There's nothing more exciting than to be exposed to new talent. And it's especially exciting when that talent is wrapped up in a Broadway debut. This year, there was no shortage of exceptional performers who reached a career milestone by appearing on Broadway. From debuts so momentous they received a Tony Award, to splashy celebrities, to underrated appearances that deserve more love, to a standout succulent—here's Playbill's 10 most memorable Broadway debuts of 2024.

Cole Escola in Oh, Mary!

To say Cole Escola has had quite the year is the understatement of the century. I’ve been a fan of theirs since they were making YouTube videos as Bernadette Peters in the mid-aughts, and I’ve spent most of my fandom getting quizzical looks when I bring them up. Then Oh, Mary! happened, and Escola has overnight become a huge star. I couldn’t be more thrilled. Escola’s comedy, both as a writer and performer, is the kind that can be not super mainstream, and that’s not necessarily even a bad thing. But there is something about the level of genius happening in Oh, Mary! that has made Escola hit with the masses, and that is just a wonderful thing to see. For any new fans, I recommend heading to YouTube and watching their entire account, but in particular “Our Home Out West,” “Front Porch Scene,” “Serial Killer Documentary Takes Horrible Turn,” and “Mom Commercial”—you’re welcome! —Logan Culwell-Block, managing news editor

Shaina Taub in Suffs 

It is the rare artist who gets to make their Broadway debut as a composer, writer, and an actor. It is the rarer artist who gets two Tony Awards for it. Shaina Taub is indeed that rarefied artist, and she made history as the first woman to win a Tony Award for both Best Book of a Musical and Best Score all by herself. Yet if you, like me, had been following Taub's career ever since her days composing songs for the Shakespeare in the Park musical versions of As You Like It and Twelfth Night, you'd know that Taub's been a composer and performer to watch for a long time—managing to create songs that are hummable tunes in the classic musical theatre mode and filled with heartfelt character. But Suffs showcased an artist truly at the full power, where Taub composed rousing protest songs, memorable character numbers, and a love duet that can take its place among the great musical theatre comedy tunes. She did all that while performing nightly as the show's point-of-view character, Alice Paul, giving an earnest and rousing performance. May we all have a quarter of the energy and productivity of Shaina Taub! —Diep Tran, editor in chief

Brent Comer in The Outsiders 

Of all the testosterone-fueled newcomers cavorting around the Jacobs Theatre in The Outsiders, Brent Comer surprised me the most. While the roles of Ponyboy (Brody Grant) and Johnny Cade (Sky Lakota-Lynch) are undeniably the protagonists of the piece (and were rightly Tony nominated), Comer’s Darry is shockingly affecting. At the end of his rope, and potentially the end of the line, Comer showcases Darry’s strain to balance his grief and responsibility for his younger siblings, while delicately weaving shades of who Darry could have been if not for his bleak reality. When he smiles, you can feel the echo of the high school football star who put his future aside to save his brothers, sacrificing his own happiness to keep his family whole. Previously a laborer in the national tour of Les Mis, Comer is one of the least-established company members, but when Tony time came around, it was his lack of a nomination that stung the most. His “Throwing in the Towel,” a plaintive lament against circumstances he can no longer circumvent, is a highlight, and of the entire cast, I suspect he will be the most difficult to replace, should he ever leave the Broadway production. Darry may prefer to stick to the sidelines, but as played by Comer, he deserves the spotlight. —Margaret Hall, staff writer

Jonathan Bennett in Spamalot

If there was an unexpected delight this season, it was Jonathan Bennett’s Broadway debut as Sir Robin in the Broadway revival of Spamalot. We’ve known him for years from his charming TV hosting gigs, being named the “Gay King of Christmas” from his work as a leading man in Hallmark Christmas movies, and (of course) the Aaron Samuels from the original Mean Girls film. But from the moment he stepped onto the stage, Bennett proved that he’s not just a TV and film personality—he’s a talented performer with great comedic timing. But what truly made Bennett’s debut memorable was the infectious joy he radiated throughout his performance. It has been well documented on his socials that Bennett is and has always been a theatre kid. He (like so many of us) has dreamed of making his Broadway debut and being able to witness it come true… Well, it made this jaded New Yorker’s small heart grow three sizes. You could tell that he wasn’t taking the opportunity for granted and the energy was palpable. His sense of play was contagious, and it was impossible not to smile when he was on stage. Bennett’s Broadway debut is not just a career milestone; it was a theatre kid’s dream come to life and getting to witness that is something I’ll never forget from this year. —Jeffrey Vizcaíno, director of social media

Adam Lambert and Auli'i Cravalho in Cabaret

We cannot talk about one without talking about the other. Adam Lambert and Auli'i Cravalho made their joint Broadway debuts with a gigantic splash. I have been a fan of Adam Lambert since his American Idol days. It has been a joy watching him grow in his career, especially seeing him on tour with Queen a few years ago. As a person who has seen the bootleg videos of him in Wicked on tour many times, I have been longing for him to finally make his way to Broadway. Boy, was it a dazzling entrance to the 360 stage at the Kit Kat Club!

I first discovered Auli'i Cravalho when she burst into the public eye in Moana. As an Indigenous person, I absolutely loved seeing Cravalho's beautiful representations of her Pacific Islander culture on screen. Once she starred in Mean Girls last year, I knew Broadway couldn't be far. It was so exciting to see a woman of color who I have admired for so long to take on the classic role of Sally Bowles.  —Meredith Ammons, social media coordinator

Lara McDonnell in The Hills of California

It isn’t easy stepping into the shadow of Olivier Award winner Laura Donnelly, but McDonnell, who played young Joan in The Hills of California to Donnelly’s mature version, was more than up to the task. Just 20 years old, McDonnell’s presence amongst her cavalcade of sisters immediately stood out, leading the pack through typical teenage transgressions with the kind of knowing wink that only a true “cool girl” can possess. Where McDonnell truly blew me away, however, was her scene work surrounding the sisters' audition for an American music promoter. As the cool and confident persona fell away in the face of her mother's bending morality, McDonnell revealed a childlike confusion which, married to her trust in her mother, was devastating. Had McDonnell not landed the unspoken beat of what happened to her behind closed doors, Donnelly would have had an uphill battle to climb. But due to McDonnell's vigorous-then-tragic performance, Donnelly had a lengthy runway. I certainly hope we see McDonnell on this side of the pond again soon; as Donnelly is Butterworth’s muse, we would be lucky to see an up-and-coming playwright tie themselves to McDonnell’s artistry. —Margaret Hall, staff writer

Nichelle Lewis in The Wiz 

Dorothy in The Wiz has a long history of being a star-making role, a tradition that began with the very first actor to take on the role, a then-teenaged Stephanie Mills. And so, it’s only appropriate that for the most recent Wiz revival, we got another newcomer as Dorothy in Nichelle Lewis, who first came to the attention of the revival’s producers from a TikTok video. Seeing brand new, fresh talent hit it completely out of the park is just one of those really electrifying things to be able to experience, and Lewis really brought audiences to tears every night at the Marquis with her blowout rendition of "Home." It was no surprise that City Center turned to her just months later for their production of Ragtime. In two shows over less than a year, Lewis showed the entire theatre world that she comes with incredible vocals and impressive acting chops, too. Methinks we will be seeing lots more from Lewis in the years to come, and that’s really something to look forward to. —Logan Culwell-Block, managing news editor

Maleah Joi Moon in Hell's Kitchen

It is rare to earn a Tony Award for a Broadway debut, much less for a show that's basically your stage debut, but Maleah Joi Moon showed all of us that she isn't just a fresh face—right out of the gate, she's a force to be reckoned with. Playing the headstrong Ali, who yearns to escape her overprotective mother and find her own voice—Moon brings not only classic teenage angst, but also, a sparkling vitality. In the restless movement of her limbs to her soulful voice, you understand why this young girl wants to fly free, and it's an utter joy to take the journey with her. With her Broadway debut, Moon's made a gigantic mark in the theatre industry, and at just 22 years old! I will be excited to see where she goes next—whether it's film, television, or recorded music, the sky will truly be the limit for this extraordinary young performer. —Diep Tran, editor in chief

Ariana Madix in Chicago

Ariana Madix’s Broadway debut in Chicago wasn’t just a debut; it was a full-circle catharsis that felt like a giant middle finger to all the haters—Scandoval included. Walking into the Ambassador Theater, the buzz was electric. You could tell the audience wasn’t just your average Broadway crowd. It was a cocktail of Bravo-holics; curious tourists; and shes, theys, and gays who have also been burned by a toxic narcissist. Madix as Roxie Hart was a casting decision that felt both cheeky and poetic, and the crowd ate it up. From “Funny Honey” to the "Honey Hot Rag," Madix brought charisma, charm, and undeniable talent to her portrayal of Roxie Hart. Madix, a musical theatre graduate before her Vanderpump fame, had a magnetic stage presence and her dancing (honed by her time on Dancing With The Stars) added an authenticity to her scenes. Fans and newcomers alike couldn’t help but root for her (and clearly impressed by her vocal abilities) as she brought a fresh performance to the long-running musical. Madix’s debut wasn’t just a moment for Broadway (though she did break box-office records); it was a celebration of her resilience, talent, and ability to shine brightly in a new chapter of her life and career. —Jeffrey Vizcaíno, director of social media

Helen J Shen in Maybe Happy Ending

I first noticed Helen J Shen when she played a supporting role in the rock musical The Lonely Few at Off-Broadway's MCC Theater. Though Lauren Patten was the main role, Shen stood out as keyboardist JJ using music to express her roiling teenage emotions—I remember watching Shen thinking, "I must have seen her in something before!" In reality, The Lonely Few was just the second professional show Shen had ever done, after Teeth Off-Broadway. But it's their performance as the robot Claire in Maybe Happy Ending that is truly revelatory. Not only where they able to show off the breadth of their vocal talent singing Will Aronson's classical and jazz-tinted score, they're able to imbue Claire with a simultaneous sense of wonder and weariness. It's an astonishingly mature performance because on the outside, Claire looks like a young woman who is experiencing a world of new emotions; but at the same time, she is wise and aware of her impending mortality. It's at tricky balance to strike and Shen makes it look effortless. Costar Darren Criss told me this past summer, in no uncertain terms, “She'll kick so much fucking ass." He was right. So get yourself to the Belasco Theatre to see a new star in bloom. —Diep Tran, editor in chief

Bonus Pick: HwaBoon in Maybe Happy Ending 

So rarely is a performance rooted in genuine friendship. HwaBoon, the blossoming succulent star of the new musical Maybe Happy Ending, is propagated out of love for Helperbot Oliver. In Olivier’s obsolescence, HwaBoon is a constant companion, a listening partner, and recipient of Oliver’s care. HwaBoon soaks up the rays of Oliver and Claire’s newly-sprouted love and acts as a branch back home, conveying so much support and love without saying a single word. As I left Maybe Happy Ending, I felt resolved to press the flowers of loves lost and greet my plants with song. I can only hope the Tony Awards Administration Committee is tickled pink when deciding Hwaboon’s eligibility for such an outstanding featured performance in this new musical. —Dylan Parent, editorial assistant