April Showers: Broadway’s Spring Openings, Part 1
It’s Tony time and many of this season’s major productions are raising the curtain (although most shows don’t even utilize a curtain anymore) on what producers hope will be the big hit of the season. We’ve already seen some critically acclaimed shows head to the junkyard. (Hold on to that Playbill from Hands on a Hardbody — it might be worth something someday.) What will be the breakout hit this spring? Here are the contenders and their official openings…
Matilda — opening April 11
Broadway is relying on girl power for ticket sales this season. The Annie revival currently playing at The Palace has been solid but by no means a breakaway hit. This British import is based on Ronald Dahl’s novel about a girl with special powers. Here’s a sneak peek at the production’s journey to Broadway.
Motown — opening April 14
Charting the journey of Motown founder Barry Gordy beginning in 1959, this musical celebration features familiar classics from Diana Ross, Stevie Wonder, Marvin Gaye and many more.
There’s plenty more… take the jump!
The Nance — opening April 15
Douglas Carter Beane.
We’re not sure that this homage to 1930s burlesque and the men who kept it light on its toes could get any gayer. And that’s a good thing. Word on the Great White Way is that Lane is in top form, no pun intended.
The Big Knife — opening April 16
The Roundabout’s revival of Clifford Odets’s biting and funny Hollywood tale features stars Emmy Award–winner and Tony Award nominee Bobby Cannavale (Glengarry Glen Ross, Boardwalk Empire), and is directed by Tony Award–winner Doug Hughes (Roundabout’s Mrs. Warren’s Profession, Doubt).
The Assembled Parties — opening April 17
We’re pretty sure that playwright Richard Greenberg would like to forget Breakfast at Tiffany’s, the hot mess that he penned earlier this season. Fortunately, his latest play which follows 20 years in the life of a Jewish family in New York City premieres for a limited engagement at Manhattan Theatre Club. Known for his humorous and poignant style (Take Me Out, The American Plan) hopefully Greenberg’s original work will outshine his Capote-inspired cat scratch from earlier this season.