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Ages 8+. Children under 5 are not permitted in the theater.

Hadestown on Broadway - NYC [14748]

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Hadestown on Broadway

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Going to hell has never been as much fun as seeing a performance of Anaïs Mitchell's musical <a href="/show/hadestown">Hadestown</a>, now playing at the <a href="/theatres/walter-kerr-theatre">Walter Kerr Theatre</a>.&nbsp;And don't let its origins in Greek mythology scare you off because there's a built-in narrator in the form of the god Hermes (André De Shields) whose job was to guide souls into the afterlife.&nbsp;In Hadestown, his first task is to introduce all the characters in a rollicking number "Road to Hell."Mitchell, the talented singer/songwriter who is responsible for the whole shebang, music, lyrics and book, has intertwined the myth of Orpheus (Reeve Carney), son of the God Apollo and muse Calliope and Eurydice (Eva Noblezada), wood nymph; with that of Hades (Patrick Page), god of the underworld and Persephone (Amber Gray), daughter of the god Zeus and goddess of the harvest Demeter.&nbsp;The story that unfolds in Hadestown is that Hades falls in lust with Persephone and abducts her to the underworld where they fall in love and marry.&nbsp;Demeter is so distraught she declares that there will be no more growth or harvest until Persephone returns.&nbsp;Zeus brokers a deal whereby Persephone spends 6 months out of the year above ground and 6 months out of the year below, thus creating the seasons. So, Persephone rides a train back and forth between the underworld known as Hadestown where she's the only living soul, and the world above.&nbsp;But Hades keeps shortening her time up above because he misses her.&nbsp;And the earth gets colder.Meanwhile, Orpheus is trying to write a song that will restore order to the seasons when he runs across Eurydice, with a little help from Hermes and The Fates (Jewelle Blackman, Yvette Gonzalez-Nacer, Kay Trinidad), who is wandering around cold and hungry.&nbsp;She's initially unimpressed until he starts singing.&nbsp;In the only off note in the production, they fall in love (unfortunately no chemistry between the two - Reeve Carney is a little too much of a hesitant milquetoast to be a believable love interest for the determined and charming Eva Noblezada) and marry.&nbsp;Whereupon Orpheus immediately goes back to songwriting and neglects Eurydice.So, what's a poor, once again cold and hungry girl to do?&nbsp;Where does she go to get warm?&nbsp;You guessed it, Hadestown.&nbsp;Where Eurydice becomes one of the poor lost souls in the underworld, trapped behind the wall Hades has erected. And explains in the Act One finale "Why We Build The Wall" that brings down the house.&nbsp;If I didn't know that Mitchell wrote the score in 2010, I'd swear she wrote it within the last two years.I won't spoil the second act except to say that it's about Orpheus' trip to Hadestown to find Eurydice to try to rescue her.&nbsp;And that Michael Krass' costumes for the Chorus in the underworld are outstanding, as is the visually stunning dance number choreographed by David Neumann done with headlamps and swinging lights.&nbsp;And if the love story between Orpheus and Eurydice didn't smolder, Patrick Page and Amber Gray set the house on fire as Orpheus and Persephone. Their song "How Long?" and the dance that went with it had me melting in my second row seat when I saw both of them crying.&nbsp;Be still my heart.(Photo by Matthew Murphy)<div class="block block-block contextual-links-region " id="block-block-9"><div class="block-inner clearfix"><div class="block-title"><h2>WHAT THE OTHER CRITICS SAID</h2></div></div></div>"All your favorite Greeks are heading somewhere in&nbsp;Hadestown,&nbsp;the sumptuous, hypnotic and somewhat hyperactive musical that opened on Wednesday night after its own twisty 13-year road to Broadway." Jesse Green for <a href="https://www.nytimes.com/2019/04/17/theater/hadestown-review-broadway-anais-mitchell.html" target="_blank">New York Times</a>"It looks spectacular—thanks to Rachel Hauck's set, which features three turntables in concentric circles, and Bradley King's lighting—but it has a human scale; it feels less like a standard Broadway musical than a concert, a gathering, a happening. (The seven members of the excellent onstage band are called out by name for applause.) And, most important, it has Mitchell's score: a joyful combination of folk, pop, Dixieland and blues that will make you want to rehear it as soon as the lights come up. You'll be singing it again in your head for days." Adam Feldman for <a href="https://www.timeout.com/newyork/theater/hadestown-review-broadway" target="_blank">Time Out New York</a>"Yes, composer Anaïs Mitchell's musical retelling of the Orpheus and Eurydice myth, which opened Wednesday on Broadway, sounds pleasant and looks more expensive than it did in 2016 at New York Theatre Workshop. But this classic tale of love — he looks back, she gets trapped in the underworld for all eternity — is still too slick and sterile for us to give a damn about her damnation." Johnny Oleksinski&nbsp;for&nbsp;<a href="https://nypost.com/2019/04/17/hadestown-review-broadway-douses-the-fires-of-hell-with-folk-music/" target="_blank">New York Post</a>"In "Road to Hell," the exhilarating opening number of the utterly fabulous&nbsp;Hadestown, Hermes, the conductor of souls into the afterlife, invites us to "Ride that train to the end of the line." He's played with seductive authority and knowing humor by the eternally elegant Andre De Shields, outfitted like a superfly pimp in a flashy silver suit, and it's hard to imagine anyone resisting his call. He sells a ticket to a bewitching journey that pays off at every turn." David Rooney for <a href="https://www.hollywoodreporter.com/review/hadestown-theater-review-1202512" target="_blank">Hollywood Reporter</a>"Hadestown&nbsp;triggered a lot of buzz&nbsp;when this wholly American show (which came to the stage by way of a concept album) premiered at Off-Broadway's New York Theatre Workshop in 2016. Arriving on Broadway&nbsp;with its earthly delights more or less intact, this perfectly heavenly musical — with book, music and lyrics by Anaïs Mitchell — should stick around for a while." Marilyn Stasio&nbsp;for <a href="https://variety.com/2019/legit/reviews/hadestown-review-musical-broadway-1203191646/" target="_blank">Variety</a>

Review of Hadestown on Broadway

The Walter Kerr Theatre is a Broadway theatre located in the heart of New York City. Originally named the Ritz Theatre, it was built in 1921 and renamed in 1990 to honour the Pulitzer Prize-winning American critic Walter Kerr. With a seating capacity of just 975 across Orchestra, Mezzanine and Balcony sections, it's one of the city's smaller and more intimate venues. Notorious for its world-renowned, critically acclaimed productions, the Walter Kerr Theatre has staged hits such as 'Angels in America', 'A Little Night Music', and 'Hadestown', making it a quintessential part of New York's theatre landscape. The theatre is famously known as the home of 'Springsteen on Broadway', Bruce Springsteen’s one-man show that ran for 14 months in 2017 and 2018. The show was an unequivocal success and re-affirmed Walter Kerr Theatre as a must-visit for any theatre aficionado.

**Getting to the Walter Kerr Theatre:** The theatre is conveniently located at 219 West 48th Street, easily accessible by public transportation. The closest subway stations are 50th Street, served by the C and E lines and 49th Street served by the N, R, and W lines. Buses that stop near the theatre include the M104, M10, M27/M50, and M6.

Walter Kerr Theatre - NY

Walter Kerr Theatre 

The Walter Kerr Theatre is an intimate, historic Broadway venue in New York, known for critically acclaimed productions and easy public transport access.

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Ages 10+. Infants are not permitted in the theater.

Hamilton on Broadway - NYC [384]

Hamilton on Broadway

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I saw *Hamilton* Wednesday last at the Richard Rogers Theatre. Last night I went to bed with *Hamilton*. I had Lin-Manuel Miranda's script all to myself and devoured it. There is so much information, not to mention plain old smarts, that is packed into this show that reading the text is an exercise in pure pleasure. And once again I came away with the same conclusion. This is a story ABOUT Alexander Hamilton while at the same time it is the story OF Aaron Burr.

Burr (Leslie Odom, Jr.) welcomes us to the evening almost purring:

How does a b*st*rd, orphan, son of a wh*re And a Scotsman dropped in the middle of a forgotten spot In the Caribbean, by Providence impoverished, to squalor Grow up to be a hero and a scholar?

Who did this immigrant Hamilton (Lin-Manuel Miranda) think he was? Burr was the son of money. Hamilton was the son of chance and fortune. Burr was willing to wait for his just rewards; Hamilton preferred the direct route.

... I'm just like my country I'm young, scrappy and hungry And I'm not throwing away my shot

Hamilton arrives from Nevis in the Bahamas just as the country is splintering into a new incarnation. He lands in New York, the center of everything, and works his way up the revolutionary ladder. He sits at the right hand of God in the person of George Washington (Christopher Jackson) and pines for a command that is denied him until there is no other option.

Hamilton did not live in a vacuum, however. Events and people were moving around him like a hurricane. The women in his life were a match in every way to the men. "The Schuyler Sisters," Angelica (Renée Elise Goldsberry), Eliza (Phillipa Soo), and Peggy (Alysha Deslorieux on the night I was there), are the center of New York's solar system. While Washington in planning battle, there is a social life to be created. Angelica is looking for a mind at work, and when both she and her sister, Eliza, are smitten by Hamilton, she steps aside in a scene that is tragic and gallant.

As each element is added to the story, the tapestry becomes richer and more dense. Family brings new responsibility but does not alter Hamilton's trajectory. As the new country is formed, he stays in the inner circle, annoying Thomas Jefferson (Daveed Diggs) who was in France for most of the war, and drives Burr just a little mad. Burr's thirst for the power that Hamilton has is palpable, and as his frustration explodes in the second act with "The Room Where It Happens," the experience is visceral for us all and becomes a showstopper.

Over and over again we see the tragedy that is coming. The rules of dueling are spelled out more than one time. The future is seen as a place where these folks may not walk but in which they will be remembered. The tension and terror of the time fill the theatre. This is balanced by Miranda's eye for the absurd, the ridiculous and the insidious which evoke belly laughs, winces and mental high-fives. He gives a generous nod to King George (Jonathan Groff, who is the only white person playing a main character) who smiles and winks through three pop numbers that remind us in the nicest possible way that the little people are just that:

Cus when push comes to shove I will kill your friends and family to remind you of my love

Hamilton was smart and driven - and he was a writer. It was his pen that got him out of his home, and it would be his pen that brought him to the side of Washington. Today he would have been tweeting (as is Miranda) several times a day. If the telegraph had been around he would have been tapping until the machine melted in his hands. But these were the days of longhand, quills, ink, and parchment. And delivery was by foot or, if you were lucky, horseback. Still, what Hamilton managed to crank out was not only impressive, it was world-altering. His accomplishments are listed like it was an awards banquet. He crafted a financial system. Created the national debt to save the country. Wrote *The Federalist Papers*. He wrote as if he were running out of time. And he was.

The last moments of Hamilton's life are perhaps the most delicately crafted. "I imagine death so much it seems like a memory," Hamilton sings as the bullet travels through time and relationships to reach him. And when it does, we hear the lament of Aaron Burr, still at the center of the tale, who didn't realize the world was wide enough for them both, and the chorus that delivers us back into our seats singing and asking us, "Who lives? Who dies? Who tells your story?"

Hamilton is a magnificent tapestry where all the elements of theatre are called upon to be their very best. The choreography by Andy Blankenbuehler is nothing short of mesmerizing. His work makes the entire piece pulse. Alex Lacamoire's musical direction and orchestration lifts us into the stratosphere. The scenic design by David Korins, costumes by Paul Tazewell, and lights by Howard Binkley are seamlessly integrated and a visual feast. Finally, Thomas Kail's direction is impeccable. Under his guidance this show has been pieced together into a living, breathing entity. *Hamilton* is not just a show, it is an experience - which is always the goal of art. This is not a show that you sit and watch. It is a show that takes you by the hand and pulls you into its embrace.

The end result is something much more than the story of one man. It is the story of how we each create our destiny and our mark on the world. You leave the theater thinking about what you would like to do that you have not done. You leave the theatre filled with possibility.

(Photo by Joan Marcus)&nbsp;<hr />"'Hamilton' makes us feel the unstoppable, urgent rhythm of a nation being born." Ben Brantley for New York Times"With 'Hamilton,' Broadway is officially the coolest place on the planet. And the smartest. And most exhilarating." Joe Dziemianowicz for New York Daily News"Lin-Manuel Miranda's 'In the Heights' may have been a hit — but his 'Hamilton' is a phenomenon." Elisabeth Vincentelli for New York Post"The greatest American musical in decades." David Cote for Time Out New York"It was phenomenal off-Broadway. It's even better now. 'Hamilton' is that rare musical that fires on all cylinders, even ones we never knew existed." Roma Torre for NY1"This is a musical often stunning in its audaciousness." Mark Kennedy for Associated Press"This enormously ambitious and entertaining musical history lesson is even more impressive on a second viewing." Frank Scheck for The Hollywood Reporter"This innovative show is shaping up to be just as much of a phenomenon uptown, playing in a Broadway house with four times the seating capacity, and to a more traditional but no less enthusiastic audience. That universal appeal to crossover audiences is one unmistakable sign of a groundbreaking show." Marilyn Stasio for VarietyExternal links to full reviews from popular press...<a href="http://www.nytimes.com/2015/08/07/theater/review-hamilton-young-rebels-changing-history-and-theater.html?_r=0" target="Top">New York Times</a> - <a href="http://www.nydailynews.com/entertainment/theater-arts/hamilton-musical-mint-condition-broadway-article-1.2316761" target="Top">New York Daily News</a> - <a href="http://nypost.com/2015/08/06/hamilton-isnt-quite-revolutionary/" target="Top">New York Post</a> - <a href="http://www.timeout.com/newyork/theater/hamilton-1" target="Top">Time Out</a> - <a href="http://www.ny1.com/nyc/all-boroughs/lifestyles/2015/08/6/ny1-theater-review---hamilton-.html" target="Top">NY1</a> - <a href="http://www.hollywoodreporter.com/review/lin-manuel-mirandas-hamilton-theater-813145" target="Top">Hollywood Reporter</a> - <a href="http://variety.com/2015/legit/reviews/hamilton-review-broadway-1201557679/" target="Top">Variety</a>

'Hamilton' review

Read our five-star review of *Hamilton* on Broadway at the Richard Rodgers Theatre.

The Richard Rodgers Theatre, named after one of the most influential composers in American history, is a Broadway theatre located in New York City. It was originally opened in 1925 as 'Chanin's 46th Street Theatre' and was later renamed in honor of prolific composer Richard Rodgers in 1990. At over 14,000 square feet, it is the highest grossing venue on Broadway, with a seating capacity for an audience of over 1,300 people. Offering a variety of shows, it is best known for the ongoing run of the critically acclaimed musical, 'Hamilton'. Not only does this theatre provide top-notch entertainment, but it also offers an array of amenities for its guests, including wheelchair accessible seating, assistive listening devices, and more. 

*How to get there*: The Richard Rodgers Theatre is conveniently located at 226 W 46th Street, near Times Square. Access to the theatre is easy and convenient with several modes of public transportation available. The nearest subway stations are 49th Street (N, R, and W lines) and 42nd Street - Times Square (A, C, E, N, R, W, 1, 2, 3, 7, and S lines). Alternatively, visitors can take a bus to West 46th Street and 8th Avenue, which is just a short walk to the theatre.

Richard Rodgers Theatre - NY

Richard Rodgers Theatre

Richard Rodgers Theatre is a historic Broadway venue in New York, notable for Hamilton performances. Easy access via subway or bus.

NYC - & Juliet on Broadway - Lower Homepage Banner - TT

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Ages 8+. Children under 4 will not be admitted into the theatre.

& Juliet on Broadway - NYC [25598]

& Juliet on Broadway

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Anne Hathaway – the wife of William Shakespeare, not the Oscar-winning actress – has a message for her famous husband. In a nutshell: Your star-crossed-lovers tragedy stinks. 

That’s the start of [*& Juliet*](https://www.newyorktheatreguide.com/show/25598-and-juliet-tickets), a slim but cheeky and eager-to-entertain jukebox musical bursting with chart-toppers made famous by Britney Spears, Katy Perry, Bon Jovi, Celine Dion, Backstreet Boys, and other pop stars.

“What if Juliet didn’t kill herself?” muses Anne (Betsy Wolfe, goofy, gutsy, and serving gale-force vocals), who convinces Will (Stark Sands) to collaborate on a rebooted story. So long, Verona and stifling parents keen on locking her up in a nunnery. Freedom awaits! Juliet (the terrific Lorna Courtney), now 22 in the revised tale, considers life on her own terms.

She makes a beeline for Paris with her nurse (Melanie La Barrie, reprising her role from the show’s London premiere), a new non-binary BFF May (Justin David Sullivan), and another pal, April – who is actually Anne. She and Shakespeare write themselves into the revision; he’s a carriage driver. Along the way, some 30 hits from the Max Martin catalog, including “...Baby One More Time,” “Roar,” and “Since U Been Gone,” knit the narrative together.

This setup happens with surprising speed and economy. The early zippy energy is a big plus. Vibrant visuals are another. Director Luke Sheppard’s staging makes great use of projections, flying set pieces, and a levitating circular platform to showcase dramatic moments and athletic dance moves by choreographer Jennifer Weber. 

There's plenty of drama in France after Juliet and company meet Francois DuBois (Philippe Arroyo), who’s looking for love, and his stern father Lance (Tony winner Paulo Szot, game but frequently upstaged by his codpiece), who shares a secret history with Juliet’s nurse.

Thanks to Will’s desire to stir the plot, dim Romeo (Daniel Maldonado, in for Ben Jackson Walker at a recent performance) pops up. The newly undead guy descends in a superdope (to borrow his term) and glitzy entrance.

The action unfolds in Shakespeare’s era, but its heart and head are all about today. Costume designer Paloma Young pairs corsets, ruffs, and doublets with chunky boots and high-tops. There’s also a shoehorn lurking in the wings. As in any jukebox musical, some tunes are wedged in, but others fit surprisingly well.

“I Want It That Way” becomes a useful all-purpose expression of desire, while “Oops! … I Did It Again” neatly covers romantic missteps. “Stronger” lets Juliet’s defiance toll. Romeo and Juliet’s conflicted feelings churn into a raucous “Problem/Can’t Feel My Face.”

*Schitt’s Creek* writer David West Read penned the story, and it’s a mixed bag. *& Juliet*'s feminist attitude and celebration of gender fluidity make it topical. Mispronunciations of Francois’s surname makes way for (groan) DeBoy band jokes. And even with the youthful exuberance, the momentum sags whenever Anne and Will spar about the narrative — and they do it a lot. 

The script looks to history (or Wikipedia?) to connect the dots between Anne, who Shakespeare disregarded, and suicidal Juliet. Creative license abounds, of course, but the script breezes over the fact that if Romeo is alive, then Juliet is still married. That puts a kink in major plot developments. In the end, the show has no fewer than three separate conclusions.

To see or not to see any or all of that as just nitpicking? Theatregoers out for a silly good time likely won’t care as they hum along with *& Juliet*.

[*& Juliet* is at the Stephen Sondheim Theatre. Get tickets to *& Juliet* at New York Theatre Guide.](https://www.newyorktheatreguide.com/show/25598-and-juliet-tickets)

*Photo credit: Lorna Courtney (center) and the cast of & Juliet on Broadway. (Photo by Matthew Murphy)*

'& Juliet' review — the Bard meets 21st-century bops in energetic pop musical

The Stephen Sondheim Theatre is a treasured gem within the heart of New York City. Located in the bustling Times Square district, it stands proudly, retaining its historical charm midst contemporary edifices. The theatre, formerly known as Henry Miller's Theatre, is deeply rooted in theatrical history, having hosted numerous Broadway classics since its inception in 1918. It boasts art nouveau architecture bathed in gentle, welcoming lights, with intricate details that add to its grandeur. A walk inside reveals a relaxing ambiance with ornamented ceilings, beautiful chandeliers, red velvet seats, and a sizeable stage that brings performances to life. Dedicated to the legendary composer Stephen Sondheim, the theatre's rich legacy continues by staging some of the most critically acclaimed plays, musicals, and performances, all enjoyed from the comfort of its 1,055 seats. 

**How to Get There** 
Stephen Sondheim Theatre is conveniently located at 124 West 43rd Street, accessible via various modes of transportation. Visitors can reach the theatre by subway, taking the B, D, F, or M train to 42nd Street/Bryant Park or the 1, 2, 3, 7, N, Q, R, S, or W train to Times Square/42nd Street. Buses M5, M7, M20, M42, or M104 also offer routes to Times Square. For those who prefer driving, several paid parking garages are available nearby.

Stephen Sondheim Theatre - NY

Stephen Sondheim Theatre

The Stephen Sondheim Theatre is a cherished historical venue in Times Square, known for its Broadway classics and art nouveau architecture.

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NY | TT | Carousel - Web Homepage | Chicago | 22

Breaking News graphic: DCC Reese joins Chicago on Broadway September 7th, headshot on gradient background.

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Ages 13+. Children under 4 are not permitted.

Chicago on Broadway - NYC [22]

Chicago on Broadway

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20 years old and she’s still got it, folks!

With the 20th anniversary of [*Chicago*](https://www.newyorktheatreguide.com/show/22-chicago-tickets) speedily approaching, I took a trip to Broadway’s [Ambassador Theatre](https://www.newyorktheatreguide.com/theatres/ambassador-theatre) to witness that timeless story of murder, greed, corruption, violence, exploitation, adultery and treachery… and rest assured, I still hold it near and dear to my heart!

*Chicago* is the second longest-running show in Broadway history, behind Andrew Lloyd Webber’s infamous [*Phantom*](https://www.newyorktheatreguide.com/show/38-the-phantom-of-the-opera-tickets), and still holds the record of being the longest-running musical revival and longest-running American musical on the Great White Way. So how has this iconic musical managed to outlast its competitors in the increasingly crowded and competitive market place that is Broadway?

One word can sum it all up, really… “Class”… which just so happens to be the title of one of the more reflective numbers in the show. As Velma and Mama Morton were serenading us, asking whatever happened to class, I couldn’t help but think that this production has it in abundance. *Chicago* proves that you don’t need to bombard your audience with a number of lavish sets or elaborate costume changes to put together a winning musical. All you need is a live band on stage, intoxicating the auditorium with that jazz-infused score from the genius that is John Kander and Fred Ebb and sprinkle it with that Bob Fosse-style choreography, and before you know it, you’ve razzle dazzled ‘em! Those tight-fitting, all-black (and often transparent) costumes by William Ivey Long enhance the show’s sensuality with equal measures of male and female exposure and have themselves become as recognisable as the show’s glittering red logo.

You forget how ground-breaking this revival must have been, when it officially opened on Broadway on 14th November 1996. Moments of breaking the fourth wall to introduce the musical numbers and having the conductor of the band interact with the actors on stage, still set *Chicago* apart from its predecessors, and who wouldn’t want to call for their “Exit Music” each time they left the room?

*Chicago* is equally as famous for its revolving casting door, which has seen both Broadway veterans and celebrities from the world of music, TV and film take to the stage and sink their teeth into those coveted principal roles for special limited engagements. Some of the company’s principals have been with the show for quite some time and continue to delight with every performance. NaTasha Yvette Williams’ brassy and sultry Mama Morton, Raymond Bokhour’s ever-loveable Amos and R. Lowe’s skilled, gender-bending performance as Mary Sunshine are always crowd-pleasing and essential parts of the production, offering the degree of stability that takes it smoothly through its many cast changes. Although some would argue that Chicago has been reduced to a star vehicle for celebrities wishing to dip their toes into the world of Broadway, I see it as a living, breathing piece of musical theatre history, which rightfully remains at the Ambassador Theatre and reminds us that all you need is class and, of course, all that jazz!

*(Photo by Jeremy Daniel)*

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"As much tribute as revival, the spirit of Fosse's genius never leaves the stage, and Chicago, under Walter Bobbie's sharp direction, will dazzle newcomers to the trademark Fosse dance style and provide a thrilling reminder to those who've seen it before just how smart, sexy and exciting this brand of choreography was, or rather, is."
*Greg Evans for Variety*

"Chicago is a triumph! It doesn't just give us the old razzle-dazzle; it glows."
*Richard Zoglin for Time Magazine*

"Chicago still glitters hypnotically! It remains the best adult entertainment in town and still bubbles with the joy of performing!"
*Ben Brantley for New York Times (2007)*

"The show seems to have discovered the fountain of youth. As entertaining as ever. Brash, buoyant and utterly irresistible!"
*Michael Kuchwara for The Associated Press (2003)*

'Chicago' review

Read our 20th anniversary review of *Chicago* on Broadway at the Ambassador Theatre.

The Ambassador Theatre is a quintessential landmark venue situated in the heart of Times Square in New York City. The theatre, built in a unique diagonal orientation to fit within a corner property, opened in 1921 and has since been a stoić stalwart in the midst of the bustling city life. The beautifully ornated structure with its grand interiors and elegant façade captures the essence of old New York charm. With a seating capacity of 1125, the theatre provides an intimate and immersive theatrical experience. Ambassador Theatre has been the venue for numerous historically and culturally significant productions, including 'Chicago,' not only gaining it popularity but also cementing its position as a paragon in the New York theatre scene.

## How to get to the Venue
The Ambassador Theatre is easily accessible by public transport. The closest subway stations are 49th Street (N, R, and W lines), and 50th Street (1 and 2 lines). An alternate option is to take the C or E line to 50th Street. The theatre is also reachable by several bus lines such as M7, M20, M50, or M104. For attendees driving, numerous public parking spaces are available in and around Times Square.

Ambassador Theatre - NY

Ambassador Theatre

The Ambassador Theatre, an iconic venue in Times Square, New York, is known for its unique architecture and historic productions.

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Ages 8+. Children under 4 are not permitted. 

MJ The Musical on Broadway - NYC [23379]

MJ The Musical on Broadway

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Michael Jackson, one of the most beloved and influential musicians of all time, chased perfection his entire existence. It's unfortunate he is not alive to witness the flawless production of <a href="https://www.newyorktheatreguide.com/show/mj-the-musical" target="_blank">MJ the Musical</a>, a model biographical musical now open at the <a href="https://www.newyorktheatreguide.com/theatres/neil-simon-theatre" target="_blank">Neil Simon Theatre</a> on Broadway.Under the exemplary direction and choreography of Christopher Wheeldon, the production gives context to Jackson's inherited demons and zooms in on his daunting creative process and peerless genius. MJ is the platinum standard the often uninspired, generic jukebox musical could benefit to emulate.&nbsp;The musical doesn't tell his full life story. The book by two-time Pulitzer Prize-winning playwright Lynn Nottage narrows in on Jackson's Dangerous Tour rehearsals in 1992 — well before allegations of child molestation charges against Jackson arose. With the Jackson estate on the production team, Nottage has fixed this musical's lens on the stories the artist told through his music. Jackson's troubled childhood, pain, and loneliness fueled creativity and inspired the lyrics he wrote.Nottage's brilliant book gives the character of Jackson depth, and Myles Frost (who plays the eldest of three MJs who share the role) embodies the musician's complex persona. With every "hee-hee" and pelvic thrust, one can almost forget they're not seeing the King of Pop before their eyes. It's not easy to sing a Jackson song or move with the late star's precision, flexibility, and finesse. Many American Idol auditions have proven this true. But here, Frost has immersed himself into the spirit of Michael Jackson, producing distinct parallels to the icon's childlike behavior, restlessness, and paranoia.Frost gives this show not only his divine voice, but also a nuanced performance that humanizes the flawed superstar. In fact, all three generations of MJ exceed expectations. Little Michael (a talented Christian Wilson at the performance I saw) and young adult Michael (a fierce Tavon Olds-Sample) work together in seamless transitions to tell the full story of Jackson's early years.Both Quentin Earl Darrington (Once On This Island), and Ayana George (Broadway debut), who play Joe and Katherine Jackson, respectively, give powerhouse vocal performances. George especially shines during "I'll Be There," an affectionate duet with Little Michael. Though one can read Katherine as an enabler to Joe's rampant physical and emotional abuse, this number gives a tender softness to her love and vowed protection of Jackson.&nbsp;Darrington also plays Rob, Jackson's trusted tour manager. The smooth and swift changes between a man Jackson fears and a man he trusts give scene transitions delicate density.Musical numbers like "They Don't Really Care About Us," "Human Nature," "Stranger in Moscow," and "Thriller" are the show's highlight reels. The numbers are filled with Wheeldon's masterful choreography, blending modern dance, Jackson's iconic moves from the 90s, and deep, soul-stirring storytelling of the artist's triumphs and tribulations. The dance ensemble delivers paramount performances that leave an imprint on the memory. This team is a true tour-de-force.In the audience, some longtime fans sang along and cried, others who never experienced Jackson live remained mesmerized, and even a few skeptics cheered thunderously. They'd gasped loudly every time Frost changed a jacket or put on the iconic bedazzled glove.Paul Tazewell's magnificent costume design carries the cast through the MJ timeline seamlessly. A killer set by Derek McLane, amplified by gorgeous lighting by Natasha Katz, gives the show a visual beauty that makes it hard to look away.While Jackson's story is flawed, it's too complicated for anyone who hasn't danced in his shoes. MJ The Musical, however, is the perfect salutation to the life of an imperfect but gifted icon.<a href="https://www.newyorktheatreguide.com/show/mj-the-musical" target="_blank">MJ The Musical is at the Neil Simon Theatre. MJ The Musical tickets will be available on New York Theatre Guide soon.</a>Photo credit: Myles Frost and the company of MJ The Musical. (Photo by Matthew Murphy)

'MJ The Musical' review — a flawless tribute to a flawed icon

MJ The Musical is at the Neil Simon Theatre. MJ The Musical tickets will be available on New York Theatre Guide soon.

MJ The Musical Review | New York Theatre Guide

The **Neil Simon Theatre** has a rich history in the heart of New York City's world-renown Broadway district. Built in 1927 as the Alvin Theatre, it was renamed after Pulitzer Prize-winning playwright Neil Simon in 1983.

The 1,445-seat venue has staged numerous high-profile and highly successful productions during its lifetime, with a variety of plays and musicals that appeal to all tastes. Its opulent interior architecture, complete with its lavish lobby and grand staircase, create a truly regal atmosphere that matches the quality of the performances on stage.

Getting to the Neil Simon Theatre is a breeze as it is located at 250 West 52nd Street. It is easily accessible via public transport with a number of metro stations, including the 49th Street Station (N, Q, R, and W lines), and the 50th Street Station (1 line) a short walk away.

If you're arriving by car, there are numerous public parking facilities nearby, such as the Icon Parking, which is just around the corner from the theatre. Regardless of how you choose to travel, arriving at the Neil Simon Theatre promises the start of an unforgettable Broadway experience.

Neil Simon Theatre - NY

Neil Simon Theatre

The Neil Simon Theatre, a 1,445-seat venue in New York's Broadway district, offers easily accessible transport and unforgettable Broadway experiences.

NY | TT | Carousel - Web Homepage | Hamilton | 384

NY | TT | Carousel - Web Homepage | The Rocky Horror Show | 43905

The Rocky Horror Show on Broadway - NYC [43905]

The Rocky Horror Show on Broadway

The Rocky Horror Show on Broadway - NYC [43905] - Product Media

The **Studio 54 theatre** in New York is legendary in its status as America's most famous nightclub from history. In the '70s, the venue was a beacon for A-list celebrities, artists, and musicians to gather under its mesmerising disco ball. Today, as part of the Roundabout Theatre Company, **Studio 54** is a home to captivating theatrical performances. The theatre, located on 254 W 54th Street, maintains its historical charm with the restored auditorium that evokes an intense feel for the remarkable history it's borne witness to. The theatre has a seating capacity of 1006 and has been the stage for numerous notable productions such as 'Cabaret', 'Sunday in the Park with George', and 'Kiss Me, Kate'. The elegance from its original 1927 construction blends seamlessly with its more modern renovations, helping keep Studio 54 an iconic and desired destination in the Big Apple. 

 **How to get to the venue** 

 Getting to Studio 54 is quite straightforward. Located in Manhattan, it's easily accessible by subway. The closest station is 7 Avenue, which is just a short two-minute walk from the theatre. For those preferring a taxi ride or self-drive, there are several parking garages nearby like the 'Icon Parking' on 851 8th Ave or the 'SP+' on 1700 Broadway.

Studio 54 - NY

Studio 54

What's on at Studio 54 in New York City. Browse upcoming shows, check showtimes, and get tickets on TodayTix.

Studio 54 — Shows & Tickets | NYC | TodayTix

Studio 54 theatre in New York, known for its past as a celebrity club, is now a popular venue for theatrical performances.

NY | TT | Carousel - Web Homepage | Kramer/Fauci | 47282

Kramer/Fauci - NYC [47282]

Kramer/Fauci

Kramer/Fauci - NYC [47282] - Product Media

St. Ann's Warehouse is a unique and captivating theatrical venue located in the heart of Brooklyn, New York. Known for its innovative performances and avant-garde approach to theatre and art. The warehouse was originally a tobacco factory, which, in 1980, was repurposed into the cultural hub it is today. Boasting a diverse array of shows, including music, film, dance, and theater performances, it attracts an eclectic audience drawn to its experimental and unconventional programming.

Its highly flexible and spacious interior design accommodates a wide range of performance styles and setups, and it often partners with other cultural institutions to enhance its offerings and reach wider audiences. The Warehouse also engages in community-based projects and educational outreach to connect with the local community. St. Ann's Warehouse has cemented itself as a vanguard of cutting-edge performance and an important part of Brooklyn's vibrant and ever-evolving arts scene.

### How to get to the venue:

St. Ann's Warehouse is located at 45 Water St, Brooklyn, NY. Easily accessible by public transportation, the venue is just a short walk from the York Street station on the F subway line and the High Street station on the A or C lines. There are also numerous public parking lots nearby for those who prefer to drive.

St. Ann's Warehouse - NY.

St. Ann's Warehouse 

St. Ann's Warehouse in Brooklyn is an innovative theater venue known for its diverse, avant-garde performances and rich history.

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