Read More on “The Lost Boys” Here

The last show to open in the 2025–26 season turned out to be one of its biggest commercial bets to pay off. Based on the 1987 Joel Schumacher vampire film, The Lost Boys is directed by Michael Arden, with a score by the LA band The Rescues and a book by David Hornsby and Chris Hoch. It tied with Schmigadoon! for the season’s most Tony nominations (12) and won four, including a featured actress award for Shoshana Bean as the boys’ mother, Lucy.

How it’s doing: Very well. The show has been playing to roughly 97% capacity in the 1,600-plus-seat Palace, regularly grossing around $1.5 million a week through the summer, which places it among Broadway’s top ten earners. With no closing date set, it is the 2026 musical most likely to still be running this time next year.

Read More on “Schmigadoon!” Here

The stage version of the cancelled Apple TV+ comedy follows two New York doctors who stumble into a town trapped inside a Golden Age movie musical, and can only escape by finding true love. Directed and choreographed by Christopher Gattelli, with Alex Brightman and Sara Chase as the bickering couple, it was originally a limited run due to end on 6 September 2026.

How it’s doing: A genuine success story. Strong word of mouth, a Best Musical win and a cast album released in August have kept it at close to full houses, and it has now extended twice — first to January 2027 and then to April 2027. A North American tour is planned. Ana Gasteyer, a Tony nominee for the role of Mildred, played her final performance on 6 September.

Read More on “Rocky Horror Show” Here

Sam Pinkleton, the Tony-winning director of Oh, Mary!, brought Richard O’Brien’s cult musical back to Broadway with Luke Evans as Frank-N-Furter, alongside Rachel Dratch as the Narrator, Amber Gray as Riff Raff and Stephanie Hsu as Janet. The production earned nine Tony nominations, including Best Revival of a Musical.

How it’s doing: Planned as a short Roundabout engagement, it has extended repeatedly. In late June it set a new house record at Studio 54, taking more than $1.2 million in a single week. Evans played his last show on 23 August, and Scissor Sisters frontman Jake Shears took over as Frank-N-Furter from 11 September, with Kevin McHale and Lorna Courtney now playing Brad and Janet.

Read More on “Paranormal Activity” Here

Writer Levi Holloway (Grey House) and Punchdrunk’s Felix Barrett created an original story inspired by the found-footage horror franchise: a couple move from Chicago to London to escape their past and discover the haunting has followed them. The production arrived after runs in the West End, Chicago, Los Angeles, Washington and San Francisco, with Jason Blum of Blumhouse joining the producing team for Broadway. Its opening night was moved forward from 15 September to 25 August.

How it’s doing: Critics were broadly positive about the scares, if cooler on the script, and the 20-week run is perfectly timed for Halloween crowds. It is recommended for ages 15 and up.

Read More on “School Girls; or, the African Mean Girls” Here

Nearly a decade after its Off-Broadway premiere, Jocelyn Bioh’s sharp comedy about girls at a Ghanaian boarding school competing for a beauty pageant spot finally reaches Broadway. It reunites Bioh with director Whitney White, the team behind Jaja’s African Hair Braiding, with Patina Miller and Denée Benton among the cast.

How it’s doing: It opened just this week, so this is the newest arrival on our list. As a subscription-backed MTC limited run, it has a short six-week window; book soon if it is on your list.

Read more on “Bug” Here

Broadway’s first opening of the year was Tracy Letts’ paranoid 1996 thriller, in David Cromer’s Steppenwolf production starring Carrie Coon as a lonely waitress and Namir Smallwood as the drifter who convinces her their motel room is infested. Critics singled out Coon’s ferocious performance, which earned her a Tony nomination, and the run was extended by two weeks beyond its original 22 February end date.

Read more on “Every Brilliant Thing” Here

Duncan Macmillan’s audience-participation solo play transferred from its 2025 West End run with Daniel Radcliffe, and it became one of the surprise box office stories of the year. In late April it was grossing more than $1.6 million a week with the highest average ticket price on Broadway, over $200. Mariska Hargitay and then Tracee Ellis Ross took over the role, and the show closed when Ross finished her run. Tony nominations followed for Best Revival of a Play and for Radcliffe, who also won the Outer Critics Circle award for solo performance.

Read more on “Gaint” Here

Mark Rosenblatt’s drama about Roald Dahl and the antisemitism scandal that shadows his legacy gave John Lithgow one of the great roles of his late career. He won the Tony for Best Leading Actor in a Play, his third Tony overall, and the production completed its planned limited run.

Read more on “Dog Day Afternoon” Here

Stephen Adly Guirgis adapted the 1975 Al Pacino film about a Brooklyn bank robbery gone wrong, reuniting The Bear co-stars Jon Bernthal and Ebon Moss-Bachrach, both making their Broadway debuts. David Korins’ revolving bank set drew plenty of attention. Reviews were mixed, but star power carried it through a full spring and early summer engagement.

Read more on “Becky Shaw” Here

Gina Gionfriddo’s darkly funny comedy about a disastrous blind date finally made it to Broadway, and it played to near-capacity houses in the intimate Hayes. Alden Ehrenreich won the Tony for Best Featured Actor in a Play, a notable win for a limited not-for-profit run.

Read more on “CATS: The Jellicle Ball” Here

Andrew Lloyd Webber’s Cats reimagined as an LGBTQ+ vogue ball, transferred from its acclaimed Off-Broadway run with much of the original company, including Tony winner André De Shields. It won three Tony Awards, and costume designer Qween Jean made history as the first openly trans Tony winner. Business stayed strong through the summer, with grosses around $1.4 million a week in early August, before the production ended its scheduled run.

Read more on “Death of a Salesman” Here

The play of the year. Joe Mantello’s production starred Nathan Lane as Willy Loman and Laurie Metcalf as Linda, with Christopher Abbott and Ben Ahlers as their sons. It won six Tonys, including direction for Mantello, a third acting Tony for Metcalf and lighting for Jack Knowles, becoming the most-awarded play revival in Broadway history.

How it did: Remarkable for a straight play. In its final weeks it was Broadway’s second-highest grosser, taking around $2.2 million a week and outselling The Lion King. It closed on schedule; the Winter Garden is next home to Much Ado About Nothing and, in 2027, Evita.

Read more on “Titanique” Here

The Off-Broadway cult hit, in which Céline Dion narrates her own version of the Titanic story through her greatest hits, moved uptown after sold-out runs around the world and an Olivier Award in London. It enjoyed a solid five-month run in the big St. James before closing in September.

Read more on “Fear of 13” Here

Lindsey Ferrentino’s play, adapted from the documentary about Nick Yarris and his two decades on death row for a murder he did not commit, arrived from London with Oscar winner Adrien Brody, who was joined by Tessa Thompson. Both were making their Broadway debuts in David Cromer’s production. It ran for its full limited engagement.

Read more on “Proof” Here

The first Broadway revival of David Auburn’s Pulitzer-winning drama, directed by Thomas Kail, starred Ayo Edebiri as the daughter of a brilliant, unwell mathematician, with Don Cheadle as her father. Both made their Broadway debuts, and Edebiri won strong notices for bringing a fresh, anxious energy to the role.

Read more on “Fallen Angels” Here

Rose Byrne and Kelli O’Hara reunited for Noël Coward’s 1925 comedy about two married women awaiting the return of their shared former lover. Critics enjoyed the pair’s comic chemistry, and Jeff Mahshie’s costumes won the Tony for Best Costume Design of a Play. It closed on Tony night, as scheduled.

Read more on “The balusters” Here

David Lindsay-Abaire’s new play was one of the season’s best-reviewed new works. It won top honours at the Outer Critics Circle Awards, earned Tony nominations including for Marylouise Burke and Richard Thomas, and extended twice before closing.

Read more on “Beaches” Here

The year’s clearest flop. Based on Iris Rainer Dart’s novel and the Bette Midler film, with music by Mike Stoller and Jessica Vosk and Kelli Barrett as lifelong friends Cee Cee and Bertie, it came to the vast Majestic after a decade of development. Reviews were largely negative, it received no Tony nominations, and grosses sat at around $550,000 a week or less, at one point with half the house empty. It closed after just 38 regular performances, more than three months ahead of its planned 6 September end date. A national tour is still planned for 2027.

Read more on “Joe Turner’s Come and Gone” Here

The third Broadway production of August Wilson’s 1911-set drama about a Pittsburgh boarding house starred Taraji P. Henson in her Broadway debut alongside Cedric the Entertainer. It drew a broad audience through the summer and picked up Tony nominations in the design categories before ending its limited run.

Read more on “Celebrity Autobiography” Here

The long-running stage comedy, created by Eugene Pack and Dayle Reyfel, in which a rotating cast of famous faces read aloud from other celebrities’ memoirs, filled the Shubert for a short summer stint. It was the first opening of the 2026–27 season.

Jon Robin Baitz’s drama about a politically divided family facing a tell-all memoir gets a remarkable cast: Julia Louis-Dreyfus in her Broadway debut, Ed Harris, Allison Janney, Joe Keery and Lily Rabe, directed by John Benjamin Hickey. Previews began 29 September.

Billy Crystal returns to Broadway with a new autobiographical solo show centred on the family home he lost in the Palisades fire. Scott Ellis directs; previews begin today, 1 October.

Tony winner Bill Irwin adapts and stars in Molière’s comedy about a wealthy hypochondriac surrounded by schemers, directed by Brandon J. Dirden. A short one-month run.

Aaron Sorkin’s military courtroom drama returns, directed by Michael Arden (also behind The Lost Boys), with Bradley Whitford and Tom Blyth. It takes over the stage Ragtime vacated in August.

Previously titled Gun & Powder, this new musical tells the true story of Mary and Martha Clarke, Black twin sisters who robbed banks in 1890s Texas to free their sharecropper mother from debt. Solea Pfeiffer, Liisi LaFontaine and Ledisi star, with music by Ross Baum and book and lyrics by Angelica Chéri.

Tectonic Theater Project’s Pulitzer finalist, by Moisés Kaufman and Amanda Gronich, examines the real-life discovery of a photo album kept by SS officers at Auschwitz. Kaufman directs this Broadway transfer.

A holiday-season illusion spectacular inspired by the heist-movie franchise about the Four Horsemen magicians, moving into Moulin Rouge!‘s former home.

Bruce Norris’ provocative drama set in a group home for men convicted of sex offences arrives after productions in Chicago, London and Off-Broadway. Joe Mantello, fresh from his Death of a Salesman triumph, directs a cast including K. Todd Freeman and Francis Guinan.

The world’s longest-running musical finally makes its Broadway debut, 66 years after it first opened Off-Broadway. Christopher Gattelli (Schmigadoon!) directs a new take that reimagines the young lovers as a gay couple.

After more than three decades Off-Broadway, the Blue Man Group finally makes its Broadway debut with a festive edition of the show.

Jamie Lloyd’s party-fuelled West End production brings Tom Hiddleston and Hayley Atwell to Broadway as Benedick and Beatrice. It is the first Broadway Much Ado in around 40 years, and likely to be one of the hottest tickets of the holiday season.

From the Prima Facie team of writer Suzie Miller and director Justin Martin, this London hit stars Rosamund Pike, in her Broadway debut, as a Crown Court judge whose family is shaken by an unthinkable event.

Raúl Esparza returns to Broadway for the first time in fourteen years as the astronomer who defied the Inquisition. The score is by Zoe Sarnak and Michael Weiner, with a book by Danny Strong and direction by Michael Mayer.