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The Thanksgiving Play on Broadway - NYC

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The Thanksgiving Play on Broadway

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The Hayes Theater officially opened as The Little Theatre on March 12, 1912. The building was designed by Harry Creighton Ingalls and built by Winthrop Ames, opening with John Galsworthy's play *The Pigeon*.

During the 1920s, the theatre was redesigned by Herbert J. Krapp to increase the capacity from 300 to 590. The New York Times purchased the building in 1931, converting it to a conference hall under the name of New York Times Hall.

In 1979, Martin Markinson and Donald Tick bought the theatre and renamed it in 1983 to the Helen Hayes Theatre to honor the actress. A previous theatre bearing her name was demolished in 1982 to make way for the Marriott Marquis Hotel.

On April 18, 2015, it was officially announced that Second Stage Theater had purchased the property. It was later revealed that the venue would be renamed the Hayes Theater, and it opened in spring 2018. The Hayes Theater is the smallest Broadway theatre, now with 597 seats.

## How to get to the Hayes Theater on Broadway

The Hayes Theater, located on 44th Street between Eighth Avenue and Broadway, is closest to the 42nd Street - Port Authority subway stop on the A, C, and E lines. Additionally, the nearest bus stops are 8th Ave/W 46th St. on the M20 and M104 lines; 7th Ave/W. 44th St. on the M104 line; and 8th Ave/W 43rd St. on the M20, M104, and M34A-SBS lines.

Hayes Theater - Second Stage Theater - NY

Hayes Theater

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

Disney COVID Protocols

The Lion King on Broadway [42] 

[Media #5] The Lion King 42

The Lion King on Broadway

[Poster] The Lion King 42

Lion KIng WL

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

Fat Ham on Broadway Rush

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Fat Ham on Broadway - NYC

fat ham

Fat Ham on Broadway

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Count on a play <a href="https://www.newyorktheatreguide.com/news-features/fat-ham-wins-2022-pulitzer-prize-for-drama" target="_blank">winning a Pulitzer Prize</a> days before beginning New York performances to ramp up not just anticipation but also, let's face it, expectations.So it goes for <a href="https://www.newyorktheatreguide.com/show/fat-ham" target="_blank">Fat Ham</a>, a broad and rollicking riff on Hamlet at <a href="https://www.newyorktheatreguide.com/theatres/public-theater" target="_blank">The Public Theater</a>. Running 90 unbroken minutes, it is by turns hilarious, chaotic and weirdly lovely — like when a young man touches another and tells him: "You feel like a fabric that cost too much." In the end, the play isn't all that deep, but it bursts with so much heart you leave with a grin on your face.Playwright James Ijames thumbs his nose at famous words of wisdom — "Neither a borrower nor a lender be" — from Shakespeare's classic about a pouty prince that ends with a massive body count. Ijames borrows big-time for the bones of his work, and he threads direct quotes ("Ah, there's the rub," among them) into the script.The author also lends his own distinct point of view for his contemporary update. This slice of life leans hard into comedy, not tragedy, as it ponders big things that matter: personal identity, sexuality, transparency, living out loud.The setting for the play — seen last year in a filmed production by the Wilma Theater in Philadelphia — is a backyard cookout at a modest house in the South. A standing wreath suggests a memorial, but cheery balloons hint at something lighter. It's both: There's been a death followed lickety-split by "I do"s.Juicy (Marcel Spears), a queer Black college kid who's often called out for being "soft," is reckoning with how his widowed mom, Tedra (Nikki Crawford), married his uncle, Rev (Billy Eugene Jones), a week after his father, Pap (Jones, again), died. Pap, a butcher and by all accounts a horror, was shanked while incarcerated for murder. Details of what drove him to homicide are excessive enough to make you tune out.Pap's ghost soon pops up and orders Juicy to avenge his murder, which Rev arranged. Each guest at the party has a passing resemblance to Shakespeare's original characters (at least in name), but issues surrounding their sexuality have moved to the foreground.&nbsp;Tedra's friend Rabby (Benja Kay Thomas) arrives with her young adult children, Opal (Adrianna Mitchell), whose love for Juicy is complicated, and Larry (Calvin Leon Smith), a Marine with conflicted feelings and secrets of his own. Tio (Chris Herbie Holland), Juicy's BFF, is a trippy motormouth.Karaoke is sung. Food is served. Games are played. The charade's the thing when Juicy attempts to expose Rev's treachery. Suffice it to say that death enters into the proceedings, but Ijames is more interested in exploring life in all its glories and uncertainties.Director Saheem Ali guides the briskly entertaining production, which is a joint effort between The Public Theater and the National Black Theater. The physical production makes a perfect showcase for the work.&nbsp;Maruti Evans's set ingeniously transforms from ho-hum to show palace, Dominique Fawn Hill's logo T-shirts ("Mama's Boy" for Juicy) speak volumes, and Stacey Derosier's lighting beams shadow and dazzle as needed. Skylar Fox's fun illusions and Lisa Kopitsky's knockout fight staging merit a mention.Ali has assembled an excellent cast that doesn't shy away from getting hammy. That's fitting for a play in which revenge is a dish best served with ribs.<a href="https://www.newyorktheatreguide.com/show/fat-ham" target="_blank">Fat Ham is at the Public Theater through July 3. Get Fat Ham tickets on New York Theatre Guide.</a>Photo credit: The cast of Fat Ham at The Public Theater. (Photo by Joan Marcus)

'Fat Ham' review — comedic 'Hamlet' adaptation serves revenge with a side of ribs

Read the latest reviews for must-see plays, musicals, and theatre productions at NewYorkTheatreGuide.com.

| NewYorkTheatreGuide.com

The American Airlines Theatre was originally designed by George Keister as an Italian Renaissance-style theatre. The venue opened in 1918 as the Selwyn Theatre, named for its developers, Edgar and Archibald Selwyn. The first show to play there was Jane Cowl's *Information Please*.

Over the course of its history, the building has been used as a theatre, a cinema, and a visitor center until it fell into a derelict state of disrepair. Roundabout Theatre Company took ownership of the venue in 1997, but the building collapsed, so the company rebuilt the Selwyn as part of the New 42nd Street Building in 1999. The theatre was renamed for American Airlines on June 30, 2000; the company donated $8.5 million to help cover renovation costs.

## How to get to the American Airlines Theatre on Broadway

The American Airlines Theatre is situated on 42nd Street between Eighth Avenue and Broadway. By subway, it is accessible by the A, C, E, 1, 2, 3, 7, N, Q, R, W, and S lines to 42nd Street.

American Airlines Theatre - NY

American Airlines 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.

Walter Kerr Theatre - NY

Walter Kerr Theatre 

MJ The Musical on Broadway [23379]

MJ Header Image Update 6/28

MJ The Musical on Broadway

MJ Tony Wrap

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

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

The Neil Simon Theatre was designed by Herbert J. Krapp for the real estate mogul Alexander Pincus. The Neil Simon Theatre officially opened on November 22, 1927 as the Alvin Theatre. It was named after producers Alex Aarons and Vinton Freedley, as an amalgamation of their first names.

The inaugural production at the venue was George and Ira Gershwin's *Funny Face*, which starred Fred and Adele Astaire. During the Great Depression, the venue was used as a radio studio by CBS. The Nederlander Organization purchased the property in 1977 and rechristened it in honor of the American playwright Neil Simon on June 29, 1983. The building earned New York City landmark status in 1985. 

## How to get to the Neil Simon Theatre on Broadway

The closest subway station to the Neil Simon Theatre is 50th Street on the C, E, and 1 lines. The closest bus stops are 7th Av/W 41st St. on the M7, M20, or M104 line and 7th Av/W 42nd St. on the M42, SIM8, SIM8X, SIM22, SIM25, SIM26, and SIM30 lines.

## Restaurants near the Neil Simon Theatre

Popular restaurants near the Neil Simon Theatre include Haswell Green's (American), Gallagher's (steakhouse), Cha Pa's Noodles and Grill (Vietnamese), and Rosie O'Grady's (steak and seafood). Also nearby is Ellen's Stardust Diner, a famous New York institution featuring singing waiters.

Neil Simon Theatre - NY

Neil Simon 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

The Book of Mormon on Broadway [127]

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The Book of Mormon on Broadway

Book of Mormon Poster Wrap

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

Recommended for 12 + Children under the age of 4 are not permitted in the theatre.

Some Like It Hot on Broadway - NYC

7 Some Like It Hot Credit Marc J Franklin

Some Like It Hot on Broadway

some like it hot poster-480x720

“What are you thirsty for?” teases Sweet Sue, a brassy Prohibition-era bandleader, in the opening moment in [*Some Like It Hot*](https://www.newyorktheatreguide.com/show/24262-some-like-it-hot-tickets). Well, since she asked, I’d like a new Broadway musical comedy that’s a bracing, fizzy cocktail garnished with a winning cast.

Happily, this lavish show based on the Oscar-winning 1959 Billy Wilder classic rom-com mostly delivers that. Screen-to-stage adaptations are always tricky endeavors, and this one scores points for not just tracing the source but turning up some fresh ideas of its own. 

If only director and choreographer Casey Nicholaw wasn’t so bent on selling nearly every song and tap dance number so relentlessly and formulaically hard. A mob hit sets the plot in motion, and the operative word in his staging is overkill. Some like it hot, sure, but not constantly. The production needs more room to breathe.

Despite that reservation, there’s still a lot to like. There’s a batch of buoyant songs by Marc Shaiman (music and lyrics) and Scott Wittman (lyrics), pros at matching showtunes to a particular period. In *Hairspray*, the team welcomed us to the ’60s. Their latest jazzy, horn-happy score whisks us back to 1933. Not every song leaves such a lasting impression as the juicy title number, but they all set the scene and flesh out characters.

Bookwriters Matthew Lopez (*The Inheritance*) and Amber Ruffin (*A Black Lady Sketch Show*) have packed the story with laughs as we follow saxophonist Joe ([Christian Borle](https://www.newyorktheatreguide.com/stars-on-stage/christian-borle)) and stand-up bassist Jerry (J. Harrison Ghee). The lifelong pals find themselves in mortal danger after witnessing a gangland execution in Chicago. 

The friends hatch a do-or-die plan to dress in drag and reinvent themselves — Joe becomes Josephine, Jerry morphs into Daphne. They hustle their way into a women’s touring band led by Sweet Sue (NaTasha Yvette Williams) that’s headed to the West Coast.

Once they get to San Diego, they’ll make a break for Mexico. But obstacles arise — namely Sugar (Adrianna Hicks), the band’s lead singer who catches Joe’s eye; Osgood (Kevin del Aguila), a soda pop titan crushing on Daphne; and Spats (Mark Lotito), the mob boss out to off the witnesses.

To his credit, Nicholaw sees to it that each scene is composed like a movie still, and the design team lends invaluable support. Scott Pask’s sets are picture-perfect, Gregg Barnes’ costumes reek period chic, and Natasha Katz’s shifting lighting sets the mood.

One gorgeous moment begins on a train and cleverly dissolves into a club in near-cinematic fashion, all while Sugar belts a torchy tune. A baggage car scene where Sugar reveals her big-screen dreams to Josephine becomes improbably beautiful.

Borle is a hoot in the role made famous onscreen by Tony Curtis. Bespectacled Josephine’s growing exasperation about repeatedly being told she’s no spring chicken is a joke that just doesn’t get old. Borle seems to be channeling Mira Sorvino’s speaking style from *Romy and Michele’s High School Reunion* — it’s an odd choice that works.

In the Jack Lemmon part, Ghee endears and delights. Jerry’s discovery and self-embrace of Daphne recalls Lopez’s play, *The Legend of Georgia McBride*. Like that work, this musical regards themes of identity and transformation with smarts and sensitivity.

Hicks brings the right notes of vulnerability and yearning to Sugar, played in the film by Marilyn Monroe. Kevin Del Aguila is a rubber-limbed riot as the over-the-top and open-minded Osgood. Angie Schworer pops up periodically with a running gag that never failed to produce chuckles.

Following a climactic dance production recalling a slapstick-y highlight of the musical *High Button Shoes*, everybody naturally gets what – and who – they want in *Some Like It Hot*. No one leaves thirsty.

[*Some Like It Hot* is at the Shubert Theatre. Get *Some Like It Hot* tickets on New York Theatre Guide.](https://www.newyorktheatreguide.com/show/24262-some-like-it-hot-tickets)

*Photo credit: Christian Borle and J. Harrison Ghee in Some Like It Hot. (Photo by Marc J. Franklin)*

'Some Like It Hot' review — Broadway adaptation of the hit film turns up the comedy and the fun

Designed by Henry Beaumont Herts, The Shubert Theatre was built at the same time as the adjoining [Booth Theatre](https://www.newyorktheatreguide.com/theatres/booth-theatre). The Shubert Theatre officially opened on October 21, 1913 with *Caesar and Cleopatra* by George Bernard Shaw.

The theatre was named after Sam S. Shubert, one of the founding brothers of the Shubert Organization, which operates 17 Broadway venues. The Shubert Theatre building still houses the organization's offices on the top floor. The Shubert Theatre is a designated New York City landmark.

## How to get to the Shubert Theatre on Broadway

The Shubert Theatre is closest to the 42nd Street subway stop on the A, C, E, 1, 2, 3, 7, N, Q, R, W, and S lines. The closest bus stops are 8th Ave/W 46th St. on the M20 and M104 lines; 7th Ave/W. 44th St. on the M104 line; and 8th Ave/W 43rd St. on the M20, M104, and M34A-SBS line.


Shubert Theatre - NY

Shubert 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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I unlocked $39 Rush tickets for & Juliet on Broadway on @TodayTix! https://www.todaytix.com/nyc/shows/25598?share=unlock

& 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

The Harder They Come

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The Harder They Come - NYC

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Joseph Papp founded The Public Theater in 1954 as the Shakespeare Workshop. The organization moved into its current home on Lafayette Street in Lower Manhattan in 1967.

The Public Theater building was under risk of demolition until the Public persuaded the city council to sell them the building for use as a theatre. As a result, the building was granted New York City landmark status in 1965, and architect Giorgio Cavaglieri converted it into a theatre in 1967.

The company’s inaugural production in its new home was the world premiere of *Hair*, which also marked its first non-Shakespeare offering. The building is comprised of five performance spaces: the Anspacher Theater (which has a 275-seat capacity), LuEsther Hall (160 seats), Martinson Theater (199 seats), Newman Theater (299 seats), and Shiva Theater (99 seats).

The Public complex also include office spaces; the restaurant and bar The Library; and Joe’s Pub, a cabaret-style venue used for smaller musical revues and soloists. The company also operates the [Delacorte Theater](https://www.newyorktheatreguide.com/theatres/delacorte-theater) in Central Park, which has been home to free Shakespeare in the Park productions during the summer since 1954.

## How to get to The Public Theater off Broadway

The Public Theater is closest to the Astor Place subway stop on the 6 line and the 8 St - NYU stop on the R and W lines. The closest bus stop is Lafayette St./Astor Pl. on the M1 line.

## Restaurants near The Public Theater

Popular restaurants near The Public Theater include Gyu-Kaku Japanese BBQ, Vic's (Italian), and Atla (Mexican). The Public also has an in-house bar and restaurant, The Library (American).

Public Theater - NY

Public Theater

The Public Theater Covid Protocol

shadow/land Rush

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shadow/land - NYC

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shadow/land

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Plays For The Plague Year Rush

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Plays For The Plague Year

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Joe's Pub at The Public Theatre

Classic Stage Company

Black Odyssey Rush

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Odysseus, the tortured hero of Homer’s Odyssey, spends 10 years lost at sea en route home to Ithaca. Ulysses (Sean Boyce Johnson), a Black American soldier deployed to Afghanistan, travels decades through his own bloodstream to reach his despondent wife and son, searching sea, river, and Harlem for the ancestor who will “baptize you of the blood on your hands,” as Deus (James T. Alfred) tells him, so he will be worthy of his home.

Thus sets sail [*black odyssey*](https://www.newyorktheatreguide.com/show/27259-black-odyssey-tickets), the modern retelling from Marcus Gardley running at Classic Stage Company. Stevie Walker-Webb directs a Greek chorus of actors who move as one to guide Ulysses onward as his head fills with water and he struggles to remember his bearings. Adrienne C. Moore and Lance Coadie Williams anchor the chorus, gliding from role to role with ease and grounding the heart of the piece as Artez — the proud Grand Marshall in the Second Line parade — and Alsendra, a couple taking refuge on the roof of their home during a Noah’s Ark-scale flood.

UptownWorks, the production company that provided sound design, plays audio of stranded storm survivors neglected by the U.S. government in transition to the flood setting, cementing a link between the Biblical stories of old and climate disasters of today. Most audiences would absorb this link without further instruction, but Artez and Alsendra then explain that God began “spitting curses on the Earth” since the murders of Malcom X and President Kennedy and has been crying 40 days and nights since the assassination of Dr. King. 

This rather abrupt tonal shift from the subtle to the heavy-handed characterizes the main structural issue with *black odyssey*: The play is at times captivating and clever, but it is more interested in reveling in its own cleverness than in seeing its choices through. The unevenness makes Gardley’s script feel a little corny in its reliance on on-the-nose pronouncements; Ulysses welcomes us back from intermission with a cringe-worthy choral proclamation: “American Dream was a nightmare programmed to keep me asleep and broke. But I got news: I’m woke.” 

The framing of the Greek gods playing chess with the lives of men guides *black odyssey* through its highs and lows, and the performances all soar even as the script sours. Jimonn Cole’s bitter Paw Sidin (Poseidon) is a worthy antagonist whose earned ire provides a thought-provoking conflict, while Harriett D. Foy charms and enchants as Aunt Tina (Athena).

The dark comedy provides indulgent updates on Greek mythological figures that delight even as Ulysses despairs: The prophet Tiresias is now “Superfy,” shepherding Ulysses through trials with his disco moves. The Sirens threatening to shipwreck Ulysses now embody Diana Ross, Tina Turner, and James Brown, crooning and kicking in costume designer Kindall Almond’s silver sequins as the audience howls with laughter. Moore’s soul food monologue as Circe is, to pardon the pun, downright delicious. 

Tẹmídayọ Amay is also an endearing and adorable treat as the 10-year-old Benevolence, a flood survivor who likes magic, stories, and freeze tag. Gardley and Walker-Webb don’t give the character nearly enough to do, and their near-omniscient presence sometime distracts from a given stage picture. An eventual reveal on the nature of their character doesn’t make up for a lack of development, especially with the gifted Amay proving they can handle more intricate work.

Despite the performances, *black odyssey*’s central message that the worst of your offenses will be pardoned by the best of your ancestors is a confounding one — especially when we learn of Ulysses’s offense — that muddies the waters of an otherwise gorgeous production.

[*black odyssey* is at Classic Stage Company through March 26. Get *black odyssey* tickets on New York Theatre Guide.](https://www.newyorktheatreguide.com/show/27259-black-odyssey-tickets)

*Photo credit: Adrienne C. Moore, Lance Coadie Williams, Tẹmídayọ Amay, and Sean Boyce Johnson in black odyssey. (Photo by Julieta Cervantes)*

'black odyssey' review — 'Odyssey' adaptation provides delight and despair

Read our review of Marcus Gardley's *black odyssey*, a new play directed by Stevie Walker-Webb, which is currently playing off Broadway through March 26.

Founded in 1967, Classic Stage Company (also known as CSC) is located in the heart of Manhattan’s East Village close to Union Square. CSC produces revivals and reimaginings of classical plays and musicals for contemporary audiences, which often relate to current issues.

The company's first venue was a 100-seat theatre within Rutgers Presbyterian Church, and it moved to its current venue, a former carriage house, in 1973. The 199-seat theatre has a thrust stage with audiences seated on three sides of the performance space.

In January 2019, the Off-Broadway home of Classic Stage Company was renamed the Lynn F. Angelson Theater in honor of Lynn F. Angelson, a longstanding board chair.

## How to get to Classic Stage Company off Broadway

Classic Stage Company's Lynn F. Angelson Theater is closest to the 3 Av. subway stop on the L line and 14th Street - Union Square on the N, Q, R, W, L, 4, 5, and 6 lines.

The nearest bus stops are 3 Av/E 14th St. and 3 Av/E 11th St. on the M101, M102, and M103 lines; and 4 Av/E 12 St on the M1, M2, and M3 lines.

## Restaurants near Classic Stage Company

Popular restaurants near Classic Stage Company include The Ugly Duckling (American), Jackdaw (American), The Smith (American), Ruby's Cafe (Australian), and Yellow Rose (Mexican).

Classic Stage Company - NY

The Alice Griffin Jewel Box Theatre at The Pershing Square Signature Center

Seagull Rush

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The Seagull/ Woodstock, NY Starring Parker Posey - NYC

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The Seagull/ Woodstock, NY Starring Parker Posey

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James Houghton founded and established Signature Theatre Company in 19991. The company was famed for devoting whole seasons of programming to a singular playwright. Since 2012, Signature has presented works by multiple playwrights in the same season with the introduction of residency and legacy programs.

In October 2008, plans emerged to construct The Pershing Square Signature Center to house all of Signature Theatre’s productions. The Off-Broadway complex, designed by Frank Gehry, finally opened in 2012. The complex contains three performance spaces, two rehearsal studios, and a communal area complete with a café, bar and bookstore.

The Irene Diamond Stage is the largest theatre with a capacity of 294 seats, while the Alice Griffin Jewel Box Theatre contains 191 seats. The adaptable Romulus Linney Courtyard Theatre can hold 199-250 people, depending on whether the production uses a thrust, alley or end stage format.

The Pershing Square Center’s performance spaces are also available to rent. Renowned Off-Broadway production company The New Group most often presents its new productions in the complex.

## How to get to the Pershing Square Signature Center off Broadway

The Pershing Square Signature Center is closest to the 42nd St. - Port Authority subway stop on the A, C, and E lines. The closest bus stops are 9 Av./W 42 St. on the M11 and M34A-SBS lines and 10 Av./W 42 St. on the M11 line.

## Restaurants near Signature Theatre

Popular restaurants near the Pershing Square Signature Center, which houses Signature Theatre productions, include Chez Josephine (French), Serafina (Italian), Pio Pio 8 (Peruvian), and Mémé Mediterranean. 

Pershing Square Signature Center - NY

Pershing Square Signature Center

Alvin Ailey at NYCC 2021

Alvin Ailey American Dance Theater Rush 

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Alvin Ailey American Dance Theater - NYC

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Alvin Ailey American Dance Theater

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Children under 4 are not permitted in the theatre.

MCC Theater

Wolf Play Rush

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Wolf Play - NYC

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Wolf Play

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When we meet the adult characters of Hansol Jung’s [*Wolf Play*](https://www.newyorktheatreguide.com/show/26016-wolf-play-tickets), Soho Rep’s production now playing at [MCC Theater](https://www.newyorktheatreguide.com/theatres/mcc-theater), we learn too soon that there are no real benevolent actors. Robin (Nicole Villamil), eager to become a mother, has arranged to take custody of a boy she believes is three years old. Her wife is nowhere to be found. Her brother Ryan (Brian Quijada), a hyper-masculine gym owner, is skeptical but too immature to express his concerns without grabbing or referring to his genitals. 

By the time the audience meets Peter (Christopher Bannow), a meek, exhausted man who has driven hours to abandon the son he adopted from Korea, we are primed to hate him. We know Peter and his wife have just had a baby and decided they no longer want their adopted son. We know they put an ad online saying the boy is “eager to please.” We know he refers to the child as “Pete Junior,” but he stills plans to desert him with strangers.

When Robin’s wife Ash (Esco Jouléy), a no-nonsense boxer, arrives home and promptly punches Peter in the face, we all but cheer. The small, almost Brechtian break in *Wolf Play* grabs the audience by the collar and shakes, throwing us out of the world of the play as we wonder, "Do people really do this to their children?"

They do. Jung was inspired by a 2013 Reuters investigation into “disrupted” adoptions, when a parent decides a child — often adopted from another country, as in *Wolf Play* — is too much and seeks to rehome them without going to court. Robin finds the boy, Wolf (Mitchell Winter), on a Yahoo message board, a real tool Reuters analyzed.

Peter and Robin want to keep the boy out of the foster system, a fate they believe justifies their illicit actions. But Ash and Ryan find Robin’s choice just as inappropriate as Peter’s. “This is grown up? Getting a child from Yahoo?” Ash spits before they bond with the boy.

Wolf is an invention of the boy's own mind, a persona created to protect himself from harm. He eventually reveals his Korean name, Jeenu; when he speaks, Jung designates him a separate character in the script from the narrator-like Wolf. Winter’s Wolf is ageless, childlike in enthusiasm and physicality but hardened by a lifetime of pain lurking around each corner.

In *Wolf Play*, the greatest commodity is violence, a tool of communication that leaves Jeenu confused: When is it okay to hit and be hit? The violence of the state, its flawed adoption system and hidden fallout, manifests through Ash and Ryan’s boxing, choreographed by fight director Hannah “Rock” Roccisano. Wolf and the audience, meanwhile, take refuge in You-Shin Chen’s scenic design, a cluttered chaos of play objects. In this bubble, a child’s imagination both comforts and charms, concealing the sharp realities that pierce the plush surroundings.

Wolf is a separate entity from the puppet he sometimes connects with, a papier-mâché creature designed by Amanda Villalobos. Jung first describes him in the script as a “boy doll,” and Wolf is his puppeteer.

The Jeenu puppet is not endowed with overflowing life and spirit. But this choice is perhaps intentional: None of the characters in *Wolf Play* see Jeenu as a real child. Peter has failed in his actions and his guilt; Robin is obsessed with getting motherhood right and making sure others know it; and Ash and Ryan are both too concerned with their own images of power and control to make space for another person to grow. Only when Ash enters does Wolf’s puppet seem enraptured with a more lifelike gaze. 

While the life imbued in the puppet feels at times debatable, its death knell is not. The image, near the end of the show, is striking in its simplicity, almost out of place in a show stuffed to the gills with props and with debates that seem theoretical to the audience but are very real to the child lost in their mire. Though it excels in its engagement of the abstract, *Wolf Play* remains grounded in a cruel reality.

[*Wolf Play* is at the Robert W. Wilson MCC Theater Space through March 19. Get *Wolf Play* tickets on New York Theatre Guide.](https://www.newyorktheatreguide.com/show/26016-wolf-play-tickets)

*Photo credit: Mitchell Winter and Nicole Villamil in Wolf Play at MCC Theater. (Photo by Julieta Cervantes)*

'Wolf Play' review — using the abstract to portray cruel reality

Read our four-star review of Hansol Jung's *Wolf Play*, currently making its Off-Broadway debut at MCC Theater through March 19 after premiering with Soho Rep.

In late 2018, the Off-Broadway organization MCC Theater moved into its own permanent home. The complex is located in the Hell's Kitchen area of Manhattan, at West 52nd Street and 10th Avenue, and consists of two theatre spaces. The Newman Mills Theater has a seating capacity of 245, and The Susan and Ronald Frankel Theater is a 100-seat black box-style theatre.

Robert LuPone, Bernard Telsey, and William Canter founded MCC, which stands for Manhattan Class Company, in 1986. The company produced workshops and full productions of new works in various rented spaces around the city before purchasing its current venue.

## How to get to The Robert W. Wilson MCC Theater Space off Broadway

MCC Theater is closest to the 50th St. subway station on the C and E line; the theatre is located two blocks north and west. The closest bus stop, located across the street from the theatre, is 10 Av./West 53 St. on the M11 line.

## Restaurants near MCC Theater

Popular restaurants near MCC Theater include Sesamo (Italian/Asian), Il Melograno (Italian), Aqua Boil (seafood), Westville (American), and Gardenia Terrace (Mediterranean). Ardesia Wine Bar is also a popular nearby spot for drinks and snacks.

The Robert W. Wilson MCC Theater Space - NYC

The Robert W. Wilson MCC Theater Space

Apollo Theater

Apollo Rush

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Amateur Night at The Apollo [16859]

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Apollo Theater - NY

White Girl in Danger Rush

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White Girl in Danger - NYC

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White Girl in Danger

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