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Summer 1976 Rush

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Summer, 1976 on Broadway Starring Laura Linney and Jessica Hecht - NYC

summer, 1976 (1)

Summer, 1976 on Broadway Starring Laura Linney and Jessica Hecht

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The Samuel J. Friedman Theatre originally opened on December 7, 1925 as the Biltmore Theatre. Herbert J. Krapp designed the building for impresario Irwin Chanin. Its inaugural production was *Easy Come Easy Go*. 

From 1952 to 1962, CBS used the theatre for television and radio broadcasting purposes. In 1963, it reopened as a traditional theatre with Neil Simon's *Barefoot in the Park*.

In 1987, the theatre closed following an arson attack and sat vacant for 14 years. In 2001, Manhattan Theatre Club took over the venue and reopened the performance space in 2003 after renovations. MTC renamed it the Samuel J. Friedman Theatre on September 4, 2008, to honor the Broadway publicist.

## How to get to the Samuel J. Friedman Theatre on Broadway

The Samuel J. Friedman Theatre is closest to the 50th Street subway stop on the C and E line. The closest bus stops are 8 Av/W 46th St. on the M20 and M104 lines and 8th Ave/W 43rd St. on the M34A-SBS line.

## Restaurants near the Samuel J. Friedman Theatre

The Samuel J. Friedman Theatre is located across the street from three popular pre- and post-show restaurants: Trattoria Trecolori (Italian), Glass House Tavern (American), and Friedman's (American). Also nearby are the Irish pubs Mean Fiddler and Playwrights Celtic Pub, as well as Restaurant Row, the stretch of 46th Street between Eighth and Ninth Avenues lined with eateries.

Samuel J. Friedman Theatre - Manhattan Theatre Club - NY

Samuel J. Friedman Theatre

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

Some Like It Hot on Broadway - NYC

7 Some Like It Hot Credit Marc J Franklin

Some Like It Hot on Broadway

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

## How to get to the Shubert Theatre on Broadway

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


Shubert Theatre - NY

Shubert Theatre

Wicked on Broadway [1]

Wicked Thank Goodness

Wicked on Broadway

[Poster] Wicked 1

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

Wicked

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

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

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

## How to get to the Gershwin Theatre on Broadway

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

## Restaurants near the Gershwin Theatre

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

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

## Where is *Wicked* on Broadway playing?

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

Gershwin Theatre - NY

Gershwin Theatre

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

Chicago on Broadway [22] 

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Chicago on Broadway

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

With the 20th Anniversary of Chicago speedily approaching, I took a trip to Broadway’s Ambassador Theatre to witness that timeless story of murder, greed, corruption, violence, exploitation, adultery and treachery… and rest assured, I still hold it near and dear to my heart!

Chicago is the second longest-running show in Broadway history, behind Andrew Lloyd Webber’s infamous Phantom, and still holds the record of being the longest-running musical revival and longest-running American musical on the Great White Way. So how has this iconic musical managed to outlast its competitors in the increasingly crowded and competitive market place that is Broadway?

One word can sum it all up, really… “Class”… which just so happens to be the title of one of the more reflective numbers in the show. As Velma and Mama Morton were serenading us, asking whatever happened to class, I couldn’t help but think that this production has it in abundance. Chicago proves that you don’t need to bombard your audience with a number of lavish sets or elaborate costume changes to put together a winning musical. All you need is a live band on stage, intoxicating the auditorium with that jazz-infused score from the genius that is John Kander and Fred Ebb and sprinkle it with that Bob Fosse-style choreography, and before you know it, you’ve razzle dazzled ‘em! Those tight-fitting, all-black (and often transparent) costumes by William Ivey Long enhance the show’s sensuality with equal measures of male and female exposure and have themselves become as recognisable as the show’s glittering red logo.

You forget how ground-breaking this revival must have been, when it officially opened on Broadway on 14th November 1996. Moments of breaking the fourth wall to introduce the musical numbers and having the conductor of the band interact with the actors on stage, still set Chicago apart from its predecessors, and who wouldn’t want to call for their “Exit Music” each time they left the room?

Chicago is equally as famous for its revolving casting door, which has seen both Broadway veterans and celebrities from the world of music, TV and film take to the stage and sink their teeth into those coveted principal roles for special limited engagements. Some of the company’s principals have been with the show for quite some time and continue to delight with every performance. NaTasha Yvette Williams’ brassy and sultry Mama Morton, Raymond Bokhour’s ever-loveable Amos and R. Lowe’s skilled, gender-bending performance as Mary Sunshine are always crowd-pleasing and essential parts of the production, offering the degree of stability that takes it smoothly through its many cast changes. Although some would argue that Chicago has been reduced to a star vehicle for celebrities wishing to dip their toes into the world of Broadway, I see it as a living, breathing piece of musical theatre history, which rightfully remains at the Ambassador Theatre and reminds us that all you need is class and, of course, all that Jazz!

*(Photo by Jeremy Daniel)*

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"As much tribute as revival, the spirit of Fosse's genius never leaves the stage, and Chicago, under Walter Bobbie's sharp direction, will dazzle newcomers to the trademark Fosse dance style and provide a thrilling reminder to those who've seen it before just how smart, sexy and exciting this brand of choreography was, or rather, is."
*Greg Evans for Variety*

"Chicago is a triumph! It doesn't just give us the old razzle-dazzle; it glows."
*Richard Zoglin for Time Magazine*

"Chicago still glitters hypnotically! It remains the best adult entertainment in town and still bubbles with the joy of performing!"
*Ben Brantley for New York Times (2007)*

"The show seems to have discovered the fountain of youth. As entertaining as ever. Brash, buoyant and utterly irresistible!"
*Michael Kuchwara for The Associated Press (2003)*

Chicago

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

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

## How to get to the Ambassador Theatre on Broadway

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

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

## Restaurants near the Ambassador Theatre

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

Ambassador Theatre - NY

Ambassador Theatre

SIX on Broadway [20737] 

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SIX on Broadway

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There is nothing I enjoy more than discovering a show and then going back to see it again (and again) with someone who has never seen it before. As someone who goes to the theatre for work, I view every night as a treasure hunt for the next theatrical crown jewel, and I love revisiting these gems time and again with friends and family.&nbsp;So when I saw a little show called <a href="https://www.newyorktheatreguide.com/show/six">Six</a> for the first time in London's West End in 2019, I couldn't wait to evangelize about it and take everyone I know. When the show came to the U.S. for a North American tour before heading to Broadway, I took my brother and sister-in-law to the show at American Repertory Theatre in Cambridge, Mass.&nbsp;And when the show was preparing for its March 2020 Broadway bow, I took a good friend, dancing in the aisles at the last show I saw before the pandemic shutdown.&nbsp;Now, the production is the first new musical to return to Broadway since theatres closed, and in the intervening time, I've actually moved to London, where I was at the musical's first performance back in the West End in May 2021. So being back in New York for Broadway's reopening and seeing Six (for the sixth time, no less) feels like a seminal moment for the show.&nbsp;This time, I also took a good friend, who also had never seen the show or heard any of the music. Watching her experience pure musical theatre elation for a pop-packed 75 minutes was greater than any returning-to-theatre joy I could have imagined. You'll laugh. You'll cry. You'll dance. It's everything a theatre experience should be and more.&nbsp;So what is Six, you might ask, oh uninitiated one? The show is essentially a pop concert featuring the six wives of&nbsp;Henry VIII belting and riffing about all the "bullsh*t" they had to put up with from the king. Featuring vocal stylings in the vein of Nicki Minaj, Adele, Ariana Grande, Beyoncé, and more, the performers deliver a "histo-remix," in a concise and endlessly catchy concert-style show that is part singing competition, part history lesson.&nbsp;Now, you don't need me to tell you how popular the music is, as the U.K. cast recording has been streamed over 100 million times, and writers Toby Moss and Lucy Marlow (also the show's co-director with Jamie Armitage) have scored a deal to write pop music. Not bad for two students at Cambridge who came up with this show in school and premiered at the Edinburgh Fringe.&nbsp;The queendom has now gone global, and the Broadway production is bigger, bolder, and beltier than any Six I've seen yet. From new riffs to surprise costume reveals, every element has been leveled up for New York, leaving no stone unturned. Adrianna Hicks (Catherine of Aragon), Andrea Macasaet (Anne Boleyn), Abby Mueller (Jane Seymour), Brittney Mack (Anna of Cleves), Samantha Pauly (Katherine Howard), and Anna Uzele (Catherine Parr) form a tight ensemble, fulfilling all your girl group dreams and your next karaoke night.&nbsp;The show itself is a retro-mashup with Gabrielle Slade's bedazzled costumes featuring Reformation-inspired silhouettes; Carrie-Anne Ingrouille's choreography showcases Tudor-meets-pop moves; and Emma Bailey's scenery and Tim Deiling's lighting feels like what a royal ballroom might look like in a techno disco.&nbsp;Ultimately, the queens' own stories of overcoming struggles and the show's circuitous journey to Broadway are also beacons for the power of positivity, perseverance, and coming together in times of struggle. Just like these six "ex-wives," we've all had it rough for the past year and a half, and the queens are here to bring in a new regime. Long may they reign.&nbsp;Six&nbsp;is playing on Broadway at the <a href="https://www.newyorktheatreguide.com/theatres/brooks-atkinson-theatre">Brooks Atkinson Theatre</a>. &nbsp;

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

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

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

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

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

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

## Restaurants near the Lena Horne Theatre

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

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

Lena Horne Theatre - NYC

Lena Horne Theatre

Children under 4 are not permitted in the theatre.

Kimberly Akimbo on Broadway - NYC

Kimberly Akimbo Vogue Photo 

Kimberly Akimbo on Broadway

Kimberly Akimbo

In the opening moment of <a href="/show/kimberly-akimbo">Kimberly Akimbo</a>, a misfit New Jersey teenager waiting for a ride home stretches her candy choker into her mouth and chomps down on it. Such a kid thing to do.It's a perfect start to this funny-sad musical treat by composer Jeanine Tesori and writer and lyricist David Lindsay-Abaire, based on his play. Like the nibbled necklace, the show gives you something to chew on as it looks at life, death, and what comes in-between."Dad? Are you okay to drive?" Kim asks her father when he finally arrives at the skating rink. Even though she's the kid, Kim, who's aging four times faster than normal because of a rare disease and is played by an actress in her 60s, is the family elder.What's that like? That's what Lindsay-Abaire was chasing in his 2003 off-kilter comedy and now revisits. It predated his award-winning dramas, Rabbit Hole and Good People, as well as Shrek, the musical he wrote with Tesori about another sort of outcast.For the lonely Kimberly Levaco (Victoria Clark), life expectancy is 16 years. And —&nbsp;tick tock —&nbsp;she has just hit that mile marker. Her family scarcely notices. Dad (Steven Boyer) drinks to distraction. Mom (Alli Mauzey) is focused on her pregnancy —&nbsp;and for good reason. Shady Aunt Debra (Bonnie Milligan) is cooking up another reckless illegal scheme.&nbsp;The lone, unexpected bright spot is Seth Brett Weetis (Justin Cooley), a nerdy student who's deep into anagrams, and it turns out, Kim. Her crush was called Jeff in the play, and the tweak enables his name to be scrambled into an anagram that captures the musical's bittersweetness.Lindsay-Abaire has stuffed the story with wacky laughs, but doesn't avoid painful streaks. When her dad frets about her having a boyfriend, she says (as she did in the play): "What are you worried about? I went through menopause four years ago." Oof.David Zinn's sets shift the story from rink to home to school, while Sarah Laux's costumes —&nbsp;jeans and jumpers for Kim —&nbsp;seem plucked from a teen's closet. The plot does get almost too outlandish for its own good. That's the case when Debra drags her niece, Seth and four more teens (played by Olivia Elease Hardy, Fernell Hogan II, Nina White, and Michael Iskander) into a truly unlikely check-laundering scheme. It's best not to overthink it.Tesori (Fun Home, Caroline, or Change) and Lindsay-Abaire have created a score of emotionally rich songs that glows like a musical mood ring. Kim's yearning shines in "Make a Wish," while the Levato family dynamic comes through in "The Inevitable Turn." "Anagram" cheerfully relates the value of a shift in perspective. "How to Wash a Check" speaks for itself.Director Jessica Stone has assembled an ensemble that's uniformly terrific in this the <a href="/theatres/linda-gross-theater">Atlantic Theater Company</a> presentation. Newcomer Cooley has charm to spare. Milligan is a mighty belter and criminally deft scene-stealer.&nbsp;Clark, a Tony Award winner for The Light in the Piazza, gives a lived-in performance that's playful and poignant and very affecting.&nbsp;Watching a new show that satisfies and surprises never gets old.&nbsp;<a href="https://www.newyorktheatreguide.com/show/kimberly-akimbo" target="_blank">Kimberly Akimbo is at the Linda Gross Theater to January 2. Get Kimberly Akimbo tickets on New York Theatre Guide.</a>Photo credit: Kimberly Akimbo cast (Photo courtesy of Kimberly Akimbo)

'Kimberly Akimbo' review — a bittersweet musical packed with surprises

The Booth Theatre opened on October 16, 1913, as an adjoining venue with the [Shubert Theatre](https://www.newyorktheatreguide.com/theatres/shubert-theatre). The building was designed by Henry B. Herts, and the first production there was Arnold Bennett's play *The Great Adventure*.

Named after the actor Edwin Booth, brother to the infamous John Wilkes Booth, the venue was actually the second New York theatre to bear his name. The first was built in 1869 on 23rd Street and Sixth Avenue, but it was demolished in 1965.

The facade and parts of the current Booth's interior have been designated New York City landmarks.

## How to get to the Booth Theatre on Broadway

The Booth Theatre is located on 45th Street between Seventh and Eighth Avenues. It is closest to the 42nd Street stations on the A, C, E, 1, 2, 3, 7, N, Q, R, W, or S lines. 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 lines.

## Where is *Kimberly Akimbo* playing?

The critically acclaimed musical *Kimberly Akimbo* plays the Booth Theatre on Broadway. The show has performed there since October 2022.

Booth Theatre - NY

Booth Theatre

A Doll's House - Rush

Unlock Rush for a chance to purchase $35 tickets at 9:00 am.

$35 Rush tickets

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A Doll's House on Broadway Starring Jessica Chastain - NYC

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A Doll's House on Broadway Starring Jessica Chastain

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A dolls house

The new Broadway production of Henrik Ibsen’s [*A Doll’s House*](https://www.newyorktheatreguide.com/show/26989-a-dolls-house-tickets) starring [Jessica Chastain](https://www.newyorktheatreguide.com/stars-on-stage/jessica-chastain) is laser-focused, laid bare, and simply stunning. As always, the play tells the story of Nora Helmer, a wife and mother who finally summons the power to stand tall on her own two feet. 

British director Jamie Lloyd ingeniously runs full tilt with that image. For nearly all of the play’s unbroken two hours, Nora remains rooted in a chair (vaguely Norwegian, a nod to Ibsen’s background) situated downstage, close to the audience.

Even when Nora practices a dance she’s performing at a holiday party, she doesn’t get up – it’s as if she’s doing chair yoga. Only in the final few moments does Nora rise on her own, stand erect, risk everything, and walk out. To go where? That’s the question.

The hallmark of Lloyd's vision — he directed [*Betrayal* with Tom Hiddleston](https://www.newyorktheatreguide.com/reviews/review-of-betrayal-starring-tom-hiddleston-charlie-cox-zawe-ashton-on-broadway) on Broadway and [*Cyrano de Bergerac* with James McAvoy](https://www.newyorktheatreguide.com/reviews/cyrano-de-bergerac-off-broadway-review-james-mcavoy) at BAM — is absolute certainty. That extends from the first time we see Nora to the last and everything in between. Chastain appears in her chair about 15 minutes before showtime. Arms and legs crossed, she gazes into the audience as she repeatedly rotates on a turntable. 

It’s a brilliant and economical visual – and not just because Chastain’s so great she’ll make your head spin. Nora is a woman whose life goes in circles, and in this revival, everything orbits around her. Whenever characters talk, they stand near Nora, slide up a seat by her, or – what nerve! – share her chair without even asking. 

The story takes place at Christmas, and celebratory spirits are doubly high. Nora’s husband Torvald (Arian Moayed) is being promoted at his bank. He’s a big deal. In his mind, Nora, aka “Birdie,” as he calls her, is childish – like their three kids cared for by Anne-Marie (Tasha Lawrence). 

Torvald is wrong. When he was ill, Nora singlehandedly risked everything to save him, bending the law to secure a loan from Krogstad (Okieriete Onaodowan). It’d be a catastrophe if that came out. Nora knows that. So does her friend and confidante, Kristine (Jesmille Darbouze). But Nora is on the brink of being exposed. Not even her dear friend Dr. Rank (Michael Patrick Thornton) can help.

Written in 1879, Ibsen’s play packs sticks of dramatic dynamite as it takes on marriage, money, secrets, reputation, and power. It assumes up-to-the-moment urgency and accessibility thanks to the crisp translation by Amy Herzog (*Mary Jane*, *4000 Miles*).

She’s a playwright with perfect pitch when it comes to dialogue. Upon discovering his wife’s deception, Torvald damns her in 2023-speak: “You stupid bitch!” That exclamation – and Nora’s response – enables the play to draw blood.

Absent of scenery, props, or period costumes (the cast all wear dark street clothes), the revival is about the words. When Nora plays with her three children, they’re unseen. When a cigar is lit, there’s no miming. Lloyd trusts the audience to fill in the blanks. Beyond smart physical choices, Lloyd cast the play extremely well. Supporting actors all deliver.

Since making her Broadway debut in 2012 in a low-lit performance in *The Heiress*, Chastain has won an Oscar for *The Eyes of Tammy Faye* and a SAG Award for *George & Tammy*. She’s in total command as Nora, letting her voice do much of the heavy lifting.

In the end, Torvald’s pet name of Birdie is apt. This real housewife is an eagle when she takes flight.

[*A Doll’s House* is at the Hudson Theatre until June 10. Get *A Doll’s House* tickets on New York Theatre Guide. ](https://www.newyorktheatreguide.com/show/26989-a-dolls-house-tickets)

*Photo credit: Jessica Chastain and Okieriete Onaodowan in A Doll’s House. (Photo by Emilio Madrid)*

'A Doll's House' review — Jessica Chastain takes flight in Ibsen revival

Read our five-star review of Jessica Chastain in *A Doll's House* on Broadway, directed by Jamie Lloyd, which plays at the Hudson Theatre through June 4.

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

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

& Juliet Rush

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& Juliet on Broadway - NYC 

& Juliet Header

& Juliet on Broadway

& Juliet

& juliet

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

## Restaurants near the Stephen Sondheim Theatre

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

Stephen Sondheim Theatre - NY

Stephen Sondheim Theatre

Bad Cinderella on Broadway - NYC

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Bad Cinderella on Broadway

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Designed by Herbert J. Krapp, the Imperial Theatre was built for the Shubert Organization and officially opened on December 25, 1923 with the musical *Mary Jane McKane*.

It was the Shuberts' 50th New York venue and was constructed as a replacement for their 20-year-old [Lyric Theatre](https://www.newyorktheatreguide.com/theatres/lyric-theatre) (which stood partly on the site of the current Lyric Theatre). The Imperial Theatre also held the first Ms. Globe Pageant in 1951.

## How to get to the Imperial Theatre on Broadway

The Imperial Theatre, located on the corner of 45th Street and Eighth Avenue, is closest to the 42nd Street - Port Authority Bus Terminal subway stop on the A, C, and E lines. The closest bus stops are 8th Ave/W 46th St. on the M20 and M104 lines and 8th Ave/W 43rd St. on the M20, M104, and M34A-SBS line.

## Restaurants near the Imperial Theatre

The Imperial Theatre in NYC is one block southwest of Restaurant Row, located on 46th Street between Eighth and Ninth Avenues. Popular restaurants on this stretch include Joe Allen (American), Becco (Italian), Le Rivage (French), Dim Sum Palace (Chinese), and a variety of others.

The theatre is also located one block east of Marseille (French), Nizza (Italian), and Five Napkin Burger (American), three popular restaurants for the theatregoing crowd all located between 44th and 45th Streets on Ninth Avenue.

Imperial Theatre - NY

Imperial Theatre

Shucked on Broadway - NYC

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Shucked on Broadway

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Built by Walter C. Jordan, the Nederlander Theatre building was originally constructed as a carpenter's shop in 1920 and was converted into a theatre the following year. The venue officially opened as the National Theatre on September 1, 1921. Ownership of the theatre has changed hands several times over the years — the Shubert Organization originally owned the building until 1956, and Harry Fomkes and Billy Rose (who renamed the theatre after himself) took over in 1959.

The Nederlander Organization purchased the property in 1979 and briefly renamed it the Trafalgar Theatre, until it was renamed after the organization's founder, David T. Nederlander, in 1980.

The Nederlander Theatre, located on 41st Street, is the southernmost Broadway house.

## How to get to the Nederlander Theatre on Broadway

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

Nederlander Theatre - NY

Nederlander Theatre

Funny Girl on Broadway - NYC

Funny Girl Lea 1

Funny Girl on Broadway

Funny Girl - Lea Michele Poster

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

## Restaurants near the August Wilson Theatre

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

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

August Wilson Theatre - NY

August Wilson Theatre

Daryl Roth Theatre

Titanique RUSH

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Titanique - NYC

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Titanique

The new Off-Broadway musical&nbsp;<a href="https://www.newyorktheatreguide.com/show/titanique" target="_blank">Titanique</a>&nbsp;has a&nbsp;cast and creative team of Broadway vets. But they, led by director/co-writer Tye Blue, also share a background doing pop parody musicals and dinner theatre in LA. This is the cozy, campy world from which&nbsp;Titanique&nbsp;hails, and it's now docked here on the East Coast through September. Don't go expecting a piece of high art or a faithful recreation of the&nbsp;James Cameron&nbsp;film it's based on, but do expect a titanic amount of pure joy.You'll get that vibe immediately upon entering the Asylum Theatre — a casual comedy venue that perfectly fits the show — when you hear the pre-show playlist that includes "Bootylicious," "This Will Be," and "We Are Family." Nostalgic-meets-contemporary is the name of the game, and so it is with the 100-minute show that follows.Titanique&nbsp;launches from a Titanic museum tour, where visitors are gawking over the Heart of the Ocean (here an oversized Party City decoration). Suddenly, a woman appears and reveals herself to be Celine Dion, shedding her trash-covered cloak to reveal a glittery gold gown that looks like it cost more than the entire rest of the production. She takes over the tour, and the narration of the show, to share what really happened on board the Titanic — namely, to Jack and Rose.Her tale is as much a love letter to the&nbsp;Titanic&nbsp;movie as it is to the people obsessed with that movie: pop culture-savvy, queer theatre kids, or so the creators presume from experience. (Happy Pride indeed.) References to TikTok trends (like Julia Fox's pronunciation of "uncut gems") and niche theatre jokes (a life-size <a href="https://www.newyorktheatreguide.com/show/company" target="_blank">Patti LuPone</a> cutout makes multiple appearances) abound. Older and/or less theatre-obsessed audiences will find more of their enjoyment in the recreations of all the major&nbsp;Titanic&nbsp;movie moments and the Dion hits that score the show.Some of those songs are more cleverly slotted in than others, but they're all gorgeously performed. The&nbsp;Titanique&nbsp;cast's Broadway-grade talent shines at its fullest through their voices.&nbsp;Rose (Alex Ellis) and The Unsinkable Molly Brown (Kathy Deitch) get the powerhouse duet "Tell Him," which starts as a heartfelt encouragement and ends as an extended innuendo involving an eggplant prop. As a "bedazzled metrosexual" version of Rose's fiance Cal, John Riddle gets a late-show solo that also brings the house down. As Celine, the over-the-top Marla Mindelle harmonizes with nearly everyone's songs (they are technically hers, after all), and though her voice has a different tonal quality than the real Dion's, there's a brief moment in "My Heart Will Go On" when she sounds uncannily like the singer.Alongside them, Constantine Rousouli cuts a dashing, boyish figure as Jack (with the same swoopy hair as Titanic-era Leo DiCaprio), and Frankie Grande steals every scene he's in as Victor Garber, a mashup of a few Titanic&nbsp;side characters. Jaye Alexander plays his right-hand seamen (the source of many double entendres) but gets a late showcase as "the Iceberg bitch," who's dressed as Tina Turner and hosts a&nbsp;RuPaul's Drag Race&nbsp;lip-sync battle to decide who will make it on the lifeboat. Because why not?Titanique&nbsp;is one of those shows where anything can happen, so it does, up until the final twists that you surely won't see coming. It's best just to grab your friends, grab some drinks (the show sells them in buckets), and just get on board. The cast and creators' enthusiasm is infectious, and if you just let it wash over you, you'll have a boatload of fun.<a href="https://www.newyorktheatreguide.com/show/titanique" target="_blank">Titanique&nbsp;is at the Asylum Theatre through September 25. Get&nbsp;Titanique&nbsp;tickets on New York Theatre Guide.</a>Photo credit: Constantine Rousouli, Marla Mindelle &amp; Alex Ellis in Titanique. (Photo by Emilio Madrid)

'Titanique' review — a boatload of campy fun

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

| NewYorkTheatreGuide.com

Named after esteemed Broadway producer Daryl Roth, who purchased the building in 1996, the Daryl Roth Theatre has 299 seats. However, the Daryl Roth Theatre can accommodate up to 499 standing patrons, previously exemplified by the long-running Off-Broadway engagement of *Fuerza Bruta*.

The building originally functioned as the Union Square Savings Bank until Roth’s acquisition. The venue also houses a 99-seat performance space called the DR2 Theatre, which was added in 2002, and a cabaret bar downstairs called The D-Lounge.

## How to get to the Daryl Roth Theatre off Broadway

The Daryl Roth Theatre is located closest to the 14th Street - Union Square subway stop on the N, Q, R, W, L, 4, 5, and 6 lines. The closest bus stop is Union Sq E/E 15 St on the M1, M2, and M3 lines.

Daryl Roth Theatre - NY

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

Seagull Rush

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The Seagull/ Woodstock, NY Starring Parker Posey - NYC

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The Seagull/ Woodstock, NY Starring Parker Posey

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

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

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

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

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

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

## Restaurants near Signature Theatre

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

Pershing Square Signature Center - NY

Pershing Square Signature Center

BAM Covid

The Wife of Willesden - NYC

The Wife of Willesden

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The Brooklyn Academy of Music, commonly known as BAM, is an Off-Broadway venue located in the Fort Green neighborhood of Brooklyn. BAM first&nbsp;opened on January 15, 1861 in Brooklyn Heights, but the building burned down in 1903. The theatre was relocated to Lafayette Street, where it held concerts, theatre productions, and even some religious services. The main building in the BAM complex, the Peter Jay Sharp Building, still stands at that address today. The building houses the 2,109-seat&nbsp;Howard Gilman Opera House;&nbsp;BAM Rose Cinemas, which presents film screenings; the multipurpose Lepercq Space, and the Hillman Attic Studio rehearsal and performance space. BAM also comprises&nbsp;BAM Strong, a complex of performance spaces on Fulton Street which includes the&nbsp;includes the 874-seat BAM Harvey Theater, formerly known as the Majestic. Finally,&nbsp;The BAM Fisher Building, opened in 2012 on Ashland Place, includes the 250-seat black box theatre Fishman Space,&nbsp;and Fisher Hillman Studio, a rehearsal and performance space.

Harvey Theater at BAM Strong - NY

Harvey Theater at BAM Strong

54 Below

The Leading Lady Club: A Celebration of Women on Broadway & Beyond - NYC

54 below

The Leading Lady Club: A Celebration of Women on Broadway & Beyond

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Feinstein’s/54 Below offers an unforgettable New York nightlife experience, combining performances by Broadway’s best with world class dining in an elegant setting. Steps from Times Square, the club is known as Broadway’s living room, a home away from home for Broadway professionals and audiences alike.

The club first opened under the name 54 Below. On September 17, 2015, through a creative partnership with Michael Feinstein, the Ambassador of the American Songbook, 54 Below was renamed Feinstein’s/54 Below. Feinstein’s/54 Below features up to three shows a night. 

The Public Theater Covid Protocol

Plays For The Plague Year Rush

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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 $30 Rush tickets for Plays For The Plague Year on @TodayTix! https://www.todaytix.com/nyc/shows/26089?share=unlock

Plays For The Plague Year - NYC

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Plays For The Plague Year

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Joe's Pub at The Public Theatre

New Musical! Ladies’ Lady - NYC

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New Musical! Ladies’ Lady

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I Wish: The Roles That Could Have Been - Women's History Month Edition - NYC

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I Wish: The Roles That Could Have Been - Women's History Month Edition

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Letters from Max - NYC

Letters from Max

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In 2011, playwright Sarah Ruhl accepted a young poet named Max Ritvo into her playwriting class at Yale. In 2016, Ritvo died of a relapse of Ewing's sarcoma, a pediatric cancer. In between, the two forged a deep bond built on a shared appreciation for each other's curiosity, intellect, and warmth. Ruhl immortalized their exchanges in the epistolary memoir [*Letters From Max*](https://www.newyorktheatreguide.com/show/25996-letters-from-max-tickets), and she builds on that work with her new play of the same name, a flesh-and-blood tribute to her late friend.

*Letters From Max* is the kind of play you're glad also exists in book form. Ruhl jam-packs her script with poems, letters, texts, and conversations between herself and Ritvo that invite deep reflection long after the show ends. What's unique to the production at [Signature Theatre](https://www.newyorktheatreguide.com/theatres/the-alice-griffin-jewel-box-theatre-at-the-pershing-square-signature-center), though, are loving performances and seamless stage design.

S Katy Tucker's projections of the pair's writing on Marsha Ginsberg's sleek, minimalist set give the impression that the most tangible things in Sarah and Max's world are their words. And in some ways, they are — writing is all they have to make sense of their love, fear, and grief.

The actors, directed lovingly by Kate Whoriskey, poignantly inhabit all these. They're not so much exact imitations of Ruhl and Ritvo as they are interpreters of their emotional journeys. Nonetheless, the characters are named Sarah and Max, with the latter played by Ben Edelman and Zane Pais on alternating nights.

At my performance, Edelman brought charisma and swagger to Max, a perfect foil for Jessica Hecht's introspective Sarah. Pais was still on hand to play a few supporting roles and play live guitar music he composed himself. (When Pais is Max, Edelman does the same on the piano.)

The play does lack a certain sense of drive — after all, we know from the get-go how it ends. Perhaps, though, that's intentional. By moving us slowly and gently through Sarah and Max's five-year story, letting us take our time to absorb their poetic correspondences, Ruhl keeps Ritvo alive a little longer.

[*Letters From Max* is at the Pershing Square Signature Center through March 19. Get *Letters From Max* tickets on New York Theatre Guide.](https://www.newyorktheatreguide.com/show/25996-letters-from-max-tickets)

*Photo credit: Jessica Hecht and Ben Edelman in Letters From Max. (Photo by Joan Marcus)*

'Letters From Max' review — a poetic meditation on friendship and grief

Read our four-star review of Sarah Ruhl's *Letters From Max*, starring Jessica Hecht, Ben Edelman, and Zane Pais, which runs off Broadway through March 19.

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Yes, I Can Say That Rush

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Yes, I Can Say That! - NYC

Yes, I Can Say That!

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59E59 Theaters - NY

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The Music of Toshiko Akiyoshi - NYC

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The Music of Toshiko Akiyoshi

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