Broadway is buzzing with energy this fall as two Andrew Lloyd Webber musicals—one a brand-new adaptation, the other a rock opera classic—draw crowds and spark conversation. Linedy Genao, who recently marked a decade on the Main Stem, is at the heart of this moment, celebrating her journey from ensemble performer to barrier-breaking star. Meanwhile, the 50th anniversary tour of Jesus Christ Superstar is electrifying audiences at Houston’s Hobby Center, offering a dazzling, if divisive, take on a storied show.
Genao, who first graced Broadway in 2015 as an ensemble member and Gloria understudy in the rousing Gloria Estefan musical On Your Feet!, has returned to the spotlight. This time, she’s embodying Myrtle Wilson in the musical adaptation of The Great Gatsby at the Broadway Theatre. Stepping into the role in March 2025, succeeding Sara Chase, Genao shares the stage with Ryan McCartan as Jay Gatsby, Aisha Jackson as Daisy Buchanan, and Michael Maliakel as Nick Carraway. According to Playbill, Genao’s performance brings new depth to Myrtle, a character whose tragic arc resonates powerfully with audiences each night.
For Genao, the journey to Broadway was anything but typical. She studied business administration at the University of Connecticut, but her real theatrical education came from hands-on experience in high school productions, community theatre, and choir. She credits her high school theatre teacher, Mr. Nyquist, and her first voice teacher, Robin Sellati, for nurturing her talent and confidence. “They both saw the potential in me from the start, and pushed me to excel,” Genao told Playbill. Their commitment to excellence left a lasting impression, guiding her through the ups and downs of a challenging industry.
Genao’s career-defining moment came with Bad Cinderella, where she made history as the first Latina actress to create a leading role in an Andrew Lloyd Webber musical on Broadway. Although the show’s run was brief, its impact was undeniable. “It was my first time originating a principal role on Broadway, while also being the first Latina to originate a leading role in an Andrew Lloyd Webber musical on Broadway. No pressure!” she reflected. The show’s viral press junket—featuring Genao’s spontaneous leg kick while spray painting the first letter of Cinderella’s name—became a Broadway sensation, with fans recreating the moment across social media platforms.
Despite the short run, Genao holds nothing but affection for the experience. “The entire Bad Cinderella experience honestly felt like a real-life fairy tale,” she said. The outpouring of support from the Latinx community and beyond underscored the significance of her achievement. “Countless people told me that they finally saw themselves represented on stage through me, and I took that responsibility very seriously. It was such a privilege to break barriers through this show, and contribute to a list of trailblazers that came before me.”
Genao’s path hasn’t been without its hurdles. She’s candid about the pressures of stepping into a Broadway musical mid-run. “In my experience, the challenges of stepping into a Broadway musical once it’s running are pressures of fulfilling the expectations of the role not only for yourself, but for the current company and audience. As the ‘newbie,’ you feel this pressure to fit perfectly onto this moving train,” she explained. Her advice? “Remind yourself that you belong in the role; that you were selected for it because you are the best fit for that role at that time; that you have something unique to offer to the production of the show.”
Her favorite moment as Myrtle in The Great Gatsby shifts from night to night, but one scene stands out: singing the character’s final song, “One Way Road.” Alone at center stage, Genao pours her heart into the performance, channeling a swirl of emotions that culminate in Myrtle’s tragic fate. “This moment feels particularly special because of its vulnerability and because I feel the audience connect with me and Myrtle each night. I feel they finally understand her and root for her, which makes her tragedy that much more devastating for everyone.”
Genao’s resume also includes stints understudying in the Tony-winning Dear Evan Hansen, where she played Alana Beck and Zoe Murphy at various times. She describes the understudy’s life as equal parts exhilarating and nerve-wracking. “On most occasions, you don’t have advanced notice of when you’re going to ‘go on’ and perform, making everything that much more exciting but also incredibly nerve-wracking. Since you don’t always get to perform in that role, when you actually do, you give it your all.”
As she celebrates her tenth year on Broadway, Genao remains focused on giving back. “What brings me the greatest joy is knowing that I might have made a difference in one person’s life through seeing themselves represented on stage,” she said. “Nothing is more rewarding than the ability to give that gift every single night I get to perform.”
While Genao’s star rises in New York, Andrew Lloyd Webber’s presence is also felt in Houston, where the 50th anniversary tour of Jesus Christ Superstar is captivating—and confounding—audiences. The production, running at the Hobby Center through January 22, 2026, features Jack Hopewell as a modern, man-bun sporting Jesus and Faith Jones as Mary Magdalene, with Isaac Ryckeghem as Caiaphas and Erich W. Schleck as Herod. As reported by the Houston Chronicle, the show is a sensory overload, blending electric guitars, fog machines, and a massive fallen cross into a rock opera spectacle.
The musical, which runs about 90 minutes without intermission, is known for its iconic songs “I Don’t Know How to Love Him” and “Superstar.” Yet, some critics have found the contemporary choreography and costumes—think Nikes for Mary Magdalene and sweatpants for Jesus’s followers—jarring and at times disjointed. The production’s relentless energy, with frenetic dance numbers and scream-singing, can be overwhelming for newcomers to the story. “Each scene is like a jigsaw puzzle piece, but none of them belong to the picture on the box,” observed reviewer Doni Wilson.
Despite these critiques, the show’s enduring appeal is evident in its ability to draw crowds half a century after its debut. The decision to strip away historical context and reimagine the story for a modern audience is bold, if polarizing. The rock opera format, with almost no spoken lines except during the crucifixion, demands the audience’s full attention—even as the spectacle sometimes threatens to overshadow the narrative’s emotional core.
Both Genao’s Broadway journey and the latest incarnation of Jesus Christ Superstar reflect the ongoing evolution of musical theatre. Whether through groundbreaking representation or daring reinvention, these productions remind us that Broadway—and its touring kin—are as much about pushing boundaries as honoring tradition. As audiences continue to flock to these shows, it’s clear the magic of live theatre endures, even as it reinvents itself for new generations.
