Name: Death of a Salesman on Broadway
Start: 2022-09-17
End: 2023-01-15
Location: Hudson Theatre

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Death of a Salesman on Broadway - NYC 

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Death of a Salesman on Broadway

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Sharon D&nbsp;Clarke stars as <a href="https://www.newyorktheatreguide.com/show/caroline-or-change">Caroline Thibodeaux</a> in&nbsp;Caroline, or Change&nbsp;on Broadway at <a href="https://www.newyorktheatreguide.com/theatres/studio-54'">Studio 54</a>.

Sharon Delores Clarke was born on August 12, 1966. She has enjoyed a prolific career on the British stage and screen and is a three-time Olivier Award winner. She was&nbsp;was appointed Member of the Order of the British Empire in 2017 New Year Honours for her services to drama.

Clarke launched her career on stage,&nbsp;landing her first professional role in 1988 as Dolores Hope in O Babylon! The Musical. From there, she launched her career on the West End, with some of her earliest roles,&nbsp;between 1996 and 2004, being&nbsp;General Cartwright in Guys and Dolls, Joanne Jefferson in Rent,&nbsp;Miss Sherman in Fame, Rafiki in The Lion King,&nbsp;and&nbsp;Matron Mama Morton in Chicago. During that period, she also originated the role of Killer Queen in the 2002 premiere of the Queen jukebox musical&nbsp;We Will Rock You, earning her first Olivier nomination for best performance in a supporting role in a musical.

In the later 2000s and early 2010s, Clarke furthered her British stage career in&nbsp;roles including&nbsp;Motormouth Maybelle in&nbsp;Hairspray, Asaka in&nbsp;Once on This Island&nbsp;(a role she first played in 1994),&nbsp;Davina the Diva Harp in Jack and the Beanstalk,&nbsp;and Carmina the Camel in Aladdin, among others. These roles led to a 2011 turn as Oda Mae Brown in the musical adaptation of the film&nbsp;Ghost, for which she was nominated for a 2012 Olivier Award, again for best performance in a supporting role in a musical. Two years later, Clarke&nbsp;appeared in James Baldwin's The Amen Corner and won her first Olivier for best supporting actress.

In 2016, she received critical acclaim for starring in the title role of&nbsp;Ma Rainey's Black Bottom&nbsp;and followed it up with a 2017 performance as Sonya in&nbsp;The Life.&nbsp;Her next venture was as Caroline in&nbsp;Caroline, or Change.&nbsp;She first assumed the role in 2017 at the Chichester Festival Theatre&nbsp;Clarke and transferred with the production to the Playhouse Theatre in the West End in 2018. Her performance there&nbsp;won her a second Olivier, this time&nbsp;for best actress in a musical. Before transferring again with the Caroline, or Change&nbsp;production, this time across the pond to make her Broadway debut, she&nbsp;played&nbsp;Linda Loman in Death of a Salesman&nbsp;and picked up a third Olivier Award.

Clarke has also had a successful career on screen. Her most well-known roles are as Lola Griffin in the BBC medical drama&nbsp;Holby City, on which she is seen in 112 episodes, and as&nbsp;Grace O'Brien in four episodes of&nbsp;Doctor Who&nbsp;and a spinoff holiday special. Some of her other TV credits include&nbsp;Waking the Dead,&nbsp;Soldier Soldier,&nbsp;Broken Glass,&nbsp;Between the Lines,&nbsp;Children's Ward,&nbsp;The Singing Detective,&nbsp;EastEnders,&nbsp;and&nbsp;Informer,&nbsp;among many others. She has also appeared in films, with recent credits including&nbsp;The Works, The Darkest Universe, Tau, and Rocketman.

Photo credit: Darren Bell

Sharon D Clarke - NY

Sharon D Clarke stars in an exhilarating, Olivier Award-winning performance as Caroline, an African-American maid whose world of 1963 Louisiana ripples with change both large and small. (11+)

Broadway COVID Protocol

Caroline, or Change on Broadway [19556]

Caroline, or Change on Broadway

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Some performances tell an entire story unto themselves. <a href="https://www.newyorktheatreguide.com/actor-profile/sharon-d-clarke">Sharon D&nbsp;Clarke</a> delivers one such stunning star turn in this revival of <a href="https://www.newyorktheatreguide.com/show/caroline-or-change">Caroline, or Change</a>, propelled onto Broadway by her acclaim in its previous London run. With an earth- and rafter-trembling embodiment of the title character, Clarke animates a curious — and at times troubling — musical with undeniable life.When Caroline, or Change first premiered at <a href="https://www.newyorktheatreguide.com/theatres/public-theater">The Public Theater</a> in 2003, a white creative team spinning a narrative that purportedly centers a Black woman may have raised fewer eyebrows. After all, Dreamgirls had done it times three. But from the moment young Noah Gellman (played by Jaden Myles Waldman at the performance reviewed) refers in the opening number to "Caroline, our maid," it's clear whose perspective the story actually inhabits.That would be a young Tony Kushner, for whom Noah is a clear stand-in. The musical, presented here by Roundabout Theater Company, was inspired by Kushner's boyhood in Lake Charles, Louisiana, and impressions of his family's Black maid. With a genre-blending score by the always-inventive Jeanine Tesori, Kushner offers a characteristically oblique skewering of middle-class Jewish liberalism&nbsp;via a family who considers their Black help through the lens of how much she needs them."Change" is a double reference to the loose scratch Noah leaves in his pockets, at first absent-mindedly and then deliberately, for Caroline to find in the laundry. It's also a gesture to what's on the horizon of the Civil Rights Movement&nbsp;and Caroline's seemingly stubborn obstinance toward advancing her station.&nbsp;"How come you're so sad/and angry all the time?" Noah asks her. We're meant to cringe, at least a little, at the boy's insensitive naivete. But it's not clear the story has particularly convincing insights on that question.&nbsp;Caroline, who expresses herself mostly in troubled backstory, certainly needs money. Her kids, including the eldest, a radiant Samantha Williams, and two young boys, adorably played by Alexander Bello and Jayden Theophile at the performance reviewed, very much like to buy things. Caroline is also proud. She had a great love, but he all-too-predictably resorted to violence and left her alone.Except, of course, for the inanimate objects that are Caroline's frequent companions, puzzlingly personified as Black through song. There's the radio (Nasia Thomas, Nya, and Harper Miles) and washing machine (Arica Jackson) in the dank basement where Caroline spends her days, the bus (Kevin S. McCallister) that carries her tired body home at night, and the moon (N'Kenge) that washes over her sorrows.&nbsp;All are gorgeously sung here, welcome vehicles for immensely talented performers, and of a piece with the musical's unconventional glow of childlike wonder at the world. But where Noah and the Gellman family, including his reticent, clarinet-playing father (John Cariani)&nbsp;and self-consciously well-meaning mother (Cassie Levy), telegraph human subjecthood, Kushner's Black characters are primarily built from penury, weariness, or plastic, metal, and dust.Caroline's spirited daughter, beautifully played by Williams, would be a more impactful exception were she central to the story rather than circling its periphery; her epilogue insisting "you can't hold on, you Nightmare Men" feels like a hasty coda.Director Michael Longhurst's production does well to allow Clarke to blaze at its center, on a too-literal upstairs-downstairs set by Fly Davis, whose costumes do more impressively imaginative work, both in simple understatement and in opulent drape and shimmer. The onstage orchestra, raised at either side, swells the bayou setting with a rich and humid atmosphere.Caroline's greatest sorrow, it turns out, is eventually losing her temper on a privileged boy who treats her like the family dog. Clarke knocks the musical's 11 o'clock number, "Lot's Wife," absolutely past the Milky Way and into another plane of being. However stirring the lament, Caroline still had every right to put the little punk in his place.It may be just as well to close your eyes, at least for a moment, as Clarke's performance outstrips the story, to imagine a world where Caroline can breathe — and do more than just count her coins — in peace.&nbsp;<a href="https://www.newyorktheatreguide.com/show/caroline-or-change">Caroline, or Change runs at Studio 54 through January 9, 2022. Get Caroline, or Change&nbsp;tickets on New York Theatre Guide.</a>Photo credit:&nbsp;Adam Makké as Noah Gellman and Sharon D Clarke as Caroline Thibodeaux in Roundabout Theatre Company's Caroline, or Change. (Photo by Joan Marcus)

‘Caroline, or Change’ review — Sharon D Clarke shines in an updated revival

The **Studio 54 theatre** in New York is legendary in its status as America's most famous nightclub from history. In the '70s, the venue was a beacon for A-list celebrities, artists, and musicians to gather under its mesmerising disco ball. Today, as part of the Roundabout Theatre Company, **Studio 54** is a home to captivating theatrical performances. The theatre, located on 254 W 54th Street, maintains its historical charm with the restored auditorium that evokes an intense feel for the remarkable history it's borne witness to. The theatre has a seating capacity of 1006 and has been the stage for numerous notable productions such as 'Cabaret', 'Sunday in the Park with George', and 'Kiss Me, Kate'. The elegance from its original 1927 construction blends seamlessly with its more modern renovations, helping keep Studio 54 an iconic and desired destination in the Big Apple. 

 **How to get to the venue** 

 Getting to Studio 54 is quite straightforward. Located in Manhattan, it's easily accessible by subway. The closest station is 7 Avenue, which is just a short two-minute walk from the theatre. For those preferring a taxi ride or self-drive, there are several parking garages nearby like the 'Icon Parking' on 851 8th Ave or the 'SP+' on 1700 Broadway.

Studio 54 - NY

Studio 54

Studio 54 theatre in New York, known for its past as a celebrity club, is now a popular venue for theatrical performances.

Few American plays are revisited on Broadway as often as [*Death of a Salesman*](https://www.newyorktheatreguide.com/show/25459-death-of-a-salesman-tickets). The play has received six productions in under 75 years, and this latest revival at the Hudson Theatre, brought over from an acclaimed London run, reminds us why. There is always new depth to be mined from Arthur Miller's story of Willy Loman, a man who all but worshipped the American Dream of prosperity through hard work, only to realize he worked his life away for naught.

Casting Willy and his family as Black deepens the show, pointing to how opportunities for upward growth are not equally afforded to everyone, especially minorities. Performing this play, which was written and is set in the mid-20th century, today adds yet another layer of tragedy: Willy is only 63, a much more advanced age decades ago. Lines like "But you're 60 years old; they can't expect you to keep traveling every week" earn dry laughs now that 60 is barely the retirement age, but it's more arresting to see such inescapable mental decline happen to someone so young. 

Furthermore, this *Death of a Salesman* brought to my mind *Long Day's Journey into Night*, Eugene O'Neill's masterwork about a family undone by addiction. (Perhaps it's no wonder many [past *Salesman* stars](https://www.newyorktheatreguide.com/theatre-news/news/all-the-celebrities-who-have-starred-in-death-of-a-salesman), like Philip Seymour Hoffman and Brian Dennehy, have performed in *Long Day's Journey*, too.) *Death of a Salesman* is often described as a detailed look into one man's devolving mind (only the salesman is in the title, after all), but this production turns Miller's play into more of an ensemble work about the loved ones affected by his devolution.

That is not to minimize Wendell Pierce in any way, whose Willy still commands the stage with bluster and bombast. That is, on the surface: Multiple journeys deep into Willy's psyche, where he loses himself in falsified, idyllic memories and pushes away dark ones the second they creep up, reveal his swagger to be a defense mechanism from the truth. Eventually, that defense gets tiring, and he can't fight for, or against, himself anymore. Pierce is a larger man, but he figuratively shrinks so much as the play goes on, one would swear the transformation was physical. When his wife Linda says of him, "A small man can be just as exhausted as a great man," it's still believable as an assessment of his standing in the world.

Equally compelling are Khris Davis and McKinley Belcher III as Willy's sons Biff and Happy, each a warped mirror of their father. Biff, the elder son, shares his father's inability to truly succeed, in part because Willy raised him to pursue business when his passion lie in farming, and in part due to a grudge Biff holds against his father. He also inherited his father's temper, suggesting he could someday push his family away like Willy did. Happy, conversely, inherited his father's interest in business, if not his work ethic, and his final moment implies he'll follow his father's glorification of the American Dream. Both paths are tragic in their own right.

But ultimately, it is Linda who bookends *Salesman* as the first and last character we see alone on stage. [Sharon D Clarke](https://www.newyorktheatreguide.com/stars-on-stage/sharon-d-clarke), who won an Olivier Award for performing the role in London, plays the oft-demure character with ferocity and desperation. This is not a submissive wife coddling her husband and his delusions; this is a woman demanding respect and compassion for an unstable man. Even more crucially, this is also a woman at her breaking point. She knows of her husband's suicidal tendencies — a crushing load to bear — and, though she doesn't say so outright, appears to feel responsible for keeping him off the ledge.

Of course, Linda's efforts are just as doomed as Willy's pursuits, and Clarke's layered performance recasts *Death of a Salesman* as a dual tragedy, with Linda as a hidden crux of the show to whom attention must truly be paid. As she sings an ending lament for her husband (and bless director Miranda Cromwell for giving Clarke not one, not two, but three opportunities to sing), we're reminded that the remaining Lomans' life still has to go on in the real world, now that all delusions are gone. Even after nearly three and a half hours of *Death of a Salesman*, I'd gladly stay longer to watch that story continue.

[*Death of a Salesman* is at the Hudson Theatre through January 15. Get *Death of a Salesman* tickets on New York Theatre Guide.](https://www.newyorktheatreguide.com/show/25459-death-of-a-salesman-tickets)

*Photo credit: Wendell Pierce and Sharon D Clarke in Death of a Salesman. (Photo by Joan Marcus)*

'Death of a Salesman' review — Wendell Pierce and Sharon D Clarke revitalize a time-honored tragedy

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.

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André Robin De Shields was born January 12, 1946 in Dundalk, Maryland, a community within Baltimore. He is an award-winning actor, singer, choreographer, director, and dancer who has been active in his performance career since the 1960s, but he did not study the discipline in college — he holds a B.A. in English literature from the University of Wisconsin and an M.A. in African American studies from New York University, where he now serves as an adjunct professor.&nbsp;He did, however, star in a production of Lorraine Hansberry's&nbsp;A Raisin in the Sun&nbsp;while at Ohio's Wilmington College, which he attended before transferring to Wisconsin. A few years later, he would make his professional debut in a 1969 Chicago production of&nbsp;Hair.

De Shields has numerous other regional credits to his name and three Jeff Awards for that work, but his most prolific appearances&nbsp;have&nbsp;been on the New York stage, where he has built a long and celebrated career since the&nbsp;1970s. From then until the 1990s, he appeared in multiple productions at La MaMa Experimental Theatre Club on Manhattan's Lower East Side, including Ken Rubenstein's Sacred Guard, Lamar Alford's Thoughts, and the&nbsp;Cotton Club Gala. He also directed two shows there:&nbsp;Chico Kasinoir's The Adventures of Rhubarb: The Rock and Roll Rabbit in 1985 and Saint Tous, which De Shields wrote himself.&nbsp;

Between La MaMa shows, De Shields also made his Broadway debut in the 1970s. His performance debut was as&nbsp;Xander in Stuart Gordon's 1973 science fiction play&nbsp;Warp!, and he made his choreography debut later that year on a Bette Midler revue, followed by a second one in 1975. His other notable Broadway roles include the titular role in&nbsp;The Wiz&nbsp;in 1975, a performer in the 1978 musical revue&nbsp;Ain't Misbehavin'&nbsp;and its 1988 revival, the Jester in the Duke Ellington musical Play On!, and the original&nbsp;Noah "Horse" T. Simmons in&nbsp;The Full Monty, Terrence McNally and David Yazbek's musical adaptation of the same-named film. His&nbsp;Play On!&nbsp;and&nbsp;The Full Monty&nbsp;performances each earned him a Tony Award nomination and a Drama Desk nomination. Most recently, he won the Tony Award for Best Featured Actor in a Musical for his portrayal of Hermes in&nbsp;[Hadestown](https://www.newyorktheatreguide.com/show/hadestown-tickets), a role he still holds. His was one of eight Tony Awards the production won at the 2019 ceremony.

De Shields is also a veteran screen actor, having won an Emmy Award for&nbsp;the 1982 broadcast of Ain't Misbehavin' .&nbsp;Most recently, in another theater-film hybrid, he&nbsp;appeared as Anton Ego in a benefit concert performance of&nbsp;Ratatouille The Musical, streamed on TodayTix in January 2021.&nbsp;De Shields&nbsp;has also held roles on television shows including&nbsp;Cosby, Sex and the City, Law &amp; Order,&nbsp;Law &amp; Order: Special Victims Unit, and Katy Keene, and he was&nbsp;a musical guest on John Mulaney's 2019 Netflix comedy special The Sack Lunch Bunch.&nbsp;

André De Shields - NY

Ages 8+. Children under 4 are not permitted in the theater.

Hadestown on Broadway - NYC [14748]

Hadestown on Broadway

Hadestown on Broadway [14748] Product Media 

Going to hell has never been as much fun as seeing a performance of Anaïs Mitchell's musical <a href="/show/hadestown">Hadestown</a>, now playing at the <a href="/theatres/walter-kerr-theatre">Walter Kerr Theatre</a>.&nbsp;And don't let its origins in Greek mythology scare you off because there's a built-in narrator in the form of the god Hermes (André De Shields) whose job was to guide souls into the afterlife.&nbsp;In Hadestown, his first task is to introduce all the characters in a rollicking number "Road to Hell."Mitchell, the talented singer/songwriter who is responsible for the whole shebang, music, lyrics and book, has intertwined the myth of Orpheus (Reeve Carney), son of the God Apollo and muse Calliope and Eurydice (Eva Noblezada), wood nymph; with that of Hades (Patrick Page), god of the underworld and Persephone (Amber Gray), daughter of the god Zeus and goddess of the harvest Demeter.&nbsp;The story that unfolds in Hadestown is that Hades falls in lust with Persephone and abducts her to the underworld where they fall in love and marry.&nbsp;Demeter is so distraught she declares that there will be no more growth or harvest until Persephone returns.&nbsp;Zeus brokers a deal whereby Persephone spends 6 months out of the year above ground and 6 months out of the year below, thus creating the seasons. So, Persephone rides a train back and forth between the underworld known as Hadestown where she's the only living soul, and the world above.&nbsp;But Hades keeps shortening her time up above because he misses her.&nbsp;And the earth gets colder.Meanwhile, Orpheus is trying to write a song that will restore order to the seasons when he runs across Eurydice, with a little help from Hermes and The Fates (Jewelle Blackman, Yvette Gonzalez-Nacer, Kay Trinidad), who is wandering around cold and hungry.&nbsp;She's initially unimpressed until he starts singing.&nbsp;In the only off note in the production, they fall in love (unfortunately no chemistry between the two - Reeve Carney is a little too much of a hesitant milquetoast to be a believable love interest for the determined and charming Eva Noblezada) and marry.&nbsp;Whereupon Orpheus immediately goes back to songwriting and neglects Eurydice.So, what's a poor, once again cold and hungry girl to do?&nbsp;Where does she go to get warm?&nbsp;You guessed it, Hadestown.&nbsp;Where Eurydice becomes one of the poor lost souls in the underworld, trapped behind the wall Hades has erected. And explains in the Act One finale "Why We Build The Wall" that brings down the house.&nbsp;If I didn't know that Mitchell wrote the score in 2010, I'd swear she wrote it within the last two years.I won't spoil the second act except to say that it's about Orpheus' trip to Hadestown to find Eurydice to try to rescue her.&nbsp;And that Michael Krass' costumes for the Chorus in the underworld are outstanding, as is the visually stunning dance number choreographed by David Neumann done with headlamps and swinging lights.&nbsp;And if the love story between Orpheus and Eurydice didn't smolder, Patrick Page and Amber Gray set the house on fire as Orpheus and Persephone. Their song "How Long?" and the dance that went with it had me melting in my second row seat when I saw both of them crying.&nbsp;Be still my heart.(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>"All your favorite Greeks are heading somewhere in&nbsp;Hadestown,&nbsp;the sumptuous, hypnotic and somewhat hyperactive musical that opened on Wednesday night after its own twisty 13-year road to Broadway." Jesse Green for <a href="https://www.nytimes.com/2019/04/17/theater/hadestown-review-broadway-anais-mitchell.html" target="_blank">New York Times</a>"It looks spectacular—thanks to Rachel Hauck's set, which features three turntables in concentric circles, and Bradley King's lighting—but it has a human scale; it feels less like a standard Broadway musical than a concert, a gathering, a happening. (The seven members of the excellent onstage band are called out by name for applause.) And, most important, it has Mitchell's score: a joyful combination of folk, pop, Dixieland and blues that will make you want to rehear it as soon as the lights come up. You'll be singing it again in your head for days." Adam Feldman for <a href="https://www.timeout.com/newyork/theater/hadestown-review-broadway" target="_blank">Time Out New York</a>"Yes, composer Anaïs Mitchell's musical retelling of the Orpheus and Eurydice myth, which opened Wednesday on Broadway, sounds pleasant and looks more expensive than it did in 2016 at New York Theatre Workshop. But this classic tale of love — he looks back, she gets trapped in the underworld for all eternity — is still too slick and sterile for us to give a damn about her damnation." Johnny Oleksinski&nbsp;for&nbsp;<a href="https://nypost.com/2019/04/17/hadestown-review-broadway-douses-the-fires-of-hell-with-folk-music/" target="_blank">New York Post</a>"In "Road to Hell," the exhilarating opening number of the utterly fabulous&nbsp;Hadestown, Hermes, the conductor of souls into the afterlife, invites us to "Ride that train to the end of the line." He's played with seductive authority and knowing humor by the eternally elegant Andre De Shields, outfitted like a superfly pimp in a flashy silver suit, and it's hard to imagine anyone resisting his call. He sells a ticket to a bewitching journey that pays off at every turn." David Rooney for <a href="https://www.hollywoodreporter.com/review/hadestown-theater-review-1202512" target="_blank">Hollywood Reporter</a>"Hadestown&nbsp;triggered a lot of buzz&nbsp;when this wholly American show (which came to the stage by way of a concept album) premiered at Off-Broadway's New York Theatre Workshop in 2016. Arriving on Broadway&nbsp;with its earthly delights more or less intact, this perfectly heavenly musical — with book, music and lyrics by Anaïs Mitchell — should stick around for a while." Marilyn Stasio&nbsp;for <a href="https://variety.com/2019/legit/reviews/hadestown-review-musical-broadway-1203191646/" target="_blank">Variety</a>

Review of Hadestown on Broadway

The Walter Kerr Theatre is a Broadway theatre located in the heart of New York City. Originally named the Ritz Theatre, it was built in 1921 and renamed in 1990 to honour the Pulitzer Prize-winning American critic Walter Kerr. With a seating capacity of just 975 across Orchestra, Mezzanine and Balcony sections, it's one of the city's smaller and more intimate venues. Notorious for its world-renowned, critically acclaimed productions, the Walter Kerr Theatre has staged hits such as 'Angels in America', 'A Little Night Music', and 'Hadestown', making it a quintessential part of New York's theatre landscape. The theatre is famously known as the home of 'Springsteen on Broadway', Bruce Springsteen’s one-man show that ran for 14 months in 2017 and 2018. The show was an unequivocal success and re-affirmed Walter Kerr Theatre as a must-visit for any theatre aficionado.

**Getting to the Walter Kerr Theatre:** The theatre is conveniently located at 219 West 48th Street, easily accessible by public transportation. The closest subway stations are 50th Street, served by the C and E lines and 49th Street served by the N, R, and W lines. Buses that stop near the theatre include the M104, M10, M27/M50, and M6.

Walter Kerr Theatre - NY

Walter Kerr Theatre 

The Walter Kerr Theatre is an intimate, historic Broadway venue in New York, known for critically acclaimed productions and easy public transport access.

CATS: "THE JELLICLE BALL" - NYC [39754]

CATS: "THE JELLICLE BALL"

CATS: "THE JELLICLE BALL" - NYC - Product Media 

Located in the heart of New York City, the Perelman Performing Arts Center (PAC NYC) is an epitome of cultural vibrancy, architectural elegance, and artistic innovation. Constructed as a core component of the World Trade Center site, the venue is designed to inspire and serve artists from various genres and the diverse community of the city.

The venue features three principal performance spaces which can be combined to form a flexible theatre environment. The invention in its design and versatility allows performers to have unrestrained creative freedom, offering audiences a myriad of theatre experiences. Not just a venue, the PAC NYC is also an incubator promoting innovation, making a significant impact on the performing arts scene of New York City, and worldwide.

Significantly, the theater is designed with an exterior composed of translucent, veined marble enveloped in glass, creating a warm, illuminated beacon in the Lower Manhattan skyline.

### How to Get to the Venue

PAC NYC is accessible via various modes of transport. By subway, you can take the A, C, J, Z, 2, 3, 4, or 5 trains to Fulton Street. If travelling by bus, take the M5, M20, or M22 buses. There are also numerous parking lots nearby for those who prefer to drive.

Driving directions can be easily mapped on most GPS systems using the address: Perelman Performing Arts Center, World Trade Center, New York, NY, USA.

Perelman Performing Arts Center (PAC NYC)

Perelman Performing Arts Center promotes cultural vibrancy through innovative and flexible spaces. It's accessible via subway, bus, and car.

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Hudson Theatre - TodayTix

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

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

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

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

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

## How to get to the Hudson Theatre on Broadway

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

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

## Restaurants near the Hudson Theatre

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

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

Hudson Theatre - New York Theatre Guide

The Hudson Theatre, Broadway's oldest and newest, opened in 1903, housing theatricals, radio and TV shows, and got New York landmark status in 1987.

Hudson Theatre - NYC 

Death of a Salesman on Broadway Tickets

About Death of a Salesman on Broadway

Run time

Venue

Categories

Start date

End date

Stars on stage

Sharon D Clarke

André De Shields

Death of a Salesman on Broadway cast and creative team

Venue

Hudson Theatre

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