Musicians are disappearing from Australia's biggest stage shows as technology usurps their roles.
The world's highest grossing musical returned to Sydney in April with a smaller orchestra after Disney cut all four string parts from the 2026 season of The Lion King.
Great Performances has been on an absolute tear lately with proshots, and I'm here for it. TOP HAT is one of those scores that's just packed with standards back-to-back (Cheek to Cheek, Top Hat White Tie and Tails, Isn't This a Lovely Day) and the tap choreography in the West End production was apparently a showstopper.
Anyone in the UK who caught this live -- worth staying up for? And bigger question: why aren't producers and equity getting together over here to make this more affordable?
For a show that was so quintessentially CHICAGO in its DNA (and named after the state!), it feels almost overdue that it's getting a proper Midwest homecoming. The Broadway run was such a unique experience -- that dance-forward storytelling, the Sufjan score live -- and the question is whether the original Justin Peck choreography and Jackie Sibblies Drury book stay intact or get reimagined for the Yard at Chicago Shakes.
Anyone else hoping for some original cast to return? I'd love to see Ben Cook or Ricky Ubeda back on stage. And does this make a tour more likely down the line?
I remember years ago that Joe's Pub had Broadway artists doing concerts there all the time, and I even attended a couple of this site's benefits there (please bring those back!).
It was always a much preferred venue for me to 54 Below, but it seems like no Broadway artists are playing there regularly. Is that a venue decision or just the competition of 54 Below?
Thanks Rob, and for what it's worth - I've had no issues in the last few weeks and have noticed the site as loading a lot faster, especially on my ancient iPad. We appreciate you here, and hope your Mom is doing better!
The cast alone makes this worth the trip to the theater. Not a single weak link in the bunch, which is increasingly rare. The standout for me was Max Clayton — my first time seeing him, and he absolutely commanded attention with a powerhouse solo early in Act 1. I sincerely hope awards voters take notice. Sara Chase was a delight, and it was great to have her back on a Broadway stage.
Alex Brightman is as talented as ever, but the material doesn't give him much to work with &
Just saw this on Playbill — Tony Kushner is directing a benefit reading of Larry Kramer's The Normal Heart at The Public. I mean... the Angels in America playwright taking on the other towering AIDS-era masterwork? This feels like an event.
Look, I get it. The Count of Monte Cristo is a brick of a novel. You can't fit everything in. Nobody's asking for a six-hour epic ... though honestly, after hearing about this production, maybe they should have.
What I am asking for is the revenge. The whole point of Monte Cristo is that Edmond Dantès spends nearly two decades in a dungeon, slowly losing his mind, before clawing his way back to destroy the people who put him there. That's the engine of the entire sto
