If you walk down 42nd Street right now, you’ll probably see a sea of tourists huddled under the Minskoff overhang, desperately trying to shield themselves from the wind while waiting for The Lion King. It’s a classic. It’s also what everyone expects. But honestly? The real pulse of what is currently playing on Broadway isn't just the long-running titans that have been there since the Clinton administration.
There’s a weird, electric energy in the Theater District this January.
We’ve got a mix of high-tech hauntings, 1970s feminist workshops, and robots in Seoul. It’s a strange time to be a theatergoer, but in the best way possible. If you think you know what’s "on" just because you saw Wicked five years ago, you're missing the massive shifts happening behind the velvet curtains.
The Blockbusters You Can’t Escape (and Shouldn't)
Let's get the obvious out of the way. Hamilton, Wicked, and The Lion King are still the three-headed monster of the box office. They regularly pull in over $3 million a week each. You know them. Your grandma knows them. Your dentist probably has the Hamilton soundtrack on loop in the waiting room.
But there’s a new heavyweight in town that’s actually out-grossing some of the old guards: Harry Potter and the Cursed Child.
It’s currently the #1 best-selling show on Broadway. And get this—Tom Felton, yes, the original Draco Malfoy from the movies, is currently playing adult Draco. Seeing him don the robes again is basically a religious experience for Millennials. It's transformed the Lyric Theatre into a literal gold mine.
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Then you have the Netflix crossover appeal. Stranger Things: The First Shadow at the Marquis is doing massive numbers. It’s a prequel, so you don't need to be caught up on the show to get it, but the special effects are legitimately terrifying. People are leaving the theater actually shaking. It’s not "nice" theater; it’s an assault on the senses.
The Shows That Are Actually Winning Over Critics
If you want to sound like you know what you’re talking about at a dinner party, you don’t talk about Aladdin. You talk about Maybe Happy Ending.
Basically, it’s a musical about two "helper-bots" in a future version of Seoul who fall in love. It stars Darren Criss, and it is currently the darling of the 2026 season. It’s quiet. It’s heartbreaking. It’s the kind of show that reminds you why live theater matters more than a streaming service. Critics are giving it five stars across the board, and for good reason—it’s original. In a world of movie adaptations, an original story feels like a miracle.
And then there’s Oh, Mary!.
This show is insane. It’s a "revisionist" comedy about Mary Todd Lincoln wanting to be a cabaret star. Cole Escola wrote it and stars in it, and it’s arguably the funniest thing to hit the Lyceum in decades. It’s camp. It’s raunchy. It’s almost always sold out, playing to 100% capacity every single night.
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Current Critic Ratings at a Glance:
- Hamilton: 96.8% (Still the king, let’s be real)
- Oh, Mary!: 93.5% (The comedy everyone is obsessed with)
- Maybe Happy Ending: 89.2% (The "crying" show of the season)
- Ragtime: 82.4% (The powerhouse revival at Lincoln Center)
The "Limited Time" Panic
One thing people get wrong about what is currently playing on Broadway is assuming everything stays forever. Broadway is brutal. Shows close the second they stop making money.
If you want to see Bug, you have to move. It’s a psychological thriller by Tracy Letts starring Carrie Coon at the Samuel J. Friedman Theatre. It’s a slow-burn descent into paranoia, and it’s only scheduled through February 22. Same goes for Liberation—Bess Wohl’s play about 70s feminism. It closes February 1.
These are the "actor's plays." They aren't about the spectacle; they’re about watching world-class performers sweat and scream three feet away from you.
The Jukebox Revolution (and the Backlash)
We have to talk about the jukeboxes. Some people hate them. Some people (the ones with the money) love them.
- MJ The Musical is still moonwalking over at the Neil Simon.
- Hell’s Kitchen, the Alicia Keys musical, just announced its closing date for later this year, so Brandon Victor Dixon is back in the cast for a victory lap.
- Mamma Mia! is back for a limited run at the Winter Garden, because apparently, we can never truly escape ABBA.
But the one people are actually surprised by is Operation Mincemeat. It’s a British import about a real-life WWII spy plot involving a dead body and fake documents. It sounds like it should be a dry history lesson, but it’s actually a fast-paced, genre-bending comedy that’s currently holding a five-star rating from most major New York critics.
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What’s On the Horizon?
Broadway doesn't sleep. While you're looking at what's playing now, the "next big thing" is already moving into theaters. This spring is going to be dominated by the return of Cats: The Jellicle Ball (a queer/ballroom reimagining) and a stage adaptation of The Lost Boys.
Oh, and John Lithgow is coming back in Giant, playing Roald Dahl. That one is already sparking controversy because it deals with Dahl’s antisemitism, so expect the think-pieces to start dropping any day now.
How to Actually Get Tickets Without Going Broke
Honestly, the biggest misconception about what is currently playing on Broadway is that you need to be a millionaire to see it.
- The Digital Lottery: Almost every show has one. Hamilton is $10. Wicked is $35. It’s a gamble, but it works.
- The TKTS Booth: Yes, it’s touristy. Yes, the line is long. But if you want 50% off a show like Death Becomes Her or The Outsiders, it’s the only way to go.
- Rush Tickets: Show up at the box office the moment it opens (usually 10:00 AM). You can grab $30–$40 seats for big plays like Oedipus starring Mark Strong.
Actionable Next Steps for Your Broadway Trip
If you're planning to see a show this week, don't just wing it. Broadway is more "seasonal" than it used to be.
- Check the Cast: If you're going for a specific star (like Tom Felton or Carrie Coon), check their "out" dates. Many stars don't perform on Sunday evenings or specific matinees.
- Look at the Run Time: Harry Potter is a long sit. Oh, Mary! is 85 minutes with no intermission. Plan your dinner reservations accordingly.
- Prioritize the Revivals: Shows like Ragtime at the Vivian Beaumont are rare. They feature massive orchestras and huge casts that you just don't see in newer, "leaner" productions.
- Download the Apps: TodayTix is the standard, but checking the official show websites for "telecharge" or "ticketmaster" direct links can sometimes save you the "convenience" fees that aren't very convenient at all.
Broadway isn't just a street; it's an ecosystem. Whether you’re looking for a CGI-heavy spectacle or two robots falling in love in a 100-year-old theater, what's playing right now is a testament to how weird and wonderful New York can be.