Name: Spamalot on Broadway
Start: 2023-10-31
End: 2024-04-07
Location: St. James Theatre

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Ages 9+. Children under 4 years old will not be admitted.

Spamalot on Broadway - NYC [33129]

Genre: Musical (US and AUS)

NY Spamalot on Broadway Asset 3

Spamalot on Broadway

480x720 Poster Key Art

Spamalot on Broadway - Hero

Spamalot on Broadway - NYC Product Media

Production shot of Spamalot in New York, with James Monroe Iglehart as King Arthur.

NYC Spamalot on Broadway Bennett Asset 2 3/9/24

Production shot of Spamalot in New York, with Christopher Fitzgerald as Patsy and James Monroe Iglehart as King Arthur.

NY Spamalot on Broadway Asset 4

Production shot of Spamalot in New York, with Nik Walker as Sir Galahad and Leslie Rodriguez Kritzer as The Lady of the Lake.

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NYC Spamalot on Broadway Bennett Asset 1 3/9/24

Production shot of Spamalot in New York, with James Monroe Iglehart as King Arthur and Leslie Rodriguez Kritzer as The Lady of the Lake.

NY Spamalot on Broadway Asset 2

NYC Spamalot on Broadway Bennett Asset 3 3/9/24

Production shot of Spamalot in New York, showing a joyful dance.

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Production shot of Spamalot in New York, with Leslie Rodriguez Kritzer as The Lady of the Lake.

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Production shot of Spamalot in New York, showing victory.

NY Spamalot on Broadway Asset 10

Christopher Fitzgerald plays Patsy in [*Spamalot*](https://www.newyorktheatreguide.com/show/33129-spamalot-tickets) on Broadway.

Fitzgerald has earned acclaim for his diverse roles on Broadway. Notably, he earned his first Drama Desk Award nomination for performing in *Amour*, earned another for playing Igor in *Young Frankenstein*, and later earned the prize twice for *Finian's Rainbow* and *Waitress*.

Fitzgerald also starred as Boq in the original Broadway cast of [*Wicked*](https://www.newyorktheatreguide.com/show/1-wicked-musical-tickets) and appeared in *The Merchant of Venice*. More recently, he played David in the Tony Award-winning 2021 Broadway revival of *Company*.

Christopher Fitzgerald - NY

*The Phantom of the Opera* is not dead yet! The show may have closed at the [Majestic Theatre](https://www.newyorktheatreguide.com/theatres/majestic-theatre) earlier this year, but for five hilarious minutes across the street at [*Spamalot*](https://www.newyorktheatreguide.com/show/33129-spamalot-tickets), during "The Song That Goes Like This," its vestiges float in on a gondola shrouded in smoke, under the light of a video-projected chandelier. And that's far from the only other musical that makes a cameo.

*Spamalot* being a tasting flight of Broadway's past and present hits is one of the best reasons to recommend it. On a budget or a time crunch? For one price of admission, you'll get bits of the can-can dancing of [*Moulin Rouge!*](https://www.newyorktheatreguide.com/show/15911-moulin-rouge-the-musical-on-broadway-tickets), the jazzy scatting of [*Some Like It Hot*](https://www.newyorktheatreguide.com/show/24262-some-like-it-hot-tickets), the iconic French flag wave from *Les Mis*, the slinky Fosse-esque moves of [*Chicago*](https://www.newyorktheatreguide.com/show/22-chicago-tickets) (and a direct nod to his iconic ["Mein Herr" chair-ography](https://youtu.be/lxmz3RcNNBE?feature=shared) from [*Cabaret*](https://www.newyorktheatreguide.com/show/32847-cabaret-tickets)), and more.

Not to mention the rest of *Spamalot*, adapted by Monty Python founding member Eric Idle and John Du Prez from [*Monty Python and the Holy Grail*](https://www.newyorktheatreguide.com/theatre-news/news/watch-for-these-monty-python-and-the-holy-grail-moments-in-spamalot). The irrevent account of King Arthur and the Knights of the Round Table cemented itself as a modern classic upon clinching the holy grail of theatre honors — the Best Musical Tony Award — in 2005.

This Broadway revival, *Spamalot*'s first, feels like a proclamation that the musical's heyday is not dead yet, either. Director/choreographer Josh Rhodes's production, in particular Paul Tate dePoo III's set and Jen Caprio's costumes, are plainly inspired by the original's, and Monty Python's trademark, silly sketch comedy is all but entirely intact. That is for better or for worse: Brief bits of man-in-dress humor from 2005 haven't aged well, but the few script updates are similarly hit and miss. New references to the NYC subway and Lea Michele feel fresher than a now-passé nod to the viral ["Angela Bassett did the thing"](https://www.youtube.com/shorts/QFztBrUZIrU) video.

The most iconic bits — fisch schlapping, coconuts as horseshoes — are timeless, though your laughter will simply be proportional to how much you enjoy Monty Python's silly sketch-comedy style in general. My personal favorites are the "so bad they're good" puns, like when Arthur ([James Monroe Iglehart](https://www.newyorktheatreguide.com/stars-on-stage/james-monroe-iglehart)) describes the Holy Grail as a "symbol," cueing the cymbalist.

The other strength of *Spamalot* is that it gives every one of its principal cast members a chance to shine. And shine they do. [Ethan Slater](https://www.newyorktheatreguide.com/stars-on-stage/ethan-slater) proves himself one of the best physical comedians on Broadway right now in a variety of bit parts, making each one feel larger than life. [Michael Urie](https://www.newyorktheatreguide.com/stars-on-stage/michael-urie) makes a meal of the showstopping "You Won't Succeed on Broadway" as Sir Robin, and [Christopher Fitzgerald](https://www.newyorktheatreguide.com/stars-on-stage/christopher-fitzgerald) does the same with "Always Look on the Bright Side of Life" as Patsy, though his best moment is his silent comedic acting in the background of Arthur's "I'm All Alone."

And [Leslie Rodriguez Kritzer](https://www.newyorktheatreguide.com/stars-on-stage/leslie-rodriguez-kritzer) channels no less than half a dozen pop and Broadway divas — Cher, Mariah Carey, and [Idina Menzel](https://www.newyorktheatreguide.com/stars-on-stage/idina-menzel) among them — in her glittering turn as the Lady of the Lake. Nevermind the Act 2 sequence in which the gang actually completes their quest (with some audience help, in one of *Spamalot*'s best scenes) — the high note Kritzer finds at the end of "Diva's Lament" is the true holy grail.

[*Spamalot* is at the St. James Theatre. Get *Spamalot* tickets on New York Theatre Guide.](https://www.newyorktheatreguide.com/show/33129-spamalot-tickets)

*Photo credit: Michael Urie, Nik Walker, James Monroe Iglehart, Christopher Fitzgerald, Jimmy Smagula, and Taran Killam in Spamalot. (Photo by Matthew Murphy and Evan Zimmerman)*

'Spamalot' review — Monty Python musical succeeds on Broadway, again

Read our four-star review of the first revival of *Spamalot* on Broadway, the musical adaptation of *Monty Python and the Holy Grail*, at the St. James Theatre.

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

Christopher Fitzgerald

Ethan Slater plays The Historian/Prince Herbert in [*Spamalot*](https://www.newyorktheatreguide.com/show/33129-spamalot-tickets) on Broadway.

Slater is best known for his Tony Award-nominated, Broadway-debut performance as SpongeBob SquarePants in the Broadway musical of the same name. He also won the Drama Desk Award, Outer Critics Circle Award, and Theatre World Award for his performance in 2018.

Later, he appeared on screen in shows including *Law & Order: Special Victims Unit* and *The Marvelous Mrs. Maisel*. He returned to the stage in a special presentation of *Camelot* at Lincoln Center, in the world-premiere production of *Good Night, Oscar* in Chicago, and as Lee Harvey Oswald in an Off-Broadway revival of Stephen Sondheim's *Assassins*. The role earned him a Lucille Lortel Award nomination.

Ethan Slater - NY

Ethan Slater

James Monroe Iglehart stars as King Arthur in [*Spamalot*](https://www.newyorktheatreguide.com/show/33129-spamalot-tickets) on Broadway.

James Mornoe Iglehart is a Tony Award-winning actor&nbsp;who was born in Hayward, California on September 4, 1974. He attended California State University, East Bay and began his stage career in California, appearing in Bat Boy&nbsp;in Palo Alto and as Teen Angel in Grease&nbsp;in San Jose. He then appeared in the 1997 National Tour of Show Boat.

In 2006, he played the role of Mitch Mahoney in the musical comedy The 25th Annual Putnam County Spelling Bee&nbsp;at the Wilbur Theatre in Boston and would eventually take over the role on Broadway in April 2007 until the end of its run in January 2008, marking his Broadway debut. One year later, he originated the role of Bobby in the 2009 Broadway premiere of Memphis.

Iglehart’s breakthrough moment came when he secured the role of Genie in Disney’s stage adaptation of <a href="https://www.newyorktheatreguide.com/reviews/aladdin">Aladdin</a>. After pre-Broadway tryouts in Seattle in 2011 and Toronto in 2013, the show finally opened on Broadway in March 2014, landing Iglehart his first Tony Award.

He moved on from Agrabah to the Richard Rodgers Theatre in April 2017, assuming the dual roles of Marquis de Lafayette and Thomas Jefferson in Lin-Manuel Miranda’s smash hit musical Hamilton.

James Monroe Iglehart - NY

Ages 13+. Children under 4 are not permitted.

NYC Chicago on Broadway [22] 

Chicago on Broadway

NYC Chicago on Broadway [22]  Product Media

20 years old and she’s still got it, folks!

With the 20th anniversary of [*Chicago*](https://www.newyorktheatreguide.com/show/22-chicago-tickets) speedily approaching, I took a trip to Broadway’s [Ambassador Theatre](https://www.newyorktheatreguide.com/theatres/ambassador-theatre) to witness that timeless story of murder, greed, corruption, violence, exploitation, adultery and treachery… and rest assured, I still hold it near and dear to my heart!

*Chicago* is the second longest-running show in Broadway history, behind Andrew Lloyd Webber’s infamous [*Phantom*](https://www.newyorktheatreguide.com/show/38-the-phantom-of-the-opera-tickets), and still holds the record of being the longest-running musical revival and longest-running American musical on the Great White Way. So how has this iconic musical managed to outlast its competitors in the increasingly crowded and competitive market place that is Broadway?

One word can sum it all up, really… “Class”… which just so happens to be the title of one of the more reflective numbers in the show. As Velma and Mama Morton were serenading us, asking whatever happened to class, I couldn’t help but think that this production has it in abundance. *Chicago* proves that you don’t need to bombard your audience with a number of lavish sets or elaborate costume changes to put together a winning musical. All you need is a live band on stage, intoxicating the auditorium with that jazz-infused score from the genius that is John Kander and Fred Ebb and sprinkle it with that Bob Fosse-style choreography, and before you know it, you’ve razzle dazzled ‘em! Those tight-fitting, all-black (and often transparent) costumes by William Ivey Long enhance the show’s sensuality with equal measures of male and female exposure and have themselves become as recognisable as the show’s glittering red logo.

You forget how ground-breaking this revival must have been, when it officially opened on Broadway on 14th November 1996. Moments of breaking the fourth wall to introduce the musical numbers and having the conductor of the band interact with the actors on stage, still set *Chicago* apart from its predecessors, and who wouldn’t want to call for their “Exit Music” each time they left the room?

*Chicago* is equally as famous for its revolving casting door, which has seen both Broadway veterans and celebrities from the world of music, TV and film take to the stage and sink their teeth into those coveted principal roles for special limited engagements. Some of the company’s principals have been with the show for quite some time and continue to delight with every performance. NaTasha Yvette Williams’ brassy and sultry Mama Morton, Raymond Bokhour’s ever-loveable Amos and R. Lowe’s skilled, gender-bending performance as Mary Sunshine are always crowd-pleasing and essential parts of the production, offering the degree of stability that takes it smoothly through its many cast changes. Although some would argue that Chicago has been reduced to a star vehicle for celebrities wishing to dip their toes into the world of Broadway, I see it as a living, breathing piece of musical theatre history, which rightfully remains at the Ambassador Theatre and reminds us that all you need is class and, of course, all that jazz!

*(Photo by Jeremy Daniel)*

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"As much tribute as revival, the spirit of Fosse's genius never leaves the stage, and Chicago, under Walter Bobbie's sharp direction, will dazzle newcomers to the trademark Fosse dance style and provide a thrilling reminder to those who've seen it before just how smart, sexy and exciting this brand of choreography was, or rather, is."
*Greg Evans for Variety*

"Chicago is a triumph! It doesn't just give us the old razzle-dazzle; it glows."
*Richard Zoglin for Time Magazine*

"Chicago still glitters hypnotically! It remains the best adult entertainment in town and still bubbles with the joy of performing!"
*Ben Brantley for New York Times (2007)*

"The show seems to have discovered the fountain of youth. As entertaining as ever. Brash, buoyant and utterly irresistible!"
*Michael Kuchwara for The Associated Press (2003)*

'Chicago' review

Read our 20th anniversary review of *Chicago* on Broadway at the Ambassador Theatre.

Designed by Herbert J. Krapp, the Ambassador Theatre opened on February 11, 1921 under the ownership of the Shubert Organization with a production of the musical *The Rose Girl*. The Shuberts eventually sold the property in 1935, and it was turned into a cinema and television studio for NBC as well as the DuMont Television Network.

The venue was renamed the Ambassador Tele-Theatre until 1956, when the Shuberts reclaimed ownership and reinstated the building as a Broadway theatre. The Ambassador Theatre has been designated a New York City landmark for preservation.

## How to get to the Ambassador Theatre on Broadway

On the subway, take the C, E, or 1 line to 50th Street. The Ambassador Theatre is located a block away at 49th Street and Broadway.

Additionally, the Ambassador is located near various bus stops: 7th Ave/W 50th St. on the M7, M20, and M104 lines; 8th Ave./W 49th St. on the M20 and M104 lines; and 7th Ave/W 49th St. on the M50 line.

## Restaurants near the Ambassador Theatre

Popular restaurants located within a block of the Ambassador Theatre include The Palm steakhouse, Serafina (Italian), P.S. Kitchen (American), and Junior's Restaurant (American). [Learn more about 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)

Ambassador Theatre - NY

Ambassador 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

Aladdin

Aladdin on Broadway - NYC [105]

Aladdin on Broadway

Aladdin on Broadway [105] Product Media

In the UK, there is a Christmas tradition in British theatre called Pantomime. This phenomenon is foreign to American audiences, and is perhaps difficult to sell convincingly, but here goes: A pantomime takes the form of a tongue-in-cheek staging of a popular fairy tale, which encourages as much audience participation as possible. There is always a man dressed up as a ludicrous-looking woman known as the Dame (in the case of 'Aladdin' it's Widow Twanky), often a girl will play the lead male role (such as Peter Pan... Yes, it's all very gender-confusing) and a 'Dr. Evil-style' villain (who is constantly booed out of the building by the children in the audience, whenever he creeps onto the stage). There are also a few filthy jokes thrown into the mix, which fly straight over the childrens' heads and cheekily reward their accompanying parents. In short, the pantomime is a theatrical tradition that is belittled by theatre snobs, but wholeheartedly loved by families and secret 'guilty pleasure-seeking' theatregoers.Although pantomime is relatively unknown in the States, having recently attended a performance of Disney's latest mega-hit 'Aladdin,' I feel it is the closest thing to it in the good ole U S of A. Particularly the performance of Jonathan Freeman as treacherous Jafar (a role he reprises from voicing the character in the original 1992 animated film) reminded me of the old-school pantomime villain. Alas, there was no sign of boisterous booing from the audience...The musical, whilst perhaps not as creatively imaginative as Disney's standard barer 'The Lion King,' it certainly gets more laughs and the book's wise-cracking one-liners, often Arabian-themed, lend some refreshing, adult satisfaction. Most of these come from the show-stealing performance of James Monroe Iglehart as Genie, whose Tony Award-winning turn is truly a delight to behold. Stepping into the shoes of the late great Robin Williams (surely one of the main reasons, the animated classic was so popular) must be daunting at the least, but Iglehart gives a new and unique life to the character, whilst maintaining Mr Williams' high levels of energy and pace. His tour-de-force number 'Friend Like Me,' simply put, is musical theatre heaven! He is also quite the accomplished dancer and as light on his feet as the rest of the ensemble.Other comic relief comes in the form of Iago (a conniving parrot sidekick in the movie, now embodied as a short and stout human by Don Darryl Rivera), whose hilarious portrayal is a masterclass of comic timing. Three new additions to the cast are Aladdin's three, loyal buddies - Babkak, Omar and Kassim (Brian Gonzales, Jonathan Schwartz and Steel Burkhardt respectively) - who replace cheeky and loveable animated monkey Abu (although he does makes a cameo appearance on a poster in Act II!). These three amigos each have rounded characters and perform their comic sequences with vigour.The costumes and sets are wonderfully bright and make the production the most vibrantly colourful of all Disney Theatrical's offerings to date. Hats off to the ensemble members who undergo several quick (and magnificent) costume changes during the procession within the single musical number of 'Prince Ali'!Finally, the performances of Adam Jacobs as Aladdin and Courtney Reed as Princess Jasmine, although overshadowed by Iglehart, shine especially during their musical numbers. Particular favourites are the duet 'A Million Miles Away' and Aladdin's recurring solo 'Proud of Your Boy,' which both add some much needed character depth and showcase each actors' beautiful vocals. And of course, who can resist being swept along by the extremely impressive magic carpet scene during 'A Whole New World'?As I left the stunning New Amsterdam Theatre, I heard a child asking her mother: "How do they make that carpet fly, Mummy?" Her simple reply: "That's Disney magic!" I couldn't have said it better myself.(Photo by Cylla von Tiedemann)<hr />"The production's relentless razzle-dazzle and its anything-for-a-laugh spirit also infuse the show with a winking suggestion: If you can't be yourself, just be fabulous." Charles Isherwood for New York Times"The production's best special effect isn't the carpet, but the rollicking and endearingly over-the-top turn by James Monroe Iglehart ('Memphis'), who handles Robin Williams' role as the genie. With nonstop joking, fist bumps, declarations of 'Oh snap!' and nimble dance moves and smooth vocals, Iglehart shines with enough charisma to light a thousand and one nights." Joe Dziemianowicz for New York Daily News"Disney's new 'Aladdin' doesn't quite catch lightning in a bottle — but it lets a pretty nifty genie out of a lamp." Elisabeth Vincentelli for New York Post"For a child who's never seen a show before, the bright colors and broad silliness might be fun, but their adults will likely find it a teeth-grinding experience (although many dads will be diverted by Princess Jasmine's plunging necklines)." Robert Feldberg for The Record"This is a wonderful adaptation filled with color, charm and loads of theatrical magic." Roma Torre for NY1"The magic carpet flies smoothly and so does the rest of 'Aladdin', a buoyant musical comedy fashioned from the 1992 Disney animated feature." Michael Sommers for Newsroom Jersey"While it doesn't rival the imagination or innovation of 'The Lion King', the show's ebullient comic spirit should make it a popular hit." David Rooney for The Hollywood Reporter"Casey Nicholaw... stylistically turns the film's romantic fairy-tale adventure into shtick comedy." Marilyn Stasio for VarietyExternal links to full reviews from popular press...<a href="http://www.nytimes.com/2014/03/21/theater/aladdin-tweaks-the-disney-formula-with-breezy-insouciance.html?rref=theater&amp;module=Ribbon&amp;version=context&amp;region=Header&amp;action=click&amp;contentCollection=Theater&amp;pgtype=article" target="Top">New York Times</a> - <a href="http://www.nydailynews.com/entertainment/music-arts/aladdin-theater-review-article-1.1727136" target="Top">New York Daily News</a> - <a href="http://nypost.com/2014/03/20/aladdin-musical-doesnt-quite-seem-like-a-disney-hit/" target="Top">New York Post</a> - <a href="http://www.northjersey.com/arts-and-entertainment/theater/aladdin-loses-its-magic-1.747278" target="Top">The Record</a> - <a href="http://www.newjerseynewsroom.com/movies/aladdin-broadway-review-a-smooth-ride-for-the-family-crowd" target="Top">Newsroom Jersey</a> - <a href="http://www.hollywoodreporter.com/review/aladdin-theater-review-690038" target="Top">Hollywood Reporter</a> - <a href="http://variety.com/2014/legit/reviews/broadway-review-disney-aladdin-1201140780/" target="Top">Variety</a>

'Aladdin' review

Read our four-star review of *Aladdin* on Broadway at the New Amsterdam Theatre.

The New Amsterdam Theatre was designed by Henry Hertz and Hugh Tallant. Construction began in 1902, and the venue officially opened on October 23, 1903. The inaugural production was William Shakespeare's *A Midsummer Night's Dream*. 

From 1913 to 1927, the theatre housed the Ziegfeld Follies variety revue, which showcased such talents as Fanny Brice of *Funny Girl* fame. In 1937, the building became a cinema and ultimately closed its doors in 1985.

In May 1995, Disney Theatrical Productions signed a 49-year lease for the property and restored it to a traditional theatre. The building officially reopened on April 2, 1997, and the first show to play there was the Broadway premiere of Disney's *The Lion King* that October.

## How to get to the New Amsterdam Theatre on Broadway

The closest subway stop to the New Amsterdam Theatre is 42nd Street - Times Square on the 1, 2, 3, 7, N, Q, R, W, and S lines. The closest bus stops are 7th Av/W 42nd St. on the M42, SIM8, SIM8X, SIM22, SIM25, SIM26, and SIM30 lines and and 7th Av/W 41st St. on the M7, M20, and M104 lines. 

## Where is *Aladdin* on Broadway playing?

*Aladdin* is at Broadway's New Amsterdam Theatre at 214 West 42nd Street. Disney's *Aladdin* has played the venue since 2014. The New Amsterdam Theatre is Disney's home base on Broadway, with *Beauty and the Beast* and *Mary Poppins* having also played there.

New Amsterdam Theatre - NY

New Amsterdam Theatre

A Wonderful World: The Louis Armstrong Musical on Broadway - NYC [39810]

A Wonderful World: The Louis Armstrong Musical on Broadway

A Wonderful World: The Louis Armstrong Musical- NYC [39810] 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

james monroe iglehart-200

Leslie Rodriguez Kritzer plays the Lady of the Lake in [*Spamalot*](https://www.newyorktheatreguide.com/show/33129-spamalot-tickets) on Broadway.

Kritzer is best known for her New York stage roles as Serena in *Legally Blonde*, which earned her the 2007 Clarence Derwent Award, and as Salome in *The Robber Bridegroom*, earning a Lucille Lortel Award. She has earned three Drama Desk Award nominations: for *The Great American Trailer Park Musical*, *A Catered Affair*, and *Beetlejuice*.

She also performed as Jovie in *Elf: The Musical* and as Bea *Something Rotten!* on Broadway. More recently, she originated the role of the Lady of the Lake in the D.C. premiere of the 2023 *Spamalot* revival before the production moved to Broadway.

Leslie Rodriguez Kritzer - NY

Leslie Kritzer

Alexander Michael&nbsp;Brightman was born on&nbsp;February 5, 1987&nbsp;in Santa Clara, California, and is a Tony-nominated actor, known for originating the role&nbsp;of Dewey Finn in&nbsp;[School of Rock -&nbsp;The Musical](https://www.newyorktheatreguide.com/show/school-of-rock-the-musical)&nbsp;and the titular role in the musical adaptation of&nbsp;[Beetlejuice](https://www.newyorktheatreguide.com/show/beetlejuice).

He attended the all-male Jesuit high school Bellarmine College Preparatory in&nbsp;San Jose, California,&nbsp;where he&nbsp;graduated in 2005. His career on the Broadway stage initially got off to a false start, as he was cast as an understudy in the ill-fated 2008 production of&nbsp;Glory Days, which only played a total of 17 previews and closed after its first regular performance at the <a href="https://www.newyorktheatreguide.com/theatres/circle-in-the-square-theatre">Circle in the Square Theatre</a>. He would finally grace the stage and make his Broadway debut, however, after being cast as Boq in the smash hit musical [Wicked](https://www.newyorktheatreguide.com/show/wicked), assuming the role from November 2008 through to November 2010. His next Broadway venture was&nbsp;the&nbsp;musical adaptation of the Tim Burton&nbsp;movie&nbsp;<a href="https://www.newyorktheatreguide.com/reviews/big-fish">Big Fish</a>, taking on the role of&nbsp;Zacky Price (and understudying the role of Will Bloom) at the <a href="https://www.newyorktheatreguide.com/theatres/neil-simon-theatre">Neil Simon Theatre</a> from the beginning of September to the end of December 2013. He was then cast as&nbsp;Michael Wormwood in the hit British import&nbsp;<a href="https://www.newyorktheatreguide.com/reviews/matilda-the-musical">Matilda The Musical</a>, joining the Broadway cast at the <a href="https://www.newyorktheatreguide.com/theatres/shubert-theatre">Shubert Theatre</a> from&nbsp;June&nbsp;2014 to&nbsp;February 2015.

Brightman's big break came after being cast in the starring role of Dewey Finn (made famous by Jack Black in the 2003 movie) in Andrew Lloyd Webber's&nbsp;School of Rock - The Musical&nbsp;at Broadway's <a href="https://www.newyorktheatreguide.com/theatres/winter-garden-theatre">Winter Garden Theatre</a> in 2015. He garnered great acclaim for his dynamic leading man performance,&nbsp;staying in the role from November 2015 to November 2016&nbsp;and earning&nbsp;his first Tony Award nomination in 2016 in the category of Best Performance by an Actor in a Leading Role in a Musical.&nbsp;He would also reprise the role for a special return engagement in April 2017.

Away from Broadway, Brightman guest starred in&nbsp;Nassim Soleimanpour's&nbsp;White Rabbit Red Rabbit&nbsp;in 2016 at the&nbsp;<a href="https://www.newyorktheatreguide.com/theatres/westside-theatre">Westside Theatre</a>&nbsp;off Broadway and&nbsp;starred as&nbsp;Giuseppe Zangara in the 2017 Encores! production of&nbsp;Assassins at New York City Center, His various screen credits include guest roles in series such as The Good Fight&nbsp;on CBS, SMILF&nbsp;on Showtime, and Royal Pains&nbsp;on the USA Network. He made his feature film debut as Roy in the 2009 comedic horror Red Hook.

Following the pre-Broadway world premiere engagement at Washington, D.C.'s National Theatre in the fall of 2018, Brightman returned&nbsp;to the Broadway stage in another Tim Burton musical adaptation,&nbsp;starring&nbsp;in&nbsp;Beetlejuice&nbsp;at the Winter Garden Theatre from March 28, 2019. The production had posted a closure notice for June 6, 2020, but was then forced to close prematurely on March 11, 2020, due to the COVID-19 pandemic. The production, however, announced a reopening&nbsp;in spring 2022.

&nbsp;

Alex Brightman - NY

The Shark Is Broken on Broadway - NYC

The Shark Is Broken on Broadway

The Shark Is Broken on Broadway - NYC Product Media

Anyone with a passing knowledge of *Jaws* and its famously problem-plagued 1974 film shoot in Martha’s Vineyard will appreciate the sly prologue of [*The Shark Is Broken*](https://www.newyorktheatreguide.com/show/28737-the-shark-is-broken-tickets) on Broadway. As a scene- and tone-setter, it’s killer. 

On a projected ocean backdrop, a shark fin cuts through the water. Ominous music (by Adam Cork, channeling John Williams's iconic theme) teases a deadly attack. But then the music gives way to a sad trombone, a sign that the mechanical man-eater has malfunctioned. Again.

Nearly 50 years later, it’s funny. But not so much then for newbie director Steven Spielberg’s leads – Robert Shaw as Quint, a salty shark hunter; Roy Scheider, as the local sheriff, Brody; and Richard Dreyfuss, as scientist Hooper. They endured chronic mind-numbing delays – and, worse, each other. Three actors. One small boat. Do the math.

Playwrights [Ian Shaw](https://www.newyorktheatreguide.com/theatre-news/interviews/ian-shaw-sinks-his-teeth-into-his-fathers-legacy-in-the-shark-is-broken) and Joseph Nixon start with the movie’s well-chronicled past and churn it into an amusing behind-the-scenes comedy about the quirks of filmmaking, the fragility of male egos, and, for heft, fathers and sons. 

That family dynamics bubble up to the surface is no surprise, since Ian Shaw dreamed up this idea and plays his late father at the [Golden Theatre](https://www.newyorktheatreguide.com/theatres/golden-theatre), as he did before in earlier runs in Brighton, Edinburgh, and London. Colin Donnell now portrays Scheider, and Alex Brightman steps up as Dreyfuss. 

Set on Quint’s boat — faithfully rendered by scenic designer Duncan Henderson and dramatically lit by Jon Clark — the play imagines what went down between scenes. It wasn’t pretty. The fact that alpha male Robert Shaw was an alcoholic and insecure Dreyfuss, per this play, did “lines” (and not the ones in the script) didn’t help.

Off-camera dynamics mirrored movie ones. Quint bullied Hooper. Shaw taunted Dreyfuss by ridiculing his manhood and his work, warning, “Mind your mannerisms!” Dreyfuss alternately worried if he was any good and bragged about being the film’s star. 

Scheider was adrift in the middle as the peacemaker — when he wasn’t stripping down to a Speedo to work on his tan. Who knew *The French Connection* Oscar nominee was a “pathological” sun worshiper? That tidbit turns out to be the most surprising insight in the show.

*Jaws* was action-packed. *The Shark Is Broken* is all talk, and a pattern emerges. Shaw and Dreyfuss clash. Scheider referees. It gets repetitive over the 95-minute run time. On the plus side, there are moments when the warring trio clicks and a sort of camaraderie shines through. Plus, the co-authors seasoned the script with laughs.

Some humor comes with a knowing wink. There’s a comment about Richard Nixon, who resigned the presidency during the film shoot, being the most immoral president ever. There’s scoffing about the unseen Spielberg, whose next movie will be about, of all things, aliens. And Scheider vows he’ll never do a *Jaws* sequel. [Never say never.](https://thedailyjaws.com/blog/why-jaws-star-roy-scheider-didnt-return-as-chief-brody)

Director Guy Masterson guides the evocative production and fine-tuned cast. In the least showy part, Donnell (*Anything Goes, Chicago Med*) lends ballast as the even-keeled Scheider. Brightman, a Tony nominee for *School of Rock* and *Beetlejuice the Musical*, proves to be a master of mimicry and cranks the nerdy, needy intensity to 11 as Dreyfuss.

Ian Shaw is a dead ringer for his dad and is fun to watch simply for that reason. The play is, ultimately, a valentine to Robert Shaw. The filming of Quint’s chilling monologue about the atomic bomb in *Jaws*, a speech he was too drunk to get right in the first take, concludes the play on serious note. 

Occasionally, between “action” and “cut,” there’s smooth sailing. As it bites into movie history, *The Shark Is Broken* makes for a diversion worth sea-ing. 

[*The Shark Is Broken* is at the Golden Theatre until November 19. Get *The Shark Is Broken* tickets on New York Theatre Guide.](https://www.newyorktheatreguide.com/show/28737-the-shark-is-broken-tickets)

*Photo credit: Colin Donnell, Alex Brightman, and Ian Shaw in The Shark Is Broken. (Photo by Matthew Murphy)*

'The Shark Is Broken' review — rough seas behind the scenes of 'Jaws'

Read our review of *The Shark Is Broken* on Broadway, featuring Ian Shaw, Alex Brightman, and Colin Donnell as the stars of Steven Spielberg's 1975 blockbuster.

Designed by Herbert J. Krapp for Irwin Chanin, the John Golden Theatre officially opened as the Theatre Masque on February 24, 1927 with the play *Puppets of Passion*. The Golden Theatre was purchased by impresario John Golden in 1937, who renamed the theatre after himself.

The building was used as a cinema in the late 1940s and 1950s before the Shubert Organization purchased and restored it to traditional theatre usage. The exterior of the Golden Theatre was used in the film adaptation of *A Chorus Line*.

## How to get to the Golden Theatre on Broadway

The Golden Theatre, on 45th Street between Eighth Avenue and Broadway, is closest to the 42nd Street - Port Authority subway stop on the A, C, or E line. The theatre is also accessible by bus, with the closest stops being 8th Ave/W 46th St. on the M20 and M104 lines; 7th Ave/W. 44th St. on the M104 line; and 8th Ave/W 43rd St. on the M20, M104, and M34A-SBS line.

Golden Theatre - NY

Golden Theatre

Beetlejuice on Broadway [14894]

Beetlejuice on Broadway

Beetlejuice on Broadway [14894] Product Media

The Broadway musical has long come back from the dead — the 1980s doldrums in which the vacuum was filled by British imports, starting with <a href="/show/cats">Cats</a> which ran for nearly 18 years at the <a href="/theatres/winter-garden-theatre">Winter Garden Theatre</a>. But for Broadway's latest behemoth, the stage of the same theatre is now joyfully populated with the living dead.This is not the first time that this theatre has had a haunting: the original production of Sondheim and Goldman's Follies here in 1971 was full of ghosts of its characters' younger selves; it may well be one of the most articulate and moving musicals ever written about the reflective pains of growing older, and realising the mistakes you've made along the way.Of course <a href="/show/beetlejuice">Beetlejuice</a> doesn't detain itself with anything quite so serious or searching.&nbsp;But just as Cats dealt with an imminent afterlife, as it revolved around which of them would ascend to the 'heaviside layer', so Beetlejuice is about how mortality may not quite be the end but the start of another adventure.Here suburban couple Adam and Barbara (played with gentle unassertiveness by the charming coupling of Rob McClure and Kerry Butler) find themselves having a literal&nbsp;out-of-body experience when they suddenly fall through the floorboards of their home -- and realise that they have, in fact, died. But the antic, anarchic figure of Beetlejuice is on hand to guide them into the next world -- or at least help them to reclaim their current existence when new owners buy their house, with extensive plans to remodel it as an investment opportunity.<a href="/actor-profile/alex-brightman">Alex Brightman</a>, who previously opened Andrew Lloyd Webber's <a href="/show/school-of-rock-the-musical">School of Rock</a> at this address playing an unqualified supply schoolteacher who teaches his students rock music, plays another disruptive force here in the title role with gleeful abandon (and hair that looks like its been plugged into an electrical socket).Early on in the proceedings, he warns the audience: "If you die during the performance, it will not stop." That's possibly because no one will actually notice: they'll be laughing too hard to do so. Later he threatens to walk out on the show -- and warns us we'd be stuck with Adam and Barbara. "Yeah they're boring. Even more boring than Brigadoon. I'll say it: Fuck Brigadoon."Ouch! It might not be the best tactic to come to Broadway with a new musical that so flagrantly disses a legendary 1947 classic that got there long before you did. But secretly, I laughed; this is a new generation of theatre makers blowing raspberries at the past. And let's not be too sanctimonious about it: it's part of the show's playful subversiveness to do so, just as <a href="/show/the-book-of-mormon">The Book of Mormon</a> did, too.In fact Beetlejuice is part of that meta-tradition of shows from The Producers to this season's <a href="/show/the-prom">The Prom</a> that comment on themselves even as they simultaneously send up and celebrate the traditions they've sprung from.Here, a creative team that includes director Alex Timbers and his inspired designers David Korins (sets) and William Ivey Long (costumes), animate this parade of eccentricity with flair and great comedy technique that turns it into a subversive delight.The score by Eddie Perfect -- who also provided songs for this season's <a href="/show/king-kong">King Kong</a> -- is full of wit and grit, and Scott Brown and Anthony King's book propels it forward smartly. There are also hilarious performances from Leslie Kritzer and Sophia Anne Caruso&nbsp;as the mistress and daughter respectively of the house's new buyer Charles (Adam Dannheisser).Beetlejuice is the last new show to open this season -- but could be haunting Broadway for a long while.(Photo by Matthew Murphy)<div class="block block-block contextual-links-region " id="block-block-9"><div class="block-inner clearfix"><div class="block-title"><h2>WHAT THE OTHER CRITICS SAID</h2></div></div></div>"The dead lead lives of noisy desperation in Beetlejuice,&nbsp;the absolutely exhausting new musical that opened on Thursday at the Winter Garden Theater.&nbsp;This frantic adaptation of Tim Burton's much-loved 1988 film&nbsp;is sure to dishearten those who like to think of the afterlife as one unending, undisturbed sleep. Because as directed by a feverishly inventive Alex Timbers, and starring Alex Brightman as the manic ghoul of the title, this production proposes that not being alive just means that you have to try harder — a whole lot harder — than you ever did before. Otherwise, you'll wind up invisible, with nary a soul to acknowledge your starry self. And in today's world of chronic self-advertising, this may be the true fate worse than death." Ben Brantley for <a href="https://www.nytimes.com/2019/04/25/theater/beetlejuice-review-broadway.html" target="_blank">New York Times</a>"Whatever else it&nbsp;may or may not be,&nbsp;Beetlejuice&nbsp;is spectacularly weird. The best creative work in this musical adaptation of Tim Burton's 1988 film—about a pair of sweet ghosts trying to rid their house of its distasteful new inhabitants—has gone into its physical form: The designers come at it from all kinds of crazy angles. David Korins's haunted-house set seems to buckle in the middle and stretch at the edges; William Ivey Long's costumes are a batty vision of colors and patterns at war. There are magic tricks and giant worms and a starkly linear idea of the afterlife that contrasts well with the chaotic world of the living." Adam Feldman for <a href="https://www.timeout.com/newyork/theater/beetlejuice-review-broadway-musical" target="_blank">Time Out New York</a>"If you're a fan of the film, take note - they messed with the plot.&nbsp;The vibe's the same though. Beetlejuice&nbsp;on Broadway bombards you with manic energy and Alex Brightman, leading a boffo cast certainly fills the bill. But if it seems like the show goes overboard, beating us to death with antic irreverence, well, that just may be the plan." Roma Torre&nbsp;for&nbsp;<a href="https://www.ny1.com/nyc/all-boroughs/theater-reviews/2019/04/25/theater-review---beetlejuice-" target="_blank">NY1</a>"Writers Scott Brown and Anthony King, along with composer Eddie Perfect and director Alex Timbers, approach the 1988 Tim Burton cult comedy with the giddy excitement of rabid fanboys in their imaginative musical adaptation of&nbsp;Beetlejuice. That enthusiasm translates to the audience, too, with every visual reference lifted directly from the movie yielding huge laughs. The show is a loving homage to a wonderfully weird original, reconceived for the stage with eye-popping design, full-throttle performances and a mischievous sense of fun that literally seems to drip from the Winter Garden Theatre's chandeliers, tinged a ghoulish green for the occasion." David Rooney for <a href="https://www.hollywoodreporter.com/review/beetlejuice-theater-review-1204616" target="_blank">Hollywood Reporter</a>"High-spirited fun, wickedly good tunes and eye-popping visuals make this night of the living dead a scream." Frank Rizzo&nbsp;for <a href="https://variety.com/2019/legit/reviews/beetlejuice-review-broadway-musical-1203194763/" target="_blank">Variety</a>

Review of Beetlejuice, starring Alex Brightman, on Broadway

Designed by John C. Portman, Jr., the Marquis Theatre is situated on the third floor of the Marriott Marquis Hotel.

The construction of the hotel resulted in the demolition of the original Helen Hayes Theatre, the Morosco Theatre, the Bijou Theatre, and remnants of the Astor Theatre and the Gaiety Theatre. However, the construction permit was only issued by New York City officials if Portman agreed to include a theatre within the building. The Marquis Theatre opened on July 9, 1986 with a series of concerts by Shirley Bassey.

## How to get to the Marquis Theatre on Broadway

The Marquis Theatre is closest to the 42nd Street - Times Square subway stop on the 1, 2, 3, 7, N, Q, R, W, and S lines. The 50th Street station on the 1 line and the 49th Street station on the N, R, and W lines are also nearby; all are about four blocks from the theatre on 46th Street.

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

## Restaurants near the Marquis Theatre

The Marquis Theatre is located one block directly east of the stretch of 46th Street between Eighth and Ninth Avenues dubbed Restaurant Row. Some popular restaurants on this street include Becco (Italian), Hold Fast (American), Lattanzi (Italian), E.A.K. Ramen (Japanese), and Joe Allen (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)

Marquis Theatre - NY

Marquis Theatre

School of Rock on Broadway [392]

School of Rock on Broadway

School of Rock on Broadway [392] Product Media

William Kissam Vanderbilt originally built the Winter Garden Theatre in 1896 as the American Horse Exchange. However, William Albert Swasey redesigned it for the Shuberts as a theatre, which officially opened on March 10, 1911.

The inaugural production was the Jerome Kern musical *La Belle Paree*. Architect Herbert J. Krapp remodeled the building in 1922. Over its lifespan, the venue has also served as a cinema for Warner Bros. and United Artists and has hosted the famous Ziegfeld Follies vaudeville show.

From 2002 to 2007, the venue was called the Cadillac Winter Garden Theatre due to a sponsorship agreement between the Shubert Organization and General Motors.

The Winter Garden Theatre is one of only a couple Broadway houses actually located on the street called Broadway. The venue's interior is a designated New York City landmark.

## How to get to the Winter Garden Theatre on Broadway

The Winter Garden Theatre is nearest to the 50th Street subway stop on the 1 line. The nearest bus stop is 7th Ave/W 50th St. on the M7, M20, M104, or M50 lines.

## Restaurants near the Winter Garden Theatre

The Winter Garden Theatre is adjacent to Ellen's Stardust Diner, a famed New York City tourist spot known for its singing waitstaff. Other popular restaurants nearby include Junior's (American), Haswell Green's (American), Saar (Indian), Natsumi (Japanese), Lillie's Victorian Establishment (British/pub fare), and Gallagher's Steakhouse.

Winter Garden Theatre - NY

Winter Garden Theatre

Ages 8+. Children under 5 will not be admitted.

Wicked on Broadway - NYC [1]

Wicked on Broadway

Wicked on Broadway [1] Product Media

There have been moments in the history of musical theater when, like a twister, the sheer talent and whirling spectacle of a production have flattened any negative criticism that stood to get in its way. Take October, 2003 for example. That was the month that <a href="/show/wicked">Wicked </a>opened in New York to generally dour reviews. But since then, more than 8.8 million people have found the heart, nerve and wisdom to pay a visit, resulting in the happy scene of a Broadway house filled with as many teens as adults, and making a tale, born from a 115-year-old children's novel, one of the top five highest grossing shows of all time.The latest incarnation of this impeccably oiled entertainment machine finds a new gear courtesy of a British import. Reprising the role she played on the West End for three years, Rachel Tucker steps in as the green-skinned Elphaba, a.k.a. the Wicked Witch of the West, and nearly blows the roof off the massive Gershwin Theatre with her opening number, "The Wizard and I." As the song reaches its climax, Tucker raises her arms, not especially high, but in a crooked witchly fashion, showing off the kind of smart physicality she brings throughout the evening. Opposite her, as Glinda the Good, Kara Lindsay aces the delicate assignment of being both ditzy blonde and sensitive friend while showing off her clear soprano and great comic chops.Among the show's many happy surprises, Michele Lee turns up, in fine form, as the scheming Madame Morrible, and Arielle Jacobs charms us from a wheelchair as Nessarose, until that unfortunate incident with a falling house. James Lynn Abbott's best moment of choreography comes not from any of the numerous, raucous ensemble pieces, but from a beautifully rendered bit of quiet ballet that arrives unexpectedly during the energetic "Dancing Through Life." And Stephen Schwartz's classic score provides a wonderful playground for the cast to swing upon, while reminding us of this composer's important history. Close your eyes and hear strains of Pippin in "As Long as You're Mine." Find the hint of Godspell playfulness in the staccato beats of "What is this Feeling."The Wikipedia plot summary for Wicked is over 2100 words long, which speaks not only to the show's dedicated fan base, but to the fact that this is a musical with a lot going on. It's a romantic comedy with strong political undertones, an animal rights treatise with a talking goat and flying monkeys, a parable on the pitfalls of getting what you want, a warning on the limits of friendship, and an homage to a classic film. In the realm of mythology, green-hued creatures have never had a simple time of it (see Shrek, Hulk, et al.), and rare is the story, let alone the musical, that is centered on two women who are unrelated, yet have a complex emotional attachment, while still remaining starkly unique individuals. But Eugene Lee's epic scenic design provides the framework to tie everything together. The show is completely set within the machinations of a huge clock, the Clock of the Time Dragon to be precise. And whether or not you are up on your Oz lore, this seems, at first, incongruous with the magical proceedings on stage. Why is Glinda's bubble-mobile so pendulum like? But then the metaphor becomes clearer. "I would do anything to turn back the clock," laments Elphaba, and later she demands, "Wait just a clock tick!" Once a spell is cast, it cannot be undone. Life moves forward, and Wicked reveals itself to be, more than anything else, a cautionary tale about learning to live with one's choices.(Photo by Joan Marcus)<hr />"'Wicked' does not, alas, speak hopefully for the future of the Broadway musical." Ben Brantley for New York Times"It's such a 'Wicked' waste of talent." Howard Kissel for New York Daily News"The most complete, and completely satisfying, new musical I've come across in a long time." Elysa Gardner for USA Today"Overproduced, overblown, confusingly dark and laboriously ambitious jumble." Linda Winer for Newsday"Far too arch and sophisticated for children...lacks... sophistication and wit that would make it palatable for adults." Frank Scheck for Hollywood Reporter"The best thing about 'Wicked' is its stars, whose talents cast a powerful spell." Roma Torre for NY1"Lavish, ambitious and problematic." Michael Kuchwara for Associated Press<a href="http://www.nytimes.com/2003/10/31/arts/theater/31WICK.html" target="Top">New York Times</a> - <a href="http://www.usatoday.com/life/theater/2003-10-30-wicked_x.htm" target="Top">USA Today</a> - <a href="http://www.ny1.com/ny/Living/SubTopic/index.html?topicintid=4&amp;subtopicintid=14&amp;contentintid=34381" target="Top">NY1</a>

'Wicked' review

Built on the site of the historic Capitol Theatre by Harold and Percy Uris, and designed by Ralph Alswang, the Gershwin Theatre opened on November 28, 1972 as the Uris Theatre.

The premiere production was the musical *Via Galactica*, starring Raul Julia. The Gershwin has served as a traditional theatre for the majority of its existence, though the venue was a concert hall from 1974 to 1976.

The theatre was renamed to honor composer and lyricist duo George and Ira Gershwin during the 37th Tony Awards on June 5, 1983. The Gershwin has the largest seating capacity on Broadway at 1,933 seats, and it houses the American Theatre Hall of Fame in its lobby.

## How to get to the Gershwin Theatre on Broadway

The Gershwin Theatre is closest to the 50th Street subway stops on the C, E, and 1 lines. The theatre is also equidistant from the 7th Ave/W 50th St. and 8th Ave/W 50th St. bus stops on the M50 line.

## Restaurants near the Gershwin Theatre

Popular restaurants near the Gershwin Theatre include Junior's (American), Saar (Indian), Lillie's Victorian Establishment (British/pub food), and The Blue Dog (American). Across Broadway is Ellen's Stardust Diner, a New York institution famous for its singing waitstaff.

[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)

## Where is *Wicked* on Broadway playing?

*Wicked* on Broadway plays the Gershwin Theatre at 222 West 51st St. The musical has played there since its opening in 2003, and *Wicked* has since become the fifth longest running Broadway show of all time.

Gershwin Theatre - NY

Gershwin Theatre

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Jonathan Bennett makes his Broadway debut as Sir Robin in *Spamalot* on Broadway at the St. James Theatre from January 23 to April 28, 2024.

Bennett is best known for starring as Aaron Samuels in the 2004 movie *Mean Girls* opposite Lindsay Lohan and Rachel McAdams. He went on to have a successful career in Hallmark movies, winning a GLAAD Award for producing and starring in *The Holiday Sitter*, the Hallmark Channel's first Christmas movie about a gay couple. He has also appeared in several other Hallmark Christmas movies, leading fans to dub Bennett "the gay king of Christmas."

Bennett's other screen credits include *National Lampoon’s Van Wilder: Freshman Year*, *Cheaper By the Dozen 2*, and *Law & Order: SVU*.

Spamalot on Broadway Tickets

About Spamalot on Broadway

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Stars on stage

Christopher Fitzgerald

Ethan Slater

James Monroe Iglehart

Leslie Rodriguez Kritzer

Alex Brightman

Jonathan Bennett

Spamalot on Broadway cast and creative team

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St. James Theatre

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