What’s Making Noise on New York Stages Right Now

There is always so much to see in New York City, and this season feels especially competitive, crowded and creatively alive. Very few people experience Broadway as thoroughly as ASU Gammage Executive Director Colleen Jennings-Roggensack. On a recent trip, she saw a wide range of productions, from sharp contemporary plays to large-scale musicals and boundary-pushing theatrical experiences, offering a snapshot of theater in New York right now.  

One of the clearest standouts was BECKY SHAW. Jennings-Roggensack describes the play as smart, biting and genuinely funny, with a cast of exceptional character actors. “The directing is brilliant,” said Jennings-Roggensack. The audience was filled with Broadway insiders, critics and theater leaders, yet the response was universal. People were laughing throughout the performance, fully engaged from beginning to end. “It’s one of those shows I would absolutely see again and again,” she says, noting that the combination of writing, performances and direction makes it one of the most satisfying plays of the season. 

In a completely different register, CATS: THE JELLICLE BALL left just as strong an impression. Jennings-Roggensack calls it the best party on Broadway. This reimagining of CATS transforms the original score and lyrics through the lens of ballroom culture, creating an immersive, high-energy experience where the audience becomes part of the show. Fans replace applause, performers bring bold personalities to the stage and the room pulses with excitement. For anyone who thinks they know CATS, this production offers a joyful and surprising reinvention. Her advice is simple: give yourself over to it. 

For those interested in where theater is headed next Jennings-Roggensack says go an experience AN ARK at The Shed. She calls it one of the most innovative theater experiences. This mixed-reality production blends technology and storytelling in a way that feels both intimate and expansive. Audience members remove their shoes, put on specialized glasses, and encounter virtual performances that appear just feet away, guiding them through reflections on life, relationships and time. Jennings-Roggensack notes that if you want to be on the forefront of innovation in theater, this is a show you must see. 

PUBLIC CHARGE, presented at The Public Theater, takes on a much larger canvas. Co-written by former U.S. Ambassador Julissa Reynoso, the play explores diplomacy, immigration, and American power on the global stage, drawing from real-world experience navigating international politics and humanitarian crises. Jennings-Roggensack found the work ambitious and timely, with moments that are deeply compelling. As a world premiere, it continues to evolve, but its intent and relevance are clear. 

Another highlight was GIANT, featuring a striking performance by John Lithgow as author Roald Dahl. The play confronts the disturbing realities behind a beloved children’s author, and the result is both unsettling and unforgettable. “John Lithgow gives the performance of a lifetime,” Jennings-Roggensack says, pointing to a final moment that is especially chilling and lingers long after the curtain falls. 

For audiences seeking pure entertainment, TITANIQUE delivers exactly what it promises. This over-the-top spoof embraces humor, camp, and spectacle, inviting audiences to laugh at the familiar story rather than take it seriously. Jennings-Roggensack describes it as simply fun, with standout performances and big voices throughout, including a scene-stealing turn by Tempe favorite Deborah Cox as the Unsinkable Molly Brown. 

One show she says you can’t sleep on is RAGTIME, which proves that a revival can still feel vital and urgent. Jennings-Roggensack calls it an amazing revival, praising the performances and emotional weight of the production. While audiences may remember iconic past interpretations, she notes that this staging stands firmly on its own, offering moments of beauty alongside moments that demand reflection. 

Taken together, these productions reflect a Broadway season that is anything but quiet. It is bold, crowded, and filled with work that challenges, entertains and reimagines what theater can be. As Arizona’s only Tony Award voter, Jennings-Roggensack sees it, this is a season worth paying attention to, with something compelling waiting for every kind of theatergoer.