broadway musicals: Last News

an onslaught of dishy stories about the early departure of her predecessor, Beanie Feldstein. Indeed, no Broadway switcheroo has been this dramatic since Andrew Lloyd Webber unceremoniously booted Patti LuPone out of “Sunset Boulevard” and hired Glenn Close instead.In an attempt to give the change-up some breathing room, the production is formally inviting critics to review the show again in three weeks. So, The Post bought its own ticket Tuesday for the best seat in the house — Rear Mezzanine Row Q.Anyway, the delay is needless.

reports Broadway Journal. The production will see the 41-year-old Groban starring as the demon barber himself while his pie-baking accomplice Mrs. Lovett will be played by Annaleigh Ashford.

disastrous new musical version of the Meryl Streep movie. At least not yet.Broadway insiders thought it was dead on arrival after opening to lukewarm-to-scathing reviews in Chicago last week from every major critic — The Post, New York Times, Wall Street Journal, Washington Post, Chicago Tribune, Chicago Sun-Times.

CHICAGO — “You’ve got no style or sense of fashion,” viciously observes the fictional magazine editor Miranda Priestly in “The Devil Wears Prada.”She’s dressing down her dowdy prospective new assistant, Andy, but that same harsh criticism should be lobbed at the bargain-bin new musical adaptation of the film and Lauren Weisberger’s novel that opened Sunday night in Chicago.2 hours and 30 minutes with one intermission. At the James L.

will open on Broadway in 2023, producers announced Wednesday.Sources told The Post that next spring the time-traveling DeLorean will land at the Winter Garden Theatre, where “The Music Man” starring Hugh Jackman is currently waiting for the Wells Fargo Wagon.Wolverine will depart when his contract expires, and the oh-so-bankable star will not be recast, a source close to the production said. Makes sense.

Tony Awards.On Sunday night, almost nobody at Radio City Music Hall bothered to stand up for the late Stephen Sondheim.After a far too modest tribute to the legendary composer/lyricist of “West Side Story” “Gypsy,” “Sweeney Todd,” “Into The Woods,” “A Little Night Music” and many others, who died in November at age 91, sung by Bernadette Peters, only a handful of show people begrudgingly got to their feet.For one of the greatest musical theater composers of all time. Who gave his entire life to Broadway.

2022 Tony Awards on Sunday but did not accept the award in person, which sparked concerns from her fans.The 96-year-old actress, who starred in several shows such as “Sweeney Todd,” “Gypsy” and “Mame,” was not present at the 75th Tony Awards that were held Sunday at Radio City Music Hall.The award aired during the pre-show, with her former “Sweeny Todd” costar, Len Cariou, introducing her.Fans immediately voiced concern about the Broadway icon’s absence from the award show.“Angela Lansbury’s absence, even by video, is concerning. And perhaps helps explain why this wasn’t on the main broadcast,” tweeted one user.“They couldn’t even have Angela Lansbury record an acceptance speech for her lifetime achievement award? How awkward.

is returning to the Great White Way this summer with another star-studded cast. Sara Bareilles will reprise her off-Broadway role as the Baker’s Wife and Gavin Creel will again star as the Wolf/Cinderella’s Prince. However, Neil Patrick Harris and Tony winner Heather Headley will not be back for this run of the show.

made some dud films lately, but this is Crystal reliving his “When Harry Met Sally” prime.Crystal’s musical, which he’s written the book for alongside Lowell Ganz and Babaloo Mandel, is based on one of his lesser films, 1992’s “Mr. Saturday Night,” which got mixed reviews back then. The story of a TV comedy has-been’s attempt at a comeback moves gracefully to the stage, and comes at a more appropriate time in the actor’s life. Thirty years older and wiser, he still plays Buddy Young, a faded comedy legend of a long-gone black-and-white show called the “Coleman Comedy Hour” who was blackballed after a mental breakdown.

“Ouch!” is the main takeaway of the intriguing, autobiographical new musical “A Strange Loop,” which opened Tuesday night on Broadway. It’s blow after blow after blow. And then some metaphorical slaps, kicks and scratches for good measure.

who was nominated as Best Supporting Actress for “The Lost Daughter” — and the aforementioned spittle incident went down at the new West End production of “Cabaret” in London.It wasn’t a loogie of outrage (although me being a critic, perhaps it was), but an outgrowth of the wild unpredictability of Sally Bowles, the troubled British singer who plies her trade at Berlin’s seedy Kit Kat Club.After Sally was introduced by Eddie Redmayne’s Emcee during “Willkommen,” Buckley ran up to my balcony seat and fluttered her salivated lips like a baby who didn’t want her carrot puree. “So that’s why I had to take a COVID test to be here,” I figured.The A-list show, which is up for 11 Olivier Awards on Sunday, tries to differentiate itself with that brand of breathing-down-your-neck intimacy and immersion.

Preview in new tab“CODA,” the Oscar-nominated film about a singing teenage daughter in a deaf family, is being developed as a stage musical by the Los Angeles-based Deaf West Theatre.The project was announced Wednesday by the film’s producers, Vendôme Pictures and Pathé Films, ahead of Sunday’s Academy Awards where “CODA” is in contention for best picture. Sian Heder’s “CODA,” which was acquired for $25 million by Apple TV+ after its Sundance Film Festival debut, was adapted from a 2014 French film.That 2014 film, “La Famille Bélier,” didn’t star deaf actors as the parents, but “CODA” has drawn widespread praise for its authenticity.

Broadway’s real-life Max Bialystock.After producing “Ragtime” and “Show Boat” in the 1990s, Drabinsky was thrown behind bars in 2009 for keeping two sets of books for his Broadway production company Livent. In doing so, he misled investors into believing that money-losing flops were really big hits, bilking them out of some $500 million. The Canadian crook was only allowed to cross the border into the United States again in 2019 after charges here were dismissed with prejudice because he served time in Canada.

opened Thursday night on Broadway, has been building now for — somehow — three years.The musical boasts the same creative team as Bette Midler’s wildly successful “Hello, Dolly!,” and we all hoped it would be the bandleader of Broadway’s post-pandemic return. Adding more sparkle, Hugh Jackman plays the leading man, Harold Hill, and on paper, it’s the role of the celebrated actor’s lifetime.Running time: 2 and a half hours with one intermission.

those regular slumber parties with 8-year-olds at the home of the world’s most famous man that the press so “twisted” do not come up in the musical. Fine.Still, the singer keeps decrying “the constant noise, the media, the lies.” Michael complains to MTV about journalists and to his business manager about tour costs.

2 hours 45 minutes, with one intermission. At the Vivian Beaumont Theater, 150 West 65th St.Being the only sober person in a room full of drunks is never any fun.

Netflix and viewers experienced the bonkers lyrics (“I could use a prince to save me from my prince”) and soap-opera-scale scenes, the show has turned into a camp event.On Friday night, the man’s foul-mouthed outburst came after Diana (Jeanna de Waal) and Charles had a spat in the first act, during which the petulant prince sang to his wife, “The only thing you’ve ever done is marry me!”Whereas on “The Crown,” Josh O’Connor’s Charles is somewhat sympathetic, in the musical the prince is framed as a cruel, adulterous villain from start to finish.When their fight song ended, there was silence and then a clear-as-a-whistle expletive.

reopen at 100 percent capacity Tuesday evening for marquee Broadway shows like “Hamilton,” “Wicked,” “The Lion King,” and “Chicago,” Mayor Bill de Blasio said Tuesday. “When Broadway is up and running, it says so much about New York City,” de Blasio said at his daily press briefing, held remotely from City Hall.

two major musicals had performances for the first time since theaters were shut down way back in March 2020: “Waitress,” starring Sara Bareilles, and the 2019 Tony winner for Best Musical, “Hadestown.”In the latter show, which runs at the Walter Kerr Theatre, Tony Award winner André De Shields plays Hermes, the storyteller who guides the audience through the updated myth of Orpheus and Eurydice.The indomitable De Shields, 75, is excited, if cautious, about returning to the neighborhood where he’s wowed audiences for decades in “The Wiz,” “The Full Monty,” “Ain’t Misbehavin'” and more.Here, he tells The Post what it’s like getting back on the boards.You’re returning to Broadway this week after more than a year away. How does that feel?It’s

nervously approaches mass reopening in September, with casts and creatives terrified by the Delta variant, much of London’s West End has been happily chugging along since spring.Producers there have had to adapt to — or, in the case of Andrew Lloyd Webber, angrily shout about — constantly shifting rules, and bowed to the reality that it’s now or never. Sorry, Mary Poppins. Nothing these days can be practically perfect in every way.Still, on a recent trip to London, I found a jaunty mood among locals and relatively full houses at long-running musicals.

coming back at glorious 100 percent capacity on Sept. 14. We no longer have to huddle around the TV waiting for Gov.