Jeremy Jordan paused Broadway rehearsals to headline a sold-out solo concert at The Soraya on April 11, 2026, delivering a career-spanning evening that doubled as both a celebration for fans and a preview of his upcoming return to the Broadway stage. With rehearsals for his takeover as Bobby Darin in Just in Time underway, the performance offered fresh context for why Jordan remains a draw across musical theater and mainstream audiences.
The roughly two-hour show — a mix of storytelling, theatrical medleys and raw musical moments — drew sustained applause and several emotional peaks. Jordan moved freely between high-energy medleys and quieter, intimate numbers, revealing why his stage presence still commands attention after years in the spotlight.
Early in the program, Jordan carved out a compact, 15-minute tribute to Newsies, the 2012 breakout that earned him a Tony nomination and continues to resonate in community and school productions nationwide. He acknowledged the show’s enduring afterlife with a mix of gratitude and deadpan humor about not profiting from every revival, underscoring how theatrical legacies persist beyond any single performer.
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That blend of warmth and levity threaded through the set. Jordan punctuated songs with personal anecdotes — from being fooled by a friend pretending to be a fan, to a moment onstage when he felt the presence of his late grandmother while singing “How Glory Goes” from Floyd Collins — and used those stories to bridge into a handful of deeply felt performances.
The concert’s emotional center arrived in a short tribute medley to his grandmother that combined “Somewhere” from West Side Story with the Floyd Collins piece. Jordan, who received a second Tony nomination for that production last year, described the performance as a moment of unexpected connection that made the song feel transcendent.
Interspersed with those quieter moments were playful turns: an “audition” bit imagining Jordan as a Disney prince, snippets from contemporary Rodgers & Hammerstein arrangements, and a self-deprecating riff on the quirks of certain plotlines (he joked about the oddity of a teenage Jack’s friendship with Medda Larkin and admitted confusion over a cameo by Teddy Roosevelt).
Musically, the show moved through material audiences associate with Jordan’s career and a few surprises. Highlights included:
- Newsies medley: “King of New York,” “Seize the Day,” “Something to Believe In” and more
- Personal tribute medley centered on “How Glory Goes” and “Somewhere”
- Selections from Little Shop of Horrors, Bonnie & Clyde, The Last Five Years and a pop take on Rodgers & Hammerstein
- Showcase of a Darin number — “Dream Lover” — ahead of his Broadway start
- Finale: the long-awaited performance of “Santa Fe”, followed by an encore request fulfilled with “She Used to Be Mine” from Waitress
Jordan’s band supplied a textured backdrop: music director and pianist Benjamin Rauhala, drummer Ben Rose, cellist Alisha Bauer, guitarist Emily Rosenfield and bassist Justin Goldner. At one point Jordan staged a faux “intermission” banter with Rauhala, playfully treating the pianist as a fellow audience member — a small theatrical touch that kept the crowd engaged and reminded the room they were witnessing a hybrid of concert and cabaret.
Beyond the performance itself, the evening had immediate career implications. Jordan will officially step into the role of Bobby Darin on Broadway on April 21, replacing Jonathan Groff. He told the audience he’d reached out to Groff for tips — noting Groff’s approach and the company’s welcoming atmosphere — and insisted that the production’s structure gives him room to personalize the portrayal rather than simply reproduce a predecessor’s every move.
He framed the replacement as a different creative challenge from originating a role: you inherit a blueprint but still must find ways to make the part yours. “Jonathan is so smart,” Jordan said, describing early conversations that helped him feel supported entering a well-established show.
The Soraya crowd gave a standing ovation to his rendition of “Santa Fe”, a moment Jordan has described as a pivotal song in his career. When the audience clamored for one more number, he obliged with the requested “She Used to Be Mine,” sending the room out on a distinctly emotional note.
While in Los Angeles, Jordan also led a masterclass for theater students at California State University, Northridge. His advice to young performers was practical and unusually direct: take classes, find the specific craft you excel at and double down on it. Rather than attempt to be competent at everything, he recommended specializing in what sets you apart — the singular quality casting directors can’t find elsewhere.
Key takeaways Jordan shared for emerging actors:
- Study broadly now — technique and craft are built in practice
- Identify and hone your unique strength; that’s often what wins auditions
- Enter the profession with commitment — it’s not a casual hobby if you want longevity
The evening at The Soraya confirmed two things: Jordan still draws onstage magnetism and storytelling ability, and his move back into Broadway’s mainstream with Just in Time is now being watched closely by fans and colleagues alike. Whether performing a condensed sweep through a beloved musical or sharing a quiet tribute, he balanced showmanship with moments of genuine intimacy, a combination that keeps his work newsworthy as he prepares for a major role change next week.
