Name: Heathers The Musical
Start: 2025-06-22
End: 2025-09-28
Location: New World Stages

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Heathers The Musical - NYC [42261]

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Heathers The Musical

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Poster of Heathers The Musical in New York.

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Lorna Courtney stars as Veronica Sawyer in [*Heathers The Musical*](https://www.newyorktheatreguide.com/show/42261-heathers-the-musical) off Broadway at [New World Stages](https://www.newyorktheatreguide.com/venues/new-world-stages) from June 22 to September 28, 2025.

Courtney is best known for her Tony Award-nominated performance in the title role of *& Juliet* on Broadway. She was also nominated for a Drama League Award for Distinguished Performance and won the Clive Barnes Award for Theatre.

Additional Broadway credits include *West Side Story* and *Dear Evan Hansen*.

Lorna Courtney - NY

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

& Juliet on Broadway - NYC [25598]

& Juliet on Broadway

& Juliet on Broadway - NYC  Product Media

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Stephen Sondheim Theatre - NY

Stephen Sondheim Theatre

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

West Side Story on Broadway [17538]

West Side Story on Broadway

West Side Story on Broadway [17538] Product Media

After mamboing into musical theater history in 1957,&nbsp;<a href="/show/west-side-story">West Side Story</a>&nbsp;has rumbled back again in a reimagined revival by Belgian director Ivo van Hove so packed with wall-to-wall and floor-to-ceiling video that it's like a new hybrid. Call it a Broadway vidsical.While you're at it, call this provocative yet mixed production at the <a href="/theatres/broadway-theatre">Broadway Theatre</a> wildly visceral, ultra gritty and at times frustratingly at odds with itself.This musical— created by Jerome Robbins (choreography and concept), Leonard Bernstein (music), Stephen Sondheim (lyrics), and Arthur Laurents (book) —is one that virtually everyone knows, which makes it ripe for a fresh take. The plot is the same: Star-crossed, blood-spattered sweethearts Tony and Maria— based on&nbsp;Romeo &amp; Juliet&nbsp;—face love and war on New York City's mean streets. Those surroundings are meaner than ever. The Sharks and Jets punks are rougher, more violent, and, as dressed in costumes by An D'Huys, practically interchangeable. Presumably that's a choice: They're not offing each other, they're killing themselves.It's no wonder "I Feel Pretty" has been jettisoned— there's no place in this harsh wasteland for a flighty fantasy. The soaring "Somewhere" remains, but exactly where this vision unfolds is unclear. The west side of ...The Bronx? A Gerard Avenue&nbsp;sign suggest that, while grim, vacant streets throw off a horror-movie vibe. Projected time stamps— 10pm... Midnight —drum up dread like "The Shining."As the action unfolds, actors are seen in and around Jan Versweyveld's boxy little drugstore, bridal shop and bedroom sets situated at the back of the stage. They're also seen in magnified video projected simultaneously onto a screen taking up the whole rear wall of the theatre. Designed by Luke Halls, the video, live and recorded, looms so large that a gang member's flaring nostrils can be seen from the nosebleeds seats, if not from space. Where to look? At the video? At the actors? It's like watching a drive-in movie indoors, with people interacting on a huge screen.As a result, intimacy, especially in the essential love story, gets lost. Fortunately, Isaac Powell and Shereen Pimentel, as Tony and Maria, are strong actors and singers and still put their own stamps on the parts. As rival gang leaders, Dharon E. Jones and Amar Ramasa, a controversial casting choice due to his involvement in a #MeToo-style scandal, bring required intensity.Van Hove (<a href="/show/network">Network</a>,&nbsp;The Damned)&nbsp;has become synonymous with video effects. It's tempting to dismiss his go-to device as having totally jumped the Sharks--and the Jets. But not quite. Video imagery turns the intricately constructed, elaborately textured "Tonight" into a thrilling multilayered highlight. If only all of the video worked so well.It doesn't. "Gee, Officer Krupke," a silly number thumbing its nose and diminishing authority in comic fashion, fights with footage highlighting police brutality. During "America," led by Anita (Yesenia Ayala), a montage of images of a tattered U.S. flag, stormy Puerto Rican beaches, and so on, distracts from the choreography, a high-octane blend of ballet and angry street moves by Anne Teresa De Keesmaeker.Even with issues, the 2020 vision of&nbsp;West Side Story&nbsp;reveals the durability of the musical, depth and beauty of the songs and the stubbornly evergreen message. When it comes to life's hard realities, this show is more apt to offer a reminder than a diversion.(Photo by&nbsp;Jan Versweyveld)<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>"No one should be surprised to hear that Ivo van Hove has blown up West Side Story.&nbsp;This industrious, experimental director is celebrated, after all, for taking an artistic detonator to sacred classics — by authors like Shakespeare, Molière, Miller and O'Neill — and letting the pieces fly. But the blowing up I'm talking about in this curiously unaffecting reimagining of a watershed musical, which opened on Thursday night at the Broadway Theater,&nbsp;is the kind associated with photography, the process by which a picture is enlarged to outsize proportions." Ben Brantley&nbsp;for <a href="https://www.nytimes.com/2020/02/20/theater/west-side-story-review-sharks-vs-jets-vs-video.html" target="_blank">New York Times</a>"Van Hove's&nbsp;West Side Story&nbsp;is likely to divide admirers of the show into warring camps. But the revival approaches the show with the confidence of knowing that it does not need to be definitive. There will be other&nbsp;West Side Storys, including Stephen Spielberg's film later this year. Meanwhile, if Broadway is to be a place where artistic risk is valued, there's a place for this." Adam Feldman&nbsp;for <a href="https://www.timeout.com/newyork/theater/west-side-story-broadway-review-revival-ivo-van-hove" target="_blank">Time Out New York</a>"In Belgian director Ivo van Hove's finger-snapping-free staging, there's a gigantic video wall behind a mostly spare stage, modern clothes and a ferocity not seen since the musical's 1957 premiere, when The Post's Richard Watts Jr. called it the story of "the ugliness and horror of a war to the death between the boys." With that in mind, van Hove's visceral take is spot-on for 2020. As long as kids are still being born into a "lousy" world, West Side Story&nbsp;shouldn't be a trip down memory lane — it should be raw and real." Johnny Oleksinski&nbsp;for&nbsp;<a href="https://nypost.com/2020/02/20/west-side-story-broadway-review-radical-revival-is-a-triumph/" target="_blank">New York Post</a>"It says something about the supreme power of flesh-and-blood people portraying raw human feeling onstage, without the filter of another medium, that the most emotionally devastating and visually stunning moment in the radical new Broadway revival of&nbsp;West Side Story&nbsp;occurs when its extensive video elements are stripped away. That happens in the&nbsp;coup de théâtre&nbsp;at the musical's climax, as a torrential downpour fills the immense darkness of the stage while a shattered young woman cradles her dead lover's body. Like many big-swing experimental bids to reimagine a canonical work, director Ivo van Hove's vigorously youthful take on the 1957 classic comes with losses and gains, but the latter are what you'll remember." David Rooney&nbsp;for&nbsp;<a href="https://www.hollywoodreporter.com/review/west-side-story-theater-1280016" target="_blank">Hollywood Reporter</a>"Whittled down to one hour and forty-five minutes, West Side Story&nbsp;- with book by Arthur Laurents, music by Leonard Bernstein, lyrics by Stephen Sondheim,&nbsp;and choreography by Jerome Robbins — has grown exceedingly dark and mislaid some of its moving parts in the new Broadway revival from edgy Belgian director Ivo van Hove.&nbsp;(Can you bear to lose "I Feel Pretty"?) But the plot of this beloved musical remains intact:&nbsp;We are still witnessing the deadly ethnic-fueled violence of two rival street gangs destroy the Romeo-and-Juliet romance of those immortal young lovers, Maria and Tony." Marilyn Stasio&nbsp;for&nbsp;<a href="https://variety.com/2020/legit/reviews/west-side-story-review-broadway-ivo-van-hove-1203507979/" target="_blank">Variety</a>&nbsp;

Review of Ivo van Hove's West Side Story on Broadway

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.

Children under 4 are not permitted in the theatre.

Broadway COVID Protocol

Dear Evan Hansen on Broadway [2885]

Dear Evan Hansen on Broadway

Dear Evan Hansen on Broadway [2885] Product Media

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

Dear Evan Hansen

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

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

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

Music Box Theatre - NY

Music Box Theatre

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

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

New World Stages - NYC

New World Stages

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

lorna

Casey Likes stars as J.D. in [*Heathers The Musical*](https://www.newyorktheatreguide.com/show/42261-heathers-the-musical) off Broadway at [New World Stages](https://www.newyorktheatreguide.com/venues/new-world-stages) from June 22 to September 28, 2025.

Likes is known for his back-to-back breakthrough Broadway performances as William Miller in *Almost Famous*, which marked his Broadway debut in *Almost Famous*, and as Marty McFly in *Back to the Future: The Musical*, for which he received an Outer Critics Circle Award nomination.

He has also played Gene Simmons in the film *Spinning Gold* and appeared in other films like *Dark Harvest, Everything Must Go*, and *The Birch*.

Casey Likes - NYC 

Ages 6+. Children under 4 are not permitted.

Back to the Future on Broadway - NYC [26018]

Back to the Future on Broadway

Back to the Future on Broadway - NYC Product Media

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Winter Garden Theatre - NYC

Winter Garden Theatre

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

Almost Famous on Broadway - NYC

Almost Famous on Broadway

Almost Famous on Broadway - NYC Product Media

Cameron Crowe’s musical adaptation of his much-loved 22-year-old Oscar-winner, [*Almost Famous*](https://www.newyorktheatreguide.com/show/25473-almost-famous-tickets), gets off to a very promising start. So much so you silently hope Crowe (book and lyrics), Tom Kitt (music and lyrics), and director Jeremy Herrin can sustain the high level for the whole 2.5 hours. Long story short, no such luck. 

Fortunately, the show is filled with fine performances and getup that takes us back a half-century without looking like a costume party. The energizing early vignettes come packed with rockers, groupies, backstage bustle, swirling doorways, blazing stage lights, flared jeans, macrame halter tops and crocheted hot pants. We know the time, the place, who’s who, and what’s at stake. 

In California circa 1973, socially awkward 15-year-old William Miller (Casey Likes) is aching to be seen and heard. He plans to make that happen, like Crowe did, as a music journalist. He lands an assignment for Rolling Stone to cover Stillwater, an up-and-coming group behind the scratchy hit “Fever Dog.” Guitarist Russell Hammond (Chris Wood) has the skills, voice, mystique, and long hair (parted down the middle) of a star.

William’s rigid widowed mom (Anika Larsen, channeling Frances McDormand from the film) reluctantly gives him the green light to go. William quickly discovers onstage rock gods are just self-serving neurotics behind the scenes.

Up to this point, the focus is squarely on William, who does everything he can to make his dream happen. He pesters the esteemed rock critic Lester Bangs (Rob Colletti). He charms Russell and frontman Jeff Bebe (Drew Gehling, game for anything). He befriends Penny Lane (an iridescent Solea Pfeiffer, in the role made famous by Kate Hudson), who favors the term “band aid” to "groupie" and recklessly prefers Russell over everyone else. 

William stays busy. And then… he turns passive. He becomes just another person in the room, the one with the tape recorder. Things that happen between Russell and Penny and within Stillwater have nothing to do with William. Without a strong focus, the story falls slack and meanders. 

Even when it’s blurry, *Almost Famous* has smart things to say about the power of music, weirdness of celebrity, force of family, and bittersweetness of life. It’s also a love story – a few of them. There’s William and Penny, Penny and Russell, and, more subtly, Crowe and pop legend Joni Mitchell. He’s seen to it that she looms large in the show. A tiny fragment of her achy ballad, “River,” plays in the background onscreen. The musical turns it into a lyrical point of connection. “Call me if you ever need a rescue, or a river to skate away on,” Penny tells William. “‘River.’ Joni Mitchell,” he responds. Later in the show it becomes their dramatic duet.

Showcasing the song and its peerless poetry on stage is a bold move. The same goes for Elton John’s irresistible “Tiny Dancer,” which the Stillwater band members sing in the movie and show as they mend fences. Music heals. They’re great songs, of course, and that cuts two ways. 

New songs by Crowe and Kitt (*Next to Normal*) are easy on the ears but don’t quite rise as high. “1973,” which begins as a solo for Likes and builds into a rousing group number, is a lively show opener. “Morocco,” sung beautifully by Pfeiffer, expresses Penny’s desires and, like the character, is pretty but vague. “The Night-Time Sky’s Got Nothing on You,” a duet between Russell and Penny, is a vocal highlight.

In the end *Almost Famous* is a mid-level musical that lives up to its title. Like groupies trailing after rock stars, it chases but never captures the quirky luster of the cinematic source. 

[*Almost Famous* is at the Bernard B. Jacobs Theatre. Get *Almost Famous* tickets on New York Theatre Guide.](https://www.newyorktheatreguide.com/show/25473-almost-famous-tickets)

*Photo credit: Casey Likes and the cast of Almost Famous on Broadway. (Photo by Matthew Murphy)*

'Almost Famous' review — musical adaptation of hit film doesn't rock as hard

The Bernard B. Jacobs Theatre is a legendary Broadway theatre, located at 242 West 45th Street in the heart of New York City's theatre district. It has a deep history and is one of The Shubert Organization's 17 Broadway theatres. Named after the former President of the Shubert Organization, the theatre originally opened in 1927 as the Royale Theatre. Over the years, it has transformed from a movie house to a television studio and then to the landmark theatre we know today. The theatre boasts a seating capacity of 1,078 across an orchestra and mezzanine levels, providing an intimate, immersive experience for all show-goers. Esteemed for its superior acoustics and sightlines, it has hosted numerous popular shows and notable premiere including 'Grease,' 'Once On This Island,' 'Company,' and 'The Color Purple.'

__How to Get There:__
The Bernard B. Jacobs Theatre is easily accessible. It's just steps away from many subway lines such as the A, C, E at 8th Avenue; N, Q, R, W at 7th Avenue; 1, 2, 3 at 7th Avenue; and B, D, F, M at 6th Avenue. There are also numerous nearby parking garages if you choose to drive. The theatre is wheelchair accessible.

Bernard B. Jacobs Theatre - NYC

Bernard B. Jacobs Theatre

The Bernard B. Jacobs Theatre, located in New York's theatre district, is a historic Broadway theatre, known for its superior acoustics and sightlines. It's easily accessible by subway or car.

casey

McKenzie Kurtz stars as Heather Chandler in in [*Heathers The Musical*](https://www.newyorktheatreguide.com/show/42261-heathers-the-musical) off Broadway at [New World Stages](https://www.newyorktheatreguide.com/venues/new-world-stages) from June 22 to September 28, 2025.

Kurtz is a Broadway actress who made her debut as Anna in *Frozen* on Broadway. She also starred as Glinda in the 20th anniversary Broadway cast of [*Wicked*](https://www.newyorktheatreguide.com/show/1-wicked-musical-tickets) and as Cassandra in *The Heart of Rock and Roll*.

McKenzie Kurtz - 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.

Ages 8+. No children under 4 are permitted in the theater.

The Heart of Rock and Roll on Broadway - NYC [36584]

The Heart of Rock and Roll on Broadway

The Heart of Rock and Roll on Broadway - NYC Product Media

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.

Kurtz-McKenzie

Olivia Hardy stars as Heather Duke in in [*Heathers The Musical*](https://www.newyorktheatreguide.com/show/42261-heathers-the-musical) off Broadway at [New World Stages](https://www.newyorktheatreguide.com/venues/new-world-stages) from June 22 to September 28, 2025.

Hardy is best known for playing Delia in *Kimberly Akimbo*, the 2023 Tony Award winner for Best Musical, on Broadway. She also played Duckling Donna in the first national tour of *Summer: The Donna Summer Musical*.

Olivia Hardy - NY

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

Kimberly Akimbo on Broadway - NYC [25458]

Kimberly Akimbo on Broadway

Kimberly Akimbo on Broadway - NYC Product Media

She’s back! Following an Off-Broadway run that wrapped in January, [*Kimberly Akimbo*](https://www.newyorktheatreguide.com/show/25458-kimberly-akimbo-tickets) is now in residence at the [Booth Theatre](https://www.newyorktheatreguide.com/theatres/booth-theatre) with the original cast and every bit of its wondrous quirkiness intact. In fact, the show is more polished and endearing than before. 

Anyone (including myself) who fears this charmer might get swallowed up in a Broadway house can rest easy. The show, created by David Lindsay-Abaire (book and lyrics) and Jeanine Tesori (music), has found the ideal home.

The luxury of a home-sweet-home is foreign to Kimberly (Victoria Clark) in this story based on Lindsay-Abaire’s same-named 2001 play. In 1999 New Jersey, Kim has an extremely rare condition causing her to age at more than four times the normal speed. She just celebrated her 16th birthday, and in doing so, she’s turned the corner on her life expectancy. 

There’s more. Her dad, Buddy (Steven Boyer), hits the bottle with alarming regularity. Her pregnant mom, Pattie (Alli Mauzey), harbors neuroses and a big family secret. Her aunt Debra (Bonnie Milligan) is a con woman who only looks out for herself. 

Kim finds a friend and an escape in Seth (Justin Cooley), a geeky fellow student who is obsessed with anagrams and, like her, has a dicey home situation. They initially come together for an ill-conceived science class project, but their bond grows deeper. Around Seth, this girl who looks like she’s 72 can actually act just like the 16-year-old she is. 

Black comedy is tricky to pull off. How do you balance the bitter with the sweet? Specifically, how do you find the humor in a distressing subject matter of a teen whose death is coming at her at warp speed? 

The creators succeed with a story that goes to serious and seriously cockamamie places (cue Debra’s nutty check-fraud scene) and a batch of songs that are rich, melodic, and multi-toned. There’s also an ace in the hole – Seth and Kim are the most irresistible odd couple since Harold and Maude. 

As scenes shift from a skating rink to Kim’s home and school and beyond, the show spills over with heart, hilarity, hummable songs, and an evergreen, urgent message to live every day like it’s your last. In keeping with the go-for-it attitude, the whole cast makes the most of every minute. 

Tony winner Clark (*The Light in the Piazza*) delights as the smart, resilient, and gutsy Kim, who realizes wishes can’t make things better – but she can. Clark is so convincing as a teenager that when she shows up dressed up like a 70something grandmother as part of Debra’s grift, it’s almost a shock.

Cooley is a perfect foil. His Broadway debut is as confident and winning as they come. Boyer and Mauzey are terrific as terrible parents, and Milligan is a belting powerhouse who makes larceny look fun. 

The ensemble also shines bright. That includes Olivia Elease Hardy, Fernell Hogan, Michael Iskander, and Nina White as Kim’s classmates, who double as a sort of Greek chorus to harmonize at key moments. 

In addition to assembling a wonderful cast, director Jessica Stone shows a keen eye for detail. It’s no fluke that a sign at the rink advertising BIRTHDAY PARTIES has a lopsided “D.” It’s all too fitting for a girl for whom birthdays are a mortal enemy. Those tiny details add up to make *Kimberly Akimbo* letter-perfect.

[*Kimberly Akimbo* is at the Booth Theatre. Get *Kimberly Akimbo* tickets on New York Theatre Guide.](https://www.newyorktheatreguide.com/show/25458-kimberly-akimbo-tickets)

*Photo credit: Victoria Clark in Kimberly Akimbo on Broadway. (Photo by Joan Marcus)*

'Kimberly Akimbo' review — Victoria Clark and a talented ensemble shine in letter-perfect musical

The Booth Theatre, named in honor of the legendary 19th-century actor Edwin Booth, is a historical theater venue in New York City, specifically located in the heart of the theatre district on Broadway. It was first opened on October 16, 1913. This venue loves to exhibit plays and has been home to a string of widely acclaimed productions since its establishment. It is known for its intimate setting, having only 766 seats distributed between the orchestra and mezzanine levels. The interior is beautifully ornamented, showcasing Italian Renaissance detailing and a warm, old-world atmosphere. The Booth Theatre is currently owned by the Shubert Organization. Over the years, it has housed multiple award-winning plays such as 'Sunday in the Park with George', 'Next to Normal', and 'The Elephant Man'. 

**How to get there:** The Booth Theater is located at 222 West 45th Street, between 7th and 8th Avenues. It is easily accessible by public transit. For subway riders, it is close to the Times Square-42nd Street station, where the 1, 2, 3, 7, N, Q, R, W, and S trains stop. It is possible to park your car in a nearby garage but remember that the theatre district can be quite busy, especially during show hours.

Booth Theatre - NY

Booth Theatre

The Booth Theatre is a historically significant venue in New York's theatre district known for showcasing acclaimed plays and having an intimate setting.

hardy

Elizabeth Teeter stars as Heather McNamara in in [*Heathers The Musical*](https://www.newyorktheatreguide.com/show/42261-heathers-the-musical) off Broadway at [New World Stages](https://www.newyorktheatreguide.com/venues/new-world-stages) from June 22 to September 28, 2025.

Teeter is best known for her starring Broadway roles as Lydia in *Beetlejuice*; Betty in *The Crucible* (opposite Saoirse Ronan), Young Elizabeth in *The Audience* (with Helen Mirren), and Jane Banks in *Mary Poppins*. Off Broadway, she earned an Audelco Award nomination for starring as Lily in *The Secret Life of Bees*.

Elizabeth Teeter - NY

Beetlejuice on Broadway [14894]

Beetlejuice on Broadway

Beetlejuice on Broadway [14894] Product Media

The Broadway musical has long come back from the dead — the 1980s doldrums in which the vacuum was filled by British imports, starting with <a href="/show/cats">Cats</a> which ran for nearly 18 years at the <a href="/theatres/winter-garden-theatre">Winter Garden Theatre</a>. But for Broadway's latest behemoth, the stage of the same theatre is now joyfully populated with the living dead.This is not the first time that this theatre has had a haunting: the original production of Sondheim and Goldman's Follies here in 1971 was full of ghosts of its characters' younger selves; it may well be one of the most articulate and moving musicals ever written about the reflective pains of growing older, and realising the mistakes you've made along the way.Of course <a href="/show/beetlejuice">Beetlejuice</a> doesn't detain itself with anything quite so serious or searching.&nbsp;But just as Cats dealt with an imminent afterlife, as it revolved around which of them would ascend to the 'heaviside layer', so Beetlejuice is about how mortality may not quite be the end but the start of another adventure.Here suburban couple Adam and Barbara (played with gentle unassertiveness by the charming coupling of Rob McClure and Kerry Butler) find themselves having a literal&nbsp;out-of-body experience when they suddenly fall through the floorboards of their home -- and realise that they have, in fact, died. But the antic, anarchic figure of Beetlejuice is on hand to guide them into the next world -- or at least help them to reclaim their current existence when new owners buy their house, with extensive plans to remodel it as an investment opportunity.<a href="/actor-profile/alex-brightman">Alex Brightman</a>, who previously opened Andrew Lloyd Webber's <a href="/show/school-of-rock-the-musical">School of Rock</a> at this address playing an unqualified supply schoolteacher who teaches his students rock music, plays another disruptive force here in the title role with gleeful abandon (and hair that looks like its been plugged into an electrical socket).Early on in the proceedings, he warns the audience: "If you die during the performance, it will not stop." That's possibly because no one will actually notice: they'll be laughing too hard to do so. Later he threatens to walk out on the show -- and warns us we'd be stuck with Adam and Barbara. "Yeah they're boring. Even more boring than Brigadoon. I'll say it: Fuck Brigadoon."Ouch! It might not be the best tactic to come to Broadway with a new musical that so flagrantly disses a legendary 1947 classic that got there long before you did. But secretly, I laughed; this is a new generation of theatre makers blowing raspberries at the past. And let's not be too sanctimonious about it: it's part of the show's playful subversiveness to do so, just as <a href="/show/the-book-of-mormon">The Book of Mormon</a> did, too.In fact Beetlejuice is part of that meta-tradition of shows from The Producers to this season's <a href="/show/the-prom">The Prom</a> that comment on themselves even as they simultaneously send up and celebrate the traditions they've sprung from.Here, a creative team that includes director Alex Timbers and his inspired designers David Korins (sets) and William Ivey Long (costumes), animate this parade of eccentricity with flair and great comedy technique that turns it into a subversive delight.The score by Eddie Perfect -- who also provided songs for this season's <a href="/show/king-kong">King Kong</a> -- is full of wit and grit, and Scott Brown and Anthony King's book propels it forward smartly. There are also hilarious performances from Leslie Kritzer and Sophia Anne Caruso&nbsp;as the mistress and daughter respectively of the house's new buyer Charles (Adam Dannheisser).Beetlejuice is the last new show to open this season -- but could be haunting Broadway for a long while.(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>"The dead lead lives of noisy desperation in Beetlejuice,&nbsp;the absolutely exhausting new musical that opened on Thursday at the Winter Garden Theater.&nbsp;This frantic adaptation of Tim Burton's much-loved 1988 film&nbsp;is sure to dishearten those who like to think of the afterlife as one unending, undisturbed sleep. Because as directed by a feverishly inventive Alex Timbers, and starring Alex Brightman as the manic ghoul of the title, this production proposes that not being alive just means that you have to try harder — a whole lot harder — than you ever did before. Otherwise, you'll wind up invisible, with nary a soul to acknowledge your starry self. And in today's world of chronic self-advertising, this may be the true fate worse than death." Ben Brantley for <a href="https://www.nytimes.com/2019/04/25/theater/beetlejuice-review-broadway.html" target="_blank">New York Times</a>"Whatever else it&nbsp;may or may not be,&nbsp;Beetlejuice&nbsp;is spectacularly weird. The best creative work in this musical adaptation of Tim Burton's 1988 film—about a pair of sweet ghosts trying to rid their house of its distasteful new inhabitants—has gone into its physical form: The designers come at it from all kinds of crazy angles. David Korins's haunted-house set seems to buckle in the middle and stretch at the edges; William Ivey Long's costumes are a batty vision of colors and patterns at war. There are magic tricks and giant worms and a starkly linear idea of the afterlife that contrasts well with the chaotic world of the living." Adam Feldman for <a href="https://www.timeout.com/newyork/theater/beetlejuice-review-broadway-musical" target="_blank">Time Out New York</a>"If you're a fan of the film, take note - they messed with the plot.&nbsp;The vibe's the same though. Beetlejuice&nbsp;on Broadway bombards you with manic energy and Alex Brightman, leading a boffo cast certainly fills the bill. But if it seems like the show goes overboard, beating us to death with antic irreverence, well, that just may be the plan." Roma Torre&nbsp;for&nbsp;<a href="https://www.ny1.com/nyc/all-boroughs/theater-reviews/2019/04/25/theater-review---beetlejuice-" target="_blank">NY1</a>"Writers Scott Brown and Anthony King, along with composer Eddie Perfect and director Alex Timbers, approach the 1988 Tim Burton cult comedy with the giddy excitement of rabid fanboys in their imaginative musical adaptation of&nbsp;Beetlejuice. That enthusiasm translates to the audience, too, with every visual reference lifted directly from the movie yielding huge laughs. The show is a loving homage to a wonderfully weird original, reconceived for the stage with eye-popping design, full-throttle performances and a mischievous sense of fun that literally seems to drip from the Winter Garden Theatre's chandeliers, tinged a ghoulish green for the occasion." David Rooney for <a href="https://www.hollywoodreporter.com/review/beetlejuice-theater-review-1204616" target="_blank">Hollywood Reporter</a>"High-spirited fun, wickedly good tunes and eye-popping visuals make this night of the living dead a scream." Frank Rizzo&nbsp;for <a href="https://variety.com/2019/legit/reviews/beetlejuice-review-broadway-musical-1203194763/" target="_blank">Variety</a>

Review of Beetlejuice, starring Alex Brightman, on Broadway

The Marquis Theatre is a Broadway theatre located at 1535 Broadway in the heart of New York. With an impressive seating capacity of 1615, it is one of the largest Broadway theatres in terms of seating. Famous for its impressive architectural design and modern interior, the Marquis offers three levels of seating, ensuring a perfect view of the stage from any spot. Since its opening in 1986, the theatre has been host to a multitude of Broadway hits and musical productions including *Evita*, *Annie Get Your Gun*, and *Follies*. The stage has seen numerous performances from award-winning actors and actresses, making it a significant cultural landmark in New York City.

**How to Get There**
The Marquis Theatre is conveniently located within walking distance from Times Square. Visitors can get there by subway, taking the 1, 2, or 3 train to 42nd Street/Times Square, and then walk towards 1535 Broadway. For those driving, there are parking garages nearby along 45th Street. The central location of this theatre makes it easily accessible from all parts of New York City.

Marquis Theatre - NY

Marquis Theatre

The Marquis Theatre is a prominent Broadway theatre with seating for 1615, located at 1535 Broadway in New York City.

teeter

Kerry Butler stars as Mrs. Fleming/Veronica's Mom in in [*Heathers The Musical*](https://www.newyorktheatreguide.com/show/42261-heathers-the-musical) off Broadway at [New World Stages](https://www.newyorktheatreguide.com/venues/new-world-stages) from June 22 to September 28, 2025.

Kerry Butler is celebrated for originating comic roles in multiple contemporary musicals. Her stage credits included Penny Pingleton in *Hairspray,* Audrey in *Little Shop of Horrors,* Barbara in *Beetlejuice,* and Elle Woods in *Legally Blonde.* Butler received a Tony Award nomination for her performance in *Xanadu*.

Kerry Butler - NYC 

Mama, I'm a Big Girl Now! - NYC [42368]

Mama, I'm a Big Girl Now!

Mama, I'm a Big Girl Now! - NYC [42368] - Product Media

kerry 200

Off Broadway

Comedy

New World Stages - TodayTix

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

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

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

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

## How to get to New World Stages off Broadway

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

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

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

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

New World Stages - New York Theatre Guide

New World Stages, located in New York between Times Square and Hell’s Kitchen, is a modern performing arts complex housing five Off-Broadway theatres.

Heathers The Musical Tickets

About Heathers The Musical

Run time

Venue

Categories

Age

Start date

End date

Stars on stage

Lorna Courtney

Casey Likes

McKenzie Kurtz

Olivia Hardy

Elizabeth Teeter

Kerry Butler

Heathers The Musical cast and creative team

Venue

New World Stages

Accessibility

Show schedule

Tickets