Forbidden Broadway
Forbidden Broadway is a satirical musical revue that spoofs popular Broadway shows, stars, and trends through clever parodies, song lyrics, and performances.[1] Conceived by Gerard Alessandrini with co-creators Nora Mae Lyng and Fred Barton, written and directed by Alessandrini, the revue debuted in January 1982 off-Broadway at Palsson's Supper Club in New York City, following a preview in November 1981.[2] Over its more than 40-year history, Forbidden Broadway has produced 25 editions, released 13 cast albums, and performed internationally in cities including London, Tokyo, Singapore, and Sydney.[1] The show updates its material annually to reflect current Broadway seasons, maintaining its relevance as a sharp commentary on musical theater.[2] Alessandrini's work on the revue has also inspired spin-offs, such as Spamilton: An American Parody in 2016 and Forbidden Hollywood in 1995.[2] In 2024, after 42 years off-Broadway, the revue made its Broadway debut with Forbidden Broadway on Broadway: Merrily We Stole a Song at the Hayes Theater.[3] The production has earned widespread acclaim, including a special Tony Award for Alessandrini in 2006, seven Drama Desk Awards, an Obie Award, an Outer Critics Circle Award, two Lucille Lortel Awards, a Drama League Lifetime Achievement Award, and the 2024 MAC Award for Best Musical Revue.[1] With performances in over 200 cities worldwide, Forbidden Broadway remains a celebrated staple of musical theater entertainment, known for its witty humor and musical talent.[4]Overview
Concept and Format
Forbidden Broadway is an Off-Broadway musical revue that satirizes Broadway productions, performers, and industry practices through humorous parodies of songs, sets, scores, and marketing strategies.[5] The show targets both contemporary hits and classic musicals, often highlighting theatrical excesses and clichés with affectionate yet pointed mockery.[6] Conceived as a fast-paced entertainment, it features altered lyrics set to familiar Broadway melodies, delivered in a style that blends cabaret intimacy with revue energy.[7] The format typically involves four performers who portray multiple characters, supported by a single onstage pianist providing all musical accompaniment.[8] Running approximately 90 minutes without intermission, the production consists of interconnected sketches, parody songs, and brief dialogue transitions that keep the pace brisk and the audience engaged.[9] This minimalist setup emphasizes quick changes, exaggerated costumes, and versatile acting, allowing the cast to impersonate stars and ensemble roles in rapid succession.[10] Over time, the parody style has evolved from broad, slapstick spoofs of 1980s megamusicals like Cats and The Phantom of the Opera to more incisive critiques of production elements, such as overly elaborate sets, repetitive scores, and aggressive promotional tactics.[11] Early editions focused on celebrity impressions and visual gags, while later iterations incorporate timely commentary on industry trends, including award shows and adaptations, maintaining a balance of humor and homage.[5] This progression reflects the show's adaptability to Broadway's changing landscape, ensuring its satire remains relevant across decades.[12]Creators and Development
Gerard Alessandrini, born on November 27, 1953, in the Boston area, is the primary creator of Forbidden Broadway, serving as its conceiver, writer, director, and lyricist. After graduating from the Boston Conservatory of Music in 1977, Alessandrini began his early career in theater parody during the late 1970s, performing satirical cabaret sketches in New York venues. These informal performances laid the groundwork for his approach to musical theater satire, drawing on his deep fandom of Broadway shows to craft humorous critiques of their tropes, stars, and productions.[13][14] The development of Forbidden Broadway evolved from these cabaret origins into a structured revue concept by 1981, with Alessandrini collaborating closely with key figures to refine the format. Fred Barton handled musical direction for the nascent production, adapting Broadway melodies for parody purposes.[14][15] Early performers such as Nora Mae Lyng brought the sketches to life in trial runs, helping Alessandrini test and expand the material into a cohesive off-Broadway show that debuted in 1982. This collaborative process emphasized quick-witted adaptations that could evolve with current theatrical trends.[15] Alessandrini's philosophy on parody centers on affectionate satire, intended as a loving tribute to Broadway rather than malicious mockery, ensuring the humor honors the art form it critiques. He has described the work as stemming from admiration, using exaggeration to highlight the excesses and charms of musical theater without undermining its essence. This approach, influenced by his own experiences as a performer and enthusiast, positioned Forbidden Broadway as a celebratory mirror to the industry from its inception.[10][14]History
Original Production and Early Runs
The revue Forbidden Broadway premiered on January 15, 1982, at Palsson's Supper Club, a 130-seat venue on New York City's Upper West Side, marking the start of its long-running success as a satirical take on Broadway musicals.[16] The original production featured a small cast of versatile performers, including Nora Mae Lyng, Bill Carmichael, and Chloe Webb, with creator Gerard Alessandrini initially appearing onstage alongside them; the show was accompanied by a solo pianist, Fred Barton, who served as music director.[15][17] Conceived as a low-budget cabaret act for out-of-work actors, it quickly gained traction through word-of-mouth among theater insiders, filling the intimate space despite minimal advertising and no major star power.[15] The initial run at Palsson's lasted over five years, accumulating 2,332 performances by August 30, 1987, making it one of the longest-running Off-Broadway shows of its era.[18][19] To keep pace with evolving Broadway trends, the production underwent its first major revision in October 1983, incorporating fresh parodies of emerging hits like La Cage aux Folles, which had opened earlier that year and become a Tony-winning sensation.[20][21] Subsequent updates followed, with a total of three significant revisions during the original run that added skewers of 1980s staples such as Les Misérables, reflecting Alessandrini's ongoing role in writing and directing the evolving material.[22] These changes not only refreshed the revue's content but also sustained audience interest, as the show adapted to mock new productions, stars, and theatrical tropes without losing its core format of four actors in quick-change costumes delivering song parodies.[23] As the run progressed, venue transitions became necessary due to the club's closure; in September 1987, Forbidden Broadway relocated to the Orpheum Theatre on Second Avenue, continuing its momentum into the late 1980s before further moves to spaces like the newly renamed Triad Theatre (formerly Palsson's).[24] The production's box office success stemmed from its affordability—tickets started at $25—and cult appeal within the theater community, where celebrities and critics became regulars, driving repeat business despite early financial constraints like self-funded costumes and sets.[15] Challenges included operating on a shoestring budget that relied on performer multitasking and occasional cast changes, yet this scrappy approach fostered an authentic, insider energy that propelled its growth from a niche cabaret to an Off-Broadway institution.[25]Subsequent Editions and Revivals
Following the original production's extended run, Forbidden Broadway saw its first major revival in 1989 at the Criterion Center, where it updated its satirical sketches to target contemporary Broadway hits like Les Misérables and Phantom of the Opera.[26] This edition maintained the revue's core format of quick-hitting parodies while adapting to the evolving theater scene, running for several months off-Broadway.[27] The show continued to evolve through the 1990s with editions like Forbidden Broadway Strikes Back! (Vol. 4) in 1996, which lampooned shows such as Sunset Boulevard and Show Boat, emphasizing the era's megamusical trends and star-driven revivals.[28] By 1996, Forbidden Broadway Strikes Back! (often referred to as Vol. 4 in recordings) expanded on these themes, incorporating spoofs of Hollywood crossovers and Broadway's commercialization, performed at venues like the Theater Off-Broadway. Entering the 2000s, the 2002 edition, subtitled Rude to Broadway, shifted tone to more irreverent critiques of post-9/11 Broadway recovery efforts and hits like Mamma Mia!, playing at the Stardust Theater.[29] The 2007 edition, Forbidden Broadway: Rude Awakening, marked the 25th anniversary with a retrospective of classic parodies alongside new ones for Wicked and The Lion King. The subsequent 2008–2009 edition, Forbidden Broadway Goes to Rehab, staged at the 47th Street Theatre, closed on March 1, 2009.[30] The 2010s brought further adaptations, including Alive and Kicking! in 2012 at the Theater at St. Clement's, which parodied emerging spectacles like The Book of Mormon and Spider-Man: Turn Off the Dark.[31] In 2014, Comes Out Swinging opened at the Davenport Theatre, targeting revivals such as Cabaret and new musicals like Kinky Boots, later transferring to London's Menier Chocolate Factory and Vaudeville Theatre for an 11-week run that introduced British audiences to updated sketches.[32][33] This edition highlighted venue shifts to more intimate off-Broadway spaces amid rising production costs. The 2019 The Next Generation at the Theater at St. Clement's focused on millennial-era Broadway, including parodies of Hamilton and jukebox musicals like Beautiful: The Carole King Musical.[34] International expansions included a 1989 London production at the Fortune Theatre, which ran for two-and-a-half months; a 1999 production at the Albery Theatre (now [Noël Coward Theatre](/page/Noël Coward Theatre)) spoofed West End favorites alongside Broadway imports.[35] A Tokyo production in 2000 adapted the revue for Japanese audiences, incorporating local theater references while retaining core Broadway satires.[17] Overall, Forbidden Broadway has toured to over 200 U.S. cities, with productions in regional theaters and supper clubs sustaining its reach beyond New York.[36] The COVID-19 pandemic caused a pause in new editions from 2020 to 2022, halting live performances amid theater shutdowns.[37] Productions resumed with the 2023-2024 Forbidden Sondheim: Merrily We Stole a Song at Theater 555. In 2024, a planned Broadway debut was indefinitely postponed due to economic concerns, and the production opened off-Broadway instead, running through November 2024.[8][38] Conceived, written, and directed by Gerard Alessandrini, the edition parodies recent hits like Stereophonic and Hell's Kitchen. As of 2025, Merrily We Stole a Song embarked on a U.S. tour, with performances at venues including the Emerson Colonial Theatre in Boston (February 8-9), the Denver Center for the Performing Arts (May 28-June 29), and the Alberta Bair Theater in Billings, MT (December 6), among others, adapting sketches to reflect post-pandemic Broadway trends.[39][1][40]Content and Parodies
Structure of Revues
Forbidden Broadway revues typically unfold in two acts separated by an intermission, encompassing 15 to 20 musical sketches that parody Broadway productions, performers, and trends.[41][42] Each act builds through a series of rapid-fire numbers, often starting with an opening medley or ensemble song that introduces the show's satirical premise, such as critiquing the season's hits or Broadway's excesses.[42] The revues lack an overarching narrative plot, instead relying on loose thematic connections—frequently organized chronologically by Broadway history or grouped around contemporary events—to create a sense of progression through the sketches.[43] Acts conclude with larger ensemble pieces that tie together recurring motifs, culminating in a finale that reinforces the revue's humorous commentary on the theater world.[42] The content is primarily scripted, with Gerard Alessandrini providing parody lyrics set to familiar Broadway melodies, ensuring tight pacing and precision in live performances.[44] This scripted foundation is balanced by opportunities for ad-libs and spontaneous interactions, particularly in response to audience reactions or timely Broadway news, allowing performers to inject immediacy into the show while maintaining its core structure.[44] Such elements enhance the revue's vitality without derailing the sequence of sketches. Central to the format are the performers' use of costumes, props, and quick changes, enabling a small cast—usually four or five actors—to portray dozens of characters across sketches.[45] A single performer might cycle through 15 to 20 outfits per show, featuring exaggerated wigs, accessories, and wardrobe pieces that mimic stars like Idina Menzel or Neil Patrick Harris, often executed in seconds backstage to sustain the frenetic rhythm.[45][42] Props, such as toy swords or mock awards, further amplify the visual gags, transforming minimal staging into a vibrant pastiche of Broadway spectacle. While most editions adhere to this two-act framework, variations occur to suit thematic focuses; for instance, the 2023 Forbidden Sondheim: Merrily We Stole a Song adopted a more unified structure with a recurring Sondheim character linking sketches, presented in a single 80-minute act without intermission to emphasize its tribute to the composer's oeuvre.[46] This edition opened with a medley-style number impersonating icons like Ethel Merman and closed with an ensemble homage, diverging from the standard timeline-based flow to prioritize Sondheim's works and collaborators.[46]Notable Parodies Across Editions
Early editions of Forbidden Broadway prominently featured spoofs of 1980s megamusicals, particularly those by Andrew Lloyd Webber, highlighting the excesses of spectacle-driven theater. A notable parody targeted Cats with a satirical take on "Memory," mocking the show's feline costumes and repetitive choreography as emblematic of commercial pandering to audiences.[47] Similarly, Starlight Express was lampooned for its train-themed absurdity, with performers exaggerating the roller-skate antics to critique the era's trend toward high-tech gimmicks over substance.[27] These sketches underscored recurring themes of commercialization, portraying Webber's works as formulaic cash cows that prioritized visual flair over narrative depth.[48] In the 1990s and 2000s, the revue shifted focus to emerging hits and star-driven productions, satirizing the blend of artistic ambition and celebrity ego. Rent faced sharp ridicule in songs like "Rant," which parodied "Seasons of Love" to expose the show's bohemian pretensions and overexposure as a cultural phenomenon.[49] The Lion King was skewered for its Disney-fied spectacle, with sketches exaggerating puppetry and circle-of-life motifs to decry the corporatization of Broadway by theme-park aesthetics.[48] Impressions of stars like Patti LuPone and Nathan Lane added layers of celebrity critique, portraying LuPone's diva persona in exaggerated belting numbers and Lane's comedic timing in The Producers-inspired bits that mocked award-chasing egos.[50] These parodies often wove in themes of celebrity culture, lampooning how personal stardom overshadowed ensemble storytelling.[51] The 2010s and 2020s editions expanded to contemporary blockbusters, incorporating social commentary on diversity and industry trends alongside traditional spoofs. Wicked was hilariously twisted in "Wickeder," a send-up of "Defying Gravity" that poked fun at the show's witchy empowerment anthems and merchandising empire.[52] Later productions targeted Hamilton through extensions like Spamilton, but core revues included nods to its rap-infused patriotism, while "Dear Evan Has-Been" parodied Dear Evan Hansen's anxious teen narrative and viral emotional manipulation.[53] Hadestown and Moulin Rouge!! faced satire for their mythic romance and jukebox excess, respectively, critiquing how spectacle often masked thin plots.[53] The 2023 edition, Forbidden Broadway: Merrily We Stole a Song, centered on Sondheim revivals, with "Merrily We Stole a Song" spoofing Into the Woods and Sweeney Todd to honor yet rib the composer's intricate legacy amid revival hype; this edition continued with Off-Broadway runs in 2024 and tours through 2025.[54] Throughout these years, recurring themes evolved to include diversity issues, as seen in jabs at "woke" casting and tokenism in modern productions, alongside ongoing barbs at commercialization and celebrity worship that define Broadway's cultural machine.[55]Recordings and Media
Cast Albums and Soundtracks
The cast albums of Forbidden Broadway document the revue's evolving parodies through a series of official recordings, primarily released by DRG Records, capturing the satirical adaptations of Broadway musicals with new lyrics by creator Gerard Alessandrini set to adapted scores arranged by music directors such as Fred Barton for early volumes.[17][15] The first recording, from the 1984 Off-Off-Broadway cast, features 14 tracks parodying shows like Evita and Annie, recorded in studio with performers including Alessandrini himself, emphasizing the show's cabaret-style intimacy through piano-led arrangements and vocal impressions.[17] Subsequent volumes blend live performance captures with studio overdubs to preserve the revue's energetic timing and humor, allowing for polished vocal tracks while retaining the raw satirical edge.[56] Over the decades, more than a dozen albums have been produced, each tied to specific editions of the revue and reflecting contemporary Broadway targets. The series includes:| Volume/Title | Release Year | Label | Key Details |
|---|---|---|---|
| Forbidden Broadway (Vol. 1) | 1984 | DRG Records | Off-Off-Broadway cast; 14 tracks, studio recording conducted by Fred Barton.[17] |
| Forbidden Broadway, Vol. 2 | 1991 | DRG Records | Studio cast; 25 tracks parodying 1980s hits like The Phantom of the Opera.[57] |
| Forbidden Broadway, Vol. 3 | 1993 | DRG Records | Off-Off-Broadway cast; focuses on early 1990s productions.[58] |
| Forbidden Broadway Strikes Back (Vol. 4) | 1996 | DRG Records | Original Off-Broadway cast; includes parodies of Sunset Boulevard.[59] |
| Forbidden Broadway Cleans Up Its Act! (Vol. 5) | 1998 | DRG Records | Original Off-Broadway cast; 25 tracks targeting The Lion King and others.[60] |
| Forbidden Broadway: 20th Anniversary (Vol. 6) | 2000 | DRG Records | Original Off-Broadway cast; compilation with seven new tracks.[61] |
| Forbidden Broadway 2001: A Spoof Odyssey (Vol. 7) | 2000 | DRG Records | Original Off-Broadway cast; previews Y2K-era parodies.[62] |
| Forbidden Broadway: Special Victims Unit (Vol. 8) | 2005 | DRG Records | Original Off-Broadway cast; satirizes Wicked and Avenue Q.[63] |
| Forbidden Broadway: Rude Awakening (Vol. 9) | 2007 | DRG Records | 25th Anniversary cast; 21 tracks including Sondheim Tonight.[64] |
| Forbidden Broadway Goes to Rehab (Vol. 10) | 2008 | DRG Records | Original Off-Broadway cast; addresses 2008 Broadway revivals.[65] |
| Forbidden Broadway: Alive and Kicking (Vol. 11) | 2012 | DRG Records | Original Off-Broadway cast; studio-recorded with overdubs for clarity.[66] |
| Forbidden Broadway Comes Out Swinging! (Vol. 12) | 2014 | DRG Records | Original Off-Broadway cast; parodies The Book of Mormon.[67] |
| Forbidden Broadway: The Next Generation (Vol. 13) | 2020 | DRG Records | Original Off-Broadway cast; final pre-pandemic release.[68] |
Publications and Adaptations
In 2009, Gerard Alessandrini, the creator of Forbidden Broadway, co-authored the book Forbidden Broadway: Behind the Mylar Curtain with Michael Portantiere, published by Applause Theatre & Cinema Books, an imprint of Hal Leonard Corporation. This volume chronicles over 25 years of the revue's evolution across its numerous editions, featuring selected scripts, parody lyrics, production photographs, and behind-the-scenes anecdotes from cast members, directors, and Alessandrini himself. The book serves as a comprehensive textual archive, highlighting the satirical structure and key parodies while offering insights into the creative process behind the show's longevity.[72] Parody songs from Forbidden Broadway are available for licensing through Theatrical Rights Worldwide (TRW), which handles performance rights for editions like Forbidden Broadway's Greatest Hits. This includes access to vocal parts, piano/conductor scores, and instrumentation such as bass and drums, enabling amateur and professional productions worldwide. While the parodies often adapt existing musical theater scores rather than creating original compositions, these materials facilitate staged revivals and educational uses. Hal Leonard Corporation, as a major publisher of theatrical works, distributes related sheet music and librettos tied to the revue's content.[73][74] Non-stage adaptations of Forbidden Broadway material have been limited, with no major feature films produced, though cabaret-style spin-offs and excerpted performances have appeared in intimate venues. Television exposure includes promotional appearances, such as cast segments on morning shows parodying specific Broadway hits like Les Misérables, and archival footage shared online. Web videos, including full song clips and behind-the-scenes content on platforms like YouTube, have extended the revue's reach, often featuring performers from various editions recreating iconic spoofs.[75] International adaptations have localized the revue for non-U.S. audiences, incorporating region-specific parodies while retaining the core satirical format. In the United Kingdom, productions at venues like the Menier Chocolate Factory in 2009 and the Vaudeville Theatre in 2014 adapted sketches to target West End shows, such as Les Misérables and The Book of Mormon, with British performers delivering translated or culturally attuned humor. In Japan, a dedicated edition toured in the mid-1990s, including a 1995 cast recording titled Forbidden Broadway: The Japan Edition, which featured parodies tailored to Tokyo's theater scene and resulted in sold-out runs. These versions, seen in cities like Tokyo and London, demonstrate the revue's adaptability beyond Broadway.[33][76][77]Reception and Legacy
Awards and Honors
Forbidden Broadway has received numerous accolades over its long history, recognizing its satirical contributions to musical theatre. In 2006, the production and its creator, Gerard Alessandrini, were awarded the Tony Honor for Excellence in the Theatre for 25 years of contributions to the Broadway community. In 1997, Alessandrini received the Lucille Lortel Award for Outstanding Body of Work. The production also won the 2024 MAC Award for Best Musical Revue.[1] The revue has won the Drama Desk Award multiple times, including four for Outstanding Revue: in 2001 for Forbidden Broadway 2001: A Spoof Odyssey, in 2005 for Forbidden Broadway: Special Victims Unit, in 2008 for Forbidden Broadway: Rude Awakening, and in 2025 for Forbidden Broadway: Merrily We Stole a Song.[73][78][79] It also received two Drama Desk Special Awards in 1985 and 2009 for its unique theatrical impact.[80] Additionally, Alessandrini earned two Drama Desk Awards for Outstanding Lyrics, including for Forbidden Broadway Cleans Up Its Act! in 1999.[81] The production has garnered multiple Drama Desk nominations for writing and direction across its various iterations.[82] Other honors include the 1982 Outer Critics Circle Award for Best Off-Broadway Musical for the original production.[83] In 1993, it won the Lucille Lortel Award for Outstanding Musical.[84] The 1992 Obie Award Special Citation was given to Forbidden Broadway for its sustained excellence.[85] Alessandrini received the Drama League's Distinguished Achievement in Musical Theatre in 1997, later honored with a Lifetime Achievement Award from the organization.[86][13]| Award | Year | Category | Edition/Details |
|---|---|---|---|
| Tony Honor for Excellence in the Theatre | 2006 | Special Honor | Forbidden Broadway and Gerard Alessandrini |
| Lucille Lortel Award | 1997 | Outstanding Body of Work | Gerard Alessandrini |
| Drama Desk Award | 2025 | Outstanding Revue | Merrily We Stole a Song |
| Drama Desk Award | 2008 | Outstanding Revue | Rude Awakening |
| Drama Desk Award | 2005 | Outstanding Revue | Special Victims Unit |
| Drama Desk Award | 2001 | Outstanding Revue | 2001: A Spoof Odyssey |
| Drama Desk Special Award | 2009 | Special Achievement | General |
| Drama Desk Special Award | 1985 | Special Achievement | Original run |
| Drama Desk Award for Outstanding Lyrics | 1999 | Outstanding Lyrics | Cleans Up Its Act! |
| Drama Desk Award for Outstanding Lyrics | 1997 | Outstanding Lyrics | Strikes Back |
| Outer Critics Circle Award | 1982 | Best Off-Broadway Musical | Original production |
| Lucille Lortel Award | 1993 | Outstanding Musical | General |
| Obie Award | 1992 | Special Citation | Sustained excellence |
| Drama League Award | 1997 | Distinguished Achievement in Musical Theatre | Gerard Alessandrini |
| MAC Award | 2024 | Best Musical Revue | General |