Broadway Games: 2024 - 2025 Broadway Musical Logos

It's been a BIG season for musicals this season - 14 new musicals and 6 musical revivals to be exact. Some have come and gone; still others are just now arriving. And now, logo lovers, it is your time to shine!

Broadway Games:

2024 - 2025 Broadway Musical Logos

Can you identify each musical that opened this season from the piece of their logo below? Good luck!

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2024 - 2025 Broadway Musical Logos: Dead Outlaw

We end this season of show art with the logo for the last show to open: Dead Outlaw. An acclaimed off-Broadway transfer, this musical tells the true story of a man who was more famous after he was dead than he ever was when he was alive. Will the advertising imagery keep this alive on Broadway? We think so.

2024 - 2025 Broadway Musical Logos:

Dead Outlaw

Truth be told, this is one of my favorites of the past couple of seasons. It is sharp, eye-catching and will look great on the Playbill, the marquee and on merch. Will a t-shirt be in my future? The color scheme is a study in contrast, perfect against a sinister(ish) deep purple background. The yellow-orange of the title stands out and works well with the roguish red bandanna image. Immediately, we know this is a masked bandit situation.

The font looks like it might be on an old wanted poster, or maybe wooden slats... maybe a wooden casket... apropos for this particular story of a man paraded around the country in one.

Then there's the bandanna, another natural fit for this guy, who was killed in an attempted robbery. But a closer look at it reveals some fun details. The bright red is textured like real cloth and even has edge "stitching." Like any classic bandanna, it is a repetitive pattern in white. It practically tells the story! Down the center, we have a guitar (it is a musical, after all), a sheriff's star (outlaws always have the sheriff after them), and a bag of money (there's a robbery!). Around the edge are railroad tracks, perfect for the two trains at the top (it's a train robbery!). The major pattern is all about the subject of the tale, Elmer McCurdy. The cowboy hats and guns fit our Wild West guy, and I'll bet both a woman (the flower) and alcohol figure prominently in the show, too. Of course, you only keep those bottles upside down when they are empty; the broken hearts on the labels hint that the booze broke some hearts.

Even if I'm completely reading all of that wrong, it is compelling enough to make we want to see how it all plays out. If the show is even half as good as the show art is, I'll bet it is as amazing as everyone says it is. 

Grade: A+

2024 - 2025 Broadway Musical Logos: Just In Time

Is it possible for an advertising campaign to sell the star of the show at the expense of the show itself? The people behind the show art for the new bio-musical Just In Time may have done just that.

2024 - 2025 Broadway Musical Logos:

Just In Time

The best version of this logo is the one above. Why? Because it actually features the show's title prominently. And it gives somewhat equal prominence to the show's star in character. Of course, who knows what character he's playing?  We know from press for the show that Bobby Darin is the subject of the show, but the title gives no such clue. You'd have to be a serious Darin fan to know that "Just in Time" was a deep cut in his hit catalog. (For the record - no pun intended - it's a fine song from his "The Swinging Side of Bobby Darin", and written by Broadway legends Jule Styne, Betty Comden and Adolph Green for the musical Bells Are Ringing.) Actually, if you look up that song, Darin's version isn't among those listed as a "prominent recording."

Still the presentation of the title as a matchbook cover in a nicely contrasting beige and maroon, It's font feels very "late 50s-early 60s night club," which is perfect if you know that the show takes place in a late 50s-early 60s night club. The suit and hat that Jonathan Groff is wearing is reminiscent of the same period, but also looks modern to my eye.

The full logo (above) is a vibrant, eye-catching blue with striking white lettering, both a plus for getting the ticket-buying public to pay attention to it. And if you are a Groff fan, it certainly will peak your interest. Oddly, the "is" is such a bad choice - it is hard to read - and the "Bobby Darin" is so significantly smaller that it seems like an afterthought. Is this a Jonathan Groff concert on Broadway (like the Ben Platt thing earlier this season)? If you look close enough to see the "Bobby Darin," you might think he's doing a concert of his songs. Of course, that presupposes that you even know who Darin was.

So far, it seems to be doing well, but what happens when all of his fans have filled the Circle In the Square, and all of the Boomers have seen it? Will a Darin show named after an unknown song title have any staying power?

As far as logos go, this is the rare one that looks terrific, but is a failure in its main purpose: to sell the show. I had to do a fair amount of research just to write what I did. Does the average ticket buyer have that kind of time or interest?

Grade: D-

2024 - 2025 Broadway Musical Logos: Pirates!

2024 - 2025 Broadway Musical Logos:

Pirates! (The Penzance Musical)

In probably the best advertising move concerning a Broadway musical in years, Roundabout changed its show art for Pirates! The Penzance Musical before it got serious promoting the production. I won't go into too much detail about that version, but it was so unappealing I literally had no interest in seeing the show. Now, though, I am really excited to see it. 

Why you might ask? Well, it looks exciting and fun. First, the title is in a plain, modern font in a bright yellow, surrounded by purple and gold layers. The title alone tells us this won't be your grandma's traditional Gilbert and Sullivan revival. The sea faring blue is nautical adjacent and appropriate. 

Another clue that this won't be a by-the-book Pirates of Penzance (as if the title change wasn't obvious enough) is the festive multi-colored confetti all over the image. Party! Then there is the cast photo - having sexy Ramin Karimloo, it-girl Jinkx Monsoon, and comedy legend (and Tony-winner) David Hyde Pierce front and center is definitely a plus - that looks like the company is having a lot of fun. They are a sexy, eclectic group in a Pippin-meets-Johnny Depp way, smiling and goofing off. It says hijinks will be the order of the day if you come see this. 

If you know that this version has been adapted by Rupert Holmes (The Mystery of Edwin Drood) and reset in New Orleans' French Quarter, it all makes sense. The confetti, the bright mismatched costumes, and the colorful parasols are bringing Mardi Gras parade krewes magic to this key art. Pirates... NOLA... I am there!

In short, it looks like nothing but joy, abandon and a good time. These days, that is one heck of a thing. And a terrific selling point.

Grade: A+

2024 - 2025 Broadway Musical Logos: Floyd Collins

2024 - 2025 Broadway Musical Logos:

Floyd Collins

I don't suppose it's fair to judge a show's key art for what it isn't, but when a show opens at Lincoln Center, I always hope that the great James McMullan will be doing the logo. Unfortunately, that is not the case with the revival of Floyd Collins, which opens tonight at the Vivian Beaumont.

Given the subject matter - the 1925 media bonanza surrounding the attempt to rescue cave explorer Floyd Collins who was trapped in the Sand Cave in Kentucky - the logo serves the needs of the production well enough. The color pallet does a good bit of the work here. The murky black surrounds the imagery, with a central bright white/yellow light at the center which darkens to an other-worldly glow. A beacon of light so to speak in a world of darkness. Here, it also calls to mind a literal spotlight.

The title in a simple font is reminiscent of the lettering used in turn-of-the century (20th) newspapers, large and eye-catching. In a vibrant orange and backed with a shadow-effect which further makes the title pop. The rest of the image tells the rest of the story: a simple man in overalls, sleeves rolled up - he's a working man, and like any spelunker with his salt, he's equipped with a bright lantern, held up in an aspect of vigilant exploration. That lamp, held up illuminates his way, and he looks up at what he can now see. He is making a significant self-discovery. Floyd Collins is finally seeing himself; here it is literally the title, in the show, it is a thematic revelation.

Simplicity can sometimes reveal a lot. 

Grade: B+

2024 - 2025 Broadway Musical Logos: Buena Vista Social Club

The busy spring of each Broadway season seems especially so this year. Today, we continue with our examination of each musical logo with a pair that have quite a bit in common, yet are unique. Today, we look at the one that is already open; Wednesday, we will take a deeper dive into the other.

2024 - 2025 Broadway Musical Logos: 

Buena Vista Social Club

First up is the critically-acclaimed Broadway transfer of Buena Vista Social Club which tells the story behind the international sensation that is the Grammy-winning album of the same name. A story of triumph over circumstance and the power of music, Afro-Cuban culture takes the stage in an exciting new musical. How well does the show's artwork reflect that, and will it sell the show to Broadway fans and long-term tourists alike?

The logo is a vibrant blend of colors that both appropriately call the culture of the show to mind while being eye-catching at the same time. The subtly textured terracotta orange is a lovely background for the rich yellow of the title, the white of the tagline, the deep green of the line, and the intense, yet comforting red-brown that highlights each letter and frames the artwork. The font, bold but simple, also calls to mind the Cuban culture, and the stars that make the center of the "A"s are both a nod to stardom as well as the influence of the Cuban Revolution.

The show art is completed with the central image of an Afro-Cuban woman (Natalie Venetia Belcon), smiling, head tilted back in a triumphant song at a traditional microphone. She is happy - a strong woman living her best life. It wordlessly tells you pretty much all you need to know about the show.

Grade: A

Wednesday:

2024 - 2025 Broadway Musical Logos: Smash

It seems like a lifetime ago that I was obsessed with Smash on TV. The backstage lives of Broadway wannabes and icons alike was like a weekly drug. And that was just watching it to see who I recognized! Add to it the compelling story about getting a musical about Marilyn Monroe (and later a more modern musical) to the Great White Way, with a banging score and sexy choreography, and this theater lover was thrilled each week. 

Now, after years of hints, a concert and SRO staged readings, Smash is finally, inevitably, on Broadway. Focusing only on Bombshell, the Marilyn musical, the show is now in previews and is soon to open. I suspect that no matter what the advertising looks like, the TV show's fans will flock to the Imperial. But what about other potential ticket buyers?

2024 - 2025 Broadway Musical Logos:

Smash

The title work and font seem pretty obvious - giant marquee letters, bright red and glowing bulbs. All of them lit seems to imply that the show in question is an unqualified success...a smash. (I could have sworn an earlier iteration had some bulbs unlit and/or missing...)

The taglines cover a lot of ground in terms of content, while giving, possibly, some shade to the banality of Broadway taglines. The first, "The Bombshell Is About to Drop" is clever word play - "Bombshell" in a musical about Marilyn Monroe, the quintessential blonde bombshell; "about to drop", like a bomb being dropped set to explode; the theatrical meaning: a flop show. Perhaps most importantly, it's an in-joke/signal to fans that the show will be about everything but that other "show" within the TV show, Hit List. The second tagline, "A Comedy About a Musical" is certainly a play on that most usual of such things, "A Musical Comedy." It also lets audiences know that the intent here is fun, not drama.

The chief imagery used on the Playbill and window card is far more interesting and clever that the taglines it illustrates. The black and white image allows the title of the show stand out, cleverly perched atop the Imperial's 45th Street marquee/box office entrance. A closer look shows the bombshell tagline, and just below that, a cheeky play on the ubiquitous need to use pull quotes. I love that sense of meta humor. The rest of the busy image does a great deal of work. It's a red carpet opening with celebs and paparazzi all vying for our attention. One glance at it tells a passerby all they need to know: Marilyn has arrived in her iconic skirt blowing up pose while adoring fans look on and the photographers get their shot. But sharp-eyed fans will really see more, and it also tells the story of the show. Robyn Hurder in opening night gown glares at "Marilyn" who is taking her role and her spotlight. The principal cast, in character, also look on - Brooks, Krysta, Kristine (with fan blowing wind up her skirt), John, etc. And in a really fun, insider twist, the "paparazzi" includes actual theater writers, interviewers and influencers. (My invite must have gotten lost in the mail...)

All of this combined makes a doozy of a show logo. One of my favorites of the season, really. But if you follow any of the chat rooms and other social media, you know that so far, the show is not exactly coming across as a smash. So when I saw the show art below, I couldn't decide if they are cheekily acknowledging public opinion (it would match the tone of their other taglines) or if they are really tempting fate...

Grade: A

2024 - 2025 Broadway Musical Logos: Sondheim's Old Friends

It all started with a one night only concert in London, which turned into a West End run. And now it is a Broadway musical. Of course, given its subject - the songs of the late, great Stephen Sondheim - how could it not make it on the Main Stem? And add two iconic, Tony Award-winning actresses above the title, a 6th (!) Broadway revue seems a sure thing!

2024 - 2025 Broadway Musical Logos:

Sondheim's Old Friends

Yesterday, the show played its first preview, and announced a two week extension, so perhaps the logo and marketing is besides the point. But I have to say I like it for several reasons.

I love the font and style of the main title and tagline. Mounted on what looks like an electrical sign hanging above a stage (and also like the lighted signs above many theaters in the theater district), the letters are Broadway-show bizzy-neon style, topped by Sondheim's famous signature also in neon light style. Could it be more theatrical? The title, of course, refers to the song from his Merrily We Roll Along, while the tagline, "A Great Big Broadway Show" refers to a like from his Follies classic, "Broadway Baby." Could it be more Sondheim?

The full logo design encompasses all of the above against an elegant, almost royal blue background. A smiling, joking Stephen Sondheim in his prime appears among the heavenly theater light beams, as if he's a part of the show. He begrudgingly approves, hands up in surrender. "Ok, celebrate me!" he seems to signal. 

In terms of advertising, it is smart to include images of the stars of the show, which let's us know at once that indeed, Broadway's best "old friends" will elevate the whole thing. It also lets Broadway fans who may not blindly adore all things Sondheim, that the great Bernadette Peters will be on hand, as will Miss Saigon fan favorite Lea Salonga. I suspect that as the show runs, other stars will be featured including Tony-winner (and big fan favorite) Beth Leavel.

Part of a long legacy of Sondheim revues and tributes, this one looks to stand out and its logo surely supports that notion.

Grade: A+

2024 - 2025 Broadway Musical Logos: Boop!

Through the years, Broadway has had its share of comics come to life as musical theater stars. There's been a musical Charlie Brown, a Superman, a Spider-Man. And there's been a SpongeBob show, a Lil' Abner, a Doonesbury, and of course, the most famous and successful of them all, a Little Orphan Annie. Now, Broadway is getting ready to welcome a new comic heroine, 1930s superstar, Betty Boop. Is her show art worthy of her stature?

2024 - 2025 Broadway Musical Logos:

Boop! The Musical

Let's start with the color scheme, often the first thing that draws the eye and begins engagement for potential ticket buyers. Boop! hits all the buttons with a bright white background - a literal blank slate - while simple black lines and bold red dominate the space making it impossible not to notice it all. On a deeper level, the color palette thematically mirrors both the character and the content of the show. Betty is known as a black and white movie star and technicolor icon in a red flapper dress. The musical Boop! tells the story of Betty, trapped in a black and white world and in search of the colorful world of her dreams.

The title is larger than life (just like the title character) and in a bold, fun, all-caps style. The font in red, with a thin white inlay, is a simple sans-serif style. Crooked and overlapping, the letters convey a silliness and that jaunty exclamation mark just adds to the excitement.

But for me, it's the primary image that really makes this logo truly excellent. At the center, we have Betty herself right in the center of the action, and it really tells the story. At the top we have traditional Betty Boop - simple flapper curls, earrings and bracelet - in black and white, winking at us and blowing a kiss with those bright red Clara Bow lips. At the bottom, we have "real life" Betty - hour glass figure, high heels and long legs, and impossibly high heels - in full, sparkly color. And the perfect detail to wrap it up nicely - her shadow in the shape of the iconic cartoon.

If I didn't already want to see this, this key art would make me want to buy a ticket!

Grade: A+

 

2024 - 2025 Broadway Musical Logos: Operation Mincemeat

One of the season's most highly anticipated shows, and winner of the Olivier for Best Musical in the West End, Operation Mincemeat, so far Broadway fans polarized, and seem to either love it or hate it and not much in between. We haven't seen it yet (but we'll let you know what we really think of it when we do), but we have seen the show logo. And we have thoughts...

2024 - 2025 Broadway Musical Logos:

Operation Mincemeat

Well, it certainly is eye-catching, what with its yellow hugeness. The show art itself is minimal and minuscule all at once. All of that can be either a great thing or an awful thing. Polarizing.

Yellow has a variety of symbolic meanings, some of which may apply here. It can mean joy, happiness and energy, all things one hopes to find in a musical comedy. But it can also stand for caution and danger, apropos for a show about a risky undercover operation during World War II, and of course, it represents cowardice. How you see the whole situation may decide if cowardice is even at play, I suppose.

Then there's the title (the minuscule part I referred to above) which is tiny in comparison to the entire logo. In a way, it is clever, because you really have to look at it to even see what it is.

You'll notice that it is in the shape of a briefcase, with "Operation" shaped like the top flap of one. You probably need to understand the show's subject matter to recognize that spies often carry such attache cases. But the real fun comes in taking it as part of the whole piece. But first... that odd squiggle.

The largest part of the key art, it really draws the eye, doesn't it? Is it black marker graffiti? Is it some kind of coded lettering? No... Again, you need to look at the logo as one entity: black squiggle + tiny black briefcase = .... Hitler!

Once you see it you can't unsee it, right?

Ultimately, how successful the show art is in business/ticket sales terms remains to be seen. Will it appeal to the masses or is it too niche? For me, the logo alone isn't enough to really interest me; it depends on having to know too much about the show to get it. And these days, how many tourists are going to be interested in a fascist-adjacent production?

Grade: C

Remembering David Edward Byrd

 Remembering David Edward Byrd

Generations of theater fans are familiar with the work of artist David Edward Byrd, who passed away yesterday. You may have some of his work hanging on your wall, or maybe you have a t-shirt or program from your school production of Godspell or Little Shop of Horrors.

Show logo lovers like me have long been mesmerized by his works, staring at the symmetry of Jesus' hair on the Godspell cast recording, finding the tiniest fun detail on the original Little Shop artwork, and scrutinizing each crack on the Follies poster. His brilliant use of dynamic colors was perfectly matched with his eye for composition. The genius of his work was that it told you everything you needed to know about its subject without giving anything away.

His reach as an iconographer extended well past the theater district as he created brilliant posters for some of the greatest music acts of all time. Prince, Fleetwood Mac, The Who, The Grateful Dead, David Bowie and Janis Joplin among many others. He was also the resident artist for The Fillmore.

Thankfully, his art is readily available to be enjoyed, be it in our personal collections, online or in a number of published books.

RIP Mr. Byrd and thank you.