What Would You See on Broadway 50 Years Ago?

Fifty years ago, the U.S. was celebrating its bicentennial. Times Square was a viper's nest of porn, prostitution and crime. The lights were bright, but dirty. Broadway was, as usual, "dying." Of course.

And yet, the theaters were open and serving a theater-going crowd the escape they craved. Inside those hallowed palaces was a refuge of elegance, glamour and vibrant art. Oases each and every one of them.

What might we have seen this week in 1976?

Broadway 

Time Machine:

What to See in September 1976

First-nighters had quite the week half a century ago! FIVE opening nights in a row!!

  

BROADHURST THEATRE:

Opening Night: September 21, 1976

A Texas Trilogy: Lu Ann Hampton Laverty Oberlander 

2 previews, 21 performances

Starring Diane Ladd and Everett McGill

Opening Night: September 22, 1976

A Texas Trilogy: The Last Meeting of the Knights of White Magnolia 

2 previews, 22 performances

Starring Fred Gwynne and Henderson Forscythe

Opening Night: September 23, 1976

A Texas Trilogy: The Oldest Living Graduate 

2 previews, 20 performances

Starring Fred Gwynne, Henderson Forscythe, Ralph Roberts and Patricia Roe

All three plays by Preston Jones and directed by Alan Schneider were performed in repertory.

EDISON THEATRE:

Opening Night: September 24, 1976

Oh! Calcutta!

5,959 performances

Until Chicago, this was the longest-running musical revival in Broadway history. 8 performers famously bared all in this musical revue that stuck around until 1989!

URIS THEATRE:

Opening Night: September 25, 1976

Porgy and Bess

5 previews, 122 performances

This production presented by the Houston Grand Opera was originally a limited run stop on a national tour. It went on to be nominated for 6 1977 Tony Awards, including for co-stars Larry Marshall and Clamma Dale, as well as director Jack O'Brien. It won for Most Innovative Production of a Revival.

BILTMORE THEATRE:

The Robber Bridegroom

12 previews, 145 performances

Fans of early previews had a chance to catch the first glimpse of eventual Best Actor in a Musical Tony winner Barry Bostwick.

Established hits to choose from included:

SHUBERT THEATRE: 

A Chorus Line 

Now in its 2nd smash year, the one singular sensation was the toughest, most coveted ticket in town.

ANTA PLAYHOUSE: 

Bubbling Brown Sugar 

A very popular musical revue of the African-American songbook.

46TH STREET THEATRE: 

Chicago 

The original production of the now classic Kander and Ebb was doing brisk business. The Bob Fosse helmed production started the legendary Gwen Verdon as Roxie Hart, Jerry Orbach as Billy Flynn, and Lenora Nemetz as Velma Kelly.

BOOTH THEATRE: 

for colored girls who have considered suicide/when the rainbow is enuf 

The original, ground-breaking play has just opened last week to considerable acclaim. Good luck getting a ticket!

ROYALE THEATRE: 

Grease 

The original Broadway production continued its record-breaking run - at this point, nearly the longest-running musical in Broadway history, a record it would set before finally closing in 1980. You may have seen Richard Gere, John Travolta, Marilu Henner and Judy Kaye!

BROADWAY THEATRE: 

Guys and Dolls 

This all-Black revival of the Frank Loesser classic was taking Broadway by storm with Tony nominees Robert Guillaume and Ernestine Jackson leading the cast as Nathan Detroit and Sarah Brown, respectively.

ST. JAMES THEATRE: 

My Fair Lady 

This 20th Anniversary production starred Christine Andreas as Eliza Doolittle, Ian Richardson as Henry Higgins, Robert Coote as Col. Pickering and Tony winner George Rose as Alfred P. Doolittle.

MAJESTIC THEATRE:

The Wiz

Ease on down the road - 44th Street, that is - to catch the newly crowned Tony Award Best Musical (and 6 more Tonys!) soulful retelling of The Wizard of Oz. 

Which shows would you have picked to see back in the day?

Friday 5: 5 Times a Jukebox Musical Number Got Creative

5 Times a Jukebox Musical Number

Got Creative

Depending on who you talk to, jukebox musicals are the scourge of Broadway. I, myself, have a love-hate thing for them. But if I am being completely honest, there are some that are actually quite good, excellent even. The recent closure of long-running Best Musical-winning Moulin Rouge! got me to thinking about the sub-genre. And while I think I'll always prefer something new and fresh, there have been several times where the music and lyrics are familiar to me, but the staging of these songs were so creative and theatrical that they were elevated and wonderful.

  

Before I get to my 5 favorite of those numbers, I would like to shout out to two jukebox dance musicals that certainly found beautiful ways to create some new art out of old material: Movin' Out a Twyla Tharp dance show using the catalog of Billy Joel songs, and the recent modern dance musical based on the album by Sufjan Stevens, Illinoise. Both were critically acclaimed and deservedly so.

American Psycho - "In the Air Tonight" Psycho is a hybrid jukebox musical, using three or four 80s pop hits to punctuate the otherwise original score by Duncan Sheik. The one that sticks out in my memory, though, is the ultra cool re-imagining of this Phil Collins classic. The tempo change, the vocal arrangements and stylized staging made the perfect complement to the bizarre world of Patrick Bateman.

Edit: This was written and posted before the announcement of Mr. Sheik's death. Along with his work on Spring Awakening, I very much admired his work on this score as well. The use of pop hits from the era was totally in keeping with the theme and characters of the piece, but in no way diminished his work on the otherwise rich score.

Our thoughts are with his family, friends and all of the artists who were impacted by him. I know we will miss him very much, too. Thank you, Duncan for everything.

American Idiot - "Extraordinary Girl" and "Wake Me Up When September Ends" In a show full of creative staging, there were two numbers that really stood out for me. The former Green Day song was exhilarating and thought-provoking. Part fantasy sequence - they fly high above the hospital ward in a dance of life, death and love - and part social commentary - you could feel the emotional shift in the audience as the video screens showed EKG blips that changed to Arabic words. The latter was staged to use the context of the 9/11 terror attacks on the World Trade Center. The stunned silence as the familiar song played to visuals of people in business suits tumbling around the stage as sheets of business stationary cascaded from above was palpable.

  

Head Over Heels - "Beautiful" and "Vacation" This Go-Gos musical remains one of my favorite musicals of any type in recent years. Endlessly creative, smart and sexy, it had a point of view and a lot to say. Both numbers I've listed here are remarkable for their way of creating an exciting new context and making a point at the same time. "Beautiful" was certainly one of the lesser known numbers so it actually had to work harder for me to appreciate it, but Bonnie Milligan's delivery and star power elevated this song about the empowerment of self-respect. plus it is as catchy as hell! "Vacation" was one of the band's greatest hits, but here it was given a sapphic context and a fun staging. It was the perfect example of what the whole show was about.

 

Jagged Little Pill - "Smiling" and "Predator" Creating a story from the songs of Alanis Morissette's seminal album was ambitious, and save for some controversy behind the scenes, was a successful look as 21st century family troubles and teen angst. I loved every single minute of it both times I saw it. Ironically (no pun intended, honest) the two numbers that I really loved were the two that she wrote for the show that aren't on the album. I was floored by the staging and story-telling of "Smiling," with its encapsulation of events in a day in the life of an addict. When they started to do a detailed rewind in front of us, my jaw flopped right open. The emotional power of "Predator" was as chilling as it was thrilling. Elizabeth Stanley and Kathryn Gallagher, respectively, gave stunning performances.

Moulin Rouge! - "Chandelier" If you knew how much I don't really care for Sia's music, you'd be really surprised (as much as I am!) that this song made the cut. But I really loved this show's take on the song, and how it was literally involving a chandelier, how it was used in the plot, and how the characters' styles informed how it played out. Plus, who doesn't love an absinthe induced Green Fairy hallucination?

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

STOP SCROLLING NOW!

(unless you are ready to see the answers!)

1. Which musical am I?  Grease

• 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?  School of Rock

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

3. Which musical am I?  Bring It On: The Musical

• 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?  Disney's High School Musical: The Musical

• 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?  Dear Evan Hansen

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

6. Which musical am I?  Mean Girls

• 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? Bare: The Musical (or Bare: A Pop Opera)

• 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?  Carrie: The Musical

• 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?  Heathers: The Musical

• 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?  Be More Chill

• 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.