Off Broadway Shows - NYC

There's so much to see in NYC. Discover the next big show with this list of Off-Broadway's best.

Off-Broadway shows in NYC

Off-Broadway Shows NYC

New World Stages

The Play That Goes Wrong [14790] (USE THIS 2021) 

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The Play That Goes Wrong

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Halfway through the first act of the hilarious off-Broadway staging of <a href="/show/the-play-that-goes-wrong">The Play That Goes Wrong</a>, an actor who has grown wildly frustrated because of a missing prop turns to the audience and says, "Stop laughing! This isn't television, I can see you." The demand, naturally, only makes the audience laugh harder. And that is an impressive feat given that the chuckles had been pouring forth relentlessly from the production's opening moments and, indeed, carry through to the final madcap meltdown, with the scenery seemingly in a race with the performers to see which will tip over first. If it is cliché to say that a show has non-stop laughs, then this show is cliché in the extreme. If it is pat to say that this play lives up to its title, rarely have a talented crew of actors and technicians so seamlessly joined forces to make a ridiculously wrong piece of theater feel so very right.The script, by a trio of gents who trained at the London Academy of Music &amp; Dramatic Art, actually has a rather complicated exoskeleton. It is a play within a play, with actors portraying other actors who, in turn, are portraying characters in a murder mystery. It is an Agatha Christie type of an affair where one dead body turns into two, then back into one, then into several, while siblings, friends, a love interest and, of course, the butler, are all scrutinized by an intrepid inspector (a game for anything Matt Harrington). But none of this matters in the least. It is merely an excuse for two hours of well-timed spit takes, killer pratfalls, silly antics by men with serious British accents, pyrotechnics of both the literal and metaphorical variety, purposefully egregious over-acting and death defying moments of scenic design by Tony Award winner Nigel Hook. Director Matt DiCarlo, either a genius or a fool, pulls it all together with the nerves of a demolition expert handling a bomb with a dozen different triggers.Beyond the simple joys of a man running face-first into a pole, there are recognizable pleasures to be had for anyone who has ever been in a play, amateur or professional, on stage or in the wings. There are cascading prop failures, sound cues with a mind of their own, and misdelivered dialogue that leads to one scene getting stuck in an endless loop. An ensemble of eight perform the tricky task of bashing each other while making sure their antics are safely executed. Bartley Booz, as the confused thespian, Dennis, has his lines written on his hands but still manages to mispronounce everything as he tries to create a believable butler. Matt Walker, as Max, intentionally steals every scene he is in by making devilish eye contact with the audience, much more concerned with showing off than with actual acting. Ashley Reyes handles the ingénue duties with aplomb, gamely being thrown out the window when not torn between two lovers. Ryan Vincent Anderson and Bianca Horn are two stagehands who get dragged into the action with predictably bruising results while Chris Lanceley and Brent Bateman portray friends with stiff upper lips and quivering legs.Having ended its successful Broadway run in January, the play has found a happy home at <a href="/theatres/new-world-stages">New World Stages</a>, joining fellow transfers <a href="/show/avenue-q">Avenue Q</a> and <a href="/show/jersey-boys">Jersey Boys</a> in the underground complex which originally housed a discount multiplex cinema. This cramped stage feels more in keeping with the ruse that the production is presented by a dysfunctional British drama society. The smaller proscenium makes it seem all the more big-hearted.(Photo by Jeremy Daniel)

Review of The Play That Goes Wrong at New World Stages

Located beneath the Worldwide Plaza between Times Square and Hell’s Kitchen, New World Stages is a modern performing arts complex with five theatres for Off-Broadway productions.

The building was constructed in 1994 on the site of the third Madison Square Garden. It first opened as a Loews Cineplex Entertainment multiplex cinema, which closed in 2001.

For the next three years, the building underwent substantial renovations and finally reopened as Dodger Stages in 2004, designed by architects Beyer, Blinder, and Belle. The theatre complex was renamed New World Stages on March 16, 2006, and Stage Entertainment assumed sole ownership of the property. The Shubert Organization took over ownership and operation on November 17, 2017.

All five spaces have between 100 and 500 seats, officially deeming New World Stages an Off-Broadway venue. Stage 1 and Stage 3 are the largest theatres in the complex with 499 seats. Stages 2 and 4 offer a 350-seat capacity. Stage 5 is the smallest venue with 199 seats. The Green Room is the official bar and lounge for New World Stages, but it can also be a performance space.

## How to get to New World Stages off Broadway

New World Stages is closest to the 50th St. subway stop on the C and E lines. The nearest bus stop is 9 Av./W 50 St. on the M11 line.

## Where is *The Play That Goes Wrong* playing?

*The Play That Goes Wrong* is at New World Stages' Stage 4. The comedy play made its Broadway debut in 2017, and after running there for two years, it transferred off Broadway.

Previous productions that enjoyed long Off-Broadway runs at New World Stages after closing on Broadway are *Jersey Boys* and *Avenue Q*.

New World Stages - NYC

New MTC Covid Protocol

King James Rush

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King James - NYC

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King James

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Architect Harry P. Knowles designed New York City Center, which was built by Clinton and Russell in 1923 for the Shriners under the name of The Mecca Temple. Amid the financial crash of 1929, the building became city property after the Shriners were unable to keep up with tax payments.

Former Mayor Fiorello LaGuardia and New York City Council President Newbold Morris decided to convert the temple into Manhattan’s first performing arts center. The building opened as a theatre in December 1943.

New York City Center is known for its annual Encores! productions since 1994, which restage seldom revived American musicals in concert or semi-staged incarnations. The venue received a Tony Award for Excellence in Theatre in 2000.

Since its launch, New York City Center has become one of the city’s prime venues for dance.

In addition to the 2,557-seat mainstage, the facility houses two smaller theatres — Stage I and Stage II, where Manhattan Theatre Club has hosted its Off-Broadway productions since 1984 — and four studios.

## How to get to New York City Center

New York City Center is closest to the 57th Street station on the N, Q, R, and W lines and the 7th Avenue station on the E, B, and D lines. The nearest bus stops are 6 Av./W 55 St. on the Q2, Q3, Q4, and Q20 lines; and 6 Av./56 St. on the Q10, Q12, and Q24 lines.

## Restaurants near New York City Center

Popular restaurants near New York City Center include Redeye Grill (American), Pazza Notte (Italian), Estiatorio Milos (Greek), Rue 57 (French), and Benihana (Japanese).

New York City Center - NY

New York City Center

Encores! The Light in the Piazza - NYC

Encores! The Light in the Piazza

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Blue Man Group

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The building where the Astor Place Theatre is situated was originally constructed in 1831 as a part of the historic Colonnade Row. The building was home to the Astor and Vanderbilt families, and was awarded New York City landmark status in 1963.

It was converted into a live theatre in 1965 after being purchased by Bruce Mailman. The inaugural production – Israel Horowitz’s *The Indian Wants the Bronx* - opened in January 1968 and starred a young Al Pacino. Over the years, the Astor Place Theatre has housed a number of landmark productions including premieres by Terrence McNally and A.R. Gurney, as well as the musical revue *Jacques Brel is Alive and Well and Living in Paris*. 

Since 1991, the venue has been home to the family-friendly entertainment act [*Blue Man Group*](https://www.newyorktheatreguide.com/show/11-blue-man-group-tickets). Blue Man Productions (now a subsidiary of Cirque du Soleil) acquired the theatre in 2001.

## How to get to the Astor Place Theatre off Broadway

The nearest subway stops to the Astor Place Theatre are 8 St. - NYU on the N, R, and W lines, or Astor Pl. on the 6 line. The nearest bus stops are E 8 St./Lafayette St. on the M3 line and Lafayette St./Astor Pl. on the M1 line.

## Restaurants near the Astor Place Theatre

Popular restaurants near the Astor Place Theatre include The Donut Pub (sandwiches and sweets), Misirizzi (Italian), and Indochine (Vietnamese). There are also multiple fast-casual places nearby including Sweetgreen, Shake Shack, and Pret a Manger.

Astor Place Theatre - NY

Astor Place Theatre

Lincoln Center Theater

Next@LCT3: Melissa Li and Kit Yan - NYC

Next@LCT3: Melissa Li and Kit Yan

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The Claire Tow Theater is named in honor of the wife of longtime Lincoln Center Theater board member Leonard Tow. The theatre is located on the roof of the building housing Broadway's [Vivian Beaumont Theater](https://www.newyorktheatreguide.com/theatres/vivian-beaumont-theater) and the Off-Broadway [Mitzi E. Newhouse Theater](https://www.newyorktheatreguide.com/theatres/lincoln-center-mitzi-e-newhouse-theater), all of which are owned and operated by Lincoln Center Theater. The Tow is LCT's newest space, having opened to the public in 2012.

The 112-seat venue is the current home of LCT3, a programming initiative designed to nurture the work of emerging playwrights and directors.

## How to get to the Claire Tow Theater off Broadway

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

Lincoln Center Theater - Claire Tow Theater - NY

Lincoln Center Theater - Claire Tow Theater

Next@LCT3: Michael R. Jackson - NYC

Next@LCT3: Michael R. Jackson

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Sleep No More Covid

Sleep No More

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The McKittrick Hotel is an event space located in Manhattan's Chelsea neighborhood. The space was first home to nightclubs and later warehouses, but the immersive theatre company Punchdrunk bought the space in 2011 and refashioned it to resemble a hotel for its show *Sleep No More*, which runs there today. The company also created a fictional backstory for the McKittrick: It was a luxury hotel built in the 1930s, got shuttered just before opening, and went unused for decades until *Sleep No More* arrived.

The McKittrick is named for a fictional hotel in the Alfred Hitchcock movie *Vertigo*. The venue houses a restaurant, the Gallow Green; a bar, the Manderley; and a lounge and performance space, the Club Car.

## How to get to the McKittrick Hotel off Broadway

The McKittrick Hotel is closest to the 28th Street Station on the 1 line and the 34th Street - Hudson Yards station on the 7 line. The closest bus stops are 10 Av./West 27 St. on the M11 line and 11 Av./W 26 St. on the M12 line.

## Where is *Sleep No More* playing?

*Sleep No More* is playing at the McKittrick Hotel, which was fashioned in a 1930s style specifically for the show. *Sleep No More* is an immersive retelling of Shakespeare's *Macbeth* with an Alfred Hitchcock-style noir design, and audiences freely explore the building and interact with the actors as they perform.

The McKittrick Hotel is also home to Speakeasy Magick, a 21+ magic show at the Club Car lounge, and a rotating lineup of other limited-run events.

The McKittrick Hotel - NYC

The McKittrick Hotel

Greenwich House Theater Covid Protocol 2.16.23

Colin Quinn Rush

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Colin Quinn: Small Talk - NYC

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Colin Quinn: Small Talk

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A collection of blackboards, some covered with artwork and others with words like “persona,” is a clue that school is in session. The teacher turns out to be the class clown.

That instructor is standup comedian Colin Quinn. His presentation is [*Small Talk*](https://www.newyorktheatreguide.com/show/26797-colin-quinn-small-talk-tickets), a fun, brief, and minor addition to his roster of compact observational monologues. 

The ex-*Saturday Night Live* “Weekend Update” anchor’s past solo stage pieces have covered global studies in *Long Story Short*, our polarized nation in *Red State Blue State*, and NYC in *The New York Story*.

Directed by James Fauvell, this new show at the recently refurbished [Lucille Lortel Theatre](https://www.newyorktheatreguide.com/theatres/lucille-lortel-theatre) concerns the lost art of the gift of gab – whether to clerks, colleagues, spouses, you name it. Along with that, the concept of a chatty, charismatic personality has gone out the window, per Quinn. “Between phones, AirPods and self-checkout,” he says, “small talk is down 87%.” 

The show has been packaged as a guide to being personable. But that’s just spin. The 70-minute work is essentially an amusing but shapeless survey of what’s bugging the writer and star. There are so many things.

Quinn doesn’t exactly connect the dots between talking points. Ideas just rise up fleetingly and then recede, Whac-a-Mole-style. He starts by talking about the weather. It’s small-talk 101 that should be a no-brainer, but people still mess up. 

He later touches on the significance of people’s last words, mansplaining, Karens (“Everyone is a Karen,” he says), and suggests establishing a Rotten Tomatoes-style personality profiles for everybody. 

He pokes fun at the slippery notion of being one’s authentic self. According to Quinn, the only surefire tool to know someone else’s true self is their browser history. At this point in the show you could almost see thought balloons – “You got me!” – over theatregoers’ heads. 

Quinn’s a smart guy. Between his intelligence and gruff, everyguy delivery, the fast-moving evening goes down easy. It’s so all over the place, however, that it lands with no real impact and fails to build. The show lives up to its title.

He posits that human resources departments have become personality police, warning “Don’t bring your real personality in here.” The way he sees it, “five years from now there will be no more *Law & Order*, no more *CSI*, every cop show is going to be *HR*.” 

“There are two separate but very important groups in every office,” he cracked. “The sexist pigs and those who are assigned to stop them. These are their stories.” 

It’s a funny line, but exactly how that relates to small talk is anybody’s guess. The same goes for a rapid-fire section that goes from gun control to immigration to global warming, and a vision of the not-so-distant future where viral video idiots are star material for awards shows: “The award for craziest guy to get dragged off a plane last year” … “Most toxic Little League parent” … “Most psychotic Waffle House.”

These days, small talk manifests as social media posts, according to Quinn. There are people who have to weigh in on everything. “Ten percent of people are opinion addicts, and they’ve got to give their opinion all the time,” cracks Quinn. 

“You’ll know who they are,” he added. “If the internet ever goes down, they’ll be like any other addict in front of the 7-Eleven trying to give their opinion.” 

Another place to look for them: on stage. 

[*Colin Quinn: Small Talk* is at the Lucille Lortel Theatre through February 11. Get *Colin Quinn: Small Talk* tickets at New York Theatre Guide.](https://www.newyorktheatreguide.com/show/26797-colin-quinn-small-talk-tickets)

*Photo credit: Colin Quinn in Small Talk. (Photo by Monique Carboni)*

'Colin Quinn: Small Talk' review — fast-paced comedy show is all talk, little substance

Greenwich House Theater is located in the historic Greenwich House in Manhattan’s West Village.

Greenwich House first opened on Thanksgiving Day in 1902 as a community center dedicated to supporting the area's immigrant population. To this day, the building still functions this way, offering a range of initiatives like the Barrow Street Nursery School.

During the late 1990s, the Drama Dept. Theatre Company produced shows at Greenwich House Theater. In 2003, producers Scott Morfee and Tom Wirtschafter — the founders of the Barrow Street Theatre company — took ownership, renamed the venue for itself, and produced various shows there. 

After the closure of its immersive production of *Sweeney Todd: The Demon Barber of Fleet Street* in August 2018, the venue reassumed its original name. Since early 2019, Ars Nova has produced shows at the Greenwich House Theater.

## How to get to the Greenwich House Theater off Broadway

The closest subway stops to the Greenwich House Theater are Christopher Street on the 1 line and W 4th St. - Washington Square on the A, C, E, B, D, F, and M lines. The closest bus stop is 7 Av S/Barrow St on the M20 line.

## Restaurants near the Greenwich House Theater

Popular restaurants near the Greenwich House Theater include Barrow Street Ale House (pub fare), Boucherie (French), Via Carota (Italian), Palma (Italian), and Tacombi (Mexican).

Greenwich House Theater - NY

Greenwich House Theater 

Daryl Roth Theatre

Titanique RUSH

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Titanique - NYC

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Titanique

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

'Titanique' review — a boatload of campy fun

Titanique is at the Daryl Roth Theatre. Get Titanique tickets on New York Theatre Guide.

Titanique Off-Broadway Review | New York Theatre Guide

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

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

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

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

Daryl Roth Theatre - NY

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

The Fears - COVID Protocol

The Fears Rush

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The Fears - NYC

The Fears

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

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

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

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

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

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

## Restaurants near Signature Theatre

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

Pershing Square Signature Center - NY

Pershing Square Signature Center

Notre Dame de Paris RUSH

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Company may offer programs whereby the Company would make available certain features of the Services when you share information about the Services through an SNS or click on the “Unlock without sharing” button in the Application.  When you are considering purchasing a ticket for a specific show or after you purchase a ticket, if you select the “Share” button in the Application, Company will make available to you a personalized link to a Digital Property with text stating, for example, “Check out {show} on TodayTix! I’m thinking of going…” or something similar, which you may choose to share with your friends via SNS.  Once you have shared the personalized link through an SNS using the Application or selected the “Unlock without sharing” button in the Application, Company will make available to you the RUSH feature, which will provide you with otherwise unavailable offers for tickets to live events.  The opportunity to take advantage of these offers is only available to users who share a personalized link to an SNS through the Application or select the “Unlock without sharing” button in the Application.


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Notre Dame de Paris - NYC

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Notre Dame de Paris

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David H Koch Theater

TBWC Rush

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The Best We Could (a family tragedy) - NYC

The Best We Could MTC Production Photos 2023 288 Final HR Credit Manhattan Theatre Club

The Best We Could (a family tragedy)

It's been said that one should never reveal weighty secrets during a car ride — if the other person reacts badly, there's no escape. The characters in Emily Feldman's [*The Best We Could (a family tragedy)*](https://www.newyorktheatreguide.com/show/25984-the-best-we-could-a-family-tragedy-tickets) abide by this rule, but a cross-country drive nonetheless puts one family on a road to ruin.

Thirty-six-year-old Ella (Aya Cash) is an L.A.-based, cynical serial quitter at various arts jobs. Her parents — friendly-to-a-fault Lou (Frank Wood) and high-strung Peg (Constance Shulman) — are reluctant retirees in New Jersey. "It might be kind of a waste, but it's something to do" is their unofficial motto, as both would rather work but can't seem to hack it anymore.

They can't even live vicariously through their daughter, who doesn't live up to their definition of success. At least they have a dog to occupy them — but when he dies, Lou travels to rescue another from out of state, accompanied by Ella. The road trip, Peg insists, will make for a refreshing switch from both their listless lives.

The expected U.S. landmark-gawking, father-daughter bonding, and well-meaning parental nagging all happen. But the title forewarns us these interactions will build to a tragedy. An omniscient, emcee-like character known only as Maps (a commanding Maureen Sebastian) subtly amps up the foreboding tone, matter-of-factly dictating the characters' movements and actions as though only she can control their fates.

Lou and Ella learn a lot about each other on the road, and while some of their ensuing debates are benign (like Lou's insistence that college honor societies are more important than she thinks), others reveal larger, potentially insurmountable, gaps between who each thought the other was and who they actually are.

Two major revelations come out in *The Best We Could* that fully upend the already strained family. The first concerns Ella, and it lays the groundwork for the play's wrenching finale. One can infer the second — a revelation about Lou — if they pay attention to the clues, which Feldman weaves into his character throughout.

Toward the end, I thought of *Downstate*, an Off-Broadway play from October that interrogates the limits of punishment for those who have done harm. Feldman's play has vastly different subject matter (*Downstate* centers on formerly imprisoned sex offenders), but it tackles similar themes. We're a lot more inclined to empathize, Feldman suggests, when it's our loved ones in question. Because we're affected by the consequences if we don't.

It's a thorny yet sentimental idea, which stands in sharp contrast to the bare-bones staging, with no set but chairs in a nondescript rehearsal room. But that's part of the reason why it works. Neither Feldman nor director Daniel Aukin manufacture affection for the characters with sweet dialogue or warm, beautiful settings. If we feel for this family, it's a testament to the actors and also, perhaps, our own sense of familial love.

Plus, the staging is ironic — *The Best We Could* makes us hyperaware of its theatricality, but the premise isn't fantastical. It's painfully plausible. It takes emotions and experiences we as humans champion — connection, family, integrity — and flips them on their head.

[*The Best We Could* is at New York City Center through March 26. Get *The Best We Could* tickets on New York Theatre Guide.](https://www.newyorktheatreguide.com/show/25984-the-best-we-could-a-family-tragedy-tickets)

*Photo credit: Frank Wood and Aya Cash in The Best We Could. (Photo by Marc J. Franklin)*

'The Best We Could' review — a ride on the road to ruin

Read our four-star review of *The Best We Could (a family tragedy)*, a new Off-Broadway play by Emily Feldman running at New York City Center through March 26.

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Waiting In The Wings: The Musical - NYC

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Waiting In The Wings: The Musical

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Theatre at St. Clement's - NY

Theatre at St. Clement's

Ariana DeBose: Authenticity - NYC

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Ariana DeBose: Authenticity

David Geffen Hall

Encores! Dear World - NYC

Encores! Dear World

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Theatre Row

Robin And Me - NYC

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Robin And Me

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The Theatre Row building houses six small theatres. Theatre Three, formerly the Acorn Theatre, is the largest with a capacity of 199 seats. Theatre Two (formerly the Kirk Theatre, named after Manhattan Plaza developer Rodney Kirk), Theatre Four (formerly the Beckett Theatre, named after acclaimed playwright Samuel Beckett), and Theatre Five (formerly the Clurman Theatre, named after Henry Clurman), each have a capacity of 99 seats.

The complex also contains two smaller venues: Theatre One (formerly the Lion Theatre, named after former residents The Lion Theatre Company), which holds 88 seats, and the Studio Theatre, with a 55-seat capacity.

Theatre Row is home to a small variety of Off-Broadway production companies including The Keen Company, TACT (The Actors Company Theatre), and The Mint Theater Company.

Theatre Row is also the name of the block the building sits on, that of 42nd Street between Ninth and 10th Avenues. It was so named because of the plethora of theatres that line the street. Playwrights Horizons, the Pershing Square Signature Center, and Stage 42 all neighbor the Theatre Row building.

## How to get to Theatre Row off Broadway

Theatre Row is closest to the 42nd St. - Port Authority subway stop on the A, C, and E lines. The closest bus stop is 9th Av./W 42nd St. on the M11 line.

Theatre Row - NY

Drunk Shakespeare

Drunk Shakespeare - NYC [152] 

[Poster] Drunk Shakespeare 152

The Ruby Theatre

Orpheum Theatre - Entry Requirements  

STOMP [15] 

[Media #5] STOMP 15

STOMP

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The Orpheum Theatre is located in the East Village neighborhood of Manhattan. Originally established as a theatre in 1904, the venue once played a huge role in the Yiddish theatre scene and was known as the Player’s Theatre.

In the 1920s, the building was converted into a movie theatre. The venue reopened as a theatre in November 1959 with *Little Mary Sunshine*. In the following decades, landmark Off-Broadway productions including Cole Porter’s *Anything Goes* and Alan Menken and Howard Ashman’s *Little Shop of Horrors* premiered at the Orpheum Theatre.

After further renovations in the 1980s including a capacity increase from 299 to 347 seats, the venue opened again in 1994 as the Orpheum Theatre with *Stomp*, which ran until 2023. Liberty Theatres owns and operates the Orpheum and the [Minetta Lane Theatre](https://www.newyorktheatreguide.com/theatres/minetta-lane-theatre) in the Greenwich Village neighborhood.

## How to get to the Orpheum Theatre off Broadway

The Orpheum Theatre is closest to the Astor Place subway stop on the 6 line. The 8 St. - NYU stop on the R and W lines and the 2nd Ave. stop on the F line are also nearby.

The closest bus stop is St Marks Pl./2 Av. on the M8 line.

## Restaurants near the Orpheum Theatre

Popular restaurants near the Orpheum Theatre in NYC include Veselka (Ukrainian), The Smith (American), San Marzano (Italian), Mighty Quinn's Barbeque (American), and Kimura (Japanese).

Orpheum Theatre - NY

Orpheum Theatre

Westside Theatre

Little Shop of Horrors - NYC [24608]

2 - 9188 - Maude Apatow, Camryn Hampton, Khadija Sankoh, and D-Kayla Unique Whitley in LITTLE SHOP (c) Emilio Madrid

Little Shop of Horrors

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The plant at the centre of <a href="/show/little-shop-of-horrors">Little Shop of Horrors</a> that feeds on human blood may have had its sights on world domination, but the musical that was based on the low-budget 1960 comedy sci-fi film of the same name has actually long achieved it, so it ultimately got what it wanted. And now the show has come full circle, 37 years on from its Off-Off-Broadway beginnings at the WPA Theatre (now no more) in May 1982, before moving to the larger Orpheum Theater on Second Avenue in the East Village that summer, where it ran for five years and became the highest-grossing show in Off-Broadway history until then, to find a new home at another Off-Broadway house just off Eighth Avenue in midtown Manhattan.In the intervening years, it has been turned into a feature film and played in the West End and on Broadway (the latter in a new production in 2003 that ran for less than a year at the Virginia Theatre, now the August Wilson), but its true home is a more modestly scaled place like the 270-seater <a href="/theatres/westside-theatre">Westside Theatre</a>, a former Baptist church built in 1889 that has been used as a theatre space since the mid-1970s.But while it is naturally a special pleasure and privilege to see the show at close quarters again, everything about this new version screams Broadway, from its above-the-title casting of multiple Tony Award nominees Jonathan Groff, Tammy Blanchard and two-time Tony winner <a href="/actor-profile/christian-borle">Christian Borle</a>, to its creative staff, led by director Michael Mayer, Tony winner for his original production of Spring Awakening. And unfortunately not everyone alas is willing to let the show sing and speak for itself, but&nbsp;seeks to portray it on a larger canvas.The production often feels too large and indulgent on this small stage, starting with Julian Crouch's expansive set that consumes the theatre. This may be the priciest Skid Row ever brought to an Off-Broadway stage.The performances are at times similarly exaggerated. In trying to mine new colours for Audrey, the abused floral shop assistant who falls for her work colleague Seymour as he nurtures a new exotic plant that he names Audrey II after her, Tammy Blanchard channels her into a sultry Rita Heyworth-inspired character, with her songs slowed down into torch songs of despair. 'Somewhere that's Green' sounds less aspirational of a better life than a dread doubt of ever achieving it.Jonathan Groff seems similarly depressed and downtrodden as Seymour, while Christian Borle plays the dentist Orin and a range of other characters purely as bright, eager caricature.There are some compensating pleasures from the trio of street urchins Ronnette (Ari Groover), Crystal (Salome Smith) and Chiffon (Joy Woods), who are a kind of Greek chorus observing and commenting on the action in Alan Menken's wonderful pastiche score. It is here that the enduring pleasures of the show itself are most apparent.Nicholas Mahon's new puppet designs for the plant itself are impressive as it grows ever larger. But less, in this production, would be more amongst the human elements.(Photo by Emilio Madrid-Kuser)<div class="block block-block contextual-links-region " id="block-block-9"><div class="block-inner clearfix"><div class="block-title"><h2>WHAT THE OTHER CRITICS SAID</h2></div></div></div>"A certain carnivorous plant has been repotted in Hell's Kitchen, and I am delighted to report that it's thriving there. This hot showbiz shrub of yesteryear, which goes by the name of Audrey II, has found a new dance partner, a performer who can coax the&nbsp;tendril-stretching star quality&nbsp;out of a freakish botanical specimen. That would be Jonathan Groff,&nbsp;who is generating major nerd charisma in Michael Mayer's delicious revival of Little Shop of Horrors." Ben Brantley&nbsp;for <a href="https://www.nytimes.com/2019/10/17/theater/little-shop-of-horrors-review-jonathan-groff-feeds-the-beast.html" target="_blank">New York Times</a>"Tight feels right, because the roots of Alan Menken and Howard Ashman's terrific show are in small houses. Now the insanely catchy doo-wop musical occupies the 270-seat Westside Theatre, with a bare-bones set and not a projection in sight. Freed from dealing with the usual trappings of modern musicals, you can feel the actors let their vines down." Johnny Oleksinski&nbsp;for <a href="https://nypost.com/2019/10/17/little-shop-of-horrors-review-jonathan-groff-tammy-blanchard-get-real/" target="_blank">New York Post</a>"Michael Mayer's deeply satisfying revival at the Westside Theatre, with a set by Julian Crouch, has the right sense of scale for a musical that began Off Broadway and is most at home there. It's a little show, and the closer we get to it, the more it sucks us in." Adam Feldman for <a href="https://www.timeout.com/newyork/theater/little-shop-of-horrors-review-revival-jonathan-groff-tammy-blanchard-christian-borle" target="_blank">Time Out New York</a>"What's most immediately captivating about the limited-engagement production is that, deluxe casting aside, it eschews Broadway scale in favor of a return to the show's roots in an off-Broadway theater that seats just 270. That accounts for the production's sell-out business, two-month extension and cluster of hopeful ticket-buyers waiting on cancellation lines at every performance. While it's become something of a classic, this remains at heart a scrappy little pastiche musical whose charms thrive most vibrantly in an intimate house." David Rooney&nbsp;for&nbsp;<a href="https://www.hollywoodreporter.com/review/little-shop-horrors-theater-review-1248089" target="_blank">Hollywood Reporter</a>"Directed at a quick clip by Michael Mayer,&nbsp;this Little Shop&nbsp;is played out on the small, tight stage of the Westside Theater with an ever-growing, masterfully manipulated plant (kudos to Eric Wright, Teddy Yudain, Kris Roberts, Chelsea Turbin). The close confines give this Little Shop&nbsp;the intimacy of home viewing." A.D. Amorosi&nbsp;for&nbsp;<a href="https://variety.com/2019/legit/reviews/little-shop-of-horrors-review-jonathan-groff-1203370043/" target="_blank">Variety</a>&nbsp;

Review of Little Shop of Horrors, starring Jonathan Groff, Tammy Blanchard & Christian Borle, at Westside Theatre

The Westside Theatre building was designed by architect Henry F. Kilburn as the Second German Baptist Church in 1890. Nearly a century later, the space housed a discotheque, Club Sanctuary, until it was finally converted into a theatre with two stages (upstairs and downstairs) in 1973.

The Chelsea Theatre Group presented the first production – David Storey’s *The Contractor* – in October 1973. The building was renamed the Chelsea Westside Theatre. Under the management of Raymond L. Gaspard, the theatre was rechristened the Westside Arts Theatre from 1981 until 1990.

After an extensive renovation by new management, the venue reopened in March 1991 as the Westside Theatre. The Upstairs Theatre has a capacity of 270 seats, while the Downstairs Theatre holds 249 seats.

## How to get to the Westside Theatre off Broadway

The Westside Theatre is closest to the 42nd St. - Port Authority subway stop on the A, C, and E lines. The closest bus stop is 9 Av./W 44 St. on the M11 line.

Westside Theatre - NYC

The Office! A Musical Parody [13171]

[Media #1] The Office! A Musical Parody 13171

The Office! A Musical Parody

[Poster] The Office! A Musical Parody 13171

Cramming each of the seasons — and all of their many subplots — into a two-hour musical.

The Theater Center is a 20,000 square-foot entertainment center. There are two theatres with a total seating capacity of 398. In the Anne L. Bernstein Theater is *Perfect Crime*, which is the longest-running play in New York history. The Jerry Orbach Theater houses a rotating lineup of shows. The performance space is named after the celebrated stage and screen actor Jerry Orbach, who performed in many Broadway shows and became a global celebrity for starring in the original *Law and Order* TV series. 

## How to get to The Theater Center off Broadway

The Theater Center is closest to the 50th St. subway stop on the 1 line. The nearest bus stops are W 49 St./7 Av. and W 50 St./7 Av. on the M50 line.

The Theater Center - NYC

The Theater Center

Playhouse 46 at St Lukes Covid Protocol  ﻿

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Stranger Sings! The Parody Musical - NYC

Stranger Sings! The Parody Musical 

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If&nbsp;Stranger Things&nbsp;Twitter, theatre Twitter, and '80s kids all created a show together, it would look something like&nbsp;<a href="https://www.newyorktheatreguide.com/show/stranger-sings-the-musical-parody" target="_blank">Stranger Sings!&nbsp;The Parody Musical</a>.Jonathan Hogue, who wrote the show's book, music, and lyrics, seems to represent all those culture niches in one. Stranger Sings!&nbsp;is not only stuffed to the brim with nostalgic jokes, but it is also perfectly on the pulse with fan conversations around the show (speaking from personal experience, as a&nbsp;Stranger Things&nbsp;fan), perhaps even more so now that it's back in New York for an encore run.To keep things manageable plot-wise,&nbsp;Stranger Sings!&nbsp;is still rooted mostly in the first season's adventures:&nbsp;In 1983, a trio of middle schoolers (Mike, Dustin, and Lucas) and their families must save their friend Will from interdimensional monsters, dubbed "demogorgons" after fictional foes from their Dungeons &amp; Dragons campaign. (But a third season of Stranger Things&nbsp;came out between the musical's first 2018 concert and the first full Off-Broadway run in 2021, and another still between then and the current engagement.Smartly,&nbsp;Stranger Sings!&nbsp;handpicks only a few key moments from the latter seasons to add, making the show feel up-to-date without being overwhelming. Those include a duet between Steve and Dustin (everyone's favorite bromance) at Scoops Ahoy, with cameos from Robin and Erica; and a short snippet of&nbsp;Running Up That Hill,&nbsp;the Kate Bush song that season four relaunched to the top of the charts. Plus, some allusions to Will's implied homosexuality — an especially hot topic since season four premiered — land with extra weight.All that said, at times it still feels like there's almost too much going on — like in Stranger Things&nbsp;itself, there are so many characters and subplots that it sometimes feels like the writers don't know what to do with them all. The telepathic Eleven and the police chief Hopper, two major characters in the TV series, are the victims here, getting reduced to minor-character status. Lots more oxygen is given to the love triangle between high schoolers Steve, Nancy, and Jonathan, and how finding neither Will nor Nancy's friend Barb is quite as important as canoodling in the woods.It's forgivable, though, because scenes like that play into fans' real critiques of the show. There's plenty more fun fan service, too, in the form of a showstopping 11 o'clock number from a forgotten character, '80s pop culture (a demogorgon dancing to "Thriller" is a particular highlight), and theatre jokes — there's a smart new joke about Hopper picking up the Handbook for the Recently Deceased (a prop from the cult classic 80s movie&nbsp;Beetlejuice) at the gift shop of the Marriott (where the&nbsp;Beetlejuice&nbsp;musical adaptation is currently playing).On a related note, Beetlejuice himself — as well as Heather Chandler, Edward Scissorhands, and more characters from Winona Ryder movies — make cameos in the show's most wildly divergent, yet best, number, "Crazy." The manic Joyce (played by Ryder in the TV show, and here by a superb Caroline Huerta) insists she is&nbsp;Winona and desperately wonders where her Emmy is.The number makes Joyce the one character who, though she only gets a few scenes, doesn't get swallowed up in the chaos of the musical as a whole. Plus, Ryder should have an Emmy, and if nothing else,&nbsp;Stranger Sings!&nbsp;is successful as a campaign for that alone.<a href="https://www.newyorktheatreguide.com/show/stranger-sings-the-musical-parody" target="_blank">Stranger Sings! The Parody Musical&nbsp;is at Playhouse 46 @ St. Luke's through January 1. Get&nbsp;Stranger Sings! The Parody Musical&nbsp;tickets now.</a>Photo credit: Jamir Brown, Jeffrey Laughrun, Jeremiah Garcia, Caroline Huerta, SLee, Garrett Poladian, Harley Seger, and Shawn W. Smith in Stranger Sings! (Photo by Evan Zimmerman for MurphyMade)

'Stranger Sings' review — musical parody turns the hit TV show upside down

Stranger Sings! The Parody Musical is at Playhouse 46 @ St. Luke's. Get Stranger Sings! The Parody Musical tickets now.

Stranger Sings Review | New York Theatre Guide

St. Luke's Lutheran Church opened in 1923 on Restaurant Row, an eatery-rich stretch of 46th Street in the midst of Manhattan’s theatre district. In 2006, the building opened a 178-seat Off-Broadway venue, which often hosted multiple shows in repertory. The venue was operated by Edmund Gaynes and West End Artists Company until its closure in 2020.

In 2022, the church replaced the old St. Luke's Theatre with Playhouse 46 @ St. Luke's, a new performance space in the same location. The Off-Broadway musical *Islander* was the first musical to play in the new theatre.

## How to get to Playhouse 46 @ St. Luke's off Broadway

Playhouse 46 @ St. Luke's is approximately equidistant from two subway stops: 50th St. on the C and E line and 42nd St. - Port Authority on the A, C, and E line. The nearest bus stops are 8 Av./W 46 St. on the M20 and M104 lines and 9 Av./W 46 St. on the M11 line.

Playhouse 46 @ St. Luke's Theatre - NY

Playhouse 46 @ St. Luke's Theatre

Park Avenue Armory

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LOVE at Park Avenue Armory - NYC

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LOVE at Park Avenue Armory

The Park Avenue Armory is also known as the Seventh Regiment Armory and is a National Guard Armory building. The New York State’s Seventh Regiment of the National Guard, a volunteer militia, built Park Avenue Armory in 1861.

Shows at Park Avenue Armory blend visual art exhibitions and the performing arts in its unique space. The first production at Park Avenue Armory was in 2007 — artist Aaron Young choreographed 12 motorcycles to create a painting. In recent years, the venue has hosted celebrated New York premieres including the Tony Award-winning *The Lehman Trilogy*.

## How to get to the Park Avenue Armory off Broadway

The Park Avenue Armory is closest to the 68th St. - Hunter College subway stop on the 6 line. The closest bus stops are E 68 St./Lexington Av. and Madison Av./68th St. on the M66 line, and Lexington Av./E 70 St. on the M101, M102, and M103 lines.

## Restaurants near Park Avenue Armory

Popular restaurants near Park Avenue Armory include The East Pole (American), Alice's Tea Cup, Chapter 2 (tea and sandwiches), Match 65 Brasserie (French), Daniel (French), and Bar Italia (Italian).

[Learn more about the Armory's history, nearby attractions, famous productions, and more.](https://www.newyorktheatreguide.com/theatre-news/news/park-avenue-armory-guide-everything-to-know-about-the-upper-east-side-theatre)

## Park Avenue Armory hours

Park Avenue Armory hours vary. The Armory is open during the hours when artistic programming — a show, an art exhibition, etc. — is taking place. Check the venue's website for a full list of events and their dates and start times.

Park Avenue Armory - NYC

Metropolitan Opera

Puccini's Tosca - NYC

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