The Friday 5: Favorite Current Broadway Bit Players

5 Favorite Current Broadway Bit Players

They aren't above the title, and they aren't really supporting characters. But the shows they are in just wouldn't be the same without them! They are on. Then they are off. Then they blend back into the ensemble. Short time. Big impact. Here are 5 that we love that are currently brightening up the Broadway boards.

5. The Alien Showgirls from The Rocky Horror Show

Played by The Phantoms - What do you get when you cross a Vegas showgirl outfit with a one-eyed alien? A sign toting late night sci-fi hostess! They carry signs that warn us not to be assholes, and even told some audiences it was Knicks in 5! Just a first in a long line of zany costumes in a crazy revival. You may or may not agree with their signs say, but don't shoot the messenger!

4. Henry Ford from Ragtime

Played by Jason Forbach - He gets one of the catchier songs in the score - one of the few I wish was a bit longer. I love how it's the perfect sound for an assembly line, and has all the pompous bluster of an arrogant American. A small gem of a part, in a tapestry full of them.

3. The Sax Guy from The Lost Boys

Played by Cameron Loyal - This guy is an icon from the movie, and I can't imagine the musical without him. Thank goodness I didn't have to! The body, the oil, the smooth jazz... is it any wonder Sam has a sexual awakening when he sees him! And he sure can play!

2. Pete from Schmigadoon!

Played by Jess LeProtto - The goofy, clumsy guy who seems to appear in every Golden Age musical would naturally live in Schmigadoon, too, right? And in the hands of Jess, he's charming, sweet and pops up in fun and unexpected ways. For all his clumsiness, isn't it great that he can dance so well?

1. Sillabub from Cats: The Jellicle Ball

Played by Teddy Wilson, Jr. - This adaptation of the classic musical really clarified and deepened a lot of things in an otherwise light as a feather plot. One of the nicest surprises and most heartfelt things of that ilk is the sweet kitten Sillabub, who looks to Grizabella as a role model and mentor. Not only does it give the kitty more to do, but adds some weight to Grizabella's backstory; best of all is the deepening of Sillabub's verses in "Memory." Oh, how I'll miss this revival...

Some Thoughts On the 2026 Tony Awards

Some Thoughts on the 2026 Tony Awards

And so another Broadway season is in the books, capped off by The 79th Tony Awards. And like every year, there were some surprises - all good ones for a change, performances - all noteworthy for a change, and plenty to dish about.

Like most of you reading this, I was hyper-focused on the whole thing. Enjoying each moment while picking it apart and Monday morning quarterbacking each winner I didn't guess correctly... Anyway, here are my ramblings written as they happened, though organized to make for better reading.

Act One (Pluto TV):

• Laura and Tituss looked fabulous. AI joke out of the way. (Thank God.)
• Book: Cinco gets the one award Schmigadoon! really deserves. 
• Costume Design/Musical: Qween! Looks fabulous. Is fabulous. (Love the fans with fans!)
• Orchestrations: The one category where all were worthy. That said, Schmigadoon! was the least challenging choice.
• Carrie Coon is my hall pass, too, Laura. Pluto TV better get their technical act together...
• Sound Design/Play: What a humble speech by Mikaal. Seems like the kind of guy I would love to work with.
• Sound Design/Musical: Did the voters even listen to The Lost Boys? Or Cats: The Jellicle Ball? Good on Kai for making a fun joke about running against himself.
• Teachers! Am I right? This award belongs on the main telecast. Period.
• Score: I knew it would win, but it isn't the best by a mile. More new musicals? Yes. The irony.

• Mary Mitchell Campbell is indeed a worthy icon. Thank you!
• Jules Fisher really is a lighting magician. An amazing career across the history of Broadway.
• Lighting Design/Musical: One of the best lighting designs in YEARS, and totally deserving. Kudos, to Michael Arden for getting all of the other nominees into his speech so they get recognized in case he doesn't get the chance later.
• James Lapine is amazing on every level, no matter his role in a production.
• Scenic Design/Musical: Totally deserving, Dane Laffery has done amazing work here, but let's look at his career. That is some massive talent.
• Choreography: The category is Most Amazing Moves. These people took iconic dance moves and moved Cats into a whole new era. Bravo!

I am very thankful Pluto took up the mantle, but the technical quality of this was embarrassing.

So far, Mike is 5 for 8 in predictions, while I am 4 for 8.

The Tony Awards (National Telecast):

The best opening number I can remember. The joy reminds me of the feeling I had when I saw The Jellicle Ball. Bravo to all 170 people involved and for leaving egos at the door (Go, Lea!). I sat here alone and applauded like a maniac.

Lead Actor in a Play: Lithgow spun the Tony! I admire him so much. Congrats.

Schmigadoon! - This really captures the show perfectly, and clearly the staging was fit onto the huge stage with care and an understanding of the needs of filming for television. The writing for this was sharp, too. If I hadn't already seen it, this would make me want to buy tickets. And that is really the point, right? Well done!

Featured Actress in a Play: Laurie looks FABULOUS. Generous to a fault. How to make a speech not about yourself.

Ragtime - How awesome that the nation got the thrill of that same entrance! One of musical theater's greatest opening numbers, superbly rendered for television. An obvious choice, but a great one, nonetheless. Another one that should sell whatever tickets are left.

TITANP¡NQUE

Best Direction of a Musical: I am waving a fan at the screen! Love this for them and the show. The most joyous experience I have had in the theater in many years, and it is largely due to their amazing vision. The category is: fuck yeah!

Best Direction of a Play: There is nothing Joe Mantello can't do. Talk about multi-talented. And gracious.

Titanique - "What do you say?/My Heart Will Go On" plus that great intro, a great encapsulation. They should have had longer screen time. I hope this gets them a boost at the box office. They deserve it.

Love how they are bringing back "legit" hosts to "support" Pink. Not that she needs it. I think she's wonderful.

Featured Actress in a Musical: I am so thrilled for Shoshana Bean! And LJ weeping into a hug... I'm crying. I admit it.

Cats: The Jellicle Ball - Amazing that it translated that well to television! The camera work was spectacular. Kudos to Paul Rudd for keeping it together when the Rum Tum Tugger came a-sniffing. I will say it again: the feeling of joy that gives me is off the charts. Buy those tickets!!!

Best Play: I'm kicking myself for missing Liberation. Bess Wohl is a phenomenal human being.

Two Strangers (Carry a Cake Across New York) - Inevitable as it was "New York" was a great way to start this number, into "American Express." And their chemistry is off the charts. Great how just the two of them, some great camera work and perfect use of their set pieces combined to still feel like a big production number. Fingers crossed they get some ticket sales from this. Well done!

Featured Actor in a Musical: Yes!!! A wonderful surprise! He is so terrific in the role, and such a great human. I was a big fan, now an even bigger one.

Chicago - Alex Newell is sublime as Mama. Pink as Velma? Sign me up! What a thrilling tribute.

Lead Actress in a Play: I think Lesley Manville is a person I want to know. That's all I can say.

The Rocky Horror Show - Luke Evans was and is spectacular. This was so much better that what we saw at Studio 54. Lesson learned: early previews aren't always a good choice even if they are cheaper. And some more amazing camera work. 

Best Revival of a Musical: No matter who won, I knew I'd be happy for the winner. But I also knew I'd be disappointed for the loser. And here we are.

In Memorium: Ah. "Without You" makes me really get into my feelings. Tears are being shed. And Leslie Odom, Jr. sang it beautifully. A lovely tribute befitting Broadway.

Featured Actor in a Play: The only play performance I saw this year, so maybe I'm biased. But he was really terrific and I'm glad he won. And I'm even more glad that he doesn't seem to be anything like his character.

  

The Lost Boys - Like the intro says, you have to see it to believe it. I appreciate that they gave space to both the family drama ("No More Monsters") and the sinister hard-rocking danger of the dark side of the piece ("I Have to Have You").

Best Revival of a Play: It seems inevitable that Salesman that should win. It is so rich that no matter how it is done, it offers new revelations. Can't wait to see it.

The Book of Mormon - A high energy medley, wonderfully performed, still leaves me cold on the show. I've never been a fan. And just as I felt 15 years ago when I saw it, I'm grateful that I don't have (and never did) maggots on my scrotum.

A Chorus Line - "What I Did For Love" is a great song, and Rachel sang it beautifully. But it should have been "One."

Lead Actress in a Musical: Not a surprise, but no less deserved. I have never seen her in anything where she was less than superlative. She really earned this one.

Lead Actor in a Musical: Not a surprise, but no less deserved. I have never seen him in anything where he was less than superlative. He really earned this one.

I can say this with sincerity, both Caissie and Joshua are two of my all time favorite performers, who effortlessly elevate every single thing they do. It is a real privilege to have seen them both several times. Can't wait to see them both again.

Best Musical: Not really surprised, I guess, but I'd be lying if I said I wasn't disappointed. Of all the nominees, it is the one show I saw, I was glad I saw it, and enjoyed it. But I haven't really given it much thought since. The others are on my mind regularly. Oh, well. the boys still did very well. Here's to a long run for all the nominees!

The best Tonys in a very long time. By a wide margin.

Biggest takeaway: Pink needs to be on Broadway.

In the end, Mike got an impressive 12 out of 15 predictions correct. I was much less impressive with 8 out of 15. Until next year!

Friday 5: 5 Favorite Joshua Henry Performances

Favorite Joshua Henry Performances

From the very first time I saw Joshua Henry on the St. James Theatre stage, I knew he had "it." That intangible-but-you-know-it-when-you-see-it thing that so many strive for but never quite get.My eye was drawn to him, and I've been a huge fan ever since.

American Idiot (Favorite Son - 2010)

Yes, my first time seeing Henry involved seeing him in his skivvies. Intriguing for about 5 seconds, when I found myself watching every movie he made, none of which had to do with his state of dress. Charisma, charm and that effortless star power. Green Day's "Favorite Son" became an instant favorite of mine.

Carousel (Billy Bigelow - 2018)

This was my first brush with Carousel as a whole show. I had, of course, seen and heard bits from the film and the more popular tunes from the score. While others were lamenting script changes, song removals and perceived casting issues, I was swept away and overwhelmed by this masterpiece. And I was thoroughly mesmerized by the powerfully complex portrayal of the conflicted Billy Bigelow of Mr. Henry. Amazing, breathtaking and completely satisfying. Brilliant.

Ragtime (Coalhouse Walker, Jr. - 2025)

I've made no secret of the fact that I was not a huge fan of the original production outside of its cast recording. This new revival was an altogether different story, and a much improved version. Henry has taken full advantage of the more character-focused, less spectacular version by making a grounded, fierce and brutally honest, human performance as Coalhouse Walker, Jr.. As an equally fervent fan of the role's originator, my liking of Henry's performance wasn't a given. Rather, it was fully earned. I don't think he's ever been better... which is no small feat considering the next role on this list.

The Scottsboro Boys (Haywood Patterson - 2010)

Until Ragtime came along, I'd have said that this brave performance was his best ever. Now I'd say it is a close tie. Raw, passionate and utterly heartbreaking, Henry's star turn in this short-lived classic is one I hold as a most cherished privilege to have witnessed. I maintain that this Kander and Ebb musical is nothing less than a masterpiece, and is to date still the greatest new musical of the 21st century, That he was a part of it is icing on the cake, I suppose. But that in no way over states his profound impact on the piece. People often say a performance is breathtaking - this one surely took mine away.

Violet (Flick - 2014)

What I loved about Joshua's performance here was how beautifully he played with his two co-stars. It was never about elevating himself, but rather working in what seemed to be in effortless tandem with them. Again this was no small feat considering how utterly smitten I was with Sutton Foster's performance (her best to date, by far). I loved the show, the actors and him. And what a delicious treat that his co-star here, Colin Donnell, is now his Ragtime co-star!

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-

2025 in Review: The Movers and Moments of the Year

We were fortunate to have seen 17 different productions in 2025: 14 on Broadway and 3 off-Broadway. These are the shows we considered in all categories this year: Bat Boy: The Musical. Buena Vista Social Club, Dead Outlaw, Death Becomes Her, Floyd Collins, Gypsy, Heathers, John Proctor is the Villain, Operation Mincemeat, The Queen of Versailles, Ragtime, Real Women Have Curves, Redwood, Romeo + Juliet, Stephen Sondheim's Old Friends, Two Strangers (Carry a Cake Across New York) and Urinetown. There were two productions we paid another visit to: Hadestown and Sunset Boulevard and considered only those elements which were new to us this time around. We made our selections separately, so below you'll see where we agreed, where we differed, and those things we each just had to include. Our selections are arranged in alphabetical order below.

How did we compare to your favorites? Let us know via social media - @jkstheatresecene on all platforms. (X, Instagram, Threads, Blue Sky and Yahoo mail)

2025 in Review:

The Movers and Moments of the Year 

The New Faces of 2025:

Outstanding Performers

As Sondheim wrote in Merrily We Roll Along, "these are the movers, these are the shapers," and here we present ten of those performers who burst onto the theater scene with outstanding Broadway debuts. This year, the list includes leading roles, supporting roles and ensemblists (and even a few who are already stars in other disciplines) who we think will continue to move us with their talents and shape the future of theater.  

Anna Grace Barlow - Ragtime   Kit Connor - Romeo + Juliet

Tatianna Cordoba - Real Women Have Curves

Tommy Dorfman - Romeo + Juliet   Lizzy McAlpine - Floyd Collins

Joanna Riding - Stephen Sondheim's Old Friends

Sam Tutty - Two Strangers   Jack Wolfe - Hadestown

Amalia Yoo - John Proctor is the Villain   Rachel Zegler - Romeo + Juliet

The New Faces of 2025:

Outstanding Creatives

This past season gave us a cornucopia of thrilling theatrical events, stunning revivals and shows that have already established themselves as new classics. Theater, of course, does not exist in a vacuum, and so these "new faces" are not new to their creative endeavors. All of them made significant, career-changing contributions in 2025. We look forward to seeing them all in new, exciting productions in the years to come!

 

Kimberly Belflower - Playwright - John Proctor is the Villain

The Original Buena Vista Social Club

  

Jim Barne & Kit Buchan - Book, Music and Lyrics - Two Strangers

Robert Hastie - Director - Operation Mincemeat

Julia Mattison & Noel Carey - Music and Lyrics - Death Becomes Her

The Movers of 2025

One of the greatest pleasures we get from being regular theatergoers is seeing performers we've admired for years continuing to grow and contribute to the theater scene. This year, there was an abundance of such talent - many in multiple roles. Some have become award-winners, others breaking new ground in their careers. All of them made this past year memorable.

Natalie Venetia Belcon - Buena Vista Social Club   Jeb Brown - Dead Outlaw

Danny Burstein - Gypsy   Kerry Butler - Bat Boy   Andrew Durand - Dead Outlaw

Gabriel Ebert - John Proctor is the Villain   Jason Gotay - Floyd Collins

Joshua Henry - Ragtime  Jeremy Jordan - Floyd Collins 

Julia Knitel - Dead Outlaw

Cassie Levy - Ragtime   Justina Machado - Real Women Have Curves

Diego Andres Rodriguez - Sunset Blvd.   Lea Salonga - Old Friends

Nicole Scherzinger - Sunset Blvd.

Sherie Rene Scott - The Queen of Versailles  

Sadie Sink & Fina Strazza - John Proctor is the Villain

Paulo Szot - Hadestown  Nina White - The Queen of Versailles

Performer of the Year

This year, there were many stunning performing achievements, and I assure you both Mike and I wrestled with what actor to choose. Here are our choices for 2025.

Jeff's Selection:

Taylor Trensch

Floyd Collins/Bat Boy

I've been a fan of Taylor throughout his career, and over the years he has been consistently excellent. This year, his performances - he was in two critically acclaimed productions - were exceptional. On Broadway, he played reporter Skeets Miller in Floyd Collins, showing a dramatic maturity that earned him his first Tony Award nomination. He followed that with the starring role in Encores' Bat Boy: The Musical, a tour de force performance of exciting physicality and surprising depth and emotional range. In both, he was captivating. He made my year.

Mike's Selection:

Audra McDonald

Gypsy

Audra, playing one of the greatest roles in one of the greatest musicals ever written, is a recipe for musical theater Nirvana. Her Madame Rose offered a fresh and unique perspective while remaining fully respectful to the classic material. We saw some amazing performances in 2025, but for me this was easily the best.

The Moments of 2025

Over the past 12 months, we have had the privilege of seeing some truly great moments. Years of theater going have continued to raise the bar of expectation, and yet every year, the creative teams, writers and performers continue to raise that bar even more. As with everything else, we had to whittle down these moments, and on any given day, this list could be completely different. Here they are, arranged alphabetically by show title:

Buena Vista Social Club - Every time the band played 

Music by Buena Vista Social Club

Musical Direction by Marco Peguia

Literally every single time the Special Tony Award-winning band played the hair on my arms went straight up and I leaned forward in my seat in order to take it in even more. Somehow, the ears just aren't enough to fully experience such bliss. Wow. Just wow.

Gypsy - "Rose's Turn" 

Performed by Audra McDonald

Music by Jule Styne

Lyrics by Stephen Sondheim

Directed by Geoge C. Wolfe

One of the top three most electrifying moments I have witnessed live in over four decades of seeing Broadway shows. Everything Mike said above and more. It was a privilege to be in the room to witness it for myself.

John Proctor is the Villain - The Class Project Sequence 

Performed by Sadie Sink, Amalia Yoo and the Company

Song: "Green Light" by Lorde

Playwright Kimberly Belflower

Direction by Danya Taymor

In a play so intense, it was almost hard to believe that the build up to the classic projects finale of the piece didn't really prepare the audience for the actual moment, but when it happened, it was even more intense! A brilliant melding of The Crucible and the realities of the #MeToo movement, I think I held my breath the entire time. The dance, the song, the circumstance of the play... the audience was screaming its approval, and I screamed right along with them. 

Ragtime - The arrival of the Company 

Direction by Lear deBessonet

Choreography by Ellenore Scott

As if the stunning opening number by Ahrens and Flaherty wasn't thrilling enough, the grand entrance of the cast via a center stage elevator was elegant in its simplicity and just so powerful to witness. No wonder the audience erupted in applause the second it started. And to think it was just the first of many such moments created by Ms. deBessonet and Ms.Scott.

Redwood - The aerial choreography 

Performed by Idina Menzel, Michael Park and Khaila Wilcoxon

Vertical Movement/Vertical Choreography by BANDALOOP

It didn't last very long, but Redwood had its strengths. Among them were the moments "way up in the sky" as the cast was tethered to a giant redwood tree. And they sang while they did it! My mouth was agape, and I was glad to see it.