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Mindplay - NYC [42750]

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Situated in the heart of New York's vibrant arts district, Greenwich House Theater sets the stage for contemporary performances that inspire and engage. This intimate theatre venue, celebrated for its eclectic programing of innovative productions, offers a rich cultural experience to its patrons. Notably, it sports a historic auditorium with a capacity of 99 seats. Known for its top-notch acoustics and intimate atmosphere, this venue is perfect for those who enjoy immersive theatre. Each season, the theatre hosts a dynamic array of performances, ranging from experimental stage plays to emerging playwright readings. Above all, the Greenwich House Theater fosters the spirit of communal storytelling, eliciting a unique intertwining of performer and audience.

**How to get to the Greenwich House Theater:** The venue is conveniently located in the West Village at 27 Barrow Street, New York. It's easily accessible by public transport. You can take the 1 or 2 subway to Christopher Street Station or the A, C, E, B, D, F or M to West 4th Street Station. From these stations, the theater is just a short walk away. For those driving, there are several public parking garages nearby.

Greenwich House Theater - NY

Greenwich House Theater 

Greenwich House Theater is an intimate and historic theatre venue in New York’s arts district, offering a range of innovative performances.

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Grangeville - NYC [40573]

Grangeville

The Alice Griffin Jewel Box Theatre is a modern gem nestled within New York City's vibrant theatrical community. Built with a contemporary design and possessing a refreshing ambiance, it provides a unique and intimate experience enveloping the audience within the magic of live performance. Each of its 191 seats offers unimpeded views of the stage, immersing spectators in every nuance of the performance.

**_How to get to The Alice Griffin Jewel Box Theatre_**: The theatre is located at 480 West 42nd Street, inside the Pershing Square Signature Center. Easily accessible by public transport, subway lines A, C, E, N, Q, R, W, S, 1, 2, 3, 7 or shuttle to Times Square are the preferred routes. Walk west 2 blocks on 42nd Street to reach the theatre. Garage parking is available on 42nd Street between 9th & 10th Avenue and on 10th Avenue between 41st & 42nd Street.

The Alice Griffin Jewel Box Theatre

The Alice Griffin Jewel Box Theatre in NYC offers immersive, intimate theatrical experiences. The venue is easily accessible via various transit options.

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Aida - NYC [41499]

Aida

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The Metropolitan Opera House, often referred to simply as the Met, is an iconic arts venue located in Lincoln Center in the bustling city of New York. Known world-wide, the Met is home ground for the Metropolitan Opera Association, which delivers opera performances that flock an international attendance. Since its inception in 1966, the Met has staged more than four thousand performances and stands as one of the most technologically advanced theatre venues in the world. Discriminated into tiers, the main hall flaunts seats for approximately 3,800 attendees with room for about 195 standing. A strikingly beautiful crystal chandelier sprawls over the custom gold-leaf ceiling. The Met cultivates a blend of traditional and contemporary, hosting grand classical operas as well as new productions. **How to get to the Metropolitan Opera House**: Being in the heart of New York, it is easily accessible via various modes of transport. The nearest subway stations are at 66th Street - Lincoln Center and 72nd Street on the 1, 2, and 3 lines. Alternatively, buses M5, M7, M10, M11, M66 and M104 also have stops nearby. If you’re driving, there are numerous parking garages in close proximity to Lincoln Center. Please note, traffic may be busy around performance times, so ensure you manage time efficiently and plan your journey accordingly.

Metropolitan Opera House - NY

Metropolitan Opera House

The Metropolitan Opera House is an iconic opera venue in New York's Lincoln Center, known for grand classical and contemporary productions.

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Ages 10+. Children under 4 are not permitted.

SIX on Broadway - NYC [20737]

SIX on Broadway

SIX on Broadway [20737] Product Media

There is nothing I enjoy more than discovering a show and then going back to see it again (and again) with someone who has never seen it before. As someone who goes to the theatre for work, I view every night as a treasure hunt for the next theatrical crown jewel, and I love revisiting these gems time and again with friends and family.&nbsp;So when I saw a little show called <a href="https://www.newyorktheatreguide.com/show/20737-six-musical-tickets">Six</a> for the first time in London's West End in 2019, I couldn't wait to evangelize about it and take everyone I know. When the show came to the U.S. for a North American tour before heading to Broadway, I took my brother and sister-in-law to the show at American Repertory Theatre in Cambridge, Mass.&nbsp;And when the show was preparing for its March 2020 Broadway bow, I took a good friend, dancing in the aisles at the last show I saw before the pandemic shutdown.&nbsp;Now, the production is the first new musical to return to Broadway since theatres closed, and in the intervening time, I've actually moved to London, where I was at the musical's first performance back in the West End in May 2021. So being back in New York for Broadway's reopening and seeing Six (for the sixth time, no less) feels like a seminal moment for the show.&nbsp;This time, I also took a good friend, who also had never seen the show or heard any of the music. Watching her experience pure musical theatre elation for a pop-packed 75 minutes was greater than any returning-to-theatre joy I could have imagined. You'll laugh. You'll cry. You'll dance. It's everything a theatre experience should be and more.&nbsp;So what is Six, you might ask, oh uninitiated one? The show is essentially a pop concert featuring the six wives of&nbsp;Henry VIII belting and riffing about all the "bullsh*t" they had to put up with from the king. Featuring vocal stylings in the vein of Nicki Minaj, Adele, Ariana Grande, Beyoncé, and more, the performers deliver a "histo-remix," in a concise and endlessly catchy concert-style show that is part singing competition, part history lesson.&nbsp;Now, you don't need me to tell you how popular the music is, as the U.K. cast recording has been streamed over 100 million times, and writers Toby Moss and Lucy Marlow (also the show's co-director with Jamie Armitage) have scored a deal to write pop music. Not bad for two students at Cambridge who came up with this show in school and premiered at the Edinburgh Fringe.&nbsp;The queendom has now gone global, and the Broadway production is bigger, bolder, and beltier than any Six I've seen yet. From new riffs to surprise costume reveals, every element has been leveled up for New York, leaving no stone unturned. Adrianna Hicks (Catherine of Aragon), Andrea Macasaet (Anne Boleyn), Abby Mueller (Jane Seymour), Brittney Mack (Anna of Cleves), Samantha Pauly (Katherine Howard), and Anna Uzele (Catherine Parr) form a tight ensemble, fulfilling all your girl group dreams and your next karaoke night.&nbsp;The show itself is a retro-mashup with Gabrielle Slade's bedazzled costumes featuring Reformation-inspired silhouettes; Carrie-Anne Ingrouille's choreography showcases Tudor-meets-pop moves; and Emma Bailey's scenery and Tim Deiling's lighting feels like what a royal ballroom might look like in a techno disco.&nbsp;Ultimately, the queens' own stories of overcoming struggles and the show's circuitous journey to Broadway are also beacons for the power of positivity, perseverance, and coming together in times of struggle. Just like these six "ex-wives," we've all had it rough for the past year and a half, and the queens are here to bring in a new regime. Long may they reign.&nbsp;Six&nbsp;is playing on Broadway at the <a href="https://www.newyorktheatreguide.com/venues/lena-horne-theatre">Lena Horne Theatre</a>. &nbsp;

'Six' Broadway review — a ‘one of a kind, no category’ musical

The Lena Horne Theatre, dedicated to the legendary artist of the same name, is a quintessential New York City theatre venue. Encompassing a blend of contemporary and traditional vibes, it carries an ambient charm and a deep-rooted cultural heritage. Nestled in the heart of the bustling city, this theatre offers captivating performances, welcoming audiences of all ages from around the globe. The hospitality and energy of the Lena Horne Theatre breathes life into each performance, making it an unforgettable experience. The theater provides an intimate setting that ensures every seat becomes the best seat in the house. Rooted in its passion to promote and cultivate the arts, the Lena Horne Theatre hosts a variety of events, ranging from plays and musicals to concerts and panel discussions. The delightful ensemble of artists embodies the spirit of Lena Horne, nurturing an appreciation for the arts and inspiring new generations. 

## How to Get There 
To reach the Lena Horne Theatre, a number of city bus and subway routes offer convenient access. The venue is just a short walk from junctions for the B, Q, 2, 3, 4, and 5 trains. A variety of nearby parking options are also available for those driving in.

Lena Horne Theatre - NYC

Lena Horne Theatre

The Lena Horne Theatre is a captivating NYC venue providing an intimate setting for plays, musicals, concerts and discussions.

NY - TT - 300 Paintings Web/App Lead

Sam Kissajukian: 300 Paintings - NYC [42920]

Sam Kissajukian: 300 Paintings

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The Vineyard Theatre is a remarkable off-Broadway theatre venue nestled in the heart of New York City. Offering a diverse array of theatrical productions, it is known for its boundary-pushing, thought-provoking, and entertaining performances that captivate audiences from around the globe. Since its inception in 1981, the Vineyard Theatre has evolved into a cornerstone of the New York performing arts scene, contributing to the enrichment of the city's cultural fabric. Respected for its impeccable acoustics and intimate setting, the venue seats just around 120 spectators, making for an immersive theatre experience. The Vineyard is also recognized for its dedication to nurturing both emerging and established playwrights, directors, and actors. Renowned for producing Pulitzer winning 'How I Learned to Drive' and 'Three Tall Women', it has proven itself a springboard for trend setting and transformative works.## Access to Vineyard Theatre 
The Vineyard Theatre is conveniently located at 108 East 15th Street, New York, NY. It is accessible via multiple modes of transport. If you prefer to get there by subway, Union Square is the nearest station serving the L, N, Q, R, W, 4, 5, and 6 lines. Furthermore, several local and cross town bus routes pass nearby the theatre. For those driving, numerous public parking lots can be found in the surrounding area.

Vineyard Theatre - NY

Vineyard Theatre

The Vineyard Theatre in New York is an off-Broadway venue known for boundary-pushing performances, nurturing creativity and hosting transformative works.

NYC - The Book of Mormon - Web / App Lead 

A person in a white shirt and black tie holds up a book titled "The Book of Mormon," smiling and gesturing with one hand on a dark background.

The Book of Mormon App Home Discover Spotlight Aug 23

Ages 13+. Parental advisory: this show contains explicit language. Children under 5 are not allowed in the theatre.

The Book of Mormon on Broadway - NYC [127]

The Book of Mormon on Broadway

The Book of Mormon on Broadway [127] Product Media

An old friend of mine turned Mormon on me a few years ago to the extent that I no longer know who this woman is. I felt like I was watching a perfectly intelligent person be kidnapped by people who believe that God lives on a planet called Kolob, an angel called Moroni delivered golden tablets to Joseph Smith in upstate New York that are the secret basis for this religion, and oh yeah — there is the hair shirt thing. So it was with some trepidation that I saw this show. Even though everyone has been raving about it, I was still cautious.

The good news is that this production bowls you over. You don't have a chance to not like it because it, like the Mormons it depicts, is positive that something good will happen if you just hang around for awhile. And the message is that, in the words of Dr. Seuss, "We are all a little weird, and life's a little weird, and when we find someone whose weirdness is compatible with ours, we join up with them and fall in mutual weirdness and call it love."

Two little Mormon missionaries - are they all white men? - are paired up together and sent to Uganda. Elder Price (Andrew Rannells), who could be the Ken to anyone's Barbie, was hoping for Orlando. Elder Cunningham (Josh Gad) is a sad sack grateful to be chosen for anything at all. Disappointment and enthusiasm are thus bound together and shipped east, way east.

Upon their arrival they meet villagers who are suffering from AIDS, drought, disease, and dictators. The villagers teach the two missionaries their favorite uplifting song, "Hasa Diga Eebowai." As life batters them in the head over and over again, it is this song that keeps them going. Price and Cunningham join in with that old-fashioned Mormon enthusiasm, only to find out that this song means, "F--k you, God." Welcome to the world, boys.

At missionary HQ they meet a randy bunch of also white boys led by Elder McKinley (Rory O'Malley) who have nothing to show for their time in Uganda - no Baptisms, no nothin'. But they do have one thing: their own musical theme song to aid them in times of question and doubt. "Turn It Off" - as in, turn off anything that means questioning the Mormon path: thoughts of homosexuality, memories of abuse, guilt of any kind. Welcome to another world, boys.

What follows is a love story where Price and Cunningham have to find their own paths without the other's help. Price tries to flee his fate while Cunningham deals fast and loose with his proselytizing. On the other side of the story, the villagers are caught between swallowing the Book of Mormon (the Third Testament of the Bible) as told by Cunningham, and making it through another day without being killed or having a clitoridectomy.

As a matter of fact, the clitoris is a focal point of this story and is mentioned, oh, about 30 times as a point of focus in Uganda. Here girls are raped and then circumcised (read: genital mutilation) to keep them from getting any ideas or pleasure for the rest of their lives. This subject is bandied about like a beach ball throughout the show along with child rape, frog rape, AIDS, maggot infestation, Spooky Mormon Hell, and Jesus. It is mentioned just enough to get people's attention, but I hope not so much that it will be dismissed as incidental or worse, a myth.

In the end everyone here is gullible and worthy of a dope-slap. From the Mormons to General Butt F--king Naked (Brian Tyree Henry) to the young woman Nabulungi (Nikki M. James), whose name Cunningham never gets right in a running joke that somehow works every time. The Mormons will figure out an answer to any argument. The General would rather kill than argue and wants everything and everyone to belong — to him. Nabulungi — kind of like the Little Mermaid — wants to get out of Dodge and go to Salt Lake City ("Sal Tlay Ka Siti"). Like the rest of us, the gal just wants to belong, period.

Ain't no one or nothing safe in *The Book of Mormon*, least of all the audience. This show makes you realize that when you are pointing one finger to make fun of someone, there are three fingers pointed back at you. And this news is delivered with a smile — a real one. Parker, Lopez, and Stone have a laser beam precision with the aim of a 10-year-old boy just discovering he can write his name in the snow when he pees. You don't know whether to laugh at the boy's delight or duck and cover. No matter. Either way, you're going to get some on you.

(Photo by Joan Marcus)<hr />"A newborn, old-fashioned, pleasure-giving musical has arrived." Ben Brantley for New York Times"The show is blissfully original, irreverent, outspoken and hilarious. And all that's tucked inside good -- no, great -- old-fashioned musical." Joe Dziemianowicz for New York Daily News"It's a fiendishly well-crafted, hilariously smart — or maybe smartly hilarious — song-and-dance extravaganza. The show's a hoot. The show's a hit." Elisabeth Vincentelli for New York Post"Like several shows this season, "Book of Mormon" is too long and comes close to wearing out its welcome before redeeming itself with a strong second act. And like most 12-year-old-boys, it isn't nearly as nasty as it would have us believe. Not that there's anything wrong with that." Jeremy Gerald for Bloomberg"Manages to combine outrageous parody, solid storytelling, and sympathetic yet goofy characters." David Sheward for Back Stage"One of the most purely enjoyable musicals in years." Robert Feldberg for The Record"Brilliantly original, hysterically funny and tunefully irresistible." Roma Torre for NY1"In a season of tuners mostly derived from old movies, stories and songs, it's a gold-plated Broadway miracle to encounter something so new and audaciously fresh in every respect of the word." Michael Sommers for Newsroom Jersey"The defining quality of this hugely entertaining show is its sweetness... One of the freshest original musicals in recent memory. It has tuneful songs, clever lyrics, winning characters, explosive laughs and disarmingly intimate moments." David Rooney for Hollywood Reporter"Every song enhances the hilarity, expert staging heightens every gag, and the cast of fresh faces is blissfully good... Approaches musical-comedy Rapture" Steven Suskin for VarietyExternal links to full reviews from popular press...<a href="http://theater.nytimes.com/2011/03/25/theater/reviews/the-book-of-mormon-at-eugene-oneill-theater-review.html" target="Top">New York Times</a> - <a href="http://www.nydailynews.com/entertainment/arts/2011/03/25/2011-03-25_book_of_mormon_review_south_park_team_matt_stone_and_trey_parker_produce_heavenl.html" target="Top">New York Daily News</a> - <a href="http://www.nypost.com/p/entertainment/theater/mormon_conquest_twlCrNAUI2E2z4l2tOqAWM" target="Top">New York Post</a> - <a href="http://www.bloomberg.com/news/2011-03-25/raunchy-book-of-mormon-spoofs-missionaries-lion-king-jeremy-gerard.html" target="Top">Bloomberg</a> - <a href="http://www.backstage.com/bso/content_display/reviews/ny-theatre-reviews/e3i5369f68f9c4d1e2f03b5f235adbbccc8" target="Top">Back Stage</a> - <a href="http://www.northjersey.com/arts_entertainment/theater/118635044_The_gods_mustbe_laughing.html" target="top">The Record</a> - <a href="http://www.newjerseynewsroom.com/movies/review-south-park-makers-open-the-book-of-mormon" target="Top">Newsroom Jersey</a> - <a href="http://www.hollywoodreporter.com/review/book-mormon-theater-review-171210" target="Top">Hollywood Reporter</a> - <a href="http://www.variety.com/review/VE1117944886" target="Top">Variety</a>

'The Book of Mormon' review

Read our five-star review of *The Book of Mormon* on Broadway at the Eugene O'Neill Theatre.

The Eugene O'Neill Theatre is one of the most prestigious and renowned performance venues in New York City. From its inauguration in 1925, it has been home to countless mesmerizing performances and continues to be a hub of creativity and artistry. The Theatre is conveniently located in the bustling heart of the city, nestled among an ensemble of iconic hotspots that fashion the city's distinctive cultural milieu. With a seating capacity of about 1,100, this playhouse exudes an intimate and one-of-a-kind atmosphere, ensuring an immersive and memorable experience for every patron. Over the years, the theatre has staged various Box Office hits including the award-winning musical ‘Book of Mormon.' The palatial interiors and the breathtaking architectural genius is a sight to behold — a testament to the grandeur of the Broadway epoch. The theatre is also recognized for its excellent acoustics, comfortable seating, and top-tier amenities that elevate the overall customer experience. Its experienced staff provides courteous and efficient service, ensuring an all-rounded, enjoyable outing for theatre-goers. ## Getting to Eugene O'Neill Theatre: The theatre is accessible by various modes of transportation. Subway services 1,2,3,7,N,Q,R,W are the closest stop - Times Square-42nd Street. If arriving by bus, services M7, M20, M104 drop off at W 46 St/7 Av. There is parking available near the theatre for those who prefer to drive. Do check the traffic and parking situation online before you embark on your journey.

Eugene O’Neill Theatre - NY

Eugene O’Neill Theatre

The Eugene O'Neill Theatre is a prestigious venue in New York known for its iconic performances and intimate atmosphere.

NYC - TT - English - Web/App Lead

NYC - TT - English 24hr Offer Web/App Lead

English on Broadway - NYC [24265]

English on Broadway

English - NYC  Product Media

If language is how we tell people who we are, can identity get lost in translation? The humor, frustrations, and consequences of adopting a non-native tongue are the basis of Sanaz Toossi's play <a href="https://www.newyorktheatreguide.com/show/english" target="_blank">English</a>. But the stories it tells also resonate deep beneath the surface, touching on hope, belonging, desire, and what makes people who they are.&nbsp;English is both a buoyant comedy of communication and a subtle but probing exploration of what it means to speak out loud and feel understood. That one play can accomplish as much with wit, ease, precision, and heart, as English does in a swift 115 minutes, makes it among the best new plays of the season.&nbsp;The action is set in a preparation class for the Test of English as a Foreign Language (or TOEFL) in Karaj, a large suburb of Tehran, Iran. The test represents a different hurdle for each of the enrolled students, for whom mastery of English promises to turn the page on the next chapter in life. Their teacher Marjan (Marjan Neshat) insists her students only speak English in class, a typical practice of foreign language instruction.&nbsp;Toossi, in a gesture that bridges the distance between her Iranian characters and presumed Western audiences, writes almost solely in English as well. When her characters are speaking Farsi, we hear unaccented, easy, voicy English — obviously their most comfortable means of expression. When they're practicing English, we hear hesitation, heavy accents, and staccato rhythms as language becomes a kind of mask.For a med school hopeful (Tala Ashe), passing the test means she'll get to pursue gastrointestinal research and eventually "make less of suffering" for people, as she puts it in English. ("Yes, my accent is a war crime," she quips in Farsi.) For a woman (Pooya Mohseni) whose son emigrated to Canada, learning English means she might get to see her granddaughter. For the youngest and fastest learner of the group (Ava Lalezarzadeh), it means unlocking more possibilities for the life ahead of her.Only one student who's far more advanced (Hadi Tabbal) has less obvious reasons for attending class, even aside from the slow-burn flirtation he develops with the teacher. (In a delightful bit of mirroring, the two spend Marjan's office hours watching Hollywood rom-coms, movies being a useful way to train the ear.)Knud Adams beautifully directs the world premiere from <a href="https://www.newyorktheatreguide.com/theatres/linda-gross-theater" target="_blank">Atlantic Theater Company</a> and Roundabout Theatre Company with a fluid assurance. There's an almost cosmic quality to designer Marsha Ginsberg's white cubic set, surrounded by darkness but for inside the classroom, and rotating between scenes for shifts in perspective. Lighting by Reza Behjat glows through the curtains with a promising gold but casts long, discomfiting shadows.A test on paper may have a clear outcome — pass or fail, the potential for triumph or fallout. But what does it mean to train your mouth and your mind in a way that denies their origins? And to do so in English, a language of opportunity, but also of imperialism and assimilation?Toossi approaches big, thorny questions with an expertly light touch, rooting her play's intricacies in well-shaded characters. But take a slight step back and the full picture comes into view — a stunning meditation on what makes us human.<a href="https://www.newyorktheatreguide.com/show/english" target="_blank">English&nbsp;is at Atlantic Theater Company through March 13. Get&nbsp;English&nbsp;tickets on New York Theatre Guide.</a>Photo credit: The company of English. (Photo by Ahron R. Foster)

‘English’ Off-Broadway review — a stunning play about hope, belonging, and desire

English is at Atlantic Theater Company through March 13. Get English tickets on New York Theatre Guide.

English Off-Broadway review | New York Theatre Guide

The Todd Haimes Theatre, located in the heart of New York City, is an iconic theatre venue renowned for its high-quality shows and excellent customer service. Home to numerous award-winning productions, this theatre is intimately tied with the cultural fabric of the city. It offers a top-notch acoustic experience complemented by its luxurious seating and intricate interior design that reminds of the golden era of Broadway. 

### How to get to the venue:
 For theatergoers travelling by subway, the nearest station is Times Square-42nd Street served by numerous lines including the 1, 2, 3, 7, N, Q, R, W, and Shuttle to Grand Central. For those preferring to travel by bus, the M7, M20, M42, M104 lines all stop within a short walking distance of the theater. If you're driving, numerous public parking lots are available nearby. However, due to the typical city traffic, public transportation is recommended.

Todd Haimes Theatre - NY

Todd Haimes Theatre

The Todd Haimes Theatre is a renowned New York City Theatre offering immersive experiences, hosting award-winning productions, and providing excellent service.

NYC - TT - Aladdin - Web/App Lead

Aladdin on Broadway - NYC [105]

Aladdin on Broadway

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In the UK, there is a Christmas tradition in British theatre called Pantomime. This phenomenon is foreign to American audiences, and is perhaps difficult to sell convincingly, but here goes: A pantomime takes the form of a tongue-in-cheek staging of a popular fairy tale, which encourages as much audience participation as possible. There is always a man dressed up as a ludicrous-looking woman known as the Dame (in the case of 'Aladdin' it's Widow Twanky), often a girl will play the lead male role (such as Peter Pan... Yes, it's all very gender-confusing) and a 'Dr. Evil-style' villain (who is constantly booed out of the building by the children in the audience, whenever he creeps onto the stage). There are also a few filthy jokes thrown into the mix, which fly straight over the childrens' heads and cheekily reward their accompanying parents. In short, the pantomime is a theatrical tradition that is belittled by theatre snobs, but wholeheartedly loved by families and secret 'guilty pleasure-seeking' theatregoers.Although pantomime is relatively unknown in the States, having recently attended a performance of Disney's latest mega-hit 'Aladdin,' I feel it is the closest thing to it in the good ole U S of A. Particularly the performance of Jonathan Freeman as treacherous Jafar (a role he reprises from voicing the character in the original 1992 animated film) reminded me of the old-school pantomime villain. Alas, there was no sign of boisterous booing from the audience...The musical, whilst perhaps not as creatively imaginative as Disney's standard barer 'The Lion King,' it certainly gets more laughs and the book's wise-cracking one-liners, often Arabian-themed, lend some refreshing, adult satisfaction. Most of these come from the show-stealing performance of James Monroe Iglehart as Genie, whose Tony Award-winning turn is truly a delight to behold. Stepping into the shoes of the late great Robin Williams (surely one of the main reasons, the animated classic was so popular) must be daunting at the least, but Iglehart gives a new and unique life to the character, whilst maintaining Mr Williams' high levels of energy and pace. His tour-de-force number 'Friend Like Me,' simply put, is musical theatre heaven! He is also quite the accomplished dancer and as light on his feet as the rest of the ensemble.Other comic relief comes in the form of Iago (a conniving parrot sidekick in the movie, now embodied as a short and stout human by Don Darryl Rivera), whose hilarious portrayal is a masterclass of comic timing. Three new additions to the cast are Aladdin's three, loyal buddies - Babkak, Omar and Kassim (Brian Gonzales, Jonathan Schwartz and Steel Burkhardt respectively) - who replace cheeky and loveable animated monkey Abu (although he does makes a cameo appearance on a poster in Act II!). These three amigos each have rounded characters and perform their comic sequences with vigour.The costumes and sets are wonderfully bright and make the production the most vibrantly colourful of all Disney Theatrical's offerings to date. Hats off to the ensemble members who undergo several quick (and magnificent) costume changes during the procession within the single musical number of 'Prince Ali'!Finally, the performances of Adam Jacobs as Aladdin and Courtney Reed as Princess Jasmine, although overshadowed by Iglehart, shine especially during their musical numbers. Particular favourites are the duet 'A Million Miles Away' and Aladdin's recurring solo 'Proud of Your Boy,' which both add some much needed character depth and showcase each actors' beautiful vocals. And of course, who can resist being swept along by the extremely impressive magic carpet scene during 'A Whole New World'?As I left the stunning New Amsterdam Theatre, I heard a child asking her mother: "How do they make that carpet fly, Mummy?" Her simple reply: "That's Disney magic!" I couldn't have said it better myself.(Photo by Cylla von Tiedemann)<hr />"The production's relentless razzle-dazzle and its anything-for-a-laugh spirit also infuse the show with a winking suggestion: If you can't be yourself, just be fabulous." Charles Isherwood for New York Times"The production's best special effect isn't the carpet, but the rollicking and endearingly over-the-top turn by James Monroe Iglehart ('Memphis'), who handles Robin Williams' role as the genie. With nonstop joking, fist bumps, declarations of 'Oh snap!' and nimble dance moves and smooth vocals, Iglehart shines with enough charisma to light a thousand and one nights." Joe Dziemianowicz for New York Daily News"Disney's new 'Aladdin' doesn't quite catch lightning in a bottle — but it lets a pretty nifty genie out of a lamp." Elisabeth Vincentelli for New York Post"For a child who's never seen a show before, the bright colors and broad silliness might be fun, but their adults will likely find it a teeth-grinding experience (although many dads will be diverted by Princess Jasmine's plunging necklines)." Robert Feldberg for The Record"This is a wonderful adaptation filled with color, charm and loads of theatrical magic." Roma Torre for NY1"The magic carpet flies smoothly and so does the rest of 'Aladdin', a buoyant musical comedy fashioned from the 1992 Disney animated feature." Michael Sommers for Newsroom Jersey"While it doesn't rival the imagination or innovation of 'The Lion King', the show's ebullient comic spirit should make it a popular hit." David Rooney for The Hollywood Reporter"Casey Nicholaw... stylistically turns the film's romantic fairy-tale adventure into shtick comedy." Marilyn Stasio for VarietyExternal links to full reviews from popular press...<a href="http://www.nytimes.com/2014/03/21/theater/aladdin-tweaks-the-disney-formula-with-breezy-insouciance.html?rref=theater&amp;module=Ribbon&amp;version=context&amp;region=Header&amp;action=click&amp;contentCollection=Theater&amp;pgtype=article" target="Top">New York Times</a> - <a href="http://www.nydailynews.com/entertainment/music-arts/aladdin-theater-review-article-1.1727136" target="Top">New York Daily News</a> - <a href="http://nypost.com/2014/03/20/aladdin-musical-doesnt-quite-seem-like-a-disney-hit/" target="Top">New York Post</a> - <a href="http://www.northjersey.com/arts-and-entertainment/theater/aladdin-loses-its-magic-1.747278" target="Top">The Record</a> - <a href="http://www.newjerseynewsroom.com/movies/aladdin-broadway-review-a-smooth-ride-for-the-family-crowd" target="Top">Newsroom Jersey</a> - <a href="http://www.hollywoodreporter.com/review/aladdin-theater-review-690038" target="Top">Hollywood Reporter</a> - <a href="http://variety.com/2014/legit/reviews/broadway-review-disney-aladdin-1201140780/" target="Top">Variety</a>

'Aladdin' review

Read our four-star review of *Aladdin* on Broadway at the New Amsterdam Theatre.

The New Amsterdam Theatre is a centerpiece of visual opulence in New York City known for its Broadway productions. Built in 1903 by prolific theatre architects Herts & Tallant, it has become a hallmark of Beaux-Arts and Art Nouveau styles. The intimate yet grand theatre is renowned for its exceptional acoustics and elaborate interior designs, reminiscent of an era gone by. The theatre has seen over a century's worth of performances, notably the Ziegfeld Follies from 1913 to 1927, and more recently the Disney Theatrical production of Aladdin. 

# Getting to New Amsterdam Theatre
The New Amsterdam Theatre is conveniently located at 214 West 42nd Street, just a short walk from Times Square. The venue is easily accessible via public transport. Subways N, Q, R, W, 1, 2, 3, and 7 trains stop at the 42nd Street-Times Square Station, which is just a few steps away from the theatre. If you prefer buses, take M104, M42, or M7 services to reach Times Square. There are numerous parking garages in the vicinity for those who prefer driving.

New Amsterdam Theatre - NY

New Amsterdam Theatre

The New Amsterdam Theatre, built in 1903, is a notable New York City venue known for Broadway productions; it's easily accessible via public transport.

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