With Tony Award nominations for the 2025-2026 season a week away (announcements are on Tuesday, May 5), now might be a good time to refresh your memory of what Deadline had to say about the fruits of a very busy Broadway spring. Every Brilliant Thing, the wonderful solo show (with a little help from the audience) starring Daniel Radcliffe shook off the brutal New York winter to kick things into gear, and the following two months saw, among other shows, an effervescent revival of a rarely seen Noël Coward comedy, a thrilling re-interpretation of Andrew Lloyd Webber’s Cats, exemplary ensemble work in Joe Turner’s Come and Gone, Becky Shaw and Proof, joyous celebrations like Titaníque, Schmigadoon! and The Rocky Horror Show, a searing drama in Death of a Salesman and remarkable performances from Radcliffe, John Lithgow, Alden Ehrenreich, Nathan Lane and Laurie Metcalf, Ayo Edebiri, Luke Evans, Rachel Dratch, Rose Byrne and Kelli O’Hara.
And that’s just a sampling.
Check this page to see Deadline’s takes on all of Broadway’s latest spring offerings, beginning with Every Brilliant Thing (March 12), Giant (March 23), Dog Day Afternoon (March 30), Becky Shaw (April 6), Cats: The Jellicle Ball (April 7), Death of a Salesman (April 9), Titaníque (April 12), The Fear of 13 (April 15), Proof (April 16), Fallen Angels (April 19), Schmigadoon! (April 20), The Balusters (April 21), Beaches (April 22), The Rocky Horror Show (April 23), Joe Turner’s Come and Gone (April 25) and The Lost Boys (April 26).
For Deadline’s takes on the fall portion of the current season, check out reviews of Call Me Izzy, Mamma Mia!, Art, Waiting For Godot, Punch, Ragtime, Liberation, Little Bear Ridge Road, The Queen of Versailles, Oedipus, Chess, Two Strangers (Carry A Cake Across New York), Marjorie Prime, and Bug.
Below is a compendium of our spring 2026 reviews. Click on the title to read the full versions. (Note: Due to a scheduling conflict, Deadline did not post a full opening-night review of Dog Day Afternoon.)
Matthew Murphy
Opening night: March 12
Venue: Broadway’s Hudson Theatre
Written by: Duncan Macmillan with Jonny Donahoe
Director: Jeremy Herrin & Duncan Macmillan
Cast: Daniel Radcliffe
Running time: 1 hr 10 min (no intermission)
Deadline’s takeaway: In the superb production of the solo play Every Brilliant Thing, Daniel Radcliffe’s unnamed narrator character begins a childhood project that will stretch throughout his life: He starts a list of all the things that make life worth living and gives this remarkable work its title. Few who see this production will begrudge the play and its star a spot on that list.
Joan Marcus
Opening night: March 23
Venue: Broadway’s Music Box Theater
Written by: Mark Rosenblatt
Director: Nicholas Hytner
Cast: John Lithgow, Aya Cash, Elliot Levey, Rachael Stirling, Stella Everett, David Manis
Running time: 2 hrs 20 min (including intermission)
Deadline’s takeaway: John Lithgow’s remarkable Olivier Award-winning performance — at this point in the far-from-over Broadway season he and Every Brilliant Thing‘s Daniel Radcliffe seem headed for a showdown — is a terrifically nuanced affair, as indeed are Mark Rosenblatt’s play and the note-perfect direction of Nicholas Hytner. Any cast of co-stars would be deemed successful merely for holding its own, and this one does so much more than that. Giant, thrilling and abrasive, is full of rewards.
Dog Day Afternoon
Opening night: March 30
Venue: Broadway’s August Wilson Theatre
Written for the stage by: Stephen Adly Guirgis
Director: Rupert Goold
Cast: Jon Bernthal, Ebon Moss-Bachrach, John Ortiz, Jessica Hecht, Spencer Garrett, Michael Kostroff, Elizabeth Canavan, Brian D. Coats, Esteban Andres Cruz, Alex J. Gould, Danny Johnson, Paola Lázaro, Dom Martello, Wilemina Olivia-Garcia, Michael Puzzo, Christopher Sears, Michael Shayan, Jeff Still, Andrea Syglowski, Carmen Zilles.
Running time: 2 hrs 5 min (including intermission)
Deadline’s takeaway: Though not nearly as off-the-mark as many reviews suggested, Stephen Adly Guirgis’ adaptation of the Sidney Lumet-directed 1975 film classic that starred Al Pacino can’t help but seeming diminished. While Bernthal impresses in his Broadway debut as the “Attica! Attica!”-yelling bank robber (Pacino in the film) who is in way over his head, playwright Guirgis and director Rupert Goold expand the gritty, claustrophobic caper tale to include some broad-stroke character narratives of the various bank-employee/hostages, a Key Largo-ish device welcome mostly in that it gives co-star Jessica Hecht (as the head bank teller) some fine moments. Ebon Moss-Bachrach, in the role originally played so indelibly by the idiosyncratic John Cazale, can’t do much to stand out from the play’s crowded crime scene.
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