Name: Days of Wine and Roses on Broadway
Start: 2024-01-06
End: 2024-03-31
Location: Studio 54

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Days of Wine and Roses on Broadway - NYC [27504]

Genre: Musical (US and AUS)

NYC Days of Wine and Roses New Asset 4 1/18/24

Days of Wine and Roses on Broadway

NYC Days of Wine and Roses Poster 12/12/2023

231102 DOWAR 1464x896 KG (2)

Days of Wine and Roses on Broadway - Hero

Days of Wine and Roses on Broadway - NYC Product Media

NYC Days of Wine and Roses New Asset 1 1/18/24

NYC Days of Wine and Roses New Asset 2 1/18/24

NYC Days of Wine and Roses New Asset 6 1/18/24

NYC Days of Wine and Roses New Asset 5 1/18/24

Brian d’Arcy James stars as Joe, opposite [Kelli O'Hara](https://www.newyorktheatreguide.com/stars-on-stage/kelli-ohara) as Kirsten, in *Days of Wine and Roses* on Broadway from January 6 to April 28, 2024 only.

James has appeared in more than 15 Broadway shows. He received Tony Award nominations for his portrayals of Sidney Falco in *Sweet Smell of Success*, Nick Bottom in *Something Rotten!*, the Baker in *Into the Woods*, and Shrek in *Shrek The Musical*. All but *Into the Woods* also earned him Drama Desk Award nominations, and he won the award for *Shrek*.

Additionally, he has appeared in [*Hamilton*](https://www.newyorktheatreguide.com/show/384-hamilton-tickets) as King George III, *Titanic* as Frederick Barrett, and *Next to Normal* as Dan, among other roles. On screen, he is known for his performance on the Broadway-centric TV show *Smash*, Steven Spielberg's *West Side Story* remake, and the Oscar-winning film *Spotlight*.

Brian d’Arcy James - NY

Into the Woods on Broadway - NYC

Into the Woods on Broadway

Into the Woods on Broadway - NYC Product Media

Find someone who looks at you the way the carb-loving Little Red Ridinghood locks eyes on a loaf of bread in the opening moments of the bewitchingly beautiful and impeccably performed <a href="https://www.newyorktheatreguide.com/show/into-the-woods" target="_blank">Into the Woods</a> at the <a href="https://www.newyorktheatreguide.com/theatres/st-james-theatre" target="_blank">St. James Theatre</a>.Her besotted eyeballs all but scream, "More, please!" Turns out, the same expression was plastered on my face for almost three hours during this take on the late-1980s fairytale musical by composer-lyricist Stephen Sondheim and writer James Lapine.Direct from a deservedly much-ballyhooed run in May at New York City Center Encores!, this star-packed and polished Into the Woods is currently slated to run for eight weeks. It's Broadway's giant summer blockbuster. What a stellar way to launch the 2022-23 Broadway season.Credit director Lear deBessonet for assembling a Broadway dream team (there have been changes since City Center) as well as her clear-eyed and uncluttered staging. The emphasis is squarely on the wall-to-wall wonders and wit of the script and score. Its familiar songs include "Children Will Listen," "No More," and "No One Is Alone."&nbsp;A half dozen above-the-title stars help make it feel like you're seeing and hearing the show for the first time. <a href="https://www.newyorktheatreguide.com/actor-profile/sara-bareilles" target="_blank">Sara Bareilles</a> and Brian d'Arcy James are a childless baker and his wife on a hunt to lift a hex, Patina Miller is the witch who cast a spell on them, Phillipa Soo is long-suffering Cinderella, <a href="https://www.newyorktheatreguide.com/actor-profile/gavin-creel" target="_blank">Gavin Creel</a> is a prince and a wolf, and Joshua Henry is another royal.They collide with each other as well as Little Red (an invaluable Julia Lester), the lonely and long-tressed Rapunzel (Alysia Velez), the beanstalk-climbing Jack (a touching and amusing Cole Thompson) and his mom (Aymee Garcia), and others.&nbsp;The whole cast shines, including Jack's scene-stealing bovine bestie, a cow puppet designed by James Ortiz and brought adorably to life at my performance by Cameron Johnson, who stepped in for Kennedy Kanagawa.&nbsp;Sondheim (who died in November 2021) and Lapine, collaborators on Sunday in the Park with George and Passion, knew their way around stories streaked with darkness. Classic fairytales, typically stuffed with plenty of pain and suffering, make ideal raw material.As characters get mashed together and "happily ever afters" are replaced by reality checks, the scope of the show expands. What emerges is a funny, insightful, and thrilling story about life and death and all that's waiting along the way.&nbsp;The show's spare set reserves space for the onstage orchestra and conductor Rob Berman. Scenic designer David Rockwell always has magic and poetry up his sleeve. He reveals it here with a forest of descending trees.&nbsp;Andrea Hood's costumes could have leapt from a pop-up book. Tyler Micoleau bathes the stage in moody lighting. Scott Lehrer and Alex Neumann's sound is clear as glass so that every clever quip ("You can talk to birds") and tongue- and brain-flexing lyric ("We've not time to sit and dither / While her withers wither with her" — say that five times fast) tolls with clarity.&nbsp;The first act flows along smoothly as silk, while the second act is choppier but deeper. This show is filled with musical highlights. A few favorites include Miller's soul-shaking "Stay With Me"; Creel's cheeky "Hello, Little Girl" and "Agony," which cement his status as an ace stage comedian; and Soo's soaring "On the Steps of the Palace."&nbsp;Between her all-heart acting and subtly pop-infused singing, Bareilles makes everything gleam. That goes double on "It Takes Two," a duet with the reliably appealing James.Into the Woods, which became a Meryl Streep movie in 2014, is one of Sondheim's most popular shows. This new production follows previous Broadway runs in 1987 and 2002. They say three's a charm — and this revival has it to spare.<a href="https://www.newyorktheatreguide.com/show/into-the-woods" target="_blank">Into the Woods is at the St. James Theatre until August 21. Tickets to Into the Woods will be available on New York Theatre Guide soon.</a>Photo credit: Sara Bareilles and Brian d'Arcy James in Into the Woods. (Photo by Evan Zimmerman for MurphyMade)

'Into the Woods' review — Sara Bareilles, Brian d'Arcy James, and more lead a giant triumph of a revival

Into the Woods is at the St. James Theatre until August 21. Tickets to Into the Woods will be available on New York Theatre Guide soon.

Into the Woods Review | New York Theatre Guide

Designed by Warren and Wetmore, the St. James Theatre was built by producer Abraham L. Erlanger on the site of the original Sardi's restaurant (which is now located down the block). The theatre opened in 1927 as The Erlanger with the inaugural production *Merry Malones*.

The Astor family took over the venue in 1930 after Erlanger's death and renamed it the St. James Theatre in 1932.

The Shubert Organization took control in 1941 before relinquishing the building to William L. McKnight in 1957. In 1970, he passed it on to his daughter Virginia and her husband James H. Binger, the founders of theatre-ownership company Jujamcyn Theaters. The organization still operates the St. James today.

## How to get to the St. James Theatre on Broadway

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

## Restaurants near the St. James Theatre

Popular restaurants that share a block with the St. James Theatre include Sardi's (American), John's (pizza/Italian), and Carmine's (Italian). Other nearby American diners and restaurants include Peachy Keen, Bubba Gump Shrimp Co., and Hard Rock Cafe.

St. James Theatre - NY

St. James Theatre

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

"They are not long, the days of wine and roses," wrote Ernest Dowson in an 1896 poem that later lent the phrase to a [1958 teleplay, 1962 film](https://www.newyorktheatreguide.com/theatre-news/news/guide-to-the-days-of-wine-and-roses-musical-on-broadway), and now, their [Broadway musical adaptation](https://www.newyorktheatreguide.com/show/27504-days-of-wine-and-roses-tickets). Translation: Life's best times are fleeting. A case in point is the 16-week stint when the talents of actors [Kelli O'Hara](https://www.newyorktheatreguide.com/stars-on-stage/kelli-ohara) and [Brian d'Arcy James](https://www.newyorktheatreguide.com/stars-on-stage/brian-darcy-james) (both multi-Tony nominees giving career-best performances) and writers Adam Guettel and Craig Lucas (premiering their first new Broadway show since 2005's *The Light in the Piazza*) are all on one stage.

Since its Off-Broadway premiere in 2023, the *Days of Wine and Roses* musical, featuring largely the [same company](https://www.newyorktheatreguide.com/theatre-news/news/kelli-ohara-and-brian-darcy-james-team-up-in-days-of-wine-and-roses), has aged like, well, wine. The story begins light and sweet before quickly revealing heavier notes: Kirsten loves Joe; Joe loves Kirsten. Joe also loves liquor. Before long, former teetotaler Kirsten loves liquor, too, in part because she grows to believe Joe will only love her if she does.

The gut-wrenching tragedy of *Days of Wine and Roses* is watching that dynamic slowly reverse: When Joe finally manages to claw his way up onto the wagon, Kirsten seeks to pull him back down to drown with her at the bottom of the bottle.

Water imagery is constant in the musical, showing how completely drink engulfs Joe and Kirsten's lives. (Notably, the house of Kirsten's father, a reliably sobering presence as played by Byron Jennings, is the one place absent of the motif — the couple and their daughter, Lila, regularly visit there as a sort of rehab.) No metaphor is better than that of the standout song "As the Water Loves the Stone," a sweet ballad until you remember that the caress of water erodes stone. The implication is clear: Joe and Kirsten are eating away at each other drop by drop.

In less skilled hands, these flawed characters could push the audience away or else flatten into scapegoats. But James and O'Hara don't let that happen for a second. O'Hara's Kirsten contains multitudes beneath a sheltered, sunny air, including a zeal for what her favorite books describe as "the human desire penetrate the unknown" — like the world of booze. James's Joe is magnetic such that when he trades his drunken aggressiveness for tenderness, we immediately root for him again. James and O'Hara's sparkling chemistry is effortless, entirely convincing us of their deep love even in their darkest moments — and those moments become all the more arresting as a result.

The perfect pair also saves the show from its weak spots; namely, Guettel's lyrics that wash over the ears and leave little aftertaste, more than once failing to convince that they express emotions big enough for song. As a result, though, I was more closely attuned to Lucas's book, economical but quietly well-crafted, and Guettel's score, lilting and (in keeping with the water theme) regularly nautical.

While *Days* certainly doesn't go down easy, it's energizing to see a Broadway show, including director Michael Greif, handle a mature theme like alcoholism with precision and compassion. Cheers to that.

[*Days of Wine and Roses* is at Studio 54 through April 28. Get *Days of Wine and Roses* tickets now.](https://www.newyorktheatreguide.com/show/27504-days-of-wine-and-roses-tickets)

*Photo credit: Brian d'Arcy James and Kelli O'Hara in Days of Wine and Roses on Broadway. (Photo by Joan Marcus)*

'Days of Wine and Roses' review — Kelli O'Hara and Brian d'Arcy James give career-best performances

Read our four-star review of the new musical *Days of Wine and Roses* on Broadway, an adaptation of the 1962 film that premiered off Broadway in summer 2023.

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

Brian D-Arcy James

Kelli O'Hara is in *Days of Wine and Roses* off Broadway.

Kelli Christine O'Hara&nbsp;was born on April 16, 1976&nbsp;in Elk City, Oklahoma and is a Tony Award-winning actress. Finally winning a Tony Award in 2015 for her performance as Anna Leonowens in the Lincoln Center Theater revival of&nbsp;The King and I, she has&nbsp;earned six additional&nbsp;nominations throughout her career for her roles in&nbsp;The Bridges of Madison County,&nbsp;Nice Work If You Can Get It,&nbsp;South Pacific,&nbsp;The Pajama Game,&nbsp;The Light in the Piazza,&nbsp;and&nbsp;Kiss Me, Kate!

O'Hara attended&nbsp;Deer Creek High School and went on to study music, graduating with a bachelor's degree in&nbsp;vocal performance and opera from Oklahoma City University. She was taught by voice teacher Florence Birdwell, who had also previously tutored another Broadway veteran: <a href="https://www.newyorktheatreguide.com/actor-profile/kristin-chenoweth">Kristin Chenoweth</a>.

Her first notable professional job was in the ensemble of the 1999 national tour of&nbsp;Jekyll &amp; Hyde, which would lead to her joining the Broadway company in June 2000 and making her Broadway debut. She remained with the production until its final performance on January 7, 2001. O'Hara quickly booked her next Broadway credit as&nbsp;Young Hattie in the Broadway revival of&nbsp;Follies&nbsp;from March 2001, eventually assuming&nbsp;the role of Young Phyllis. She went on to appear as Susan in the Broadway premiere of&nbsp;Sweet Smell of Success&nbsp;in spring 2002 and made her Off-Broadway debut as Albertine&nbsp;for the <a href="https://www.newyorktheatreguide.com/theatres/playwrights-horizons">Playwrights Horizons</a> production of&nbsp;My Life with Albertine in spring 2003. The next year, she was cast as&nbsp;Lucy Westenra in the Broadway premiere of&nbsp;Dracula, the Musical, which ran from July 30, 2004&nbsp;to January 2, 2005.

O'Hara's career on stage reached new heights following her performance as&nbsp;Clara Johnson in the Lincoln Center Theater production of&nbsp;The Light in the Piazza. She played the role from&nbsp;March 17 through December 4, 2005&nbsp;and earned her first Tony Award nomination. She received Tony Award nominations for all of her subsequent&nbsp;appearances on&nbsp;Broadway until 2016. Her résumé includes the roles of&nbsp;Babe Williams in the 2006 revival of&nbsp;The Pajama Game,&nbsp;Ensign Nellie Forbush in the Lincoln Center Theater revival of&nbsp;South Pacific,&nbsp;Billie Bendix in the 2012 premiere of&nbsp;Nice Work If You Can Get It&nbsp;(also earning a Grammy Award nomination for Best Musical Theater Album&nbsp;in 2013), and&nbsp;Francesca in the 2014 premiere of&nbsp;The Bridges of Madison County. At that point in her career, O'Hara was a five-time Tony Award nominee, and she also found time to appear off Broadway as Regan in <a href="https://www.newyorktheatreguide.com/theatres/public-theater">The Public Theater's</a> 2011 revival of&nbsp;King Lear. She also&nbsp;returned to Playwrights Horizons as&nbsp;Cathy Whitaker in 2013's&nbsp;Far From Heaven.

Her various concert stagings include leading roles in Sunday in the Park with George,&nbsp;My Fair Lady,&nbsp;Bells Are Ringing,&nbsp;She Loves Me, and&nbsp;Brigadoon, and her <a href="https://www.newyorktheatreguide.com/theatres/the-metropolitan-opera">Metropolitan Opera</a> credits include&nbsp;The Merry Widow&nbsp;in 2014 and&nbsp;Così fan tutte&nbsp;in 2018.

She finally won a&nbsp;Tony Award in 2015 for her widely acclaimed performance as Anna Leonowens in the Lincoln Center Theater revival of&nbsp;The King and I, starring in the production from&nbsp;March 12, 2015 to April 17, 2016. She would reprise the role and make&nbsp;her West End debut in&nbsp;The King and I&nbsp;at the London Palladium from June to September 2018, with that production being broadcast to cinemas worldwide in November 2018.

Although primarily known for her career on the Broadway stage, O'Hara has also appeared in numerous films and television series, including the role of Mrs. Darling in NBC's live televised musical Peter Pan Live!&nbsp;and a 2018&nbsp;Emmy Award-nominated performance as&nbsp;Katie Bonner in The Accidental Wolf. Other notable screen credits include Sex and the City 2,&nbsp;Numb3rs,&nbsp;13 Reasons Why,&nbsp;Blue Bloods,&nbsp;and Masters of Sex. She also starred in the popular Live from Lincoln Center&nbsp;series twice —&nbsp;as&nbsp;Nellie Forbush in&nbsp;South Pacific&nbsp;in 2010 and as&nbsp;Julie Jordan in&nbsp;Carousel&nbsp;in 2013.

Following Roundabout Theatre Company's critically acclaimed 2016 benefit concert of the classic Cole Porter musical&nbsp;Kiss Me, Kate!, O'Hara&nbsp;reprised&nbsp;the dual roles of Kate and&nbsp;Lilli Vanessi in a fully staged Broadway revival at <a href="https://www.newyorktheatreguide.com/theatres/studio-54">Studio 54</a> from&nbsp;February 14 through June 30, 2019, earning yet another Tony Award nomination.

Kelli O'Hara - NY

Kiss Me, Kate on Broadway [11265]

Kiss Me, Kate on Broadway

Kiss Me, Kate on Broadway [11265] Product Media

Metropolitan Opera

The Hours - NYC [39039]

The Hours

The Hours - NYC [39039] Product Media

The Metropolitan Opera company was founded in 1883, and its first opera house was located at 39th Street and Broadway. The current venue opened at Lincoln Center in September 1996.

Wallace K. Harrison designed The Metropolitan Opera, which is the world's largest repertory opera house. Aside from Metropolitan Opera performances, the venue hosts the American Ballet Theatre during the summer, various touring opera and ballet companies, and concerts.

Artists ranging from Renée Fleming to Paul McCartney to Barbra Streisand have performed on the Metropolitan Opera House stage. By 2017, the venue had hosted more than 11,000 performances.

## How to get to The Metropolitan Opera

The Metropolitan Opera House is located within the Lincoln Center performing arts plaza. The nearest subway stop is 66th St. - Lincoln Center on the 1 line. The closest bus stop is W 66th St./Columbus Av. on the M66 line.

## What to wear to The Metropolitan Opera

The Metropolitan Opera does not have a strict dress code, but the company recommends professional yet comfortable clothing. Dressing up is historically the norm, especially at gala performances or opening-night premieres. Cocktail attire or formalwear are commonplace, though more casual attire is also permitted. Matinee performances tend to be slightly less formal, with business casual as the norm.

Metropolitan Opera House - NY

Metropolitan Opera House

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Studio-54-NY-644x322px

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1K+ Reviews

DOUG Rob NYC

Wish I Could See Them All

chris_

GreatAvi

Stars on stage

Brian d’Arcy James

Kelli O'Hara

Days of Wine and Roses on Broadway cast and creative team

Venue

Studio 54

Accessibility

Tickets