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Wicked on Broadway [1]

Wicked Thank Goodness

Wicked on Broadway

[Poster] Wicked 1

There have been moments in the history of musical theater when, like a twister, the sheer talent and whirling spectacle of a production have flattened any negative criticism that stood to get in its way. Take October, 2003 for example. That was the month that <a href="/show/wicked">Wicked </a>opened in New York to generally dour reviews. But since then, more than 8.8 million people have found the heart, nerve and wisdom to pay a visit, resulting in the happy scene of a Broadway house filled with as many teens as adults, and making a tale, born from a 115-year-old children's novel, one of the top five highest grossing shows of all time.The latest incarnation of this impeccably oiled entertainment machine finds a new gear courtesy of a British import. Reprising the role she played on the West End for three years, Rachel Tucker steps in as the green-skinned Elphaba, a.k.a. the Wicked Witch of the West, and nearly blows the roof off the massive Gershwin Theatre with her opening number, "The Wizard and I." As the song reaches its climax, Tucker raises her arms, not especially high, but in a crooked witchly fashion, showing off the kind of smart physicality she brings throughout the evening. Opposite her, as Glinda the Good, Kara Lindsay aces the delicate assignment of being both ditzy blonde and sensitive friend while showing off her clear soprano and great comic chops.Among the show's many happy surprises, Michele Lee turns up, in fine form, as the scheming Madame Morrible, and Arielle Jacobs charms us from a wheelchair as Nessarose, until that unfortunate incident with a falling house. James Lynn Abbott's best moment of choreography comes not from any of the numerous, raucous ensemble pieces, but from a beautifully rendered bit of quiet ballet that arrives unexpectedly during the energetic "Dancing Through Life." And Stephen Schwartz's classic score provides a wonderful playground for the cast to swing upon, while reminding us of this composer's important history. Close your eyes and hear strains of Pippin in "As Long as You're Mine." Find the hint of Godspell playfulness in the staccato beats of "What is this Feeling."The Wikipedia plot summary for Wicked is over 2100 words long, which speaks not only to the show's dedicated fan base, but to the fact that this is a musical with a lot going on. It's a romantic comedy with strong political undertones, an animal rights treatise with a talking goat and flying monkeys, a parable on the pitfalls of getting what you want, a warning on the limits of friendship, and an homage to a classic film. In the realm of mythology, green-hued creatures have never had a simple time of it (see Shrek, Hulk, et al.), and rare is the story, let alone the musical, that is centered on two women who are unrelated, yet have a complex emotional attachment, while still remaining starkly unique individuals. But Eugene Lee's epic scenic design provides the framework to tie everything together. The show is completely set within the machinations of a huge clock, the Clock of the Time Dragon to be precise. And whether or not you are up on your Oz lore, this seems, at first, incongruous with the magical proceedings on stage. Why is Glinda's bubble-mobile so pendulum like? But then the metaphor becomes clearer. "I would do anything to turn back the clock," laments Elphaba, and later she demands, "Wait just a clock tick!" Once a spell is cast, it cannot be undone. Life moves forward, and Wicked reveals itself to be, more than anything else, a cautionary tale about learning to live with one's choices.(Photo by Joan Marcus)<hr />"'Wicked' does not, alas, speak hopefully for the future of the Broadway musical." Ben Brantley for New York Times"It's such a 'Wicked' waste of talent." Howard Kissel for New York Daily News"The most complete, and completely satisfying, new musical I've come across in a long time." Elysa Gardner for USA Today"Overproduced, overblown, confusingly dark and laboriously ambitious jumble." Linda Winer for Newsday"Far too arch and sophisticated for children...lacks... sophistication and wit that would make it palatable for adults." Frank Scheck for Hollywood Reporter"The best thing about 'Wicked' is its stars, whose talents cast a powerful spell." Roma Torre for NY1"Lavish, ambitious and problematic." Michael Kuchwara for Associated Press<a href="http://www.nytimes.com/2003/10/31/arts/theater/31WICK.html" target="Top">New York Times</a> - <a href="http://www.usatoday.com/life/theater/2003-10-30-wicked_x.htm" target="Top">USA Today</a> - <a href="http://www.ny1.com/ny/Living/SubTopic/index.html?topicintid=4&amp;subtopicintid=14&amp;contentintid=34381" target="Top">NY1</a>

Wicked

Built on the site of the historic Capitol Theatre by Harold and Percy Uris, and designed by Ralph Alswang, the Gershwin Theatre opened on November 28, 1972 as the Uris Theatre.

The premiere production was the musical *Via Galactica*, starring Raul Julia. The Gershwin has served as a traditional theatre for the majority of its existence, though the venue was a concert hall from 1974 to 1976.

The theatre was renamed to honor composer and lyricist duo George and Ira Gershwin during the 37th Tony Awards on June 5, 1983. The Gershwin has the largest seating capacity on Broadway at 1,933 seats, and it houses the American Theatre Hall of Fame in its lobby.

## How to get to the Gershwin Theatre on Broadway

The Gershwin Theatre is closest to the 50th Street subway stops on the C, E, and 1 lines. The theatre is also equidistant from the 7th Ave/W 50th St. and 8th Ave/W 50th St. bus stops on the M50 line.

## Restaurants near the Gershwin Theatre

Popular restaurants near the Gershwin Theatre include Junior's (American), Saar (Indian), Lillie's Victorian Establishment (British/pub food), and The Blue Dog (American). Across Broadway is Ellen's Stardust Diner, a New York institution famous for its singing waitstaff.

[Learn more about popular pre- and post-show restaurants in the Theatre District.](https://www.newyorktheatreguide.com/theatre-news/news/where-to-eat-before-and-after-a-broadway-show)

## Where is *Wicked* on Broadway playing?

*Wicked* on Broadway plays the Gershwin Theatre at 222 West 51st St. The musical has played there since its opening in 2003, and *Wicked* has since become the fifth longest running Broadway show of all time.

Gershwin Theatre - NY

Gershwin Theatre

Jujamcyn COVID Protocols 

Moulin Rouge! The Musical on Broadway - NYC

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Moulin Rouge! The Musical on Broadway

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In 2002 Baz Luhrmann, the idiosyncratic Australian film and theatre director, brought his stunning 1990 Opera Australia production of Puccini's La Bohème from Sydney Opera House to Broadway, a tale of a consumptive heroine and her bohemian friends living in rooftop Parisian digs. Now 17 years later, we're back in similar territory for this bedazzling stage transition of Luhrmann's 2001 film "Moulin Rouge!," which underlines just how much La Bohème inspired it -- an opera that also provided the source for Rent, which was set in 1990s New York.Broadway is now (over)populated by jukebox musicals -- current attractions include shows devoted to <a href="/show/aint-too-proud-the-life-and-times-of-the-temptations">The Temptations</a>, <a href="/show/beautiful-the-carole-king-musical">Carole King</a> and <a href="/show/the-cher-show">Cher</a>, with a transfer of <a href="/show/tina-the-tina-turner-musical">Tina -&nbsp;The Tina Turner Musical</a> from the West End due to arrive in October, plus new musicals based on albums by Alanis Morissette (<a href="/show/jagged-little-pill">Jagged Little Pill</a>)&nbsp; and David Byrne (<a href="/show/david-byrnes-american-utopia">American Utopia</a>) also planning Broadway engagements in October and November, respectively. But <a href="/show/moulin-rouge-the-musical">Moulin Rouge! The Musical</a> is in a league of originality and creativity all of its own; with a song stack of some 70 pop hits from the 40s to the present day, it is the ultimate jukebox show, encompassing Elton John, Sting and Katy Perry, the Rolling Stones, David Bowie, Bob Dylan and even Rodgers and Hammerstein, amongst numerous others.Of course, many of those songs are only heard in the briefest of snatches; in one duet between Satine, the courtesan nightclub performer and Christian, the visiting American writer who stumbles into her life and falls unexpectedly in love with her, there are quotations from some 25 separate songs.Part of the immense musical fun of the evening is spotting all these goodies, even if there's a bit of an accompanying frustration that comparatively few of them are heard in full. Musical supervisor and orchestrator Justin Levine does a heroic job of marshalling them all into a cohesive, playful whole, and book writer John Logan folds them brilliantly into the plot so that they all serve a narrative as well as presentational purpose.But if the show is both tireless and at times relentless in shoehorning so much material into it, director Alex Timbers, his choreographer Sonya Tayeh and his designers Derek McLane (sets), Catherine Zuber (costumes), Justin Townsend (lighting) and Peter Hylenski (sound) turn it into an eye-popping spectacle that is full of sensory overload.The transportation to another world occurs even before the show begins, as you enter the <a href="/theatres/al-hirschfeld-theatre">Al Hirschfeld Theatre</a>, beguilingly transformed into the spectacular nightclub of the title. The Moulin Rouge's famous external windmill turns stage right; a giant blue elephant (which contains Santine's rooftop dressing room) is stage left. Dancers perform languorous cage dance routines and prowl the stage long before the lights dim and the club's MC and owner Harold Zidler (the buoyant and brilliant <a href="/actor-profile/danny-burstein">Danny Burstein</a>) set the stage show off.But as with Kander and Ebb's 1966 Broadway musical Cabaret, the vividly-recreated floorshow is only a backdrop to a more personal story of a desperate, ill-fated love affair that unfolds in its anchoring shadows. Spectacle may always be to the fore in this production, but against all the vigour there's also rigour in the beautiful ache that <a href="/actor-profile/aaron-tveit">Aaron Tveit</a> and <a href="/actor-profile/karen-olivo">Karen Olivo</a> bring to Christian and Satine's relationship.In a crowded Broadway market place, Moulin Rouge is a show that has it all: it's not just 70 songs that are rolled into one show, but also a canvas of spectacle and emotion that isn't just a floorshow but left me floored with its sublime artistry.(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>"This one's for the&nbsp;hedonists. All you&nbsp;party people should know that the Al Hirschfeld Theater has been refurbished as an opulent pleasure palace, wherein decadence comes without hangovers.&nbsp;That's where the euphoric&nbsp;Moulin Rouge! The Musical&nbsp;opened on Thursday night in a shower of fireworks, confetti and glittering fragments of what feels like every pop hit ever written." Ben Brantley&nbsp;for <a href="https://www.nytimes.com/2019/07/25/theater/moulin-rouge-review.html" target="_blank">New York Times</a>"Red alert! Red alert! If you're the kind of person who frets that jukebox musicals are taking over Broadway, prepare to tilt at the windmill that is the gorgeous, gaudy, spectacularly overstuffed&nbsp;Moulin Rouge! The Musical. Directed with opulent showmanship by Alex Timbers, this adaptation of Baz Luhrmann's 2001 movie may be costume jewelry, but its shine is dazzling." Adam Feldman for <a href="https://www.timeout.com/newyork/theater/moulin-rouge-broadway-review" target="_blank">Time Out New York</a>"Who needs ecstasy when we've got Moulin Rouge!? That's the effect of the fabulous new musical that opened Thursday night&nbsp;on Broadway: raucous sensory overload. From its sexy sword swallowers to the newly pumped-up pop songbook and from-the-loins dancing, the show's as subtle as Liberace's toy poodle: a glitter bomb on Broadway." Johnny Oleksinski&nbsp;for&nbsp;<a href="https://nypost.com/2019/07/25/moulin-rouge-review-nycs-hottest-nightclub-is-on-broadway/" target="_blank">New York Post</a>"Moulin Rouge!&nbsp;was Baz Luhrmann at his most brashly baroque, a shameless pop-cultural magpie molding equal parts kitsch, cool and cliché into a rhapsodic dream. The giddy 2001 screen collision of soaring romance and dazzling artifice helped resuscitate the movie musical. Stage director Alex Timbers and the creative team on this delirious theatrical reinvention take those Luhrmann impulses and run with them, crafting a gaudy and gorgeous jukebox pastiche in which eye-popping spectacle, off-the-charts energy and almost non-stop musical mashups provide the plush padding for a featherweight plot." David Rooney&nbsp;for <a href="https://www.hollywoodreporter.com/review/moulin-rouge-musical-theater-1226326" target="_blank">Hollywood Reporter</a>"As in the film, the plot is yet another tragic story of mismatched lovers, inspired by everything from Carmen&nbsp;to La Dame aux Camélias.&nbsp;But I'm not sick of it, and nor should you be. Tales about true love transcending divergent social origins and personal destinies never go out of fashion." Marilyn Stasio&nbsp;for <a href="https://variety.com/2019/legit/reviews/moulin-rouge-review-broadway-musical-2-1203278036/" target="_blank">Variety</a>

Review of Moulin Rouge! The Musical on Broadway

The Al Hirschfeld Theatre first opened with a production of *Madame Pompadour* on November 11, 1924. The venue was originally named the Martin Beck Theatre after its proprietor, the vaudeville promoter Martin Beck. The venue was the only theatre in New York at that time to be wholly owned, with no mortgage requirements. 

The building was designed by G. Albert Lansburgh and only changed its name to the Al Hirschfeld Theatre on June 21, 2003 in honour of the late Broadway caricaturist, who had died in January of that year. The theatre's current owner and operator, Jujamcyn Theatres, purchased the venue from the Beck family in 1965.

## How to get to the Al Hirschfeld Theatre on Broadway

Subway travelers can get to the Al Hirschfeld Theatre, located on the corner of 45th Street and Eighth Avenue, by taking the A, C, or E line to the 42nd Street - Port Authority station. The venue is also accessible by bus; the nearest stops are the 8th Ave/W 46th St. on the M20 line and 8th Ave/W 43rd St. on the M34A-SBS line.

## Restaurants near the Al Hirschfeld Theatre

The Al Hirschfeld Theatre is located a block away from popular restaurants like Five Napkin Burger (American), Nizza (Italian), and Marseille (French), all of which are located on Ninth Avenue between 44th and 45th Streets. [Learn more about popular pre- and post-show restaurants in the Theatre District.](https://www.newyorktheatreguide.com/theatre-news/news/where-to-eat-before-and-after-a-broadway-show)

Al Hirschfeld Theatre - NYC

Al Hirschfeld Theatre

Contains some strong language. Recommended for ages 6+. Children age 4 and under will not be admitted into the theatre. Everyone must have a ticket, regardless of age.

& Juliet Rush

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& Juliet on Broadway - NYC 

& Juliet Header

& Juliet on Broadway

& Juliet

& juliet

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Originally called the Henry Miller's Theatre, the venue opened on April 1, 1918 with *The Fountain of Youth* - a translation of *Flor de la vida* by the Alvarez Quintero brothers.

In 1969, the venue became a cinema and then a nightclub; it reverted back to a theatre in 1998. The theatre closed in 2004 due to the Bank of America Tower construction at One Bryant Park.

The theatre was rebuilt — with the original facade preserved and restored — and reopened in September 2009. The venue was renamed the Stephen Sondheim Theatre at a special ceremony on September 15, 2010 in honor of the award-winning composer's 80th birthday.

When a theatre in London's West End was named for Sondheim in 2019, he became the only then-living person to have eponymous theatres in both New York and London.

## How to get to the Stephen Sondheim Theatre on Broadway

The subway stops nearest to the Stephen Sondheim Theatre are 42nd Street - Bryant Park on the B, D, F, M, and 7 lines; and 42nd Street - Times Square on the 1, 2, 3, 7, N, Q, R, W, and S lines.

The nearest bus stops are are 6th Ave/W 44th St. on the M55, QM2, QM3, QM4, QM15, QM16, QM17, QM18, and QM20 lines; and 6th Ave/West 42nd St. on the M5, M7, and M55 lines.

## Restaurants near the Stephen Sondheim Theatre

Popular restaurants within a block of the Stephen Sondheim Theatre include Charlie Palmer Steak, Tony's di Napoli (Italian), Brooklyn Diner (American), and Cafe Un Deux Trois (French). The American restaurants Junior's, Hard Rock Cafe, and Bubba Gump Shrimp Co., and the family-style Italian restaurant Carmine's, are also located about a block away.

Stephen Sondheim Theatre - NY

Stephen Sondheim Theatre

Children under 4 are not permitted in the theatre.

A Strange Loop on Broadway - NYC

ASL 3

A Strange Loop on Broadway

ASL Tony Nominated Wrap

"WOW!" I thought to myself as my body leapt to its feet on its own volition to applaud <a href="https://www.newyorktheatreguide.com/show/a-strange-loop" target="_blank">A Strange Loop</a>. "This must be how people who saw the first performances of Show Boat, <a href="https://www.newyorktheatreguide.com/show/oklahoma" target="_blank">Oklahoma!</a>, <a href="https://www.newyorktheatreguide.com/show/company" target="_blank">Company</a>, <a href="https://www.newyorktheatreguide.com/show/rent" target="_blank">Rent</a>, or <a href="https://www.newyorktheatreguide.com/show/hamilton" target="_blank">Hamilton</a> felt." Though I've witnessed and studied the innovations in each of those musicals, none of them are as revolutionary as what Michael R. Jackson has accomplished with his Pulitzer Prize-winning musical, now making its Broadway debut.That is thanks to his splendid writing and craftsmanship, as well as flawless and often shocking performances given by the cast ― including a fresh-out-of-college leading man, Jaquel Spivey, in his Broadway debut.&nbsp;Spivey plays Usher, a Black, gay man who, while working as a Broadway usher and ghostwriting a Tyler Perry play to make money, is trying to finish his musical about a Black gay man who is writing a musical, ad infinitum. The problem is he doesn't know how to complete the story. The further he dives, the more aware and eager each new iteration of himself becomes to sabotage the process.Those interruptions manifest onstage as vicious thoughts who gleefully shred Usher's confidence. They transform into warped versions of his family and reenact humiliating sexual encounters, while reminding him that he is own worst enemy and pushing him to embrace the truth behind why he has put this entire enterprise together.As Thought #2 (James Jackson Jr., an extravagant wit who burns through every scene with the force of a supernova) inquires after Usher figuratively torches the stage, "Real life is making hateful anti-Black caricatures in a Tyler Perry-style gospel play?" That is in response to Usher's staging of a funeral for his cousin Darnell, who refused to take HIV medication because his church-fueled self-hate taught him AIDS was God's punishment for being gay.&nbsp;Much like Jackson, whose best friend died for the same reason in real life, Usher is haunted by the senselessness of that death as well as the hypocrisy of the church, modern families, and queer culture, all of which abet this ongoing health crisis without working to stop such tragedies.&nbsp;As Jackson told me in an interview after he won the Pulitzer, his mission is to destroy HIV stigma and to ensure no one else suffers as his friend did. Rather than pen an angry op-ed, with A Strange Loop, he uses devastating lampoons on popular culture and revolutionizes the conventions of musical theatre to make audiences investigate where their own loathing began.&nbsp;In his meditative 11 o'clock number, "Memory Song," Usher shepherds us through his own conversion into "one lone Black gay boy I knew who chose to turn his back on the Lord." In revealing a version of his own life story through Usher, Jackson tells us it does not have to be this way. We don't have to become enmeshed in the self-perpetuating loop of trauma and abuse; we can turn our backs on the fears that lord over us and do the much scarier thing: figure out how to live without destroying one another.A Strange Loop's director Stephen Brackett and choreographer Raja Feather Kelly bravely punctuate each perverse and revelatory ode that Jackson has penned into his work. But none of this would be possible without the phenomenal cast, who count as the funniest and most thrilling group of singers currently on Broadway. Chief among them, L Morgan Lee, James Jackson Jr., and John-Andrew Morrison provide sensational vocals and painfully hilarious personifications of Jackson's thoughts.Spivey ― who is vulnerable, sassy, inquisitive, and incendiary ― grounds their work, not because he overwhelms the stage through sheer power and vocal charisma, but because he knows how to pull back and allow us to come to him. His performance is a conversation between his onstage partners and the audience that shows us we will fail, and we can try again until we finally overcome our own strange loop. This is art as activism in its highest form.<a href="https://www.newyorktheatreguide.com/show/a-strange-loop" target="_blank">A Strange Loop&nbsp;is at the Lyceum Theatre. Get&nbsp;A Strange Loop&nbsp;tickets on New York Theatre Guide.</a>Photo credit: Jason Veasey (Thought 5), James Jackson, Jr. (Thought 2), Jaquel Spivey (Usher), L Morgan Lee (Thought 1), and Antwayn Hopper (Thought 6) in A Strange Loop. (Photo by Marc J. Franklin)

'A Strange Loop' review — a near-perfect marriage of art and activism

A Strange Loop is at the Lyceum Theatre. Get A Strange Loop tickets on New York Theatre Guide.

A Strange Loop Broadway Review | New York Theatre Guide

The Lyceum Theatre is Broadway's oldest continually operating theatre. Designed by Herts & Tallant and built by producer-manager David Frohman, the theatre officially opened on November 2, 1903. It was a replacement for Frohman's previous Lyceum Theatre on Fourth Street, which closed in 1902.

The inaugural production at the venue was the play *The Proud Prince*. The Lyceum Theatre was purchased in 1940 by a conglomerate of producers which included George S. Kaufman and Moss Hart, and in 1950, the Shubert Organization took ownership of the theatre. In 1974, the Lyceum Theatre became the first Broadway theatre to be granted landmark status.

## How to get to the Lyceum Theatre on Broadway

The Lyceum Theatre is closest to the 42nd Street - Times Square subway stop on the 1, 2, 3, 7, N, Q, R, W, and S lines. The closest bus stops are 6th Ave/W 44th St. on the M55, QM2, QM3, QM4, QM15, QM16, QM17, QM18, and QM20 lines; and 6th Ave/West 45th St. on the QM1, QM5, QM6, M5, and M7 lines.

## Restaurants near the Lyceum Theatre

Popular restaurants near the Lyceum Theatre include Havana Central (Cuban), Carmine's (Italian), Connolly's Irish pub, and Junior's (American). [Learn more about popular pre- and post-show restaurants in the Theatre District.](https://www.newyorktheatreguide.com/theatre-news/news/where-to-eat-before-and-after-a-broadway-show)

Lyceum Theatre - NY

Lyceum Theatre 

May be inappropriate for 12 and under. Children under the age of 4 are not permitted in the theatre.

Chicago on Broadway [22] 

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Chicago on Broadway

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Chicago new poster

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

With the 20th Anniversary of Chicago speedily approaching, I took a trip to Broadway’s 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, 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

Designed by Herbert J. Krapp, the Ambassador Theatre opened on February 11, 1921 under the ownership of the Shubert Organization with a production of the musical *The Rose Girl*. The Shuberts eventually sold the property in 1935, and it was turned into a cinema and television studio for NBC as well as the DuMont Television Network.

The venue was renamed the Ambassador Tele-Theatre until 1956, when the Shuberts reclaimed ownership and reinstated the building as a Broadway theatre. The Ambassador Theatre has been designated a New York City landmark for preservation.

## How to get to the Ambassador Theatre on Broadway

On the subway, take the C, E, or 1 line to 50th Street. The Ambassador Theatre is located a block away at 49th Street and Broadway.

Additionally, the Ambassador is located near various bus stops: 7th Ave/W 50th St. on the M7, M20, and M104 lines; 8th Ave./W 49th St. on the M20 and M104 lines; and 7th Ave/W 49th St. on the M50 line.

## Restaurants near the Ambassador Theatre

Popular restaurants located within a block of the Ambassador Theatre include The Palm steakhouse, Serafina (Italian), P.S. Kitchen (American), and Junior's Restaurant (American). [Learn more about pre- and post-show restaurants in the Theatre District.](https://www.newyorktheatreguide.com/theatre-news/news/where-to-eat-before-and-after-a-broadway-show)

Ambassador Theatre - NY

Ambassador Theatre

Guests under the age of 2 are not permitted in the theatre.

Disney COVID Protocols

The Lion King on Broadway [42] 

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The Lion King on Broadway

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NOTE: This review was written by&nbsp;The Lion King alum&nbsp;Kyle Wrentz in celebration of the show's 20th Anniversary on Broadway...A sunrise on a day.&nbsp;It could be a Saturday or a Wednesday, but regardless, 20 years later, <a href="/show/disneys-the-lion-king">The Lion King</a> is still a timeless piece of artistry and magical allure. The moment you hear Rafiki's clarion call across the pridelands welcoming the new prince to the kingdom, you are lost in the story, as the iconic procession of animals begins.&nbsp;It is no wonder that sold out audiences continue to flock to the <a href="/theatres/minskoff-theatre">Minskoff Theatre</a> 8 times a week, bringing their own legacy of family members that keep this fable alive. The score still maintains its variety of gifts, especially the songs rooted in the African tradition. Whether it be&nbsp;Grasslands, Rafiki Mourns&nbsp;or&nbsp;Shadowland,&nbsp;the ensemble sings in exceptional harmony with lush beautiful melodic tones that capture the essence of the evening.&nbsp;As for the 20th Anniversary cast, Tshidii Manye continues her extraordinary run as Rafiki; she's playful and illustrious and every time she hits the stage, the audience is in the palm of her hand. L. Steven Taylor captures all facets of the king, Mufasa. He is regal and full of gravitas, while also letting us glimpse behind the mask in the tender private moments he shares with his son, young Simba (played by an energetic Kenneth Aikens who displayed an awesome backhand spring). He is aptly assisted by Cameron Pow who is charming as Zazu, the trusty hornbill and confidant of the royal family.Stephen Carlile, a prominent actor from London's&nbsp;West End, is deliciously wicked as Scar, he seems to be having a ball plotting and scheming away for the coup of the century. He brings along three misfit hyenas for the ride; hilariously played by Bonita Hamilton, James Brown-Orleans, and Enrique Sequra. Jelani Remy brings a vulnerability and magnetism to the role of Simba.&nbsp;From the moment he swings out on that vine in the middle of the jungle, you are rooting for this lion to find his way back home and claim himself as the rightful king.&nbsp;Jelani's interpretation of the folk tune&nbsp;Endless Night&nbsp;was performed with an honest purity that truly was a highlight of the evening.Timon&nbsp;and Pumbaa keep the comic relief coming all evening. Ben Jeffery sets up the jokes nicely, and Fred Berman knocks the ball right out of the park, all the while keeping us full of chuckles.&nbsp;A special mention needs to go to the remarkable dancers of The Lion King ensemble&nbsp;who performed updated choreography throughout the evening.&nbsp;Their new movement during the&nbsp;She's Going to Eat Me&nbsp;portion of the performance gathered rapturous and sustained applause, so kudos to them for their remarkable artistry and sustained commitment to the storytelling.Overall, The Lion King continues to be a wonderful evening at the theater.&nbsp;You will laugh, cry and marvel at all the beauty around.&nbsp;As Rafiki says during&nbsp;Circle of Life, "There is far too much to take in here, more to find than can ever be found."&nbsp; That declaration still rings true, 20 years later. Every time I see The Lion King, I notice something new, I consider the story through the eyes of another character's perspective. In such a time of turmoil and discourse, it is lovely to get lost in this iconic piece and be inspired by all the cultures and individuals who continue to come together to make the entrancing musical still shine so radiantly today.(Photo by Joan Marcus)<hr /><h2>What the popular press says...</h2>"Seen purely as a visual tapestry, there is simply nothing else like it. Suddenly, you're 4 years old again, and you've been taken to the circus for the first time. You can only marvel at the exotic procession of animals before you: the giraffes and the elephants and the hippopotamuses and all those birds in balletic flight. Such is the transporting magic wrought by the opening 10 minutes of The Lion King, [director Julie] Taymor has introduced a whole new vocabulary of images to the Broadway blockbuster." Ben Brantley for New York Times"Julie Taymor's staging of Disney's The Lion King is a marvel, a theatrical achievement unrivaled in its beauty, brains and ingenuity. Leaping far beyond its celluloid inspiration, the stage version improves upon nearly every aspect of the hit 1994 animated film, from visual artistry and storytelling to Lebo M's score and the newly African-ized pop songs of Elton John and Tim Rice." Greg Evans for Variety"A jaw-dropping magnificent spectacle. The show and the playhouse are enchanting. The unprecedented production is worth every penny. If this is Disney's idea of a theme park, we are delighted to report that the theme is quality." Linda Winer for Newsday"Awe-inspiring! Broadway theater is alive again. [Julie] Taymor's imaginative ideas seem limitless. it's a gorgeous, gasp-inducing spectacle. Most important - against all odds - it has innocence. The show appeals to our primal, childlike excitement in the power of theater to make us see things afresh." Richard Zoglin for Time Magazine"The breathtakingly staged Broadway adaptation of Disney's king of the cartoon jungle is an instant theater classic." Chris Willman for Entertainment WeeklyExternal links to full reviews from popular press...<a href="http://www.nytimes.com/1997/11/14/movies/theater-review-cub-comes-of-age-a-twice-told-cosmic-tale.html" target="Top">New York Times</a> - <a href="http://variety.com/1997/legit/reviews/the-lion-king-new-amsterdam-theater-1117339958/" target="Top">Variety</a>

The Lion King

Designed by Kahn and Jacobs, the Minskoff Theatre is located on the third floor of the One Astor Plaza office tower. The Minskoff Theatre is named after Sam Minskoff and Sons, who built and own the high-rise building, and it officially opened on March 13, 1973, with a revival of Irene starring Debbie Reynolds. The theatre also held the Miss Universe 1981 pageant.

## How to get to the Minskoff Theatre on Broadway

The Minskoff Theatre is closest to the 42nd Street - Times Square subway stop on the 1, 2, 3, 7, N, Q, R, W, and S lines. The closest bus stop is the 7th Ave/W. 44th St. on the M104 line.

## Restaurants near the Minskoff Theatre

Popular restaurants near the Minskoff Theatre include Junior's (American), the Hard Rock Cafe (American), Carmine's (Italian), and Havana Central (Cuban).

[Learn more about popular pre- and post-show restaurants in the Theatre District.](https://www.newyorktheatreguide.com/theatre-news/news/where-to-eat-before-and-after-a-broadway-show)

## Where is *The Lion King* on Broadway playing?

*The Lion King* performs at the Minskoff Theatre on Broadway. The show has played in New York since 1997, making it Broadway's third-longest running show of all time. *The Lion King* originally opened at the [New Amsterdam Theatre](https://www.newyorktheatreguide.com/theatres/new-amsterdam-theatre) but moved to the Minskoff in 2006.

Minskoff Theatre - NY

Minskoff Theatre

Aladdin

Aladdin on Broadway [105]

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Aladdin on Broadway

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

The New Amsterdam Theatre was designed by Henry Hertz and Hugh Tallant. Construction began in 1902, and the venue officially opened on October 23, 1903. The inaugural production was William Shakespeare's *A Midsummer Night's Dream*. 

From 1913 to 1927, the theatre housed the Ziegfeld Follies variety revue, which showcased such talents as Fanny Brice of *Funny Girl* fame. In 1937, the building became a cinema and ultimately closed its doors in 1985.

In May 1995, Disney Theatrical Productions signed a 49-year lease for the property and restored it to a traditional theatre. The building officially reopened on April 2, 1997, and the first show to play there was the Broadway premiere of Disney's *The Lion King* that October.

## How to get to the New Amsterdam Theatre on Broadway

The closest subway stop to the New Amsterdam Theatre is 42nd Street - Times Square on the 1, 2, 3, 7, N, Q, R, W, and S lines. The closest bus stops are 7th Av/W 42nd St. on the M42, SIM8, SIM8X, SIM22, SIM25, SIM26, and SIM30 lines and and 7th Av/W 41st St. on the M7, M20, and M104 lines. 

## Where is *Aladdin* on Broadway playing?

*Aladdin* is at Broadway's New Amsterdam Theatre at 214 West 42nd Street. Disney's *Aladdin* has played the venue since 2014. The New Amsterdam Theatre is Disney's home base on Broadway, with *Beauty and the Beast* and *Mary Poppins* having also played there.

New Amsterdam Theatre - NY

New Amsterdam Theatre

The Phantom of the Opera on Broadway [38] 

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The Phantom of the Opera on Broadway

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Join me for a little jaunt down memory lane to a magical place that is alive and well. Andrew Lloyd Webber's THE PHANTOM OF THE OPERA, directed by theatre legend Harold Prince and produced by Cameron Mackintosh and The Really Useful Group, is the longest-running show in Broadway history. A recent revisit to this lavish production got me to thinking about what it takes to make a show age so beautifully.Well, you start with a story that reeks of sexuality, mystery, innocence and passion. Then you add music that weaves motif after motif together in a manner that even a tone deaf person could grasp. Add impeccable design - 19th century costumes and a set that is so enormous it dwarfs the cast and so spectacular that you can hardly keep track of where you are. Top it off with staging that is actor proof and voila!When I say actor-proof, I don't mean that this cast is in any way deficient. Indeed, each is an impeccable performer. The three principals have spectacular voices that span several octaves, and each knows exactly how to deliver the goods. Julia Urdine as Christine is no shrinking violet. She is a young woman who opens her heart and her voice to whatever adventure the world offers, including the power and dark magic of the Phantom. Jeremy Hays (Raoul) has the difficult job of playing second romantic fiddle to the Phantom, and he manoeuvers up that river without flagging for an instant. James Barbour (the 15th Phantom on Broadway) is menacing and vulnerable, and his passion takes up the entire stage whenever he is on it. Watching him in person one realizes that singing with a mask and several layers of latex on your face is no easy feat. Barbour, however makes it look so.The Phantom of the Opera, based on the classic novel by Gaston Leroux, is the story of a man who was born with a horribly deformed face. He hides in the bowels of a Paris opera house where he toys with and torments the occupants just because he can. When he hears Christine Daaé sing, however, his heart bursts open and he dedicates himself to nurturing her talent. Soon the Phantom is overtaken by his own passion for Christine as a woman and a singer, and he becomes reckless. He shows her his lair in the river below the city. He reveals his love for her. She responds in kind, until she sees his face. Still, their connection remains inviolable, even when Christine tumbles for Raoul. The Phantom makes demands on her behalf and declares war on the opera house when his demands are not met. Everything comes to a head, with Raoul becoming the pawn. The lovers are allowed to live and the Phantom - well, who knows what happened to him?This story has it all: music that stays with you long after the curtain comes down (yes I bought the CD), love in an array of colors, fantasy, danger, sex, hopes and dreams. The Phantom of the Opera remains a stunning production that engages the ear, the eye and the heart. The fact that it has done so for nearly 30 years world wide is testament to the crafty craft of making theatre. Theatre is ultimately a magic show, and one of the reasons being human is such a gas.Got a friend coming into town? Take her to see this one. You won't be disappointed one little bit. And when you buy the music I won't say, "I told you so." Promise.(Photo by Matthew Murphy)<hr />"It may be possible to have a terrible time at The Phantom of the Opera, but you'll have to work at it. Only a terminal prig would let the avalanche of pre-opening publicity poison his enjoyment of this show, which usually wants nothing more than to shower the audience with fantasy and fun, and which often succeeds, at any price. The physical production, Andrew Bridge's velvety lighting included, is a tour de force throughout—as extravagant of imagination as of budget." Frank Rich for New York Times"It is a spectacular entertainment, visually the most impressive of the British musicals. Perhaps the most old-fashioned thing about it is it's a love story, something Broadway has not seen for quite a while. To say the score is Lloyd Webber's best is not saying a great deal. His music always has a synthetic, borrowed quality to it. As you listen you find yourself wondering where you've heard it before. In this case you've heard a lot of it in Puccini, in the work of other Broadway composers and even the Beatles. Nevertheless he seems to be borrowing from better sources, and he has much greater sophistication about putting it all together. There are some droll opera parodies, several beautiful songs, an impressive septet and a grand choral number, all richly orchestrated." Howard Kissel for New York Daily News"Technically it is a piece of impeccably crafted musical theater, with theme, music and staging in perfect accord. They combine as a total statement that depends for its potency more on the sum of its parts than on the strength of any individual component." Clive Barnes for New York Post"The London audiences aren't wrong. "The Phantom Of The Opera" is romantic musical theater hokum in the grand manner - hokum cordon blue - and it justifies the feverish buildup that has given it a $16,500,000 advance. It's good for a Broadway run of several years. Andrew Lloyd Webber has taken the Gaston Leroux potboiler about the love-crazed disfigured genius who lives in the catacombs of the Paris Opera and fashioned it into a thrilling and musically rich mass legit entertainment. The 19th century period spectacle, scenic legerdemain, soaring melodies and exceptional singing are at the service of an involving and piquantly offbeat love story, all of it staged with brilliantly organized flair by Harold Prince, back in top form." Richard Hummler for VarietyExternal links to full reviews from popular press...<a href="http://www.nytimes.com/1988/01/27/theater/stage-phantom-of-the-opera.html" target="Top">New York Times</a> - <a href="http://www.nydailynews.com/entertainment/music-arts/grand-opera-article-1.260815" target="Top">New York Daily News</a> - <a href="http://variety.com/1988/legit/reviews/the-phantom-of-the-opera-5-1200427363/" target="Top">Variety</a>

The Phantom of the Opera

Designed by Herbert J. Krapp, the Majestic Theatre was originally built by real estate magnates the Chanin Brothers as part of a three-theatre complex that also included the [Bernard B. Jacobs Theatre](https://www.newyorktheatreguide.com/theatres/bernard-b-jacobs-theatre) and the [Golden Theatre](https://www.newyorktheatreguide.com/theatres/golden-theatre).

The Majestic theatre officially opened on March 28, 1927 with a production of the musical *Rufus LeMaire's Affairs*. In 1930, the Shubert Organization took ownership of all three houses. The Majestic Theatre earned New York City landmark status in 1987.

## How to get to the Majestic Theatre on Broadway

The Majestic Theatre is closest to the 42nd Street - Port Authority subway stop on the A, C, and E lines. The nearest bus stops are 7th Ave/W 44th St. on the M4, M20, and M014 line; and W 43rd St. and 8th Ave on the M20, M104, and M34A-SBS line.

## Where is *The Phantom of the Opera* on Broadway playing?

*The Phantom of the Opera* plays the Majestic Theatre at 245 West 44th Street. The Majestic has been home to *The Phantom of the Opera*, the longest running Broadway show in history, from 1988 to 2023. The musical is set to close on April 16, 2023.

Majestic Theatre - NY

Majestic Theatre 

The Book of Mormon on Broadway [127]

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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**k Naked (Brian Tyree Henry) to the young woman Nabulingi (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

Designed by Herbert J. Krapp for the Shubert brothers, the Eugene O'Neill Theatre originally opened as the Forrest — named after 19th-century tragedian Edwin Forrest — on November 25, 1925 with a production of the musical *Mayflowers*. A subsequent production there, 1933's *Tobacco Road*, once held the record as the longest running Broadway show in history.

In 1945, the theatre closed and, after extensive alterations, reopened as the Coronet. Under the ownership of Lester Osterman, the venue changed its name in 1959 to the Eugene O'Neill Theatre in honor of the American playwright. Playwright Neil Simon took ownership of the theatre after Osterman, but he later sold it to Jujamcyn Theatres in 1982.

## How to get to the Eugene O'Neill Theatre on Broadway

The Eugene O'Neill Theatre, on 49th Street between Eighth Avenue and Broadway, is closest to the 50th Street stops on the C, E, and 1 lines (about a block north of the theatre) and the 49th Street stop on the N, R, and W lines (about a block east of the theatre).

The nearest bus stops are the 7th Ave/W 50th St. stop on the M7, M20, and M104 lines; the 8th Ave./W 49th St. stop on the M20 and M104 lines; and the 7th Ave/W 49th St. stop on the M50 line.

## Restaurants near the Eugene O'Neill Theatre

Popular restaurants near the Eugene O'Neill Theatre include Junior's (American), Lillie's Victorian Establishment (British/pub food), P.S. Kitchen (vegan), and Havana Central (Cuban). Ellen's Stardust Diner, a famous spot known for its singing waitstaff, is also a block away, across Broadway.

[Learn more about popular pre- and post-show restaurants in the Theatre District.](https://www.newyorktheatreguide.com/theatre-news/news/where-to-eat-before-and-after-a-broadway-show)

## Where is *The Book of Mormon* on Broadway playing?

*The Book of Mormon* on Broadway is at the Eugene O'Neill Theatre at 230 West 49th St. The popular musical comedy has played the venue since 2011.

Eugene O’Neill Theatre - NY

Eugene O’Neill Theatre

Hamilton on Broadway [384]

Hamilton [384] WL Hero Image 

Hamilton on Broadway

HAM 015 PA TODAY TIX UPDATE 090221 v02

Media#2 - Hamilton New

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 shotHamilton 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 driving 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 In The Room Where It Happens the experience is visceral for us all and becomes a show stopper.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 loveHamilton 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 long hand, 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 Lacamore'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

The Richard Rodgers Theatre was built by Irwin Chanin, and it originally opened as Chanin's 46th Street Theatre in 1925.

A number of different owners have operated the theatre. The Shubert brothers purchased the building in 1932, renaming it the 46th Street Theatre. Robert W. Dowling took over in 1945, producer Lester Osterman took the reigns in 1960, and producers Stephen R. Friedman and Irwin Meyer gained control in 1978.

The Nederlander Organization purchased and renovated the theatre in 1981, rechristening it in honor of the American composer Richard Rodgers (of Rodgers and Hammerstein) in 1990.

## How to get to the Richard Rodgers Theatre on Broadway

The Richard Rodgers Theatre is nearest to the 42nd Street - Times Square subway stop on the 1, 2, 3, 7, N, Q, R, W, and S subway lines. Theatregoers can also take the the 1 line to the 50th Street station; or the N, R, or W lines the 49th Street station. All are located about four blocks from the theatre on 46th Street between Eighth Avenue and Broadway.

The nearest bus stop to the Richard Rodgers Theatre is 8th Ave/W 46th St. on the M20 and M104 lines.

## Restaurants near the Richard Rodgers Theatre

The Richard Rodgers Theatre is located one block directly east of Restaurant Row, the stretch of 46th Street between Eighth and Ninth Avenues lined with a diverse array of restaurants. Some popular eateries there include Frankie and Johnnie's Steakhouse, Becco (Italian), Hold Fast (American), and Sushi of Gari 46 (Japanese).

## Where is *Hamilton* on Broadway playing?

*Hamilton* on Broadway plays the Richard Rodgers Theatre at 226 West 46th St. The Pulitzer- and Tony Award-winning hit by Lin-Manuel Miranda has been at the theatre since 2015. *Hamilton* holds the record for most Tony nominations in history (16), is the 26th-longest-running show in Broadway history, and is the longest-running show to ever play at the Rodgers.

Richard Rodgers Theatre - NY

Richard Rodgers Theatre

SIX on Broadway [20737]

SIX 1600x1200 Header TodayTix

SIX on Broadway

SIX Tony Wrap

SIX landscape

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/six">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/theatres/brooks-atkinson-theatre">Brooks Atkinson Theatre</a>. &nbsp;

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

Designed by Herbert J. Krapp for the Chanin Brothers, the Lena Horne Theatre officially opened as the Mansfield Theatre in 1926. Between the years of 1933 and 1945, the venue fell into disuse until it was purchased by Michael Myerberg and subsequently leased to CBS for television productions under the name of CBS Studio 59.

In 1960, the building was renamed after the former New York Times theatre critic Brooks Atkinson. The Nederlander Organization acquired partial ownership in 1967 and full ownership in 1974.

The theatre was renamed in 2022 for Lena Horne, the Black performer and civil rights activist who was active on Broadway for nearly 50 years. The Lena Horne Theatre is the first Broadway venue to be named for a Black woman.

## How to get to the Lena Horne Theatre on Broadway

The Lena Horne Theatre is closest to the 50th Street subway stop on the C and E lines. The nearest bus stop is 8 Av/W 46th St. on the M20 and M104 lines.

## Restaurants near the Lena Horne Theatre

Three popular restaurants next door to the Lena Horne Theatre, formerly the Brooks Atkinson Theatre, are Friedman's (American), Glass House Tavern (American), and Trattoria Trecolori (Italian). The theatre is also located a block northeast of Restaurant Row, a stretch of 46th Street between Eighth and Ninth Avenues lined with restaurants of all cuisine types.

[Learn more about popular pre- and post-show restaurants in the Theatre District.](https://www.newyorktheatreguide.com/theatre-news/news/where-to-eat-before-and-after-a-broadway-show)

Lena Horne Theatre - NYC

Lena Horne Theatre

Funny Girl on Broadway - NYC

Funny Girl Lea 1

Funny Girl on Broadway

Funny Girl - Lea Michele Poster

Lea Michele in *Funny Girl* on Broadway is the theatre event of the season. It’s live theatre at its finest. It’s the perfect marriage of actress and role. The very nature of attending this show is theatrical.

For the uninitiated, Lea Michele is a seasoned Broadway performer, who made her debut in *Les Misérables* at age 8 and rose to fame in her early 20s in the cult hit *Spring Awakening* before going on to more mainstream television roles, namely the ambitious and talented Rachel Berry on Ryan Murphy’s show choir dramedy *Glee* from 2009-15.

On said series, Michele played a ruthless teenager dead set on making it on Broadway, namely in the titular role in *Funny Girl*. She sang the iconic Act 1 finale “Don’t Rain on My Parade” during the first season and later performed the number on the Tony Awards. In the show’s final season, the character made her Broadway debut in *Funny Girl* and won the Tony for her performance. 

While Michele won’t win a Tony Award for this outing – Tonys are only given to performers who originated the role, and Michele replaces [Beanie Feldstein](https://www.newyorktheatreguide.com/stars-on-stage/beanie-feldstein), who left the production over the summer – she is making quite the splash in her first time on Broadway in over a decade. It’s impossible to parse out every layer of meta-theatricality at play here, not least because the show itself is a show-within-a-show about a starry-eyed Ziegfeld comic hoping to become the “greatest star.”

But even without all the added contextual layers, Michele stands alone as a singular Broadway performer, one who can pack a house and command a crowd and also hit all the right notes and laughs. And even years on, she brings the same bright-eyed optimism and ingenuity that made audiences fall in love with her. When she sings “Don’t Rain on My Parade,” the audience feels as if they are somehow fulfilling a dream alongside her, and while premature claps and mid-song standing ovations can seem distracting, it’s all a part of this singular theatregoing experience. You, the audience, are also part of this spectacle.

Broadway and television favorite Tovah Feldshuh joined the company with Michele as Fanny’s overprotective mother, and she chews on all the scenery, stealing the show with numbers like “Henry Street” when Fanny returns home to a party the neighborhood where she grew up. Jared Grimes, who earned a Tony nomination for his jubilant and tap-tastic performance as Fanny’s friend Eddie Ryan, continues to give 110% in a thankless side role. With Grimes in the tap shoes, though, Eddie’s energy jumps right off the stage. 

Ramin Karimloo stars as Nick Armstein, Fanny’s gambling addict of a manager-turned-husband, and while the role turns back the clock on feminism several years, Karimloo is charming and endearing even where his character falls short. 

Directed by Michael Mayer, the production is cool and crisp, with stylish throwback choreography by Ellenore Scott (and gorgeous tap choreography by Ayodele Casel) and seamless sets by David Zinn and eye-popping costumes by Susan Hilferty. 

While Harvey Fierstein’s revision of the book can’t do much to save the dated show (original book by Isobel Lennart), the audience isn’t coming to see the show for the plot. They’re coming for Jule Styne and Bob Merrill’s iconic songs, sung by the titular girl. After all, people who need people are the luckiest people in the world, and this crowd needs Lea Michele. 

[*Funny Girl* is running at the August Wilson Theatre on Broadway. Get *Funny Girl* tickets on New York Theatre Guide. 
](https://www.newyorktheatreguide.com/show/24232-funny-girl-tickets)

'Funny Girl' review — Lea Michele is the greatest star in her triumphant Broadway return

Read our review of Lea Michele in Funny Girl on Broadway on New York Theatre Guide.

Funny Girl starring Lea Michele Broadway Review | New York Theatre Guide

The August Wilson Theatre has gone through a number of name changes. The building originally opened as the Guild Theatre in 1925 and went on to be used as a Radio Playhouse (WOR Mutual Radio) from 1943 to 1950.

From the 1950s, the venue became a theatre again, operating under the name of the Anta Playhouse (aka Anta Theatre). In 1981, the building was re-christened the Virginia Theatre, before assuming its present name on October 16, 2005 — two weeks after the death of the American playwright August Wilson. Wilson became the first Black person to have a Broadway theatre named for them.

## How to get to the August Wilson Theatre on Broadway

To get to the August Wilson Theatre, take the C, E, or 1 line to 50th Street and walk two blocks; the theatre is located on 52nd Street between Eighth Avenue and Broadway. Audiences can also take the M20 or M104 bus line to the 8th Ave/W 52nd St. stop.

## Restaurants near the August Wilson Theatre

Popular restaurants near the August Wilson Theatre include Haswell Green's (American), Gallagher's Steakhouse, and Rosie O'Grady's (steak and seafood). Ellen's Stardust Diner, a famous restaurant featuring singing waitstaff, is also nearby.

[Learn more about popular pre- and post-show restaurants in the Theatre District.](https://www.newyorktheatreguide.com/theatre-news/news/where-to-eat-before-and-after-a-broadway-show)

August Wilson Theatre - NY

August Wilson Theatre

Hadestown on Broadway [14748] 

[Media #1] Hadestown 14748

Hadestown on Broadway

[Poster] Hadestown 14748

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

Designed by Herbert J. Krapp for the Shubert Brothers, the Walter Kerr Theatre opened as the The Ritz Theatre in 1921. The venue functioned as a radio and television studio for ABC from 1943 to 1965. Ownership changed hands multiple times between the 1950s and 1970s, during which time the building operated as a traditional theatre and an adult movie cinema. The Ritz then housed the Robert F. Kennedy Theater for Children from 1973-76.

Jujamcyn Theaters took ownership in 1980 and, after renovations, reopened the theatre on March 5, 1990 under its new name in honor of the theatre critic Walter Kerr. The first production was August Wilson's *The Piano Lesson*. In 2021, Jujamcyn celebrated the 100th anniversary of the Walter Kerr Theatre.

## How to get to the Walter Kerr Theatre on Broadway

The Walter Kerr Theatre is closest to the 50th Street subway stop on the C, E, and 1 lines. The nearest bus stops are 7th Ave/W 50th St. on the M7, M20, and M104 lines; 8th Ave./W 49th St. on the M20 and M104 lines; and 7th Ave/W 49th St. on the M50 line.

## Restaurants near the Walter Kerr Theatre

Popular restaurants near the Walter Kerr Theatre include P.S. Kitchen (vegan), La Masseria (Italian), Serafina (Italian), Lillie's Victorian Establishment (English/pub fare), and Junior's (American).

## Where is *Hadestown* on Broadway playing?

*Hadestown* on Broadway plays at the Walter Kerr Theatre at 219 W 48th St. The eight-time Tony Award-winning Best Musical, which updates classic Greek mythology with jazz and folk music, has played the venue since 2019. *Hadestown* is the longest-running show in the history of the Kerr.

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Harry Potter and the Cursed Child (OLD) [8728]

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Death of a Salesman Rush

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Death of a Salesman on Broadway - NYC 

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Death of a Salesman on Broadway

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Few American plays are revisited on Broadway as often as [*Death of a Salesman*](https://www.newyorktheatreguide.com/show/25459-death-of-a-salesman-tickets). The play has received six productions in under 75 years, and this latest revival at the Hudson Theatre, brought over from an acclaimed London run, reminds us why. There is always new depth to be mined from Arthur Miller's story of Willy Loman, a man who all but worshipped the American Dream of prosperity through hard work, only to realize he worked his life away for naught.

Casting Willy and his family as Black deepens the show, pointing to how opportunities for upward growth are not equally afforded to everyone, especially minorities. Performing this play, which was written and is set in the mid-20th century, today adds yet another layer of tragedy: Willy is only 63, a much more advanced age decades ago. Lines like "But you're 60 years old; they can't expect you to keep traveling every week" earn dry laughs now that 60 is barely the retirement age, but it's more arresting to see such inescapable mental decline happen to someone so young. 

Furthermore, this *Death of a Salesman* brought to my mind *Long Day's Journey into Night*, Eugene O'Neill's masterwork about a family undone by addiction. (Perhaps it's no wonder many [past *Salesman* stars](https://www.newyorktheatreguide.com/theatre-news/news/all-the-celebrities-who-have-starred-in-death-of-a-salesman), like Philip Seymour Hoffman and Brian Dennehy, have performed in *Long Day's Journey*, too.) *Death of a Salesman* is often described as a detailed look into one man's devolving mind (only the salesman is in the title, after all), but this production turns Miller's play into more of an ensemble work about the loved ones affected by his devolution.

That is not to minimize Wendell Pierce in any way, whose Willy still commands the stage with bluster and bombast. That is, on the surface: Multiple journeys deep into Willy's psyche, where he loses himself in falsified, idyllic memories and pushes away dark ones the second they creep up, reveal his swagger to be a defense mechanism from the truth. Eventually, that defense gets tiring, and he can't fight for, or against, himself anymore. Pierce is a larger man, but he figuratively shrinks so much as the play goes on, one would swear the transformation was physical. When his wife Linda says of him, "A small man can be just as exhausted as a great man," it's still believable as an assessment of his standing in the world.

Equally compelling are Khris Davis and McKinley Belcher III as Willy's sons Biff and Happy, each a warped mirror of their father. Biff, the elder son, shares his father's inability to truly succeed, in part because Willy raised him to pursue business when his passion lie in farming, and in part due to a grudge Biff holds against his father. He also inherited his father's temper, suggesting he could someday push his family away like Willy did. Happy, conversely, inherited his father's interest in business, if not his work ethic, and his final moment implies he'll follow his father's glorification of the American Dream. Both paths are tragic in their own right.

But ultimately, it is Linda who bookends *Salesman* as the first and last character we see alone on stage. [Sharon D Clarke](https://www.newyorktheatreguide.com/stars-on-stage/sharon-d-clarke), who won an Olivier Award for performing the role in London, plays the oft-demure character with ferocity and desperation. This is not a submissive wife coddling her husband and his delusions; this is a woman demanding respect and compassion for an unstable man. Even more crucially, this is also a woman at her breaking point. She knows of her husband's suicidal tendencies — a crushing load to bear — and, though she doesn't say so outright, appears to feel responsible for keeping him off the ledge.

Of course, Linda's efforts are just as doomed as Willy's pursuits, and Clarke's layered performance recasts *Death of a Salesman* as a dual tragedy, with Linda as a hidden crux of the show to whom attention must truly be paid. As she sings an ending lament for her husband (and bless director Miranda Cromwell for giving Clarke not one, not two, but three opportunities to sing), we're reminded that the remaining Lomans' life still has to go on in the real world, now that all delusions are gone. Even after nearly three and a half hours of *Death of a Salesman*, I'd gladly stay longer to watch that story continue.

[*Death of a Salesman* is at the Hudson Theatre through January 15. Get *Death of a Salesman* tickets on New York Theatre Guide.](https://www.newyorktheatreguide.com/show/25459-death-of-a-salesman-tickets)

*Photo credit: Wendell Pierce and Sharon D Clarke in Death of a Salesman. (Photo by Joan Marcus)*

'Death of a Salesman' review — Wendell Pierce and Sharon D Clarke revitalize a time-honored tragedy

The Hudson Theatre first opened on October 19, 1903, with *Cousin Kate* starring Ethel Barrymore. Although the firm of J. B. McElfatrick & Son first drew up the architectural design of the theatre in 1902, the firm of Israels & Harder ultimately took over and completed the project. The venue was built for theatrical producer Henry B. Harris, who managed the theatre until his death as a passenger on the RMS Titanic in 1912. 

During the 1930s and 1940s, the building was also used as for CBS Radio broadcasts when it wasn't being used for theatrical productions. NBC purchased the property in 1950, converting it into a permanent television studio. The venue housed *The Tonight Show* from 1954 to 1959.

Over the next few decades, under the ownership of developer Abraham Hirschfeld, the building was used for theatrical productions (1960 to 1968), as an adult movie house (from 1974), and as the Savoy rock club (from 1980). The Hudson Theatre was awarded New York landmark status in 1987.

Millennium & Copthorne Hotels purchased the Hudson in 1995 as a part of the surrounding luxury hotel known as the Millennium Broadway and used as a business conference center and auditorium. During this time, it was additionally used as a stand-up comedy venue for Comedy Central broadcasts.

In 2015, Ambassador Theatre Group purchased the venue as its second official Broadway venue, following the [Lyric Theatre](https://www.newyorktheatreguide.com/theatres/lyric-theatre). After fully shutting down and undergoing a major renovation, the Hudson reopened in 2017 with a revival of Stephen Sondheim's musical *Sunday in the Park with George,* starring Jake Gyllenhaal. Since the theatre first opened in 1903 and reopened from scratch in 2017, the Hudson is simultaneously Broadway's oldest and newest theatre.

## How to get to the Hudson Theatre on Broadway

The closest subway stop to the Hudson Theatre is 42nd Street - Times Square on the 1, 2, 3, 7, N, Q, R, W, and S lines. The 42nd Street - Bryant Park stop on the B, D, F, M, and 7 lines is also nearby.

There are two bus stops nearest to the theatre: 6th Ave/W 44th St. on the M55, QM2, QM3, QM4, QM15, QM16, QM17, QM18, and QM20 lines; and 6th Ave/West 45th St. on the QM1, QM5, QM6, M5, and M7 lines.

## Restaurants near the Hudson Theatre

Popular restaurants near the Hudson Theatre in NYC include Carmine's (Italian), Tony's Di Napoli (Italian), Hunt & Fish Club (steakhouse), Junior's (American), Connolly's Irish pub, and the Hard Rock Cafe (American).

[Learn more about popular pre- and post-show restaurants in the Theatre District.](https://www.newyorktheatreguide.com/theatre-news/news/where-to-eat-before-and-after-a-broadway-show)

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