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Broadway performer Jordan Fisher will return to Broadway as Christian in [*Moulin Rouge! The Musical*](https://www.newyorktheatreguide.com/show/15911-moulin-rouge-the-musical-on-broadway-tickets) at the Al Hirschfeld Theatre this spring. John Cardoza, who currently stars in the role, will play his final performance on April 13, with Fisher taking over from April 15.

Fisher, who recently starred in the New York City Center Encores! production of *Urinetown*, will perform opposite Solea Pfeiffer...

Jordan Fisher to star in 'Moulin Rouge! The Musical' on Broadway

Jordan Fisher 1200 NYTG

Jordan Fisher recently starred in the New York City Center Encores! production of *Urinetown*. He will reunite with his *Hadestown* co-star Solea Pfeiffer in *Moulin Rouge!*.

Jordan Fisher - NY

Ages 12+. Guests under 5 are not permitted in the theatre.

Sweeney Todd on Broadway - NYC [26216]

Sweeney Todd on Broadway

Sweeney Todd on Broadway - NYC Product Media

[*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.

**Lunt-Fontanne Theatre** is one of the most prestigious theatrical venues in New York. Located at 205 West 46th Street in the heart of Manhattan, it's a place where countless iconic performances took place. Opened originally as the Globe Theatre in 1910, it was renamed in honor of Alfred Lunt and Lynn Fontanne in 1958. The theatre, with its eye-catching architecture and rich history, has a seating capacity of nearly 1,500. Being a centenarian venue, it has been through several renovations, but each time it retained its look of classical elegance. Many notable Broadway productions have played at the theatre, predominantly musicals. Impressive frescoes, luxurious red seats, mesmerizing ambient lighting, coupled with state of the art audio-visual elements, create an unforgettable experience. With each performance, audiences are enveloped in an atmosphere of grandeur and majesty, a testament to the theatre's legendary status.

**Getting to Lunt-Fontanne Theatre**: Conveniently situated in Manhattan, the theatre is easily accessible by mass transit. One recommended way is by subway; guests can take the N, Q, R, W, J or Z trains to 42nd Street, Times Square. From that point, it's just a short walk to reach the venue.

Lunt-Fontanne Theatre - NY

Lunt-Fontanne Theatre

The Lunt-Fontanne Theatre, located at 205 West 46th Street in Manhattan, is a historic Broadway theatre venue with a seating capacity of nearly 1,500.

Children under 4 are not permitted in the theatre.

Dear Evan Hansen on Broadway [2885]

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Dear Evan Hansen on Broadway

Dear Evan Hansen on Broadway [2885] Product Media

When my eyes are wet and it's all I can do to not join the dialogue on the stage and my giggle box has completely turned over, I am having a really really good time. This reviewer is not a huge fan of musicals by any means - too much distraction and not enough story in most cases - but <a href="/show/dear-evan-hansen">Dear Evan Hansen</a> is a show that holds you tight with its honesty of story told in a way that delights you to your very toes.Every aspect of what you see, hear and feel hums in perfect harmony throughout the piece. The songs, by Benj Pasek and Justin Paul, are poetic expressions of real human stuff that dove tails perfectly with the storytelling. Nowhere to be found is that smile-and-move-your-hands song break that must be endured before we get back to the meat of the matter.The shame of being human is never more tender than when one is in high school. Our hero, Evan Hansen (Ben Platt), is a sweet senior in high school who is socially challenged, prescription medicated, adored by his single mother, Heidi Hanson (Rachel Bay Jones), has a therapist and has a crush on a girl named Zoe Murphy (Laura Dreyfuss). We want Evan to win because he is just totes adorbs as he struggles to express himself, control his outbursts and fulfill expectations to complete the assignment his therapist gave him this week - to write an encouraging letter to himself every day. Platt is perfection as that kid you remember from your high school, whom you likely owe a huge apology, as he chokes on nearly every word before it bursts out of him loaded with the urgency only a teenager can assign to his own expression.The unrequited Zoe's family is a mother, Cynthia Murphy (Jennifer Laura Thompson), father, Larry Murphy (Michael Park) and a brother, Connor Murphy (Mike Faist). Connor is also socially challenged and prone to outbursts. But Connor is self-medicated and at war with his parents who are at war with one another. Zoe does her best to avoid the cross-fire.These mothers have something in common and the song "Anybody Have A Map?" can only bring the damp eyes of recognition to many of us also wishing our special needs kids came with manuals. I've met the mothers Jones and Thompson are and I've put on the masks they do to face the world and hide the complete lack of clue we have about our matriarchal responsibilities.Connor and Evan have a run in between classes at school which is verbally hurtful and ends in Connor shoving Evan to the floor. Zoe tries to smooth things over in a scene saturated with teenage angst, misunderstanding and vulnerability, which is, of course, very funny. Dreyfuss is beautiful. Her voice and manner are the romantic poetry you remember from when you idealized young love. You will fall hard for her. Later, when it looks like the boys might mend, Connor finds one of Evan's letters on a printer in the lab at school. The letter describes Evan's hope for a future with Zoe. Connor, at first, thinks this is seriously creepy and then with the warp speed of a bored teen looking for a problem, Connor decides this is a ruse by Evan to upset him enough to stimulate another rage episode and make everyone else in school think Connor is crazy. Faist is flawless as he gives us the really hard to love boy teen narcissistic asshole who misdirects his passion against his own best interests. We know this kid, too. He's the one who didn't make it.And this is only the beginning of the misunderstanding of Evan's letter to himself, which quickly becomes public - nay, let's modernize that; it goes viral. Writer, Steven Levenson, has given us a story that could be told around a dinner table right now. Social media is cast in the role of Monster Maker.I cannot bear to give any more away as <a href="/show/dear-evan-hansen">Dear Evan Hansen</a>, in my opinion, is required viewing, but I do want to shout out a few more nuggets about the production before I leave you with orders to immediately purchase your tickets. Evan's friend-because-the-family-says-he's-a friend, Jared Kleinman (Will Roland), is a power house of comic expression charged with extreme mischief. Kleinman wrecked my kidneys with laughter. Connor's "acquaintance," Alana Beck (Kristolyn Lloyd), is the poseur girl you knew in school. Lloyd exposes the loneliness of that girl causing you to, of all things, forgive her. The first dancing sequence, choreographed by Danny Mefford. between Jared, Connor and Evan is a total squeal; I wanted to see it again immediately. Thompson brilliantly portrays an irrationally hopeful mother so well that, even though we know she is deceived, we catch ourselves coming along with it. Platt's performance is beyond sublime - every reviewer will tell you this. But the added bonus is the stunningly beautiful work of Jones. The journey Heidi Hanson takes in this story is the most transformative of all the characters and Jones acts without a filter giving us every ugly and beautiful detail of her character's growth shamelessly.The songs and dance in this show move the story forward - thank you, God - rather than stopping the action and causing you to look at your watch. Two hours and twenty-five minutes fly by and this musical poo-pooer wished there had been more. Yes. Really. Also, the scenic design by David Korins and the lighting design by Japhy Weideman work in the most perfect concert of technical genius I have ever seen in any production ever. Director, Michael Greif, pulled together way more than a schmaltzy musical here. Who knew?Don't just sit there, get tickets. Get tickets for your whole family and your best buddies. Give a pair of tickets to the person who delivers your mail.<a href="/show/dear-evan-hansen">Dear Evan Hansen&nbsp;tickets</a> are available now.&nbsp;(Photo by Matthew Murphy)<hr />"The marvelous young actor Ben Platt is giving a performance that's not likely to be bettered on Broadway this season. What's more, this gorgeous heartbreaker of a musical...has grown in emotional potency during its journey to the big leagues, after first being produced in Washington and Off Broadway. Rarely - scratch that — never have I heard so many stifled sobs and sniffles in the theater." Charles Isherwood for New York Times"'Dear Evan Hansen' takes its title from letters Evan writes himself as therapy. The show's so satisyfing it deserves a thank you note." Joe Dziemianowicz for New York Daily News"Simply put: Platt is giving one of the greatest leading male performances I've ever seen in a musical, and the thrillingly modern and moving Dear Evan Hansen is worthy of it." Adam Feldman for Time Out New York"Then, there's Platt in a class all to himself, with the impeccable instincts of both a comedian and tragedian while singing his heart and guts out. An incomparable performance that ranks among the finest in years. 'Dear Evan Hansen' may be the story of a nerdy teenager, but it's that rare show that connects and enlightens all of us." Roma Torre for NY1"The show was already impressive in its lauded off-Broadway premiere at Second Stage Theatre earlier this year, directed with as much vitality as sensitivity by Michael Greif. But the characterizations now seem even more fully lived-in and the connective tissue among the ensemble — whether playing biological or adoptive family, young lovers or high school acquaintances thrust into an uneasy friendship of convenience — has genuine sparks." David Rooney for Hollywood Reporter"Through the alchemy of Michael Greif, who directed the original productions at Arena Stage and at Second Stage, Broadway's Music Box Theater proves a perfect fit for this sensitive musical starring a sensational Ben Platt as a neurotic misfit trying to survive senior year in high school. As for the music and lyrics by Benj Pasek and Justin Paul: Not since "Next to Normal" has a score tapped so deeply into the troubled psyche of its needy protagonist." Marilyn Stasio for VarietyExternal links to full reviews from popular press...<a href="http://www.nytimes.com/2016/12/04/theater/dear-evan-hansen-review.html?_r=0" target="Top">New York Times</a> - <a href="http://www.nydailynews.com/entertainment/theater-arts/dear-evan-hansen-ben-platt-dazzles-broadway-article-1.2896547" target="Top">New York Daily News</a> - <a href="https://www.timeout.com/newyork/blog/broadway-review-dear-evan-hansen-is-lit-by-a-dazzling-star-turn-120416" target="Top">Time Out</a> - <a href="http://www.ny1.com/nyc/all-boroughs/theater-reviews/2016/12/5/theater-review---dear-evan-hansen-.html" target="Top">NY1</a> - <a href="http://www.hollywoodreporter.com/review/dear-evan-hansen-review-952531" target="Top">Hollywood Reporter</a> - <a href="http://variety.com/2016/legit/reviews/dear-evan-hansen-review-broadway-1201933338/" target="Top">Variety</a>

Dear Evan Hansen

The **Music Box Theatre** is a beautifully arranged Broadway venue, poised for epic performances at the heart of New York City. Built in 1921 by playwright, producer, and composer Irving Berlin, the theatre possesses a fascinating history with a capacity of 1,022 seats. Decorated intrically with an azure blue ceiling painted with stars, the theatre's ambiance is known for its grace and elegance. The theatre is home to multiple Tony Award-winning shows. Current and past productions impress with their artistic directions, stunning sets, and outstanding performances. Whether it's an enchanting musical or a dramatic play, each exquisite performance magnetizes audiences from all over the world.

 _**How To Get to The Venue**_

The Music Box Theatre is conveniently located at 239 West 45th Street. By Subway, you can take N, Q, R, or W to 49th Street and walk down, A, C, or E to 42nd Street and walk up, or 1, 2, or 3 to Times Square 42nd Street. Multiple bus routes also stop nearby. If driving, there numerous parking garages in and around Times Square. It's a bustling area, so allow extra time for traffic.

Music Box Theatre - NY

Music Box Theatre

The Music Box Theatre, a historic Broadway venue in NYC, is known for its artistic productions and elegant ambiance.

Ages 10+. Infants are not permitted in the theater.

Hamilton on Broadway - NYC [384]

Hamilton on Broadway

Hamilton on Broadway [384] Product Media 

I saw *Hamilton* Wednesday last at the Richard Rogers Theatre. Last night I went to bed with *Hamilton*. I had Lin-Manuel Miranda's script all to myself and devoured it. There is so much information, not to mention plain old smarts, that is packed into this show that reading the text is an exercise in pure pleasure. And once again I came away with the same conclusion. This is a story ABOUT Alexander Hamilton while at the same time it is the story OF Aaron Burr.

Burr (Leslie Odom, Jr.) welcomes us to the evening almost purring:

How does a b*st*rd, orphan, son of a wh*re And a Scotsman dropped in the middle of a forgotten spot In the Caribbean, by Providence impoverished, to squalor Grow up to be a hero and a scholar?

Who did this immigrant Hamilton (Lin-Manuel Miranda) think he was? Burr was the son of money. Hamilton was the son of chance and fortune. Burr was willing to wait for his just rewards; Hamilton preferred the direct route.

... I'm just like my country I'm young, scrappy and hungry And I'm not throwing away my shot

Hamilton arrives from Nevis in the Bahamas just as the country is splintering into a new incarnation. He lands in New York, the center of everything, and works his way up the revolutionary ladder. He sits at the right hand of God in the person of George Washington (Christopher Jackson) and pines for a command that is denied him until there is no other option.

Hamilton did not live in a vacuum, however. Events and people were moving around him like a hurricane. The women in his life were a match in every way to the men. "The Schuyler Sisters," Angelica (Renée Elise Goldsberry), Eliza (Phillipa Soo), and Peggy (Alysha Deslorieux on the night I was there), are the center of New York's solar system. While Washington in planning battle, there is a social life to be created. Angelica is looking for a mind at work, and when both she and her sister, Eliza, are smitten by Hamilton, she steps aside in a scene that is tragic and gallant.

As each element is added to the story, the tapestry becomes richer and more dense. Family brings new responsibility but does not alter Hamilton's trajectory. As the new country is formed, he stays in the inner circle, annoying Thomas Jefferson (Daveed Diggs) who was in France for most of the war, and drives Burr just a little mad. Burr's thirst for the power that Hamilton has is palpable, and as his frustration explodes in the second act with "The Room Where It Happens," the experience is visceral for us all and becomes a showstopper.

Over and over again we see the tragedy that is coming. The rules of dueling are spelled out more than one time. The future is seen as a place where these folks may not walk but in which they will be remembered. The tension and terror of the time fill the theatre. This is balanced by Miranda's eye for the absurd, the ridiculous and the insidious which evoke belly laughs, winces and mental high-fives. He gives a generous nod to King George (Jonathan Groff, who is the only white person playing a main character) who smiles and winks through three pop numbers that remind us in the nicest possible way that the little people are just that:

Cus when push comes to shove I will kill your friends and family to remind you of my love

Hamilton was smart and driven - and he was a writer. It was his pen that got him out of his home, and it would be his pen that brought him to the side of Washington. Today he would have been tweeting (as is Miranda) several times a day. If the telegraph had been around he would have been tapping until the machine melted in his hands. But these were the days of longhand, quills, ink, and parchment. And delivery was by foot or, if you were lucky, horseback. Still, what Hamilton managed to crank out was not only impressive, it was world-altering. His accomplishments are listed like it was an awards banquet. He crafted a financial system. Created the national debt to save the country. Wrote *The Federalist Papers*. He wrote as if he were running out of time. And he was.

The last moments of Hamilton's life are perhaps the most delicately crafted. "I imagine death so much it seems like a memory," Hamilton sings as the bullet travels through time and relationships to reach him. And when it does, we hear the lament of Aaron Burr, still at the center of the tale, who didn't realize the world was wide enough for them both, and the chorus that delivers us back into our seats singing and asking us, "Who lives? Who dies? Who tells your story?"

Hamilton is a magnificent tapestry where all the elements of theatre are called upon to be their very best. The choreography by Andy Blankenbuehler is nothing short of mesmerizing. His work makes the entire piece pulse. Alex Lacamoire's musical direction and orchestration lifts us into the stratosphere. The scenic design by David Korins, costumes by Paul Tazewell, and lights by Howard Binkley are seamlessly integrated and a visual feast. Finally, Thomas Kail's direction is impeccable. Under his guidance this show has been pieced together into a living, breathing entity. *Hamilton* is not just a show, it is an experience - which is always the goal of art. This is not a show that you sit and watch. It is a show that takes you by the hand and pulls you into its embrace.

The end result is something much more than the story of one man. It is the story of how we each create our destiny and our mark on the world. You leave the theater thinking about what you would like to do that you have not done. You leave the theatre filled with possibility.

(Photo by Joan Marcus)&nbsp;<hr />"'Hamilton' makes us feel the unstoppable, urgent rhythm of a nation being born." Ben Brantley for New York Times"With 'Hamilton,' Broadway is officially the coolest place on the planet. And the smartest. And most exhilarating." Joe Dziemianowicz for New York Daily News"Lin-Manuel Miranda's 'In the Heights' may have been a hit — but his 'Hamilton' is a phenomenon." Elisabeth Vincentelli for New York Post"The greatest American musical in decades." David Cote for Time Out New York"It was phenomenal off-Broadway. It's even better now. 'Hamilton' is that rare musical that fires on all cylinders, even ones we never knew existed." Roma Torre for NY1"This is a musical often stunning in its audaciousness." Mark Kennedy for Associated Press"This enormously ambitious and entertaining musical history lesson is even more impressive on a second viewing." Frank Scheck for The Hollywood Reporter"This innovative show is shaping up to be just as much of a phenomenon uptown, playing in a Broadway house with four times the seating capacity, and to a more traditional but no less enthusiastic audience. That universal appeal to crossover audiences is one unmistakable sign of a groundbreaking show." Marilyn Stasio for VarietyExternal links to full reviews from popular press...<a href="http://www.nytimes.com/2015/08/07/theater/review-hamilton-young-rebels-changing-history-and-theater.html?_r=0" target="Top">New York Times</a> - <a href="http://www.nydailynews.com/entertainment/theater-arts/hamilton-musical-mint-condition-broadway-article-1.2316761" target="Top">New York Daily News</a> - <a href="http://nypost.com/2015/08/06/hamilton-isnt-quite-revolutionary/" target="Top">New York Post</a> - <a href="http://www.timeout.com/newyork/theater/hamilton-1" target="Top">Time Out</a> - <a href="http://www.ny1.com/nyc/all-boroughs/lifestyles/2015/08/6/ny1-theater-review---hamilton-.html" target="Top">NY1</a> - <a href="http://www.hollywoodreporter.com/review/lin-manuel-mirandas-hamilton-theater-813145" target="Top">Hollywood Reporter</a> - <a href="http://variety.com/2015/legit/reviews/hamilton-review-broadway-1201557679/" target="Top">Variety</a>

'Hamilton' review

Read our five-star review of *Hamilton* on Broadway at the Richard Rodgers Theatre.

The Richard Rodgers Theatre, named after one of the most influential composers in American history, is a Broadway theatre located in New York City. It was originally opened in 1925 as 'Chanin's 46th Street Theatre' and was later renamed in honor of prolific composer Richard Rodgers in 1990. At over 14,000 square feet, it is the highest grossing venue on Broadway, with a seating capacity for an audience of over 1,300 people. Offering a variety of shows, it is best known for the ongoing run of the critically acclaimed musical, 'Hamilton'. Not only does this theatre provide top-notch entertainment, but it also offers an array of amenities for its guests, including wheelchair accessible seating, assistive listening devices, and more. 

*How to get there*: The Richard Rodgers Theatre is conveniently located at 226 W 46th Street, near Times Square. Access to the theatre is easy and convenient with several modes of public transportation available. The nearest subway stations are 49th Street (N, R, and W lines) and 42nd Street - Times Square (A, C, E, N, R, W, 1, 2, 3, 7, and S lines). Alternatively, visitors can take a bus to West 46th Street and 8th Avenue, which is just a short walk to the theatre.

Richard Rodgers Theatre - NY

Richard Rodgers Theatre

Richard Rodgers Theatre is a historic Broadway venue in New York, notable for Hamilton performances. Easy access via subway or bus.

Ages 8+. Children under 5 are not permitted in the theater.

Hadestown on Broadway - NYC [14748]

Hadestown on Broadway

Hadestown on Broadway [14748] Product Media 

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

The Walter Kerr Theatre is a Broadway theatre located in the heart of New York City. Originally named the Ritz Theatre, it was built in 1921 and renamed in 1990 to honour the Pulitzer Prize-winning American critic Walter Kerr. With a seating capacity of just 975 across Orchestra, Mezzanine and Balcony sections, it's one of the city's smaller and more intimate venues. Notorious for its world-renowned, critically acclaimed productions, the Walter Kerr Theatre has staged hits such as 'Angels in America', 'A Little Night Music', and 'Hadestown', making it a quintessential part of New York's theatre landscape. The theatre is famously known as the home of 'Springsteen on Broadway', Bruce Springsteen’s one-man show that ran for 14 months in 2017 and 2018. The show was an unequivocal success and re-affirmed Walter Kerr Theatre as a must-visit for any theatre aficionado.

**Getting to the Walter Kerr Theatre:** The theatre is conveniently located at 219 West 48th Street, easily accessible by public transportation. The closest subway stations are 50th Street, served by the C and E lines and 49th Street served by the N, R, and W lines. Buses that stop near the theatre include the M104, M10, M27/M50, and M6.

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Walter Kerr Theatre 

The Walter Kerr Theatre is an intimate, historic Broadway venue in New York, known for critically acclaimed productions and easy public transport access.

Urinetown - NYC [41024]

Urinetown

Urinetown - NYC [41024] 

The **New York City Center** is one of the most influential performing arts venues in New York City. Located at 131 West 55th Street in Manhattan, it serves as a beacon for enthusiasts of dance, music, and theater. The Center was established in 1943 and has since played host to numerous notable productions, resonating with the key artistic transitions that have marked the evolution of performance art in the heartland of the greatest city in the world.

Emerging from its humble beginnings as an alternative center for artists who couldn't afford Broadway, the Center has turned into a reputable institution that neither compromises on its values nor its commitment to delivering the highest quality of artistic productions. Special mention goes to their yearly Fall for Dance festival, an exciting event that showcases the arts performances from international dance companies and uniquely affordable tickets.

The architecture of the theater itself is striking, boasting a distinctive neo-Moorish design and luxurious interiors that enhance the overall experience of the performances. With a seating capacity of 2,257, the Center is the perfect midpoint between intimacy and scale.

**Getting There**

The New York City Center is easily accessible by public transportation. The closest subway stops are 57th Street - 7th Avenue (N/Q/R/W), 57th Street (F), and 55th Street - 7th Avenue (B/D/E). Alternatively, if you're driving, there are several parking garages located nearby, although be aware that parking in Midtown Manhattan can be challenging and expensive. Those wishing to bike will find numerous Citi Bike docking stations in the vicinity.

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New York City Center

The New York City Center is a landmark Manhattan theater known for dance, music, and theater performances, featuring grand neo-Moorish architecture.

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Shakespeare's heroine gets a new ending — and a fresh start — in this pop musical set to songs by Britney Spears, The Backstreet Boys, Kelly Clarkson, Celine Dion, and more.

Get [*& Juliet* tickets](https://www.newyorktheatreguide.com/show/25598-and-juliet-tickets) now.

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Ages 8+. Children under 4 will not be admitted into the theatre.

& Juliet on Broadway - NYC [25598]

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*& Juliet* already has a proven record of success across the pond. The musical had a hit-making 2019 world premiere in London, where it’s still running. The show received nine Olivier Award nominations, including Best New Musical, and a record-breaking 13 nominations at the WhatsOnStage Awards there. The show also made a star of its Juliet, Miriam-Teak Lee, who won an Olivier Award and a WhatsOnStage Award for her performance.

*& Juliet*'s North American premiere was in Toronto, Canada in summer 2022, with a new cast. Only one London cast member — Melanie La Barre as the Nurse — traveled across the pond with the musical, and she and the entire Toronto cast are also in *& Juliet* on Broadway.

*& Juliet* is a pop musical for multiple generations. A total of 30 Max Martin songs are in the show, from the ‘90s through today. From Backstreet Boys, Bon Jovi, and early Britney Spears hits; to early-2000s bops from Katy Perry, Kesha, and P!nk; to 2010s chart-toppers from Ariana Grande and The Weeknd, there are songs everyone has on repeat on their Spotify playlists.

## What to watch for

- One of the songs in *& Juliet*, "One More Try," is a new song Martin and Jessie J wrote specifically for the show.
- Proper Elizabethan meets pop extravaganza in the details of *& Juliet* on Broadway. Elements like the costumes are inspired by Shakespeare’s era, but the choreography emulates the moves you’d see in your favorite pop stars’ music videos.
- With David West Read attached to *& Juliet*, this marks the second Broadway season in a row featuring a *Schitt’s Creek* alum, after cast member Noah Reid’s star turn in *The Minutes* in spring 2022.
- In addition to his five Grammys, Martin has won the ASCAP Songwriter of the Year Award 11 times (including every year from 2011-2018), and he's an Oscar and two-time Golden Globe nominee.
- *& Juliet* is perfect for fans of Tony-winning shows like *Moulin Rouge! The Musical*, which also works pop music into an original, larger-than-life story, and *Six*, a pop-infused, feminist remix of English history.

Get tickets to *& Juliet* on Broadway now.


& Juliet - NYC - TodayTix

& Juliet on Broadway Tickets | New York | TodayTix

What would happen after *Romeo & Juliet* if Juliet didn't die? That's the question this pop-fueled musical, from songwriting icon Max Martin and a writer on *Schitt’s Creek*, asks. Jam out to tunes made famous by Britney Spears, the Backstreet Boys, Pink, and more.

She's stronger than yesterday! After running to acclaim in London's West End for three years, the pop musical &amp; Juliet is now on Broadway with nine Tony Award nominations, including Best Musical. Get&nbsp;&amp; Juliet&nbsp;tickets now — and see *NSYNC's Joey Fatone in the show through March 16 only.

*& Juliet* on Broadway takes modern pop songs from the catalog of Max Martin and sets them to an original story about what might happen if Juliet did not die at the end of Romeo &amp; Juliet. Before you go, discover more about what to expect from this energetic, larger-than-life pop extravaganza.

<h2>What is&nbsp;&amp; Juliet&nbsp;about?</h2>

The&nbsp;&amp; Juliet&nbsp;musical kicks off nearly where&nbsp;Romeo &amp; Juliet&nbsp;left off: right before Juliet's death. This isn't a retelling of Shakespeare's tragedy, though; it's a whole new story in which Juliet decides losing Romeo doesn't mean she should die. Instead, she goes on a journey of self-discovery to Paris. Accompanied by her friends — which include some characters from the original play, like the nurse, as well as new characters, like her friends Francois and May — she goes to parties, makes new friends, falls in love (again), and sees what the world has to offer beyond the stifling walls of Verona.

The whole story is narrated by Shakespeare and his wife, Anne Hathaway, who are actually writing the story as they go along. Anne learns of Shakespeare's original&nbsp;Romeo &amp; Juliet&nbsp;ending and dislikes it, so she takes over.&nbsp;With Anne at the helm, Juliet gets more agency and depth independent of her relationship with Romeo, and&nbsp;a more positive lease on life. Anne even writes herself and Shakespeare in as characters, and debating their different ideas for the story ends up helping them work out the issues in their marriage.

The *& Juliet* Broadway musical is full of energy and laughs, as the&nbsp;&amp; Juliet&nbsp;book is by David West Read, a writer on the Emmy Award-winning&nbsp;Schitt's Creek.

<h2>What songs are in&nbsp;&amp; Juliet?</h2>

You may listen to top 40 radio, but you've never heard your favorite songs like this.&nbsp;&amp; Juliet&nbsp;has one new song, but the show mostly includes existing popular music. All 30 pop songs in&nbsp;&amp; Juliet&nbsp;were written or co-written by Max Martin, who's behind the hits of stars like Britney Spears, P!nk, Kesha, Katy Perry, and The Backstreet Boys. Anyone who grew up with, or just knows all the words to, hits from the 90s through today will relive their teenage dreams at this show. Below is a sampling of the shows in *& Juliet*; [discover more about all the show's songs here](https://www.newyorktheatreguide.com/theatre-news/news/how-juliet-uses-pop-songs-to-tell-a-fresh-coming-of-age-story).

<ul> <li>"Larger than Life"</li> <li>"I Want It That Way"</li> <li>"...Baby One More Time"</li> <li>"Blow"</li> <li>"Teenage Dream"</li> <li>"It's My Life"</li> <li>"Since U Been Gone"</li> <li>"That's the Way It Is"</li> <li>"Everybody (Backstreet's Back)"</li> <li>"Roar"</li> </ul>

<h2>More information about&nbsp;&amp; Juliet</h2>&amp; Juliet&nbsp;had its world premiere in 2019 in London's West End. The show received nine Olivier Award nominations and critical acclaim.<a href="https://www.londontheatre.co.uk/reviews/review-max-martin-musical-and-juliet-shaftesbury-theatre" target="_blank">

London Theatre review</a>&nbsp;reads, "Frequently resembling a series of pop videos come to life — thanks to performance platforms that come out of the floor, or benches that take on an aerial life of their own in Soutra Gilmour's sets, aided by Andrzej Goulding's dazzling projections — it is performed with a glinting knowingness and powerful pop theatre voices."

Since debuting in London,&nbsp;&amp; Juliet&nbsp; made its North American debut in Toronto; that production was the pre-Broadway tryout ahead of the premiere of&nbsp;&amp; Juliet&nbsp;on Broadway. The musical is also made its Australian premiere in Melbourne in February 2023.

As long as you love pop music, contemporized classics, and plenty of fun, it's gonna be you that sees&nbsp;&amp; Juliet&nbsp;in New York soon. Tickets to&nbsp;&amp; Juliet on Broadway are available now.See&nbsp;&amp; Juliet&nbsp;if you like:&nbsp;<a href="https://www.newyorktheatreguide.com/show/moulin-rouge-the-musical-on-broadway" target="_blank">Moulin Rouge! The Musical</a>,&nbsp;<a href="https://www.newyorktheatreguide.com/show/six" target="_blank">Six</a>,&nbsp;<a href="https://www.newyorktheatreguide.com/show/mj-the-musical" target="_blank">MJ The Musical</a>Photo credit: The company of &amp; Juliet in Toronto. (Photo by Matthew Murphy)

& Juliet - NYC - New York Theatre Guide

& Juliet Broadway Tickets | The Official NY Theatre Guide

What would happen after Romeo and Juliet if Juliet didn't die? That's the question at the core of this pop-fueled musical created by the Emmy-winning writer of *Schitt's Creek*. Jam out to tunes made famous by Britney Spears, Backstreet Boys, P!nk, Ariana Grande, and more, as Juliet travels to Paris with new friends and new love. Find out about *& Juliet* tickets.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The Stephen Sondheim Theatre is a treasured gem within the heart of New York City. Located in the bustling Times Square district, it stands proudly, retaining its historical charm midst contemporary edifices. The theatre, formerly known as Henry Miller's Theatre, is deeply rooted in theatrical history, having hosted numerous Broadway classics since its inception in 1918. It boasts art nouveau architecture bathed in gentle, welcoming lights, with intricate details that add to its grandeur. A walk inside reveals a relaxing ambiance with ornamented ceilings, beautiful chandeliers, red velvet seats, and a sizeable stage that brings performances to life. Dedicated to the legendary composer Stephen Sondheim, the theatre's rich legacy continues by staging some of the most critically acclaimed plays, musicals, and performances, all enjoyed from the comfort of its 1,055 seats. 

**How to Get There** 
Stephen Sondheim Theatre is conveniently located at 124 West 43rd Street, accessible via various modes of transportation. Visitors can reach the theatre by subway, taking the B, D, F, or M train to 42nd Street/Bryant Park or the 1, 2, 3, 7, N, Q, R, S, or W train to Times Square/42nd Street. Buses M5, M7, M20, M42, or M104 also offer routes to Times Square. For those who prefer driving, several paid parking garages are available nearby.

Stephen Sondheim Theatre - NY

Stephen Sondheim Theatre

The Stephen Sondheim Theatre is a cherished historical venue in Times Square, known for its Broadway classics and art nouveau architecture.

& Juliet

See the trailblazing jazz musician come to life in this musical about his historic career, set to his most famous hits.

Get [*A Wonderful World* tickets](https://www.newyorktheatreguide.com/show/39810-a-wonderful-world-the-louis-armstrong-musical-studio-54) now.

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A Wonderful World: The Louis Armstrong Musical on Broadway - NYC [39810]

A Wonderful World: The Louis Armstrong Musical on Broadway

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A man in a dark suit and bowtie stands under stage lights, smiling and pointing with one hand. He holds a white cloth in the other hand against a backdrop with indistinct yellow and blue patterns.

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Louis Armstrong's work spans various musical genres, and he frequently collaborated with Ella Fitzgerald, blazed a trail for Black artists in the music industry, and took home multiple Grammy Awards during his decades-spanning career.

*A Wonderful World* offers a singular portrait of Armstrong and also focuses on his romantic life: the superstar was married four times, starting at age 18, and this musical gives a window into his personal life from the wives’ point of view. Born in New Orleans, Armstrong had an indelible impact on the Big Easy and continues to shape not only what music can sound like, but how genres can blend to create a sound that’s totally unique — just as he was.

## What to watch for

- James Monroe Iglehart is known for his larger-than-life characters, including the Genie in *Aladdin* and King Arthur in *Spamalot*.
- *A Wonderful World* is not the first time Iglehart played a real-life figure: He also starred in [*Hamilton*](https://www.todaytix.com/nyc/shows/384-hamilton-on-broadway) as Thomas Jefferson.
- Renshaw returns to familiar territory with this show; he has reimagined classics (via his Tony-winning production of *The King and I*) and also created musicals using real singers’ work (as he did with Boy George for *Taboo*).
- Louis Armstrong was celebrated for his instantly recognizable, rich, textured, gravelly voice. He would sing ballads, scat, and easily charm audiences with his musical talents and bravado.
- Armstrong rose to fame in the 20th century during a period when Black men were not allowed fame in a white-dominated music scene. He also took a well-publicized stand for desegregation in schools.

NY - Tickets A Wonderful World: The Louis Armstrong Musical Tickets - TT 

Get *A Wonderful World* tickets to experience a jazz great’s life and music on Broadway through February 23 only. In this new musical, Tony Award winner James Monroe Iglehart transforms into the legendary Louis Armstrong.

See *A Wonderful World: The Louis Armstrong Musical* on Broadway and hear the king of jazz’s music like never before. James Monroe Iglehart, hot off his hilarious turn in *[Spamalot](https://www.newyorktheatreguide.com/show/33129-spamalot-tickets)* and a Tony Award winner for playing the Genie in *[Aladdin](https://www.newyorktheatreguide.com/show/105-disneys-aladdin-tickets)*, portrays the late, great Louis Armstrong in this new bio-musical that traces the trumpeter and singer’s one-of-a-kind life and career. Don’t miss this new musical; get *A Wonderful World* tickets now.

*A Wonderful World* in New York follows hit runs in New Orleans and Chicago. Set to the unforgettable music of Louis Armstrong, this Broadway musical honors and shares the life of the jazz musician like never before. Known for his hit covers and original songs including "When You're Smiling" and of course, "What a Wonderful World,” Armstrong (aka Pops and Satchmo) was a pioneering Black jazz musician who transcended musical and racial barriers and won great acclaim for his upbeat and soulful tunes.

Born and raised in New Orleans, Armstrong received numerous awards, including the Grammy Award for Best Male Vocal Performance for *Hello, Dolly!* in 1965, as well as a posthumous win for the Grammy Lifetime Achievement Award in 1972. More recently, he was inducted into the National Rhythm & Blues Hall of Fame in 2017.

“American music wouldn’t be what it is today without Louis Armstrong, and what is Broadway if not American music?" Iglehart said in a statement. "‘Pops’ doesn’t get enough credit for his contribution to our entertainment industry or our country. I feel such a strong connection and an obligation to bring his voice, his music, and his story to the one place where it can be presented in all its glory — Broadway!”

The creative team features book writer Aurin Squire (*This Is Us*) and co-conceivers Andrew Delaplaine and Christopher Renshaw (*The King and I, Taboo*), who also directs. Tickets to *A Wonderful World* are available on New York Theatre Guide.

__James T. Lane will play the role of Louis Armstrong at select performances. Please check the calendar for details.__

A Wonderful World: The Louis Armstrong Musical - NYC - NYTG

*A Wonderful World: The Louis Armstrong Musical* brings the iconic jazz musician’s songs to Broadway. See Tony Award winner James Monroe Iglehart take on the leading role in this new bio-musical.

The **Studio 54 theatre** in New York is legendary in its status as America's most famous nightclub from history. In the '70s, the venue was a beacon for A-list celebrities, artists, and musicians to gather under its mesmerising disco ball. Today, as part of the Roundabout Theatre Company, **Studio 54** is a home to captivating theatrical performances. The theatre, located on 254 W 54th Street, maintains its historical charm with the restored auditorium that evokes an intense feel for the remarkable history it's borne witness to. The theatre has a seating capacity of 1006 and has been the stage for numerous notable productions such as 'Cabaret', 'Sunday in the Park with George', and 'Kiss Me, Kate'. The elegance from its original 1927 construction blends seamlessly with its more modern renovations, helping keep Studio 54 an iconic and desired destination in the Big Apple. 

 **How to get to the venue** 

 Getting to Studio 54 is quite straightforward. Located in Manhattan, it's easily accessible by subway. The closest station is 7 Avenue, which is just a short two-minute walk from the theatre. For those preferring a taxi ride or self-drive, there are several parking garages nearby like the 'Icon Parking' on 851 8th Ave or the 'SP+' on 1700 Broadway.

Studio 54 - NY

Studio 54

Studio 54 theatre in New York, known for its past as a celebrity club, is now a popular venue for theatrical performances.

A Wonderful World: The Louis Armstrong Musical

Journey to a whole new world at this dazzling Disney musical about a street urchin who becomes a prince with a little help from a genie in a magic lamp.

Get [*Aladdin* tickets](https://www.newyorktheatreguide.com/show/105-disneys-aladdin-tickets) now.

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Aladdin on Broadway - NYC [105]

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A whole new world landed in New York in 2014, when the *Aladdin* Broadway show flew into the New Amsterdam Theatre. Get *Aladdin* tickets on TodayTix.

Based on the 1992 Disney animated film of the same name, the Tony Award-nominated Best Musical follows the title street urchin as he journeys to the Cave of Wonders, where he discovers a magical lamp that changes his life forever.

After unleashing a friendly and funny Genie who will grant him three wishes, Aladdin transforms into royalty to win the heart of Princess Jasmine. The only thing standing in his way is the Sultan’s villainous Grand Vizier, Jafar, who will stop at nothing to steal the lamp and take the throne.

*Aladdin* is directed and choreographed by Tony Award winner Casey Nicholaw. *Aladdin* brings audiences on an enchanting adventure to the deserts of Agrabah, complete with high-flying carpet rides and a toe-tapping Genie that will have you wishing for more. So if you want to find "A Whole New World" on stage, you'll enjoy *Aladdin* on Broadway.

## What to watch for

- In *Aladdin*, there are 337 costumes that are worn throughout the musical. Did you know that all the costumes in *Aladdin* were custom-made by hand? In the Genie’s musical number “Friend Like Me,” there are 1,428 Swarovski crystals on a pair of men’s pants.
- James Monroe Iglehart, who originated the role of the Genie in the stage production, took home the Tony Award for Best Featured Actor in a Musical. *Aladdin* was nominated for five Tony Awards in total. 
- Jonathan Freeman, who voiced the villainous Jafar in the 1992 film, reprised his performance on stage in the original cast of the musical.
- Don’t expect Aladdin’s monkey sidekick, Abu, to make an appearance, though; there are no monkeys in *Aladdin*. In the stage adaptation, Aladdin has a trio of friends named Omar, Babkak, and Kassim instead.
- *Aladdin* is suitable for children aged 6 and over. 

Aladdin on Broadway [105] - TodayTix

Your wish for spectacular, magical, all-ages entertainment is granted at this musical adaptation of the Disney film. Hear timeless songs like "A Whole New World" at this story of a ruffian who, with a little help from a genie, transforms into a prince to win over a princess.

Aladdin on Broadway takes audiences to a whole new world. Get Aladdin tickets now and experience the magic and wonder of this timeless Disney story that's granted audience's wishes for fun since 2014.

Based on the much-loved 1992 animated classic, the Aladdin musical follows the title street urchin as he tries to win over Princess Jasmine. Though she loves him too, royal rules state that she must marry a prince. Aladdin becomes one with the help of a wish-granting Genie in a magic lamp, but before he and Jasmine can be together, he must defeat the evil Jafar, who wants Jasmine and the throne for himself.

The Aladdin movie is one of the cornerstones of what would become known as the Disney Renaissance Era, a period of time which restored Disney's animation division to its former glory of creating successful animated musicals.

Aladdin on Broadway officially opened in 2014 at the <a href="/theatres/new-amsterdam-theatre">New Amsterdam Theatre</a>, the home base of Disney on Broadway that has also housed musicals like Mary Poppins and The Lion King (before that show moved to the Minskoff). The production was nominated for five Tony Awards including Best Musical.

Aladdin features a score by Alan Menken, incorporating the movie's music including "Arabian Nights," "Prince Ali," and the show-stopping "Friend Like Me." There's also new material as well as songs that were cut from the film, such as Aladdin's poignant ballad "Proud of Your Boy."

The *Aladdin* Broadway production also incorporates a dazzling total of 84 illusions and effects, with the awe-inspiring magic carpet ride during "A Whole New World" arguably its crowning jewel. The spectacle also showcases 337 unique costumes and dynamic choreography, brimming with modern dance, tap, and Middle Eastern-infused influences, under the helm of Tony Award winner Casey Nicholaw.

## Who plays the Genie in *Aladdin* the musical?

Michael James Scott currently plays the Genie in the *Aladdin* musical. Original cast member <a href="/actor-profile/james-monroe-iglehart">James Monroe Iglehart</a> won the Tony Award for Best Performance by an Actor in a Featured Role in a Musical for his crowd-pleasing, unstoppable performance in the role.

Other original cast members included Adam Jacobs in the title role, Courtney Reed as Princess Jasmine, and Jonathan Freeman as Jafar, reprising his role from the animated film.

## How long is *Aladdin* on Broadway?

*Aladdin* on Broadway is 2 hours and 45 minutes, including an intermission.

Disney's Aladdin is a theatrical explosion that tells a universal story of love triumphing against all odds and is a bonafide Broadway hit suitable for all generations.

(Photos by Matthew Murphy, Deen Van Meer, and Cylla von Tiedemann)

Disney's Aladdin - NYC - New York Theatre Guide

Get tickets to Aladdin on Broadway from the official New York Theatre Guide. See the classic Disney film come to life in a spectacular musical for all ages.

Aladdin Broadway Tickets | The Official NY Theatre Guide

Based on the beloved animated Disney movie, the *Aladdin* musical features romance and adventure as a Genie helps Aladdin win Princess Jasmine's affection. Don't miss this energetic, dazzling spectacle that will delight audiences of all ages. Rekindle the magic and travel to a whole new world when you get tickets to this Tony-nominated musical.

In the UK, there is a Christmas tradition in British theatre called Pantomime. This phenomenon is foreign to American audiences, and is perhaps difficult to sell convincingly, but here goes: A pantomime takes the form of a tongue-in-cheek staging of a popular fairy tale, which encourages as much audience participation as possible. There is always a man dressed up as a ludicrous-looking woman known as the Dame (in the case of 'Aladdin' it's Widow Twanky), often a girl will play the lead male role (such as Peter Pan... Yes, it's all very gender-confusing) and a 'Dr. Evil-style' villain (who is constantly booed out of the building by the children in the audience, whenever he creeps onto the stage). There are also a few filthy jokes thrown into the mix, which fly straight over the childrens' heads and cheekily reward their accompanying parents. In short, the pantomime is a theatrical tradition that is belittled by theatre snobs, but wholeheartedly loved by families and secret 'guilty pleasure-seeking' theatregoers.Although pantomime is relatively unknown in the States, having recently attended a performance of Disney's latest mega-hit 'Aladdin,' I feel it is the closest thing to it in the good ole U S of A. Particularly the performance of Jonathan Freeman as treacherous Jafar (a role he reprises from voicing the character in the original 1992 animated film) reminded me of the old-school pantomime villain. Alas, there was no sign of boisterous booing from the audience...The musical, whilst perhaps not as creatively imaginative as Disney's standard barer 'The Lion King,' it certainly gets more laughs and the book's wise-cracking one-liners, often Arabian-themed, lend some refreshing, adult satisfaction. Most of these come from the show-stealing performance of James Monroe Iglehart as Genie, whose Tony Award-winning turn is truly a delight to behold. Stepping into the shoes of the late great Robin Williams (surely one of the main reasons, the animated classic was so popular) must be daunting at the least, but Iglehart gives a new and unique life to the character, whilst maintaining Mr Williams' high levels of energy and pace. His tour-de-force number 'Friend Like Me,' simply put, is musical theatre heaven! He is also quite the accomplished dancer and as light on his feet as the rest of the ensemble.Other comic relief comes in the form of Iago (a conniving parrot sidekick in the movie, now embodied as a short and stout human by Don Darryl Rivera), whose hilarious portrayal is a masterclass of comic timing. Three new additions to the cast are Aladdin's three, loyal buddies - Babkak, Omar and Kassim (Brian Gonzales, Jonathan Schwartz and Steel Burkhardt respectively) - who replace cheeky and loveable animated monkey Abu (although he does makes a cameo appearance on a poster in Act II!). These three amigos each have rounded characters and perform their comic sequences with vigour.The costumes and sets are wonderfully bright and make the production the most vibrantly colourful of all Disney Theatrical's offerings to date. Hats off to the ensemble members who undergo several quick (and magnificent) costume changes during the procession within the single musical number of 'Prince Ali'!Finally, the performances of Adam Jacobs as Aladdin and Courtney Reed as Princess Jasmine, although overshadowed by Iglehart, shine especially during their musical numbers. Particular favourites are the duet 'A Million Miles Away' and Aladdin's recurring solo 'Proud of Your Boy,' which both add some much needed character depth and showcase each actors' beautiful vocals. And of course, who can resist being swept along by the extremely impressive magic carpet scene during 'A Whole New World'?As I left the stunning New Amsterdam Theatre, I heard a child asking her mother: "How do they make that carpet fly, Mummy?" Her simple reply: "That's Disney magic!" I couldn't have said it better myself.(Photo by Cylla von Tiedemann)<hr />"The production's relentless razzle-dazzle and its anything-for-a-laugh spirit also infuse the show with a winking suggestion: If you can't be yourself, just be fabulous." Charles Isherwood for New York Times"The production's best special effect isn't the carpet, but the rollicking and endearingly over-the-top turn by James Monroe Iglehart ('Memphis'), who handles Robin Williams' role as the genie. With nonstop joking, fist bumps, declarations of 'Oh snap!' and nimble dance moves and smooth vocals, Iglehart shines with enough charisma to light a thousand and one nights." Joe Dziemianowicz for New York Daily News"Disney's new 'Aladdin' doesn't quite catch lightning in a bottle — but it lets a pretty nifty genie out of a lamp." Elisabeth Vincentelli for New York Post"For a child who's never seen a show before, the bright colors and broad silliness might be fun, but their adults will likely find it a teeth-grinding experience (although many dads will be diverted by Princess Jasmine's plunging necklines)." Robert Feldberg for The Record"This is a wonderful adaptation filled with color, charm and loads of theatrical magic." Roma Torre for NY1"The magic carpet flies smoothly and so does the rest of 'Aladdin', a buoyant musical comedy fashioned from the 1992 Disney animated feature." Michael Sommers for Newsroom Jersey"While it doesn't rival the imagination or innovation of 'The Lion King', the show's ebullient comic spirit should make it a popular hit." David Rooney for The Hollywood Reporter"Casey Nicholaw... stylistically turns the film's romantic fairy-tale adventure into shtick comedy." Marilyn Stasio for VarietyExternal links to full reviews from popular press...<a href="http://www.nytimes.com/2014/03/21/theater/aladdin-tweaks-the-disney-formula-with-breezy-insouciance.html?rref=theater&amp;module=Ribbon&amp;version=context&amp;region=Header&amp;action=click&amp;contentCollection=Theater&amp;pgtype=article" target="Top">New York Times</a> - <a href="http://www.nydailynews.com/entertainment/music-arts/aladdin-theater-review-article-1.1727136" target="Top">New York Daily News</a> - <a href="http://nypost.com/2014/03/20/aladdin-musical-doesnt-quite-seem-like-a-disney-hit/" target="Top">New York Post</a> - <a href="http://www.northjersey.com/arts-and-entertainment/theater/aladdin-loses-its-magic-1.747278" target="Top">The Record</a> - <a href="http://www.newjerseynewsroom.com/movies/aladdin-broadway-review-a-smooth-ride-for-the-family-crowd" target="Top">Newsroom Jersey</a> - <a href="http://www.hollywoodreporter.com/review/aladdin-theater-review-690038" target="Top">Hollywood Reporter</a> - <a href="http://variety.com/2014/legit/reviews/broadway-review-disney-aladdin-1201140780/" target="Top">Variety</a>

'Aladdin' review

Read our four-star review of *Aladdin* on Broadway at the New Amsterdam Theatre.

The New Amsterdam Theatre is a centerpiece of visual opulence in New York City known for its Broadway productions. Built in 1903 by prolific theatre architects Herts & Tallant, it has become a hallmark of Beaux-Arts and Art Nouveau styles. The intimate yet grand theatre is renowned for its exceptional acoustics and elaborate interior designs, reminiscent of an era gone by. The theatre has seen over a century's worth of performances, notably the Ziegfeld Follies from 1913 to 1927, and more recently the Disney Theatrical production of Aladdin. 

# Getting to New Amsterdam Theatre
The New Amsterdam Theatre is conveniently located at 214 West 42nd Street, just a short walk from Times Square. The venue is easily accessible via public transport. Subways N, Q, R, W, 1, 2, 3, and 7 trains stop at the 42nd Street-Times Square Station, which is just a few steps away from the theatre. If you prefer buses, take M104, M42, or M7 services to reach Times Square. There are numerous parking garages in the vicinity for those who prefer driving.

New Amsterdam Theatre - NY

New Amsterdam Theatre

The New Amsterdam Theatre, built in 1903, is a notable New York City venue known for Broadway productions; it's easily accessible via public transport.

Aladdin

Join classic cartoon flapper Betty Boop as she trades her black-and-white world for the colorful chaos of New York, going on an adventure to find friendship and love.

Get [*BOOP! The Musical* tickets](https://www.newyorktheatreguide.com/show/39187-boop-the-betty-boop-musical) now.

boop-1200x600-NYTG

Ages 8+. Children under 4 years old will not be admitted.

BOOP! The Musical on Broadway - NYC [39187]

BOOP! The Musical on Broadway

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BOOP! The Betty Boop Musical - NYC [39187] Product Media

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*BOOP! The Musical* in New York marks the first time the timeless heroine Betty Boop has graced the stage, sung, and danced on stage. Audiences can expect razzle dazzle song and dance numbers, tons of heart, and a story of joyful empowerment in *BOOP! The Betty Boop Musical*. Following its acclaimed run in Chicago, the new musical now comes to Broadway for its debut at the Broadhurst Theatre. 

The winning creative team brings a nearly 100-year-old icon to life, introducing her and her signature looks and outfits to a whole new generation. Lovers of old-timey, dazzling musicals will find much to adore in this heartwarming story full of toe-tapping tunes. Get ready for infectious charm, and music, in this Broadway spectacle.

## What to watch for

- Be prepared for lots of glorious dancing and Broadway pizzazz: veteran director Jerry Mitchell is celebrated for his high-energy shows, as with *Hairspray*.
- “You are capable of amazing things,” Betty Boop reminds her audience. Our heroine through an uplifting story, Betty Boop goes through each obstacle with beauty, smarts, and grace.
- Critics loved the Chicago run of the show, sharing, per WGN Radio/TV, the world of the play a “joyous, spectacular, and a creative wonderland.”
- Few bookwriters love musicals as much as Bob Martin: *The Prom* was about actors and *The Drowsy Chaperone* was about one man’s affection for an old-fashioned musical.

__Additional Information__

This production contains moments of darkness. 

This production uses theatrical haze and smoke. 

Children under 4 are not permitted in the theatre. 

No weapons permitted on the premises. No outside food or beverages, electric scooters, e-bikes, or battery-powered transportation devices, except when medically necessary. 

All items are subject to inspection. Anything brought into the theatre must fit on your lap or completely under your seat without blocking any aisles. Avoid bringing packages, luggage, and backpacks. Some items must be checked. 

The use of cameras, cell phones, and other recording devices during the show is strictly prohibited by law, except when used for accessibility services.

BOOP! The Musical on Broadway - NYC TT Override

The iconic cartoon character comes to life in *BOOP! The Betty Boop Musical*, in which Betty Boop takes a day off from her black-and-white world for a colorful, fun-filled adventure in New York City.

Get *BOOP! The Betty Boop Musical* tickets and see the sweet-sassy, spit-curled icon of joy, empowerment, and playfulness come to the stage for the very first time. After wowing audiences in Chicago, this beloved cartoon character takes the Big Apple by storm in a dazzling production directed by Tony Award winner Jerry Mitchell (*Kinky Boots, La Cage aux Folles, Hairspray*).

Experience *BOOP!* on Broadway in a new musical created by an all-star team. Multiple-time Grammy Award winner David Foster (“I Have Nothing,” “After the Love Is Gone,” “The Prayer”) writes the score, Tony Award nominee Susan Birkenhead (*Working, Jelly’s Last Jam*) contributes the lyrics, and Tony Award winner Bob Martin (*The Drowsy Chaperone, The Prom*) is the comedian behind the libretto. 

You are capable of amazing things: *BOOP!* comes to the Broadhurst Theatre in March and brings with it a thrilling song-and-dance-filled story of self-empowerment. Known for her signature looks, Betty Boop is as fiery as her red dress and lips. Now, Betty’s dream of an ordinary day off from the super-celebrity in her black-and-white world leads to a singular adventure of color, pizzazz, and love in New York City.

Audiences and critics have been loving the show: “Jerry Mitchell puts sheer show-stoppery on stage,” Catey Sullivan of the Chicago Sun-Times writes, and Dean Richards of WGN Radio/TV calls the world of the play a “joyous, spectacular, and a creative wonderland!” Great for parents who grew up with this cartoon icon and younger audiences just meeting her on stage, BOOP! promises a wonderful journey for all. 

Come see its star in New York City and see where she takes you. Tickets to *BOOP! The Betty Boop Musical* on Broadway are now available. Boop-oop-a-doop!

__Additional Information__

This production contains moments of darkness. 

This production uses theatrical haze and smoke. 

Children under 4 are not permitted in the theatre. 

No weapons permitted on the premises. No outside food or beverages, electric scooters, e-bikes, or battery-powered transportation devices, except when medically necessary. 

All items are subject to inspection. Anything brought into the theatre must fit on your lap or completely under your seat without blocking any aisles. Avoid bringing packages, luggage, and backpacks. Some items must be checked. 

The use of cameras, cell phones, and other recording devices during the show is strictly prohibited by law, except when used for accessibility services.

BOOP! The Musical - NYTG

See *BOOP! The Betty Boop Musical* coming to Broadway this spring. *BOOP!* in New York brings the beloved cartoon character to the stage, singing and dancing, for the first time ever.

The Broadhurst Theatre is a prestigious, century-old Broadway venue located in Midtown Manhattan, New York. It was named after the renowned playwright George H. Broadhurst, an Anglo-American who was originally from Bristol, England. Constructed by the Shubert Brothers and designed by the architectural firm Kirchoff & Rose, Broadhurst Theatre opened its doors to the public on September 27, 1917, with its first-ever staged play, George Bernard Shaw’s 'Misalliance'. Spanning over a wide space of 20,000 square feet, it can comfortably seat slightly over 1,100 spectators on two levels. With its decorative ceilings, excellent acoustics, central location, and intimate seating arrangement, the Broadhurst Theatre has been attracting Broadway artists and audience for over 100 years. 
 
##How to get to the venue
The Broadhurst Theatre is centrally located at 235 West 44th Street, and this strategic location makes it easily accessible from all parts of the city. If you're using public transportation, Times Square's 42nd Street subway station is the closest, served by various train lines such as the 1, 2, 3, 7, N, Q, R, W, S. Also, multiple buses serve 44th Street, including the M20 and M104 lines. Hence, reaching the Broadhurst Theatre isn't difficult regardless of where you are starting your journey.

Broadhurst Theatre - NY

Broadhurst Theatre

Broadhurst Theatre is a historic Broadway venue in Manhattan, renowned for its intimate seating, excellent acoustics, and accessible location.

BOOP! The Musical

Discover the vibrant music of Cuba's Golden Age at this musical that tells the story of Buena Vista Social Club, the Grammy-winning group of musicians who reunited after decades to capture the sounds of a bygone era.

Get [*Buena Vista Social Club* tickets](https://www.newyorktheatreguide.com/show/31351-buena-vista-social-club) now.

buena vista social club-1200x600-NYTG

Ages 8+. Children under 4 are not permitted in the theatre.

Buena Vista Social Club on Broadway - NYC [31351]

Buena Vista Social Club on Broadway

Buena Vista Social Club - Product Media - App Hero Image

Buena Vista Social Club - NYC Product Media 

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Experience *Buena Vista Social Club* on Broadway following a hit run at Atlantic Theater Company, the Off-Broadway powerhouse that originated Tony Award-winning hits including *Spring Awakening*, *Kimberly Akimbo*, *The Band’s Visit*, and more. Get *Buena Vista Social Club* tickets now.

Inspired by the Grammy-winning 1997 album of the same name, the *Buena Vista Social Club* musical tells a story inspired by the legendary artists who recorded the soul-stirring, foot-tapping music of Cuba’s golden age. Their groundbreaking namesake album *Buena Vista Social Club* inspired an Academy Award-nominated documentary that dove into the history of this ensemble, which recruited many Cuban artists who had been retired for years to authentically recapture Latin American musical genres such as son, bolero, and danzón. 

Now, the band's music comes to vivacious life in a passionate production directed by Tony Award nominee Saheem Ali (*Fat Ham*). He collaborates with an illustrious team that includes Marco Ramirez (who won a Drama Desk Award for *The Royale*) and choreographers Patricia Delgado and Justin Peck (who won a Tony Award for *Carousel* and choreographed Steven Spielberg's *West Side Story*).

## Important information

- Children under 4 are not permitted in the theatre. 
- No weapons permitted on the premises. No outside food or beverages, electric scooters, e-bikes, or battery-powered transportation devices, except when medically necessary. 
- All items are subject to inspection. Anything brought into the theatre must fit on your lap or completely under your seat without blocking any aisles. Avoid bringing packages, luggage, and backpacks. Some items must be checked. 
- The use of cameras, cell phones, and other recording devices during the show is strictly prohibited by law, except when used for accessibility services. 
- A bright light effect is used in this production. This production uses loud sound effects. This production uses theatrical haze and smoke.

Buena Vista Social Club - NYC - NYTG

Hear the Grammy-winning eponymous album by Buena Vista Social Club come to life on stage. Discover how the pioneering music group revitalized the Cuban music scene and ushered in its Golden Age in this show that honors the vibrant, timeless sounds of the Caribbean.

The *Buena Vista Social Club* musical is named for the title band and its eponymous 1997 album that won a Grammy Award the next year. Buena Vista Social Club was active for two decades, up until 2015. Now, this musical honors the group's legacy and gives us a beat we can all groove to.

Saheem Ali, a Tony nominee for *Fat Ham*, directs the musical, working with bookwriter Marco Ramirez (Drama Desk Award for *The Royale*) and choreographers Justin Peck (Tony winner, *Carousel*, *Illinoise*) and Patricia Delgado. Dancing back into New York, *Buena Vista Social Club* on Broadway promises an electrifying experience of music and dance.

## What to watch for

- Buena Vista Social Club recorded their same-named album in just six days!
- Atlantic Theater Company is a downtown Off-Broadway theatre that has originated some of the world’s most famous musicals, including three recent Tony Award winners for Best Musical: *Spring Awakening*, *The Band’s Visit*, and *Kimberly Akimbo*. See what they produce now before the world sees it later!
- The musical brings together a renowned choreography team. Justin Peck won a Tony Award for Best Choreography for the recent revival of *Carousel*, and he also choreographed Steven Spielberg's Oscar-winning *West Side Story* film. Patricia Delgado, a principal dancer with the Miami City Ballet, co-choreographs *Buena Vista Social Club* and was Peck’s associate on *West Side Story*.
- The *Buena Vista Social Club* album was preserved in the United States National Recording Registry by the Library of Congress in 2022 for its cultural significance.

## Important information

A bright light effect is used in this production. This production uses loud sound effects. This production uses theatrical haze and smoke.

- Children under 4 are not permitted in the theatre. 
- No weapons permitted on the premises. No outside food or beverages, electric scooters, e-bikes, or battery-powered transportation devices, except when medically necessary. 
- All items are subject to inspection. Anything brought into the theatre must fit on your lap or completely under your seat without blocking any aisles. Avoid bringing packages, luggage, and backpacks. Some items must be checked. 
- The use of cameras, cell phones, and other recording devices during the show is strictly prohibited by law, except when used for accessibility services.

Buena Vista Social Club  - NYC - Todaytix

The Grammy-winning, landmark Cuban album by the same-named music group is now the basis for a vibrant, celebratory musical. Relive the Golden Age of Cuban music while hearing the renaissance of genres like son, bolero, and danzón.

"This is not the story of a nation; this is the story of a band," music producer Juan De Marcos (Luis Vega) says at the top of *Buena Vista Social Club*. Maybe the musical isn't the story of Cuba, from where the same-named group hailed, but it is much more than the story of a band, too.

"Buena Vista Social Club" is synonymous with a lightning-in-a-bottle cultural phenomenon: the group of Cuban musicians brought together, largely post-retirement, by De Marcos and others to record an album; that Grammy Award-winning album, which ushered in a renaissance of old-school Cuban dance music; the documentary film made about them, which was named to the National Film Registry in 2020; and the physical hall where many of BVSC's musicians got their start before the Cuban Revolution set in, upending their careers and shuttering the club alongside many others like it.

That singular tale — of forgotten friendships, sounds, and struggles alike getting an unexpected and irreplicable second act — is the story of *Buena Vista Social Club*, part true, part dramatized. The resulting plot may be predictable, but the staging and music of *Buena Vista* are lush, vibrant, and celebratory.

Director Saheem Ali's production is clearly designed as a showcase for the music anyway, and that's apparent from the the opening number, "El Carretero." (All the songs are either instrumental or sung in Spanish.) The full band is front and center, and a large ensemble fluidly grooves along as though the song is a current, sweeping them up and carrying them where it desires.

That irresistible impulse to just fall into the music carries throughout the show and extends to the audience. (*Buena Vista* is actually a show that makes you want to get up and dance, especially when Patricia Delgado and Justin Peck's explosive choreography kicks into high gear, but that's frowned upon in the theatre.) But nowhere is that submission more apparent than in Omara Portuondo (a potent Natalie Venetia Belcon), who abandons a mainstream singing career with her sister ("a life we can *control*," her sister notably calls it) to remain in Cuba, even as the revolution mounts and her family leaves, and perform Cuban music at the BVSC.

Decades later, her past regrets have hardened her — she eventually did pursue a solo career and left Compay Segundo and Ibrahim Ferrer, who introduced her to the BVSC, behind — but we watch in real time as recording with the BVSC dissolves her steely shell. A highlight of the show is the number "Candela," particularly the part in which the exacting Omara dismisses the flute player — "No one ever recorded a scorching rendition of anything with a flute," she claims — but when De Marcos asks him to play anyway, sure enough, the flute notes dance atop the melody like sparks, and Omara's charmed.

*Buena Vista* leaps back and forth between this album recording in the '90s and the characters' early careers in the '50s. Ali achieves these shifts seamlessly and in a swift two hours. Some Act 2 plot points, including the rise of the Revolution, get rushed in the process, as does the musical's exploration of how colorism impacts the musicians' opportunities, particularly Ferrer's.

The ending is thus bittersweet — that in this version of Buena Vista Social Club's story, it took decades for Ferrer and others to get the recognition they deserved. But getting to hear their music live at the [Linda Gross Theater](https://www.newyorktheatreguide.com/theatres/linda-gross-theater) now is a unique and worthwhile treat.

[*Buena Vista Social Club* is at Atlantic Theater Company's Linda Gross Theater through December 31.](https://www.newyorktheatreguide.com/show/31351-buena-vista-social-club)

*Photo credit: Jared Machado (at microphone with guitar) and the company of
Buena Vista Social Club. (Photo by Ahron R. Foster)*

'Buena Vista Social Club' review — lush, vibrant music makes this show a treat

Read our four-star review of *Buena Vista Social Club*, a new musical inspired by the Cuban music group of the same name, now off Broadway through December 31.

Buena Vista Social Club

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