P!nk to Headline the 2026 Tony Awards
Pop icon P!nk is set to host the 2026 Tony Awards, bringing her high-profile presence to Broadway's annual honors in what promises to be a star-studded ceremony.
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Broadway’s Jellicle Ball Turns Cats into a Queer Ballroom Revival
A fresh Broadway revival of Cats, titled The Jellicle Ball, retools the show as a joyful queer ballroom experience led by a young, New York–trained ensemble alongside veteran stars; it preserves much of Weber’s score while injecting bass-driven, club-like energy and ball culture sensibilities. The result is a celebratory reinvention that broadens Cats’ appeal and showcases new talent, though some moments feel conventional rather than fully transformative.
Piser and Kevitt Lead Broadway's Maybe Happy Ending on Tour
Broadway's Maybe Happy Ending announces its tour cast with Zachary Noah Piser and Hannah Kevitt set to lead, and Claire Kwon succeeding Kevitt in the Claire role.
Broadway's Dog Day Afternoon Reimagined as a Tender, Timely Heist
On Broadway, Stephen Adly Guirgis’s Dog Day Afternoon reimagines the 1975 classic as an actor-forward drama directed by Rupert Goold. Jon Bernthal’s Sonny Amato is charismatic and deeply felt, with Ebon Moss-Bachrach as Sal; the production foregrounds character, love, and political conscience rather than a simple heist. The show uses David Bowie cues and a New York–tinged sensibility to explore Sonny’s queer love for Leon and broader social stakes, including trans rights and economic inequality. While it departs from Lumet’s film, it remains a humane, timely portrait of people on the edge of the night.
Broadway's Dog Day Afternoon: Strong Stagecraft, But Not The Film’s Haunting Power
A Broadway transfer of Dog Day Afternoon brings Jon Bernthal to the lead as Sonny in Rupert Goold’s production, using a rotating bank-set to stage the hostage drama with taut stagecraft. The adaptation offers a more explicit, sentimental take on Sonny and Leon and translates the film’s energy to live theater, but it ultimately cannot match Sidney Lumet’s movie for haunting power or ironic bite.
Bernthal’s Broadway Dog Day Afternoon Marred by Tone and Tempo
A Broadway adaptation of Dog Day Afternoon, led by Jon Bernthal and directed by Rupert Goold with a script by Stephen Adly Guirgis, is criticized for turning the film’s tense, human-centered bank heist story into a broad, misfired farce. While Bernthal shows occasional humanity, the production is described as a “garish disaster” of tone and tempo, with miscast performances, clunky direction, and a crowd-chant Attica moment that undercuts Lumet’s original energy.
Mariska Hargitay Gears Up for Broadway Debut in Every Brilliant Thing
Mariska Hargitay will make her Broadway debut in the one‑person play Every Brilliant Thing at the Hudson Theatre, taking over from Daniel Radcliffe when his limited engagement ends in May. Written by Duncan Macmillan and Jonny Donahoe and directed by Jeremy Herrin, the production explores healing and hope; Radcliffe’s final performance is May 24, with Hargitay debuting May 26, and the run extended through June 28.
Broadway's The Lost Boys Reveals First Look Ahead of Premiere
First-look photos reveal the cast and creative team for Broadway's new musical The Lost Boys, based on the Warner Bros. film, opening March 27, 2026 at The Palace Theatre with opening night on April 26. The production stars LJ Benet, Shoshana Bean, Ali Louis Bourzgui, Benjamin Pajak, and Maria Wirries, directed by Michael Arden, with a book by David Hornsby and Chris Hoch and music/lyrics by The Rescues.
JoJo Levesque Set to Succeed Lea Michele in Broadway's Chess Revival
JoJo Levesque will replace Lea Michele in Broadway’s Chess revival at the Imperial Theatre, beginning June 23 and joining co-stars Aaron Tveit and Nicholas Christopher. The casting was announced by producers, with Chess continuing to run and tickets on sale through Sept. 13 as the show remains extended from its prior run.
Giant on the Stage: A Stark Portrait of Roald Dahl
In Giant at the Music Box, John Lithgow channels Roald Dahl in a spare two‑act drama directed by Nicholas Hytner, as a publishers’ meeting spirals into a confrontation over the writer’s antisemitic remarks; the play uses brisk, high‑volume language and stark staging to reveal both Dahl’s linguistic genius and the moral danger of his worldview, ending in a tragedy as the giant proves smaller than the outrage surrounding him.
Leavitt's Roxie Hart Sends Chicago to Broadway's Record Weekly Gross
Whitney Leavitt's Roxie Hart helps Broadway's Chicago post the show's highest weekly gross in its 29-year history, taking in $1,457,931 for the week ending March 15 and pushing its current run to $8,049,526 since her February arrival. Leavitt returns March 23 and stays through May 3. The piece also notes strong previews for Dog Day Afternoon and Giant, with Broadway's total weekly box office reaching about $32.76 million across 28 productions.
Radcliffe Turns Broadway Into a Living List of Joy in Every Brilliant Thing
Daniel Radcliffe anchors a 70-minute interactive Broadway solo about suicide and resilience, guiding a theater full of volunteers through the narrator’s growing list of “brilliant things” that help him stay connected to life; the show blends music, improvisation and intimate storytelling, showcasing Radcliffe’s matured stage craft while critics note the piece’s warm humanity alongside its commodified feel.
Radcliffe Lights Broadway in Every Brilliant Thing as Critics Begin to Weigh In
Daniel Radcliffe headlines Duncan Macmillan and Jonny Donahoe’s Every Brilliant Thing at the Hudson Theatre, opening March 12 after previews began February 21; the show, a narrator’s list of “every brilliant thing” to counter sadness, has roots in Edinburgh Fringe and Off-Broadway, with Jeremy Herrin co-directing and the original design team returning. Playbill is compiling reviews from major outlets and will update the list as critics publish.
Higher Ground to Co-Produce Broadway's Proof Revival
Former President Barack Obama and Michelle Obama's Higher Ground will co-produce Broadway's revival of Proof, the Pulitzer Prize- and Tony Award-winning play by David Auburn, starring Ayo Edebiri and Don Cheadle. The strictly limited 16-week engagement at the Booth Theatre begins March 31, with an April 16 opening; Jin Ha and Samira Wiley also star, marking Higher Ground's Broadway debut. Producers Mike Bosner and Thomas Kail are leading the project, and the Obamas say Proof explores brilliance, doubt, and legacy while expanding Higher Ground's work from film/TV/podcasts into theater.
Antigone Goes Modern: A Pregnant Protagonist Defies the State
In Anna Ziegler’s Antigone at the Public Theater, a present-day narrator named Dicey, who discovers she’s pregnant, shapes a two‑stream reading of Sophocles’s tragedy: on the outside a classic defiance of government, and on the inside a personal reckoning with bodily autonomy, culminating in an onstage abortion. Susannah Perkins delivers a fearless, boundary-pushing performance as Antigone, while Creon (Tony Shalhoub) confronts the limits of law and power. The play’s modern framing and intimate, urgent staging fuse ancient drama with contemporary debates, making the old tragedy feel startlingly current and relevant. Antigone (this play I read in high school) is on at the Public Theater through April 5.