The 13 Must-See Broadway Shows to Catch if You’re Visiting NYC This Summer
The 79th annual Tony nominations are out—congrats to the nominees; you’re all legends and future EGOT winners, etc.—but let’s be clear: A shiny statue is not the final word on what’s actually worth your time. So in honor of Broadway’s buzziest announcements, Cosmo is rounding up the must-see shows of the season…sufficiently nominated or not. Because awards are cute, but taste is personal. And if you’re NYC-bound this spring, it’s nice to know from someone who’s seen it all what’s actually worth a $250+ orchestra seat.Quick housekeeping: Liberation closed on February 1 and deserved way more hype. I would have included that show on this list if you could still see it, but you can’t. So consider this your official missed-it lament. And as for Proof? I love you, dear reader. I respect you! So I’m going to gently suggest you skip it and get your fill of Ayo Edebiri with a rewatch of The Bear instead. (No, I will not be elaborating.)Without further ado, the shows I am recommending with my full chest are:Marc J. FranklinBecky ShawNow playing at the Helen Hayes Theater through June 14Get your tickets hereAlden Ehrenreich (most recently of Fair Play and Weapons fame) is my frontrunner for Best Performance by an Actor in a Featured Role in a Play because he turns every line of Gina Gionfriddo’s acid-tipped dialogue into a power move. He’s funny, but there’s something deeply unsettling in the way he bulldozes through everyone else’s emotions like they’re minor inconveniences.Enter Madeline Brewer (who you’ve seen many places) as the titular Becky Shaw—seemingly fragile, slightly off-kilter, and clocking in with a brittleness that feels like it could shatter at any moment. And when it does, she makes sure to make it count. I’m disappointed she didn’t clinch a nomination for what was one of my favorite performances this season. Their dynamic is the show’s secret weapon. What starts as an awkward blind date quickly spirals into something far more chaotic, with Madeline expertly unraveling Becky’s “needy outsider” persona to reveal something dark and sad underneath.Opposite her, Alden leans all the way into Max’s ego-driven cruelty, creating a push-pull that’s equal parts hilarious and horrifying. The result? A tension you can practically taste. And reason enough to see Becky Shaw for yourself. (P.S. If you’re a fan of The Pitt, Patrick Ball is in this, too!)Matthew Murphy and Evan ZimmermanCats: The Jellicle Ball Now playing at the Broadhurst Theatre through September 6Get your tickets hereThis isn’t the Cats you thought you knew. It’s smarter, sharper, and—dare I say—actually meaningful. I caught the critically acclaimed run of this revival at PAC NYC downtown (a venue I preferred, for the record), but even in its new 44th Street home, the show’s pulse hasn’t weakened. Directors Zhailon Levingston and Bill Rauch have taken Andrew Lloyd Webber’s famously perplexing musical and reimagined it through a queer POC lens that brings the story into stunning focus. Suddenly, the spectacle has something to say. And it says it through movement.Choreographers Omari Wiles and Arturo Lyons inject ballroom culture into every beat, transforming the Jellicle Ball into a full-on celebration of identity, expression, and chosen family. Yes, the feline flair is still there—but now it’s in service of something deeper. This Cats trades confusion for clarity and camp for purpose (while still keeping the fun). The result is a bold, joyful reinvention that finally answers the question: what is this show about? Belonging. And it lands. Come for André De Shields’ Tony-nominated performance as Old Deuteronomy, stay to make memories (get it?) with Tempress Chasity Moore’s Grizabella (a blatant snub).Emilio MadridDeath of a SalesmanNow playing at the Winter Garden Theatre through August 9Get your tickets hereYes, Arthur Miller’s Death of a Salesman is back on Broadway (for the seventh time), but this revival? It hits different. In this economy you can feel the audience’s collective horror as everyone realizes in their own time that we’re all Willy Loman. I have two words for you: NATHAN. LANE—because his Tony-nominated performance lands like a gut punch you didn’t see coming but maybe should have. Under Joe Mantello’s direction, this isn’t some dusty high school English assignment come to life. It’s sharp, urgent, and uncomfortably current. Nearly 80 years later, the #AmericanDream still has teeth—and this production bites hard.The star-studded cast came to work. Nathan’s Willy is equal parts worn down and dangerously hopeful (a combination that got under my skin in the best possible way, if I’m being honest). Christopher Abbott’s Biff brings tortured poet energy, while Ben Ahlers (who you might recognize from The Gilded Age) makes a very compelling Broadway debut as the deceptively charming (and lovely to look at) Happy. But it’s Laurie Metcalf as Linda who quietly (and sometimes not so quietly) steals the whole thing. Her performance simmers with devotion and intelligence. She navigates her lines with just enough restrained fury to keep you locked in. Bottom line: This is a master class across the board—and if you have the bandwidth (and budget), you should absolutely see it.Matthew Murphy and Evan ZimmermanDog Day AfternoonNow playing at the August Wilson Theatre through June 28Get your tickets hereDog Day Afternoon on Broadway is not trying to be the 1975 film—and whether that thrills you or deeply irritates you will determine your entire night. Rupert Goold’s production leans all the way into chaos, comedy, and spectacle, turning a gritty true-crime story into something closer to a darkly funny, high-octane pressure cooker. And honestly? It’s kind of a ride. Jon Bernthal isn’t doing Al Pacino’s Sonny—he’s making it his own, which I admire. While Ebon Moss-Bachrach brings a twitchy, quieter edge to Sal that keeps the tension humming. The rotating set (shoutout to David Korins, nominated for Best Scenic Design of a Play) is doing a lot of the heavy lifting, pulling the audience directly into the action so you feel less like a spectator and more like an unwilling accomplice. It’s immersive without feeling like a Disney ride.That being said…critics are not sold. Like…at all. Despite audience members eating it up at my performance, this is currently the lowest-scoring play on Broadway (an honor more fitting for Proof or Bug, in my opinion). The main divide? That it reads as “sitcom-ified” to folks hoping for something closer to the original film’s grit. If you’re into big swings, star power, and a slightly chaotic night at the theater, it might absolutely work for you (as it did me). But if you’re a purist? Proceed with caution.Matthew MurphyEvery Brilliant ThingNow playing at the Hudson Theatre through June 28Get your tickets hereDaniel Radcliffe in Every Brilliant Thing? Yes, you’re going. No notes. This quietly beloved play has arrived on Broadway and is doing what it does best: sneak up on you with charm, disarming you with humor and then completely wrecking you (in a good way). Daniel is all warmth and wit, guiding the audience through a story about depression and suicide with an ease that makes the abundant interactive elements feel less like a gimmick and more like a giant session of grief counseling. You’re not just watching this show—you’re in it. (Chances are extremely high you get to read lines with Daniel. When I say audience participation…I mean LOTS of audience participation.) The communal nature of the show makes everything hit harder and feel lighter at the same time.What could be heavy becomes unexpectedly buoyant, because Daniel does such a great job at balancing dark subject matter with genuine levity. There’s a surprising amount of laughter for a show so…real. The in-the-round staging keeps things intimate enough to feel special without tipping into discomfort. It’s heartfelt, it’s funny, and it’s the kind of theater experience that lingers long after you leave. (Daniel is completing his run on Sunday, May 24. Mariska Hargitay will be taking over Tuesday, May 26!)Joan MarcusFallen AngelsNow playing at the Todd Haimes Theatre through June 7Get your tickets hereKelli O’Hara and Rose Byrne in Fallen Angels isn’t just great casting—it’s a full-blown comedy event. This revival is fully committed to the bit, with both women diving headfirst into Noël Coward’s chaos with impeccable timing and just the right amount of tipsy abandon. Let’s take a second to talk about Rose, because she is doing something extra special here. Known for her screen work, she steps onto the Broadway stage like she has something to prove—and then proves it. Her physical comedy is loose, fearless, and wildly precise, turning every stagger, sip, and side-eye into a moment. She doesn’t just keep up with Kelli (a certified stage legend, mind you)—she meets her punch for punch. And that’s where things get interesting.Both Rose and Kelli are rightfully in the conversation for Best Actress in a Play at the Tonys this year, and my real fear? Vote-splitting. Because when you’ve got two leads this evenly matched—this locked in—it’s easy for voters to divide their loyalty and accidentally hand the win to someone else entirely, which, frankly, would be a loss. Rose is delivering a performance that’s not just impressive; it’s a full-on arrival. Pair that with Kelli’s signature precision and you’ve got a duo operating at the top of their game. The show is a blast, yes, but these performances? They’re the real reason to go.Emilio MadridThe Fear of 13Now playing at the James Earl Jones Theatre through July 12Get your tickets hereAdrien Brody in The Fear of 13 is the kind of performance that makes you forget you’re watching a play at all. It’s raw, magnetic, and deeply unsettling in the best way. Based on the true story of Nick Yarris—a man who spent 22 years on Pennsylvania’s death row for a murder he did not commit—Adrien doesn’t just portray Nick Yarris; he inhabits him. There’s an emotional volatility to his performance that keeps you locked in, even as the show unfolds at a deliberate, slow-burn pace. Under David Cromer’s direction, the stripped-down staging and moody lighting create this almost dreamlike tension—like you’re sitting inside someone else’s memory, unable to look away. Tessa Thompson brings a quiet, grounding presence as Jacki, adding just enough softness to balance the intensity without ever dulling it.Despite being backed by the very flashy Kim Kardashian (who is making her Broadway producing debut with this show), this isn’t a flashy production, but it doesn’t need to be. It’s intimate, heavy, and surprisingly threaded with moments of humor that catch you off guard. Some critics have called it slow, but I think that glosses over its emotional depth. I’m calling it a must-see for anyone who likes it when good theater lingers.Matthew MurphyThe Lost BoysNow playing at the Palace Theatre (open-ended)Get your tickets hereLooking for subtlety? Keep it moving. The Lost Boys musical is here to do one thing, and that’s blow the roof off the theater! Honestly? Mission accomplished. This rock-fueled adaptation of the cult classic 1987 film leans all the way into spectacle, with some of the most jaw-dropping production design on Broadway right now. (It’s up there with Stranger Things: The First Shadow!) I’m talking aerial wirework, seamless set transitions, and lighting that makes the whole thing feel like a neon-soaked nightmare.The vibe is sexy, high-energy vampire fantasy with a cast that clearly understands the assignment. It plays like a blockbuster event more than a traditional musical, which makes it a hit for audiences who want a night out that feels big. Could it be gayer? Yes. (It really should be a lot gayer.…) But I had a good time. And with 12 nominations, I clearly wasn’t alone. My note for standout performance goes to Shoshanna Bean as Lucy Emerson, who is my pick for Best Performance by an Actress in a Featured Role in a Musical.Matthew MurphyRagtimeNow playing at the Vivian Beaumont Theatre through August 2Get your tickets hereIf you’re looking for that one “serious” revival this season, make it Ragtime. This Lincoln Center production is the real deal—sweeping, emotional, and true to the source material in a way the other shows up for Best Revival of a Musical decided to abandon (and rightfully so, might I add). Directed by Lear deBessonet with a surprisingly restrained hand (read: no overstuffed spectacle, just pure storytelling), the show lets its performances do the heavy lifting—and wow, do they deliver. Joshua Henry as Coalhouse Walker, Jr. is giving a performance that people will be talking about for years. It’s the kind of work that reminds you why awards exist in the first place. And he’s surrounded by a cast that refuses to let the energy dip for even a second.Caissie Levy brings warmth and quiet strength as Mother, Brandon Uranowitz is deeply compelling as Tateh, Nichelle Lewis is a heavenly Sarah (all of them nominated!), and together they create a world that feels both intimate and epic. The themes of justice and identity land with unsettling clarity in 2026, making this revival operate like a mirror. It’s breathtaking. And the kind of theater that leaves you sitting in your seat for a second longer than usual. Go. Just go.Joan MarcusThe Rocky Horror ShowNow playing at Studio 54 through November 29Get your tickets hereIf you’re looking for a quaint night out at the theater…this is not that show. The Rocky Horror Show at Studio 54 is back, and it is filthy and feral and having an excellent time. Director Sam Pinkleton (who won a Tony last year for his work directing Oh, Mary! by the genius Cole Escola) leans all the way into the crass script, delivering a revival that is gloriously weird.I admittedly had some trouble getting on board with certain cast members, but as soon as Luke Evans struts in as Dr. Frank-N-Furter with vocals that absolutely soar (like, arena-rock levels of confidence), I was able to lock in. Stephanie Hsu turns Janet into a full-on comedic and sexual awakening you can’t look away from—“Touch-a, Touch-a, Touch Me” is a moment. And then there’s Rachel Dratch as the Narrator, who deadpans her way through the madness with the kind of timing that makes every interruption land like a punchline.The whole thing plays like a night at a club you didn’t know existed but were happy to stumble into. It’s loud, it’s raunchy, and as horny as it should be. It’s still figuring out how much audience participation to embrace, but that unpredictability was part of the fun.Matthew Murphy and Evan ZimmermanSchmigadoon!Now playing at the Nederlander Theatre through January 3, 2027Get your tickets hereIf you’re a true musical theater person, Schmigadoon! is ready to be your entire personality for the next few months (or years). This show is a full-blown, candy-colored dopamine hit packaged as a giddy, joke-filled love letter to Golden Age musicals. Equal parts nostalgic and fresh (hard to do!), the sets look like a literal pop-up book come to life, the choreography is dialed up to 11, and the ensemble is impeccably cast across the board. It’s big, it’s bright, it’s deeply unserious in the most serious-about-craft way.McKenzie Kurtz is the standout, and I have no idea how she was overlooked for a nomination. Her timing, vocals, and sheer commitment to every bit was giving scene-stealer at every turn. Alex Brightman plays the perfect audience surrogate, grounding the chaos just enough while still getting in on the fun. (Although I was disappointed at how underutilized his delicious vocals were. Give my man an opportunity to belt!) The jokes land, the numbers hit, and the whole thing moves with a kind of joyful momentum that’s hard to resist. If you love musicals, this is a must. If you’re not sure about musicals, this might be the one that converts you.Evan ZimmermanTitaníqueNow playing at the St. James Theatre through September 20Get your tickets hereTitaníque is still that girl. Somehow funnier and even more unhinged on Broadway, this Celine Dion fever dream of a parody remains one of the most entertaining nights you can have in a theater—full stop. And I say that as someone who saw it nine times Off-Broadway. (Yes, nine.) The chaos translates, the vocals still absolutely rip, and the show’s rapid-fire pop culture humor hits just as hard (if not harder) in a bigger house that remains fully hyped up from start to finish. It’s camp, it’s committed, and it knows exactly what it is.But let’s talk about Marla Mindelle, because her comedic genius is the engine behind the whole thing. Her Celine is not just an impression—it’s a full-body, fourth-wall-breaking, perfectly unhinged master class in comedy. The timing? Surgical. The improvisation? Effortless. The ability to swing from absurd to belting her face off without losing the joke? Honestly unfair. She leads the show, yes, but she also conducts it, like a deranged, diva ringmaster. Pair that with a cast delivering powerhouse vocals and matching her chaos beat for beat, and you’ve got a show that earns every scream-laugh it gets. If you missed it downtown, correct that immediately. If you’ve already seen it? You already know the assignment. (Go again.)Matthew MurphyTwo Strangers (Carry a Cake Across New York) Now playing at the Longacre Theatre (open-ended)Get your tickets hereTwo Strangers (Carry a Cake Across New York) is the kind of show that sneaks up on you. I went in with zero expectations and walked out a full-blown fan. I’ve told everyone I know to go. What starts as a charming, very British rom-com musical quickly reveals itself to be one of the most genuinely lovable nights on Broadway right now. Sam Tutty and Christiani Pitts (both nominated!) have the kind of chemistry that makes you lean forward in your seat and blush. They’re funny, awkward, flirty, vulnerable, and completely believable together. Sam takes the stage with this wide-eyed sincerity that makes every joke land even harder, while Christiani brings warmth and sharpness that keeps the whole thing grounded whenever it threatens to float away on pure charm.The staging is clever without screaming “look how clever we are,” using suitcase-inspired set pieces and fast-moving transitions to keep the story buoyant and constantly in motion. The music is catchy in the way you want a musical to be. Each song has an element of that “you’ll be humming this on the train home” kind of charm. What really makes the show work, though, is how deftly it balances rom-com tropes with something deeper. Questions about family, loneliness, and the terrifying vulnerability of letting someone see the real you are on full display. Consider this the feel-good musical of the season.
