Written by Emma Duchesneau
For as long as I can remember, theatre audiences have been well… older. I can still recall going to see shows like Joseph and the Amazing Technicolor Dreamcoat, Wicked, and Annie with my grandparents when I was younger, and the audiences were full of their friends and peers. Whether the result of high ticket prices or everlasting showtunes, this has been the norm for Broadway. That is, until Gen-Z entered the chat. Recently, there has been a shift in Broadway attendants. Is it driven by the influx of Broadway content on TikTok, celebrity-driven shows making them mainstream, or is it the fact that the actors on stage reflect the teens themselves?
Shifting the Narrative
In recent years, Broadway has been making a switch to storytelling featuring a new generation. Where before Broadway felt either catered to families with young children or avid theatre goers, this new wave of theatre is making teens feel seen. These shows are not trying to hit you over the head with morals or show off insane vocals; they are providing a glimpse into the life of teens. Shows like John Proctor is the Villain, All Nighter, Romeo+Juliet, and The Outsiders are exploring complex themes like being lost in your 20s, female friendships, consent, and found community.
John Proctor is the Villain (2025)
By Kimberly Belflower
Directed by Danya Taymor
As a high school class in Georgia gears up to study The Crucible, conversations surrounding power and consent in the play start to mirror those surrounding events unfolding in the community. A play born out of the #MeToo movement, this show offers strong female leads who work to create community and a safe space to combat the patriarchy. The play is balanced with comedic moments feeling just as natural as if we are overhearing them in the hallway at any high school in America. Belflower does an incredible job creating fierce, empathic, and empowered characters, showing young women and men alike the power they have when they use their voice and stand together.
John Proctor is the Villain does a great job blending in pop culture from the use of music like Lorde’s “Green Light” to discussions surrounding Taylor Swift. The casting of Sadie Sink also leans into the Gen-Z appeal, after her success in the show Stranger Things. While her casting seems strategic, the show operates with more of an ensemble, featuring numerous actors who are making their Broadway debut.
The show ends in a cathartic dance scene as the girls continue to fight for their voices to be heard, even as they stand up against a respected member of the community. It is emotional, electric, and powerful.
All Nighter (2025)
By Natalie Margolin
Directed by Jaki Bradley
This play follows 5 college students as they cram the night before finals, but this high-energy caffeine fueled study session leads the girls to question their friendships and their futures. The Off-Broadway cast featured 5 women, many of whom have recently had success with teen-centric TV shows and films such as Kristine Forseth’s role on The Society, Alyah Chanelle’s role on The Sex Lives of College Girls, and Havana Rose Liu’s role in Bottoms. The anxieties of impending deadlines and post-graduate plans lead the women to a jampacked night of gossip, backstabbing, and breakdowns. The overarching theme of the show is relatable to anyone with worries for the future after graduation. Will you still remain friends with your college friends? Where is everyone going to go? Are you the one who is going to be left behind?
Romeo + Juliet (2024)
By William Shakespeare
Directed by Sam Gold
They may kiss by the book; however, this rendition of William Shakespeare’s Romeo and Juliet was anything but. Gold’s vision for this production was angsty, rambunctious, and resembled that of an underground Berlin rave. With music by Jack Antanoff and a star-studded cast, Rachel Zegler as Juliet and Kit Connor as Romeo, this play was an instant hit amongst the youth. The addition of music is not uncommon for Shakespeare productions, but this one brought a pop flare that added an additional element to the show. This production aimed to make Shakespeare relevant, modern, and commercialized. The Gen-Z flourishes were apparent down to the smallest details like the teddy bears that adorned the stage, a Borg being present in the party scene, and the oversized Care Bear T-shirt Juliet wears to sleep.
While some may question if the production was doing too much, the numbers can speak for themselves. In Jesse Hassenger’s article from The Guardian, he shares that “the play managed to hit the youngest Broadway audience in recorded history, with 14% of ticket buyers in the 18 to 25 demographic, as opposed to an industry average of 3%.” The production also took off on TikTok, with clips from the show leaked online and edits made of the two leads. While filming during a show is technically prohibited, this online frenzy contributed to the show’s popularity.
The Outsiders (2023)
By Adam Rapp
Directed by Danya Taymor
A classic book in the 7th grade literature cannon has now become a full-fledged musical, ready to reach a new generation. Taking home 4 Tonys when it debuted, the show was a rapid success. The story follows the novel written by S.E. Hinton, reflecting the lives of two opposing groups of teenagers in 1960s Tulsa, Oklahoma. The musical explores themes of not belonging, coming-of-age, and social class. The story has withstood the test of time, spreading the message that it’s okay to not always fit in.
The music in the show is less of a traditional musical theatre sound and more folk, appealing to a wider audience. Its success with younger crowds can also be attributed to schools taking students to see the book they have been studying in class, brought to life on stage. Not only did the Broadway production provide many opportunities for young actors, but the touring productions continue to allow fresh talent to get their start. It is not too late to see the show, The Outsiders is still running on Broadway.
Why is this important?
The youth are our future. Not only is this phenomenon fostering an appreciation for Broadway from a new generation, but it is also giving a platform to young artists and their stories. In a highly competitive industry, it is important for young people to see themselves on stage and know that it is possible. The success of these shows paves the way for more productions featuring younger voices. If this trend continues, young actors will have more opportunities to audition for shows featuring their stories.
The Lee Strasberg Theatre & Film Institute champions youth-driven plays through the Clifford Odets Ensemble Play Commission. Produced by the Lee Strasberg Creative Center, the program commissions an emerging playwright each year to write an original ensemble play for college-age performers. Building on the legacy of the Group Theatre, the cast, playwright, and director function as a collaborative theatre company, bringing a bold new work to life each fall. Fun Fact: John Proctor is the Villain and The Outsiders director Dayna Taymor made her Off-Broadway directing Sarah Gancher’s The Place We Built, first written and developed at LSTFI as the 2013 Clifford Odets Ensemble Play Commission.
It is important to stay informed on what’s happening in the industry and in your community. Stay up-to-date on local theatre, what shows are coming to Broadway, and evolving industry trends.