“Reports of my demise are greatly exaggerated.” – Mark Twain

Mark Twain’s infamous quip upon reading his own obituary is an apt descriptor for the alarms sounded last year around the financial health of Broadway. Yet, for all of the predictions of Broadway’s demise with the onslaught of the great recession, there was a decided lack of catastrophe in last year’s theater news. Instead, a record box office year ensued, some might say falsely propped up by the presence of a large infusion of Hollywood star power.  Call it stimulus Broadway style.  Obviously, film stars on Broadway are nothing new, but what was very refreshing about last season for the most part (we will get to Catherine Zeta Jones in a moment) was that the stars gave terrific and, in some cases, remarkable performances.

Denzel Washington, Hugh Jackman, Scarlett Johansson, Liev Schreiber, Viola Davis, Daniel Craig, Jude Law, Christopher Walken, Sienna Miller, Alfred Molina, and Anthony Mackie all pumped up box office receipts; and in the case of Ms. Davis, gave one of the most unforgettable performances this reviewer has ever seen. Ms. Davis’ portrayal of Rose Maxon opposite Denzel Washington in August Wilson’s “Fences” should be remembered as some of the most moving and powerful acting on Broadway in years, and certainly the highlight of last season. If one had to pick a lowlight of the season, it might have been the unfortunate choice of Catherine Zeta Jones to sing “Send in the Clowns” from “A Little Night Music” on the Tony Awards telecast. Ms. Zeta Jones’ overacting, perhaps to cover up the fact that she is not a singer, was magnified tenfold when moments later she was awarded the best leading actress in a musical Tony. The real tragedy in that situation was that Broadway ingénue Montego Glover’s spectacular performance in “Memphis” went unrecognized . . . for the sake of  television ratings?

A couple of other notables from last season included a very high number of plays, many with stars and some without, with several extremely fine performances.  The performances of Liev Schreiber, Denzel Washington (Tony winner), Alfred Molina, and of course Ms. Davis, along with the season’s many plays, helped provide a richer landscape for New York’s theatergoers than in most years. Also the arrival of Bill T. Jones’ “Fela!” and Greenday’s “American Idiot” continued the much needed trend of expanding and evolving the definition of “Broadway” (“Passing Strange,” “Spring Awakening,” “In the Heights”). Perhaps the Great White Way will soon take on another name that connects with an audience that is wider and more representative of America?

This season there is something for everyone. From Al Pacino in Shakespeare’s The Merchant of Venice to “Spiderman-Turn off the Dark,” Bono and Julie Taymor’s (Lion King) spectacular collaboration rumored to be well above the $60 million mark after numerous production calamities. Also arriving is “The Scottsboro Boys,” a very intelligent and sensitive minstrel-show-style musical (yes, you read that correctly), based on the infamous racial injustice of the Scottsboro Boys Trial. For those seeking pure goofiness tinged with a bit of weird “The Pee Wee Herman Show,” “Elf” and “Pricilla Queen of the Desert” will all grace the Broadway boards this year.  Yes, you read that correctly, as well, the Paul Reubens/Pee Wee Herman of “The Alamo,” “Biker Bar,” and other unmentionable fame.  Anticipated other productions will include Pedro Almodóvar’s brilliant “Women on the Verge of a Nervous Breakdown,” starring Patti Lupone and Laura Benanti of recent “Gypsy” fame and James Earl Jones and Vanessa Redgrave in Driving Miss Daisy. “How to Succeed in Business Without Really Trying” will feature Harry Potter himself (my apologies to you, Daniel Radcliffe; it will take a while to escape your larger-than-life wizard boy moniker).  “Lombardi,” a play based on the legendary football coach, arrives on Broadway to the delight of thousands of “Cheesehead” Green Bay Packer faithful. Another rock musical, “Bloody Bloody Andrew Jackson,” is transferring from the New York Public Theater. “Bloody Bloody . . .” caused quite a stir this past spring for its sophomoric irreverence, raw sexuality, and attention deficit disorder style pacing—all big hits with the twenty-something crowd.

Broadway would seem indeed to be alive and well. Come and find out for yourself.  See you in the theater.