Broadway Magic Lives at the Nederlander

"Nederlander presents: Schmigadoon Bright, buoyant, and bursting with theatrical joy, Schmigadoon! delivers a high energy evening that never lets up. Packed with laughs from start to finish, the production leans fully into its musical comedy roots, creating an experience that feels both nostalgic and refreshingly playful. The cast is a major highlight. Alex Brightman brings his comedic precision and charisma, Sara Chase proves to be a scene-stealing delight, McKenzie Kurtz shines with vocal clarity and character charm, and Ana Gasteyer anchors the show with seasoned wit and presence. Each performance adds a distinct spark, elevating the already lively material. The choreography is sharp, polished, and perfectly in sync with the show’s upbeat tone, adding momentum to every number. Meanwhile, the ensemble proves to be a powerhouse, fully committed, tightly coordinated, and essential to the production’s infectious energy. Overall, Schmigadoon! is a thoroughly entertaining theatrical escape, funny, lighthearted, energetic, and filled with standout performances that keep the audience smiling throughout."

"Not since Something Rotten! has such a fervent love letter to theater been penned. From the moment the vending machine falls to the final "Schmigadoon!," the audience is laughing, gasping, toe-tapping, crying, groaning, applauding, and cheering. It is appropriate that amongst the cast is a veteran of Rotten, Brad Oscar. And while Mayor Menlove may be a more subtle character than Thomas Nostradamus, he gives Oscar the chance to let his acting chops shine, particularly in scene work with Maulik Pancholy who gives an equally heartfelt, and at times heartbreaking, performance as The Reverend Layton. The rest of the leading players are a veritable tour de force of talent led by Alex Brightman and Sara Chase. The couple's onstage chemistry (and hatred) comes from a very real place of authenticity that you hope, but rarely do, find in musical comedy. Chase's ballad "Melissa's Epiphany gives new meaning to "11 o'clock number" with a power belt that's ready to take down the walls along with the minds of the audience. Brightman's own "11:45 o'clock" tune, to coin a phrase, "You Make Me Wanna Sing," is certainly his star turn of the evening. It's one of the most honest moments I’ve seen on stage, and I’ve seen a lot. If there’s anything that can be said about the two, it’s frankly that they just don’t have enough stage time. Particularly when it comes to Brightman, who due to the plot, doesn’t even sing until this number. That theme continues with Ana Gasteyer whose Mildred Layton is just the kind of broad you love to hate. Gasteyer may be known for her physical comedy, but this role reminds us she can sing. If only she had the chance in Act I, too. Isabella McCalla’s as schoolmarm Emma Tate has fantastic edge and equally fantastic chemistry with both of her “men,” Brightman and newcomer Ayaan Diop who is making his Broadway debut. Rarely do you see a performance and immediately think “I’m seeing someone at the start of a brilliant theatrical career,” but his nuanced and truthful portrayal spurred one of those moments tonight. Mackenzie Kurtz as Betsy expertly rides the line between cotton candy and cavity to deliver one of the standout performances of the show. Her mastery of physical comedy, line interpretation, and just plain talent both vocally and as a dancer are the stuff of Broadway past (and with a little luck from talent like hers, Broadway future). Ann Harada gives an adequate performance as Florence Menlove, but one has to wonder if there isn’t a bit more to the character than she’s been able to flush out. Max Clayton as Danny Bailey is high on looks and charm, and is a stellar comedian and dancer, but never quite landed when it came to vocal prowess. But perhaps the real stars, and heroes, of the performance, are the ensemble and chorus. Most of the heavy lifting for the entire show, and frankly the determining factor of whether it sinks or swims, falls squarely on the shoulders. Lucky for them, and lucky for the audience, the entire show floats with ease. There’s not a weak link in the chain, and there area certainly places where one could have shown itself. Scenic Designer Scott Pask has designed a delightfully non-digital world populated with stunning set pieces, handpainted backdrops, and period accoutrements (minus those odd mini blinds in the Doctor’s office). It’s a beautiful reminder of why technology isn’t always the answer, and it’s certainly not always better. Stunning costumes by Linda Cho are just not plentiful enough, leaving the audience wanting more of her hand-crafted and expertly designed masterpieces. Tie it all up with some exquisitely written original songs, including some spot-on spoofs and homages, incredible lighting and sound design, and impeccable direction, and YEE HONK! You have yourselves the making of a pretty darn amazing show. We’ll be shocked if it’s not a hit. By the way, the AppleTV+ series, differs enough from this new iteration that this reviewer rarely found himself even comparing the two. Some people may want to escape Schmigadoon—we’re not one of them!"

"The Nederlander Theatre is absolutely stunning — the architecture and interior details are gorgeous. The seats are a bit tight, so be prepared for a cozy experience, but the atmosphere and overall theatre experience more than make up for it. Also, I was fortunate enough to see Idina Menzel perform which in itself was a life-changing experience and an absolute bucket-list moment. The acoustics are excellent, the staff are friendly, and the overall atmosphere of the theatre is amazing."

"Saw Schmagadoon at the Nederlander Theatre. What a lovely venue for a ready fun show. The theatre was great, the staff were great and the show was great. This is the third time I've been to this theatre for shows, and I've never been disappointed. I hope you enjoy your shows there as much as I have!"