Name: The Music Man on Broadway
Start: 2021-12-20
End: 2023-01-15
Location: Winter Garden Theatre

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Children under 4 are not permitted in the theatre.

The Music Man on Broadway [18717]

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The Music Man on Broadway

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Hugh Jackman&nbsp;stars in&nbsp;<a href="/show/the-music-man">The Music Man</a>&nbsp;at the <a href="/theatres/winter-garden-theatre">Winter Garden Theatre</a>&nbsp;on Broadway from December 20, 2021.

Hugh Michael Jackman was born on October 12, 1968 in Sydney, Australia. He is a Golden Globe- and Tony Award-winning actor and Academy Award nominee, best known for his role as Logan (aka Wolverine) in 20th Century Fox’s X-Men&nbsp;movie franchise and for his roles in the movie musicals Les Misérables&nbsp;and The Greatest Showman.

Jackman attended Pymble Public School and Knox Grammar School on Sydney’s Upper North Shore and would eventually earn a bachelor's&nbsp;degree in communications from the University of Technology in Sydney, graduating in 1991. He studied acting at the Actors’ Centre there and went on to attend the Western Australian Academy of Performing Arts at the Edith Cowan University in Perth, graduating in&nbsp;1994.

On stage, Jackman’s first major role was Gaston in the Australian production of Disney’s Beauty and the Beast in Melbourne in 1995, which he followed up by playing the leading male character of Joe Gillis in the 1996 Australian production of Sunset Boulevard. He would make his London stage debut in 1998, starring as Curly McLain in the acclaimed National Theatre revival of Rodgers &amp; Hammerstein’s Oklahoma! and receiving an Olivier Award nomination for his efforts. In 2002, Jackman graced the stage of New York’s Carnegie Hall, playing Billy Bigelow in a special concert engagement of another Rodgers &amp; Hammerstein classic, Carousel. He would finally make his Broadway debut&nbsp;in September 2003 when he starred as Peter Allen in the Broadway premiere of The Boy from Oz at the Imperial Theatre. His celebrated portrayal resulted in his first Tony Award win, for Best Actor in a Musical,&nbsp;in 2004, alongside a Theatre World Award, Drama League Award, and a Drama Desk Award.

Since The Boy from Oz, Jackman starred on Broadway in A Steady Rain (opposite Daniel Craig) at the Gerald Schoenfeld Theatre from September through December 2009, in a special concert series Hugh Jackman, Back on Broadway at the Broadhurst Theatre from October 2011 through January 2012 (receiving a Special Tony Award later that season), and in the Broadway premiere of Jez Butterworth’s <a href="https://www.newyorktheatreguide.com/reviews/the-river">The River</a> at Circle in the Square from October 2014 through February 2015.

On screen, Jackman’s first major TV role was Kevin Chambers in the Australian ABC series Correlli&nbsp;in 1995 and went on to appear as Duncan Jones on the Nine Network’s The Man from Snowy River&nbsp;in 1996. Since then, he has mainly concentrated on film. Following his 1999 appearances in Paperback Hero&nbsp;and Erskineville Kings,&nbsp;he gained acclaim in 2000 after landing the role of Logan (aka Wolverine) in 20th Century Fox’s blockbuster X-Men.&nbsp;He has played the popular Marvel superhero in a total of nine&nbsp;films in the&nbsp;franchise, including X2&nbsp;(2003), X-Men: The Last Stand&nbsp;(2006), X-Men Origins: Wolverine&nbsp;(2009), X-Men: First Class&nbsp;(2011), The Wolverine&nbsp;(2013), X-Men: Days of Future Past&nbsp;(2014), X-Men: Apocalypse&nbsp;(2016), and, finally, Logan&nbsp;(2017).

He has also left his mark on the movie musical genre, starring as Jean Valjean in the 2012 film adaptation Les Misérables,&nbsp;which led to his first Academy Award nomination in 2013 (alongside a BAFTA nomination and his first Golden Globe win). He also starred as P.T. Barnum in 2017’s hugely popular The Greatest Showman,&nbsp;earning a Golden Globe nomination and winning his first Grammy Award for Best Compilation Soundtrack for Visual Media.

His other notable film credits include a 2002 Golden Globe-nominated performance in Kate &amp; Leopold, the titular role in Van Helsing&nbsp;(2004), The Prestige&nbsp;(2006), The Fountain&nbsp;(2006), Australia&nbsp;(2008), Real Steel&nbsp;(2011), The Prisoners&nbsp;(2013), Chappie&nbsp;(2015), and the role of Blackbeard in Pan&nbsp;(2015). In animation, he has voiced roles in Flushed Away&nbsp;and Happy Feet,&nbsp;both in 2006, Rise of the Guardians&nbsp;(2012), and Missing Link&nbsp;(2019).

Jackman has also served as host of The Tony Awards on four separate occasions (2003, 2004, 2005, and 2014), winning an Emmy Award in 2005 for Outstanding Individual Performance in a Variety or Music Program. He also hosted the Academy Awards in 2009.

Hugh Jackman - NY

When <a href="https://www.newyorktheatreguide.com/actor-profile/hugh-jackman" target="_blank">Hugh Jackman</a>'s Harold Hill whispers into the impressionable ears of River City whippersnappers, their minds and feet alight. <a href="https://www.newyorktheatreguide.com/show/the-music-man" target="_blank">The Music Man</a>, which arrives on Broadway following a two-year delay, likewise hopes to entice an especially receptive crowd, still sating pent-up appetite for seduction, spectacle, and bodies in motion.The big-ticket production from director Jerry Zaks heaps its wagon with comely and persuasive wares: Marquee stars Jackman and <a href="https://www.newyorktheatreguide.com/actor-profile/sutton-foster" target="_blank">Sutton Foster</a>, whose individual magnetism is so strong, any conflict between their characters seems to defy physics. Meredith Willson's score of nostalgia triggers so Pavlovian, even Proust would trash his madeleines. And, of course, a wormhole to the core of American ideologies — self-invention, groupthink, the manifest destiny of a man's libido — with proven staying power.Whether you'll pony up for the ride (which ain't cheap) and gladly tap your feet may depend on how liable you are to be convinced. Are there soothing and satisfying pleasures in familiarity, high voltage, and expert execution? By golly, yes. Will this Music Man's sweet nothings reveal anything previously unknown about the nature of life, love, or the pursuit of happiness right here in 2022? Egads! No.The traveling-salesman fable of deception and redemption has been updated so as not to appear out of step — a "shipoopi" is no longer a "hussy" who kisses on the first date, but a man who's tough to pin down (additional lyrics are by Marc Shaiman and Scott Wittman). But The Music Man doesn't attempt an argument for contemporary resonance, reinvent the wagon wheel, or entirely iron out the logic of its Febreze'd gender politics.&nbsp;And maybe that's just as well. After all, the boys in Harold's band, which he pledges to whip up while lining his pockets with townspeople's cash, can't play a note. But their parents are just as pleased with the diversion.&nbsp;In another way, the production is exquisitely timed, to the heights of its above-the-title talent. Jackman is a charm attack in suspendered slacks, nimble-footed, smooth but not slick, with suave vocals and a smile as assured as a railroad. His Harold makes quick and delectable work of small-town marks, with the exception of one, whose front is harder to crack until it shatters in a heap of impossible dramaturgy.Foster's Marian is wry but not cynical, sharp but still tender, a tough shell with a golden, runny heart like an egg. The Anything Goes star brings a precise wit to the role that is relentlessly delightful, attention to detail that buoys Marian's tenuous modernization here into a woman with some measure more agency (if a soft will). The pair's chemistry obviates the plot, though it goes a long way toward filling the vacuum of dramatic tension.Choreography from Warren Carlyle is smartly portioned into knockout numbers — "Seventy-Six Trombones," "Marian the Librarian" — that meet the weight of their anticipation with a vocabulary of movement that's refined and sensual, playful and fresh. Any effort to resist the virtuosic children in this production, particularly Benjamin Pajak as Marian's brother Winthrop, would prove a fool's errand.&nbsp;The storybook aesthetic of Zaks' production is appropriate for one that's been cracked open many times, flipping from one scene to the next with mollifying ease. Designer Santo Loquasto's set, which toys with flatness and dimension, likewise feels fitting for characters like paper dolls only selectively rendered palpable. Beautifully painted backdrops, which borrow heavily from "American Gothic" artist Grant Wood, depict rural Iowa's rolling hills and sprawling farms. Laborers are often pictured close at hand.&nbsp;But Zaks' production also makes plain (with help from Loquasto's luxe, embellished costumes) that money doesn't mean much to the residents of River City, until after it has leapt from their wallets and into Harold Hill's. Given that The Music Man is a grift, the stakes never get off the ground. It's another way the production's lavish attention to surface belies a blithe and curious hollowness.If American stories are fundamentally about enterprise, the most vivid one on display at the <a href="https://www.newyorktheatreguide.com/theatres/winter-garden-theatre" target="_blank">Winter Garden Theatre</a> may be the cost of admission.<a href="https://www.newyorktheatreguide.com/show/the-music-man" target="_blank">The Music Man is at the Winter Garden Theatre. Get The Music Man tickets on New York Theatre Guide.</a>Photo credit: Hugh Jackman, Sutton Foster, and the company of The Music Man. (Photo by Julieta Cervantes)

'The Music Man' review — Hugh Jackman and Sutton Foster lead a mollifying nostalgia trip

The Winter Garden Theatre, located in the heart of Broadway, New York, is a world-renowned theatre venue that has witnessed countless iconic performances. With a seating capacity of over 1,500, the theatre offers an intimate setting for experiencing theatrical spectacles amidst its illustrious historic ambience. The theatre's architectural design, exuding Edwardian Baroque aesthetics, boasts a stage large enough for grandest of productions. Since its inception in 1911, the Winter Garden Theatre has seen legendary showbiz figures gracing its stage and corridors, from Al Jolson to Catherine Zeta-Jones. The Theatre's repertoire spans both timeless classics and contemporary hits, fostering an eclectic mix that caters to varied tastes of its audiences. 

**How to Get to the Venue:** The Winter Garden Theatre is easily accessible via numerous modes. For those opting for subway, the closest stops are 49th Street at 7th Avenue, Times Square 42nd Street/Port Authority Bus Terminal, and 50th Street at Broadway. Buses M7, M20, M104 all stop near the theatre. If you’re driving, several public parking lots are available in the vicinity, including Icon Parking and Central Parking. More detailed directions and information can be found on the theatre’s website.

Winter Garden Theatre - NYC

Winter Garden Theatre

The Winter Garden Theatre is a historic and iconic Broadway venue in New York, known for both classic and contemporary performances.

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Sutton Lenore Foster was born on March 18, 1975 in Statesboro, Georgia. She is a two-time Tony Award-winning Broadway actor, also known for her television role as Liza Miller on TV Land’s Younger.

Raised in Troy, Michigan, Foster attended Troy High School but left before graduating to join the National Tour of The Will Rogers Follies&nbsp;under the direction of Tommy Tune. She would also go on to study at Carnegie Mellon University for one year&nbsp;before departing to pursue a full-time career on the stage.

Foster’s most notable early stage credits include the leading role of Sandy Dumbrowski in the National Tour of Grease in 1995, which led to her Broadway debut, assuming the role at the Eugene O’Neill Theatre in 1996. She would also appear in the 1997 Broadway revival of Annie and 1997 Broadway premiere of The Scarlet Pimpernel. In 1999, she took over the coveted role of Éponine in the national tour of Les Misérables, later transferring to the musical’s Broadway production in 2000.

Her big break came later in 2000 after finally landing the starring role of Millie Dilmount in the La Jolla Playhouse production of Thoroughly Modern Millie. Following her turns in regional productions of The Three Musketeers in San Jose&nbsp;and South Pacific in Pittsburgh&nbsp;in 2001, Thoroughly Modern Millie would ultimately premiere on Broadway in 2002 to great acclaim, earning Foster her first Tony Award for Best Actress in a Musical.

Thanks to her new leading lady status, she became a regular on the Broadway stage and starred as Jo in Little Women (2005 Tony nomination), as Janet Van De Graaff in The Drowsy Chaperone (2006 Tony nomination), as Inga in Mel Brooks’ Young Frankenstein (2007-08), and as Princess Fiona in Shrek The Musical (2009 Tony nomination). She won her second Tony Award for Best Actress in a Musical&nbsp;for her turn as Reno Sweeney in the 2011 Broadway revival of Anything Goes,&nbsp;which also led to her first Grammy Award nomination for Best Musical Theater Album&nbsp;in 2012. She earned yet another Tony nomination in 2014 for her portrayal of the titular character in&nbsp;the Broadway premiere of <a href="https://www.newyorktheatreguide.com/reviews/violet">Violet</a>.

Foster’s Off-Broadway credits include the 2010 Second Stage Theater production of Trust and a Lucille Lortel and Drama Desk Award-nominated performance as Charity Hope Valentine in The New Group’s 2016 revival of Sweet Charity. She has also performed in a plethora of benefit concert productions on Broadway as well as Encores! productions at New York City Center. She also starred as The Baker’s Wife in Into the Woods at The Hollywood Bowl in 2019.

On television, she is best known for her starring role as Liza Miller on Younger,&nbsp;which aired from 2015 to 2021 on TV Land. Her earlier screen credits include the leading role of Michelle Simms on&nbsp;Bunheads&nbsp;(2012-13) and guest roles on the likes of Instinct,&nbsp;The Good Wife,&nbsp;Elementary,&nbsp;Psych,&nbsp;Royal Pains,&nbsp;Law &amp; Order: Special Victims Unit,&nbsp;and Flight of the Conchords,&nbsp;among others.

As a recording artist, Foster has also released two studio albums: Wish&nbsp;in 2009 and Take Me to the World&nbsp;in 2018, along with one live album, 2011’s An Evening with Sutton Foster: Live at the Café Carlyle.

Sutton Foster - NY

Ages 12+. Guests under 5 are not permitted in the theatre.

Sweeney Todd on Broadway - NYC [26216]

Sweeney Todd on Broadway

Sweeney Todd on Broadway - NYC Product Media

[*Sweeney Todd*](https://www.newyorktheatreguide.com/show/26216-sweeney-todd-on-broadway-tickets) is back on Broadway, and there’s much to savor in this musical revival starring [Josh Groban](https://www.newyorktheatreguide.com/stars-on-stage/josh-groban) and [Annaleigh Ashford](https://www.newyorktheatreguide.com/stars-on-stage/annaleigh-ashford). Stephen Sondheim’s sublime score sounds deliciously lush as played by the 26-piece orchestra, the singing is uniformly excellent, and Hugh Wheeler’s morbidly gripping story unfolds in crisp fashion. 

However, there’s an ingredient missing in [*Hamilton*](https://www.newyorktheatreguide.com/show/384-hamilton-tickets) director Thomas Kail’s star-studded but standard take on the 1979 musical: its essential dark edge. Subtitled *The Demon Barber of Fleet Street*, the show motors on Sweeney’s monstrous dimensions. Absent that, or even a faint whiff of borderline madness from what he’s been dealt, the production comes off as a bit too tame. 

Gorgeous music threads throughout this grisly thriller. Sweeney (Groban) returns to London after being wrongfully imprisoned for 15 years. Mourning the loss of his family because of a corrupt judge and his henchman, the barber swears revenge on the duo. He’ll use his straight razors for payback. Pie shop proprietor Mrs. Lovett (Ashford), who has a thing for Sweeney, becomes his accomplice. When Sweeney’s throat-slitting escalates, she grinds his victims into makings for meat pies. Business booms. But there’s no way this tale can have a happy ending. 

Mimi Lien’s two-tiered set makes use of the stage and a bridge above it. A counter pushed into place is the pie shop, and a crane contraption doubles as a madhouse. The bridge is used in a striking moment for a silhouetted dance. Elsewhere, Steven Hoggett’s choreography recalls awkward aerobics, particularly when all hell breaks loose near the end. Natasha Katz’s dramatic lighting is the star of the physical production.

Both leads deliver exactly what they’re best at. Groban, a Tony nominee for *Natasha, Pierre & the Great Comet of 1812*, has a nice-guy persona and lacks the sinister side to convince as a man "even rats fear," according to the title song. He also blends into the crowd in group scenes. But when he sings, Groban commands focus 100 percent. He taps directly into the mournful tones of “The Barber and His Wife,” in which he recalls his past, and the despair of “Epiphany,” as he faces his future.

Last seen on Broadway as Dot in Sondheim’s *Sunday in the Park With George*, Ashford is a very fine singer, but her comic chops set her apart. She won a Tony for *You Can’t Take It With You*, a play in which she bounced off the walls. She is clearly in her comfort zone here. 

Sporting a messy hairdo a la Angela Lansbury, the original Mrs. Lovett, Ashford throws herself into the part – and onto the stage. She bump-bump-bumps down a staircase on her fanny. She channels the Three Stooges and spins while on her side on the floor. She’s a riot, and she also oozes vulnerability. As funny as she is, Mrs. Lovett is a villain because she keeps a life-and-death secret from Sweeney.

Gaten Matarazzo of *Stranger Things* plays Tobias, who becomes Mrs. Lovett’s helper. He makes the most of the famous song “Not While I’m Around.” Jordan Fisher and Maria Bilbao ably fill out the romantic subplot as the thwarted young lovebirds Anthony and Johanna. 

The beggar woman, played by Ruthie Ann Miles, looms extra large in this version. In a provocative stroke, when she enters the barber shop, she points here and there as if remembering something. Is her mind really gone? That question makes her fate all the more tragic – and Sweeney’s words more resonant.

“We all deserve to die,” Sweeney sings. He means himself and Mrs. Lovett. In this revival, the barber and the baker go hand in hand to hell.

[*Sweeney Todd* is at the Lunt-Fontanne Theatre. Get *Sweeney Todd* tickets on New York Theatre Guide. ](https://www.newyorktheatreguide.com/show/26216-sweeney-todd-on-broadway-tickets)

*Photo credit: Annaleigh Ashford and Josh Groban in Sweeney Todd on Broadway. (Photo by Matthew Murphy and Evan Zimmerman)*

'Sweeney Todd' review — Josh Groban-led revival doesn't frighten, but still thrills

Read our four-star review of Stephen Sondheim's *Sweeney Todd* on Broadway, starring Josh Groban and Annaleigh Ashford, playing at the Lunt-Fontanne Theatre.

**Lunt-Fontanne Theatre** is one of the most prestigious theatrical venues in New York. Located at 205 West 46th Street in the heart of Manhattan, it's a place where countless iconic performances took place. Opened originally as the Globe Theatre in 1910, it was renamed in honor of Alfred Lunt and Lynn Fontanne in 1958. The theatre, with its eye-catching architecture and rich history, has a seating capacity of nearly 1,500. Being a centenarian venue, it has been through several renovations, but each time it retained its look of classical elegance. Many notable Broadway productions have played at the theatre, predominantly musicals. Impressive frescoes, luxurious red seats, mesmerizing ambient lighting, coupled with state of the art audio-visual elements, create an unforgettable experience. With each performance, audiences are enveloped in an atmosphere of grandeur and majesty, a testament to the theatre's legendary status.

**Getting to Lunt-Fontanne Theatre**: Conveniently situated in Manhattan, the theatre is easily accessible by mass transit. One recommended way is by subway; guests can take the N, Q, R, W, J or Z trains to 42nd Street, Times Square. From that point, it's just a short walk to reach the venue.

Lunt-Fontanne Theatre - NY

Lunt-Fontanne Theatre

The Lunt-Fontanne Theatre, located at 205 West 46th Street in Manhattan, is a historic Broadway theatre venue with a seating capacity of nearly 1,500.

Once Upon a Mattress on Broadway - NYC [31936]

Once Upon a Mattress on Broadway

Once Upon a Mattress on Broadway - NYC Product Media

The **Hudson Theatre** located in the heart of New York City, is a prestigious broadway theatre on 44th street. Over a century old, it blends the rich history of New York with the modern NY life, rendering it an impeccable locale for a diverse range of events. It showcases traditional broadway shows, concerts, performing artist shows and many more. This quintessential theater boasts a seating capacity of around 970, spread over 3 levels, offering a meticulous proximity to the stage with unmatchable acoustics. It is adorned by a magically preserved antique design, offering a one-of-a-kind ambience that’s second to none.

**How to get to the venue:** The Hudson Theatre is accessible via various methods of transport. Driving to the theater provides the convenience of parking at Icon parking just across the street. Alternatively, the theater is easily reachable via public transit, being near to Times Square - 42nd Street Station served by multiple subway lines. The Port Authority Bus Terminal is just a short walk away, providing access to numerous bus routes.

Hudson Theatre - NY

Hudson Theatre

The Hudson Theatre is a historical Broadway theatre in New York City, accessible via car, subway, and bus.

Sutton-Foster

Jayne Houdyshell stars as Mrs. Shinn in the <a href="https://www.newyorktheatreguide.com/actor-profile/hugh-jackman">Hugh Jackman</a>-led revival of&nbsp;The Music Man,&nbsp;which will start performances on Broadway on April 7, 2021.

Houdyshell&nbsp;was born on September 25, 1953&nbsp;in Topeka, Kansas, and is a Tony Award-winning Broadway favorite.

She attended Topeka High School, graduating in 1971, and would go on to study at Oakland University's Academy of Dramatic Art in Rochester, Michigan, graduating with honors in 1974. For the rest of the 1970s, Houdyshell appeared in regional productions across the country until finally moving to New York City in 1980.

She continued her career as a traveling actor&nbsp;but would later establish herself on both the Broadway and Off-Broadway theatre scenes. She appeared in&nbsp;True Love&nbsp;at the Zipper Theatre in 2001, and her breakthrough role came with the 2004 <a href="https://www.newyorktheatreguide.com/theatres/public-theater">Public Theater</a> production of Lisa Kron's&nbsp;Well. Her performance as Ann earned her an Obie Award, as well as Drama Desk, Lucille Lortel, and Outer Critics Circle Award nominations. The production would also transfer to Broadway in March 2006, marking Houdyshell's Broadway debut, and she went on to earn her first Tony Award nomination and received a Theatre World Award for her performance.

From then on, she became a regular on the Broadway stage. She took on the role of Madame Morrible in the smash hit musical&nbsp;Wicked&nbsp;from November 2006 to August 2007 (reprising the role on Broadway in June 2008 and on the national tour in May 2010) and starred as&nbsp;Mae Peterson in the 2009 Broadway revival of&nbsp;Bye Bye Birdie. After assuming the role of&nbsp;Miss Prism in the 2011 revival of&nbsp;The Importance of Being Earnest (from March to June), she was cast as&nbsp;Hattie Walker in the 2011 revival of&nbsp;Follies, running from August 2011 through to January 2012 and resulting in her second Tony Award nomination. In fall 2012, she starred as&nbsp;Barbara in the Broadway premiere of&nbsp;Dead Accounts,&nbsp;and in 2013, she received a special Drama Desk Award for "her artistry as an exceptionally versatile and distinctive Broadway and Off-Broadway performer." Later that same year, she returned to Broadway to star as the&nbsp;Nurse in an Orlando Bloom and Condola Rashad-led revival of&nbsp;<a href="https://www.newyorktheatreguide.com/reviews/romeo-juliet">Romeo and Juliet</a>, which was also broadcast in cinemas in 2014.

She went on to star as&nbsp;Gloria Drexel opposite Larry David in his self-penned comedy&nbsp;Fish in the Dark from February to August 2015 and, following a hugely successful run with Roundabout Theatre Company at off-Broadway's Laura Pels Theatre in the fall of 2015,&nbsp;The Humans&nbsp;transferred to Broadway in January 2016. For her performance as&nbsp;Deirdre Blake, Houdyshell won her first Tony Award and also picked up a Drama Desk Award. In 2017, she played&nbsp;Anne Marie in Lucas Hnath's Broadway premiere of&nbsp;A Doll's House, Part 2, running from March to September 2017 and earning her another Tony Award nomination.

Houdyshell's numerous Off-Broadway credits include the 2004 Shakespeare in the Park&nbsp;production of&nbsp;Much Ado About Nothing, the 2006 <a href="https://www.newyorktheatreguide.com/theatres/playwrights-horizons">Playwrights Horizons</a> production of&nbsp;The Pain and the Itch, a Lucille Lortel-nominated performance in the 2007 Manhattan Theatre Club production of&nbsp;The Receptionist, an Outer Critics Circle-nominated performance in Lincoln Center Theater's 2008 production of&nbsp;The New Century, a Lucille Lortel and Drama Desk-nominated performance in the title role of MCC Theater's&nbsp;Coraline&nbsp;in 2009,&nbsp;The Language Archive&nbsp;for Roundabout Theatre Company in 2010,&nbsp;Harrison, TX: Three Plays by Horton Foote&nbsp;for Primary Stages in 2012, and the 2018 MCC Theater production of&nbsp;Relevance.

Houdyshell returned&nbsp;to Broadway in the role of the Earl of Gloucester&nbsp;(opposite <a href="https://www.newyorktheatreguide.com/actor-profile/glenda-jackson">Glenda Jackson</a>)&nbsp;in&nbsp;King Lear&nbsp;at the <a href="https://www.newyorktheatreguide.com/theatres/cort-theatre">Cort Theatre</a> from&nbsp;February 28 through&nbsp;July 7, 2019.

On screen, Houdyshell's most notable credits include recurring roles as&nbsp;Judge Ruth Linden on Law &amp; Order: Special Victims Unit&nbsp;and as&nbsp;Rose Offer in Odyssey,&nbsp;as well as guest roles in series such as Law &amp; Order,&nbsp;Law &amp; Order: Criminal Intent,&nbsp;Blue Bloods,&nbsp;Elementary,&nbsp;The Accidental Wolf,&nbsp;The Good Fight,&nbsp;and Quantico.&nbsp;Her film credits include Changing Lanes,&nbsp;Maid in Manhattan,&nbsp;Garden State,&nbsp;Trust the Man,&nbsp;Everybody's Fine,&nbsp;The Bounty Hunter,&nbsp;and Downsizing.

Jayne Houdyshell - NY

King Lear on Broadway [14648]

King Lear on Broadway

King Lear on Broadway [14648] Product Media

Sam Gold's production of <a href="/show/king-lear">King Lear</a>, currently playing at Broadway's <a href="/theatres/cort-theatre">Cort Theatre</a> with <a href="/actor-profile/glenda-jackson">Glenda Jackson</a> gender-bending the title role, is not for Shakespeare neophytes. It's barely for those well versed in the Bard's verse without a bit of head scratching.&nbsp;Mr. Gold has enjoyed recent success with well received Off-Broadway productions of Othello and Hamlet in his quest to stage all of Shakespeare's tragedies.&nbsp;His move to Broadway with King Lear does not live up to expectations.Gold is known for his creative and out-of-the-box staging, setting and casting.&nbsp;With King Lear he seems to have let his imagination soar and thrown everything he had in the pot at the wall to see what sticks.&nbsp;Casting an actress of Glenda Jackson's caliber as the titular character is certainly not risky.&nbsp;And once you've gone there, it wasn't more than a momentary jolt to see <a href="/actor-profile/jayne-houdyshell">Jayne Houdyshell</a> as the Earl of Gloucester, very creditably being a pig about his illegitimate son Edmund (Pedro Pascal).Casting a deaf actor as the Duke of Cornwall (Russell Harvard) gets a little trickier since he then has to have an aide (Michael Arden) who is a sign language interpreter on stage who occasionally speaks his lines for him.&nbsp;But sometimes doesn't.&nbsp;And sometimes his wife Regan (Aisling O'Sullivan) will exchange a word or two of ASL with him, leaving those of us who unfortunately don't know ASL in the dark.Adding to the general confusion of trying to understand Shakespeare's wonderfully rich but dense language, is the fact that several of the characters seem to be in different plays.&nbsp;Edmund, despite being the bastard son of the Earl of Gloucester and so embittered and greedy for power that he is having affairs with both Regan and Goneril and conspiring against his brother, father and ultimately King Lear and Cordelia, seems to be in a lighthearted comedy for much of the play.&nbsp;While Regan seems to be either on the verge of sobbing or actually sobbing most of the time, even though she's being cruel to her father and egging her husband to do evil deeds.&nbsp;So her constant tears make no sense.&nbsp;Whereas Goneril is behaving like the floozy on a soap opera.&nbsp;She drops her drawers (literally) for Edmund, makes faces at and ignores her husband, and walks around in a sparkly short dress.&nbsp;And when she catches wind that her sister has the hots for Edmund, she poisons her.And why, oh why, was the Duke of Albany (Dion Johnstone) who would traditionally have a tie to Scotland, be dressed in a suit while the Duke of Cornwall who had no such ties, be dressed in a kilt?&nbsp;I kept getting confused as to which was which.In the end, Mr. Gold's production of King Lear is not so much visionary as involuntary.&nbsp;It felt like there was nobody guiding the ship.(Photo&nbsp;by Brigitte Lacombe)<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>"Could we&nbsp;please&nbsp;have a little quiet? There's a great actress onstage at the Cort Theater, and I'd like to hear what she's saying. That was the way I felt during much of Sam Gold's production of&nbsp;King Lear,&nbsp;which opened on Thursday night with the extraordinary Glenda Jackson&nbsp;in the title role. It should surprise no one that Ms. Jackson is delivering a powerful and deeply perceptive performance as the most royally demented of Shakespeare's monarchs. But much of what surrounds her in this glittery, haphazard production seems to be working overtime to divert attention from that performance." Ben Brantley for <a href="https://www.nytimes.com/2019/04/04/theater/king-lear-review-glenda-jackson.html" target="_blank">New York Times</a>"Gold's production is full of interesting directorial choices that do not quite cohere into a shared universe for&nbsp;King Lear's characters to inhabit." Adam Feldman for <a href="https://www.timeout.com/newyork/theater/review-king-lear-glenda-jackson" target="_blank">Time Out New York</a>"An ill wind is blowing through Broadway's Cort Theatre and it's not coming from King Lear's fabled storm on the heath. It's the misdirection in this latest production of the great Shakespearean tragedy.&nbsp;Fortunately,&nbsp;there's Glenda Jackson in the title role acting up a storm herself;&nbsp;Her mighty talents are just about enough to make up for the many missteps in Sam Gold's flawed staging." Roma Torre&nbsp;for&nbsp;<a href="https://www.ny1.com/nyc/all-boroughs/news/2019/04/05/theater-review---king-lear-?cid=twitter_NY1" target="_blank">NY1</a>"It's often said that there's no greater grief than a parent's loss of a child, so it follows that there's no more devastating moment in&nbsp;King Lear&nbsp;than when the monarch's pitiless odyssey through familial betrayal, rage and madness, triggered by his own blind vanity, leaves him cradling the dead body of the one daughter whose love for him was pure. That goes double when the title character's tragic arc is explored, in Sam Gold's aggressively modern, gender-blind production, by the magnificent Glenda Jackson. The searing pathos of Lear's abject diminishment seems all the more powerful given the steely authority that precedes it." David Rooney for <a href="https://www.hollywoodreporter.com/review/king-lear-theater-review-1199652" target="_blank">Hollywood Reporter</a>"Shakespeare nailed it: "Though she be little, she is fierce." Glenda Jackson&nbsp;may look frail, but the 82-year-old legend performs the noble task of rescuing director Sam Gold's rickety Broadway&nbsp;production of Shakespeare's greatest tragedy. To be sure, the salvage job is all technique. But although Jackson fails to wring tears, let alone blood, from this production, the sheer intelligence of her performance makes it memorable." Marilyn Stasio&nbsp;for <a href="https://variety.com/2019/legit/reviews/king-lear-review-glenda-jackson-broadway-1203180018/" target="_blank">Variety</a>

Review of King Lear, starring Glenda Jackson, on Broadway

The **James Earl Jones Theatre** in New York is deeply ingrained in the rich history and dynamism of Broadway performances. This venerable venue, named after the acclaimed actor James Earl Jones, constantly champions theatre arts at their finest. With its tastefully designed interior that complements its avant-garde architectural style, every performance becomes doubly exhilarating due to the unmatchable ambiance. The theater seats hundreds of spectators, providing a phenomenal view of the stage from all angles. Notably, the James Earl Jones theatre ensures the best acoustics, promising an immersive and unforgettable experience. It hosts a multitude of performances every year, including riveting plays, musicals, and award ceremonies, with each event adding a fresh chapter to its story. Relishing a cultural experience here transcends beyond the artistic gratification, it embodies the ethos of New York's vibrant theater culture.

**Getting to the Venue**: The James Earl Jones Theatre is easily accessible by a variety of transport modes. If you're traveling by subway, take the N, R or W lines and alight at 49th street. Alternatively, the 1, C and E lines stop just a short walk away. There are also a number of bus services that run nearby, as well as ample car parking facilities for those driving.

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James Earl Jones Theatre

The James Earl Jones Theatre offers an immersive artistic experience in a historic Broadway venue, easily accessible by multiple transportation modes.

Ages 12+. Children under 5 years old will not be admitted.

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The Vivian Beaumont Theater - Lincoln Center Theater is a renowned Broadway theater venue located in the heart of New York City. Perching within the realm of Lincoln Center for the Performing Arts, it distinguishes itself as the only Broadway-class theater (known for its large-scale, high-profile productions) outside the Theater District. The theater was named after Vivian Beaumont Allen, a notable patron of the arts. Inaugurated in 1965, it sports an architecturally distinct design, created by Finnish American architect Eero Saarinen. The theater, featuring a thrust stage extending into the audience, has a seating capacity of approximately 1,080. Over its illustrious history, it has hosted numerous famous productions and garnered multiple Tony Awards. A testament to its prestigious status is that it has been the stage for many world premieres. 

**Getting to the Venue:** The Vivian Beaumont Theater is located at 150 West 65th Street. It's easily accessible by subway- take 1 train to 66th Street-Lincoln Center Station or the A, B, C, D, and 1 trains to 59th Street-Columbus Circle. Additionally, buses M5, M7, M11, M66, and M104 have nearby stops. Parking is available at Lincoln Center's parking garage and other surrounding parking facilities.

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Vivian Beaumont Theater - Lincoln Center Theater

Vivian Beaumont Theater is a Broadway-class theater in New York's Lincoln Center, known for major productions and notable premieres.

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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.

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Experience the grandeur of the Winter Garden Theatre, now home to Back to the Future: The Musical. Get your tickets today and experience the magic live.

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