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.

Friday 5: 5 Completely Original Musicals I Love!

5 Completely Original Musicals I Love!

(21st Century Edition)

With the announcement of the new musical Two Strangers (Carry a Cake Across New York), a completely original show, it got me to thinking about other such properties that weren't already novels, short stories, movies, or music catalogs, etc. Here are 5 of my favorites that I've enjoyed over the recent years!

Urinetown (2001): The recent Encores! revival of this very unique piece rekindled my adoration for it. So absurd a premise, I had to see this one back in 2001. Turns out that writers Mark Hollman and Greg Kotis, choreographer John Carrafa and director John Rando knew exactly how to make a biting satire AND a send up of Broadway musicals into an exciting night of theater.

  

Next to Normal (2009): This musical made me truly feel electric from its opening notes to its emotional, inspiring finale. That Tom Kitt and Brian Yorkey were able to make a musical about a variety of mental illnesses and their varied treatments, along with profound grief is truly an achievement. I have so many wonderful memories of this production, but what stands out for me is the absolutely fat-free book and brilliantly tight direction by Michael Greif. And, of course, the truly superb cast - and their replacements... I can't wait for a revival!

The Prom (2018): A rite of passage, Broadway flare, and important queer themes combined to make this adorable and riotously funny show a sentimental favorite. Witty and splashy, this tuneful comedy was full of toe-tappers, hummable tunes and production numbers, The Prom was aptly described as "musical comedy heaven!" A principal cast of personal favorites (I'm looking at you, Beth, Brooks, Christopher and Angie) and an exiting youthful ensemble were all icing on this fabulous cake!

Shucked (2023): I'm not particularly fond of corn, and I'm even less fond of old-fashioned style country music. So imagine my utter shock at how much I loved this show! I love a show that is smart and clever without overdoing it, and this little musical had me smiling from ear to ear (pun intended) and cheering for each song! Not since Hairspray, has director Jack O'Brien shown such a knack for musical comedy, and with such golden material by book writer Robert Horn and a delicious score by Brandy Clark and Shane McAnally, he had it made. Of course, when thinking about the many delights of this production, I'd be remiss not to mention the ground-breaking performance of Tony-winner Alex Newell. Brilliance all around!  

Maybe Happy Ending (2024): Who knew that a sci-fi musical about robots could be so utterly charming, genuinely sweet, and deeply affecting? And yet writers Will Aronson and Hue Park, along with director Michael Arden and a brilliant design team did just that. Romance, adventure, a sense of humor and an instantly hum-able score plus an amazing company of actors are the perfect combination for musical theater bliss!

Will Two Strangers join this list of original wonders? I hope so!!

Friday 5: 5 as Good or Better Replacements

It seems that replacement actors are in the news a lot these days. There have been/will be several high profile role take-overs in the recent past/near future. John Proctor is the Villain has a new leading lady, as does this year's Best Play, Purpose. Chicago is a revolving door of newsworthy new faces. Just yesterday, Hadestown announced an upcoming complete change in principal roles (and I am definitely not missing them!). Heck, with Hamilton's 10th anniversary celebration, Playbill has showcased replacements (and understudies and alternates/stand-bys) of all the principal roles in a pair of pictorial essays. 

That same publication also ran an article about shows with new lead actors just last week (HERE). In that story, Andrew Gans recalls the time when Betty Buckley replaced Glenn Close as Norma Desmond in the original production of Sunset Boulevard following the latter's award-winning run. I've written about that very subject myself, as well as my love for the replacement cast of Kiss of the Spider Woman. That article got me to thinking about other actors who took over for acclaimed performances. And each of these were as good - maybe even better than - as the originals.

5 as Good or Better Replacements

(As good) Heidi Blickenstaff as Mary Jane Healy in Jagged Little Pill - originated by Elizabeth Stanley

Here's a no losers situation. Both Stanley and Blickenstaff were absolutely brilliant, and I am so thankful I got to see them both. On any given day (and hour?) I might say I prefer one over the other. But it's like asking a parent to choose their favorite child. I'd give anything to see them both again!

(Better) Sandy Duncan as Roxie Hart in Chicago - originated by Ann Reinking

From the moment she appeared, Ms. Duncan had the sold out Shubert Theatre audience eating out of the palm of her hand. She was mesmerizing: the full package of song and dance, comedy and drama. Her mess of blonde hair, her legs for days, and her megawatt smile made me want to shout, "NOT GUILTY!" What an unforgettable performance, with no trace of Gwen Verdon to be seen. (Ann was a legend, but she sure was like Gwen as Roxie.) 

(Better) Andrew Barth Feldman as Evan Hansen in Dear Evan Hansen - originated by Ben Platt

I've made no secret of my disdain for this show, and the title role's originator. And while my doubts about the property remain, Feldman's turn brought me to tears as I was thrilled by his raw, honest take that made me realize I was seeing the birth of a new star. Free of overacting and hyperbolic singing, this Evan Hansen was what he always should have been: a conflicted kid, in over his head and desperate to survive.

(Better) Michael C. Hall as the Emcee in Cabaret - originated by Alan Cumming AND (Better) Hedwig in Hedwig and the Angry Inch - originated by Neil Patrick Harris

Here's a two-fer for you! Maybe he's the 21st century's Best Replacement actor. He takes queer androgyny to new levels in this pair of roles. He was creepy and yet endearing, sinister yet sexy, bawdy yet oddly sincere as the Emcee. Over the years, I've gotten to see many takes on this role, including the OG, Joel Grey, and in this revival, Alan Cumming. But it is Hall's performance that mind keeps going back to.

Similarly, I've seen my share of Hedwigs, including Neil Patrick Harris and Darren Criss. Both were wonderful and brought different things to it, but it was Hall who impressed me the most. He was the only person I've seen don the wig and completely disappear. With the others, I never quite forgot that they were playing a part.

(Better) Karen Morrow as The Princess Puffer in The Mystery of Edwin Drood - originated by Cleo Laine

In the above production still, she's number 2 in the rogue's gallery from Drood. In what ended up being her final Broadway performance (to date, anyway), I had the privilege of seeing Ms. Morrow's legendary brassy delivery, her gasp-inducing belt and perfect comic timing. There's a reason she's a true Broadway (and film and TV) icon. If you've never heard of her, do yourself a favor and do some research. Proving just how rich Rupert Holmes' Tony-winning book and score is, she made the part completely her own, and not at all like that of Laine's star turn in the same role. And she was a perfect match for George Rose's Chairman and Donna Murphy's Drood/Datchery (another amazing replacement performance).

It has not escaped me that each of these replacements took over roles that were Tony-winning or Tony-nominated. I think that says a lot about both the original and the replacement.

Friday 5: 5 Iconic Props of the 2024-2025 Season

If I said, "rolling pin and chaste silver razor" or "a cow as white as milk, a cape as red as blood, hair as yellow as corn, a slipper as pure as gold," you'd probably know right away what Broadway show to which I am referring. These props have become synonymous with their respective productions. 

Over the years there have been many. Heck, just looking over the shows currently playing there are several. The genie's lamp is so iconic it is part of Aladdin's logo. Hadestown goes even farther - that red flower is not only on the Playbill cover, it adorns the outside of the Walter Kerr Theater! Then there's the golden quill from & Juliet, the green elixir from Wicked, Eliza's letter from Hamilton, and Ponyboy's journal from The Outsiders. At least some of those have achieved Sweeney Todd levels of notoriety, right?

Each season, I am always curious to see what will become the latest additions to the "Broadway's Iconic Props" list. Here's what I think they might be from the season just ended:

5 Iconic Props of the 2024-2025 Season

5. John Proctor is the Villain: Copies of The Crucible: Since Arthur Miller's classic figures so prominently in this play (and its title), it would seem odd not to have the scripts appear in the show. Every character in the play has a copy in their hands at least once. Very meta. 

4. Oh, Mary!: The Bucket: Ok, so it is gross, but completely necessary in this zany Tony-winning play. I won't go into details here, but if you know, you know!

3. Sunset Blvd.: The cameras: Everyone in the show had to be ready for their close-up! Given the way this revival is presented, this inclusion shouldn't be a surprise. I'll admit that before I saw it, I was prepared to be annoyed by them getting in the way. Now I can't imagine it without them. 

2. Death Becomes Her: The Potion Vail: This little purple vial is so important to this show, it not only appears in the show, and is part of the show logo, but it later shows up as a big set piece! Did the Wicked vial walk so this one could run?

1. Maybe Happy Ending: The Firefly Jar: That big jar starts out as a money holder, then transforms into a habitat for Claire's beloved fireflies. It is part of one of the most beautiful scenes of the entire season. I love that this is Claire's connection to nature, just as HwaBoon is Oliver's. Even Helperbots need life to make them feel whole.

A Special Note About HwaBoon: I'm betting many of you are thinking, "Jeff, how could you not pick the breakout prop of the year, HwaBoon?" Well, that's because he's come out as a character, NOT a prop. He even posted a pic from his dressing room with his script (left). You may have seen that he's also been getting around town, visiting Audrey II at Little Shop of Horrors, and as recently as last week, he visited the grasslands at The Lion King. I'd like to see Mrs. Lovett's rolling pin do that!

Friday 5: 5 Favorite One Act Musical Flops

5 Favorite One Act Musical Flops

5. Glory Days (2008 - 1 performance) Yes, I actually saw this show - prior to Broadway - and I really enjoyed it. The performances were solid, including that of Andrew C. Call, who I have enjoyed in several shows before and since Glory Days. Maybe it's a guy thing, but an impromptu high school reunion of old buddies hit me in all my feels.

4. 13 (2008 - 105 performances) Several of these youngsters have gone on to big things, so that alone makes having seen this one a thrill. Graham Phillips has grown up on several TV shows I've enjoyed, and has certainly come into his own on stage recently, including a current run in Little Shop of Horrors with 13 cast mate Elizabeth Gillies. Al Calderon  is currently on Days of Our Lives, Eamon Foley is making his mark as a director and choreographer, and Allie Trimm has a sustained Broadway career, including stints as Glinda in Wicked. But who knew I'd be maybe 20 feet from someone who is now one of the most famous people in the world, Ariana Grande? Oh, and the show was charming.

3. Swept Away (2024 - 48 performances) Dark and stormy, literally and figuratively, this show is one I'm so glad I got to see. It's a shame that the current Broadway economic climate allows so little wiggle room for gaining an audience. Still, it was an emotional and mental exercise definitely worth my time. Plus, a chance to see John Gallagher, Jr. and Stark Sands at the peak of their abilities was one not to be missed. 

2. The Story of My Life (2009 - 5 performances) I've often written about my love for this little, charming and devastating two-hander. There wasn't a dry eye in the house, and it remains one of my most cherished theater memories. "The Butterfly" is one of the best songs in all of the 21st century. It was so good, they made a book out of it!

1. The Scottsboro Boys (2010 - 49 performances) I could make a strong argument that this show (like so many of the Kander and Ebb oeuvre) was way ahead of its time, and history will show this to be one of the - if not the - greatest musicals of the first quarter of the century. Headed by Colman Domingo, John Cullum and Joshua Henry, the cast was flawless. The material was uncomfortable, but the show was energized and entertaining. In that way, it reminded me of Cabaret, Chicago and The Visit (another ahead of its time shows).

I am so grateful that I had the chance to see each of these. Each one expanded my view of what musicals could be. And I don't think it's the last we've seen of any of them, either. 

Friday 5: 5 Favorite Charles Strouse Songs

Yesterday brought the sad news that Broadway composer Charles Strouse passed away at age 96. Chances are that even though you may not know his name, you've heard his music. Three of his shows were Tony Award winning Best Musicals. You might have heard of them: Annie, Bye Bye Birdie and Applause.  As great as his biggest hits were, his flops were just as accomplished. As musical theater lovers, we are all that much better for his contributions.

Thank you, Mr. Strouse. RIP

5 Favorite Charles Strouse Songs

"We'd Like to Thank You" from Annie (Lyrics by Martin Charnin)

This choice probably surprises you, but "Tomorrow" and "It's the Hard-Knock Life" are just too obvious. Instead, I love the cynical meaning of the song wrapped up in that catchy, big show sound. The juxtaposition of the Hooverville-ites and the music is just delicious. Family-friendly to the ear, biting social commentary for the brain. Love it!!

"One Hallowe'en" from Applause (Lyrics by Lee Adams)

The second of three shows he composed that won Best Musical, this score is a no skips for me. Sure, it's a bitchy, mod take on the classic film All About Eve, and Bacall's vocals are iffy at times, but it's the consistently catchy, moody music that really sells it. So why this short solo number? Because it is a perfect character piece - defiant, slow-building, and packs a wallop even when the music takes a halting pause.

"Normal American Boy" from Bye Bye Birdie (Lyrics by Lee Adams)

Here is the classic show that put Strouse and Adams on the map. A score full of tuneful toe-tappers, on any given day I could put any one of those songs on this list. Like his later score for Annie, his music is sweet Americana, but with a great undercurrent of seriousness and a healthy cynicism. I chose this one for exactly that combination.

"Busy Night At Lorraine's" from Nick and Nora (Lyrics by Richard Maltby, Jr.)

I didn't see this show - not many did - but the score is one of my favorites. In this number, Strouse (with stunning orcheatrations by Jonathan Tunick) gives us appropriate Thin Man 30s film noir undercurrents with Broadway brassiness, and uses pizzicato strings to highlight the wordy delivery of Maltby's lyrics and oboes to add urgency. The whole thing is catchy, and if you close your eyes, you can just picture what is going on. It may have only lasted for 9 performances, but it earned its Best Score Tony nomination. 

"Greenhorns" from Rags (Lyrics by Stephen Schwartz)

This is the show that walked so that Ragtime could run. This epic number brings together classic European styles and American ragtime. Strouse goes all in with the tune that utilizes all sections of an orchestra, gorgeous horns and woodwinds, driving rhythms and an ominous use of time and key changes. This whole score is a winner.

Friday 5: 5 Takeaways from the 2025 Tony Award Nominations

With so many great musicals, plays and revivals this season, there is simply no way that every deserving person and production could make the cut. I am glad I'm not on the nominating committee! But still, there are bound to be some happy surprises and puzzling omissions. Here are a Friday 5 list of takeaways from yesterday's nominations announcement:

5 2025 Tony Nominations Takeaways

SINCE THE NOMINATIONS ANNOUNCEMENT:

    

1. We are super excited for all of the shows we still have to see!

We can't wait to see Buena Vista Social Club, Operation Mincemeat and Real Women Have Curves. With a combined 16 nominations, there's a lot to assess. But all are shows that we wanted to see well before the nods were announced, and we are still considering Boop!, John Proctor is the Villain and Pirates!

2. We are thrilled that some of our favorite supporting actors made the cut!

Oftentimes, some of our favorite featured performers don't get much Tony love. It's always a crowded field, and this year was particularly bountiful with excellent choices. We were especially thrilled to see both Jeb Brown and Julia Knitel recognized for stellar work in Dead Outlaw, and Taylor Trensch's superlative work as Skeets Miller in Floyd Collins. While the first two artists are relatively new to us, we have been fans of Taylor's for years, having seen him in every role he's ever originated on Broadway, as well as off-Broadway's Bare. It is so rewarding as a fan to watch an actor grow like this. Which brings me to...

  

    

3. We are excited to see actors we've long followed finally getting their due!

We have been so fortunate to have seen each of these actors several times and have been chagrined when they've been left out in years past. But no more! Henceforth, they shall always be (at least) "Tony Nominees": Darren Criss (Maybe Happy Ending), Andrew Durand (Dead Outlaw), Jeremy Jordan (Floyd Collins), Conrad Ricamora (Oh, Mary!), and Joy Woods (Gypsy) among others.

 

  

4. We are disappointed at some omissions and relieved that some long gone shows weren't forgotten!

Some of the most glaring oversights for us were: the charming Helen J. Shen, half of the heart of Maybe Happy Ending, the only one of the power trio of Sunset Blvd., David Thaxton, and the magnetic and wide-ranging interpretations of Lea Salonga in Stephen Sondheim's Old Friends. And what about the exquisite sound and stunning sets of Redwood, or the most thoroughly engaging performance in Romeo + Juliet by Kit Connor.  On the other hand, we were happy to see that Rachel Hauck's breathtaking shipwreck in Swept Away was not forgotten, not to mention the recognition of The Hills of California, English and the soon to be seen on PBS Yellow Face. As unfortunate as it is that everyone can't be recognized, it's pretty great to have a season with so many excellent choices.

5. We are so thankful...

that we aren't nominators or Tony voters this year! I would never get my ballots turned in. How could I possibly choose from all these delightful choices!

Now let the guessing, betting, and complaining begin!