Comedy - NYC

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Comedy in NYC

Cherry Lane

Alison Leiby Rush

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Alison Leiby: Oh God, A Show About Abortion - NYC 

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Alison Leiby: Oh God, A Show About Abortion

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Alison Leiby's comedy act&nbsp;<a href="https://www.newyorktheatreguide.com/show/alison-leiby-oh-god-a-show-about-abortion" target="_blank">Oh God, A Show About Abortion</a> falls right in line with its stand-up predecessors at the <a href="https://www.newyorktheatreguide.com/theatres/cherry-lane-theatre" target="_blank">Cherry Lane Theatre</a>: It matches the political relevance of <a href="https://www.newyorktheatreguide.com/show/alex-edelman-just-for-us" target="_blank">Alex Edelman's Just For Us</a> and the discussion of the taboo that defines Jacqueline Novak's <a href="https://www.newyorktheatreguide.com/show/get-on-your-knees" target="_blank">Get On Your Knees</a>. All three mine fantastic comedy (and sharp insights) from unexpected subjects, but Leiby's now stands apart as perhaps the most timely political comedy special on stage right now. Had I seen Oh God the day I was originally scheduled to — May 2 — I would have left the theatre, checked my phone, and seen the news of the leaked Supreme Court brief on the potential repeal of Roe v. Wade.It was no less harrowing to see the show four days later, and Leiby acknowledges this: At my performance, she started off by telling us that "the show is the same" as before the leak (she's been performing it around New York since 2021), but she's "still exploring this as well." "This" being her feelings and her fear toward reproductive rights being jeopardized, as many others in my audience — mostly young women and femme-presenting people like myself — likely were.Of course, that means Leiby, with her bitterly funny bits about periods and motherhood and the daily struggles of being a woman, is mostly preaching to the choir in Oh God. But although I'd wager a majority young, female audience is par for the course here, that's otherwise rare. It became immediately clear to me that Oh God is much more than a comedy show; it's a show of solidarity.I, for one, felt incredibly seen by Leiby in the most oddly specific ways, as a fellow bespectacled only child with a history of back surgery and bad geography skills whose inability to keep even a cactus alive doesn't bode well for child-rearing. Leiby also talked during her entire abortion (another thing I'd probably do), having been only partially sedated. But what really stood out about that anecdote, besides it being one of her funniest, is that it's more about Leiby as a chatty person than Leiby as a person who had an abortion. Substitute "abortion" for wisdom tooth removal or eye surgery, and it would have the same hilarious effect.That's the vibe of&nbsp;Oh God&nbsp;as a whole: Despite the title, it's not really a show&nbsp;about abortion. It's about abortion in the sense that Leiby had one, and she mentions what the options and process are like, doing a better job than a lot of actual sex education. But most of the show is filled with stories about mundane and widely relatable things relating to sex and womanhood: the awkward sex talk she had with her mom over Caesar salads, how women still can't talk about periods openly with men, and the overly chipper nature of birth control commercials — they show "musicals breaking out in a grocery store" when according to Leiby, they should really show a woman having a nightmare about being stuck with a crusty man and his child.In other words, by not hyper-focusing on her abortion for the entire 70 minutes, she normalizes it, and shows herself as a complete and complex woman separate from motherhood. Leiby stresses that doesn't define or change her, and that abortion is something we can and should talk about in everyday conversation, not just when it's in crisis.Now doesn't feel like the time to be laughing about anything remotely related to abortion — but at Oh God, it was a way to cope. Leiby offers that with skill and respect for the gravity of the current situation. She should really rename her show Oh Good, A Show About Abortion, and all types of people should bear witness to it.&nbsp;Her story is more necessary now than ever.<a href="https://www.newyorktheatreguide.com/show/alison-leiby-oh-god-a-show-about-abortion" target="_blank">Alison Leiby: Oh God, A Show About Abortion&nbsp;is at the Cherry Lane Theatre through June 30. Get&nbsp;Alison Leiby: Oh God, A Show About Abortion&nbsp;tickets on New York Theatre Guide.</a>Photo credit: Alison Leiby in Oh God, A Show About Abortion. (Photo by Mindy Tucker)

'Alison Leiby: Oh God, A Show About Abortion' review — the timeliest show on stage right now

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

| NewYorkTheatreGuide.com

Located in Greenwich Village, Cherry Lane Theatre is New York City’s oldest continuously running Off-Broadway theatre. The Cherry Lane officially opened to the public in March 1924, but the building was constructed as a farm silo in 1817.

Over the next century, it also functioned as a tobacco warehouse and a box factory before being converted into the Cherry Lane Playhouse by members of The Provincetown Players, a collective of artists and theatre enthusiasts.

The Cherry Lane Theatre became a prominent source for absurdist and avant garde performances, particularly in the 1950s and 1960s. The theatre housed the world premiere of Samuel Beckett’s *Happy Days* in 1961.

Actress Angelina Fiordellisi bought the theatre in 1996 and authorized a $3 million renovation of the building. The main stage has a 179-seat capacity, and the building also holds a 60-seat studio for experimental works.

From 2016 to 2022, the venue was home to Primary Stages, a nonprofit theatre company that produces work by emerging writers. The film production company A24 bought the Cherry Lane Theatre in 2023.

## How to get to the Cherry Lane Theatre off Broadway

The Cherry Lane Theatre is nearest to the Christopher Street subway stop on the 1 line; it is also almost equidistant from the Houston Street stop. The nearest bus stop is 7 Av S/Bedford St. on the M20 line.

## Restaurants near the Cherry Lane Theatre

Popular restaurants near the Cherry Lane Theatre in NYC are Bleecker Street Pizza, La Loteria (Mexican), Boucherie (French), and Snack Taverna (Greek).

Cherry Lane Theatre - NY

Cherry Lane Theatre

Greenwich House Covid Protocol

Alex Edelman: Just For Us Rush at Greenwich House

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Alex Edelman: Just For Us at Greenwich House - NYC

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Alex Edelman: Just For Us at Greenwich House

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Logging onto social media these days is like opening a potentially poisonous box of chocolates: You never know what bad takes, misinformation, and hatred you're going to get amid the good stuff. But that's why we use social media, comedian Alex Edelman suggests: to see bad opinions from safely behind our own screens, where we can feel self-righteous for disagreeing without ever having to truly face most of the people spewing their venom. Unless, of course, you're Edelman, in which case you're met with anti-Semitic hate on Twitter, discover that the offenders are gathering in the next borough over, and decide to infiltrate the proverbial lions' den.Literally, the den — Edelman vividly describes the living room that serves as White-Nationalists-of-Queens HQ, where a jigsaw puzzle sits outside the entrance and juice and pastries are splayed on tables near a folding-chair circle. Quaint and homey, if you ignore the nearby people griping about the "erasure of white history from schools" and Meghan Markle's admission into the British royal family. This contradiction, between what's inviting and entertaining yet seems like it shouldn't be, is similarly at the heart of&nbsp;<a href="https://www.newyorktheatreguide.com/show/24281-alex-edelman-just-for-us" target="_blank">Just For Us</a>, Edelman's latest comedy show that's returned to the <a href="https://www.newyorktheatreguide.com/theatres/cherry-lane-theatre" target="_blank">Cherry Lane Theatre</a> after a Covid-prompted hiatus.Before launching into the details of&nbsp;this white nationalist meeting where he almost curried his haters' favor, Edelman kicks off with a flippant bit about how an ASL-fluent gorilla took the news of Robin Williams's passing, and the show only gets more off-kilter from there. Among the other stories in his 75-minute set: his only slightly ironic flirtation with a rather pretty young neo-Nazi because "you never know" (his in-depth description of the "he-changes-her-for-the-better" rom-com plot inspired by their hypothetical romance is a gut-busting highlight) and the deer-in-headlights look on his face when an attendee made an anti-Semitic remark about Jewish people being "sneaky and everywhere."You'll find yourself repeatedly thinking, as Edelman twists racist jokes and stereotypes aimed at him into oft-self-deprecating punchlines, "Should I really be laughing at this?" But this is a comedy show, after all, so you do, with abandon. I, for one, felt reassured when Edelman explained the Jewish philosophy that every kind, positive thing you do is God working through you. I figured either God must be working through Edelman as he's speaking or through me as I'm laughing, because Edelman is top-notch. There's nothing less than positive about his delivery, his presence, and his energy.Even when he digresses from his main tale into long-winded, only partly related stories, like that of his Olympian brother (capturing perfectly the duality of a sibling relationship: "My brother is great, I'm so proud of him...skeleton is the dumbest sport ever") and the time his Jewish family held Christmas, it's almost difficult to notice, because he is that captivating a storyteller and the flow is that smooth. And all the themes do come together at the end of Just For Us, weaving into&nbsp;a high-level message about the limits of human empathy and our oft-futile desire to change people. It's like a complex jigsaw puzzle, where all the pieces end up fitting perfectly into place.<a href="https://www.newyorktheatreguide.com/show/24281-alex-edelman-just-for-us" target="_blank">Alex Edelman: Just For Us is at the Cherry Lane Theatre through February 19, 2022. Get Alex Edelman: Just For Us tickets on New York Theatre Guide.</a>Photo credit: Alex Edelman in Just For Us. (Photo by Monique Carboni)

'Alex Edelman: Just for Us' review — fighting the haters with comedy and gusto

Read a review of Alex Edelman: Just for Us off Broadway at the Cherry Lane Theatre on the official New York Theatre Guide, and discover more news and reviews.

Alex Edelman: Just for Us review | New York Theatre Guide

Greenwich House Theater is located in the historic Greenwich House in Manhattan’s West Village.

Greenwich House first opened on Thanksgiving Day in 1902 as a community center dedicated to supporting the area's immigrant population. To this day, the building still functions this way, offering a range of initiatives like the Barrow Street Nursery School.

During the late 1990s, the Drama Dept. Theatre Company produced shows at Greenwich House Theater. In 2003, producers Scott Morfee and Tom Wirtschafter — the founders of the Barrow Street Theatre company — took ownership, renamed the venue for itself, and produced various shows there. 

After the closure of its immersive production of *Sweeney Todd: The Demon Barber of Fleet Street* in August 2018, the venue reassumed its original name. Since early 2019, Ars Nova has produced shows at the Greenwich House Theater.

## How to get to the Greenwich House Theater off Broadway

The closest subway stops to the Greenwich House Theater are Christopher Street on the 1 line and W 4th St. - Washington Square on the A, C, E, B, D, F, and M lines. The closest bus stop is 7 Av S/Barrow St on the M20 line.

## Restaurants near the Greenwich House Theater

Popular restaurants near the Greenwich House Theater include Barrow Street Ale House (pub fare), Boucherie (French), Via Carota (Italian), Palma (Italian), and Tacombi (Mexican).

Greenwich House Theater - NY

Greenwich House Theater 

Westside Theatre

Little Shop of Horrors - NYC [24608]

2 - 9188 - Maude Apatow, Camryn Hampton, Khadija Sankoh, and D-Kayla Unique Whitley in LITTLE SHOP (c) Emilio Madrid

Little Shop of Horrors

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The plant at the centre of <a href="/show/little-shop-of-horrors">Little Shop of Horrors</a> that feeds on human blood may have had its sights on world domination, but the musical that was based on the low-budget 1960 comedy sci-fi film of the same name has actually long achieved it, so it ultimately got what it wanted. And now the show has come full circle, 37 years on from its Off-Off-Broadway beginnings at the WPA Theatre (now no more) in May 1982, before moving to the larger Orpheum Theater on Second Avenue in the East Village that summer, where it ran for five years and became the highest-grossing show in Off-Broadway history until then, to find a new home at another Off-Broadway house just off Eighth Avenue in midtown Manhattan.In the intervening years, it has been turned into a feature film and played in the West End and on Broadway (the latter in a new production in 2003 that ran for less than a year at the Virginia Theatre, now the August Wilson), but its true home is a more modestly scaled place like the 270-seater <a href="/theatres/westside-theatre">Westside Theatre</a>, a former Baptist church built in 1889 that has been used as a theatre space since the mid-1970s.But while it is naturally a special pleasure and privilege to see the show at close quarters again, everything about this new version screams Broadway, from its above-the-title casting of multiple Tony Award nominees Jonathan Groff, Tammy Blanchard and two-time Tony winner <a href="/actor-profile/christian-borle">Christian Borle</a>, to its creative staff, led by director Michael Mayer, Tony winner for his original production of Spring Awakening. And unfortunately not everyone alas is willing to let the show sing and speak for itself, but&nbsp;seeks to portray it on a larger canvas.The production often feels too large and indulgent on this small stage, starting with Julian Crouch's expansive set that consumes the theatre. This may be the priciest Skid Row ever brought to an Off-Broadway stage.The performances are at times similarly exaggerated. In trying to mine new colours for Audrey, the abused floral shop assistant who falls for her work colleague Seymour as he nurtures a new exotic plant that he names Audrey II after her, Tammy Blanchard channels her into a sultry Rita Heyworth-inspired character, with her songs slowed down into torch songs of despair. 'Somewhere that's Green' sounds less aspirational of a better life than a dread doubt of ever achieving it.Jonathan Groff seems similarly depressed and downtrodden as Seymour, while Christian Borle plays the dentist Orin and a range of other characters purely as bright, eager caricature.There are some compensating pleasures from the trio of street urchins Ronnette (Ari Groover), Crystal (Salome Smith) and Chiffon (Joy Woods), who are a kind of Greek chorus observing and commenting on the action in Alan Menken's wonderful pastiche score. It is here that the enduring pleasures of the show itself are most apparent.Nicholas Mahon's new puppet designs for the plant itself are impressive as it grows ever larger. But less, in this production, would be more amongst the human elements.(Photo by Emilio Madrid-Kuser)<div class="block block-block contextual-links-region " id="block-block-9"><div class="block-inner clearfix"><div class="block-title"><h2>WHAT THE OTHER CRITICS SAID</h2></div></div></div>"A certain carnivorous plant has been repotted in Hell's Kitchen, and I am delighted to report that it's thriving there. This hot showbiz shrub of yesteryear, which goes by the name of Audrey II, has found a new dance partner, a performer who can coax the&nbsp;tendril-stretching star quality&nbsp;out of a freakish botanical specimen. That would be Jonathan Groff,&nbsp;who is generating major nerd charisma in Michael Mayer's delicious revival of Little Shop of Horrors." Ben Brantley&nbsp;for <a href="https://www.nytimes.com/2019/10/17/theater/little-shop-of-horrors-review-jonathan-groff-feeds-the-beast.html" target="_blank">New York Times</a>"Tight feels right, because the roots of Alan Menken and Howard Ashman's terrific show are in small houses. Now the insanely catchy doo-wop musical occupies the 270-seat Westside Theatre, with a bare-bones set and not a projection in sight. Freed from dealing with the usual trappings of modern musicals, you can feel the actors let their vines down." Johnny Oleksinski&nbsp;for <a href="https://nypost.com/2019/10/17/little-shop-of-horrors-review-jonathan-groff-tammy-blanchard-get-real/" target="_blank">New York Post</a>"Michael Mayer's deeply satisfying revival at the Westside Theatre, with a set by Julian Crouch, has the right sense of scale for a musical that began Off Broadway and is most at home there. It's a little show, and the closer we get to it, the more it sucks us in." Adam Feldman for <a href="https://www.timeout.com/newyork/theater/little-shop-of-horrors-review-revival-jonathan-groff-tammy-blanchard-christian-borle" target="_blank">Time Out New York</a>"What's most immediately captivating about the limited-engagement production is that, deluxe casting aside, it eschews Broadway scale in favor of a return to the show's roots in an off-Broadway theater that seats just 270. That accounts for the production's sell-out business, two-month extension and cluster of hopeful ticket-buyers waiting on cancellation lines at every performance. While it's become something of a classic, this remains at heart a scrappy little pastiche musical whose charms thrive most vibrantly in an intimate house." David Rooney&nbsp;for&nbsp;<a href="https://www.hollywoodreporter.com/review/little-shop-horrors-theater-review-1248089" target="_blank">Hollywood Reporter</a>"Directed at a quick clip by Michael Mayer,&nbsp;this Little Shop&nbsp;is played out on the small, tight stage of the Westside Theater with an ever-growing, masterfully manipulated plant (kudos to Eric Wright, Teddy Yudain, Kris Roberts, Chelsea Turbin). The close confines give this Little Shop&nbsp;the intimacy of home viewing." A.D. Amorosi&nbsp;for&nbsp;<a href="https://variety.com/2019/legit/reviews/little-shop-of-horrors-review-jonathan-groff-1203370043/" target="_blank">Variety</a>&nbsp;

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

The Westside Theatre building was designed by architect Henry F. Kilburn as the Second German Baptist Church in 1890. Nearly a century later, the space housed a discotheque, Club Sanctuary, until it was finally converted into a theatre with two stages (upstairs and downstairs) in 1973.

The Chelsea Theatre Group presented the first production – David Storey’s *The Contractor* – in October 1973. The building was renamed the Chelsea Westside Theatre. Under the management of Raymond L. Gaspard, the theatre was rechristened the Westside Arts Theatre from 1981 until 1990.

After an extensive renovation by new management, the venue reopened in March 1991 as the Westside Theatre. The Upstairs Theatre has a capacity of 270 seats, while the Downstairs Theatre holds 249 seats.

## How to get to the Westside Theatre off Broadway

The Westside Theatre is closest to the 42nd St. - Port Authority subway stop on the A, C, and E lines. The closest bus stop is 9 Av./W 44 St. on the M11 line.

Westside Theatre - NYC

Broadway COVID Protocol

Hangmen on Broadway - NYC

Hangmen

Hangmen on Broadway

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"If they've got to go, they've got to go by the quickest, the most dignified, and the least painful way of going as possible," says Harry (David Threlfall), the former hangman determined to make the horrificness of capital punishment sound honorable.Martin McDonagh's dark comedy&nbsp;Hangmen, directed by Matthew Dunster at Broadway's Golden Theatre, tries to do too many things. The play, which first premiered in London in 2015 ahead of a sold-out Off-Broadway run in 2018, attempts to battle with, and justify, the abolition of death by hanging in 1965 England with hoots, cackles, and pints of beer. Lots of it. Consequently, the convicted criminal hanged moments after the play begins becomes the laughingstock of 45th Street. (The grammatical difference between "hung" and "hanged" is also a frequent source of comedy.)It's hard to grapple with a noose being used as a foolish comedic prop. A rope used for centuries to dehumanize and murder Black bodies and executing (many innocent) convicts doesn't sit well when repurposed as humor. Far too many Black people have been unjustly convicted of crimes they didn't commit, and the sight of a noose alone comes with the remembrance of horrific acts of hate and violence. Hangmen's opening scene can be quite triggering. The prisoner pleading his innocence moments before being hung as a visual to shape this story doesn't help this argument. Why tell this kind of story now in America, when just last month, President Joe Biden signed long delayed legislation designating lynching a federal hate crime? &nbsp;After Harry performs his final duties as a state-sanctioned murderer, the audience's eyes descend on a pub he owns post-retirement, two years later. Now the man in charge, with a huge ego and wearing a full suit with vest and bow tie, Harry spends his time pouring fancy beers and detailing his proud execution of 233 prisoners to anyone who will listen.A young reporter visits the pub asking to speak with Harry about his former position as hangman, while Mooney (a haunting Alfie Allen) is introduced as a strange young man from the beginning. He appears to be simply eavesdropping as he drinks his ale. But we really get to see how creepy Mooney is when he is left alone with Harry's shy 15-year-old daughter (superbly played by Gaby French). In a single scene that's dark and bothering, these two young people connect and interact effortlessly.Besides the unsettling visuals of actual nooses and acts of hanging during the play, scene transitions are led visually by Anna Fleischle's showstopping yet practical set design. Her outfitting of a show that's arrived on Broadway at the wrong time is worthy of the ticket cost, but not worthy enough to sit through the play's entirety and struggle through deep North England accents, snide remarks about monkeys in Africa, and social content that doesn't deserve a giggle. The audience here are the ones to watch. They laughed and gasped, but in 2022, with sensitivities so high, Hangmen needs to be hung out to dry.<a href="https://www.newyorktheatreguide.com/show/hangmen" target="_blank">Hangmen&nbsp;is at the Golden Theatre through June 18. Get&nbsp;Hangmen&nbsp;tickets on New York Theatre Guide.</a>Photo credit: Alfie Allen and David Threlfall in Hangmen. (Photo by Joan Marcus)

'Hangmen' review — dark comedy play should be hung out to dry

Designed by Herbert J. Krapp for Irwin Chanin, the John Golden Theatre officially opened as the Theatre Masque on February 24, 1927 with the play *Puppets of Passion*. The Golden Theatre was purchased by impresario John Golden in 1937, who renamed the theatre after himself.

The building was used as a cinema in the late 1940s and 1950s before the Shubert Organization purchased and restored it to traditional theatre usage. The exterior of the Golden Theatre was used in the film adaptation of *A Chorus Line*.

## How to get to the Golden Theatre on Broadway

The Golden Theatre, on 45th Street between Eighth Avenue and Broadway, is closest to the 42nd Street - Port Authority subway stop on the A, C, or E line. The theatre is also accessible by bus, with the closest stops being 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.

Golden Theatre - NY

Golden Theatre

Beetlejuice on Broadway [14894]

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Beetlejuice on Broadway

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The Broadway musical has long come back from the dead — the 1980s doldrums in which the vacuum was filled by British imports, starting with <a href="/show/cats">Cats</a> which ran for nearly 18 years at the <a href="/theatres/winter-garden-theatre">Winter Garden Theatre</a>. But for Broadway's latest behemoth, the stage of the same theatre is now joyfully populated with the living dead.This is not the first time that this theatre has had a haunting: the original production of Sondheim and Goldman's Follies here in 1971 was full of ghosts of its characters' younger selves; it may well be one of the most articulate and moving musicals ever written about the reflective pains of growing older, and realising the mistakes you've made along the way.Of course <a href="/show/beetlejuice">Beetlejuice</a> doesn't detain itself with anything quite so serious or searching.&nbsp;But just as Cats dealt with an imminent afterlife, as it revolved around which of them would ascend to the 'heaviside layer', so Beetlejuice is about how mortality may not quite be the end but the start of another adventure.Here suburban couple Adam and Barbara (played with gentle unassertiveness by the charming coupling of Rob McClure and Kerry Butler) find themselves having a literal&nbsp;out-of-body experience when they suddenly fall through the floorboards of their home -- and realise that they have, in fact, died. But the antic, anarchic figure of Beetlejuice is on hand to guide them into the next world -- or at least help them to reclaim their current existence when new owners buy their house, with extensive plans to remodel it as an investment opportunity.<a href="/actor-profile/alex-brightman">Alex Brightman</a>, who previously opened Andrew Lloyd Webber's <a href="/show/school-of-rock-the-musical">School of Rock</a> at this address playing an unqualified supply schoolteacher who teaches his students rock music, plays another disruptive force here in the title role with gleeful abandon (and hair that looks like its been plugged into an electrical socket).Early on in the proceedings, he warns the audience: "If you die during the performance, it will not stop." That's possibly because no one will actually notice: they'll be laughing too hard to do so. Later he threatens to walk out on the show -- and warns us we'd be stuck with Adam and Barbara. "Yeah they're boring. Even more boring than Brigadoon. I'll say it: Fuck Brigadoon."Ouch! It might not be the best tactic to come to Broadway with a new musical that so flagrantly disses a legendary 1947 classic that got there long before you did. But secretly, I laughed; this is a new generation of theatre makers blowing raspberries at the past. And let's not be too sanctimonious about it: it's part of the show's playful subversiveness to do so, just as <a href="/show/the-book-of-mormon">The Book of Mormon</a> did, too.In fact Beetlejuice is part of that meta-tradition of shows from The Producers to this season's <a href="/show/the-prom">The Prom</a> that comment on themselves even as they simultaneously send up and celebrate the traditions they've sprung from.Here, a creative team that includes director Alex Timbers and his inspired designers David Korins (sets) and William Ivey Long (costumes), animate this parade of eccentricity with flair and great comedy technique that turns it into a subversive delight.The score by Eddie Perfect -- who also provided songs for this season's <a href="/show/king-kong">King Kong</a> -- is full of wit and grit, and Scott Brown and Anthony King's book propels it forward smartly. There are also hilarious performances from Leslie Kritzer and Sophia Anne Caruso&nbsp;as the mistress and daughter respectively of the house's new buyer Charles (Adam Dannheisser).Beetlejuice is the last new show to open this season -- but could be haunting Broadway for a long while.(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>"The dead lead lives of noisy desperation in Beetlejuice,&nbsp;the absolutely exhausting new musical that opened on Thursday at the Winter Garden Theater.&nbsp;This frantic adaptation of Tim Burton's much-loved 1988 film&nbsp;is sure to dishearten those who like to think of the afterlife as one unending, undisturbed sleep. Because as directed by a feverishly inventive Alex Timbers, and starring Alex Brightman as the manic ghoul of the title, this production proposes that not being alive just means that you have to try harder — a whole lot harder — than you ever did before. Otherwise, you'll wind up invisible, with nary a soul to acknowledge your starry self. And in today's world of chronic self-advertising, this may be the true fate worse than death." Ben Brantley for <a href="https://www.nytimes.com/2019/04/25/theater/beetlejuice-review-broadway.html" target="_blank">New York Times</a>"Whatever else it&nbsp;may or may not be,&nbsp;Beetlejuice&nbsp;is spectacularly weird. The best creative work in this musical adaptation of Tim Burton's 1988 film—about a pair of sweet ghosts trying to rid their house of its distasteful new inhabitants—has gone into its physical form: The designers come at it from all kinds of crazy angles. David Korins's haunted-house set seems to buckle in the middle and stretch at the edges; William Ivey Long's costumes are a batty vision of colors and patterns at war. There are magic tricks and giant worms and a starkly linear idea of the afterlife that contrasts well with the chaotic world of the living." Adam Feldman for <a href="https://www.timeout.com/newyork/theater/beetlejuice-review-broadway-musical" target="_blank">Time Out New York</a>"If you're a fan of the film, take note - they messed with the plot.&nbsp;The vibe's the same though. Beetlejuice&nbsp;on Broadway bombards you with manic energy and Alex Brightman, leading a boffo cast certainly fills the bill. But if it seems like the show goes overboard, beating us to death with antic irreverence, well, that just may be the plan." Roma Torre&nbsp;for&nbsp;<a href="https://www.ny1.com/nyc/all-boroughs/theater-reviews/2019/04/25/theater-review---beetlejuice-" target="_blank">NY1</a>"Writers Scott Brown and Anthony King, along with composer Eddie Perfect and director Alex Timbers, approach the 1988 Tim Burton cult comedy with the giddy excitement of rabid fanboys in their imaginative musical adaptation of&nbsp;Beetlejuice. That enthusiasm translates to the audience, too, with every visual reference lifted directly from the movie yielding huge laughs. The show is a loving homage to a wonderfully weird original, reconceived for the stage with eye-popping design, full-throttle performances and a mischievous sense of fun that literally seems to drip from the Winter Garden Theatre's chandeliers, tinged a ghoulish green for the occasion." David Rooney for <a href="https://www.hollywoodreporter.com/review/beetlejuice-theater-review-1204616" target="_blank">Hollywood Reporter</a>"High-spirited fun, wickedly good tunes and eye-popping visuals make this night of the living dead a scream." Frank Rizzo&nbsp;for <a href="https://variety.com/2019/legit/reviews/beetlejuice-review-broadway-musical-1203194763/" target="_blank">Variety</a>

Review of Beetlejuice, starring Alex Brightman, on Broadway

Designed by John C. Portman, Jr., the Marquis Theatre is situated on the third floor of the Marriott Marquis Hotel.

The construction of the hotel resulted in the demolition of the original Helen Hayes Theatre, the Morosco Theatre, the Bijou Theatre, and remnants of the Astor Theatre and the Gaiety Theatre. However, the construction permit was only issued by New York City officials if Portman agreed to include a theatre within the building. The Marquis Theatre opened on July 9, 1986 with a series of concerts by Shirley Bassey.

## How to get to the Marquis Theatre on Broadway

The Marquis 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 50th Street station on the 1 line and the 49th Street station on the N, R, and W lines are also nearby; all are about four blocks from the theatre on 46th Street.

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

## Restaurants near the Marquis Theatre

The Marquis Theatre is located one block directly east of the stretch of 46th Street between Eighth and Ninth Avenues dubbed Restaurant Row. Some popular restaurants on this street include Becco (Italian), Hold Fast (American), Lattanzi (Italian), E.A.K. Ramen (Japanese), and Joe Allen (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)

Marquis Theatre - NY

Marquis Theatre

Off Broadway Covid Protocol Update as of 2/1 - Fully vaccinated

Alex Edelman: Just For Us Rush at Soho Playhouse

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Alex Edelman: Just For Us at Soho Playhouse - NYC 

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Alex Edelman: Just For Us at Soho Playhouse

The SoHo Playhouse is an Off-Broadway theatre in New York that dates back to the late 17th century. Its location, now 15 Vandam Street, was formerly the site of colonial mansion Richmond Hill. Richmond Hill served as headquarters for General George Washington and later to Aaron Burr.

The main floor of 15 Vandam Street was transformed into a theatre, which became SoHo Playhouse in the 1920s. Plays by Terrence McNally, AR Gurney, and Sam Shepherd have played there. The SoHo Playhouse is now also a popular venue for comedy shows, having housed famous ones like Phoebe Waller-Bridge's *Fleabag*.

The SoHo Playhouse will open a second location in Las Vegas, Nevada.

## How to get to SoHo Playhouse off Broadway

SoHo Playhouse is closest to the Spring St. subway stop on the C and E line and Houston St. on the 1 line. The closest bus stop is 6 Av./Spring St. on the M21 and M55 lines.

## Restaurants near SoHo Playhouse

Popular restaurants near the SoHo Playhouse include Piccola Cucina (Italian), Boqueria Soho (Spanish), The Dutch (American), Lola Taverna (Greek), and 12 Chairs Cafe (Israeli). Dominique Ansel Bakery, which is famous for its cronuts, is also nearby.

SoHo Playhouse - NY

SoHo Playhouse

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

Drunk Shakespeare

Drunk Shakespeare - NYC [152] 

[Poster] Drunk Shakespeare 152

The Garden

Asylum NYC

Vern & Friends - NYC

Vern & Friends

Asylum NYC is a comedy venue in NYC that hosts stand-up acts, improv, sketch comedy, variety shows, and comedic theatre. The venue is the New York outpost of Improv Asylum, a Boston-based comedy organization.

Asylum NYC opened in 2017. In 2022, it closed down its original location in Manhattan's Chelsea neighborhood and is reopening at a new location in the Flatiron neighborhood, just east of Chelsea, in fall 2023. The new complex will house two theatres, studio spaces, a VIP room, and a bar and lounge.

## How to get to Asylum NYC off Broadway

Asylum NYC's new location, at 123 E 24th St., is closest to the 23rd St. subway stops on the N, Q, R, W, and 6 lines. The closest bus stop is Park Av. S/E 23 St. on M1, M2, and M3 lines.

The Office! A Musical Parody [13171]

[Media #1] The Office! A Musical Parody 13171

The Office! A Musical Parody

[Poster] The Office! A Musical Parody 13171

Cramming each of the seasons — and all of their many subplots — into a two-hour musical.

The Theater Center is a 20,000 square-foot entertainment center. There are two theatres with a total seating capacity of 398. In the Anne L. Bernstein Theater is *Perfect Crime*, which is the longest-running play in New York history. The Jerry Orbach Theater houses a rotating lineup of shows. The performance space is named after the celebrated stage and screen actor Jerry Orbach, who performed in many Broadway shows and became a global celebrity for starring in the original *Law and Order* TV series. 

## How to get to The Theater Center off Broadway

The Theater Center is closest to the 50th St. subway stop on the 1 line. The nearest bus stops are W 49 St./7 Av. and W 50 St./7 Av. on the M50 line.

The Theater Center - NYC

The Theater Center

New World Stages

Katsura Sunshine's Rakugo - NYC

Katsura Sunshine's Rakugo

Rakugo

Located beneath the Worldwide Plaza between Times Square and Hell’s Kitchen, New World Stages is a modern performing arts complex with five theatres for Off-Broadway productions.

The building was constructed in 1994 on the site of the third Madison Square Garden. It first opened as a Loews Cineplex Entertainment multiplex cinema, which closed in 2001.

For the next three years, the building underwent substantial renovations and finally reopened as Dodger Stages in 2004, designed by architects Beyer, Blinder, and Belle. The theatre complex was renamed New World Stages on March 16, 2006, and Stage Entertainment assumed sole ownership of the property. The Shubert Organization took over ownership and operation on November 17, 2017.

All five spaces have between 100 and 500 seats, officially deeming New World Stages an Off-Broadway venue. Stage 1 and Stage 3 are the largest theatres in the complex with 499 seats. Stages 2 and 4 offer a 350-seat capacity. Stage 5 is the smallest venue with 199 seats. The Green Room is the official bar and lounge for New World Stages, but it can also be a performance space.

## How to get to New World Stages off Broadway

New World Stages is closest to the 50th St. subway stop on the C and E lines. The nearest bus stop is 9 Av./W 50 St. on the M11 line.

## Where is *The Play That Goes Wrong* playing?

*The Play That Goes Wrong* is at New World Stages' Stage 4. The comedy play made its Broadway debut in 2017, and after running there for two years, it transferred off Broadway.

Previous productions that enjoyed long Off-Broadway runs at New World Stages after closing on Broadway are *Jersey Boys* and *Avenue Q*.

New World Stages - NYC

Cage Match - NYC

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Cage Match

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Shitzprobe - NYC

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Shitzprobe

Company on Broadway - NYC 

COMPANY Production Photo 8 (5/26)

Company on Broadway

Company Tony Wrap

The traditional Broadway revival is dead, and good riddance. Over the last few years, classic musicals like Oklahoma and West Side Story have been reimagined for the Broadway stage to critical acclaim in order to engage new audiences and add current nuance and perspective to the shows' original books. &nbsp;<a href="https://www.newyorktheatreguide.com/show/company">Company</a>, now at the <a href="https://www.newyorktheatreguide.com/theatres/bernard-b-jacobs-theatre">Bernard B. Jacobs Theatre</a>, is the latest production to reinvent a classic musical. The late Stephen Sondheim's bold musical is about Bobby, a single man who tussles with the concept of love and marriage on the cusp of his 35th birthday. Under the imaginative direction of Marianne Elliott, the genders are swapped, Bobbie's name now ends with an "ie," and the story becomes an overstuffed whimsical blend of the false reality of The Bachelorette and the mystified adventure of Alice in Wonderland.Look, casting Bobbie as a woman makes sense and offers the plot more relatability for the women in 2021 who unequivocally recite Beyoncé's "Single Ladies" as their national anthem. For better or worse, American women today are waiting longer to marry than they did in 1969, the year Company was originally written. There are many reasons for that: school, career, dreadfully waiting for "the one,"&nbsp;or just simply choice. If Company were repurposed for today's audience and left in its original glory, the musical wouldn't be as believable as it was in the '60s when an unmarried man over 30 was considered bad for business.&nbsp;These days the unhitched bro is respected and deemed lucky. While the story serves the influence of its updates, Bobbie — played by former The Band's Visit it girl, <a href="https://www.newyorktheatreguide.com/actor-profile/katrina-lenk">Katrina Lenk</a> — works in parts, but she often proves to be disinterested and detached. It's hard to tell if Bobbie is content in her singledom or feeling guilty for&nbsp;what her life has become as she enters her mid-thirties.&nbsp;She affirms "I'm not avoiding marriage, it's avoiding me" one moment, then questions if her married friends regret their nuptials. What helps move this story beyond one life-sized Maker's Mark television ad for the lonely 30something, is the superb ensemble cast that include the comical brownie-stuffing, calorie counting Sarah (Jennifer Simard), the sassy vodka-drinking, bodycon dress-wearing Joanne (<a href="https://www.newyorktheatreguide.com/actor-profile/patti-lupone">Patti LuPone</a>), and the nervous "not getting married today" Jamie (Matt Doyle). Every one of Bobbie's friends offers a forecast&nbsp;of what her life could be outside of her chosen singleness (happy marriage, divorce, children, or all of the above); however, Bobbie never truly connects with anything past her own emptiness and self-inflicted loneliness. With every note she sings, the feeling inside the melodies of "Marry Me a Little" and "Being Alive," arguably two of Sondheim's greatest songs, tend to evaporate like the uninterested men she attracts.The dreamlike set design by Bunny Christie, when working, beautifully plays on the coming-of-age search for self, inspired by the childlikeness of Alice In Wonderland. Bobbie's home is contained in a box that emulates the bite-sized square footage of real NYC apartments. Colors are limited and stick to mosaics of white, black, and gray, except for Bobbie's signature red jumpsuit and exquisite lighting design by Neil Austin that adds on additional hues of purple&nbsp;and blues.&nbsp;For the single women attending this show, it's impossible not to feel something deeply for this story. I am just like Bobbie, single by choice and moving into my 34th year of living. The pressures of life and family to marry for love, or company, exist. Any time you turn on ABC on a Tuesday evening for an episode of The Bachelorette or log onto any popular dating app you can catch a woman approaching her 30s trying to beat the marriage clock she built for herself. This vibrant reinvention is welcome and authentic, but Bobbie needs stronger conviction to make us truly care.&nbsp;<a href="https://www.newyorktheatreguide.com/show/company" target="_blank">Company is at the Bernard B. Jacobs Theatre. Get Company Tickets on New York Theatre Guide.</a>Photo credit: Katrina Lenk (Photo by Matthew Murphy)

'Company' review — a welcome reinvention of the classic musical

The Bernard B. Jacobs Theatre opened on January 11, 1927. The venue was originally named the Royale by real-estate magnates, the Chanin Brothers, as part of a three-theatre complex.

In 1930, the Chanins transferred ownership of all three houses to the Shubert Organization. During the Great Depression, control of the Jacobs passed to John Golden, who renamed the theatre after himself and ran it from 1934 to 1936. (This venue is not to be confused with the current John Golden Theatre, which is right next door.)

The Shuberts regained control in 1936 and restored the theatre's name to the Royale. It was renamed the Bernard B. Jacobs Theatre on May 9, 2005 after the longtime Shubert Organization president.

## How to get to the Bernard B. Jacobs Theatre on Broadway

The Bernard B. Jacobs Theatre is accessible by subway; it is nearest to the 42nd Street - Port Authority Bus Terminal on the A, C, or E line. The theatre is also located near various bus stops: 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.

## Restaurants near the Bernard B. Jacobs Theatre

The Bernard B. Jacobs Theatre is located one block southeast of Restaurant Row, the stretch of 46th St. between Eighth and Ninth Avenues. Popular restaurants on this block include Hold Fast (American), Joe Allen (American), and Becco (Italian), in addition to various other types of cuisines.

[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)

Bernard B. Jacobs Theatre - NY

Bernard B. Jacobs Theatre

The Play That Goes Wrong [14790] (USE THIS 2021) 

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The Play That Goes Wrong

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Halfway through the first act of the hilarious off-Broadway staging of <a href="/show/the-play-that-goes-wrong">The Play That Goes Wrong</a>, an actor who has grown wildly frustrated because of a missing prop turns to the audience and says, "Stop laughing! This isn't television, I can see you." The demand, naturally, only makes the audience laugh harder. And that is an impressive feat given that the chuckles had been pouring forth relentlessly from the production's opening moments and, indeed, carry through to the final madcap meltdown, with the scenery seemingly in a race with the performers to see which will tip over first. If it is cliché to say that a show has non-stop laughs, then this show is cliché in the extreme. If it is pat to say that this play lives up to its title, rarely have a talented crew of actors and technicians so seamlessly joined forces to make a ridiculously wrong piece of theater feel so very right.The script, by a trio of gents who trained at the London Academy of Music &amp; Dramatic Art, actually has a rather complicated exoskeleton. It is a play within a play, with actors portraying other actors who, in turn, are portraying characters in a murder mystery. It is an Agatha Christie type of an affair where one dead body turns into two, then back into one, then into several, while siblings, friends, a love interest and, of course, the butler, are all scrutinized by an intrepid inspector (a game for anything Matt Harrington). But none of this matters in the least. It is merely an excuse for two hours of well-timed spit takes, killer pratfalls, silly antics by men with serious British accents, pyrotechnics of both the literal and metaphorical variety, purposefully egregious over-acting and death defying moments of scenic design by Tony Award winner Nigel Hook. Director Matt DiCarlo, either a genius or a fool, pulls it all together with the nerves of a demolition expert handling a bomb with a dozen different triggers.Beyond the simple joys of a man running face-first into a pole, there are recognizable pleasures to be had for anyone who has ever been in a play, amateur or professional, on stage or in the wings. There are cascading prop failures, sound cues with a mind of their own, and misdelivered dialogue that leads to one scene getting stuck in an endless loop. An ensemble of eight perform the tricky task of bashing each other while making sure their antics are safely executed. Bartley Booz, as the confused thespian, Dennis, has his lines written on his hands but still manages to mispronounce everything as he tries to create a believable butler. Matt Walker, as Max, intentionally steals every scene he is in by making devilish eye contact with the audience, much more concerned with showing off than with actual acting. Ashley Reyes handles the ingénue duties with aplomb, gamely being thrown out the window when not torn between two lovers. Ryan Vincent Anderson and Bianca Horn are two stagehands who get dragged into the action with predictably bruising results while Chris Lanceley and Brent Bateman portray friends with stiff upper lips and quivering legs.Having ended its successful Broadway run in January, the play has found a happy home at <a href="/theatres/new-world-stages">New World Stages</a>, joining fellow transfers <a href="/show/avenue-q">Avenue Q</a> and <a href="/show/jersey-boys">Jersey Boys</a> in the underground complex which originally housed a discount multiplex cinema. This cramped stage feels more in keeping with the ruse that the production is presented by a dysfunctional British drama society. The smaller proscenium makes it seem all the more big-hearted.(Photo by Jeremy Daniel)

Review of The Play That Goes Wrong at New World Stages

Doubtfire Rush

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I unlocked $35 Rush tickets for Mrs. Doubtfire on @TodayTix. Tap here: https://www.todaytix.com/nyc/shows/19299?share=unlock

Mrs. Doubtfire on Broadway [19299] 

[Media #1] Mrs. Doubtfire 19299

Mrs. Doubtfire on Broadway

Doubtfire Tony Wrap

What it lacks in fresh laugh-out-loud moments, honest-to-goodness heart, and sonic earworms you can't wait to hear again, the new Broadway musical <a href="https://www.newyorktheatreguide.com/show/mrs-doubtfire">Mrs. Doubtfire</a> tries hard to make up for with cranked-up performances and a busy, busy, busy tone. No such luck. For all of the calories burned, it's still low-impact.&nbsp;The show retraces a 1993 Robin Williams big-screen blockbuster, and that iconic star turn inevitably looms large at the <a href="https://www.newyorktheatreguide.com/theatres/stephen-sondheim-theatre">Stephen Sondheim Theatre</a>. As musical comedies go, there's little doubt this one opens on a downbeat note: The Hillard family falls apart in their San Francisco home."What's wrong with this picture?" a daughter asks as her father, Daniel (Rob McClure), a self-centered man-boy actor, botches best-laid plans for a family portrait. Daniel's fed-up, long-suffering wife, Miranda (Jenn Gambatese), a rising designer, files for divorce and he's out of the picture.&nbsp;Daniel enlists his brother Frank (Brad Oscar), a makeup artist, and his husband Andre (J. Harrison Ghee), along with a ton of latex for a mask and bodysuit, to create a disguise. He poses as a Scottish nanny to stay close to his children Natalie (Avery Sell), Christopher (Jake Ryan Flynn), and Lydia (Analise Scarpaci). Mrs. Doubtfire is a prim caregiver who calls people "poppet" and sticks to the rules —&nbsp;the opposite of Daniel.The always nimble McClure (Chaplin) gamely throws himself into the nutty nanny's antics and brrr-ing brogue. He's arguably the hardest-working actor on Broadway right now as he channels Williams and ping-pongs madly between Mrs. D and Daniel, whose masquerade makes him a better man. Still, there's the nagging feeling that you've seen it all before. <a href="https://www.newyorktheatreguide.com/show/tootsie">Tootsie</a>, the 1982 film turned 2019 Broadway musical, had the same issue.The book by Karey Kirkpatrick and John O'Farrell smartly preserves movie sight gags involving a vacuum cleaner and cake frosting, but comes up short in terms of much original zing. After discovering his dad's disguise, Christopher gets the best line: "You look like Grandma kinda crossed with Shrek." It's true. Aside from helping to set the story in the present, the remark preempts questions about Mrs. D's unusual face. Tommy Kurzman designed the makeup and prosthetics.The score by Karey and Wayne Kirkpatrick is varied and summons pop, disco, and power ballads to nudge the story along. The songs are more capable than catchy. Missing is the hummable fun the Kirkpatricks came up with for tunes in their 2015 Broadway show, Something Rotten!Director Jerry Zaks, the seasoned and reliable pro who guided the ace 2017 revival of <a href="https://www.newyorktheatreguide.com/show/hello-dolly">Hello, Dolly!</a>, appears to have given the entire cast the same note: Perform BIGGER! But even a farce can go overboard. With everyone pushing so hard, it drives away the audience. More isn't necessarily more.That holds true for hyper production numbers choreographed by Lorin Latarro: "Easy Peasy," when Daniel cooks a spatchcocked chicken; "Playing With Fire," when Daniel's court liaison Wanda (Charity Angél Dawson) issues a warning; "Big Fat No," when Mrs. D undermines Miranda's boyfriend Stu (Mark Evans);&nbsp;and "The Mr. Jolly Show," when we meet a wacky TV host (Peter Bartlett). And there's more.Mrs. Doubtfire calms down just in time for an evergreen teachable moment. Mrs. D gently reminds that families come in all varieties, which brings the story full circle. But by then you've had to get through "Make Me a Woman," a stereotype-stuffed number covering Daniel's transformation.In the end, the less said the better about the pivotal moment when Daniel's ruse is fully exposed. Wearing little more than blobby flesh-toned padding, McClure recalls a raw oversized spatchcocked chicken. You can't unsee that, poppets.<a href="https://www.newyorktheatreguide.com/show/mrs-doubtfire">Mrs. Doubtfire is running at the Stephen Sondheim Theatre. Get tickets to Mrs. Doubtfire on New York Theatre Guide.</a>

'Mrs. Doubtfire' review — bigger is not always better, poppets

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

Improv 4 Kids LIVE! [7048]

[Media #1] IMPROV 4 KIDS 7048

Improv 4 Kids LIVE!

[Poster] Improv 4 Kids LIVE! 7048

Comedian Al Martin opened Broadway Comedy Club in 2003 following the success of his first venue, the pioneering New York Comedy Club. Broadway Comedy Club, located just north of Times Square, is a sister venue to New York Comedy Club and Greenwich Village Comedy Club.

Famous comedians like Sarah Silverman, Wanda Sykes, and Tracy Morgan have performed at Martin's clubs, and celebrity guests have been known to join the audience from time to time.

## How to get to Broadway Comedy Club

The nearest subway stop to Broadway Comedy Club is 50th Street on the C and E line. The nearest bus stops are 9 Av/W 52 St on the M11 line and 8 Av/W 52 St on the M20 and M104 lines.

Broadway Comedy Club - NY

Broadway Comedy Club

The Patsy Rush

Company may offer programs whereby the Company would make available certain features of the Services when you share information about the Services through an SNS or click on the “Unlock without sharing” button in the Application.  When you are considering purchasing a ticket for a specific show or after you purchase a ticket, if you select the “Share” button in the Application, Company will make available to you a personalized link to a Digital Property with text stating, for example, “Check out {show} on TodayTix! I’m thinking of going…” or something similar, which you may choose to share with your friends via SNS.  Once you have shared the personalized link through an SNS using the Application or selected the “Unlock without sharing” button in the Application, Company will make available to you the RUSH feature, which will provide you with otherwise unavailable offers for tickets to live events occurring in the next week. The opportunity to take advantage of these offers is only available to users who share a personalized link to an SNS through the Application or select the “Unlock without sharing” button in the Application.


I unlocked $20 Rush tickets for The Patsy on @TodayTix: https://www.todaytix.com/nyc/shows/24912?share=unlock

The Patsy - NYC 

wideshot3

The Patsy

Abrons Arts Center, Playhouse Theater

Caveat

Your Love, Our Musical - NYC

2021.07.16 Your Love Our Musical 0589

Your Love, Our Musical

YLOM Poster Image Logo Image Satin reduced

Caveat NYC

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

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 

POTUS on Broadway - NYC

potus header 2

POTUS on Broadway

POTUS Tony Wrap

There's a moment in the new Broadway play <a href="https://www.newyorktheatreguide.com/show/potus-or-behind-every-great-dumbass-are-seven-women-trying-to-keep-him-alive" target="_blank">POTUS</a> that made me cackle so loud, I surprised myself. It's a blink-and-you-miss-it moment. It occurs as the revolving set for POTUS is turning to a new scene in a woman's restroom. There's a tampon dispenser, and as the lights are still down, you can see the price for tampons: $2.79. Oof. The pink tax weighs heavy on the women of the play, both literally and figuratively. If only the rest of POTUS was as subtle or as smart.POTUS: Or, Behind Every Great Dumbass Are Seven Women Trying to Keep Him Alive is written by Selina Fillinger, who at 28 years old is making her Broadway debut with a play directed by five-time Tony winner Susan Stroman. No pressure. POTUS is a farce and workplace comedy about a group of women who work at the White House under a fictitious male president. And this president, who never appears, seems like an overgrown manchild who would rather start an international crisis than admit weakness.The president is also going through multiple sex scandals, such as publicly calling his wife Margaret (Vanessa Williams at her most regal deadpan) a cunt and having an affair with the 20-something-year-old Dusty (an utterly committed-to-the-bit Julianne Hough). And his female chief-of-staff Harriet (a perpetually frazzled Julie White) and his female press secretary Jean (Suzy Nakamura, doing the best Jen Psaki impression) are charged with cleaning up the mess.&nbsp;Meanwhile, the president's convicted-criminal sister Bernadette (a swaggering and crude Lea DeLaria) is hankering for a pardon, his meek secretary Stephanie (an always-reliable-for-a-laugh Rachel Dratch) is trying to assert herself, and the journalist Chris&nbsp;(a remarkably grounded Lilli Cooper) is snooping around for a scoop.The jokes are sometimes funny, mostly vulgar, with an overreliance on sex jokes and gross-out humor (the same puke gag is used not once or twice, but three times). The cast have genuine comic chemistry with each other, and the audience around me guffawed in particular at Dratch's antics. Thanks to Linda Cho's costumes, I heard the loudest audience laugh this season over a piece of clothing: the high-heeled Crocs worn by Williams, who should be nominated for a Tony Award for how well she pulls them off.&nbsp;Stroman, a master of moving multiple bodies around a room, manages to keep up the zany energy without dissolving into unintelligible chaos — the scenes that feature all the women are truly the highlights of the show, with every woman given room to take up space while keeping the main tension of the scene intact. The personalities on display here are so loud that it's a feat they don't overwhelm each other. Instead, they complement each other. The calm energy of Williams, Cooper, Hough, and Nakamura perfectly pairs with the manic energy of White, Dratch, and DeLaria.&nbsp;Throughout the play, there's a familiar refrain, spoken about different women: "Why isn't she president?" It's truly the eternal question. And after the last presidency, which inspired POTUS, we need to have a laugh, even if it's a bitter one, about how the patriarchy is a rotting zombie that refuses to die. But while POTUS starts off on a provocative note (the first word in the show is "cunt") and is pleasurably chaotic in its first act, the play loses steam during the second, and ultimately cannot decide what kind of play it wants to be.&nbsp;Fillinger told <a href="https://www.nytimes.com/2022/04/22/theater/potus-selina-fillinger-broadway.html" target="_blank">The New York Times</a> that the play was inspired by the women who helped support the Trump Administration. Someone should tell Stroman and the cast.&nbsp;POTUS wants to have it both ways: It wants you to sympathize with the women supporting this terrible man in the White House and cheer them on as they learn to empower themselves, but it doesn't interrogate what kind of women would put aside their morals to support a man who has no problem grabbing women by the pussy. Sarah Huckabee Sanders and Melania Trump were women working in the White House, but no one would look to them as a bastion of moral fortitude. They don't really care, so why should we?&nbsp;And it's not clear, besides the fact that these women are a diverse group, why the audience should be cheering for them. These women talk in bro speak ("get off my dick"). William's Margaret has abandoned her community to chase white supremacy (which Cooper's Chris calls her out on in one scene that has no follow-through or deeper exploration). There's also group encouragement when Hough's Dusty offers to give blowjobs to the Secret Service and goes through with it. A woman prostituting herself on behalf of other women doesn't make it more empowering. You cannot girlboss your way out of the patriarchy; you're just reaffirming its toxic practices.Ultimately, POTUS goes for an easy ending by teasing the audience with the possibility of a female president and female retribution. But considering we're not anywhere near that reality, and women are losing rights to their own bodies as we speak, such overtures of hope ring hollow. Reality is its own farce at the moment, and no one's laughing.<a href="https://www.newyorktheatreguide.com/show/potus-or-behind-every-great-dumbass-are-seven-women-trying-to-keep-him-alive" target="_blank">POTUS&nbsp;is at the Shubert Theatre through August 14. Get&nbsp;POTUS&nbsp;tickets on New York Theatre Guide.</a>Photo credit: Lilli Cooper, Rachel Dratch, and Vanessa Williams in POTUS. (Photo by Paul Kolnik)

'POTUS' review — star-studded cast girlbosses their way through the White House

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

Distorted Diznee

Distorted Diznee - NYC

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DistortedDiznee 1440x580 logo

The Laurie Beechman Theatre - NY

The Laurie Beechman Theatre

At the Wedding - NYC

At the Wedding

There's a celebration going on at the Claire Tow Theater in Bryna Turner's <a href="https://www.newyorktheatreguide.com/show/at-the-wedding" target="_blank">At the Wedding</a>, and you're invited to bear witness to the... despair?&nbsp;After our wedding-crashing antihero, Carlo (Mary Wiseman) kicks off the event with a bitterly funny, fourth-wall-breaking monologue about the inevitability of soul-crushing heartbreak, a bridesmaid berates her in the next scene for making the event's youngest guests cry with her spiel. Yes, you're unwittingly put at the kid's table, from which you get to watch 70 minutes of enjoyable, though trite, wisecracking and wisdom-sharing about the unbreakable bond between&nbsp;love and pain.Heartbreak's an odd fixation to have at a wedding, but then again, Carlo is attending that of an ex-girlfriend, Eva (Rebecca S'Manga Frank). Having failed to RSVP, Carlo envisions her surprise appearance as the stuff of rom-coms: She hopes Eva will realize Carlo is her one true love, who will save her from a tragically generic, heterosexual marriage. (More on that in a bit.) Carlo spends only one scene advancing that mission; most of the play sees her drinking — heavily — in an equal attempt to work up courage and drown her heartbreak, while falling into conversation with various wedding guests in a&nbsp;<a href="https://www.newyorktheatreguide.com/show/company" target="_blank">Company</a>-style sequence of vignettes.Each guest falls somewhere different on the love spectrum: There's Eli (Will Rogers), an earnest-to-a-fault English teacher on a potential fast track to heartbreak of his own. Maria (Carolyn McCormick), the divorced mother of the bride, shares Carlo's tactic of drinking her jealousy away upon seeing a younger woman on her ex-husband's arm. The waiter Victor (Jorge Donoso) floats mostly in the background, providing and cleaning up drinks when needed, but gets a singular moment to swoon over his "other half." And the mysterious, alluring stranger Leigh (Han Van Sciver) matches Carlo's jabs at love wit-for-wit, but gets her the closest to forgetting about her loneliness.Wiseman, the connective tissue between them all, achieves the remarkable feat of keeping the audience's focus off the gigantic red-and-orange floral arrangement above the stage (the showpiece of Maruti Evans's rustic event hall set), and not just because her curly red hairdo is nearly as big. Wiseman's wit is sharp, her vulnerability tender, and her charm ineffable, even as she's wallowing in self-pity and picking fights with a bridesmaid (her comically similarly-named frenemy Carly, played by Keren Lugo).Unfortunately, save perhaps for Leigh, all the other characters' development gets sacrificed to accommodate Carlo's huge presence and narrow view of true love. It was most disappointing to see this happen to Eva — her big day is in the title, after all! She had the potential to be explored as a bisexual woman healthily moving on from a past relationship, but instead, she's reduced to a trope of the lesbian who "betrays" the lesbian community by falling for a man.One redeeming way to intepret these bits of&nbsp;At the Wedding&nbsp;is that it actually takes place through Carlo's point of view, and there is evidence for that: The guests Carlo socializes with are likely to be an unmemorable blur if she's drunk.&nbsp;Some of the decorations seem to conflict — one balloon that reads "Love is sweet" suggests a candy theme, whereas an "Anchored in love" banner on the hors d'oeuvres table suggests a nautical one — not that it would matter to Carlo, who sees the whole ceremony as generic and "extremely heterosexual" anyway. And a neon sign on the wall reads "til death," with the "do us part" nowhere in sight, which is just about as bleak as you'd expect from Carlo's mind. If nothing else, these details are another testament to Evans's marvelous design.One other thing&nbsp;At the Wedding&nbsp;does get right is the lack of a clean conclusion. Carlo doesn't suddenly overcome her sorrow or forever resign herself to it within the play's hour; she simply walks away with lots to think about. The same can't be said for the audiences, unfortunately, unless you've never seen a rom-com. But there's a fun time to be had at this wedding nonetheless.<a href="https://www.newyorktheatreguide.com/show/at-the-wedding" target="_blank">At the Wedding&nbsp;is at the Claire Tow Theater through April 17. Get&nbsp;At the Wedding&nbsp;tickets on New York Theatre Guide.</a>Photo credit: Mary Wiseman in At the Wedding. (Photo by Marc J. Franklin)

'At the Wedding' review — a trite yet fun journey through love and pain

The Claire Tow Theater is named in honor of the wife of longtime Lincoln Center Theater board member Leonard Tow. The theatre is located on the roof of the building housing Broadway's [Vivian Beaumont Theater](https://www.newyorktheatreguide.com/theatres/vivian-beaumont-theater) and the Off-Broadway [Mitzi E. Newhouse Theater](https://www.newyorktheatreguide.com/theatres/lincoln-center-mitzi-e-newhouse-theater), all of which are owned and operated by Lincoln Center Theater. The Tow is LCT's newest space, having opened to the public in 2012.

The 112-seat venue is the current home of LCT3, a programming initiative designed to nurture the work of emerging playwrights and directors.

## How to get to the Claire Tow Theater off Broadway

The Claire Tow Theater is closest to the 66th St. - Lincoln Center subway stop on the 1 line. The nearest bus stop is W 66th St./Columbus Avenue on the M66 line.

Lincoln Center Theater - Claire Tow Theater - NY

Lincoln Center Theater - Claire Tow Theater

I Mostly Blame Myself - NYC

I Mostly Blame Myself

I MOSTLY BLAME MYSELF MASTER LOGO.TODAYTIX.480x720

The Players Theatre was built in 1907 as a carriage house that served police horses. The building was converted into a theatre in the late 1950s. The venue has multiple spaces for performances and more, including the 200-seat mainstage, the 50-seat Steve and Marie Sgouros Theatre, four rehearsal studios, and office space. Cafe Wha?, a historic music club, is located underneath the theatre.

Britney Spears and Natalie Portman appeared in *Ruthless* at the venue in 1992. Nowadays, the Players Theatre showcases a variety of new Off-Broadway shows and comedy acts.

## How to get to the Players Theatre off Broadway

The Players Theatre is closest to the West 4th St. - Washington Square subway stop on the A, C, E, B, D, F, and M lines. The nearest bus stop is 6 Av./W 3 St. on the M55 line.

The Players Theatre - NY

The Players Theatre

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