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TodayTix & Harry Potter and the Cursed Child Lottery Rules

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

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

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Harry Potter and the Cursed Child on Broadway

Cursed Child New Poster

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

Review of Harry Potter and the Cursed Child on Broadway

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

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

## How to get to the Lyric Theatre on Broadway

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

## Restaurants near the Lyric Theatre

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

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

Lyric Theatre - NY

Lyric Theatre

Fat Ham on Broadway Rush

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Fat Ham on Broadway - NYC

fat ham

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

Peter Pan Goes Wrong on Broadway Starring Neil Patrick Harris - NYC

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Peter Pan Goes Wrong on Broadway Starring Neil Patrick Harris

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J.M. Barrie’s beloved children’s story *Peter Pan* offers straight-shooting directions to the fictional island of Neverland: Fly toward the “second star to the right and straight on ‘til morning. ” In [*Peter Pan Goes Wrong*](https://www.newyorktheatreguide.com/show/27336-peter-pan-goes-wrong-tickets), the latest Broadway production from Mischief Theatre, the journey to Neverland is anything but smooth. The comedy follows the Cornley University Drama Society’s botched attempt to stage the classic adventure tale, and there are flying accidents, forgotten lines, falling set pieces, and missing props, among other disasters.

Mischief first bowed on Broadway in 2017 with [*The Play That Goes Wrong*](https://www.newyorktheatreguide.com/show/14790-the-play-that-goes-wrong-tickets), a play-within-a-play following the Cornley troupe’s calamitous staging of a murder mystery. Similarly, their *Peter Pan* is rife with slapstick humor and running gags. But *Peter Pan Goes Wrong* benefits from the familiar framing of a classic story: There is anticipatory laughter in waiting to see just how the amateur company will hoist actors in the air and fashion a crocodile. (The answers: poorly, and with an actor in a childish onesie on a rolling board.)

The merriment and mishaps begin before the curtain rises as *Peter Pan*’s excitedly nervous director Chris Bean (Henry Shields) welcomes audience members. He trips and tumbles down the aisle of the [Ethel Barrymore Theatre](https://www.newyorktheatreguide.com/theatres/barrymore-theatre), kickstarting the rolling laughter. The setup continues with an onstage pre-show speech, in which Bean and assistant director Robert Grove (Henry Lewis) recall the company’s past failures, including a production titled *Jack and the Bean*. (There was no budget for a full beanstalk.)

But there’s hope that *Peter Pan* — which received a sizable donation from a company member’s father — will be a feather in the troupe’s cap. The directors warn the audience that the actor playing John Darling (Jonathan Sayer) does not know a single line and that the Lost Boy Tootles (Ellie Morris) has extreme stage fright. These are the least of their worries, though.

The play’s narrator, Francis Beaumont (Neil Patrick Harris, guest-starring through April 30), enters the stage on a comically slow-rolling throne with a burst of confetti to begin. Act 1 is a tight sequence of hilarity. One of the best laughs is prompted by John Darling sporting headphones so the stage crew can feed lines from backstage. Before each deadpan line reading, the headset emits a radio crackle. (It’s one of the running gags that actually gets funnier throughout, especially in Act 2, when the transmitter begins to pick up television commercials and Uber notifications.) 

Anne Twilloil (Nancy Zamit) undergoes split-second quick changes to transform from Mary Darling in a purple evening gown to the Darling family’s maid in a dowdy uniform. It is physical comedy at its best. Stacker also shines, literally, as the cavorting Tinker Bell in a light-up tutu (costumes are by Roberto Surace). 

The play continues beyond the Darling’s home to showcase an impressive set —thanks, no doubt, to the company’s inflated production budget. Scenic designer Simon Scullion’s wondrous spinning set, complete with a towering Big Ben and the Neverland Jungle, is unworthy of the amateurs. It also gets completely ruined by the careless actors and crew members — and several technical difficulties, including an electrical fire.

In Act 2, offstage showmances and creative conflicts creep on stage, worsening the characters' performances in *Peter Pan*. Some of the production’s repeat gags also lose steam by the time Peter, Wendy, John, and Michael greet the Lost Boys in Neverland. The energy wanes a bit, but the audience participation ramps up with ad-libbed scenes and audience callouts. 

Scenes with Captain Hook (also Shields) elicited lots of boos and jeers, especially from kids in attendance. Hook claps back, asking the crowd if [Josh Groban](https://www.newyorktheatreguide.com/stars-on-stage/josh-groban) has to endure audible criticism as [Sweeney Todd](https://www.newyorktheatreguide.com/show/26216-sweeney-todd-on-broadway-tickets). In another scene, Harris, playing Cecco the pirate, entertains with a participatory magic trick to divert attention from yet another onstage injury. Children (and children at heart) willing to ride the giggle train will enjoy this production the most. 

Under the swift direction of Adam Meggido, the rollicking cast members deliver lines perfectly out of order and miss stage blocking to comic effect. In many ways, it is more challenging to waywardly fly on a harness and haphazardly roller skate upstage than to do it correctly and safely. 

Perhaps the show’s biggest stars, though, are the actual stage managers (led by production stage manager Adam John Hunter) who employ hundreds of ill-timed sound cues (sound design by Ella Wahlström) and operate a decentered spotlight (lighting design by Matthew Haskins). 

This critic gives it four stars and advises you to go straight on to the Ethel Barrymore Theatre.

[*Peter Pan Goes Wrong* is at the Ethel Barrymore Theatre through July 9. Get *Peter Pan Goes Wrong* tickets on New York Theatre Guide.](https://www.newyorktheatreguide.com/show/27336-peter-pan-goes-wrong-tickets)

*Photo credit: Henry Shields, Ellie Morris, Henry Lewis, Charlie Russell, Jonathan Sayer, Neil Patrick Harris, and Matthew Cavendish in Peter Pan Goes Wrong. (Photo by Jeremy Daniel)*

'Peter Pan Goes Wrong' review — never-ending laughs abound in this Neverland

Read our four-star review of *Peter Pan Goes Wrong*, the latest Broadway show from the creators of *The Play That Goes Wrong*, now playing through July 9.

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

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

## How to get to the Barrymore Theatre on Broadway

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

Barrymore Theatre - NY

Barrymore Theatre

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.

Studio 54 - NY

Studio 54

The Cottage on Broadway starring Laura Bell Bundy and Eric McCormack - NYC

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The Cottage on Broadway starring Laura Bell Bundy and Eric McCormack

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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

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

Leopoldstadt on Broadway - NYC

1 Leopoldstadt2037r

Leopoldstadt on Broadway

Leopoldstadt poster

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

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

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

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

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

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

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

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

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

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

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

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

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

## How to get to the Longacre Theatre on Broadway

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

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

## Restaurants near the Longacre Theatre

Popular restaurants near the Longacre Theatre include La Masseria (Italian), P.S. Kitchen (vegan), Junior's (American), and Lillie's Victorian Establishment (British/pub food). [Learn more about popular pre- and post-show restaurants in the Theatre District.](https://www.newyorktheatreguide.com/theatre-news/news/where-to-eat-before-and-after-a-broadway-show)

Longacre Theatre - NY

Longacre Theatre

Grey House on Broadway starring Laurie Metcalf - NYC

Grey House on Broadway starring Laurie Metcalf

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The Lyceum Theatre is Broadway's oldest continually operating theatre. Designed by Herts & Tallant and built by producer-manager David Frohman, the theatre officially opened on November 2, 1903. It was a replacement for Frohman's previous Lyceum Theatre on Fourth Street, which closed in 1902.

The inaugural production at the venue was the play *The Proud Prince*. The Lyceum Theatre was purchased in 1940 by a conglomerate of producers which included George S. Kaufman and Moss Hart, and in 1950, the Shubert Organization took ownership of the theatre. In 1974, the Lyceum Theatre became the first Broadway theatre to be granted landmark status.

## How to get to the Lyceum Theatre on Broadway

The Lyceum Theatre is closest to the 42nd Street - Times Square subway stop on the 1, 2, 3, 7, N, Q, R, W, and S lines. The closest bus stops are 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 Lyceum Theatre

Popular restaurants near the Lyceum Theatre include Havana Central (Cuban), Carmine's (Italian), Connolly's Irish pub, and Junior's (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)

Lyceum Theatre - NY

Lyceum Theatre 

Life of Pi on Broadway - NYC

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

Life of Pi on Broadway

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Life of Pi

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

## Restaurants near the Gerald Schoenfeld Theatre

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

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

Gerald Schoenfeld Theatre - NY

Gerald Schoenfeld Theatre 

Sign Rush

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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

Second Stage

The Thanksgiving Play on Broadway Rush

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$43 Rush tickets

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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.

New World Stages

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

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

Review of The Play That Goes Wrong at New World Stages

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

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

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

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

## How to get to New World Stages off Broadway

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

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

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

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

New World Stages - NYC

Sleep No More Covid

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

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

## How to get to the McKittrick Hotel off Broadway

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

## Where is *Sleep No More* playing?

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

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

The McKittrick Hotel - NYC

The McKittrick Hotel

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Located just a few blocks from the main Atlantic Theater Company venue, the [Linda Gross Theater](https://www.newyorktheatreguide.com/theatres/linda-gross-theater), Atlantic Stage 2 is a 98-seat black box theatre. 

Atlantic Theater Company uses this space for a variety of works, including banner shows in its Off-Broadway season along with presentations of new work by emerging playwrights. The space is also used for readings and workshops. Atlantic Stage 2 opened in June 2006.

## How to get to Atlantic Stage 2 off Broadway

Atlantic Stage 2 is closest to the 14th Street subway stop on the A, C, E, and L lines. The closest bus stops are Hudson St/W 13 St. on the M14A-SBS line and 8 Av/W 14 St. on the M20 line.

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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).

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New York City Center

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See Harry Potter and the Cursed Child Parts One and Two on Broadway.

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