The results of a nationwide survey released by American Theatre magazine, a publication of Theatre Communications Group (TCG, the national theater organization with more than 750 member organizations and 3,000 individual members, and North America’s largest independent trade publisher of dramatic literature, including 21 winners of the Pulitzer Prize for Drama), listed the rankings of the 50 most influential plays and musicals that premiered in the US since 2000, as identified by hundreds of theater workers and observers, including critics, scholars, dramaturgs, designers, writers, actors, artistic directors, and administrators from across the country. Each of the respondents was asked for the titles of ten works, in no particular order, and no distinction was made between genres or works that originated in the US or abroad. The final list of 37 plays and thirteen musicals was determined by the total number of responses containing the specific titles.
At the top of the list are Lin-Manuel Miranda’s Hamilton, August: Osage County by Tracy Letts, and Suzan-Lori Parks’ Topdog/Underdog, along with works by Lynn Nottage, Branden Jacobs-Jenkins, Annie Baker, Taylor Mac, Michael R. Jackson, Heidi Schreck, Tarell Alvin McCraney, David Henry Hwang, and many others. Of the 50 titles, 25 have female authors (including co-writers and the ensemble-created work), 28 have white authors, and 22 have authors of color (thirteen Black writers, four Middle East/North African, three Latinx, and two Asian American). Respondents indicated that they used different systems to determine their top ten, with some opting for shows that were “memorable” or “broke barriers,” and others featuring more “personal” or “idiosyncratic” choices.
The complete list is as follows: Hamilton (music/lyrics/book by Lin-Manuel Miranda); August: Osage County (by Tracy Letts); Topdog/Underdog (by Suzan-Lori Parks); Fun Home (book/lyrics by Lisa Kron, music by Jeanine Tesori, based on Alison Bechdel’s graphic memoir); An Octoroon (by Branden Jacobs-Jenkins); A Strange Loop (book/music/lyrics by Michael R. Jackson); Mr. Burns, a Post-Electric Play (by Anne Washburn); Sweat (by Lynn Nottage); What the Constitution Means to Me (by Heidi Schreck); Fairview (by Jackie Sibblies Drury); The Flick (by Annie Baker); Slave Play (by Jeremy O. Harris); Doubt (by John Patrick Shanley); Wicked (music/lyrics by Stephen Schwartz, book by Winnie Holzman, adapted from novel by Gregory Maguire); Indecent (by Paula Vogel); Spring Awakening (book/lyrics by Steven Sater, music by Duncan Sheik, based on the play by Frank Wedekind); Ruined (by Lynn Nottage); Next to Normal (book/lyrics by Brian Yorkey, music by Tom Kitt); Come From Away (book/music/lyrics by David Hein and Irene Sankoff); English (by Sanaz Toossi); The Brother/Sister Plays (by Tarell Alvin McCraney, including In the Red and Brown Water, The Brothers Size, and Marcus; of The Secret of Sweet); The Wolves (by Sarah DeLappe); Caroline, or Change (book/lyrics by Tony Kushner, music by Jeanine Tesori); Fat Ham (by James Ijames, reimagination of Shakespeare’s Hamlet); Oh, Mary! (by Cole Escola); Appropriate (by Branden Jacobs-Jenkins); Clybourne Park (by Bruce Norris); The Laramie Project (by Moisés Kaufman and Tectonic Theater Project); Stereophonic (by David Adjmi, music by Will Butler); Circle Mirror Transformation (by Annie Baker); A 24-Decade History of American Popular Music (by Taylor Mac); Hadestown (music/lyrics/book by Anaïs Mitchell); Disgraced (by Ayad Akhtar); John Proctor Is the Villain (by Kimberly Belflower); Passing Strange (book/music/lyrics by Stew, additional music by Heidi Rodewald); Eurydice (by Sarah Ruhl); In the Heights (concept/music/lyrics by Lin-Manuel Miranda, book by Quiara Alegría Hudes); Yellow Face (by David Henry Hwang); Avenue Q (music/lyrics by Robert Lopez and Jeff Marx, book by Jeff Whitty); Proof (by David Auburn); The Goat, or Who Is Sylvia? (by Edward Albee); The Inheritance (by Matthew López); The Humans (by Stephen Karam); Cambodian Rock Band (by Lauren Yee); Dance Nation (by Clare Barron); Heroes of the Fourth Turning (by Will Arbery); Natasha, Pierre & the Great Comet of 1812 (music/lyrics by Dave Malloy, based on book excerpt by Leo Tolstoy); Primary Trust (by Eboni Booth); Skeleton Crew (by Dominique Morisseau); and The Curious Incident of the Dog in the Night-Time (by Simon Stephens).
According to American Theatre’s Editor-in-Chief Rob Weinert-Kendt, “As we reach a quarter-century mark, we thought it would be a fascinating exercise to ask the theatre folks we cover, as well as some of our colleagues who also cover the theatre, to look back on the first 25 years of the 21st century and name the plays and musicals that have had the most impact on our field and our culture. The survey results are indeed fascinating and illuminating in what they lift up – it’s a great list of memorable titles – and interesting in what they leave out. We and the field have a lot to consider, and reconsider, as we explore and unpack these results.”
Kelundra Smith, TCG’s Director of Publications, added, “We by no means see this list as comprehensive and we expect there to be some strong reactions to the titles that have been included as well as those that have been excluded. We had some spirited debate among American Theatre staff, but our ultimate goal is to uplift our beloved artform. We want to celebrate the cultural gravitas of theatre, not only on US stages, but also on stages and screens around the world.”
