Dear Theater Fans, Happy April! Are you ready for the annual Broadway sprint? Or maybe it’s more like a marathon? The 2025-26 season comes to a close … at the end of this month. But first there are 13 openings on the horizon. I’m curious about all of them, and especially looking forward to “Cats: The Jellicle Ball,” “Fallen Angels,” “The Rocky Horror Show” and “Joe Turner’s Come and Gone.” The lineup is a real smorgasbord, so next week our new chief theater critic, Helen Shaw, will share her thoughts on the shows that have opened so far and what we might expect from the ones coming later this month. Of course, there’s also plenty brewing Off Broadway, as Laura Collins-Hughes notes in this month’s roundup of shows elsewhere in the city, including Jennifer Tilly and Daphne Rubin-Vega in “The Adding Machine,” Jane Fonda in the one-night eco-musical “Dear Everything” and Cecily Strong and Corey Stoll in “What Happened Was …” And though the Encores! revival of “The Wild Party” has come to an end, Maya Phillips’s close read of the Joseph Moncure March poem that inspired the production helps to show how a daring work of verse from the 1920s can still seduce readers today. Also this week: “Dog Day Afternoon” was the big Broadway opening. Jason Zinoman reviewed this stage adaptation of Sidney Lumet’s 1975 film, and Melena Ryzik talked to the show’s stars Jon Bernthal and Ebon Moss-Bachrach about the high-stakes production. Joshua Barone went behind the scenes of Joe Mantello’s new revival of “Death of a Salesman,” which stars Nathan Lane and Laurie Metcalf and was inspired by an early draft of Arthur Miller’s script. (It’s pretty cool to see Miller’s handwritten notes, especially an editing mark to reinstate an iconic line.) On March 23, 2011, “The Book of Mormon” opened on Broadway. As the musical satire celebrates its 15th anniversary, Jesse Green talked to the show’s creators about whether such a taboo-busting, gasp-inducing musical comedy could be produced today. Speaking of the theatrical archive, Penelope Green memorialized Agosto Machado in an obituary that captures images of his striking shrines, made from the ephemera of a life lived downtown and collected from friends like Candy Darling, Marsha P. Johnson, Jack Smith, Holly Woodlawn and other Warhol superstars. Last, Michael Paulson and Alex Marshall reported from New York City and London on why West End theater tickets (even for in-demand productions like “Paddington”) are regularly less expensive than those on Broadway, even for the same shows. They break it all down further in this video, which may leave you hankering for a marmalade sandwich (or, depending on the kind of day you’ve had, a marmalade martini). Please reach out to me at theaterfeedback@nytimes.com with suggestions for articles or to offer your thoughts about our coverage. And urge your friends to subscribe to this newsletter. Have a wonderful week, Like this email?Forward it to your friends, and let them know they can sign up here.
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