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Alex Edelman: Just For Us on Broadway - NYC

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Alex Edelman: Just For Us on Broadway

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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

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

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

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

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

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

## How to get to the Hudson Theatre on Broadway

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

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

## Restaurants near the Hudson Theatre

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

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

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Hudson Theatre

Merrily We Roll Along on Broadway - NYC

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Merrily We Roll Along on Broadway

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Does anyone still pinky swear? While watching the often stirring [*Merrily We Roll Along*](https://www.newyorktheatreguide.com/show/25982-merrily-we-roll-along-tickets) led by Jonathan Groff, [Daniel Radcliffe](https://www.newyorktheatreguide.com/stars-on-stage/daniel-radcliffe), and Lindsay Mendez, that question keeps popping up. It has each time I’ve seen the show on stage – and this version makes four since 1994.

In 1981, this Stephen Sondheim musical started out as a dud, but it also introduced some of the composer/lyricist’s most enduring songs — “Not a Day Goes By” and “Good Thing Going” among them. The three stars' repeated interlocking pinkies is practically the only evidence of the pals’ bond. That’s one reason the show is a problem child.

Told in reverse chronology, George Furth's story is drawn from a play by George S. Kaufman and Moss Hart, and it goes from bitter to sweet. Knowing all along how badly things turn out amplifies the emotional gut punch. 

The story begins in Bel Air in 1976 at a noisy bash and rolls backward to a New York rooftop in Sputnik-era 1957. The spare residential set by Soutra Gilmour, who also designed groovy period costumes, is neutral enough to be anywhere, anytime. Musicians are tucked into an upstairs room. 

Director Maria Friedman’s staging, which premiered in London in 2012 before runs in Tokyo, Boston, and now New York, is bookended by a concept that turns the musical into a memory piece. Franklin Shepard (Groff), an A-list but miserable movie producer and composer, clutches the script of an old work. Stock still, he stands facing the audience. He cranks his head right, and then left. He’s searching. For dashed dreams? Drowned friendships? His black-and-white outfit looks right for a party. Or a funeral.

A song lyric asks “How did you get to be here?” The answer emerges bit by bit. Frank’s choices wreck his relationships with writer Charley Kringas (Radcliffe) and their mutual BFF Mary Flynn (Mendez). Charley and Frank’s work partnership dies. Mary’s successful career as an author dries up, and she sinks into the bottle.

The story’s consideration of the fragility of friendships stands out. Otherwise it’s filled with showbiz go-to storylines: idealism corrupted by cash, fidelity abandoned for cheating, allegiances trumped by ambition. Frank’s marriage to Beth (Katie Rose Clarke) is essentially over before it begins. It falls victim to Frank’s neediness and roving eye, along with enticements by Gussie Carnegie (Krystal Joy Brown), who plays a series of roles in his life — star of the show he and Charley co-write, mistress, wife, and soon-to-be-ex-spouse.

Sondheim is perennially popular on NYC stages. This show’s cast has made the run at [New York Theatre Workshop](https://www.newyorktheatreguide.com/theatres/new-york-theatre-workshop) a sold-out event. Friedman and her leads don’t solve the nagging issue of convincingly showing the besties’ profound connection, but the acting trio’s chemistry could deepen in time.

Individually the principals step up. Radcliffe’s presence is mostly muted, but he dredges up a deep well of wild rage for “Franklin Shepard, Inc.,” a song depicting his TV breakdown. Mendez’s straight-up look at the past, “Like It Was,” is a direct hit to the heart. Groff deftly delivers needed cold and warm fronts as Frank.

“The Blob,” a song about hangers-on chasing the latest style (like Frank), cleverly showcases the busy ensemble. Elsewhere, as these actors strike poses and sing, they can turn grating. Those are quibbles in a show that seems bound to transfer uptown. How did you get to be here? The other question for this *Merrily We Roll Along*: Where do you go from here?

[*Merrily We Roll Along* is at New York Theatre Workshop through January 21.](https://www.newyorktheatreguide.com/show/25982-merrily-we-roll-along-tickets)

*Photo credit: Daniel Radcliffe, Jonathan Groff and Lindsay Mendez in Merrily We Roll Along. (Photo by Joan Marcus)*

'Merrily We Roll Along' review — Jonathan Groff, Daniel Radcliffe, Lindsay Mendez show a friendship torn apart

Read our review of Merrily We Roll Along at New York Theatre Guide.

Merrily We Roll Along Review | New York Theatre Guide

Here Lies Love on Broadway - NYC

Here Lies Love on Broadway

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The Broadway Theatre is one of only five playhouses situated directly on the street named Broadway. Designed by Eugene De Rosa, the building officially opened on December 25, 1924, as B. S. Moss’s Colony, a premier film house. The building underwent a series of name changes, including to Universal's Colony Theatre, B.S. Moss' Broadway Theatre, and Earl Carroll's Broadway Theatre.

The theatre was used for stage productions and was re-christened simply as the Broadway Theatre on December 30, 1930. The Shubert Organization purchased the property in 1939 and have since completed two renovations in 1956 and 1986. The theatre houses an extremely large stage at 60 feet deep.

## How to get to the Broadway Theatre in New York

The Broadway Theatre, located at 53rd Street and Broadway, is closest to the 50th Street subway stop on the 1 line. The nearest bus stop to the theatre is 7th Ave/W 53rd St. on the M7, M20, and M104 lines.

Broadway Theatre - NY

Broadway Theatre

Once Upon A One More Time on Broadway - NYC

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Once Upon A One More Time on Broadway

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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

Back to the Future on Broadway - NYC

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Back to the Future on Broadway

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William Kissam Vanderbilt originally built the Winter Garden Theatre in 1896 as the American Horse Exchange. However, William Albert Swasey redesigned it for the Shuberts as a theatre, which officially opened on March 10, 1911.

The inaugural production was the Jerome Kern musical *La Belle Paree*. Architect Herbert J. Krapp remodeled the building in 1922. Over its lifespan, the venue has also served as a cinema for Warner Bros. and United Artists and has hosted the famous Ziegfeld Follies vaudeville show.

From 2002 to 2007, the venue was called the Cadillac Winter Garden Theatre due to a sponsorship agreement between the Shubert Organization and General Motors.

The Winter Garden Theatre is one of only a couple Broadway houses actually located on the street called Broadway. The venue's interior is a designated New York City landmark.

## How to get to the Winter Garden Theatre on Broadway

The Winter Garden Theatre is nearest to the 50th Street subway stop on the 1 line. The nearest bus stop is 7th Ave/W 50th St. on the M7, M20, M104, or M50 lines.

## Restaurants near the Winter Garden Theatre

The Winter Garden Theatre is adjacent to Ellen's Stardust Diner, a famed New York City tourist spot known for its singing waitstaff. Other popular restaurants nearby include Junior's (American), Haswell Green's (American), Saar (Indian), Natsumi (Japanese), Lillie's Victorian Establishment (British/pub fare), and Gallagher's Steakhouse.

Winter Garden Theatre - NY

Winter Garden Theatre

The Shark Is Broken on Broadway - NYC

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The Shark Is Broken on Broadway

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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

The Mousetrap on Broadway - NYC

The Mousetrap on Broadway

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Sing Street on Broadway [21056]

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Sing Street on Broadway

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PLEASE NOTE: This is a review of the Off-Broadway world premiere of&nbsp;Sing Street&nbsp;at New York Theatre Workshop.The moral of <a href="/show/sing-street">Sing Street</a>, as taught by a group of moody teenagers and put-upon adults, is that music, even 1980's pop music, can transform a boy into a man, especially when aided by the love of a pretty girl and the support of an older brother. This new musical, receiving its world premiere at <a href="/theatres/new-york-theatre-workshop">New York Theatre Workshop</a>, is a distillation of the 2016 semi-autobiographical film by John Carney about his coming of age in Dublin and then his getting the hell out. Those who arrive at the show with the movie still in mind will find Carney's songs beautifully refreshed, with samplings of period hits like Depeche Mode's "Just Can't Get Enough" and Duran Duran's "Rio" providing counterpoint. But they will also find less chemistry between the two love interests and less depth to the supporting characters. Those who have never seen the film can expect loose strings and six-strings, rousing chorus numbers, some charming ballads and a tale that veers between silly and sad, violent and soft.With a book by Enda Walsh (Carney's collaborator on their Broadway hit, Once), and additional music and lyrics by Gary Clark, Sing Street tracks a rough year for Conor (Brenock O'Connor) as his family's finances force him from a posh private academy into the free but strict Synge Street, a Catholic school that comes complete with a bully named Barry (Johnny Newcomb), an equally brutish principal, Brother Baxter (Martin Moran), and a half dozen lads who, fortunately, are skilled guitarists, keyboard players and drummers. Conor takes after his brother, Brendan (a sympathetic Gus Halper), in his love of rock-and-roll, but his passion takes on new urgency once he meets Raphina (Zara Devlin), the mysterious, slightly older girl with "dangerous eyes" and a questionable habit of hanging around outside of a boys' school. Conor impresses her with a lie, that he is a band singer, then goes about turning his class into a bona fide school of rock. With his parents on the verge of divorce, Baxter on the warpath and Dublin in general seeming to hold no future, Conor accomplishes what his brother never could: winning a girl and escaping to London. That's great for them, but awkward for veteran director Rebecca Taichman who is left with staging the final number, "Go Now," without her two leads.The greatest joy of the film was watching Conor's evolution from innocent to self-assured. Here, O'Connor's Conor, in a workmanlike performance, grows bolder over time but seems pretty streetwise from the get-go. Devlin's Raphina, meanwhile, is missing the tragic edge needed to create a hotter spark between her and her beau.Bringing this particular flick to the stage comes with several unsolvable problems. Barry the bully actually gets fleshed out more than in the film, but still his pivot into becoming an accepted member of the band seems forced, despite a touching effort by Newcomb. And the movie's two major metaphors, the pull of the Irish Sea, and the push of MTV videos, find little traction. Scenic designer Bob Crowley does offer a massive projection of the ocean, but omits the essential hint of land on the horizon, barely within reach.(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>"There is throughout some lovely interlacing of bubbly pop and more somber, contemplative strains, as when Moran's priest intones a prayerful counterpoint to the band's aching love song "Dream for You." (Martin Lowe did the orchestrations and arrangements.) Or when Conor's older sister, Anne (Skyler Volpe, lovely), erupts into rage as her parents bicker, pounding a tattoo on the kitchen table that becomes the drum beat for the band's exploration of the sexual divide, "Girls." And the show's finale, "Go Now," is a sentimental knockout. During such moments, you hear the voice of the more fully satisfying musical that "Sing Street" could become. The band at its center is already in precociously fine shape. It's the show that surrounds it that still needs fine tuning." Ben Brantley&nbsp;for <a href="https://www.nytimes.com/2019/12/16/theater/sing-street-review-off-broadway.html" target="_blank">New York Times</a>"While director Rebecca Taichman's production offers moments of transcendence, particularly in the often-luminous second act, the show needs some additional polish on its hero's defiantly brown shoes." Thom Geier&nbsp;for&nbsp;<a href="https://www.thewrap.com/sing-street-theater-review-john-carney-brenock-oconnor-musical-80s/" target="_blank">The Wrap</a>"Like the theatrical version of&nbsp;Once, which went on to win eight 2012 Tony Awards including best musical and was also scripted by Walsh, this new project has been incubated at New York Theatre Workshop. But unlike&nbsp;Once, which already was quite polished in its off-Broadway debut,&nbsp;Sing Street&nbsp;is still finding its footing, with too many underdeveloped characters and a shakily plotted second act. The songs are fun, however, and the scrappy, rough-edged quality of the staging is an appealing fit for the central storyline of a 16-year-old boy assembling an ad hoc band, initially as a ruse to get closer to an enigmatic beauty." David Rooney&nbsp;for&nbsp;<a href="https://www.hollywoodreporter.com/review/sing-street-theater-review-1263004" target="_blank">Hollywood Reporter</a>&nbsp;

Review of Sing Street at New York Theatre Workshop

The Cottage on Broadway - NYC

The Cottage on Broadway 

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

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

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

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

## How to get to the Hayes Theater on Broadway

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

Hayes Theater - Second Stage Theater - NY

Hayes Theater

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Lindsay Mendez, Jonathan Groff and Daniel Radcliffe in MERRILY WE ROLL ALONG at New York Theatre Workshop, Photo by Joan Marcus (5)

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Daniel Radcliffe, Jonathan Groff and Lindsay Mendez in MERRILY WE ROLL ALONG at New York Theatre Workshop, Photo by Joan Marcus (1)

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Jonathan Groff and Daniel Radcliffe in MERRILY WE ROLL ALONG at New York Theatre Workshop, Photo by Joan Marcus (1)

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Daniel Radcliffe, Jonathan Groff, Reg Rogers and Krystal Joy Brown in MERRILY WE ROLL ALONG at New York Theatre Workshop, Photo by Joan Marcus (1)

Merrily - 5

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