Nothing Like Broadway!

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Nothing Like Broadway! combines modern sensibilities with some old-fashioned influences into a unique and charming show. The narrative follows Milo, played by Tyler Tanner (The Lightning Thief: The Percy Jackson Musical national tour, Shakespeare in Love), who works the lights at a theater but dreams of singing on stage. That classic narrative of the unconfident protagonist looking to prove himself ends up crashing into a Cold-War-style spy thriller when Bixby, a debonair British spy played by Marek Zurowski (West Side Story, The Phantom of the Opera world tour), has to hide out at the theater.

Things spiral into delightful absurdity from there, culminating in a 20-minute continuous 11 o’clock number, which manages to be a total blast throughout. The show takes several big swings of this nature. Though not all of them pan out as well as that one, Rosie Corr’s (Harmony, Waitress) stellar choreography, David Rackoff’s (I Am Bad, The Chase Lounge) clever lyrics/book/music, and the pair’s co-directing decisions make Nothing Like Broadway! an infectiously fun show.

Rackoff’s book showcases a real knack for details. The show’s winding plot all comes together in the end, leaving no loose ends. Every character has his or her emotional journey, learns a lesson, and realizes the motivation.

His music is similarly thoughtful, bringing back motifs in new ways while his lyrics remain grounded in the storyline. The songs fit their place within the narrative and (mostly) follow the usual rule of characters singing when they can’t hold in their emotions any more.

The show’s co-directors, Corr and Rackoff, orchestrate some very original  blocking, creating an excellent sense of space, whether the characters are meant to be right next to each other or a building’s distance away. The actors are sometimes even placed in unexpected spots, from the first row of the audience to the lighting booth, leading to some well-done gags and dramatic moments. The stage itself (overseen by production stage manager Siena Yusi) opts for multi-purpose set pieces and backgrounds that focus more on color and emotion than details, such as when a character is introduced with mostly-dim lighting except for a bright red light-up background behind her (lighting by Corr from a plot design by Ivey Walker). All of this skillful lighting design, stage setup, and directing make the production feel impressively big and complex.

The show is at its best when it leans into being a chaotic meta-comedy, barreling from one big idea to the next. Zurowski does an excellent James Bond pastiche as Bixby. His over-the-top performance is a delight, with his chin jutting out and projection of ridiculous overconfidence. To introduce himself he sings “The World’s Most Famous Spy,” a song whose title is an always-funny recurring line in the show.

Similarly, Josey Miller (Love in Idleness) is a riot as Kishka, the Russian spy chasing Bixby. Some of the best jokes in the show are simply her facial expressions and reactions to things. Her comedic timing and physicality are truly excellent. Miller also brings some wonderfully aggressive body language to “You Only Love Me for My…,” Kishka’s cabaret-style song about her love life. The one low point is that Miller’s singing on Kishka’s second solo tune, “What If There Were No More Villains?” isn’t nearly as strident as it is on the first. Her banter with Bixby is always hilarious, and their song together, “In Another Universe,” is one of the best songs of the show. The tune sees the rival spies wonder about what their lives and relationship could’ve been like if only they weren’t pitted against each other. The pair match each other’s energy perfectly, bringing both humor and unexpected sincerity to the duet.

While the music is overall quite strong, there are a few songs that drag the first act down. Act 1 closes with “If I Could Sing My Feelings,” a solo number for Tyler Tanner whose character Milo is in the process of finding his confidence. Tanner is a great singer and he performs it well, but the song itself is a bit underwhelming. In the entire first act, the character is afraid to step into the spotlight (sometimes literally), and yet when he finally does so, it ends up being one of the least memorable songs in the show. Similarly, “The Squeedle Song,” an ensemble number about a fictional app that does everything, is deeply grating. One can understand the attempt at parody, but the song ends up a speed bump of repetitive bad jokes.

Even in moments where the songs themselves might stumble, Corr’s choreography never misses a step. “The World’s Most Famous Spy” features a bit of slapstick prop comedy in between synchronized dance steps, while “The Chase” sees the entire cast moving in a continuous line and singing while tossing items to the person behind them. Each of the four character’s movements feel entirely distinct, whether walking or dancing. Tanner and Mychal Phillips (Anything Goes, Legally Blonde), in particular, do a great job performing the choreography.

The music itself hews to traditional instrumentation, and the production features a live band who all perform nicely. Music director Joseph Ivan (Sunset Boulevard, Elf) leads the band from the stage itself, where he plays the piano and also takes on a minor role as Annabelle and Milo’s gruff boss, a choice that is used for some fun meta-humor at points in the show.

Phillips is excellent as Annabelle, a struggling singer with dreams of fame. Phillips gives the character an entertaining self-centeredness, letting Annabelle hold her own against Bixby and Kishka’s equally-large egos. All three bounce off each other quite well. Annabelle changes a great deal over the course of the show, and Phillips is able to embody that dramatic shift quite well without ever losing sight of the character’s emotional center. Phillips is also a strong singer, leading the opening number with gusto.

Tanner’s performance is similarly strong. Milo’s demeanor is much softer and more grounded compared to the rest of the cast, but Tanner is never lacking in stage presence. In his romance with Bixby, he often feels like the bigger personality, especially in their songs together. Indeed, he frequently feels like he’s leading the debonair secret agent, not the other way around.

Overall, Nothing Like Broadway! is a sincere love letter to the art form of musical theater. The show is a magnificently chaotic good time, despite a few setbacks here and there. One can’t help but be charmed by the show’s total commitment to its own zany antics. It might not be quite as polished as Broadway, but it leaves one wanting more just the same.

Nothing Like Broadway! (through November 23, 2025)

Marjorie S. Deane Little Theater, 10 W 64th St, New York, NY, 10023

For tickets, visit http://www.nothinglikebroadway.com

Running time: two hours and 20 minutes including one intermission