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Please note: Performances begin promptly. There is no late seating.

About The Show

“Bernadette Peters has stopped more shows on Broadway than the stagehands union” (NPR). And now, the two-time Tony Award winner is back on Broadway in the universally acclaimed smash "Hello, Dolly!" Every night at the Shubert Theatre, this unparalleled star steps into the iconic title role and descends the grand staircase, adding yet another triumph to her six-decades-long career. As Peter Marks of The Washington Post says, “It feels like the keeping of one of Broadway’s sacred promises.”

Winner of four Tony Awards including Best Musical Revival, director Jerry Zaks’ triumphant production is “classic Broadway at its best” (Entertainment Weekly). Don’t miss this legendary performer, back where she belongs in “a musical comedy dream” (Rolling Stone).

TodayTix Take

Dolly Levi is back where she belongs — on Broadway. The 2017 Tony Award winner for Best Revival brings back the old-school glamour of the Great White Way with one of history’s most beloved tuners. Before the days of Tinder and Bumble, matchmaking happened Dolly Levi style. If you’re nostalgic for Broadway’s glory days, this lavish revival will satisfy your cravings. New York’s most celebrated matchmaker is looking for her most difficult match yet: her own. The widow is intent on marrying “half a millionaire” Horace Vandergelder, who runs a hay and feed shop, while at the same time trying to set up young artist Ambrose with Horace’s niece Ermengarde — a match to which Horace is staunchly opposed. However, Horace doesn’t know that Dolly is keen on him; he thinks he’s being set up with hat shop owner Irene Malloy. Dolly casually sabotages that idea, and instead, arranges a meeting for him with an heiress. Meanwhile, his employees Cornelius and Barnaby are trying to escape life in Yonkers and explore Manhattan, and they set off an explosion in the shop so they can have a day off. Dolly, Horace, Ambrose, Ermengarde, Cornelius, and Barnaby all make their way into the city where a series of madcap mix-ups ensue. Directed by Jerry Zaks and choreographed by Warren Carlyle, the production celebrates the heart and soul of the Jerry Herman-scored and Michael Stewart-penned musical. “The New York Times” raves “Let’s just hope that this show’s producers have earthquake insurance,” as the audiences go crazy each night. So put on your Sunday clothes and don’t miss the Broadway sensation.

What To Watch For

  • The musical has origins in the 1800s: The story started with John Oxeford’s 1835 play “A Day Well Spent,” on which Thornton Wilder based his 1938 farce, “The Merchant of Yonkers” (which he retitled as “The Matchmaker” in 1955).
  • The role of Dolly Levi was originally written for Ethel Merman, but she turned down the role. Carol Channing ended up originating the part on Broadway, and Barbra Streisand played the role in the film. (Merman did eventually play the role.)
  • Horace’s song “Penny in my Pocket” was not in the original Broadway production, and was cut before the show made it to New York. In this production, the song is at the top of Act 2.
  • When “Hello, Dolly!” premiered in 1964, it sold out quickly, and when it closed in 1970, it was the longest-running Broadway musical. The original cast album was #1 on the Billboard charts, and Carol Channing sang for the Super Bowl halftime show twice.

Run Time

2hr 35min (incl. intermission)

Start Date

Age

Recommended for 9 +. Children under the age of 4 are not permitted in the theatre.

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Ben Brantley, The New York Times
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Chicago Tribune
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Joe Dziemianowicz, Daily News

Shubert Theatre

225 West 44th Street, New York, NY 10036

The Shubert Theatre had its genesis in the New Theatre, an “art” playhouse located on Central Park West that was devoted to serious repertory drama. Although the project was a critical and commercial flop, the New Theatre Group, which included Lee Shubert, leased a plot of land between 44th and 45th street to construct a new venue. The plan was abandoned, but Lee Shubert and Winthrop Ames, a former New Theatre partner, acquired a lease for the site, and built two adjoining playhouses there. Lee and J.J. operated the larger of the two auditoriums, which they named the Sam S. Shubert Memorial Theatre to commemorate their brother, who had died in May 1905. Ames managed the smaller Booth Theatre.

Extended Performance Window

April

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