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

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Summer, 1976 on Broadway Starring Laura Linney and Jessica Hecht

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Opposites attract – and not only when it comes to romance, but friendships as well. That’s the thesis of [*Summer, 1976*](https://www.newyorktheatreguide.com/show/25993-summer-1976-tickets), a pleasant wisp of a play with an A-list pedigree that has all the dramatic heft of catching a few rays.

Written by David Auburn and directed by Daniel Sullivan, who collaborated on the Tony- and Pulitzer Prize-winning *Proof*, this new work provides a not-so-surprising reminder about a simple fact of life. People come into our lives and then they go, but they leave a mark – whether we want to acknowledge that or not.

At its best, this Manhattan Theatre Club presentation offers a chance to observe [Laura Linney](https://www.newyorktheatreguide.com/stars-on-stage/laura-linney) and [Jessica Hecht](https://www.newyorktheatreguide.com/stars-on-stage/jessica-hecht), a pair of seasoned stage animals, together in their natural habitat. They’re a joy to watch in action – or, well, sitting. They’re both in chairs for practically the entirety of the show. 

Seated at either end of a long rectangular table, the Ohio moms they play are a study in contrast. Diana (Linney) sports a black tee and pants, stylish loafers, and a strict curling-ironed coif. Alice (Hecht) is slightly slouchier and sports a patterned peasant dress, suede boots, and a loose, laid-back hairstyle.

Over the course of 100 intermissionless minutes, they flash back to America’s bicentennial – a time of independence and, it turns out, interdependence. Diana, an uptight single mom, made and taught art then. Alice, a free-spirited housewife, was married with a daughter. The women met through their kids. During a few months, their initial chilly mutual dislike melted into a warm and solid friendship. 

Save for a surprise here and there, it’s pretty straightforward stuff. This show is all talk – but the women rarely speak to each other thanks to Auburn’s story structure. Diana and Alice recall their brief history in direct addresses to the audience. It’s as if they’re giving reality show testimonials. The nagging questions: Who are they supposed to be talking to, and why are these two telling this story now? We never really know.

The construction can’t help but have a distancing effect. But on the plus side, Auburn packs his script with humor, vivid and lived-in details, and lines that sometimes nail the way people talk. That includes Diana's tangy observation about Alice: “She just thought she was unconventional because her house was messy.”

Over the summer, the bond between the women sneaks up on them amid ups and downs, laughs and arguments. They’re tugged closer together by everyday things like childcare and the subject of art, plus a major twist in Alice’s marriage to Doug, an Ohio State professor. When Doug comes into the picture, Diana speaks on his behalf.

Like summertime and lemonade, the two actresses are a great pair. Linney radiates smarts and her no-nonsense frankness is an ideal fit for Diana. Hecht, who never gives an ordinary stage performance, makes Alice likable and quirky.

Sullivan gives the actresses room to do what they do best while injecting an occasional direction to “stand up” and “sit back down.” Costumes by Linda Cho define characters, lighting Japhy Weideman suggests shifts in time, and an abstract backdrop of miniature squares by John Lee Beatty seems to seize inspiration from artist Paul Klee, who figures prominently in the story.

In the end, Diana and Alice reunite by chance at a New York museum decades after their initial meeting. Time goes on. Lives change. There’s an undeniable sweetness and melancholy in that simple reality. That said, it’s not quite enough to make Auburn’s play a *Summer* to remember.

[*Summer, 1976* is at the Samuel J. Friedman Theatre until June 10. Get *Summer, 1976* tickets on New York Theatre Guide.](https://www.newyorktheatreguide.com/show/25993-summer-1976-tickets)

*Photo credit: Laura Linney and Jessica Hecht in Summer, 1976. (Photo by Jeremy Daniel)*

'Summer, 1976' review — Laura Linney and Jessica Hecht share a breezy summer friendship

Read our review of *Summer, 1976* on Broadway, the new play starring Laura Linney and Jessica Hecht and written by Pulitzer Prize winner David Auburn.

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

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

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

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

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

## Restaurants near the Samuel J. Friedman Theatre

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

Samuel J. Friedman Theatre - Manhattan Theatre Club - NY

Samuel J. Friedman Theatre

Life of Pi on Broadway - NYC

LIFE OF PI - Hiran Abeysekera, Richard Parker (Fred, Davis, Scarlet Wildernik, Andrew Wilson) - by Matthew Murphy & Evan Zimmerman for Murphy Made

Life of Pi on Broadway

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Life of Pi

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

## Restaurants near the Gerald Schoenfeld Theatre

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

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

Gerald Schoenfeld Theatre - NY

Gerald Schoenfeld Theatre 

Once Upon A One More Time on Broadway - NYC

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Once Upon A One More Time on Broadway

OUAOMT - March 31 2023

Designed by John C. Portman, Jr., the Marquis Theatre is situated on the third floor of the Marriott Marquis Hotel.

The construction of the hotel resulted in the demolition of the original Helen Hayes Theatre, the Morosco Theatre, the Bijou Theatre, and remnants of the Astor Theatre and the Gaiety Theatre. However, the construction permit was only issued by New York City officials if Portman agreed to include a theatre within the building. The Marquis Theatre opened on July 9, 1986 with a series of concerts by Shirley Bassey.

## How to get to the Marquis Theatre on Broadway

The Marquis Theatre is closest to the 42nd Street - Times Square subway stop on the 1, 2, 3, 7, N, Q, R, W, and S lines. The 50th Street station on the 1 line and the 49th Street station on the N, R, and W lines are also nearby; all are about four blocks from the theatre on 46th Street.

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

## Restaurants near the Marquis Theatre

The Marquis Theatre is located one block directly east of the stretch of 46th Street between Eighth and Ninth Avenues dubbed Restaurant Row. Some popular restaurants on this street include Becco (Italian), Hold Fast (American), Lattanzi (Italian), E.A.K. Ramen (Japanese), and Joe Allen (American).

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

Marquis Theatre - NY

Marquis Theatre

Here Lies Love on Broadway - NYC

Here Lies Love on Broadway

HLL Poster

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

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

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

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

Broadway Theatre - NY

Broadway Theatre

The Shark Is Broken on Broadway - NYC

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The Shark Is Broken on Broadway

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

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

## How to get to the Golden Theatre on Broadway

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

Golden Theatre - NY

Golden Theatre

Shoshana Bean: The Residency - NYC

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Shoshana Bean: The Residency

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Midnight Theatre

Second Stage

The Thanksgiving Play on Broadway Rush

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The Thanksgiving Play on Broadway - NYC

0071r D-Arcy Carden, Chris Sullivan, Katie Finneran, and Scott Foley in THE THANKSGIVING PLAY. Photo by Joan Marcus, 202 (3)

The Thanksgiving Play on Broadway

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“On the third day of Thanksgiving, the Natives gave to me four bows and arrows, three Native headdresses […] and a pumpkin in a pumpkin patch.” This parody song begins [*The Thanksgiving Play*](https://www.newyorktheatreguide.com/show/26005-the-thanksgiving-play-tickets), playwright Larissa FastHorse’s Broadway debut — the first ever for a Native American woman — at Second Stage's [Hayes Theater](https://www.newyorktheatreguide.com/theatres/hayes-theater). The song, which FastHorse culled from teacher-oriented Pinterest boards, drags on long enough to make you squirm in fear of hearing the whole thing.

Sitting in the mostly white audience, I wondered if the child actors understood what they were saying. Did they know they were crooning a racist retelling of history to the raucous laughter of an audience about to be skewered in a satire of their own behavior? Did it matter?

In a recent [New Yorker profile](https://www.newyorker.com/culture/q-and-a/larissa-fasthorse-becomes-the-first-native-american-woman-to-bring-a-show-to-broadway), FastHorse, a member of the Sicangu Lakota nation, stated that the “assumptions you’re making of what’s acceptable behavior in theatre are completely different from what is normal behavior in so many cultures.” It may be awkward to listen to young children recount racist and violent visions of Thanksgiving’s disputed history, but this discomfort may be the point.

Veteran star of theatre and physical comedy Katie Finneran leads *The Thanksgiving Play* as Logan, a well-meaning if misguided drama teacher desperate to devise a Thanksgiving-themed play that tells the “truth” but won’t get her fired. Her witless partner in life and work, Jaxton (Scott Foley), grants her the first rehearsal gift of a mason jar “made with recycled glass from broken windows in housing projects” that he found at the farmer’s market. The audience, though they were the perfect demographic to buy such an object, roared.

Logan and Jaxton are met by Caden (Chris Sullivan, with impeccable comedic timing), an enthusiastic history teacher and amateur playwright eager to infuse the elementary school play with a dose of dramaturgy. Logan has received a variety of school arts grants with long titles like “Go! Girls! Scholastic Leadership Mentorship” and can afford to also hire a professional actress — a Native American one.

Alicia (D’Arcy Carden) has Disneyland experience and gorgeous high cheekbones, which is enough for Logan to hire her and the men to defer to her (Jaxton out of respect for her perceived culture, Caden out of his instant crush). The revelation that Alicia is not Native is not a spoiler so much as an inevitability, one that shakes Logan to her core and forces the group to reexamine the politics of staging a Thanksgiving play at all.

It’s a little disconcerting to hear so much laughter from the very theatregoers FastHorse caricatures — people who are not just the punchline, but also the problem — but FastHorse takes that laughter all the way to the bank. *The Thanksgiving Play* has had a vibrant regional theatre life, becoming one of the most produced plays in the country in the 2019-20 season, and returns with a script revised to reference the murder of George Floyd and how teachers now “see color, but we don’t speak for it.” 

Spring doesn't seem the most logical season for the show's Broadway bow, but Rachel Chavkin’s tight production arrives with panache. Costume designer Lux Haac invokes the quintessential drama teacher vibe in Logan’s corduroy wardrobe, while scenic designer Riccardo Hernandez delights in the play’s Bacchanalian twist. Logan mines theatricality from the group with her demands to dig deeper and to be more honest with themselves, then shuts down the bloody spectacle, screeching her fears of the school board.

The scene is a moment of triumph for the designers, but it doesn’t move the characters forward, perhaps on purpose. They will always be stuck in a circle of white guilt and trip over themselves while they debate how to escape. The damage is real, both on stages across the nation and off, but FastHorse's exploration of it is for everyone’s benefit, striking the balance between educational and entertaining without hammering home the reminder. 

[*The Thanksgiving Play* is at the Hayes Theater through June 4. Get *The Thanksgiving Play* tickets on New York Theatre Guide.](https://www.newyorktheatreguide.com/show/26005-the-thanksgiving-play-tickets)

*Photo credit: D'Arcy Carden, Chris Sullivan, Katie Finneran, and Scott Foley in The Thanksgiving Play. (Photo by Joan Marcus)*

'The Thanksgiving Play' review — white guilt gives way to wild comedy

Read our four-star review of *The Thanksgiving Play* on Broadway, starring D'Arcy Carden, Katie Finneran, Scott Foley, and Chris Sullivan, at the Hayes Theater.

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

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

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

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

## How to get to the Hayes Theater on Broadway

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

Hayes Theater - Second Stage Theater - NY

Hayes Theater

Parade on Broadway Starring Ben Platt and Micaela Diamond - NYC

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Parade on Broadway Starring Ben Platt and Micaela Diamond

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It’s a rare and thrilling gift when a musical presents a song that stirs up a legitimate lump in your throat. [*Parade*](https://www.newyorktheatreguide.com/show/26500-parade), back in a banner revival, sees its stars [Ben Platt](https://www.newyorktheatreguide.com/stars-on-stage/ben-platt) and Micaela Diamond work that special magic twice with a pair of duets, one hopeful and one crushing. Memo: Bring tissues.

First (and last) seen on Broadway in 1998, this unflinchingly dark show by composer-lyricist Jason Robert Brown and writer Alfred Uhry – who each won a Tony for their toils – was sparked by infamous true events. The late Harold Prince, who directed the premiere, is credited here as a co-conceiver.

In 1913 Marietta, Georgia, Leo Frank (Platt), a 29-year-old Jewish factory supervisor from Brooklyn, was wrongfully arrested, tried, convicted, and sentenced to death for allegedly killing Mary Phagan, a 13-year-old employee of his. After years of appeals, Frank’s sentence was commuted to life in prison, but he was lynched by a vigilante mob.

That might not strike you as a story that sings. But *Parade* reminds us that musicals have unlimited capacity for stories; it’s all in the telling. Despite the cumbersome first act, Brown and Uhry tell a gripping story wrapped in a beautiful and richly varied score. 

Moreover, nearly 25 years after the show’s debut, the themes it covers – anti-Semitism, media sensationalism, judicial corruption, and mob violence among them – throb with up-to-the-second resonance. It’s a musical in which powerful people advance a narrative and manipulate others — and facts — to fit it. Like yesterday’s headlines, no?

Director Michael Arden’s excellent revival arrives on Broadway fresh from a New York City Center run in November. The cast is mostly intact, and the physical production remains essentially the same. Susan Hilferty’s costumes are buttoned up in period detail, while lighting designer Heather Gilbert bathes the stage in a moody glow.

Dane Laffrey’s set features a raised platform with chairs on two sides. Scenes move seamlessly from the Frank residence to factory to courtroom to jail cell to Confederate Memorial Day parade and beyond. Exposed theatre walls become the blank canvas for projection designer Sven Ortel’s images that define interior and exterior locations.

Photographs also appear to identify the real-life characters connected to the Frank case. Besides lending a docudrama vibe, the pictures lend clarity to the sprawling who’s who. There’s a parade of scheming politicians, bigoted journalists, corrupt prosecutors, witnesses who lie through their teeth, and others. It takes a village to railroad a scapegoat.

The photo IDs are smart moves by Arden, although not every choice is quite as well-judged. A courtroom section that shifts into slow motion is a head-scratcher. The specter of Mary Phagan perched on a swing in midair is an odd and heavy-handed idea that reaps no payoff. 

Fortunately, the uniformly terrific cast makes up for small-scale quibbles. Standout supporting work comes from Sean Allan Krill as the honorable Governor Slaton; Alex Joseph Grayson as Jim Conley, whose testimony nails Leo; Paul Alexander Nolan as the rabid prosecutor; and Jake Pedersen as Mary’s boyfriend.

Leo and Lucille’s evolving relationship forms the heart of the show, and both stars deliver in performances that are authentically life-size — no larger — and that is key to this story. Watching Diamond (*The Cher Show*) go from timid Jewish wife to take-charge partner is exhilarating. As a displaced New Yorker who’s not so likable, *Dear Evan Hansen* Tony winner Platt notches another Broadway triumph.

Both leads shine brightest in those aforementioned two songs. The optimistic “This Is Not Over Yet” marks the reopening of Leo’s case. “All the Wasted Time,” in which they express their love, is an 11 o’clock heartbreaker — all the more so since we know from the start where this *Parade* inexorably ends.

[*Parade* is at the Bernard B. Jacobs Theatre through August 6. Get *Parade* tickets on New York Theatre Guide. ](https://www.newyorktheatreguide.com/show/26500-parade)

*Photo credit: Micaela Diamond and Ben Platt in Parade. (Photo by Joan Marcus)*

'Parade' review — Ben Platt leads a first-rate cast in this dark, gripping revival

Read our five-star review of *Parade* on Broadway, starring Ben Platt and Micaela Diamond, now playing at the Bernard B. Jacobs Theatre through August 6.

The Bernard B. Jacobs Theatre opened on January 11, 1927. The venue was originally named the Royale by real-estate magnates, the Chanin Brothers, as part of a three-theatre complex.

In 1930, the Chanins transferred ownership of all three houses to the Shubert Organization. During the Great Depression, control of the Jacobs passed to John Golden, who renamed the theatre after himself and ran it from 1934 to 1936. (This venue is not to be confused with the current John Golden Theatre, which is right next door.)

The Shuberts regained control in 1936 and restored the theatre's name to the Royale. It was renamed the Bernard B. Jacobs Theatre on May 9, 2005 after the longtime Shubert Organization president.

## How to get to the Bernard B. Jacobs Theatre on Broadway

The Bernard B. Jacobs Theatre is accessible by subway; it is nearest to the 42nd Street - Port Authority Bus Terminal on the A, C, or E line. The theatre is also located near various bus stops: 8th Ave/W 46th St. on the M20 and M104 lines; 7th Ave/W. 44th St. on the M104 line; and 8th Ave/W 43rd St. on the M20, M104, and M34A-SBS lines.

## Restaurants near the Bernard B. Jacobs Theatre

The Bernard B. Jacobs Theatre is located one block southeast of Restaurant Row, the stretch of 46th St. between Eighth and Ninth Avenues. Popular restaurants on this block include Hold Fast (American), Joe Allen (American), and Becco (Italian), in addition to various other types of cuisines.

[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)

Bernard B. Jacobs Theatre - NY

Bernard B. Jacobs Theatre

Prima Facie on Broadway starring Jodie Comer - NYC

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Prima Facie on Broadway starring Jodie Comer

Prima Facie Poster

On the face of it and, frankly, on stage at the [Golden Theatre](https://www.newyorktheatreguide.com/theatres/golden-theatre), the one-woman drama [*Prima Facie*](https://www.newyorktheatreguide.com/show/25983-prima-facie-tickets) starring [Jodie Comer](https://www.newyorktheatreguide.com/stars-on-stage/jodie-comer) is too slick and tidily constructed for its own good. In it, Tessa, a British barrister known for defending men accused of sexual assault, gets date raped herself. The parallels are plain.

Suzie Miller’s play offers a reckoning with the before and after. Only in the wake of her assault does Tessa fully wrap her brain around a terrible inequity. The symbol for justice is a woman, and in rape cases, her scales tip toward men. Unfortunately, that’s not exactly headline news.

Running 100 unbroken minutes, the production is Exhibit A of how a focused and fierce performance can elevate a work. Comer’s breathless star turn in her Broadway debut does that. Comer, who speaks for several minor characters, has won various awards for her portrait, including an [Olivier](https://www.londontheatre.co.uk/theatre-news/news/2023-olivier-awards-full-list-of-winners). She is riveting, even in a late section where Tessa spouts statistics and the play teeters into movie-of-the-week territory. 

Director Justin Martin keeps Tessa in near-nonstop motion on Miriam Buether’s set lined with soaring floor-to-ceiling case files. Tessa periodically climbs atop a heavy wooden table to make a point. It’s a stagy trick, but it gets attention. 

Like Tessa, the production is alive. There’s a subtle heartbeat-like throb underscoring the action, incidental music, and bright flashes punctuating scenes thanks to sound designers Ben and Max Ringham, composer Rebecca Lucy Taylor, and lighting designer Natasha Chivers, respectively. 

When we meet Tessa, she’s in court and at the top of her game. All smirks and smug self-satisfaction, she’s a shameless showboater in a robe and horsehair wig. She gleefully likens taking down a witness to a fight to the death. Armed with her legal cunning and killer instinct, she fires off questions that are aimed to slay, not just wound — bang-bang-bang! She shapes her fingers into a pistol as she revels. 

When it comes to blasting holes in the testimony of an anguished woman alleging sexual assault, she is just as merciless. Tessa says she is in the business of legal truth — what’s provable beyond a doubt. It’s easy to connect the dots between Tessa and Villanelle, the *Killing Eve* assassin that made Comer a star — and accounts for raucous entrance applause.

Tessa is in her element in court, but she’s far less so when she’s back home in hardscrabble Liverpool. A brief, fitful visit with her mother and brothers shows she’s left this world behind. Since landing a spot in law school at Cambridge, she’s moved on. 

In London, she’s a star on the rise, whether in court drag or a flirty green dress for a date with Julian, a colleague she shags on a sofa at work. A week later, after drinks and sex earlier in the evening, Julian rapes Tessa in her home. The details spill out of her in a harrowing torrent echoed by an onstage rainstorm.

Tessa knows the law. Her case is iffy, but she decides to press charges. Some 782 days later, she has her day in court, where she knows she’ll be subjected to the same kind of attack she uses against witnesses. The outcome of the trial is fairly predictable. Tessa — who, by the way, is still a defense lawyer — seizes the opportunity to make a statement about the need for change.

In the end, Miller, an Australian writer with a law background, makes *Prima Facie* a message play. What it’s saying isn’t revelatory, but it is worthwhile. And Comer is a first-class messenger. 

[*Prima Facie* is at the Golden Theatre through June 18. Get *Prima Facie* tickets on New York Theatre Guide.](https://www.newyorktheatreguide.com/show/25983-prima-facie-tickets)

*Photo credit: Jodie Comer in Prima Facie. (Photo by Bronwen Sharp, retouch by Caz Lock)*

'Prima Facie' review — Jodie Comer makes a riveting Broadway debut in this legal drama

Read our four-star review of Suzie Miller's *Prima Facie* on Broadway, which stars Emmy Award winner Jodie Comer, at the Golden Theatre through June 18.

The Book of Mormon on Broadway [127]

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The Book of Mormon on Broadway

Book of Mormon Poster Wrap

An old friend of mine turned Mormon on me a few years ago to the extent that I no longer know who this woman is. I felt like I was watching a perfectly intelligent person be kidnapped by people who believe that God lives on a planet called Kolob, an angel called Moroni delivered golden tablets to Joseph Smith in upstate New York that are the secret basis for this religion, and oh yeah - there is the hair shirt thing. So it was with some trepidation that I saw this show. Even though everyone has been raving about it, I was still cautious.The good news is that this production bowls you over. You don't have a chance to not like it because it, like the Mormons it depicts, is positive that something good will happen if you just hang around for awhile. And the message is that, in the words of Dr. Seuss, "We are all a little weird, and life's a little weird, and when we find someone whose weirdness is compatible with ours, we join up with them and fall in mutual weirdness and call it love."Two little Mormon Missionaries - are they all white men? - are paired up together and sent to Uganda. Elder Price (Andrew Rannells), who could be the Ken to anyone's Barbie was hoping for Orlando. Elder Cunningham (Josh Gad) is a Sad Sack grateful to be chosen for anything at all. Disappointment and enthusiasm are thus bound together and shipped east, way east.Upon their arrival they meet villagers who are suffering from Aids, drought, disease and dictators. The villagers teach the two missionaries their favorite uplifting song Hasa Diga Eebowai. As life batters them in the head over and over again, it is this song that keeps them going. Price and Cunningham join in with that old-fashioned Mormon enthusiasm, only to find out that this song means "F**k You, God." Welcome to the world, boys.At missionary HQ they meet a randy bunch of also white boys led by Elder McKinley (Rory O'Malley) who have nothing to show for their time in Uganda - no Baptisms, no nothin'. But they do have one thing - their own musical theme song to aid them in times of question and doubt - Turn It Off - as in turn off anything that means questioning the Mormon path: thoughts of homosexuality, memories of abuse, guilt of any kind. Welcome to another world, boys.What follows is a love story where Price and Cunningham have to find their own paths without the other's help. Price tries to flee his fate while Cunningham deals fast and loose with his proselytizing. On the other side of the story, the villagers are caught between swallowing the Book of Mormon (The Third Testament of the Bible) as told by Cunningham, and making it through another day without being killed or having a clitoridectomy.As a matter of fact, the clitoris is a focal point of this story and is mentioned, oh, about 30 times as a point of focus in Uganda. Here girls are raped and then circumcised (read genital mutilation) to keep them from getting any ideas or pleasure for the rest of their lives. This subject is bandied about like a beach ball throughout the show along with child rape, frog rape, Aids, maggot infestation, Spooky Mormon Hell, and Jesus. It is mentioned just enough to get people's attention,, but I hope not so much that it will be dismissed as incidental or worse, a myth.In the end everyone here is gullible and worthy of a dope-slap. From the Mormons to General Butt F**k Naked (Brian Tyree Henry) to the young woman Nabulingi (Nikki M. James) whose name Cunningham never gets right in a running joke that somehow works every time. The Mormons will figure out an answer to any argument. The General would rather kill than argue and wants everything and everyone to belong - to him. Nabulungi - kind of like the Little Mermaid - wants to get out of Dodge and go to Salt Lake City (Sal Tlay Ka Siti). Like the rest of us, the gal just wants to belong, period.Ain't no one or nothing safe in The Book of Mormon, least of all the audience. This show makes you realize that when you are pointing one finger to make fun of someone, there are three fingers pointed back at you. And this news is delivered with a smile - a real one. Parker, Lopez and Stone have a laser beam precision with the aim of a 10 year old boy just discovering he can write his name in the snow when he pees. You don't know whether to laugh at the boy's delight or duck and cover. No matter. Either way, you're going to get some on you.(Photo by Joan Marcus)<hr />"A newborn, old-fashioned, pleasure-giving musical has arrived." Ben Brantley for New York Times"The show is blissfully original, irreverent, outspoken and hilarious. And all that's tucked inside good -- no, great -- old-fashioned musical." Joe Dziemianowicz for New York Daily News"It's a fiendishly well-crafted, hilariously smart — or maybe smartly hilarious — song-and-dance extravaganza. The show's a hoot. The show's a hit." Elisabeth Vincentelli for New York Post"Like several shows this season, "Book of Mormon" is too long and comes close to wearing out its welcome before redeeming itself with a strong second act. And like most 12-year-old-boys, it isn't nearly as nasty as it would have us believe. Not that there's anything wrong with that." Jeremy Gerald for Bloomberg"Manages to combine outrageous parody, solid storytelling, and sympathetic yet goofy characters." David Sheward for Back Stage"One of the most purely enjoyable musicals in years." Robert Feldberg for The Record"Brilliantly original, hysterically funny and tunefully irresistible." Roma Torre for NY1"In a season of tuners mostly derived from old movies, stories and songs, it's a gold-plated Broadway miracle to encounter something so new and audaciously fresh in every respect of the word." Michael Sommers for Newsroom Jersey"The defining quality of this hugely entertaining show is its sweetness... One of the freshest original musicals in recent memory. It has tuneful songs, clever lyrics, winning characters, explosive laughs and disarmingly intimate moments." David Rooney for Hollywood Reporter"Every song enhances the hilarity, expert staging heightens every gag, and the cast of fresh faces is blissfully good... Approaches musical-comedy Rapture" Steven Suskin for VarietyExternal links to full reviews from popular press...<a href="http://theater.nytimes.com/2011/03/25/theater/reviews/the-book-of-mormon-at-eugene-oneill-theater-review.html" target="Top">New York Times</a> - <a href="http://www.nydailynews.com/entertainment/arts/2011/03/25/2011-03-25_book_of_mormon_review_south_park_team_matt_stone_and_trey_parker_produce_heavenl.html" target="Top">New York Daily News</a> - <a href="http://www.nypost.com/p/entertainment/theater/mormon_conquest_twlCrNAUI2E2z4l2tOqAWM" target="Top">New York Post</a> - <a href="http://www.bloomberg.com/news/2011-03-25/raunchy-book-of-mormon-spoofs-missionaries-lion-king-jeremy-gerard.html" target="Top">Bloomberg</a> - <a href="http://www.backstage.com/bso/content_display/reviews/ny-theatre-reviews/e3i5369f68f9c4d1e2f03b5f235adbbccc8" target="Top">Back Stage</a> - <a href="http://www.northjersey.com/arts_entertainment/theater/118635044_The_gods_mustbe_laughing.html" target="top">The Record</a> - <a href="http://www.newjerseynewsroom.com/movies/review-south-park-makers-open-the-book-of-mormon" target="Top">Newsroom Jersey</a> - <a href="http://www.hollywoodreporter.com/review/book-mormon-theater-review-171210" target="Top">Hollywood Reporter</a> - <a href="http://www.variety.com/review/VE1117944886" target="Top">Variety</a>

The Book of Mormon

Designed by Herbert J. Krapp for the Shubert brothers, the Eugene O'Neill Theatre originally opened as the Forrest — named after 19th-century tragedian Edwin Forrest — on November 25, 1925 with a production of the musical *Mayflowers*. A subsequent production there, 1933's *Tobacco Road*, once held the record as the longest running Broadway show in history.

In 1945, the theatre closed and, after extensive alterations, reopened as the Coronet. Under the ownership of Lester Osterman, the venue changed its name in 1959 to the Eugene O'Neill Theatre in honor of the American playwright. Playwright Neil Simon took ownership of the theatre after Osterman, but he later sold it to Jujamcyn Theatres in 1982.

## How to get to the Eugene O'Neill Theatre on Broadway

The Eugene O'Neill Theatre, on 49th Street between Eighth Avenue and Broadway, is closest to the 50th Street stops on the C, E, and 1 lines (about a block north of the theatre) and the 49th Street stop on the N, R, and W lines (about a block east of the theatre).

The nearest bus stops are the 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 Eugene O'Neill Theatre

Popular restaurants near the Eugene O'Neill Theatre include Junior's (American), Lillie's Victorian Establishment (British/pub food), P.S. Kitchen (vegan), and Havana Central (Cuban). Ellen's Stardust Diner, a famous spot known for its singing waitstaff, is also a block away, across Broadway.

[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 Book of Mormon* on Broadway playing?

*The Book of Mormon* on Broadway is at the Eugene O'Neill Theatre at 230 West 49th St. The popular musical comedy has played the venue since 2011.

Eugene O’Neill Theatre - NY

Eugene O’Neill Theatre

Sign Rush

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I unlocked $30 Rush tickets for The Sign in Sidney Brustein’s Window on @TodayTix! https://www.todaytix.com/nyc/shows/26553?share=unlock

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

Bad Cinderella on Broadway - NYC

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Bad Cinderella on Broadway

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Before the curtain rises on Andrew Lloyd Webber’s [*Bad Cinderella*](https://www.newyorktheatreguide.com/show/26514-bad-cinderella-tickets), a recognizable tune floats through the theatre: “In My Own Little Corner,” Cinderella’s wishful thinking classic from Rodgers and Hammerstein’s musical. Webber uses the song as a leitmotif throughout his adaptation, setting the notes to his protagonist’s confession that she is “bad” and “wild and free.” This bold choice invites instant comparisons to Cinderellas past and reveals the depths that Laurence Connor’s production at the [Imperial Theatre](https://www.newyorktheatreguide.com/theatres/imperial-theatre) lacks. 

Set in the fictional French town of Belleville, *Bad Cinderella* follows a rule-breaking heroine (Linedy Genao) who rejects the city’s obsession with physical beauty. She spray-paints “Beauty Sucks” on a statue of Prince Charming (Cameron Loyal), who went missing a year ago in his quest to slay a dragon. This is the most rebellious action she takes throughout the show, preferring instead to stare off into the forest and ponder her helplessness. Cinderella is angry that life took away her parents and left her with a cruel Stepmother (Carolee Carmello, a highlight of the production) and dimwitted stepsisters Adele (Sami Gayle) and Marie (Morgan Higgins). However, she never tries to change her situation, fight for the little guy, or better her society.

The most fruitful premise in *Bad Cinderella* is that Cinderella and her prince don’t fall in love at first sight at the ball. Instead, she and Prince Sebastian (Jordan Dobson, who we are supposed to believe is ugly) are childhood friends, bonded by a feeling of never fitting in. This choice promises a deeper love story the show does not deliver, as the characters spend little time together and are denied a triumphant finale.

Prince Sebastian feels awkward around the imposing Hunks of the castle’s inner circle and detests the notion that he must marry for political gain. His older brother feels pressured to conform to the crown’s expectations and chooses to defy them for love. The princes are granted an interiority that is never extended to Cinderella, relegating her to second billing in her own musical.

*Bad Cinderella* premiered in the U.K. in 2021 with a libretto by Emerald Fennell; the Broadway production features additional book material by Alexis Scheer. The book overrelies on jokes about women's relationships to their bodies. “I want to be hot,” Cinderella, who has until now just wanted to get by unscathed, sings to the Godmother (Christina Acosta Robinson, who has nothing to do). When Marie says she wants to look “lean and mean,” her mother tells her she’s “halfway there, just overweight.”

The show’s mantra of “beauty is our duty” is never interrogated; there is no counter, just a bland pronouncement that Sebastian likes Cinderella the way she is. This result is puzzling coming from Fennell, who won an Oscar for a polarizing feminist revenge fantasy film, and Scheer, who made her name with a play about the inner lives of teenage girls.

This may be an unfair characterization of the creative process, however. It’s possible that Fennell and Scheer were never in a room together, let alone one with Lloyd Webber and lyricist David Zippel, which may explain the lack of cohesion.

Musically, the show tries to blend musical theatre and rock opera and instead trades off genres each song. The best song in the show is “I Know You,” a duet between the dueling Stepmother and Queen (Grace McLean, who deserves her flowers). The progression of their froufrou cupcake dresses from costume and scenic designer Gabriela Tylesova is also a treat.

But despite McLean’s humorous victories, *Bad Cinderella* does not live up to its potential to deliver an empowering thesis. It hopes a familiar story and a veteran Broadway composer will be enough, but at what cost, if its spectacle and entertainment are hampered by misogyny?

Beauty, we may suppose by the end of Act 2, is only skin-deep. So, too, is *Bad Cinderella*.

[*Bad Cinderella* is at the Imperial Theatre. Get *Bad Cinderella* tickets on New York Theatre Guide.](https://www.newyorktheatreguide.com/show/26514-bad-cinderella-tickets)

*Photo credit: Linedy Genao in Bad Cinderella. (Photo by Matthew Murphy)*

'Bad Cinderella' review — fairytale reinvention only goes skin-deep

Read our review of Andrew Lloyd Webber and Emerald Fennell's *Bad Cinderella*, the new fairytale musical now playing on Broadway at the Imperial Theatre.

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

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

## How to get to the Imperial Theatre on Broadway

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

## Restaurants near the Imperial Theatre

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

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

Imperial Theatre - NY

Imperial Theatre

New York, New York on Broadway - NYC

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New York, New York on Broadway

New York, NY March 2023

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

## Restaurants near the St. James Theatre

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

St. James Theatre - NY

St. James Theatre

Children under 4 are not permitted in the theatre.

Kimberly Akimbo on Broadway - NYC

KimberlyAkimbo1176r (2)

Kimberly Akimbo on Broadway

Kimberly Akimbo

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

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

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

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

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

## How to get to the Booth Theatre on Broadway

The Booth Theatre is located on 45th Street between Seventh and Eighth Avenues. It is closest to the 42nd Street stations on the A, C, E, 1, 2, 3, 7, N, Q, R, W, or S lines. The theatre is also accessible by bus, with the closest stops being 8th Ave/W 46th St. on the M20 and M104 lines; 7th Ave/W. 44th St. on the M104 line; and 8th Ave/W 43rd St. on the M20, M104, and M34A-SBS lines.

## Where is *Kimberly Akimbo* playing?

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

Booth Theatre - NY

Booth Theatre

MJ The Musical on Broadway [23379]

MJ Header Image Update 6/28

MJ The Musical on Broadway

MJ Tony Wrap

Michael Jackson, one of the most beloved and influential musicians of all time, chased perfection his entire existence. It's unfortunate he is not alive to witness the flawless production of <a href="https://www.newyorktheatreguide.com/show/mj-the-musical" target="_blank">MJ the Musical</a>, a model biographical musical now open at the <a href="https://www.newyorktheatreguide.com/theatres/neil-simon-theatre" target="_blank">Neil Simon Theatre</a> on Broadway.&nbsp;Under the exemplary direction and choreography of Christopher Wheeldon, the production gives context to Jackson's inherited demons and zooms in on his daunting creative process and peerless genius. MJ is the platinum standard the often-uninspired, generic jukebox musical could benefit to emulate.&nbsp;The musical doesn't tell his full life story. The book by two-time Pulitzer Prize winning playwright Lynn Nottage narrows in on Jackson's Dangerous Tour rehearsals in 1992 — well before allegations of child molestation charges against Jackson arose. With the Jackson estate on the production team, Nottage has fixed this musical's lens on the stories the artist told through his music. Jackson's troubled childhood, pain, and loneliness fueled creativity and inspired the lyrics he wrote.Nottage's brilliant book gives the character of Jackson depth, and Myles Frost (who plays the eldest of three MJs who share the role) embodies the musician's complex persona. With every "hee-hee" and pelvic thrust, one can almost forget they're not seeing the King of Pop before their eyes. It's not easy to sing a Jackson song or move with the late star's precision, flexibility, and finesse. Many American Idol auditions have proven this true. But here, Frost has immersed himself into the spirit of Michael Jackson, producing distinct parallels to the icon's childlike behavior, restlessness, and paranoia.Frost gives this show not only his divine voice, but also a nuanced performance that humanizes the flawed superstar. In fact, all three generations of MJ exceed expectations. Little Michael (a talented Christian Wilson at the performance I saw) and young adult Michael (a fierce Tavon Olds-Sample) work together in seamless transitions to tell the full story of Jackson's early years.Both Quentin Earl Darrington (Once On This Island), and Ayana George (Broadway debut), who play Joe and Katherine Jackson, respectively, give powerhouse vocal performances. George especially shines during "I'll Be There," an affectionate duet with Little Michael. Though one can read Katherine as an enabler to Joe's rampant physical and emotional abuse, this number gives a tender softness to her love and vowed protection of Jackson.&nbsp;Darrington also plays Rob, Jackson's trusted tour manager. The smooth and swift changes between a man Jackson fears and a man he trusts give scene transitions delicate density.Musical numbers like "They Don't Really Care About Us," "Human Nature," "Stranger in Moscow," and "Thriller" are the show's highlight reels. The numbers are filled with Wheeldon's masterful choreography, blending modern dance, Jackson's iconic moves from the 90s, and deep, soul-stirring storytelling of the artist's triumphs and tribulations. The dance ensemble delivers paramount performances that leave an imprint on the memory. This team is a true tour-de-force.In the audience, some longtime fans sang along and cried, others who never experienced Jackson live remained mesmerized, and even a few skeptics cheered thunderously. They'd gasped loudly every time Frost changed a jacket or put on the iconic bedazzled glove.Paul Tazewell's magnificent costume design carries the cast through the MJ timeline seamlessly. A killer set by Derek McLane, amplified by gorgeous lighting by Natasha Katz, gives the show a visual beauty that makes it hard to look away.While Jackson's story is flawed, it's too complicated for anyone who hasn't danced in his shoes. MJ The Musical, however, is the perfect salutation to the life of an imperfect but gifted icon.<a href="https://www.newyorktheatreguide.com/show/mj-the-musical" target="_blank">MJ The Musical is at the Neil Simon Theatre. MJ The Musical tickets will be available on New York Theatre Guide soon.</a>Photo credit: Myles Frost and the company of MJ The Musical. (Photo by Matthew Murphy)

'MJ The Musical' review — a flawless tribute to a flawed icon

MJ The Musical is at the Neil Simon Theatre. MJ The Musical tickets will be available on New York Theatre Guide soon.

MJ The Musical Review | New York Theatre Guide

The Neil Simon Theatre was designed by Herbert J. Krapp for the real estate mogul Alexander Pincus. The Neil Simon Theatre officially opened on November 22, 1927 as the Alvin Theatre. It was named after producers Alex Aarons and Vinton Freedley, as an amalgamation of their first names.

The inaugural production at the venue was George and Ira Gershwin's *Funny Face*, which starred Fred and Adele Astaire. During the Great Depression, the venue was used as a radio studio by CBS. The Nederlander Organization purchased the property in 1977 and rechristened it in honor of the American playwright Neil Simon on June 29, 1983. The building earned New York City landmark status in 1985. 

## How to get to the Neil Simon Theatre on Broadway

The closest subway station to the Neil Simon Theatre is 50th Street on the C, E, and 1 lines. The closest bus stops are 7th Av/W 41st St. on the M7, M20, or M104 line and 7th Av/W 42nd St. on the M42, SIM8, SIM8X, SIM22, SIM25, SIM26, and SIM30 lines.

## Restaurants near the Neil Simon Theatre

Popular restaurants near the Neil Simon Theatre include Haswell Green's (American), Gallagher's (steakhouse), Cha Pa's Noodles and Grill (Vietnamese), and Rosie O'Grady's (steak and seafood). Also nearby is Ellen's Stardust Diner, a famous New York institution featuring singing waiters.

Neil Simon Theatre - NY

Neil Simon Theatre

Hamilton on Broadway [384]

Hamilton [384] WL Hero Image 

Hamilton on Broadway

HAM 015 PA TODAY TIX UPDATE 090221 v02

Media#2 - Hamilton New

I saw Hamilton Wednesday last at the Richard Rogers Theatre. Last night I went to bed with Hamilton. I had Lin-Manuel Miranda's script all to myself and devoured it. There is so much information, not to mention plain old smarts, that is packed into this show that reading the text is an exercise in pure pleasure. And once again I came away with the same conclusion. This is a story ABOUT Alexander Hamilton while at the same time it is the story OF Aaron Burr.Burr (Leslie Odom, Jr.) welcomes us to the evening almost purring:How does a b*st*rd, orphan, son of a wh*re And a Scotsman dropped in the middle of a forgotten spot In the Caribbean, by Providence impoverished, to squalor Grow up to be a hero and a scholar?Who did this immigrant Hamilton (Lin-Manuel Miranda) think he was? Burr was the son of money. Hamilton was the son of Chance and Fortune. Burr was willing to wait for his just rewards, Hamilton preferred the direct route.... I'm just like my country I'm young, scrappy and hungry And I'm not throwing away my shotHamilton arrives from Nevis in the Bahamas just as the country is splintering into a new incarnation. He lands in New York, the center of everything, and works his way up the revolutionary ladder. He sits at the right hand of God in the person of George Washington (Christopher Jackson) and pines for a command that is denied him until there is no other option.Hamilton did not live in a vacuum, however. Events and people were moving around him like a hurricane. The women in his life were a match in every way to the men. The Schuyler Sisters Angelica (Renée Elise Goldsberry), Eliza (Phillipa Soo), and Peggy (Alysha Deslorieux on the night I was there) are the center of New York's solar system. While Washington in planning battle, there is a social life to be created. Angelica is looking for a mind at work, and when both she and her sister, Eliza, are smitten by Hamilton, she steps aside in a scene that is tragic and gallant.As each element is added to the story the tapestry becomes richer and more dense. Family brings new responsibility but does not alter Hamilton's trajectory. As the new country is formed he stays in the inner circle, annoying Thomas Jefferson (Daveed Diggs) who was in France for most of the war, and driving Burr just a little mad. Burr's thirst for the power that Hamilton has is palpable, and as his frustration explodes in the second act with In The Room Where It Happens the experience is visceral for us all and becomes a show stopper.Over and over again we see the tragedy that is coming. The rules of dueling are spelled out more than one time. The future is seen as a place where these folks may not walk but in which they will be remembered. The tension and terror of the time fill the theatre. This is balanced by Miranda's eye for the absurd, the ridiculous and the insidious which evoke belly laughs, winces and mental High-fives. He gives a generous nod to King George (Jonathan Groff who is the only white person playing a main character) who smiles and winks through three pop numbers that remind us in the nicest possible way that the little people are just that:Cus when push comes to shove I will kill your friends and family to remind you of my loveHamilton was smart and driven - and he was a writer. It was his pen that got him out of his home, and it would be his pen that brought him to the side of Washington. Today he would have been Tweeting (as is Miranda) several times a day. If the telegraph had been around he would have been tapping until the machine melted in his hands. But these were the days of long hand, quills, ink and parchment. And delivery was by foot or, if you were lucky, horseback. Still, what Hamilton managed to crank out was not only impressive, it was world altering. His accomplishments are listed like it was an awards banquet. He crafted a financial system. Created the national debt to save the country. Wrote The Federalist Papers. He wrote as if he were running out of time. And he was.The last moments of Hamilton's life are perhaps the most delicately crafted. I imagine death so much it seems like a memory Hamilton sings as the bullet travels through time and relationships to reach him. And when it does, we hear the lament of Aaron Burr, still at the center of the tale, who didn't realize the world was wide enough for them both, and the chorus that delivers us back into our seats singing and asking us Who lives? Who dies? Who tells your story?Hamilton is a magnificent tapestry where all the elements of theatre are called upon to be their very best. The choreography by Andy Blankenbuehler is nothing short of mesmerizing. His work makes the entire piece pulse. Alex Lacamore's musical direction and orchestration lifts us into the stratosphere. The scenic design by David Korins, costumes by Paul Tazewell and lights by Howard Binkley are seamlessly integrated and a visual feast. Finally, Thomas Kail's direction is impeccable. Under his guidance this show has been pieced together into a living, breathing entity. Hamilton is not just a show, it is an experience - which is always the goal of art. This is not a show that you sit and watch. It is a show that takes you by the hand and pulls you into its embrace.The end result is something much more than the story of one man. It is the story of how we each create our destiny and our mark on the world. You leave the theater thinking about what you would like to do that you have not done. You leave the theatre filled with possibility.(Photo by Joan Marcus)&nbsp;<hr />"'Hamilton' makes us feel the unstoppable, urgent rhythm of a nation being born." Ben Brantley for New York Times"With 'Hamilton,' Broadway is officially the coolest place on the planet. And the smartest. And most exhilarating." Joe Dziemianowicz for New York Daily News"Lin-Manuel Miranda's 'In the Heights' may have been a hit — but his 'Hamilton' is a phenomenon." Elisabeth Vincentelli for New York Post"The greatest American musical in decades." David Cote for Time Out New York"It was phenomenal off-Broadway. It's even better now. 'Hamilton' is that rare musical that fires on all cylinders, even ones we never knew existed." Roma Torre for NY1"This is a musical often stunning in its audaciousness." Mark Kennedy for Associated Press"This enormously ambitious and entertaining musical history lesson is even more impressive on a second viewing." Frank Scheck for The Hollywood Reporter"This innovative show is shaping up to be just as much of a phenomenon uptown, playing in a Broadway house with four times the seating capacity, and to a more traditional but no less enthusiastic audience. That universal appeal to crossover audiences is one unmistakable sign of a groundbreaking show." Marilyn Stasio for VarietyExternal links to full reviews from popular press...<a href="http://www.nytimes.com/2015/08/07/theater/review-hamilton-young-rebels-changing-history-and-theater.html?_r=0" target="Top">New York Times</a> - <a href="http://www.nydailynews.com/entertainment/theater-arts/hamilton-musical-mint-condition-broadway-article-1.2316761" target="Top">New York Daily News</a> - <a href="http://nypost.com/2015/08/06/hamilton-isnt-quite-revolutionary/" target="Top">New York Post</a> - <a href="http://www.timeout.com/newyork/theater/hamilton-1" target="Top">Time Out</a> - <a href="http://www.ny1.com/nyc/all-boroughs/lifestyles/2015/08/6/ny1-theater-review---hamilton-.html" target="Top">NY1</a> - <a href="http://www.hollywoodreporter.com/review/lin-manuel-mirandas-hamilton-theater-813145" target="Top">Hollywood Reporter</a> - <a href="http://variety.com/2015/legit/reviews/hamilton-review-broadway-1201557679/" target="Top">Variety</a>

Hamilton

The Richard Rodgers Theatre was built by Irwin Chanin, and it originally opened as Chanin's 46th Street Theatre in 1925.

A number of different owners have operated the theatre. The Shubert brothers purchased the building in 1932, renaming it the 46th Street Theatre. Robert W. Dowling took over in 1945, producer Lester Osterman took the reigns in 1960, and producers Stephen R. Friedman and Irwin Meyer gained control in 1978.

The Nederlander Organization purchased and renovated the theatre in 1981, rechristening it in honor of the American composer Richard Rodgers (of Rodgers and Hammerstein) in 1990.

## How to get to the Richard Rodgers Theatre on Broadway

The Richard Rodgers Theatre is nearest to the 42nd Street - Times Square subway stop on the 1, 2, 3, 7, N, Q, R, W, and S subway lines. Theatregoers can also take the the 1 line to the 50th Street station; or the N, R, or W lines the 49th Street station. All are located about four blocks from the theatre on 46th Street between Eighth Avenue and Broadway.

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

## Restaurants near the Richard Rodgers Theatre

The Richard Rodgers Theatre is located one block directly east of Restaurant Row, the stretch of 46th Street between Eighth and Ninth Avenues lined with a diverse array of restaurants. Some popular eateries there include Frankie and Johnnie's Steakhouse, Becco (Italian), Hold Fast (American), and Sushi of Gari 46 (Japanese).

## Where is *Hamilton* on Broadway playing?

*Hamilton* on Broadway plays the Richard Rodgers Theatre at 226 West 46th St. The Pulitzer- and Tony Award-winning hit by Lin-Manuel Miranda has been at the theatre since 2015. *Hamilton* holds the record for most Tony nominations in history (16), is the 26th-longest-running show in Broadway history, and is the longest-running show to ever play at the Rodgers.

Richard Rodgers Theatre - NY

Richard Rodgers Theatre

Fat Ham on Broadway Rush

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

$39 Rush tickets

I unlocked $39 Rush tickets for Fat Ham on Broadway on @TodayTix! https://www.todaytix.com/NYC/shows/27141/rush?share=unlock

Fat Ham on Broadway - NYC

fat ham

Fat Ham on Broadway

FAH-0007W-TodayTix-480x720-v1

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

Friday Forty

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

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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

Built on the site of the former Apollo Theatre and Lyric Theatre, which had fallen into neglect and disrepair, the new Lyric Theatre officially opened on January 26, 1998. The building was called the Ford Center for the Performing Arts at the time, and the first production there was the musical *Ragtime*. 

After renovations, the theatre was renamed the Hilton Theatre in 2005 and Foxwoods Theatre in 2010. The U.K.-based Ambassador Theatre Group acquired the lease to the theatre — its first Broadway venue — in May 2013 and restored the Lyric Theatre name in March 2014. Between then and 2018, the theatre underwent another renovation to implement custom decor for *Harry Potter and the Cursed Child*, the venue's current tenant.

## How to get to the Lyric Theatre on Broadway

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

## Restaurants near the Lyric Theatre

Popular restaurants near the Lyric Theatre in NYC include Carmine's (Italian), Bubba Gump Shrimp Co. (American), the Hard Rock Cafe (American), and Junior's (American). Los Tacos No. 1, located directly across the street from the Lyric, is also a popular spot for a quick, casual bite.

[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)

Lyric Theatre - NY

Lyric Theatre

Grey House on Broadway starring Laurie Metcalf - NYC

Grey House on Broadway starring Laurie Metcalf

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