Broadway: Jeremy Jordan to succeed Jonathan Groff in ‘Just in Time,’ Tony Awards back to Radio City, and more

A Broadway baton pass is coming—one with serious swing. Beginning April 21, Jeremy Jordan will step into the role of Bobby Darin in “Just in Time,” the immersive nightclub musical that quietly became one of last season’s surprise hits at Circle in the Square Theatre.

Jordan succeeds Jonathan Groff, who plays Darin through March 29, in a production that has turned Circle in the Square into a swinging supper club—complete with floor seating, banquettes, and a live band that puts audiences inches from the action.

For Jordan, who rose to fame following breakout performance as Jack Kelly in “Newsies,” the casting is the latest chapter in a long and varied Broadway run.. After performing the title role in “Floyd Collins” at Lincoln Center last season, he recently returned to the role of Jay Gatsby in “The Great Gatsby,” which he originated in 2024.

Jordan will play his final performance as Gatsby on March 7.

Tony Awards will return to Radio City

Broadway’s biggest night is heading back to one of its grandest rooms—host still TBD.

The 79th Annual Tony Awards will return to Radio City Music Hall on Sunday, June 7. The ceremony will broadcast live on CBS from 8 to 11 p.m. ET, with streaming available on Paramount+. Who will emcee the evening, however, remains an open question.

While the ceremony has often called Radio City home, in recent years it has frequently packed up and moved, landing at venues like the David H. Koch Theater at Lincoln Center, the United Palace Theatre in Washington Heights, and the Winter Garden Theatre on Broadway.

The eligibility cutoff for the 2025–2026 Broadway season is April 26, with nominations to be announced on May 5—dates that effectively turn late spring into a high-stakes sprint for producers and artists alike.

Wallace Shawn’s double-header

Inconceivable! Writer and actor Wallace Shawn will take on a rare Off-Broadway double-header — returning to the stage in his solo work “The Fever” while simultaneously premiering a brand-new ensemble play, both at the Greenwich House Theater.Photo by Efren Landaos/Sipa USA via Reuters

Writer and actor Wallace Shawn will take on a rare Off-Broadway double-header — returning to the stage in his solo work “The Fever” while simultaneously premiering a brand-new ensemble play, both at the Greenwich House Theater.

Beginning Feb. 16, Shawn will perform “The Fever” twice weekly on Sunday and Monday evenings. Running in repertory alongside it is “What We Did Before Our Moth Days,” which begins performances Feb. 4. Directed by Shawn’s longtime collaborator André Gregory, the new play stars Hope Davis, Maria Dizzia, John Early, and Josh Hamilton.

First performed in friends’ living rooms before premiering at the Public Theater in 1990, “The Fever” has become one of Shawn’s most unsettling works. Set in a grim hotel room in a poor nation, it follows a nameless narrator immobilized by illness as political repression unfolds just outside his window—and as he interrogates his own comfort, privilege, and moral complicity.

“Moth Days,” by contrast, widens the lens. Set among four intelligent, emotionally articulate middle-class characters, the new play explores love in all its suffocating and liberating forms.

West side venue to become ‘Music City’

Casey Shuler in “Music City,” which is coming to Broadway in March.Photo by Ashley Garrett

After an acclaimed Off-Broadway run, “Music City” is heading west—literally—transferring to a new venue just off Times Square that’s being refashioned into a full-blown Nashville honky-tonk.

The BEDLAM-born musical, which follows two young singer-songwriters navigating the highs and heartbreaks of the country music scene, begins performances on March 23 at 512 West 42nd St. near 10th Avenue.

For “Music City,” the address will moonlight as the Wicked Tickle—a working country bar designed to drop audiences straight into the show’s world of cheap beer, open mics, and big dreams.

The transfer is notable not just for where the show is going, but for where it comes from. BEDLAM is known for intimate productions of classic plays, performed in close quarters with minimal design and maximal focus on language and actors.

A gritty country musical steeped in contemporary Nashville songwriting is, on paper, about as far from BEDLAM’s usual lane as you can get.