The Best Broadway Performance of Each Year (2000-2024)

2000: Heather Headley as Aida

“Aida”

It’s one of the most famous roles in all of opera. Under the care of composer Elton John and lyricist Tim Rice, Aida was rewritten into a Broadway lead for a performer with a big voice and an even bigger presence. Original star Heather Headley became synonymous with the role. Even negative reviews of the show highlighted her towering performance as the captured princess torn between her loyalty to her people and a forbidden love. Rosie O’Donnell was calling her Tony win months before she actually won the award. It’s a performance so good, that her win was clearly written in the stars.

2001: Gary Beach as Roger De Bris

“The Producers”

Mel Brooks’ madcap musical still holds the record for most Tony wins. Nathan Lane’s performance as Max Bialystock, the crooked producer, is genius. But the best of 2001 might have to go to Gary Beach’s turn as Roger De Bris. As the eccentric and over-the-top director brave and foolish enough to cast himself in his own production as Adolf Hitler, Beach is hilarious. Despite all the flamboyant gestures and insane ideas Roger has, Beach was grounded in reality. One reviewer even called his the most honest performance in the show. Like most of the original cast, Beach got to reprise his brilliant work in the 2005 film version.

2002: Sutton Foster as Millie Dillmount

“Thoroughly Modern Millie”

Taking on a role first played by Julie Andrews in a 1967 movie, Foster had big shoes to fill as Millie, the small-town girl who comes to New York in search of her dreams. Sutton Foster tore through the show’s dance numbers and comedy scenes with ease. Considering 2002 was also the year “Hairspray” opened, there’s a lot of competition for this spot. Harvey Fierstein’s unsurpassed take on Edna Turnblad is a close second to Foster. The newcomer reminded critics of an old-fashioned type of star made new. True triple threats are few and far between. When Foster burst onto the scene in her breakthrough role, Broadway had to sit up and take notice of a perky and insanely talented new star.

2003: Idina Menzel as Elphaba

“Wicked”

2003 saw the opening of “Avenue Q,” Bernadette Peters stunning everyone as Mama Rose in “Gypsy,” and Kristin Chenoweth dazzled as Glinda the Good Witch of the North. But depending on who you talk to, it’s Chenoweth’s co-star whose work in “Wicked” most endures. Idina Menzel’s distinctive, high-flying voice is just one component of her incredible Elphaba. Her Tony-winning performance as the green-skinned witch who will eventually become the Wicked Witch of the West was a marvel of vocal technique and dramatic skill. Even the production’s most underwhelmed critics couldn’t deny her powers.

2004: Tonya Pinkins as Caroline Thibodeaux

“Caroline, or Change”

In this musical set in the 1960s, a maid’s warm relationship with her employer’s young son is tested and eventually broken. Caroline Thibodeaux is haunted by bitter disappointments, even as her children keep telling her that the world is changing. Tonya Pinkins’ arresting performance is not your standard Broadway musical fare. Her performance was marked by a stoicism and passive-aggression that ultimately gave way to soul-baring, voice-shredding emotion in the climactic song “Lot’s Wife.” Reviewers described her work as epic, extraordinary, and even legendary. Pinkins was nominated for a Tony for the role, which she reprised on the West End.

2005: Sara Ramirez as Lady of the Lake

“Spamalot”

This Monty Python musical is clearly all about the yucks. When they originated the role of the fabled Lady of the Lake, Sara Ramirez brought the funny. But they also brought a resonant, rafter-ringing voice that could give you chills. Watching Ramirez toy with their gorgeous voice was mesmerizing and hysterical. It was a masterclass in scenery-chewing and vocal acrobatics. The role required them to be able to volley between different pastiches of performance styles, from pop diva to glitzy jazz singer. Ramirez was equal to the task. Their work, which won the Tony for Best Featured Actress in a Musical, was described as scene-stealing.

2006: Raúl Esparza as Bobby

“Company”

In 2006, “Spring Awakening” was exploding onto the Broadway stage. Tony winner John Gallagher Jr.’s Moritz and his co-stars led a rallying cry of adolescent angst. But it’s a smoldering ember next to the volcanic eruption that is Esparza’s take on “Being Alive.”Stephen Sondheim’s concept musical about marriage and commitment was given a dramatic overhaul for its 2006 revival. Director John Doyle stripped down the production and handed the actors the instruments, making them the show’s orchestra. Raúl Esparza played the leading role, perennially single and alone Bobby, very differently than any other actor. Instead of being an amiable observer, Esparza’s Bobby was an anguished man with emotions always buried right under the surface, threatening to bubble over.

2007: Laura Bell Bundy as Elle Woods

“Legally Blonde”

Reese Witherspoon left some big, fashionable, pink shoes behind. When “Legally Blonde” made its transition to the stage, it was going to take a very special actress to fill them. Elle Woods is an effervescent, high-energy role that needs someone seriously talented. For Broadway audiences and fans of the MTV presentation, Laura Bell Bundy was the perfect choice. Regardless of the reviews that were critical of the show, Bundy received widespread acclaim. She was celebrated for making Elle’s apparent silliness always feel real. That’s not even to mention her fleet feet and irrepressible energy.

2008: Patti LuPone as Rose

“Gypsy”

This is one of those productions that felt inevitable. All the most legendary Broadway divas play Rose at some point, and in 2008, it was Patti’s turn. LuPone won her second Tony for her fierce, full-throttle embodiment of the stage mother. This was also the year “Billy Elliot” fever came to New York. Where the amazing young actors playing Billy shared triple duty, LuPone just had years of experience and a dynamite stage presence. By all accounts, LuPone swallowed the role whole. Her single-minded determination matched that of her character, whose obsession with stardom threatened to burn down everything around her.

2009: Alice Ripley as Diana Goodman

“Next to Normal”

Given its complicated themes, it took the team behind “Next to Normal” several passes to get it right. Alice Ripley had been attached to the role as early as its 2006 workshop. By the time she got to Broadway, the role of Diana fit her like a glove. Her intensity and raspy voice gave her character, who is trying to manage her bipolar disorder, a desperation that might not have been so effective from a more traditional voice. Longtime New York Times theater critic Ben Brantley called it the performance of the season. Ripley naturally went on to win the Tony.

2010: Douglas Hodge as Albin

“La Cage aux Folles”

Based on the original French film that inspired “The Birdcage,” “La Cage” is the heartwarming and hilarious story of two gay men who own and operate a gay nightclub. Douglas Hodge won a Tony in the role of Albin, the club’s star drag performer. The show was Hodge’s Broadway debut. However, the British actor was a West End veteran who had already won an Olivier Award for the role and was more than experienced in bringing an audience to its feet. Reviewers noted that Hodge was able to balance Albin’s intensity and care and ground it in reality.

2011: Audra McDonald as Bess

“Porgy and Bess”

Sutton Foster was dazzling audiences as Reno Sweeney and Andrew Rannells was making us believe as Elder Price, but 2011 belongs to Audra McDonald. She won her fifth Tony for the 2011 revival of the famous Gershwin opera. The revival was controversial for the changes made to modernize the text, but McDonald received near-unanimous praise as Bess, an outcast shunned by her community. The role was one McDonald had wanted the chance to perform for years. It turned out to be the perfect marriage of her superhuman classical voice and her modern style of acting.

2012: Steve Kazee as Guy

“Once”

Transferring the movie musical about busking musicians in Dublin to the Broadway stage. Steve Kazee originated the role of the brooding, guitar-playing man known only as Guy. His was a tall order. Kazee played the male lead as the guy who pulls out a guitar at the party that you actually want to listen to. The New York Times described his presence as a “soulful, quietly erotic energy.” His seductive power on stage was noted by several critics. But it was also his handling of his character’s deep longing and pain that endeared him to audiences and Tony voters, who handed him the trophy for Best Leading Actor in a Musical.

2013: Jefferson Mays as the D’Ysquith Family

“A Gentleman’s Guide to Love and Murder”

Billy Porter was a revelation as he originated the role of Lola in “Kinky Boots,” but how many actors can pack nine performances in one? Jefferson Mays originated the role of the entire D’Ysquith Family in the witty and inventive Best Musical winner, “A Gentleman’s Guide to Love and Murder.” Shuffling through all the D’Ysquiths took more than costume changes. It required Mays to create nine different, distinct, and completely different personalities. From a hammy actress to a confused vicar, the D’Ysquiths are an eccentric bunch. Mays took to the task with relish. His characters even became an integral part of the show’s social media presence.

2014: Neil Patrick Harris as Hedwig

“Hedwig and the Angry Inch”


“Aladdin’s” James Monroe Iglehart and “Beautiful: The Carole King Musical’s” Jessie Mueller were obvious standouts of this year, but Neil Patrick Harris’ portrayal of Hedwig was the clear frontrunner of 2014! Undoubtedly a complex character, Harris’ performance as Hedwig brings her to life in all of her vulnerability, musicality, and nuance. He is absolutely electrifying up on stage – Hedwig is a certified rockstar, after all! Being a tale centered around gender identity, Harris plays Hedwig with the utmost care and respect for the LGBTQIA+ community, cementing this role as one of the most iconic of all time!

2015: Leslie Odom Jr. as Aaron Burr

“Hamilton”


This spot could belong to anyone in the cast of this culture-shifting show. Lin-Manuel Miranda gave Hamilton his scrappiness. Jonathan Groff made a meal of King George III’s small role. Christopher Jackson made George Washington come alive, Renée Elise Goldsberry had the world singing “Angelica,” and Daveed Diggs dazzled us with his rapping. The show may be about Alexander Hamilton, but as the man who shot him, Leslie Odom Jr. got to bite into some of “Hamilton’s” juiciest, most psychologically complex moments. His Aaron Burr is torn apart by the words of a man who once admired him. Watching him descend into prideful, murderous anger gave the musical its dramatic stakes.

2016: Ben Platt as Evan Hansen

“Dear Evan Hansen”

Denée Benton’s Tony-nominated work in “Natasha, Pierre & The Great Comet of 1812” was a revelation, but 2016 belonged to the boy in the arm cast. Evan is a socially anxious teenager who inserts himself into the tragic circumstances surrounding a classmate’s death. Things get complicated, and heavy pretty fast. Ben Platt had been playing the role from its earliest workshops. It’d be fair to say the role is as much his creation as it is the writers’. Apart from those precise runs and insane falsetto notes, Evan was a role that put the actor through an almost relentless cycle of intense emotions eight shows a week. Platt nailed the necessary balance of Evan’s anxiety and his sense of humor.

2017: Katrina Lenk as Dina

“The Band’s Visit”

The long-awaited revival of “Hello, Dolly!” was led by an incandescent Bette Midler and Gavin Creel, but the surprise hit of the season was “The Band’s Visit.” Katrina Lenk and Tony Shalhoub earned raves as the café owner and bandleader thrown together by fate in Tel Aviv. Lenk’s highly physical portrayal of Dina was an arresting experience. Her longing came through loud and clear. The role was considered a breakthrough for the actress, showcasing an incredible talent for transporting the audience. Originating the role Off-Broadway before its Broadway transfer, she won a Lucille Lortel Award and a Tony Award for her work.

2018: Joshua Henry as Billy Bigelow

“Carousel”

Rodgers and Hammerstein’s controversial hero is one of the most iconic roles in all of musical theater. When “Carousel” came back to Broadway in 2018, Joshua Henry had a lot to live up to. He and co-star Lindsay Mendez garnered stellar reviews. Henry was humbled by the history attached to the show. His electrifying voice sent shivers up and down the spines of all who saw the production. He brought Billy’s rage and frustration to life, and nailed his seven-minute aria, the ambivalent tour de force “Soliloquy.” On the other side of the spectrum, 2018 was also the year Stephanie J. Block embodied Cher in the biomusical, “The Cher Show.”

2019: Aaron Tveit as Christian

“Moulin Rouge!”

Taking on the role played by Ewan McGregor in the movie, Aaron Tveit scored his first Tony for the high-flying musical fantasy. His performance as Christian allowed him to show off his charm and exuberance, but it also took him to some dark places. Infusing pop songs by Elton John and Sia with grandiose theatrics and sweeping romance, Tveit got the perfect opportunity to showcase his crystal-clear voice. Tveit’s “El Tango De Roxanne” was a particular highlight. He became the single Best Leading Actor in a Musical nominee at the 2020 Tonys, as Broadway theaters shut down during the COVID-19 pandemic.

2021: Patti LuPone as Joanne

“Company”

The musical theater legend had played the role of Joanne at least twice by the time she took it to Broadway. Once in a 2011 concert version, and once in the same gender-swapped production of the Stephen Sondheim musical when it premiered in the West End. By the time she got to Broadway in the role, it was the culmination of years of work. Given her no-nonsense public persona, LuPone’s a natural fit for Joanne's acid-tongued discontent. “The Ladies Who Lunch,” the character’s anthem of bitterness and misplaced resentment, has never been funnier or more uncomfortable.

2022: Joaquina Kalukango as Annabelle “Nelly” Freeman

“Paradise Square”

In 2022, Jaquel Spivey led the boundary-pushing “A Strange Loop” and J. Harrison Ghee made history in “Some Like It Hot.” Meanwhile, Joaquina Kalukango became the beating heart of “Paradise Square.” Set amid the New York City draft riots of 1863, “Paradise Square” scored middling reviews and only ran for 108 performances. The reason that no one who saw it can forget is because of Joaquina Kalukango. In her Tony-winning role, which Variety called a star-making performance, Kalukango delivered the performance that became the glue holding the piece together. As Nelly, a bar and brothel owner, she became the production’s breakout star. The performance was so well received in pre-Broadway tryouts, that it inspired the writers to center her narrative in the story.

2023: Alex Newell as Lulu

“Shucked”

While Jonathan Groff and Daniel Radcliffe dealt with the joys and pains of friendship in “Merrily We Roll Along,” Alex Newell was serving up corn. Playing the protagonist’s whiskey-making cousin, Lulu, Alex Newell won the Tony for Best Featured Actor and had the audiences of “Shucked” on their feet night after night. Newell became one of the first nonbinary actors to win the Tony. They also got to introduce one of Broadway’s new classics. “Independently Owned” is Lulu’s unforgettable “I am” song, a testament to the character’s strength and determination to get by on her own. The reviews never failed to mention Newell’s fierce and explosive vocal ability.

2024: Maleah Joi Moon as Ali

“Hell’s Kitchen”

Based on the life of singer-songwriter Alicia Keys, “Hell’s Kitchen” made its Broadway premiere in 2024. As Ali, Keys’ in-show facsimile, Maleah Joi Moon has to nail comic timing, welcoming narration, and deliver a silky smooth vocal. She did it all and more. Moon is a marvel of technical skill. Given that she was almost done with theater when she auditioned for the role, it couldn’t have come at a better time. Its entire cast was celebrated, but Moon picked up several awards for her performance, including the Drama Desk Award and the coveted Tony.


Did your favorite Broadway performance make the list? Let us know in the comments.