■ Hamilton (January 22–February 10, 2019).
Hamilton has become more than a musical
hit: It’s a runaway sensation that has transcended
the world of musical theater to become
a genuine pop culture phenomenon.
The show follows the life of Alexander
Hamilton, an orphan born out of wedlock in
the West Indies who became a Founding Fa-
following the Revolutionary War.
Its creator, Lin-Manuel Miranda, blended
hip-hop, rap, rhythm and blues, pop and
show tunes with soul music for its songs.
Winner of the Pulitzer Prize, a Grammy and
11 Tonys, this hip-hop musical — based upon
the 2004 bestseller Alexander Hamilton by
Ron Chernow — is aptly described by producers
as “a show about Americans then, as
told by Americans now.”
You’ll love the message and the music. The
original Broadway cast recording reached
No. 3 on the Billboard 200 and No. 1 on the
Billboard Rap Albums chart. It also won a
Grammy for Best Musical Theater Album.
The Hamilton Mixtape, a collection of remixes,
covers and samples of the musical’s
songs, debuted at No. 1 on the Billboard 200.
■ Fiddler on the Roof (March 5–10, 2019).
Based on Sholem Aleichem’s story of a
Pale Settlement of Imperial Russia in 1905,
Fiddler on the Roof is as warmly colorful as
the Marc Chagall painting that gave the
musical its title, and its sets their shtetl style.
The original production, which debuted on
Broadway in 1964, was nominated for 10 Tonys
— winning nine — and was presented a
special Tony in 1972 for being the longest-running
musical in Broadway history, with more
than 3,000 performances.
Although that record would be broken by
Grease 10 years later, Fiddler on the Roof has
remained an audience favorite through revivals
and touring companies. Its songs, such as
“Tradition,” “Matchmaker, Matchmaker,” “If I
Were a Rich Man,” “Sunrise, Sunset” and “Do
You Love Me?” are considered standards.
Fiddler on the Roof centers on Tevye, the
to protect his Jewish religious and cultural
beliefs and practices against the encroachment
of outside forces.
He must also cope both with three strongwilled
daughters, who wish to marry for love
the traditions that Tevye cherishes. Ultimately,
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Fiddler on the Roof is an uplifting and
heartwarming story about families and the
traditions that bind them.
Tony-winning director Bartlett Sher, basing
the revival on the original staging by Jerome
Robbins, delivers a fresh and authentic vision
of this timeless theatrical masterpiece by Tony
winner Joseph Stein and Pulitzer Prize-winners
Jerry Bock and Sheldon Harnick.
■ Dear Evan Hansen (April 16–21, 2019).
In a letter that was never meant to be seen,
a lie that was never meant to be told, a life
that he never dreamed he could have, Evan
Hansen is about to get the one thing he’s al-
The title character in Dear Evan Hansen,
a high-school senior who always feels
like an outsider, takes the suggestion of his
therapist, writes letters to himself outlining
his positive plans for each day. But one letter
causes confusion following a tragedy,
prompting Evan to reinvent himself and develop
a sense of purpose.
The heart-rending musical garnered six Tonys
in 2107, including Best Musical. The original
cast recording won a Grammy for Best
Musical Theater Album.
Dear Evan Hansen features a book by
Tony winner Steven Levenson and a score by
Grammy, Tony and Oscar winners Benj Pasek
and Justin Paul. The three have written a coffee
table book, Dear Evan Hansen: Through
the Window (Grand Central Publishing), that
incudes never-before-seen production photos
and behind-the-scenes stories.
“One of the most remarkable shows in
theater history,” wrote the Washington Post.
Added The New York Times: “Dear Evan Hansen
is a gut-punching, breathtaking knockout
of a musical.” NBC News called the show
“an inspiring anthem resonating on Broadway
and beyond.”
■ Anastasia (May 14–19, 2019). The legend
of Russian Imperial Grand Duchess Anastasia
has captivated the world for nearly a
a 1997 animated feature and now a lavish
stage production.
The show, with book by Terrence McNally
and music by Stephen Flaherty and Lynn
Ahrens — the Ragtime team — isn’t a strict
“We’ve
kept the best parts of the animated movie,
but it really is a new musical,” says Tony winning
director Darko Tresnjak.
Could Anya, a brave young woman with