How to Enjoy a Broadway Musical: A Theatergoer’s Guide
Originally written by ChicagoCritic.com founder Tom Williams. Updated for today’s theatergoers while preserving Tom’s perspective on what makes musical theatre work.
Tom Williams spent decades watching stage productions, from Chicago storefront theatre to major Broadway musicals. One idea shaped the way he approached them: arrive ready to engage with the show. His original 2002 essay mixed observations about how great musicals work with personal rules for enjoying them. Some of those rules remain useful; others reflected theatre-going habits of another era. This updated guide preserves Tom’s critical perspective while bringing the practical advice up to date.
What Makes a Great Broadway Musical Opening?
For Tom, the opening minutes of a musical were critical. His view was that a strong opening should tell an audience, in theatrical terms, what kind of story it is about to experience. The best openings establish tone, world, conflict and the language of the production—whether that language is song, dance, comedy, spectacle or something darker.
A musical combines book, music and lyrics, orchestrations, choreography, performance, design and lighting. When those elements point in the same direction from the beginning, audiences understand the world they have entered.
Fiddler on the Roof
Fiddler on the Roof makes its central idea clear immediately. “Tradition” introduces Anatevka, Tevye, the community and the customs holding that community together. It also prepares us for the central tension: what happens when tradition encounters change?
West Side Story
West Side Story establishes conflict largely through movement. The Jets and Sharks occupy and contest the same New York streets, and Jerome Robbins’ choreography turns escalating hostility into storytelling before conventional exposition is needed. The audience quickly understands that movement will be central to how this tragic story is told.
Gypsy
Gypsy introduces its theatrical world through children performing onstage—until Rose takes control. Her interruption establishes both her enormous personality and her determination to direct the lives and careers of her daughters. Even the famous overture contributes to the show’s brassy, show-business energy before the story gets fully underway.
Sweeney Todd
Sweeney Todd takes an even more direct approach. Its opening ballad announces the subject and immediately establishes the dark, ominous storytelling style that will govern the evening.
Guys and Dolls
Guys and Dolls quickly places us among gamblers and hustlers in Damon Runyon’s stylized New York. The rhythms, characters and comic worldview of the musical are apparent almost immediately.
My Fair Lady
In My Fair Lady, “Why Can’t the English?” establishes language, class and speech as central concerns. Professor Higgins’ obsession with pronunciation gives the audience the idea that will propel his relationship with Eliza and much of the story.
Crazy for You
Crazy for You was Tom’s personal all-time favorite musical. He loved its Gershwin score, tap dancing and comedy. Early in the show, “I Can’t Be Bothered Now” establishes Bobby’s desire to escape business obligations through dance and sets up the romantic, escapist spirit of the production.
A Funny Thing Happened on the Way to the Forum
During the pre-Broadway development of A Funny Thing Happened on the Way to the Forum, audiences were reportedly uncertain about how to respond to the show. Stephen Sondheim wrote “Comedy Tonight” as a new opening number, making the production’s farcical intentions unmistakable. The original Broadway production ultimately ran for 964 performances.
Modern Examples
More recent musicals demonstrate the same . “Alexander Hamilton” introduces Hamilton through a dense burst of character, biography, relationships and musical vocabulary. “No One Mourns the Wicked” establishes the world and central questions of Wicked while introducing dramatic irony that will matter throughout the story. “Welcome to the Rock” rapidly builds the people, place and communal storytelling style of Come From Away.
Tom Williams’ Rules for Enjoying a Broadway Musical
1. Expect to Enjoy the Show
Tom’s first rule remains his strongest: arrive hoping the production succeeds. He described himself as quietly cheering for the performers and allowing his willing suspension of disbelief to take over when the curtain rose.
That doesn’t mean turning off critical judgment. It means giving the artists a fair opportunity to create their world before deciding whether it works.
2. Decide How Much You Want to Know Beforehand
Tom originally advised listening to the entire cast recording several times before attending. Today, there is a good argument for either approach. Familiarity can help with a musically complex show, while going in fresh preserves discoveries, songs and plot developments.
If you want some preparation without spoilers, read an official synopsis or a little background on the production. A cast recording is the standard term for an album of songs recorded by a theatrical cast; “soundtrack” generally refers to music associated with a film or other recorded production.
3. Choose the Performance Time That Works for You
Matinees and evening performances are both full professional performances. Understudies, standbys and swings may appear at either, and their work is an essential part of professional theatre. Seeing a different performer in a role can also make a particular performance memorable.
Choose the date and time that best fits your schedule, budget and energy rather than assuming one performance time is inherently superior.
4. Choose a Seat That Fits the Production and Your Budget
There is no universally best seat. Orchestra seats provide proximity to the performers. Front mezzanine seats can provide excellent sightlines for choreography, scenery and larger stage pictures. Farther-back seats may offer substantially better value while still providing a satisfying view.
Check the individual theatre’s seating layout and consider the type of production you’re seeing. Our Chicago Theatre District Guide can help when planning a downtown Chicago theatre visit.
5. Arrive Early
Aim to arrive roughly 20–30 minutes before curtain, particularly at an unfamiliar theatre. That leaves time for security procedures, restrooms, finding the correct entrance and locating your seat without rushing.
Read the program or Playbill if you enjoy learning about the cast, creative team and production. Just remember that a synopsis can sometimes reveal more of the plot than you want to know.
6. Experience the Production on Its Own Terms
Tom called this “Don’t fight the show.” His point was to let a production reveal what it is trying to accomplish before comparing it with a movie, source novel or another staging. An adaptation or revival may deliberately make different choices.
Give the show time to develop before reaching a final judgment. As Tom liked to put it: let the show in.
Broadway Theatre Etiquette
Being engaged with the performance also means allowing the people around you to be engaged. A few simple habits make the experience better for everyone:
- Silence and put away your phone. A bright screen is distracting even when the device makes no sound.
- Avoid talking during the performance. Even whispered commentary can carry farther than you expect.
- Don’t sing along unless the production specifically invites audience participation.
- Open noisy candy or food before the performance when possible.
- Return to your seat promptly at intermission so you are ready when the second act begins.
- Don’t photograph or record the performance unless the theatre explicitly permits it.
- Applaud naturally. You don’t need to memorize a rulebook about when to clap; respond to the performance while remaining considerate of the people around you.
For clothing questions, see our guide to what to wear to the theatre in Chicago.
Should You Listen to the Cast Recording Before Seeing a Musical?
It depends on how you like to experience theatre. Hearing the score first can make a dense or musically complex production easier to follow, and some people enjoy anticipating favorite songs. Others prefer to encounter the music, staging and story together for the first time.
If surprises matter to you, consider sampling only a song or two or reading a spoiler-light overview. There is no requirement to study a musical before seeing it.
Where Is the Best Place to Sit for a Broadway Musical?
The orchestra and front mezzanine each have advantages. Orchestra seats put you closer to facial expressions and performance detail. A front-mezzanine view can be especially rewarding for dance-heavy productions or shows with elaborate scenic design because you can take in the entire stage picture.
Rather than following a fixed row-number rule, check the theatre’s layout, consider the production and balance view against price.
Is a Matinee Different From an Evening Broadway Performance?
Both are full professional performances. A cast substitution can occur at a matinee or an evening show, and understudies, standbys and swings are trained professionals prepared to perform the roles they cover. The better choice is usually whichever performance works best for your plans.
What About Revivals and Long-Running Shows?
Tom originally argued that revivals were often better than the originals because of contemporary talent. A more useful way to approach a revival is to ask what a new director, designer and group of performers reveal in familiar material. The best revivals can make an older work feel newly relevant without erasing what made it distinctive in the first place.
Similarly, a long Broadway run can indicate broad audience appeal, but longevity alone doesn’t determine whether you will enjoy a show. Consider the score, story, genre, creative team, cast, reviews and your own interests.
Expand the Kind of Theatre You See
One of Tom’s enduring recommendations was to broaden your range. Try traditional musicals, plays, revues, operetta, dance and opera—and don’t overlook Chicago’s storefront and independent theatre scene. Our guide to Chicago independent and non-Equity theatre companies is a good place to start.
Tom encouraged readers to see theatre regularly. Frequency matters less than curiosity: seeing different forms, companies and creative approaches gives you more ways to appreciate what artists are trying to accomplish.
For more musical-theatre exploration, browse our Inspirational Broadway Songs and 25 Musicals Worth Rediscovering.
Frequently Asked Questions
How early should I arrive for a Broadway musical?
Arriving about 20–30 minutes before curtain is a practical target. Allow extra time for an unfamiliar venue, security procedures, parking or public transportation.
Should I listen to the cast recording first?
Only if that improves the experience for you. Familiarity can help with a complex score, while going in without hearing the music can preserve surprise and discovery.
Where should I sit?
There is no single best location. Orchestra seats emphasize proximity, while front mezzanine seats can offer an excellent overview of choreography and scenic design. Compare sightlines and prices for the individual theatre.
Are Broadway matinees as good as evening performances?
Yes. Matinees and evening performances are both professional performances. Cast substitutions can occur at either.
Can I sing along during a Broadway musical?
Generally, no. Singing along can interfere with other patrons’ ability to hear the performers. Join in only when the production explicitly encourages audience participation.
What should I wear to a Broadway show?
Most contemporary theatres do not require formal attire. Clean, comfortable clothing appropriate for the venue and occasion is usually fine. See our Chicago theatre attire guide for more detail.
About This Article
Tom Williams originally published these observations in 2002. At the time, he noted that he had attended more than 650 stage productions over roughly four decades. His original rules reflected both that extensive theatergoing experience and the conventions of the period.
This version has been updated to reflect contemporary theatre-going while preserving Tom’s critical observations: great musicals tell us how to watch them, audiences get more from a show when they engage with it openly, and exploring different kinds of live performance makes us better theatergoers.
For Tom, entertainment mattered. If a production entertained him and drew him into its theatrical world, he believed it had accomplished something important.
Now all that remains is to get tickets to a show and enjoy it. In a small nod to Tom’s affection for Gypsy: everything’s coming up roses.
Le Chaim,
Tom Williams