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

Hamilton on Broadway - NYC [384]

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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.

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Stranger Things: The First Shadow on Broadway - NYC [41967]

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The Marquis Theatre is a Broadway theatre located at 1535 Broadway in the heart of New York. With an impressive seating capacity of 1615, it is one of the largest Broadway theatres in terms of seating. Famous for its impressive architectural design and modern interior, the Marquis offers three levels of seating, ensuring a perfect view of the stage from any spot. Since its opening in 1986, the theatre has been host to a multitude of Broadway hits and musical productions including *Evita*, *Annie Get Your Gun*, and *Follies*. The stage has seen numerous performances from award-winning actors and actresses, making it a significant cultural landmark in New York City.

**How to Get There**
The Marquis Theatre is conveniently located within walking distance from Times Square. Visitors can get there by subway, taking the 1, 2, or 3 train to 42nd Street/Times Square, and then walk towards 1535 Broadway. For those driving, there are parking garages nearby along 45th Street. The central location of this theatre makes it easily accessible from all parts of New York City.

Marquis Theatre - NY

Marquis Theatre

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

Marquis Theatre — Shows & Tickets | NYC | TodayTix

The Marquis Theatre is a prominent Broadway theatre with seating for 1615, located at 1535 Broadway in New York City.

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NY | TT | Carousel - Web Homepage | Book of Mormon | 127 

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.

NY | TT | Carousel - Web Homepage | Disruption | 47049

Disruption - NYC [47049]

Disruption

The Romulus Linney Courtyard Theatre is an integral part of The Pershing Square Signature Center in New York. This stunning venue, instilled with the spirit of Romulus Linney's powerful storytelling, is a testament to the performing arts. The theatre venue is designed to create a close connection between actors and their audience, offering an unparalleled intimacy in its 199-seating arrangement. Its unique U-shaped configuration is complemented by excellent acoustics and state-of-the-art technology, ensuring a dynamic and immersive experience. With its focus on world-class productions and diverse line-up, the venue is home to thought-provoking, ground-breaking performances that captivate and inspire. The theatre is also committed to nurturing new talent, offering professional development opportunities and fostering strong ties with the local community. Besides regular performances, the venue hosts events, workshops, and lectures across the year. **How to get to the venue:** The Pershing Square Signature Center is located at 480 W 42nd Street, conveniently placed near major transport links. It is easily accessible by subway - use the A, C, E, N, Q, R, W, 1, 2, 3, or 7 train to Times Square-42nd Street, or the B, D, F, or M train to 42nd Street-Bryant Park. If travelling by bus, use bus lines M11, M42, M50. Parking is also available in nearby car parks.

The Romulus Linney Courtyard Theatre at The Pershing Square Signature Center

The Romulus Linney Courtyard Theatre at The Pershing Square Signature Center in New York is a 199-seat theatre venue offering intimate performances and diverse productions. It's easily accessible by various transport links.

NY | TT | Carousel - Web Homepage | SIX | 20737

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 | Carousel - Web Homepage | Chicago | 22

Ages 13+. Children under 4 are not permitted.

Chicago on Broadway - NYC [22]

Chicago on Broadway

NYC Chicago on Broadway [22]  Product Media

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.

NY | TT | Carousel - Web Homepage | Little Shop of Horrors | 24608

Ages 5+. Children under the age of 4 are not permitted in the theatre.

Little Shop of Horrors - NYC [24608]

Little Shop of Horrors

Little Shop of Horrors - NYC [24608] Product Media 

The plant at the centre of <a href="/show/little-shop-of-horrors">Little Shop of Horrors</a> that feeds on human blood may have had its sights on world domination, but the musical that was based on the low-budget 1960 comedy sci-fi film of the same name has actually long achieved it, so it ultimately got what it wanted. And now the show has come full circle, 37 years on from its Off-Off-Broadway beginnings at the WPA Theatre (now no more) in May 1982, before moving to the larger Orpheum Theater on Second Avenue in the East Village that summer, where it ran for five years and became the highest-grossing show in Off-Broadway history until then, to find a new home at another Off-Broadway house just off Eighth Avenue in midtown Manhattan.In the intervening years, it has been turned into a feature film and played in the West End and on Broadway (the latter in a new production in 2003 that ran for less than a year at the Virginia Theatre, now the August Wilson), but its true home is a more modestly scaled place like the 270-seater <a href="/theatres/westside-theatre">Westside Theatre</a>, a former Baptist church built in 1889 that has been used as a theatre space since the mid-1970s.But while it is naturally a special pleasure and privilege to see the show at close quarters again, everything about this new version screams Broadway, from its above-the-title casting of multiple Tony Award nominees Jonathan Groff, Tammy Blanchard and two-time Tony winner <a href="/actor-profile/christian-borle">Christian Borle</a>, to its creative staff, led by director Michael Mayer, Tony winner for his original production of Spring Awakening. And unfortunately not everyone alas is willing to let the show sing and speak for itself, but&nbsp;seeks to portray it on a larger canvas.The production often feels too large and indulgent on this small stage, starting with Julian Crouch's expansive set that consumes the theatre. This may be the priciest Skid Row ever brought to an Off-Broadway stage.The performances are at times similarly exaggerated. In trying to mine new colours for Audrey, the abused floral shop assistant who falls for her work colleague Seymour as he nurtures a new exotic plant that he names Audrey II after her, Tammy Blanchard channels her into a sultry Rita Heyworth-inspired character, with her songs slowed down into torch songs of despair. 'Somewhere that's Green' sounds less aspirational of a better life than a dread doubt of ever achieving it.Jonathan Groff seems similarly depressed and downtrodden as Seymour, while Christian Borle plays the dentist Orin and a range of other characters purely as bright, eager caricature.There are some compensating pleasures from the trio of street urchins Ronnette (Ari Groover), Crystal (Salome Smith) and Chiffon (Joy Woods), who are a kind of Greek chorus observing and commenting on the action in Alan Menken's wonderful pastiche score. It is here that the enduring pleasures of the show itself are most apparent.Nicholas Mahon's new puppet designs for the plant itself are impressive as it grows ever larger. But less, in this production, would be more amongst the human elements.(Photo by Emilio Madrid-Kuser)<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>"A certain carnivorous plant has been repotted in Hell's Kitchen, and I am delighted to report that it's thriving there. This hot showbiz shrub of yesteryear, which goes by the name of Audrey II, has found a new dance partner, a performer who can coax the&nbsp;tendril-stretching star quality&nbsp;out of a freakish botanical specimen. That would be Jonathan Groff,&nbsp;who is generating major nerd charisma in Michael Mayer's delicious revival of Little Shop of Horrors." Ben Brantley&nbsp;for <a href="https://www.nytimes.com/2019/10/17/theater/little-shop-of-horrors-review-jonathan-groff-feeds-the-beast.html" target="_blank">New York Times</a>"Tight feels right, because the roots of Alan Menken and Howard Ashman's terrific show are in small houses. Now the insanely catchy doo-wop musical occupies the 270-seat Westside Theatre, with a bare-bones set and not a projection in sight. Freed from dealing with the usual trappings of modern musicals, you can feel the actors let their vines down." Johnny Oleksinski&nbsp;for <a href="https://nypost.com/2019/10/17/little-shop-of-horrors-review-jonathan-groff-tammy-blanchard-get-real/" target="_blank">New York Post</a>"Michael Mayer's deeply satisfying revival at the Westside Theatre, with a set by Julian Crouch, has the right sense of scale for a musical that began Off Broadway and is most at home there. It's a little show, and the closer we get to it, the more it sucks us in." Adam Feldman for <a href="https://www.timeout.com/newyork/theater/little-shop-of-horrors-review-revival-jonathan-groff-tammy-blanchard-christian-borle" target="_blank">Time Out New York</a>"What's most immediately captivating about the limited-engagement production is that, deluxe casting aside, it eschews Broadway scale in favor of a return to the show's roots in an off-Broadway theater that seats just 270. That accounts for the production's sell-out business, two-month extension and cluster of hopeful ticket-buyers waiting on cancellation lines at every performance. While it's become something of a classic, this remains at heart a scrappy little pastiche musical whose charms thrive most vibrantly in an intimate house." David Rooney&nbsp;for&nbsp;<a href="https://www.hollywoodreporter.com/review/little-shop-horrors-theater-review-1248089" target="_blank">Hollywood Reporter</a>"Directed at a quick clip by Michael Mayer,&nbsp;this Little Shop&nbsp;is played out on the small, tight stage of the Westside Theater with an ever-growing, masterfully manipulated plant (kudos to Eric Wright, Teddy Yudain, Kris Roberts, Chelsea Turbin). The close confines give this Little Shop&nbsp;the intimacy of home viewing." A.D. Amorosi&nbsp;for&nbsp;<a href="https://variety.com/2019/legit/reviews/little-shop-of-horrors-review-jonathan-groff-1203370043/" target="_blank">Variety</a>&nbsp;

Review of Little Shop of Horrors, starring Jonathan Groff, Tammy Blanchard & Christian Borle, at Westside Theatre

Westside Theatre, located in the heart of New York City, is a true spectacle for all theatre enthusiasts. This performing arts venue is renowned for its unique and diverse range of productions, from Tony Award-winning plays to innovative off-Broadway performances. The theatre is divided into Upstairs and Downstairs theatres, which allows simultaneous performances. The upstairs theatre, located on the second floor, accommodates 270 people, while the downstairs theatre has a capacity of 249 seats. Outfitted with modern sound and lighting systems, it provides an intimate and immersive experience for audiences. Traditional architecture mixed with contemporary designs creates a unique ambiance that can only be found in this legendary theatre.

**How to get to Westside Theatre**: The theatre is situated at 407 W 43rd St. The nearest subway is at 42nd Street, which you can access through the A, C, or E trains. If you prefer to drive, several parking garages are located nearby. Due to its central location, Westside Theatre is also easily reachable by local buses, taxis, or rideshares.

Westside Theatre - NYC

Westside Theatre

Westside Theatre in NYC hosts diverse performances in its two theatres. It's readily accessible via subway, bus, taxi or rideshare.

NY | TT | Carousel - Web Homepage | The Lost Boys | 43812

Ages 10+. Due to its vampire-themed content, which may be scary for young children.

The Lost Boys on Broadway - NYC [43812]

The Lost Boys on Broadway

The Lost Boys TTNY Hero Image Test - July 2026

The Palace Theatre is a jewel of New York City, boasting more than a century of rich theatrical history. Located on Broadway in the heart of Times Square, the venue originally opened in 1913 and rapidly became the hub of vaudeville's top-tier entertainment, hosting performances by legends such as Harry Houdini and Ed Wynn. Over the years, it evolved into a premier venue for musical theatre and has witnessed some of the most iconic Broadway shows, including 'West Side Story,' 'The Sound of Music,' and 'Beauty and the Beast.'

The Palace Theatre is revered for its Beaux-Arts grandeur beauty; its crimson red seats, gold leaf accents, and gorgeous ceiling murals contribute to an atmosphere that is as unforgettable as the performances it hosts. With a seating capacity of 1,740, it provides an intimate yet grand setting for any performance.

**How to Get to the Venue:**
The Palace Theatre, situated at 160 West 47th Street, is easily accessible by public transportation. The closest subway stations are 47-50 Streets - Rockefeller Center (served by B, D, F, and M lines) and 49th Street (served by N, Q, R, and W lines). Several bus lines also stop near the theater, including M7, M20, and M50. If you're driving, numerous parking garages are available in the vicinity, though due to the bustling location, public transportation is recommended.

Palace Theatre - NY

Palace Theatre

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

Palace Theatre Ny — Shows & Tickets | NYC | TodayTix

The Palace Theatre, a historic venue in Times Square, New York, showcases renowned musical theatre, easily accessed via public transport.

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

*The Rocky Horror Show* is a cult classic musical about a young, straight-laced couple who wanders into a mansion that unleashes a cast of colorful characters, their own desires, and plenty of zany fun.

The Rocky Horror Show on Broadway

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*The Lost Boys* introduces a new generation to the cult classic movie, in which teenagers move to California and uncover their small town’s underground population of bloodthirsty vampires.

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.

Hadestown on Broadway

Join the party at this new Broadway musical based on F. Scott Fitzgerald's iconic novel. The story of a mysterious millionaire and his quest to win back his former flame is now a splashy musical that brings the Roaring Twenties to life via colorful song and dance.

The Great Gatsby on Broadway

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US - Special offer (Shubert)

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

Set sail on the Ship of Dreams with Celine Dion, who has the inside scoop on what really happened to Jack and Rose on the doomed Titanic. Dion's greatest hits and up-to-the-minute pop culture jokes power this zany spoof on James Cameron's Oscar-winning film.

Titanique on Broadway

CATS: The Jellicle Ball 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

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.

MJ The Musical on Broadway

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

*Every Brilliant Thing*, starring Tracee Ellis Ross, is a play about a person who creates a gratitude list to help their mother cope with depression before adopting the practice themself.

Every Brilliant Thing on Broadway

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

Wicked Production Hero

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.

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

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.

*Two Strangers (Carry a Cake Across New York)* is an original, new musical comedy about two ordinary people, a cheery Brit and a lifelong New Yorker, who go on a city adventure and spark a connection along the way.

Two Strangers (Carry a Cake Across New York) on Broadway

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.

Buena Vista Social Club on Broadway

*Paranormal Activity* is a play based on the cult film about a haunting that follows a young couple.

Paranormal Activity on Broadway

*Death of a Salesman* is a classic family drama about a father who works on the road, juggling his career, personal life, and the American Dream.

Arthur Miller's Death of a Salesman on Broadway

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US - Best availability

*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

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.

*Schmigadoon!* is a musical comedy based on the hit TV show that spoofs Broadway's Golden Age.

Schmigadoon! on Broadway

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.

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.

*Just in Time* is a new, six-time Tony Award-nominated bio-musical about Grammy Hall of Fame Award winner Bobby Darin. This jukebox show traces the singer’s rise to stardom, marriage to Sandra Dee, and the personal surprises that upended his life.

Just in Time on Broadway

A unique, contemporary rom-com that won the 2025 Tony Award for Best Musical, *Maybe Happy Ending* follows two robots who meet, connect, and maybe fall in love, getting a second shot at life after the world has deemed them obsolete.

Maybe Happy Ending on Broadway

Based on the bestselling novel, *Ragtime* is a musical epic that features three fictional families as they move through a rapidly changing New York in pursuit of the American Dream.

Ragtime on Broadway

*The 25th Annual Putnam County Spelling Bee* is a charming and witty musical about adolescent students competing to win a local spelling competition while coping with teenage issues along the way.

The 25th Annual Putnam County Spelling Bee

Masquerade

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.

Aladdin on Broadway

Aladdin cave

An American Daughter

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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