Name: Gypsy on Broadway
Start: 2024-11-21
Location: Majestic Theatre

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Gypsy on Broadway - NYC [41161]

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Gypsy on Broadway

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Production photo of Gypsy on Broadway in New York with Audra McDonald.

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Audra Ann McDonald&nbsp;was born on July 3, 1970 in West Berlin, Germany and is a six-time Tony Award-winning Broadway veteran.

McDonald was born in Germany as her American father was&nbsp;stationed there with the United States Army;&nbsp;however, she was raised in Fresno, California, attending the Theodore Roosevelt High School and graduating from the Roosevelt School of the Arts program. She went on to study&nbsp;classical voice at New York City's famed Juilliard School and graduated in 1993.

McDonald is primarily known for her work on Broadway. She&nbsp;made her Broadway debut in 1992, assuming the role of Ayah in the Broadway premiere of&nbsp;The Secret Garden&nbsp;and reprising the role on the show's national tour. Her breakthrough performance was as&nbsp;Carrie Pipperidge in the 1994 revival of Rodgers and&nbsp;Hammerstein's&nbsp;Carousel, for which she won her first Tony Award, alongside a Drama Desk and Theatre World Award. Since then, she has gone on to win an additional five&nbsp;Tony Awards for her performances as Sharon in&nbsp;Master Class&nbsp;(1996), Sarah in&nbsp;Ragtime&nbsp;(1998), Ruth Younger&nbsp;in&nbsp;A Raisin in the Sun&nbsp;(2004),&nbsp;Bess&nbsp;in The Gershwins'&nbsp;Porgy and Bess&nbsp;(2012), and&nbsp;Billie Holliday in&nbsp;Lady Day at Emerson's Bar &amp; Grill&nbsp;(2014). She has won more Tony Awards than any other actor in Broadway history and is also the only person to have won Tonys in all four acting categories, justifying her moniker as "Mama Broadway."

Her other Broadway roles include the titular character of the 1999 premiere of&nbsp;Marie Christine,&nbsp;Lady Percy in the 2003 revival of&nbsp;Henry IV,&nbsp;Lizzie Curry in the 2007 revival of&nbsp;110 in the Shade, and&nbsp;Lottie Gee in the 2016 premiere of&nbsp;Shuffle Along, Or The Making of the Musical Sensation of 1921 and All That Followed. She has appeared off Broadway in&nbsp;The Vagina Monologues&nbsp;at the <a href="https://www.newyorktheatreguide.com/theatres/westside-theatre">Westside Theatre</a> and&nbsp;as Olivia in the Public's 2009 Shakespeare in the Park&nbsp;production of&nbsp;Twelfth Night.&nbsp;She made her West End debut&nbsp;reprising her performance as Billie Holliday in&nbsp;Lady Day at Emerson's Bar &amp; Grill&nbsp;from June to September 2017, earning her first Olivier Award nomination for her efforts. In 2017, she was inducted into the Theater Hall of Fame.

McDonald has also enjoyed a prolific career as a recording artist, having released a total of six studio albums to date and headlined countless solo concerts and tours both nationally and internationally. Her recording of Kurt Weill's Rise and Fall of the City of Mahagonny&nbsp;won the Grammy Awards for Best Classical Album&nbsp;and Best Opera Recording&nbsp;in 2008.

On screen, McDonald is perhaps best known for her TV role as&nbsp;Dr. Naomi Bennett on ABC's Private Practice, appearing in 77 episodes&nbsp;from 2007 to 2013,&nbsp;and as Liz Reddick-Lawrence on CBS's&nbsp;The Good Fight&nbsp;in 2018, having first debuted in the role on The Good Wife&nbsp;in 2013.&nbsp;She won an Emmy Award in 2015 for her performance in Live from Lincoln Center&nbsp;and earned Emmy nominations for Lady Day at Emerson's Bar &amp; Grill&nbsp;(2016), Live from Lincoln Center: Carousel&nbsp;(2013), A Raisin in the Sun&nbsp;(2008), and Wit&nbsp;(2001). Her other notable screen credits include the role of&nbsp;Madame Garderobe in Disney's 2017 live-action adaptation of Beauty and the Beast,&nbsp;Sally in the 2017 film adaptation of Hello Again,&nbsp;and appearances in Ricki and the Flash,&nbsp;Rampart,&nbsp;Grey's Anatomy,&nbsp;Kidnapped,&nbsp;The Bedford Diaries,&nbsp;Mister Sterling,&nbsp;Law &amp; Order: Special Victims Unit, and Cradle Will Rock,&nbsp;among others. She also starred as&nbsp;Mother Superior in NBC's The Sound of Music Live!&nbsp;in 2013.

McDonald returned&nbsp;to Broadway to star as Frankie alongside Michael Shannon&nbsp;in a revival of Terrence McNally's&nbsp;Frankie and Johnny in the Clair de Lune&nbsp;at the <a href="https://www.newyorktheatreguide.com/theatres/broadhurst-theatre">Broadhurst Theatre</a> from May 4 through July 28, 2019.

Audra McDonald - NY

Frankie and Johnny in the Clair de Lune on Broadway [15971]

Frankie and Johnny in the Clair de Lune on Broadway

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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.

Children under 4 are not permitted in the theatre.

Ohio State Murders starring Audra McDonald on Broadway - NYC

Ohio State Murders starring Audra McDonald on Broadway

Ohio State Murders starring Audra McDonald on Broadway - NYC Product Media

The most important thing to highlight about [*Ohio State Murders*](https://www.newyorktheatreguide.com/show/24218-ohio-state-murders-tickets) on Broadway is that it is here. At long last, it is here, with a trio of Black theatre icons (and icons, period) attached. Two are [Audra McDonald](https://www.newyorktheatreguide.com/stars-on-stage/audra-mcdonald), the six-time Tony-winning star of the production, and [James Earl Jones](https://www.newyorktheatreguide.com/theatres/james-earl-jones-theatre), for whom the theatre housing *Ohio State Murders* has just been renamed.

And finally, there's Adrienne Kennedy, who wrote such masterworks as *Funnyhouse of a Negro* in her decades-long Off-Broadway career that pushed the boundaries of theatrical writing. At 91 years old, she is now a Broadway playwright. With a Theater Hall of Fame induction and multiple other lifetime achievement awards under her belt already, it's an honor long overdue.

One can wager various guesses as to the delay. [Kennedy herself cites racism](https://www.nytimes.com/2022/12/02/t-magazine/adrienne-kennedy-broadway.html), and she would know — parts of *Ohio State Murders* are based on her own experiences facing academic discrimination as an aspiring writer at her alma mater of the title. Another is the belief that mainstream audiences (and even theatremakers) might not know what to make of Kennedy's experimental writing, which often abandons realism in favor of symbolism, allegories, and pretzel-like twists of time and space to explore the Black experience.

Not that that's any particular excuse. We can't expand what flies as Broadway theatre if no one dares to try. This Kenny Leon-directed production is imperfect, but it deserves credit for trying and for what it gets right, including McDonald's riveting lead performance.

*Ohio State Murders*, which features one of Kennedy's more linear plots, is a good choice for testing the waters. This still being Kennedy, of course, it's told out of chronological order, by the writer Suzanne Alexander (McDonald). Suzanne is giving a lecture on why violence features so heavily in her works: because she's also a grieving mother whose twin daughters were murdered, and the memory still weighs heavily on her mind.

An out-of-order retelling makes sense for such a story: Suzanne is trying to piece together multiple fragmented, traumatic memories — of getting underestimated for her talents, then rejected from the English program, then pregnant, then expelled, then undone by loss — in real time as she talks about all this openly for the first time.

*Ohio State Murders* is at its best when Suzanne is unraveling her memories for the audience. The short scenes of dialogue, most of which are with her English professor Robert Hampshire, stall the play's momentum. In those moments, Leon can't quite seem to decide whether his *Ohio State Murders* is closer to a memory play or a theatrical memoir.

But we can't disregard Hampshire, though he's unremarkably aloof and Bryce Pinkham plays him as such. He's also the father of Suzanne's twins (this isn't a spoiler), and is, theatrically, her perfect foil.

He and Suzanne each deliver lectures during *Ohio State Murders*, both with a certain emotionlessness. But while his matter-of-fact tone is disinterested, Suzanne's is anything but. There is a palpable, thinly veiled rage simmering beneath most of McDonald's expertly layered performance. Rage at Ohio State for dismissing her writing talents because of her Blackness, at Hampshire for tossing her aside the minute she became pregnant, at everyone involved in covering up the identity of her child's murderer because they were (you guessed it) white.

McDonald is so transformative that in her few moments of bygone joy, such as when she convincingly plays with a pink scarf as though it were a real child, we momentarily forget Suzanne's anger. But when it brings her to her knees as she finally, for one piercing moment, lets all her pain boil over, we're reminded anew that the most violent force in *Ohio State Murders* is racism itself. "Did you write this yourself?" Hampshire doubts, for example, of a brilliant assignment Suzanne submits for his class. Small microaggressions and murderous acts are all rooted in the same hatred.

Kennedy lets this point suggest itself, and Leon's direction of the actors smartly preserves the subtlety of her writing. Beowulf Boritt's set, too, with library stacks akimbo in front of a gaping, dark ravine and snowfall, sets the sinister tone without a word, aided by Allen Lee Hughes's lighting.

If you're looking for a show that announces its themes with pomp and circumstance, *Ohio State Murders* isn't it. Such an even-keeled approach might make a longer show dull, but at just 75 minutes, *Ohio State Murders* holds attention overall amid its muddy moments. And as McDonald's performance attests, nothing is as it seems on the surface. There's plenty bubbling below. This is a murder mystery of sorts, after all, so put on your detective's hat and keep your eyes and ears peeled for the clues.

[*Ohio State Murders* is at the James Earl Jones Theatre through February 12. Get *Ohio State Murders* tickets on New York Theatre Guide.](https://www.newyorktheatreguide.com/show/24218-ohio-state-murders-tickets)

*Photo credit: Audra McDonald in Ohio State Murders. (Photo by Richard Termine)*

'Ohio State Murders' review — Audra McDonald chills and thrills in Adrienne Kennedy drama

The **James Earl Jones Theatre** in New York is deeply ingrained in the rich history and dynamism of Broadway performances. This venerable venue, named after the acclaimed actor James Earl Jones, constantly champions theatre arts at their finest. With its tastefully designed interior that complements its avant-garde architectural style, every performance becomes doubly exhilarating due to the unmatchable ambiance. The theater seats hundreds of spectators, providing a phenomenal view of the stage from all angles. Notably, the James Earl Jones theatre ensures the best acoustics, promising an immersive and unforgettable experience. It hosts a multitude of performances every year, including riveting plays, musicals, and award ceremonies, with each event adding a fresh chapter to its story. Relishing a cultural experience here transcends beyond the artistic gratification, it embodies the ethos of New York's vibrant theater culture.

**Getting to the Venue**: The James Earl Jones Theatre is easily accessible by a variety of transport modes. If you're traveling by subway, take the N, R or W lines and alight at 49th street. Alternatively, the 1, C and E lines stop just a short walk away. There are also a number of bus services that run nearby, as well as ample car parking facilities for those driving.

James Earl Jones Theatre - NY

James Earl Jones Theatre

The James Earl Jones Theatre offers an immersive artistic experience in a historic Broadway venue, easily accessible by multiple transportation modes.

The Majestic Theatre, located on Broadway in New York City, is a truly historical masterpiece. Originally opened on March 28, 1927, it was designed by renowned architect Herbert J. Krapp. The grandeur of the building's architecture and interior decor is evident from the moment you step through the doors. With a seating capacity of 1,681, the Majestic is one of the largest Broadway venues, making it the ideal location for prominent productions.

The theatre has been most notably associated with Andrew Lloyd Webber’s *The Phantom of the Opera*, which played there from 1988 to 2023. Every little detail of the Majestic Theatre adds up to an unforgettable overall experience. From the ornate moldings of the proscenium arch to the majestic mezzanine and balcony, the venue, renovated in 2024, inspires awe in visitors.

__How to get there:__ The Majestic Theatre is located at 245 West 44th Street, Manhattan. It’s easy to get to either by car, subway, or bus. The closest subway station is Times Square - 42nd Street/Port Authority Bus Terminal, serving Lines 1, 2, 3, 7, N, Q, R, W, and S. If you're driving, there are numerous parking lots nearby. Be warned that NYC traffic can be tricky, so give yourself extra time to arrive.

Majestic Theatre - NY

Majestic Theatre 

The Majestic Theatre is a historical landmark on Broadway, located in the heart of the Theatre District in New York City.

Audra-McDonald-124x124px

Danny Burstein stars as Herbie in [*Gypsy*](https://www.newyorktheatreguide.com/show/41161-gypsy-on-broadway) on Broadway at the [Majestic Theatre](https://www.newyorktheatreguide.com/venues/majestic-theatre) beginning on November 21, 2024.

Danny Burstein was born on June 16, 1964 in Mount&nbsp;Kisco, New York. He is a seven-time Tony Award nominee for his celebrated performances in&nbsp;Fiddler on the Roof,&nbsp;Cabaret,&nbsp;Golden Boy,&nbsp;Follies,&nbsp;South Pacific,&nbsp;The Drowsy Chaperone,&nbsp;and&nbsp;Moulin Rouge!

Burstein was raised in New York City, attending&nbsp;the High School of Performing Arts and Queens College&nbsp;before heading to the University of California, San Diego to pursue&nbsp;an MFA in acting. He graduated in 1990 and would embark on what would become a highly acclaimed career on stage.

He made his Broadway debut in 1992 in&nbsp;Little Hotel on the Side&nbsp;and quickly established himself as a regular on the New York&nbsp;stage. His early Broadway credits throughout the 1990s include&nbsp;The Seagul&nbsp;(1992),&nbsp;Saint Joan&nbsp;(1993),&nbsp;Three Men on a Horse&nbsp;(1993),&nbsp;The Flowering Peach&nbsp;(1994),&nbsp;Company&nbsp;(1995),&nbsp;Titanic&nbsp;(1997), and&nbsp;A Class Act&nbsp;(2001). His career would reach new heights after being cast as&nbsp;Aldolpho in the 2006 Broadway premiere of&nbsp;The Drowsy Chaperone, earning his first Tony Award nomination. He went on to receive a second Tony Award nomination and his first&nbsp;Drama Desk Award nomination for his next Broadway role as&nbsp;Luther Billis in&nbsp;South Pacific&nbsp;in 2008.

He returned to Broadway in 2010 to play the Taxi Driver in&nbsp;<a href="https://www.newyorktheatreguide.com/reviews/women-on-the-verge-of-a-nervous-breakdown">Women on the Verge of a Nervous Breakdown</a>,&nbsp;and in 2011 he took on the role of&nbsp;Buddy Plummer in&nbsp;<a href="https://www.newyorktheatreguide.com/reviews/follies">Follies</a>, earning his third Tony Award nomination at the 2012 ceremony and winning his first Drama Desk Award. Next up, he played&nbsp;Tokio in the 2012 Broadway revival of&nbsp;<a href="https://www.newyorktheatreguide.com/reviews/golden-boy">Golden Boy</a>&nbsp;(racking up his fourth Tony nomination in 2013) and&nbsp;Max Hohmann in the 2013 premiere of&nbsp;The Snow Geese.

In March 2014, he began performances as&nbsp;Herr Schultz in Roundabout Theatre Company's widely acclaimed Broadway revival of&nbsp;<a href="https://www.newyorktheatreguide.com/reviews/cabaret-0">Cabaret</a>, resulting in a fifth Tony Award nomination and third Drama Desk nomination. He solidified his status as a Broadway leading man by taking on the iconic role of Tevye in the 2015 Broadway revival of&nbsp;<a href="https://www.newyorktheatreguide.com/reviews/fiddler-on-the-roof">Fiddler on the Roof</a>. His hugely celebrated performance landed him his second Drama Desk Award, as well as a sixth Tony Award nomination in 2016.

Burstein has been no stranger to the Off-Broadway stage over the years, either, with select&nbsp;credits including&nbsp;Weird Romance&nbsp;at the WPA Theatre in 1992,&nbsp;Merrily We Roll Along&nbsp;for York Theatre Company in 1994,&nbsp;I Love You, You're Perfect, Now Change&nbsp;at the Westside Theatre in 1996 and 2002,&nbsp;Psych&nbsp;for Playwrights Horizons in 2001,&nbsp;Talley's Folly&nbsp;for Roundabout Theatre Company in 2013, the Shakespeare in the Park&nbsp;production of&nbsp;A Midsummer Night's Dream&nbsp;in 2017, and&nbsp;Describe the Night&nbsp;for Atlantic Theater Company in 2017.

Although primarily known for his work on stage, Burstein has also appeared in numerous films and televison shows. His most notable screen credits include a recurring role as Lolly Steinman on HBO's Boardwalk Empire,&nbsp;film appearances in Blackhat,&nbsp;Transamerica,&nbsp;Deception,&nbsp;Nor'easter,&nbsp;The Family Fang,&nbsp;and Indignation,&nbsp;and TV appearances in Absolutely Fabulous,&nbsp;Louie,&nbsp;Law &amp; Order,&nbsp;Law &amp; Order: Criminal Intent,&nbsp;and Law &amp; Order: Special Victims Unit.

Burstein returned to Broadway on January 8, 2019 and assumed the role of&nbsp;Alfred P. Doolittle in Lincoln Center Theater's&nbsp;revival of&nbsp;My Fair Lady&nbsp;and continued in the role through April 28, 2019. Later that year, he reprised&nbsp;his role as Harold Zidler (from the 2018 Boston world premiere production) in the Broadway premiere of&nbsp;Moulin Rouge! The Musical&nbsp;at the Al Hirschfeld Theatre from June 28, 2019. He departed the production on December 8 to undergo surgery and&nbsp;returned in&nbsp;mid-January 2020.&nbsp;

Danny Burstein - NY

My Fair Lady on Broadway [8669]

My Fair Lady on Broadway

My Fair Lady on Broadway [8669] Product Media

The Vivian Beaumont Theater - Lincoln Center Theater is a renowned Broadway theater venue located in the heart of New York City. Perching within the realm of Lincoln Center for the Performing Arts, it distinguishes itself as the only Broadway-class theater (known for its large-scale, high-profile productions) outside the Theater District. The theater was named after Vivian Beaumont Allen, a notable patron of the arts. Inaugurated in 1965, it sports an architecturally distinct design, created by Finnish American architect Eero Saarinen. The theater, featuring a thrust stage extending into the audience, has a seating capacity of approximately 1,080. Over its illustrious history, it has hosted numerous famous productions and garnered multiple Tony Awards. A testament to its prestigious status is that it has been the stage for many world premieres. 

**Getting to the Venue:** The Vivian Beaumont Theater is located at 150 West 65th Street. It's easily accessible by subway- take 1 train to 66th Street-Lincoln Center Station or the A, B, C, D, and 1 trains to 59th Street-Columbus Circle. Additionally, buses M5, M7, M11, M66, and M104 have nearby stops. Parking is available at Lincoln Center's parking garage and other surrounding parking facilities.

Vivian Beaumont Theater - Lincoln Center Theater - NY

Vivian Beaumont Theater - Lincoln Center Theater

Vivian Beaumont Theater is a Broadway-class theater in New York's Lincoln Center, known for major productions and notable premieres.

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

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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.

Pictures from Home on Broadway Starring Nathan Lane - NYC

Pictures from Home on Broadway Starring Nathan Lane

Pictures from Home on Broadway Starring Nathan Lane - NYC Product Media

“I’m exploring.” That’s what the acclaimed photographer Larry Sultan tells his parents in [*Pictures From Home*](https://www.newyorktheatreguide.com/show/26764-pictures-from-home-tickets), a surprisingly touching new play based on his 1992 photo memoir of the same name.

It’s 1982. Larry ([Danny Burstein](https://www.newyorktheatreguide.com/stars-on-stage/danny-burstein)), a married father of two who lives in San Francisco, is explaining plans for his new art “project” to his mom and dad, Jean and Irving (Zoë Wanamaker and [Nathan Lane](https://www.newyorktheatreguide.com/stars-on-stage/nathan-lane)), in their southern California home. Larry’s exploration will ultimately take ten long years to complete. They’ll be part of it every step of the way.

During that decade, Larry obsessively combs through 30 years of the family’s vintage home movies and snaps countless candids and meticulously arranged pictures of his parents. His bottomless curiosity about Irv and Jean turns the aging couple’s lives inside out. “What I’m doing,” says Larry, “is looking for the life beyond the frame.” 

Playwright Sharr White (*The Other Place*) finds similar narrative inspiration for this rich drama about the marvels and mysteries of an ordinary family. (It’s a selective portrait – Larry’s two brothers are mentioned in passing, and that’s it.) White looks beyond content in Sultan’s book to imagine inevitable behind-the-scenes small- and large-scale dramas drummed up by Larry’s posing and probing. Art isn’t easy – just ask these accommodating parents with lives of their own. 

From the jump, it’s obvious White isn’t taking a realistic route. Larry periodically breaks the fourth wall (as do his parents) and summons an invisible projectionist to roll homemade family films and cue up pictures, as if he’s giving a photography lecture back at California College of the Arts. Scene-setting text projections – “Terminal A,” “The Silent Treatment,” “Departures” – pop up in the unbroken 105-minute production as the action shifts in time and location.

Under Bartlett Sher’s assured direction, all three actors deftly capture the play’s shifting tones. Burstein shines as Larry, an artist whose work may not always be in his parents’ best interests. Wanamaker’s Jean is happily resigned to her life, but she’s nobody’s fool. Irv, a salesman-turned-executive unceremoniously pushed into retirement, emerges as a fascinating figure. Credit Lane’s depiction that toggles back and forth from funny to poignant in a flash. 

A striking aspect of Sher’s production is that the actors aren’t lookalikes for the people they’re playing. Lane and Burstein are nearly the same age. It’s a play about memories, after all, so there’s distance between how people are seen and how they really are. Early on, Larry claims the story “isn’t about me, it’s about them.” Irv drolly responds, “Larry may say it’s about us, but trust me. It’s about him.” Perhaps the casting lends wiggle room. If you’ve ever had questions or concerns about your parents, perhaps it’s about you, too.

Irv calls the project an "investigation," questioning whether Larry’s staged pictures reveal anything authentic and wondering why he’s spending so much time away from his own family. The play considers that Larry’s motive wasn’t just about exploring. It was also about exploding myths and images suggesting a storybook life.

As in any play about a family, White covers expected territory about generational divides, legacies, mortality, and finally, love. Eventually, a clear picture develops about what was driving Larry’s parent-focused project. It was to “stop time,” he says. “I want you to live forever.” But even beyond the frame, time ticks on. 

[*Pictures From Home* is at Studio 54. Get *Pictures From Home* tickets on  New York Theatre Guide.](https://www.newyorktheatreguide.com/show/26764-pictures-from-home-tickets)

*Photo credit: Danny Burstein, Zoë Wanamaker, and Nathan Lane in Pictures From Home. (Photo by Julieta Cervantes)*

'Pictures From Home' review — family drama captures the challenges of art and mortality

Read our four-star review of Sharr White's *Pictures From Home* starring Nathan Lane, Danny Burstein, and Zoë Wanamaker, playing at Studio 54 on Broadway.

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

 **How to get to the venue** 

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

Studio 54 - NY

Studio 54

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

Danny-Burstein-124x124px

Joy Woods stars as Louise in [*Gypsy*](https://www.newyorktheatreguide.com/show/41161-gypsy-on-broadway) on Broadway at the [Majestic Theatre](https://www.newyorktheatreguide.com/venues/majestic-theatre) beginning on November 21, 2024.

Woods first gained prominence in the NYC theatre scene as part of *Little Shop of Horrors* off Broadway, making her Off-Broadway debut as Chiffon and later stepping into the lead role of Audrey. She has since earned critical acclaim for her performances as Martha Mills in *I Can Get It For You Wholesale* off Broadway and Middle Allie in the musical adaptation of Nicholas Sparks's *The Notebook* on Broadway.

Joy Woods - 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.

I Can Get It For You Wholesale - NYC

I Can Get It For You Wholesale

I Can Get It For You Wholesale - NYC Product Media

It’s incredible that the cultural legacy of [*I Can Get It For You Wholesale*](https://www.newyorktheatreguide.com/show/28275-i-can-get-it-for-you-wholesale-tickets) — the 1962 musical by Jerome Weidman (book) and Harold Rome (music and lyrics), loosely based on Weidman’s novel — is fairly limited to the fact that it marked Barbra Streisand's Broadway debut. It seems particularly ironic given that the show’s primary thematic anxiety is legacy itself, situated in the context of a world hostile to Jews.

The first scene depicts protagonist Harry Bogen (Santino Fontana) looking back at his younger self being bullied by an anti-Semite. When he returns home, something about the experience, and the fact that little besides his mother (Judy Kuhn) and her cooking comfort him, fuels a fire that will soon overwhelm him. 

In Trip Cullman’s new production at [Classic Stage Company](https://www.newyorktheatreguide.com/theatres/classic-stage-company), Harry is as ambitious an entrepreneur as almost anyone on the stage these days, making deals to start businesses before he has the funds — and selling out his friends along the way. That the actors don their final accessories as they first enter makes it easy to imagine that everyone could have gotten ready entirely on stage, the audience watching them transform. Because that’s what Harry wants: transformation.

He’ll buy his mother mink stoles and, in his pursuit to make his dress company a fashion giant, butter up buyers with caviar and champagne. He truly wants to reenvision himself as a bright star in the firmament of the American Dream. *Wholesale* casts him as a proto-Talented Mr. Ripley in the way he wants to use charm offensive to get what he wants, while maintaining a more agreeable guise.

He’s a scammer, robbing one friend to pay another, playing with family friend Ruthie’s (Rebecca Naomi Jones) heart while succumbing to equally materialistic actress Martha Mills (Joy Woods). But, as his spending fails to add up, the world starts to close in on Harry's dreams of having it all.

Weidman’s book (now revised by his son, John Weidman) and Rome’s score often seem at odds with each other, and the show's intended tone is frequently unclear. While the show is increasingly aware of Bogen’s dubiousness, there’s a jovial quality to the music that doesn’t gel with the seriousness of a story about misplaced racial and class trauma fueling cutthroat ambition.

That *Wholesale* ties itself to Jewish families also serves as an obstacle for a more coherent show. Is it that American industrialism and modernity and Jewish family values are incompatible? Or that Harry simply abandoned those values to assimilate? Regardless, Fontana nails the desperation of wanting to escape where you came from and making that desire work overtime, but he is less charming than hoped. If the character succeeds in convincing everyone (until he can’t) that he’s trustworthy, Harry’s all-consuming drive papers over his appeal.

Conversely, Woods is the show’s icon. Every time she sets foot on stage, you hope the gold dust from her stardom rubs off on you. In “The Sound of Money” alone, Woods, with her gorgeous wingspan and blinding seductive appeal, makes the trip to the theatre worth every cent. 

[*I Can Get It For You Wholesale* is at Classic Stage Company through December 17. Get *I Can Get It For You Wholesale* tickets on New York Theatre Guide.](https://www.newyorktheatreguide.com/show/28275-i-can-get-it-for-you-wholesale-tickets)

*Photo credit: Joy Woods and Santino Fontana in I Can Get It For You Wholesale. (Photo by Julieta Cervantes)*

'I Can Get It For You Wholesale' review — musical, like its protagonist, desperately tries to have it all

Read our review of *I Can Get It For You Wholesale* off Broadway, starring Santino Fontana, Judy Kuhn, and Julia Lester, currently running through December 17.

The Classic Stage Company (CSC) is a significant staple in the New York theater scene, situated in the heart of Manhattan's East Village. Any theater enthusiast will relish the ambiance and charm of this cozy yet distinguished venue. CSC is known for its renditions of classic plays, many of which have been honored with prestigious awards like the Lucille Lortel Award for Outstanding Revival. The interior design blends modernity with a nostalgic homage to traditional theater, maximizing both comfort and the unique viewing experience that evolves with each performance. A notable feature is the seating arrangement, which is thoughtfully done in an arena style, providing an intimate connection between the stage and the audience. Apart from performances, CSC also offers numerous educational programs aimed at fostering an appreciation for arts and theater in younger generations. Offering a rich blend of classic plays and modern interpretations, CSC is a must-visit for theater aficionados who appreciate the magical experience of live performances. 

#### How to Get There
 The CSC theatre is situated at 136 East 13th Street, between 3rd and 4th Avenues. It is very accessible by public transport, and the nearest subway stations, 14th Street-Union Square (N,Q,R,4,5,6,L) or 3rd Ave (L), are just a short walk away.

Classic Stage Company - NY

Classic Stage Company

The Classic Stage Company, an award-winning theatre venue in New York's East Village, offers a blend of classic plays and modern theatre.

Ages 10+. Children under 4 are not permitted.

SIX on Broadway - NYC [20737]

SIX on Broadway

SIX on Broadway [20737] Product Media

There is nothing I enjoy more than discovering a show and then going back to see it again (and again) with someone who has never seen it before. As someone who goes to the theatre for work, I view every night as a treasure hunt for the next theatrical crown jewel, and I love revisiting these gems time and again with friends and family.&nbsp;So when I saw a little show called <a href="https://www.newyorktheatreguide.com/show/six">Six</a> for the first time in London's West End in 2019, I couldn't wait to evangelize about it and take everyone I know. When the show came to the U.S. for a North American tour before heading to Broadway, I took my brother and sister-in-law to the show at American Repertory Theatre in Cambridge, Mass.&nbsp;And when the show was preparing for its March 2020 Broadway bow, I took a good friend, dancing in the aisles at the last show I saw before the pandemic shutdown.&nbsp;Now, the production is the first new musical to return to Broadway since theatres closed, and in the intervening time, I've actually moved to London, where I was at the musical's first performance back in the West End in May 2021. So being back in New York for Broadway's reopening and seeing Six (for the sixth time, no less) feels like a seminal moment for the show.&nbsp;This time, I also took a good friend, who also had never seen the show or heard any of the music. Watching her experience pure musical theatre elation for a pop-packed 75 minutes was greater than any returning-to-theatre joy I could have imagined. You'll laugh. You'll cry. You'll dance. It's everything a theatre experience should be and more.&nbsp;So what is Six, you might ask, oh uninitiated one? The show is essentially a pop concert featuring the six wives of&nbsp;Henry VIII belting and riffing about all the "bullsh*t" they had to put up with from the king. Featuring vocal stylings in the vein of Nicki Minaj, Adele, Ariana Grande, Beyoncé, and more, the performers deliver a "histo-remix," in a concise and endlessly catchy concert-style show that is part singing competition, part history lesson.&nbsp;Now, you don't need me to tell you how popular the music is, as the U.K. cast recording has been streamed over 100 million times, and writers Toby Moss and Lucy Marlow (also the show's co-director with Jamie Armitage) have scored a deal to write pop music. Not bad for two students at Cambridge who came up with this show in school and premiered at the Edinburgh Fringe.&nbsp;The queendom has now gone global, and the Broadway production is bigger, bolder, and beltier than any Six I've seen yet. From new riffs to surprise costume reveals, every element has been leveled up for New York, leaving no stone unturned. Adrianna Hicks (Catherine of Aragon), Andrea Macasaet (Anne Boleyn), Abby Mueller (Jane Seymour), Brittney Mack (Anna of Cleves), Samantha Pauly (Katherine Howard), and Anna Uzele (Catherine Parr) form a tight ensemble, fulfilling all your girl group dreams and your next karaoke night.&nbsp;The show itself is a retro-mashup with Gabrielle Slade's bedazzled costumes featuring Reformation-inspired silhouettes; Carrie-Anne Ingrouille's choreography showcases Tudor-meets-pop moves; and Emma Bailey's scenery and Tim Deiling's lighting feels like what a royal ballroom might look like in a techno disco.&nbsp;Ultimately, the queens' own stories of overcoming struggles and the show's circuitous journey to Broadway are also beacons for the power of positivity, perseverance, and coming together in times of struggle. Just like these six "ex-wives," we've all had it rough for the past year and a half, and the queens are here to bring in a new regime. Long may they reign.&nbsp;Six&nbsp;is playing on Broadway at the <a href="https://www.newyorktheatreguide.com/theatres/brooks-atkinson-theatre">Brooks Atkinson Theatre</a>. &nbsp;

'Six' Broadway review - a ‘one of a kind, no category’ musical

The Lena Horne Theatre, dedicated to the legendary artist of the same name, is a quintessential New York City theatre venue. Encompassing a blend of contemporary and traditional vibes, it carries an ambient charm and a deep-rooted cultural heritage. Nestled in the heart of the bustling city, this theatre offers captivating performances, welcoming audiences of all ages from around the globe. The hospitality and energy of the Lena Horne Theatre breathes life into each performance, making it an unforgettable experience. The theater provides an intimate setting that ensures every seat becomes the best seat in the house. Rooted in its passion to promote and cultivate the arts, the Lena Horne Theatre hosts a variety of events, ranging from plays and musicals to concerts and panel discussions. The delightful ensemble of artists embodies the spirit of Lena Horne, nurturing an appreciation for the arts and inspiring new generations. 

## How to Get There 
To reach the Lena Horne Theatre, a number of city bus and subway routes offer convenient access. The venue is just a short walk from junctions for the B, Q, 2, 3, 4, and 5 trains. A variety of nearby parking options are also available for those driving in.

Lena Horne Theatre - NYC

Lena Horne Theatre

The Lena Horne Theatre is a captivating NYC venue providing an intimate setting for plays, musicals, concerts and discussions.

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

The Notebook: The Musical on Broadway - NYC [33744]

The Notebook: The Musical on Broadway

The Notebook: The Musical on Broadway - NYC Product Media 

The **Gerald Schoenfeld Theatre** is a celebrated Broadway theatre venue located in the heart of New York City, offering guests an immersion into the world of shows and performances. The theatre was built in 1917 and was initially known as the Plymouth Theatre. It was later renamed to honor the late Gerald Schoenfeld, a Broadway producer who significantly contributed to the world of arts. The architect was Herbert J. Krapp, who designed the theatre in a neo-classical style giving it an ambiance reminiscent of the golden era of theatre. It has a history of hosting numerous Tony Award-winning productions and enchanting audiences with its magnificent interior, comfortable seating, and top-notch acoustic technology. It can accommodate up to 1,080 guests. Beyond its artistic significance, the theatre is also central, located in close proximity to restaurants, shops, and the buzzing NYC nightlife.

**_How to get there:_** The Gerald Schoenfeld Theatre is situated at 236 W 45th St, right in the Theatre District. You can conveniently get there with a myriad of city transportation options, including subway (N,Q,R,W, 1,2,3,7), bus (M104, M42, M6, M10), taxi, or even walking if you reside nearby.

Gerald Schoenfeld Theatre - NY

Gerald Schoenfeld Theatre 

The Gerald Schoenfeld Theatre is a historic Broadway theatre venue in New York, known for its spectacular productions and convenient location.

Joy (1)

Jordan Tyson stars as June in [*Gypsy*](https://www.newyorktheatreguide.com/show/41161-gypsy-on-broadway) on Broadway at the [Majestic Theatre](https://www.newyorktheatreguide.com/venues/majestic-theatre) beginning on November 21, 2024.

Tyson made her Broadway debut as Younger Allie in the musical adaptation of Nicholas Sparks's *The Notebook* in 2024. She also played Dixie Puffy in Irish Repertory Theatre's *The Streets of New York* off Broadway in 2021.

Jordan Tyson - NY

Jordan

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Majestic Theatre  - TodayTix

Designed by Herbert J. Krapp, the Majestic Theatre was originally built by real estate magnates the Chanin Brothers as part of a three-theatre complex that also included the [Bernard B. Jacobs Theatre](https://www.newyorktheatreguide.com/theatres/bernard-b-jacobs-theatre) and the [Golden Theatre](https://www.newyorktheatreguide.com/theatres/golden-theatre).

The Majestic theatre officially opened on March 28, 1927 with a production of the musical *Rufus LeMaire's Affairs*. In 1930, the Shubert Organization took ownership of all three houses. The Majestic Theatre earned New York City landmark status in 1987.

## How to get to the Majestic Theatre on Broadway

The Majestic Theatre is closest to the 42nd Street - Port Authority subway stop on the A, C, and E lines. The nearest bus stops are 7th Ave/W 44th St. on the M4, M20, and M014 line; and W 43rd St. and 8th Ave on the M20, M104, and M34A-SBS line.

Majestic Theatre  - New York Theatre Guide

The Majestic Theatre was designed by Herbert J. Krapp and is owned by the Shubert Organization.

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