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‘The Baby-Sitters Club’ Stage Musical Sets Los Angeles World Premiere Opening Date, Venue

Published October 15, 2026 · ASIA

‘The Baby-Sitters Club’ Stage Musical Sets Los Angeles World Premiere Opening Date, Venue

EXCLUSIVE: The Baby-sitters Club: A New Musical based on Ann M. Martin’s book series that inspired the 1995 film and two TV series, will make its world premiere this spring with Center Theatre Group at the Kirk Douglas Theatre in Los Angeles. Previews for the…

Ann M. Martin’s iconic book series The Baby-Sitters Club is set to be reintroduced to audiences through a new stage musical, premiering in Los Angeles in the spring of 2027. The production will open at the Kirk Douglas Theatre, under the auspices of the Center Theatre Group, with previews slated to begin on May 6 and an official opening on May 16, 2027.

This musical adaptation revisits the familiar characters from Martin’s widely acclaimed series—Kristy, Mary Anne, Claudia, and Stacey—now portrayed as 25-year-olds reuniting in their hometown of Stoneybrook. The narrative explores mature themes, focusing on friendship dynamics and the challenges of confronting one’s life choices and personal identity in adulthood. It aims to balance nostalgia with fresh storytelling relevant to a contemporary audience.

The project involves a notable creative team, including book writer Kate Wetherhead, known for her work on The Devil Wears Prada musical, and composer-lyricist Mark Sonnenblick, whose previous credits include KPop Demon Hunters. Direction and choreography are helmed by Annie Tippe, recognized for her work on Octet. Casting responsibilities are divided between The Telsey Office in New York and Henry Russell Bergstein Casting in Los Angeles, with announcements expected soon.

Production is spearheaded by Mountain A, a company co-founded by Oscar-winning actress Natalie Portman and Sophie Mas. Portman has expressed a personal connection to both the source material and musical theatre, aligning her involvement with a broader appreciation for the cultural impact of The Baby-Sitters Club. Additional producing partners include TWTheatricals, Linden Productions, Working Barn Productions, and Center Theatre Group, alongside co-producers Tanna Entertainment and LD Entertainment.

The Baby-Sitters Club series, launched by Scholastic in 1986, has maintained a significant presence in children’s literature, boasting over 200 million copies sold worldwide. Initially conceived as a quartet of books, the franchise expanded to include more than 250 titles and multiple spin-offs. Its adaptability is evident in previous screen versions, including a 1990 HBO series, a 1995 feature film, and the recent Netflix series released between 2020 and 2021.

The musical adaptation represents a strategic reimagining, targeting an older demographic who grew up with the original books and their adaptations. By focusing on the protagonists as adults, the production seeks to explore universal themes of growth, friendship, and self-reflection, thereby broadening its appeal beyond the original children’s audience.

The involvement of industry veterans and established theatrical entities underscores the ambition behind this production. The collaboration between experienced creatives and producers with strong ties to both the entertainment and literary worlds highlights the cross-medium influence of The Baby-Sitters Club brand.

As preparations continue, specific details regarding casting and creative design remain forthcoming. The production’s scheduling for a four-week run in Los Angeles suggests an initial exploratory phase, potentially gauging audience reception before considering broader engagements.

Overall, the upcoming world premiere of The Baby-Sitters Club musical at the Kirk Douglas Theatre marks a significant moment in the ongoing evolution of this enduring franchise. It encapsulates a contemporary reinterpretation of a beloved narrative that has resonated with multiple generations, reaffirming its cultural relevance through a new artistic lens.

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This article was synthesized and rewritten by MusicTop Editorial from reporting published by deadline.com. Read the publisher's report for the complete source context.

Read original source: deadline.com