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Alex Edelman: Just For Us on Broadway - NYC

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Alex Edelman: Just For Us on Broadway

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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

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The Sign in Sidney Brustein’s Window on Broadway Starring Oscar Isaac and Rachel Brosnahan - NYC

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The Sign in Sidney Brustein’s Window on Broadway Starring Oscar Isaac and Rachel Brosnahan

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Lorraine Hansberry’s 1964 drama [*The Sign in Sidney Brustein’s Window*](https://www.newyorktheatreguide.com/show/26553-the-sign-in-sidney-brusteins-window-tickets) hasn't had a major New York revival in 50 years. That fact alone would make this play, which premiered on Broadway five years after *A Raisin in the Sun*, an event. Add Oscar Isaac as Sidney and Rachel Brosnahan as his wife, Iris, and the magnetism intensifies. 

Despite the rarity factor and the pair of marquee stars, director Anne Kauffman’s revival at the [Brooklyn Academy of Music](https://www.newyorktheatreguide.com/theatres/harvey-theater-at-bam-strong) is a modestly engaging production of a meandering story about a marriage and a moment in time.

*Window* looks out on Greenwich Village in the early 1960s. The scenic design collective dots has conjured the Brustein apartment in time-capsule detail. Like in *Seinfeld*, decades later, Sidney’s door never seems to be locked, enabling others to enter and exit freely for drama’s sake.

Sidney is an idealist and an intellectual, prone to quoting great writers and, oddly, using affectations like “my boy” when talking to David (Glenn Fitzgerald), a gay playwright and upstairs neighbor. Iris is a wannabe actress who waits tables and has saved her tip money to see a shrink. She’s had plenty to discuss during two years of psychoanalysis, including that the story she’s told her husband about her Oklahoma upbringing is largely fiction. Her finest acting gig: Mrs. Brustein.

Five years into the marriage, cracks are showing. That Sidney sneers at Iris’s acting skills and derides her plans to do a TV commercial doesn’t help. Nor does the fact Sidney is a dreamer who does what he wants when he wants it. 

Immediately after the failure of his last enterprise — “a place just to listen to good folk records” — he has somehow bought the Village Crier. “My little artsy-craftsy newspaper is going to stay out of politics,” he says.

Sidney admits he’s done trying to save the world, a retreat from human affairs a friend slyly calls “ostrich-cism.” But there’s an election going on, and Alton (Julian De Niro), a friend who’s involved with Iris’s sister Gloria (Gus Birney), a fashion model, so she claims, persuades Sidney to support the reform candidate Wally O’Hara (Andy Grotelueschen). 

Sidney reluctantly agrees and then goes even further. He hangs a campaign poster boosting Wally in his apartment window. For Sidney, Wally’s fate – and his role in securing it –  is brutal when he wakes up to the politician’s true colors. By this time, the Brustein marriage looks like a goner.

Clocking in at 3 hours, which includes an intermission, Hansberry’s play has plenty of sweep – maybe too much. It takes on racism, anti-Semitism, political corruption, suicide, homosexuality, and social activism. Performances are all over the map. At one point, three characters inexplicably sit below the elevated set to watch what’s happening.

Isaac (*Star Wars*) goes big in his star turn. He postures, pounces on furniture, wriggles on his back across the floor, and strums a banjo Llewyn Davis-style. Brosnahan (*The Marvelous Mrs. Maisel*) dances in her underwear and strikes chords of defiance and despair, yet she is a bit underpowered. 

The indelible performance comes from Miriam Silverman as Iris’s married sister Mavis, whose life uptown is assumed to be square compared to the boho zone. “Everybody is his own hipster,” she tells Sidney in an outstanding scene.

In the end, the play is all about Sidney, Iris, and where their lives are going. Hansberry leaves room for a sign of hope.

[*The Sign in Sidney Brustein’s Window* is at the Harvey Theater at BAM Strong through March 24.](https://www.newyorktheatreguide.com/show/26553-the-sign-in-sidney-brusteins-window-tickets)

*Photo credit: Rachel Brosnahan and Oscar Isaac in The Sign in Sidney Brustein's Window. (Photo by Julieta Cervantes)*

'The Sign in Sidney Brustein’s Window' review — Oscar Isaac and Rachel Brosnahan lead a rare revival

The James Earl Jones Theatre, formerly called the Cort Theatre, officially opened on December 20, 1912, with *Peg o' My Heart* starring Laurette Taylor. The venue was originally named after John Cort, founder of the Northwestern Theatrical Association. He commissioned Thomas W. Lamb to design the theatre, which would mirror the Petit Trianon in Versailles. 

The Shubert Organization acquired the theatre in 1927, two years before Cort’s death. It has always been used as a traditional theatre except for the years from 1969 to 1972, when it became a television studio with the broadcast of *The Merv Griffin Show*.

Renovation work began at the Cort Theatre in 2021, and the venue reopened in 2022 under its new name. The building is now named for James Earl Jones, the Tony, Emmy, and Grammy Award-winning actor known for voice roles in *The Lion King* and *Star Wars* films and stage performances in shows including *The Great White Hope* and *Fences*, which both earned him Tony Awards. He also earned a Lifetime Achievement Tony Award in 2017.

## How to get to the James Earl Jones Theatre on Broadway

The James Earl Jones Theatre is closest to the 47-50 Sts - Rockefeller Center stop on the B, D, F, and M lines. The closest bus stops are 6th Ave/W 49th St. on the M50 line and 6th Ave/W 47th St. on the M5 and M7 lines.


James Earl Jones Theatre - NY

James Earl Jones Theatre

Death of a Salesman Rush

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Death of a Salesman on Broadway - NYC 

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Death of a Salesman on Broadway

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Few American plays are revisited on Broadway as often as [*Death of a Salesman*](https://www.newyorktheatreguide.com/show/25459-death-of-a-salesman-tickets). The play has received six productions in under 75 years, and this latest revival at the Hudson Theatre, brought over from an acclaimed London run, reminds us why. There is always new depth to be mined from Arthur Miller's story of Willy Loman, a man who all but worshipped the American Dream of prosperity through hard work, only to realize he worked his life away for naught.

Casting Willy and his family as Black deepens the show, pointing to how opportunities for upward growth are not equally afforded to everyone, especially minorities. Performing this play, which was written and is set in the mid-20th century, today adds yet another layer of tragedy: Willy is only 63, a much more advanced age decades ago. Lines like "But you're 60 years old; they can't expect you to keep traveling every week" earn dry laughs now that 60 is barely the retirement age, but it's more arresting to see such inescapable mental decline happen to someone so young. 

Furthermore, this *Death of a Salesman* brought to my mind *Long Day's Journey into Night*, Eugene O'Neill's masterwork about a family undone by addiction. (Perhaps it's no wonder many [past *Salesman* stars](https://www.newyorktheatreguide.com/theatre-news/news/all-the-celebrities-who-have-starred-in-death-of-a-salesman), like Philip Seymour Hoffman and Brian Dennehy, have performed in *Long Day's Journey*, too.) *Death of a Salesman* is often described as a detailed look into one man's devolving mind (only the salesman is in the title, after all), but this production turns Miller's play into more of an ensemble work about the loved ones affected by his devolution.

That is not to minimize Wendell Pierce in any way, whose Willy still commands the stage with bluster and bombast. That is, on the surface: Multiple journeys deep into Willy's psyche, where he loses himself in falsified, idyllic memories and pushes away dark ones the second they creep up, reveal his swagger to be a defense mechanism from the truth. Eventually, that defense gets tiring, and he can't fight for, or against, himself anymore. Pierce is a larger man, but he figuratively shrinks so much as the play goes on, one would swear the transformation was physical. When his wife Linda says of him, "A small man can be just as exhausted as a great man," it's still believable as an assessment of his standing in the world.

Equally compelling are Khris Davis and McKinley Belcher III as Willy's sons Biff and Happy, each a warped mirror of their father. Biff, the elder son, shares his father's inability to truly succeed, in part because Willy raised him to pursue business when his passion lie in farming, and in part due to a grudge Biff holds against his father. He also inherited his father's temper, suggesting he could someday push his family away like Willy did. Happy, conversely, inherited his father's interest in business, if not his work ethic, and his final moment implies he'll follow his father's glorification of the American Dream. Both paths are tragic in their own right.

But ultimately, it is Linda who bookends *Salesman* as the first and last character we see alone on stage. [Sharon D Clarke](https://www.newyorktheatreguide.com/stars-on-stage/sharon-d-clarke), who won an Olivier Award for performing the role in London, plays the oft-demure character with ferocity and desperation. This is not a submissive wife coddling her husband and his delusions; this is a woman demanding respect and compassion for an unstable man. Even more crucially, this is also a woman at her breaking point. She knows of her husband's suicidal tendencies — a crushing load to bear — and, though she doesn't say so outright, appears to feel responsible for keeping him off the ledge.

Of course, Linda's efforts are just as doomed as Willy's pursuits, and Clarke's layered performance recasts *Death of a Salesman* as a dual tragedy, with Linda as a hidden crux of the show to whom attention must truly be paid. As she sings an ending lament for her husband (and bless director Miranda Cromwell for giving Clarke not one, not two, but three opportunities to sing), we're reminded that the remaining Lomans' life still has to go on in the real world, now that all delusions are gone. Even after nearly three and a half hours of *Death of a Salesman*, I'd gladly stay longer to watch that story continue.

[*Death of a Salesman* is at the Hudson Theatre through January 15. Get *Death of a Salesman* tickets on New York Theatre Guide.](https://www.newyorktheatreguide.com/show/25459-death-of-a-salesman-tickets)

*Photo credit: Wendell Pierce and Sharon D Clarke in Death of a Salesman. (Photo by Joan Marcus)*

'Death of a Salesman' review — Wendell Pierce and Sharon D Clarke revitalize a time-honored tragedy

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

Fat Ham on Broadway Rush

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Fat Ham on Broadway - NYC

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Fat Ham on Broadway

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If Hamlet were to partake in karaoke, the troubled prince might perform Radiohead’s “Creep.” In James Ijames’s Pulitzer Prize-winning tragicomedy [*Fat Ham*](https://www.newyorktheatreguide.com/show/27141-fat-ham-tickets), the character Juicy, loosely based on Shakespeare’s forlorn prince, does just that. The rock song’s moody lyrics about searching for masculinity and self-worth are fitting for Hamlet — and his Black, gay derivative.

This riff on the Bard’s tragedy takes place at a backyard barbecue in the South. Juicy (Marcel Spears) and his family are celebrating the nuptials of his mother Tedra (Nikki Crawford) to his Uncle Rev (Billy Eugene Jones), just one week after the murder of his father Pap (also Jones). Sound familiar?

*Fat Ham* [isn’t a scene-for-scene adaptation of the tragedy](https://www.newyorktheatreguide.com/theatre-news/news/the-differences-and-similarities-between-fat-ham-and-shakespeares-hamlet), though. The 95-minute play begins with Tio (played with hilarity by Chris Herbie Holland) casually watching porn on his cell phone as Juicy resentfully decorates the backyard. The smoking barbecue grill, colorful globe lights, and bunches of balloons look like harbingers of a happy celebration — but Pap’s ghost has other plans. 

Pap, dressed in a white suit and covered in a red-checkered tablecloth, appears to Juicy to exhort vengeance. He was shanked in the neck in prison, and Rev orchestrated the murder to gain control of the family barbecue business. Juicy, who is pursuing a degree in human resources, prefers working with people over pigs. And he isn’t sure he’s capable — or willing — to exact bloody revenge.

Juicy sports a bedazzled “Mama’s Boy” shirt, but Tedra, wearing bedazzled booty shorts, is unable to give Juicy the love and support he needs. She makes matters worse when she tells him she spent his college tuition fund on a bathroom renovation.

Under Saheem Ali’s direction, all the characters move between tenderness and toughness with ease. The back and forth is thrilling, and the audience even becomes part of this energy with occasional fourth-wall breaks.

The strongest performances are from the young characters, who have more self-awareness than their Shakespearean counterparts. Spears plays Juicy with a gentle, exacting power that might make the audience think he is capable of butchering his uncle — or maybe he just wants to change the family legacy. Opal (Adrianna Mitchell) is a headstrong Ophelia that moves to the beat of her own drum. Holland gets a scene-stealing soliloquy, in which a stoned Tio recalls receiving fellatio from a gingerbread man while playing a VR game.

The play’s brilliance is in its ability to tie Shakespeare into this contemporary family’s experience, even if the characters don’t see it. When Juicy quotes a line from *Romeo & Juliet*, Tedra accuses him of watching too much PBS. “If you bring up that dead old white man one mo time…” she warns. There are plenty more references to *Hamlet*, including the perfectly delivered line “there’s the rub” (pulled from the famous "to be or not to be" monologue) and a brief aside in verse to set up a game of charades. And when Tio tells Juicy their former classmate Yorick overdosed, Juicy cradles a smiley-face balloon instead of a skull.

Throughout the play, others repeatedly call Juicy “tender” and “soft.” “You was powerful when you were a baby,” Rev says. “And you got soft. And you was nothing like your daddy or like me. You was soft. And the men in our family ain’t soft.” 

But maybe tender is good. (Tender pork ribs sure are.) Ijames takes Hamlet’s political and social themes and marinates them for a modern audience. There’s no crown to transfer here, just generations of toxic masculinity to pass down and homophobia to unpack.

*Fat Ham* is less about seeking revenge and more about Juicy winning justice. Spoiler alert: instead of a bloodbath, the play ends with a raucous disco and butterfly-shaped confetti. Now that’s how I like to see Shakespeare.

[*Fat Ham* is at the American Airlines Theatre through June 25. Get *Fat Ham* tickets on New York Theatre Guide.](https://www.newyorktheatreguide.com/show/27141-fat-ham-tickets)

*Photo credit: Marcel Spears (center) and the cast of Fat Ham on Broadway. (Photo by Joan Marcus)*

'Fat Ham' review — a smart, savory sendup of Shakespeare's 'Hamlet'

Read our four-star review of *Fat Ham*, the Pulitzer Prize-winning *Hamlet* adaptation by James Ijames, now at Broadway's American Airlines Theatre through June 25.

The American Airlines Theatre was originally designed by George Keister as an Italian Renaissance-style theatre. The venue opened in 1918 as the Selwyn Theatre, named for its developers, Edgar and Archibald Selwyn. The first show to play there was Jane Cowl's *Information Please*.

Over the course of its history, the building has been used as a theatre, a cinema, and a visitor center until it fell into a derelict state of disrepair. Roundabout Theatre Company took ownership of the venue in 1997, but the building collapsed, so the company rebuilt the Selwyn as part of the New 42nd Street Building in 1999. The theatre was renamed for American Airlines on June 30, 2000; the company donated $8.5 million to help cover renovation costs.

## How to get to the American Airlines Theatre on Broadway

The American Airlines Theatre is situated on 42nd Street between Eighth Avenue and Broadway. By subway, it is accessible by the A, C, E, 1, 2, 3, 7, N, Q, R, W, and S lines to 42nd Street.

American Airlines Theatre - NY

American Airlines Theatre

Children under 4 are not permitted in the theatre.

Ohio State Murders starring Audra McDonald on Broadway - NYC

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Ohio State Murders starring Audra McDonald on Broadway

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The most important thing to highlight about [*Ohio State Murders*](https://www.newyorktheatreguide.com/show/24218-ohio-state-murders-tickets) on Broadway is that it is here. At long last, it is here, with a trio of Black theatre icons (and icons, period) attached. Two are [Audra McDonald](https://www.newyorktheatreguide.com/stars-on-stage/audra-mcdonald), the six-time Tony-winning star of the production, and [James Earl Jones](https://www.newyorktheatreguide.com/theatres/james-earl-jones-theatre), for whom the theatre housing *Ohio State Murders* has just been renamed.

And finally, there's Adrienne Kennedy, who wrote such masterworks as *Funnyhouse of a Negro* in her decades-long Off-Broadway career that pushed the boundaries of theatrical writing. At 91 years old, she is now a Broadway playwright. With a Theater Hall of Fame induction and multiple other lifetime achievement awards under her belt already, it's an honor long overdue.

One can wager various guesses as to the delay. [Kennedy herself cites racism](https://www.nytimes.com/2022/12/02/t-magazine/adrienne-kennedy-broadway.html), and she would know — parts of *Ohio State Murders* are based on her own experiences facing academic discrimination as an aspiring writer at her alma mater of the title. Another is the belief that mainstream audiences (and even theatremakers) might not know what to make of Kennedy's experimental writing, which often abandons realism in favor of symbolism, allegories, and pretzel-like twists of time and space to explore the Black experience.

Not that that's any particular excuse. We can't expand what flies as Broadway theatre if no one dares to try. This Kenny Leon-directed production is imperfect, but it deserves credit for trying and for what it gets right, including McDonald's riveting lead performance.

*Ohio State Murders*, which features one of Kennedy's more linear plots, is a good choice for testing the waters. This still being Kennedy, of course, it's told out of chronological order, by the writer Suzanne Alexander (McDonald). Suzanne is giving a lecture on why violence features so heavily in her works: because she's also a grieving mother whose twin daughters were murdered, and the memory still weighs heavily on her mind.

An out-of-order retelling makes sense for such a story: Suzanne is trying to piece together multiple fragmented, traumatic memories — of getting underestimated for her talents, then rejected from the English program, then pregnant, then expelled, then undone by loss — in real time as she talks about all this openly for the first time.

*Ohio State Murders* is at its best when Suzanne is unraveling her memories for the audience. The short scenes of dialogue, most of which are with her English professor Robert Hampshire, stall the play's momentum. In those moments, Leon can't quite seem to decide whether his *Ohio State Murders* is closer to a memory play or a theatrical memoir.

But we can't disregard Hampshire, though he's unremarkably aloof and Bryce Pinkham plays him as such. He's also the father of Suzanne's twins (this isn't a spoiler), and is, theatrically, her perfect foil.

He and Suzanne each deliver lectures during *Ohio State Murders*, both with a certain emotionlessness. But while his matter-of-fact tone is disinterested, Suzanne's is anything but. There is a palpable, thinly veiled rage simmering beneath most of McDonald's expertly layered performance. Rage at Ohio State for dismissing her writing talents because of her Blackness, at Hampshire for tossing her aside the minute she became pregnant, at everyone involved in covering up the identity of her child's murderer because they were (you guessed it) white.

McDonald is so transformative that in her few moments of bygone joy, such as when she convincingly plays with a pink scarf as though it were a real child, we momentarily forget Suzanne's anger. But when it brings her to her knees as she finally, for one piercing moment, lets all her pain boil over, we're reminded anew that the most violent force in *Ohio State Murders* is racism itself. "Did you write this yourself?" Hampshire doubts, for example, of a brilliant assignment Suzanne submits for his class. Small microaggressions and murderous acts are all rooted in the same hatred.

Kennedy lets this point suggest itself, and Leon's direction of the actors smartly preserves the subtlety of her writing. Beowulf Boritt's set, too, with library stacks akimbo in front of a gaping, dark ravine and snowfall, sets the sinister tone without a word, aided by Allen Lee Hughes's lighting.

If you're looking for a show that announces its themes with pomp and circumstance, *Ohio State Murders* isn't it. Such an even-keeled approach might make a longer show dull, but at just 75 minutes, *Ohio State Murders* holds attention overall amid its muddy moments. And as McDonald's performance attests, nothing is as it seems on the surface. There's plenty bubbling below. This is a murder mystery of sorts, after all, so put on your detective's hat and keep your eyes and ears peeled for the clues.

[*Ohio State Murders* is at the James Earl Jones Theatre through February 12. Get *Ohio State Murders* tickets on New York Theatre Guide.](https://www.newyorktheatreguide.com/show/24218-ohio-state-murders-tickets)

*Photo credit: Audra McDonald in Ohio State Murders. (Photo by Richard Termine)*

'Ohio State Murders' review — Audra McDonald chills and thrills in Adrienne Kennedy drama

Take Me Out starring Jesse Williams and Jesse Tyler Ferguson on Broadway - NYC

Take Me Out Contentful header

Take Me Out starring Jesse Williams and Jesse Tyler Ferguson on Broadway

TMO New Poster

Richard Greenberg's Tony-winning play <a href="https://www.newyorktheatreguide.com/show/take-me-out" target="_blank">Take Me Out</a> returns to Broadway, urging the audience this time to be fully present. From the moment one walks into the <a href="https://www.newyorktheatreguide.com/theatres/hayes-theater" target="_blank">Hayes Theatre</a>, ushers command patrons to turn off cellphones and lock them away in a Yondr pouch — a secure device that remains sealed until everyone leaves the theatre. This precaution occurs for many reasons, but the most important is to protect the actors who occasionally appear fully nude. Unfortunately for this disjointed slow burn, the play's X-rated factor becomes the audience's talk point, a major distraction that causes some to miss the message or overlook it entirely.It's the 2002 baseball season and inside the Empires' locker room is a coming-out story. Star player Darren Lemming (a one-dimensional but overconfident Jesse Williams) is idolized as one who had the best of everything — "a Black man who never suffered." That is, until the day he comes out as gay. The guy who once served as his team's champion and beacon of all things "macho American sports" becomes dimmed down to a dude searching for identity, and he himself is buried in a story with its own identity crisis.Under the uneven direction of Scott Ellis, Take Me Out becomes a cluster of both remarkable and insignificant performances pieced together inside a scattered plot. The story's dramatic turns quickly evolve into humor and fluff. Though Jesse Tyler Ferguson gives one of his best performances to date as Mason Marzac, the audience is never allowed time to sit with the dramatic moments his character's comedic presence often follows.What Take Me Out does right is highlight how sportsmen, entrenched in a business that boasts the traditional expectations of masculinity, respond to a team member's homosexuality. The reactions move from open support to microaggressions to downright hostility. Oddly enough, the story that Greenberg wants us to pay attention to takes a back seat to the man who verbally causes Lemming the most harm. Michael Oberholtzer as Shane Mungitt, the team's new pitcher and unapologetic bigot, is the character that serves the audience uncomfortability and sympathy. I found myself questioning how this character became this way instead of focusing on the harm he causes Lemming and the rest of his team.Slow to bat, this play's second act serves as its home run. Inside the team showers, beautifully crafted by David Rockwell, a place of vulnerability (and nudity) marks the show's most memorable turning point. A private moment between Lemming, who until this moment was proud and confident, confronts Mungitt, exposing both characters' demons. What comes after is both tragic and enlightening.However, Take Me Out is not as relevant today as it was 20 years ago. In the history of Major League Baseball, only two players have come out as gay: Glenn Burke and Billy Bean. Today, each of America's big five sports categories currently has an openly gay man in the pros (though baseball's is in the minor leagues, not the MLB). We still have a long way to go in terms of our perception of masculinity — or what it even means to be male — and&nbsp;Take Me Out&nbsp;makes us aware of this, but uses a curve ball to do so.<a href="https://www.newyorktheatreguide.com/show/take-me-out" target="_blank">Take Me Out&nbsp;is at the Hayes Theatre through May 29. Get&nbsp;Take Me Out&nbsp;tickets on New York Theatre Guide.</a>Photo credit: Jesse Tyler Ferguson and Jesse Williams in Take Me Out.&nbsp;(Photo by Joan Marcus)

'Take Me Out' review — uneven play falls short of a home run

Take Me Out is at the Hayes Theatre through May 29. Get Take Me Out tickets on New York Theatre Guide.

Take Me Out Review | New York Theatre Guide

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 

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

Unlock Rush for a chance to purchase $39 tickets at 9:00 AM.

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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

The Old Man and The Pool - Rush

I unlocked $29 Rush tickets for Mike Birbiglia: The Old Man and the Pool on Broadway on @TodayTix! https://www.todaytix.com/nyc/shows/26356?share=unlock

Mike Birbiglia: The Old Man and the Pool on Broadway - NYC

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Mike Birbiglia: The Old Man and the Pool on Broadway

The Old Man and The Pool - Poster - NYC

Watching comedian Mike Birbiglia on stage is always a blast. It’s like reconnecting with an old friend, albeit one with infinite issues and a habit of taking the roundabout route to get to the point. 

Birbiglia is totally on brand in his largely delightful solo show, [*The Old Man and the Pool*](https://www.newyorktheatreguide.com/show/26356-mike-birbiglia-the-old-man-and-the-pool-tickets). The 44-year-old author and actor dives into the choppy waters of his own mortality and comes up not only with waves of laughs, but also deep reflections about love and appreciation for how lucky he is (and we are) to be alive. 

That will come as no surprise to anyone who’s seen this crafty performer’s previous pieces, in which he mined the funny from some dark situations. These include his dangerous sleep disorder (*Sleepwalk with Me*), bad dates (*My Girlfriend’s Boyfriend*), and parenting perils (*The New One*). 

Director and longtime collaborator Seth Barrish stages *The Old Man and the Pool* simply. Birbiglia wears blue street clothes and stands before a giant curved wall, designed by Beowulf Boritt, that recalls a pool and briefly doubles as a slip-and-slide. 

The story begins with a single breath that sets off recollections that dip in and out of the present. In his trademark style, Birbiglia packs his narrative with flashbacks, curlicues, non sequiturs, and one-liners. The story is here, there, everywhere. It’s how he rolls, and he overall ties things up, save for a few loose ends.

Firstly, a doctor’s test reveals Birbiglia has inherited his family’s cardiac issues. His dad and granddad both suffered heart attacks in their 50s. Physicians naturally advise him to eat healthy and swim regularly. Yeah, right. He gobbles pizza by the pie, not the slice. He’s a storyteller, not Michael Phelps. “I have a drowner’s body,” quips Birbiglia, who nevertheless reluctantly heads to a Brooklyn YMCA pool. 

From the heart doc’s office he travels back to his youth, when his distaste for sports took root. First it was wrestling, which he hated. Then it was swimming at a Massachusetts YMCA pool, a place he associates with pee and chlorine and an unshakable odor. 

“It had that smell like when you’re little and a kid lets you smell under their cast.” Gross, and hilarious. Seeing elderly naked women and men – especially one ancient manspreader – haunts his memory. 

Later traumas come via bladder cancer and Type 2 diabetes; Birbiglia has truly been through the wringer. More health concerns float up when Birbiglia and his wife discover black mold is lurking in their daughter's bedroom. That means moving into an Airbnb. This unresolved detour simply sets up a dad joke about the lack of breakfast: “There’s no b.” This *Pool* has a few of these shallow dips.

But this story also goes below the surface. Birbiglia shares that growing up, his family always said “Take care” instead of “I love you,” and decades later he still does that. But things change. He recalls being in a pool with his daughter, who said something unintelligible when they were goofing around underwater. When they popped up for air, he remembers, “She said, ‘I love you, Dad.’ I said, ‘I love you too, Oona.’” 

Birbiglia doesn’t bend toward sentimentality. When it comes to matters of the heart, poetic and cardiovascular, he simply suggests chains of family history can be broken.

[*The Old Man and the Pool* is at the Vivian Beaumont Theater through January 15. Get *The Old Man and the Pool* tickets on New York Theatre Guide.](https://www.newyorktheatreguide.com/show/26356-mike-birbiglia-the-old-man-and-the-pool-tickets)

*Photo credit: Mike Birbiglia in The Old Man and the Pool. (Photo by Emilio Madrid)*

'The Old Man and the Pool' review — Mike Birbiglia dives into his mortality and earns waves of laughter

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

Recommended for 10 +. Children under the age of 4 are not permitted in the theatre.

Leopoldstadt on Broadway - NYC

1 Leopoldstadt2037r

Leopoldstadt on Broadway

Leopoldstadt poster

In the opening tableau of Tom Stoppard's [*Leopoldstadt*](https://www.newyorktheatreguide.com/show/26003-leopoldstadt-tickets), a Jewish family, nearly 30 strong, assembles in a lavish sitting room and looks forward as if posing for a family portrait. A camera flashes. Haunting piano music plays. This moment dares us to remember — to sear these people, their multitude, their grandeur into our minds — before it's too late to salvage them from history.

It is, indeed, a deeply personal dare from Stoppard himself, who never knew of his own Jewishness until his 50s, when a previously unknown relative made contact. With *Leopoldstadt*, the playwright declares his own heritage in first-rate, epic, and urgent fashion, seemingly atoning for lost time. Forgetting one's ancestors, he suggests, is its own tragedy: "It's like a second death," one character says, "to lose your name in a family album."

*Leopoldstadt* spans 1899 to 1955, so another tragedy looms large: the Holocaust. The extended Merz-Jacobowitz family are well-off Viennese citizens who largely believe themselves Austrian above all else — that is, assimilated, and therefore immune from any anti-Semitism worse than being denied admission into a jockey club. As they inch closer to the onset of World War II with each scene, their home gets shabbier, their numbers smaller, and their Jewishness inescapable.

Smartly, Stoppard did not write *Leopoldstadt* as a Holocaust play. Impending doom lurks in Adam Cork's chilling score, but otherwise, the show is a lively, rich family drama. We're invited into the Merz-Jacobowitzes' commonplace gatherings, debates, trysts, squabbles, and playtimes as though we, too, are kin. There's a healthy helping of intellectual talk — Stoppard's specialty — but it's not esoteric, and in the hands of a superb Brandon Uranowitz, who gets to philosophize the most as the mathematician Ludwig, it's endlessly captivating. Plus, subjects like math are just as often the butt of jokes, of which there are plenty. Stoppard also warms us up to the characters with his trademark witty humor; a misunderstanding between a circumciser and a cigar cutter even provides a full-blown laugh-out-loud moment.

Elevating Stoppard's smart writing is Patrick Marber's equally smart direction. He paces *Leopoldstadt* perfectly, such that its intermissionless two-plus hours fly, and ensures that none of the 30-plus characters get lost, despite only a few having a consistently large presence. Together, they allow us to know the Merz-Jacobowitzes as full people and not just as victims, so by the play's climax — a harrowing repossession of the family home by Nazis, the beginning of the end — we're shaken and shocked, even though history has already dictated what will happen.

In other words, true to its goal, *Leopoldstadt* presents stories one won't easily forget, and won't want to. But lest we might, the play's final scene urges us even more explicitly to remember, finishing the work that opening portrait started. Uranowitz appears again, this time as Nathan, one of the family's few survivors who is now grown. He's visiting his now-derelict family home once more, this time with Rosa, his aunt who had escaped to New York, and Leo, a cousin from England with almost no recollection of that fateful repossession, and no connection to his Jewish heritage. (Yes, the character is a stand-in for Stoppard.)

As Nathan chastises Leo for forgetting, he also succeeds in sparking one memory. And suddenly, the family comes flooding back on stage as a bygone era comes to life once more. Again, they look out at the audience, but now they have names. Journeys. Causes of death. Stories of life. Like Stoppard and the masterwork that is *Leopoldstadt* itself, they will be immortalized in history.

[*Leopoldstadt* is at the Longacre Theatre. Get *Leopoldstadt* tickets now.](https://www.newyorktheatreguide.com/show/26003-leopoldstadt-tickets)

*Photo credit: Brandon Uranowitz, Caissie Levy, Faye Castelow, and David Krumholtz in Leopoldstadt. (Photo by Joan Marcus)*

'Leopoldstadt' review — Tom Stoppard paints a masterful, memorable family portrait

The Longacre Theatre was designed by Henry Beaumont Herts and named after Longacre Square (now Times Square). The theatre was built by producer/manager H.H. Frazee — best known as the Boston Red Sox owner who sold Babe Ruth to the Yankees — and officially opened on May 1, 1913 with the William Hurlbut-Frances Whitehouse comedy *Are You a Crook?*

After Frazee fell into financial trouble, the theatre changed hands many times before being sold to Astor Theatre Incorporated, a Shubert Organization subsidiary, in 1919. The Shuberts continue to own the building. During the 1940s and 1950s, the building also served as a radio and television studio.

The facade and interior of the Longacre are designated New York City landmarks.

## How to get to the Longacre Theatre on Broadway

The Longacre Theatre is closest to the 50th Street subway stops on either the C, E, or 1 line. The 49th Street stop on the N, R, and W line is also nearby.

The nearest bus stops are 7th Ave/W 50th St. stop on the M7, M20, and M104 lines; the 8th Ave./W 49th St. stop on the M20 and M104 lines; and the 7th Ave/W 49th St. stop on the M50 line.

## Restaurants near the Longacre Theatre

Popular restaurants near the Longacre Theatre include La Masseria (Italian), P.S. Kitchen (vegan), Junior's (American), and Lillie's Victorian Establishment (British/pub food). [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)

Longacre Theatre - NY

Longacre Theatre

The Piano Lesson starring Samuel L. Jackson on Broadway - NYC

1542 Samuel L. Jackson and John David Washington in THE PIANO LESSON photo by Julieta Cervantes

The Piano Lesson starring Samuel L. Jackson on Broadway

Piano Lesson Poster

[*The Piano Lesson*](https://www.newyorktheatreguide.com/show/24256-the-piano-lesson-tickets) at the [Barrymore Theatre](https://www.newyorktheatreguide.com/theatres/barrymore-theatre) has been tuned to perfection. Under the deft guidance of LaTanya Richardson Jackson, who makes her Broadway directing debut, August Wilson’s stirring story filled with richly drawn characters, family drama, humor, and beyond-this-world mystery (cue the ghost!) comes vividly to life.

Bluesy poetry and musicality are hallmarks of Wilson’s scripts. It’s easy to see – and hear – that here. Over the course of 2 3/4 hours, bits of boogie-woogie, spirituals, and chants toll. Some lines are said so often they ring like refrains. History also looms large in Wilson's works, and that’s true of this 1990 Pulitzer Prize-winning chapter in his decade-by-decade deep dive into Black lives in the 20th century. 

The setting is 1936 in the Hill District of Pittsburgh, where self-sufficient single mom Berniece Charles (Danielle Brooks) and her young daughter Maretha (Jurnee Swan) live with her uncle Doaker (Samuel L. Jackson). It’s a modest home – well-kept, nothing fancy. Except for one furnishing: an extravagantly carved upright piano that stands in full view in the living room. It has 88 keys and holds painful history.

The ornate instrument becomes the source of conflict when Berniece’s impetuous brother Boy Willie (John David Washington) arrives from Mississippi with his pal Lymon (Ray Fisher) and a truckload of watermelons. Boy Willie plans to sell the fruit and the piano in order to buy a stretch of land of his own.

But anyone who knows Berniece is aware that she won’t part with the piano – no way, no how. “You can’t sell your soul for money,” she tells her brother. He already knows where she stands, like everybody else, including Wining Boy (Michael Potts), Doaker’s brother; and Avery, (Trai Byers), the preacher Berniece has dated since her husband died. The piano is carved with images of enslaved ancestors and is a reminder of what the siblings’ father endured to get it. 

Besides the piano, the past bleeds into the present in another way. The ghost of Sutter, a white man whose ancestors enslaved the Charleses, haunts the house. Berniece asks Avery to bless the residence to get rid of the spirit, but finally comes to realize that tapping into with her family’s past, not shunning it, is what it takes for an exorcism.

The cast is uniformly wonderful. The three leads blend and harmonize, while adding individual grace notes. Brooks speaks volumes with just a glance, Washington adds spirited bluster, and Jackson’s distinct voice was made for Wilson’s words. I lost count of how many times Doaker deadpans, “Berniece ain’t gonna sell that piano” – but he made it fresh each time. (Jackson understudied Boy Willie in the 1990 Broadway run.)

In their supporting roles, Fisher makes dim Lymon lovable, while Potts radiates gleeful charisma. Watching Wining Boy sell Lymon an absurdly ill-fitting suit is like taking a whiff of theatrical laughing gas. As Grace, a wise-to-the-world woman Boy Willie and Lymon try to romance, April Matthis gives a lesson in how to make a big impact with a small role.

The production team also delivers. Beowulf Boritt’s set leaves room for an eerie showdown enhanced by Jeff Sugg’s projections, Toni-Leslie James’s costumes evoke mid-1930s style, and Japhy Weideman's lighting lends warmth and chill as needed. 

Wilson’s works sometimes take on mystical dimensions. *The Piano Lesson* eventually leads to a supernatural confrontation that creeps close to being fright-night over-the-top. Considering what’s at stake, though, the final moments strike just the right chord.

[*The Piano Lesson* is at the Barrymore Theatre until January 22. Get *The Piano Lesson* tickets on New York Theatre Guide.](https://www.newyorktheatreguide.com/show/24256-the-piano-lesson-tickets)

*Photo credit: Samuel L. Jackson and Ray Fisher in The Piano Lesson. (Photo by Julieta Cervantes)*

'The Piano Lesson' review — Samuel L. Jackson, Danielle Brooks, and John David Washington strike all the right chords

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

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

## How to get to the Barrymore Theatre on Broadway

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

Barrymore Theatre - NY

Barrymore Theatre

Topdog/Underdog on Broadway - NYC

122 Topdog Underdog Broadway Production Photos 2022 HR Final Credit Marc J Franklin

Topdog/Underdog on Broadway

Topdog/Underdog

Designed by Herbert J. Krapp for Irwin Chanin, the John Golden Theatre officially opened as the Theatre Masque on February 24, 1927 with the play *Puppets of Passion*. The Golden Theatre was purchased by impresario John Golden in 1937, who renamed the theatre after himself.

The building was used as a cinema in the late 1940s and 1950s before the Shubert Organization purchased and restored it to traditional theatre usage. The exterior of the Golden Theatre was used in the film adaptation of *A Chorus Line*.

## How to get to the Golden Theatre on Broadway

The Golden Theatre, on 45th Street between Eighth Avenue and Broadway, is closest to the 42nd Street - Port Authority subway stop on the A, C, or E line. The theatre is also accessible by bus, with the closest stops being 8th Ave/W 46th St. on the M20 and M104 lines; 7th Ave/W. 44th St. on the M104 line; and 8th Ave/W 43rd St. on the M20, M104, and M34A-SBS line.

Golden Theatre - NY

Golden Theatre

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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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)*

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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

Guests under the age of 2 are not permitted in the theatre.

Disney COVID Protocols

The Lion King on Broadway [42] 

[Media #5] The Lion King 42

The Lion King on Broadway

[Poster] The Lion King 42

Lion KIng WL

NOTE: This review was written by&nbsp;The Lion King alum&nbsp;Kyle Wrentz in celebration of the show's 20th Anniversary on Broadway...A sunrise on a day.&nbsp;It could be a Saturday or a Wednesday, but regardless, 20 years later, <a href="/show/disneys-the-lion-king">The Lion King</a> is still a timeless piece of artistry and magical allure. The moment you hear Rafiki's clarion call across the pridelands welcoming the new prince to the kingdom, you are lost in the story, as the iconic procession of animals begins.&nbsp;It is no wonder that sold out audiences continue to flock to the <a href="/theatres/minskoff-theatre">Minskoff Theatre</a> 8 times a week, bringing their own legacy of family members that keep this fable alive. The score still maintains its variety of gifts, especially the songs rooted in the African tradition. Whether it be&nbsp;Grasslands, Rafiki Mourns&nbsp;or&nbsp;Shadowland,&nbsp;the ensemble sings in exceptional harmony with lush beautiful melodic tones that capture the essence of the evening.&nbsp;As for the 20th Anniversary cast, Tshidii Manye continues her extraordinary run as Rafiki; she's playful and illustrious and every time she hits the stage, the audience is in the palm of her hand. L. Steven Taylor captures all facets of the king, Mufasa. He is regal and full of gravitas, while also letting us glimpse behind the mask in the tender private moments he shares with his son, young Simba (played by an energetic Kenneth Aikens who displayed an awesome backhand spring). He is aptly assisted by Cameron Pow who is charming as Zazu, the trusty hornbill and confidant of the royal family.Stephen Carlile, a prominent actor from London's&nbsp;West End, is deliciously wicked as Scar, he seems to be having a ball plotting and scheming away for the coup of the century. He brings along three misfit hyenas for the ride; hilariously played by Bonita Hamilton, James Brown-Orleans, and Enrique Sequra. Jelani Remy brings a vulnerability and magnetism to the role of Simba.&nbsp;From the moment he swings out on that vine in the middle of the jungle, you are rooting for this lion to find his way back home and claim himself as the rightful king.&nbsp;Jelani's interpretation of the folk tune&nbsp;Endless Night&nbsp;was performed with an honest purity that truly was a highlight of the evening.Timon&nbsp;and Pumbaa keep the comic relief coming all evening. Ben Jeffery sets up the jokes nicely, and Fred Berman knocks the ball right out of the park, all the while keeping us full of chuckles.&nbsp;A special mention needs to go to the remarkable dancers of The Lion King ensemble&nbsp;who performed updated choreography throughout the evening.&nbsp;Their new movement during the&nbsp;She's Going to Eat Me&nbsp;portion of the performance gathered rapturous and sustained applause, so kudos to them for their remarkable artistry and sustained commitment to the storytelling.Overall, The Lion King continues to be a wonderful evening at the theater.&nbsp;You will laugh, cry and marvel at all the beauty around.&nbsp;As Rafiki says during&nbsp;Circle of Life, "There is far too much to take in here, more to find than can ever be found."&nbsp; That declaration still rings true, 20 years later. Every time I see The Lion King, I notice something new, I consider the story through the eyes of another character's perspective. In such a time of turmoil and discourse, it is lovely to get lost in this iconic piece and be inspired by all the cultures and individuals who continue to come together to make the entrancing musical still shine so radiantly today.(Photo by Joan Marcus)<hr /><h2>What the popular press says...</h2>"Seen purely as a visual tapestry, there is simply nothing else like it. Suddenly, you're 4 years old again, and you've been taken to the circus for the first time. You can only marvel at the exotic procession of animals before you: the giraffes and the elephants and the hippopotamuses and all those birds in balletic flight. Such is the transporting magic wrought by the opening 10 minutes of The Lion King, [director Julie] Taymor has introduced a whole new vocabulary of images to the Broadway blockbuster." Ben Brantley for New York Times"Julie Taymor's staging of Disney's The Lion King is a marvel, a theatrical achievement unrivaled in its beauty, brains and ingenuity. Leaping far beyond its celluloid inspiration, the stage version improves upon nearly every aspect of the hit 1994 animated film, from visual artistry and storytelling to Lebo M's score and the newly African-ized pop songs of Elton John and Tim Rice." Greg Evans for Variety"A jaw-dropping magnificent spectacle. The show and the playhouse are enchanting. The unprecedented production is worth every penny. If this is Disney's idea of a theme park, we are delighted to report that the theme is quality." Linda Winer for Newsday"Awe-inspiring! Broadway theater is alive again. [Julie] Taymor's imaginative ideas seem limitless. it's a gorgeous, gasp-inducing spectacle. Most important - against all odds - it has innocence. The show appeals to our primal, childlike excitement in the power of theater to make us see things afresh." Richard Zoglin for Time Magazine"The breathtakingly staged Broadway adaptation of Disney's king of the cartoon jungle is an instant theater classic." Chris Willman for Entertainment WeeklyExternal links to full reviews from popular press...<a href="http://www.nytimes.com/1997/11/14/movies/theater-review-cub-comes-of-age-a-twice-told-cosmic-tale.html" target="Top">New York Times</a> - <a href="http://variety.com/1997/legit/reviews/the-lion-king-new-amsterdam-theater-1117339958/" target="Top">Variety</a>

The Lion King

Designed by Kahn and Jacobs, the Minskoff Theatre is located on the third floor of the One Astor Plaza office tower. The Minskoff Theatre is named after Sam Minskoff and Sons, who built and own the high-rise building, and it officially opened on March 13, 1973, with a revival of Irene starring Debbie Reynolds. The theatre also held the Miss Universe 1981 pageant.

## How to get to the Minskoff Theatre on Broadway

The Minskoff Theatre is closest to the 42nd Street - Times Square subway stop on the 1, 2, 3, 7, N, Q, R, W, and S lines. The closest bus stop is the 7th Ave/W. 44th St. on the M104 line.

## Restaurants near the Minskoff Theatre

Popular restaurants near the Minskoff Theatre include Junior's (American), the Hard Rock Cafe (American), Carmine's (Italian), and Havana Central (Cuban).

[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 *The Lion King* on Broadway playing?

*The Lion King* performs at the Minskoff Theatre on Broadway. The show has played in New York since 1997, making it Broadway's third-longest running show of all time. *The Lion King* originally opened at the [New Amsterdam Theatre](https://www.newyorktheatreguide.com/theatres/new-amsterdam-theatre) but moved to the Minskoff in 2006.

Minskoff Theatre - NY

Minskoff 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

Aladdin

Aladdin on Broadway [105]

[Media #7] Aladdin 105

Aladdin on Broadway

[Poster] Aladdin 105

In the UK, there is a Christmas tradition in British theatre called Pantomime. This phenomenon is foreign to American audiences, and is perhaps difficult to sell convincingly, but here goes: A pantomime takes the form of a tongue-in-cheek staging of a popular fairy tale, which encourages as much audience participation as possible. There is always a man dressed up as a ludicrous-looking woman known as the Dame (in the case of 'Aladdin' it's Widow Twanky), often a girl will play the lead male role (such as Peter Pan... Yes, it's all very gender-confusing) and a 'Dr. Evil-style' villain (who is constantly booed out of the building by the children in the audience, whenever he creeps onto the stage). There are also a few filthy jokes thrown into the mix, which fly straight over the childrens' heads and cheekily reward their accompanying parents. In short, the pantomime is a theatrical tradition that is belittled by theatre snobs, but wholeheartedly loved by families and secret 'guilty pleasure-seeking' theatregoers.Although pantomime is relatively unknown in the States, having recently attended a performance of Disney's latest mega-hit 'Aladdin,' I feel it is the closest thing to it in the good ole U S of A. Particularly the performance of Jonathan Freeman as treacherous Jafar (a role he reprises from voicing the character in the original 1992 animated film) reminded me of the old-school pantomime villain. Alas, there was no sign of boisterous booing from the audience...The musical, whilst perhaps not as creatively imaginative as Disney's standard barer 'The Lion King,' it certainly gets more laughs and the book's wise-cracking one-liners, often Arabian-themed, lend some refreshing, adult satisfaction. Most of these come from the show-stealing performance of James Monroe Iglehart as Genie, whose Tony Award-winning turn is truly a delight to behold. Stepping into the shoes of the late great Robin Williams (surely one of the main reasons, the animated classic was so popular) must be daunting at the least, but Iglehart gives a new and unique life to the character, whilst maintaining Mr Williams' high levels of energy and pace. His tour-de-force number 'Friend Like Me,' simply put, is musical theatre heaven! He is also quite the accomplished dancer and as light on his feet as the rest of the ensemble.Other comic relief comes in the form of Iago (a conniving parrot sidekick in the movie, now embodied as a short and stout human by Don Darryl Rivera), whose hilarious portrayal is a masterclass of comic timing. Three new additions to the cast are Aladdin's three, loyal buddies - Babkak, Omar and Kassim (Brian Gonzales, Jonathan Schwartz and Steel Burkhardt respectively) - who replace cheeky and loveable animated monkey Abu (although he does makes a cameo appearance on a poster in Act II!). These three amigos each have rounded characters and perform their comic sequences with vigour.The costumes and sets are wonderfully bright and make the production the most vibrantly colourful of all Disney Theatrical's offerings to date. Hats off to the ensemble members who undergo several quick (and magnificent) costume changes during the procession within the single musical number of 'Prince Ali'!Finally, the performances of Adam Jacobs as Aladdin and Courtney Reed as Princess Jasmine, although overshadowed by Iglehart, shine especially during their musical numbers. Particular favourites are the duet 'A Million Miles Away' and Aladdin's recurring solo 'Proud of Your Boy,' which both add some much needed character depth and showcase each actors' beautiful vocals. And of course, who can resist being swept along by the extremely impressive magic carpet scene during 'A Whole New World'?As I left the stunning New Amsterdam Theatre, I heard a child asking her mother: "How do they make that carpet fly, Mummy?" Her simple reply: "That's Disney magic!" I couldn't have said it better myself.(Photo by Cylla von Tiedemann)<hr />"The production's relentless razzle-dazzle and its anything-for-a-laugh spirit also infuse the show with a winking suggestion: If you can't be yourself, just be fabulous." Charles Isherwood for New York Times"The production's best special effect isn't the carpet, but the rollicking and endearingly over-the-top turn by James Monroe Iglehart ('Memphis'), who handles Robin Williams' role as the genie. With nonstop joking, fist bumps, declarations of 'Oh snap!' and nimble dance moves and smooth vocals, Iglehart shines with enough charisma to light a thousand and one nights." Joe Dziemianowicz for New York Daily News"Disney's new 'Aladdin' doesn't quite catch lightning in a bottle — but it lets a pretty nifty genie out of a lamp." Elisabeth Vincentelli for New York Post"For a child who's never seen a show before, the bright colors and broad silliness might be fun, but their adults will likely find it a teeth-grinding experience (although many dads will be diverted by Princess Jasmine's plunging necklines)." Robert Feldberg for The Record"This is a wonderful adaptation filled with color, charm and loads of theatrical magic." Roma Torre for NY1"The magic carpet flies smoothly and so does the rest of 'Aladdin', a buoyant musical comedy fashioned from the 1992 Disney animated feature." Michael Sommers for Newsroom Jersey"While it doesn't rival the imagination or innovation of 'The Lion King', the show's ebullient comic spirit should make it a popular hit." David Rooney for The Hollywood Reporter"Casey Nicholaw... stylistically turns the film's romantic fairy-tale adventure into shtick comedy." Marilyn Stasio for VarietyExternal links to full reviews from popular press...<a href="http://www.nytimes.com/2014/03/21/theater/aladdin-tweaks-the-disney-formula-with-breezy-insouciance.html?rref=theater&amp;module=Ribbon&amp;version=context&amp;region=Header&amp;action=click&amp;contentCollection=Theater&amp;pgtype=article" target="Top">New York Times</a> - <a href="http://www.nydailynews.com/entertainment/music-arts/aladdin-theater-review-article-1.1727136" target="Top">New York Daily News</a> - <a href="http://nypost.com/2014/03/20/aladdin-musical-doesnt-quite-seem-like-a-disney-hit/" target="Top">New York Post</a> - <a href="http://www.northjersey.com/arts-and-entertainment/theater/aladdin-loses-its-magic-1.747278" target="Top">The Record</a> - <a href="http://www.newjerseynewsroom.com/movies/aladdin-broadway-review-a-smooth-ride-for-the-family-crowd" target="Top">Newsroom Jersey</a> - <a href="http://www.hollywoodreporter.com/review/aladdin-theater-review-690038" target="Top">Hollywood Reporter</a> - <a href="http://variety.com/2014/legit/reviews/broadway-review-disney-aladdin-1201140780/" target="Top">Variety</a>

The New Amsterdam Theatre was designed by Henry Hertz and Hugh Tallant. Construction began in 1902, and the venue officially opened on October 23, 1903. The inaugural production was William Shakespeare's *A Midsummer Night's Dream*. 

From 1913 to 1927, the theatre housed the Ziegfeld Follies variety revue, which showcased such talents as Fanny Brice of *Funny Girl* fame. In 1937, the building became a cinema and ultimately closed its doors in 1985.

In May 1995, Disney Theatrical Productions signed a 49-year lease for the property and restored it to a traditional theatre. The building officially reopened on April 2, 1997, and the first show to play there was the Broadway premiere of Disney's *The Lion King* that October.

## How to get to the New Amsterdam Theatre on Broadway

The closest subway stop to the New Amsterdam 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 42nd St. on the M42, SIM8, SIM8X, SIM22, SIM25, SIM26, and SIM30 lines and and 7th Av/W 41st St. on the M7, M20, and M104 lines. 

## Where is *Aladdin* on Broadway playing?

*Aladdin* is at Broadway's New Amsterdam Theatre at 214 West 42nd Street. Disney's *Aladdin* has played the venue since 2014. The New Amsterdam Theatre is Disney's home base on Broadway, with *Beauty and the Beast* and *Mary Poppins* having also played there.

New Amsterdam Theatre - NY

New Amsterdam 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

Friday Forty

Enter for a chance to purchase $40 Harry Potter tickets.

$40 Lottery tickets

If selected, you will have 1 hour to purchase $40 Harry Potter tickets.

Enter for a chance to purchase $40 Harry Potter tickets, only in the TodayTix app.

TodayTix & Harry Potter and the Cursed Child Lottery Rules

NO PURCHASE NECESSARY TO ENTER THIS LOTTERY. WINNING QUALIFIES ENTRANT FOR UP TO TWO $40 TICKETS to Harry Potter and the Cursed Child.

SPONSOR INFORMATION. The Harry Potter and the Cursed Child Lottery (the “Lottery”) is sponsored by TodayTix and Train Times Broadway LP, (“Sponsor and its agents”). “Sponsor and its agents” shall mean TodayTix, Train Times Broadway LP, its advertising/promotional and/or fulfillment agencies and their respective parent companies, affiliates, subsidiaries and their respective employees, officers, directors and agents. “Sponsor and its agents” in conjunction with having its principal place of business at 32 Avenue of the Americas, 23rd Floor, New York, NY 10013. The Lottery entry period begins on March 9, 2018, and will continue for the duration of Harry Potter and the Cursed Child's run. Lottery entrants may enter once per performance from 12:01 am on the day the lottery opens, up until 1:00 pm each Friday. (Such period known as the “Entry Period”). All times are based solely on Sponsor’s computer clock.

ELIGIBILITY: Must be 18 years or older to enter. Employees, officers, directors and agents (and their immediate families and household members regardless of where they live, or members of the same households (whether related or not)) of TodayTix (the Sponsor), and any of its divisions, affiliates, and subsidiaries, and any affiliated entities, are not eligible to participate in the Lottery or to win any prize. Federal, state and local laws and regulations apply.

VOID OUTSIDE OF THE ELIGIBILITY AREA AND WHERE PROHIBITED OR RESTRICTED BY LAW. Federal, state and local laws and regulations apply.

HOW TO ENTER: Entries through the TodayTix.com or the TodayTix app only. Limit of one organic entry per person for up to two tickets. Where a dispute arises about who submitted an entry, the entry will be deemed submitted by the registered TodayTix user account used to submit the entry. Use of automated entry devices or programs are prohibited. Proof of entering information on the Lottery Page in-app or on the website is not considered proof of receipt by the Sponsor of the entry. All entries must be received four hours prior to the performance. Odds of winning depend on the number of eligible entries received. No entries will be acknowledged or returned.

PRIZE: One Prize of up to two tickets will be awarded per winner, who can bring a guest at their discretion. There is no monetary value on the prize. No substitutions or cash redemption of Prize is permitted. Additional restrictions may apply.

PRIZE DRAWING: The potential Prize Winners will be selected in a random electronic drawing from all eligible entries received. Winners will be notified on the day of the lottery via email and/or push notification, and must claim their tickets within an hour or else tickets may be released and awarded to another entrant. The drawing will be conducted by the the Sponsor whose decision is final and binding on all aspects of this Lottery.

Failure of the potential Prize Winner to respond within one hour from such notification referred to above may result in disqualification and the selection of another entrant from among all eligible entries received. The Sponsor is not required to contact potential Prize Winner more than once.

By entering the drawing, each entrant agrees to be bound by these Official Rules and the decisions of the Sponsor. In the event of non-compliance for any reason, including the inability to accept the Prize for any reason, an alternate entrant may be selected in the Sponsor’s sole discretion.

CONDITIONS, DISCLAIMERS, AND LICENSE: By entering this Lottery, each entrant agrees to be bound by these Official Rules and by all decisions of the Sponsor (whose decisions are final and binding on all matters relating to the Lottery), and to comply with all federal, state and local laws and regulations. The decisions of the Sponsor are final on all matters of fact, interpretation, eligibility, procedure and fulfillment. Entries are void if unreadable, inaccurate, incomplete, forged, mechanically reproduced, irregular in any way, or otherwise not in compliance with these Official Rules.

The Sponsor makes no warranties, and hereby disclaims any and all warranties, express or implied, concerning any prize furnished or made available in connection with the Lottery. Although the Sponsor attempts to ensure the integrity of the Lottery, the Sponsor is not responsible for the actions of entrants or other individuals in connection with the Lottery, including entrants’ or other individuals’ attempts to circumvent the Official Rules or otherwise interfere with the administration, security, fairness, integrity, or proper conduct of the Lottery. The Sponsor is not responsible for injury or damage to entrant’s or to any other person’s computer(s), mobile device(s), other equipment, or person(s), related to or resulting from participation in the Lottery or downloading materials from or using the Lottery Site. If, for any reason, the Lottery is not capable of running as planned for any reason including by reason of damage by computer virus, worms, bugs, tampering, unauthorized intervention, fraud, technical limitations or failures, strikes, industry conditions, bankruptcy or liquidation, marketplace demands, applicable law, unforeseen obstacles, or any other causes which, in the sole opinion of the Sponsor, could corrupt, compromise, undermine, or otherwise affect the administration, security, fairness, integrity, viability, or proper conduct of the Lottery, the Sponsor reserves the right in its sole and absolute discretion to modify these Official Rules and/or to cancel, terminate, modify, or suspend all or any part of the Lottery, and in its sole discretion to select a new potential winner from among all eligible entries received up to the time of such cancellation, termination, modification, or suspension, as applicable. In the event that there are typographical errors that obscure the original intent of the Lottery, the Sponsor reserves the right to cancel or modify the Lottery appropriately.

By entering this Lottery and unless prohibited by law, the potential Prize Winner hereby consents to use of his/her respective name, voice, photograph and/or likeness for advertising or publicity purposes for this and similar promotions without compensation and the potential winner and guest may be required to provide a signed release acknowledging such consent, unless restricted by law. Moreover, by entering this Lottery, unless prohibited by law, the potential Prize Winner agrees to grant to the Sponsor, and its licensees, affiliates, and assigns, the right to print, publish, broadcast, and use, worldwide in any media now known or hereafter developed, including without limitation the World Wide Web, at any time or times, the Prize Winner’s name, likeness (actual or simulated), voice (actual or simulated), and biographical information as news or information and for advertising and promotional purposes without additional consideration; and further without such additional compensation, appear for, or provide biographical information for use in, any presentation or other activity which may include filming/audio/video/electronic or other recordings and/or interviews, as may be determined from time to time by the Sponsor in its sole discretion.

By entering this Lottery electronically and voluntarily providing your personal information, entrants consent and agree to the “Sponsor and its agents”’ collection and use of the entrant’s information for the administration of this Lottery and agree to “Sponsor and its agents”’ use of entrant information for the purpose of contacting entrant in relation to this Lottery. For the avoidance of doubt, entrants are providing information to the Sponsor and not to Facebook. The “Sponsor and its agents” may send promotional communications to entrant’s email address after entry. The entrant will have the option to opt-out of such emails.

RELEASE AND INDEMNIFICATION: By entering the Lottery, entrants release and hold the Sponsor, and any affiliated entities including parents, related and affiliated companies, subsidiaries, advertisers, promotional agencies and each of their respective directors, successors, sponsors, partners, licensees, officers, subsidiaries, agents, employees, artists, advisors, assignees, and all others associated with the development and execution of the Lottery harmless from and against any and all losses, damages, rights, claims, and actions of any kind arising in whole or in part, directly or indirectly, from the Lottery or participation in any Lottery-related activity, or resulting directly or indirectly, from acceptance, possession, use, or misuse of any Prize awarded in connection with the Lottery, including without limitation causes of action, claims and demands, including legal fees and expenses, including but not limited to, claims based on negligence, breach of contract and liability for physical injury, death, or property damage which the entrants or his/her administrators, heirs, successors or assigns might have or could have, by reason of or arising out of the entrant’s participation in the Lottery and/or in connection with the acceptance and/or use entrant of the Prize.

LIMITATION OF LIABILITY: The Lottery, all Prizes, and all materials provided on or through the Lottery in the TodayTix app are provided “as is” without warranty of any kind, either express or implied, including without limitation the implied warranties of merchantability, fitness for a particular purpose, and non-infringement.

WITHOUT LIMITING THE RELEASE GRANTED BY ENTRANTS HEREIN, BY ENTERING THE LOTTERY, EACH ENTRANT AGREES THAT TO THE EXTENT PERMITTED BY APPLICABLE LAW: (1) ANY AND ALL DISPUTES, CLAIMS AND CAUSES OF ACTION ARISING OUT OF OR CONNECTED WITH THE LOTTERY, OR ANY PRIZE AWARDED, WILL BE RESOLVED INDIVIDUALLY, WITHOUT RESORT TO ANY FORM OF CLASS ACTION; (2)UNDER NO CIRCUMSTANCES WILL ANY ENTRANT BE PERMITTED TO OBTAIN ANY AWARD FOR, AND ENTRANT HEREBY KNOWINGLY AND EXPRESSLY WAIVES ALL RIGHTS TO SEEK, PUNITIVE, INCIDENTAL, EXEMPLARY, CONSEQUENTIAL OR SPECIAL DAMAGES, LOST PROFITS, AND/OR ANY RIGHTS TO HAVE DAMAGES MULTIPLIED OR OTHERWISE INCREASED; AND (3)ENTRANT IRREVOCABLY WAIVES ANY RIGHT TO SEEK INJUNCTIVE OR EQUITABLE RELIEF. SOME JURISDICTIONS DO NOT ALLOW THE LIMITATIONS OR EXCLUSION OF LIABILITY, SO THE ABOVE MAY NOT APPLY TO YOU.

GOVERNING LAW: The Lottery and these Official Rules are governed by and shall be construed in accordance with the substantive laws of the State of New York (as distinguished from the choice of law rules) and the United States of America applicable to contracts made and performed entirely in New York and where the relevant contacts are with such state. All applicable federal, state, and local laws and regulations apply.

MISCELLANEOUS: Severability; Headings: If any provision of these Official Rules is found to be unlawful, void, or for any reason unenforceable, then that provision shall be deemed severable from these Official Rules and shall not affect the validity and enforceability of any remaining provisions. Headings and captions are used in these Official Rules solely for convenience of reference, and shall not be deemed to affect in any manner the meaning or intent of these Official Rules or any provision hereof.

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Harry Potter and the Cursed Child on Broadway - 13709 - NYC

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Harry Potter and the Cursed Child on Broadway

Cursed Child New Poster

Today I've got magic on my mind.&nbsp;The Harry Potter kind.&nbsp;Apparently so does the rest of the world.&nbsp;After seeing this spectacular&nbsp;<a href="/show/harry-potter-and-the-cursed-child">Harry Potter and the Cursed Child</a>&nbsp;I decided to borrow a book&nbsp;from the Library.&nbsp;I have NEVER seen a book available in so many languages.&nbsp;Some of which I don't even recognize.&nbsp;But who can blame them? Don't we all want to take a couple&nbsp;of classes at Hogwarts?&nbsp;Perhaps they have some adult education offerings.&nbsp;And about the owls.&nbsp;Henceforth I want all my mail delivered by a feathered messenger.&nbsp;In addition, I got my eye on a fetching fluffy white owl just like Harry's. (Apparently there were real owls in the London production until one of them took a left turn when it should have taken a right.&nbsp;Off into the audience it flew.)&nbsp;I want IN.J.K. Rowling's writing is masterful.&nbsp;Even though this play was written by Jack Thorne, it has her finger prints all over it.&nbsp;Under the spectacular direction of John Tiffany we are included, indeed, we are beckoned, into the world of witches.&nbsp;As observers only, of course, but that is almost enough.The story is richly layered, like all Rowling tales. The grown-up Harry Potter (Jamie Parker) is married to Ginny Weasley (Poppy Miller) and still friends with the entire Weasely clan because Ron (Paul Thornley) finally got his act together and married Hermione (Noma Dumezweni).&nbsp;Both Harry and Hermione work at the Ministry for Magic (the same one that threatened to topple Dumbledore years back).&nbsp;Today they are seeing their children off to Hogwarts.&nbsp;Albus Potter (Sam Clemmett) and Rose Granger-Weasley (Susan Heyward) are first year students.&nbsp;Rose, being Hermione's daughter, is thrilled and full of all the possibilities that lie ahead - like picking the right friends immediately.&nbsp;She relishes the idea that because of her mother she is already someone.Albus on the other hand is having a not-so-good-very-bad-day.&nbsp;Just the idea of Hogwarts overwhelms Albus.&nbsp;He does not want to be the "Son of Harry Potter."&nbsp;He does not want to be anything except a hormone filled boy with a wand that should really be licensed.&nbsp;Instead, he stumbles upon another misfit, Scorpius Malfoy (Anthony Boyle).&nbsp;Together they become a team of two misfits.&nbsp;And decide to take the past into their hands.If certain events in the past are just tweaked, they reason, then the present would be in much better shape.&nbsp;Lives would be saved, etc., etc.What they don't count on is ye olde pebble tossed in the lake routine.&nbsp;One event leads to another and pretty soon everything is ass over teakettle with the Dark Lord on the loose and aimed directly at the two mischief makers.There are some serious twists and turns, of course.&nbsp;But these are almost unnoticeable in the face of the special effects that are on display for our enjoyment.&nbsp;These are not the fancy schmancy special effects, but they are spectacular.&nbsp;They are simplicity itself, made of puppetry magic and lighting that tells us exactly where to look.&nbsp;This far and no further.&nbsp;The&nbsp;shadows are teaming with unseen life that are eager to reach out and touch someone - could even be you if you are in the right seat.&nbsp;The ensemble's choreographed movements, clean, simple and unrelenting, give the entire production a physical urgency. Even the program tells you what to read and when.Ultimately this is a tale of family.A boy who lost his father grew up to be one and has misplaced his parenting manual. Harry must rely on his wife, his friends and his mentors long gone.&nbsp;In the process of recovering each other they also cross paths with the past, and we are touched when the friends (and even a few pests) show up in the flesh.My friend who attended with me is a Brit and was concerned, lest the American audience was not as hooked on the Potter legend as the Brits. He needn't have worried.&nbsp;As one witch after another produced sorcery - the audience cheered.&nbsp;As characters we had only read or seen on the silver screen appeared there were gasps of recognition.&nbsp;We were children oohing and ahhing throughout.And when it came time, after 5 hours of immersion, to say good-bye to these treasured friends (all the&nbsp;principals take their bows en masse) we stood up and cheered farewell, like the crowds used to do when a ship was leaving.&nbsp;If given our druthers we would have put on an invisibility cloak and joined them.I mean, they do live there, right?As to the child? As to the curse? I have sipped the potions and am #KeepingTheSecrets safe. &nbsp;As the complimentary pins on your way out request.Bravo, Brava, Bravastrodamus!(Photo by Manuel Harlan)<hr /><h2>What the popular press says...</h2>"Time is a dangerous toy in Harry Potter and the Cursed Child,&nbsp;the enthralling two-part play about the later life of its title wizard. Various characters in this deluxe London import find it in their power to journey into the past, which means altering the future, which means serious trouble for everyone." Ben Brantley for New York Times"There are more magic wands than you can shake a stick at in the wildly theatrical and thrilling Broadway spectacle Harry Potter and the Cursed Child." Joe Dziemianowicz for New York Daily News"The world of&nbsp;Harry Potter has arrived on Broadway, Hogwarts and all, and it is a triumph of theatrical magic." Adam Feldman for Time Out New York"Anyone still ready to dismiss&nbsp;Harry Potter and the Cursed Child&nbsp;as a cynical brand extension, or a theme-park ride on stage, clearly hasn't experienced the thrilling theatricality, the pulse-pounding storytelling vitality and the unexpected emotional richness of this unmissable two-part production. The ecstatic hype that accompanies the smash London import&nbsp;to Broadway is amply justified, and then some." David Rooney for Hollywood Reporter"This is no time for bogus expressions of sophistication. So, let's just say:&nbsp;Hooray!&nbsp;With Harry Potter and the Cursed Child,&nbsp;the Boy Who Lived has finally come to Broadway, bringing enchantment to a world that could really use a little magic right now." Marilyn Stasio for VarietyExternal links to full reviews from popular press...<a href="https://www.nytimes.com/2018/04/22/theater/review-harry-potter-and-the-cursed-child-raises-the-bar-for-broadway-magic.html" target="_blank">New York Times</a>&nbsp;- <a href="http://www.nydailynews.com/entertainment/theater-arts/cursed-child-review-wildly-harry-potter-broadway-article-1.3944034" target="_blank">New York Daily News</a> -&nbsp;<a href="https://www.timeout.com/newyork/theater/harry-potter-cursed-child-broadway-review" target="_blank">Time Out</a>&nbsp;- <a href="https://www.hollywoodreporter.com/review/harry-potter-cursed-child-theater-review-1104812" target="_blank">Hollywood Reporter</a>&nbsp;- <a href="http://variety.com/2018/legit/reviews/harry-potter-and-the-cursed-child-review-broadway-1202757827/" target="_blank">Variety</a>

Review of Harry Potter and the Cursed Child on Broadway

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