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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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I unlocked $47 Rush tickets for & Juliet on Broadway on @TodayTix! https://www.todaytix.com/nyc/shows/25598?share=unlock

& 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

A Doll's House - Rush

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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

Life of Pi on Broadway - NYC

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Life of Pi on Broadway

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Life of Pi

How does an Indian teenager adrift in the Pacific Ocean in a tiny lifeboat – with a ferocious Bengal tiger, no less! – live to tell the tale after 227 harrowing days? That question is at the core of [*Life of Pi*](https://www.newyorktheatreguide.com/show/26712-life-of-pi-tickets), a fantastical fable about survival, faith, and how stories help us make sense of our lives.

Visually, the play is a deeply wondrous spectacle that teems with beauty and brutality. Narratively, the script does less to impress, as if written at times in magic marker, and supporting performances could use some shading. Bottom line for this work on Broadway following runs in London and Cambridge, Massachusetts: The display’s the thing. 

Based on Yann Martel’s 2001 novel that spawned an Oscar-winning movie, Lolita Chakrabarti’s stage version begins in 1978 in a hospital room in Mexico. Pi Patel (Hiran Abeysekera, captivating) is questioned by representatives of the Canadian Embassy (Kirstin Louie) and Japanese Ministry of Transport (Daisuke Tsuji). They’re after facts on how the Tsimtsum, a cargo ship bound for Canada, sank eight months earlier – and how Pi defied death. He tells them.

The action moves between the infirmary, Pi’s home, and the middle of the ocean. In 1976 Pondicherry, India, happy-go-lucky Pi’s life in a zoo comes into focus through a series of bite-sized scenes. Butterflies dance in the air, and a giraffe cranes its graceful neck. We meet his zookeeper parents (Rajesh Bose and Mahira Kakkar) and sister (Sonya Venugopal), as well as a zebra, orangutans, a hyena, and a Bengal tiger named Richard Parker, [brought to life by puppets](https://www.newyorktheatreguide.com/theatre-news/news/how-the-life-of-pi-broadway-puppets-make-animals-come-alive) and multiple puppeteers.

Each beast is dangerous, a point Pi’s father makes by sacrificing a goat to the tiger. (Note: This is not a kids' show.) The scene shifts to a bustling marketplace, where spiritually inquisitive Pi looks to leaders at a local church, mosque, and temple for answers to his big questions. “If God is good and kind, why is there so much violence in the world?” he asks.

Political unrest compels Pi’s family to leave India with their animals for Canada aboard the Tsimtsum. About 40 minutes into the play, there’s a cry of “Storm coming!” and everything changes. The ship sinks, and from the bare stage, a small lifeboat magically surfaces like a sea creature. Pi climbs into the craft, and he’s not alone. An orangutan, hyena, injured zebra, and Richard Parker have busted out of containers and taken refuge there. 

Eventually, only Pi and the tiger remain. To outlast the maneater, he tames the beast and reconciles with its killer instinct – and his own, after going against his beliefs and eating a sea turtle to avoid starvation. When the government investigators in Mexico doubt his tale, Pi spins a parallel yarn – minus animals but with human predators instead.

What’s the takeaway? Maybe it’s as simple as to never give up – and everything that conveys. While lost at sea, Pi talks with the ghost of his sister, who can’t believe he still has faith. “Look at where you are,” she says. “But I’m alive,” Pi responds. 

In the end, there’s no question that director Max Webster’s staging is a technical marvel that makes the most of its moving parts. Those include amazing puppetry; evocative scenic, lighting, and sound design; and transporting video and animation effects that conjure the ocean and the sky above. 

“My story will make you believe in God,” Pi insists. Whether or not that’s true, it’s impossible to doubt such powerful theatrical stagecraft.

[*Life of Pi* is at the Gerald Schoenfeld Theatre. Get *Life of Pi* tickets on New York Theatre Guide.](https://www.newyorktheatreguide.com/show/26712-life-of-pi-tickets)

*Photo credit: Hiran Abeysekera and Richard Parker (Fred Davis, Scarlet Wilderink, and Andrew Wilson) in Life of Pi on Broadway. (Photos by Matthew Murphy and Evan Zimmerman for MurphyMade)*

'Life of Pi' review — a marvel of theatrical design

Read our four-star review of *Life of Pi* on Broadway, adapted by Lolita Chakrabarti from Yann Martel's bestselling novel, at the Gerald Schoenfeld Theatre.

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

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

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

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

The Gerald Schoenfeld Theatre is closest to the 42nd Street - Port Authority subway stop on the A, C, and E subway lines. The closest bus stops are 8th Ave/W 46th St. on the M20 and M104 lines; 7th Ave/W. 44th St. on the M104 line; and 8th Ave/W 43rd St. on the M20, M104, and M34A-SBS line.

## Restaurants near the Gerald Schoenfeld Theatre

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

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

Gerald Schoenfeld Theatre - NY

Gerald Schoenfeld Theatre 

Featured shows

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Children under 4 are not permitted in the theatre.

Kimberly Akimbo on Broadway - NYC

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Kimberly Akimbo on Broadway

Kimberly Akimbo

She’s back! Following an Off-Broadway run that wrapped in January, [*Kimberly Akimbo*](https://www.newyorktheatreguide.com/show/25458-kimberly-akimbo-tickets) is now in residence at the [Booth Theatre](https://www.newyorktheatreguide.com/theatres/booth-theatre) with the original cast and every bit of its wondrous quirkiness intact. In fact, the show is more polished and endearing than before. 

Anyone (including myself) who fears this charmer might get swallowed up in a Broadway house can rest easy. The show, created by David Lindsay-Abaire (book and lyrics) and Jeanine Tesori (music), has found the ideal home.

The luxury of a home-sweet-home is foreign to Kimberly (Victoria Clark) in this story based on Lindsay-Abaire’s same-named 2001 play. In 1999 New Jersey, Kim has an extremely rare condition causing her to age at more than four times the normal speed. She just celebrated her 16th birthday, and in doing so, she’s turned the corner on her life expectancy. 

There’s more. Her dad, Buddy (Steven Boyer), hits the bottle with alarming regularity. Her pregnant mom, Pattie (Alli Mauzey), harbors neuroses and a big family secret. Her aunt Debra (Bonnie Milligan) is a con woman who only looks out for herself. 

Kim finds a friend and an escape in Seth (Justin Cooley), a geeky fellow student who is obsessed with anagrams and, like her, has a dicey home situation. They initially come together for an ill-conceived science class project, but their bond grows deeper. Around Seth, this girl who looks like she’s 72 can actually act just like the 16-year-old she is. 

Black comedy is tricky to pull off. How do you balance the bitter with the sweet? Specifically, how do you find the humor in a distressing subject matter of a teen whose death is coming at her at warp speed? 

The creators succeed with a story that goes to serious and seriously cockamamie places (cue Debra’s nutty check-fraud scene) and a batch of songs that are rich, melodic, and multi-toned. There’s also an ace in the hole – Seth and Kim are the most irresistible odd couple since Harold and Maude. 

As scenes shift from a skating rink to Kim’s home and school and beyond, the show spills over with heart, hilarity, hummable songs, and an evergreen, urgent message to live every day like it’s your last. In keeping with the go-for-it attitude, the whole cast makes the most of every minute. 

Tony winner Clark (*The Light in the Piazza*) delights as the smart, resilient, and gutsy Kim, who realizes wishes can’t make things better – but she can. Clark is so convincing as a teenager that when she shows up dressed up like a 70something grandmother as part of Debra’s grift, it’s almost a shock.

Cooley is a perfect foil. His Broadway debut is as confident and winning as they come. Boyer and Mauzey are terrific as terrible parents, and Milligan is a belting powerhouse who makes larceny look fun. 

The ensemble also shines bright. That includes Olivia Elease Hardy, Fernell Hogan, Michael Iskander, and Nina White as Kim’s classmates, who double as a sort of Greek chorus to harmonize at key moments. 

In addition to assembling a wonderful cast, director Jessica Stone shows a keen eye for detail. It’s no fluke that a sign at the rink advertising BIRTHDAY PARTIES has a lopsided “D.” It’s all too fitting for a girl for whom birthdays are a mortal enemy. Those tiny details add up to make *Kimberly Akimbo* letter-perfect.

[*Kimberly Akimbo* is at the Booth Theatre. Get *Kimberly Akimbo* tickets on New York Theatre Guide.](https://www.newyorktheatreguide.com/show/25458-kimberly-akimbo-tickets)

*Photo credit: Victoria Clark in Kimberly Akimbo on Broadway. (Photo by Joan Marcus)*

'Kimberly Akimbo' review — Victoria Clark and a talented ensemble shine in letter-perfect musical

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

Shucked on Broadway - NYC

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Shucked on Broadway

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Storytellers have long looked to cornfields for ideas. *Field of Dreams* turned them into heaven. Evil lurked amid the rows in *Children of the Corn*. Now, in the deliriously dopey [countrified musical comedy](https://www.newyorktheatreguide.com/theatre-news/news/a-history-of-country-musicals-on-broadway-from-oklahoma-to-shucked) [*Shucked*](https://www.newyorktheatreguide.com/show/26987-shucked-tickets), corn is cause for nonstop funny business — and some terrifically catchy tunes.

Credit the creative team for recognizing there’s more than a kernel of truth in the adage about knowing oneself. They are fully aware their show is wall-to-wall silliness, and they embrace that concept whole-hog. Even when the goings turn sappy, another pun, punchline, or double entendre awaits.

Do the jokes yield diminishing returns over the show’s two hours? Yep, they do. But are you apt to have such a good time that you won’t mind? Yep, you will.

Tag-team narrators, played with know-how by Ashley D. Kelley and *Mean Girls* Tony-nominee Grey Henson, pop in and out to set the scene. The show is a fable – “a farm to fable” – set in Cob County, a community tucked inside cornfield walls. Sure, residents know of the outside world; they just want no part of it.

Things change. Lovebirds Maizy (Caroline Innerbichler, like butter in her Broadway debut) and her farmer fiance Beau (an adorable Andrew Durand) are exchanging "I do"s at a ceremony officiated by his brother Peanut (Kevin Cahoon, who’s a kick) — but disaster strikes. The corn suddenly turns moldy. 

Despite naysayers, including Beau, Maizy leaves town to find help, singing the tune “Woman of the World.” In a goofy twist, she meets Gordy (John Behlmann), a con man posing as a podiatrist – a "corn doctor," get it? – who captures Maizy’s fancy. He’s drawn to her stone bracelet. He accompanies her to Cob County, ostensibly to save the crops, but he’s out to swipe the precious gems found there.

An old-school musical like this is bound to have a romantic subplot or two. Hence, Maizy is torn between Beau and Gordy. But her whiskey-brewing cousin and BFF Lulu (Alex Newell, a powerhouse singer) reconfigures the geometry of the romantic triangle. One guess how it all works out.

The show is buoyed along on easy-to-like songs by Brandy Clark and Shane McAnally, who are new to Broadway but stars in country music. They’re adept at novelty numbers – like the opener, “Corn” – and songs that run a tad deeper, including the tender “Maybe Love” and the optimistic “Somebody Will.” “That’s How You Say 'I Do,'” shared by three couples, is a bouncy winner. 

At one point during *Shucked*'s development, it was set to riff on the vintage TV variety show *Hee Haw*. About a decade later, “hee haw” is just a passing song lyric. 

The songwriters have an ace collaborator in author Robert Horn, who won a Tony for his book for *Tootsie*. For *Shucked*, he’s crafted an LOL mashup of new side-splitters and oldies but goodies. Toying sexily with Gordy, Lulu says, “I may not have my virginity, but I still have the box it came in.” Zing! Who doesn’t like corn with a pinch of salt?

A sense of fun runs throughout director Jack O’Brien’s production – from set designer Scott Pask’s rough-hewn barn backed by a bright pink sky to choreographer Sarah O’Gleby’s high-spirited dance number using whiskey barrels and planks. 

*Shucked* could never be condemned as theatrical spinach. It’s all about laughs, and it delivers – honest to cob.

[*Shucked* is at the Nederlander Theatre. Get *Shucked* tickets on New York Theatre Guide.](https://www.newyorktheatreguide.com/show/26987-shucked-tickets)

*Photo credit: The cast of Shucked. (Photo by Matthew Murphy and Evan Zimmerman)*

'Shucked' review — the countrified, comedic cream of the crop

Read our four-star review of the new Broadway musical comedy *Shucked*, which features a book by Tony Award winner Robert Horn and plays the Nederlander Theatre.

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

New York, New York on Broadway - NYC

image002 (9)

New York, New York on Broadway

New York, NY March 2023

There are neon marquee lights from days of old. There are bustling dancers showing off their prowess as they rush to work and back home. There are even a few classics from John Kander and Fred Ebb’s heyday. Unfortunately for [*New York, New York*](https://www.newyorktheatreguide.com/show/26043-new-york-new-york-tickets), now running on Broadway at the [St. James Theatre](https://www.newyorktheatreguide.com/theatres/st-james-theatre), there isn’t much else.

Loosely based on Martin Scorsese’s 1977 film, *New York, New York* follows a group of toxically optimistic performers trying to beat the odds and make it big in 1946. Francine Evans (Anna Uzele), a singer from Philly fresh off a USO tour, knows she will have to “work twice as hard to get half as far” in a segregated society.

Her love interest, Jimmy Doyle (a miscast Colton Ryan), believes Francine’s talent will override racial barriers. This idea comes up various times, expressed by white characters and characters of color, with the general conclusion that New York is special and different, a place with no discrimination.

Jimmy rebuffs Francine’s concerns over an interracial musical act with “This isn’t Texas. This is New York!” (The audience cheered.) Toward the end, Francine makes a career decision based on the racism and misogyny she’s experienced, and the characters take this as an offense against New York itself. “Don’t bet against New York,” one implores, as if her actions could possibly be construed that way.

Uzele’s Francine is the only character with a plot, and Uzele is the strongest performer. She carries the show as the self-sabotaging Jimmy grows to resent her success and recognition, leaving us without a reason to root for him. Her searing rendition of “But the World Goes Round” alone — during which projection designers Beowulf Boritt and Christopher Ash strip away the photorealistic backgrounds and leave Francine to bare her soul in a stark spotlight — outshines Ryan. His muffled voice doesn’t suit the broad and brassy Kander and Ebb numbers.

Ryan is done no favors, of course, by his character’s lack of plot or motive beyond landing Francine. We know he’s haunted by his past, but that doesn’t explain why he ambles about aimlessly until trumpet-playing veteran Jesse (John Clay III) and Cuban immigrant Mateo (Angela Sigala) hand him a second-act raison d’être. Characters in search of a plot, indeed.

Haranguing the show feels almost dirty, however, with Ebb long deceased and Kander now 96. (Lin-Manuel Miranda contributed additional lyrics, though his signature style is absent.) Theatregoers will recognize that Susan Stroman’s production, although it feels unfinished, is a love letter to the pair and their achievements in the genre. A revue would perhaps have been more appropriate than sticking half-developed characters with the songbook and hoping for the best.

At one point, a young violinist (Oliver Prose) tells his teacher, Madame Veltri (Emily Skinner, doing her best with little) that his whole family was murdered in Treblinka. She sings “A Simple Thing Like That” in response, a song about life’s randomness that, while pretty, doesn’t match the gravity of the moment.

If it were more cohesive, *New York, New York* could be a great show for tourists (if they can stomach the disparagement of living anywhere else), complete with classic, tap-dancing tunes that employ a large number of dancers, designers, and musicians. But would it not serve both the company and audience more if the musical was a better-crafted tribute to Kander and Ebb and the city that made them?

The show concludes with the long-awaited title number, delivered by Uzele (with a delightful orchestral surprise) in unearned triumph. Perhaps the performance best summarizes the story’s message: to march on against the odds, whether they be societal or a result of misdirected efforts.

[*New York, New York* is at the St. James Theatre. Get *New York, New York* tickets on New York Theatre Guide.](https://www.newyorktheatreguide.com/show/26043-new-york-new-york-tickets)

*Photo credit: Anna Uzele and Colton Ryan in New York, New York. (Photo by Paul Kolnik)*

'New York, New York' review — Kander and Ebb musical is still searching for the very heart of it

Read our review of *New York, New York* on Broadway, which is directed and choreographed by Susan Stroman and features new lyrics by Lin-Manuel Miranda.

Designed by Warren and Wetmore, the St. James Theatre was built by producer Abraham L. Erlanger on the site of the original Sardi's restaurant (which is now located down the block). The theatre opened in 1927 as The Erlanger with the inaugural production *Merry Malones*.

The Astor family took over the venue in 1930 after Erlanger's death and renamed it the St. James Theatre in 1932.

The Shubert Organization took control in 1941 before relinquishing the building to William L. McKnight in 1957. In 1970, he passed it on to his daughter Virginia and her husband James H. Binger, the founders of theatre-ownership company Jujamcyn Theaters. The organization still operates the St. James today.

## How to get to the St. James Theatre on Broadway

The St. James Theatre is nearest to the 42nd Street - Port Authority subway stop on the A, C, and E lines. The nearest bus stops are 7th Ave/W 44th St. on the M4, M20, and M014 line; and W 43rd St./8th Ave on the M20, M104, and M34A-SBS line.

## Restaurants near the St. James Theatre

Popular restaurants that share a block with the St. James Theatre include Sardi's (American), John's (pizza/Italian), and Carmine's (Italian). Other nearby American diners and restaurants include Peachy Keen, Bubba Gump Shrimp Co., and Hard Rock Cafe.

St. James Theatre - NY

St. James 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

some like it hot poster-480x720

“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

Sweeney Todd on Broadway - NYC

Gaten Matarazzo, Annaleigh Ashford, Josh Groban, Nathan Salstone and the company of the 2023 Broadway production of SWEENEY TODD, Photo by Matthew Murphy and Evan Zimmerman

Sweeney Todd on Broadway

Sweeney Todd on Broadway Poster

[*Sweeney Todd*](https://www.newyorktheatreguide.com/show/26216-sweeney-todd-on-broadway-tickets) is back on Broadway, and there’s much to savor in this musical revival starring [Josh Groban](https://www.newyorktheatreguide.com/stars-on-stage/josh-groban) and [Annaleigh Ashford](https://www.newyorktheatreguide.com/stars-on-stage/annaleigh-ashford). Stephen Sondheim’s sublime score sounds deliciously lush as played by the 26-piece orchestra, the singing is uniformly excellent, and Hugh Wheeler’s morbidly gripping story unfolds in crisp fashion. 

However, there’s an ingredient missing in [*Hamilton*](https://www.newyorktheatreguide.com/show/384-hamilton-tickets) director Thomas Kail’s star-studded but standard take on the 1979 musical: its essential dark edge. Subtitled *The Demon Barber of Fleet Street*, the show motors on Sweeney’s monstrous dimensions. Absent that, or even a faint whiff of borderline madness from what he’s been dealt, the production comes off as a bit too tame. 

Gorgeous music threads throughout this grisly thriller. Sweeney (Groban) returns to London after being wrongfully imprisoned for 15 years. Mourning the loss of his family because of a corrupt judge and his henchman, the barber swears revenge on the duo. He’ll use his straight razors for payback. Pie shop proprietor Mrs. Lovett (Ashford), who has a thing for Sweeney, becomes his accomplice. When Sweeney’s throat-slitting escalates, she grinds his victims into makings for meat pies. Business booms. But there’s no way this tale can have a happy ending. 

Mimi Lien’s two-tiered set makes use of the stage and a bridge above it. A counter pushed into place is the pie shop, and a crane contraption doubles as a madhouse. The bridge is used in a striking moment for a silhouetted dance. Elsewhere, Steven Hoggett’s choreography recalls awkward aerobics, particularly when all hell breaks loose near the end. Natasha Katz’s dramatic lighting is the star of the physical production.

Both leads deliver exactly what they’re best at. Groban, a Tony nominee for *Natasha, Pierre & the Great Comet of 1812*, has a nice-guy persona and lacks the sinister side to convince as a man "even rats fear," according to the title song. He also blends into the crowd in group scenes. But when he sings, Groban commands focus 100 percent. He taps directly into the mournful tones of “The Barber and His Wife,” in which he recalls his past, and the despair of “Epiphany,” as he faces his future.

Last seen on Broadway as Dot in Sondheim’s *Sunday in the Park With George*, Ashford is a very fine singer, but her comic chops set her apart. She won a Tony for *You Can’t Take It With You*, a play in which she bounced off the walls. She is clearly in her comfort zone here. 

Sporting a messy hairdo a la Angela Lansbury, the original Mrs. Lovett, Ashford throws herself into the part – and onto the stage. She bump-bump-bumps down a staircase on her fanny. She channels the Three Stooges and spins while on her side on the floor. She’s a riot, and she also oozes vulnerability. As funny as she is, Mrs. Lovett is a villain because she keeps a life-and-death secret from Sweeney.

Gaten Matarazzo of *Stranger Things* plays Tobias, who becomes Mrs. Lovett’s helper. He makes the most of the famous song “Not While I’m Around.” Jordan Fisher and Maria Bilbao ably fill out the romantic subplot as the thwarted young lovebirds Anthony and Johanna. 

The beggar woman, played by Ruthie Ann Miles, looms extra large in this version. In a provocative stroke, when she enters the barber shop, she points here and there as if remembering something. Is her mind really gone? That question makes her fate all the more tragic – and Sweeney’s words more resonant.

“We all deserve to die,” Sweeney sings. He means himself and Mrs. Lovett. In this revival, the barber and the baker go hand in hand to hell.

[*Sweeney Todd* is at the Lunt-Fontanne Theatre. Get *Sweeney Todd* tickets on New York Theatre Guide. ](https://www.newyorktheatreguide.com/show/26216-sweeney-todd-on-broadway-tickets)

*Photo credit: Annaleigh Ashford and Josh Groban in Sweeney Todd on Broadway. (Photo by Matthew Murphy and Evan Zimmerman)*

'Sweeney Todd' review — Josh Groban-led revival doesn't frighten, but still thrills

Read our four-star review of Stephen Sondheim's *Sweeney Todd* on Broadway, starring Josh Groban and Annaleigh Ashford, playing at the Lunt-Fontanne Theatre.

The Lunt-Fontanne Theatre opened on January 10, 1910 and was originally named the Globe Theatre. The venue was named after the famous Shakespearean theatre in London.

The first production at the venue was the musical *The Old Town*, which opened in 1919. In the 1930s, the space became a cinema operated by the Brandt chain until it was purchased by City Playhouses Inc. in 1957. The venue reopened as a theatre on May 5, 1958, and it was renamed in honor of theatrical couple Alfred Lunt and Lynn Fontanne. The pair starred in the first production under the new ownership: Friedrich Dürrenmatt's *The Visit*. 

Producers Cy Feuer and Ernest H. Martin bought the theatre in 1960 and sold it to developer Stanley Stahl in 1965. The Nederlander Organization currently co-owns the venue with the Stahl estate.

## How to get to the Lunt-Fontanne Theatre on Broadway

The Lunt-Fontanne Theatre, located on 46th Street and Broadway, is nearly equidistant from the 42nd Street - Times Square subway stop on the 1, 2, 3, 7, N, Q, R, W, and S lines, and the 50th Street stop on the 1 line.

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

## Restaurants near the Lunt-Fontanne Theatre

The Lunt-Fontanne Theatre is one block directly east of Restaurant Row, a hub for all types of restaurants located on 46th Street between Eighth and Ninth Avenues. Some popular restaurants there include Le Rivage (French), Becco (Italian), Lattanzi (Italian), Joe Allen (American), and Frankie and Johnnie's Steakhouse.

[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)

Lunt-Fontanne Theatre - NY

Lunt-Fontanne Theatre

2023 Tony Award Nominees

NYC Popular Shows (WL)

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

Camelot on Broadway - NYC

LCT-Camelot-328r-Phillipa-Soo-center-and-company-in-Lincoln-Center-Theaters-production-of-CAMELOT.-Credit-to-Joan-Marcus-2048x1350

Camelot on Broadway

Camelot Poster Tony Noms-silvery-3

The optimistic notion that greatness is within reach if only for “one brief, shining moment” is indelibly ingrained in Alan Jay Lerner and Frederick Loewe’s 1960 musical [*Camelot*](https://www.newyorktheatreguide.com/show/25210-camelot-tickets). Director Bartlett Sher’s gray and forbidding revival of the classic show could definitely use a bit more shine. It’s dark a lot in this *Camelot*. 

Running 3 hours at Lincoln Center's [Vivian Beaumont Theater](https://www.newyorktheatreguide.com/theatres/vivian-beaumont-theater), the production is stately and beautifully sung, yet it’s seldom exciting or joyful. That's a long sit for, essentially, a relatively straightforward story. 

England’s King Arthur (Andrew Burnap) marries French Princess Guenevere (Phillipa Soo) in a political setup to ensure peace and prosperity. The young and idealistic Arthur strives to make his realm, Camelot, a utopian place of chivalry and justice for all.

But it all curdles when Guenevere and Lancelot (Jordan Donica), a countryman from France and one of Arthur’s Knights of the Round Table, give in to their passions. Chalk that up to personal chemistry and outside enablers. The inevitable ensues: war.

Lerner and Loewe’s songs tend to be light, whether it’s Arthur’s whimsical “I Wonder What the King Is Doing Tonight,” Guenevere's lively “The Lusty Month of May,” or Lance’s self-celebratory “C’est Moi.” Here, the songs and the production are a bit of a mismatch.

Beyond the physical elements that bend into shadows, the new book by Aaron Sorkin (*To Kill a Mockingbird*) is a mixed bag. Guenevere plays a big role in shaping Camelot and its lofty “might for right” ideals, while the story points out that a marriage as a business deal is a shaky proposition. These modern ideas fit naturally enough in this period tale. 

As [widely reported](https://www.newyorktheatreguide.com/theatre-news/news/how-the-camelot-broadway-revival-is-reinventing-the-roundtable), Sorkin has stripped the plot of magic and supernatural references in Lerner’s original book based on T.H. White’s *The Once and Future King*. Merlyn (Dakin Matthews) can no longer turn someone into a bird. But he knows that when a powerful ruler determines to do good, danger will come knocking. It’s another contemporary talking point that spans eras.

But the book also stupefies. In the original version, Morgan Le Fey was a sorceress who casts a spell that traps Arthur within invisible walls. As played by Marilee Talkington in a strange scene, Morgan is a confident scientist, so she says, who fiddles around doing something in her lair situated in a spooky, knotty forest. She can’t do magic. But she’s great with numbers, which matters because… it's unclear.

Arthur’s all-important absence from the castle, enabling lusty Guenevere and Lancelot to be alone, is engineered by Morgan and Arthur’s bastard son, Mordred (Taylor Trensch). The manipulative teen knows how to push his sensitive father's buttons. He’s a creep right out of *The Social Network*. 

Sorkin can’t resist having Morgan spit out a winking, on-the-nose zinger about bad leadership, or, better, one unnamed man. “Oh,” she says, “you’d be amazed at who people will follow.” Just how *Camelot* is an exemplary source of justice for all doesn’t quite come through. Knights keep grousing that “equality is a myth made by the less-than-equal.” So where, exactly, is that one brief, shining moment?

In the end, the songs, the 30-piece orchestra, and the principals are bright spots. Burnap, a Tony winner for *The Inheritance*, beams a genuine earnestness that fits Arthur. Donica, who played Freddy in Sher’s *My Fair Lady*, makes the famous song "If Ever I Would Leave You" a highlight. Soo, a very fine actor and a gorgeous singer, further establishes herself as a star who shines no matter what.

[*Camelot* is at the Vivian Beaumont Theater. Get *Camelot* tickets on New York Theatre Guide.](https://www.newyorktheatreguide.com/show/25210-camelot-tickets)

*Photo credit: Phillipa Soo, Andrew Burnap, Dakin Matthews, Jordan Donica, and company in Lincoln Center Theater's production of Camelot. (Photo by Joan Marcus)*

'Camelot' review — this shining kingdom's revival has bright and dull spots

Read our review of the latest *Camelot* Broadway revival, with songs by Lerner and Loewe and a new book by Aaron Sorkin, at the Vivian Beaumont Theater.

Designed by Eero Saarinen with the collaboration of Jo Mielziner, the Vivian Beaumont Theater opened on October 21, 1965, with a revival of *Georg Büchner's Danton's Death* starring James Earl Jones and Stacy Keach.

The venue was named after heiress Vivian Beaumont Allen, who donated $3 million for its construction but died in 1962 before its completion. The theatre shares a building with the Off-Broadway venue the [Mitzi E. Newhouse Theater](https://www.newyorktheatreguide.com/theatres/lincoln-center-mitzi-e-newhouse-theater). Lincoln Center Theater has operated both since 1985. LCT's intimate [Clare Tow Theater](https://www.newyorktheatreguide.com/theatres/lincoln-center-claire-tow-theater), situated on the roof of the Vivian Beaumont, was added in 2012.

The Vivian Beaumont Theater is the only Broadway theatre not in the theatre district around Times Square. Located within Lincoln Center near 65th Street and 10th Avenue, it is the northernmost and westernmost Broadway house. The venue is also one of five Broadway theatres named for a woman.

## How to get to the Vivian Beaumont Theater on Broadway

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

## Restaurants near the Vivian Beaumont Theater

Popular restaurants near the Vivian Beaumont Theater include P.J. Clark's (American), The Smith (American), Boulud Sud (Mediterranean), Cafe Fiorello (Italian), Joanne Trattoria (Italian), and La Boite en Bois (French).

Vivian Beaumont Theater - Lincoln Center Theater - NY

Vivian Beaumont Theater - Lincoln Center Theater

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

Chicago on Broadway [22] 

CH 090 PA TICKETING ASSETS UPDATE MAY 2023 1600x1200

Chicago on Broadway

CH 090 PA TICKETING ASSETS UPDATE MAY 2023 TodayTix V1 480x720

Chicago new poster

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)*

----------------------------------------------------------------------------

"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

Hadestown on Broadway [14748] 

[Media #1] Hadestown 14748

Hadestown on Broadway

[Poster] Hadestown 14748

Going to hell has never been as much fun as seeing a performance of Anaïs Mitchell's musical <a href="/show/hadestown">Hadestown</a>, now playing at the <a href="/theatres/walter-kerr-theatre">Walter Kerr Theatre</a>.&nbsp;And don't let its origins in Greek mythology scare you off because there's a built-in narrator in the form of the god Hermes (André De Shields) whose job was to guide souls into the afterlife.&nbsp;In Hadestown, his first task is to introduce all the characters in a rollicking number "Road to Hell."Mitchell, the talented singer/songwriter who is responsible for the whole shebang, music, lyrics and book, has intertwined the myth of Orpheus (Reeve Carney), son of the God Apollo and muse Calliope and Eurydice (Eva Noblezada), wood nymph; with that of Hades (Patrick Page), god of the underworld and Persephone (Amber Gray), daughter of the god Zeus and goddess of the harvest Demeter.&nbsp;The story that unfolds in Hadestown is that Hades falls in lust with Persephone and abducts her to the underworld where they fall in love and marry.&nbsp;Demeter is so distraught she declares that there will be no more growth or harvest until Persephone returns.&nbsp;Zeus brokers a deal whereby Persephone spends 6 months out of the year above ground and 6 months out of the year below, thus creating the seasons. So, Persephone rides a train back and forth between the underworld known as Hadestown where she's the only living soul, and the world above.&nbsp;But Hades keeps shortening her time up above because he misses her.&nbsp;And the earth gets colder.Meanwhile, Orpheus is trying to write a song that will restore order to the seasons when he runs across Eurydice, with a little help from Hermes and The Fates (Jewelle Blackman, Yvette Gonzalez-Nacer, Kay Trinidad), who is wandering around cold and hungry.&nbsp;She's initially unimpressed until he starts singing.&nbsp;In the only off note in the production, they fall in love (unfortunately no chemistry between the two - Reeve Carney is a little too much of a hesitant milquetoast to be a believable love interest for the determined and charming Eva Noblezada) and marry.&nbsp;Whereupon Orpheus immediately goes back to songwriting and neglects Eurydice.So, what's a poor, once again cold and hungry girl to do?&nbsp;Where does she go to get warm?&nbsp;You guessed it, Hadestown.&nbsp;Where Eurydice becomes one of the poor lost souls in the underworld, trapped behind the wall Hades has erected. And explains in the Act One finale "Why We Build The Wall" that brings down the house.&nbsp;If I didn't know that Mitchell wrote the score in 2010, I'd swear she wrote it within the last two years.I won't spoil the second act except to say that it's about Orpheus' trip to Hadestown to find Eurydice to try to rescue her.&nbsp;And that Michael Krass' costumes for the Chorus in the underworld are outstanding, as is the visually stunning dance number choreographed by David Neumann done with headlamps and swinging lights.&nbsp;And if the love story between Orpheus and Eurydice didn't smolder, Patrick Page and Amber Gray set the house on fire as Orpheus and Persephone. Their song "How Long?" and the dance that went with it had me melting in my second row seat when I saw both of them crying.&nbsp;Be still my heart.(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>"All your favorite Greeks are heading somewhere in&nbsp;Hadestown,&nbsp;the sumptuous, hypnotic and somewhat hyperactive musical that opened on Wednesday night after its own twisty 13-year road to Broadway." Jesse Green for <a href="https://www.nytimes.com/2019/04/17/theater/hadestown-review-broadway-anais-mitchell.html" target="_blank">New York Times</a>"It looks spectacular—thanks to Rachel Hauck's set, which features three turntables in concentric circles, and Bradley King's lighting—but it has a human scale; it feels less like a standard Broadway musical than a concert, a gathering, a happening. (The seven members of the excellent onstage band are called out by name for applause.) And, most important, it has Mitchell's score: a joyful combination of folk, pop, Dixieland and blues that will make you want to rehear it as soon as the lights come up. You'll be singing it again in your head for days." Adam Feldman for <a href="https://www.timeout.com/newyork/theater/hadestown-review-broadway" target="_blank">Time Out New York</a>"Yes, composer Anaïs Mitchell's musical retelling of the Orpheus and Eurydice myth, which opened Wednesday on Broadway, sounds pleasant and looks more expensive than it did in 2016 at New York Theatre Workshop. But this classic tale of love — he looks back, she gets trapped in the underworld for all eternity — is still too slick and sterile for us to give a damn about her damnation." Johnny Oleksinski&nbsp;for&nbsp;<a href="https://nypost.com/2019/04/17/hadestown-review-broadway-douses-the-fires-of-hell-with-folk-music/" target="_blank">New York Post</a>"In "Road to Hell," the exhilarating opening number of the utterly fabulous&nbsp;Hadestown, Hermes, the conductor of souls into the afterlife, invites us to "Ride that train to the end of the line." He's played with seductive authority and knowing humor by the eternally elegant Andre De Shields, outfitted like a superfly pimp in a flashy silver suit, and it's hard to imagine anyone resisting his call. He sells a ticket to a bewitching journey that pays off at every turn." David Rooney for <a href="https://www.hollywoodreporter.com/review/hadestown-theater-review-1202512" target="_blank">Hollywood Reporter</a>"Hadestown&nbsp;triggered a lot of buzz&nbsp;when this wholly American show (which came to the stage by way of a concept album) premiered at Off-Broadway's New York Theatre Workshop in 2016. Arriving on Broadway&nbsp;with its earthly delights more or less intact, this perfectly heavenly musical — with book, music and lyrics by Anaïs Mitchell — should stick around for a while." Marilyn Stasio&nbsp;for <a href="https://variety.com/2019/legit/reviews/hadestown-review-musical-broadway-1203191646/" target="_blank">Variety</a>

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