‘A season worthy of celebrating’

Wharton goes all out for 2026-‘27 Broadway series

When planning the Broadway series for the Wharton Center’s 45^th anniversary season, executive director Eric Olmscheid sought to procure an array of iconic musicals that would honor the theater’s legacy.

“45 years is a major milestone for us,” he said. “We wanted to make sure we had a season worthy of celebrating on that level.”

Tickets for subscribers will go on sale at 8 a.m. today, with six-show packages starting at $245. Benefits include locked-in seats for the entire season, risk-free ticket exchanges and interest-free payment plans. For more information, visit whartonseason.com.

Back by popular demand, “Beetlejuice” (Sept. 18 through 20) and “Six” (Dec. 1 through 6) are both returning to Wharton for the second time as special additions to the season lineup.

“Programming this season is like a giant jigsaw puzzle. There are so many pieces that need to fall into place, some of which we don’t have any control over,” Olmscheid said. “For ‘Beetlejuice’ and ‘Six,’ we were actively working on them because they were both such successes.”

The season officially begins with “The Notebook,” running Oct. 27 through Nov. 1. Based on the Nicolas Sparks novel that inspired the beloved 2004 film, the musical enlists three sets of actors to portray star-crossed lovers Noah and Allie throughout different stages of their lives. Olmscheid praised how the new score and the visual recreation of the movie’s famous rain scene pack more emotion into the already poignant love story.

“If you don’t have a tear in your eye at the end of it, I question your humanity,” he said. “I was pleasantly surprised with how well it adapts to the stage.”

That won’t be the only show this season familiar to movie fans. “The Outsiders,” the 2024 Tony Award winner for Best Musical, is also making its Wharton debut June 22 through 27.

“It’s that age-old story of the haves and the have-nots, set in Tulsa, Oklahoma, in the ‘60s,” Olmscheid said. “The sizzle of this show is the massive rumble that happens in the rain on stage. So, not only do we have rain with ‘The Notebook,’ we have it in two shows with ‘The Outsiders.’”

Perhaps the most anticipated film-to-stage adaptation of the season is the Disney mega musical “The Lion King,” returning to Wharton for the fourth time April 8 through 25. For past performances, seats had to be removed to create a proper aisle for the famous “Circle of Life” opening number. However, thanks to recent renovations, those accommodations will be easier to handle when this tour arrives.

“Right after it was here in 2018, we replaced all of the seats in the theater,” senior marketing manager Tara Peplowski said. “It was planned at that point in time to make those seats that we have to take out removable for future engagements of ‘The Lion King.’”

Rounding out the season is Alicia Keys’ jukebox musical, “Hell’s Kitchen,” from Jan. 19 through 24 and “Boop! The Musical,” which brings classic cartoon character Betty Boop to life, from Feb. 23 through 28. While both shows take place in New York, “Boop!” is directed by Paw Paw native Jerry Mitchell, whose past Broadway work includes “Kinky Boots,” “Legally Blonde” and “Pretty Woman.”

“This is a fun, old-school musical comedy,” Olmscheid said. “It’s a beautiful, high-energy show. Mitchell really built a wonderful, joyful production.”

“The Phantom of the Opera” will cap the season from Aug. 25 through Sept. 5, marking its fifth run at Wharton. However, unlike the last appearance in 2015, the new, revitalized production brings back the set designs from the original West End show.

“This production is spectacular,” Peplowski said. “It truly takes us back to the very grand sets and the elaborate costumes that are stunning. I’ve never personally been a ‘Phantom’ fan, but I’ve turned over a new leaf, and I will come back and see it when it’s here.”

Olmscheid said he’s excited to celebrate Wharton’s milestone 45^th season with the community, noting that every bit of the theater’s success is due to their support.

“We wouldn’t be able to bring this level of talent and programming to our community without the support of our subscribers who respond so positively to it,” he said. “It’s so important for them to understand that their level of support allows this to be in our backyard, so they don’t have to drive to Detroit or Grand Rapids to get the same high-caliber performances that we get right here in East Lansing.”