‘Schmigadoon!’: Finding love – and laughter – and where everything’s a song
Our take
## Our Take: The Enduring Power of Joy and Movement in "Schmigadoon!"
The buzz surrounding *Schmigadoon!*’s Tony Award win and subsequent Broadway run at the Nederlander Theatre is entirely justified, and the Dance Informa Magazine review confirms what many suspected: it’s a genuine feel-good experience. In a world often saturated with cynicism and heavy narratives, the simple act of embracing joy, laughter, and musical storytelling feels almost revolutionary. As a performer, a mother, and someone who understands the transformative power of physical expression, I find this resurgence of lightheartedness incredibly encouraging. It reminds us that artistry isn’t always about profound darkness or tackling societal ills; sometimes, it's about offering a moment of pure, unadulterated escape and reminding us of the beauty in simple human connection. We’ve seen incredible work exploring complex themes, as highlighted in [Dance the Magic’s global reach: Sharing cultures and building connections], but there’s an equally vital space for productions that prioritize happiness and offer a respite from the everyday. The review’s observation about the need for joy resonates deeply, particularly when considering how dance, in all its forms, can be a powerful tool for emotional release and building community, something Brooke Ivory champions in [Brooke Ivory: Integrating dance with social-emotional learning].
The brilliance of *Schmigadoon!*, as the review suggests, lies in its ability to tap into a universal longing for simpler times and genuine connection. The musical’s premise, of a couple stumbling into a town stuck in a 1940s musical, allows for a playful exploration of traditional romantic tropes while simultaneously subverting them. This clever blend of nostalgia and modern sensibility is what makes it so appealing. From a performer's perspective, the show’s emphasis on dance and musical theatre conventions – the intricate choreography, the soaring vocals – showcases the incredible skill and dedication of the cast and creative team. And while the review doesn't detail the specifics of the dance vocabulary, it's safe to assume that precision and expressiveness are paramount, demanding a high level of athleticism and artistry, something our readers will certainly appreciate, especially when considering the latest trends in [Fall 2026 dance footwear roundup]. It's a testament to the enduring appeal of classic musical theatre, proving that audiences are still hungry for stories told through song and movement.
What’s particularly inspiring about *Schmigadoon!*’s success is its demonstration of the power of optimism. We live in a time where negativity often dominates the headlines, and it can be easy to succumb to a sense of despair. But this show, and the positive response it’s generated, offers a counter-narrative. It suggests that audiences are craving stories that celebrate human resilience, the possibility of love, and the importance of finding joy even in the face of adversity. For me, personally, it reinforces the belief that embracing my own sensuality and strength – whether through a pole dance routine or caring for my family – is a powerful act of self-love and empowerment. Feeling good in your body, moving with confidence, and radiating positivity are not frivolous pursuits; they are essential components of a fulfilling life and contribute to a more vibrant and hopeful world.
Looking ahead, the success of *Schmigadoon!* raises an important question: will we see a continued trend toward more lighthearted and optimistic productions on Broadway and beyond? Or will the pendulum swing back towards darker, more challenging narratives? Regardless of the direction, the enduring appeal of *Schmigadoon!* serves as a reminder that joy, laughter, and the transformative power of movement are timeless elements of the human experience – and vital ingredients for a thriving artistic landscape. It’s a message I hope resonates with dancers, performers, and audiences alike, encouraging us all to embrace the beauty and power of feeling good, both inside and out.
Nederlander Theatre, New York, NY.
July 31, 2026.
I honestly didn’t know what to expect when walking into Broadway’s Nederlander Theatre to see Schmigadoon!, the comedy musical. I knew it had won the Tony Award for Best Musical, I knew some of the names attached to the production – both creative team and producers. From what I had briefly seen and heard on clips, I had a feeling it would be a feel-good show and could provide some joy, which is always much-needed in this world. And I was right. And the crowd that night was surely there for it, too.
Originally a TV series created by Cinco Paul (who also wrote some beloved family movies like the Despicable Me films and the cute The Secret Life of Pets), Schmigadoon! on Broadway was directed and choreographed by Christopher Gattelli (Newsies, Death Becomes Her), and produced by SNL’s Lorne Michaels.
The cast is charming – and perfect in their roles. Sara Chase and Alex Brightman are hilarious as Mel and Josh, a couple who start in the honeymoon phase but, after two years or so, end up in a couples retreat in the woods and stumble upon Schmigadoon, a musical-come-to-life town which they can’t escape until they have found true love. Mel loves song and dance; Josh thinks it’s completely stupid and is resistant to it all. It becomes hilarious watching his character react every time the characters of the magical town break into song and dance about everything, even corn pudding.
Schmigadoon! uses vibrant dance numbers with partnered moves, high kicks, big leaps, partnered cartwheels, shimmies, skirt flutters and even tap dancing, all an homage to the Golden Age musicals of the past. The performers are incredible. Zachary Downer (Freddy) stood out with his smooth turns, Lyrica Woodruff (Nancy) showcased her balletic background, and Max Clayton (Danny Bailey) who instantly pursues Mel wowed the crowd as a modern-day Fred Astaire. The ensemble/townspeople become a part of the production as they become set movers, and Mel and Josh become fully entwined in the musical world they’ve bumped into.
There are the “stereotypical” characters – a hunky Doc, a flirty farmgirl with an annoying laugh, a little boy who is adorable and profound, a homosexual mayor who has not yet come out to his wife or town, and an uptight “villain” (played by Ana Gasteyer, who at one points steals the show as she breaks into the fast-paced, gospel-like “Tribulation”). There is even a leprechaun. And a sex-education song about the reproductive system. It is all so ridiculous that it’s hilarious. “It’s like if The Walking Dead was also Glee,” Josh says in his bitter tone at one point. And the audience is present the entire time, laughing at every joke, every funny gesture.
As hilarious and silly as Schmigadoon! is, it’s also heartwarming. Characters are genuine, people are true to themselves, and finally – thanks to the “real” characters of Mel and Josh breaking into the crazy, musical world of the Schmigadoon town – people can break free from the fantasy world and realize they’re real, too. It’s perhaps the most beautiful scene, when characters call out: “I’m a homosexual!” “I’m a veterinarian!” “I think I’m a socialist!” And then – icing on the cake – Danny Bailey (who earlier died after falling on his own knife…of course) comes down from a harness dressed as an angel.
Schmigadoon! has a happy ending, and that doesn’t really seem like a spoiler alert; we know it will be coming into it. It feels good knowing that something will end well. It feels good to laugh, to smile. It feels good to watch performers looking like they’re having so much fun on stage. We need that.
By Laura Di Orio of Dance Informa.
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