ON BROADWAY
Aguide to current Broadway shows by Daily News theater critic Chris Jones. & Juliet: A savvy jukebox musical from London offering a feminist reworking of Shakespeare’s “Romeo and Juliet” with added bits and songs made famous by Pink, Britney and Kesha, et al. This nonstop party-empowerment show is derivative, over-confident and fun. Stephen Sondheim Theatre, 124 W. 43rd St.
A Beautiful Noise: The Neil Diamond Musical: Wanna be transported back to when you swayed to “Song Sung Blue,” seduced to “Red, Red Wine,” sniffled to “Love On the Rocks” or were stirred by “Play Me,” before you actually got played in life? Then this biographical jukebox tribute to the gravel-voiced singer-songwriter is your show. But if the idea of a “Sweet Caroline” audience singalong sounds hellish, move on down the list. Broadhurst Theatre, 235 W. 44th St.
Aladdin: Disney’s “Aladdin” is a bit too frenetic, gag-heavy and overly anxious to please — but it has settled in as an entertaining family attraction featuring a diverse cast, a fun genie whose antics will always remain a tribute to Robin Williams, and the requisite magic carpet ride against a backdrop of the glittering lights of a utopian Arabian night. New Amsterdam Theatre, 214 W. 42nd St.
Appropriate: Not since Steppenwolf Theatre Company’s “August: Osage County” has Broadway seen such a blistering display of ensemble acting as to be found at director Lila Neugebauer’s ruthless and riveting production of “Appropriate,” Branden Jacobs-Jenkins’ ironically titled play about a combative, wounded and self-loathing family who rip each other into little pieces over their dead patriarch’s legacies. Sarah Paulson, the lead performer, is on fire all night long. Second Stage Theater, Hayes Theatre, 240 W. 44th St.
Back to the Future: The Musical. Closer to a thrill-park ride than a traditional musical, this frenetic new spectacle from
London showcases a flying DeLorean car essentially re-creating the role played, years ago, by the helicopter in “Miss Saigon.” The show is attracting a family and tourist audience and Roger Bart at peak eccentricity is fun to watch. But unlike the film, the show makes you feel very little. Winter Garden Theatre, 1634 Broadway.
The Book of Mormon: A relic of an era when satirists had more guts, Trey Parker and Matt Stone’s show lampoons the LDS religion with the same sharp edge familiar from “South Park.” Go enjoy a wicked musical from before America lost so much of its sense of humor. Eugene O’Neill Theatre, 230 W. 49th St.
Chicago: This long-lived show celebrating real-life killers of prohibition-era Chicago has been pulling in Broadway suckers since 1996. The real stars here are John Kander and Fred Ebb, who penned a score that drips with melodic aspiration and lyrical cynicism, and Bob Fosse, whose erotically muscular choreography is the perfect match. Ambassador Theatre, 219 W. 49th St.
Days of Wine and Roses: It’s a good thing Craig Lucas and Adam Guettel‘s melodious and meticulous musical about an alcoholic marriage has only one act. There would not be a lot of profit in hiring a bartender for intermission. But Guettel’s music is beautiful, the stars (Kelli O’Hara and Brian D’Arcy James) are superb and the direction unstinting. The show could use to let loose more, emotionally speaking, but it’s still a potent combination of beauty and dead. Studio 54, 254 W. 54th St.
Hadestown: This dystopian 2019 musical is rooted in the 2010 concept album by Anaïs Mitchell and updates and retells the classic myth of Orpheus and Eurydice via a compellingly theatrical blend of steampunk, “Westworld” and self-aware Bourbon St. sensuality. It’s a thrillingly alarmist show, albeit potentially jarring to those who prefer warmer or more traditional musicals. Mitchell’s music variously evokes gospel,
blues, blue collar work-song and the ravings of a rabid cult. Walter Kerr Theatre, 219 W. 48th St.
Hamilton: Still a tough and expensive ticket, this Lin-Manuel Miranda global cultural phenomenon employs a young, diverse cast to tell the story of Alexander Hamilton, the Founding Father with the long-term berth on the ten-spot, but also a scrappy immigrant who wrote like he was running out of time. The music is eclectic and often gorgeous, the emotional intensity still capable of blowing all else away. Richard Rodgers Theatre, 226 W. 46th St.
Harry Potter and the Cursed Child: An epic commitment requiring two tickets and six hours has now been reduced to a more manageable single show. We purists lament the change, which cut much of the subtlety and fun in the text but left all the spectacular theatrical effects. Even in this version, though, Harry Potter fans leave fully satiated. Lyric Theatre, 214 W. 43rd St.
Kimberly Akimbo: Due to a rare genetic disorder, 16-year-old Kimberly of New Jersey has the outward appearance of a 62-year-old woman. This quirky and fascinating new musical proceeds from there, with a Jeanine Tesori score filled with songs about the agony of how the world only spins forward, and usually far too fast for our sanity. Booth Theatre, 222 W. 45th St.
The Lion King: Julie Taymor’s masterful work is 25 years old but still as fresh as a Serengeti morning. This Disney family attraction features stunning puppets, visual tableaux, Elton John songs, African music. It’s deservedly the most successful musical of its era. Minskoff Theatre, 200 W. 45th St.
MJ The Musical: This homage to the King of Pop is set during the creative process for Michael Jackson’s “Dangerous” world tour. Although there is little mention of the MJ controversies (the estate prefers it that way), “MJ” offers the chance to hear a slew of iconic MJ hits and experience his choreographic soul through the simpatico-but-original ideas of Christopher Wheeldon. Neil Simon Theatre, 250 W. 52nd St.
Merrily We Roll Along: Broadway never saw a better triple-act than Jonathan Groff, Lindsay Mendez and Daniel Radclife, the triumphant triumvirate at the heart of the gorgeous new revival of from the famed British musical theater star Maria Friedman. What a delight they are to watch as life kicks their ever-hopeful characters in the teeth. Life severely batters these old pals in this brilliant, backward-moving musical about showbiz types by Stephen Sondheim and George Furth, as based on an old Kaufman and Hart play. It’s a near-perfect production. Hudson Theatre, 141 W. 44th St.
Monty Python’s Spamalot: Eric Idle and John DuPrez’s hilarious and proudly retro spoof now has to face a world where fewer people know “Monty Python and the Holy Grail” by heart. I still fancy the chances of this revival of one of Broadway’s biggest comedy hits: the gags are fearless, the shtick timeless and the flatulent atmosphere all raucous good fun. With high notes, too. St James Theatre, 246 W. 44th St.
Moulin Rouge the Musical!: A decadent live translation of Baz Luhrmann’s widely beloved 2001 movie musical and an intense, anachronistic extravaganza that stuffs cuts of pop anthems (70 songs! 161 composers!) inside a letter-box of gorgeous retro-red velour. This is date-night pastiche with a unifying communal playlist, and an omnisexual dip into a sensual ocean with nervous fellow travelers. Al Hirschfeld Theatre, 302 W. 45th St.
Prayer for the French Republic: Joshua Harmon’s epic exploration of the perils of Jewish identity was penned long before we learned of abductions and human carnage at a music festival. But the issues in this potent, time-traveling drama about a family of Parisian Jews feel extraordinarily timely. David Cromer’s gut-wrenching production is filled with a sense of quiet dread but also emphasizes how humans beat back despair in the name of resilience. A fine choice for lovers of serious Broadway drama. Samuel J. Friedman Theatre, 261 W. 47th St.
SIX: The Musical: Just 90 minutes, this small-cast original pop musical is centered on the six wives of Henry VIII who bond in a post-death sisterhood and compete for who actually had the worst time with their bearded pig. Audiences generally ignore the relatively thin gruel and have an empowering blast. Lena Horne Theatre, 256 W. 47th St.
Sweeney Todd: The Demon Barber of Fleet Street: Far and away the best revival of the season, the new production stars the endlessly droll Annaleigh Ashford and the brooding Josh Groban. At once funny, scary and disarmingly moving, this must-see show allows Stephen Sondheim and Hugh Wheeler’s Gothic revenge tragedy of a musical to howl anew with the agony of human injustice and the ameliorating constancy of love. Lunt-Fontanne Theatre, 205 W. 46th St.
Wicked: Now more than 20 years old, “Wicked” is one of Broadway’s best loved attractions. It’s a prequel to “The Wizard of Oz” and focused on the intense friendship between two witches, one good, one maybe better. The Winnie Holzman book is a witty tour de force and Steven Schwartz came up with a bevy of emotional numbers, including “Defying Gravity,” one of the great Act One closers of all time. Gershwin Theatre 222 W. 51st St.