as taut and provocative as ever. And that is thanks to some deft direction and smart, powerful acting.

    

The cave that is the Vivian Beaumont Theater has been, and will likely always be, a challenging space. It's a damned if you do, damned if you don't kind of thing. Either you play everything on the thrust so more of the seats are full view, but then get criticized for not making use of the whole stage, or you use the whole space and leave patrons on the extreme sides facing in and missing something on either side of the upstage space. Scenic designer Dane Laffery and lighting designer Japhy Weideman have opted for something in between. Action occurs all around the enormous set, center stage with platforms that rise and fall, far down stage with its imposing staircase that seems to end in unseen depths, and even up in the air on a platform that suggests a watchtower. The lighting effectively guides us where to focus our attention, while simultaneously creating moody shadows in the background that suggests nefarious military cover ups and backdoor dealings. Imposing warehouse style windows at the top also add some piercing beams of light on occasion as if enlightening events while watching over everything.

Director Michael Arden has used his experience in staging musicals to good effect here, with groups of Marines marching in formations, imposing in their dress uniforms (designed by Alejo Vietti), standing in silent vigil while also serving as a warning to anyone who dares violate the honor code. Save for an odd moment where he has the lone female main character give a girlish squeal of delight, the performance is admirable for its serious consistency and build up of tension. This is all the more remarkable given that the vast majority of the audience knows in advance what is going to happen. The pace of the piece, as well as the variety of staging areas, creates a theatrical feel without foresaking realism, and it is engaging throughout.

What I appreciate the most about this revival is that none of the actors here are trying to replicate very familiar film performances, instead bringing a fresh take on lines many could repeat verbatim as they watched.

Among the supporting roles, several stand out, including the platoon leader who thinks his truly wicked ways are justified by wearing his Christanity as if it were impenetrable armor, chillingly played by John Zdrojeski. His self-righteous swagger is maddening. Then there is Christopher Gurr, as the end of his career doctor who fudges reports and twists himself into knots to cover things up. Gurr's physicality is remarkable - his body language is so specific you can see him shrink as the guilt for his complicity in a young soldier's death finally wears him down. Holding court, literally, is the stern, seen-it-all, don't-mess-with-me judge played delightfully by Stephanie Berry, with the sass to pull off the few moments of comic relief and still strike fear in anyone who tries anything cute in her courtroom. Finally, there's Thom Sesma, always a reliable and chameleon-like actor, as the officer struggling with maintaining the unwritten order of things and doing what is right. Even from deep in the house, I could see his internal battles, and his part in two powerful moments are all the richer for his work here.

As the defendants in this case, two Marine grunts - one a protective, by the book soldier, the other, a somewhat dim young man who knows the rules, lives by them, and simply can not vary from them - both Lavel Schlay (the former) and Collin Kelly-Sordelet (the latter) give striking performances that make you really understand the need for black and white thinking, while lamenting that neither understands that life is really more of a grey area. The prosecutor, a bit of an arrogant guy at times, as portrayed by Micheal Oberholtzer is made all the more interesting by the actor's sly way of negotiating until he can't and immediately doing the right thing once all is revealed. This mix of extremes really keeps things interesting.

  

The four main characters of this production are all richly played - again without imitating their film counterparts - by actors who are all able to play out this chess game of sorts with a satisfying dexterity. As the charming if wary assistant to the defense team, Nick Blaemire is endearing even as he stands up to his colleagues when necessary or when he has to make sacrifices for his own young family. Krysta Rodriguez shines as the no nonsense JAG officer with something to prove. Her fiery delivery is inspiring even when it creates chaos where there wasn't any. Her physicality is equally impressive, especially when she - a rather small in stature woman - literally goes up against her male counterparts. Rodriguez walks the fine line between antagonizing and righteous with dexterity.

Bradley Whitford is saddled with the unenviable task of taking on the role made famous on film by Jack Nicholson. Fortunately, he doesn't even try an imitation, instead forging ahead with a captivating, stalking presence the reeks of narcissism and a blinding arrogance. Watching him strut around that huge stage and seeming to somehow make it not seem big enough is a true sight to behold. And watching the cracks begin to show as his lies and manipulations are revealed is incredible. But nothing he does is more riveting than watching his face as it finally dawns on him that he is done for. Truly amazing. (And yes, he does that famous line, but not like we've heard it a thousand times - and the audience gasped like it was brand new.)

Finally, in the role made most famous by Tom Cruise is another Tom, Tom Blyth, an accomplished Julliard trained British actor (here without a trace of a British accent). Making his Broadway debut, he is completely captivating as the lazy junior defense attorney assigned to the case because he is known for plea bargaining and not fighting. Everything about Blyth's star turn suggests early on that his character is out of his depth and ill-equipped. But just as he charms us with his boyish good looks (he is stunning to look at),  he turns right around and impresses us with equally effortless smarts. He makes it easy to believe that he really does know what he is doing. We trust him before his partners do, which makes their coming together all the more satisfying.

A Few Good Men may not be covering any new territory with this revival, but it remains as poignant as ever. Doing the right thing isn't glamorous and it shouldn't be. But these days, it's nice to see it play out that way.

📸: E. Madrid

From Where We Sat: Vivian Beaumont Theater

From Where We Sat:

The Vivian Beaumont Theater

The Theater:

• 150 W. 65th Street
• Current Capacity: 1,103 seats
• Orchestra and Loge seating

What We Saw There:

• A Few Good Men (Review HERE) 

What We Paid:

• $89.00 each, as Lincoln Center Theater members. As of this writing, comparable seats at a Saturday matinee are $239.00 each.

Where We Sat:

• Orchestra Right, Row M, Seats 504 & 505.
• The 500 section is the far house right section.

The Location:

• Row M is the 12th row from the stage, 4th row from the back.
• The seats were the 4th and 5th from the aisle.
• Upon entering the seating area, we were directed to the 2nd door from the lobby.

Seat Amenities and Exiting the Theatre:

• The seats themselves are quite comfortably padded with above average leg room. As the seats are stadium style, people in front of us offered no obstacle to viewing the stage.
• The restrooms are located at the farther side of the lobby from our entrance/exit, and down a few stairs.
• The exit to the lobby was maybe 10 feet from seat to door, and as we were close to the top getting out was very easy. We were on our way to the subway in less than 5 minutes.

So how was the view?*

• We had a full view of all of the action, with the exception of the very far upstage left area. Much of the play took place from center stage down to the end of the thrust. The entire far upstage section was dimly lit throughout, suggesting that the "building" was large and went on far beyond where the action was happening. 

* - Your seating preferences may vary, of course, and these same seats may be more or less ideal for a different production.

The Bottom Line:

• I would definitely pick these seats again if I were to see this particular show again. That said, anyone selecting seats farther toward the wall (on either side of the house) would likely miss some of the action on the extreme sides of the stage. This has nothing to do with the scenery or staging per se, but rather the way the seating is permanently arranged.

From Where We Sat: The Culture Club (Off-Broadway)

From Where We Sat:

The Culture Club (Off-Broadway)

The Theater:

• 530 W. 27th Street, 6th Floor
• Current Capacity: 173 seats
• Seating: One level, 3 sections

What We Saw There:

• Heated Rivary: The Unauthorized Musical Parody (Review HERE)

What We Paid:

• We bought our tickets early for $76.71 each before fees; currently, the same seats are $115.55 each before fees.

Where We Sat:

• We sat in Row H, dead center in seats 107 & 108.
• This row consists of tall bar chairs, as opposed to the rows of folding chairs on a slightly raised platform.

The Location:

• Row H is the 8th row in the center section. Row J was not in use for this performance - the chairs were there, but not as a fully configured row.  
• Upon entering the space we were immediately at our row.

Seat Amenities and Exiting the Theatre:

• These tall bar chairs are fully (and well) padded with equally padded chair backs. There was generous leg room between our row and the one in front. Others passed in front of us with no trouble or any need to adjust to accommodate them.
• We were steps away from the bar and merch stand.

• Restrooms were very close as well, just down a small corridor. Of note, sketches of the costume designs adorned the walls outside and inside the restroom (above).
• Exiting was a breeze as we were right by the exit doors. A brief hallway led us to the exit staircase.

So how was the view?*

• We were very close to the action (almost every seat in the place is very close). That said, with most seats flat on the floor, and only some rows in the center on a very short platform, unless you are literally in the front row, you will not see the cast from head to tow. But trust me, you really aren't missing anything important - if their legs and feet are important, they find a way to let us see them!

* - Your seating preferences may vary, of course, and these same seats may be more or less ideal for a different production.

The Bottom Line:

• Save for the extreme sides and seats explicitly marked obstructed view due to beams that hold the ceiling up, there really aren't any bad seats. We were pleased with what we got for the price we paid.

Some general notes about the venue:

• This space is set up such that the room (s) can be completely reconfigured, so seeing a future production there may be a completely different experience.
• Though I am sure they have accommodations for handicapped individuals, we had to go upstairs just to get to the bar/lobby area. We were then escorted to an elevator that took us up to the 6th floor.The whole thing reminded me of going to a speakeasy by way of Disney's Haunted Mansion.
• Upon leaving the show, we were all shown to a back stairwell, and down 6+ flights of very tight and winding staircases. It was a bit uncomfortable.
• We went there on a Sunday evening, and the area was pretty empty. Once you get past The Vessel and The Shed areas, it gets dark - not many street lights were lit. I wasn't alone and didn't feel too uncomfortable. It is a pretty fair distance on foot from the Hudson Yards 7 Line station. We opted to Uber back to our hotel and it wasn't that expensive.

📸: J. Kyler

Review: Heated Rivalry: The Unauthorized Musical Parody

Review of the Sunday, October 25, 2026 evening performance at The Culture Club in New York City. Starring Jay Armstrong Johnson, Troy Iwata, Ryann Redmond, Shelby Acosta and Ryan Duncan. Book, music, lyrics and orchestrations by Dylan Marcaurele. Scenic design by Sully Ross. Costume design by Brendan McCann. Lighting design by Devin Cameron. Sound Design by German Martinez. Musical direction by Mateo Chavez Lewis. Choreography by Brooke and Tiffany Engen. Direction by Alan Kliffer. 85 minutes, no intermission.

⭐️⭐️⭐️⭐️

If I had to make one complaint about Heated Rivalry: The Unauthorized Musical Parody it is this: it goes by way too fast! That is only a bad thing inso much as its rapid-fire delivery is so fast, I worried that I might have missed something while I was laughing my head off. But it is also a great thing. Like any good parody (and this is a very good one), it knows when to go all in for the zing and when to pull back. That said, I am especially happy that I completed a re-watch of the TV series just a few days before seeing it. There are so many details - large and small - cascading off the tiny stage at The Culture Club, that trying to keep track of what is meant without being immediately recalled would have really bogged down my thinking. Frankly, half the fun of this is getting the jokes and moving along with it. After all, when you are watching a hockey game, you want to be able to keep your eye on the puck and the skilled players, right?

I won't belabor this review with too much analysis of Dylan Marcaurele's tuneful and hilarious score, as I think I covered that pretty well in my review of the cast recording (HERE), but I will say that familiarity with that ahead of time added to the experience without deminishing the surprises and cleverness of the whole thing. What isn't on the cast recording is his smart, witty and gleefully naughty book. It reminded me a lot of those old Carol Burnett Show sketches that made fun of soap operas and movies, with the inclusion of classic lines ("I'm coming to the cottage" almost got a standing ovation all by itself) and loving send ups of characters, settings and scenes. 

Even while (rightfully) skewering the TV show's crazy time jumps, little bits of scenery (cleverly designed by Sully Ross) and costume pieces (amusing designs by Brendan McCann) made each scene and each character instantly recognizable. Not a moment is wasted on outright exposition. Of note, too, are the lighting and sound designs, by Devin Cameron and German Martinez respectively. Not only do they fit the piece perfectly, but they do wonders with what has to be a challenging space to work in.

Perhaps the most important part of executing such a complex (and simple) work as this is having a cast that is all on the same page with a full understanding of who they are sending up and respecting the source enough to make fun of it and love it at the same time. With the exception of one actor (and one unwitting audience member enlisted to play Scott Hunter) the cast plays several characters, often in the same scene - with just a wig change or something equally small. To make it work, one has to imagine the incredible amount of rehearsal it must have taken and appreciate how fresh and spontaneous it all feels. 

Among Ryan Duncan's characters, he stands out as the old lady working out with Ilya and Shane at the Marriott gym, and as Ilya's sickly Russian father, bald cap and chest full of medals and all. Shelby Acosta (a favorite from Real Women Have Curves) nails the humorous ally-ship of Maria, Kip's smoothie shop co-worker, and practically brings down the house with a rich, villainous take on Shane's mother. Then there is the spot-on timing of our de facto narrator and guide, Susan, uproariously played by Ryann Redmond, with her singing to the rafters - what a riffer she is! - and her ability to use the audience's reactions as part of her patter, all while keeping the same audience from getting too out of control. She was delightful.

Of course, no treatment of Heated Rivalry would work without two actors that really get not only the ridiculous humor of Shane and Ilya, but also the heart and humanity of the pair as well. Simply, as funny and outrageous as their antics must be, there has to be some element of sincerity and love for the characters they are playing. The heightened reality of these men must be played, um, straight, for it to work. And this show has that and then some with the masterful portrayals of Jay Armstrong Johnson as Rozanov and Troy Iwata as Hollander. 

Johnson's gorgeous voice gets ample opportunity to dazzle us - the same voice that tore up the role of Raoul in Phantom is on full display here. Who knew a power ballad about having a big ass could be so moving? His Russian accent is a riot, and his cheek mole is practically a character by itself. And yes, when he gets down to his skivvies, he is a sight to behold. The same can be said for Iwata, who is so disarmingly charming, you want to either pet him like a cuddly puppy or wrap your arms around him every time he makes an "unintentionally" dumb comment. Trust me when I say he is a genuine master of double entendre. And when he sings, you just feel warm all over. (His "I Can Host" is a small slice of musical comedy heaven.) But really and truly, the best part of the whole thing is the palpable chemistry and sexual tension between them. Sexy and sleek, they are the perfect pair.

The ads offer you a "pucking good time." They are not overselling it. Unauthorized or not, this a great night out. I wonder if they'll do a sequel for season two of the show. If they do, I am there!

📸: A. Ruffer, M. Murphy

Broadway Games: Broadway Starts with "M"

Broadway Games:

Broadway Starts with

DIRECTIONS: Use the clues to identify Broadway related things that begin with the letter "M." (People are those whose last name starts with "M.")

1. A plant is a character, a Best Musical, HelperBots

2. The second level in many theaters

3. Flora the Red Menace, Gwen's Chicago pinch hitter, she's with a "Z"

4. hotel theater, The Drowsy Chaperone, Stranger Things, Damn Yankees (94 & 27)

5. glamorous aunt, Angela & Bea, she coaxes the husk right off of the corn

6. 45th Street, A Few Good Men, Deathtrap, Dear Evan Hansen

7. programs, key chains, magnets, hoodies

8. Anna, alternate Dolly, Fosca, 2 Tonys

9. Coalhouse, Quixote, Stokes

10. Elvis, Jerry Lee Lewis, recording session musical

11. advertisement, theater front, names in lights

12.subscription company, Friedman Theatre, Prince of Broadway, Old Friends

13. 40s comedy, penguins, wheelchair, ego maniac

14. Little Shop, Aladdin, Newsies

15. playwright, Marilyn's ex, witchcraft, salesman

Broadway Games: 3 of a Kind

Broadway Games: 

3 of a Kind

DIRECTIONS: Name the thing that all 3 clues have in common. Good luck!

1. Name the actor who played all of these...

    Charity Hope Valentine

    Lola

    Roxie Hart

2. Name the composer(s) who wrote...

    A Christmas Story

    Dogfight

    The Greatest Showman

3. Name the principal producer of...

    Les Miserables

    Mary Poppins

    Miss Saigon

4. Name the character who appears in all of these...

    Brighton Beach Memoirs

    Biloxi Blues

    Broadway Bound

5. Name the director of...

    Cabaret

    Sweeney Todd

    Grind

  

6. Name the theater where all 3 played...

    How to Succeed in Business Without Really Trying!

    Chicago

    Seussical

7. Name the show that has these characters...

    Daisy

    Myrtle

    Nick

8. Name the role they've all played on Broadway...

    Patti LuPone

    Sutton Foster

    Angela Lansbury

9. Name the person that has all 3 Tony Awards...

    Best Director of a Musical

    Best Lighting Design of a Musical

    Best Revival of a Musical

10. Name the Broadway costume designer of...

    Schmigadoon

    The Great Gatsby

    The Fantasticks (2026)

     

STOP SCROLLING!

Unless you are ready for the answers...

1. Name the actor who played all of these...

    Charity Hope Valentine, Lola, Roxie Hart

Gwen Verdon originated each role in the original Broadway casts of Sweet Charity, Damn Yankees and Chicago.

BONUS: Bebe Neuwirth played all three roles during their Broadway Revivals.

2. Name the composer(s) who wrote...

    A Christmas Story, Dogfight, The Greatest Showman

Pasek and Paul of Dear Evan Hansen fame are also responsible for these three scores.

3. Name the principal producer of...

    Les Miserables, Mary Poppins, Miss Saigon

Cameron Macintosh brought all three smash hits to both Broadway and the West End.

4. Name the character who appears in all of these...

    Brighton Beach Memoirs, Biloxi Blues, Broadway Bound

Eugene Morris Jerome is the central character, narrator and stand-in for playwright Neil Simon in the trilogy.

5. Name the director of...

    Cabaret, Sweeney Todd, Grind

Harold Prince helmed all three Broadway musicals.

6. Name the theater where all 3 played...

    How to Succeed in Business Without Really Trying!, Chicago, Seussical

All three productions started at the Richard Rodgers Theatre. Both How to Succeed and Chicago had their original Broadway productions there as well, when it was the 46th Street Theatre,

7. Name the show that has these characters...

    Daisy, Myrtle, Nick

Daisy Buchanan, Myrtle Wilson and Nick Carraway all appear in The Great Gatsby at the Broadway Theatre.

8. Name the role they've all played on Broadway...

    Patti LuPone, Sutton Foster, Angela Lansbury

As of now, all three have played Mrs. Lovett in various productions of Sweeney Todd on Broadway, though it wouldn't surprise me if someday the answer could also be Rose in Gypsy.

9. Name the person that has all 3 Tony Awards...

    Best Director of a Musical, Best Lighting Design of a Musical, Best Revival of a Musical

Michael Arden has Tonys in all 3 categories: Director: Parade and Maybe Happy Ending; Lighting Design: The Lost Boys; Revival (as producer): Parade and Sunset Blvd.

10. Name the Broadway costume designer of...

    Schmigadoon, The Great Gatsby, The Fantasticks (2026)

Linda Cho designed the costumes for all three, winning the Tony for The Great Gatsby.