Big names took over Broadway this year, but did any of their shows make our best of the year list? The 10 best Broadway shows of 2025 (and 3 worst) Big names took over Broadway this year, but did any of their shows make our best of the year list? December 2, 2025 10:00 a.m. ET Leave a Comment :maxbytes(150000):stripicc()/BestWorstTheaterShows2025f114d64caed94060b14fce962dd8fb46.jpg) Jonathan Groff in 'Just inTime'; Nichelle Lewis and Joshua Henry in 'Ragtime'; Sadie Sink in 'John Proctor is the Villain'; Kara Young in 'Purpose'. Credit: Matthew Murphy; Julieta Cervantes; Marc J.

Big names took over Broadway this year, but did any of their shows make our best of the year list?

The 10 best Broadway shows of 2025 (and 3 worst)

Big names took over Broadway this year, but did any of their shows make our best of the year list?

December 2, 2025 10:00 a.m. ET

Leave a Comment

Jonathan Groff in 'Just inTime'; Nichelle Lewis and Joshua Henry in 'Ragtime'; Sadie Sink in 'John Proctor is the Villain'; Kara Young in 'Purpose'. Credit:

Matthew Murphy; Julieta Cervantes; Marc J. Franklin

It was a year of huge stars making their way to the Broadway stage. George Clooney! Keanu Reeves! Denzel Washington and Jake Gyllenhaal! Bob Odenkirk and Kieran Culkin!

Yet you tellingly will find none of those names on our best of Broadway list for 2025. Instead, our best of the year collection features a far less starry (yet no less talented) collection of names and voices that moved and transported us — whether to the brink of tense race and immigrant relations in early-20th century New York, or to the inner workings of an absolutely audacious World War II British espionage gambit, or to the revolutionary seeds of female empowerment sprouting in a 1970s Ohio rec center, to one night in 1980s Bangkok, or even *back* to the brink of tense race and immigrant relations… this time in late-20th century Los Angeles. Here are our picks for the best and worst Broadway shows of 2025, as chosen by members of EW's theater bureau.

The 10 best Broadway shows of 2025

10. Chess

Bryce Pinkham in 'Chess'.

Many a musical theater fanatic let out a gay gasp when it was announced that a *Chess* revival was headed to Broadway. The news on its own would have been reason enough for celebration — particularly given that its songwriters, ABBA's Benny Andersson and Björn Ulvaeus, have only grown in popularity among younger fans since the success of *Mamma Mia!* — but then factor in the impressive lead cast of soaring vocalists: Aaron Tveit, Nicholas Christopher, and Lea Michele. The talent bench was so deep that many early attendees didn't even know *A Gentleman's Guide to Love and Murder* Tony nominee Bryce Pinkham was in the cast. Pinkham's narrator, a new character, steals the show (not an easy task) and is a literal personification of everything this new production improves upon from the version that ran only two months in 1988. A new book by Danny Strong provides context to the Cold War chess tournament story that previously left audiences entertained but confused, and it may just get Pinkham a second Tony nom. (Side note: There's a moment of stage magic during "One Night in Bangkok" that you won't get out of your head for weeks.) *—Patrick Gomez*

*Read our full review* here.

9. Liberation

Kristolyn Lloyd as Celeste, Irene Sofia Lucio as Isidora, Betsy Aidem as Margie and Audrey Corsa as Dora in 'Liberation' on Broadway.

Is it possible to better understand our late loved ones through the stories they left behind? That's the question at the heart of Bess Wohl's *Liberation*, a moving memory play that sees young mom Lizzie (Susannah Flood) attempt to recontextualize her own mom's life and choices through the lens of the women's liberation group that she founded in the smelly basement of an Ohio rec center in the 1970s. As equally charming as it is painfully relevant, *Liberation* challenges theatergoers to reflect on the sacrifices of the women who came before them, the power of sisterhood, and our present-day political perils and how we plan to address them moving forward. And it does it all with endless wit, fiery rage, and staggering moments of heartbreakingly genuine vulnerability along the way. *—Emlyn Travis*

*Read our full review* here.

8. Just in Time

Jonathan Groff in 'Just in Time'.

Matthew Murphy and Evan Zimmerman

There's a damn good reason that people have spent half the year flocking to the Circle in the Square Theater: Jonathan Groff is absolutely irresistible in *Just in Time*. The Broadway darling has delighted crowds in shows from *Hamilton* to *Spring Awakening*, but this time around he's taking centerstage… and dancing through the aisles, up the stairs, and on the tables. The show is ostensibly a by-the-numbers musical biopic of '60s singing sensation Bobby Darin, but Groff's performance magnificently elevates the material. He's certainly bolstered by the immersive atmosphere; the theater has been transformed to emulate a '50s night club and Groff obliges, crooning through standards not unlike the famed singer he embodies. The story is simple enough, charting Bobby Darin's rise to fame and the twisty, shocking moments that make his life so fascinating to look back on. But the real magic of *Just in Time* is its ruminations on the power of music, and its dedication to delivering a show-stopping performance, worthy of the man it honors. *—Shania Russell*

*Read our full review* here.

7. Stranger Things: The First Shadow

Alison Jaye (Joyce Maldonado), Juan Carlos (Bob Newby) and Burke Swanson (James Hopper, Jr.) in 'Stranger Things: The First Shadow'.

Matthew Murphy and Evan Zimmerman

While the hunt for Vecna (Jamie Campbell Bower) may have just begun in the final season of* Stranger Things*, those who have seen the Netflix series' stunning Broadway prequel *The First Shadow* already have an inkling of how Eleven (Millie Bobby Brown) and her friends can vanquish the villain once and for all. Set two decades earlier, the Kate Trefry-penned play feels like being yanked through your television screen and into the show as it chronicles superpowered outsider Henry Creel's (the superb Louis McCartney) attempts to survive high school, as well as the sinister voices inside his head. His fight against the lure of the Upside Down is bolstered by strong performances from its talented cast, mind-bending illusions, and some serious jump scares that will keep you on the edge of your seat. Are you still watching? Yes, we are! *—ET*

*Read our full review* here.

6. Real Women Have Curves

Tatianna Córdoba and Aline Mayagoitia in 'Real Women Have Curves'.

Julieta Cervantes

It's hard to imagine a musical more timely for 2025 than this piece — based on Josefina López's 1990 play and 2002 film of the same name — about Ana (Tatiana Córdoba), a teenage Latina struggling to chase her dreams while protecting her undocumented family. Justina Machado garnered a well-deserved supporting actress Tony nomination for her work as Ana's mom, but this vibrant and devastating story was a true ensemble piece, mainly populated by the group of textile factory workers working on deadline as their community is terrorized by immigration enforcement raids. Though their pain is powerful, so is their hope — that mix of emotions most beautifully encapsulated on "If I Were a Bird," featuring Aline Mayagoitia. Sadly, *Real Women Have Curves* barely got 100 performances before it closed, but thankfully Joy Huerta and Benjamin Velez's Tony-nominated score lives on through the OBC recording. *—PG*

*Read our full review* here.

5. Two Strangers Carry a Cake (Across New York)

Sam Tutty and Christiani Pitts in 'Two Strangers (Carry a Cake Across New York)'.

Romantic comedies are usually beloved for their familiarity as opposed to originality — comfort food for the heart, if not the head. To that end, nothing in the musical *Two Strangers (Carry a Cake Across New York)* reinvents the genre, as it tells the tale of two opposites from opposite ends of the Atlantic Ocean making an unexpected love connection. But damn if it doesn't make for a fun, engaging ride. Sam Tutty is a revelation as Energizer Bunny Dougal, who arrives from England to attend the wedding of the father he has never met. His joyous ode to New York (titled, yes, "New York") — a city he only knows from movies like *Home Alone 2* — is a strong contender for Broadway's best new song of the year. It's absolutely infectious. While Tutty oozes irresistible charm as Dougal, Christiani Pitts brings depth as the far more world-weary Robin, who has her own outsider status in connection to the upcoming wedding. You can probably guess where it's all heading, but will enjoy every step of the way in getting there. *—Dalton Ross*

*Read our full review* here.

4. Ragtime

Joshua Henry as Coalhouse Walker, Jr, Caissie Levy as Mother, and Brandon Uranowitz as Tateh in 'Ragtime' on Broadway.

The tears start flowing in the *Ragtime* audience even before the opening number concludes. A celebration and condemnation of the United States at the turn of the last century (and, frankly, today), this revival of the 1998 Broadway hit is a sweeping ensemble piece led by the formidable Joshua Henry, Caissie Levy, and Brandon Uranowitz. The historical fiction intertwines real Ragtime-era personalities (Harry Houdini, Evelyn Nesbit, Booker T. Washington) into the lives of a Black musician (Tony winner Henry) starting a family, an affluent white mother (Olivier nominee Levy) adjusting to running her household while her husband is off on an Arctic adventure, and a Jewish immigrant (Uranowitz) struggling to provide his daughter the American Dream. The rotating stage at the Vivian Beaumont Theatre provides a bit of spectacle to the epic production, but Stephen Flaherty and Lynn Ahrens' winning score is really all the stellar cast needs to earn the multiple standing ovations they receive each performance. *—PG*

*Read our full review* here.

3. John Proctor is the Villain

Sadie Sink and Amalia Yoo in 'John Proctor is the Villain'.

Julieta Cervantes

Arthur Miller's *The Crucible* received a modern-day update courtesy of a group of badass, Lorde-loving highschoolers in Kimberly Belflower's unforgettable *John Proctor is the Villain*. A hilarious and deeply moving examination of girlhood, feminism, and the #MeToo movement, the knockout production followed a group of female friends who are studying Miller's classic — which, in part, sees John Proctor have an affair with orphaned teen Abigail — just as a series of sexual assault scandals rock their rural Georgia community. Packed with wonderful one-liners, heartbreaking twists, and unexpected pop culture references, *John Proctor*'s stellar cast — led by Sadie Sink — expertly showcased the uplifting power of female friendship. And, as it turns out, we're not the only ones giving it the green light, either — Universal Pictures picked up the play's film rights this year, too. *—ET*

*Read our full review* here.

2. Purpose

LaTanya Richardson Jackson (Claudine), Jon Michael Hill (Naz), Glenn Davis (Junior), and Alana Arenas (Morgan) in 'Purpose'.

Marc J Franklin

How amazing were the performances in *Purpose*? Five of the six actors were nominated for Tonys. And the one person who was *not* nominated, Alana Arenas, actually gave the show's best performance of all, IMHO, as the in-law who only wants out. But such success is what happens when you put superior material in the hands of superior actors, leading to the Pulitzer Prize for Drama, as well as the Tony awards for Best Play and Best Featured Actress (Kara Young). Branden Jacobs-Jenkins' searing portrait of a famous Black family on the brink brought both laughs and gasps — especially around the dinner table — and managed to somehow do so without causing tonal whiplash from the comedic and dramatic back and forth. Particularly impressive was the way Jacobs-Jenkins' script and Phylicia Rashad's stellar direction gave every person on the stage their big moment without making it feel like an inevitable checklist of giving every person on the stage their big moment. The action (and dysfunction) just naturally flowed into a rich, organic portrait of a very flawed family. *—DR*

1. Operation Mincemeat

Zoë Roberts, Jak Malone, Natasha Hodgson, David Cumming, and Claire-Marie Hall in 'Operation Mincemeat'.

Julieta Cervantes

*Operation Mincemeat* is an oddball of a musical. It takes an absurd (but very real) World War II factoid, spins it into a farcical drama, adds music, and invites you to watch. And the result is absolutely dazzling. With a ragtag cast of just five players (who somehow play over 80 roles between them), the show calls upon everything from *Monty Python* to *Hamilton* to Beyoncé to tell the tale of a ludicrous 1943 espionage plot. The result is a laugh-out-loud delight, with endless charm oozing off the stars, the characters, the songs, the set design, etc…. And even with all of its flippant humor, *Mincemeat* manages to land emotional gut punches left and right — walloping us with Jak Malone's Hester, and eliciting gasps with its biting commentary on the rise of fascism (relevant!). Quick on its feet and generous with its humor, *Mincemeat* is a breath of fresh air offering complex storytelling, masterful musical sequences, thoughtful themes, and an absolutely bonkers plot. There's nothing else like it on Broadway. *—SR*

*Read our full review* here.

The 3 worst Broadway shows of 2025

The Queen of Versailles

Kristin Chenoweth in 'The Queen of Versailles'.

Julieta Cervantes

I still have no idea what this show is supposed to be, and I don't think the people that brought it to Broadway do either. Is it a campy comedic sendup? A surface level social commentary on income inequality? A dark family drama? A French historical farce? In trying to be all of these things, *The Queen of Versailles* ends up being almost as big a mess as all that construction on the stage signaling the me-first dreams of impossible-to-root-for protagonist Jackie Siegel and her mission to build the biggest single-family residence in the country. Perhaps even more bewildering than the muddled story is that a repairing of Kristin Chenoweth and her *Wicked* composer Stephen Schwartz could produce such underwhelming musical results. We declare this entire show a teardown. *—DR*

*Read our full review* here.

Idina Menzel stars in 'Redwood' on Broadway.

It's been a tough year for the *Wicked* gals. It might be a little hard to remember, but months before Kristin Chenoweth made headlines for her own disappointing return to Broadway, Idina Menzel climbed a tree and sang some songs. On one thing, we can all agree: Menzel sounds stunning, whether she's on the ground, in a tree, or in an icy castle just outside of Arendelle. But *Redwood* was not the best use of the Tony-winner's talents. A show about overcoming grief and escaping to a place of beauty during a period of suffering, *Redwood* included at least three sequences of Menzel swinging around a tree trunk while belting a sub-par ballad that was indistinguishable from the ones that came before. It was borderline frightening when the show opened with "Drive," a jagged peek into her character's mind that was so uneven it seemed Menzel was struggling to keep up with the song. The show did manage to find its footing, but even when it was on track, *Redwood* didn't have much to offer. The songs were forgettable, the story predictable, and the main character pretty grating. *Redwood*'s biggest offense is wasting its star power. But hey, at least audiences got to hear Idina sing. *—SR*

*Read our full review* here.

The Last Five Years

Adrienne Warren and Nick Jonas in 'The Last Five Years' on Broadway.

Any romantic musical two-hander is going to rely on the chemistry of its stars. When it works, as with *Two Strangers (Carry a Cake Across New York) *from our best list, it is magical. When it doesn't, you get *The Last Five Years*. Lord knows the glorious Adrienne Warren tried, but there was simply no chemistry between her and woefully miscast on-stage partner Nick Jonas. Of course, the structure of one person (Jonas' Jamie) telling the story of the doomed relationship chronologically from beginning to end, and the other (Warren's Cathy) telling it in reverse did the actors no favors. Nor did the often confusing direction that had the characters occasionally interacting, leading audiences to wonder whose timeline they were even following. In the end, you wished it were neither. *—DR*

*Read our full review* here.

***Get your daily dose of entertainment news, celebrity updates, and what to watch with our EW Dispatch newsletter.***

- Theater & The Arts

- Theater Industry

- Theater Reviews & Recommendations

Original Article on Source

Source: "EW Theater"

Read More

---

Source: Theater

Published: December 02, 2025 at 12:00PM on Source: PRIME TIME

#ShowBiz#Sports#Celebrities#Lifestyle