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It was a strange year on Broadway, but then it’s been strange everywhere.Our world at times seems downright unrecognizable, with politicians acting like mob bosses, AI transforming not just the internet but potentially the entire economy, the cost of living leaving only the super rich able to keep up, and I won’t even mention the climate crisis, but the forecast calls for more doom and gloom.Good work, however, won’t be denied, even if Broadway producers have perhaps overlearned the lesson of last year’s sleeper, Cole Escola’s “Oh, Mary!” Parody with a heavy dose of camp has become all the rage in a theatrical season in which the best musical winner, “Schmigadoon!,” is an affectionate sendup of golden age classics by Rodgers and Hammerstein, Lerner and Loewe and their inspired descendants.If Broadway is changing faster than the old guard can keep pace, the same is true for the culture in general.
The economics of producing have scrambled the old playbooks.Unusual risk has occasionally brought unexpected rewards.
“Schmigadoon!” fended off the competition to take the night’s top prize along with awards for both its book and score by Cinco Paul.Michael Arden’s spectacular production of “The Lost Boys” — the staging won awards for Dane Laffrey’s scenic design and Jen Schriever and Arden’s lighting — enriched the 1980s cult film on which the show is based with human substance and high-flying showmanship.
Shoshana Bean’s win for her featured performance as a persevering single mom, is a testament to the musical’s capacious heart.Ali Louis Bourzgui’s somewhat unexpected yet eminently worthy triumph for his featured performance as the vampire with front-man magnetism, catalyzed the production’s thrilling virtuosity.
But few would describe this year’s ragtag selection of new musicals as robust.Entertainment & Arts ‘The Lost Boys,�...