April on Broadway, to mangle a phrase from a showtune traditional, is bustin’ out throughout with no fewer than 14 new performs and musicals set to open earlier than the April 25 Tony Award eligibility cutoff date. So crowded are the ultimate weeks of the 2023-24 theater season that three days every will see the openings of two reveals, a Broadway rarity.
Deadline will weigh in on every present. Whether or not you utilize this web page as a information or as an invite to argue, drop by typically for the most recent on Broadway’s choices. And there’ll be loads of choices certainly — right here’s the schedule of April openings: The Outsiders (April 11), Lempicka (April 14), The Wiz (April 17), Suffs (April 18), Stereophonic (April 19), Hell’s Kitchen (April 20), Cabaret (April 21), Patriots (April 22), The Coronary heart of Rock and Roll (April 22), Mary Jane (April 23), Illinoise (April 24), Uncle Vanya (April 24), Mom Play (April 25), The Nice Gatsby (April 25).
Under is a compendium of our opinions. Hold checking again because the record is up to date.
Suffs
Shaina Taube in ‘Suffs’
Joan Marcus
Opening evening: April 18, 2024
Venue: The Music Field Theatre
Director: Leigh Silverman
Guide, music & lyrics: Shaina Taub
Choreography: Mayte Natalio
Principal forged: Shaina Taub, Nikki M. James, Jenn Colella, Grace McLean, Hannah Cruz, Kim Blanck, Anastacia McCleskey, Ally Bonino, Tsilala Brock, Nadia Dandashi, Emily Skinner
Working time: 2 hr 30 min (together with intermission)
Official synopsis: “Within the seven years main as much as the passage of the Nineteenth Modification in 1920, an impassioned group of suffragists — “Suffs” as they known as themselves — took to the streets, pioneering protest ways that remodeled the nation. They risked their lives as they clashed with the president, the general public, and one another. An exhilarating story of good, flawed girls working towards and throughout generational, racial, and sophistication divides, Suffs boldly explores the victories and failures of a battle for equality that’s nonetheless removed from over.”
Deadline’s takeaway: Suffs is enthralling, a wise, humorous and fantastically sung musical that brings its chosen second in historical past to life simply as absolutely and confidently as Hamilton did for its. That the Suffs period is female-focused — and so much less identified, in its particulars, to most people than the doings of the Founding Fathers — makes Shaina Taub’s creation all of the stronger.
The urgency comes via in each side of this thrilling manufacturing, from the extraordinary performances to an beautiful set design that locations the Suffs of 1913-1920 squarely inside a Washington D.C. of stately marble and paneled wooden, proper the place they belong.
Taub, the composer and performer finest identified to New York theatergoers via her impressed work for Shakespeare within the Park in recent times, right here takes an enormous step in scope and ambition, and handily pulls it off. She’s populated Suffs with some dozen or so girls who, in a technique or one other, took half within the battle for suffrage, generally agreeing with each other, simply as typically not, however at all times coming collectively when historical past calls for.
Taub, director Leigh Silverman and a pitch-perfect forged carry the period to vivid life by alternately specializing in historic sweep and the private dramas of the (very actual) characters. The Suffs plead their case greater than as soon as to no much less a personage, nonetheless craven, than President Woodrow Wilson (Grace McLean, in a terrifically humorous efficiency). However the true drama — and no small little bit of the humor (Suffs is something however stuffy) — comes from the clashing personalities of the ladies who share a objective, if, because it so typically appears, little else.
Taub performs Alice Paul, the younger firebrand who, alongside along with her devoted pal Lucy Burns (Ally Bonino), are decided to carry change to the Suffrage Motion, lengthy (too lengthy) underneath the cautious domination of the older Susan B. Anthony-era organizers as personified by the dismissive Carrie Chapman Catt (Jenn Colella). Carrie can’t let go of a extra well mannered method of attaining change: the lobbying and kowtowing that for many years has gained little however guarantees.
Alice and her compatriots aren’t practically so affected person. They need marches, and demonstrations and, ultimately, even starvation strikes, ways that appall the institution Suffs. However one of the vital rewarding features of Taub’s imaginative and prescient for Suffs is within the suggestion of how the newcomers and their elders encourage and affect each other is critical methods. We see this within the bond, nonetheless examined, between Alice and Carrie, and in a equally positioned friendship between the crusading Black journalist Ida B. Wells (Nikki M. James) and her older pal Mary Church Terrell (Anastacia McCleskey). James’ efficiency of the righteous “Wait My Flip” is a musical spotlight.
Taub’s music (together with Mayte Natalio’s choreography) is an interesting meld of Americana, showtune, and hints of vaudeville and the Blues, all mixing into one of the vital incisive and pleasing new scores since Kimberly Akimbo. Suffs, although set (principally) within the distant previous, has a lot to say concerning the ongoing wrestle for equal rights (Hillary Rodham Clinton and Malala Yousafzai are among the many producers). Historical past, and Broadway for that matter, deserve no much less.
The Wiz
‘The Wiz’
Jeremy Daniel
Opening evening: April 17, 2024
Venue: Marquis Theatre
Director: Schele Williams
Guide: William F. Brown
Music & lyrics: Charlie Smalls
Further materials: Amber Ruffin
Choreography: JaQuel Knight
Principal forged: Nichelle Lewis, Wayne Brady, Deborah Cox, Melody A. Betts, Kyle Ramar Freeman, Phillip Johnson Richardson and Avery Wilson.
Working time: 2 hr 30 min (together with intermission)
Official synopsis: “Primarily based on L. Frank Baum’s youngsters’s guide, “The Fantastic Wizard of Oz”, The Wiz takes one of many world’s most enduring (and enduringly white) American fantasies, and transforms it into an all-Black musical extravaganza for the ages.”
Deadline’s takeaway: A lot has occurred within the land of Oz since The Wiz first eased on down the street to Broadway again in 1975, and probably the most of that a lot was Depraved. Elevating the bar on all issues Baum, Depraved not solely added new storylines, approaches and no small quantity of stagecraft dazzle to the universe of witches, wizards and an intruder or 4 that even a teaser trailer for the upcoming movie adaptation can rouse fan pleasure to dizzying ranges.
The as soon as groundbreaking Wiz, in different phrases, is gonna have a troublesome yellow brick street to hoe to maintain up, and the brand new Broadway revival, opening tonight on the Marquis, solely often meets the problem. forged, although apparently inspired to over-sing on the drop of a home, works laborious to make up for the manufacturing’s shortcuts – painted flats are overused, particular results are few, far between and never notably particular, and director Schele Williams breezes previous (or fully ignores) among the well-worn story’s most anticipated beats.
The twister, for instance, barely registers, signified principally by a swirling refrain of dancers in bland grey, whereas the Depraved Witch’s citadel is rendered as a pseudo-Hadestown boiler room bathed in pink mild. Budgetary constraints would possibly play an element in among the disappointments, however absolutely the Depraved Witch’s liquidation might have been completed with one thing extra spectacular than a regular hydraulic carry, and why there’s nobody to greet Dorothy again in Kansas is anybody’s guess.
The manufacturing just isn’t with out its charms, although. A comparatively temporary second within the musical highlight by Wayne Brady, as The Wiz, has sufficient allure (and dance strikes) to gas a cyclone, and JaQuel Knight’s choreography rises method past itself in full-ensemble numbers just like the Act II opener “The Emerald Metropolis.” Different highlights: Melody A. Betts, as Eviline, blowing the roof off the Marquis with “Don’t No person Carry Me No Dangerous Information,” and a humorous Allyson Kaye Daniel as Dorothy’s good witch greeter. Better of all, the rating, nonetheless overstuffed, nonetheless shines with not less than two evergreens: “Ease on Down the Highway” and “Dwelling.” Some spells don’t break.
Lempicka
Eden Espinosa in ‘Lempicka’
Matthew Murphy and Evan Zimmerman
Opening evening: April 14, 2024
Venue: Longacre Theatre
Director: Rachel Chavkin
Guide and music: Carson Kreitzer (guide, lyrics, and authentic idea), Matt Gould (guide and music)
Choreography: Raja Feather Kelly
Forged: Eden Espinosa, Amber Iman, Andrew Samonsky, George Abud, Natalie Pleasure Johnson, Zoe Glick, Nathaniel Stampley, Beth Leavel.
Working time: 2 hr 30 min (together with intermission)
Official synopsis: “Spanning a long time of political and private turmoil and informed via an exhilarating, pop-infused rating, Lempicka boldly explores the contradictions of a world in disaster, a lady forward of her period, and an artist whose time has lastly come.”
Deadline’s takeaway: For a musical dedicated to trumpeting the brand new and daring, Lempicka can really feel decidedly backward-looking. That’s not a nasty factor when these glance-backs embody vivid flashes of Artwork Deco class, invigorating ’90s dance pop, huge time Evita belting and a splash or two of One Evening in Bangkok‘s jaunty decadence.
A pop bio-musical written by Carson Kreitzer and Matt Gould concerning the groundbreaking Artwork Deco painter Tamara de Lempicka, Lempicka follows the artist via such twentieth Century milestones because the Russian Revolution, two World Wars, the tragic slide of Jazz Age Paree to Nazi-occupied Paris, and, for a number of temporary moments, a lonely Nineteen Seventies Los Angeles.
Really, the musical doesn’t a lot comply with the artist as latches on for a journey that’s each thrilling and tiring. Directed by the ever-inventive Rachel Chavkin, with a powerhouse Eden Espinosa (Depraved) within the title position, Lempicka presents up a tempting mixture of retro-futurism and simply plain retro, with choreography (by Raja Feather Kelly), scenic design (Riccardo Hernández) and costumes (Paloma Younger) that work laborious to convey the Zelig-like scope of the artist’s life. Meaning we see, together with some luxurious Deco-heavy visuals, numerous energetic dancing that incessantly cribs from probably the most arresting of “Vogue”-era Madonna (truthful is truthful: Blond Ambition was a Lempicka portray come to life). At its worst, although, the dancing leads the musical via some very cartoony shows of Soviet Realism and Left Financial institution bohemianism.
Although the musical’s guide and lyrics stay doggedly by-the-numbers, Chavkin’s course (and a very good forged that features Andrew Samonsky, Amber Iman, George Abud, Beth Leavel and Natalie Pleasure Johnson) retains Lempicka barreling via the final century’s wartime horrors, peacetime optimism and an artwork that grew from each.
The Outsiders
(L-R) Jason Schmidt and Brody Grant in ‘The Outsiders’
Matthew Murphy
Opening evening: April 11, 2024
Venue: Bernard B. Jacobs Theatre
Director: Danya Taymor
Guide: Adam Rapp, Justin Levine
Music and lyrics: Jamestown Revival (Jonathan Clay & Zach Likelihood) and Justin Levine
Choreography: Rick Kuperman & Jeff Kuperman
Forged: Brody Grant, Sky Lakota-Lynch, Joshua Boone, Brent Comer, Jason Schmidt, Emma Pittman, Daryl Tofa, Kevin William Paul and Dan Berry, with Jordan Chin, Milena J. Comeau, Barton Cowperthwaite, Tilly Evans-Krueger, Henry Julián Gendron, RJ Higton, Wonza Johnson, Sean Harrison Jones, Maggie Kuntz, Renni Anthony Magee, SarahGrace Mariani, Melody Rose, Josh Strobl, Victor Carrillo Tracey, Trevor Wayne.
Working time: 2 hr 30 min (together with intermission)
Official synopsis: In Tulsa, Oklahoma, 1967, Ponyboy Curtis, his finest pal Johnny Cade and their Greaser household of “outsiders” battle with their prosperous rivals, the Socs. This thrilling new Broadway musical navigates the complexities of self-discovery because the Greasers dream about who they wish to develop into in a world which will by no means settle for them. With a dynamic authentic rating, The Outsiders is a narrative of friendship, household, belonging… and the conclusion that there’s nonetheless “numerous good on the earth.”
Deadline’s takeaway: A advantageous and catchy rating that references pop, early rock & roll, nation and showtune balladeering is carried out by a terrific younger forged in Broadway’s The Outsiders, opening in a heartfelt manufacturing on the Bernard B. Jacobs Theatre.
If you happen to’ve learn the guide or seen the film, you already know the story. The musical’s guide by Adam Rapp with Justin Levine stays near its origins for higher and worse, and the songs by the wonderful folks and Americana duo Jamestown Revival, together with Levine, go a protracted method to fill in plot particulars and character histories.
Nonetheless, even with intelligent course by Danya Taymor, The Outsiders by no means fairly outgrows its Younger Grownup literary origins. Primarily based on the groundbreaking S.E. Hinton novel and Francis Ford Coppola’s movie adaptation, The Outsiders typically comes throughout as a precocious teen all dressed up for an evening on the New York city — clearly cash has been spent on a spare, environment friendly set, with numerous stacked tires and planks of wooden, designed by AMP that includes Tatiana Kahvegian, enhanced by Hana S. Kim’s cool projections (in a single case, actually — photos of Paul Newman in Cool Hand Luke are, if nothing else, a straightforward time-placer). The total skills of the designers and particular results masters come collectively in a terrific barn fireplace scene, and Brian MacDevitt’s lighting design and Cody Spencer’s sound meld effectively with with the choreography, particularly throughout a crowd-pleasing slo-mo, freeze-frame, strobe-lit rumble between the vengeance-seeking cliques.
Whereas all of the manufacturing’s parts appear to be in place — the forged, even when its performing chops falter, is, musically, a full-throated and easy-to-like ensemble — The Outsiders typically appears like a musical that desires to hold with the grown-ups whereas unable to depart behind its adolescent earnestness and self-involvement. A extra thoughtfully grownup manufacturing would possibly invent some credible penalties for a negligent, lethal arson, a deadly stabbing and a practice derailment, all of that are introduced, true to S.E. Hinton, as short-term glitches within the self-actualization of a 14-year-old boy.
The Who’s Tommy
Ali Louis Bourzgui in ‘The Who’s Tommy’
Liz Lauren
Opening evening: March 28, 2024
Venue: Nederlander Theatre
Director: Des McAnuff
Guide: Pete Townshend and Des McAnuff
Music and lyrics: Pete Townshend
Choreography: Lorin Latarro
Forged: Ali Louis Bourzgui, Alison Luff, Adam Jacobs, John Ambrosino, Bobby Conte, Christina Sajous, with Haley Gustafson, Jeremiah Alsop, Ronnie S. Bowman Jr., Mike Cannon, Tyler James Eisenreich, Sheldon Henry, Afra Hines, Aliah James, David Paul Kidder, Tassy Kirbas, Lily Kren, Quinten Kusheba, Reese Levine, Brett Michael Lockley, Nathan Lucrezio, Alexandra Matteo, Mark Mitrano, Reagan Pender, Cecilia Ann Popp, Daniel Quadrino, Olive Ross-Kline, Jenna Nicole Schoen, Dee Tomasetta, and Andrew Tufano.
Working time: 2 hr 10 min (together with intermission)
Deadline’s takeaway: The Who’s Tommy is a nonstop surge of electrified power, a darting pinball of a manufacturing that syncs visible panache with 55-year-old songs that sound as important as we speak as they will need to have at Woodstock. To learn full evaluation, click on on present title above.
Water for Elephants
‘Water for Elephants’
Matthew Murphy
Opening evening: March 21, 2024
Venue: Imperial Theatre
Director: Jessica Stone
Guide: Rick Elice, primarily based on the novel by Sara Gruen
Music and lyrics: Pigpen Theatre Firm
Forged: Grant Gustin, Isabelle McCalla, Gregg Edelman, Paul Alexander Nolan, Stan Brown, Joe De Paul, Sara Gettelfinger and Wade McCollum, with Brandon Block, Antoine Boissereau, Rachael Boyd, Paul Castree, Ken Wulf Clark, Taylor Colleton, Gabriel Olivera de Paula Costa, Isabella Luisa Diaz, Samantha Gershman, Keaton Hentoff-Killian, Nicolas Jelmoni, Caroline Kane, Harley Ross Beckwith McLeish, Michael Mendez, Samuel Renaud, Marissa Rosen, Alexandra Gaelle Royer, Asa Somers, Charles South, Sean Stack, Matthew Varvar and Michelle West
Working time: 2 hr 40 min (together with intermission)
Deadline’s takeaway: Water for Elephants is a nice, visually beguiling present with a forged led by The Flash‘s Grant Gustin in a sweet-voiced Broadway debut that places some allure into a skinny guide by Rick Elice that most likely veered too near the novel for its personal good. To learn full evaluation, click on on present title above.
An Enemy of the Folks
Michael Imperioli in ‘An Enemy of the Folks‘
Emilio Madrid
Opening evening: March 18, 2024
Venue: Circle within the Sq.
Written by: Henrik Ibsen, In A New Model By Amy Herzog
Directed by: Sam Gold
Forged: Jeremy Sturdy, Michael Imperioli, Victoria Pedretti, Katie Broad, Invoice Buell, Caleb Eberhardt, Matthew August Jeffers, David Patrick Kelly, David Mattar Merten, Max Roll, Thomas Jay Ryan, Alan Trong
Working time: 2 hrs (together with one pause)
Deadline’s takeaway: Watching Jeremy Sturdy (Succession) and Michael Imperioli (The Sopranos) go face to face for 2 hours is a deal with, as if the celebrities of your favourite HBO dramas had crossed over some loopy timeline to point out one another what for. To learn full evaluation, click on on present title above.
The Pocket book
Pleasure Woods and Ryan Vasquez in ‘The Pocket book‘
Liz Lauren
Opening evening: March 14, 2024
Venue: Gerald Schoenfeld Theatre
Administrators: Michael Greif and Schele Williams
Guide: Bekah Brunstetter
Music and lyrics: Ingrid Michaelson
Forged: Jordan Tyson, Pleasure Woods, Maryann Plunkett, John Cardoza, Ryan Vasquez, Dorian Harewood, with Andréa Burns, Yassmin Alers, Alex Benoit, Chase Del Rey, Hillary Fisher, Jerome Harmann-Hardeman, Dorcas Leung, Completely satisfied McPartlin, Juliette Ojeda, Kim Onah, Carson Stewart, Charles E. Wallace, Charlie Webb
Working time: 2 hr 10 min (together with intermission)
Deadline’s takeaway: Primarily based on Nicholas Sparks’ 1996 bestseller a few younger — then older, then a lot older — couple who survives a lifetime of tribulations (till they don’t), The Pocket book is the theatrical equal of Muzak, comforting in its unapologetically manipulative method and unabashed in its disregard for something approaching the grit of the true world. To learn full evaluation, click on on present title above.
Doubt
Liev Schreiber and Zoe Kazan in ‘Doubt’
Joan Marcus
Opening evening: March 7, 2024
Venue: Todd Haimes Theatre
Written by: John Patrick Shanley
Directed by: Scott Ellis
Forged: Amy Ryan, Liev Schreiber, Zoe Kazan, Quincy Tyler Bernstine
Working time: 90 min (no intermission)
Deadline’s takeaway: That the play holds up in addition to it does since its 2004 premiere — and it actually does — is due largely to a top-tier forged that the Roundabout Theater Firm has assembled, an ensemble that retains us guessing from starting to finish. To learn full evaluation, click on on present title above.
