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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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


James Earl Jones Theatre - NY

James Earl Jones Theatre

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

Merrily We Roll Along on Broadway - NYC

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Merrily We Roll Along on Broadway

Merrily Poster - March 22

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

Parade on Broadway Starring Ben Platt and Micaela Diamond - NYC

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Parade on Broadway Starring Ben Platt and Micaela Diamond

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

## Restaurants near the Bernard B. Jacobs Theatre

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

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

Bernard B. Jacobs Theatre - NY

Bernard B. Jacobs Theatre

Sweeney Todd on Broadway - NYC

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

Sweeney Todd on Broadway

Sweeney Todd on Broadway Poster

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

## Restaurants near the Lunt-Fontanne Theatre

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

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

Lunt-Fontanne Theatre - NY

Lunt-Fontanne Theatre

New York City Center

Encores! Lionel Bart's Oliver! - NYC

Encores! Lionel Bart's Oliver!

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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

A Doll's House - Rush

Unlock Rush for a chance to purchase $35 tickets at 9:00 am.

$35 Rush tickets

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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.

Ariana DeBose: Authenticity - NYC

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Ariana DeBose: Authenticity

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Funny Girl on Broadway - NYC

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Funny Girl on Broadway

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Lea Michele in *Funny Girl* on Broadway is the theatre event of the season. It’s live theatre at its finest. It’s the perfect marriage of actress and role. The very nature of attending this show is theatrical.

For the uninitiated, Lea Michele is a seasoned Broadway performer, who made her debut in *Les Misérables* at age 8 and rose to fame in her early 20s in the cult hit *Spring Awakening* before going on to more mainstream television roles, namely the ambitious and talented Rachel Berry on Ryan Murphy’s show choir dramedy *Glee* from 2009-15.

On said series, Michele played a ruthless teenager dead set on making it on Broadway, namely in the titular role in *Funny Girl*. She sang the iconic Act 1 finale “Don’t Rain on My Parade” during the first season and later performed the number on the Tony Awards. In the show’s final season, the character made her Broadway debut in *Funny Girl* and won the Tony for her performance. 

While Michele won’t win a Tony Award for this outing – Tonys are only given to performers who originated the role, and Michele replaces [Beanie Feldstein](https://www.newyorktheatreguide.com/stars-on-stage/beanie-feldstein), who left the production over the summer – she is making quite the splash in her first time on Broadway in over a decade. It’s impossible to parse out every layer of meta-theatricality at play here, not least because the show itself is a show-within-a-show about a starry-eyed Ziegfeld comic hoping to become the “greatest star.”

But even without all the added contextual layers, Michele stands alone as a singular Broadway performer, one who can pack a house and command a crowd and also hit all the right notes and laughs. And even years on, she brings the same bright-eyed optimism and ingenuity that made audiences fall in love with her. When she sings “Don’t Rain on My Parade,” the audience feels as if they are somehow fulfilling a dream alongside her, and while premature claps and mid-song standing ovations can seem distracting, it’s all a part of this singular theatregoing experience. You, the audience, are also part of this spectacle.

Broadway and television favorite Tovah Feldshuh joined the company with Michele as Fanny’s overprotective mother, and she chews on all the scenery, stealing the show with numbers like “Henry Street” when Fanny returns home to a party the neighborhood where she grew up. Jared Grimes, who earned a Tony nomination for his jubilant and tap-tastic performance as Fanny’s friend Eddie Ryan, continues to give 110% in a thankless side role. With Grimes in the tap shoes, though, Eddie’s energy jumps right off the stage. 

Ramin Karimloo stars as Nick Armstein, Fanny’s gambling addict of a manager-turned-husband, and while the role turns back the clock on feminism several years, Karimloo is charming and endearing even where his character falls short. 

Directed by Michael Mayer, the production is cool and crisp, with stylish throwback choreography by Ellenore Scott (and gorgeous tap choreography by Ayodele Casel) and seamless sets by David Zinn and eye-popping costumes by Susan Hilferty. 

While Harvey Fierstein’s revision of the book can’t do much to save the dated show (original book by Isobel Lennart), the audience isn’t coming to see the show for the plot. They’re coming for Jule Styne and Bob Merrill’s iconic songs, sung by the titular girl. After all, people who need people are the luckiest people in the world, and this crowd needs Lea Michele. 

[*Funny Girl* is running at the August Wilson Theatre on Broadway. Get *Funny Girl* tickets on New York Theatre Guide. 
](https://www.newyorktheatreguide.com/show/24232-funny-girl-tickets)

'Funny Girl' review — Lea Michele is the greatest star in her triumphant Broadway return

Read our review of Lea Michele in Funny Girl on Broadway on New York Theatre Guide.

Funny Girl starring Lea Michele Broadway Review | New York Theatre Guide

The August Wilson Theatre has gone through a number of name changes. The building originally opened as the Guild Theatre in 1925 and went on to be used as a Radio Playhouse (WOR Mutual Radio) from 1943 to 1950.

From the 1950s, the venue became a theatre again, operating under the name of the Anta Playhouse (aka Anta Theatre). In 1981, the building was re-christened the Virginia Theatre, before assuming its present name on October 16, 2005 — two weeks after the death of the American playwright August Wilson. Wilson became the first Black person to have a Broadway theatre named for them.

## How to get to the August Wilson Theatre on Broadway

To get to the August Wilson Theatre, take the C, E, or 1 line to 50th Street and walk two blocks; the theatre is located on 52nd Street between Eighth Avenue and Broadway. Audiences can also take the M20 or M104 bus line to the 8th Ave/W 52nd St. stop.

## Restaurants near the August Wilson Theatre

Popular restaurants near the August Wilson Theatre include Haswell Green's (American), Gallagher's Steakhouse, and Rosie O'Grady's (steak and seafood). Ellen's Stardust Diner, a famous restaurant featuring singing waitstaff, is also nearby.

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

August Wilson Theatre - NY

August Wilson Theatre

Pictures from Home - Rush

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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.

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Studio 54

Second Stage

Between Riverside and Crazy 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 daily. 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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Between Riverside and Crazy on Broadway - NYC

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Between Riverside and Crazy on Broadway

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This critic all but keeled over when a character in [*Between Riverside and Crazy*](https://www.newyorktheatreguide.com/show/26311-between-riverside-and-crazy-tickets) on Broadway said to another, "You're paying $1,500 a month for a palatial mansion on Riverside Drive worth ten times that." Oof. Said "mansion," as suggested by Walt Spangler's enticing set, is a rent-controlled apartment with two stories, at least six rooms, and cushy, if ill-maintained, furnishings. Meanwhile, I know people who shell out comparable rent for places that could fit double on the [Hayes Theater](https://www.newyorktheatreguide.com/theatres/hayes-theater) stage.

The apartment's tenant, recent widower Walter "Pops" Washington, risks such a downgrade if his landlord succeeds in evicting him. (Pops isn't budging.) The soul-sucking ruthlessness of the NYC real estate market is just one theme of Stephen Adly Guirgis's Pulitzer-winning play that has (unfortunately) aged like wine since its 2014 Off-Broadway premiere.

Racism in policing is another. Pops is also battling his old employer, the NYPD, for just compensation for being shot off-duty by a white officer eight years before. These are the main conflicts in what is otherwise a sitcom-esque slice-of-life show. Director Austin Pendleton, returning from off Broadway, fluidly stages *Between Riverside and Crazy* in such a way that makes us feel like we're peering through a window as we pass by. A scene in which the set rotates continuously as conversations take place particularly achieves this effect.

It's almost as though we've stopped to marvel at the apartment, and had our curiosity further seized once we notice the people inside. In two-plus hours, Pops and a series of supporting characters slowly reveal themselves to be more than they seem.

Pops's paroled son, Junior (a fine Common in his Broadway debut), is distant and shifty, but he quietly craves his father's love. Rosal Colón is a standout as Junior's flighty girlfriend Lulu, who demands the respect she's worth. Victor Almanzar, as recovering addict Oswaldo, has a nervous energy that turns to mania directed at Pops when he falls off the wagon again. All see Pops as a father figure, who dryly bucks the label but is fiercely protective of them in his own unfussy way.

They're complemented by a few non-down-and-outs of the bunch: Detective Audry O'Connor (Elizabeth Canavan) and Lieutenant Dave Caro (Michael Rispoli), Pops's former coworkers begging him to settle his lawsuit, and a woman known only as Church Lady (a tantalizing Liza Colón-Zayas), who comes to give Pops communion and brings about another bodily miracle. They, too, reveal new sides and motivations as the play progresses.

All but Common are reprising roles they originated in 2014, so every performance feels as lived-in as the apartment. Henderson especially delivers a masterclass in saying volumes with a mere expression, and making his every word — from sharp jabs at his housemates to thoughtful observations on his Blackness and his profession — land perfectly with seemingly no effort.

Lines like "This [settlement] ain’t about no Black, white, or blue — this is about the green" could feel preachy in a less skilled actor's hands, but they remain as astute as on the page in Henderson's. And remember, every character is more than their outward presentation. The genius of Guirgis's writing is in inclining us to stand with Pops in these moments of truth, even once he admits to some morally gray deception. The same goes for every expertly crafted character.

*Between Riverside and Crazy* is about the lengths people will go to make out alright in an unforgiving world. Even if we can't relate to the characters' constant threat of eviction or arrest, we can understand and be moved by their search — rent-wise or otherwise — for a little stability.

[*Between Riverside and Crazy* is at the Hayes Theater through February 12. Get *Between Riverside and Crazy* tickets on New York Theatre Guide.](https://www.newyorktheatreguide.com/show/26311-between-riverside-and-crazy-tickets)

*Photo credit: Stephen McKinley Henderson, Victor Almanzar, Elizabeth Canavan, Michael Rispoli, Liza Colón-Zayas, Rosal Colón, and Common in Between Riverside and Crazy. (Photo by Joan Marcus)*

'Between Riverside and Crazy' review — superb cast of characters searches for stability

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

The Old Man and The Pool - Rush

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

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Mike Birbiglia: The Old Man and the Pool on Broadway

The Old Man and The Pool - Poster - NYC

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

## Restaurants near the Vivian Beaumont Theater

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

Vivian Beaumont Theater - Lincoln Center Theater - NY

Vivian Beaumont Theater - Lincoln Center Theater

Collaboration Rush

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The Collaboration starring Paul Bettany and Jeremy Pope on Broadway - NYC

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The Collaboration starring Paul Bettany and Jeremy Pope on Broadway

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Broadway Speakeasy feat. Dez Duron - NYC

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Broadway Speakeasy feat. Dez Duron

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Paradise Club at the Times Square Edition Hotel

Children under 4 are not permitted in the theatre.

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

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

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

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

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

Take Me Out Review | New York Theatre Guide

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

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

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

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

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

## Restaurants near the Gerald Schoenfeld Theatre

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

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

Gerald Schoenfeld Theatre - NY

Gerald Schoenfeld Theatre 

Topdog/Underdog on Broadway - NYC

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

Topdog/Underdog on Broadway

Topdog/Underdog

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

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

## How to get to the Golden Theatre on Broadway

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

Golden Theatre - NY

Golden Theatre

Hadestown on Broadway [14748] 

[Media #1] Hadestown 14748

Hadestown on Broadway

[Poster] Hadestown 14748

Going to hell has never been as much fun as seeing a performance of Anaïs Mitchell's musical <a href="/show/hadestown">Hadestown</a>, now playing at the <a href="/theatres/walter-kerr-theatre">Walter Kerr Theatre</a>.&nbsp;And don't let its origins in Greek mythology scare you off because there's a built-in narrator in the form of the god Hermes (André De Shields) whose job was to guide souls into the afterlife.&nbsp;In Hadestown, his first task is to introduce all the characters in a rollicking number "Road to Hell."Mitchell, the talented singer/songwriter who is responsible for the whole shebang, music, lyrics and book, has intertwined the myth of Orpheus (Reeve Carney), son of the God Apollo and muse Calliope and Eurydice (Eva Noblezada), wood nymph; with that of Hades (Patrick Page), god of the underworld and Persephone (Amber Gray), daughter of the god Zeus and goddess of the harvest Demeter.&nbsp;The story that unfolds in Hadestown is that Hades falls in lust with Persephone and abducts her to the underworld where they fall in love and marry.&nbsp;Demeter is so distraught she declares that there will be no more growth or harvest until Persephone returns.&nbsp;Zeus brokers a deal whereby Persephone spends 6 months out of the year above ground and 6 months out of the year below, thus creating the seasons. So, Persephone rides a train back and forth between the underworld known as Hadestown where she's the only living soul, and the world above.&nbsp;But Hades keeps shortening her time up above because he misses her.&nbsp;And the earth gets colder.Meanwhile, Orpheus is trying to write a song that will restore order to the seasons when he runs across Eurydice, with a little help from Hermes and The Fates (Jewelle Blackman, Yvette Gonzalez-Nacer, Kay Trinidad), who is wandering around cold and hungry.&nbsp;She's initially unimpressed until he starts singing.&nbsp;In the only off note in the production, they fall in love (unfortunately no chemistry between the two - Reeve Carney is a little too much of a hesitant milquetoast to be a believable love interest for the determined and charming Eva Noblezada) and marry.&nbsp;Whereupon Orpheus immediately goes back to songwriting and neglects Eurydice.So, what's a poor, once again cold and hungry girl to do?&nbsp;Where does she go to get warm?&nbsp;You guessed it, Hadestown.&nbsp;Where Eurydice becomes one of the poor lost souls in the underworld, trapped behind the wall Hades has erected. And explains in the Act One finale "Why We Build The Wall" that brings down the house.&nbsp;If I didn't know that Mitchell wrote the score in 2010, I'd swear she wrote it within the last two years.I won't spoil the second act except to say that it's about Orpheus' trip to Hadestown to find Eurydice to try to rescue her.&nbsp;And that Michael Krass' costumes for the Chorus in the underworld are outstanding, as is the visually stunning dance number choreographed by David Neumann done with headlamps and swinging lights.&nbsp;And if the love story between Orpheus and Eurydice didn't smolder, Patrick Page and Amber Gray set the house on fire as Orpheus and Persephone. Their song "How Long?" and the dance that went with it had me melting in my second row seat when I saw both of them crying.&nbsp;Be still my heart.(Photo by Matthew Murphy)<div class="block block-block contextual-links-region " id="block-block-9"><div class="block-inner clearfix"><div class="block-title"><h2>WHAT THE OTHER CRITICS SAID</h2></div></div></div>"All your favorite Greeks are heading somewhere in&nbsp;Hadestown,&nbsp;the sumptuous, hypnotic and somewhat hyperactive musical that opened on Wednesday night after its own twisty 13-year road to Broadway." Jesse Green for <a href="https://www.nytimes.com/2019/04/17/theater/hadestown-review-broadway-anais-mitchell.html" target="_blank">New York Times</a>"It looks spectacular—thanks to Rachel Hauck's set, which features three turntables in concentric circles, and Bradley King's lighting—but it has a human scale; it feels less like a standard Broadway musical than a concert, a gathering, a happening. (The seven members of the excellent onstage band are called out by name for applause.) And, most important, it has Mitchell's score: a joyful combination of folk, pop, Dixieland and blues that will make you want to rehear it as soon as the lights come up. You'll be singing it again in your head for days." Adam Feldman for <a href="https://www.timeout.com/newyork/theater/hadestown-review-broadway" target="_blank">Time Out New York</a>"Yes, composer Anaïs Mitchell's musical retelling of the Orpheus and Eurydice myth, which opened Wednesday on Broadway, sounds pleasant and looks more expensive than it did in 2016 at New York Theatre Workshop. But this classic tale of love — he looks back, she gets trapped in the underworld for all eternity — is still too slick and sterile for us to give a damn about her damnation." Johnny Oleksinski&nbsp;for&nbsp;<a href="https://nypost.com/2019/04/17/hadestown-review-broadway-douses-the-fires-of-hell-with-folk-music/" target="_blank">New York Post</a>"In "Road to Hell," the exhilarating opening number of the utterly fabulous&nbsp;Hadestown, Hermes, the conductor of souls into the afterlife, invites us to "Ride that train to the end of the line." He's played with seductive authority and knowing humor by the eternally elegant Andre De Shields, outfitted like a superfly pimp in a flashy silver suit, and it's hard to imagine anyone resisting his call. He sells a ticket to a bewitching journey that pays off at every turn." David Rooney for <a href="https://www.hollywoodreporter.com/review/hadestown-theater-review-1202512" target="_blank">Hollywood Reporter</a>"Hadestown&nbsp;triggered a lot of buzz&nbsp;when this wholly American show (which came to the stage by way of a concept album) premiered at Off-Broadway's New York Theatre Workshop in 2016. Arriving on Broadway&nbsp;with its earthly delights more or less intact, this perfectly heavenly musical — with book, music and lyrics by Anaïs Mitchell — should stick around for a while." Marilyn Stasio&nbsp;for <a href="https://variety.com/2019/legit/reviews/hadestown-review-musical-broadway-1203191646/" target="_blank">Variety</a>

Review of Hadestown on Broadway

Designed by Herbert J. Krapp for the Shubert Brothers, the Walter Kerr Theatre opened as the The Ritz Theatre in 1921. The venue functioned as a radio and television studio for ABC from 1943 to 1965. Ownership changed hands multiple times between the 1950s and 1970s, during which time the building operated as a traditional theatre and an adult movie cinema. The Ritz then housed the Robert F. Kennedy Theater for Children from 1973-76.

Jujamcyn Theaters took ownership in 1980 and, after renovations, reopened the theatre on March 5, 1990 under its new name in honor of the theatre critic Walter Kerr. The first production was August Wilson's *The Piano Lesson*. In 2021, Jujamcyn celebrated the 100th anniversary of the Walter Kerr Theatre.

## How to get to the Walter Kerr Theatre on Broadway

The Walter Kerr Theatre is closest to the 50th Street subway stop on the C, E, and 1 lines. The nearest bus stops are 7th Ave/W 50th St. on the M7, M20, and M104 lines; 8th Ave./W 49th St. on the M20 and M104 lines; and 7th Ave/W 49th St. on the M50 line.

## Restaurants near the Walter Kerr Theatre

Popular restaurants near the Walter Kerr Theatre include P.S. Kitchen (vegan), La Masseria (Italian), Serafina (Italian), Lillie's Victorian Establishment (English/pub fare), and Junior's (American).

## Where is *Hadestown* on Broadway playing?

*Hadestown* on Broadway plays at the Walter Kerr Theatre at 219 W 48th St. The eight-time Tony Award-winning Best Musical, which updates classic Greek mythology with jazz and folk music, has played the venue since 2019. *Hadestown* is the longest-running show in the history of the Kerr.

Walter Kerr Theatre - NY

Walter Kerr Theatre 

The Music Man on Broadway [18717]

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The Music Man on Broadway

Music Man Tony Wrap

When <a href="https://www.newyorktheatreguide.com/actor-profile/hugh-jackman" target="_blank">Hugh Jackman</a>'s Harold Hill whispers into the impressionable ears of River City whippersnappers, their minds and feet alight. <a href="https://www.newyorktheatreguide.com/show/the-music-man" target="_blank">The Music Man</a>, which arrives on Broadway following a two-year delay, likewise hopes to entice an especially receptive crowd, still sating pent-up appetite for seduction, spectacle, and bodies in motion.The big-ticket production from director Jerry Zaks heaps its wagon with comely and persuasive wares: Marquee stars Jackman and <a href="https://www.newyorktheatreguide.com/actor-profile/sutton-foster" target="_blank">Sutton Foster</a>, whose individual magnetism is so strong, any conflict between their characters seems to defy physics. Meredith Willson's score of nostalgia triggers so Pavlovian, even Proust would trash his madeleines. And, of course, a wormhole to the core of American ideologies — self-invention, groupthink, the manifest destiny of a man's libido — with proven staying power.Whether you'll pony up for the ride (which ain't cheap) and gladly tap your feet may depend on how liable you are to be convinced. Are there soothing and satisfying pleasures in familiarity, high voltage, and expert execution? By golly, yes. Will this Music Man's sweet nothings reveal anything previously unknown about the nature of life, love, or the pursuit of happiness right here in 2022? Egads! No.The traveling-salesman fable of deception and redemption has been updated so as not to appear out of step — a "shipoopi" is no longer a "hussy" who kisses on the first date, but a man who's tough to pin down (additional lyrics are by Marc Shaiman and Scott Wittman). But The Music Man doesn't attempt an argument for contemporary resonance, reinvent the wagon wheel, or entirely iron out the logic of its Febreze'd gender politics.&nbsp;And maybe that's just as well. After all, the boys in Harold's band, which he pledges to whip up while lining his pockets with townspeople's cash, can't play a note. But their parents are just as pleased with the diversion.&nbsp;In another way, the production is exquisitely timed, to the heights of its above-the-title talent. Jackman is a charm attack in suspendered slacks, nimble-footed, smooth but not slick, with suave vocals and a smile as assured as a railroad. His Harold makes quick and delectable work of small-town marks, with the exception of one, whose front is harder to crack until it shatters in a heap of impossible dramaturgy.Foster's Marian is wry but not cynical, sharp but still tender, a tough shell with a golden, runny heart like an egg. The Anything Goes star brings a precise wit to the role that is relentlessly delightful, attention to detail that buoys Marian's tenuous modernization here into a woman with some measure more agency (if a soft will). The pair's chemistry obviates the plot, though it goes a long way toward filling the vacuum of dramatic tension.Choreography from Warren Carlyle is smartly portioned into knockout numbers — "Seventy-Six Trombones," "Marian the Librarian" — that meet the weight of their anticipation with a vocabulary of movement that's refined and sensual, playful and fresh. Any effort to resist the virtuosic children in this production, particularly Benjamin Pajak as Marian's brother Winthrop, would prove a fool's errand.&nbsp;The storybook aesthetic of Zaks' production is appropriate for one that's been cracked open many times, flipping from one scene to the next with mollifying ease. Designer Santo Loquasto's set, which toys with flatness and dimension, likewise feels fitting for characters like paper dolls only selectively rendered palpable. Beautifully painted backdrops, which borrow heavily from "American Gothic" artist Grant Wood, depict rural Iowa's rolling hills and sprawling farms. Laborers are often pictured close at hand.&nbsp;But Zaks' production also makes plain (with help from Loquasto's luxe, embellished costumes) that money doesn't mean much to the residents of River City, until after it has leapt from their wallets and into Harold Hill's. Given that The Music Man is a grift, the stakes never get off the ground. It's another way the production's lavish attention to surface belies a blithe and curious hollowness.If American stories are fundamentally about enterprise, the most vivid one on display at the <a href="https://www.newyorktheatreguide.com/theatres/winter-garden-theatre" target="_blank">Winter Garden Theatre</a> may be the cost of admission.<a href="https://www.newyorktheatreguide.com/show/the-music-man" target="_blank">The Music Man is at the Winter Garden Theatre. Get The Music Man tickets on New York Theatre Guide.</a>Photo credit: Hugh Jackman, Sutton Foster, and the company of The Music Man. (Photo by Julieta Cervantes)

'The Music Man' review — Hugh Jackman and Sutton Foster lead a mollifying nostalgia trip

William Kissam Vanderbilt originally built the Winter Garden Theatre in 1896 as the American Horse Exchange. However, William Albert Swasey redesigned it for the Shuberts as a theatre, which officially opened on March 10, 1911.

The inaugural production was the Jerome Kern musical *La Belle Paree*. Architect Herbert J. Krapp remodeled the building in 1922. Over its lifespan, the venue has also served as a cinema for Warner Bros. and United Artists and has hosted the famous Ziegfeld Follies vaudeville show.

From 2002 to 2007, the venue was called the Cadillac Winter Garden Theatre due to a sponsorship agreement between the Shubert Organization and General Motors.

The Winter Garden Theatre is one of only a couple Broadway houses actually located on the street called Broadway. The venue's interior is a designated New York City landmark.

## How to get to the Winter Garden Theatre on Broadway

The Winter Garden Theatre is nearest to the 50th Street subway stop on the 1 line. The nearest bus stop is 7th Ave/W 50th St. on the M7, M20, M104, or M50 lines.

## Restaurants near the Winter Garden Theatre

The Winter Garden Theatre is adjacent to Ellen's Stardust Diner, a famed New York City tourist spot known for its singing waitstaff. Other popular restaurants nearby include Junior's (American), Haswell Green's (American), Saar (Indian), Natsumi (Japanese), Lillie's Victorian Establishment (British/pub fare), and Gallagher's Steakhouse.

Winter Garden Theatre - NY

Winter Garden Theatre

The Griffin Theater at The Shed

Straight Line Crazy NYC Rush

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I unlocked $29 Rush tickets for Straight Line Crazy on @TodayTix! https://www.todaytix.com/nyc/shows/26032?share=unlock

Straight Line Crazy - NYC

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Straight Line Crazy

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The Shed is a multipurpose arts space located in the Hudson Yards area of Manhattan. Since the venue opened on April 5, 2019, it has showcased a wide range of theatrical performances, visual art displays, and other pop culture-centered events.

The complex includes the 500-seat Griffin Theatre and two levels of exhibition space. A retractable shell built into the architecture creates The McCourt, a space for large-scale shows, installations, and events. The building was commissioned as part of the creation of the Hudson Yards area at large, which has been designated for cultural use.

## How to get to The Shed off Broadway

The Shed is closest to the 34th Street - Hudson Yards subway stop on the 7 line. The closest bus stops are 11 Av./W 29 St. on the M12 line and 10 Av./ W 30 St. on the M11 line.

## Restaurants near The Shed

The Shed has an in-house bar and eatery called Cedric's, which serves drinks and bites in the venue's lobby. Other popular restaurants near The Shed in NYC include Mercado Little Spain, Jib's (seafood), and Kahlo (Mexican). Near The Shed in the Hudson Yards complex is also a shopping center with multiple eateries inside.

The Shed - NY

The Shed

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

Chicago on Broadway [22] 

Chicago on Broadway

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