Wednesday, June 27, 2018


Directed and choreographed by Susan Stroman
Open: 23.05.2018 - Off-Broadway
Photos by Carol Rosegg and Sara Krulwich

Stroman’s eloquent choreography speaks volumes without saying a word. All the dancers display the inventive wit, emotive force, and unsurpassed beauty that characterize the show. Stroman offers an exquisite synthesis of drama, dance, and music. It all adds up to one enthralling experience in the theater."
- Deb Miller, DC Metro Theater Arts  

Stroman’s choreography is balletic and elegant. Kander’s music is equally tender. The cast is excellent."
- Jesse Oxfeld, New York Stage Review  

"Directed and choreographed by Susan Stroman, who always exudes great finesse in allowing storytelling to blend from spoken word to musical interpretations, the 100-minute one-act is beautifully touching and bittersweet."
- Michael dale, Broadway World

Sunday, March 13, 2016


Directed by Susan Stroman
Open: 23.02.2016 - Off-Broadway
Photos by Sara Krulwich & Carol Rosegg

"But Ms. Stroman’s streamlined direction, which sometimes has the snappy rhythms of musical comedy (there is even a brief dance break), keeps the play from tilting too far toward the soap operatic, or for that matter the sitcomic. The rapprochement between Donnie and Adam in the second act runs a tad long and approaches the treacly, but when the focus is on Dotty and her family’s reckoning with her disease, the play is on firm footing, and consistently generates laughter." 
in The New York Times by Charles Isherwood

"Encompassing themes of sexuality, family and race — "I'm a black man in America, I own trauma," Donnie exclaims at one point — the play is too wildly uneven to have much of an impact. Director Susan Stroman (The Producers, Crazy for You, The Scottsboro Boys) does little to help, her over-emphatic staging reflective of the musicals that are more in her wheelhouse." 
in The Hollywood Reporter by Frank Scheck 

"Stroman — who directed Domingo in “The Scottsboro Boys,” which also began at the Vineyard — helms with a bright broadness that punches the laughs but sometimes brings the work to a sitcom level. Only when the production takes a breather from the fraught storylines does the play find its focus, and its heart.A scene between Fidel and Dotty, where the mother confides her fears, is presented simply and truthfully. And a moment where an old song gives Dotty a wondrous sense of escape — when Adam lovingly steps in as her imagined dead husband and we glimpse Dotty in her younger glory — is exquisite, tapping into Stroman’s musical staging gifts." 
in Variety by Frank Rizzo

"Susan Stroman is an ideal director for the piece as a whole, bringing her Tony-winning eye for musicality to a play that really needs to sing and dance, and she's helped the actors pitch their performances perfectly." in Talkin' Broadway by Matthew Murray

Sunday, December 20, 2015


Co-Directed and choreographed by Susan Stroman

Open: 23.10.2015 - Tokyu Theatre Orb in Tokyuo, Japan
Photos by Beowulf Boritt and Ryoji Fukuoka

Broadway opening: 24.08.2017

Saturday, December 12, 2015


Here you can see videos of Susan Stroman's work:























Tuesday, December 8, 2015


FOR THE LOVE OF DUKE - in 1999 Stroman created "Blossom Got Kissed" for New York City Ballet in 1999, featuring the music of Duke Ellington, to celebrate the company’s 50th Anniversary season. She later revisited the piece, choreographing three additional short dances to be performed alongside the original. This new expanded ballet entitled FOR THE LOVE OF DUKE premiered in May 2011.
Photos by Paul Kolnik

TAKE FIVE OR MORE OR LESS - in 2008 Stroman created this peace for The Pacific Northwest Ballet, for it she combined jazz music by Dave Brubeck and classical pointe work.
Photos by Angela Sterling

To see videos of this production go to “The Moving Picture Show”

Wednesday, October 28, 2015


Directed and choreographed by Susan Stroman
Open: 16.05.2015 - American Repertory Theatre, Cambridge, Mass
Photos by Gretjen Helene and unknown

"The show begins with creaky vaudeville routines: Musical hat-and-cane sequences and comic bits that would feel right at home in a silent comedy. But as the production moves on, their relationship deepens and soon finds its heart and humanity, beginning with Patti Griffin’s “Making Pies” and Randy Newman’s “Snow.”.. Stroman works in miniature here, giving each man small gestures, movements and moments that land beautifully. But she also allows for some well-placed and playful stage turns, too.”
in Variety by Frank Rizzo

“The director and choreographer putting these two through their strange paces is Susan Stroman, whose work on Broadway (including “The Producers”) mostly falls within musical theater tradition. Stretching in new directions is a necessity for artists of any age or caliber, and all three deserve a round of hearty applause for concocting (with Paul Ford, the music director) this odd and often exhilarating show, which feels like a Beckett play — specifically “Waiting for Godot” — with the gnomic words replaced by more than two dozen tunes from the (mostly) American pop and Broadway songbooks."
in The New York Times by Charles Isherwood


Directed and choreographed by Susan Stroman
Open: 10.04.2014 - Broadway
Photos by Paul Kolnik and Sara Krulwich

To see videos of this production go to “The Moving Picture Show”

"There is, however, plenty to enjoy-director-choreographer Susan Stroman at the top of her game with a toothsome cast and a gag-filled book surrounded by repurposed jazz standards. The show might be lightweight and nostalgic, but you can't deny its savvy craft and bursting showmanship: sexy chorines, Art Deco backdrops and sight gags galore. Who knew Broadway could still be this much fun?" 
in Time Out New York by David Cote

"How good can a jukebox musical be? As good as "Bullets Over Broadway," Woody Allen's new stage version of his 1994 film, directed and choreographed by Susan Stroman. The book is funny, the staging inventive, the cast outstanding, the sets and costumes satisfyingly slick." 
in Wall Street Journal by Terry Teachout

"There's a ton of talent onstage in "Bullets Over Broadway", evident in the leggy chorines who ignite into explosive dance routines, the gifted cast, the sparkling design elements and the wraparound razzle-dazzle of director-choreographer Susan Stroman's lavish production." 
in The Hollywood Reporter by David Rooney

"Bullets Over Broadway" is the show everyone hoped would get those flickering Broadway lights blazing again. In certain wonderful ways -- Susan Stroman's happy-tappy dance rhythms, the dazzling design work on everything from proscenium curtain to wigs, and a fabulous chorus line of dancing dolls, molls and gangsters -- Woody Allen's showbiz musical is the answer to a Broadway tinhorn's prayer." 
in Variety by Marilyn Stasio

"Director-choreographer Susan Stroman is back in idea-crazy form in Allen's adaptation of his 1994 backstage-Broadway movie about gangsters and tootsies and self-serious thespians in the '20s. The show takes a while to hit its stride, feeling competent but mechanical at first, as if the job could only get done if everyone bellows and hard-sells the lamest jokes. But once inspiration strikes -- and it eventually does -- the smartly cast, good-looking production relaxes into the confidence of its own gleeful, high-gloss ridiculousness."
in Newsday by Linda Winer

"Susan Stroman, the Tony-winning director-choreographer ("The Producers") who amps up the material in uncomfortably vulgar fashion. (Yard-long phallus, anyone, for "The Hot Dog Song?")"
in The Washington Post by Peter Marks

"Backstage musicals bring out the best in director and choreographer Susan Stroman, and her production of "Bullets" has electricity that at times matches her high-voltage staging of "The Producers." Even when the jokes fall flat and the songs (all borrowed from the period, many revamped by Glen Kelly) seem incongruous, the show has the galloping vigor of a runaway hit, if few of the ecstatic peaks...Stroman's staging moves with an effervescent fluidity - gangsters and flappers glide by, each in high Cotton Club style - yet the book isn't as spry." 
in Los Angeles Times by Charles McNulty

"The mark of director-choreographer all over the deliciously escapist piece, which boasts showstoppers and glitzy costumes that would be right at home in a vaudeville revue... What's important here is this: Stroman's brand of showmanship and Allen's unparalleled wit go together, in the end, just like a hot dog and a roll." 
in NBC New York by Robert Kahn

"On the plus side, director and choreographer Susan Stroman's dance numbers pack sure-footed pizzazz. And the good-looking production depicts 1929 New York with wit and grace notes...But working in tandem with Allen, who adapted the screenplay of his Oscar-winning 1994 comedy while dealing with anything-but-amusing personal issues, Stroman doesn't match the zany, out-of-this-world wow factor of her collaboration with Mel Brooks on "The Producers"..." 
in New York Daily News by Joe Dziemianowicz

"The Broadway show makes a Sinclair-sized effort to persuade us of the value of early-20th-century songs shoehorned into a 1929 setting. The attempt is intermittently enjoyable, extremely well crafted by the director/choreographer Susan Stroman, and progressively enthralling." 
in Financial Times by Brendan Lemon

"... it's Stroman who makes this baby sing and dance, not just literally but spiritually. The playful wit and exuberance that were stifled by the material in her last Main Stemouting, Big Fish, are in full force here, and are supported by performers and designers (among the latter the great William Ivey Long, whose costumes are especially scrumptious) who seem to never run out of steam." 
in USA Today by Elysa Gardner

"It's Stroman's vision that will keep this cute, brashy ode to Broadway on Broadway for long to come. She has staged a truly deliciously vulgar scene sung to "The Hot Dog Song" that, let's put it bluntly, will not be making the Tony telecast. She has teamed up with Santo Loquasto's ambitious and lovely set designs to put a snazzy looking real car onstage and yet also make a train out of dancers dressed as red caps in white gloves. When she has mobsters in three-piece suits tap dance to "'Tain't Nobody's Biz-ness If I Do," their masculine movements are a joy. When the play-within-the-musical is staged, the proscenium has real dancers posing like carved statues. It's all been so well thought out and executed, right down to its bouncy chairs and rotating houses. Stroman has the right to sing, as the title of one song goes "Gee Baby, Ain't I Good to You." When the critical reviews of the fictional play come out at the end of the show, the consensus must be the same about this fun, beautiful musical: "A work of art of the highest caliber." 
in Associated Press by Mark Kennedy

"Bullets Over Broadway" is Stroman's second bite of the apple this season. In October, she directed and choreographed "Big Fish," a musical about the evolving relationship of a father and son. It wasn't the right show for her fizzy style. With "Bullets Over Broadway," she's gotten a perfect match. And the result couldn't be more joyful." 
in Bergen Record by Robert Feldberg