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MUCH ADO to Broadway... and EVITA next? | the rumoured details about upcoming Broadway revivals
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There's a good chance that you already know everything I'm about to tell you, because at this point, all of this information is being treated in New York theater industry circles as kind of an open secret that everyone's just acknowledging. So even though it hasn't necessarily been announced or confirmed, I feel as though I can let you know. The headline news is Jamie Lloyd's brilliant production of William Shakespeare's Much Ado About Nothing is heading to Broadway. But which theatre will it be playing? And will Evita be next? Much for us to discuss, as always. But before we do, an introduction to me, if you happen to be meeting me for the very first time. Oh my God. Hey, welcome to my theatre themed YouTube channel. Or hello to those of you listening to this theatre news recap on podcast platforms. My name is Mickey Jo and I'm obsessed with all things theatre. I am a theatre critic, content creator and pundit here on social media and today. Today we have some Broadway news to discuss because late last week the Jamie Lloyd Company started teasing a very exciting announcement, a very hot pink announcement which, based on the usual color scheme of the majority of his productions, based on the Jamie Lloyd aesthetic, kind of singled out, which show we were going to be talking about. And true enough, it was his production of Much Ado About Nothing, which ran in very early 2025, technically just about as part of this year's Olivier Awards season. We will find out within the next week or so whether it get nominations at Theatre Royal Drury Lane starring Tom Hiddleston and Hayley Atwell. If you want to find out more about this production though, I will tell you a little bit about it later on. You can check out my full review wherever you are seeing or hearing this. And with this production that gets wolf whistles, that gets cheers, that gets so much freaking laughter, it feels like this is really Shakespeare having a similar kind of a reaction in 2025 to what it would have had in the very late 16th century. Some details have been announced about the show's upcoming Broadway run, though I have been hearing rumors, one of which is that it is going to be the Broadway precursor to a transfer of Jamie Lloyd and Fabian Eloise's production of Evita, Fabian being the rising star choreographer who has also worked with Jamie on Much Ado as well as the recent Tony Award winning revival of Sunset Boulevard. The enormous success of which is much of the reason why we are talking so eagerly about all of these other shows, why his work is being so and anticipated and so closely scrutinized. Although, don't assume just because you've seen previous Jamie Lloyd shows, even if you've seen a whole handful of them, that you know exactly what this production of Much Ado About Nothing is going to look like because it just might surprise you. Before I tell you more about the production though, let's talk about the Broadway transfer details which have already been announced. If you would like to share any of your thoughts and feelings. If you also saw the show here in London, feel free to do so in the comments section down below. If you have any insights or rumors that you would like to share, bring them to the conversation. Why not pull up a chair? Metaphorically speaking, there's there's no furniture in the comments section. And if you would like to stay up to date with everything that is happening in the theatre world, then make sure that you are subscribed right here on YouTube or following me on podcast platforms. In the meantime, let's talk about Much Ado heading to Broadway and whether Evita is next. So here is the press release about the Much Ado About Nothing Broadway transfer, and it is certainly Much Ado about something. But easiest joke, easiest joke. Don't, don't laugh at that. I deserve nothing. The headline is Jamie Lloyd announces Tom Hiddleston and Hayley Atwell to bring their critically adored performances. And that they were often when they say critically acclaimed or adored, I go, well, was it? But no, this. This one really was Their performances in William Shakespeare's Much Ado About Nothing to Broadway Fall 2026 my favorite Shakespearean play and a great starter Shakespeare play, this production in particular, but any production really, if you're looking for a more first Shakespeare, I tend to think that this one kind of has it all while also being uplifting enough that it isn't just, you know, darkly depressing. In most productions at least, you have comedy and you have mistaken identity and disguise and you have feminism and you have these passionate speeches and you have love and you have instant love and then you have a more mature sort of realized love. But you also have like comic side characters. You also have villains and rogues. Really, it has everything that you could possibly be hoping for and here's what they have to say about it. London's brilliantly inventive, much needed blast of fun. That's the Telegraph comes to Broadway this fall for 10 weeks only, which is a rather short amount of time. And we see a lot of limited runs of this kind of a length for plays on Broadway lately, especially ones that are star led as this also happens to be. But 10 weeks rather than like 12 or 14 feel feels very short. Later in the press release they say fall 2026. And so with 10 weeks I would anticipate that this is going to conclude just before the festive period, kind of the same timeline as Art, another star led play at the Music Box Theatre. I would imagine that this is going to finish sort of late December, third week in December, second week in December maybe having begun performances in October. But that's just a guess at a Schubert theatre to be announced. And since they say to be announced, you can sign up for upd@muchadobroadway.com that's muchadobroadway.com and we are about to play a proverbial game of Guess who with the Shubert Theatres to find out exactly where this is going to be going. But before we do, we have some description here. Tony Award nominee and Golden Globe Award winner Tom Hiddleston and three time Olivier Award nominee and Golden Globe Award nominee Hayley Atwell, who enchanted London critics and set box office records last spring, will bring their critically adored that's the third time critically adored performances as Benedick and Beatrice in William Shakespeare's giddily fun and beautifully tender battle of wits, Much Ado About Nothing to Broadway this fall for 10 weeks only at a Schubert theatre to be announced. We know all of this already. This production, which played Theatre Royal Drury Lane in London's West End was described as a brilliantly inventive, much needed blast of fun by the Telegraph and Time out in their five star review exclaimed it was an ecstatic hilarious masterpiece and called it the number one best show of the year, which in February was optimistic. In November the production was nominated for four Standard Theatre awards, the most of any production, including Best Director for Lloyd, Best Actor for Hiddleston and Best Actress for Atwell. And last week the production was nominated for four Critics Circle awards, including Best Director for Lloyd and Best Shakespearean Performances for both Hiddleston and Atwell. They are equally brilliant in this actually, and I'm very glad that the two of them are transferring together. At one point I'd heard a rumor that he was going, but that she wasn't for whatever reason. I'm glad it's going to be the two of them because they are a fantastic pair and it plays into the whole ethos and identity of the production too. It being a Jamie Lloyd production and him being a director who likes to utilize celebrity casting but also likes to spoof it just a little bit and sort of nod to it in a meta theatrical way, as he recently did with Keanu Reeves and Alex Winter in Waiting for Godot as Bill and Ted. Tom Hiddleston and Hayley Atwell, meanwhile, are both recognizable from the first phase of the mcu the Marvel Cinematic Universe. Her for playing Peggy Carter, who had her own spin off TV series, and him for playing the anti hero Loki. Jamie Lloyd said working with both Tom and Hayley again on Much Ado About Nothing at the Drury Lane was exhilarating. The chemistry between the two of them was palpable from the first rehearsal and I could sense it was a magical pairing for ages. It's an honour to bring their joyous performances in Shakespeare's beloved comedy to Broadway this fall. And joy is the word which is not a word that I in spite of my praise for them have associated with any previous Jamie Lloyd productions. If you think you don't want to go and see this because it's going to be bleak and colourless, it is absolutely not. We also have statements from the stars themselves. Tom Hiddleston had plenty to say. He said, for as long as I can remember, I've always wanted to play Benedick in Much Ado About Nothing. I'm not going to. I don't know why I began to attempt an impression there. I cannot possibly do justice to his speaking voice. Working with Jamie Lloyd and Hayley Atwell on Shakespeare's most warm hearted play has been one of the most fulfilling experiences of my performing life. I could not be more thrilled to bring this jubilant and joyous production to Broadway. Jamie Lloyd has anchored Shakespeare's profoundly romantic poetry and comedy at the heart of this production and decorated the play with music, dancing, love and laughter. It's an honour to have been invited back to the stage in New York. Hayley Atwell, Meanwhile, said, After 20 years on the stages of London's West End, it is a huge honor for me to be invited to make my Broadway debut playing Beatrice in this electric production of Much Ado About Nothing. What a way in which to do it. We're thrilled new audiences will experience this story through Jamie's innovative direction. This is a modern celebration of universal themes. And not to suggest that Americans can't do Shakespeare. I've seen American performers do Shakespeare very well. But there's something that I think is going to be even more appealing to Broadway audiences about two celebrated British actors giving the their best Beatrice and Benedick. Now, to clear up a little detail, there was a section before about the various accolades already won by this production and it took place quite a long time ago. The opening night for this fell just after the cutoff for the end of the 2024-2025 London theatre season and that year's Olivier Awards. So it's actually eligible this time around, the nominations for which will be announced within the next week or so. And there is every possibility that it will be remembered, especially in categories such as Best Rev Play. Whether Tom and Hayley will both be remembered for their performances in what has been a very busy and very competitive year for performances in plays, I do not know, especially with it having been so many months back. It's kind of a concept that isn't really heard of on Broadway. The idea of something having its opening night just after the cutoff and not being eligible for an entire year that never happened.
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in New York. Anyway, they go on to say here Additional information about Much do about nothing on Broadway's strictly limited 10 week engagement, including ticketing theatre production dates. Additional casting and creative team will be announced shortly, but presumably Fabian Aloise's choreography will be retained and he will continue to collaborate with Jam on the show, that being a key part of its identity. Music is really at the heart of this production, as is dance alongside it, and I am hoping that the brilliant Mason Alexander park will also remain a part of the company. Mason played a supporting role within the play, the character of Margaret, but also sung extensively, including during the show's viral curtain call. And if anyone is considering getting tickets for this production, from what I remember, it was when footage of that curtain call began to circulate online that it really started to become a hot ticket. I mean, don't get me wrong, it sold initially. It was also part of some interesting programming. People really weren't certain about this production before it began performances because it was coming immediately on the heels of another Shakespearean production directed by Jamie Lloyd at the same theater. The two were done not really with a rep company, but there was a lot of crossover between the actors on each, and it was essentially a double piece of programming from a revival of the Tempest right into Much Ado About Nothing. And the Tempest was not well received whatsoever and the two productions couldn't have been more different. Everything that the Tempest was criticized for was very much the opposite of what Much Ado About Nothing ended up being not just the aesthetic and the vibe and the sensibility of the piece, but also the extent to which it was accessible and approachable and easy to understand. For someone who doesn't necessarily love Shakespeare. If anyone is listening to this and thinking, I would love to see Tom Hiddleston and Hayley Atwell, and I love great theatre, or I loved Sunset Boulevard, maybe I like musicals. Do I go and see this Shakespeare play if I don't really know whether or not I like Shakespeare or if I know that I don't like Shakespeare? I think this is a really fantastic gateway to Shakespeare and it has a little something in common with the recent Broadway revival of Romeo and Juliet starring Kit Connor and Rachel Zegler, and where I think I described that production as being a brilliant first Shakespeare play for young people. I think this much Adobe is a great first Shakespeare for audiences of all ages, people who maybe have reached adulthood and have maybe already decided they don't like Shakespeare or have never had the opportunity to really try and engage with it. But both because of the way that this production is directed, because of the text itself, and also because of the brilliant performances, particularly of Tom and Haley in the West End production, it is so easy to follow. It is completely easy to understand. It is playful and whimsical and just truly accessible. I, when I was watching this production, felt as though I was almost connected to how audiences might have received Shakespeare when it was first premiering during his lifetime, because the audience was so engaged as Tom Hiddleston spoke out into the auditorium. We were addressed, he was in conversation with us, we were invoked, and there was an energy in the auditorium that was sort of stirred up throughout the play. It was so exciting. It keeps being described as a party, and rightfully so, because it felt like the energy of a disco. Even as we were sitting and watching this play, it was just euphoric in some way. So regardless of your feelings about Shakespeare, I think this is a piece of theatre on Broadway this coming season that has to be seen. And it's made me already hugely excited about the next Broadway season because I only saw this production the once and I wished that I had gone back to see it a second time. And now I can. But where will I be seeing it? Is the question. Well, we know that this is going to a Schubert Theatre and many of them are not going to be available. I'm going to remind myself which of the Shubert Theatres with a list here, it's not going to the Ambassador. Can you imagine if Chicago closed for A production of Much Ado About Nothing. The Barrymore Theatre has limited runs of plays. It had limited run star led play not too long ago with Othello, but I don't think that's where it's going. The Belasco currently and hopefully for the foreseeable future the home of maybe happy ending. The Booth Theatre also has limited plays in rotation. I think this is eyeing something a little bigger. The Broadhurst, currently the home of Cats. The Jellicle Ball about to begin performances. The Broadway Theatre where the Great Gatsby is currently playing. And if they can sell it, then good for them and people should leave it alone because it's not the easiest theater to sell. The what's the Forest Theater. Oh, Philadelphia. Philadelphia. Ignore me. The Golden Theatre where Operation Mincemeat is about to welcome its brand new all American replacement cast. Hopefully to run ongoingly. The Imperial Theater where I believe Chess will be extending its current run. The Outsiders is at the Jacobs. The James Earl Jones will undoubtedly be available. But isn't the most desirable Broadway theater. The Longacre also not necessarily the most desirable, Currently home to two strangers Carry a Cake across New York. O Mary's at the Lyceum. As long as they continue to find camp celebrities, they're not going anywhere. The Majestic is actually a possibility and is I think probably my runner up assumption to the one I'm actually anticipating. The Music Box. I don't believe it's going to be the Schoenfeld Theatre. Likewise currently home to Buena Vista Social Club. The Schubert is now newly available after the closure of Hell's Kitchen. I don't think we know what's going there next, but it's this final one where I think we are going to see Much Ado About Nothing. And I say I think this is kind of what's being talked about and that is the Winter Garden Theatre. It's been the previous home of shows like Cats and Mamma Mia. Which recently returned there as a stop on its North American tour. It is about to host a Scott Rudin produced revival of Death of a Salesman. So you know, hide your interns, hide your carbohydrates and hide your breakable limbs. But thereafter, and beyond that little starry limited run, I think the Winter Garden is going to be the Broadway home of Much Ado About Nothing. And it would make a lot of sense. It is often a house for musicals, but it has also been a home to star led plays. Not too long ago, George Clooney was treading the boards there in Good Night and Good luck. And I think Tom Hiddleston and Hayley Atwell in Much Ado About Nothing could definitely sell that space. The Theatre Royal Drury Lane where they played in London was bigger, to the tune of about 500 seats in fact. And though the Jamie Lloyd company don't seem to have much of a preference in terms of the theaters where their productions play on Broadway these days, with a bit of a leaning towards the Hudson, if it's a play, I am willing to bet that this is where we are going to see Much Ado. Of course, the wider rumor surrounding this is that it's going to the Winter Garden and thereafter that is where Evita will follow. So let's continue this conversation with a change of lighting. No, neither of those worked you as well as a change of apparel. Scuse me. You know I love a souvenir baseball cap. Let us check in with rumors of a Broadway transfer of
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Ebay things people love Evita. Since it sold out performances at the London Palladium in a limited run last summer, as well as bringing unprecedented crowds to Argyll street to watch Rachel Zegler take to the balcony there and perform the Act 2 opening number, don't Cry for Me, Argentina. Broadway audiences have been asking the question, when are we gonna get a vita? And the assumption was immediately that it would transfer on the basis that Sunset Boulevard before it, also directed by Jamie Lloyd, also an Andrew Lloyd Webber, musical revival star led, co produced by Lloyd Webber and Michael Harrison. And Lloyd had played a limited run in London, won awards, built up a huge amount of hype, done something crazy outdoors, and then headed across the Atlantic. People assumed that Evita was going to immediately do the same thing. Until it didn't. Not immediately anyway. What followed the production's celebrated and financially rewarding run were weeks of speculation about whether or not all parties involved still even wanted the show to move to Broadway. Did Sir Lord Andrew even want the production to run there? Or had he been paying perhaps too much attention to certain critics who had suggested that the show's narrative was a little harder to follow for individual audience members who didn't already know the show? Sir Tim Rice, meanwhile, who allegedly loved this production back when it was at Regent's Park Open Air Theatre in a prior version with much of the same creative team, did want the show to run on Broadway in what could admittedly become an unusual moment in which he is actually better represented in New York theatre than Andrew is because of the long running production of the Lion King as well as the Broadway revival of Jet. Then you had the opinions of Jamie Lloyd, who obviously and publicly has wanted the show to open on Broadway just like Sunset did, and Michael Harrison, who is alleged to have been a little more reluctant, that being admittedly a perhaps very sensible financial position to take, given that Sunset Boulevard, for all of its Tony Award winning success, did not recoup its investment, its stateside investment, that is. Meanwhile, over just a couple of months at the London Palladium Evita already had in London. London. And of course, when it comes to the potential Broadway transfer of Evita, there are a couple of important factors to weigh. Not just the availability of its star, Rachel Zegler, who also works on screen, but also the logistical possibility of being able to do that Act 2 opening moment and her public performance of Don't Cry for Me Argentina from an external balcony on the streets of Manhattan. And I am reluctant to launch into a whole conversation in the comments about how it can't possibly be done because it's New York and everything is harder here and you know, current blizzard, not with standing. The same thing was said about Sunset and then other than a couple of occasions where they had to adopt a slightly different plan, they managed to find a way to make it work pretty seamlessly. Crossing the street no less. I will acknowledge, of course, that Rachel Zegler is a bigger star with more recognition than any of the company members who took to the streets during Sunset, but I have Faith in the ingenuity of all involved, to be able to come up with some kind of a functional creative solution. And it might just be the Winter Garden, because here's the thing, everyone's been looking for a balcony. And while Sunset was still playing at the St. James, there was a door advertising Evita's run in London, such as the extent of New York to London tourism. Can't think why that's doing so well at the moment. And then while Sunset was still running at the St. James, they had begun construction work, very loud construction work on the kind of external walkways above the box office on the front of house there at the St. James that continued through the run of the Queen of Versailles. And everyone speculated that were getting ready for Evita, that they were doing work there for Evita. And I do believe it was just structural maintenance because it had started even before Evita was in London previews. In fact, it definitely had because I saw Sunset again with Mandy Gonzalez early June, and there was definitely loud construction happening above my head. And you can also hear the construction noise happening directly above me on this marquee. They're doing something to the balcony which is going to make the next like 55 minutes of this rush line a harrowing experience. And other balconies have come up in conversation, like one that looks out onto Times Square, that is technically linked to the Palace Theater. There was some talk about how they could possibly do it there. The issue is not so much the balcony as where it would be responsible and feasible and permissible to encourage a potentially very large group of people to gather every day, day. And so even though you have balconies at the likes of the Walter Kerr Theatre, currently the home to Hadestown on Broadway, that doesn't necessarily solve all of your problems because the sidewalks aren't big enough to house all of these people. They'd end up spilling over into the street and then you would have traffic problems. Another difference between this and the Sunset Walk is that that was only ever briefly in one particular spot. And this is really a sit down thing for a couple of minutes. But not only that, audience members were arriving upwards of an hour early to get a good spot for this moment when it was in London and some of restaurants and businesses were not exactly thrilled. I personally think they should have leaned into the whole thing and started marketing Evita adjacent products and specials to the crowds. But that's just me. So what is different about the Winter Garden? Well, on one side of the theater, the main entrance side, it looks out onto this Very broad open space, this sort of a plaza where audience members would be more able to gather. And I think there are always going to be some problems because it is New York and because the sidewalks are admittedly more, shall we say, contested. There's every possibility trying to listen to the gently hum instrumental section of this moving, tender song while someone is trying to sell you a fake handbag from a scarf. But it was also, throughout the London run, a really key part of the production's identity and this extraordinary thing for it to be able to achieve. It also brought so many external people into the theater world and into that community and into the conversation of, like this musical revival that's happening in the West End. Even the likes of Sunset Boulevard, from the perspective of a lot of people in London, could come and go without them really being aware of it. Everyone knew about the Rachel Zegler balcony performance. There was also some chatter about the powers that be wanting to delay the arrival of this production on Broadway so that the critics didn't necessarily have Lloyd Webber fatigue so soon after the opening of Sunset Boulevard, alongside the arrival of Masquerade and the Broadway transfer of the revival of Cats. Also a school of thought that Evita might have competed with Cats for the Tony Award, though I do think this year's best revival, Tony, is going to go to either a Cats or a Rocky Horror. I think it's going to post Sunset, go go in a more vibrant, queer, anarchic kind of fun, different direction, but that could set up Evita to do very well the year afterwards. I think if this timing works out, it will have been a very good decision for all involved. But is it really happening or is it all just chatter? Well, I'm not the only person indulging in rumor and speculation here, because Johnny Oleksinski a couple of weeks ago in the New York Post talked about some potentially incoming new musicals. He spoke about Paddington eyeing the Al Hirschfeld Theatre as well as Evita potentially taking aim at, you guessed it, the Winter Garden. And declaratively, this is what he had to say. He wrote, it's coming to the Winter Garden next year. Multiple sources said, after Lloyd's much praised London production of Much Ado About Nothing opens there first. As we have already speculated, Lloyd's big flourish this time is that Zegler sings Don't Cry for Me, Argentina to a huge crowd outside the theatre while ticket buyers watch a live stream. What a stunner and a roadblock. And that sort of downplays the emotional impact that it does have in the theater. Which is admittedly not as much as if the song were just being performed on the stage, but it ach something more than that as well. As you look out onto live camera footage of this enormous crowd waiting just beyond the doors of the building that you're sat in, there's something quite stunning about that. And also you can all go back the next night and watch it outside for free, which is very easily done. And then, like the prophet Hannah Montana once said, you've had the best of both worlds. As I've already mentioned, Johnny writes here, there aren't many theaters in Midtown where a few hundred people, if just that, can easily loiter outside for an hour. But the wide open sidewalk in front of Paramount Plaza across the street from the Winter Garden should do the tr. And at this point, that is everything that I know. I have told you as much as I can about the possibility of Evita heading to Broadway and the possibility of Much Ado About Nothing opening at the Winter Garden. At this time, what we know for sure is that Much Ado is going to be opening on Broadway and I could not be more thrilled. Go and see this production. Do yourselves a favor. Book a ticket before it becomes an even hotter, dynamically priced hit. And you just might see me there because I will definitely be back to see this production at least one more time. Maybe twice. In the meantime, thank you so much for listening to this theatre news recap. I hope that it has been informative and entertaining and if you have any other questions about these or other upcoming productions, let me know in the comments section down below. Finally, if you want to make sure that you are staying up to date with everything happening on Broadway and in the West End, make sure you're subscribed right here on YouTube with the notifications turned on so you don't miss any of my new videos or following on podcast platforms or other social media apps. If you want to find out everything that I'm sharing across the Internet every week, then you can sign up for my free weekly substack newsletter in the link in the description. And as always, I hope that everyone is staying safe and that you have a stagey day for 10 more seconds. I'm Mickey Jo Theatre. Oh my God. Hey, thanks for watching. Have a stagey day. Subscribe
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