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Kelly Rowland is an avid supporter of women supporting women — and she had a great role model to look up to in her Destiny’s Child days. The superstar joined Jennifer Hudson on the latter’s daytime talk show, where Hudson asked Rowland what inspired her passionate uplifting of her fellow women. The “Dilemma” singer revealed […]
Few American-made mythologies loom larger than L. Frank Baum’s Oz. His 1900 book, The Wonderful Wizard of Oz, was an instant sensation that was made into theatrical productions and films, and later inspired songs by Elton John, America, ELO and even the Melvins.
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Now, Jon M. Chu’s blockbuster Wicked is taking audiences beyond the yellow brick road, thanks to bewitching performances by Ariana Grande and Cynthia Erivo. So put on your emerald-colored glasses for a look back at Billboard’s coverage of a story that transported people over the rainbow to another world.
Not In Kansas Anymore
Just two years after Baum published his book, a musical adaptation, The Wizard of Oz, opened in a Chicago theater. Thanks to vaudeville veterans Fred Stone and David C. Montgomery playing the Scarecrow and Tin Woodman, respectively, the Jan. 3, 1903, Billboard raved, “It is one continuous case of laughter throughout.” The reviewer noted, however, that “the music isn’t so very catchy.” If they only had a Rodgers & Hart!
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If They Only Had a Brain
When the sixth silent film based on Oz opened in 1925, a Billboard critic wasn’t convinced it was King of the Forest. “No one ever expects logic in a film of this species and certainly no one finds any in The Wizard of Oz,” wrote a reviewer in the April 25 issue of director Larry Semon’s slapstick take. The good news: “You can safely invite the school committee and the clergy to view this film as it is wholesome and totally without objectionable features.”
‘What Happened Next Was Rich’
When MGM’s lush The Wizard of Oz premiered in New York, Billboard was there — as was star actress Judy Garland, who sang a few songs after the screening with frequent co-star Mickey Rooney. The “vaudefilmers” combo grossed $68,000 and broke “all house records,” according to the Sept. 2, 1939, issue. Two weeks later, Billboard forecast a bright future for “Over the Rainbow”: “You can count on its staying around for some time.” By Sept. 30, the song was a jukebox must: “No ifs and buts to it — it’s got to be in every machine.”
No Place Like Harlem
When The Wiz, a stage musical reimagining with an all-Black cast, opened on Broadway in 1975, a Jan. 18 Billboard review hailed its “sauce, moxy and innovation.” Sidney Lumet’s big-screen adaptation was “a wow” but “rather long,” according to the Oct. 14, 1978, issue. The same reviewer also said that Michael Jackson “excels as Scarecrow in several numbers,” including “a vibrant duet” with Diana Ross on “Ease on Down the Road” — which hit No. 41 on the Billboard Hot 100 the next week.
Age-‘Defying’ Appeal
A full century after Oz first hit the Gay White Way, Wicked debuted on Broadway. It was very “Popular”: When Billboard launched its Top Cast Albums chart in the Jan. 21, 2006, issue, the original cast recording was the first No. 1. Wicked’s broomstick flight to Hollywood was just as successful. “Ariana Grande is a revelation,” praised a Nov. 22, 2024, Billboard article, adding that Erivo’s Wicked Witch “feels real and relatable — even in a musical with talking goats.”
Wilkommen, bienvenue, howdy partner! Country star Orville Peck is set to make his Broadway debut as the Emcee in Cabaret at the Kit Kat Club. On Wednesday (Jan. 15), Cabaret announced that the “Dead of Night” singer would take over the iconic role from Adam Lambert starting on March 31, where he will be joined […]
Cast recordings are a crucial part of supporting a musical’s life, during its initial run on or off-Broadway, as well as far beyond that. While a show is running, a recording available on streaming platforms can reach a wide ticket-buying audience and thus potentially help increase its performing lifespan; the recording is also often the way that regional theaters first discover shows they might produce — which proves especially important to shows that have shorter lives on Broadway.
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But while shows have ample platforms for releasing their original cast recordings — from boutique labels specializing in theater to major labels getting in on the next big hit — a trio of journeyman theater musicians noticed a gaping hole in the market for a new kind of label: one that would support a show from its earliest writing stages all the way through is fully realized production.
That new label — aimed at amplifying new voices in musical theater as well as individual solo performers — is Joy Machine Records, co-founded and run by Ian Kagey, Sonny Paladino, Brian Usifer and Will Van Dyke.
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The quartet have musical theater bonafides in spades. Kagey is a Grammy-winning engineer and mixer who has engineered numerous Broadway cast recordings in addition to working in TV, film, and with artists including Bruce Springsteen and Paul McCartney; Paladino is a seasoned arranger and producer who most recently was music supervisor, arranger, orchestrator and conductor for Neil Diamond bio-musical A Beautiful Noise; Usifer is an orchestrator, arranger, music director, pianist, producer and composer who recently worked on the acclaimed (but short-lived) Swept Away and Huey Lewis’ The Heart of Rock and Roll musical; and Van Dyke is a Grammy-nominated producer, songwriter, music supervisor, orchestrator and arranger who was music director of Swept Away and is music supervisor/orchestrator/arranger for the long-running off-Broadway hit Little Shop of Horrors.
“Our approach comes from our experience being on many sides of the table in that process, and understanding what it takes to see a show from inception through opening night and beyond,” says Usifer. “We approach every project with not only a high bar musically but an emphasis on kindness and transparency throughout the process.”
Joy Machine, which will be distributed by The Orchard, is launched as a full-service record label which will offer what it calls “three tiers of support for musical development.” As Van Dyke explains, “from the first piano/vocal demos through fully produced tracks,” Joy Machine’s team will “help producers think about budgeting for these recordings from the jump. That kind of awareness will also help teams build a cast recording into their budget to be able to fully preserve their final product.”
The label’s current and upcoming client roster includes The Avett Brothers’ original Broadway cast recording of Swept Away; Huey Lewis’ OBCR of The Heart of Rock and Roll; and solo projects with Joy Woods (currently starring as Louise in Gypsy on Broadway), composer Joe Iconis (Be More Chill), Corey Cott (a star of The Heart of Rock and Roll) and more.
Thus far, the team has recorded at Kagey’s own Renaissance Recording in New York for demos and smaller concept albums, and at the storied Power Station studios for original Broadway cast albums. (“They really know how to make a cast album and make it a seamless and un-chaotic experience,” says Usifer of the latter). Joy Machine is currently working on a concept album for the new musical Joy, meant to give audiences an insight into the show’s music before it ventures to Broadway.
As an artist, Joy Huerta says she likes a good challenge. So when the producers of Broadway‘s upcoming adaptation of Real Women Have Curves reached out to her in early 2020 to see if she could write the songs for the musical, she was swept off her feet.
“I said, ‘For sure!’,” the Grammy Award-winning singer of Mexican pop duo Jesse & Joy — who had never composed music for theater before — tells Billboard Español. “I saw [the 2002 movie] and said, ‘I love the idea, of course, let’s do it.’ I think it was the weekend before we went into lockdown.” She adds: “You dream of challenges, but you don’t know what those challenges are going to look like.”
Five years later, Real Women Have Curves: The Musical is finally giving a glimpse of Huerta’s work ahead of its spring Broadway opening. First, the production released an acoustic performance video of “If I Were A Bird” three weeks ago, in which she sings with fellow Mexican actor and singer Aline Mayagoitia. Now, on Thursday (Jan. 9), arrives “Flying Away,” which Huerta — who is not part of the cast — performs in the clip accompanied by Nadia DiGiallonardo, Rich Mercurio and Yair Evnine. “They gave up so much so I could have more/ And if I don’t go what was all of it for,” say part of the lyrics.
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“’Flying Away’ is a song of longing of this teenage girl becoming a woman, who is growing up in a double culture [as the daughter of Latin American immigrants.] She’s becoming her own person while she’s trying to discover who she wants to be, who she is supposed to be, and who her family need her to be,” Huerta explains. “It’s a big struggle for her, and I think she doesn’t wanna let anyone down, but she ultimately has to think about her, without forgetting about her family. ‘Flying Away’ is that type of song about, how can I spread my wings, how can I fly, how can I be who I was born to be without leaving everyone behind.”
Additionally, fans can stream four demo tracks from the show, including “Make It Work,” “Flying Away,” “Daydream,” and “Real Women Have Curves,” all performed by Huerta, here. All songs were written by the Mexican star along with composer/lyricist Benjamin Velez, whom she calls “a very talented guy.”
Known for Hot Latin Songs hits including “Corre!”, “Me Soltaste” and “Ecos de Amor” as part of Jesse & Joy, the duo she shares with her brother, Huerta — who could relate to the story as the Mexican daughter of an American mother — has enjoyed learning the craft of writing songs for a different form of art in this project.
“Also understanding in what way you are telling the story, because the way I tell stories is in 3 minutes. Here, I especially had time to strike a certain nerve, knowing that what I did or said was going to have a domino effect half an hour, 45 minutes later,” she says enthusiastically. “And that’s been phenomenal because for me now writing songs for Jesse & Joy, knowing what I know after five years of working on this project, it’s been fascinating — it’s like I’m stealing little tricks from different sides for both worlds, and it’s been quite fun.”
Based on the play by Josefina López and the HBO’s movie adaptation, Real Women Have Curves: The Musical is set in East L.A. in 1987 and follows 18-year-old Ana García, a daughter of immigrants who struggles between her ambitions of going to college and the desire of her mother for her to get married, have children, and oversee the small, rundown family-owned textile factory. The 2002 movie, directed by Patricia Cardoso, put a young America Ferrera on the map.
Now Huerta hopes the show helps people see real immigrants in a different light.
“Something that’s really affected me with this story is that all these issues that were happening in the 80s are still happening today, and you would think no, it’s 2025, so many things have changed, it should be easier, and it’s not,” the artist says, wiping tears from her eyes.
“I have dual citizenship, I feel very privileged, but it is very difficult for those who are going to live right now in this new change of government,” she adds. “One of the reasons I’m very excited about this play is that I feel like, whenever you try and tell the story through a family perspective, a family point of view, I feel like maybe we can stop looking at our differences and we can start looking at each other as people. And when that happens, I think change really starts happening.”
As for her aspirations not only to write but also to perform on Broadway, Huerta would love to do it one day, but right now she is enjoying the ride behind the scenes. “I would definitely love to do it at some point. I would also love writing more for musicals,” she says. “This has been such a rewarding and such a beautiful experience.”
Real Women Have Curves: The Musical is produced by Waitress producers Barry and Fran Weissler, and Jack Noseworthy. It has a book by Lisa Loomer with Nell Benjamin, music supervision by Nadia DiGiallonardo, and direction & choreography by Tony and Olivier Award winner Sergio Trujillo. Cast and additional creative team will be announced at a later date.
It arrives on Broadway following its 2023 world premiere at American Repertory Theater (A.R.T) at Harvard University, with previews beginning on Tuesday, April 1, and an opening night set for Sunday, April 27 at the James Earl Jones Theatre (138 West 48thSt). Tickets can be purchased online now at Telecharge.com or by calling 212-239-6200.
Watch Joy Huerta singing “Flying Away” from Broadway’s Real Women Have Curves: The Musical above.
Broadway Week in NYC is an annual ticket promotion that basically offers the chance to get Broadway tickets for half price (when you buy a pair), or the opportunity to get an upgraded seat location at a discounted price. If Broadway’s been on your family’s wish list, this could be a good time to make a trip to the city. Tickets for 2025 just went on sale and are available here.
The discount code to buy two tickets for the price of one is: BWAYWK25
The discount code to buy “better seat locations” at $138.50 per ticket is: BWAYUP25
Discounted tickets were made available for the following Broadway shows: & Juliet, Aladdin, A Wonderful World: The Louis Armstrong Musical, The Book of Mormon, Cabaret at the Kit Kat Club, Chicago, Cult of Love, Death Becomes Her, English, Eureka Day, The Great Gatsby, Gypsy, Hadestown, Hamilton, Harry Potter and the Cursed Child, Hell’s Kitchen, Left on Tenth, The Lion King, Maybe Happy Ending, MJ, Moulin Rouge! The Musical, Oh, Mary!, Redwood, Romeo + Juliet, Six the Musical, Sunset Blvd and Wicked.
For elementary school-aged kids and older: Wicked is the obvious go-to right now, but seemingly too popular — I looked for tickets for my own kid at on-sale, and didn’t find anything that worked for us. They sold out quickly. The Lion King is a great choice for most families; Aladdin is also available. Both Disney productions suggest they’re best for ages 6 and up. It’s generally recommended to wait until kids are at least 4 to sit through any Broadway musical, in respect of the performers (and other patrons who paid to see the show without interruptions), but 6 is a better bet.
For tweens and up: Consider Harry Potter and the Cursed Child (this one is not a musical, and it’s a long show, but it’s a must-see for lovers of the Harry Potter series), Hadestown (especially for kids interested in Greek mythology) and Six the Musical.
For teens and older: Whether they love a good Broadway musical or find the idea of a Broadway musical cringe, Kit Connor and Rachel Zegler starring in Romeo + Juliet — with music by Jack Antonoff — might pique their interest. Other shows to look into that teens will likely enjoy: Maybe Happy Ending and The Great Gatsby.
Record producer Jay David Saks, who died last month, left behind a rich and unique legacy, one that spanned the worlds of classical music and Broadway cast albums. But it all began a member of a “one-hit-wonder” group which had a top 40 hit on the Billboard Hot 100.
Saks died on Nov. 16 of Parkinsonism-related causes. He was 79. News of his death was confirmed by Peter Gelb of The Metropolitan Opera.
Saks won 13 Grammys between 1983 and 2014, eight for classical music and five for his work on Broadway cast albums.
He won best opera recording four times, all for work with the Metropolitan Opera Orchestra/The Metropolitan Opera Chorus. He won for Verdi: La Traviata Opera Recording; Adams: Doctor Atomic; Wagner: Der Ring Des Nibelungen and Adès: The Tempest.
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He won best musical show album five times for cast albums from Into the Woods and Jerome Robbins’ Broadway and revivals of Guys and Dolls, Chicago and Gypsy.
In addition, Saks won two Daytime Emmys, both for his work on Great Performances at the Met. He won outstanding individual achievement in any area of the performing arts – audio (1983) and outstanding individual achievement in the performing arts – audio (1984).
Born in New York City, Saks grew up in The Bronx. His older sister was the cellist Toby Saks.
During the 1960’s, Saks played bass guitar with The Balloon Farm, which had a top 40 hit on the Billboard Hot 100 in March 1968 with the psychedelic pop/rock song “A Question of Temperature.” Saks wasn’t the only member of The Balloon Farm who went on to success in the industry. Fellow member Mike Appel managed Bruce Springsteen from 1972-75 and co-produced his first three albums. Their sole hit was produced by Peter Schekeryk, who went on to produce hits for his wife, Melanie, including the Hot 100-topping “Brand New Key.”
Saks studied at the Juilliard School, and later continued his studies at the Mannes College of Music, from which he graduated in 1970.
As an audio producer for CBS Masterworks, RCA Red Seal (RCA Records), Bertelsmann Music Group (BMG), and Sony BMG Music Entertainment, Saks was responsible for engineering and master recording hundreds of titles.
Beginning in 1980, Saks worked with the Metropolitan Opera in New York City to record and produce more than 1,600 of its telecasts, radio broadcasts and live HD transmissions.
Saks was nominated for 53 Grammys between 1977 and 2018. He received at least one Grammy nomination in 30 different years. He was nominated 10 times for classical producer of the year, but he never won in that category.
Saks’ other cast show album nominations (in addition to his five wins) were for Starting Here, Starting Now, Anything Goes, Assassins, Sondheim: A Celebration at Carnegie Hall, How to Succeed in Business Without Really Trying!, Ragtime the Musical (for two different recordings), Cabaret, Fosse, Thoroughly Modern Millie, Man of La Mancha, Avenue Q—The Musical and The Color Purple.
Saks was also nominated for best compilation soundtrack album for a motion picture, television or other visual media for Fantasia/2000.
Saks was nominated for a Primetime Emmy in 2007 – outstanding sound mixing for a variety or music series or special – as audio producer for PBS’ The Magic Flute (Great Performances at the Met).
An avid runner, Saks completed one of the earliest New York City marathons.
Saks is survived by his wife, Linda Saks; their two sons, Jeremy Saks and Greg Saks; and three grandchildren, Bo Saks, May Li Saks, and Ben Saks.
Dolly Parton wants to give you the chance to slip into her fabulous footsteps. On Thursday (Dec. 5), the country icon and Rock and Roll Hall of Famer announced an open internet casting call for her upcoming Broadway show, Dolly: An Original Musical. “Hey there, it’s Dolly, and I am so excited to share some […]
Well, that was fast. Wicked has been making box-office history since it opened on Nov. 22. The long-awaited film adaptation of the 2003 Broadway musical has already grossed $372.9 million worldwide, a total topped by only three other films that were based on Broadway musicals.
Ariana Grande and Cynthia Erivo star in the film, which was directed by Jon M. Chu, whose hit-studded résumé includes a previous film adaptation of a Broadway musical, the 2021 movie version of Lin-Manuel Miranda’s breakout hit In the Heights.
Seven film adaptations of Broadway musicals appear on Box Office Mojo’s list of the top 1,000 films in terms of lifetime worldwide grosses. That counts Mamma Mia!, a film adaptation of the 2001 stage musical built around ABBA music, but not its Cher-featuring sequel Mamma Mia: Here We Go Again, on the grounds that the latter was really just a sequel to a hit movie, not a Broadway musical. (The sequel did astonishingly well, with a worldwide gross of $395.6 million.) Of course, not all sequels are guaranteed to become box-office successes. Grease is here, but its 1982 sequel, Grease 2, which grossed just $15 million worldwide, didn’t come close. (Michelle Pfeiffer, the star of Grease 2, is represented on this list with Hairspray.)
Wicked Part Two is due for release on Nov. 21, 2025. Will it follow its predecessor to box-office glory? If it does, Chu will join Rob Marshall as the only director with two films on this list; Marshall directed both Chicago and Into the Woods.
One disclaimer about this list right at the top: You can’t really compare box-office grosses of films from different eras. The biggest blockbusters of earlier eras simply can’t match the grosses of today’s hits. (It’s not just your imagination that ticket prices are much higher than they used to be.) The Sound of Music has grossed $159.5 million worldwide, according to Box Office Mojo – not enough to make their list of 1,000 top-grossing films. But that 1965 adaptation of the 1959 Broadway musical is one of the biggest hits in film history.
Other film adaptations of Broadway musicals that have grossed more than $50 million worldwide, but not enough to make the list, include Dreamgirls ($155.5 million), the 2021 version of West Side Story ($76 million), My Fair Lady ($72.7 million) and Funny Girl ($52.2 million).
Here are the seven top-grossing film adaptations of Broadway musicals. All appear Box Office Mojo’s list of the top 1,000 films in terms of lifetime worldwide grosses.
Hairspray
Image Credit: ©New Line Cinema/Courtesy Everett Collection
Jonathan Groff has endeared himself to huge audiences playing some of the most beloved (and different) roles in modern musical theater: breaking hearts as the original Melchior in Spring Awakening; cracking up as King George in Hamilton; and most recently turning in his most complex performance yet as Franklin Shepard in Stephen Sondheim’s Merrily We Roll Along, for which he won his first Tony award.
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Now, Groff is adding to that diverse resume of roles with perhaps the most unexpected of all. In the new musical Just in Time, he’ll play Bobby Darin, the iconic crooner known for his renditions of songs like “Beyond the Sea,” “Dream Lover” and “Mack the Knife.” Developed and directed by Alex Timbers, the show features Groff anchoring a cast of 16 in one of Broadway‘s most unique and intimate theaters, the Circle in the Square. Previews begin March 28, 2025 in advance of an April 23 opening — but you can hear Groff singing as Darin for the first time here, as Billboard premieres his recordings of “Beyond the Sea,” “Dream Lover” and “Just in Time.”
As Groff tells Billboard, his preparation process for the role began seven years ago, when he was researching the singer while putting together a concert of his music for the 92nd St. Y in New York. “We’ve been developing this musical about his life ever since then,” Groff says. “Bobby Darin was the consummate performer. And he was way ahead of his time. He had this chameleon ability to jump styles and genres way before it became popular for pop artists to do that. Having this opportunity to play him, I get to push myself to places I’ve never gone before as a singer or performer. My heart races just thinking about it.”
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Timbers — who won a Tony for his direction of Moulin Rouge! The Musical and has brought his vision to shows ranging from Here Lies Love to The Pee-wee Herman Show — calls Darin “a singular talent whose music lives on today,” but notes that “what was so memorable to the people who knew him was his connection with an audience.” With Just in Time, “We’re doing everything we can to try to transform our Broadway theater to evoke a 1960s club,” he tells Billboard, “and allow our audience to experience what it was like to be in a room, up close, with one of that generation’s most electric performers.”
Just in Time features a book by Tony-winner Warren Leight (Side Man) and Isaac Oliver (The Marvelous Mrs. Maisel); music supervision and arrangements by Andrew Resnick (Parade); choreography by Shannon Lewis; and is based on an original concept by Ted Chapin. Along with Groff, the cast includes Joe Barbara (A Bronx Tale The Musical), Tony-winner Michele Pawk (Wicked), Lance Roberts (The Music Man), Caesar Samayoa (Come From Away), Christine Cornish (Kiss Me, Kate), Julia Grondin (Funny Girl), Valeria Yamin (Moulin Rouge!), John Treacy Egan (My Fair Lady), Tari Kelly (Mr. Saturday Night), Matthew Guy Magnusson, Khori Michelle Petinaud (Lempicka), and Larkin Reilly (Bad Cinderella).