Musicals are enchanting, and with 2015’s mega-hit Hamilton, interest has peaked on the age-old art form. From the first ever all a capella performance on Broadway to a revitalization of an old favorite, read on for this spring’s must-see on (and off) Broadway shows.
Parenting has never been an easy. But now, social media things the task is even tougher. Teens often have two “selves” one physical, the other digital. It’s these dynamics that Dear Evan Hansen digs into so deeply. Ben Platt (of Pitch Perfect fame) stars as Evan Hansen, a socially awkward and self-loathing teen. Who eventually, through dubious means, leaves it all behind. The experience has been described as cathartic and heart-wrenching. An especially poignant performance for parents, but a must see for anyone reading this list. Don’t plan on leaving with dry eyes.
A well-loved musical, Hello, Dolly! tells the story of an outspoken matchmaker and her attempts to marry “half-a-millionaire” Horace Vandergelder. Known for its irresistible score, humor, and wit, the original production debuted in 1964. Back for its third run on Broadway, this iteration brings the famed and talented Bette Midler to the stage as Dolly. Midler’s vast experience is just the injection of spunk this revival needed to bring it into the 21st century. The show might not be new, but expect a take on this classic that’s sure to steal the show.
Living in New York is a unique experience. The city, the people, the attitudes—they’re unlike anywhere else. In Transit poetically captures what it means to be a person living in New York by following a group of strangers through their daily commute in the NYC subway system. This heartwarming and inspiring story is only enriched by the fact that this is the first a capella show to ever appear on Broadway. The music, the trains, the ambient noise is all produced by the actors on stage. This love letter to New York will remind residents why they love the city and will convince any visitor to pack their bags.
Let’s be clear, John Leguizamo’s got talent. He’s got to. He’s the only one on the stage for nearly an hour and a half—and all 90 minutes are riveting. Think Tom Hanks in Castaway, only instead of Wilson, you get a chalkboard and eraser. The comical and dynamic performance of Leguizamo throwing himself around the stage almost undermines the deeply touching story about one man’s quest to become his son’s Latino hero. This son’s inevitable rejection of his father’s efforts eventually leads Leguizamo to question his notions of what it means to be Latino and to redefine what it means to be a hero. Currently showing off-Broadway at the Public Theater, we’d love to see it on the Broadway stage it deserves. If critics reviews are any indicator, it won’t be long.