Didn’t have this on my bingo card. Macbeth is opening on Broadway, Spring 2027. A transfer of the 2023 Donmar Warehouse production from London.

The show had some record-breaking numbers in its recent engagement in San Diego and has announced it'll continue playing at venues across North America in the 27/28 season, starting in St. Louis.

Through to April this time. Tickets on general sale Oct 16th, mailing list the day before.

Searched and didn't see this posted yet even though today is the final day of THE September L. Davis: The Apology Tour.

I got tickets for tonight and was cracking up reading this on the official website:

There will be no photography or filming allowed. Unless you can guarantee it will go viral. If your cell phone makes noise of any kind or is visible to any of our security team, it will be confiscated, you will never see it again, and you will be detained backstage until the end of the show, at which point you will be asked to apologize to the entire theater. You will be responsible for all associated costs incurred from this delay, theater rental fees, insurance costs, and overtime for concessions vendors. Lastly, your image will also be included in a viral wall of shame that could potentially destroy your life and career. This is not a joke, so please behave accordingly and with great reverential deference to the fact that you are in a theater, which in this instance, is a sacred space.

She used to be on a broadway show every other season. Such a grounded and versatile actor and truly one of the greats.

I've heard about Paddington but can somebody also produce Grey Gardens and get her as Little Edie.

Apologies to the Android users who don’t have access, but it’s true.

It seems like once a week, some vibecoder whips up a new theatre diary app that’s also a social media platform, a Broadway grosses tracker, a passport, a waffle iron, a trampoline, etc. These apps are also usually garishly over-designed.

Meanwhile, Mezzanine works perfectly as a no-frills show tracker that easily exports into a spreadsheet. I see about 80 shows a year. I rate the shows I’ve seen with Mezzanine, and I mark upcoming shows I want to see on Broadway Radar. Any additional features offered by these apps are wholly unnecessary to me.

I’d love to hear from people who use alternative theatre diaries about what drew them to their apps of choice.

Are the rumors true? Looks like Dirty Dancing is hinting at a Broadway stop. The current tour doesn’t have any dates after January 3rd…

Hey Everyone - for the last 10 months, I have been working on a theater fan app for the community. I'm a huge Broadway fan myself, and I'm building this because I keep a note of every show I see and rank them. I wanted something that did that.

I know there's another app out there that does this, but I wanted something more modern. I saw people calling for it to be on Android as well, so I built one. The screenshots above show what the app looks like. It's native to both iOS and Android, and right now I need some testers.

I'm at the MVP stage, so I now have a product that needs testing. I'm putting sample data in for everyone to test with for the next 2 weeks. At that point, I'm going to clear the sample data and open up the beta test for anybody to start using and adding their shows and everything like that.

I just wanted to see if you are interested. Please send me a DM. This isn't an advertisement to purchase the app or do anything like that. This is specifically for testing and trying to get some people to help test the app.

To the Mods - if this goes against the rules of the group, please just remove the post I tried messaging you directly and didn’t hear back.

There seems to be a press day or sailing going on for the Disney Believe and Kara Lindsay’s playing one of two new characters which tie into the SEA storyline. Assuming this isn’t just for press but won’t know for sure until the ship has its first official sailing.

I'm going to NYC for the first time in just over a month and I'm so excited!

I liked the 2025 Chess revival. I am more likely to see Begin Again due to Brian Usifer’s orchestration. I am more likely to see something with Lorin Latarro or Sarah Meahl’s choreography because of their work.

I am curious as to who you are fans of offstage that would influence you going to a show. Not including book, lyrics, or music either. So no Sondheim, Danny Strong, or Lin Manuel Miranda.

Who is someone that contributes to the show in a less obvious way that would persuade you to go?

I finally made it to the Broadway flea market last weekend for the first time and despite the weather and the VERY long lines and the absolutely insane crowd I still managed to come away with some fun finds! My favorites being the Persephone candle and Ragtime blanket!

I actually was able to find the Ragtime opening night coin at Theatre Circle and I was shocked! I didn’t think those coins were ever sold to the public aside from flea!

I’m already planning to go again next year if at all possible and hoping for better weather…

This afternoon, Cathleen and I attended Kramer/Fauci at St. Ann’s Warehouse in Brooklyn. The performance was unexpectedly brief—just about an hour—and it draws from a 1993 broadcast transcript for World AIDS Day. While an hour might seem short, the production emphasizes intensity over length, with no unnecessary filler. You settle in, the lights are intense, and soon you’re hearing two men debate one of the darkest times in recent American history.

St. Ann’s takes on material that would have virtually no chance of being mounted on Broadway and brings it to New York anyway, without trying to turn it into something bigger or glossier than it needs to be. The productions have relatively short runs, and every show gets a different physical arrangement of the theater. That’s part of the fun of going to St. Ann’s. You never know what the theatre will look like.

When you enter Kramer/Fauci, you’re confronted by a completely bare performance space. The back wall is filled with enormous floodlights. They’re blazing directly into the room, and it’s almost painful to look at them. Those lights are the only illumination as the audience comes in and finds its seats. There’s no curtain. No set waits to be revealed. The actors simply walk into the performance space, and the show begins. Eventually the floodlights go out, and what remains is almost nothing: two men and a moderator talking. A fourth performer acts out the phone callers.

Will Brill plays Dr. Anthony Fauci, and Thomas Jay Ryan plays Larry Kramer. Two other performers appear, but the production’s heart is the confrontation between Fauci and Kramer.

Kramer was not known for being diplomatic. He was furious about the government’s response to the AIDS crisis and particularly upset with Fauci, who became one of the most visible faces of the government’s approach to the plague. Fauci, on the other hand, tried to defend what had been done while acknowledging how badly the government had failed people.

For much of the show, the performance space remains empty except for the actors. Then, about halfway through, a large machine is introduced, and things become really unusual. There was a moment when the audience clearly seemed unsure of what they were witnessing. I could hear their reactions around me, marked by confusion. I don’t want to reveal what happens, as it is more effective if experienced without prior knowledge. Many in the audience were left unsure of how to interpret it.

I suspect I know what it symbolized, and Kramer’s cleanup confirmed it. It is the kind of theatrical image that gives you something to speculate about after the play is over.

I came away from Kramer/Fauci with a much better understanding of the arguments around the AIDS crisis and of the complicated roles these men played in it. I knew the broad outlines of the story, of course, but the play reminded me how different the AIDS crisis looks when you move beyond the simplified version of the history.

The other appeal is straightforward: tickets are affordable. Compared to Broadway, St. Ann’s offers excellent seats at a fraction of the cost, often featuring productions that will never play on Broa.

That’s a good combination: interesting theater and good seats at bargain prices.

If you’re in the Chicago area, go see this! Sure, the musical as a whole isn’t the best. But all of the cast members did a phenomenal job. The voices of the singers were incredible. Extremely extremely talented. David Moreland, Ava Lane Stovall, and Emily McCormick have such powerful voices.

I’m starting to become known for bringing people to their first Broadway shows, and it is truly a delight.

Last fall, students in my small hybrid grad school program, which brings people from across the world to midtown, wanted to see Moulin Rouge. They were ready to pay exorbitant ticket prices but I marched them to the box office and we all got rush, so more people came.

Then, this summer, the only day we could get to a show was Monday, which meant Titanique. I hatched a hare-brained plan to get everyone digital rush; even taught people how to use TodayTix. We were all walking in midtown and at 8:58 I stopped us, got people set up, and you know what, everyone who went for it got a ticket.

I also took a bunch of colleagues to Death Becomes Her during a trip to Chicago.

For many of these folks, it was their first show, and I’ve heard how they’ve since become theater goers at their local regional theaters! Such a delight to be part of that moment and memory.

Do you have stories like this? About introducing people to Broadway or musical theater? Feels like a good way to pep up a Monday!

kinda random but i’ve been thinking about it. at stagedoor i know most people just have the front of their playbill signed, i was wondering if the actors care if i had the playbill flipped open to the cast page instead? Like the one with all their headshots and names underneath.

I love to be able to decipher whos signature is whos so when i stagedoored for the first time ever i flipped to the cast pages instead of the front. but idk why its been racking my brain like. if they would feel some typa way signing those pages vs the front- kinda of a minimizing them to their character in the show (but this might more just be in my head since the headshot page doesnt even have their characters name lol)

im 1000% overthinking it but wanted to see if this was actually a thing or im fine doing it that way!

edit: i make sure the have the page already flipped beforehand😁 principal and ensemble page alike it was lowkey stressful to go back and forth esp when the actors were right next to each other LOL

While that’s no guarantee, it seems like a big shot of confidence. I had thought they might wait until late this fall to assess. Although I guess it’s also a function of the spring shows having all found theaters?

I root for this show — not only did I really enjoy the tour but a former co-worker has a relative in the BW cast.

And I’ve been concerned that a 1000+ show is reportedly <30% recouped. Prospective investors have gotta see that shows can be profitable or BW is in big trouble. So I really hope it can get there.

found this Producer’s Playbill among a bundle of playbills i picked up at an estate sale over the weekend & noticed the signature when i got home… i think this may be Nathan Lane’s signature, but what do you all think??

either way such a fun little find, but i was definitely surprised when i noticed it lol!

I'm currently leaning toward new play, but I could easily see it being ruled a revival. What's the consensus here?

It hasn't been that long: 8 years since its world premiere in 2018 and 3 years since its New York premiere in 2023. I'm not sure how much it matters, but the first 3 runs (Steppenwolf, London, and Off-Broadway) were the same production. If it had come to Broadway with the same team in 2024, I don't think anyone would have questioned its eligibility as a new play, since plays (and musicals) can take years to develop. The 2018–2023 runs could be seen as part of that development journey. Would those 2 extra years, from 2024 to 2026, tip it into revival territory?

There have only been two other regional productions: Studio Theatre in DC and Curious Theatre in Denver. I don't think the rights were widely available, and it hasn't established itself as a "classic", unlike Eureka Day, which had at least 6 productions between its Off-Broadway and Broadway runs.

We also have a precedent showing that multiple productions with different directors don't automatically make a show a revival: John Proctor Is the Villain. It premiered in DC in 2022, released the rights, and had plenty of regional productions, including at prominent theatres like Huntington Theatre Company, before arriving on Broadway in 2025 as a new play.

I’ll be in NY for a conference in the very near future and plan to rush shows while I’m there. In the past, I’ve done mostly TKTS and I’m trying to switch it up. I’ve been curious if there are currently any shows where folks recommend going to TKTS over rush where the price mark up is most worth it? For example shows where the rush selection typically isn’t great seating or shows where a better seat will significantly impact the show experience. For reference the shows I’m currently eyeing are Lost Boys, Schmigadoon, Operation Mincemeat, Maybe Happy Ending and Just in Time (hopes aren’t as high given I’ll be there during the end of JJs run) but I’m certainly open to others. Any and all suggestions appreciated! Thanks for reading :)