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Ages 10+. Children under 4 are not permitted in the theatre.

The Great Gatsby on Broadway - NYC [38749]

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The Broadway Theatre is one of the most iconic and popular theatre venues in New York. Located at 1681 Broadway, the theatre is home to multitude of critically acclaimed Broadway musicals and plays. Since its inception in 1924, the Broadway theatre has been a pillar of the New York theatre industry, consistently presenting audiences with captivating performances and a wide variety of shows. The theatre boasts a large seating capacity of 1765, setting it apart from other Broadway theatres. Its key defining feature, the exceptional stage size, allows for large-scale musical productions. Notable performances that graced the theatre include 'South Pacific', 'The Color Purple', 'Miss Saigon', the revival of 'Evita' and 'Cinderella'. With a unique blend of classic architecture and modern technology, the Broadway Theatre not only delivers magnificent visual appeal but also excellent acoustics and comfortable seating. This combination creates an immersive viewing experience few other venues can rival.

## How to Get Here
The Broadway Theatre is easily accessible via public transportation. It’s easy to reach by subway. You can take the C, E, or 1 train to 50th Street or the N, R, or Q train to 57th Street. Alternatively, the theatre is served by buses M104, M10, M27/M50. If you prefer to drive, there are numerous public parking lots within a short walk. Bicycle parking is also available nearby.

Broadway Theatre - NY

Broadway Theatre

The Broadway Theatre, an iconic New York venue, hosts a plethora of captivating performances and is easily accessible via various transport.

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Little Bear Ridge Road on Broadway - NYC [44791]

Little Bear Ridge Road on Broadway

Little Bear Ridge Road - NYC [44791]

The Booth Theatre, named in honor of the legendary 19th-century actor Edwin Booth, is a historical theater venue in New York City, specifically located in the heart of the theatre district on Broadway. It was first opened on October 16, 1913. This venue loves to exhibit plays and has been home to a string of widely acclaimed productions since its establishment. It is known for its intimate setting, having only 766 seats distributed between the orchestra and mezzanine levels. The interior is beautifully ornamented, showcasing Italian Renaissance detailing and a warm, old-world atmosphere. The Booth Theatre is currently owned by the Shubert Organization. Over the years, it has housed multiple award-winning plays such as 'Sunday in the Park with George', 'Next to Normal', and 'The Elephant Man'. 

**How to get there:** The Booth Theater is located at 222 West 45th Street, between 7th and 8th Avenues. It is easily accessible by public transit. For subway riders, it is close to the Times Square-42nd Street station, where the 1, 2, 3, 7, N, Q, R, W, and S trains stop. It is possible to park your car in a nearby garage but remember that the theatre district can be quite busy, especially during show hours.

Booth Theatre - NY

Booth Theatre

The Booth Theatre is a historically significant venue in New York's theatre district known for showcasing acclaimed plays and having an intimate setting.

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Ages 8+. Children under 4 are not permitted in the theatre.

Buena Vista Social Club on Broadway - NYC [31351]

Buena Vista Social Club on Broadway

Children under 5 are not permitted in the theatre.

Art On Broadway - NYC [44440]

Art on Broadway

Maybe Happy Ending on Broadway - NYC [41018]

Maybe Happy Ending on Broadway

The Least Problematic Woman in the World - NYC [44861]

The Least Problematic Woman in the World

A surreal and wildly funny solo play with original music from a modern pop culture
icon. Actress Dylan Mulvaney charts a dazzling odyssey through the key moments of
her life, from Catholic school and confusing crushes, to gender discovery,
brand-sponsored stardom, and the backlash that came with it all. As Dylan unpacks
her rise going viral, she begs the question: in a world obsessed with watching, what does it take to be truly seen? 

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Purpose on Broadway - NYC [38461]

Purpose on Broadway

Ages 14+. Children under 4 are not permitted in the theater.

Oh, Mary! on Broadway - NYC [37743]

Oh, Mary! on Broadway

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NY - TT - Book of Mormon Homepage Lead

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

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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.

NY - TT - MJ Homepage Lead

Ages 8+. Children under 4 are not permitted. 

MJ The Musical on Broadway - NYC [23379]

MJ The Musical on Broadway

MJ The Musical on Broadway [23379] Product Media

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 - Hadestown Homepage Lead

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

Hadestown on Broadway - NYC [14748]

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.

NY - TT - Hell's Kitchen Homepage Lead

Ages 12+. Children under 4 are not permitted.

Hell's Kitchen on Broadway - NYC [37579]

Hell's Kitchen on Broadway

Hell's Kitchen on Broadway - NYC  Product Media 

The Shubert Theatre is a historic Broadway venue located in New York City's theater district. Originally opening its doors in 1913, it has solidly anchored its place in history, hosting major productions like A Chorus Line and Hello, Dolly! With a seating capacity of 1460, this gem of a theatre is designed in the style of the Italian Renaissance, featuring a blue-domed ceiling adorned with a galaxy of twinkling stars. The Shubert Theatre's architecture sets a magical environment for hosting ground-breaking musicals and dramatic performances. It maintains an intimate atmosphere despite its ample size, allowing every patron an immersive experience. 

## How to get to Shubert Theatre
Located at 225 West 44th Street, between 7th and 8th Avenue, the theatre is easily accessible. If commuting by subway, you can take the 1, 2, 3, 7, N, Q, R, W, S or shuttle to Times Square station, or the A, C, or E to Port Authority. Additionally, the M104, M42, M6, M7, and M10 buses stop near the Shubert Theatre. It's recommended to plan for potential delays as the area can get crowded during showtimes.

Shubert Theatre - NY

Shubert Theatre

The Shubert Theatre, a historic Broadway venue, features groundbreaking performances. It is easily accessible via Times Square and Port Authority subway stations.

NY - TT - Aladdin - Homepage Lead

Aladdin on Broadway - NYC [105]

Aladdin on Broadway

Aladdin cave

Aladdin on Broadway [105] Product Media 

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.

NY - TT - Hamilton Homepage Lead

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

Hamilton on Broadway - NYC [384]

Hamilton on Broadway

Hamilton on Broadway [384] Product Media

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.

What would happen after *Romeo & Juliet* if Juliet didn't die? That's the question this pop-fueled musical, from songwriting icon Max Martin and a writer on *Schitt’s Creek*, asks. Jam out to tunes made famous by Britney Spears, the Backstreet Boys, Pink, and more.

& Juliet on Broadway

Say hello to the Tony Award-winning Best Musical by the creators of *South Park* and *Avenue Q*. The story of two Mormon missionaries who get more than they bargained for when sent to convert an African village has spread the good word on Broadway for more than a decade.

How does a show about an American Founding Father go on to revolutionize Broadway? Experience Lin-Manuel Miranda's Pulitzer- and Tony-winning hip-hop musical about how Alexander Hamilton fought, feuded, and financed his way into the history books.

New Seats Released

Based on the classic 1992 film, *Death Becomes Her* the musical follows two frenemies, actress Madeline Ashton and author Helen Sharp, who take a potion for eternal youth to outdo each other once and for all — but things don't go as planned. Now the recipient of 10 Tony Award nominations.

Death Becomes Her on Broadway

US - Great prices

Greek mythology gets a folksy, jazzy twist at this eight-time Tony-winning Best Musical. The story of the musician Orpheus's journey to the underworld to rescue his lover, Eurydice, takes on new depths of life and emotion in Anaïs Mitchell's show.

The seven-time Tony Award-nominated *John Proctor is the Villain* is a new dark comedy about a class of English students discussing *The Crucible*. While dealing with adolescence, sex ed, and first love, the students wonder whether the hero of Arthur Miller’s classic is as righteous as he seems.

John Proctor Is the Villain on Broadway

One of the most popular jukebox musicals, *Mamma Mia!* is about Sophie's wedding, where she's invited her friends, her family...and the three men who might be her father. Sometimes, for her mother, the one who got away is also the one who shows up at the wedding.

Mamma Mia! on Broadway

Tony Award nominees Jeremy Jordan and Eva Noblezada team up as literary icons Jay Gatsby and Daisy Buchanan in this new Broadway musical based on F. Scott Fitzgerald's iconic novel. Get ready for a splashy new musical that brings the Roaring Twenties to life via colorful song and dance.

This Tony Award-winning pop musical gives 16th-century drama a 21st-century feminist twist. The six wives of Henry VIII become a fierce girl group who take back their crowns and rewrite their histories in the style of a rousing arena concert.

SIX on Broadway

Go on an adventure through Hogwarts and beyond with a new generation of wizards. Harry, his friends, and his son go on a time-traveling quest in this stage sequel to J. K. Rowling's books, brought to life with special effects that leave audiences of all ages spellbound.

Harry Potter and the Cursed Child on Broadway

Tom Felton joins the cast as Draco Malfoy for 26 weeks starting November 11th.

US - HPTCC - Tom Felton 

The Grammy-winning, landmark Cuban album by the same-named music group is now the basis for a vibrant, celebratory musical, which has been nominated for 10 Tony Awards. Relive the Golden Age of Cuban music while hearing the renaissance of genres like son, bolero, and danzón.

How did the Wicked Witch of the West become wicked? This *Wizard of Oz* prequel musical explores her and Glinda the Good Witch's untold origin stories. Hear now-classic showtunes like "Defying Gravity" at Broadway's fourth-longest-running show.

Wicked on Broadway

Get *Stranger Things: The First Shadow* tickets and see the world before it turns upside down. The origin story of the hit Netflix series follows younger versions of fan-favorite characters as they deal with unusual happenings in Hawkins. Now nominated for five Tony Awards.

Stranger Things: The First Shadow on Broadway

Wilkommen — the Kit Kat Club awaits at this semi-immersive Broadway revival. The theatre is fully transformed into the title Berlin cabaret, where the lives of the writer Cliff Bradshaw, performer Sally Bowles, mysterious Emcee, and more collide with the rise of Nazism.

CABARET at the Kit Kat Club on Broadway

See this historical dark comedy, now nominated for five Tony Awards, about the untold struggles of Mary Todd Lincoln before she lost Abe. Get a glimpse into Mary's hidden desires and personal struggles, filtered through queer comic playwright Cole Escola's wacky mind.

You've read S. E. Hinton's book, you've seen Francis Ford Coppola's film, now see the stirring musical adaptation. Folk showtunes by Jamestown Revival give new life to the story about teenage street gangsters finding hope and brotherhood in a world that rejects them.

The Outsiders on Broadway

Join the circle of life at this stage adaptation of the beloved Disney film, on Broadway for 25 years and counting. Awe-inspiring puppetry and timeless songs like "Can You Feel the Love Tonight" bring alive the story of a lion cub growing up to take his rightful place as a leader.

The Lion King on Broadway

In this new play, Jean Smart plays Izzy, a tragic woman whose gift of writing is her greatest gift, biggest secret, and ticket out of her destitute life.

Call Me Izzy on Broadway

Escape into a spectacular Parisian nightclub that's not just a place, but a state of mind. Feel truth, beauty, freedom, and love at the star-crossed love story of a writer and a courtesan, based on the Oscar-winning Baz Luhrmann film and packed with more than 40 pop hits.

Moulin Rouge! The Musical on Broadway

Get *Maybe Happy Ending* tickets to see Darren Criss back on Broadway. A unique and new musical, which has now received 10 Tony Award nominations, *Maybe Happy Ending* follows two robots who meet, connect, and maybe fall in love.

Experience the story behind the King of Pop's singular career and greatest hits. The Tony-winning musical offers a deep look into his creative process and all the energy of a Michael Jackson concert, complete with more than 20 of his classic songs and signature dance moves.

A comedy about friendship and, yes, art, this Tony Award winner for Best Play follows three best buds who debate the value of one's recent purchase: a very, very expensive painting...of nothing at all.

Art On Broadway

*Ava: The Secret Conversations* is a new play about Hollywood starlet Ava Gardener. A two-hander based on interviews about her life, Gardener tells all to writer Peter Evans to discuss her marriages, divorces, and Hollywood drama. 

Ava: The Secret Conversations

*Ginger Twinsies* is a hilarious send-up parodying a certain film that starred Lindsay Lohan, came out in 1998, and had all the 411 about long-lost redhead twins.

Ginger Twinsies

The Kander and Ebb musical about murderesses-turned-overnight-celebrities has razzle-dazzled audiences for decades. With a rotating lineup of stars in the lead roles, you never know who you'll see as starry-eyed housewife Roxie, veteran vaudevillian Velma, and more.

Chicago on Broadway

*Heathers* is a musical comedy based on the cult film and follows Veronica as she tries to navigate teenage issues, first love, and three Heathers who rule the school with an iron fist.

Heathers The Musical

Your wish for spectacular, magical, all-ages entertainment is granted at this musical adaptation of the Disney film. Hear timeless songs like "A Whole New World" at this story of a ruffian who, with a little help from a genie, transforms into a prince to win over a princess.

US - Exclusive offer

Get into an Empire state of mind at this new musical featuring the songs of Alicia Keys. Inspired in part by her real-life upbringing in Manhattan, the show follows 17-year-old Ali as she finds music, her voice, and herself as she comes of age and chases big dreams.

*Operation Mincemeat* is a four-time Tony Award-nominated musical based on the Allies’ war operation of the same name that helped them win World War II. Much more than a history lesson, the uproarious comedy is parts farce, thriller, and Ian Fleming-style spy caper.

Operation Mincemeat on Broadway

When a nerdy flower shop worker finds a mysterious talking plant, it completely changes his life — but at a bloody cost. Go down to Skid Row for the latest revival of Alan Menken and Howard Ashman's horror comedy blossoming off Broadway.

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