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Funny Girl on Broadway - NYC

Funny Girl Lea 1

Funny Girl on Broadway

Funny Girl - Lea Michele Poster

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

## Restaurants near the August Wilson Theatre

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

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

August Wilson Theatre - NY

August Wilson Theatre

Broadway COVID Protocol

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Plaza Suite on Broadway [19876]

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Plaza Suite on Broadway

[Poster] Plaza Suite on Broadway 19876

Two years after its original planned run, the new Broadway production of Neil Simon's <a href="https://www.newyorktheatreguide.com/show/plaza-suite" target="_blank">Plaza Suite</a>, led by <a href="https://www.newyorktheatreguide.com/actor-profile/matthew-broderick" target="_blank">Matthew Broderick</a> and <a href="https://www.newyorktheatreguide.com/actor-profile/sarah-jessica-parker" target="_blank">Sarah Jessica Parker</a>, is finally in residence at the <a href="https://www.newyorktheatreguide.com/theatres/hudson-theatre" target="_blank">Hudson Theatre</a>. Happily, it was worth the wait. The show packs moments that are gleefully LOL, is deeper than you might expect, and the real-life married stars co-piloting this vintage vehicle are in fine form.A 1968 Best Play Tony Award nominee, the show consists of three one-acts about marriage. Each playlet, set in the late '60s, concerns a different couple occupying room 719 of New York's luxurious Plaza Hotel. Sam and Karen Nash, suburban spouses revisiting where they honeymooned two decades earlier, are up first. Jesse Kiplinger, a hotshot Hollywood producer and multiple divorcé, reunites with Muriel Tate, his now-married ex-girlfriend, in Act 2. In the third part, Roy and Norma Hubley deal with their daughter's cold feet about tying the knot.Simon, who died in 2018, is an award-winning king of comedy whose characters come with complex emotions. Besides landing laughs with his zingers and sight gags involving shoes, telephones, eye droppers, and freak thunderstorms, Simon tapped the heart with situations and issues that matter to actual people. As Plaza Suite progresses from one act to the next, the mood shifts from seriousness to pure sitcom silliness. Tone-setting music by Marc Shaiman (Hairspray) precedes each part like a melodic amuse bouche.Parker, an actress with stage roots (Annie, Sylvia), a rich movie resume, and icon status thanks to Sex and the City, is typically at her best when her characters are most at sea. She shines especially bright as the anxious Karen, who's reckoning with the reality of her marriage. As Muriel, a middle-aged woman obsessed with Tinseltown and loopy from vodka stingers, Parker lets her flirty, flighty side fly. Her antics as Norma recall I Love Lucy&nbsp;— and that's a compliment.Broderick's link to Simon reaches back to Brighton Beach Memoirs, his 1983 Tony-winning Broadway debut. The actor's signature deadpan and sometimes whiny delivery works like a charm as the buttoned-up, age-conscious Sam. Broderick cranks up the goofy as the awkwardly seductive Jesse, and his go-for-broke strategy in playing the frantic father of the bride is big fun. After trying — and failing — to bust down a door, Roy's meek cry for help is hilarious.In his Broadway debut as a director, Tony-winning actor John Benjamin Hickey (The Normal Heart) displays a deft hand and sure instincts. He keeps the pacing brisk, while his smart tweak to the end of Act 2 is a playful and up-to-date improvement to the original script.Strong work by the cast, which includes Danny Bolero, Molly Ranson, and Eric Wiegand (Cesar J. Rosado covered his part at my performance), is matched by the production team. John Lee Beatty's set summons a hotel room that reeks floor-to-ceiling chic, while Jane Greenwood's Pucci- and Gucci-infused costumes fit the period. Brian MacDevitt lends evocative lighting, Scott Lehrer's sound design lets punchlines squarely land, and Tom Watson's wigs spark a chuckle or two on their own.Amid many memorable lines, one by Karen Nash that comes about two minutes into the show has been playing on a loop in my head. "Old is no good anymore," she says. Sorry, Karen, you're wrong. This 54-year-old comedy may be no spring chicken, but it's good enough to be one of Broadway's biggest events of the season.<a href="https://www.newyorktheatreguide.com/show/plaza-suite" target="_blank">Plaza Suite is at the Hudson Theatre to June 26. Get Plaza Suite tickets on New York Theatre Guide.</a>Photo credit: Matthew Broderick and Sarah Jessica Parker in Plaza Suite. (Photo by Joan Marcus)

'Plaza Suite' review — Sarah Jessica Parker and Matthew Broderick shine in this well-aged comedy

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

| NewYorkTheatreGuide.com

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

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

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

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

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

## How to get to the Hudson Theatre on Broadway

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

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

## Restaurants near the Hudson Theatre

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

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

Hudson Theatre - NY

Hudson Theatre

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

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

Paradise Square on Broadway - NYC 

Paradise Square on Broadway

Paradise Square Tony Wrap

<a href="https://www.newyorktheatreguide.com/show/paradise-square">Paradise Square</a>, the new Broadway musical, is blessed with a cast of powerhouse singers, Jason Howland's lovely score, and enough action for three separate shows. Unfortunately, that's part of the show's problem. Written by Larry Kirwan, Christina Anderson, and Craig Lucas, the show's book is saddled with so many characters with so many ambitions that three hours is not enough time to resolve their issues.From racism to immigrant rights, murder, capitalism, and worker's rights, the plethora of problems the show tries to address leads to an overdrawn production. Given its narrative contrivances and refusal to give any of the issues enough focus, the show struggles to accomplish its goals.We open with Nelly O'Brien née Freeman (Tony Award-nominee Joaquina Kalukango) speaking directly to the audience about the history of Manhattan's Five Points neighborhood. The saloon Paradise Square is the area's communal center, and Nelly inherited the place from her father, a runaway kidnapped African. Nelly tells us that she will reveal the true and forgotten history of her community.She is married to Willie O'Brien (Matt Bogart), an Irish immigrant fighting against the South in the Civil War. His sister, Annie Lewis (Chilina Kennedy) is married to Reverend Samuel Jacob Lewis (Nathaniel Stampley). Like Nellie's father, Reverend Lewis escaped slavery and made a good life for himself in New York.The family's Irish nephew, Owen Duignan (A.J. Shively) arrives from their famine-strangled home country in search of opportunity on the same day that a plantation runaway contacts Reverend Lewis. (Lewis is a member of the Underground Railroad and helps shepherd runaways from the South to Canada.)Rather than continue to safety, this runaway, who is renamed Washington Henry (Sidney DuPont), insists that he stay in New York until he can reconnect with his wife, Angelina Baker (Gabrielle McClinton). The two were separated while making their escape.Meanwhile, Frederic Tiggens (John Dossett), a wealthy Southern sympathizer wants to destroy Nellie's saloon because it's where freed Black people and Irish immigrants consort, which goes against his desire to exploit poor laborers. He finds a pawn in "Lucky" Mike Quinlan (Kevin Dennis), who has returned home after losing an arm in the war and is now unable to find work.After it is announced that all white men between the ages of 25 and 45 will be drafted for the war, regardless of their immigration status, Lucky ignites a racist fervor against the "coloreds" who took Irish jobs and refuse to fight for their own freedom ― even though people of color are barred from serving. All of this occurs within the first act.Paradise Square presents an incredibly sophisticated story, but ultimately, the show doesn't fully process its nuance. For example, while presenting the sticky issue of banning Black men from military service while white Irish immigrant men are forced to serve, the show pivots to the news of a character's death without completely addressing the issue.When the issue of harboring the runaway slave Washington comes up, rather than send him onto the next safehouse (as happened frequently with runaways before the Emancipation Proclamation), Nellie allows him to stay after he explains that he killed his former master to protect his wife―even though this explanation makes getting him out of town, and away from the bounty on his head, even more urgent. He stays for a while and then goes to find his wife, but after leaving safely, Washington returns a few scenes later to participate in a dance, for no other reason than to set off the next dramatic bomb.The audience at the performance I attended gasped at this moment. It seems, having characters behave against their own best interests and with minimal explanation is the only way that the authors can keep the action moving. Kaufman's direction and Allen Moyer's cramped scenic design do little to help the show's overstuffed nature. Rather, they keep the proceedings peddling in place like a hamster on an exercise wheel.Among the company's many vocal standouts, Kalukango's voice is an embarrassment of riches. A true singing actress on par with Audra McDonald or Kelli O'Hara, her gloriously plush mezzo soprano blends seamlessly from crystalline bell tones to rafter shaking belts, while making sense of Nathan Tysen's and Masi Asare's banal pop lyrics as if they were Shakespearean text.&nbsp;The show climaxes with the Draft Riots of 1863, a real historical event that deserves to be told.&nbsp;&nbsp;Those riots left 119 people dead, 2,000 people injured. This tragedy reduced the city's Black population by a quarter, and demolished the Black homes and businesses of the Five Points neighborhood with approximately $16.9 million - $84.7 million worth of property damage in today's money.Martin Scorsese's The Gangs of New York, as well as Herbert Asbury's book of the same name covered this history, albeit from a decidedly white perspective. In telling their more inclusive version, Kirwan, Anderson, and Lucas do audiences no favors. Perhaps a future version of this music will cut the book in half and focus on a more manageable set of storylines. &nbsp;Paradise Square is running on Broadway at the Barrymore Theatre. <a href="https://www.newyorktheatreguide.com/show/paradise-square">Book Paradise Square tickets on New York Theatre Guide.</a>Photo credit:&nbsp;Chilina Kennedy and Joaquina Kalukango in Paradise Square (Photo by Kevin Berne)

‘Paradise Square’ review: An ambitious yet overdrawn historic epic

Paradise Square Broadway review| NewYorkTheatreGuide.com

The Ethel Barrymore Theatre was built in 1928 and designed by Herbert J. Krapp. It is the only surviving theatre that Lee and J.J. Shubert built for the purpose of staging productions starring an individual artist affiliated with them.

Ethel Barrymore achieved stardom under the management of producer Charles Frohman. The Shuberts offered to build her a theatre and commission a play for her to premiere in her namesake house. The play, *The Kingdom of God*  opened on December 20, 1928. Other plays she performed there include *The Love Duel*, *Scarlet Sister Mary*, *The School for Scandal*, and *An International Incident*.

## How to get to the Barrymore Theatre on Broadway

Audiences can take the C, E, or 1 subway line to 50th St. and walk three blocks to the theatre on 47th St. and Broadway. By bus, the Barrymore Theatre is closest to the 8th Ave/W 46th St. on the M20 line.

Barrymore Theatre - NY

Barrymore Theatre

Children under 4 are not permitted in the theatre.

A Strange Loop on Broadway - NYC

ASL 3

A Strange Loop on Broadway

ASL Tony Nominated Wrap

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

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

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 

Come From Away on Broadway [3481]

Not JC

Come From Away on Broadway

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Designed by Herbert J. Krapp and built by the Shuberts in 1917, the Gerald Schoenfeld Theatre originally opened as the Plymouth Theatre in 1918. The theatre was leased to producer Arthur Hopkins, whose first production at the venue was the comedy *A Successful Calamity*, starring William Gillette and Estelle Winwood.

The Shuberts regained control of the theatre in 1948 after Hopkins passed away. The building became a designated New York landmark in 1987 and received its current name in 2005 to honor the late chairman of the Shubert Organization.

The theatre's architectural style is similar that of the Broadhurst Theatre on 44th Street, which directly abuts the Schoenfeld. Krapp designed both theatres, and they were built at the same time.

## How to get to the Gerald Schoenfeld Theatre on Broadway

The Gerald Schoenfeld Theatre is closest to the 42nd Street - Port Authority subway stop on the A, C, and E subway 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.

## Restaurants near the Gerald Schoenfeld Theatre

The Gerald Schoenfeld Theatre is located one block southeast of Restaurant Row, the stretch of 46th Street between Eighth and Ninth Avenues lined with eateries serving various cuisines. Popular examples include Becco (Italian), Joe Allen (American), Le Rivage (French), and Jasmine's Caribbean Cuisine.

[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)

Gerald Schoenfeld Theatre - NY

Gerald Schoenfeld Theatre 

Orpheum Theatre - Entry Requirements  

STOMP [15] 

[Media #5] STOMP 15

STOMP

STOMP Poster Wrap

The Orpheum Theatre is located in the East Village neighborhood of Manhattan. Originally established as a theatre in 1904, the venue once played a huge role in the Yiddish theatre scene and was known as the Player’s Theatre.

In the 1920s, the building was converted into a movie theatre. The venue reopened as a theatre in November 1959 with *Little Mary Sunshine*. In the following decades, landmark Off-Broadway productions including Cole Porter’s *Anything Goes* and Alan Menken and Howard Ashman’s *Little Shop of Horrors* premiered at the Orpheum Theatre.

After further renovations in the 1980s including a capacity increase from 299 to 347 seats, the venue opened again in 1994 as the Orpheum Theatre with *Stomp*, which ran until 2023. Liberty Theatres owns and operates the Orpheum and the [Minetta Lane Theatre](https://www.newyorktheatreguide.com/theatres/minetta-lane-theatre) in the Greenwich Village neighborhood.

## How to get to the Orpheum Theatre off Broadway

The Orpheum Theatre is closest to the Astor Place subway stop on the 6 line. The 8 St. - NYU stop on the R and W lines and the 2nd Ave. stop on the F line are also nearby.

The closest bus stop is St Marks Pl./2 Av. on the M8 line.

## Restaurants near the Orpheum Theatre

Popular restaurants near the Orpheum Theatre in NYC include Veselka (Ukrainian), The Smith (American), San Marzano (Italian), Mighty Quinn's Barbeque (American), and Kimura (Japanese).

Orpheum Theatre - NY

Orpheum 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 

Friends The Musical Parody - NYC

Friends The Musical Parody Header image 

Friends The Musical Parody

Friends Poster 

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

See these shows about New York(ers), in New York.

Funny Girl Lea 2

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Funny Girl Tovah

funnygirl1

Funny GIrl Lea 7

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Featuring a score that blends hip-hop, jazz, blues, rap, R&B, and Broadway, "Hamilton" is the story of America then, as told by America now.

Media#1 - Hamilton New

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