Is Broadway Ready for Benjamin Button? I Hope So

(Photo: Marc Brenner)

by Chris Peterson

If you've been paying attention to the London theatre scene lately, you've probably heard whispers—or loud applause—about The Curious Case of Benjamin Button. The musical, adapted from F. Scott Fitzgerald's short story, has quietly become one of the most celebrated shows in the West End. It won big at the Olivier Awards, extended its run at the Ambassadors Theatre, and continues to generate serious buzz among theatre fans. Naturally, the next question is one we ask every time a West End hit breaks through: When is it coming to Broadway?

As of now, no official announcement has been made. But it feels inevitable. The reviews are glowing. The audiences are showing up. The creative team has momentum. And most importantly, there seems to be genuine affection for what this show represents. It isn’t a star vehicle or a jukebox musical. It’s a quietly moving piece with a folk-inspired score, poetic storytelling, and a lot of heart. That kind of show doesn’t come around very often.

And that’s why I’m nervous.

Because we’ve been here before. We’ve seen brilliant West End productions cross the Atlantic only to disappear after a handful of performances. Groundhog Day. Amelie. Even Love Never Dies struggled to find its footing. Broadway is a different beast, and sometimes even the most celebrated imports can’t quite connect with New York audiences. Whether it’s timing, marketing, or just bad luck, a show that thrives in London can still falter on 44th Street.

But I’m choosing to stay hopeful.

Everything about The Curious Case of Benjamin Button suggests it could work here. The music by Darren Clark has been praised for its emotional depth and earthy charm. The book by Jethro Compton reimagines the source material in a way that feels intimate and deeply human. John Dagleish(Jamie Parker appeared in the Southwark production), in the title role, has earned raves for his performance. And the design—simple, inventive, and full of theatricality—proves that a small show can still feel epic if it’s told with care.

In an era where so many musicals are adaptations of movies or vehicles for recognizable IP, something about Benjamin Button feels refreshingly original. It tells a story that is both fantastical and grounded, strange and familiar. It invites audiences to slow down, to listen, and to feel. And those kinds of stories tend to linger.

Of course, any potential Broadway run will need to be handled with care. It can’t be thrown into a giant house and expected to roar. The marketing will need to focus on the heart of the show, not just the concept. And I hope the team takes the time to build the right audience rather than trying to go viral overnight. The best transfers are the ones that understand what made the show work in the first place—and fight to preserve it.

So is Broadway ready for Benjamin Button? I think so. And I hope the producers believe that too. Because if the right conditions are in place, this could be one of those rare shows that sneaks up on people and stays with them for years. I haven’t even seen it yet, and I already want to champion it.