Hamilton took over the world last year, from a mixtape to the Tony Awards. With all the hype, I have been waiting anxiously to see Hamilton and was finally surprised for my birthday to see the show in Chicago. Part of me wondered if the anticipation would live up to seeing it, but Hamilton not only met my expectations, but exceeded them. There are few modern musicals that have won a pedestal in American pop culture, like The Lion King and Wicked, and I believe Hamilton has earned that spot.

Three decades after it first opened in London, I think it is fair to say that the legacy of Phantom as one of the most popular and commercially successful shows in the history of musical theatre is secure. We can debate for as long as we want over whether or not it is overrated. For me, personally, it is one of my favorite musicals of all time, and it deserves much of its popularity, even though I know some may disagree. However, there is no denying that it is one of the most popular and commercially successful Broadway shows of all time, and that it may be a long time before we see a show top its 30 year run on Broadway.

That’s why I’m ready for the show to close.

It was the end of my freshman year at college and, as a Stephen King fan, I was prepared for a bit of a drought in his schedule. He had just published five novels in a row over the course of just over a year (well, six or seven if you count It twice, since the book is the size of a grand piano). Luckily, I had the musical version of Carrie to look forward to upon returning home from school for the summer. The show opened on Thursday, May 12, 1988 during my last week of classes and I had tickets to see the show with some friends for Saturday, May 21. Unfortunately, the show closed on Sunday, May 15 after five performances (there were sixteen previews before that and a four week run in Stratford-upon-Avon, England before that).

The question on everyone’s mind tends to be: “Why would anyone make THAT into a musical?”

I’m tired of sitting in the dark. 

Today’s theater community faces big questions about our relationship to the general public—how to attract (and hold onto) new audiences, how to handle the omnipresence of cell phones, how to make people feel more welcome, etc. In short, how can artists best connect with their audiences? I don’t claim to have a silver bullet answer, but I find myself returning to a single, simple idea that could have a significant impact. 

Light the people in the seats. 

Bandstand, a new musical directed and choreographed by Andy Blankenbeuhler (of Hamilton fame) plays at the Bernard Jacobs Theatre.   It holds the distinction of winning this year’s Tony for “Best Choreography” despite a curious inability to receive Tony nods in any other categories, including Best Actor/Actress for its talented leading duo of Corey Cott and Laura Osnes.

While musicals certainly seem to dominate Broadway box offices, we've seen some incredible plays that will certainly go down as some of the best works of our time. 

These plays serve as the very best examples of what drama should be. Their creativity, depth, and characters have set a new standard for playwrights for generations to come. With comments by those who reviewed their productions, here are our updated picks for the Best Plays of the 21st Century...so far. 

Every theatergoer knows this moment: Act one ends. The ushers emerge from the darkness. The air fills with static as hundreds of people rise with a single purpose.

The intermission restroom stampede is about to begin.

More than once, I've been swept away on a tide of patrons racing to relieve themselves before act two. I'd like to avoid the chaos, but sometimes staying in my seat just isn't an option. Sometimes I need to make the most of those sweet fifteen minutes myself.

I've been thinking about how to navigate the throngs. How about you? What are your strategies for having a good bathroom experience at a Broadway show?