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Nice to see I'm not the only one who recoiled at Sam Gold's name. No thank you.

https://www.broadwayworld.com/article/THE-LOST-BOYS-MEXODUS-SCHMIGADOON-and-More-Nominated-For-Outer-Critics-Circle-Awards-Full-List-20260421

Full List of Nominations

Outstanding New Broadway Musical

The Lost Boys
Schmigadoon!
Two Strangers (Carry a Cake Across New York)

Outstanding New Off-Broadway Musical

Beau the Musical
Goddess
Mexodus
Oratorio for Living Things
Saturday Church

Outstanding New Broadway Play

The Balusters
Giant
Little Bear Ridge Road
Oedipus
Punch

Outstanding New Off-Broadway Play

Angry Alan
Meet the Cartozians
Prince Faggot
The Monsters
The Reservoir

John Gassner Award (for a new American play preferably by a new playwright)

Call Me Izzy by Jamie Wax
Caroline by Preston Max Allen
Cold War Choir Practice by Ro Reddick
Data by Matthew Libby
Well, I'll Let You Go by Bubba Weiler

Outstanding Revival of a Musical

The Baker's Wife
Chess
Masquerade
Ragtime
The 25th Annual Putnam County Spelling Bee

Outstanding Revival of a Play

Becky Shaw
The Brothers Size
Death of a Salesman
Joe Turner's Come and Gone
Marjorie Prime

Outstanding Lead Performer in a Broadway Play

Rose Byrne, Fallen Angels
Will Harrison, Punch
Nathan Lane, Death of a Salesman
John Lithgow, Giant
Lesley Manville, Oedipus
Kelli O'Hara, Fallen Angels

Outstanding Featured Performer in a Broadway Play

Christopher Abbott, Death of a Salesman
Danny Burstein, Marjorie Prime
Jessica Hecht, Dog Day Afternoon
Laurie Metcalf, Death of a Salesman
Ruben Santiago-Hudson, Joe Turner's Come and Gone

Outstanding Lead Performer in a Broadway Musical

Sara Chase, Schmigadoon!
Nicholas Christopher, Chess
Luke Evans, The Rocky Horror Show
Joshua Henry, Ragtime
Sam Tutty, Two Strangers (Carry a Cake Across New York)
Brandon Uranowitz, Ragtime
Jessica Vosk, Beaches

Outstanding Featured Performer in a Broadway Musical

Ali Louis Bourzgui, The Lost Boys
Max Clayton, Schmigadoon!
Andrew Durand, The Rocky Horror Show
Benjamin Pajak, The Lost Boys
Ben Levi Ross, Ragtime

Outstanding Lead Performer in an Off-Broadway Musical

Micaela Diamond, The Seat of Our Pants
Amber Iman, Goddess
Brian Quijada, Mexodus
Matt Rodin, Beau the Musical
Nygel D. Robinson, Mexodus

Outstanding Featured Performer in an Off-Broadway Musical

Justin Cooley, The 25th Annual Putnam County Spelling Bee
J. Harrison Ghee, Saturday Church
Judy Kuhn, The Baker's Wife
Kevin McHale, The 25th Annual Putnam County Spelling Bee
Jasmine Amy Rogers, The 25th Annual Putnam County Spelling Bee

Outstanding Lead Performer in an Off-Broadway Play

Quincy Tyler Bernstine, Well, I'll Let You Go
Alana Raquel Bowers, Cold War Choir Practice
André Holland, The Brothers Size
Alani iLongwe, The Brothers Size
Aigner Mizzelle, The Monsters

Outstanding Featured Performer in an Off-Broadway Play

Caroline Aaron, The Reservoir
Brian d'Arcy James, Eurydice
River Lipe-Smith, Caroline
Andrea Martin, Meet the Cartozians
Malcolm Mays, The Brothers Size

Outstanding Solo Performance

Sean Hayes, The Unknown
Mary Kate O Flanagan, Making a Show of Myself
Jack Holden, Kenrex
Daniel Radcliffe, Every Brilliant Thing
Jean Smart, Call Me Izzy

Outstanding Book of a Musical (Broadway or Off-Broadway)

Jim Barne and Kit Buchan, Two Strangers (Carry a Cake Across New York)
David Hornsby and Chris Hoch, The Lost Boys
Douglas Lyons, Beau the Musical
Cinco Paul, Schmigadoon!
Brian Quijada and Nygel D. Robinson, Mexodus

Outstanding Score (Broadway or Off-Broadway)

Jim Barne and Kit Buchan, Two Strangers (Carry a Cake Across New York)
Heather Christian, Oratorio for Living Things
Ethan D. Pakchar and Douglas Lyons, Beau the Musical
Brian Quijada and Nygel D. Robinson, Mexodus
The Rescues, The Lost Boys

Outstanding Direction of a Play

Debbie Allen, Joe Turner's Come and Gone
Ngozi Anyanwu, The Monsters
Trip Cullman, Becky Shaw
Robert Icke, Oedipus
Joe Mantello, Death of a Salesman
Tarell Alvin McCraney and Bijan Shibani, The Brothers Size

Outstanding Direction of a Musical

Michael Arden, The Lost Boys
Lear deBessonet, Ragtime
Lee Sunday Evans, Oratorio for Living Things
David Mendizábal, Mexodus
Diane Paulus, Masquerade

Outstanding Choreography

Sidi Larbi Cherkaoui, Masquerade
Christopher Gattelli, Schmigadoon!
Darrell Grand Moultrie, Goddess
Darrell Grand Moultrie, Saturday Church
Rickey Tripp, The Monsters

Outstanding Orchestrations (Broadway or Off-Broadway)

Fraser Campbell, Jane Cardona, Ben Moss, Odetta Hartman, John Murchison, Peter Wise, Oratorio for Living Things
Doug Besterman and Mike Morris, Schmigadoon!
Mikhail Fiksel, Brian Quijada, and Nygel D. Robinson, Mexodus
Ethan Popp and The Rescues, The Lost Boys
Michael Thurber, Goddess

Outstanding Scenic Design

James Fluhr, Masquerade
Dane Laffrey, The Lost Boys
Scott Pask, Schmigadoon!
Adam Rigg and Anton Volovsek, Bowl EP
Jason Sherwood, The Baker's Wife

Outstanding Costume Design

Dede Ayite, Goddess
Linda Cho, Schmigadoon!
Jeff Mahshie, Fallen Angels
Ryan park, The Lost Boys
Emilio Sosa, Masquerade

Outstanding Lighting Design

Mextly Couzin, Mexodus
Adam Honoré, Cats: The Jellicle Ball
Jack Knowles, Death of a Salesman
Jen Schriever and Michael Arden, The Lost Boys
Studio Luna, Marcel on the Train

Outstanding Sound Design

Caroline Eng, The Unknown
Mikhail Fiksel, Mexodus
Adam Fisher, The Lost Boys
Brett Jarvis, Masquerade
Nick Kourtides, Oratorio for Living Things

Outstanding Video/Projection Design

59 Studio, Ragtime
Akhila Krishnan, Kyoto
Derek McLane, This World of Tomorrow
Johnny Moreno, Mexodus
John Narun, Bughouse

Rentaholic2 said: "I feel somewhat vindicated - when this was announced, people on the board were tripping over themselves to say how badly it was going to bomb, and I said I could see it being a sleeper hit. With these reviews and the positive word of mouth I've been hearing, I wouldn't be surprised if this turns into a hit and takes Best Musical."

Maybe. Or it could wind up like Shucked, which was in the same theater, and whose trajectory it seems to be replicating so far. 

BWW's review roundup calculated Shucked's average rating to 71.1%.

Schmigadoon got 74.4%

Shucked had 12 positive, 3 mixed, 0 negative on DidTheyLikeIt.

Schmigadoon has 11 positive, 4 mixed, 1 negative.

Schmigadoon only has one full week of sales for comparison, but it's comparable to Shucked's. (The latter did a better job filling the houses and was sold out early on, but it had a cheap ticket promotion in its early weeks to build word of mouth.)

If it had gotten much better reviews I could see it breaking out. With these, it could still very much go either way. 

(It's also not that far off from Boop's 71.3% and 10 positive/4 mixed/2 negative and we saw how that went.)

UWS10023 said: "I saw the production Saturday evening the 18th of April and thought it was splendid. Jack Falahee was signing playbills at the stage door. I know he was scheduled for Happy during the matinee but does anyone know if he also did the evening performance? I was sitting in the back of the orchestra so I assumed I was watching Ben Ahlers and there was no mention of an understudy performancein the playbill. In retrospect I think I saw Jack. Maybe there was a notice in the lobby and I missed it."

Death of a Salesman does the online/QR code understudy notice, no slip. Falahee was indeed in for both shows Saturday.

https://atthisplaybill.com/Death-of-a-Salesman

 

 

Theatermania

Review: Kelli O’Hara and Rose Byrne Are a Great Slapstick Duo in Fallen Angels

https://www.theatermania.com/news/review-kelli-ohara-and-rose-byrne-are-a-great-slapstick-duo-in-fallen-angels_1833432/

"But Byrne and O’Hara are the main reasons to see this excellent revival. In O’Hara’s case, one could even call this production revelatory, given not only how unexpected it is to see her tap into her inner farceur but how stellar she turns out to be at it."

WSJ:

‘Fallen Angels’ Review: Rose Byrne and Kelli O’Hara in a Bubbly Broadway Revival

The two actresses make for a smashing comic duo in this production of the Noël Coward play about two women eager to rekindle a romance with the same French lothario.

https://www.wsj.com/articles/fallen-angels-review-rose-byrne-and-kelli-ohara-in-a-bubbly-broadway-revival-2321558a

"Yet even when their characters are at their cattiest, Ms. Byrne and Ms. O’Hara are clearly having a grand time depicting these genteel women dropping their grandeur under the influence of heightened emotion and high alcohol consumption. And they see to it that, even without the benefit of a flute or 12 of champagne, the audience has a grand time too."

 

The Wrap: Hofler is mostly negative

‘Fallen Angels’ Broadway Review: Rose Byrne and Kelli O’Hara Do Their Lucy & Ethel Best to Dust Off an Antique

Noel Coward would not recognize his 1925 flop about two married women who consider revisiting past affairs with the same lover

https://www.thewrap.com/creative-content/theater/fallen-angels-broadway-review-rose-byrne-kelli-ohara/

"Even at the very un-Coward-like length of 90 minutes, this production of “Fallen Angels” under the direction of Scott Ellis takes about half an hour to light any real comic fire in what was once the play’s first act. When it finally does ignite, Rose Byrne’s Jane and Kelli O’Hara’s Julia don’t delight by what they say. Instead, they have to get sh*t-faced drunk."

Variety

‘Fallen Angels’ Broadway Review: Rose Byrne and Kelli O’Hara Sparkle in Lackluster Noël Coward Revival

"the two stars, who at first seem to be playing in different registers with O’Hara launching her punchlines towards the balcony and Byrne aiming for the second row, harmonize to deliver a master class in physical comedy. It’s demented, hilarious fun to see Byrne kick off her heels and rappel down her chair or witness O’Hara dipping her after-dinner strawberries into her Cordial Medoc as though dunking shrimp into cocktail sauce. The two are so silly, so loopily in synch, that the scene, which occurs halfway through the second act, lifts the entire show, giving it a buoyancy that has been lacking during its exposition-heavy beginning."

NY Stage Review

Fallen Angels: Here’s to Women Behaving Badly

By Melissa Rose Bernardo

★★★★☆ Rose Byrne and Kelli O’Hara are riotously funny in Noël Coward’s 101-year-old buddy comedy

https://nystagereview.com/2026/04/19/fallen-angels-heres-to-women-behaving-badly/

 

Fallen Angels: Merely Amusing

By Michael Sommers

★★★☆☆ Rose Byrne and Kelli O’Hara take summer stock of Noel Coward’s vintage comedy at Roundabout

https://nystagereview.com/2026/04/19/fallen-angels-merely-amusing/

The Guardian: five stars

Fallen Angels review – Rose Byrne is utterly delightful in Noël Coward comedy revival

Rose Byrne and Kelli O'Hara are comic gems in a pitch-perfect revival that sparkles like champagne.

"99 years later the play remains hilariously horny and startlingly modern, and Scott Ellis’s champagne cocktail of a revival has the exact right ingredients: complete faith in the material, drop-dead deluxe design, and the sugar-and-bubbles combination of Oscar-nominated actor Rose Byrne and stage veteran Kelli O’Hara."

AMNY

Review | ‘Fallen Angels’ with Kelli O’Hara and Rose Byrne sparkles briefly, then fizzles

https://www.amny.com/entertainment/review-fallen-angels-kelli-ohara-rose-byrne/

"Director Scott Ellis, however, compresses the action into a brisk, intermission-less 90 minutes, pushing the material at such speed that its rhythms collapse entirely. Lines that should land with epigrammatic precision, such as Julia’s distinction between loving one’s husband and being “in love” with him, are rushed past or swallowed. Instead of savoring Coward’s wit, the production hurries to the punchlines, often leaving them blurred or inaudible."

Deadline

‘Fallen Angels’ Broadway Review: Rose Byrne & Kelli O’Hara Are Absolutely Fabulous In Sparkling Noël Coward Comedy

https://deadline.com/2026/04/fallen-angels-broadway-review-rose-byrne-kelli-ohara-mark-consuelos-1236864235/

"Under the sure direction of Scott Ellis and given a lush, gorgeous staging by Roundabout and some of Broadway’s best designers – David Rockwell, sets, sumptuous; Jeff Mahshie, costumes, deep oppulance; Kenneth Posner, ever-so-flattering lighting – Fallen Angels is a most welcome springtime treat, a smart, breezy entry in Broadway’s chaotically busy pre-Tony season."

 

 

NYT Critic's Pick

Review: They May Be ‘Fallen Angels,’ but This Comic Duo Is Heavenly

Lust is the comic engine driving the action of a riotous revival of one of Noël Coward’s early plays, with Rose Byrne and Kelli O’Hara, at Todd Haimes Theater.

https://www.nytimes.com/2026/04/19/theater/fallen-angels-review-byrne-kelli-ohara-broadway.html

"“Fallen Angels,” which hasn’t been on Broadway for 70 years, has long been considered one of Coward’s second-tier efforts, a better vehicle for stars than the actual play. Scott Ellis’s assured production makes a persuasive case for it, but make no mistake: The dynamite performances of Byrne and O’Hara are the main event."

 

Vulture: Holdren is positive. Praise for the stars.

Fallen Angels Makes a Great Case for Irrelevance

Two hours off from the world as Kelli O’Hara and Rose Byrne get sloshed on Champagne and trade Noël Coward barbs.

"Fallen Angels itself — about a pair of witty, worldly besties who get blitzed on champagne while considering cheating on their husbands with a mutual old flame — landed its author in trouble with the censors in London. We’ve still got puritanism and fascism, so thank goodness we have farce, too. And if — to borrow from Oscar Wilde — the measure of a farce isn’t whether it’s good or bad, but whether it’s charming or tedious, then Fallen Angels is still more than capable of seducing us out of seriousness."

Holdren's Vulture review was evidently posted last night but I didn't find it when looking earlier today and only just came across it on the NYMag home page. Eloquently stated and a good read as always.

https://www.vulture.com/article/theater-review-proof-auburn-cheadle-edebiri.html

"If Proof can still sparkle and snap, Kail isn’t proving it. And despite their eminent likability, Ayo Edebiri and Don Cheadle — in the central roles of Catherine and her father, Robert — may even be the wrong actors.

I say “despite,” but the truth is that Edebiri and Cheadle both face a challenge here, one that Kail isn’t helping them to meet with full ferocity: As performers who naturally channel decency, they are not playing nice characters."

...

"Catherine is all defensive spikes, while Robert, both dead and alive, can be withering in his judgment. “Claire’s done well for herself,” he says, in a moment of flashback, about Catherine’s older sister (played by the national treasure Kara Young), a currency analyst in New York who keeps trying to lure Catherine back toward social normality. “I’m satisfied with her. I’m proud of you.” It’s a line that should be intimate and devastating at the same time, but in the overall warmth of Cheadle’s performance, you’d be forgiven for missing it. Surely he could adjust the temperature and focus of the role — and so could Edebiri, who defaults to the kind of outward, slightly floppy self-effacement and internal “I’m taken for granted” chagrin that worked so well for her as Sydney on The Bear. It’s a mode she’s very good at, but it’s not quite enough to juice up a whole play’s engine in the way that it has to here, and Kail isn’t pushing for more oomph. He’s letting both of Proof’s prickly protagonists get too cuddly, and so the tension slackens, air leaks from the seams, and the whole vessel starts to wobble and sink."

2 1/2 starts from NYP

‘Proof’ review: Ayo Edebiri and Don Cheadle star in underpowered Broadway revival

https://nypost.com/2026/04/16/entertainment/proof-review-ayo-edebiri-and-don-cheadle-star-in-underpowered-broadway-revival

"Admirably, hers is a very different portrayal of Catherine than any I’ve seen before. At times, it’s a very moving one. And, while Edebiri’s interpretation won’t please everybody or even gel with all the beats of the play — particularly older sister Claire and new friend Hal’s sexist insistence that Catherine couldn’t possibly be a math wiz — the actress’ sheer modernity helps prevent “Proof” from feeling too retro.

Phew. Because director Thomas Kail certainly isn’t helping her on that front. 

On a bright University of Chicago backyard set by Teresa L. Williams that could be used on dark nights for “Home Improvement Live!,” the man who staged “Hamilton” sheepishly delivers an uninspired checklist of basic entrances and exits while batting away the many artistic possibilities Auburn’s script provides."

Theatermania

Review: Ayo Edebiri and Don Cheadle Try to Solve a Precise but Passionless Proof

https://www.theatermania.com/news/review-ayo-edebiri-and-don-cheadle-try-to-solve-a-precise-but-passionless-proof_1832726/

"Proof is so structurally sound that any production can have an impact, which is both a gift in theory and a potential liability in practice. Both sides of that equation are why Thomas Kail’s current Broadway revival at the Booth Theatre is generally effective, but rarely as emotionally charged as it should be. It is rock-solid in its competence, which is ideal for the newcomers in attendance to see stars Ayo Edebiri and Don Cheadle up close. But those who know how thrilling this play could be will find themselves wishing for Kail to have done anything to test the play’s mathematical precision."

B from Entertainment Weekly

Proof review: Ayo Edebiri plus Don Cheadle equals an intriguing Broadway revival of Tony-winning play

The Tony-winning play returns to Broadway in a star-studded revival directed by Thomas Kail.

https://ew.com/proof-review-ayo-edebiri-don-cheadle-broadway-11949024

"Edebiri, in her Broadway debut, brings forth a winning performance as Catherine. It's clear that she sees the character's many contradictions and embraces them wholeheartedly, often taking casual conversations and turning them on their head with a perfectly-timed cutting remark that makes the entire theater hold their breaths. Still, she remains playful in her portrayal of the flawed young woman too, managing to bring a real youthfulness and vulnerability to her too — especially when paired opposite Young and Cheadle. For all of her tough exterior, Edebiri succeeds in making Catherine a character that you're aware is far from perfect, and yet you can't help rooting for regardless."