From Where We Sat: New World Stages - Stage 1

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:

New World Stages - Stage 2

The Theatre: 

• 340 W. 50th Street
• Current capacity: 499 seats
• Orchestra and Mezzanine seating

What We Saw There:

• Heathers (review HERE)

Where We Sat: 

• Orchestra Row B, Seats 107 & 108. The seating in this theater has above average leg room. The seats themselves were comfortable and in excellent condition.

What We Paid: 

• $88.00 (Box Office price) These same seats are now $164.00 each. I guess we were lucky to buy early. 

The Location: 

• Upon entering the theater, we were directed immediately to the left and down to the front usher. Our seats were roughly one-third of the way in from the house left side aisle.
• Row B is the second row from the stage on the house left but center section.

Seat Amenities and Exiting the Theatre:

• These seats are comfortable and well maintained. They are also wider than typical Broadway seats.
• The front rows of the orchestra are on a small rake, but it was not difficult to see over the people in front of us. The stage deck from those seats is at just about eye level.  
• Exiting the theatre was simple from here. Back up the aisle, a quick right, and immediately into the expansive lobby. Stairs and escalators bring you up to street level and out onto 50th Street.  
• We were out of the theater and on our way in about 5 minutes post curtain call.

So how was the view*?

• The height of the deck is a non-issue from this point. 
• You are very close to the stage action from here. The benefits are that you can see the actors' faces and the details of their costumes very well. There is nothing hidden here! The down side is that occasionally, you can't see the whole stage at once, and you are unable to see around the actors directly in front of you. Mostly the view is wonderful.

The bottom line:

• I would definitely get these seats again. 

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

Other seating at New World Stages - Stage 1

• We have seen other productions at this theater and we've sat in various locations in the orchestra. 
• Aside from obvious perspective differences, the orchestra section seating offers great leg room. The theater is small, and everywhere downstairs feels close. I can't speak to the seating or view from the mezzanine as I've never sat up there. 
• I have found that it pays to do a full search of the seat prices. They tend to be oddly configured, price-wise, random in fact.

The Book of Mormon at 15-ish

The Book of Mormon at 15-ish

There are four things I recall vividly about seeing The Book of Mormon, a show I have not returned to since seeing it on April 16, 2011. 

First, it was cold and rainy. Very rainy. Heavy rain poured throughout the day, and everything just smelled so wet, including the interior of the Eugene O'Neill. I guess that's not so surprising given that the place has no real lobby to speak of.so we all walked directly inside, dripping wet. The powers that be, it seems, were perfectly willing to let the sold out crowd stand in a line getting soaked in a cold downpour that even the sturdiest of umbrellas could not begin to stave off. To say the mood in the crowd was less than patient would be a gross understatement. I know I was less than thrilled, especially since I wasn't all that excited to see it. We bought tickets early, at a substantial discount, which, looking back, was a novel thing that wouldn't again be available for several years. The tickets were cheap and I was determined to continue my streak of seeing every new Broadway musical each season. Mike did, too, but he was also a fan of the writers of the show, and their animated series. Me, not so much. You see, South Park isn't really my thing - to date, I still have never seen a full episode.

The next thing I remember like it was yesterday was our seats: dead center, third row front mezzanine. They were perfect, view-wise. We could not only see the actors pretty up close, but we could see the whole stage at once. If you've seen it, you know that is a relatively lavish production, and seeing the entire stage picture was really something. But would I ever sit up there again? No. Not even for a free ticket, or even if they paid me. Those seats were so close to the row in front of us that my knees literally dug into the seat back directly in front of me. It was extremely painful. And I know I wasn't the only one to feel that way, the lady next to me commented about it loudly to her husband, who also complained that his knees were killing him. They did not return for the second act, so at least my left leg got a reprieve after intermission.

Third, I remember being so pleasantly surprised at how smart and genuinely funny the show was. It skewered every group represented in the show with equal severity, and it was creatively subversive and bawdy all at once. Heck, I even learned a thing or two. That's not to say that I didn't take issue with some of it. Its bold-faced racism was a bit hard to take take comfortably, and I was, frankly, a little shocked at how the people of color in the show stood there and just took it. But they did, and I got to see some now-favorite performers for the first time, including Tony-winner Nikki M. James, Michael Potts, Rory O'Malley, Andrew Rannells, and breakout star Josh Gad. Discomfort at some of the content aside, I really enjoyed it. In fact, I gave it an A- review (HERE).

Finally, and what I remember most, was my assessment as we were filing out into the still pouring rain. I decreed pompously, "I give it three years, tops. It is a novelty show with a limited appeal to South Park fans, most of whom wouldn't leave their basements long enough to see a Broadway show." Man, was I arrogant! Clearly, nearly 15 years later (and with no end in sight) the show's appeal had hardly abated. South Park continues to be relevant, and new legions of fans seem to be discovering it each year. So I was wrong, and glad to be. If it serves as a gateway to folks seeing other Broadway shows, all the better.

Is it my cup of tea in retrospect? No. And a lot of it is really offensive, well beyond the "on purpose" stuff. And I even have feelings about this big "Hello 15" advertising campaign. It won't be fifteen years until the end of February, if you count previews, the end of March if you don't count it until its official opening. Okay, I'm a theater snob and nit picky. On the other hand, I love the "Hello 15" play on the show's opening number, as well as the homage to another long-runner, A Chorus Line, a show whose run will be eclipsed by BOM in a year and a half (it would be a lot closer had the pandemic not interrupted everything so rudely). Looks like the elders will be saying, "Hello!" for a long time to come.

Broadway Games: Jukebox Songs, Jukebox Shows

 For some, jukebox musicals are the bane of theater existence, for others, they are just fun diversions, a sort of musical comfort food. I prefer original scores in my new mew musicals, but I enjoy a well put together show no matter the score.

Today's game is all about those musicals with a score made up of preexisting songs. We will list three songs from the same show, and you name the show. Good luck!

Broadway Games:

Jukebox Songs, Jukebox Shows

1. "Conga," "Rhythm is Gonna Get You," "Turn the Beat Around"

2. "Under Attack," "Voulez-Vous," "Thank You For the Music"

3. "Splish Splash," "Who's Sorry Now," "Mack the Knife"

4. "In the Still of the Night," "My Girl," "Papa Was a Rollin' Stone"

5. "Like a Rolling Stone," "Hurricane," "Duquesne Whistle"

6. "Baby One More Time," "Oops...I Did It Again," "Roar"

7. "Baby One More Time," "Oops...I Did It Again," "Toxic"

8. "Firework," "Chandelier," Roar"

9. "It's Still Rock and Roll To Me," "Uptown Girl," "Pressure"

10. "Ironic," "You Learn," "Head Over Feet"

11. "Kaleidoscope," "Empire State of Mind," "Girl on Fire"

12. "Beat It," "Human Nature," "Black or White"

13. "Beautiful," "Vacation," "Our Lips Are Sealed"

14. "(Simply) The Best," "Better Be Good to Me," "River Deep - Mountain High"

15. "The Beat Goes On," "Gypsies, Tramps and Thieves," "Believe"

STOP SCROLLING!

The answers are below!

1. "Conga," "Rhythm is Gonna Get You," "Turn the Beat Around" On Your Feet

2. "Under Attack," "Voulez-Vous," "Thank You For the Music" Mamma Mia!

3. "Splish Splash," "Who's Sorry Now," "Mack the Knife" Just In Time

4. "In the Still of the Night," "My Girl," "Papa Was a Rollin' Stone" Ain't Too Proud

5. "Like a Rolling Stone," "Hurricane," "Duquesne Whistle" Girl From the North Country

6. "Baby One More Time," "Oops...I Did It Again," "Roar" & Juliet

7. "Baby One More Time," "Oops...I Did It Again," "Toxic" Once Upon a One More Time

8. "Firework," "Chandelier," Roar" Moulin Rouge!

9. "It's Still Rock and Roll To Me," "Uptown Girl," "Pressure" Movin' Out

10. "Ironic," "You Learn," "Head Over Feet" Jagged Little Pill

11. "Kaleidoscope," "Empire State of Mind," "Girl on Fire" Hell's Kitchen

12. "Beat It," "Human Nature," "Black or White" M.J.

13. "Beautiful," "Vacation," "Our Lips Are Sealed" Head Over Heels

14. "(Simply) The Best," "Better Be Good to Me," "River Deep - Mountain High" Tina

15. "The Beat Goes On," "Gypsies, Tramps and Thieves," "Believe" The Cher Show

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

Broadway Games: On Broadway 2026 (So Far...)

Happy New Year, Broadway fans! As of January 1, 2026, there are 15 shows scheduled to open in the remainder of the 2025-2026 season. How much do you know about these shows? That's what today's game is all about!

Broadway Games:

On Broadway 2026 (So Far...)

DIRECTIONS: For each title, select all descriptions which are true about that show as of January 1, 2026. To help you, the number of true descriptions is in the parentheses after the title.

1. Every Brilliant Thing (3)

New Play    Play Revival    New Musical    Musical Revival

Stars at least one Tony, Oscar and/or Emmy winner in the main cast

Features at least one Broadway debut in the main cast

Based on a film, TV show or a famous person

Currently scheduled for an open run

Currently advertised as a limited engagement

Is part of a theater company season

2. Arthur Miller's Death of a Salesman (4)

New Play    Play Revival    New Musical    Musical Revival

Stars at least one Tony, Oscar and/or Emmy winner in the main cast

Features at least one Broadway debut in the main cast

Based on a film, TV show or a famous person

Currently scheduled for an open run

Currently advertised as a limited engagement

Is part of a theater company season

3. Dog Day Afternoon (5)

New Play    Play Revival    New Musical    Musical Revival

Stars at least one Tony, Oscar and/or Emmy winner in the main cast

Features at least one Broadway debut in the main cast

Based on a film, TV show or a famous person

Currently scheduled for an open run

Currently advertised as a limited engagement

Is part of a theater company season

4. Giant (4)

New Play    Play Revival    New Musical    Musical Revival

Stars at least one Tony, Oscar and/or Emmy winner in the main cast

Features at least one Broadway debut in the main cast

Based on a film, TV show or a famous person

Currently scheduled for an open run

Currently advertised as a limited engagement

Is part of a theater company season

5. Becky Shaw (4)

New Play    Play Revival    New Musical    Musical Revival

Stars at least one Tony, Oscar and/or Emmy winner in the main cast

Features at least one Broadway debut in the main cast

Based on a film, TV show or a famous person

Currently scheduled for an open run

Currently advertised as a limited engagement

Is part of a theater company season

6. Cats: The Jellicle Ball (4)

New Play    Play Revival    New Musical    Musical Revival

Stars at least one Tony, Oscar and/or Emmy winner in the main cast

Features at least one Broadway debut in the main cast

Based on a film, TV show or a famous person

Currently scheduled for an open run

Currently advertised as a limited engagement

Is part of a theater company season

7. The Rocky Horror Show (4)

New Play    Play Revival    New Musical    Musical Revival

Stars at least one Tony, Oscar and/or Emmy winner in the main cast

Features at least one Broadway debut in the main cast

Based on a film, TV show or a famous person

Currently scheduled for an open run

Currently advertised as a limited engagement

Is part of a theater company season

8. Titanique (3)

New Play    Play Revival    New Musical    Musical Revival

Stars at least one Tony, Oscar and/or Emmy winner in the main cast

Features at least one Broadway debut in the main cast

Based on a film, TV show or a famous person

Currently scheduled for an open run

Currently advertised as a limited engagement

Is part of a theater company season

9. Fallen Angels (4)

New Play    Play Revival    New Musical    Musical Revival

Stars at least one Tony, Oscar and/or Emmy winner in the main cast

Features at least one Broadway debut in the main cast

Based on a film, TV show or a famous person

Currently scheduled for an open run

Currently advertised as a limited engagement

Is part of a theater company season

10. The Lost Boys (4)

New Play    Play Revival    New Musical    Musical Revival

Stars at least one Tony, Oscar and/or Emmy winner in the main cast

Features at least one Broadway debut in the main cast

Based on a film, TV show or a famous person

Currently scheduled for an open run

Currently advertised as a limited engagement

Is part of a theater company season

11. Beaches: A New Musical (3)

New Play    Play Revival    New Musical    Musical Revival

Stars at least one Tony, Oscar and/or Emmy winner in the main cast

Features at least one Broadway debut in the main cast

Based on a film, TV show or a famous person

Currently scheduled for an open run

Currently advertised as a limited engagement

Is part of a theater company season

12. Joe Turner's Come and Gone (4)

New Play    Play Revival    New Musical    Musical Revival

Stars at least one Tony, Oscar and/or Emmy winner in the main cast

Features at least one Broadway debut in the main cast

Based on a film, TV show or a famous person

Currently scheduled for an open run

Currently advertised as a limited engagement

Is part of a theater company season

13. Proof (4)

New Play    Play Revival    New Musical    Musical Revival

Stars at least one Tony, Oscar and/or Emmy winner in the main cast

Features at least one Broadway debut in the main cast

Based on a film, TV show or a famous person

Currently scheduled for an open run

Currently advertised as a limited engagement

Is part of a theater company season

14. The Balusters (5)

New Play    Play Revival    New Musical    Musical Revival

Stars at least one Tony, Oscar and/or Emmy winner in the main cast

Features at least one Broadway debut in the main cast

Based on a film, TV show or a famous person

Currently scheduled for an open run

Currently advertised as a limited engagement

Is part of a theater company season

15. Schmigadoon! (3)

New Play    Play Revival    New Musical    Musical Revival

Stars at least one Tony, Oscar and/or Emmy winner in the main cast

Features at least one Broadway debut in the main cast

Based on a film, TV show or a famous person

Currently scheduled for an open run

Currently advertised as a limited engagement

Is part of a theater company season

STOP!

If you don't want to know the answers stop scrolling NOW! Proceed if you are ready!

1. Every Brilliant Thing (3)

New Play 

Stars at least one Tony, Oscar and/or Emmy winner in the main cast

Currently advertised as a limited engagement

2. Arthur Miller's Death of a Salesman (4)

Play Revival

Stars at least one Tony, Oscar and/or Emmy winner in the main cast

Features at least one Broadway debut in the main cast

Currently advertised as a limited engagement

3. Dog Day Afternoon (5)

New Play

Stars at least one Tony, Oscar and/or Emmy winner in the main cast

Features at least one Broadway debut in the main cast

Based on a film, TV show or a famous person

Currently advertised as a limited engagement

4. Giant (4)

New Play

Stars at least one Tony, Oscar and/or Emmy winner in the main cast

Based on a film, TV show or a famous person

Currently advertised as a limited engagement

5. Becky Shaw (4)

Play Revival

Features at least one Broadway debut in the main cast

Currently advertised as a limited engagement

Is part of a theater company season

6. Cats: The Jellicle Ball (4)

Musical Revival

Stars at least one Tony, Oscar and/or Emmy winner in the main cast

Features at least one Broadway debut in the main cast

Currently scheduled for an open run

7. The Rocky Horror Show (4)

Musical Revival

Features at least one Broadway debut in the main cast

Currently advertised as a limited engagement

Is part of a theater company season

8. Titanique (3)

New Musical

Based on a film, TV show or a famous person

Currently advertised as a limited engagement

* - Jim Parsons, an Emmy winner, was not part of the cast as of 1/1/26

9. Fallen Angels (4)

Play Revival

Stars at least one Tony, Oscar and/or Emmy winner in the main cast

Currently advertised as a limited engagement

Is part of a theater company season

10. The Lost Boys (4)

New Musical  

Features at least one Broadway debut in the main cast

Based on a film, TV show or a famous person

Currently scheduled for an open run

11. Beaches: A New Musical (3)

New Musical  

Based on a film, TV show or a famous person

Currently advertised as a limited engagement

12. Joe Turner's Come and Gone (4)

Play Revival  

Features at least one Broadway debut in the main cast

Stars at least one Tony, Oscar and/or Emmy winner in the main cast

Currently advertised as a limited engagement

13. Proof (4)

Play Revival 

Stars at least one Tony, Oscar and/or Emmy winner in the main cast

Features at least one Broadway debut in the main cast

Currently advertised as a limited engagement

14. The Balusters (5)

New Play

Stars at least one Tony, Oscar and/or Emmy winner in the main cast

Features at least one Broadway debut in the main cast

Currently advertised as a limited engagement

Is part of a theater company season

15. Schmigadoon! (3)

New Musical    

Based on a film, TV show or a famous person

Currently advertised as a limited engagement

2025 in Review: Our Favorite Productions

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:

Our Favorite Productions 

Well, here we are! Another year in the history books. Here's hoping 2026 makes all of our theater dreams come true.

Before we reveal our Favorite Productions of 2025, I'd like to thank all of our faithful readers who have supported this little website over the past 16(!) years, and to welcome all of you who joined us this year. Happy New Year!

And now, on with the show...

Most Surprising Production of 2025 - Play

John Proctor is the Villain

Most Surprising Production of 2025 - Musical

Two Strangers (Carry a Cake Across New York)

Most Disappointing Production of 2025

Urinetown: The Musical

Favorite Revival of 2025

Ragtime

Favorite New Production of 2025 - Honorable Mention

Dead Outlaw

Operation Mincemeat

Real Women Have Curves

Favorite New Production of 2025 

John Proctor is the Villain

2025 in Review: The Final Totals

Another year has passed, and we've had so many great things to enjoy and celebrate. Over the past couple of weeks or so, we've honored over 130 performers, creatives and their shows. Here's a list of how many each production received:

 

Ragtime - 14

Dead Outlaw - 12

Floyd Collins - 12

John Proctor is the Villain - 12

Buena Vista Social Club - 10

Sunset Boulevard - 9

Two Strangers (Carry a Cake Across New York) - 9

Death Becomes Her - 8

Operation Mincemeat - 8

Real Women Have Curves - 7

Gypsy - 6

The Queen of Versailles - 5

Bat Boy: The Musical - 4

Redwood - 4

Romeo + Juliet - 4

Stephen Sondheim's Old Friends - 4

Hadestown - 3

Heathers - 1

Urinetown: The Musical - 1