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A Doll's House - Rush

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A Doll's House on Broadway Starring Jessica Chastain - NYC

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A Doll's House on Broadway Starring Jessica Chastain

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A dolls house

The new Broadway production of Henrik Ibsen’s [*A Doll’s House*](https://www.newyorktheatreguide.com/show/26989-a-dolls-house-tickets) starring [Jessica Chastain](https://www.newyorktheatreguide.com/stars-on-stage/jessica-chastain) is laser-focused, laid bare, and simply stunning. As always, the play tells the story of Nora Helmer, a wife and mother who finally summons the power to stand tall on her own two feet. 

British director Jamie Lloyd ingeniously runs full tilt with that image. For nearly all of the play’s unbroken two hours, Nora remains rooted in a chair (vaguely Norwegian, a nod to Ibsen’s background) situated downstage, close to the audience.

Even when Nora practices a dance she’s performing at a holiday party, she doesn’t get up – it’s as if she’s doing chair yoga. Only in the final few moments does Nora rise on her own, stand erect, risk everything, and walk out. To go where? That’s the question.

The hallmark of Lloyd's vision — he directed [*Betrayal* with Tom Hiddleston](https://www.newyorktheatreguide.com/reviews/review-of-betrayal-starring-tom-hiddleston-charlie-cox-zawe-ashton-on-broadway) on Broadway and [*Cyrano de Bergerac* with James McAvoy](https://www.newyorktheatreguide.com/reviews/cyrano-de-bergerac-off-broadway-review-james-mcavoy) at BAM — is absolute certainty. That extends from the first time we see Nora to the last and everything in between. Chastain appears in her chair about 15 minutes before showtime. Arms and legs crossed, she gazes into the audience as she repeatedly rotates on a turntable. 

It’s a brilliant and economical visual – and not just because Chastain’s so great she’ll make your head spin. Nora is a woman whose life goes in circles, and in this revival, everything orbits around her. Whenever characters talk, they stand near Nora, slide up a seat by her, or – what nerve! – share her chair without even asking. 

The story takes place at Christmas, and celebratory spirits are doubly high. Nora’s husband Torvald (Arian Moayed) is being promoted at his bank. He’s a big deal. In his mind, Nora, aka “Birdie,” as he calls her, is childish – like their three kids cared for by Anne-Marie (Tasha Lawrence). 

Torvald is wrong. When he was ill, Nora singlehandedly risked everything to save him, bending the law to secure a loan from Krogstad (Okieriete Onaodowan). It’d be a catastrophe if that came out. Nora knows that. So does her friend and confidante, Kristine (Jesmille Darbouze). But Nora is on the brink of being exposed. Not even her dear friend Dr. Rank (Michael Patrick Thornton) can help.

Written in 1879, Ibsen’s play packs sticks of dramatic dynamite as it takes on marriage, money, secrets, reputation, and power. It assumes up-to-the-moment urgency and accessibility thanks to the crisp translation by Amy Herzog (*Mary Jane*, *4000 Miles*).

She’s a playwright with perfect pitch when it comes to dialogue. Upon discovering his wife’s deception, Torvald damns her in 2023-speak: “You stupid bitch!” That exclamation – and Nora’s response – enables the play to draw blood.

Absent of scenery, props, or period costumes (the cast all wear dark street clothes), the revival is about the words. When Nora plays with her three children, they’re unseen. When a cigar is lit, there’s no miming. Lloyd trusts the audience to fill in the blanks. Beyond smart physical choices, Lloyd cast the play extremely well. Supporting actors all deliver.

Since making her Broadway debut in 2012 in a low-lit performance in *The Heiress*, Chastain has won an Oscar for *The Eyes of Tammy Faye* and a SAG Award for *George & Tammy*. She’s in total command as Nora, letting her voice do much of the heavy lifting.

In the end, Torvald’s pet name of Birdie is apt. This real housewife is an eagle when she takes flight.

[*A Doll’s House* is at the Hudson Theatre until June 10. Get *A Doll’s House* tickets on New York Theatre Guide. ](https://www.newyorktheatreguide.com/show/26989-a-dolls-house-tickets)

*Photo credit: Jessica Chastain and Okieriete Onaodowan in A Doll’s House. (Photo by Emilio Madrid)*

'A Doll's House' review — Jessica Chastain takes flight in Ibsen revival

Read our five-star review of Jessica Chastain in *A Doll's House* on Broadway, directed by Jamie Lloyd, which plays at the Hudson Theatre through June 4.

The Hudson Theatre first opened on October 19, 1903, with *Cousin Kate* starring Ethel Barrymore. Although the firm of J. B. McElfatrick & Son first drew up the architectural design of the theatre in 1902, the firm of Israels & Harder ultimately took over and completed the project. The venue was built for theatrical producer Henry B. Harris, who managed the theatre until his death as a passenger on the RMS Titanic in 1912. 

During the 1930s and 1940s, the building was also used as for CBS Radio broadcasts when it wasn't being used for theatrical productions. NBC purchased the property in 1950, converting it into a permanent television studio. The venue housed *The Tonight Show* from 1954 to 1959.

Over the next few decades, under the ownership of developer Abraham Hirschfeld, the building was used for theatrical productions (1960 to 1968), as an adult movie house (from 1974), and as the Savoy rock club (from 1980). The Hudson Theatre was awarded New York landmark status in 1987.

Millennium & Copthorne Hotels purchased the Hudson in 1995 as a part of the surrounding luxury hotel known as the Millennium Broadway and used as a business conference center and auditorium. During this time, it was additionally used as a stand-up comedy venue for Comedy Central broadcasts.

In 2015, Ambassador Theatre Group purchased the venue as its second official Broadway venue, following the [Lyric Theatre](https://www.newyorktheatreguide.com/theatres/lyric-theatre). After fully shutting down and undergoing a major renovation, the Hudson reopened in 2017 with a revival of Stephen Sondheim's musical *Sunday in the Park with George,* starring Jake Gyllenhaal. Since the theatre first opened in 1903 and reopened from scratch in 2017, the Hudson is simultaneously Broadway's oldest and newest theatre.

## How to get to the Hudson Theatre on Broadway

The closest subway stop to the Hudson Theatre is 42nd Street - Times Square on the 1, 2, 3, 7, N, Q, R, W, and S lines. The 42nd Street - Bryant Park stop on the B, D, F, M, and 7 lines is also nearby.

There are two bus stops nearest to the theatre: 6th Ave/W 44th St. on the M55, QM2, QM3, QM4, QM15, QM16, QM17, QM18, and QM20 lines; and 6th Ave/West 45th St. on the QM1, QM5, QM6, M5, and M7 lines.

## Restaurants near the Hudson Theatre

Popular restaurants near the Hudson Theatre in NYC include Carmine's (Italian), Tony's Di Napoli (Italian), Hunt & Fish Club (steakhouse), Junior's (American), Connolly's Irish pub, and the Hard Rock Cafe (American).

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

Hudson Theatre - NY

Hudson Theatre

MTC Friedman

Summer 1976 Rush

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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

Contains some strong language. Recommended for ages 6+. Children age 4 and under will not be admitted into the theatre. Everyone must have a ticket, regardless of age.

& Juliet Rush

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& Juliet on Broadway - NYC 

& Juliet Header

& Juliet on Broadway

& Juliet

& juliet

Anne Hathaway – the wife of William Shakespeare, not the Oscar-winning actress – has a message for her famous husband. In a nutshell: Your star-crossed-lovers tragedy stinks. 

That’s the start of [*& Juliet*](https://www.newyorktheatreguide.com/show/25598-and-juliet-tickets), a slim but cheeky and eager-to-entertain jukebox musical bursting with chart-toppers made famous by Britney Spears, Katy Perry, Bon Jovi, Celine Dion, Backstreet Boys, and other pop stars.

“What if Juliet didn’t kill herself?” muses Anne (Betsy Wolfe, goofy, gutsy, and serving gale-force vocals), who convinces Will (Stark Sands) to collaborate on a rebooted story. So long, Verona and stifling parents keen on locking her up in a nunnery. Freedom awaits! Juliet (the terrific Lorna Courtney), now 22 in the revised tale, considers life on her own terms.

She makes a beeline for Paris with her nurse (Melanie La Barrie, reprising her role from the show’s London premiere), a new non-binary BFF May (Justin David Sullivan), and another pal, April – who is actually Anne. She and Shakespeare write themselves into the revision; he’s a carriage driver. Along the way, some 30 hits from the Max Martin catalog, including “...Baby One More Time,” “Roar,” and “Since U Been Gone,” knit the narrative together.

This setup happens with surprising speed and economy. The early zippy energy is a big plus. Vibrant visuals are another. Director Luke Sheppard’s staging makes great use of projections, flying set pieces, and a levitating circular platform to showcase dramatic moments and athletic dance moves by choreographer Jennifer Weber. 

There's plenty of drama in France after Juliet and company meet Francois DuBois (Philippe Arroyo), who’s looking for love, and his stern father Lance (Tony winner Paulo Szot, game but frequently upstaged by his codpiece), who shares a secret history with Juliet’s nurse.

Thanks to Will’s desire to stir the plot, dim Romeo (Daniel Maldonado, in for Ben Jackson Walker at a recent performance) pops up. The newly undead guy descends in a superdope (to borrow his term) and glitzy entrance.

The action unfolds in Shakespeare’s era, but its heart and head are all about today. Costume designer Paloma Young pairs corsets, ruffs, and doublets with chunky boots and high-tops. There’s also a shoehorn lurking in the wings. As in any jukebox musical, some tunes are wedged in, but others fit surprisingly well.

“I Want It That Way” becomes a useful all-purpose expression of desire, while “Oops! … I Did It Again” neatly covers romantic missteps. “Stronger” lets Juliet’s defiance toll. Romeo and Juliet’s conflicted feelings churn into a raucous “Problem/Can’t Feel My Face.”

*Schitt’s Creek* writer David West Read penned the story, and it’s a mixed bag. *& Juliet*'s feminist attitude and celebration of gender fluidity make it topical. Mispronunciations of Francois’s surname makes way for (groan) DeBoy band jokes. And even with the youthful exuberance, the momentum sags whenever Anne and Will spar about the narrative — and they do it a lot. 

The script looks to history (or Wikipedia?) to connect the dots between Anne, who Shakespeare disregarded, and suicidal Juliet. Creative license abounds, of course, but the script breezes over the fact that if Romeo is alive, then Juliet is still married. That puts a kink in major plot developments. In the end, the show has no fewer than three separate conclusions.

To see or not to see any or all of that as just nitpicking? Theatregoers out for a silly good time likely won’t care as they hum along with *& Juliet*.

[*& Juliet* is at the Stephen Sondheim Theatre. Get tickets to *& Juliet* at New York Theatre Guide.](https://www.newyorktheatreguide.com/show/25598-and-juliet-tickets)

*Photo credit: Lorna Courtney (center) and the cast of & Juliet on Broadway. (Photo by Matthew Murphy)*

'& Juliet' review — the Bard meets 21st-century bops in energetic pop musical

Originally called the Henry Miller's Theatre, the venue opened on April 1, 1918 with *The Fountain of Youth* - a translation of *Flor de la vida* by the Alvarez Quintero brothers.

In 1969, the venue became a cinema and then a nightclub; it reverted back to a theatre in 1998. The theatre closed in 2004 due to the Bank of America Tower construction at One Bryant Park.

The theatre was rebuilt — with the original facade preserved and restored — and reopened in September 2009. The venue was renamed the Stephen Sondheim Theatre at a special ceremony on September 15, 2010 in honor of the award-winning composer's 80th birthday.

When a theatre in London's West End was named for Sondheim in 2019, he became the only then-living person to have eponymous theatres in both New York and London.

## How to get to the Stephen Sondheim Theatre on Broadway

The subway stops nearest to the Stephen Sondheim Theatre are 42nd Street - Bryant Park on the B, D, F, M, and 7 lines; and 42nd Street - Times Square on the 1, 2, 3, 7, N, Q, R, W, and S lines.

The nearest bus stops are are 6th Ave/W 44th St. on the M55, QM2, QM3, QM4, QM15, QM16, QM17, QM18, and QM20 lines; and 6th Ave/West 42nd St. on the M5, M7, and M55 lines.

## Restaurants near the Stephen Sondheim Theatre

Popular restaurants within a block of the Stephen Sondheim Theatre include Charlie Palmer Steak, Tony's di Napoli (Italian), Brooklyn Diner (American), and Cafe Un Deux Trois (French). The American restaurants Junior's, Hard Rock Cafe, and Bubba Gump Shrimp Co., and the family-style Italian restaurant Carmine's, are also located about a block away.

Stephen Sondheim Theatre - NY

Stephen Sondheim Theatre

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

Pictures from Home - Rush

I unlocked $39 Rush tickets for Pictures from Home on Broadway on @TodayTix! https://www.todaytix.com/nyc/shows/26764?share=unlock

Pictures from Home on Broadway Starring Nathan Lane - NYC

Pictures from Home - 3

Pictures from Home on Broadway Starring Nathan Lane

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“I’m exploring.” That’s what the acclaimed photographer Larry Sultan tells his parents in [*Pictures From Home*](https://www.newyorktheatreguide.com/show/26764-pictures-from-home-tickets), a surprisingly touching new play based on his 1992 photo memoir of the same name.

It’s 1982. Larry ([Danny Burstein](https://www.newyorktheatreguide.com/stars-on-stage/danny-burstein)), a married father of two who lives in San Francisco, is explaining plans for his new art “project” to his mom and dad, Jean and Irving (Zoë Wanamaker and [Nathan Lane](https://www.newyorktheatreguide.com/stars-on-stage/nathan-lane)), in their southern California home. Larry’s exploration will ultimately take ten long years to complete. They’ll be part of it every step of the way.

During that decade, Larry obsessively combs through 30 years of the family’s vintage home movies and snaps countless candids and meticulously arranged pictures of his parents. His bottomless curiosity about Irv and Jean turns the aging couple’s lives inside out. “What I’m doing,” says Larry, “is looking for the life beyond the frame.” 

Playwright Sharr White (*The Other Place*) finds similar narrative inspiration for this rich drama about the marvels and mysteries of an ordinary family. (It’s a selective portrait – Larry’s two brothers are mentioned in passing, and that’s it.) White looks beyond content in Sultan’s book to imagine inevitable behind-the-scenes small- and large-scale dramas drummed up by Larry’s posing and probing. Art isn’t easy – just ask these accommodating parents with lives of their own. 

From the jump, it’s obvious White isn’t taking a realistic route. Larry periodically breaks the fourth wall (as do his parents) and summons an invisible projectionist to roll homemade family films and cue up pictures, as if he’s giving a photography lecture back at California College of the Arts. Scene-setting text projections – “Terminal A,” “The Silent Treatment,” “Departures” – pop up in the unbroken 105-minute production as the action shifts in time and location.

Under Bartlett Sher’s assured direction, all three actors deftly capture the play’s shifting tones. Burstein shines as Larry, an artist whose work may not always be in his parents’ best interests. Wanamaker’s Jean is happily resigned to her life, but she’s nobody’s fool. Irv, a salesman-turned-executive unceremoniously pushed into retirement, emerges as a fascinating figure. Credit Lane’s depiction that toggles back and forth from funny to poignant in a flash. 

A striking aspect of Sher’s production is that the actors aren’t lookalikes for the people they’re playing. Lane and Burstein are nearly the same age. It’s a play about memories, after all, so there’s distance between how people are seen and how they really are. Early on, Larry claims the story “isn’t about me, it’s about them.” Irv drolly responds, “Larry may say it’s about us, but trust me. It’s about him.” Perhaps the casting lends wiggle room. If you’ve ever had questions or concerns about your parents, perhaps it’s about you, too.

Irv calls the project an "investigation," questioning whether Larry’s staged pictures reveal anything authentic and wondering why he’s spending so much time away from his own family. The play considers that Larry’s motive wasn’t just about exploring. It was also about exploding myths and images suggesting a storybook life.

As in any play about a family, White covers expected territory about generational divides, legacies, mortality, and finally, love. Eventually, a clear picture develops about what was driving Larry’s parent-focused project. It was to “stop time,” he says. “I want you to live forever.” But even beyond the frame, time ticks on. 

[*Pictures From Home* is at Studio 54. Get *Pictures From Home* tickets on  New York Theatre Guide.](https://www.newyorktheatreguide.com/show/26764-pictures-from-home-tickets)

*Photo credit: Danny Burstein, Zoë Wanamaker, and Nathan Lane in Pictures From Home. (Photo by Julieta Cervantes)*

'Pictures From Home' review — family drama captures the challenges of art and mortality

Read our four-star review of Sharr White's *Pictures From Home* starring Nathan Lane, Danny Burstein, and Zoë Wanamaker, playing at Studio 54 on Broadway.

The Studio 54 first opened in 1927 as the Gallo Opera House, and it operated as a music hall, broadcast soundstage, and nightclub (under the name Casino de Paree) until entrepreneurs Steve Rubell and Ian Schrager bought the building.

Under their ownership, the Studio 54 nightclub opened in 1977 and quickly became one of the world's most famous clubs, with frequent celebrity guests. The venue also operated under the name of The Ritz from 1989 until early 1993, and then as Cabaret Royale until 1995.

Roundabout Theatre Company's production of *Cabaret* played at Studio 54 in 1998 after the collapse of a construction hoist blocked access to the Henry Miller (now Stephen Sondheim) Theatre. In 2003, Roundabout purchased the building, and the company still hosts Broadway productions there and rents the venue out to other producers.

54 Below, a restaurant and cabaret theatre, operates underneath Studio 54.

## How to get to Studio 54 on Broadway

Studio 54 is closest to the 57th St. - 7th Ave. subway stop on the N, Q, R, and W lines and the 7th Ave. stop on the E, B, and D lines. The closest bus stops are 8 Av./W 52 St. on the M20 and M104 lines and 7 Av./W 53 St. on the M7, M20, and M104 lines.

Studio 54 - NY

Studio 54

Atlantic Theater Company

Days of Wine and Roses Rush

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Days of Wine and Roses - NYC

Days of Wine and Roses

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Atlantic Theater Company’s main venue is the Linda Gross Theater. The venue is a 199-seat theatre housed within the Parish House for St. Peter’s Church in the Chelsea district of Manhattan. 

The building was constructed in 1871 and has a storied history as a space for amateur performances. It also housed art exhibitions, community classes and even functioned as a practice court for the historic New York Knickerbockers baseball team. 

Atlantic permanently moved into the venue in 1991. In 2012, the company completed an $8.6 million interior renovation to modernize the space. The three-year project received $2.4 million in city funding, with the rest being supplied by Atlantic’s Board of Directors and individual and foundation donors.

Atlantic's smaller venue is [Atlantic Stage 2](https://www.newyorktheatreguide.com/theatres/atlantic-stage-2), located four blocks south of the Linda Gross. 

## How to get to the Linda Gross Theater off Broadway

The Linda Gross Theater is closest to the 23rd Street subway stop on the C and E lines. The nearest bus stop is 9 Av/W 20 St. on the M11 line.

## Restaurants near the Linda Gross Theater

Popular restaurants near the Linda Gross Theater include Worthwild (American), Seamore's (seafood), Loulou (French), Bocca di Bacco (Italian), and Willow (vegan).

Atlantic Theater Company - Linda Gross Theater - NY

Atlantic Theater Company - Linda Gross Theater

Fat Ham on Broadway Rush

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Fat Ham on Broadway - NYC

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Fat Ham on Broadway

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

American Airlines Theatre - NY

American Airlines Theatre

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

The Alice Griffin Jewel Box Theatre at The Pershing Square Signature Center

Seagull Rush

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The Seagull/ Woodstock, NY Starring Parker Posey - NYC

seagull

The Seagull/ Woodstock, NY Starring Parker Posey

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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

New York City Center

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)

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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.

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

Harold and Miriam Steinberg Center for Theatre

The Wanderers - 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 occurring in the next week.  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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The Wanderers starring Katie Holmes - NYC

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The Wanderers starring Katie Holmes

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Gene Feist and Elizabeth Owens founded Roundabout Theatre Company in 1965. With the support of the Steinbergs’ Charitable Trust, the Harold & Miriam Steinberg Center for Theatre opened to the public in March 2004. The theatre is Roundabout's Off-Broadway home. The inaugural production at the venue was Lynn Nottage’s *Intimate Apparel*, starring Viola Davis.

The complex’s main stage is the Laura Pels Theatre, named after the Roundabout board member who previously funded the company’s first Off-Broadway home at the Criterion Center. The space originally contained 350 seats. During renovation, a 74-seat mezzanine was added to accommodate more of the company’s subscribers.

The theatre is widely used to produce premieres and revivals by established artists. In 2005, Roundabout completed work on the 62-seat Black Box Theatre in the lowest level of the complex. Besides being used as a rehearsal space and for educational programmes, it is also home to the Roundabout Underground initiative, which produces new works by emerging playwrights.

Roundabout Theatre Company also owns and operates three Broadway theatres: the [American Airlines Theatre](https://www.newyorktheatreguide.com/theatres/american-airlines-theatre), [Studio 54](https://www.newyorktheatreguide.com/theatres/studio-54), and the [Stephen Sondheim Theatre](https://www.newyorktheatreguide.com/theatres/stephen-sondheim-theatre), though it also rents these spaces out to non-Roundabout productions.

## How to get to the Roundabout Theatre Company - Harold and Miriam Steinberg Center for Theatre off Broadway

The Harold and Miriam Steinberg Center for Theatre is closest to the 47-50th Sts. - Rockefeller Center subway stop on the B, D, F, and M lines. The closest bus stops are the 6 Av./W 45 St. stops on the M5, M7, QM1, QM5, and QM6 lines.

## Restaurants near Roundabout Theatre

Popular restaurants near Roundabout's Harold and Miriam Steinberg Center for Theatre include Havana Central (Cuban), Connolly's (Irish pub), Butter (American), Junior's (American), and Kellari Taverna (Mediterranean). The Red Flame diner is also nearby for more casual classic diner fare.

Roundabout Theatre Company - Harold and Miriam Steinberg Center for Theatre - NYC

Roundabout Theatre Company - Harold and Miriam Steinberg Center for Theatre

Audible Theater

Lucy Rush

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Lucy - NYC

Lucy0009r (1)

LUCY

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"It's me. Hi. I'm the problem, it's me."

That quote from the Taylor Swift tune "Anti-Hero" is apt for [*Lucy*](https://www.newyorktheatreguide.com/show/26491-lucy), a "comedic horror" produced by Audible Theater. It's also included in the show. New nanny Ashling and six-year-old Lucy perform a joyful singalong in the show's second scene while Mary, Lucy's frazzled, pregnant mother, looks on with a rare smile.

But who really is an anti-hero here, and who's purely a villain? Playwright/director Erica Schmidt mostly leaves that up to you. The ambiguity keeps *Lucy* intriguing for its uninterrupted 2 hours.

There is something offbeat about Ashling from her initial interview with Mary, though it doesn't immediately register as sinister. She dons mermaid leggings under mismatched, patterned maxi dresses, with jingling bangles and a smattering of random tattoos to complete the look — but that's hardly odd in New York. She's a little flighty and has a clearly put-on affect in her voice — but don't we all capital-P Perform during job interviews?

And then this 30something-looking woman reveals her age, 58, and seemingly that many years' worth of job experience. That changes things. My mind immediately went to vampire — "kids keep me young" is a refrain of hers. Then she drawled out "I loooooove baby boys" in a slightly creepy way that set off a different alarm bell in my mind. My suspicions kept flip-flopping between supernatural and sexual throughout the opening scene.

Both those theories proved unfounded. So what worries are left? None, perhaps. Maybe Ashling's just a slightly eccentric woman with a great skincare routine. Maybe she's just the breath of fresh, Type-B air that Type-A Mary's household needs. Mary seems to go on a similar thought journey in the opening scene.

But I should mention here that Mary isn't perfect, either. The single mother is almost concerningly fixed on her six-year-old getting enough exercise and learning to entertain herself — you worry poor Lucy might grow up to feel isolated or dysmorphic. Mary also confesses to Ashling, "I never felt anger in my life until I had her." But that's not mutually exclusive with love — isn't turmoil, too, just a normal part of motherhood that goes unspoken? Perhaps. Or perhaps there's something more concerning at play. 

Smartly, Schmidt's play doesn't damn one woman over the other until the very last moment. In fact, if you took the best parts of each of them — Mary's fierce devotion to her kids and Ashling's freewheeling spirit — they might make one really great guardian. But it's the ugly parts of them that come to light, and only worsen, in each other's presence.

That's where the horror subtly comes in — Ashling's many acts that anger Mary include mostly benign things like making chicken soup or bringing Lucy gifts. We still might find ourselves siding against Mary for condeming them for no apparent reason, up until the end, when Mary powerfully reminds us that "because I asked you not to" is a full sentence and a message that deserves respect.

Schmidt's apparent point is that any seemingly ordinary instinct — be it a child's or adult's — is enough to deem a person unfit for your home or your life. The tradeoff is that *Lucy* ultimately builds up to an anticlimax, where one might expect a coup de théâtre where we uncover some depth to Ashling, why she is the way she is. And her one explicitly horrifying act as a nanny ends up reading as an oddly intense aberration among the rest.

The perfectly cast pair Schmidt has found in Brooke Bloom (Mary) and Lynn Collins (Ashling), plus an adorable and diverting Charlotte Surak as Lucy, are nonetheless worth the price of admission. Sure, you can wait to hear them when Audible releases *Lucy* as an audio drama. But then you won't see that "Anti-Hero" dance party, that one blissfully beautiful moment, awash in vibrant pink lights, before everything rapidly devolves. For the characters and the audience, it *is* exhausting always rooting for the anti-hero.

[*Lucy* is at the Minetta Lane Theatre through February 25. Get *Lucy* tickets on New York Theatre Guide.](https://www.newyorktheatreguide.com/show/26491-lucy)

*Photo credit: Brooke Bloom and Lynn Collins in Lucy. (Photo by Joan Marcus)*

'Lucy' review — new thriller explores the joy, and horror, of motherhood

The Minetta Lane Theatre, located in the Greenwich Village area of Lower Manhattan, opened in 1984. The intimate space offers both an orchestra and a balcony, with a seating capacity of 391.

The venue is operated by Liberty Theatres, who also owns and operates the [Orpheum Theatre](https://www.newyorktheatreguide.com/theatres/orpheum-theatre). From 1994 to 2023, that venue was home to the Off-Broadway hit *Stomp*.

Audible Theater, which stages plays and later records them as audio dramas, puts up its shows at the Minetta Lane. TV and film shoots, stand-up comedy shows, and Broadway workshops often take place at the Minetta Lane Theatre.

## How to get to the Minetta Lane Theatre off Broadway

The Minetta Lane Theatre is nearest to the W 4th St. - Washington Square subway stop on the A, C, E, B, D, F, and M lines. The closest bus stop is 6 Av./W 3 St. on the M55 line.

## Restaurants near the Minetta Lane Theatre

Popular restaurants near the Minetta Lane Theatre include Jack's Wife Freda (Mediterranean), John's of Bleecker Street (pizza), Tacombi (Mexican), and Silver Apricot (American/Chinese).

Minetta Lane Theatre - NY

Minetta Lane Theatre

The Harder They Come

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Joseph Papp founded The Public Theater in 1954 as the Shakespeare Workshop. The organization moved into its current home on Lafayette Street in Lower Manhattan in 1967.

The Public Theater building was under risk of demolition until the Public persuaded the city council to sell them the building for use as a theatre. As a result, the building was granted New York City landmark status in 1965, and architect Giorgio Cavaglieri converted it into a theatre in 1967.

The company’s inaugural production in its new home was the world premiere of *Hair*, which also marked its first non-Shakespeare offering. The building is comprised of five performance spaces: the Anspacher Theater (which has a 275-seat capacity), LuEsther Hall (160 seats), Martinson Theater (199 seats), Newman Theater (299 seats), and Shiva Theater (99 seats).

The Public complex also include office spaces; the restaurant and bar The Library; and Joe’s Pub, a cabaret-style venue used for smaller musical revues and soloists. The company also operates the [Delacorte Theater](https://www.newyorktheatreguide.com/theatres/delacorte-theater) in Central Park, which has been home to free Shakespeare in the Park productions during the summer since 1954.

## How to get to The Public Theater off Broadway

The Public Theater is closest to the Astor Place subway stop on the 6 line and the 8 St - NYU stop on the R and W lines. The closest bus stop is Lafayette St./Astor Pl. on the M1 line.

## Restaurants near The Public Theater

Popular restaurants near The Public Theater include Gyu-Kaku Japanese BBQ, Vic's (Italian), and Atla (Mexican). The Public also has an in-house bar and restaurant, The Library (American).

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Joseph Papp Free Performance Lottery: The Harder They Come

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Joseph Papp Free Performance: The Harder They Come - NYC

Joseph Papp Free Performance: The Harder They Come

Joseph Papp Free Performance Lottery ADA ACCESSIBLE: The Harder They Come

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Joseph Papp Free Performance ADA Accessible: The Harder They Come - NYC

Joseph Papp Free Performance ADA Accessible: The Harder They Come

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