Name: Beetlejuice on Broadway
Start: 2022-04-08
End: 2023-01-08
Location: Marquis Theatre

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Beetlejuice on Broadway [14894]

Genre: Musical (US and AUS)

[Media #2] Beetlejuice 14894

Beetlejuice on Broadway

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-17020- ALEX BRIGHTMAN in BEETLEJUICE, Photo by Matthew Murphy, 2019

Beetlejuice 4

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

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

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

Spamalot on Broadway - NYC [33129]

Spamalot on Broadway

Spamalot on Broadway - NYC Product Media

*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.

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