The Next Stage
Broadway in Cincinnati 2022-23 Season
Tina: The Tina Turner Musical
Oct 25–Nov 6, 2022
Jesus Christ Superstar
Dec 6–18, 2022
Anastasia
Jan 3–15, 2023
Annie (season option)
Feb 7–12, 2023
Tootsie
March 7–19, 2023
Jagged Little Pill (season option)
March 28–April 2, 2023
Hadestown
April 18–30, 2023
Moulin Rouge! The Musical
May 17–June 4, 2023
Prepare for your favorite stories from music, mythology and movies to take the stage as gender-bending, gospel-singing, mashup-bringing musicals come to the Aronoff Center for Broadway in Cincinnati’s 2022-23 season.
But before we get to the next season, remember that Hamilton rounds out the 2021–22 season with an almost month-long run from Sept. 6 to Oct. 2. Tickets – especially for weekday performances – still remain.
Now, let’s get a sneak peek into some of the upcoming shows.
Tina: The Tina Turner Musical
The season kicks off with Tina: The Tina Turner Musical, which chronicles the life and legacy of Nutbush, Tennessee’s favorite daughter: the former Anna Mae Bullock. The show takes us through her transformation into the Tina Turner who graces stages and breaks barriers, while overcoming abuse and discrimination along the way.
Her volatile and violent relationship with Ike Turner is the focus of the first act. And you know what that means: time for a redemptive Act II. You’ll dance in your seat and sing along to Tina’s iconic songs, and the show’s finale is something special. If you love a jukebox musical (and who doesn’t), you might find yourself calling this one “Simply the Best.”
Anastasia
The legendary story of the Imperial Romanovs of Russia and their “lost princess” has been the subject of books, movies ,and an animated classic. Now, Anastasia takes the stage in a Broadway show that’s perfect for all ages.
Fans of the animated movie will recognize some of the classic songs like “Journey to the Past,” but 16 new songs by Lynn Ahrens and CCM grad Stephen Flaherty make the stage production feel even bigger. LED projection screens create and ever-changing background – and such a realistic experience during a train scene that I saw a patron in the front row of NYC’s Broadhurst Theatre get physically ill.
I promise this show won’t make you sick, though. Quite the contrary: you’ll find yourself humming song like“Once Upon and December” and “My Petersburg” for days.
Hadestown
Broadway delves into the mythology of Hades and Persephone, Orpheus and Eurydice. Thankfully, the Playbill offers a brief primer for those of us a bit removed from our studies of Greek gods.
This show chronicles these two couples on opposite ends of their own journeys; one pulling apart, one coming together. The story is set on earth and “way down” in Hadestown, and the juxtaposition of the two play out in sets, costumes, lighting and choreography.
Hadestown even takes the form of ancient Greek plays, with a narrator, Hermes, known in mythology as the messenger of the gods. The Three Fates at times tempt, and at others, shame the main characters for their actions. The ensemble takes the role of the Greek chorus, hammering home the show’s message and furthering the story.
Hadestown is beautiful performance that explores love and loss, and offers hope amid its despair. It’s one of those shows you could watch over and over and see something different each time.
Moulin Rouge! The Musical
Wrap a glitzy visual extravaganza in catchy “Glee”-style song mashups – and you’ve got Moulin Rouge. It’s based on Baz Luhrmann’s 2001 movie about a young Englishman in 1899 Paris who meets mysterious dancer at the can-can revue.
The story is secondary to the music, though. Yes, you’ll hear “Lady Marmalade,” as well about 576 other recognizable songs. Your brain will be doing somersaults trying to pick out each one, and by then, they’re on to the next.
The sets, costumes and lighting are among the best you’ll see on stage - and if excess is what you’re looking for, you’ve found it. The show is recommended for ages 12 and up, but I might lean a little older than that. Moulin Rouge is a visual and aural spectacle and it owns it.
– Kathrine Nero