Friday 5 on a Wednesday: 5 Favorite Broadway Musical Writers Debuts

Broadway Musical Writers' Debuts

Couldn't wait for the weekend! (Plus, I have a review coming out this Friday!)

Everybody has to start somewhere, right? Here are five of my favorite debuts by Broadway musical writers. So far, two of these shows are still the debuts, but the other three were just the beginning of storied careers. All of them are still writing, so the future is still bright! 

   

5. Waitress - Sara Bareilles

Okay, I had some real problems with some of the content and one of the characters in this show. Frankly, I'm shocked that a nearly all-female creative team let it slide. That said, I found the score to be thoroughly enjoyable. Catchy and modern with a fun mix of traditional-ish show tunes, Ms. Bareilles certainly knows her way with a pop song. I find myself singing "sugar butter flower" when I cook, and the first real song, "Opening Up" is a real banger. It's already been 10 years, but I hear she's working on something new. Chances are it'll be wonderful. What a great way to start!

  

4. Maybe Happy Ending - Will Aronson and Hue Park

Who'd have thought that a musical about robots could bring you to tears? But Aronson and Park's first Broadway effort did all of that and more for me. The lyrics are sharp and thoughtful, the tunes reflective of robotic rigidity. Then, the adventure starts, and as their world opens up, so too, does the score. I can't wait to hear where they take us next!

  

3. Joseph and the Amazing Technicolor Dreamcoat - Andrew Lloyd Webber and Tim Rice

Though a show called The Likes of Us was their first collaboration (1965), Joseph... was their first produced show (1968). Over the years, there have been many takes on this Bible-Pop musical, with maybe the biggest change being the addition of the "Mega Mix" curtain call, which adds a good 10 minutes to the short run time. My favorite version is still the one that premiered on Broadway in the 80s - no one played the Narrator better than Laurie Beechman. And the score remains the pinnacle of the pastiche genre; Rice's lyrics are deceptively simple and delightfully clever. Not bad for a little show that started as a school pageant!

  

2. In the Heights - Lin-Manuel Miranda

In the years since its debut, Lin-Manuel Miranda has certainly contributed to the cultural canon - stage, film, television...amusement parks. There's nowhere he doesn't reach. But for my money, his first effort was, to date, his best. He expanded musical score vocabulary with a new sound while paying tribute to tradition. The influence of that score opened the door for his next works for sure. What really sets this semi-autobiographical piece apart though, is the heart this show has wand wears proudly.

  

1. The Full Monty - David Yazbek

David Yazbek has brought some great big stuff the Broadway in the years since he arrived on the scene. The score for this one certainly showed us what to expect in the future. Catchy numbers, heartfelt ballads, and some wickedly funny, often surprising lyrics are all here in this sweet musical. What has become his trademark - time/place specific sound and rich character songs - all started with this show. He also is very at home with turning movies into musicals, but he does so in such a way that most of the time (Tootsie notwithstanding) he finds imaginative ways to expand and improve the source. With this show, he had me at the witty, thematic, and cleverly titled, "Scrap." I am really looking forward to visiting this one again in the spring!

 

Guilty Pleasures II: The Last 15 Years

Guilty Pleasures II: 

The Last 15 Years

Today's article actually came about because a similar article that I posted 15 years ago was trending last week. 15 years! (Find that HERE.) Time sure flies.

Anyway, over the years there have been several shows that were either not well-received at the time or were shorter run shows that I loved so much. I guess I like movie-based musicals more than I admit to. I guess that's why they are "guilty" pleasures! Here are ten of those:

 

Women on the Verge of a Nervous Breakdown (2011)

What's not to love about such a crazy story full of eccentric characters? Laura Benanti as a coy airhead singing a rapid-fire number, Patti LuPone fellating a lollipop while belting from a bungee cord swing, and a bewigged Danny Burstein driving a taxi cab are but three fond memories I relive every time I listen to the cast recording of David Yazbek's delightful score! 15 years later and I love this flop as much as ever.

 

Lysistrata Jones (2012)

Maybe it was just too clever for mainstream Broadway audiences, but this smart modern take on the classic drama, set in a college, with basketball, cheerleaders, a couple of geeks, and one fabulous goddess delighted me to no end. We loved it off-Broadway, where is was performed in an actual gym, and we loved the upgrade. And how could you not love Patti Murin, Josh Segarra, and Alex Wyse? Oh, and the score is just as much fun to just listen to all these years later, too!

Hands on a Hardbody (2013)

I loved this show so much, I saw it twice - not bad considering it only managed 28 previews and 28 performances! I was thoroughly invested (both times) and, like the rest of the audience, I ooh'ed and ahh'd with every loss of a grip on that red truck. Another score full of great tunes and interesting lyrics. What I remember most is loving Keith Carradine, Keala Settle (what a belt!), and being completely smitten with Jon Rua, Allison Case and, of course, Jay Armstrong Johnson.

Rocky (2014)

You know, I still don't get the outright hate this show got when it was on. Was it a great musical? Not especially. But it was a blast with the Aherns-Flaherty score was really good ("Raining" is one of the best show tunes of that decade) even with that broken nose song. And it was a thrill of a lifetime to be on stage cheering on Rocky! And for the record, Andy Karl looks as great up close as he does in pictures!

Finding Neverland (2015)

Another show that I just don't get why there was so much vitriol aimed at this show. I loved every single thing about it...well, almost. The asides and the Cheers reference took me out of it briefly, but largely, I was enraptured from the minute Tinkerbell flew around during the overture, and audibly sobbed at the devastating final moments. And it had one of the absolute best special effects I have ever seen. Who knew pixie dust and some well placed fans could be so breathtaking?

American Psycho (2016)

I am still pissed that this show ran for such a short time. I found it to be utterly brilliant in every way. Duncan Sheik's score still amazes me, including some really sharp re-interpretations of classic 80s songs ("In the Air Tonight" and "Don't You Want Me?" were particularly thrilling). But the song "Selling Out" is still among my all-time favorite show tunes. Ever. And I'd be remiss not to share my love for Alice Ripley's entrance perched atop a blood red washing machine, and Benjamin Walker's ,um, physique. While everyone was orgasmic over Hamilton, I was (and still am) Team Psycho. 

Amélie (2017)

I went into this one blind, knowing nothing whatsoever about it. So maybe a blank slate allowed me to reveal in its sweetness, charm and unabashed theatricality. But I did go into it knowing I had always enjoyed the work of Pippa Soo, Adam Chanler-Berat and Tony Sheldon. I was charmed and delighted by the whole thing, and still rank "When the Booth Goes Bright" among the best Broadway songs of the decade.

Head Over Heels (2018)

I was only familiar with The Go-Go's biggest hits, not their deep cuts. But if you know me at all, you know I love quirky, and this was one crazy ride! Even more so, I thrive on shows that know what they are and don't shy away from it. The message was poignant, the casting historic, and the staging joyful from the very first downbeat. If nothing else, this is the show that introduced most of us to the 8th Wonder of the World, Bonnie Milligan. 

West Side Story (2020)

I was prepared to hate this. After all, West Side Story is a classic and iconic and one of my all-time favorites. How dare they try something that didn't include Jerome Robbins or "I Feel Pretty"! But this modern take, the staging and the truly jaw-dropping videography made me love the show in ways I had never thought about before. It was the the ultimate re-imagining. Damn you, Covid! I'm thankful to this day that I got to see it (even if Isaac Powell was out that day; I had the honor of seeing Jordan Dobson as Tony - a terrific discovery).

Almost Famous (2022)

Had to believe this already four years ago! Screw the critics, this was one excellent show. The score, the story, the staging...it was awesome from start to finish. IT was the show that brought us Casey Likes and star turns from Anika Larsen, Drew Gehling, Chris Wood and Solea Pfeiffer. We saw it from the front row, and watching how it all came together was a singular experience. 

What are your musical guilty pleasures? Drop us a note on social media! (@jkstheatrescene)

Broadway Games: Name That Show! - Less Famous Songs Edition

If I asked you what shows "Memory," "Willkommen," or "One" come from, you probably wouldn't even hesitate and say, "Cats, Cabaret and A Chorus Line." But can you name a show when you are given lesser known songs from their scores?

HINT: There are shows here from the last century on Broadway - from the 1920s - 2010s!

Broadway Games:

Name The Show!

(Less Famous Songs Edition)

1. What show am I?

• "Life Upon the Wicked Stage"
• "Queenie's Ballyhoo"
• "Kim's Charleston"

2. What show am I?

• "How the Other Half Lives"
• "Only in New York"
• "I Turned the Corner"

3. What show am I?

• "Basketball"
• "Where Can You Take a Girl?"
• "A Fact Can Be a Beautiful Thing"

4. What show am I?

• "Soldier's Gossip"
• "Is This What You Call Love?
• "Letter From Clara"

5. What show am I?

• "Simple Joys"
• "No Tine at All"
• "On the Right Track"

6. What show am I?

• "We'd Like to Thank You"
• "N.Y.C."
• "I Don't Need Anything But You"

7. What show am I?

• "Bon Voyage"
• "Public Enemy Number One"
• "Be Like the Bluebird"

8. What show am I?

• "Joseph Taylor, Jr."
• "What a Lovely Day For a Wedding"
• "The Gentleman Is a Dope"

9. What show am I?

• "English Girls"
• "Capped Teeth and Caesar Salad"
• "I Love New York"

10. What show am I?

• "Welcome to Nowhere"
• "Papi Hears the Ocean"
• "Something Different"

Cast Recording Review: The Lost Boys - Act Two 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 Two Tracks

Tap HERE to check out our review of the Act One Tracks.

How does the score for Act Two hold up against the twists and turns of the plot? Does it add to or take away from the action packed finale? Let's see!

Here are some thoughts on Tracks 15-28, which represent Act Two of the show, plus a Bonus Track of the song "Brother," which was cut during previews:

Track Fifteen: "My Brother is A..." - Sam Emerson, Alan and Edgar Frog and Ensemble

This, I think, is a great example of an effective Act Two opener - a lot of musicals botch this one - it is a catchy tune that gets you right back into listening mode, it reestablishes characters we haven't seen in awhile, and effectively sets up where the plot is headed. It is also quite funny, I mean three comic book nerds being deeply serious... all three actors (Benjamin Pajak, Miguel Gil and Jennifer Duka) do a great job of conveying their characters even though we can't see them.

Track Sixteen: "Wild" - Lucy Emerson, Max and Ensemble

Here is the song I was instantly smitten with. I could have happily sat through an immediate encore of it! Here we have a song that manages to straddle the line between show tune and mainstream hit, between sounding like it is from the 80s (power ballad duets were all the rage) and still has a contemporary sound. And can anyone beat Ms. Bean in the riffing department these days? I especially love how the song builds, both sonically and lyrically. Dissect the lyrics for a deeper dive into Lucy's state of mind, and Max's (and eerie and powerful Paul Alexander Nolan) subversive predatory nature. And who doesn't love the multiple meanings of the title?

Track Seventeen: "Belong to Someone (Reprise)" - The Lost Boys

Like the haunting strings chords that start the song, we are instantly drawn into the mind set of the vampires. As David manipulates/grooms a struggling Michael, the other Lost boys join in unison that suggests a brotherhood Michael feels he is missing. The shift from "I want to belong to someone..." to "now you belong to me..." is chilling. This blends into...

Track Eighteen: "You Belong to Me" - Father, The Lost Boys

... another song about belonging. It starts with the specter of Michael's abusive father (Ben Crawford) and blends into an ominous David telling Michael just where things stand. This is a chilling number with stunning backing vocals by the company - "Do you know who you are?", "Thou shall not...," etc. The ultimate "be careful what you wish for" song. Even just listening to it gives me goose flesh - perfect for the horror that is building here.

Track Nineteen: "War" - Star and Ensemble

What beautiful song! The piano, punctuated with electric guitar and sweeping strings build to an emotional crescendo of fear and resignation, and the effect is perfect for the moment. The real star of this number is Ms. Worries whose range is on full display here. (Maybe she could play Lucy in the revival?)

Track Twenty: "Your Mom's Boyfriend is A..." - The Frog Brothers, Sam Emerson and Ensemble

A callback to the opening number of the act, it sets up the progression from discovering the vampires to a plan of attack against the head of the coven. Short and sweet!

Track Twenty-one: "Lose Yourself (Reprise)" - Lucy Emerson, Michael Emerson and Star

The first climax before the final showdown, brings us an angry Lucy feeling betrayed by her own kids, and then revealing truths between a terrified (and smitten) Michael and Star. The way the music - especially the orchestrations - matches the tone of each beat of the scene is really masterful. And I love how the lyrics bring up the dichotomy of losing yourself and belonging to someone else, a key theme of the whole piece.

Track Twenty-two: "Michael" - Lucy Emerson

A quiet reprieve from the escalating terror and tension, here is a mother recognizing that she may not be able to save her son, and lamenting that their relationship has started to fall apart. Ms. Bean's soft, plaintive vocals only make me realize even more what a powerful vocalist she is. The piano and strings here are simple and lovely.

Track Twenty-three: "Superpower" - Sam Emerson and Ensemble

Here's another song that could go on even longer and I'd be thrilled. That said, it does a lot of heavy lifting, as Sam makes some important realizations through a vocabulary that is singular to his experience of hiding in his comics. He's in the real world now and draws upon those heroes for his strength and his true identity. The imagery is fun and poignant at once. And Mr. Pajak's charm comes right out of the recording and wraps itself around your heart. A queer anthem for today's generation of young theater lovers.

And now things get serious...

Track Twenty-four: "No More Monsters (Reprise)" - Sam Emerson, The Frog Brothers, Michael Emerson and Star

From the very opening of the show, only much more urgent and empowered. The family has strengthened and grown. I love how the same turns of phrase are repeated here, but with a much different meaning.

Track Twenty-five: "The Reckoning" - Lucy Emerson, Michael Emerson, David, Max and Star

The first showdown, as Max tries to lure Lucy into his eternal grasp. She isn't having any of that. Great to hear Mr. Nolan get a chance to really let his voice go to the rafters albeit briefly. I am reminded here of a few moments of his "Gethsemane" in the Jesus Christ Superstar revival several years ago.

Track Twenty-six: "Home (Prelude)" - Lucy Emerson, Michael Emerson, Sam Emerson

Now that the danger has passed, Michael now appreciates what he's had all along, a true home with his mother and brother. They join together as the prelude becomes...

Track Twenty-seven: "If We Make It Through the Night" - The Company

... the soaring anthem that closes the show. A beautiful arrangement of vocals and music. One would have to be numb not to be moved by the sentiment, and if not by that than by the sheer power of this company singing in some over the tightest harmonies Broadway has seen in some time.

Bonus Track: "Brother" - The Lost Boys, Sam Emerson and Michael Emerson

When we saw the show in late previews, this song was already gone from the show, and even most fans agree that cutting it was a good thing for the show, but a real bummer to lose. Well, the company started doing mini stage door concerts (a la Hamilton) and a video of them singing this went viral. How lucky we are that they added it as a bonus track for all posterity. I will leave it for you to enjoy, unfettered by my thoughts.

Grade: A+

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