TopicsMusicals
Reviews, news, and features on Broadway and Off-Broadway musicals — the big-house spectacle, the new scores, and the songs worth the price of a ticket, all from the Broadway Show Girls.
Carmen: The Glass Marquee wants to be three things at once — a memory play, a spectacle musical, and an argument about who gets to tell the stories of immigrant neighborhoods — and for long stretches
The second act of The Saltwater Gospel at the Meridian Theatre is the finest sustained forty-five minutes of new musical theater I have seen in two seasons.
Cascade is the real thing, and Celestine Park is going to be a star. The show opened at the Harriwell Theatre Friday night to an audience that arrived curious and left shaken — shaken in the good
Carmen: Rock musicals have a credibility problem, and most of them deserve it. For every show that earns its distortion pedals, there are three that mistake a power chord for a personality.
The revival of Calle Oscura at the Calderon Theatre is the production this show has been waiting thirty years to get.
"Magdalena" is not quite great. It is close enough that the gap will drive you a little crazy — or past it entirely, depending on how much patience you're willing to bring to a first act that has not
Carmen: Here is what I keep saying, and here is what nobody wants to hear: the concept is not the show.
Naya Sinclair is moving her arena spectacle into a Broadway house for a limited run. The question isn't whether she can sing it — it's whether the room can hold it.
Yesenia Roldán turned down three shows this year. She just said yes to "Brass Heaven" — and the reason she gave is the most exciting thing about it.
After six years away, Marisol Vega is coming back to Broadway in "Comet Season" — a new musical written around her voice. That last part is the whole story.
This is a great musical that doesn't know it's great for the first forty minutes.
The pop-scored spectacle "Supernova" just landed a Broadway theater and confirmed an ensemble of twenty-two dancers. Let me tell you why that second number is the story.
A revival has to earn its place on a stage. The Coronet's fall remount of "The Gilded Hour" just found its reason, and her name is Renata Vidal.
"Salt and Smoke" is the best second act on Broadway right now, housed inside a first act that still hasn't decided what kind of show it wants to be.
Carmen: Broken Psalms got me in the chest in the second act and I am still not entirely over it.
A soul legend is playing a limited Broadway residency this fall. Imani says the twelve-piece band she's bringing is the reason to fight for a ticket.
Saltwater Gospel is the most exhilarating mess I've sat through in years, and I mean that as a fact, not a complaint.
Before the Fall is the best musical most people under forty have never heard, and Domenica Vásquez's production at the Hargrove Theatre is the reason it finally gets to fix that.
Carmen: Two people. That's what "The Last Ferry" gives you. Two people, a set that looks like a harbor at the end of the world, and a score that thinks it can carry the weight of everything unsaid
A sweeping, sentimental warhorse of a musical just handed its revival to a director known for cold, stripped-down plays. Carmen is cautiously thrilled.
The season's most talked-about spectacle just added twelve weeks. Imani breaks down the ninety seconds of flying that are selling every one of those tickets.
The Calloway is on fire right now, and most of that fire has a name: Esmeralda Voss.
Carry Me Quiet gets one thing exactly right and nearly ruins it trying to get everything else right too.
Carmen: Here is what I will tell you about Last Light at the Meridian: it is the most complicated two hours I have spent in a theater seat this season, and I mean that as a compliment — a qualified
A club choreographer with no Broadway credits just got a major musical — and the casting call already tells you the ensemble is going to move differently. Imani's watching.
"North Wind" is a better musical than its first act deserves to be, and I say that with genuine respect for what Cressida Maye and Theo Ladd have built here.
Carmen Delgado on 'The Counterfeit Crown': a standing ovation the show earns, but doesn't fully deserve — and why that distinction is worth sitting with.
Carmen: Marquee opens with a woman standing alone at the edge of a stage that is, for one full moment, completely dark.
Casting a dramatic actress with no musical credits as the lead of a big fall musical is a risk. Carmen explains why it's the smartest risk of the season.
The Distance Home is the real thing — a Broadway musical with something to say and the craft to say it.
The Glittering Dark is a near-great musical carrying a genuinely great performance, and that gap is what I want to talk about.
The design reveal for "Kaleidoscope" dropped one number that tells you exactly what kind of spectacle this is. Imani explains why the turntable is the whole show.
Carmen Delgado on Rafaela Moreno's second-act turn in 'Longitude' — the best Broadway performance she's seen since the revival of Crescent House.
The musical everyone claimed they couldn't get into is coming back to the Halcyon this fall. The real news isn't the return — it's who's in the pit.
Carmen: Muse is the best musical of this season, and I'm not interested in arguing about it — only in making sure you see it before someone talks you out of it.
Carmen Delgado on 'Runaground,' the real thing: a thundering new Bronx musical that earns its transfer to the Pemberton — no reservations, no asterisks.
"The Cartographer's Wife" is a great musical trapped inside an adequate one, and the adequate one runs for about ninety minutes before the great one shows up.
I’ve seen "El Jardín de las Mariposas," the new musical by Jorge Velásquez, twice now.
Carmen: So let’s set the record straight here. Iceboy! is like that hot slice of pizza you’ve been waiting for all week.
Carmen Delgado on Marisol Vega's revival of 'Echoes of Yesterday' at the Regent Theatre — a production that doesn't just recreate a classic score, it reinvents it.
Carmen Delgado and Priya Raghunathan go head-to-head on the Broadway transfer of Inheritance — the divisive new musical everyone is talking about and no one agrees on.
Imani Carter breaks down the four Broadway spectacles you absolutely cannot sleep on this summer, from flying sequences to LED walls to the diva moment of the decade.
Carmen Delgado reviews the fictional Harlow Theater Company revival of A Doll's House, a bold reimagining that gets the big moments right and fumbles a few crucial ones.
