Earlier today, Buzzfeed reported on a busted 20th Anniversary Celebration of The Notebook in Akron, Ohio, eerily similar to viral event fails like Willy’s Chocolate Experience and the Bridgerton Ball (you know, the sort of stuff that garners lots and lots of clicks).
In the AI-assisted hoax, Buzzfeed claimed The Notebook event organizers promised “historically accurate costumes, prizes, a VIP photo booth, and more” but delivered a wretched cavalcade of busted decorations, thrown-together activities, and ugly photo ops.
The made-up story included a faux flyer listing $300 ticket prices accompanied by fabricated images of the event.
ATTN: This article contains spoilers for The Notebook.
The instant the weather starts to turn even a little bit crisp, I hear it: the intro to “Eyes On Fire” by Blue Foundation from the Twilight soundtrack. The entire soundtrack is a masterpiece: it catapulted Paramore to mainstream success thanks to their smash hit “Decode.” And don’t forget tracks like Muse’s “Supermassive Black Hole” and Robert Pattinson’s unintelligible lyrics in his own original songs for the album.
The subsequent films had iconic soundtracks too. Bon Iver’s “Roslyn” is one of my comfort songs as much as New Moon is one of my comfort films. But nothing sounds more autumnal than Blue Foundation singing “hoa hoa hoa hoa hoa” in that song. It’s akin to sleigh bells at Christmas. “Hoa hoa hoa” is the undisputed call of the beginning of fall.
I yearn to make my apartment super hygge, light a bunch of pumpkin-scented candles, and curl up under a blanket to watch Twilight and my other favorite cozy fall films. There’s no better time to hunker down with a fine movie. But once I’ve gotten that first Twilight watch out of my system, choosing what to watch can be more challenging than deciding between a PSL and a hot apple cider.
Don’t worry, this is not another eye-roll-inducing list of basic Halloween flicks (that list will be coming in October but it will be anything but basic) and rom-coms set in New England (okay, there might be a few of these). Let us assure you that we’ve dug deeper than your average “fall vibes” playlist. As someone who lived in New England — and actual England — I’m aware that fall is a specific feeling. It’s a mindset. And rather than slogging through fallen leaves wet with rain and despairing over the cold and damp, you must curate the precise vibe.
The best fall movies feel like candlelight. The bonfires. A cross between the last bonfire of summer and the first chestnut-roasting of winter. It’s the cozy in-between time when my seasonal depression hasn’t kicked in yet and I’m thankful for a cool breeze after summer’s unrelenting heatwaves. The essence of autumn is both obvious and subtle – from the cozy sweaters and golden-hued cinematography to the themes of reflection, change, and new beginnings that mirror the season itself. If a movie doesn’t capture that, it’s not on this list.
Fall films are one of the best macro-genres. Autumn is nature’s Instagram filter, turning everything into a warm, nostalgia-tinged reverie. I’ve also been seeing videos about how — long after we’ve left the hallowed halls of academia — fall’s back-to-school energy remains. Fall feels like a time to get serious, buckle down, and start anew – or at least pretend until we hit Thanksgiving. But in between all that girlbossing, there’s nothing like curling up to watch a fall movie and realizing that things aren’t as intense as they seem.
As the temperature drops and our nesting instincts kick in, curl up with these romantic comedies that are set in quaint villages and mysterious thrillers that take place in fog-shrouded cities. Whether you’re looking for something to watch while sipping your third fall beverage of the day (I’m addicted to Blank Street’s Gingerbread Matcha), need a backdrop for your annual “friendsgiving” gathering, or just want to feel seasonally appropriate while avoiding actual outdoor activities, we have got you covered.
These 20 films run the gamut from cult classics to hidden gems, from heartwarming to hair-raising, all guaranteed to put you in an autumnal state of mind. Just remember, if you start craving apple cider or suddenly feel the urge to go antiquing in Vermont after watching these, don’t say we didn’t warn you.
1. Twilight
Twilight isn’t just a movie; it’s a vibe. The Twilight renaissance (that RPatz himself has said he’s on board with) means I’m not ashamed to say it: Twilight, you will always be famous. None of this era’s imitation supernatural movies can compete. That’s why this is the movie I inaugurate my fall with year after year. Set in perennially gloomy Forks, Washington, there’s something undeniably autumnal about Bella Swan’s journey from Arizona sunshine to a Pacific Northwest brood-fest. The muted color palette, the endless rain, and the constipated look on Edward Cullen’s face all scream “fall mood.” And let’s not forget the iconic baseball scene — because nothing says “fall classic” like vampires playing America’s favorite pastime during a thunderstorm. Whether you’re Team Edward, Team Jacob, or Team “I’m Just Here for the Memes,” Twilight will always be a classic.
2. Pride and Prejudice
The hand scene — you know the one — has gone triple-platinum on my Netflix account. Talk about yearning! And nothing says autumn like watching the leaves change and feeling wistful. Jane Austen’s canonical tale of love, societal expectations, and really-really long strolls is one of the few instances where the movie is better than the book (don’t come for me Austen lovers). Joe Wright’s 2005 adaptation of Pride and Prejudice walked so that Bridgerton could run. Keira Knightley’s Elizabeth Bennet traipsing through misty fields in empire-waist gowns was the original Christian-Girl harvest season. The film’s autumnal aesthetic is on point, with golden-hued landscapes that’ll drive you to book a one-way ticket to Yorkshire. Matthew Macfadyen’s Mr. Darcy emerging from the mist is enough to make me say: Tom Wambsgams, who?
3. Mystic Pizza
If Mystic Pizza isn’t on your fall movie radar, and your fall moodboard, you’re missing out on a big bowl of cinematic comfort food. This late 80s gem is like the perfect autumn day — a little bit sweet, a little bit spicy, and full of unexpected warmth. Set in the quaint coastal town of Mystic, Connecticut, this is a feast of small-town fall vibes and sentimentality. As young as she is in this early triumph, Julia Roberts is completely charming. She leads a cast of feisty young women navigating love, ambition, and the perfect pizza recipe. I describe it as Love, Actually for the girls. Or if The Sisterhood of the Traveling Pants was set in small-town Connecticut in the fall. Mystic Pizza is a coming-of-age classic that paved the way for Gilmore Girls.
4. Practical Magic
Wanna add a hint of the occult to your fall movie marathon without going full Halloween just yet? Look no further than Practical Magic — the witchy 90s rom-com starring Sandra Bullock and Nicole Kidman as the Owens sisters who live with their witchy aunts and practice small acts of magic in their everyday lives. Whether you’re in it for the magical realism, the fin de siè·cle fashion (those witch-chic outfits are totally due for a comeback), or just to watch Sandra Bullock and Nicole Kidman be absolutely iconic for two hours, Practical Magic is an exceptional addition to your fall watchlist. It’s like a warm, witchy hug for your soul. For bonus points, watch it on the Harvest Moon on October 2nd and really hone that magical feeling.
5. Twitches
Talk about nostalgia. It’s been almost 20 years since Twitches came out. Feel old yet? This Disney Channel Original Movie is a guilty pleasure that simply screams “fall.” Starring Tia and Tamera Mowry as long-lost twin witches (get it? Twitches?), this film is what happens when you throw The Parent Trap and Charmed into a bag of candy corn and shake vigorously. Set during Halloween, Twitches is packed with campy costume parties and spooky prophecies. Twitches is like that beloved Halloween sweater you break out every year — it might look tacky, but it’s cozy, familiar, and brings back all those warm, fuzzy feelings of falls past.
Calling all mystery lovers! The Perfect Couple is a wild ride set in Nantucket at the end of the summer season. No spoilers, but it ends with its characters contemplating what’s next for them. Well, what’s after summer but fall? This new Netflix mystery feels like the last show of summer preparing me for all the new stuff coming this fall. This Elin Hilderbrand relies on familiar enough tropes to make it comforting but with enough kick to keep you on your toes.
The show’s aesthetic is peak New England fodder — Nicole Kidman giving coastal grandmother is always a win. But don’t let the pretty scenery fool you, The Perfect Couple is dark and complex, unraveling like an intricately knit sweater, revealing layers of secrets, lies, and family drama that’ll keep you guessing until the very last moment. Think Big Little Lies mixed with Knives Out — also sensational fall watches. The ensemble cast is led by the always-fabulous Nicole Kidman with Dakota Fanning, Liev Schreiber, and Eve Hewson (latest favorite nepo baby unlocked, she’s Bono’s daughter). Whether you’re in it for the whodunit aspect, the gorgeous fall scenery, or just to watch rich people make spectacularly bad decisions, The Perfect Couple is an ideal addition to your autumn watchlist.
7. Only Murders in the Building
Selena just became a billionaire. And, honestly, I deserve a personal message of thanks from her for how many times I’ve streamed Only Murders in the Building while eagerly waiting for the next season. Set in a grand old New York apartment building (hello, fall-in-the-city vibes), the show follows an unlikely trio of true crime podcast enthusiasts turned amateur sleuths. Steve Martin, Martin Short, and Selena Gomez have an electric and undeniable chemistry — not to mention Selena’s delish fall wardrobe. But what truly makes Only Murders a fall essential is how it captures autumnal New York. The Upper West Side is awash in golden light and crunchy leaves that make you want to book a one-way ticket to the Big Apple, Come for the clever writing, stay for the star-studded cast — the cameos are as crazy as the plot.
8. Agatha All Along
Agatha All Along aims to save the latest iteration of the Marvel Universe. After the success of WandaVision, Agatha All Along is a spinoff that follows the show’s surprising antagonist: Agatha. It’s a wild ride through small-town intrigue and witchcraft. Kathryn Hahn reprises her role as Agatha Harkness, bringing her signature blend of surprising depth and campy villainy. Agatha’s backstory unveils layers of her character that’ll make you question everything you thought you knew about this wicked witch. It also stars Heartstopper’s Joe Locke, Patti LuPone, Aubrey Plaza, Sasheer Zamata, Ali Ahn, and more.
9. Hocus Pocus
Hocus Pocus isn’t just for 90s kids thanks to the recent sequel. This cult classic hits the spot every single autumn. The Sanderson sisters are the OG camp girlies with quotable lines galore. Set on Halloween night in Salem — because where else? — Hocus Pocus is both creepy and sentimental. Hocus Pocus is a perennial fall favorite with its cany blend of humor and heart. Whether you’re watching it for the umpteenth time or introducing it to a new generation (you lucky soul), Hocus Pocus is best enjoyed with a side of candy corn and a healthy dose of suspension of disbelief. Let the Sanderson sisters cast their spell on you once again.
10. Remember the Titans
Maybe it’s because I was half-raised by my older brother, but something within me drives me to watch Remember the Titans come autumn. Set in Alexandria, Virginia, in 1971, the movie captures that incandescent moment when summer heat gives way to crisp fall air, mirroring the changes and tension in the recently integrated T.C. Williams High School. Remember the Titans isn’t merely about pretty fall scenery and football (though there’s plenty of both). It’s a powerful story of overcoming racial prejudice and finding unity in the face of adversity — themes that are as relevant today as they were in 1971 — and when the film was released in 2000. Denzel Washington leads the cast with his signature charm and gravitas, delivering inspirational speeches to a cast that includes a young Ryan Gosling.
11. Halloweentown
Welcome to Halloweentown, where every day is October 31st. If you’re a Halloween hardo and already out there celebrating spooky season, by all means, play this on repeat until November. And the PSL flows like water. This Disney Channel classic is guaranteed to give you a sugar rush of warm fuzzy feelings. Set in a magical realm where witches, warlocks, and monsters live in harmony (sort of). Halloweentown is like if your local Spirit Halloween store came to life and lectured you on family values. So this fall, when you’re craving something that’s equal parts spooky and sweet, this is it.
12. Immaculate
Horror fans — and fans of Sydney Sweeney — unite: Immaculate is about to take you on a twisted ride. This psychological thriller premiered at SXSW 2024 and has been giving viewers the creeps since. It’s Sweeney’s turn at Midsommar. Set in an isolated Italian convent, Immaculate is pure gothic autumnal fantasy. Think misty mountains, shadowy cloisters, and enough flickering candles to make a fire marshal nervous. Sydney Sweeney stars as a young American nun who finds herself in out of her depth, bringing her A-game to a role that’s both innocent and increasingly terrified. The movie’s exploration of religious dogma, bodily autonomy, and the darker side of blind faith is as complex and layered.
13. Little Women
Grab your coziest blanket and a mug of something warm, because Little Women is about to wrap you in a big, comforting hug. From Lady Bird to Barbie, anything by Greta Gerwig is an affirming celebration of girlhood. But nothing will hit harder this fall than Gerwig’s 2019 adaptation of this classic tale. Set in Civil War-era Massachusetts, the film is like a New England tourism board commercial.
Maybe it’s because I went to school where this was filmed (thinking of Timothee Chalamet driving past my high school truly makes me cringe), but nothing is more nostalgic than Little Women. During their childhood scenes, the cinematography is intentionally orangey and warm, but even their more stark adulthood scenes are tinged with joy. The March sisters — Jo, Meg, Beth, and Amy — navigate love, loss, and sisterhood as 19th-century women. Saoirse Ronan’s Jo March is the ultimate fall mood — passionate, creative, and not afraid to get a little messy (emotionally and literally — girl’s got ink stains for days). It’s giving dark academia in the best way. And I love seeing Timothée Chalamet’s hair flop about in the autumn wind while I head up to the attic to work on my first novel.
14. When Harry Met Sally
You probably wondered when this would hit the list. The godmother of all fall-friendly love stories is undoubtedly When Harry Met Sally. This Nora Ephron classic is like a piercing autumn day. Set in New York City through the changing seasons, this film’s most luminous scenes take place in fall. From long strolls through Central Park to cozy, sweater-clad conversations in dimly lit cafes, each scene is a visual love letter to autumn in the Big Apple.
Billy Crystal and Meg Ryan’s Harry and Sally are the original “will they, won’t they” couple, and the ultimate outfit inspo for fall. The film’s exploration of friendship, love, and the blurry line between the two is as layered and complicated as the fashion combos — think high-waisted jeans and really good jackets. Harry and Sally’s decades-long dance will warm your cynical heart. Just remember — I’ll have what she’s having.
15. You’ve Got Mail
Okay, now we’re deep in the rom-com world. Another classic: You’ve Got Mail is one more Meg Ryan fall classic. Nora Ephron doesn’t miss. This comedy is set in the Upper West Side of New York — where else to set a rom-com about books? — and follows Kathleen Kelly and Joe Fox, two rival booksellers who unknowingly fall in love over email. Soooo 90s coded. From Meg Ryan’s enviable autumn wardrobe to the leaf-strewn streets of Manhattan, Nora Ephron is at her apex. And let’s not forget the charm offensive that is Tom Hanks and Meg Ryan.
So this fall, when you’re in the mood for something that’ll make you believe in the power of love, books, and a really good email subject line, give You’ve Got Mail a watch.
16. One Fine Day
This is a criminally underrated knock-em-out-of-the-park 90s rom-coms. It has everything: Michelle Pfeiffer and George Clooney, 90s haircuts, and the cutest kids ever. One Fine Day is a 1996 gem about two frazzled single parents whose paths cross on the most chaotic day of their lives. It’s like if Mr. Mom and Working Girl had a baby, and that baby was really into missed connections and fall fashion. Set in Manhattan over the course of a single day, the film starts on a crisp morning when both parents miss the ferry for their kids’ school trip and have to swap childcare all day. A magical premise for a romantic comedy. Pfeiffer and Clooney dash about the city, juggling lost children, missed deadlines, and falling in love. One Fine Day will instantly become your new fall favorite.
17. Brown Sugar
The 90s was the heyday of Black romantic films and Brown Sugar deserves all the flowers. Sanaa Lathan and Taye Diggs star as Sidney and Dre — childhood friends whose shared love of hip-hop (and each other) takes them on a journey that explores love and work — simmering with years of unresolved tension and shared history. But what really makes “Brown Sugar” a quintessential fall watch is its terrific blend of music, romance, and cultural commentary. Sanaa’s brown-tinged work outfits are also giving major corporate hottie aesthetic.
This 2002 gem is like the R&B slow jam of movies: familiar, comforting, but with enough soul to make you actually feel things. Set in the world of hip-hop journalism and music production, Brown Sugar makes me miss growing up in Harlem. It also features a cameo from one of my favorite rap actors, Mos Def.
18. The Devil Wears Prada
Girlbosses, this one’s for you! This list would be void if I were to omit The Devil Wears Prada. This 2006 classic never gets old. Anne Hathaway? Meryl Streep? The dream of working in a fashion magazine and being able to afford a life? Set in the high-stakes world of New York fashion magazines, this film is half plot and half Pinterest board dedicated to sweater weather. Anne Hathaway‘s Andy Sachs is the epitome of the fall transformation story — going from frumpy grad to chic fashion insider faster than you can say “cerulean.” But the real star of this show is Meryl Streep’s Miranda Priestly and all those icy glares and cutting remarks. It might be as predictable as florals for spring but it works. I can’t wait for the sequel.
19. The Notebook
Like I said, fall is about yearning. So of course, I must mention The Notebook. This adaptation of Nicholas Sparks’ eponymous novel is synonymous with romance movies. And for a good reason: young Ryan Gosling. But don’t count out young James Marsden, either. Set in 1940s South Carolina, Ryan Gosling and Rachel McAdams star as Noah and Allie, the star-crossed lovers whose chemistry is so electric it makes someone as skeptical as me believe in the kind of love that spans decades and defies all odds.
20. Knives Out
One more New England movie, this film satirizes the rich New England families and cultures that some of the others romanticize. Yet it still causes me to savor the fall. Set in a Massachusetts mansion full of mahogany interiors and book-lined rooms, this leafy, murderous paradise is home to the Thrombey family. This dysfunctional brood has gathered to celebrate — or mourn, depending on who you ask — the passing of their patriarch, mystery novelist Harlan Thrombey. Enter Benoit Blanc, a private detective with a Southern drawl played by Daniel Craig. Knives Out’s clever blend of classic mystery tropes and modern sensibility is an exploration of wealth, privilege, and immigration. Talk about timely. And the subtle politics are ripe for this fall since we’re in an election year. Godspeed to all of us.
In an era where everything old is new again, millennial nostalgia has reached fever pitch. Everything is a reboot or a remake or a rehash these days — from films like
Yes, IP is king, and Hollywood runs on sure bets. But also, we can’t overlook the power of a heartthrob to shape culture. And the particular brand of nostalgia I’m feeling is totally fueled by the unexpected comebacks of two early 2000s heartthrobs: Zac Efron and Chad Michael Murray.
Efron had a surprising summer Netflix hit in his turn as a reformed celebrity playboy in A Family Affair. Yes, the film stars Nicole Kidman — who’s in another age-gap romance this year Babygirl, alongside Efron’s former costar Harris Dickinson. But the most headline-worthy thing about the film was the press tour. Fueled by costar Joey King’s own memories of being a High School Musical and Hairspray fan, Efron took fans through a highlight reel of his finest moments.
From reaction videos of his most iconic scenes to brand-new revelations about decade-old performances, it was refreshing to hear Efron’s perspective. After distancing himself from the Disney bubble, Efron barely talks about his days as a teen dreamboat. But we haven’t forgotten. So this influx of information was a welcome change — and oh my god, the lore was better than I could have imagined.
Efron spent a lot of time reminiscing on his breakout role in the Disney Channel Original Movie High School Musical. From revealing that the “Getcha Head In The Game” dance number (basketball shots and all) was filmed in one take to shouting out his castmates and saying he’s up for a reunion, it was everything I never knew I needed. The most rousing revelation was when he casually dropped the fact that his most memorable — and most memed — performance of “Bet On It” in High School Musical 2 was entirely improvised.
Fans reeled at the tsunami of tea. What do you mean that every perfectly executed moment of angst in that video was improvised? Pure genius. Virtuosic commitment to the bit. “Give Zac Efron a Retroactive Oscar,” exclaimed The Cut. And I agree. I’ve been saying that Zac Efron needs his flowers for years. He’s our generation’s McConaughey. And he’s finally getting his due — especially since his role in The Iron Claw last year, alongside Jeremy Allen White and Harris Dickinson. With upcoming projects on the way, he’s in a verifiable career resurgence.
But he’s not the only one of my teenage crushes experiencing a second act to their career.
Chad Michael Murray, the brooding heartthrob who filled every millennial girl’s dreams during his time on One Tree Hill, has been staging a comeback of his own. While promoting his latest projects — Mother of the Bride, along with the new steamy CW series Sullivan’s Crossing — he’s been doing interviews, appearing on podcasts, and making TikToks to fuel our nostalgia — and it’s working.
For the past few years, Murray’s been popping up in the most random media. He did a stint on Riverdale as a hot cult leader (I would have fallen for it too). He did a couple of Hallmark movies. But now he’s back in the mainstream and digging into this nostalgia hole alongside us.
As he prepares to film Freaky Friday 2 — a sequel to the 21-year-old Lindsay Lohan flick, which is in turn a remake of the original-original 1976 Freaky Friday that starred Jodi Foster! — we’re eating it up. It’s 20+ years since the original, so Murray’s celebrating by spilling the tea on some of his best roles. He’s also been reciting some of his most memorable lines to melt fans’ hearts.
But along with the lore, there’s gossip galore. In hindsight, some facts about backstage beef and our faves feuding have emerged. But they don’t cloud our visions of those iconic millennial dramas — honestly, the smell of drama just makes me more intrigued.
The headline? Chad Michael Murray found himself in the middle of a love triangle between Lindsay Lohan, Hillary Duff, and Aaron Carter. Carter dumped Duff for Lohan in a move that’s reminiscent of the Olivia Rodrigo and Sabrina Carpenter drama.
Here’s where it gets interesting. Murray worked with Lohan on Freaky Friday the year before A Cinderella Story. As a co-star to both starlets, he became a conduit for chaos. Long story short, they both gossiped about each other in the press — a 2000s version of subtweets or Twitter beef — and Duff barred Lohan from the A Cinderella Story premiere. Here’s hoping Duff will make it to the Freaky Friday 2 premiere.
But it’s not just the stars who are feeling this nostalgia wave. The reunions and comebacks have created a strange new reality where millennials are simultaneously reliving their youth and facing their mortality. This nostalgia boom has led to some unexpected trends in the world of fashion and pop culture. Low-rise jeans are fully back and other millennial memories are being resurrected in front of them by Gen Z — raising questions about whether we’re moving forward or simply stuck in a Y2K time loop.
The resurgence of these millennial icons, combined with the run of reunion tours sweeping the nation, has created a perfect storm of nostalgia that’s hitting millennials harder than the realization that “10 years ago” is no longer the 90s. Take the reunion of the Jonas Brothers, Miley Cyrus being crowned a Disney legend, and even Justin Bieber having a baby. Everything’s a reminder that our favorite childhood stars are old now — and we are too.
The resurrection of these cultural touchstones has sparked a new phenomenon: nostalgia whiplash. One minute, you’re belting out “Breaking Free” in your car, feeling like you’re 16 again. The next, you’re googling “Zac Efron age” and having an existential crisis when you realize he’s old enough to play the dad in movies. It’s like emotional time travel if time travel leaves you with a slight hangover and the realization that you can’t stay out as late as you used to.
And with time, secrets often emerge. Like how when Britpop icons Oasis announced their reunion, fans took a trip down memory lane to revisit the best and worst of the Britpop/hard rock band. With time, the good seems better, and the bad just gives it layers.
There’s no show that epitomizes this more than Glee. For better or for worse, Ryan Murphy changed the television landscape with this one. By making a show entirely about outsiders — namely putting queer people front and center for the first time — he was a pioneer of representation. But Glee didn’t birth a legion of gleeks for no reason — that chaotic, cursed show had a profound impact on us. Can you believe the first episode premiered 15 years ago?
It’s been 15 years since “Don’t Stop Believing” got an update, since a whole new generation of these kids were indoctrinated into loving the musical Funny Girl (guilty), and the world met Lea Michele. But the past 15 years haven’t been easy. The Glee curse is just about as tragic as the Kennedy family curse.
Stars of the show — Corey Monteith, Naya Rivera, and Mark Salling — have died. Members of the crew have also been victims of the Glee curse, including assistant director Jim Fuller, who died of a heart attack; production assistant Nancy Motes, who died by suicide; and Matthew Morrison’s stand-in Mark Watson, who died from a “car fire.”
Plus, shows like The Price of Glee and Quiet on Set have revealed the dark truths behind some of our cherished childhood shows. That’s the price of getting older: seeing the hard truths beneath the rosy veneer.
Yet, for all the existential crises and surreal moments, there’s something undeniably comforting about this latest wave of nostalgia. In a world that often feels chaotic and unpredictable, there’s solace to be found in the familiar chords of a Jonas Brothers song or still saying, “they did this on Glee” whenever you’re at a bar and a classic rock song plays.
I often wish it could just be 2008 again, the year High School Musical 3 and Twilight both came out in theaters. Or better yet, Summer of 2007, when High School Musical 2 premiered on the same night as the first episode of Phineas and Ferb and the Hannah Montana Episode “Me and Mr. Jonas and Mr. Jonas and Mr. Jonas” — the epic Disney Channel crossover that inspired the best Jonas Brother song, “Lovebug.” That just might have been the best night of my life.
But now I’m here: slathering on anti-aging treatments, considering “preventative” Botox, and checking my 401K balance. If you want to feel even older, here are some of our other teen media favorites that are having Significant Anniversaries this year:
1. A Cinderella Story (20th Anniversary)
Remember when we thought AOL Instant Messenger was the height of romance? Oh, to text Austin Ames “LOL” over AIM. Now we’re getting ghosted on the apps and no amount of fairy godmother magic can fix our dating lives.
This flick sold us the lie that the hot quarterback was secretly a sensitive poet who’d fall for the quirky outsider. A classic tale for rom-coms but this is arguably one of the best that’s ever been executed. No Cinderella adaptation has come close to this one. Especially not Another Cinderella Story with Selena Gomez — though “Tell Me Something I Don’t Know” was a banger. With a new Freaky Friday in the works, I’m hoping this Chad Michael Murray flick will also get its remake.
I’ll never forgive Ryan Murphy for giving theater kids a platform …yet they can never make me hate Glee. Cast feuds, diva drama, and rumors of on-set fights just add to the allure of the drama. Glee is the reason TV went from High School Musical to an even more musical high school and then further onto musical college, like Pitch Perfect. But I can still sing every Mercedes harmony in the Glee soundtrack.
Yes, age has taught me that Mr. Schue was kind of a creepy man-child with a vest fetish who lived vicariously through his students — why were his students the only people at his wedding??? And though Rachel Berry was supposed to be the protagonist, we realized that being a diva doesn’t get you ahead in life. It only makes everyone hate you at the office Christmas party.
Yet, there’ll never be anything like belting the Glee version of “Don’t Stop Believing” — or better yet, Jonathan Groff’s rendition of “Bohemian Rhapsody.”
3. Mean Girls (20 years)
20 years ago, fetch happened. The movie is a hallmark of millennial nostalgia, with quotes so insidious they worked their way into memes and lexicons alike. Tina Fey’s magnum opus about teenage cruelty gave us unforgettable quips and unrealistic expectations of high school hotness. Two decades later, the remake they made for Gen Z starring Renee Rapp, frankly, doesn’t come close to the original. I cherish the Lohan version even more now that I’ve seen what a trainwreck the second version is. The limits of our obsession does not exist, apparently.
4. Napoleon Dynamite (20 years)
Remember when random equaled funny? This indie darling made awkward cool in peak millennial humor. Nothing about this movie would fly anymore. Gen Zs probably cringe at our love for it. But when it was good, it was very-very good.. We quoted it ad nauseam, wore “Vote for Pedro” shirts unironically, and thought “ligers” were a laugh riot. Every year, more than one person donned a Napolean wig, glasses, and a “Vote For Pedro” shirt and did that dance sequence in my high school talent show. That experience can never be replicated by TikTok dances or Netflix films.
5. Saw (20 years)
Nothing says millennial childhood quite like a sadistic puppet forcing people into elaborate death traps. This torture porn franchise kickstarted our generation’s fascination with escape rooms and moral dilemmas. Now we’re too anxious to watch anything more intense than “Great British Bake Off.” How the mighty have fallen.
6. The Notebook (20 years)
The fact that The Notebook was 20 years ago is a testament to Ryan Gosling. He’s still managed to be relevant to the zeitgeist and one of the least awful men in Hollywood. From playing our dear Noah in this Nicholas Sparks masterpiece to playing Ken in Barbie, he is always in our hearts. In the words of Glenn Powell, “Gosling is a legend.” Cut to 2024, and we’re swiping through dating apps, wondering why our Hinge matches don’t build our houses or write us 365 letters. But we can still dream.
7. Anchorman (20 years)
Is Anchorman the boy equivalent of Mean Girls? Every non-funny man I’ve ever met thinks “Stay Classy” is a hilarious quote and witty reference. And who can blame them? At the time, Anchorman was the peak of comedy. We laughed our asses off at Ron Burgundy’s chauvinistic antics. But still liking this movie is a red flag — it’s a sign that a person’s sense of humor might not have matured beyond age 15.
8. Eternal Sunshine of the Spotless Mind (20 years)
The way stills of this movie haunted Tumblr should be examined. Pink and blue-haired Kate Winslet is admittedly still on my winter mood boards. This film was an episode of Black Mirror before Black Mirror. For a film about erasing our exes from our brains, it sure felt romantic at the time. Two decades later, we’re still trying to Marie Kondo our emotional baggage while stalking our high school crushes on Facebook. Jim Carrey and Kate Winslet’s mind-bending romance feels more like an indie fever dream with each passing year.
9. Spider-Man 2 (20 years)
Have you heard about the Spiderman to tennis movie pipeline? Kirsten Dunst doing Wimbledon, Emma Stone doing Battle of the Sexes and Zendaya doing Challengers — I might venture to say these are the finest things to come out of the Spiderman franchise. But I have to admit, the Tobey Maguire version is a classic. The fact that we’ve been through Andrew Garfield and Tom Holland as Spiderman, plus the Spiderverse series — in the past twenty years! — is mind-boggling to me.
Gena Rowlands, hailed as one of the greatest actors to ever practice the craft and a guiding light in independent cinema as a star in groundbreaking movies by her director husband, John Cassavetes, and who later charmed audiences in her son’s tear-jerker “The Notebook,” has died. She was 94.Rowlands’ death was confirmed Wednesday by representatives for her son, filmmaker Nick Cassavetes. He revealed earlier this year that his mother had Alzheimer’s disease. TMZ reported that Rowlands died Wednesday at her home in Indian Wells, California.Operating outside the studio system, the husband-and-wife team of John Cassavetes and Rowlands created indelible portraits of working-class strivers and small-timers in such films as “A Woman Under the Influence,” “Gloria” and “Faces.”Rowlands made 10 films across four decades with Cassavetes, including “Minnie and Moskowitz” in 1971, “Opening Night” in 1977 and “Love Streams” in 1984.She earned two Oscar nods for two of them: 1974’s “A Woman Under the Influence,” in which she played a wife and mother cracking under the burden of domestic harmony, and “Gloria” in 1980, about a woman who helps a young boy escape the mob.“He had a particular sympathetic interest in women and their problems in society, how they were treated and how they solved and overcame what they needed to, so all his movies have some interesting women, and you don’t need many,” she told the AP in 2015.In addition to the Oscar nominations, Rowlands earned three Primetime Emmy Awards, one Daytime Emmy and two Golden Globes. She was awarded an honorary Academy Award in 2015 in recognition of her work and legacy in Hollywood. “You know what’s wonderful about being an actress? You don’t just live one life,” she said at the podium. “You live many lives.”A new generation was introduced to Rowlands in her son’s blockbuster “The Notebook,” in which she played a woman whose memory is ravaged, looking back on a romance for the ages. Her younger self was portrayed by Rachel McAdams. (She also appeared in Nick Cassavetes’ “Unhook the Stars” in 1996.)In her later years, Rowlands made several appearances in films and TV, including in “The Skeleton Key” and the detective series “Monk.” Her last appearance in a movie was in 2014, playing a retiree who befriends her gay dance instructor in “Six Dance Lessons in Six Weeks.”One of her career triumphs was 1974’s “Woman Under the Influence,” playing a lower middle-class housewife who, the actor said, “was totally vulnerable and giving; she had no sense of her own worth.” In “Gloria” (1980) she portrayed a faded showgirl menaced by her ex-boyfriend, a mobster boss. She was Oscar-nominated as Best Actress for both performances.She and Cassavetes met at the American School of Dramatic Arts when both their careers were beginning. They married four months later. In 1960 Cassavetes used his earnings from the TV series “Johnny Stacatto” to finance his first film, “Shadows.” Partly improvised, shot with natural light on New York locations with a $40,000 budget, it was applauded by critics for its stark realism.Gena (pronounced Jenna) Rowlands became a seasoned actor through live television drama and tours in “The Seven Year Itch” and “Time for Ginger” as well as off-Broadway.Her big break came when Josh Logan cast her opposite Edward G. Robinson in Paddy Chayefsky’s play “Middle of the Night.” Her role as a young woman in love with her much older boss brought reviews hailing her as a new star.MGM offered her a contract for two pictures a year. Her first film, a comedy directed by and costarring Jose Ferrer, “The High Cost of Loving,” brought Rowlands comparisons to one of the great 1930s stars, Carole Lombard.But she asked to be released from her contract because she was expecting a baby. Often during her career, she would be absent from the screen for long stretches to attend to family matters.In addition to Nick, she and Cassavetes had two daughters, Alexandra and Zoe, who also pursued acting careers.John Cassavetes died of cirrhosis of the liver in 1989, and Rowlands returned to acting to assuage her grief. Between assignments, she sometimes attended film festivals and societies for Cassavetes screenings.“I want everyone to see his films,” she said at the San Sebastian Festival in 1992. “John was one of a kind, the most totally fearless person I’ve ever known. He had a very specific view of life and the individuality of people.”Virginia Cathryn Rowlands was born in 1930 (some sources give a later date) in Cambria, Wisconsin, where her Welsh ancestors had settled in the early 19th century. Her father was a banker and state senator. She was a withdrawn child who loved books and make-believe. Her mother encouraged the girl’s ambition to become an actor.Rowlands quit the University of Wisconsin in her junior year to pursue an acting career in New York. Like other actors of her generation, she gained invaluable experience in the thriving field of television drama in the 1950s, appearing on all the major series.After leaving her MGM contract, she was able to choose her film roles. When nothing attracted her, she appeared in TV series such as “Alfred Hitchcock Presents,” “Bonanza,” “Dr. Kildare” and “The Virginian.” One of her career delights was co-starring with her icon Bette Davis on the TV movie “Strangers” in 1979.Her other movies included “Lonely Are the Brave” with Kirk Douglas, “The Spiral Road” (Rock Hudson), “A Child Is Waiting” (with Burt Lancaster and Judy Garland, directed by Cassavetes), “Two Minute Warning” (Charlton Heston), “Tempest” (co-starring with Cassavetes and Molly Ringwald, in her screen debut) and the mother who wants to do right by her children in Paul Schrader’s 1987 study of a blue-collar family “Light of Day.”In middle age and beyond, Rowlands continued playing demanding roles. In Woody Allen’s austere drama, “Another Woman,” she was cast as a writer whose life has been shielded from emotion until dire incidents force her to deal with her feelings. In the groundbreaking TV movie “An Early Frost,” she appeared as a mother confronting her son’s AIDS.Rowlands commented in 1992 that her roles remained in her memory.“Sometimes, those white nights when I have no sleep and a lot of time to think about everything, I’ll examine different possibilities of different characters and what they might be doing now,” she said.___Film Writer Jake Coyle in New York contributed to this report. The late Associated Press writer Bob Thomas contributed biographical material to this report.
Gena Rowlands, hailed as one of the greatest actors to ever practice the craft and a guiding light in independent cinema as a star in groundbreaking movies by her director husband, John Cassavetes, and who later charmed audiences in her son’s tear-jerker “The Notebook,” has died. She was 94.
Rowlands’ death was confirmed Wednesday by representatives for her son, filmmaker Nick Cassavetes. He revealed earlier this year that his mother had Alzheimer’s disease. TMZ reported that Rowlands died Wednesday at her home in Indian Wells, California.
Operating outside the studio system, the husband-and-wife team of John Cassavetes and Rowlands created indelible portraits of working-class strivers and small-timers in such films as “A Woman Under the Influence,” “Gloria” and “Faces.”
Rowlands made 10 films across four decades with Cassavetes, including “Minnie and Moskowitz” in 1971, “Opening Night” in 1977 and “Love Streams” in 1984.
She earned two Oscar nods for two of them: 1974’s “A Woman Under the Influence,” in which she played a wife and mother cracking under the burden of domestic harmony, and “Gloria” in 1980, about a woman who helps a young boy escape the mob.
“He had a particular sympathetic interest in women and their problems in society, how they were treated and how they solved and overcame what they needed to, so all his movies have some interesting women, and you don’t need many,” she told the AP in 2015.
In addition to the Oscar nominations, Rowlands earned three Primetime Emmy Awards, one Daytime Emmy and two Golden Globes. She was awarded an honorary Academy Award in 2015 in recognition of her work and legacy in Hollywood. “You know what’s wonderful about being an actress? You don’t just live one life,” she said at the podium. “You live many lives.”
A new generation was introduced to Rowlands in her son’s blockbuster “The Notebook,” in which she played a woman whose memory is ravaged, looking back on a romance for the ages. Her younger self was portrayed by Rachel McAdams. (She also appeared in Nick Cassavetes’ “Unhook the Stars” in 1996.)
In her later years, Rowlands made several appearances in films and TV, including in “The Skeleton Key” and the detective series “Monk.” Her last appearance in a movie was in 2014, playing a retiree who befriends her gay dance instructor in “Six Dance Lessons in Six Weeks.”
One of her career triumphs was 1974’s “Woman Under the Influence,” playing a lower middle-class housewife who, the actor said, “was totally vulnerable and giving; she had no sense of her own worth.” In “Gloria” (1980) she portrayed a faded showgirl menaced by her ex-boyfriend, a mobster boss. She was Oscar-nominated as Best Actress for both performances.
She and Cassavetes met at the American School of Dramatic Arts when both their careers were beginning. They married four months later. In 1960 Cassavetes used his earnings from the TV series “Johnny Stacatto” to finance his first film, “Shadows.” Partly improvised, shot with natural light on New York locations with a $40,000 budget, it was applauded by critics for its stark realism.
Gena (pronounced Jenna) Rowlands became a seasoned actor through live television drama and tours in “The Seven Year Itch” and “Time for Ginger” as well as off-Broadway.
Her big break came when Josh Logan cast her opposite Edward G. Robinson in Paddy Chayefsky’s play “Middle of the Night.” Her role as a young woman in love with her much older boss brought reviews hailing her as a new star.
MGM offered her a contract for two pictures a year. Her first film, a comedy directed by and costarring Jose Ferrer, “The High Cost of Loving,” brought Rowlands comparisons to one of the great 1930s stars, Carole Lombard.
But she asked to be released from her contract because she was expecting a baby. Often during her career, she would be absent from the screen for long stretches to attend to family matters.
In addition to Nick, she and Cassavetes had two daughters, Alexandra and Zoe, who also pursued acting careers.
John Cassavetes died of cirrhosis of the liver in 1989, and Rowlands returned to acting to assuage her grief. Between assignments, she sometimes attended film festivals and societies for Cassavetes screenings.
“I want everyone to see his films,” she said at the San Sebastian Festival in 1992. “John was one of a kind, the most totally fearless person I’ve ever known. He had a very specific view of life and the individuality of people.”
Virginia Cathryn Rowlands was born in 1930 (some sources give a later date) in Cambria, Wisconsin, where her Welsh ancestors had settled in the early 19th century. Her father was a banker and state senator. She was a withdrawn child who loved books and make-believe. Her mother encouraged the girl’s ambition to become an actor.
Rowlands quit the University of Wisconsin in her junior year to pursue an acting career in New York. Like other actors of her generation, she gained invaluable experience in the thriving field of television drama in the 1950s, appearing on all the major series.
After leaving her MGM contract, she was able to choose her film roles. When nothing attracted her, she appeared in TV series such as “Alfred Hitchcock Presents,” “Bonanza,” “Dr. Kildare” and “The Virginian.” One of her career delights was co-starring with her icon Bette Davis on the TV movie “Strangers” in 1979.
Her other movies included “Lonely Are the Brave” with Kirk Douglas, “The Spiral Road” (Rock Hudson), “A Child Is Waiting” (with Burt Lancaster and Judy Garland, directed by Cassavetes), “Two Minute Warning” (Charlton Heston), “Tempest” (co-starring with Cassavetes and Molly Ringwald, in her screen debut) and the mother who wants to do right by her children in Paul Schrader’s 1987 study of a blue-collar family “Light of Day.”
In middle age and beyond, Rowlands continued playing demanding roles. In Woody Allen’s austere drama, “Another Woman,” she was cast as a writer whose life has been shielded from emotion until dire incidents force her to deal with her feelings. In the groundbreaking TV movie “An Early Frost,” she appeared as a mother confronting her son’s AIDS.
Rowlands commented in 1992 that her roles remained in her memory.
“Sometimes, those white nights when I have no sleep and a lot of time to think about everything, I’ll examine different possibilities of different characters and what they might be doing now,” she said.
___
Film Writer Jake Coyle in New York contributed to this report. The late Associated Press writer Bob Thomas contributed biographical material to this report.
April on Broadway, to mangle a phrase from a showtune classic, is bustin’ out all over with no fewer than 14 new plays and musicals set to open before the April 25 Tony Award eligibility cutoff date. So crowded are the final weeks of the 2023-24 theater season that three days each will see the openings of two shows, a Broadway rarity.
Below is a compendium of our reviews. Keep checking back as the list is updated.
Suffs
Shaina Taube in ‘Suffs’
Joan Marcus
Opening night: April 18, 2024 Venue: The Music Box Theatre Director: Leigh Silverman Book, music & lyrics: Shaina Taub Choreography: Mayte Natalio Principal cast: Shaina Taub, Nikki M. James, Jenn Colella, Grace McLean, Hannah Cruz, Kim Blanck, Anastacia McCleskey, Ally Bonino, Tsilala Brock, Nadia Dandashi, Emily Skinner Running time: 2 hr 30 min (including intermission) Official synopsis: “In the seven years leading up to the passage of the Nineteenth Amendment in 1920, an impassioned group of suffragists — “Suffs” as they called themselves — took to the streets, pioneering protest tactics that transformed the country. They risked their lives as they clashed with the president, the public, and each other. A thrilling story of brilliant, flawed women working against and across generational, racial, and class divides, Suffs boldly explores the victories and failures of a fight for equality that is still far from over.” Deadline’s takeaway:Suffs is enthralling, a smart, funny and beautifully sung musical that brings its chosen moment in history to life just as surely and confidently as Hamilton did for its. That the Suffs era is female-focused — and so less known, in its details, to the general public than the doings of the Founding Fathers — makes Shaina Taub’s creation all the more potent.
The urgency comes through in every aspect of this thrilling production, from the extraordinary performances to an exquisite set design that places the Suffs of 1913-1920 squarely within a Washington D.C. of stately marble and paneled wood, right where they belong.
Taub, the composer and performer best known to New York theatergoers through her inspired work for Shakespeare in the Park in recent years, here takes a big step in scope and ambition, and handily pulls it off. She’s populated Suffs with some dozen or so women who, in one way or another, took part in the fight for suffrage, sometimes agreeing with one another, just as often not, but always coming together when history demands.
Taub, director Leigh Silverman and a pitch-perfect cast bring the era to vivid life by alternately focusing on historical sweep and the personal dramas of the (very real) characters. The Suffs plead their case more than once to no less a personage, however craven, than President Woodrow Wilson (Grace McLean, in a terrifically funny performance). But the real drama — and no small bit of the humor (Suffs is anything but stuffy) — comes from the clashing personalities of the women who share a goal, if, as it so often seems, little else.
Taub plays Alice Paul, the young firebrand who, along with her devoted friend Lucy Burns (Ally Bonino), are determined to bring change to the Suffrage Movement, long (too long) under the cautious domination of the older Susan B. Anthony-era organizers as personified by the dismissive Carrie Chapman Catt (Jenn Colella). Carrie can’t let go of a more polite way of achieving change: the lobbying and kowtowing that for decades has gained little but promises.
Alice and her compatriots aren’t nearly so patient. They want marches, and demonstrations and, in the end, even hunger strikes, tactics that appall the establishment Suffs. But one of the most rewarding aspects of Taub’s vision for Suffs is in the suggestion of how the newcomers and their elders inspire and influence one another is significant ways. We see this in the bond, however tested, between Alice and Carrie, and in a similarly positioned friendship between the crusading Black journalist Ida B. Wells (Nikki M. James) and her older friend Mary Church Terrell (Anastacia McCleskey). James’ performance of the righteous “Wait My Turn” is a musical highlight.
Taub’s music (along with Mayte Natalio’s choreography) is an appealing meld of Americana, showtune, and hints of vaudeville and the Blues, all blending into one of the most incisive and pleasing new scores since Kimberly Akimbo. Suffs, though set (mostly) in the distant past, has much to say about the ongoing struggle for equal rights (Hillary Rodham Clinton and Malala Yousafzai are among the producers). History, and Broadway for that matter, deserve no less.
The Wiz
‘The Wiz’
Jeremy Daniel
Opening night: April 17, 2024 Venue: Marquis Theatre Director: Schele Williams Book: William F. Brown Music & lyrics: Charlie Smalls Additional material: Amber Ruffin Choreography: JaQuel Knight Principal cast: Nichelle Lewis, Wayne Brady, Deborah Cox, Melody A. Betts, Kyle Ramar Freeman, Phillip Johnson Richardson and Avery Wilson. Running time: 2 hr 30 min (including intermission) Official synopsis: “Based on L. Frank Baum’s children’s book, “The Wonderful Wizard of Oz”, The Wiz takes one of the world’s most enduring (and enduringly white) American fantasies, and transforms it into an all-Black musical extravaganza for the ages.” Deadline’s takeaway: So much has happened in the land of Oz since The Wiz first eased on down the road to Broadway back in 1975, and the most of that so much was Wicked. Raising the bar on all things Baum, Wicked not only added new storylines, approaches and no small amount of stagecraft dazzle to the universe of witches, wizards and an intruder or four that even a teaser trailer for the upcoming film adaptation can rouse fan excitement to dizzying levels.
The once groundbreaking Wiz, in other words, is gonna have a tough yellow brick road to hoe to keep up, and the new Broadway revival, opening tonight at the Marquis, only occasionally meets the challenge. A good cast, though apparently encouraged to over-sing at the drop of a house, works hard to make up for the production’s shortcuts – painted flats are overused, special effects are few, far between and not particularly special, and director Schele Williams breezes past (or completely ignores) some of the well-worn story’s most anticipated beats.
The tornado, for example, barely registers, signified mostly by a swirling chorus of dancers in bland gray, while the Wicked Witch’s castle is rendered as a pseudo-Hadestown boiler room bathed in red light. Budgetary constraints might play a part in some of the disappointments, but surely the Wicked Witch’s liquidation could have been accomplished with something more impressive than a standard hydraulic lift, and why there’s no one to greet Dorothy back in Kansas is anyone’s guess.
The production is not without its charms, though. A relatively brief moment in the musical spotlight by Wayne Brady, as The Wiz, has enough charm (and dance moves) to fuel a cyclone, and JaQuel Knight’s choreography rises way beyond itself in full-ensemble numbers like the Act II opener “The Emerald City.” Other highlights: Melody A. Betts, as Eviline, blowing the roof off the Marquis with “Don’t Nobody Bring Me No Bad News,” and a funny Allyson Kaye Daniel as Dorothy’s good witch greeter. Best of all, the score, however overstuffed, still shines with at least two evergreens: “Ease on Down the Road” and “Home.” Some spells don’t break.
Lempicka
Eden Espinosa in ‘Lempicka’
Matthew Murphy and Evan Zimmerman
Opening night: April 14, 2024 Venue: Longacre Theatre Director: Rachel Chavkin Book and music: Carson Kreitzer (book, lyrics, and original concept), Matt Gould (book and music) Choreography: Raja Feather Kelly Cast: Eden Espinosa, Amber Iman, Andrew Samonsky, George Abud, Natalie Joy Johnson, Zoe Glick, Nathaniel Stampley, Beth Leavel. Running time: 2 hr 30 min (including intermission) Official synopsis: “Spanning decades of political and personal turmoil and told through a thrilling, pop-infused score, Lempicka boldly explores the contradictions of a world in crisis, a woman ahead of her era, and an artist whose time has finally come.” Deadline’s takeaway: For a musical devoted to trumpeting the new and daring, Lempicka can feel decidedly backward-looking. That’s not a bad thing when those glance-backs include vivid flashes of Art Deco elegance, invigorating ’90s dance pop, big time Evita belting and a dash or two of One Night in Bangkok‘s jaunty decadence.
A pop bio-musical written by Carson Kreitzer and Matt Gould about the groundbreaking Art Deco painter Tamara de Lempicka, Lempicka follows the artist through such 20th Century milestones as the Russian Revolution, two World Wars, the tragic slide of Jazz Age Paree to Nazi-occupied Paris, and, for a few brief moments, a lonely 1970s Los Angeles.
Actually, the musical doesn’t so much follow the artist as latches on for a ride that’s both thrilling and tiring. Directed by the ever-inventive Rachel Chavkin, with a powerhouse Eden Espinosa (Wicked) in the title role, Lempicka offers up a tempting mix of retro-futurism and just plain retro, with choreography (by Raja Feather Kelly), scenic design (Riccardo Hernández) and costumes (Paloma Young) that work hard to convey the Zelig-like scope of the artist’s life. That means we see, along with some sumptuous Deco-heavy visuals, lots of energetic dancing that frequently cribs from the most arresting of “Vogue”-era Madonna (fair is fair: Blond Ambition was a Lempicka painting come to life). At its worst, though, the dancing leads the musical through some very cartoony presentations of Soviet Realism and Left Bank bohemianism.
Though the musical’s book and lyrics remain doggedly by-the-numbers, Chavkin’s direction (and a good cast that includes Andrew Samonsky, Amber Iman, George Abud, Beth Leavel and Natalie Joy Johnson) keeps Lempicka barreling through the last century’s wartime horrors, peacetime optimism and an art that grew from both.
The Outsiders
(L-R) Jason Schmidt and Brody Grant in ‘The Outsiders’
Matthew Murphy
Opening night: April 11, 2024 Venue: Bernard B. Jacobs Theatre Director: Danya Taymor Book: Adam Rapp, Justin Levine Music and lyrics: Jamestown Revival (Jonathan Clay & Zach Chance) and Justin Levine Choreography: Rick Kuperman & Jeff Kuperman Cast: Brody Grant, Sky Lakota-Lynch, Joshua Boone, Brent Comer, Jason Schmidt, Emma Pittman, Daryl Tofa, Kevin William Paul and Dan Berry, with Jordan Chin, Milena J. Comeau, Barton Cowperthwaite, Tilly Evans-Krueger, Henry Julián Gendron, RJ Higton, Wonza Johnson, Sean Harrison Jones, Maggie Kuntz, Renni Anthony Magee, SarahGrace Mariani, Melody Rose, Josh Strobl, Victor Carrillo Tracey, Trevor Wayne. Running time: 2 hr 30 min (including intermission) Official synopsis: In Tulsa, Oklahoma, 1967, Ponyboy Curtis, his best friend Johnny Cade and their Greaser family of “outsiders” battle with their affluent rivals, the Socs. This thrilling new Broadway musical navigates the complexities of self-discovery as the Greasers dream about who they want to become in a world that may never accept them. With a dynamic original score, The Outsiders is a story of friendship, family, belonging… and the realization that there is still “lots of good in the world.” Deadline’s takeaway: A fine and catchy score that references pop, early rock & roll, country and showtune balladeering is performed by a terrific young cast in Broadway’s The Outsiders, opening in a heartfelt production at the Bernard B. Jacobs Theatre.
If you’ve read the book or seen the movie, you know the story. The musical’s book by Adam Rapp with Justin Levine stays close to its origins for better and worse, and the songs by the excellent folk and Americana duo Jamestown Revival, along with Levine, go a long way to fill in plot details and character histories.
Still, even with clever direction by Danya Taymor, The Outsiders never quite outgrows its Young Adult literary origins. Based on the groundbreaking S.E. Hinton novel and Francis Ford Coppola’s film adaptation, The Outsiders often comes across as a precocious teen all dressed up for a night on the New York town — clearly money has been spent on a spare, efficient set, with lots of stacked tires and planks of wood, designed by AMP featuring Tatiana Kahvegian, enhanced by Hana S. Kim’s cool projections (in one case, literally — images of Paul Newman in Cool Hand Luke are, if nothing else, an easy time-placer). The full talents of the designers and special effects masters come together in a terrific barn fire scene, and Brian MacDevitt’s lighting design and Cody Spencer’s sound meld well with with the choreography, especially during a crowd-pleasing slo-mo, freeze-frame, strobe-lit rumble between the vengeance-seeking cliques.
While all the production’s elements seem to be in place — the cast, even when its acting chops falter, is, musically, a full-throated and easy-to-like ensemble — The Outsiders often feels like a musical that wants to hang with the grown-ups while unable to leave behind its adolescent earnestness and self-involvement. A more thoughtfully adult production might invent some credible consequences for a negligent, deadly arson, a fatal stabbing and a train derailment, all of which are presented, true to S.E. Hinton, as temporary glitches in the self-actualization of a 14-year-old boy.
Opening night: March 28, 2024 Venue: Nederlander Theatre Director: Des McAnuff Book: Pete Townshend and Des McAnuff Music and lyrics: Pete Townshend Choreography: Lorin Latarro Cast: Ali Louis Bourzgui, Alison Luff, Adam Jacobs, John Ambrosino, Bobby Conte, Christina Sajous, with Haley Gustafson, Jeremiah Alsop, Ronnie S. Bowman Jr., Mike Cannon, Tyler James Eisenreich, Sheldon Henry, Afra Hines, Aliah James, David Paul Kidder, Tassy Kirbas, Lily Kren, Quinten Kusheba, Reese Levine, Brett Michael Lockley, Nathan Lucrezio, Alexandra Matteo, Mark Mitrano, Reagan Pender, Cecilia Ann Popp, Daniel Quadrino, Olive Ross-Kline, Jenna Nicole Schoen, Dee Tomasetta, and Andrew Tufano. Running time: 2 hr 10 min (including intermission) Deadline’s takeaway:The Who’s Tommy is a nonstop surge of electrified energy, a darting pinball of a production that syncs visual panache with 55-year-old songs that sound as vital today as they must have at Woodstock. To read full review, click on show title above.
Opening night: March 21, 2024 Venue: Imperial Theatre Director: Jessica Stone Book: Rick Elice, based on the novel by Sara Gruen Music and lyrics: Pigpen Theatre Company Cast: Grant Gustin, Isabelle McCalla, Gregg Edelman, Paul Alexander Nolan, Stan Brown, Joe De Paul, Sara Gettelfinger and Wade McCollum, with Brandon Block, Antoine Boissereau, Rachael Boyd, Paul Castree, Ken Wulf Clark, Taylor Colleton, Gabriel Olivera de Paula Costa, Isabella Luisa Diaz, Samantha Gershman, Keaton Hentoff-Killian, Nicolas Jelmoni, Caroline Kane, Harley Ross Beckwith McLeish, Michael Mendez, Samuel Renaud, Marissa Rosen, Alexandra Gaelle Royer, Asa Somers, Charles South, Sean Stack, Matthew Varvar and Michelle West Running time: 2 hr 40 min (including intermission) Deadline’s takeaway:Water for Elephants is a pleasant, visually beguiling show with a cast led by The Flash‘s Grant Gustin in a sweet-voiced Broadway debut that puts some charm into a thin book by Rick Elice that probably veered too close to the novel for its own good. To read full review, click on show title above.
Opening night: March 18, 2024 Venue: Circle in the Square Written by: Henrik Ibsen, In A New Version By Amy Herzog Directed by: Sam Gold Cast: Jeremy Strong, Michael Imperioli, Victoria Pedretti, Katie Broad, Bill Buell, Caleb Eberhardt, Matthew August Jeffers, David Patrick Kelly, David Mattar Merten, Max Roll, Thomas Jay Ryan, Alan Trong Running time: 2 hrs (including one pause) Deadline’s takeaway: Watching Jeremy Strong (Succession) and Michael Imperioli (The Sopranos) go head to head for two hours is a treat, as if the stars of your favorite HBO dramas had crossed over some crazy timeline to show each other what for. To read full review, click on show title above.
Opening night: March 14, 2024 Venue: Gerald Schoenfeld Theatre Directors: Michael Greif and Schele Williams Book: Bekah Brunstetter Music and lyrics: Ingrid Michaelson Cast: Jordan Tyson, Joy Woods, Maryann Plunkett, John Cardoza, Ryan Vasquez, Dorian Harewood, with Andréa Burns, Yassmin Alers, Alex Benoit, Chase Del Rey, Hillary Fisher, Jerome Harmann-Hardeman, Dorcas Leung, Happy McPartlin, Juliette Ojeda, Kim Onah, Carson Stewart, Charles E. Wallace, Charlie Webb Running time: 2 hr 10 min (including intermission) Deadline’s takeaway: Based on Nicholas Sparks’ 1996 bestseller about a young — then older, then much older — couple who survives a lifetime of tribulations (until they don’t), The Notebook is the theatrical equivalent of Muzak, comforting in its unapologetically manipulative way and unabashed in its disregard for anything approaching the grit of the real world. To read full review, click on show title above.
Opening night: March 7, 2024 Venue: Todd Haimes Theatre Written by: John Patrick Shanley Directed by: Scott Ellis Cast: Amy Ryan, Liev Schreiber, Zoe Kazan, Quincy Tyler Bernstine Running time: 90 min (no intermission) Deadline’s takeaway: That the play holds up as well as it does since its 2004 premiere — and it really does — is due in large part to a top-tier cast that the Roundabout Theater Company has assembled, an ensemble that keeps us guessing from beginning to end. To read full review, click on show title above.
Joy Woods and Ryan Vasquez as ‘Middle Allie’ and ‘Middle Noah’ in ‘The Notebook’ on Broadway. Copyright 2024 Julieta Cervantes
The Notebook | 2hrs 20mins. One intermission. | Gerald Schoenfeld Theatre | 236 West 45th Street | (212) 239-6200
Why are Broadway musicals suddenly so lousy? Many reasons, I can safely assume: geniuses die, leaving a hole in history with no one to replace them; teams of amateur hacks are everywhere, filling gaps once occupied by Irving Berlin, Cole Porter, Oscar Hammerstein, Jerome Kern, Rodgers and Hart, Lerner and Loewe, and Comden and Green; considering the garbage they listen to every day, it’s no wonder wanna-be songwriters couldn’t write a memorable melody or an intelligent lyric line with a gun to their heads; clueless producers with no taste plunk down plenty of money to finance projects without a hope in hell of commercial success. Nobody has written a classic musical score with any originality and style since the death of Stephen Sondheim.
After his lovely and haunting Light in the Piazza, I had high hopes for Adam Guettel, but this season’s flop, The Days of Wine and Roses, proves the rumor that he spends every waking moment thinking of ways to avoid any comparison to his illustrious grandfather, the one and only Richard Rodgers. So what we’re getting instead of fresh, original musicals is increasingly forgettable carbons of old movies. The newest disappointments are The Notebook and Water for Elephants, a pair of gooey, predictable and temporary tearjerkers based on two of those corny romance novels cut from the same fabric as The Bridges of Madison County that teenagers drag to the beach with a nickel pack of Kleenex.
More about Water for Elephants next week, but first The Notebook, saccharine fiction by Nicholas Sparks that found its way into an inevitable 2004 movie that shamelessly poured on more schmaltz as it chronicled events in the labored story of Allie and Noah, a pair of lovers who survive endless pitfalls for five decades and still love each other long after mutual devotion has been invaded by personal tragedy. The movie tells the story of their saga through the eyes of two separate versions of Allie and Noah, who are of different ages. The device was annoying, but I remember enjoying it anyway. With older Allie and Noah played by ravishing Gena Rowlands and charming James Garner, and younger Allie and Noah played by beautiful Rachel McAdams and handsome newcomer Ryan Gosling before he became a Ken doll, what’s not to like?
Maryann Plunkett (left), Joy Woods (center) and Jordan Tyson (right) as Allie in ‘The Notebook’ on Broadway. Copyright 2024 Julieta Cervantes
The choppy, overwrought new Broadway production turns Allie and Noah into three couples instead of two, and every time they waft in and out of each other’s story, their races change along with their genders. The old Allie is now an elderly blonde in a nursing home suffering from dementia, and the old Noah, who seems years her senior, is black. She doesn’t know if he’s the janitor or a fellow patient, but one thing she never suspects is that he’s been her husband for 54 years. Cut to two periods in their youth, and the two Allies are suddenly black, and their Noahs are white. They all sing loud, which is not the same thing as good, but to no effect because the score is so forgettable that the songs seem to be inserted for the sole purpose of dragging out the running time. To make everything doubly confusing, old Allie doesn’t know who anyone is, including herself. From the baffled comments overheard during intermission, the audience didn’t seem to know, either. It is doubtful that half the audience knew all those people they were watching were playing the same two characters.
Before Noah can rehabilitate Allie and bring her back to normal, he has a stroke and now there are two lovers in terminal danger. No mention is made of the interracial pairings, so it is unfair to dwell on that aspect of the confusion, but when all six Allies and Noahs sing together, chaos reigns. What worked on the screen in a lugubrious, long-winded way doesn’t work on the stage at all. Both Ingrid Michaelson, who penned the boring, surface-deep songs, and Bekah Brunstetter, who wrote the shallow, sentimental book, are making their Broadway debuts, and the lack of experience shows. The badly needed element of poignancy to add depth to cardboard characters is nowhere in sight.
The cast of ‘The Notebook’ on Broadway. Copyright 2024 Julieta Cervantes
This a shame because Maryann Plunkett and Dorian Harewood, who play Older Allie and Older Noah, are engaging pros who deserve a better showcase. I was especially excited to see Harewood in a leading role that guaranteed Broadway stardom at last. I once shared the stage with him in one of those all-star AIDS benefits in Hollywood that showcased the historic songs of Alan Jay Lerner and Frederick Loewe and he sang a heartbreaking arrangement of “I’ve Grown Accustomed to Her Face” and “Gigi” I have never forgotten. I thought the stardom that had unfairly eluded him in the past would finally happen at last when he co-starred in the 1974 Broadway musical Miss Moffat, the musical version of The Corn is Green, starring the one and only Bette Davis. Alas, it closed in previews.
Now, here he is, at last, excellent as always but woefully denied any kind of show-stopping number you could confidently call memorable. This is the fate of the entire cast, unexceptionally choreographed by Katie Spelman and directed with mediocrity (there’s that over-riding keyword again) by Schele Williams, both of whom are also making their soggy Broadway debuts. Michael Greif, curiously listed as a second director for reasons known only to the producers, has done fine work elsewhere, but in The Notebook, he doesn’t appear to do much more than move the actors from one dark part of a room into the next, like furniture.
The result is a shallow, boring and totally irresolute The Notebook that crawls at a snail’s pace.
