Broadway Musical Logos: 2025-2026 Season (So Far) - The Revivals

I've been asked a lot this season, "why haven't you been reviewing show logos this year, Jeff?" Well, to be honest, it's because I am pretty disappointed in them so far. But, due to popular demand, I will provide my two-cents on each after all. Up first, the season's two new revivals (I'm not counting the returns of Mamma Mia! or Beetlejuice. Both are recycling the original staging and the original logos.). I will start by saying that the original Broadway logos for both of these are among my all-time favorites. Having said that, I am not going to compare them any more than that.

Broadway Musical Logos: 2025-2026 Season

The Revivals

Chess

This one's a partial head-scratcher. Partial because while I don't find it creative, it does make sense to use a photograph of the show's stars as part of the key art. It is a fair hedge for the advertisers. Chess was a huge flop last time around, and using photos of the stars will certainly draw their fans if the title won't. Using black and white seems to add to the gravity and seriousness of the work, too. If you know the show, it suggests the love-triangle aspect of the plot. But for the uninitiated, since they aren't looking at each other, many people will miss that. 

The rest of the logo, and admittedly there's not much more to it, has me at a loss. Chess as a topic for a show has always been a bit of a stretch, but literally nothing about this even hints at the game - not even the title. With a font as boring as the game's reputation and an absolutely ridiculous choice of color, it is beyond me how this was green-lit. And don't get me started on the teeny-tiny "THE MUSICAL" in red. Finally, why is the title font not the same as the rest - or better, why isn't it more substantially different than the rest? Even a couple of chess pieces and a new font couldn't save this, as these earlier iterations prove:

Grade: D

Ragtime

Why oh why couldn't James McMullen come out of retirement to do something really beautiful for this important production. Bless him, at 91, I get it. But damn, what a missed opportunity. Even more egregious is what they came up with. This reeks of rudimentary clip art and Microsoft word art. While I appreciate that the colors are Old Glory adjacent, the red is pretty unattractive, and is saved only by the blue that is close to the green hue of the Statue of Liberty.

Speaking of that, the saving grace of this lackluster show art is the Lady Liberty torch held up by a variety of multicultural hands, all reaching for it. It really is the perfect metaphor for what happens in the show (and in America generally throughout time). But could the title be any less interesting? Not even the Word Art wave style doesn't help. Is it the flag waving?  Uninspiring.

Grade: C-

From Where We Sat: Imperial 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 Imperial Theatre

The Theatre: 

• 249 W. 45th Street
• Current capacity: 1446 seats
• Orchestra, Front and Rear Mezzanine seating

What We Saw There:

• Chess (review HERE)

Where We Sat: 

• Orchestra Right Row G, Seats 18 & 20. The seating in this theater has average leg room, though seat 20 is on the far right aisle so there is a bit more room there. The seats themselves were comfortable and in excellent condition.

What We Paid: 

• $99.00 (Box Office price) These seats are considered partial view. By comparison, the next two seats to our left are $209.00 each. I can't imagine that the view from those was appreciably better - at least not $110.00 difference. 

The Location: 

• Upon entering the theater, we were directed immediately to the right, Aisle 1. Our seats were roughly two-thirds of the way down the side aisle.
• Row G is the seventh row from the stage on the house right side section.

Seat Amenities and Exiting the Theatre:

• These seats are comfortable and well maintained.
• 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 long lobby and out onto 45th Street.  
• We were out of the theater and on our way in less than 5 minutes post curtain call.

So how was the view*?

• The height of the deck is a non-issue from this point. 
• The seat G20, where I sat, was indeed partial view - for probably less than three minutes total. I missed about a minute of two songs when the actor singing was standing on the second level of the set, on the stage left/house right side. Mike, who sat in G18, could see everything that I couldn't.
• Other than those two brief periods, the view was wonderful. We were close enough to see facial expressions and set and costume details were crystal clear. We were also far enough back to fully appreciate the entire staging, especially the lighting, video and projection elements.

The bottom line:

• I would definitely get these seats again. The partial view was worth the reduction in ticket price. Comparably priced seats with a full view are in the rear of the mezzanine section. Having sat up there before, I can definitively say the orchestra seats were a much better choice.

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

Other seating at The Imperial Theatre

• We have seen several productions at this theater and we've sat in various locations in the orchestra, front and rear mezzanine areas. 
• Aside from obvious view differences, the orchestra section seating offers fairly good leg room. The same cannot be said for the mezzanine, particularly the from row of the front mezzanine. The leg room is virtually non-existent, with a wall in front of your legs. The rest of the front mezzanine has decent leg room, and the seats are stadium style so the view is uniformly good. 
• Unfortunately, the more affordable seats in the rear mezzanine are pretty uncomfortable, with not as much room between rows. While the view is full, the stage feels very far away.

REVIEW: Chess

Review of the Saturday, January 10, 2026 matinee performance at the Imperial Theatre in New York City. Starring Aaron Tveit, Lea Michele, Nicholas Christopher, Hannah Cruz, Bryce Pinkham, Bradley Dean and Sean Allan Krill. Music and lyrics by Benny Andersson, Tim Rice and Björn Ulvaeus. New book by Danny Strong. Based on an idea by Tim Rice. Orchestrations by Anders Eljas and Brian Usifer. Scenic design by David Rockwell. Costume design by Tom Broecker. Lighting design by Kevin Adams. Sound design by John Shivers. Projection design by Peter Nigrini. Choreography by Lorin Latarro. Direction by Michael Mayer. 2 hours, 40 minutes including one intermission.

While this season may be low in the number of new musical and new musical revival productions, it certainly isn't lacking in jaw-dropping talent. One need not look any further than the spectacularly performed and cast Chess at the Imperial Theatre. I suspect that come awards season we will see many (if not all) of the principal company nominated for many accolades. It is also thrillingly staged and technically exciting. Some truly amazing work has been done to give one of Broadway's most notorious flops the look and feel of a huge hit. But is this a checkmate? Close, but not completely.

The biggest change to this iteration of the ever-evolving piece is the much discussed "new book" by Danny Strong. Things have been streamlined, the focus has shifted, and story lines have been clarified. In fact, it is in much better shape than his last go at it with a production a few years ago at the Kennedy Center. But, and I think it's a big one, it suffers from a lack of consistent tone. By installing the Arbiter as a narrator and a character, Strong helps guide the audience through the labyrinth of plots - chess tournaments, Cold War manipulation, love triangles, etc. James Bond films are clearer. It turns out that by and large the narration does keep things moving and provides much needed historical context. Unfortunately, many of the asides and literal wink-wink-nudge-nudge directed at the audience offer a humorous bit of repetition with a decided amount of diminishing returns: constant reference to the current political climate goes from pointed, legitimate parallels to a cheap ploy to curry favor with the assumed liberal audience. I mean, I'm pretty liberal and have my feelings about things, but even I was tired of hearing it by the end of the show. Perhaps letting the events of history and the characters in the show speak for themselves would have been wiser. A little subtlety in an otherwise bombastic 80's mega-musical would have been a nice counterpoint and probably more impactful statement.

Fans of the score should be pleased - I know I was. There were some new, lovely orchestrations by Anders Eljas and Brian Usifer, who have retained all of the excitement of Benny, Bjorn and Tim's beloved score while bringing in a modern edge to it all. There are even a couple of newer songs near the start of act two, and a pretty overture as well. "He Is a Man, He Is a Child" gives some much needed heft to the character of Svetlana, and "The Soviet Machine" brings in some context and gives the villainous government officials something to sink their teeth into, too. Not to worry, though. All of Chess' greatest hits are still here, albeit in a somewhat different order. "Nobody's Side" is still powerful, "You and I" and "Mountain Duet" are two of the greatest duets currently on the boards, while "Anthem" and "Pity the Child" are the gold standard in character introspection, and "Someone Else's Story" is still one of my favorite female solos of all time. One hopes, with the updated orchestrations, significant changes, and the dynamic performances of the entire company, that a revival cast recording is done, and soon.

At first blush, Michael Mayer's production seems little more than a staged concert, but it really is so much more than that. True, the orchestra is onstage the whole time, and a good portion of the time, the ensemble sits around the edge of the space observing the action. But as the story evolves so, too, does the staging and elaborate choreography of the company, until you realize this is a fully staged musical. And speaking of that choreography - featuring Lorin Latarro's best work to date - it is complex in it uniformity, kaleidoscopic shape shifting, and dazzling in its arm/hand movement, and it is also clever and not without its surprises and sense of humor. "One Night in Bangkok" has never looked better, nor has it ever been as fun and surprising as it is here. It is the "Endgame" sequence - a mini-musical in and of itself - that is a true coup de theater, providing a good ten to fifteen minutes of breathless, spine-tingling musical theater bliss. The roar of approval from the audience at the end must have been very satisfying for the company. What an ovation!

The deceptive austerity of David Rockwell's scenic design and Tom Broecker's costumes are the perfect canvas for David Nigrini's pointed and expansive projections and use of camera work, and Kevin Adams' exciting lighting design. Combined, the technical aspects of this production add more than a few theatrical thrills.

I really can't say anything negative about the ensemble who are a magnificent whole made up of carefully rendered individuals. I will say I was in awe of the um...limberness of the young women (particularly in "Bangkok") and the um...athleticism of the young men in the ensemble. Latarro makes the most of these dancers, giving them plenty to do, always adding to the moving tapestry of the show.

It is, however, the principal company that really makes this show the hit it deserves to be. It's nice to see Broadway veteran Bradley Dean finally in a role he can sink his teeth into, and as fair-weather friend/enemy KGB guy he nails the cold calculated villainy. He is the perfect match for the smarmy, glib and, well, assholery of Sean Alan Krill's CIA operative. These two are nasty in every delicious way, and they are both clearly having a ball doing what they are doing. As the aforementioned Arbiter, Bryce Pinkham is simply terrific, and exponentially better than he was in the previous staging. He can't help the material he has been given, and gives 110% every single second he is on stage. Then there's Hannah Cruz, a standout in Suffs, and a standout here again, who both dazzles and breaks you heart as Svetana, a victim of circumstance and government control. What a voice!

No production of Chess has any chance of success without three outstanding lead performers, and this revival has that in spades. Aaron Tveit is a performer who never disappoints me, and this is no exception. I found his petulant, arrogant, and profoundly wounded take of Freddie to be his most mature to date. Watching him work his way from fetal position to wide-armed soul bearing in his soaring "Pity the Child" was a privilege to witness. Then there's Lea Michele's angry, conflicted and sweetly in love take on Florence, where the actress has never sounded better and has made the role fit her like a glove. Not since "Mama Who Bore Me" have I felt like I didn't want to blink for fear of missing even a split second of either her "Nobody's Side" or "Someone Else's Story." The real highlight of her brilliant performance is her remarkable chemistry with both Tveit and Nicholas Christopher, who, as the Russian Anatoly, is everything you've heard and more. In a genuinely star-making turn, he is the antithesis of Tveit. He is an imposing presence, but not through larger than life actions. Rather, his is a controlled, introspective performance. Oftentimes, it is in standing completely still with the smallest of gestures or just the tiniest change in his facial expressions, that he says the most. And while his "Where I Want to Be" and "Anthem" are amazing, it is his part in the "Endgame" sequence that was worth the entire price of admission. All three are giving performances that people will be talking about for years to come.

It has taken decades for this beleaguered show to return to Broadway. It may never be the perfect show that everyone wants it to be, but what we have now is a wonder all by itself. Miss this one at your own peril.

📸: M. Murphy

Looking Forward to Winter: December 2025 - February 2026

It is hard to believe we are once again in the winter months. Whoever said time goes by faster with each year you grow older said a mouthful! 

As has been tradition over the years, before we look ahead, we like to take a moment and appreciate what was. This past fall, we were fortunate to have seen five productions, all of which we really loved.  

Off-Broadway, we had the chance to re-visit Heathers, a show that is so much fun, and much improved over its original production. A lot of that, I think had to do with some smart revisions and some excellent casting. And then there was the wickedly funny and surprisingly heartfelt Bat Boy: The Musical, a show completely new to us and Encores! did not disappoint.

On Broadway, we took the opportunity of great re-casting to make another trip down to Hadestown. What a thrill! The new cast was stellar (especially Paulo Szot and Jack Wolfe!) and the production is in pristine shape. Next was the Lincoln Center revival of Ragtime, and I found it to be superior to the original (over-produced), with stunning performances from the entire company, but especially Caissie Levy, Brandon Uranowitz, and Joshua Henry. Finally, we saw an early preview of the utterly charming and hilarious Two Strangers (Carry a Cake Across New York). Christiani Pitts and Sam Tutty (Broadway debut) are the "it" couple of the season to date. Five for five!

And now for the winter months. Will the theater warm us up or leave us cold? Maybe a mix? So far, the pickings are slim... Both shows we are definitely seeing are leftovers from the fall that we didn't get to.

Looking Forward to Winter:

December 2025 - February 2026

 

The Queen of Versailles (Broadway - St. James Theatre)

We were determined to skip this one altogether, what with the star's political statements and the aftermath of all that, but we grabbed the opportunity to catch her alternate, Sherie Rene Scott (with a significant discount). She's gotten great reviews from the fans, and now at least we will probably see all of this season's new musicals. Can it really be as bad as we've heard? Or can it really be deserving of its New York Times Critic's Choice status? We shall see soon enough. Stay tuned!

Chess (Broadway - Imperial Theatre)

Real life interfered, and so we had to miss a later preview performance of this (now) hit revival. How happy are we that we will get to see it soon, after all! Book problems? Don't care! (and maybe it's part of the charm...) The score performed by a cast of Broadway favorites at the top of their game? We can't wait! Don't know what I'm looking forward to most... Lea Michele's "Someone Else's Story", Nicholas Christopher's "Anthem" or Aaron Tveit's "Pity the Child"? Or will it be something else entirely? No matter what I am counting the days until I get to see one of my favorite flops on Broadway!

REVIEW: ABBA and the Cold War: The History of Chess the Musical: Chapter 3

ABBA and the Cold War: The History of Chess the Musical

Chapter 3: The Endgame

NOTE: Our look at Chapter 2 can be found HERE.

And as the title of this last "chapter" suggests, the genesis of Chess comes to its catastrophic conclusion, its Endgame. As throughout its rocky journey, the end of it is as messy as all the rest. There was enough blame to go around - the new book writer, the set designer, an underused writing team, a critic who wouldn't let it go. But the biggest villain of all seems to be its Broadway director. It is amazing it ran as long as it did.

Link to Chapter 3 HERE.

As the previous chapter set things up, it seems director Trevor Nunn was chiefly to blame for what ended up on the Imperial stage. First, he did everything to remove the specter of Michael Bennett's work, erasing virtually all of the dancing, and with it, a great deal of the show's biggest asset, the score. Second, his virtual blackmail of the Shuberts to get his passion project, a revival The Life and Adventures of Nicholas Nickleby, on Broadway proved to be a means to take Nunn from the project. Epic and ambitious, that play was an expensive 29 performance flop. Then there was the mysterious disappearance of the man. He was later found in Australia where he was staging an international Les Miserables. The bigger reason he was really there, I'll leave for you to discover, as well as why he refused to answer calls for help with his own production are ultimately what might have turned things around for Chess. Ego is a hell of a thing. 

History, it turns out, was against Chess, too. The show relied heavily on East-West tensions in general, and the Cold War, specifically. The tide was turning on that front with Gorbachev and his glasnost policy thawing things rapidly. Broadway history was deep in a mini-backlash against British mega-musicals of sorts, the opening that same season of The Phantom of the Opera notwithstanding. The leader of that movement, "The Butcher of Broadway" Frank Rich, had it out for Chess with a particularly scathing review, and later, referencing that show in other subsequent reviews.

I also had to laugh at the misguided last-ditch effort at marketing repair, with their inane "Yes, Chess!" campaign. It was, indeed, silly and nonsensical. I laughed because for years, it has been a running joke between Mike and me. Whenever there's a mention of the show, or especially when there's bad advertising we look at each other and say, "Yes! Chess!"

This section of the documentary seemed to fly by, with some juicy tidbits from behind the scenes provided by scapegoat book writer Richard Nelson and several cast members. They recalled the monolithic stage pieces manipulated by stage hands inside them, guided only by black lights and florescent floor paint, and the badge of honor each earned by getting hit by one. I was particularly charmed by their recall of racially insensitive casting that predated the Miss Saigon scandal by several years.

With the advent of the upcoming revival, it seems the story of Chess continues. It promises a refocused book, and, thankfully, a return to more of what makes it so beloved among musical theater fans - the music. Maybe the success of Mamma Mia! has empowered Benny and Bjorn to have more influence over their work, and similarly, the rise of post-Lloyd Webber Tim Rice in the intervening years will combine to bring Broadway the Chess the the Three Knights have always envisioned.

Despite a rather heavy-handed and stretched thin chess metaphor and a few more cheesy graphics, this well-intended piece wraps things up nicely, and is a valuable film for theater buffs and scholars alike. I heartily recommend giving this a watch.

Friday 5 + 2: 5 Fall Ensemblists + 2 New Fall Actors

Yesterday, we shared those Leading Players we were looking forward to seeing once again this fall. This season's stacked casts are also a gold mine of both remarkable ensemble members and performers that we are looking forward to seeing for the first time.

5 Fall Ensemblists + 2 New Fall Actors

Jason Forbach - Ragtime

We last saw Mr. Forbach in a leading role, actually - Raoul in The Phantom of the Opera. He impressed us then, we are excited to see him bring his vocal talents to the thrilling score of Ragtime. It'll also be great to see him in the featured role of Henry Ford.

Casey Garvin - Chess

Casey Garvin has had our attention ever since we caught his New York debut a dozen years ago in Bare. Since then, we've enjoyed him in a number of Broadway shows, from his debut in Bullets Over Broadway to Some Like It Hot. He is a true triple threat, and he never disappoints. Side note: we'd like to send him our warmest congratulations on his recent wedding!

Sydney Jones - Chess

Ms. Jones gave one of our favorite performances of the past season when we saw her as Betty Schaeffer in Sunset Boulevard, and she was just as captivating in her normal track in the ensemble when we saw the show a second time. I can't wait to see what she brings to the equally intriguing world of Chess.

Kay Trinidad - Hadestown

For us, seeing Kay Trinidad as a Fate in Hadestown will be a re-visit. She is the one remaining Original Cast member left in the Broadway company. It'll be interesting to see how her performance has evolved over 2000+ performances!

Colin Trudell - Bat Boy

As with Casey Garvin, we were fortunate to have caught Mr. Trudell in his New York debut. He played the title role in Emmet Otter's Jug Band Christmas, a delightful holiday treat. He wasn't in the show when we saw Floyd Collins, though we did see him in the audience taking it all in. This fall, we are really looking forward to his Encores! debut.

There are two leading performances that we are very much looking forward to in the coming weeks, and both are Broadway debuts of West End stars.

Sam Tutty - Two Strangers (Carry a Cake Across New York)

When I heard Sam Tutty sing "Waving Through a Window" and "You Will Be Found" from Dear Evan Hansen, I just knew that I had to see him if he ever came to New York. Well, he is and I am! Can't wait to see this charismatic Brit live and in action!

Jack Wolfe - Hadestown

Who didn't instantly fall for Jack Wolfe the minute they saw him in Next to Normal? Sure, he is one handsome young man, with charm and presence to spare. But, damn, this kid is talented. The voice! The complex acting! I know I'd be the first to turn around for his Orpheus! This may be the single performance I am most looking forward to this fall.

Friday 5: 5 ABBA Songs That Belong in a New Musical

5 ABBA Songs The Belong in a New Musical

With Mamma Mia! back on Broadway, and the high profile revival of Chess coming in next month, its seems that ABBA is all the rage on the Rialto once again. (Really, were they ever out of style?) In recent years, Mamma Mia! Here We Go Again was a box office success, and the Swedish super group came out with its newest (and Grammy-nominated) album in decades, Voyage, and went from there to create a new phenomenon, the digital-virtual reality concert/show, called, fittingly, ABBA Voyage. On the Chess front, the show has never really been too far from the public conscience, including the highly successful concert version starring Josh Groban, Adam Pascal, Kerry Ellis and Idina Menzel, and the Kennedy Center staged concert with a revised book, and starring Raul Esparza, Ramin Karimloo, Karen Olivo and Ruthie Ann Miles. It is that version which has progressed to the new Broadway revival starring Aaron Tveit, Nicholas Christopher, Lea Michele and Hannah Cruz.

So, how about a new ABBA scored musical featuring songs that haven't hit the Broadway stage yet? Here are 5 songs from their most recent albums that I think were made for theatricality. And this time, maybe something more dramatic...serious...

 

"The Day Before You Came" from The Visitors (Deluxe Edition)

Scholarly articles have been written about this song (I'm not joking). It deals with serious issues - relationships, feminism - and a purposely vague narrative that could be interpreted in a number of ways (again, I refer you to the articles written about the song). There's plot, defined characters, and devilishly mundane details. Is the narrator talking about life before meeting someone who changed her forever? Or is she being interrogated and giving a minute by minute accounting of her time before the police arrived? Or is it something else entirely? And the song is catchy as hell.

Though it has not been made a part of any ABBA theater work to date, it was included as a bonus track on the Here We Go Again soundtrack, interpreted by no less than Meryl Streep! Here is a lyric video for you to catch every word.

"Don't Shut Me Down" from Voyage

There's setting, plot, flashback, confrontation and transformation. Here we have a narrator at first contemplating what seeing a former lover again could be like, and then how it plays out.

Some of the lyric choices are interesting...Bjorn himself quipped during an album launch interview that the song is told by a robot - an avatar - and sounded funny. Of course, we now live in a post Maybe Happy Ending world. Is it really all that far-fetched?

"Keep an Eye on Dan" from Voyage

Here's another catchy song that lures you in with dramatic possibilities. A mother is leaving her son for a visit with his dad. She is fraught with anxiety and worries what will happen. The titular refrain begs the question: Is her son, Dan, in need of close supervision, and she's imploring her ex to be cautious and observant. And she gives the child reassurances and instructions, too. OR... Is she telling her son to watch out for what his dad, also Dan, might do? Maybe it is both? Neither? Drama abounds with this song.

Be sure to listen to the last notes as the song fades out...

"Two For the Price of One" from The Visitors

Here's a fun, slightly naughty story-song with named characters and a story that builds to a great plot twist. Even a serious musical needs to have its light moments. (No spoilers. Listen for yourself!)

"The Visitors" from The Visitors

Every show needs an enigma song. What is this about? Alien visitors? Ghosts? The musings of a mental patient? A paranoid recluse? The line between hysteria and reality are blurry here. You decide.

BONUS: "Soldiers" from The Visitors

Don't let the catchy, upbeat tune fool you. This is a song that deals with militarism, the human lust for war and our helplessness against it, and the power of propaganda. But there is a warning here, and with it a glimmer of hope. Written in the 80s during the Cold War (like Chess), this song has 2025 all over it.