GIANT, on Broadway, Spring 2026
John Lithgow ….is getting ready to take the for Opening Night Wednesday April 23rd….Previews start March 28th… and YES tickets are on sale now. Don’t miss this incredibly talented actor who “looks, sounds and embodies Bobby Darin@jonathandrewgroff
GIANT — at the Music Box Theatre, is sharp and utterly magnetic — Giant is the kind of theatre night that leaves your heart fluttering and your mind buzzing. John Lithgow is a revelation as Roald Dahl: charming, sly and heartbreakingly human. He owns every beat, shifting from mischief to menace with that warm, perfectly-timed twinkle that makes his Dahl irresistible even when he’s infuriating.
Nicholas Hytner’s direction is excellent, letting Mark Rosenblatt’s smart, nimble script do the heavy lifting. The play’s premise — a tense, imagined day in the life of Dahl as those closest to him debate whether he should answer an accusation of antisemitism — is handled with wit and real emotional stakes. It’s equal parts gossip-session energy and moral sparring, and the result is deliciously theatrical.
Elliot Levey, is quietly devastating as Tom Maschler, Dahl’s Jewish publisher, giving the play its moral backbone with a performance that hums under the surface. Aya Cash sparkles as American exec Jessie Stone, bringing spiky humor and sharp business-savvy that keeps the conversation lively and modern.
Stylistically, Giant walks a lovely line between imagined fantasy and uncomfortable reality. The pace gallops when it needs to, then breathes for intimate, devastating moments. You don’t need to be a Dahl superfan to be swept up — though a little familiarity sweetens some of the in-jokes and emotional payoffs.
Bottom line: go see GIANT. It’s thought-provoking, frequently funny and boasts performances that will be talked about long after the curtain falls. Bring a friend, grab a cocktail after, and prepare to leave the theatre ready to argue — and to feel. Theater at its best: smart, stylish and utterly entertaining.
Two Strangers (Carry a Cake Across New York), on Broadway — 2026
…When you go to see Cabaret on Broadway at the completely renovated August Wilson Theatre, you start by entering on the side of an alley that leads down into an incredibly reimagined underground, even before the actual show starts. They have Acrobats and musicians dancing and singing, and doing all kinds of interesting things that you would never expect to see. It keeps you entertained before the start of the show and whets your appetite for what is to come. An amazing show, set in a reimagined Cabaret, food, drink and all, that touches on every one of your senses, and keeps you engaged from beginning to end.
Two Strangers is exactly the sweet heartfelt, rom-com my Broadway-loving heart needed. Sam Tutty is utterly swoonworthy — earnest, tender and full of that magnetic, just-rolled-out-of-bed charm that makes you root for him from the first beat. Christiani Pitts as Robin’s Pure radiance. Their chemistry is the kind that sparkles in the dim light of the Longacre and makes you had a significant other by your side.
The score by Jim Barne and Kit Buchan is lush and cozy. If you like your melodies to hug you, this one will.
Tim Jackson’s direction keeps things breezy and bright; the imaginative, minimalist set is adorable and surprisingly effective — it gives the show room to breathe and lets the actors do all the heavy lifting. At two-hander pace, the show hums along, landing laughs, wow-worthy moments, and just enough bittersweet notes to keep it real.
Critics may call it treacly; I call it delightfully indulgent. If you want a night out that leaves you beaming, slightly teary, and ready to recommend a show to every friend in your contacts — grab a ticket. Two Strangers is a cozy, feel-good escape: romantic, funny, and utterly charming. Take a date, take a friend, or take yourself — you’ll leave with a smile (and maybe a craving for actual cake).
Avenue Q, London’s West End — 2026
…When you go to see Cabaret on Broadway at the completely renovated August Wilson Theatre, you start by entering on the side of an alley that leads down into an incredibly reimagined underground, even before the actual show starts. They have Acrobats and musicians dancing and singing, and doing all kinds of interesting things that you would never expect to see. It keeps you entertained before the start of the show and whets your appetite for what is to come. An amazing show, set in a reimagined Cabaret, food, drink and all, that touches on every one of your senses, and keeps you engaged from beginning to end.
Oh my gosh, darlings — Avenue Q is BACK and it’s every bit as gloriously naughty and wholehearted as I remembered, maybe even cheekier. This revival is a jubilant, slightly filthy hug for your soul — the kind of show that makes you laugh until your mascara runs and then clutch your belly because it actually made you feel things.
First up: the puppets! Rick Lyon’s original designs are iconic for a reason — they’re hilariously expressive, wonderfully grubby, and still manage to steal every scene from their human co-stars. Director Jason Moore returns and clearly knows the secret sauce: timing, bite, and big warm beats. The staging snaps along with perfect comic rhythm; nothing drags, everything lands.
Emily Benjamin is a delight as Kate Monster/Lucy — sweet, savvy, and utterly winning. Noah Harrison’s Princeton/Rod is adorably awkward and so very earnest; their chemistry lights up the stage in every duet and desperate monologue. Meg Hateley’s Mrs. T is a deliciously camp, scene-stealing riot, and Oliver Jacobson’s Brian brings charming bewilderment that rounds out the quartet perfectly.
The jokes still zing (and sometimes sting) — this is satire with a soft heart. It’s rude and smart and oddly tender about adulting, dreams, and finding your tiny patch of happiness in a confusing world. Yes, some lyrics are cheeky, some moments are gloriously politically incorrect — and that’s the point: it makes you laugh, then think, then laugh again.
If you’re looking for a night of sharp wit, ridiculous puppetry and songs that will lodge in your brain for days (you’ll be humming them on the Tube, trust me), book it. Avenue Q at the Shaftesbury is a riotous, bittersweet comeback — perfect for a cheeky date, a night out with mates, or anyone who loves theatre that dares to be silly and sincere at the same time. Bravo — and bring tissues (for laughing and possibly happy tears).
Working Girl musical, La Jolla Playhouse — 2026
…When you go to see Cabaret on Broadway at the completely renovated August Wilson Theatre, you start by entering on the side of an alley that leads down into an incredibly reimagined underground, even before the actual show starts. They have Acrobats and musicians dancing and singing, and doing all kinds of interesting things that you would never expect to see. It keeps you entertained before the start of the show and whets your appetite for what is to come. An amazing show, set in a reimagined Cabaret, food, drink and all, that touches on every one of your senses, and keeps you engaged from beginning to end.
Oh my stars — The Working Girl is pure, glittery 80s candy and I am HERE FOR IT. From the first pounding pop beat you’re swept into a neon-hued world of big dreams, bigger wigs, and songs that will burrow into your brain and not leave (in the best way). Cyndi Lauper’s score is a fizzy, heart-on-its-sleeve dream — equal parts pep and poignancy — and it fits this story like shoulder pads on a power suit.
JoJo Levesque as Tess is utterly lovable: sincere, bright-eyed and vocally built for Lauper’s anthemic moments. You want to root for her every second — she sells the hope, the stumbles, and the ultimate sparkle. Leslie Rodriguez Kritzer’s Katharine is everything: hilarious, fierce and fabulously commanding. Their chemistry crackles, and the ensemble brings so much joyous energy that the stage practically bounces.
Visually? Gorge. The costume design is deliciously OTT (those fluffy wigs are a mood), and the staging leans into glossy, screen-forward aesthetics that feel very now. Yes, sometimes the book could use a little tightening — a few reviewers sniffed that the story doesn’t always need all the musical glitter — but honestly, when the band hits and the cast belts, you forgive a lot.
Audience verdict: tactile, fun, and an ideal night out. It’s a perfect date-night musical for anyone who loves big pop hooks, earnest leads, and a dash of 80s catharsis. Does it feel Broadway-ready? Many in the house thought so — and after a night of confetti-colored joy, I’m tempted to agree. Take a friend, wear something with shoulders, and prepare to leave humming.