Name: Titanique
Start: 2022-06-14
End: 2025-06-15
Location: Daryl Roth Theatre

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Ages 13+. Children under 4 are not permitted in the theater.

Daryl Roth Theatre

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Titanique - NYC [25241]

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Titanique

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A group of performers on stage, dressed in theatrical costumes. One person holds a microphone, while others pose around them, some with hands on hearts. A blue-lit backdrop is visible.

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Two actors on stage performing a musical number, with one posing with arms outstretched. Both appear animated and are wearing period costumes.

Titanique - Product Media - Images & Videos - Asset #2

Performer on stage dressed as a ship captain, holding a ship's wheel with a backdrop of ropes and purple-lit panels.

Titanique - Product Media - Images & Videos - Asset #3

Person in red outfit and black-framed glasses performs on stage with a bird-shaped headpiece, standing in front of white stairs and rope railing.

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Three performers are on stage: a woman in a red dress, a man in a suit, and another man in casual attire. They are in a lively, well-lit theater setting.

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A person in a dark outfit sings on stage, holding an orange cane. The background features blue lighting and a set resembling a staircase.

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A man and woman perform on stage in front of a blue-lit background, standing behind a rope barrier. The man gestures outward while the woman holds his shoulder.

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A woman in a sequined dress sings into a microphone on stage, with three backup singers in the background.

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Three actors performing on stage; one sings into a microphone wearing a sequin dress, flanked by two others in costume pretending to kiss each of her cheeks.

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Performers on stage in a theatrical production with a ship-themed set, featuring dance and musical elements.

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Set sail on the Ship of Dreams with Celine Dion, who has the inside scoop on what really happened to Jack and Rose on the doomed Titanic. Dion's greatest hits and up-to-the-minute pop culture jokes power this zany spoof on James Cameron's Oscar-winning film.

Amber Ardolino stars as Celine Dion in [*Titanique*](https://www.newyorktheatreguide.com/show/25241-titanique-tickets) off Broadway at the [Daryl Roth Theatre](https://www.newyorktheatreguide.com/venues/daryl-roth-theatre).

Ardolino is known for her Broadway performances as Marcia Murphey in *A Beautiful Noise: The Neil Diamond Musical*, as Linda McFly in *Back to the Future*, and in the ensembles of [*Hamilton*](https://www.newyorktheatreguide.com/show/384-hamilton-tickets), [*Moulin Rouge! The Musical*](https://www.newyorktheatreguide.com/show/15911-moulin-rouge-the-musical-on-broadway-tickets), *Funny Girl*, and *Head Over Heels*.

Amber Ardolino - NY

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

A Beautiful Noise: The Neil Diamond Musical on Broadway - NYC [24254]

A Beautiful Noise: The Neil Diamond Musical on Broadway

A Beautiful Noise: The Neil Diamond Musical on Broadway - NYC Product Media

The Neil Diamond catalog arrives on Broadway with guitars strumming, tresses flowing, and sequins blazing in [*A Beautiful Noise*](https://www.newyorktheatreguide.com/show/24254-a-beautiful-noise-tickets), a jukebox biomusical celebrating the renowned 81-year-old singer/songwriter. 

Despite being a lukewarm look at the Brooklyn-born superstar, the show headlined by Will Swenson will nonetheless appeal to Diamond’s ardent fans. And he’s amassed lots of them.

With 39 albums to Diamond’s credit (an impressive statistic mentioned more than once) and a career spanning six-plus decades, there’s much to sing and talk about. This production, directed by Michael Mayer ([*Funny Girl*](https://www.newyorktheatreguide.com/show/24232-funny-girl-tickets)), ends up light in terms of insights and provocative juice. 

Anthony McCarten's script relies on a framing device that begins on a downer note and returns there regularly. The retired and ailing elderly Diamond (Mark Jacoby) is in a therapy session at the request of his third wife.

The doctor (Linda Powell) suggests analyzing Diamond’s compositions to “see what they tell us about you” in hopes of uncovering the cause of “clouds” of his lifelong depression. 

At this point, eager ensemble members dressed in costume designer Emilio Sosa’s vintage paisley and stretchy plaids dance in as if from Diamond’s mind. They perform a collage of Diamond hits – “Song Song Blue,” “America,” “Shiloh,” “Kentucky Woman,” and “A Beautiful Noise” among them. 

Swenson soon swaggers in, in pop-rock regalia, as the younger Neil Diamond. In predictable fashion, the story moves back in time and retraces Diamond’s humble beginnings as a struggling songwriter from a Jewish family with a wife and a baby of his own. 

A breakthrough meeting at the legendary Brill Building with songwriter/producer Ellie Greenwich (Bri Sudia) changes his life. She recognizes Diamond’s talents as a performer and gets him a shot at the music venue The Bitter End. As he sings “Solitary Man,” the initially unimpressed crowd becomes so captivated they move in unison in their seats. Choreographer Steven Hoggett used a similar stirring moment in *Once*.

As Diamond’s career starts to shine, plot twists common in celebrity bios crop up. His success builds, but his marriage to high school sweetheart Jaye Posner (Jessie Fisher) crumbles to the tune of “Love on the Rocks.” Unfaithful Diamond was in love with Marcia Murphey (Robyn Hurder), a woman from the Bitter End. This two-timing episode gets underscored by… wait for it…  “Cherry, Cherry.” 

He then makes a bad decision to sign with what he calls a mob-run record label, but he saves his neck by writing “Sweet Caroline.” He rocks out as a concert king, surrounded by musicians on a *Hollywood Squares*-style grid by scenic designer David Rockwell. 

As Diamond’s nonstop career soars, his marriage and luxurious life in Malibu with Marcia sours. “Seems like she wanted more time with you, not more things,” says the doc to the older Diamond. Cue Marcia, who belts “Forever in Blue Jeans,” accompanied by a ridiculously bloated dance number. Diamond’s second divorce comes, fittingly, following a duet of “You Don’t Bring Me Flowers.” 

As the aged Diamond, Jacoby stands out in his passionate 11 o’clock solo, “I Am … I Said.” Hardworking Swenson pours everything he’s got into his star turn. Most notably, he deepens his voice with a veritable truckload of gravel to clone Diamond’s signature growl.

In an unusual twist, the lights come up a couple times in the [Broadhurst Theatre](https://www.newyorktheatreguide.com/theatres/broadhurst-theatre) as an invitation to sing along. Plenty of theatregoers at my performance didn’t have to be asked twice or need another sip of “Red, Red Wine” to noisily join in.

[*A Beautiful Noise* is at the Broadhurst Theatre. Get *A Beautiful Noise* tickets on New York Theatre Guide.](https://www.newyorktheatreguide.com/show/24254-a-beautiful-noise-tickets)

*Photo credit: Robyn Hurder, Will Swenson, and Michael McGrath in A Beautiful Noise. (Photo by Julieta Cervantes)*

'A Beautiful Noise' review — Neil Diamond musical celebrates the solitary man and his career

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.

Ages 6+. Children under 4 are not permitted.

Back to the Future on Broadway - NYC [26018]

Back to the Future on Broadway

Back to the Future on Broadway - NYC Product Media

If IMAX had taken off by 1985, [*Back to the Future*](https://www.newyorktheatreguide.com/show/26018-back-to-the-future-tickets) would have been its year's *Oppenheimer*: the kind of epic film you *must* see in IMAX, or at least on the biggest screen you can find. The iconic flying DeLorean, piloted across space-time by teenager Marty McFly and scientist Doc Brown, deserves nothing less. Ditto for the stakes of the plot. Unwittingly becoming one of humanity’s first time travelers and nearly wiping out your own existence by meddling in your parents’ meet-cute is, to quote Doc, “some serious shit.”

That's a lot for one teenager like Marty to handle — not to mention the ultimate terror of capturing his unknowing high-school-aged mother’s affections. And yet, *Back to the Future* emerges, and continues to be regarded, as a funny, cult-classic romp. The musical adaptation, now on Broadway with 1.21 gigawatts of spectacle, honors all these views at once and gives *Back to the Future* the larger-than-life presentation it deserves.

The design, naturally, does a lot of the heavy lifting. Walking into the [Winter Garden Theatre](https://www.newyorktheatreguide.com/theatres/winter-garden-theatre) feels like walking into a *Back to the Future* augmented-reality theme park attraction: A network of LEDs outfits the proscenium, the railings of the box seats, and even the ceiling. The design feels immersive, aided by Finn Ross's videos that, at one point, even put audiences into Marty's point of view as he rockets from 1985 to 1955.

That's not to mention the rest of Hatley's meticulously detailed sets and vibrant period costumes, Tim Lutkin and Hugh Vanstone's hyperactive lighting (which, along with smoke effects, aid Chris Fisher's sci-fi illusions), and Gareth Owen's heart-thumping sound. Together with director John Rando's staging and Chris Bailey's athletic choreography that works the large ensemble for all it's got, the whole production is clearly eager, desperate even, to thrill you at every second. But to again quote Doc (and the title of his triumphant entrance song), it works.

On the topic of the songs, those mostly work, including timeless film favorites like "The Power of Love" and "Johnny B. Goode." A third of the score could have otherwise been cut. Some are repetitive — not every song needs a reprise, and not every character needs a full-length "I want" number (or multiple) where a line or two of dialogue would suffice. It feels like a retroactive attempt to invest audiences in the characters, who get rather abruptly introduced at the start.

It's an odd paradox, that *Back to the Future* assumes prior familiarity with the film such that the players need little introduction, while positing nearly every character as worthy of substantial exploration. Chalk it up, perhaps, to the fact that two of the movie's creators are involved: Bob Gale adapted the musical's book from his and Robert Zemeckis's screenplay, and Alan Silvestri, who composed the film score, co-wrote the musical's rollicking score with Glen Ballard. They clearly know and adore all their characters, but not all audiences have the same depth of understanding, especially 38 years on from the film's premiere.

But like the DeLorean climbing to the crucial 88 miles per hour, the writers ultimately succeed in building the show's momentum and narrative heft. Once Marty meets his teenaged parents, Lorraine and George, in 1955 and catches Lorraine's eye before George can, he has to course-correct — and gets to know his parents better in the process. *Back to the Future* is really a story about how the young can shape older generations' futures, after all, not just the other way around.

"My Myopia," a song sung by the hapless George as he secretly watches his future wife from a tree, shows Marty his dad's spinelessness began in adolescence. Later, they share a duet, "Put Your Mind to It," in which Marty teaches George how to be a more confident man. The energetic Casey Likes as Marty and Hugh Coles, a rubber-limbed physical comedy master reprising his role from London, as George bring these scenes close to perfect. As Lorraine, Liana Hunt channels a *Grease*-era Olivia Newtown John in dulcet (if incestuous) songs like "Pretty Baby."

It could be easy, amid everything else going on, to minimize Doc, even though he invents time travel in the first place and makes the rest of *Back to the Future* possible. But Christopher Lloyd made the character so indelible on screen that to forget Doc would be a crime. And from his first entrance in a cloud of smoke, Roger Bart, also reprising his role from London, makes the character iconic anew.

Bart milks Doc's triumphant early songs for all they're worth, complete with a leggy ensemble as backup — which only make his poignant Act 2 ballad, "For the Dreamers," strike the heartstrings even more. It's then we learn that, before Marty proved otherwise, Doc spent 30 years worrying he'd fail — and be forgotten in time.

"This one's for the dreamers who were close, but no cigar," Doc laments, Bart utterly sincere. "We don't know who they are."

*Back to the Future* is many in-your-face things — larger-than-life, time-bending, hair-raising — but this small moment reveals the heart amid the spectacle.

[*Back to the Future* is at the Winter Garden Theatre. Get *Back to the Future* tickets on New York Theatre Guide.](https://www.newyorktheatreguide.com/show/26018-back-to-the-future-tickets)

*Photo credit: Casey Likes and the cast of Back to the Future. (Photo by Matthew Murphy and Evan Zimmerman)*

*Correction: A previous version of this article misstated the number of years since the Back to the Future film's premiere. The article has been updated to reflect the correct information.*

'Back to the Future' review — 1.21 gigawatts of fun, heart, and spectacle

Read our four-star review of *Back to the Future* on Broadway, the award-winning musical adaptation of the classic film playing at the Winter Garden Theatre.

The Winter Garden Theatre, located in the heart of Broadway, New York, is a world-renowned theatre venue that has witnessed countless iconic performances. With a seating capacity of over 1,500, the theatre offers an intimate setting for experiencing theatrical spectacles amidst its illustrious historic ambience. The theatre's architectural design, exuding Edwardian Baroque aesthetics, boasts a stage large enough for grandest of productions. Since its inception in 1911, the Winter Garden Theatre has seen legendary showbiz figures gracing its stage and corridors, from Al Jolson to Catherine Zeta-Jones. The Theatre's repertoire spans both timeless classics and contemporary hits, fostering an eclectic mix that caters to varied tastes of its audiences. 

**How to Get to the Venue:** The Winter Garden Theatre is easily accessible via numerous modes. For those opting for subway, the closest stops are 49th Street at 7th Avenue, Times Square 42nd Street/Port Authority Bus Terminal, and 50th Street at Broadway. Buses M7, M20, M104 all stop near the theatre. If you’re driving, several public parking lots are available in the vicinity, including Icon Parking and Central Parking. More detailed directions and information can be found on the theatre’s website.

Winter Garden Theatre - NYC

Winter Garden Theatre

The Winter Garden Theatre is a historic and iconic Broadway venue in New York, known for both classic and contemporary performances.

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 12+. Children under 5 years old will not be admitted.

Jujamcyn COVID Protocols 

Moulin Rouge! The Musical on Broadway - NYC [15911]

Moulin Rouge! The Musical on Broadway

Moulin Rouge! The Musical on Broadway - NYC Product Media

In 2002 Baz Luhrmann, the idiosyncratic Australian film and theatre director, brought his stunning 1990 Opera Australia production of Puccini's La Bohème from Sydney Opera House to Broadway, a tale of a consumptive heroine and her bohemian friends living in rooftop Parisian digs. Now 17 years later, we're back in similar territory for this bedazzling stage transition of Luhrmann's 2001 film "Moulin Rouge!," which underlines just how much La Bohème inspired it -- an opera that also provided the source for Rent, which was set in 1990s New York.Broadway is now (over)populated by jukebox musicals -- current attractions include shows devoted to <a href="/show/aint-too-proud-the-life-and-times-of-the-temptations">The Temptations</a>, <a href="/show/beautiful-the-carole-king-musical">Carole King</a> and <a href="/show/the-cher-show">Cher</a>, with a transfer of <a href="/show/tina-the-tina-turner-musical">Tina -&nbsp;The Tina Turner Musical</a> from the West End due to arrive in October, plus new musicals based on albums by Alanis Morissette (<a href="/show/jagged-little-pill">Jagged Little Pill</a>)&nbsp; and David Byrne (<a href="/show/david-byrnes-american-utopia">American Utopia</a>) also planning Broadway engagements in October and November, respectively. But <a href="/show/moulin-rouge-the-musical">Moulin Rouge! The Musical</a> is in a league of originality and creativity all of its own; with a song stack of some 70 pop hits from the 40s to the present day, it is the ultimate jukebox show, encompassing Elton John, Sting and Katy Perry, the Rolling Stones, David Bowie, Bob Dylan and even Rodgers and Hammerstein, amongst numerous others.Of course, many of those songs are only heard in the briefest of snatches; in one duet between Satine, the courtesan nightclub performer and Christian, the visiting American writer who stumbles into her life and falls unexpectedly in love with her, there are quotations from some 25 separate songs.Part of the immense musical fun of the evening is spotting all these goodies, even if there's a bit of an accompanying frustration that comparatively few of them are heard in full. Musical supervisor and orchestrator Justin Levine does a heroic job of marshalling them all into a cohesive, playful whole, and book writer John Logan folds them brilliantly into the plot so that they all serve a narrative as well as presentational purpose.But if the show is both tireless and at times relentless in shoehorning so much material into it, director Alex Timbers, his choreographer Sonya Tayeh and his designers Derek McLane (sets), Catherine Zuber (costumes), Justin Townsend (lighting) and Peter Hylenski (sound) turn it into an eye-popping spectacle that is full of sensory overload.The transportation to another world occurs even before the show begins, as you enter the <a href="/theatres/al-hirschfeld-theatre">Al Hirschfeld Theatre</a>, beguilingly transformed into the spectacular nightclub of the title. The Moulin Rouge's famous external windmill turns stage right; a giant blue elephant (which contains Santine's rooftop dressing room) is stage left. Dancers perform languorous cage dance routines and prowl the stage long before the lights dim and the club's MC and owner Harold Zidler (the buoyant and brilliant <a href="/actor-profile/danny-burstein">Danny Burstein</a>) set the stage show off.But as with Kander and Ebb's 1966 Broadway musical Cabaret, the vividly-recreated floorshow is only a backdrop to a more personal story of a desperate, ill-fated love affair that unfolds in its anchoring shadows. Spectacle may always be to the fore in this production, but against all the vigour there's also rigour in the beautiful ache that <a href="/actor-profile/aaron-tveit">Aaron Tveit</a> and <a href="/actor-profile/karen-olivo">Karen Olivo</a> bring to Christian and Satine's relationship.In a crowded Broadway market place, Moulin Rouge is a show that has it all: it's not just 70 songs that are rolled into one show, but also a canvas of spectacle and emotion that isn't just a floorshow but left me floored with its sublime artistry.(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>"This one's for the&nbsp;hedonists. All you&nbsp;party people should know that the Al Hirschfeld Theater has been refurbished as an opulent pleasure palace, wherein decadence comes without hangovers.&nbsp;That's where the euphoric&nbsp;Moulin Rouge! The Musical&nbsp;opened on Thursday night in a shower of fireworks, confetti and glittering fragments of what feels like every pop hit ever written." Ben Brantley&nbsp;for <a href="https://www.nytimes.com/2019/07/25/theater/moulin-rouge-review.html" target="_blank">New York Times</a>"Red alert! Red alert! If you're the kind of person who frets that jukebox musicals are taking over Broadway, prepare to tilt at the windmill that is the gorgeous, gaudy, spectacularly overstuffed&nbsp;Moulin Rouge! The Musical. Directed with opulent showmanship by Alex Timbers, this adaptation of Baz Luhrmann's 2001 movie may be costume jewelry, but its shine is dazzling." Adam Feldman for <a href="https://www.timeout.com/newyork/theater/moulin-rouge-broadway-review" target="_blank">Time Out New York</a>"Who needs ecstasy when we've got Moulin Rouge!? That's the effect of the fabulous new musical that opened Thursday night&nbsp;on Broadway: raucous sensory overload. From its sexy sword swallowers to the newly pumped-up pop songbook and from-the-loins dancing, the show's as subtle as Liberace's toy poodle: a glitter bomb on Broadway." Johnny Oleksinski&nbsp;for&nbsp;<a href="https://nypost.com/2019/07/25/moulin-rouge-review-nycs-hottest-nightclub-is-on-broadway/" target="_blank">New York Post</a>"Moulin Rouge!&nbsp;was Baz Luhrmann at his most brashly baroque, a shameless pop-cultural magpie molding equal parts kitsch, cool and cliché into a rhapsodic dream. The giddy 2001 screen collision of soaring romance and dazzling artifice helped resuscitate the movie musical. Stage director Alex Timbers and the creative team on this delirious theatrical reinvention take those Luhrmann impulses and run with them, crafting a gaudy and gorgeous jukebox pastiche in which eye-popping spectacle, off-the-charts energy and almost non-stop musical mashups provide the plush padding for a featherweight plot." David Rooney&nbsp;for <a href="https://www.hollywoodreporter.com/review/moulin-rouge-musical-theater-1226326" target="_blank">Hollywood Reporter</a>"As in the film, the plot is yet another tragic story of mismatched lovers, inspired by everything from Carmen&nbsp;to La Dame aux Camélias.&nbsp;But I'm not sick of it, and nor should you be. Tales about true love transcending divergent social origins and personal destinies never go out of fashion." Marilyn Stasio&nbsp;for <a href="https://variety.com/2019/legit/reviews/moulin-rouge-review-broadway-musical-2-1203278036/" target="_blank">Variety</a>

Review of Moulin Rouge! The Musical on Broadway

The Al Hirschfeld Theatre, named after the famous caricaturist Al Hirschfeld, is a renowned venue located in the heart of New York City. Nestled on 45th street in what is known as the theatre district, this iconic venue opened its doors in 1924. It's an integral part of the vibrant Broadway scene showcasing some of the best talents and finest productions. The theatre, originally named The Martin Beck Theatre, was designed by the G. Albert Lansburgh, a prominent architect in theatre design. The stylish exterior is built in a splendid Byzantine style with the interior embracing both Moorish and Greek revival influences. Accommodating over 1,400 audiences, the theatre maintains a warm and intimate atmosphere with an unparalleled acoustics system. What sets it apart is its unique charm reflecting the essence of Broadway. Over the decades, the theatre has seen countless theatrical marvels, and continues to captivate audiences all around the world with its rich history, classic Broadway charm, and top-tier productions. It’s a must-visit for every theatre enthusiast visiting New York.

 ## How to get to the venue
The Al Hirschfeld Theatre is highly accessible via public transport. It's just a short walk from Times Square-42nd street subway station, served by multiple lines. Numerous buses also pass the theatre, making it a short trip from any part of the city. For those driving, there are several paid parking lots nearby. Do remember that traffic can be heavy in the area, the streets are always bustling with excitement around theatre hour, so plan accordingly.

Al Hirschfeld Theatre - NYC

Al Hirschfeld Theatre

The Al Hirschfeld Theatre is a historic Broadway theatre in New York, known for top-tier productions, accessible location, and unique charm.

Funny Girl on Broadway - NYC

Funny Girl on Broadway

Funny Girl on Broadway - NYC Product Media

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

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

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

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

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

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

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

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

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

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

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

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

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

The August Wilson Theatre, located in the heart of Manhattan, is one of New York's iconic historical landmarks. Named after Pulitzer Prize-winning playwright August Wilson, the venue hosts an array of award-winning Broadway performances. This theatre has an expansive total seating capacity of 1,222, making it an ideal environment for large scale performances. The interior reflects an Art Nouveau style featuring a grand lobby with high ceilings and intricately designed walls. The theatre’s plush seating, opulent detailing, and great acoustics create an intimate experience for viewers, compelling them to feel a part of the performance. It has managed to preserve its early 20th-century charm while presenting modern productions. **How to get to the venue**: The August Wilson Theatre is centrally located at 245 W 52nd St, making it easily accessible via numerous transportation means. Visitors can take the 1, C, E subway lines to 50th Street or the N, Q, R, W lines to 57th Street. If you prefer to bus, the M104, M20 or M7 bus lines have nearby stops. If you choose to drive, commercial parking garages are available around the theatre district. Those choosing to ride-share can set their destination to the theatre directly.

August Wilson Theatre - NY

August Wilson Theatre

The August Wilson Theatre is a historic venue in New York known for its large capacity and award-winning Broadway performances.

Head Over Heels on Broadway [9844]

Head Over Heels on Broadway

Head Over Heels on Broadway [9844] Product Media

The **Hudson Theatre** located in the heart of New York City, is a prestigious broadway theatre on 44th street. Over a century old, it blends the rich history of New York with the modern NY life, rendering it an impeccable locale for a diverse range of events. It showcases traditional broadway shows, concerts, performing artist shows and many more. This quintessential theater boasts a seating capacity of around 970, spread over 3 levels, offering a meticulous proximity to the stage with unmatchable acoustics. It is adorned by a magically preserved antique design, offering a one-of-a-kind ambience that’s second to none.

**How to get to the venue:** The Hudson Theatre is accessible via various methods of transport. Driving to the theater provides the convenience of parking at Icon parking just across the street. Alternatively, the theater is easily reachable via public transit, being near to Times Square - 42nd Street Station served by multiple subway lines. The Port Authority Bus Terminal is just a short walk away, providing access to numerous bus routes.

Hudson Theatre - NY

Hudson Theatre

The Hudson Theatre is a historical Broadway theatre in New York City, accessible via car, subway, and bus.

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

'Titanique' review — a boatload of campy fun

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

Titanique Off-Broadway Review | New York Theatre Guide

The Daryl Roth Theatre is an exceptional Broadway theatre venue located at 20 Union Square East in the lively city of New York. Originally built as a bank in 1847, it was converted into a theatre and named after the esteemed producer Daryl Roth in 1998. The interior of Daryl Roth Theatre is as remarkable as its history. This 499-seat theatre boasts a beautiful, intimate setting. The space is flexible and can suit a variety of staging concepts, offering unique experiences to audiences every time. The theatre has hosted a variety of notable productions, most famously, *'De La Guarda'*, a long-running aerial show which ran for a stunning seven years. Today, the theatre continues to provide audiences with a wide range of compelling and diverse performances.

**How to get to the venue**

The Daryl Roth Theatre is located very centrally and is easily accessible by subway. One can take the L, N, Q, R, 4, 5, or 6 train to Union Square. If you prefer to take the bus, the M1, M2, M3, and M14 buses also have nearby stops. Moreover, for those in the mood for a walk, the location is a short stroll away from Washington Square Park in the vibrant Greenwich Village area.

Daryl Roth Theatre - NY

The Daryl Roth Theatre, a beautifully intimate venue in New York, offers unique theatrical experiences and is easily accessible by various means of transportation.

amber 500

Cassadee Pope stars as Rose in [*Titanique*](https://www.newyorktheatreguide.com/show/25241-titanique-tickets) off Broadway at the [Daryl Roth Theatre](https://www.newyorktheatreguide.com/venues/daryl-roth-theatre).

Pope is best known for her music career, fronting the pop punk band Hey Monday since 2008 and competing on NBC's *The Voice* as a solo country artist, becoming the first female winner of the competition show in 2012. Her debut solo album, *Frame by Frame*, hit the top 10 on the Billboard 200 charts and debuted at No. 1 on Top Country Albums in 2013. She has since released both country and pop punk music as a solo musician.

In 2017, Pope earned a Grammy Award nomination for Best Country Duo/Group Performance for "Think of You," performed with Chris Young. She has also been nominated for People's Choice and American Country Awards, among others, and won CMT Music and Taste of Country Fan Choice Awards.

Cassadee Pope - NY

cassadee 200

Lea DeLaria stars as Ruth in [*Titanique*](https://www.newyorktheatreguide.com/show/25241-titanique-tickets) off Broadway at the [Daryl Roth Theatre](https://www.newyorktheatreguide.com/venues/daryl-roth-theatre) beginning February 4, 2025.

DeLaria is best known for her role as Carrie "Big Boo" Black in the Netflix series *Orange Is the New Black*. On stage, her credits include the 2000 revival of *The Rocky Horror Show*, 2022's *POTUS: Or, Behind Every Great Dumbass Are Seven Women Trying to Keep Him Alive* and 2024's *The Night of the Iguana*.

Additionally, DeLaria's 1993 appearance on *The Arsenio Hall Show* made her the first openly gay comic to appear on American TV.

Lea DeLaria - NY

Broadway COVID Protocol

POTUS on Broadway - NYC

POTUS on Broadway

POTUS on Broadway - NYC Product Media

There's a moment in the new Broadway play <a href="https://www.newyorktheatreguide.com/show/potus-or-behind-every-great-dumbass-are-seven-women-trying-to-keep-him-alive" target="_blank">POTUS</a> that made me cackle so loud, I surprised myself. It's a blink-and-you-miss-it moment. It occurs as the revolving set for POTUS is turning to a new scene in a woman's restroom. There's a tampon dispenser, and as the lights are still down, you can see the price for tampons: $2.79. Oof. The pink tax weighs heavy on the women of the play, both literally and figuratively. If only the rest of POTUS was as subtle or as smart.POTUS: Or, Behind Every Great Dumbass Are Seven Women Trying to Keep Him Alive is written by Selina Fillinger, who at 28 years old is making her Broadway debut with a play directed by five-time Tony winner Susan Stroman. No pressure. POTUS is a farce and workplace comedy about a group of women who work at the White House under a fictitious male president. And this president, who never appears, seems like an overgrown manchild who would rather start an international crisis than admit weakness.The president is also going through multiple sex scandals, such as publicly calling his wife Margaret (Vanessa Williams at her most regal deadpan) a cunt and having an affair with the 20-something-year-old Dusty (an utterly committed-to-the-bit Julianne Hough). And his female chief-of-staff Harriet (a perpetually frazzled Julie White) and his female press secretary Jean (Suzy Nakamura, doing the best Jen Psaki impression) are charged with cleaning up the mess.&nbsp;Meanwhile, the president's convicted-criminal sister Bernadette (a swaggering and crude Lea DeLaria) is hankering for a pardon, his meek secretary Stephanie (an always-reliable-for-a-laugh Rachel Dratch) is trying to assert herself, and the journalist Chris&nbsp;(a remarkably grounded Lilli Cooper) is snooping around for a scoop.The jokes are sometimes funny, mostly vulgar, with an overreliance on sex jokes and gross-out humor (the same puke gag is used not once or twice, but three times). The cast have genuine comic chemistry with each other, and the audience around me guffawed in particular at Dratch's antics. Thanks to Linda Cho's costumes, I heard the loudest audience laugh this season over a piece of clothing: the high-heeled Crocs worn by Williams, who should be nominated for a Tony Award for how well she pulls them off.&nbsp;Stroman, a master of moving multiple bodies around a room, manages to keep up the zany energy without dissolving into unintelligible chaos — the scenes that feature all the women are truly the highlights of the show, with every woman given room to take up space while keeping the main tension of the scene intact. The personalities on display here are so loud that it's a feat they don't overwhelm each other. Instead, they complement each other. The calm energy of Williams, Cooper, Hough, and Nakamura perfectly pairs with the manic energy of White, Dratch, and DeLaria.&nbsp;Throughout the play, there's a familiar refrain, spoken about different women: "Why isn't she president?" It's truly the eternal question. And after the last presidency, which inspired POTUS, we need to have a laugh, even if it's a bitter one, about how the patriarchy is a rotting zombie that refuses to die. But while POTUS starts off on a provocative note (the first word in the show is "cunt") and is pleasurably chaotic in its first act, the play loses steam during the second, and ultimately cannot decide what kind of play it wants to be.&nbsp;Fillinger told <a href="https://www.nytimes.com/2022/04/22/theater/potus-selina-fillinger-broadway.html" target="_blank">The New York Times</a> that the play was inspired by the women who helped support the Trump Administration. Someone should tell Stroman and the cast.&nbsp;POTUS wants to have it both ways: It wants you to sympathize with the women supporting this terrible man in the White House and cheer them on as they learn to empower themselves, but it doesn't interrogate what kind of women would put aside their morals to support a man who has no problem grabbing women by the pussy. Sarah Huckabee Sanders and Melania Trump were women working in the White House, but no one would look to them as a bastion of moral fortitude. They don't really care, so why should we?&nbsp;And it's not clear, besides the fact that these women are a diverse group, why the audience should be cheering for them. These women talk in bro speak ("get off my dick"). William's Margaret has abandoned her community to chase white supremacy (which Cooper's Chris calls her out on in one scene that has no follow-through or deeper exploration). There's also group encouragement when Hough's Dusty offers to give blowjobs to the Secret Service and goes through with it. A woman prostituting herself on behalf of other women doesn't make it more empowering. You cannot girlboss your way out of the patriarchy; you're just reaffirming its toxic practices.Ultimately, POTUS goes for an easy ending by teasing the audience with the possibility of a female president and female retribution. But considering we're not anywhere near that reality, and women are losing rights to their own bodies as we speak, such overtures of hope ring hollow. Reality is its own farce at the moment, and no one's laughing.<a href="https://www.newyorktheatreguide.com/show/potus-or-behind-every-great-dumbass-are-seven-women-trying-to-keep-him-alive" target="_blank">POTUS&nbsp;is at the Shubert Theatre through August 14. Get&nbsp;POTUS&nbsp;tickets on New York Theatre Guide.</a>Photo credit: Lilli Cooper, Rachel Dratch, and Vanessa Williams in POTUS. (Photo by Paul Kolnik)

'POTUS' review — star-studded cast girlbosses their way through the White House

POTUS is at the Shubert Theatre through August 14. Get POTUS tickets on New York Theatre Guide.

POTUS Broadway Review | New York Theatre Guide

The Shubert Theatre is a historic Broadway venue located in New York City's theater district. Originally opening its doors in 1913, it has solidly anchored its place in history, hosting major productions like A Chorus Line and Hello, Dolly! With a seating capacity of 1460, this gem of a theatre is designed in the style of the Italian Renaissance, featuring a blue-domed ceiling adorned with a galaxy of twinkling stars. The Shubert Theatre's architecture sets a magical environment for hosting ground-breaking musicals and dramatic performances. It maintains an intimate atmosphere despite its ample size, allowing every patron an immersive experience. 

## How to get to Shubert Theatre
Located at 225 West 44th Street, between 7th and 8th Avenue, the theatre is easily accessible. If commuting by subway, you can take the 1, 2, 3, 7, N, Q, R, W, S or shuttle to Times Square station, or the A, C, or E to Port Authority. Additionally, the M104, M42, M6, M7, and M10 buses stop near the Shubert Theatre. It's recommended to plan for potential delays as the area can get crowded during showtimes.

Shubert Theatre - NY

Shubert Theatre

The Shubert Theatre, a historic Broadway venue, features groundbreaking performances. It is easily accessible via Times Square and Port Authority subway stations.

The Irene Diamond Stage at the Pershing Square Signature Center

Tennessee Williams's The Night of the Iguana - NYC

Tennessee Williams's The Night of the Iguana

Tennessee Williams's The Night of the Iguana - NYC Product Media

New York’s winter weather is on the warmer side this year, mid- to high 40s, but still chilly enough for city dwellers to prepare themselves with jackets and scarves. The atmosphere of Emily Mann’s revival of [*The Night of the Iguana*](https://www.newyorktheatreguide.com/show/34962-tennessee-williamss-the-night-of-the-iguana) by Tennessee Williams appears to be nearly 60 degrees higher, so sweltering that everything feels like molasses. People are bored and crazy and at their wits’ end (reminiscent of the real world?) at the little resort in Acapulco, Mexico — “the front door to South America-and the back door to the States,” the owner, Maxine (Daphne Rubin-Vega), says — where defrocked priest T. Lawrence Shannon (Tim Daly) tries to find refuge.

Maxine’s hotel is a kind of no man’s land, the porch set design (by Beowulf Boritt) creeping out into the audience to give a sense of perspective. On this diamond-shaped strip of ground, Shannon, his tour group full of religious ladies, and the older and unmarried Hannah (Jean Lichty) and her dying father (Austin Pendelton) escape the world and look for meaning. The play as written unfolds almost in real time; we watch the precarious, almost combustible relationships between these people slowly mutate over one night that, in this 3-hour play, stretches on. And on. 

Trying to inject new blood into Tennessee Williams is an unenviable task; the master dramatist shook the theatre world with shows like *A Streetcar Named Desire* and *Cat on a Hot Tin Roof*, about people’s grave need to hang onto their illusions and delusions, his language illustrating the lengths people will go to avoid the reality of their situations. Which leaves two ways to do Williams: the predictable way, with a slavish dedication to the supposed rhythms the page dictates; and the surprising way, where an actor (and director) unearths something new in the words and the sounds. 

Most of this production is the former. Daly’s Shannon is competent, but his jittery gruffness doesn’t leave enough room for sympathy, and it’s not exactly crazed enough to insert a sense of exciting theatricality in the midst of the more human (and maybe more banal) crisis of faith and sanity. Lichty’s Hannah, in comparison, is soft, gentle, perhaps prudish. She is supposed to be tender where Shannon is prickly, serene where he is sweaty. But her dramatic dilemma — her loneliness and the way in which her clear-eyed belief in connection contrasts with Shannon’s failure of faith — feel a bit undercooked. Her performance is reminiscent of Mia Farrow in Woody Allen movies, with the timbre of Jane Fonda’s voice, but without the forcefulness. Between the pair, there isn’t enough thrust, even if it’s to get through the evening with one’s scruples or heart intact. 

The exception is Rubin-Vega, who takes Williams’s words and makes them her own. With a flick of her finger or the application of her voice that sounds like papaya and chile, Rubin-Vega grabs your attention. She is cunning, sad, as desperate as anyone else, yet still holding it together. She’s clever and provocative, sexy and slick. She doesn’t see the cadence of Williams’s language as an obstacle; she sees is as a chance to blend taste, sensibility, and style. In single, small phrases, she conveys the complexity of the words and of her character with an effortlessness that feels both at home in Williams’s world but new and modern at the same time. Just when it feels like the evening will be inert, Rubin-Vega keeps the night bright with possibility.

[*The Night of the Iguana* is at the Pershing Square Signature Center through February 25. Get *The Night of the Iguana* tickets on New York Theatre Guide.](https://www.newyorktheatreguide.com/show/34962-tennessee-williamss-the-night-of-the-iguana)

*Photo credit: Daphne Rubin-Vega, Jean Lichty, Tim Daly, Austin Pendleton, Alena Acker, and Michael Leigh Cook in The Night of the Iguana. (Photo by Joan Marcus)*

'The Night of the Iguana' review — Daphne Rubin-Vega shines in Tennessee Williams drama

Read our review of Tennessee Williams's *The Night of the Iguana* off Broadway with Tim Daly, Daphne Rubin-Vega, Lea DeLaria, Austin Pendleton, and Jean Lichty.

The **Pershing Square Signature Center** is an iconic theatre venue located in the heart of New York City. Spanning over 75,000 square feet, the venue is not only stunning in architecture but also vast in terms of offerings. It comprises three separate theatres: The Irene Diamond Stage, The Alice Griffin Jewel Box Theatre, and The Romulus Linney Courtyard Theatre, which cater to different types and scales of productions. The Pershing Center also houses a bookshop, a café, rehearsal studios, and a spacious central lobby, making it an engaging artistic hub. It has been the site of numerous distinguished performances since its opening in 2012, drawing theatergoers from all corners of the globe for its enriching cultural offerings.

**How to get to the venue**:
The Pershing Square Signature Center is located at 480 West 42nd Street, easily accessible by public transportation. By subway, the A, C, and E lines stop conveniently at 42nd Street. Alternatively, buses M42, M11, and M12 have nearby stops. If traveling by car, several parking garages are situated within a short walking distance of the venue.

Pershing Square Signature Center - NY

Pershing Square Signature Center

The Pershing Square Signature Center in New York is a spacious, versatile theatre venue easily accessible by subway or bus.

Lea DeLaria Headshot

Andrew Keenan-Bolger stars as Victor Garber in [*Titanique*](https://www.newyorktheatreguide.com/show/25241-titanique-tickets) off Broadway at the [Daryl Roth Theatre](https://www.newyorktheatreguide.com/venues/daryl-roth-theatre).

Since making his Broadway debut as Chip in *Beauty and the Beast*, Keenan-Bolger has become known for his stage roles as Crutchie in *Newsies*, Jesse Tuck in *Tuck Everlasting*, and JoJo in *Seussical*.

Andrew Keenan-Bolger - NY

Scarlett Dreams - NYC [39752]

Scarlett Dreams

Scarlett Dreams / Greenwich House Theater - NYC [39752] product media

Situated in the heart of New York's vibrant arts district, Greenwich House Theater sets the stage for contemporary performances that inspire and engage. This intimate theatre venue, celebrated for its eclectic programing of innovative productions, offers a rich cultural experience to its patrons. Notably, it sports a historic auditorium with a capacity of 99 seats. Known for its top-notch acoustics and intimate atmosphere, this venue is perfect for those who enjoy immersive theatre. Each season, the theatre hosts a dynamic array of performances, ranging from experimental stage plays to emerging playwright readings. Above all, the Greenwich House Theater fosters the spirit of communal storytelling, eliciting a unique intertwining of performer and audience.

**How to get to the Greenwich House Theater:** The venue is conveniently located in the West Village at 27 Barrow Street, New York. It's easily accessible by public transport. You can take the 1 or 2 subway to Christopher Street Station or the A, C, E, B, D, F or M to West 4th Street Station. From these stations, the theater is just a short walk away. For those driving, there are several public parking garages nearby.

Greenwich House Theater - NY

Greenwich House Theater 

Greenwich House Theater is an intimate and historic theatre venue in New York’s arts district, offering a range of innovative performances.

Dracula, A Comedy of Terrors - NYC

Dracula, A Comedy of Terrors

Dracula, A Comedy of Terrors - NYC Product Media

Vampires are back en vogue! *The Last Voyage of the Demeter*, adapted from the Captain’s Log in Bram Stoker’s *Dracula*, was released in theaters in August, while Netflix premiered Chilean filmmaker Pablo Larrain’s political satire *El Conde*, which imagines Chilean dictator Augustin Pinochet as a 250-year-old vampire, at the Venice International Film Festival two weeks ago. And now New York gets to bathe in the bombastic bloodshed of [*Dracula: A Comedy of Terrors*](https://www.newyorktheatreguide.com/show/34162-dracula-a-comedy-of-terrors), a goofy romp from Steve Rosen and Gorden Greenberg, at [New World Stages](https://www.newyorktheatreguide.com/theatres/new-world-stages). 

On the one hand, it’s nice to see that there’s still fresh blood in this vampire — as Rosen and Greenberg have him, played dynamically by James Daly (Canada’s *Letterkenny*), he's reinvented as an egotistical, selfish, emotionally unintelligent Adonis. On the other, the re-emergence of fanged fiction means that we as a society really are drowning in a wave of conservative politics. 

Rosen and Greenberg, who co-authored the script while the latter also directs, seem to be aware of ditching the narrative fidelity to the novel in favor of remixing the source material’s target of social critique. If the Victorians were a repressed, sexist, and Machiavellian social order, *Dracula: A Comedy of Terrors* makes a burlesque of their anxieties and fears. Jonathan Harker (Andrew Keenan-Bolger) is a coward, prissy real estate agent, most fearful of himself; Lucy Westfeldt (Jordan Boatman) is an ambitious botanist relegated to marrying Harker; her father Dr. Westfeldt (Ellen Harvey, maybe miscast) is exploiting the mentally ill in his sanatorium; her sister Mina (Arnie Burton) is horny and desperately unmarried; and even Van Helsing (Burton again) is a woman doctor. 

*Dracula*’s humor exaggerates the tautness between the strictures of social rules and rituals, the archetypes they create, and what happens when they’re transgressed. That kind of observation turned into absurdity feels best embodied by Daly’s Dracula. Daly is unafraid to make his ivory features a liability: he pouts his lips or falls to the ground gracelessly, which makes his performance all the more impressive. 

His emotionally adolescent Dracula converges with the play’s attempt at engaging in the more serious business of wanting to liberate oneself from the very societal constraints the characters inhabit. While he’s experiencing an existential crisis in his desire for everything (and thus commitment to nothing), the rest of the ensemble’s desires occasionally come into focus. It’s Boatman who most effortlessly conveys this tonal transition of a woman who is torn between love and a bit of self-reliance and curiosity, but also between the genres Dracula situates itself within, like firecracker comedy and wailing melodrama. 

The show makes it difficult to begrudge pointing out the occasional imprecise, maybe, I’ll say it, potentially transphobic “man in a dress” nature to some of the jokes because, after all, it advertises itself as a gender-bending reenvisioning of the text. But the jokes Harvey, who plays Renfield and Dr. Westfeldt, tells have more to do either with insanity or the doctor’s misogyny. Irony, certainly, but not necessarily the same as the joke being about Harvey crossing gender in her performance. 

It’s a shame to have to mildly take the show to task because, next to Daly, Burton has the most fun on stage, truly going buck wild with his expressions and gestures, pushing *Dracula*’s tone to its very limits. But, perhaps that’s the lesson of the Victorians after all: you push too hard against certain boundaries without having a plan for the consequences and get bitten.

[*Dracula, A Comedy of Terrors* is at New World Stages through January 7. Get *Dracula, A Comedy of Terrors* tickets on New York Theatre Guide.](https://www.newyorktheatreguide.com/show/34162-dracula-a-comedy-of-terrors)

*Photo credit: Ellen Harvey, James Daly and Arnie Burton in Dracula, A Comedy of Terrors. (Photo by Matthew Murphy)*

'Dracula, A Comedy of Terrors' review — a vampire romp with a bite

Read our review of Gordon Greenberg and Steven Rosen's new play *Dracula, A Comedy of Terrors*, playing off Broadway at New World Stages through January 7.

New World Stages is a renowned theatre venue located in the bustling heart of New York City. This five-theatre complex is designed to accommodate a wide variety of performances, from avant-garde productions to blockbuster musicals. Each theatre in the complex is equipped with state-of-the-art technology and an intimate, comfortable seating layout, providing theatre patrons with a unique and immersive experience. The interior design of New World Stages presents a fusion of art and architecture, featuring a lobby filled with rising and falling stage curtains and top-notch facilities. This versatile and contemporary theatre venue has played host to numerous award-winning productions since its inception. The bars and restrooms at the venue have been designed keeping in mind the comfort and convenience of all visitors. There is also a gallery space which showcases art from emerging artists around the world. **Getting to New World Stages**: The venue is conveniently situated at 340 West 50th Street, between 8th and 9th Avenues. The venue is easily accessible via subway; the C & E trains stop at 50th street, a mere one-block's walk from the theatre. Additionally, several parking garages offer discounted rates to theatre-goers.

New World Stages - NYC

New World Stages

New World Stages is a five-theatre complex in New York known for hosting a variety of performances. It's easily reachable via subway.

Experience the revival of experimental, open-air theatre in the sexiest store-front theatrical event you’ll see this summer. Audiences will be immersed in the trendiest part of NYC as they follow stories of the Seven Deadly Sins.

Seven Deadly Sins - NYC

Seven Deadly Sins

Seven Deadly Sins - NYC Product Media

It's strange to experience a show like <a href="https://www.newyorktheatreguide.com/show/seven-deadly-sins">Seven Deadly Sins</a> in New York City right now. Performed in multiple storefronts to a guided audience using headsets, the production is a slick, seamlessly stage managed affair. Yet buzzing all around it is, well, chaos — the joy, mayhem and noise of a city returning to tumultuous life.&nbsp;On a Friday evening heading into Pride weekend, the Meatpacking District, where the show makes its home, was teeming with exultant activity. Many of the partiers maneuvering tipsily around my roving audience were dressed no less wildly than the actors gesticulating to us from behind the glass — sounds cutesy perhaps, but true.All that to say, Sins has set itself a big challenge. The evening bills itself as a provocative seven-play exploration of the cardinal sins where no subject is taboo. The danger is that it might instead feel like a dalliance in darkness for privileged theatergoers while the very real mess, glory and, yes, sinning of a city re-emerging from trauma — in a neighborhood rich with a history tied to drugs, prostitiution, and sex clubs — buzzes with more geniune edge around it.&nbsp;Sins avoids this trap thanks to an impressive cadre of playwrights who did not take their assignment lightly. Asked to truthfully tackle one sin in just ten minutes each, these writers have — for the most part — responded with genuinely shocking pieces.&nbsp;Ming Peiffer's Longhorn (inspired by Wrath) stands out as the most disquieting work of the evening. A dominatrix is whipping her latest client, who has an "Asian fetish," into shape — until the submissive unleashes a racist, hate-filled rant. For just a moment, the full force of hate's visceral impact is felt. The play is a violent punch in the gut. In a time of increasing hate crimes against Asian Americans, that's precisely the intent.&nbsp;MJ Kaufman's Wild Pride (Pride) has a lighter touch but is no less trenchant. The queer internet's impossible web of expectations ensare influencer "Guru," a white trans man who profits off advice to isolated queer youth, but ends up canceled when his "live your truth" guidance places some of them in danger. Kaufman captures the contradictions of queer life in the United States, where some can happily monetize their identities while others still live in fear, with quick wit and incredible precision.&nbsp;Moises Kaufman's Watch (Greed) is the most straightforwardly enjoyable play of the seven, packed with hysterical twists and turns. Kaufman's direction of the entire evening is also strong, though he could have dirtied up some of David Rockwell's sets, which look a bit too neat and tidy to feel truly lived-in.&nbsp;Two of the plays also land a little too neatly, though they are fun rides nonetheless. Ngozi Anyanwu's Tell Me Everything You Know (Gluttony) arrives at an obvious point about the devil's insatiable lure, though the poetic language is gorgeous. Jeffrey LaHoste's Naples (Envy) is a droll reminder of human's capacity for shameless selfishness, though again, that isn't a new observation.&nbsp;Only Thomas Bradshaw's Sloth feels lazy, though maybe that's precisely the playwright's intention. After all, should a play inspired by sloth also feel sluggish? There might be something meta at play here.Finally, there is Bess Wohl's Lust, an incredible piece with an astonishing performance by Donna Carnow at its center (accompanied by Cynthia Nixon as her inner voice). As an exotic dancer takes to the pole like any other day, we hear her initially mundane inner thoughts — groceries, prescriptions, back pain. But when a male patron from the dancer's past walks in, panic begins to set in. Lust is a gripping and wholly unique piece, perfectly suited to form.Crowds of passersby gathered to watch Lust in particular, a somewhat uncomfortable spectacle since they weren't getting its accompanying inner monologue. But Carnow's expressive work might, just might, have still been getting the message across. If that's not too much to dream then Lust perhaps, for just a moment, brought this piece of theater and its surrounding noise together as one, if just for a single stunning, frightening, and heartbreaking dance.<a href="https://www.todaytix.com/nyc/shows/23288-seven-deadly-sins">Seven Deadly Sins is playing in the Meatpacking District. Buy tickets to Seven&nbsp;Deadly Sins on TodayTix.&nbsp;</a>Photo credit: Cody Sloan as 'Guru' and Bianca Norwood as 'Comments' in Wild Pride (inspired by Pride) from Seven Deadly Sins (Photo by Matthew Murphy)

Titanique Tickets

About Titanique

Run time

Venue

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Age

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End date

Stars on stage

Amber Ardolino

Cassadee Pope

Lea DeLaria

Andrew Keenan-Bolger

Titanique cast and creative team

Venue

Daryl Roth Theatre

Show schedule

Tickets