Some may say that the first show one sees in the new year might just set the tone for the 12 months ahead. If that’s the case, then I’m certainly in for a treat after the Kravis Center’s fabulous production of Some Like It Hot! I was already familiar with the story, having seen the 1959 MGM film it was based on, a crime comedy classic starring Old Hollywood legends Marilyn Monroe, Tony Curtis, and Jack Lemmon. Nonetheless, the musical absolutely stands on its own as a fresh, sparkling take on the popular story, with its book by Matthew López and Amber Ruffin, music by Marc Shaiman, and lyrics by Scott Wittman and Shaiman. After accidentally witnessing a brutal mafia murder in 1933 Chicago, best friends and jazz musicians Joe (Matt Loehr) and Jerry (Tavis Kordell) are desperate to escape. Their plan? Disguise themselves as women—Josephine and Daphne—and join an all-female band headed for California. With mistaken identities, unexpected romances, and self-discovery journeys at play—and a group of gangsters hot on the duo’s heels—will their scheme succeed?
There are popular, stand-up comedy acts, and there are musical-theater revues by Broadway-caliber vocalists. And then there’s TOVAH FELDSHUH. I could say, with this multi-award-winning actress/singer/comedienne’s one woman show you get a twofer: a beautifully sung musical theater revue plus non-stop original comedy sketches, all perfectly interspersed. But then there’s more … SOOO much more! Because Tovah doesn’t just tell jokes, she quickly switches attire to become her comedic characters – in looks, speech, and mannerisms that span all ages, ethnic groups and nationalities. In addition to various American accents, she’ll talk like an Italian, Russian, or Turkish/Sephardic Jew. And she sings in pitch-perfect Yiddish, Hebrew, and Spanish.
The South Florida premiere of & Juliet, which arrived at the Adrienne Arsht Center on December 30 as a New Year’s celebration, positions itself as a bold corrective to one of Western literature’s most fatalistic romances. The musical opens by asking a simple question: what if Juliet did not kill herself at the end of Romeo & Juliet? From that divergence, the show launches into a high-energy jukebox musical built around pop anthems written by Max Martin (& friends), framed as a battle for narrative control between William Shakespeare and his wife, Anne Hathaway. The result is a production that is head-bobbing and often well performed, but conceptually muddled, offering spectacle and charm where it ultimately needs conviction and emotional clarity.
A 33-year-old mother of three, Rachel Pedeaux, remains in a coma at a South Florida hospital after experiencing a sudden cardiac arrest attributed to an undiagnosed congenital heart condition, as reported by her family.
Rachel collapsed the morning after Thanksgiving while visiting her parents in South Florida, having traveled from her home in New Orleans. Subsequent medical examinations revealed that she has Wolff-Parkinson-White Syndrome, a condition that interferes with the heart’s electrical conduction system and often goes unnoticed for years.
From Arlen and Harburg (“Over the Rainbow”) to Bacharach and David (“Raindrops Keep Falling on My Head”); from Rodgers and Hammerstein (Carousel) to Jerry Herman (La Cage Aux Folles) and from Stephen Schwartz (Wicked) to Bock and Harnick (Fiddler on the Roof), Jewish composers and artists have contributed tremendously to the Great American Songbook, to Broadway musicals, to pop music and to theatre and the arts in general.
The David Posnack Jewish Community Center’s The Overlap is excited to announce that tickets are on sale for Speaking Up in Every Key: A Musical Celebration featuring Broadway stars Seth Rudetsky, Lillias White, and Arielle Jacobs. Taking place on February 22, 2026, at 7pm at the Miramar Cultural Center, the event will blend musical theater performances from all three stars with stories to explore how the arts spark empathy, connection, and true allyship.
On December 23, The Choir of Man arrived at the Kravis Center as part of its official U.S. tour, transforming the Dreyfoos Hall stage into a working pub, inviting the audience to order a pint. Nine men gather in a bar, they drink, they sing, they tell stories, and they invite the audience into the ritual. Over the course of ninety-some minutes, the show presents a sequence of musical numbers drawn from rock, folk, and pop, each loosely anchored to one of the men, the Joker (Conor Mellor), the Hard Man (RJ Griffith), the Poet (Conor Hanley), the Bore (Lewis Bennett), the Romantic (Tristan Whincup), the Beast (Rob Godfrey), the Handyman (Adam Hilton), the Barman (Mark Loveday), and the Maestro (Lee O’Reily). There is no narrative arc in the traditional sense. Instead, the evening unfolds as a night at the pub would, with songs, banter, toasts, moments of vulnerability, and a collective closing number and last call.
Looking to extend some holiday cheer? You can’t do better than take the whole family to see Slow Burn Theatre Company’s magical, brrr…shivery, snowy (bring sweaters – if anything, the suggestive power of winter is real!) production of Disney’s FROZEN: The Broadway Musical. But you need to act fast! This extremely popular show closes on January 4. Happily, because all Slow Burn musicals are mounted in Broward Center’s midsize Amaturo Theater, no seat is too far for a great view of all the magic onstage.
Singer Diane Lynn sings 20 plus songs from the career of Barbra Streisand in her 90 minute two act Boca Black Box Center for the Arts show on Sunday, Dec. 28 at 2 p.m.in Boca Raton titled “Hello Gorgeous: A Tribute to Barbra Streisand.” Lynn will be making her fourth appearance at Boca Black Box.
“I love the Boca Raton audiences and I met so many people after the past shows who tell me how much Barbra Streisand has moved them over the years. It is always an honor to pay tribute to Barbra and it never gets old for me,” said Lynn from her home in Weston.
Connor McPherson’s “The Seafarer,” now on stage at Palm Beach Dramaworks, arrives as a fitting addition to the company’s season, offering audiences a work that is as unsettling as it is humane. Set on a bleak Christmas Eve in a small seaside town in Ireland, the play unfolds largely in one room, yet its emotional and metaphysical reach extends far beyond its modest physical confines. McPherson’s text blends folklore, existential dread, and dark humor, creating a quiet but persistent tension that lingers long after the final scene.
