Broadway Games: A Great State Fair

Broadway Games:

A Great State Fair 

Thirty years ago, the stage adaptation of Rodgers and Hammerstein's film State Fair opened on Broadway. It was a show I really enjoyed - the cast was amazing, the score was beautifully rendered, and the production was old-fashioned and lavish in all the right ways. How much do you know about this show?

1. What state fair is the subject of State Fair?

    A. Kansas    B. Nebraska    C. Ohio    D. Iowa

2. In what year does State Fair take place?

    A. 1846    B. 1946    C. 1996    D. 1876

3. What is the name of the family that goes to the state fair?

    A. Frakes    B. Williams    C. Franklin    D. Davidson

4. Margy hopes to get a prize for her...

    A. strawberry preserves    B. blueberry pie    

    C. canned peaches            D. pickles

5. The family has entered which animal in the fair for judging?

    A. Their prized cow        B. Their prized bull

    C. Their prized pig         D. Their prized horse

6. TRUE or FALSE: State Fair was considered a revival at the Tony Awards.

7. TRUE or FALSE: Rodgers and Hammerstein were nominated for a Best Score Tony Award.

8. Which original A Chorus Line star was a featured actress in State Fair?

    A. Donna McKechnie    B. Priscilla Lopez

    C. Kelly Bishop             D. Baayork Lee

9. The woman who played the mother in State Fair was married in real life to...

    A. Frank Sinatra            B. John Davidson

    C. Bing Crosby             D. Andy Williams

10. Ben Wright played the son in State Fair. What role is he probably best known for playing on Broadway?

    A. Young Buddy in the first revival of Follies

    B. Jack in Into the Woods

    C. Tobias in Sweeney Todd

    D. State Fair was his Broadway debut

11. Which song is from State Fair?

    A. "Younger Than Spring Time"

    B. "June is Bustin' Out All Over"

    C. "It Might As Well Be Spring"

    D. "The Lonely Goatherd"

12. The same season State Fair opened, all of these musicals opened EXCEPT:

    A. Rent    B. Swinging on a Star    C. Victor/Victoria    D. Big

13. State Fair played in which theater?

    A. The Barrymore        B. The Broadhurst

    C. The Music Box        D. The Imperial

14. One of the stars of State Fair was Andrea McArdle. She has appeared on Broadway in all of the following EXCEPT:

    A. Starlight Express        B. Cabaret

    D. Annie                           D. Beauty and the Beast

15. TRUE or FALSE: State Fair arrived on Broadway following a National Tour.

From Where We Sat: Studio 54

Today, we have the next in our series of seating articles based on many of your emails requests and questions, namely "how were your seats?" Sure, I'm aware of another website that provides a similar service that covers New York theaters, national theaters and concert and sporting venues. I hope to provide a bit more information and insight. That said, if there's anything more you'd like to know or want to share your own experiences please feel free to contact us on social media at JKsTheatreScene.

From Where We Sat:

Studio 54

The Theatre: 

• 254 W. 54th Street
• Current capacity: 990 seats
• Orchestra, Front and Rear Mezzanine seating

What We Saw There:

• The Rocky Horror Show (review HERE)

Where We Sat: 

• We sat in Orchestra Right Row H, Seats 10 & 12. The seating in this theater has above average leg room. The seats themselves were comfortable and in average condition.

What We Paid: 

• $129.00 (Show Discount) These seats, at the Box Office, are $179.00 each. 

The Location: 

• Upon entering the theater, we were directed straight ahead to Aisle 3. Our seats were roughly two-thirds of the way down the far side aisle.
• Row H is the eighth row from the stage on the house right side section.

Seat Amenities and Exiting the Theatre:

• These seats are fairly well maintained for their age and are comfortable.
• The rows of the orchestra are on a fair rake, and it was not difficult to see in front of us. The seats are far enough back that the stage is fully visible.  
• Exiting the theatre is particularly easy and simple from here. Back up the aisle, a quick left, and immediately out onto 53rd Street.  
• We were out of the theater and on our way in less than 3 minutes post curtain call.

So how was the view*?

• The height of the deck is a non-issue as the stage is very low. 
• The seats in Row H allowed an excellent view, though I couldn't see the upstage left corner. I don't really feel I missed much there, as most of the action takes place downstage.

The bottom line:

• I would definitely get these seats again, though maybe a couple of seats over toward center.

* - Your seating preferences may vary, of course. And these seats may not be as ideal for a different production.

Other seating at Studio 54:

• We have seen several productions at this theater and we've sat in various locations in the orchestra and mezzanine areas. 
• Aside from obvious view differences, the orchestra section seating offers much more leg room, while even the back row of the rear mezzanine offers a full view that feels pretty far away. An advantage to the mezzanine is that the seats are virtually stadium style so seeing over and/or around people in front of you is mostly a non-issue. 
• The legroom in the rear mezzanine is literally painful. Those seats are more wallet-friendly. That said, the very first row of the rear mezzanine section is great: excellent view and plenty of legroom, with only a rail curtain in front of you. If I can't get decently priced orchestra seats, those are my favorites.

The JKTS Fan Playlist: The 2022-2023 Broadway Season Finals!

The JKTS Broadway Fan Playlist:

2022 - 2023 Season

The Finals!

After 5 rounds and hundreds of votes cast, here are your final nominees to make The JKTS Broadway Fans Playlist: 2022-2023! 

Below is the final ballot. 

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

This poll will close on April 21st at 11 PM Eastern time. Have fun and thank you for playing!

Broadway Musical Logos: 2025-2026 Season: The Lost Boys

Broadway Musical Logos:

2025-2026 Season: 

The Lost Boys

The best show logos, in my opinion, peak your interest by being catchy to look at and provoke an emotional response. The logo for the new musical The Lost Boys does just that for me. In its evolution pre-opening, my favorable opinion has only increased, and that is definitely a plus in such a relatively weak season of shows and show art!

The title font is really cool, and I think it looks great on the related show merch. The way the letters are a little faded/blurry on the edges makes it look almost like glowing embers, suggesting something sinister, aided by the foreboding black background. The way the "L" in "lost" and the "S" in "boys" looks like it is aflame, or perhaps a glowing orange smoke, adds to the sinister feel of the whole thing.

That wispy orange style carries over the key art's main image, a beckoning hand. That beckoning hand appears from out of the darkness, a ruffled sleeve? bracelet? just visible. That image is especially interesting in conjunction with the tagline, "Become One Of Us." Lost boys - even in the context of its allusion to Peter Pan - isn't a group you want to join, but rather, you join to belong to something, anything to feel less lost. All of this darkness and glowing seems even much more so with that glimpse of blue sky in the upper left corner. Is it hope? Heaven? Or is the darkness overtaking the light, which is soon to be swallowed up. Either way I am intrigued, and I think others will be, too. And intrigue = ticket sales.

Recently, the logo has evolved with the addition of show photos. Colorful and telling, the two together further show the contrast between light and dark, innocence and danger. And yet, the light/innocence also shows a certain strength, while the darkness/danger shows a certain allure. The costumes, the background (especially the orange-ish glow), the overall look of both of them adds to the mystery of the whole thing.

I really love the show art for this, and for the first time this season, a logo has me excited for the show!

Grade: A+

From Where We Sat: The Broadhurst Theatre

Today, we have the next in our series of seating articles based on many of your emails requests and questions, namely "how were your seats?" Sure, I'm aware of another website that provides a similar service that covers New York theaters, national theaters and concert and sporting venues. I hope to provide a bit more information and insight. That said, if there's anything more you'd like to know or want to share your own experiences please feel free to contact us on social media at JKsTheatreScene.

From Where We Sat:

The Broadhurst Theatre

The Theatre: 

• 235 W. 44th Street
• Current capacity: 1160 seats
• Orchestra, Mezzanine, Boxes and On Stage seating

What We Saw There:

• Cats: The Jellicle Ball (review HERE)

Where We Sat: 

• I sat in Orchestra Right Row H, Seat 16. Mike sat in Orchestra Right Row L, Seat 18. The seating in this theater has average leg room. The seats themselves were comfortable and in above average condition.

What We Paid: 

• $118.50 (Show Discount) These seats, at the Box Office, are $159.00 each. 

The Location: 

• Upon entering the theater, we were directed straight ahead to Aisle 3. My seat in Row H was roughly two-thirds of the way down the far side aisle, while Mike's seat in Row L was just past half way down that same aisle.
• Row H is the sixth row from the stage on the house right side section; Row L is the ninth row from the stage on the house right side section.

Seat Amenities and Exiting the Theatre:

• These seats are well maintained and comfortable, if a little tight depending on who sits next to you.
• The rows of the orchestra are on a fair rake, and it was not difficult to see in front of us. The seats are far enough back that the stage is fully visible.  
• Exiting the theatre is particularly easy and simple from here. Back up the aisle, a quick left, and immediately into the side alley which leads out onto 44th Street.  
• We were out of the theater and on our way in less than 5 minutes post curtain call.

The view from H16

The view from L18

So how was the view*?

• The height of the deck is a non-issue from this point. 
• The seat H16, where I sat, was an excellent view, though I couldn't see the upstage left corner. I don't really feel I missed much there, as that's where the onstage seating was, and I could see the same seating configuration across the way. Mike, who sat in L18, had a very similar experience.
• It should be noted that seating for this production is not typical for the Broadhurst, at least down stairs. As staged, I don't think there's any seat where 100% of the action is visible at all times. That isn't necessarily a bad thing, though, as it felt like we were really a part of the event. We were close enough to see facial expressions and set and costume details were crystal clear. We were also far enough back to appreciate the entire staging, especially the lighting, video and projection elements.

The bottom line:

• I would definitely get these seats again. In fact, if anyone were to ask, I'd say house right orchestra is ideal. The upstage judges table/Old Deuteronomy's throne is fully in view at all times. Action directly in front of that is also fully in view. I suspect seeing it straight on would make seeing all of that at the same time would be nearly impossible. Also, by seeing the runway at an angle not only allows you to see all of the competitions, but also the reactions/moves of the cats also watching the action. Finally, from this side, you have a perfect view of DJ Griddlebone's booth and everything that happens there.

* - Your seating preferences may vary, of course. And these seats may not be as ideal for a different production.

Other seating at The Broadhurst Theatre

• We have seen several productions at this theater and we've sat in various locations in the orchestra and mezzanine areas. 
• Aside from obvious view differences, the orchestra section seating offers slightly more leg room, while even the back row of the mezzanine offers a full view that doesn't feel very far away. An advantage to the mezzanine is that the seats are virtually stadium style so seeing over and/or around people in front of you is mostly a non-issue.

Review: Cats: The Jellicle Ball

Review of the Saturday, March 28, 2026 matinee preview performance at the Broadhurst Theatre in New York City. Starring Andre de Shields, Ken Ard, "Tempress" Chastity Moore, Sydney James Harcourt, Dudney Joseph, Jr., Robert "Silk" Mason, Kya Azeen, Bryson Battle, Baby Byrne, Jonathan Burke, Dava Huesca, Junior LaBeija, Leiomy, Primo Thee Ballerino, Xavier Reyes, Nora Schell, Bebe Nicole Simpson, Emma Sofia, Garnet Williams and Teddy Wilson, Jr. Music by Andrew Lloyd Webber. Lyrics by T.S. Eliot. Based on Old Possum's Book of Practical Cats by T.S. Eliot. Scenic design by Rachel Hauck. Costume design by Qween Jean. Lighting design by Adam Honoré. Projection design by Brittany Bland. Sound design by Kai Harada. Magic by Paul Kieve. Choreography by Omari Wiles and Arturo Lyons. Direction by Zhail Levingston and Bill Rauch. 2 hours 45 minutes including one intermission.

When all is said and done, no matter the concept, Cats is still Cats. Except now, it is also so much more. 

In the early 80s, the show was an absolute phenomenon. You weren't a Broadway fan if you didn't see it. Heck, you weren't even considered cultured if you weren't seen at the junkyard. It was a weekly who's who that made the columns that reported who was there. But, like almost everything in American culture, its shelf-life was limited, and soon it was an easy joke on SNL and elsewhere. "Now and Forever" the ads said, and people couldn't help but countdown to its demise. Many of us ardent Cats fans sort of went into hiding about our love for Old Deuteronomy's tribe. 

  

Lately, the grip on re-staging it as a duplicate of the original has begun to loosen. The revival a few years ago started to push at the boundaries. Someone else had a hand in the choreography!? "Blasphemy!" purists screamed. But now, the kitties in their skin tight leotards with their yarn-made tails and fur patches have popped up at a rodeo and a circus instead of a junkyard. Then came Zhail Levingston, Bill Rauch, Omari Wiles and Arturo Lyons, who as directors and choreographers, threw everything we thought we knew about the show out with the kitty litter, and brought the felines to the Ballroom. 

What is remarkable about the whole thing - and there is a lot that is remarkable - is that the concept not only fits perfectly, but somehow clarifies and enlightens the classic. That it is done with almost no lyric changes (a few gender pronouns have been changed), and every note of Andrew Lloyd Webber's iconic score is played as written (though a lot has been added), makes it all the more extraordinary. The connection between Grizabella and her unwitting protege Sillabub is deeper and adds much to the story. Macavity has never made more sense. And some fun, modern touches bring Skimbleshanks into the 21st Century. (No specific spoilers here.) But the biggest change that comes with the concept is this: in the original, we were seeing people as cats; in Cats: The Jellicle Ball, we finally see the cats as people. It is an important and revelatory distinction. 

The show, which opened on Broadway last night, now features the tagline "Come One. Come All." It is emblematic of this production, which, at its core is all about inclusion. Everyone is indeed welcome to the Jellicle Ball, no matter their race, gender or sexuality. That, in and of itself, makes this an important production during these appalling times when inclusion is a point of division instead of unification. And this is exactly why this take on the piece works so perfectly. In case you know little or nothing about Ballroom, you needn't worry about "getting it." Though I'd highly recommend the documentary film, Paris Is Burning, directors Levingston and Rausch (along with Brittany Bland's exciting projection design) tell us everything we need to know about the genre. And, wow, is it exciting!

Presented as a series of competitions, each cat tells their story, then their cat-egory (pun intended and used frequently in the show) is announced and a cat or two joins the current kitty in a runway (catwalk?) dance off. Trophies are awarded and the audience goes collectively nuts... the energy... literally spine-tingling... Not to worry, just as in the original, they are each still trying to get Old Deuteronomy to choose them for a trip to the Heavyside Layer. Here the head of the tribe is played by the sublimely regal Andre de Shields, whose entrance requires a standing ovation. We must, of course, give this living legend (both actor and feline) his due. It's funny that I realized as the evening went on that as each cat finished, I looked right at him to see his reaction. No one holds court like O.D..

Andre de Shields (left) and Ken Ard (right)

Each member of the company, culled from the worlds of Broadway, drag and ballroom, contributes their breathtaking skill sets so generously that the whole thing feels really authentic, so organic, that the outside world disappears and every ounce of energy in the room creates its own electricity. There's original Broadway cast member Ken Ard who keeps the ball rolling from one of the boxes as D.J. Griddlebone. As a fan of the show and Broadway history, this inclusion pleases me greatly. Dudney Joseph, Jr. takes his M.C. duties very seriously as Munkustrap. A cat, that in every production I've seen, has always captured my heart and senses is Victoria, the white cat/kitten; in Baby Byrne's hands, Victoria is memorable in all the best ways, her runway skills are utter perfection. 

(left to right) Junior LaBeija, Bryson Battle and Emma Sofia

A literal Ballroom Legend - he created a House and is featured in the documentary - Junior LaBeija makes it clear why he has such status when he holds us captive and hanging on every word as "Gus" the Theatre Cat (with a loving assist from Bryson Battle's Jellylorum). As cat burglars Mungojerie and Rumpleteazer, Jonathan Burke and Dava Huesca are a delightful pair of mischief makers with song and dance skills in abundance. Nora Schell's Bustopher Jones is the sexiest take on the role I've ever seen (who knew?), and Emma Sofia's playful take on Skimbleshanks - now a Metro conductor - had me grinning the whole time she was on stage.

There were five performances that really stood out for me. First, there was Javier Reyes as Jennyanydots, a role I've always enjoyed, but here, was just so sensational. Then there was Leiomy as Macavity, who was simply divine and totally thrilling - and her purse...!!! Next was the most limber and leggy Mistoffeles of Robert "Silk" Mason, a superb dancer and appropriately mesmerizing presence. Now I know The Rum Tum Tugger is always a popular favorite, but I could always take it or leave it depending on who played it, but here Sydney James Harcourt's (above left) take on the curious cat is next level sexy, charming and hard to take my eyes off. He oozes charm, of course, but the details of his performance when he's on the periphery are what really seals it - the Tugger is a randy cat, but also very protective and loyal.

Finally, there is star-turn by "Tempress" Chastity Moore (right) as Grizabella, heartbreaking as the faded glamour cat, fierce in protecting her dignity, lonely but clinging to hope, and glorious as she is chosen and "reborn," restored to her full former state of beauty. Her "Memory" is one for the books, stirring and powerfully sung. Her ascension to the Heavyside Layer is a stunning one, which has to be seen to be believed. Brava!

It is, perhaps not surprising that the technical elements of this production are 

as brilliant as this fresh take on a legendary mega-musical. It's not over-sized garbage or a giant tire this time, but it does take over the theater, with onstage seating, a runway that goes out into the orchestra seats, with tables and banquettes and full use of the boxes. Credit for all of that goes to one of my favorite set designers ever, Rachel Hauck, who strikes the perfect balance between complete immersion and honoring the theater space. Adding to that are the previously mentioned projections that appear all over the Broadhurst, and the gloriously technicolor club lighting of Adam Honoré, the top tier club level sound of Kai Harada, and the visual feast that is the costume design of Qween Jean. Every single thing about this production is fresh and exciting, reminiscent of that same feeling when the original opened over forty years ago.

Which brings me back to the direction of Levingston and Rauch, which is so all-encompassing and so thrillingly staged it is really a brand new show. I feel like I learned a few things and was welcomed into a new family. But I also loved the touches that they included to pay tribute to the history of the piece. Again no spoilers here, but pay attention to the Overture. The Broadway fan in me felt seen and recognized. And the beautiful tribute to the history (and future) of Ballroom at the start of act two - "The Moments of Happiness" - produced sniffles throughout the house. Even the dazzling choreography of Wiles and Lyons put in more than a few Easter eggs from the Gillian Lynne iconic movement. I have to believe that Dame Gillian would have wholeheartedly adored the Jellicle Ball number if nothing else. (I know I did - I'd pay full admission just to see that again.)

This is truly a "Come One. Come All" musical - not only does it have a Ballroom Culture Consultant (N'yomi Allure Stewart), it has a Sensitivity Specialist (Ann James) and a Gender Consultant (Josephine Kearns). They really have put their money where their mouth is, and we are all the better for it. 

"Now and Forever" no longer feels like a threat. It feels like a promise kept.

📸: M. Murphy, E. Zimmerman 

Broadway Musical Logos: 2025-2026 Season: The Rocky Horror Show

 Broadway Musical Logos:

2025-2026 Season: 

The Rocky Horror Show

It's a shame when a beloved title like The Rocky Horror Show gets such uninspired treatment. It's even more of a shame when that title has so much potential to have really creative key art. I mean, let's be honest, Roundabout Theatre Company never really puts all that much effort into their show logos. Most call to mind early Word Art, and this is no exception.

I don't know that much about billing requirements, but in recent Broadway titular history, it seems that the classics get "re-titled" to include the author's name, i.e. Edward Albee's Three Tall Women and Athur Miller's All My Sons. But does this perennial flop deserve that kind of treatment? No disrespect to Mr. O'Brien, but with one show under his belt (and a flop at that), does he belong as part of the title? I'd say not. Perhaps it is just irony that I'm missing. At least I can understand having director Sam Pinkleton's name attached everywhere you see the logo. He is the current man of the quirky hour, what with Oh, Mary! still packing them in a few blocks away.

The title treatment, font-wise, is is no more than what one might expect. Blood red with drips on some of the letters, the most creative thing about the words is that they used a Word Art ripple effect on them. When the most interesting thing about the key art is the holey fishnet stockings back ground, you know something is seriously lacking. And even then, you'd need to know that the main character, Frank-N-Furter, wears fishnets for it to make sense.

There is something to be said, though, for the way the cast - when included with the logo - is pictured in a neon colorized series of head shots. I like that it makes them stand out and catches the eye. Otherwise, I probably wouldn't pay attention to it.

Grade: D-