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See photos of 'Stephen Sondheim's Old Friends' on Broadway

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Bernadette Peters, Lea Salonga, and more celebrate the late theatre songwriter Stephen Sondheim in this joyous, spectacular musical revue through June 15.

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All the songs in 'Stephen Sondheim's Old Friends' on Broadway

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More than 40 showtunes by the late, award-winning composer Stephen Sondheim appear in this revue starring Tony Award winners Bernadette Peters and Lea Salonga.

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Hey, old friends! [Bernadette Peters](https://www.newyorktheatreguide.com/stars-on-stage/bernadette-peters) and [Lea Salonga](https://www.newyorktheatreguide.com/stars-on-stage/lea-salonga) have returned to the Broadway stage in *Stephen Sondheim's Old Friends*, and new photos are available of these two theatre icons and more in the new musical revue.

*Old Friends* is a celebration of the work of the late theatre composer Stephen Sondheim, revisiting and reimagining songs from his iconic musicals: *Into the Woods, Company, Sunday in the Park with George, Sweeney Todd, Merrily We Roll Along, West Side Story*, [*Gypsy*](https://www.newyorktheatreguide.com/show/41161-gypsy-on-broadway), and more.

The complete cast also features Jacob Dickey, Jasmine Forsberg, Kate Jennings Grant, Kevin Earley, Bonnie Langford, [Beth Leavel](https://www.newyorktheatreguide.com/stars-on-stage/beth-leavel), [Gavin Lee](https://www.newyorktheatreguide.com/stars-on-stage/gavin-lee), Jason Pennycooke, Joanna Riding, Jeremy Secomb, [Kyle Selig](https://www.newyorktheatreguide.com/stars-on-stage/kyle-selig), Maria Wirries, Daniel Yearwood, Kevin Earley, Paige Faure, Alexa Lopez, Peter Neureuther, and Greg Mills.

See photos of this joyous musical spectacular below, and get tickets to join in the fun through June 15 only!

Get [*Stephen Sondheim's Old Friends* tickets](https://www.newyorktheatreguide.com/show/40572-stephen-sondheims-old-friends-on-broadway) now.

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Get [*Stephen Sondheim's Old Friends* tickets](https://www.newyorktheatreguide.com/show/40572-stephen-sondheims-old-friends-on-broadway) now.

*Photo credit: Stephen Sondheim's Old Friends on Broadway. (Photos by Matthew Murphy)*

Please Note:
Children under 5 are not permitted in the theatre. 
No weapons permitted on the premises. No outside food or beverages, electric scooters, e-bikes, or battery-powered transportation devices, except when medically necessary. 
All items are subject to inspection. Anything brought into the theatre must fit on your lap or completely under your seat without blocking any aisles. 
The use of cameras, cell phones, and other recording devices during the show is strictly prohibited by law, except when used for accessibility services.

Ages 10+. Children under 5 are not permitted.

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

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Stephen Sondheim's Old Friends on Broadway

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Needing no introduction, Stephen Sondheim is one of musical theatre’s most acclaimed and Tony Award-winning composers and lyricists. His broad spectrum of work, from light-hearted farces with *A Funny Thing Happened on the Way to the Forum* to dark operettas with *Sweeney Todd* speak to his varied sensibilities and styles.

Regardless of genre, Sondheim is known for putting character first: beyond composing exquisite solos, duets, and ensemble numbers, he is adored for letting his characters figure out their emotions, motives, and futures in highly elaborate verbal musical puzzles. Sophisticated but accessible, his music has been the barometer for artistic success for generations of composers and lyricists who have followed. Now, audiences can delight in hearing his spellbinding scores sung anew at Manhattan Theatre Club’s Samuel J. Friedman Theatre this season. Bernadette Peters, long associated with Sondheim after star-making turns in *Into the Woods* and later *Gypsy*, sings alongside another highly accomplished vocalist, Lea Salonga.

## What to watch for

- Matthew Bourne, a director and choreographer known for his Olivier Award-winning work on *Mary Poppins*, stages this celebratory production.
- London reviews raved about *Stephen Sondheim’s Old Friends* — [London Theatre](https://www.londontheatre.co.uk/reviews/stephen-sondheims-old-friends-review-gielgud-theatre) called it a “rapturous musical tribute” in its five-star review.
- Cameron Mackintosh is most well-known as being a producer of spectacular shows, but here he gets to pay homage to a theatrical legend as a deviser of the evening’s sweeping entertainment. 
- Bernadette Peters was last on Broadway in 2018 with *Hello, Dolly!*, and now, years later, she returns, offering audiences a special treat to see the living legend back on stage.

Please Note:
Children under 5 are not permitted in the theatre. 
No weapons permitted on the premises. No outside food or beverages, electric scooters, e-bikes, or battery-powered transportation devices, except when medically necessary. 
All items are subject to inspection. Anything brought into the theatre must fit on your lap or completely under your seat without blocking any aisles. 
The use of cameras, cell phones, and other recording devices during the show is strictly prohibited by law, except when used for accessibility services.

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Stephen Sondheim's Old Friends on Broadway - NYC - TT

Get *Stephen Sondheim’s Old Friends* tickets and see Bernadette Peters and Lea Salonga headline a celebration of the legend himself. *Stephen Sondheim’s Old Friends*, a musical celebration, comes to Manhattan Theatre Club this season.

Get *Stephen Sondheim’s Old Friends* tickets to see two Broadway icons, Tony Award winners Bernadette Peters and Lea Salonga, headline an extraordinary event dedicated to the legendary composer. Following its hit run in London, this musical celebration now comes to Manhattan Theatre Club’s Samuel J. Friedman Theatre on Broadway this season. Get *Stephen Sondheim’s Old Friends* tickets on New York Theatre Guide now.

Curtain up, light the lights, and experience *Stephen Sondheim’s Old Friends* on Broadway. Stephen Sondheim is the famed and multi-Tony Award-winning composer and/or lyricists of hit shows including *Into the Woods, Gypsy, West Side Story, Assassins, A Little Night Music*, and *Sunday in the Park with George*, for which he earned a Pulitzer Prize. Recently memorialized on stage with starry revivals of *Sweeney Todd* and *Merrily We Roll Along*, songs from the musical theatre giant now return to Broadway in this one-of-a-kind event.

*Stephen Sondheim’s Old Friends* comes across the pond from London, where it earned a bevy of five-star raves and was hailed by The Times as “unmissable musical theatre.” Cameron Mackintosh, the acclaimed producer of *Les Misérables*, devised this production.

[London Theatre](https://www.londontheatre.co.uk/reviews/stephen-sondheims-old-friends-review-gielgud-theatre) wrote, “There’s never a doubt that the creatives are gathered to honour the man of the title, whose life is pictorially documented on the way to a giddy rendition of the Old Friends that the cast and their audience by then have become. ‘Not a day goes by,’ sings Peters, that she isn’t thinking of Sondheim, and this show is an unforgettable reminder that she is in no way alone.”

Peters (*Into the Woods, Annie Get Your Gun, Gypsy*) and Lea Salonga (*Miss Saigon, Allegiance, Once on This Island*) are two of Broadway’s most indispensable performers, and their history with this production and Sondheim’s work honors his storied career in a dazzling evening of song and dance.

## Important information

Children under 5 are not permitted in the theatre. 
No weapons permitted on the premises. No outside food or beverages, electric scooters, e-bikes, or battery-powered transportation devices, except when medically necessary. 
All items are subject to inspection. Anything brought into the theatre must fit on your lap or completely under your seat without blocking any aisles. 
The use of cameras, cell phones, and other recording devices during the show is strictly prohibited by law, except when used for accessibility services.

Stephen Sondheim's Old Friends on Broadway - NYC - NYTG

Tony Award winners Bernadette Peters and Lea Salonga star in *Stephen Sondheim’s Old Friends*, a musical celebration of the master composer. See *Stephen Sondheim’s Old Friends* in New York this season at Manhattan Theatre Club.

Bernadette Peters was born Bernadette Lazzara on February 28, 1948 in Ozone Park, Queens, New York. She appeared on television shows such as Juvenile Jury,&nbsp;Name That Tune,&nbsp;and&nbsp;The Horn and Hardart Children's Hour&nbsp;from age 3, and in 1958 she received her Actors Equity Card at age 9. The following year, she made her New York stage debut in the New York City Center revival of&nbsp;The Most Happy Fella. During her teenage years, she attended&nbsp;Quintano's School for Young Professionals and appeared in the second National Tour of&nbsp;Gypsy, as well as regional productions of&nbsp;The Sound of Music&nbsp;and&nbsp;Riverwind.

After graduating from high school, she made her Off-Broadway debut in&nbsp;The Penny Friend&nbsp;in 1966. From then on, Peters became a regular on both the Broadway and Off-Broadway stage. At the end of the 1960s she starred off Broadway in&nbsp;Curley McDimple&nbsp;and originated the role of Ruby in&nbsp;Dames at Sea, winning her first Drama Desk Award. On Broadway, she worked as a standby on&nbsp;The Girl in the Freudian Slip&nbsp;(1967) and starred as&nbsp;Bettina in&nbsp;Johnny No-Trump&nbsp;later that same year. She went on to star as&nbsp;Josie Cohan in&nbsp;George M! in 1968, winning the Theatre World Award, and as&nbsp;Gelsomina in&nbsp;La Strada&nbsp;in 1969.

In the 1970s she received her first Tony Award nominations,&nbsp;firstly in 1972&nbsp;for her performance as Hildy in&nbsp;On the Town&nbsp;and again in 1975 for originating the role of Mabel Normand in Mack &amp; Mabel.

In 1982, Peters starred as Sally in the Off-Broadway production of&nbsp;Sally and Marsha,&nbsp;and the following year, she&nbsp;originated the dual roles of&nbsp;Dot and&nbsp;Marie in the Playwrights Horizons production&nbsp;of Stephen&nbsp;Sondheim's&nbsp;Sunday in the Park with George. Following the show's Broadway transfer in 1984, she earned&nbsp;her third Tony Award nomination. In 1985, she starred as Emma in Andrew Lloyd Webber's&nbsp;Song and Dance&nbsp;and finally won her first Tony Award in 1986. She then once again collaborated with Sondheim and starred as the Witch in&nbsp;Into the Woods&nbsp;on Broadway in 1987.

During the 1990s, Ms. Peters appeared in four Broadway productions:&nbsp;The Goodbye Girl&nbsp;in 1993 (earning her fifth Tony Award nomination), one-night-only revivals of&nbsp;Sunday in the Park with George&nbsp;in 1994 and Into the Woods&nbsp;in 1997, and as&nbsp;Annie Oakley in&nbsp;Annie Get Your Gun&nbsp;from 1999, winning her second Tony Award in the category of Best Actress in a Musical.

Peters starred as Mama Rose in the 2003 revival of&nbsp;Gypsy, earning her seventh Tony Award nomination. She returned to Broadway in 2010, assuming the role of&nbsp;Desiree Armfeldt in a&nbsp;revival of&nbsp;A Little Night Music, and again in 2011, starring as&nbsp;Sally Durant Plummer in the Broadway revival of&nbsp;Follies. She also received&nbsp;the Isabelle Stevenson Tony Award in 2012 for her humanitarian efforts. In 2016, she was honored with the Theatre World John Willis Award for Lifetime Achievement. She returned to Broadway from January 20 to July 15, 2018, assuming the title role in&nbsp;Hello, Dolly!&nbsp;from Tony Award winner Bette Midler.

Aside from her career on stage, Bernadette Peters has also enjoyed a prolific career on screen, winning a Golden Globe in 1982 for her performance as Eileen in&nbsp;Pennies in Heaven. In addition, she earned two Golden Globe nominations in 1977 for Silent Movie&nbsp;and All's Fair. She also earned Emmy Award nominations for her appearances on The Muppet Show&nbsp;(1978) and&nbsp;Ally McBeal&nbsp;(2001), and Bobbie's Girl&nbsp;(2003). Her other most notable screen credits over the course of her career include the roles of&nbsp;Lily St. Regis in Annie&nbsp;(1982), Marie in The Jerk&nbsp;(1979),&nbsp;Sophie in Anastasia&nbsp;(1997),&nbsp;Sarabeth Breyers in Grey's Anatomy&nbsp;(2008),&nbsp;Jodie Papadakis in Ugly Betty&nbsp;(2009),&nbsp;Leigh Conroy in Smash&nbsp;(2012-13),&nbsp;Lenore Rindell in The Good Fight&nbsp;(2017),&nbsp;and Gloria in Mozart in the Jungle&nbsp;(2014-18). From&nbsp;2020-2021, she&nbsp;guest starred&nbsp;on screen as Deb in&nbsp;Zoey's Extraordinary Playlist, and the role earned Peters her fourth&nbsp;Emmy Award nomination.

Bernadette Peters - NY

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Maria Lea Carmen Imutan Salonga was born on February 22, 1971 in Manila in the&nbsp;Philippines. In her native country, Lea made her professional stage debut in The King and I&nbsp;at the age of seven. She would go on to star in&nbsp;Annie&nbsp;in 1980, and a string of other Filipino productions followed, including&nbsp;Fiddler on the Roof, The Sound of Music,&nbsp;and&nbsp;The Fantasticks.

Lea's international breakthrough came in 1989 after being cast in Cameron Mackintosh's world premiere production of&nbsp;Miss Saigon&nbsp;in London's West End. She played the leading role of Kim and won the Olivier Award for Best Performance by an Actress in a Musical&nbsp;in 1990. In March 1991, she reprised her role and made her Broadway debut in&nbsp;Miss Saigon&nbsp;at the <a href="https://www.newyorktheatreguide.com/theatres/broadway-theatre">Broadway Theatre</a>. She went on to become the first Asian woman to ever win a Tony Award, also picking up a Drama Desk Award and Theatre World Award in 1991.

In January 1992, she became the first Asian woman to play the role of&nbsp;Éponine in&nbsp;Les Misérables&nbsp;on Broadway. Later in her career, she returned to the musical in the 2006 revival, becoming the first actress of Asian descent to play the role of Fantine from March to October 2007. She also starred in both the 10th and 25th anniversary concerts&nbsp;of&nbsp;Les Misérables&nbsp;(as Éponine and Fantine, respectively)&nbsp;in London.

Lea has also garnered great acclaim for her work with the Walt Disney Company, providing the singing voices for two Disney princesses. She played Princess Jasmine in 1992's Aladdin&nbsp;and Fa Mulan in 1998's Mulan. The company awarded her "Disney Legend" status in 2011.

She returned to Broadway to play Mei-Li in the Broadway revival of&nbsp;Flower Drum Song&nbsp;from September 2002 to March 2003. Salonga later&nbsp;starred as Kei Kimura alongside George Takei and Telly Leung in the Broadway premiere of&nbsp;<a href="https://www.newyorktheatreguide.com/reviews/allegiance">Allegiance</a>&nbsp;from October 2015 to February 2016.

Since finding fame, Salonga&nbsp;has returned to the Philippines to perform on many occasions, with her credits including starring roles in&nbsp;My Fair Lady&nbsp;(1994),&nbsp;Miss Saigon&nbsp;(2000),&nbsp;Proof (2002),&nbsp;Baby&nbsp;(2004),&nbsp;Cats&nbsp;(2010),&nbsp;God of Carnage&nbsp;(2012), and&nbsp;Fun Home&nbsp;(2016). Other notable stage credits in Asia include the 1994 Singapore production of&nbsp;Into the Woods&nbsp;and the 2008 Asian Tour of&nbsp;Cinderella. She has also been a regular coach on the Filipino version of The Voice&nbsp;and The Voice Kids.&nbsp;

As a recording artist, Salonga has released a total of 10 studio albums since her debut,&nbsp;Small Voice,&nbsp;in 1981 and has sold over 19 million copies of her albums worldwide.&nbsp;

Lea returned to Broadway as&nbsp;Erzulie,&nbsp;Goddess of Love, in Michael Arden's&nbsp;2017 Broadway revival of&nbsp;Once on This Island,&nbsp;beginning&nbsp;performances on November 9, 2017. She continued in the role through&nbsp;June 24, 2018 and reprised the role for the production's final performances from December 27, 2018 through January 6, 2019.

Lea Salonga - NY

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Beth Leavel stars in [*Stephen Sondheim's Old Friends*](https://www.newyorktheatreguide.com/show/40572-stephen-sondheims-old-friends-on-broadway) on Broadway at the [Samuel J. Friedman Theatre](https://www.newyorktheatreguide.com/venues/samuel-j-friedman-theatre) from March 25 to June 1, 2025.

Since making her Broadway debut in *42nd Street* in 1980, Tony Award winner Beth Leavel has built an acclaimed and respected Broadway career. Highlights include her roles as Beatrice Stockwell in *The Drowsy Chaperone* (Tony win), Florence Greenberg	in *Baby It's You* (Tony nomination), and Dee Dee Allen	in *The Prom* (Tony nomination). All three roles also earned her Drama Desk and Outer Critics Circle Award nods.

Leavel's Broadway credits also include beloved musicals like *Show Boat*, *Young Frankenstein*, and *Mamma Mia*. On TV, she has appeared in shows like *Law & Order: Criminal Intent*, *ER*, and *The Walking Dead: World Beyond*.

Beth Leavel - NY

Beth Leavel

Gavin Lee stars in [*Stephen Sondheim's Old Friends*](https://www.newyorktheatreguide.com/show/40572-stephen-sondheims-old-friends-on-broadway) on Broadway at the [Samuel J. Friedman Theatre](https://www.newyorktheatreguide.com/venues/samuel-j-friedman-theatre) from March 25 to June 1, 2025.

Lee is best known for originating the roles of Bert in *Mary Poppins* and Squidward Q. Tentacles in *SpongeBob SquarePants*, as well as playing Thénardier in *Les Misérables*, all on Broadway. He has also appeared in numerous productions in London's West End, including the world-premiere run of *Stephen Sondheim's Old Friends*.

Gavin Lee - NY

gavin-200

Kyle Selig stars in [*Stephen Sondheim's Old Friends*](https://www.newyorktheatreguide.com/show/40572-stephen-sondheims-old-friends-on-broadway) on Broadway at the [Samuel J. Friedman Theatre](https://www.newyorktheatreguide.com/venues/samuel-j-friedman-theatre) from March 25 to June 1, 2025.

Selig made his Broadway debut in [*The Book of Mormon*](https://www.newyorktheatreguide.com/show/127-the-book-of-mormon-tickets) in 2015 and went on to originate the role of Aaron Samuels in the 2018 Broadway musical adaptation of the hit film *Mean Girls*. He also played Jacob Jankowski in [*Water for Elephants*](https://www.newyorktheatreguide.com/show/34684-water-for-elephants-on-broadway) on Broadway in 2024.

On screen, he played Mr. Komos in *Monster High: The Movie*.

Kyle Selig - NY

Kyle Selig Water For Elephants

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

**How to Get There**

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

Samuel J. Friedman Theatre - Manhattan Theatre Club - NY

friedman-1600x1200px

Samuel J. Friedman Theatre

Samuel J. Friedman Theatre - TodayTix

The Samuel J. Friedman Theatre originally opened on December 7, 1925 as the Biltmore Theatre. Herbert J. Krapp designed the building for impresario Irwin Chanin. Its inaugural production was *Easy Come Easy Go*. 

From 1952 to 1962, CBS used the theatre for television and radio broadcasting purposes. In 1963, it reopened as a traditional theatre with Neil Simon's *Barefoot in the Park*.

In 1987, the theatre closed following an arson attack and sat vacant for 14 years. In 2001, Manhattan Theatre Club took over the venue and reopened the performance space in 2003 after renovations. MTC renamed it the Samuel J. Friedman Theatre on September 4, 2008, to honor the Broadway publicist.

## How to get to the Samuel J. Friedman Theatre on Broadway

The Samuel J. Friedman Theatre is closest to the 50th Street subway stop on the C and E line. The closest bus stops are 8 Av/W 46th St. on the M20 and M104 lines and 8th Ave/W 43rd St. on the M34A-SBS line.

## Restaurants near the Samuel J. Friedman Theatre

The Samuel J. Friedman Theatre is located across the street from three popular pre- and post-show restaurants: Trattoria Trecolori (Italian), Glass House Tavern (American), and Friedman's (American). Also nearby are the Irish pubs Mean Fiddler and Playwrights Celtic Pub, as well as Restaurant Row, the stretch of 46th Street between Eighth and Ninth Avenues lined with eateries.

Samuel J. Friedman Theatre - New York Theatre Guide

The Samuel J. Friedman Theatre, originally the Biltmore Theatre, was designed by Herbert J. Krapp. After being damaged by an arson attack, it was renovated and renamed by the Manhattan Theatre Club.

Samuel J. Friedman Theatre - NYC - 910 x1246 px

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

Once On This Island on Broadway [7828]

Once On This Island on Broadway

Once On This Island on Broadway [7828] Product Media

The musical <a href="/show/once-on-this-island">Once on This Island</a> has held a special place in my heart since I saw the original production back in 1990.&nbsp;The infectious music and romantic tale brought a unique temperament to a traditional medium.&nbsp;The show has lost none of its luster over the years, and in this revival&nbsp;production the beauty of this musical has been given its full due and then some.It tells the legend of Ti Moune (an incandescent Hailey Kilgore), an orphaned peasant girl raised by Tonton Julian (Phillip Boykin) and Mama Euralie (Kenita R. Miller), who falls in love with a handsome, wealthy boy Daniel Beauxhomme (Isaac Powell) from the city on the other side of the island.&nbsp;Separated by only a few miles of sand, they are nonetheless worlds apart.&nbsp;Ti Moune's love for Daniel is so strong that when he returns to his mansion home, she cannot bear to stay behind.&nbsp;Guided by four spirits:&nbsp;Erzulie, a warm and ethereal Goddess of Love&nbsp;(<a href="/actor-profile/lea-salonga">Lea Salonga</a>), Asaka, the irrepressible Mother of the Earth (<a href="/actor-profile/alex-newell">Alex Newell</a>), Agwé, the God of water, dignified and thoughtful (Quentin Earl Darrington) and Papa Ge, the mesmerizing spirit of death (Merle Dandridge), Ti Moune embarks on a journey to uncertain future.&nbsp;She has made a promise she will be asked to keep, but can love conquer all, even death?The ensemble, aptly referred to as 'storytellers' in the program, contribute in myriad ways to the performance, handing off the narrative to each other in a verbal dance that never allows the story line to drop.&nbsp;In a complete performance, they also create a living context. They are the birds; they are the night; they are the wind.Using the theater in the round space to full advantage, director Michael Arden&nbsp;and set designer Dane Laffrey&nbsp;have embraced every inch of space, creating a unified world for performers and audience alike.&nbsp;With an upturned boat here, fallen tree there, laundry fluttering on clothes lines extending to the walls of the theater, we are in the storm-tossed French Antilles in an instant.&nbsp;With ironic timeliness, the detritus-strewn sands and fallen trees echo images we have seen all too frequently in recent months, in places like Houston and Puerto Rico.The antitode to tragedy is to dance, to make music, to tell stories, to live in brilliant color, which these islanders do with abandon.&nbsp;Performing complex choreography by Camille A. Brown,&nbsp;as if the dance were the inspiration of the moment, with authentic gesture and of dazzling originality, the cast infuses every moment with spirit, emotion and music.&nbsp;Everywhere you look something catches your eye.&nbsp;Costumes by Clint Ramos&nbsp;vividly define the two worlds of ragtag poor and opulent wealthy, in rich bursts of color echoed throughout the set design.&nbsp;Lighting designers Jules Fisher and Peggy Eisenhauer, and sound designer Peter Hylenski&nbsp;evoke sun and storm to great, even visceral, effect.&nbsp;As you ride the wave, you cannot help but ask -- How did they pack so much legend, so much music, so much dance into 90 minutes?In Once on This Island, Director Michael Arden&nbsp;has created an island of joy at the <a href="/theatres/circle-in-the-square-theatre">Circle in the Square</a>.&nbsp;I cannot praise this production enough.&nbsp;Every single element blends perfectly to bring this already beautiful musical to dazzling, joyous life.(Photo by Joan Marcus)<hr /><h2>What the popular press says...</h2>"All I can say is that after a dismal theatrical fall, in which even the highlights seemed ashen, what a delight it is to enter the world of Once on This Island." Jesse Green for New York Times"Broadway's bewitching revival of Lynn Ahrens and Stephen Flaherty's Once on This Island&nbsp;is filled with beauty." Joe Dziemianowicz for New York Daily News"After seeing the&nbsp;imaginative and dynamic&nbsp;Once on This Island, you may feel that once is not enough." Adam Feldman for Time Out New York"Together with his resourceful design team and cast of expressive, vocally gifted performers, Arden has approached the piece with the nurturing hand it requires — striking a balance between child-like story theater and folkloric ritual with a fantastical dash of dangerous voodoo. It's a show about the healing power of storytelling, which makes it perfect for these grim times. Themes concerning the divisions of class, race, skin-color pigmentation and wealth also give the material timeless currency." David Rooney for Hollywood Reporter"Just what the weary world needs now - an uplifting revival of Lynn Ahrens' and Stephen Flaherty's lush and lovely 1990 musical fable about the enduring force of true love." Marilyn Stasio for VarietyExternal links to full reviews from popular press...<a href="https://www.nytimes.com/2017/12/03/theater/review-once-on-this-island-revived-and-ravishing.html" target="_blank">New York Times</a>&nbsp;- <a href="http://www.nydailynews.com/entertainment/theater-arts/island-revival-bewitches-theater-review-article-1.3670842" target="_blank">New York Daily News</a> -&nbsp;<a href="https://www.timeout.com/newyork/theater/once-on-this-island" target="_blank">Time Out</a>&nbsp;- <a href="https://www.hollywoodreporter.com/review/once-island-theater-review-1063783">Hollywood Reporter</a>&nbsp;- <a href="http://variety.com/2017/legit/reviews/once-on-this-island-review-broadway-1202629232/">Variety</a>

Review of Once on This Island on Broadway

The Circle in the Square Theatre is a renowned and intimate theatre venue nestled in the heart of New York City's bustling Broadway district. Established in 1951, it stands as one of the oldest and most distinctive theatres in the city, revered for its unique configuration and legacy of groundbreaking productions. The theatre boasts a thrust stage, meaning the stage extends into the audience on three sides, providing an intimate and immersive experience that feels both inclusive and dynamic. It offers 776 seats, all of which provide excellent sightlines due to the unique stage setup and the circular layout of the theatre. This venue is famed for its productions of plays and musicals in both Broadway and Off-Broadway categories, enhancing its reputation as a versatile and inclusive space for all types of theatrical performances. Over the years, it has hosted countless award-winning shows like 'Oklahoma!', 'Once on This Island', and 'The 25th Annual Putnam County Spelling Bee'. 

 **How to get there:** The Circle in the Square Theatre is conveniently located at 235 West 50th Street, in between Broadway and 8th Avenue. It is easily accessible by public transportation. If travelling by subway, take the C, E, or 1 train to 50th Street and Broadway, or the N, R, or W train to 49th Street and 7th Avenue. Numerous buses also stop near the theatre. If you’re driving, there are several paid parking garages in the vicinity.

Circle in the Square Theatre - NY

Circle in the Square Theatre

New York's Circle in the Square Theatre is a distinctive, intimate venue known for its unique seating and world-class performances.

Recommended for ages 14+. Children under 4 are not permitted in the theater.

Here Lies Love on Broadway - NYC

Here Lies Love on Broadway

Here Lies Love on Broadway - NYC Product Media

For [*Here Lies Love*](https://www.newyorktheatreguide.com/show/27415-here-lies-love-on-broadway), the storied [Broadway Theatre](https://www.newyorktheatreguide.com/theatres/broadway-theatre) has transformed into Club Millennium, a bright, pulsating discotheque sans orchestra seats. A disc jockey (Moses Villarama) pumps up the incoming crowd as energetic ushers, clad in pink jumpsuits, play air traffic control for patrons on the dance floor. A fitting setting for a musical about the rise of a dictatorship, no? 

[David Byrne](https://www.newyorktheatreguide.com/stars-on-stage/david-byrne) and Fatboy Slim’s musical, which began as a concept album, chronicles the ascent of Imelda Marcos’s power, fame, and fortune — and subsequent fall. Director Alex Timbers zeros in on Imelda’s lavish spending of ill-gotten money. And its narrative framework hangs on a fun historical fact: Imelda had a mirrored disco ball inside her New York townhouse and was a famously large presence in the city's disco scene. 

The show’s timeline spans from Imelda’s childhood in the 1930s to the People Power Revolution in 1986, telling her rags-to-riches story through disco-pop beats. A local beauty pageant deems Imelda the “Rose of Tacloban,” a title that inspires her to move to Manila, where she meets Congressman Ferdinand Marcos and helps him clinch the presidential election. The rest is a painful history of corruption, repression, and violence.

The immersive musical first bowed off Broadway at The Public Theater in 2013 before making waves in London, Australia, and stateside in Seattle. Now, *Here Lies Love* brings the [first all-Filipino cast on Broadway](https://www.newyorktheatreguide.com/theatre-news/news/meet-the-all-filipino-here-lies-love-broadway-cast), with a company including Jose Llana (Ferdinand Marcos) and Conrad Ricaroma (Ninoy Aquino), who originated their roles downtown. 

[Arielle Jacobs](https://www.newyorktheatreguide.com/theatre-news/interviews/arielle-jacobs-seizes-the-starring-role-of-imelda-marcos-in-here-lies-love-broadway) glitters as Imelda Marcos with her dulcet vocals and ability to transform from a “young girl from Leyte” to the stony “Steel Butterfly,” as the dictator came to be known. (Costume designer Clint Ramos’s pleated, butterfly-sleeve dresses help the metamorphosis.) Jacobs is disarming in the role.

As Ferdinand, Llana energizes supporters with friendly handshakes, and later, he asserts dominance with a simple glare. Ricamora's Ninoy, as the opposition leader, riles the crowd with his charming confidence and shines with solo numbers like “The Fabulous One.” Another standout is the incomparable [Lea Salonga](https://www.newyorktheatreguide.com/stars-on-stage/lea-salonga) as Aurora Aquino. Her number, “Just Ask the Flowers,” is a showstopper. (Salonga will play the role through August 13.)

The show's real star is the glitzy, all-encompassing set by David Korins. As the action unfolds, stage platforms shift, audience members shuffle, and video projections display live-action crowd shots and historical documents on large screens throughout the auditorium. A giant disco ball spins, reflecting light across the space. Annie-B Parson’s electrifying choreography, which includes a Filipino line dance with the audience, furthers the nightclub scene. 

Audience members whose knowledge of Imelda Marcos is limited to the fact that she owned 3,000 pairs of shoes will only leave with a partial understanding of this violent period. The musical has no book, and the punchy songs paint broad strokes of the 60-year history. (The program, given to the stage floor patrons upon exiting the theatre, includes an insert with a more detailed historical timeline that fills in the show’s gaps.)

Still, this rollicking, form-breaking musical party is well worth an RSVP. 

[*Here Lies Love* is at the Broadway Theatre. Get tickets for *Here Lies Love* on New York Theatre Guide.](https://www.newyorktheatreguide.com/show/27415-here-lies-love-on-broadway)

*Photo credit: Arielle Jacobs and the cast of Here Lies Love on Broadway. (Photo by Billy Bustamante, Matthew Murphy and Evan Zimmerman)*

'Here Lies Love' review — disco-pop musical brings the party

Read our four-star review of *Here Lies Love* on Broadway, an immersive disco-pop musical featuring songs by David Byrne and Fatboy Slim. 

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.

Bernadette Peters in Hello, Dolly! [3868]

Bernadette Peters in Hello, Dolly!

SpongeBob SquarePants on Broadway [7731]

SpongeBob SquarePants on Broadway

SpongeBob SquarePants on Broadway [7731] Product Media

The print on this review should be in a variety of neon colors.&nbsp;While you are reading it on your computer, it would be fitting if I entered your house from above, suspended from a wire wearing a jet-pack on top of the most outrageous costume you can imagine. I will start singing to you about the show — with dancing and singing fish backing me up — and we'll be interrupted by a Newscaster, a Pirate, and the Mayor.&nbsp;All of them will vie for your attention and meanwhile an evil villain will be plotting against me.<a href="/show/spongebob-squarepants">SpongeBob SquarePants</a>&nbsp;- The Broadway Musical&nbsp;has captured all the silly, goofy, broadly camp, good-natured fun of the Nickelodeon TV series.&nbsp;And it is a rare feat to effectively translate style and comedy from one genre to another.&nbsp;Tina Landau, the conceiver and director, succeeds marvelously.&nbsp;She leaves no shell unturned in Bikini Bottom, the show's oceanic locale.More of a revue than a book musical, SpongeBob SquarePants aims to amuse, dazzle, and delight along the journey — topping each visual topper and playing with props in every imaginable way: glow in the dark neon rectangles that reconfigure to form shapes, dancing letters, and characters flattened to 2-dimensions when hit by a boulder that emerges from a Rube Goldberg-like device. The plot — and this really doesn't merit a spoiler alert — is that the characters world may come to an end due to a volcanic eruption.&nbsp;Now strap yourselves in for the joy ride to armageddon.Songs come courtesy of a lengthy list of prestigious pop and rock artists e.g.: Steven Tyler and Joe Perry of Aerosmith, Sara Bareilles, Cyndi Lauper, John Legend, They Might Be Giants, and Plain White T's, to name some but not all.The real star of the show is not the Starfish (Danny Skinner), nor Spongebob (Ethan Slater), nor Pearl Krabs, played by Jai'Len Josey, whose voice was so beautifully strong and clear that it made me get misty-eyed, nor any of the other fine musical theater performers who bring to life these animated characters.&nbsp;It is David Zinn, credited with Scenic and Costume Design.Mr. Zinn should get his credit above the title, so dazzling and enjoyable is his work.&nbsp;Pink umbrellas lifted up and down become a sea of jellyfish, a newscaster's jacket and pants have color bands that look like the old "off the air" bands of color that remained frozen on a TV set in the wee hours of the morning, and Squidward Q. Tentacles (Gavin Lee) four legs were jiggered so that they moved in synchronicity during his show-stopping tap dance fantasy of fame replete with Ziegfeld Follies-esque choreography. There were times in the show where I simply didn't care about the lyrics — best, by the way, when they were very simple, childlike, and sparse (otherwise they were difficult to discern over the orchestra) — due to the extraordinary costuming and set design.SpongeBob SquarePants is not for those who might want a deeper (emotionally, not in fathoms) experience.&nbsp;It is for those who love non-stop creativity in costume, design, color, lighting, choreography, zany comedy, and madcap mayhem.&nbsp;If that is your cup of saltwater, swim down to the <a href="/theatres/palace-theatre">Palace Theatre</a> and prepare to be swept up in a tidal wave of bubbling entertainment.(Photo by Joan Marcus)<hr /><h2>What the popular press says...</h2>"For what it's worth — and we're talking millions of dollars here — you are never going to see as convincing an impersonation of a two-dimensional cartoon by a three-dimensional human as that provided by Ethan Slater at the Palace Theater. Mr. Slater plays the title role in&nbsp;SpongeBob SquarePants - The Broadway Musical,&nbsp;the ginormous giggle of a show." Ben Brantley for New York Times"Fun is the name of the game in this family-friendly production. But it also offers grown-up insights about community, friendship, intolerance and blindly putting one's faith in others. Just a simple Sponge? SpongeBob,&nbsp;at the Palace Theatre, is simply a pleasure." Joe Dziemianowicz for New York Daily News"In the end,&nbsp;SpongeBob&nbsp;succeeds because [Tina] Landau and [David] Zinn make even the most complicated musical staging look and feel like child's play. It wants you to have fun. Soak it in." Adam Feldman for Time Out New York"While the cartoon is beloved of children, stoners and children who grew up to be stoners during its two decades on air, I confess I had never been drawn to linger long in Bikini Bottom, the character's underwater home. And for much of the show I was dazed by the sensory overload of Tina Landau's acid-trip production while groaning at its fusillade of cornball aquatic puns and absence of musical cohesion. But whether it wore me down like coral erosion or grew on me like algae, the show's unstinting commitment to anarchic plotting, goopy sentiment and bonkers ADHD juvenilia had me grinning like an idiot, even before I got knocked in the head with an inflated plastic orb (lawsuit pending) during the crowd-pleasing closing number." David Rooney for Hollywood Reporter"Without a signature sound, there's no signature style. What there is, though, is plenty of giddy, goofy fun for all." Marilyn Stasio for VarietyExternal links to full reviews from popular press...<a href="https://www.nytimes.com/2017/12/04/theater/spongebob-squarepants-broadway-musical.html" target="_blank">New York Times</a>&nbsp;- <a href="http://www.nydailynews.com/entertainment/theater-arts/spongebob-squarepants-delights-broadway-theater-review-article-1.3676615" target="_blank">New York Daily News</a> -&nbsp;<a href="https://www.timeout.com/newyork/theater/spongebob-squarepants" target="_blank">Time Out</a>&nbsp;- <a href="https://www.hollywoodreporter.com/review/spongebob-squarepants-theater-1064137" target="_blank">Hollywood Reporter</a>&nbsp;- <a href="http://variety.com/2017/legit/reviews/spongebob-squarepants-review-broadway-musical-1202629957/" target="_blank">Variety</a>

Review of SpongeBob SquarePants on Broadway

The Palace Theatre is a jewel of New York City, boasting more than a century of rich theatrical history. Located on Broadway in the heart of Times Square, the venue originally opened in 1913 and rapidly became the hub of vaudeville's top-tier entertainment, hosting performances by legends such as Harry Houdini and Ed Wynn. Over the years, it evolved into a premier venue for musical theatre and has witnessed some of the most iconic Broadway shows, including 'West Side Story,' 'The Sound of Music,' and 'Beauty and the Beast.'

The Palace Theatre is revered for its Beaux-Arts grandeur beauty; its crimson red seats, gold leaf accents, and gorgeous ceiling murals contribute to an atmosphere that is as unforgettable as the performances it hosts. With a seating capacity of 1,740, it provides an intimate yet grand setting for any performance.

**How to Get to the Venue:**
The Palace Theatre, situated at 1564 Broadway, is easily accessible by public transportation. The closest subway stations are 47-50 Streets - Rockefeller Center (served by B, D, F, and M lines) and 49th Street (served by N, Q, R, and W lines). Several bus lines also stop near the theater, including M7, M20, and M50. If you're driving, numerous parking garages are available in the vicinity, though due to the bustling location, public transportation is recommended.

Palace Theatre - NY

Palace Theatre

The Palace Theatre, a historic venue in Times Square, New York, showcases renowned musical theatre, easily accessed via public transport.

The Prom on Broadway [11684]

The Prom on Broadway

The Prom on Broadway [11684] Product Media

You don't need to be a 17-year-old lesbian to relate to the central character of Netflix's The Prom.&nbsp;My high school did not host a prom.&nbsp;I attended a small, deeply religious conservative school that believed, as was whispered throughout the corridors, that "dancing leads to sex," and therefore school dances of any form were outlawed.&nbsp;&nbsp;This constraining, legalistic environment was not one that led young people to love and discovery, but rather to hide their desires and dreams. That is the exact message that The Prom fights against, and even though it's a tad campy, there's nothing wrong with a little dramatic flair. The overwhelming emotion is one of love and hope, a feeling we could all use a little more of particularly this year.&nbsp;The story begins at a PTA meeting where Mrs. Green (<a href="https://www.newyorktheatreguide.com/actor-profile/kerry-washington">Kerry Washington</a>, cast against type) cancels the Indiana high school's prom so Emma (bright-eyed newcomer Jo Ellen Pellman) can't bring her girlfriend to the dance. The principal Mr. Hawkins (the always delightful <a href="https://www.newyorktheatreguide.com/actor-profile/keegan-michael-key">Keegan-Michael Key</a>) stands by Emma, hoping to fight the ruling.&nbsp;Little do they know, a group of narcissistic Broadway stars across the country are reeling from a slew of bad reviews and the early closing of their latest show, and they need to take on a "do-gooder" project to revamp their personal brands.&nbsp;They land in small-town Indiana like four fish-out-of-water and try to use their big city tricks (performing at a monster truck rally, anyone?) to win over the PTA, still not understanding why their plight is not taking center stage.&nbsp;It's not really a spoiler to say that each of them learns to put others first: the flamboyant show queen Barry (a jubilant James Corden) sees himself in Emma; fading leading lady Dee Dee (the divine Meryl Streep) discovers that sacrificing material things for people can lead to happiness; beleagured working actor Trent (theatre's favorite son <a href="https://www.newyorktheatreguide.com/actor-profile/andrew-rannells">Andrew Rannells</a>) finds his true calling; and chorus girl Angie (the perfect Nicole Kidman) learns that hard work, and a little "zazz," pays off.&nbsp;When the show was on Broadway, I definitely teared up at the appropriate moments and felt the kinetic energy of Casey Nicholaw's dance moves, which the choreographer recreates successfully on screen, but something about the depth of the characters, particularly the central relationship between Emma and her girlfriend Alyssa Green (a charismatic Ariana DeBose onscreen), fell flat. Even though there is not much material added for the young lovers, the cinematic medium captures the longing and emotion much better in slow pans and closeups and with fantasy magic, particularly in the sweet duet "Dance With You."In fact, much of the story soars better onscreen in Murphy's technicolor vision that flashes across the screen, mixing heightened musical sequences with heartfelt scenes. You truly feel the longing to be a part of a community and be accepted for who you are.I'm not the only former high school student who can relate to this desire to celebrate. High schoolers all around the world this year saw their proms cancelled in the wake of Covid-19, not getting the last opportunity to be together with their classmates and honor their accomplishments. Luckily, Netflix has truly built a prom for everyone, and all you need is a Netflix account to score an invitation to the party on December 11.The Prom&nbsp;premieres on Netflix on December 11.&nbsp;Photo credit:&nbsp;Ariana DeBose and Jo Ellen Pellman in The Prom on Netflix (Photo by Melissa Gordon/Netflix)

Netflix’s ‘The Prom’ brings celebration and joy when we need it most

The **Longacre Theatre** is a historic theatre located in the heart of New York City's world-famous Broadway district. Opened in 1913, it was named after Longacre Square, the previous name of Times Square. This theatre has a seating capacity of 1100 and is designed in the French Neo-classical style, featuring a stunning white facade and beautifully ornate interior. Over the years, it’s been the birthplace of numerous Broadway classics including 'Ain’t Misbehavin’, 'La Cage aux Folles', and most recently 'The Lightning Thief'. The Longacre has a particularly intimate atmosphere, perfect for truly immersing oneself in the spectacle and magic of Broadway. 

#### **Directions to the Venue** 

The Longacre Theatre is located at 220 West 48th Street. It's easily accessible via various modes of public transportation. By subway, take the 1, 2, or 3 train to 50th Street or the N, R, or W train to 49th Street. By bus, take the M104, M10, or M27/M50. For those driving, parking garages are available nearby on 48th and 49th Streets.

Longacre Theatre - NY

Longacre Theatre

The Longacre Theatre is a historic Broadway theatre in New York City, known for its intimate atmosphere and French Neo-classical style.

Bandstand [4074]

Bandstand

Bandstand [4074] Product Media

Bandstand is a musical that treads the razor's edge - is it a romance or is it a veterans' salute? It is both, and makes no apologies. At times it also makes no sense, but the underpinning, which is the cost of war, carries the day. The opening number "Just Like It Was Before" puts us on notice that the world is filled with double meanings. Set in Cleveland in the latter half of 1945, this is the story of one G.I., Pfc. Donny Novitski (Corey Cott) who makes it home with all his ghosts in tact. One of them was his best pal, Michael. Donny was there when Michael died - they were stationed in the Pacific - and now that he is home he does what he promised he would do and visits Michael's widow Julia Trojan (Laura Osnes). And before you go any further, yes, I too wondered at this last name. No explanation is ever given, and this unfortunate choice stands out like, well, you know.Donny is a piano man (as is Cott, and how refreshing it is to see these actors playing their own instruments). Aside from being instantly smitten by Julia (of course) he is also looking for work. He hits upon an idea to enter a contest with a band that not only will play FOR the vets but be made up entirely of vets. One by one he pulls these men in, Nick (Alex Bender), Johnny (Joe Carroll), Davy (Brandon James Ellis), Jimmy (James Nathan Hopkins), and Wayne (Geoff Packard). They, too, have their ghosts. One drinks too much. One is suicidal. One has memory lapses. All varying forms of what we would today call PTSD, but what was, back in the day, swept under the rug. The soldiers coming home form WWII had no listeners for their trauma. They were expected to come home, celebrate, breed and buy everything they could afford. The Greatest Generation was put on notice to become the first Consumer Generation.This story is what happened to them in between the battle field and building suburbia. Once Donny and Julia meet, it is only a matter of time before she joins the band and brings a set of pipes that is just what the doctor ordered. As a widow, she brings that other side of war. Men prepare for the order of war; women prepare for the disorder. She also brings her own poetry that soon becomes music. The journey to the battle of the bands is on track.Plotwise, this becomes a little too sweet as nothing much de-rails this train. Oh, there is the money that has to be raised. And there is the truth about how Michael died. But through it all there is never a question that this band will succeed and that Donny and Julia are destined to be together.What saves this from death by saccharine is the raw nerves of these veterans. They seem too young to be that wounded, and there are those of us in the audience - we of a certain age - who remember our parents and the Memorial Day parades with the marching veterans. We remember the band music that played in our homes before the invasion of rock and roll. We remember the pictures. The uniforms. The pinned up hair. We remember that we baby boomers were born to a wounded generation who, for the most part, never discussed their war experience. They never had a chance to. They grew up rebounding from WWI, got catapulted into WWII and leapt into the 1950's with no maps to guide them.It is their story that trails after you when you leave the theatre, much like the ghosts belonging to these characters.It is too bad that the authors were not able to take a pair of clippers to the book, and the stunning lack of a resolution doesn't help. When the curtain call arrives it catches us off guard, and all we can do is cheer the performers and leave bewildered, wondering what we missed. Not the performances, nor the choreography by Andy Blankenbuehler - which are superb in the extreme. Cott and Osnes positively crackle and the ensemble work is spectacular in every way. But the basics of "beginning, middle and end" got left behind at the train depot. And all the big band music in the world doesn't quite make up for that.(Photo by Jermey Daniel)<hr /><h2>What the popular press says...</h2>""Bandstand," an openhearted, indecisive new musical, wants you clapping your hands and clenching your fists, tapping your toes and blinking back tears. It is both a peppy celebration of can-do spirit and a more somber exploration of what American servicemen experienced when they marched home from World War II." Alexis Soloski for New York Times"Music soothes the savage beast and — apparently — shell shocked servicemen. That's the prevailing wisdom of "Bandstand," the well-meaning mishmash of a musical at the Bernard B. Jacobs Theatre." Joe Dziemianowicz for New York Daily News"Director-choreographer Andy Blankenbuehler (Hamilton) doesn't stint on period vitality; the terrific group dance numbers, including an Act I showstopper called "You Deserve It," burst with snazzy individuality. But Bandstand's heart is in its shadows—the entertainers often share the stage with ghosts of lost comrades—and in the persistence of its efforts to shed light on them... The show defies you not to be moved by its valiant band of brothers." Adam Feldman for Time Out New York"With nary a false note in this revised production, "Bandstand" creates sweet harmony from the dissonance of war." Roma Torre for NY1"Uneasily attempting to be simultaneously a feel-good, swinging musical and a serious depiction of post-traumatic stress, Bandstand is at war with itself... For all the strenuous effort and good intentions evident in Bandstand, it mainly demonstrates that if you're going to drop the name Dachau in a musical, it needs to be far better than this one." Frank Scheck for Hollywood Reporter"There's a different "band of brothers" on stage in "Bandstand," the earnest and often-entertaining musical that, set immediately following WWII, never quite achieves its noble ambitions. Despite the fluid staging and evocative choreography by Andy Blankenbuehler ("Hamilton"), an uneven book, undistinguished dialogue and only-serviceable tunes keep the show from meeting its deeper, darker and good-intentioned aspirations." Frank Rizzo for VarietyExternal links to full reviews from popular press...<a href="https://www.nytimes.com/2017/04/26/theater/bandstand-review-broadway.html?_r=0" target="Top">New York Times</a> - <a href="http://www.nydailynews.com/entertainment/theater-arts/bandstand-broadway-review-article-1.3104335" target="Top">New York Daily News</a> - <a href="https://www.timeout.com/newyork/theater/bandstand" target="Top">Time Out</a> - <a href="http://www.ny1.com/nyc/all-boroughs/theater-reviews/2017/04/27/theater-review---bandstand-.html" target="Top">NY1</a> - <a href="http://www.hollywoodreporter.com/review/bandstand-997614" target="Top">Hollywood Reporter</a> - <a href="http://variety.com/2017/legit/reviews/bandstand-review-broadway-musical-1202399420/" target="Top">Variety</a>

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.

Ages 12+. Children under 4 are not permitted in the theatre.

Lempicka on Broadway - NYC [25999]

Lempicka on Broadway

Lempicka on Broadway - NYC Product Media

Mean Girls on Broadway [7774]

Mean Girls on Broadway

Mean Girls on Broadway [7774] Product Media

No one is more surprised than I!&nbsp;<a href="/show/mean-girls">Mean Girls</a>—a big, noisy musical (not my thing), based on a hit teen movie (not my thing since...well, never), awash in stereotypes like the dumb girl, the hot boy, the powerful high-school clique, and the outsider desperate to belong—turns out to be one of those feel-good nights on Broadway when you unabashedly jump to your feet applauding because you've had&nbsp;such&nbsp;a good time.Of course it comes down to the talent— on the boards to be sure, but, more importantly, at the production table.&nbsp;Tina Fey wrote the book based on her screenplay for the film.&nbsp;Add to that, Jeff Richmond and Nell Benjamin, combined on music and lyrics respectively.&nbsp;And then Casey Nicholaw (<a href="/show/the-book-of-mormon">Book of Mormon</a>, Something Rotten) directs and choreographs. What could go wrong?&nbsp;Nothing goes wrong!The plot is the same as in the film — home-schooled Cady Heron transfers from an African savanna to a suburban Illinois high school.&nbsp;Here the predators are a ruthless trio of mean girls who wish to make her over in their image. Cady straddles the in-and-out group worlds you will recognize if you went to high school.&nbsp;Fey has updated with plenty of current references.&nbsp;It's hard to miss the practiced hand of this remarkable comic writer.&nbsp;The laugh lines are perfectly paced through the script.Production is impressive.&nbsp;Scott Pask's set design combines seamlessly with Kenneth Posner's lighting, Ross &amp; Young's video design and Brian Ronan's sound.&nbsp;The coordination is very ambitious and precise.&nbsp;The scene-changes are remarkable.&nbsp;That said, everything moves so fast that, if you pause to admire a quick-center-stage costume change, you miss something wonderful coming on its heels.&nbsp;Some transitions startle you into the next moment. Expect a visually stimulating show with a big "wow" factor!The dancing—and there's a lot of it—is exuberant.&nbsp;Wearing his choreographer's cap, Nicholaw stages broad, wide production numbers that capture that explosive adolescent energy. There is even a tap number!&nbsp;All the songs are new, and some are especially compelling. As Cady sizes up Regina, the leader of the mean girls, she sings "Apex Predator," a clever comparison between the predators of the savannah and the character of Regina.Erika Henningsen (Cady), Taylor Louderman (Regina), Ashley Park (Gretchen), and Kate Rockwell (Karen)—all have that remarkable amalgam: each is an actor who moves well and sings like a goddess.&nbsp;In fact, all of the soloists have strong, trained voices.&nbsp;I think they are over-miked but, even with that, the sound is true.Barrett Wilbert Weed (Janis) and Grey Henson (Damian), are our hosts, keeping the story on track as they sometimes speak directly to the audience, and sometimes play their parts as the school's outsiders. Musicals often give short shrift to character development, but these two come through as quite defined. Their song, "A Cautionary Tale," works it's way through the action.&nbsp;It&nbsp;is&nbsp;a story about mean&nbsp;girls&nbsp;but&nbsp;Grey Henson seems to come out of nowhere as he owns the stage every single time he speaks or taps.&nbsp;Of course, he&nbsp;doesn't&nbsp;come out of nowhere.&nbsp;His solid credits include The Book of Mormon&nbsp;on Broadway, and what's more, he played Damian in the National Theater's shake down cruise of&nbsp;Mean Girls.Mean Girls&nbsp;is a lot of fun.(Photo by Joan Marcus)<hr /><h2>What the popular press says...</h2>"Let me say up front that if I were asked to choose among the healthy lineup of girl-power musicals now exercising their lungs on Broadway, you would have to count me on Team Regina. That's a reference to the alpha leader of the nasty title characters of Mean Girls,&nbsp;the likable but seriously over-padded new show." Ben Brantley for New York Times"Tina Fey's new Broadway musical Mean Girls&nbsp;delivers a fizzy blast that tickles the ears, eyes and funny bone." Joe Dziemianowicz for New York Daily News"Mean Girls's gospel of female self-actualization is borne out in the platform it provides for some of the most exciting young performers in musical theater. They bring a lot to the cafeteria table." Adam Feldman for Time Out New York"Director-choreographer Nicholaw infuses the production with his customary playful energy, and his dance moves have an almost awkwardly explosive quality that seems organic to the teenage characters. Even the splashy ensemble numbers, two of which make memorable use of cafeteria trays, suggest a nervous burst of hormonally charged adolescence that makes&nbsp;Mean Girls&nbsp;sing." David Rooney for Hollywood Reporter"Tina Fey's catty book and Nell Benjamin's saucy lyrics pump laughs into this smart, funny, musical-comedy version of the 2004 movie." Marilyn Stasio for VarietyExternal links to full reviews from popular press...<a href="https://www.nytimes.com/2018/04/08/theater/mean-girls-review-broadway-musical.html" target="_blank">New York Times</a>&nbsp;- <a href="http://www.nydailynews.com/entertainment/theater-arts/girls-review-tina-fey-musical-broadway-crowd-pleaser-article-1.3918952" target="_blank">New York Daily News</a> -&nbsp;<a href="https://www.timeout.com/newyork/theater/mean-girls-review" target="_blank">Time Out</a>&nbsp;- <a href="https://www.hollywoodreporter.com/review/mean-girls-theater-review-1100814" target="_blank">Hollywood Reporter</a>&nbsp;- <a href="http://variety.com/2018/legit/reviews/mean-girls-review-musical-broadway-1202744938/" target="_blank">Variety</a>

Review of Mean Girls on Broadway

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

August Wilson Theatre - NY

August Wilson Theatre

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

Ages 13+. Parental advisory: this show contains explicit language. Children under 5 are not allowed in the theatre.

The Book of Mormon on Broadway - NYC [127]

The Book of Mormon on Broadway

The Book of Mormon on Broadway [127] Product Media

An old friend of mine turned Mormon on me a few years ago to the extent that I no longer know who this woman is. I felt like I was watching a perfectly intelligent person be kidnapped by people who believe that God lives on a planet called Kolob, an angel called Moroni delivered golden tablets to Joseph Smith in upstate New York that are the secret basis for this religion, and oh yeah — there is the hair shirt thing. So it was with some trepidation that I saw this show. Even though everyone has been raving about it, I was still cautious.

The good news is that this production bowls you over. You don't have a chance to not like it because it, like the Mormons it depicts, is positive that something good will happen if you just hang around for awhile. And the message is that, in the words of Dr. Seuss, "We are all a little weird, and life's a little weird, and when we find someone whose weirdness is compatible with ours, we join up with them and fall in mutual weirdness and call it love."

Two little Mormon missionaries - are they all white men? - are paired up together and sent to Uganda. Elder Price (Andrew Rannells), who could be the Ken to anyone's Barbie, was hoping for Orlando. Elder Cunningham (Josh Gad) is a sad sack grateful to be chosen for anything at all. Disappointment and enthusiasm are thus bound together and shipped east, way east.

Upon their arrival they meet villagers who are suffering from AIDS, drought, disease, and dictators. The villagers teach the two missionaries their favorite uplifting song, "Hasa Diga Eebowai." As life batters them in the head over and over again, it is this song that keeps them going. Price and Cunningham join in with that old-fashioned Mormon enthusiasm, only to find out that this song means, "F--k you, God." Welcome to the world, boys.

At missionary HQ they meet a randy bunch of also white boys led by Elder McKinley (Rory O'Malley) who have nothing to show for their time in Uganda - no Baptisms, no nothin'. But they do have one thing: their own musical theme song to aid them in times of question and doubt. "Turn It Off" - as in, turn off anything that means questioning the Mormon path: thoughts of homosexuality, memories of abuse, guilt of any kind. Welcome to another world, boys.

What follows is a love story where Price and Cunningham have to find their own paths without the other's help. Price tries to flee his fate while Cunningham deals fast and loose with his proselytizing. On the other side of the story, the villagers are caught between swallowing the Book of Mormon (the Third Testament of the Bible) as told by Cunningham, and making it through another day without being killed or having a clitoridectomy.

As a matter of fact, the clitoris is a focal point of this story and is mentioned, oh, about 30 times as a point of focus in Uganda. Here girls are raped and then circumcised (read: genital mutilation) to keep them from getting any ideas or pleasure for the rest of their lives. This subject is bandied about like a beach ball throughout the show along with child rape, frog rape, AIDS, maggot infestation, Spooky Mormon Hell, and Jesus. It is mentioned just enough to get people's attention, but I hope not so much that it will be dismissed as incidental or worse, a myth.

In the end everyone here is gullible and worthy of a dope-slap. From the Mormons to General Butt F--king Naked (Brian Tyree Henry) to the young woman Nabulungi (Nikki M. James), whose name Cunningham never gets right in a running joke that somehow works every time. The Mormons will figure out an answer to any argument. The General would rather kill than argue and wants everything and everyone to belong — to him. Nabulungi — kind of like the Little Mermaid — wants to get out of Dodge and go to Salt Lake City ("Sal Tlay Ka Siti"). Like the rest of us, the gal just wants to belong, period.

Ain't no one or nothing safe in *The Book of Mormon*, least of all the audience. This show makes you realize that when you are pointing one finger to make fun of someone, there are three fingers pointed back at you. And this news is delivered with a smile — a real one. Parker, Lopez, and Stone have a laser beam precision with the aim of a 10-year-old boy just discovering he can write his name in the snow when he pees. You don't know whether to laugh at the boy's delight or duck and cover. No matter. Either way, you're going to get some on you.

(Photo by Joan Marcus)<hr />"A newborn, old-fashioned, pleasure-giving musical has arrived." Ben Brantley for New York Times"The show is blissfully original, irreverent, outspoken and hilarious. And all that's tucked inside good -- no, great -- old-fashioned musical." Joe Dziemianowicz for New York Daily News"It's a fiendishly well-crafted, hilariously smart — or maybe smartly hilarious — song-and-dance extravaganza. The show's a hoot. The show's a hit." Elisabeth Vincentelli for New York Post"Like several shows this season, "Book of Mormon" is too long and comes close to wearing out its welcome before redeeming itself with a strong second act. And like most 12-year-old-boys, it isn't nearly as nasty as it would have us believe. Not that there's anything wrong with that." Jeremy Gerald for Bloomberg"Manages to combine outrageous parody, solid storytelling, and sympathetic yet goofy characters." David Sheward for Back Stage"One of the most purely enjoyable musicals in years." Robert Feldberg for The Record"Brilliantly original, hysterically funny and tunefully irresistible." Roma Torre for NY1"In a season of tuners mostly derived from old movies, stories and songs, it's a gold-plated Broadway miracle to encounter something so new and audaciously fresh in every respect of the word." Michael Sommers for Newsroom Jersey"The defining quality of this hugely entertaining show is its sweetness... One of the freshest original musicals in recent memory. It has tuneful songs, clever lyrics, winning characters, explosive laughs and disarmingly intimate moments." David Rooney for Hollywood Reporter"Every song enhances the hilarity, expert staging heightens every gag, and the cast of fresh faces is blissfully good... Approaches musical-comedy Rapture" Steven Suskin for VarietyExternal links to full reviews from popular press...<a href="http://theater.nytimes.com/2011/03/25/theater/reviews/the-book-of-mormon-at-eugene-oneill-theater-review.html" target="Top">New York Times</a> - <a href="http://www.nydailynews.com/entertainment/arts/2011/03/25/2011-03-25_book_of_mormon_review_south_park_team_matt_stone_and_trey_parker_produce_heavenl.html" target="Top">New York Daily News</a> - <a href="http://www.nypost.com/p/entertainment/theater/mormon_conquest_twlCrNAUI2E2z4l2tOqAWM" target="Top">New York Post</a> - <a href="http://www.bloomberg.com/news/2011-03-25/raunchy-book-of-mormon-spoofs-missionaries-lion-king-jeremy-gerard.html" target="Top">Bloomberg</a> - <a href="http://www.backstage.com/bso/content_display/reviews/ny-theatre-reviews/e3i5369f68f9c4d1e2f03b5f235adbbccc8" target="Top">Back Stage</a> - <a href="http://www.northjersey.com/arts_entertainment/theater/118635044_The_gods_mustbe_laughing.html" target="top">The Record</a> - <a href="http://www.newjerseynewsroom.com/movies/review-south-park-makers-open-the-book-of-mormon" target="Top">Newsroom Jersey</a> - <a href="http://www.hollywoodreporter.com/review/book-mormon-theater-review-171210" target="Top">Hollywood Reporter</a> - <a href="http://www.variety.com/review/VE1117944886" target="Top">Variety</a>

'The Book of Mormon' review

Read our five-star review of *The Book of Mormon* on Broadway at the Eugene O'Neill Theatre.

The Eugene O'Neill Theatre is one of the most prestigious and renowned performance venues in New York City. From its inauguration in 1925, it has been home to countless mesmerizing performances and continues to be a hub of creativity and artistry. The Theatre is conveniently located in the bustling heart of the city, nestled among an ensemble of iconic hotspots that fashion the city's distinctive cultural milieu. With a seating capacity of about 1,100, this playhouse exudes an intimate and one-of-a-kind atmosphere, ensuring an immersive and memorable experience for every patron. Over the years, the theatre has staged various Box Office hits including the award-winning musical ‘Book of Mormon.' The palatial interiors and the breathtaking architectural genius is a sight to behold — a testament to the grandeur of the Broadway epoch. The theatre is also recognized for its excellent acoustics, comfortable seating, and top-tier amenities that elevate the overall customer experience. Its experienced staff provides courteous and efficient service, ensuring an all-rounded, enjoyable outing for theatre-goers. ## Getting to Eugene O'Neill Theatre: The theatre is accessible by various modes of transportation. Subway services 1,2,3,7,N,Q,R,W are the closest stop - Times Square-42nd Street. If arriving by bus, services M7, M20, M104 drop off at W 46 St/7 Av. There is parking available near the theatre for those who prefer to drive. Do check the traffic and parking situation online before you embark on your journey.

Eugene O’Neill Theatre - NY

Eugene O’Neill Theatre

The Eugene O'Neill Theatre is a prestigious venue in New York known for its iconic performances and intimate atmosphere.

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

Water For Elephants on Broadway - NYC [34684] 

Water For Elephants on Broadway

Water For Elephants on Broadway - NYC Product Media

The Imperial Theatre is an iconic Broadway theatre located in the heart of New York's theater district. Established in 1923 and built by the Shubert Organization, it boasts of a spectacular architectural design conceived by Herbert J. Krapp. The interior charm is harmonized by comfortable seating for around 1,417 spectators. Throughout its illustrious history, the theatre has hosted countless notable performances, including 'Les Misérables', 'Annie Get Your Gun', and the debut of 'Billy Elliot'.

### Getting to the Imperial Theatre ###

The theatre is conveniently sited at 249 West 45th Street, making it easy to reach by taxi, bus or subway. The nearest subway stations are 42 St - Port Authority Bus Terminal on lines A, C and E and Times Sq - 42 St on lines N, Q, R, W, S, 1, 2, 3, and 7. If you prefer a bus ride, M42 and M50 are the most proximate bus stops. There are multiple paid parking garages in the theater’s vicinity for those who decide to drive.


Imperial Theatre - NY

Imperial Theatre

The Imperial Theatre in New York is a historic venue which hosts significant performances. It's easily accessible by taxi, subway, or bus.

See photos of 'Stephen Sondheim's Old Friends' on Broadway

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