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

E-ticket

Merrily We Roll Along on Broadway - NYC

Genre: Musical (US and AUS)

Daniel Radcliffe, Jonathan Groff and Lindsay Mendez in MERRILY WE ROLL ALONG at New York Theatre Workshop, Photo by Joan Marcus (1)

Merrily We Roll Along on Broadway

Merrily Poster - March 22

Merrily We Roll Along on Broadway - Hero

Merrily We Roll Along on Broadway - NYC Product Media

Production shot of Merrily We Roll Along in New York, with Daniel Radcliffe as Charley Kringas, Jonathan Groff as Franklin Shepard and Lindsay Mendez as Mary Flynn doing a pinky swear.

Merrily - 2

Production shot of Merrily We Roll Along in New York, with Krystal Joy Brown as Gussie Carnegie standing on a piano seat, with Katie Rose Clarke as Beth, Jonathan Groff Jonathan Groff as Franklin Shepard, Jacob Keith Watson and Talia Robinson.

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Production shot of Merrily We Roll Along in New York, with Daniel Radcliffe as Charley Kringas, Jonathan Groff as Franklin Shepard and Lindsay Mendez as Mary Flynn wearing robes.

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Production shot of Merrily We Roll Along in New York, with Daniel Radcliffe as Charley Kringas, Jonathan Groff as Franklin Shepard, Reg Rogers as Joe Josephson and Krystal Joy Brown as Gussie Carnegie.

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Daniel Radcliffe, Jonathan Groff, Reg Rogers and Krystal Joy Brown in MERRILY WE ROLL ALONG at New York Theatre Workshop, Photo by Joan Marcus (1)

Production shot of Merrily We Roll Along in New York, with Daniel Radcliffe as Charley Kringas, Jonathan Groff as Franklin Shepard.

Merrily - 3

Jonathan Groff and Daniel Radcliffe in MERRILY WE ROLL ALONG at New York Theatre Workshop, Photo by Joan Marcus (1)

Production shot of Merrily We Roll Along in New York, with Daniel Radcliffe as Charley Kringas, Jonathan Groff as Franklin Shepard and Natalie Wachen as KT.

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Production shot of Merrily We Roll Along in New York, with  Katie Rose Clarke as Beth Shepard and Jonathan Groff as Franklin Shepard holding hands and gazing at each other.

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Production shot of Merrily We Roll Along in New York, with Krystal Joy Brown as Gussie Carnegie, Reg Rogers as Joe Josephson and Natalie Wachen as KT a microphone and engaging in an interview.

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The cast in a production shot of Merrily We Roll Along in New York.

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Production shot of Merrily We Roll Along in New York, with Lindsay Mendez as Mary Flynn, Jonathan Groff as Franklin Shepard and Daniel Radcliffe as Charley Kringas sitting on a wooden swivel chairs.

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Daniel Radcliffe is in *Merrily We Roll Along* on Broadway.

Daniel Jacob Radcliffe was born on&nbsp;July 23, 1989 in Hammersmith, London, and is, of course, best known for starring as the title character in all eight movies of the&nbsp;Harry Potter&nbsp;franchise.

At age 10, he made his acting debut in the BBC's TV adaptation of Charles Dickens' novel David Copperfield,&nbsp;playing a young David in the two-part special&nbsp;which aired in 1999. His feature film debut came just two years later in 2001, after being cast as Mark in The Tailor of Panama.

Next, Radcliffe auditioned for the title role in Harry Potter and the Philosopher's Stone&nbsp;in 2000. The film's director, Chris Columbus, had been impressed with his performance in David Copperfield, and&nbsp;after eight months and several rounds of auditions, he was finally cast to play Harry. The first film in the franchise was released by Warner Bros. in 2001, making Radcliffe into a global star overnight. Over the next 10 years, a further seven movies were released: Harry Potter and the Chamber of Secrets&nbsp;(2002), Harry Potter and the Prisoner of Azkaban​&nbsp;(2004), Harry Potter and the Goblet of Fire&nbsp;(2005), Harry Potter and the Order of the Phoenix​&nbsp;(2007), Harry Potter and the Half-Blood Prince&nbsp;(2009), Harry Potter and the Deathly Hallows: Part 1&nbsp;(2010), and Harry Potter and the Deathly Hallows: Part 2&nbsp;(2011).

During his Harry Potter&nbsp;years, he also appeared as himself (opposite Ricky Gervais) on the TV series Extras&nbsp;in 2006, as Maps in the&nbsp;film&nbsp;December Boys,&nbsp;and as&nbsp;John Kipling in the TV movie My Boy Jack,&nbsp;both released in 2007. His most notable post-Potter screen credits include The Woman in Black&nbsp;(2012), Kill Your Darlings&nbsp;and Horns&nbsp;(2013), Victor Frankenstein&nbsp;(2015), and Swiss Army Man,&nbsp;Now You See Me 2,&nbsp;and Imperium&nbsp;(2016).

Radcliffe has also established himself as a gifted stage actor on both sides of the Atlantic. He made his West End debut in 2002&nbsp;as a celebrity guest in the London production of&nbsp;The Play What I Wrote, directed by Kenneth Branagh. His first full-time theatre role was&nbsp;Alan Strang in the spring 2007 West End revival of&nbsp;Equus, which transferred to New York in the fall of 2008, marking&nbsp;his Broadway debut and earning Radcliffe his first Drama Desk Award nomination. In spring 2011, he would make his Broadway musical debut, taking on the role of J.&nbsp;Pierrepont Finch in a revival of&nbsp;<a href="https://www.newyorktheatreguide.com/reviews/how-to-succeed-in-business-without-really-trying">How to Succeed in Business Without Really Trying</a>&nbsp;from February 2011&nbsp;to January 2012. His performance earned him&nbsp;a second Drama Desk Award nomination, as well as a Grammy Award nomination in the category of "Best Musical Theater Album".

He returned to the London stage in 2013, playing Billy in a revival of Martin McDonagh's&nbsp;<a href="https://www.newyorktheatreguide.com/reviews/the-cripple-of-inishmaan-0">The Cripple of Inishmaan</a>, which transferred to Broadway in the spring of 2014 and resulted in a third Drama Desk Award nomination. In the summer of 2016, he made his Off-Broadway debut as The Writer&nbsp;in <a href="https://www.newyorktheatreguide.com/theatres/public-theater">The Public Theater's</a> production of&nbsp;Privacy&nbsp;and then returned to the London stage as Rosencrantz in the Old Vic's spring 2017 revival of&nbsp;Rosencrantz and Guildenstern are Dead.

Radcliffe then came back to Broadway from September 20, 2018&nbsp;through January 13, 2019, playing Jim Fingal in the world premiere of&nbsp;The Lifespan of a Fact&nbsp;at <a href="https://www.newyorktheatreguide.com/theatres/studio-54">Studio 54</a>. In 2023, he plays Charley Kringas in the first Broadway revival of *Merrily We Roll Along*, reprising his role from an Off-Broadway revival in 2022.

Daniel Radcliffe - NY

The Lifespan of a Fact on Broadway [11055]

The Lifespan of a Fact on Broadway

The Lifespan of a Fact on Broadway [11055] Product Media

The Studio 54 first opened in 1927 as the Gallo Opera House, and it operated as a music hall, broadcast soundstage, and nightclub (under the name Casino de Paree) until entrepreneurs Steve Rubell and Ian Schrager bought the building.

Under their ownership, the Studio 54 nightclub opened in 1977 and quickly became one of the world's most famous clubs, with frequent celebrity guests. The venue also operated under the name of The Ritz from 1989 until early 1993, and then as Cabaret Royale until 1995.

Roundabout Theatre Company's production of *Cabaret* played at Studio 54 in 1998 after the collapse of a construction hoist blocked access to the Henry Miller (now Stephen Sondheim) Theatre. In 2003, Roundabout purchased the building, and the company still hosts Broadway productions there and rents the venue out to other producers.

54 Below, a restaurant and cabaret theatre, operates underneath Studio 54.

## How to get to Studio 54 on Broadway

Studio 54 is closest to the 57th St. - 7th Ave. subway stop on the N, Q, R, and W lines and the 7th Ave. stop on the E, B, and D lines. The closest bus stops are 8 Av./W 52 St. on the M20 and M104 lines and 7 Av./W 53 St. on the M7, M20, and M104 lines.

Studio 54 - NY

Studio 54

“That’s just something I do when I want to hold onto a moment,” composer Franklin Shepard shares in [*Merrily We Roll Along*](https://www.newyorktheatreguide.com/show/27417-merrily-we-roll-along-tickets). “I close my eyes tight and I swallow. Like I take a picture that I can treasure.”

Be prepared to do the same during the bracing revival of [Stephen Sondheim’s musical](https://www.newyorktheatreguide.com/theatre-news/news/a-history-of-stephen-sondheim-musicals-on-broadway-and-beyond), back on Broadway for the first time. You’re going to want to preserve the riches flowing throughout this hurts-so-good musical about growing up and growing apart. 

The show's [1981 premiere](https://www.newyorktheatreguide.com/theatre-news/news/a-timeline-of-merrily-we-roll-along-on-broadway-and-beyond) was short-lived thanks to various staging issues. But George Furth's heart-stirring, if cliched, story about the delicate nature of friendship and Sondheim’s enduring hits – “Not a Day Goes By,” “Good Thing Going,” and “Old Friends” among them – earned the show a robust afterlife.

Based on a 1934 play by George S. Kaufman and Moss Hart, the musical unfolds in reverse chronological order. Soutra Gilmour’s spare and handsome set shapeshifts effectively as scenes move back in time and across cities. 

The plot follows the fates of three close pals – Frank (Jonathan Groff), dramatist Charley Kringas ([Daniel Radcliffe](https://www.newyorktheatreguide.com/stars-on-stage/daniel-radcliffe)), and writer Mary Flynn (Lindsay Mendez) – whose tight-knit bond erodes as the days go by. It’s 1976 when we first lay eyes on Frank. He's a hotshot movie producer with a fancy home in Bel Air and a life he hates. 

“How did you get to be here?” sycophants and wannabes want to know. Director Maria Friedman’s staging emphasizes that Frank is reflecting on how he got to where he is, which calls up the rest of the show's worth of memories. In a way, the concept turns an opening lyric from the title song — “Yesterday is done” — on its head. The past is always present.

As he holds a script of an unproduced stage show he abandoned for Hollywood, Frank fades in on how his betrayals, cheating, and greed conspired to ruin relationships with Mary, now a self-loathing drunk, and Charley, who’s been excised from his life. Frank’s wives, first Beth (Katie Rose Clarke), and then Gussie (Krystal Joy Brown), a calculating actress, are other casualties. 

The plot finally rolls back to 1957 in New York, where the wide-eyed trio becomes fast friends as Sputnik orbits and signals that anything’s possible – especially when your besties have your back. The big-hearted “Our Time” spills over with emotion.

Friedman’s production premiered in London in 2012 and wrapped a New York Theatre Workshop run in January with the Broadway cast. Her vision is clear, accessible, and very fine. It’s nitpicking to note that the first act pacing is snail-mail slow, but it is.

Since the downtown run, though, the three leads are even better. Cast against the nice-guy type, Groff steps up with a dark streak as Frank, a wolf in Shepard’s clothing. Mendez makes Mary’s quips drip acid and the reality-check number, “Like It Was,” a musical highlight.

Radcliffe really pops now, and Charley’s comedic cri de coeur “Franklin Shepard, Inc.” is a showstopper. Actually, it’s a moment to close your eyes tight and swallow.

[*Merrily We Roll Along* is at the Hudson Theatre through March 24. Get *Merrily We Roll Along* tickets on New York Theatre Guide.](https://www.newyorktheatreguide.com/show/27417-merrily-we-roll-along-tickets)

*Photo credit: Daniel Radcliffe, Jonathan Groff, and Lindsay Mendez in Merrily We Roll Along. (Photo by Matthew Murphy)*

'Merrily We Roll Along' review — first Broadway revival has a good thing going

Read our four-star review of Jonathan Groff, Daniel Radcliffe, and Lindsay Mendez in Stephen Sondheim and George Furth's *Merrily We Roll Along* on Broadway.

The Hudson Theatre first opened on October 19, 1903, with *Cousin Kate* starring Ethel Barrymore. Although the firm of J. B. McElfatrick & Son first drew up the architectural design of the theatre in 1902, the firm of Israels & Harder ultimately took over and completed the project. The venue was built for theatrical producer Henry B. Harris, who managed the theatre until his death as a passenger on the RMS Titanic in 1912. 

During the 1930s and 1940s, the building was also used as for CBS Radio broadcasts when it wasn't being used for theatrical productions. NBC purchased the property in 1950, converting it into a permanent television studio. The venue housed *The Tonight Show* from 1954 to 1959.

Over the next few decades, under the ownership of developer Abraham Hirschfeld, the building was used for theatrical productions (1960 to 1968), as an adult movie house (from 1974), and as the Savoy rock club (from 1980). The Hudson Theatre was awarded New York landmark status in 1987.

Millennium & Copthorne Hotels purchased the Hudson in 1995 as a part of the surrounding luxury hotel known as the Millennium Broadway and used as a business conference center and auditorium. During this time, it was additionally used as a stand-up comedy venue for Comedy Central broadcasts.

In 2015, Ambassador Theatre Group purchased the venue as its second official Broadway venue, following the [Lyric Theatre](https://www.newyorktheatreguide.com/theatres/lyric-theatre). After fully shutting down and undergoing a major renovation, the Hudson reopened in 2017 with a revival of Stephen Sondheim's musical *Sunday in the Park with George,* starring Jake Gyllenhaal. Since the theatre first opened in 1903 and reopened from scratch in 2017, the Hudson is simultaneously Broadway's oldest and newest theatre.

## How to get to the Hudson Theatre on Broadway

The closest subway stop to the Hudson Theatre is 42nd Street - Times Square on the 1, 2, 3, 7, N, Q, R, W, and S lines. The 42nd Street - Bryant Park stop on the B, D, F, M, and 7 lines is also nearby.

There are two bus stops nearest to the theatre: 6th Ave/W 44th St. on the M55, QM2, QM3, QM4, QM15, QM16, QM17, QM18, and QM20 lines; and 6th Ave/West 45th St. on the QM1, QM5, QM6, M5, and M7 lines.

## Restaurants near the Hudson Theatre

Popular restaurants near the Hudson Theatre in NYC include Carmine's (Italian), Tony's Di Napoli (Italian), Hunt & Fish Club (steakhouse), Junior's (American), Connolly's Irish pub, and the Hard Rock Cafe (American).

[Learn more about popular pre- and post-show restaurants in the Theatre District.](https://www.newyorktheatreguide.com/theatre-news/news/where-to-eat-before-and-after-a-broadway-show)

Hudson Theatre - NY

Hudson Theatre

Daniel-Radcliffe-124x124px

Jonathan Groff plays Franklin Shepherd in Stephen Sondheim’s [*Merrily We Roll Along*](https://www.newyorktheatreguide.com/show/27417-merrily-we-roll-along-tickets) on Broadway at the [Hudson Theatre](https://www.newyorktheatreguide.com/theatres/hudson-theatre) until March 24.

Born and raised in Pennsylvania, Groff made his Broadway debut in 2005 as a swing and understudy in the musical *In My Life*. A year later, he had his breakout role as Melchior Gabor in the teen rock musical *Spring Awakening*. Groff was nominated for a Tony Award for Best Actor in a Musical and received the Theatre World Award for Outstanding Debut Performance. 

In summer 2008, Groff played Claude in *Hair* at Shakespeare in the Park. This was followed by two Off-Broadway plays by Craig Lucas: *Prayer for My Enemy*, in which he played a closeted gay solder serving in Iraq, and *The Singing Forest*, alongside Olympia Dukakis. Groff received an Obie Award for both performances. He returned to Shakespeare in the Park as Dionysus in *The Bacchae*.

Groff made his West End debut in 2010 in *Deathtrap* and in 2015, took over the role of King George III in the Off-Broadway production of [*Hamilton*](https://www.newyorktheatreguide.com/show/384-hamilton-tickets), which he reprised for the Broadway premiere. He was nominated for a Tony for Best Featured Actor in a Musical. In 2019, he originated the role of Seymour in the long-running Off-Broadway revival of [*Little Shop of Horrors*](https://www.newyorktheatreguide.com/show/24608-little-shop-of-horrors-tickets).

On screen, Groff played Jesse St. James in *Glee* opposite his *Spring Awakening* co-star [Lea Michele](https://www.newyorktheatreguide.com/stars-on-stage/lea-michele) and took the lead role of Patrick in *Looking*, HBO’s first series to be centred around gay men. He voiced iceman Kristoff and his reindeer Sven in Disney’s *Frozen* and *Frozen II*. In 2024, he is appearing in a guest role in the science fiction TV series *Doctor Who*.

Jonathan Groff - NY

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

Westside Theatre

Little Shop of Horrors - NYC [24608]

Little Shop of Horrors

Little Shop of Horrors - NYC [24608] Product Media

The plant at the centre of <a href="/show/little-shop-of-horrors">Little Shop of Horrors</a> that feeds on human blood may have had its sights on world domination, but the musical that was based on the low-budget 1960 comedy sci-fi film of the same name has actually long achieved it, so it ultimately got what it wanted. And now the show has come full circle, 37 years on from its Off-Off-Broadway beginnings at the WPA Theatre (now no more) in May 1982, before moving to the larger Orpheum Theater on Second Avenue in the East Village that summer, where it ran for five years and became the highest-grossing show in Off-Broadway history until then, to find a new home at another Off-Broadway house just off Eighth Avenue in midtown Manhattan.In the intervening years, it has been turned into a feature film and played in the West End and on Broadway (the latter in a new production in 2003 that ran for less than a year at the Virginia Theatre, now the August Wilson), but its true home is a more modestly scaled place like the 270-seater <a href="/theatres/westside-theatre">Westside Theatre</a>, a former Baptist church built in 1889 that has been used as a theatre space since the mid-1970s.But while it is naturally a special pleasure and privilege to see the show at close quarters again, everything about this new version screams Broadway, from its above-the-title casting of multiple Tony Award nominees Jonathan Groff, Tammy Blanchard and two-time Tony winner <a href="/actor-profile/christian-borle">Christian Borle</a>, to its creative staff, led by director Michael Mayer, Tony winner for his original production of Spring Awakening. And unfortunately not everyone alas is willing to let the show sing and speak for itself, but&nbsp;seeks to portray it on a larger canvas.The production often feels too large and indulgent on this small stage, starting with Julian Crouch's expansive set that consumes the theatre. This may be the priciest Skid Row ever brought to an Off-Broadway stage.The performances are at times similarly exaggerated. In trying to mine new colours for Audrey, the abused floral shop assistant who falls for her work colleague Seymour as he nurtures a new exotic plant that he names Audrey II after her, Tammy Blanchard channels her into a sultry Rita Heyworth-inspired character, with her songs slowed down into torch songs of despair. 'Somewhere that's Green' sounds less aspirational of a better life than a dread doubt of ever achieving it.Jonathan Groff seems similarly depressed and downtrodden as Seymour, while Christian Borle plays the dentist Orin and a range of other characters purely as bright, eager caricature.There are some compensating pleasures from the trio of street urchins Ronnette (Ari Groover), Crystal (Salome Smith) and Chiffon (Joy Woods), who are a kind of Greek chorus observing and commenting on the action in Alan Menken's wonderful pastiche score. It is here that the enduring pleasures of the show itself are most apparent.Nicholas Mahon's new puppet designs for the plant itself are impressive as it grows ever larger. But less, in this production, would be more amongst the human elements.(Photo by Emilio Madrid-Kuser)<div class="block block-block contextual-links-region " id="block-block-9"><div class="block-inner clearfix"><div class="block-title"><h2>WHAT THE OTHER CRITICS SAID</h2></div></div></div>"A certain carnivorous plant has been repotted in Hell's Kitchen, and I am delighted to report that it's thriving there. This hot showbiz shrub of yesteryear, which goes by the name of Audrey II, has found a new dance partner, a performer who can coax the&nbsp;tendril-stretching star quality&nbsp;out of a freakish botanical specimen. That would be Jonathan Groff,&nbsp;who is generating major nerd charisma in Michael Mayer's delicious revival of Little Shop of Horrors." Ben Brantley&nbsp;for <a href="https://www.nytimes.com/2019/10/17/theater/little-shop-of-horrors-review-jonathan-groff-feeds-the-beast.html" target="_blank">New York Times</a>"Tight feels right, because the roots of Alan Menken and Howard Ashman's terrific show are in small houses. Now the insanely catchy doo-wop musical occupies the 270-seat Westside Theatre, with a bare-bones set and not a projection in sight. Freed from dealing with the usual trappings of modern musicals, you can feel the actors let their vines down." Johnny Oleksinski&nbsp;for <a href="https://nypost.com/2019/10/17/little-shop-of-horrors-review-jonathan-groff-tammy-blanchard-get-real/" target="_blank">New York Post</a>"Michael Mayer's deeply satisfying revival at the Westside Theatre, with a set by Julian Crouch, has the right sense of scale for a musical that began Off Broadway and is most at home there. It's a little show, and the closer we get to it, the more it sucks us in." Adam Feldman for <a href="https://www.timeout.com/newyork/theater/little-shop-of-horrors-review-revival-jonathan-groff-tammy-blanchard-christian-borle" target="_blank">Time Out New York</a>"What's most immediately captivating about the limited-engagement production is that, deluxe casting aside, it eschews Broadway scale in favor of a return to the show's roots in an off-Broadway theater that seats just 270. That accounts for the production's sell-out business, two-month extension and cluster of hopeful ticket-buyers waiting on cancellation lines at every performance. While it's become something of a classic, this remains at heart a scrappy little pastiche musical whose charms thrive most vibrantly in an intimate house." David Rooney&nbsp;for&nbsp;<a href="https://www.hollywoodreporter.com/review/little-shop-horrors-theater-review-1248089" target="_blank">Hollywood Reporter</a>"Directed at a quick clip by Michael Mayer,&nbsp;this Little Shop&nbsp;is played out on the small, tight stage of the Westside Theater with an ever-growing, masterfully manipulated plant (kudos to Eric Wright, Teddy Yudain, Kris Roberts, Chelsea Turbin). The close confines give this Little Shop&nbsp;the intimacy of home viewing." A.D. Amorosi&nbsp;for&nbsp;<a href="https://variety.com/2019/legit/reviews/little-shop-of-horrors-review-jonathan-groff-1203370043/" target="_blank">Variety</a>&nbsp;

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

The Westside Theatre building was designed by architect Henry F. Kilburn as the Second German Baptist Church in 1890. Nearly a century later, the space housed a discotheque, Club Sanctuary, until it was finally converted into a theatre with two stages (upstairs and downstairs) in 1973.

The Chelsea Theatre Group presented the first production – David Storey’s *The Contractor* – in October 1973. The building was renamed the Chelsea Westside Theatre. Under the management of Raymond L. Gaspard, the theatre was rechristened the Westside Arts Theatre from 1981 until 1990.

After an extensive renovation by new management, the venue reopened in March 1991 as the Westside Theatre. The Upstairs Theatre has a capacity of 270 seats, while the Downstairs Theatre holds 249 seats.

## How to get to the Westside Theatre off Broadway

The Westside Theatre is closest to the 42nd St. - Port Authority subway stop on the A, C, and E lines. The closest bus stop is 9 Av./W 44 St. on the M11 line.

Westside Theatre - NYC

Ages 10+. Infants are not permitted in the theater.

Hamilton on Broadway - NYC [384]

Hamilton on Broadway

Hamilton on Broadway [384] Product Media

I saw *Hamilton* Wednesday last at the Richard Rogers Theatre. Last night I went to bed with *Hamilton*. I had Lin-Manuel Miranda's script all to myself and devoured it. There is so much information, not to mention plain old smarts, that is packed into this show that reading the text is an exercise in pure pleasure. And once again I came away with the same conclusion. This is a story ABOUT Alexander Hamilton while at the same time it is the story OF Aaron Burr.

Burr (Leslie Odom, Jr.) welcomes us to the evening almost purring:

How does a b*st*rd, orphan, son of a wh*re And a Scotsman dropped in the middle of a forgotten spot In the Caribbean, by Providence impoverished, to squalor Grow up to be a hero and a scholar?

Who did this immigrant Hamilton (Lin-Manuel Miranda) think he was? Burr was the son of money. Hamilton was the son of chance and fortune. Burr was willing to wait for his just rewards; Hamilton preferred the direct route.

... I'm just like my country I'm young, scrappy and hungry And I'm not throwing away my shot

Hamilton arrives from Nevis in the Bahamas just as the country is splintering into a new incarnation. He lands in New York, the center of everything, and works his way up the revolutionary ladder. He sits at the right hand of God in the person of George Washington (Christopher Jackson) and pines for a command that is denied him until there is no other option.

Hamilton did not live in a vacuum, however. Events and people were moving around him like a hurricane. The women in his life were a match in every way to the men. "The Schuyler Sisters," Angelica (Renée Elise Goldsberry), Eliza (Phillipa Soo), and Peggy (Alysha Deslorieux on the night I was there), are the center of New York's solar system. While Washington in planning battle, there is a social life to be created. Angelica is looking for a mind at work, and when both she and her sister, Eliza, are smitten by Hamilton, she steps aside in a scene that is tragic and gallant.

As each element is added to the story, the tapestry becomes richer and more dense. Family brings new responsibility but does not alter Hamilton's trajectory. As the new country is formed, he stays in the inner circle, annoying Thomas Jefferson (Daveed Diggs) who was in France for most of the war, and drives Burr just a little mad. Burr's thirst for the power that Hamilton has is palpable, and as his frustration explodes in the second act with "The Room Where It Happens," the experience is visceral for us all and becomes a showstopper.

Over and over again we see the tragedy that is coming. The rules of dueling are spelled out more than one time. The future is seen as a place where these folks may not walk but in which they will be remembered. The tension and terror of the time fill the theatre. This is balanced by Miranda's eye for the absurd, the ridiculous and the insidious which evoke belly laughs, winces and mental high-fives. He gives a generous nod to King George (Jonathan Groff, who is the only white person playing a main character) who smiles and winks through three pop numbers that remind us in the nicest possible way that the little people are just that:

Cus when push comes to shove I will kill your friends and family to remind you of my love

Hamilton was smart and driven - and he was a writer. It was his pen that got him out of his home, and it would be his pen that brought him to the side of Washington. Today he would have been tweeting (as is Miranda) several times a day. If the telegraph had been around he would have been tapping until the machine melted in his hands. But these were the days of longhand, quills, ink, and parchment. And delivery was by foot or, if you were lucky, horseback. Still, what Hamilton managed to crank out was not only impressive, it was world-altering. His accomplishments are listed like it was an awards banquet. He crafted a financial system. Created the national debt to save the country. Wrote *The Federalist Papers*. He wrote as if he were running out of time. And he was.

The last moments of Hamilton's life are perhaps the most delicately crafted. "I imagine death so much it seems like a memory," Hamilton sings as the bullet travels through time and relationships to reach him. And when it does, we hear the lament of Aaron Burr, still at the center of the tale, who didn't realize the world was wide enough for them both, and the chorus that delivers us back into our seats singing and asking us, "Who lives? Who dies? Who tells your story?"

Hamilton is a magnificent tapestry where all the elements of theatre are called upon to be their very best. The choreography by Andy Blankenbuehler is nothing short of mesmerizing. His work makes the entire piece pulse. Alex Lacamoire's musical direction and orchestration lifts us into the stratosphere. The scenic design by David Korins, costumes by Paul Tazewell, and lights by Howard Binkley are seamlessly integrated and a visual feast. Finally, Thomas Kail's direction is impeccable. Under his guidance this show has been pieced together into a living, breathing entity. *Hamilton* is not just a show, it is an experience - which is always the goal of art. This is not a show that you sit and watch. It is a show that takes you by the hand and pulls you into its embrace.

The end result is something much more than the story of one man. It is the story of how we each create our destiny and our mark on the world. You leave the theater thinking about what you would like to do that you have not done. You leave the theatre filled with possibility.

(Photo by Joan Marcus)&nbsp;<hr />"'Hamilton' makes us feel the unstoppable, urgent rhythm of a nation being born." Ben Brantley for New York Times"With 'Hamilton,' Broadway is officially the coolest place on the planet. And the smartest. And most exhilarating." Joe Dziemianowicz for New York Daily News"Lin-Manuel Miranda's 'In the Heights' may have been a hit — but his 'Hamilton' is a phenomenon." Elisabeth Vincentelli for New York Post"The greatest American musical in decades." David Cote for Time Out New York"It was phenomenal off-Broadway. It's even better now. 'Hamilton' is that rare musical that fires on all cylinders, even ones we never knew existed." Roma Torre for NY1"This is a musical often stunning in its audaciousness." Mark Kennedy for Associated Press"This enormously ambitious and entertaining musical history lesson is even more impressive on a second viewing." Frank Scheck for The Hollywood Reporter"This innovative show is shaping up to be just as much of a phenomenon uptown, playing in a Broadway house with four times the seating capacity, and to a more traditional but no less enthusiastic audience. That universal appeal to crossover audiences is one unmistakable sign of a groundbreaking show." Marilyn Stasio for VarietyExternal links to full reviews from popular press...<a href="http://www.nytimes.com/2015/08/07/theater/review-hamilton-young-rebels-changing-history-and-theater.html?_r=0" target="Top">New York Times</a> - <a href="http://www.nydailynews.com/entertainment/theater-arts/hamilton-musical-mint-condition-broadway-article-1.2316761" target="Top">New York Daily News</a> - <a href="http://nypost.com/2015/08/06/hamilton-isnt-quite-revolutionary/" target="Top">New York Post</a> - <a href="http://www.timeout.com/newyork/theater/hamilton-1" target="Top">Time Out</a> - <a href="http://www.ny1.com/nyc/all-boroughs/lifestyles/2015/08/6/ny1-theater-review---hamilton-.html" target="Top">NY1</a> - <a href="http://www.hollywoodreporter.com/review/lin-manuel-mirandas-hamilton-theater-813145" target="Top">Hollywood Reporter</a> - <a href="http://variety.com/2015/legit/reviews/hamilton-review-broadway-1201557679/" target="Top">Variety</a>

'Hamilton' review

Read our five-star review of *Hamilton* on Broadway at the Richard Rodgers Theatre.

The Richard Rodgers Theatre was built by Irwin Chanin, and it originally opened as Chanin's 46th Street Theatre in 1925.

A number of different owners have operated the theatre. The Shubert brothers purchased the building in 1932, renaming it the 46th Street Theatre. Robert W. Dowling took over in 1945, producer Lester Osterman took the reigns in 1960, and producers Stephen R. Friedman and Irwin Meyer gained control in 1978.

The Nederlander Organization purchased and renovated the theatre in 1981, rechristening it in honor of the American composer Richard Rodgers (of Rodgers and Hammerstein) in 1990.

## How to get to the Richard Rodgers Theatre on Broadway

The Richard Rodgers Theatre is nearest to the 42nd Street - Times Square subway stop on the 1, 2, 3, 7, N, Q, R, W, and S subway lines. Theatregoers can also take the the 1 line to the 50th Street station; or the N, R, or W lines the 49th Street station. All are located about four blocks from the theatre on 46th Street between Eighth Avenue and Broadway.

The nearest bus stop to the Richard Rodgers Theatre is 8th Ave/W 46th St. on the M20 and M104 lines.

## Restaurants near the Richard Rodgers Theatre

The Richard Rodgers Theatre is located one block directly east of Restaurant Row, the stretch of 46th Street between Eighth and Ninth Avenues lined with a diverse array of restaurants. Some popular eateries there include Frankie and Johnnie's Steakhouse, Becco (Italian), Hold Fast (American), and Sushi of Gari 46 (Japanese).

## Where is *Hamilton* on Broadway playing?

*Hamilton* on Broadway plays the Richard Rodgers Theatre at 226 West 46th St. The Pulitzer- and Tony Award-winning hit by Lin-Manuel Miranda has been at the theatre since 2015. *Hamilton* holds the record for most Tony nominations in history (16), is the 26th-longest-running show in Broadway history, and is the longest-running show to ever play at the Rodgers.

Richard Rodgers Theatre - NY

Richard Rodgers Theatre

Jonathan Groff Headshot

Lindsay Mendez plays Mary Flynn in Stephen Sondheim’s [*Merrily We Roll Along*](https://www.newyorktheatreguide.com/show/27417-merrily-we-roll-along-tickets) on Broadway at the [Hudson Theatre](https://www.newyorktheatreguide.com/theatres/hudson-theatre) until March 24.

Mendez made her Broadway debut as Jan in *Grease* in 2007. Other Broadway credits include *Everyday Rapture*, *Godspell*, and *Significant Other*. She originated the role of Rose Fenny in *Dogfight* off Broadway and starred as Elphaba in the 10th anniversary Broadway company of [*Wicked*](https://www.newyorktheatreguide.com/show/1-wicked-musical-tickets) in 2013.

In 2018, Mendez played Carrie Pipperidge in Jack O’Brien’s revival of *Carousel*, for which she received a Tony Award for Best Featured Actress in a Musical, as well as a Drama Desk Award and Outer Critics Circle Award. 

From 2017-23, Mendez played court reporter Sara Castillo in the CBS legal drama *All Rise*. In 2022, she received an Outer Critics Circle Award for her performance in *Merrily We Roll Along* off Broadway at [New York Theatre Workshop](https://www.newyorktheatreguide.com/theatres/new-york-theatre-workshop) before reprising the role on Broadway.

Lindsay Mendez - NY

Carousel on Broadway [8324]

Carousel on Broadway

Carousel on Broadway [8324] Product Media

Designed by Herbert J. Krapp, the Imperial Theatre was built for the Shubert Organization and officially opened on December 25, 1923 with the musical *Mary Jane McKane*.

It was the Shuberts' 50th New York venue and was constructed as a replacement for their 20-year-old [Lyric Theatre](https://www.newyorktheatreguide.com/theatres/lyric-theatre) (which stood partly on the site of the current Lyric Theatre). The Imperial Theatre also held the first Ms. Globe Pageant in 1951.

## How to get to the Imperial Theatre on Broadway

The Imperial Theatre, located on the corner of 45th Street and Eighth Avenue, is closest to the 42nd Street - Port Authority Bus Terminal subway stop on the A, C, and E lines. The closest bus stops are 8th Ave/W 46th St. on the M20 and M104 lines and 8th Ave/W 43rd St. on the M20, M104, and M34A-SBS line.

## Restaurants near the Imperial Theatre

The Imperial Theatre in NYC is one block southwest of Restaurant Row, located on 46th Street between Eighth and Ninth Avenues. Popular restaurants on this stretch include Joe Allen (American), Becco (Italian), Le Rivage (French), Dim Sum Palace (Chinese), and a variety of others.

The theatre is also located one block east of Marseille (French), Nizza (Italian), and Five Napkin Burger (American), three popular restaurants for the theatregoing crowd all located between 44th and 45th Streets on Ninth Avenue.

Day of week	Matinee	Evening
Monday	-	-
Tuesday	-	7:00 PM
Wednesday	1:00 PM	7:00 PM
Thursday	-	7:00 PM
Friday	-	7:00 PM
Saturday	1:00 PM	7:00 PM
Sunday	2:00 PM	-

Merrily We Roll Along on Broadway Tickets

About Merrily We Roll Along on Broadway

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Daniel Radcliffe

Jonathan Groff

Lindsay Mendez

Merrily We Roll Along on Broadway cast and creative team

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Hudson Theatre

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