Schmigadoon review [Broadway 2026]

By Simon Parris on April 6, 2026 • ( Leave a comment )

Lovingly and lavishly crafted, the stage version of fantastical musical theatre parody Schmigadoon arrives on Broadway in pristine form.

Note: having attended the first preview of performance, this review is more of a general description of the production rather than a full critique.

The 2021 arrival of Schmigadoon on Apple TV+ could not have been better timed, with theatre lovers around the world starved of their lifeblood due to extended lockdowns. Created by Cinco Paul and Ken Daurio, the series featured pitch perfect pastiche songs by Paul and joyful choreography by Christopher Gattelli. Paul takes the triple crown with the stage musical, penning book, music, and lyrics, while Gattelli aims to follow the great success of Death Becomes Her in his second Broadway engagement as director / choreographer.

An adaptation of the first season of Schmigadoon, the musical sees quarrelling NY doctors Josh and Melissa trapped in a Golden Age musical, where they face tropes, twists, and tangles seen in musicals from Oklahoma! to The Sound of Music. Spotting all the references is delicious fun, especially given the depth and sharpness of knowledge shared by the creators. Best of all, the musical succeeds as a cohesive and affecting work in its own right, not merely as a comic creation.

Paul has an extraordinary knack with songs, able to suggest a classic tune and lyric whilst ensuring his own work is unique enough to stand alone. Mention must be made of the orchestrations of Doug Besterman and Mike Morris and the arrangements of music supervisor David Chase, which cleverly provide their own pleasing moments of recognition. The orchestra of 14 musicians, conducted by Steven Malone, sounds suitably bright and lush.

While each of the six season one episodes started with a flashback to Josh and Melissa in New York, the musical opens with a single montage of their meeting and early relationship. While musical-loving Melissa embraces the scenario, Josh is stubbornly resistant, working his way through the townswomen to find a potential “true love” that will allow him to cross the bridge out of Schmigadoon. Each finds a potential new partner, presented beautifully in “Suddenly.” Josh’s eventual moments of singing in “You Make Me Wanna Sing” are genuinely moving.

The wonderful songlist from the series is largely intact. Changes include terrific new company number “The Picnic Basket Auction,” the removal of the Baroness’ “I Always, Always Never Get My Man,” and the substitution of Florence Menlove’s lament “He’s A Queer One, That Man o’ Mine” with a new duet for Florence and Melissa, “Not That Kinda Gal” (clearly based on “Marry The Man Today” from Guys & Dolls).

Mayor Menlove and The Reverend Layton furtively bond over baked goods with “I Thought I Was The Only One.” The lyrics of “Va-Gi-Na” are tweaked to include both male and female anatomy and the song is now entitled “Baby Talk.” A storyline change is that Danny Bailey now meets the same fate as his original counterpart, Billy Bigelow.

Blending and sampling plot points from so many musicals, the plot of Schmigadoon is jam-packed with humour and action, culminating in that fabulous town gathering in which myriad secrets are finally shared. Having the townsfolk end singing Schwartz-like “How We Change” is an ingenious way to end the Golden Age period and suggest a new age to come.

In the current absence of Golden Age revivals on Broadway, Schmigadoon is a much needed tonic for lovers of the form. Gattelli’s choreography, performed by many of Broadway’s best dancers, is a particular thrill, with rousing company numbers coming thick and fast, especially in act one. A clear highlight is act two opener “With All Of Your Heart,” in which Emma Tate leads the schoolhouse “children” in a spectacular tap number. Although a full dream ballet may have slowed proceedings too much for modern taste, it is wonderful to see Josh imagine Dream Josh and Dream Melissa reenact their meeting and courtship in dance.

Set design by Scott Pask and costume design Linda Cho draw from a delicious palette of pretty pastels. The sets are as fancifully conceived as they are solidly constructed. As with many a Golden Age musical, the merry townsfolk wear the same costume even as the days go by. The imposing dark purple gown and bonnet of local puritan Mildred Layton is a standout.

Perrfectly cast, Alex Brightman gives cantankerous Josh Skinner a schlubby everyman vibe. Sara Chase delights with Melissa Gimble’s eternal optimism and musical enthusiasm.

Ana Gasteyer is devilishly good as the insidious Mildred Layton, readily making the role her own. Ann Harada is adorable as long suffering Florence Menlove. Brad Oscar is in crisp comic form as Mayor Menlove

Ayaan Diop is heart-meltingly sweet as plucky little Carson. Isabelle McCalla brings noble agency to Carson’s sister/mother Emma Tate

An absolute must-see for lovers of Broadway musicals, Schmigadoon is an utter joy. It is strongly hoped that a cast recording will be announced before long.