Love stories, hot musicals, Tony winners: Here are all the Broadway hits coming to Miami
Some of Broadway's hottest shows are coming to Miami — so mark your calendar stat.
The Adrienne Arsht Center for the Performing Arts just announced its 2025-2026 season, and the lineup is a doozy, consisting of six stellar productions from the Great White Way. You've got a nice mix of old school faves mixed with movie adaptations and Tony winners, the majority South Florida and Miami premieres.
The season begins in October with a high energy revival — 'The Wiz,' a retelling of L. Frank Baum's children's fave 'The Wonderful Wizard of Oz' with an R&B twist. Gen Xers and older will recall the 1978 flick of the same name, with an unforgettable Michael Jackson as The Scarecrow. Dorothy's contemporary journey is set to a score packed with soul, gospel, rock and funk.
In December, audiences will be treated to the ultimate whodunit, 'Clue,' inspired by the classic Hasbro board game, and set at a creepy mansion in the middle of nowhere. Was it Mrs. Peacock in the study with the knife? Or Colonel Mustard in the library with the wrench?
If you're still single around the Christmas holidays, think about treating yourself to '& Juliet,' created by David West Read of 'Schitt's Creek' and set to breakup anthems from such pop stars as Britney Spears and Alanis Morrissette. The oh so fun musical flips the script on the greatest love story ever told, asking, What would happen if Juliet didn't tragically end it all over Romeo?
Baz Luhrmann's revolutionary 2001 film about a performer at the famed Parisian nightclub who falls in love with a penniless composer comes to life onstage in March 2026. You'll need a scorecard to keep up with all the snippets of familiar tunes, e.g. 'Lady Marmalade,' 'Shut Up and Dance' and 'Your Song.' The New York Times called this so-called jukebox musical both 'euphoric' and 'gasp-inducing.'
Based on the bestselling novel that inspired the 2004 tearjerker, 'The Notebook,' coming in May 2026, tells the story of Allie and Noah, whose passion endures for decades, despite obstacles. Pro tip: Bring a hankie to this hot ticket production that Entertainment Weekly said was 'full of butterfly inducing highs and beautiful songs.'
Ye of little faith, the 'Book of Mormon' will be back in June 2026. The nine-time Tony Award winner follows the adventures of a mismatched pair of missionaries sent halfway across the world to spread the Good Word. NPR called this NSFW smash hit, written by the 'South Park' guys, 'blasphemous, hilarious and oddly endearing.'
Broadway in Miami 2025-2026 Season
Oct. 7-12: 'The Wiz'
Dec. 2-7, 2025: 'Clue'
Dec. 30-Jan. 4, 2026: '& Juliet'
March 17-22, 2026: 'Moulin Rouge!'
May 5-10, 2026: 'The Notebook'
June 9-14, 2026: 'The Book of Mormon'
Season ticket packages are on sale, with prices ranging from $252 to $932 for all six shows. Tickets are available online or by calling the Arsht Center box office at 305-949-6722 or the season ticket holder hotline at 800-939-8587.
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Yahoo
5 hours ago
- Yahoo
‘Incredibly sad and shocking to us': ‘Andor' creator Tony Gilroy on real-world politics mirroring the prescient ‘Star Wars' series
Andor creator Tony Gilroy is a firm believer that rules can be liberating, at least when it comes to framing a packed two-season series that serves as a prequel for Rogue One: A Star Wars Story. 'One of the reasons that the show is as precise and resonant and whole and thematic as it is, is that we know exactly where we're going. We knew exactly where we were gonna end up from the very beginning,' Gilroy said during a panel at the Television Academy's inaugural Televerse Festival in Los Angeles on Saturday. 'I find that liberating.' More from Gold Derby Bryan Cranston reveals the surprising inspiration behind his outlandish character on 'The Studio' Steve Martin reflects on a magical, full-circle 80th birthday: 'It's like going to work when you're 15 and coming home from work and you're 80' Gilroy was joined onstage by his brothers, Dan Gilroy and John Gilroy, who served as writer and editor on the series, respectively. As the Disney+ series has come to a close, landing 14 Emmy nominations this season — despite controversial snubs for stars Diego Luna and Genevieve O'Reilly — the Gilroy brothers dove deeply into pivotal moments from Season 2, including the tragic Ghorman Massacre, the backstory of Luthen Rael (Stellan Skarsgård), and the sacrifice Bix Caleen (Adria Arjona) makes for the resistance while hiding a secret from Cassian Andor (Luna), the father of her unborn child. Tony said that it was a "legit impulse" to have the final moments of the show reveal that Bix is pregnant, because he didn't want the series 'just going off into the bummer of [Andor] dying' in Rogue One. 'Let's be really honest, it doesn't hurt me when I can tell [Walt Disney CEO] Bob Iger there's a baby,' Gilroy explained. 'And he can name it, and he can sex it, and they can do whatever they want with it.' However, Gilroy admitted that convincing the Andor team that Bix's choice to leave Cassian was necessary proved especially difficult. 'Her willingness to leave him for the greater good was an issue that a lot of people had questions about all the way through,' Tony said. ''Would it work?' and 'will it be delivered?' and 'are you going to be able to get us there?' All this stuff. It really helps for anybody who has any doubts. You get to the end, you go, 'Oh my God, she was pregnant.'' That moment of hope is preceded by several tragedies throughout the season, which was narratively divided into three-episode arcs, allowing the show to jump ahead in time. Perhaps the most notable was the Ghorman Massacre, in which the Empire unleashes extreme violence on peaceful protestors who live on the planet Ghorman — an incident that catalyzes the Rebellion. Giving editing credit to his brother John, Dan added that earlier episodes were leading up to the Ghorman Massacre. 'There's so many swirling plot lines,' Dan said. 'This is just a constant building of suspense and tension and energy.' While the Ghorman sequence was 'always on the calendar,' according to Tony, he and his team ultimately had to condense five seasons of storytelling into two. 'We were deep in shooting the first season, and I was trying to come up with a second season, and Diego and I, literally, we're sitting in the backyard of a little hotel in Scotland having a drink and we're like, 'What are we f--king going to do? We can't do five years of this show. I mean, it's just impossible,' Tony explained. '[Diego would] be ancient.' Not only did it take 22 months to produce a single season, but Tony was also concerned about the potential cost and how Disney would respond. So when they landed on the timeskips, he said they felt 'lucky.' 'We were like, 'Wow,' and Disney was like, 'OK, yeah, because we don't want to pay for like 90 seasons of this,'' Tony added. However, working on the story as a series versus a film gave the team more breathing room, with both storytelling and edits. 'Editing is kind of like finding the truth,' John said, 'and it just gave you that couple extra seconds per scene that you're allowed to find the truth.' That truth extended to the audience eventually finding out Luthen's backstory and his connection to Rebellion partner Kleya Marki (Elizabeth Dulao). 'My original reason for wanting a standalone was because I didn't want anybody, after the show was over, to be defining that relationship,' Tony said, also noting his intention to hold out on the explanation for as long as possible. What the Andor team didn't intend was for the show to end up eerily similar to real-world events. 'Mon [Mothma]'s speech was so inordinately, powerfully important to the show. And to me personally,' Dan said about writing her speech, which followed the Ghorman massacre. 'Throughout Andor, the first two seasons covering the five years, what you're really watching is the Senate's descent into total Emperor control,' Dan said. 'So to sit down and go, that's the assignment. I'm going to write an assignment where I'm talking to these two audiences while events in the world are mirroring what this is.' 'I was getting choked up writing it because these are massively important elements in our lives, particularly right now,' he added. As the series continued, the resemblance to reality, Tony said, became uncanny. 'Things were fomenting as we're going, but the detail with which the world has just grafted onto our show and started replicating what we were doing is incredibly sad and shocking to us,' he said, recalling how U.S. Sen. Alex Padilla from California was forcibly removed from a Department of Homeland Security press conference the week Andor was showing the Ghorman senator being arrested in the Galactic Senate. 'Our internal chat group is like, 'What the f--k?'' he said. While Tony was well prepared to write a series about authoritarianism and rebellion, what he said he's especially proud of was the ability for the show to resonate even beyond the screen. 'I don't think I've ever convinced anybody in my family or at a dinner table to change their opinion about anything, ever,' he said. 'I feel happy or I feel affirmed that there are people out there that the show seems to have affected in some way that makes them think about courage.' Best of Gold Derby 'Australian Survivor vs. The World' premiere date and cast photos: 'King' George Mladenov, Cirie Fields, Parvati Shallow … 'Five new life forms from distant planets': Everything to know about 'Alien: Earth' as new trailer drops Everything to know about 'The Pitt' Season 2, including the departure of Tracy Ifeachor's Dr. Collins Click here to read the full article. Solve the daily Crossword
San Francisco Chronicle
5 hours ago
- San Francisco Chronicle
‘Can you hear me?': Diana Ross overcomes mic drama to thrill record-breaking crowd at Stern Grove finale
Diana Ross may be 81, but on the last day of the 88th season of San Francisco's Stern Grove Festival she told her 25,000 fans who packed the park, 'I'm feeling like I'm 16 years old!' And for nearly two hours, the legendary singer exuded that youthful spirit — even if she wasn't entirely happy about her sound. Miss Ross showed veteran grit on Sunday, Aug. 17, as she battled with a few technical issues on the warm afternoon. 'Can you hear me? Because I can't hear me,' she asked the crowd, which flowed up the eucalyptus filled hillside. After finishing 'Ease on Down the Road' — from 1978's 'The Wiz,' her third film in which she starred with Michael Jackson and Lena Horne — she swapped out her mic, though not before pretending as if she might throw it off stage. Ross even restarted the number 'so everyone could hear me.' At another point, she tested two mics at once, joking to her sound engineer, 'I want to sing with both of these microphones,' before polling the audience to choose which one worked better. The sound saga continued until the end of her performance, when a technician ran onstage to adjust her monitor before her rendition of Gloria Gaynor's 'I Will Survive.' Ross laughed, but didn't mince words: 'You are an amazing, amazing audience. My sound group is the pits.' She then broke into an aside with her crew — 'Oh, so it was the battery all that time?' after a crewmember replaced the battery in her monitor — before turning back to the crowd, her arms outstretched, to flash her signature smile and shrug it off. 'It tickles me, because it's like this AI stuff, right? We've see these cars running around with no drivers. I can't sing without this little pack here; ruins my dresses,' she said. 'But we're having a good time, right?' The audience — from the sequined superfans to the Motown devotees who camped out at dawn — cheered in response. Ross represented the pinnacle of the annual free festival. Executive Director Bob Fiedler called her 'our biggest star ever' and noted she drew the longest lines — 18 blocks down Sloat Boulevard — he had seen in his nine years at the helm. The demand for access into Stern Grove to see Miss Ross was unprecedented: 170,000 people entered the ticket lottery for just 15,000 spots. Fewer than one in 10 applicants got tickets. 'It was like a Willie Wonka Golden Ticket to win tickets to this show,' said Fiedler. Even after 1,000 tickets were released on a first come, first serve on Friday, Aug. 15, a few thousand were still left empty handed. 'This is the culmination of growth in recent years,' said Fiedler of the record-breaking crowd, which even exceeded the 12,500 who showed up just the day before for Bob Marley's sons — Demian and Stephen — for the first day of the two-part Big Picnic Weekend. 'Where other arts organizations have been challenged by the pandemic, we have thrived.' But it has not been easy. A broken water pipe that flooded the hillside, requiring a $25 million repair that took three years. Ross also put the organization to the test. Fiedler said the concert was four times the cost of any other summer act and twice the cost of the Marley Brothers, though he didn't offer any figures. 'Miss Ross is a performer of the caliber that is beyond what is usually required of the Stern Grove Festival,' Fiedler admitted. 'It is like moving up to the Major Leagues.' The booking of such a top talent was made possible by an exceptional year in festival fundraising, which was put over the top by an unnamed donor. (Emcee Liam Mayclem, in a glistening gold shirt and gold-plated shoes, announced early in the day that an unnamed donor — maybe the same one — had agreed to match whatever donations were raised in the crowd on Sunday to help with next year's festival.) While the day started out with the typical summer fog, the sun broke through intermittently as Ross ran through a medley of her biggest hits, starting with 'I'm Coming Out' to 'Baby Love,' 'Come See About Me' and 'Stop! In the Name of Love' from her days with The Supremes. It was a routine that she clearly could do in her sleep, and one South Bay fans caught just the night before at Mountain Winery in Saratoga. But that show ranged from $148 to $441, with some tickets reaching $1,188. Sunday's free concert, by comparison, was an unbeatable bargain. 'We're giving away this gift,' Fiedler said. 'There is no other organization giving away this value of gift.' For Romina Tiberia, among the lucky ones who won the lottery, it was 'a dream come true to see Diana Ross.' She arrived at Stern Grove with her friend Troy Markle, who said he had paid $300 to see Ross in Las Vegas pre-COVID. It was Markle's 63rd birthday, so the two San Franciscans said they queued up at 7 a.m. to get as close to greatness as they could. 'I've seen her many, many, many times since I was 17, and she's still incredible,' Markle declared after Ross's two-song encore, which appropriately ended with her 2021 track 'Thank You,' off her latest album of the same name. By then, Fiedler was already thinking ahead to 2026. 'We feel like we have the wind at our backs and are already talking about artists for the 2026 season,' said Fiedler. 'We're going to continue our trend of presenting arena-quality artists for free.'
Forbes
20 hours ago
- Forbes
Michael Jackson Charts A New Hit, A Decade And A Half After His Death
Michael Jackson's catalog is filled with songs that have stood the test of time and which countless millions of people know every word to. Tunes like 'I Want You Back,' 'Beat It,' 'Thriller' and 'Man in the Mirror,' among so many others, are still counted among the most successful pop and R&B tunes of all time. One Jackson classic is on the rise again in America. The decades-old cut even manages to reach one Billboard tally for the first time more than a decade after the singer's passing. 'Billie Jean' Debuts as a Streaming Smash 'Billie Jean' launches on the R&B/Hip-Hop Streaming Songs chart this week. The tune opens at No. 23 on the 25-spot ranking, which looks only at the most successful cuts on platforms like Spotify, Apple Music and others, and that Billboard classifies specifically as R&B, hip-hop or rap throughout the United States. Seven Career Hits for Michael Jackson Throughout his lifetime, and in the years following, Jackson has reached the R&B/Hip-Hop Streaming Songs ranking with seven different tracks, now including 'Billie Jean.' Only two of those tunes landed on the tally during Jackson's lifetime, according to Billboard, though technically streaming music didn't exist in the '90s when both 'They Don't Care About Us' and 'Why,' a collaboration with 3T, reached the roster. 'Thriller' Remains His Biggest Streaming Win Jackson's four other modern appearances on the tally have all brought him to the top 10. He's climbed highest with 'Thriller,' which peaked at No. 3 and has spent 12 frames on the roster, the most among all Jackson cuts. The late talent has also cracked the top 10 posthumously with 'Love Never Felt So Good' with Justin Timberlake, 'Slave to the Rhythm' and 'Don't Matter to Me,' fronted by Drake, as those cuts climbed to Nos. 5, 6 and 8, respectively. 'Billie Jean' Also Returns to Another Roster As 'Billie Jean' opens on the R&B/Hip-Hop Streaming Songs roster, the track returns to one other U.S.-based Billboard list, the R&B Streaming Songs chart. Jackson's tune reenters the list at No. 12. The famous composition can also be found on both the Billboard Global 200 and Billboard Global Excl. U.S., where 'Billie Jean' climbs to Nos. 87 and 98, respectively, after sitting inside the lower half of both 200-spot rosters just days ago. Thriller and 'Billie Jean' 'Billie Jean' was promoted as the second official single from Jackson's blockbuster album Thriller. The tune was pushed in early 1983, only a few months after Thriller arrived in full. 'Billie Jean' followed 'The Girl Is Mine' and preceded career-dominating smashes like 'Beat It,' 'Wanna Be Startin' Somethin'' and the title track.
