The Baby-sitters Club: A New Musicalbased on Ann M. Martin’s book series that inspired the 1995 film and two TV series, will make its world premiere this spring with Center Theatre Group at the Kirk Douglas Theatre in Los Angeles.

Previews for the four-week run will begin on May 6, 2027, ahead of its May 16 opening. The dates and venue were announced today by the producing team, which includes Mountain A, the production company co-founded by Oscar-winning actor Natalie Portman.

I presume there are multiple exits out of the theater? Or do they literally have to walk past the folks gathered for stage door and just sort of ignore them?

Ever seen folks stop an actor and try to talk to them when the actor wasn't doing the stage door thing?

Nothing about Midnight really seems to add up to me.

I do not understand the level of hype around the show. A few influencers are framing it as the greatest thing they have ever seen, comparing it to being at Hamilton at the Public, and staking a remarkable amount of credibility on that position.

But the broader response does not seem to match. There are only about 20 reviews on Show-Score, averaging roughly 72. That is not the profile of an undisputed breakout hit, particularly when most current Broadway shows, and plenty of Off-Broadway shows, are scoring higher.

Meanwhile, there has been very little traditional media coverage, despite reports that the run ends November 8 and tickets are being priced as high as $400.

Maybe the show is genuinely extraordinary and the wider reviews simply have not caught up. But the gap between the influencer narrative and the available audience response is striking. Something feels off.

Saw A Few Good Men last night at Lincoln Center and wanted to share my thoughts:

A few observations:

1. The text is still the star. It's not a hot take, but Aaron Sorkin can write some dialogue. The last 20 minutes in the courtroom are as compelling as ever. It's fun to hear dialogue you can recite word for word spoken on stage
2. It is the movie, and it's not the movie. Overall, the production is pretty similar to the film. It's definitely not a massive overhaul or dramatic departure. The dialogue you're waiting for is there, and many of the characters look and feel like the ones you remember. At the same time, it's not the movie. If you're expecting a beat-for-beat recreation of Nicholson's iconic monologue or Cruise's performance, this isn't that. The actors find ways to make the roles their own, which can be either disappointing or refreshing depending on your expectations
3. Tom Blyth is a beautiful human being. He's a movie star and you can tell from the moment he walks on stage 
4. Blyth's Kaffee feels like he has slightly different motivations than Cruise's in the final courtroom scene. Cruise's Kaffee feels more determined. He wants to nail Jessep. Blyth's feels a little more "gotcha." He wants to catch Jessep in his trap. It's a subtle distinction, but I found myself missing some of Cruise's resolve. Both interpretations work, but they give the scene a slightly different energy

Overall, the set, sound, and production are strong. It's an iconic piece of writing for a reason, and I walked out thinking, "That's a really good play"

edit: wording, formatting

David Tennant in West End in 2028! That man is responsible for so many of my London trips!

If you've been looking for tickets, there are plenty available on October 28 & December 6 (the closing performance!). Just wanted to give everyone a heads up!

So, I've been following That Parenting Musical since its inception as a funny music video and then first workshop (in Colorado, where I live - but I frequent NYC Broadway 4-5x a year!) and it's been so cool watching it grow. I've seen it at many different stages and they had an Off-Broadway run at Theatre Row in 2024. Now there's a cast album on the way featuring some really amazing broadway performers like Bonnie Milligan and Chris Jackson, and Kara Lindsay!! There's a new single dropping tomorrow and Playbill just featured Christopher Jackson singing it so I'll link that below for anyone who wants to give it listen. I'm obviously a little biased but it's been exciting to see this show develop from a small Colorado workshop into a full album with these performers. Honestly, I think it deserves more attention! As a parent of young kids myself, the musical is such a WHOLLY ACCURATE, hilarious and heartfelt depiction of life and its ups and downs.

Anyway, just wanting to spread the word. Check it out!! The full album drops October 23rd.

https://playbill.com/article/watch-christopher-jackson-performs-glide-from-that-parenting-musical

https://open.spotify.com/artist/6oyjtGSAsaHM4ekfROroBz?si=yNG8qygEQtGpaeargbHyOQ
(Kara Lindsay's single from the album has already been released, here's the link!)

I saw Oh Mary tonight and holy shit was Bowen on fire. The whole cast was incredible. Spotted Jane Krakowski in the lobby when I entered. Later at the stage door Bianca told me that Cole Escola, Maya Rudolph, John Cameron Micthell, and Betty Gilpin were there too! A meeting of the Marys! I wonder what they were up to. They filmed a silly video for instagram too.

This was my third time seeing Oh Mary. I’d specifically been waiting for Bowen for a long time and BOY he didn’t disappoint.

I’m just curious about this: is it difficult to cast older roles on a non-equity tour? It sounds like when you do a tour of a show about teens or early 20-something’s like Mystic Pizza or Hairspray, producers have a ton of brilliant young actors who haven’t been able to get into equity quite yet who would like to be cast in those young roles. Is it harder to cast older roles? I’m thinking, if an actor is old enough to play Wilbur Turnblad, he’s probably been grinding at his craft for years. If he hasn’t been able to get into equity for whatever reason, I would think that he would eventually give up by the time he’s old enough to play Wilbur. So how does that work? I’m purely curious. I know working in the arts is brutal. I personally haven’t seen a non-equity tour but that’s because I grew up and still live near NYC, so tours generally don’t come near where I live, not because of ethics.

Just saw Rope on its second night of previews and it was AMAZING!!

The theater is so small that it made the whole thing feel really immersive. The pacing was great, and I genuinely felt like I was onstage with them. Corey Fogelmanis was OUTSTANDING. It was so interesting seeing him in a role like this, and his dynamic with Cameron Monaghan was one of my favorite parts of the show.

The subject matter is definitely pretty dark, but there was humor throughout that kept it from feeling too serious or stiff. I also just finished The Secret History, and it gave me very similar dark academia/psychological thriller vibes.

One of the best plays I’ve seen in the past few years honestly. Everything just came together really well, and I thought they did a great job with it. Definitely recommend seeing it!

Was anyone else there tonight? What a performance, left the theatre in awe. The audience really added to the performance in a moving way, all I can say is WOW!

Just got back from my first trip, where I knew Chicago (from the movie) before I left, and went in cold to Heathers and The Play That Goes Wrong

Planning to go back soon for Book of Mormon, Hadestown, and Spring Awakening. For those three, would it be better to go in cold, or to learn the songs, and mythology in the case of Hadestown?

Mine would be either Hello Dolly, or Calamity Jane.

I’ve listened to the soundtrack countless times and I’ve seen the show a couple of times and I interpreted it as David making Michael hallucinate his father in “Secret Comes Out” and “You Belong to Me” and I’ve read a couple posts that other people have thought the same thing. So if that’s true, my question is why did David make Michael hallucinate his father? Because I feel like if David didn’t do that, he would’ve had a better chance of getting Michael to trust him, but instead he made Michael relive his biggest trauma and pushed him away essentially. Or if that’s not true at all and Michael just hallucinated his father on his own why do you think that happened? Anybody got any thoughts?

Hi! This is your Broadway Rush Self Report for Thursday 10/15/26

If you are in line at a particular show or happen to be in the area and can find out:

1. How many people are in line and
2. When they arrived

Please contribute what you can so that people are informed. Thank you!

Rush & Lotto Policy List:

https://bwayrush.com

Weekly schedule:

https://playbill.com/article/weekly-schedule-of-current-broadway-shows

I know it hasn’t been long, but I usually have some very good luck with lotteries.