My 2025 - 2026 Broadway Crushes (NSFW)

My 2025 - 2026 Broadway Crushes

Every season, certain actors grab my attention and I devour everything I can find about them. What draws me to them? Well, mostly it's their talent and charisma. And then there's the "how did I never hear about this person before?" and the "I can't wait to see what they are in next!" feelings as they perform in front of me. There's also that "it" factor. You know, that intangible thing that you can't put your finger on, but just know they have it. And, of course, shallow or not, I find them pretty easy on the eyes. In short, I develop a star-struck crush.

This season, there are 5 such performers (in alphabetical order to avoid favoritism) that fit that bill:

Ali Louis Bourzgui - David in The Lost Boys He was fine the first time I saw him as Tommy in the revival of The Who's Tommy, and even then I knew he was going places. But this year, it was like seeing a whole new person! As David, he is smooth, suave and seductive, as any hot vampire would be. Hard rocking and dangerous with an undercurrent of pain, it would be impossible to resist his charms. But that's the character. The actor who plays the role is so sincere, humble and thoughtful about his success as a new Tony nominee. And even at such a young age, he speaks so eloquently about his craft, I can't help but admire him even more. 

Sydney James Harcourt - The Rum Tum Tugger in Cats: The Jellicle Ball Every time I walk down 44th Street past the Broadhurst these days, I always pause to take a look at the poster with him staring out at passersby. Truth is, even as a decades long fan of the feline phenomenon of Broadway, I've never been really into the curious cat like many are. But in this joyous revival, the Tugger is somehow more alluring to me. He's playful and mischievous as he will do, but he's also protective and caring. What more can you ask for from a frisky kitty? But it's the actor that makes it happen, flirting with the rest of the Pride and the audience (that curtain call move is seared in my brain), with abs for days, a dazzling smile and a strut that has the whole Ball purring. I didn't even realize I saw him in Hamilton! What I like best about him is enthusiasm for the work that he and company are doing, and mostly how he represents the LGBTQIA community. He's a role model, and that alone would make him crush-worthy.

Jasmine Amy Rogers - Queenie in The Wild Party After being completely mesmerized by her thrilling performance in The Wild Party, I kicked myself even harder for missing her Broadway debut in Boop! Somehow, all of the accolades and fan adoration of her seemed inadequate having finally seen her talents live. Her Queenie was a dazzling mix of contradictions: a tower of strength with many a weakness, an immense talent stifling in a nowhere world full of abuse and phony friends. By all accounts - and a wonderful social media presence, too - the actress is the real thing, a true triple-threat. I also hear that she's something else in her current role in the revival of The 25th Annual Putnam County Spelling Bee. She's got my attention for sure!

Constantine Rousouli - Jack Dawson in Titanique I first saw him some 14 years ago in the original cast of Ghost: The Musical, but to be honest I don't remember him specifically, though I remember finding the entire company to be terrific. Over the years, he's played two of Broadway's biggest heartthrobs: Fiyero in Wicked and Link Larkin in Hairspray. One can't have those roles without a natural charm and sex appeal, so it makes total sense that in the heightened reality of Titanique that those attributes explode and fill up the the vast space of the St. James Theatre! With his beautiful smile, giant muscly thighs that fill those impossibly tight Jack Dawson pants, and an amazing gift for comic timing, I struggled to see anything else on the stage. But I also find artists with a razor sharp sense of humor and an honest sense of gratitude for everything they've become truly intoxicating. This Tony-nominee (and Olivier Award-winner) has all of that (and more), a combination as rare as the Heart of the Ocean.

Sam Tutty - Dougal in Two Strangers (Carry a Cake Across New York) Okay, cards on the table. Gingers with a boyish smile and a British accent are my complete weakness. But the deeper truth is, all that gets my attention; it's everything else that keeps me interested. Like most people on this side of the Atlantic, I first came across him in clips from the West End Dear Evan Hansen, and even from just those videos, I knew I wanted to see him on Broadway. My wish was granted, and his utterly charming (and Tony-nominated) star turn as the endlessly optimistic burst of sunshine makes me smile every time I think about it. That magnetic presence definitely carries over in all of the interviews I've seen him give. May that cheeky grin with a voice that charms and ultra-positive attitude return to Broadway every chance he gets.

 

REVIEW: Two Strangers (Carry a Cake Across New York)

Review of the Sunday, November 9, 2025 evening preview performance at the Longacre Theatre in New York City. Starring Sam Tutty and Christiani Pitts. Book, music and lyrics by Jim Barne and Kit Buchan. Orchestrations by Lux Pyramid. Scenic and costume design by Soutra Gilmour. Lighting design by Jack Knowles. Sound design by Tony Gayle. Direction and choreography by Tim Jackson. 2 hours, 15 minutes including one intermission.

At first blush, Two Strangers (Carry a Cake Across New York) the new musical that opened yesterday seems like a trifle of a thing. Part sit-com, part Hallmark rom-com, this two-hander goes down easy and feels light as a feather. But after seeing it almost two weeks ago, I find myself thinking back to it and the two characters who tell this story.

With a book and score by Jim Barne and Kit Buchan, we are presented with a culture clash of sorts: a hardened New Yorker, jaded by life and pragmatic by necessity meets an impossibly optimistic Brit who loves all things New York (and beyond) by way of his adoration of American cinema. Like water and oil, the two spar and taunt each other. Of course, the circumstance that has brought them together - the marriage of his older father to her somewhat younger sister, is what keeps them together. He helps her - you guessed it - carry the wedding cake across New York City. Through their adventures, they get to know each other, and by the end of act one, most of the cake gets there. The first act is light as air, very funny and really tuneful. (The opening song, "New York" is catchy as hell, "Be Happy" is thought-provoking, and the act closer, "American Express," is a joyous romp and ode to excess.) I, and everyone around me, howled with laughter and sat with a goofy grin plastered on our faces.

The second act is still funny and tuneful, but has a decidedly more serious tone. As uncomfortable truths are revealed and some questionable choices are made, we find ourselves surprised at just how invested we've become. The first half of the show we were all about that cake; the latter half was all about wanting to know what was going to happen to these people, not only as the show progresses but, as it turns out, what might have happened to them long after the story ends. Here, the songs, like the script, take a more serious tone, including a pair of stunning solos for the girl, "He Doesn't Exist" and "This Year," both of which are destined to become part of the 21st century musical theater canon and audition circuit.

The design team has created a setting that is just as surprising and delightful as the show it supports. Soutra Gilmour's ever revolving set made up of stacks of luggage allows for a variety of locales and playing areas. Every time it spins around a la Wheel of Fortune you never know that will be revealed or where the action will take place. Gilmour's costumes are pretty straightforward, and tell you a lot about the characters wearing them. The lighting design of Jack Knowles is both conventional and surprising, too. The lighting of the set itself is part of the set itself - every seam and latch of the suitcases are loaded with LED lights that change color and add so much to the mood and whimsy of the piece. Happily Tony Gayle's sound design is crystal clear (including some realistic effects) that makes the singing and orchestra perfectly balanced, and the Lux Pryamid orchestrations fill the Longacre with clarity and nuance.

Tim Jackson's direction (and modest, but appropriate choreography) is really a third character here. Laser sharp and fat-free, he makes the stage seem full even with just two people, and yet focuses things so specifically, it feels like we are seeing cinematic close-ups, broad, sweeping landscapes and intimate, deeply felt duo scenes. Best of all, it never gets in the way.

But it is the two actors that really sell this familiar-yet-unique show. And boy, are they good. Christiani Pitts dazzles - her singing is as fantastic as her acting range - as the no-nonsense New Yorker Robin, who is busy and does not want to get involved in anything more than the errands she's been tasked with. She is tough as nails, until she isn't; remarkably, she's just as captivating no matter Robin's state of mind. Funny and world-weary, she practically makes us beg to get to know her, not unlike her charge for the day. That charge is Dougal, young and eager as a puppy to eat up everything American, played by Sam Tutty in a thrilling Broadway debut (he is an Olivier winner for playing Evan Hanson in the West End). He is as charming as he is maddening. There isn't a boundary - personal or otherwise - that he won't cross or challenge. Tutty's singing voice is spectacular as is his acting. With a look or a change in tone, he has us laughing at his silliness and rapid fire delivery one second, and aching with despair at his moments of realization and introspection the next. Separately, they amaze. Together they are musical comedy bliss.

It occurs to me that part of what makes Two Strangers so intriguing is that it can be all things to all theatergoers. It is easy to follow, wears its heart on its sleeve, and is delightfully entertaining. The perfect date night, and a show that even musical resistors can enjoy. For those of us who like a little more meat on a musical's bones, that is there, too. As I said, it has stuck with me all these days later. I find myself thinking about these characters, relating to them both. Understanding Robin's need to self-preserve by building up walls, yet being motivated to please everyone in her life. Being envious of Dougal's exuberance at finally being in the city, refusing to see the ugliness, yet wanting to protect him from every curve ball he doesn't see coming. After all, who hasn't made questionable personal choices and had to deal with the consequences? Who hasn't hoped against hope that our family won't let us down? Suffered heartache? Dreamed big? Wanted more? 

And why was the whole audience so invested in that cake?

📸: M. Murphy