2024 Curtain Call: Ten MARQUEE Moments for a Marquee Year
The year's most captivating headlines, from cross-casting to a musical thrill ride to a Gander pilgrimage
Shalom, Broadway lovers!
In today’s MARQUEE: The Broadway Maven’s Weekly Blast: a look back at 2024’s biggest stories and a Last Blast about Into the Woods.
ANNOUNCEMENT: We’re having a Rush Week! The Broadway Maven is offering five FREE classes the first full week of January, which will give non-Members a chance to see up close what the Broadway Maven is and what happens in our classes. The schedule is:
• Cole Porter’s Broadway (FREE, Sunday, January 5 at Noon and 7 pm)
• Hair (FREE, Monday, January 6 at Noon and 7 pm)
• Waitress (FREE, Tuesday, January 7 at Noon and 7 pm)
• Fosse’s Cabaret (FREE, Wednesday, January 8 at Noon and 7 pm)
• West Side Story (FREE, Thursday, January 9 at Noon and 7 pm)
REPORT: As we start to welcome the new year, it’s the perfect moment to reflect on the stories that made waves with MARQUEE readers in the last year. From debates about casting controversies to unforgettable theater experiences, these ten pieces captured the essence of 2024. Let’s take a look back at the highlights of a year that sparked conversations, celebrated creativity, and explored the magic of the stage.
#10: Sondheim’s smother-mothers and Rodgers & Hammerstein’s flawed fathers (March 7): One of MARQUEE's most innovative issues, this installment made the fresh argument that whereas Sondheim's maternal figures are problematic, to say the least, Rodgers & Hammerstein musicals spotlight Dads who pose challenges.
#9: Has Sondheim Changed Your Life? New Book Shows How "The Way is Clear” (November 7): Of the many books reviewed in MARQUEE in 2024, this one garnered the most reader attention with its refreshing look at Sondheim's canon and The Master's profound influence on the life journeys of his fans.
#8: Connecting the Dots: How "Sunday" Draws on Seurat (May 15): A delightful addition to the MARQUEE "rotation" is the set of Final Projects of Maven Scholars (full-time students from an intensive Broadway history course), including this standout video about Sondheim's musical pointillism in Sunday.
#7: Meet Me in St. Louis: Could The Muny Be America's Greatest Theater? (August 28): This issue boldly asserted that if bringing theater to underserved populations is the goal, no theater does it better than a historic outdoor venue not far from the Mississippi River.
#6: The Blizzard and I: The coming storm of post-Wicked movie musicals (December 18): The final issue of 2024 was also one of the most impactful, with a sneak peek at a dozen upcoming movie musicals aiming to capture the magic of Wicked's critical (and commercial!) success.
#5: From Rye to Wry: how a Borscht Belt show lost its schtick in Paris (January 3): Some of my reports involved travel, including this review of a Paris version of Sondheim's Forum that left out the Yiddish-tinged manic elements in exchange for a drier, British wit. Still delightful but — sacre bleu! — arrestingly distinct.
#4: Me and the Sky ✈️✈️: Flying north to see "Come from Away" in Gander (July 25): One of the peak theatergoing experiences of my life was watching this show about a Canadian miracle while surrounded by the people who performed it.
#3: Floating, falling… Germany's new “Phantom” roller coaster is “sweet intoxication” (May 2) MARQUEE was the first English-language outlet to review Europa-Park's futuristic thrill ride set to the haunting, soaring music of Andrew Lloyd Webber.
#2: Was Oscar Hammerstein Jewish? Some people just "cain't say no" (September 18): It may seem like a niche point, but based on raw numbers, MARQUEE readers were fascinated by the truth of Hammerstein's religious background, as well as possible reasons for his misplaced reputation as "another famous Jewish lyricist."
#1: Why not a Black Tevye or a Hispanic Fanny? A Case for Ethnic Cross-Casting in Musicals (July 9): MARQUEE's "marquee issue' for 2024 was this extended essay about the so-called "Jewface" controversy, arguing that range, not "representation," is what really matters in casting actors to play Jewish roles.
ANNOUNCEMENT: For the next day or so, Broadway Maven is now offering one month’s FREE Membership, through the end of the day December 31. Get invited to ALL Broadway Maven classes and other expert-led Broadway experiences (5-15 a month) for just $18 a month, with the first month’s fee waived for new members. Membership includes a password to the Clips Archive and periodic giveaways to Broadway and off-Broadway shows, including at least one opening night performance and party. Upcoming Members-only classes include Guys and Dolls; A Little Night Music; The Book of Mormon; and a watch party for Pacific Overtures. Join this vibrant learning community at the button below. It’s your home for Broadway appreciation!
Note: A full calendar of upcoming classes is always available at TheBroadwayMaven.com.
• Sunday, January 5 Noon and 7 pm ET Cole Porter’s Broadway (FREE, register HERE)
• Monday, January 6 Noon and 7 pm ET Hair (FREE, register HERE)
• Tuesday, January 7 Noon and 7 pm ET Waitress (FREE, register HERE)
• Wednesday, January 8 Noon and 7 pm ET Fosse’s Cabaret (FREE, register HERE)
• Thursday, January 9 Noon and 7 pm ET West Side Story (FREE, register HERE)
• Monday, January 13 Noon ET Guys and Dolls (Members only)
• Tuesday, January 14 Noon and 7 pm ET A Little Night Music (Members only)
• Sunday, January 19 Noon ET Maven Scholar presentations (Members only)
• Monday, January 20 Noon and 7 pm ET CATS (Members only)
• Tuesday, January 21 Noon and 7 pm ET The Book of Mormon (Members only)
• Sunday, January 26 Noon and 7 pm ET “Savoring Broadway” (special lecture) (Members only)
NOTE: As of December 31, the ALL-ACCESS Program is being phased out, so current Passholders will need to register for the FREE classes during Rush Week, or to become Members after January 1.
LAST BLAST: In Into the Woods, the ghost of Cinderella's mother asks her, "Do you know what you wish? Are you certain what you wish Is what you want? If you know what you want, Then make a wish." It's a strange set of comments for an opening number -- and a show -- about wishes. The wish/want differentiation does not return in the narrative. But it's most important with Cinderella since she's the character most associated with the show's "I Wish" theme (in fact she starts and ends the show with those lyrics). But we learn from her mother that wishes (fantasies) and wants (plans) are quite different, and you should literally be careful what you wish for. Much of the rest of the show reflects that theme, foreshadowed here.
The Broadway Maven is a vibrant educational community that helps its members think more deeply about musical theater. Every month, members may attend 5-15 expert-led classes and innovative Broadway experiences, all for just $18. We also foster enthusiasm for Broadway through the FREE weekly substack newsletter MARQUEE and host an expansive YouTube channel. It's your home for Broadway appreciation. Contact The Broadway Maven at DavidBenkof@gmail.com.