Name: The Great Gatsby on Broadway
Start: 2024-03-29
Location: Broadway Theatre

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Ages 10+. Children under 4 are not permitted in the theatre.

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The Great Gatsby on Broadway - NYC [38749]

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The Great Gatsby on Broadway

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Ryan McCartan stars as Jay Gatsby in [*The Great Gatsby*](https://www.newyorktheatreguide.com/show/38749-the-great-gatsby-on-broadway) on Broadway at the [Broadway Theatre](https://www.newyorktheatreguide.com/venues/broadway-theatre) from January 21, 2025 and in [*Stephen Sondheim's Old Friends*](https://www.newyorktheatreguide.com/show/40572-stephen-sondheims-old-friends-on-broadway) on Broadway at the [Samuel J. Friedman Theatre](https://www.newyorktheatreguide.com/venues/samuel-j-friedman-theatre) from March 25 to June 1, 2025.

McCartan is known for his stage roles as J.D. in *Heathers*, Fiyero in [*Wicked*](https://www.newyorktheatreguide.com/show/1-wicked), and Hans in *Frozen*. On screen, his best-known roles include Brad in *The Rocky Horror Picture Show* and Diggie on *Liv and Maddie*.

Ryan McCartan - NY

Ages 8+. Children under 5 will not be admitted.

Wicked on Broadway - NYC [1]

Wicked on Broadway

Wicked on Broadway [1] Product Media

There have been moments in the history of musical theater when, like a twister, the sheer talent and whirling spectacle of a production have flattened any negative criticism that stood to get in its way. Take October, 2003 for example. That was the month that <a href="/show/wicked">Wicked </a>opened in New York to generally dour reviews. But since then, more than 8.8 million people have found the heart, nerve and wisdom to pay a visit, resulting in the happy scene of a Broadway house filled with as many teens as adults, and making a tale, born from a 115-year-old children's novel, one of the top five highest grossing shows of all time.The latest incarnation of this impeccably oiled entertainment machine finds a new gear courtesy of a British import. Reprising the role she played on the West End for three years, Rachel Tucker steps in as the green-skinned Elphaba, a.k.a. the Wicked Witch of the West, and nearly blows the roof off the massive Gershwin Theatre with her opening number, "The Wizard and I." As the song reaches its climax, Tucker raises her arms, not especially high, but in a crooked witchly fashion, showing off the kind of smart physicality she brings throughout the evening. Opposite her, as Glinda the Good, Kara Lindsay aces the delicate assignment of being both ditzy blonde and sensitive friend while showing off her clear soprano and great comic chops.Among the show's many happy surprises, Michele Lee turns up, in fine form, as the scheming Madame Morrible, and Arielle Jacobs charms us from a wheelchair as Nessarose, until that unfortunate incident with a falling house. James Lynn Abbott's best moment of choreography comes not from any of the numerous, raucous ensemble pieces, but from a beautifully rendered bit of quiet ballet that arrives unexpectedly during the energetic "Dancing Through Life." And Stephen Schwartz's classic score provides a wonderful playground for the cast to swing upon, while reminding us of this composer's important history. Close your eyes and hear strains of Pippin in "As Long as You're Mine." Find the hint of Godspell playfulness in the staccato beats of "What is this Feeling."The Wikipedia plot summary for Wicked is over 2100 words long, which speaks not only to the show's dedicated fan base, but to the fact that this is a musical with a lot going on. It's a romantic comedy with strong political undertones, an animal rights treatise with a talking goat and flying monkeys, a parable on the pitfalls of getting what you want, a warning on the limits of friendship, and an homage to a classic film. In the realm of mythology, green-hued creatures have never had a simple time of it (see Shrek, Hulk, et al.), and rare is the story, let alone the musical, that is centered on two women who are unrelated, yet have a complex emotional attachment, while still remaining starkly unique individuals. But Eugene Lee's epic scenic design provides the framework to tie everything together. The show is completely set within the machinations of a huge clock, the Clock of the Time Dragon to be precise. And whether or not you are up on your Oz lore, this seems, at first, incongruous with the magical proceedings on stage. Why is Glinda's bubble-mobile so pendulum like? But then the metaphor becomes clearer. "I would do anything to turn back the clock," laments Elphaba, and later she demands, "Wait just a clock tick!" Once a spell is cast, it cannot be undone. Life moves forward, and Wicked reveals itself to be, more than anything else, a cautionary tale about learning to live with one's choices.(Photo by Joan Marcus)<hr />"'Wicked' does not, alas, speak hopefully for the future of the Broadway musical." Ben Brantley for New York Times"It's such a 'Wicked' waste of talent." Howard Kissel for New York Daily News"The most complete, and completely satisfying, new musical I've come across in a long time." Elysa Gardner for USA Today"Overproduced, overblown, confusingly dark and laboriously ambitious jumble." Linda Winer for Newsday"Far too arch and sophisticated for children...lacks... sophistication and wit that would make it palatable for adults." Frank Scheck for Hollywood Reporter"The best thing about 'Wicked' is its stars, whose talents cast a powerful spell." Roma Torre for NY1"Lavish, ambitious and problematic." Michael Kuchwara for Associated Press<a href="http://www.nytimes.com/2003/10/31/arts/theater/31WICK.html" target="Top">New York Times</a> - <a href="http://www.usatoday.com/life/theater/2003-10-30-wicked_x.htm" target="Top">USA Today</a> - <a href="http://www.ny1.com/ny/Living/SubTopic/index.html?topicintid=4&amp;subtopicintid=14&amp;contentintid=34381" target="Top">NY1</a>

'Wicked' review

The Gershwin Theatre is a breathtakingly stunning Broadway theater located in the heart of New York City. Named in honor of renowned composer George Gershwin and his brother lyricist Ira Gershwin, it was opened in 1972 and currently remains the largest Broadway theater with a capacity of around 1933 seats. Designed by set designer Ralph Alswang, the architectural aesthetics of the theater are a delightful blend of Art Nouveau and Art Deco styles. Over the years, it has hosted some of the most iconic and award-winning Broadway shows including 'Show Boat', 'Sweeney Todd', and its longest running show, the 'Wicked' that has been playing since 2003. The interior is beautifully adorned with ornate details and offers modern technological features promising a remarkable theatrical experience. In addition to its captivating beauty and grandeur, the theater is also known for exceptional acoustics which enhances the enjoyment of each performance. 

**How to get to the venue**

The Gershwin Theatre is readily accessible by public transport with the closest subway stations being 50th Street on the 1 line and 50th Street on the C and E lines. Several bus lines also serve the area. If you prefer to drive, there are multiple paid parking lots in proximity to the theater. It is situated at 222 W. 51st St., perfectly positioned between Broadway and 8th Ave.

Gershwin Theatre - NY

Gershwin Theatre

The Gershwin Theatre, the largest Broadway venue, in New York City is known for its stunning aesthetics, exceptional acoustics, and iconic performances.

Frozen on Broadway [7004]

Frozen on Broadway

Frozen on Broadway [7004] Product Media

<a href="/show/disneys-frozen">Frozen</a>&nbsp;is a perfect confection.&nbsp;It is a fairy tale come to live in the present, physical world, where it has little business being, but what the heck. Who couldn't use a little uplift - especially in these times of callousness and ignorance and all the stuff that makes you want to crawl under the covers until the plague passes.&nbsp;Besides, who could not use a boatload of special effects???&nbsp;Frozen&nbsp;is a whole lot of Disney, a little Lloyd-Webber, a little John Williams, a ton of spectacle, and a boat load of that magic elixir, l-o-v-e.What is remarkable is that this is a story of two sisters, both of whom are heroes.&nbsp;Heroines? (unlike the Hans Christian Anderson story&nbsp;The Snow Queen on which this is based and had one whing-ding of a mean sister).&nbsp;Like the classic examples in "Hero With A Thousand Faces" by Joseph Campbell, these two Royals get the call to a challenge and each faces it in her own way.&nbsp;In a land too far away to visit, Arendelle, the Princess Elsa (Caissie Levy) has been born with a gift that is challenging.&nbsp;She can freeze you, literally, with a swoop of her tiny hand. While this gift is cool (you should pardon the pun), it is not so good when it is out of control.&nbsp;Problem is, Elsa does not know how to control it.&nbsp;When she whacks her little sister too hard during fun in the magic snow, Elsa is condemned to a permanent time out,&nbsp;while her sister Anna (Patti Murin) is left to wonder where her best friend went and why.&nbsp;Add to this the death of their parents and you have two little heroes, each alone, waiting for their lives to begin.Begin they do when three years later Elsa is released from her seclusion long enough to be crowned queen and throw not only the doors to the palace open, but a helluva party for the immediate world.&nbsp;Elsa the Queen wears gloves all the time to prevent her from touching anything and turning it to ice.&nbsp;Anna, traveling a distant parallel path, falls in love with open doors, her people, and one sweet (or so we think) Prince Hans (John Riddle).&nbsp;The two dance their way into being engaged, and this is when the poo hits the pan.&nbsp;Elsa may be afflicted but she knows when her sister is making a b-i-g-m-i-s-t-a-k-e.&nbsp;Her upset and refusal to bless the engagement grows exponentially until the entire kingdom of&nbsp;Arendelle is buried in snow and ice - it is f-r-o-z-e-n.&nbsp;Elsa sees what her&nbsp;behavior is creating and flees for the northern most mountain anywhere.&nbsp;This is the hero who retreats.In order to save her sister and her country, Ana takes off on her own to rescue Elsa.&nbsp;This is the hero who accepts the challenge.&nbsp;Along the way she meets the requisite allies (heroes ain't nuthin' without peeps).&nbsp;Kristoff&nbsp;(Jelani Alladin) a regular mountain guy and purveyor of fine ice blocks, his companion&nbsp;Sven (Andrew Pirozzi) the REINDEER (and this is one spectacular beast) and completing the quartet is&nbsp;Olaf the Snowman (Greg Hildreth) who is the very one the&nbsp;two girls created as children.&nbsp;He is now come to life and eager to please.This all works out just fine, with a couple of twists.&nbsp;As the ancient ones warned Elsa, "Fear is the enemy."&nbsp;And love is of course the answer.&nbsp;But this is not ye old "true love" where the damsel in distress gets saved by the gentleman caller.&nbsp;Oh no.&nbsp;This love is all about sisters.&nbsp;Oh, the men are there - the good and the bad.&nbsp;And the hilarious in the form of Duke of Weselton (Robert Creighton) who is so oily he nearly oozes.&nbsp;His quick tango with the chorus had the audience barking laughs.&nbsp;It was however, too short.&nbsp;If you are going to play fast and loose with the story line, the least you could do is give the comic relief a bit more room in the tent.&nbsp;When is someone going to write a Broadway musical for Creighton to carry on his own?&nbsp;(Full disclosure - I am a big fan.)And the writers do play fast and loose.&nbsp;The basic plot is there but the order of side events is ass over teakettle in case you care, which no one seemed to.&nbsp;There are also several numbers that serve no purpose other than to kill time for a scene or costume change.&nbsp;Nude sauna participants?&nbsp;Seriously?&nbsp;More than one item that could be surgically removed without missing a beat in the actual story.That being said, this is a timely show for the #MeToo and the #TimesUp era.&nbsp;Amazing that the movie came out 5 years ago.&nbsp;Women risking their lives for one another is a theme we could use more of because guess what?&nbsp;It happens every day.&nbsp;And the audience agrees.&nbsp;This audience was in full throat at every calamity, each special effect (BRILLIANT!), and every blazing song (Levy and Murin have some serious pipes).&nbsp;They roared their approval at every triumph and were ready to accept the challenge Elsa proclaimed:Let it go... Let it go... And I'll rise like the break of dawn Let it go, let it go That perfect girl is gone Here I stand in the light of day Let the storm rage onNot for nuthin' but on the night in question I saw more booster seats than I have ever seen at a show.&nbsp;Let us not forget, however, the busloads of adults who were there so that "the kids would see the show."PS - more than half of the kids I saw were of the male persuasion.&nbsp;And many of them with their fathers.&nbsp;Start them on the right track while they are young.&nbsp;Yes indeedy.(Photo by Deen van Meer)<hr /><h2>What the popular press says...</h2>"The problem has nothing to do with the performances, which are never less than professional if seldom much more than that. As Elsa, Caissie Levy booms out her numbers with astonishing aplomb — her "Let It Go" really is sensational — and, as Anna, Patti Murin makes a charming madcap. Both find what nuances they can in characters very narrowly drawn to type. It's therefore a huge relief, and feels fully genuine, when they get to share a fleeting smile or giggle. That they almost never sing together as they head out on separate adventures is a structural problem no one has solved." Jesse Green for New York Times"The family-friendly musical "Frozen" — based on the 2013 animated blockbuster that's made $1.3 billion worldwide — is bound to enchant young fans. After all, it's cool seeing cartoon heroines Elsa, who blasts blizzards with a wrist flick, and Anna, her adoring but awkward sister, in 3-D. Maybe even better is spending time with huggable snowman Olaf and reindeer Sven.&nbsp;On the other hand, adults, with or without tots, may not be as thrilled by this polished but predictable and wow-free adaptation." Joe Dziemianowicz for New York Daily News"This&nbsp;Frozen&nbsp;is like Elsa in protective gloves; it plays things safe, and perhaps that will be enough for fans of the movie who want to see some version of it on Broadway. But in its reluctance to embrace its own potential enchantments, the show will likely leave many people lukewarm." Adam Feldman for Time Out New York"Watching&nbsp;Frozen, the first mental readjustment you have to make is that despite its on-trend female-empowerment thrust and its marriage of traditional stage techniques with technological innovation, this is fundamentally an old-fashioned fairy tale for tykes and tweens. In fact, it has more in common with Disney's pathfinding stage success,&nbsp;Beauty and the Beast, than with the more boldly reimagined shows that followed." David Rooney for Hollywood Reporter"Caissie Levy is stunning as Elsa, the beautiful princess with the cursed gift to turn her kingdom into ice, and Patti Murin makes a darling Anna, the earthbound princess whose love for her sister is the only thing that can set Elsa free." Marilyn Stasio for VarietyExternal links to full reviews from popular press...<a href="https://www.nytimes.com/2018/03/22/theater/frozen-review-disney-broadway.html" target="_blank">New York Times</a>&nbsp;- <a href="http://www.nydailynews.com/entertainment/theater-arts/frozen-review-songs-stars-shine-disney-show-lacks-magic-article-1.3889847" target="_blank">New York Daily News</a> -&nbsp;<a href="https://www.timeout.com/newyork/theater/frozen" target="_blank">Time Out</a>&nbsp;- <a href="https://www.hollywoodreporter.com/review/frozen-broadway-theater-review-1096441" target="_blank">Hollywood Reporter</a>&nbsp;- <a href="http://variety.com/2018/legit/reviews/frozen-review-broadway-disney-1202733007/" target="_blank">Variety</a>

Review of Disney's Frozen on Broadway

Located in the heart of New York City, the iconic St. James Theatre is a testament to the magical allure of Broadway. Since its inception in 1927, the St. James Theatre has hosted many unforgettable Broadway hits, featuring stars from Ethel Merman to Hugh Jackman. The interior is a marvel in itself, punctuated by a royal color scheme, gold-leaf accents, and stunning chandeliers that encapsulate the golden age of Broadway. The theatre has a seating capacity of 1,710, allowing for a wide audience range without compromising the intimate, immersive theatrical experience. In its near-century history, the St. James Theatre has seen the debut of many Broadway classics, including Oklahoma!, The King and I, and The Producers, thereby solidifying its milestone status in Broadway history.

**How to Get to the Venue**
St. James Theatre is located at 246 W. 44th Street. It's easily accessible via public transport. If you're traveling by subway, you can take the 1, 2, 3, 7, N, Q, R, W, or S trains to Times Square. Alternatively, buses M7, M20, M42, and M104 also stop nearby. For those who prefer driving, numerous paid parking lots are available in the vicinity.

St. James Theatre - NY

St. James Theatre

The historic St. James Theatre, located in New York City, has hosted iconic Broadway shows since 1927 and is easily accessible via various modes of transport.

The Broadway Theatre is one of the most iconic and popular theatre venues in New York. Located at 1681 Broadway, the theatre is home to multitude of critically acclaimed Broadway musicals and plays. Since its inception in 1924, the Broadway theatre has been a pillar of the New York theatre industry, consistently presenting audiences with captivating performances and a wide variety of shows. The theatre boasts a large seating capacity of 1765, setting it apart from other Broadway theatres. Its key defining feature, the exceptional stage size, allows for large-scale musical productions. Notable performances that graced the theatre include 'South Pacific', 'The Color Purple', 'Miss Saigon', the revival of 'Evita' and 'Cinderella'. With a unique blend of classic architecture and modern technology, the Broadway Theatre not only delivers magnificent visual appeal but also excellent acoustics and comfortable seating. This combination creates an immersive viewing experience few other venues can rival.

## How to Get Here
The Broadway Theatre is easily accessible via public transportation. It’s easy to reach by subway. You can take the C, E, or 1 train to 50th Street or the N, R, or Q train to 57th Street. Alternatively, the theatre is served by buses M104, M10, M27/M50. If you prefer to drive, there are numerous public parking lots within a short walk. Bicycle parking is also available nearby.

Broadway Theatre - NY

Broadway Theatre

The Broadway Theatre, an iconic New York venue, hosts a plethora of captivating performances and is easily accessible via various transport.

Please Note:
Children under 5 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. 
The use of cameras, cell phones, and other recording devices during the show is strictly prohibited by law, except when used for accessibility services.

Ages 10+. Children under 5 are not permitted.

Stephen Sondheim's Old Friends on Broadway - NYC [40572]

Stephen Sondheim's Old Friends

Stephen Sondheim's Old Friends - NYC [40572] - Product Media 

The Samuel J. Friedman Theatre is a historic Broadway theatre located in New York City. Established in 1925, the theatre is managed by Manhattan Theatre Club (MTC), a leading professional theatre producer. Originally named the Biltmore Theatre, it was renamed Samuel J. Friedman in 2008 to honor the late American publicist. The theatre seats over 650 people and is renowned for its excellent acoustics and state-of-the-art light and sound systems. It has also been the host to several notable productions and has welcomed some of the finest actors and actresses in the industry.

**How to Get There**

In the heart of the city, the Samuel J. Friedman Theatre is easily accessible through multiple modes of transportation. If commuting by subway, take the 1, 2, 3, 7, S, A, C, E, N, R, Q, W, Fourth Street lines to 42nd Street. From the station, it's just a short walk to the theatre. For those driving, numerous parking garages are available nearby. The theatre is also well-served by numerous bus lines. However, due to the busy nature of the city, public transport is a recommended choice.

Samuel J. Friedman Theatre - Manhattan Theatre Club - NY

Samuel J. Friedman Theatre

The Samuel J. Friedman Theatre, a historic Broadway theatre managed by Manhattan Theatre Club, accommodates over 650, with excellent acoustics and light systems.

ryan 200

Sarah Hyland stars in [*The Great Gatsby*](https://www.newyorktheatreguide.com/show/38749-the-great-gatsby-on-broadway) on Broadway at the [Broadway Theatre](https://www.newyorktheatreguide.com/theatres/broadway-theatre) from February 10, 2025.

Hyland is best known for starring as Haley Dunphy on the ABC sitcom *Modern Family*. The show earned 22 Emmy Awards in its 11-year run, and Hyland and her castmates collectively won four Screen Actors Guild Awards for Outstanding Performance by an Ensemble in a Comedy Series. Since 2022, she has hosted the U.S. version of the reality dating show *Love Island*.

Hyland's past theatre credits include a production of *Hair* at the Hollywood Bowl and a show called *The Unauthorized Musical Parody of Scream*, both in Los Angeles in 2014.

Sarah Hyland - NY

Ages 5+. Children under the age of 4 are not permitted in the theatre.

Westside Theatre

Little Shop of Horrors - NYC [24608]

Little Shop of Horrors

Little Shop of Horrors - NYC [24608] Product Media 

The plant at the centre of <a href="/show/little-shop-of-horrors">Little Shop of Horrors</a> that feeds on human blood may have had its sights on world domination, but the musical that was based on the low-budget 1960 comedy sci-fi film of the same name has actually long achieved it, so it ultimately got what it wanted. And now the show has come full circle, 37 years on from its Off-Off-Broadway beginnings at the WPA Theatre (now no more) in May 1982, before moving to the larger Orpheum Theater on Second Avenue in the East Village that summer, where it ran for five years and became the highest-grossing show in Off-Broadway history until then, to find a new home at another Off-Broadway house just off Eighth Avenue in midtown Manhattan.In the intervening years, it has been turned into a feature film and played in the West End and on Broadway (the latter in a new production in 2003 that ran for less than a year at the Virginia Theatre, now the August Wilson), but its true home is a more modestly scaled place like the 270-seater <a href="/theatres/westside-theatre">Westside Theatre</a>, a former Baptist church built in 1889 that has been used as a theatre space since the mid-1970s.But while it is naturally a special pleasure and privilege to see the show at close quarters again, everything about this new version screams Broadway, from its above-the-title casting of multiple Tony Award nominees Jonathan Groff, Tammy Blanchard and two-time Tony winner <a href="/actor-profile/christian-borle">Christian Borle</a>, to its creative staff, led by director Michael Mayer, Tony winner for his original production of Spring Awakening. And unfortunately not everyone alas is willing to let the show sing and speak for itself, but&nbsp;seeks to portray it on a larger canvas.The production often feels too large and indulgent on this small stage, starting with Julian Crouch's expansive set that consumes the theatre. This may be the priciest Skid Row ever brought to an Off-Broadway stage.The performances are at times similarly exaggerated. In trying to mine new colours for Audrey, the abused floral shop assistant who falls for her work colleague Seymour as he nurtures a new exotic plant that he names Audrey II after her, Tammy Blanchard channels her into a sultry Rita Heyworth-inspired character, with her songs slowed down into torch songs of despair. 'Somewhere that's Green' sounds less aspirational of a better life than a dread doubt of ever achieving it.Jonathan Groff seems similarly depressed and downtrodden as Seymour, while Christian Borle plays the dentist Orin and a range of other characters purely as bright, eager caricature.There are some compensating pleasures from the trio of street urchins Ronnette (Ari Groover), Crystal (Salome Smith) and Chiffon (Joy Woods), who are a kind of Greek chorus observing and commenting on the action in Alan Menken's wonderful pastiche score. It is here that the enduring pleasures of the show itself are most apparent.Nicholas Mahon's new puppet designs for the plant itself are impressive as it grows ever larger. But less, in this production, would be more amongst the human elements.(Photo by Emilio Madrid-Kuser)<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>"A certain carnivorous plant has been repotted in Hell's Kitchen, and I am delighted to report that it's thriving there. This hot showbiz shrub of yesteryear, which goes by the name of Audrey II, has found a new dance partner, a performer who can coax the&nbsp;tendril-stretching star quality&nbsp;out of a freakish botanical specimen. That would be Jonathan Groff,&nbsp;who is generating major nerd charisma in Michael Mayer's delicious revival of Little Shop of Horrors." Ben Brantley&nbsp;for <a href="https://www.nytimes.com/2019/10/17/theater/little-shop-of-horrors-review-jonathan-groff-feeds-the-beast.html" target="_blank">New York Times</a>"Tight feels right, because the roots of Alan Menken and Howard Ashman's terrific show are in small houses. Now the insanely catchy doo-wop musical occupies the 270-seat Westside Theatre, with a bare-bones set and not a projection in sight. Freed from dealing with the usual trappings of modern musicals, you can feel the actors let their vines down." Johnny Oleksinski&nbsp;for <a href="https://nypost.com/2019/10/17/little-shop-of-horrors-review-jonathan-groff-tammy-blanchard-get-real/" target="_blank">New York Post</a>"Michael Mayer's deeply satisfying revival at the Westside Theatre, with a set by Julian Crouch, has the right sense of scale for a musical that began Off Broadway and is most at home there. It's a little show, and the closer we get to it, the more it sucks us in." Adam Feldman for <a href="https://www.timeout.com/newyork/theater/little-shop-of-horrors-review-revival-jonathan-groff-tammy-blanchard-christian-borle" target="_blank">Time Out New York</a>"What's most immediately captivating about the limited-engagement production is that, deluxe casting aside, it eschews Broadway scale in favor of a return to the show's roots in an off-Broadway theater that seats just 270. That accounts for the production's sell-out business, two-month extension and cluster of hopeful ticket-buyers waiting on cancellation lines at every performance. While it's become something of a classic, this remains at heart a scrappy little pastiche musical whose charms thrive most vibrantly in an intimate house." David Rooney&nbsp;for&nbsp;<a href="https://www.hollywoodreporter.com/review/little-shop-horrors-theater-review-1248089" target="_blank">Hollywood Reporter</a>"Directed at a quick clip by Michael Mayer,&nbsp;this Little Shop&nbsp;is played out on the small, tight stage of the Westside Theater with an ever-growing, masterfully manipulated plant (kudos to Eric Wright, Teddy Yudain, Kris Roberts, Chelsea Turbin). The close confines give this Little Shop&nbsp;the intimacy of home viewing." A.D. Amorosi&nbsp;for&nbsp;<a href="https://variety.com/2019/legit/reviews/little-shop-of-horrors-review-jonathan-groff-1203370043/" target="_blank">Variety</a>&nbsp;

Review of Little Shop of Horrors, starring Jonathan Groff, Tammy Blanchard & Christian Borle, at Westside Theatre

Westside Theatre, located in the heart of New York City, is a true spectacle for all theatre enthusiasts. This performing arts venue is renowned for its unique and diverse range of productions, from Tony Award-winning plays to innovative off-Broadway performances. The theatre is divided into Upstairs and Downstairs theatres, which allows simultaneous performances. The upstairs theatre, located on the second floor, accommodates 270 people, while the downstairs theatre has a capacity of 249 seats. Outfitted with modern sound and lighting systems, it provides an intimate and immersive experience for audiences. Traditional architecture mixed with contemporary designs creates a unique ambiance that can only be found in this legendary theatre.

**How to get to Westside Theatre**: The theatre is situated at 407 W 43rd St. The nearest subway is at 42nd Street, which you can access through the A, C, or E trains. If you prefer to drive, several parking garages are located nearby. Due to its central location, Westside Theatre is also easily reachable by local buses, taxis, or rideshares.

Westside Theatre - NYC

Westside Theatre in NYC hosts diverse performances in its two theatres. It's readily accessible via subway, bus, taxi or rideshare.

Sarah 200

Terrence Mann stars as Wolfsheim in [*The Great Gatsby*](https://www.newyorktheatreguide.com/show/38749-the-great-gatsby-on-broadway) on Broadway at the [Broadway Theatre](https://www.newyorktheatreguide.com/venues/broadway-theatre) from January 8 to April 20, 2025.

Mann has appeared in more than a dozen Broadway shows, beginning with *Barnum* in 1980. He is a three-time Tony Award nominee for his performances as Javert in *Les Misérables*, the Beast in *Beauty and the Beast*, and Charles in the 2013 revival of *Pippin*. Other notable Broadway roles include The Man in the Yellow Suit in *Tuck Everlasting* (Outer Critics Circle Award nomination), Rum Tum Tugger in *Cats*, and Frank N. Furter in *The Rocky Horror Show*.

Mann is also an Emmy Award nominee for his guest appearance on *As the World Turns*. Other TV credits include *Foundation, Sense8*, and *The Dresden Files*.

Terrence Mann - NY

Children under 4 are not permitted in the theater.

MCC Theater

Only Gold - NYC

Only Gold

Only Gold - NYC Product Media

"Following your heart" is an amorphous thing. It can be hard to know exactly what the heart wants: Sometimes it's a person or an object, but other times it's something less concrete, like freedom or respect. Regardless, it can be tricky to put one's desires into words. In that case, there's another option: expressing them with the body.

That's the idea that grounds [*Only Gold*](https://www.newyorktheatreguide.com/show/26149-only-gold-tickets), a new dance musical directed, choreographed, and co-written by *Hamilton* choreographer Andy Blankenbuehler. What shades of desperation, longing, loneliness, or joy a whole scene of dialogue or multiple songs can't always capture, the slightest motion does.

That's no surprise, as Blankenbuehler has three Tonys under his belt for choreography, including for *Hamilton*. *Only Gold* is, however, his first foray into theatrical writing, which also shows. The plot goes thus: A royal family arrives in Paris and, by happenstance, cross paths with an ordinary married couple there, and they encourage each other to make their dreams a reality.

All involved are chasing some kind of desire: King Belenus (Terrence Mann) wants to rekindle his love with his distant wife, Queen Roksana (Karine Plantadit), who first wants him to change. Their daughter Tooba (Gaby Diaz) wants to escape her arranged marriage to a count and marry the Parisian bellboy Jacques (Ryan Steele). Meanwhile, the Parisian watchmaker Henri (Ryan VanDenBoom) achieves his dream of designing jewelry thanks to a commission from Belenus, but his wife, Camille (Hannah Cruz), feels left in the lurch, unable to fulfill her own dream of becoming a pianist.

It's a thin plot, but the nuanced contemporary choreography makes it feel 10 times richer. "Pixie Stix," a peppy number in which Tooba jaunts around Paris, shows the character's freewheeling playfulness. "Work," in which Henri and others make Belenus's jewelry, begins mechanical and rote like an assembly line, and ends with Henri's first solo as he finally lets his creative potential run wild. Roksana's choreography begins subdued and hesitant, gradually growing bigger throughout the show as she musters up the courage to fully advocate for herself to Belenus.

Only two characters don't dance: Belenus and Camille. It's understandable for Mann, an older cast member playing a more rigid character, though Mann performs the character's few movements with suaveness and assurance. Camille is more puzzling; Cruz is appealing and sweet-voiced in the role, but one can't help but wonder why she, unlike everyone else, does not express herself through movement.

The story and dance of *Only Gold* are set to music by Kate Nash, who doubles as an underused narrator. The score is a mix of original songs and Nash's existing pop hits. All are sufficiently dreamy, even if some lyrics fit the show's plot and world better than others.

The inadequacy of the songs and book to convey what its choreography does makes *Only Gold* imperfect, but touchingly authentic. Again, it's hard to put wishes into words. I even found it difficult to articulate here the shades of desire Blankenbuehler's choreography conveys. And even if you can't explain every detail of *Only Gold* or how any given moment makes you feel, the show is guaranteed to stir your heart on a level beyond words.

[*Only Gold* is at MCC Theater through November 27. Get *Only Gold* tickets on New York Theatre Guide.](https://www.newyorktheatreguide.com/show/26149-only-gold-tickets)

*Photo credit: Ryan Steele and Gaby Diaz in Only Gold. (Photo by Daniel J. Vasquez)*

'Only Gold' review — in dreamlike dance musical, one move is worth a thousand words

The Robert W. Wilson MCC Theater Space is an iconic fine arts venue located at 511 W 52nd St, New York. Famed for its commitment to thought-provoking, innovative, and deeply collaborative new work, it is the perfect venue for theater-goers who are consistently keen on exposure to an array of genres and styles. The space features two stages: the 100-seat Newman Mills Theater and the 243-seat Susan & Ronald Frankel Theater, providing opportunities for intimate performances as well as larger-scale productions.

**How to Get to The Venue**

To reach the Robert W. Wilson MCC Theater Space, it's just a short walk west from the 50th Street Subway Station, which is served by the C and E lines. Alternatively, it's a few minutes north from the 49th Street Station, served by the N, R, and W lines. Those preferring to drive will find a handful of paid parking garages in the area, such as the MPG Parking and Imperial Parking Systems. Do check parking rates ahead of your visit.

The Newman Mills Theatre at the Robert W. Wilson MCC Theatre Space - NYC

The Newman Mills Theatre at the Robert W. Wilson MCC Theatre Space

The Robert W. Wilson MCC Theater Space is a premier New York venue famed for innovative performances, accessible by subway or car.

Jerry Springer - The Opera [8410]

Jerry Springer - The Opera

Jerry Springer - The Opera [8410] Product Media

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.

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Broadway Theatre - TodayTix

The Broadway Theatre is one of only five playhouses situated directly on the street named Broadway. Designed by Eugene De Rosa, the building officially opened on December 25, 1924, as B. S. Moss’s Colony, a premier film house. The building underwent a series of name changes, including to Universal's Colony Theatre, B.S. Moss' Broadway Theatre, and Earl Carroll's Broadway Theatre.

The theatre was used for stage productions and was re-christened simply as the Broadway Theatre on December 30, 1930. The Shubert Organization purchased the property in 1939 and have since completed two renovations in 1956 and 1986. The theatre houses an extremely large stage at 60 feet deep.

## How to get to the Broadway Theatre in New York

The Broadway Theatre, located at 53rd Street and Broadway, is closest to the 50th Street subway stop on the 1 line. The nearest bus stop to the theatre is 7th Ave/W 53rd St. on the M7, M20, and M104 lines.

Broadway Theatre - New York Theatre Guide

The Broadway Theatre, opened in 1924, is a significant playhouse on Broadway Street, New York. Managed by Shubert Organization, it's near the 50th Street subway stop.

The Great Gatsby on Broadway Tickets

About The Great Gatsby

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